Background.

Following a series of disagreements between Philip VI of France () and Edward III of England (), on 24 May 1337 Philip's Great Council in Paris agreed that the lands held by Edward in France should be taken back into Philip's hands on the grounds that Edward was in breach of his obligations as a vassal. This marked the start of the Hundred Years' War, which was to last 116 years. In 1340 Edward claimed the French Crown, proclaiming himself the rightful heir through his mother, Isabella of France.  The English campaigned frequently on the continent, gaining a long run of military successes against larger forces across France. In 1356 a large French army was decisively defeated at the Battle of Poitiers, in which King John II of France (), the son and successor of King Philip, was captured. This eventually led to peace being agreed, and the Treaty of Brétigny was signed in 1360. It ceded large parts of south-west France to England as its sovereign territory, while Edward renounced all claims to the French throne. The terms of Brétigny were meant to untangle the feudal responsibilities that had caused so much conflict, and, as far as the English were concerned, would concentrate their territory in an expanded version of Aquitaine. This had been part of the English royal estate in France since the reign of Henry II (), and by the treaty it and Poitou became fiefdoms of Edward's oldest son, Edward the Black Prince. John was to pay three million écus as his ransom. The French were deeply unhappy with this arrangement.  In 1369, on the pretext that Edward had failed to observe the terms of the treaty, Charles V (), the son and heir of King John, declared war once again. In August a French offensive attempted to recapture castles in Normandy. Men who had fought in earlier English campaigns and had already won fortune and fame, were summoned from their retirements and new, younger men were given commands. Events went poorly for England almost from the start: James Audley and John Chandos, two important English commanders, were killed in the first six months; while the French made territorial gains in the west, re-occupying the strategic provincial capital of Poitiers and capturing many castles.

French strategy.

This period of the Hundred Years' War, starting in 1369 and known as the Carolinian phase, was significantly different from the previous one. The French were well prepared militarily, and immediately went on the offensive. Charles was well situated in terms of financial and human resources. Edward III was growing senile, his heir was crippled by illness, and once the turmoil of the previous phase of the war had subsided Charles was able to benefit from France having three times the population and wealth of England. The French also benefited from technological improvements, such as in barding, the armouring of horses.  Fighting during this phase took place largely in Aquitaine, meaning the English had extremely long borders to defend. These were easy for small French parties to penetrate, which they did to great effect. They relied on Fabian tactics: avoiding pitched battles and using attrition to wear down the English and only attacking dispersed or isolated English forces. This was now an offensive war for the French, and the English were ill-prepared for it.

English strategy.

The English planned to use two armies. One would operate out of Aquitaine in south-west France and be commanded by the experienced Black Prince. It would concentrate on reversing recent French gains in Poitou. This force was hampered by the Black Prince being so ill that he had to be transported in a litter. As a result, he was unable to lead the campaign personally and needed to delegate the command. The other English force would operate out of the English enclave of Calais in north-east France.  The north-eastern army was to be commanded by Robert Knolles, a veteran with considerable experience of independent command in the previous phase of the war and in the Breton War of Succession. Knolles contracted on 20 June to lead the King's army, although a week earlier he had agreed to share the command with Sir Alan Buxhull, Sir Thomas Grandison and Sir John Bourchier. On 1 July they were jointly appointed King's lieutenants. Both the King and his council were aware of the problems that could be caused by giving the overall command to Knolles, whose social status was lower than that of his peers. To prevent the English army from dividing and going separate waysand in what the historian Jonathan Sumption calls "a prescient precaution"the captains were required to sign a contract before they left agreeing not only to serve the King faithfully, but also not to allow any divisions to open up between them, and to make decisions collectively.

Prelude.

English movements.

Knolles landed at Calais in August 1370 with an army of between 4,000 and 6,000 mounted men. There he awaited further orders from the King. None were forthcoming, so he proceeded on a "meandering" plundering raid through northern France. According to the historian T. F. Tout, the French allowed Knolles and his army "to wander where he would". Knolles crossed north-eastern France using what by now was a traditional English tactic, the a large-scale mounted raid. This was intended not only to inflict as much destruction as possible on the countryside they passed through, but, by doing so, draw out the French army into a pitched battle. Journeying through the Somme region, Knolles made a show of force outside Reims, marched to Troyes, and then swung west to approach Paris from the direction of Nemours. As they marched, Knolles's army captured many towns, which they would then raze if the French refused to pay the ransoms the English demanded. He reached Paris on 24 September, but the city was well garrisoned and well defended. Knolles could not enter, and the French defenders would not leave their positions. He tried to draw them out to fight them in the open, but the French would not take the bait. The contemporary describes how, even though "the said English set fire to a great number of villages around Paris... the King was advised, for the better, that they should not then be fought with."  By October Knolles had moved south and was marching towards Vendôme. He captured and garrisoned castles and monasteries between the Rivers Loir and Loire and positioned himself to be able to march into either Poitou or southern Normandy. The former would enable him to support the Black Prince; the latter might be necessary if Edward concluded an agreement with Charles of Navarre, who was offering his lands in northern Normandy as a base for the English. Many of the subordinate captains, who considered themselves better-born than Knolles, deplored his apparent lack of martial spirit. They found a leader in Sir John Minsterworth, an ambitious but unstable knight from the Welsh Marches, who mocked Knolles as "the old freebooter". Much of Knolles's strategy was based on that employed in the campaigns of the 1340s and 1350s; particularly the capturing of enemy fortresses, to either garrison them with English troops or levy a ransom. Meanwhile, the English campaign in the west, which was nominally commanded by the Black Prince and actually by John of Gaunt and the Earl of Pembroke, captured Limoges after a five-day siege, taking many prisoners whom they held for ransom and seizing much booty.

Divisions among the English.

The English system of shared leadership led to jealousies between their captains regarding how the booty and the many ransoms they had collected should be distributed. In November 1370 acrimony broke out among the English captains over the issue of where to spend the winter. Knolles was aware that the French were closing in, and of the risk this posed. Not wishing to stay encamped in an area where a surprise attack was possible, he proposed withdrawing westward into Brittany. His captains, led by Sir Alan Buxhull, strongly disagreed, preferring to find winter quarters where they were. This would enable them to be able to continue raiding the surrounding countryside. They were confident they could defeat any French attack. Their concern to keep pillaging the countryside was in large part forced upon them: the government had only paid their and their army's wages for thirteen weeks, and they were expected not just to live off the land, but pay themselves from it.  Knolles threatened to leave, and when the other English commanders refused to join him, did so, taking the largest retinue from the army with him"doubtless with considerable booty", remarks the medievalist Kenneth Fowler. With Knolles gone, the remaining 4,000 men of the English force divided into three forces. One was under the dual command of Thomas Grandison and Hugh Calveley, the other two were commanded by Walter Fitzwalter and John Minsterworth. These three forces, in turn, went separate ways, which maximised their opportunities to forage for supplies and to loot. Fowler suggests that Minsterworth was probably the first to leave. On the evening of 3 December, Knolles was some way to the west, Grandison's force of between 600 and 1,200 was spread out along a river between Pontvallain and Mayet, and Fitzwalter was several miles to the south. The location of Minsterworth's force is no longer known.

French movements.

Bertrand du Guesclin was appointed constable of France on 2 October, in direct response to Knolles's campaign. Charles considered that Guesclin had the necessary skills in leading small forces and in irregular warfare to implement the Fabian approach he had decided on. On 24 October, Guesclin sealed a "pact of brotherhood-in-arms" with Olivier de Clisson, an experienced Breton commander, and by 6 November Guesclin was in Caen raising an army. Guesclin concentrated his forces at Caen during November, and was joined there by reinforcements under the Marshals Mouton de Blainville and Arnoul d'Audrehem as well as a Breton contingent under de Clisson. Guesclin thus concentrated about 4,000 men.  A second force of about 1,200 men assembled at Châtellerault, under Marshal Sancerre. This then moved towards the English from the east, while Guesclin began to move on him from the north. On 1 December Guesclin left Caen with his army"One of those marches of which he had the secret", said a contemporary chronicler,and marched south. One of the most important aspects of the Pontvallain campaign was the speed with which the French moved: Guesclin and his forces reached Le Mans, a journey of, two days later.

Battle.

Battle of Pontvallain.

At Le Mans, Guesclin received intelligence that Grandison's force was nearby at Mayet, but was on the move in an attempt to join with Knolles. Guesclin, however, outmanoeuvred him. Despite his army being near-exhausted, Guesclin commenced a night march, which brought him to Pontvallain by the early morning of 4 December. The French were able to attack Grandison's army with no warning, which was a great psychological advantage to them. The English were taken by surprise and Sumption speculates that Grandison may only have had time to form rough lines with his men before fierce close-quarters fighting began. In the earlier phase of the war, English longbowmen had largely neutralised the French cavalry but in this encounter, the barding (armouring) of the French horses rendered the English archery largely ineffective. The English attempted an escape through the woods, but were unable to retreat northwards, where the slightly higher ground may have provided them with a defensible position. Soon, with heavy losses on both sides, Grandison's force was penned in and wiped out beneath the walls of the Château de la Faigne.  Among the French casualties was the Marshal of France, Arnoul d'Audrehem, who was mortally wounded. The English army died almost to a man. Grandison and his captains, who included Philip Courtenay and Hugh Despenser, were among the few survivors, and were taken prisoner by Guesclin. With Grandison's defeat, the largest remaining English force in the area was Fitzwalter's. Sancerre, who was still "a few hours march away", on receiving news of the battle at Pontvallain turned south to confront Fitzwalter. Guesclin, meanwhile, organised his prisoners, sent a portion of his army to chase Knolles, and moved towards Fitzwalter with the balance. Fitzwalter managed to avoid being surprised in open ground as Grandison had been, and marched south, intending to take refuge within the fortified Vaas Abbey.

Battle of Vaas.

The abbey at Vaas was garrisoned by Knolles's men, and Fitzwalter's men assumed it to be a haven. However, the French forces led by Sancerre reached the abbey at nearly the same time as the English. The garrison were unable to organise a proper defence before they had to attempt to fend off an immediate assault from Sancerre. According to Sumption, it is likely that Fitzwalter's force managed to enter the outer gate, but after bitter fighting Sancerre's troops forced their way into the abbey. The English defence, such as it was, collapsed. The arrival of Guesclin effectively put an end to the battle, which became a rout. What Sumption considers reliable estimates attested the English losses to be over 300, exclusive of prisoners. These included Fitzwalter himself, captured by the seneschal of Toulouse, and most of his lieutenants. Guesclin held Fitzwalter as his personal prisoner; possibly, Sumption adds, like the contemporary Pierre d'Orgemont when he related the tale, Guesclin believed Fitzwalter to be the marshal of England.

