Cuban music comes from the Caribbean island of Cuba. Cuba has developed a wide range of musical styles, which draw on its cultural origins in Europe and Africa. Cuba's music has been hugely popular and influential throughout the world. It has been perhaps the most popular form of world music since the introduction of recording technology.

The music of Cuba, including the instruments and the dances, is mostly of European (Spanish) and African origin. Most forms of the present day are fusions and mixtures of these two great sources. The original inhabitants of Cuba died out, and little remains of their traditions.

Overview
Large numbers of African slaves and European (mostly Spanish) immigrants came to Cuba and brought their own forms of music to the island. European dances and folk musics included the zapateo, the fandango, the paso doble, the minuet, the gavotte, the contradanza, and the waltz appeared among the urban whites.

The African slaves and their descendants made many percussion instruments and preserved rhythms they had known in their homeland. The most important instruments were the drums. Also important are the claves, two short hardwood batons, and the cajón, a wooden box, originally made from crates. Claves are still used often, and cajons (cajones) were used widely during periods when the drum was banned.

The great instrumental contribution of the Spanish was their guitar, but even more important was the tradition of European musical notation and techniques of musical composition.

Fernando Ortíz described Cuba's musical innovations as arising from the interplay between African slaves settled on large sugar plantations and Spanish or Canary Islanders who grew tobacco on small farms.

The African beliefs and practices certainly influenced Cuba's music. Polyrhythmic percussion is an inherent part of African life & music, as melody is part of European music. Also typical is syncopation, which is heard in the cinquillo, a basic rhythm of the habanera, the danzón, the Argentine tango and other dances.

Also, in African tradition, percussion is joined to song and dance, and to a particular social setting. It is not simply entertainment added to life, it is life. The result of the meeting of European and African cultures is that most Cuban popular music is creolized (fused). This creolization of Cuban life has been happening for a long time, and by the 20th century, elements of African belief, music and dance were well integrated into popular and folk forms.

Cuban music has been immensely influential in other countries, contributing not only to the development of jazz and salsa, but also to Argentinian tango, Ghanaian highlife, West African afrobeat, and Spanish Nuevo flamenco.

History

18th/19th centuries
The Cathedrals of the old capital, Santiago de Cuba, and Havana, both employed fine musicians and choir-masters. They composed, taught and directed. This helped the development of all kinds of music. In the 19th century, Manuel Saumell (1818–1870), was the father of Cuban criole musical development. He helped transform the European contradanza by adding African rhythmical elements, and had a hand in the habanera, and the danzon, two typically Cuban dance forms.
"After Saumell's visionary work, all that was left to do was to develop his innovations, all of which profoundly influenced the history of Cuban nationalist musical movements". Helio Orovio

During the middle years of the 19th century, a young American musician came to Havana: Louis Moreau Gottschalk (1829–1869), whose father was a Jewish businessman from London, and his mother a white creole of French Catholic background. Gottschalk was brought up mostly by his black grandmother and nurse Sally, both from Dominique. He was a piano prodigy who had listened to the music and seen the dancing in Congo Square, New Orleans from childhood. His period in Cuba lasted from 1853 to 1862, with visits to Puerto Rico and Martinique squeezed in. He composed many famous pieces which were genuinely Cuban, as they drew on traditions of both whites and blacks.

In February 1860 Gottschalk produced a huge work La nuit des tropiques in Havana. The work used about 250 musicians and a choir of 200 singers plus a drum group from Santiago de Cuba. He produced another huge concert the following year, with new material. These shows probably dwarfed anything seen in the island before or since, and no doubt were unforgettable for those who attended.

It was Ignacio Cervantes (1847–1905), who was probably most influenced by Gottschalk. Trained in Paris, he did much to assert a sense of Cuban musical nationalism in his compositions. Aaron Copland once referred to him as a "Cuban Chopin" because of his Chopinesque piano compositions. Cervantes' reputation today rests almost solely upon his famous forty-one Danzas Cubanas, of which Carpentier said "occupy the place that the Norwegian Dances of Grieg or the Slavic Dances of Dvořák occupy in the musics of their respective countries".

Popular music

Musical theatre
From the 18th century to modern times, popular theatrical formats used, and gave rise to, music and dance. In addition to staging some European operas and operettas, Cuban composers gradually developed ideas which better suited their creole audience. Recorded music was the way for Cuban music to reach the world. The most recorded artist in Cuba up to 1925 was a singer at the Alhambra, Adolfo Colombo. Records show he recorded about 350 numbers between 1906 and 1917, of which very few survive today.

The first theatre in Havana opened in 1776. The first Cuban-composed opera appeared in 1807. Musical theater was hugely important in the nineteenth century and the first half of the twentieth century. Radio, which began in Cuba in 1922, helped the growth of popular music because it provided publicity and a new source of income for the artists.

Zarzuela is a small-scale light operetta format. Starting off with imported Spanish content, it developed into a running commentary on Cuba's social and political events and problems. A string of front-rank composers, such as Ernesto Lecuona, produced a series of hits for the theatres in Havana. Great stars like the vedette Rita Montaner, who could sing, play the piano, dance and act, were the Cuban equivalents of Mistinguett and Josephine Baker in Paris.

Bufo
Cuban Bufo theatre is a form of comedy, ribald and satirical. It uses stock types that might be found anywhere in the country. Bufo had its origin around 1800–1815: Francisco Covarrubias 'the caricaturist' (1775–1850) was its creator. Gradually, the comic types threw off their European models and became more and more creolized and Cuban. Alongside, the music followed. Slang from slave barracks and poor barrios found its way into lyrics:

Una mulata me ha muerto!
Y no prendan a esa mulata?
Como ha de quedar hombre vivo
si no prendan a quien matar!

La mulata es como el pan;
se deber como caliente,
que en dejandola enfriar
ni el diablo le mete el diente!

(A mulata's done for me!
What's more, they don't arrest her!
How can any man live
If they don't take this killer?

A mulatta is like fresh bread
You gotta eat it while it's hot
If you leave it till it's cool
Even the devil can't get a bite!)

Guaracha
The guaracha is a genre of rapid tempo and with lyrics. It originated in Bufo comic theatre, and during the early 20th century was often played in the brothels of Havana. The lyrics were full of slang, and dwelt on events and people in the news.

Contradanza
The contradanza is an historically important dance. It arrived in Cuba in the late 18th century from Europe. The contradanza is a communal sequence dance, with the dance figures in a set pattern. The tempo and style of the music was bright and fairly fast. The earliest Cuban composition of a contradanza is San Pascual bailon, published in 1803. The Cubans developed a number of creolized version, which is an early example of the influence of African tradition in the Caribbean. Most of the musicians were black or mulatto: even early in the 19th century there were many freed slaves and mixed race persons living in Cuban towns.

"The women of Havana have a furious taste for dancing; they spend entire nights elevated, agitated, crazy and pouring sweat until they fall spent".

The contradanza supplanted the minuet as the most popular dance until from 1842 on, it gave way to the habanera, a quite different style.

Danza
This, the child of the contradanza, was also danced in lines or squares. It was also a brisk form of music and dance which could be in double or triple time. This type of dance was eventually replaced by the danzón, which was, like the habanera, much slower and more sedate.

Habanera
The habanera developed out of the contradanza in the early 19th century. Its great novelty was that it was sung, as well as played and danced. Its development was at least partly due to the influence of French-speaking immigrants. The Haitian revolution of 1791 led to many colonial French and their slaves fleeing to Oriente. The cinquillo is one important rhythmical pattern which made its first appearance at this time.

The dance style of the habanera is slower and more stately than the danza; by the 1840s there were habaneras written, sung and danced in Mexico, Venezuela, Puerto Rico and Spain. Since about 1900 the habanera has been a relic dance; but the music has a period charm, and there are some famous compositions, such as Tu, versions of which have been recorded many times.

The Waltz
The waltz (El vals) arrived in Cuba by 1814. It was the first dance in which couples were not linked by a communal sequence pattern. It was, and still is, danced in 3/4 time with the accent on the first beat. It was originally thought scandalous because couples faced each other, held each other in the 'closed' hold, and, so to speak, ignored the surrounding community. The waltz entered all countries in the Americas. The walz has another characteristic: it is a 'travelling' dance, with couples moving round the arena. In Latin dances, progressive movement of dancers is unusual, but does occur in some.

Zapateo
A typical dance of the Cuban campesino or guajiro. A dance of pairs, involving tapping of the feet, mostly by the man. Illustrations exist from previous centuries, but the dance is now defunct.

Trova
In the 19th century here grew up in Santiago de Cuba a group of itinerant musicians, troubadors, who moved around earning their living by singing and playing the guitar. They were of great importance as composers, and their songs have been used in all types of Cuban music

Pepe Sánchez (1856–1918), was the father of the trova and the creator of the Cuban bolero. He had no formal training in music. With remarkable natural talent, he composed numbers in his head and never wrote them down. As a result, most of these numbers are now lost for ever, though some two dozen or so survive because friends and disciples transcribed them. He also created advertisement jingles before radio was born. He was the model and teacher for the great trovadores who followed him.

The first, and one of the longest-lived, was Sindo Garay (1867–1968). He was an outstanding composer of songs, and his best have been sung and recorded many times. Garay was also musically illiterate – in fact, he only taught himself the alphabet at 16 – but in his case not only were scores recorded by others, but there are recordings. He broadcast on radio, made recordings and survived into modern times. He used to say "Not many men have shaken hands with both José Martí and Fidel Castro!"

Chicho Ibáñez (1875–1981) was even longer-lived than Garay. Ibáñez was the first trovador to specialize in the Cuban son; he also sung guaguancos and pieces from the abakuá (a black secret society).

Many of the early trovadores, such as Manuel Corona (who worked in a brothel area of Havana), composed and sung guarachas as a balance for the slower boleros.

Bolero
This is a song and dance form quite different from its Spanish  namesake. It originated in the last quarter of the 19th century with the founder of the traditional trova, Pepe Sánchez. He wrote the first bolero, Tristezas, which is still sung today. The bolero has always been a staple part of the trova muusician's repertoire. The bolero proved to be exceptionally adaptable, and led to many variants. Typical was the introduction of syncopation, leading to the bolero-son, bolero-mambo and bolero-cha. The bolero-son became for several decades the most popular rhythm for dancing in Cuba, and it was this rhythm that the international dance community picked up and taught as the wrongly-named 'rumba'.

