Convex and Concave is a lithograph print by the Dutch artist M. C. Escher, first printed in March 1955.

It depicts an ornate architectural structure with many stairs, pillars and other shapes. The relative aspects of the objects in the image are distorted in such a way that many of the structure's features can be seen as both convex shapes and concave impressions. This is a very good example of Escher's mastery in creating illusions of "impossible architecture." The windows, roads, stairs and other shapes can be perceived as opening out in seemingly impossible ways and positions. Even the image on the flag is of reversible cubes. One can view these features as concave by viewing the image upside-down.

All additional elements and decoration on the left are consistent with a viewpoint from above, while those on the right with a viewpoint from below: hiding half the image makes it very easy to switch between convex and concave.

Sources
Locher, J.L. (2000). The Magic of M. C. Escher. Harry N. Abrams, Inc. .

1955 prints
Works by M. C. Escher

Convex and Concave


Hernando De Soto Money (August 26, 1839September 18, 1912) was an American politician from the state of Mississippi.

Biography
Money was born in Holmes County, Mississippi. He was named after the Spanish explorer Hernando De Soto. Early in his life, he moved with his family to Carrollton, Mississippi. He received his early education in the public schools and from a private tutor and subsequently graduated from the law department of the University of Mississippi at Oxford, where he was a member of St. Anthony Hall. He was admitted to the bar and commenced practice in Carrollton, Mississippi, about 1860.

As a young man he served in the Confederate army during the American Civil War. After the war, he established himself as an important planter, lawyer and newspaper editor in Mississippi. He first served in the United States House of Representatives from 1875 to 1885, as a member of the United States Democratic Party, to which he would belong for the rest of his life. He decided not to run for reelection in 1884 and established a law partnership with former assistant attorney general Alfred A. Freeman. He continued to live in the capital, Washington, D.C., until 1891, when he returned to Carrollton. He served in the United States House again from Mississippi from 1893 to 1897.

He married author Claudia Boddie, native of Jackson, Mississippi, and they had three daughters and two sons. The two younger daughters, Mabel Clare and Lillian Money, usually spent the winter in Washington with their parents. They both attended the Norwood Institute and the Berlitz School of Languages of Washington.

In 1897 he was appointed to the United States Senate from Mississippi following the death of James Z. George. He was elected to a full term in 1899 and reelected in 1905, and served in the Senate from 1897 to 1911. He was the chairman of the Committees on Corporations in the District of Columbia and expanded accommodations for the Library of Congress from 1907 to 1909. In 1903, he was one of many in opposition to the employment of African-American postal workers. He was chairman of the Democratic Caucus from 1909 to 1911, when he decided to retire from the Senate. He returned to his home near Biloxi, Mississippi, where he died one year later. He was buried in the family vault in Carrollton.

References

External links

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1839 births
1912 deaths
19th-century American politicians
American planters
Democratic Party members of the United States House of Representatives from Mississippi
Democratic Party United States senators from Mississippi
People from Carrollton, Mississippi
People from Holmes County, Mississippi

Hernando Money


1891 is a year o the Gregorian calendar.

Events

1st January : Nioro is took af bi the colonel Louis Archinard efter that Ahmadou (an Ahmadou's airmy) gangs awa' in Macina an Jenne. (In Mali an Niger).

February: the Netherlands and the Unitit Kinrick separe their possessions in the West Dutch Indies.

Eugène Dubois maks the first discovery o Homo erectus fossils in the Dutch colony o Java. (See Anthropology).

18 avril : Jules Cambon is  Governor o Algeria (til 1897). He applies a mair-liberal policy, wi the thocht o a speed economic development.

June 16 – John Abbott becomes Canada's third prime minister.

31t July : Unitit Kinrick say that territories atween Zambeeze an Congo river are belongin tae thaim.

On 28 September is Herman Melville born. He is the author o Moby-Dick.

See awso
:Category:1891 births
:Category:1891 daiths
Years o the XIXt an XXt Centuries
The next year on calendar is 1892, the precedent is 1890

1891
Dates

1891


High School Hellcats is a 1958 American exploitation film starring Yvonne Lime, Bret Halsey, and Jana Lund and directed by Edward L. Bernds. It is part of a series of exploitation films about juvenile delinquents produced during the 1950s by American International Pictures. American International Pictures released the film as a double feature with Hot Rod Gang. The film is also known as School For Violence.

Plot summary
Joyce Martin is a transfer student at her new school. On her first day, she is sized up by the leader of the Hellcats, Connie. For her first test of initiation, Joyce is tricked into wearing slacks to school even though it is verboten by school policy. During class the teacher asks Joyce to be the blackboard volunteer, Joyce reluctantly gets up, and Miss Davis asks her why she is wearing slacks.  Humiliated, she cuts class and goes to a nearby coffee shop and meets the coffee shop employee Mike, a college student who takes night classes, as he must financially support himself.

Joyce goes to a Hellcats meeting at an abandoned theater where she is officially introduced to the members of the Hellcats. Connie explains to her the premise of the group: the Hellcats are a girl gang who rule the social order of the school. If she is invited to join, she will be popular; if she fails, her life will be very rough. Joyce has passed the first test but must undergo two more before initiation. Good grades are not allowed and she may only date Hellcat-approved boys. Joyce agrees but she secretly begins dating Mike.

The girls meet to go shoplifting the next day. When they stop at the coffee shop afterward, Joyce is rude to Mike. Connie and Dolly tell her she should stay away from him.

The next initiation test requires Joyce to go up to Riff, who is with his girlfriend, and ask him to be her date at a dance. To the furor of his girlfriend, he agrees.

At the party, they decide to play a game of Sardines. In the dark, a scream is heard. When the lights come on, they find Connie's body on the downstairs landing.  She is dead.  They agree to get out quickly and not say anything. A couple of boys drop Joyce off near her house. Mike drives by and she jumps into his car.  The boys come over and try to beat Mike up but he is able to fend them off. Joyce and Mike go to his apartment. Joyce cries on his shoulder, says it was a terrible party, and eventually falls asleep in his arms. Joyce's father is furious when she finally arrives home. Her mother defends her. Joyce says she will not follow her father's rules.

Connie is reported missing and the police start questioning students at the high school. Dolly, now running the Hellcats, reminds them to say nothing.

Joyce visits sympathetic teacher Miss Davis, but does not tell her anything. Dolly leaves a note on Joyce's desk summoning her to a meeting that night. Mike gives her a ride to the abandoned theater. She tells him she will only be 10 minutes, just time enough to quit the Hellcats, and he waits outside for her.

Two of the Hellcats find the note and go to Miss Davis. They know that there is no meeting and they are worried that Dolly intends to teach Joyce a lesson. Miss Davis calls the police. On the balcony of the theater Dolly confronts Joyce, telling her that she pushed Connie out of jealousy because she was getting too friendly with Joyce. Dolly lunges toward Joyce with a knife but Joyce moves at the last moment and Dolly falls over the balcony to the floor below, dead. The police arrive. Mike rushes in. Miss Davis arrives. Mike takes Joyce home. Miss Davis calls Joyce's parents to tell them what happened. She tells them that Mike is a good guy. Joyce's parents are waiting on the doorstep. They hug Joyce. Joyce's father pats Mike on the shoulder and they enter the house together.

Cast

Yvonne Lime Fedderson as Joyce Martin
Brett Halsey as Mike Landers (as Bret Halsey)
Jana Lund as Connie Harris, aka Connie Ross
Susanne Sidney as Dolly Crane (as Suzanne Sydney)
Heather Ames as Meg
Nancy Kilgas as Laurie
Rhoda Williams as Trudy Davis, teacher
Don Shelton as Roger Martin
Viola Harris as Linda Martin
Robert Anderson as Police Lt. Manners
Martin Braddock as Rip
Arthur Marshall as Mr. Anderson

Production

This movie was part of a two-picture deal (the other movie being Hot Rod Gang) between producers Charles "Buddy" Rogers, who was the husband of "America's Sweetheart" Mary Pickford, and Ferde Grofe Jr., son of the composer Ferde Grofe, in association with a nationwide competition in Dig Magazine. Mary Pickford put up $100,000 for each of the movies. Grofe Jr. had his name removed from the credits, fearing the low-brow nature of this and Hot Rod Gang would reflect poorly on his father.

Location
The film was shot on Comstock Avenue in Holmby Hills, with Holmby Park in the background.

Reception
In October 1958, at an American International Pictures luncheon for the Theaters Owners Association of America, producer Jerry Wald said that the pictures like High School Hellcats are "not the type of picture on which we can build the market of the future.  While they may make a few dollars today, they will destroy us tomorrow."   Producer James H. Nicholson responded by stating "I'd rather take my children to see these pictures than God's Little Acre"

The film was condemned by PTA groups in Los Angeles

Director Edward Bernds stated that he "never made a dime" on High School Hellcats until it sold to TV.

References

External links

1958 films
1958 crime drama films
American black-and-white films
American high school films
American International Pictures films
1950s exploitation films
American crime drama films
American teen drama films
1950s high school films
1950s teen drama films
Films scored by Ronald Stein
1950s English-language films
Films directed by Edward Bernds
1950s American films
English-language crime drama films

High School Hellcats


The Chipko movement () is a forest conservation movement in India. Opposed to commercial logging and the government's policies on deforestation, protestors in the 1970s engaged in tree hugging, wrapping their arms around trees so that they could not be felled.

Today, beyond the socialism hue, it is seen increasingly as an ecofeminist movement. Although many of its leaders were men, women were not only its backbone, but also its mainstay, because they were the ones most affected by the rampant deforestation, which led to a lack of firewood and fodder as well as water for drinking and irrigation. Over the years of years of years they also became primary stakeholders in a majority of the afforestation work that happened under the Chipko movement. In 1987, the Chip movement was awarded the Right Livelihood Award "for its dedication to the conservation, restoration and ecologically-sound use of India's natural resources".