Aftermath.

The few English survivors of the battles still at large scattered in confusion. John Minsterworth's force, which had not been engaged at either battle, immediately removed itself to Brittany. Others made their way to Saint-Saveur, south of the Loire. Caveley returned to Poitou. Around 300 of the English remnants joined together and overran Courcillon Castle, near Château-du-Loir, and then marched to the Loire, closely pursued by Sancerre. Many of Knolles's men abandoned their positions garrisoning castles, including Rillé and Beaufort la Vallée, and also headed to the Loire. This group, which included many wounded men and pillagers, joined up with the other English force, making it "several hundred" in strength.  Guesclin maintained his close pursuit, and his constant ambushes and raids depleted the English numbers. They eventually reached the relative safe haven of the ford at Saint-Maur. Calveley's force, which had taken no part in either of the battles, had already crossed. A little beyond the ford was a strong English garrison at a fortified abbey, garrisoned by the English. Here, some of the English went east, while the majority continued towards Bordeaux. This group continued to be pursued by Guesclin, now joined again by Sancerre, deep into Poitou, where it was eventually run to ground outside Bressuire Castle. This was also occupied by an English garrison, but, fearing that if they opened the gates they would admit the French army alongside the English, they refused to do so. As a result, what remained of this remnant of the Pontvallain army was wiped out under the walls.  Sancerre proceeded to regain the castles previously captured by Knolles during his. Guesclin made his way back to Saint-Maur where he negotiated with the English inside the abbey – led by Sir John Cresswell and Calveleyand arranged their release on payment of a ransom. The price of freedom for the English is unknown. Soon after, Guesclin returned to Le Mans.  There is uncertainty as to exactly where in Brittany Knolles retired to with the booty he had garnered. Whether to Derval, to Concarneau, or to one and then to the other, he was soon joined by Minsterworth. They decided to return to England with most of their force early the following year. They made their way to the port of Pointe Saint-Mathieu, repeatedly ambushed by the French en route. When they arrived there were only two small ships available, inadequate for the several hundred men with Knolles and Minsterworth. Their numbers were swollen by English garrisons which had abandoned their posts and independently made their way to the port. Minsterworth was one of the relative few who could buy a passage; most of those who remained, possibly amounting to around 500 men, were massacred by the French, who soon caught up with them.  The return of Minsterworth to England "began a long period of recrimination", politically. Although he was as culpable as Knolles or any of the other commanders, Minsterworth attempted to avoid almost all the blame for the military disaster that had befallen them by putting the responsibility on to Knolles. In July 1372 the King's council effectively agreed with him, and condemned Knolles for the defeat. The English nobility also blamed Knolles, because of his lower social status. Despite this, Minsterworth was unable to exculpate himself completely, and the council later had him arrested and charged with traducing Knolles.  Sumption argues that the Pontvallain campaign and its aftermath should be seen as a "spectacular demonstration of Du Guesclin’s capacity to be everywhere at once" and an "extraordinary demonstration of [his] unconventional skills as a commander". Many knights were captured by the French, including John Clanvowe, Edmund Daumarle and William Neville, and were conveyed to Paris in open carts and strictly imprisoned. Others spent great sums evading capture, often borrowing money from colleagues to do so. Fitzwalter was held prisoner until he was able to raise a ransom by mortgaging his Cumberland estates to Edward III's mistress Alice Perrers on ruinous terms.

Legacy.

Knolles's campaign has been estimated to have cost Edward at least £66,667 (), based on his known requests for loans. The historian May McKisack suggests that the that preceded the battle yielded "plunder but little military benefit". Maurice Keen notes that even though Knolles had reached the gates of Paris, "he had little to show for it when he reached Brittany", which illustrated how much the Hundred Years' War had changed in character. According to Christopher Allmand, "the days of Crécy and Poitiers were over". Pontvallain, argues Alexander Gillespie, "destroyed the reputation the English had for invincibility on the battlefield".  England continued losing territory in Aquitaine until 1374, and as they lost land, they lost the allegiance of the local lords. Pontvallain ended King Edward's short-lived strategy of promoting an alliance with Charles, King of Navarre. It also marked the last use of great companieslarge forces of mercenariesby England in France; most of their original leaders had been killed. Mercenaries were still considered useful, but they were increasingly absorbed into the main armies of both sides.  Five hundred years later, when the French lost Alsace-Lorraine to Germany, the Pontvallain campaign was used jingoistically by the French as an example of a spectacular recovery of territory, to keep alive hope of eventually similarly recovering Alsace-Lorraine.

The Battle of Pontvallain, part of the Hundred Years' War, took place in the Sarthe region of north-west France on 4 December 1370, when a French army under Bertrand du Guesclin heavily defeated an English force which had broken away from an army commanded by Sir Robert Knolles. The French numbered 5,200 men, and the English force was approximately the same size.

La bataille de Pontvallain est une victoire de l'armée française contre les Anglais, le 4 décembre 1370, pendant la guerre de Cent Ans, à Pontvallain, dans le comté du Maine.


Biography.

Early life.

Murphy was brought up in Arklow, County Wicklow, Ireland. When she was twelve, her family moved to Manchester, England. Murphy embraced 1960s fashions from going with her mother, an antique dealer, to car boot sales and charity shops. She concealed her singing voice, not wanting other people to know she "sounded like Elaine Paige" when she herself enjoyed listening to the likes of Sonic Youth and Pixies instead.  After three years of living in Manchester, her parents divorced and moved back to Ireland. Murphy insisted on remaining alone in the UK because she did not think that her mother had the strength to continue taking care of her. Murphy lived with her best friend for a year, until she could receive Housing Benefit and live in a nearby flat. She was bullied at school and befriended a group of "weird boys who wore black" and who listened to the Jesus and Mary Chain. Murphy joined a post-punk band that split after a handful of performances. She enrolled in a sixth form college at seventeen and later considered going to art school. She moved to Sheffield where she began going to nightclubs and was inspired by the Vivienne Westwood designs she saw at Trash.

1994–2003: Moloko.

Murphy met Mark Brydon in 1994 at a party, using the chat-up line "Do you like my tight sweater? See how it fits my body." Brydon brought Murphy to his Fon Studios, where he auditioned her voice on tape, and liked Murphy's theatrical delivery. They began dating, and the newly formed Moloko were signed to Echo Records, releasing their debut album "Do You Like My Tight Sweater?" the following year. The album was described by Heather Phares of AllMusic as combining elements of trip hop and funk with electronic dance music, using a more humorous approach than some of their contemporaries. The follow-up "I Am Not a Doctor" covered similar musical ground, and a remix by Boris Dlugosch of "Sing It Back" enjoyed international success, and would go on to be featured on more than 110 compilation albums. In place of paying Dlugosch, Murphy helped write "Never Enough", which reached number sixteen on the UK Singles Chart in June 2001.  October 2000 saw the release of Moloko's third album "Things to Make and Do", for which they employed more live instrumentation, and more multifaceted arrangements by keyboardist Eddie Stevens. The album reached number three on the UK Albums Chart, and "The Time Is Now" became their most successful British single, reaching number two. Murphy and Brydon broke up but were contractually obligated to deliver further albums. After the 2003 release of "Statues", Brydon backed out of much of the album's promotion, so Murphy handled most of it herself. Although no official statement was issued pertaining to Moloko's future, Murphy had this to say in an interview with "Q" magazine in May 2005 (which was reiterated in the review of "Ruby Blue" in July 2005):

2004–05: "Ruby Blue".

Murphy began doing solo work while still in Moloko, which included her contributions to the works of other artists including Handsome Boy Modeling School and Boris Dlugosch, for whom she sang on the track "Never Enough", which became a huge club hit, hitting the top three of the US Hot Dance Club Play chart.  Murphy recorded her first official solo material in 2004 with producer Matthew Herbert, who had previously done remixes for Moloko. She had wanted to work with him again, commenting that "it felt very natural... because Matthew makes things seem quicker and easier." After the pair had recorded a few songs, Murphy found that she enjoyed working with Herbert, and her label Echo Records let her work freely without any deadline. When she presented them the album, they found it odd and did not hear any songs that would make successful singles. The A&R division suggested that Murphy make some changes to make it more radio-friendly. Murphy refused, stating that she "wanted it to be as pure as possible." The label later came to support her.  Murphy released her debut album "Ruby Blue" in June 2005. Prior to this, tracks from the album were made available on three limited edition, vinyl-only releases: "Sequins #1", "Sequins #2" and "Sequins #3". The release of the EP's was to precede a London exhibition by artist Simon Henwood, featuring paintings of Murphy in various sequined outfits (some of Henwood's paintings are used as cover images for the record jackets). The titling is also a pun on "sequins" and the related word "sequence". Henwood also directed the two video clips for the album's singles ("If We're in Love" and "Sow into You").  "Ruby Blue" samples sounds made by everyday objects and actions, including cosmetics, brass mice, dancing and ornaments. It mixes the electronic music for which Moloko was known with jazz and pop styles. Although the album was a commercial failure, it drew mainly positive reviews; Pitchfork Media called it "perfect, the ultimate combination of human warmth and technological know-how."

2006–08: "Overpowered".

In May 2006, Murphy signed with EMI. Her first single for the label, "Overpowered", was released on 2 July 2007. Written by Murphy and Paul Dolby (Seiji) of Bugz in the Attic and mixed by Tom Elmhirst, the single was accompanied by a series of remixes from Seamus Haji, Kris Menace, Hervé and Loose Cannons. A second single "Let Me Know" (a collaboration with Andy Cato), was released in September and the album, named "Overpowered", was released soon after.  In September 2007, Murphy received a pre-nomination for the MTV Europe Music Award for Best Inter Act, but did not make it to the final list. She performed "Let Me Know" on "Friday Night with Jonathan Ross" on 5 October 2007.  Murphy sustained an eye injury on 27 October 2007, while on tour in Russia to promote "Overpowered". She was forced to cancel several subsequent dates on the tour.

2009–2014: hiatus.

Despite well-known troubles at EMI, Murphy started working again with Sejii on a third studio solo album. In 2008 she recorded a cover of the Bryan Ferry song "Slave to Love" that featured in a campaign for Gucci, and released on the promo-only "Movie Star" single. Murphy previewed material at the SEone club in London in 2009, performing "Momma's Place" and "Hold up Your Hands", and premiered the single "Orally Fixated" on her Myspace page in November 2009. The song was released later in the month. with "The Guardian" offering a free download of the song for 48 hours.  From 2010 until early 2013 Murphy's only releases were on other artists' recordings. She contributed vocals to Crookers's album "Tons of Friends", David Byrne and Fatboy Slim's project "Here Lies Love", Mason's ""Boadicea"", Tony Christie's ""7 Hills"", The Feeling's ""Dance for the Lights"", an anonymous prodcuer's "Simulation", ""Golden Era"" by David Morales, ""Flash of Light"" and ""Invisions"" with Luca C & Brigante, ""Look Around You"" by Boris Dlugosch, ""Alternate State"" by Hot Natured, Freeform Five's ""Leviathan"", and ""In My Garden"" with Invisible Cities. The exception to this was a 12", ""Simulation"", released under her own name in 2012.