Danzón
The European influence on Cuba's later musical development is represented by danzón, an elegant musical form that was once the most popular music in Cuba. It is a descendent of the creollized Cuban contradanza. The danzón marks the change which took place from the communal sequence dance style of the late eighteenth century to the couple dances of later times. The stimulus for this was the success of the once-scandalous walz, where couples danced facing each other and independently from other couples, not as part of a pre-set structure. The danzón was the first Cuban dance to adopt such methods, though there is a difference between the two dances. The walz is a progressive ballroom dance where couples move round the floor in an anti-clockwise direction; the danzón is a 'pocket-handkerchief' dance where a couple stays within a small area of the floor.

The danzón was exported to popular acclaim throughout Latin America, especially Mexico. It is now a relic, both in music and in dance, but its highly orchestrated descendents live on.

Son

The son, said Cristóbal Díaz, is the most important genre of Cuban music, and the least studied. It can fairly be said that son is to Cuba what the tango is to Argentina, or the samba to Brazil. In addition, it is perhaps the most flexible of all forms of Latin-American music. Its great strength is its fusion between European and African musical traditions. Its most characteristic instruments are the Cuban guitar known as the tres, and the well-known double-headed bongó; these are present from the start to the present day. Also typical are the claves, the Spanish guitar, the double bass, and early on, the cornet or trumpet and finally the piano.

The son arose in Oriente, the eastern part of the island, merging the Spanish guitar and lyrical traditions with African percussion and rhythms. We now know that its history as a distinct form is relatively recent. There is no evidence that it goes back further than the end of the nineteenth century. It moved from Oriente to Havana in about 1909, carried by members of the Permanente (the Army), who were sent out of their areas of origin as a matter of policy. The first recordings were in 1918.

There are many types of son. Odilio Urfé recognised these variants:

son montuno
changuí
sucu-sucu
pregón
bolero-son
afro-son
son guaguancó
mambo
and one can certainly add
salsa (in large part)
timba

In addition, the son has again and again changed the older danzón to make it more syncopated and creole in style, starting in 1910 through the danzón-mambo and the cha-cha-cha to complex modern arrangements which are almost impossible to categorize.

The son varies widely today, with the defining characteristic a syncopated bass pulse that comes before the downbeat, giving son its distinctive rhythm; this is known as the anticipated bass.

Cuban jazz
The history of jazz in Cuba was obscured for many years; however it has become clear that its history in Cuba is virtually as long as its history in the USA.

Much more is now known about early Cuban jazz bands, though a full assessment is plagued by the lack of recordings. Migrations and visits to and from the USA and the mutual exchange of recordings and sheet music kept musicians in the two countries in touch. In the first part of the 20th century there were close relations between musicians in Cuba and those in New Orleans. The orchestra leader in the famous Tropicana Club, Armando Romeu Jr, was a leading figure in the post-WWII development of Cuban jazz. The phenomenon of cubop, and jam sessions in Havana and New York, created genuine fusions which still influence musicians today.

The Buena Vista experience
World-wide interest in Cuban music was rekindled by a remarkable CD album entitled the Buena Vista Social Club. An American guitarist, Ry Cooder, a British music producer, Nick Gold, and a Cuban musician, Juan Marcos Gonzáles, worked together on a new venture. They put together a group, mostly of older Cuban musicians, with the idea of recreating the Cuban music of the golden era of the 1950s. The first album, released in 1997, became a huge hit, selling over five million copies, and winning a Grammy in 1998. In 2003 it was listed by Rolling Stone magazine as #260 in their list of The 500 Greatest Hits of All Time. A dozen more CDs have followed the first one, mostly issued by Nonesuch Records or World Circuit.

A documentary movie, Buena Vista Social Club, directed by Wim Wenders, was released in 1999. It grossed $23 million worldwide by 2007. A younger generation had discovered why Cuban music was so popular.

References

Cuban music


Thomas K. Bohannan (born c.1955 in Mobile, Alabama) is an American Thoroughbred racehorse trainer. He grew up in Lexington, Kentucky and as a young man became a hotwalker, groom, and racing stable foreman. In 1989 he became the private trainer for the successful Loblolly Stable of Lake Hamilton, Arkansas.

With Loblolly, Tom Bohannan had two horses successfully compete in the U.S. Triple Crown series. In 1992, Pine Bluff finished fifth in the Kentucky Derby, won the Preakness Stakes and was third in the Belmont. The following year Prairie Bayou finished second in the Derby, then gave Tom Bohannan his second consecutive victory in the Preakness. Fatally injured in the Belmont, Prairie Bayou was posthumously voted 1993's U.S. Champion 3-Year-old Colt.

Unfortunately for Bohannan, a year later Loblolly Stable owner John Ed Anthony and his ex-wife disbanded the operation and Bohannan set up a public stable. Beset with personal problems, in the early part of the 2000s (decade) Bohannan left racing for several years but came back in 2006 when he began training again for former Loblolly owner John Ed Anthony who now races under the name Shortleaf Stable. After a difficult year in which they won only four of thirty-five races, in October 2007 Bohannan and John Ed Anthony parted ways.

References

 NTRA article with background on Tom Bohannan

1955 births
Living people
American horse trainers
Sportspeople from Mobile, Alabama
Horse trainers from Lexington, Kentucky

Thomas Bohannan


The Manila Hotel is a 550-room, historic five-star hotel located along Manila Bay in Manila, Philippines.  The hotel is the oldest premiere hotel in the Philippines built in 1909 to rival Malacañang Palace, the official residence of the President of the Philippines and was opened on the commemoration of American Independence on July 4, 1912. The hotel complex was built on a reclaimed area of  at the northwestern end of Rizal Park along Bonifacio Drive in Ermita. Its penthouse served as the residence of General Douglas MacArthur during his tenure as the Military Advisor of the Philippine Commonwealth from 1935 to 1941.

The hotel used to host the offices of several foreign news organizations, including The New York Times. It has hosted world leaders and celebrities, including authors Ernest Hemingway and James A. Michener; actors Douglas Fairbanks, Jr. and John Wayne; publisher Henry Luce; entertainers Sammy Davis, Jr., Michael Jackson and The Beatles; and U.S. President Bill Clinton.

The hotel tower, built as part of the hotel's renovation and expansion from 1975 to 1977, is the tallest hotel tower in the Manila Bay area.

History

When the United States took over the Philippine Islands from the Spanish in 1898 after the Spanish–American War, President William McKinley began Americanizing the former Spanish colony. In 1900 he appointed William Howard Taft to head the Philippine Commission to evaluate the needs of the new territory. Taft, who later became the Philippines' first civilian Governor-General, decided that Manila, the capital, should be a planned town. He hired as his architect and city planner Daniel Hudson Burnham, who had built Union Station and the Postal Square Building in Washington. In Manila, Burnham had in mind a long, wide, tree-lined boulevard along the bay, beginning at a park area dominated by a magnificent hotel. To execute Burnham's plans, Taft hired William E. Parsons, a New York City architect, who envisioned an impressive, comfortable hotel along the lines of a California mission but grander. The original design was an H-shaped plan that focused on well-ventilated rooms on two wings, providing grand vistas of the harbor, the Luneta, and Intramuros. The top floor was, in fact, a large viewing deck that was used for various functions, including watching the American navy steam into the harbor.

The hotel was finished construction in 1912 and opened on July 4, 1912 to commemorate American Independence Day. The hotel was owned by private individuals and firms until 1919 when the Insular Government purchased all outstanding shares and put the Manila Hotel Company under the Manila Railroad Company.

First renovation
During the start of the Philippine Commonwealth in 1935, President Manuel Quezon hired Paris-trained Filipino architect Andres P. Luna, son of painter Juan Luna to take charge of the ₱1,000,000 renovation of the Manila Hotel, equivalent to $10,000,000 in 2020 USD. It was done under the supervision of the renowned engineering firm Pedro Siochi and Company. The hotel was the residence of General Douglas MacArthur when he became the Military Advisor of the Commonwealth. Luna converted the hotel's top floor into an elegant penthouse and expanded the west wing northward – creating the air-conditioned annex - and designed some key public rooms like the Fiesta Pavilion, then the biggest function room of the hotel. The hotel was the site of festivities during the inauguration of the Commonwealth in November 1935. Throughout 1936, the hotel profitted from the mining boom with annual revenue increasing 7.6% and business increasing two to sixfold in the slack period of April–September, breaking its trend of only breaking even or ending the year in a loss. In the late 30's the hotel was advertized as the Aristocrat of the Orient.

World War II
During World War II, the hotel was occupied by Japanese troops, and the Japanese flag was flown above the walls for the entirety of the war. During the Battle for the Liberation of Manila, the hotel was set on fire by the Japanese. The shell of the building survived the blaze and the structure was later reconstructed.

Marcosbyears
During the presidency of Ferdinand Marcos, in accordance with Presidential Decree no. 645, the old Manila Hotel Company was liquidated and the government took over its ownership. The Government Service Insurance System (GSIS) was given the mandate to form a new subsidiary corporation that would restore, renovate, and expand the Manila Hotel. In the following two decades, Marcos's wife, Imelda, was frequently seen at the hotel restaurants. During her visits, a red carpet and garlands were put out and the air was sprayed with deodorant. Under Imelda's patronage, the hotel reaped international recognition and awards. It was the place to go and be seen during the Martial Law years.

1975 renovation

The hotel was remodeled in 1975 and expanded to 570 rooms with the addition of the high-rise hotel building behind the original five-story structure. The renovations were headed by National Artists for Architecture Leandro Locsin and Ildefonso Santos with Patricia Keller, a partner in the international interior design firm of Dale Keller & Associates. Guest amenities were updated including executive services, language translation, a business library, and color television and closed circuit movies. The hotel's spartan interiors in simplified Mission style gave way to more lavish furnishings. Inauguration and formal reopening ceremonies of the Manila Hotel was held on October 6, 1977.

Transfer of ownership
Around 1995, the Government Service Insurance System (GSIS) called for a bidding to sell the property. The tender went to a Malaysian firm, the Renong Berhad and ITT-Sheraton combine over Emilio Yap, a Chinese Filipino billionaire tycoon and owner of the Manila Bulletin, the country's largest newspaper by circulation. Yap went to the Supreme Court of the Philippines and won by matching Rehong's bid and citing the Constitution's Filipino First policy in the ownership of a 'national patrimony'. Fifty-one percent of the ownership was awarded to Yap's Manila Prince Hotel Corporation (MPHC), while new owners joined on April 25, 1997, as 49 percent shareholder. Yap signed a check for ₱673.2 million and the MPHC took over the property on May 7, 1997. One of the first things Yap did was to pull down the three brass chandeliers in the lobby, upon recommendation of a feng shui expert, and replace them with five.

Centennial
In 2008, the Manila Hotel underwent a series of renovations in time for its centennial celebration in 2012. All of the hotel's rooms were refurbished and renovated and equipped with modern facilities and amenities. The rooms' windows were enlarged. The hotel also opened a Health Club next to the Manila Hotel Health Spa.

