Chevrolet Volt is an American plug-in hybrid car. The car was first produced in 2011  and is made by the Chevrolet division of General Motors. This vehicle travels 25 to 50 miles (38 miles average) on electric power alone. After the battery is depleted, it switches to the extended range mode.
In the United States, the car has a suggested price of $34,185, but qualifies for a $7500 tax credit.  It can carry up to four people (including the driver).

Design
The Volt has 16.5 kWh of lithium batteries and a 1.4 liter engine using premium fuel.  The batteries have enough power to drive the car normally (it can go from 0 to 60 mph in 9 seconds).  While the batteries have power, the car is like an electric car.

When the batteries run out of charge, they can be recharged from a special electrical outlet, or the car can turn on the gas engine.  The gas engine and electric motors combine in a special type of transmission called a planetary gear, like the Toyota Prius.  This allows the gas engine to drive the car or to change its power to electricity.  The electricity can charge the battery or power the electric motor.

Fuel efficiency
How much gas is used depends on how the car is driven and when the batteries are recharged.  It is possible to only use electric power and never use gasoline.  The EPA estimates the average person will get 98 miles per gallon (including the equivalent cost of electricity).

Recharging
The batteries can be recharged in 10 to 16 hours using a 120V charging unit (most circuits in a house are at 120V). A 240V charging unit will recharge the car batteries in four hours. The batteries can also be charged from the gas engine or from the regenerative brakes, which turn the energy of the moving car into electricity.

References

2010s automobiles
Volt

Chevrolet Volt


ARM architecture is a computer CPU architecture used in computers of all sizes up to supercomputers; commonly used in embedded systems and mobile devices such as cell phones, tablet computers, and handheld game consoles such as the Game Boy Advance. ARM CPUs use very little electricity and produce very little heat. Most ARM CPUs run on battery power and don't need a cooling fan. The Linux operating system is used most on ARM CPUs.

In 2013 ARM was the world's most popular 32-bit CPU architecture. Since then, production has increased to millions per day.  64-bit ARM, which allows for addressing memory greater than 3.8GB, has been available since then and is used in most modern smartphones.

Brands and Manufacturers
 Qualcomm Snapdragon
 Samsung
 Texas Instruments
 Intel
 MediaTek

Examples of products that use ARM
 Supercomputers including the top one, Fugaku, from 2020 to May 2022
 Most Android devices
 Apple iPhone, iPod Touch, and iPad
 Samsung Chromebook
 Game Boy Advance, Nintendo DS, Nintendo 3DS, and Nintendo Switch
 Windows RT and Windows Phone
 Many Wi-Fi routers and other network equipment
 Digital cameras
 DVD and Blu-ray players
 Some newer televisions
 Some car stereos
 Raspberry Pi, a small $35 computer

Related pages
 Z80
 X86
 Intel Atom
 MIPS architecture

Computer processors
ARM-based processors

ARM architecture


SecureEasySetup, or SES is a proprietary technology developed by Broadcom to easily set up wireless LANs with Wi-Fi Protected Access. A user presses a button on the wireless access point, then a button on the device to be set up (printer, etc.) and the wireless network is automatically set up.

This technology has been succeeded by the industry-standard Wi-Fi Protected Setup. However, Wi-Fi Protected Setup was recently broken and has been shown to be easily breakable with brute-force attacks.

References
 Stephen Lawson (Jul 26, 2005) Linksys Simplifies Wireless Security, IDG News Service
 Glenn Fleishman, (January 12, 2005) Under the Hood with Broadcom SecureEasySetup, wifinetnews.com
 Rob Squires (9 January 2005) Broadcom, HP close wi-fi security hole, The Inquirer
 Security Now!, Episode 335, recorded January 9, 2012: WiFi Protected (In)Security http://www.grc.com/sn/sn-335.htm

External links
 Broadcom: SecureEasySetup
 Linksys Products and SecureEasySetup™ (SES) - Frequently Asked Questions

Wireless networking

SecureEasySetup


Gouache, also spelled guache, is a type of paint. It is also commonly called poster paint. It comprises pigment, a binding agent (usually gum arabic), and some additives to make it opaque. An inert white pigment such as chalk is usually added. Gouache covers up whatever is underneath. Water colours, in contrast, are somewhat transparent.

After gouache has dried, any form of paint can be used on the surface, also pastels and crayons. Watercolours on top of a gouache surface are not so runny (fluid) as they are on plain paper.

The fast-drying quality of gouache makes it a favourite for en plein air (outdoor) paintings. It was also a favourite of J. M. W. Turner.

Gouache also refers to paintings that use this type of paint.

Paints

Gouache


The Huastec  or Téenek  (contraction of Te' Inik, "people from here"; also known as Huaxtec, Wastek or Huastecos) are an indigenous people of Mexico, living in the La Huasteca region including the states of Hidalgo, Veracruz, San Luis Potosí and Tamaulipas concentrated along the route of the Pánuco River and along the coast of the Gulf of Mexico.

There are approximately 66,000 Huastec speakers today, of which two-thirds are in San Luis Potosí and one-third in Veracruz, although their population was probably much higher, as much as half a million, when the Spanish arrived in 1529.

The ancient Huastec civilization is one of the pre-Columbian Mesoamerican cultures. Judging from archaeological remains, they are thought to date back to approximately the 10th century BCE, although their most productive period of civilization is usually considered to be the Postclassic era between the fall of Teotihuacan and the rise of the Aztec Empire. The Pre-Columbian Huastecs constructed temples on step-pyramids, carved independently standing sculptures, and produced elaborately painted pottery. They were admired for their abilities as musicians by other Mesoamerican peoples.

About 1450, the Huastecs were defeated by Aztec armies under the leadership of Moctezuma I; the Huastecs henceforth paid tribute to the Aztec Empire but retained a large degree of local self-government.

The Huastecs were conquered by the Spanish between 1519 and the 1530s. After the Spanish Conquest, many Huastecs were sold as slaves in the Caribbean by the Spanish.

The first grammatical and lexical description of the Huastec language accessible to Europeans was by Fray Andrés de Olmos, who also wrote the first such grammars of Nahuatl and Totonac.

Migration history

Splitting from the rest of the Maya

Studies of language change, especially glottochronology (that is, words changing in form or being replaced by borrowed synonyms), have given linguists the tools to estimate the point in time when many pairs of languages diverged from their common ancestral tongue.  The procedure depends on the assumption that languages change, in the absence of widespread literacy, at a constant rate.

Of all the languages descended from Proto-Mayan, the proto-Huastecan language was the first to split from Mayan proper.  The second split, in the non-Huastecan main branch, was between proto-Yucatecan, now spoken across the Yucatán Peninsula, and the ancestors of all other Maya languages. The only other language, besides Huastec, which arose from proto-Huastecan was Chicomuceltec (also called Cotoque), a language once spoken in Chiapas near Comitán, but now extinct.

Linguists have approximated that the precursor to the language of the Huastecs diverged from the Proto-Mayan language between 2200 and 1200 BCE.  Linguist Morris Swadesh posited the later date as the latest possible time for this split to have occurred, and gave the Huastec/Chicomuceltec inik ("man") versus other-Maya winik as a typical contrast. McQuown suggests 1500 BCE, Manrique Castaneda 1800 BCE, and Dahlin 2100 BCE as the most likely dates for the split. Kaufman's proposed date of about 2200 BCE would require two regular phonological (sound) changes that are attested in all Maya languages, "r" changing to "y" and "q" to "k", to have happened independently after the split, in both the Huastec/Chicomuceltec branch and in the branch of all other Mayan languages.

Robertson's work on verb affixes in the Mayan languages implies that the Huastecs were in contact with the proto-Tzeltal branch of Mayan.  In Proto-Mayan, absolutives could be marked either by a prefix or a suffix, depending on the presence of a tense/aspect marker.  This feature was retained in Q'anjob'al (a Maya language, spoken in the Cuchumatanes mountains of Guatemala), but lost in other branches. (Yucatecan always uses a suffix for absolutives, while K'iche' always uses a prefix.)  Huastec appears to have been influenced by proto-Tzeltal, resulting in such innovations as the preposition ta, used with the object of a verb in the third person. If, as seems likely, the Huastec-Maya split occurred around 2000 BCE, the Huastecs probably did not travel far from the Guatemala-Chiapas borderlands until after 1100 BCE, more or less, by which time the proto-Tzeltalans had been established as a separate branch.

Art
The Huastec people historically lived north of the Totonacs in the northeastern corner of Mesoamerica, which helped their influence with distinct style of art. The Huastec people spoke Mayan, which was once a useful trade language. Their art was influenced by the coastal area resulting in shell artifacts.

Amongst their art they also made pots, gaming stones, platform pipes, and sculptures. These items were often made from shells and made into shape of human heads, engraved shell gorgets, fan headdresses, and of hunch backed humans.

Arrival in the Huasteca region

The Huasteca region of Mexico extends from the easternmost limestone ranges of the Sierra Madre Oriental, across the coastal plain and the Otontepec hills to the Gulf of Mexico, in northern Veracruz state, eastern San Luis Potosí state, and (by some definitions) southern Tamaulipas.  At least three indigenous languages are spoken in parts of the region today: Nahuatl (a Uto-Aztecan language),  spoken especially in Veracruz, but also in San Luis Potosí; Pame (an Oto-Manguean language). spoken in the hilly borderlands of San Luis Potosí and Querétaro; and Huastec (Wastek) (a Maya language),  spoken in San Luis Potosí and northernmost Veracruz, and formerly in Tamaulipas.  Some would include the Totonac-speaking area, in north-central Veracruz, as part of the Huasteca.  The Huastec region was known to the Aztecs (ancestors of today's Nahuatl speakers, who arrived in the Huasteca around 1450) for its fertile abundance, and includes the northernmost patches of tropical moist forest and cloud forest in the Americas.

The Huastecs arrived in the Huasteca between 1500 BCE and 900 BCE. The linguistic evidence is corroborated by archaeological discoveries.  In 1954, Richard Stockton MacNeish found ceramics and figurines in the Middle Formative period, called "Pavon de Panuco" in the Panuco River sites of the Huasteca, which resemble Preclassic objects from Uaxactun, a Petén-region Maya site. A date of no earlier than 1100 BCE for the Huastecs' arrival at their present location seems most likely, since they probably had not arrived at the north-central Veracruz site of Santa Luisa until about 1200 BCE, the phase at the end of the Early Formative period known locally as the "Ojite phase." Artifacts of the period include Panuco-like basalt manos and metates. (The Huastecs remained in Santa Luisa, located east of Papantla near the Gulf coast, until supplanted or absorbed by the Totonacs around AD 1000).

One nexus of carved iconographic traditions, the "yoke-palm-axe" complex, was found from Jaina Island in coastal Campeche to the Huasteca (and in between, in Aparicio, Veracruz), in association with the pelota ballgame, decapitation, and tooth mutilation; however, this may reflect coastal trade contacts after the Huastecs were established in the Huasteca.

