Hikaru Utada (宇多田ヒカル Utada Hikaru, born January 19, 1983 in New York City), is a Japanese and American singer and songwriter. Because she was born in the United States, she can speak English perfectly. She is the only child of the 1970s Enka singer Keiko Fuji. Her first Japanese album, First Love, was very popular. It sold more copies than any other Japanese singer ever. She is also known in the west for singing the theme songs for Kingdom Hearts and Kingdom Hearts II: "Simple and Clean" and "Sanctuary".

Early Life
When Hikaru was little, she did not want to become a singer. She saw how busy her parents' lives were, and did not want that for herself. When she was 10 years-old, her parents asked her if she wanted to write songs. She did not want to, but tried doing it. She wrote a song called I'll Be Stronger. During this time, Hikaru went to school in New York. Her classmates were not able to say her name right (Hee-ka-roo) so she shortened it to 'Hikki'. 'Hikki' became Hikaru's nickname. Her fans in Japan call her that.  The name is not promoted very much in the United States because it sounds too much like 'hickey'.

Early career
In 1996, Hikaru started to record an album, when she was only 13 years old. It was in English. The album was in the R&B style. It was written all by herself. The album was going to be released on the EMI's record company, but since the company fell apart, it was never sold in the United States. A man called Akira Miyake from Japan heard the album, and wanted to release it there. Hikaru agreed, and the album was released in Japan in 1998.

Rise to fame
The album sold okay, but it was not until later when Hikaru started to sing Japanese songs that she became famous. Her music still sounded very R&B, but at this point, it sounded more like pop. Her first single, Automatic / Time Will Tell, reached #2 on the single charts in Japan. A while later, after another single, she released her first Japanese album, First Love. This sold a very large amount (over 9 million copies) and became the most sold album by a Japanese singer.

Hikaru went on to release two more albums: Distance (2001), and Deep River (2002). In each album, her style changed slightly. Each album was less R&B, and more pop. In 2004, she released an album made up of all her old single songs. She then released an album in English called Exodus. Exodus was released under the record label Island Def-Jam. It was sold in Japan, the United States, and the United Kingdom. She sang, wrote, and made the music for the whole album herself (except for when she got hip-hop producer Timbaland to help her). The album sold many copies in Japan, but it did not sell that well in the United States. However, many famous people and music critics thought that the album was good (for example, Elton John thought it was interesting).

Hikaru has started to make new Japanese music again, but continued on making all the music herself. Usually, a singer/songwriter will only write the music and the lyrics, but Hikaru decided she wanted to arrange her songs all by herself as well. She released her new album, Ultra Blue, in mid-2006. Soon after, she went on a tour all across Japan. This is the second time she had ever done this (despite having sung for eight years).

Albums
Precious (1998)
First Love (1999)
Distance (2001)
Deep River (2002)
Utada Hikaru Single Collection Vol. 1 (2004)
Exodus (2004)
Ultra Blue (2006)
Heart Station (2008)
This Is The One (2009)
Utada Hikaru Single Collection Vol. 2 (2010)

Other websites
Hikki's Website  — Official Japanese Website

Pop musicians
Japanese singer-songwriters
Singers from New York City
1983 births
Living people

Hikaru Utada


Phylotaxy or phylotaxis is the mode of arrangement of leaves on the stem of a plant (from Ancient Greek  "leaf" and  "arrangement").

Phyllotaxy has a function: it avoids over-crowding of leaves, and exposes the leaves to the most sunlight for photosynthesis. The four main types of phyllotaxy are alternate, opposite, ternate and whorled.

Plant anatomy

Phyllotaxis


Woolloongabba Air Raid Shelter is a heritage-listed former air raid shelter at 34 Sword Street, Woolloongabba, City of Brisbane, Queensland, Australia. It was designed by Frank Gibson Costello and built  by Brisbane City Council. It was added to the Queensland Heritage Register on 6 April 2005.

History
The Brisbane City Council built the concrete shelter at Buranda Playground, Woolloongabba as an air raid shelter in 1942.

On 7 December 1941, the United States of America entered World War II following the bombing of the American fleet at Pearl Harbor in Hawaii by Japanese carrier-borne aircraft. England and its Commonwealth had been at war with Germany since September 1939, but now the war was truly global. The Japanese first bombed Darwin on 19 February 1942 and 14,000 Australians were taken prisoner following the fall of Singapore. Plans to defend Australia from an anticipated Japanese invasion and to use Queensland as a support base for the conduct of the Pacific war were implemented quickly. Australian and American personnel poured into Queensland and urgently required a wide range of new buildings and facilities.

The population of Brisbane swelled dramatically. As it was the major city in Queensland, and the most northerly major population centre in Australia, military planning headquarters were set up in Brisbane, as were a number of important maintenance, communication, and supply facilities. General Douglas MacArthur, Commander in Chief of the Allied Forces, Southwest Pacific, was based in the AMP building at the corner of Queen Street and Edward Street in Brisbane, and General Sir Thomas Blamey, Commander in Chief of the Australian Forces, used the recently constructed University of Queensland buildings at St Lucia. Brisbane was obviously a strategic target for bombing, and rapid action had to be taken to protect the population in the event of air raids.

The demand on materials, services and labour was enormous and military projects took precedence in their allocation. Heavy Anti-Aircraft batteries were built at Victoria Park, Hendra, Pinkenba, Fort Lytton, Hemmant and Balmoral, and coastal artillery batteries were established on Bribie and Moreton Islands. Before the war, Queensland had a small population and no heavy manufacturing industries. To help overcome these problems, some buildings were prefabricated and standard designs for many structures were used. Designs took into account the scarcity of skilled labour and of some materials.

The Brisbane City Council took responsibility for Air Raid Precautions activities, including establishing an Air Raid Warden system, firefighting systems and constructing air raid shelters. Aboveground salt water pipes were laid along city streets to aid in firefighting. On Christmas Eve, 1941, each Australian State's Emergency Committee issued instructions for government, private employers and private households to immediately start building shelters. Slit trenches were built in parks and schoolyards, windows were taped, and brownouts were applied to buildings.

In the Protection of Persons and Property Order No.1, gazetted 23 December 1941, Premier William Forgan Smith, with powers conferred by Regulation 35a, National Security (General) Regulations, ordered the Brisbane City Council to construct 200 public surface shelters in the city area. Work had already started on 15 December, and later another 75 shelters were ordered. However, only 235 air raid shelters were constructed, the building programme being 90% complete by June 1942. In addition, around three kilometres of covered trenches were constructed in public parks, in 13 projects, including  of concrete-pipe covered trench in the Botanic Gardens, and  of the same in Victoria Park. It was believed that one person could be accommodated by each foot of trench. In addition to the public shelters, the Brisbane City Council also constructed shelters for leased wharves and council properties, including at the Stanley Wharf, Circular Quay Wharves 2,3 and 4, Norman Wharf, and Musgrave Wharf. Shelters were built under the Story Bridge, for Kangaroo Point shipbuilding workers, and five shelters were constructed on behalf of the Bureau of Industry at the Howard Smith Wharves.

The Protection of Persons and Property Order No.1 was applied statewide, and outside Brisbane another 24 Local Authorities in Queensland's coastal areas were ordered to produce surface or trench shelters for the public, to be built according to the Air Raid Shelter Code laid down in the Second Schedule of Order No.1. Initially, 20 of the Local Authorities were expected to construct a minimum total of 133 surface shelters, which were supposed to be able to withstand the blast of a 500-pound bomb bursting  away. Four other Local Authorities would only build trenches. However, after plans were amended, 23 Local Authorities outside Brisbane, excluding Thursday Island, ended up possessing a total of 129 public shelters: 123 surface and six underground. This effort had cost £56,596. Where Local Authorities were unwilling or unable to build the required number of code-compliant shelters, in some cases because they had already begun erecting other shelters, the Department of Public Works became responsible for the shelters' construction. However, this led to problems when the department tried to recoup half of the cost from the Local Authorities in question. Townsville, Toowoomba, Gladstone, and Ayr denied any liability for costs, and a Bill had to be passed in December 1942 to force their compliance. The Ayr Shire Council had claimed that the shelters would be death traps during an air raid.

Of the 235 surface shelters built in Brisbane for the public, 21 survive and are still owned by the Brisbane City Council. One of the shelters, on Queens Wharf Road, is a site-specific "special" variation of the standard pillbox design. It is listed in the Queensland Heritage Register as part of the entry for the porphyry retaining wall on William Street. The other 20 public shelters owned by the Brisbane City Council can be divided into three types of pillbox intended for conversion after the war: "park", "bus", and "bus (stone)". They were designed to serve as structures such as bus waiting shelters or shade structures for parks, with some or all of the perimeter blast walls to be removed, leaving the concrete slab roof, floor slab and piers. The reusable pillboxes were designed to hold 70 people, as were the non-reusable standard pillboxes.

F.G. Costello, Brisbane City Council City Architect between 1941 and 1952, was responsible for the design of the surface air raid shelters, and his variants of the standard pillbox were designed to provide a post-war utility for at least part of the council's shelter building programme. In an address delivered to the Constitutional Club in Brisbane in February 1942, Costello noted that "if the emergency for their use does not arise ...(unused shelters)... remain in brick and concrete, in many cases having no further value and being a possible source of nuisance". He added that "I can assure you that wherever it is possible, without sacrificing the primary requirements of shelter from air attack, I have endeavoured in our Council buildings to so plan the shelters that they will fit into schemes of improvement which we hope will proceed immediately after the war".

Costello's work was characterised by the use of an architectural language inspired by the modern movement in architecture. This movement pursued the rational use of modern materials and principles of functionalist planning and established a visual aesthetic largely inspired by the machine. It was part of an architecture employing the language of vertical and horizontal volumes and planes, floating flat roofs, masses set against voids and monumentality. Though modest in scale and form, the design of the shelters is characteristic of work in this idiom. The reusable shelters were often sited under fig trees, to aid in camouflage.

The first of Costello's reusable designs is the pillbox with double-cantilevered roof slab, or "park" type shelter. In an original list of all the shelters constructed by the Brisbane City Council, these were simply labelled as "cantilever". They had four central piers supporting the roof slab, which allowed for the removal of the four blast walls after the war. There was an entrance at each end of the front wall, where an internal wall extended into the shelter. If the walls were made of brick, the shelter's dimension was  by  by  high, and if concrete was used the dimensions were  by  by  high. The difference was due to the fact that the brick walls finished in line with the top of the roof slab, covering the fascia, whereas the concrete walls finished at the soffit of the roof slab, flush with the fascia. The minimum wall thickness for brick was set at 13.5", and 12" for concrete. The roof slab was intended to have at least four inches of concrete.

