Dietrich Fischer-Dieskau (born 28 May 1925 in Berlin, died 18 May 2012 in Berg, Upper Bavaria) was a German baritone singer.  For more than 30 years he was thought of by many as the greatest male singer in classical music.  He was particularly famous for his singing of Lieder (German art songs), but he was also a superbly great singer of opera as well as a concert singer with orchestras. Later in his career he also conducted.

Fischer-Dieskau had a lyrical baritone voice, not a powerful, heroic voice like a Heldentenor.  In spite of that he recorded many operatic roles which are traditionally thought of as being for Heldentenor: Wotan in Richard Wagner's Ring Cycle, Hans Sachs in Die Meistersinger von Nürnberg, Amfortas in Parsifal, Macbeth in Verdi's opera etc.

He is the  most recorded singer of all time. He sang in many languages as well as German: French, Russian, Hebrew and Hungarian.

Early years
Dietrich Fischer-Dieskau was born in Berlin.  His parents were teachers.  He started singing as a child and began  voice lessons at the age of 16. He had to join the German army  (the Wehrmacht) during World War II, in 1943.  He had only just finished school.  He was captured in Italy in 1945 and spent two years as an American prisoner of war. During that time, he sang Lieder in POW camps to homesick German soldiers.

Career
In 1947 he returned to Germany where he started his professional career singing the baritone solo in Brahms' Ein Deutsches Requiem without any rehearsal. (He was a last-minute substitute for a singer who was ill.) He gave his first Lieder recital in Leipzig later that year.

From early in his career he worked with famous lyric sopranos Elisabeth Schwarzkopf and Irmgard Seefried, and the recording producer  Walter Legge, producing very popular albums of lieder by Franz Schubert and Hugo Wolf.

In the autumn of 1948, Fischer-Dieskau became principal lyric baritone at the Städtische Oper Berlin (Municipal Opera, West Berlin),  making his first opera performance in the role of Posa in Verdi's Don Carlos under the conductor Ferenc Fricsay. This company, known after 1961 as the Deutsche Oper, was to be his artistic home until his retirement from the operatic stage, in 1978.

Fischer-Dieskau made guest appearances at the opera houses in Vienna and Munich. After 1949 he made concert tours in the Netherlands, Switzerland, France and Italy. In 1951, he first appeared at a concert in the Salzburg Festival with Mahler's Lieder eines fahrenden Gesellen (Songs of a Wayfarer) under Wilhelm Furtwängler.  He was starting to appear all over the world: in the Royal Albert Hall, London, Boston, Massachusetts and at the  Bayreuth Festival.

As an opera singer, Fischer-Dieskau performed mainly in Berlin and at the Bavarian State Opera in Munich. He also made guest appearances at the Vienna State Opera, at the Royal Opera House, Covent Garden in London, at the Hamburg State Opera, in Japan, and at the King's Theatre in Edinburgh, during the Edinburgh Festival. His first tour in the United States took place in 1955, when he was 29.  For his recitals there he was accompanied by Gerald Moore.  He recorded many Lieder with Gerald Moore, and gave many recitals with him until Moore retired in 1967.  However, they continued to make recordings after that.  Their recordings of the Schubert song cycles
Die schöne Müllerin and Die Winterreise were very highly thought of.

Fischer-Dieskau also performed many works by living composers including Benjamin Britten, Samuel Barber, Hans Werner Henze, Karl Amadeus Hartmann, Ernst Krenek and Witold Lutosławski.

Fischer-Dieskau also recorded many famous roles in Italian operas, e.g. Verdi's Rigoletto and Rodrigo in Verdi's Don Carlos,  Scarpia in Giacomo Puccini's Tosca.  He retired from opera in 1978.

Fischer-Dieskau's musicianship and technique  were always perfect.  He retired from the concert hall on New Year's Day, 1993, at 67, and spent his time conducting, teaching (especially the interpretation of Lieder), painting and writing books.

Personal life
In 1949, Fischer-Dieskau married the cellist Irmgard Poppen. Together they had three sons: Mathias, who became a stage designer, Martin (a conductor), and Manuel (a cellist). Irmgard died in 1963 of complications following childbirth. Afterwards, Fischer-Dieskau was married to the actress Ruth Leuwerik, from 1965 to 1967, and Kristina Pugell, from 1968 to 1975. From 1977 until his death he was married to the soprano Julia Varady.

Audio samples

References

1925 births
2012 deaths
Baritones
German conductors
German singers
Grammy Award winners
Order of Merit of the Federal Republic of Germany
German opera singers

Dietrich Fischer-Dieskau


Francisco Manuel Perea Bilbao (born 20 November 1978 in Málaga, Andalucía, Spain), professionally known as Fran Perea, is a Spanish actor and singer.

Career

Fran Perea graduated from the Escuela Superior de Arte Dramático of Málaga. He made his debut in 2000, acting Hugo in television series Al salir de clase. He portrayed Hugo from 2001 to 2002.

In 2003, Perea got the role of Marcos Serrano in television sitcom Los Serrano. He also sang the opening theme "1 más 1 son 7", and was a huge hit in 2003. Due to his role of Marcos, Fran Perea became a famous singer. His first album, La chica de la habitación de al lado, was totally inspired by his role in Los Serrano. It earned four Platinum and one Gold discs. In 2004, he had a Spanish tour, and recorded the live hits album Fran Perea, en concierto. In 2005, he released his second album Punto y Aparte, that followed the success of La chica de la habitación de al lado. One year later, Perea left Los Serrano and started acting in films.

In 2006, he portrayed David in film Los Mánagers, directed by Fernando Guillén Cuervo. Also, he was the protagonist of 2006 film El camino de los ingleses, directed by famous actor Antonio Banderas. When Banderas selected him for the film, he did not know that Perea was very famous in Spain for his roles in the TV-series Al salir de clase and Los Serrano.

In 2007, Perea acted in Goya-nominated film Las 13 rosas, directed by Emilio Martínez Lázaro. And that year, he started performing in plays like 'Fedra' as Hipolito along with some of the big names of the Spanish dramaturgy: Ana Belén as Fedra, José Carlos Plaza as director and Juan Mayorga as scriptwriter.

After that he participated on the TV series 'Hospital Central'and played the role of Don Juan in 'Don Juan, el burlador de Sevilla', under the orders of Emilio Hernández. The debut took place in Naples and the play was also performed in the Classical Theater Festival of Almagro. In 2009 and 2010, once again, he played Hipolito on stage.

In 2010, Fran Perea launched his third album, 'Viejos conocidos'. This is the first album all made by Fran: written by him and produced by his label Sinfonía en No Bemol. In May and July 2012 he has had a tour with this album around Spain.

He shot a new film, 'Chrysalis', debut of director Paula Ortiz, which share the story of Maribel Verdú and Roberto Alamo. And he participated with a short role in 'Balada triste de trompeta' by Alex de la Iglesia, who directed the first clip of 'Viejos conocidos', corresponding to the single 'Carnaval'.

On television, he was honored to participate in the revival of the classic TVE Estudio 1, as Camilo of 'La viuda de Valencia', with Aitana Sanchez-Gijon and Jorge Roelas, among other peers. A new experience for him as it had to apply the concept stage to the television format.

Recently, he has finished another tour with a show completely different. For a year he has gotten into the skin of Chris Keller, the son of Joe and Kate Keller in 'All My Sons' (Arthur Miller), under the direction of Claudio Tolcachir, who is also responsible for the adaptation of Miller's text. Claudio, who has already become a good friend, is an Argentine director who is amazing audiences and critics with his concept of theater. As audience has said many stage they create an atmosphere that causes the viewer the feeling that is part of what is happening on stage.

Now Fran is part of the cast of a new serie in the Spanish channel Antena 3, named 'Luna, el misterio de Calenda' and he is Orestes in the new play of José Carlos Plaza, again with Ana Belén.

Fran released his fourth album "Vijaha la palabra" and started a tour in Serbia.

Politics
Perea participated with other Spanish celebrities in a campaign in support of José Luis Rodríguez Zapatero as candidate for Prime Minister of Spain in the elections in 2008.

Filmography

Television
 Al salir de clase (2001–2002) as Hugo
 Los Serrano (2003–2006) as Marcos Serrano
 Luna, The Mystery of Calenda (2012–2013) as Ignacio "Nacho" Castro
  B&B (2014–2015) as Mario
 La sonata del silencio (2016) as Mauricio Canales.

Guest roles
 El comisario (2002, 2003) as Guti
 Los Serrano (2007, 2008) as Marcos Serrano
 Muchachada Nui (2007) as Marcial Ruíz Escribano
 Hospital central (2007) as Javi
 Hospital central (2008) as Dr Enrique Trujillo

Film
 Los Mánagers (2006) as David
 El camino de los ingleses (2006) as El Garganta
 Perez, el ratoncito de tus sueños (2007) (voice)
 Las 13 rosas (2007) as Teo

Short films
 Tu mismo (2000)
 Cañí (2000)
 Final feliz para un crimen de Aure Roces (2001)
 La aventura de Rosa de Ángela Armero (2008)

Discography

Studio albums
 2003: La chica de la habitación de al lado No. 2 Spain, No. 10 Finland
 2005: Punto y Aparte No. 8 in Spain
 2010: Viejos conocidos

Live Hits albums
 2004: Fran Perea, en concierto No. 60 Spain

Compilation albums
 2006: Fran Perea, singles, inéditos & otros puntos No. 57 Spain

Awards and nominations

Music
 2003: Premios Amigo — Best New Artist — Nominated

References

External links

1978 births
Living people
Musicians from Málaga
Actors from Málaga
Spanish male film actors
Male actors from Andalusia
Singers from Andalusia
Spanish male television actors
21st-century Spanish singers
21st-century Spanish male singers
21st-century Spanish male actors

Fran Perea


Argemone munita is a species of prickly poppy known by the common names flatbud prickly poppy and chicalote. "Munita" means "armed", in reference to the many long prickles. This flower is native to California, where it is widespread throughout the western part of the state and its eastern deserts, on slopes to 10,000 feet, and along roadsides. Its range also extends into Baja California, Arizona, and Nevada.

This poppy bears its flowers on erect, spiny stems which can exceed a meter in height. The sap is yellow. The blue-green or mint-green, lobed leaves are also very prickly. The white poppy blooms usually have six crinkly petals, each up to 4 centimeters long, and three sepals. The center of the flower is surrounded by a dense ring of up to 250 small yellow or orange stamens bearing the pollen. The flowers are often compared to sunny-side-up eggs, with the dark pistil in the center as a dot of pepper. The fruits are spiny white capsules 3 to 5 centimeters long, each containing many small seeds.  The leaves and seeds contain alkaloids which are probably toxic.

