title: Bally Sports Indiana

text: On December 14, 2017, as part of a merger between both companies, The Walt Disney Company announced plans to acquire all 22 regional Fox Sports networks from 21st Century Fox, including Fox Sports Indiana. However, on June 27, 2018, the Justice Department ordered their divestment under antitrust grounds, citing Disney's ownership of ESPN. On May 3, 2019, Sinclair Broadcast Group and Entertainment Studios (through their joint venture, Diamond Holdings) bought Fox Sports Networks from The Walt Disney Company for $10.6 billion. The deal closed on August 22, 2019. On November 17, 2020, Sinclair announced an agreement with casino operator Bally's Corporation to serve as a new naming rights partner for the FSN channels. Sinclair announced the new Bally Sports branding for the channels on January 27, 2021. On March 31, 2021, coinciding with the start of the 2021 Major League Baseball season, Fox Sports Indiana was rebranded as Bally Sports Indiana, resulting in 18 other Regional Sports Networks renamed Bally Sports in their respective regions. The first live sporting event shown on Bally Sports Indiana was the Pacers-Heat game at 7 PM on that day. It was preceded by the "Pacers Live" pregame show at 6:30 PM.


title: Tommy Edman

text: Edman began the 2019 season back with Memphis, batting .305/.356/.513 with seven home runs, 29 RBIs, and nine stolen bases over 49 games. On June 8, his contract was selected and he was called up to the major leagues for the first time. He made his debut that night as a pinch hitter versus the Chicago Cubs at Wrigley Field. Edman recorded his first MLB hit on June 14 against Steven Matz of the New York Mets and his first career home run on June 20 against Tayron Guerrero of the Miami Marlins. On July 18, he hit his first career grand slam off of Robert Stephenson of the Cincinnati Reds. Over 92 regular-season games with St. Louis in 2019, Edman slashed .304/.350/.500 with 11 home runs, 36 RBIs, and 15 stolen bases in 16 attempts. He had the fastest sprint speed of all major league third basemen at 29.4 feet/second. In the post-season, he had six hits, including three doubles, in 19 at-bats in the Division Series but was hitless in 14 at-bats in the National League Championship Series against the Washington Nationals.


title: Screamers (2016 film)

text: The film is presented as a self-made documentary about a startup online video platform named Gigaler as it is developing an algorithm to enhance its website to better tailor the videos displayed on its landing page to each visitor. An anonymously submitted screamer video of a girl walking through a cemetery before a masked man appears, accompanied by a loud scream, quickly becomes their most popular video. They soon receive a second screamer video of the same girl lying in a bed before the masked man appears, accompanied by a loud scream. Using the IP information from the video submission, Abbi tracks down Tara, the woman shown in the videos, and Tom calls her in Rochester, New York to obtain an exclusivity agreement to the videos. Meanwhile, commenters point out the woman in the video's resemblance to Tara Rogers, a woman who went missing from Rochester years earlier. Upset that he may be the target of a hoax, Tom calls Tara and demands answers. She refuses to speak out of fear of "Francis" and tells him not to call again. Abbi inspects the submitted videos and notices the grave of Francis Tumblety, one of the people suspected of being Jack the Ripper. They drive to Rochester to confront Tara, stopping first to film Tumblety's grave. They spend too much time there and end up at Tara's house very late, after it has already turned dark. Tom knocks but the inhabitants switch off the lights. They glimpse a man watching them from the street but the man disappears suddenly. They spend the night at the house of Abbi's cousin Emma, who had heard rumors about Tara before she went missing. The next day Tom and Griffin return to Tara's house alone, where they find one of the doors unlocked. In the basement they find dozens of jars but many of the other rooms are without furnishings or decorations. Upstairs they find the bedroom from second video of Tara just as Tom's car alarm begins to sound. Tom leaves Griffin alone upstairs as he runs down to switch off the alarm. Griffin feels anxious and turns to leave, coming face to face with Francis and disappearing. Tom returns upstairs and is also surprised by Francis. Chris gets a message from Tom's phone asking them to come to Tara's house so Emma drives him and Abbi there. They walk upstairs and find Tara but are caught by Francis. Emma escapes outside but somehow Francis is also outside and he chases her through the snow. Abbi escapes into a mud room, where Francis is inexplicably waiting for her behind a long coat. A video later submitted to Gigaler shows Abbi walking through the cemetery and stopping at the grave of Francis Tumblety before the masked man appears, accompanied by a loud scream.


title: Leonard Seabrooke

text: Seabrooke's research primarily concerns the role of professionals and experts in treating social and economic problems, the politics of access to credit, tax, and property within economies and the role of 'Global Wealth Chains' in the international political economy. He worked on the social sources of how states generate international financial capacity, how everyday politics has an influence on the world economy, how international organizations create policy scripts, and the connection between welfare systems, housing, fertility, and international finance. Seabrooke has published articles in highly ranked international peer review journals in the fields of International Political Economy and Economic and Organizational Sociology, including Annual Review of Sociology, American Sociological Review, Socio-Economic Review, Governance, International Studies Quarterly, Journal of European Public Policy, Organization, Journal of Professions and Organization, Public Administration, Review of International Political Economy, and many others.


title: Wesleyan Quadrilateral

text: Upon examination of Wesley's work, Albert Outler theorized that Wesley used four different sources in coming to theological conclusions. Wesley believed, first of all, that the living core of the Christian faith was revealed in "scripture" as the sole foundational source. The centrality of scripture was so important for Wesley that he called himself "a man of one book". However, doctrine had to be in keeping with Christian orthodox "tradition". So, tradition became in his view the second aspect of the so-called Quadrilateral. Furthermore, Wesley believed that faith is more than merely an acknowledgment of ideas. Thus, as a practical theologian, he contended that part of the theological method would involve "experiential" faith. In other words, truth, if actually truth, should be vivified in the personal experience of Christians (overall, not individually). Finally, every doctrine must be able to be defended "rationally". He did not divorce faith from reason. Tradition, experience, and reason, however, are subject always to scripture, which is primary.


title: Jason Keller

text: Keller was consistent in the first eight races. He ran the No. 1 Miccosukee Dodge to a best finish of 11th at Daytona, but he was running 12th in points after the eighth race of the year. However, on April 18, 2006, Keller was released from the team in what many viewed as a "cheap shot" from Finch. He was replaced by Mike Wallace. Keller would then try to race the No. 34 Frank Cicci Racing Chevy at Richmond, but he did not qualify and declined further rides with the team. Instead, Brewco Motorsports hired Keller to qualify and practice Greg Biffle's No. 66 Ford for select races when Biffle was working on his Nextel Cup Series team. Keller did a good job, and Brewco rewarded Keller with a race at ORP. Keller ran in the top-five for the first half of his 400th career start, but a mid race spin dropped Keller to 15th in the rundown. Keller will drive part-time for Brewco Motorsports, sharing their No. 27 with NEXTEL Cup driver Ward Burton, as well as a part-time schedule for CJM Racing. On October 12, 2007, Keller broke Tommy Houston's record for most career starts in the Busch Series with his 418th appearance. He also holds the record for most Busch Series earnings with over $11M (USD).


title: Jason Keller

text: In 2008, Keller drove for CJM Racing in their No. 11 Chevrolet in the Nationwide Series full-time with sponsorship from America's Incredible Pizza Company. Keller tested the No. 98 for then-Evernham Motorsports at Daytona Preseason Thunder Testing. Keller was released from CJM Racing in September during the off week after the fall Richmond race and replaced by Scott Lagasse Jr., with AIPC citing that they wanted to take the company in a new direction. He then signed with Baker Curb Racing to drive the No. 27 Ford Fusion through the rest of 2008 and 2009. For 2010, Keller drove for TriStar Motorsports in the No. 35, though the team had to get by with little to no sponsorship. Although he did not qualify for several races early in the season, by mid-year he had raced his way into the top-30 in owner's points, locking him into the remainder of the races. His best finish in 2010 was 4th at Talladega. Keller did not return to the team in 2011, and Mike Bliss took this place in the renumbered No. 19. His 2010 teammate Tony Raines was also replaced by Eric McClure, who brought sponsorship to the team. Keller has not raced in NASCAR since. On November 2011, Kenny Wallace surpassed Keller in the record books when he made his 520th Nationwide Series start, most all-time.


title: Frank the Entertainer in a Basement Affair

text: As the episode beings, Frank informs the women that they will each be given an opportunity to showcase one of their talents. Each contestant will be given two minutes in the basement with Frank. The three women whose talents impress Frank the most will be invited on a group date to the Brooklyn bridge. Frank uses his microwave as a timer for each date. During the challenge, Christy decided to teach Frank hula-hooping even though he was better at it than she was. Cathy was late for her timeslot, which upset Frank, and as a result, she was only allowed one minute. Frank's mom interrupts Mandy's time, due to her distrust of Mandy. In the end, Frank is most impressed by Felicia, Kerry, and Renee. After the date, the women have a party outside in the hot tub. Cathy becomes inebriated, which upsets Frank, as he doesn't want her to wake up his parents. Frank's mom discovers vodka in one of the water bottles, and accuses Mandy of placing it there. Later, she further implores Frank to eliminate Mandy. Rather than make Mandy suffer through elimination, Frank privately asks her to leave. At elimination, Cathy and Jessica are in the bottom two, and it is Jessica who is eliminated.


title: Kappal

text: The Hindu wrote, "Kappal fulfils its only purpose — to be funny...here's actor Vaibhav's big breakthrough as a solo hero. This Kappal sails strong for the most part". Sify called Kappal a "watchable fun ride with witty dialogues and good writing". Rediff gave the film 2.5 stars out of 5 and wrote, "There may be flaws, but there is no denying that Karthik G Krish's Kappal is thoroughly entertaining. But do remember to leave your thinking cap at home". The Times of India gave 3 stars out of 5 and wrote, "Karthik G Krish, is not after heavy philosophy but entertainment. So, he constructs the film as a comedy that is often silly, at times offensive but overall funny". silverscreen.in wrote, "Kappal is like that old joke, which only gets better with age. It also sustains the good spirit that the riotous pattimandram (debate talk show) of Solomon Pappaiah offers on festive mornings". The New Indian Express wrote, "Directed by a debutant, it's meant to be a total comic entertainer. But then it depends on each one's perception of what they feel are genuine comic moments"...going on to add that the film was "comedy probably targeted at the lowest common denominator in the audience".