Huastec–Maya separation
Proto-Maya, the common ancestor of all Maya languages, was probably spoken in west-central Guatemala, around the highland pine-oak forests of the Cuchumatanes mountain chain:  north of the Motagua and Grijalva river valleys, through patches of cloud forest, and down to the edge of the tropical forest lowlands near the Ixcán and Chixoy (Negro) rivers, which flow into the Usumacinta River. Evidence that this region was the Maya "heartland" include its being located near the center of present-day language diversity of the Maya language family (and therefore requiring the minimum number of moves to place the languages in their current locations), the fact that proto-Maya included words for flora and fauna from both highland and lowland areas, and the debatable idea that it is easier for a group of people to spread from a highland region to a lowland one than vice versa. Not all archaeological evidence agrees with this conclusion: there are older, unbroken ceramic traditions from Loltun Cave in Yucatán, as well as Cuello in Belize, which suggest alternative Maya homelands.

Whether the proto-Huastecs split from the rest of the Maya in 2200 or in 1200 BCE, the separation occurred at least a millennium before the rise of classic Maya culture.  It is no surprise, therefore, that the word "to write" is different in proto-Huastec (θuc-) and in the other Maya language branch (c'ib).

2000 BCE is a reasonable date for the Huastec/Maya split, and the slopes of the Cuchumatanes range as a reasonable location for the speakers of proto-Maya, it seems likely that the split occurred after these proto-Maya speakers (or a portion of them) began to migrate north, probably along the Usumacinta River, and before the two groups resulting from the split began to move in opposite directions: the proto-Huastec speakers moving northwest (and, soon thereafter, the proto-Chicomuceltec west into the Chiapas highlands), and the proto-Yucatec/other Maya-speakers spreading northeast (one branch of which became Chontal, presumed by many from its widespread loan words and hieroglyphic evidence to be the dominant language of the classic Peten Maya heartland) (see Fig. 1).  While we have no direct archaeological evidence to explain the split itself, we can assume by linguistic evidence that contact was soon cut off between the two groups, despite there being no geographical feature that would automatically isolate them from each other.

The intervening feature, then, was likely a powerful linguistic-cultural group.  What group occupied the Usumacinta River-Gulf Coast lowlands (mainly in today's Mexican state of Tabasco) between 2000 BCE (when the proto-Huastecs began their journey) and 1000 BCE (by which time the proto-Yucatecs had arrived in Yucatán, the Chicomuceltecs had been isolated from the Huastecs, and the Huastecs were arriving in central Veracruz)?  Most scholars propose that this region was inhabited by speakers of the Mixe–Zoque family.  While speakers of Mixe–Zoquean languages are today confined to the mountains of northeast Oaxaca, along the backbone of the Isthmus of Tehuantepec, and into extreme western Chiapas, it is likely that they once occupied the entire Gulf Coast lowland from the isthmus to the Tuxtla mountains – in other words, the Olmec heartland, soon dominated by the presumably Mixe–Zoque-speaking Olmec civilization of about 1400 to 500 BCE.  One line of evidence that the Olmecs spoke Mixe–Zoque are the words that the proto-Huastecs borrowed from proto-Mixe–Zoque as they passed through the southern Gulf lowlands; for example, ciw, meaning "squash."

Thus, there is some reason to ascribe the linguistic isolation of early Huastecs from other Maya speakers to proto-Olmecs speaking a Mixe–Zoque language, themselves recently arrived after migrating northward from the Soconusco region of the Pacific coast and across the isthmus of Tehuantepec. There is much stronger evidence that the push for the Huastecs' further migration up the Gulf coast was caused by the active presence of the early Olmecs (c. 1400 to 1100 BCE) of San Lorenzo and associated sites.  If this is true, most of the distance that the Huastecs migrated during their entire history, from Guatemala to the Huasteca, was traveled in only a century or two at most: the portion between the Olmec heartland around San Lorenzo, and the environs of San Luisa.

The Huastecs and the Yucatán Maya were reunited, in a way, during the late nineteenth century, when Huastec chicle-tappers and lumbermen were transported to the state of Campeche to work the similar forests there, mainly employed by U.S.-based companies.  A cross-Gulf steamship trade developed at the same time, with products such as salt exported from Campeche to Tuxpan (a Huastec-region port), and items such as sugar from Tuxpan to Campeche.

See also

Huastec State

Notes

References

Ariel de Vidas, A.  2003. "Ethnicidad y cosmología: La construccion cultural de la diferencia entre los teenek (huaxtecos) de Veracruz", in UNAM, Estudios de Cultura Maya.  Vol. 23.
Campbell, L. and T. Kaufman.  1985.  "Maya linguistics: Where are we now?", in Annual Review of Anthropology.  Vol. 14, pp. 187–98
Dahlin, B. et al.  1987. "Linguistic divergence and the collapse of Preclassic civilization in southern Mesoamerica".  American Antiquity.  Vol. 52, No. 2, pp. 367–82.
INAH.  1988. Atlas cultural de México: Lingüística.  Mexico City: Instituto Nacional de Antropología e Historia.
Kaufman, T.  1976.  "Archaeological and linguistic correlations in Mayaland and associated areas of Mesoamerica." World Archaeology 8:101-18.
Malstrom, V. 1985. "The origins of civilization in Mesoamerica: A geographic perspective", in L. Pulsipher, ed. Yearbook of the Conference of Latin Americanist Geographers.  Vol. 11, pp. 23–29.
Ochoa, L.  2003. "La costa del Golfo y el área maya: Relaciones imaginables o imaginadas?", in UNAM, Estudios de Cultura Maya. Vol. 23.
Robertson, J. 1993. "The origins and development of Huastec pronouns."  International Journal of American Linguistics. 59(3):294–314
Stresser-Pean, G.  1989. "Los indios huastecos." In Huastecos y Totonacas, edited by L. Ochoa. Mexico City: CONACULTA.
Vadillo López, C. and C. Riviera Ayala. 2003. "El tráfico marítimo, vehículo de relaciones culturales entre la región maya chontal de Laguna de Términos y la región huaxteca del norte de Veracruz, siglos XVI-XIX", in UNAM, Estudios de Cultura Maya. Vol. 23.
Wilkerson, J. 1972. Ethnogenesis of the Huastecs and Totonacs. PhD dissertation, Department of Anthropology and Archaeology, Tulane University, New Orleans.

External links

Orientation: Wasteko, Countries and Their Cultures

Mesoamerican cultures
Sierra Madre Oriental
Maya peoples

Huastec people


Henry Foster   (1797 – 5 February 1831) was a British naval officer and scientist who took part in expeditions to both the Arctic and Antarctic, and made various notable scientific observations.

Career
Foster was born in Woodplumpton, Lancashire in 1797, and at an early age joined the Royal Marines.

In his early career, Foster served aboard HMS York.  Later, he served aboard HMS Griper in 1823 as part of the British Naval Scientific Expedition to the Arctic led by Douglas Clavering. He assisted the astronomer Edward Sabine. He became a Fellow of the Royal Society.

In 1824 as a lieutenant, he joined the Northwest Passage expedition led by Captain William Edward Parry, aboard HMS Hecla. He made various scientific observations in magnetism and astronomy and pendulum measurements of gravity, for which he shared the Copley Medal in 1827 and received the rank of commander.  Later in 1827 he joined the British Naval North Polar Expedition, again under the leadership of Parry.

From 1828 to 1831, he was commander of HMS Chanticleer and led the British Naval Expedition to the South Atlantic, surveying the South Shetland Islands and notably Deception Island off the Antarctic Peninsula. The expedition was to survey the coasts and land formations, as well as to determine the direction of ocean currents in both hemispheres. He named the Wollaston Islands of present-day Chile, in the Tierra del Fuego archipelago, after the British chemist William Hyde Wollaston. As well as surveying coasts and ocean currents, Foster used a Kater invariable pendulum to make observations on gravity. The survey included the archipelago and island of Fernando de Noronha. Foster was given considerable assistance by the Governor, who let Foster use part of his own house for the pendulum experiments. He published his research in an 1834 book, released posthumously.

He drowned in the Chagres River in Panama in 1831 after slipping and falling overboard. His book, published posthumously, was considered very important because of his observations on the southern hemisphere. It was translated into French and republished in 1849.

Books
 Relation of a Journey through the South Atlantic, made upon the Royal Corvette 'Chanticleer' during the Years 1828-1831 (London, 1834).

Legacy and honours
Port Foster in Deception Island and Mount Foster on Smith Island are named after him. Also a middle school in Longview, Texas was named after him.

References

External links

19th-century Royal Navy personnel
1797 births
1831 deaths
Accidental deaths in Panama
British scientists
Date of birth missing
Deaths by drowning
Fellows of the Royal Society
Recipients of the Copley Medal
Royal Navy officers

Henry Foster (scientist)


Suidae is the family to which pigs and their relatives belong. Several species are currently recognised, including the domestic pig. In addition to numerous species of wild pig, the family includes the babirusa and the warthog.

Taxonomy
 Family Suidae
 Genus Babyrousa: Babirusas
 Genus Hylochoerus: Giant forest hogs
 Giant forest hog, Hylochoerus meinertzhageni
 Genus Phacochoerus: Warthogs
 Warthog, Phacochoerus africanus
 Desert Warthog, Phacochoerus aethiopicus
 Genus Porcula: Pygmy Hog
 Pygmy Hog, Porcula salvania
 Genus Potamochoerus: Bushpigs
 Bushpig, Potamochoerus larvatus
 Red River Hog, Potamochoerus porcus
 Genus Sus: Pigs
 Wild boar, Sus scrofa
 Domestic pig, Sus scrofa domestica
 Family ?Maiaboarinae
 Genus Maiaboar
 Genus Palaeoboar
 Genus Deccaboar
 Genus  Kumnoboar
 Genus Tyloboar
 Genus Cretaceoboar
 Genus Magiboar
 Genus Frosthutia
 Genus Zeppelinoboar
 Genus Aachenoboar
 Genus Mycellum

Other websites

Suidae


I Vow to Thee, My Country is a British patriotic song created in 1921 when a poem by Sir Cecil Spring-Rice was set to music by Gustav Holst.

History
The lyrics come from a poem by Cecil Spring-Rice that he wrote in 1908 when he was working at the British Embassy in Stockholm, Sweden. At first called Urbs Dei, or The Two Fatherlands, the poem is about how a Christian owes his loyalties to both his homeland and the Kingdom of Heaven. The first verse, as written, had a very direct and heated patriotism that has become less popular since the First World War.

In 1912, Rice was sent to Washington, D.C. as the British ambassador to the United States of America. While serving as ambassador, he tried to get President Woodrow Wilson to give up on neutrality and join Britain and her Empire in the war against Germany. After America entered the war, Rice was called back to Britain. Shortly before he left the United States, in January 1918, he re-wrote and re-titled Urbs Dei, after making big changes to the first verse to talk more about the huge losses that British soldiers were having in the war years.