References

External links

Jepson Manual Treatment
Photo gallery (CalPhoto)

Flora of California
Flora of Baja California
munita
Flora without expected TNC conservation status

Argemone munita


Charlie Is My Darling, directed by Peter Whitehead and produced by the Rolling Stones' manager Andrew Loog Oldham, was the first documentary film about the Rolling Stones. It was intended as a screen test for the band, to see how their musical charisma would translate into film. The footage was shot during the band's second tour of Ireland that year, on 3 and 4 September 1965, and was finished in the spring of 1966. It was given its premiere at the Mannheim Film Festival in October 1966. But the film was never officially released, due to the legal fights between the Rolling Stones and Allen Klein and a burglary in Andrew Loog Oldham's office, which saw all prints disappear.

Nearly fifty years later, in 2012, a new film using restored footage and entitled Charlie Is My Darling – Ireland 1965 was released by Allen Klein's ABKCO Records, which owns the rights to all older Stones material. Charlie Is My Darling – Ireland 1965 came about when director Michael Gochanour discovered additional unprocessed footage of the 1965 Rolling Stones screen test. Gochanour spent two years editing and remixing the '60s material, adding a story line and synching music to Rolling Stones concert footage that had originally been filmed without sound. The result was Charlie Is My Darling – 1965. One of Gochanour's objectives in making the film was "to show The Rolling Stones in a way the world had never seen them before; as a band just coming into their own – raw, visceral, innocent and with purpose."

The 64-minute documentary, Charlie Is My Darling – Ireland 1965, follows the group from their car trip out of London to Heathrow Airport, and from there to Dublin where they had two concerts at the Adelphi Theatre on 3 September. The next day they take a train up to Belfast for two concerts at the ABC Theatre, before returning to London by plane the following day. Besides stage shots from the concerts (where the second Dublin concert ends in total chaos as fans storm the stage), the film contains scenes from a hotel room in Dublin (where Keith and Mick for fun do a few Beatles songs as well as a couple of their own), scenes from their train trip to Belfast, another impromptu song session by a piano (with both Keith and Andrew Oldham playing the piano while Mick impersonates Elvis Presley singing "Santa Bring My Baby Back (To Me)" and Fats Domino's version of "Blueberry Hill"), and finally their flight back to London. Intermixed with this are interviews with the band members where they talk about fame, fans and future.

Charlie Is My Darling – Ireland 1965 premiered at the Walter Reade Theater in New York City on 29 September 2012, as part of the 2012 New York Film Festival, and was released on DVD and Blu-ray in November 2012. On 25 November 2012, it was shown by BBC Two as part of BBC's "The Rolling Stones at 50" celebrations.

A Super Deluxe Edition box set of the film versions and audio albums was released 13 November 2012 which contained 2 CDs, 10" vinyl, DVD, Blu-ray and a numbered limited edition enlarged film cell in 200+ unique variations.

Awards
Charlie is My Darling – Ireland 1965 won the Grammy Award for Best Historical Album at 2014's 56th Annual Grammy Awards.

Live 1965: Music from Charlie Is My Darling

Live 1965: Music from Charlie Is My Darling, the audio album featuring the songs in the documentary, was released 24 November 2014 on ABKCO Records as a stand-alone release as a digital download and streaming audio.

Track listing

Charts

References

External links

Variety, 26 October 1966: Charlie is My Darling, review. Retrieved 2 December 2012
The Arts Desk, 26 November 2012: The Story of Charlie Is My Darling. Retrieved 2 December 2012
 Official website for the new, restored version. Retrieved 2 December 2012
Ultimate Classic Rock, November 2012: "The Rolling Stones, Charlie is My Darling – Ireland 1965" – DVD review. Retrieved 2 December 2012
 Richard Brody, The New Yorker, 3 October 2012: "Charlie is My Darling": The Rolling Stones in 1965. Retrieved 2 December 2012

1966 films
1966 documentary films
1966 independent films
Black-and-white documentary films
British independent films
Films shot in Ireland
Rockumentaries
The Rolling Stones documentary films
1960s English-language films
1960s British films
British musical documentary films

Charlie Is My Darling (film)


SMPTE 292 is a digital video transmission line standard published by the Society of Motion Picture and Television Engineers (SMPTE). This technical standard is usually referred to as HD-SDI; it is part of a family of standards that define a Serial Digital Interface based on a coaxial cable, intended to be used for transport of uncompressed digital video and audio in a television studio environment.

SMPTE 292 which expands upon SMPTE 259 and SMPTE 344 allowing for bit-rates of 1.485 Gbit/s, and 1.485/1.001 Gbit/s. These bit-rates are sufficient for and often used to transfer uncompressed high-definition video.

Nomenclature

The "M" designator was originally introduced to signify metric dimensions. It is no longer used in listings or filenames. Units of the International System of Units (SI) are the preferred units of measurement in all SMPTE Engineering Documents.

Technical details

The SMPTE 292 standard is a nominally 1.5 Gbit/s interface.  Two exact bitrates are defined; 1.485 Gbit/s, and 1.485/1.001 Gbit/s.  The factor of 1/1.001 is provided to allow SMPTE 292 to support video formats with frame rates of 59.94 Hz, 29.97 Hz, and 23.98 Hz, in order to be upwards compatible with existing NTSC systems.  The 1.485 Gbit/s version of the standard supports other frame rates in widespread use, including 60 Hz, 50 Hz, 30 Hz, 25 Hz, and 24 Hz.

The standard also defines nominal bitrates of 3 Gbit/s, for 50/60 frame per second 1080P applications.  This version of the interface is not used (and has not been commercially implemented); instead, either a dual-link extension of SMPTE 292M known as SMPTE 372 or a version running twice as fast known as SMPTE 424 is used for e.g. 1080p60 applications.

Electrical interface

Originally, both electrical and optical interfaces were defined by SMPTE, over concerns that an electrical interface at that bitrate would be expensive or unreliable, and that an optical interface would be necessary.  Such fears have not been realized, and the optical interfaces are seldom if ever used, and are likely to be deprecated in future revisions of the standard.

The cabling used for the SMPTE 292 electrical interface is coaxial cable with a nominal impedance of 75   Ω.  Data is encoded in NRZ format, and a linear feedback shift register is used to scramble the data to reduce the likelihood that long strings of zeroes or ones will be present on the interface.  The interface is self-clocking.  Framing is done by detection of a special synchronization pattern, which appears on the (unscrambled) serial digital signal to be a sequence of twenty ones followed by forty zeroes; this bit pattern is not legal anywhere else within the data payload.

The SMPTE 292 digital interface is known to be reliable (without use of repeaters) at cable lengths of 100 m or greater.

Data format

The corresponding parallel data formats, defined by SMPTE 274, SMPTE 296, and several other standards, are 20-bit standards; thus SMPTE 292M uses a 20-bit word size.  Each 20-bit word consists of two 10-bit datums, coming from two logical (and parallel) data channels, one ("Y") which encodes luminance video samples, the other ("C") which encodes chrominance information.  The C channel is further time-multiplexed into two half-bandwidth channels, known as Cr (the "red color difference" channel), and Cb (the "blue color difference" channel).  The nominal datarate of the Y channel is 75 Mwords/sec (1.5 Gbit/s divided by 20), and the nominal datarate of each of the two chroma channels is 37.5 Mwords/sec.

Video payload (as well as ancillary data payload) may use any 10-bit word in the range 4 to 1019 (004 to 3FB in hexadecimal) inclusive; the values 0-3 and 1020-1023 (3FC - 3FF) are reserved and may not appear anywhere in the payload.  These reserved words have two purposes, for synchronization packets, and for ancillary data headers.

Synchronization packets

A synchronization packet occurs immediately before the first active sample on every line, and immediately after the last active sample (and before the start of the horizontal blanking region).  The synchronization packet consists of four 10-bit words.  The first three words are always the same—0x3FF, 0, 0; the fourth consists of 3 flag bits, along with an error correcting code.  As a result, there are 8 different synchronization packets possible.

Synchronization packets must occur simultaneously in both the Y and C datastreams.

The flags bits found in the fourth word are known as H, F, and V.  The H bit indicates the start of horizontal blank; and synchronization bits immediately preceding the horizontal blanking region must have H set to one.  Such packets are commonly referred to as End of Active Video, or EAV packets.  Likewise, the packet appearing immediately before the start of the active video has H set to 0; this is the Start of Active Video or SAV packet.

Likewise, The V bit is used to indicate the start of the vertical blanking region; an EAV packet with V=1 indicates the following line (lines are deemed to start EAV) is part of the vertical interval, an EAV packet with V=0 indicates the following line is part of the active picture.

The F bit is used in interlaced and progressive segmented frame formats to indicate whether the line comes from the first or second field (or segment).  In progressive scan formats, the F bit is always set to zero.

Other than the fact that synchronization packets occur in parallel in two datastreams (Y and C), their behavior is virtually identical to the packet types defined in CCIR 601 and SMPTE 259, the digital interface commonly used for SDTV.

Line counter and CRC

To provide additional robustness, the four samples immediately following the EAV packets (but not the SAV packets) contain a cyclic redundancy check field, and a line count indicator.  The CRC field provides a CRC of the preceding line (CRCs are computed independently for the Y and C streams), and can be used to detect bit errors in the interface.  The line count field indicates the line number of the current line.

Ancillary data

Like SMPTE 259, SMPTE 292 supports the  SMPTE 291 standard for ancillary data.  Ancillary data is provided as a standardized transport for non-video payload within a serial digital signal; it is used for things such as embedded audio, closed captions, timecode, and other sorts of metadata.  Ancillary data is indicated by a 3-word packet consisting of 0, 3FF, 3FF (the opposite of the synchronization packet header), followed by a two-word identification code, a data count word (indicating 0 - 255 words of payload), the actual payload, and a one-word checksum.  Other than in their use in the header, the codes prohibited to video payload are also prohibited to ancillary data payload.

Video payload

Within the active portion of the video, the data words correspond to signal levels of the respective video components.  The luminance (Y) channel is defined such that a signal level of 0 mV is assigned the codeword 64 (40 hex), and 700 millivolts (full scale) is assigned the codeword 940 (3AC) .  For the chroma channels, 0 mV is assigned the code word 512 (200 hex), -350mV is assigned a code word of 64 (0x40), and +350mV is assigned a code word of 960 (3C0).  Note that the scaling of the luma and chroma channels is not identical.  The minimum and maximum of these ranges represent the preferred signal limits, though the video payload may venture outside these ranges (providing that the reserved code words of 0 - 3 and 1020 - 1023 are never used for video payload).

