The American Institute Fair was held annually from 1829 until at least 1897 in New York City by the American Institute. The American Institute was founded in 1829 "for the encouragement of agriculture, commerce, manufactures, and the arts." The fair is sometimes considered the first world's fair in the United States, though it was fairly small by later standards, drawing about 30,000 attendees per year. It was held at Niblo's Garden in New York before being moved to the Crystal Palace in New York.

"At these fairs were displayed  the finest products of agriculture and manufacturing, the newest types of machinery, the most recent contributions of inventive genius...[the fairs] served a two-fold purpose: that of playing the part of demonstrator to the  public and that of furnishing an incentive to the exhibitors, both through competition and through the desire to win the very liberal awards and premiums."

References
 F. W. Wile, ed., A century of industrial progress, New York (published for the American Institute of the City of New York), 1928.
E. Robey, "The Utility of Art: Mechanics' Institute Fairs in New York City, 1828–1876," Ph.D. Dissertation, Columbia University, 2000.

1829 establishments in New York (state)
1897 disestablishments in New York (state)
1897 in New York City
19th century in Manhattan
Agricultural shows in the United States
Annual events in New York (state)
Festivals established in 1829
Festivals disestablished in 1897
World's fairs in New York City

American Institute Fair


A triode ("valve" in British English) is a type of empty tube with wires in it (vacuum tube). It is not a vacuum tube diode, which has only two wires (electrodes), but has a third electrode, called the grid between the 2 wires (cathode (electric thrower) and anode (electric eater)).

How the word is created
The word "triode" comes from the word parts "tri" (three) + "ode" (way, road).

How it works
When the cathode becomes hot, it gives out electricity particles (electrons). These electrons are then taken by the anode. This makes an electric movement (current), which is controlled by the grid. The grid "checks" how many electrons can pass through, and "eats" the extra ones. The grid lets the triode to be used as an electric amount changer (amplifier).

The grid can also quickly change the amount of electrons it lets through, so it can also be part of an oscillator (wave thrower) and wave taker (detector).

History
Philipp Lenard created the "grid" idea in 1902 to make an electron taker.

Then, the diode (Fleming valve) was created by John Ambrose Fleming in 1904.

Lee De Forest and Robert von Lieben created the triode in 1908 from his original Audion diode of 1906. The triode is used as an amplifier (electric amount changer).  The name triode was created because people needed to know which kind of vacuum tube it is, rather than a diode, tetrode, or pentode.

People wanted to talk to people far away. They used triodes to talk, by triode radio receivers (wave takers) and triode radio transmitters (wave throwers ). At first they only sent Morse code but better triodes later allowed talking by radio.

The triode transmitters were so good that they replaced the crystal transmitters to make the new listening devices (earphones)

This made the first way of talking far away, creating the beginning of radio broadcasting (sending radio waves to many people) around 1920. This made far away telephones better.

Then people at the "Bell Telephone" group made even better telephones that can catch waves that traveled about 800 miles. When they put the first long triode wave throwers in the (Atlantic) ocean (transcontinental telephone line) people were very happy 3 years after on January 25, 1915.

Other people put the wave throwers in their creations, making very good things (television, public address systems, electric phonographs, and talking motion pictures)

Then people started putting more wires inside, to 4 wires (tetrode, by Walter Schottky in 1916) to 5 wires (pentode, by Gilles Holst and Bernandus Dominicus Hubertus Tellegen in 1926).

The triode was used in other devices (radios, televisions, and audio systems) until it was beaten by the super wave thrower (transistor), made in 1947, ending the time of the triode.

Today triodes are used in wave throwing and hot making. Triodes are also starting to be used in good electric audio machines and music machines. They are also used in glow makers (vacuum florescent displays, (VFDs), and there are different types of glow makers, but all use triodes.

What it can be used for
Radios and telephones are also wave takers, so it is used in them. But it is too big, so from 1960 to 1969, the transistor has mostly replaced it. It is an ancestor of the transistor. It is still used in vacuum tube amplifiers.

Today, the triode is still used in iPods and radios and heaters to heat and to take waves.

Other websites
 "Introduction to Thermionic Valves"

Electronic components

Triode


In Ancient Greece, a metic () was a foreigner living in a Greek city-state (polis). The metic did not have the same citizen rights as a citizen who was born in the state he was living in.

The term 'metic' was especially used in ancient Athens in the 4th and 5th centuries BC. A notable metic was Aristotle, who was born in Stageira but lived in Athens for a long time.

Regardless of how many generations of the family had lived in the city, metics did not become citizens unless the city chose to bestow citizenship on them as a gift. This was rarely done. Citizenship at Athens brought eligibility for numerous state payments such as jury and assembly pay, which could be significant to working people. During emergencies the city could distribute rations to citizens. None of these rights were available to metics. They were not permitted to own real estate in Attica, whether farm or house, unless granted a special exemption.

Metics shared the burdens of citizenship without any of its privileges. Like citizens, they had to perform military service and, if rich enough, were subject to special tax contributions. Citizenship was very rarely granted to metics. More common was the special status of "equal rights" (isoteleia) under which they were freed from the usual liabilities.

The system came to an end in Hellenistic Athens, when the purchase of citizenship became very frequent. The census of 317 BC gave 21,000 citizens, 10,000 metics and 400,000 slaves in Attica.

In the Greco-Roman world, free people (non-citizens) living on the territory of a polis were called "paroikoi"  (see etymology of parish), in Asia Minor "katoikoi".

References

Ancient Greece

Metic


Picea meyeri (Meyer's spruce; ) is a species of spruce native to Nei Mongol in the northeast to Gansu in the southwest and also inhabiting Shanxi, Hebei and Shaanxi.

It is a medium-sized evergreen tree growing to 30 m tall, and with a trunk diameter of up to 0.8 m. The shoots are yellowish-brown, glabrous or with scattered pubescence. The leaves are needle-like, 13–25 mm long, rhombic in cross-section, bluish-green with conspicuous stomatal lines. The cones are cylindric, 7–11 cm long and 3 cm broad, maturing pale brown 5–7 months after pollination, and have stiff, smoothly rounded scales.

It is closely related to the dragon spruce from western China.

It is occasionally planted as an ornamental tree; its popularity is increasing in the eastern United States, where it is being used to replace Blue Spruce, which is more disease-prone in the humid climate there. The wood is similar to that of other spruces, but the species is too rare to be of economic value.

References

External links

Gymnosperm Database: Picea meyeri

meyeri
Plants described in 1914
Trees of China
Endemic flora of China

Picea meyeri


Frank Popper (17 April 1918 – 12 July 2020) was a Czech-born French-British historian of art and technology and Professor Emeritus of Aesthetics and the Science of Art at the University of Paris VIII. He was decorated with the medal of the Légion d'honneur by the French Government. He is author of the books Origins and Development of Kinetic Art, Art, Action, and Participation, Art of the Electronic Age and From Technological to Virtual Art.

Popper documented the historical record of the relationship between technology and participatory forms of art, especially between the late 1960s and the early 1990s.

Kinetic Art and Op Art
In his books Origins and Development of Kinetic Art and Art, Action and Participation, Popper showed how Kinetic Art played an important part in pioneering the unambiguous use of optical movement and in fashioning links between science, technology, art and the environment. Popper was a champion of the humanizing effects of such an interdisciplinary synthesis.

Key to his initial thinking and activities as an aesthetician, cultural theorist, curator, teacher and art critic was his encounter in the early 1950s with the kinetic artist (and author of the book Constructivism) George Rickey. He subsequently encountered the artists Nicolas Schoffer and Frank Malina, whose works were based on first or second-hand scientific knowledge. Also Op Art in the early 1960s had a powerful effect on him. Indeed, Op proved to be a strong predecessor to what he was calling Virtual Art in that Op Art called attention to the spectator's individual, constructive, and changing perceptions - and thus called upon the spectator to transfer the creative act increasingly upon him or herself. Op beckons forth a consideration of the enlargement of the audience's participatory role; both in regard to the perception of meaning and actual physical changes to the work of art. Popper also had many personal encounters in Paris with Groupe de Recherche d'Art Visual, Carlos Cruz-Diez, Yaacov Agam, Jesus-Rafael Soto and Victor Vasarely, which proved to have had a substantial impact on his view of art and art history.

Virtual art
Following this inclination Popper took interest in the works of Piotr Kowalski, Roy Ascott and many others working with the early concept of networking. These artists confirmed his interest in spectator participation, which brought him to the late 1980s and the 1990s when immersive virtual reality and digital art began to become established. Popper began to investigate a range of works emerging in this era, including those of Shawn Brixey, Ebon Fisher, and Joseph Nechvatal. To explain and illustrate the emergence of a techno-aesthetic Popper stressed the panoramic and multi-generational reach of virtual art. As regards to virtual art, openness is stressed both from the point of view of the artists and their creativity and from that of the follow-up users in their reciprocating thoughts and actions. This commitment to the teeming openness found in virtual art can be traced to the theories of Umberto Eco and other aestheticians.  During his late career Eco expressed a consideration of the computer as a spiritual tool.

Popper used the term, virtual art, in reference to all the art made with the technical media developed at the end of the 1980s (or a bit before, in some cases). These include human-machine interfaces such as visualization casks, stereoscopic spectacles and screens, generators of three-dimensional sound, data gloves, data clothes, position sensors, tactile and power feed-back systems, etc. All these technologies allowed immersion into the image and interaction with it. The impression of reality felt under these conditions was not only provided by vision and hearing, but also by the other bodily senses. This multiple sensing was so intensely experienced at times, that Popper could speak of it as an immersive virtual reality (VR).

In his 2006 book From Technological to Virtual Art, Popper traced the development of immersive, interactive new media art from its historical antecedents through digital art, computer art, cybernetic art, multimedia and net art. Popper showed that contemporary virtual art is a further refinement of the technological art of the late twentieth century - and also a departure from it. What is new about this new media art, he argued, is its humanization of technology, its emphasis on interactivity, its philosophical investigation of the real and the virtual, and its multisensory nature. He argued further that what distinguishes the artists who practice virtual art from traditional artists is their combined commitment to aesthetics and technology. Their "extra-artistic" goals - linked to their aesthetic intentions - concern not only science and society but also basic human needs and drives.

