The swing era (also frequently referred to as the big band era) was the period (1933–1947) when big band swing music was the most popular music in the United States. Though this was its most popular period, the music had actually been around since the late 1920s and early 1930s, being played by black bands led by such artists as Duke Ellington, Jimmie Lunceford, Bennie Moten, Cab Calloway, Earl Hines, and Fletcher Henderson, and white bands from the 1920s led by the likes of Jean Goldkette, Russ Morgan and Isham Jones. An early milestone in the era was from "the King of Swing" Benny Goodman's performance at the Palomar Ballroom in Los Angeles on August 21, 1935, bringing the music to the rest of the country.  The 1930s also became the era of other great soloists: the tenor saxophonists Coleman Hawkins, Ben Webster and Lester Young; the alto saxophonists Benny Carter and Johnny Hodges; the drummers Chick Webb, Gene Krupa, Jo Jones and Sid Catlett; the pianists Fats Waller and Teddy Wilson; the trumpeters Louis Armstrong, Roy Eldridge, Bunny Berigan, and Rex Stewart.

Developments in dance orchestras and jazz music culminated in swing music during the early 1930s. It brought to fruition ideas originated with Louis Armstrong, Earl Hines, Fletcher Henderson, Duke Ellington, and Jean Goldkette. The swing era also was precipitated by spicing up familiar commercial, popular material with a Harlem-oriented flavor and selling it via a white band for a white musical/commercial audience.[3] In Benny Goodman's band, the most diversified styles flowed together: the ensemble style developed by Fletcher Henderson, who arranged for Goodman; the riff technique of Kansas City; and the precision and training of many white musicians. On the other hand, the easy melodic quality and clean intonation of Goodman's band made it possible to "sell" jazz to a mass audience.[4]

The swing era brought to swing music Louis Armstrong, Billie Holiday, and by 1938 Ella Fitzgerald. Armstrong, who had heavily influenced jazz as its greatest soloist in the 1920s when working with both small bands and larger ones, now appeared only with big swing bands. Other musicians who rose during this time include Jimmy Dorsey, his brother Tommy Dorsey, Glenn Miller, Count Basie, Goodman's future rival Artie Shaw, and Woody Herman, who departed the Isham Jones band in 1936 to start his own band. Several factors led to the demise of the swing era: the 1942–1944 musicians' strike from August 1942 to November 1944 (The union that most jazz musicians belong to told its members not to record until the record companies agreed to pay them each time their music was played on the radio), the earlier ban of ASCAP songs from radio stations, World War II which made it harder for bands to travel around as well as the "cabaret tax", which was as high as 30%, the rise of vocalist-centered pop and R&B as the dominant forms of popular music, and the rising interest in bebop among jazz musicians. Though some big bands survived through the late 1940s (Duke Ellington, Count Basie, Stan Kenton, Boyd Raeburn, Woody Herman), most of their competitors were forced to disband, bringing the swing era to a close. Big-band jazz would experience a resurgence starting in the mid-1950s, but it would never attain the same popularity as it had during the swing era.

Musical elements

Beat
During the 1920s the older two-beat style of jazz was superseded by four-beat jazz, facilitated by replacement of the sousaphone with the string bass.  Four beat rhythm was the foundation of the Chicago style jazz developed by Louis Armstrong and Earl Hines, and of the swing era rhythmic styles.  The change in rhythm started first with solo pianists and small ensembles, then larger ensembles towards the end of the decade. Toward the end of the twenties the two-beat styles seemed all but exhausted.  First in Chicago, then in Harlem and Kansas City, a new way of playing developed around 1928–29. Chicago musicians migrating to Harlem brought their rhythmic ideas with them. As is so often the case in jazz, there are confusing exceptions to this general outline.  Jimmie Lunceford's big band at the height of the Swing era employed a beat that was simultaneously 2/4 and 4/4.  The Bob Crosby Orchestra and the Lionel Hampton Orchestra also featured two-beat rhythms long after four-beat rhythm became the standard.

Rhythm sections
In May 1935, the No. 1 record in the country was Jimmie Lunceford's "Rhythm Is Our Business". Released a few months before Benny Goodman triggered the national craze known as swing, the song offered a foretaste of the coming deluge. "Rhythm is our business/ Rhythm is what we sell," Lunceford's singer declared: "Rhythm is our business / Business sure is swell."[7] If rhythm defined the swing bands, its foundation lay in the rhythm section: piano, guitar, bass, and drums.

In big bands, rhythm sections fused into a unified rhythmic front: supplying the beat and marking the harmonies. Each of the leading bands presented a distinct, well-designed rhythmic attack that complemented its particular style. The rhythm sections of Ellington, Basie, and Lunceford, for example, sounded nothing alike. Just as the soloists were champing at the bit of big-band constraints, rhythm players were developing techniques and ideas that demanded more attention than they usually received. In the 1930s, rhythm instruments made dramatic advances toward the foreground of jazz. In the process, they helped set the stage for bebop.  In 1939, Duke Ellington discovered virtuoso young bassist Jimmie Blanton and hired him into his Orchestra. Blanton revolutionized the bass as a featured instrument in the band, until he left the band in late 1941 due to terminal tuberculosis.

Towards the end of the 1930s the roles of the piano, bass, and drums in the rhythm section changed significantly under the influence of the Count Basie Orchestra.  Early swing drumming relied heavily on the bass and snare drums, with a secondary role for the high hat cymbal in timekeeping.  Jo Jones inverted that relationship, making the high hat the primary timekeeper and using the bass and snare drums for accents and lead-ins.  Basie introduced a rhythmically sparse style of piano playing emphasizing accents, lead-ins, and fills.  Both of those changes increased the importance of the bass and guitar in timekeeping, ably held by Walter Page and Freddie Green.  The lighter and sparser, yet more dynamic, sense of rhythm expressed by the Basie rhythm section lent greater freedom for the band's soloists and set a trend that would culminate in the rhythmic ideas of bebop.

Instruments
To help bands adjust to the new groove, major changes were made in the rhythm section. While the bass drum continued to play a rock-solid four beat pulse, the tuba, commonly used in large dance bands of the 1920s, was replaced by the string bass. During the early years of recording, the tuba was able to project a clear, huffing sound. But the string bass had been replacing the tuba over the rhythmic devices available with it and many players, including Wellman Braud with Duke Ellington's band, showed that the instrument had a special percussive flavor when the strings were given a pizzicato "slap" (plucked rather than bowed). Change came gradually in the late 1920s, once word had gotten around about how well the string bass worked; many tuba players realized that they'd better switch instruments or lose their jobs.  With Walter Page's bass replacing the tuba in Bennie Moten's Kansas City Orchestra, the way was laid clear for the band to develop the kinetic style of swing it would show under the leadership of Count Basie.

The banjo, with its loud and raucous tone, was replaced with the guitar, which provided a more subtle and secure pulsation (chunk-chunk) in the foundation rhythm. As the saying went, the guitar was more felt than heard. Listeners felt the combined sound of bass, guitar, and drums as a sonic force that pushed through cavernous dance halls. "If you were on the first floor, and the dance hall was upstairs," Count Basie remembered, "that was what you would hear, that steady rump, rump, rump, rump in that medium tempo."

As often noted by commentators on jazz history, the Swing era saw the saxophone supersede in many ways the trumpet as the dominant jazz solo instrument. Swing arrangements often emphasized the reed section to carry the melody, with trumpets providing accents and highlights.  For this reason the types of solo improvisations would change dramatically during the thirties. Trumpeter Roy Eldridge deviated from the more common Armstrong-influenced styles towards a style of improvisation resembling that of reed players, and in turn would be an early influence on bebop trumpet pioneer Dizzy Gillespie.  Coleman Hawkins and Benny Carter broke the barrier to early acceptance of the saxophone as a jazz instrument but it was the style of Frankie Trumbauer on C melody sax, showcased in the recordings he did with Bix Beiderbecke in 1927, that laid the groundwork for the style of saxophone playing that would make it a dominant influence on soloing styles.  Lester Young, whose influence on saxophone playing became dominant towards the end of the 1930s, cited Trumbauer's linear, melodic approach to improvisation as his main inspiration for his own style.

The Fletcher Henderson Orchestra in 1927 consisted of two trumpets, two trombones, three reeds, piano, banjo, tuba, and drums. The Goodman band in 1935 had three trumpets, two trombones, the leader's clarinet, two alto saxes, two tenor saxes, piano, guitar, bass, and drums, fourteen pieces in all, compared to Henderson's eleven in the earlier days. The piano-guitar-bass-drums rhythm section had become standard and kept a steady and uncluttered beat that was very easy to follow. Goodman was quite skilled at setting the perfect dance tempo for each song while alternating wild "killer dillers" with slower ballads. In addition to Henderson and his younger brother Horace, Goodman employed top arrangers such as Fletcher Henderson, Jimmy Mundy, Deane Kincaide, Edgar Sampson, and Spud Murphy who put the melody first but included rhythmic figures in their charts and wrote arrangements that built to a logical climax. Mundy and Sampson had previously done arranging for Earl Hines and Chick Webb, respectively. In 1935, Goodman did not have many major soloists in his band. Unlike Duke Ellington, who went out of his way to hire unique individualists, and Count Basie, who came from a Kansas City tradition emphasizing soloists, Goodman was most concerned that his musicians read music perfectly, blended together naturally, and did not mind being subservient to the leader. It was the sound of the ensembles, the swinging rhythm section, and the leader's fluent clarinet that proved to be irresistible to his young and eager listeners.

Arranging
To fit the new groove, dance-band arranging became more inventive. To some extent, this was a belated influence of Louis Armstrong, whose rhythms continued to be absorbed by soloists and arrangers through the 1930s. Arrangers learned to write elaborate lines for an entire section, harmonized in block chords, called soli. They were conversant with chromatic (complex) harmony and knew how to make the most of their flexible orchestra.

Arrangements could also arise spontaneously out of oral practice. But even in New York, where bands prided themselves on their musical literacy, musicians could take improvised riffs and harmonize them on the spot. The result, known as a head arrangement, was a flexible, unwritten arrangement created by the entire band. One musician compared it to child's play—"a lot of kids playing in the mud, having a big time."

Both kinds of arrangements, written and unwritten, could be heard in the hundreds of recordings made in the 1930s by Fletcher Henderson. For flashy pieces, Henderson relied on experienced arrangers, from his brother Horace to Don Redman and Benny Carter. But his biggest hits emerged from the bandstand. One was "Sugar Foot Stomp", derived in the early 1920s from the King Oliver tune "Dippermouth Blues" and still in the repertory. By the 1930s, it had evolved into a thoroughly up-to-date dance tune, with a faster tempo to match the tastes of the dancers. Another hit was "King Porter Stomp", a ragtime piece by Jelly Roll Morton that became radically simplified, shedding its two-beat clumsiness and march/ragtime form as it went. Many of these pieces were ultimately written down by Henderson, who became his band's chief arranger. His genius for rhythmic swing and melodic simplicity was so effective that his music became the standard for numerous swing arrangers. Henderson was fond of short, memorable riffs—simple, bluesy phrases—in call and response: saxophones responding to trumpets, for example. In some passages, he distorted the melody into ingenious new rhythmic shapes, often in staccato (detached) bursts that opened up space for the rhythm section. Henderson was shrewd and efficient. He wrote only a few choice choruses, leaving the remainder of the arrangement open for solos accompanied by discreet, long-held chords or short riffs. As each piece headed toward its climax, the band erupted in an ecstatic wail.

Songs from the swing era
The swing era produced many classic recordings. Some of those are:
 "Begin the Beguine", recorded by Artie Shaw; written by Cole Porter
 "Bei Mir Bist Du Schön" by the Andrews Sisters with Vic Schoen and his Orchestra
 "Body and Soul" by Coleman Hawkins; music by Johnny Green and lyrics by Frank Eyton, Edward Heyman and Robert Sour
 "Blue Skies" by Benny Goodman (Live at Carnegie Hall 1938)
 "Chattanooga Choo Choo" by Glenn Miller and His Orchestra; featured in the 1941 movie "Sun Valley Serenade"
 "Cherokee" by Charlie Barnet; music and lyrics by Ray Noble
 "Daddy From Georgia Way", recorded by Bob Chester and His Orchestra on Columbia Records; lyrics and music by Daisy Lawton, a pen name for Gloria Parker
 "For Dancers Only" by Jimmy Lunceford
 "Goody Goody" by Benny Goodman and His Orchestra (with vocalist Helen Ward)
 "Here Comes That Mood", recorded by Vincent Lopez; music and lyrics by Gloria Parker
 "I Can't Get Started" by Bunny Berigan
 "In Santiago by the Sea" by Gloria Parker and recorded by Vincent Lopez and His Orchestra
 "In the Mood" by Glenn Miller
 "It Don't Mean a Thing (If It Ain't Got That Swing)" by Duke Ellington
 "Jersey Bounce" by Benny Goodman
 "Jumpin' at the Woodside" by Count Basie
 "Leap Frog", the theme song of Les Brown (bandleader)
 "Minnie the Moocher" by Cab Calloway, Irving Mills, and Clarence Gaskill
 "Moonlight Serenade" by Glenn Miller
 "King Porter Stomp" by Fletcher Henderson
 "Nightmare" by Artie Shaw
 "Pennsylvania 6-5000" by Glenn Miller and His Orchestra
 "Sentimental Journey" co-written by Les Brown; vocal by Doris Day
 "Sing, Sing, Sing" by Benny Goodman
 "Song of India" by Tommy Dorsey
 "Stardust", which has been recorded by everyone from Armstrong, to Miller to Shaw; music and lyrics by Hoagy Carmichael
 "Stompin' at the Savoy" by Benny Goodman
 "Sugar Foot Stomp" by Fletcher Henderson and Benny Goodman
 "Tonight Be Tender To Me", written by Gloria Parker; recorded by Una Mae Carlisle
 "Tuxedo Junction" by Erskine Hawkins
 "Two O'Clock Jump" by Harry James
 "Where, I Wonder, Where?" and "What Would Happen To Me If Something Happened To You?" by Isham Jones, and Three X Sisters (vocalists)

References

Swing music

Swing era


James Carroll Booker III (December 17, 1939 – November 8, 1983) was a New Orleans rhythm and blues keyboardist born in New Orleans, Louisiana, United States. Booker's unique style combined rhythm and blues with jazz standards. Musician Dr. John described Booker as "the best black, gay, one-eyed junkie piano genius New Orleans has ever produced." Flamboyant, and having an extraordinary technical facility, he was known as "the Black Liberace".