Background
Inspired by Karan Singh and the Jyoti Kumari movement, in the year 1964 Dasholi Gram Swarajya Sangh ("Dasholi Society for Village Self-Rule"), was set up by Gandhian social worker Chandi Prasad Bhatt in Chamoli Gopeshwar, with an aim to set up small industries using the resources of the forest. Their first project was a small workshop making farm tools for local use. Its name was later changed to DGSM from the original Dashauli Gram Swarajya Sangh (DGSS) in the 1980s. Here they had to face restrictive forest policies, a hangover of colonial era still prevalent, as well as the "contractor system", in which these pieces of forest land were commodified and auctioned to big contractors, usually from the plains, who brought along their own skilled and semi-skilled laborers, leaving only the menial jobs like hauling rocks for the hill people, and paying them next to nothing. On the other hand, the hill regions saw an influx of more people from the outside, which only added to the already strained ecological balance.

Hastened by increasing hardships, the Garhwal Himalayas soon became the centre for a rising ecological awareness of how reckless deforestation had denuded much of the forest cover, resulting in the devastating Alaknanda River floods of July 1970, when a major landslide blocked the river and affected an area starting from Hanumanchatti, near Badrinath to 320 kilometers (200 miles) downstream till Haridwar, further numerous villages, bridges and roads were washed away. Thereafter, incidents of landslides and land subsidence became common in an area which was experiencing a rapid increase in civil engineering projects.

Event
Villagers including women began to organise themselves under several smaller groups. It was started in 1973, taking up local causes with the authorities, and stand up against commercial logging operations that threatened their livelihoods. In October 1971, the Sangha workers held a demonstration in Gopeshwar to protest against the policies of the Forest Department. More rallies and marches were held in late 1972, but to little effect, until a decision to take shaurya direct action was taken. The first such occasion occurred when the Forest Department turned down the Sangh's annual request for ten ash trees for its farm tools workshop, and instead awarded a contract for 300 trees to Simon Company, a sporting goods manufacturer in distant Allahabad, to make tennis racquets. In March 1973, the lumbermen arrived at Gopeshwar, and after a couple of weeks, they were confronted at village Mandal on 24 April 1973, where about a hundred villagers and DGSS workers were beating drums and shouting slogans, thus forcing the contractors and their lumbermen to retreat.

This was the first confrontation of the movement, The contract was eventually cancelled and awarded to the Sangh instead. By now, the issue had grown beyond the mere procurement of an annual quota of the ash trees and encompassed a growing concern over commercial logging and the government's forest policy, which the villagers saw as unfavourable towards them. The Sangh also decided to resort to tree-hugging, or Chipko, as a means of non-violent protest.

But the struggle was far from over, as the same company was awarded more ash trees, in the Phata forest, 80 km (50 miles) away from Gopeshwar. Here again, due to local opposition, starting on 20 June 1974, the contractors retreated after a stand-off that lasted a few days. Thereafter, the villagers of Phata and Tarsali formed a vigil group and watched over the trees until December, when they had another successful stand-off when the activists reached the site in time. The lumbermen retreated leaving behind the five ash trees that felled.

A few months later, the final flashpoint began when the government announced an auction scheduled in January 1974, for 2,500 trees near Reni village, overlooking the Alaknanda River. Bhatt set out for the villages in the Reni area and incited the villagers, who decided to protest against the actions of the government by hugging the trees. Over the next few weeks, rallies and meetings continued in the Reni area.

On 25 March 1974, the day the lumbermen were to cut the trees, the men of Reni village and DGSS workers were in Chamoli, diverted by the state government and contractors to a fictional compensation payment site, while back home labourers arrived by the truckload to start logging operations. A local girl rushed to inform Gaura Devi, the head of the village Mahila Mangal Dal, at Reni village (Laata was her ancestral home and Reni adopted home). Gaura Devi led 27 of the village women to the site and confronted the loggers. When all talking failed, and the loggers started to shout and abuse the women, threatening them with guns, the women resorted to hugging the trees to stop them from being felled. The women kept an all-night vigil guarding their trees against the cutters until a few of them relented and left the village. The next day, when the men and leaders returned, the news of the movement spread to the neighbouring Laata and other villages including Henwalghati, and more people joined in. Eventually, after a four-day stand-off, the contractors left.

The effect
The news soon reached the state capital, where the state Chief Minister, Hemwati Nandan Bahuguna, set up a committee to look into the matter, which eventually ruled in favour of the villagers. This became a turning point in the history of eco-development struggles in the region and around the world.

The struggle soon spread across many parts of the region, and such spontaneous stand-offs between the local community and timber merchants occurred at several locations, with hill women demonstrating their new-found power as non-violent activists. As the movement gathered shape under its leaders, the name Chipko movement was attached to their activities. According to Chipko historians, the term originally used by Bhatt was the word "angalwaltha" in the Garhwali language for "embrace", which later was adapted to the Hindi word, Chipko, which means to stick.

Over the next five years, the movement spread to many districts in the region, and within a decade throughout the Uttarakhand Himalayas. Larger issues of ecological and economic exploitation of the region were raised. The villagers demanded that no forest-exploiting contracts should be given to outsiders and local communities should have effective control over natural resources like land, water, and forests. They wanted the government to provide low-cost materials to small industries and ensure development of the region without disturbing the ecological balance. The movement took up economic issues of landless forest workers and asked for guarantees of minimum wage. Globally Chipko demonstrated how environment causes, up until then considered an activity of the rich, were a matter of life and death for the poor, who were all too often the first ones to be devastated by an environmental tragedy. Several scholarly studies were made in the aftermath of the movement. In 1977, in another area, women tied sacred threads, called Rakhi, around trees destined for felling. According to the Hindu tradition of Raksha Bandhan, the Rakhi signifies a bond between brother and sisters. They declared that the trees would be saved even if it cost them their lives.

Women's participation in the Chipko agitation was a very novel aspect of the movement. The forest contractors of the region usually doubled up as suppliers of alcohol to men. Women held sustained agitations against the habit of alcoholism and broadened the agenda of the movement to cover other social issues. The movement achieved a victory when the government issued a ban on felling of trees in the Himalayan regions for fifteen years in 1980 by then Prime Minister Indira Gandhi, until the green cover was fully restored. One of the prominent Chipko leaders, Gandhian Sunderlal Bahuguna, took a 5,000 kilometre (3000 mile) trans-Himalaya foot march in 1981–83, spreading the Chipko message to a far greater area. Gradually, women set up cooperatives to guard local forests, and also organized fodder production at rates conducive to local environment. Next, they joined in land rotation schemes for fodder collection, helped replant degraded land, and established and ran nurseries stocked with species they selected.

Participants

One of Chipko's most salient features was the mass participation of female villagers. As the backbone of Uttarakhand's Agrarian economy, women were most directly affected by environmental degradation and deforestation, and thus related to the issues most easily. How much this participation impacted or derived from the ideology of Chipko has been fiercely debated in academic circles.

Despite this, both female and male activists did play pivotal roles in the movement including Gaura Devi, Sudesha Devi, Bachni Devi, Chandi Prasad Bhatt, Sundarlal Bahuguna, Govind Singh Rawat, Dhoom Singh Negi, Shamsher Singh Bisht and Ghanasyam Raturi, the Chipko poet, whose songs are still popular in the Himalayan region. Chandi Prasad Bhatt was awarded the Ramon Magsaysay Award in 1982, and Sunderlal Bahuguna was awarded the Padma Vibhushan in 2009.

Legacy
In Tehri District, Chipko activists would go on to protest limestone mining in the Doon Valley  in the 1980s, as the movement spread through the Dehradun district, which had earlier seen deforestation of its forest cover leading to heavy loss of flora and fauna. Finally quarrying was banned after years of agitation by Chipko activists, followed by a vast public drive for afforestation, which turned around the valley, just in time. Also in the 1980s, activists like Bahuguna protested against construction of the Tehri dam on the Bhagirathi River, which went on for the next two decades, before founding the Beej Bachao Andolan, the Save the Seeds movement, that continues to the present day.

Over time, as a United Nations Environment Programme report mentioned, Chipko activists started "working a socio-economic revolution by winning control of their forest resources from the hands of a distant bureaucracy which is only concerned with the selling of forestland for making urban-oriented products". The Chipko movement became a benchmark for socio-ecological movements in other forest areas of Himachal Pradesh, Rajasthan and Bihar; in September 1983, Chipko inspired a similar, Appiko movement in Karnataka state of India, where tree felling in the Western Ghats and Vindhyas was stopped. In Kumaon region, Chipko took on a more radical tone, combining with the general movement for a separate Uttarakhand state, which was eventually achieved in 2001

In recent years, the movement not only inspired numerous people to work on practical programmes of water management, energy conservation, afforestation, and recycling, but also encouraged scholars to start studying issues of environmental degradation and methods of conservation in the Himalayas and throughout India.

On 26 March 2004, Reni, Laata, and other villages of the Niti Valley celebrated the 30th anniversary of the Chipko movement, where all the surviving original participants united. The celebrations started at Laata, the ancestral home of Gaura Devi, where Pushpa Devi, wife of late Chipko Leader Govind Singh Rawat, Dhoom Singh Negi, Chipko leader of Henwalghati, Tehri Garhwal, and others were celebrated. From here a procession went to Reni, the neighbouring village, where the actual Chipko action took place on 26 March 1974. This marked the beginning of worldwide methods to improve the present situation. Recently, by following the legacy of the Chipko movement, in 2017 rapid deforestation over the century-old trees, forming almost a canopy in Jessore Road of the district of North 24 Parganas, West Bengal, has also sparked a huge movement in the form of the campaign of saving 4000 trees by the local masses.

On 26 March 2018, a Chipko movement conservation initiative was marked by a Google Doodle on its 45th anniversary.