For portions of the vertical and horizontal blanking regions which are not used for ancillary data, it is recommended that the luma samples be assigned the code word 64 (40 hex), and the chroma samples be assigned 512 (200 hex); both of which correspond to 0 mV.  It is permissible to encode analog vertical interval information (such as vertical interval timecode or vertical interval test signals) without breaking the interface, but such usage is nonstandard (and ancillary data is the preferred means for transmitting metadata).  Conversion of analog sync and burst signals into digital, however, is not recommended—and neither is necessary in the digital interface.

Emmy award

On July 31, 2013 it was announced that SMPTE won a Technology & Engineering Emmy Award for 2013 by the National Academy of Television Arts and Sciences. The honor recognized the society's work on development, standardization, and productization of SMPTE 292.

Related SMPTE standards

 Society of Motion Picture and Television Engineers:  SMPTE 274M-2005: Image Sample Structure, Digital Representation and Digital Timing Reference Sequences for Multiple Picture Rates
 Society of Motion Picture and Television Engineers:  SMPTE 292M-1998: Bit-Serial Digital Interface for High Definition Television
 Society of Motion Picture and Television Engineers:  SMPTE 291M-1998: Ancillary Data Packet and Space Formatting
 Society of Motion Picture and Television Engineers:  SMPTE 372M-2002: Dual Link 292M Interface for 1920 x 1080 Picture Raster

See also

 Serial Digital Interface

References

Film and video technology
Video formats
SMPTE standards

SMPTE 292


A telomere is a region of DNA at the end of a chromosome. It protects the end of the chromosome from deteriorating (getting worse) or fusing (joining) with other chromosomes.

The telomeres are made of repeated sequences of DNA ('repetitive DNA'). During cell division, enzymes that duplicate DNA cannot continue their work all the way to the end of chromosomes. If cells divided without telomeres, they would lose the ends of their chromosomes, and the information they contain.

The telomeres are disposable buffers blocking the ends of the chromosomes. They are destroyed during cell division, and are remade by an enzyme, telomerase reverse transcriptase.

The Australian Elizabeth Blackburn and the Americans Carol Greider and Jack Szostak won the 2008 Nobel Prize in Physiology or Medicine for their work on telomeres.

References

Chromosomes
Molecular biology

Telomere


ELIZA is an early program able to process natural language. ELIZA operated by processing users' responses to scripts. The most famous script was called DOCTOR. It was a simulation of a Rogerian psychotherapist. Eliza didn't know much about thought or emotion. However, DOCTOR sometimes provided conversation like a human. ELIZA was written at MIT by Joseph Weizenbaum between 1964 and 1966.

When the person used words that were not in the very small list,
DOCTOR might say, for example, responding to "My head hurts", "Why do you say your head hurts?" The response to "My mother hates me" might be "Who else in your family hates you?" ELIZA was programmed using simple pattern matching techniques, but was taken seriously by several of its users, even after Weizenbaum explained to them how it worked. It was one of the first chatterbots in existence.

Implementations
 Using Java, and based very closely on Weizenbaum's published description of the program: http://www.chayden.net/eliza/Eliza.html
 Using z80 Assembly on the TI-83 Plus: ticalc.org
 Trans-Tex Software has released shareware versions for Classic Mac OS and Mac OS X: Trans-Tex Software
 doctor.el (circa 1985) in Emacs lisp: http://www.cs.cmu.edu/afs/cs/project/ai-repository/ai/areas/classics/eliza/emacs/0.html.
 Source code in Tcl: http://wiki.tcl.tk/9235
 Source code in BASIC: http://www.atariarchives.org/bigcomputergames/showpage.php?page=22

Related pages
 20Q
 Artificial intelligence
 Chatterbot
 Loebner prize
 Turing test

Notes

References

Other websites
 dialogues with colorful personalities of early AI , a collection of dialogues between ELIZA and various conversants, such as a company vice president and PARRY (a simulation of a paranoid schizophrenic)
 Weizenbaum. Rebel at work - Peter Haas, Silvia Holzinger, Documentary movie with Joseph Weizenbaum and ELIZA.
 Questsin - MSN Messenger implementation of ELIZA
 CounterCounseling  - Source code in C (programming language), Windows

Software

ELIZA


was a Japanese woman from the warring states period (15th to 16th century) who began the Japanese entertainment called kabuki. Her name means "Okuni from Izumo". Her performing arts evolved from traditional dancing. Okuni founded kabuki.

Birth
She is from Izumo Taisha shrine in the late 16th century. She was a daughter of Sanemon Nakamura but it is not sure when she was born and died.

Her early dancing
She started to dance Kagura-mai and Nenbutsu-odori (two traditional dances) in kimono in order to gather money for repairing Izumo Taisha. Although dance was holy at that time, Okuni went on stage in the highest fashion. She inserted a song and character of ghost on stage. It became popular because it was unique.

Origin of kabuki
At first Okuni danced simple dances. Later, she danced with clothing of a man, and showed at the Kitano Tenmangutemple in 1603. This became the first kabuki.

Okuni's troupe was exclusively female. Thus, she required her actresses to play both male and female roles. In particular, Okuni herself was best known for her roles as samurai and Christian priests. As her group gained fame, she was copied by many others, particularly brothels. They offered such shows to amuse wealthy clients, and get prostitutes who had marketable acting and singing skills. This new style of exclusively female groups became known as shibai, onnakabuki, (from onna, the Japanese word for "woman" or "girl") and Okuni kabuki.

In 1629, due to public outcry for moral reform, those under the shogun Tokugawa Iemitsu forbade women from performing in kabuki.

References

1572 births
17th-century deaths
Japanese entertainers
People from Shimane Prefecture

Izumo no Okuni


Thomas Pasatieri (born October 20, 1945) is an American opera composer.

Life and career
Pasatieri was born in New York City, United States. He began composing at age 10 and, as a teenager, studied with Nadia Boulanger, although his main teachers were Vittorio Giannini and Vincent Persichetti. He entered the Juilliard School at age 16 and eventually became the school's first recipient of a doctoral degree.

Pasatieri has taught composition at the Juilliard School, the Manhattan School of Music, and the Cincinnati College-Conservatory of Music. From 1980 through 1984, he held the post of artistic director at Atlanta Opera.

He has composed 24 operas, the best known of which is The Seagull, composed in 1972. Two of his operas were premiered in 2007: Frau Margot by the Fort Worth Opera and The Hotel Casablanca in San Francisco.  Other popular operas include La Divina and Signor Deluso.

In 1984, Pasatieri moved to Los Angeles, California, where he formed his film music production company, Topaz Productions. His film orchestrations can be heard in Billy Bathgate, Road to Perdition, American Beauty, The Little Mermaid, The Shawshank Redemption, Fried Green Tomatoes, Legends of the Fall, Thomas Newman's Angels in America and Scent of a Woman, among many others.  In 2003, Pasatieri returned to New York to continue his concert and opera career.

Works

Operas
 The Trysting Place, opera in one act; libretto by the composer (1964, unperformed)
 Flowers of Ice, opera in one act; libretto by the composer (1964, unperformed)
 The Women, opera in one act; libretto by the composer (20 August 1965; Aspen, CO)
 La Divina, opera in one act; libretto by the composer (16 March 1966; New York)
 Padrevia, opera in one act; libretto by the composer after Boccaccio (18 November 1967; Brooklyn, NY)
 Calvary, opera in one act; setting of the play by W. B. Yeats (April 1971; Bellevue, WA)
 The Trial of Mary Lincoln, opera in one act; libretto by A. H. Bailey (14 Feb. 1972; National Educational Television)
 Black Widow, opera in three acts; libretto by the composer after Dos madres by  Miguel de Unamuno (2 March 1972; Seattle Opera)
 The Seagull, opera in three acts; libretto by K. Elmslie after the story by Anton Chekov (5 March 1974; Houston Grand Opera)
 Signor Deluso, opera in one act; libretto by the composer after Sganarelle by Molière (27 July 1974; Vienna, VA)
 The Penitentes, opera in three acts; libretto by A. H. Bailey (3 August 1974; Aspen, CO)
 Inés de Castro, opera in three acts; libretto by B. Stambler (1 April 1976; Baltimore, Baltimore Opera)
 Washington Square, opera in two acts; libretto by K. Elmslie after Henry James (1 October 1976, Detroit, Michigan Opera Theatre)
 Before Breakfast, opera in one act; libretto by Frank Corsaro, based on the play by Eugene O'Neill, Revised 2006. (9 October 1980, New York City Opera)
 The Goose Girl, a children's opera in one act; libretto by the composer, based on a story by J.L. and W.C. Grimm (15 February 1981, Fort Worth, Texas)
 Maria Elena, an opera in one act; libretto by the composer based on a true story (6 April 1983, University of Arizona)
 Three Sisters, opera in 2 acts; libretto by Kenward Elmslie based on Anton Chekhov's play, Three Sisters (13 March 1986, Columbus, Opera Columbus)
 Frau Margot, opera in three acts; libretto by Frank Corsaro, based on his original play Lyric Suite (2 June 2007, Fort Worth, Fort Worth Opera)
 The Hotel Casablanca, opera in two acts; original libretto by the composer based on George Feydeau's play, A Flea in Her Ear. (3 August 2007, San Francisco, San Francisco Opera Merola Program)
 The Heir Apparent (2008)
 The Family Room, libretto by Daphne Malfitano (2009)
 God Bless Us Everyone (after A Christmas Carol), an opera for Christmas (2010)
 The Martyrs, libretto by Daphne Malfitano, an opera in two acts for two singers and piano solo (2011)
 The Vaudevillian (2015)  Opera in two acts; libretto by the composer.

