Early life.

Rupert Leo Scott Bruce-Mitford was born on 14 June 1914 at 1 Deerhurst Road, Streatham, London. Following Terence, Vidal, and Alaric (Alex), he was the fourth of four sons born to Eustace and Beatrice Jean Bruce-Mitford. His mother was a daughter of John Fall Allison. Family tradition has it that Rupert's brothers were responsible for his given names, selecting them from their reading: Rupert from Anthony Hope's "Rupert of Hentzau", Leo from Rider Haggard's "", and Scott from Robert Falcon Scott's diary, or his "Message to England". The family's surname was little older. Eustace, born Charles Eustace Beer in 1875, had adopted the name around 1902; perhaps indicative of his desire to separate himself from his family's missionary past, the change occurred shortly before he left a teaching post at a school in China headed by his brother, and set out by himself for Japan. "Mitford" was a take on "Midford," his mother's maiden name, and perhaps not unintentionally, that of the unrelated Algernon Freeman-Mitford, 1st Baron Redesdale, whose name carried respect in the British expatriate community in Japan. "Bruce" may have been taken from Major Clarence Dalrymple Bruce, an acquaintance who commanded the Weihaiwei Regiment. Eustace Bruce-Mitford was a journalist, geographer, and vulcanologist. Rupert was born three years after his family returned from Japan, and three years before his father left for India. When Eustace died in 1919, Rupert was five years old.  Orphaned and poor, Rupert Bruce-Mitford was educated with the financial support of his mother's cousin. She did so "on one condition – that [his] father's novel, depicting life in Yokohama at the turn of the Century, should be burnt; she thought it immoral and scurrilous." Bruce-Mitford was thereby sent to Brightlands preparatory school in Dulwich, London, in 1920, and then to the charity school Christ's Hospital in 1925. At Christ's Hospital he was introduced to archaeology, in 1930 participating in a dig with S. E. Winbolt at the Jacobean ironworks in Dedisham, Sussex. By 1933 he had switched studies from classics to history, and was awarded a Baring Scholarship to attend Hertford College, Oxford.

At the British Museum.

Bruce-Mitford worked at the British Museum for 32 years, from 1938 to 1977, with a wartime break from 1940 to 1946 in the Royal Corps of Signals. He was an assistant keeper for 11 years; keeper of the Department of British and Medieval Antiquities for 15 years, and of the Department of Medieval and Later Antiquities for 6; and for 2 years, from 1975 to 1977, a research keeper.  In December 1937 Bruce-Mitford was named assistant keeper (second class) of the then Department of British and Medieval Antiquities at the British Museum. He was possibly helped in this position by his professor from two years previously, Robin Flower, also the deputy keeper of Manuscripts. That year Bruce-Mitford was reacquainted with archaeological work, spending three weeks with Gerhard Bersu at the Iron Age site Little Woodbury. In 1939 he was tasked with leading an excavation, this time at the medieval village of Seacourt. Though Seacourt was a difficult site, Bruce-Mitford was able to acquire complete ground plans of domestic buildings and of the church. It was also "a village deserted, in ruins, and archaeologically sealed within a century of the Black Death"; this precise dating—the village was deserted by 1439—"promised to provide important evidence for specialists in connexion with the chronology of mediaeval pottery and small objects" such as "brooches, ornaments, buckles, fittings of various kinds, shears, horseshoes, [and] nails" the dating of which was "notoriously vague". Excavations wrapped up 15 July 1939, seven weeks before Britain's entry into World War II.  1940 to 1946 saw Bruce-Mitford serving in the Royal Signals, "reaching the standard Army morse speed of twelve words a minute and after his day-time job fire-watching in the dome of St. Paul's." He was commissioned as an officer on 1 February 1941. Bruce-Mitford spent the war awaiting his "eventual" return to the Department of British and Medieval Antiquities. As early as 1940, he was informed by T. D. Kendrick that he would "be responsible for the Museum's collection of Anglo-Saxon antiquities and also for the Germanic collections of Europe and the Late Celtic collections of the British Isles." The letter closed with a warning: "You will also be responsible for Sutton Hoo. Brace yourself for this task."  His twenty-one years as Keeper saw outstanding acquisitions by the Museum, including the Lycurgus Cup and the Ilbert collection of clocks and watches; however, the Bury St Edmunds Cross was missed.

Sutton Hoo.

Excavated in 1939, the Anglo-Saxon Sutton Hoo ship-burial was to become "the defining moment of Rupert's life, his greatest challenge, the source of almost insuperable difficulties, and his greatest achievement." By 1954 he was already recognised as the ""spiritus rector" of present day Sutton Hoo research", a title that would only become more deserved with time.  Soon after returning to the British Museum Bruce-Mitford began publishing the Sutton Hoo finds, which had waited out the war in the London Underground before being returned to the museum in 1944 and 1945. In 1944 Herbert Maryon, a Technical Attaché recruited for the task, set to work restoring them, and when Bruce-Mitford returned two years later, he quickly began work. As he later wrote, "[t]here followed great days for Sutton Hoo when new, often dramatic, discoveries were being made in the workshops all the time. Built from fragments, astonishing artefacts – helmet, shield, drinking horns, and so on – were recreated." The first edition of "The Sutton Hoo Ship-Burial: A Provisional Guide" was published in January 1947, the same year that Bruce-Mitford was elected a fellow of the Society of Antiquaries of London. The work quickly "turned out to be one of the Museum’s most successful publications ever"; by the time the second edition, "The Sutton Hoo Ship-Burial: A Handbook", was published in 1968, the first had gone through ten impressions.  Dozens of articles, chapters, and books on Sutton Hoo would follow. In 1947 he visited Sweden for six weeks at the invitation of the archaeologist Sune Lindqvist, in what Bruce-Mitford would later describe as "one of the most rewarding experiences of my life." There he studied the similar finds from Vendel and Valsgärde, learning Swedish along the way. In 1960 Bruce-Mitford was put in charge of a definitive Sutton Hoo publication, but before it was completed, from 1965 to 1970 he led another round of excavations at Sutton Hoo to acquire "more information about the mound, the ship and the circumstances of the burial". The first volume of "The Sutton Hoo Ship-Burial" was finally published in 1975, and hailed as "one of the great books of the century" by A. J. Taylor, then president of the Society of Antiquaries. The second volume followed in 1978, and the third volume—published in two parts—came in 1983.

Personal life.

Bruce-Mitford was married three times, and had three children by his first wife. In 1941 he married Kathleen Dent, with whom he fathered Myrtle (b. 1943), Michael (b. 1946), and Miranda (b. 1951). A professional cellist, Myrtle Bruce-Mitford would herself contribute to the Sutton Hoo finds, being employed by the British Museum to work on the remnants of the lyre and co-authoring a paper with her father. She was also the longtime partner of Nigel Williams, who from 1970 to 71 reconstructed the Sutton Hoo helmet.  Bruce-Mitford's relationship with Dent was "long in trouble", and he left home in the later 1950s and formed a series of relationships. He married his former research assistant Marilyn Roberta Luscombe on 11 July 1975; the marriage was dissolved in 1984, at which point Bruce-Mitford found it necessary to sell his library, which went to Okinawa Christian Junior College in Japan. In 1986 he married for a third time, to Margaret Edna Adams, a child psychiatrist and published poet, whom he had met at Oxford fifty years before.  After years of inherited heart disease, Rupert Bruce-Mitford died of a heart attack on 10 March 1994. He was buried eight days later in the burial ground by St Mary's Church in Bampton, Oxfordshire. His widow, Margaret Edna Adams, died in 2002.

Rupert Leo Scott Bruce-Mitford, FBA, FSA (surname sometimes Mitford) (14 June 1914 – 10 March 1994) was a British archaeologist and scholar, best known for his multi-volume publication on the Sutton Hoo ship burial. He was also a noted academic as the Slade Professor of Fine Art at Cambridge University from 1978 to 1979, in addition to appointments at All Souls College, Oxford and Emmanuel College, Cambridge.

Rupert Leo Scott Bruce-Mitford est un archéologue britannique né le à Streatham et mort le à Oxford. Bruce-Mitford travaille pour le British Museum de 1938 à 1977, et son nom reste principalement associé à la publication des résultats des fouilles menées à Sutton Hoo, où un bateau-tombe de l'époque anglo-saxonne a été retrouvé en 1939. Il occupe ensuite la chaire Slade pour l'enseignement des beaux-arts à l'université de Cambridge de 1978 à 1979.


Background.

During World War II, the Lingayen Gulf proved a strategically important theater of war between American and Japanese forces. On 22 December 1941, the Japanese 14th Army—under Lieutenant General Masaharu Homma—landed on the Eastern part of the gulf at Agoo, Caba, Santiago and Bauang, where they engaged in a number of relatively minor skirmishes with the defenders, which consisted of a poorly equipped contingent of predominantly American and Filipino troops, and managed to successfully invade and occupy the gulf. Following the defeat, the next day General Douglas MacArthur issued the order to retreat from Luzon and withdraw to Bataan. For the next three years, the gulf remained under Japanese occupation prior to the Lingayen Gulf Landings.