Of the 37 reusable shelters listed as being of the park type only 17 survive: one at Hefferan Park in Annerley; two at Albert Park; two at Wickham Park; one in Buranda Playground in Woolloongabba; two in Raymond Park in Kangaroo Point; and one each at Kelvin Grove, Morningside, Nundah, Stones Corner, and Windsor. Four other shelters stand on East Street and Wickham Street in Fortitude Valley. Most are used as simple park shelters, as intended, but the shelter at Nundah has been modified as a toilet block, and the shelter at Kelvin Grove is used as a bus shelter (as distinct from those shelters in the next category, which were specifically designed as "bus" type shelters). About half of the surviving park shelters had concrete blast walls, while half used brick.

The second design was the pillbox with single-cantilevered roof slab, or ""bus" type shelter, as it was called in the original Brisbane City Council list. These were designed so that the three brick blast walls could be removed after the war, leaving a concrete back wall and five brick piers at the front. Again, entrances were at each end of the front wall. Of the 19 "bus" types listed only two survive, at Newmarket and Newstead.

The third design was also a "bus" type shelter, but it was built with a stone rear wall, instead of concrete, and six stone piers were later added, instead of five brick piers. The three brick blast walls could be removed as normal. Two of these "colonnade" types were built-referred to in the Brisbane City Council list as "bus (stone)" and only one survives, at King Edward Park.

Most of the Brisbane structures built for the war were removed at the end of World War Two. The saltwater mains, slit trenches, and sirens disappeared, as did the many standard pillboxes that had stood in the middle of the streets of the Central Business District. 156 standard pillboxes were built, but none of the surviving public shelters in Brisbane City Council ownership are of that design. Of the 21 special shelters, only the one on Queens Wharf Road survives. However, of Costello's 58 reusable public surface shelters, 20 have survived; the removal of their blast walls, as planned, had given them a renewed purpose. The worker's shelters at the Story Bridge Hotel and Howard Smith Wharves also still exist.

The blast walls of the air raid shelter at the Buranda playground were removed according to plan after World War Two, although evidence of the location of the walls is still visible. The shelter roof and piers have been painted and a picnic table and seats have been added.

Description
The Woolloongabba air raid shelter is a rectangular concrete structure comprising a heavy floor slab and a flat roof supported by concrete piers. The roof and the piers of the shelter are painted green. The shelter is surrounded by shrubs and shade trees and is adjacent to play equipment. The middle bay accommodates a wooden picnic table and seats that are bolted to the floor slab. The shelter appears to have once had one entrance in each long blast wall, in opposite corners.

Heritage listing

Woolloongabba Air Raid Shelter was listed on the Queensland Heritage Register on 6 April 2005 having satisfied the following criteria.

The place is important in demonstrating the evolution or pattern of Queensland's history.

The Woolloongabba air raid shelter is important as a part of the Air Raid Precaution activities that were implemented for the defence of Brisbane during World War Two. Designed to afford protection to the civilian population of Brisbane in the event of air raid attacks or other emergencies, the air raid shelter located in Buranda Playground is important in demonstrating the impact of World War Two on the civilian population of Brisbane.

The place demonstrates rare, uncommon or endangered aspects of Queensland's cultural heritage.

Although many air raid shelters were constructed during World War Two in Queensland, comparatively few survive. Also, there are not many types of structures built by the Brisbane City Council during World War Two, for wartime purposes, which survive.

The place is important in demonstrating the principal characteristics of a particular class of cultural places.

The shelter's solid construction, rectangular shape, and its siting near a population concentration, demonstrate the principal characteristics of a World War Two Brisbane public air raid shelter.

The place is important in demonstrating a high degree of creative or technical achievement at a particular period.

The Woolloongabba air raid shelter, now used as a shade structure, demonstrates the secondary uses that were part of the original design intention. The shelter is a durable example of innovative design and use of concrete technology during World War Two.

The place has a special association with the life or work of a particular person, group or organisation of importance in Queensland's history.

The air raid shelter is important as an example of the wartime work of the City Architect's Office and particularly the work of City Architect F.G. Costello.

References

Attribution

External links

Queensland Heritage Register
Woolloongabba
Air raid shelters in Queensland
Articles incorporating text from the Queensland Heritage Register
Frank Gibson Costello buildings
Queensland in World War II

Woolloongabba Air Raid Shelter


Psaums (Ebrue: Tehilim, תהילים, or "praises") is a beuk o musardry fund in baith the Christian Bible an the Judaism Jewish canon an aw. It is an ingaitherin o sangs They are anent the hail reenge o human experience in relation tae God, the guid an the bad stents o life as weel as liturgical pairts forby.

Componin
Tradeetion threaps that the feck o the Psaums wis written bi King Dauvit, tho modren scholars hae disputit this an maist hauds that he canna hae wrate aw thaim that haes his names, syne mony appears tae hae been pitten doun lang efter his daith, specially thaim that seems tae be frae the exilic or post-exilic stents o Israel's history. Ither psaums haes teetles sic as "O the Sons o Korah" abuin thaim, clearly shawin that thir anes wisna bi Dauvit.
The Psaums wis first pitten doun in writin aboot the 6t century BC, an haed been pairt o the Jewish oral tradeetion for mony years afore thon.

Translates intae Scots
The Psaums haes been pitten ower intae Scots twa-three times:

 Henry Scott Riddell (1857) pit oot a translate o the beuk o Psaums that wis taen frae the Inglis Authorised Version (kent as the King James Version an aw).
 P. Hately Waddell gied us his "Psalms: frae Hebrew intil Scottis" in 1871 an sae becam the first Scots translator o ony Biblical beuk tae wirk frae the oreeginal leid text. In his wark he teuk tent o ither translates in ither leids: the Laitin, the Greek, the Italian, the German an Inglis.
 In 1971, a year efter his daith. Alex Borrowman's translate o Ruth wis setten furth, an twa-three o the Psaums wes eikit tae it.

Forby, twa-three makkars sic as Robert Burns, haes pitten a Psaum or twa ower intae Scots verse.

The Metrical Psaums
Syne the days o their componin, the Psaums haes been uised in wirship, aither liltit bi priests or ordinar fowk (or baith in deeferent pairts in a "caw an repone" form). In modren Christian wirship this hauds on the nou an aw, in Scotland mainly throu the uiss o the Metrical Psaums.

For the first three centuries o its bein, the Kirk o Scotland haed the Metrical Psaums (1650) as its ae muisical wirship in services (as is still the wey wi the Free Kirk o Scotland). This wis an Inglis translate o the Psaums in rhyme an metre sae it coud be liltit. Mony Scots Bibles haes the Metrical Psaulms at the end, alang wi paraphrases o ither pairts o Scriptur for liltin. Thir versions o the Psaums is still uised in mony kirks in Scotland.

Soorces
 A History of the Scots Bible - Graham Tulloch
 The Bible in Scottish Life and Literature - ed. David F. Wright
 How to Read the Old Testament - Etienne Charpentier

Fremmit Airtins
 The buik o Psaums in Scots, Waddell's translate
 Thrie versions o Psaum 23 in deeferent Scots dialecks
 Metrical Psaum 72 (in Scots)
 Metrical Psaum 100 (in Scots)
 Metrical Psaum 122 (in Scots)
 Metrical Psaums
 Metrical Psaums in Inglis an the Gaelic

9t-century BC beuks
8t-century BC beuks
7t-century BC beuks
6t-century BC beuks

David
Ketuvim

Psaums


Charles Nelson Osborne (December 26, 1890 – May 27, 1992), affectionately known as "Uncle Charlie," was a musician in the Appalachian Mountains of southwest Virginia. He was born in what is now known as Cowan Osborne Hollow, named for his father, in Copper Creek, Virginia. He was regionally famous from the time he was about 15 until his death at age 101 in 1992.

Charlie had a unique style of playing the fiddle with his left hand, on a right-handed fiddle. He and his brother, Emmett Osborne, played on WOPI radio station in Bristol, Tennessee, from the early 1920s until the early 1930s. They were contemporaries of country music founders Jimmie Rodgers and the Carter Family, and occasionally gave advice to Tennessee Ernie Ford on his music.

Personal life

Uncle Charlie was blinded in his left eye at age 21 when he was shot in the head with a pistol that had been stolen from him. Beginning in the 1930s, he cut back his music and farmed a large farm near the Osborne Family Homeplace in Copper Creek, Virginia. In the mid-1970s, after the death of his wife, Clara, Charlie began to focus more on his music.

Career
In 1985, in conjunction with East Tennessee State University, Appalshop's June Appal Recordings recorded Uncle Charlie's first album, "Relics And Treasures". The album contained over a dozen traditional mountain songs, including "Ida Red", "Brown's Dream", and "Old Joe Clark". Uncle Charlie recorded two more albums with the label; his final was 1991's "One Hundred Years Farther On", which included the powerful and mournful mountain gospel song "Farther On," which Uncle Charlie called "As We Travel Through The Desert". Also featured on the recordings were his son, Johnny C. Osborne, on clawhammer banjo, and Tommy Bledsoe, on guitar and banjo. These recordings were reissued by June Appal Recordings as "Uncle Charlie Osborne: The June Appal Recordings."

In the 1980s, Governor Chuck Robb came to his home and presented him with an award recognizing his contributions to Virginia life and culture. Also, in the mid eighties, he and his brother Emmett began playing heavily with their half-brother, George Osborne, a former country & western singer. Their weekly or semi-weekly jam sessions became the stuff of legends.

Uncle Charlie played numerous shows at the Carter Family Fold in Scott County, Virginia, a theatre showcasing traditional music which was run by Janette Carter, one of the daughters of the original Carter Family. On one occasion, Johnny Cash was Uncle Charlie's "opening act". He was a regular performer at Mountain Empire Community College's annual Home Craft Days  festivals from 1985 until his death. Other performances included the Brandywine Festival, Appalshop's Seedtime on the Cumberland festival and a campaign rally for Jesse Jackson in Hazard, KY.

Death
Uncle Charlie walked three miles every day from his house in rural Tumbez, Virginia, about two miles from Lick Skillet, Virginia, and three miles from Hansonville, Virginia, until just days before his death. Uncle Charlie Osborne died on May 27, 1992, after a brief illness.

See also
 Carter Family Fold
 June Appal Recordings
 Old-time music

References

External links
Home Craft Days festivals' website

1890 births
1992 deaths
People from Russell County, Virginia
Folk musicians from Virginia
American centenarians
Men centenarians
20th-century American musicians

Uncle Charlie Osborne


The Sauerland  () is a rural, hilly area spreading across most of the south-eastern part of North Rhine-Westphalia, in parts heavily forested and, apart from the major valleys, sparsely inhabited.

The Sauerland is the largest tourist region in North Rhine-Westphalia, in particular for mountain biking and cycling, water sports and scenic recreation. The town and Skiliftkarussell of Winterberg in the Hochsauerlandkreis is a major winter sport resort.