2014–present: "Mi Senti", "Hairless Toys", "Take Her Up to Monto".

In May 2014 Murphy released a six-track Italian language EP "Mi Senti", featuring a new composition and previous Italian pop hits. Her third studio album "Hairless Toys" followed a year later, to positive reviews.  Her July 2016 album "Take Her Up to Monto" was recorded during the same sessions as "Hairless Toys", and included long-time collaborator and producer Eddie Stevens. The "Monto" title is derived from an Irish folk song of the same name, popularised by The Dubliners in the 1960s, which Murphy's father sang to her as a child. The release was followed by a number of European festival dates and a number of North American shows.

2018–present: Fulton collaboration, "Murphy's Law".

Through 2018 The Vinyl Factory released a series of four 12-inch discs produced by Baltimore house music pioneer Maurice Fulton. Consisting of eight original songs, each around 6 minutes, Murphy directed music videos for the four A-side releases.  The single "Murphy's Law" was released 4 March 2020. During the subsequent pandemic quarantine, her home performances for a livestream concert were released as a series of six short films.

Artistry.

"Electronic Beats" described Murphy as "this adolescent century's true art-pop queen," writing that "her sensuous and ominous output is scattered across various genres and moods." AllMusic described her as "a purveyor of adventurous, omnivorous pop that blended influences as far-flung as disco and hot jazz." Australian publication "OutInPerth" called her "Ireland's queen of the avant-garde." "Drowned in Sound"'s Giuseppe Zevolli wrote that "she's merged pop, house, and disco with an avant-garde sensibility and a stunning, shape-shifting visual output that never ceases to provoke." Critic Mark Fisher located her music in a glam lineage that includes Roxy Music, Grace Jones, and the New Romantics, noting Murphy's attention to the cultivation of artifice and persona.  The sound of Moloko's early work drew on electronic and trip hop influences before transitioning to a more organic sound. Her diverse solo work has included collaborations with experimental jazz composer Matthew Herbert and electronic producer Eddie Stevens, drawing variously on house music, ballroom culture, and avant-garde electronica. Murphy has a contralto vocal range, which has been described as jazzy and spans from A2 to B5. Heather Phares described it as "combin[ining] a wild variety of voices and textures, from impassively chilly to gorgeously lilting to gleefully offbeat." The first performers that left an impression on her were Kim Gordon from Sonic Youth and Kim Deal from the Pixies. Iggy Pop also inspired her for his "energy - and he's a giver". She stated that her biggest influences were Siouxsie Sioux, Grace Jones and Björk. She was also inspired by Italian female singers such as Mina and Patty Pravo for the way they owned the stage when they moved.  Murphy has drawn considerable attention and praise for her eccentric and imaginative fashion style. "Electronic Beats" noted "her reputation for sporting avant-garde couture into a place among fashion's elite."

Personal life.

Murphy has a daughter with artist Simon Henwood, Clodagh, born on 15 December 2009. As of 2019, Murphy is in a relationship with Sebastiano Properzi, with whom she had her second child, son Tadhg, born in September 2012.

Awards and Nominations.

! Year!! Awards!! Work!! Category!! Result!! Ref.

Róisín Marie Murphy (; ; born 5 July 1973) is an Irish singer-songwriter and record producer. She first became known in the 1990s as one-half of the UK-Irish trip hop duo Moloko with her partner Mark Brydon. After the breakup of Moloko, Murphy embarked on a solo career, releasing her debut solo album, "Ruby Blue", written and produced with experimental musician Matthew Herbert, to critical praise in 2005. Her second solo album, "Overpowered", was released in 2007.

Róisín Marie Murphy née le à Arklow est une chanteuse irlandaise qui a d'abord été connue comme membre du groupe de musique électronique Moloko, avant d'entreprendre une carrière solo.


Early life.

Robinson's father owned a hair-care products company and helped him get an opportunity to write a jingle for Revlon. Robinson then founded his own label "Mastermind" to release his music.

Music career.

"New Joc City" (2005–2006).

Yung Joc met Atlanta producer Nitti Beatz and the two recorded the hit "It's Goin Down" in the spring of 2005. After teaming with Russell "Block" Spencer, founder of the Block Enterprises label, Spencer signed Joc to Sean Combs's Bad Boy South for a multimillion-dollar deal, and Bad Boy released Joc's debut "New Joc City" that year.

"Hustlenomics" (2007–2009).

Joc's next album, "Hustlenomics", was released in 2007, with the singles "Coffee Shop" and "Bottle Poppin'". "Hustlenomics" sold 69,000 copies in its first week of release, debuting at number three on the "Billboard" 200. As of April 2009, it had sold approximately 197,000 copies according to Nielsen Soundscan. In 2007 Yung Joc was featured on his new artist Hotstylz single "Lookin Boy". During 2008 Yung Joc was featured in the hit singles on ""Get Like Me", ""So Fly"" & ""Beep"". Then in 2009 he was featured on Day26 single Imma Put It on Her. Yung Joc released a mixtape entitled "Grind Flu" for free on his label website Swagg Team Entertainment on August 11, 2009.

"Mr. Robinson's Neighborhood" (2010–2014).

Yung Joc recently released his first single from the album "Mr. Robinson's Neighborhood" entitled "Yeah Boy". They have also recently shot & released the music video for the single.  On October 7, 2012, RCA Music Group announced it was disbanding J Records along with Arista Records and Jive Records. With the shutdown, Joc (and all other artists previously signed to these three labels) were to release his future material (including "Mr. Robinson's Neighborhood") on the RCA Records brand.  On March 18, 2014 Joc released his first official single entitled "I Got Bitches" from his upcoming third album. On September 11, 2014 Joc released his second single from his upcoming album entitled "Features" featuring former collaborator & singer T-Pain.

Other ventures.

Swagg Team Entertainment.

In 2010, Joc formed a new record label through Jive Records, called Swagg Team Entertainment, after a widely publicized lawsuit with Block Entertainment and Bad Boy South. Joc spoke about the lawsuit and his relationship with Diddy in a recent interview.  Swagg Team Entertainment saw their debut from Chicago rap group Hotstylz; with their first single "Lookin Boy". It also saw the debut from Dallas rap group GS Boyz; their first single being "Stanky Legg."

Reality Television.

Since 2014, Joc joined the VH1 reality series "" as a supporting cast member. In August 2017, it was announced that Joc would compete in the first season of VH1's "Scared Famous", which premiered on October 23, 2017.

Personal life.

In December 2011, Joc's recording studio for his label Swagg Team was robbed, and the criminals took about $70,000 worth of studio equipment along with a hard drive containing Joc's unreleased music for his third studio album. It later was announced that one of the robbers identity was revealed by Joc. Joc knew one of the robbers named "Honcho" of Thomaston, Georgia.  As of 2015, Joc had eight children by four women, including Sina: Amoni, Ja’Kori, Amir, Chase, twins Cadence and Camora, and twins Eden and Allon.  In January 2020, Yung Joc was filmed driving for a rideshare company called Pull Up N Go, leading to speculation that he had fallen on hard times financially. He later spoke out against these claims, stating that he was doing this in order to show children the value of hard work as part of his volunteering with Big Brothers Big Sisters of Metro Atlanta.

Legal issues.

On May 18, 2009, it was announced that Joc was suing his starter labels Block Entertainment & Bad Boy Entertainment due to unpaid royalties of his music. Eventually, however, Diddy & Joc settled their differences. Little is known as to whether Joc settled his differences with Block entertainment.  In 2012, Joc (along with Block Entertainment & Bad Boy Entertainment) was sued by local Atlanta record label Master Mind Music, for breach of contract and copyright infringement.

Controversy.

Gucci Mane.

On Gucci Mane's song entitled "Fuck The World" there was a controversial line when he rapped "I got all eyes on me like Pac did, but I ain't tryin' to go broke like Joc did." During a radio conversation Joc responded to the song by stating "Gucci is a master at getting his name in other people's mouths, I ain't trippin', I know what my financial situation is".

Awards.

BET Hip Hop Awards.

Yung Joc has won one award for his six nominations.

Billboard Music Awards.

Yung Joc has 3 nominations.

Grammy Awards.

Yung Joc had received for his first nomination including Best Rap Song.

MTV Video Music Awards.

Yung Joc had three nominations.

Soul Train Music Awards.

Yung Joc has 2 nominations.

Jasiel Robinson (born September 20, 1980), better known by his stage name Yung Joc, is an American rapper. He is best known for his 2006 hit single "It's Goin' Down".

Yung Joc, de son vrai nom Jasiel Robinson, né le à Memphis, dans le Tennessee, est un rappeur américain. Il lance sa carrière musicale avec la création de son propre label, Swagg Team. Joc signe ensuite au label Bad Boy South de Sean Combs, et publie son premier album, " la même année.


Overview.

One can describe Web-service interactions in two ways: as executable business processes and as abstract business processes.  WS-BPEL aims to model the behavior of processes, via a language for the specification of both Executable and Abstract Business Processes. By doing so, it extends the Web Services interaction model and enables it to support business transactions. It also defines an interoperable integration model that should facilitate the expansion of automated process integration both within and between businesses. Its development came out of the notion that "programming in the large" and "programming in the small" required different types of languages.  As such, it is serialized in XML and aims to enable programming in the large.

Programming in the large/small.

The concepts of "programming in the large" and "programming in the small" distinguish between two aspects of writing the type of long-running asynchronous processes that one typically sees in business processes:

History.

