The Ahnapee and Western Railway (A&W) was a common carrier short line railroad located in northeastern Wisconsin.

The railroad ran  from a connection with the Kewaunee, Green Bay and Western Railroad at Casco Junction to the lakeshore terminals of Algoma in Kewaunee County and Sturgeon Bay in the "Door County thumb" of Wisconsin. Other towns along the line include Casco, Rio Creek, Forestville, Maplewood, and Sawyer. The name of the railroad comes from the city of Ahnapee, which was founded along the Ahnapee River and became Algoma in 1899.

History

The A&W was incorporated on August 18, 1890, and was built from Casco Junction to Algoma in 1892 and extended to Sturgeon Bay in 1894. The railroad owned a total of 4
4-4-0 American type locomotives during these times.  It was financed by Edward Decker, a prominent businessman in the area, to dovetail with his logging, publishing, and other commercial interests centered at Casco. Decker sold the company on August 1, 1906, to the Green Bay and Western Railroad (GB&W). The A&W became a division of the GB&W and the physical plant of the line was substantially upgraded in the period around World War I. In 1915 the GB&W replaced the four 4-4-0s with two 2-6-0 moguls. Through the Depression years the railroad saw a decrease in traffic and the GB&W looked to sell the line during World War II despite short-term increases in carload traffic due to wartime production of naval vessels and of wood products at industries along the route. The A&W also transported German prisoners of war to Door County to work the fruit harvest season during the war years.

The A&W was sold by the GB&W to local interests on May 31, 1947. Vernon Bushman of Green Bay, Wisconsin, purchased the railroad and, along with his brother Erv, operated the road whose carloadings were dependent on the local shipbuilding, plywood, evaporated milk, lumber, and petroleum products-related industries. In 1949, the A&W bought GB&W 398, but later traded it for GB&W 351. In 1955, travel time between Sturgeon Bay to Chicago was one night for express service and two nights for regular service. Regular service over two nights also connected Sturgeon Bay to the Twin Cities and Detroit.

Upon the condemnation of the swing bridge across the Sturgeon Bay Ship Canal in 1968, the railroad embargoed the entire north end (Sturgeon Bay to Algoma) on August 8, 1968. The south half of the railroad was sold to United States Plywood/Champion Papers in December 1970 to ensure rail service to the Algoma Plywood & Veneer mill (a USP subsidiary). The GB&W was contracted to operate train service over the line in September 1972, with the last independent A&W train running on September 15, 1972. The GB&W operated the railroad as a branchline a few days per week, and Trans-Northern operated weekend special excursion trains until a bridge pier was damaged by flooding at the Kewaunee River. This forced the entire line to be embargoed. Sources state that the last train to operate on the railroad ran on March 25, 1986.

The company was officially acquired by Wisconsin Central Transportation's subsidiary Fox Valley and Western in its August 27, 1993, purchase of the Itel-owned lines of the Green Bay & Western, Fox River Valley, and Ahnapee & Western Railroads. However, the line had already been declared "no longer a Common Carrier" on October 25, 1990. The Railroad Retirement Board determined that the railroad ceased to be a carrier employer effective November 19, 1993, following the sale to WC/FV&W.

Ahnapee State Trail
The railroad right of way has been turned into a hiking, biking, horse riding, and snowmobile trail called the Ahnapee State Trail, traveling from the railway's original connection with the former GB&W tracks at Casco Junction to Sturgeon Bay. It is open year around and gives users a remarkably scenic view of the Wisconsin countryside. Many artifacts of the A&W's history remain along the trail including steam locomotive boiler culverts, dated concrete bridges, several steel girder bridges, and many of the buildings that once housed rail-related industries.

National Railroad Museum
The Ahnapee & Western № 33 caboose is on display indoors at the National Railroad Museum in Green Bay.

Gallery

See also
Green Bay and Western Railroad

References

External links
 Don's Rail Photos Ahnapee & Western page
 Green Bay & Western Lines - GB&W, KGBW&W, A&W, and FRV information
 Ahnapee & Western photo page by Ted Ellis
 Fallen Flags Railroad - Miscellaneous "A" Railroad page (includes A&W images)
 Ahnapee recreation trail - follows the path of the rail line

Defunct Wisconsin railroads
Predecessors of the Canadian National Railway
Railway companies established in 1890
Railway companies disestablished in 1993
1890 establishments in Wisconsin
American companies established in 1890
1993 disestablishments in Wisconsin

Ahnapee and Western Railway


WXNY-FM (96.3 FM La X 96.3) is a commercial radio station that broadcasts an Hispanic rhythmic format. It is licensed to New York City, and serves the New York metropolitan area. WXNY is owned by Uforia Audio Network and its transmitter is located at the Empire State Building in Midtown Manhattan.

History
The station first came on the air on 105.9 FM in 1964 as WHBI. The call letters stood for original owners Hoyt Brothers Incorporated. In the 1980s, the station - by then property of Multicultural Broadcasting - went by the call letters WNWK, and aired leased-access ethnic programming.  (This time the call letters stood for NeWarK, its city of license.). In May 1998, Multicultural sold 105.9 FM to Heftel Broadcasting, a company at the time that owned Spanish language radio stations. Under the deal, Multicultural would be paid cash plus Heftel's second AM Radio station 930 WPAT which was running Radio Korea and other brokered programs. WPAT would drop Korea and pick up most of WNWK's brokered shows. Heftel's plans were to flip 105.9 to a Spanish Language mass appeal format of some sort.

Caliente 105.9
In May 1998, 105.9 FM started playing hit Spanish music as "Caliente 105.9" ("Hot 105.9"), with the call letters WCAA. Heftel Broadcasting in a corporate deal became known as Hispanic Broadcasting.

105.9 Latino Mix
In September 1999, the station changed its moniker to "105.9 Latino Mix" ("105.9 Latin Mix"). Eventually in another corporate deal Univision purchased Hispanic Broadcasting and entered into radio, making WCAA as well as WADO Univision owned. In February 2004, the station's owner, Univision Communications bought the 92.7 FM frequency in Garden City, New York which was the home of WLIR-FM and made it a western Long Island simulcast of 105.9 under the call letters WZAA.  (While most New York City FM stations broadcast at 6,000 watts, 105.9 only has 600 watts of power, so 92.7 was used to give better coverage to Nassau County and Queens.)

105.9 La Kalle
On May 27, 2005, WCAA adapted a reggaeton format with the branding La Kalle, which is a fanciful spelling of La Calle, Spanish for "the street."

The station's HD2 station, which it was launched in 2006, aired the original "Caliente/Latino Mix" format (The Tropical music format).

In the summer of 2006, Univision launched the national affiliates page for its "La Kalle" stations around the United States, the Mini-Page also includes Quick-Links to live audio streams of other La Kalle stations.

Also in mid-2006, the station adopted the slogan "Yo Soy La Kalle!" ("I Am La Kalle!"), thus replacing the "Reggaeton y Mas" slogan from its format change. The new slogan was also part of a nationwide promotional campaign that Univision adopted for most of its other La Kalle affiliates.

In late December 2006, the station dropped the "Yo Soy La Kalle" slogan for the slogan "El Movimento Latino" (in English, "The Latino Movement"). In February 2007, the La Activaeda Block and SUBELO Midday Mix switched DJs: DJ Kazzanova ran the 5 p.m. mix programming, and station resident DJ, DJ SpinOne, mixed the Midday Mix; however, some of the DJs were still in the station mixing in club broadcasts and mix shows, notably DJ Presice, who was still doing the Saturday "The Show" block and DJ Rey-Mo who was mixing on La Kalle during select live club mix broadcasts. In mid-April 2007, the regular La Activaeta Block returned with the same schedule before the Kazzanova-SpinOne switch.

On January 11, 2007, Univision dropped the La Kalle simulcast by flipping 92.7 WZAA to a regional Mexican format, known as 92.7 Qué Buena.

In an unprecedented decision by station executives in mid-February 2007, the station started playing more of their old format as opposed to just Reggaeton 24/7. Some of the schedule changes were to blame for this format mix-up. The station aired a mix of Bachata and Salsa, with Reggaeton still being a primary format. These changes had no effect on the mix shows, but DJ Kazzanova played some Bachata/Salsa sometimes during his mix shifts (not "SUBELO Reggaeton Radio", his syndicated Reggaeton show airing on this station). Also, in a TV advertisement spot, the new format mix was shown when one of the Bachata songs was shown in the ad.

These changes culminated on January 17, 2008 when Luis Jimenez returned to New York airwaves with his nationally syndicated morning show, The Luis Jimenez Show, until his cancellation on July 16, 2014, after 7 years because of low ratings. The format was similar to the "Latino Mix" format that dominated the station before 2005.