Etymology
The name Sauerland is first mentioned as Suderland in an official document from 1266. After 1400 the letter 'd' started to disappear. Therefore, Sauerland = southern country is the most convincing meaning, opposed to the theory that Sauer is from the German word sauer meaning sour (poor "sour" soil). Linguistically, "suder-" is similar to the Old Saxon sûðar (southbound).

History
Before 1800 the western part of the Sauerland was part of the County of the Mark based in Altena; the eastern part adhered to the County of Arnsberg, later became known as the Duchy of Westphalia and was owned by the Archbishops and Electorate of Cologne. The Duchy of Limburg covered a very small area in the lower Lenne river valley. After the Napoleonic Wars the area became part of Prussia and was integrated into the new province of Westphalia. After World War II, Westphalia was merged with the new federal state of North Rhine-Westphalia. Today, the Sauerland consists of the districts Märkischer Kreis, Olpe and Hochsauerland. The western part of the Hessian district Waldeck-Frankenberg is also attributed to the Sauerland because of its geomorphological, as well as its sociocultural similarity, and the stark contrast to the rest of the adjoining Hessian landscape.

Geography

To the west the hills continue into the Bergisches Land, to the south into the Siegerland, and to the north-east into the Teutoburg Forest. The major rivers of the Sauerland are the Ruhr and the Lenne. Several artificial lakes were created on the smaller rivers by building dams to store water for the nearby Ruhr area, the biggest reservoirs being the Möhne and Bigge. Although the highest elevation of the Sauerland is the Langenberg (843 m) near Olsberg, the much more renowned summit, which is well known for the nearby skiing facilities, its weather station and observation tower, is the slightly lower Kahler Asten (842 m) near Winterberg. Both Langenberg and Kahler Asten are peaks in the Rothaargebirge mountains.

Dams and reservoirs (lakes)
The Sauerland has six reservoir lakes.

Sorpesee
Biggesee
Hennesee
Listersee
Diemelsee
Möhnesee

Geology
The Sauerland is part of the Rhine Massif (Rheinisches Schiefergebirge) including 'Bergisches Land', Westerwald, Siegerland, and, separated by the Rhine valley, the Eifel, Hohes Venn and Hunsrück. The Rheinisches Schiefergebirge was subjected to folding and faulting in the Variscan orogeny in Carboniferous times and eroded to a peneplain in the Permian. The tectonic uplift to the present-day low mountain range began approximately 500,000 years ago and is still going on.

Most of the bedrock underneath the Sauerland originates from a Middle and Upper Devonian period, when it was under a marginal and shallow sea.  This has meant that slates, sandstones and greywackes are the most abundant rock types in the Sauerland. In some areas limestones from an ancient reef fringe prevail and are karstified. The Sauerland has several caves, especially in the northern part, the biggest caves being in Attendorn and Balve. In some areas of the Sauerland the occurrence of lead-zinc-silver-ores lead to the development of a considerable mining industry, the center of which was the town of Meggen. Mining in this area lasted until the late second half of the 20th century, today there is no active mining in the Sauerland. The sandstones, greywackes and quartzites of the Sauerland as well as, to a minor extent, the limestones are still exploited in numerous quarries.  Some of these caves are now becoming modest attractions to tourists.

Fauna and Flora
Several areas of the Sauerland have the status of biological reserves.

The biodiversity of the Sauerland is significant. It is the main habitat of many species within Germany, for example for the wisent, the black stork, the Eurasian eagle-owl, the great grey shrike, the red-backed shrike and the whinchat. There have been reports of free-roaming wolves, which had been wiped out in Germany until a few specimens returned to the country in 2000.

In 2007, Cyclone Kyrill caused severe damage to the coniferous forests. In addition, massive outbreaks of bark beetles have been killing up to 60 % by area of forest in some regions of the Sauerland.

Towns and municipalities

The largest town of the Sauerland is Iserlohn; other larger towns are Lüdenscheid and Arnsberg. Meschede is the home of an abbey. Another abbey is placed at Bestwig.

Hochsauerlandkreis

Märkischer Kreis

Olpe

Soest

Waldeck-Frankenberg
 Upland

Economy
Parts of the Sauerland, especially the major valleys in the northwest, represent an old industrial region. The availability of iron ore and the abundance of wood and water allowed iron production long before the Ruhr area industrialisation and the mining of its coal took place. Today there are only a few remains of this early heavy industry; wire production is still important in Altena and a number of small factories still occupy the old industrial areas. Warsteiner is Germany's largest privately owned brewery.

Tourism

Sauerland has become a popular tourist area, attracting many visitors from the Ruhr Area and relatively close Netherlands. The forests and picturesque small towns are attractive for hikers and outdoor sports.  There are more than  of tagged hiking trails in Sauerland region maintained by Sauerland hiking association (SGV). Some of the towns have the title Bad (Spa) because of their good air quality and stimulating climate. Winter sports are popular in the Sauerland. The bob sleigh track in Winterberg is widely known in Germany, as well as the ski jumping in Willingen. Sauerland also has a successful theme park called Fort Fun.

Balve Cave is one of the biggest prehistorical caves of Europe and is situated in Balve. The largest accessible limestone cave outside the Alps is the Atta Cave in Attendorn.

Transport
The Sauerland can be reached by car or train. The drive either via the BAB 4 from Cologne or via the BAB 45 and BAB 46 from Dortmund, takes about one hour; from Kassel or Frankfurt-Rhine-Main (via the Sauerlandlinie) the journey takes about two hours. The closest commercial airport is Dortmund Airport.

  Bundesautobahn 4
  Bundesautobahn 44
  Bundesautobahn 45 (Sauerlandlinie)
  Bundesautobahn 46

In the region, railways were once the most important means of transportation, but between 1950 and 1990 many smaller branch lines were closed and rail travel is now only present in the major valleys.

The most important lines are:
 Ruhr-Sieg-Strecke: Hagen – Iserlohn-Letmathe – Werdohl – Finnentrop – Lennestadt – Siegen (2 trains per hour, Abellio Rail NRW)
 Ruhrtalbahn: Hagen – Arnsberg – Bestwig – Brilon – Meschede – Warburg (1-2 trains per hour, DB Regio NRW)
 Volmetalbahn: Hagen – Lüdenscheid-Brügge – Meinerzhagen – Overath – Köln (one train per hour, DB Regio NRW)

See also

 Arnsberg Forest Nature Park
 Sauerländer Heimatbund
 List of castles in North Rhine-Westphalia
 List of nature parks in Germany
 Festspiele Balver Höhle

References

External links

 www.sauerland.com Official site of Sauerland-Tourismus e.V.
 Sauerland-Bilder, Photo-archive
 History of mining in the Sauerland

Mountain ranges of North Rhine-Westphalia
Westphalia culture
Regions of North Rhine-Westphalia
Rhenish Massif
Cultural landscapes of North Rhine-Westphalia

Sauerland


A hotel or a guest-house is a large building with many rooms, where people can sleep when they are not at home. A motel is a hotel especially for motorists - people who drive cars - where the room door usually opens into the parking lot rather than to an interior corridor. Inn is sometimes used to mean a smaller hotel. Guest house can also mean an accessory dwelling unit. An extended stay hotel is one where suites are rented by the week.

These places will rent a room for any number of days. They offer rooms to sleep as their business. There are also hotels where conferences are held.

Some hotels have swimming pool. Some hotels are called capsule hotels (in Japan).

History
Hotels emerged as inns along important transport routes. The first hotels appeared in the days of the Ancient World, in the Middle Ages they also served as shelters for the infirm. This is indicated by the etymology of the word hotel, hôtel: through st.-fr. ostel, hostel it comes from Latin. cubiculum hospitale ("guest room"), whence the word "hospital".

In the 16th-17th centuries, the hotel is an aristocratic residential building with ceremonial and service courtyards.

Today, according to the definition of the World Tourism Organization (WTO), hotels are called a house with furnished rooms for short-term stay of visitors, consisting of a number of rooms that have a single guide and provide certain services. They are grouped into classes and categories according to the types of services provided, with the equipment available in them.

The hotel is also called a residential property complex (building, part of the building, equipment and other property), designed to provide services.

Types
 International luxury
International luxury hotels have high-quality amenities, full-service restaurants and rooms. They usually provide the highest level of personalized and professional service in major or capital cities.
 Upscale full-service

Upscale full-service hotels range in quality from upscale to luxury.
 Lifestyle luxury resorts

Branded hotels are typically full-service and classified as luxury. A key characteristic is focus on a unique guest experience.
 Boutique
Smaller independent non-branded hotels with 100 rooms or fewer.
 Focused or select service
Small to medium hotels that give a limited number of amenities. This amenities cater and market to a specific demographic of travelers, such as the single business traveler. Such hotels may lack leisure amenities such as an restaurant or a swimming pool.
 Economy and limited service
Extended stay hotels
Small to medium-sized hotels where clients can stay longer than in traditional hotels.
Capsule hotel - lodging establishment where the rooms are sleeping compartments about the size of a single bed.
Hostel - a hotel where guests rent beds in dormitory or barracks style rooms.
 Timeshare and destination clubs
 Microstay
Motel
A motel is an abbreviation for "motor hotel". It is a small-sized low-rise lodging establishment. Usually motels have access to individual rooms from the car park. Motels are good for road travellers, travellers on road trip vacations or workers who drive for their job.

References

Other websites

Hotel


The UTK Agriculture Farm Mound site is an archaeological site on the agriculture campus of the University of Tennessee in Knoxville, Tennessee. The site is a burial mound made by people of the Woodland period, and has been dated as early as ca. 644 AD. Today, the site is a landmark on the UTK campus and is listed in the National Register for Historic Places.

Location

The site is located at the Agricultural Campus at the corner of Joe Johnson Drive and Chapman Drive.  In 2011, a garden was built around the site to protect it from "construction damage"  and attract interest and attention to the mound. The design of the garden was developed by Hendrik van de Werken and Don Williams, professors of Ornamental Horticulture and Landscape Design at UT, and was revised by Sam Rogers, who is an associate professor in the Department of Plant Sciences. The president of the Tennessee Chapter of Gamma Sigma Delta (The Honor Society of Agriculture), Fred Allen, proposed the project to the UT Chapter in 2008 "as a long term service project to enhance the educational opportunities and aesthetic beauty of the site". Project directors enlisted the help of the Eastern Cherokee tribe and Tribal Historic Preservation. Principal Chief Michell Hicks attended the ribbon-cutting ceremony, and elder Mertyl Driver blessed the site.

According to the UT Institute of Agriculture, "The goal of the project is to honor the Native American tradition dating back to 644 A.D. when the Woodland People used burial mounds as a way of burying and honoring their deceased." The mound is considered a valuable piece of the UT Gardens.