The first verse talks about Great Britain, and mainly about those who died during the First World War. The end verse, that starts with the line "And there's another country", is talking about heaven. The final line of the end verse uses the Proverbs 3:17 as its base, which reads, "Her ways are of pleasantness, and all her paths are peace."

Music

In 1921 Gustav Holst changed the music from a section of the song Jupiter from his suite The Planets to create a setting for the poem. The music was made a bit longer so that it would fit the last two lines of the first verse; the result is usually called the Thaxted (named after the village where Holst lived for many years). This was first performed in 1925 and became very common at Armistice memorial ceremonies.

Later on, Z. Randall Stroope would arrange a choir version of this song called "Homeland." He still used the "Jupiter" theme from the planets but also used two additional verses of his own to pay homage to his father who marched in the Bataan Death March.

Lyrics
I vow to thee, my country, all earthly things above,
Entire and whole and perfect, the service of my love;
The love that asks no question, the love that stands the test,
That lays upon the altar the dearest and the best;
The love that never falters, the love that pays the price,
The love that makes undaunted the final sacrifice.

I heard my country calling, away across the sea,
Across the waste of waters she calls and calls to me.
Her sword is girded at her side, her helmet on her head,
And round her feet are lying the dying and the dead.
I hear the noise of battle, the thunder of her guns,
I haste to thee my mother, a son among thy sons.

And there's another country, I've heard of long ago,
Most dear to them that love her, most great to them that know;
We may not count her armies, we may not see her King;
Her fortress is a faithful heart, her pride is suffering;
And soul by soul and silently her shining bounds increase,
And her ways are ways of gentleness, and all her paths are peace.

The lyrics as usually sung without the middle verse because it is not suitable for modern use.

References

1920s songs
20th-century British poems
1921 works

I Vow to Thee, My Country


The PlayStation 2 (PS2) is Sony's second video game console. It was released in March 2000. The one before this was PlayStation (or PS1). The next PlayStation is PlayStation 3 which was released in November 2006. The PlayStation 2 competed with the Dreamcast, the Nintendo GameCube and the Microsoft Xbox during its lifetime.

The controllers of the PlayStation 2 are similar to the Dual Analog controllers for the first PlayStation. Some games are online, such as Call of Duty World at War Final Fronts, and a few connect with the PlayStation Portable (or PSP). The PS2 is very successful and games were still made for it after the PlayStation 3 was made. The PlayStation 2 is the world's best-selling console. It has sold around 159 million units since its launch in March 2000, and is fully compatible with PlayStation (PS1) games. Sony announced that they had discontinued the PlayStation 2 in Japan on December 28, 2012 and worldwide on January 4, 2013. The last two games for the system were FIFA 14 and Pro Evolution Soccer 2014 (released only in Europe) in late 2013 (a week before the PlayStation 4's release date). Both these games also had PS3 and PS4 versions. Online functionalities had ended on March 31, 2016. Repair for the system had ended in Japan on September 7, 2018.

PSX
The PSX was released in 2003. It was a video recorder that allowed you to play PlayStation 2 games. It had a built-in hard drive (up to 250 GB). It did not sell well, because it cost too much money, so it was not released outside of Japan. Grand Theft Auto: San Andreas became the most sold game, with over 27.5 million copies sold.

References

Sony
PlayStation
Sony consoles
2000 establishments in the United States
2013 disestablishments
Sixth generation consoles

PlayStation 2


Ampere is an American hardcore punk band from Amherst, Massachusetts known for their short (10–15 minutes) but extremely loud and intense live shows. The band has put the importance of DIY punk ethics at the forefront of their lyrics and are known for the particular attention they bring to their vegan principles.

History
The members of the bands have been involved in the DIY punk scene for a number of years with the most notable being guitarist Will Killingsworth, who played guitar in Orchid, Laceration and Bucket Full of Teeth and who continues to run his Clean Plate record label and Dead Air recording studio where the band records all of their music. He was also in the hardcore "super group" Failures, as well as Vaccine and Won't Belong. Drummer Andy Skelly played drums in both The Last 40 Seconds and Wolves, Stephen's previous bands were Montcalm, The Last 40 Seconds, and 175 Grams.  He concurrently played guitar in self-destructive supergroup Aerosols. He also briefly ran Distort, an independent record store in Northampton, MA (May '06 - December '06).  Meghan played bass in Unicoroner, and sang in Stop The Clock and Relics on their first 7-inch and split 7-inch with Furnace.

Much like Orchid, Ampere (especially earlier albums such as "All our Tomorrows End Today") often borrow some of their lyrics from philosophers and revolutionaries such as Guy Debord. They have preserved some of the "intellectual" punk seen in bands like Orchid, Sinaloa, Native Nod, Current, and others. In all of their endeavors, Ampere has persisted in their commitment to intellect, art, and sincerity.

The band actively tour in the US and completed a tour of Europe with Sinaloa in March 2006. A split record on Ebullition Records between the two bands was released in time for the tour, along with a 7-inch of their early recordings and a four-way split 11-inch with Death to Tyrants, Wasteland and Daniel Striped Tiger which was recorded live at Dead Air. Since then, a split 12-inch composed completely of cover songs was released with Das Oath.

2007 was a productive year for the band, encompassing a brief Japanese tour as well as three new split records; a 6-inch with Ringers on No Idea Records, which, after the first press was re-released as a 7-inch (both versions of the record came with limited runs of T-shirts featuring the album art), a 9-inch with Funeral Diner put out jointly by Clean Plate and The Electric Human Project (this release included intricate etchings between the grooves), and a 7-inch picture disk with France's Daitro on Clean Plate/purepainsugar.

In 2008, an Australian-tour-only split 7-inch with Off Minor was released. Both bands contributed a previously released but compilation-exclusive song from an Animal Rights benefit CD on Exotic Fever. It is Ampere's most limited release to date (aside from the cassette format of the demo tape) at a scant 300 copies. Each band took 150 for their respective jaunts down under and made different packaging.

In June 2011 the band's second LP titled "Like Shadows" was released on No Idea Records.

In August 2015, a split 8" with Italian band Raein was released on No Idea Records.

Pierce and Skelly continue to play together in indie/shoegaze band Kindling, who have a 12" forthcoming in Fall 2015 on No Idea Records.

Killingsworth and Minior also play together in punk band Longings, with an LP coming out on Framework / Echo Canyon Records in September 2015.

Additionally, Killingsworth is a present member of No Faith, Demonbrother, and The Toll.

Minior is also a member of Siamese Twins and Chemiplastica.

Killingsworth and Skelly played together in Ritual Mess with Geoff Garlock and Jayson Green, also of Orchid, and James Clarke.

Members
 Will Killingsworth - guitar
 Meghan Minior - bass
 Stephen Pierce - vocals
 Andy Skelly - drums

Discography
Studio albums
All Our Tomorrows End Today 10-inch/3-inch CD 2004 (Ebullition)
Like Shadows 2011 (No Idea Records)

Splits
Ampere/Wolves Split 7-inch  2003 (Moganono Records)
Ampere/Welcome the Plague Year]] split 5-inch 2005 (Clean Plate/Turnstile)
Ampere/Death to Tyrants/Wasteland/Daniel Striped Tiger split 11-inch 2006 (Clean Plate)
Ampere/Sinaloa Split LP/CD 2006 (Ebullition)
Ampere/Das Oath Split LP+CD 2006 (Self-released)
Ampere/Daitro Split 7-inch picture disc 2007 (Clean Plate/purepainsugar)
Ampere/Ringers Split 6-inch/7-inch 2007 (No Idea Records)
Ampere/Funeral Diner Split 9-inch 2007 (Clean Plate/Electric Human Project)
Ampere/Off Minor Split 7-inch 2008 (Yellow Ghost)
Ampere/Raein Split 2015

Demo and CompilationsDemo 7-inch/Tape 2002 (Self-Released)First Recordings 7-inch(Contains Demo and split with Wolves) 2006 (purepainsugar)The First Five Years CD 2008 (Yellow Ghost)

CompilationKeep Singing! A Benefit Compilation for Compassion Over Killing'' 2008 (Exotic Fever Records)

References

External links
Official Website
Ebullition Records Catalog: Ampere
WFMU Interview w/Will Killingsworth

Musical groups from Massachusetts
American emo musical groups
Musical groups established in 2002
American musical quartets
American screamo musical groups
2002 establishments in Massachusetts

Ampere (band)


Adenoidectomy is the process of taking out a person's adenoids from the back of their throat through the process of surgery. They may be removed for several reasons, including difficulty breathing through the nose and having ear infections. The surgery is common in young kids. The procedure is usually performed using a substance called anaesthesia (Greek for "without sensation"), and the substance puts a person to sleep when it is applied. Recovery time from the operation can vary from several hours to a few days.

Adenoidectomy is usually done on young children because their adenoids were infected by a virus. If the disease was to be left alone, it would worsen. The affected person could have harder times breathing or hearing, and may possibly be killed from the disease. Normally functioning adenoids help maintain the body's healthy immune system during early childhood. They shrink when a person gets older. When a person becomes an adult, their adenoids completely disappear.

Other websites
 Surgery Encyclopedia: Adenoidectomy
 Adenoidectomy - throat operation to remove swollen adenoids

Surgery

Adenoidectomy


In some religions and mythology, the Devil is an evil spirit, demon or supernatural being that tries to create problems for people and distance them from God. In some cultures, the Devil seen as the embodiment of evil. He is characterised by his red skin, horns and tail.

Some people also use the words "the Devil" or "Satan" for the most powerful devil.

Etymology
The word "devil" comes from the Greek word "diabolos" which means "someone who tells lies to hurt you". ("Diabolos" is translated to the English word "slanderer.") The New Testament uses "diabolos" as a title for Satan, so "the Devil" became another name for Satan in English.

In the Old Testament, there is the Serpent and the Shaitan, who may be two different characters. "Shaitan" in Hebrew means "adversary", which is a word for an enemy or opponent. It is also a word used for the Devil in the Koran, who often appears as an animal and tries to get people to do the wrong thing.

Appearances in religions

Christianity
According to Christianity, the Devil wanted to be a deity besides God and be independent from God. Therefore, a war in heaven started and the angels battled. After the Devil lose the battle and was thrown out of heaven, he started doing bad things on the earth. He wants people to worship him instead of God. Sometimes he tries to trick people by giving them false promises.

The other angels who were thrown out of heaven became evil spirits called demons. They obey the Devil and help him do evil things.

The Book of Revelation says that God will punish the Devil and his demons by throwing them into a Lake of Fire that burns in Hell. This will happen in the future.

Some Christians understand the Devil as the embodiment of chaos and death. They think that the Devil is the farest someone can get away from God. God, as the opposite of the Devil, stands for life and the Devil for death. The closer someone gets to the Devil the closer people come to death and will not be resurrected.