Definition
Defining virtual art broadly as art that allows us, through an interface with technology, to immerse ourselves in computer art and interact with it, Popper identified an aesthetic-technological logic of creation that allows artistic expression through integration with technology. After describing artistic forerunners of virtual art from 1918 to 1983 - including art that used light, movement, and electronics - Popper looked at contemporary new media art forms and artists. He surveyed works that are digital based but materialized, multimedia offline works, interactive digital installations, and multimedia online works (net art) by many artists.<ref>Origins of Virtualism: An Interview with Frank Popper conducted by Joseph Nechvatal", CAA Art Journal, Spring 2004, pp. 62-77</ref>

Virtual art, he argued, offers a new model for thinking about humanist values in a technological age. Virtual art, as Popper saw it, is more than just an injection of the usual aesthetic material into a new medium, but a deep investigation into the ontological, psychological and ecological significance of such technologies. The aesthetic-technological relationship produces an unprecedented artform.

Sharing Popper's focus on art and technology are Jack Burnham (Beyond Modern Sculpture 1968) and Gene Youngblood (Expanded Cinema 1970). They show how art has become, in Popper's terms, virtualized.

Bibliography
 Origins and Development of Kinetic Art, New York Graphic Society/Studio Vista, 1968
 Kinetics, Arts Council of Great Britain, 1970
 Art—Action and Participation, New York University Press, 1975
  Die kinetische Kunst: Licht und Bewegung, Umweltkunst und Aktion, DuMont Schauberg, 1975
  Le déclin de l'objet, Le Chêne, 1975
  Art, action et participation: L'artiste et la creativité aujourd'hui, Klincksieck, 1980
  Arte, Acción Y Participación: El Artista Y La Creatividad De Hoy, Akal Ediciones, 1989
 Agam, Harry N. Abrams, 1990
 Art of the Electronic Age, Thames & Hudson, 1997
  Reflexions sur l'exil, l'art et l'Europe: Entretiens avec Aline Dallier, Klincksieck, 1998
 From Technological to Virtual Art, Leonardo Books, MIT Press, 2006
  Écrire sur l'art : De l'art optique a l'art virtuel, L'Harmattan, 2007
 Yvaral (with Britta Vetter & Emma Healey), Robert Sandelson Ltd., 2007

Footnotes

References
 Roy Ascott, Behaviourist Art and the Cybernetic Vision, in Cybernetica, Vol. IX, No. 4, 1966; Vol. X, No. 1, 1967: 29.
  Naissance de l'art cinétique, Gauthier-Villars, Paris, 1967
 Origins and Development of Kinetic Art, Studio Vista and New York Graphic Society, 1968
  L'Arte cinetica, Einaudi, Turin, 1970
  Die Kinetische Kunst-Licht und Bewegung, Umweltkunst und Aktion, Dumont Schauberg, 1975
  Le déclin de l'objet, Le Chêne, 1975
 Art, Action and Participation, Studio Vista and New York University Press, 1975
 Yaacov Agam, monographie, Abrams, New York, 1976
  Art, action et participation : l'artiste et la créativité aujourd'hui, Klincksieck, 1980
  Kunst zwischen Natur und Technologie. Ein Gespräch mit Frank Popper, Jürgen Claus, Treffpunkt Kunst. Keil Verlag Bonn, 1982, pp. 19–22
  Künstler und sozialer Wandel, Gespräch mit Frank Popper, Jürgen Claus, ChippppKunst, Ullstein Materialien, Frankfurt am Main/Berlin, Bd. 35232, 1985, pp. 116–120
  Réflexions sur l'exil, l'art et l'Europe : Entretiens avec Aline Dallier, Klincksieck, 1998
 Origins of Virtualism: An Interview with Frank Popper conducted by Joseph Nechvatal, CAA Art Journal, Spring 2004, pp. 62–77
 Joseph Nechvatal, Frank Popper and Virtualised Art, Tema Celeste Magazine: Winter 2004 issue #101, pp. 48–53
 Charlie Gere, Art, Time and Technology: Histories of the Disappearing Body, Berg, 2005, p. 146
 Margaret Boden, Mind As Machine, Oxford University Press, 2006, p. 1089
  Lieser, Wolf. Digital Art. Langenscheidt: h.f. ullmann, 2009, p. 283
 Kristine Stiles & Peter Selz, Theories and Documents of Contemporary Art: A Sourcebook of Artists' Writings (Second Edition, Revised and Expanded by Kristine Stiles) University of California Press 2012, p. 450
  Jürgen Claus, "Frank Popper", in: "Liebe die Kunst. Eine Autobiografie in einundzwanzig Begegnungen", Kerber/ZKM, 2013, pp. 178–186,
 Christiane Paul, Digital Art'', Thames & Hudson Ltd., 2015, p. 219

External links

  Centre d'Art Contemporain Frank Popper, Marcigny, France
 From Technological to Virtual Art book by Frank Popper
 Frank Popper interviewed by Joseph Nechvatal

1918 births
2020 deaths
French centenarians
French art historians
Cultural historians
French art critics
Postmodern theory
Postmodernists
French art curators
French male writers
Men centenarians
People from Prague
Academic staff of Paris 8 University Vincennes-Saint-Denis
Czechoslovak emigrants to France

Frank Popper


Beverly Sills (May 25, 1929 – July 2, 2007) is an American operatic soprano particularly associated with Italian bel canto and French operas.

Life and Career
Born Belle Silverman, in Brooklyn, New York, as a child prodigy, she began singing on radio shows at the age of three and began formal vocal studies at the age of seven with Estelle Liebling.

She began her professional career in 1947 with touring companies and later joined the New York City Opera in 1955. After singing a wide variety of roles, she obtained her first great success with Douglas Moore's The Ballad of Baby Doe in 1959, and finally achieved international recognition in 1966, with the role of Cleopatra in Handel's Giulio Cesare.
This was followed by the much acclaimed Donizetti's Tudor trilogy Anna Bolena, Maria Stuarda and Roberto Devereux.

This led to her being invited to sing at the Vienna State Opera (1968), La Scala in Milan (1969), the Royal Opera House in London (1970), and finally at the Metropolitan Opera in New York in 1975.

Other notable roles have included; I Capuleti e Montecchi, I puritani, Lucia di Lammermoor, La traviata, Les contes d'Hoffmann, Manon and Thais.

She retired from the stage in 1980, and took on the direction of the New York City Opera until 1989.

Sills died in New York City, of lung cancer.

1929 births
2007 deaths
Sopranos
Singers from New York City
American opera singers

Beverly Sills


"Sons and Daughters of Saint Lucia" é o hino nacional de Santa Lúcia.

Letra
Sons and daughters of Saint Lucia,

love the land that gave us birth,

land of beaches, hills and valleys,

fairest isle of all the earth.

Wheresoever you may roam,

love, oh, love our island home.

Gone the times when nations battled

for this 'Helen of the West',

gone the days when strife and discord

Dimmed her children's toil and rest.

Dawns at last a brighter day,

stretches out a glad new way.

May the good Lord bless our island,

guard her sons from woe and harm!

May our people live united,

strong in soul and strong in arm!

Justice, Truth and Charity,

our ideal for ever be!

Santa Lúcia
Símbolos de Santa Lúcia

Sons and Daughters of Saint Lucia


There are two ways to measure GDP (total income of a country) of different countries and compare them. One way, called GDP at exchange rate, is when the currencies of all countries are converted into USD (United States Dollar). The second way is GDP (PPP) or GDP at purchasing power parity (PPP).

PPP

Uses
Purchasing power parity (PPP) is measured by finding the values (in USD) of a basket of consumer goods that are present in each country (such as pineapple juice, pencils, etc.). If that basket costs $100 in the US and $200 in the United Kingdom, then the purchasing power parity exchange rate is 1:2.

Examples
For example, suppose that Japan has a higher GDP per capita (US$18) than the US (US$16). This means that the average Japanese person makes $2 more than the average American. However, this does not necessarily imply that the Japanese are more affluent. Suppose that one gallon of orange juice costs $6 in Japan, and $2 in the US, i.e. $6 buys a good in Japan that can be purchased in the US for $2. 1 gallon of orange juice is taken as a reference good in this example. Simply, 1 gallon of orange juice can be bought in Japan, versus 3 gallons in America, with an equivalent amount of money. We can calculate a PPP index for Japan vs. the US equal to 1/3.  According to orange juice prices, Americans have stronger purchasing power, or are able to buy more value with their money. The US has a PPP-adjusted GDP of $16, which has not changed since it is the reference currency. Japan's GDP, however, is only $6 when adjusted for PPP. This is calculated by multiplying Japan's unadjusted GDP by the PPP index. In reality, a much wider range of goods that includes much more than just orange juice is taken to calculate the PPP index, so that it accurately reflects the average cost of living.

Daily life (application)
Now apply this to daily life. The orange juice represents the previously mentioned "basket of goods" which represents the cost of living in a country. Therefore, even if a country has a higher GDP per capita (individual income), that country's people may still live poorer if the cost of living is higher.

There are some problems with how PPP is calculated using the market basket. Because people in different countries buy different goods, it can be very hard to create an accurate market basket. This means that PPP does not always represent the exact real value of money in different countries.

References

Gross domestic product

Purchasing power parity


Moyúa, or Elliptic Square, is a public square located in the center of Bilbao's extension, in the district of Abando. The square was conceived in 1876 as a central hub in the middle of Gran Vía de Don Diego López de Haro avenue, from where the main eight streets depart in radius-like shape and was merely called Elliptic Square because of its form. The square was refurbished in the 1940s to adopt its current form, with a central fountain and several gardens in French and English styles, and was renamed to honour a former mayor of the city, Federico Moyúa.

The square as is today was totally rebuilt in 1997 after six years of works to build the Bilbao Metro. Moyua metro station (spelt without accent) is the closest to the famous  Guggenheim Museum.  Trains on both lines 1 and 2 call at the station, sharing the same tracks and platforms.  It is also the terminus for Bilbobus routes 1 and 76.

See also
Moyua Station
Metro Bilbao

References
Biztravels

Buildings and structures in Bilbao
Tourist attractions in Bilbao

Moyúa


A field gun is an artillery piece. The term was first used to describe smaller guns that could be taken with an army while marching. In battle the field gun could be quickly moved about the battlefield as needed. Guns installed in a fort, siege cannon and mortars were too large to be moved quickly, and would be used only in a long siege.

Napoleon used field guns with very large wheels that allowed them to be moved quickly even during a battle. By moving the guns from place to place during the battle, formations of enemy soldiers could be broken up to be handled by the infantry wherever they were massing, dramatically increasing the overall effectiveness of the infantry.

