The Maasai are an ethnic group of people that live in Kenya and in the north of Tanzania. They are well known for the way that they dress and because they live near some national parks in Africa that a lot of tourists go to. They speak a language called Maa.

The Maasai are an old nomad African  tribe in the group of Nilotes who have always lived in Africa principally in the north of Tanzania and southern Kenya. They were discovered by settlers around the 19th century.

They live near the African savannah in animal reserves, for example the Masaai Mara reserve and the Serengeti.

The women build houses called Manyatta; the men build a fence around the village to protect them from lions.

The Masaai people live with animals because they are pastrolists. The more cattle a Maasai man has, the richer he is. They can't live without animals because their wealth comes from them . The Masaai drink cow's blood because they believe they will be stronger.

The Maasai speak Maa, very similar in pronuncuation to their Nilotic counterparts, the Luo and Kalenjin.

They are Christians, animists (their own religion) and some Maasai are Muslim.

Physically, they are very tall and slim. Everybody wears bandannas and beaded jewellry, apply dye from dried up cow blood.

They shave their women during marriages and their men pay a lot of dowry,in form of cattle to the bride's family.

During initiation,the boys in their teen ages, jump over fire and kill a lion in order to be called men. There on,they can get married.

The Maa people have a bad practice of Female Genital Mutilation in order to make them 'women'. This is a bad practice as this could make the young girls die from complications in birth,over bleeding. But the government of Kenya, Tanzania and NGO's have educated the locals over the dangers of FGM.

Other websites

Ethnic groups in Tanzania
Ethnic groups in Kenya

Maasai


Sceptrum et Manus Iustitiae (Latin for scepter and hand of justice) was a constellation created by Augustin Royer in 1679 to honor king Louis XIV of France. It was formed from stars of what is today the constellations Lacerta and western Andromeda.
Due to the awkward name the constellation was modified and name changed a couple of times, for example some old star maps show Sceptrum Imperiale, Stellio and Scettro, and Johannes Hevelius's star map divides the area between the new Lacerta and as a chain end fettering Andromeda. The connection with the later constellation Frederici Honores, that occupied the chain end of Andromeda, is unclear, except that both represent a regal spire attributed to varying regents.

Former constellations
1679 in France
Lacerta
Andromeda (constellation)

Sceptrum et Manus Iustitiae


Random is a term used in mathematics (and less formally) to mean that there is no way to reliably predict an outcome (to know what will happen before it happens) or sense a pattern. Something that is chosen at random is not chosen for any conscious reason, and therefore thought to be purely by chance. An example of a random event is winning a lottery.

A computer can make lists of apparently random numbers. Humans are unable to do this, because the brain works in patterns. If someone is asked to keep saying "heads" or "tails" at random, a smart human observer or properly programmed computer might eventually be able to tell which one the person is likely to say next because the computer notices the patterns.

On a website such as English Wikipedia the user can click on "Random page" to get a random article. The chances of any one page appearing are exactly the same as for any other page.

Sometimes the word "random" is used more loosely. There are websites of random jokes, which just means: a variety of jokes about all sorts of things.

In recent years young people have started to use the word "random" even more loosely to describe anything which is rather strange or has no logic. Sentences such as "the mouldy cheese is escaping" or "I like pie and spam" might be described as "random", although this is not the proper dictionary or mathematical meaning of the word.

Making random numbers

There are several ways in which a process or system can be seen as random:

 Randomness coming from the environment (for example, Brownian motion, but also hardware random number generators).
 Randomness coming from the starting conditions. This aspect is studied by chaos theory. It can be observed in systems that depend very much on differences in the conditions at the start. Examples of such systems are pachinko or dice.
 Randomness generated by the system itself.  This is also called pseudo-randomness, and is the kind used in pseudo-random number generators.  There are many algorithms (based on arithmetics or cellular automata) to generate pseudo-random numbers.  The behavior of such a system can be predicted, if the random seed and the algorithm are known.  These methods are quicker than getting "true" randomness from the environment.

There are many uses for  random numbers. The need has led to methods for generating data which is more or less random (pseudorandom). These methods vary as to how unpredictable (statistically random) they are, and how quickly they can generate random numbers.

There are computational random number generators, generating large amounts of sufficiently random numbers. Before then, tables were published as pseudo-random number tables.

There are two ways computers can make what appear to be random numbers.
 There are different algorithms to make random numbers. This makes it possible to model certain aspects of randomness, for example the distribution of the generated numbers. Numbers generated in such a fashion will however always follow a pattern. Given one, or a few of them, a computer can calculate the next random number. Therefore, such numbers are called pseudorandom.
 True random numbers are generated by observing a non-deterministic experiment. The number is then calculated based on the result of the experiment. An example might be to hook up a Geiger counter to a computer, to generate the number.

In cryptography
Keys for encryption must be random in order to be secure. Key generation by a faulty random number generator has sometimes led to successful cryptanalysis.

Related pages
 Chaos theory
 Random access memory
 Probability

Mathematics
Cryptography
Causality

Random


ISO 639-2:1998, Codes for the representation of names of languages — Part 2: Alpha-3 code, is the seicont pairt o the ISO 639 staundart, which leets codes for the representation o the names o leids. The three-letter codes gien for ilka leid in this pairt o the staundart are referred tae as "Alpha-3" codes. Thare are 464 entries in the leet o ISO 639-2 codes.

ISO 639
1989 introductions

ISO 639-2


This is a list of characters from the movie series The Lion King. The characters were made by The Walt Disney Company in 1994.

Simba
Simba is the main character of the series. He is a lion. In The Lion King, he becomes King of Pride Rock. The character is voiced by Jonathan Taylor Thomas and Matthew Broderick. His name comes from the word for "lion" in Swahili.

Nala
Nala is Simba's childhood friend who later becomes his queen. She appears in The Lion King, Simba's Pride and The Lion King 1½. Nala's mother is Sarafina. Nala means "gift" in Swahili.

Scar

Scar is the main villain in the movie. He was voiced by Jeremy Irons.

Pumbaa
Pumbaa is a good-hearted warthog in the movie. He usually gossips with the other animals, but then flees with his tail held in the air when things get out of hand.

References

Movie characters
Lists of fictional characters
Characters

List of The Lion King characters


A chess rating system is a system used in chess to estimate the strength of a player, based on his performance against other players. They are used by all national chess organisations, and by FIDE, the International Chess Federation. In these systems a higher number indicates a stronger player. In general, a player's rating goes up if he performs better than expected and down if he performs worse than expected. The Elo rating system is used by FIDE and by many countries.

The first modern rating system was used by the Correspondence Chess League of America in 1939. Soviet player Andrey Khachatoruv proposed a similar system in 1946. The first one that made an impact on international chess was the Ingo system in 1948. The USCF (United States Chess Federation) adopted the Harkness system in 1950. Shortly after, the British Chess Federation started using a system devised by Sir Richard Clarke, a statistician and senior civil servant. The USCF switched to the Elo rating system in 1960, which was adopted by FIDE in 1970.

The underlying principle
The principle which lies behind a rating is this. The rating is a prediction of how well a player will perform against other players of different ratings. If the player does better than predicted, their rating goes up; if they do worse, their rating goes down. An arithmetic calculation shows by how much the player's rating changes. Today, all results are fed into a computer database, and computer software does all the calculations. Then the list is published as a 'rating list'.

History
1933 – The Correspondence Chess League of America (now ICCF U.S.A.) is the first national organization to use a numerical rating system.
1942 – Chess Review uses the Harkness system, an improvement of the ICCF system.
1946 – The USSR Chess Federation uses a non-numerical system to classify players. This is a national system of master titles.
1948 – The Ingo system is published and used by the West German Chess Federation.
1950 – The USCF starts using the Harkness system and publishes its first rating list in the November issue of Chess Life.  Reuben Fine is first with a rating of 2817 and Sammy Reshevsky is second with 2770.
1959 – The USCF names Arpad Elo the head of a committee to examine all rating systems and make recommendations.
1961 – Elo develops his system and it is used by the USCF. It is published in the June 1961 issue of Chess Life
1970 – FIDE starts using the Elo system. Bobby Fischer is at the top of the list.
1978 – Elo's book (The rating of chessplayers, past and present) on his rating system is published.
2001 – the Glicko rating system is published.
2005 – Chessmetrics is published by Jeff Sonas.

References

Chess

Chess rating system


Leopold Ružička, Gwzlozdeihnga vaqhaggya. Youq 1939 nienz ndaej Nobel vaqhag ciengj. Leopold Ružička gaenq ndaejdaengj bat aen honoris causa gohyoz bozswh yozvei, caet aen ciengj, ngeih cib seiq aen mingzdaeuz veiyenz.

Cienh

Ružička was born in Vukovar, Croatia, then part of Kingdom of Hungary, Austro-Hungarian Empire. His family of craftsmen and farmers was mostly of Croatian origin, with a Czech great grandparent, and a great grandmother and a great grandfather from Austria.

Ružička attended the classics-program secondary school in Osijek. He changed his original idea of becoming a priest and switched to studying technical disciplines. Chemistry was his choice, probably because he hoped to get a position at the newly opened sugar refinery built in Osijek.

Due to the excessive hardship of everyday and political life, he left and chose the High Technical School in Karlsruhe in Germany. He was a good student in areas he liked and that he thought would be necessary and beneficial in future, which was organic chemistry. That is why his physical chemistry professor, Fritz Haber (Nobel laureate in 1918), opposed his summa cum laude degree. However, in the course of his studies, Ružička set up excellent cooperation with Hermann Staudinger (a Nobel laureate in 1953). Studying within Staudinger's department, he obtained his doctor's degree in 1910. With Staudinger, Ružička went to Zurich and was his assistant.

Yenzgiu
Ružička's first works originated during that period in the field of chemistry of natural compounds. He remained in this field of research all his life. He investigated the ingredients of the Dalmatian insect powder (Pyrethrum cinerariifolium), a highly esteemed insecticide. In this way, he came into contact with the chemistry of terpene, a fragrant oil of vegetable origin, interesting to the perfume industry. He intended to start individual research and even started successful and productive cooperation with the Chuit & Naef Company (later known as Firmenich) in Geneva.