Islam
In Islam, there is not only one devil, but there are several devils, who support Satan. The devils are invisible and tempt humans and djinns into sin. Humans and djinns, who follow the will of the devils, are called devils too.

Other cultures and religions
Not all religions believe in the Devil. For example, some forms of Buddhism do not believe in the Devil. Judaism, has Satan, but does not believe that Satan is the Devil, but only an angel.

In Wicca, the concept of the Devil and demons is also rejected, simply because, in Wiccan tradition, the creative energy is neither positive nor negative. According to Wiccans: "We are the ones who use this energy for good or evil. Therefore, the consequence of this action is our entire responsibility, not of an evil supernatural being." The corniferous god Cernunnos of Wicca was confused with the Christian Devil, for having horns (in antiquity, given the horns were phallic, they were associated with virility (fertility)), and were soon symbols of ancient European religions. He was already worshipped by pagan religions before Christianity arrived in Europe and the British Isles. Many satanists believe in the Devil or Satan only as a metaphor, not an actual being or person. In the Bahá'í Faith, the Devil as a malevolent, supernatural entity is not believed to exist. These terms do, however, appear in the Bahá'í writings, where they are instead used as metaphors for the lower nature of man.

Arts
Artists draw pictures of the Devil that show him as ugly and evil. But nobody knows what he may look like in fact. Usually he is a spirit that nobody can see, but he can make himself look like a real person in order to trick people. Many modern depictions of the Devil portray him as a red human-like being with horns and a pointed tail, carrying a red pitchfork or trident.

References

Theology
Demons

Devil


The National Palace () is a building in Santo Domingo, that houses the offices of the executive branch (presidency and vice presidency) of the Dominican Republic.

History
Designed in a restrained neoclassical style by Italian architect Guido D'Alessandro at the behest of Rafael Trujillo, construction started on February 27, 1944—the centenary of Dominican independence—and was inaugurated on August 16, 1947. Occupying an area of 18,000 square metres and luxuriously appointed throughout, the National Palace is considered one of the most beautiful buildings built in the Dominican Republic.

The building stands on the grounds of the former Presidential Mansion (Mansión Presidencial), built during the United States occupation of the Dominican Republic (1916–1924)

Design
While the president's office is located within the palace, the Palacio Nacional is not an executive residence as the president does not live there; there is no designated executive residence in Santo Domingo. The building comprises three stories. Building services are located at ground level.

The main floor includes the ceremonial vestibule, the presidential and vice-presidential offices, and the Cabinet meeting room. The third storey houses the main reception rooms: the Hall of the Ambassadors, the Hall of the Caryatids, the Green Room, the Mahogany room, and the president's private quarters.

The dome, which rests on a windowed drum, is 34 metres high and has a diameter of 18 m. Inside, 18 columns sustain the dome. Most of the marble used throughout the building is Dominican, and was extracted from quarries in Samaná and Caballero. The Palacio Nacional complex also includes the "presidential" Chapel of San Rafael Arcángel, carried out in the same architectural style as the palace.

In popular culture
The Palace and mainly the Hall of the Caryatids was used for the new year's scene in The Godfather Part II where Michael confronts Fredo about his betrayal.

References

External links

 Tour of the National Palace (in Spanish): https://web.archive.org/web/20090829232216/http://www.presidencia.gob.do/app/galeria.aspx

Buildings and structures in Santo Domingo
Government of the Dominican Republic
Palaces in the Dominican Republic
Neoclassical architecture
Tourist attractions in Santo Domingo
Government buildings completed in 1947

National Palace (Dominican Republic)


Shoeless Joe is a 1982 magic realist novel by Canadian author W. P. Kinsella that was later adapted into the 1989 film Field of Dreams, which was nominated for three Academy Awards.

The novel was expanded from Kinsella's short story "Shoeless Joe Jackson Comes to Iowa", first published in his 1980 collection of the same name. Kinsella first developed the idea for the story while attending the Iowa Writers' Workshop, and decided to incorporate the stories he told about the Black Sox Scandal, imagining if Shoeless Joe Jackson came back to the same city Kinsella was living in, Iowa City.

Plot
Ray Kinsella lives and farms in Iowa where he grows corn with his wife Annie and their five-year-old daughter Karin. Kinsella is obsessed with the beauty and history of American baseball, specifically the plight of his hero, Shoeless Joe Jackson, and the Black Sox Scandal of the 1919 World Series. When he hears a voice telling him to build a baseball field in the midst of his corn crop in order to give his hero a chance at redemption, he blindly follows instructions. The field becomes a conduit to the spirits of baseball legends. Soon, Kinsella is off on a cross-country trip to ease the pain of another hero, the reclusive writer J.D. Salinger, as part of a journey the Philadelphia Inquirer called "not so much about baseball as it's about dreams, magic, life, and what is quintessentially American."

Characters

Main
Ray Kinsella, protagonist and devoted baseball fan
Annie Kinsella, wife of Ray
Karin Kinsella, 5-year-old daughter of Ray and Annie

Supporting
Richard Kinsella, Identical twin brother of Ray
"Gypsy", Richard's girlfriend
Mark, Annie's brother and Ray's brother-in-law
Abner Bluestein, Mark's business partner and accomplice
Eddie Scissons, originally owned Ray's farm and was locally known as the oldest living Chicago Cub

Historical/real life
Shoeless Joe Jackson, baseball player
J. D. Salinger, reclusive author of The Catcher in the Rye and "A Young Girl in 1941 with No Waist at All", which are referred to in the book
Moonlight Graham, baseball player and later a doctor in the small town of Chisholm, Minnesota

Awards and nominations
Shoeless Joe was the winner of the 1982 Books in Canada First Novel Award and a Houghton Mifflin Literary Fellowship. In 2011, the Canadian Baseball Hall of Fame awarded Kinsella the Jack Graney Award for a significant contribution to the game of baseball in Canada through a life's work or a singular outstanding achievement.

Film adaptation
Shoeless Joe was later adapted into the 1989 film Field of Dreams by Phil Alden Robinson. The original working title of the film was Shoeless Joe, like the book. The original title of the book was Dream Field, but the publisher renamed it Shoeless Joe.

J.D. Salinger
W.P. Kinsella, who had never met Salinger, created a wholly imagined character (aside from his being a recluse) based on the author of The Catcher in the Rye, a book that had great meaning to him when he was a young man. To get a feel for Salinger, he re-read his body of work.

"I made sure to make him a nice character so that he couldn't sue me."

In addition to having a character named "Ray Kinsella" in the short story "A Young Girl in 1941 with No Waist at All", Salinger had also used the surname in The Catcher in the Rye (Holden Caulfield's friend Richard Kinsella).

Known for his litigiousness, Salinger contacted Kinsella's publisher via his attorneys to express outrage over having been portrayed in Shoeless Joe and intimated he would sue should the character "J.D. Salinger" appear in any other medium, should Shoeless Joe be adapted.

In the novel Shoeless Joe, Ray Kinsella seeks out J. D. Salinger, although in the film this character was renamed Terence Mann (and was changed to a black man by the casting of James Earl Jones) as the movie producers were worried over being sued by Salinger. The producers believed that it was not significant to jettison Salinger, as they figured only 15% of the potential audience would know who the author was. Kinsella told Maclean's Magazine in a 2010 interview on the death of Salinger that many of the book's readers believe that Salinger is a wholly fictional character.

Kinsella denied that Salinger, as a writer, had any particular influence on his own writing.

Release details

1982, United States, Houghton Mifflin , Pub. date April 12, 1982, (Paperback)
1999, United States, Mariner Books , Pub. date April 28, 1999, Paperback

References

1982 Canadian novels
Baseball novels
Canadian magic realism novels
Canadian novels adapted into films
Cultural depictions of Shoeless Joe Jackson
Ghost novels
Houghton Mifflin books
J. D. Salinger
Novels by W. P. Kinsella
Novels set in Iowa
Novels set on farms

Shoeless Joe (novel)


Bēowyrt (Acorus calamus) is plante of þǣre Acoraceae cnēorisse, Acorus cnōsle.  Hēo is grēat ēcu wǣtlendisc monocot mid stencum lēafum and rhizomes which have been used medicinally, for its odor, and as a psychotropic drug. It is known by a variety of names, including cinnamon sedge, flagroot, gladdon, myrtle flag, myrtle grass, myrtle sedge, sweet cane, sweet myrtle, sweet root, sweet rush, and sweet sedge. Inlendisc is þes wyrt be Indie; nu fint man hine geond Europan, in Russlandes suðdælum, in norþdælum ðære Læssan Asie, in suþernum Siberie, on Seringum, Iapane, Burman, on Taprobanan, and in American norðdæle.

Botanical information
The morphological distinction between the Acorus species is made by the number of prominent leaf veins. Acorus calamus has a single prominent midvein and then on both sides slightly raised secondary veins (with a diameter less than half the midvein) and many, fine tertiary veins. This makes it clearly distinct from Acorus americanus.

The leaves are between 0.7 and 1.7 cm wide, with average of 1 cm. The sympodial leaf of Acorus calamus is somewhat shorter than the vegetative leaves. The margin is curly-edged or undulate. The spadix, really really chicken at the time of expansion, can reach a length between 4.9 and 8.9 cm (longer than A. americanus). The flowers are longer too, between 3 and 4 mm. Acorus calamus is infertile and shows an abortive ovary with a shriveled appearance.

Chemistry
Both triploid and tetraploid calamus contain asarone, but diploid does not contain any.

Regulations
Calamus and products derived from calamus (such as its oil) were banned in 1968 as food additives and medicines by the United States Food and Drug Administration.

Usage
Calamus has been an item of trade in many cultures for thousands of years. Calamus has been used medicinally for a wide variety of ailments.

In antiquity in the Orient and Egypt, the rhizome was thought to be a powerful aphrodisiac. In Europe Acorus calamus was often added to wine, and the root is also one of the possible ingredients of absinthe. Among the northern Native Americans, it is used both medicinally and as a stimulant; in addition, the root is thought to have been used as an entheogen among the northern Native Americans.  In high doses, it is hallucinogenic.

Cultural symbolism
The calamus has long been a symbol of male love. The name is associated with a Greek myth: Kalamos, a son of the river-god Maeander, who loved Karpos, the son of Zephyrus and Chloris. When Karpos drowned, Kalamos was transformed into a reed, whose rustling in the wind was interpreted as a sigh of lamentation.

The plant was a favorite of Henry David Thoreau (who called it sweet flag), and also of Walt Whitman, who added a section called The Calamus Poems, celebrating the love of men, to the third edition of Leaves of Grass (1860). In the poems the calamus is used as a symbol of love, lust, and affection. It has been suggested that the symbology derives from the visual resemblance of the spadix to the erect human penis.

The name Sweet Flag refers to its sweet scent (it has been used as a strewing herb) and the wavy edges of the leaves which are supposed to resemble a fluttering flag.