Biography

Early life
Booker was the son and grandson of Baptist ministers, both of whom played the piano. He spent most of his childhood on the Mississippi Gulf Coast, where his father was a church pastor. Booker was a child prodigy. He was classically trained on piano from the age of six and also received a saxophone for his 10th birthday in December, 1949. He had asked for a trumpet, yet mastered the saxophone anyway. But he focused on the piano, and learned J.S. Bach's Inventions and Sinfonias, performing these at a professional level by age 12. Booker also played the organ in his father's churches. He aspired, in fact, to become a Catholic priest, yet gave up the idea, deciding to express his faith through music generally.

In 1949 at age 9, Booker was struck by an ambulance that he said was traveling about 70 miles an hour. According to him, it dragged him for 30 feet and broke his leg in eight places, nearly requiring its amputation. He was given morphine, which he later regarded as a cause of his eventual drug addiction. The accident left him with a permanent limp.

Returning to New Orleans in 1953, Booker attended the Xavier University Preparatory School on Magazine Street. Although he had some work as a musician by his mid teens, he excelled at Xavier, especially in math, music, and Spanish, and graduated from the high school in 1957.

The Booker Groove

Booker's interpretations of jazz and popular songs combined elements of stride, blues, gospel and Latin piano styles. He also mastered piano music of Chopin, Rachmaninoff, and Ernesto Lecuona (for example, Malaguena), and memorized solos by Erroll Garner and Liberace.
He learned some elements of his keyboard style from Tuts Washington and Edward Frank, and was influenced by Professor Longhair and Ray Charles.
His main influence, however, was Fats Domino. As a solo pianist late in his career, he used a backbeat rhythm that resembles some of Domino's piano playing. Booker's version of this style has been called the "Booker groove". Joshua Paxton, however, a New Orleans-based pianist and transcriber of Booker's solos, credits the groove only to Booker, not mentioning Domino. Whatever its origin, Booker used this to substitute the original pattern on various songs. Many were New Orleans rhythm and blues, as "Junco Partner", Fats Domino's "All By Myself" and "I'm in Love Again", Lloyd Price's "Lawdy Miss Clawdy", Earl King's "Let's Make a Better World," and Booker's "Pop's Dilemma." A few were jazz standards, namely "Tico-Tico" and "On the Sunny Side of the Street".

1954 to 1976: Recording and touring
Booker made his recording debut in 1954 on Imperial Records, with "Doin' the Hambone" and "Thinkin' 'Bout My Baby", produced by Dave Bartholomew. While these were unsuccessful commercially, Bartholomew subsequently had Booker ghost on piano for Fats Domino, to combine his virtuosity with Domino's popular singing. This collaboration would be repeated in the late 1960s. During the late 1950s, Booker adopted a flamboyant stage dress. In this way he emulated Little Richard as did Esquerita, both of whom recorded in New Orleans. In 1958, Arthur Rubinstein performed a concert in New Orleans. Afterwards, eighteen-year-old Booker was introduced to the concert pianist and played several pieces for him. Rubinstein was astonished, saying "I could never play that ... never at that tempo" (The Times-Picayune, 1958).

Booker played with many other bands on piano or organ after the Imperial recordings, as partly described in liner notes (by Bunny Matthews) to the album Classified. In interview, he said he "recorded for Leonard Chess  — I did 'A Heavenly Angel' with Arthur Booker [no relation]. After that, I recorded for Johnny Vincent's Ace Records. I played with Huey Smith and Shirley and Lee. When I graduated high school, I played with Joe Tex. I left Joe Tex to play with Huey Smith." During touring with Huey Smith, Booker replaced Smith, who preferred not to be on the road. Booker also recorded on piano with Larry Davis and his blues band in 1958, 1959, and 1960 in Houston, Texas. In January 1960 in Chicago, he recorded on piano with Junior Parker. He recorded on piano with Dave Bartholomew's studio band and Earl King, when King recorded for Imperial records in New Orleans in 1960 and 1961. Booker recorded as pianist with Smiley Lewis in 1960 and 1961, on organ for Lloyd Price in 1963,
 and on piano for Shirley & Lee in 1962 and 1963. In March 1962, Booker recorded four titles on the organ with Dave Bartholomew's band in New Orleans, of which two were released.

In the early 1960s, Booker resumed his solo career and recorded a series of instrumental singles on organ for Peacock Records. These were "Cool Turkey" and "Gonzo" in 1960, "Smacksie" and "Kinda Happy" in 1960 and 1961, and "Tubby," "Cross my Heart" and "Big Nick," dates unknown between 1960 and 62.

In 1960, Booker enrolled as an undergraduate in Southern University's music department. In the same year, "Gonzo" reached number 43 on the United States (U.S.) record chart of Billboard magazine and number 3 on the R&B record chart. The other Peacock releases were moderately successful. Booker continued to tour through the 1960s. In September 1966, his sister died, at a time when he was compelled to go on touring despite this event. His mother passed away the following June, in 1967. Also in that year, he was convicted of possession of heroin, which he had begun using earlier in the sixties. Booker served a one-year sentence in Angola Prison, where he lost his left eye in an assault. After his release in 1968, he resumed session work in New Orleans, including recording with Fats Domino. In July, 1968, he recorded with Freddie King in New York City, tracks that were released in 1969 and 1970.

As Booker became more familiar with law enforcement in New Orleans due to his drug use, he formed a relationship with District Attorney Harry Connick Sr., who was occasionally Booker's legal counsel. Connick would discuss law with Booker during his visits to the Connick home and made an arrangement with the musician whereby a prison sentence would be nullified in exchange for piano lessons for Connick Sr.'s son, Harry Connick Jr.

In 1973, Booker recorded The Lost Paramount Tapes at Paramount Studios in Hollywood, California, U.S. with members of the Dr. John band, which included John Boudreaux on drums, Jessie Hill on percussion, Alvin Robinson on guitar and vocals, Richard "Didymus" Washington on percussion, David Lastie on sax, and David L. Johnson on bass guitar. The album was produced by former Dr. John band member David L. Johnson and by singer/songwriter Daniel Moore. The master tapes disappeared from the Paramount Recording Studios library, but a copy of the mixes that were made around the time of the recordings was discovered in 1992, which resulted in a CD release on DJM Records.

Booker then played organ in Dr. John's Bonnaroo Revue touring band in 1974, and also appeared as a sideman on albums by Ringo Starr, John Mayall, The Doobie Brothers, Labelle and Geoff Muldaur throughout this period.

Booker's performance at the 1975 New Orleans Jazz and Heritage Festival earned a recording contract for him with Island Records. His album with Island, Junco Partner, was produced by Joe Boyd, who had previously recorded Booker on sessions for Muldaur's records. In January 1976, Booker briefly joined the Jerry Garcia Band, playing two Palo Alto, California shows where Garcia was  "backing up ... Booker on most numbers."

1976 to 1978: Success in Europe
Several concerts from Booker's 1977 and 1978  European tours were professionally recorded, and some were also filmed for television broadcast. Multiple albums were released from these recordings on a number of record labels. The album New Orleans Piano Wizard: Live!, which was recorded at his performance at the "Boogie Woogie and Ragtime Piano Contest" in Zurich, Switzerland, won the Grand Prix du Disque. He also played at the Nice and Montreux Jazz Festivals in 1978 and recorded a session for the BBC during this time. Fourteen years later, a recording entitled Let's Make A Better World!—made in Leipzig during this period—became the last record to be produced in the former East Germany.

In a 2013 interview, filmmaker Lily Keber, who directed a documentary on Booker, provided her perspective on Booker's warm reception in European nations such as Germany and France:

Well, the racism wasn't there, the homophobia wasn't there—as much. Even the drug use was a little more tolerated. But really I think that Booker felt he was being taken seriously in Europe, and it made him think of himself differently and improved the quality of his music. He needed the energy of the audience to feed off.

Keber further explained that Europeans refer to jazz as "the art of the twentieth century" and suggests that the "classical tradition" that is present in the continent led to a greater understanding of Booker among audiences. Keber states that Booker was "concert-hall worthy" to European jazz lovers.

1978 to 1983: Return to the U.S.
From 1978 to 1982, Booker was the house pianist at the Maple Leaf Bar in the Carrollton neighborhood of uptown New Orleans. Recordings during this time, made by John Parsons, were released as Spiders on the Keys and Resurrection of the Bayou Maharajah. Following his success in Europe, Booker was forced to adjust to a lower level of public recognition, as he performed in cafes and bars. Keber believes this shift was "devastating" to Booker, as he was aware of his own talent.

Booker's last commercial recording, made in 1982, was titled Classified and, according to producer Scott Billington, was completed in four hours. By this time, Booker's physical and mental condition had deteriorated. He was also subject to the social stigma that affected people who used illicit drugs and those with mental health issues during this era of American history.

At the end of October 1983, filmmaker Jim Gabour captured Booker's final concert performance for a series on the New Orleans music scene. The series, entitled Music City, was broadcast on Cox Cable and included footage from the Maple Leaf Bar in New Orleans and a six-and-a-half-minute improvisation called "Seagram's Jam."

Death
Booker died aged 43 on November 8, 1983, while seated in a wheelchair in the emergency room at New Orleans' Charity Hospital, waiting to receive medical attention. The cause of death, as cited in the Orleans Parish Coroner's Death Certificate, was renal failure related to chronic abuse of heroin and alcohol.

Posthumous tributes
Booker's death was mourned by music lovers and numerous admirers have emerged in the time since. Harry Connick Jr., Henry Butler, and Dr. John, among others, recorded songs with titles and musical styles referencing Booker. Connick Jr. explained his mentor's piano-playing style in an interview: "Nothing was harder than that. It's insane. It's insanity." and called him "the greatest ever."

Transcriptions by Joshua Paxton (with Tom McDermott and Andy Fielding) of Booker's playing are available in The James Booker Collection and New Orleans Piano Legends, both published by the Hal Leonard Corporation. Paxton explained the significance of Booker in a 2013 interview:

From a musician's perspective or piano player's perspective, he matters because he figured out how to do things no one had ever done before, at least in a rhythm-and-blues context.... Basically he figured out ways to do a lot of stuff at the same time and make the piano sound like an entire band. It's Ray Charles on the level of Chopin. It's all the soul, all the groove, and all the technique in the universe packed into one unbelievable player ... I can now say with certainty that it's a pianistic experience unlike any other. He invented an entirely new way of playing blues and roots-based music on the piano, and it was mind-blowingly brilliant and beautiful.

The influential New Orleans musician, composer, and producer Allen Toussaint also praised Booker, applying the term "genius" to him:

There are some instances in his playing that are very unusual and highly complex, but the groove is never sacrificed. Within all the romping and stomping in his music, there were complexities in it that, if one tried to emulate it, what you heard and what excited you on the surface was supported by some extreme technical acrobatics finger-wise that made his music extraordinary as far as I'm concerned. And most of all, it always felt wonderful ... He was an extraordinary musician, both soul wise and groove wise ... He was just an amazing musician.

Booker's vocal ability is also a subject that has been covered since his death. New Orleans pianist Tom McDermott, who has also studied the work of Booker, stated that he is "so moved" by Booker's vocals, as "you could feel the desperation in a way that few singers could impart." McDermott believes that Booker's skillful combination of vocal virtuosity with a magnificent emotional power superseded the singing of Frank Sinatra.

Patchwork: A Tribute to James Booker is a 2003 release consisting of a compilation of his songs, performed by various pianists. Released in 2007, Manchester '77 consists of a live performance recorded in October 1977 at The Lake Side Hotel, Belle Vue, Manchester, UK, with the Norman Beaker Band in support for two songs. In late 2013, Rounder Records announced the forthcoming release of a double-CD deluxe version of Classified, Booker's final studio recordings.

Writing for PopMatters in 2014, George de Stefano said: "And then there's James Booker, whose stature in New Orleans musical history can be gauged by the various nicknames bestowed on the gifted, troubled, openly gay musician: the Bayou Maharajah (the title of a new documentary film about the pianist), the Piano Pope, the Ivory Emperor, the Piano Prince of New Orleans. Booker himself coined at least one of these monikers—the Bronze Liberace."