Move to 96.3 FM as X96.3
On July 14, 2009, it was announced that WCAA would move to the 96.3 frequency as a result of Univision radio buying the frequency. As a result, at 8 p.m. on October 8, 2009, classical WQXR-FM moved from 96.3 to 105.9, while WCAA moved to 96.3, dropped the La Kalle name and adopted a new name on October 15.  It had been speculated the imaging for the station name would be "X96.3", as Univision had registered the domain name X963FM.com, as well as requesting the call letters WXNY. In addition, the RDS text data on car radios was displaying "96 X". The station stunted with different genres of Spanish music and liners that pointed to the launch of the new branding, which took place on October 15 at 6 a.m. At that time, the station relaunched as "X 96.3" with call letters of WXNY-FM.

On May 19, 2014, the station shifted towards a Hurban format. The station also updated its slogan to "¡Música Urbana y Mucho Más!"

On November 9, 2016, the station shifted to Spanish Rhythmic AC format with "Super Hits: El Sonido de Hoy" slogan.

On September 19, 2018, the station updated its to slogan to "El Ritmo de New York".

References

External links

 FCC History Cards for WXNY (covering 1941-1981 as W59NY / WQXQ / WQXR-FM)
 WQXR to X96.3 at Format Change

Latin rhythmic radio stations
Rhythmic adult contemporary radio stations
Radio stations established in 1964
XNY-FM
XNY-FM
Univision Radio Network stations

WXNY-FM


Aerostatics is the study of gases that are not in motion. The study of gases in motion is called aerodynamics. It is a part of fluid statics.

An aerostat is a lighter than air craft, such as an airship or balloon, which uses the principles of aerostatics to float.

Fields of study
 Atmospheric pressure fluctuation
 Composition of mountain air
 Cross-section of the atmosphere
 Gas density
 Gas diffusion in soil
 Gas pressure
 Kinetic theory of gases
 Partial pressures in gas mixtures
 Pressure measurement

Aerospace engineering
Fluid mechanics

Aerostatics


A gift or a present is something (usually money or a good) which is given to someone. People give gifts voluntarily and do not expect anything in return. A gift is usually something that family or friends give to each other on special occasions like a birthday or holiday. For example you will give and / or receive gifts and presents at Christmas time, or chocolate (most commonly chocolate eggs) for Easter. Gifts are usually something that you really want to have. If it is a birthday gift, it would be money or an item that is not costly. A small gift is usually wrapped in wrapping paper while a big gift is most likely to be just given to the receiver or in a box without wrapping.

Further reading

Giving

Gift


The FS Class E.470 was an electric locomotive class of the state-owned Italian railway Ferrovie dello Stato. It was used on the Italian three-phase test line from Rome-Sulmona especially in express train service. After the end of the trial operation in 1945, the locomotives were scrapped, and no locomotive of the class has been preserved.

Background

The operating experience with the northern Italian three-phase network running at 3.6 kV, 16.7 Hz threw up several problems. With increasing power demands, the voltage was too low and the direct drive to the axles risked overloading the traction motors.

Therefore, it was decided to try a trial route, which would be electrified with a 10 kV, 45 Hz three-phase power system. This had the advantage that power plants could be used with industrial frequency. It would be a test track with steep gradients and small radius curves.  The Rome - Sulmona route was selected for the test.

The Class E.470 differed from earlier three-phase locomotives in two respects.  The traction motors were supplied through a transformer and they drove through reduction gears to two dummy shafts, which were coupled to the driving wheels with the usual side rod drive.

For the experiment, the following locomotives were provided:
 Four express locomotives FS Class E.470 as described here
 Seventeen passenger locomotives FS Class E.472
 Four freight locomotives FS Class E.570

In addition, there was a locomotive, FS Class E.471, with a rotary converter.

History of the locomotives

The Class E.470 locomotives were built by Tecnomasio Italiano Brown Boveri (TIBB) at Vado Ligure and bore a strong resemblance to FS Class E.431, including the use of pole pantographs. However, they could be distinguished from the E.431 by the presence of the oil cooler for the transformer and the dummy shafts on the drive triangle. After construction, the locomotives were tested on a section of the Modane - Turin railway line.

The locomotives were assigned from 1925 to 1928 the depot at Bussoleno. After 1928 they were  transferred to the depot at Rome (San Lorenzo) to operate on the line from Rome to Sulmona. After 1935, they were relocated to the depot at Sulmona.

Overall, the operation with 10 kV, 45 Hz, three-phase did not bring particularly positive results.  Fewer substations were required but there were more difficulties in the operation of the double overhead contact line, so that maintenance costs were high. For the latter reason, the line was rebuilt in 1945, after heavy damage in World War II, with 3 kV direct current (DC).

E.470.001 was scrapped in July 1947 at Turin. In December 1947, E.470.002 was scrapped and the other two machines disappeared in the same year. Among the negative results of the test operation was the out-dated equipment of locomotives with rod drive. The electric locomotives with DC drive had a better control and fewer operational difficulties.

For this reason, the experimental three-phase operation on the Rome - Sulmona line was not seen as a success.

Construction

Mechanical

The Class E.470 had a 1ʹD1ʹ wheel arrangement. The outermost of the four driven axles were connected to Zara bogies. The drive and mechanical equipment was derived from the FS E.431. As there were sometimes difficulties in this class with overloading of the drive motors, those of the E.470 were put higher and worked via a gear transmission on a jackshaft. This resulted in a more flexible connection and fewer starting difficulties of the engines. From the jackshaft, the force was transmitted to the axles via a triangle and coupling rods, as with the FS E.431.

Originally, the four locomotives were equipped with rod pantographs. These were later replaced with pantographs analogous to those of Class FS E.432, probably to suit the higher voltage. In this case, a tubular construction was erected on two stems to support the current collector, a construction designed to achieve greater distance for bridging dead parts of the overhead lines.

Electrical

Like Class FS E.431, the E.470 also had four-speed electrical equipment. The current, taken from the overhead line and stepped down by the transformer with the optimum power factor, was transferred to the traction motors for propulsion. The four fixed speeds were obtained by switching between 6 or 8 poles on the motors and by parallel or cascade connection. Intermediate speeds were achieved by using a liquid rheostat, which allowed uniform acceleration when starting and when changing connections. The mode of action was analogous to the three-phase locomotives for 3.6 kV, 16.7 Hz. The main transformer was oil cooled. It supplied 1,000 V to the traction motors and had an additional winding at 110 V for auxiliaries.

References

1′D1′ locomotives
E.470
Three-phase AC locomotives
Standard gauge locomotives of Italy
Scrapped locomotives
Passenger locomotives

FS Class E.470


Mother's Day is a 2010 remake of the 1980 movie Mother's Day. The movie is about three brothers who fail at robbing a bank and then try consulting their mother. They discover her house is being foreclosed on. Briana Evigan plays Annette. Rebecca De Mornay plays the mother.

The movie got mixed reviews.

2010 horror movies
2010s horror thriller movies
2010 drama thriller movies
American horror thriller movies
American drama thriller movies
Movies directed by Darren Lynn Bousman

Mother's Day (2010 movie)


Disability hate crime is a form of hate crime involving the use of violence against people with disabilities. This is not only violence in a physical sense, but also includes other hostile acts, such as the repeated blocking of disabled access and verbal abuse.  These hate crimes are associated with prejudice against a disability, or a denial of equal rights for disabled people (as this is a form of prejudice). It is viewed politically as an extreme form of ableism, or disablism. This phenomenon can take many forms, from verbal abuse and intimidatory behaviour to vandalism, assault, or even murder. Although data are limited studies appear to show that verbal abuse and harassment are the most common. Disability hate crimes may take the form of one-off incidents, or may represent systematic abuse which continues over periods of weeks, months, or even years. Disabled parking places, wheelchair access areas and other facilities are frequently a locus for disability hate. Instead of seeing access areas as essential for equity, they are seen instead as 'special treatment', unjustifiable by status, and so a 'reason' for acting aggressively. Denial of access thus demonstrates a prejudice against equal rights for disabled people; such actions risk actual bodily harm as well as limiting personal freedom.

The people who commit disability hate crimes frequently justify their actions with narratives driven by socio-economic factors which can follow a typical pattern. For example, people commit these crimes because they view disabled people as: making 'inconvenient' or 'insolent' demands for physical barriers (e.g. parked cars, commercial signage) to be removed; 'falsely' portraying their disabilities to receive welfare support ("scroungers"); being undeserving of equal access / treatment; having lower status and therefore being "easy targets" for aggressive acts.

Another factor is ignorance of the very basic tenets of variable and/or invisible disabilities. People can fail to acknowledge that seeing an action risked once is no indicator of whether the disabled person can do it safely, repeatedly, without extreme pain, without consequence or predictably at any other time. Low awareness of the medical need for ambulatory wheelchair use - such as fatigue collapse over medium distance; difficulties with prolonged standing as opposed to walking; balance or cardiac issues - can also be a factor.