See also

Mound builder (people)
Earthwork (archaeology)

Notes

References

 "Activities and Projects: Indian Mound Adopt-a-Spot", Gamma Sigma Delta, Retrieved November 18, 2012
 Fielder, George F., Archaeological Survey with Emphasis on Prehistoric Sites of The Oak Ridge Reservation Oak Ridge , Tennessee, Oak Ridge National Laboratory Research Library, Retrieved November 18, 2012
 Media Advisory, University of Tennessee Institute of Agriculture, June 13, 2011
 "Preservation of Works: Mayor's Task Force on Historic Preservation", City of Knoxville, Retrieved November 18, 2012
 "Ribbon Cutting held at UT's Native American Mound Garden", Cherokee One Feather, June 22, 2011
 "UT and Cherokee Officials Dedicate Native American Interpretive Garden on Agriculture Campus", University of Tennessee Institute of Agriculture, June 23, 2011

External links
 National Register of Historic Places - Agriculture Farm Mound

Mounds in Tennessee
Native American history of Tennessee
Culture of Knoxville, Tennessee
Archaeological sites on the National Register of Historic Places in Tennessee
National Register of Historic Places in Knoxville, Tennessee

University of Tennessee Agriculture Farm Mound


Identity could mean:

Philosophy

 Identity (philosophy) is the sameness of two things.
 Identity theory of mind, in the philosophy of mind, holds that the mind is identical to the brain
 Personal identity

Mathematics

An identity is an equality that holds regardless of the values of its variables.
An identity object is an entity that does not change other objects; identity function, identity element and identity matrix

Social science and psychology

Identity (social science). In the social sciences, identity has specific meanings, stemming from cognitive theory, sociology, politics, and psychology.
Cultural identity is a person's self-affiliation (or categorization by others) as a member of a cultural group.
Gender identity is the gender with which a person identifies (or is identified by others).
Digital identity is the representation of identity in terms of digital information.
Online identity is the digital identity established by computer network users.
Psychological identity is the concept that an individual has a unique identity developed relatively late in history.

Business
An accounting identity is a basic accounting formulation that must, by construction, hold; for example, the balance sheet of a company must balance. The term may also be used to apply to formulations in economics that have the same characteristics, for example, the balance of payments must balance.
Corporate identity is the physical manifestation of a business brand.
Identity theft is the deliberate appropriation of someone else's identity (without that person's permission) for criminal purposes.

Computer science

Identity (object-oriented programming), a property of objects that allows those objects to be distinguished from each other.
Identity column in SQL Server represents a database field whose values are automatically generated by the server, and uniquely identify a row in the table.

Religion
 Christian Identity, a controversial religious belief which holds that Europeans and their descendents are the Biblical Israel

Television, film, music and literature

Identity (novel), a novel written by Milan Kundera
Identity (movie), a movie directed by James Mangold, starring, among others, John Cusack
Identity (album), an album from Zee with Richard Wright and Dave Harris
Identity (music), a transformation of pitches in music
Identity (game show), a game show on NBC hosted by Penn Jillette

Related pages
 Secret identity
 identity card
 Identification

Identity


Rocky Road To Dublin ( Kamenitá cesta do Dublinu) je zlidovělá irská píseň, pocházející ze 19. století. S typicky irskou nadsázkou popisuje cestu Ira z svého domova v Tuamu do anglického Liverpoolu přes Dublin. Slova napsal D. K. Gavan, hudba je stará irská lidová melodie. Píseň popularizoval Harry Clifton, velmi známá a oblíbená je verze od skupiny The Dubliners, která také zazněla v roce 2009 ve filmu Sherlock Holmes. Pro velmi rychlé plynutí textu je píseň považována za jednu z nejtěžších svého druhu na světě, někdy se jí také říká "irský rap".

Text
(While) in the merry month of May from me home I started,
Left the girls of Tuam so nearly broken hearted,
Saluted Father dear, kissed me darling mother,
Drank a pint of beer, me grief and tears to smother,
Then off to reap the corn, leave where I was born,
Cut a stout blackthorn to banish ghosts and goblins;
In a brand new pair of brogues to rattle o'er the bogs
And frighten all the dogs on the rocky road to Dublin,

(Chorus):
One two three four five,
Hunt the Hare and turn her down the rocky road
And all the way to Dublin, Whack fol la de rah!

In Mullingar that night I rested limbs so weary
Started by daylight next morning bright and early
Took a drop of the pure to keep me heart from sinking;
That's a Paddy's cure whenever he's on drinking
See the lassies smile, laughing all the while
At me darlin' style, 'twould set your heart a bubblin'
Asked me was I hired, wages I required
Till I was almost tired of the rocky road to Dublin,

(Chorus)

In Dublin next arrived, I thought it be a pity
To be soon deprived a view of that fine city.
Decided to take a stroll, all among the quality;
Me bundle it was stole, all in a neat locality.
Something crossed me mind, when I looked behind,
No bundle could I find upon me stick a wobblin'
Enquiring for the rogue, they said me Connaught brogue
Wasn't much in vogue on the rocky road to Dublin,

(Chorus)

From there I got away, me spirits never falling,
Landed on the quay, just as the ship was sailing.
The Captain at me roared, said that no room had he;
When I jumped aboard, a cabin found for Paddy.
Down among the pigs, played some funny rigs,
Danced some hearty jigs, the water round me bubbling;
When off to Holyhead wished meself was dead,
Or better far instead on the rocky road to Dublin,

(Chorus)

The boys of Liverpool, when we were safely landed,
Called meself a fool, I could no longer stand it.
Blood began to boil, temper I was losing;
Poor old Erin's Isle they began abusing.
"Hurrah me soul!" says I, let the shillelagh fly.
Some Galway boys were nigh and saw I was a hobble in,
With a loud "hurray!" joined in the fray.
Quickly cleared the way on the rocky road to Dublin,

(Chorus)

Externí odkazy
 Text písně a akordy
 Text česky
 Verze od The Dubliners

Média

Irské písně

Rocky Road to Dublin


Anatoly Yemelianovich Slivko (; 28 December 1938 – 16 September 1989) wis a Soviet serial killer who wis convictit o the murthers o seiven boys atween the ages o seiven an seiventeen in an aroond the Roushie ceety o Stavropol atween 1964 an 1985. Slivko wis a marriet faither o twa young childer.

Early life

In 1961, Slivko witnessed a gruesome traffic accident in which a boy in his early teens who wis wearin a Young Pioneers (Soviet equivalent o the Scouts) uniform wis killed. The scene sexually excitit him an he later recawed the accident vividly: the smell o petrol an fire. Slivko quickly exploitit his position at the childer's club he ran tae relive the fantasies o this accident: ance or twice a year, he wad form a close friendship wi a boy uisually agit atween 13 an 17. The boy wad be short for his age an wad be wearin the Young Pioneers uniform (juist like the boy in the traffic accident). Slivko wad gain the boy's confidence an tell him o an experiment he knew which involvit a controlled hangin intae unconsciousness, tae stretch the spine, efter which, the boy wis assured, Slivko wad revive him.

Ower the course o 21 years, Slivko persuadit 43 boys tae tak pairt in this 'experiment'. Ance the boy wis unconscious, Slivko would caress an fondle him, tak films in which he wad arrange the body in suggestive positions, an masturbate. In 36 cases, Slivko revivit the boys an they, cautioned bi Slivko intae silence, resumit their lives unaware just hou lucky they wur.

In seiven cases, housomeivver, Slivko's behaviour became violent. Ance these victims wur unconscious, Slivko dismembered their bodies, poured petrol on their limbs an torso, an set the remains on fire tae remind hissel o the traffic accident which spairkit his arousal. He uisually kept the victim's shoes as a memento. As wi his survivin victims, Slivko baith photographed an filmit the entire process.

Murthers

Slivko killed his first victim, an unidentifee'd hameless boy he estimatit tae be aroond 15 year auld, in 1964. Slivko claimit this pairticular victim wis killed unintentionally. Upon being unable tae revive this boy ance he wis unconscious, Slivko dismembered the boy's body an buriet him. He destroyed the film an photographs he haed taken o this pairticular victim an aw. Nine years later, on 14 November 1973 a 15-year-auld boy namit Aleksander Nesmeyanov disappeared in Nevinnomyssk, soothren RSFSR. Twa years later, on 11 Mey 1975, an 11-year-auld boy namit Andrei Pogasyan vanished. The boy's mither tauld the polis that a man haed made some video recordins in a nearbi forest an that her son wis goin tae pairticipate, but the polis didna dae onythin tae prevent this acause they knew the man an he haed wan awairds for some o his videos. The man's name wis Anatoly Slivko an he haed a club for boys namit Chergid. In winter 1975, a preeson inmate claimit he kent whare Aleksander Nesmeyanov was buried, but the polis searched the aurie an foond naething, pruivin the claim wis fause.
Five years later, in 1980, a 13-year-auld boy namit Sergei Fatsiev disappeared; as wi Nesmeyanov an Pogasyan, he wis a memmer o Chergid. On 23 Julie 1985, Slivko killed his feenal victim, a 13-year-auld boy namit Sergei Pavlov. He disappeared efter tellin a neighbour he wis goin tae meet the leader o Chergid.

Arrest an execution
In November 1985, a prosecutor namit Tamara Languyeva, investigatin the disappearance o Sergei Pavlov, teuk an interest in the club's activities; housomeivver, she haed nae evidence that thare wis onything illegal in the wey the club wis run. The prosecutor interrogatit many boys who haed been tae the club an they said they haed suffered "temporary amnesia" an that Slivko haed practicit mony experiments wi them.

Follaein a lang inquiry, Anatoly Slivko wis arrestit in December 1985 an accused o seiven murthers, seiven coonts o sexual abuis an necrophilia. In Januar an Februar 1986, Slivko lead investigators tae the whareaboots o the bodies o sax o his victims, although he wis unable tae locate the body o his first victim. In 1986 he wis sentencit tae daith. He wis held on daith row in Novocherkassk preeson for three years. In 1989 he wirkit wi the polis tae help arrest serial killer Andrei Chikatilo, who haed killed 53 childer an weemen. anerlie a few oors after he wis interviewed bi the polis, Anatoly Slivko wis executit.