On January 17, 2008, the Manila Hotel Tent City, located west of the original structure was opened. The performance/conference hall could accommodate 2,500 guests for wedding receptions, anniversaries, conventions, and exhibitions. Its high ceilings allow even the most complex of venue set-ups and design. The Tent became the center stage when the hotel celebrated its 100th anniversary with a Centennial Ball on July 4, 2012, with President Benigno Aquino III as the guest-of-honor.

Political events
Through the years, Manila Hotel has been the scene of historic events in the country.  The Philippine Constitutional Convention of 1970 was held at the Fiesta Pavilion of the hotel on November 10. The convention attended by 320 delegates was called to change the Philippine Constitution that has been in existence since the start of the Philippine Commonwealth in 1935.

The Kilusang Bagong Lipunan party of Ferdinand Marcos held its convention at the Manila Hotel before the 1986 presidential election on 7 February, while Corazon C. Aquino delivered a speech at the hotel that was a turning point in her presidential campaign.  Marcos was ousted on 25 February after the People Power Revolution.

On July 6, 1986, a group of military officers loyal to Marcos took over the Manila Hotel and declared Arturo Tolentino, his vice presidential running mate, as interim president. However, the coup did not last long, they surrendered two days later.

The hotel received international attention in 1999 when Imelda Marcos celebrated her 70th birthday in the hotel. More than 1,000 of Manila's elite turned up in the event.

Features

Lobby
Measuring  long by  wide, the lobby is lined with white Doric columns. The floor is Philippine marble; the chandeliers are made of brass, crystal, and seashells; the furniture is carved out of Philippine mahogany, which is used throughout the hotel.

Suites
The three-bedroom MacArthur suite was the residence of Gen. MacArthur while living in the country. The suite is located on the 5th floor of the original structure.

The Penthouse, the most expensive suite with its private swimming pool on the 18th floor, has a view of Manila Bay, Rizal Park and the 16th-century Spanish walled city of Intramuros opposite the hotel. Like the Presidential Suite, the penthouse is decorated with rare paintings, Asian antiques and Filipino crafts. The MacArthur, Presidential and Penthouse Suites provide 24-hour butler service.

Facilities and services
The hotel's guest facilities and other services include limousine and luxury car rental, a helipad on the roof deck, airport transfer and transport assistance, medical clinic, a Business Center with Internet access, 24-hour full menu room service and concierge, laundry service, a delicatessen, a hair salon and souvenir shops.

Recreation
The Manila Hotel Spa is located by the bay offering massages and other therapies. Guests could use the outdoor pool and the Health Club.

Restaurants
The hotel has three restaurants, three bars and a delicatessen offering a range of cuisines, from Chinese to European. These are Cafe Ilang-Ilang, Red Jade, Champagne Room, Tap Room Bar, Lobby Lounge and Pool Bar.

See also

 Naval Base Manila

References

External links
 Official site

Hotels in Manila
Buildings and structures in Ermita
Convention and exhibition centers in Metro Manila
Heritage Houses in the Philippines
Cultural Properties of the Philippines in Metro Manila
Landmarks in the Philippines
Hotel buildings completed in 1912
Hotels established in 1912
1912 establishments in the Philippines
Works of National Artists of the Philippines
Modernist architecture in the Philippines
Neoclassical architecture in the Philippines
Spanish Colonial Revival architecture

Manila Hotel


Solar panels get energy from the sun for people to use.  There are two types of solar panels, those that collect heat (thermal), and those that produce electricity (photovoltaic). Heat from solar panels is often used for space heating and for hot water.

Solar panels collect renewable energy.  In the 20th century some used the heat of the sun to make steam for a steam engine to turn a generator.  Nowadays producing electricity from the sun's light is cheaper. This is a solid state way of producing electricity, meaning that it has no moving parts.

Home solar panels are often mounted on rooftops. Commercial or industrial installations are often on trackers mounted on the ground. The trackers point the panel towards the sun as the sun moves across the sky. Photovoltaic panels are also commonly used in outer space, where they are one of the few power sources available.

Heat
Solar panels for heat are usually made from a box with a clear window on top. Pipes run through the box. The pipes and the box are usually painted black because black absorbs more heat than other colors. The pipes are filled with a heat transfer fluid such as water or oil. A pump circulates the fluid, which heats up as it is exposed to the sun. When the hot fluid leaves the panel, it goes into a heat exchanger, which transfers the heat into water or air. After the now cool fluid leaves the heat exchanger, it is pumped back up into the panel to collect heat again.

Recycling
Photovoltaic solar panels are built to last about thirty years.  So far, most of the solar panels, originally created in the 1980's have not yet reached the end of their estimated lifespans. Many of the solar panels which have expired, however, have been classified as hazardous waste. The used solar panels that have not been considered dangerous can be recycled to create new solar panels. Over 90% of the solar panel is recyclable to create either new solar panels or scrap material. First, the panels are broken down by removing the metal frames and glass plate, leaving the group of solar cell sandwiched between an ethylene vinyl acetate (EVA) resin and back film. To actually get to the solar cells themselves, the resin and backing must be removed.

Usage
The top ten uses for solar panels include,
 heat for home or other building
 power pumps
 battery charger in the sunny day to power lighting through the nighttime hours
 powering your home, camper, cabin, tool shed, or other building
 for swimming pools, a solar water heating system uses solar hot water panels. They may be put on your roof to collect the sun's heat and bring the water to the pool.
 Solar panels are also being used in space exploration and other forms of transportation.

Innovations
Solar panels have become much cheaper to use, compared to oil, diesel and liquified natural gas in parts of Asia. Solar energy will soon become the main source of energy. Over the years many innovations have been made to improve solar panels. Solar panels have been used for space exploration and are being developed to be able to power cars. Along with this, scientists are developing solar cells in silicone to increase its convenience.

Solar shingles

Solar shingles are a new type of solar panel that look like ordinary asphalt roof shingles. They are used where the appearance of traditional solar panels might be undesirable, such as on residential rooftops. Solar shingles are more expensive and less durable than normal solar panels.

References

Solar energy
Electricity

Solar panel


Horseshoes are things worn by horses to protect their hooves (feet) when they walk - like a shoe. Most horseshoes are made of iron or steel. Some are aluminum, rubber, plastic, rawhide or a combination of materials.

A farrier is someone who makes horseshoes and nails or glues them on the horse's hooves.  Using nails does not hurt the horse, as the outer part of the hoof cannot sense pain.

People also put horseshoes over doorways, because a long time ago, many people thought it was a sign for good luck and it protected whoever walked under it from evil spirits. Horseshoes are also used in a game where one tries to throw them on a pole.

Different types of horseshoes

 The regular horseshoe is what the vast majority of horses wear. This shoe helps and protects the normal hoof under standard riding conditions.
 The trailer shoe reduces pressure on the heels and posterior tendon of a horse's foot. It also supports the lateral side of the horse's leg. This is not suitable for horses who kick because the trailer can become dangerous.
 The rim shoes are popular for sports that involve fast turns and speed. It has a deep, wide groove through the middle that allows the horse to get a little more traction.
 The bar shoe consists of some sort of extra "bar" on the back part of the shoe. It is generally to increase support in the back of the hoof, heel, or leg. It can also help hold the hoof together. Excessive hoof movement is counter-indicated, which might be the case in a hoof injury.
 The heart bar shoes are often used for horses with laminitis. It offer the same advantages of the other bar shoes, only with the addition of frog support, as well.
 The egg bar shoe is often used for horses with navicular disease. It provides even more support to the back part of the hoof and leg by extending beyond the heel.
 The square shoe helps shift the break over point without affecting the coffin bone.

References

Horses
Superstitions

Horseshoe


The Wallenberg Medal of the University of Michigan is awarded to outstanding humanitarians whose actions on behalf of the defenseless and oppressed reflect the heroic commitment and sacrifice of Raoul Wallenberg, the Swedish diplomat who rescued tens of thousands of Jews in Budapest during the closing months of World War II.

Raoul Wallenberg at the University of Michigan

Encouraged by his grandfather, Gustaf Wallenberg, a diplomat and member of a prominent Swedish family of bankers, industrialists and politicians, Raoul Wallenberg came to Ann Arbor in 1931 to study architecture at the University of Michigan. Here, his grandfather believed, he could escape the isolation of the elite position of his family and would have the chance to experience the broader world.

Wallenberg wore sneakers and rode a bicycle around campus, living in a boarding house rather than the more exclusive society of the fraternities. His many friends admired his modesty, sense of humor, and insightful intelligence. As an architecture student, he was recognized for his aptitude for finding practical solutions to complex problems. In 1933 he worked in Chicago at the Swedish pavilion in Century of Progress. He spent summers hitchhiking across the US and Canada, and in 1934 drove with a friend to Mexico City in a battered Ford.

He earned his degree with honors in architecture in 1935, winning the American Institute of Architects silver medal for student with highest academic standing.

The Wallenberg Endowment

The Wallenberg Executive Committee, which includes faculty, students and members of the Ann Arbor community, raises funds for the endowment and select the annual medalist. The Wallenberg Endowment also supports the Wallenberg Summer Travel Fellowships, awarded to University of Michigan undergraduate and graduate students who undertake civic and humanitarian work anywhere in the world.

Taubman College of Architecture and Urban Planning Wallenberg Scholarships
The University's Taubman College of Architecture and Urban Planning also awards Wallenberg Scholarships to exceptional undergraduate and graduate students, many of which are given to enable students to broaden their study of architecture to include work in distant locations.

Medalists

Elie Wiesel (1990)
Jan Karski (1991)
Helen Suzman (1992)
Tenzin Gyatso, 14th Dalai Lama (1994)
Miep Gies (1994)
Per Anger (1995)
Marion Pritchard (1996)
Simcha Rotem (1997)
John Lewis (1999)
Nina Lagergren (2000)
Marcel Marceau (2001)
Kailash Satyarthi (2002)
William "Bill" Basch (2003)
Heinz Drossel (2004)
Paul Rusesabagina (2005)
Luise Radlmeier (2006)
Sompop Jantraka (2008)
Desmond Tutu (2008)
Lydia Cacho (2009)
Denis Mukwege (2010)
Aung San Suu Kyi (2011)
Maria Gunnoe (2012)
Nicholas Winton (2013)
Ágnes Heller (2014)
Masha Gessen (2015)
Manuel L. Quezon (2015)
Bryan Stevenson (2016–2017)
March For Our Lives and B.R.A.V.E. Youth Leaders (2018)
Safa Al Ahmad (2019)

References

University of Michigan Wallenberg Committee
 Remembering Raoul Wallenberg, Penny Schreiber and Joan Lowenstein (Ann Arbor:  University of Michigan Press, 2001).