Operations.

Beginning on 6 January 1945, a heavy naval and air bombardment of suspected Japanese defenses on Lingayen began. Underwater demolitions began, but found no beach obstacles, and encountered sparse opposing forces. Aircraft and naval artillery bombardment of the landing areas also occurred, with "kamikazes" attacking on the 7th. On the 8th, it was observed that in the town of Lingayen, as a response to the pre-landing bombardment, Filipinos had begun to form a parade, complete with United States and Philippine flags; fire was shifted away from that area.  At 09:30 on 9 January 1945, about 68,000 GIs under General Walter Krueger of the U.S. 6th Army—following a devastating naval bombardment—landed at the coast of Lingayen Gulf meeting no opposition. A total of 203,608 soldiers were eventually landed over the next few days, establishing a beachhead, stretching from Sual, Lingayen and Dagupan (XIV Corps) to the west, and San Fabian (I Corps) to the east. The total number of troops under the command of MacArthur was reported to have even exceeded the number that Dwight D. Eisenhower controlled in Europe. Within a few days, the assault forces had quickly captured the coastal towns and secured the 20-mile-long (32 km) beachhead, as well as penetrating up to five miles (8 km) inland.  Despite their success in driving out the Japanese forces stationed there, they suffered relatively heavy losses; particularly to their convoys, due to "kamikaze" attacks. From 4–12 January, a total of 24 ships were sunk and another 67 were damaged by "kamikazes"; including the battleships, and (the latter was accidentally hit by friendly fire), the heavy cruiser, the light cruiser, and the destroyers and. Following the landings, the Lingayen Gulf was turned into a vast supply depot for the rest of the war to support the Battle of Luzon.

Commemoration.

On 9 January 2008, Gov. Amado Espino, Jr. and Vice Gov. Marlyn Primicias-Agabas of Pangasinan institutionalized the commemoration to honor the war veterans. The resolution named 9 January as Pangasinan Veterans' Day. In the 63rd anniversary commemoration of the Lingayen Gulf Landing, President Fidel Ramos appealed to U.S. President George W. Bush for 24,000 surviving war veterans, to pass two legislative bills pending since 1968 at the US House of Representatives — the Filipino Veterans' Equity Act of 2006 and the Filipino Veterans' Equity of 2005 sponsored by former Senator Daniel Inouye.

The Invasion of Lingayen Gulf (Filipino: "Paglusob sa Golpo ng Lingayen"), 6–9 January 1945, was an Allied amphibious operation in the Philippines during World War II. In the early morning of 6 January 1945, a large Allied force commanded by Admiral Jesse B. Oldendorf began approaching the shores of Lingayen. U.S. Navy and Royal Australian Navy warships began bombarding suspected Japanese positions along the coast of Lingayen from their position in Lingayen Gulf for three days. On 9 January, the U.S. 6th Army landed on a beachhead between the towns of Lingayen and San Fabian.

L'invasion du golfe de Lingayen (philippin: "Paglusob sa Golfo ng Lingayen") est une opération amphibie alliée ayant eu lieu du 6 au durant la campagne des Philippines pendant la Seconde Guerre mondiale.


History.

Orme is rooted in a coal mining community known as Needmore, which was established in the early 1890s. Mining operations in the valley were slow to develop, however, due to the area's remoteness and lack of adequate means of transportation for the coal. In the late 1890s, Chattanooga businessman Frederick Gates purchased the Needmore mining operations, and began negotiating with the Nashville, Chattanooga and St. Louis Railway to build a branch line into the valley. After some hesitation, this railroad agreed to build the line in 1902.  After negotiating the construction of the branch line, Gates sold the Needmore operation to Richard Orme Campbell (1860–1912), who renamed the operation the "Campbell Coal and Coke Company". He renamed the town of Needmore after his son, who was also named Richard Orme Campbell (the name "Orme" was the maiden name of the elder Campbell's mother, Virginia Orme). Along with mining facilities, Campbell built a commissary, an office building, workers' cottages, schools, and a hotel. Within a few years, the town had grown to several thousand residents.  Campbell sold the Orme operation in 1905, and the new owners renamed the company, "Battle Creek Coal and Coke Company." By 1912, the operation consisted of four drift mines, some reaching high up the walls of the Cumberland Plateau. Mule-drawn rail cars carried the mined coal to the mine entrances, where it was transferred to a locomotive. The locomotive then carried the coal to an upper tipple, which in turn transferred it to a lower tipple. At its height, the mining operation was shipping 1,000 tons of coal per day out of the valley. The operation was known for its "good coal, inaccessibility, irregular stratification, and consequently difficult mining."  Following a miners' strike in 1939, major mining operations in Orme were shut down. The railroad company removed the rails, and the metal was used for ongoing World War II efforts. Afterward, Orme declined. The hotel closed in 1945, the school closed in 1961, and the post office closed in 1970. The wooden railroad depot is one of the few buildings remaining from the town's mining heydey.

2007 drought.

In 2007, Orme was one of the hardest-hit communities in the drought-ridden southeastern United States, due to its dependence on two vulnerable water sources: a waterfall-fed creek and a natural spring that delivered up to 60,000 gallons/day (227,000 liters/day). These sources dried up to only 5,000 gallons/day (19,000 liters/day), not enough to pressurize the supply lines to the town's residents. A temporary solution was arranged whereby a truck would haul water to the town providing enough water to keep the system running for three hours each evening. The mayor of Orme, Tony Reames, arranged a permanent solution in the form of a connection to the municipal system of the nearby town of Bridgeport, Alabama. In his words: "It's not a short-term solution. It is THE solution." The connection would be via a pipe between the two towns, paid for by an emergency grant of $377,590 from the USDA. The project was hoped to be completed by the end of November 2007.

Geography.

Orme (rhymes with "storm") is located at (35.011361, -85.805175). The town occupies most of the Tennessee portion (i.e., the northern end) of Doran's Cove, a narrow valley surrounded on the north, east, and west by the Cumberland Plateau. Most of Orme's public buildings and residences are concentrated in a small stretch of bottomland along Dry Creek, the valley's primary drainage. The walls of the plateau rise nearly a thousand feet in all directions, the exception being a relatively narrow gap that opens to the south. South Pittsburg, Tennessee, lies across the plateau to the east, and Bridgeport, Alabama, lies to the southeast. Russell Cave National Monument lies just across the state line to the south.  A single paved road, Orme Road, connects Orme to Jackson County, Alabama. To reach Orme via paved road from Tennessee generally requires driving along U.S. Route 72 from South Pittsburg southward into Alabama, and following county roads 75 and 98 northward through Doran's Cove (the latter highway becomes Orme Road at the state line). A gravel road, Orme Mountain Road, connects Orme with Tennessee State Route 156 atop the plateau to the north.  According to the United States Census Bureau, the town has a total area of, all land.

Demographics.

As of the census of 2000, there were 124 people, 57 households, and 36 families residing in the town. The population density was 29.8 people per square mile (11.5/km2). There were 63 housing units at an average density of 15.2 per square mile (5.9/km2). The racial makeup of the town was 100.00% White.  There were 57 households out of which 28.1% had children under the age of 18 living with them, 49.1% were married couples living together, 12.3% had a female householder with no husband present, and 36.8% were non-families. 29.8% of all households were made up of individuals and 8.8% had someone living alone who was 65 years of age or older. The average household size was 2.18 and the average family size was 2.64.  In the town, the population was spread out with 17.7% under the age of 18, 8.1% from 18 to 24, 25.8% from 25 to 44, 36.3% from 45 to 64, and 12.1% who were 65 years of age or older. The median age was 44 years. For every 100 females, there were 121.4 males. For every 100 females age 18 and over, there were 104.0 males.  The median income for a household in the town was $21,563, and the median income for a family was $23,750. Males had a median income of $45,833 versus $20,000 for females. The per capita income for the town was $14,374. There were 17.9% of families and 18.6% of the population living below the poverty line, including 22.2% of under eighteens and 18.2% of those over 64.

Orme is a town in Marion County, Tennessee, United States. The population was 126 as of 2010. It is part of the Chattanooga, TN–GA Metropolitan Statistical Area.

Orme est une municipalité américaine située dans le comté de Marion au Tennessee. Selon le recensement de 2010, Orme compte. La municipalité s'étend sur une superficie de.


High school career.

Jackson started his high school career with Park Tudor School. He played varsity for three years, where he averaged 10 points a game, 6 rebounds a game, and 3 blocks a game. Jackson won two IHSAA state basketball championships while at Park Tudor. He was teammates with former Xavier University standout and current New Orleans Pelicans two-way player Trevon Bluiett. He then transferred to La Lumiere School for his senior year, where he started for their varsity squad.

Recruiting.

