Ein Feshkha (, also Ain Al-Fashka) or Einot Tzukim () is a 2,500 ha nature reserve and archaeological site on the north-western shore of the Dead Sea, about 3 km south of Qumran in the West Bank. It is located just north of the headland Râs Feshkhah, the "headland of Feshkhah". Within the reserve is a group of springs of brackish water. The nature reserve consists of an open section with pools of mineral water for bathing surrounded by high foliage and a section that is closed to visitors to protect the native flora and fauna.

Etymology
'Ain el-Feshkhah means "the spring of el-Feshkhah", Feshkhah being either a personal name, or a word with no meaning.

Exploration history

In 1838, Edward Robinson noted that the temperature of the spring was 80°. He also saw the "foundations of a small square tower and of other small buildings" near the fountain. He further noted a couple of ravens and a small hawk, and his guides killed a large (3 feet, 8 inches) lizard of the Lacerta Nilotica species.

In 1847 William F. Lynch visited the place, and described the stream as: "The fountain is a shallow and clear stream of water, at the temperature of 84°, which flows from a cane−brake, near the base of the mountain. It is soft yet brackish, and there is no deposit of silicious or cretaceous matter, but it has a strong smell of sulphur." He further "made an excursion along the base of the mountain, towards Ras es Feshkhah (cape of the stride), and gathered some specimens of conglomerate and some fresh−water shells in the bed of the stream. We were struck with the almost absence of round stones and pebbles upon the beach −the shore is covered with small angular fragments of flint. Started two partridges of a beautiful stone−colour, so much like the rocks, that they could only be distinguished when in  motion. Heard the notes of a solitary bird in the cane−brake, which we could not identify. The statement that nothing can live upon the shores of the sea, is, therefore, disproved. The home  and the usual haunt of the partridge may be among the cliffs above, but the smaller bird we heard must have its nest in the thicket."

In 1851 de Saulcy noted extensive ruins north of the spring.

Around 1860 Henry Baker Tristram visited, and noted: "Our prospects at Ain Feshkhah seemed as bright as at Jericho, and we were already prepared to pronounce the  Dead Sea shore to be the shore of charmed life. Water, vegetation, birds and beasts, geology, and hot baths −everything was in abundance. The poor fountain has had, methinks, rather scurvy treatment at the hands of its biographers. [...] Perhaps our tastes were vitiated, or perhaps after the recent rains the mineral element was unusually diluted; but though the spring itself had  a temperature of 82° Fahr. we found it tolerable. It made good tea and coffee, though with a slight flavour of soda, and we had no hesitation in determining to spend two days by its reeds."

In 1883,  the Palestine Exploration Fund's (PEF) Survey of Western Palestine (SWP) noted: "In the neighbourhood of the Dead Sea there are also two springs of importance. The largest of these is 'Ain Feshkhah, near which is the little spring called 'Ain et Tannur. The water comes out from beneath the cliffs into a pool surrounded with canes, and runs over a shingly bed in several streams into the Dead Sea. The supply is copious and perennial, but has a slightly brackish taste and sulphurous smell. The colour in the pool is a deep green blue."

PEF rock: Dead Sea level reference line
In October 1900, R. A. Stewart Macalister found a suitable rock towards the southern end of 'Ain Feshkah's reeds area, next to the Dead Sea shore and standing some 20 ft above the water. A second boulder underneath the first offered a ledge to stand on. He had brought with him a stonemason from Jericho, who carved an 8-9 inches long line into the rock face which was to be used for reference, and the initials "PEF" beneath it. It became known as the PEF rock. Macalister undertook a first measurement and noted that the line stood at exactly 14 ft above the water. Macalister's reference line was then used until 1913 by the PEF researcher, E. W. G. Masterman (1867-1943), who came down from Jerusalem for rigorous biannual measurements. Long-forgotten, it was rediscovered after the Six Day war by Israeli geographer and cultural researcher, Zev Vilnay.

Nature reserve

According to ARIJ, in 1969 Israel confiscated 97 dunams of land from the Palestinian village of al-Ubeidiya in order to establish the nature reserve of 'Ayn Fashkhah.

The saline wetlands of Ein Feshkha  are the only known place in the world where populations of Blue and Dead Sea killifish (Nevit Hula and Nevit Yam Hamelakh) live side by side. The Israel Nature and Parks Authority and the Israeli Ministry of Agriculture are constructing pools in the area to preserve these native fish. Two of the pools are complete and are now populated by tens of thousands of fish. Measures are also being taken to preserve the tilapia population.

Enot Tsukim is divided into three sections: the northern "closed reserve," the central "visitors reserve," and the southern "hidden reserve." The closed reserve is only open to scientists by special invitation. This section covers approximately 2,700 dunams. The 500-dunam visitors reserve features wading pools filled with natural spring water. Due to ecological concerns, the hidden reserve is closed to the public apart from tours on Fridays.

Important Bird Area
The nature reserve has been recognised as an Important Bird Area (IBA) by BirdLife International because it supports populations of griffon vultures, Dead Sea sparrows and cinereous buntings.

Archaeology

Excavations at Ein Feshkha were conducted by Roland de Vaux of the Ecole Biblique in 1956 and 1958. Hirschfeld excavated the site in 2001.

Iron Age findings
The earliest structure at the site, located south of the spring, was an Iron Age II fort, constructed at a similar time to the earliest structures at Qumran and down the Dead Sea coast.

Herodian complex
De Vaux showed that the Ein Feshkha complex was contemporary with the settlement at Qumran and theorized that they were inhabited by the same community and, while he dated traces to the period from 100 to 31 BCE, both Magness and Hirschfeld have concluded that the complex was Herodian, i.e. dates after 37 BCE.

The complex is composed of a main building (24m by 18m) with central courtyard, an industrial installation with two plastered basins to its northeast and what appear to be stables to its west. The entrance was through two doors, side-by-side, to the east. There is a staircase in the southeast corner of the building, showing that there was an upper story.

The spring at Ein Feshkha is now located 100 meters south of the main building found by de Vaux and at least 3 meters lower. In ancient times a spring, now dried up, just north of the main building supplied water. This ancient spring being several meters higher suggests that it was sweet, not brackish. A channel brought water from the spring through the wall to the north into a small rectangular tank on to each of the two basins. The purpose of this installation is unknown. It may have served as part of a tannery or for raising fish. More recent analyses suggest it may have been used in indigo manufacturing, date-wine preparation, date-honey production or opobalsam preparation.

Other discoveries
Other discoveries at Ein Feshkha include a sizable vase from the first century BCE or CE with an inscription written in Hebrew/Aramaic using the Jewish script and a stone weight dating to the fifth year of king Agrippa, most likely Agrippa I.

See also
 Qumran Caves
 National parks and nature reserves of Israel

References

Bibliography

 Barag, Dan, "Ein-Feshkha" in Encyclopedia of the Dead Sea Scrolls Vol.1, Edd. Schiffman, L., VanderKam, James C. (Oxford: OUP, 2000) p. 237–238.
 Bélis, Mirielle, "The Workshops at ʿEin Fashkhah: A New Hypothesis," in:  Humbert, J.-B., J. Zangenburg, and K. Galor (eds.), The Site of the Dead Sea Scrolls: Archaeological Interpretations and Debates (Leiden: Brill, 2006), (pp.   253- 262)

 de Vaux, R., "Fouilles de Feshka, Rapport preliminaire." Revue Biblique 66 (1959), 225–255.
 Hirschfeld, Y., Qumran in Context: Reassessing the Archaeological Evidence, (Peabody, MA: Hendrickson, 2004). Ch. 4, pp. 183–209.

 Magness, J., Archaeology and the Dead Sea Scrolls (Grand Rapids: Eerdmans, 2002). Ch. 10, pp. 210–217.
 Netzer, E., Did Any Perfume Industry Exist at ʿEin Fashkhah? in: Israel Exploration Journal, 55 (2005), 97–100.

 Taylor, J., "Ein Fashkha", pp. 255–256, Vol. 6, of Encyclopaedia Judaica, Edition 2 (Macmillan Reference, 2006)

External links
 Israel Nature & Parks Authority page on Ein Feshkha
 Ein Fashkhah, Thomson Gale, 2007
 Survey of Western Palestine, Map 18:   IAA, Wikimedia commons

Jews and Judaism in the Roman Republic and the Roman Empire
Archaeological sites in the West Bank
Dead Sea Scrolls
Former populated places in Southwest Asia
Nature reserves in Palestine
Nature reserves in Israeli-occupied territories
Qumran
Important Bird Areas of the State of Palestine

Ein Feshkha


Thomas Hackett (14 June 1869 – 9 May 1950) was a British co-operative activist and politician.

Born in Smethwick, Hackett left school at the age of thirteen and completed an apprenticeship in engineering. In 1892, he began working at Cadbury's, when he was promoted to night foreman, and then works foreman. He also joined the Ten Acres and Stirchley Co-operative Society, becoming a director in 1894, and served as president from 1923-1946.

Hackett joined the Labour Party, and was elected to Birmingham City Council in 1913, representing Rotton Park. He registered as a conscientious objector during World War I, which his opponents made a central issue when he stood at the 1918 general election. He contested Birmingham King's Norton for the Birmingham and District Co-operative Representation Council, and with the support of the Labour Party. He finished in second place with a 35.8% share of the vote.  The council subsequently became the Birmingham branch of the Co-operative Party, and Hackett chaired the branch for four years from 1919.

In 1920, Hackett was re-elected to the council, now representing Northfield, and became an alderman in 1941, but finally lost his seat in 1949. In his spare time, he was a tutor for the Workers' Educational Association, and chairman and founder of the Brynmawr and Clydach Valley Industries (Public Utility Society).

References

1869 births
1950 deaths
Co-operative Party politicians
Councillors in Birmingham, West Midlands
Labour Party (UK) councillors
People from Smethwick

Thomas Hackett (British politician)


帕帕斯朵爾(Papa Stour),又譯帕帕斯土島,是蘇格蘭的島嶼,位於大西洋海域,屬於昔德蘭群島的一部分,長5.4公里、寬3公里,面積8.28平方公里,最高點海拔高度86米,海岸線長度34公里,2001年人口23。

外部連結
Review of book on the 1299 manuscript
Photos and Information on Papa Stour as gathered by Conrad
Papa Stour - History and detailed map
Papa Stour - Area Guide
Papa Stour, The Papar Project
Shetland Museum. The archives include images of Da Horn o Papa before its collapse.
A web diary about life on Papa Stour today
Papa Stour 21st Century  - a blog with information for visitors and people considering a move to the island

蘇格蘭島嶼

帕帕斯朵爾


Sarita Violeta Francis,  (born 11 September 1953) is the Director of the Montserrat National Trust.

She was formerly a teacher and has held numerous governmental posts, including serving as a Minister in the Ministry of Agriculture, the Director of Housing, and the Chief Establishment Officer.

Francis was appointed the first female Deputy Governor of Montserrat in 2009. She was also honored with the Order of the British Empire in 2012.