title: Álvaro Rodríguez Echeverría

text: He joined the Central America district of the De La Salle Brothers in 1959 and attended Instituto San Pío X, Salamanca, Ciencias religiosas 1961-1964 and Universidad La Salle de México, Filosofía 1968-1972. He taught and was involved in vocation work from 1964–1981 and held administration roles in the Central American district from 1981 to 1992. In 1992 he was elected Vicar General for the order, based in the motherhouse in Rome. In 2000 he was elected to a seven-year term as Superior General of the Institute and re-elected in 2007 for another seven years, until May 20, 2014. After a sabbatical year, he was appointed Rector of the La Salle University of Costa Rica, a position he currently holds. Over the years he has served as a professor, Director, Auxiliary Visitor, Vice President of the Latin American Lasallian Region and Visitor of the Central American District, Vicar General, Superior General and University President. On August 3, 2018, in San Jose, Costa Rica, before the Lasallian Community, authorities of the Central American and Panama District, representatives of the university and his families, celebrated the 50th Anniversary of his Perpetual Vows.


title: Act-Age

text: On August 8, 2020, it was reported that Matsuki was arrested for allegedly approaching and inappropriately touching two female middle school students in June of that same year. Editors from Weekly Shōnen Jump stated that they would be taking the matter seriously. It was later announced that the series would immediately end publication, with the chapter released on August 11 being the last one. On August 17, 2020, it was announced that Shueisha has suspended all sales of the manga, and that volume 13 and further volumes have been canceled. On August 24, 2020, Shiro Usazaki issued a statement expressing sympathies for the victims and did not want the manga to be a work that triggers similar reactions from the victims, considering the cancellation to be appropriate. Despite regrets of having to end the manga mid-way, Usazaki urged fans of the series not to harass or blame the victims. On September 16, 2020, Matsuki was formally indicted for the second of the two indecent acts committed; Matsuki's sentencing was held on December 23 of that same year. The Tokyo District Court handed Matsuki a guilty verdict and a sentence of one year and six months in prison suspended for three years (Matsuki would not serve his sentence if he remained on good behavior for three years).


title: List of hot springs in the United States

text: This is a dynamic list of hot springs in the United States. The Western states in particular are known for their thermal springs: Alaska, Arizona, California, Colorado, Idaho, Montana, Nevada, New Mexico, Oregon, Utah, Washington, Wyoming; but there are interesting hot springs in other states throughout the country. Indigenous peoples' use of thermal springs can be traced back 10,000 years, per archaeological evidence of human use and settlement by Paleo-Indians. These geothermal resources provided warmth, healing mineral water, and cleansing. Hot springs are considered sacred by several Indigenous cultures, and along with sweat lodges have been used for ceremonial purposes. Since ancient times, humans have used hot springs, public baths and thermal medicine for therapeutic effects. Bathing in hot, mineral water is an ancient ritual. The Latin phrase sanitas per aquam means "health through water", involving the treatment of disease and various ailments by balneotherapy in natural hot springs.


title: Keep yor feet still Geordie hinny

text: KEEP YOUR FEET STILL, GEORDIE HINNY Air (or Teun) – "My Darling Nellie Grey" Wor Geordey an' Bob Jonsin byeth lay i' one bed, Iv a little lodgjin hoose that's doon the shore, Before Bob had been an' oor asleep, a kick frae Geordey's fut Myed him wakin up to roar instead o' snore. KORUS Keep yor feet still! Geordey, hinny, let's be happy for the neet, For aw maynt be se happy throo the day. So give us that bit cumfort, --keep yor feet still, Geordey lad, An' dinnet send maw bonny dreams away!" Aw dreamt thor was a dancin held, an' Mary Clark wes there; An' aw thowt we tript it leetly on the floor, An' aw prest her heevin breest te mine when walsin roond the room, That's mair than aw dor ivor de before. KORUS-- Keep yor feet still! Geordey, hinny, let's be happy for the neet, &c Ye'll knaw the lad that she gans with, they call him Jimmy Green, Aw thowt he tried te spoil us i' wor fun, But aw dreamt aw nail'd him heavy, an' blackt the big feul's eyes; If aw'd slept it's hard to tell what aw wad deun. KORUS-- Keep yor feet still! Geordey, hinny, let's be happy for the neet, &c Aw thowt aw set her hyem that neet, content we went alang. Aw kiss'd her lips a hundred times or mair, An' aw wish'd the road wad nivor end, se happy like wes aw, Aw cud waak'd a thoosind miles wi' Mary there! KORUS-- Keep yor feet still! Geordey, hinny, let's be happy for the neet, &c Aw dremt Jim Green had left the toon an' left his luv te me, An' aw thowt the hoose wis furnish'd wi' the best, An' aw dreamt aw just had left the church wi' Mary be me side, When yor clumsy feet completely spoil'd the rest." KORUS—Keep yor feet still! Geordey, hinny, let's be happy for the neet, &c


title: Eucalyptus sargentii

text: Eucalyptus sargentii is a tree or a mallee that typically grows to a height of 3–12 m (9.8–39.4 ft) but does not usually form a lignotuber (a mallet). It has smooth greenish bark that is brownish when new, usually with rough, greyish flaky bark on part or all of the trunk. Adult leaves are arranged alternately, the same shade of green on both sides, linear to narrow lance-shaped or curved, 53–126 mm (2.1–5.0 in) long and 5–13 mm (0.20–0.51 in) wide tapering to a petiole 5–18 mm (0.20–0.71 in) long. The flower buds are arranged in leaf axils in groups of seven on an unbranched peduncle 7–20 mm (0.28–0.79 in) long, the individual buds on pedicels 3–6 mm (0.12–0.24 in) long. Mature buds are an elongated oval shape, 16–26 mm (0.63–1.02 in) long and 4–5 mm (0.16–0.20 in) wide with a horn-shaped operculum that is about twice as long as the floral cup. Flowering occurs from August or October to December or January and the flowers are whitish to creamy yellow. The fruit is a woody conical capsule 6–9 mm (0.24–0.35 in) long and 5–8 mm (0.20–0.31 in) wide with the valves near rim level.


title: Richard Utz

text: Richard Utz was born in Amberg, Germany in 1961. He was educated at the University of Regensburg, Germany, and Williams College, USA, where he studied English and German literature and linguistics with Karl Heinz Göller, Maureen Fries, Otto Hietsch, Gerhard Hahn, Sherron Knopp, Ernst von Reusner, and Hans Dieter Schäfer. He received his PhD at Regensburg in 1990 and then garnered a German Academic Exchange Service Teaching Grant to help reestablish English Studies in Dresden, East Germany, after the fall of the Berlin Wall. He has worked as educator and administrator at the University of Northern Iowa , the University of Tübingen , Western Michigan University , and the University of Bamberg (Johann von Spix International Professorship). Utz was also affiliated with the Medieval Institute at Western Michigan University , and Centre for the Study of the Heritage of Medieval Rituals, an international research center located at the University of Copenhagen and funded by the Danish National Research Foundation , and he founded and co-edited the book series Disputatio (Northwestern UP; later Brepols) and the online journals Medievally Speaking, Prolepsis: The Heidelberg Review of English Studies, and UNIversitas. Utz has been honored with a number of awards for teaching and scholarship, among them the University of Northern Iowa "Distinguished Scholar Award" and the Iowa Board or Regents award for faculty excellence." From 2012 through 2024, he has served as Chair of the School of Literature, Media, and Communication; Associate Dean for Faculty Affairs; Senior Associate Dean; and currently Interim Dean in the Ivan Allen College of Liberal Arts at Georgia Tech.


title: Richard Utz

text: One of Utz's major contributions to scholarship is the introduction of the paradigm of Literary Nominalism to the study of medieval literature, specifically the works of Geoffrey Chaucer. Grover Furr called Utz "perhaps the foremost exponent of the 'paradigm' of Nominalist influence upon late Medieval English literature. His own book and the collection of essays which he edited in 1995, are among the leading causes of the revival of interest by literary scholars in the influence of Nominalism." Utz posits the possibility of correspondences between late medieval philosophy/religion and literature. More specifically, he finds in certain features of Chaucer's Troilus and Criseyde and Canterbury Tales echoes of late medieval nominalist mentalities, a strand of thought cultural historians such as Rosario Assunto, Friedrich Heer, Erwin Panofsky, Sheila Delany, and Hans Blumenberg count among the decisive factors ushering in the formation of modern Europe. He claims that the author's literary nominalism led him to: construct narratives that center on the ontological status of universals and particulars (with a preference for the latter); focus on the radical contingency of language; challenge allegorical (hence: Neoplatonic 'realist') forms of narrative, character, and argument; experiment with non-conclusive, contingent, indeterminate, and fragmentary poetic structures; see a relationship between the God's absolute and ordinate powers on the one hand, and God and humanity, rulers, subjects, and authors on the other. These late medieval nominalist features, Utz proposes, may well be responsible for modern readers' pronounced preference for Chaucer over other, more typically medieval writers. Scholars beholden to more traditional readings of late medieval poetry have been critical of Utz's perhaps too broad application of the paradigm.


title: Richard Utz

text: Utz's second area of specialization is Medievalism Studies, the reception of medieval literature, language, and culture in postmedieval times. One of his additions to this research area is his 2002 study, Chaucer and the Discourse of German Philology, which surveys the reception of Geoffrey Chaucer among German scholars and which the reviewer for Germany's daily, Süddeutsche Zeitung, called an "academic thriller." "Simply for its overview of German scholarship on Chaucer," John M. Hill stated, "this book is invaluable, a mother-lode of information and a reminder to many of us that Old and Middle English scholarship as we learned it forty or more years ago is deeply indebted to nineteenth-century German academics and school teachers (even for the first categorizations of language history into old, middle, and modern)." However, perhaps more important than the bio-bibliographic detail, the study demonstrates how (German) philology, rather than being sine ira et studio, was intimately involved with the goals of Germany as an increasingly aggressive nation state. In fact, Utz demonstrates how Germany's actual territorial incursions into Africa, China, and Alsace-Lorraine could be seen as quite similar to German philologists' colonization of academic space via rather bellicose research agendas and methodologies. Finally, Utz provides hitherto unknown information about the scholarship and relationships among some of the most productive medievalists in the German-speaking and Anglo-American world: A.C. Baugh, Henry Bradshaw, Alois Brandl, Ernst Robert Curtius, Ewald Flügel, Frederick James Furnivall, Eugen Kölbing, Wilhelm Hertzberg, Johann August Hermann (John) Koch, Hugo Lange, Victor Langhans, Arnold Schröer, Walter W. Skeat, Bernhard Ten Brink, and Julius Zupitza. More recently, Utz's work has focused on questions of the semantic history of "medievalism" as well as issues of temporality and technology.