Disability hate crime can occur in any situation and with any individual. Incidents may occur between strangers who have never met, between acquaintances, or within the family. The two key requirements for an act to be called a "disability hate crime" are that it is perceived to be motivated in part or whole by prejudice against someone because of disability (denial of equal rights being a form of prejudice); and second, that the act is actually a crime, which includes repeated access blocking. Multiple hate incidents - which do not involve a criminal offence per se - can also constitute a disability hate crime if there are enough of them. This is because repeated harassment is a criminal offence.

Recognition
Sir Ken Macdonald, QC, the then Director of Public Prosecutions for England and Wales, stated in a speech to the Bar Council in October 2008 that "I am on record as saying that it is my sense that disability hate crime is very widespread. I have said that it is my view that at the lower end of the spectrum, there is a vast amount not being picked up. I have also expressed the view that the more serious disability hate crimes are not always being prosecuted as they should be. This is a scar on the conscience of criminal justice. And all bodies and all institutions involved in the delivery of justice, including my own, share the responsibility."

Legal status
In the United States, the Matthew Shepard and James Byrd Jr. Hate Crimes Prevention Act of 2009 expanded the 1969 United States federal hate-crime law to include crimes motivated by a victim's actual or perceived disability.

In 1994, when the U.S. Congress reauthorized the Hate Crimes Statistics Act, crimes based on disability were categorized as bias crimes. This sparked the Federal Bureau of Investigation (FBI) to begin keeping data that relates to all crimes based against persons, property, or society that entails someone with a disability. Once these crimes are recorded, they are then divided up into subcategories; therefore, disability status was measured out through either one's physical disability or their mental disability. The FBI did this in order to determine if the frequency of the crimes differed depending on one's disabled status (whether it was physical or mental).

The data they received indicated that the risk of a disabled individual being the victim of a hate crime was somewhat rare, but the risk of them being assaulted was far higher than any other marginalized group. However, there seemed to be a minute difference in terms of frequency between those who were physically disabled and those who were mentally disabled.

According to recent data, disability hate crime incidents are currently on the rise in the United States. There were over 150 recently reported hate crime offenses that stemmed from a bias of those with a disability just in the 2018 year. From the FBI's Uniform Crime Reporting Program, there were far fewer similar offenses in the year prior, demonstrating a stark increase as time has progressed. In total, the FBI reported over 7,000 hate crime incidents in general, which makes about 2.1 percent of the victims from those crimes specifically targeted because of their disability.

Out of the disability hate crimes that were logged and recorded, 110 of those were against people with mental disabilities, while the other 67 were those with physical disabilities. Studies have also shown that the chance of being physically or sexually assaulted when someone is disabled can be up to ten times greater than those who are non-disabled.

Regardless, there is a widely known assumption that the incidence of reporting crimes by someone with a disability is much less than that of other minority groups. Some suggest that this is the case because of the lack of access to the criminal justice system as well as possible retribution from caretakers or others. With that, individuals with disabilities may actually experience more hate crimes than those that have been reported.

In the UK, disability hate crime is regarded as an aggravating factor under Section 146 of the Criminal Justice Act 2003, allowing a heavier tariff to be used in sentencing than the crime might draw without the hate elements. Section 146 states that the sentencing provisions apply if:
(a) that, at the time of committing the offence, or immediately before or after doing so, the offender demonstrated towards the victim of the offence hostility based on—
(i) the sexual orientation (or presumed sexual orientation) of the victim, or
(ii) a disability (or presumed disability) of the victim, or
(b) that the offence is motivated (wholly or partly)—
(i) by hostility towards persons who are of a particular sexual orientation, or
(ii) by hostility towards persons who have a disability or a particular disability.

The test in Section 146 is deliberately one for evidence of 'hostility' rather than 'hatred' as the seriousness of the offense was considered to justify the application of a less strict test.

The Equalities Act of 2010, although allowing those to speak out when discriminated against, created a vulnerable category of people that consisted mainly of those with disabilities. It emphasizes the notion that those with disabilities can not leave their houses without being harassed and develops a divide between those who survive with disabilities and the rest of the world.

Crime recording
The historical failure of police forces, prosecutors, and some social care organizations to treat disability hate crime as a serious issue, an echo of previous failures over other forms of hate crime, particularly racial and LGBT-focused hate crimes, has led to chronic under-reporting. This under-reporting is both pre-emptive, through a widespread belief within the disabled community that they will not be treated seriously by law enforcement, and post-facto, where police forces investigate the crime as non hate-based and record it as such. The National Crime Victim Survey completed in 2008 revealed that people with disabilities are twice as likely as those without disabilities to experience situations of violence. During this year, those with intellectual disabilities were at the highest risk for violence victimization.

Environments that struggle with deprivation are at higher risk for greater occurrence of disability hate crime. In southeast England, many with intellectual disabilities recall places such as schools, day centers, distant neighborhoods, and even forms of public transportation as areas "where bad things happen". Disability hate crime was stated as most prevalent in schools, colleges, and daycares.

It has been proven on multiple occasions that disability hate crimes are underreported due to police enforcement consistently making their own assumptions of the situation at hand and abusers perceiving impairments as vulnerability.

The UK Crown Prosecution Service's Annual Hate Crime Report, shows that 11,624 cases of racial or religious hate crime were prosecuted in England and Wales in 2009, with 10,690 leading to successful convictions. By contrast, only 363 prosecutions and 299 convictions were for disability hate crimes.

Through the years of 2012 and 2013, a crime survey among a large population of England and Wales had been completed. It was acknowledged that out of the estimated 62,000 disability-related hate crimes that happened during that time period, only 1,841 had been recorded by the police.

The UK charity Scope has conducted research into the prevalence and experience of disability hate crime, summarizing their findings and those of other disability groups in the report Getting Away With Murder   Katharine Quarmby, who wrote the report and was the first British journalist to investigate disability hate crime, has also written a book on the matter.

Perceived vulnerability
The treatment of disability hate crimes has been affected by the perception of disabled people as inherently vulnerable. This is a multi-faceted issue. Unfounded application of the 'vulnerable' label to a disabled person is considered a form of infantilization, a type of ableism in which disabled people are regarded as childlike, rather than as functioning adults.

Perceptions of vulnerability can also lead to the perception that the victim is partially or entirely responsible for the crime. For example, a disabled person may be perceived as having been at fault due to being alone after dark, i.e., engaged in risky behaviour. This pattern of victim-blaming has also appeared in the prosecution of rape and other sexual crimes.

On the other hand, it has been suggested that the vulnerability of victims is a key factor in all crimes. It has been applied to a wide variety of scenarios, including people working at night or handling large amounts of money, although these are situations; not categories of people.

The Crown Prosecution Service has issued guidance to its prosecutors reminding them that 'vulnerable' should only be used as a description of a person within the precise legal meaning of the term - for instance, as defined in section 16 of the Youth Justice and Criminal Evidence Act 1999.

Psychological effects
It has been long known that there are emotional and mental impacts on victims of hate crimes. In a British Crime Survey, data indicated that there is an elevated psychological damage to hate victims compared to non-hate crime victims. Research conducted in the US has indicated that the elevated damage includes anxiety, loss of confidence, depression, long-term post-traumatic stress disorder, and fear. Victims of bias-motivated hate crimes such as hate crimes against a disability, race, religion, sexual orientation, ethnicity, gender, or gender identity are more likely to experience these psychological effects than victims of crimes that are not motivated by bias. The following statistics, from the Crime Survey for England and Wales, show that hate crime victims:

 were 36% more likely to say that they were emotionally affected and more likely to be 'very much' affected than victims of crime overall
 were 44% more likely to say that they suffered a loss of confidence or had felt vulnerable after the incident than victims of crime overall
 were twice as likely to experience fear, difficulty sleeping, anxiety or panic attacks, or depression compared with all victims of crime.

Disability hate crimes composed of 1.6% of total reported hate crimes in 2017. A survey conducted in 27 countries reported that 26% of 732 people with schizophrenia interviewed reported experiencing unfair treatment in their personal security, which included physical or verbal abuse attributed to having a mental health diagnosis. 29% reported having been unfairly treated in their neighborhood. Furthermore, a survey conducted by mental health charity MIND reported that 50% of all respondents with mental health problems experienced harassment in the workplace or community. 71% of these respondents experience physical or sexual violence, theft, or mistreatment. People with learning disabilities or mental health problems within the disabled group were most likely to experience violence or hostility.

OPM's research report on violence and hostility against disabled people found that hate crimes have impacts that extend past the physical and emotional harm experienced by the victims. Family members who may not be disabled themselves can similarly be victimized. Furthermore, disabled people who may have not been a victim to a hate crime may restructure their lives in order to avoid putting themselves at risk. Members of the community in where the hate crime occurs often feel a sense of shame and anger. This same study found that people with learning disabilities found significant dissatisfaction with the way they have been handled by the police, stating that police officers were often felt to be 'patronizing' or 'rude' and did not know how to communicate with the victims in an appropriate manner.