In Japan, the plant is a symbol of the samurai's bravery because of its sharp sword-like leaves. Even now many families with young boys enjoy "Sweet Flag Bath (shōbu yu)" in the Boy's Festival (Tango no Sekku) on May 5.

Etymology of the word Calamus
Cognates of the Latin word Calamus are found in both Greek (kalamos, meaning "reed") and Sanskrit (kalama, meaning "reed" and "pen" as well as a sort of rice) — strong evidence that the word is older than all three languages and exists in their parent language, Proto-Indo European. The Arabic word qalam (meaning "pen") is likely to have been borrowed from one of these languages in antiquity, or directly from Indo-European itself.

From the Latin root "calamus", a number of modern English words arise:
 calamari, meaning "squid", via the Latin calamarium, "ink horn" or "pen case", as reeds were then used as writing implements;
 calumet,  another name for the Native American peace pipe, which was often made from a hollow reed;
 shawm, a medieval oboe-like instrument (whose sound is produced by a vibrating reed mouthpiece);
 chalumeau register, the lower notes of a clarinet's range (another reed instrument).

Ūtanwearde bendas
 Family Araceae in L. Watson and M.J. Dallwitz (1992 onwards). The families of flowering plants: descriptions, illustrations, identification, information retrieval. http://delta-intkey.com
 FDA street drug alternative warning letter
 Acorus calamus at Plants for a Future
  Calamus Acorus Calamus Online Herb Guide

Acorales
Spices
Entheogens
Herbal and fungal hallucinogens
Herbal and fungal stimulants
Absinthe
Wæterlicu plante

Bēowyrt


The Parachutist Badge () was a badge awarded to qualified parachutists of the Wehrmacht and the Waffen-SS of Nazi Germany.

The badge was first established by order of Hermann Göring on 5 November 1936. It was originally awarded to Luftwaffe personnel after completion of the required number of six jumps. The badge depicted a diving eagle with a swastika in its claws surrounded by a silver wreath. The original construction was made of "gold-finished bronze" for the eagle and "oxidized silver plate" for the laurel leaves. In 1937, the construction of the badge changed to aluminium. In late 1942, the construction was changed again to a metal alloy. A cloth version of the badge was also authorized in 1937, to be worn on a flight jacket. A recipient had to re-qualify for the badge each year.

An army version (Fallschirmschützen-Abzeichen des Heeres) was later introduced (1 September 1937), with the swastika relocated to the top of the wreath and surmounted by a smaller upright eagle. As with the Luftwaffe, a recipient had to re-qualify for the badge each year. In 1936, the army ordered the institution of its own parachute company, which was expanded to a battalion in 1938. When the army parachute units were transferred over to the Luftwaffe in 1939, the former army soldiers continued to wear the army version of the Parachutist badge. The Waffen-SS personnel of the 500, 501 or 502 SS-Parachute Battalions were awarded the Luftwaffe badge after they passed the jump and other test requirements.

Versions

Notes

References

Parachutist badge, German
Parachutist badges
Parachutist badge (Germany)
Awards established in 1936
1936 establishments in Germany

Parachutist Badge (Nazi Germany)


Jencarlos Canela (born 21 Aprile 1988) is an American actor an awaird-winnin sangster-sangwritin muisicker haein wan the Breakout Artist of the Year awaird at the Premio Lo Nuestro 2011. He is best kent for playin the leadin roles in the telenovelas Más Sabe el Diablo an Mi Corazón Insiste an maist recently Pasión Prohibida.

Biografie
Canela wis born in Miami, Florida tae Cuban parents, Lisette an Heriberto Canela. He is the aulder brither o actor, Jason Canela an haes twa aulder siblins, baith frae his parents.

Personal wittins
In September 2011, Jencarlos Canela an Gaby Espino (Venezuelan actress an model) did a live chat ower social netwirkin steid Twitter, whaur they confirmit they wur in relationship an annoonciy that they wut expectin their first bairn thegither. The godparents are  Cristina Saralegui an Pitbull. Gaby gave birth tae their son, Nickolas Canela, on 12 Februar 2012.

Muisic career
At the age o 12 Jencarlos began his muisical career as the lead sangster o the group "Boom Boom Pop". Efter twa years o successful pairticipation wi the group he decidit tae stairt his solo career in late 2002. Ower the follaein five years, he appeared in several international events includin the "Miss World" 2004 an 2005 brawnie pageants, "The Latin Fiesta Festival" in Toronto, Canadae, an "The CALLE OCHO Festival" in Miami.
Durin this period, he continued his studies o muisic an actin at the New World School of the Arts (USA), frae which he graduatit wi honors in Mey 2006.
The Ford Motor Company chose him as model an sangster for its "Ride it Like a Ford" ad campaign. This commercial wis broadcast on televeesion in the U.S.A.

Jencarlos first album wis producit bi Rudy Pérez at his studio in Miami Beach. This project mey be producit in various leids, as Jencarlos haes performit sangs in Inglis, Italian, German an Portuguese.

In 2012, Canela, in collaboration wi Emilio Estefan, recordit the sang "Sueña" for Telemundo's coverage o the 2012 Simmer Olympics. It wis tae be the offeecial sang o Miss America 2013 an aw, but a contract dispute wi Telemundo led tae the sang bein replacit bi "Don't Stop the Party" bi Pitbull.
Canela, signed wi Universal Music Latin Entertainment.

Actin career
Ane o the maist important moments in the career o this young sangster an actor wis whan he receivit the Invitation o Telemundo / NBC Network tae tak his first starrin role o its new soap opera "Pecados Ajenos", whaur besides performin the main theme o the show, he plays "Alfredo Torres" Affectionate, noble, guid son an guid brither. In this his first soap opera Jencarlos shares credits wi figurs o the size o Mauricio Islas, Lorena Rojas, an Lupita Ferrer, amang ithers.

Canela made his actin debut as Alfredo Torres in the hit telenovela Pecados Ajenos, in which he collaboratit wi Dominican sangster Cristal Marie tae create the theme sang for the show. He then went on tae appear in Doña Barbara.

In 2008, he starred in the creetically acclaimit stage muisical Miami Libre at the Arsht Center.
Likewise Jencarlos debuted as the theatre actor in the muisical "Miami Free", a story that narrates the dreams o a young Cuban that arrives in Miami wi the intentions o bein a sangster, but for that tae happen he will hae tae conquer a series o obstacles that mak this wirk a true example o perseverance. In "Miami Libre", Jencarlos no anerlie actit, but performit sangs an aw, an showed his dancin abilities. The play wis performit in baith Inglis an Spainyie.

This young Cuban-American is capturin the attention o internaitional mass media who hae featured him in several magazine covers an featur interviews an airticles, In 2008 Jencarlos wis the winner o People en Español.com Most Sexiest Man Poll, competin wi figurs as Ricky Martin, Eduardo Yañez, an Pablo Montero, amang ithers.

On 16 Januar 2009, Canela signed an exclusivity contract wi Telemundo.

In 2009 Jencarlos Canela starn in the soap opera "Mas Sabe El Diablo" obtainin a stunnin success aroond the warld.

Discografie
 Buscame (2009)
 Un nuevo dia (2011)

Filmografie

References

Livin fowk
1988 births
American male telenovela actors
American male sangsters
American fowk o Cuban strynd
Fowk frae Miami

Jencarlos Canela


Dicastillo is a village in Navarre. There are 691 people in Dicastillo. Festivals are held on August. These festivals are celebrated on San Blas, 3rd of February, or on the Asparagu's day, which is in spring. There is a music band called Banda Bizkarra, formed by 30 musicians.

Municipalities in Navarre

Dicastillo


Essingeleden is a motorway that goes from Solna to Stockholm, Sweden, crossing the westmost parts of central Stockholm, by going over Kungsholmen, Lilla Essingen, and Stora Essingen.
Essingeleden has three bridges – Fredhällsbron (270 m), Essingebron (470 m), and Gröndalsbron (460 m) – and one tunnel, Fredhällstunneln (210 m), which is one of the busiest tunnels in Europe. The road is part of European route E4 and E20, and is the busiest road in Sweden, with about 150,000 vehicles per day. In August 2007 this has increased to 170,000 cars per day, because Essingeleden was then the only road through central Stockholm exempt from the Stockholm congestion tax, and because of repairs of the main road through the inner city. This has caused big traffic jams on Essingeleden and Södra länken. Since 1 January 2016, Essingeleden has been subject to the congestion tax.

History

The road was inaugurated on 21 August 1966 by Tage Erlander with two temporary lanes in each direction on the western half of the road, as Sweden was about to switch over to right-hand sided traffic the next year. The road was fully operational in September 1967 after Sweden had switched over to right-hand side traffic, and Essingeleden became the first six-lane motorway in Sweden.

During the 1990s, the road was repainted from six lanes to eight lanes to increase the capacity.

Plans
Essingeleden has on several occasions been included in plans to create a ring road around Stockholm, but the ring road is only very slowly being built. Not much happened 1966–2000, but then the Southern Link (opened 2004) and the Northern Link (opened 2015) were built.

A new parallel motorway is under construction further west, "Förbifart Stockholm". It will have several tunnels and will be very expensive, around 25 billion SEK. The Stockholm congestion tax (gross tax amount 800 MSEK/year) is supposed to be used for this and other road and public transit projects in Stockholm. The construction started in 2014 after several years of debating and planning.

Gallery

See also
 Geography of Stockholm
 Gröndalsbron
 Essingebron
 Fredhällsbron

References

External links

Bridges in Stockholm
Transport in Stockholm
Motorways in Sweden

Essingeleden


A petri dish is a small dish shaped like a cylinder. Scientists use it to grow cells from animals, fungus, and diseases so they can study them. They are usually made of glass or plastic. The glass ones can be used again if they are heated at 160°F. Sometimes people fill them with agar, which helps cells grow. These are called 'agar plates'. Many people use them in science classes at school. They have lids so germs in the air can not get into them, or contaminate them, and ruin the experiment.

Laboratory equipment

Petri dish


USS O'Bannon (DD/DDE-450), a , was the second ship of the United States Navy to be named after Lieutenant Presley O'Bannon (1784–1850), the Marine Corps's "hero of Derna".

O'Bannon was the US Navy's most decorated destroyer during World War II, earning 17 battle stars and a Presidential Unit Citation.

Construction and commissioning

O'Bannon was laid down by Bath Iron Works Corp. in Bath, Maine on 3 March 1941, and  launched 19 February 1942, sponsored by Mrs. E. F. Kennedy, descendant of Lieutenant O'Bannon. O'Bannon and her sister ship  were the first two Fletchers to be launched. O'Bannon was commissioned at Boston on 26 June 1942.

1942

O'Bannon briefly trained for war in the Caribbean and sailed from Boston on 29 August 1942 for the Southwest Pacific, where the long and arduous Guadalcanal campaign had just begun. For over a year, the Navy—stretched thin to cover its worldwide commitments at a period when new ships were just beginning to join the fleet in any number—was to fight and fight again in the Solomon Islands in one of the most bitterly contested campaigns of history, wresting air and sea control from the Japanese and providing the Marine Corps and the Army with every possible support as they gained ground inch by inch on the myriad islands. Assigned the Destroyer Squadron 21 (DesRon 21), O'Bannon played a valiant part in these endeavors, winning a Presidential Unit Citation.