title: Richard Utz

text: In 2017, Utz published Medievalism: A Manifesto as the inaugural volume in the ARC Humanities Press book series "Past Imperfect". Looking back at his career in medieval studies and medievalism, Utz set out to reform the way he and his colleagues think about and practice their academic engagement with medieval culture. His goal is to convince medievalists to abandon their academic habit of communicating exclusively with each other and rather to reconnect with the general public. Paul Sturtevant welcomed the volume as a "much-needed call-to-arms to those medievalists still on the fence about working for, among, and with the public" and recommends it become "required reading for every medieval studies Ph.D., and taped to the door of many a public history professor." Jan Alexander von Nahl, similarly, finds value in Utz' "holding up a mirror to his own discipline" by harnessing the "productive uncertainty" of the field of medievalism studies. Ryan Harper, in Medievally Speaking, describes the value of the volume more critically, claiming that "some of the more pointed comments about the nature of the profession (particularly those about the "protection of tenure" and the "protective ivory tower walls") seem to have been written by someone occupying a very comfortable chair" and that the arguments made suffer from too much "brevity and concision".


title: Richard Utz

text: Utz has published articles on academic leadership issues, discussing nepotism during faculty hires, diversity and inclusion in administrative hires, tenure and promotion, traditional notions of English departments and the humanities, isolationist tendencies in the German academy, jargon in Strategic Planning, open access to scholarship, and holistic notions of education based on partnerships between arts, humanities, and STEM disciplines. He is critical of disciplinary silos, finds synergies between the humanities and social sciences on the one hand, and engineering, computing, and the natural sciences on the other, and favors the public humanities. He has contributed to The Public Medievalist and medievalists.net, blogs that focus on lowering the drawbridge between the academic study of and the non-academic interest in medieval culture. For the School of Literature, Media, and Communication at Georgia Tech, he has edited Humanistic Perspectives in a Technological World, a collection of essays negotiating the integration of arts, humanities, and social sciences disciplines and approaches at an institution focused on science and technology.


title: Logan City

text: With the major changes to local government in Queensland which took effect at 15 March 2008 local elections, Logan more than tripled in area and added 78,400 people to its population. This came about through annexing a large section of the now-dissolved Shire of Beaudesert as well as the Beenleigh-Eagleby suburban area to its southeast, which had been part of the Gold Coast. Residents of Beenleigh and Eagleby were asked to vote to join Logan, with an overwhelming "No" vote. Despite this, the amalgamation went ahead. In its rationale for the changes, the Local Government Reform Commission argued that the area added brought the South East Queensland urban footprint and future growth areas to 2026 under the one local government, which could plan effectively for the area's future and would face reduced compliance costs for development works. Economic factors, the lack of geographic barriers and the presence of transport corridors were also considered to be favourable to the annexation. Consideration was given to a merger with Redland to its east, but geographical barriers and the lack of a community of interest between them militated against this.


title: Antoine Lefèbvre de La Barre

text: As a young man he served in the administration in France. He then became governor of Cayenne (French Guiana) in 1664 after it was recovered from the Dutch. After handing Cayenne over to his brother, he served briefly as lieutenant-general of the French West Indies colonies, then for many years was a naval captain. In two engagements he was accused of cowardice, but in others he served with distinction. At the age of 60 he was appointed Governor of New France, holding office from 1682 to 1685. He spent much of his energy in trading ventures, using his position as governor to attack his great rival René-Robert Cavelier de La Salle. He began a war with the Iroquois, the main power in the region, and led a poorly equipped expedition against them that ran into difficulty. He was forced to agree to a disadvantageous peace treaty that was condemned by France's Indian allies, the colonists and the French court. He was recalled as a result and spent his last few years as a wealthy man in Paris.


title: Antoine Lefèbvre de La Barre

text: La Barre left Montreal on 30 July 1684 with 700 militiamen, 400 Indian allies and 150 regular troops, and travelled to Fort Frontenac. He made contact with the Iroquois on 29 August 1684 at a place named Famine Cove (Anse de la Famine) on Lake Ontario to the northeast of Oswego. His camp was in a marshy location without natural defenses. The force ran out of food and many came down with fever. He met with the Onondaga Iroquois leaders on 2 September 1684. The Jesuit Pierre Millet, who spoke the Iroquois language and had played a leading role in the great Iroquois council in mid-1684 that discussed how to appease the French, joined La Barre's expedition and helped with the negotiations at Anse de La Famine (Mexico Bay). The Onondaga leader Garangula said, "Hear, Yonnondio, take care for the future, that so great a number of soldiers as appear here do not choke the Tree of Peace planted in so small a fort. It will be a great loss, if after it had so easily taken root you should stop its growth and prevent its covering your country and ours with its branches."


title: People Like Us (Callum Beattie album)

text: "We Are Stars" was released as the lead single from the album on 31 March 2017. "Man Behind the Sun" was released as the second single from the album on 11 August 2017. "Connection" was released as the third single from the album on 28 March 2019. "Easter Road" was released as the fourth single from the album on 13 September 2019. "Talk About Love" was released as the fifth single from the album on 14 February 2020. "Some Heroes Don't Wear Capes" was released as the sixth single from the album on 12 May 2020. "Salamander Street" was released as the seventh single from the album on 26 June 2020. The song peaked at number six on the Scottish Singles Charts. "Fuckers" was released as the first single from the reissued edition of the album on 9 October 2020. The song peaked at number thirteen on the Scottish Singles Charts. "Don't Walk Alone" was released as the second single from the reissued edition of the album on 6 November 2020. The song peaked at number twelve on the Scottish Singles Charts. "Tear in My Eyes" was released as the third single from the reissued edition of the album on 5 February 2021.


title: Independence Square (Kuala Lumpur)

text: In the early days of Kuala Lumpur, the Chinese and Malay communities settled along the east bank of the Klang River. To the west of the river was land originally owned by Yap Ah Loy and was used to plant vegetables. In 1880, the state capital of Selangor was moved from Klang to Kuala Lumpur by the colonial administration. The then British Resident William Bloomfield Douglas decided that the government buildings and staff living quarters should be located to the west of the river to keep away from what he considered, as the unsanitary conditions of the town and the possibility of uprising from the locals. The government offices and a new police headquarter were built on Bukit Aman, with accommodation for the police located on Barrack Road (now Jalan Tangsi and part of Jalan Raja). A patch of swampy and uneven ground immediately to the west of the Klang River was then levelled and drained to be used as a training ground for the police. The land was acquired from Yap by the British Resident Frank Swettenham for $50 per acre in 1882. This patch of land, originally named the Parade Ground, would become the Padang. Ten years later in 1892, the Acting British Resident Ernest Birch who was a keen cricketer then started to smooth over the ground so that it may be used as a cricket ground and other sports. The Selangor Club clubhouse was built at the present location in 1890 and the St Mary's Church was built in 1895.


title: April Captains

text: Meanwhile, simultaneously, Maia and his troops are preparing to set off for Lisbon, and the other coup plotters are also preparing to move into position. The signal for the coup to start is the playing of Grandola, Vila Morena on the radio shortly after midnight on 25 April. Maia's troops set off in a column of armoured vehicles. Manuel, Fonseca, Botelho and Silva capture the Rádio Clube Português in Lisbon. A signal is given by morse code by car headlights to prisoners being held in prison by the DGS. Maia's armoured column has to stop in open countryside due to a breakdown by one of the key armoured vehicles; at this point Major Gervásio arrives in a conspicuous red sports car and joins the rebels. Maia's troops arrive in the Praça do Comércio in Lisbon, but are threatened by a naval warship and by a column of tanks commanded by Brigadier Pais (who remains loyal to the regime). Following a stand-off, with Labão and Maia both threatened with being shot, many of Pais' troops defect to the rebels. On entering the Government offices in the Praca do Comercio, Maia discovers that the ministers have fled to the GNR headquarters at Carmo in Lisbon. There are several asides, including where the young conscript soldier in the opening scenes of the film meets Rosa again, placing a carnation in the barrel of his rifle (and are later discovered inside a military armoured car whilst making love).


title: Horncastle boar's head

text: Boar-crested helmets are depicted on the turn-of-the-millennium Gundestrup cauldron, discovered in Denmark, and on a Torslunda plate from Sweden, made some five hundred years later. Though the Romans also included the boar in their stable of symbols—four legions, including the England-based twentieth, adopted it as their emblem—it was only one among many. The boar persisted in continental Germanic tradition during the nearly 400 years of Roman rule in Britain, such as in association with the Scandinavian gods Freyja and Freyr. Its return to prominence in the Anglo-Saxon period, as represented by the boars from Benty Grange, Wollaston, Guilden Morden, and Horncastle, may therefore suggest the post-Roman introduction of a Germanic tradition from Europe, rather than the continuation of a tradition in Britain through 400 years of Roman rule. Whatever its precise symbolism, the Anglo-Saxon boar appears to have been associated with protection; the Beowulf poet makes this clear, writing that boar symbols on helmets kept watch over the warriors wearing them.


title: Infestation: Survivor Stories

text: Following the game's release, many customers accused the developers of fraud because of key features that were advertised but not featured in the game. The game was initially described on Steam by the developers as containing certain features, such as multiple large game worlds varying in size, a skill point-based leveling system, player versus environment combat, hundred-player servers, and private servers, none of which were a part of the game at the time. The Steam page was updated within 24 hours of release, but still mentioned features not yet in the game. Titov defended the way the information was presented by stating that the map size and player limits fell within the ranges shown, e.g., "Size of the area, once again, come on— first map is over 100 sq km. So text is right." However, an independent analysis by PCGamesN.com estimated the actual map size at just under 10 sq km. Titov also claimed that players had misread the information about the game's features on the store's page. The game was pulled from Steam and any customer who purchased the game during the initial sale of the game was eligible to receive a full refund from Steam, which was at the time an almost unheard-of move by Valve.