Bayou Maharajah: The Tragic Genius of James Booker
A feature-length documentary about Booker titled Bayou Maharajah: The Tragic Genius of James Booker, directed by Lily Keber, premiered at the SXSW festival on March 14, 2013. Keber raised funds on the Kickstarter website to complete the film, as she needed to cover licensing costs to include all of the "concert footage, home movie, funky photo and unreleased audio" that she uncovered across the U.S. and Europe. Between December 2012 and January 2013, the Kickstarter campaign received US$18,323 from 271 backers—Keber's goal was US$15,000—who responded to the director's motivation: "After so many years of simmering in obscurity, it's time for James Booker to be introduced to the world!"

The film documents Booker's life, from his Baptist upbringing through to his solitary death at Charity Hospital. In addition to coverage of Booker's significant influence upon Connick and his collaborations with prominent artists, Keber also documents the musician's heroin use and the deterioration in his mental health. In its review of the documentary, All About Jazz refers to Booker as a "jazz genius". Worldwide distribution of the film was undertaken by Cadiz music on August 6, 2016. As of September 1, 2016 the film is available for streaming on Amazon.com and Netflix. The DVD was released on October 14, 2016, in Europe and North America.

Keber's film was shown in May 2013—in the "Golden Rock Documentary" category—at the Little Rock Film Festival that is held annually on the banks of the Arkansas River in Little Rock, Arkansas. The Oxford American magazine bestowed the 2013 Best Southern Film Award to Keber at the Little Rock festival and praised the film as "one of the most culturally important documentaries made in recent years". Keber explained her introduction to Booker in a subsequent Oxford American interview:

When I played Booker's album, the first thing that I noticed was what bizarre song titles it had—stuff like "Coquette" and "Piano Salad." I didn't know what "piano salad" meant. I had no idea what to make of the music either. I know how to listen to something like the Neville Brothers or Irma Thomas, but Booker's music I didn't even know how to listen to. It was like a different language.

In June and August 2013, the film was part of the program of the Melbourne International Film Festival (MIFF) and producer Nathaniel Kohn attended as a representative. Kohn participated in a brief interview and explained the importance of the research process:

Research was key to discovering Booker and his music. He died in 1983 and many of the people who knew him are either dead or reaching that certain age when memories start to fade. So we talked to a lot of people and those conversations led to boxes of old photographs and tapes, video and music libraries in the States and in Europe, and the vaults of television stations, record companies, and museums. Over three years of research went into this production.

Keber's documentary was also the opening night film at the Southern Screen Film Festival in Lafayette, Louisiana on November 14, 2013. A question and answer (Q&A) session with Keber followed the screening.

Discography

Singles
 1954, "Doin' the Hambone"/"Thinkin' 'Bout My Baby", Imperial Records
 1958, "Open the Door/Teenage Rock", Ace Records: 547 (as Little Booker)
 1960, "Gonzo", Peacock Records: , FR1061

Studio albums
 Lost Paramount Tapes (DJM, 1974)
 Junco Partner (Hannibal, 1976)
 Classified (Demon, 1982)

Live albums
 The Piano Prince Of New Orleans (Black Sun Music, 1976)
 Blues And Ragtime From New Orleans (Aves, 1976)
 James Booker Live! (Gold, 1978)
 New Orleans Piano Wizard: Live! (Rounder, 1987)
 Resurrection Of The Bayou Maharajah (Rounder, 1993)
 Spiders On The Keys (Rounder, 1993)
 Live At Montreux (Montreux Sounds, 1997)
 United Our Thing Will Stand (Night Train International, 2000)
 A Taste Of Honey (Night Train International, 2006)
 Manchester '77 (Document, 2007)
 Live From Belle Vue (Suncoast Music, 2015)
 At Onkel Pö's Carnegie Hall Hamburg 1976 Vol. 1 (Jazz Line, 2019)
 True - Live at Tipitina's - 04/25/78 (Tipitina's Records, 2021)

Compilations
 King Of New Orleans Keyboard Vol. 1-2 (JSP, 1984–85)
 Mr. Mystery (Sundown, 1984)
 Let's Make A Better World (Amiga, 1991)
 The Lost Paramount Tapes (DJM, 1995)
 More Than All The 45s (Night Train International, 1996)
 New Orleans Keyboard King (Orbis, 1996)

(Albums listed are with James Booker as main artist. For a complete discography which includes Booker's other album credits, see "External Links".)

See also
1970s in jazz
Drug use in songs
Genius
Jazz piano
Music of New Orleans
Piano history and musical performance

References

External links
 "Booker's Mad Muse", April 23, 2006 at the San Francisco Chronicle
 "Booker: A Pianist's Perspective", by Joshua Paxton
 "Making The Insipid Sublime", January 17, 2007 at NPR
 "Maharajahs in the Mist" from Blues Access Summer, 1997
 Producer Scott Billington on Booker
 Singer Rickie Lee Jones on Booker
 Illustrated James Booker Discography
 Jerry Garcia & James Booker Sessions Info
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 Document Records James Booker Podcast
 James Carroll Booker III
 Bayou Maharajah: The troubled genius of James Booker (documentary film)
 "Reviving James Booker, The 'Piano Prince Of New Orleans'", March 31, 2012 at NPR

1939 births
1983 deaths
African-American jazz pianists
African-American pianists
American blues singers
American blues pianists
American male pianists
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Deaths from kidney failure
African-American LGBT people
Rhythm and blues musicians from New Orleans
Jazz musicians from New Orleans
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Rhythm and blues pianists
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LGBT people from Louisiana
20th-century American singers
20th-century American pianists
Singers from New Orleans
American male organists
20th-century African-American male singers
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Jerry Garcia Band members
Drug-related deaths in Louisiana
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20th-century American keyboardists
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American organists

James Booker


Gustav Sigismund Ferdinand Archibald Freiherr von Zedlitz-Leipe (* 18. Januar 1824 in Breslau; † 2. Dezember 1914 auf Gut Käntchen) war ein preußischer Gutsbesitzer und Politiker.

Leben

Herkunft
Gustav entstammt dem schlesischen Adelsgeschlecht der Zedlitz. Er war ein Sohn des Gutsbesitzers August Freiherr von Zedlitz-Leipe (1789–1873) und dessen Ehefrau Jenny, geborene Gräfin von Roedern (1798–1879). Sein jüngerer Bruder Adolf (1826–1906) wurde preußischer Generalleutnant, Hans (1833–1889) preußischer Landrat des Kreises Schweidnitz.

Karriere
Gustav von Zedlitz war Eigentümer der Güter Käntchen und Zülzendorf, Landesältester der Schweidnitz-Jauerschen Landschaft, Rechtsritter des Johanniterordens und Probst des Zedlitz-Leipeschen adligen Fräuleinstiftes in Kupsdorf.

Von 1877 bis zu seinem Tode 1914 war er auf Präsentation des Alten und befestigten Grundbesitzes der Fürstentümer Schweidnitz und Jauer Mitglied des Preußischen Herrenhauses.

Familie
Zedlitz heiratete in erster Ehe am 20. Mai 1856 Johanna Gräfin zur Lippe-Weissenfeld aus dem Haus See (* 6. Dezember 1828; † 2. April 1862), eine Schwester des preußischen Justizministers Leopold zur Lippe-Biesterfeld-Weißenfeld. Das Paar hatte zwei Töchter und einen Sohn hatte:
 Auguste Johanne Helene (* 1857)
 Dietz Sigismund Gustav (1859–1946), Landrat des Kreises Schweidnitz
 Elise Johanne Charlotte (* 1860)

In zweiter Ehe heiratete er 31. Oktober 1864 Agnes von Seydlitz-Ludwigsdorf-Habersdorf (* 1832). Aus der Ehe ging die Tochter Anna Jenny Marie Agnes (* 1865) hervor.

Literatur
 Hermann Krüger (Hrsg.): Chronik des preußischen Herrenhauses. Ein Gedenkbuch zur Erinnerung an das dreißigjährige Bestehen des Herrenhauses. Berlin 1885, S. 219.
 Gothaisches Genealogisches Taschenbuch der Freiherrlichen Häuser auf das Jahr 1871, S. 805f, 1891 S. 1074f.

Mitglied des Preußischen Herrenhauses
Politiker (Deutsches Reich)
Rechtsritter (Johanniterorden)
Gustav Archibald
Gustav Archibald
Deutscher
Geboren 1824
Gestorben 1914
Mann

Gustav Archibald von Zedlitz-Leipe


William Humfrey (also Humphrey or Humphreys) (c.1515–1579) was an English goldsmith, mining promoter, and Assay Master at the Royal Mint during the reign of Elizabeth I.

Life

Little is known of Humfrey's life before 1560, when he is recorded as a member of the Worshipful Company of Goldsmiths in London, and as a resident of the parish of St Vedast. He obtained the patronage of Sir William Cecil, later Lord Burghley, who 'considered him an expert on metallurgical matters', and provided him with both financial and political backing.

Humfrey was appointed Assay Master at the Royal Mint in 1561. German technologists had recently been brought to England to assist with the recoinage of the debased English currency, and through these contacts both Humfrey and Cecil became convinced that German metallurgical techniques could be used in the development of the English mining industry. In particular, Humfrey needed someone knowledgeable about calamine ore, essential to the production of latten and brass, and in 1563 he paid the way to England of a metallurgist from Saxony, Christopher Schutz. In 1564 Schutz, aided by twenty German-speaking workers, built England's first blast furnace at Tintern. In a letter of 16 August 1565 to Sir William Cecil, Humfrey stated that Schutz was 'bound in £10,000 to communicate his art in working metals', and requested that he and Schutz be granted a joint patent. In September 1565 Humfrey and Schutz were granted licences to prospect for calamine in England and in The Pale in Ireland, and to mine and process the ore, being joined in some of their licences with Thomas Smythe, William Williams and Humfrey Cole. Only a few months later, in early 1566, they found calamine in the Mendip Hills in Somerset, and Daniel Hoechstetter designed a refining process by which it could be used in Schutz' furnace at Tintern. According to Hulme, 'the first true brass' produced in England by this new refining process was exhibited in 1568.

While these mining ventures were ongoing, Humfrey was embroiled in a scandal at the Mint. In October 1565 the Under-Treasurer of the Mint, Thomas Stanley, had charged Humfrey with robbery. The allegations were confirmed in a confession by Humfrey's colleague, John Bull, Comptroller of the Mint, who admitted that he and Humfrey had attempted to discredit Stanley by stealing money under his control. An investigation followed, and a letter of 10 November from Thomas Smythe expressing the wish that he could deliver Humfrey from his 'unexpected thraldom' suggests that Humfrey was imprisoned for a time. In April 1567 the State Papers record that Humfrey was to be restored to his office of Assay Master. According to Challis, Humfrey could not have survived this episode had he not had the favour of Sir William Cecil.

In May 1568 Elizabeth I granted charters for the incorporation of two joint-stock companies, the Society of the Mines Royal, and the Company of Mineral and Battery Works. Humfrey was one of the twenty-four original shareholders in the former Company, and he and Schutz were leading shareholders in the latter, which took over the patents they had obtained from the Queen in 1565 for the 'manufacture of brass, brass and iron wire, battery (the hammering of metal into plates and utensils), and the introduction of new mining and smelting technology'. The extraction of calamine ore at Worle Hill in the Mendips had proved prohibitively expensive for the production of brass, however, and on 28 May 1568 the Company of Mineral and Battery Works took over the operation of the furnace at Tintern, and converted it to the production of iron wire for use in wool-carding, the first such mill in England. However this enterprise also struggled to survive financially.

In 1569 Humfrey, having leased a part of his original patents to the Company of Mineral and Battery Works, became involved in the smelting of lead. In about 1570 he and Schutz were responsible for two developments in the English lead industry, the construction of a water-powered lead-smelting furnace at the former Beauchief Abbey near Sheffield, and the use of a German sieve in the processing of ore in Derbyshire. Both these inventions were purportedly protected by Humfrey's earlier patent, which 'covered all subsequent inventions of the patentees in this particular branch of metallurgy'. Humfrey's water-powered smelting mill 'rapidly ousted both traditional boles and footblasts', but Humfrey was unable to stop both its unlicensed use and the unlicensed use of his German sieve, although in 1574 and 1581 injunctions were granted against the owners of lead mines in Derbyshire who were using his methods. The alleged infringements of Humfrey's patents by, among others, George Talbot, 6th Earl of Shrewsbury, who had built a furnace on his estate at Chatsworth, were investigated after Humfrey's death by four commissions in the Court of Exchequer between 1581 and 1584. As a result of his difficulties in Derbyshire, Humfrey abandoned his interests there, and embarked on a silver-mining venture in Cardiganshire in Wales.

According to Kiernan, Humfrey's lead-smelting furnace was far more efficient than the traditional boles, and its eventual widespread adoption enabled rapid expansion of the mining industry after 1570, and the export from England of large quantities of lead. Humfrey did not live to see this, however. In a letter dated 16 October 1578 from Wales he complained to Lord Burghley that his 'impoverishment prevented him from following many good things'. He died intestate in July 1579.

Marriage and issue
At an unknown date Humfrey married a wife named Alice, by whom he had two daughters:

Elizabeth Humfrey, who on 30 July 1570 married a merchant taylor, Robert Ledger, in the parish church of St Vedast.
Alice Humfrey, who married an embroiderer, Alexander Fownde.

Notes

References

1579 deaths
English goldsmiths
Year of birth missing
16th-century English people

William Humfrey


يحيى العيدلي هو عالم جزائري مسلم . ولد في منطقة آث عباس القريبة من إغيل علي ببجاية في تاريخ مجهول. كما لا يعرف تاريخ وفاته إلا السنة التقريبية: 881/ 1477 م عن عمر يقارب الـ 85 عاما بقرية ثمقرة. وقد بنيت على قبره قبة موجودة حتى الآن، تعرف باسم (تقرابت).