In 1916–1917, he received the support of the oldest perfume manufacturer in the world Haarman & Reimer, of Holzminden in Germany. With expertise in the terpene field, he became senior lecturer in 1918, and in 1923, honorary professor at the ETH (Eidgenössische Technische Hochschule) as well the University in Zurich. Here, with a group of his doctoral students, he proved the structure and existence of the compounds of muscone and civet, the scents derived from the musk deer and the civet cat. The Ruzicka large ring synthesis is a method in organic chemistry for the organic synthesis of these type of compounds.

In 1921, the Geneva perfume manufacturers Chuit & Naef asked him to collaborate. Working here, Ružička achieved financial independence, but not as big as he did plan so he left Zurich to start working for the Ciba, Basel- based company. In 1927, he took over the organic chemistry chair at Utrecht University in Netherlands. In Netherlands he remained for three years, and then returned to Switzerland, which was superior in its chemical industry.

Back to Zurich, at ETH he became professor of organic chemistry and started the most brilliant period of his professional career. He widened the area of his research, adding to it the chemistry of higher terpenes and steroids. After the successful synthesis of sex hormones (androsterone and testosterone), his laboratory became the world center of organic chemistry.

In 1939, he won the Nobel prize for chemistry with Adolf Butenandt. In 1940, following the award, he was invited by the Croatian Chemical Association, where he delivered a lecture to an over packed hall of dignitaries. The topic of the lecture was From the Dalmatian Insect Powder to Sex Hormones. During the World War II, some of his excellent collaborators were lost, but Ružička restructured his laboratory with new, younger and promising people; among them was young scientist Vladimir Prelog. With new people and ideas new research areas were opened.

Following 1950, Ružička returned to chemistry, which had entered a new era of research. Now he turned to the field of biochemistry, the problems of evolution and genesis of life, particularly to the biogenesis of terpenes. He published his hypothesis, Biogenetic Isoprene Rule, which was the peak of his scientific career. Ružička retired in 1957, turning over the running of the laboratory to his assistant and future Nobel laureate Vladimir Prelog.

Ružička dedicated significant efforts to the problems of education. He insisted on a better organization of academic education and scientific work in the new Yugoslavia, and established the Swiss-Yugoslav Society. Ružička became an honorary academician at the then Yugoslav Academy of Sciences and Arts in Zagreb. In Switzerland, the Ružička Award was established, for young chemists working in Switzerland. In his native Vukovar, a museum was opened in his honour in 1977.

Ndwenngoenz
Ružička married twice: to Anna Hausmann in 1912, and 1951 to Gertrud Acklin. He died in Mammern, Switzerland, a village on Lake Constance.

Canhgauj

Vahhaggya

Leopold Ružička


Die Entführung aus dem Serail (in English: The Abduction from the Seraglio) is a musical opera by Wolfgang Amadeus Mozart. It is an example of a Singspiel: a type of German opera which had spoken dialogue as well as singing, and was often about magical stories. Mozart's opera The Magic Flute is also a Singspiel.

The German libretto is by Christoph Friedrich Bretzner and was changed a bit, without Bretzner's permission, by Gottlieb Stephanie. The story is about the hero Belmonte, helped by his servant Pedrillo, who tries to rescue his beloved Konstanze from the seraglio (palace) of the Pasha Selim.

The opera was first performed by the Nationalsingspiel ("national Singspiel") which was sponsored by the Austrian emperor Joseph II. Mozart arrived in Vienna in 1781 and was looking for an opportunity to get a commission for an opera. He showed one of his operas (Zaide) to the manager of the Nationalsingspiel. He was impressed and asked Mozart to write an opera for the company.

The work is lighthearted and meant to be funny. Some of the characters in the story are Turkish. Turkish stories and music were very popular at that time in Europe, and Mozart writes some Turkish music (or what Europeans thought was Turkish music) in this opera. Some of the arias are very difficult to sing, especially the long "Martern aller Arten" ("Tortures of all kinds") sung by Konstanze, which is like a concerto movement. She is accompanied in this aria by an orchestra and four solo instruments.

The opera was a huge success and earned Mozart a good sum of money. However, he was not paid properly for later performances, so it did not make him rich.

When Joseph II heard it he said to Mozart that there were "too many notes", to which Mozart replied: "There are just as many notes as there should be".

Instrumentation

The singers perform with a Classical orchestra, to which are added instruments needed for "Turkish" music: bass drum, cymbals, triangle, and piccolo. The main orchestra has pairs of flutes, oboes, clarinets, bassoons, horns, trumpets, a set of two timpani, and strings. In the aria, "Sorrow has become my lot", there is also a basset horn.

The story
Place: the country house of the Pasha (German "Bassa"), somewhere along the Mediterranean coast
Time: 18th century

Act 1
Konstanze, and her English servant Blondchen have been captured by pirates who sold them to the Turk, Pasha Selim. Belmonte goes to rescue her. Osmin, the Pasha's servant, comes to pluck figs in the garden and takes no notice of Belmonte who tries to get news about his servant, Pedrillo. Osmin is angry. After he leaves, Belmonte meets Pedrillo and they decide to rescue Konstanze.

Selim appears with Konstanze. He wants her to love him, but she doesn't. Pedrillo suggests to the Pasha that he should employ Belmonte as a builder, but Osmin does not let him come into the palace.

Act 2

Osmin tries roughly to make love to Blondchen. After a duet, Osmin departs. Konstanze greets Blondchen in distress and tells her that Selim wants her love and is threatening to use force.

When she has gone, Pedrillo comes to Blondchen, who is his sweetheart, and tells her that Belmonte is near and plans are ready for a rescue attempt. Blondchen is very happy. Pedrillo invites Osmin to drink. Osmin gets drunk and Belmonte gets him out of the way so that Belmonte again sees his beloved Konstanze.

Act 3
Belmonte and Pedrillo come to the garden with ladders. Belmonte manages to snatch Konstanze away, but when Pedrillo is about to escape with Blondchen, they are caught by Osmin, and Belmonte and Konstanze are also brought back by the guard. Belmonte asks the Pasha not to kill them. He says that his father is a rich Spanish governor who will pay a lot of money so that they are freed. Selim Pasha says to Belmonte that he is the son of his greatest enemy, so he is delighted to have caught him. However, the Pasha then becomes kind and decides to forgive them and set them free. Osmin is not happy about this. He would have loved to see them executed.

Operas by Wolfgang Amadeus Mozart
1780s operas

Die Entführung aus dem Serail


Muscat () is the capital and largest city of The Sultanate of Oman. It is the largest city in the mintaqah (governorate) of Muscat. The city of Muscat has a population of 1.28 million people (2015). The official language is Arabic and English is used as an additional language for many purposes, including business and tourism purposes. Muscat is located on the north east coast of Oman.  The city is 3,500 km2  in size.

History
People started living in the Muscat area about 2300 years ago but the first writings of the city are about 1900 years old in the 1st century CE.  Muscat developed into an important city in the 9th century CE because of business and trade at the port.  Portugal, Persian (Iran) and Turkey had many wars for control over Muscat from the 1500s to the 1700s.  The Al Bu Sa 'id tribe has ruled Muscat since then.

Climate and weather
Muscat is a hot and dry city.  The average daytime temperature in summer can be as high as 40 °C.  The winter is cooler and the average daytime temperature is between 19 °C and 22 °C.  There is very little rain with only 10 cm per year.

Tourism
Muscat has several tourist sites including seven museums, a fort, an old palace and a new opera house.  The city has beaches with hotel resorts.  People can do many water-sports including dolphin tours in the city's harbour.  In 2016, 2.5 million tourists visited Muscat.  According to an article in Times Of Oman, almost 500,000 people visited in February alone for the popular Muscat Festival.

National capitals in Asia

Geography of Oman

Muscat


Sausage is a wey tae mak meat; fowk pit meat an spices intae wee pokes an then fry the pokes that's cried sausages. Sausages can be flat (in Scotland) or lang (in Scotland an ither kintras). Thay can be oot o pork or beef or ither meat.

Sausage can be ett wi chips; that's cried sausage supper.

Meat

Sausage


Mayhem is a Norwegian black metal band. It was founded in 1984 by guitarist Øystein Aarseth (aka Euronymous), bass guitarist Jørn Stubberud (aka Necrobutcher), and drummer Kjetil Manheim (aka Manheim). The band name is taken from the Venom song, "Mayhem with Mercy."

During the early years, the band used either session vocalists Messiah or Maniac for live/studio performances. During rehearsals, they played either without a singer, or either Necrobutcher or Euronymous would sing.

By late 1987, both Manheim and Maniac had left the band. Members of the band Vomit sang for the band for a short time. In 1988, singer Dead, and drummer Hellhammer joined the band.

Dead Suicide and euronymous murder
Dead killed himself in 1991. He shot himself in the mouth with a shotgun after cutting his wrists with a knife. The shell he used, was not given to him by Varg Vikernes (Count Grishnackh). His body was found in his room. A suicide note was also found. It said "Excuse all the blood". Euronymous took pictures of the body and room. One of these pictures was used as the cover of their Dawn of the Black Hearts album. This started people saying many things about the band. It was said that Euronymous had cooked and eaten pieces of Dead's brain. It was also said that parts of Dead's skull had been used to make necklaces that both Euronymous and Hellhammer wore. It is not likely that his brains were eaten,  but it is known that necklaces were made, and that pictures were taken.

With the media and police attention after Dead's suicide, Necrobutcher (Jørn Stubberud) left the band. Dead was replaced by Occultus (Stian Johansen). He was the ex-singer of Thyabhorrent. He sang and played bass in Mayhem for a few months, but soon left. Varg Vikernes (Burzum) joined as bassist.

On August 10th, 1993, Varg Vikernes murdered Euronymous in his apartment. Their relationship before the murder had gotten bad. It is thought that there were many reasons why Vikernes killed him. These include that it was over a girl, jealousy of Euronymous's position in the band, Euronymous owing him money and Euronymous not releasing Burzum's albums on time. Euronymous was found in his underwear with knife wound. Varg was rumoured to try and outdo the murder Faust of the band Emperor did. At his trial, Vikernes came into court with his long hair made into pigtails. He said he had nothing to do with Euronymous's death. He laughed throughout the trial. Vikernes was found guilty the murder. He was sent to prison for 21 years. This is the most time a person can be sent to prison in Norway. When police arrested Vikernes, he was found with over  of dynamite and plans to destroy Nidarosdomen on a religious holiday. Nodarosdomen is a large Christian church in Trondheim. Varg Vikernes has a different story to the reasons for killing Euronymous. He created many articles to tell the reasons.