See also
 Indian Council of Forestry Research and Education
 Khejarli massacre
 List of forest research institutes in India
 Sunderlal Bahuguna
 Van Mahotsav
 Van Vigyan Kendra (VVK) Forest Science Centres

References

Citations

General bibliography
 J. Bandopadhyay and Vandana Shiva: "The Chipko Movement Against Limestone Quarrying in Doon Valley" in: Lokayan Bulletin, 5:3, 1987, pp. 19–25 online
 Somen Chakraborty: A Critique of Social Movements in India: Experiences of Chipko, Uttarakhand, and Fishworkers' Movement, Indian Social Institute, 1999. .
 Guha, Ramachandra: The Unquiet woods: ecological change and peasant resistance in the Himalaya, Berkeley, Calif. [etc.]: University of California Press, Expanded edition 2000.
 Dr. Sindhu Mary Jacob, Satyendra Tripathi: Chipko movement: Uttarakhand women's bid to save forest wealth. Pub. by public Action, 1978.
 JShiva: Chipko: India's Civilisational Response to the Forest Crisis. Indian National Trust for Art and Cultural Heritage. Pub. by INTACH, 1986.
 Anupam Mishra, Satyendra Tripathi: Chipko movement: Uttarakhand women's bid to save forest wealth. Pub. by public Action, 1978.
 Rangan, Haripriya: Of Myths and movements: rewriting Chipko into Himalayan history, London [etc.]: Verso, 2000. .  Excerpts
 Shepard, Mark  Chapter 4 – "Hug the Trees". Gandhi today: a report on Mahatma Gandhi's successors. Published by Shepard Publications, 1987. .
 Shiva, Vandana. Chapter 4 – "The Chipko movement" Ecology and the Politics of Survival: Conflicts Over Natural Resources in India. United Nations University Press. Sage Publications. 1991. .
 Thomas Weber, Hugging the trees: the story of the Chipko movement, Viking, 1988.

External links
 Standing up for trees: Women's role in the Chipko Movement at FAO (United Nations)
 Resources on Chipko movement
 Chipko Heritage
 The Chipko movement and women
 Photographs of the Chipko Movement at sepiaEYE

1974 in India
Chamoli district
Environment of Uttarakhand
Environmental movements
Environmental protests
Environmentalism in India
Forestry in India
History of environmentalism
History of Uttarakhand (1947–present)
Nature conservation in India
Social history of India
Social movements in India
Trees
Women in forestry
Women in India
Ecofeminism

Chipko movement


Aldershot military prison, known as the Glasshouse on account of its glazed roof, was the military prison in Aldershot in Hampshire from 1870 until it was burned down during riots in February 1946 and was finally demolished in 1958.

History
The Glasshouse was one of the most imposing buildings in the 19th-century Aldershot military town. Built in 1870 to house soldiers sentenced for military offences, the building derived its name from its large, glass lantern roof. The term glasshouse has since become synonymous with all military prison establishments but it has its origins in Aldershot.

Aldershot's first military prison opened in 1856 and was made up of standard wooden barrack huts in the North and South Camp and holding around 200 prisoners. An 1864 report from the Inspector of Military Prisons called for the rebuilding of the military prison in cell formation 'to prevent the evils of association'. Re-building of Aldershot's military prison started in 1870 at an estimated cost of about £6,000. Described in Sheldrake's Guide to Aldershot as a 'large aggressive looking building', the new prison had been constructed in the area bordered on its north and south sides by North Road and Redvers Buller Road, and to the west by James Road. The new three-storey building was very similar to conventional Victorian civil prisons such as Wormwood Scrubs and was originally designed to house 165 inmates, considerably fewer than the wooden huts of Aldershot's original prison. Additional building work was carried out to the main buildings in 1880 at a cost of about £5000 while the main cell block was extended after 1885 to create a further 20 cells on each floor.

In the 1930s, a medical inspection unit and gymnasium were added. By 1946, the prison held between 400 and 500 prisoners which was more than double the number it had originally been designed to accommodate. This severe overcrowding caused riots on 23/24 February 1946 which led to the destruction of the main building while further damage was caused by the water from high-pressure hoses used to stop the riot. In 1948, the War Office considered rebuilding the 'Glasshouse' at an estimated cost of £18,000 but eventually decided against it resulting in the prison being demolished in early 1958.

References

Aldershot
Buildings and structures in Aldershot
Military prisons
Demolished buildings and structures in England
Buildings and structures demolished in 1958

Aldershot military prison


An inert gas is a gas that does not usually react chemically with other things. Examples of inert gases are nitrogen (N2) and helium.

An inert gas made of separate atoms of one element is called a noble gas. Inert gases can also be made of more than one atom together. They can be gases of molecules or mixtures of gases of elements.

Inert gases are used in several ways. A gas made from nitrogen is used to keep vegetables from spoiling when they are transported. Other inert gases are used in welding. They are put into gasoline tanks to help prevent explosions.

Gases

Inert gas


Nearly a Deserter is a 1916 American short silent comedy film produced by the United States Motion Picture Corporation under the Black Diamond Comedy name. The film was the first Black Diamond Comedy distributed by the Paramount Pictures, and was produced in a studio based in Wilkes-Barre.

Synopsis
Nearly A Deserter is a comedic bait and switch story that follows two hitchhikers and their plan to make a few quick bucks. One realizes that the other closely resembles Willie Smith, a wanted deserter, and turns him in with the intent of helping him escape and making off with the reward money. Escaping becomes difficult, however, when Willie's lookalike is put through a series of tests by the camp. Their plans go completely awry when Willie bakes gunpowder into the general's biscuits. One of the biscuits explodes in the general's face, leading him to sentence Willie to death by firing squad. The "daughter of the regiment" takes pity on Willie, and tells him to escape by letting himself be fired out of the sunset canon. He takes her advice, leading to a wild chase across train tracks after he reunites with his partner and has to evade the general.

References

1916 films
1916 comedy films
Silent American comedy films
American silent short films
American black-and-white films
Films shot in Pennsylvania
Paramount Pictures short films
1916 short films
American comedy short films
1910s American films

Nearly a Deserter


Séamus Patrick Pattison (19 April 1936 – 4 February 2018) was an Irish Labour Party politician. He was born Kilkenny, Ireland.

Pattison served as Leas-Cheann Comhairle of Dáil Éireann from 2002 to 2007, Ceann Comhairle of Dáil Éireann from 1997 to 2002, Minister of State for Social Welfare from 1983 to 1987 and Father of the Dáil from 1995 to 2007. He served as a Teachta Dála (TD) for the Carlow–Kilkenny constituency from 1961 to 2007.

Pattison was a Member of the European Parliament (MEP) for the Leinster constituency 1981 to 1983.

Pattison died on 4 February 2018 from Parkinson's disease at his home in Kilkenny at the age of 81.

References

Other websites
European Parliament profile

1936 births
2018 deaths
Deaths from Parkinson's disease
MEPs for Ireland

Séamus Pattison


The Donald Windham Sandy M. Campbell Literature Prizes is an American literary award which offers prizes in four categories: fiction, nonfiction, poetry and drama. The award was established at Yale University in 2011 with the first prizes presented in 2013. Administered by the Beinecke Rare Book & Manuscript Library, the award recognizes English language writers from anywhere in the world. The mission of the award is to call attention to literary achievement and provide writers the opportunity to focus on their work independent of financial concerns. Eight prizes are awarded annually.

Winners receive a citation and an unrestricted remuneration of $165,000. The individual prizes are among the richest literary prize amounts in the world, if not the richest in certain categories. The award is endowed from the combined estates of writer Donald Windham and actor Sandy Campbell. Campbell was Windham's companion of 45 years, and when Campbell died in 1988 he left his estate to Windham with the understanding a literary award would be created from the combined estate after Windham's death. Windham died in 2010, and in 2011 Yale announced they would become administrators of the new award. The inaugural winners were announced in March 2013.

Recipients

Notes

References

External links

Awards established in 2011
American fiction awards
American non-fiction literary awards
Dramatist and playwright awards
English-language literary awards
Awards and prizes of Yale University
Yale University Library
2011 establishments in the United States

Windham–Campbell Literature Prizes


The music of Taiwan reflects the diverse culture of Taiwanese people. Taiwan has undergone several economic, social, and political changes through its cultural history, and Taiwanese music reflects those issues in its way. The music of the country has adopted a mixed style. As a country rich in Chinese folk culture and with many indigenous tribes with their own distinct artistic identity, various folk music styles are appreciated in Taiwan. In addition, people in Taiwan highly appreciate various style of Western classical music and pop music. Taiwan is a major Mandopop hub.

Background
The Kuomintang-led Republic of China government arrived in Taiwan in 1949, a government that suppressed native Taiwanese culture and implemented Standard Chinese (Mandarin) as the official language. This political event has significant effects on the development of music in Taiwan in the 20th century as it resulted in a gap in the transition of the traditional music culture. In 1987, a revival of traditional culture began when the martial law declared by the government was lifted. (See Taiwanese localization movement.)

Instrumental music includes multiple genres, such as beiguan and nanguan. Nanguan originally hails from Quanzhou, while it is now most common in Lukang and is found across much of the island.

Taiwanese puppetry (hand-puppet theater) and Taiwanese opera, two genres of spectacle that are strongly related to music, are very popular, while the latter is often considered the only truly indigenous Han form of music still extant today.

Holo folk music is most common today on the  in the southernmost part of the island, where performers sing accompanied by yueqin (moon lute), which is a type of two-stringed lute.  While the Hengchun yueqin plays only five tones, the pentatonic music can become diverse and complex when combined with the seven tones of Taiwanese Hokkien.  Famous folk singers include Chen Da and Yang Hsiuching.

Aboriginal music

Of the two broad divisions of Taiwanese aborigines, the plains-dwellers have been largely assimilated into Han culture, while the mountain-dwelling tribes remain distinct. The Amis, Bunun, Paiwan, Rukai and Tsou are known for their polyphonic vocals, of which each has a unique variety.

Once dying, aboriginal culture has undergone a renaissance since the late 20th century.  A full-time aboriginal radio station, "Ho-hi-yan" was launched in 2005 with the help of the Executive Yuan, to focus on issues of interest to the indigenous community. [Listen to Ho-hi-yan; requires Windows Media Player 9]. This came on the heels of a  "New wave of Indigenous Pop," as aboriginal artists such as A-mei (Puyuma tribe), Difang (Amis tribe), Pur-dur and Samingad (Puyuma) became international pop stars. Later artists include Paiwanese pop star Abao.

The 1991 formation of the Formosa Aboriginal Dance Troupe was another major contributor to this trend, while the surprise mainstream success of "Return to Innocence", the theme song to the 1996 Olympic Games, further popularized native musics.  "Return to Innocence" was made by Enigma, a popular musical project and sampled the voices of an elderly Amis couple,  Kuo Ying-nan and Kuo Hsiu-chu.  When the couple found out that their recording had become part of an international hit, they filed suit and, in 1999, settled out of court for an unidentified amount.

