Boni Pueri is a Czech boys' choir founded in 1982, which has become one of Europe's most famous musical ensembles.

The choir
The Czech boys' choir Boni Pueri ("Good Boys") has held more than 2,500 concerts in North America, Asia, and Europe, produced thirteen recordings, and been invited to participate in various other recordings with Supraphon, EMI, BMG, and ArcoDiva. In addition, Boni Pueri has been featured on a number of television and radio broadcasts. The choirs are invited to perform regularly with eminent artists, including José Carreras, and with other important ensembles and orchestras around the world.

Boni Pueri is also a private music school with 350 students and since 2006 has been under the patronage of the Czech Ministry of Education. They are a cultural ambassador of the "European Federation of Choirs of the Union".

Concerts and tours
Boni Pueri has been privileged to perform in some of the world's great concert halls including Grace Cathedral in San Francisco, Winspear Centre in Edmonton, Alberta, Canada, the Tokyo Bunka Kaikan, Seoul Arts Centre, Concertgebouw in Amsterdam, De Doelen in Rotterdam, Basilica di S. Maria Maggiore in Bergamo, Italy, Meistersingerhalle in Nuremberg, and the Rudolfinum Dvořák Hall in Prague.

Festivals
The choirs have appeared at numerous international music festivals including The Prague Spring Festival (1994, 1995, 1998, 2004, 2005), Europalia (Brussels 1998), AmericaFest International Festival for Boys' & Men's Choirs (Minneapolis 1998, 2002), and Jeonju International Sori Festival (South Korea 2002). In July 2004, Boni Pueri became the first European organization to host the highly acclaimed World Festival of Singing for Men and Boys and did so again in 2008. Individual members of Boni Pueri are often invited to be soloists in other performances, including The Magic Flute at the Teatro dell'Opera di Roma in 2004.

Main projects
Boni Pueri performs frequently with the Czech Philharmonic Orchestra, including a notable performance of King Roger by Karol Szymanowski in 2007. In 2006, the choirs were invited to open the Orchestra's Choral Concert Series in Dvořák Hall.

Other important projects of recent years have included performances of Bach's St Matthew Passion, the Mozart Requiem, the Fauré Requiem, a theatrical staging of Hans Krása's Terezín children's opera Brundibár, and a premiere recording of music by the baroque composers Johann Caspar Ferdinand Fischer, Pavel Josef Vejvanovský, and Jan Dismas Zelenka. In 2003, Boni Pueri's recording of Zelenka's Sub olea pacis et palma virtutis received the prestigious Cannes Classical Award, and in 2004, their recording of Benjamin Britten's A Ceremony of Carols was named as the Recording of the Month.

Collaborations

Singers
 Christina Johnston
 Edita Adlerová
 Lívia Ághová
 Gabriela Beňačková
 Lucie Bila
 Markus Brutscher
 Jaroslav Brezina
 José Carreras
 Miro Dvorsky
 Peter Dvorský
 Markus Forster
 Karel Gott
 Simona Houda-Šaturová
 Noemi Kiss
 Ivan Kusnjer
 Štefan Margita
 Bobby McFerrin
 Eva Urbanová
 Leo Marian Vodička

Orchestras and ensembles
 Czech Chamber Philharmonic Orchestra
 Czech Philharmonic Orchestra
 Czech National Symphony Orchestra
 Philharmonic Orchestra Hradec Králové
 Deutsches Symphonie-Orchester
 Hradistan
 Münchner Symphoniker
 Musica Bohemica
 Musica Florea
 Prague Philharmonia
 Schola Gregoriana Pragensis
 The North Czech Philharmonic Teplice
 Prague Radio Symphony Orchestra
 The Prague Symphony Orchestra FOK
 VUS Ondras

Soloists and musicians
 Ales Barta - organ
 Jana Bouskova - harp
 Vaclav Hudecek - violin
 Hana Müllerova-Jouzova - harp
 Josef Suk - violin
 Pavel Sporcl - violin
 Jaroslav Tuma - organ, harpsichord
 Vaclav Uhlir - organ
 Daniel Wiesner - piano

Conductors
 Petr Altrichter
 Vladimir Ashkenazy
 John Axelrod
 Douglas Bostock
 Charles Dutoit
 Jaroslav Krcek
 Libor Pesek
 Frantisek Preisler jr.
 Vojtech Spurny
 Robert Stankovsky
 Leos Svarovsky
 Marek Stryncl
 Rastislav Stur
 Roman Valek
 Vladimir Valek

Actors
 Otakar Brousek Sr.
 Eva Hruskova
 Bara Hrzanova
 Jitka Molavcova
 Jan Preucil
 Bara Stepanova

References

External links

 Boni Pueri European website

Musical groups established in 1982
Choir schools
Choirs of children
National choirs
Czech choirs
Boys' and men's choirs
Music schools in the Czech Republic
1982 establishments in Czechoslovakia

Boni Pueri


The Zarubintsy or Zarubinets culture was a culture that, from the 3rd century BC until the 1st century AD, flourished in the area north of the Black Sea along the upper and middle Dnieper and Pripyat Rivers, stretching west towards the Southern Bug river. Zarubintsy sites were particularly dense between the Rivers Desna and Ros as well as along the Pripyat river. It was identified around 1899 by the Czech-Ukrainian archaeologist Vikentiy Khvoyka and is now attested by about 500 sites. The culture was named after finds of cremated remains in the village of Zarubyntsi on the Dnieper.

The Zarubintsy culture is possibly connected to the pre-Slavic ancestors of early Slavs (proto-Slavs), with possible links to the peoples of the Dnieper basin. The culture was influenced by the La Tène culture and the nomads of the steppes (the Scythians and the Sarmatians). The Scythian and Sarmatian influence is evident especially in pottery, weaponry, and domestic and personal objects.

The bearers of the culture engaged in agriculture, documented by numerous finds of sickles. Pobol suggested that the culture experienced a transition from swidden ('slash-and-burn') to plough-type cultivation. In addition, they raised animals. Remains included sheep, goat, cattle, horses, and swine. There is evidence they also traded wild animal skins with Black Sea towns.

Some sites were defended by ditches and banks, structures thought to have been built to defend against nomadic tribes from the steppe.<ref>Mallory. EIEC. Page 657</ref> Dwellings were either of surface or semi-subterranean types, with posts supporting the walls, a hearth in the middle, and large conic pits located nearby.

Burials
Inhabitants practiced cremation. Cremated remains were either placed in large, hand-made ceramic urns, or were placed in a large pit and surrounded by food and ornaments, such as spiral bracelets and Middle to Late La-Tene type fibulae.

Decline
The disintegration of the Zarubintsy culture has been linked with the emigration of its population in several directions. Density of settlements in the central region decreases, as late Zarubintsy groups appear radially, especially southward into the forest-steppe regions of the middle Dnieper, Desna, and southern Donets rivers. Influences upon local cultures in the east Carpathian/ Podolia region, as well as, to a lesser extent, north into the forest zone are also evident. The movement of Zarubintsy groups has been linked to an increasingly arid climate, whereby the population left the hillforts on high promontories and moved southward into river valleys. This mostly southern movement brought them closer to westward moving Sarmatian groups (from the Don region) and Thracian-Celtic elements. By the 3rd century AD, central late Zarubintsy sites 're-arranged' into the so-called Kiev culture, whilst the westernmost areas were integrated into the Wielbark culture.

Notes

Sources and external links
J. P. Mallory, "Zarubintsy Culture", Encyclopedia of Indo-European Culture, Fitzroy Dearborn, 1997.
The Early Germans
The Slavs in Antiquity
 The Early Slavs. Eastern Europe from the Initial Settlement to the Kievan Rus. Pavel M Dolukhanov. Longman. 1996. Pages 148-151.
 Andrew Villen Bell, Andrew Bell-Fialkoff. The role of migration in the history of the Eurasian steppe: sedentary civilization vs. "barbarian" and nomad ''. Palgrave Macmillan, 2000.

See also
 Chernyakhov culture

Archaeological cultures of Europe
Archaeological cultures in Ukraine
Archaeological cultures in Belarus
Iron Age cultures of Europe
Iranian archaeological cultures
Slavic archaeological cultures
Sarmatians

Zarubintsy culture


Ohm's law says that in an electrical circuit, the current passing through a resistor is related to the voltage difference and the electrical resistance between the two sides, as long as the physical conditions and the temperature of the conductor remain constant. Because there are three variables, it can be written in three ways, depending on which variable is placed on the left of the equals sign:
.
Where I is the current in amperes, V is the potential difference in volts, and R is a constant, measured in ohms, called the resistance.

Current,  Voltage, and  Resistance

Voltage
Voltage is how much energy is between two points on a circuit. These two points have different charges, one is higher and the other is lower. The difference between these two points of the charge is how we measure the voltage. The unit of "volt" is the name of the Italian physicist Alessandro Volta who created the first chemical battery.  The letter "V" represents voltage.

Current
Current is how fast the charge is flowing. The higher the charge, the faster the current. Current has to do with electrons flowing in a circuit. Current measures how fast the electrons go. The unit of the current is "ampere," (often referred to as "amps"). The letter "I" is usually used to represent current, from the French intensité du courant, (current intensity).

Resistance
Resistance is how much the circuit resists the flow of the charge. This makes sure the charge does not flow too fast and damage the components. In a circuit, a light bulb can be a resistor. If electrons flow through the light bulb, then the light bulb will light up. If the resistance is high, then the lamp will be dimmer. The unit of resistance is "Ω",  which is called omega, and pronounced "ohm", it is the name of the inventor of Ohm's law.

How Current, Voltage, and Resistance are related
Current, Voltage, and Resistance are related, which is called "Ohm's law". The unit of resistance (also named an "Ohm"), is defined so that "1 Ohm" as the resistance between two points in a conductor where the application of 1 volt will push 1 ampere, or 6.241×10^18 electrons, through. This takes energy, which (depending on the component which the charge is flowing through) is usually lost as heat.

Find all values in the circuit

For example, a scientist knows that the value of the voltage is 20V. Resistance is known, which is in the light bulb, is 10 Ω.  Now we need to find the other unknown variable, which is current. The Ohm's law formula can be used to solve it. With the two known variables, V(voltage) and R(resistance), the only variable left to find is I(current).

20V= 10Ω * I

I = 2A

In a problem, a scientist always gets enough information to solve the other values, the only thing a scientist has to memorize is the Ohm's law formula. Then it is used with what is given to solve the unknown part. In the example above, the current is 2 amps.

References

Other websites

 Online ohm's law calculator
 Ohm's Law worksheet on All About Circuits
 Ohm Law : Electronics for Beginners
 Calculator - Ohm's law in the DC circuit

Electricity

Laws of physics

Ohm's law


Richard Bache (1737–1811) worked for the Postal Service under Benjamin Franklin  from 1775–1776, and was Franklin's successor as Postmaster General, serving from 1776–1782 during the Revolutionary War. He also served on the Board of War.