title: Maro Charitra

text: Having chosen the male lead, Balachander was on a lookout for a female counterpart. Actress Sridevi was the initial choice for the Swapna role but later on she walked out due to her back-to-back movie shoots with NT Rama Rao and Akkineni Nageshwara Rao. As the film deals with cross-cultural romance, he decided to cast a new actor to play the female lead. To choose the character, he auditioned a number of girls and finally ended up choosing a "dark-skinned girl with big eyes" named Abhilasha, who was in tenth grade. Though the members of the production unit were unsatisfied with her dark complexion and fat physique, Balachander went ahead in finalising her for the role as he felt she had a homely look and was of the right age to fit in the role. Later, she was rechristened Saritha by Balachander himself. In a 2005 interview with The Hindu, she said that she was the 162nd girl to be auditioned for the film, while also noting that she did not even look good in the photographs that was sent to Balachander. Besides the lead actors, Madhavi who made an impact with Thoorpu Padamara was signed up to play an important role in the film. The film was shot mostly in Visakhapatnam and Bheemunipatnam in Andhra Pradesh. Contrary to most of the films that released during the period, Maro Charitra was shot in black and white. The final length of the film was 4,648.51 metres (15,251.0 ft).


title: Maro Charitra

text: Balachander considered remaking Maro Charitra in Tamil, but Kamal felt it was pointless to do so since the film already had many Tamil dialogues and was so successful in Madras. The film was remade into Hindi as Ek Duuje Ke Liye by Balachander himself in 1981. The film like its original became a box-office success and attained cult status. It also marked the Bollywood debut of many South Indian artists including Kamal Haasan, Madhavi and playback singer S. P. Balasubrahmanyam. In the 1981 film, Balachander chose Rati Agnihotri over Saritha as he conceived that a Punjabi girl would be more suitable to the Hindi audience. In 2005, the film was remade in Kannada as Love Story (dubbed in Tamil as Uyirullavarai), with a Hindi man and a Kannada woman as the romantic leads. Despite being labelled as a "frame-to-frame remake" of the original, the film was described as "no match to the original film in any aspect of its making" by K. N. Venkatasubba Rao of The Hindu. Five years later, Ravi Yadav remade the story with the same name in Telugu with Varun Sandesh, Anita Galler and Shraddha Das. Unlike the original, the film was a failure and received negative reviews. A review from Rediff.com noted, "the new-age Maro Charitra is no patch on the original".


title: Robert Colbert

text: Colbert's first appearance in Maverick was in the fourth season, in "Hadley's Hunters," playing a character called "Cherokee" Dan Evans, an episode featuring many cameos by the lead actors in other Warner Bros. Western series playing their usual roles: Will Hutchins as Sugarfoot, Ty Hardin as Bronco, Clint Walker as Cheyenne, and John Russell and Peter Brown from Lawman. Colbert wore a black hat on the back of his head during the episode, the way James Garner's character had in earlier seasons (Garner and Colbert resembled each other extremely closely). Later that same season, in 1961, Colbert was forced by Warner Bros. to wear the whole costume, dressed exactly as look-alike Garner had in Garner's earlier role of Bret Maverick to play a new series regular called Brent Maverick. Thinking of the inevitable comparisons to Garner that were bound to ensue, Colbert said to his bosses, "Put me in a dress and call me Brenda, but don't do this to me!" Garner had been a huge success in the role and was in the process of moving into a much-anticipated theatrical movie career in the wake of winning a contentious lawsuit with Warner Bros. Colbert played his part in two episodes and was not called back for the following season since the studio, facing a steep ratings decline after the departures of writer/producer Roy Huggins and star Garner, agreed to alternate new episodes featuring only Bret and Brent's brother Bart Maverick (Jack Kelly) with reruns from earlier seasons starring Garner during the series' fifth and final season. Colbert, whose only two episodes as Brent Maverick were "The Forbidden City" and "Benefit of Doubt," had never received enough screen time to see if he could have eventually succeeded in bolstering the ratings.


title: Robert Colbert

text: Before Roger Moore, who played Bart's cousin Beau Maverick, left Maverick during the same season in which Colbert appeared, the studio shot numerous publicity photographs of Colbert, Kelly and Moore cavorting in costume together that are readily accessible on Google Images; the rights to many of the pictures are currently owned by Getty Images. By the time Colbert's two episodes were telecast, however, Moore had already quit the show and Moore and Colbert never appeared together in the series itself. James Garner reminisced in his Archive of American Television interview that the studio lit Colbert darkly as well as dressing him like Garner in an attempt to mislead the public that Garner had returned but that when Colbert spoke, the audience realized that it wasn't Garner. A viewing of the episodes themselves, however, reveals that Garner was mistaken about this and that Colbert was lit normally during his shows although he was certainly dressed precisely as Garner had been earlier in the series.


title: WCLM (Chicago)

text: It would not be long, however, before WCLM's broadcasts, which, like the wired service, were primarily oriented at retail establishments, came in for scrutiny. In 1959, the Federal Bureau of Investigation, the intelligence unit of the Chicago Police Department, and the anti-racketeering section of the Office of the Attorney General of the United States opened an inquiry into Carol Music. However, it was an action taken on December 15, 1961, that sparked the interest of the Federal Communications Commission. On that day, a Chicago company known as Newsplex, Inc., began using the SCA channel on WCLM to broadcast the results of horse races to businesses. The lease of the SCA to Newsplex, a company that—like Carol Music—was managed by William Drenthe, was never reported to the FCC. Further, a routine check revealed that WCLM had broadcast the results of a Florida horse race only 20 minutes after its conclusion, when Florida law at the time required race results to be delayed 30 minutes before being sent by newswires. On July 26, 1962, the FCC ordered WCLM to show cause why its license should not be revoked. In addition to the SCA issues, the FCC claimed that WCLM, with its programming of music and commercials for chain grocery stores, failed to provide the balanced service of entertainment, music, and news that it had promised at its license renewal. It also found that the station had failed to maintain operating logs. Newsplex ceased operating on September 15, 1962.


title: Restoration (Peru)

text: Gamarra began a new war against Bolivia, whose purpose was to reunite it with Peru, or at least incorporate only the department of La Paz. To justify himself, he argued a series of reasons, such as the fact that the supporters of Andrés de Santa Cruz, who at that time was exiled in Ecuador, were still operating in Bolivia. Once war was declared, the Peruvian army stationed in Puno invaded Bolivia, advancing through Huancané, Moho and Sorata, and on October 19, 1841, it occupied La Paz, where it camped. The Bolivians put aside their political quarrels and gathered around General José Ballivián. On November 18, 1841, both armies met on the Ingavi plain, east of La Paz. It is said that Gamarra, upon seeing that the colors of the rainbow stood out in the sky, said in a foreboding tone: "If I were Roman I would postpone the battle, because I see the colors of Bolivia reflected in the sky." But he ordered the attack, and shortly after the fight began he fell mortally wounded. The battle ended with the defeat of the Peruvians, after fifty minutes of fierce fighting.


title: Taneyuki Harada

text: Following the December 7 attack on Pearl Harbor in 1941, Harada was sent home from school on account of bullying and his step-father's business was closed after the state revoked their license. On February 19, 1942, Executive Order 9066 was issued demanding the detainment and relocation of all Japanese and Japanese-American individuals. In the spring of 1942, Harada and his family moved inland to San Lorenzo, California and come May, Harada and his family were on a bus out of Hayward to Tanforan Assembly Center. Harada and his family remained detained at Tanforan Assembly Center through the summer of 1942, where Harada began painting at the Tanforan art school founded by Issei artists Chiura Obata and George Matsusaburo Hibi and Nisei artists Miné Okubo and Frank Taira. Harada and his family were relocated to Topaz War Relocation Center (Utah) in September 1942 where he continued studying at the Topaz art school with Hibi as his mentor. One of his most famous works, "Barracks" (now held at the San Francisco's Fine Arts Museum's de Young Legion of Honor) depicts an "enigmatic view of the camp, devoid of any of the nine thousand internees...(visualizing) both its physical isolation in the desert and the psychological alienation brought on through unjust detention"


title: Super Meat Boy Forever

text: In the final world (dubbed "The Other Side"), Meat Boy and Bandage Girl (now Meat Ninja and Bandage Ripper) explore and try to find Nugget and Fetus. After find a hologram version of the two, they try and punch it only for it to turn into atoms and reveals God Fetus to the duo, who was made of atoms from Dr. Fetus and a solar system, and fight Fetus in an ultimate battle. After the fight, The atoms of Nugget reform and bring her to the duo and celebrate their victory, with it getting cut short due to Fetus getting new atoms and throwing a heavy rock at them in order to kill them. With the duo holding the rock up, Nugget gets an idea and shows her pacifier to God Fetus in order for it calm down. Nugget's idea works and the atoms of Fetus remerge and present him to the 3 of them, with Nugget giving the pacifier as a gift. Dr. Fetus, happy due to the gift, then gets punched in the face and is sent flying through time to before the events in the lab and is knocked out from the punch. As a result, the duo de-age, the animals don't die and thank Meat Boy and Bandage Girl for their actions and head back to the forest, and Nugget is rescued at last.


title: Super Meat Boy Forever

text: Development of a mobile successor to Super Meat Boy was announced in February 2012, with the game being rebuilt from scratch, without assets from the original. The game was put on hold a year later, so Team Meat could focus on Mew-Genics. Super Meat Boy Forever was formally announced in August 2014 as a mobile-only spinoff to the original Super Meat Boy. Team Meat founders Edmund McMillen and Tommy Refenes originally teased the project as a "live-action stealth game" called A Voyeur for September, but this was later revealed to be an anagram for Super Meat Boy Forever. After a few years of little to no public updates, Edmund McMillen left Team Meat and began focusing on other projects such as The Binding of Isaac, The End Is Nigh and (the unhyphenated) Mewgenics. Refenes said to not "hold your breath" expecting McMillen to come back after Super Meat Boy Forever is released. Meat Boy's original creator, Edmund McMillen, was not involved in the game's development as he had left Team Meat years prior.


title: Allen H. Eaton

text: He left Oregon for New York City "the next day" and got a position with the American Federation of Arts. His 1919 Buffalo, New York exhibition Arts and Crafts of the Homelands drew almost fifty thousand visitors. After the death of John C. Campbell in 1919 he took his place as field secretary for the Russell Sage Foundation, which resulted later in his Handicrafts of the Southern Highlands in 1937. In 1942 he was shocked at the treatment of Japanese-Americans through Roosevelt's Executive Order 9066, and resolved to do something to help the internees remind themselves and the rest of America of their contributions. He had already written about the group in his 1932 Immigrant Gifts to American Life. His vision during the war was to have exhibitions on American arts and crafts travel from relocation center to relocation center, but he could not find sponsors for such an undertaking. He was determined to survey them for his work on American crafts however and visited several centers himself, impressed especially by miniature "gardens" and "home" decorations made from scrap and other local materials. This work resulted in his "Beauty behind Barbed Wire". During the project he was gifted many articles for use in a large permanent exhibition that never transpired. Among the artefacts was work by artist Estelle Peck Ishigo.