Jackson was considered one of the top players in the 2017 graduating class. Scout.com ranked Jackson the 5th best player nationally, 1st in his respective position, and 2nd overall in the midwest region. 247 Sports ranked him 7th nationally, being 4th in his position. ESPN ranked him 8th in the ESPN 100, being 2nd in his position and 2nd regionally.

College career.

On September 15, 2016, Jaren Jackson Jr. announced his intentions to play for Tom Izzo at Michigan State. He signed the letter of intent on November 9, 2016. Jackson would make his collegiate debut on November 10, 2017, recording 13 points and a season-high 13 rebounds in a blowout 98–66 win over the North Florida Ospreys. Four days later, he would record a then-season-high 19 points in an 88–81 loss to the #1 ranked Duke Blue Devils. On December 5, Jackson would put up 11 points and a career-high 8 blocks in a 62–52 win over the Rutgers Scarlet Knights. Four days later, he would record 17 points and another career-high 13 rebounds in a blowout 88–63 win over the Southern Utah Thunderbirds. On January 22, 2018, Jackson recorded a then-season-high 21 points to go with 11 rebounds and 6 blocks in an 87–74 win over the Illinois Fighting Illini. On February 13, he would put up a career-high 27 points in a blowout 87–57 win over the Minnesota Golden Gophers. At the end of the regular season for Michigan State, he would be named both the Big Ten's Defensive Player of the Year, Freshman of the Year, Big Ten's All-Freshman Team, and the All-Big Ten's Third Team. On April 2, Jackson would declare his entry into the 2018 NBA draft, where he was considered a potential top-tier lottery selection.

Professional career.

Memphis Grizzlies (2018–present).

On June 21, 2018, Jackson was selected with the fourth overall pick by the Memphis Grizzlies in the 2018 NBA draft. On July 1, 2018, he signed a multi-year, rookie scale contract with the Grizzlies.  On March 29, 2019, Jackson was shut down for the remainder of the season due to a deep bruise to his right thigh.

National team career.

Jackson helped the United States of America's under-17 basketball team win the gold medal at the FIBA 2016 World Championships; in which he scored two points and had six rebounds. He averaged 4.3 points, 5.2 rebounds, 1.2 blocked shots, and shot 53 percent from the field. He was a member of the USA Junior National Select Team that participated in the 2017 Nike Hoop Summit in Portland, Oregon. Coming off the bench, Jackson tallied 13 points and a game-high nine rebounds in 25 minutes of play.

Personal life.

He is the son of former professional basketball coach and former NBA player Jaren Jackson.

Jaren Walter Jackson Jr. (born September 15, 1999) is an American professional basketball player for the Memphis Grizzlies of the National Basketball Association (NBA). He played college basketball for the Michigan State Spartans. He was selected by Memphis with the fourth overall pick of the 2018 NBA draft.

Jaren Jackson Jr., né le à Plainfield dans le New Jersey, est un joueur de basket-ball américain évoluant aux postes d'ailier fort et de pivot. Il est choisi en position par les Grizzlies de Memphis lors de la draft 2018 de la NBA.


History.

Legend says Griffin Tipsword came to live with the Kickapoo Indians, who were indifferent to the coming of a white man. Tipsword was white by birth and Indian by adoption. He was a pioneer, a missionary preacher, hunter and medicine man among the Indians. Tipsword's family name was Sowards. He called himself Tipsword after coming to Illinois. Tipsword was a veteran of the Revolutionary War, first fighting at Ramsour's Mill in the Carolinas. Griffin died in 1845 and was buried on the banks of Wolff Creek (Tipsword family cemetery, Effingham), leaving three sons, John, Isaac, and Thomas, who left many descendants in the area.  Altamont, the "City of Plain", was laid out in Mound Township, considered the richest and best township in Effingham County - being mostly prairies and farm ground - slightly rolling along Big Creek, Coon Creek, and Second Creek. Mound Township was settled early by German immigrants from the Rhine by way of Pennsylvania and Ohio.  The name "Altamont", like "Mound Township", was bestowed by J.W. Conlogue because of the elevation or "mound" to the northwest. The first part of the word means altitude, the second mount or mound. Conlogue was a romantic, naming his town from Latin.  In "History of Effingham County", editor William Henry Perrin wrote in 1883: "The name of Mound Township was bestowed upon it in consequence of what is known as the neighborhood of Blue Mound, a slight elevation of Section 8, which is nearly all a kind of mound, the apex being in the center of the section, and having an altitude of seventy-eight feet above the bed of the Vandalia Railroad, which passes near it. Recently, the Government has erected a signal observatory upon it, some seventy-five to one hundred feet in height, from the top of which one may look across the States of Missouri and Arkansas and see the cowboys watching their herds on the prairies of Texas."  There had been a trading center called Montville on the bank of the creek south of what is now Altamont (Southmore Heights). The postmaster was G.H. Milleville and in 1871 the post office moved to this new place called Altamont. Altamont was organized as a town in 1871.  On August 8, 1872, Altamont adopted the village form of government, with a mayor and four council members. On April 16, 1901, the voters adopted a city form of government and became the City of Altamont.

Geography.

Altamont is at (39.0569861, -88.7474670 ). According to the 2010 census, Altamont has a total area of, all land.

Demographics.

As of the census of 2000, there were 2,283 people, 899 households, and 608 families in the city. The density was 1,751.6 inhabitants per square mile (678.1/km2). There were 955 housing units at an average density of 732.7 per square mile (283.6/km2). The racial makeup was 99.30% White, 0.09% African American, 0.09% Native American, Pacific Islander, and 0.53% from two or more races. Hispanic or Latino of any race were 0.35% of the population.  There were 899 households of which 33.3% had children under 18 living with them, 54.7% were married couples living together, 10.0% had a female householder with no husband present, and 32.3% were non-families. 29.0% of households were individuals and 15.6% had someone living alone who was 65 or older. The average household size was 2.44 and the average family 3.02.  In the city 25.9% were under 18, 8.1% from 18 to 24, 24.1% from 25 to 44, 21.8% from 45 to 64, and 20.1% who were 65 or older. The median was 40. For every 100 females, there were 91.8 males. For every 100 females 18 and over, there were 83.1 males.  The median income for a household in the city was $33,186, and the median income for a family was $37,837. Males had a median of $27,639 versus $18,446 for females. The per capita income was $15,478. 4.6% of families and 6.9% of the population were below the poverty line, including 7.8% of those under 18 and 4.5% of those 65 or over.

Arts and culture.

The painting, The Moaning Betty (by Andre Wolff), hangs in city hall.

Points of interest.

Altamont is home to the Effingham County Fairgrounds, at which the Effingham County Fair has been held annually in the first week of August since 1945. Each year the Effingham County Fair hosts nationally known country singers, a touring rodeo, two ITPA truck and tractor pulls, a queen pageant, a talent show, Standardbred and Thoroughbred races, and a demolition derby. The fairgrounds were once host to the Illinois High School rodeo finals, and currently host the Mill Road Thresherman's gathering and the annual Schützenfest.  The Dr. Charles M. Wright House is a Victorian style home built in 1889 by Dr. C.M. Wright on a tract on upper North Main Street, where there had been a two-story frame house that was the Wright family home. Wright planned the house himself but the final design (with Wright's approval) was by Edwardsville, Illinois, architect, C. H. Spilman. The builder was Charles Hanker of Toledo, Illinois, for a $17,965 with the owner furnishing the materials. The total cost, not including furnishings, was approximately $35,000. The house has 18 furnished rooms, including seven bedrooms. On May 8, 1986, the house was put on the National Register of Historic Places.  Ballard Nature Center is a nature preserve and educational center located east of Altamont. It includes of woodland, of restored prairie, of shallow water wetlands and of agricultural land. Ernie Ballard donated for the site of a nature center and the funds to construct a visitor center. He developed a non-profit 501 (C) 3 foundation, in August 1999, to oversee development and management of the center. Construction of the log building began in October 1999. It opened to the public in July 2000. In 2014, the Glen Mathias family donated another 7 acres of land adjacent to the original 210 acres.

Parks and recreation.

Altamont has three parks. Gilbert Park, named after Ray Gilbert, Mayor of Altamont from 1971–1979, is the largest of Altamont's parks. It has four baseball/softball diamonds, an indoor batting cage, playground equipment and soccer field, and a nine-hole disc golf course.  Schmidt Park has picnic pavilions and playground equipment.  W.C. Klitzing Memorial Heritage Park, often called simply Heritage Park and known to some as "The Train Park," is named after former mayor, school board member, and City Attorney Walter C. Klitzing. It has play equipment, a skateboard area, several covered picnic tables, a basketball court, and restrooms.  There is also "The Triangle," a garden and pavilion space between North Second Street, North Main Street, and West Washington Avenue in downtown Altamont. The Triangle features benches, flower beds, a flagpole, and a covered pavilion which often hosts bake sales and cookouts for community organizations to host fundraisers.

Government.

The City of Altamont is governed by an elected mayor and city council of four members. Most recent mayoral and city council elections were in April 2015, those terms all expire in 2019. Currently, Jason Rippetoe is mayor, and the council members are Todd Slingerland, Richard Frailey, Dan Milleville, and Jason Williams.