Bunun
The Bunun's original home was on Taiwan's west coast, in the central and northern plains, but some have more recently settled in the area around Taitung and Hualien.

Unlike the other indigenous peoples of Taiwan, the Bunun have very little dance music.  The best-studied element of traditional Bunun music is improvised polyphonic song.  Folk instruments include pestles, five-stringed zithers and the jaw harp.

In modern times, David Darling, an American cellist, created a project to combine cello and Bunun traditional music, resulting in an album titled Mudanin Kata.  The Bunun Cultural and Educational Foundation, founded in 1995, was the first organization established to help promote and sustain Taiwanese aboriginal culture.

Hakka

Taiwanese opera is popular among the Hakka, and has influenced the tea-picking opera genre.  The most distinctive form of Hakka music are mountain songs, or shan'ge, which are similar to Hengchun folk music. Bayin instrumental music is also popular.

Art music
The earliest musical education program in Taiwan was established by Western missionaries during the 17th century, when southern and northern Taiwan was under the colonial rule of the Netherlands and Spain respectively. Missionaries from Europe set up their churches throughout Taiwan for evangelical purposes; this included Protestant missionaries from the Netherlands and the Catholic Dominican Order from Spain. During this period, Western music was first introduced to Taiwan, though church music was the mainstay. It wasn't until the ruling Qing government opened up to trade exchanges with Europe in the mid-19th century that secular Western music began to gain to a foothold in Taiwan. In 1895, Taiwan became occupied by Japan, and formalized Western music education was thus introduced. Under Japanese rule, music was included as part of the core curriculum of Taiwanese academic education and became a compulsory course of study. Notable musicians from this era included Wen-ye Jiang and Chih-yuan Kuo.

Qing dynasty rule
Rule by the Qing dynasty began in Taiwan in the 18th century; Taiwan's music scene at the time was still largely dominated by Beiguan and Nanguan music brought over by immigrants from mainland China. However, in the middle of the 19th century, the armies of the Qing dynasty suffered one devastating loss after another against European troops, forcing the Qing government to open up the ports to European traders and missionaries. As trade between Taiwan and Europe flourished, the European Chambers of Commerce and Industry set up branches in Taiwan, setting the stage for strong Western influence and an influx of more Christian missionaries. In 1872, Canadian missionary George Leslie Mackay established Presbyterian churches in Tamsui (formerly known as Huwei), as well as schools and hospitals. He also introduced Western liturgical music and art music education to Taiwan, founding Oxford College (now the Taiwan Graduate School of Theology) and Aletheia University. Su-Ti Chen (1911-1992), one of the first-generation Taiwanese composers, was an alumnus of TamKang High School (now TamKang Senior High School), which was founded by Dr. Mackay's eldest son, George William Mackay. Su-Ti Chen studied piano and Western liturgical music alongside Margaret Gauld, the wife of Rev. William Gauld. After his graduation, he enrolled at the Taipei Seminary School (now the Taiwan Graduate School of Theology), majoring in Western Art Music. Afterwards, he continued his music studies in Japan.

Meanwhile, Dr. James Maxwell, a Presbyterian/Calvinist missionary from England, began preaching in southern Taiwan in 1865. In 1869, he and Rev. Hugh Ritchie together established "The Student's Class" in Cihou and Taiwan Fu (now Tainan), which were coalesced by Reverend Thomas Barclay in 1876 into the Capital College, the first western-education university in Taiwan and the predecessor of the current Tainan Theological College and Seminary affiliated with the Presbyterian Church in Taiwan. The seminary not only had the goal of evangelizing and cultivating theological students, but also brought Western liturgical music and art music to southern Taiwan through mandated courses for its students, nurturing many musical talents in southern Taiwan. To this day, "cultivation of musical talent" remains one of the most important goals of the Tainan Theological College and Seminary.

During Qing dynasty rule, Taiwan's churches played a major role in the spread of Western music through congregation members, foreign merchants, and missionaries.

During Japanese rule
In 1894, the First Sino-Japanese War began, during which the army of the Qing dynasty was defeated by the Japanese army. This led to the Qing dynasty government signing the Treaty of Shimonoseki, which ceded Taiwan to Japan. In 1895, Japanese rule of Taiwan began, leading to a formal introduction of a Western music education system in the core curriculum of Taiwanese schooling. From then on, Western art music became a firmly-rooted element in Taiwan's musical scene, with Western art music courses becoming mandatory in Taiwanese schools. Su-Ti Chen, one of the first-generation Taiwanese composers, received his formal music education in Taiwan schooling before traveling to Japan for further study.

Tyzen Hsiao, a composer born in Fongshan, Kaohsiung, was taught to play the piano by his mother, who was one of the first-generation pianists to study in Japan. Afterwards, he received further training from Prof. Fu-mei Li, who also studied piano in Japan. Graduating from the Christian Chang Jung High School, Hsiao enrolled in the two-year music program of the Taiwan Provincial Teachers College (predecessor of the National Taiwan Normal University), before continuing his studies in Japan.

From the life history of these Taiwanese composers, we can clearly trace the development of the culture of Western music in Taiwan through two sources. One is the church system and the other the Western music education introduced during the Japanese rule and musicians returning to Taiwan after studying abroad in Japan. Many of the works by these musicians were liturgical, including those written by Su-Ti Chen; although other musicians such as Chuan-sheng Lu and Chih-yuan Kuo created original folk songs. They also composed large-scale works: Chih-yuan Kuo produced the opera Xu-Xian and Madame White Snake, while Chuan-sheng Lu produced Castrated Chicken, a Taiwanese Hokkien opera that attracted the attention of the Japanese ruling class for its incorporation of Western composition techniques.

After 1949
The government of the Republic of China retreated to Taiwan in 1949. Due to political factors, cultural elements related to Mainland China and Russia, including symbols of communism, became taboos in Taiwan and Western culture became especially prominent. Musicians and music students from mainland China also came to Taiwan to pursue their music education.

After the Second World War, Taiwan's political atmosphere and economic situation shifted abruptly, a change which was reflected in contemporaneous music activity. Scholar Edwin A. Winckler divided the post-war development of Taiwan's music into three periods in his Cultural Policy on Postwar Taiwan (1994):

1. 1945-1960
2. 1960-1975
3. 1975-1990

In 1946, the school that was known as Taihoko High School during the era of Japanese rule was renamed the Taiwan Provincial Teachers College and became an important center for cultivating music teachers. In 1955, it was again renamed to Taiwan Provincial Normal University; at this time, Er-hua Xiao from Fujian Music College, Ou Kang and Cui-lun Dai from Shanghai Music College (the predecessor of Shanghai Conservatory of Music), and others joined its faculty and redesigned the music educational system of Taiwan. At the same time, Taiwanese musicians who had traveled to Japan for study, such as Ci-mei Gao and Cai-xiang Zhang, also joined the faculty after their return to Taiwan, resulting in the school's music educational curriculum reflecting the principles of two different systems. At the time, Taiwan's art music was greatly influenced by post-romantic music from the West. This was particularly distinct in the works of alumni of Taiwan Provincial Normal University, including Tyzen Hsiao, Tsang-houei Hsu, and others.

The National Taiwan Academy of Arts (the predecessor of today's National Taiwan University of Arts) was established in Banqiao, Taipei County (now New Taipei City), in 1955. Through the effort of the successive directors of its music program, including vocalist Xue-yong Shen, Wei-liang Shih (1926-1977), and others, numerous professional performers and composers received trainings that blended the Western theory of composition together with elements of traditional Chinese music and used Western composition techniques to reinterpret classics of Chinese literature. For example, The Song of Pipa for a female soloist and orchestra, composed by Wei-liang Shih, adapted the poem of the same title written by poet Juyi Bai of the Tang dynasty as its lyrics. This modern music work combined the Chinese pentatonic scale and western polyphony and atonality. It was premiered at Taipei's Armed Forces Cultural Center in 1968, with soprano Sai-yun Liu as the female vocalist and Cui-lun Dai conducting the Taiwan Provincial Symphony Orchestra (predecessor of today's National Taiwan Symphony Orchestra) as accompaniment. This piece was known to be the late composer's favorite of his works. Other alumni of the National Taiwan Academy of Arts included musicians Tai-xiang Li, Chang-fa Yu, and others.

Composers of this generation were deeply influenced by the heritage of Chinese culture, with deep cultural literacy and awareness of local trends, enabling them to excel at combining Western music and classic Chinese literature together. For example, Shui-long Ma portrayed his hometown Keelung in his Suite Taiwan for Piano Solo. In his later Bamboo Flute Concerto, the piece which brought him fame as a composer, he combined the Chinese pentatonic scale and the orchestration of Western music together, not only showcasing the performance skills of the bamboo flutist but also bringing Taiwanese music to a whole new level. The Bamboo Flute Concerto was selected as the theme song of the Broadcasting Corporation of China based on its reputation as a monumental Taiwanese musical piece. This piece was followed by Shui-long Ma's symphonic suite Xiang Yu and His Concubine, a work based on the history of the Chu-Han Contention in ancient China. Originally written in the form of a singspiel with spoken dialogue, Ma used traditional Chinese instruments in place of the vocals. For example, the bass part for the character Xiang Yu is replaced by the suona, the soprano part for Consort Yu is replaced by the nanhu, and the tenor part for Liu Bang is replaced by the pipa. Combining Chinese traditional instruments and a Western orchestra, this symphonic suite weaves exchanges between these three traditional instruments throughout. Xiang Yu and His Concubine won the Best Art Music Album award at the 26th Golden Melody Awards for Traditional Arts and Music.

The music conservatory serves as a base for cultivating musical talents, while the establishment of musical organizations founded by patrons supports a variety of musical events. The Association of Taiwanese Culture was established by Taiwan's elite Hsien-tang Lin, the scholar Mosei Lin, politician Mi-chien Yu, and others in 1946 for actively promoting musical activities. Musicians returning from their studies in Japan, including Chih-yuan Kuo, Chuan-sheng Lu, and Erh Lin, and others, were fervent in creating new pieces for the events held by this society. However, during this period of post-war reconstruction, these events were unsuccessful in attracting attention and support. In 1955, Chih-yuan Kuo wrote the Symphonic Variation in Taiwanese Style for Orchestra, the first orchestral piece by a Taiwanese composer. With themes celebrating Taiwan's beautiful scenery and folk music, the work was premiered by Taiwan Provincial Symphony Orchestra. In 1972, Kuo wrote the Concertino for Piano and String Orchestra, the first piano concerto by a Taiwanese composer.