نسبه ونشأته
يعرف عنه أنه شريف النسب فقط، وكل ما يُعرف هو اسم أبيه: أحمد.

نشأ يتيماً بعد أن تركه والده رفقة والدته يما ربيحة ذاهباً إلى البقاع المقدسة لاداء مناسك الحج ولم يعد بعدها. فانتقل صغيرا إلى منطقة تمقرة مع والدته.

زواجه أبناؤه
تزوج من سيدة من منطقة تمقرة فأنجبت له 3 أولاد: الجوذي، الواضح، بلقاسم. وأنجب ابنه بلقاسم بدوره: علي والمهدي. وانطلاقاً من أسماء أولاده سميت احياء تمقرة بحسب سكن سلالة أحد أبناءه: آث الجوذي، آث الواضح، آث علي أو بلقاسم، آث المهذي. هذا ما وصلنا بحسب الرواية الشفوية، في حين أننا وقعنا على وثيقة قديمة مؤرخة سنة 1192م بخط: محمد البشر بن الهادي بن خالد نجل أحمد بن يحيى العيدلي نسباً ومنشئاً. مما يعني أن للشيخ ابناً آخر على الأقل سماه باسم أبيه، وهو شيء معمول به بحسب العادة، وقد لا يستبعد أن يكون هذا الابن هو ابنه البكر.

الدراسة والشيوخ
كل ما يعرف عن هذه  الفترة من حياته أنه تلقى تعليمه ببجاية، دون أن تبين المصادر أسماء شيوخه ولا سنوات الدراسة، ناهيك عن المواد التي درسها. ولكننا يمكن أن نخمن أنه تلقى بها على العلماء الآخذين على  عبد الرحمن الوغليسي (ت 786) وهم أنفسهم الذين أخذ عنهم الشيخ عبد الرحمن الثعالبي (ت 875 /1479 م) الداخل إلى بجاية في بداية القرن التاسع ومنهم:
 أحمد بن إبراهيم البجائي (ت 840/ 1434 م)
 أبو الحسن علي بن محمد اليليلتي (أو البلبلتي)
 أبو القاسم المشدالي
 أبو مهدي عيسى اليليلتي
 أبو الحسن علي بن عثمان المانجلاتي
 أبو الربيع سليمان الزواوي
 علي بن موسى البجائي

التدريس
بعد إنهاء دراسته عاد إلى ثمقرة حيث أسس زاوية سيدي يحي العيدلي في حدود منتصف القرن التاسع الهجري. باشر التعليم بها، وما فتئت أن أصبحت مركزا تعليميا هاما تمكن من استقطاب العديد من الطلبة من داخل الجزائر ومن خارجها ممن سيكون لهم أثر كبير في الثقافة الإسلامية عموما.

تلاميذه
تخرج عليه عدد كبير من العلماء، تذكر المصادر منهم:

 أحمد بن أحمد بن محمد بن عيسى البرنسي الفاسي المشهور بـ أحمد زروق البرنسي، والذي تولى التدريس في نفس الزاوية، كما عكف فيها وتحت إشراف شيخه على كتابة كتبه كشرح رسالة ابن أبي زيد القيرواني في الفقه.
و في سند الطريقة الشاذلية جاء اسم أحدهم كما يلي:  يحيى العيدلي القادري (كذا) الذي يروي عنه  أبي العباس أحمد بن عقبة الحضرمي الذي يروي عنه  أحمد بن أحمد بن محمد بن عيسى البرنسي الفاسي الزروق.
 عبد الرحمن الصباغ شارح الوغليسية للشيخ عبد الرحمن الوغليسي في الفقه وشرح البردة للبوصيري.
 أحمد بن يحيى أومالو مؤسس زاوية أمالو.
 محمد بن علي الخروبي صاحب المؤلفات الكثيرة، منها شرح وظيفة شيخه سيدي يحيى العيدلي.
 الصوفي  أحمد بن يوسف الملياني.
 بهلول عاصم.
 إيدير بن صالح.
 إبراهيم بن عمار.
 أحمد بن عبد الرحمن جد عائلة المقراني الثائر على فرنسا.

تصوفه
أثر عنه اهتمامه بتربية نفسه و تزكيتها بترويضها على الزهد والعبادة. ومما يروى أنه قضى 14 عاما من حياته في عزلة داخل مغارة ضيقة (خلوة) تقع أعلى الجبل الذي يقع فيه الحمام (حمام سيدي يحيى العيدلي). وكان ممن اختار الطريقة الشاذلية.

آثاره
لا يعرف من آثاره إلا وظيفة  يحي العيدلي التي يروى أنه أوصى أولاده وطلابه ومحبيه بقراءتها بعد صلاة الصبح. وقد قام بشرحها تلميذه محمد بن علي الخروبي

نص الوظيفة

أعوذ بالله من الشيطان الرجيم بسم الله الرحمن الرحيم، الصلاة والسلام عليك يا رسول الله، الصلاة والسلام عليك يا حبيب الله، الصلاة والسلام عليك يا خير خلق الله، اللهم ارض عن أصحاب رسول الله.

الله أكبر (ثلاث مرات) ولا اله إلا الله، الله أكبر (ثلاث مرات) ولله الحمد.

يا لطيف يا كافي يا حفيظ يا شافي (ثلاث مرات) يا الله.

لا إله إلا الله (عشر مرات)، سـيدنا محمد رسول الله صلى الله عليه وسلم تسليما. ثبتنا يا ربي بقولها وانفعنا يا ربي بفضلها واجعلنا يا ربي من أخيار أهلها (ثلاث مرات)، آمين (ثلاث مرات) يا رب العالمين (ثلاث مرات).

اللهم صل وسلم على محمد وعلى آل محمد وبارك على محمد وعلى آل محمد (عشر مرات)، آمين (ثلاث مرات) يا رب العالمين. سلام على المرسلين والحمد للـه رب العالمين.

أعوذ بالله من الشيطان الرجيم، بسم الله الرحمن الرحيم:

إن الله وملائكته يصلون على النبي، يا أيها الذين آمنوا صلوا عليه وسلموا تسليما. صلى الله عليه وعلى آله وصحبه وسلم تسليما (عشر مرات). اللهم صل على محمد عبدك ونبيك ورسولك النبي الأمي وعلى آله وصحبه وسلم تسليما (عشر مرات). اللهم صل على ملائكتك المقربين وعلى أنبيائك والمرسلين وعلى أهل طاعتك أجمعين (خمس مرات). اللهم ارض عن سادتنا الخلفاء أبي بكر وعمر وعثمان وعلي وعن الصحابة أجمعين وأمهات المؤمنين وعن عبادك الصالحين وعـن التابعين وتابعي التابعين لهم بإحسان إلى يوم الدين (خمس مرات).

أستغفر الله الذي الذي لا إله إلا هو الحي القيوم وأتوب إليه (ثلاث مرات). أستغفر الله العظيم لي ولوالدي ولجميع المسلمين والمسلمات والمؤمنين والمؤمنات الأحياء والأموات (ثلاث مرات).

أعوذ بالله من الشيطان الرجيم، بسم الله الرحمن الرحيم

سورة الفاتحة. سورة الناس. سورة الفلق. سورة الإخلاص. سورة الكافرون. آية الكرسي.

سبحان الله والحمد لله ولا إله إلا الله والله أكبر ولا حول ولا قوة إلا بالله العلي العظيم. اللهم صل على محمد وعلى آل محمد كما صليت على إبراهيم وعلى آل إبراهيم وبارك على محمد وعلى آل محمد كما باركت على إبراهيم وعلى آل إبراهيم في العالمين إنك حميد مجيد.

اللهم اغفر لنا ولوالدينا ولجميع المسلمين والمسلمات والمؤمنين والمؤمنات الأحياء منهم والأموات، إنك أنت الجواد بالخيرات. اللهم افعل بنا وبهم عاجلا وآجلا في الدين والدنيا والآخرة ما أنت له أهل ولا تفعل بنا وبهم يا مولانا ما نحن أهل، إنك أنت الغفور الحليم الجواد الكريم الرؤوف الرحيم.

رضيت بالله ربا وبالإسلام دينا وبالكعبة قبلة وبالقرآن إماما وبمحمد صلى الله عليه وسلم نبيا ورسولا ولا حول ولا قوة إلا بالله العلي العظيم.

سبحان ربك رب العزة عما يصفون وسلام على المرسلين والحمد لله رب العالمين.

لا إله إلا الله قبل كل أحد، ولا اله إلا الله بعد كل أحد، ولا إله إلا الله تفنى الخلائق كلها ويبقى (ثلاث مرات).

الحمد لله قبل كل أحد، والحمد لله بعد كل أحد، والحمد لله على كل حال (ثلاث مرات).

سبحان الله وبحمده عدد خلقه ورضاء نفسه وزنة عرشه ومداد كلماته (ثلاث مرات).

سبحان الله والحمد لله ولا اله إلا الله والله أكبر ولا حول ولا قوة إلا بالله العلي العظيم عدد ما خلق وزنة ما خلق وملء ما خلق (ثلاث مرات).

الله معي، الله حاضري، الله ناظري، الله شاهدي (ثلاث مرات).

السلام عليك أيها النبي ورحمة الله وبـركاته، السلام علينا وعلى عباده الصالحين (ثلاث مرات).

تحصنت بذي العزة والجبروت، واعتصمت برب الملكوت وتوكلت على الحي الذي لا يموت.

اصرف عنّا البلاء إنك على كل شيء قدير، اصرف عنا الأذى إنك على كل شيء قدير، اصرف عنا الوباء انك على كل شيء قدير (ثلاث مرات).

بسم الله الذي لا يضر مع اسمه شيء في الأرض ولا في السماء وهو السميع العليم.

أعوذ بكلمات الله التامات من شر ما خلق (ثلاث مرات)، أعوذ بالله من الشقاق والنفاق وسوء الأخلاق ومن أمر لا يطاق (ثلاث مرات).

يا حفيظ، يا حفيظ، يا حفيظ، احفظنا فالله خير حفظا وهو أرحم الراحمين.

حسبنا الله ونعم الوكيل (ثلاث مرات). حسبي الله لا اله إلا هو عليه توكلت وهو رب العرش العظيم (سبع مرات).

اللهم صل على محمد وعلى آله وصحبه وسلم تسليما (ثلاث مرات).

سبحان ربك رب العزة عما يصفون وسلام على المرسلين والحمد لله رب العالمين.

مما قيل فيه
السخاوي (في الضوء اللامع): يحيى بن أحمد العيدلي البجائي المغربي، مات سنة ثمانين تقريبا. وكان عابدا مشارا إليه. أفادنيه بعض الآخذين عني من المغاربة.

المصادر

 أبو القاسم الحفناوي، تعرف الخلف برجال السلف. موفم للنشر، الجزائر، 2/ 463 ـ 466.
 علي امقران السحنوني، هذا الشيخ المجهول (الشيخ أبو زكريا يحي العيدلي) 881/ 1476م. مجلة الدراسات التاريخية، معهد التاريخ، جامعة الجزائر، عدد 4، 1988 م، ص 39.

أشاعرة
أشخاص من الأمازيغ
بلاد القبائل
صوفيون جزائريون
علماء دين سنة جزائريون
علماء دين مسلمون
علماء مسلمون في القرن 10 هـ
مالكية
مواليد في إغيل علي
وفيات في تمقرة

يحيى العيدلي


දෙවැනි ලෝක යුද්ධ සංග්‍රාමයේ කාලතුවක්කු ප්‍රහාර

	බටහිර, දෙවන ලෝක යුද්ධ සංග්‍රමයේ සන්නද්ධ රණනාමයේ පෙරමුණ ප්‍රහාර වල කාලතුවක්කු පිහිටුවීමට අවශ්‍ය තුවක්කු අවශය තරමට නොතිබුණි. මෙම කාලතුවක්කු භාවිතයෙන් නොකඩවා ප්‍රහාර එල්ල කිරම භාවිතා වුයේ සුළු ප්‍රමාණයකි. උදාහරණයක් වශයෙන් El Alamein සටන  ආරම්භයේී මෙම කාලතුවක්කු ප්‍රහාර Montogomerys සැලසුම්කරැවන් භාවිතා කිරිමට සිතුව ද එය ඉවත දැමුයේ සැක ඉලක්ක වලට වාසි තකාය. යාර 12 000 ක් ඔස්සේ ඇති යුධ පෙරමුණක ඇති කාලතුවක්කු ප්‍රහාරයට තුවක්කු 456 ක් නොසත් නමුදු බිම දි‍ේ යන හා පෙරළමින් යන කාලතුවක්කු යම්/සමහර බිම් කොටස් වල භාවිතා විය. එසේම Almein සටනේ අවසන් බාගයේදී මෙය භාවිතා විය. 1942 වසරේ නොවැම්බර් 1 හා 2 පැවති  operation surchoge හි නවසිලන්ත 2 වන කාණ්ඩයේ ප්‍රහාරයට පෙරමුණ දුන්නේ බිම දිවෙන කාලතුවක්කුය. මෙයට තුවක්කු 192 ක් යාර 4 000 ක පෙරමුණක් ඔස්සේ ක්‍රියා කෙරිණි. වෙඩි තැබීම මහවල් 3 කින් සම්මත විය. යුධ පෙරමුණේ යාර 20 කට  25 pounder එක බැගින් ද සාමාන්‍ය රෙජිමේන්තු දෙක බැගින් ද කාලතුවක්කු වලට සහාය දිමට තිබුණි.