Biography
Sarita Violeta Francis was born in Montserrat on 11 September 1953. In 1972, she became a teacher of geography and social studies. In 1992, she was appointed as senior teacher and vice principal of the Salem Campus of the Montserrat Secondary School.

In 1993, Francis was charged with development of an environmental education strategy for the country, taking an appointment with the United Nations Development Programme. The following year, she began working with the Montserrat National Trust as Environmental Educator. Beginning in 1997, Francis appointed to the Ministry of Agriculture and then in 1999 became the first Director of Housing. Three years later, she was promoted to serve in the Office of the Chief Minister as Permanent Secretary. After six years, in 2007, Frances became the permanent Secretary of Administration and then later that same year became the first Chief Establishment Officer of Montserrat.

On 15 October 2009 Francis became the first woman Deputy Governor of Montserrat. In March, 2011, she became acting governor, when Peter Andrew Waterworth stepped down as governor. She served as acting head of state through April, when the governor's replacement, Adrian Davis, arrived. Francis was honored with the Order of the British Empire in 2012 for her work with the National Trust and later that same year, she stepped down as deputy governor when her replacement Alric Taylor was appointed for the next term.

She has served with the National trust since her original appointment in various capacities for 20 over years, and is the current executive director. The organization strives to protect and preserve the history and culture of Montserrat through a variety of initiatives including annual cultural events, archaeological projects, and an archives digitization project. In 2014, she also became a director of the UK Overseas Territories Conservation Forum which has launched numerous environmental projects on the island including a publication of the bird species on the island.

References

1953 births
Living people
Montserratian politicians
Montserratian people of African descent
Officers of the Order of the British Empire
Montserratian educators

Sarita Francis


The Stadio comunale Carlo Castellani is a multi-purpose stadium in Empoli, Italy.  It is currently used mostly for football matches and the home of Empoli F.C. The stadium holds 16,284.

Built in 1923, the Stadio Carlo Castellani is currently the home of Empoli.

The stadium is located in the sporting district of Empoli on the viale delle Olimpiadi.

Inaugurated on 12 September 1965 the ground was dedicated to Carlo Castellani, former football player born in nearby Montelupo Fiorentino, who died prematurely after being deported to the concentration camp of Mauthausen.

It is formed by two tribune, or grandstands, and two curve with a total capacity of 16,284 spectators. The Curva Sud was recently renovated, with older structures being replaced. The Municipality of Empoli and the Banca di Cambiano have financed the renovations.
The stadium is also equipped with an athletics track for long jump and a running track.

References

Venue
Carlo Castellani
Multi-purpose stadiums in Italy
Empoli
Sports venues in Tuscany
Sports venues completed in 1965
Carlo

Stadio Carlo Castellani


Extreme is an American rock band formed in Malden, Massachusetts, in 1985, that reached the height of their popularity in the late 1980s and early 1990s. They have released six studio albums, two EPs (in Japan) and two compilation albums since their formation. The band was one of the most successful rock acts of the early 1990s, selling over 10 million albums worldwide.

Extreme achieved their greatest success with their 1990 album Pornograffitti, which peaked at number 10 on the Billboard 200, and was certified gold in May 1991 and double platinum in October 1992. The album featured the acoustic ballad single "More Than Words", which reached No. 1 on the Billboard Hot 100 in the United States.

History

1985–1989: Formation and debut album
Extreme was formed in Malden, Massachusetts, in 1985. Vocalist Gary Cherone and drummer Paul Geary had previously been members of a band called The Dream. Guitarist Nuno Bettencourt was in a band called Sinful, and bassist Pat Badger was playing with a Berklee College-based act called In The Pink. Bettencourt joined the group in 1985, followed by Badger in 1986. The name "Extreme" is a reference to Cherone and Geary's former band, being a homophone of "ex-Dream".

Cherone and Bettencourt began writing songs together and the band performed continuously in the New England area. Extreme grew a large regional following and were named "Outstanding Hard Rock/Heavy Metal Act" at the Boston Music Awards in 1986 and 1987.

The band had accumulated several original songs by the time A&R director Bryan Huttenhower signed them to A&M Records in 1987 (which was soon sold to PolyGram in 1988). The band recorded their self-titled debut album which was issued in March 1989. The first single was "Kid Ego", a song that Cherone would later admit made him cringe. The final track on the album, "Play with Me", was used as the "mall chase" song in the film Bill & Ted's Excellent Adventure.

1990–1993: Pornograffitti, III Sides to Every Story and mainstream success
Sales of Extreme's first record were sufficient to support a second release. Michael Wagener, who had previously worked with Dokken and White Lion, was hired to produce the band's Extreme II: Pornograffitti album in 1990.

The record, which showcased Cherone's lyrics, and Bettencourt's guitar-playing, was a mixture of funk, pop and glam metal sounds. "Decadence Dance" and "Get the Funk Out" were released as singles. "Get the Funk Out" reached No. 19 in the UK charts in June 1991. Neither single was initially successful in the United States, however, and the album had fallen off the charts when A&M sent the third single to a number of US radio stations.

The acoustic ballad "More Than Words" entered the Hot 100 on March 23, 1991, at No. 81. It later became a huge smash, hitting No. 1 on the Billboard Hot 100 in the United States. The subsequent single, "Hole Hearted", another acoustic track, was also successful, rising to No. 4 on the same popular music chart.

The band began recording their third album in 1992. Their appearance at the Freddie Mercury Tribute Concert in April 1992 interrupted the recording sessions, but it gave the band considerable exposure beyond the heavy metal fraternity. By playing a medley at the tribute, as well as "Love of My Life" and "More Than Words" acoustically, Extreme gained a considerable number of fans along with the Queen fan base. At the introductory speech before they played, Brian May noted that they were "possibly more than any other group on this planet, the people that understand exactly what band have been about all these years, and what Freddie was about all these years".

III Sides to Every Story was released on September 22, 1992. The first single from the album, "Rest in Peace", had an accompanying video clip inspired by a film short by the National Film Board of Canada called Neighbours.

1994–1996: Lineup change and Waiting for the Punchline
Prior to the band's appearance at Donington's Monsters of Rock festival in the summer of 1994, Geary left the band to pursue a career in artist management. Mike Mangini succeeded him on drums.

Waiting for the Punchline, the first record to feature Mangini on three tracks (Paul Geary played on the rest of the album before departing), was released on February 7, 1995. The singles "Hip Today", "Unconditionally", and "Cynical" were released, but the album was not a commercial sales success. Extreme disbanded after the tour in 1996, on amicable terms, when Bettencourt decided to leave to pursue a solo career.

1997–2003: First hiatus and Van Halen
On the recommendation of former Extreme manager Ray Danniels, in 1996, Gary Cherone joined one of the world's most successful rock acts, Van Halen. During 1996, Van Halen's fan-base weathered the acrimonious departures of two of rock's most successful lead singers: first David Lee Roth, the band's original frontman (1974-1985), and then Sammy Hagar, who had fronted Van Halen since 1985. Into this fractious, and very public, situation entered Cherone, whom guitarist Eddie Van Halen later called a "musical soulmate". In 1998, the Cherone-fronted Van Halen released Van Halen III.

Van Halen III was a departure for the band—experimental, sometimes acoustic, and socially conscious, lyrically. It bore little resemblance to the band's earlier, riff-driven classic rock.

Van Halen III reached No. 4 on Billboards top 200 album charts, and sold over 500,000 copies in the U.S. alone; however, by Van Halen's standards, it was a failure. All 12 of their previous albums had all sold over two million copies in the U.S. alone, with two selling over ten million in the U.S. alone—and the previous five studio albums had all reached No. 1 on the Billboard 200 album charts. Van Halen's tour was successful; however, not as successful as in previous years.

In late 1999, after Van Halen's second album with Cherone was "sent back" by Warner Bros. Records, Cherone left the band. He later formed Tribe of Judah, which released an album called Exit Elvis in 2002. In 2005, Cherone released a four-song sampler CD, entitled Need I Say More.

In 1997, Nuno Bettencourt released his first solo album titled Schizophonic. In 1998 he formed a group called Mourning Widows who released a self-titled album that year and a follow-up album, Furnished Souls for Rent, in 2000. Following the breakup of that band, he released another solo album under the project name of Population 1 in 2002. Acquiring new members for the tour, he decided to keep the name Population 1 and the first release as a band was a five-song EP entitled Sessions from Room 4 in 2004. They then changed the band's name to DramaGods and created a follow-up CD entitled Love in 2005. Nuno, along with bandmates Kevin Figueiredo and Steve Ferlazzo, then went on to collaborate with Perry Farrell's project Satellite Party.

The Best of Extreme: An Accidental Collocation of Atoms?, a 13-track Extreme "best-of" collection featuring tracks from the first three studio albums, was released in 1998. Extreme – The Collection, a later collection including 15-tracks from the first four studio albums, was released in 2002.

2004–2010: Reformation and Saudades de Rock

Extreme reformed for a short tour in 2004 playing in the Azores (August), in their hometown of Boston at the WAAF anniversary (September 19) as well as a few concerts in Japan (January 2005). After a hiatus during 2005, the band returned in 2006 with the "classic" Pornograffitti lineup to do a small, three-show reunion tour through New England.

In July 2007 Bettencourt quit Satellite Party for the Extreme reunion with Cherone and Pat Badger. On November 26, 2007, the band announced plans for a world tour in the summer of 2008 with King's X as well as a release date for their new album, Saudades de Rock, produced by Bettencourt. Kevin Figueiredo, who played with Bettencourt in DramaGods and Satellite Party, took over drum duties for the band. Original drummer Paul Geary would still remain involved with the band, albeit in a management position. Singles from the album have been available on MySpace including "Star". The album was released on July 28, 2008, in France, August 4, 2008, in Europe, and August 12, 2008, in the United States.

The band then embarked on the Take Us Alive World Tour, supported by King's X in the US and Hot Leg in the UK, with various other dates in Europe and Asia, through all of 2008. In 2009, the band continued to tour, co-headlining the East Meets West Tour with Ratt. The final date of this tour, in their hometown of Boston, Massachusetts, was recorded for the release of the band's first live DVD called Take Us Alive.

2010–2015: Second hiatus, Hurtsmile and other projects
According to a December 2010 interview with Cherone, Extreme had been writing new material for a new album, which they planned - at the time - to release in 2011. Asked in the same interview if the band will produce the new album by themselves or get an outside producer, Cherone replied, "There's talk of a few people. It would be great to get an A-list name. I don't know if that happens. My dream producer would probably be Rick Rubin. Here's a guy that's done Johnny Cash, the Chili Peppers and you know, Neil Diamond." But due to conflicting schedules with Bettencourt supporting Rihanna on her tour during 2011, plans to go into the studio were postponed to 2012.