World War I

As artillery developed technically, almost all guns of any size could be moved at some speed. Even the largest siege weapons could be moved by road or rail by the start of World War I. Development then turned towards smaller weapons with increased mobility. Even the World War II German super-heavy guns could be moved by rail or by caterpillar-track vehicles.

In British use, a field gun was anything up to 4.5 inches in calibre. Larger guns were called medium and the largest of all heavy. Their largest gun (as opposed to howitzer) was the 5.5 inch (140 mm) Medium, which could fire a shell about 15,000\16,000 yards.

World War II
Since the start of World War II, the term field gun has been used for long-range artillery pieces that fire at a relatively low angle, as opposed to howitzers which can fire at higher angles. By the end of World War II most artillery in use were howitzers of 105 mm to 155 mm. The only common field guns still used were the British 5.5 inch and the US 155 mm Long Tom. The Long Tom had been developed from a French World War I weapon.

The 1960s
The US Army used long-range guns again in the 1960s with the M107 175 mm gun. The M107 was used in the Vietnam War and proved effective in artillery battles with the North Vietnamese forces. This gun needed a lot of repairs, and after the barrels began to crack it was removed from service. Production of the M107 continued through the 1980s, and the gun is still used by the Israeli military forces.

Modern times
Today there is no longer a use for the field gun. The role for small and highly mobile artillery has been taken over by the mortar which can be carried by a soldier. These have replaced almost every artillery piece smaller than 105 mm. Gun-howitzers fill the middle ground, mostly the 155 mm NATO or 152 mm former USSR models. The need for a long-range weapon is filled by rocket artillery, or aircraft. Modern gun-artillery such as the L118 105mm light gun is used to provide fire support for infantry and armour at ranges where mortars are impractical. Soldier carried mortars lack the range or hitting power of gun-artillery. In between is the rifled towed mortar. This weapon (usually in 120mm calibre) is light enough to be towed by a Land Rover, has a range of over 6,000m and fires a bomb with the power of an artillery shell.

Related pages
 List of field guns

Other websites
 Field Gun Image Gallery - Royal Naval Museum's Sea Your History website
 Pictures of Vickers field guns
 Portsmouth Action Field Gun Photos and Videos
 COMMAND100 - Centenary of Inter Command Field Gun

Artillery

Field gun


The Prosopographisches Lexikon der Palaiologenzeit (German: "Prosopographical Lexicon of the Palaiologan era"), abbreviated PLP, is a German-language reference work on the people of the last two centuries of the Byzantine Empire, from 1261 until the Fall of Constantinople in 1453, when the Empire was governed by the Palaiologos dynasty.

It was published between 1976 and 1995 by the Austrian Academy of Sciences, under the direction of , with the cooperation of Rainer Walther, Hans-Veit Beyer, Katja Sturm-Schnabl, , Sokrates Kaplaneres and Ioannis Leontiadis. It consists of 15 volumes: 12 main volumes, 2 appendix and errata volumes and 1 index volume. In 2001, the PLP was launched online as a subscription-based service and a CD.

The work is a comprehensive source on the biographies and genealogy not only of Byzantine Greeks, but also Bulgarians, Serbs, Albanians, Turks and other peoples who interacted with the Byzantine Empire at the time.

External links
 Print version
 Online version

Byzantine studies
Prosopography of the Byzantine Empire
German dictionaries
Books about the Byzantine Empire


False positives and negatives are words related with practical testing. When performing a practical test, there is the possibility that the result of the test does not show the real situation.

In a test,  a false positive is when a test result shows that a condition is present  but it is not. A false negative is when a test result shows a condition is not present when in fact it is present.

Related pages
 Type I and type II errors describe the same condition when it occurs in a statistical test

Science

False positives and false negatives


Anders Fridén (born 25 Mairch 1973) is the vocalist/leericist o the Swadish baund In Flames, as well as the side-project, Passenger.

Career

Early career
Fridén wis oreeginally the vocalist for Dark Tranquillity. He performit on thair debut album, Skydancer, but left the baund suin efter. Twa years later he jynt In Flames. Coincidentally Mikael Stanne haed left In Flames (bein anerlie a session player) an switched ftae rhythm guitar tae lead vocals in Dark Tranquillity, sae the twa effectively tradit places.  Anders wis the lead vocalist for anither baund kent as Ceremonial Oath an aw wi In Flames foonder Jesper Strömblad.

1995-present: In Flames
Fridén stairtit wi In Flames on the 1995 album The Jester Race. On the album Whoracle, Niklas Sundin (o Dark Tranquillity) wrote the leerics follaein the oreeginal synopsis bi Fridén. On the 1999 album Colony, Fridén componed the leerics hissel, tho Sundin still assistit bi translatin his leerics frae Swadish tae Inglis. His leerics hae evolvit frae abstract themes sic as astrology an fantasy, tae mair personal endeavours sic as depression an inner struggles.

He is the vocalist for the baund Passenger as a side project an aw, but haes statit recently that he nou haes vera little time for the project, an it is on hauld.

Fridén haes done guest vocals on the album The Phantom Novels an aw, bi the metal baund Grievance. He is the lead vocalist on the tracks Atrocity Upon Deceptions, A Devil's Rhyme an The Mask of Sin.

In 2007 Fridén appeared as a guest vocalist on the Japanese bonus track "See the Falling Sky" on Caliban's 2007 album "The Awakening". As well as providin vocals for the track "Dysfunctional Hours" for the 20t anniversary Nuclear Blast Allstars compilation album, Out of the Dark.

His leuk chyngit dramatically follaein the release o In Flames 2002 release Reroute to Remain. His previously clean-shaven leuk wis replacit wi a beard, an his lang hair wis put intae dreadlocks. His vocal style haes chyngit an aw, especially on the past three records.  His law-tone, hairsk daith groul haes evolvit intae a heicher pitched scream (done in the fry scream technique), which is nou supplementit bi clean vocals an layers o backing vocals.

In addition tae bein a vocalist, Fridén is a producer an aw, wi his maist recent efforts bein the albums: The Undying Darkness bi Caliban in 2006 an Absolute Design bi the baund Engel in 2007.

He co-wrote an performit scream vocals on the sang "Self Versus Self" an aw, which appears on the third album o UK/Australie drum an bass baund Pendulum alangside his baundmates Björn Gelotte an Peter Iwers.

Mair recently in the Simmer o 2010, Fridén chyngit his appearance again bi makkin the decision tae cut aff his dreadlocks which he haed grown syne the release o Reroute to Remain.

Personal life

Family life
He haes a dochter namit Agnes an a son namit Edwin wi his wife Helena Lindsjö. He haes a younger brither namit Magnus an aw who is seen in "The Quiet Place" studio recordin session.

Hobbies an interests
Fridén haes an extensively lairge DVD collection. His favorite quote is, "The ane wi the most DVDs when you dee, wins."

Fridén is a fan o alcohol an collects whisky an aw. In an interview wi Metal Hammer, he spoke aboot hou ower the years he haes acquired a taste for fine whiskey, an hou "it's stupid tae get drunk on fine whiskey, there's ither stuff for that."

He is a supporter o the Swadish fitbaa club IFK Göteborg.

Discography
 Anders Fridén is the vocalist on aw o the albums leetit unless itherwise statit.
 1990 - Septic Broiler - Enfeebled Earth (Demo)
 1991 - Dark Tranquillity - Trail of Life Decayed (Demo)
 1992 - Dark Tranquillity - A Moonclad Reflection (Demo)
 1993 - Dark Tranquillity - Skydancer
 1995 - Ceremonial Oath - Carpet
 1996 - In Flames - The Jester Race
 1997 - In Flames - Black-Ash Inheritance
 1997 - In Flames - Whoracle
 1997 - Dimension Zero - Penetrations from the Lost World (Co-Producer)
1997 - Opeth - My Arms, Your Hearse (Co-Producer)
 1997 - Sacrilege - The Fifth Season (Ingineer)
 1997 - Dark Tranquillity - The Mind's I (Vocals [Mantra] on "Hedon")
 1997 - Misanthrope - Visionnaire (Guest backin vocals on "Hands of the Pupetters")
 1998 - Haddock - Haddock (Recording)
 1998 - Withering Surface - The Nude Ballet (Mastering)
 1999 - In Flames - Colony
 1999 - Grievance - The Phantom Novels (Guest vocals on 3 tracks)
 2000 - Cemetary 1213 - The Beast Divine (Guest vocals on track "AntiChrist 3000")
 2000 - In Flames - Clayman
 2000 - Raise Hell - Not Dead Yet (Co-Producer)
 2000 - Dark Tranquillity - Haven (Ingineer)
 2001 - In Flames - The Tokyo Showdown
 2001 - Madrigal - I Die, You Soar (Producer, Recordin)
 2002 - In Flames - Reroute To Remain
 2002 - Dimension Zero - Silent Night Fever (Co-Producer)
 2003 - In Flames - Trigger
 2003 - Passenger - Passenger
 2003 - Dimension Zero - This Is Hell (Co-Producer)
 2003 - Deathstars - Synthetic Generation (Ingineer, Recordin)
 2003 - Burst - Prey on Life (Producer [Additional Production])
 2004 - In Flames - Soundtrack to Your Escape
 2004 - Caliban - The Opposite from Within (Producer)
 2005 - In Flames - Used & Abused In Live We Trust
 2006 - In Flames - Come Clarity
 2006 - Caliban - The Undying Darkness (Producer)
 2007 - Caliban - The Awakening (Guest vocals on "I See The Falling Sky")
 2007 - Engel - Absolute Design (Producer)
 2007 - Nuclear Blast All-Stars - Nuclear Blast All-Stars: Out of the Dark (Guest Vocals on "Dysfunctional Hours")
 2007 - The Destiny Program - Subversive Blueprint (Producer)
 2008 - In Flames - A Sense of Purpose
 2010 - Pendulum - Immersion - vocals on "Self Versus Self", performin alangside the rest o In Flames.
 2011 - In Flames - Sounds of a Playground Fading

References

Freemit airtins

In Flames offeecial wabsteid

1973 births
Daith metal muisickers
Swadish hivy metal drummers
Fowk frae Gothenburg
Swadish hivy metal sangsters
Swadish male sangsters
Swadish drummers
Livin fowk

Anders Fridén


The American Football Conference (AFC) is one of the two conferences of the National Football League (NFL), the other being the National Football Conference (NFC). Every year, the winner of the AFC Championship Game receives the Lamar Hunt Trophy and gets to play against the winner of the NFC Championship Game in the Super Bowl. As of 2010, the Pittsburgh Steelers, who have won the AFC Championship Game seven times, have won the most AFC Championship Games. The most recent champion is the Kansas City Chiefs.