Orchestral
 Invocation (1968)
 Symphony No. 1
 Symphony No. 2
 Symphony No. 3

Concertante
 Serenade for violin and chamber orchestra (also an alternate version for violin and piano) (1992)
 Concerto for piano and orchestra (1993)
 Concerto for 2 pianos and strings (1994)
 Concerto for harpsichord and chamber orchestra (2007)
 Concerto for viola and orchestra (2012)

Instrumental and chamber music
 Piano Sonata No. 1 (1966)
 Piano Sonata No. 2 (1969)
 Piano Sonata No. 3 (1993)
 Cameos for solo piano (1969)
 Theatrepieces for clarinet, violin and piano (1987)
 Quartet for flute and strings (1995)
 Sonata for viola and piano (1995)
 Sonata for flute and piano (1997)
 Piano Sonata No. 3 (1997)
 Rhapsody for trombone and piano (2006)
 Manifesto for unaccompanied viola (2012)

Vocal music

Choral
Permit Me Voyage (James Agee) (1976)
Mass (1983)
A Joyful Noise (1985) (The Bible)
Three Mysteries (Walt Whitman, G. Meredith, P. Sidney) (1991)
The Harvest Frost (Carl Sandburg) (1993)
Bang the Drum Loudly (Thomas Pasatieri) (1994)
Canticle of Praise (1995)
Mornings Innocent (May Swenson, Bill Wright, Adrienne Rich) (1995)
 In the light of angels   (2013) Children's chorus, solo soprano, mezzo, baroque orchestra

Voice and chamber ensemble
Heloïse And Abelard (Louis Phillips) (1973)
Far From Love (Emily Dickinson) (1976)
Canciones del barrio (Voice and string quartet, 1993)
Letter to Warsaw (Pola Braun) (2003)

Voice and orchestra
Rites Of Passage (Louis Phillips) (1974)
Voice and chamber orchestra or string quartet
Sieben Lehmannlieder (Lotte Lehmann) (1988)
Alleluia (1991)

Voice and piano
Day of Love (Kirstin van Cleave) (1983)
Three Sonnets from the Portuguese (Elizabeth Barrett Browning) (1984)
Sieben Lehmannlieder (Lotte Lehmann) (1988)
Windsongs (1989)
Three Poems of Theodore Ramsay
1.Love
2.Remembering
3.On Parting
Vocalise
Three California Songs (Robert H. Deutsch)
1.Brother
2.Song
3.The Middle-Aged Shepherd
Windsong (Richard Nickson)
Alleluia  (1991)
Three Poems of Oscar Wilde (1998)
A Rustling of Angels (2003)
Letter to Warsaw (Pola Braun) (2003)
The Daughter of Capulet (monodrama) (2007)
Lady Macbeth (monodrama) (2007)
  The Bride of the Moor  (monodrama)
Three Songs of Kirsten Van Cleave
The Last Invocation (Walt Whitman)
Orpheus (William Shakespeare)
Dream Land (Christina Rossetti)
Three Poems of James Agee
Ophelia's Lament (William Shakespeare)
Vocal Modesty (Gerald Walker)
Overweight, Overwrought Over You (Sheila Nadler)
Divas of a Certain Age (Thomas Pasatieri)
 Bel Canto Songs  (William Blake)
 Duets

References

New York Times review by Steve Smith, The Hotel Casablanca (Dicapo Opera) (25 January 2010), accessed 19 February 2010
Bakersfield.com review by Susan Scaffidi Opera 101 starts with sweet story about Pasatieri's children's opera The Goose Girl (27 January 2010), accessed 19 February 2010

External links
Thomas Pasatieri's page at Theodore Presser Company

1945 births
20th-century American composers
20th-century classical composers
20th-century American LGBT people
21st-century American composers
21st-century classical composers
21st-century American LGBT people
American classical composers
American male classical composers
American opera composers
American people of Italian descent
Classical musicians from New York (state)
Composers from New York City
Juilliard School alumni
Juilliard School faculty
LGBT classical composers
American LGBT composers
LGBT people from New York (state)
Living people
Manhattan School of Music faculty
Male opera composers
Pupils of Darius Milhaud

Thomas Pasatieri


John Francis Buck (August 21, 1924 – June 18, 2002) was an American sportscaster, best known for his work announcing Major League Baseball games of the St. Louis Cardinals. His play-by-play work earned him recognition from numerous halls of fame (Baseball, Pro Football, and Radio). He has also been inducted as a member of the St. Louis Cardinals Hall of Fame Museum.

Early years and military service

Buck was born in Holyoke, Massachusetts, the third of seven children of Earle and Kathleen Buck. His father was a railroad accountant who commuted weekly to New Jersey. From an early age, Buck dreamed of becoming a sports announcer with his early exposure to sports broadcasting coming from listening to Boston Red Sox baseball games announced by Fred Hoey.

Part of his childhood coincided with the Great Depression, and Buck remembered his family sometimes using a metal slug to keep a coin-operated gas meter going during the winter to provide heat for their home. In 1939, his family moved to Cleveland, Ohio to join their father, who had a job with the Erie Railroad. Soon after though, Buck's father died at the age of 49 due to uremic poisoning related to high blood pressure.

Buck planned to quit high school in 1941 to take a full-time job in an effort to support his family. Dissuaded by one of his teachers, Buck decided to finish high school, graduating from Lakewood High School in the winter of 1942. After graduation, he followed one of his friends and began working on an iron ore freight boat operated on the Great Lakes by the Cleveland Cliffs Iron Company.

Buck served on a  steamer named The Sheadle, where he began as porter and was later promoted to night cook and baker. After performing various other shipping related jobs, Buck attempted to become a "deck watch." A required physical examination revealed Buck was color blind, unable to differentiate between the colors green and brown. Ineligible for the promotion to deck watch, Buck subsequently became eligible for the military draft, and was drafted into the United States Army in June 1943.

After completion of his military service in 1946, Buck enrolled at (and graduated from) Ohio State University. His early sportscasting career included work for the minor league affiliates of the St. Louis Cardinals. In 1954, he was promoted to radio play-by-play of Cardinal games on KXOK radio; the team's radio broadcasts would move in 1955 to KMOX. Buck maintained this position for nearly all of the next 47 years. He was known in St. Louis for his trademark phrase "That's a winner!", which was said after every game that the Cardinals had won.

In addition to his work with the Cardinals, Buck also earned assignments on many national sportscasts, including radio coverage of 18 Super Bowls and 11 World Series. Some of his famous play-by-play calls include the dramatic walk-off home runs hit by Ozzie Smith in Game 5 of the 1985 National League Championship Series, by Kirk Gibson in Game 1 of the 1988 World Series, and by Kirby Puckett in Game 6 of the 1991 World Series.

The later part of his career found him working side by side in the Cardinals booth with his son Joe Buck, who also has risen to national sportscasting prominence.

Military service
After graduating from high school, he worked on large shipping boats that traveled the Great Lakes. Buck was drafted into the U.S. Army in June 1943. The physicality of Buck's work on the Great Lakes left in him good physical condition at the time he entered the Army. Buck, who was 19 years old, stood  tall, and weighed . His first assignment was anti-aircraft training, and was sent to Fort Eustis, Virginia to undergo his 13-week basic training regimen.

After completing his basic training in 1943, Buck was designated as an instructor, and assigned the rank of corporal. In addition to his instructor duties, Buck participated in boxing as a form of recreation. In February 1945, Buck shipped out to the European theater of the war, where he was assigned to K Company, 47th Infantry Regiment, 9th Infantry Division.

During the night of March 7, 1945, Buck and his compatriots crossed the Ludendorff Bridge at the town of Remagen, Germany. United States forces' successful capture of this bridge led to the Battle of Remagen from March 7–25. On the morning of March 15, Buck was the squad leader of a patrol that came under German fire in the Remagen zone. Wounded in his left forearm and leg by shrapnel, Buck received medical treatment on the battlefield from the only medic K company had at that time, Frank Borghi. He received further medical treatment at the 177th General Army Hospital in Le Mans, France, where he was awarded the Purple Heart. Buck recovered, and rejoined his outfit sometime after German forces had surrendered.

Declining to re-enlist, and turning down requests to enroll in the Officers Training School, Buck joined his compatriots in guard duty of German prisoners of war. Buck received orders to ship home in April 1946, effectively ending his military service.

College

After returning to the United States, Buck worked in various industrial-related jobs. When his friend Bill Theil told Buck he needed a roommate to attend Ohio State University with him, Buck decided on the spot to join Theil and enroll at Ohio State in Columbus. The suddenness of Buck's decision meant he had no corresponding paperwork that could be used to formally enroll at the university, so Buck attended classes of his own choosing until he was able to formally enroll.

Buck majored in radio speech and minored in Spanish. He worked several jobs while attending college, including one position at an all-night gas station. He crafted his play-by-play skills broadcasting Ohio State basketball games.

After college, he called games for the Columbus Red Birds, a Triple-A (American Association) affiliate of the St. Louis Cardinals, in 1950–51. He spent the 1953 season as voice of another AAA Cardinals affiliate, the International League Rochester Red Wings on WHEC radio. His work there earned him an invitation to join the big-league Cardinals' broadcast team in St. Louis the following season.

Broadcasting career

St. Louis Cardinals

Buck started broadcasting Cardinals games for KMOX radio in 1954, teaming with Harry Caray, Milo Hamilton (1954), and Joe Garagiola (from 1955). Buck was dropped from the Cardinals booth in 1959 to make room for Buddy Blattner; the following year, he called Saturday Game of the Week telecasts for ABC. Buck was re-hired by the Cardinals in 1961 after Blattner departed; Garagiola left the following year, leaving Caray and Buck as the team's broadcast voices through 1969.

After Caray was fired by the Cardinals following the 1969 season, Buck ascended to the team's lead play-by-play role (1969 was also the year that Jack Buck divorced his first wife Alyce Larson—whom he had married in 1948 and had six children with—and married his second wife, Carole Lintzenich, who gave birth to their son Joe Buck in the same year).

Buck teamed with ex-Yankees and Pirates announcer Jim Woods in 1970–71. In 1972, retired Cardinals third baseman Mike Shannon joined Buck in the broadcast booth, beginning a 28-year partnership. On Cardinals broadcasts, Buck routinely punctuated St. Louis victories with the expression, "That's a winner!"

In addition to Joe, Buck has three daughters who worked in broadcasting. Two are from his first marriage - Bonnie Buck, who currently works in television in Los Angeles, and Christine Buck, who started her career at KPLR-TV in St. Louis. From his second marriage is Julie Buck on KYKY 98.1 in St. Louis (she now works at [KTRS-AM 550], also in St. Louis). In addition, Buck's younger brother, Bob Buck was a sportscaster and sports director at KMOX/KMOV-TV in St. Louis.

Buck was well-respected in the St. Louis community, where he lived and regularly volunteered time to host charity events. In addition to his sportscasting work, Buck served as the original host of the KMOX interview/call-in program At Your Service beginning in 1960. His guests on the program included Eleanor Roosevelt.

Buck can be heard calling a (fictional) 1964 Cardinals broadcast in the 1988 film Mississippi Burning, and makes a cameo appearance in a 1998 episode of the television series Arliss. He also lent his voice to R.B.I. Baseball '95.

Football
Jack Buck was also a renowned football broadcaster. In 1964, he began calling National Football League games for CBS television, following a four-year stint doing telecasts of the rival American Football League for ABC, which included the 1962 AFL Championship game between the Houston Oilers and the Dallas Texans—at that point the longest game ever played. Buck called Chicago Bears games in his first two CBS seasons, then switched to Dallas Cowboys games, including the famous "Ice Bowl" championship game in 1967. After the network moved away from dedicated team announcers, Buck continued to call regional NFL action through 1974, as well as several NFC Championship Games and Super Bowl IV. He also called the 1965 Cotton Bowl Classic for CBS television and several later Cotton Bowl games for CBS Radio.