Also in 2010 rumors started about possible commemorative shows for Extreme II: Pornograffitti, given the 20th anniversary of the record. Finally, in 2012, initially a small string of such shows in Japan had been confirmed, marking the full return of the band's activities after a hiatus when Bettencourt was on tour with Rihanna, as well as other side projects by other members, most notably Cherone's Hurtsmile. Extreme were to tour Australia in April 2013, with Richie Kotzen as support act, but the shows were cancelled due to scheduling conflicts with Rihanna's 2013 North American tour. They then did their first show in Singapore.

2015–present: Six

In a May 2015 interview with Eddie Trunk, vocalist Gary Cherone said that Extreme had been writing and demoing new material for their follow-up to Saudades de Rock, and would enter the studio in the fall to begin recording.

In a September 2016 interview, guitarist Nuno Bettencourt revealed that Extreme had been working on approximately 17 songs for their new album, and added, "We're about 17 songs into it. We're just wrapping them up. We've got to do vocals, some guitar. Slowly but surely." He also stated that the album was expected to be released in early 2017; however, this did not come to fruition and there had been no updates on the album until mid-2022, when Cherone reiterated the album's slow progress in an interview with Eddie Trunk, and described the songs as "some of the best stuff Nuno and [he] have written."

In 2016, the band released Pornograffitti Live 25: Metal Meltdown, an audio/video presentation of its 2015 concert at Las Vegas' Hard Rock Casino.

During the 2017 KISS Kruise, the band invited original drummer Paul Geary to join them on stage to play "Hole Hearted".

In June 2018, Extreme toured Australia with Mr. Big, which marked the latter's first tour of Australia and Extreme's first tour of the continent since 1993. After their Australian tour, they went on to tour Kuala Lumpur, Singapore, Bangkok and Taipei.

Extreme headlined Shirock 2019 alongside Scottish hard rock band Nazareth. On October 19, 2019, the band performed in India in front of over 30,000 fans in Ukhrul.

On February 17, 2023, the band began to release a different teaser each day, to end on February 28. On March 1, 2023, Extreme released the single "Rise" and announced that Six would be released on June 9 of the same year. On April 19, 2023, Extreme released the official videos for "Banshee" and "#Rebel" on their YouTube channel.

Personnel

Current members
Gary Cherone – lead vocals (1986–96, 2004, 2005, 2006, 2007–present)
Nuno Bettencourt – guitars, brass/orchestration arrangements, keyboards, piano, backing and lead vocals (1986–96, 2004, 2005, 2006, 2007–present)
Pat Badger – bass, backing vocals (1986–96, 2006, 2007–present)
Kevin Figueiredo – drums, percussion, occasional backing vocals (2007–present)

Former members
Paul Geary – drums, percussion, occasional backing vocals (1985–94, 2004, 2005–06, special guest 2017)
Mike Mangini – drums, percussion (1994–96, 2004, special guest for three shows 2006)
Carl Restivo – bass, backing vocals (2004)
Steve Ferlazzo – keyboards (2004)
Laurent Duval – bass, backing vocals (2005)

Lineups

Timeline

Discography

Extreme (1989)
Extreme II: Pornograffitti (1990)
III Sides to Every Story (1992)
Waiting for the Punchline (1995)
Saudades de Rock (2008)
Six (2023)

Concert tours
Extreme Tour
Pornograffitti Tour
III Sides to Every Story Tour
Waiting for the Punchline Tour
2004 Mini-Reunion Tour (Azores, Portugal)
2005 Reunion Tour (Japan)
2006 Reunion Mini-Tour (New England area, US)
Take Us Alive World Tour 2008
East Meets West Tour '09
Pornograffitti Live Tour 2014
Pornograffitti 25th Anniversary Tour 2015
2016 Tour
2017 Tour
2018 Australian Tour with Mr. Big
2019 Tour
Thicker Than Blood 2023 with Living Colour

See also
List of artists who reached number one in the United States
List of artists who reached number one on the U.S. Mainstream Rock chart
List of former A&M Records artists
List of funk rock bands
List of glam metal bands and artists
List of people from Boston
List of performers on Top of the Pops

References

External links

1985 establishments in Massachusetts
American funk metal musical groups
A&M Records artists
Frontiers Records artists
Glam metal musical groups from Massachusetts
Hard rock musical groups from Massachusetts
Musical groups established in 1985
Musical groups disestablished in 1996
Musical groups reestablished in 2007
Musical groups from Boston
American musical quartets

Extreme (band)


Mamia Alasania () was a colonel of the Georgian Armed Forces, defending the Government of the Georgian Autonomous Republic of Abkhazia from Abkhaz separatists during the conflict in Abkhazia in 1990s. When the city of Sukhumi fell to the Abkhaz separatist forces, Mamia Alasania, along with Zhiuli Shartava, Guram Gabiskiria, Alexander Berulava, Geno Adamia and others, refused to flee and was captured by the Abkhaz militants. He was killed during the Sukhumi Massacre, on September 27, 1993.

Mamia Alasania was born in Georgia's region of Mingrelia on May 6, 1943. He graduated from the Polytechnic Institute of Tbilisi and, later, from the upper school of State Security in Moscow. During his professional career, Mamia Alasania served in counterintelligence for nearly 30 years, including two tours in Afghanistan (1980-1981). After Georgia's independence in 1991, he was designated as the Deputy Chair of the country's State Security Agency. In 1992–1993, Mamia Alasania was invested by the Georgian State with a special mission and sent to the Samegrelo region of Georgia in order to resolve the existing civil confrontation.

After the assassination of his father, his son, Irakli Alasania, joined a gruelling march out of Abkhazia, then-aged sixteen. From that point forward, Irakli Alasania identified his professional ambition as contributing to the defence and reintegration of a whole and free Georgia. In 2005, he was tasked with serving as the Georgian President's Special Envoy for the Georgian-Abkhaz Peace Talks, which he successfully re-initiated the same year. In this capacity, Irakli Alasania focused on building trust between the sides and efforts at reconciliation. From 2012, when Georgian Dream Coalition came to power after parliamentary elections, Irakli Alasania become the Minister of Defense of Georgia.

In October 2017, Alasania's body was uncovered in Abkhazia and transferred to Tbilisi, where he was interred with military honors at the Church of St. Nicholas of Narikala.

References

1943 births
1993 deaths
People from Samegrelo-Zemo Svaneti
Mingrelians
Abkhaz–Georgian conflict
Ethnic cleansing of Georgians in Abkhazia
Murder victims from Georgia (country)

Mamia Alasania


Seturam Shrestha () (1891-1941) was a Nepalese musician, singer and composer. He was an important figure in the development of modern music in Nepal at the beginning of the 20th century, and has been hailed as an Ustad. In addition to songs of love, Seturam sang songs with messages of social reform.

In 1908, he became the first Nepalese artiste to record a song on gramophone disc. Among the songs he recorded in a studio in Kolkata, India was the iconic Rajamati. Janak Lal Shrestha, proprietor of Bhadrakali House, the main record store in Kathmandu then, sponsored the recording session.

Seturam has also been credited with pioneering ghazal music in Nepal. Ghazal is a poetic form with origins in ancient Arabic verse that expresses the beauty of love.

Seturam was born in Asan Kamalachhi, Kathmandu to father Krishna Dhar and mother Hari Devi Shrestha.

References

1891 births
1941 deaths
Musicians from Kathmandu
21st-century Nepalese male singers

Seturam Shrestha


Central or Middle Franconian () refers to the following continuum of West Central German dialects:
 Ripuarian (spoken in the German state of North Rhine-Westphalia, in eastern Belgium, and the southeastern tip of Dutch Limburg)
 Moselle Franconian (in German Rhineland-Palatinate and Saarland, in eastern Belgium and French Lorraine)
 Luxembourgish (in Luxembourg and the adjacent areas of Belgium and France)
Luxembourgish is often included within Moselle Franconian, but sometimes regarded as a separate group. The German-speaking Community of Belgium comprises both Ripuarian and Moselle Franconian dialects. The Central Franconian dialects are part of the Rhinelandic continuum stretching from the Low Franconian language area in the northwest to the Rhine Franconian dialects in the southeast.
Along with Limburgish, Central Franconian has a simple tone system called pitch accent.

The Central Franconian language area is not to be confused with the Bavarian administrative district of Middle Franconia, where East Franconian dialects are spoken.

The Central Franconian dialects are of particular interest to linguists because of the tonal distinctions made between different words, for example (Ripuarian) zɛɪ (tonal accent 1) "sieve" vs. zɛɪ (tonal accent 2) "she". See Pitch-accent languages#Franconian dialects.

References

West Germanic languages

Central Franconian languages


Bravo is a supermarket chain with stores in the northeastern and southeastern United States. The store carries Krasdale Foods brands. The company's headquarters are in New York. It focuses on an Hispanic clientele. The company launched the El Sabor de tu Pais ("The Flavor of your Country") advertising campaign. In the early 1990s, many independently owned Bravo stores opened in New York City. Bravo is a midsize supermarket.

Bravo stopped advertising with the New York Daily News after the paper ran a series derogatory of supermarket chains in the city. Bravo later resumed advertising with the paper after the Daily News mended fences with the industry.

References

External links
Bravo supermarkets website
Krasdale Foods website

Supermarkets of the United States
Companies based in New York City
1991 establishments in New York City

Bravo (supermarket)


An exchange-traded note (ETN) is a senior, unsecured, unsubordinated debt security issued by an underwriting bank. Similar to other debt securities, ETNs have a maturity date and are backed only by the credit of the issuer.

ETNs are designed to provide investors access to the returns of various market benchmarks. The returns of ETNs are usually linked to the performance of a market benchmark or strategy, less investor fees, a so-called market-linked note. When an investor buys an ETN, the underwriting bank promises to pay the amount reflected in the index, minus fees upon maturity. Thus ETN has an additional risk compared to an exchange-traded fund (ETF); if the credit of the underwriting bank becomes suspect, the investment might lose value in the same way that a senior debt would.

Often linked to the performance of a market benchmark, ETNs are not equities, equity-based securities, index funds or futures. Although ETNs are usually traded on an exchange and can be sold short, ETNs don't actually own any underlying assets of the indices or benchmarks they are designed to track.

The first ETN across the globe was developed and issued in May 2000 in Israel by Haim Even-Zahav the CEO of Psagot-Ofek financial instruments (Leumi group) under the product name TALI-25. The purpose of issuing this instrument was to track the TEL AVIV-25 index which represent the 25 leading companies in Israel.

Structure
The returns of ETNs are linked to the performance of a market benchmark or strategy, less investor fees.

As discussed previously, ETNs are debt notes. When held to maturity, the investor will receive a cash payment that is linked to the performance of the corresponding index during the period beginning on the trade date and ending at maturity, less investor fees. Typically, ETNs do not offer principal protection.

ETNs could also be liquidated before their maturity by trading them on the exchange or by redeeming a large block of securities directly to the issuing bank. The redemption is typically on a weekly basis and a redemption charge may apply, subjected to the procedures described in the relevant prospectus.

The investor fee is calculated cumulatively based on the yearly fee and the performance of the underlying index and increases each day based on the level of the index or currency exchange rate on that day. Because the investor fee reduces the amount of return at maturity or upon redemption, if the value of the underlying decreases or does not increase significantly, the investor may receive less than the principal amount of investment at maturity or upon redemption.