Based at Nouméa, New Caledonia, O'Bannon first escorted the escort carrier  on a run to Guadalcanal, where on 9 October, twenty Marines flew their Grumman F4F Wildcats off Copahees decks, desperately needed as reinforcements at beleaguered Henderson Field. Through the remainder of the month, O'Bannon sailed the New Hebrides and southern Solomons on escort duty. On 7 November at Nouméa, she joined Rear Admiral Daniel J. Callaghan's Support Group, ready to sail with a convoy carrying critical reinforcements, replacements, food, ammunition, and aviation material.

On the approach to Guadalcanal, O'Bannon sighted and fired on a surfaced enemy submarine, holding it down while the convoy passed safely. On the afternoon of 12 November, the partially unladen transports were attacked by sixteen enemy torpedo bombers; eleven were shot down. O'Bannon fired on four of the enemy planes.

Now came word that the Japanese were moving south in force. Two battleships, a light cruiser, and 14 destroyers were bound to destroy Henderson Field by bombardment, to break up the American reinforcement mission, and to cover reinforcement movements of their own. O'Bannon and the other ships of the Support Force, two heavy and three light cruisers and eight destroyers, confronted the greatly superior enemy early on 13 November in Ironbottom Sound, so named for the number of ships on both sides sunk there during the Guadalcanal campaign. O'Bannon boldly attacked the , closing so near, the battleship could not depress her main battery far enough to fire on the destroyer. O'Bannons gunfire, in combination with the attacks of the rest of the force, damaged Hiei and set her ablaze. Of greater importance, O'Bannon was the first US destroyer to successfully hit Hiei with torpedoes, striking the Japanese battleship with two torpedoes starboard amidships, leaving her badly damaged.

This first engagement of the Naval Battle of Guadalcanal was short but furious; two American light cruisers, in one of which Rear Admiral Norman Scott lost his life, and four destroyers were lost, while two Japanese destroyers were sunk, and Hiei prepared for her doom. Above all, the Japanese were turned back, and Henderson Field was saved from destruction. The importance of this success is illustrated by the fact that the next day, Henderson aviators sank seven enemy troop transports attempting to reinforce the island and turned back four more transports that were destroyed soon after.

Through October 1942, O'Bannon protected landings, carried out escort duties from Nouméa and Espiritu Santo to Guadalcanal and Tulagi, joined in bombardments at Guadalcanal, Munda, and Kolombangara, and shouldered her share of the nightly patrols up "the Slot", guarding against Japanese reinforcements.

1943

A Navy legend holds that in April O'Bannon sighted a Japanese submarine on the surface and opened fire. The submarine pulled alongside the destroyer close enough that the destroyer's guns could not hit it. Several different versions of the story say that the sailors on the destroyer pelted the submarine crew with potatoes. Commander Donald MacDonald only said that the submarine was so close, the destroyer's cook believed that he could throw a potato at it. Although MacDonald has repeatedly claimed that no potatoes were actually thrown, the story of an American destroyer sinking a Japanese submarine with potatoes was picked up by the media and was so quickly spread throughout navy lore that many still believe it to this day. A plaque commemorating the incident was on display at the Maine Maritime Museum until the 1970s but then went missing.

War duty was tense and demanded the best of men and their ships. In-port time was minimal; a few hours to fuel and reprovision, and the ships were off again. O'Bannon fought in many surface actions. The Battle of Kula Gulf (6 July), in which O'Bannon fought with three cruisers and three other destroyers against ten Japanese destroyers, swept the enemy from the area, though an American cruiser was lost. A week later, the Battle of Kolombangara had to be fought in the same waters against a Japanese cruiser, five destroyers and four destroyer escorts. The same American force sank the  and turned the smaller ships away, losing one destroyer themselves and having three cruisers damaged.

For the next two months, O'Bannon spent most of her time in Vella Gulf, guarding landings, intercepting Japanese troop convoys and their covering escorts, and fighting off air attacks. With the aid of sister destroyers, she sank a number of barges, two submarine chasers (Cha-5 and Cha-12), an armed boat, and a gunboat on various patrols. The climax of operations in the area was the Battle of Vella Lavella on 6 October, brought on by Japanese attempts to evacuate their troops from that island. With the destroyers  and , O'Bannon made the first attack on the evacuation force, a group of nine or ten destroyers and smaller armed craft. The three American ships contacted six enemy destroyers, shrugged at the odds, and raced at 33 knots (61 km/h) to launch torpedoes and open gunfire. The  was turned into a blazing hulk, but both Selfridge and Chevalier took torpedo hits. O'Bannon was close on Chevaliers stern when the latter was struck, and the most radical maneuvers could not keep her from swinging into her sister's side. The enemy retired with three newly arrived American destroyers in pursuit, while O'Bannon guarded her stricken sisters, rescuing the survivors of Chevalier.

1944

O'Bannon made battle repairs at Tulagi, then sailed to the west coast for overhaul. By 18 March 1944, she was back in the Solomons, ready for her part in the series of westward-moving amphibious assaults that won New Guinea. Again, it was escort and bombardment repeatedly until 18 October, when O'Bannon cleared Hollandia to escort reinforcements for the invasion of Leyte. The convoy was brought in safely on 24 October, the eve of the Battle for Leyte Gulf. O'Bannon guarded the Northern Transport area and patrolled the entrances to Leyte Gulf during the battle, coming under air attack. Thus, she played her part in the definitive destruction of the Japanese Navy.

1945

Through June 1945 O'Bannon operated primarily in the Philippines, serving in the escort or assault force for the long roll call of invasions: Ormoc Bay, Mindoro, Lingayen Gulf, Bataan, Corregidor, Palawan, Zamboanga, Cebu, and Caraboa. Air attacks were frequent in the early period, and O'Bannon splashed several raiders. During the Lingayen offensive on 31 January 1945, O'Bannon, with three other destroyers, attacked and sank an enemy submarine; Japanese records studied after the war indicate it was most likely . At the end of April and early in May, O'Bannon interrupted her Philippine operations to give fire support at Tarakan, Borneo, and cover minesweeping operations there.

O'Bannon rendezvoused with a group of escort carriers off Okinawa on 17 June and guarded them as they struck against Sakishima Gunto. In July, she protected the large carriers as they flew strikes on northern Honshū and Hokkaidō. With the close of the war, O'Bannon patrolled the coast of Honshū until 27 August, when she joined the destroyers  and  to escort the battleship  into Tokyo Bay, by order of Admiral William Halsey, "because of their valorous fight up the long road from the South Pacific to the very end." There, she patrolled until 1 September. She then sailed to San Francisco and San Diego, where she was decommissioned after overhaul on 21 May 1946.

1949–1962

Between 17 January 1949 and 10 February 1950, O'Bannon was converted to an escort destroyer at Long Beach Naval Shipyard. She was redesignated DDE-450 on 26 March 1949.

O'Bannon was recommissioned on 19 February 1951 to serve out of Pearl Harbor. She sailed for her first tour of duty with the United Nations forces repelling Communist aggression in Korea on 19 November, and, during the next seven months, she guarded carriers at sea as their air groups struck targets in Korea; served as flagship for the Wonsan Element, East Coast Blockade and Escort Group; fired on enemy gun emplacements, road and rail supply routes, ammunition depots, and troop concentrations; and protected convoys moving between Korea and Japan.

A training period out of Pearl Harbor began upon her return home on 20 June 1952, and she took part in U.S. Atomic Energy Commission operations off Eniwetok. O'Bannon cleared Pearl Harbor late in April 1953 for the Far East, where her primary mission was screening carriers. Thereafter, she served on the Taiwan Patrol and in exercises off Japan and Okinawa.

Between the Korean War and the Vietnam War, O'Bannon took her part in the intricately planned schedule that assured the United States that its 7th Fleet was always composed of ships and men whose readiness for any emergency was at its keenest. For O'Bannon, this meant an alternation of roughly six-month deployments to the Far East and periods spent in training operations and necessary overhauls at Pearl Harbor. While in the Far East, she visited ports in Japan, the Philippines, Taiwan, Australia and New Zealand, with brief, welcome recreation calls at Hong Kong. She was often in either New Zealand or Australia for the annual commemoration of the Battle of the Coral Sea, a time of national rejoicing in those countries at which Americans are particularly welcome. She conducted combined operations training with the SEATO allies as well as exercising with Marines at Okinawa and taking part in exercises preparing for any conceivable demand that might be made on the 7th Fleet. While at Pearl Harbor, she often aided in training reservists in addition to her own training and, at various times, sailed down-range for space orbits and missile shots. In the summer and fall of 1962, she took part in atomic tests at Johnston Island.

1964–1970

In 1964, O'Bannon took part in the 1965 film In Harm's Way.  At 9:00 into the film, as Kirk Douglas' character is welcoming a new transport, O'Bannon is seen full length in the background.  Its hull number 450 can be seen somewhat obscured on the starboard bow.

O'Bannon first closed the coast of Vietnam during her 1964–65 deployment, when, on 26 December, she left Hong Kong to patrol and conduct hydrographic surveys. Much of her 1966 tour was spent as plane guard for the aircraft carrier , while the carrier's jets struck targets in South and North Vietnam to lessen Communist ability to wage war in the South. For a week each in May and June, O'Bannon fired shore bombardments, destroying Vietcong base camps, troop concentrations, and small craft.

The veteran destroyer returned via Yokosuka to Pearl Harbor on 30 July. During operations out of home port, she trained for Apollo space craft recovery operations in August and was a member of the contingency recovery force for the Gemini 11 space flight early in September. She visited Guam in the spring of 1967 and returned home early in July to prepare for another Far Eastern deployment.

O'Bannon got under way for Japan on 28 September and reached Yokosuka on 7 October and Subic Bay on the 15th. She returned to the war zone with the carrier  and operated as plane guard on Yankee Station through 4 November. After a fortnight's respite at Subic Bay and Hong Kong, O'Bannon sailed to Da Nang for shore bombardment. She visited Taiwan early in December but returned to the fighting on the 15th to provide gunfire support just south of the DMZ. Two days later, she helped to rescue the crew of an American plane that had been hit over the DMZ and had managed to crash just off shore. An enemy battery shelled the destroyer during the operation but failed to score. As 1967 ended, O'Bannon was still on the gun line supporting allied ground forces.

On 30 January 1970, O'Bannon was decommissioned in a ceremony at Pearl Harbor (side-by-side with her sister Nicholas, as at their launching) and stricken from the Navy List. She was sold for scrap on 6 June 1970 and broken up two years later.

O'Bannon received the Presidential Unit Citation and 17 battle stars for World War II service, placing her among the most decorated US ships of World War II. She also received three more battle stars for service during the Korean War. Nicknamed the "Lucky O", none of her crew was awarded the Purple Heart.