External links

Raoul Wallenberg
Humanitarian and service awards
Awards established in 1990
1990 establishments in Michigan
University of Michigan

Wallenberg Medal


Felice Leonardo Buscaglia (March 31, 1924 – June 12, 1998), also known as "Dr. Love", was an American author, motivational speaker, and a professor in the Department of Special Education at the University of Southern California.

Life and career
Felice Leonardo Buscaglia was born in Los Angeles, California, on March 31, 1924, into a family of Italian immigrants. He spent his early childhood in Aosta, Italy, before going back to the United States for education. He was a graduate of Theodore Roosevelt High School. Buscaglia served in the U.S. Navy during World War II; he did not see combat, but he saw its aftermath in his duties in the dental section of the military hospital, helping to reconstruct shattered faces.
Using G.I. Bill benefits, he entered the University of Southern California, where he earned three degrees (BA 1950, MA 1954, PhD 1963) before eventually joining the faculty.

He was the first to state and promote the concept of humanity's need for hugs: 5 to survive, 8 to maintain, and 12 to thrive.

Upon retirement, Buscaglia was named Professor at Large, one of only two such designations on campus at that time.

Student's suicide
While teaching at USC, Buscaglia was moved by a student's suicide to contemplate human disconnectedness and the meaning of life, and began a noncredit class he called Love 1A. This became the basis for his first book, titled simply Love. His dynamic speaking style was discovered by the Public Broadcasting Service  (PBS), and his televised lectures earned great popularity in the 1980s. At one point his talks, always shown during fundraising periods, were the top earners of all PBS programs. This national exposure, coupled with the heartfelt storytelling style of his books, helped make all his titles national bestsellers; five were once on the New York Times bestsellers list simultaneously.

Death
Buscaglia died of a heart attack on June 12, 1998, at his home in Glenbrook, Nevada, near Lake Tahoe, when he was 74.

In popular culture
In a May 12, 1984 Peanuts comic strip, the dog Snoopy is seen strolling towards Charlie Brown and Sally. Snoopy gives them both warm and sincere hugs. Afterwards, Charlie Brown explains their dog's actions to his puzzled sister: "You can always tell when he's been listening to Leo Buscaglia tapes."

Buscaglia's "Dr. Love" moniker, PBS lectures, and philosophy of hugs were referenced in Season 2, Episode 1 of The Americans.

In a April 22, 1991 The Far Side comic strip, a man dressed like a bullfighter awaits the charge of another man with outstretched arms.  The caption reads:  "In some remote areas of the world, the popular sport is to watch a courageous young man avoid being hugged by a Leo Buscaglia impersonator."

Bibliography
Love (1972)
Because I Am Human (1972)
The Way of the Bull (1973)
The Fall of Freddie the Leaf (1982)
Living, Loving and Learning (1982)
The Disabled and Their Parents: A Counseling Challenge (1983)
Loving Each Other (1984)
Amar a los demás (1985)
Personhood (1986)
Bus 9 to Paradise (1986)
Seven Stories of Christmas Love (1987)
A Memory for Tino (1988)
Papa My Father (1989)
Born for Love (1992)

References

External links

 Leo Buscaglia and Felice Foundation official site
 Selected Moments of the 20th Century: 1969 Leo Buscaglia teaches Love 1A at the University of Southern California
 Buscaglia at The "My Hero" Project
 "Learn the Joy of the Moment" by Leo Buscaglia, PhD
 "Loving Through Death" by Leo Buscaglia, PhD
 Obituary at USC Alumni News
 DVDs of Leo Buscaglia Public Television programs with Leo Buscaglia available

1924 births
1998 deaths
20th-century American educators
20th-century American non-fiction writers
20th-century American novelists
20th-century American male writers
American male non-fiction writers
American male novelists
American self-help writers
American writers of Italian descent
Military personnel from California
United States Navy personnel of World War II
University of Southern California faculty
USC Rossier School of Education alumni

Leo Buscaglia


The Web Proxy Auto-Discovery (WPAD) Protocol is a method used by clients to locate the URL of a configuration file using DHCP and/or DNS discovery methods. Once detection and download of the configuration file is complete, it can be executed to determine the proxy for a specified URL.

History
The WPAD protocol only outlines the mechanism for discovering the location of this file, but the most commonly deployed configuration file format is the proxy auto-config format originally designed by Netscape in 1996 for Netscape Navigator 2.0.
The WPAD protocol was drafted by a consortium of companies including Inktomi Corporation, Microsoft Corporation, RealNetworks, Inc., and Sun Microsystems, Inc. (now Oracle Corp.). WPAD is documented in an INTERNET-DRAFT which expired in December 1999. However, WPAD is still supported by all major browsers. WPAD was first included with Internet Explorer 5.0.

Context
In order for all browsers in an organization to be supplied the same proxy policy, without configuring each browser manually, both the below technologies are required:

 Proxy auto-config (PAC) standard: create and publish one central proxy configuration file. Details are discussed in a separate article.
 Web Proxy Auto-Discovery Protocol (WPAD) standard: ensure that an organization's browsers will find this file without manual configuration. This is the topic of this article.

The WPAD standard defines two alternative methods the system administrator can use to publish the location of the proxy configuration file, using the Dynamic Host Configuration Protocol (DHCP) or the Domain Name System (DNS):

Before fetching its first page, a web browser implementing this method sends a DHCPINFORM query to the local DHCP server, and uses the URL from the WPAD option in the server's reply. If the DHCP server does not provide the desired information, DNS is used. If, for example, the network name of the user's computer is pc.department.branch.example.com, the browser will try the following URLs in turn until it finds a proxy configuration file within the domain of the client:

 http://wpad.department.branch.example.com/wpad.dat
 http://wpad.branch.example.com/wpad.dat
 http://wpad.example.com/wpad.dat
 http://wpad.com/wpad.dat (in incorrect implementations, see note in Security below)

(Note: These are examples and are not "live" URLs due to them employing the reserved domain name of "example.com".)

Additionally on Windows if the DNS query is unsuccessful then Link-Local Multicast Name Resolution (LLMNR) and/or NetBIOS will be used.

Notes

DHCP has a higher priority than DNS: if DHCP provides the WPAD URL, no DNS lookup is performed. This only works with DHCPv4. In DHCPv6, there is no WPAD-Option defined.Notice that Firefox does not support DHCP, only DNS, and the same is true for Chrome on platforms other than Windows and ChromeOS, and for versions of Chrome older than version 13.

When constructing the query packet, DNS lookup removes the first part of the domain name (the client host name) and replaces it with wpad. Then, it "moves up" in the hierarchy by removing more parts of the domain name, until it finds a WPAD PAC file or leaves the current organisation.

The browser guesses where the organisation boundaries are. The guess is often right for domains like 'company.com' or 'university.edu', but wrong for 'company.co.uk' (see security below).

For DNS lookups, the path of the configuration file is always wpad.dat. For the DHCP protocol, any URL is usable. For traditional reasons, PAC files are often called proxy.pac (of course, files with this name will be ignored by the WPAD DNS search).

The MIME type of the configuration file must be "application/x-ns-proxy-autoconfig". See Proxy auto-config for more details.

Internet Explorer and Konqueror are currently the only browsers offering support for both the DHCP and DNS methods; the DNS method is supported by most major browsers.

Requirements

In order for WPAD to work, a few requirements have to be met:

 In order to use DHCP, the server must be configured to serve up the "site-local" option 252 ("auto-proxy-config") with a string value of e.g. http://example.com/wpad.dat where "example.com" is the address of a Web server.
 In order to use the DNS only method, a DNS entry is needed for a host named WPAD.
 The host at the WPAD address must be able to serve a Web page.
 In both cases, the Web server must be configured to serve the WPAD file with a MIME type of application/x-ns-proxy-autoconfig.
 If the DNS method is used, a file named wpad.dat must be located in the WPAD Web site's root directory.
 The PAC files are discussed in the Proxy auto-config article.
 Use caution when configuring a WPAD server in a virtual hosting environment. When automatic proxy detection is used, WinHTTP and WinINET in Internet Explorer 6 and earlier send a "Host: <IP address>" header and IE7+ and Firefox sends a "Host: wpad" header. Therefore, it is recommended that the wpad.dat file be hosted under the default virtual host rather than its own.
 Internet Explorer version 6.0.2900.2180.xpsp_sp2_rtm requests "wpad.da" instead of "wpad.dat" from the Web server.
 If Windows Server 2003 (or later) is used as the DNS server, the DNS Server Global Query Block List may have to be disabled, or the registry can be modified to edit the list of blocked queries.

Security

While greatly simplifying configuration of one organisation's web browsers, the WPAD protocol has to be used with care: simple mistakes can open doors for attackers to change what appears on a user's browser:

 An attacker inside a network can set up a DHCP server that hands out the URL of a malicious PAC script.
 If the network is 'company.co.uk' and the file http://wpad.company.co.uk/wpad.dat isn't served, the browsers will go on to request http://wpad.co.uk/wpad.dat. Before the introduction of the Public Suffix List in the 2010s, some browsers could not determine that wpad.co.uk was no longer inside the organization.
 The same method has been used with http://wpad.org.uk. This used to serve a wpad.dat file that would redirect all of the user's traffic to an internet auction site.
 ISPs that have implemented DNS hijacking can break the DNS lookup of the WPAD protocol by directing users to a host that is not a proxy server.
 Leaked WPAD queries could result in domain name collisions with internal network naming schemes. If an attacker registers a domain to answer leaked WPAD queries and configures a valid proxy, there is potential to conduct man-in-the-middle (MitM) attacks across the Internet.

Through the WPAD file, the attacker can point users' browsers to their own proxies and intercept and modify the WWW traffic of everyone connected to the network. Although a simplistic fix for Windows WPAD handling was applied in 2005, it only fixed the problem for the .com domain. A presentation at Kiwicon showed that the rest of the world was still critically vulnerable to this security hole, with a sample domain registered in New Zealand for testing purposes receiving proxy requests from all over the country at the rate of several a second. Several of the wpad.tld domain names (including COM, NET, ORG, and US) now point to the client loopback address to help protect against this vulnerability, though some names are still registered (wpad.co.uk).

Thus, an administrator should make sure that a user can trust all the DHCP servers in an organisation and that all possible wpad domains for the organisation are under control. Furthermore, if there's no wpad domain configured for an organisation, a user will go to whatever external location has the next wpad site in the domain hierarchy and use that for its configuration. This allows whoever registers the wpad subdomain in a particular country to perform a man-in-the-middle attack on large portions of that country's internet traffic by setting themselves as a proxy for all traffic or sites of interest.