Education.

Altamont Lutheran Interparish School (ALIS) is a private school serving grades K-8. Robinette Flach will assume duties as principal, beginning in July 2015. The cornerstone reads "Immanuel Lutheran School 1959", but the school is now a joint effort of Immanuel, Bethlehem, St. Paul (Blue Point) and Zion Lutheran Churches. Its sports teams are the Rockets.  In 1905, a school building was erected behind Immanuel. Later, in 1928, a school building was purchased for $250, rebuilt, and added to the existing school for a second room. The cornerstone for a new school was laid on July 26, 1959. This building was dedicated on Sunday, January 31, 1960. The cost, including land, was $200,000. The final payment was made in 1966.  In early 1973, St. Paul Blue Point and Immanuel, Altamont formed Altamont Lutheran Interparish School. St. Paul paid $40,000 to add two rooms. The school at St. Paul was discontinued and the students were taken to the Interparish School. St. Paul's school had been in use since 1910.  Zion Lutheran School was organized in 1887. In 1922, the Zion Church building was dedicated so the school was now used exclusively for school classes. In 1931, the Ladies Aid started a fund for a new school. The new school was dedicated in 1938, with electricity, which was also installed in the parsonage at that time. The school closed for a time but reopened in 1956 with Gladys Heiser as teacher. In 1972, Zion school closed and children began attending Altamont Lutheran Interparish School. Zion became a corporate member of ALIS in 1989.  In 1861, the congregation of Bethlehem Lutheran Church erected a church and school building, used until 1867 when the present church was built. In 1873, the school had 23 students. In 1940, English began to be used. The teaching of German ended in 1954.  In December 1958 Bethlehem school building failed a fire inspection. Voters improved the school to keep it open. In 1960 it was decided to build a new school. In 1961, enrollment showed 51 students and the congregation built a parish hall with the school.  On August 26, 1962, Bethlehem Congregation dedicated three classrooms, office, restrooms, parish hall/gymnasium and kitchen. In May 1987, Bethlehem Lutheran School closed and students began attending ALIS in August. In 1988, Bethlehem became a member of ALIS.  To accommodate the additional students from the Bethlehem and Zion congregations a major building project was undertaken in the summer of 1989. Four classrooms were added to the north end of the building and two classrooms, teacher lounge, and storage at the center of the building. The exterior look was completely changed with the addition of a pitched roof. Each grade now has its own room plus a computer lab and a band room.  In 1990, Dr. D. G. Huelskoetter gave the Frog Pond Pre-School to ALIS Frog Pond. Frog Pond is currently taught by Candace Wolff and Kathy Corder.  Altamont Grade School is a public grade school serving grades K-8. Enrollment at the beginning of 2011 was 546. Its sports teams are the Wildcats. Doug Hill is the principal.  Altamont Community High School is a public high school. The main section of the current building was constructed in the 1950s, and students first occupied the building in 1954. Enrollment at the beginning of 2011 was 285. Its sports teams are the Indians. Jerome "Jerry" Tkachuk is the principal.  Altamont Grade School and Altamont High School are part of Altamont Community Unit School District #10. Dr. Steven Mayerhoffer is the superintendent of schools. The High School athletics compete in the National Trail Conference.

Infrastructure.

Transportation.

Altamont is served by Interstate 70, U.S. Route 40, and Illinois Route 128, all of which pass through the city limits. What is now U.S. Route 40 was once known as the National Road.  Amtrak service to Chicago and New Orleans and all points in between can be accessed in Effingham, to the east.

Community.

Altamont Lions Club has been active since 1938. The Lions operate the youth basketball and soccer programs, have an annual fishing rodeo, sponsor a golf tournament, participate in Lions International Candy Day each fall, sponsor local youth for trips abroad and within the U.S., and contribute toward Ballard Nature Center and local parks.  The Altamont Garden Club has planted and cared for many areas around town, as well as pays for and waters over thirty hanging baskets of flowers throughout downtown the spring & summer months. The Garden Club also installed a few dozen lamp posts along the walking path in Schmidt Park.

Altamont is a city in Effingham County, Illinois, United States. The population was 2,319 at the 2010 census. Altamont is part of the Effingham, Illinois Micropolitan Statistical Area.

Altamont est une ville du comté d'Effingham, en Illinois, aux États-Unis. Elle est incorporée le. Lors du recensement de 2010, la ville comptait une population de habitants.


Critical reception.

The song received positive reviews from critics. Billboard said the song "might just qualify as the biggest international banger the world has ever seen." ClashMusic.com described the song saying "'Bum Bum Tam Tam' is the carefree phenomenon 2017 needs, the sort of ear-worm pop melody that can bring entire nations together." Vice described the song questioning if "Bum Bum Tam Tam is the best funk song in history?"

Music video.

The official music video was released on 8 March 2017 on the Kondzilla channel. It cost R$30,000 (Roughly US$7,700) to make. According to Fioti, "It was all last minute and it was perfect."  The music video has over 1.4 billion views and 10 million likes as of January 2020. It is also the most-viewed Brazilian music video and the first to hit 1 billion views.

Remixes.

Future, J Balvin, Stefflon Don and Juan Magán Remix.

"Bum Bum Tam Tam (Remix)" is a song recorded by Brazilian singer and producer MC Fioti, Colombian singer J Balvin, American rapper Future, British rapper Stefflon Don and Spanish singer Juan Magán. It was released on 15 December 2017 through Island Records and Universal Music. It is a remix of MC Fioti's song "Bum Bum Tam Tam".

Other versions.

A version by Jonas Blue was released in March 2018. ClashMusic.com describes this version as a "fiery Friday anthem".  A version by Jax Jones was released in January 2018. Billboard has ranked the remix as one of the best Dance/Electronic remixes of 2018. Billboard also described the song saying "Jax Jones ships the record straight to the club, adding a bassy four-on-the-floor beat while letting the flutes shine."  A version by David Guetta was released on April 27, 2018. As described by Billboard, "Guetta gives Fioti's anthem a big, boisterous intro and some serious snare drum, plus a few electronic elements to let you know you've arrived at the middle of the megaclub dance floor."

"Bum Bum Tam Tam" (also known by the title "Joga O Bum Bum Tam Tam") is a song recorded by Brazilian singer and producer MC Fioti. A music video was released on 8 March 2017. The song samples Johann Sebastian Bach's Partita in A minor for solo flute. The song has peaked at number one in the Netherlands and the top 5 in France.

Bum Bum Tam Tam (ou Joga o Bum Bum Tam Tam) est une chanson de MC Fioti. Elle est popularisée par le remix qui comporte les participations de Future, J Balvin, Stefflon Don et Juan Magán. La chanson est certifiée disque de diamant en France.


Distribution.

There is a high concentration of "Hyphaene compressa" along the coasts of Northern East Africa, particularly Kenya and Tanzania. Additional countries with a high distribution of "Hyphaene compressa" include Somalia, Madagascar and Ethiopia. The palm also occurs to a lesser extent towards the Arabian Peninsula and India. The Doum Palm is densely concentrated around lakes and river ecosystems of the Turkana Valley and surrounding National Parks in Kenya.  The East African doum palm has expanded its range into the United States due to its horticultural interest.

Habitat and ecology.

"Hyphaene compressa" is found in hot and dry climates. The East African Doum Palm flourishes in tropical and subtropical regions with temperatures ranging between 36-38 degrees Celsius. The trees are adapted to semi-arid to arid climates with a low annual rainfall of 150 to 600 mm. The trees obtain water by having a high water table in which the trees taproots can access. "Hyphaene compressa" thrives in direct light in open grasslands and along edges of lakes, swamps, rivers and oceans. The soils of the doum palm are salty, calcareous and alkaline (pH 9) and of general poor quality. The "Hyphaene compressa" is a woody dioecious tree that is slow growing and long living. Some trees can grow to be 100 years old but because of the high human interference this number is reduced to around 30 years.

Description.

"Hyphaene compressa" is a robust tree that stands erect, growing to about 10–20 meters (35–70 ft) in height. The tree can be said to be fairly fire resistant and drought resistant. The East African Doum Palm is considered difficult to destroy because it grows bulbs and deep taproots underground that will allow the tree to regrow if it is damaged above ground. Individuals of this species are dichotomously branched and the stems may branch about five times by full maturity. Little is known about the dichotomous venation, the only other genera of palms to naturally exhibit this trait are the "Dypsis", "Korthalsia" and "Laccosperma". The leaves are medium to large sized palmate or fan shaped and emerge at the top of the tree in small crowns. The spiny leaf stalks and the fruit develop at the base of these crowns.

Fruit and reproduction.