He was born in Yorkshire, England and married the only daughter of Franklin in 1767, after immigrating to New York City in 1765. His wife, Sarah Franklin Bache (1743-1808), was widely known for patriotism and benevolent activities.

Their son, Richard Bache Jr., served in the Republic of Texas Navy and was elected as a Representative to the Second Texas Legislature in 1847. Another son was Benjamin Franklin Bache (1769-1798).

1737 births
1811 deaths
United States Postmasters General
People from Yorkshire

Richard Bache


Annus Mirabilis is a poem written by John Dryden published in 1667.  It commemorated 1665–1666, the "year of miracles" of London. Despite the poem's name, the year had been one of great tragedy, including the Great Fire of London. The title was perhaps meant to suggest that the events of the year could have been worse. Dryden wrote the poem while at Charlton in Wiltshire, where he went to escape one of the great events of the year: the Great Plague of London.

Historical context
The title of Dryden's poem, used without capitalisation, annus mirabilis, derives its meaning from its Latin origins and describes a year of particularly notable events. According to the Oxford English Dictionary, Dryden's use of the term for the title of his poem constitutes the first known written use of the phrase in an English text.
The first event of the miraculous year was the Battle of Lowestoft fought by English and Dutch ships in 1665.  The second was the Four Days Battle of June 1666, and finally the victory of the St. James's Day Battle a month later.  The second part of the poem deals with the Great Fire of London that ran from September 2–7, 1666.  The miracle of the Fire was that London was saved, that the fire was stopped, and that the great king (Charles II) would rebuild, for he already announced his plans to improve the streets of London and to begin great projects.  Dryden's view is that these disasters were all averted, that God had saved England from destruction, and that God had performed miracles for England.

Structure
The poem contains 1216 lines of verse, arranged in 304 quatrains. Each line consists of ten syllables, and each quatrain follows an abab rhyme scheme, a pattern referred to as a decasyllabic quatrain. Rather than write in the heroic couplets found in his earlier works, Dryden used the decasyllabic quatrain exemplified in Sir John Davies' poem Nosce Teipsum in 1599. The style was revived by William Davenant in his poem Gondibert, which was published in 1651 and influenced Dryden's composition of Annus Mirabilis. This particular style dictates that each quatrain should contain a full stop, which A. W. Ward believes causes the verse to become "prosy".

References

External links

Dryden's "Annus Mirabilis"

Poetry by John Dryden
1667 poems
British poems

Annus Mirabilis (poem)


Hyperopia (also called hypermetropia or far-sightedness) is a problem with the focusing ability of the eye. People with hyperopia have an easier time seeing things that are far away than seeing things that are up close. Inside the eye is the lens which can change shape to change the focusing power of the eye and make things look clear. Someone who is not far-sighted only needs to use their lens to make far objects look clear. But for someone with hyperopia, their lens has to do that even when they're looking far away, and it has to work extra hard to make close objects look clear.

Many people with small amounts of hyperopia don't have any problems seeing up close because it's easy for their lens to focus all the time, especially when they're children. But if they have more hyperopia, they often get headaches and eyestrain when they read for a long time because the muscle that controls the lens gets tired.

Hyperopia can be corrected with glasses, contact lenses, or surgery.

Diseases and disorders of the eye

Hyperopia


The Caraceni or Caricini or Carricini were a tribe of the Italic Samnites.  According to Salmon, their name comes from the Celtic carreg- and car- <Rock>. According to Ptolemy, they inhabited the most northern part of Samnium, bordering on the Peligni and the Frentani; but more especially the upper valley of the Sagrus (modern Sangro). The only city that he assigns to them is Aufidena.  Zonaras describes them as possessing a town or stronghold, which was taken by the Roman consuls Q. Gallus and C. Fabius with difficulty. Aufidena has been identified with the modern Castel di Sangro, which seems, from the inscriptions and other remains discovered there, to have been an ancient town.

Their territory was delimited to the north and east from that of the Frentani, to the south from that of the Pentri, and to the west from that of the Peligni. The tribe divided itself in two groups: the "Car[r]icini supernates", which occupied the northern part of their eastern region centered on the city of Juvanum (whose remains are visible in the territory between the communes of Torricella Peligna and Montenerodomo); and the "Car[r]icini infernates" in the southern part, whose main center was Cluviae (whose ruins have been identified with those at Piano Laroma, a frazione of the commune of Casoli). This small community comprised part of the Samnite Confederation, the great antagonist of the Roman Republic, against which it participated in the Samnite Wars and the Social War. The territory of the Caraceni probably came to be occupied by the Romans in the course of the Second Samnite War (c. 310 BC), and the people were gradually assimilated into the Roman state.

Pliny (iii. 12. s. 17), describes a tribe called Carentini which that author seems to place among the Frentani, with the Caraceni, but distinct from them.

References

Samnite tribes

Caraceni (tribe)


John Dunstaple or Dunstable (born about 1390; died 24 December  1453) was an English composer who lived in the last part of the medieval era and the early part of the Renaissance. He was one of the most famous composers in the early 15th century.  He had a lot of influence on music in England as well as on the continent.   He helped to develop the style of the Burgundian School.

The spelling "Dunstaple" is more often used today because in documents from his time this is the spelling that is more common, although some documents spelt his name "Dunstable".

Life
Dunstaple was probably born in Dunstable, Bedfordshire around 1390. We know very little about his life. He was well educated and he worked for the Duke of Bedford who was the fourth son of Henry IV and brother of Henry V.  He may have spent some time in France because the duke was Regent of France from 1423 to 1429, and then Governor of Normandy from 1429 to his death in 1435.  Dunstaple owned property in Normandy, and also in Cambridgeshire, Essex and London, according to tax records of 1436.  He also worked for the Duke of Gloucester.

Many composers at that time were priests, but Dunstaple was not, although he had connections with St Albans Abbey.  He was probably married.
During his life he was not just known as a composer but also as an astronomer, astrologer, and mathematician.

He died on Christmas Eve 1453, and was buried in the church of St Stephen Walbrook in London which was later destroyed in the Great Fire of 1666.

Music and influence
We hardly have any original manuscripts of Dunstaple's music.  England was a very musical country at the time, but almost all that music was destroyed between 1536 and 1540 during the Dissolution of the Monasteries when Henry VIII was ruling.  Most of Dunstaple's works which survive were works which were found on the continent, mostly in north Italy.  This shows that he must have been famous throughout Europe.  He influenced  Dufay and Binchois.  The Flemish composer and music theorist Tinctoris wrote in 1476 that he was the most important musician of new music which had started in England.

Dunstaple was one of the first to compose masses using one melody as cantus firmus.   He wrote many carols (religious songs), but we do not know which ones are by him because he did not sign his name to them.  He wrote secular music, but it has been lost.

References
groves music online

1390 births
1453 deaths
Astrologers
British esotericists
English composers
Renaissance composers

John Dunstaple


The caracal (Caracal caracal), also called Persian lynx or African lynx, is a wild cat. Caracals are similar to lynxes, but are more related to the serval. Caracals are the fastest of the small cats.

Look
The Caracal is 65 cm in length (about 2 feet), plus 30 cm tail (about 1 foot). It has longer legs and a look very similar to a lynx. The colour of its fur may be wine-red, grey, black, or sand-coloured (a type of yellow). Young caracals have red spots on the fur, but the only markings adults have are black spots above the eyes. A special part of the caracal body are its long black ears - the word "caracal" come from the Turkish word karakulak ("black ear"). Their ears are controlled by 20 different muscles, to help them find the animals they hunt.

Life

Caracals live in Africa and Western Asia. Their habitat is dry steppes (areas without trees, covered with grass or shrubs) and semi-deserts, but also can live in places similar to woodlands, savannas, and scrub forests. They live alone or with a mate in a territory.

A caracal may live without drinking for a long time - they get the water from the body of the animals they eat. It hunts at night (but in winter they also hunt in the daytime) for rodents, birds, and hares. It is not usual, but sometimes they hunt small antelopes or young ostriches. They prefer to eat only the external meat of the mammals they hunt, and do not eat the internal organs, and they also do not like eating fur. But they eat the feathers of small birds and rotten meat.

They can hunt birds very well; a caracal is able to snatch a bird in flight, sometimes more than one at a time. Caracals can jump and climb every well, which enables them to catch hyraxes better than any other carnivore.

Caracals and humans
Because they can learn tricks and get accustomed to live with humans, caracals are sometimes kept as pets (especially in the United States and some European countries). Farmers in Africa do not like them, because sometimes they enter in farms and eat chickens and other animals. So they make their dog chase the caracal.

It is not easy to see caracals in nature because they hide very well. Drivers in countries where caracals live, for example, Kenya and Botswana, see many animals next to roads, but it is very rare a sighting of a caracal.

Kinds of caracals

There are many species of caracals. See them and where they live:
 Caracal caracal caracal, East, Central and South Africa
 Caracal caracal algira, North Africa
 Caracal caracal damarensis, Namibia
 Caracal caracal limpopoensis, Botswana
 Caracal caracal lucani, Gabon
 Caracal caracal michaelis, Turkmenistan (endangered)
 Caracal caracal nubicus, Ethiopia, Sudan
 Caracal caracal poecilictis, West Africa
 Caracal caracal schmitzi, West Asia, Iran, Arabia, Pakistan and India

References

Felines
Mammals of Pakistan
Mammals of Africa

Caracal


Foie gras (play /fwɑːˈɡrɑː/; French: [fwa ɡʁɑ]); French for "fat liver") is a food product made of the liver of a duck or goose that has been specially fattened. Foie gras is defined as the liver of a duck fattened by gavage (force-feeding corn), although outside of France it is occasionally produced using natural feeding.

Foie gras is a popular and well-known delicacy in French cuisine. Its flavor is described as rich, buttery, and delicate, unlike that of an ordinary duck or goose liver. Foie gras is sold whole, or is prepared into mousse, parfait or pâté (the lowest quality), and may also be served as an accompaniment to another food item, such as steak.

There is concern in animal rights circles that the way of making it is cruel.

French food
Spreads
Poultry
Offal

Foie gras


Daughter of the Forest is a fantasy novel by Juliet Marillier first published in 1999  It is based on "The Six Swans" (a story that has many versions, one of which is by the Brothers Grimm). A girl must sew six shirts from a painful plant in order to save her brothers from a witch's curse. She must not speak until the task is finished.

Plot summary
Sorcha, the seventh child of Irish Lord Colum of Sevenwaters, has been raised by her six older brothers. Having lost her mother at birth, Sorcha is almost ignored by her father. Her father's new wife, the Lady Oonagh, attacks Sorcha and her brothers. Sorcha alone is able to flee into the forest and escape. Sorcha's brothers, however, have been turned into swans.