On top of these traps, the WPAD method fetches a JavaScript file and executes it on all users browsers, even when they have disabled JavaScript for viewing web pages.

References

Further reading

Internet Explorer
Web browsers
Proxy servers
Computer configuration
Internet Standards
Domain Name System
Service discovery protocols

Web Proxy Auto-Discovery Protocol


Beijing Bicycle () is a 2001 Chinese drama film by Sixth Generation Chinese director Wang Xiaoshuai, with joint investment from the Taiwanese Arc Light Films and the French Pyramide Productions. The film stars first-time actors Cui Lin and Li Bin, supported by the already established actresses Zhou Xun and Gao Yuanyuan. It premiered at the Berlin International Film Festival on 17 February 2001 and won the Jury Grand Prix, but was subsequently banned in Mainland China. The ban was eventually lifted in 2004.

Beijing Bicycle revolves around a seventeen-year-old boy Guei (Cui) from the countryside who came to Beijing to seek work. He finds a job with a courier company, which assigns him a brand-new bicycle. After it is stolen one day, the stubborn Guei goes on a search for his missing bicycle. At the other end of the city, Jian (Li) is a schoolboy who buys Guei's stolen bicycle from a second-hand market. When Guei's search brings the two boys together, more than the ownership of the bicycle is brought into question. The film explores the theme of youth as well as several social issues, including class, youth delinquency, theft, and rural-urban socio-economic divisions and change.

Plot
Guei (played by Cui Lin) is a seventeen-year-old country boy who came to Beijing to make a living. Along with a number of other boys from the country, Guei finds employment with a courier company, which assigns them brand-new bicycles for use in their deliveries. The company manager (Xie Jian) announces to them that since the bicycles do not yet belong to them, they will only earn twenty percent of the commission. But once they have made enough deliveries to earn the bicycles, their share will be raised to fifty percent. Within two months Guei has made enough to earn his bicycle. However, on the day that Guei is due to take over the ownership, the bicycle is stolen while he is picking up a document. The manager fires Guei for neglecting to deliver the package, but, upon the latter's pleas, agrees to take him back if he succeeds in recovering his bicycle.

At the other end of the city, Jian (Li Bin) is a seventeen-year-old schoolboy who longs for a bicycle of his own so he can ride with Xiao (Gao Yuanyuan), the girl he fancies. His hopes are dashed when his father (Zhao Yiwei) delays buying a bicycle for him yet again so that his younger stepsister Rong Rong (Zhou Fanfei) can go to a prestigious school. This frustrates Jian, who steals some money from his family and pays 500 yuan to a second-hand dealer for a bicycle—the one that used to belong to Guei.

Meanwhile, the stubborn Guei embarks on a search for his bicycle. By chance, his friend Mantis (Liu Lei) spots Jian with the bicycle. Guei tries to make off with the bicycle but is stopped by Jian and his gang of schoolboys. The determined Guei follows Jian home and steals back the bicycle from where Jian hides it. The manager keeps his promise and takes Guei back. However, when Guei shows up at the courier company on another day, he finds Jian and his gang waiting for him. He tries to escape but the gang chases him down and, after giving him a beating, forcibly re-takes the bicycle.

When Jian returns home, he finds his father waiting for him at the door, along with Guei. Thinking that his son was the bicycle thief, the enraged father gives Jian a rapping and lets Guei take his bicycle. However, Jian and his gang track down Guei again the next day and after long hours of negotiation, the two sides reach a pact: Guei and Jian are to share the bicycle, each entitled to the use of it on alternate days. This arrangement persists for some days until Jian finds out that Xiao has fallen for Da Huan (Li Shuang), a bicycle freestylist. Jian hits his rival with a brick and rides off.

At their usual meeting place, Jian hands the bicycle to Guei and tells the latter that he does not need it any more. Meanwhile, Da Huan, along with his gang, comes after Jian on their bikes. Jian and Guei make off together but are cornered by Da Huan and his gang, who give both of them a serious beating. As the gang leaves, one member stays behind to wreck Guei's bicycle. In a rare burst of rage, Guei picks up a brick and smashes the head of his attacker, who collapses. Carrying his battered bicycle on his shoulder, Guei walks back alone.

Cast
 Cui Lin as Guei, a seventeen-year-old country boy making a living in Beijing
 Li Bin as Jian, a seventeen-year-old schoolboy
 Zhou Xun as Qin, a girl thought by Mantis and Guei to be a rich city girl, unrelated to main plot
 Gao Yuanyuan as Xiao, a seventeen-year-old schoolgirl
 Li Shuang as Da Huan, a bicycle freestylist
 Xie Jian as Manager, manager of a courier company, Guei's boss
 Zhao Yiwei as Jian's Father, remarried after Jian's mother died
 Zhou Fanfei as Rong Rong, Jian's stepsister
 Liu Lei as Mantis, friend and landlord of Guei

Themes
According to Elizabeth Wright of Senses of Cinema, the juxtaposition of Guei and Jian, in particular their contrasting relation to the bicycle, highlights their differences in social standing and status. Guei is a new migrant who has come to the city with hopes for better income. On the other hand, Jian comes from an upwardly motivated city family concerned with providing the children with good education. The bicycle grants Jian status among his peers and impresses Xiao, the girl he fancies. To Guei, the bicycle, besides being a tool of the trade, is also a symbol of status and pride. It symbolises his participation and success in the city and makes him less of an outsider. Director Wang Xiaoshuai depicts both the new face of Beijing's youth through Jian and alludes to the disillusion of migrants from the country through Guei.

In a secondary plot, Guei and Mantis spend their free time observing Qin, a young attractive girl living in a large house and owning a large number of clothes. They believe Qin is a rich city girl but notice that she does not seem happy or content with her material possession. Later, they find out that Qin is in fact a housemaid, also from the country, who likes to dress herself in her employer's clothes when she is home alone. According to Wright, Guei and Mantis's misconception of the Qin's social status is "an obvious indictment on the beguiling nature of surface images and material possessions".

Release
Beijing Bicycle was released on DVD on 9 July 2002 and distributed by Sony Pictures Classics in the United States. The DVD features subtitles in English.

Reception
Beijing Bicycle premiered on 17 February 2001, during the Berlin International Film Festival. The film clinched the Jury Grand Prix Silver Bear Award and its two young lead actors, Cui Lin and Li Bin, were bestowed the "New Talent Award". The film was released in cinemas in the United States on 11 January 2002 and over its 24 days on screen, earned a meager US$66,131 in box office. Many reviewers see Beijing Bicycle as having similar themes as Vittorio De Sica's 1948 classic Bicycle Thieves.

Ban in China
The film board of the Chinese State Administration of Radio, Film, and Television decided to ban the screening of Beijing Bicycle in China after the film was sent to the Berlin International Film Festival without first acquiring the board's approval. According to director Wang Xiaoshuai, he did submit the film for examination and the film board gave some suggestions for revision. However, he abandoned the efforts for a license, fearing that the revision process would not finish in time for the festival. The ban was eventually lifted in 2004, with eight modifications to the film and a truncated title of Bicycle.

Awards and nominations
 Berlin International Film Festival, 2001
 Silver Bear
 New Talent Award — Cui Lin, Li Bin
 Singapore International Film Festival, 2001
 Best Asian Feature Film (nominated)
 Satellite Awards, 2002
 Best Motion Picture, Foreign Language (nominated)

Notes

References
 Rose, S. "The great fall of China", The Guardian, 2002-08-01. Retrieved on 2007-04-10.
 Sterritt, D. "A tale of two boys, one bicycle, reveals Chinese society", The Christian Science Monitor, 2002-02-08. Retrieved on 2007-04-08.
 Thomas, K. "Lives Full of Rage in the Brutal Beijing Bicycle", Los Angeles Times, 2002-01-25. Retrieved on 2007-04-10.
 Unknown. "Underground directors bicycling aboveground", China Daily, 2004-02-19. Retrieved on 2007-04-08.
 Wright, Elizabeth (December 2001) "Riding Towards the Future: Wang Xiaoshuai's Beijing Bicycle", Senses of Cinema 17. Retrieved on 2007-04-10.

External links

2001 films
Chinese drama films
2000s Mandarin-language films
2000s teen drama films
Films set in Beijing
Films directed by Wang Xiaoshuai
Silver Bear Grand Jury Prize winners
2001 drama films
Sony Pictures Classics films
2000s Chinese films

Beijing Bicycle


The Cameron Offices are a series of former government offices commissioned by the National Capital Development Commission and designed by John Andrews in the Brutalist structuralism style of architecture. The offices were constructed between 1970 and 1976 and partially demolished during 2007–08. They are located in the Belconnen Town Centre, in the district of Belconnen, located in Canberra, in the Australian Capital Territory, Australia.

During their thirty-year life cycle, the Cameron Offices primary occupant was the Australian Bureau of Statistics. Three wings (3, 4 and 5) and the pedestrian bridge, from the initial nine wings, remain. Wing 3 was previously occupied by the government agency responsible for superannuation administration, Commonwealth Superannuation Corporation. Wings 4 and 5 have been converted from government offices into student accommodation for the nearby University of Canberra.

Design and construction
The Cameron Offices were the first major buildings to be built in Belconnen. They formed part of the original town plan, in which the aim was to provide a relatively compact pedestrian-oriented scheme on a north–south axis following the slope of the land from housing to the south through the office areas, transport interchange and shopping centre on to the man-made Lake Ginninderra, which was to have cultural buildings and housing along its shore.

Andrews was chosen by Sir John Overall of the National Capital Development Commission as the architect, mainly on the recommendation of Professor Gordon Stephenson. Andrews, who was a professor of architecture at the University of Toronto at the time, returned to Australia specifically to undertake the project.  Andrews wished to create a truly Australian modern large-scale building suited to Australian conditions, something that he believed had not been achieved at that time. It was designed to accommodate approximately 4,000 public servants.

Built over a  site, the complex was constructed with in-situ concrete – much of the Mall, and precast concrete (mostly post-tensioned) – the office wings, with precasting being done on site.

Heritage value
The design qualities of the Cameron Offices were recognised as significant at the time of their construction and won worldwide acclaim through a listing on the Union of International Architects Heritage register. The Cameron Offices are listed on the Australian Institute of Architects register of significant Twentieth Century Australian buildings.

In 2004 Cameron Offices were nominated for inclusion in the Commonwealth Heritage List. The Australian Heritage Council determined that while Cameron Offices did not meet threshold for the National Heritage List, the offices had Commonwealth Heritage values. The Minister for the Environment and Heritage determined that Wings 3, 4, 5 and the Bridge had Commonwealth Heritage values. The Minister determined that inclusion of Wings 3, 4, 5 and the Bridge in the Commonwealth Heritage List would not prevent the proposed demolition of the Wings 1, 2, 6, 7, 8 and 9. As a result, Wings 1, 2, 6, 7, 8 and 9 were not listed on the Commonwealth Heritage List.