Fruits of "Hyphaene compressa" are produced after 30 years of maturation and can be harvested regularly every 6 months when the tree is between 40 and 50 years old. The fruit is considered a drupe and grows almost all year round, taking three to ten months to germinate. The fruits of "Hyphaene compressa" are eaten by elephants, baboons, and monkeys (endangered Tane River Crested Manbey). Elephants favour eating the Doum palm fruit and have become the major mechanism for seed dispersal in "Hyphaene compressa". The fruits are edible by humans and are highly packed with energy. When ripe the fruit appears orange-brown and tastes sweet. The doum palm can produce up to thousands of fruit per tree, each fruit growing 6–12 cm long and 4–9 cm wide.

Usage of tree.

Almost all of the East African doum palm can be utilised, the most highly used part of the tree being its leaves. "Hyphaene compressa" has a variety of different uses and is a vital economic resource in rural African communities.

Leaves.

The age the palm leaves are harvested dictate what goods are produced. The stalks of immature palm leaves are split into long strips to make a variety of products such as baskets, mats, chairs, brooms and hats. The leaves can also be beaten and separated into fibers to make hammocks. Mature green leaves are dried and used to cover the roofs of huts, make fire and to also create weaved goods. The uses for these leaves as shelter have expanded to include tourist sites and refugee camps and also with the increase in more permanent settlements in African communities.

Fruits.

The people of Eastern Africa depend on the fruit from the doum palm "Hyphaene compressa" in different ways. It is popular as a food source, more so during times of food shortage, and is commonly bought and sold in local markets The mesocarp or pulp of the young fruit can be made into a non-alcoholic juice drink which children enjoy. The seed coat within the mesocarp is hard to crack but the nut inside can be eaten or crushed into a powder to flavor other food items.

Stems.

By incising the stems of older trees, its sap can be made into an alcoholic wine of about 3.6 volume %. This practice is often performed incorrectly by cutting into the stem too deeply which kills the tree. Although, if the sap is extracted correctly, the tree is viable for an additional two to three years. The wines 24hour expiration time and lack of investment into preservation has kept it lost from being economically important. The trunks before the first branching can be made into very sturdy, termite proof building material that includes poles, fences and latrines. Although the fellow Coconut Palm Cocos in the same family of Palms has been very popular as an exported building good, the East African Doum Palm is claimed to be sturdier because of its higher density timber.

Additional names.

The East African doum palm has many different names in native African languages. Boni (Medi); Chonyi (Mkoma); Digo (Mkoma lume); Gabra (Meetti); Giriama (Mlala); Kamba (Mukoma); Kambe (Mkoma); Mbeere (Irara); Orma (Kone); Pokomo (Mkoma); Pokot (Tangayiween); Rendile (Baar); Samburu (Iparwa); Sanya (Auwaki); Somali (Baar); Swahili (Mkoma, Mlala); Taveta (Irara); Tharaka (Muruguyu); Turkana (Eeng'ol)

Socioeconomic importance.

The presence of the doum palm "Hyphaene compressa" has increased living standards in rural communities in which the fruit, leaves and stems are monetarily valuable. Weaved products are sold and traded at local and international markets where extreme specificity of skill and craftsmanship can be seen. Subsequently the marketing and distribution of thatched products creates a niche that requires retailers, wholesales and of course local manufacturers that understand the changing local market. For example in Turkana, a women’s co-operative society has emerged to handle the sales of crafts. Although the East African doum palm has created a source of income for local peoples it is important to note that its economy is not stable or uniform throughout the region. Availability to "Hyphaene compressa", ability to effectively utilize its product and skills of the regional people are all limiting factors.

Conservation.

Due to the high importance of the "Hyphaene compressa" poaching of its leaves in protected National Forests has become an issue. There has been evidence since the 1990s of overexploitation of the trees resources. Improper sap collection practices kill Palm trees and lack of knowledge on how to perform extraction is limiting the Palms longevity. "Hyphaene compressa" is in the process of being domesticated in some regions in Africa. Conservation laws to protect the tree from being overexploited have also been locally established as to ensure there is a lasting abundance of the East African Doum Palm.

Hyphaene compressa, also known as the East African doum palm, is a palm tree in the genus "Hyphaene". It is a tree known for its unique branching, unlike most Palms which are not branched. This palm tree is very abundant in Eastern Africa and is a vital socioeconomic resource to the rural pastoralist and agro-pastoralists there.

Hyphaene compressa est une espèce de plante de la famille des palmiers (Arecaceae). Elle est présente en Afrique de l'Est.


History.

The root of music in ancient India are found in the Vedic literature of Hinduism. The earliest Indian thought combined three arts, syllabic recital ("vadya"), melos ("gita") and dance ("nrtta"). As these fields developed, "sangeeta" became a distinct genre of art, in a form equivalent to contemporary music. This likely occurred before the time of Yāska (c. 500 BCE), since he includes these terms in his nirukta studies, one of the six Vedanga of ancient Indian tradition. Some of the ancient texts of Hinduism such as the "Samaveda" (c. 1000 BCE) are structured entirely to melodic themes, it is sections of "Rigveda" set to music.  The "Samaveda" is organized into two formats. One part is based on the musical meter, another by the aim of the rituals. The text is written with embedded coding, where "swaras" (octave notes) are either shown above or within the text, or the verse is written into "parvans" (knot or member) in simple words this embedded code of swaras is like the skeleton of the song. The swaras have about 12 different forms and different combinations of these swaras are made to sit under the names of different ragas. The specific code of a song clearly tells us what combination of swaras are present in a specific song. The lyrical part of the song is called "sahityam" and sahityam is just like singing the swaras altogether but using the lyrics of the song. The code in the form of swaras have even the notation of which note to be sung high and which one low. The hymns of "Samaveda" contain melodic content, form, rhythm and metric organization. This structure is, however, not unique or limited to "Samaveda". The "Rigveda" embeds the musical meter too, without the kind of elaboration found in the "Samaveda". For example, the Gayatri mantra contains three metric lines of exactly eight syllables, with an embedded ternary rhythm. In the ancient traditions of Hinduism, two musical genre appeared, namely "Gandharva" (formal, composed, ceremonial music) and "Gana" (informal, improvised, entertainment music). The "Gandharva" music also implied celestial, divine associations, while the "Gana" also implied singing. The Vedic Sanskrit musical tradition had spread widely in the Indian subcontinent, and according to Rowell, the ancient Tamil classics make it "abundantly clear that a cultivated musical tradition existed in South India as early as the last few pre-Christian centuries".  The classic Sanskrit text "Natya Shastra" is at the foundation of the numerous classical music and dance traditions of India. Before "Natyashastra" was finalized, the ancient Indian traditions had classified musical instruments into four groups based on their acoustic principle (how they work, rather than the material they are made of) for example flute which works with gracious in and out flow of air. These four categories are accepted as given and are four separate chapters in the "Natyashastra", one each on stringed instruments (chordophones), hollow instruments (aerophones), solid instruments (idiophones), and covered instruments (membranophones). Of these, states Rowell, the idiophone in the form of "small bronze cymbals" were used for "tala". Almost the entire chapter of "Natyashastra" on idiophones, by Bharata, is a theoretical treatise on the system of "tala". Time keeping with idiophones was considered a separate function than that of percussion (membranophones), in the early Indian thought on music theory.  The early 13th century Sanskrit text "Sangitaratnakara" (literally, "Ocean of Music and Dance"), by Sarngadeva patronized by King Sighana of the Yadava dynasty in Maharashtra, mentions and discusses "ragas" and "talas". He identifies seven "tala" families, then subdivides them into rhythmic ratios, presenting a methodology for improvization and composition that continues to inspire modern era Indian musicians. "Sangitaratnakara" is one of the most complete historic medieval era Hindu treatises on this subject that has survived into the modern era, that relates to the structure, technique and reasoning behind "ragas" and "talas".  The centrality and significance of music in ancient and early medieval India is also expressed in numerous temple and shrine reliefs, in Buddhism, Hinduism and Jainism, such as through the carving of musicians with cymbals at the fifth century Pavaya temple sculpture near Gwalior, and the Ellora Caves.

Texts.

The post-Vedic era historical literature relating to Indian classical music has been extensive. The ancient and medieval texts are primarily in Sanskrit (Hinduism), but major reviews of music theory, instruments and practice were also composed in regional languages such as Braj, Kannada, Odia, Pali (Buddhism), Prakrit (Jainism), Tamil and Telugu. While numerous manuscripts have survived into the modern era, many original works on Indian music are believed to be lost, and are known to have existed only because they are quoted and discussed in other manuscripts on classical Indian music. Many of the encyclopedic Puranas contain large chapters on music theory and instruments, such as the "Bhagavata Purana", the "Markandeya Purana", the "Vayu Purana", the "Linga Purana", and the "Visnudharmottara Purana".  The most cited and influential among these texts are the "Sama Veda", "Natya shastra" (classic treatise on music theory, Gandharva), "Dattilam", "Brihaddesi" (treatise on regional classical music forms), and "Sangita Ratnakara" (definitive text for Carnatic and Hindustani traditions). Most historic music theory texts have been by Hindu scholars. Some classical music texts were also composed by Buddhists and Jain scholars, and in 16th century by Muslim scholars. These are listed in the attached table.