Students studying composition at Taiwan Provincial Normal University and the National Taiwan Academy of Arts received a great deal of exposure to Chinese traditional music, operas, and works written by Chinese composers from the first half of the 20th century, such as art songs by Tzu Huang, Yuen-ren Chao, Bao-chen Li, and Xue'an Liu, and others, in their tutelage led by musicians from Mainland China. After these students graduated, some taught music at schools, such as Yen Lu, while some worked as researcher or orchestral musicians in the Taiwan Provincial Symphony Orchestra, including Loong-hsing Wen, Hsuan-wen Chang, and Deh-ho Lai, etc. In their spare time, these graduates collected and analyzed Taiwanese folk music, and blended it with Western composition theory to develop a new form of contemporary art music belonging to Taiwan.

The Division of Research for the Taiwan Provincial Symphony Orchestra was established by its former director Wei-liang Shih in 1972. He invited several alumni of the National Taiwan Academy of Arts and composers returning from abroad to join this division, including Deh-ho Lai, Loong-hsing Wen, Chang-fa Yu, among others. These young composers founded the Music Society of the Sunflower in 1967. In addition to the composers mentioned above, Mau-liang Chen, Chin-tang Shen, and Shui-long Ma, also alumni of the National Taiwan Academy of Arts, were also members of this society.

Private music organizations
Tsang-houei Hsu, who studied abroad in France before returning to Taiwan to teach at Taiwan Provincial Normal University, founded the Assembly for Composition in 1961. This group did not have fixed members, with Tsang-houei Hsu inviting different composers to write pieces for each concert. In 1961, New Music in First Performance, an orchestra for the performance of modern music, was founded by the violinist Chang-guo Deng, Japanese pianist Anna Azusa Fujita, Hsien-liang Koo, Tsang-houei Hsu, Kuo-huang Han, and others in order to perform modern music both in Taiwan and overseas. Other important groups during this period included the Chiang Lang Music Assembly and The Five. They held concerts to present their own works as well as conduct international exchanges.

The Asian Composers League - National Committee and The Composers' Association of the Republic of China (ACL-ROC) was co-founded by Tsang-houei Hsu, Yoshiro Nabeshima (Japan), Yoshiro Irino (Japan), Sheng-shih Lin (Hong Kong), and Un-young La (Korea) in 1973 in order to exchange ideas about music with other Asian composers. Through this organized system for carrying out international exchange of contemporary art music, development of Taiwan's contemporary art music expanded greatly. Frequent and regular cross-cultural exchange also helped improve the composing standard for Taiwan's art music significantly and many notable composers arose.

At the time, the art music of Taiwan, in addition to new musical styles that combined Chinese and Western music, also encompassed abstract musical styles influenced by Modernism. When Tsang-houei Hsu returned to Taiwan after his studies in France, he brought with him the latest contemporary music trends of Europe, including serialism music. Although this style was not widely accepted in Taiwan, his students at Taiwan Provincial Normal University and the National Taiwan Academy of Arts were influenced by this musical theory. Works written by Hwang-long Pan (1945- ) used this modern musical language, enhancing the sonority and ambiance of sound. Compared to works written by his contemporaries, Pan's compositions were more abstract. For example, his quartet for the clarinet, percussion, piano, and cello Labyrinth - promenade places great emphasis on mood and atmosphere. In recent years, Hwang-long Pan has worked closely with the Chai Found Music Workshop, an ensemble that focuses on the performance of contemporary art music in Taiwan. In addition to performing traditional Chinese music, the Chai Found Music Workshop also utilizes Chinese traditional instruments to perform contemporary art music. It has presented numerous works written by contemporary Taiwanese composers at many international contemporary art festivals.

Since 1980
The development of Western art music in Taiwan primarily took place in educational institutions, both public and private. The earliest such music programs included those at Taiwan Provincial Normal University and the National Taiwan Academy of Arts, as well as Chinese Culture University (1962)¸ Shih Chien College of Home Economics (today's Shih Chien University, 1969), Soochow University (1972), Fu Jen Catholic University (1983), and the National Institute of the Arts (predecessor of today's Taipei National University of the Arts, 1982). After the 1980s, all the junior teachers colleges were restructured into teachers' colleges, allowing the founding of several departments and institutes of music. These new programs trained numerous music teachers for different types of schools and also promoted general enthusiasm for music. Around the same time, the United Experimental Orchestra (predecessor of the National Symphony Orchestra) and the National Chiang Kai-Shek Cultural Center (predecessor of the National Theater and Concert Hall) were established respectively in 1986 and 1987. Together, they held a series of concerts with many Taiwanese and overseas musicians invited to perform and commissioned new pieces from local composers. All of this contributed to the vigorous growth of musical activities in Taiwan. Musical talents flourished in large numbers and the standards for composition and performance shot up markedly. Leading musicians at the time included Hwang-long Pan, Shing-kwei Tzeng, Fang-long Ke, Nan-chang Chien, Shan-hua Chien, and Shu-si Chen.

At the suggestion of Dr. Robert Scholz, Taiwan began to send talented music students for pursuing further study abroad in the 1960s. The earliest students selected included pianists Pi-hsien Chen, Lina Yeh, and Tai-cheng Chen, among others, who went to Europe for their musical studies. After they graduated, some of them remained overseas, while others returned to Taiwan and devoted themselves to education. Several of these music talents have won awards in renowned international music competitions. Examples include pianist Siao-pei Yang, who won the third place in the Concours international d'exécution musicale de Genève in 1967; pianist Pi-hsien Chen, who won the first place in the Internationaler Musikwettbewerb der ARD in 1974; Nai-yuan Hu, who was the first-place winner of the Queen Elisabeth Music Competition in 1985; and Yu-chien Tseng, who won the second place in the violin section (in which first place was not awarded) of the International Tchaikovsky Competition in 2015. As for conductors, Helen Quach, Wen-pin Chien, Shao-chia Lü, Mei-ann Chen, and Tung-chieh Chuang are all well-known conductors in the international music scene that has brought Taiwan international prestige.

In 1990, composer Shui-long Ma launched the Spring and Autumn Music Collection, a platform for sponsoring aspiring composers, funded and organized by the Chew's Culture Foundation. Entrepreneur Andrew Chew supported this endeavor in acknowledgment of the dire need for more Taiwanese composers and the recognition that composers serve as the cornerstone of all artistic works. Theatrical as well as choreographic performances all need background music, with composers playing as vital a role as accompanists. The Spring and Autumn Music Collection launched its first concert in the spring of 1991, presenting the works of aspiring Taiwanese composers in their prime, such as Shu-si Chen, Shan-hua Chien, Kwang-i Ying, Hwei-lee Chang, Ming-chung Sheu, Shyh-ji Pan, and Yann-jong Hwang, with a variety of styles of music represented. The autumn concert held later the same year brought in veteran composers, such as Tsang-houei Hsu, Hwang-long Pan, Yen Lu, Ting-lien Wu, Nan-chang Chien, Shing-kwei Tzeng, and Hao Chang. They produced new works that blend Chinese culture with Western compositional techniques.

The difference between the spring and autumn concerts held by the Spring and Autumn Music Collection is that the spring concerts feature works by aspiring composers, while the autumn concerts focus on works by seasoned composers. As of 2016, the Spring and Autumn Music Collection may not hold concerts every year but  the participating composers represent the development of Taiwan's Western art music scene. Many of the outstanding composers featured in the concerts have won prizes in the international composition competitions, for example, Jing Peng, Ming-hsiu Yen, Wei-chih Liu, Ching-meio Lin, Chiu-yu Chou, Shih-hui Chen, Yuan-chen Li, Chung-kun Hung, Tzyy-sheng Lee, and others.

As for the development of Western opera in Taiwan, the Taipei Symphony Orchestra (TSO, 1986 – 2003) produced one opera every year under the directorship of Felix Chiu-Sheng Chen. The operas primarily featured local vocalists with only a few internationally renowned vocalists invited to participate. Moreover, the staff in charge of stage production and backstage work was led by Taiwanese stagehands, administrators, and musicians. This system offered opportunities to local vocalists to showcase their talents and other art workers to develop the skills needed for handling the delicate and complicated work that goes into producing an opera.

The Taipei Opera Theater was established by professor and vocalist Dau-hsiong Tseng in 1973. Although not as large as the Taipei Symphony Orchestra in scale, the Taipei Opera Theater has performed many Western operatic masterpieces over the past 50 years. Both the quantity of performances and the production standards are on par with those produced by public orchestras and the theater serves as an important base for nurturing local opera singers and conductors alike. From Tai-li Chu in the past to the more recent Li-chin Huang, Keng Li, I-chiao Shih, Chia-fen Wu, Hanying Iaia Tso, Taiwan on the whole has raised many young and aspiring vocalists active onstage in many international opera houses.

Cloud Gate Dance Theater is also a major driving force in the Taiwanese composition scene. For example, Deh-ho Lai was commissioned by Hwai-min Lin, the founder of Cloud Gate Dancer Theater, to write the music for White Serpent Tale and The Dream of the Red Chamber. Shui-long Ma was also similarly commissioned for Liao Tian-ding. As for theatrical works, Kuei-ju Lin, a composer in her prime who has devoted herself to theatrical music production and is active in theatrical and art music circles, began her career as an undergraduate. After she received her Ph.D. degree in the United States and returned to Taiwan to teach, she collaborated with M.O.V.E. Theatre to design and host Dear John, which became one of five finalists for the twelfth Taishin Arts Award.

Moden music

Pop and rock
In the mid-1970s a genre of popular music known as Taiwanese campus folk song appeared in the music scene of Taiwan. This music consisted of a fusion of elements from American folk rock and Chinese folk music, and was very popular throughout East Asia. Until the 1987 lifting of martial law, Taiwanese pop fell into two distinct categories. Hokkien pop was sung in a native dialect and was popular among older and working-class listeners; it was strongly influenced by Japanese enka.  In contrast, Mandarin pop, due to the assimilation policy of the authoritarian Kuomintang regime (1945–1996) that suppressed Taiwanese languages and culture, appealed to younger listeners. Asian superstar Teresa Teng originated from Taiwan and enjoys immense popularity amongst the Sinophone world and beyond.