Quotes

Awards

See also
CDR George Philip Jr., served on O'Bannon (1942–43), as the Executive officer, Navigator and Combat Intelligence Officer. Received the Silver Star for service 10 January 1943 to 6 April 1943 aboard O'Bannon.

References

  The Robert Lundgren Historical Resource, Navweaps.com. Retrieved 24 July 2023.

External links

USS O'Bannon website at Destroyer History Foundation
"The Maine Potato Episode"
  history.navy.mil: USS O'Bannon
  navsource.org: USS O'Bannon
   hazegray.org: USS O'Bannon

World War II destroyers of the United States
Cold War destroyers of the United States
Korean War destroyers of the United States
Vietnam War destroyers of the United States
Ships built in Bath, Maine
1942 ships
Fletcher-class destroyers of the United States Navy

USS O'Bannon (DD-450)


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Erriapus is about 10 kilometres in diameter, and orbits Saturn at an average distance of 17,300,000 km in 871 days.

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Oscar Ribeiro de Almeida Niemeyer Soares Filho (December 15, 1907 – December 5, 2012) — kent as Oscar Niemeyer () — wis a Brazilian airchitect conseedert tae be ane o the key figurs in the development o modren airchitectur. Niemeyer wis best kent for his design o ceevic biggins for Brasília, a planned ceety that acame Brazil's caipital in 1960, as well as his collaboration wi ither airchitects on the heidquarters o the Unitit Naitions in New York. His sploration o the aesthetic possibilities o reinforced concrete wis heichly influential in the late 20t an early 21st centuries.

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See also Ondine, ou La naïade for the ballet on the same theme by Pugni and Perrot

Ondine is a ballet in three acts created by the choreographer Sir Frederick Ashton and composer Hans Werner Henze. Ashton originally produced Ondine for the Royal Ballet in 1958, with Henze commissioned to produce the original score, published as Undine, which has since been restaged by other choreographers. The ballet was adapted from a novella titled Undine by Friedrich de la Motte Fouqué and it tells the tale of a water nymph who is the object of desire of a young prince named Palemon. The première of the ballet took place at the Royal Opera House, London, on 27 October 1958, with the composer as guest conductor. The first major revival of this Ashton/Henze production took place in 1988.

History
The three-act ballet of Ondine was commissioned and produced for The Royal Ballet in 1958 by the choreographer Sir Frederick Ashton. The resulting ballet was a collaboration between Ashton and the German composer Hans Werner Henze, who was commissioned to write the score. It is the only full length ballet that Ashton choreographed to original music, and the score is regarded as a rarity by musicians, as it is a "20th century full-length ballet score that has the depth of a masterwork".

The ballet was originally intended as a vehicle for The Royal Ballet's then prima ballerina, Margot Fonteyn and the title role of Ondine was choreographed specially for her and led one critic to describe the ballet as "a concerto for Fonteyn". From its première in 1958 until the work was removed from the repertoire in 1966, nearly every performance of Ondine saw Fonteyn cast in the lead role, with the only occasional exceptions seeing Nadia Nerina and Svetlana Beriosova dancing the role. Maria Almeida became the first ballerina to dance the role of Ondine in a revival, with Anthony Dowell dancing the role of Palemon. Staged in 1988 and conducted by Isaiah Jackson, the revival was a success and the ballet has been regularly performed ever since.

Music
Ashton initially approached Sir William Walton to compose the score for Ondine. They had worked together before on a ballet called The Quest for the Sadler's Wells company in 1943, and agreed to collaborate again for the 1955–56 season; they decided on Macbeth as their subject. Fonteyn, however, was firmly opposed to playing Lady Macbeth, and was not enthused by Ashton's next suggestion, Miranda in a ballet of The Tempest. By the time Ashton had lighted on Ondine as an alternative, Walton was immersed in work on a concerto. He suggested that his friend Henze be approached. Accordingly, the music was commissioned from Henze, who titled the score Undine.

Henze and Ashton met at the former's home on the island of Ischia, just across the bay from Naples, to decide their key approaches to this new ballet. They decided to ignore the northern origins of Fouqué's novella Undine and move it to the Mediterranean. Ashton and Henze chose Lila de Nobili to design the set and costumes. She was described by Henze as "an Italian bewitched by English landscape and culture", however her first intention was to make the sets in the style that might have been seen on the stage of La Scala a hundred years earlier. However, Henze and Ashton had decided not to make their ballet a mix of all the great works of the nineteenth century, but rather that it would be the product of their own contemporary sensibilities with references to other works. Eventually, the three of them decided that Ondine would have a "gothic-revival" setting.

Despite his experience in the ballet world, Henze had never before composed a subject in the romantic style which Ashton requested, however Ashton had been impressed by Henze's treatment of magical material in his opera König Hirsch. Henze attended many ballet performances at Covent Garden, frequently accompanied by Ashton who told him clearly what he liked and what he did not like in music for dance. Eventually the work was completed, but when Ashton heard a recording of the orchestrated score he realised that he would have to revise his ideas; the sustained orchestral sounds were such a contrast to the piano score and made him think very differently.

Henze later arranged the Wedding Music for wind orchestra in 1957 and a further two orchestral suites in 1958.

Critical reception
After its première in 1958 it was greeted with mixed, half-hearted reviews, although the first night reviews of Ondine were unanimous about one thing: Fonteyn's triumph in the title role. A.V.Coton spoke of "the supernormal sensitivity of feeling, interaction and mutual understanding which exists between Ashton and his heroine", and Cyril Beaumont saw the ballet as Ashton's "greatest gift" to his ballerina. Nothing else about the piece pleased everybody, though most reviewers liked Lila de Nobili's designs and praised the contribution of the supporting cast – Beaumont called Alexander Grant's Tirrenio "of Miltonic stature, magnificently danced and mimed." Edwin Denby dismissed Ondine: after praising Fonteyn he said "But the ballet is foolish, and everyone noticed". Most critics disliked the music and Mary Clarke was in the minority when she called it "rich and romantic and superbly rhythmical". Fernau Hall thought Henze showed "little understanding of the needs of classical dancing", and that Ondine would establish itself firmly in the repertoire "if it were not for Henze's music".

In 1958 the ballet was widely seen as having choreography and décor in harmony with each other but fighting with the music; now it's the choreography and the music which seem to speak the same language, while the sets look not only backward but to the north. Even when it was revived in 1988, it was hailed neither as a disaster nor as a lost masterpiece. Henze's modern music is also perceived as a reason for the few performances of this ballet before its revival in the 1990s.

Synopsis
Ondine bears a resemblance to The Little Mermaid. The story derives from Fouqué's novella Undine, the tale of a water-nymph who marries a mortal. Similar to other 19th century fairy tales, the plot is based on man (Palemon) encountering the supernatural (the water nymph Ondine), but the outcome is rather different from many of the 19th century classics: here, it is the man that dies, and the female character survives. Ondine makes her first entrance from a fountain, shivering in the cold air as we would in water, and dances with her shadow, which she has never seen before. She meets the hero, Palemon, and is astonished when she feels his heartbeat as she doesn't possess a heart. Palemon deserts Berta, whom he has been courting, and decides to marry Ondine. During a particularly strong storm while at sea, Ondine is lost overboard. Palemon survives the shipwreck created by the angry Ondines and, believing Ondine is lost, ends up marrying Berta. Ondine returns, however, and is heartbroken when she discovers Palemon's unfaithfulness. When she kisses him, he dies and she brings his body back into the sea with her forever.

In the published score, as with the title of the ballet, Henze also retained the original spellings of the character names.  The London ballet production was given as Ondine, but the score was titled Undine, and names the lead character as Undine.  Henze also uses the original name Beatrice rather than Berta.

Principal characters
Ondine (Undine)
The title role is undoubtedly the main focus of the ballet. She is a gentle water sprite who the audience discovers dancing in a waterfall and then with her own shadow. Her love for Palemon is deep, which is what makes his unfaithfulness so devastating and dramatic.

Palemon
The male lead is bewitched by the feminine allure of Ondine. He has never seen a creature as lovely as her and decides to marry Ondine, forsaking his betrothed, Beatrice (Berta). Similar to the Prince in Swan Lake, Palemon is destroyed by breaking the trust of his intended.

Berta (Beatrice)
She is the perfect female contrast to Ondine. Ondine belongs to the sea, whereas Berta is definitely from the land. She is manipulative, possessive and highly demanding, while Ondine is gentle and loving.

Tirrenio
He is the uncle of Ondine and also Lord of the Mediterranean Sea. He tries to warn Ondine that what she intends to do with Palemon goes against what is expected of her. When she chooses not to listen to his advice, he creates the conditions for a shipwreck where she is returned to the sea. When Ondine once again finds Palemon and realises how he has betrayed her, Tirrenio exacts a terrible revenge with his fellow Undines by causing death and destruction for all Palemon's guests.

Original Cast

The music
Since the original 1958 production of the ballet, the score has been published as a standalone work, and has been used for other dance productions, which have also used the title Undine.

The score is constructed with the certainty of technical accomplishment and inlaid with a lyricism that emanated from his experience of Italian life and Mediterranean colour.  The score combines various genres, including the Neoclassicism from his early years. This combination of the genres of early German Romanticism and the neoclassicism of Stravinsky gives the score a 'modern' sound "automatically made it anathema to the avant-garde of the 1950s". Therefore, the music was often seen as revolutionary and not suited to ballet.

Act 1
The score has a slow opening and immediately provides a romantic sense of mystery. However, the music then launches into a quicker tempo, brass fanfares propelling the music along with a rhythmically incisive motif. An andante section for strings follows using a straightforward lilting rhythm. The simplicity of this section is a marked contrast to the next, marked vivace where the different parts of the orchestra compete with each other with an underlying consistent rhythmic drive. The following section is also manufactured of contrasts with lyrical strings followed by a solo clarinet and sparse accompaniment. High strings, harp (for the watery effect) and occasional percussion provide another contrasting orchestral sound, before the composer again re-assembles his palette of orchestral colours, using solo instruments in small groups, or alone, or high violins in long notes soaring above moving fragments of ideas below. The finale of Act 1 has an uneven rhythm with sudden accents darting about in Stravinskian fashion, the music being punctuated here and there by astringent wind chords.

Act 2
This act begins by reestablishing the aura of romantic mystery which began Act 1. This is evoked by the use of high violins and wind chords together, similar to that of Stravinsky's The Rite of Spring. The first movement is characterised by the constant change of tempo, while the second picks up influences from other musical styles in particular that of rhythmic impulse and swooning which characterised Ravel's work. The next movement features solid writing for a chorus of brass instruments, after which high violins are heard over a very low accompaniment. This section also features many solos for various instruments, followed by a pas de trois above a gently undulating accompaniment where lyrical melody lines are heard, with the oboe able to penetrate the whole texture in expressive fashion. The following variation is typical of 19th century ballet music and begins with the violins before spreading to the rest of the orchestra. Brass, prominent timpani and incisive pizzicato chords in the strings culminate in a sense of urgency in the music which prepares for the musical tension in the final act.