කාලතුවක්කු ප්‍රහාර උපාය මාර්ග ලෝක යුද්ධය අතරේ පරිණාමය වු අතර, බ්‍රිතාන්‍ය  Larkhill හ කාලතුවක්කු  පිළිබද ශාස්ත්‍ර පාසල සීග්‍ර කාලතුවක්කු ප්‍රහාර පාලනය හා සමායෝජනය පිළිබද වැදගත් ශිල්පිය කුම දියුණු කලේය. මෙහි බලපෑම පලමුව පිළිබිඹු වුයේ බටහිර කාන්තාර යුධ ව්‍යාපාරයේය. පළමු ලෝක යුද්ධ සංග්‍රාමයේ තුවක්කු වල පිහිටිම නිශ්චිතවම ලකුණු කිරිම අත්‍යාවශ්‍ය විය. නමුදු බ්‍රිතාන්‍යයන් තමන්ගේ තුවක්කු සියල්ල එක් නිර්දේශිත ස්ථානයකට යොමු කරන ලදි. මෙමගින් සැම කාලතුවක්කුවක්ම අදාල පරාසය තුල ප්‍රහාරක සැලසුමකට සැම අවශ්‍ය විනාඩියකදිම සම්බන්ධ විමට හැකිවිය.

Tunisia ප්‍රහාර වලදි තුවක්කු වැඩි ප්‍රමාණයක් තිබු අතර ප්‍රතිවිරැද්ධ ආරක්ෂකයන් බටහිර කාන්තාර වලට වඩා ඒකාග්‍රනේ කටයුතු කළ හ.  wadi Akrait හි 1943 අප්‍රේල් ප්‍රහාරයේ බ්‍රිතාන්‍ය කාලතුවක්කු ප්‍රහාර සැලැස්මට කාලතුවක්කු 8 ක් කලාප 3 ක තිබුණේ 50 වන හා 51 වන කාන්ඩ පෙරමුණෙහිය. අදුරේ ආරම්භක මග හදුනාගැනිමට එක් ස්ථාවර කාලතුවක්කුවක් තැබු අතර එම/ික් පාබල හමුදාවට නිවැරදි එල්ඹයට පැමිණිමට හැකිවිය. ප්‍රහාරවලදි පාබල හමුදාව මත පමණක් විශ්වාසය තැබුවේ ඉතා කලාතුරකිනි. wadi Akrait හිදි පෙර සැකසු ඉල්ක්ක වලට තිබු ඒකාග්‍රතාවට අඩු කෙරැනේ ප්‍රහාර ගමන් මගදි නිරික්ෂකයන් විසිනි. 7000 කට  අධික මෝටාර් හා තුවක්කු ස්ටාල්හාඩ්හි ප්‍රතිප්‍රහාර වලට භාවිතා විය. තවද යුද්ධය ඉතුරැ කාලයේ විශාල බෝම්බ හෙගි‍මේ උපක්‍රමය භාවිතයේ රැදිණි.

නමුදු ඉතාලියේ ප්‍රහාරයේදි මෙම ක්‍රමය භාවිතා කෙරිණි. 1944 මැයි 23 වන දින  ප්‍රහාරයේදි, තුවක්කු 810 ක් කැනේඩියානු 1 වන කාණ්ඩය සදහා රැස්කර තිබිණි. එයින් තුවක්කු 300 ක් ප්‍රහාර එල්ල කළේ පළමු මාර්ගයේ යාර 3200 ක් පුළුල් බාධකයක සිටය. ප්‍රහාරයට ඇරඹියේ පාබල හමුදාව අයින් විමට විනාඩි 3 කට පෙරය. කාලතුවක්කු ප්‍රහාරය ප්‍රථම හිදි පැයකට නැවතීමට නියමිත විය. පසුව යාර 100 ක් විනාඩි 3 ක් ඇතුලත ගමන් කොට අනෙකුත් කරා යැමටද නියමිත විය. නමුදු මෙම කාලය කඩාකප්පල් වුයේ ප්‍රතිවාදින්ගේ බරපතල විරෝධය හා කාලතුවක්කු ප්‍රහාර මධ්‍යයේය. මෙම යුධ මෙහෙයුම පසුව දෝෂාරෝපණයට ලක්වුයේ යුධ පෙරමුණ පිළිබදව පටු ලෙස සැලසිම නිසාය.

1945 senio ප්‍රහාරයදි සතුරා ව්‍යාකුල කිරිමට හා සතුරාට ප්‍රහාර දෙන බවට එත්තු ගන්වා ඔවුන්ට ආවරණය තුලින් පිටට ෙගන්වා ගැනිමට ව්‍යාජ  කාලවක්කු යොදා ගැනිණි. හතුරා එයට රැවටි එළියට ආ විට ගිනි කාලතුවක්කු ප්‍රහාර හෝ ගුවන් ප්‍රහාර මගින් සතුරා විනාශ කළේය. Monte sole ඇ‍මරකානු කාලතුවක්කු ප්‍රහාරයෙක් මගින් 75 000 ක් එල්ල කළේ පැය භාගයක් ඇතුළත්ය. මෙම දකුණු අප්‍රිකානුවන් ආක්‍රමණ්ය ඇමරිකානු හමුදාවේ බරපතලම කාලතුවක්කු ප්‍රහාරයට ලෙස සැලකේ.  Normandy  හිදි  බිම යන කාලතුවයවක්කු මගින් කැනේඩියානු හා ස්කොට්ලනක්ත ප්‍රහාර ජයගනු ලැබිණ. මෙය Epsom යුධ මෙ‍ෙහයුමට අදාල විය.

 vertable යුධ මෙහෙයුම් ආරම්භයට බරපතල තුවක්කු ප්‍රහාරයක් 1050 ක් එකතු කළේ බැරල 850 ක  pepper pot කාලතුවක්කු මගිනි. මෙහි භාවිතා වු අනෙක් අවිආයුධ වුයේ මොටාරා, කුඩා කාලතුවක්කු, ටැංකි, යුධ ටැංකි නාශක තුවක්කු, ගගන යාත්‍රා නාශක තුවක්කු හා ආකාශ වෙඩිලිය. බ්‍රිතාන්‍ය සේනාංක කාලතුවක්කු ප්‍රහාර ඇරඹියේ 9 200 ය, වේගය පසු පැයේදි වැඩි කළ අතර තුවක්කු 500 ක් යාර 500ක් ගැඹුරින් ප්‍රහාර එල්ල කළේය. කාලතුවක්කු වල දුම් කාච තිබුණේ කාලතුවක්කු පිටුපස සිටන ප්‍රහාරයක් දැක ගැනීමටය. 10.30 සිට කාලතුවක්කු අධි පිපිරැම් ඇති කරමින් ඉදිරියට ඇදිනි. විනාඩි 12 ක් ඇතුලත යාර 300 ක් ආවරණය කළ අතර, කහ දුම්  කවච මගින් කාලතුවක්කු ප්‍රහාර පාබල හමුදාවට සංඥා දැක්විය. තවද කාලතුවක්කු සැම ආරක්ෂක රේඩාවකම පැය බාගයක් නවතා තැබිනි. උණ්ඩ 2 500 ක් පැයක් ඇතුලත 1 ක බ්‍රිතාන්‍ය ප්‍රහාර එල්ල කිරිම අවසන් වුයේ 4.30 ට කාලතුවක්කු නැවතිමෙන් අනතුරැවය.

කාලතුවක්කු 2 වන ලෝක යුධ සංග්‍රාමයේ සෝවියට් හි භාවිතා විය. මෙම දිවන කාලතුවක්කු පාබල හමුදාව ප්‍රහාර වලට සම්මත නායකයා විය. රැසියානු කාලතුවක්කු සියුම් ප්‍රහාර සදහා අවශ්‍ය නවින සන්නිවේදන ජාල නැතිවුව ද. තුවක්කු බහුල විය.


Public Holidays in India, also known as Statutory Holidays, or colloquially Government Holidays, consist of a variety of cultural, nationalistic, and religious holidays that are legislated in India at the union or state levels. While many of these holidays are honored and acknowledged nationwide, state legislation varies regarding which are officially recognized.

India, being a culturally diverse society, celebrates many holidays and festivals, but there are only three national festivals: Republic Day (26 January), Independence Day (15 August), and Gandhi Jayanti (2 October).

In India, there are more than 30 grand festivals that are celebrated in major parts of India along with other state festivals. States have local festivals depending on prevalent religious and linguistic demographics.

Popular Hindu festivals like Makar Sankranti, Pongal, Maha Shivratri, Janmashtami, Saraswati Puja, Guru Purnima, Ganesh Chaturthi, Raksha Bandhan, Holi, Durga Puja, Dussehra, and Diwali; Jain festivals like Mahavir Janma Kalyanak and Paryushan; Sikh festivals like Guru Nanak Jayanti and Vaisakhi; Muslim festivals like Eid ul-Fitr, Eid ul-Adha, Mawlid, and Muharram; Buddhist festivals like Ambedkar Jayanti, Buddha Jayanti, Dhammachakra Pravartan Day, and Losar; Parsi Zoroastrian holidays such as Nowruz; and Christian festivals like Good Friday, Christmas and Easter, some festivals are celebrated by the whole of India and some festivals are celebrated by limited regions in India.

National holidays

National holidays are observed in all states and union territories of India.

They are:

Other notable holidays
States generally adopt the same holidays as the union government with some variations. In addition to the official holidays, many religious, ethnic, and other traditional holidays, as well as observances proclaimed by officials populate the calendar. At the discretion of the employer, other holidays are common additions to the list of paid holidays.

Holidays with religious significance
In India, people from various religions coexist together. Religious and cultural holidays are characterized by a diversity of religious beliefs and practices.

Hindu holidays

Hindus celebrate several Indian festivals through the year. Hindu festivals have one or more religious, cultural, and seasonal significance. The observance of the festival, the symbolisms used and attached, and the style and intensity of celebration vary from region to region within the country. A list of the more popular festivals is given below.

Islamic holidays

Sikh holidays
Several Sikh holidays are Gurpurbs, anniversaries of a guru's birth or death; marked by the holding of a festival.

Christian holidays

Buddhist holidays

Jain holidays

Parsee (Zoroastrian) holidays

The Shahenshahi and Kadmi variants of the Zoroastrian calendar do not intercalate leap years and hence the day of the Gregorian calendar year on which these days are celebrated shifts ahead with time. The third variant of the Zoroastrian calendar, known as either Fasli (in India) or Bastani (in Iran), intercalates according to Gregorian calendar rules and thus remains synchronous with the seasons. The Parsis in India use a Shahenshahi calendar, unlike the Iranian Zoroastrians who use a Kadmi calendar. The North American and European Parsis have adapted their version of the Fasli calendar.  These differences cause changes in the dates of the holidays. For example, the Zoroastrian New Year, Nowruz, falls in the spring for the Iranians but in the summer for the Parsis.

Holidays in government offices
Central and State governments in India issue annually a list of holidays to be observed in the respective government offices during the year. The list is divided into two parts:
 Gazetted holidays (Annexure I)
 Restricted holidays Annexure-III)

In addition, local administrations also issue a list of holidays, known as local holidays, which are observed at the district level.

Central government
The Ministry of Personnel, Public Grievances, and Pensions (Department of Personnel and Training) on behalf of the Government of India issues a list of holidays to be observed in central government offices during the year. The list is divided into two parts i.e. Annexure I & Annexure II.

Annexure I
Annexure I, also known as Gazetted holidays, consists of a list of holidays that are mandatory once decided. This list consists of two parts:
 Paragraph 2
 Paragraph 3.1

Paragraph 2
It consists of holidays that are observed compulsorily across India. These holidays are:

 Republic Day
 Independence Day

 Mahavir Janma Kalyanak
 Buddha Purnima
 Christmas Day
 Dussehra
 Diwali (Deepavali)
 Bandi Chor Diwas

 Guru Nanak's Gurpurab/
 Vaisakhi

 Eid ul-Fitr
 Eid al-Adha (Bakrid)
 Muharram
 Prophet Muhammad's Birthday (Id-e-Milad)

Paragraph 3.1
In addition to the 14 compulsory holidays mentioned in paragraph 2, three holidays are chosen from the list below by the Central Government Employees Welfare Coordination Committee in the respective state capitals (if necessary, in consultation with Coordination Committees at other places in the State). The final list is applied uniformly across all Central Government offices within each state. They are notified after seeking the prior approval of the ministry, and no changes can be made after that. No change is permissible regarding festivals and dates.

Republic day
 An additional day for Dussehra
 Holi
 Janamashtami (Vaishanvi)/Krishnashtami
 Rama Navami
 Maha Sivarathri
 Ganesh Chaturthi/Vinayak Chaturthi
 Makar Sankranti/Sankranthi
 Onam
 Sri Panchami/Basanta Panchami
 Vishu/Vaisakhi/Vaisakhadi/Bhag Bihu/Mashadi/Ugadi/Chaitra Sakladi/Cheti Chand/Gudhi Pada 1st Navratra/Nauraj

Annexure II
Annexure II also known as Restricted holidays, consists of a list of optional holidays. Each employee is allowed to choose any two holidays from the list of Restricted Holidays. The Coordination Committees at the State Capitals draw up a separate list of Restricted Holidays, keeping in mind the occasions of local importance, but the nine occasions left over, after choosing the three variable holidays in paragraph 3.1, are included in the list of restricted holidays.