The story is a twist on the classic tale of "The Six Swans." Sorcha learns that if she can spin six shirts from a painful plant she can free her brothers from the spell. But she must not speak until the last one has been finished.  Sorcha agrees to this and spends several years in the forest hiding as she works on the shirts.

After several years of hard work, Sorcha is saved from drowning by a British lord, Hugh of Harrowfield (known as "Red"). When Red returns to Britain, Sorcha accompanies him. Red believes that Sorcha knows something about his brother, Simon.  Sorcha had nursed Simon back to health after his capture by Lord Colum. Sorcha stays with Red as she works on the shirts.

While in Britain, Sorcha finds a new danger in the form of Lord Richard, Red's uncle. Sorcha must fend off the attacks of Richard as she works to save her brothers.

Awards and nominations
 Daughter of the Forest won the 2001 American Library Association Alex Award
 Daughter of the Forest was a finalist for the 2000 Aurealis Awards for Fantasy Novel

Outside websites
 Daughter of the Forest  entry on official Juliet Marillier website
 Interview with Juliet Marillier  at Slow Glass Books shortly after Daughter of the Forest was published.
 In-depth interview with Juliet Marillier at Writer Unboxed, where Juliet also blogs.
 Review of Daughter of the Forest by fantasy author Victoria Strauss

Notes

References

1999 books
Fantasy books
New Zealand culture

Daughter of the Forest


Boundless Informant (stylized as BOUNDLESSINFORMANT) is a big data analysis and data visualization tool used by the United States National Security Agency (NSA). It gives NSA managers summaries of the NSA's worldwide data collection activities by counting metadata. The existence of this tool was disclosed by documents leaked by Edward Snowden, who worked at the NSA for the defense contractor Booz Allen Hamilton. Those disclosed documents were in a direct contradiction to the NSA's assurance to United States Congress that it does not collect any type of data on millions of Americans.

History
Intelligence gathered by the United States government inside the United States or specifically targeting US citizens is legally required to be gathered in compliance with the Foreign Intelligence Surveillance Act of 1978 (FISA) and under the authority of the Foreign Intelligence Surveillance Court (FISA court).

NSA global data mining projects have existed for decades, but recent programs of intelligence gathering and analysis that include data gathered from inside the United States such as PRISM were enabled by changes to US surveillance law introduced under President Bush and renewed under President Obama in December 2012.

Boundless Informant was first publicly revealed on June 8, 2013, after classified documents about the program were leaked to The Guardian. This report contained a Top Secret heat map produced by the Boundless Informant program summarizing data records from 504 separate DNR and DNI collection sources or SIGADs. In the map, countries that are under surveillance are assigned a color from green to red (which does not correspond to intensity of surveillance).

As this map shows that almost 3 billion data elements from inside the United States were captured by the NSA over a 30-day period ending in March 2013, Snowden stated that this tool was collecting more information on Americans located within the United States than on Russians in Russia. Snowden stated that he had raised concerns about this with his superiors at the NSA beginning in October 2012, specifically with two superiors in the Hawaii regional base of the NSA Threat Operations Center and two superiors in the Technology Directorate of the NSA, Snowden claims that he brought up these concerns through the Dissent Channel.

Snowden added that coworkers often were "astonished to learn" about this detail and did not wish to know any more about the program, and that until April 2012 he often asked these colleagues "What do you think the public would do if this was on the front page?" Vanee Vines, an NSA spokesperson, stated that "After extensive investigation, including interviews with his former NSA supervisors and co-workers, we have not found any evidence to support Mr. Snowden's contention that he brought these matters to anyone's attention."

The first publication about Boundless Informant was followed by screenshots from this program showing charts with details about the data that NSA allegedly collected from several European countries between  December 10, 2012 and January 8, 2013. These charts were published by a major news outlet from each of these countries:

 July 29, 2013: Germany: a big chart about this country, showing more than 552 million telephony and internet data, alongside four smaller charts about the Netherlands, France, Spain and Italy were published by the magazine Der Spiegel.
 October 20, 2013: France: a chart showing almost 70 million telephony metadata was published by the newspaper Le Monde.
 October 28, 2013: Spain: a chart showing 60 million telephony metadata was published by the newspaper El Mundo.
 November 19, 2013: Norway: a chart showing 33 million telephony metadata was published by the tabloid paper Dagbladet.
 December 6, 2013: Italy: a chart showing almost 46 million telephony metadata was published by the tabloid paper L'Espresso.
 February 8, 2014: Netherlands: a chart showing 1.8 million telephony metadata was published by the newspaper NRC Handelsblad.

Initially, these media wrote that the BoundlessInformant charts showed how many phone calls the NSA intercepted from a particular country. A first correction of this interpretation is that the program doesn't count the content of phone calls, but only the metadata thereof (see below).

A second correction is about by whom and where these data were collected. On August 5, a week after the publication of a chart from BoundlessInformant in Germany, the German intelligence agency (BND) said that they collected these data from foreign communications, related to military operations abroad. A similar statement was made by the Norwegian Intelligence Service, after a chart about Norway was published on November 19. On February 4, 2014, the Dutch government revealed that the 1.8 million metadata in the chart about the Netherlands were not collected by NSA, but instead by the Dutch Military Intelligence and Security Service (MIVD), also to support military operations, which almost led to the resignation of the Dutch interior minister.

On October 29, 2013, NSA-director Keith B. Alexander declared that accusations in French, Spanish and Italian media about NSA intercepting millions of phone calls from these countries are "completely false". He added that "This is not information that we collected on European citizens. It represents information that we and our NATO allies have collected in defense of our countries and in support of military operations."

Technology
Although the initial reports in European media stated that the various charts presented the numbers of phone calls intercepted by NSA, a PowerPoint presentation and a FAQ document published by The Guardian say that BoundlessInformant is counting and analysing DNI (internet) and DNR (telephony) metadata records passing through the NSA's signals intelligence systems, and are therefore not showing how much content of internet and telephone communications is intercepted.

Data analyzed by Boundless Informant includes electronic surveillance program records and telephone call metadata records stored in an NSA data archive called GM-PLACE. It does not include FISA data, according to the FAQ memo. PRISM, a government codename for a collection effort known officially as US-984XN, which was revealed at the same time as Boundless Informant, is one source of DNR data.

According to published slides, Boundless Informant leverages Free and Open Source Software—and is therefore "available to all NSA developers"—and corporate services hosted in the cloud. The tool uses HDFS, MapReduce, and Accumulo (formerly Cloudbase) for data processing.

See also

List of government surveillance projects
NSA warrantless surveillance (2001–07)
Stellar Wind

References

External links

 Boundless Informant: the NSA's secret tool to track global surveillance data
 Article about how BOUNDLESSINFORMANT only shows metadata
 All BoundlessInformant documents, slides and screenshots

Counterterrorism in the United States
Boundless
National Security Agency
Obama administration controversies
Privacy of telecommunications
Privacy in the United States
American secret government programs
Surveillance
Surveillance scandals
United States national security policy
War on terror
2007 establishments in the United States

Boundless Informant


A television network is a network to provide television programming to many television stations. It is almost always a large company. Until the mid-1980s, television programming in most countries of the world was mainly done by a small number of broadcast networks. Many early television networks (for example, the ABC, Channel 4, PTV, CBC, BBC or PBS) began as radio networks.

A television network may broadcast many television channels. For example, BBC is a television network. It broadcasts its programs on many different channels including BBC One, BBC Two, BBC News, BBC World News, BBC Four and CBBC. Each channel will often have a group of programs that are similar in some way. For example, CBBC broadcasts children programs. The individual companies that create the content are television studios. A studio is often an affiliate of a network. For example, WAVY is a station in Hampton Roads, Virginia. It is an affiliate of the NBC network. WAVY is also the name of the channel that the studio creates and broadcasts locally on channel 10. It is called WAVY10.

Television network


A lady-in-waiting (also called waiting maid) is a female personal helper at a noble court. A lady in waiting would be in charge of waking, dressing and accompanying a lady in her daily activities She helps a queen, a princess, or other noblewoman. A lady-in-waiting is often a noblewoman of a lower rank than the one she attends. She is not thought to be a servant. Their duties are different depending on the court. People with artistic talents were usually chosen. In Russia, girls between "fourteen or twenty [sic]" were chosen, and left the court when she married. People like Anne Boleyn, Jane Seymour, Catherine Howard, and Catherine Parr were all ladies-in-waiting.

Famous ladies-in-waiting

The princesse de Lamballe (Lady-in-waiting to Marie Antoinette)
Anne Boleyn, Jane Seymour, Catherine Howard, and Catherine Parr (all eventually wives of Henry VIII of England)
The Countess of Valentinois (Lady-in-waiting to the French-Italian Countess of Provence)

References

Personal service occupations

Lady-in-waiting


An amorphous solid does not have a definite geometric or crystalline shape. It is a solid in which there is no long-term order in the positions of the atoms.  Most classes of solid materials can be found or prepared in an amorphous form. For instance, common window glass is an amorphous ceramic, many polymers are amorphous, and even foods such as cotton candy and cotton are amorphous solids.

An amorphous solid is any noncrystalline solid in which the atoms and molecules are not organized in a definite lattice pattern. Such solids include glass, plastic, and gel.

Solids and liquids are both forms of condensed matter; both are composed of atoms in close proximity to each other. But their properties are, of course, enormously different. While a solid material has both a well-defined volume and a well-defined shape, a liquid has a well-defined volume but a shape that depends on the shape of the container. Stated differently, a solid exhibits resistance to shear stress while a liquid does not. Externally applied forces can twist or bend or distort a solid's shape, but (provided the forces have not exceeded the solid's elastic limit) it "springs back" to its original shape when the forces are removed. A liquid flows under the action of an external force; it does not hold its shape. These macroscopic characteristics constitute the essential distinctions: a liquid flows, lacks a definite shape (though its volume is definite), and cannot withstand a shear stress; a solid does not flow, has a definite shape, and exhibits elastic stiffness against shear stress.

Related pages
 Glass
 Crystalline

Other websites
 Vogel-Tammann-Fulcher Equation Parameters
 Fragility thy name is glass

Matter

Amorphous solid


Maury Allen (born Maurice Allen Rosenberg; May 2, 1932 – October 3, 2010) was an American sportswriter, actor, and columnist for the New York Post and the Journal-News. He was also a voter for the Baseball Hall of Fame. Allen wrote 38 books on American sports icons. He also contributed to Thecolumnists.com.

Early life
Allen was born in Brooklyn, New York, to parents Harry and Frances Rosenberg. Harry Rosenberg was a coffee salesman and Frances a homemaker. His grandparents came from Russia He attended James Madison High School where he covered sports for the school paper.

As a young man, Allen was a Brooklyn Dodgers fanatic. His book, Brooklyn Remembered: The 1955 Days of the Dodgers, recalls the glory days of the team, before they were moved to Los Angeles.