In 1999 Cameron Offices were listed on the now defunct Register of the National Estate.

Criticism
The nature of the voids within the wings resulted in windtunnel effects, which combined with the buildings' concrete design to make them unpleasant to walk around, particularly in the winter. And the sprawling nature of the building made it tedious and slow for the inhabitants to walk between offices and meeting rooms for discussions with colleagues.

Due to these design elements, and the fact that Cameron Offices was staffed by public servants re-located from the more central government precinct in Parkes into what many saw as a back-water, the Cameron Offices were unpopular with many of the public servants who worked in the buildings.

In 1980, several newspapers published articles alleging that the buildings were leaky and inefficiently designed. They were successfully sued by the architects, on the grounds that the articles had impugned their professional competence. However, the accuracy or otherwise of the claims about the building were not resolved ( Andrews v John Fairfax & Sons Ltd [1980] 2 NSWLR 225)

Although located close to a bus interchange, the location of the Cameron Offices was criticised for being isolated by carparks and being too distant from the central shopping centre. The Belconnen shopping precinct was, originally, to be located immediately to the North of the offices and the Level 1 "Mall" on the offices terminated abruptly with a handrail in expectation that this Mall, which was also to cross College Street to the South and connect with medium-density housing there, would subsequently be built.

The Link to the South was never completed and the Belconnen Shopping precinct was subsequently "lifted" from the site to the North of the offices and buried, after extensive excavation still apparent today, into the Western side of Benjamin Way. This all but totally severed the offices from the shopping precinct and placed the office car parking between them and the shopping precinct.

Partial decommission and redevelopment
In 1997 the Australian Government announced the elimination of  of office space to stabilise and rejuvenate the commercial property market in Canberra, while removing surplus offices accommodation resulting from Commonwealth Public Service cuts.  Cameron Offices was proposed for demolition. In 1998, the Department of Finance and Administration (DOFA) commissioned a conservation analysis of the building and also a separate study to investigate the partial demolition options. In 1998 DOFA issued a Call for Detailed Proposals to sell the property at market value, reduce vacant commercial office space and consider other objectives. The conservation analysis of the complex was completed in 1998 and the complex was entered in the Register of the National Estate in 1999. Several studies during 1999 examined possible refurbishment and reuse feasibility. DOFA advised the Australian Heritage Commission that there was no feasible and prudent alternative to partial demolition of Cameron Offices but that part of the building would be retained to allow the heritage values of the place to be interpreted.

In 2000, the building was sold to Bovis Lend Lease. Work on the demolition of Cameron Offices was due to commence in May 2002 with new buildings to be completed in 2005. In 2001, Andrews and Cameron Nominees (the owners of the buildings) investigated changes in the redevelopment strategy to permit retention of most of the significant elements including all buildings other than Wings 1 and 2, and the portion of the mall extending from Wing 3 to the bus interchange. This resulted in retention of most of the original building and the retention of the Optical Galaxy sculpture in its original location.  Three major areas of change were recommended; the demolition of Wings 1 and 2, the partitioning of the open plan wings for apartments or small-scale commercial premises, and changes to the courtyards to provide the main address to each apartment.

From late 2005, the offices have been progressively decommissioned and redeveloped. Two of the wings were demolished in late 2006. By early 2008, all but three of the wings had either been completely demolished (those to the north), or demolition was well under way (those to the south). Wings 3, 4 and 5 and the pedestrian bridge over Cameron Avenue have been retained, and have had some cosmetic repair work done at the street-level entrances.

On 18 January 2008, a car parked outside of the safety fence was crushed when a section of the partly demolished building fell.

In 2010, Wing 5, which had remained vacant after the demolition of the other wings, was converted into student accommodation for the nearby University of Canberra.

In 2013, ComSuper combined their offices in Wings 3 and 4, into Wing 3. Between 2013 and 2014, the recently vacated Wing 4 was also converted into student accommodation.

References

Attribution

Bibliography

External links

Office buildings in Canberra
Landmarks in Canberra
Brutalist architecture in Australia
Concrete buildings and structures
Australian Capital Territory places listed on the defunct Register of the National Estate
Commonwealth Heritage List places in the Australian Capital Territory

Cameron Offices, Belconnen


The Warning is the second studio album by British band Hot Chip. The album was released in the UK on 22 May 2006 by EMI Records and in the United States on 3 June 2006 by Astralwerks. Notable tracks include the UK singles, "Over and Over" and "Boy from School", as well as "(Just Like We) Breakdown", which was featured and remixed on the DFA Records compilation album The DFA Remixes – Chapter One. The album was nominated for the 2006 Mercury Music Prize.

The Warning explores the theme of contradiction as well as "slower and darker aspects of electronic music" with the use of "strange violence" in songs. This technique is best depicted in the song, "The Warning", which uses antithesis; "soft glockenspiel notes" contrasted against "violent" lyrics. The chorus continues the idea with a "patent mismatch of violence and melancholy".

A number of reviews commented on the stylistic and lyrical changes between Hot Chip's first album Coming on Strong (2004) and The Warning. Coming on Strong was described as a "successful but safe entrée to the British electro-soul outfit" and although "graceful, delicate melodies of the debut" had been abandoned, they were replaced for "songs with more wallop". Hot Chip's music changed from the "quirky electro-pop" of Coming on Strong to create an album that was "much more focused and pop friendly", "a step away from Prince and a step towards LCD Soundsystem".

Production

The production of The Warning was handled by vocalists Alexis Taylor and Joe Goddard, who produced and recorded the album in the band's Putney home. NME commented that the "normality of [their] surroundings" works well for them. Tim Goldsworthy and James Murphy of DFA Records were involved in the production of one song. Though the song "worked out well as a record", Taylor stated it wasn't "an enjoyable experience in terms of feeling involved". Taylor said that he and Goddard work best as a duo, the success of which he attributes to the years they have been acquainted.

An idea involving all five members joining together to write songs was rejected because Taylor "didn't think it would come up with anything interesting." Although the album isn't one of all five members, Taylor and Goddard approached the album with "the spirit of the live show[s]".

In an interview with Jim Carroll from The Irish Times, Taylor stated that Hot Chip had two different strands; one consisting of Taylor and Goddard who control the recording process, and a second involving all five members of Hot Chip for playing live versions of their albums. Taylor said he believed two groups were needed to avoid delivering repetitive performances; "You can do very different things in a room playing to people than when you're in a room layering sounds and getting embedded in production trickery".

The recording of the album took place in Goddard's bedroom, where Goddard had "an old Dell desktop that [he] bought maybe four or five years ago" running Steinberg Cubase. The album was recorded mostly using live instruments, including tambourines and bongos, but multiple vintage synths were also used in the creation of The Warning such as a Roland SH-101, a Teisco 60F and a Casiotone MT-70. Goddard said the majority of the album was recorded with the Casiotone MT-70 due to its "soft, simple sound" that "fits with the sound that [they] try to create" and works well with Taylor's voice. Goddard stated a preference for using a mix of analog and computer sounds rather than a concentration of Virtual Studio Technology (VST) instruments. However, one VST instrument was used, the Arturia Moog Modular, because Goddard felt it created vintage sounds that weren't "too shiny or new-sounding".

Musical style
The musical influences of Taylor and Goddard, such as R. Kelly, Wookie, krautrock, Kraftwerk, Prince and Madlib, were brought together on The Warning. Taylor stated that he wanted the variety of musical interests to sound as if they had "all been mixed together in a good way" rather than "bolted together crudely", because of his belief that music shouldn't sound like "just a load of instruments". "No Fit State" gathers large influence from "Svetlana" by the group Xex.

Release and reception
According to Nielsen SoundScan data reported by Billboard, The Warning sold 49,000 copies in the United States and peaked on the UK Album Chart at number 34 and number 13 on Billboard Top Electronic Albums.

"Boy from School" was the first single released from The Warning, peaking at position number 40 on the UK chart. The second single released, "Over and Over", entered the UK chart twice, beginning with the 27 February 2006 release that reached position number 32. It re-entered the UK chart on 9 October 2006, peaking at position number 27 in the UK Singles Top 75, and reached position number 44 in the Ireland Singles Top 50.

Promotion
Hot Chip embarked upon a tour of America in March 2006 to promote The Warning. Felix Martin wasn't able to participate due to severe illness, so fellow band members "had to figure out how to do his parts whilst [doing their] own" and enlisted the help of LCD Soundsystem drummer, Pat Mahoney.

Critical reception

Critical reception to The Warning was generally favourable, with the album receiving a score of 79 out of 100 by review aggregate website Metacritic based on 27 reviews. AllMusic said that "Over and Over" had "DFA signature production" and described the chorus as sounding "hauntingly similar to something Paul McCartney would write had he been paying attention to the music of the youth in his own backyard." The production of the title track, "The Warning", was likened to outtakes by The Postal Service and it was said that it "wouldn't [sound] out of place on I Am Robot and Proud's last few records". Pitchfork described the song as one of the centrepieces on the album and that "like a lot of the band's best songs, it splits into three and four parts, veering into bridges where there should be choruses, verses where there should codas, and dirges where there should be melodies". Prefix magazine'''s review discussed the idea of antithesis in the song, "The Warning", which had "soft glockenspiel notes" in contrast with "violent" lyrics. "Boy from School" was described by NME as "a sweet, melodic mid-tempo dance anthem", whilst Pitchfork said the song was "marked by Alexis Taylor's sweetly thin vocals and the heartbroken line, 'We try, but we don't belong.'" "Tchaparian" and "Arrest Yourself" were named by Pitchfork as songs that were "needlessly jagged on an album full of round edges". Pitchfork also said that "momentum and retraction" of "Careful", which "opens softly and quickly erupts into choppy sample darts, then cools back down again" was "a good metaphor for the [whole] record".

Two reviewers noted similarities between Hot Chip and New Order, with NME stating, "there's something of New Order in Hot Chip [...] [with] the same mix of art school-meets-working man demeanour", whilst Allmusic stated that The Warning was "like listening to early New Order records for the first time, waiting for the next one with a little bit of excited anticipation".