After the trial, Euronymous's parents asked Hellhammer to remove the parts of the bands music that Varg had recorded. He told them he would do this. Since he could not play the bass guitar, the changes were not made. The album remained the same, with Varg playing on it.

Performances
Their performances used heavy atmospheric effects. These included things such as pig heads put on wooden poles. Dead's clothes were buried days or weeks before the show. They were dug up before the performances and would be covered in decay, dirt and insects. Pieces of rotting meat were thrown into the audience and given to people to eat or rip on the spot. Dead ravens were placed in a bag so Dead could smell decay and death. Members would also cut themselves onstage.

Albums

Studio albums
De Mysteriis Dom Sathanas (1994)
Wolf's Lair Abyss (1997)
Grand Declaration Of War (2000)
Chimera (2004)
Ordo Ad Chao (2007)
Esoteric Warfare (2014)
Daemon (2019)

Live albums
Live In Leipzig (1993)
Dawn of the Black Hearts(1995)
Mediolanum Capta Est (1999)
Live In Marseille 2000 (2001)
Live in Zeitz (2016)
De Mysteriis Dom Sathanas Alive (2016)
Live in Jessheim (2017)
Live in Sarpsborg (2019)

Members

Current
 Necrobutcher - bass guitar  (1984-1991, 1995-present)
 Hellhammer - drums, percussion  (1988-1993, 1995-present)
 Attila Csihar - vocals  (1992-1993, 2004-present)
 Teloch - guitars  (2011-present)
 Ghul - guitars  (2012-present)

Former
 Euronymous - guitars  (1984-1993; died 1993)
 Manheim - drums, percussion  (1984-1988)
 Dead - vocals  (1988-1991; died 1991)
 Maniac - vocals  (1987-1988, 1995-2004)
 Blasphemer - guitars, backing vocals  (1995-2008)
 Torben Grue  - drums, percussion  (1988)
 Kittil Kittilsen  - vocals  (1988)
 Varg Vikernes - bass guitar  (1992-1993)

References

Black metal bands
Norwegian heavy metal bands

Mayhem (band)


Chauncy Hare Townshend, whose surname was spelt by his parents as Townsend (20 April 1798, Godalming, Surrey – 25 February 1868), was a 19th-century English poet, clergyman, mesmerist, collector, dilettante and hypochondriac. He is mostly remembered for bequeathing his collections to the South Kensington Museum (now the Victoria and Albert Museum) and the Wisbech & Fenland Museum in Wisbech, Cambridgeshire. He added an 'h' to his surname in 1835, upon inheriting; his first name was often spelled "Chauncey".

Early life
Townshend was the only son of Henry Hare Townsend, whose maternal grandfather was Henry Hare, 3rd Baron Coleraine, and whose father (and thus Chauncy's grandfather) was James Townsend, Lord Mayor of London from 1772 – 1773 and a member of parliament. It was a rich family, with properties in Norfolk, London, and Switzerland, and the young Chauncy was educated at Eton College and Trinity Hall, Cambridge. He graduated BA in 1821 and MA in 1824, and won the Chancellor's Gold Medal in 1817 for his poem Jerusalem. He also played one game of first-class cricket for a Kent side in 1827.

Life as a poet

Townshend met the poet Robert Southey in 1815, and through him met the Wordsworths and Coleridges.
A sonnet on John Clare was published in the Morning Post in 1820.  " There is a vivid lightning of the breast,
Flash'rt from a kindred spark of poesy.

Which Poets only know, when rapt they see

Some hidden thought — some feeling unexprest

Upon the pages of the Bard imprest

In all the warmth of Nature's energy.

Oh, Clare! such answering electricity

Darts from thy numbers to my soul addrest.

Thou hast read Nature wiih a Poet's eye.

Thou hast felt Nature with a Poet's heart;

But the fine secrets which poetic art

Alone unravels — can alone impart —

And to which none but Poets' souls reply."

His encounter with John Clare was made famous in a book by Frederick Martin:

During the summer of 1821, Clare gave up his agricultural labours almost entirely. The greater part of the time he spent in roaming through woods and fields, planning new poems, and correcting those already made. Visits to Stamford, also, were frequent and of some duration, and he not unfrequently stayed three or four days together at the house of Mr. Gilchrist, or of Mr. Drury. The stream of visitors to Helpston had ceased, to a great extent, and the few that dropped in now and then were mostly of the better class, or at least not belonging to the vulgar-curious element. Among the number was Mr. Chauncey Hare Townsend, a dandyfied poet of some note, particularly gifted in madrigals and pastorals.

He came all the way from London to see Clare, and having taken a guide from Stamford to Helpston, was utterly amazed, on his arrival, to find that the cottage, beautifully depicted in the 'Village Minstrel', was not visible anywhere.
His romantic scheme had been to seek Clare in his home, which he thought easy with the picture in his pocket; and having stepped over the flower-clad porch, to rush inside, with tenderly-dignified air, and drop into the arms of the brother poet. However, the scheme threatened to be frustrated, for though the village could easily be surveyed at a glance, such a cottage as that delineated in the 'Minstrel', with more regard to the ideal than the real, was nowhere to be seen. In his perplexity, Mr. Chauncey Hare Townsend inquired of a passer-by the way to Clare's house. The individual whom he addressed was a short, thick-set man, and, as Mr. Hare Townsend thought, decidedly ferocious-looking; he was bespattered with mud all over, and a thick knotted stick, which he carried in his hands, gave him something of the air of a highwayman. To the intense surprise of Mr. Chauncey Hare Townsend, this very vulgar person, when addressed, declared that he himself was John Clare, and offered to show the way to his house. Of course, the gentleman from London was too shrewd to be taken in by such a palpable device for being robbed; so declining the offer with thanks, and recovering from his fright by inhaling the perfume of his pocket handkerchief, he retreated on his path, seeking refuge in the 'Blue Bell' public house. The landlord's little girl was ready to show the way to Clare's cottage, and did so, leaving the stranger at the door. Mr. Townsend, now fairly prepared to fall into the arms of the brother poet, though not liking the look of his residence, cautiously opened the door; but started back immediately on beholding the highwayman in the middle of the room, sipping a basin of broth. There seemed a horrible conspiracy for the destruction of a literary gentleman from London in this Northamptonshire village. Mrs. Clare, fortunately, intervened at the nick of time to keep Mr. Townsend from fainting. Patty, always neatly dressed (save and except on washing days), approached the visitor; and her gentle looks re-assured Mr. Chauncey Hare Townsend. He wiped his hot brow with his scented handkerchief, and, not without emotion, introduced himself to the owner of the house and the neat little wife.
The conversation which followed was short, and somewhat unsatisfactory on both sides, and the London poet, in the course of a short half an hour, quitted the Helpston minstrel, leaving a sonnet, wrapped- in a one-pound note, behind him.

Clare frowned when discovering the nature of the envelope; but he liked the sonnet, and for the sake of it, and on Patty's petition, consented not to send it back to the giver.

The nature of this encounter was refuted in an extensive review in The Examiner, the date they met must have been 1820 (the year the sonnet was published) not 1821, as letters dated 1820 from Clare mention his visit. Neither did Townshend's memory of the visit tally with the book account.

Two volumes of his poetry were published in 1821,

Friendship with Charles Dickens
In the 1830s Townshend studied mesmerism, and was the chief British exponent of the art after Dr. John Elliotson; he published two books and some articles and letters on the subject. Elliotson introduced Townshend to Charles Dickens, who also had an interest in mesmerism, and the two became lifelong friends. Townshend's volume of poetry The Three Gates (1859) was dedicated to Dickens, who in turn dedicated Great Expectations to Townshend; Dickens also gave Townshend the original manuscript of the novel, and his crystal ball.

Later life
Townshend married Eliza Frances Norcott in 1826, but in 1843 they legally separated due to "un-happy differences", and he spent much of his life thereafter travelling abroad, collecting things as he went, and at his villa in Lausanne. Three further volumes of poetry emerged: Sermons in Sonnets, 1851, The Burning of the Amazon, 1856, and The Three Gates, 1859. He died on 25 February 1868 at 21 Norfolk Street, Park Lane, London, and is buried in the new cemetery in Godalming.

Legacy
Nowadays Townshend is chiefly remembered for his bequests. Attached to his will of 1863 is an inventory of his collections, which lists 4464 books, 1411 paintings, engravings and prints (including works by Canaletto, Rubens and Teniers), 687 fossils, 9 cases of stuffed birds and animals, a large collection of coins, 622 specimens of gems and minerals, 267 pieces of jewellery, 5 portfolios of autographs and a collection of maps. Most of the artworks and photographs, and some of the books and jewellery were acquired by the South Kensington Museum in London, and most of the rest went to the Wisbech and Fenland Museum. This includes part of a Sèvres porcelain breakfast service thought to have been captured from Napoleon's baggage after the Battle of Waterloo, and the manuscript of Great Expectations. A street is named after him, Townsend Road near the park in Wisbech.

Under the terms of his will, his property was sold and given towards the provision of an elementary school in London. This school, the Burdett-Coutts and Townshend Foundation Church of England Primary School still exists in Rochester Street, Westminster, and bears a plaque saying:
The Chauncy Hare Townshend Schools. The Baroness Burdett-Coutts, the Revd. Thomas Helmore, executors and divisees of the Revd. Chauncy Hare Townshend, erected these schools as a memorial of friendship and furtherance of his pious wish. This corner stone was laid by their friend Hannah, widow of William Brown Esq. MD, on this 13th day of September 1876.

His will also appointed Charles Dickens as his literary executor
I appoint my friend Charles Dickens, of Gad's Hill Place, in the County of Kent, Esquire, my literary executor; and beg of him to publish without alteration as much of my notes and reflections as may make known my opinions on religious matters, they being such as I verily believe would be conducive to the happiness of mankind.
a task which Dickens apparently was not expecting and did not enjoy. At any rate, Religious opinions by the late Reverend Chauncy Hare Townshend duly appeared in 1869.