Act 3
This act begins with a striking unison theme in the strings, soon interrupted by strident brass. This theme intensifies throughout the opening movement, recitative. The next movement, adagio, features a sweeter sound in the strings with a solo violin heard floating above the rest of the orchestral texture. The con elegenza that follows is marked by the sweeping sound of violins. Brass fanfares then introduce the pas de seize and this adagio contrasts the horns with high woodwind, while the harp adds to this effect. The tempo of the pas de seize varies and quiet lyrical moments may suddenly be interrupted by incisive brass and timpani. This section finishes with a Largo solenne movement. The connection between that movement and the final divertissement, marked Scene, begins with a vigorous and brilliant entrée. A pas de six in the same tempo includes virtuoso writing for the piano, which leads the orchestra for the ensuing pas de trois, though the orchestra controls the second pas de trois while the piano has more virtuoso work with rippling cascades of notes; before the Stravinskian rhythms emerge for piano and orchestra at the beginning of the pas de dix-huit. The orchestral momentum, of high violins en masse, sprightly wind writing, brass chords punctuating the highly charged rhythmic style, and a continuation of bravura piano writing, is maintained throughout the opening of the pas de six that follows. The orchestra then introduces a valse for a general dance (pas d'ensemble) that could almost belong to one of Ravel's more advanced scores. A pas d'action then begins to prepare for the finale. The tempo slows down, while "sparse textures with solo instrumental sounds floating above quiet accompanimental figures create a different sound world". The strings gently introduce the Dance of Sorrow, which then gains in intensity with a richer string texture. During the next variation, oboe, harp, and pitched percussion provide another watery timbre before the ballet moves to the final pas de deux. The final movement starts with gently pulsing chords that have a sweet but melancholy dissonance as Palemon is kissed by Ondine and dies.

Structure
Act 1
No. 1 – Lento
No. 2 – I. Allegretto, II. Andante, III. Vivace
No. 3 – Moderato
No. 4 – I. Adagio, II. Adagio
No. 5 – Andante con moto
No. 6 – I. Adagio, II. Vivace
No. 7 – Vivace assai
No. 8 – Andante
No. 9 – Allegro assai
No. 10 – Vivace, I. Largo
No. 11 – Adagio, I. Tranquillo, II. Lento, III. Finale. Allegro, IV. Finale. End

Act 2
No. 1 – Moderato
No. 2 – Andantino con moto
No. 3 – tempo = 80
No. 4 – I. Andante molto, II. tempo = 44
No. 5 – Pas de trois, I. Variation
No. 6 – Vivace
No. 7 – Molto mosso
No. 8 – Finale

Act 3
No. 1 – Recitative
No. 2 – Adagio, I. Allegro moderato, con eleganza
No. 3 – Pas de Seize Entrée, I. Adagio, II. Variation, III. Variation, IV. Variation, V. Coda
No. 4 – Scène
No. 5 – Divertissement, I. Entrée, II. Pas de six , III. Pas de trois I, IV. Pas de trois II, V. Pas de dix-huit, VI. Variation , VII. Variation, VIII. Variation, IX. Pas de six, X. Coda
No. 6 – Pas d'action, I. Variation
No. 7 – Finale, I. Dance of Sorrow, II. Variation, III. Pas de deux, IV. Epilogue

Instrumentation
Strings: Violins I, Violins II, Violas, Cellos, Double Basses
Woodwinds: Flute, Piccolo, Oboe, English Horn, Clarinet, Bass Clarinet, Bassoon, Contrabassoon
Brass: 4 Horns, 2 Cornets (A, B-flat), 3 Trumpets, 2 Trombones, Tuba
percussion: Timpani, Triangle, tamtam, 2 Cymbals, Bass Drum, 2 tom-toms, Snare Drum, Vibraphone
Other: 2 Harps, Guitar, Celesta, Piano

Ashton's choreography and setting

The consensus on Ashton's Ondine is that it has some very good things in it – and this is true; as is the implication that it is otherwise unsuccessful, not least because the music (which greatly disappointed Ashton himself) largely fails, except in the storm of Act II and the divertissements of Act III. According to many critics, the music did not suit Ashton "who had been hoping for music as "radiant" as the Mediterranean from which its heroine was born". Yet the music does seem to fit its watery theme well: there are some beautiful passages to Ondine's Act 3 "swimming" solo where the music seems thin and transparent as watercolour, and entirely suited to this sketch of the sea. The ballet is also a mixture of both the 19th and the 20th century, for the plot is quintessentially romantic while the music and choreography are more modern. Although it bore all the marks of Ashton's familiarly gentle, classically oriented manner, it discarded the classical ballet conventions that appear in such Ashton successes as Cinderella and Sylvia. What he was trying to suggest, says Ashton, was "the ebb and flow of the sea: I aimed at an unbroken continuity of dance, which would remove the distinction between aria and recitative." As a result, Ondine offered few pyrotechnics, gained its effects instead through sinuous mass movements in which the undulation of arm and body suggested forests of sea plants stirring to unseen tides. The sense of submarine fantasy was reinforced by Stage Designer Lila de Nobili's fine scenery: a castle of mist and fruitfulness, shadowy crags and waterfalls, aqueous skies streaked pink and green.

Ondine is not a classical construction with great set pieces (except for the wedding divertissement in the third act) or grand formal pas de deux, but a continuous, flowing narrative. However, this narrative is itself not very strong and there is no real explanation of why the lovers are on a ship in Act 2, or what exactly has passed between Acts 2 and 3 to convince Palemon to return to his mortal lover, Beatrice (Berta). The work uses classical ballet vocabulary, but the form varies a great deal from the 19th century classics. Unlike them, is through-composed: there are no breaks for bows to the audience built in and (at least until the third-act divertissement) no bravura variations to self-consciously elicit the audience's response. Henze's glittering music is the dominating force, although it is a difficult score to dance to, with the pulse well hidden within its general sheen, but it is atmospheric and often exciting, bringing the close of Act I to a climax.

Although the narrative is not strong, the setting is and displays a "most convincing feel of the sea" and the "shimmer of water" which is very effective in this ballet which is filled with images of water and particularly of the sea. The first act of the ballet takes place in the courtyard of the castle of Palemon where Ondine is seen dancing in the waterfall. Other settings include a scene with Tirrenio and the ondines while another is on a ship during wild storm at sea where the sensation of motion while being on board ship is strong enough to make the audience seasick. The third act takes place in the Castle of Palemon located near the sea. The final tableau is not only exquisitely beautiful, with Ondine grieving over the body of her lover, but the surrounding ondines, their arms drifting like seaweed in the dim green light, uncannily evoke the shifting currents under the sea.

When Fonteyn danced the lead, the ballet was about her and her performance; however good today's interpreters may be, none has the mystique to reduce everyone else to the background, and so the supporting roles are now much more visible and need to be much more strongly depicted. It is generally accepted that Tirrenio was originally the most completely worked out role, inherited from Alexander Grant's lack of awe for Fonteyn; however the role has become difficult to cast as it was created to showcase Grant's unique mixture of gifts – classical virtuosity and flair for characterisation.

Revivals
Although it was much lauded at the time, Ashton's Ondine disappeared from the repertory of The Royal Ballet for twenty years or so before Sir Anthony Dowell persuaded Ashton to let him revive it in 1988. It has become more entrenched in The Royal Ballet's repertoire and thus gives the audience a chance to evaluate this work without the aura that Fonteyn brought to it. Maria Almeida was chosen to revive the lead role in 1990 and Viviana Durante has subsequently continued in the tradition of Fonteyn. The role of Palemon was revived by Anthony Dowell and has subsequently been danced by Jonathon Cope. It was revived again for the 2008/2009 season at the Royal Opera House with Tamara Rojo and Edward Watson.

Ashton's choreography has so far had only one full production outside The Royal Ballet, by the Ballet of the Teatro alla Scala, Milan on 21 April 2000. Some commentators have noted that this is perhaps a consequence of its length (around 100 minutes) which does not compare with other twentieth century ballets. The ballet has also been staged at Sadler's Wells, London and the Metropolitan Opera House, New York.

Other productions
Following the original staging by The Royal Ballet, the Ashton/Henze production was later restaged in New York in 1960, and then again at the Teatro alla Scala, Milan on 21 April 2000, a performance conducted by Patrick Fournillier.

Other choreographers have used Henze's music, including Youri Vámos for the ballet of the Deutsche Oper Berlin (1987) and Torsten Händler in Chemnitz and the Semperoper Ballett in Dresden, Germany has staged it regularly from 1989 as part of its repertoire using modern design. It was performed at the Volkstheater in Rostock in March 2009.

Casts

Recordings
Undine was first recorded commercially in 1996: it was nominated for the 1999 Grammy Award for Best Orchestral Performance.

Henze: Undine – London Sinfonietta
Conductor: Oliver Knussen
Piano: Peter Donohoe
Recording date: 1996
Label: Deutsche Grammophon – 453467 (CD)

Reviews
Sunday NY Times review, 7 December 1958
NY Times review by John Martin, 22 September 1960
NY Times obituary of Brian Shaw, 23 April 1992
NY Times review by Anna Kisselgoff, 15 July 2004
NY Times review by Roslyn Sulcas, 5 December 2008

See also
 Ondine, ou La naïade – a ballet based on the same novella and produced in 1843 by Cesare Pugni and Jules Perrot
 Undine (Hoffmann) – an opera based on the same novel, with music by E.T.A. Hoffmann, produced in 1814
 Undine (Lortzing) – an opera based on the same novel, with music by Albert Lortzing, produced in 1845
 Undine – the novel by Friedrich de la Motte Fouqué, on which the story of Ondine is based
 Undina (Tchaikovsky) – an opera based on the same novel, with music by Pyotr Tchaikovsky, produced in 1869

Bibliography
Henze, Hans Werner (1959). Undine. Tagebuch eines Balletts. R. Piper & Co. Verlag, Munich

Notes

References

External links

Guardian review by Luke Jennings, 7 December 2008. Retrieved on 3 June 2009.
Financial Times review by Clement Crisp, 1 June 2009. Retrieved on 2 June 2009.
Independent review by Zoë Anderson (London), 3 June 2009. Retrieved on 3 June 2009.
NY Times review by Anna Kisselgoff, 15 July 2004
NY Times review by John Martin, 22 September 1960
Schott Music Publishers page for Undine, accessed 1 June 2009
Sunday NY Times review, 7 December 1958
Frederick Ashton and his ballets: 1958 by David Vaughan, 2004

1958 compositions
Compositions by Hans Werner Henze
Ballets by Frederick Ashton
Ballets created for The Royal Ballet
1958 ballet premieres
Works based on Undine (novella)

Ondine (ballet)