title: Portrayal of Arabs in film

text: Arabs are portrayed in film as film characters in both Arab films as well as non-Arab films, and both Arabs and non-Arabs take the role of an Arab. These portrayals often depict an ethnocentric perception of Arabs rather than an authentic and realistic depiction of Arabic cultures, religions, dialects, as well as customs and traditions. Common characteristics that are implemented in the role of Arab characters include speaking in a heavy accent, being hostile and vicious, and are in the context of terrorism. Key issues that have been explored in these portrayals include how Arabs are identified in mainstream Hollywood film, how Arabs self-represent themselves in their own film, with examples from Egyptian cinema, Palestinian cinema, as well as Syrian cinema. This article will also cover the emphasis on Islamophobia and its impacts on film. There has also been the portrayal of Arab women in film, the portrayal of Arabs post 9/11, the portrayal of Arabs in silent film, and positive portrayals and negative portrayals of Arabs. Lastly, the United States efforts to avoid the stereotyping of Muslims/Arabs and shifting the focus onto a positive outlook.


title: Portrayal of Arabs in film

text: There are three main approaches in film that closely associate the larger Arab identity with just the Muslim Identity, disregarding other religions and beliefs in the Arab region. Some Arabic films address other religions and beliefs as part of the larger Arab identity, but the majority of Arab films still intertwine Muslim and Arab identity as being one, both implicitly as well as explicitly. The first approach is in how main historical Arab religious films have had a tendency to explicitly address religious identity through the telling of Islamic history, and, as such, convey a historically deep-rooted Muslim identity. The second approach is in how large numbers of dramas that get produced implicitly display religion. This is either displayed in the set's location (e.g. a mosque), or displayed through the character's behaviour (e.g. visiting a shrine or praying on a Muslim prayer mat). This approach displays the Muslim identity as being the moral compass used to address ethical as well as social aspects of everyday life. The third approach is in how a film gets to set parameters on how a Muslim is defined, whether a bad Muslim character or a good Muslim character. This is usually prone to stereotyping.


title: Portrayal of Arabs in film

text: Ibrahim 'Izz al-Din, director of the Egyptian film Zuhur al-Islamv , depicts life in the Arab Peninsula before the rise of Islam. The film was originally inspired by the historical novel Al-Wa'd Al-Haq , by Egyptian writer Taha Hussein, who tried to rewrite Islamic history. It depicted how the first Muslims struggled with their new belief, opposed by worshipers of other gods or religions. These first Muslims were tortured. However, despite that, they persisted and kept faithful to their newly acquired religion. Quite a number of similar films were produced, all depicting Islam to be victorious in its emergence during its early years. However, none of these films were historically accurate. These films symbolically represented the re-emergence of national identity after colonial rule, relating to mainly resurfaced views on morality. These films failed in accurately depicting the story of Islam's military victories, but rather, represented the moral restoration of people whose morals were repressed under colonialism. With the increase of the significance of Islam as being tied to Arab identity, the genre of the historical religious dramas gained increasing popularity with television shows, series, as well as film. This depiction of Muslims being victims of slander and colonialism whilst also being victorious, has become a popular character mold again after the events of 9/11, as Muslims had to suffer with stigmatization by the West.


title: Portrayal of Arabs in film

text: The 'everyday drama' is one of the most popular genres in Arab cinema. Religion in films of this genre plays an implicit role in the setting, characters, actions, or symbols, which predominantly are identified as being Muslim, the religion of the protagonists and their society. Some of the images that feature in these films include images of mosques, as well as churches and synagogues, images of women wearing the hijab as well as images of women wearing the cross around their necks, images of saints, shrines, people praying, as well as secularists, atheists, fundamentalists, magic, religious violence, and the call to prayer. There are images of the Islamic pilgrimage (the Hajj), images of the holy Islamic feasting month of Ramadan, the two holy annual Islamic holy feats and Christmas. Therefore, religious values are portrayed as a natural part of daily life in these films, regardless of the fact that the film or its storyline is not directly about religion itself. Religious values in these everyday dramas are often portrayed as a social struggle against injustice rather than a religious one, which is embodied in the protagonist or hero, who represent the ideal human and moral way of behaving. The protagonist is exposed to injustice and opposes it in a civil manner, a manner that is rooted from tradition, morals, fairness, as well as other positive human values. In religious historical films, moral and ethical values which derive from Islamic tradition, are the natural answer to social injustice. This further emphasizes the inherent as well as natural behaviour or character of religious identity. This identity is further strengthened by visualizing Islamic tradition as being evident in so aspects of daily life. Two particular examples which are popularly used in depicting a Muslim identity in the everyday drama genre, is the call to prayer as well as the use of holy places and sites.


title: Portrayal of Arabs in film

text: The film Divine Intervention is based on the lives of Palestinians under the Israeli occupation, and how their day-to-day lives are. The main character is played by the director of the film, Elia Suleiman. He does not speak throughout the film, which gives out the idea of how life under the Israeli occupation is draining him. Divine Intervention is shot in a comedic way that is also very powerful and effective. The shots are left without any dialogue to allow the viewer to analyze the scenes themselves. However, the film has some comedic scenes, such as one neighbor bickering about how the other neighbor leaves the trash in front of their house. Another scene is when a red balloon appears with Yasser Arafat's face on it. The balloon floats over the Israeli checkpoint, focusing on the faces of the Israeli soldiers and how they were contemplating about whether they should shoot the balloon down or not. They get so caught up with the balloon that they do not notice a car that goes by the checkpoint. The film also shows a love story between a Palestinian man and woman. The man lives in Jerusalem and the woman lives in Ramallah. In order for them to see one another, they would have to go through various checkpoints. Viewers are left to see them meeting in the car near one of the checkpoints, every time they wanted to see one another, which was the only was they would be able to spend time with each other.


title: Portrayal of Arabs in film

text: According to The Guardian, Divine Intervention has been rejected by the Academy of Motion Picture for the category of Best Foreign Picture in the Oscars since they do not feel like Palestine is not a recognized or real nation. Another point The Guardian highlighted was that English was only spoken a twice in the film by a tourist that needed directions. They also tied this to another scene which was aimed towards showing how Israelis do not know anything, which is when the tourist asked for directions to the Church of Holy Sepulchre. The Israeli soldier did not know the directions so he got the blindfolded Palestinian man from the police car and told him to assist the tourist by giving her directions to the church. The Guardian also see the film as unrealistic and making certain scenes comedic by humiliating or belittling the Israeli soldiers, such as how they were distracted by the red balloon that had Yasser Arafat's image on it which made them not notice the car that was passing by the checkpoint.


title: Portrayal of Arabs in film

text: This film deals with discrimination against interracial couples: more specifically in this case, discrimination against an Arab and a German who fall in love with each other. Set in post-war Germany, in the city of Munich, the protagonist is a handsome Moroccan mechanic who experiences prejudice as well as his German partner. People all around the city mock the couple, from waiters to cleaning ladies to apartment dwellers to shopkeepers. In the film, Ali begins opening up to Emma, his lover, a German widow in her 50s, and begins to admit to how he genuinely feels like Arabs are not considered actual people in Germany, but more like street dogs. He's been mistreated by the Germans and how they made him feel inhumane. We also see how Emma's own children get outraged upon the discovery of their mother being married to an Arab, when he has been nothing but a gentleman to her. Towards the end of the film, in the last few frames, we see the couple happy side by side, and that prejudices may perhaps have been learnt.


title: Jaega

text: The area occupied by the Jaega corresponds to the East Okeechobee culture region, an archaeological culture that is part of, or closely related to, the Belle Glade culture or the Glades culture. The East Okeechobee region was approximately coterminous with the eastern half of present-day Palm Beach and Martin counties, extending along the coast from the St. Lucie Inlet to the Boca Raton Inlet, and inland to some point between the coast and Lake Okeechobee. Included in the Glades culture in early assessments, archaeological sites and settlement patterns in Palm Beach County differed from those of the Glades culture found in the tree islands of the Everglades. It was a transitional culture area, with ceramics, shell tools, and large mounds typical of the St. Johns culture to the north and the Belle Glade culture to west, compared to the Glades culture to the south. On the other hand, bone tools and ornaments of the East Okeechobee region most closely resembled those of the Glades culture. The influences of neighboring cultures appears to have changed over time. After AD 1000, the East Okeechobee culture area was primarily influenced by the St. Johns and Indian River cultures to the north, with little influence from the Belle Glade culture to the west, or the Glades culture of the Tequesta to the south.


title: Alliance of Democrats (Poland)

text: The Alliance of Democrats has its origins in the Democratic Clubs, which were opposed to authoritarian and nationalistic tendencies in the Second Republic of Poland between the two World Wars . The first club was founded in Warsaw in September 1937, and by 1938 there were clubs in all major urban centres, with active participation of the co-founders of Polish independence, whose primary objective was ensuring a fully democratic political system in Poland. The group's founders came from the democratic circles of former legionaries, peasant activists, left-wing Sanationists connected to, among others, with the Union for the Repair of the Republic, as well as from the left-wing part of the Union of Work for State "Legion of the Young" and socially radical intelligentsia and youth groups. The national founding convention of the Alliance of Democrats was held on 15 April 1939. The Declaration of Policy included such issues as improvement of the national economy, a development plan to raise the level of education, and modernisation of the armed forces. Mieczysław Michałowicz, a member of the Senate, was appointed as the first party leader of the Alliance.


title: Alliance of Democrats (Poland)

text: The Party was officially established in April 1939 at the All-Polish Founding Assembly (1st Congress) in Warsaw. The political line of the new grouping was determined by the political metrics of its leading activists and disagreement with the evolution of the "May Revolution" system limiting civil liberties. Hence, specific postulates did not at first aim at overthrow, but at a significant reform of the system towards the restitution of democratic values. Among the classic postulates were: the reform of electoral law to the Sejm and Senate, as well as a broad programme of social and economic transformations, which was characterised by a return to democratic models shaped on the basis of the actual application of the provisions of the March Constitution (inter alia, fully democratic electoral law, respect for the law and civic freedoms, radical defence of the rule of law and independence of the judiciary, criticism of nationalist and totalitarian tendencies likely to destabilise the state). The personification of the party's values and political programme thus became a citizen enjoying freedom and the achievements of the democratic system, honouring the basic communal value of labour, the creator of state power.