With the resurgence of interest in native cultural identities starting in the late 1980s, a more distinct and modern form of Taiwanese pop formed.  In 1989, a group of musicians called the Blacklist Studio released Song of Madness on Rock Records.  Blending hip hop, rock and other styles, the album focused on the issues concerning everyday, modern people.  Building on Song of Madness'  success, the following year saw Lin Chiang release Marching Forward, which kickstarted what became known as New Taiwanese Song.  Pop stars of the 1990s included Wu Bai, Chang Chen-yue, Jimmy Lin, Emil Wakin Chau (Zhoū Huájiàn) and so on. aMEI, who is renowned for her technically skilled and powerful vocals, is acclaimed to be the pop diva in Mandopop, and pop idols like Show Lo, Jay Chou, aMEI, Jolin Tsai and girl group S.H.E have now become the most famous and popular singers of Mandopop. For rock and band music, Mayday is said to have pioneered rock music in Taiwan for the generation of youth. For latest generation of pop music in Taiwan, singing reality shows such as One Million Star and Super idol have brought many ordinary people to fame, such as Jam Hsiao, Yoga Lin, Aska Yang, Lala Hsu, William Wei and so on.

The 1990s and early 2000s also saw the emergence of bands and artists of more diverse genres, such as Sodagreen, Deserts Chang, Cheer Chen, who have achieved commercial success and brought the new "indie" era of Taiwanese pop music. Other indie bands include Your Woman Sleep With Others, Labor Exchange Band, Chairman, Sugar Plum Ferry, deca joins, Backquarter, Fire EX, 8mm Sky, Seraphim, and ChthoniC.  The annual Formoz Festival, Spring Scream, and Hohaiyan Rock Festival are representative gatherings within Taiwan's indie scene. Of these, Formoz Festival is notable for its international draw, with foreign artists such as Yo La Tengo, Moby, Explosions in the Sky, and Caribou headlining the event, while Spring Scream is the largest local band event, and Hohaiyan draws a mixed crowd of beach side party-goers and music appreciators alike.

Other Taiwanese popular singers/bands include Rainie Yang, Da Mouth, Amber Kuo, A-Lin, Magic Power and much more. The popular culture of the Taiwanese people has also influenced Chinese-speaking populations in other places such as Mainland China, Malaysia and Singapore.

Metal

There are hundreds of metal bands active in Taiwan. Bands such as Chthonic and Seraphim have drawn more attention to the metal scene in Taiwan, with Chthonic in particular attracting attention overseas, performing at European festivals such as Bloodstock Open Air.

Techno
Taiwan has a small techno and house music scene center on Taipei. Most DJs and artists do it on the side rather than as their primary job. Performances often mix music with visual art.

See also
 Performing arts in Taiwan
 Bureau of Audiovisual and Music Industry Development
 Enka
 Hohaiyan Rock Festival
 Hsu Tsang-Houei
 J-pop
 List of best-selling albums in Taiwan
 Mandopop
 Metal bands of Taiwan
 Music of China
 Music of Hong Kong
 Red Envelope Club

References

Bibliography

External links
  Audio clips: Traditional music of Taiwan. Musée d'ethnographie de Genève. Accessed November 25, 2010.

 ISLAND OF SOUND: An Indie Music Resource for Taiwan
 GigGuide Taiwan: A Directory of Live Shows and Reviews of Local Independent Music in Taiwan
Pei-feng Chen, "Images of Multi-colonial Taiwan in Three Types of Enka: Self-reconstruction through Highlighting Differences in Similarities," Taiwan Historical Research, June 2008

Performing arts in Taiwan

Music of Taiwan


The Artois is a luxury car produced from 1948 to 1950 by the French automaker Hotchkiss.

The Artois was presented at the Paris Motor Show in October 1948 as a replacement for the Hotchkiss 864.

Mechanically the car did not represent any great advance. The engine was the 4-cylinder in-line 2312 cc engine from the 864. Claimed power was raised from 58 hp to 70 hp, however, presumably reflecting the higher compression ratios made possible with the slow reappearance of higher octane fuels after the Second World War.

In addition, a 6-cylinder 3485cc-engined version was offered, using the engine from the company's 620 and 866 models, but with stated power output reduced from 125 hp to 110 hp in order to avoid competing too directly with the more expensive models.

The stated top speed was 120 km/h (75 mph) for the four-cylinder car and 140 km/h (91 mph) for the six-cylinder model.

Independent front suspension represented an advance over the rigid front axle arrangement of the predecessor model.

Visually the Artois was almost indistinguishable from the Hotchkiss 864 until 1949 when the car underwent a minor facelift which involved repositioning the lights at the front of the car.

In 1950 the Artois was replaced by the modernized Hotchkiss Anjou and the innovative, front-wheel drive Hotchkiss Grégoire.

References

 This entry is based on the Italian Wikipedia entry concerning the same car.

Artois
Sedans
Rear-wheel-drive vehicles
Cars introduced in 1948

Hotchkiss Artois


Chief Sunday Adeniyi Adegeye  (born 22 September 1946), known professionally as King Sunny Adé, is a Nigerian jùjú singer, songwriter and multi-instrumentalist. He is regarded as one of the first African pop musicians to gain international success, and has been called one of the most influential musicians of all time.

Sunny Adé formed his own backing band in 1967, eventually known as his African Beats. After achieving national success in Nigeria during the 1970s and founding his own independent label, Sunny Adé signed to Island Records in 1982 and achieved international success with the albums Juju Music (1982) and Synchro System (1983); the latter garnered him a Grammy nomination, a first for a Nigerian artist. His 1998 album Odu also garnered a Grammy nomination. Sunny Adé currently serves as chairperson of the Musical Copyright Society of Nigeria.

Early life
Sunny Adé was born in Osogbo to a Nigerian royal family from Ondo and Akure, thereby making him an Omoba of the Yoruba people. His father was a church organist, while his mother, Maria Adegeye (née Adesida), was a trader. As a member of the Adesida dynasty, his mother's relatives included her father Oba Adesida I (who ruled Akure for 60 years) and would later include her nephew and Adé's cousin, Oba Adebiyi Adegboye Adesida Afunbiowo II, who also served as king of Akure.

Career
Sunny Adé left grammar school in Ondo City under the pretense of going to the University of Lagos. It was thus in Lagos that his eclectic musical career began.

Sunny Adé's musical sound has evolved from the early days. His career began with Moses Olaiya's Federal Rhythm Dandies, a highlife band. He left to form a new band, The Green Spots, in 1967. Over the years, for various reasons ranging from changes in his music to business concerns, Sunny Adé's band changed its name several times, first to African Beats and then to Golden Mercury.

King Sunny Ade was influenced by Juju pioneer Tunde Nightingale and borrowed stylistic elements from his 'So wa mbe' style of juju.

He founded the King Sunny Ade Foundation, an organization that includes a performing arts center, a state-of-the-art recording studio, and housing for young musicians.

He is a visiting lecturer at the Obafemi Awolowo University, Ile-Ife and recipient of the Order of the Federal Republic.  He is the first Nigerian ever to be nominated for the Grammys

Stage performances
After more than a decade of resounding success in his native Nigeria, Sunny Adé was received to great acclaim in Europe and North America in 1982. The global release of Juju Music and its accompanying tour was "almost unanimously embraced by critics (if not consumers) everywhere". Sunny Adé was described in The New York Times as "one of the world's great band leaders", in Record as "a breath of fresh air, a positive vibration we will feel for some time to come" and in Trouser Press as "one of the most captivating and important musical artists anywhere in the world". Sunny Adé's stage show was characterized by top musicianship, highlighted by his mastery of the guitar, and dexterous dancing. The live performances were also usually significantly longer than the two hours or less that had become the norm for concerts in North America and Europe.

His next album, Syncro System (1983), was equally successful, earned him his first Grammy Award nomination in the ethnic/traditional folk recording category, hence making him the first Nigerian Grammy award nominee ever

On 16 July 2017, King Sunny Ade announced that he would be returning to stage in London alongside his rival act Ebenezer Obey for a musical comeback themed A Night 2 Remember with the Legends

In 2017, he was appointed ambassador for the "Change Begins With Me" campaign by the Nigerian minister of Information Lai Mohammed.

A fusion of sounds
Sunny Adé's music is characterised by, among other instruments, the talking drum – an instrument indigenous to his Yoruba roots, the guitar and his peculiar application to jùjú music. His music is in the age-old tradition of singing poetic lyrics ("ewi" in Yoruba) and
praise singing of dignitaries as well as components of Juju (traditional African belief) called the Ogede (casting of spells). Hence, Sunny Adé's music constitutes a record of the oral tradition of his people for posterity.

Sunny Adé introduced the pedal steel guitar to Nigerian pop music. He introduced the use of synthesizers, clarinet, vibraphone, tenor guitar into the jùjú music repertoire such as dub and wah-wah guitar licks. Sunny Adé said he used these instruments not as an attempt to innovate, but as a substitute for traditional jùjú instruments which were too difficult to find and/or impractical for touring. The pedal steel guitar, for instance, was added to his repertoire as a sound-alike for an African violin.

Sunny Adé with his band invented his unique sound and instrumental which he mostly uses as an entrance song during live performances. The sound was made with a phalanx of electric guitars that functions like a percussion section and talking drums that sound like a gossipy Greek chorus.

Island Records
After the death of Bob Marley, Island Records began looking for another third world artist to put on its contract, while Fela Kuti had just been signed by Arista Records. Producer Martin Meissonnier introduced King Sunny Adé to Chris Blackwell, leading to the release of Juju Music in 1982. Robert Palmer claims to have brought King Sunny Adé to Island's attention, his familiarity being from his life on Malta in the 60s listening to African Radio and Armed Forces Radio. Sunny Adé gained a wide following with this album and was soon billed as "the African Bob Marley".

Sunny Adé has said that his refusal to allow Island to meddle with his compositions and over-Europeanise and Americanise his music were the reasons why Island then decided to look elsewhere.