Support
Disability hate crimes leave affected or vulnerable individuals in need of support. There can be a multitude of efforts made towards showcasing support. Support can consist of emotional support, physical assistance, advice, guidance, and more.

There are some key tasks that are effective in supporting those impacted by disability hate crimes.

 Offering help to individuals vulnerable to hate crimes
 Efforts to lessen the impact that the abuse can make
 Empowering individuals to stand for what is right
 Do not shy away from intervening on the issues

As more hate crimes occur, the need for support increases. Support is more in demand when there are more victims of disability hate crime. Support will always be needed or in demand, but the amount that will fulfill is dependent on the amount of hardships and adversity that those in the disability community are facing.

See also

Ableism
Disability abuse
Mate crime
Sagamihara stabbings

References

Hate crime
Disability in law
Abuse
Ableism

Disability hate crime


Sarenput I was an ancient Egyptian official during the reign of pharaoh Senusret I of the 12th Dynasty.

Career
Sarenput held several titles such as nomarch of the 1st nomos of Upper Egypt ("Land of the Bow"), mayor of Elephantine, overseer of the priests of Satet, overseer of the foreign lands and many others. Like his distant predecessors Harkhuf and Heqaib, he also was the king's personal trading agent for the goods from Nubia and had a role in one of Senusret I's military campaign in this country, when the king rewarded Sarenput as reported in the latter's autobiography from his tomb. The same king appointed Sarenput as nomarch, probably the first one for this nomos.
Many of Sarenput's attestations came from the sanctuary of Heqaib at Elephantine, where he ordered a shrine for the deified Heqaib and also one for himself, provided by many stelae and a statue depicting him.

Tomb

Sarenput I was buried in a large rock-cut tomb at Qubbet el-Hawa (No. 36), which was decorated in sunk reliefs at the outside, and lively painted in the interior. The tomb is composed of three rooms connected by hallways; the first two chambers are provided with colonnades while the innermost has a niche that once housed a statue of the owner. Unfortunately, the whole tomb suffered significant damage over time.
The outer reliefs often depicts Sarenput with some of his relatives and his dogs, while among the survived inner paintings there is a scene of the owner with the god Khnum, which is significant because in this period, a similar scene in a private tomb was still rare. The aforementioned autobiography is written in two copies, one outside and one inside the tomb. There is a significant artistic contrast between the reliefs carved on the outer doorjambs (see picture in the infobox) and the ones on the façade of the tomb, the former being far finer and possibly made by some royal sculptor, while the latter being more crude and likely a local product.

See also
Sarenput II – His nephew, also a nomarch of the same nomos

References

Further reading

 Labib Habachi, The Sanctuary of Heqaib (= Elephantine 4 = Archäologische Veröffentlichungen. (AV). Bd. 33). 2 voll, von Zabern, Mainz 1985, .

Officials of the Twelfth Dynasty of Egypt
Nomarchs
Ancient Egyptian overseers of foreign lands
Overseers of the priests of Satet

Sarenput I


América Futebol Clube, commonly referred to as América de Natal, is a Brazilian professional club based in Natal, Rio Grande do Norte founded on 14 July 1915. It competes in the Campeonato Brasileiro Série C, the third tier of Brazilian football, as well as in the Campeonato Potiguar, the top flight of the Rio Grande do Norte state football league.

América won Campeonato do Nordeste (Brazilian Northeast Championship) in 1998, defeating Esporte Clube Vitória by a 3–1 score in the final match. It is the only Football Team in Rio Grande do Norte to obtain titles outside the state as in 1973, became the undefeated winner of Taça Almir de Albuquerque, which involved teams from North-Northeast of Brazil and is the only club from Rio Grande do Norte to participate in an international championship, the Copa Conmebol in 1998.

América's greatest rival is ABC, also from Natal.

América is the second-best-ranked team from Rio Grande do Norte in CBF's national club ranking, at 61st overall.

History

The team was founded on July 14, 1915. The first official match played in the state of Rio Grande do Norte was América 3-0 ABC, on June 22, 1919 valid for the first , organized at that time by the Liga de Desportos Terrestres. The club's first title came in 1919. The club won the , defeating Centro Esportivo Natalense and ABC, becoming the first Campeonato Potiguar champions.

On November 7, 1928, through Law 707 the club was the first to be recognized as a State Public Utility instrument.

América had been licensed team of the  (FNF) for 5 years, between 1960 and 1965, thus the team did not participate in official competitions. Instead, the team committed to the construction of its official ground at Rodrigues Alves Avenue, bourough of Tirol, Natal.

In 1973, América won the Torneio Norte-Nordeste.  In 1974 América was crowned undefeated state champions, playing 20 matches with 12 wins and 8 ties. Between 1987 and 1992, América won 5 state championships, only losing in 1990.

In 1996, the team from Rio Grande do Norte was runner-up of the Brazilian Championship Second Division and became eligible to participate in the First Division in the following year. In its return to the main division, América ended in 16th place, ahead of other powerful teams, such as Corinthians and Fluminense. In 1998, however, the club failed to remain in the First Division. In 1998, América achieved its greatest glory, becoming champions of Campeonato do Nordeste, defeating Vitória-BAin the final match on July 4, 3-1, with goals from Biro-Biro, Paulinho Kobayashi and Carioca. América's team at that time consisted of the following players: Gabriel; Gilson, Paulo Roberto (André), Lima and Rogerinho; Montanha, Carioca, Biro-Biro and Moura; Paulinho Kobayashi and Leonardo (Vanderlei).

In October, 2003 the city counsellor Hermano Morais published in the , the Law n° 5.493, recognizing América Futebol Clube, as an instrument of the City's Public Utility.

In 2005, the club was promoted to the Campeonato Brasileiro Second Division, after finishing in second in the third division.  América had the best forward of the competition, Paulinho Marília, who scored 10 goals.

On November 25, 2006, América once again managed to qualify for the Brazilian Championship First Division, after a 2-2 tie with champions Atlético Mineiro, at Mineirão, with a record crowd of 74,694 (largest crowd of the year in Brazil), fighting back after conceding two early goals. At the end of the game, América crossed the stadium applauded by Atlético's fans. The club finished in fourth in the Campeonato Brasileiro Second Division.

In the following year, América was relegated after a disastrous performance in the Série A, obtaining only 17 points out of 114 possible points, and finishing the championship 24 points behind the second-to-last placed team, Paraná. After two seasons struggling against relegation in the Série B, América eventually was relegated to the Série C in 2010, but gained promotion to the Série B again in 2011.

In 2014, they achieved a big comeback against Fluminense a 5-2 victory in Rio de Janeiro after losing 3-0 in Natal in the Copa do Brasil competition, reaching the quarterfinals.
In 2022 he was champion of the Campeonato Brasileiro Série D

Stadium

The team played in a 10,900 capacity stadium named Barrettão in the town of Ceará-Mirim while the Dunas stadium was built for the 2014 World Cup. The Machadao stadium was demolished in 2011.

América's home stadium was the Estádio Dr. João Cláudio Vasconcelos Machado (Machadão) stadium, which had a maximum capacity of 42,000 fans.

Derby
On June 10, 2006, América beat, by 3-1, its greatest rival, ABC Futebol Clube, in the first derby match played at ABC's own stadium. The derby is known as O Grande Clássico (The Great Derby).

Symbols
The first color used by América-RN was blue. They started adopting the current red and white kit in 1920.

The first mascot was a "red devil", which was based on the mascot of América-RJ. In the mid-1990s, the mascot was changed to a dragon.

Honours

National
 Campeonato Brasileiro Série D
Winners (1): 2022

Regional
 Copa do Nordeste
Winners (1): 1998
Taça Almir de Albuquerque
Winners (1): 1973
Torneio Rio Grande do Norte-Pernambuco
Winners (1): 1983

State
 Campeonato Potiguar
Winners (37): 1919, 1920, 1922, 1924, 1926, 1927, 1930, 1931, 1946, 1948, 1949, 1951, 1952, 1956, 1957, 1967, 1969, 1974, 1975, 1977, 1979, 1980, 1981, 1982, 1987, 1988, 1989, 1991, 1992, 1996, 2002, 2003, 2012, 2014, 2015, 2019, 2023
 Copa Rio Grande do Norte
 Winners (1): 2006
 Copa Cidade do Natal
 Winners (3): 2014, 2015, 2016
 Copa RN
 Winners (4): 2012, 2013, 2019, 2022

References

External links
Official website
América de Natal at Arquivo de Clubes
Memorial do Dragão: Resgatando a História do América

América Futebol Clube (RN)
América-RN
Association football clubs established in 1915
Natal, Rio Grande do Norte
1915 establishments in Brazil

América Futebol Clube (RN)


Personality might mean:

Personality psychology - a type of psychology which studies personality.
Cult of personality - used in politics for when a leader uses the praises of the media to make all the people think they are the best.
Personality Crisis (band) - a Canadian band.