Since ETNs are unsecured, unsubordinated debts, their risk is that of bonds of similar priority in the company's capital structure. Often issued off medium-term note shelves, ETNs would be pari passu with other debt issued off the same shelf. Therefore, ETNs are backed by the credit of the underwriting issuer. Like other debt securities, ETNs do not have voting rights. Unlike other debt securities, interest is not paid during the term of most ETNs.

Advantages

Tax efficiency
An ETN offers a tax-efficient way to invest. It is treated as a prepaid contract (such as a forward contract) for tax purposes. The buyer of a prepaid contract pays an initial amount in order to receive a future payment based on the value of an index or other underlying benchmark at a specified future time.

Very often index mutual funds and ETFs are required to make yearly income and capital gains distributions to its fund holders that are taxable. When a fund is forced to sell stock to rebalance or otherwise change its composition, the fund holders have to pay any resulting capital gains tax.

With ETNs, in contrast, there is no interest payment or dividend distribution, which means there is no annual tax. Capital gain (or loss) is realized when an investor sells the ETN or it matures. Long-term capital gains are treated more favorably than short-term capital gains and interest in the US (> 1 year holdings are taxed at a capital gains rate of 20%). There is no way to avoid paying capital gains tax, but there can be great advantage in wealth building by delaying it.

Recent tax rulings have suggested that ETNs may be qualified tax shelters for the purpose of changing current interest income into deferred capital gains income.

No tracking error
ETNs give investors a broad-based index without any tracking error to the index, doing away with the discrepancies that exist between the returns of many ETFs and their underlying indexes. One reason of the tracking error observed in ETFs might be attributed to the diversification issues that stem from the inability of a fund to replicate an index due to an upper limit on the maximum asset allocation to a single stock. But for ETN, this constraint does not exist, because though ETN is also tracking the index, the return is not based on the underlying securities. The ETN issuer guarantees the holder a return that is an exact replica of the underlying index, minus expense fees. The bank also agrees to pay large shareholders the exact value of the note on a weekly basis through redemption, which helps the ETNs track very closely to the underlying index return.

Liquid structured product
ETNs are a significant innovation to improve liquidity of structured products. Unlike other buy-and-hold structured products, ETNs can be bought and sold during normal trading hours on the securities exchange. For institutional size redemption, investors may offer their ETN for repurchase by the issuer on a weekly basis. Investors can easily track the performance of their ETN. In this sense, ETNs are structured to resemble ETFs. But ETNs are different from ETFs, as they consist of a debt instrument with cash flows derived from the performance of an underlying asset – a structured product.

Access to new markets and strategies
ETNs have provided access to hard-to-reach exposures, such as commodity futures and the Indian stock market. Certain asset classes and strategies are not easily accessible to individual investors. For example, the "momentum investing" strategy, which is used in SPECTRUM Large Cap U.S. Sector Momentum Index, is to take advantage of the varied performances of the 10 sub-indexes of the S&P 500 Total Return IndexSM (SPTR) relative to each other and to the SPTR. The weights of the 10 sub-indexes are computed each day based on performance and correlation. This makes SPECTRUM Large Cap U.S. Sector Momentum Index difficult to track through ETF. On the contrary, ETN provides opportunities to gain exposure to these types of investment strategies in a cost-efficient way.

Possibility of leverage
Some of the ETNs offer leverage instead of directly tracking a benchmark's performance. For instance, the DGP ETN offered by Deutsche Bank moves in the same direction as gold, but involves double leverage - it replicates twice the returns of holding gold. If gold gains 1%, the note gains 2%. Consequently, if gold goes down by 1%, the note loses 2%. Such characteristics make ETNs suitable for experienced investors willing to take on additional risk in hope of a higher return.

Disadvantages

Credit risk & lack of risk metrics
ETNs, as debt instruments, are subject to risk of default by the issuing bank as counter party. This is the major design difference between ETFs and ETNs: ETFs are only subject to market risk whereas ETNs are subject to both market risk and the risk of default by the issuing bank. Even though the possibility of default turning into a reality is relatively low, it ought to be measured and accounted for. ETN investors will require a credit risk metric that facilitates answer to questions regarding the magnitude of the risk and its variation with time. With new players foraying into the ETN space, how will the risk vary by issuer? Who will take up the risk evaluation process? If and when the ETN sector grows, in order to participate, retail and institutional investors will need a source for ETN key data which is easy to assimilate.

Illiquidity
Given the relative newness of ETNs, not all enjoy high liquidity. The effectiveness of ETNs at tracking indices is contingent on their ability to garner enough support in the market.

Another flipside of ETNs relates to their redemption feature. While ETNs can be sold daily on the secondary markets or held until maturity, institutional investors who wish to redeem blocks of 50,000 units or more directly with the issuer can only do so once a week. In contrast, other structured products, ETFs for instance, can be redeemed anytime during a trading day.

Tax benefits speculative
The ETN issuers are using tax efficiency as their trump card. As things stand, there is significant tax saving to be gained from investing in ETNs. In reality, however, the Internal Revenue Service has yet to decide on the proposed tax treatment. So, the tax benefit status is still arguable.

Dependence on credit ratings
ETNs have their worth decided by two factors:
 Performance of the index they are set to track
 Credit ratings of the issuer

Suppose the issuing bank has been impacted negatively, if only marginally, by a crisis like the 2008 subprime mortgage crisis and the ratings agencies depreciate the overall credit rating of the issuer to reflect the event. In this hypothetical case, even though the index it is tracking is showing growth, a decline in rating of an ETN issuing financial institution could negatively impact  the worth of an ETN.

Unprofitable trading strategies
The S&P GSCI has lost nearly 20% of its value since January 2006, despite soaring commodity prices, all thanks to contango. This is one instance where ETN tracked commodity indices like GSCI have ended up doing exactly the opposite of what they had set out to do.

The UBS Bloomberg Constant Maturity Commodity Index (CMCI) addresses the issues of contango and backwardation by introducing the concept of constant maturity, which provides diversification across futures contract maturity dates.  This is intended to smooth out the volatility often associated with commodity investments.

See also
 Exchange-traded product

References

External links
 Exchange Traded Notes: An Introduction
 The Indicative Value - Price Puzzle in ETNs: Liquidity Constraints, Information Signaling, or an Ineffective System for Share Creation?
 Mispricing and Trading Profits in ETNs
 Are ETNs Realizing Their Potential? An Empirical Investigation of ETNs vs. Other Exchange-Traded Products in the Precious Metals' Space

Note
Interest-bearing instruments

Exchange-traded note


Murong Yi (; died 386) was a ruler of the Xianbei-led Chinese Western Yan dynasty. He was a son of the Former Yan Prince of Yidu, Murong Huan (慕容桓), a son of the founder of Former Yan, Murong Huang.

In 386, after the temporary ruler Duan Sui was ambushed and killed by Murong Heng (慕容恆) and Murong Yong, they supported Murong Yi as the Prince of Yan.  The Western Yan people—400,000 men and women—then abandoned Chang'an, which had been the Former Qin capital but had been captured by the prior Western Yan ruler Murong Chong -- to head back to their homeland in the east.  While on the journey, however, Murong Heng's brother Murong Tao (慕容韜) killed Murong Yi at Linjin (臨晉, in modern Weinan, Shaanxi).  He was replaced by Murong Chong's son Murong Yao.

Western Yan monarchs
386 deaths
Year of birth unknown

Murong Yi


Newnham College is one of the colleges of the University of Cambridge, England. It is for women only and has about 500 students. It was created in 1871 by Henry Sidgwick who wanted to make education more available to women. It was built at a time when most colleges where for men only. It was the second college to allow women after Girton. It started just as a group of houses in Regent Street. In 1875 the first buildings were finished in Sidgwick Avenue and the college moved there.

Newnham College has beautiful large gardens that the students can walk on. This is different from the other colleges where only Fellows can walk on the grass. It also has one of the largest libraries in Cambridge, with more than 90,000 books.

Some very important people have studied here. Philippa Fawcett, for example, was the first woman to get the best result in the mathematics course in Cambridge in 1890. Virginia Woolf based her famous book The Room of One's Own around Newnham College. Other people to have studied here include:

Diane Abbott, a Member of Parliament
Rosalind Franklin, who helped discover DNA
Sylvia Plath, an American poet

References

Other websites
Official website

Colleges of the University of Cambridge
1871 establishments in the United Kingdom

Newnham College, Cambridge


UnLtd - The Foundation for Social Entrepreneurs is a charitable organisation in the United Kingdom set up by seven organisations that promote social entrepreneurship.  The organisation offers cash awards, networking and mentorship opportunities for social entrepreneurs in the UK, and has affiliate organizations in a number of other countries.

History
UnLtd was formed in 2000 by seven non-profit organisations: Ashoka: Innovators for the Public, Changemakers, Community Action Network (CAN), Comic Relief, The Scarman Trust, SENSCOT, and The School for Social Entrepreneurs (SSE).

The awards are funded by the income generated by a £100 million endowment from the Millennium Commission as a permanent source of grants for individuals throughout the United Kingdom to develop their skills and talents, and to contribute to the community; the income from the endowment is held by the Millennium Awards, of which UnLtd is the sole Trustee. John Rafferty was the first Chief Executive who with Sandra Jetten COO successfully negotiated the grant of £100 million from the Millennium Commission and established the network of UK wide offices and staff. From 2006-2015 UnLtd was headed by Cliff Prior, who went on to become Chief Executive at Big Society Capital.

Programs
Through its Awards program, UnLtd provides a combination of cash funding, support, networking opportunities and pro bono services to entrepreneurs. The awards range from  £2,500 to  £20,000

UnLtd Ventures provides consultancy support to a number of outstanding social entrepreneurs, helping them to scale up or replicate their projects, through in-house business consultants, partnerships with external consultants, and funding sources.

UnLtd Research studies the impact of the support UnLtd gives to early start social entrepreneurs, and the impact they have on the worlds in which they live.  UnLtd has partnerships with academic institutions UCL, Open University, Middlesex University, University of Birmingham.

The organization's funding throughout the UK is divided throughout 5 regions; London, The South and the East of England, The North of England and the Midlands, Scotland, Northern Ireland and Wales.

Global affiliates
UnLtd supports a number of global partners, including:
 Unltd India, which funds and supports social entrepreneurs. Unltd India is based in Mumbai and also runs Bombay Connect. Other initiatives of UnLtd India are Bootcamp, Journeys for Change and Social Mashup.
 UnLtd South Africa, based in Cape Town, which funds and supports social entrepreneurs.
 UnLtd Thailand  which funds and supports social entrepreneurs. Unltd Thailand is based in Bangkok.
 UnLtd USA, which operates a twelve-month fellowship program for social entrepreneurs in Austin, Texas.

UnLtdWorld
On March 4, 2008, UnLtd launched UnLtdWorld, an online community for socially minded people. It was sold to The Guardian in 2011.