AllMusic said that "the core of what made The Warning [...] enjoyable right from the onset" was a result of Hot Chip "focusing more on song arrangements and structure rather than technology and programming showmanship". Prefix magazine said that alongside exploring the theme of contradiction, "the duo explore[d] the slower and darker aspects of electronic music" with "a number of slower, adroitly manoeuvred songs". bbc.co.uk said that Hot Chip had managed to "meld wonky electronics, pillow-soft soul and lyrics [together] to weave strange violence into gorgeous soul songs". NME described the album as being "underpinned by a 'fuck you' attitude" resulting from the audience's "past ambivalence towards them" but also said that "in channelling this anger they've produced the finest album of electronic rock since Mylo's Destroy Rock & Roll."

Accolades
The album received a number of accolades,  including a nomination for the 2006 Mercury Music Prize. Certain tracks received recognition such as "Boy from School", which was ranked at number seven on Pitchforks list of the top 100 songs of 2006, while "Over and Over" was ranked at number 16. "Over and Over" was also named "Track of 2006" by NME. Additionally, the album was ranked number 26 on Pitchforks list of the top 50 albums of the year and number 81 list of the top 200 albums of the decade. The Warning '' also placed on Slant Magazine's list of best albums of the 2000s at number 93.

Track listing

Personnel
Owen Clarke – artwork design, art conception, guitar, bass
Al Doyle – guitar, synthesizer, percussion, backing vocals
Tom Elmhirst – mixing
Joe Goddard – vocals, synthesizer, percussion
Felix Martin – drum machines
Matt Paul – assistant engineer
Alexis Taylor – vocals, synthesizer, guitar, percussion, piano
Richard Wilkinson – engineer

Charts

References

External links

2006 albums
Hot Chip albums
Astralwerks albums
Albums produced by James Murphy (electronic musician)
Electropop albums

The Warning (Hot Chip album)


Jennifer Lynn Knapp (born April 12, 1974) is an American-Australian folk rock, and contemporary Christian musician. She is best known for her first single "Undo Me" from her debut album, Kansas (1998), and the song "A Little More" from her Grammy Award-nominated album, Lay It Down (2000). The Way I Am (2001), was also nominated for a Grammy. In total, the three albums have sold approximately 1 million copies. After taking a seven-year hiatus, Knapp announced in September 2009 that she was returning to music. On May 11, 2010, she released Letting Go with the single "Dive In". The album debuted at No. 73 on the Billboard 200 chart. Knapp's memoir Facing the Music (Howard Books / Simon & Schuster) and new album Set Me Free (Righteous Babe Records) came out in October 2014.

Early life
Knapp was born in Chanute, Kansas on April 12, 1974, and was brought up irreligiously along with her twin sister Lori. Knapp's parents divorced when she was three and she spent an unhappy childhood with her remarried father until leaving home at 18.

As a classically trained musician Knapp played trumpet in high school, and attended Pittsburg State University on a music scholarship. It was there that she converted to Christianity and eventually incorporated spiritual themes into her music.

From there, Knapp began performing throughout the Midwest selling her two custom recordings at shows. Her second indie album, Wishing Well, attracted the attention of Nashville label Gotee Records, who signed her the following year.

Musical career
Kansas, her critically acclaimed debut release, was received widely and eventually sold over 500,000 copies, becoming Gold-certified by the RIAA. She began touring America, singing primarily in churches, but also appeared at festivals such as the 1999 Lilith Fair, and at large venues including during her 2000 tour in which she opened for Christian music headliner Third Day. She won Dove Awards in 1999 for New Artist of the Year and Rock Song of the Year for her song Undo Me. Lay It Down, her 2000 release, garnered a Grammy Award nomination in 2001.

In addition to her own releases, she has collaborated with a number of artists on various studio projects and releases including lending an early studio version of the song A Little More from Lay It Down on Sparrow Records' 1999 compilation album Listen Louder.

Hiatus
In an interview from the January/February 2004 issue of Relevant Magazine, Knapp stated that she was taking a break from music for a while, leaving the future of her career in God's hands. She had released two albums, Lay It Down and The Way I Am, in 2000 and 2001 respectively, which Knapp said caused a stressful touring schedule. She said she'd already made the decision to take a break in mid-2001, but her schedule did not allow her to stop performing until September 2002, when she played the last concert of her tour.  "It was definitely time for a break," she said. "I was touring Lay It Down while recording The Way I Am, then went directly into touring that record. It got to where I was just doing shows to support the record, rather than having a record support the heart of the people I was supposed to be serving." Knapp gave no indication of when new material would surface. "Truly, no plans and no promises of when," she said. "At this time, there's really not enough material and I don't want to force anything just for the sake of getting a record finished."

On January 24, 2006, Gotee Records issued the album Jennifer Knapp Live with tracks from her three studio albums recorded live in concert. On February 26, 2008, Gotee Records re-issued a 10th anniversary edition of Kansas with re-mastered and additional tracks, including "Jesus Loves Me (Wishing Well version)" and other tracks from her 2006 live album.

Return to music
On August 28, 2009, Patrol Magazine reported that Knapp's management confirmed she is "starting to write and record again."  On September 18, Knapp issued a personal letter to fans on her website in which she discussed her hiatus and her plans to return to music.  Knapp returned from her hiatus on September 24 with a concert at the Hotel Cafe in Los Angeles, California.

On February 4, 2010, Knapp announced that her new album Letting Go would be released on May 11. She also announced spring 2010 tour dates with Derek Webb and summer appearances on the revived Lilith Fair tour.

Knapp began recording a new album in Nashville with producer Jacob Lawson in early 2014. The album Set Me Free was released on October 14, 2014, on Righteous Babe Records. In 2019, she announced she wanted to advocate for LGBT people of faith, and would begin performing Christian music again.

Personal life
Following the end of her 2002 tour, Knapp moved to Australia and has since taken up Australian citizenship.

In simultaneous interviews with Christianity Today, Reuters, and The Advocate published on April 13, 2010, Knapp announced that she is a lesbian, and has been in a same-sex relationship since 2002. She has said that her decision to leave the Christian music industry was not due solely to her coming out but to a number of factors including stress and burnout. Despite criticisms based on her sexual orientation, Knapp says that she not only still holds to her progressive Christian faith, but feels that by being honest about her sexuality that her faith is actually enhanced. However, she stated that Letting Go would not be marketed towards Christian radio. The controversy surrounding her coming out made her the featured subject of an episode of Larry King Live, where she discussed her orientation and faith with Larry King, Bob Botsford, and Ted Haggard.

Advocacy
In 2011, Jennifer launched Inside Out Faith, an advocacy organization for LGBT people of faith. Through Inside Out Faith, Knapp speaks at churches and universities about her journey coming out to her faith community.

Facing the Music
Jennifer's memoir, Facing the Music: My Story, was released on Howard Books / Simon & Schuster on October 7, 2014. Howard Books, an evangelical publisher, received some pushback for publishing Knapp's memoir; however, Howard's VP and Publisher, Jonathan Merkh, stated that the company was not trying to take sides but simply "help [people] understand where someone may be coming from as they open up about their sexuality and their faith."

Discography

Albums
1994: Circle Back
1996: Wishing Well
1998: Kansas
2000: Lay It Down
2001: The Way I Am
2010: Letting Go
2012: The Hymns of Christmas (with Margaret Becker)
2014: Set Me Free
2017: Love Comes Back Around

EPs
2010: Evolving EP - Six tracks, five of which were later released on Letting Go

Live albums
2006: Jennifer Knapp Live

Compilations
2003: The Collection
2004: 8 Great Hits
1999: ''Heaven & Earth: A Tapestry of Worship

Singles
 1997: "Undo Me" – No. 1 CHR, No. 4 Rock
 1998: "Romans" – No. 1 CHR
 1999: "A Little More"
 2001: "Breathe on Me"

Charts

Certification for Kansas

References

External links

1974 births
Living people
20th-century American singers
20th-century Protestants
20th-century American women singers
21st-century American singers
21st-century Protestants
American emigrants to Australia
American expatriates in Australia
American folk rock musicians
American performers of Christian music
Australian Protestants
Converts to Protestantism from atheism or agnosticism
EMI Records artists
Gotee Records artists
American lesbian musicians
American LGBT singers
American LGBT songwriters
LGBT people from Kansas
LGBT Protestants
Lesbian songwriters
Lesbian singers
People from Chanute, Kansas
Pittsburg State University alumni
Righteous Babe Records artists
Singers from Kansas
21st-century American women singers

Jennifer Knapp


Dirge of Cerberus: Final Fantasy VII is a third-person shooter roleplaying video game.  It is a sequel to Final Fantasy VII.

Story
Three years after the what happened in Final Fantasy VII, a group of powerful SOLDIERs that nobody had seen before appear, stopping the peace enjoyed by the people of world. The members of this mysterious group are the ones who were trapped under the ruins of Midgar for three years- the Deepground SOLDIERs. The Deepground SOLDIERs want to call forth the final WEAPON, Omega, before it is supposed to be. But to do that, the DGS need Vincent Valentine to lead the way to Omega.

Vincent Valentine is chased by many members of the mysterious group. An chain of events leads Vincent to the truth about his past and forces him to be the leader again in a battle for the planet itself and all those living in it.

Reeve Tuesti, who used to be the Head of Urban Development at Shinra (and the remote controller of Cait Sith), is now the leader of the World Regenesis Organization, which looks after the planet and stops people from hurting it any more. Yuffie Kisaragi is another member of the organization, and several other characters from the original game provide the World Regenesis Organization with more help.

The game begins with a Full Motion Video showing the attack on the town of Kalm by Deepground soldiers. Vincent stops the attack, but encounters Azul and Shelke. Azul and Shelke are members of the Tsviets, Deepground's elite force of supersoldiers.

Shooter video games
2006 video games
Final Fantasy games

Dirge of Cerberus: Final Fantasy VII


Samuel Scheidt (baptised 3 November 1587 – 24 March 1654) was a German composer, organist and teacher of the early Baroque era.

Life and career
Scheidt was born in Halle, and after early studies there, he went to Amsterdam to study with Sweelinck, the distinguished Dutch composer, whose work had a clear influence on Scheidt's style.  On his return to Halle, Scheidt became court organist, and later Kapellmeister, to the Margrave of Brandenburg.  Unlike many German musicians, for example Heinrich Schütz, he remained in Germany during the Thirty Years' War, managing to survive by teaching and by taking a succession of smaller jobs until the restoration of stability allowed him to resume his post as Kapellmeister. When Samuel Scheidt lost his job because of Wallenstein, he was appointed in 1628 as musical director of three churches in Halle, including the Market Church.

Scheidt was the first internationally significant German composer for the organ, and represents the flowering of the new north German style, which occurred largely as a result of the Protestant Reformation.  In south Germany and some other countries of Europe, the spiritual and artistic influence of Rome remained strong, so most music continued to be derivative of Italian models.  Cut off from Rome, musicians in the newly Protestant areas readily developed styles that were much different from those of their neighbours.