title: Segovia

text: Like most Castilian textile centres, Segovia joined the Revolt of the Comuneros under the command of Juan Bravo. Despite the defeat of the Communities, the city's resultant economic boom continued into the sixteenth century, its population rising to 27,000 in 1594. Then, as well as almost all the cities of Castile, Segovia entered a period of decline. Only a century later in 1694, the population had been reduced to only 8,000 inhabitants. In the early eighteenth century, Segovia attempted to revitalize its textile industry, with little success. In the second half of the century, Charles III made another attempt to revive the region's commerce; it took the form of the Royal Segovian Wool Manufacturing Company . However, the lack of competitiveness of production caused the crown withdraw its sponsorship in 1779. In 1764, the Royal School of Artillery, the first military academy in Spain, was opened. This academy remains present in the city today. In 1808, Segovia was sacked by French troops during the War of Independence. During the First Carlist War, troops under the command of Don Carlos, Count of Molina unsuccessfully attacked the city. During the nineteenth and first half of the twentieth century, Segovia experienced a demographic recovery that was the result of relative economic stability.


title: Department of Youth Rehabilitation Services

text: Marc A Schindler was the interim Director of DYRS from January 2010 to July 2010. He succeeded Vincent Schiraldi, who wrote in an op-ed column after leaving his post, that his tenure was marked by "both controversy and promises kept." He also mentions that at the time he left DYRS, "just 7 percent of DYRS-supervised youths are on runaway status today, compared with 26 percent in 2003. Homicides by youths in DYRS's care have fallen, from 1.1 percent of our youth in 2007 and 2008 to 0.7 percent in 2009, and in the past year juvenile homicide arrests citywide have declined at more than twice the rate of adult homicide arrests. Most important, the rate of recidivism for youths released from Oak Hill decreased 47 percent from 2004 to 2007." In 2009, DYRS employees were investigated by the district's Attorney General for possibly having had sexual relations with a teenager under their care. In 2009, the Council for Court Excellence in a presentation before the DC Council Committee on Human Services communicated their "frustration" with the near absence of public information about DC's juvenile system and of DYRS's actual performance.


title: Jonathan E. Aviv

text: Aviv had an 18-year academic career as an attending physician at the Columbia University Medical Center and as a professor of Otolaryngology–Head and Neck Surgery at the Columbia University College of Physicians and Surgeons. In the Department of Otolaryngology–Head and Neck Surgery he served as Director of Microvascular Head and Neck Reconstruction, Director of Head and Neck Surgery and then Director of the Voice and Swallowing Center. He has published medical journal articles on microvascular head and neck reconstruction, tongue reconstruction and developed a method of restoring sensation to the throat using microsurgical techniques. He has also published numerous journal articles related to Flexible Endoscopic Evaluation of Swallowing with Sensory Testing (FEESST),Transnasal esophagoscopy (TNE), acid reflux disease and cough. He has authored or co-authored two textbooks and most recently a health and wellness book designed for the lay public called Killing Me Softly From Inside: The Mysteries and Dangers of Acid Reflux and Its connection to America's Fastest Growing Cancer with a Diet that may save your life. He is licensed to practice medicine in New York and New Jersey. In 2009 he left Columbia to join the largest Ear, Nose and Throat practice in the United States, ENT and Allergy Associates LLP, in New York City, NY. There he founded and became clinical director of the practices Voice and Swallowing Division.


title: Metavante

text: Under the investment agreement, Warburg Pincus agreed to invest $625 million to acquire an equity stake of 25 percent in Metavante Corporation. Marshall & Ilsley Corporation shareholders retained 75 percent of the shares of Metavante Corporation. The plan was implemented through the spin-off of Marshall & Ilsley Corporation and was designed to be tax-free to Marshall & Ilsley Corporation and its shareholders. As part of the plan, approximately $1.75 billion of new Metavante Corporation debt would be arranged by J.P. Morgan Securities Inc. and Morgan Stanley. Metavante Technologies, Inc. began trading on the New York Stock Exchange as an independent publicly traded company on November 1, 2007, under the symbol "MV." The new company had approximately 5,500 employees, and was under the same management as previously, with Frank Martire continuing as president and CEO, and Mike Hayford remaining senior executive vice president and chief operating officer. Upon completion of the transaction, Marshall & Ilsley Corporation shareholders receive one share of Marshall & Ilsley Corporation stock and a further share of Metavante Corporation stock for every three shares of Marshall & Ilsley Corporation stock held.


title: Cantonment (Pakistan)

text: The administration of cantonments and management of the military lands inside and outside the cantonments is centrally controlled and supervised by the Military Lands and Cantonments Department, which is an attached department of the Ministry of Defense headed by a director general Hassan Raza Maneka. The post of MLC director general is purely civilian, but a serving major general has been appointed on it. Army captured the post after former president Pervez Musharraf's 1999 coup. Since then, the post has been doled out to serving majors general in violation of civil service rules. Maj-Gen Javed Iqbal was the first army officer to be appointed on the coveted post. Qazi Naeem Ahmad was the last civilian served as DG Military Lands and Cantonments. The director general is assisted by an additional director Ahmad Hamza Khan and a deputy director Ali Hassan at the headquarters. In addition, five Regional Deputy Directors based at Peshawar, Rawalpindi, Lahore, Karachi and Quetta supervise the respective cantonment boards in their jurisdiction. The Cantonment Executive Officer Faisal Masood is the principal executive at the local level. The board normally decides and lays down policies, while the executive officer executes these policies. He is the chief exponent of the board's policies. He acts as an adviser and is a permanent officer specially trained in local administration. He is empowered to carry out the policies and decisions and ensure adherence to the various laws and bylaws. The presence of elected members in the board has a salutary effect, and is most beneficial for the civilian residents because the elected members are the medium to convey their views. The elected members play an important role in the development of public services in their respective areas. Development works are usually carried out in consultation with the respective elected members. Major development schemes are finalized in the budget meeting held before the beginning of the fiscal year, with the consent of all the members.


title: Latin Grammy Award for Best Urban Fusion/Performance

text: According to the category description guide for the 2013 Latin Grammy Awards, the award is for vocal or instrumental singles or tracks of newly recorded material containing at least 51 percent playing time of Urban music subgenres such as Hip Hop, Rap, Dancehall, R&B, Reggaeton, and could include a fusion mix of other genres. It is awarded to solo artists, duos or groups. Spanish singers Enrique Iglesias and Rosalía are the only artists to win this category twice. Bad Bunny and J Balvin are the most nominated artists with 6 nominations each, Bad Bunny winning once in 2022. In 2014, "Bailando" by Enrique Iglesias featuring Descemer Bueno & Gente De Zona became the first song to be nominated for this award and for Record of the Year. In 2018, "Malamente" by Rosalía won this award and was nominated for Record of the Year. Other songs nominated for both this award and Record of the Year are "Chantaje" by Shakira featuring Maluma in 2017; "China" by Anuel AA, Daddy Yankee, Karol G, Ozuna, J Balvin in 2020 and "Pa Mis Muchachas" by Christina Aguilera, Nicki Nicole, Becky G featuring Nathy Peluso in 2022.


title: Music to Crash Cars To

text: Music to Crash Cars To was the debut release by UK Industrial band DeathBoy. It was released in 2003 by Wasp Factory Recordings (WASPFAC021). It is available as a download from Line Out Recordings. The album was produced and mastered by Scott Lamb in conjunction with Lee Chaos of Wasp Factory Recordings at the beginning of 2003 in London and Cheltenham. Due to copyright issues with samples on Crawlout, the film quotes were revoiced by Scott, Marcus Lanyon of Tarantella Serpentine and Tom and Laura from the US band VX. The CD has a reversible cover. The front cover shows a smashed up car (which was discovered by the band on Ealing Common in London). The car was originally blue, and far less damaged than the final shot on the cover. The front cover shot was taken the day after the band shot from the inlay, in which time the car had been smashed up a lot more. The "reverse" cover shows a mock-up of an accident site, with some flowers tied to a lamp post - it is not a picture of a real accident site.


title: Arwen Elys Dayton

text: In February 2015, Dayton released the novel Seeker, a fantasy novel set in a shadowy dystopian future. It follows three young apprentices: Quin, John and Shinobu, as they undergo training to become the "Seeker", to right the wrongs of the world. Dayton extensively researched the novel in Scotland, where the first third of the story is set, and stated that "when I drive through smaller villages and through open land, I know I'm seeing Scotland much as it was hundreds of years ago, and much as it will be in times to come". USA Today noted the different responses of the three characters to the "disillusionment experienced when lies of childhood are revealed as frightening truths of a really messed-up adult reality". Publishers Weekly called Seeker a "powerful beginning to a complex family saga". though the reviewer for The Guardian was less enthusiastic, believing that the second half of the novel was stronger. Teen Vogue included the novel in their 2015 "13 YA Debuts to Have on Your Radar This Year" list. As early as 2013 it was announced that Columbia Pictures had purchased the rights to the novel and that Mark Gordon was attached to produce a film adaptation. President of production, Hannah Minghella, stated: "The best science fiction and fantasy stories are a metaphor for a grounded universal truth and Arwen perfectly captures the emotionally complex awakening all young people have that the world is not black and white, parents are not perfect and ultimately we all have to be Seekers of our own truth".


title: Arwen Elys Dayton

text: In December 2018, Dayton released Stronger, Faster, and More Beautiful, which explores the ethical question of how far humans will go in their pursuit of physical perfection. Her interest in genetic engineering began in 2009 when she read an article in The New Yorker about synthetic biology and the scientists who were fusing together body parts to create new life. Sadie Trombetta of Bustle described the book as "powerful, poignant", writing: "six interconnected narratives come together to tell a larger story about a distant future where science and technology have made it possible to attain the kind of perfection humans have always craved. It is a twisted and sometimes terrifying exploration of the incredible possibilities of genetic manipulation and life extension that begs an important question: How far are we willing to go to become the perfect human specimen, and at what point does that perfection start to interfere with our humanity?" In a starred review, book review magazine Kirkus Reviews wrote that the book was "imaginative and incisive ... asks readers to ponder what makes us human and if we'll know when we've crossed the line, becoming something else." Publishers Weekly also gave the book a starred review, stating that "Dayton's brilliant collection of stories is best described as a scientific Twilight Zone". In the UK, the Financial Times wrote of the book, "There's some lovely writing from Dayton, especially her first-person narratives, and the thought-provoking ideas are grounded in warm, credible characterisation." Tom Shippey of The Wall Street Journal cited the book as one of the best science fiction novels of 2018, while Constance Grady of Vox named it one of the 16 best books of 2018.