title: Alliance of Democrats (Poland)

text: During World War II, a significant number of Alliance members were involved in the anti-Nazi Polish underground. One of its major leader was active in the Vila Ghetto. It was partly due to their initiative that Żegota, the Council for Aid to Jews, was founded in 1942 as well as the Social Organisation for Self-Defence. The Alliance of Democrats and other political and social organisations set up the Association of Democrats, which then entered the Council of National Unity, the Polish Underground State Parliament. In 1943 SD split into two factions, one of which supported the Polish Government-in-Exile in London, and the second co-operated with the communist Polish Workers' Party and recognized the State Country Council as the actual parliament and the Provisional Government of National Unity as the actual government of Poland. In 1945, following the Red Army seizure of Poland, two members of the Association, Eugeniusz Czarnowski and Stanisław Michałowski, were arrested by the NKVD and tried in the Stalinist-orchestrated Trial of the Sixteen, aimed at eliminating non-communist Polish political leadership.


title: Alliance of Democrats (Poland)

text: The political programme promulgated during the occupation had the unmistakable mark of synthesising pre-war experience and taking into account the geopolitical conditions changed by the outbreak of war. Thus, in April 1943, the SD proclaimed a vision of so-called integral democracy intended to be a combination of a pluralistic state formula and democratic socio-economic relations. Postulates such as economic equality and social justice were to become the driving forces behind the proposed form of political and social itre. The Republic of Poland was perceived as an entity existing between western neo-democracies and itotalisms, hence the necessity to create a new order became the content facing the imperative of defending sovereignty. Thus, through the ideology of social egalitarianism, welfare and respect for the fundamental rights of the individual realised in a democratic republic, based on a five-part electoral law, the independence of the judiciary and the presidential system (the head of state, characterised by a superior role, appeared as a systemic bond), the realisation of a kind of third way was proposed as a developmental option for peacetime.


title: Alliance of Democrats (Poland)

text: After the end of World War II, the leadership of the party was infiltrated by ideological communists, and included former activists supportive of the Soviet Union - the party was used as a tool of legitimacy of the newly established Communist Poland. Soviet-aligned officials started enforcing strict party discipline and uniformity, ensuring that the party, despite its name and pre-war alignment, would be a loyal part of the communist government, as a "token" liberal faction. Despite the marked predominance of crypto-communist members, there was also a liberal-democratic wing active in the SD, represented among others by Kraków activists such as Adam Krzyżanowski and Jerzy Langrod. They criticised the industrialisation carried out according to Soviet models, expressed a friendly attitude to the PSL, and attacked the new, pseudo-democratic electoral law. The Katowice SD organisation took a similar stance, verbalising its position on, among other things, an autonomous electoral list before the 1947 election to the Legislative Sejm, and officially defending the honour of Home Army soldiers, many of whom were incorporated into the Party's work in Silesia.


title: Alliance of Democrats (Poland)

text: In January 1946, the SD announced its official, post-war program. It expressed the will to base political self-identification on the communist PWKN manifesto, but by making direct reference to the reformist tradition of the Great Sejm, the Kościuszko Uprising or the activities of the Polish Democratic Society, the party also indicated a broader than class-based basis for activity. The document's provisions postulated a system ensuring democracy in politics, socio-economic affairs and culture. The party system was to be characterised by such values as pluralism, egalitarianism and mutual recognition of powers. The new regime was to guarantee the rule of law and civil liberties, such as freedom of conscience and religion, resulting in a stable rule of law. In a programmatic nod to its own pre-war tradition, labour was seen as the basis of wealth, which in an unforced way coincided with one of the conclusions of the new power's making the working masses the formal sovereign. The basis of foreign policy was seen in cooperation and friendship with the Soviet Union.


title: Alliance of Democrats (Poland)

text: After 2009, new politicians joined the party, such as centrist-conservative Paweł Piskorski. The party restored their representation in parliament, by taking over of the members of the Democratic Party – demokraci.pl group consisting of three members (including Marian Filar, Bogdan Lis and Jan Widacki). After Paweł Piskorski rise to the leadership of the party many of its old members of party resigned from being members of SD. In the 2009 European Elections, the party's candidates obtained 0.027% of votes because of registration problems and lack of organisation. Since May 2009 the Alliance of Democrats has been a member of the European Democratic Party. SD supported former Minister of Foreign Affairs Andrzej Olechowski's candidature in the 2010 presidential election. In the 2011 parliamentary elections, Alliance did not register any lists but three candidates who were enlisted on the Poland Comes First election list but were supported by SD received 0.0031% of the popular vote. The Party was to announce its new political programme at its XXVI Congress.


title: Pine Terrace

text: In 1849 he determined to retire from the river and was induced to take charge of the West Point Hotel, situated within the Academic grounds, and which during his subsequent career became known all over the world as Roe's Hotel. He conducted the hotel business with great success, and was very popular with the army officers and other public men. Among those with whom he was closely intimate was Gov. William H. Seward, who, to mark his confidence and regard for the Captain, appointed him first as an aide upon his staff, and subsequently made him Inspector-General of the State. In 1867 Mr. Roe retired from the management of the hotel and from all business. He is survived by his wife and one son, Lieut. Charles F. Roe, Adjutant of the Second Cavalry. He was during his residence in New York a member of the Protestant Episcopal Church of the Transfiguration, the Rector of which, the Rev. Dr. Houghton, will officiate at the funeral services. The time of the funeral has not yet been fixed, owing to the desire of the family to carry out his wish to be buried at the West Point Cemetery. This requires the consent of the War Department, to which the necessary application has already been made."


title: Ọjà

text: The ọjà // ⓘ is an integral part of the rich cultural heritage of the Igbo people and continues to play a significant role in their musical traditions. The Igbo people, who are indigenous to Nigeria, are renowned for the utilization of the ọjà (flute) traditional musical instrument in cultural activities or events. It is made from bamboo or metal and is played by blowing air into one end while covering and uncovering holes along the body to create different notes. The ọjà, which is skillfully carved from wood, produces a beautiful sound when played during songs. In traditional Igbo music, the ọjà is often performed in conjunction with a number of other instruments such as the ekwe, udu (percussion instrument), igba (drum), ogene (bell), ichaka/0sha (rattle), okwa (gong), etc. These instruments complement each other to create a unique and distinct sound that characterizes the musical traditions of the Igbo people. The seamless integration of these instruments in musical performances highlights the strong musical heritage and cultural identity of the Igbo people.


title: A/UX

text: In November 1991, Apple launched A/UX 3.0, planning to synchronize the two concurrent release schedules of A/UX and System 7. At that time, the company also preannounced A/UX 4.0, expected for release in 1993 or 1994. The announcement expounded upon the historic technology partnership between Apple and IBM, expecting to merge Apple's user-friendly graphical interface and desktop applications market with IBM's highly scalable Unix server market, and allowing the two companies to enter what Apple believed to be an emerging "general desktop open systems market". The upcoming A/UX 4.0 was proposed to target the PowerOpen Environment ABI, merge features of IBM's AIX variant of Unix into A/UX, and use the OSF/1 kernel from the Open Software Foundation. A/UX 3.0 was proposed to serve as an "important migration path" to this new system, making Unix and System 7 applications compliant with the PowerOpen specification. The future A/UX 4.0 and AIX operating systems were intended to run on a variety of IBM's POWER and PowerPC hardware, and on Apple's PowerPC-based hardware.


title: A/UX

text: A/UX 3.0 was praised in the August 1992 issue of InfoWorld by the same author, describing it as "an open systems solution with the Macintosh at its heart" where "Apple finally gets Unix right". He praised the GUI, single-button point-and-click installer, one year of personal tech support, the graphical help dialogs, and the user's manuals, saying that A/UX "defies the stereotype that Unix is difficult to use" and is "the easiest version of Unix to learn". Its list price of $709 is much higher than that of "much weaker" competing PC operating systems such as System 7, OS/2, MS-DOS, and Windows 3.1, but low compared to the then prevailing proprietary Unix licenses of more than $2,000 . The review found the system speed "acceptable but not great" even on the fastest Quadra 950, blaming not the software but the incomplete Unix optimization found in Apple's hardware. Though "a very good value", the system's price-performance ratio was judged as altogether uncompetitive against Sun's SPARCstation 2. The reviewers thought it unlikely for users "to want to buy Macs just to run A/UX" and would have awarded InfoWorld's top score if the OS was not proprietary to Macintosh hardware.


title: Maria Adela Diaz

text: One of her most prominent works is "Borderline," which is a video performance created in 2005 that is featured in the E Pluribus Unum: Out of Many, One exhibition at Studios at the Park in Paso Robles, California. "Borderline" was set in the ocean, where Diaz actually sat herself in an enclosed wooden box and was launched into the ocean for 45 minutes without any means of protection. Adela explains that the purpose behind this video performance is to enhance the discussion on the injustices that exist in the United States toward immigrants. It demonstrate the instability that exists in the lives of migrants who reside in the U.S., through their marginalization and the discrimination that they are forced to endure. Diaz mentions that her personal experience as an immigrant in the United States is reflected in this video performance. 2005, aside from being the year that she created this art piece, was also a detrimental year for her legal status. She states that through the making of this piece, she risked her own life not only in terms of dying but also of getting caught by the police who could potentially deport her back to Guatemala. She mentions that a part of her desired for this to occur. This artwork was meant to provide a voice for the millions of men and women who are trapped in similar situations.


title: Golden Days (novel)

text: In Golden Days, Edith Langley, a 38-year-old divorcee returns to Los Angeles from the East Coast with her two daughters, Aurora and Denise, to start a new life in 1980. They move into a home in Topanga Canyon, and Edith reinvents herself as a financial reporter and then a financial advisor to other women. Edith begins a relationship with Skip Chandler, an older married man. Skip is back in the States for a medical issue—his wife and children still in Argentina where they moved after the Cuban Missile Crisis. Edith and Skip live the affluent life of the 1980s in Southern California—money, Lear Jets, and Porsches. They fly to San Francisco to attend a weekend seminar given by Lion Boyce on "Abundance as a Natural State." At the seminar, Edith runs into an old friend—Lorna McAvey. On their return, Skip goes to the doctor and discovers there is nothing wrong with him. The novel then flashes back to 1962 when Edith meets her friend Lorna—who sees her through the years of her first marriage and divorce. The story then returns to L.A. in the early eighties; Edith grows a business as a gem dealer and banker. Edith and Lorna are friends again—Edith refers to it as their second friendship. Edith fills Lorna in on her second failed marriage to Dirk Langley, an Australian surf film director. As Edith becomes richer and richer, Lorna reinvents herself on television preaching the positive message of abundance. The book then jumps forward to 1986, by which time Edith's eldest daughter has graduated from college and is a successful international courier while her younger daughter is still at home and in school. Edith and Skip have settled into a quiet life entrenching themselves through their affluence against an increasingly unsettled world focusing on the younger daughter's school. A war begins in Central America. At the school, Edith and Lorna meet Franz deGeld a Hollywood executive whom Lorna is having an affair. At that time, a Nuclear bomb goes off in a Central American jungle killing a few thousand people. Life goes on as before. Aurora has fallen in love and announces she is marrying Skip's son Deeky and moving with him to South America. Skip gives them a house in La Plata.