Publications

 Poems (1821); republished as The Weavers Boy, a tale; and other poems (1825)
 The Reigning Vice: A Satirical Essay (1827)
 A Descriptive Tour in Scotland (1839)
 Facts in Mesmerism ; with Reasons for a dispassionate Inquiry into it. (1840)
 Sermons in Sonnets and Other Poems (1851)
 Philosophy in the Fens (1851), under the pseudonym T.Greatly
 Mesmerism Proved True (1854)
 The Burning of the Amazon (1852)
 The Three Gates (1861)
 Religious Opinions of the late Reverend Chauncy Hare Townshend (1869)

References

Further reading

External links

Alumni of Trinity Hall, Cambridge
People educated at Eton College
English cricketers
Kent cricketers
Romantic poets
1798 births
1868 deaths
19th-century English poets
Hypochondriacs

Chauncy Hare Townshend


When talking about file systems, a folder (also called directory, or catalog) is a way to organize computer files. A folder is a storage space, or container, where many files can be placed into groups and organize the computer. A folder can also contain other folders. For many computer software applications, there is a current working directory. This is the folder that the application runs in. In Unix and Linux, a directory is a special type of file.

Folders can be put together to make a filesystem and are laid out like a tree. The folders inside folders are like branches and sub-branches off the tree trunk. This idea is used by the software to allow the user to navigate the folders. A computer file, such as a spreadsheet or music file can only be in one folder directly. This folder, however, can be inside other folders. On some operating systems, shortcuts or links can be made from one folder to another to make it appear that one file or folder is contained in two different parent folders. On Unix systems, this is called a symbolic link, and is similar in function to a hyperlink.

Folders are inspired by a real-life item called a file folder.

Software

Folder (computing)


Simon Warren Andrews (born 1958 in Croydon) is a British composer who is Head of Theoretical Studies, Composition, and Director of The Academy Chorale.

Life
Andrews was educated at Chichester Cathedral Choir School. He has a B.A. and B.Mus. in composition, from Christ Church, Oxford, and a Ph.D. from the University of California, Berkeley.

He pursued composition and piano accompaniment at the Royal Academy of Music. Andrews has been involved in education as Assistant Professor of Music and Director of Choral Ensembles at Franklin and Marshall College, and as Conductor of the Lancaster Opera Company and Music Director of the Harrisburg Choral Society. He joined the faculty of the Pennsylvania Academy of Music in 2001. Andrews joined the faculty at Elizabethtown College, near Lancaster, PA, as an adjunct theory professor for the spring semester of 2011.

Compositions
Mozart Requiem- Andrews revised, edited, and re-orchestrated the final work of Wolfgang Amadeus Mozart. His version is very different from many others as he strived to take the work of Mozart's friend Franz Xaver Süssmayr, who completed Mozart's requiem after his death, and re-orchestrate it to sound more like Mozart had composed it himself, including the complete restructuring of the development section of Süssmayr's Hosanna fugue in the Sanctus and Benedictus movements.
This piece was first performed in 1996 in Lancaster, PA with the Franklin & Marshall Choir and had its professional debut in November 2006 with the Lancaster Symphony Orchestra in collaboration with the Lancaster Symphony Choir, the Franklin & Marshall Choir, and the Millersville University Chorale under the direction of maestro Stephen Gunzenhauser.
Who Will Go to Bethlehem 2003

References

External links
 Artist's website

Living people
English composers
UC Berkeley College of Letters and Science alumni
Alumni of the Royal Academy of Music
1958 births

Simon Andrews (composer)


The Bideford witch trial resulted in hangings for witchcraft in England. Temperance Lloyd, Mary Trembles and Susannah Edwards from the town of Bideford in Devon were tried in 1682 at the Exeter Assizes at Rougemont Castle. Much of the evidence against them was hearsay, although there was a confession by Lloyd, which she did not fully recant even with her execution imminent. These women have been labelled as the last witches to be hanged in England, but there are subsequent cases which are not as well documented.

Investigation of Temperance Lloyd
On Saturday, July 1682, Thomas Eastchurch, a Bideford shopkeeper, complained to some of the town's constables that Temperance Lloyd had been practising witchcraft. The constables arrested Temperance Lloyd and locked her in the old chapel at the end of the bridge, where she remained until taken before the justices, Thomas Gist, Mayor of Bideford, and John Davie, Alderman, on the Monday morning. The charges were: "suspicion of having used some magical art, sorcery or witchcraft upon the body of Grace Thomas and to have had discourse or familiarity with the devil in the likeness or shape of a black man." Grace Thomas thought that Temperance Lloyd was responsible for her illness, because the previous September, Lloyd had wept with joy and expressed pleasure in seeing that Thomas had regained her health.

Anne Wakely's evidence
Another woman, Anne Wakely, had seen a magpie fly to Thomas's chamber window. Suspecting witchcraft, she questioned Lloyd, and found her in the company of another. They found "in her secret parts two teats hanging nigh together like unto a piece of flesh that a child had sucked. And that each of the teat was about an inch in length."

All the other evidence against Lloyd was hearsay, mostly claims to have overheard confessions by her. There were six such statements, including a claim by Anne Wakely that Lloyd was visited by the "black man" in the form of a bird. Wakely also said that Lloyd told her the black man had sucked at her extra teats.

Thomas Eastchurch's evidence
Thomas Eastchurch's statement was held to be important, as he was a respected town gentleman; however, again his evidence was simply that he overheard Lloyd confess while she was in Bideford lock-up the previous day. He stated that she confessed to meeting "something in the likeness of a black man" who tempted her to go and torment Grace Thomas. Eastchurch claimed that at first she refused but then agreed, following him to Thomas's home where the black man told her to pinch Thomas several times. She is then said, on leaving the house, to have seen a tabby cat go into Eastchurch's shop; she believed it to be the Devil.

At a later date, she met the black man again, who told her to kill Thomas, "whereupon Temperance did go to his house with the black man and that she went into the chamber where Grace Thomas lay, and further did confess that she did pinch and prick Grace Thomas again in several parts of her body, declaring with both of her hands how she did do it, and that thereupon Grace Thomas did cry out terribly." The black man, according to Eastchurch's statement, had told Lloyd she would be invisible during this attack. He also claimed that another, similar attack on Thomas followed.

Eastchurch then gave evidence that Grace Thomas sought medical help for her complaints.

Image magic
His wife Elizabeth, Grace's sister, stated that Thomas found nine pricks in her knee, and suspecting witchcraft, confronted Lloyd, who replied that she had pricked a piece of leather nine times.

The justices gave their permission for Lloyd to be questioned by the rector, Michael Ogilby. Although she confessed to turning into a cat, stealing a doll and placing it in Thomas's bedchamber, she denied using image magic despite specific questioning by Ogilby.

William Herbert's statement
William Herbert was the final witness against Temperance Lloyd. On 2 February 1671, he had  heard his father William "declare on his deathbed that Temperance Lloyd... had bewitched him unto death." After he died, William saw marks on his body, and had Lloyd charged with witchcraft; she was acquitted at the ensuing trial.

Temperance Lloyd's evidence
On 3 July Temperance Lloyd was herself questioned by the justices, and she admitted all the charges made against her. The following day, in prison she admitted killing William Herbert, Lydia Burman and Anne Fellow, and blinding Jane Dallyn in one eye. She admitted all of this as she believed she was still under the black man's protection.

Exeter
On 8 July Temperance Lloyd was committed to Exeter Gaol to await trial for witchcraft. At the trial she maintained her guilt.

At the execution, she tried to give a reason for her actions: "the Devil met me in the street, and bid me kill her, and because I would not he beat me about the head and back."

Investigation of Mary Trembles and Susanna Edwards
Mary Trembles and Susanna Edwards were investigated after a local woman, Grace Barnes, blamed Trembles for her illness. On 18 July 1682, Mary Trembles was denounced to the authorities and consequently arrested, along with Susanna Edwards, who had accompanied Trembles while they were begging for food (there was a food shortage in the country at the time).

At the inquiry, Grace Barnes's husband John spoke first, accusing Trembles of hurting his wife by witchcraft. William Edwards also spoke, claiming to have overheard a confession by Susanna. People came to see the two women while they were in the town lock-up.

Anthony Jones's shaking fit
During Edwards's questioning, Anthony Jones, husband of Joan, drew attention to Edwards's nervously wringing her hands. He accused her of "now tormenting some person or other." He said her reply was, "Well enough, I will fit thee." He then left the Guildhall to help bring Grace Barnes to bear witness. On returning, Anthony Jones cried out "Wife, I am now bewitched by this devil!" and was overcome by a shaking fit during which he "leapt and capered like a madman", after which he fell unconscious for half an hour.

Confession of Mary Trembles
After this disturbance, Grace Barnes did not make her statement; instead the justices questioned Mary Trembles. She answered all their charges, confessing to witchcraft, but blaming Susanna Edwards for initiating her. Edwards followed with a confession of witchcraft, adding that she also tormented Dorcas Coleman, another local woman.

The following day, Wednesday 19 July, Anthony Jones was sufficiently recovered from his fit to make his own statement, giving a report of the previous morning's events. Later that day, Mary and Susanna were both searched for any suspicious marks on their bodies, then they were sent to Exeter to join Temperance Lloyd while awaiting their trial. Grace Barnes in her statement repeated the story and added that she had some suspicion of Susanna Edwards because she would often call on her husband's house for frivolous reasons, or sometimes none at all.

Statement by William Edwards
Most of the evidence against the two women came from the statements of William Edwards and Joan Jones, who both claimed to be reporting what they had overheard. William Edwards said that the previous day, 17 July, he did hear Susanna Edwards confess that the Devil had carnal knowledge of her body, and "that he had sucked her in her breast and in her secret parts. And further saith that he did hear her say that she and Mary Trembles did appear hand in hand invisible in John Barnes's house where Grace the wife of John Barnes did lie in a very sad condition. And further saith that he did then also hear Susanna say that she and Mary Trembles were at that time come to make an end of her."

Statement by Joan Jones
Joan Jones claimed to have overheard Edwards making a full confession of witchcraft to a visitor from Torrington. She then reported this matter to the justices. After the man, John Dunning, had left the Guildhall (without giving evidence), Jones elaborated on what she claimed to have heard: that Trembles asked Edwards how she had become a witch, and Edwards had replied that a man wearing clothes "all of black" had offered that she would never be in want if only she did one thing for him – and that when she asked what, in God's name, that might be, the man vanished.