National Football League

American Football Conference


A baton is a stick that is used by conductors primarily to enlarge and enhance the manual and bodily movements associated with directing an ensemble of musicians.

Description
Modern batons are generally made of a lightweight wood, fiberglass or carbon fiber which is tapered to a comfortable grip called a "bulb" that is usually made of cork, oak, walnut, rosewood, or occasionally aluminium and that may be tailored to a conductor's needs. Professional conductors often have personal specifications for a baton based on their own physical demands and the nature of the performance: Sir Henry Wood and Herbert von Karajan are some examples.  Historic examples of their construction include one given to the French composer Louis-Antoine Jullien in the mid 1850s prior to his first visit to the United States: it is described as "a gorgeous baton made of maplewood, richly mounted in gold and set with costly diamonds."

Batons have normally varied in length from about  though a range of between  is more commonly used; Henry Wood once requested the use of a 24-inch baton. When Gaspare Spontini arrived in Dresden in 1844, Wagner had a baton made from a thick ebony staff with ivory knobs at either end.  Spontini purportedly held the baton in the center with a fist, using it like a marshall's staff—not for beating time but rather for commanding the opera.

Usage

Conductors view their gestures as the primary means to communicate musical ideas, whether or not they choose to use batons. Leonard Bernstein is quoted as saying, "If one [the conductor] uses a baton, the baton itself must be a living thing, charged with a kind of electricity, which makes it an instrument of meaning in its tiniest movement."

The usual way of holding the baton is between the thumb and the first two fingers with the grip in against the palm of the hand. The baton is usually held in the right hand though some left-handed conductors, for instance Paavo Berglund, hold it in the left. Young left-handed conductors are, however, sometimes encouraged to learn right-handed conducting.
Some conductors like Pierre Boulez, Georges Prêtre, Leopold Stokowski, Valery Gergiev, Dimitri Mitropoulos, Kurt Masur and Yuri Temirkanov, however, choose not to hold a baton, preferring to conduct only with their hands. This method is common with smaller groups and choral conductors.
If the conductor does not use a baton, their hands must do the job with equal clarity, and the gestures must be first and always meaningful in terms of the music. According to Gustav Meier, most conductors use a baton to "increase the visibility of the beat information".

History

Before the use of the baton, orchestral ensembles were conducted from the harpsichord or the first violin lead. Conductors first began to use violin bows or rolled pieces of paper before the modern baton was introduced.

Ancient history
The first reported use of the conducting staff in a performance dates back to 709 BC, during which the leader, "Pherekydes of Patrae, giver of rhythm" had,

...stationed himself in the centre and had placed himself on a high seat, waving a golden staff, and the players on the flute and cythara were...placed in a circle around him...now when Pherekydes with his golden staff gave the signal, all the art-experienced men began in one and the same time...

16th–18th centuries

On 8 January 1687, Jean-Baptiste Lully was conducting a Te Deum to celebrate Louis XIV of France's recent recovery from illness. As was the common practice, he was beating time by banging a long staff (a precursor to the baton; the French word bâton actually meaning "staff") against the floor when he struck his toe, creating an abscess. The wound turned gangrenous, but Lully refused to have his toe amputated and the infection spread, resulting in his death on 22 March.

Different eyewitnesses to the premiere performance of Joseph Haydn's Creation in April of 1798 indicate that Haydn used a baton to conduct with his hands. Said Princess Eleanor von Liechtenstein, "Hayden  gave the tempo with his two hands;" and wrote a Swedish relative of Franz Berwald, "on a higher level stood Haydn himself with his baton."

19th century
The baton began to gain in popularity between 1820 and 1840. The first batons were narrow and conical wooden wands that had an engraving of three rings near the bottom that indicated the handle. The Halle Orchestra reported that Daniel Turk used a baton in 1810, with motions so exuberant that he occasionally hit the chandelier above his head and showered himself with glass.

Louis Spohr claimed to have introduced the baton to England on 10 April 1820, while conducting his second symphony with the Philharmonic Society in London. Witnesses noted that the conductor "sits there and turns over the leaves of the score but after all, he cannot, without ... his baton, lead on his musical army". It is more likely that he used his baton in rehearsal than in concert. It was 1825 when George Smart reported that he sometimes 'beat time in front with a short stick'.

When Felix Mendelssohn returned to London in 1832, despite objections from violin leaders, he was encouraged to go on with his baton. Despite the initial disagreement, the baton was in regular use at the Philharmonic a year later.

Jazz batons

In the early 1940s, while big band jazz music was on the rise, the use of a conductor became paramount to the success of the ensemble. To accommodate this, these conductors started using specialized "jazz batons." These specialized batons were slightly shorter than standard batons, ranging from 6 to 9 inches in length. Several famous jazz conductors that used these specific batons include Quincy Jones, Gunther Schuller and Richard Rogers. Although they are rarely used today, many accomplished jazz conductors use them during ballads.

References

External links

Musical instrument parts and accessories

Baton (conducting)


Stephen Hinsdale Weed (November 17, 1831 – July 2, 1863) was a career military officer in the United States Army. He fought in the Seminole Wars and the Utah War. He was killed defending Little Round Top during the Battle of Gettysburg in the American Civil War.

Early life and career
Weed was born in Potsdam, New York, the second of four children born to John Kilbourne and Charity Winslow Weed. He was appointed to the United States Military Academy, graduating 27th of 46 students in the Class of 1854. Among his classmates were ten other future Civil War generals, including Oliver O. Howard and J.E.B. Stuart. He received a brevet rank of second lieutenant and was assigned to the 2nd U.S. Artillery on July 1, 1854. He served on frontier duty in Texas. In December, he received his regular rank of second lieutenant in the 4th U.S. Artillery.

Two years later, he was promoted to first lieutenant and fought in Florida in the Seminole Wars in 1856–57.  He was engaged in quelling the Kansas disturbances in 1858. By now a combat veteran commanding Battery B, 4th U.S. Artillery, he participated in the Utah War, helping restore order to the territory. He saw action again fighting Indians at the Battle of Egan Station in the Utah Territory on August 11, 1860, and at the Battle of Deep Creek on September 6, 1860.

Civil War
With the outbreak of the Civil War, Weed was promoted captain of the newly formed Battery I, 5th U.S. Artillery in May 1861. He remained at Camp Curtin in Harrisburg, Pennsylvania, training his crews until the spring of 1862, when they served in the Peninsula Campaign and at Second Bull Run. He commanded his battery during the fierce artillery duel at Antietam. Promoted to command of all the artillery of the V Corps, his guns were in action at the Battle of Fredericksburg. From December 1862 through January 1863, he was stationed at Falmouth, Virginia. After a short leave of absence, he took part in the Battle of Chancellorsville, commanding the artillery of the 2nd Division, V Corps. On June 6, 1863, Weed left the regular army artillery to accept a commission as a brigadier general in the volunteer army. He was assigned command of 3rd Brigade in the 2nd Division, V Corps.

At Gettysburg, his brigade went to the relief of Col. Strong Vincent's brigade on Little Round Top. His vanguard repelled a Confederate attack that had outflanked Vincent's right. Col. Patrick O'Rorke of the 140th New York Infantry was killed leading that counterattack. Elements of Weed's brigade helped move the guns of Lt. Charles E. Hazlett's Battery D, 5th United States Artillery to the top of the hill. Weed was mortally wounded in the chest (possibly by a sharpshooter hidden in Devil's Den) while standing near these guns. His last words were reported as "I would rather die here than that the rebels should gain an inch of this ground." Lt. Hazlett was killed trying to hear what Weed was saying. Command of the brigade fell to Col. Kenner Garrard of the 146th New York Infantry.

According to Tillie Pierce, a young girl from Gettysburg who witnessed the horrors of the battle from the Weikert farm on Taneytown Road just to the east of Little Round Top, Weed died in the Weikert's "basement", which served as the "cellar-kitchen."  Not knowing who the man was, Tillie watched over him briefly while an attending soldier stepped away, whereupon she asked "the wounded soldier" if there was anything she could do for him: "Will you promise to come back in the morning to see me," he asked.  She promised to do so, and, as she got up to leave for the night, Weed reminded, "Now don't you forget your promise."  The next morning, she "hastened down to the little basement room," but "the soldier lay there -- dead.  His faithful attendant was still at his side."  As she "stood there gazing in sadness at the prostrate form, the attendant looked up . . . and asked: 'Do you know who this is?"  When she said no, he replied, "This is the body of General Weed; a New York man."

Weed's body was returned home and buried in the Moravian Cemetery in New Dorp, a village on Staten Island in Richmond County, New York.

In memoriam
Redoubt A of the military defenses around Washington, D.C., was renamed "Fort Weed" in September 1863 in his memory. Following the war, Post #91 of the Grand Army of the Republic in New York City was named the Stephen H. Weed Post. In 1902, Army General Orders No. 16 renamed a portion of Fort Wadsworth along The Narrows in New York Harbor as Battery Weed.  In 1930, a street in New Dorp Beach, Staten Island was named Weed Avenue, dedicated to Stephen H. Weed.

See also

List of American Civil War generals (Union)

Notes

References
 Eicher, John H., and David J. Eicher. Civil War High Commands. Stanford, CA: Stanford University Press, 2001. .
 Heitman, Francis B. Historical Register and Dictionary of the United States Army; From Its Organization, September 29, 1789, to March 2, 1903. 2 vols. Urbana: University of Illinois Press, 1963. . First published 1903 by U.S. Government Printing Office.
 Warner, Ezra J. Generals in Blue: Lives of the Union Commanders. Baton Rouge: Louisiana State University Press, 1964. .
 Alleman, Matilda "Tillie" Pierce, At Gettysburg, or, What a Girl Saw and Heard of the Battle. A True Narrative. New York, W. Lake Borland, 1889. .