References

1938 births
1989 daiths
Executit serial killers
Fowk executit bi the Soviet Union
Executit Roushie fowk
Executit Soviet fowk
Fowk convictit o murther bi the Soviet Union
Fowk frae Dagestan
Roushie murtherers o childer
Soviet murtherers o childer
Roushie fowk convictit o murther
Soviet fowk convictit o murther
Roushie serial killers
Soviet serial killers

Anatoly Slivko


Thiafentanil (A-3080, Thianil) is a highly potent opioid analgesic that is an analog of fentanyl, and was invented in 1986. Its analgesic potency is slightly less than that of carfentanil (itself approximately 10,000 times the potency of morphine, or 4,000 times that of heroin), though with a faster onset of effects, shorter duration of action and a slightly lesser tendency to produce respiratory depression. It is used in veterinary medicine to anesthetise animals such as impala, usually in combination with other anesthetics such as ketamine, xylazine or medetomidine to reduce the prevalence of side effects such as muscle rigidity.

Side effects
Side effects of fentanyl analogs are similar to those of fentanyl itself, which include itching, nausea and potentially serious respiratory depression, which can be life-threatening. Potent pure opioid antagonists such as naltrexone or nalmefene are recommended in the event of accidental human exposure to thiafentanil. Fentanyl analogs have killed hundreds of people throughout Europe and the former Soviet republics since the most recent resurgence in use began in Estonia in the early 2000s, and novel derivatives continue to appear. A new wave of fentanyl analogues and associated deaths began in around 2014 in the US, and have continued to grow in prevalence; especially since 2016 these drugs have been responsible for hundreds of overdose deaths every week.

Legal status
Thiafentanil is a Schedule II controlled drug in the USA since August 2016.

See also
 Sufentanil
 List of fentanyl analogues

References

Anilides
Mu-opioid receptor agonists
Piperidines
Synthetic opioids
Thiophenes

Thiafentanil


Maxwell Street is an east–west street in Chicago, Illinois, that intersects with Halsted Street just south of Roosevelt Road. It runs at 1330 South in the numbering system running from 500 West to 1126 West. The Maxwell Street neighborhood is considered part of the Near West Side and is one of the city's oldest residential districts. It is notable as the location of the celebrated Maxwell Street Market and the birthplace of Chicago blues and the "Maxwell Street Polish", a sausage sandwich. A large portion of the area is now part of the campus of the University of Illinois at Chicago (UIC) and a private housing development sponsored by the university.

History

Maxwell Street first appears on a Chicago map in 1847. It was named for Dr. Philip Maxwell. It was originally a wooden plank road that ran from the south branch of the Chicago River west to Blue Island Avenue. The earliest housing was built by and for Irish immigrants who were brought to Chicago to construct the first railroads. It continued to be a "gateway" neighborhood for immigrants and others, including Greeks, Bohemians, Russians, Germans, Italians, Poles, African Americans and Mexicans.

Hull House, the largest and most famous of the 19th-century settlement houses, was established by Jane Addams here to help immigrants transition to their lives in Chicago. The Great Chicago Fire of 1871 started only a few blocks away, but it burned north and east, sparing Maxwell Street and the rest of the Near West Side.

A few blocks north of the Maxwell Street are the city's historic Greek and Italian communities. Taylor Street is Chicago's Little Italy, and one can still find Italian cuisine, including pastries and lemon ice. Pilsen, the neighborhood to the south, was originally Bohemian but today is Mexican.

The historic church is St. Francis of Assisi, which has evolved through the years with the surrounding community. It originally was German Catholic, then became Italian, and now is Mexican, with almost all its masses conducted in Spanish.

Beginning in the 1880s, Eastern European Jews became the dominant ethnic group in the neighborhood, which remained predominantly Jewish until the 1920s. This was the heyday of the open-air pushcart market the neighborhood is famous for.

After 1920, most of the residents were African Americans who came North in the Great Migration (African American), although most businesses continued to be Jewish-owned. In the 1980s and 1990s, the neighborhood and market became predominantly Mexican-American. Most of the older Jewish merchant families had by then moved to the suburbs.

During the period when it was predominantly African American, and especially in the decades after World War II, the area became famous for its street musicians, mostly playing the blues, but also gospel and other styles.

Ira Berkow, in his Maxwell Street, heads each chapter with a newspaper quotation showing a prevailing belief that the city was about to abolish the Maxwell market. The street itself began to shrink in 1926, when the Chicago River was straightened and new railroad tracks on its west bank pushed the east end of Maxwell Street further west. In 1957 the construction of the Dan Ryan Expressway cut Maxwell Street in two and pushed the market west of Union Street. In the 1990s the University of Illinois at Chicago began to expand south of Roosevelt Road, into the Maxwell Street area. A subsidized housing development called the Barbara Jean Wright Courts Apartments chopped off Maxwell's western end at Morgan Street (1000 west).

In October 2008, Maxwell Street Market moved to the intersection of Roosevelt Rd. and S. Des Plaines Avenue.

The Maxwell Street Market

The Original Maxwell Street Market was an impromptu ghetto market established in the late 19th century by newly arrived Jewish residents from Eastern Europe. A Sunday-only affair, it was a precursor to the flea market scene in Chicago. The market was officially recognized by the city in 1912. By the time of its demise (1994) it occupied approximately nine square blocks which was centered at Maxwell and Halsted Streets and stretched from Roosevelt Road to 16th Street. Although there were many fine stationary department stores located in the area, the most notable feature was its open-air market. There one could buy almost anything, new or secondhand, legal and illegal, even though the old Chicago Police Academy on O'Brien Street was adjacent to it.

In need of jobs and quick cash, fledgling entrepreneurs came to Maxwell Street to earn their livelihood. Many say it was the largest open-air market in the country. From clothes, to produce, to cars, appliances, tools, and virtually anything anyone might want, Maxwell Street offered discount items to consumers and was an economic hub for poor people looking to get ahead. Merchandise was often considered to have originated from hijacked or pirated railcars/railyards and transport rigs for quick resale and dissemination of articles. Few questions were asked about the origin of a vendor's items for sale, particularly if the price was "right."

Maxwell Street Market also represented a fundamental change in American retail and economic history. The market was a response to and rejection of stand-alone retail establishments and their price structures. This microcosm of commerce recognized the availability and influx of Asian and world imports and markets (Taiwan, Japan, China, Mexico) priced dramatically lower than American produced goods. Wholesalers lined Roosevelt Road with goods from all over the world; savvy vendors would buy from them to resell on the market at a profit, usually at a 100% markup. The resulting price(s) fell well below goods available elsewhere, due to low overhead. The market also responded to the spending power of immigrants and minorities; they could take their cash where they were welcome, accepted, and could shop. This transition and market did not go unnoticed; subsequent retailers such as Kmart and Walmart built upon these opportunities. The economic impact and spending dollars of Maxwell Street Market were not unnoticed. It may have become obvious to corporate interests that "cash was green," regardless of clientele.

In an era of civil unrest and political change, Maxwell Street Market thrived as a multicultural phenomenon. Each culture and "group" respected and honored the other and mostly interacted outside what were then current national issues. This milieu of culture and ethnicity was a distinctly American phenomenon; Maxwell Street has been called the Ellis Island of the Midwest. Local politics had an interest in the market's audience. Election time often brought many placards and signs (some billboard-like). Everything seemed to work and run as a well-oiled machine. "Spot-holders" (allegedly of mob influence) roamed the streets and interacted with vendors to maintain regular vending sites for which unobtrusive cash payments were accepted. Those not being gratuitous often arrived only to find their "spot" taken by another vendor.

In 1994, the Maxwell Street Market was moved by the City of Chicago to accommodate expansion of the University of Illinois at Chicago. It was relocated a few blocks east to Canal Street and renamed the New Maxwell Street Market. It was moved again to Des Plaines Avenue in September 2008.

The documentary film Cheat You Fair: The Story of Maxwell Street, by award-winning filmmaker Phil Ranstrom and narrated by actor Joe Mantegna, was first shown at the Chicago International Documentary Film Festival in April, 2007; at The Sundance Film Festival in January 2008; and in Belgium  and Poland. The film details the rise and fall of the Maxwell Street and examines the history of the market, the development of the electric urban blues, the fight to save the market, and the gentrification of the Maxwell Street neighborhood. Cheat You Fair includes the last recorded interview by Bo Diddley and is considered by many to be the definitive work on Maxwell Street. Chicago journalist Rick Kogan called it "One of the most remarkable pieces of work I've ever seen."

Blues on Maxwell Street

In the 1930s and 1940s, when many black musicians came to Chicago from the segregated South, they brought with them outdoor music.

But when the early blues musicians began playing outside on Maxwell Street—the place where they could be heard by the greatest number of people—they realized they needed either a louder than standard Resonator guitar (e.g., Arvella Gray) or amplifiers and electrical instruments (e.g., Jim Brewer) in order to be heard. Over several decades, the use of these new instruments, and the interaction between established city musicians such as Big Bill Broonzy and new arrivals from the South, produced a new musical genre—electrified, urban blues, later coined, "Chicago Blues."

This amplified, new sound was different from the acoustic country blues played in the South. It was popularized by blues giants such as Muddy Waters, Little Walter, Bo Diddley and Howlin' Wolf and evolved into rock & roll. From the first, the blues signified a lament or elegy for hard times, though it outgrew that limitation. When economic decline in the American South after World War I caused many Delta Blues and jazz musicians—notably Louis Armstrong—to migrate north to Chicago, the first economically secure class willing to help them was the mostly Jewish merchants of the area around Maxwell Street, who by that time were able to rent or own store buildings. These merchants encouraged blues players to set up near their storefronts and provided them with electric extension cords to run the new high-tech instruments. Shoppers lured by the chance to hear blues music could be grabbed and hauled into the store where they were sold a suit of clothes, shoes, etc. One of the regular performers was the self-styled Maxwell Street Jimmy Davis, who played in the area for over 40 years.

The last blues performances on Maxwell Street occurred in 1999–2000, on a bandstand erected by Frank "Little Sonny" Scott, Jr., near the north-east corner of Maxwell and Halsted Streets, on land recently vacated by the demolition of a historic building. The extension cord ran from the last remaining building in use, the Maxworks Cooperative headquarters,  east, at 716 Maxwell Street. One day a university crew arrived and erected a chain-link fence between the bandstand and the sidewalk, effectively banning the performances though they continued a few weeks longer on the too-narrow sidewalk.

Expansion of the University of Illinois at Chicago into Maxwell Street
The University of Illinois at Chicago was established at the Harrison/Halsted area in 1965, the location chosen by Mayor Richard J. Daley. This was unpopular with the locals, who had been promised more low-income housing by the city, and there were numerous protests, especially by the Italian-American and Mexican-American communities. The university had little interaction with the surrounding community and decided against keeping local businesses in its plans for expansion in the 1980s. The university slowly began buying land in the Maxwell area and demolishing buildings. It had been rumored that the university never officially announced its plans in the 1980s, but circulated speculation that it would exercise eminent domain, which was backed by state legislation. This strategy may have saved the school millions of dollars, not only because people slowly moved out and did not have to be compensated, but also because real estate prices continued to drop in the area through the 1980s and early 1990s, because of the rumors.