In 1975, Buck temporarily left his Cardinals baseball duties in order to host the NBC pregame show, GrandStand, alongside Bryant Gumbel. In the 1976 and 1977 seasons, he called regional NFL play-by-play for NBC. On August 16, 1976, Buck called the first-ever NFL game played outside of the United States, a preseason exhibition between the St. Louis Cardinals and San Diego Chargers held at Korakuen Stadium in Tokyo, Japan. (Buck also worked NBC's backup Game of the Week during the 1976 baseball season before returning to the Cardinals full-time in 1977.)

Buck served as the CBS Radio voice of Monday Night Football (teaming with Hank Stram) for nearly two decades (1978–1984 and again from 1987–1995 after CBS regained the radio rights from NBC). Ironically, in 1970 ABC's Roone Arledge had asked via telephone about Buck's interests in becoming the first television play-by-play announcer for Monday Night Football, but because of personal animosity surrounding his previous stint with the network, Buck would not return their phone call. (The television play-by-play role would go to Keith Jackson instead, and later to Buck's CBS colleague, Frank Gifford.)

In addition to MNF, Buck called numerous playoff games for CBS Radio, including 17 Super Bowls (the most of any announcer). Buck also served as a local radio broadcaster for the football Cardinals in 1980 and 1981, and returned to calling Sunday NFL games for CBS television from 1982 to 1987.

Late in the 1990 NFL season, Buck's onetime CBS broadcasting partner, Pat Summerall, was hospitalized with a bleeding ulcer after vomiting on a plane during a flight after a game, and was out for a considerable amount of time. While Verne Lundquist replaced Summerall on games with lead analyst John Madden, Buck (who was at the time the network's lead Major League Baseball announcer) filled in for Lundquist, teaming with Dan Fouts to call two games (both of which coincidentally featured the Cardinals, who had moved from St. Louis to Arizona by that time).

Other sports
While much better known for his baseball and football commentary, Jack Buck was also the original voice of the St. Louis Blues of the National Hockey League. Buck was paired with Jay Randolph and Gus Kyle on Blues broadcasts and covered the 1968 Stanley Cup Finals for KMOX radio.

He was succeeded after one season by broadcaster Dan Kelly. Buck also broadcast for the St. Louis Hawks and Rochester Royals of the National Basketball Association, and called professional wrestling, boxing, and bowling at various times in his career.

Showing his versatility, Buck also hosted the syndicated Top Star Bowling during the early 1960s.

ABC and CBS baseball

In , Buck along with Carl Erskine broadcast a series of late-afternoon Saturday games on ABC. They were the lead announcing crew for this series, which lasted one season.

Despite temporarily losing the Game of the Week package in 1961, ABC still televised several games in prime time (with Buck returning to call the action). This occurred as Roger Maris was poised to tie and subsequently break Babe Ruth's regular season home run record of 60.

For a number of years Buck called baseball events nationally for the CBS Radio network, teaming with Brent Musburger to call the All-Star Game in 1976 and with Jerry Coleman to call the NLCS from 1979–1982. From 1983–1989, Buck variously teamed with Sparky Anderson, Bill White, and Johnny Bench to call World Series radio broadcasts on CBS Radio, including appearances by the Cardinals in 1985 and 1987. (As a Cardinals announcer, Buck had previously called the World Series in 1968 (on NBC Radio) and 1982 (locally on KMOX).) Buck, along with his CBS Radio colleagues Johnny Bench and John Rooney, was on hand at San Francisco's Candlestick Park on October 17, 1989, when the Loma Prieta earthquake hit. After the 6.9 magnitude quake rocked the Bay Area, Buck told the listening audience:

He is most famous for his coast-to-coast radio call of Kirk Gibson's game-winning home run in the bottom of the 9th inning of Game 1 of the 1988 World Series and his disbelief at Gibson knocking it out while hobbled by injuries to his right hamstring and left knee. His call of the play is so famous that it is sometimes played over the television footage of the play. The television call was handled by long-time Dodgers announcer Vin Scully on NBC.

This was Buck's call. It begins here with Buck speculating on what might happen if Gibson manages to reach base:

The last sentence is often remembered and quoted by fans. Buck followed it with,

Buck concluded his comments on Gibson's amazing feat with this thought:

Buck was not intended to be the main play-by-play announcer for CBS baseball telecasts when the network acquired the sport from NBC and ABC. Originally assigned to the network's #2 crew (and therefore, work with Jim Kaat), he was promoted at practically the last minute after Brent Musburger  was fired on April Fools' Day of 1990.

After two years of calling baseball telecasts (including the Saturday afternoon Game of the Week, All-Star Game, National League Championship Series, and World Series), Buck was dismissed by CBS. The official reasoning behind Buck's ouster was that he simply had poor chemistry with lead analyst Tim McCarver.

Buck was soon replaced by Boston Red Sox announcer Sean McDonough. Buck later noted that "CBS never got that baseball play-by-play draws word-pictures. All they knew was that football stars analysts. So they said, 'Let McCarver run the show ... In television, all they want you to do is shut up. I'm not very good at shutting up." Buck was criticized by some for his alleged habit of predicting plays on air.

Buck made controversial statements about singer Bobby Vinton prior to Game 4 of the 1990 National League Championship Series. After Vinton muffed the lyrics of "The Star-Spangled Banner" in his home town of Pittsburgh, Buck lightly referenced Vinton's Polish heritage ("Well, when you're Polish & live in Pittsburgh, you can do anything you want with the words!"). Buck soon got death threats from Pittsburgh Pirate fans, who even went as far as leaving a footprint on Buck's hotel pillow.

The next day, CBS Sports executive producer Ted Shaker spotted Buck in the hotel lobby and told Buck that he was in trouble. The final baseball play that Jack Buck narrated for CBS television was Gene Larkin's game winning bloop single in Game 7 of the 1991 World Series.

Final years

Over the course of the 1990s, Buck decided to reduce his schedule to calling only Cardinals home games (or 81 games a year unless there was a special occurrence). Health concerns played a factor in this, as Buck suffered from such ailments as Parkinson's disease, diabetes, requiring a pacemaker, cataracts, sciatica, and vertigo. Buck once joked, "I wish I'd get Alzheimer's, then I could forget I've got all the other stuff." In 1998, the Cardinals dedicated a bust of Buck that showed him smiling with a hand cupping his left ear. In 1999, he lent his name to a restaurant venture called J. Buck's, with the restaurant's name being shared with son Joe and daughter Julie.

In the final years of his life, Buck became recognized for writing poetry, culminating in national attention for his poem "For America", written after the terrorist attacks of September 11, 2001. One of Buck's final public appearances was on September 17, 2001, at Busch Memorial Stadium in St. Louis. It was the first night that Major League Baseball resumed after the terrorist attacks of September 11. Sick with lung cancer and also showing the signs of Parkinson's disease, Buck looked frail and struggled to maintain his composure. He concluded by silencing critics who thought baseball had come back too soon: "I don't know about you, but as for me, the question has already been answered: Should we be here? Yes!"

Death

Jack Buck died on June 18, 2002, in St. Louis's Barnes-Jewish Hospital from a combination of illnesses. He had stayed in the hospital since January 3 of that year to undergo treatment for lung cancer, Parkinson's disease, and to correct an intestinal blockage.

Within two hours of his death, fans were leaving flowers at the base of his bust outside Busch Stadium even though it was the middle of the night. The flags at St. Louis City Hall and the St. Louis County Government Center were lowered to half-staff, the local television news anchors all wore black suits for the next several days, and a public visitation was held in the stadium before the next baseball game after his death, with free admission to the game for all the mourners who filed past his coffin.

Buck was interred at Jefferson Barracks National Cemetery in south St. Louis County. His spot on the KMOX Cardinals broadcasts was subsequently filled by former Colorado Rockies announcer Wayne Hagin. Hagin, who went on to the New York Mets after his stint in St. Louis, moved over to television, and his spot was filled by one of Buck's protégés, former Chicago White Sox announcer John Rooney.

Buck's youngest son, Joe, read the eulogy at his father's church funeral. Jack Buck was married twice and had eight children in all; five daughters and three sons. Joe Buck was the lead play-by-play announcer for both Major League Baseball and the NFL on the Fox network. Joe Buck has also done occasional local telecasts for the Cardinals as well as commercials for a local automobile dealership. Jack and Joe Buck are also the only father and son to call play-by-play of Super Bowl telecasts. The pair bookended a 50-year championship drought for the Kansas City Chiefs, with Joe announcing the team's victory in Super Bowl LIV.

During postseason telecasts, Joe has often paid homage to his father by signing off with "We'll see you tomorrow night!". When the Cardinals won the 2006 World Series, Joe quoted his father again saying, "For the first time since , St. Louis has a World Series winner!", referencing Jack's line when the Cards won in 1982, "And that's a winner! That's a winner! A World Series winner for the Cardinals!". During the 2011 Series, Joe punctuated David Freese's 11th inning walk-off homer for the Cardinals in Game 6 with "We will see you ... tomorrow night!", near similar to the 1991 Puckett home run description, a call he said he did to celebrate his father. When the Cardinals won Game 7, he did not quote his father.

Awards and recognition
Buck received the Ford C. Frick Award for broadcasting from the National Baseball Hall of Fame in 1987, and the Pete Rozelle Radio-Television Award from the Pro Football Hall of Fame in 1996.

The Missouri Sports Hall of Fame inducted Buck twice, as a media personality (1980) and Missouri sports legend (2000). The National Sportscasters and Sportswriters Association named Buck as Missouri Sportscaster of the Year 22 times, and inducted him into its Hall of Fame in 1990. Buck was also inducted into the American Sportscasters Association Hall of Fame in 1990, the Missouri Athletic Club Hall of Fame in 1993, the National Radio Hall of Fame in 1995, and the NAB Broadcasting Hall of Fame in 2005. The American Sportscasters Association ranked Buck 11th in its listing of the Top 50 Sportscasters of All Time in 2009.

Buck is honored with a star on the St. Louis Walk of Fame.

A bronze statue of him was erected at the entrance to Busch Memorial Stadium in 1998 (and moved to a new location outside the current Busch Stadium in 2007).

A  section of I-64/US-40 in St. Louis is named the Jack Buck Memorial Highway in his honor.

In January, 2014, the Cardinals announced Buck among 22 former players and personnel to be inducted into the St. Louis Cardinals Hall of Fame Museum for the inaugural class of 2014.

The Jack Buck Award, presented by the Missouri Athletic Club "in recognition of the enthusiastic and dedicated support of sports in St. Louis", is named in his honor.