After high school, he attended City College of New York where he majored in journalism and played for the football team. Allen had one older brother. Following college, Allen was drafted into the Army. He served in Japan and in Korea during the Korean War.

Sports journalism career

Allen wrote for the City College newspaper, The Campus, covering sports. When he was drafted to the Army, he continued as a reporter, writing for the Pacific Stars and Stripes. After his service, he wrote for papers in Indiana, Pennsylvania and New York.

In 1959, Allen was hired as sports writer at Sports Illustrated. He wrote for Sports Illustrated for two years. His next newspaper job was reporting for the New York Post from 1961 to 1988. From 1988 to 2000, he wrote articles for The Journal News, owned by the Gannett Company. Following his retirement from The Journal News, Allen continued to write books and to write articles for Thecolumnists.com.

Radio broadcasts
From 2002 to 2008, Allen co-hosted a weekly radio show called Talking Sports with Maury and Bill with the owner of Mickey Mantle's Restaurant, Bill Liederman. The show was broadcast live from Mickey Mantle's Restaurant, near Central Park in New York City. The one-hour long show featured sports talk and interviews with athletes. Allen was a contributor to a talk show hosted by Dave Cooperman and Bill Liederman called The Sports Buzz which was broadcast originally by WFAS-FM (2003-2004) in Westchester and then WCTC (2005-2007) in Central Jersey. Lori Rubinson from season 1 of ESPN's Dream Job and now a contributor on WFAN replaced Liederman. Cooperman and Rubinson moved the show to the WCTC studios and the show eventually was moved to the 5:00-7:00 time slot. Maury Allen remained a contributor through the life of the show.

Film appearances
Allen was interviewed on numerous occasions in documentary films, such as Toots (2006), Mantle (2006), and Howard Cosell: Telling It Like It Is (1999).

National Baseball Hall of Fame voter
Allen was a member of the Baseball Writers' Association of America, and was a voter for the National Baseball Hall of Fame for 35 years. He became eligible to vote in 1973 after more than 10 years as a traveling sports reporter.

Later work
Allen completed work on a book entitled "Dixie Walker of the Dodgers", a right fielder for the Yankees, White Sox, and Brooklyn Dodgers, and controversial figure in baseball in the 1940s for his stance against racial integration in Major League Baseball, which was released in 2010.

Publications
 Sports Illustrated, 1959-1961
 New York Post, 1961-1988
 Journal-News, 1988-2000
 The Columnists.com, 2001–?

Personal life
In 1962, Maury Allen married Janet Allen. They had two children, daughter Jennifer, and son Ted and four grandchildren. Prior to retirement, Allen was an avid tennis player. Friends and acquaintances often joked that Allen could be counted on to show up for tennis any day of the year. Allen died of lymphoma at the age of 78.

Awards and honors
Allen was granted a Lifetime Achievement Award by the Society of Silurians, one of the oldest journalistic organizations in existence. He was inducted into the B'nai B'rith Sports Hall of Fame, City College of New York Hall of Fame, the International Jewish Sports Hall of Fame, the James Madison High Hall of Fame, the Westchester County New York Hall of Fame, and the Brooklyn Dodgers Hall of Fame. On November 9, 2011, he was posthumously awarded the Townsend Harris Medal by the Alumni Association of City College of New York.

Bibliography
 Dixie Walker of the Dodgers,  with Susan Walker and published by the University of Alabama Press
 Yankees World Series Memories
 Our Mickey: Cherished Memories of an American Icon
 Brooklyn Remembered: The 1955 Days of the Dodgers, co-author Bob Costas
 Mr. October: The Reggie Jackson Story
 Damn Yankee: The Billy Martin Story
 You Could Look It Up
 Big-Time Baseball
 Where Have You Gone, Joe DiMaggio?
 Bo: Pitching and Wooing
 Memories of the Mick: Baseball's Legend
 Voices of Sport
 Now Wait a Minute, Casey
 The Record Breakers
 The Incredible Mets
 After the Miracle
 Joe Namath's Sportin' Life
 Reprieve From Hell
 The Three Million Dollar Man
 Louisiana Lightning
 Jim Rice: Power Hitter
 China Spy
 A Sword in the Temple
 Slick
 Sweet Lou
 Ten Great Moments in Sports
 All Roads Lead to October
 Baseball's 100
 Jackie Robinson: A Life Remembered
 Baseball: The Lives Behind the Seams
 Greatest Pro Quarterbacks
 Yankees: Where Have You Gone?
 Baseball's 100
 Ron Guidry: Louisiana Lightning
 " Roger Maris: A Man For All Seasons"

ESPN credits
 The Top 5 Reasons You Can't Blame Ralph Branca for Losing the 1951 Pennant
 Yogi Berra
 George Steinbrenner
 Roger Maris
 Reggie Jackson
 Joe DiMaggio

See also
 List of Jewish American authors

Notes
 Complete Bibliography of Maury Allen Books
 Macmillan Publishing: Maury Allen
 Doris S. Michaels Literary Agency, Inc.

References

External links

 Thecolumnists.com
 Berger, Joseph. "Maury Allen, Sportswriter and Prolific Author, Dies at 78," The New York Times, Monday, October 4, 2010.

1932 births
2010 deaths
Jewish American journalists
Deaths from lymphoma
Sportswriters from New York (state)
Writers from Brooklyn
United States Army soldiers
James Madison High School (Brooklyn) alumni
United States Army personnel of the Korean War
Deaths from cancer in New Jersey
21st-century American Jews

Maury Allen


Bude is a coastal town in Cornwall, England, UK. It is at the mouth of the River Neet. Bude is surrounded by beautiful beaches such as Summerleaze Beach, Widemouth Bay, Crooklets Beach and Blackrock Beach. The River Neet runs through the town. Bude is a very popular location for tourists especially in the summer. The Bude Canal is a disused canal.

Towns in Cornwall

Bude


The Archbishopric of Salzburg was a state of the Holy Roman Empire Archbishop of Salzburg as a Prince-Bishop. This means the archbishop had his ecclesiatical (church) powers and also the powers of an he Archbishopric was about the same size as the modern state of Salzburg in Austria.

The most famous Archbishop was probably the last to rule as a prince. He was Hieronymus von Colloredo, who was an early patron of Wolfgang Amadeus Mozart.

History

Abbot-Bishopric (4th century–c. 482)
In 450 a book was written about the live of St Severinus of Noricum. The book said that Salzburg had two churches and a monastery. St. Maxius is the only abbot-bishop known by name. Soon after Maxius was martyred, Salzburg was destroyed soon after in about 482.

Bishopric (c. 543/698–798)
St. Rupert later went back to Salzburg to set up the churches again. He saw the ruins of Salzburg overgrown with brambles, but no one knows whether he arrived about 543 during the time of Theodo I or in about 698 when Bavaria was conquered by the Franks.

It was not until after 700 that Christian civilisation started to grow again in the region. The cathedral monastery was named in honour of St. Peter and Rupert's niece Ehrentrudis founded the nunnery at Nonnberg.

Early Archbishopric (798–1060)
Arno, Archbishop of Salzburg enjoyed the respect of the Frankish king Charlemagne. Charlemagne asked him to make the land between the Danube, the Raab, and Drave Rivers Christian. This area ad recently been taken from the Avars. Monasteries were founded and all of Carinthia was slowly Christianised.

While Arno was in Rome attending to some of Charlemagne's business in 798, Pope Leo III appointed him Archbishop over the other bishops in Bavaria (Freising, Passau, Regensburg, and Säben). When the dispute over the church's border between Salzburg and Aquileia broke out, Charlemagne declared the River Drave to be the border. Arno also began the copying of 150 volumes from the court of Charlemagne. This was the start of the first library in Austria.

Investiture Era (1060–1213)
The first archbishop of the era was Gebhard, who during the Investiture Controversy remained on the side of the Pope. Because of this, Gebhard was exiled for nine years, but was allowed to return shortly before his death and was buried in Admont. His successor Thimo was imprisoned for five years, and suffered a horrible death in 1102. After King Henry IV abdicated and Conrad I of Abensberg was elected Archbishop. Conrad lived in exile until the Calistine Concordat of 1122.

The Archbishops again took the side of the Pope during the arguments between the Pope and the Hohenstaufens. Archbishop Eberard I of Hilpolstein-Biburg was allowed to reign in peace, but his successor Conrad II of Austria made the Emperor's angry and died in 1168 in Admont trying to hide from the Emperor. Conrad III of Wittelsbach was appointed the Archbishop of Salzburg in 1177 at the Diet of Venice, after the supporters of both Pope and Emperor were deposed.

Prince-Bishopric (1213–1803)
Archbishop Eberard II of Truchsess was made a prince of the Empire in 1213, and created three new sees: Chiemsee (1216), Seckau (1218) and Lavant (1225). Eberard was excommunicated in 1245 after refusing to publish a decree deposing the emperor. Eberard died suddenly the next year. During the German Interregnum, Salzburg also suffered confusion. Philip of Carinthia was made ruler of Salzburg, but refused to become a priest. This meant he could not be Archbishop, so he was deposed (sacked) by Ulrich, Bishop of Seckau.

King Rudolph I of Habsburg quarrelled with the archbishops. The arguments wer started by Abbot Henry of Admont After Henry died the archbishops and the Habsburgs made peace in 1297. The people and archbishops of Salzburgs remained loyal to the Habsburgs in their struggles against the Wittelsbachs. When the Black Death reached Salzburg in 1347, the Jews were accused of poisoning the wells and suffered severe persecution. The Jews were expelled from Salzburg in 1404. Later, the Jews were allowed to return but were forced to wear pointed hats. Although the Renaissance was a time when new paintings, sculptures and music was being made across Europe, this did not happen in Salzburg because the archbishops were not got rulers, and because of poor conditions in the empire during the reign of Frederick IV.

Conditions were at their worst during the reign of Bernard II of Rohr. The country was in depression, local authorities were raising their own taxes and the Turks were attackingthe archdiocese. In 1473, he summoned the first provincial diet (parliament) in the history of the archbishopric, and eventually abdicated. It was only Leonard of Keutschach (reigned 1495–1519) who changedthe situation. He had all the burgermeisters and town councillors (who were charging unfair taxes) arrested at the same time and imprisoned in the castle. His last years were spent in bitter struggle against Matthäus Lang of Wellenburg, Bishop of Gurk, who succeeded him in 1519.

Archbishop Paris of Lodron led Salzburg to peace and prosperity during the Thirty Years' War in which the rest of Germany was thoroughly devastated. During the reign of Leopold Anthony of Firmian, Protestants emerged more vigorously than before. He invited the Jesuits to Salzburg and asked for help from the emperor, and finally ordered the Protestants to recant or emigrate - about 30,000 people left and settled in Württemberg, Hanover and East Prussia, and a few settled in Georgia in the United States of America. The last Prince-Archbishop, Hieronymus of Colloredo, is probably the most well known for his patronage of Mozart. His reforms of the church and education alienated himself from the people.