When the school finally made public its plans to move the Maxwell Street Market and demolish the buildings, the community petitioned to list the Maxwell Street Market area on the National Register of Historic Places as a historic district, in 1994, and again in 2000. This effort was spearheaded by the Maxwell Street Historic Preservation Coalition, a nonprofit group based in Chicago. The proposal was eventually turned down as a result of efforts by the university, backed by Mayor Richard M. Daley (son of Richard J. Daley). In 2004 the Maxwell Street Historic Preservation Coalition was renamed the Maxwell Street Foundation, reflecting its current mission to preserve the history of the market through its website and other outreach efforts. The foundation also serves as an advocate for the New Maxwell Street Market, a downsized version of the original, located on Desplaines Street from Roosevelt Road north to Harrison Street.

In history and popular culture

 Maxwell Street is where the Maxwell Street Polish sausage sandwich originated.
 The direct-sales entrepreneur Ron Popeil began his career as a street vendor at the Maxwell Street Market.
 The clarinetist and band leader Benny Goodman was born in 1909 near the Maxwell Street neighborhood and spent most of his youth there.
 The Maxwell Street Police Station, at Maxwell and Morgan Streets, was "Hill Street Station" in the 1980s television series Hill Street Blues. It was also the station exterior used in Chicago P.D..
 Maxwell Street was featured in the 1980 film The Blues Brothers, in which it was portrayed as a thriving African-American community. The scene opens with John Lee Hooker playing his song "Boom Boom" with Big Walter Horton playing harmonica, drummer Willie "Big Eyes" Smith and pianist Pinetop Perkins on the street as the stars of the film, John Belushi and Dan Aykroyd, enter a restaurant owned and operated by Aretha Franklin, looking for Matt "Guitar" Murphy and "Blue" Lou Marini. Muddy Waters was due to play alongside John Lee Hooker but was ill on the day of shooting so he did not appear in the film.
 In 1988, United Artists released an occult thriller, Child's Play, featuring sets on Maxwell Street, including a disabled bus with the word "Auto" spray-painted on it, which had been sitting at 709 Maxwell since 1984. Scrap wood was purchased from Maxworks Cooperative for a bonfire in front of the bus, filmed for the movie.
 The professional wrestler Colt Cabana is billed as being from "Maxwell Street in Chicago, Illinois".
 The Maxwell Street market of the 1960s/1970s is mentioned in the short story "Barbie-Q", by Sandra Cisneros, in her 1991 collection, Woman Hollering Creek. The story is about two Chicana girls who buy fire-damaged Barbie dolls sold at a discount by a street vendor.
Maxwell Street is the namesake for the Chicago-based Maxwell Street Klezmer Band.
 Cheat You Fair: The Story of Maxwell Street is a 2005 documentary about the area.

"Maxwell Street Days"
Many towns, particularly in Illinois and Wisconsin, hold a regular "Maxwell Street Days" event, where local merchants bring their goods out into the street and sell them at discounted prices. The practice first became popular in the 1950s and continues to the present day in many communities, with one of the largest and most popular such events taking place annually on State Street in Madison, Wisconsin. Early incarnations of Maxwell Street Days often took advantage of Jewish stereotypes; the Anti-Defamation League criticized one such festival in an unspecified Illinois town in 1952 where participants "wore artificial 'Jewish' noses and beards" and "spoke with a mock Jewish dialect".

References

Specific

General
 Bledstein, Burton, "In the Vicinity of Maxwell and Halsted Streets 1890-1930", https://maxwellhalsted.uic.edu/, UIC 2017
 Berkow, Ira, Maxwell Street, Survival in a Bazaar. Doubleday & Co., 1977, .
 Grove, Lori; and Kamedulski, Laura, Chicago's Maxwell Street. Arcadia Publishing, 2002, .
 Eastwood, Carolyn, Near West Side Stories: Struggles for Community in Chicago's Maxwell Street Neighborhood. Lake Claremont Press, 2002,
 Eshel, Shuli, Jewish Maxwell Street Stories. Arcadia Publishing, 2004 .
 Cutler, Irving, The Jews of Chicago, from Shtetl to Suburb. University of Illinois Press, 1996, .
 Joravsky, Ben, "Gone But Not Forgotten." Chicago Reader, 2007. Read Article

External links
 Maxwell Street Foundation Web Site
 ChicagoBlues.com

  Photographs of Maxwell Street from 1974 to 1984 by Nathaniel Burkins

Streets in Chicago
Neighborhoods in Chicago
Busking venues
Jews and Judaism in Chicago
Music of Chicago
Blues music genres
Chicago blues

Maxwell Street


Richard Curt Hottelet (September 22, 1917 – December 17, 2014) was an American broadcast journalist for the latter half of the twentieth century.

Hottelet was the last surviving member of the Murrow Boys, a World War II-era team of war correspondents recruited by Edward R. Murrow at CBS.

Early life
Hottelet was born in Brooklyn on Sept. 22, 1917. He was the son of German immigrants; the home language was German. He graduated from Brooklyn College in 1937, and then enrolled at the University of Berlin.

Hottelet at United Press
At the start of World War II, Hottelet worked for United Press. As a correspondent for UP, he was arrested by Germans under suspicion of being a spy. He was released in 1941 during a U.S.-German prisoner exchange.

Hottelet in prison

On Saturday, March 15, 1941, at 7 a.m., Richard C. Hottelet was confronted in his Berlin apartment by members of the German secret police. He was taken to the old police presidium at the Alexanderplatz in Berlin. Once there, he was informed that he would be held as a "guest" until some certain papers arrived from another department. As a guest Hottelet was finger printed, photographed and placed in a cell in the police prison in the same building.

That first evening, after a dinner of sauerkraut, Hottelet received some preliminary questioning and was denied being told the reason he was being held. The police took his eyeglasses, to prevent suicide, and denied him reading material as well. Hottelet described the first three days of his four-month ordeal as "the hardest and longest I ever spent." Hottelet didn't receive a formal questioning session until the following Tuesday.

On Tuesday, March 18, the secret police finally revealed to Hottelet why he was being held, "suspicion of espionage," they told him. The police, he wrote, were very friendly, "we are your friends and we want to help you," they told him.

Hottelet flatly denied any knowledge or dealings in espionage. The police were not pleased, they threatened him, threatened to use "the brutal methods of the American police," with the help of klieg lights.

During the weeks at Alexanderplatz, Hottelet endured assorted mental anguish, threats and fear. After one session of questioning beneath the klieg lights a police officer leaned toward Hottelet and asked him if he had heard of a man named Tourou.  Hottelet hadn't.  "He was one of the brutal specialists in third degree in the New York police, and we can use exactly the same methods he used on Johanna Hofmann," the interrogator responded.

The first week in prison brought a visit from a member of the American consulate in Berlin. He was given clothing, but the toothbrush, soap and toothpaste sent with the clothing were withheld for reasons unknown to Hottelet.

At Alexanderplatz, Hottelet found himself amongst people of many nations and faiths, represented among the population were: Russians, Czechs, Poles, Japanese, Italians and Catholic priests. The first few weeks as a prisoner didn't yield much exercise for Hottelet or his prison-mates. Exercise consisted of one half-hour weekly session of walking around in a circle in a 15×40 yard courtyard. As the weather improved, those sessions increased to twice weekly.

The last few weeks at Alexanderplatz were significantly less grueling. Sessions with the secret police became less frequent and Hottelet maintains he was never mistreated. On May 31, he was transferred to the investigation prison, Moabit, in another part of Berlin. The building housed about 2,000 prisoners in its four-story frame.

Moabit was a much stricter place than Alexanderplatz, no secret contacts with other prisoners, no smoking, but better food. After four weeks at Moabit, Hottelet was finally allowed to receive a daily newspaper and two books per week from the prison library. The guards at Moabit always brought him the English selections, which were not always pleasing to Hottelet. He once received "The Fuel Problem of Canada," and an 1867 book of verse for young women. Some reading material did please him. Robert Louis Stevenson, Sir Walter Scott and poetry by Robert Burns. The most interesting reading, he found, was Oscar Wilde's "De Profundis," which was written as Wilde served a two-year English prison sentence.

The prisoners at Moabit were given work to complete in their cells. The work consisted of "pasting tissue paper over the windows of doll houses and twirling little throwaways for the Reich lottery." At the end of his nine weeks in Moabit, Hottelet collected his full salary of 4.50 marks or about $1.80. The prisoners exercised a half-hour daily, save for Sundays. Moabit exercises consisted of walking around and calisthenics.

The days became depressing and marked by rigid routine. Military discipline was enforced and prisoners made to take regular army marching orders, though most of the prisoners had military training. Twice a day the prisoners would receive half-gallon jugs of water, with which to wash themselves, their dishes and flush their toilets.  Hottelet and the other prisoners received "German haircuts" at the discretion of the barber.  The hairstyles were less than desirable.

On July 8, 1941, after almost four months, Hottelet had a pleasant surprise.  A guard came to his cell door, opened it and told him to pack his things. Hottelet asked if he was being released or transferred, and when the guard told him released he was flabbergasted.

He collected his belongings and was moved to a transport cell for about an hour. The Germans turned over his money, including his 4.50 marks, and valuables and turned him over to the custody of a representative of the American Embassy.

From July 8 to 17 Hottelet left Berlin and lived "incognito" with an American Embassy representative. After his release on July 8 he had no further contact with any secret police or German officials. On July 23, Hottelet crossed the Franco-Spanish border.

Hottelet at CBS
Hottelet was hired by Edward R. Murrow in January 1944. On D-Day he aired the first eyewitness account of the seaborne invasion of Normandy; Hottelet rode along in a bomber that attacked Utah Beach six minutes before H-Hour. He also covered the Battle of the Bulge for CBS. Later, he parachuted to safety when the plane he was in was shot down by enemy fire.

While working in Belgium, shortly after D-Day, Hottelet received a memo from then General Eisenhower that allowed reporters "to talk freely with officers and enlisted personnel and to see the machinery of war in operation in order to visualize and transmit to the public the conditions under which men from their countries are waging war against the enemy."

Under these conditions with what he called "fussy" censorship rules, but not crippling, Hottelet set out from the U.S. First Army press camp in Spa, Belgium for the Fourth Division headquarters in Hürtgen Forest. He was surprised by commanders when he arrived telling him of a German paratrooper landing the night before and a big battle going on to the south. As it turned out, it was the beginning of the Battle of the Bulge, which Hottelet reported later.

In 1946, he was assigned to Moscow to report on the beginnings of the Cold War. That same year the Soviet government applied a ban on all foreign radio broadcasts, despite an appeal sent to Joseph Stalin by Murrow, who at that time was a vice president at CBS.