See also
 Social entrepreneurship
 Social enterprise
 Social firm
 Social business enterprise
Maharashtra State Innovation Society

Notes and references

External links
UnLtd
UnLtdWorld
Ashoka
Changemakers
Community Action Network (CAN)
Comic Relief
The Scarman  Trust
SENSCOT
The School for Social Entrepreneurs (SSE)

Comic Relief
Foundations based in the United Kingdom
International organisations based in London
Organisations based in the London Borough of Islington
Social entrepreneurship

UnLtd


Waikawa is a small settlement at the mouth of the Waikawa River in Southland, New Zealand, at the southwestern edge of The Catlins.

The township is now a small fishing settlement, but at one time in the late 19th century was a major port, shipping timber from the sawmills of the Catlins north to help build the new town of Dunedin. Originally a small Maori community, the first European settlers to the area set up sawmills in the late 1830s.

Unfortunately for Waikawa, the port facilities were prone to silting, and the nearby township of Fortrose became the more prominent port. It too fell prey to the arrival of the Tokanui Branch railway, and to a lesser extent the Catlins River Branch, in the late 1890s.

Today Waikawa hosts a museum, community centre, a popular fish and chip wagon and numerous accommodations and holiday homes because of its close proximity to Curio Bay and Porpoise Bay. Parts of Catlins Conservation Park are located nearby.

The Waikawa Museum and Information Centre was formed from two old school buildings, one from the former Waikawa School, and is run by volunteers also offering information to tourists who visit the area.

Most of the township faces the Waikawa estuary. This estuary is home to flounder, or flatfish, which can be fished out of the water by trawling nets.

Populated places in Southland, New Zealand
The Catlins
Southland District

Waikawa, Southland


Peel Hall is a suburb of Manchester, England, nine miles south of the city centre and a mile north of Manchester Airport. Peel Hall is on the eastern edge of Wythenshawe and borders Heald Green and Gatley in the Metropolitan Borough of Stockport.

The area comprises both social and private housing, most of which was built in the 1950s and 1960s.

Peel Hall, an Elizabethan moated manor house just off Peel Hall Road at the junction of Lomond Road, belonged to the Egertons of Wythenshawe Hall. It fell into disrepair in the 1960s and was demolished. The moat survives, surrounded by a park which has recreation facilities and a children's playground. The moat was not defensive but, similar to the one at Little Morton Hall in Cheshire, an Elizabethan feature to keep out animals.

Areas of Manchester
Wythenshawe
British country houses destroyed in the 20th century

Peel Hall, Wythenshawe


Mämmi is a traditional Finnish food. It is similar to porridge. Originally, it was eaten only in western Finland. It is served cooled with cream and sugar. Mämmi is usually eaten around Easter. It is a dark-brown porridge-like dish with a thick but smooth consistency, made from a combination of rye flour, rye malt, and sugar, and flavored with orange zest and cardamom. It has a similar consistency to porridge or pudding. Mämmi is thought to be the equivalent of Jewish unleavened bread as festive food. It is centuries old and is served as a dessert during Easter in Finland.

Other websites
 mammi

Finnish food
Desserts

Mämmi


Podlachian language (pudlaśka mova) is an East Slavic literary microlanguage based on the East Slavic dialects spoken by inhabitants of the southern part of Podlachian Province (Polish: ) in Poland between the Narew (north) and Bug (south) rivers. The native speakers of these dialects usually refer to them by the adverbial term po-svojomu (in our own language). The unequivocal academic classification of the po-svojomu dialects has been disputed for many years among linguists as well as activists of ethnic minorities in Podlachia (Polish: ), who classify them as either Belarusian dialects with Ukrainian traits or Ukrainian dialects.

Name
The East Slavic dialects of Podlachia between the Narew and Bug rivers are perceived differently by their native speakers. According to an estimate made by Jan Maksymiuk, the author of a Podlachian language standardization project, on the basis of the 2002 census in Poland, some 32,000 people in Podlachia, who declared Belarusian ethnicity, identified these dialects as Belarusian ones. At the same time, about 1.5 thousand speakers opting for Ukrainian ethnic origin described the same dialects as Ukrainian. Jan Maksymiuk, who was born in Podlachia and identifies himself as an ethnic Belarusian, considers them a dialectal periphery of the Ukrainian language. He also claims that the Podlachian language standard proposed by him is "lexically, phonologically and morphologically more distant from the Ukrainian literary standard than, for example, the Lemko language in Poland or the Rusyn language in Slovakia".

The term Podlachian language (pudlaśka mova) as the name for a standardized written language based on the East Slavic dialects between the Narew and Bug rivers was used for the first time by Jan Maksymiuk in the April 2005 issue of the monthly magazine Czasopis. Earlier, in the February issue of Czasopis Jan Maksymiuk announced that he would use a modified Latin alphabet for his Podlachian writing system. He was inspired to begin his orthographic project by the 1977 doctoral dissertation The vocabulary of the village of Kuraszewo near Hajnówka written by philologist Jan Pietruczuk under the supervision of well-known Polish Slavist Michał Łesiów.

Geographical distribution
The dialects taken as the basis for developing the standardized orthography and grammar of Podlachian are located in three districts (Polish: ) of Podlachian Province: Bielsk, Hajnówka and Siemiatycze. The rural communes (Polish: ) in which, according to the 2002 census, Belarusians constituted a majority or a significant percentage of their inhabitants include: Czyże (88.8%), Dubicze Cerkiewne (81.3%), Orla (68.9%), Hajnówka (64.9%), Narew (49.2%), Narewka (47.3%), Bielsk Podlaski (46.7%), Kleszczele (41.8%), Czeremcha (28.7%), Nurzec-Stacja (16.4%), Milejczyce (13.1%), Białowieża (11.5%). In the three district cities the percentage of Belarusians declared in 2002 was as follows: Hajnówka (26.4%), Bielsk Podlaski (20.7%), Siemiatycze (1.5%).

The written standard of Podlachian is based on East Slavic dialects in the communes of Narew, Czyże, Bielsk, Hajnówka (northern part), Boćki, Siemiatycze, Milejczyce (western part), Nurzec-Stacja (western part), which are characterized by the palatalization of dental consonants before the etymological [i] and the occurrence of three diphthongs: [uo], [ɨe], [ie]. This means that the standardized written system is based on the speech varieties with pronunciations like [xodjitji], [zjima], [sjiɫa], [kuonj], [rɨeʒe], [sjiem]. In the communes of Orla, Dubicze Cerkiewne, Kleszczele and Czeremcha the prevalent pronunciations are [xodɨtɨ], [zɨma], [sɨɫa], [kjinj], [rjiʒe], [sjim] and they were left outside the Podlachian standardization project by Jan Maksymiuk.

Phonology
Following the road cleared by Jan Pietruczuk, Jan Maksymiuk identified 39 phonemes in Podlachian: 8 vowels and 31 consonants. Among the vowel phonemes there are two diphthongs (one of them has two allophones).

Vowels

Monophthongs

Diphthongs
 / uo/ is denoted in the orthography by <ô>.
 / ɨe/ is denoted by  and appears only in positions after the non-palatalized consonants [ʃ], [ʒ], [ʧ], [ʤ], [r].
 / ie/ is denoted by  and follows hard consonants which are palatalized.

Consonants

Orthography
The Podlachian alphabet developed by Jan Maksymiuk is modelled on the so-called Belarusian Latin alphabet (): a Latin orthographic system that has been used sporadically for the past hundred years to spell the Belarusian language. The author of the Podlachian written standard added four graphemes to render in writing the specific Podlachian sounds that do not appear in Belarusian: ê, ô, ď, ť.

The correspondence between the Podlachian phonemes and graphemes is as follows: [i] – i, [ɨ] – y, [u] – u, [ie] – iê, [ɨe] – ê, [uo] – ô, [ e] – e, [o] – o; [a] – a; [p] – p, [b] – b, [f] – f, [v] – v, [m] – m, [n] – n, [nj] – ń, [t] – t, [d ] – d, [tj] – ť, [dj] – ď, [dz] – dz, [dzj] – dź, [ts] – c, [tsj] – ć, [s] – s, [sj] – ś, [z] – z, [zj] – ź, [l] – l, [ɫ] – ł, [ʃ] – š, [ʒ] – ž, [tʃ] – č, [dʒ] – dž, [r] – r, [j] – j, [k] – k, [g] – g, [x] – ch, [ɣ] – h.

The above set of graphemes has been supplemented with the symbols q, x, w to render in Podlachian foreign proper names using these letters.

Thus, the Podlachian alphabet consists of 43 graphemes, 5 of which are digraphs: A a, B b, C c, Ć ć, Č č, D d, Dz dz, Dź dż, Dž dž, Ď ď, E e, Ê ê, F f, G g, H h, Ch ch, I i, IÊ iê, J j, K k, L l, Ł ł, M m, N n, Ń ń, O o, Ô ô, P p, Q q, R r, S s, Ś ś, Š š, T t, Ť ť, U u, V v, W w, X x, Y y, Z z, Ź ź, Ž ž .

Some orthographic issues

Palatalization of consonants
Palatalization in Podlachian, as in Polish, is denoted by inserting i between the palatalized consonant and the following vowel: biêły, jiciê, jiciom, diuha, dziavkati, dziubak, giez, hieroj, niuch, spotkanie, niôs, sioło, porosia, kołôsie, tiota, ziachati.

If the palatalized consonant is followed by another consonant or stands in a final position, then, similarly to the Polish language, a symbol with a diacritic sign is used: ń, ś, ź, ć, ť, ď. Examples: kôń, łôńśki, ôśka, maź, kuneć, ťma, miêď.

The Podlachian alphabet, like the Belarusian Latin one, uses the symbol ł for a dental-alveoral lateral consonant and the symbol l for its palatalized companion. Although the symbol l represents a palatalized consonant, Jan Maksymiuk adopted the orthographic convention in which the grapheme i is inserted between l and the diphthong ê. Examples: liês (not: lês), liêto (not: lêto), pliêška (not: plêška). If the consonant [lj] is followed by a vowel or stands in a final position, the grapheme i is not used: ležati, lis, lôd, lakati, lubiti, môl.

A similar device is used for the notation of the consonant [j] preceding the diphthong ê: jiêsti (not: jêsti), jiêchati (not: jêchati).

Semivowel [w] and phonemes [v], [u]
The Podlachian vowel [u] in unstressed syllables may alternate in speech with the semivowel [w] or the consonant [v] without affecting the meaning of a word. Although there is no consistency in this alternation in Podlachian dialects, the standard orthography regularizes it by putting the grapheme u in the absolute beginning of a phrase, after a pause or after a consonant. The grapheme v is written following a vowel or preceding a consonant, either within a word or at a word boundary. The standardized orthography represents the semivowel [w] in writing as either u or v according to the above-mentioned rules. Examples: vona vmiêje, Kola vkrav, stary včytel, vôn umiêje, susiêd ukrav, pohovoryv z učytelom, uže pryjšli, učora zadoščyło, byv u liêsi, chołod u pohrebi, žyła v Varšavi, mjahko v posteli, u Pôlščy, u kišeni, davni, povny, machav, siêv.