Modern Archbishopric (1803–present)
In 1803, Salzburg was secularised (stopped being control by the church) as the Electorate of Salzburg. The former Grand Duke Ferdinand III of Tuscany (brother of Emperor Francis II) was made elector. In 1805 Salzburg became a part of Austria, and in 1809, a part of Bavaria. The Bavarians closed the University of Salzburg, banned monasteries from accepting novices (new monks for training), and banned pilgrimages and processions. The Congress of Vienna returned Salzburg to the Austrians in 1814.

Bishops of Salzburg

Abbot-Bishops of Iuvavum c. 300s–c. 482
 St. Maximus of Salzburg d. 476

Abandoned after c. 482

Bishops of Iuvavum (from 755, Salzburg)
 St. Ruprecht c. 543–? or c. 698–c. 718
 Vitalis
 Erkenfried
 Ansologus
 Ottokar
 Flobrigis
 Johann I
 St. Virgilius c. 745 or c. 767–c. 784

Archbishops of Salzburg

Archbishops of Salzburg, 798–1213
 Arno 784–821
 Adalram 821–836
 Leutram 836–859
 Adalwin 859–873
 Adalbert I 873
 Dietmar I 873–907
 Pilgrim I 907–923
 Adalbert II 923–935
 Egilholf 935–939
 Herhold 939–958
 Friedrich I 958–991
 Hartwig 991–1023
 Günther 1024–1025
 Dietmar II 1025–1041
 Baldwin 1041–1060
 Gebhard 1060–1088
 Thiemo 1090–1101
 Konrad I von Abensberg 1106–1147
 Eberhard I von Hilpolstein-Biburg 1147–1164
 Konrad II of Austria 1164–1168
 Adalbert III of Bohemia 1168–1177
 Conrad III 1177–1183
 Adalbert III of Bohemia (restored) 1183–1200

Prince-Archbishops of Salzburg, 1213–1803
 Eberhard II von Truchsees 1200–1246
 Bernhard I von Ziegenhain 1247
 Philipp of Carinthia 1247–1256
 Ulrich von Sekau 1256–1265
 Ladislas of Silesia-Liegnitz 1265–1270
 Friedrich II von Walchen 1270–1284
 Rudolf von Hoheneck 1284–1290
 Konrad IV von Breitenfurt 1291–1312
 Weichard von Pollheim 1312–1315
 Friedrich III von Liebnitz 1315–1338
 Heinrich Pyrnbrunner 1338–1343
 Ordulf von Wiesseneck 1343–1365
 Pilgrim II von Pucheim 1365–1396
 Gregor Schenk von Osterwitz 1396–1403
 Eberhard III von Neuhaus 1403–1427
 Eberhard IV von Starhemberg 1427–1429
 Johann II von Reichensperg 1429–1441
 Friedrich IV Truchsees von Emmerberg 1441–1452
 Sigismund I von Volkersdorf 1452–1461
 Burchard von Weissbruch 1461–1466
 Bernhard II von Rohr 1466–1482
 Bernhard III Peckenschlager 1482–1489
 Friedrich V von Schallenburg 1489–1494
 Sigismund II 1494–1495
 Leonhard von Keutschach 1495–1519
 Matthäus Lang von Wellenburg 1519–1540
 Ernest of Bavaria 1540–1554
 Michael von Khuenburg 1554–1560
 Johann Jakob Khun von Bellasy 1560–1586
 Georg von Khuenburg 1586–1587
 Wolfgang Dietrich von Raitenau 1587–1612
 Marcus Sittich von Hohenems 1612–1619
 Paris von Lodron 1619–1653
 Guidobald von Thun 1654–1668
 Maximilian Gandalf von Khuenburg 1668–1687
 Johann Ernst von Thun 1687–1709
 Franz Anton von Harrach 1709–1727
 Leopold Anton von Firmian 1727–1744
 Jakob Ernst von Liechtenstein-Castelcorno 1744–1747
 Adnreas Jakob von Dietrichstein 1747–1753
 Sigismund III von Schrattenbach 1753–1771
 Hieronymus von Colloredo 1772–1812 (last prince-archbishop, lost temporal power in 1803 after secularization)

Duchy of Salzburg 1803–1805
The secularized Duchy of Salzburg was created in 1803, but annexed by Austria in 1805. The Duke of Salzburg was transferred to the Grand Duchy of Würzburg:
 Ferdinand 1803–1805

Modern Archbishops of Salzburg 1803–present
 Sigmund Christoph, Graf von Zeil und Trauchburg 1812–1814
 Augustin Johann Joseph Gruber 1823–1835
 Friedrich Johann Joseph Cölestin, Fürst zu Schwarzenberg 1835–1849
 Maximilian Joseph von Tarnóczy 1850–1876
 Franz de Paula Albert Eder 1876–1890
 Johann Evangelist Haller 1890–1900
 Johannes Baptist Katschthaler 1900–1914
 Balthasar Kaltner 1914–1918
 Ignaz Rieder 1918–1934
 Sigismund Waitz 1934–1941
 Andreas Rohracher 1943–1969
 Eduard Macheiner 1969–1972
 Karl Berg 1972–1988
 Georg Eder 1988–2002
 Alois Kothgasser 2002–present

Suffragan Dioceses
 Feldkirch
 Graz–Seckau
 Gurk
 Innsbruck

Other websites

 Salzburg on the Catholic Encyclopædia
 Legate on the Catholic Encyclopædia

Salzburg
States of the Holy Roman Empire
1278 establishments
1270s establishments in Europe
1803 disestablishments
1800s disestablishments in Europe

Archbishopric of Salzburg


Bipolar disorder in children, more well known as pediatric bipolar disorder, is a very serious condition that affects children and adolescents. Identifying bipolar disorder for children and teenagers can be difficult as some symptoms are very different from adults. Children and teens often have depressed moods mixed with mania taking place almost every day and sometimes at exactly the same time. Diagnosis of bipolar disorder in children and adolescents is controversial, however. This condition often leads to impairments of daily function, and people with bipolar disorder which is prior to 18 years of age are far more likely to commit suicide. Pediatric bipolar disorder is far more acute in children and youth than in the adult population, with diagnoses at very early age. In children or teens, mania often has serious psychotic troubles with mixed mania and depression episodes which are worse and for more erratic times than in adults. Several medications for this condition may have strong side effects for those under 18. Most bipolar children have attention-deficit hyperactivity disorder.

References

Children
Childhood
Controversies

Bipolar disorder in children


ANSI/TIA-568 is a technical standard for commercial building cabling for telecommunications products and services. The title of the standard is Commercial Building Telecommunications Cabling Standard and is published by the Telecommunications Industry Association (TIA), a body accredited by the American National Standards Institute (ANSI).

, the revision status of the standard is ANSI/TIA-568-D, published 2015, which replaced TIA/EIA-568-C of 2009, revision B of 2001, and revision A of 1995, and the initial issue of 1991, which are now obsolete.

Perhaps the best-known features of ANSI/TIA-568 are the pin and pair assignments for eight-conductor 100-ohm balanced twisted pair cabling. These assignments are named T568A and T568B.

History
ANSI/TIA-568 was developed through the efforts of more than 60 contributing organizations including manufacturers, end-users, and consultants. Work on the standard began with the Electronic Industries Alliance (EIA), to define standards for telecommunications cabling systems. EIA agreed to develop a set of standards, and formed the TR-42 committee, with nine subcommittees to perform the work. The work continues to be maintained by TR-42 within the TIA. EIA no longer exists, hence EIA has been removed from the name.

The first version of the standard, TIA/EIA-568, was released in 1991. The standard was updated to revision A in 1995. The demands placed upon commercial wiring systems increased dramatically over this period due to the adoption of personal computers and data communication networks and advances in those technologies. The development of high-performance twisted pair cabling and the popularization of fiber optic cables also drove significant change in the standards. These changes were first released in a revision C in 2009 which has subsequently been replaced by revision D (named ANSI/TIA-568-D).

Goals
ANSI/TIA-568 defines structured cabling system standards for commercial buildings, and between buildings in campus environments. The bulk of the standards define cabling types, distances, connectors, cable system architectures, cable termination standards and performance characteristics, cable installation requirements and methods of testing installed cable. The main standard, ANSI/TIA-568.0-D defines general requirements, while ANSI/TIA-568-C.2 focuses on components of balanced twisted-pair cable systems. ANSI/TIA-568.3-D addresses components of fiber optic cable systems, and ANSI/TIA-568-C.4, addressed coaxial cabling components.

The intent of these standards is to provide recommended practices for the design and installation of cabling systems that will support a wide variety of existing and future services. Developers hope the standards will provide a lifespan for commercial cabling systems in excess of ten years. This effort has been largely successful, as evidenced by the definition of Category 5 cabling in 1991, a cabling standard that (mostly) satisfied cabling requirements for 1000BASE-T, released in 1999. Thus, the standardization process can reasonably be said to have provided at least a nine-year lifespan for premises cabling, and arguably a longer one.

All these documents accompany related standards that define commercial pathways and spaces (TIA-569-C-1, February 2013), residential cabling (ANSI/TIA-570-C, August 2012), administration standards (ANSI/TIA-606-B, December 2015), grounding and bonding (TIA-607-C, November 2015), and outside plant cabling (TIA-758-B, April 2012).

Cable categories
The standard defines categories of shielded and unshielded twisted pair cable systems, with different levels of performance in signal bandwidth, insertion loss, and cross-talk. Generally increasing category numbers correspond with a cable system suitable for higher rates of data transmission. Category 3 cable was suitable for telephone circuits and data rates up to 16 million bits per second. Category 5 cable, with more restrictions on attenuation and cross talk, has a bandwidth of 100 MHz. The 1995 edition of the standard defined Categories 3, 4, and 5. Categories 1 and 2 were excluded from the standard since these categories were only used for voice circuits, not for data. The current revision includes Category 5e (100 MHz), 6 (250 MHz), 6A (500 MHz), and 8 (2,000 MHz). Categories 7 and 7A were not officially recognized by TIA and were generally only used outside the United States. Category 8 was published with ANSI/TIA‑568‑C.2‑1 (June 2016)  to meet the performance specification intended by Category 7.

Structured cable system topologies
ANSI/TIA-568-D defines a hierarchical cable system architecture, in which a main cross-connect (MCC) is connected via a star topology across backbone cabling to intermediate cross-connects (ICC) and horizontal cross-connects (HCC). Telecommunications design traditions utilized a similar topology. Many people refer to cross-connects by their telecommunications names: "distribution frames" (with the various hierarchies called MDFs, IDFs and wiring closets). Backbone cabling is also used to interconnect entrance facilities (such as telco demarcation points) to the main cross-connect.