Major traditions.

The classical music tradition of the ancient and medieval Indian subcontinent (modern Bangladesh, India, Pakistan) were a generally integrated system through the 14th century, after which the socio-political turmoil of the Delhi Sultanate era isolated the north from the south. The music traditions of the North and South India were not considered distinct until about the 16th century, but after that the traditions acquired distinct forms. North Indian classical music is called "Hindustani", while the South Indian expression is called "Carnatic" (sometimes spelled as "Karnatic"). According to Nazir Ali Jairazbhoy, the North Indian tradition acquired its modern form after the 14th or the 15th century.  Indian classical music has historically adopted and evolved with many regional styles, such as the Bengali classical tradition. This openness to ideas led to assimilation of regional folk innovations, as well as influences that arrived from outside the subcontinent. For example, Hindustani music assimilated Arabian and Persian influences. This assimilation of ideas was upon the ancient classical foundations such as "raga", "tala", "matras" as well as the musical instruments. For example, the Persian "Rāk" is probably a pronunciation of "Raga". According to Hormoz Farhat, "Rāk" has no meaning in modern Persian language, and the concept of "raga" is unknown in Persia.

Carnatic music.

Purandara Dasa (1484–1564) was a Hindu composer and musicologist who lived in Hampi of the Vijayanagara Empire. He is considered "Pithamaha" (literally, "grandfather") of the Carnatic music. Purandara Dasa was a monk and a devotee of the Hindu god Krishna (Vishnu, Vittal avatar). He systematised classical Indian music theory and developed exercises for musicians to learn and perfect their art. He travelled widely sharing and teaching his ideas, and influenced numerous South Indian and Maharashtra Bhakti movement musicians. These exercises, his teachings about "raga", and his systematic methodology called "Suladi Sapta Tala" (literally, "primordial seven talas") remains in use in contemporary times. The efforts of Purandara Dasa in the 16th century began the Carnatic style of Indian classical music. Carnatic music, from South India, tends to be more rhythmically intensive and structured than Hindustani music. Examples of this are the logical classification of ragas into melakartas, and the use of fixed compositions similar to Western classical music. Carnatic raga elaborations are generally much faster in tempo and shorter than their equivalents in Hindustani music. In addition, accompanists have a much larger role in Carnatic concerts than in Hindustani concerts. Today's typical concert structure was put in place by the vocalist Ariyakudi Ramanuja Iyengar. The opening piece is called a varnam, and is a warm-up for the musicians. A devotion and a request for a blessing follows, then a series of interchanges between ragams (unmetered melody) and thaalams (the ornamentation, equivalent to the "jor"). This is intermixed with hymns called krithis. The pallavi or theme from the raga then follows. Carnatic pieces also have notated lyrical poems that are reproduced as such, possibly with embellishments and treatments according to the performer's ideology, referred to as Manodharmam.  Primary themes include worship, descriptions of temples, philosophy, and nayaka-nayika (Sanskrit "hero-heroine") themes. Tyagaraja (1759–1847), Muthuswami Dikshitar (1776–1827) and Syama Sastri (1762–1827) have been the important historic scholars of Carnatic music. According to Eleanor Zelliot, Tyagaraja is known in the Carnatic tradition as one of its greatest composers, and he reverentially acknowledged the influence of Purandara Dasa.  A common belief in South India is that Carnatic music represents a more ancient approach to classical music, whereas Hindustani music has evolved by external influences.

Hindustani music.

It is unclear when the process of differentiation of Hindustani music started. The process may have started in the 14th century courts of the Delhi Sultans. However, according to Jairazbhoy, the North Indian tradition likely acquired its modern form after the 14th or after the 15th century. The development of Hindustani music reached a peak during the reign of Akbar. During this 16th century period, Tansen studied music and introduced musical innovations, for about the first sixty years of his life with patronage of the Hindu king Ram Chand of Gwalior, and thereafter performed at the Muslim court of Akbar. Many musicians consider Tansen as the founder of Hindustani music.  Tansen's style and innovations inspired many, and many modern "gharanas" (Hindustani music teaching houses) link themselves to his lineage. The Muslim courts discouraged Sanskrit, and encouraged technical music. Such constraints led Hindustani music to evolve in a different way than Carnatic music.  Hindustani music style is mainly found in North India, Pakistan and Bangladesh. It exists in four major forms: Dhrupad, Khyal (or Khayal), Tarana, and the semi-classical Thumri. Dhrupad is ancient, Khyal evolved from it, Thumri evolved from Khyal. There are three major schools of Thumri: Lucknow gharana, Banaras gharana and Punjabi gharana. These weave in folk music innovations. Tappa is the most folksy, one which likely existed in Rajasthan and Punjab region before it was systematized and integrated into classical music structure. It became popular, with the Bengali musicians developing their own Tappa.  Khyal is the modern form of Hindustani music, and the term literally means "imagination". It is significant because it was the template for Sufi musicians among the Islamic community of India, and "Qawwals" sang their folk songs in the Khyal format.  Dhrupad (or Dhruvapad), the ancient form described in the Hindu text "Natyashastra", is one of the core forms of classical music found all over the Indian subcontinent. The word comes from "Dhruva" which means immovable and permanent.  A Dhrupad has at least four stanzas, called Sthayi (or Asthayi), Antara, Sanchari and Abhoga. The Sthayi part is a melody that uses the middle octave's first tetrachord and the lower octave notes. The Antara part uses the middle octave's second tetrachord and the higher octave notes. The Sanchari part is the development phase, which builds using parts of Sthayi and Antara already played, and it uses melodic material built with all the three octave notes. The Abhoga is the concluding section, that brings the listener back to the familiar starting point of Sthayi, albeit with rhythmic variations, with diminished notes like a gentle goodbye, that are ideally mathematical fractions such as "dagun" (half), "tigun" (third) or "chaugun" (fourth). Sometimes a fifth stanza called Bhoga is included. Though usually related to philosophical or Bhakti (emotional devotion to a god or goddess) themes, some Dhrupads were composed to praise kings.  Improvisation is of central importance to Hindustani music, and each "gharana" (school tradition) has developed its own techniques. At its core, it starts with a standard composition (bandish), then expands it in a process called "vistar". The improvisation methods have ancient roots, and one of the more common techniques is called "Alap", which is followed by the "Jor" and "Jhala". The "Alap" explores possible tonal combinations among other things, "Jor" explores speed or tempo (faster), while "Jhala" explores complex combinations like a fishnet of strokes while keeping the beat patterns. As with Carnatic music, Hindustani music has assimilated various folk tunes. For example, ragas such as Kafi and Jaijaiwanti are based on folk tunes.

Persian and Arab influences.

Hindustani music has had Arab and Persian music influences, including the creation of new ragas and the development of instruments such as the sitar and sarod. The nature of these influences are unclear. Scholars have attempted to study Arabic "maqam" (also spelled "makam") of Arabian peninsula, Turkey and northern Africa, and "dastgah" of Iran, to discern the nature and extent. Through the colonial era and until the 1960s, the attempt was to theoretically study "ragas" and "maqams" and suggested commonalities. Later comparative musicology studies, states Bruno Nettl – a professor of Music, have found the similarities between classical Indian music and European music as well, raising the question about the point of similarities and of departures between the different world music systems.  One of the earliest known discussions of Persian "maqam" and Indian "ragas" is by the late 16th century scholar Pundarika Vittala. He states that Persian "maqams" in use in his times had been derived from older Indian "ragas" (or "mela"), and he specifically maps over a dozen "maqam". For example, Vittala states that the "Hijaz maqam" was derived from the "Asaveri raga", and "Jangula" was derived from the "Bangal". In 1941, Haidar Rizvi questioned this and stated that influence was in the other direction, Middle Eastern "maqams" were turned into Indian "ragas", such as "Zangulah maqam" becoming "Jangla raga". According to John Baily – a professor of Ethnomusicology, there is evidence that the traffic of musical ideas were both ways, because Persian records confirm that Indian musicians were a part of the Qajar court in Tehran, an interaction that continued through the 20th century with import of Indian musical instruments in cities such as Herat near Afghanistan-Iran border.

Features.

Classical Indian music is a genre of South Asian music, the other being film, various varieties of pop, regional folk, religious and devotional music.  In Indian classical music, the "raga" and the "tala" are two foundational elements. The "raga" forms the fabric of a melodic structure, and the "tala" keeps the time cycle. Both "raga" and "tala" are open frameworks for creativity and allow a very large number of possibilities, however, the tradition considers a few hundred "ragas" and "talas" as basic. "Raga" is intimately related to "tala" or guidance about "division of time", with each unit called a "matra" (beat, and duration between beats).

Raga.