title: John Stainton (barrister)

text: Stainton was born on 29 February 1888 to John Prout Stainton. After schooling at Winchester College, he went up to Christ Church, Oxford, to read classics. After graduating in 1911, he was called to the bar in 1913 and practised on the Western Circuit. He served in the First World War, being commissioned into the 4th Battalion of the Argyll and Sutherland Highlanders in 1915. He was wounded and ended the war as a captain. With demobilisation he returned to his legal practice, found success in the Western Circuit and represented the Great Western Railway Company. In 1929, he joined the Office of the Parliamentary Counsel and was appointed Second Parliamentary Counsel in 1937, serving until 1946 when he became Counsel to the Lord Chairman of the Committees in the House of Lords, serving until retirement in 1953. While at the OPC, he drafted the Finance Bills and became an expert in income tax law; he was also responsible for the National Insurance Act 1946, a highly complex piece of legislation the drafting of which The Times described as Stainton's "hardest job". It was partially due to this that he accepted the House of Lords position, which entailed less work, although it was in that capacity that he drafted the model Bill and standard clauses for Private Bills. Stainton was knighted twice, firstly as a Knight Commander of the Order of the British Empire in 1939 and then again on retirement in 1953 as a Knight Commander of the Order of the Bath. He took silk in 1947.


title: Jean Tatlian

text: Tatlian was born in an Armenian family in Thessaloniki, Greece, on 1 August, 1943. He was the youngest of three children. In 1947 the family moved to the USSR, to the Armenian SSR and then to Abkhasia. As a schoolboy, Tatlian bought himself a guitar with money he earned from painting houses. He studied guitar at the Sukhumi Philharmonia and before the age of 16 was already earning money from concerts in nearby republics, in which he performed songs by French and Italian chansonniers. Later he studied in a workshop of variety art in Kiev, where the 19-year-old (not yet 18 according to other sources) was noticed by the conductor of the State Armenian Orchestra, Konstantin Orbelian, who invited him to join the orchestra as a soloist in a tour across Ukraine. Around the same time, in the early 1960s, he had his first success, with the song "Street Lamps" ("Уличные фонари"), for which a video was shot and shown on television. The song became popular. After a while Tatlian moved to Leningrad. He loved the city and lived there from then on. In Leningrad he founded his own orchestra and would give 350–400 concerts per year working with Lenconcert (a concert association that organized concerts in Leningrad) until the late 1960s. In the late 1960s and early 1970s, following a disagreement with a female director of the Orel Philharmony, Tatlian was effectively banned from any concert activity (and also, from the very beginning, he was de facto banned from leaving the Soviet Union), and in 1971 emigrated to France.


title: Amino acid synthesis

text: The conversion of glutamate to glutamine is regulated by glutamine synthetase (GS) and is a key step in nitrogen metabolism. This enzyme is regulated by at least four different mechanisms: 1. Repression and depression due to nitrogen levels; 2. Activation and inactivation due to enzymatic forms (taut and relaxed); 3. Cumulative feedback inhibition through end product metabolites; and 4. Alterations of the enzyme due to adenylation and deadenylation. In rich nitrogenous media or growth conditions containing high quantities of ammonia there is a low level of GS, whereas in limiting quantities of ammonia the specific activity of the enzyme is 20-fold higher. The confirmation of the enzyme plays a role in regulation depending on if GS is in the taut or relaxed form. The taut form of GS is fully active but, the removal of manganese converts the enzyme to the relaxed state. The specific conformational state occurs based on the binding of specific divalent cations and is also related to adenylation. The feedback inhibition of GS is due to a cumulative feedback due to several metabolites including L-tryptophan, L-histidine, AMP, CTP, glucosamine-6-phosphate and carbamyl phosphate, alanine, and glycine. An excess of any one product does not individually inhibit the enzyme but a combination or accumulation of all the end products have a strong inhibitory effect on the synthesis of glutamine. Glutamine synthase activity is also inhibited via adenylation. The adenylation activity is catalyzed by the bifunctional adenylyltransferase/adenylyl removal (AT/AR) enzyme. Glutamine and a regulatory protein called PII act together to stimulate adenylation.


title: Amino acid synthesis

text: Lysine is synthesized from aspartate via the diaminopimelate (DAP) pathway. The initial two stages of the DAP pathway are catalyzed by aspartokinase and aspartate semialdehyde dehydrogenase. These enzymes play a key role in the biosynthesis of lysine, threonine, and methionine. There are two bifunctional aspartokinase/homoserine dehydrogenases, ThrA and MetL, in addition to a monofunctional aspartokinase, LysC. Transcription of aspartokinase genes is regulated by concentrations of the subsequently produced amino acids, lysine, threonine, and methionine. The higher these amino acids concentrations, the less the gene is transcribed. ThrA and LysC are also feed-back inhibited by threonine and lysine. Finally, DAP decarboxylase LysA mediates the last step of the lysine synthesis and is common for all studied bacterial species. The formation of aspartate kinase (AK), which catalyzes the phosphorylation of aspartate and initiates its conversion into other amino acids, is also inhibited by both lysine and threonine, which prevents the formation of the amino acids derived from aspartate. Additionally, high lysine concentrations inhibit the activity of dihydrodipicolinate synthase (DHPS). So, in addition to inhibiting the first enzyme of the aspartate families biosynthetic pathway, lysine also inhibits the activity of the first enzyme after the branch point, i.e. the enzyme that is specific for lysine's own synthesis.


title: Amino acid synthesis

text: This leader sequence is important for the regulation of histidine in E. coli. The His operon operates under a system of coordinated regulation where all the gene products will be repressed or depressed equally. The main factor in the repression or derepression of histidine synthesis is the concentration of histidine charged tRNAs. The regulation of histidine is actually quite simple considering the complexity of its biosynthesis pathway and, it closely resembles regulation of tryptophan. In this system the full leader sequence has 4 blocks of complementary strands that can form hairpin loops structures. Block one, shown above, is the key to regulation. When histidine charged tRNA levels are low in the cell the ribosome will stall at the string of His residues in block 1. This stalling of the ribosome will allow complementary strands 2 and 3 to form a hairpin loop. The loop formed by strands 2 and 3 forms an anti-terminator and translation of the his genes will continue and histidine will be produced. However, when histidine charged tRNA levels are high the ribosome will not stall at block 1, this will not allow strands 2 and 3 to form a hairpin. Instead strands 3 and 4 will form a hairpin loop further downstream of the ribosome. The hairpin loop formed by strands 3 and 4 is a terminating loop, when the ribosome comes into contact with the loop, it will be "knocked off" the transcript. When the ribosome is removed the His genes will not be translated and histidine will not be produced by the cell.


title: Amino acid synthesis

text: The genes required for the synthesis of cysteine are coded for on the cys regulon. The integration of sulfur is positively regulated by CysB. Effective inducers of this regulon are N-acetyl-serine (NAS) and very small amounts of reduced sulfur. CysB functions by binding to DNA half sites on the cys regulon. These half sites differ in quantity and arrangement depending on the promoter of interest. There is however one half site that is conserved. It lies just upstream of the -35 site of the promoter. There are also multiple accessory sites depending on the promoter. In the absence of the inducer, NAS, CysB will bind the DNA and cover many of the accessory half sites. Without the accessory half sites the regulon cannot be transcribed and cysteine will not be produced. It is believed that the presence of NAS causes CysB to undergo a conformational change. This conformational change allows CysB to bind properly to all the half sites and causes the recruitment of the RNA polymerase. The RNA polymerase will then transcribe the cys regulon and cysteine will be produced.


title: Mighty Morphin Alien Rangers

text: The Aquitian Rangers are later seen or referenced in further seasons. Cestro returns unmorphed in "Graduation Blues", seeking Billy's help against the Hydro-Contaminators. Cestro later briefly appears with Delphine in "Revelations of Gold". The Aquitian and Zeo Rangers team-up in the "Rangers of Two Worlds" two-parter, the first instance on the series of two full teams appearing together. The two-parter also centered around Billy rapidly aging because of his use of the regenerator. In "Countdown to Destruction" in Power Rangers in Space, the Aquitian Rangers battle and are overwhelmed by Divatox's forces. Aurico later appears morphed in the Power Rangers Wild Force episode, "Forever Red", which saw every previous Red Ranger (save Rocky, as Jason returned to his previous role as Red Ranger, for which Rocky originally replaced him) united to stop the remnants of the Machine Empire. All five Rangers would later return in the series finale of Power Rangers Super Megaforce to battle alongside other veteran Ranger teams and the Megaforce Rangers.


title: Civic Initiative

text: Ksenia's "123 Steps" election program was helped by Vladislav Inozemtsev, director of the Post-Industrial Society Research Center, and Andrey Nechayev, party leader, and Avdotya Smirnova (in the part related to inclusive society and provisions related to this area in the program) and lawyer Elena Lukyanova (provisions related to constitutional reform). In addition to these individuals, Sobchak's campaign headquarters included: one of the founders of the NTVtelevision company Igor Malashenko, who campaigned for Boris Yeltsin in 1996, director of the AIDS.Center Anton Krasovsky (previously headed Mikhail Prokhorov's headquarters), a Belarusian political strategist who worked with the headquarters of the Angela Merkel and Barack Obama, Vitaly Shklyarov, director of external relations of the Snob project Ksenia Chudinova, director Sergei Kalvarsky, former editor-in-chief of the Political News Agency Stanislav Belkovsky, human rights activist Marina Litvinovich, blogger and former member of the Russian Opposition Coordination Council Rustem Adagamov, Timur Valeev (head of the Open Elections project at Mikhail Khodorkovsky's Open Russia) and former VK press secretary Georgy Lobushkin. Also Demyan Kudryavtsev, whose family owned the newspaper Vedomosti, gave Ksenia advice related to the campaign.