Iotation
In Podlachian the consonant [j] may optionally appear before the vowel [i] at the beginning of a word or within it following an open syllable. In some cases iotation is denoted in spelling: jich, jim, jichni, jijiê, Ukrajina, krojiti, bojisko, mojich, svojich, odnoji, druhoji. However, for the overwhelming majority of Podlachian words beginning with [i] iotation is not reproduced in writing: ihołka, ihra, ikona, ikra, inačej, inžyniêr, iskra, iti, izolacija.

Iotation also occurs before other vowels (ô, iê, a, u, e) after the consonants v, b, m, p, and in these cases it is mandatory to put j in spelling: vjôv, sołovjiê, vjazati, vju, vje, vorobjiê, žerebja, bju, bje, mjav, mjôv, beremje, pjôk, pjatnicia, pju, pje.

Sample of Podlachian text in standardized orthography
Bołota roztiahalisie pomiž Ploskami i Knorozami. Mama mniê rozkazuvała, što koliś tudoju było velmi tiažko projti, možna było provalitisie v bahno i vže ne vylizti. Potum tam była takaja piščanaja doroha, ale koli môcno zadoščyło, to jijiê zatopluvało. Teper vyhoda, zalili asfalt, projiêdeš i prôjdeš suchoju nohoju. I je tam liês, u kotorum rostut poziômki. Ja koliś namoviła odnu koležanku z Ploskuv i my pujšli tudy nazbirati poziômkuv. Najiêstisie my najiêlisie, ale dodomu ničoho ne prynesli. Ono mati Irenki vže biêhała po seliê i šukała dočki, bo nas dovoli dovho ne było. I posli dovho ne pozvolała nam razom bavitisie. Hovoryła, što tôj Halinci to durnyje dumki v hołovu prychodiat, bo, vjadomo, z miêsta. A moja baba naveť uvahi ne zvernuła na toje, što jeji vnučka kudyś propała i puv dnia ne była doma.

Translation:

The marshes stretched from Ploski to Knorozy. Mother told me that at an earlier time it was very hard to walk there, you could get bogged down and stay stuck in there forever. Afterward there was a sandy road but it was repeatedly inundated during rains. Now they have built an asphalt road, such a convenience, you can walk or drive there without fear of getting bogged down. There is also a wood with wild strawberries. Once I talked a friend from Ploski into going and gathering wild strawberries there. We did eat a lot of them on the spot but came home empty-handed. In the meantime my friend Irenka's mother was running about the village and looking for her daughter. For a long time after that she did not allow us to play together. She used to say that Halinka has silly ideas as, naturally, is the case with other city girls. As for my grandma, she did not pay any attention to the fact that her granddaughter had disappeared and been missing from home for half a day.

Major differences between Podlachian and Ukrainian
1. Basic phonological difference: Podlachian has 39 phonemes (8 vowels and 31 consonants), while Ukrainian has 38 phonemes (6 vowels and 32 consonants). The Podlachian phonemic inventory includes the diphthongs [uo] and [ie]/[ɨe] which are not found in Ukrainian. Ukrainian has the phoneme [rj] which does not occur in Podlachian.

2.  a, one of the most characteristic phonological phenomena in the Ukrainian language, does not occur in Podlachian in stressed syllables and appears only rarely in unstressed ones. Examples of the lack of ikavism in stressed syllables: kôń (Ukr. ), zôrka (), miêsto (), diêd (). Examples of the lack of ikavism in unstressed syllables: kunéć (), nučliêh (), pudvestí (), čóbut (). Examples of the rare occurrence of ikavism in unstressed syllables: pisók (), svitíti (), simjá ().

3. The consonants [b], [p], [v], [d], [t], [m], [z], [s] before the etymological [i] are non-palatalized in Ukrainian, in Podlachian they are pronounced as palatal: biti (), piti (), vidno (), divo (), ticho (), miska (), zima (), siła ().

4. Podlachian does not have the doubled consonants [lj], [nj], [tj], [dj], [sj], [zj], [ʃ], [ʒ], [tʃ] as is the case with Ukrainian:  (Podlachian: vesiêle),  (chotiênie),  (brytie),  (hrudieju),  (Poliêsie),  (mazieju),  (Pudlaše),  (Zaporôže),  (zarêče).5. The consonant [g] in Podlachian is much more common than in Ukrainian. Examples of preserving the consonant [g] in Podlachian dialects: basałyga, čemergies, galoš, gandoryti, ganok, gaznik, giegnuti, grunt, gudziati, gula, gałušyti, kolega, ogaračyti, vagovati.

6. In Podlachian the endings of adjectives in feminine and neuter gender are of two types – either unstressed and short (biêła, biêłe, vysóka, vysókie) or stressed and long (chudája, chudóje, małája, małóje). In Ukrainian all endings of feminine and neuter adjectives are short, regardless of the position of the stress: .

7. The Podlachian present participle has the suffixes -uščy, -iuščy, -aščy, -iaščy (rostuščy, smerdiuščy, movčaščy, chodiaščy), while the Ukrainian one has the endings -учий, -ючий, -ачий, -ячий  ( несучий, оновлюючий, дрижачий, киплячий).

8. Podlachian local dialects have preserved the dual grammatical number up to the present day for a number of feminine and neuter nouns. Podlachian dual, which has forms differing from Podlachian plural in the nominative and accusative cases, occurs with the numerals dviê, try, štyry: kovbasiê (plural: kovbásy), kosiê (plural: kósy), kolasiê (plural: kolósa), liciê (plural: lícia), liêti (plural: litá), okniê (plural: ókna), koliêni (plural: koliná), seliê (plural: séła), koliêno — koliêni (plural: koliná); sviáto — sviáti (plural: sviatá). Such dual forms are nonexistent in Ukrainian. Different forms of dual are also noted for a number of masculine, feminine and neuter nouns in the instrumental case: chłopcíma (plural: chłópciami), sviníma (svíniami), hrošýma (hróšami). Such morphological forms with the stressed suffixes -íma (-ýma) do not appear in Ukrainian.

Using the methods of glottochronology developed by American linguist Morris Swadesh (and modified subsequently by Russian linguist Sergei Starostin), Jan Maksymiuk made an attempt to estimate the time when Podlachian and Ukrainian diverged. According to his calculations, it could have happened within the years 1350–1450. He commented on this result as follows:[The estimate] is perfectly acceptable. What event between 1350 and 1450 could initiate the divergence of Podlachian and Ukrainian? Obviously the colonization of North Podlachia by settlers from Volhynia. It was at the turn of the 14th and 15th centuries that this area, vacated by Jatvingians, began to be populated with Volhynian settlers in newly founded villages. At that time, as suggested by common sense, the peripheral dialect of settlers from Volhynia, which served as the basis for developing today's standardized (literary) version of Podlachian, began to move away from the dialect/dialects of central Ukraine, which was/were used to construct the modern Ukrainian language. Literature in Podlachian
Texts in Podlachian are currently published in magazines of the Belarusian ethnic minority, the monthly Czasopis and the yearly Bielski Hostineć, as well as in Nad Buhom i Narwoju, a bimonthly of the Ukrainian ethnic minority in Podlachia. The texts are published in various orthographies that utilize both Cyrillic and Latin scripts. A review of various orthographic strategies in Podlachia and their evaluation can be found in the papers by Jan Maksymiuk published by Cambridge Scholars Publishing  and Peter Lang. According to Jan Maksymiuk, the first author who began using Podlachian for literary purposes was Ukrainian-Belarusian ethnographer, folklorist and writer Mikołaj Jańczuk (1859-1921) born in the village of Kornica in Podlachia (now Stara Kornica in Poland's Mazovian Province).

The contemporary authors writing in Podlachian include Doroteusz Fionik (editor of Bielski Hostineć), Jerzy Hawryluk (editor of Nad Buhom i Narwoju), Jan Maksymiuk (co-founder and editor of the Svoja.org website devoted to the Podlachian language), Aleksander Maksymiuk (co-founder and administrator of the Svoja.org website), Wiktor Stachwiuk, Zoja Saczko, Halina Maksymiuk, Barbara Goralczuk and several other people. At various times in the past, literary texts in Podlachian dialects were published by Irena Borowik, Jan Kiryziuk, Eugenia Żabińska and Justyna Korolko.

There has been a dozen books published in Podlachian in recent years, among them: a collection of poetry by Zoja Saczko Poká; two collections of memoirs by Halina Maksymiuk, Biêlśk, Knorozy, Ploski (i inšy vjoski)  and Môj čeśki film; two collections of historical essays by Doroteusz Fionik, Mіеста в гісторыji і кул'туры пудл´ашскіх біелорусув  and Беженство. Дорога і повороты 1915–1922, and a biography, Ярослав Васільевіч Костыцэвіч; two collections of fairy tales translated by Jan Maksymiuk, Kazki po-svojomu  and Kazki Andersena dla starych i małych.

Moreover, in 2019–2020 Wiktor Stachwiuk serialized on his Facebook page a novel in Podlachian, Подых Тэмры. Том І. Somewhat earlier Wiktor Stachwiuk published in Podlachian Siva zozula, an ethnographic essay on his native village of Trześcianka, and a collection of poems Bahrovy tień''  (Podlachian originals with translations in Belarusian).

References

East Slavic languages

Podlachian language


Clan Hunter (Gaelic: "Clann an t-Sealgair") is a Scots clan which haes its seat at Hunterston in Ayrshire. It haes historical connections wi baith the 'Hielands' an 'Lawlands' o Scotland due tae several centuries o operation in some o the formerly Gaelic speakin Scots Islands includin Arran, Bute an the Cumbraes whaur the Hunters an aa lang held land. The present Chief is Madam Pauline Hunter o Hunterson.

Hunter

Clan Hunter


is a 2010 Japanese animated fantasy action film directed by Yūji Yamaguchi. Unlimited Blade Works covers the events of the second route of the visual novel Fate/stay night by Type-Moon. The film primarily focuses on two young mages, Shirou Emiya and Rin Tohsaka, and their servants, who participate in a conflict known as the Holy Grail War. During the fights, Shirou often crosses paths with Rin's servant, Archer, who seeks his death despite being an ally.

The film was produced by Studio Deen following the 2006 release of their TV adaptation of Fate/stay night. The short length of the film brought difficulties to the staff members as they aimed to cover a story arc which required far more time to tell in the visual novel. The film was released in Japan on 23 January 2010 on 12 screens and grossed .

Critical reception to the film was mixed. Praise was directed towards the development of Shirou, his interactions with Rin and Archer, and the exploration of his ideas in greater depth, which allowed for a greater understanding of his motives. These aspects, along with the animation of some fight scenes, were considered to be superior to the 2006 TV series. However, the narrative was widely criticized for its fast pace that cut large amounts of content from the visual novel, leading to confusion among viewers and an overall lack of cohesion.