Personality (disambiguation)


Irish music is music that has been created in various genres on the island of Ireland.

The indigenous music of the island is termed Irish traditional music. It has remained vibrant through the 20th and into the 21st century, despite globalising cultural forces. In spite of emigration and a well-developed connection to music influences from Britain and the United States, Irish traditional music has kept many of its elements and has itself influenced many forms of music, such as country and roots music in the United States, which in turn have had some influence on modern rock music. It has occasionally been fused with rock and roll, punk rock, and other genres. Some of these fusion artists have attained mainstream success, at home and abroad.

In art music, Ireland has a history reaching back to Gregorian chants in the Middle Ages, choral and harp music of the Renaissance, court music of the Baroque and early Classical period, as well as many Romantic, late Romantic and twentieth-century modernist music. It is still a vibrant genre with many composers and ensembles writing and performing avant-garde art music in the classical tradition.

On a smaller scale, Ireland has also produced many jazz musicians of note, particularly after the 1950s.

Early Irish music

By the High and Late Medieval Era, the Irish annals were listing native musicians, such as the following:

 921BC: Cú Congalta, priest of Lann-Leire, the Tethra (i. e. the singer or orator) for voice, personal form and knowledge, died.
 1011: Connmhach Ua Tomhrair, priest and chief singer of Cluain-mic-Nois, died.
 1168: Amhlaeibh Mac Innaighneorach, chief ollamh of Ireland in harp-playing, died.
 1226: Aed mac Donn Ó Sochlachain, erenagh of Cong, a man eminent for chanting and for the right tuning of harps and for having made an instrument for himself which none had made before, distinguished also in every art such as poetry, engraving and writing and in every skilled occupation, died.
 1269: Aed Ó Finn, master of music and minstrelsy, died.
 1329: Maol Ruanaidh Cam Ó Cearbhaill, tiompanist, murdered during the Braganstown Massacre in County Louth.
 1330: Mael Sechlainn Mac Carmaic, a general entertainer, died. 1343: Donnchad Clereach Ó Maol Braonáin, a choral canon of Elphin, was killed by an arrow. 1357: Donn Shléibhe Mac Cerbaill, an accomplished musician ... died. 1360: Gilla na Naem Ó Conmaigh, music ollamh of Thomond ... died. 1361. Magraith Ó Fionnachta, Chief Musician and Tiompanist to the Síol Muireadaigh, died. 1364: Bran Ó Brain, a skilful tympanist ... died. 1369: John Mac Egan, and Gilbert Ó Bardan, two accomplished young harpers of Conmaicne, died. 1469: Ruaidrí mac Donnchad Ó Dálaigh, the most musical-handed harpist in all Ireland. 1490: Diarmait MacCairbre, harper, was executed. 1553: Tadhg, son of Ruaidhri Ó Comhdhain, i.e. the ollamh of Éire and Alba in music, died. 1561: Naisse mac Cithruadh, drowned on Lough Gill. 1589. Daighre Ó Duibhgeannáin, a most affable, musical man, died.Modern interpretation
Early Irish poetry and song has been translated into modern Irish and English by notable Irish poets, song collectors and musicians. The 6th century hymn Rop tú mo baile by Dallán Forgaill for example, was published in 1905 in English by Mary Elizabeth Byrne, and is widely known as Be Thou My Vision. The Blackbird of Belfast Lough (; ) has been notably translated by poets such as Seamus Heaney, Ciaran Carson and Frank O'Connor. Notable recordings of modern interpretations of early Irish music include Pádraigín Ní Uallacháin's Songs of the Scribe, various music albums by choral group Anúna, and the recordings of Caitríona O'Leary with Dúlra and the eX Ensemble.

Early Irish musicians abroad
Some musicians were acclaimed in places beyond Ireland. Cú Chuimne (died 747) lived much of his adult life in Gaelic Scotland, and composed at least one hymn. Foillan, who was alive in the seventh century, travelled through much of Britain and France; around 653 at the request of St. Gertrude of Brabant, taught psalmody to her nuns at Nievelle. Tuotilo (c.850–c. 915), who lived in Italy and Germany, was noted both as a musician and a composer.

Helias of Cologne (died 1040), is held to be the first to introduce Roman chant to Cologne. His contemporary, Aaron Scotus (died 18 November 1052) was an acclaimed composer of Gregorian chant in Germany.

Donell Dubh Ó Cathail (c. 1560s-c.1660), was not only musician of Viscount Buttevant, but, with his uncle Donell Óge Ó Cathail, harper to Elizabeth I.

Early modern times

Up to the seventeenth century, harp musicians were patronised by the aristocracy in Ireland. This tradition died out in the eighteenth century with the collapse of Gaelic Ireland. Turlough Carolan (1670–1738) is the best known of those harpists, and over 200 of his compositions are known. Some of his pieces use elements of contemporary baroque music, but his music has entered the tradition and is played by many folk musicians today. Edward Bunting collected some of the last-known Irish harp tunes at the Belfast Harp Festival in 1792. Other important collectors of Irish music include Francis O'Neill and George Petrie.

Other notable Irish musicians of this era included Cearbhall Óg Ó Dálaigh (fl. c. 1630); Piaras Feiritéar (1600?–1653); William Connellan (fl. mid-17th century) and his brother, Thomas Connellan (c. 1640/1645–1698), composers; Dominic Ó Mongain (alive 18th century); Donnchadh Ó Hámsaigh (1695–1807); poet and songwriter Eoghan Rua Ó Súilleabháin (1748–1782); Arthur O'Neill (fl. 1792); Patrick Byrne (c.1794–1863); world-renowned piper Tarlach Mac Suibhne (c. 1831–1916); poet and songwriter Colm de Bhailís (1796–1906).

Traditional music

Irish traditional music includes many kinds of songs, including drinking songs, ballads and laments, sung unaccompanied or with accompaniment by a variety of instruments. Traditional dance music includes reels (4/4), hornpipes and jigs (the common double jig is in 6/8 time). The polka arrived at the start of the nineteenth century, spread by itinerant dancing masters and mercenary soldiers, returning from Europe. Set dancing may have arrived in the eighteenth century. Later imported dance-signatures include the mazurka and the highlands (a sort of Irished version of the Scottish strathspey).

The Irish fiddle was said by one nationalist researcher to have been played in Ireland since the 8th century, although this has never been proved by texts or artifacts. The bagpipes have a long history of being associated with Ireland Great Irish warpipes were once commonly used in Ireland especially in battle as far back as the 15th century.

A revival of Irish traditional music took place around the turn of the 20th century. The button accordion and the concertina were becoming common. Irish stepdance was performed at céilís, organised competitions and at some country houses where local and itinerant musicians were welcome. Irish dancing was supported by the educational system and patriotic organisations. An older style of singing called sean-nós ("in the old style"), which is a form of traditional Irish singing was still found, mainly for very poetic songs in the Irish language.

From 1820 to 1920 over 4,400,000 Irish emigrated to the US, creating an Irish diaspora in Philadelphia, Chicago (see Francis O'Neill), Boston, New York and other cities. O'Neill made the first recordings of Irish music on Edison wax cylinders. Later, Irish musicians who were successful in the USA made commercial recordings which found their way around the world and re-invigorated musical styles back in the homeland. For example, American-based fiddlers like Michael Coleman, James Morrison and Paddy Killoran did much to popularise Irish music in the 1920s and 1930s, while Ed Reavy composed over a hundred tunes that have since entered the tradition in both Ireland and the diaspora.

After a lull in the 1940s and 1950s, when (except for Céilidh bands) traditional music was at a low ebb, Seán Ó Riada's Ceoltóirí Chualann, The Chieftains, Tom Lenihan, The Clancy Brothers and Tommy Makem, The Irish Rovers, The Dubliners, Ryan's Fancy and Sweeney's Men were in large part responsible for a second wave of revitalisation of Irish folk music in the 1960s. Several of these were featured in the 2010 TV movie "My Music: When Irish Eyes are Smiling". Sean O'Riada in particular was singled out as a force who did much for Irish music, through programming on Radio Éireann in the late 1940s through the 1960s. He worked to promote and encourage the performing of traditional Irish music, and his work as a promoter and performer led directly to the formation of the Chieftains. His work inspired the likes of Planxty, The Bothy Band and Clannad in the 70s. Later came such bands as Stockton's Wing, De Dannan, Altan, Arcady, Dervish and Patrick Street, along with a wealth of individual performers.

More and more people play Irish music and new bands emerge every year such as Téada, Gráda, Dervish, and Lúnasa.