External links

1831 births
1863 deaths
People from Potsdam, New York
United States Military Academy alumni
United States Army officers
American people of the Seminole Wars
United States Army personnel of the Seminole Wars
Union Army generals
People of New York (state) in the American Civil War
Union military personnel killed in the American Civil War
Burials at Moravian Cemetery
People from Staten Island

Stephen H. Weed


Reading mey refer tae:

Activities
 Readin (process), cognitive process o decodin seembols tae derive meanin frae text (as in readin a beuk or readin muisic)
 Readin (computer), the act o a computer extractin data frae a storage medium
 Readin (legislatur), the mechanism bi which a bill is introduced tae a legislatur
 Divination, gainin insicht throu interpretation o omens or supernatural indicators
 Psychic reading, an attempt tae discern information throu clairvoyance

Reading, Berkshire an associatit topics
 Reading, Berkshire, Ingland
 Reading (HM Preeson)
 University o Reading
 Reading and Leeds Festivals
 Reading F.C., a Football League Championship team
 Reading Toun F.C., a Hellenic League fitbaa team
 Reading R.F.C., a rugby team
 Reading School, a grammar schuil
 Reading Racers, a speedway team
 Reading East (UK Parliament constituency) (creatit 1983)
 Reading West (UK Parliament constituency) (creatit 1983)
 Reading South (UK Parliament constituency) (1950-1955 and 1974-1983)
 Reading North (UK Parliament constituency) (1950-1955 and 1974-1983)
 Reading (UK Parliament constituency) (1295-1950 and 1955-1974)
 Reading/Wokingham Urban Area, aurie defined bi UK Office for Naitional Statistics
 Reading railway station, a principal railway station serving Reading, Berkshire
 Reading West railway station, a local railway station serving Reading, Berkshire
 Reading Southern railway station, a umwhile railway station serving Reading, Berkshire
 Battle o Reading (871)
 Battle o Reading (1688)
 Siege o Reading (1642–1643)

Places in the Unitit States
 Reading, Kansas
 Reading, Massachusetts
 Reading (MBTA station)
 Reading, Michigan
 Reading, Minnesota
 Reading, New York
 Reading, Ohio
 Reading, Pennsylvanie
 Reading, Vermont
 North Reading, Massachusetts
 Port Reading, New Jersey
 West Reading, Pennsylvanie
 Reading Township

Fowk
 Bertice Reading (1933–1991), American sangster
 John of Reading (died 1346), theologian
 John Reading, several fowk o the name
 Peter Reading (born 1956), Inglis poet
 Pierson B. Reading (1816–1868), American pioneer

Titles
 Baron Astley o Reading, title in peerage o Ingland (1644–1688)
 Bishop o Reading, Anglican suffragan bishop in Diocese o Oxford syne 1889
 Marquess o Reading, title in peerage o the UK syne 1926
 Marchioness o Reading (disambiguation), wife o the Marquess

Ither uises
 Reading Company, a railwey
 Reading Phillies, a minor-league baseball team
 Reading Power Station, Tel Aviv, Israel
 Reading Works, a factory
 HMS Reading (G71), a Royal Navy destroyer ship
 USS Reading (PF-66), a U.S. Navy frigate

See an aw
 Redding (disambiguation)
 Read (disambiguation)
  for mony organisations an publications

Inglis toponyms
Inglis-leid surnames
Jewish faimilies

Reading


Hunfrid () was the Margrave of Istria and, according to some sources, Duke of Friuli from 799 to  804, when a Duke John was ruling Istria. He was the founder of the family called the Hunfridings.

Hunfrid first appears in Istria as marchio in 799, the same year that Eric of Friuli died. He was probably an Aleman, although the historian of early medieval Raetia, Elizabeth Meyer-Marthaler, considered him of Frankish origin. He was the count of Rhaetia in 806 and 808. A record of his presiding over a public court at Rankweil in his capacity as count of Rhaeta (Reciarum comis) survives. He interrogated witnesses, ordered boundaries of a disputed property walked out, ordered judges (scabini) to make a finding and issued a verdict in writing. The surviving record describes him as a vir inluster.

Based on his presence in a list of personages in the libri memoriales of Reichenau and Sankt Gallen, he is presumed to have married Hitta (Hidda), an Udalriching and probably the niece or granddaughter of Gerold of Vinzgouw and thus a cousin or niece of Hunfrid's predecessor in Italy, Eric. Based on the same memorial books, he is probably the father of Adalbert, his successor in Rhaetia, Odalric, who became Count of Barcelona in another part of the Empire, and Hunfrid II, who became dux super Redicam (duke over Rhaetia) and father of the later Hunfriding Dukes of Swabia.

References

Dukes of Friuli
Margraves of Istria
Alemannic people
8th-century births
9th-century deaths
Hunfridings

Hunfrid, Margrave of Istria


The Seventh Seal () is a 1957 Swedish fantasy drama movie directed by Ingmar Bergman. It was based his own play. It stars Max von Sydow, Gunnar Björnstrand, Bengt Ekerot, Nils Poppe, Inga Landgré, Bibi Andersson, Åke Fridell, Inga Gill.

The theme of the film is a knight's return to his country at the time of the Black Death, that is, the plague in Europe of the Middle Ages. As he lands on the shore he meets the figure of Death in person. This is the scene of a famous chess-playing episode where the two play for the knight's soul. The game is unfinished. After bargaining with Death for a while, the knight sets out on his travels. The travels show the damage done by the plague to all aspects of life in the country. To some critics, the film is typical of the existentialist films of the mid-20th century.

The knight is the gaunt figure of Max von Sydow at the start of his long film career. He was one of the actors whose career started with working for the film's producer Ingmar Bergman.

Other websites

1957 fantasy movies
1950s historical movies
Swedish fantasy movies
Movies directed by Ingmar Bergman
Movies set in the 14th century
Movies set in Sweden
Movies about witchcraft
Movies about death
Movies about chess

The Seventh Seal


Fish (plural: fish or fishes) are a group of animals with bones which live in water and respire (get oxygen) from their gills. As a group, they are much older than other vertebrates. The first fish developed about 500 million years ago.

Fish used to be a class of vertebrates.  Now the term covers five classes of animals that live in the water:
Jawless fish
Armoured fish
Cartilaginous fish
Ray-finned fish
Lobe-finned fish

There are more fish than four-limbed animals: there are over 33,000 described species of fish. Fish are usually covered with scales. They have two sets of paired fins and several unpaired fins. Most fish are cold-blooded (poikilotherm).

There are many different kinds of fish. They live in fresh water in lakes and rivers (freshwater fish), and in salt water (marine fish) in the oceans. Some fish are less than one centimeter long. The largest fish is the whale shark, which can be almost 15 meters long and weigh 15 tons. Almost all fish live in the water. A group of fish called the lungfish have developed lungs because they live in rivers and pools which dry up in certain parts of the year. They burrow into mud and aestivate until the water returns.

The English word "fish" does not fit neatly into cladistics, which is the scientific way to put living things into groups.  So scientists call it a paraphyletic word.  This means that the animals called "fish" in English do not fit into just one phylum.  Some fish are more closely related to land animals than they are to other fish.  For example, lobe-finned fish were the first animals with bones to come live on land, and all land animals are their descendants.  Lobe-finned fish are more closely related to humans than to ray-finned fish.

Types of fish
"Fish" is not a formal taxonomic grouping in systematic biology. Amphibians, reptiles, birds and mammals all descended from lobe-finned fish. But the use of the term "fish" is so convenient that we go on using it.

Fish are the oldest vertebrate group. The term includes a huge range of types, from the Middle Ordovician, about 490 million years ago, to the present day. These are the main groups:

 Agnatha: the jawless fish. Cambrian to present day.
 Pteraspids: the head-shields
 Anaspids: gills opened as holes. Silurian to end-Devonian.
 Cephalaspids: early jawless fish
 Lampreys: living ectoparasites
 Osteostraci: bony-armoured jawless fish.
 Gnathostomata: the jawed fish. Includes all types commonly called fish, except the lamprey.
 Placoderms: heavily armoured fish
 Chondrichthyes: cartilaginous fish: sharks, rays and skates.
 Acanthodii: extinct spiny sharks
 Osteichthyes: bony fish.
 Actinopterygii: the ray-finned fish.
 Chondrostei: sturgeons and some other early types.
 Neopterygii: first seen in the later Permian, lighter and faster-moving than previous groups.
 Holostei: the gars and bowfins
 Teleostei: the most successful group, Triassic to present day.
 Sarcopterygii: the lobe-finned fish
 Dipnoi: the lungfish; eight genera survive.
 Coelacanths: two species survive. They were probably a sister-group to the tetrapods.

Certain animals that have the word fish in their name are not really fish: crayfish are Crustacea, and jellyfish are Cnidaria. Some animals look like fish, but are not. Whales and dolphins are mammals, for example.

Anatomy

Bony and cartilaginous fish
Most kinds of fish have bones. Some kinds of fish, such as sharks and rays, do not have real bones. Their skeletons are made of cartilage, and so they are known as cartilaginous fish.

Fish scales
All fish are covered with overlapping scales, and each major group of fish has its own special type of scale. Teleosts ('modern' fish) have what are called leptoid scales. These grow in concentric circles and overlap in a head to tail direction like roof tiles. Sharks and other chondrichthyes have placoid scales made of denticles, like small versions of their teeth. These also overlap in a head to tail direction, producing a tough outer layer. Shark skin is available for purchase as shagreen, a leather which as original is smooth in one direction, and rough in the other direction. It may be polished for use, but is always rough in texture and resistant to slipping.

The scales are usually covered with a layer of slime which improves passage through the water, and makes the fish more slippery to a predator.

There are various types of eel: most are in the Anguilliformes. Their life-style has evolved many times. Eels have scales with smooth edges or are absent.

Freshwater fish

41% of all fish live in freshwater. There are also some important fish which breed in rivers, and spend the rest of their life in the seas. Examples are salmon, trout, the sea lamprey, and three-spined stickleback. Some fish are born in salt water, but live most of their mature lives in fresh water: for example the eels.
Species like these change their physiology to cope with the amount of salt in the water.

Saltwater fish

59% of fish live in saltwater and are known as marine fish. Some of the common marine fish are from the family Pomacentridae and sub-family Pomacentrinae. Many of the smaller, colourful marine fish are used in aquariums.

Swimming
Fish swim by exerting force against the surrounding water. There are exceptions, but this is usually done by the fish contracting muscles on either side of its body. This starts waves of flexion which travel the length of the body from nose to tail, generally getting larger as they go along.

Most fishes generate thrust using lateral movements of their body & tail fin (caudal fin). However, there are also species which move mainly using their median and paired fins. The latter group profits from the gained manoeuvrability. This is needed, for example, when living in coral reefs. Such fish cannot swim as fast as fish using their bodies & caudal fins.