The origins of WS-BPEL go back to Web Services Flow Language (WSFL) and Xlang.  In 2001, IBM and Microsoft had each defined their own fairly similar, "programming in the large" languages: WSFL ("Web Services Flow Language") and Xlang, respectively. Microsoft even went ahead and created a scripting variant called "XLANG/s" which would later serve as the basis for their Orchestrations services inside their BizTalk Server. They specifically documented that this language "is proprietary and is not fully documented." With the advent and popularity of BPML, and the growing success of "BPMI.org" and the open BPMS movement led by JBoss and Intalio Inc., IBM and Microsoft decided to combine these languages into a new language, BPEL4WS. In April 2003, BEA Systems, IBM, Microsoft, SAP, and Siebel Systems submitted BPEL4WS 1.1 to OASIS for standardization via the Web Services BPEL Technical Committee. Although BPEL4WS appeared as both a 1.0 and 1.1 version, the OASIS WS-BPEL technical committee voted on 14 September 2004 to name their spec "WS-BPEL 2.0". (This change in name aligned BPEL with other Web Service standard naming conventions which start with "WS-" (similar to WS-Security) and took account of the significant enhancements made between BPEL4WS 1.1 and WS-BPEL 2.0.) If not discussing a specific version, the moniker BPEL is commonly used.  In June 2007, Active Endpoints, Adobe Systems, BEA, IBM, Oracle, and SAP published the BPEL4People and WS-HumanTask specifications, which describe how human interaction in BPEL processes can be implemented.

Topics.

Design goals.

There were ten original design goals associated with BPEL:

The BPEL language.

BPEL is an orchestration language, and not a choreography language. The primary difference between orchestration and choreography is executability and control. An orchestration specifies an executable process that involves message exchanges with other systems, such that the message exchange sequences are controlled by the orchestration designer. A choreography specifies a protocol for peer-to-peer interactions, defining, e.g., the legal sequences of messages exchanged with the purpose of guaranteeing interoperability. Such a protocol is not directly executable, as it allows many different realizations (processes that comply with it). A choreography can be realized by writing an orchestration (e.g., in the form of a BPEL process) for each peer involved in it. The orchestration and the choreography distinctions are based on analogies: orchestration refers to the central control (by the conductor) of the behavior of a distributed system (the orchestra consisting of many players), while choreography refers to a distributed system (the dancing team) which operates according to rules (the choreography) but without centralized control.  BPEL's focus on modern business processes, plus the histories of WSFL and XLANG, led BPEL to adopt web services as its external communication mechanism. Thus BPEL's messaging facilities depend on the use of the Web Services Description Language (WSDL) 1.1 to describe outgoing and incoming messages.  In addition to providing facilities to enable sending and receiving messages, the BPEL programming language also supports:

Relationship of BPEL to BPMN.

There is no standard graphical notation for WS-BPEL, as the OASIS technical committee decided this was out of scope. Some vendors have invented their own notations. These notations take advantage of the fact that most constructs in BPEL are block-structured (e.g., sequence, while, pick, scope, etcetera.) This feature enables a direct visual representation of BPEL process descriptions in the form of "structograms", in a style reminiscent of a Nassi–Shneiderman diagram.  Others have proposed to use a substantially different business process modeling language, namely Business Process Model and Notation (BPMN), as a graphical front-end to capture BPEL process descriptions. As an illustration of the feasibility of this approach, the BPMN specification includes an informal and partial mapping from BPMN to BPEL 1.1. A more detailed mapping of BPMN to BPEL has been implemented in a number of tools, including an open-source tool known as BPMN2BPEL. However, the development of these tools has exposed fundamental differences between BPMN and BPEL, which make it very difficult, and in some cases impossible, to generate human-readable BPEL code from BPMN models. Even more difficult is the problem of BPMN-to-BPEL round-trip engineering: generating BPEL code from BPMN diagrams and maintaining the original BPMN model and the generated BPEL code synchronized, in the sense that any modification to one is propagated to the other.

Adding 'programming in the small' support to BPEL.

BPEL's control structures such as 'if-then-elseif-else' and 'while' as well as its variable manipulation facilities depend on the use of 'programming in the small' languages to provide logic. All BPEL implementations must support XPath 1.0 as a default language. But the design of BPEL envisages extensibility so that systems builders can use other languages as well. BPELJ is an effort related to JSR 207 that may enable Java to function as a 'programming in the small' language within BPEL.

BPEL4People.

Despite wide acceptance of Web services in distributed business applications, the absence of human interactions was a significant gap for many real-world business processes.  To fill this gap, BPEL4People extended BPEL from orchestration of Web services alone to orchestration of role-based human activities as well.

Objectives.

Within the context of a business process BPEL4People by extending BPEL with additional independent syntax and semantic.  The "WS-HumanTask" specification introduces the definition of human tasks and notifications, including their properties, behavior and a set of operations used to manipulate human tasks. A coordination protocol is introduced in order to control autonomy and life cycle of service-enabled human tasks in an interoperable manner.  The "BPEL4People" specification introduces a WS-BPEL extension to address human interactions in WS-BPEL as a first-class citizen. It defines a new type of basic activity which uses human tasks as an implementation, and allows specifying tasks local to a process or use tasks defined outside of the process definition. This extension is based on the WS-HumanTask specification.

WS-BPEL 2.0.

Version 2.0 introduced some changes and new features:

The Web Services Business Process Execution Language (WS-BPEL), commonly known as BPEL (Business Process Execution Language), is an OASIS standard executable language for specifying actions within business processes with web services. Processes in BPEL export and import information by using web service interfaces exclusively.

En informatique, (ou BPEL, prononcé « bipeul », ou « bipèl »), est un langage de programmation destiné à l'exécution des procédures d'entreprise. Le BPEL est issu des langages WSFL () et XLANG, et est dérivé du XML.


History.

The CBC announced on February 17, 1959 that they would appear before the BBG (predecessor to the CRTC) in Ottawa on March 18 to apply for a license to extend Radio-Canada's television signal into the Winnipeg area. CBWFT first signed on at 3 p.m. on April 24, 1960, using channel 6 with an EIRP of 2,800 watts. At the same time two VTRs, worth $75,000 each were installed at the station. It was the first francophone television station west of Ontario. Its opening broadcast was a ceremony held at the Notre Dame Auditorium in St. Boniface. Dignitaries included in attendance were Lieutenant-Governor Errick Willis, Premier Duff Roblin, CBC President Alphonse Ouimet, Marcel Ouimet, general manager of Radio-Canada, J. R. Finlay, CBC Prairie Region Director, and Leo Remillard, CBWFT's program director.  At first, CBWFT's broadcast day ran between 6 and 12 hours, with a longer programming day on weekends. Over the years, this was extended to encompass most of the day. Initially, Radio-Canada's microwave link did not reach as far as Winnipeg. Instead, videotapes and films were "bicycled" from Montreal and delayed by one week, except for news and live events like "La Soirée du hockey". On November 15, 1964, it swapped frequencies with CBWT and a higher-powered transmitter was installed at the new site near Starbuck. From 1964 till the early 1980s, it referred to itself simply as "CBWFT canal 3 Winnipeg". During the early 1980s, CBWFT was known as "CBWFT 3/10", signifying its position on Channel 3, Cable 10 in Winnipeg. On January 1, 1986, it became known as "Radio-Canada Manitoba".  By October 31, 1966, CBWFT was connected to the Radio-Canada microwave signal, allowing the live feed of "Le Téléjournal" at 6 p.m. Prior to this the newscast consisted of Radio-Canada's radio news with locally inserted images. Several months after the first Anik A satellite was launched in 1972, CBWFT switched to the satellite feed of Radio-Canada and dropped the microwave feed, except to distribute its signal within its coverage area, Manitoba and Northwestern Ontario, and part of Saskatchewan. In 1976, a rebroadcaster of CBWFT programming in Regina became CBKFT. In 1985, CBKFT was issued a separate license to broadcast its own "Ce Soir" regional news program.

Transmitters.

CBWFT operated 11 analogue television retransmitters in Manitoba (e.g. Brandon) and Northwestern Ontario (in the parts of that region which fall in the Central Time Zone, e.g. Kenora). Due to federal funding reductions to the CBC, in April 2012, the CBC responded with substantial budget cuts, which included shutting down CBC's and Radio-Canada's remaining analog transmitters on July 31, 2012. None of CBC or Radio-Canada's television rebroadcasters were converted to digital.

News operation.

In 2005, the long-running "Ce Soir" news program was renamed to "Le Téléjournal", which is the same name of the French national news program on Radio-Canada. The "Téléjournal" local edition is normally 30 minutes in length, however the Wednesday edition is 60 minutes. The program is also rebroadcast at 11 p.m.

Digital television.

Analogue-to-digital conversion.

CBWFT switched from analogue to digital television broadcasting on December 9, 2011, from its Winnipeg transmitter atop the Richardson Building, after several delays, due to an "unforeseen delay that is outside of the Corporation's control," involving antenna erection. CBWFT's digital signal operates on UHF channel 51. Through the use of PSIP, digital television receivers will display CBWFT's virtual channel as 3.1.

CBWFT-DT, virtual channel 3 (UHF digital channel 51), is an Ici Radio-Canada Télé owned-and-operated station licensed to Winnipeg, Manitoba, Canada, serving the province's Franco-Manitoban population. The station is owned by the Canadian Broadcasting Corporation (known in French as "Société Radio-Canada"), as part of a twinstick with CBC Television station CBWT-DT (channel 6). The two stations share studios on Portage Avenue and Young Street in Downtown Winnipeg; CBWFT-DT's transmitter is located near Red Coat Trail/Highway 2) in Macdonald. On cable and satellite, the station is available on Shaw Cable and MTS TV channel 10, and Bell TV channel 118. There is a high definition feed offered on Shaw Cable digital channel 214 and MTS TV channel 448.

CBWFT-DT est une station de télévision manitobaine de langue française située à Winnipeg détenue par la Société Radio-Canada et faisant partie du réseau de la ICI Radio-Canada Télé. Elle diffuse depuis ses studios de la rue Portage à Winnipeg et s'adresse aux Franco-Manitobains.


Present-day languages.

In terms of the number of speakers and dominance, the most prominent of the languages of Spain is Spanish (Castilian), spoken by about 99% of Spaniards as a first or second language. Catalan (or Valencian) is spoken by 19%, Galician by 5%, and Basque by 2% of the population.  Distribution of the regional co-official languages in Spain:  Spanish is official throughout the country; the rest of these languages have legal and co-official status in their respective communities, and (except Aranese) are widespread enough to have daily newspapers and significant book publishing and media presence in those communities. In the cases of Catalan and Galician, they are the main languages used by the Catalan and Galician regional governments and local administrations. A number of citizens in these areas consider their regional language as their primary language and Spanish as secondary.  In addition to these, there are a number of seriously endangered and recognised minority languages:  Spanish itself also has distinct dialects around the country; for example, the Andalusian or Canarian dialects, each of these with their own subvarieties, some of them being partially closer to the Spanish of the Americas, which they heavily influenced at different degrees, depending on the regions or periods, and according to different and non-homogeneous migrating or colonisation processes.  Five very localised dialects are of difficult filiation: Fala, a variety of its own mostly ascribed to the Galician-Portuguese group; Cantabrian and Extremaduran, two Astur-Leonese dialects also regarded as Spanish dialects; Eonavian, a dialect between Asturian and Galician, closer to the latter according to several linguists; and Benasquese, a Ribagorçan dialect that was formerly classified as Catalan, later as Aragonese, and which is now often regarded as a transitional language of its own. Asturian and Leonese are closely related to the local Mirandese which is spoken on an adjacent territory but over the border into Portugal. Mirandese is recognised and has some local official status.  With the exception of Basque, which appears to be a language isolate, all of the languages present in mainland Spain are Indo-European languages, specifically Romance languages. Afro-Asiatic languages, such as Arabic (including Ceuta Darija) or Berber (mainly Riffian), are spoken by the Muslim population of Ceuta and Melilla and by recent immigrants (mainly from Morocco and Algeria) elsewhere.