Classical music in Ireland

There is evidence of music in the "classical" tradition since the early 15th century when a polyphonic choir was established at Christ Church Cathedral, Dublin, and "city musicians" were employed in the major cities and towns, who performed on festive occasions. In the 18th century, Dublin was known as the "Second City" of the British Isles, with an active musical life culminating in, among other events, the first performance of Handel's famous oratorio Messiah. The ballad opera trend, caused by the success of the Beggar's Opera, has left noticeable traces in Ireland, with many works that influenced the genre in England and on the continent, by musicians such as Charles Coffey and Kane O'Hara.

Composers of note
Apart from the harper-composers of the 16th century, composers in the 16th and 17th century usually came from a Protestant Anglo-Irish background, as due to the discrimination of Catholics no formal musical education was available to them. Composers were often associated with either Dublin Castle or one of the Dublin cathedrals (St Patrick's and Christ Church). These include immigrants in the 18th century such as Johann Sigismund Cousser, Matthew Dubourg, and Tommaso Giordani. Thomas Roseingrave and his brother Ralph were prominent Irish baroque composers. Among the next generation of composers were the Cork-born Philip Cogan (1750–1833), a prominent composer of piano music including concertos, John Andrew Stevenson (1761–1833), who is best known for his publications of Irish Melodies with poet Thomas Moore, who also wrote operas, religious music, catches, glees, odes, and songs. In the early 19th century Irish-born composers dominated English-language opera in England and Ireland, including Charles Thomas Carter (c.1735–1804), Michael Kelly (1762–1826), Thomas Simpson Cooke (1782–1848), William Henry Kearns (1794–1846), Joseph Augustine Wade (1801–1845) and, later in the century, Michael W. Balfe (1808–1870) and William Vincent Wallace (1812–1865). John Field (1782–1837) has been credited with the creation of the Nocturne form, which influenced Frédéric Chopin. John William Glover (1815–1899), Joseph Robinson (1815–1898) and Robert Prescott Stewart (1825–1894) kept Irish classical music in Dublin alive in the 19th century, while mid-19th-century emigrants include George William Torrance and George Alexander Osborne. Charles Villiers Stanford (1852–1924) and Hamilton Harty (1879–1941) were among the last emigrants in Irish music, combining a late romantic musical language with Irish folklorism. Their contemporary in Ireland was the Italian immigrant Michele Esposito (1855–1929), a figure of seminal importance in Irish music who arrived in Ireland in 1882. The years after Irish independence were a difficult period in which composers tried to find an identifiable Irish voice in an anti-British climate, which included ressentiments against classical music as such. The development of Irish broadcasting in the 1920s and the gradual enlargement of the Radio Éireann Orchestra in the late 1930s improved the situation. Important composers in these years were John F. Larchet (1884–1967), Ina Boyle (1889–1967), Arthur Duff (1899–1956), Aloys Fleischmann (1910–1992), Frederick May (1911–1985), Joan Trimble (1915–2000), and Brian Boydell (1917–2000). The middle decades of the 20th century were also shaped by A.J. Potter (1918–1980), Gerard Victory (1921–1995), James Wilson (1922–2005), Seán Ó Riada (1931–1971), John Kinsella (1932–2021), and Seóirse Bodley (b. 1933). Prominent names among the older generation of composers in Ireland today are Frank Corcoran (b. 1944), Eric Sweeney (1948–2020), John Buckley (b. 1951), Gerald Barry (b. 1952), Raymond Deane (b. 1953), Patrick Cassidy (b. 1956), and Fergus Johnston (b. 1959) (see also List of Irish classical composers).

Performers of note
Performers of note in classical music include Catherine Hayes (1818–1861), Ireland's first great international prima donna and the first Irish woman to perform at La Scala in Milan; tenor Barton McGuckin (1852–1913), a much-demanded singer in the late 19th century; tenor Joseph O'Mara (1864–1927), a very prominent singer around the turn of the century; tenor John McCormack (1884–1945), the most celebrated tenor of his day; opera singer Margaret Burke-Sheridan (1889–1958); pianist Charles Lynch (1906–1984); tenor Josef Locke (1917–1999) achieved global success and was the subject of the 1991 film Hear My Song; the concert flautist Sir James Galway and pianist Barry Douglas. Douglas achieved fame in 1986 by claiming the International Tchaikovsky Competition gold medal. Mezzo-sopranos Bernadette Greevy and Ann Murray have also had success internationally.

Choral music

Choral music has been practised in Ireland for centuries, initially at the larger churches such as Christ Church Cathedral, St Patrick's Cathedral, and St Mary's Pro-Cathedral, as well as the University of Dublin Choral Society (founded in 1837).

Founded and directed by composer Michael McGlynn in 1987, Anúna contributed significantly to raising the profile of choral music, particularly through their contributions to Riverdance which they were a part of from 1994 to 1996. They were nominated for a Classical Brit Award in the UK and appeared at the BBC Proms series in the Royal Albert Hall in 1999. In 2012 they featured as the voices of Hell in the video game Diablo III. In February 2018 the group won the Outstanding Ensemble category of the Annual Game Music Awards 2017 for their contributions to the video game Xenoblade Chronicles 2.

The Chamber Choir Ireland, formerly National Chamber Choir of Ireland, is principally funded by the Arts Council of Ireland. Their artistic director is Paul Hillier. The choir has produced a number of CDs with international (including Irish) repertoire. There are many semi-professional choirs in Ireland at local level, too. Many perform and compete at the annual Cork International Choral Festival (since 1954).

Opera
Although Ireland has never had a purpose-built opera house (the Cork Opera House is a multi-purpose theatre), opera has been performed in Ireland since the 17th century. In the 18th century, Ireland was a centre for ballad opera and created important works that helped to develop the genre in the direction of operetta, with works by Charles Coffey and Kane O'Hara. Nationally identifiable Irish operas have been written by immigrants such as Tommaso Giordani and Johann Bernhard Logier as well as by native composers such as John Andrew Stevenson and Thomas Simpson Cooke, continued in the 19th century with works by John William Glover and Paul McSwiney. Michael William Balfe and Vincent Wallace were the most prominent representatives of mid-19th-century English-language operas.

The Celtic Renaissance after 1900 created works such as Muirgheis (1903) by Thomas O'Brien Butler, Connla of the Golden Hair (1903) by William Harvey Pélissier, Eithne (1909) by Robert O'Dwyer, and The Tinker and the Fairy (1910) by Michele Esposito. Muirgheis and Eithne have librettos in Irish, as have a number of works by Geoffrey Molyneux Palmer and several 1940s and '50s works by Éamonn Ó Gallchobhair. Most of the Irish operas written since the 1960s have a contemporary international outlook, with important works by Gerard Victory, James Wilson, Raymond Deane, Gerald Barry, and a number of young composers since the turn of the century.

There have been subsequent attempts to revive the Irish-language tradition in opera. A brother-sister team previewed sections of the opera Clann Tuireann publicly, and in 2017 musician John Spillane told the Evening Echo that he was then working on a Gaelic opera to be titled Legends of the Lough.

Wexford Festival Opera is a major international festival that takes place every October and November.

Popular music
Early popular performers
Performers of popular music began appearing as early as the late 1940s; Delia Murphy popularised Irish folk songs that she recorded for HMV in 1949; Margaret Barry is also credited with bringing traditional songs to the fore; Donegal's Bridie Gallagher shot to fame in 1956 and is considered 'Ireland's first international pop star'; Belfast-born singer Ruby Murray achieved unprecedented chart success in the UK in the mid-1950s; Dublin native Carmel Quinn emigrated to the US and became a regular singer on Arthur Godfrey's Talent Scouts and appeared frequently on other TV variety shows in the 1950s and '60s. The Bachelors were an all-male harmony group from Dublin who had hits in the UK, Europe, US, Australia and Russia; Mary O'Hara was a soprano and harpist who was successful on both sides of the Atlantic in the 1950s and early 1960s; Waterford crooner Val Doonican had a string of UK hits and presented his own TV show on the BBC from 1965 to 1986.

Showbands in Ireland

Irish Showbands were a major force in Irish popular music, particularly in rural areas, for twenty years from the mid-1950s. The showband played in dance halls and was loosely based on the six or seven piece Dixieland dance band. The basic showband repertoire included standard dance numbers, cover versions of pop music hits, ranging from rock and roll, country and western to jazz standards. Key to the showband's success was the ability to learn and perform songs currently in the record charts. They sometimes played Irish traditional or Céilidh music and a few included self-composed songs.

Country and Irish

With the rise in popularity of American country music, a new subgenre developed in Ireland known as 'Country and Irish'. It was formed by mixing American Country music with Irish influences, incorporating Irish folk music. This often resulted in traditional Irish songs being sung in a country music style. It is especially popular in the rural Midlands and North-West of the country. It also remains popular among Irish emigrants in Great Britain. Big Tom and The Mainliners were the first major contenders in this genre, having crossed over from the showband era of the 1960s. Other major artists were Philomena Begley and Margo, the latter even being bestowed the unofficial title of Queen of Country & Irish. The most successful performer in the genre today is Daniel O'Donnell, who has garnered success in the UK, US and Australia. O'Donnell's frequent singing partner Mary Duff has also had success in this genre and most recently County Carlow native Derek Ryan has enjoyed Irish chart hits doing this type of music.