Jones then stated that she heard Tremble and Edwards discuss pricking Grace Barnes, and further claimed of Edwards: that the devil carried about Edwards's spirit; that the devil, in the form of a boy, suckled at her breast; and that the devil had had sex with her four times.

Jones also reported that Tremble argued with Edwards, accusing her of being made to be (or seem) a witch, and that she would lay the blame for this on Edwards.

Mary Trembles, in her confession, blamed Edwards for initiating her into witchcraft; Edwards in turn blamed Temperance Lloyd. Public opinion also turned more against Lloyd – "the woman that has debauched the other two."

While the two were in Exeter Gaol, stories of their dealing with the devil continued to circulate; a pamphlet of the time says, "They also asserted that the devil came with them to the prison door and there left them."

Dorcas Coleman's statement
Towards the end of July four late statements were admitted to the record. The only one adding significant matter to the case was that of Dorcas Coleman, who recalled an illness she had suffered in 1680. A doctor was unable to help, and suggested witchcraft, perhaps to excuse his medical failings. Susanna Edwards was then called, and Coleman accused her of being her tormentor.

Convictions and executions
The three women were tried before Sir Thomas Raymond, convicted by a jury, and sentenced to death. The women were hanged on 25 August 1682 at the Heavitree gallows outside of Exeter, and their bodies then dumped nearby in unconsecrated ground. Their death and burial locations are now within the car park of the St Luke's Campus of the University of Exeter where, presumably, their bones still remain beneath the car park.

Political and religious influences
Historian John Callow argues in his 2022 book, The Last Witches of England, that the conviction and execution of the three women was  influenced by political and religious tension between nonconformist Whigs, on the one hand, and the adherents of Anglican Toryism, on the other hand, in the West Country after the English Civil War.

End of witchcraft prosecutions
The Witchcraft Act 1735 finally concluded prosecutions for alleged witchcraft in England after sceptical jurists, especially Sir John Holt (1642-1710), had already largely ended convictions of alleged witches under English law.

See also
 Burton at Bideford (museum in Bideford, UK, which has a permanent display concerning the trial)
 Witchcraft Acts (in England, Scotland, Wales, and Ireland)
 Salem witch trials (in Massachusetts, United States)
 Margaret Mattson (woman accused of witchcraft in the Province of Pennsylvania; acquitted by William Penn after trial in Philadelphia in 1683)
 Torsåker witch trials (in Sweden)
 Ramsele witch trial (in Sweden)
 North Berwick Witch Trial (in Scotland)
 Würzburg witch trial (in what is now Germany)

Notes

References

Further reading

 A PDF of the book is available here

History of Devon
1682 in law
1682 in England
17th-century trials
People accused of witchcraft
People convicted of witchcraft
Bideford
17th century in Devon
Witch trials in England

Bideford witch trial


Pietro Scoppetta or Scappetta (Amalfi, Province of Salerno, 1863 – Naples, 1920) was an Italian painter, painting in an Impressionist style using both oil and pastels.

Biography

He moved in 1891 to Naples to study painting at the Istituto of Fine Arts under cavaliere Giacomo di Chirico, then moved to Paris (1897-1903), London, and Rome for a number of years. In Naples, he frequented the Caffè Gambrinus, where he befriended Salvatore Di Giacomo, D'Annunzio and Matilde Serao. He painted figures and landscapes. In 1920 at the Biennale of Venice, he merited a posthumous exhibition of 35 works.
He designed the covers of various illustrated journals, for example Ilustrazione Italiana of the Milanese firm of Fratelli Treves. In 1875 at the Promotrice in Naples, he exhibits: Chi è là?, a painting once at the Royal Pinacoteca of Capodimonte; In 1887 at the same Mostra: Mercato; At the Beach, At London, and two small genre paintings; in 1887 at Venice: Estate; and in 1888 at the Promotrice of Naples: Sui monti di Amalfi and a Seascape.

References

External links

1863 births
1920 deaths
People from Amalfi
Painters from Campania
19th-century Italian painters
Italian male painters
20th-century Italian painters
Italian landscape painters
Painters from Naples
19th-century Italian male artists
20th-century Italian male artists

Pietro Scoppetta


The RFE is an automatic transmission family from Chrysler. The name refers to its Rear wheel drive design and Full Electronic control system.

45RFE and 545RFE
The 45RFE was introduced in the Jeep Grand Cherokee in 1999, it is notable for including three planetary gearsets rather than the two normally used in a 4-speed automatic. It also features three multiple disc input clutches, three multiple disc holding clutches, and a dual internal filter system (one primary filter for transmission sump, one for the fluid cooler return system). In the 45RFE applications four gears are utilized. In the 545RFE four gears are used on the upshift and a new "gear", 2nd Prime, was used with a different (1.50:1 rather than 1.67:1) ratio to increase versatility when downshifting. Although, with some tuning, you can get the 545RFE to upshift into 2nd Prime.

The 45RFE was produced at the Indiana Transmission plant in Kokomo, Indiana. It was normally paired with the 4.7 L PowerTech V8.

The 45RFE later became the 5-speed 545RFE.

Gear Ratios:
1st                         3.00:1
2nd                        1.67:1
2nd Prime              1.50:1 (Only used when a kickdown acceleration)
3rd                         1.00:1
4th                         0.75:1
5th                         0.67:1 (545RFE only and 45RFE reprogrammed)
Reverse                 3.00:1

Applications:
 45RFE
 1999–2000 Jeep Grand Cherokee (4.7L)
 2002–early 2003 Jeep Liberty (3.7L)
 2000–2002 Dodge Dakota (4.7L) and "(3.9L) Sport Edition Dakota"
 2000–2002 Dodge Durango (4.7L)
 2002 Dodge Ram 1500 (3.7L and 4.7)
 545RFE
 2001–2011 Jeep Grand Cherokee (4.7L, 4.7L H.O.,5.7L Hemi)
 2005–2006 Jeep Liberty (Diesel applications)
 2003–2011 Dodge Ram (4.7L, 5.7L Hemi)
 2005–2011 Dodge Power Wagon
 2003–2011 Dodge Dakota (4.7L, 4.7L H.O.)
 2003–2011 Dodge Durango (4.7L, 5.7L)
 2006–2010 Jeep Commander (4.7L, 5.7L Hemi)
 2007–2010 Jeep Wrangler (2.8 L CRD)
 2007–present LTI/London Taxi Company TX4
 2007-2009 Chrysler Aspen (4.7L, 5.7L Hemi)

68RFE
The 68RFE was introduced in 2007 Ram 2500 and 3500 Pickups with the 6.7L Cummins ISB Diesel engine.
The basic design and operation is the same or similar to the 45 and 545RFE counterparts with the following exceptions:
larger bellhousing with different bolt pattern and cutout to accommodate diesel engine
modified internal components to handle increased torque of diesel engine
revised gear ratios and Transmission Controller programming for larger application
no 2nd gear prime for downshifting like the 45RFE and 545RFE transmissions
Gear Ratios:
1st        3.23:1
2nd        1.83:1
3rd        1.41:1
4th        1.00:1
5th        0.81:1
6th        0.62:1
Reverse    4.44:1

Applications:
2007–present Dodge Ram 2500 and 3500 Pickup (6.7L Cummins ISB Diesel)

65RFE and 66RFE
For the 2012 model year, the 545RFE was recalibrated and introduced as the 65RFE in 1500 Ram models. With the exception of an improved torque converter, it is physically the same as its predecessor. The key difference in the 65RFE is the ability to use all six forward gears in sequence when using Electronic Range Select mode. In normal drive mode, however, the 65RFE uses the shift pattern of the 545RFE; thus never using 2nd and 3rd gears in succession. 2500 and 3500 models with gas engines received the 66RFE, a hybrid of 68RFE internals (including the gearset) packaged in a 545RFE case.

Gear Ratios:
 65RFE
1st             3.00:1
2nd             1.67:1
3rd             1.50:1
4th             1.00:1
5th             0.75:1
6th             0.67:1
Reverse         3.00:1
 66RFE
1st             3.231:1
2nd             1.837:1
3rd             1.410:1
4th             1.000:1
5th             0.816:1
6th             0.625:1
Reverse         4.444:1

Applications:
 65RFE
 2012 Dodge Durango (5.7L)
 2012-2013 Jeep Grand Cherokee (5.7L)
 2012 Ram 1500 (4.7L, 5.7L)
 66RFE
 2012-2018 Ram 2500 (5.7L)
 2012-2018 Ram Chassis Cab 3500 (5.7L)
 2012-2018 Ram 2500 Power Wagon
 2014-2018 Ram 2500 (6.4L)

Basic RFE operation
The fully electronic control is accomplished by the Transmission Control Module (TCM). Depending on year and application, it can either be a stand-alone module or integrated with the Powertrain Control Module (PCM). The TCM uses data from various transmission and engine sensors to control transmission shifting. The TCM operates the solenoid pack to change hydraulic flow through the valve body to various clutches in the transmission. The solenoid pack is mounted directly to the valve body; its connector protrudes from a hole on the left side of the transmission.
On the 45 and 545RFE the hydraulic control system design (without electronic assist) provides the transmission with PARK, REVERSE, NEUTRAL, SECOND, and THIRD gears, based solely on driver shift lever selection. This design allows the vehicle to be driven (in "limp-in" mode) in the event of an electronic control system failure, or a situation that the Transmission Control Module (TCM) recognizes as potentially damaging to the transmission. On the 68RFE, fourth gear is used for limp-in instead of second and third.

All RFE transmissions use Mopar ATF +4. Service fill is 6–8 quarts plus transmission filter.

References

http://hotrodlane.cc/New%20HEMI%20Tech/2004%2057%20hemi%20trans.pdf

See also
 List of Chrysler transmissions

45RFE

Chrysler RFE transmission


Pippi Longstocking () is a novel by Astrid Lindgren. It was originally published in Sweden on 26 November 1945. It is the first in a series of books about Pippi Longstocking. Pippi is a girl who lives alone in a house with her pets, a monkey named Mr. Nilsson and a horse that she keeps on the porch. She befriends Tommy and his sister Annika, who live next door to her.

As of 2009, the book has been translated into 64 languages.