Portuguese and Galician.

In Galicia, the mutual relationship between Galician and Portuguese has caused some controversy, since some linguists, such as Lindley Cintra, consider that they are still dialects of a common language, in spite of the differences in phonology and vocabulary (see reintegrationism). Others, such as Pilar Vázquez Cuesta, argue that they have become separate languages due to major differences in phonetics and vocabulary usage, and, to a lesser extent, morphology and syntax. The official (delegated onto both the and the Royal Galician Academy standard) and widespread position is that Galician and Portuguese should be considered independent languages.  In any case, the respective written standards are noticeably different one from another, partly because of the divergent phonological features and partly due to the usage of Spanish orthographic conventions over the Portuguese ones at the time of Galician standardisation by the early 20th century.  A Galician-Portuguese-based dialect known as Fala is locally spoken in an area sometimes called "Valley of Jálama/Xálima", which includes the towns of San Martín de Trevejo ("Sa Martin de Trevellu"), Eljas ("As Elhas") and Valverde del Fresno ("Valverdi du Fresnu"), in the northwestern corner of Cáceres province, Extremadura.  Portuguese proper is still spoken by local people in three border areas:

Past languages.

In addition to the languages which continue to be spoken in Spain to the present day, other languages which have been spoken within what are now the borders of Spain include:  Languages that are now chiefly spoken outside Spain but which have roots in Spain are:

Variants.

There are also variants of these languages proper to Spain, either dialect, cants or pidgins:

The languages of Spain (), or Spanish languages (), are the languages spoken or once spoken in Spain. Most languages spoken in Spain belong to the Romance language family, of which Spanish is the only language which has official status for the whole country. Various other languages have co-official or recognised status in specific territories, and a number of unofficial languages and dialects are spoken in certain localities.

« » D'un point de vue institutionnel, la langue officielle de l'Espagne est le castillan mais d'autres langues coexistent avec des statuts différents. Le castillan a le statut de langue officielle dans toute l'Espagne. Dans certaines régions, certaines langues ont un statut de coofficialité avec le castillan.


Biography.

A native of Burgundy, Marc Meneau has never really left his native region. Gone in 1961 to Strasbourg to join a hotel school, he then came back soon after to take the grocery store of his mother Marguerite located in Saint-Père in the town of Vézelay. With the help of his wife Françoise (daughter of a Burgundian restaurant owner) and to seduce her, as a self-taught cooking chef, he transformed it in a restaurant and started inventing recipes published soon after. He was eager to learn and started looking at books of old cuisine chefs, which gave him the opportunity to become a famous chef specialized in old cuisine.

Career as chef.

In 1972, he received his first Michelin star and decided to move his restaurant in a larger place that he named "L'Espérance". In 1975, he received his second Michelin star. In 1983, he was elected the best French chef of the year (Meilleur Cuisinier Français de l'Année) and received a third Michelin star and the grade of 19/20 at the Gault et Millau. He planted 16 hectares of vine to give another life to the famous wine Bourgogne-Vézelay (AOC). In 1999 however, he lost his third Michelin star.  In 2003, he created the EntreVignes, a bistro just at the opposite of his restaurant, an idea given by Serge Gainsbourg, a familiar of the area. In 2004, Marc Meneau finally had his third Michelin star back.  In 2007, he had several financial problems and the bankruptcy of his society. After that announcement, the Guide Michelin deleted it of his 2007 edition, thinking that the society of Marc Meneau was about to close. In 2008 however, "L'Espérance" appeared again in the Guide Michelin with its two stars. In 2010, Marc Meneau planted his own kitchen garden certified bio, in the park of his restaurant "L'Espérance".

Followers.

These chefs were formed by Marc Meneau

Marc Meneau (born March 16, 1943) is a French chef, two stars at the Guide Michelin (former three stars). He is the chef of the restaurant "L'Espérance" located in Saint-Père, Yonne.

Marc Meneau, né le à Avallon en Bourgogne, est un chef cuisinier français du restaurant L'Espérance de Saint-Père, dans l'Yonne, en Bourgogne.


Playing career.

Ruff was chosen in the second round, 32nd overall, of the 1979 NHL Entry Draft, by the Buffalo Sabres. He played for the Sabres and New York Rangers. Ruff gained a reputation as a player for his toughness, character and hard work on the ice. An illustration of this came in a May 10, 1980, playoff game against the New York Islanders, when opposing goaltender Billy Smith struck Ruff with his stick as he passed in front of his net. Ruff got up, skated back to the goaltender and tackled him.  Ruff played most of his NHL career for the Sabres, serving as captain of the team for nearly three years, but he was traded to the Rangers at the 1989 NHL trade deadline in exchange for a draft pick. The Sabres would use that pick to select Richard Šmehlík, who would later play for several years under Ruff.  Ruff played in 691 NHL games, scoring 105 goals and adding 195 assists for a total of 300 points. He also recorded 1,264 penalty minutes. In 52 playoff games, Ruff recorded 11 goals and 13 assists while accumulating 193 penalty minutes.

Coaching career.

Assistant coach.

Ruff became assistant coach of the Florida Panthers for the 1993–94 season until the 1996–97 season. His greatest success as an assistant coach was with the 1995–96 Florida Panthers, who made it to the Stanley Cup Finals, but lost to the Colorado Avalanche.

Buffalo Sabres.

Ruff was named the 15th head coach of the Buffalo Sabres on July 21, 1997. He joined a long list of former Sabres players who eventually became Sabres head coaches: Floyd Smith, Bill Inglis, Craig Ramsay, Jim Schoenfeld and Rick Dudley. He had immediate success in Buffalo, advancing to the Eastern Conference Finals in the 1997–98 season. In Ruff's second season as coach, the Sabres reached the 1999 Stanley Cup Finals before finally losing to the Dallas Stars in six games. The Stars' Brett Hull scored a goal deep into the third overtime. Hull's skate was in the goaltender's crease, but had control of the puck, which was (under then 1999 rules prior to a late-March NHL memo) a clear violation, giving Dallas the Stanley Cup. The following two seasons saw Ruff's Sabres lose in the first round to the Philadelphia Flyers and the second round to the Pittsburgh Penguins, respectively.  Buffalo missed the playoffs in the three seasons preceding the 2004–05 NHL lockout amidst the team's bankruptcy and financial problems caused by the Adelphia Communications corporate scandal. After the lockout, Ruff lead the Sabres to back-to-back Eastern Conference Finals appearances only to lose to the Carolina Hurricanes in 2006 and the Ottawa Senators in 2007. Ruff was the longest-tenured coach in the NHL and was rewarded with a three-year contract extension that had an option for a fourth season.  Ruff is known for being blunt with the media. A well-known example of his bluntness were his comments regarding Toronto Maple Leafs player Darcy Tucker. In his post-game interview following a questionable hit on Jochen Hecht that knocked the Sabres centre out of the lineup for two weeks with a sprained ACL in the 2005–06 season, Ruff said, "I want him [Tucker] suspended." He also said, "I have not called the NHL office all year and I will call them ten times tomorrow." He called Tucker's hit "an absolute joke".  On April 5, 2006, Ruff became the 31st coach in NHL history to win 300 games, and just the 16th to do so with only one team. Ruff led the Sabres to their most successful regular season ever in 2006–07 with a 53–22–7 record for a total of 113 points.  Ruff was the winner of the 2005–06 Jack Adams Award for coach of the year in the NHL. Tom Renney of the New York Rangers and Peter Laviolette of the Carolina Hurricanes were also nominated.  Ruff was again nominated for the Jack Adams Award in 2006–07. His nomination was the second time he has been a finalist for coach of the year. Alain Vigneault of the Vancouver Canucks won the honour; Ruff placed second in voting with 126 points to Vigneault's 134.  In February 2007, Ruff was fined US$10,000 by the NHL after a brawl with the Ottawa Senators. The NHL said Ruff precipitated the brawl following a questionable hit on then co-captain Chris Drury by the Senators' Chris Neil. Because the hit to Drury did not result in a penalty, Ruff sent out Andrew Peters, Patrick Kaleta and Adam Mair, the team's "enforcers". What followed was one of the 2006–07 season's most memorable hockey brawls. Mair began the brawl, punching Ottawa's Jason Spezza as soon as the puck was dropped. Peters tried to start a fight with Dany Heatley, who was reluctant to respond, at one point even hiding behind a linesman. The goaltenders also entered the fight, with Martin Biron challenging Ray Emery, and Ruff himself engaged in a prolonged shouting match with Senators head coach Bryan Murray.. A large contingent of Sabres fans attempted to raise money to pay the fine on Ruff's behalf. Ruff declined the fans' offer and had the money raised donated to charity.  After a second round playoff match against the New York Rangers on April 27, 2007, Ruff would be fined again by the NHL after harshly criticizing officials for an alleged missed too-many-men call against the Rangers, which might have given Buffalo a chance to tie the match in the closing minute.  In the 2006–07 season, Ruff became the first Sabres coach to lead the team to back-to-back 50 win seasons, boasting the fifth-best points percentage in the NHL since 1979.  On October 15, 2008, Ruff became the 23rd coach in NHL history to win 400 games, and just the seventh to win 400 games for one team.  Ruff was named as an associate coach for Canada, which won the gold medal at the 2010 Winter Olympics in Vancouver.  On January 6, 2011, Ruff became only the 16th coach in NHL history to win 500 games, and just the second to win 500 games while only having coached one team.  On January 8, 2011, Ruff became the winningest coach who only coached for one team in NHL history when the Sabres defeated the Phoenix Coyotes 2–1 in overtime. His 501st win behind the bench with the Sabres put him one ahead of Toe Blake, who coached to 500 wins with the Montreal Canadiens. Al Arbour won more games for the New York Islanders, but he also coached the St. Louis Blues early in his career. Along with Arbour, Billy Reay and current New York Islanders coach Barry Trotz, Ruff is one of just four coaches to coach 1,000 NHL games with a single team.  On April 29, 2011, the Sabres announced Ruff had agreed to a multiple year contract extension.  On February 20, 2013, the Sabres announced Ruff had been relieved of his coaching duties, ending his tenure as the NHL's longest active-serving coach with one team and second only to Gregg Popovich in the four major sports in North America. Ron Rolston, head coach of the American Hockey League's Rochester Americans, was named as his replacement.