title: Chew's Arkansas Infantry Battalion

text: Major Robert E. Chew, was killed during the Battle of Prairie Grove. He was born circa 1822 in Virginia, the son of John Winslow and Ann Thornton (Voss) Chew. The family moved to Humphrey Co., Tennessee and by 1850 they were living in Fayetteville, Arkansas. In the census of that year the father was listed as the postmaster and Robert, 28, was listed as a farmer. Robert's father died in 1855 and at some point the family moved away probably to Missouri. A query in the Confederate Veteran magazine by Chew's nephew stated that his uncle belonged to a Tennessee regiment and was killed at Prairie Grove. The nephew said he was told that his uncle's sword and watch had been recovered from his body and was hoping these items could be reunited with the family. Chew had, in fact, served as a captain in Company H, 2nd Tennessee Infantry (Col. J. Knox Walker commanding). This regiment was formed entirely in Memphis, so Robert apparently had moved to this city sometime before the war started. The Official Records mentioned that Capt. Chew had assisted in the recapture of an artillery piece at the battle of Belmont, Missouri. At Shiloh the 2nd Tennessee Infantry suffered severe casualties and afterwards was consolidated into four companies. This left Captain Chew without a company to command. Apparently through Arkansas connections, he managed to get transferred back across the river to serve as a staff officer for Gen. Thomas C. Hindman. In that capacity, late in September, 1862, he met face to face with General William T. Sherman when he hand delivered a letter to him from General Hindman and returned with a reply. Sometime in October November, 1862 Robert Chew received a promotion to major and was given the assignment of commanding his own sharpshooter battalion. Adding up the numbers in the casualty list that appeared in the True Democrat, Chew's Battalion went into action with 12 officers and 104 enlisted men. They suffered 3 killed, 22 wounded (five of them mortally), and 5 missing for a total loss of 30.


title: Jeremy Till

text: Till worked for relatively low-key architectural practices, Alex Gordon Partnership and Peter Currie Architects, before joining his partner, Sarah Wigglesworth, to design and build their well known house and office, 9 Stock Orchard Street, which was featured on the first series of the TV Programme Grand Designs; subsequently the presenter Kevin McCloud named the project as one of his favourite projects. The building, made from straw bales and other unconventional materials, was awarded Civic Trust Award , RIBA National Award and RIBA Sustainability Prize . It has been published extensively worldwide, with the journal World Architecture saying: "It is destined to become an icon, the subject of dissertations and copycat projects. Unlike the established canon of exemplary houses, this house/office is a deep, dense and determined essay on the question: what is architecture today?" He left Sarah Wigglesworth Architects in 2002 to concentrate on an academic career. Till curated the British Pavilion at the 2006 Venice Architecture Biennale. the exhibition, entitled Echo City received very mixed reviews, with severe criticism from the London architectural press, but praise from international reviewers. He chaired the RIBA Awards Panel from 2004 to 2006, the only academic to have held this position. In 2013 he co-curated the UK Pavilion at the Shenzhen Biennale with a team from Central Saint Martins, for which they were awarded the Biennale's Academic Committee Prize.


title: Jeremy Till

text: Till started his teaching career at what was then Kingston Polytechnic in 1986. He moved to the Bartlett School of Architecture, University College London in 1990, soon after the appointment of Peter Cook as the School's Head. While at the Bartlett, Till was undergraduate course director, Diploma studio teacher and sub-Dean of the Faculty. In 1999, he was appointed as Head of the School of Architecture and Professor of Architecture at the University of Sheffield. Under his direction, the School gained a reputation for the social and political basis of its teaching and research. In 2008 he was appointed Dean of Architecture and the Built Environment at the University of Westminster. He was appointed as Head of Central Saint Martins and Pro Vice-Chancellor of the University of the Arts London in 2012, and held that position until September 2022. He was appointed the University Lead on Climate Emergency in 2018. He is now Professor of Architecture at the University of the Arts London. He has sat on a range of national committees including as a panel member for the 2008 Research Assessment Exercise and the 2014 Research Excellence Framework. He was a member of the RIBA Education and Research Committees in the 2000s.


title: Jeremy Till

text: Till's research and writing has concentrated on the social and political aspects of architecture and the built environment. Stephen Moss writes in the Guardian that, "the appeal of Till's thinking is that he starts with people rather than structures, and asks us not to venerate buildings but to occupy them." His best known book is Architecture Depends, which was widely reviewed, and praised by the Times Higher as "a brave, enjoyable, affirming and important book." Other books include Flexible Housing (written with Tatjana Schneider) and Spatial Agency (written with Nishat Awan and Tatjana Schneider) All three of these books were awarded the RIBA President's Award for Outstanding University-based research, making Till the only person to have received this international honour three times. In addition to these books, Till has written numerous articles, which are collected together on his own website. From 2010 to 2013 he ran a large research project on issues of scarcity and creativity in the built environment, funded by HERA (Humanities in the European Research Area). From 2021 he led, again with Tatjana Schneider, a research project funded by AHRC and DFG entitled 'Architecture after Architecture: spatial practice in the face of the climate emergency. For this project, he is part of the research collective MOULD It has been commented that his privileged Eton and Cambridge background is at odds with his later left-wing political views.


title: Noel Rose

text: While at the University of Buffalo School of Medicine, he worked as a professor of Microbiology and Medicine, director of the Center of Immunology, and director of Clinical Laboratories for twenty years. When he moved to Wayne State University School of Medicine, he served as chairman for the Department of Immunology and Microbiology for ten years. Then, when he joined the faculty of Johns Hopkins University School of Medicine in 1981, he became chairman for the Department of Immunology and Infectious Diseases and later directed the Center for Autoimmune Disease Research. He was also a professor in the Department of Pathology and professor in the W. Henry Feinstone Department of Molecular Microbiology and Immunology. At one point, he served as the chairman of the Autoimmune Disease Coordinating Committee of the National Institutes of Health and principal advisor to the former U.S. NIH Director Dr. Elias A. Zerhouni. In 2015, he retired from Johns Hopkins and was working as a member of the Department of Pathology at Brigham and Women's Hospital.


title: Norton, Northamptonshire

text: The four sides of the enclosure were 190, 200, 250, and 250 metres (210, 220, 270, and 270 yards), measured clockwise from north, and enclosed an area of about 5.5 hectares (14 acres). The defences were built in two – possibly three – phases. First: a large ditch 7.6 metres wide and 3.1 metres deep (25 ft × 10 ft) backed by a clay and turf rampart was constructed after the end of the first century; second: the primary ditch was filled in with gravel early in the fourth century to provide a firm base for a stone wall with foundations 3.7 metres (12 ft) wide and fronted by two newly-cut, parallel ditches; the inner 5.2 metres wide and 2.4 metres deep (17 ft × 8 ft) and the outer 4.3 metres wide and 1.8 metres deep (14 ft × 6 ft); and thirdly: The inner ditch was filled with gravel shortly after the second phase was completed, perhaps intended as the firm base for external towers, though none have been discovered. The outer ditch was allowed to silt up by the end of the fourth century. Occupation of the site, which may have begun before the Roman conquest, continued into the fourth century.


title: Battle of Sapriportis

text: There was no other moment of the war in which the Carthaginians and Romans found themselves more in doubt between hope and fear. In fact, on the part of the Romans, in the provinces, on the one hand following the defeats in Spain, on the other due to the outcome of the operations in Sicily (212-211 BC), there was an alternation of joys and sorrows. In Italy, the loss of Taranto generated damage and fear, but having preserved the garrison in the fortress against all hope generated great satisfaction (212 BC). The sudden dismay and terror that Rome was besieged and attacked, after a few days vanished to make way for the joy for the surrender of Capua (211 BC). Even the overseas war was as if on equal terms between the parties : Philip became an enemy of Rome in a anything but favorable moment (215 BC), new allies were welcomed, such as the Aetolians and Attalus, kings of Asia, almost as if the fortune already promised the Romans the eastern empire. The Carthaginians also contrasted the loss of Capua with the capture of Taranto and, if it was a source of glory for them to have reached the walls of Rome without anyone stopping them, they on the other hand felt the regret of a vain undertaking and the shame that, while they were under the walls of Rome, from another gate a Roman army was setting out for Spain. Spain itself, when the Carthaginians had hoped to complete the war there and expel the Romans after destroying two great generals (Publius and Gnaeus Scipio ) and their armies, their victory had been rendered useless by an improvised general, Lucius Marcius. And so, thanks to the balancing action of fortune, hopes and fears remained intact on both sides, as if from that precise moment the entire war were to begin for the first time.


title: Battle of Sapriportis

text: Titus Livy then recounts an episode of two ships which, the first of the two teams, clashed with each other. On the Roman ship was the Quinzio himself, on the Tarentine side a certain Nicone, nicknamed Percone, who had always been hostile to the Romans and who belonged to the faction that had handed over Taranto to Hannibal. He managed to pierce the Roman commander with his spear, while he was distracted because he was inciting his men to battle. Quinctius rushed forward with his weapons, in front of the bow of the ship. The victor from Tarentine then crossed over to the Roman ship, whose crew was disoriented due to the loss of their captain, and repelled the enemy, occupying its bow. The Romans, massed at the stern, were having great difficulty defending it, when another enemy trireme appeared from that side. The Roman ship, closed in the middle, had to capitulate. When the other Roman boats saw that the commander's ship had been captured, they were all gripped by great terror, all looking for escape routes to get away from the battle as quickly as possible. Some of these boats were overtaken and sunk on the high seas. Others were dragged towards land by oars, becoming prey to the inhabitants of Thurii and Metapontum. Of all the cargo ships that followed with supplies, very few were captured by the enemy, some in fact managed to move away towards the high seas.