title: The Happytime Murders

text: There were a total of 125 puppets in the film with 40 created specifically for it. To accommodate the puppeteers, all of the sets were built up so that the puppeteers could stand on the floor, since their optimum way to operate the puppets is if they are standing with straight arms. Because the floor of the sets came up in pieces, the human actors had a two-foot (61 cm) margin to stay on their path. Visual effects supervisor Sam Nicholson said the film had many VFX challenges, specifying, "It's some of the most complex work that we've ever done because, in one shot you could have a combination of principal photography done at 8K and then puppets on greenscreen being puppeteered by four puppeteers for each puppet. So if you have, say, six puppets in a scene, you've got 24 puppeteers operating them, 15 voice actors voicing them and these are all people dressed in green suits. And then you have all the rod removal of those puppets, and then you have avatars or CG puppets that are standing right next to the real puppets."


title: Charles James Martin (physiologist)

text: During World War I he served with the Australian Army Medical Corps in Gallipoli, Egypt, and France as a pathologist with the rank of Lieutenant-colonel. He found some cases of enteric fever at Gallipoli were not typhoid, but paratyphoids A and B, and made a vaccine for all three. A memo to his colleagues on the different treatments for amoebic and bacillary dysentery was widely circulated by the army under Martin's name. In France he organized the integration of decentralized pathology services into the A.A.M.C. After the war he returned to the Lister Institute until his retirement in 1930. He then spent a further two years in Australia as head of the animal nutrition division of the Council of Scientific and Industrial Research in Adelaide. On his return to the UK he went to live at Roebuck House in Old Chesterton, Cambridge, which he equipped as a laboratory. During WWII it was used to rehouse the experimental animals being used for medical studies by the staff of the Lister Institute. In 1934 he undertook an experimental study of the myxoma virus, at Cambridge and on a rabbit-infested island in Pembrokeshire, to show it was both safe and effective to control plagues of rabbits.


title: Hubbard Park (Montpelier, Vermont)

text: The road to the summit was initially constructed in 1910. During the 1920s, extensive plantings of red pines were undertaken along the hillside behind the Vermont Statehouse and below the tower site. By the 1960s, the stands of pines grew to obstruct what had previously been a clear view of the statehouse and downtown Montpelier from the tower (and vice versa). Between 1933 and 1936, as part of the New Deal, the Civilian Conservation Corps under the direction of the Vermont Forest Service materially enhanced much of the park. These enhancements were done carefully so as to not cause any disfigurements to the landscape, "yet improved enough for greater human enjoyment". Designed to make Hubbard Park more usable and beautiful- the upgrades focused on improving infrastructure and planting new trees as well as clearing brush and down material to reduce fire hazards. During this time all of the interior roads were regraded, widened, drained, and graveled. Hubbard Park Drive was improved to allow the park to be readily accessible from either the east or west side of Montpelier. A new bridle trail was constructed which allows visitors to hike the entire park area. 3,000 Norway spruce and 1,000 red pine trees were planted. The park's seven fireplace picnic area and a sledding hill near the parks main entrance were also added. In all twenty acres of woodlands were cleared of brush and down material, seven acres were reforested, and four miles of road was built or improved.


title: Hubbard Park (Montpelier, Vermont)

text: The road to the summit was constructed in 1911 and construction of the tower began in 1915. An initial donation of $500 from Mrs. M.J. Dunwoodie allowed for the preparation the foundation. The tower was designed by Park Commissioner and avocational architect, Harry Morton Cutler who was employed as the treasurer for the National Life Insurance Company of Montpelier. Constructed intermittently for several weeks each year by John Miglierini and his employed crew, the tower's stones were gathered from nearby abandoned walls and fences previously used to mark the hillside when it was used as grazing pastures. To this day visitors can still find lengths of old stone fences throughout the park. The tower was completed in 1930 for a total cost of $8,000 (primarily through provisional funding within the City's budget). The inner terrace was added at a later date. Often mistaken as an unfinished structure, the irregular-shaped parapet along the top of the tower was an intentional design feature crafted to resemble that of a medieval ruin.


title: The Flash season 6

text: Ray Palmer's "Paragon Detector" identifies Barry, J'onn J'onzz, and Ivy Town scientist Ryan Choi as the remaining three, so Ralph, Iris, and Ray leave to recruit Choi. After the Monitor restores Cisco's powers, Team Flash and Nash (now Pariah) return to the chamber the latter found, where they discover an anti-matter cannon and Earth-90's Barry powering it. Cisco successfully frees him, but the cannon starts going critical, so Pariah recruits Black Lightning from another Earth to help contain the energy. As Barry prepares to destroy the cannon, Earth-90 Barry stops him so he can sacrifice himself in his place. Elsewhere, John Constantine, Mia Smoak, and John Diggle visit Lucifer on Earth-666 to get Oliver Queen's soul back, which they find in Purgatory. Before they can leave, Jim Corrigan appears so he can pass the Spectre's power onto Oliver. He accepts and Constantine's team is sent back without him. While the heroes regroup, the Anti-Monitor sends a brainwashed Harbinger to attack them and kill the Monitor so he can finish destroying the multiverse. Before he and the rest of the team is killed, Pariah teleports the Paragons to the Vanishing Point, where they learn Lex Luthor used the Book of Destiny to replace Earth-96's Superman with himself.


title: Felipe de Jesús Villanueva Gutiérrez

text: Professor José Ovando Ramírez in his book "Felipe Villanueva Gutiérrez, his time, his life, his work", refers to the fact that this illustrious musician and composer developed his work at that time in which Italian music predominated in musical preferences in Europe and America, including Mexico, coupled with certain reminiscences of the Viennese waltz that introduced an Austrian orchestra to our country in the time of the Emperor Maximilian. Added to the originality of the Mexican musical compositions, they gave rise to consider Felipe Villanueva Gutiérrez as one of the outstanding precursors of Mexican musical nationalism of century XIX. A time when the Mexican waltz was distinguished by its quiet times, with intimate character, longings in its rhythmic and of remarkable musical quality, like the waltz "God never dies" of Macedonio Alcalá, "On the waves" of Juventino Rosas and " Vals poetic ", first waltz from a group of three slow waltzes" Causerie "," Love "mazurks:" Ebelia "," In dance "," Golden dream "and dances" Ana "and" Luz "by Felipe Villanueva Gutiérrez.


title: Baal Shem

text: Beginning with Hasidic Judaism in the late 17th century, the role mystical tzadik was established to conceptualize a follower's connection to God. The tzadik was a divine channel that could connect a devoutly religious follower to God. This was the first instance of popular Jewish mysticism. The movement borrowed this role from Kabbalistic theosophical terminology. Hasidic philosophy encouraged devekut attachment to the rabbis within the movement, who were said to embody and channel the divine flow of blessings to the world. This replaced the former Tzadikim Nistarim, which was understood as list of 36 righteous men that were able to connect blessings to the world. It was understood that this list was made up of private pietists and Baalei Shem in Eastern Europe. As doctrine coalesced in writing from the 1780s, Jacob Joseph of Polonne, Dov Ber of Mezeritch, Elimelech of Lizhensk, Yaakov Yitzchak of Lublin and others shaped Hasidic views of the tzadik, whose task is to awaken and draw down the flow of divine blessing to the spiritual and material needs of the community and individual common folk.


title: Baal Shem

text: From the 1730s, the Baal Shem Tov headed an elite theurgic mystical circle, similar to other secluded Kabbalistic circles such as the contemporary Klaus (Close) in Brody, but with the innovative difference to use their psychic heavenly intercession abilities on behalf of the common Jewish populace. From the legendary hagiography of the Baal Shem Tov as one who bridged elite mysticism with deep social concern, and from his leading disciples, Hasidism rapidly grew into a populist revival movement. Central, and most distinctively innovative, in Hasidic thought was its new doctrine of the Hasidic tzadik, which replaced the former Tzadikim Nistarim private pietists and Baal Shem Practical Kabbalists in Eastern Europe. As doctrine coalesced in writing from the 1780s, Jacob Joseph of Polonne, Dov Ber of Mezeritch, Elimelech of Lizhensk, Yaakov Yitzchak of Lublin and others shaped Hasidic views of the tzadik, whose task is to awaken and draw down the flow of divine blessing to the spiritual and material needs of the community and individual common folk.


title: Bop Gun (Homicide: Life on the Street)

text: Despite critical acclaim, Homicide: Life on the Street suffered from poor ratings throughout its first season, prompting NBC to consider taking it off the air. After a nine-episode first season, the network approved four more episodes for the show's second season as a trial run to determine whether to continue or cancel the show. The script for "Bop Gun" was completed before the first season ended, but NBC executives asked for several refinements – including less involved plots and fewer camera movements – before approving a second season. In an attempt to appease the network and improve ratings, executive producers Barry Levinson and Tom Fontana sought to make subtle changes to give the show a stronger mainstream appeal, while aiming not to compromise its integrity or originality. With "Bop Gun", the producers slightly toned down the bleak visual style and hand-held photography motif. It is also the first episode to focus on a single story, rather than multiple subplots, which Fontana felt allowed the writers to tell the main story better. Fontana said of the changes to the series, "We were experimenting with our first nine episodes. Whenever you try something new, you tend to err on the side of breaking ground. But we'd rather have more people watching, so the colors and lighting are slightly brighter, and the camera movements are not as jarring." "Bop Gun" marked the first episode with Jean de Segonzac as director of photography. The first scene, which depicts the moments immediately before the shooting, juxtaposes shots of the Ellison family admiring the tourist attractions of Baltimore with shots of their shooters playing basketball before following the family. The photography depicts the different sides of Baltimore by presenting the Ellison family shots like a cheerful tourist advertisement, with the other shots presenting a grittier image of the city.