Type-Moon later collaborated with Ufotable to retell the Unlimited Blade Works route in the form of a television series, which first aired in 2014.

Plot

On the 10th anniversary of the great fire of Fuyuki City, Rin Tohsaka performs the summoning ritual and summons Archer. Archer soon fights Lancer, but their fight is witnessed by Shirou Emiya who flees but is found by Lancer and killed. Rin uses her necklace to revive Shirou but he is later attacked again by Lancer and inadvertently summons Saber, who drives Lancer off. At a church, Kirei Kotomine tells Shirou about the Holy Grail War and he decides to fight. Shirou proposes an alliance to Rin, but they are interrupted by Illyasviel von Einzbern and Berserker. A fight ensues which Archer ends with a massive explosion. Illya withdraws and Shirou collapses from his injuries.

The next day, Shirou gets a weird feeling upon entering the school and meets with Rin to investigate. They encounter Rider and her master, revealed to be Shinji Matou. Rin saves Shirou while Shinji flees into the school. Shirou summons Saber and they find Shinji huddled in the corner of a classroom with a defeated Rider who disappears. Shinji claims that someone else did it and flees again. Later, Kotomine offers Shinji a new servant.

That night, Shirou sleepwalks to Ryuudou Temple where Caster attempts to take his command spells. Saber follows but is stopped by Assassin while Shirou is saved by Archer who then engages and overpowers Caster, sparing her life. Shirou argues with Archer, who tells Shirou to accept that he cannot save everyone. Ignoring him, Archer turns on Shirou before being rescued by Saber. Returning home, Rin, Shirou, and Saber are ambushed by Caster who stabs Saber with Rule Breaker, a weapon that nullifies servant contracts. Saber resists Caster's commands to kill Rin and Shirou before disappearing with Caster. Caster kills Kotomine and takes over the church and Rin and Archer soon confront Caster and her master Souichirou Kuzuki, but Archer betrays Rin. Shirou intervenes before Archer tells Caster to spare them. Outmatched, the two decide to request Illya's assistance.

Shirou and Rin arrive at Illya's castle to find Illya and Berserker being attacked by Shinji and his new servant Gilgamesh, who defeats Berserker and rips Illya's heart out. Rin and Shirou confront Shinji who offers them a chance to join him which they refuse, and Shinji and Gilgamesh retreat. Following a short argument, Rin and Shirou encounter Lancer, from whom they accept an offer of assistance.

Returning to the church, Lancer engages Archer while Rin and Shirou engage Caster and Kuzuki. The two are suddenly saved by Archer who kills both Caster and Kuzuki, then resumes his attack on Shirou. Rin forms a new contract with Saber and Archer reveals a reality marble called Unlimited Blade Works. Archer unleashes a hail of swords at Shirou and Saber and takes the opportunity to kidnap Rin. Shirou demands Archer to confront him at the Einzbern Castle.

Later, Shirou confronts Archer and deduces from Rin's earlier comment that Archer is actually Shirou's suicidal future self, who seeks to kill Shirou to end his own regretful existence. Shirou and Archer begin their fight while Lancer rescues Rin from Shinji and Kotomine, who reveals that he is alive and is Lancer's master. When Lancer refuses to kill Rin, Kotomine forces Lancer to commit suicide. Before dying, Lancer impales Kotomine from behind, scares Shinji away, unties Rin, and sets fire to the castle. Shirou experiences a vision of the future that awaits him but continues the fight regardless, defeating Archer and declaring that he will not regret what awaits him. Gilgamesh suddenly interrupts the fight and critically wounds Archer before withdrawing due to the fire. Rin later transfers a part of her magical seals over to Shirou so that he can utilize Unlimited Blade Works to counter Gilgamesh. Elsewhere, Gilgamesh implants Illya's heart into Shinji and he mutates into a large mass.

Arriving at Ryuudou Temple, Saber fights Assassin while Shirou and Rin confront Gilgamesh. Saber helps Rin defeat Assassin and Shirou activates Unlimited Blade Works. Rin rescues Shinji and is about to be trapped until Archer intervenes. Saber uses Excalibur to destroy the unfinished Holy Grail and disappears, having exhausted her magical energy. Meanwhile, Shirou overpowers and severs Gilgamesh's arm. This causes a void to open from the wound that begins to consume Gilgamesh. He attempts to take Shirou with him, but is defeated by Archer. Rin reunites with Archer, who tells her to look after his younger self. She promises to do so, and Archer disappears. With the war concluded, life resumes as normal, and Rin and Shirou begin a romantic relationship.

Voice cast

Production
The idea of creating an animated film based on the Unlimited Blade Works story arc of the Fate/stay night visual novel was first suggested to producer Mitsutoshi Ogura of Geneon Entertainment in 2005. At the time, he was organizing the production of the anime series for the same game. Ogura felt that Unlimited Blade Works and Fate – the latter used as the basis for the plot of the series – were the most interesting story arcs in the visual novel. Director Yūji Yamaguchi from Studio Deen had similar opinions, and noted that Unlimited Blade Works had many elements in common with shonen manga, with a large number of bright scenes. He stated that he felt that the plot and dramatic components of the story arc could be conveyed well in cinematic format. As a result, the film-making project was approved immediately after the work on the 2006 TV series was completed, and producer Norimitsu Urasaki joined the project.

According to Sato, the largest challenge for the production was the limitation on the length of the film. He had several meetings with producers and lobbied to increase the runtime to 107 minutes, which was approved. Yamaguchi understood that this runtime was extremely short in comparison to the 2006 series, where a similar sequence of events was told in 480 minutes. Therefore, he decided to try to create a balance between everyday scenes and battles by increasing the intensity and emotional weight of the latter, which led to a significant reduction in the content of the prologue shown earlier in the series. The director recalled that he originally wanted to demonstrate many everyday scenes between battles, which were prepared in Sato's drafts, but most of them never entered the final script. In the initial planning stage, Archer was considered as the central character, but attention was shifted to Shirou during production.

Since there had been a conflict between Fate author Kinoko Nasu and consultant Yamaguchi during the production of the TV series, Type-Moon only assigned a secondary advisor for the production of the film, and his opinion was taken into account only on general grounds. The director refused the complete exclusion of Nasu from the production team only because of fear of an excessive departure from the canons of the Fate franchise. The head of Type-Moon, illustrator Takashi Takeuchi, retained the role of a character design consultant. The only wish expressed by the creators of the visual novel to the producers was that the battle scenes should not become the dominant element of the film. However, Urasaki did not approve of this approach, as he feared that the audience might lose interest, and gave the right to finally determine the direction of Yamaguchi's work.

Shortly after the screenplay was approved in 2008, Studio Deen staff prepared a storyboard that was approved without major changes. Since the project budget exceeded the amount allocated for the 2006 series, it was decided that more work should be put into special effects during battle scenes. Special attention was paid to the rendering, since the creators sought to ensure that all the characters were equally well distinguishable and that there were no errors in the position of shadows relative to light sources. Staging of battles between masters was performed by Tsujitani, who took influence from the way tokusatsu Kamen Rider and Metal Hero tracked the movement patterns of the characters.

In contrast to the 2006 series, shades of red were emphasized in the color palette, which, according to the director, should have "added to the film entertainment and adult atmosphere". Due to the intense work with the script, Yamaguchi did not have enough time to track the accuracy of the transfer of the original character design, and this part was completely given to Takashi Takeuchi and studio staffer Megumi Ishihara.

The position of the recording director was given to Koji Tsujitani, retaining his position from the 2006 series. All the voice actors selected in 2005 for the series reprised their roles in the film, and were notified before work started on the animation. According to Junichi Suwabe, most of the voice actors were not told that they would be working on a film version of the Unlimited Blade Works route, and only Ayako Kawasumi, who played the role of Saber, had learned this exact information. Suwabe and his partner Kana Ueda, who voiced Rin, stated they were happy to be invited to participate in the film, as their characters were the main focus of the route.

The actors recalled that they were surprised by the abundance of dialogue in a relatively short film – in total, the entire script took up about a thousand pages. The dubbing took place over four days in the fall of 2009 and lasted continuously from morning until late evening, during which, according to Ouedy, the tired seiyū made a large number of errors. However, according to Suwabe, the entire cast did well with their work, because for three years since the release of the series, they had also participated in voicing new versions of the visual novel and other material of the Fate/stay night franchise. Also, Sayu noted that this experience, obtained through familiarization with the original source material, gave them a more complete understanding of their characters, which they tried to reflect in this film. Nevertheless, Tsujitani was dissatisfied with his own work, because he believed that he could not request the voice actors to give fundamentally different performances, and seriously thought about a complete rewriting of the voice track. However, after listening to the final version, Yamaguchi rejected this suggestion of the recording director and considered that the play of the seiyū exceeded his initial expectations.

The DVD and Blu-ray versions were released on 31 October 2010 in Japan, on 12 June 2012 in North America by Sentai Filmworks, and on 30 September 2013 in the UK by Manga Entertainment.

Audio
The film's soundtrack was composed by Kenji Kawai, who also composed for the 2006 TV series. Kawai wrote an entirely new soundtrack that incorporated almost no music from his previous composition for the television series. The only exception to this was the composition "Emiya", which was included with a new arrangement at the request of the producers. Compared to the series, the composer decided to increase the number of tracks with chorus that were performed by the Tokyo Symphony Orchestra, and also used more digital sound processing.
Compositions were created according to the already finished visual series since Kawai noted his own inability to work with the storyboard without feeling the clear time frame of the melodies. The use of the compositions was jointly approved by Tsujitani and Yamaguchi, but the composer's opinion was also taken into account by the producer, with a number of key decisions on the choice of tracks made by Kawai and Tsujitani. The recording director decided to impose leitmotifs of the servant characters on the main melody of the scene composition, in order to emphasize references to the history of these characters at the right moments.

It took one month to create the entire musical soundtrack of the film. Kawai spent only one week writing the 27 tracks, and the rest of the time negotiating, fine-tuning and recording, for which the Dolby Digital system was used. The most difficult, according to Kawai, were the compositions for the scenes in which the dialogues of the characters overlapped the battles between them – as in the battle between Saber and Assassin – because the composer had to accurately select the rhythm so as not to destroy atmosphere of the action. Kawai emphasized that his main objective was to get as close as possible to the pace of what was happening so that the viewer would not have the feeling of listening to music, rather than watching the movie. Nevertheless, Kawai stated that the result of his efforts was "the work of an artisan, not an artist".

It was decided to entrust the opening and closing songs to singer Sachi Tainaka, as had been done with the series. In writing the lyrics, Tainaka reviewed all the works of the Fate franchise that existed at that time and tried to show the connection of the original source's themes with the real world, which, according to the singer, made the work for this film the most time-consuming of her career. The results were the songs "Imitation" and "Voice ~ Tadoritsuku Basho ~". Tainaka tried in the first to reflect the feelings of the protagonist about the need to have a loved one, and in the second to emphasize the emotional spectrum of the storyline. The producers asked Kawai to write music for the third song, which was planned to be included during the final battle between Shirou and Gilgamesh, but the composer refused, saying that "he cannot write three songs in a row about the same thing". As a result, the composition "Emiya" was used twice in the film.