title: The Code (Nemo song)

text: "The Code" was written by Benjamin Alasu, Lasse Midtsian Nymann, Linda Dale, and Nemo Mettler, and was composed at a SUISA songwriting camp. BBC's Mark Savage described the song as a "drum and bass EDM opera" and said its chorus was inspired by The Magic Flute by Wolfgang Amadeus Mozart. In press statements, Nemo stated that the song details their realization of their non-binary identity, stating that realizing they are non-binary has given them "freedom" and that by entering the Eurovision Song Contest, they can "stand up for the entire LGBTQIA+ community". According to Nemo, when accepting that they didn't "feel like a man or a woman... I had to break a few codes"; the song references binary code, which is meant to represent the binary classification of genders. Nemo also declares within the song that they have found their "kingdom come", refusing to conform to traditional gender classification norms and stick to only one musical style. Nemo later added in Eurovision World, "being non-binary is a big part my truth... You're always learning about yourself. It never ends."


title: The Code (Nemo song)

text: In a Wiwibloggs review containing several reviews from several critics, the song was rated 8.83 out of 10 points, winning the site's annual ranking for that year. ESC Beat's Doron Lahav ranked the song eighth overall out of the 37 entries competing in Eurovision 2024, praising Nemo's vocal abilities but admitting that the song's subject matter and fusion of musical styles "might be too complicated to digest". Glen Weldon, writer for National Public Radio (NPR), deemed the song a favourite to win the contest, praising the blend of multiple styles within the song and declaring that it had "all the earmarks of a showstopper". The Independent's Roisin O'Connor also listed the song as a potential favourite, drawing comparisons to the Georges Bizet opera Carmen and the James Bond theme. Erin Adam of The Scotsman rated the song 10 out of 10, and dubbed it a "veritable smorgasbord of a song" due to its mix of styles. In contrast, Jon O'Brien, a writer for Vulture, ranked the song 22nd out of 37 songs, stating that while the song had a "great message of freedom, self-identity, and acceptance", he thought that "it gets lost in a cut-and-shut mix of drum and bass, pop opera, Eurorap, and The Greatest Showman that may leave you reaching for the Ibuprofen".


title: The Code (Nemo song)

text: Nemo repeated their performance during the grand final on 11 May. The song was performed 21st, following Cyprus' Silia Kapsis and before Slovenia's Raiven. After the results were announced, Nemo finished with a total of 591 points, with a split result of 365 points from the juries and 226 points from the televote. The total was enough to earn Nemo the victory, earning 44 more points than the runner-up, Croatia's Baby Lasagna. The song received 22 sets of the maximum 12 points. It also received one set of 12 points from the televote, with it coming from Ukraine. As a result of winning, "The Code" become the first victorious song for Switzerland since 1988, with Nemo becoming the first openly non-binary artist to win the competition. In response to their victory, they declared in a post-contest press conference that they dedicated the win to "everyone out there who's non-binary, gender fluid, transgender... people that are daring to be themselves and people that need to be heard and need to be understood." Nemo also heavily criticised the European Broadcasting Union (EBU), the sanctioning body that manages the contest, accusing the EBU of "double standards", referencing an incident where Nemo claimed they had to smuggle a non-binary flag that breached the EBU's rules. Nemo later proclaimed, "maybe Eurovision needs fixing a little bit too, every now and then."


title: The Code (Nemo song)

text: The Eurovision performance received positive reactions. Daily Telegraph music critic Neil McCormick praised Nemo's vocals and "wild energy" during the performance, stating that although they thought the song lyrics were unusual, their energy "turned into something transcendent in its own ridiculous way". Swiss musician Chris von Rohr stated that when he first listened to the live performance of the song, "its power almost knocked me over... The whole package has vehemence, dynamism, but also a lot of feeling in the singing in all registers." El Mundo writers Charlotte Davies and Andrea Rosa M. del Pino wrote that the performance featured "magical, circus-like vocal stunts, where they jump literally from high-pitched evokers to fast paced rap verses as if it were nothing." In a Guardian live blog, Martin Belam wrote that the performance "has got winner written all over it. The song is brilliant, and the staging is a step up from everyone else in terms of presenting some kind of circus act drama on that stage." El País' Héctor Llanos Martínez described Nemo as a "force of nature", with the performance being described as "adjacent to the physical tricks performed on a disc-shaped moving platform, as if Mika had suddenly taken interest in parkour and skateboarding... they have done a presentation that has won over millions of this festival's viewers."


title: The Code (Nemo song)

text: The victory received mixed, highly polarsing reactions. GQ Italia's Valentina Caiani wrote that the victory "beat everybody's expectations... we have to admit that The Code had the potential to win, not only for the catchiness of the song, but also for the complexity of their performance and their choreography. Their strength relies on their message, which complies to the show's values and its slogan." Der Spiegel's Felix Bayer wrote that the victory upheld the "myth of the Eurovision Song Contest as a haven of creativity, openness and diversity." Die Weltwoche's Thomas Renggli wrote that "despite their choice of costume... they kept their balance, both in terms of dance and music... in the end the musical quality prevailed." Katja Richard, writer for the Swiss outlet Blick, stated that the victory renewed discussions about the recognition of a third gender within Switzerland along with reinvigorating Swiss national pride. Numerous past Swiss Eurovision representatives, including 2019 representative Luca Hänni, 2020 and 2021 representative Gjon's Tears, and 2022 representative Marius Bear congratulated Nemo upon their victory.


title: The Code (Nemo song)

text: Multiple conservative personalities derided the victory; particularly due to Nemo's gender identity. Roberto Vannacci, a prominent conservative Italian politician, declared that "the world on the contrary is increasingly nauseating" in response to Nemo's victory and gender identity. Matteo Salvini, a current Italian Deputy Prime Minister, stated to Libero Quotidiano that "I read that this winner won, but you can't say... that you don't consider yourself either he or she, you consider yourself non-binary, you don't recognize yourself in considering yourself man-woman. You cannot say 'he won' or 'she won,' because otherwise you are ruined." Recep Tayyip Erdoğan, the current president of Turkey, indirectly referred to Nemo's victory to the contest and criticised Nemo and other Eurovision contestants for being "Trojan horses of social corruption", later adding, "we understand better how we made the right decision by keeping Türkiye out of this disgraceful competition for the past 12 years." Devlet Bahçeli, leader of the Turkish right-wing Nationalist Movement Party, stated that Nemo's dress they wore at the contest represented "confirmation of a shameful degeneration", adding that the contest had "turned into a propaganda platform for moral collapse." Timo Posselt, writer for Die Zeit, wrote that the victory was politically driven by the LGBTQ+ community, stating that Nemo was able to display a non-binary flag while other "politically charged materials", such as a keffiyeh and other non-binary flags brought in by the audience weren't allowed in the arena. Italian singer Amedeo Minghi stated that the contest now represented "Sodom and Gomorrah... a Swiss man in a skirt won, that's how it is now. Music, nothing. Lots of lights, lots of colors, music to see but certainly not to hear."


title: The Code (Nemo song)

text: The song's victory was debated on whether or not it had been overshadowed by Israeli participation in that year's contest in the midst of the Israel–Hamas war, a major source of controversy. La Vanguardia's María-Paz López stated that the victory "saved the day thanks to a song and a performer so excellent and deserving of the prize that their victory could not be considered controversial." The same sentiment was shared by Davies and Rosa del Pino, who stated that the victory "was like a breath of fresh air for everyone after the most controversial and political edition of the contest's history". Süddeutsche Zeitung's Isabel Pfaff stated that the song was "a real balancing act... The contest has probably never been so charged... All the more fitting that in the end the only supposedly completely neutral country won - with a performance that itself demonstrated a great sense of balance." In contrast, i's Shaun Curran stated that despite Nemo's calls for the contest to "continue to stand for peace", the controversy and its fallout would continue to still affect the contest. Vanity Fair Italia's Valentina Colosimo, while praising Nemo's victory, stated that despite the win, "to shatter the utopia of a world where love and tolerance reign, which is then the founding dream of Eurovision, it takes very little... Politics cannot stay out of music, even if it is good intentions for a better world that win out."


title: Rwamagana

text: Rwamagana lies approximately 50 km (31 mi) from Kigali, on the newly renovated road leading east towards Tanzania. There was formerly a large amount of traffic running through the centre, particularly freight to and from Tanzania, but with the recent creation of a bypass, the centre of the city is now quieter. The city lies mainly along two roads, the main east–west route, and a spur leading off to the south. The main market and the Banque de Kigali are on this spur, while the city's two petrol stations, taxi-bus parks and post office are on the east–west road. There is a large church at the western end of the city, adjacent to the main secondary school, and a new conference centre at the eastern end of the bypass. Rwamagana district has about 14 sectors including: Kigabiro, Muyumbu, Nyakariro, Karenge, Nzige, Gahengeri, Mwurire, Rubona, Gishari, Munyiginya, Muhazi, Gishari, Mushutu and Munyaga. Four leading commercial centres with modern market and central services in commercial industries are Rwamagana centre, Karenge centre, Nyagasambu centre, Rubona centre. Four coffee washing station in this district include: RWACOF at Karenge, KOPAKABI at Karenge, Muyumbu and Rubona washing stations are the major factory to prepare the coffee in the district.


title: It Takes a Village Idiot, and I Married One

text: The Griffin family decides to take a vacation at Quagmire's cabin at Lake Quahog. When they go swimming in the lake, they discover that an oil refinery is dumping toxic waste into it; as they flee the lake, their hair falls out, forcing them to wear powdered wigs until it grows back. Lois complains to Mayor Adam West, who admits that he sanctioned the dumping in exchange for free hair oil. Outraged at West's deliberate act of corruption, Lois decides to run against him in the upcoming mayoral election. Peter and his friends become strong supporters of Lois' campaign, realizing that they'd be able to get away with almost everything, should she become mayor. But Lois' campaign soon falters, as Mayor West proves more politically savvy. While Lois bores voters with detailed plans to improve the city, Mayor West uses glittering generalities and statements completely unrelated to the questions posed to him. Following Brian's advice to give short, simple answers, Lois resorts to similar tactics, dropping controversial terms such as "Jesus" and "9/11" in meaningless ways. She eventually gains the populace's support and wins the election.