title: Bop Gun (Homicide: Life on the Street)

text: "Bop Gun" marked the first episode in its new time slot on Thursdays at 10 p.m., occupying a period previously filled by L.A. Law. The show previously aired 9 p.m. on Wednesdays, where it was regularly defeated in the ratings by the ABC comedy Home Improvement. "Bop Gun" was written by David Mills and David Simon based on a story by Fontana. It was directed by Stephen Gyllenhaal, a feature director then-best known for such films as Waterland and A Dangerous Woman . It was the first television script written by Mills, who previously worked as a reporter and became friends with Simon while studying journalism at the University of Maryland, College Park. Mills said of "Bop Gun", "That script inspired me to quit journalism. It was a golden opportunity, even though I didn't know what I was doing. I developed bad habits as a newspaper feature writer. I would always stretch a project to fill the available time." "Bop Gun" served as a departure from previous Homicide: Life on the Street episodes by focusing more strongly on a murder victim, rather than on the detectives. Simon felt the script's dialogue, particularly the detectives' use of dark humor as a coping mechanism for dealing with the horrors of the homicide unit, were faithful to reality. He particularly cited the scene in which Felton angers Ellison by talking excitedly about how much overtime he expected to get. Simon said, "That's a conversation that would happen. It would happen in any homicide unit in America, and when I saw it actually being acted out I got a real kick in the pants because I thought, 'Wherever there are homicide detectives watching this, they're cracking up because they know how true it is.'"


title: Bop Gun (Homicide: Life on the Street)

text: "Bop Gun" was originally meant to serve as the second season finale, but NBC decided to make it the season premiere with the hopes of getting increased ratings from a guest appearance by Robin Williams. Williams portrayed Robert Ellison, the husband of a slain woman tourist. Several news sources indicated Williams took on the role as a favor to Homicide executive producer Barry Levinson, who directed Williams in the films Good Morning, Vietnam and Toys . But Fontana said Williams agreed to take the part based on the actor's positive impression of both the show in general and the "Bop Gun" script in particular. Fontana said of Williams, "He read the script, responded instantly and said, 'When do you want me there?'. He could not have been more prepared or more of a gentleman to everyone, and he worked his tail off. That whole experience was a joy." Williams himself said of the show, "Visually, it was just so different from anything else on television." Although Williams was primarily known for his comedic work, the Homicide producers and Williams himself consciously decided to remain true to the original script, rejecting the idea of adding humor or jokes to the episode. Williams' scenes were filmed over three days, and the actors found the part emotionally draining. Fontana said, " worked like a dog. It was quite a special event for all of us. It's very intense."


title: Bop Gun (Homicide: Life on the Street)

text: "Bop Gun" received generally positive reviews, and was identified by The Baltimore Sun as one of the ten best episodes of the series. Sun writer David Zurawik said Gyllenhaal's direction was as good as anything he had done in film, and called the script "one of the most ambitious scripts you'll see on TV this year". Lon Grahnke of the Chicago Sun-Times gave the episode his highest rating of four stars, and called Williams portrayal "a piercing dramatic performance". Grahnke also said, "In one hour, 'Bop Gun' says more about firearms, urban tragedies, crime victims and racial politics than any yammering congressman trying to blame television for our violent society." Entertainment Weekly critic Ken Tucker complimented the episode, noting, "Don't let Williams distract you from the real stuff here: the brilliantly jagged murder-investigation scenes and the exceptional performances from homicide-detective costars Daniel Baldwin and Melissa Leo." Tribune Company television critic Kate O'Hare praised "Bop Gun" for focusing on characterization and dialogue rather than action, and said of the episode, "With a mix of intense emotion, dogged police work and humorous banter among the detectives, "Bop Gun" typifies the philosophy of Homicide." David P. Kalat, author of Homicide: Life on the Street - The Unofficial Companion, called it a "grueling" episode, and that Williams performed "probably his finest noncomedic performance ever". The Philadelphia Inquirer television critic Jonathan Storm lauded the cast, the "visual art of the camera" and the "realistic, yet nearly literary dialogue" of "Bop Gun".


title: Bop Gun (Homicide: Life on the Street)

text: The Times-Picayune writer Benjamin Morrison praised the "unexpectedly understated" performance of Williams and praised the episode for not being simple or formulaic. He suggested viewers who were crime victims themselves would be particularly moved by the script. Hal Boedeker, television critic with The Miami Herald, called the episode an "uncompromising hour" and "the highest order for network TV". He said Williams "astonishes in every scene", and praised the script for not racing over topics as many television shows do, but rather taking "full measure of the weight of grief". Elaine Liner, television critic with the Corpus Christi Caller-Times, described Williams' performance as "heartbreaking", but particularly praised the writers for "taking the show to a higher level" by making the perpetrator sympathetic and three-dimensional, not only the victim. Liner said, "Fontana succeeds in fleshing out the characters on both sides of this tragedy." Bob Langford of The News & Observer called the episode "brilliant" and praised it for focusing not on the crime but on the effects of it, as well as the realistic portrayals regarding race, such as concerns the crime would keep away white tourists. Langford said it was occasionally preachy, but said "Sometimes, a good sermon is what we need. Amazing that one this powerful can come from a TV show."


title: Bop Gun (Homicide: Life on the Street)

text: Not all reviews were so positive. The Dallas Morning News writer Ed Bark called Williams' a "sometimes overly transparent effort to underscore the grief of the victims' survivors", and said the episode "works overtime" to make the world seem like a "bleak and scary place". Bark also said the show made itself a "target for charges of racism" by making the three murderers black, but also credited the script with making one of the perpetrators so sympathetic. Tom Shales of The Washington Post said the writers "try a little too hard" to create sympathy for the three murder suspects, and the episode suffers due to the absence of actor Andre Braugher, who plays Detective Frank Pembleton. But Shales also praised Williams' performance and said the episode was particularly powerful because the actual violence is off-screen. Buzz McCain, columnist with The Washington Times, called the episode "irritating" and "as pointless as the killing". He particularly criticized the script, which he said was clichéd and overly "misty-eyed", particularly the extended moments of Williams talking about the shooting. In a later article, McCain said, "Nothing I've written in this column generated as much visceral response as my nine paragraphs about ("Bop Gun")." In addition to responses from angry fans, McCain received a call from David Mills, who McCain said "simply wanted some insight as to what specifically I didn't like about his show and how the writers might improve on the next one."


title: Richard Strauss

text: Strauss's compositional output began in 1870 when he was just six years old and lasted until his death nearly eighty years later. His first tone poem to achieve wide acclaim was Don Juan, and this was followed by other lauded works of this kind, including Death and Transfiguration, Till Eulenspiegel's Merry Pranks, Also sprach Zarathustra, Don Quixote, Ein Heldenleben, Symphonia Domestica, and An Alpine Symphony. His first opera to achieve international fame was Salome, which used a libretto by Hedwig Lachmann that was a German translation of the French play Salomé by Oscar Wilde. This was followed by several critically acclaimed operas with librettist Hugo von Hofmannsthal: Elektra, Der Rosenkavalier, Ariadne auf Naxos, Die Frau ohne Schatten, Die ägyptische Helena, and Arabella. His last operas, Daphne, Friedenstag, Die Liebe der Danae and Capriccio used libretti written by Joseph Gregor, the Viennese theatre historian. Other well-known works by Strauss include two symphonies, lieder (especially the Four Last Songs), the Violin Concerto in D minor, the Horn Concerto No. 1, Horn Concerto No. 2, his Oboe Concerto and other instrumental works such as Metamorphosen.


title: Richard Strauss

text: A prominent conductor in Western Europe and the Americas, Strauss enjoyed quasi-celebrity status as his compositions became standards of orchestral and operatic repertoire. He was chiefly admired for his interpretations of the works of Liszt, Mozart, and Wagner in addition to his own works. A conducting disciple of Hans von Bülow, Strauss began his conducting career as Bülow's assistant with the Meiningen Court Orchestra in 1883. After Bülow resigned in 1885, Strauss served as that orchestra's primary conductor for five months before being appointed to the conducting staff of the Bavarian State Opera where he worked as third conductor from 1886 to 1889. He then served as principal conductor of the Deutsches Nationaltheater und Staatskapelle Weimar from 1889 to 1894. In 1894 he made his conducting debut at the Bayreuth Festival, conducting Wagner's Tannhäuser with his wife, soprano Pauline de Ahna, singing Elisabeth. He then returned to the Bavarian State Opera, this time as principal conductor, from 1894 to 1898, after which he was principal conductor of the Berlin State Opera from 1898 to 1913. From 1919 to 1924 he was principal conductor of the Vienna State Opera, and in 1920 he co-founded the Salzburg Festival. In addition to these posts, Strauss was a frequent guest conductor in opera houses and with orchestras internationally.


title: Richard Strauss

text: In 1933 Strauss was appointed to two important positions in the musical life of Nazi Germany: head of the Reichsmusikkammer and principal conductor of the Bayreuth Festival. The latter role he accepted after conductor Arturo Toscanini had resigned from the position in protest against the Nazi Party. These positions have led some to criticize Strauss for his seeming collaboration with the Nazis. However, Strauss's daughter-in-law, Alice Grab Strauss , was Jewish and much of his apparent acquiescence to the Nazi Party was done to save her life and the lives of her children (his Jewish grandchildren). He was also apolitical, and took the Reichsmusikkammer post to advance copyright protections for composers, attempting as well to preserve performances of works by banned composers such as Mahler and Felix Mendelssohn. Further, Strauss insisted on using a Jewish librettist, Stefan Zweig, for his opera Die schweigsame Frau which ultimately led to his firing from the Reichsmusikkammer and Bayreuth. His opera Friedenstag, which premiered just before the outbreak of World War II, was a thinly veiled criticism of the Nazi Party that attempted to persuade Germans to abandon violence for peace. Thanks to his influence, his daughter-in-law was placed under protected house arrest during the war, but despite extensive efforts he was unable to save dozens of his in-laws from being killed in Nazi concentration camps. In 1948, a year before his death, he was cleared of any wrongdoing by a denazification tribunal in Munich.


title: Richard Strauss

text: In addition to his formal teachers, Strauss was profoundly influenced musically by his father who made instrumental music-making central to the Strauss home. The Strauss family was frequently joined in their home for music making, meals, and other activities by the orphaned composer and music theorist Ludwig Thuille who was viewed as an adopted member of the family. Strauss's father taught his son the music of Beethoven, Haydn, Mozart, and Schubert. His father further assisted his son with his musical composition during the 1870s and into the early 1880s, providing advice, comments, and criticisms. His father also provided support by showcasing his son's compositions in performance with the Wilde Gung'l, an amateur orchestra he conducted from 1875 to 1896. Many of his early symphonic compositions were written for this ensemble. His compositions at this time were indebted to the style of Robert Schumann and Felix Mendelssohn, true to his father's teachings. His father undoubtedly had a crucial influence on his son's developing taste, not least in Strauss's abiding love for the horn. His Horn Concerto No. 1, is representative of this period and is a staple of the modern horn repertoire.