See also
 St. Louis Cardinals Hall of Fame Museum
 List of St. Louis Cardinals broadcasters

References
Footnotes

Bibliography

External links

 Jack Buck Ford C. Frick Award biography at the National Baseball Hall of Fame
 MLB.com memorial page
 Jack Buck (1924–2002)

 Jack Buck Wall of Fame

1924 births
2002 deaths
American Football League announcers
American radio sports announcers
American television sports announcers
Bowling broadcasters
Boxing commentators
Deaths from lung cancer in Missouri
Chicago Bears announcers
College basketball announcers in the United States
College football announcers
Dallas Cowboys announcers
Deaths from Parkinson's disease
Ford C. Frick Award recipients
Major League Baseball broadcasters
Minor League Baseball broadcasters
National Basketball Association broadcasters
National Football League announcers
National Hockey League broadcasters
Neurological disease deaths in Missouri
Ohio State University College of Arts and Sciences alumni
Ohio State Buckeyes football announcers
Ohio State Buckeyes men's basketball announcers
People from Holyoke, Massachusetts
People from St. Louis
Pete Rozelle Radio-Television Award recipients
Professional wrestling announcers
St. Louis Blues announcers
St. Louis Cardinals announcers
St. Louis Cardinals (football) announcers
St. Louis Hawks announcers
Television personalities from Cleveland
United States Army non-commissioned officers
United States Army personnel of World War II

Jack Buck


Sony BMG Music Entertainment v. Tenenbaum (1st Circuit Court) is the appeals lawsuit which followed the U.S. District Court case Sony BMG v. Tenenbaum, No. 07cv11446-NG (D. Mass. Dec. 7, 2009).

The initial district court decision awarded the plaintiffs $675,000 in statutory damages for Joel Tenenbaum's willful copyright infringement via peer-to-peer file-sharing of 30 songs. Tenenbaum then challenged the constitutionality of the damage award and asked for a retrial or a reduction of the award via common law remittitur. The district court judge rejected Tenenbaum's arguments in favor of a retrial, and declined to invoke remittitur because, in this case, it would prompt a retrial which would broach the constitutional issues remittitur was intended to avoid. Asserting that the question of the award's constitutionality was unavoidable, the judge reduced the damages to $67,500 on constitutional grounds, reasoning that the damages were effectively punitive, as well as excessive and in violation of Tenenbaum's Due Process rights.

Both parties then cross-appealed to the First Circuit Court of Appeals—Sony, et al., for full reinstatement of the original damages, and Tenenbaum challenging both liability and damages. The First Circuit rejected all of Tenenbaum's arguments, affirmed the denial of Tenenbaum's motion for a new trial, reversed the District Court's decision to reduce the damages, reinstated the original award, and remanded on the question of the common law remittitur.

Background
Defendant and cross-appellant Joel Tenenbaum was an undergraduate student studying physics and mathematics at Goucher College in Maryland 2005 prior to the original litigation in the Massachusetts District Court. During this period, Joel Tenenbaum downloaded and distributed, via a peer-to-peer file-sharing network, a number of songs owned by the plaintiffs.

While the plaintiffs are listed collectively as Sony BMG Music Entertainment, the plaintiffs in both the district court case and the subsequent appeal actually included five record companies:
 Sony BMG Music Entertainment
 Arista Records, LLC, a subsidiary of Sony BMG
 Warner Bros. Records, part of Warner Music Group
 Atlantic Recording Corporation, part of Warner Music Group
 UMG Recordings, Inc., part of Universal Music Group

As the plaintiffs are all members of the Recording Industry Association of America (RIAA), and it is the RIAA which makes public statements about the case, the case is sometimes informally referenced as RIAA v. Tenenbaum. However, references more commonly use Sony, Sony BMG, Sony BMG Music Entertainment, and the more precise Sony BMG Music Entertainment, et al. as the name of the plaintiffs.

During a jury trial in the Massachusetts District Court, Tenenbaum admitted liability for infringing the plaintiffs' copyright for 30 songs he downloaded and distributed via file-sharing software. The judge issued a directed verdict for the issue of liability, and the jury determined the infringement was "willful" and assessed statutory damages totaling $675,000.

Tenenbaum then filed a motion claiming the damage award was unconstitutional, and requested either a new trial or a reduction of the damages by remittitur. The Court granted the retrial request, in part, by considering the constitutionality and "punitive" nature of the damage award, weighing it against the standards established by the Supreme Court in the cases BMW of North America, Inc. v. Gore (referenced as BMW or Gore, and favored by the defendant) and in St. Louis, I.M. & S. Ry. Co. v. Williams (referenced as Williams, and favored by the plaintiffs and the U.S. Government). Citing these standards and other case law relating to statutory and punitive damages, the Court ordered the judgment in the case be amended to reduce the damage award by 90%, to $67,500.

Remittitur would allow the plaintiffs to reject the remitted award and opt for a retrial, which they had indicated they would do, so the Court explicitly chose to reduce the award on constitutional grounds, because a retrial would put the Court in the position of confronting the constitutional issues that remittitur was intended to avoid.

The plaintiffs and defendant collectively brought suit in the First District Court of Appeals to argue several matters:
 statutory damages and injunctive relief under the Copyright Act,
 constitutionality of the damages reduction
 matters of fair use
 a district court's ability to invoke constitutionality.

Facts
Appearing before Chief Judge Lynch, and Circuit Judges Torruella and Thompson, the facts of the case are as follows:

The Massachusetts District Court entered judgement against Tenenbaum that he was liable for willful violation of the Copyright Act and summarily awarded Sony statutory damages of $22,500 for each infringed song. This reward is within the $750 to $150,000 per infringement that Congress established for willful infringement.

Tenenbaum then motioned for a new trial or remittitur. The district court skipped over the issue of the remittitur and instead reached a constitutional issue. Reasoning that the $675,000 fine is excessive and thus in violation of Tenenbaum's due process rights

Both parties then cross-appealed.

Tenenbaum's argument
Joel Tenenbaum challenges the District Court's opinion that he is liable for copyright violation and he should owe Sony statutory damages. Tenenbaum challenges the constitutionality of the Copyright Act. In addition, he challenges the Copyright Act's statutory damages provision's applicability to his conduct. Tenenbaum also argues the district court committed various errors that require a new trial and that a further reduction of the damage award is required by the due process clause.

Sony BMG's argument
Sony argues the district court has erred in reducing the jury's award of damages and seeks to reinstate of the full award of $675,000 and in its defense of Tenenbaum's willful infringement and liability of infringement.

Court decision
Foremost in the circuit court ruling, the United States defended the constitutionality of the Copyright Act against Joel Tenenbaum's challenge. In addition, the United States contended the District Court of Massachusetts erred in bypassing the question of common law remittitur and thus should not have reduced Tenenbaum's punishment sum as a constitutional issue.

The First Circuit court then moved to reject all of Tenenbaum's arguments. They point out that Tenenbaum has received multiple warnings from his parents, school, ISP, and the recording companies to cease and desist from his file-sharing and thus has willfully violated the Copyright Act and infringed the Copyrights of Sony et al. by using the peer-to-peer sharing platform Kazaa. In addition, the court affirmed the denial of Tenenbaum's motion for a new trial or remittitur on the claim that the Copyright Act is not applicable to his actions or trial. Lastly, the court reversed the District Court's supplemental decision to reduce the damages Tenenbaum owed Sony et al., and instead reinstated the original full value of $675,000.

On February 13, 2012, Tenenbaum petitioned the United States Supreme Court to review the case.  The court denied the petition on May 21.

Aftermath
Although the First Circuit Court, in its opinion, recommends Congress to reanalyze its copyright laws, the United States Supreme Court has yet to weigh in with its opinion. As such, the current legal precedents and legal situation for the states in the First District are as follows:
 The Copyright Act is constitutional.
 The Copyright Act is applicable for cases of peer-to-peer file sharing of copyrighted material by individuals.
 Peer-to-peer file sharing of copyrighted works by individuals for the purpose of "enjoyment" is not fair use.
 Skipping common law remittitur and instead applying for constitutional reasoning is erroneous.
 Courts must practice constitutional avoidance: the practice of first arguing or reasoning a point based upon common law before turning to use the constitution.

Bibliography for (Sony BMG Music Entertainment v. Tenenbaum (1st Cir. 2011)
 Mass. District Court Opinion
 Mass. District court opinion
 Rhode Island district court memorandum
 First district court of appeals opinion
 First district court of appeals supplement
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 Collection of industry versus people files
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 DMCA
 Joel Tenenbaum and lawyers website
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United States file sharing case law
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A tumulus (one tumulus, several tumuli) is a certain type of grave. The word comes from Latin. This way of burying people was common in the Stone age, Bronze Age, and Iron Age. There are different layouts. Sometimes sarcophaguses were used, at other times, urns were placed in the grave. There are layouts with one or with multiple chambers. Sometimes the location is privileged, and stone circles can be found nearby.

Related pages
Kofun
Pyramid
Burial monuments and structures

Tumulus


Antoine Laurent Jessé Bayle (13 January 1799 – 29 March 1858) was a French physician known for first describing paralytic dementia. He was born in Le Vernet, Alpes-de-Haute-Provence, and was a nephew to pathologist Gaspard Laurent Bayle (1774–1816).

Bayle studied medicine in Paris, and worked as an intern under Antoine-Athanase Royer-Collard (1768–1825) at the Charenton mental asylum. Later he became an associate professor and deputy librarian of the Faculté de Médecine de Paris. He resigned from this position in 1834 and opened a private practice.

In 1822 Bayle was the first physician to provide a comprehensive description of general paresis, which is sometimes referred to as paralytic dementia, general paralysis of the insane, or "maladie de Bayle" in medical literature. In 1824 he founded the journal Revue médicale, and from 1828 to 1837 was publisher of the multi-volume Bibliothèque de thérapeutique (Library of Therapeutics).

Selected writings
 Traité élémentaire d'anatomie, ou, Description succincte des organes et des éléments organiques qui composent le corps humain.
 "A manual of anatomy; arranged so as to afford a concise and accurate description of the different parts of the human body", Edinburgh, Black, 1825.
 Traité des maladies du cerveau et de ses membranes; maladies mentales, 1826
 "A manual of general anatomy : containing a concise description of the elementary tissues of the human body", Philadelphia : Grigg, 1828.
 "An elementary treatise on anatomy", New-York : Harper & Brothers, 1837.
 Biographie médicale par ordre chronologique d'après Daniel Leclerc, Eloy etc., 1855.

References
  French Psychiatry's Initial Reception of Bayle's Discovery of General Paresis of the Insane

1799 births
1858 deaths
People from Alpes-de-Haute-Provence
19th-century French physicians

Antoine Laurent Bayle


Nils Göran David Malmqvist (6 June 1924 – 17 October 2019) was a Swedish linguist, literary historian, sinologist and translator. He was also a member of the Swedish Academy between 1985 and 2019.