Central government organisations
Central Government Organisations, which include industrial, commercial, and trading establishments, observe up to 16 holidays per year, including three national holidays, viz. Republic Day, Independence Day, and Mahatma Gandhi's birthday, as compulsory holidays. The remaining holidays/occasions may be determined by such establishmentsorganizationss themselves, subject to paragraph 3.2.

Union territory administrations
Union territory administrations decide the list of holidays based on Ministry of Home Affairs letter No.14046/27 /83- GP-I dated 15 February 1984, by which they observe a total of 16 holidays, including the three National Holidays, viz. Republic Day, Independence Day, and Mahatma Gandhi's birthday.

Indian missions abroad
In respect of Indian missions abroad, the number of holidays is determined in accordance with the instructions contained in the Department of Personnel and Training's O.M. No.12/5/2002-JCA dated 17 December 2002. They have the option to select 11 (eleven) holidays of their own only after including the three National Holidays and Diwali, Milad-Un-Nabi or Id-E-Milad, Mahavir Janma Kalyanak, Eid-ul-Fitr, Dussehra (Vijaya Dasami), Guru Nanak's Birthday, Christmas Day as compulsory holidays falling on weekdays.

Banks
With respect to banks, the holidays are restricted to 15 days per year in terms of the instructions issued by the Department of Economic Affairs (Banking Division).

 Bank Holiday
 Gandhi Jayanti
 Mahavir Janma Kalyanak
 Maharaja Agresen Jayanti
 Kashiram Death Anniversary

 Dusshera (Maha Navaratri, Durgotsava, Durga Ashtami, Durga Ashtami)
Vaisakhi
Bandi Chor Diwas
 Bhai Duj/Chitragupt Jayanti
 Eid al-Adha (Bakrid)
 Guru Nanak's Gurpurab
 Dr. B R. Ambedkar's Nirwan Diwas
 Moharram

 New Year's Day (14 March)
 International Women's Day
 Gudhi Padwa
 Guru Gobind Singh Ji Gurpurab
 Sankaranti
 Basanta Panchami
 Guru Ravidas Gurpurab
 Chehalum
 Holi

 Janmashtami
 Vishwakarma Pooja
 Eid ul Fitr
 Ganesh Chaturthi
 Anant chaturdasi

 Maharshi Balmiki Jayanti
 Deepavali (Narak Chaturdasi)
 Eid Meelad
 Guru Teg Bahadur Shahid Diwas

 Second and Fourth Saturday of Every Month
 All Saturdays of the month in the IT sector

See also
 Indian New Year's days
 List of Hindu festivals
 List of Sikh festivals
 Islamic holidays
 List of Buddhist festivals

References

India
Holidays

Public holidays in India


ගලුගුඩුවා හෙවත් කහ කොණ්ඩයා ශ්‍රී ලංකාවට ආවේණික, කදුකර ප්‍රදේශ නිවාස කොට ගෙන බෝ කිරීම සිදු කරන කුරුල්ලෙකි.

විවිධ නාම

"Pycnonotus penicillatus' යන විද්‍යාත්මක නාමයෙන් හැඳින්වේග
මෑතක සිට Yellow-eared bulbul යන ඉංග්‍රීසි නාමය ඍජුව පරිවර්තනය කර කහ කන් කොණ්ඩයා''' ලෙසද යෙදේ.

වර්ගීකරණය
කාක ගණයට (passerine) අයත් පවුලේ කොන්ඩ කුරුලු  (bulbul)) සාමාජිකයෙකි.

කහ කන් කොණ්ඩයා කුඩා වන ලැහැබවල් හෝ ගොවිපොලවල් ආශ්‍රිත කුඩා කැලෑ සිය වාසස්ථාන ලෙස තෝරා ගන්නා අතර, හෝර්ටන් තැන්න, නුවර එළියේ වික්ටෝරියා උද්‍යානය යන ස්ථාන වල බහුලව දකින්නට ලැබේ. මොවුන් කුඩා පඳුරු මත කූඩු තනන අතර සාමාන්‍යයෙන් එක් වරකදී  බිත්තර දෙකක් දමයි.

මෙම පක්ෂියා දිගින් සෙන්ටිමීටර 20 (අඟල් 7) පමණ වන අතර දිගු පෙඳයකට ද හිමිකම් කියයි. මොවුන්ගේ ශරීරයේ උඩු කොටස අඳුරු කොළ පැහැයකින් ද යටි කොටස කහ පැහැයකින් ද යුතු වේ. හිසේ පිහිටන කොණ්ඩය වැනි කොටස අළු පැහැති මෙම පක්ෂියාගේ  ඇසට යටින් පිහිටන කහ පැහැති පැල්ලම සහ හිස දෙපස ඇති කහ පැහති පිහාටු රොද දෙක සුවිශේෂී ලක්ෂණ වේ. තවද දෑස් වලට ඉදිරියෙන් සුදු පැහති පිහාටු රොදක් ඇති මොවුන්ගේ ගෙල ප්‍රදේශයද සුදු පැහයෙන් යුක්ත වේ.

මොවුන්ට කහ කන් කොණ්ඩයා යන නම ලැබී ඇත්තේ හිස දෙපස කන් දෙකක් ආකාරයෙන් පිහිටි ඉහත සඳහන් කල කහ පැහැති සියුම් පිහාටු රොදයන් නිසාවෙනි.

ගැහැනු සහ පිරිමි සතුන් දෙවර්ගයම පෙනුමෙන් සමාන වූවත් පැටවුන් තරමක් අඩු පැහැයක් ගනී. ගැහැනු සතුන් ආකර්ශණය කර ගැනීම සඳහා පිරිමි සතුන් අතර ඇති වන සටන් බොහෝවිට කොට්ටොරුවෙකු පරිද්දෙන් ඉහල පහල පැද්දීමක් නැතහොත් උඩපැනීමක් ආකර ගනී.

කහ කන් කොණ්ඩයා ආහර වශයෙන් ගනු ලබන්නේ පළතුරු සහ කෘමි සතුන්ය.

සමාජයීය වැදගත්කම

මෙකල ශ්‍රී ලංකාවේ භාවිතා වන රුපියල් දහයේ මුද්දරය සඳහා  මෙම අලංකාර පක්ෂියාගේ රුව යොදා ගෙන තිබේ. ,

මූලාශ්‍ර

වැඩිදුර කියවීම
  Database entry includes a brief justification of why this species is near threatened
 Birds of India'' by Grimmett, Inskipp and Inskipp, ISBN 0-691-04910-6

ආශ්‍රිත ලිපි
 ශ්‍රී ලංකාවේ කුරුළු නාමාවලිය

කුරුල්ලෝ
Pycnonotus
කුරුල්ලෝ
ශ්‍රී ලංකාවේ කුරුල්ලෝ
ශ්‍රී ලංකා‍වට පමණක් ආවේණික කුරුල්ලෝ

ගලුගුඩුවා


Gara Cernele este o stație de cale ferată care deservește municipiul Craiova, România.

Cernele

Gara Cernele


Hip Hop com dendê es una película del año 2005.

Sinopsis
Reflejo del movimiento que gana millones de adeptos en el mundo, el hip hop llega a Bahía y conquista parte de su juventud periférica, que mezcla los elementos – graffiti, break dance, rap, DJ, MC y la ideología – con las expresiones artísticas locales. Juntos descubren formas alternativas de comunicarse y hablar para los suyos, por medio de radios y periódicos locales, Internet y, en especial, el boca a boca.

Premios
 III Mostra Curtas, (X Mostra PUC-RIO)

Referencias

Hip Hop com dendê


بطل خارق  هو وصف يطلق على شخصيه خياليه تتمتع بقوه غير طبيعية وتظهر هذه الشخصيات في الرسوم المتحركة والقصص المصورة والأفلام مثل باتمان , سوبرمان , سبايدرمان. هناك العديد من شركات التي تصنع وتحرر أبطال خارقين مثل دي سي و مارفل و فالينت و دانمايت و اميج و دارك هورس و بوم تعد شركات كوميكس وقنوات تلفزيونية مثل كرتون نتورك التي أنتجت بن تن وفتيات القوة؛ يعد الابطال رمزا للسلام والأمل والسعادة.

مراجع

انظر أيضا

 بطل

أبطال
أبطال خارقون
شخصيات ألعاب فيديو

بطل خارق


Allenhurst est une ancienne communauté du comté de Brevard, dans l'État de Floride, aux États-Unis. Elle était située juste au nord du . La localité est démolie et ses habitants contraints de déménager après la construction du centre spatial Kennedy, en même temps que  communautés.

Notes et références

Voir aussi

Article connexe
 Liste des villes fantômes de Floride

Liens externes

Ville fantôme en Floride
Comté de Brevard

Allenhurst (Floride)


The Olivia Tremor Control is an American psychedelic band from Athens, Georgia. The band's main line-up consists of Will Cullen Hart, Bill Doss, Eric Harris, John Fernandes, and Peter Erchick. The Olivia Tremor Control's music combines indie rock and neo-psychedelia, taking influence from psychedelic pop bands of the 1960s, such as the Beach Boys and the Beatles.

The Olivia Tremor Control originated as a band called Cranberry Lifecycle, which was formed in Ruston, Louisiana in the late 1980s by Hart and his high school friend Jeff Mangum. The two moved to Athens, and reworked Cranberry Lifecycle songs as a new band called Synthetic Flying Machine. After Doss joined, Mangum left the band to pursue a solo project that eventually became Neutral Milk Hotel. Doss and Hart then renamed the band to the Olivia Tremor Control, and recruited Fernandes, Harris, and Erchick. With this line-up, the Olivia Tremor Control released two albums: Dusk at Cubist Castle (1996) and Black Foliage (1999). Both albums received positive reviews from critics.

After the release of Black Foliage, tensions grew between Hart and Doss, and the Olivia Tremor Control broke up in 2000. Hart was hospitalized with multiple sclerosis in 2005, and when Doss went to visit him, the two reconciled and reunited the band in 2009. While recording a third album, Doss died of an aneurysm in 2012. The remaining band members decided to continue performing, and  the Olivia Tremor Control's third album is still being recorded.

History

Early years
The Olivia Tremor Control originated in the late 1980s as a psychedelic band called Cranberry Lifecycle, formed in Ruston, Louisiana. It was one of many home recording projects created by high school friends Will Cullen Hart and Jeff Mangum with their friends Bill Doss and Robert Schneider. The four friends exchanged homemade cassette tapes, branding them with an imaginary record label, Elephant 6, which eventually grew into a loose musical collective. Musician Ross Beach, another Elephant 6 collaborator, describes Cranberry Lifecycle as the Elephant 6's "first collaboration of 'serious' songs."

After graduating from high school, Hart and Mangum moved to Athens, Georgia to join the city's burgeoning music scene. They formed a band called Synthetic Flying Machine, and reworked songs that were originally recorded as Cranberry Lifecycle. In the summer of 1993, Doss moved to Athens and joined Synthetic Flying Machine. The lineup consisted of Hart on electric guitar, Doss on bass guitar, and Mangum on drums. The band gained a small following due in part to the psychedelic-infused music, which differed from the prevalent grunge sound in the city. Mangum left the group shortly after its formation to focus on a solo project, which eventually became the indie band Neutral Milk Hotel. Doss and Hart renamed their group the Olivia Tremor Control, a surreal-sounding phrase with no further meaning, suggested by Mangum.

The first Olivia Tremor Control release was the extended play (EP) California Demise in 1994, which introduced many of their signature elements, including guitar effects and vocal harmonization. Although Mangum was no longer a part of the band, he still lived with Doss and Hart and was asked to play drums. After California Demise, Hart moved to Denver, while Doss moved to New York to play in the band Chocolate USA. By 1996, Doss was losing interest in Chocolate USA, and wanted to record more music with Hart. The two reconvened in Athens, and recruited multi-instrumentalists John Fernandes and Eric Harris. During this period, the Olivia Tremor Control released the 1994 split single The Olivia Tremor Control/The Apples in Stereo with the Apples in Stereo, and the 1996 EP The Giant Day.

Music from the Unrealized Film Script: Dusk at Cubist Castle
Doss and Hart had been working on songs for a studio album as early as 1993. Doss' ideas were more pop friendly while Hart wrote more experimental songs. Their dichotomous partnership during this era drew some comparisons to Lennon–McCartney of the Beatles, although Stereogum noted that both Fernandes and Harris retained creative input. In 1995, the Olivia Tremor Control went to Denver, Colorado to record their debut album, Music from the Unrealized Film Script: Dusk at Cubist Castle (commonly shortened to Dusk at Cubist Castle). It was recorded at Pet Sounds Studio, and was produced by Schneider.

At 74 minutes in length with 27 songs, Dusk at Cubist Castle was a large undertaking. It was purported to be the soundtrack to a fictional film, and covers a wide range of genres, including psychedelia, krautrock, noise music, and folk-rock. Dusk at Cubist Castle was released on August 6, 1996, by Flydaddy Records. The songs "The Opera House" and "Jumping Fences" were released as singles. To promote the album, the Olivia Tremor Control served as an opener for Beck, and toured with Gorky's Zygotic Mynci in 1998. Keyboardist Peter Erchick was brought on as the fifth band member while on tour. Dusk at Cubist Castle received positive reviews from critics, who noted the intricate composition and judicious use of pop elements. It ranked at number 37 on The Village Voice year-end Pazz & Jop critics' poll.