Later in his career, Hottelet was CBS News resident correspondent at the United Nations in New York, reporting on speeches given by world leaders in the General Assembly and current world events which were on the agenda of the Security Council.

Hottelet stayed with CBS for 41 years.

Life after CBS
After leaving CBS, Hottelet continued to write op-ed pieces and lecture. In 2001, he began writing commentary for The Christian Science Monitor, which he continued to do through 2005. Hottelet guest lectured classes in the early 2000s at George Washington University and participated in the opening of the University's Media and Public Affairs Building in 2002. In March 2005, he accepted a two-year appointment as a GW Welling Presidential Fellow at GWU.

He also appeared as a panelist on GW's Kalb Report forum series at The National Press Club. Accepting an award there for his career in journalism on August 10, 2011, Hottelet received a standing ovation for his short acceptance speech:Thank you very much. I just want to tell you, I tried.

A collection of papers pertaining to Hottelet's work from 1948 to 1990 is cared for by GW's Special Collections Research Center, located in the Estelle and Melvin Gelman Library.

He died at his home in Wilton, Connecticut, on December 17, 2014. He was 97 years old.

References

Murrow's Boys: CBS News article
Guest of the Gestapo: By Richard C. Hottelet
Hottelet accepts GWU post: (press release)
Of Wars and Correspondents: By Richard C. Hottelet for George Washington Magazine

External links
 Hottelet reporting on flight over Normandy (audio clip)
 "The Press: Exchanged Prisoners" — Richard C. Hottlelet, Time, August 11, 1941
 "Stop Being a Lone Ranger on Iraq" — Richard C. Hottelet, The Christian Science Monitor, August 5, 2002
 Preliminary Guide to the Richard C. Hottelet Papers, 1948-1990, Special Collections Research Center, Estelle and Melvin Gelman Library, The George Washington University

1917 births
2014 deaths
Journalists from Brooklyn
American television reporters and correspondents
American radio reporters and correspondents
American male journalists
American war correspondents of World War II
CBS News people
American people of German descent
Brooklyn College alumni

Richard C. Hottelet


Arbeit macht frei (Work sets you free) is the debut album of the Jazz fusion band Area. It features Patrick Djivas (now known better for his work with Premiata Forneria Marconi) on bass and Eddie Busnello on saxophone, who parted after the release of the album. According to the booklet the lyrics were written by Frankestein (which is an alias for Gianni Sassi), and the music was written by Demetrio Stratos, Giulio Capiozzo and Patrick Djivas except "Consapevolezza" (co-writing with Patrizio Fariselli). All tracks were registered on Italian SIAE to Terzo Fariselli (Patrizio's father), due to the fact that the musicians were not members of SIAE.

"Luglio, Agosto, Settembre (nero)" became Area's first hit. Most of the 7" censored the word "nero", which was a reference to Black September). It was released as a juke box item only, and the b-side was the song "Miña" by Italian prog band Aktuala. On the posthumous live release "Concerto Teatro Uomo", Demetrio Stratos says that "L'abbattimento dello Zeppelin" was composed after a pub at which they were playing asked them to perform "Whole Lotta Love". They didn't know the song and played that one instead, and they got fired. Guitarist Paolo Tofani can be heard quoting the main riff during his solo. "L'abbattimento dello Zeppelin" was also released as a 7", backed by the title track of the album, but failed to enter the charts.

Track listing
Side one
"Luglio, Agosto, Settembre (nero)" – 4:27
 "Arbeit macht frei" – 7:56
 "Consapevolezza" – 6:06

Side two
 "Le labbra del tempo" – 6:00
 "240 chilometri da Smirne" – 5:10
 "L'Abbattimento dello Zeppelin" – 6:45

Personnel
Eddie Busnello - saxophone
Giulio Capiozzo - drums, percussion
Patrick Djivas - bass, double bass
Patrizio Fariselli - electric and acoustic pianos
Demetrio Stratos - vocals, organ, steel drums
Giampaolo Tofani - guitar, VCS3
Ria Gaetano - engineering

References

1973 albums
Area (band) albums
Italian-language albums

Arbeit macht frei (album)


The offside rule is one of the oldest football rules, but is still a much discussed rule. This is probably because of the relatively complicated set of provisions provided by the sport's law-making body, the IFAB for deciding if a player in an offside position is actually guilty of an offside offence by becoming involved in active play.  It can also be a difficult decision for the referee or assistant referee to make as they need to watch the ball, the player playing the ball and also the attacker who is seeking to receive the ball at the same time.

Offside is an offence committed by the team which has the ball and is punished with an indirect free kick.
It is a common misconception that the ball must be played forward for an offside offence to be committed. This is incorrect however, as an offside offence is related to the position of the player in relation to the last two opponents, the ball and the opponent's goal line rather than the direction the ball is played. If the player is closer to the opponent's goal line than both the ball and the second-last opponent when it is played by a team mate, she or he is in an offside position.

But there are some exceptions:
 Players cannot be offside in their own half of the field.
 It is not possible to be offside from a throw-in, corner kick or goal kick.
 If the ball is deliberately played by a member of the opposing team, an attacker cannot be offside.
 A player who is behind the other team's goal line is considered to be on the goal line for the purposes of offside. It is an offence to leave or re-enter the field of play without permission but not if it is part of a natural playing movement.
 If the player is behind the ball when it is played, he or she cannot be offside.
 An attacker who is exactly in line with the 2nd last defender or the ball is not considered to be offside.
 If a player does not become involved in active play, then it is not an offside offence even if that player is in an offside position (the concept of passive offside introduced in 1924). A player can become involved in active play by touching the ball (either directly from a team mate's touch or after it rebounds off the goal frame or an opponent) or interfering with another player's ability to play the ball.

References

Football (soccer) terminology

Offside rule


The coat of arms of Somalia was adopted on October 10, 1956. The leopards which support the shield and the white star were also found on the coat of arms used in Italian Somaliland. Formerly, the coat of arms of Somalia from June 8, 1919 featured a shield divided horizontally by a wavy white line (Smith, 1980). The top half of the shield was blue with a leopard in natural color surmounted by a white five-pointed star.

Somalia

National symbols of Somalia

Coat of arms of Somalia


The Château de Lunéville was the former royal residence of the ruling Dukes of Lorraine. It is often likened to the far grander and larger Palace of Versailles. It is no longer a royal residence and is today a museum. The restoration of the building and its decors is under way. In France it was referred to as the "Versailles of Lorraine" and is also sometimes referred to as the Palace of Lunéville in English.

History

A building had been on the site since medieval times but nothing had been done to improve or update the building due to the poor finances of the Duchy of Lorraine.

Duke Leopold I of Lorraine was married to Élisabeth Charlotte d'Orléans herself a niece of Louis XIV of France who at the time of their marriage in 1698 was beginning to expand the Palace of Versailles. The ducal family of Lorraine had previously used the Ducal Palace of Nancy itself in the capital of the duchy. The new Duke and duchess had an ever growing family and Leopold took it upon himself to commission another palace reflecting his rank as a sovereign duke.

Following the death of Leopold of Lorraine in 1729 the duchy was inherited by his son Francis Stephen who eventually married Empress Maria Theresa and he spent most of his time in Austria with his large family.

A after war between France, Poland and Austria apeace was concluded in October 1735 and upheld in the Treaty of Vienna in November 1738. Under its terms, Stanisław Leszczyński, the father-in-law of King Louis XV and the losing claimant to the Polish throne, received Lorraine, while Francis, in compensation for his loss, was made heir to the Grand Duchy of Tuscany, which he would inherit in 1737. While the ex king of Poland was in residence the building was known as the Château Stanislas. Stanisław Leszczyński actually died at the Château in 1766 as did his wife Catherine Opalińska in 1747. After the Polish royals left the Château was largely ignored until it was created a French Historic monument in 1901. It is currently being restored.

Gallery

Other websites

Château de Lunéville Official site

Former royal residences
House of Lorraine
Luneville
Meurthe-et-Moselle

Château de Lunéville


The Leather District is a neighborhood of Boston near South Street, between the Financial District and Chinatown.  The Leather District (occasionally referred to as the "LD") is a tightly defined area bounded by Kneeland Street to the south, Essex Street to the north, Atlantic Avenue to the east and Lincoln Street to the west. It is so named due to the dominance of the leather industry in the late 19th century.

History
The district did not exist until Boston's land-making expansions filled in the former South Cove during the 1830s, making way for the development of this area as well as Chinatown.  It was at first developed as a residential area, but became the center of the city's leather industry after the Great Boston Fire of 1872, which devastated the city's business district and led to the introduction of stringent commercial fire codes.  The buildings constructed in this district between the 1880s and 1920 reflect these constraints, and the needs of the leather manufacturers to efficiently use their spaces.   Ground floors were designed to showcase merchandise, and the second floors housed offices.  Upper floors were used for storage, the top floors being reserved for the slowest-moving merchandise.

Many of the buildings were designed by architects, notably including Peabody and Stearns and Willard T. Sears, with a significant influence of the Richardsonian Romanesque style.  The district is the most homogeneous 19th-century commercial district in the city, and was listed on the National Register of Historic Places in 1983.

See also
 National Register of Historic Places listings in northern Boston

References

External links
City of Boston neighborhoods site Accessed 2008-09-09

Neighborhoods in Boston
National Register of Historic Places in Boston
Historic districts in Suffolk County, Massachusetts
Historic districts on the National Register of Historic Places in Massachusetts
Leather industry

Leather District


Khorugv (, , , , , , , sometimes translated as gonfalon) is a religious banner used liturgically in the Eastern Orthodox and Eastern Catholic Churches.

The khorugv or banner consists of an icon of Christ, the Theotokos or a saint, either painted or embroidered on a rectangular piece of cloth. The cloth is often pointed or swallow-tailed, or has several streamers coming down from it. The banner often has two or three tails on it, each terminating in a tassel, and may be fringed around the edges. It is suspended from a crossbar which is attached horizontally to a long vertical pole (see the article Gonfalon for a picture). The finial at the top of the pole is usually a cross. More rarely, banners can also be made of metalwork, or carved out of wood.

Banners are carried in a religious procession known as Holy Cross Processions (Russian: крестный ход, krestny khod), and when not being carried are usually displayed in the church.

The use of banners in the Church

The first ensign used by the Christian Church was the labarum of the Roman Emperor Saint Constantine I. In the year 312, on the eve of the Battle of the Milvian Bridge, he saw a vision of the Cross of Christ appear in the sky, and beneath it the words Ἐν τούτῳ νίκα (En touto nika, "In this, be victorious"). Constantine ordered the symbol of the Cross to be placed on the imperial standards. He was victorious in the battle, and as a result legalized the practice of Christianity in the empire, and was himself baptized before his death.