Songs

Reception
Fate/stay night: Unlimited Blade Works received mixed reviews. Its relatively short duration, which strongly affected the development of the characters, was highly criticized. Anime News Network's Theron Martin commented that the total screen time was reduced by 80% relative to the series. Reviewers criticized the abridged prologue, which was shortened to three minutes, for hindering understanding of the premise, and that the first 25 minutes of the film repeated the plot of the first eleven episodes of the 2006 TV series. Various critics emphasized that the story progressed very hastily, with numerous jumps from one scenario's scenes to another without any explanation. Todd Douglass Jr. of DVD Talk said that this resulted in a "rushed, incomplete feeling as the story jumps from one scene to the next and one fight to the next."

John Rose from The Fandom Post wrote that the pace of the narrative "balanced on a thin line with complete incomprehension", which caused irritation among viewers and impeded immersion into the atmosphere. Rose considered that the creators implicitly recognized this fact and therefore allotted significantly more time to fight scenes during the culmination in an attempt to compensate for the weak narrative. Several reviewers asserted that the film failed to properly establish narrative coherency and that it was too confusing to be enjoyable for newcomers to the franchise. For this reason, critics did not recommend the film to viewers unfamiliar with the visual novel or the television series, and stated that the film did not work as an independent production.

In a highly critical review for the UK Anime Network, Ross Liversidge stated that he felt the film would only appeal to fans of colorful fighting scenes, as he considered the story "completely broken". However, Theron Martin and Chris Beveridge from The Fandom Post thought that newcomers would be able to understand what was going on with some difficulty.

Other aspects of the film received more positive feedback. Theron Martin noted that, compared to the TV series, the film did not involve elements of the harem genre, and that the romance between Shirou and Tohsaka Rin was well-developed. Chris Homer of The Fandom Post noted that in comparison to Shirou's unpopular characterization in the TV series, the film depicted how Rin helped him learn from his weaknesses and maintain his "hero's ideology", even giving lessons to Archer. Homer also praised the development of Archer, who he called "the main star of the picture", and believed that the film successfully illustrated his opposition to Shirou. Martin also singled out Shirou's idealism as the main theme of the film adaptation and noted interesting similarities between Archer and Kiritsugu Emiya, including "how to become a hero and not turn out to be [a] cynic". However, The Fandom Post reviewers noted that although the different development of the characters in the film contrasted with that of the 2006 TV series, they welcomed the film's ending.

In comparison to the 2006 TV series, the film's visuals were praised, with reviewers noting that this was to be expected of a film adaptation. All critics gave high marks to battle scenes between servants, the most spectacular of them recognized the battle between Saber and the Berserker. Chris Beveridge, however, emphasized that although the film's visuals were superior to the 2006 TV series, they were visually inferior to the later Fate/Zero series produced by Ufotable in 2011.  Ross Liversidge commented positively on the color scheme of the film. John Rose negatively reacted to replacing content from sexual scenes in the visual novel with "inappropriate neon inserts", but acknowledged it would have been difficult to include the original version due to its mature content. Kenji Kawai's music also received praise.

Chris Beveridge said that the film was good on its own, but looked "just ridiculous" in comparison to the anime adaptation of Fate/Zero. The film was the last joint project of Studio Deen and Type-Moon management. Four years later, Type-Moon contracted Ufotable to make a television adaptation of the Unlimited Blade Works storyline, following their previous successful adaptations of Fate/Zero and The Garden of Sinners.

Box office
Fate/stay night: Unlimited Blade Works grossed US$3,205,829 worldwide, including  () in Japan and $5,829 in Taiwan.

Footnotes

References

External links

2010 anime films
2010 action films
2010 romantic drama films
2010 films
2010 fantasy films
Anime and manga about parallel universes
Anime films based on video games
Fate/stay night films
Films about wish fulfillment
Films set in 2004
2010s Japanese-language films
Japanese drama films
Japanese romance films
Japanese fantasy action films
2010s romantic action films
NBCUniversal Entertainment Japan
Sentai Filmworks
Studio Deen
Films scored by Kenji Kawai
Time loop anime and manga

Fate/stay night: Unlimited Blade Works (film)


This is a historical article. For current information see New Holland Ag

The New Holland Machine Company was founded in 1895, when a young man by the name of Abram Zimmerman purchased a horse barn in New Holland, Pennsylvania, and established a blacksmith shop.
Zimmerman was the third of seven children born to the Martin W. and Anna (Martin) Zimmerman.  The Zimmermans were a very conservative Mennonite family.  Abram Zimmerman was a mechanical genius who brought his talents to bear in the new blacksmith business as he began repairing and making farm machinery for the local farmers.

Historic building
The New Holland Machine Company building located at 146 E. Franklin St. in New Holland, was built in eight sections between 1903 and 1952.  It is a two-story, irregularly shaped, evolutionary industrial brick building.  The facility closed in 1992.

It was listed on the National Register of Historic Places in 2000.

Otto and Columbus engines
Abram Zimmerman began retailing the German Otto four-cycle engine as part of his new business.  The Otto was a single-cylinder dual flywheel stationary engine which was manufactured in Philadelphia.  After a short while of selling the Otto, Abe Zimmerman switched to selling another single-cylinder dual-flywheel stationary engine called the Columbus.  Retailing these engines added income to the Zimmerman blacksmith shop.  By 1896, the Zimmerman blacksmith was employing three employees.  However, Zimmerman's innovative nature soon had developed a "better idea".

"Freeze-proof" engine
Zimmerman thought that he could build and manufacture his own stationary engine which would be lighter in weight and would be easier to repair and operate.  By 1900, he had designed his own stationary engine and built prototypes of the engine.

Water cooling
Like most stationary engines of the time, Zimmerman's new engine was water-cooled - a jacket around the cylinder was filled with water to keep the engine cool while the engine was in use.  Generally, the water evaporated as the engine was operated and more water had to be added to the water jacket of the typical engine throughout the day.

Risk of freezing
In the wintertime, the water jacket had to be drained of water when the farmer was through working with the engine.  If not drained, the water would freeze in the water jacket, the ice would expand when freezing and this expansion would crack the cast iron engine.

Zimmerman's solution
One of the innovations incorporated into Zimmerman's new engine was the fact that the water jacket was shaped like a bowl and was larger at the top than at the bottom.  If water were left in the bowl-shaped water jacket of this new engine during a cold winter's night, the ice could expand harmlessly upwards and outwards without cracking the castings of the cylinder or engine.  Thus, because of this bowl-shaped water jacket, Zimmerman's new engine was "freeze-proof."

Incorporation
With prototypes of his new engine completed, Zimmerman, now wished to manufacture and sell his new engine.  To do this he needed to incorporate and take on some new investors.  Accordingly, Zimmerman raised $50,000 by selling 500 shares in the new company to his neighbors.  Thus, in 1903, the New Holland Machine Company was born.

Zimmerman was selected chief executive of the new company. With this new capital, the company acquired a brick factory on Franklin Street in the city of New Holland and hired on 40 employees to mass-produce the new stationary engine.

Engine range
Eventually, six different horsepower (hp) models of the New Holland stationary engine were mass-produced by the New Holland Company.  These six models started with the little ½ hp engine and ranged upwards to a 5 hp model.  The most popular seller among the line of stationary engines offered by New Holland was the 5 hp model.  By 1911, sales of the 5 hp model New Holland stationary engine were up more than 253% over sales of the same engine in 1904.

1/2HP, 1 1/2HP, 2HP, 3HP, 4HP, 5HP

Expansion
Success attended the company from the very beginning.  In its first annual report dated March 29, 1904, the company was able to report profits of $1,859.40 following its very first year of incorporation.  Success in selling the stationary engines, led the New Holland Machine Company to expand into the manufacture of other farm machine products.

Feed grinder

As early as November 1899, even before the company had been incorporated, Abe Zimmerman's blacksmith shop had been advertising a feed grinder of his own design.  This "feed and cob mill" had a capacity of 10 to 30 bushels of feed per hour and was being offered to the farming public for $15.00.

Later, after incorporation, the New Holland Machine Company sold these feed grinders with the option of being mounted on a wooden or steel truck and also with the option of having one of the four larger New Holland engines (4 hp through the 16 hp models) mounted on the truck together with the feed grinder.  In this way the feed grinder and engine would form a single unit which could easily be moved around the farm.

Rock crusher and wood saw
Following incorporation, other machines had been added to the line of New Holland machinery.  In 1912, the company began manufacturing its own rock crusher and, by 1914, the New Holland Machine Company had also added a wood saw to its line of farm machinery.  By 1911, the company had 150 employees.  By 1927, the number of employees at the company had risen to 225.

Sale to Sperry
The New Holland Machine Company was purchased by the Sperry Corporation in 1947, to form Sperry-New Holland.  For the subsequent history see New Holland Agriculture.

References

Agriculture companies of the United States
Manufacturing companies based in Pennsylvania
Buildings and structures in Lancaster County, Pennsylvania
New Holland, Pennsylvania
Industrial buildings completed in 1952
Industrial buildings and structures on the National Register of Historic Places in Pennsylvania
Manufacturing companies established in 1895
1895 establishments in Pennsylvania
National Register of Historic Places in Lancaster County, Pennsylvania
Blacksmith shops
Diesel engine manufacturers

New Holland Machine Company


Surfing is a water sport done in the ocean or sea. The surfer uses their surfboard to catch a wave and ride in towards the shore.

Surfing was invented by the Polynesians at least 4000 years ago. Surfing made its Olympic debut at the 2020 Summer Olympics in Tokyo, Japan. It has become a popular sport among both men and women of all ages. With lifestyles and regimens freer than those of most sports, surfers comprise a unique culture. Though surfing is practiced in many other Pacific nations, its center remains Hawaii, where many rounds of the international surfing championships (the ASP) are held annually. Surfing is popular in Australia, the US, and Northern Europe.

Related pages

Skimboarding
Windsurfing

Surfing


The E.A. and Rebecca (Johnson) Marsh House is a historic dwelling located in Grinnell, Iowa, United States.  Marsh was a jeweler and a leading businessman in the city.  His wife, Rebecca Penrose Johnson, bought the property in 1891.  Her father was a successful businessman who amassed his own fortune, which is probably why the property was bought in her name.  The two-story frame structure features a hipped roof with cross gables and a corner tower.  It is one 19 Queen Anne houses in Grinnell with a corner tower.  Unlike most of the others, it has maintained a high degree of historic integrity.  The house was listed on the National Register of Historic Places in 1999.

References

Houses completed in 1893
Grinnell, Iowa
Houses in Poweshiek County, Iowa
Houses on the National Register of Historic Places in Iowa
National Register of Historic Places in Poweshiek County, Iowa
Queen Anne architecture in Iowa

E.A. and Rebecca (Johnson) Marsh House