text: After taking office, Lois attempts to propose a tax raise, though when this fails, begins to use fear tactics to raise funds to clean up the lake. Her efforts are successful, and life returns to the clean lake. She even has leftover cash afterwards, so she embezzles $600 to purchase a purse, much to Brian's disappointment. Peter has also succumbed to the perks of being the mayor's husband: he has rerouted the town's electrical system and caused rolling blackouts to bring late comedian Jim Varney back from the dead (he does nothing but talk, playing his character Ernest, and repeatedly refer to "Vern".) He then remembers he actually wanted John Belushi and takes Varney outside to shoot him, only for Varney to end up taking the gun from him and Peter running away from him warning Brian. Later, Lois is tempted to buy a $4,300 fur coat, and Bob Grossbeard, president of the local oil company, offers to buy it for her if she will allow him to dump his oil runoff in the lake. Lois reluctantly accepts his offer, but as the opening of the new runoff pipe begins, Lois realizes the error of her ways and closes the valve to the pipe and resigns her position as mayor, stating that she was consumed by money and power, which led her to become the very same things she set out to destroy.


title: Booby trap

text: The CIA and Green Berets countered by booby trapping the enemy's ammunition supplies, in an operation code–named "Project Eldest Son". The propellant in a rifle or machine–gun cartridge was replaced with high explosive. Upon being fired, the sabotaged round would destroy the gun and kill or injure the shooter. Mortar shells were similarly rigged to explode when dropped down the tube, instead of launching properly. This ammunition was then carefully re–packed to eliminate any evidence of tampering, and planted in enemy munitions dumps by covert insertion teams. A sabotaged round might also be planted in a rifle magazine or machine–gun belt and left on the body of a dead NLF soldier, in anticipation that the deceased's ammo would be picked up and used by his comrades. No more than one sabotaged round would be planted in any case, magazine, or belt of ammunition, to reduce the chances of the enemy finding it no matter how diligently they inspected their supplies. False rumors and forged documents were circulated to make it appear that the Communist Chinese were supplying the NLF with defective weapons and ammunition.


title: Buffalo nickel

text: In 1904, President Theodore Roosevelt expressed his dissatisfaction with the artistic state of American coins, and hoped to hire sculptor Augustus Saint-Gaudens to redesign all of them. Constrained by the 1890 act, the Mint hired Saint-Gaudens to redesign only the cent and the four gold pieces. Saint-Gaudens designed the eagle and double eagle, which entered circulation in the year of his death, 1907; the cent, quarter eagle, and half eagle were designed by other artists and released into circulation by 1909. By that time, the Liberty Head nickel had been in circulation for more than 25 years and was eligible for redesign. In 1909, Mint Director Frank Leach instructed Barber to make pattern coins for new nickels. Most of these coins featured the first president, George Washington. The press found out about the pieces, and speculated that they would be in circulation by the end of the year. The Mint received orders from banks in anticipation of the "Washington nickel". However, the project was discontinued when Leach left office, on November 1, 1909, to be replaced by Abram Andrew.


title: Buffalo nickel

text: Soon after the MacVeagh letter, Andrew announced that the Mint would be soliciting new designs for the nickel. Fraser, who had been an assistant to Saint-Gaudens, approached the Mint and rapidly produced concepts and designs. The new Mint director, George Roberts, who had replaced Andrew, initially favored a design featuring assassinated President Abraham Lincoln, but Fraser soon developed a design featuring a Native American on one side and a bison on the other. Andrew and Roberts recommended Fraser to MacVeagh, and in July 1911 the Secretary approved hiring Fraser to design a new nickel. Official approval was slow in coming; it was not until January 1912 that MacVeagh asked Roberts to inform Fraser that he had been commissioned. MacVeagh wrote, "Tell him that of the three sketches which he submitted we would like to use the sketch of the head of the Indian and the sketch of the buffalo." Roberts transmitted the news, then followed up with a long list of instructions to the sculptor, in which he noted, "The motto, 'In God We Trust', is not required upon this coin and I presume we are agreed that nothing should be upon it that is not required." Fraser completed the models by June 1912, and prepared coin-size electrotypes. He brought the models and electrotypes to Washington on July 10, where they met with the enthusiastic agreement of Secretary MacVeagh.


title: Buffalo nickel

text: In July 1912, word of the new design became publicly known, and coin-operated machine manufacturers sought information. Replying to the inquiries, MacVeagh wrote that there would be no change in the diameter, thickness, or weight of the nickel. This satisfied most firms. However, Clarence Hobbs of the Hobbs Manufacturing Company, of Worcester, Massachusetts requested further information. According to Hobbs, his firm was the manufacturer of a device which would detect counterfeit nickels inserted into vending machines with complete accuracy. Discussions continued for most of the rest of 1912, with Hobbs demanding various changes to the design, to which the artist was reluctant to agree. When in December 1912, the Hobbs Company submitted a modified design for the nickel, MacVeagh strongly opposed it. On December 18, Roberts officially approved Fraser's design, and the sculptor was authorized to complete and perfect the design, after which he would be paid $2,500 (US$78,900 with inflation) for his work.


title: Buffalo nickel

text: Despite the apparent agreement, the Hobbs Company continued to interpose objections. Engraver Barber was asked for his view; he stated that Reith, who had attended the trial striking, had been given all the time and facilities he had asked for in testing the new pieces, and the mechanic had pronounced himself satisfied. Hobbs Company agent C. U. Carpenter suggested that Reith had been intimidated by the preparations that had already gone into the issue of the modified nickel, "and, instead of pointing out clearly just what the situation demanded, agreed to adapt our device to the coin more readily that he was warranted in doing". On February 3, Hobbs sent Roberts a lengthy list of changes that he wanted in the coin, and the sculptor was required to attend a conference with Hobbs and Reith. On the fifth, following the conference, which ended with no agreement, Fraser sent MacVeagh a ten-page letter, complaining that his time was being wasted by the Hobbs Company and appealing to the Secretary to bring the situation to a close. MacVeagh agreed to hold a meeting at his office in Washington on February 14. When the Hobbs Company requested permission to bring a lawyer, Fraser announced he would be doing the same. The Hobbs Company sought letters of support from the business community, with little success; Fraser's efforts to secure support from artists for his position were more fruitful. Barber prepared patterns showing what the nickel would look like if the changes demanded by Hobbs were made. MacVeagh conducted the meeting much like a legal hearing, and issued a letter the following day.


title: Buffalo nickel

text: With the coin now in production, Barber monitored the rate at which dies were expended, as it was the responsibility of his Engraver's Department to supply all three mints with working dies. On March 11, 1913, he wrote to Landis that the dies were being used up three times faster than with the Liberty Head nickel. His department was straining to produce enough new dies to meet production. In addition, the date and denomination were the points on the coin most subject to wear, and Landis feared the value on the coin would be worn away. Barber made proposed revisions, which Fraser approved after being sent samples. These changes enlarged the legend "FIVE CENTS" and changed the ground on which the bison stands from a hill to flat ground. According to data compiled by numismatic historian David Lange from the National Archives, the changes to what are known as Type II nickels (with the originals Type I) actually decreased the die life. The new Treasury Secretary, William G. McAdoo, wanted further changes in the coin, but Fraser had moved on to other projects and was uninterested in revisiting the nickel. The thickness of the numerals in the date was gradually increased, making them more durable; however the problem was never addressed with complete success, and even many later-date Buffalo nickels have the date worn away.


title: Buffalo nickel

text: According to Fraser, the animal that appears on the reverse is the American bison Black Diamond. In an interview published in the New York Herald on January 27, 1913, Fraser was quoted as saying that the animal, which he did not name, was a "typical and shaggy specimen" which he found at the Bronx Zoo. Fraser later wrote that the model "was not a plains buffalo, but none other than Black Diamond, the contrariest animal in the Bronx Zoo. I stood for hours ... He refused point blank to permit me to get side views of him, and stubbornly showed his front face most of the time." However, Black Diamond was never at the Bronx Zoo, but instead lived at the Central Park Zoo until he was sold and slaughtered in 1915. Black Diamond's mounted head is still extant and has been exhibited at coin conventions. The placement of Black Diamond's horns differs considerably from that of the animal on the nickel, leading to doubts that Black Diamond was Fraser's model. One candidate cited by Bowers is Bronx, a bison who was for many years the herd leader of the bison at the Bronx Zoo.


title: Rhamphosuchus

text: Traditionally, many palaeontologists estimated that it was one of the largest, if not the largest crocodylian that ever lived, reaching an estimated length of 15 to 18 m (49 to 59 ft). However, a more recent study suggests that the animal may have been 8–11 m (26 to 36 ft) in length, and therefore is not the largest known crocodylian. Another crocodylian, Purussaurus, from the Miocene of Peru and Brazil, is known from an equally incomplete fossil set. It is estimated to have been similar in length to the initial estimates at approximately 9.2m (about 35 ft). However, this would mean that it would have been somewhat larger in size if the more recent size estimates for Rhamphosuchus are correct. If the most recent estimate is correct, then several other extinct crcoodilians and crocodylomorphs likely surpassed Rhamphosuchus in weight , such as the Late Cretaceous alligatoroid Deinosuchus, the Early Cretaceous pholidosaurid Sarcosuchus and the Miocene gavialid Gryposuchus, at 10.6 m, 9.5 m and 10 m, respectively.