Background

Astrid Lindgren first thought of Pippi Longstocking in 1941. Her 9-year-old daughter Karin was sick and had to be kept in bed. She asked her mother to tell her a story, so Lindgren made up a character named Pippi Longstocking and some stories about her to entertain her daughter. In 1944, she wrote them down and sent the manuscript of the book to Bonnier Publishers. They said that they did not want to publish the book. When the publishing company Rabén and Sjögren announced a children's book contest on January 28 of the next year, she sent a new version of the book to the company. It won first prize and was published in 1945. Afterwards, Rabén and Sjögren would also publish the sequels, Pippi Goes on Board (1946) and Pippi in the South Seas (1948). Since then, the series has been translated into many other languages. It has also been adapted into a television series and two movies.

Plot
Pippi is a girl who is 9 years old. She lives alone in Villa Villekulla, an old house in a garden way out at the end of a small town (the name of the town is not given). She lives there all alone because her father, a sea captain called Captain Efraim Longstocking, disappeared when he was washed overboard in a storm and her mother died when she was very young. Pippi believes that her mother is now an angel in Heaven, watching her through a peephole and her father, instead of drowning after being washed overboard, had actually floated to an island filled with cannibals and become a cannibal king.

Luckily for her, her father had bought Villa Villekulla many years ago so that when he would grow old he would move into the house with his daughter. So Pippi decides to move into the house with the two things she had taken from her father's ship: her pet monkey named Mr. Nilsson (a present from her father) and a suitcase filled with gold coins. After moving into the house, she also buys a horse, which she keeps on the porch. She likes living alone because nobody orders her to go to bed and no one forces her to take cod liver oil, when she likes candy more.

Beside the house, there is another house in which there live two well-behaved siblings named Annika and Tommy. They first meet Pippi when she is out on the road in the morning, walking backwards. They ask her about this and she answers that a person can walk any way she wants to in a free country. She continues to tell them that in Egypt, all the people walk backwards and nobody thinks it is strange. After they ask her whether she actually has been to Egypt, she answers that she has and that in Farthest India, the people have an even stranger way of walking: they walk on their hands. At this, they accuse her of lying and then she admits that she was lying and that in the Congo nobody speaks the truth.

Afterwards, she invites them over to her house, where they eat pancakes and Pippi tells them about Brazilians, who always have eggs in their hair. Then she shows them some of the things which she and her father brought home from their journeys around the world. From these, Pippi gives them some gifts: Tommy gets a small knife with a handle of pearl and Annika gets a ring with a green stone. Annika and Tommy then go back to their home.

References

1945 books
Swedish children's books

Pippi Longstocking (book)


Richard Cork (born 25 March 1947) is a British art historian, editor, critic, broadcaster and exhibition curator. He has been an art critic for the Evening Standard, The Listener, The Times and the New Statesman. Cork was also editor for Studio International. He is a past Turner Prize judge.

Early life
Richard Cork was educated at Kingswood School, Bath (1960–1964). He read art history at the University of Cambridge and was awarded his doctorate in 1978.

Career
Cork was Slade Professor of Fine Art at Cambridge from 1980–90, and the Henry Moore Senior Fellow at the Courtauld Institute of Art in London from 1992–95. He then served as Chair of the Visual Arts Panel at the Arts Council of England until 1998. Committees he has sat on have included that of the Hayward Gallery, the British Council's Visual Art Committee and the Advisory Council for the Paul Mellon Centre for Studies in British Art. He has also been on the panel of judges for the Turner Prize and other major art prizes. In 1995 he was a selector for the British Art Show.

Cork's broadcasting work includes reviews of art exhibitions for BBC Radio 4's Front Row, Night Waves on Radio 3 and The Green Room on Radio 2. He also regularly appears on the BBC Two art series The Private Life of a Masterpiece. He has curated exhibitions at the Royal Academy, Tate, Serpentine Gallery, and Hayward galleries in London and, elsewhere in Europe, in Paris, Brussels and Berlin. In Cork's 1978 exhibition, "Art for Whom" at the Serpentine Gallery, "all the work exhibited the idea of community and group experience-a principal of social integration..." (Gablik 12). Cork has a specialist interest in the Vorticist movement and his book on them was for some time the standard text on the movement. In 1995 Cork was given a National Art Collections Fund Award for his international exhibition Art and the First World War, held in London and Berlin. He is currently a Syndic of the Fitzwilliam Museum, Cambridge.

During late modernism, Cork opposed the practice of intellectual elitism derived from formalist abstraction. (Gablik 12) The late critic Peter Fuller (editor of Modern Painters) invented the term 'Corkballs' to describe his form of art criticism. Louisa Buck said Cork was among the "rare species" who search out the latest developments in contemporary art, in contrast to the conventional outlook of many of his colleagues, who "still feel that art should know its place, which is firmly on a plinth or in a frame." She described his dismissal from the Evening Standard (where he was art critic 1969–84): "on a black day for contemporary art, he was succeeded by the fulminating Brian Sewell."

In 2012, Cork wrote "The Healing Presence of Art", an illustrated history of Western art in hospitals. Cork is a Patron of Paintings in Hospitals, a charity that provides art for health and social care in England, Wales and Northern Ireland.

References

Sources
Gablik, Suzi. Has Modernism Failed. Thames & Hudson, 1985.

Academics of the Courtauld Institute of Art
British art critics
British art historians
John Llewellyn Rhys Prize winners
Living people
People educated at Kingswood School, Bath
1947 births
Academics of the University of Cambridge
Alumni of Trinity Hall, Cambridge
British broadcasters
People associated with the Fitzwilliam Museum

Richard Cork


Franz Wulfhagen (c. 1624–1670) was a German Baroque painter and engraver.

According to Houbraken, he was born in Bremen, but he moved to Amsterdam where he became a pupil of Rembrandt. He learned to copy his style well, and thus was able to make a living from painting the rest of his life. There are no paintings by him listed in the RKD, but he is noted there as an engraver and painter of religious works. He painted many mayors of Bremen, and these paintings hang in the town hall there.

References

1624 births
1670 deaths
German Baroque painters
Artists from Bremen (city)
Pupils of Rembrandt

Franz Wulfhagen


Herbs are plants that are grown either as a food (usually as a condiment), or because they have some use in treating diseases (or making them better), or for spiritual reasons (for example, their smell). Some herbs may act as an aphrodisiac.

The word herb comes from the Latin word herba, meaning grass, green stalks, or blades.  Botanists use the word to mean any plant with soft, succulent tissues.  But many people use the word to mean only herbs with some economic value.

Herbs are small plants that have a fleshy or juicy stem when they are young.  The stems of some herbs develop hard, woody tissue when they grow old.

Most herbs are perennials.  This means that the top of each plant die each growing season, but the roots remain alive and produce new plants year after year.

Some herbs are annuals.  They live for only one growing season and must be raised from seed each year.

Uses
The leaves, stems, or seeds of herbs can be used fresh, or they can be dried for later use.  Dried herbs can be pounded to a fine powder, placed in airtight containers, and then stored.

Some herbs are used in cooking to flavor foods.  Others give scents to perfumes.  Still others are used for medicines.  Some herbs, such as balm and sage, are valued for their leaves.  Saffron is picked for its buds and flowers.  Fennel seeds are valuable in relishes and seasoning.  Vanilla fruit pods yield vanilla flavoring.  Ginseng is valued for its aromatic roots.

Growing herbs
People often grow herbs in their gardens.  Some people grow herb gardens for the patterned beds that they can create with these plants.  Many other gardeners grow herbs for the flavor that the fresh or dried plants add to food.

Herb seeds and seedlings are inexpensive, and the plants grow easily. People who do not have enough outdoor space for herb beds can grow most kinds of herbs in containers.

Many kinds of herbs can also be grown indoors.  The plants grow well with little care.  Gardeners plant herbs in good soil that has been well-cultivated.  They choose a sunny spot near a window.

Related pages
List of herbs

Other websites

 Herb Information Resources

Herb


In topology, a graph manifold (in German: Graphenmannigfaltigkeit) is a 3-manifold which is obtained by gluing some circle bundles. They were discovered and classified by the German topologist Friedhelm Waldhausen in 1967. This definition allows a very convenient combinatorial description as a graph whose vertices are the fundamental parts and (decorated) edges stand for the description of the gluing, hence the name.

Two very important classes of examples are given by the Seifert bundles and the Solv manifolds. This leads to a more modern definition: a graph manifold is either a Solv manifold, a manifold having only Seifert pieces in its JSJ decomposition, or connect sums of the previous two categories. From this perspective, Waldhausen's article can be seen as the first breakthrough towards the discovery of JSJ decomposition.

One of the numerous consequences of the Thurston-Perelman geometrization theorem is that graph manifolds are precisely the 3-manifolds whose Gromov norm vanishes.

References

3-manifolds
Topological graph theory

Graph manifold


The Police Tapes is a 1977 documentary about a New York City police precinct in the South Bronx.  The original ran ninety minutes and was produced for public television; a one-hour version later aired on ABC.

Production
Filmmakers Alan and Susan Raymond spent three months in 1976 riding along with patrol officers in the 44th Precinct of the South Bronx, which had the highest crime rate in New York City at that time. They produced about 40 hours of videotape that they edited into a 90-minute documentary.

The result was what New York Times TV critic John J. O'Connor called a "startlingly graphic and convincing survey of urban crime, violence, brutality and cynical despair".  Cases followed include the discovery of a dead body on the street, the rescue of a mother trapped in her apartment by a mentally ill son, an attempt to negotiate with a woman armed with an improvised flail who refuses to stop threatening her neighbor, and the arrest of a 70-year-old woman accused of hitting her daughter in the face with an axe.

There is some introductory narration at the beginning describing the neighborhood at the time the documentary was filmed. Some unifying commentary is also provided by an interview with Bronx Borough Commander Anthony Bouza, who ascribes the crime rate in the 44th Precinct to poverty, describes the hardening effects of urban violence on idealistic police officers, and likens himself to the commander of an occupying army, saying "We are manufacturing criminals... we are manufacturing brutality."

The production was financed by the New York State Council on the Arts and WNET and cost only $2,000, thanks to the use of Portapak tape equipment; it would have cost an estimated $90,000 if film had been used. Special Newvicon tubes in the video cameras allowed them to tape with only streetlights for illumination, making them less conspicuous to subjects who might otherwise have fled from or approached the cameras.