Horizontal cross-connects provide a point for the consolidation of all horizontal cabling, which extends in a star topology to individual work areas such as cubicles and offices. Under TIA/EIA-568-B, maximum allowable horizontal cable distance is 90 meters of installed twisted-pair cabling, with 100 meters of maximum total length including patch cords. No patch cord should be longer than 5 meters. Optional consolidation points are allowable in horizontal cables, often appropriate for open-plan office layouts where consolidation points or media converters may connect cables to several desks or via partitions.

At the work area, equipment is connected by patch cords to horizontal cabling terminated at jack points.

TIA/EIA-568 also defines characteristics and cabling requirements for entrance facilities, equipment rooms and telecommunications rooms.

T568A and T568B termination
Perhaps the widest known and most discussed feature of ANSI/TIA-568 is the definition of the pin-to-pair assignments, or pinout, between the pins in a connector (a plug or a socket) and the wires in a cable. Pinouts are important because cables do not function if the pinouts at their two ends aren't correctly matched.

The standard specifies how to connect eight-conductor 100-ohm balanced twisted-pair cabling, such as Category 5 cable, to 8P8C modular connectors (often incorrectly called RJ45 connectors). The standard defines two alternative pinouts: T568A and T568B.

ANSI/TIA-568 recommends the T568A pinout for horizontal cables. This pinout's advantage is that it is compatible with the 1-pair and 2-pair Universal Service Order Codes (USOC) pinouts. The U.S. Government requires it in federal contracts. The standard also allows, only in certain circumstances, the T568B pinout "if necessary to accommodate certain 8-pin cabling systems", i.e. when, and only when, adding to an existing installation that used the T568B wiring pattern before it was defined, being those that pre-dated ANSI/TIA-568 and used the previous AT&T 258A (Systimax) standard. In the 1990s, when the original TIA/EIA-568 was published, the most widely installed wiring pattern in UTP cabling infrastructure was that of AT&T 258A (Systimax), hence the inclusion of the same wiring pattern (as T568B) as a secondary option for use in such installations. Many organizations still use T568B out of inertia.

The colors of the wire pairs in the cable, in order, are: blue (for pair 1), orange, green, and brown (for pair 4). Each pair consists of one conductor of solid color and a second conductor which is white with a stripe of the other color. The difference between the T568A and T568B pinouts is that the orange and green wire pairs are exchanged.

Wiring
See modular connector for numbering of the pins.

Note that the only difference between T568A and T568B is that pairs 2 and 3 (orange and green respectively) are swapped. Both configurations wire the pins "straight through", i.e., pins 1 through 8 on one end are connected to pins 1 through 8 on the other end. Also, the same sets of pins connect to the opposite ends that are paired in both configurations: pins 1 and 2 form a pair, as do 3 and 6, 4 and 5, and 7 and 8. One can use cables wired according to either configuration in the same installation without significant problem, as long as the connections are the same on both ends.

A cable terminated according to T568A on one end and T568B on the other is a crossover cable when used with the earlier twisted-pair Ethernet standards that use only two of the pairs, because the pairs used happen to be pairs 2 and 3, the same pairs on which T568A and T568B differ. Crossover cables are occasionally needed for 10BASE-T and 100BASE-TX Ethernet.

Swapping two wires between different pairs causes crosstalk, defeating one of the purposes of twisting wires in pairs.

Use for T1 connectivity
In Digital Signal 1 (T1) service, pairs 1 and 3 (T568A) are used, and the USOC-8 jack is wired according to the RJ-48C specification. The termination jack is often wired according to the RJ-48X specification, which provides for a transmit-to-receive loopback when the plug is withdrawn.

Vendor cables are often wired with tip and ring reversed—i.e. pins 1 and 2 reversed, or pins 4 and 5 reversed. This has no effect on the quality of the T1 signal, which is fully differential and uses the alternate mark inversion (AMI) signaling scheme.

Backward compatibility
Because pair 1 connects to the center pins (4 and 5) of the 8P8C connector in both T568A and T568B, both standards are compatible with the first line of RJ11, RJ14, RJ25, and RJ61 connectors that all have the first pair in the center pins of these connectors.

If the second line of an RJ14, RJ25 or RJ61 plug is used, it connects to pair 2 (orange/white) of jacks wired to T568A but to pair 3 (green/white) in jacks wired to T568B. This makes T568B potentially confusing in telephone applications.

Because of different pin pairings, the RJ25 and RJ61 plugs cannot pick up lines 3 or 4 from either T568A or T568B without splitting pairs. This would most likely result in unacceptable levels of hum, crosstalk and noise.

Theory
The original idea in wiring modular connectors, as seen in the registered jacks, was that the first pair would go in the center positions, the next pair on the next-innermost ones, and so on. Also, signal shielding would be optimized by alternating the live and earthy pins of each pair. The terminations diverge slightly from this concept because on the eight-position connector the resulting arrangement of conductors would separate the outermost pair impairing balanced line performance too much to meet the electrical requirements of high-speed LAN protocols.

Standards
 ANSI/TIA-568.0 Generic Telecommunications Cabling for Customer Premises
 ANSI/TIA-568.1 Commercial Building Telecommunications Infrastructure Standard
 ANSI/TIA-568.2 Balanced Twisted-Pair Telecommunications Cabling and Components Standard
 ANSI/TIA-568.3 Optical Fiber Cabling And Components Standard
 ANSI/TIA-568.4 Broadband Coaxial Cabling and Components Standard
 ANSI/TIA-568.5 Balanced Single Twisted-pair Telecommunications Cabling and Components Standard

See also
 Ethernet over twisted pair
 ISO/IEC 11801, similar standards for network cables

References

Sources

 TR-42.7 Copper Cabling Systems – February 2021

External links

 CAT 5 / 5e / 6 / 6A / 6A / 7 Cable - RJ-45 Connector, ProAV.de
 "UTP Cable Termination Standards 568A Vs 568B [sic]" (2006)
 Standard Informant - Your Guide to Network Cabling and Data Center Standards

EIA standards
Ethernet
Networking standards
Signal cables
Telecommunications standards

ANSI/TIA-568


Gravel is small, loose, rock particles. It is any loose rock that is larger than 2 mm (0.079 in) in its smallest dimension (about 1/12 of an inch) and no more than 64 mm (2.5 in).

Small gravel is composed of granules (>2 to 4 mm/0.079 to 0.16 in). Large gravel is called pebbles (>4 to 64 mm/0.16 to 2.5 in).

Particles smaller than gravel are sand, larger particles are cobbles.

Gravel and sand are used for road surfaces, and for cement and Tarmac. Mixtures of gravel and sand mixed with various crushed material, are known as aggregate in the trade. This is used for drainage in the basement of roads, and other purposes. Mixture of stones and resin is also used to pave footpaths, driveways, etc. This mixture is known as Resin Bonded Gravel.

Origin
Natural gravel comes from ancient beaches which have not consolidated (turned into solid rock). In effect, beaches from (for instance) the Jurassic are dug up in quarries. The material is then sifted into size categories. The gravel and sand is then sold on to engineering companies. Most natural sand and gravel is silica, SiO2, in its chemistry. This is very hard-wearing.

However, if the material is originally in hard rock form, then it is first crushed. This enables the industry to offer other materials such as granite or limestone, originally solid rock, as gravel.

The open-cast mining and processing of gravel, sand and aggregate is a huge world-wide industry, sometimes called "conglomerates".

References

Rocks
Mining

Gravel


"Ode to Psyche" is a poem by John Keats written in spring 1819. The poem is the first of his 1819 odes, which include "Ode on a Grecian Urn" and "Ode to a Nightingale". "Ode to Psyche" is an experiment in the ode genre, and Keats's attempt at an expanded version of the sonnet format that describes a dramatic scene. The poem serves as an important departure from Keats's early poems, which frequently describe an escape into the pleasant realms of one's imagination. Keats uses the imagination to show the narrator's intent to resurrect Psyche and reincarnate himself into Eros (love). Keats attempts this by dedicating an "untrodden region" of his mind to the worship of the neglected goddess.

Background
Keats was never a professional writer. Instead, he supported himself with a small income that he earned as a surgeon for Guy's Hospital. At the age of 23, Keats left the hospital, losing his source of income, in order to devote himself to writing poetry. He lived with Charles Brown, a friend who collected Keats's poetry while supporting him, during spring 1819 and composed poetry. The early products of this effort included La Belle Dame sans Merci and "Ode to Psyche", the first of a series of odes that he would write that year. It is uncertain as to when the poem was actually completed, but Keats sent the poem to his brother on 3 May 1819 with an attached letter saying, "The following poem, the last I have written, is the first and only one with which I have taken even moderate pains; I have, for the most part, dashed off my lines in a hurry; this one I have done leisurely; I think it reads the more richly for it, and it will I hope encourage me to write other things in even a more peaceable and healthy spirit."

Keats was exposed to a few sources of the Psyche myth. His contemporary sources for the myth included John Lempriere's Classical Dictionary and Mary Tighe's Psyche, an 1805 work that Keats read as a child and returned to in 1818. Keats wrote to his brother George, just a few months before writing "Ode to Psyche", to say that he was no longer delighted by Tighe's writing. Dissatisfied, he turned to Apuleius's Golden Ass, translated by William Adlington in 1566, and read through the earlier version of the Cupid and Psyche myth. After reading the work and realizing that the myth was established during the twilight of Roman mythology, Keats wrote to George: "You must recollect that Psyche was not embodied as a goddess before the time of Apuleius the Platonist who lived after the Augustan age, and consequently the Goddess was never worshipped or sacrificed to with any of the ancient fervour—and perhaps never thought of in the old religion—I am more orthodox than to let a heathen Goddess be so neglected."

Structure
"Ode to Psyche", Keats's 67 line ode, was the first of his major odes of 1819. As such, the poem is an experiment in the ode structure that he was to then rely on for his next five odes. Although Keats spent time considering the language of the poem, the choice of wording and phrasing is below that found within his later works, including Hyperion or the odes that followed. "Ode to Psyche" is important because it is Keats's first attempt at an altered sonnet form that would include longer more lines and would end with a message or truth. Also, he did not want the poem to be based simply around that message, so he incorporated narrative elements, such as plot and characters, along with a preface to the poem. Of these additions, the use of a preface was discontinued in his next odes along with the removal of details that describe setting within the poems; they would only be implied within later odes.