Biography
Göran Malmqvist was born on 6 June 1924, in Jönköping, Sweden. Following introductory studies of Chinese under Sinologist Bernhard Karlgren at Stockholm University, Malmqvist studied in China in 1948–1950. He then returned to Stockholm, taking a Licentiate of Arts degree in 1951. His international research career started shortly thereafter with a lectureship in Chinese at the University of London in 1953–1955. He was then appointed Swedish cultural attaché in Peking and worked in China in 1956–1958.

Academic career
After his years in China he moved to Australia in 1958, where he worked for seven years at the Australian National University in Canberra. After some important essays on Chinese language history he was appointed Professor of Chinese at the university in 1961. During his professorship at the Australian National University, Malmqvist published academic articles on both old Chinese and modern Chinese. The articles concerned e.g. phonological issues and literary dialects during the Han dynasty, the syntax of bound forms in Sïchuanese and western Mandarin phonology.

Writing and translation
In 1965, Malmqvist was called to Stockholm as Professor of Sinology, particularly Modern Chinese, at the newly established Section of Chinese in the Department of Oriental Languages at Stockholm University. Back in Stockholm, his career as a translator also began, with a series of interpretations of Tang dynasty lyrics in the anthology Det förtätade ögonblicket (The compact moment). Malmqvist translated more than 40 volumes of Chinese literature from different epochs, different Chinese varieties, and different literary genres.

In 1971, Malmqvist published several textbooks including Nykinesisk grammatik (Grammar of Modern Chinese) and Nykinesisk fonetik (Phonetics of Modern Chinese), a number of translations, chiefly in the academic journal Orientaliska studier (Oriental studies), and the large section on Chinese literature 500–1779 in the joint Nordic Litteraturens världshistoria (World history of literature). This was followed in 1973 with the section on The literature of China 1780–1890 and Chinese literature 1890–1965. The same year he published the translation of Lao She's short stories in Det sorgsna skrattet (The sorrowful laugh). In 1974, Malmqvist published the popular volume Kinesiska är inte svårt (Chinese isn't difficult).

During the 1970s, he was also working on the translation of the over thousand page picaresque novel Shui Hu zhuan. The Swedish title is Berättelser från träskmarkerna (Tales from the swamps) and the work appeared in four volumes between 1976 and 1979. He also translated the five volumes of Xī Yóu Jì (Journey to the West, with the Swedish title Färden till västern), a 16th-century story of how in the 7th century the pilgrim Xuanzang brings the holy writings of Buddhism from India to China. During the 1970s and 1980s, Malmqvist's research turned chiefly to classical Chinese philology, syntax and semantics.

Swedish Academy
Göran Malmqvist was elected to the Swedish Academy on 11 April 1985 and admitted on 20 December 1985. Malmqvist succeeded the literary historian Henry Olsson to Chair number 5. From the time after his election to the Swedish Academy, the over five-hundred page biography on his teacher Bernhard Karlgren was of particular note: Bernhard Karlgren – ett forskarporträtt in 1995; (Bernhard Karlgren – portrait of a scholar). Malmqvist here follows Karlgren's path through the pioneering era of Sinology from his early dialectological fieldwork in China in 1910–1912, which aimed at reconstructing the sound pattern of ancient Chinese.

Following the awarding of the Nobel Prize to Chinese author Mo Yan in 2012, Malmqvist was criticized for a possible conflict of interest, as he had close personal and economic relations to Mo Yan. Malmqvist had translated several of Mo Yan's works into Swedish and published some through his own publishing house. Mo Yan had also written a laudatory preface to one of Malmqvist's own books, and been a close friend of Malmqvist's wife for 15 years. The Nobel committee denied that this constituted a conflict of interest, and said that it would have been absurd for Malmqvist to recuse.

Bibliography
Det förtätade ögonblicket: T'ang-lyrik (1965)
Problems and methods in Chinese linguistics (1964)
Han phonology and textual criticism (1963)
Gunnar Martins samling av kinesisk och japansk litteratur (1947)
111 nykinesiska satsmönster (1973)
Nykinesisk grammatik (1973)
Kinesiska är inte svårt (1974)
Nykinesisk fonetik (1974)
Nykinesiska satsmönster (1981)
Vägar till Kina: Göran Malmqvist 60 år (1984)
Henry Olsson: Inträdestal i Svenska akademien (1985)
Bernhard Karlgren: Ett forskarporträtt (1995)
Nio röster från Taiwan: Modern kinesisk poesi (1999)
Haiku för ros och oros skull (2002)
Strövtåg i svunna tider (2005)
Guldfisken som älskar att sjunga Mozart (2013)

Notes

References
 Stol nr 5 – Göran Malmqvist, Official biography by Jan Arnald, Swedish Academy: Stockholm, 2005.

Further reading
Göran Malmqvist, A selective guide to Chinese literature, 1900–1949. 4 vol. Leiden, 1988–1990.
Göran Malmqvist, Modern Chinese literature and its social context, Nobel Symposium, 32. Stockholm, 1977.
Göran Malmqvist, Problems and Methods in Chinese Linguistics, The Australian National University: Canberra, 1962. is a compact introduction to Chinese linguistics.
 Göran Malmqvist, Bernhard Karlgren: Ett forskarporträtt, Stockholm: Norstedts, 1995,
 Göran Malmqvist, Det förtätade ögonblicket (The compacted moment), Stockholm: Forum, 1965
 Lao She, Det sorgsna skrattet, Stockholm: Forum, 1972,
 N.G.D. Malmqvist, Kinesiska är inte svårt, Stockholm: Aldus, 1974,

External links

1924 births
2019 deaths
Alumni of the University of London
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Stockholm University alumni
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Göran Malmqvist


Coconut candy refer to various candies made with coconut or coconut flavorings.

In Vietnamese cuisine, kẹo dừa coconut candy is most commonly produced in Bến Tre province, Vietnam with coconut milk and coconut cream.

In the United States, coconut candy was sometimes spelled as cocoanut candy. These included various traditional confections in the United States. Mason Pecan Cocoanut Candy was made in the 1950s in Milprint, Milwaukee. Squirrel Brand made Cocoanut Zippers. There was also a Mason Cherry Cocoanut candy produced in Mineola, New York. Welch's made Cocoanut Candy Bar from Hinde & Dauch. Welch's Cocoanut candy was also produced by the James O. Welch Company.

Sauerkraut candy is made with grated coconut. Grated coconut is often used in various chocolate confections.

Vietnam
The Bến Tre Province is nicknamed  by Vietnamese as the "Land of Coconut" (Xứ Dừa). The Vietnamese term for coconut candy is "kẹo dừa", with kẹo = candy and dừa = coconut.  Coconut candy was originally associated with Mỏ Cày, a small township within the Bến Tre province.

Manufacturing process
The production of Vietnamese coconut candy starts with the grating of fresh coconut flesh. The grated flesh is then pressed to extract coconut milk and coconut cream. The next step is the addition of malt syrup and sugar to this mixture of coconut milk and cream. The ratio of the various ingredients is a closely guarded secret of individual coconut candy manufacturers. The mixing process is often entrusted only to family members of the factory owner. Slight variations in the ingredient ratios can lead to very different texture and taste in the final product.

The mixture is then heated to a very high temperature in large woks over fires generated by the burning of coconut shells. While being heated, the mixture is stirred continuously to ensure even heat distribution. Traditionally, this stirring process was done manually with large wooden paddles. In larger modern manufacturing facilities, these paddles have been replaced by electric motors. The mixture eventually caramelises to a thicker texture. Recognising when the mixture has been cooked to the right level is more of an art than an exact science. While it is still hot and soft, the thickened mixture is then stringed out into moulds and allowed to cool. The final step sees the candy strings cut into rectangular lozenges, then wrapped and packaged.

Traditionally, coconut candy is wrapped in two layers of wrappings. The inner layer is edible rice paper, and the outer layer is paper soaked in vegetable oil. These measures were necessary to stop the candy from sticking to the paper wrapping. Larger manufacturers now use heat-sealed foil paper, which does not stick to the candy.

Economic importance
Bến Tre currently has over one hundred coconut candy manufacturers, making up thirty percent of local enterprises. However, the market is dominated by a handful of well-known brands, with most manufacturers producing candy under licence for these brands. Coconut candy is sold throughout Vietnam. It is also exported to other Asian countries, Australia, Europe, and North America.

Coconut candy types
 Bounty (chocolate bar) contains coconut (it is known as Bounty outside of the U.S.)
 Coconut ice
 Ferrero Raffaello
 Perle de coco
 Ounhmangu

References

External links

Vietnamese cuisine
Foods containing coconut
Confectionery
Snack foods

Coconut candy


George William Furnas (born 1954) is an American academic, Professor and Associate Dean for Academic Strategy at the School of Information of the University of Michigan, known for his work on semantic analysis and on human-system communication.

Biography
Furnas obtained his AB in Psychology in 1974 from Harvard University, and his PhD in Psychology in 1980 from Stanford University.

Furnas started his academic career as graduate student teaching assistant at Stanford University in 1975. After his graduation in 1980 he started at Bell Labs, where he was a distinguished member of technical staff for 15 years. In the last two years he was Director of Computer Graphics and Interactive Media research. In 1995 he moved to the University of Michigan, where he was appointed Professor of Psychology, Professor of Computer Science and Engineering, and Professor at the School of Information. From 2002 to 2008 he was also Associate Dean for Academic Strategy, School of Information.

Furnas was elected into the CHI Academy, an honorary group of individuals who have made substantial contributions to the field of human-computer interaction, in 2004 for his work in the field. In 2011 he was inducted as a Fellow of the Association for Computing Machinery.

Work
During his time at Bell Labs he earned the moniker "Fisheye Furnas" while working with fisheye visualizations. A pioneer of latent semantic analysis, Furnas is also considered a pioneer in the concept of MoRAS (Mosaic of Responsive Adaptive Systems).

The body of Furnas' research, and its primacy in the field, is aptly précised by the delineation of his work in his SIGCHI bio:
A principal focus of his research is in advanced information access and visualization. His early role in the analysis of the "Vocabulary Disagreement" problem lead to his co-invention of Latent Semantic Analysis for indexing and text processing. His classic "Generalized Fisheye Views" paper inspired a sea of focus+context research in information visualization.

And furthermore
George's BITPICT graphical rewrite system is well known novel contribution to diagrammatic reasoning, visual languages and visual programming communities. George was also an early researcher in the areas of collaborative filtering and graph visualization. His "Space-Scale Diagrams in the Pad++ Zooming User Interface" advanced the analysis of zoomable user interfaces, and View Navigation theory has helped motivate much subsequent research in Information Scent. Recently he has been working on consolidating theories of design and use at multiple levels of aggregation.