Accolades
It won two Emmy Awards,
a Peabody Award,
and a DuPont-Columbia University Award for Broadcast Journalism.

Influence and legacy
The Police Tapes was an important source for Fort Apache, The Bronx, a 1981 film with Paul Newman and Ed Asner. It influenced the deliberately ragged visual style of the 1980s television police drama Hill Street Blues, which used handheld cameras to provide a sense of realism and immediacy—particularly during the morning roll call in each episode, which was based on a similar scene in The Police Tapes.

Robert Butler, who directed the first five episodes, urged the camera operators to avoid carefully composed shots and to move their cameras frequently, telling them "If you're having trouble focusing, that's great."  This mock-documentary style, in turn, influenced many other television dramas.

Another line of influence runs from The Police Tapes to the Fox Network reality TV series COPS.  COPS, like its predecessor, closely follows police officers, suspects, and crime victims with handheld cameras.  According to New York Times film critic Elvis Mitchell, the style of COPS then became part of the visual language of feature films, so that "the DNA of [the Raymonds'] original has found its way into the film mainstream."

References

External links

 The Police Tapes at Video Vérité.

1977 documentary films
1977 films
1970s in the Bronx
American documentary television films
Documentary films about law enforcement in the United States
Documentary films about New York City
Emmy Award-winning programs
Films set in the Bronx
New York City Police Department
Peabody Award-winning broadcasts
1970s American films

The Police Tapes


The Togian white-eye (Zosterops somadikartai) is a species of bird in the family Zosteropidae.

It is found in the Togian Islands of Indonesia, where it is endemic. The species was first spotted by University of Indonesia researcher Mochamad Indrawan and his colleague Sunarto in 1997, and formally described in 2008. The species is named after Soekarja Somadikarta, a prominent Indonesian ornithologist. Unlike most species in the genus it lacks a white-ring around the eye.

The species is believed to be endangered, although it has not yet been assessed by the IUCN.

Description
The Sulawesi region is believed to have at least 9-10 species that are found in isolated islands. This isolation has led to speciation with differences in morphology and vocalizations. This new species is most similar to the black-crowned white-eye (Zosterops atrifrons) but lacks the white eye ring which is narrow but conspicuous even in juvenile black-crowned white-eyes. The Togian white-eye has a less extensive black cap, clearer yellow throat, distinct pale base to the bill and reddish (brown in the black-crowned) iris. The species is separated from Zosterops surdus of the west-central Sulawesi by the paler and brighter olive above and clearer yellow on the throat. It differs from Zosterops subatrifrons of Peleng and Banggai Islands by the lack of the white eye ring, greyer breast and less extensive black crown. Zosterops anomalus of southern Sulawesi also lacks a white eye ring but it has tiny white specks around the orbital skin. Differences in the pitch and modulation of the song of Z. somadikartai are noted in comparisons with other Zosterops species known from the region.

Distribution and status
The holotype was collected from Pulau Malenge close at an elevation of about 50 m above sea level. It has also been observed on Malenge, Binuang, Talatakoh Island and two sites at Batudaka Island all at locations near the coast. The habitats included mangrove to secondary vegetation and gardens consisting of coconut, clove, cacao and durian. The birds were found to be gregarious, moving in flocks of twos and threes.

The birds were not detected on the Togian and the Walea Islands. Surveys suggested that the entire population was found in an area of less than 5000 km2 and therefore fulfilling the IUCN criteria for "Endangered" status (EN, B, 1, a, b, iii).

References

External links
Science Codex: Zosterops somadikartai - new bird species discovered in Indonesia (contains illustration)
 News release
Photograph
 Photograph of a singing bird

Birds described in 2008
Endemic birds of Sulawesi
Endangered animals
Endemic fauna of Indonesia
Zosterops
Taxa named by Pamela C. Rasmussen

Togian white-eye


Homogeneity is a word that means being similar. It is often applied to mixtures.  Mixtures that are homogeneous are those where it is not possible to tell the components they are made of by looking at them. The mixture will also look the same everywhere. Pure substances are homogeneous.

Physics

Homogeneity


The First Congress of Vienna was held in 1515, attended by the Holy Roman Emperor, Maximilian I, and the Jagiellonian brothers, Vladislaus II, King of Hungary and King of Bohemia, and Sigismund I, King of Poland and Grand Duke of Lithuania. Previously, Vladislaus and Maximilian had agreed on a Habsburg-Jagiellon mutual-succession treaty in 1506. It became a turning point in the history of Central Europe. After the death of Vladislaus, and later his son and heir, the childless King Louis II at the Battle of Mohács against the Ottomans in 1526, the Habsburg-Jagellion mutual succession treaty ultimately increased the power of the Habsburgs and diminished that of the Jagiellonians.

Maximilian had been supporting Vasili III of the Grand Duchy of Moscow against the Jagiellonian rulers of Lithuania, Poland, Hungary and Bohemia, to advance the Habsburg claims to the succession in Hungary and Bohemia.  The Jagiellonians had been facing simultaneous threats on all fronts, from the Emperor, the Russians, the Teutonic Order under Albert of Prussia, and the Crimean Tatars.  The city of Smolensk fell to the Russians in 1514, and Maximilian planned a congress to cement his claims in central Europe.  However, Lithuanian and Polish forces decisively defeated the Russian army at the Battle of Orsha on 8 September 1514, changing the balance of power.

The Congress opened at the Emperor's border, at Bratislava (Pressburg or Pozsony) in Hungary, where Maximilian's representative met Vladislaus and Sigismund, and concluded after they travelled together to Austria where the two kings met the emperor and went on to Vienna. The Emperor promised to cease his support of Moscow against Lithuania and Poland, and to arbitrate in disputes between the Teutonic Order and Poland under the Second Treaty of Thorn. Maximilan and Vladislaus decided in the congress: their mutual succession treaty was further confirmed by a double wedding. Accordingly, Vladislaus's only son, Louis, married the Emperor's granddaughter Mary; and her brother, Archduke Ferdinand, married Vladislaus' daughter, Anna. The Habsburg claims to the succession in Hungary and Bohemia were advanced substantially by the marriages. A woodcut by Albrecht Dürer commemorates the double wedding on 22 July 1515.

Vladislaus died on 13 March 1516, and Maximilian died on 12 January 1519, but his designs were ultimately successful:  on Louis's death in 1526, he was succeeded as King of Bohemia by Maximilian's grandson, Ferdinand I, Holy Roman Emperor.

References

 Borderlands of Western Civilization: A History of East Central Europe, Oskar Halecki, 1952. .

1515 in Europe
Treaties of the Holy Roman Empire
16th century in Vienna
Treaties of the Grand Duchy of Lithuania
Treaties of the Kingdom of Poland (1385–1569)
Treaties of the Kingdom of Hungary (1000–1918)
1515 treaties
Maximilian I, Holy Roman Emperor

First Congress of Vienna


The Madonna di Senigallia is a painting by the Italian Renaissance master Piero della Francesca, finished around 1474. It is housed in the Galleria Nazionale delle Marche, in the Ducal Palace of Urbino.

History
From its small scale, the painting was intended for private devotion. It was noticed for the first time in 1822 in the church of the Observant Franciscan convent of Santa Maria delle Grazie just outside Senigallia (Marche), whence the current name. Senigallia was wrested from Sigismondo Malatesta by Federico Montefeltro: both men were patrons of Piero. The commission was likely from or on behalf of Giovanni Della Rovere, betrothed in 1474 to Giovanna Montefeltro, at which time Federico made Giovanni, lord of Senigallia. Following its rediscovery the painting was taken to the Ducal Palace, Urbino.

The 1990s restoration showed the high quality of Piero della Francesca's treatment of light, as well as the influence of Flemish masters on it, both in its oil on panel medium and in details such as the basket with linen gauze, the coral, and the fabric covering the Madonna's head. The light, which realistically enters from the window on the left, is a symbol of the Virgin's conception. The linen in the basket is instead an allusion to her purity, while the case for hosts in the shelf and the necklace and pendant of coral worn by the infant Jesus both hint to the Eucharist sacrifice. The staring, thoughtful immobility of all the characters would be also an allusion to the latter.

References

Sources

External links
Page at artonline.it

1470s paintings
Paintings by Piero della Francesca
Paintings of the Madonna and Child
Senigallia
Collections of the Galleria Nazionale delle Marche

Madonna di Senigallia


Crime & the City Solution are an Australian rock band formed in late 1977 by singer-songwriter and mainstay Simon Bonney. They disbanded in 1979 leaving only bootleg recordings and demos. In late 1983, Bonney travelled to London and in 1985 he formed a new version of the group in the U.K. which included members of the recently disbanded The Birthday Party; later they transferred to Berlin, where they issued four albums – Room of Lights (1986), Shine (1988), The Bride Ship (1989) and Paradise Discotheque (1990) – before disbanding again in 1991. In 2012, Bonney reformed the band in Detroit with two veterans of its Berlin era and a handful of new members.

Critic David Sheridan described the band's music as characterized by slow tempos, dark moods and Bonney's forlorn vocals, all of which can range from "endurance testing" at worst to "hauntingly beautiful" at best.

History
Crime & the City Solution are an Australian rock group which formed in late 1977 in Sydney with a line-up of Simon Bonney on lead vocals, Phil Kitchener on bass guitar, Dave MacKinnon on saxophone, Don McLennan (ex-Particles) on drums and Harry Zantey on guitar. The group has had five distinct line-ups with Bonney as the only mainstay: Sydney in 1977–78, Melbourne in 1979, two groupings in Berlin from 1985 to 1990, and Detroit from 2012 onwards. In the late 1970s Bonney had met McLennan and sometimes provided guest vocals for McLennan's group, The Particles. According to Australian rock music historian, Ian McFarlane, The Particles had "a cult following around the inner-city Sydney scene courtesy of its delightful, melodious pop sound". In contrast, according to Peter Nelson of Pulp fanzine, Crime & the City Solution, used "An exciting blend of fuzzed monotone guitar runs and squawking saxophone riffs . . . [like] the drone songs on Wire's Pink Flag".