Scheidt's music is in two principal categories:  instrumental music, including a large amount of keyboard music, mostly for organ; and sacred vocal music, some of which is a cappella and some of which uses a basso continuo or other instrumental accompaniment. In his numerous chorale preludes, Scheidt often used a "patterned variation" technique, in which each phrase of the chorale uses a different rhythmic motive, and each variation is more elaborate than the previous one, until the climax of the composition is reached.  In addition to his chorale preludes, he wrote numerous fugues, suites of dances (which were often in a cyclic form, sharing a common ground bass) and fantasias.

Works
 Scheidt's complete works are published by Breitkopf & Härtel in a series of 16 volumes edited by Gottlieb Harms, Christhard Mahrenholz and Christoph Wolff.
 A new scholarly edition of Scheidt's Tabulatura nova (1624) is edited by Harald Vogel (Breitkopf & Härtel, 1994).
 Scheidt's works are represented in many collections of chorale preludes by various authors, including:
 The Church Organist's Golden Treasury (three volumes), edited by Carl F. Pfatteicher and Archibald T. Davison. (Theodore Presser Co., Pennsylvania)
 80 Chorale Preludes from the 17th and 18th Centuries, edited by Hermann Keller (Peters)
 Chorale Preludes by Old Masters, edited by Karl Straube (Peters) (Also available in a reprint edition from Masters Music Publications)
 Free scores are available for download from:

References and further reading
 Manfred Bukofzer, Music in the Baroque Era.  New York, W.W. Norton & Co., 1947.
 'Samuel Scheidt', The New Grove Dictionary of Music and Musicians, ed. Stanley Sadie.  20 vol.  London, Macmillan Publishers Ltd., 1980.
Cleveland Johnson, "In the Trenches with Johann and Caspar Plotz: a rediscovered Gebrauchstabulatur from the Scheidt Circle," 2001. Online

See also
 German organ schools

References

1587 births
1654 deaths
17th-century classical composers
17th-century German people
German Baroque composers
German male classical composers
German classical organists
German male organists
Organists and composers in the North German tradition
Musicians from Halle (Saale)
Pupils of Jan Pieterszoon Sweelinck
17th-century male musicians
Male classical organists

Samuel Scheidt


Tonbridge is a town in Kent in England. The River Medway runs through the town. A castle stands on the northern river bank in the middle of Tonbridge.

Tonbridge is linked by railways to London and Dover.

There are many secondary schools in the area. such as Tonbridge Grammar School

Towns in Kent

Tonbridge


Digital forensics is a forensic science where experts look at computer devices to help solve crime. It can also include mobile phones. The experts who do digital forensics are often called "analysts" or "investigators". When an expert is asked to look at a computer it is called an "investigation".

A digital forensics investigation happens when someone is blamed for a crime that includes using a computer. The expert will look for evidence about the crime. They will try to prove whether the person is to blame or not.

Sometimes investigations are used in disputes between companies and/or people (known as civil law). These may not involve a crime. Instead the expert is asked to find out information about a person or company by looking at their computer. There is a specific word used to describe this type of investigation, it is "eDiscovery".

Another use of digital forensics is called "intrusion detection". It happens after a hacker breaks in to a computer network. After the break in an expert is often asked to look at the networked computers to try and find out how it happened.

Forensics

Digital forensics


Russ Jones (born July 16, 1942 in Ontario) is a Canadian novelist, illustrator, and magazine editor, active in the publishing and entertainment industries over a half-century, best known as the creator of the magazine Creepy for Warren Publishing. As the founding editor of Creepy in 1963, he is notable for a significant milestone in comics history by proving there was a readership eager to read graphic stories in a black-and-white magazine format rather than in a color comic book.

During the mid-1960s, Jones also pioneered the presentation of original comics formatted directly for paperback books, such as Christopher Lee's Treasury of Terror (Pyramid, 1966).

Comics and graphic novels
While in the Marine Corps, Jones worked on Leatherneck magazine. Arriving in New York, he teamed with Wally Wood and Joe Orlando on several comics-related projects, some for Warren Publishing. Jones drew and scripted comic book stories for a variety of publishers, including Marvel, Seaboard, Gold Key, and Charlton. He penciled DC Comics' Mystery in Space, and his slick brush inking provided a polish to many DC romance comics, some inked in collaboration with Bhob Stewart. Jones and Stewart also teamed on scripts and art for Charlton Comics' Ghostly Tales. Jones teamed with penciler Jay Scott Pike as inker on DC's Heart Throbs for the long-running feature "3 Girls—Their Lives—Their Loves," which ran from 1966–1970.

Russ Jones Productions' Dracula (Ballantine Books, 1966) was an adaptation of Bram Stoker's tale into a graphic novel illustrated by Alden McWilliams with text by Otto Binder and Craig Tennis. In addition to other story adaptations for Jones, Tennis later wrote the book Johnny Tonight about his experiences as a talent coordinator working with Johnny Carson and The Tonight Show.

Among other published paintings, Jones did the covers for Famous Monsters of Filmland #30 and its short-lived sister magazine's Monster World #1 (both 1964)

Magazines
In the years following Creepy, Jones founded and edited several other popular culture magazines, including Monster Mania. His magazine Flashback, co-edited with Stewart, employed an unusual approach to the coverage of Hollywood's past by devoting an entire issue to the films of a specific year. A series of front covers by Jack Davis caricatured famed scenes from classic cinema. Humphrey Bogart cradling Woody Woodpecker, rather than the falcon statue of The Maltese Falcon, was the Davis cover for the issue on the films of 1941.

Novels
Jones wrote more than two dozen paperback novels under the name Jack Younger and other pseudonyms. Devlin (Manor Books, 1976), with Kennedy-like characters, carries the blurb, "They were the most powerful family on Earth—but was that power spawned in hell?" Younger also is the byline on Maniac! (Manor, 1977), Demon (Carlyle, 1979) and Claw (Manor, 1976), a tale of vicious cats, as noted in the back cover blurb:
Beware the cats!
From out of nowhere, thousands of cats swarmed through the remote summer resort. They were considered only a nuisance at first-until they suddenly went crazy. In the beginning, they preyed on only the young, the aged, the helpless. But as their numbers grew, they began attacking anyone-anywhere-without fear. They kept on coming, relishing the taste of human blood. The town was surrounded; isolated from the mainland. Those who had survived the deadly onslaught huddled together for protection-waiting for help... waiting for an answer... waiting... if only for death...

His work as an illustrator was displayed on front and back covers for Castle of Frankenstein and other magazines. His paintings were also seen in the feature film, The Salton Sea (2002).

References

Further reading
"Wentworth's Day", illustrated by Russ Jones for Christopher Lee's Treasury of Terror

External links
Russ Jones' memoirs
Russ Jones' Monster Mania
Russ Jones Comics (full stories)
Sara Karloff Gallery: Russ Jones
Tom Weaver interviews Russ Jones in Eye on Science Fiction (McFarland, 2003).

1942 births
Canadian comics artists
Canadian comics writers
Canadian magazine editors
Comic book publishers (people)
Comics inkers
Living people

Russ Jones


Martín Tovar y Tovar (10 February 1827 – 17 December 1902) was a Venezuelan painter, best known for his portraits and historical scenes.

Biography
Tovar was born and died in Caracas. His father, Antonio María Tovar (1791–1860), was a former official of the Spanish government who had retired after receiving a serious bullet wound during the War of Independence. His mother, Damiana Tovar Liendo (c.1805–1844), was from Caracas. The family had been living in exile in Puerto Rico, but returned to Venezuela immediately before Tovar's birth.

He received his first lessons from Celestino Martínez who, at the age of nineteen, had just become an instructor at the "Academia de Dibujo" (Drawing Academy). Later, Tovar studied at the Academy itself with Antonio José Carranza and at the "Colegio de La Paz" with Carmelo Fernández. In 1844, he joined with Fernández and two other artists to acquire a lithography workshop owned by German emigrants.

In 1850, he travelled to Spain and enrolled at the Real Academia de Bellas Artes de San Fernando in Madrid. There, he studied with José de Madrazo and his son, Federico de Madrazo, among others. In 1851, he opened a shop called "Fotografía Artística de Martín Tovar y Tovar", becoming one of his country's pioneer photographers. In 1852, he moved to Paris and found a position in the workshop of Léon Cogniet. Three years later, he returned to Venezuela, but stayed for only a year before going back to Paris to copy paintings by the major artists, with a view towards using them to establish a national museum in Caracas. His proposal was accepted, but a lack of funds kept it from being realized.

He continued to focus on portraits, however, and participated in several exhibitions, including the International Exposition (1867) in Paris. Two years later, he was appointed Director of the "Academia de Bellas Artes" in Caracas. In 1872, he exhibited at the "Primera Exposición Anual de Bellas Artes Venezolanas", organized by the explorers James Mudie Spence (1836–1878) and Anton Goering (who was also a painter).

In 1873, he received what would be his largest commission; painting 30 portraits of heroes from the War of Independence and other public figures for the "Salón Elíptico" at the Palacio Federal Legislativo, a project that would occupy him for two years. In 1881, he received another commission from President Antonio Guzmán Blanco; a large canvas depicting the signing of the Venezuelan Declaration of Independence, also for the "Salón Elíptico". The work was presented at the "Exposición Nacional de Venezuela" in 1883 and was awarded a gold medal. This resulted in further commissions to portray the battles of Carabobo, Boyacá, Junín and Ayacucho. After researching and sketching the battle sites, he set up a workshop in Paris, which he maintained from 1887 to the late 1890s, commuting between there and Caracas and doing more portraits as well as the battle scenes. He had finished only three of the battles when he died in 1902. The Battle of Ayucucho was completed by Antonio Herrera Toro, using Tovar's studies.

Selected portraits

References

Further reading
 Enrique Planchart, Martín Tovar y Tovar, (Volume 1 of Biblioteca venezolana de cultura) Edición del Ministerio de Educación, Dirección de Cultura, 1952
 Juan Calzadilla, Tovar y Tovar, C.V.G. Siderúrgica del Orinoco, 1977.
 Francisco Javier Duplá, Martín Tovar y Tovar, 1827–1902, (Volume 75 of Biblioteca biográfica venezolana), Editora El Nacional, 2008

External links

Escuela de Artes Plásticas "Martín Tovar y Tovar"

1827 births
1902 deaths
Artists from Caracas
Portrait painters
Military art
19th-century Venezuelan painters
19th-century male artists
Burials at the National Pantheon of Venezuela
20th-century Venezuelan painters
20th-century Venezuelan male artists
Male painters
Deaths in Caracas

Martín Tovar y Tovar