The 2023 Sun Belt Conference women's soccer tournament was the postseason women's soccer tournament for the Sun Belt Conference held from October 30 to November 5, 2023. The nine-match tournament took place at the Foley Sports Complex in Foley, Alabama. The ten-team single-elimination tournament consisted of four rounds based on seeding from regular season conference play. The defending champions were the Old Dominion Monarchs. Old Dominion successfully defended their title as the second overall seed in the tournament. They defeated James Madison 2–1 in (overtime) in the Final. This was the second Sun Belt women's soccer tournament title for the Old Dominion women's soccer program, both of which have come under head coach Angie Hind. This was Old Dominion's third straight conference title as they won the Conference USA title in 2021 before moving to the Sun Belt Conference. As tournament champions, Old Dominion earned the Sun Belt's automatic berth into the 2023 NCAA Division I Women's Soccer Tournament.


title: 2023 Sun Belt Conference women's soccer tournament

text: Ten of the fourteen Sun Belt Conference teams from the regular season qualified for the 2023 Tournament. Seeding was based on regular season records of each team. Although Old Dominion finished with seventeen conference points, they were determined to be the East Division Champion based on points earned in division play. The division winners were determined by points from division play and awarded the top two seeds. Then the remaining teams were seeded based on all conference play. A tiebreaker was required to determine the fifth and sixth seeds as James Madison and Louisiana–Monroe both finished with identical 4–1–5 regular season conference records. The two teams tied their regular season meeting 0–0, so a second tiebreaker of points won against the highest seed was used as a second tiebreaker. The highest seeded team that both teams played was Georgia State. James Madison tied with Georgia State 0–0, while Louisiana–Monroe lost to Georgia State 0–1. Therefore, James Madison was awarded the fifth seed. A tiebreaker was required to determine the ninth and tenth seeds as Louisiana and Southern Miss both finished with twelve conference points. Louisiana defeated Southern Miss 2–1 in their regular season meeting and was therefore awarded the ninth seed.


title: Brendan Bowyer

text: Brendan Bowyer began his career with the Royal Showband in 1957. His ability to tailor American rock and roll music to the tastes of Irish audiences, and his athletic, spirited on-stage performances made him a popular vocalist of the 1960s Irish showband era. On 6 September 1963, Brendan Bowyer and the Royal Showband became the first Irish artists to top the Irish Singles Chart, with the hit "Kiss Me Quick," which stayed at the number one position for seven weeks. They were to return to the top position later that year with "No More," and repeated the feat in 1964 with "Bless You." Bowyer took part in the 1965 Irish National Song Contest for a chance to represent Ireland at the Eurovision Song Contest in Naples with the song "Suddenly in Love", but could only manage fifth place. Their greatest success was to come in 1965 with "The Hucklebuck," which spent a further seven weeks at the top of the Irish Singles Chart, and was a hit in Australia, but failed to appear in the UK Singles Chart. "Don't Lose Your Hucklebuck Shoes" returned the band to the number one position later in 1965.


title: Armenia–Georgia relations

text: By 1490, Georgia was fragmented into a number of petty kingdoms and principalities, which throughout the Early Modern period struggled to maintain their autonomy against Iranian (successive Safavid, Afsharid and Qajar dynasties) and Ottoman domination until Georgia was finally annexed by the Russian Empire in 1801. Russian possession over Georgia got nominally finalised with Qajar Iran in 1813 in the Treaty of Gulistan following Russia's victory in the Russo-Persian War . Greater Armenia was from the early 16th century up to including the course of the 19th century was also, more dominantly even, divided between the rivalling neighboring Ottoman and successive Iranian dynasties. In the first half of the 19th century, after several centuries under its rule in the early modern era, Iran was forced to cede its last remaining territories in the Caucasus which included modern-day Armenia (also known as Eastern Armenia) to Imperial Russia following its loss in the Russo-Persian War , which got ratified in the 1828 Treaty of Turkmenchay. Greater Armenia was now divided between the Ottoman Empire and Russia.


title: Die Hard 2 (soundtrack)

text: Jonathan Broxton in his review for Movie Music UK wrote "Die Hard 2 is one of Michael Kamen's most bombastic action scores, and was written during the period where his action music was successful and ubiquitous in Hollywood his true genius was revealed when he composed from the heart rather than the bicep; his beautiful dramatic and romantic scores offered a much more revealing portrait of who he was as a person. Despite this, Die Hard 2 offers more than half an hour of Kamen action music at its best, and will offer a perfect illustration of why he was so in demand for so much of the late 1980s and 1990s." Christian Clemmensen of Filmtracks.com wrote "Die Hard 2 is a sufficient and occasionally entertaining score, serving as a decent alternative on album (either on the shorter or longer releases) for those who do not care to spend a fortune on the historically rare Die Hard albums." Steven McDonald of AllMusic wrote "there's something very traditionally 1950s about much of this score—the drawn-out orchestral stabs, for example, are classic stuff that resemble any one of a dozen Bernard Herrmann thriller scores; one can almost see the odd angles, the monochromatic film noir photography, the desperate looks and desperate actions, and jarring cutaways. In that, it's terrific homage. However, it's not likely to make it a regular visitor to the CD player in the average soundtrack buff's household."


title: Masao Abe

text: Abe's spiritual progression under Hisamatsu was complex and dialectical. Hisamatsu taught that the revered image of Amida Buddha was but a stage on the way to realizing a "formless" Buddha, whereby one could awaken to one's True Self. Nonetheless Abe first reacted to Hisamatsu by coming to discover and experience an infinite grace from the Amida Buddha. Abe's profound quest continued. In December 1951, during a group Zen sitting at the Reiun Temple of the Myōshin-ji in Kyoto, Abe personally challenged Hisamatsu, screaming to him, "Is that the True Self?" Hisamatsu replied, "That's the True Self." Thereafter Abe entered an intense phase and struggled with the view that "It's all a lie!" (which he cried out while dousing himself with a bucket of ice water at a subsequent group sitting). He agonized over the seeming proximity of the Deity and the devil, and with his own complicity. Finally, Abe told Hisamatsu, "I just cannot find any place where I can stand." Hisamatsu told him, "Stand right at that place where there is nowhere to stand."


title: Masao Abe

text: Dōgen puzzled over a seeming contradiction in Buddhism. All sentient beings are originally enlightened, yet Buddhist teachings "arouse the longing for enlightenment" in those who hear it. If we do religious practice we may become enlightened due to an "acquired awakening" yet "original awakening" is ours "before our parents were born". Dōgen rejects as naturalistic fallacy a theory of "original awakening" that would equate a given human self-consciousness with genuine enlightenment. Also Dōgen rejects the idea that practice is a means to the goal of enlightenment. The epistemological process of enlightenment is undertaken by zen practice, but the process itself becomes enlightenment, i.e., the path is the way of awakening. Abe quotes Dōgen: "In the Buddha Dharma, practice and realization are identical. ne's initial negotiating of the Way in itself is the whole of original realization. Thus, even while directed to practice, one is told not to anticipate a realization apart from practice, because practice points directly to original realization."


title: Ramayya Vasthavayya

text: After the murder, Nandu makes sure that no clues are left at the spot. Police officer Avinash (Rao Ramesh), who is investigating the case, finds that Nandu is behind those killings. When Avinash tries to arrest Nandu, he kidnaps Akarsha at gunpoint and escapes the arrest. When she asks him why he murdered her father, he reveals his past. Nandu's real name is Ramu, who felt in love with Ammulu (Shruti Haasan), who lives in a village named Adityapuram and later gains her love too, and his parents and her parents. The unknown killers are Ramu's elder brothers. Their families also accept for their marriage. Nagabhushanam, along with Home Minister Umapathi (Kota Srinivasa Rao) and his son Bhikshapathi (P. Ravi Shankar), plans to grab a land that was very fertile. Bhikshapathi is a womanizer and lusts over Ammulu when she confronts him. When he misbehaves with her, he is attacked by Ramu, which makes them rivals. The trio resort to lot of bloodshed and finally grab the land and share among themselves.


title: Ramayya Vasthavayya

text: Later, Ammulu and Ramu's marriage is fixed by her parents and Ramu's grandfather Raja Rao Bahadur Ramchandra Naidu (Nagineedu). During the preparations, Nagabhushanam's son Vicky (Bharath Raju) and some more goons attack on Ammulu. Nagabhushanam's son kills Ammulu, and Ramu loses her and his near and dear ones. He migrates to Hyderabad and changes his name to Nandu. He also tells that he had only killed Akarsha's brother and leaves her safely at her home through his friends. Ramu and his brothers killed Nagabhushanam to lure Bhikshapathi out of hiding. In order to seek revenge, through a girl (Hamsa Nandini), Ramu plans to invite Bhikshapathi to a youth fest as the chief guest. Bhikshapathi lusts at her and accepts to attend. There, he sees Ramu and plans to attack him with his henchmen, but he escapes. Later, he informs Bhikshapathi that he kidnapped Umapathi and challenges him to face him at Adityapuram. Ramu reminds Bhikshapathi about Ammulu's death and kills him with a plough. Umapathi doesn't bear to see this and dies because of heart attack. The film ends with Nandu starting a trust in the name of his mother in the village and Akarsha teaching the children there.


title: Ramayya Vasthavayya

text: The Times of India wrote "The film is packaged entirely around its hero with NTR looking uber cool and as stylish as ever. He got into the skin of the character and has delivered a fantastic performance to shoulder the film. All in all, Ramayya Vasthavayya's first half is a fun-ride as you see NTR in his elements. However, the second half could be a disappointment." The Hindu wrote "Until a few minutes before the interval, you're left looking beneath the surface of the comedy, songs and romance to see what the film is trying to communicate to you. And post interval, when the film takes you into a rural hamlet and recalls an ill-fated past followed by revenge, there's way too much bloodshed that leaves you numb. Watch this film if you are an NTR fan." Sify wrote "Can watch it for its first half and for NTR. Other than that, the movie is just another routine revenge drama that fails to impress" and rated it 2.75/5. IANS called the film "a hero-worshipping, fan-appealing film that gets almost everything in the book of filmmaking wrong" in its review.


title: Ramayya Vasthavayya

text: 123telugu stated "Ramayya Vasthavayya is a stylish mass entertainer that showcases all of NTR's abilities very well. The superb first half is a big asset. A predictable and below par second half is a slight let down. However, the film should work well at the Box Office and NTR's fans will be a delighted lot" and rated the film 3.25/5. Oneindia Entertainment stated "Ramayya Vasthavayya is purely a mass masala entertainer that will impress all classes of audiences. Junior NTR's acting, Harish direction, Shruti Haasan's glamour and Thaman's music stand out in the film. It is a brilliant treat from Dil Raju team." IndiaGlitz wrote "In telling an outdated and damn predictable story, Harish Shankar S committed one blunder after another. His only trump card was a romantic NTR, who is seen imitating Dev Anand here and Victory Venkatesh there. A paper-thin storyline is the least of Ramayya's imperfections. Too much violence in the second half rips it of entertainment value" and rated the film 2.75/5.


title: Ramayya Vasthavayya

text: Ramayya Vasthavayya opened to packed houses with 90% to 100% occupancy in single screens and multiplexes. The film grossed approximately ₹3.7 million (US$44,000) in Nizam, ₹18.8 million (US$230,000) in Ceded, ₹4.6 million (US$55,000) in Nellore, ₹12.8 million (US$150,000) in Guntur, ₹5.6 million (US$67,000) in Krishna, ₹7.3 million (US$87,000) in West, ₹7.5 million (US$90,000) in East, ₹6.4 million (US$77,000) in Uttarandhra, ₹13.5 million (US$160,000) in Karnataka, ₹5.5 million (US$66,000) from rest of India and ₹25 million (US$300,000) in Overseas on its first day taking its global first day total to ₹130.7 million (US$1.6 million). The film stood in the third spot in the list of Telugu cinema with the highest first-day share in Andhra Pradesh with Attarintiki Daredi and Baadshah standing in the first two spots. However the film's collections dropped significantly on its second day except in Guntur, Nellore, Ceded and Karnataka regions while a lukewarm response was observed at the USA box office.