Muscle
Fish can swim slowly for many hours using red muscle fibres. They also make short, fast bursts using white muscle. The two types of muscle have a fundamentally different physiology. The red fibres are contined in the middle of the body along the spine and usually alongside a much greater number of white fibres.

The white fibres get their energy by converting the carbohydrate glycogen to lactate (lactic acid). This is anaerobic metabolism, that is, it does not need oxygen. They are used for fast, short bursts. Once the lactic acid builds up in the muscles, they stop working, and it takes time for the lactate to be removed, and the glycogen replaced. Using their white fibres, fish can reach speeds of 10 lengths per second for short bursts.

Swimming for long periods needs oxygen for the red fibres. The oxygen supply has to be constant because these fibres only operate aerobically. They are red because they have a rich blood supply, and they contain myoglobin. Myoglobin transports the oxygen to the oxidising systems. Red muscle gets its energy by oxidising fat, which weight for weight has twice as much energy as carbohydrate or protein. Using their red fibres, fish can keep up a speed of 35 lengths per second for long periods.

Swimming in groups

Many fish swim in groups.  Schools of fish can swim together for long distances, and may be chased by predators which also swim in schools. Casual groups are called 'shoals'.

Body shape
The shape of the body of a fish is important to its swimming. This is because streamlined body shapes makes the water drag less. Here are some common fish shapes:-

The picture on the right shows a shark. This shark's shape is called fusiform, and it is an ovoid shape where both ends of the fish are pointy. This is the best shape for going through water quickly. Fishes with fusiform shapes can chase prey and escape predators quickly. Many live in the open ocean and swim constantly, like marlins, swordfish, and tuna. Ichthyosaurs, porpoises, dolphins, killer whales all have similar shapes. This is an example of convergent evolution.

Eel-like
The long, ribbon-like shape of an eel's body shows another shape.  This enables them to hide in cracks, springing out quickly to capture prey, then returning quickly to their hiding spot.

Flatfish

Flatfish live on the bottom of the ocean or lake. Most use camouflage: they change colours to match the ocean floor. During their early lives, their eyes move to the upper side of their flat body.

Reef fish also have flat bodies, and their body is often highly coloured. Flat bodies can slip in and out among the corals, sponges, and rocks, avoiding predators. Angelfish, surgeonfish, and butterflyfish are examples.

Fish as food

Some people eat many different kinds of fish. These include carp, cod, herring, perch, sardines, sturgeon, tilapia, trout, tuna, and many others.  A person who buys and sells fish for eating is called a fishmonger.

The word to fish is also used for the activity of catching fishes.  People catch fish with small nets from the side of the water or from small boats, or with big nets from big boats.  People can also catch fish with fishing poles and fishhooks with bait.  This is often called angling.  Anglers also different types of fishing lures.

Because people are catching too many fish for food or other uses, there are less and less fish in the sea. This is a problem known as overfishing.

Fish as pets
Selective breeding of carp made them into the domesticated koi in Japan, and goldfish in China. This breeding began over 2,000 years ago. The Chinese brought their goldfish indoors during the Song Dynasty. They kept them in large ceramic vessels. That we now do in glass fish tanks.

Gallery

Related pages
 Shark

References

Basic English 850 words

Fish


Delage were a British girl group, with four members (named Rhonda, Karena, Charlotte and Judy) promoted by the record production trio, Stock Aitken Waterman. The initial promo pressings of their first single carried the group name "Dazzle", but it was later changed to "Delage".

Their first single issued in December 1990, was a cover of the Hues Corporation hit, "Rock the Boat", backed with the Stock Aitken Waterman-penned "I Wanna Be Your Everything". It reached No. 63 on the UK Singles Chart.

Soon after the release of the single, Judy and Charlotte left the band and two new members, Emma and Frances, were recruited as replacements. This line-up debuted as backing dancers on the video clip to Pat & Mick's "Gimme Some" in April 1991. A follow-up single was issued by this new lineup in October 1991 called "Running Back for More", backed with "I Wanna Shout About It", both written by Stock Aitken Waterman which failed to chart.

Delage recorded one more song with Stock Aitken Waterman, "Ain't No Cure" (a cover of a Bananarama song) which was not released at the time.
A 12" version of "Ain't No Cure" was released in 1997, on the Australian only compilation album 12 Inch Classics Volume 3 – The Hit Factory. In August 2009, several tracks and remixes of the group were made available on iTunes in the UK, including the unreleased 7" version of "Ain't No Cure", amongst others.

In 1992, the group changed their name to Eden, and released two further singles, "Can This Be Love" (produced by Bruce Forest) and "Keep On Pushing Our Love" in continental Europe, to little success.

References

British pop music groups
British pop girl groups
Polydor Records artists

Delage (group)


A clandestine cell system is a way of organising a group of people so that it is kept secret. This is so the group are better able to resist infiltration or discovery by an enemy. If a person only knows the others in the person's cell, then they cannot betray the others outside of his or her cell, either accidentally, or under interrogation. The cell can range from a strict hierarchy of people to a team of people. It is used by spy agencies, criminal organisations and guerilla and terrorist groups.

Terrorism
Military terminology
Secrecy
Espionage

Clandestine cell system


One common understanding of norm is: something that is regarded as normal or typical.

But it may mean as well:
Norm (artificial intelligence)
Norm (philosophy)
Norm (sociology)
Normative
The diminutive of the proper name, "Norman"

In mathematics:
Norm (mathematics), a map that assigns lengths to vectors
Normed vector space
Matrix norm
Field norm in algebraic number theory and Galois theory
Reduced norm in algebra over a field theory
The nonnegative integer function in the definition of Euclidean domain
The product of conjugate elements of an algebraic element
In descriptive set theory, a map from a set into the ordinals (see prewellordering)
A statistical concept in psychometrics

Norm may also be:
 Norm MacDonald (1959-2021), comedian and star of the 1999-2001 sitcom The Norm Show (a.k.a. Norm)
Norm Abram, carpenter in the television show This Old House
Norm Peterson, a character in the sitcom Cheers and its spin-off Norm
Naturally Occurring Radioactive Material
Norm, a character from the video game Crash Nitro Kart
Norm the Genie, a villain in The Fairly OddParents
Norm, a character from the Life. Be in it. campaign.

Norms may refer to Norms Restaurants, a chain of restaurants in Southern California.

Related pages
Normal
Norma (disambiguation)
Surface normal

Norm


Rye is a type of grass, usually grown as a grain or forage crop (meaning that it is fed to animals). It is a member of the wheat family of plants and is similar to wheat and barley. It is used to make flour, food for animals, and many types of alcoholic drinks.

History
Rye has not always been a plant humans can use. It was originally a wild plant. There are several wild plants in Turkey that are similar to rye.

Since the Middle Ages, rye has been used widely in Central and Eastern Europe. In these parts of the world, it is still one of the main ingredients in making bread. However, the number of people and businesses using rye is becoming lower. Rye is usually sold to buyers near to where it is grown.

Science
Rye can be planted to feed animals or can be harvested for hay (dry grass). Rye is a strong plant that can survive in soil with a high or low pH. This means it can survive even if the soil is very acidic or alkaline. Other plants may struggle to survive in these pH levels.

Uses for humans
Rye has been used to make many foods for humans. It includes rye breads, like pumpernickel, a popular bread in north and east Europe. It has also been used to make some alcoholic drinks, such as rye whiskey.

Grains

Rye


The flag of Scotland is a white X-shaped cross (a saltire), which represents the cross of the patron saint of Scotland, Saint Andrew on a blue sky. The flag is called Saint Andrew's Cross or the Saltire.

History

According to legend, in 832 A.D. King Óengus (II) (or King Angus) led the Picts and Scots in battle against the Angles near modern-day Athelstaneford in East Lothian. King Angus and his men were surrounded and he prayed for deliverance. During the night Saint Andrew, who was martyred on a saltire cross, appeared to Angus and assured him of victory. On the following morning a white saltire against the background of a blue sky appeared to both sides. The Picts and Scots were heartened by this, but the Angles lost confidence and were defeated. According to the legend, this saltire design has been the Scottish flag ever since.

Material evidence of the saltire's use dates from many centuries later. In 1385 the Parliament of Scotland decreed that Scottish soldiers should wear a saltire as a distinguishing mark. The earliest surviving Scottish flag consisting solely of the saltire dates from 1503: a white cross on a red background.  By 1540 the legend of King Angus had been altered to include the vision of the cross against a blue sky.  Thereafter, this saltire design in its present form became the national flag of Scotland.

Flying the flag

Scottish Parliament

There are five flagpoles outside the Scottish Parliament Building in Edinburgh. The flag of Scotland is flown every day, alongside the Union Flag and the flag of Europe. The fourth flagpole is used for special occasions such as Commonwealth Day and United Nations Day. The fifth pole is used for the Royal Standard of Scotland.

Edinburgh Castle

Edinburgh Castle is managed by Historic Scotland, and has a military garrison of the British Army. Like all British Army bases, it flies the Union Flag (in ratio3:5) and the Army flies it every day from the Clock Tower. The Saltire is flown every day at the Half Moon Battery.

The flying of the Union Flag at Edinburgh Castle has sometimes caused controversy. In 2001, a group of 20 Scottish National Party MSPs called for the Union Flag to be replaced by the Saltire.

Scottish Government
The Scottish Government has decreed that the flag of Scotland will fly on all its buildings every day from 8 am until sunset. An exception is made for "national days". On these days, the Saltire shall be lowered and replaced with the Union Flag. These days are the same as the flag days of the United Kingdom with the exception of 3 September (Merchant Navy Day), which is a specific flag day in Scotland and during which the Red Ensign may also be used.

Another difference with the rest of the UK's days is that on Saint Andrew's Day, the Union Flag will only be flown if the building has more than one flagpole – the Saltire will not be lowered to make way for the Union Flag if there is only one flagpole. This difference arose after Members of the Scottish Parliament complained that Scotland was the only country in the world that could not fly its national flag on its national day.

Others
The flag can be flown at any time by any individual, company, local authority, hospital or school. There is no need to get consent to fly the flag from a vertical flagpole. The flagpole itself may need planning permission.

In recent years, embassies of the United Kingdom have flown the Saltire to mark St Andrew's Day.

Most local authorities in Scotland fly the Saltire. Glasgow City Council fly the flag from the City Chambers building in George Square, while the City of Edinburgh Council fly the flag from their own city chambers.