Selected publications
 Furnas, George W. Objects and their features, 1980

Articles, a selection:
 Furnas, George W. "Generalized fisheye views." in Human Factors in Computing Systems CHI '86 Conference Proceedings, 16-23. 1986.
 Furnas, George W., et al. "The vocabulary problem in human-system communication." Communications of the ACM 30.11 (1987): 964-971.
 Deerwester, Scott C., et al. "Indexing by latent semantic analysis." JAsIs 41.6 (1990): 391-407.

References

External links

1954 births
Living people
American cognitive scientists
Human–computer interaction researchers
Harvard College alumni
Stanford University alumni
Stanford University faculty
University of Michigan faculty

George Furnas


Karl Georg Büchner (17 October 1813 – 19 February 1837) was a German dramatist and writer of poetry and prose, considered part of the Young Germany movement. He was also a revolutionary and the brother of physician and philosopher Ludwig Büchner. His literary achievements, though few in number, are generally held in great esteem in Germany and it is widely believed that, had it not been for his early death, he might have joined such central German literary figures as Johann Wolfgang von Goethe and Friedrich Schiller at the summit of their profession.

Life and career
Born in Goddelau (now part of Riedstadt) in the Grand Duchy of Hesse as the son of a physician, Büchner attended the Darmstadt gymnasium, a humanistic secondary school.

In 1828, he became interested in politics and joined a circle of William Shakespeare aficionados, which later on probably became the Giessen and Darmstadt section of the Society for Human Rights ().

In 1831, at age 18, he began to study medicine in Strasbourg. In Strasbourg, he immersed himself in French literature and political thought. He was influenced by the utopian communist theories of François-Noël Babeuf and Claude Henri de Saint-Simon. In 1833 he moved to Giessen and continued his studies at the local university.

While Büchner continued his studies in Giessen, he established a secret society dedicated to the revolutionary cause. In July 1834, with the help of evangelical theologian Friedrich Ludwig Weidig, he published the leaflet Der Hessische Landbote, a revolutionary pamphlet critical of social injustice in the Grand Duchy of Hesse. The authorities charged them with treason and issued a warrant for their arrest. Weidig was arrested, tortured and later died in prison in Darmstadt; Büchner managed to flee across the border to Strasbourg where he wrote most of his literary work and translated two French plays by Victor Hugo, Lucrèce Borgia and Marie Tudor. Two years later, his medical dissertation, "Mémoire sur le Système Nerveux du Barbeaux (Cyprinus barbus L.)" was published in Paris and Strasbourg. In October 1836, after receiving his M.D. and being appointed by the University of Zürich as a lecturer in anatomy, Büchner relocated to Zürich where he spent his final months writing and teaching until his death from typhus at the age of twenty-three.

His first play, Dantons Tod (Danton's Death), about the French revolution, was published in 1835, followed by Lenz (first partly published in Karl Gutzkow's and Wienberg's Deutsche Revue, which was quickly banned). Lenz is a novella based on the life of the Sturm und Drang poet Jakob Michael Reinhold Lenz. In 1836 his second play, Leonce and Lena, satirized the nobility. His unfinished and most famous play, Woyzeck, exists only in fragments and was published posthumously.

Legacy
By the 1870s, Büchner was nearly forgotten in Germany when Karl Emil Franzos edited his works; these later became a major influence on the naturalist and expressionist movements. Arnold Zweig described Lenz, Büchner's only work of prose fiction, as "the beginning of modern European prose".

The play Woyzeck became the basis for many adaptations including Alban Berg's landmark atonal opera Wozzeck which premiered in 1925, and Werner Herzog's 1979 film Woyzeck (see main article, Woyzeck, for a full list).

A literary prize in Germany, the Georg Büchner Prize, is awarded annually. It was created in 1923.

Works
 The Hessian Courier, 1834 – in cooperation with Friedrich Ludwig Weidig (Flugschrift)
 Danton's Death, 1835 (Drama)
 Lenz, 1835 (Short story)
 Leonce and Lena, 1836 (Comedy)
 Woyzeck, 1837 (Drama – fragment)
 Pietro Aretino, his drama about Pietro Aretino, has been lost.
 Translations:
 Lucrezia Borgia, 1835 (Of the play by Victor Hugo)
 Maria Tudor, 1835 (Of the play by Victor Hugo)

Editions
Georg Büchner, Werke und Briefe. Münchner Ausgabe (dtv, 1997). .
Georg Büchner, Dichtungen, Schriften, Briefe und Dokumente (Deutscher Klassiker Verlag, 2006). ISBN 978-3-618-68013-0. The most complete, authoritative edition.

Translations
 Red Yucca – German Poetry in Translation  (trans. Eric Plattner)
Georg Büchner, Complete Plays and Prose, trans. Carl Richard Mueller (Hill and Wang, 1963)
Georg Büchner, The Complete Plays: Danton's Death; Leonce and Lena; Woyzeck; Lenz; the Hessian Messenger; on Cranial Nerves; Selected Letters trans. John Reddick  (Penguin Classics, 1993)  .
Georg Büchner, Danton's Death, Leonce and Lena and Woyzeck, trans. Victor Price,  (Oxford World's Classics, 1998). .

Notes

References
 Garland, Henry and Mary (Eds.). The Oxford Companion to German Literature. 2nd ed. by Mary Garland. Oxford: Oxford University Press, 1986. "Büchner, Georg", p. 121.
 Heiner Boehncke, Peter Brunner, Hans Sarkowicz. Die Büchners oder der Wunsch, die Welt zu verändern. Societäts-Verlag, Frankfurt am Main, 2008.

External links

 Series on life of Georg Büchner, by Sybille Fuchs, reviewing Georg Büchner: Revolutionary with pen and scalpel, an exhibition from 13 October 2013 to 16 February 2014 at the Darmstadium Conference Centre, Darmstadt:   Part 1 – Part 2 – Part 3 – Part 4 – Part 5
 Büchner's birthplace

1813 births
1837 deaths
People from Groß-Gerau (district)
People from the Grand Duchy of Hesse
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German Expressionist writers
Writers from Hesse
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Infectious disease deaths in Switzerland
German male dramatists and playwrights
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Georg Büchner


Alfonso II of Asturias (842), nicknamed the Chaste (), was the king of Asturias during two different periods: first in the year 783 and later from 791 until his death in 842. Upon his death, Nepotian, a family member of undetermined relation, attempted to usurp the crown in place of the future Ramiro I.

During his reign, which covered a span of 51 years, Alfonso discovered the supposed tomb of St. James the Great (called  in Spanish) in the town of Compostela, which later became known as the city of Santiago de Compostela. He was the son of Fruela I and Munia, a Basque woman captured and brought back to Asturias by the former following a military campaign.

Early life
He was born in Oviedo in 759 or 760. He was put under the guardianship of his aunt Adosinda after his father's death, but one tradition relates his being put in the Monastery of San Xulián de Samos. He was the governor of the palace during the reign of Adosinda's husband Silo. On Silo's death, he was elected king by Adosinda's allies, but the magnates raised his uncle Mauregatus to the throne instead. Alfonso fled to Álava where he found shelter with his maternal relatives. Mauregatus was succeeded by Bermudo I, Alfonso's cousin, who abdicated after his defeat at the Battle of the Burbia River.

Alfonso proclaimed king
Alfonso was subsequently elected king on 14 September 791. Poets of a later generation invented the story of the secret marriage between his sister Ximena and Sancho, count of Saldana, and the feats of their son Bernardo del Carpio. Bernardo is the hero of a  written to please the anarchical spirit of the nobles.

Andalusian raids into Asturias
On accession to the throne, Hisham I, son of Abd al-Rahman I, commenced a string of military campaigns in the eastern Pyrenees and to the north-west. In 794, a raid spearheaded by Abd al-Karim dealt a major military blow to Alfonso II on the eastern fringes of the Kingdom of Asturias (Cantabria and Castile). The Asturian king asked for the assistance of the Basque Frankish vassal Belasco, master of Álava and bordering regions at the time. Abd al-Karim advanced deeper west into Asturias and pillaged the region, while his brother Abd al-Malik ventured into the western Asturian lands.

Relations with Charlemagne and the Papacy
Under pressure from his enemies, Alfonso II reached out to Charlemagne, sending delegations to Toulouse and Aix-la-Chapelle in 796, 797, and 798. These diplomatic efforts may have aimed to strengthen his legitimacy and the Asturian government against ongoing internal unrest——viz., troubles in Galicia——and external attacks of the Ibn Mugait brothers, the generals Abd al-Karim and Abd al-Malik.

Alfonso was acknowledged as a king by Charlemagne and the Pope, and Asturias as a kingdom for the first time. The king showed an interest in the Frankish cult of Saint Martin of Tours, and he encouraged Carolingian Church influence in Asturias. Also, during Alfonso's reign, the alleged resting place of St. James was revealed. Alfonso's envoys to Charlemagne's courts may have also dealt with the adoptionist controversy, which had brought Bermudo's kingdom into Charlemagne's view. It seems that Carolingian support did much to spur his raid into Andalusian territory up to Lisbon, which was captured and sacked by his troops in 798.

Later events
In 825, he defeated Cordovan forces at Narón and Anceo and, thanks to these victories, the "repopulation" of parts of Galicia, León, and Castile was started— with charters granted that confirmed the possession of the territories.

Alfonso also moved the capital from Pravia, where Silo had located it, to Oviedo, the city of his father's founding and his birth. There he constructed churches and a palace. He built San Tirso, where he is buried, and Santullano, on the outskirts. The Crónica Sebastianense records his death in 842, saying:

tras haber llevado por 52 años casta, sobria, inmaculada, piadosa y gloriosamente el gobierno del reino

[after having held for 52 years chastely, soberly, immaculately, piously, and gloriously the government of the realm]

Tradition relates that in 814, the body of Saint James was discovered in Compostela and that Alfonso was the first pilgrim to the shrine at Libredón.

References

8th-century births
842 deaths
Beni Alfons
8th-century Asturian monarchs
9th-century Asturian monarchs

Alfonso II of Asturias


A statue is a model of somebody or something, usually of a person or sometimes an animal. It is a sculpture. Several kinds of material can be used to make a statue, e.g. stone, bronze, clay, or wood. Statues are often at least life-size (the same size as the real person), but often they are much bigger, especially statues in the open air. Statues are often made to remember an important person (such as the statue of Alfred the Great), or to remember an event or an idea (such as the Statue of Liberty).

Usually there is some writing on a statue to say who the person is. This writing is called an epigraph. The statue may be standing on a base. This base is called a "plinth".

A bust is a statue of the head, shoulders and upper body of a person.

A colossus is an enormous statue.

A statue of someone on horseback (riding a horse) is called an equestrian statue.

Statue