Dallas Stars.

On June 20, 2013, the Dallas Stars announced they were in the process of hiring Ruff as head coach. This was also on the anniversary of the controversial defeat of the Sabres in the Stanley Cup Finals in 1999. On June 21, 2013, the Stars announced Ruff would be their new head coach.  In 2014, Ruff led the Stars to their first playoff appearance since 2008, but lost in the opening round to the Anaheim Ducks in six games. Ruff served as the head coach of the Central Division squad in the 2015–16 All-Star Game.  On April 9, 2017, the Stars announced Ruff would not return as head coach for the 2017–18 season.

New York Rangers.

On July 10, 2017, it was announced Ruff was named as assistant coach of the New York Rangers.

Personal life.

Ruff's younger brother, Brent Ruff, was one of four teammates killed in a bus crash while playing for the Swift Current Broncos in 1986.  Another younger brother, Marty Ruff, was a first round draft pick of the St. Louis Blues, but never appeared in an NHL game.  An older brother, Randy Ruff, played and coached in junior hockey.  Lindy Ruff and his wife Gaye have four children: Brett, Eryn and twins Madeline and Brian. The Ruffs' primary residence is in Clarence, New York.

Lindy Cameron Ruff (born February 17, 1960) is a Canadian assistant coach for the New York Rangers of the National Hockey League (NHL). Ruff was previously the head coach of the Dallas Stars of the NHL, and also the head coach of the Buffalo Sabres from 1997 to 2013, with whom he won the Jack Adams Award as Coach of the Year in 2006. During his playing career, Ruff played in the NHL for the Sabres and Rangers, the former of which he captained.

Lindy Cameron Ruff (né le à Warburg en Alberta au Canada) est un joueur professionnel de hockey sur glace devenu entraîneur.


Description.

"Uncaria tomentosa" is a liana deriving its name from hook-like thorns that resemble the claws of a cat. "U. tomentosa" can grow to a length of up to 30 m (100 ft), climbing by means of these thorns. The leaves are elliptic with a smooth edge, and grow in opposing pairs. Cat's claw is indigenous to the Amazon rainforest, with its habitat being restricted primarily to the tropical areas of South and Central America.

Taxonomy.

There are two species of cat's claw commonly used in North America and Europe, "Uncaria tomentosa" and "Uncaria guianensis", having different properties and uses. The two are frequently confused but "U. tomentosa" is the more commonly used in traditional medicine. "U. tomentosa" is further divided into two chemotypes that remain under preliminary research for their properties and compounds. There are other plants which are known as cat's claw (or uña de gato) in Mexico and Latin America; however, they are entirely different plant species, belonging to neither the genus "Uncaria", nor to the family Rubiaceae.

Phytochemicals.

Phytochemicals in "Uncaria tomentosa" root bark include oxindole and indole alkaloids, glycosides, organic acids, proanthocyanidins, sterols, and triterpenes.

Traditional medicine.

Cat's claw has been used as a traditional medicine in South American countries over centuries for its supposed health benefits, and is a common herbal supplement. The part used medicinally is the bark of the vine or root. As of 2018, there is no high-quality clinical research to support its use as a medicine. There is no clinical evidence that it has anti-inflammatory, anticancer, or immune system properties.

Adverse reactions.

Individuals allergic to plants in the family Rubiaceae and different species of "Uncaria" may be more likely to have adverse reactions to cat's claw. Reactions can include itching, rash and allergic inflammation of the kidneys. People requiring anticoagulant therapy should not use cat's claw.

Uncaria tomentosa is a woody vine found in the tropical jungles of South and Central America. It is known as cat's claw or uña de gato in Spanish because of its claw-shaped thorns. The plant root bark is used in herbalism for a variety of ailments, and is sold as a dietary supplement.

Uncaria tomentosa, dite « Liane du Pérou », est une espèce de liane de la famille des "Rubiaceae", originaire du Pérou. Elle pousse sur les terres vierges de la forêt amazonienne, mais aussi sur des terres de culture suffisamment reposées.


Zonohedra that tile space.

The original motivation for studying zonohedra is that the Voronoi diagram of any lattice forms a convex uniform honeycomb in which the cells are zonohedra. Any zonohedron formed in this way can tessellate 3-dimensional space and is called a primary parallelohedron. Each primary parallelohedron is combinatorially equivalent to one of five types: the rhombohedron (including the cube), hexagonal prism, truncated octahedron, rhombic dodecahedron, and the rhombo-hexagonal dodecahedron.

Zonohedra from Minkowski sums.

Let {v, v,...} be a collection of three-dimensional vectors. With each vector v we may associate a line segment {xv|0≤x≤1}. The Minkowski sum {Σxv|0≤x≤1} forms a zonohedron, and all zonohedra that contain the origin have this form. The vectors from which the zonohedron is formed are called its generators. This characterization allows the definition of zonohedra to be generalized to higher dimensions, giving zonotopes.  Each edge in a zonohedron is parallel to at least one of the generators, and has length equal to the sum of the lengths of the generators to which it is parallel. Therefore, by choosing a set of generators with no parallel pairs of vectors, and by setting all vector lengths equal, we may form an equilateral version of any combinatorial type of zonohedron.  By choosing sets of vectors with high degrees of symmetry, we can form in this way, zonohedra with at least as much symmetry. For instance, generators equally spaced around the equator of a sphere, together with another pair of generators through the poles of the sphere, form zonohedra in the form of prism over regular formula_1-gons: the cube, hexagonal prism, octagonal prism, decagonal prism, dodecagonal prism, etc. Generators parallel to the edges of an octahedron form a truncated octahedron, and generators parallel to the long diagonals of a cube form a rhombic dodecahedron.  The Minkowski sum of any two zonohedra is another zonohedron, generated by the union of the generators of the two given zonohedra. Thus, the Minkowski sum of a cube and a truncated octahedron forms the truncated cuboctahedron, while the Minkowski sum of the cube and the rhombic dodecahedron forms the truncated rhombic dodecahedron. Both of these zonohedra are simple (three faces meet at each vertex), as is the truncated small rhombicuboctahedron formed from the Minkowski sum of the cube, truncated octahedron, and rhombic dodecahedron.

Zonohedra from arrangements.

The Gauss map of any convex polyhedron maps each face of the polygon to a point on the unit sphere, and maps each edge of the polygon separating a pair of faces to a great circle arc connecting the corresponding two points. In the case of a zonohedron, the edges surrounding each face can be grouped into pairs of parallel edges, and when translated via the Gauss map any such pair becomes a pair of contiguous segments on the same great circle. Thus, the edges of the zonohedron can be grouped into zones of parallel edges, which correspond to the segments of a common great circle on the Gauss map, and the 1-skeleton of the zonohedron can be viewed as the planar dual graph to an arrangement of great circles on the sphere. Conversely any arrangement of great circles may be formed from the Gauss map of a zonohedron generated by vectors perpendicular to the planes through the circles.  Any simple zonohedron corresponds in this way to a simplicial arrangement, one in which each face is a triangle. Simplicial arrangements of great circles correspond via central projection to simplicial arrangements of lines in the projective plane, which were studied by Grünbaum (1972). He listed three infinite families of simplicial arrangements, one of which leads to the prisms when converted to zonohedra, and the other two of which correspond to additional infinite families of simple zonohedra. There are also many known examples that do not fit into these three families.

Types of zonohedra.

Any prism over a regular polygon with an even number of sides forms a zonohedron. These prisms can be formed so that all faces are regular: two opposite faces are equal to the regular polygon from which the prism was formed, and these are connected by a sequence of square faces. Zonohedra of this type are the cube, hexagonal prism, octagonal prism, decagonal prism, dodecagonal prism, etc.  In addition to this infinite family of regular-faced zonohedra, there are three Archimedean solids, all omnitruncations of the regular forms:  In addition, certain Catalan solids (duals of Archimedean solids) are again zonohedra:  Others with congruent rhombic faces:  There are infinitely many zonohedra with rhombic faces that are not all congruent to each other. They include:

Dissection of zonohedra.

Although it is not generally true that any polyhedron has a dissection into any other polyhedron of the same volume (see Hilbert's third problem), it is known that any two zonohedra of equal volumes can be dissected into each other.

Zonohedrification.

Zonohedrification is a process defined by George W. Hart for creating a zonohedron from another polyhedron.  First the vertices of any polyhedron are considered vectors from the polyhedron center. These vectors create the zonohedron which we call the zonohedrification of the original polyhedron. For any two vertices of the original polyhedron, there are two opposite planes of the zonohedrification which each have two edges parallel to the vertex vectors.

Zonotopes.

The Minkowski sum of line segments in any dimension forms a type of polytope called a zonotope. Equivalently, a zonotope formula_2 generated by vectors formula_3 is given by formula_4. Note that in the special case where formula_5, the zonotope formula_2 is a (possibly degenerate) parallelotope.  The facets of any zonotope are themselves zonotopes of one lower dimension; for instance, the faces of zonohedra are zonogons. Examples of four-dimensional zonotopes include the tesseract (Minkowski sums of "d" mutually perpendicular equal length line segments), the omnitruncated 5-cell, and the truncated 24-cell. Every permutohedron is a zonotope.

Zonotopes and Matroids.

Fix a zonotope formula_2 defined from the set of vectors formula_8 and let formula_9 be the formula_10 matrix whose columns are the formula_11. Then the vector matroid formula_12 on the columns of formula_9 encodes a wealth of information about formula_2, that is, many properties of formula_2 are purely combinatorial in nature.  For example, pairs of opposite facets of formula_2 are naturally indexed by the cocircuits of formula_17 and if we consider the oriented matroid formula_17 represented by formula_19, then we obtain a bijection between facets of formula_2 and signed cocircuits of formula_17 which extends to a poset anti-isomorphism between the face lattice of formula_2 and the covectors of formula_17 ordered by component-wise extension of formula_24. In particular, if formula_9 and formula_26 are two matrices that differ by a projective transformation then their respective zonotopes are combinatorially equivalent. The converse of the previous statement does not hold: the segment formula_27 is a zonotope and is generated by both formula_28 and by formula_29 whose corresponding matrices, formula_30 and formula_31, do not differ by a projective transformation.

Tilings.