In 2007 Angus Council led by Robert Myles decided to change the Saltire for a new Angus flag. This move led to public outcry across Scotland with more than 7,000 people signing a petition opposing the council's move, leading to a compromise whereby the Angus flag would not replace but be flown alongside the Saltire on Council buildings.

Colour and dimensions

At various times throughout history colours as light as sky blue or as dark as dark navy blue have been used (a selection apparently motivated by which colour of blue dye was available at the time). When incorporated as part of the Union Flag, the navy blue colour used was that of the Blue ensign belonging to the historic 'Blue Squadron' of the British Royal Navy. Dark blue was primarily used for reasons of expediency—it suffered less from the effects of fading resulting from prolonged exposure to the elements (namely sunlight and salt spray).

Although this navy blue colour was used specifically for depicting the Union Flag on maritime flags on the basis of durability, it soon became standard on Union Flags, both on land and at sea. This navy blue colour trend was adopted for the Saltire itself by many flag manufacturers, resulting in a variety of shades of blue being depicted on the flag of Scotland ranging from "sky blue" to "royal blue" to "navy blue". Eventually, this situation resulted in calls to standardise the colour of Scotland's national flag.

In 2003, a committee of the Scottish Parliament met to examine a petition that the Scottish Government adopt the Pantone 300 colour as a standard. (Note that this blue is of a lighter shade than the Pantone 280 of the Union Flag). Having taken advice from a number of sources including the office of the Lord Lyon King of Arms, the committee recommended that the optimum shade of blue for the Saltire should be Pantone 300 (that is, 0, 101, 189 in the RGB colour model, or #0065BD as hexadecimal web colours). Recent versions of the Saltire have therefore largely converged on this official recommendation, though dark blue has continued in use.

The flag's proportion is not fixed, but is generally taken as 1:2, 2:3, 3:5 or 4:5. The bars in the cross should be 1/5 (i.e., 20%) the width of the flag.

Outside Scotland

Inverse representations (blue saltire on a white field) of the Scottish Saltire are also used outside Scotland. In Canada, an inverse representation of the Saltire, combined with the shield from the Royal Arms of the Kingdom of Scotland, forms the modern flag of the Canadian Province of Nova Scotia, the first colonial venture of the Kingdom of Scotland into the Americas.

In Russia, during the period before and after the Soviet Union, the naval ensign of the Russian Navy has been an inverse representation of the Cross of Saint Andrew. (Saint Andrew is also a patron saint of Russia). The very same Saltire was also flown as the flag of Galicia in Spain until 1891, when Russia requested the Galician flag to be modified in order to avoid confusion between Galician ships and Russian Navy ships. The current Galician flag is actually the original blue-over-white saltire but without one of the arms of the cross.

The U.S. state of Alabama's flag is officially "a crimson cross of St. Andrew on a field of white," but the reference is used only to describe the shape without using the vexillological term saltire as that flag's origins are from either or both of the Confederate Battle Flag or the Cross of Burgundy Flag, both of which have saltires and are associated with the history of that state. Similarly, the Spanish island of Tenerife and the remote Colombian islands of San Andrés and Providencia also use the saltire on their flags.

The Scottish Saltire is also used unofficially by students and graduates of Xavier University because of the university's blue and white official colors and the resemblance of the flag to the letter "X". It is also the flag for St. Andrew's Scots School, Argentina (founded in 1838) and its "spinoff" university Universidad de San Andrés.

The Dutch municipality of Sint-Oedenrode, named after the Scottish princess Saint Oda, also uses the Saltire as the basis of its flag.

Incorporation into the Union Flag
The Scottish Saltire and field is one of the key components of the Union Flag. The Union Flag has been used in a variety of forms since 1606, when the flags of the Kingdom of Scotland and Kingdom of England were first merged to symbolise the Union of the Crowns. (The Union of the Crowns having occurred in 1603.) In Scotland, and in particular on Scottish vessels at sea, historical evidence suggests that a separate design of Union Flag was sometimes flown to that used in England. Following the Acts of Union of 1707, which united the Kingdom of Scotland and the Kingdom of England, the standard Union Flag became the national flag of the new United Kingdom of Great Britain.

From 1801, in order to symbolise the union of the Kingdom of Great Britain with the Kingdom of Ireland, a new design was adopted for the Union Flag of the United Kingdom of Great Britain and Ireland. The 1801 design did not change with the partition of Ireland in 1921 and creation of the Irish Free State, and is the flag of the United Kingdom of Great Britain and Northern Ireland today.

Lion Rampant

The Royal Standard of the King of Scots, also known as the Royal Flag of Scotland or the Lion Rampant, is the flag used historically by the King of Scots. It remains the personal banner of the monarch and use of this flag is restricted under the Act of the Parliament of Scotland 1672 cap. 47 and 30 & 31 Vict. cap. 17.

Despite the legal restrictions concerning the use of this flag, it is often regarded as a second, albeit unofficial, national flag for Scotland, most often seen at sporting events.

References

Other websites
 Information on the Saltire from the soc.culture.scottish FAQ
 Petition Number 512
 Saint Andrew in the National Archives of Scotland

Flags of the United Kingdom
National symbols of Scotland

Flag of Scotland


The division of Korea between North and South Korea happened because of the Allied victory in World War II in 1945. After Japan surrendered, the Allies made Japan give up all the colonies they took through military force, even those before WWII started. Even though Korea was a colony of Japan before WWII, Japan still had to give it up because it used military force to take it over. So after 35 years, Korea no longer became a colony of the Empire of Japan. However,        on the same day Japan surrendered, the  Soviet Union invaded Korea, after having occupied Northeast China.

The United States and the Soviet Union occupied the country, meaning they had their military there, with the border between their zones of control along the 38th parallel, or the land on the Korean Peninsula from east to west 38 degrees North.

With the rise of the Cold War, negotiations between the United States and the Soviet Union failed to create an independent, unified Korea. In 1948, the elections led by the UN were held only in the southern part of Korea, which was occupied by the United States. This led to the creation of the Republic of Korea in South Korea, which was afterwards followed by the creation of the Democratic People's Republic of Korea in North Korea. The United States supported the South, and the Soviet Union supported the North, and each government claimed sovereignty, or the right to rule itself, over the whole Korean Peninsula.

In 1950, North Korea invaded South Korea in order to take over all of Korea, which began the Korean War. Just before North Korea took over all of Korea, the United States sent its military to take back South Korea. After it took back South Korea, the United States tried to take over North Korea until China, North Korea's communist ally, pushed back the United States. This led to a tug-of-war that lasted throughout the war. In 1953, the fighting ended in stalemate, meaning neither side won the war, and the border was once again put on the 38th parallel, but this time it became the Korean Demilitarized Zone (DMZ).

The Korean War (1950–1953) left the two Koreas separated by the Korean Demilitarized Zone (DMZ) in the later part of the Cold War and even to this day.

Due to this division, North and South Korea have become two extremely different countries. Now it has major differences between cultures, economies, health, politics, and even languages.

History of Korea

Division of Korea


Andy Goldsworthy, OBE (26. jul 1956 -) je britanski kipar, fotograf i ekološki aktivist najpoznatiji po skulpturama i umjetničkim instalacijama land arta.

Vanjske veze

Općenito:
 Andy Goldsworthy at the Cass Sculpture Foundation
 Andy Goldsworthy at artnet
 Andy Goldsworthy's 1980s work with  Common Ground, a UK charity and lobby group promoting local distinctiveness
 Andy Goldsworthy working on Drawn Stone on KQED's TV programme Spark (June 2005)
 Andy Goldsworthy on Artcyclopedia

Umjetnost:

 Online preview of the Andy Goldsworthy Digital Catalogue DVD Volume 1: 1976-1986. A collaborative effort involving Goldsworthy, The Crichton Foundation, and the University of Glasgow's Crichton Campus and Humanities Advanced Technology and Information Institute (HATII). The DVD documents, visually and textually, the first ten years of Goldsworthy's ephemeral outdoor practice. It replicates Goldsworthy's "Slide Cabinet Index", and includes previously unpublished material from "Goldsworthy's Sketchbook Diaries".
 "Wet feathers/Wrapped around a stone/Before the incoming tide, Carrick " (1999). Photograph from the collection of the San Francisco Museum of Modern Art.
 "Snowballs in Summer " (2000), photographed in Charterhouse Square and Smithfield Market in Smithfield, London, UK. Photographs from the Conway Collection, Courtauld Institute of Art, London.
 "Three Cairns " (2002), Des Moines Art Center, Des Moines, Iowa, US.
 Photographs by Andy Goldsworthy in the UK Government Art Collection.
 Photographs of Andy Goldsworthy's sculptures at Flickr
 Andy Goldsworthy's Portfolio at the Cass Sculpture Foundation
 SaveLandArt.org - Media Initiatives to Protect Land Art from Urbanization, Industry and Overcuration.
 "Natural Art" - Richard Long, Andy Goldsworthy, Jacek Tylicki by PediaPress. 2010

Engleski fotografi
Engleski skulptori

Andy Goldsworthy


James Nisbet (September 8, 1823 – September 30, 1874) was a Scottish born missionary to Canada.

Early life
He was born near Glasgow in Scotland, the youngest of 10 children.  In 1840, he had travelled with his older brother, Henry,  to London both seeking to serve as missionaries with the London Mission Society. Henry was accepted, and served in Samoa for 36 years.  James returned to Glasgow, but still sensed a "call" to minister elsewhere, and emigrated to the New World in 1844, with his widower father and two sisters.

Canada
Settling in Canada West in the growing city of Toronto, Nisbet studied at the newly established Knox College.  He graduated in 1848, and after serving with the Canadian Sabbath School Mission, was Ordained as a Presbyterian Church of Canada (Free Church) minister in January 1850, and Inducted into the Oakville Presbyterian Church and Knox Church "Sixteen" pastoral charge, the latter where the Sixteen Mile Creek crossed Dundas Street.  His father and siblings also joined him in Oakville, where his four children (all born in Western Canada) resided, after their parents death in 1874, although two daughters were living with an aunt there from 1870.

He ministered to the Oakville and Knox 16 congregations (and on special assignments throughout the region, and beyond) for over twelve years, until he was appointed by the new Canada Presbyterian Church Synod, as a "foreign missionary" to assist his Knox College classmate John Black in the Red River Colony in 1862.  Working with Black, he helped develop congregations in the area at Little Britain, Headingley and at Fort Garry, (later called Winnipeg).  A school was built beside the original Kildonan Presbyterian Church, later named Nisbet Hall. The present University of Winnipeg traces its roots back to that school, where Manitoba College held its first classes in 1871.