Constantine's victory was seen by Christians not only as a military victory, but as a victory of Christ over those who would persecute the new faith. After this point, we begin to see in Christian art the Greek letters IC (Jesus) XC (Christ) NIKA ("is victorious, conquers") added to depictions of the cross. The meaning is that, through the cross, Jesus Christ is victorious over sin and death. It was an ancient custom for emblems of victory to be placed in temples. Thus, after the legalization of Christianity, banners began to be placed in Christian churches.

During the time of the Byzantine Empire, embroidery developed a great deal, thanks to contact with the orient and the introduction of silk. Artists often copied from Persian models and enhanced their work with pearls and with gold and silver threads. In the Byzantine Empire and other Orthodox lands (Bulgaria, Serbia, Imperial Russia, etc.), fine needlework studios developed, which produced exquisite banners, some of which today are displayed in museums around the world. Spain and Italy were equally influenced by Byzantine tastes, and by the Middle Ages, the use of richly embroidered church banners is attested in both the East and the West.

Liturgical use

Since these banners are intended for religious use and not secular, they are normally blessed when first brought into the church. The priest says a prayer and sprinkles the banner with holy water, after which the banner is placed in its stand by the Iconostasis.

To either side of the Iconostasis is a kliros, from which the singers chant the service. A banner is usually mounted at each kliros. The banner on the right (south) side often has a mandylion on it; the one on the left (north), an icon of the Theotokos. There may be more banners as well: banners of Saint Nicholas and the Patron Saint of the church or monastery are very common. The two choirs (klirosi) symbolize the ranks of the Church Militant, and the banners represent the victorious triumph of Christ over the world, sin and the devil.

The banners are used in all church processions, except the procession on Great Saturday, when the Epitaphios is carried. The khorugv usually comes in line right after the Cross in processions, representing triumphant banners leading the faithful in their pilgrimage to the kingdom of heaven. On Good Friday and Great Saturday, the khorugv have black cloth tied around their borders, indicating mourning over the death of Christ. At Pascha (Easter) these black borders are replaced by white ones bearing the triumphal words: "Christ is Risen!"

There is also a special paschal banner in the form of an icon of the Resurrection mounted on a pole. Sometimes the background of the icon is cut away, and a wreath of flowers surrounds the whole.

Notes

See also

 Labarum
 Gonfalon
 Crucession

Christian religious objects
Religious flags
Eastern Christian liturgical objects

Khorugv


Park Lane is a major road in the City of Westminster, in Central London.

Park Lane is about three quarters of a mile (1.2 km) in length, and runs north from Hyde Park Corner to Marble Arch, along the length of the eastern flank of Hyde Park.

Despite the traffic noise, the road is upmarket. It features five-star hotels, such as The Dorchester, Grosvenor House Hotel and InterContinental London Park Lane Hotel, and showrooms for several makes of high-end sports car. The hotels are part of the area known as Mayfair.

History
Originally a country lane running north-south along what is now the eastern boundary of Hyde Park, it became a fashionable residential address from the eighteenth century onwards. It has views across Hyde Park and a position at the most fashionable western edge of London. It became lined with some of the largest privately owned mansions in London, including the Duke of Westminster's Grosvenor House and the Holford family's Dorchester House (demolished in 1929 and replaced by 1931 with The Dorchester, which are now both hotels, and the Marquess of Londonderry's Londonderry House, which has been demolished.

On a corner with Oxford Street, Somerset House (No. 40), built in 1769-70, was successively the town house of Warren Hastings, a former Governor-General of India, the third Earl of Rosebery, and the Dukes of Somerset.

In the 1960s the Lane was widened to three lanes each way either side of a central reservation. This required the demolition of a number of houses at Hyde Park Corner. It claimed land previously in Hyde Park to make room for the multi-lane carriageway. The result was to diminish the appeal of Park Lane as a residential address, as it became one of the busiest and noisiest roads in central London. It has little or none of the countryside atmosphere that once made it popular. The widening of the road distanced the houses on the east side of Park Lane from Hyde Park itself, access to which is now by underpass.

References

Roads in London
Transport in the City of Westminster

Park Lane


"Lookbook.nu" is a fashion, youth culture, and community website, created by Yuri Lee in San Francisco. It was inspired by street fashion websites and blogs such as The Sartorialist and The Cobrasnake and designed for users to post their own street-fashion photography, featuring themselves and their outfits. The site has been called the "Digg.com for fashion insiders."

Lookbook
The website is free and allows everyone to join (a change from their original invitation-only system). It allows users to share their looks and activity in Facebook, Twitter and Tumblr. Their goal is to provide a means for diverse, real people to provide fashion inspiration to others.

Lookbook.nu claims to have a user base of over 50,000 members and over one million unique hits per month. It has been discussed in major fashion and media outlets, including The Chicago Tribune, Elle Belgium, Status magazine, and the London Evening Standard,.

Site features
Outfits - or "looks" - uploaded to the site by its members are scored with points, known as "hype," to judge that outfit's popularity. This scoring system is used to differentiate between the looks on a basis of what is called "karma." Karma is the average of the total number of hypes a user has received, divided by the number of different looks that user has posted. This karmic average on the site dictates how much exposure that user will receive when posting new looks.

Looks are displayed a variety of different ways on the website. The default view of the site is via the Hot tab, which shows those looks which are most popular on the site, judged by the amount of hype it has received, and its popularity on that day in competition with other looks. A second tab, New, shows all looks uploaded, with the most recent shown first. The New tab offers a feature known as the Karma Filter, which allows for users with a higher karmic average to be featured more prominently on the feed. The Top tab features the most popular Looks posted - and can be sorted by day/week/month/year.

Registered users (on the site as well through third-party services such as Facebook and Twitter), are allowed the option of hyping and commenting on the looks posted by other members. Hyping is done anonymously to encourage all users to hype, but a user may make their hype public by leaving the member a comment. Members are also allowed to give Love - symbolized with a ♥ - for looks that they especially like, and are also given an archive of the looks they have previously hyped and loved. Users are also allowed to become "fans" of other users.

Lookbook.nu also has a forum where users can post topics and join discussions. Users continue to have the ability to invite new members.

References

External links

Photoblogs
Fashion websites
American photography websites
Internet properties established in 2008

Lookbook.nu


Michael Donaghy (May 24, 1954 – September 16, 2004) was a New York City poet and musician, who lived in London from 1985.

Life and career
Donaghy was born into an Irish family and grew up with his sister Patricia in the Bronx, New York, losing both parents in their early thirties.  He studied at Fordham University and did postgraduate work at the University of Chicago, where, at 25, he edited the Chicago Review. Donaghy commented: "I owe everything I know about poetry to the public library system (in New York City) and not to my miseducation at university [...] I mean, the Bronx, who knows, now it may be full of cappuccino bars and bookshops, but back in those days it wasn't. My parents would say something like 'go out and play in the burning wreckage until dinnertime' and I'd make a beeline for the library." He founded the acclaimed Irish music ensemble Samradh Music and played the tin whistle, the bodhran and was a flute player of distinction, music echoing in the themes and forms of his writing.

In 1985, he moved to just off Green Lanes in Harringay, north London to join his partner and fellow musician, Maddy Paxman, whom he married in 2003; their son, Ruairi Donaghy, was born in 1996. He joined the London poetry workshop, founded by the Belfast poet Robert Greacen and later chaired by Matthew Sweeney, whose members included Vicki Feaver, Ruth Padel, Jo Shapcott, Maurice Riordan, Eva Salzman and Don Paterson. Rapidly establishing himself on the poetry scene, he published his first full collection, Shibboleth, in 1988 - the title poem of which won second prize in the 1987 National Poetry Competition. Errata followed in 1993, and Conjure in 2000. Recognition came in the form of the Geoffrey Faber and Cholmondeley awards and the Whitbread and Forward prizes, among others. In 2003, he teamed up with Cyborg scientist Kevin Warwick and wrote Grimoire. He continued to play in various Irish music groups, as well as the early line-up of Lammas, the jazz/traditional crossover band led by Tim Garland and poet Don Paterson. He was a creative writing tutor for the Arvon Foundation and the Poetry Society and later ran an extension course for City University London, as well as teaching poetry classes at Birkbeck College, London, which awards an annual prize in his name. He wrote and reviewed for Poetry Review, Poetry, The New Yorker and The Times Literary Supplement. His poetry, influential to a younger generation of poets, is noted for its metaphysical elegance and playfulness, and his skillful use of form.

Death
He died suddenly of a brain haemorrhage on September 16, 2004. David Wheatley wrote in The Guardian: "The death of Michael Donaghy in 2004 at the age of 50 has been one of the most deeply felt losses to the poetry world in recent years. Not since Sylvia Plath almost half a century ago had an American poet living in Britain so decisively entered the bloodstream of his times." The Times described him as "one of the most widely respected figures on the British poetry scene and a fierce defender of poetry as a source of pleasure and truth." His fourth collection Safest was published posthumously in 2005 and a prose collection The Shape of the Dance in 2009.

Honours and awards
1987: National Poetry Competition (2nd Prize)
1989: Whitbread Prize for Poetry
1990: Geoffrey Faber Memorial Prize
1992: Arts Council Writers Award
1994: Selected for New Generation Poets Promotion
1999: Arts Council Writers Award
1999: The Poetry Society Reader in Residence
1999: Fellow of the Royal Society of Literature
2000: Poetry Book Society Choice, Conjure
2000: Forward Poetry Prize (Best Collection) for Conjure

Selected works
1988 Shibboleth,  Oxford University Press
1993 Errata, Oxford University Press
1997 Penguin Modern Poets 11 (contributor with Andrew Motion and Hugo Williams), London: Penguin
2000 Dances Learned Last Night: Poems 1975-1995, London: Picador
2000 Conjure Picador
2005 101 Poems about Childhood (editor), London: Faber & Faber
2005 Michael Donaghy Reading from his poems (CD), The Poetry Archive
2009 Collected Poems, Picador (posthumous)
2009 The Shape of the Dance: Essays, Interviews and Digressions Picador (posthumous)

References

External links
  Profile and audio recordings of Donaghy reading. Poetry Archive
 Seán O'Brien, "Michael Donaghy" (obituary), The Guardian, 24 September 2004
 Michael Donaghy at the Literary Encyclopedia
 Two poems by Michael Donaghy
 "The Unconscious Power of Form: John Stammers interviews Michael Donaghy", Magma No. 8 - Winter 1996
 "Michael Donaghy", Fellows Remembered, The Royal Society of Literature

1954 births
2004 deaths
American people of Irish descent
American male poets
Formalist poets
People from Harringay
Fordham University alumni
Musicians from the Bronx
University of Chicago alumni
20th-century American poets
20th-century American musicians
Fellows of the Royal Society of Literature
20th-century American male writers
American emigrants to England

Michael Donaghy