A "raga" is a central concept of Indian music, predominant in its expression. According to Walter Kaufmann, though a remarkable and prominent feature of Indian music, a definition of "raga" cannot be offered in one or two sentences. "Raga" may be roughly described as a musical entity that includes note intonation, relative duration and order, in a manner similar to how words flexibly form phrases to create an atmosphere of expression. In some cases, certain rules are considered obligatory, in others optional. The "raga" allows flexibility, where the artist may rely on simple expression, or may add ornamentations yet express the same essential message but evoke a different intensity of mood.  A "raga" has a given set of notes, on a scale, ordered in melodies with musical motifs. A musician playing a "raga", states Bruno Nettl, may traditionally use just these notes, but is free to emphasize or improvise certain degrees of the scale. The Indian tradition suggests a certain sequencing of how the musician moves from note to note for each "raga", in order for the performance to create a "rasa" (mood, atmosphere, essence, inner feeling) that is unique to each "raga". A "raga" can be written on a scale. Theoretically, thousands of "raga" are possible given 5 or more notes, but in practical use, the classical Indian tradition has refined and typically relies on several hundred. For most artists, their basic perfected repertoire has some forty to fifty "ragas". "Raga" in Indian classical music is intimately related to "tala" or guidance about "division of time", with each unit called a "matra" (beat, and duration between beats). A "raga" is not a tune, because the same "raga" can yield a very large number of tunes. A "raga" is not a scale, because many "ragas" can be based on the same scale. A "raga", states Bruno Nettl and other music scholars, is a concept similar to mode, something between the domains of tune and scale, and it is best conceptualized as a "unique array of melodic features, mapped to and organized for a unique aesthetic sentiment in the listener". The goal of a "raga" and its artist is to create "rasa" (essence, feeling, atmosphere) with music, as classical Indian dance does with performance arts. In the Indian tradition, classical dances are performed with music set to various "ragas".

Tala.

According to David Nelson – an Ethnomusicology scholar specializing in Carnatic music, a "tala" in Indian music covers "the whole subject of musical meter". Indian music is composed and performed in a metrical framework, a structure of beats that is a "tala". A "tala" measures musical time in Indian music. However, it does not imply a regular repeating accent pattern, instead its hierarchical arrangement depends on how the musical piece is supposed to be performed.  The "tala" forms the metrical structure that repeats, in a cyclical harmony, from the start to end of any particular song or dance segment, making it conceptually analogous to meters in Western music. However, "talas" have certain qualitative features that classical European musical meters do not. For example, some "talas" are much longer than any classical Western meter, such as a framework based on 29 beats whose cycle takes about 45 seconds to complete when performed. Another sophistication in "talas" is the lack of "strong, weak" beat composition typical of the traditional European meter. In classical Indian traditions, the "tala" is not restricted to permutations of strong and weak beats, but its flexibility permits the accent of a beat to be decided by the shape of musical phrase.  The most widely used "tala" in the South Indian system is "adi tala". In the North Indian system, the most common "tala" is "teental". In the two major systems of classical Indian music, the first count of any "tala" is called "sam".

Instruments.

Instruments typically used in Hindustani music include the sitar, sarod, surbahar, esraj, veena, tanpura, bansuri, shehnai, sarangi, violin, santoor, pakhavaj and tabla. Instruments typically used in Carnatic music include veena, venu, gottuvadyam, harmonium, mridangam, kanjira, ghatam, nadaswaram and violin.  Players of the tabla, a type of drum, usually keep the rhythm, an indicator of time in Hindustani music. Another common instrument is the stringed tanpura, which is played at a steady tone (a drone) throughout the performance of the raga, and which provides both a point of reference for the musician and a background against which the music stands out. The tuning of the tanpura depends on the raga being performed. The task of playing the tanpura traditionally falls to a student of the soloist. Other instruments for accompaniment include the sarangi and the harmonium.

Notation system.

Indian classical music is both elaborate and expressive. Like Western classical music, it divides the octave into 12 semitones of which the 7 basic notes are, in ascending tonal order, "Sa Re Ga Ma Pa Dha Ni " for Hindustani music and "Sa Ri Ga Ma Pa Dha Ni " for Carnatic music, similar to Western music's "Do Re Mi Fa So La Ti ". However, Indian music uses just-intonation tuning, unlike some modern Western classical music, which uses the equal-temperament tuning system. Also, unlike modern Western classical music, Indian classical music places great emphasis on improvisation.  The underlying scale may have four, five, six or seven tones, called "swaras" (sometimes spelled as "svaras"). The "swara" concept is found in the ancient "Natya Shastra" in Chapter 28. It calls the unit of tonal measurement or audible unit as "Śhruti", with verse 28.21 introducing the musical scale as follows,  These seven degrees are shared by both major "raga systems", that is the North Indian (Hindustani) and South Indian (Carnatic) systems. The solfege ("sargam") is learnt in abbreviated form: "sa, ri (Carnatic) or re (Hindustani), ga, ma, pa, dha, ni, sa". Of these, the first that is ""sa"", and the fifth that is ""pa"", are considered anchors that are unalterable, while the remaining have flavors that differs between the two major systems.  Contemporary Indian music schools follow notations and classifications (see melakarta and thaat). These are generally based on a flawed but still useful notation system created by Vishnu Narayan Bhatkhande.

Reception outside India.

According to Yukteshwar Kumar, elements of Indian music arrived in China in the 3rd century, such as in the works of Chinese lyricist Li Yannian. In the 1980s, 1990s and particularly the 2000s onwards, Indian Classical Music has seen rapid growth in reception and development around the globe; particularly in North America. Numerous musicians of American origin, including Ramakrishnan Murthy, Sandeep Narayan, Abby V, and Mahesh Kale have taken professionally to Indian Classical Music with great success. In his 2020 released video, Canadian singer Abby V demonstrated 73 different Indian Classical ragas in a live rendering, which went viral on the internet; further establishing the growing prominence of Indian Classical Music around the globe.

Organizations.

A few of the organizations that promote classical music include Saptak, Sangeet Sankalp established in 1989. SPIC MACAY, established in 1977, has more than 500 chapters in India and abroad. SPIC MACAY claims to hold around 5000 events every year related to Indian classical music and dance.  Music Academy Madras' Sangeetha Kalanidhi Award is a well regarded award.

Indian classical music is the classical music of the Indian subcontinent, this includes India, Pakistan, Bangladesh, Sri Lanka and Nepal. It has two major traditions: the North Indian and Pakistani classical music tradition is called "Hindustani", while the South Indian and Sri Lankan expression is called "Carnatic". These traditions were not distinct until about the 16th century. During the period of Islamic rule of the Indian subcontinent, the traditions separated and evolved into distinct forms. Hindustani music emphasizes improvisation and exploring all aspects of a raga, while Carnatic performances tend to be short and composition-based. However, the two systems continue to have more common features than differences.

La musique classique indienne est un genre de musique d'Asie du Sud Elle a deux traditions majeures : la musique classique indienne du nord appelée musique hindoustanie, tandis que la musique classique indienne du sud est appelée musique carnatique. Ces traditions n'étaient pas distinctes jusqu'aux environs du 16 siècle. Mais pendant les turbulences de la période de la domination islamique sur le sous-continent indien, les traditions se séparent et évoluent en formes distinctes. La musique hindoustanie encourage l'improvisation et explorent tous les aspects d'un râga, tandis que les concerts carnatiques tendent à être courts et basés sur la composition. Quoique les deux systèmes continuent à avoir plus de caractéristiques communes que de différences.


Early life and career.

Krasić graduated from the law faculty in Niš and practised law in the city. Near the end of his life, he was based in Belgrade.

Political career.

Krasić sought election to the National Assembly of Serbia as a National Radical Party candidate in Niš's second electoral division in the 1990 Serbian parliamentary election, the first to be held after the re-introduction of multi-party elections in the country. He was not successful; the winning candidate was Mile Ilić of the Socialist Party. The following year, the National Radical Party merged with Vojislav Šešelj's Serbian Chetnik Movement to form the Serbian Radical Party. Krasić led the Radical Party's local committee in Niš in the 1990s and was a vice-president in its national executive at the time of the Kosovo War.

Member of the Federal Assembly of Yugoslavia.

Krasić was elected to the Assembly of the Federal Republic of Yugoslavia's Chamber of Citizens in the 1992–93 Yugoslavian parliamentary election. The election was won by the Socialist Party and its Montenegrin allies, and the Radical Party served in opposition. Krasić emerged as a notable spokesperson for his party in this period. He was re-elected in the 1996 Yugoslavian election, which was again won by the Socialist Party and its allies. Concurrent with the 1996 federal election, Krasić took part in a hunger strike called by various opposition parties in Niš to protest against what was described as the "flagrant irregularity" of conditions in local elections that benefited the Socialist Party. Krasić subsequently protested the election results, charging unfair practices and "chaos in polling stations," and promised that the Radical Party would try to prevent the functioning of the local assembly.

Serbian cabinet minister.