After stressing the need for further ministry and mission to the Cree and Metis in Western Canada, the Synod then appointed him to move from Kildonan, further into the North-West.

Prince Albert community
In 1866, he led a party of pioneers that included his wife, (1864) Mary MacBeth, the daughter of one of the Kildonan Church Elders and member of the Council of Assiniboia, to the Prince Albert area of Rupert's Land (later North-West Territories and now Saskatchewan.)
George Flett acted as interpreter to the party.
They arrived on July 26, 1866 and formed a mission to bring Christianity to the prairie Indian nations. Nisbet named the mission after Prince Albert, Queen Victoria's deceased consort. Gradually the community surrounding the mission adopted the name as well.

James Nisbet was both a clergyman and skilled carpenter.  He built the First Presbyterian Church,  a log structure that can today be found in nearby Kinsmen Park, Prince Albert. This building served as the Prince Albert Historical Museum, until a larger building (the former firehall) was acquired in 1975.

During the times of smallpox epidemics, he created a crude vaccination which saved hundreds of lives.  He planted crops and gardens to help feed the population during several lean years.  Two other Red River pioneers assisted him:  John McKay and George Flett (related or connected by marriage to Mary MacBeth Nisbet).  Both were later ordained and continued to be missionaries in the region for the rest of their lives. Nisbet also continued missionary travels in the North West, and reached as far away as Edmonton, Alberta, as well as making trips back to Oakville, and to important Presbyterian Church meetings.

After living in Prince Albert for almost eight years, Nisbet was forced back east to Kildonan due to ill health, initially with his wife. Both died there in September 1874, she in the arms of her husband and father, and he a few days later. They were buried in simple graves in the Kildonan Churchyard (off Kildonan Highway at John Black Avenue in present-day North Winnipeg), that were upgraded years later. It was noted in an early biographical account for those searching the Kildonan Cemetery to find an early memorial to the Nisbets, to travel far from Kildonan to Prince Albert, the Memorial being the active city and St. Paul's Presbyterian Church.

Memorials
The Prince Albert, a high school, had been established named after Rev. Nisbet with one of the staff members being Lucy Margaret Baker. The Prince Albert mission became a congregation on July 1, 1883. The present St. Paul's Presbyterian Church  was built on that site in 1906 and was a continuation of the pioneer congregation sprouting from Nisbet's missionary service. St Paul's can still be found beside the Gabriel Dumont Institute, in downtown Prince Albert, a block away from City Hall.  On May 1, 2005, the Moderator of the General Assembly of the Presbyterian Church in Canada, Rev. Dr. Richard Fee, led the congregation, then without a settled pastor, in celebration of the centennial of the Province of Saskatchewan.

Mary Nisbet is also remembered in The Mary Nisbet Campground (Municipal), located north of the North Saskatchewan River near Saskatchewan Highway 2, and a James Nisbet Memorial Cairn is located on River Street, near the present Prince Albert Historical Museum.

James Nisbet School in northwest Winnipeg is also named after him.

There is a James Nisbet Street in Glasgow, Scotland.

See also
 James Isbister
 Nisbet Provincial Forest
 Prince Albert, Saskatchewan
 Red River Colony

References

External links
Biography at the Dictionary of Canadian Biography Online
City of Prince Albert Parks Website link to Mary Nisbet Municipal Campgrounds
St. Paul's Presbyterian Church, Prince Albert, SK

1823 births
1874 deaths
Canadian clergy
Clergy from Glasgow
Scottish emigrants to pre-Confederation Ontario
Immigrants to pre-Confederation Saskatchewan
Immigrants to the Province of Canada
People from Prince Albert, Saskatchewan

James Nisbet (missionary)


Showgirls is a 1995 American movie by Paul Verhoeven. It stars Kyle MacLachlan, Elizabeth Berkley and Gina Gershon. It is set in Las Vegas, Nevada. The movie became the first — and so far, only — NC-17 rated movie to be given a wide release in the mainstream theaters. The movie got substandard reviews and flopped, but enjoyed success on the home video market, receiving over $100 million from movie rental. This movie has been consistently ranked one of the worst movies ever made, but has become regarded as a cult classic.

Plot
Nomi Malone goes to Las Vegas and hopes to dance in a show on stage: she wants to be a "showgirl." Nomi meets Molly Abrams, who makes costumes for a show called Goddess, and they become friends. Nomi gets a job working as a stripper at Cheetah's Topless Club.

Molly introduces Nomi to the lead dancer of Goddess, Cristal Connors. When Nomi tells Cristal she dances at Cheetah's, Cristal says that Nomi is a prostitute. This makes Nomi angry, so Molly takes her dancing at a nightclub. Nomi meets James, who works at the nightclub, but is arrested by the police for fighting.

Cristal and her boyfriend, Zack Carey, visit Cheetah's. Zach works as a manager at the Stardust, the casino where Goddess is performed. Cristal asks Nomi to give Zach a special dance in a private room. Nomi dances for Zach for $500.

A worker from the Stardust asks Nomi to audition for the a small part in Goddess. Tony Moss, the show director of the show, makes Nomi embarrasses Nomi during the audition. Nomi is angry, so she leaves the audition. Nomi gets the job anyway, and she quits her job as a stripper. Cristal tries to make Nomi embarrassed when she starts work as a dancer in Goddess. Nomi sets out to get revenge against Cristal. Nomi has sex with Zack, and Zack helps Nomi get an audition to be Cristal's understudy. Nomi gets the part as Cristal's understudy, but this makes Cristal angry. Cristal asks the Stardust to take away her role as an understudy. This makes Nomi angry, so Nomi pushes Cristal down the stairs. Cristal is hurt: she breaks her hip. Because Cristal is hurt, the Stardust makes Nomi the lead dancer in Goddess.

Nomi tells a lie and tells Molly that she did not push Cristal down the stairs. Molly does not think Nomi is telling the truth, Molly ends their friendship. Later, during a party for Nomi's first night as the lead dancer in Goddess, Molly is friendly with Nomi again. Molly meets a famous musician, Andrew Carver. Carver asks Molly to come to a hotel room with him. Carver and his security team hit Molly and rape her. Molly is hurt and goes to the hospital.

Nomi wants the police to arrest Carver, but Zack says Stardust will give Molly money to keep Carver safe: because Carver is a famous musician, the casino will ask Molly to be quiet and not to tell the police about what happened. This makes Nomi angry. Then Zack tells Nomi that he knows who she really is: her real name is Polly, not Nomi; and used to work as a prostitute after her father killed her mother. Zack knows that she was arrested for using drugs and for prostitution. Zack tells Nomi that he will keep her past a secret if Nomi does not tell the police about Carver raping Molly.

Nomi decides that she has to help her friend, Molly. Nomi meets with Carver in a hotel room, and Nomi hits Carver until he is loses consciousness. Nomi then goes to the hospital to visit Molly. Nomi tells Molly that she knows what Carver did to Molly, and that Nomi hit Carver to punish him. Nomi then visits Cristal in the hospital to say she is sorry for hurting her. Cristal says everything is okay, and that her lawyers got a lot of money for her. Cristal forgives Nomi, and they kiss. Nomi leaves Las Vegas and goes to Los Angeles.

Other websites

1995 drama movies
1990s LGBT movies
American drama movies
American LGBT movies
Controversies in the United States
Cult movies
Dance movies
English-language movies
LGBT drama movies
Movies directed by Paul Verhoeven
Movies set in Las Vegas
NC-17 rated movies

Showgirls


Checkpoint Charlie was one of three places where people could travel from the Western occupied sectors of Germany and Berlin to the Soviet occupied sectors.

These places were called checkpoints because they were places where passports and identities were checked.
 Checkpoint Alpha was at Helmstedt in West Germany, in the former British Zone. It was at the western end of the main road (autobahn) to West Berlin.
 Checkpoint Bravo was at Dreilinden at the West Berlin end of that autobahn.
 Checkpoint Charlie was at Friedrichstraße in West Berlin. It was the most famous. It was the only place where foreigners could walk or drive from West Berlin into East Berlin.

As it was the only crossing point there were sometimes queues of people waiting to cross. But military traffic was never stopped, because Berlin was supposed to be under the control of all four wartime allies.

The Checkpoint today
After the end of the Cold War, and the reunification of Germany the checkpoints were no longer needed. The big concrete buildings of Checkpoint Bravo are now used by the German Customs Service . Checkpoint Charlie was only a wooden hut in the street. It was moved to what is now the Allied Museum at 110 Clayallee, and a small replica put up in Kochstraße. The fake checkpoint is very popular with tourists who have their photographs taken in front of it.

Related pages
Die Frau vom Checkpoint Charlie

Cold War
Buildings and structures in Berlin
Berlin Wall
West Germany

Checkpoint Charlie


Nadezhda Yakovlevna Mandelstam, born as Nadezhda Yakovlevna Hazin, (31 October 1899 in Saratov - 9 December 1980 in Moscow) was a Russian writer and the wife of poet Osip Mandelstam.

She grew up in Kiev, after she studied art.

She married Osip Mandelstam in 1921, and lived in Ukraine, Saint Petersburg, Moscow, and Georgia. Osip wrote a poem about the Russian leader, called Stalin Epigram.  It angered the Russian government, and in 1934 he was arrested, and ordered to live in Cherdyn, Perm region and later to Voronezh.  The government of Russia often used internal exile (sending people to live in small towns hundreds of miles from the big cities) instead of sending people to prison. Nadezhda went into exile with Osip.

Osip Mandelstam was released but arrested again in 1938. Before the government could decide where to send him he died in a camp near Vladivostok.

After this Nadezhda Mandelstam never lived in the same place for long, and she often changed jobs. She did this to hide from the NKVD (Russian Secret Police). When she was living in Kalinin the police came to arrest her her, but she had moved to a new house the day before.

She decided to spend her life collecting and publishing all of her husband's poems, and most of the poems she learned by heart (memorised).

After Stalin died Nadezhda Mandelstam published he book and was allowed to return to Moscow in 1958.

In 1979 she gave her archives (letters, books and photographs) to Princeton University in the United States of America. Nadezhda Mandelstam died in 1980 in Moscow, aged 81.

Books by Nadezhda Mandelstam
 Hope against Hope ()
 Hope Abandoned ()

1899 births
1980 deaths
Russian Jews
Russian writers

Soviet Jews
Soviet writers
Writers from Kyiv

Nadezhda Mandelstam