H. W. Garrod, in his analysis of Keats's sonnet form, believes that Keats took various aspects of sonnet forms and incorporated only those that he thought would benefit his poetry. In particular, Keats relies on Petrarch's sonnet structure and the "pouncing rhymes" that are found within Petrarch's octave stanzas. However, M. R. Ridley disputes that Keats favours Petrarch and claims that the odes incorporate a Shakespearean rhyme scheme. Regardless of which sonnet structure was favoured over the other, Keats wanted to avoid the downsides of both forms. "Ode to Psyche" begins with an altered Shakespearean rhyme scheme of . The use of rhyme does not continue throughout the poem, and the lines that follow are divided into different groups: a quatrain, couplets, and a line on its own. These are then followed by a series of twelve lines that are modelled after the Shakespearean sonnet form, but lack the final couplet. The next lines are of two quatrains, with  rhyme, followed by two lines that repeat the previous rhymes, and then a final quatrain, with  rhyme.

Poem
The poem does not describe the plot of the original Cupid and Psyche myth: according to Harold Bloom, the poem "has little to do with the accepted myth". In the original myth, Aphrodite punishes Psyche, a well admired girl, by having Cupid use his power to make her fall in love. Cupid, instead, falls in love with her, but he could only be with her in the cover of darkness in order to disguise his identity. Curious, she uses a light to reveal Cupid's identity, but he flees from her presence. Psyche begins to search after Cupid, and Aphrodite forces her to perform various tasks before she could be united with her love. After nearly dying from one of the tasks, Cupid asks Zeus to transform Psyche into a goddess so the two can be together.

The action of "Ode to Psyche" begins with a narrator witnessing two individuals embracing. The narrator immediately recognizes Cupid and is astonished when he recognizes Psyche:

The third stanza describes how Psyche, though a newer Goddess, is better than the other deities. However, she is neglected while the others were worshipped:

The previous list of what Psyche lacks in terms of religious worship only describes external symbols of worship. In the fourth stanza, the narrator emphasizes the internal when he describes how he is inspired by Psyche:

The narrator, inspired by the young goddess, becomes her priest. His imagination allows him to join with both the natural and supernatural elements of Psyche, and his form of worship is within himself while "Ode to Psyche" the poem serves as a song in praise of the goddess. The narrator becomes the prophet for Psyche and says in the final stanza:

In the conclusion of the poem, the narrator metaphorically says that he will expand his consciousness, which would allow him to better understand both the good and the bad of the world. This will allow the narrator to attain a new sense of inspiration while providing Psyche with a sanctuary:

Theme
The moment that Cupid and Psyche are revealed is an example of "Keatsian intensity" as they are neither in a state of separation nor are they united; they exist in a state somewhere in between in a similar manner to the figures depicted in Keats's "Ode on a Grecian Urn". The narrator's ability to witness the union is unique to Keats's version of the Psyche myth because the lovers in the original story were covered in darkness. However, the narrator questions if he was able to see them at all or if he was dreaming. This inability of the narrator to know if he was awake is a theme that appears in many of Keats's odes that followed, including "Ode on Indolence", "Ode on a Grecian Urn", and "Ode to a Nightingale". Regardless of the narrator's state of consciousness, he is able to relate himself to Cupid as he believes himself to be in love with Psyche, representing the mind.

Part of the problem within "Ode to Psyche" is in the narrator's claim that Psyche was neglected since she became a goddess later than the other Greco-Roman deities. As such, the narrator serves as a prophetic figure who is devoted to the soul. Worship towards the soul is through use of the imagination, an idea that shows the influence of William Wordsworth upon the poem's themes. In particular, the lines are reminiscent of the description of inspiration and the muse within Wordsworth's "The Recluse". To serve Psyche, the narrator of "Ode to Psyche" seeks to worship her by thoroughly exploring the regions of his mind. However, the temple dedicated to the goddess within his mind does not yet exist.

This reveals that there is a struggle between the acceptance of imaginative experience that exists only within a small part of the mind. This struggle, according to Walter Evert, has "no relevance to the world of external action and perhaps no truth to offer even the visionary dreamer himself." However Anthony Hecht looks at the problem in a different way and believes that there must be a connection between the external and internal worlds for the narrator to even face the problem. Regardless, the narrator never states that this worship of Psyche or embracing the imagination would aid mankind, but the poem does rejoice in exercising the imagination.

In addition to the theme of dedicating one's self to the mind, the theme of reception plays heavily upon the poem's presentation; Andrew Bennett states that the poem, like all poems, is "'heard' both by itself (and therefore not heard) and by an audience that reads the poem and 'hears' it differently". Bennett implies that the word "wrung" in line one contains a double entendre as it also alludes to the "ringing in the ears" involved with active listening. The poem's treatment of the reader as a third-party to the conversation between the narrator and the goddess exemplifies the narrative question common among many of Keats's odes and leads Bennett to question how exactly the reader should regard his place within the poem, or outside of it.

Critical reception
Responding to the poem, Keats's friend Leigh Hunt declared that "When Mr Keats errs in his poetry, it is from the ill management of the good things,--exuberance of ideas. Once or twice, he does so in a taste positively bad, like Marino or Cowley, as in a line in his 'Ode to Psyche'... but it is once or twice only, in his present volume."

Robert Bridges, turn of the 19th-century literary critic, wrote "for the sake of the last section (l. 50 to end), tho' this is open to the objection that the imagery is work'd up to outface the idea—which is characteristic of Keats' manner. Yet the extreme beauty quenches every dissatisfaction. The beginning of this ode is not so good, and the middle part is midway in excellence." Later, T. S. Eliot thought very highly of Keats's work and wrote "The Odes—especially perhaps the Ode to Psyche—are enough for his reputation."

Kenneth Allott, in defending against any possible harsh criticism of "Ode to Psyche", argues that the poem "is the Cinderella of Keats's great odes, but it is hard to see why it should be so neglected, and at least two poets imply that the conventional treatment of the poem is shabby and undeserved". Allott then cites Bridges and Eliot as views that he sympathizes with, and he believes that the poem "is neither unflawed nor the best of odes, but to me it illustrates better than any other Keats's possession of poetic power in conjunction with what was for him an unusual artistic detachment, besides being a remarkable poem in its own right. This may be another way of saying that it is the most architectural of the odes, as it is certainly the one that culminates most dramatically."

Walter Jackson Bate states that the poem has "always puzzled readers ... But finding the poem so elusive, we return to it only after we know the others far better. If we had hope to use them as keys, we discover they do not quite fit the lock. Meanwhile they have given us a standard hard to equal. Hence we either feel a disappointment about the 'Ode to Psyche' or else, remembering the care Keats supposedly gave it, we once more put the poem aside for future consideration." However, he also states that "The modern, respectful attitude toward this ode is deserved. But the itch for novelty has encouraged a few critics to suggest that the poem, in some dark but fundamental way, has more to it as a whole than do the later odes."

To Harold Bloom, the last lines of Keats's ode "rivals any as an epitome of the myth-making faculty". He elaborates further on this when he writes, "The poem Ode to Psyche is unique, and also central, for its art is a natural growth out of nature, based as it is upon a very particular act of consciousness, which Keats arrests in all its concreteness."

Notes

References

 Allot, Kennet. "The Ode to Psyche" in Keats's Odes ed. Jack Stillinger, 17-31. Englewood, NJ: Prentice-Hall, 1968.
 Bate, Walter Jackson. John Keats. Cambridge, Massachusetts: Belknap Press of Harvard University Press, 1963.
 Bate, Walter Jackson. The Stylistic Development of Keats. New York: Humanities Press, 1962.
 Bennett, Andrew. Keats, Narrative, and Audience. Cambridge U P. 1994.
 Bloom, Harold. "The Ode to Psyche and the Ode on Melancholy in Keats: A Collection of Critical Essays ed Walter Jackson Bate, 91–102. Englewood, NJ: Prentice-Hall, 1964.
 Bloom, Harold. The Visionary Company. Ithaca: Cornell University Press, 1993.
 Bridges, Robert. Collected Essays Papers. Hildesheim, New York: G. Olms, 1972.
 Eliot, T. S. "Keats" in Keats: A Collection of Critical Essays ed Walter Jackson Bate, 11–12. Englewood, NJ: Prentice-Hall, 1964.
 Evert, Walter. Aesthetics and Myth in the Poetry of Keats. Princeton: Princeton University Press, 1965.
 Garrod, Heathcote. Keats. Oxford: The Clarendon Press, 1926.
 Keats, John. The Life and Letters of John Keats ed. Richard Houghton (reprint). Read Books, 2008.
 Keats, John. . Editor Ernest de Sélincourt.  New York: Dodd, Mead & Company, 1905.
 Matthews, G. M. John Keats: The Critical Heritage. New York: Barnes & Noble Publishers, 1971.
 Perkins, David. The Quest for Permanence: The Symbolism of Wordsworth, Shelley, and Keats. Cambridge, Massachusetts: Harvard University Press, 1959.
 Ridley, Maurice. Keats' Craftsmanship. Oxford: Clarendon Press, 1933.

External links

British poems
Poetry by John Keats
1819 poems
Works based on The Golden Ass

Ode to Psyche


Damon Graham Devereux Hill OBE (born 17 September 1960) is a British retired racing driver.

He was the 1996 Formula One World Champion. As the son of double Formula One world champion Graham Hill, he is the only son of a world champion to win the title, until Nico Rosberg, son of 1982 World Champion Keke Rosberg, clinched the title in 2016 . Despite the famous family name, Hill had an uphill struggle to reach the ranks of F1.

Damon Hill came to professional motorsports relatively late: he began racing motorcycles in 1983 at the age of 23. The following year, he won the 350 cc Clubman's cup at Brands Hatch. In 1985, he moved on to four-wheel single-seater racing with Team Van Diemen in the Formula Ford championship, before moving up into the UK Formula 3 championship in 1986. After three seasons in Formula 3, where he won four races, Hill ascended another tier of open-wheel racing by joining Mooncraft in the International Formula 3000 championship, where, although often competitive, he never won a race.

Hill started his Formula One career in 1992 with the then uncompetitive Brabham team. His debut race was at the British Grand Prix where he qualified on the back row. He took the first of his 22 victories at the 1993 Hungarian Grand Prix for the Williams team the following year. In 1994, he won the British Grand Prix, a race his father had never won in his long and successful career. During the mid 1990s, Hill was Michael Schumacher's main rival for the Formula One Driver's Championship, finishing runner-up in the German's 1994 and 1995 title seasons. The two had a series of controversial clashes on and off the track, including the collision at the 1994 Australian Grand Prix that gave Schumacher his first title by a single point. Hill took eight victories and the world championship in 1996. Despite this, Williams decided in mid-1996 not to renew Hill's contract for 1997. He went on to record the Jordan team's first ever win at the 1998 Belgian Grand Prix, and came within a few miles of being the only driver to win a Grand Prix for the Arrows team and their Yamaha engine supplier at the 1997 Hungarian Grand Prix. He retired from the sport at the end of the 1999 season, after 122 races. In 2006, Hill became president of the British Racing Drivers' Club, succeeding Jackie Stewart.

Hill's son Josh is a racing driver.