Fusion
Traditional music played a part in Irish popular music later in the century, with Clannad, Van Morrison, Hothouse Flowers and Sinéad O'Connor using traditional elements in popular songs. Enya achieved international success with New Age/Celtic fusions. The Afro-Celt Sound System achieved fame adding West African influences and electronic dance rhythms in the 1990s while bands such as Kíla fuse traditional Irish with rock and world music representing the Irish tradition at world music festivals across Europe and America. The most notable fusion band in Ireland was Horslips, who combined Irish themes and music with heavy rock. The Shamrock Wings is a Colombian band that fuses Irish music with Caribbean rhythms.Riverdance is a musical and dancing interval act which originally starred Michael Flatley and Jean Butler and featuring the choir Anúna. It was performed during the Eurovision Song Contest 1994 as "Riverdance". Popular reaction to the act was so immense that an entire musical revue was built around the act.

Pop/Rock

The 1960s saw the emergence of major Irish rock bands and artists, such as Them, Van Morrison, Emmet Spiceland, Eire Apparent, Skid Row, Taste, Rory Gallagher, Dr. Strangely Strange, Thin Lizzy, Gary Moore, Mellow Candle.

In 1970 Dana put Ireland on the pop music map by winning the Eurovision Song Contest with her song All Kinds of Everything. She went to number one in the UK and all over Europe and paved the way for many Irish artists. Gilbert O'Sullivan went to the top of the charts on both sides of the Atlantic in 1972 with a string of hits, and the all-sister line-up of The Nolans gained international chart success in the late 1970s. Chris de Burgh achieved international acclaim with his 1986 hit "Lady in Red".

Some groups who formed during the emergence of punk rock in the mid-late 1970s included U2, Virgin Prunes, The Boomtown Rats, The Undertones, Aslan, Gavin Friday, and Stiff Little Fingers. Later in the 80s and into the 90s, Irish punk fractured into new styles of alternative rock, which included That Petrol Emotion, In Tua Nua, Fatima Mansions, My Bloody Valentine and Ash. In the 1990s, pop and rock bands like The Corrs, B*Witched, Boyzone, Westlife and The Cranberries emerged. In the same decade, Ireland also contributed a subgenre of folk metal known as Celtic metal with exponents of the genre including Cruachan, Primordial, Geasa, and Waylander.

In recent decades Irish music in many different genres has been very successful internationally; however, the most successful genres have been rock, popular and traditional fusion, with performers such as (in alphabetical order):
Altan,
The Answer,
Ash,
Aslan,
B*Witched,
Bell X1,
Frances Black,
Mary Black,
The Blizzards,
The Bothy Band,
Brendan Bowyer,
Boyzone,
Paul Brady,
Jimmy Buckley,
Chris de Burgh,
Paddy Casey,
The Cast of Cheers,
Celtic Thunder,
Celtic Woman,
The Chieftains,
The Clancy Brothers,
Clannad,
Codes,
Rita Connolly,
The Coronas,
The Corrs,
Phil Coulter,
Nadine Coyle (of Girls Aloud),
The Cranberries,
Peter Cunnah (of D:Ream),
Dana,
De Dannan,
Cathy Davey,
Damien Dempsey,
The Divine Comedy,
Joe Dolan,
Val Doonican,
Ronnie Drew,
The Dubliners,
Mary Duff,
Duke Special, EDEN,
Enya,
Julie Feeney,
Fight Like Apes,
Mick Flannery,
The Frames,
The Fureys,
Bridie Gallagher,
Rory Gallagher,
Lisa Hannigan,
Glen Hansard of The Frames,
Keith Harkin,
Gemma Hayes, The High Kings,
Niall Horan (of One Direction),
Horslips,
The Hothouse Flowers,
Hozier,
In Tua Nua,
Andy Irvine,
Laura Izibor,
Gavin James,
Jape,
Jerry Fish & The Mudbug Club,
Siva Kaneswaran (of The Wanted),
Dolores Keane,
Sean Keane,
Luke Kelly,
Dermot Kennedy,
Keywest,
Kíla,
James Kilbane,
Kodaline,
Jack L,
Johnny Logan,
Dónal Lunny,
Phil Lynott and Thin Lizzy,
Tommy Makem,
Imelda May,
Eleanor McEvoy,
Christy Moore,
Gary Moore,
Van Morrison,
Moving Hearts,
Samantha Mumba,
Mundy,
Róisín Murphy,
Ruby Murray,
My Bloody Valentine,
Declan Nerney,
Maura O'Connell,
Sinéad O'Connor,
Daniel O'Donnell,
Annmarie O'Riordan,
Declan O'Rourke,
Gilbert O'Sullivan,
Picturehouse,
Picture This,
Pillow Queens,
Planxty,
Carmel Quinn,
Republic of Loose,
Damien Rice,
The Riptide Movement,
Dickie Rock,
Derek Ryan,
The Saw Doctors,
The Script,
Sharon Shannon,
Pa Sheehy (of Walking on Cars),
Snow Patrol,
Something Happens,
Davy Spillane,
Stiff Little Fingers,
Stockton's Wing,
The Strypes,
Tebi Rex,
Therapy?,
The Thrills,
The Undertones,
Walking on Cars,
The Wolfe Tones,
Two Door Cinema Club,
U2,
VerseChorusVerse,
Villagers,
Westlife,
Bill Whelan,
Finbar Wright,
all achieving success nationally and internationally.

Best selling Irish acts of all time

Top 5 'most standout' Irish acts of all time

In 2010, PRS for Music conducted research to show which five Irish musicians or bands the public considered to be the 'most standout'. U2 topped the list with sixty-eight percent while Westlife, Van Morrison, Boyzone and The Cranberries came in 2nd, 3rd, 4th and 5th, respectively. The research also suggested that the 'top-five' had sold over 341 million albums up to March 2010.

See also
Celtic music
Sean-nós singing
Lilting
Irish traditional music session
List of Irish ballads
Irish rebel music
List of Irish musicians
List of All-Ireland Champions
List of Irish music collectors
List of artists who reached number one in Ireland
List of songs that reached number one on the Irish Singles Chart
One Hit Wonders in Ireland