The Radical Party joined a coalition government led by the Socialist Party on March 24, 1998, and Krasić was named as trade minister in the government of Serbian prime minister Mirko Marjanović. The following month, he announced that charges would be pressed against directors of firms that had created "false shortages" in the market and raised their prices following a currency devaluation. He later announced that the trade ministry's priority under his leadership would be to fight against monopolies that had created artificial shortages, introduced price pressures, and imported unneeded raw materials.  Following the start of the North Atlantic Treaty Organization (NATO)'s 1999 bombing of Yugoslavia, Krasić announced that earnings and pensions would be equalized due to wartime conditions, specifically saying that the gap between the highest and lowest salaries would be reduced to permit a more equal provision of basic necessities. He also said that the government would seek to avoid the use of food coupons. In early May 1999, he announced that Serbia was facing a shortage of gasoline and oil derivatives due to NATO bombs having destroyed the country's oil-refining facilities; he added that the country was also facing a shortage of cigarettes due to the Niš Tobacco Industry only working a few hours a day, when the air-raid sirens were not in force. This notwithstanding, he announced on May 19 that market supplies of agricultural foodstuffs and related products were generally satisfactory given the conditions of war.  The Radical Party threatened to withdraw from government in June 1999, when NATO forces entered Kosovo in the aftermath of the bombing campaign. Krasić was quoted as saying at this time, "We have been deceived by our coalition partners. [...] Where there are no Yugoslav troops, and no Serb police [in Kosovo], there is no state sovereignty." Ultimately, however, the party remained in government.  In late 1999, Krasić announced that Serbia would use "subsidies, bonuses, allowances, tax and contribution relief, and other means" to avoid a price increase of staple goods. Bosnian Serb Television subsequently reported in February 2000 that his ministry had unexpectedly blocked food exports from Yugoslavia to the Republika Srpska.  Krasić stood down from cabinet on October 24, 2000, following Slobodan Milošević's defeat in the 2000 Yugoslavian presidential election, an event that precipitated a broad transformation of Serbian politics. He was defeated in his own bid for re-election to the Yugoslavian parliament in the concurrent parliamentary election.

Member of the National Assembly of Serbia.

Krasić received the twenty-fourth position on the Radical Party's electoral list for the 2000 Serbian parliamentary election, in which the entire country was counted as a single electoral constituency. The party won twenty-three seats, and he was not initially included in its parliamentary delegation. (From 2000 to 2011, Serbian parliamentary mandates were awarded to sponsoring parties or coalitions rather than to individual candidates, and it was common practice for mandates to be awarded out of numerical order. Krasić could have been awarded a mandate notwithstanding his position on the list, although in fact he was not.) He was, however, awarded a mandate on March 18, 2003, as a replacement for party leader Vojislav Šešelj, who had resigned to face war crimes charges at the International Criminal Tribunal for the Former Yugoslavia in The Hague. Krasić was again included on the party's list for the 2003 election and was selected for its assembly delegation when the party won eighty-two seats.  In June 2006, Ivana Dulić-Marković, an ethnic Croat from the G17 Plus party, was appointed as a deputy prime minister in Vojislav Koštunica's government. When the appointment was announced in parliament, Krasić responded by accusing Dulić-Marković's family of having been Ustaše during World War II and by making the disparaging comment, "Take your deputy prime minister Dulić-Marković and let her bring her Ustaše to be her advisers [...] That is the same woman who has said that [Milošević's] government slaughtered and transported people in bloody containers, etc..." Krasić's comments were widely condemned; Serbian president Boris Tadić and others described them as hate speech, targeting the minister because of her ethnic origins, while G17 Plus sought to ban the Radical Party over the incident. Aleksandar Vučić, at the time the secretary-general of the Radical Party, responded that Krasić had referred to Ustaše in an ideological rather than an ethnic sense, and dismissed calls for an apology. Shortly after the incident, the Radical Party nominated Krasić as one of its choices for Serbia's delegation to the Parliamentary Assembly of the Organization for Security and Co-operation in Europe, a decision that was strongly opposed by the governing parties. The National Assembly ultimately determined that Krasić's remarks did not violate its rule of procedure.  Krasić was again returned to parliament following the 2007 and 2008 elections, in both instances after receiving high positions on the Radical Party's electoral list. He served as part of Šešelj's legal team during this time. In 2008, he spoke at a rally opposing the extradition of former Bosnian Serb leader Radovan Karadžić to The Hague.  The Radical Party experienced a serious split in late 2008, with several members joining the more moderate Serbian Progressive Party under Tomislav Nikolić's leadership. Krasić remained with the Radicals and was a prominent member of its hardline, pro-Šešelj faction. He was selected as chair of the parliamentary finance committee in January 2009, amidst the backdrop of a purging of former-Radicals-turned-Progressives from positions of committee leadership. At around the same time, he was chosen to be the leader of Šešelj's legal defence team. When Šešelj experienced serious health issues in custody in early 2012, Krasić said that the tribunal should end what he described as its "torture" of the Radical Party leader and permit him to return to Serbia.  In 2010, the Radical Party introduced a draft resolution to parliament recognizing and condemning the Armenian Genocide committed by the Ottoman Empire. At a press conference to announce the legislation, Krasić said, "Under pressure by the international community, some parties are trying to push through the Serbian parliament a resolution on Srebrenica, which would include the term genocide, although what happened in Srebrenica cannot be compared to the plight of Armenians or of over one million people in Rwanda."  Serbia's electoral system was reformed in 2011, such that parliamentary mandates were awarded in numerical order to candidates on successful lists. Krasić received the fourth position on the Radical Party's list in the 2012 parliamentary election, but the party failed to cross the electoral threshold to win representation in the assembly. He was again included on the Radical list for the 2014 election, in which the party once again failed to win representation. During the buildup to the latter election, some had suggested the possibility of an alliance between the Radical Party and other right-wing, nationalist parties such as the Democratic Party of Serbia and Dveri. Krasić dismissed this view, arguing that the other parties were compromised by their willingness to co-operate with the European Union and NATO.  The Radicals returned to parliament with the 2016 election, winning twenty-two mandates. Krasić, who received the fifth position on the party's list, was accordingly re-elected. At the time of his death, he was a member of the parliamentary committee on constitutional and legislative issues; a member of the committee on finance, state budget, and control of public spending; and a member of the parliamentary friendship groups with Iran and Israel. The Radical Party served in opposition throughout all of Krasić's terms in the assembly.

Death.

Krasić died on April 12, 2018, after a short illness.

Zoran Krasić (; 11 March 1956 – 12 April 2018) was a Serbian politician. He served several terms in the parliaments of both Yugoslavia and Serbia as a member of the nationalist far-right Serbian Radical Party and was Serbia's trade minister from 1998 to 2000.

Zoran Krasić (en alphabet cyrillique serbe : ), né le à Belgrade (République fédérative socialiste de Yougoslavie) et mort le dans la même ville en Serbie, est un homme politique serbe.


History.

Kayno Yesno Slonce’s members changed at various occasions after 2006, regrouping around Veselin Mitev (from the band Isihia) who afterwards remained the only original member, although former members sometimes take part in stage performances.  Peter Delchev also initially joined Kayno Yesno Slonce as a parallel project to his participation in Isihia.  The popularity of their album from 2015 was partly due to the renewed concert activities around the country.  The name of the band is related both with the musical traditions imbedded in its music and those further explored by the musicians. It means literary “like a bright shining sun” or “like a serene sun”, a line from the traditional song "Vazpelo e pile". The comparison in the lyrics of that song is related with the shine of the swards of a group of Bulgarian rebels on the march.

Musical style and influences.

Although touring and recording have been sometimes interrupted, the group managed to preserve its characteristic style. The band blends traditional Bulgarian music, mostly from the Rhodopes region, with other mainly Eastern styles. It also draws on folklore of different Balkan countries but brings it closer to modernity. Some of the elements in it also suggest the tradition of countries in the Middle East, along with Church Slavonic motives and Medieval European music.  The drum driven polyrhythm melody line is accompanied by chanting, singing, howling and occasional yelling. Another feature is the nostalgic feeling of searching, somehow out of time and place, rarely in response to man's desires. In this music the quest for a personal truth and realization is revealed and sometimes interpreted as a symbolic journey, a lonely one, intimate, thoroughly lived and passionate.

Band members.

Current members Guest musicians

Kayno Yesno Slonce is a Bulgarian Ethnoambient band formed in 2003. Though tending to reach beyond mainstream culture and at some points acting as a counter to it and to commercial success, Kayno Yesno Slonce’s music was praised at several occasions by some of the most popular Bulgarian newspapers.

Kayno Yesno Slonce est un groupe de musique ambient formé en Bulgarie en 2003. Au fil du temps, il est devenu l’un des groupes les plus connus du pays de ce genre. Ses membres sont Veselin Mitev (chant, cornemuse, kaval, duduk), Stanislav Stoyanov «Toni Horo» (tupan, tombak, percussion), Peter Delchev (tanpura, hang), Evgeni Chakalov (flûtes, tanpura), Alexey Cvetanov (wavedrum, percussion), Ioulia Uzunova (synthétiseurs, glockenspiel) et Alexandra Shkodrova (gadulka).