Tiling properties of the zonotope formula_2 are also closely related to the oriented matroid formula_17 associated to it. First we consider the space-tiling property. The zonotope formula_2 is said to "tile" formula_35 if there is a set of vectors formula_36 such that the union of all translates formula_37 (formula_38) is formula_35 and any two translates intersect in a (possibly empty) face of each. Such a zonotope is called a "space-tiling zonotope." The following classification of space-tiling zonotopes is due to McMullen: The zonotope formula_2 generated by the vectors formula_41 tiles space if and only if the corresponding oriented matroid is regular. So the seemingly geometric condition of being a space-tiling zonotope actually depends only on the combinatorial structure of the generating vectors.  Another family of tilings associated to the zonotope formula_2 are the "zonotopal tilings" of formula_2. A collection of zonotopes is a zonotopal tiling of formula_2 if it a polyhedral complex with support formula_2, that is, if the union of all zonotopes in the collection is formula_2 and any two intersect in a common (possibly empty) face of each. Many of the images of zonohedra on this page can be viewed as zonotopal tilings of a 2-dimensional zonotope by simply considering them as planar objects (as opposed to planar representations of three dimensional objects). The Bohne-Dress Theorem states that there is a bijection between zonotopal tilings of the zonotope formula_2 and "single-element lifts" of the oriented matroid formula_17 associated to formula_2.

Volume.

Zonohedra, and "n"-dimensional zonotopes in general, are noteworthy for admitting a simple analytic formula for their volume.  Let formula_50 be the zonotope formula_4 generated by a set of vectors formula_52. Then the n-dimensional volume of formula_50 is given by formula_54.  The determinant in this formula makes sense because (as noted above) when the set formula_55 has cardinality equal to the dimension formula_56 of the ambient space, the zonotope is a parallelotope.  Note that when formula_57, this formula simply states that the zonotope has n-volume zero.

A zonohedron is a convex polyhedron with point symmetry, every face of which is a polygon with point symmetry. Any zonohedron may equivalently be described as the Minkowski sum of a set of line segments in three-dimensional space, or as the three-dimensional projection of a hypercube. Zonohedra were originally defined and studied by E. S. Fedorov, a Russian crystallographer. More generally, in any dimension, the Minkowski sum of line segments forms a polytope known as a zonotope.

Un zonoèdre est un polyèdre convexe où chaque face est un polygone ayant un centre de symétrie. Tout zonoèdre peut être décrit de manière équivalente comme la somme de Minkowski d'un ensemble de segments de droite dans un espace tridimensionnel, ou comme la projection tridimensionnelle d'un hypercube. Les zonoèdres ont été définis à l'origine et étudiés par Evgraf Fedorov, un cristallographe russe.


Career.

1979–1982: Early years.

Bananarama formed in London September 1979 when teenagers and childhood friends Sara Dallin and Keren Woodward moved from Bristol and met Siobhan Fahey. Dallin and Fahey were studying journalism at the London College of Fashion (University of Arts) and Woodward was working at the BBC in Portland Place. Dallin and Woodward were living at the YWCA and were about to be made homeless until Paul Cook, who they had become fast friends with after meeting at a club, offered them a place to live above the former Sex Pistols rehearsal room in Denmark Street, Charing Cross. They took their name, in part, from the Roxy Music song "Pyjamarama".  The trio were ardent followers of the punk rock and post-punk music scenes during the late 1970s and early 1980s. They often performed impromptu sets or backing vocals at gigs for such bands as The Monochrome Set, The Professionals, Iggy Pop, Department S, The Nipple Erectors, and The Jam. In 1981, Bananarama recorded their first demo, "Aie a Mwana", a cover of a song by Black Blood, sung in Swahili. The demo was heard at Demon Records, who consequently offered Bananarama their first deal. The song was an underground hit (UK #92) and Bananarama were signed by Decca (later London Records) and remained on the label until 1993. UK music magazine "The Face" featured an article on Bananarama after the release of their first single. This caught the attention of ex-Specials member Terry Hall, who invited them to collaborate with his new vocal group Fun Boy Three on their album and the single "It Ain't What You Do (It's The Way That You Do It)". In 1982, the song hit the Top 5 in the UK and gave Bananarama their first significant mainstream success. Fun Boy Three then guested on Bananarama's single, "Really Saying Something", later that year.

1982–1985: "Deep Sea Skiving" and "Bananarama".

Bananarama experienced their greatest success during the period 1982 to 1989, with their first three albums primarily produced and co-written with Jolley & Swain. Their debut album, "Deep Sea Skiving" (UK #7, US #63) (1983) contained several hit singles — "Really Saying Something" (UK #5) and "Shy Boy" (UK #4) — and included a cover version of "Na Na Hey Hey Kiss Him Goodbye" (UK #5). "Cheers Then" (#45) was released as the third single, with little chart success, but very positive reviews from critics. The band recorded a version of the Sex Pistols' song "No Feelings" in late 1982 for the soundtrack of the British teen-comedy film, "Party Party".  During 1982 and 1983, Bananarama did several promotional US press tours and TV appearances on "American Bandstand" and "Solid Gold". Success in the United States came in 1984 with a Top Ten hit "Cruel Summer".  Their second album, "Bananarama" (UK #16, US #30) (1984) was a more socially conscious effort. The group wanted to be taken more seriously, so wrote songs that focused on heavier topics: "Hotline To Heaven" (UK#58) is a stand against the drugs-are-cool culture; and "Rough Justice" (UK#23) deals with social apathy. The album contained the hit singles, "Robert De Niro's Waiting...," (UK#3) and their first US Top 10 hit, "Cruel Summer" (UK#8, US#9) (1983), which was included in the film "The Karate Kid." The trio also recorded the single, "The Wild Life" (US#70) for a 1984 American film of the same name.  Bananarama featured on the Band Aid single, "Do They Know It's Christmas?," and were the only artists to appear on both the original 1984 Band Aid and the 1989 Band Aid II versions (though Fahey only appeared on the 1984 version).  1985 was a quiet transitional year for Bananarama. London Records' release of "Do Not Disturb" (UK #31) kept the girls' public profile alive.

1986–1987: "True Confessions" and international success.

1986 saw the release of their third Jolley/Swain album, "True Confessions". later editions contained other tracks and some extra production duties were taken up by Mike Stock, Matt Aitken and Pete Waterman known as Stock Aitken Waterman (SAW). The move resulted in the international number one hit, "Venus", (a remake of Shocking Blue's song from 1969, which had been a number 1 hit in 1970). The dance-oriented beats on the song typified the SAW approach to pop production. Bananarama had tracked the producers down after hearing "You Spin Me Round (Like a Record)" by Dead or Alive. The song won a Juno Award in Canada for International Single of The Year. Also in 1986, Dallin and Woodward were featured as backing vocalists on two songs on "Family Album," produced by John Lydon. The music video for "Venus" received heavy airplay on MTV in the United States. It featured the group in various costumes including a devil, a French temptress, a vampire and a Greek goddess. The video marked a pivotal shift towards a more glamorous and sexual image, which contrasted with the tomboyish style of their earlier work.  Follow-up singles "More Than Physical" (UK #41) and "A Trick of the Night" (UK #32) were less successful, possibly due to having less promotion. Woodward was pregnant with her son Thomas and unable to tour or physically promote the parent album or its subsequent singles.  During a press tour in New York City, the group also recorded a song "Riskin' a Romance" featured in the film "The Secret of My Success" (1987). The track was notable because it featured Fahey taking lead vocals, and Daryl Hall was the producer. At some point during this trip, the group also re-recorded the vocals for their next UK release "More Than Physical" and "A Trick of the Night".

1987–1988: "Wow!" and Fahey's departure.

In the wake of the success of "Venus," Bananarama began work on the album "Wow!". The group's sound graduated towards dance-orientated Europop. "Wow!" topped the Australian ARIA album charts for one week in June 1988.  "I Heard a Rumour" (UK #14, US #4) was their strongest performing international hit from this album. "Love in the First Degree" (UK #3) was one of their biggest UK hits and was nominated at the 1988 Brit Award for best single, and "I Can't Help It" (which boasted a semi-controversial video featuring the group in a milk bath filled with fruit and half-naked men) was also a hit (UK #20).  After the third single from "Wow!" was released in early 1988, Fahey — who had married Eurythmics' Dave Stewart — left the group as she had become disillusioned with the direction the band was taking. Her last performance as a member of the group was at the Brit Awards in February 1988, performing "Love in the First Degree". She would later resurface in the BRIT Award-winning pop duo Shakespears Sister with Marcella Detroit.

1988–1991: Second line-up, "Greatest Hits", "Pop Life" and world tour.

After Fahey's exit, Jacquie O'Sullivan (formerly of the Shillelagh Sisters) joined the group in March 1988. The single "I Want You Back" (UK #5) was re-recorded with O'Sullivan, as was The Supremes cover "Nathan Jones" (UK #15) which was nominated for best video at the 1989 Brit Awards. "Love, Truth and Honesty" (UK #23) was released as a single from their 1988 retrospective compilation, "Greatest Hits Collection" (UK #3). At the same time, Bananarama entered the "Guinness Book of World Records" as the all-female group who have the most UK chart entries in history, a record they still hold.  As a fundraising charity single for Comic Relief in 1989, Bananarama recorded a cover of The Beatles' song "Help!" with Lananeeneenoonoo (UK #3), a mock girl-group created by British female comedy duo French and Saunders, with fellow comedian Kathy Burke. 1989 also saw the band's first world tour, which hit North America, East Asia and the UK.  Bananarama's 1991 album, "Pop Life" saw Dallin and Woodward's songwriting collaboration with their friend Youth. They worked with a variety of producers including Youth, Shep Pettibone, and Steve Jolley, of Jolley & Swain. They also incorporated a wider range of musical genres including reggae, flamenco guitar, and acid house and received some of the strongest and most positive reviews of their career. Singles "Only Your Love" (UK #27), "Preacher Man" (UK #20), the Doobie Brothers' cover of "Long Train Running" (UK #30) and "Tripping on Your Love" (UK #76), were the final releases with O'Sullivan.

1992–2001: Duo re-launch, "Please Yourself", "Ultra Violet" and "Exotica".