title: Richard Strauss

text: In early 1882, in Vienna, Strauss gave the first performance of his Violin Concerto in D minor, playing a piano reduction of the orchestral part himself, with his teacher Benno Walter as soloist. The same year he entered Ludwig Maximilian University of Munich, where he studied philosophy and art history, but not music. He left a year later to go to Berlin, where he studied briefly before securing a post with the Meiningen Court Orchestra as assistant conductor to Hans von Bülow, who had been enormously impressed by the young composer's Serenade (Op. 7) for wind instruments, composed when he was only 16 years of age. Strauss learned the art of conducting by observing Bülow in rehearsal. Bülow was very fond of the young man, and Strauss considered him as his greatest conducting mentor, often crediting him as teaching him "the art of interpretation". Notably, under Bülow's baton he made his first major appearance as a concert pianist, performing Mozart's Piano Concerto No. 24, for which he composed his own cadenzas.


title: Richard Strauss

text: Strauss's tenure at the Bavarian State Opera was not a happy one. With the death of Ludwig II of Bavaria in June 1886, the opera house was not as well financially supported by his successor Otto of Bavaria which meant that much of the more ambitious and expensive repertoire that he wanted to stage, such as Wagner's operas, were unfeasible. The opera assignments he was given, works by Boieldieu, Auber and Donizetti, bored him, and to make matters worse Hermann Levi, the senior conductor at the house, was often ill and Strauss was required to step in at the last minute to conduct performance for operas which he had never rehearsed. This caused problems for him, the singers, and the orchestra. During this time, Strauss did find much more enjoyable conducting work outside Munich in Berlin, Dresden, and Leipzig. In the latter city he met and befriended the composer Gustav Mahler in the autumn of 1887. Also happily, Strauss met his future wife, soprano Pauline de Ahna, in 1887. De Ahna was then a voice student at the Munich Musikschule (now the University of Music and Performing Arts Munich), but soon switched to private lessons with Strauss who became her principal teacher.


title: Richard Strauss

text: In May 1889 Strauss left his post with the Bavarian State Opera after being appointed Kapellmeister to Charles Alexander, Grand Duke of Saxe-Weimar-Eisenach in Weimar, beginning in the autumn of 1889. During the summer of 1889 he served as the assistant conductor of the Bayreuth Festival during which time he befriended Cosima Wagner who became a longterm close friend. Pauline De Ahna went with Strauss to Weimar and he later married her on 10 September 1894. She was famous for being irascible, garrulous, eccentric and outspoken, but to all appearances the marriage was essentially happy, and she was a great source of inspiration to him. Throughout his life, from his earliest songs to the final Four Last Songs of 1948, he preferred the soprano voice to all others, and all his operas contain important soprano roles. In Weimar she created the role of Freihild in Strauss's first opera, Guntram, in 1894. The opera was received with mixed reviews in Weimar, but its later production in Munich was met with scorn and was Strauss's first major failure.


title: Richard Strauss

text: Strauss left the Bavarian State Opera in 1898 when he became principal conductor of the Staatskapelle Berlin at the Berlin State Opera in the fall of 1898; a position he remained in for 15 years. By this time in his career, he was in constant demand as a guest conductor internationally and enjoyed celebrity status as a conductor; particularly in the works of Wagner, Mozart, and Liszt in addition to his own compositions. He became president of the Allgemeiner Deutscher Musikverein in 1901, and that same year became leader of the Berliner Tonkünstlerverein. He also served as editor of the book series Die Musik. He used all of these posts to champion contemporary German composers like Mahler. His own compositions were becoming increasingly popular, and the first major orchestra to perform an entire concert of only his music was the Vienna Philharmonic in 1901. In 1903 Strauss Festivals dedicated to his music were established in London and Heidelberg. At the latter festival his cantata Taillefer was given its world premiere.


title: Richard Strauss

text: After Salome, Strauss had a string of critically successful operas which he created with the librettist and poet Hugo von Hofmannsthal. These operas included Elektra , Der Rosenkavalier , Ariadne auf Naxos , Die Frau ohne Schatten , Die ägyptische Helena , and Arabella . While all of these works remain part of the opera repertoire, his opera Der Rosenkavalier is generally considered his finest achievement. During this time he continued to work internationally as a celebrity conductor, and from 1919 to 1924 he was principal conductor of the Vienna State Opera. In 1920 he co-founded the Salzburg Festival with Max Reinhardt and the set designer Alfred Rolle. In 1924 Strauss's opera Intermezzo premiered at the Dresden Semperoper with both the music and libretto by Strauss. For this opera, Strauss wanted to move away from post-Wagnerian metaphysics which had been the philosophical framework of Hofmannsthal's libretti, and instead embrace a modern domestic comedy to Hofmannsthal's chagrin. The work proved to be a success.


title: Richard Strauss

text: In December 1948, Strauss was hospitalized for several weeks after undergoing bladder surgery. His health rapidly deteriorated after that, and he conducted his last performance, the end of Act 2 of Der Rosenkavalier at the Prinzregententheater in Munich, during celebrations of his 85th birthday on 10 June 1949. On 15 August, he suffered a heart attack and he quietly died of kidney failure in his sleep shortly after 2 PM on 8 September 1949, in Garmisch-Partenkirchen, West Germany. From his death-bed, typical of his enduring sense of humour, he commented to his daughter-in-law Alice, "dying is just as I composed it in Tod und Verklärung". Georg Solti, who had arranged Strauss's 85th birthday celebration, also directed an orchestra during Strauss's burial. The conductor later described how, during the singing of the famous trio from Rosenkavalier, "each singer broke down in tears and dropped out of the ensemble, but they recovered themselves and we all ended together". Strauss's wife, Pauline de Ahna, died eight months later on 13 May 1950 at the age of 88.


title: Richard Strauss

text: Strauss wrote two early symphonies: Symphony No. 1 and Symphony No. 2 . However, Strauss's style began to truly develop and change when, in 1885, he met Alexander Ritter, a noted composer and violinist, and the husband of one of Richard Wagner's nieces. It was Ritter who persuaded Strauss to abandon the conservative style of his youth and begin writing tone poems. He also introduced Strauss to the essays of Wagner and the writings of Arthur Schopenhauer. Strauss went on to conduct one of Ritter's operas, and at Strauss's request Ritter later wrote a poem describing the events depicted in Strauss's tone poem Death and Transfiguration. The new influences from Ritter resulted in what is widely regarded as Strauss's first piece to show his mature personality, the tone poem Don Juan , which displays a new kind of virtuosity in its bravura orchestral manner. Strauss went on to write a series of increasingly ambitious tone poems: Death and Transfiguration , Till Eulenspiegel's Merry Pranks , Also sprach Zarathustra , Don Quixote , Ein Heldenleben , Symphonia Domestica and An Alpine Symphony . One commentator has observed of these works that "no orchestra could exist without his tone poems, written to celebrate the glories of the post-Wagnerian symphony orchestra."


title: Richard Strauss

text: Strauss's next opera was Elektra , which took his use of dissonance even further, in particular with the Elektra chord. Elektra was also the first opera in which Strauss collaborated with the poet Hugo von Hofmannsthal as his librettist. The two subsequently worked together on numerous occasions. For his later works with Hofmannsthal, Strauss moderated his harmonic language: he used a more lush, melodic late-Romantic style based on Wagnerian chromatic harmonies that he had used in his tone poems, with much less dissonance, and exhibiting immense virtuosity in orchestral writing and tone color. This resulted in operas such as Der Rosenkavalier having great public success. Strauss continued to produce operas at regular intervals until 1942. With Hofmannsthal he created Ariadne auf Naxos , Die Frau ohne Schatten , Die ägyptische Helena , and Arabella . For Intermezzo Strauss provided his own libretto. Die schweigsame Frau was composed with Stefan Zweig as librettist; Friedenstag and Daphne both had a libretto by Joseph Gregor and Stefan Zweig; and Die Liebe der Danae was with Joseph Gregor. Strauss's final opera, Capriccio , had a libretto by Clemens Krauss, although the genesis for it came from Stefan Zweig and Joseph Gregor.


title: Richard Strauss

text: Strauss's musical style played a major role in the development of film music in the middle of the 20th century. The style of his musical depictions of character (Don Juan, Till Eulenspiegel, the Hero) and emotions found their way into the lexicon of film music. Film music historian Timothy Schuerer wrote, "The elements of post (late) romantic music that had greatest impact on scoring are its lush sound, expanded harmonic language, chromaticism, use of program music and use of Leitmotifs. Hollywood composers found the post-romantic idiom compatible with their efforts in scoring film". Max Steiner and Erich Korngold came from the same musical world as Strauss and were quite naturally drawn to write in his style. As film historian Roy Prendergast wrote, "When confronted with the kind of dramatic problem films presented to them, Steiner, Korngold and Newman ... looked to Wagner, Puccini, Verdi and Strauss for the answers to dramatic film scoring." Later, the opening to Also sprach Zarathustra became one of the best-known pieces of film music when Stanley Kubrick used it in his 1968 movie 2001: A Space Odyssey. The film music of John Williams has continued the Strauss influence, in scores for mainstream hits such as Superman and Star Wars.


title: Reconfigurable computing

text: In the 1980s and 1990s there was a renaissance in this area of research with many proposed reconfigurable architectures developed in industry and academia, such as: Copacobana, Matrix, GARP, Elixent, NGEN, Polyp, MereGen, PACT XPP, Silicon Hive, Montium, Pleiades, Morphosys, and PiCoGA. Such designs were feasible due to the constant progress of silicon technology that let complex designs be implemented on one chip. Some of these massively parallel reconfigurable computers were built primarily for special subdomains such as molecular evolution, neural or image processing. The world's first commercial reconfigurable computer, the Algotronix CHS2X4, was completed in 1991. It was not a commercial success, but was promising enough that Xilinx (the inventor of the Field-Programmable Gate Array, FPGA) bought the technology and hired the Algotronix staff. Later machines enabled first demonstrations of scientific principles, such as the spontaneous spatial self-organisation of genetic coding with MereGen.