title: Decisions (song)

text: An accompanying music video for "Decisions" was directed by Christian Lamb, and was filmed at Beacher's Madhouse in Los Angeles, California. The final product was premiered through Borgore's YouTube channel on November 1, 2012. The clip begins with in Venice Beach, where Borgore is seen bringing a large cake to an upscale party in Hollywood. Several people are seen dressed in costumes and throwing pieces of cake at one another, while Cyrus is later revealed to have been hiding in the cake. She also makes out with her then-fiancé Liam Hemsworth, who appears dressed as a unicorn. Borgore's ex-girlfriend, pornographic actress Jessie Andrews, is also featured in the video. Nate Jones from Popdust though that its entire concept was "very confusing", but said he "still wouldn't mind hanging out in it for a while. Hillary Buss from Entertainment Weekly was surprised that Cyrus was involved in the project, stating that "if you had told me five years ago that Miley Cyrus would one day be featured on an Israeli DJ's dubstep track, I would have scoffed and replied, 'Hannah Montana? Are you serious? Also, what's dubstep?'"


title: Proverb

text: More constructively, Mieder has proposed the following definition, "A proverb is a short, generally known sentence of the folk which contains wisdom, truth, morals, and traditional views in a metaphorical, fixed, and memorizable form and which is handed down from generation to generation". To distinguish proverbs from idioms, cliches, etc., Norrick created a table of distinctive features, an abstract tool originally developed for linguistics. Prahlad distinguishes proverbs from some other, closely related types of sayings, "True proverbs must further be distinguished from other types of proverbial speech, e.g. proverbial phrases, Wellerisms, maxims, quotations, and proverbial comparisons." Based on Persian proverbs, Zolfaghari and Ameri propose the following definition: "A proverb is a short sentence, which is well-known and at times rhythmic, including advice, sage themes and ethnic experiences, comprising simile, metaphor or irony which is well-known among people for its fluent wording, clarity of expression, simplicity, expansiveness and generality and is used either with or without change."


title: Proverb

text: The proverb with "a longer history than any other recorded proverb in the world", going back to "around 1800 BC" is in a Sumerian clay tablet, "The bitch by her acting too hastily brought forth the blind". Though many proverbs are ancient, they were all newly created at some point by somebody. Sometimes it is easy to detect that a proverb is newly coined by a reference to something recent, such as the Haitian proverb "The fish that is being microwaved doesn't fear the lightning". Similarly, there is a recent Maltese proverb, wil-muturi, ferh u duluri "Women and motorcycles are joys and griefs"; the proverb is clearly new, but still formed as a traditional style couplet with rhyme. Also, there is a proverb in the Kafa language of Ethiopia that refers to the forced military conscription of the 1980s, "...the one who hid himself lived to have children." A Mongolian proverb also shows evidence of recent origin, "A beggar who sits on gold; Foam rubber piled on edge." Another example of a proverb that is clearly recent is this from Sesotho: "A mistake goes with the printer." A political candidate in Kenya popularised a new proverb in his 1995 campaign, Chuth ber "Immediacy is best". "The proverb has since been used in other contexts to prompt quick action." Over 1,400 new English proverbs are said to have been coined and gained currency in the 20th century.


title: Proverb

text: On the non-fiction side, proverbs have also been used by authors for articles that have no connection to the study of proverbs. Some have been used as the basis for book titles, e.g. I Shop, Therefore I Am: Compulsive Buying and the Search for Self by April Lane Benson. Some proverbs been used as the basis for article titles, though often in altered form: "All our eggs in a broken basket: How the Human Terrain System is undermining sustainable military cultural competence" and "Should Rolling Stones Worry About Gathering Moss?", "Between a Rock and a Soft Place", and the pair "Verbs of a feather flock together" and "Verbs of a feather flock together II". Proverbs have been noted as common in subtitles of articles such as "Discontinued intergenerational transmission of Czech in Texas: 'Hindsight is better than foresight'." Also, the reverse is found with a proverb (complete or partial) as the title, then an explanatory subtitle, "To Change or Not to Change Horses: The World War II Elections". Many authors have cited proverbs as epigrams at the beginning of their articles, e.g. "'If you want to dismantle a hedge, remove one thorn at a time' Somali proverb" in an article on peacemaking in Somalia. An article about research among the Māori used a Māori proverb as a title, then began the article with the Māori form of the proverb as an epigram "Set the overgrown bush alight and the new flax shoots will spring up", followed by three paragraphs about how the proverb served as a metaphor for the research and the present context. A British proverb has even been used as the title for a doctoral dissertation: Where there is muck there is brass. Proverbs have also been used as a framework for an article.


title: Proverb

text: In English the proverb (or rather the beginning of the proverb), If the shoe fits has been used as a title for three albums and five songs. Other English examples of using proverbs in music include Elvis Presley's Easy come, easy go, Harold Robe's Never swap horses when you're crossing a stream, Arthur Gillespie's Absence makes the heart grow fonder, Bob Dylan's Like a rolling stone, Cher's Apples don't fall far from the tree. Lynn Anderson made famous a song full of proverbs, I never promised you a rose garden (written by Joe South). In choral music, we find Michael Torke's Proverbs for female voice and ensemble. A number of Blues musicians have also used proverbs extensively. The frequent use of proverbs in Country music has led to published studies of proverbs in this genre. The Reggae artist Jahdan Blakkamoore has recorded a piece titled Proverbs Remix. The opera Maldobrìe contains careful use of proverbs. An extreme example of many proverbs used in composing songs is a song consisting almost entirely of proverbs performed by Bruce Springsteen, "My best was never good enough". The Mighty Diamonds recorded a song called simply "Proverbs".


title: Proverb

text: In addition to proverbs being used in songs themselves, some rock bands have used parts of proverbs as their names, such as the Rolling Stones, Bad Company, The Mothers of Invention, Feast or Famine, and Of Mice and Men. There have been at least two groups that called themselves "The Proverbs", and there is a hip-hop performer in South Africa known as "Proverb". In addition, many albums have been named with allusions to proverbs, such as Spilt milk (a title used by Jellyfish and also Kristina Train), The more things change by Machine Head, Silk purse by Linda Ronstadt, Another day, another dollar by DJ Scream Roccett, The blind leading the naked by Violent Femmes, What's good for the goose is good for the gander by Bobby Rush, Resistance is Futile by Steve Coleman, Murder will out by Fan the Fury. The proverb Feast or famine has been used as an album title by Chuck Ragan, Reef the Lost Cauze, Indiginus, and DaVinci. Whitehorse mixed two proverbs for the name of their album Leave no bridge unburned. The band Splinter Group released an album titled When in Rome, Eat Lions, referring to the proverb "When in Rome, do as the Romans do". The band Downcount used a proverb for the name of their tour, Come and take it.


title: Proverb

text: Secondly, proverbs have often been visually depicted in a variety of media, including paintings, etchings, and sculpture. Jakob Jordaens painted a plaque with a proverb about drunkenness above a drunk man wearing a crown, titled The King Drinks. Probably the most famous examples of depicting proverbs are the different versions of the paintings Netherlandish Proverbs by the father and son Pieter Bruegel the Elder and Pieter Brueghel the Younger, the proverbial meanings of these paintings being the subject of a 2004 conference, which led to a published volume of studies . The same father and son also painted versions of The Blind Leading the Blind, a Biblical proverb. These and similar paintings inspired another famous painting depicting some proverbs and also idioms (leading to a series of additional paintings), such as Proverbidioms by T. E. Breitenbach. Another painting inspired by Bruegel's work is by the Chinese artist, Ah To, who created a painting illustrating 81 Cantonese sayings. Corey Barksdale has produced a book of paintings with specific proverbs and pithy quotations. The British artist Chris Gollon has painted a major work entitled Big Fish Eat Little Fish, a title echoing Bruegel's painting of the same name.


title: Proverb

text: The GEICO company has created a series of television ads that are built around proverbs, such as "A bird in the hand is worth two in the bush", and "The pen is mightier than the sword", "Pigs may fly/When pigs fly", "If a tree falls in the forest...", and "Words can never hurt you". Doritos made a commercial based on the proverb, "When pigs fly." Many advertisements that use proverbs shorten or amend them, such as, "Think outside the shoebox." Use of proverbs in advertising is not limited to the English language. Seda Başer Çoban has studied the use of proverbs in Turkish advertising. Tatira has given a number of examples of proverbs used in advertising in Zimbabwe. However, unlike the examples given above in English, all of which are anti-proverbs, Tatira's examples are standard proverbs. Where the English proverbs above are meant to make a potential customer smile, in one of the Zimbabwean examples "both the content of the proverb and the fact that it is phrased as a proverb secure the idea of a secure time-honored relationship between the company and the individuals". When newer buses were imported, owners of older buses compensated by painting a traditional proverb on the sides of their buses, "Going fast does not assure safe arrival".


title: Proverb

text: The concept of "counter proverb" is more about pairs of contradictory proverbs than about the use of proverbs to counter each other in an argument. For example, from the Tafi language of Ghana, the following pair of proverbs are counter to each other but are each used in appropriate contexts, "A co-wife who is too powerful for you, you address her as your mother" and "Do not call your mother's co-wife your mother..." In Nepali, there is a set of totally contradictory proverbs: "Religion is victorious and sin erodes" and "Religion erodes and sin is victorious". Also, the following pair are counter proverbs from the Kasena of Ghana: "It is the patient person who will milk a barren cow" and "The person who would milk a barren cow must prepare for a kick on the forehead". From Lugbara language (of Uganda and Congo), there are a pair of counter proverbs: "The elephant's tusk does not ovewhelm the elephant" and "The elephant's tusks weigh the elephant down". The two contradict each other, whether they are used in an argument or not (though indeed they were used in an argument). But the same work contains an appendix with many examples of proverbs used in arguing for contrary positions, but proverbs that are not inherently contradictory, such as "One is better off with hope of a cow's return than news of its death" countered by "If you don't know a goat you mock at its skin". Though this pair was used in a contradictory way in a conversation, they are not a set of "counter proverbs".