In 1992, Dallin and Woodward returned as a duo and had a UK top 30 hit with "Movin' On" (UK #24), which was the first single from the 1993 album "Please Yourself" and 'More More More' which reached #24. It was to be their last album on London Records.  Their next offering was 1995's "Ultra Violet" (titled "I Found Love" in Japan) on a new label. The album and its three singles "I Found Love", "Every Shade of Blue" and "Take Me to Your Heart" were only released in some European countries, North America, Japan and Australia, but not in Britain.  In 1998, Dallin and Woodward asked Fahey to join them to record the track "Waterloo" (a cover of the classic ABBA song) for the Eurovision celebration "A Song for Eurotrash" on Channel 4. However, Fahey made it clear that this was a one-off and that she was not formally rejoining the group. In 1999, Dallin, Woodward and Fahey were interviewed together for an episode of the BBC music documentary series "Young Guns Go For It" dedicated to the group. Jacquie O'Sullivan also took part in the programme.  In 2001, Dallin and Woodward, who had been working a lot in France, had recorded the album "Exotica" with the French label M6. The album also included Latin and R&B influenced dance songs, as well as reinterpreted versions of their earlier hits.

2002–2006: "Drama".

By 2002, Bananarama had sold 40 million records worldwide. That year, they released another greatest hits album, "The Very Best of Bananarama", in the UK. They also recorded the song "Love Him, Leave Him, Forget Him" for Sky TV's show "Is Harry on the Boat?" as well as the song "U R My Baby" for a German disco project. With Siobhan Fahey returning as a special guest for a performance of "Venus", the group celebrated the 20th anniversary of their first hit with a gig at G-A-Y at the London Astoria, in front of an audience of 3000 people.  With 1980s retro in vogue, Bananarama made a comeback in the British dance charts in 2005. Solasso remixed their early hit "Really Saying Something" and it was a huge hit with clubbers. A video was filmed with models from "Britain's Next Top Model" TV show.  In 2005, Dallin and Woodward collaborated with Swedish hit makers Murlyn, writing and recording in Sweden for 6 months to produce the album 'Drama'. The first single 'Move In My Direction' reached #14 with the second single 'Look On The Floor (Hypnotic Tango) entering and peaking at #26 in the UK chart. In the US on the Billboard Dance Chart, Look On The Floor would peak at #2 with Move In My Direction reaching #14 in July 2006.

2006–2011: Remasters and "Viva".

Summer 2006 saw the Warner Bros. Records release of "The Twelve Inches of Bananarama", a compilation of twelve remixes on CD for the first time. The collection features the rare George Michael remix of "Tripping on Your Love", among others.  On 19 March 2007, Bananarama's first six studio albums were reissued by Rhino Records on CD with bonus material, including alternative versions, remixes and B-sides. On 7 May 2007, another best-of collection titled "Greatest Hits and More More More" was released by Warner Bros. Records.  Dallin and Woodward performed a set along with other 1980s acts at "Retro Fest" on 1 September 2007 at Culzean Castle in Ayrshire, Scotland.  In February 2007, Bananarama's official website announced that they were back in the studio recording new material. A cover version of "Voyage Voyage" was performed at a concert in France. Bananarama also confirmed they were contributing vocals as guest artists on the song "Ultra Violet" (not to be confused with Bananarama's seventh album "Ultra Violet") by new dance act Block Rocker, a teaming up of producers/remixers Digital Dog and Ashiva. However, the song never surfaced.  In October 2007, Bananarama announced that they would be appearing on 2008's "Here and Now Tour" with other 1980s artists such as Belinda Carlisle, Paul Young, ABC and Rick Astley. They also announced plans to record a new album of disco cover versions and new songs.  In August 2008, it was announced that Bananarama was back in the studio recording a track with Rev Run from Run–D.M.C. who had a new album in the pipeline. He wanted to sample "Na Na Hey Hey Kiss Him Goodbye" for his track but then decided to ask Dallin and Woodward to sing it instead. The title of the track was not confirmed but was to be credited as be "Run-D.M.C. featuring Bananarama". The song, 'Invincible', credited as Rev Run featuring Bananarama, did not surface until late 2014 on Rev Run's solo album Red Rhythm Rewind.  In June 2009, Bananarama performed at the Isle of Wight Festival. In August 2009, they performed at the 80s Rewind Festival in Henley-on-Thames alongside other 80s acts which included Rick Astley, Belinda Carlisle and Kim Wilde. The duo also performed at The Manchester Gay Pride Festival over the August Bank Holiday weekend.  Bananarama released a new single entitled "Love Comes" (UK #44), and a new album "Viva" (UK #87) in September 2009. The album was produced entirely by Ian Masterson, and released through Fascination Records. A second single was released from the album in April 2010, a new remix of the song "Love Don't Live Here" (UK #114) backed by Ian Masterson's 2010 reworking of the 1995 single "Every Shade of Blue" and "The Runner" (originally recorded by The Three Degrees), remixed by Buzz Junkies. Other covers recorded during this period included Bryan Adams' "Run To You", Simon & Garfunkel's "The Sound Of Silence" and Roxy Music's "Tokyo Joe". These were included as B Sides to the released singles and as bonus digital tracks to the parent album.  In September 2010, Bananarama were back in the studio with producer Ian Masterson, and recorded a Christmas song titled "Baby It's Christmas" (UK #199). The track was written by Sara Dallin and Ian Masterson and was released on 13 December in the UK and Europe as a digital EP. The track was also included on a US Christmas compilation CD entitled "Super Dance Christmas Party, Volume 3". "Baby It's Christmas" reached #19 in the UK Indie Singles chart and #199 in the main UK Singles Chart.  In April 2011, Bananarama appeared on ITV's hit comedy"Benidorm" and performed "Love in the First Degree", "Robert De Niro's Waiting..." and "Movin' On".  In October 2011, Bananarama performed at "Retrolicious 2011" in Singapore, together with The Human League and Belinda Carlisle.  Dallin and Woodward have continued to play live since 2002, with highlights including headlining the festival of the hand over of Hong Kong, The Isle of Wight Festival and the Singapore Grand Prix. In 2012, they embarked upon a 10 date USA tour for the Pinktober Hard Rock charity and released and EP 'Now or Never'. In 2016, they played a sell out tour of Australia and some dates in Japan.

2012–2016: "30 Years of Bananarama" and "Now or Never".

On 9 July 2012, Warner Music imprint Rhino Records released a greatest hits CD and DVD Collection "30 Years of Bananarama" (UK #61) to celebrate the band's 30th anniversary. The album charted at 62 on the UK Albums Chart. On 9 August 2012, the band performed at the men's final of the beach volleyball at the London Olympics. They performed a medley of "Cruel Summer", "Love in the First Degree" and "Venus".  On 28 October 2013, Bananarama's first six albums "Deep Sea Skiving", "Bananarama", "True Confessions", "Wow!", "Pop Life" and "Please Yourself" were reissued by Edsel Records, each of them consisting of Deluxe 2CDs plus DVD. Bananarama are also confirmed to perform in 2014 at Let's Rock Bristol! (7 June), Let's Rock Leeds! (21 June) and Let's Rock Southampton! (12 July). On 9 November 2013, Bananarama revealed on the BBC show "Pointless Celebrities" that they were recording a new album in Nashville and that it would be influenced by country and pop. In March 2015, Edsel Records released "Megarama", a 3 CD collection of remixes that was followed in August with a 33CD singles collection box set entitled "In A Bunch", which contains all single releases from "Aie a Mwana" right through to "More, More, More". In 2016, Bananarama toured Australia in February and showcased their new song "Got to Get Away". On 9 March 2016, Sara confirmed on her Twitter page that Bananarama have signed a new deal with BMG. In November 2016, an excerpt of a song that bears the working title "Looking For Someone" was posted on the official Twitter page of the band.  In December 2016, "Billboard" magazine ranked them the 94th most successful dance artist of all time.

2017–present: Original line-up tour and "In Stereo".

In was announced on 23 April 2017 that Fahey had rejoined Bananarama. The Original Line-up Tour saw them perform 23 sell-out dates across the UK in November and December 2017. They performed many of their hits such as "Nathan Jones", "Robert De Niro's Waiting...", "Cruel Summer", "Really Saying Something", "I Heard A Rumour", "I Can't Help It", "Venus", and "Love in the First Degree" as well as the Shakespears Sister hit "Stay". In February 2018, they played four dates in North America; Los Angeles, San Francisco and New York in the United States and Toronto in Canada. Their performances at London's Eventim Apollo Hammersmith Theatre and Newcastle City Hall were released on CD, DVD and Blu-Ray through PledgeMusic in July 2018. Their final dates as a trio were in August 2018. In November 2018, Bananarama's first six London albums, "Deep Sea Skiving", "Bananarama", "True Confessions", "Wow!", "Pop Life" and "Please Yourself" were released as coloured vinyls and limited edition cassettes.  On 19 April 2019, Dallin and Woodward released their new album "In Stereo" (UK #29). The first track from the album that served as a taster was "Dance Music", followed by the first official single "Stuff Like That", which was released on March 7. An accompanying video to the single was directed by Andy Morahan, who had also directed the videos for many former singles from "I Heard a Rumour" to "Preacher Man". On March 30, the album track "Looking for Someone" premiered on "The Graham Norton Show" on BBC Radio 2 and was successively released as the second single from "In Stereo".

Awards and nominations.

! scope="col" | Award! scope="col" | Year! scope="col" | Category! scope="col" | Nominee(s)! scope="col" | Result! scope="col" class="unsortable"|! scope="row" rowspan=10|Billboard Music Awards! scope="row"|Classic Pop Readers' Awards! scope="row" rowspan=2|International Dance Music Awards! scope="row"|Smash Hits Poll Winners Party Fahey also briefly returned for "Eurotrash" and some TV interviews (TFI, I was in a Girl Band) in 1998 and at G-A-Y in 2002.

Bananarama are an English female pop music vocal duo, originally formed as a trio in London in 1981 by friends Sara Dallin, Siobhan Fahey and Keren Woodward. Their success on both pop and dance charts saw them listed in the "Guinness World Records" for achieving the world's highest number of chart entries by an all-female group. Between 1982 and 2009, they had 28 singles reach the Top 50 of the UK Singles Chart.

Bananarama est un groupe musical féminin anglais formé en 1981 à Londres, qui connut plusieurs succès, notamment de new wave dans les années 1980. Jusqu'à aujourd'hui, il a eu dix titres dans le top 10 des ventes de singles au Royaume-Uni, ainsi que trois titres dans le top 10 américain, dont un numéro un. Parmi ses succès, on trouve "Cruel Summer", "Venus", "Love in the First Degree" et "I Heard a Rumour". Les trois chanteuses sont connues pour leur style vocal unique caractérisé par leur chant des mêmes notes à l'unisson, plutôt que sur des accords de trois notes. La plupart des titres de début de carrière de Bananarama étaient enregistrés avec les trois membres chantant en même temps sur le même micro. Plus tard, les techniques d'enregistrement permettront un fondu encore plus prononcé. Ce style poussé à l'extrême sera leur signature dans l'histoire de la musique pop.