Early CD pressings of Dusk at Cubist Castle included a companion album, Explanation II: Instrumental Themes and Dream Sequences, which had nine ambient songs. The liner notes for Explanation II suggested that it should be played in synchronicity with Dusk at Cubist Castle to create quadraphonic sound, although the albums are different lengths, so the effect does not actually work.

In 1997, the band appeared on John Peel's BBC Radio 1 show. Their entire appearance was recorded and released as an untitled four-track EP known as Those Sessions or John Peel Session 1997. It includes several renditions of existing songs as well as a lengthy improvised piece in a similar style to Explanation II.

Black Foliage: Animation Music Volume One
In the liner notes for Dusk at Cubist Castle, the Olivia Tremor Control asked fans to mail the band cassette tapes of themselves describing their dreams. These tapes served as the basis for band's second album Black Foliage: Animation Music Volume One (commonly shortened to Black Foliage). The Olivia Tremor Control wanted to explore the concept of dreams, and the way they emulate life with unexpected deviations, such as going to work naked. Black Foliage was recorded at Pet Sounds Studio, and Schneider once again served as the producer.

Hart was influenced by the electronic sound of the 1969 White Noise album An Electric Storm, which led him to splice traditional compositions the band members had been writing with experimental electronic pieces. These splices became an important musical motif for Black Foliage. The album does not feature musical pauses or fade, and many songs eschew the standard verse–chorus form.

Black Foliage was released by Flydaddy Records on March 23, 1999, to positive reviews. Critics highlighted the juxtaposition of pop and experimental elements, as well as the richness of the sound. To promote the album, the Olivia Tremor Control toured with opener band Bablicon, and then served as an opener for Stereolab.

Breakup, reunion, and the death of Doss

After the release of Black Foliage, tensions grew between Doss and Hart. According to Doss, Hart wanted to take a hiatus from music, and was suffering from early symptoms of then-undiagnosed multiple sclerosis. The two had a falling out, and the Olivia Tremor Control broke up in 2000. The last album to be released during this period was Singles and Beyond, a compilation album featuring some of the band's rare and out of print songs. Doss and Hart worked on other projects in the interim; Doss recorded music for his solo project The Sunshine Fix and was a member of the Apples in Stereo, while Hart formed the band Circulatory System.

Around 2005, Hart's MS symptoms worsened, and he was admitted to a hospital. After receiving the news, Doss decided to reconcile with Hart, and the members of Olivia Tremor Control started playing music with each other on a regular basis. After a brief reunion performance at the 2005 All Tomorrow's Parties festival, the Olivia Tremor Control scheduled more concerts over the next few years. Fernandes said: "When we got the offer to play [All Tomorrow's Parties] we were thinking about playing a few shows here and there, because everybody still lives here in town ... That went so well that we decided to do a few more." The Olivia Tremor Control officially reunited in 2009, and released two new songs over the next two years: "North Term Reality" and "The Game You Play Is in Your Head, Parts 1, 2, & 3."

On July 31, 2012, the band announced that Doss had died aged 43. Atlanta later reported the cause of death as an aneurysm. Prior to his death, the Olivia Tremor Control was recording music for an untitled album. The remaining members decided to continue performing as the Olivia Tremor Control, and a 2019 update indicated that the album is still being recorded. Hart stated it will be the band's final album, and said: "We have three sides worth of songs done, though they're not sequenced properly yet to run three sides."

Artistry
The Olivia Tremor Control's music combines indie rock and neo-psychedelia. In addition to traditional pop and rock instruments such as guitars and drums, the band members also play the clarinet, flute, saxophone, theremin, violin, and xylophone. While discussing the band's dynamic sound, Paul Thompson of Pitchfork called it "some unthinkable matchup of Revolver-era Beatles or Smile-era Beach Boys, the tornado-alley skronk of 1980s Flaming Lips and Butthole Surfers, and the surreal wooze of post-Reichian tape manipulation." Music critic Nig Hodgkins notes that the Olivia Tremor Control incorporate many elements found in psychedelic music of the 1990s, including backwards guitar echo, phasing, dreamlike vocals, and electronic sound effects.

The Olivia Tremor Control was inspired by psychedelic pop bands of the 1960s, especially the Beach Boys and the Beatles, for their singing style and the way they "blended trickery and interesting sounds with pop", according to Hart. Hart notes that the band attempted to expand on the sound of 1960s psychedelic pop with modern recording technology, creating more holistic songs and avoiding what he called "hippie jam sessions." Other influences include the recording techniques used by musique concrète musicians like Pierre Henry and John Cage, as well as 1990s indie rock bands like Pavement and Sebadoh. Doss said he wanted the Olivia Tremor Control's music to instill a sense of "mystery or happiness" in listeners. "I'm sending out a positive message, because the world needs it ... We're reaching for something that's hard to explain."

Members
Current members
Will Cullen Hart – guitars, vocals, songwriting (1993–2000, 2009–present)
Eric Harris – drums, theremin, guitars (1995–2000, 2009–present)
John Fernandes – bass, violin, saxophone, clarinet (1995–2000, 2009–present)
Peter Erchick – keyboards, bass, vocals (1996–2000, 2009–present)
Derek Almstead – drums, guitars, bass (2010–present)

Former members
Bill Doss – guitars, cornet, percussion, songwriting, vocals (1993–2000, 2009–2012; died 2012)
Jeff Mangum – drums, guitars, vocals (1993–1995)

Discography
Music from the Unrealized Film Script: Dusk at Cubist Castle (1996)
Explanation II: Instrumental Themes and Dream Sequences (1998)
Black Foliage: Animation Music Volume One (1999)

Notes

Footnotes

References

External links
Official website

1992 establishments in Georgia (U.S. state)
American indie rock groups
American psychedelic rock music groups
The Elephant 6 Recording Company artists
Experimental pop musicians
Musical groups established in 1993
Musical groups from Georgia (U.S. state)

The Olivia Tremor Control


Bexaroten (Handelsname Targretin; Hersteller Eisai) ist der internationale Freiname für ein synthetisches Retinoid-Analogon, das zur Behandlung des kutanen T-Zell-Lymphoms zugelassen ist. Vertrieben wird es in Deutschland von Cephalon.

Klinische Anwendung
In den Vereinigten Staaten wurde Bexaroten im Jahr 1999 zur oralen Einnahme bei der Behandlung des kutanen T-Zell-Lymphoms bei Patienten zugelassen, die nicht mehr auf eine vorherige systemische Therapie ansprechen, das heißt refraktär sind. In Deutschland wurde es im Januar 2002 als Orphan-Arzneimittel für diese seltene bösartige Hauterkrankung zugelassen. Auch hier darf es erst dann zur Anwendung kommen, wenn mindestens eine vorausgegangene systemische Behandlung nicht wirksam war und zudem die Krankheit in einem fortgeschrittenen Stadium ist.

Der Wirkungsmechanismus von Bexaroten ist noch nicht vollständig aufgeklärt. Es bindet als Retinoid spezifisch an den Retinoid-X-Rezeptor (RXR). Die Retinoid-X-Rezeptoren sind Transkriptionsfaktoren, die die Zellproliferation und -differenzierung, sowie Apoptose und Insulin-Sensibilisierung beeinflussen. Bei In-vitro-Versuchen konnte eine Proliferationshemmung bei blutbildenden Zellen festgestellt werden. Im Tierversuch bewirkte es eine Tumorregression, das heißt eine Rückentwicklung der bösartigen Geschwulst.

Zulassungsüberschreitend (Off-Label-Use) wird Bexaroten auch zur Behandlung des Bronchialkarzinoms eingesetzt.

Nebenwirkungen
In den klinischen Studien zur Zulassung von Bexaroten zur Behandlung des kutanen T-Zell-Lymphoms wurden bei den Patienten vor allem folgende Nebenwirkungen festgestellt: Hyperlipoproteinämie (vor allem Triglyceride) 74 % der Patienten, Hypothyreose (29 %), Hypercholesterinämie (28 %), Kopfschmerzen (27 %), Leukopenie (20 %), Juckreiz (20 %), Asthenie (19 %), Exanthem (16 %), exfoliative Dermatitis (15 %) und Schmerzen (12 %).

Präklinische Ergebnisse zur Alzheimer-Krankheit
Für Aufsehen sorgte ein am 9. Februar 2012 veröffentlichter Artikel in Science. In dieser Publikation wird die potenzielle Wirkung von Bexaroten im Tiermodell Farbmaus bei der Alzheimer-Krankheit beschrieben. Dabei beseitigte die Verabreichung von Bexaroten bei den transgenen Mäusen nicht nur vorhandene und für die Alzheimer-Krankheit typische Protein-Plaques, die nach der Plaques-Theorie der Grund für die Alzheimer-Symptome sein sollen, sondern auch die Gedächtnisstörungen. Bexaroten kann als sehr unpolares und relativ kleines Molekül die Blut-Hirn-Schranke überwinden. Dort beeinflusst es die Expression von Apolipoprotein E, das in größeren Mengen produziert wird und den Abbau der senilen Plaques, vor allem β-Amyloid, ermöglicht.

Derzeit ist noch unklar, ob diese Ergebnisse auch auf den Menschen übertragen werden können. Die Autoren des Science-Artikels wiesen darauf hin, dass es viele bekannte Methoden gibt, mit denen sich Alzheimer bei Mäusen heilen lässt, die aber alle nicht beim Menschen funktionierten.

Nachfolgende präklinische Versuche anderer Forschungsgruppen konnten die vielversprechenden Ergebnisse nicht bestätigen.

Für die Behandlung der Alzheimer-Krankheit ist Bexaroten nicht zugelassen.

Synthese

Entwicklungsgeschichte
Entwickelt wurde Bexaroten von dem US-amerikanischen Unternehmen Ligand Pharmaceuticals, das Targretin und drei weitere potentielle Krebstherapeutika 2006 für 205 Millionen US$ an das japanische Unternehmen Eisai verkaufte. Das Stoffpatent (siehe Originalpräparat) lief 2016 aus.

Weiterführende Literatur
 L. Qu, X. Tang: Bexarotene: a promising anticancer agent. In: Cancer Chemotherapy and Pharmacology. Band 65, Nummer 2, Januar 2010, S. 201–205, doi:10.1007/s00280-009-1140-4. PMID 19777233.
 S. M. Horwitz: Novel therapies for cutaneous T-cell lymphomas. In: Clinical lymphoma & myeloma. Band 8 Suppl 5, Dezember 2008, S. S187–S192, doi:10.3816/CLM.2008.s.015. PMID 19073526.
 R. Gniadecki, C. Assaf u. a.: The optimal use of bexarotene in cutaneous T-cell lymphoma. In: British Journal of Dermatology. Band 157, Nummer 3, September 2007, S. 433–440, doi:10.1111/j.1365-2133.2007.07975.x. PMID 17553039.
 C. Querfeld, L. V. Nagelli u. a.: Bexarotene in the treatment of cutaneous T-cell lymphoma. In: Expert Opinion on Pharmacotherapy. Band 7, Nummer 7, Mai 2006, S. 907–915, doi:10.1517/146565188.8.131.527. PMID 16634713.
 J. Bohmeyer, R. Stadler u. a.: Bexaroten – eine Therapie-Alternative für fortgeschrittene kutane T-Zell-Lymphome? Erste Erfahrungen. In: JDDG. Band 1, Nummer 10, Oktober 2003, S. 785–789, doi:10.1046/j.1439-0353.2003.03711.x
 P. Altmeyer:  In: Enzyklopädie der Dermatologie, Venerologie, Allergologie, Umweltmedizin Springer-Verlag Berlin Heidelberg, 2008, ISBN 3-540-41361-8, S. 128. .
 wbr/dapd: Krebsmittel vertreibt Alzheimer-Symptome. In: Spiegel Online. Vom 10. Februar 2012.

Einzelnachweise

Arzneistoff
Retinoid
Benzolcarbonsäure
Tetrahydronaphthalin
Diphenylethen
Toluol

Bexaroten


An Anthurium gonzalezii in uska species han Liliopsida nga ginhulagway ni Thomas Bernard Croat. An Anthurium gonzalezii in nahilalakip ha genus nga Anthurium, ngan familia nga Araceae.

Mabibilngan ini ha Venezuela. Waray hini subspecies nga nakalista.

Mga kasarigan

Anthurium

Anthurium gonzalezii


An Aponogeton ranunculiflorus in uska species han Liliopsida nga ginhulagway ni Jacot Guill. ngan Wessel Marais. An Aponogeton ranunculiflorus in nahilalakip ha genus nga Aponogeton, ngan familia nga Aponogetonaceae. Ginklasipika han IUCN an species komo nangangarat-an. Waray hini subspecies nga nakalista.

Mga kasarigan

Aponogeton

Aponogeton ranunculiflorus


Euthenna, Marmaris yakınlarındaki antik kent.

Cedrai - Marmaris çizgisinin batısında kalan bölgede, antik çağda Rodos'a bağlı iki önemli kasaba bulunmaktadır. Yerleşim alanını çeviren berkitme sur oldukça iyi durumdadır. Kıyıda ise, boraj kesme taş duvarı tarzı ile örülen antik iskelenin bir uzantısı ile karşılaşılır. Bu ören yerine Karacasöğüt köyü yolundan gidilebilir.