In late 1978 Bonney and McLennan had relocated to Melbourne where they formed a new version of Crime & the City Solution with Chris Astley on keyboards, Kim Beissel on saxophone, Lindsay O'Meara on bass guitar (ex-Voigt/465) and Dan Wallace-Crabbe on guitar. In Melbourne Bonney became friends with local post-punk group, The Boys Next Door (later known as The Birthday Party). Crime & the City Solution broke up in 1979 after a number of live shows and recording an unreleased demo. Wallace-Crabbe later joined Laughing Clowns, O'Meara returned to Sydney and joined Pel Mel, Beissel played in → ↑ →, Astley and McLennan in other bands.

In late 1983 Bonney moved to London and reconnected with members of The Birthday Party. In 1985 he formed another version of Crime & the City Solution in London with Mick Harvey on drums, keyboards and bass guitar and Rowland S. Howard on guitar and backing vocals. Howard's younger brother, Harry, soon joined on bass guitar. In June 1985 the group's debut four-track EP, The Dangling Man, was released by Mute Records in the UK and Possum Records in Australia. McFarlane found the EP provided "a gloomy, stripped-down, blues-flavoured sound". A six-track EP, Just South of Heaven, followed in September for UK release only. It was "cleaner, more powerful set of songs dominated by Bonney's dramatic vocals and chilling instrumentation". After the release Epic Soundtracks (aka Kevin Godfrey, ex-Swell Maps) joined on drums which freed Harvey to concentrate on keyboards and guitar. In 1986 Bronwyn Adams, Bonney's domestic partner, joined on violin and backing vocals.

With the line-up of Adams, Bonney, Harvey, Rowland and Harry Howard, and Soundtracks, Crime & the City Solution recorded its debut album, Room of Lights, produced by the band, Flood and Tony Cohen. They recorded the album in Berlin. On 27 October 1986 it was released in the UK on Mute Records. Amy Hanson of Allmusic praised it as "rough and ready rock that slotted itself nicely under a gothic canvas – they were and remain post-punk's forgotten kings ... Its urgency jangles, its cacophony is dichotomous, and, at times, the underlying energy is breathtaking as the band storms through a great set". Late that year the Howard brothers and Soundtracks left to form their own group, These Immortal Souls.

In 1987 Adams, Bonney and Harvey recruited Chrislo Haas (D.A.F., Liaisons Dangereuses) on synthesiser, Alexander Hacke (Einstürzende Neubauten) on guitar and Thomas Stern on bass guitar. In Australia in March 1988, Rampant Records issued a compilation, Room of Lights, with tracks from the UK releases, Just South of Heaven and Room of Lights. On 25 April that year Crime & the City Solution issued their second album, Shine, which Allmusic's Ned Raggett felt was "a touch less classically smooth and arranged, more rough around the edges and jagged, especially with Bonney's delivery ... his lyrics come across as distinctly unfriendly to a usual verse/chorus structure, sounding like a spoken-word recitation sung a line at a time". In November Craig Lee described their performance at Bogart's for the Los Angeles Times, "For what is purportedly a loosely structured outfit, this group displayed a remarkable cohesiveness. At times the band has the earthy feel of both old blues and country sounds and the slightly mystical aura of the early Doors. But rather than rehash time-worn styles, the Solution translates these forms into its own introspective idioms". Alternative rocker Mark Lanegan cited Shine as one of his favourite albums, "[it] is succinct and is great from start to finish. There's a great sense of space on this record that's fantastic but the thing that I'm most drawn to is the melancholy on some of those songs. But it also has a cinematic quality".

On 17 April 1989 Crime & the City Solution released their third album, The Bride Ship, for which Raggett found them "continue carving its own strange path. ... Harvey doubtless contributes most of the organ work. Simon Bonney continues to evolve into more of his own man – if anything, he's embracing country and western more explicitly in his singing style". The Bride Ship was issued in Australia by BMG and Arista Records.

On 3 September 1990 Crime & the City Solution's fourth studio album, Paradise Discotheque, appeared. It had been recorded between November 1989 to March 1990 and was produced by Haas. The group disbanded late in 1991 and on 4 October 1993 a live album, The Adversary – Live, was released. By 1991 Bonney had moved to Los Angeles where he released two solo albums, Forever (1992) and Everyman (1994).

In late 2011, Bonney was based in Detroit and announced that Crime & the City Solution would re-form to record a new album for Mute Records in 2012. Personnel are Bonney, Adams, Hacke, David Eugene Edwards (of US bands 16 Horsepower and Woven Hand), Detroit musician Troy Gregory, Matthew Smith, Jim White (of the Australian group Dirty Three), and Danielle de Picciotto (married to Hacke). The recording of the album, titled American Twilight and released in 2013 occurred in Detroit.

Discography
Studio albums
 Room of Lights (1986)
 Shine (1988)
 The Bride Ship (1989)
 Paradise Discotheque (1990)
 American Twilight (2013)
 The Killer (2023)

EPs
 The Dangling Man (1985)
 Just South of Heaven (1985)
The Kentucky Click / Adventure (1986)
On Every Train (Grain Will Bear Grain) (1988)
The Shadow Of No Man (1989)
 I Have The Gun (1990)
The Dolphins And The Sharks (1991)

Live
 The Adversary – Live (1993)

Compilations
 A History of Crime (2012)

Members
Sydney 1977–1978
Simon Bonney – vocals
Don McLennan – drums
Harry Zantey – guitar
Phil Kitchener – bass (deceased)
Dave MacKinnon – soprano & tenor saxophone

Melbourne 1979
Simon Bonney – vocals
Don McLennan – drums
Dan Wallace-Crabbe – guitar
Lindsay O'Meara – bass
Chris Astley – keyboards
Kim Beissel – alto saxophone

Berlin/London 1985–1986
Simon Bonney – vocals
Mick Harvey – guitar, keyboards
Rowland S. Howard – guitar (deceased)
Harry Howard – bass
Epic Soundtracks – drums (deceased)

Berlin 1987–1991
Simon Bonney – vocals
Mick Harvey – drums
Bronwyn Adams – violin
Alexander Hacke – guitar
Chrislo Haas – synthesizer (deceased)
Thomas Stern – bass

Detroit 2012–2013
Simon Bonney – vocals
Bronwyn Adams – violin
Alexander Hacke – guitar
David Eugene Edwards – guitar
Troy Gregory – bass
Danielle de Picciotto – visuals
Matthew Smith – keyboards/synthesizer
Jim White – drums

Berlin 2022–present
Simon Bonney – vocals
Bronwyn Adams – violin, backing vocals, loops, found sounds
Chris Hughes – drums
Georgio Valentino – synthesizer, guitar
Baron Anastis – bass
Donald Baldie - guitar, piano

Timeline

Miscellaneous
 Wim Wenders, who was a fan of the band, featured them performing "Six Bells Chime" in his film Wings of Desire. Also, the song "The Adversary" was included in the soundtrack to the Wenders film Until the end of the World.
 Bandmember Bronwyn Adams is married to vocalist Simon Bonney. Her late brother Bruno Adams was the vocalist in the band named "Once Upon A Time", who were produced by Mick Harvey, and he was later in the band named "Fatal Shore" (Prague/Berlin).

References

General
  Note: Archived [on-line] copy has limited functionality.
Specific

External links
 www.fromthearchives.org, which has a complete discography.
 [ Allmusic Guide entry]
 artist information/discography page at němý.cz – the Mute Records digital evidence archive

Musical groups established in 1977
Musical groups disestablished in 1979
Musical groups reestablished in 1985
Musical groups disestablished in 1990
Musical groups reestablished in 2012
New South Wales musical groups
Victoria (state) musical groups
Australian post-punk groups
Mute Records artists

Crime & the City Solution


Athletics, known as Track and Field in the United States, has been contested at every Summer Olympics since the birth of the modern Olympic movement at the 1896 Summer Olympics.

Men's events
No new events have been added to the men's athletics programme since 1952 when the short racewalk was added. The roster of events has not changed since then, with the exception of the omission of the long racewalk in 1976. The long racewalk is the only event held for men but not included on the women's programme.

A total of 52 different events have been held in the men's competition. The current list has 24 events.

Many of the discontinued events were similar to modern ones but at different lengths, especially in the steeplechasing, hurdling, and racewalking disciplines.

Team racing events were only run in the six early editions of the Games.

The athletic multi-discipline triathlon (3 events) and pentathlon (5 events) have been replaced by the 10 event decathlon, and the medley relay replaced by relay races where each section is the same length as the others.

Standing jump competitions are no longer held, nor are the various modified throwing events which were experimented with in 1908 and 1912.

Related pages
 Summer Olympic Games

Summer Olympic Games

Athletics at the Summer Olympics


Frederick Haskell Dominick, (February 20, 1877 – March 11, 1960) was elected to the U.S. House of Representatives for South Carolina's 3rd congressional district. He served for eight terms from 1917 to 1933.

Biography

He was born in Peak in Newberry County, South Carolina on February 20, 1877. He attended the public schools of Columbia, South Carolina, Newberry College, South Carolina College in Columbia and the law school of the University of Virginia in Charlottesville. He was admitted to the South Carolina bar in 1898 and commenced practice in Newberry, South Carolina. He was a member of the South Carolina House of Representatives from 1901 to 1902. He was a chairman of the Democratic Party county committee from 1906 to 1914. He served as an assistant attorney general of South Carolina from 1913 to 1916.  He was a delegate to the Democratic National Conventions in 1920 and 1924. He was elected to the Sixty-fifth and to the seven succeeding Congresses (March 4, 1917 to March 3, 1933). On April 5, 1917, he was one of 50 representatives who voted against declaring war on Germany, the only person in Congress from South Carolina to so vote. He was an unsuccessful candidate for renomination in 1932. In Congress, he was one of the managers appointed by the United States House of Representatives in 1926 to conduct the impeachment proceedings against George W. English, who was a judge of the United States District Court for the Eastern District of Illinois. During the Second World War, he served as an assistant to the United States Attorney General of the Department of Justice in Washington, D.C. He practiced law in Newberry, South Carolina until his death there March 11, 1960. He was interred in Rosemont Cemetery.

External links
 Congressional biography

1877 births
1960 deaths
Newberry College alumni
University of South Carolina alumni
University of Virginia School of Law alumni
American Lutherans
Democratic Party members of the United States House of Representatives from South Carolina
People from Newberry County, South Carolina
People from Newberry, South Carolina

Frederick H. Dominick