Collaborations
Sunny Ade has collaborated with major artists such as Manu Dibango (Wakafrika) and Stevie Wonder (who played harmonica on Aura), as well as younger Nigerian artists such as Wasiu Alabi Pasuma and Bola Abimbola.

Sunny Adé's brief period of recordings with Island Records opened the floodgates for other world music artists like Senegalese Youssou N'Dour, Mali's Salif Keita and many others.

Later career

1987 comeback
In 1987, Sunny Adé returned to the international spotlight when Rykodisc released a recording of a live concert he did in Seattle.

He soon employed an American manager, Andrew Frankel, who negotiated another three-album record deal with the Mesa record label (a division of Paradise Group) in America. One of these albums was 1988's Odu, a collection of traditional Yoruba songs, for which he was nominated for the second Grammy Award and thus making him the first African to be nominated twice for a Grammy. Apart from being an international musician Sunny Adé is also prominent in his native Nigeria, running multiple companies in several industries, creating a non-profit organisation called the King Sunny Adé Foundation, and working with the Musical Copyright Society of Nigeria.

In recent times, hip hop music appears to be holding sway with the electronic media in Nigeria with massive airplay. Nonetheless, Sunny Adé's musical output has continued to inspire a vast generation of other Nigerian musicians, who believe in the big band musical set up which Sunny Adé and late Fela Kuti are noted for. The musician Lagbaja is one of the many musicians whom Sunny Adé's music has inspired. In 2008, his contributions to world music were recognised; as he was given an award for his outstanding contribution to world music at the International Reggae and World Music Awards held at the Apollo Theater in Harlem, New York.

2009 comeback
At the beginning of another round of tour of the United States and Canada, Sunny Adé, now known as The Chairman in his home country, was appointed a visiting professor of music at the Obafemi Awolowo University in Ile-Ife. In July of that same year, King Sunny Adé was inducted into the Afropop Hall of Fame, at the Brooklyn African Festival in the United States. He dedicated the award to Michael Jackson.

Acting career
In the 1980s, Sunny Adé did some work in Hollywood. His music was featured in the 1983 film Breathless, starring Richard Gere, and the 1986 comedy One More Saturday Night, and he acted in Robert Altman's 1987 comedy O.C. and Stiggs. He featured in a few Nollywood movies in the early 2000s.

Awards
Sunny Adé has received numerous awards during his career. In November 2016 he became a recipient of the AFRIMA award. In December 2016 he was inducted into Hard Rock Cafe hall of fame.
 He was inducted into the Headies Hall of Fame at The Headies 2020 in February 2021.

Filmography

Discography

References

Nigerian male musicians
Musicians from Ondo State
Yoruba musicians
Island Records artists
Wrasse Records artists
World music musicians
Nigerian bandleaders
1946 births
Living people
20th-century Nigerian musicians
Yoruba-language singers
Yoruba royalty
Musicians from Osogbo
20th-century male musicians
Provogue Records artists

King Sunny Adé


[[File:Paranthropus aethiopicus.JPG|thumb|250px|Paranthropus aethiopicus sagittal crest on top of the head]]

A sagittal crest''' is a ridge of bone running lengthwise along the midline of the top of the skull (at the sagittal suture) of many mammalian and reptilian skulls, among others. The presence of this ridge of bone indicates that there are exceptionally strong jaw muscles. The sagittal crest serves primarily for attachment of the temporalis muscle, which is one of the main chewing muscles. Development of the sagittal crest is thought to be connected to the development of this muscle. A sagittal crest usually develops during the juvenile stage of an animal in conjunction with the growth of the temporalis muscle, as a result of convergence and gradual heightening of the temporal lines.

Function
A sagittal crest tends to be present on the skulls of adult animals that rely on powerful biting and clenching of their teeth, usually as a part of their hunting strategy. Skulls of some dinosaur species, including tyrannosaurs, possessed well developed sagittal crests. Among mammals, dogs, cats, lions, and many other carnivores have sagittal crests, as do some leaf eaters, including tapirs and some apes.

Apes and hominins
Sagittal crests are found in robust great apes, and some early hominins (Paranthropus). Prominent sagittal crests are found among male gorillas and orangutans, but only rarely occur in male chimpanzees such as Bili apes.

The largest sagittal crest ever discovered in the human lineage belongs to the "Black Skull", Paranthropus aethiopicus field number KNM WT 17000, the earliest known robust hominid ancestor and the oldest robust australopithecine discovered to date.  The prominence of the crest appears to have been an adaptation for the P. aethiopicus' heavy chewing, and the Black Skull's cheek teeth are correspondingly large. Smaller sagittal crests are also present on the skulls of other Paranthropines, including Paranthropus boisei and Paranthropus robustus.

The shrinking of the sagittal crest in human ancestors was widely attributed to a growing brain and shrinking teeth. However, it was discovered in 2004 by a group of researchers led by Dr. Hansell Stedman, that a frameshift mutation shrank the individual muscle fibers of the temporalis muscle, which attached to the sagittal crest. This was believed to have allowed brain size to increase, since the crest was no longer strictly necessary, but a later paper from 2017, led by researchers from George Washington University, found that the increase in brain size and reduction of tooth size were not linked, as originally hypothesized.

See also
 Mountain gorilla
 Paranthropus aethiopicus'' (The Black Skull)
 Sagittal Keel

References

External links
 "Black Skull" (Australopithecus aethiopicus, specimen KNM-WT 17000) —ArcheologyInfo.com

Skull

Sagittal crest


Joanna Painter (Fox) Waddill (September 24, 1838 – January 3, 1899) was a nurse assisting wounded and ill Confederate soldiers during the American Civil War. She became celebrated as the "Florence Nightingale of the Confederacy" for her humanitarianism.

Life
Joanna Fox was born in Bristol, Pennsylvania, to James C. Fox and his wife Catherine Bessonett. Fox was a brickmason who moved his family to the Mississippi River port city of Natchez, Mississippi, when Joanna was a baby.

Fox was 22 years old when the Civil War erupted in early 1861. She and two other Natchez ladies traveled to the front lines to serve as volunteer nurses in such places as Mississippi, Alabama, Georgia, and Tennessee. When the Union Navy captured Natchez as they advanced toward Vicksburg, Mississippi, Fox hid a Confederate flag under her petticoat to prevent its capture.

Near the end of the war, Fox became the matron of the Confederate hospital in Meridian, Mississippi. There, she met Louisiana druggist George D. Waddill while they both tended sick and dying Confederate soldiers. The couple were married in Lauderdale, Mississippi (near Corinth) on September 26, 1864.

The couple moved to Baton Rouge, Louisiana, where they operated a drugstore for many years. She became active in the Confederate Memorial Association and other societies.

Waddill and her husband are buried in Magnolia Cemetery at Baton Rouge. Ironically, the cemetery was in the middle of the Battle of Baton Rouge.

The Joanna Waddill Camp #294 of the Daughters of the Confederacy is named in her honor. It is active in local Civil War memorialization.

References

1838 births
1899 deaths
People from Bristol, Pennsylvania
People of Mississippi in the American Civil War
People from Natchez, Mississippi
People from Baton Rouge, Louisiana
American Civil War nurses
American women nurses

Joanna Fox Waddill


House Calls is 2006 Canadian documentary film about Mark Nowaczynski, a Toronto physician and photographer who makes house calls to elderly patients unable to travel to a clinic or doctor's office. Written and directed by Ian McLeod, this National Film Board of Canada production received the Donald Brittain Award for Best Social/Political Documentary Program at the 2006 Gemini Awards.

In addition to being one of the few doctors who perform house calls, "Dr. Mark" began taking black and white photographs to document the lives of his patients, in an effort "to open doors, to open eyes and hopefully to open people's hearts" to the plight of the elderly. The film focuses on three of Nowaczynski's patients: Connie, aged 93 and partially blind, who longs to go back to her cat Oscar; Joe, aged 86, whose arthritis makes getting on a streetcar or bus impossible; and Ria, who at 90, had been a patient of Dr. Nowaczynski for 20 years and had just accepted his offer to have him come to her house. For Ria, it was a point of pride that she was able to come to his office.

An Assistant Professor in the Department of Family and Community Medicine at the University of Toronto Faculty of Medicine, Nowaczynski was inspired by the work of documentary photographer Lewis W. Hine, a teacher who turned to photography as a way to document the plight of child labourers at the turn of the 19th century.

References

External links
Watch House Calls at NFB.ca
 Website for Mark Nowaczynski's organization

2006 films
Canadian documentary films
National Film Board of Canada documentaries
Canadian Screen Award-winning television shows
Documentary films about health care
English-language Canadian films
Documentary films about photographers
Documentary films about old age
2006 documentary films
Documentary films about people with disability
Films shot in Toronto
2000s English-language films
2000s Canadian films
English-language documentary films

House Calls (2006 film)


The European Convergence and Implementation Plan (ECIP) is a plan developed by EUROCONTROL with common actions to be implemented by the participated states in order to improve Air Traffic Management (ATM) services within the period stipulated. Activities relate to all aspects of the ATM domain such as airspace organization and management, aeronautical information systems (AIM), safety regulation and environment.

The ECIP document is used as a medium-term planning tool for the stakeholders that focuses on necessary changes over the next five to seven years.

The ECIP has been replaced by ESSIP.

External links
 Content of the European Convergence and Implementation Plan (ECIP)
 Content of the ESSIP Plan
 Content of the ESSIP Report

Air traffic control in Europe

ECIP


Legends of Chima is an Canadian computer-animated television series based on the Legends of Chima LEGO sets. It is shown on Cartoon Network. It is about a young lion warrior named Laval who is part of the Lion Tribe. He teams up with other good tribes to go on epic quests and defeat evil tribes. The show has 3 seasons, with a total of 41 episodes.