Kaynakça

Muğla ilindeki arkeolojik sitler
Türkiye'deki antik kentler
Antik Karya kentleri

Euthenna


රයිගම් ටෙලීස් හොඳම ටෙලිනාට්‍ය අධ්‍යක්ෂක සම්මානය වාර්ෂිකව ශ්‍රී ලංකාවේ රූපවාහිනී තිරයේ හොඳම ශ්‍රී ලාංකේය අධ්‍යක්ෂවරයා සඳහා බොහෝ වාණිජ සන්නාම සමඟ සම්බන්ධ කිංඩම් ඔෆ් රයිගම් විසින් පිරිනමනු ලැබේ.

මෙම සම්මානය ප්‍රථම වරට ලබා දුන්නේ 2005 වසරේදීය. එතැන් සිට මෙම කීර්තිමත් ශූරතාව දිනාගත් අයගේ ලැයිස්තුවක් පහත දැක්වේ.

සෑම වසරකම සම්මාන ලැයිස්තුව

යොමු කිරීම්


An Genyorchis micropetala in uska species han Liliopsida nga syahan ginhulagway ni John Lindley, ngan ginhatag han pagkayana nga asya nga ngaran ni Schltr.. An Genyorchis micropetala in nahilalakip ha genus nga Genyorchis, ngan familia nga Orchidaceae. Ginklasipika han IUCN an species komo nangangarat-an. Waray hini subspecies nga nakalista.

Mga kasarigan

Genyorchis

Genyorchis micropetala


The Concert (1921) — filme dirigido por Victor Schertzinger
Concert Channel — canal de TV da Digital Latin America encerrado em 2015

Música
The Concert (álbum dos Creedence Clearwater Revival) — de 1980
Concert: The Cure Live — de 1984
The Concert (álbum de Barbra Streisand) — de 1994

Desambiguações de cinema
Desambiguações de música

Concert


Cayo Espanto es una isla privada situada en la costa del país centroamericano de Belice, cerca de Cayo Ambergris. Desde que Cayo Espanto inauguró algunas instalaciones en 1998, la retirada isla privada ha aparecido en más portadas de revistas que cualquier otra isla de Belice. Invitados famosos de esta han sido personas como Robert De Niro, Penélope Cruz, Harrison Ford, Tiger Woods, Shaquille O'Neil, Tom Cruise, Brad Pitt, Sir Todd Busby of east Texas entre otros. El exclusivo resort privado de Cayo Espanto cuesta un promedio de 2000 $ por noche.

La isla de 7 villas de playa cuenta con piscinas privadas, a excepción de la villa sobre el agua. Hay un helipuerto, spa, gimnasio, tienda de buceo y un restaurante en la isla.

Véase también
 Geografía de Belice
 Geografía de América

Referencias

Archipiélagos e islas de Belice

Cayo Espanto


Claude Cheysson (; 13 April 1920 – 15 October 2012) was a French Socialist politician who served as Foreign Minister in the government of Pierre Mauroy from 1981 to 1984.

Career
Cheysson was born in Paris and attended the Cours Hattemer, a private school. He fled from France during World War II and joined the 2nd Armored Division of General Leclerc, serving as a second lieutenant in the 12th Chasseurs d'Afrique Regiment. He joined the Foreign Ministry in 1948 and became head of the liaison service with the West German authorities the following year. As he moved through the ranks of the Foreign Ministry, he served as counselor to the president of the government of French Indochina in 1952, cabinet chief of Premier Pierre Mendès France from 1954 to 1955, and general secretary of the Commission for Technical Cooperation in Africa from 1957 to 1962. He was director of the Organisme Saharien from 1962 until 1965, and ambassador to Indonesia from 1966 to 1969.

In 1973, Cheysson was appointed as the French European Commissioner.  His first post, which he held until 1977, was in charge of development policy, cooperation, budgets, and financial control. From 1977 until 1981, he took on the development portfolio.

In 1981 he left the commission and became a member of the French Government, serving as Minister of Foreign Affairs until 1984. (The ministry was renamed as the Ministry of External Relations, but the previous name was re-established in 1986.) He joined the Delors Commission, where he was responsible for Mediterranean policy and north–south relations, from 1985 to 1989.

By 1999, Cheysson joined the Collectif Liberté pour l'Afghanistan, an organization lobbying for the West to stop tolerating the Taliban and "Osama bin Laden, the millionaire Saudi financier of terror".

References

Rulers.org

1920 births
2012 deaths
Politicians from Paris
20th-century French diplomats
French Foreign Ministers
Socialist Party (France) politicians
French European Commissioners
École Polytechnique alumni
École nationale d'administration alumni
French military personnel of World War II
French Army officers
Ambassadors of France to Indonesia
Honorary Knights Grand Cross of the Order of St Michael and St George
European Commissioners 1973–1977
European Commissioners 1977–1981
European Commissioners 1981–1985
European Commissioners 1985–1988
French expatriates in Vietnam

Claude Cheysson


An Thelymitra forbesii in uska species han Liliopsida nga ginhulagway ni Henry Nicholas Ridley. An Thelymitra forbesii in nahilalakip ha genus nga Thelymitra, ngan familia nga Orchidaceae. Waray hini subspecies nga nakalista.

Mga kasarigan

Thelymitra

Thelymitra forbesii


Shout je bio kršćanski glam metal sastav iz Costa Mese u Kaliforniji, SAD. Formirao ga je Ken Tamplin 1987. godine. Glazbeno su bili slični Stryperu, ali Encyclopedia of Contemporary Christian Music navodi ih kao "kompetentnije od Strypera". Tekstovima su im skladbe bile općenito izravnije nego ostali kršćanski glazbeni sastavi poput Bloodgooda. Dobili su nagradu Dove nakon što su se razišli 1989. godine.

Diskografija
1987.: It Won't Be Long (Frontline Records, recenzija: CCM Magazine, Cornerstone)
1989.: In Your Face (Frontline u USA, Music For Nations u UK, Fun House u Japanu, recenzija:CCM Magazine)
1992.: At the Top of Their Lungs (Intense Records, kompilacija)
1999.: It Won't Be Long/In Your Face (KMG Records, recenzija: Cross Rhythms)
1999.: Shout Back (Indie: Nippon Crown Records u Japanu, Z Records u UK)

Članovi
 Loren Robinson - bas-gitara
 Ken Tamplin - gitara, vokal
 Chuck King - gitara, vokal
 Joseph Galletta - bubnjevi
 Dennis Holt - bubnjevi
 Mark Hugonberger - klavijature
 Roger Mielke - klavijature
 Lanny Cordola - gitara
 Marty Friedman - gitara
 Randy Hansen - gitara
 Alex Masi - gitara
 Michael Angelo - gitara
 Joey Price - gitara

Izvori

Vanjske poveznice
Discogs

Kršćanski glazbeni sastavi
Američki sastavi heavy metala

Shout (glazbeni sastav)


L'exécution du doge Marino Faliero est une peinture à l'huile sur toile de 1826 réalisée par l'artiste romantique français Eugène Delacroix, inspirée de la pièce de 1821 Marino Faliero, doge de Venise de Lord Byron, elle-même basée sur des événements de la vie du doge de Venise Marino Faliero (1274–1355). L'œuvre, exposée pour la première fois au Salon de 1827, fait partie de la Wallace Collection à Londres ; à compter de 2021, elle est répertoriée comme non exposée.

Description
Le tableau représente la décapitation de Faliero, qui a eu lieu sur la Scala dei Giganti (Escalier des Géants) du Palais des Doges. L'escalier, où Marino a été intronisé comme doge, est situé dans la cour intérieure de l'édifice et non face à la place Saint-Marc. Alors que le corps décapité  de Faliero git au bas des marches, vêtu de blanc après qu'il a été dépouillé de ses vêtements ducaux, des membres du Conseil des Dix et d'autres aristocrates vénitiens vêtus de riches vêtements aux couleurs vives sont rassemblés au sommet, dont un membre du Conseil des Dix brandit l'épée qui a servi à la décapitation. L'instrument de la mort est présenté par le bourreau aux quelques membres du public qui regardent depuis la place ce qui se passe dans le palais, comme cela a été décrit dans la pièce de Lord Byron.

La peinture a été interprétée comme un commentaire sur la dynastie des Bourbons en France sous le règne de Charles X. Elle a également été décrite comme évoquant le genre du romantisme français qui était une forme de divertissement populaire de l'époque.

Références

Liens externes

Tableau d'Eugène Delacroix
Tableau réalisé en 1826
Tableau romantique
Décapitation dans la peinture
Tableau orientaliste
1826 en France
Escalier dans la peinture
Palais des Doges dans la peinture
Collection de peintures de la Wallace Collection
Œuvre exposée au Salon de 1827

L'Exécution du doge Marino Faliero


The Vuoksi (, historically: "Uzerva"; ; ; ) is a river running through the northernmost part of the Karelian Isthmus from Lake Saimaa in southeastern Finland to Lake Ladoga in northwestern Russia. The river enters Lake Ladoga in three branches, an older main northern branch at Priozersk (Käkisalmi), a smaller branch a few kilometers to the north of it, and a new southern branch entering  further southeast as Burnaya River (Finnish: Taipaleenjoki), which has become the main stream in terms of water discharge. Since 1857, the old northern distributaries drain only the lower reaches of the Vuoksi basin and are not fed by Lake Saimaa. The northern and southern branches actually belong to two separate river systems, which at times get isolated from each other in dry seasons.

The descent between Lake Saimaa and Lake Ladoga is . The entire run of the river is  via the Priozersk branch, or  via the Taipale (Burnaya) branch. It has a drainage basin of . For most of its length, the river broadens out to a series of lakes bound together by shorter riverlike connections. One of these lakes, Uusijärvi close to Priozersk, was renamed Ozero Vuoksa ("Lake Vuoksa") by the Soviets.

The Vuoksi connects Lake Ladoga with central Finland, and was once an important route for trade and communication. A western branch, which disappeared due to ongoing land uplift, was an alternative route for the Karelians to reach the Gulf of Finland when the Neva River was blocked by enemies. Now the Saimaa Canal bypasses the Vuoksi and enters the Gulf of Finland in the Bay of Vyborg near the medieval city of Vyborg.

During both the Winter and Continuation Wars the river Vuoksi was a major Finnish defensive line against the Soviet advance. The Mannerheim Line and VKT-line were located along the northern shore of its southern armlet.

From the Industrial Revolution, power generated from Vuoksi's rapids made the Vuoksi region Finland's industrial center in the late 19th century. Since the Winter War (1940), the Karelian Isthmus has belonged to Russia and only  of the river's length remains in Finland. The major power stations at Tainionkoski and Imatra are on the Finnish side in the city of Imatra.

The river's surroundings, including the Korela Fortress (formerly: Käkisalmi), is a popular resort for Saint Petersburg's residents.

The river is famous for its rapids, for instance Imatrankoski in Imatra and rapid in the village of Losevo (Kiviniemi). The rapid junction of the Vuoksi and Suvanto/Lake Sukhodolskoye at Losevo is a popular area for kayak, canoe and catamaran competitions.

A project is currently being discussed in Russia to destroy the rapids at Losevo and turn the River Burnaya, Lake Sukhodolskoye and lower portions of Vuoksi into a navigable canal, which would connect Lake Ladoga to the Gulf of Finland and allow oil tankers to bypass River Neva and the city of Saint Petersburg.

Geological history

Around 5,000 BP the waters of the Saimaa Lake penetrated Salpausselkä, forming the river emptying into Lake Ladoga in its northwestern corner and raising the level of the latter by . Lake Ladoga transgressed, flooding lowland lakes and the Vuoksi, and connected with the Baltic Sea at Heinjoki, to the east of present-day Vyborg. Ladoga's level gradually sank and the River Neva, originating around 3100–2400 BP, drained its waters into the Gulf of Finland; but the Vuoksi still had a significant direct outflow connection to the Bay of Vyborg, possibly as late as in the 16th or 17th century AD. The connection disappeared due to ongoing land uplift.

In 1818, a canal was dug to drain spring flood waters from Lake Suvanto (now Lake Sukhodolskoye, a  long narrow lake in the eastern part of the Karelian Isthmus) into Lake Ladoga; the canal unexpectedly eroded and turned into Taipaleenjoki (now Burnaya River). Taipaleenjoki started draining Suvanto and decreased its level by . Originally Lake Suvanto flowed into the Vuoksi through a waterway at Kiviniemi (now Losevo), but as a result of the change, the waterway dried out. In 1857 a channel was dug there, but the stream reversed direction, creating rapids and rendering navigation at Kiviniemi impossible. Since 1857 Suvanto and Taipaleenjoki have constituted the southern branch of the Vuoksi, which has decreased the level of the original northern branch emptying into Ladoga near Kexholm (now Priozersk) by  and has become the main stream.

References

External links

The creation of the Vuoksi River preceded a significant cultural shift, September 15, 2014, Phys.org

Rivers of Finland
Rivers of Leningrad Oblast
Karelian Isthmus
International rivers of Europe

Vuoksi


Chikugo may refer to:

 Chikugo, Fukuoka, a city in Fukuoka Prefecture, Japan
 Chikugo Province, a former province of Japan
 Chikugo River, a river in Northern Kyushu, Japan
 Chikugo-class destroyer escort

See also

Chikugo


Allens Grove Township ist der Name folgender Townships in den Vereinigten Staaten:

 Allens Grove Township (Illinois)
 Allens Grove Township (Iowa)

Allens Grove Township