Formula One results
Races in bold indicate pole position

1960 births
Living people
Sportspeople from London
English Formula One drivers
Officers of the Order of the British Empire

Damon Hill


A time server is a special computer in a computer network.

It is important that computers on a network use the same time. Time servers use an atomic clock, or they ask other computers on the network about the time. They then tell this time to all the other computers in the same network. Common protocols to do this are the Daytime Protocol and the Network Time Protocol (NTP).

NTP calls the quality of a time server its stratum.  Stratum can be anything form 0 to 255 and lower is better. It is rare to see a network with a source worse than stratum 5.
Stratum 0 time sources are the actual clocks that track the time, usually an atomic clock or GPS receiver.
Stratum 1 time sources are what most people mean when they talk about a time server.  They get their timing information from a master clock and send it out to the network.
Stratum 2 time sources are computers that get their clock information from a stratum 1 time server.  They use NTP to talk to each other as well as their stratum 1 servers so they can have the best time information possible.

Every level that is added of time servers getting information from a source close to the master clock and passing it farther away from the master clock increases the stratum level.

computers
internet

Time server


A By-law is a rule made by an organization to regulate itself. Sometimes it is also spelled bylaw or bye-law.

In the United Kingdom, Canada, and some Commonwealth countries, the local laws made by municipalities are called by-laws. This is because the laws are regulated by the central governments.

Types of law

By-law


Emmerich Kálmán (; 24 October 1882 – 30 October 1953) was a Hungarian composer of operettas and a prominent figure in the development of Viennese operetta in the 20th century. Among his most popular works are Die Csárdásfürstin (1915) and Gräfin Mariza (1924). Influences on his compositional style include Hungarian folk music (such as the csárdás), the Viennese style of precursors such as Johann Strauss II and Franz Lehár, and, in his later works, American jazz. As a result of the Anschluss, Kálmán and his family fled to Paris and then to the United States. He eventually returned to Europe in 1949 and died in Paris in 1953.

Biography

Kálmán was born Imre Koppstein in Siófok, then in Austria-Hungary, on the southern shore of Lake Balaton, to a Jewish family. Kálmán initially intended to become a concert pianist, but because of early-onset arthritis, he focused on composition instead. He studied music theory and composition at the National Hungarian Royal Academy of Music (then the Budapest Academy of Music), where he was a fellow student of Béla Bartók and Zoltán Kodály under Hans Kössler.

His early symphonic poems Saturnalia and Endre és Johanna were well-received, although he failed to achieve publication. He also composed piano music and wrote many songs: a song cycle on poems by Ludwig Jacobowski and a song collection published under the title Dalai.

However, the popularity of his humorous cabaret songs led him towards the composition of operettas. His first great success was Tatárjárás – Ein Herbstmanöver in German, meaning Autumn maneuver, although the English title is The Gay Hussars, which was first staged at the  in Budapest, on 22 February 1908. Thereafter he moved to Vienna, where he achieved worldwide fame through his operettas Der Zigeunerprimas, Die Csárdásfürstin, Gräfin Mariza, and Die Zirkusprinzessin.

Kálmán and Franz Lehár were the leading composers of what has been called the "Silver Age" of Viennese operetta during the first quarter of the 20th century. He became well known for his fusion of Viennese waltz with Hungarian csárdás. Even so, polyphonically and melodically, Kálmán was a devoted follower of Giacomo Puccini, while in his orchestration methods he employed principles characteristic of Tchaikovsky's music.

In 1929, his first child (with Vera Mendelsohn), Charles Kalman (1929–2015) was born and would later on be also a composer.

Despite his Jewish origins he was one of Adolf Hitler's favorite composers. After the Anschluss, he rejected Hitler's offer to become an 'honorary Aryan' and was forced to move first to Paris, then to the United States, settling in California in 1940.

Last years and death
Following his emigration, performances of his works were prohibited in Nazi Germany. He emigrated back to Vienna from New York in 1949 before moving in 1951 to Paris, where he died.

Popular culture
In 1958 a West German biopic The Csardas King was made of his life, starring Gerhard Riedmann in the lead role.

The supporters of both the national football and handball team of Iceland use his composition Das Veilchen vom Montmartre as their anthem.

Operettas
 Tatárjárás (The Mongol Invasion) – Budapest, 1908
 Ein Herbstmanöver – Vienna, 1909 (German version of Tatárjárás)
 The Gay Hussars – Knickerbocker Theatre, Broadway, New York, 1909 (American version of Tatárjárás)
 Autumn Manoeuvres – London, 1912 (English version of Tatárjárás)
 Az obsitos (The Veteran) – Budapest, 1910
 Der gute Kamerad – Vienna, 1911 (German revision of Az Obsitos)
 Gold gab ich für Eisen – Vienna, 1914 (revision of Der gute Kamerad)
 Her Soldier Boy – Astor Theatre, Lyric Theastre, Shubert Theatre, New York, 1916/17
 Soldier Boy – London, 1918
 Der Zigeunerprimas (The Gypsy Band Leader) – Vienna, 1912
 Sari – Liberty Theatre, New Amsterdam Theatre, New York, 1914
 The Blue House – London, 1912
 Der kleine König (The Little King) – Vienna, 1912
 Zsuzsi kisasszony – Budapest, 1915
 Miss Springtime – New Amsterdam Theatre, New York, 1916/17
 Die Faschingsfee – Vienna, 1917 (German revision of Zsuzsi kisasszony)
 Die Csárdásfürstin – Vienna, 1915
 The Riviera Girl – New Amsterdam Theatre, New York, 1917
 The Gipsy Princess – London, 1921
 Das Hollandweibchen – Vienna, 1920
 A Little Dutch Girl – London, 1920
 La Holandesita – Spain, 1921 (Spanish version by Casimiro Giralt)
 The Dutch Girl – U.S., 1925
 Die Bajadere – Vienna, 1921
 The Yankee Princess – Knickerbocker Theatre, New York, 1922
 Gräfin Mariza – Vienna, 1924
 Countess Maritza – Shubert Theatre, New York, 1926/27, with Yvonne d'Arle in the title role.
 Maritza – London, 1938
 Die Zirkusprinzessin – Vienna, 1926
 The Circus Princess – Winter Garden Theatre, New York, 1927
 Golden Dawn – Hammerstein's Theatre, New York, 1927/28
 Die Herzogin von Chicago – Vienna, 1928
 The Duchess of Chicago – U.S., 1929
 Das Veilchen vom Montmartre – Vienna, 1930
 Paris in Spring – U.S., 1930
 A Kiss in Spring – London, 1932
 Der Teufelsreiter (Az ördöglovas – The Devil Rider) – Vienna, 1932
 Kaiserin Josephine – Zurich, 1936
 Miss Underground – written 1942, unproduced
 Marinka – Winter Garden Theatre, Ethel Barrymore Theatre, New York, 1945
 Arizona Lady – Bern, 1954

References
Notes

Further reading
 Clarke, Kevin. Im Himmel spielt auch schon die Jazzband. Emmerich Kálmán und die transatlantische Operette 1928–1932. Hamburg: von Bockel Verlag, 2007 . (examines Kálmán's jazz-operettas of the 1920s, with extensive English quotes from historical Broadway- and West End reviews)
 Historical reviews and a biography/worklist by Kurt Gänzl

 Nagibin, Yuri. Вечная музыка [Eternal Music]. Russia, ACT, 2004. . (pp. 201–345)

External links

 Links to numerous Kálmán recordings

1882 births
1953 deaths
People from Siófok
Hungarian Jews
Jewish classical composers
Hungarian emigrants to the United States
Hungarian musical theatre composers
Hungarian opera composers
Male opera composers
Jewish opera composers
American people of Hungarian-Jewish descent
Franz Liszt Academy of Music alumni
20th-century Hungarian male musicians

Emmerich Kálmán


A crop (sometimes called a croup or craw) is a thin-walled expanded portion of the alimentary canal used for storing food before digestion. It is found in many animals. It occurs in birds, some dinosaurs, and invertebrate animals such as gastropods (snails and slugs), earthworms, leeches, and insects.

Birds
In a bird's digestive system, the crop is an expanded, muscular pouch near the gullet or throat.  It is a part of the digestive tract, essentially an enlarged part of the oesophagus.  As with most other organisms that have a crop, the crop is used to temporarily store food.  Not all birds have a crop.  In adult doves and pigeons, the crop can produce crop milk to feed newly hatched birds.

Scavenging birds, such as vultures, will gorge themselves when prey is abundant, causing their crop to bulge. They subsequently sit, sleepy or half torpid, to digest their food.

Most raptors, including hawks, eagles and vultures (as stated above), have a crop; however, owls do not.

Bees
Cropping is used by bees to temporarily store nectar of flowers. When bees "suck" nectar, it is stored in their crops.

Difference to gizzard
In a gizzard, the food is ground down before digestion, usually by stones. Gizzards have a tougher lining, and muscles. The gizzard is lower down the digestive tract, and more like a part of the stomach.

The crop is just a storage device. Often, it pays a bird to feed while the going is good, and do the digestion later. In many birds and in bees, the food is eventually brought back to the nest and given to family members.

In other species, food brought back to the nest is pre-digested. That would mean it is regurgitated (brought up) from the stomach.

Related pages
 Oesophagus
 Gizzard
 Gular pouch, in bird anatomy, a flap generally used to store fish and other prey while hunting

References

Animal anatomy

Crop (anatomy)


A Hardanger fiddle or hardingfele in Norwegian, is a traditional string instrument used mainly in the south west of Norway. It is similar to the violin, but it has eight or nine strings and the wood is thinner. Four of the strings are strung and played like a violin, while the other strings are sympathetic strings (they vibrate when the others are played).

The Hardingfele is used for dancing.  The player stamps his foot loudly while playing.  It was the Norwegian tradition for a  bridal procession to be led to the church by a Hardanger fiddler.

The instrument has a lot of decoration, with a carved animal (usually the Lion of Norway) or a carved woman's head as part of the scroll at the top of the pegbox, mother of pearl in the tailpiece and fingerboard, and black ink decorations called 'rosing' on the body of the instrument.  Sometimes pieces of bone are used to decorate the pegs and the edges of the instrument.

The earliest known instrument is dated 1651 although we do not know whether this date is correct. By 1850 it had developed into the Hardanger fiddle known today.

The Hardanger fiddle can be tuned in lot of different ways, depending on the music to be played.  The Norwegian composer Edvard Grieg liked Norwegian folk music.  When he wrote the famous tune "Morning" for the music for Peer Gynt he was thinking of the notes that would be played on the Hardanger fiddle.

In the 20th century the Hardanger fiddle has become very popular in Norway through competitions. The players have to play in the style of the area they come from.

Other websites

 The Norwegian Collection of Folk Music  The Fiddle Volumes: Hardingfeleslåtter (University of Oslo, Department of Musicology)

String instruments
Folk instruments

Hardanger fiddle