Cast
David Attar as Cragger, Lennox, Rogon, Ripnik, Reegull, Stealthor
Bethany Brown as Eris, Crooler, Spinlyn, Rinona, Wonald
Matt Cronander as Willhurt, Ewar, Elon
Bill Courage as Crominus, Lagravis, Longtooth, Lavertus, Mottrot
Chris Durchand as Dom De La Woosh, Sir Fangar, Strainor
Jesse Inocalla as Plovar, Grumlo, Runk, Sparracon, Fluminox
Meghan Kinsley as Crunket, G'Loona, Windra, Li'ella, Maula
John Nelson as Wakz, Crug, Balkar, Rukus, Flinx
Michael Patric as Gorzan, Scorm, Mungus, Voom Voom, Eglor
Scott Shantz as Laval, Worriz, Skinnet, Furtivo, Razcal, Sparratus, Scolder, Scutter, Lundor, Vardy, Firox
Jeff Evans Todd as Razar, Bladvic, Crawley, Winzar, Leonidas, Equila, Ewald
Adam White as Foltrax, Vornon
Dave Pettitt as Tormak

Cartoon Network series
2013 Canadian television series debuts
2014 television series endings

Legends of Chima


Redhill is a small community in Nottinghamshire, England. It is part of the bigger town of Arnold. Redhill is about 4 miles north of the city of Nottingham in the borough of Gedling.
The area has a population of approximately 2,000 people.

Villages in Nottinghamshire

Redhill, Nottinghamshire


The  was an infantry division in the Imperial Japanese Army. Its tsūshōgō code name was the , and its military symbol was 13D. The 13th Division was one of four new infantry divisions raised by the Imperial Japanese Army (IJA) in the closing stages of the Russo-Japanese War 1 April 1905, after it turned out what the entire IJA was committed to combat in Manchuria, leaving not a single division to guard the Japanese home islands from attack.

Action

Russo-Japanese War
The 13th Division was initially raised in Takada city in now Jōetsu, Niigata from men in Niigata Prefecture under the command of Lieutenant General Haraguchi Kensai. It was given the independent assignment of occupying Sakhalin before the conclusion of the Portsmouth Treaty, landing on Sakhalin on 7 July 1905, only three months after being formed, and securing the island by 1 August 1905. As a result of its successful operation, Japan was awarded southern Karafuto during the Portsmouth Treaty, one of Japan's few territorial gains during the war.

Interwar period
The division returned on 6 November 1908 to its original divisional headquarters located in Takada, Niigata prefecture. Future Chinese premier Chiang Kai-shek served in the field artillery battalion of the 13th Division while it was based at Takada. Also while at Takada, under the command of Lieutenant General Gaishi Nagaoka, a military advisor from the Empire of Austria-Hungary, Theodor Edler von Lerch, was invited to teach mountain warfare and skiing to the troops of the IJA 58th Infantry Regiment in Takada under the 13th Division in early 1911.

On 12 April 1913, the division was ordered to Liaoyang in Manchuria, where it remained until 3 June 1915 on garrison duty under the command of Lieutenant General Akiyama Yoshifuru before returning to Takada. After a brief period on garrison duty in Korea, the 13th Division was one of the divisions selected to participate in the Japanese intervention in Siberia in 1920. The 13th division of that period specialized in winter warfare, with all infantry on skis.

However, on 1 May 1925, it was dissolved by Minister of War Ugaki Kazushige as part of a cost-saving measure during the Kato Takaaki administration, together with the 15th, 17th and 18th divisions.

Second Sino-Japanese War
In July 1937, open hostilities broke out against China and the Second Sino-Japanese War commenced.  The 13th Division was re-established in Sendai on 10 September 1937 as a triangular division, out of the reserve forces of the IJA 2nd Division, and ordered to China 11 September 1937 together with 9th division and 101st division. Under the command of Lieutenant General Rippei Ogisu, it was assigned to Shanghai Expeditionary Army and saw combat during the Battle of Shanghai and Battle of Nanjing, although as a reserve force it was not present at the subsequent Nanjing Massacre. It came under the control of the Central China Expeditionary Army from February 1938, the 13th Division it was at the Battle of Xuzhou, and as part of the Japanese Second Army from July 1938, it was at the Battle of Wuhan under the command of Lieutenant General Shizuichi Tanaka.

From November 1938, the 13th Division was assigned to the Japanese Eleventh Army and remained in China throughout the Pacific War, participating in numerous campaigns and battles, notably the Battle of Zaoyang–Yichang, Battle of West Hubei and Battle of Changde. A particularly heavy Chinese attacks in Yichang were repulsed in October 1941 with the extensive use of chemical weapons by 13th division. In December 1942, the 58th infantry regiment was transferred to the 31st division, and 13th division has become a triangular division.
It was also part of Operation Ichi-Go (the Battle of Henan-Hunan-Guangxi). In the final stages of the campaign 1 November 1944, the 13th division has captured two airstrips at Guilin airbase. Later it was used to secure the front on the west of Liuzhou, between 3rd division to the south and 58th division to the north-east. 18 April 1945, it was assigned to directly to the China Expeditionary Army together with 3rd division and was retreating toward Nanjing. The capitulation of Japan 15 August 1945 has happened while the 13th division was in Changsha, Hunan Province.

Although there were plans to send the 13th Division to Guam in September 1943 to counter the threat posed by the United States in the Pacific War, only a 300-man detachment was sent.

See also
 List of Japanese Infantry divisions

Notes

References

 Madej, W. Victor. Japanese Armed Forces Order of Battle, 1937-1945 [2 vols] Allentown, PA: 1981
 This article incorporates material from the Japanese Wikipedia page 第13師団 (日本軍), retrieved 16 February 2016

Japanese World War II divisions
Infantry divisions of Japan
1905 establishments in Japan
1945 disestablishments in Japan
Military units and formations established in 1905
Military units and formations disestablished in 1925
Military units and formations established in 1937
Military units and formations disestablished in 1945

13th Division (Imperial Japanese Army)


Nordic Music Days is a festival for new Nordic music that was founded in 1888 and has a long history of musical collaboration. It is considered one of the oldest festivals for contemporary classical music globally. What sets this festival apart is that it is organized by the composers themselves.

Every year, a member of the national societies of composers takes on the responsibility of arranging the festival on behalf of the Council of Nordic Composers.

History
Since the mid-nineteenth century, regular song festivals have been organized, bringing together choirs from across the Nordic region. These festivals had a distinctively "national" repertoire, reflecting the desire to express each country's unique cultural identity. In 1929, a notable joint activity took place, where a choir of 1000 singers performed the Nordic cantata "Song of the North," composed collaboratively by five composers, each representing a Nordic country. These song festivals continued until the first half of the twentieth century.

The inaugural "Nordic Music Days" took place in Copenhagen in 1888, with a primary focus on instrumental and orchestral music. It served as a platform for Nordic composers to have their works performed, featuring compositions from Denmark, Norway, Sweden, and other countries in seven large-scale choral and orchestral concerts.

Subsequent festivals were held in Stockholm in 1897 and in 1919, once again in Copenhagen, where renowned conductors such as Carl Nielsen, Jean Sibelius, Wilhelm Stenhammer, and Johan Halvorsen participated. Helsinki hosted the festival for the first time in 1921, followed by Stockholm in 1927, Helsinki again in 1932, and Oslo in 1934. The Copenhagen festival in 1938 was the last one held before the outbreak of World War II.

After the war, the Nordic composers' societies united to form the Nordic Council of Composers, which assumed primary responsibility for the Nordic Music Days in 1946. Since 1948, the festival has been held biennially, rotating among the Nordic capitals. Until the 1970s, the repertoire focused exclusively on Nordic compositions. From 1974 to 1982, the festival introduced a "guest country" concept, inviting composers and works from Poland (1974), Canada (1976), the German Democratic Republic (1978), the United Kingdom (1980), and France (1982). Subsequently, the festival returned to its exclusive dedication to new Nordic music.

References

External links

Music festivals staged internationally
Music festivals in Norway
Music festivals in Sweden
Music festivals in Finland
Music festivals in Denmark
Music festivals in Iceland
Classical music festivals in Norway
Classical music festivals in Sweden
Classical music festivals in Finland
Classical music festivals in Denmark
Classical music festivals in Germany
Classical music festivals in Iceland
1888 in music
Festivals established in 1888
Music festivals established in the 19th century
Contemporary classical music festivals
1888 establishments in Denmark

Nordic Music Days


Ashot III (, Asotios; Arabic: Ashūṭ ibn Ghirghūr and Ibn Ṭurnīq; ) was the last independent ruler of the southern Armenian region of Taron from  until his death in 967.

Ashot was a natural son of Grigor I of Taron and half-brother of Bagrat II of Taron. The family were a branch of the Bagratid dynasty. Little is known about his early life. According to the De administrando imperio of the Byzantine emperor Constantine VII Porphyrogennetos (), in his youth he visited Constantinople and received the title of protospatharios, an event dated by the historian and genealogist Cyril Toumanoff to . A second visit, dated by Toumanoff to , resulted in the award of the title of patrikios. After Grigor I's death (sometime between 923 and 936), Ashot and his half-brother Bagrat assumed the rulership, but their power was limited to only part of Taron: about a half was controlled by their cousin Tornikes, the son of their uncle Abu Ghanim, who also held the title of patrikios. A struggle erupted between the cousins, forcing Tornikes to will his lands over to the Byzantine emperor, Romanos I Lekapenos (). When Tornikes died, Romanos sent envoys to take over the territories promised, but Ashot and Bagrat managed to persuade the emperor to leave Tornikes'  lands to them in exchange for the fortress of Olnutin.

By 940, Bagrat II had died and Ashot reigned as sole prince of Taron. In that year, the Hamdanid prince Sayf al-Dawla invaded Armenia. The Arab historian Ibn Zafir records that Sayf al-Dawla devastated Taron and besieged its capital, Mush. Eventually Ashot—whom Ibn Zafir calls the "King of Armenia and Georgia"—was compelled to do him homage, surrender the towns of Sasun and Qulb, and acknowledge his suzerainty at Tadvan near Lake Van. Ashot continued to rule over Taron until his death in late summer or early fall of 967 (dated by some earlier historians to 966). After his death, his sons Grigor and Bagrat surrendered the principality to the Byzantines and entered Byzantine service themselves, founding the noble family of the Taronitai.

References

Sources

967 deaths
10th-century Armenian people
Princes of Taron
Bagratuni dynasty
Patricii
10th-century monarchs in the Middle East
Year of birth uncertain
Protospatharioi

Ashot III of Taron