References

Bibliography
Boydell, Barra: A History of Music at Christ Church Cathedral, Dublin (Woodbridge: Boydell & Brewer, 2004).
Boydell, Brian: A Dublin Musical Calendar, 1700–1760 (Dublin: Irish Academic Press, 1988).
Boydell, Brian: Rotunda Music in Eighteenth-Century Dublin (Dublin: Irish Academic Press, 1992).
Breathnach, Breandán: Folk Music and Dances of Ireland (Cork: Mercier Press, 1971).
Breathnach, Breandán: Ceól Rince na hÉireann (Dublin: Oifig an tSoláthair, 1963 (vol. 1), 1976 (vol. 2), vol. 3 (1985)).
Clayton-Lea, Tony & Taylor, Rogan: Irish Rock. Where it's Come From, Where it's At, Where it's Going (Dublin: Gill & Macmillan, 1992).
Daly, Kieran Anthony: Catholic Church Music in Ireland, 1878–1903. The Cecilian Reform Movement (Dublin: Four Courts Press, 1995).
Dervan, Michael (ed.): The Invisible Art. A Century of Music in Ireland, 1916–2016 (Dublin: New Island, 2016).
Dwyer, Benjamin: Different Voices. Irish Music and Music in Ireland (Hofheim: Wolke, 2014).
Fitzgerald, Mark & O'Flynn, John (ed.): Music and Identity in Ireland and Beyond (Aldershot: Ashgate, 2014).
Fleischmann, Aloys (ed.): Music in Ireland. A Symposium (Cork: Cork University Press, 1952).
Grindle, William Henry: Irish Cathedral Music. A History of Music at the Cathedrals of the Church of Ireland (Belfast: Institute of Irish Studies, Queen's University of Belfast, 1989).
Hast, Dorothea & Scott, Stanley: Music in Ireland. Experiencing Music, Expressing Culture (New York: Oxford University Press, 2004).
Hogan, Ita M.: Anglo-Irish Music, 1780–1830 (Cork: Cork University Press, 1966).
Klein, Axel: Die Musik Irlands im 20. Jahrhundert (Hildesheim: Georg Olms, 1996).
Klein, Axel: Irish Classical Recordings. A Discography of Irish Art Music (Westport, Conn.: Greenwood Press, 2001).
Mangaoang, Áine; O'Flynn, John & Ó Briain, Lonán (ed.): Made in Ireland: Studies in Popular Music. (Routledge, 2020).  .
McAvoy, Mark: Cork Rock: From Rory Gallagher to the Sultans of Ping (Cork: Mercier Press, 2009).
McCarthy, Marie: Passing it on. The Transmission of Music in Irish Culture (Cork: Cork University Press, 1999).
Ó Canainn, Tomás: Traditional Music in Ireland (London: Routledge & Kegan Paul, 1978; new ed. Cork: Ossian Publications, 1993).
O'Connor, Nuala: Bringing it all back home. The Influence of Irish Music (London: BBC Books, 1991; rev. ed. Dublin: Merlin Publications, 2001).
Ó Dochartaigh, Seóirse: Sunlight & Shadow. A Listener's Guide to Irish Classical Music (Leckemy, Co. Donegal: Seóirse Ó Dochartaigh, 2016).
O'Dwyer, Simon: Prehistoric Music of Ireland (Stroud, Gloucestershire: Tempus Publishing, 2004).
Pine, Richard: Music and Broadcasting in Ireland (Dublin: Four Courts Press, 2005).
Pine, Richard & Acton, Charles (eds.): To Talent Alone. The Royal Irish Academy of Music, 1848–1998 (Dublin: Gill & Macmillan, 1998).
Porter, James: The Traditional Music of Britain and Ireland: A Select Bibliography and Research Guide (New York: Garland Publishing, 1989).
Power, Vincent: Send 'Em Home Sweatin'. The Showband Story (Cork: Mercier Press, 1990; rev. ed. 2000).
Prendergast, Mark J.: Irish Rock. Roots, Personalities, Directions (Dublin: O'Brien Press, 1987).
Shields, Hugh: Narrative Singing in Ireland (Dublin: Irish Academic Press, 1993).
Smith, Thérèse: Ancestral Imprints. Histories of Irish Traditional Music and Dance (Cork: Cork University Press, 2012).
Smyth, Gerry: Noisy Island. A Short History of Irish Popular Music (Cork: Cork University Press, 2005).
Smyth, Gerry & Campbell, Seán: Beautiful Day. Forty Years of Irish Rock (Cork: Atrium Press, 2005).
Vallely, Fintan: The Companion to Irish Traditional Music (Cork: Cork University Press 1999), .
Wallis, Geoff & Wilson, Sue: The Rough Guide to Irish Music (London: Rough Guides Ltd., 2001), .
Walsh, Basil: Michael W. Balfe. A Unique Victorian Composer (Dublin: Irish Academic Press, 2008), .
Walsh, Basil: Catherine Hayes, The Hibernian Prima Donna(Dublin: Irish Academic Press, 2000), .
Walsh, T.J.: Opera in Dublin, 1705–1797. The Social Scene (Dublin: Allen Figgis, 1973).
Walsh, T.J.: Opera in Dublin, 1798–1820. Frederick Jones and the Crow Street Theatre (Oxford: Oxford University Press, 1993).
White, Harry: The Keeper's Recital. Music and Cultural History in Ireland, 1770–1970 (Cork: Cork University Press, 1998).
White, Harry & Boydell, Barra: The Encyclopaedia of Music in Ireland (Dublin: UCD Press, 2013).
Zimmermann, Georges-Denis: Songs of Irish Rebellion. Political Street Ballads and Rebel Songs, 1780–1900'' (Dublin: Allen Figgis, 1967; 2nd ed. Dublin: Four Courts Press, 2002).

External links
 Audio clips: Traditional music of Ireland. Musée d'ethnographie de Genève. Accessed 25 November 2010.
A History of Irish Music, by W. H. Flood
Contemporary Music Centre, Dublin Ireland's national resource and archive centre for contemporary Irish classical music.
 Comhaltas Ceoltóirí Éireann A global movement promoting Irish traditional music and culture
The Journal of Music in Ireland Ireland's bi-monthly music magazine: reviews, interviews, in-depth articles, sessions
TheSession.org an online tune database and discussion site for adherents of Irish Traditional Music
Fleadh Cheoil Music & dance Competition
IRMA.ie – The Irish Recorded Music Association
BreakingTunes.com Arts Council of Ireland Website that specialises in the promotion of contemporary Irish Music.
TradTune.com Online database of traditional Celtic tunes with many from Ireland.
Chief O'Neill Blog Blog covering multiple aspects of the life and legacy of Francis O'Neill
Vashon Celtic Tunes Irish (mostly) dance tunes with sheet music and chords.
TTA – The Traditional Tune Archive The Traditional Tune Archive : The Semantic Index of North American, British and Irish traditional instrumental music with annotation, formerly known as "The Fiddler's Companion"

Culture of Ireland
Irish styles of music

Music of Ireland


Rhett Forrester (September 22, 1956 – January 22, 1994) was an American musician best known as the lead singer for New York-based band Riot from 1981 until 1984.

Biography
Forrester was born on September 22, 1956, in Tucker, Georgia. His mother was a ballroom dance instructor. He started to develop his trademark voice in high school, at The Sanford Naval Academy, when he began taking vocal lessons. After graduation, he moved to South Carolina where he began playing in local bands. In the late 1970s, Forrester joined forces with two former members of Illinois act Roller, guitarist Russ Shirley and bassist/vocalist Kevin Lee, and drummer Jim Schroeder, to form Hitman. The band stayed together for about a year, playing around the Georgia State area. Forrester's big break came while he was with a New York cover band named Rachel, when he successfully auditioned to replace the departing Guy Speranza in Riot.

He would make his studio debut on 1982's Restless Breed album which the band supported by touring with headliners Rainbow on their Straight Between the Eyes tour, sharing the bill at different times with Saxon, Scorpions, and UFO. Keeping up their momentum, the Riot Live EP was released later that same year. After losing their major label deal with Elektra, Riot signed with Canadian indie label Quality Records for the 1983 release of Born in America, Forrester's second and last studio album with the band. In early 1984, Riot played dates on Kiss's  Lick It Up tour alongside Vandenberg, but decided to split up shortly thereafter.

After the demise of Riot, Forrester teamed with former Virgin Steele guitarist Jack Starr and appeared on his 1984 solo album, Out of the Darkness, which featured The Rods rhythm section of Carl Canedy and Gary Bordonaro. This was also the line-up that traveled to France in the summer of 1984 for an appearance at the two-day Breaking Sound Festival in Le Bourget, near Paris, on August 30. Erroneously billed as Virgin Steele in advance of the festival, they played just below headliners Dio and Blue Öyster Cult.

Forrester would part ways with Starr after the ill-fated gig and ended up stranded in France for a period of time. He wound up utilizing the months of September and October to record his first solo album, Gone with the Wind, including a cover of The Rolling Stones' "Live with Me", at Studio Max Waldberg in Paris. Released by French indie label Bernett Records, it featured New York guitarist/co-writer Paul Kayen, aka Paul Kane, who had guested on Starr's Out of the Darkness, and was also a member of Aldo Nova's group at the time appearing on his 1985 Twitch album. Gone with the Wind would see a belated American release in 1986 via Shattered Records.

In 1985, Forrester took part in the Combat Records initiated Thrasher project, featuring an all-star cast of mostly New York based musicians, including members of The Rods, Talas, Bible Black, and Dust, contributing vocals to the song "Bad Boys" on the Burning At the Speed of Light album.

Forrester briefly joined an aborted West Coast version of Riot, consisting of guitarist Mark Reale, bassist Van Stavern, and drummer Sandy Slavin, performing live with the band at The Roxy in West Hollywood, California, on April 16 & 18, 1986. Bootleg recordings of both gigs are available for download on numerous sites online.

Still with Paul Kayen as his guitarist/co-writer, Forrester signed a new record deal with Rhino Records subsidiary Rampage and released Even the Score in 1988. The album was recorded at Backdoor Studios in Huntington Station, New York, produced by Chris Pati and engineered by John Tabacco. It was subsequently remixed in Los Angeles. It contained a re-make of "Assume the Position", accompanied by an explicit video, as well as a cover of Mott the Hoople and Bad Company's "Ready for Love".

After splitting with Kayen, Forrester briefly worked with guitarist Alex Masi and in 1991 recorded demos with former Keel members, guitarist Bryan Jay and drummer Dwain Miller, and bassist Rob Thiessen under the name Dogbone. These recordings were released on CD after Forrester's death in 1996. Dogbone's song "Dog Fight Alley", re-titled "Streets of Rock & Roll", was released by Keel as the title track to their 2010 comeback album, Streets of Rock & Roll, albeit without any credit given to Forrester or Dogbone.

In the early 1990s, Forrester became the frontman for Calgary, Alberta-based band The Black Symphony, featuring guitarist Rick Plester, bassist RJ Killinger, and drummer Tim Waterson. They recorded a three-song demo in 1992 containing the songs "The End of Time", "Redemption", and "In the Beginning". Forrester also got involved with another Calgary act, Dr. Dirty, a union which produced a pair of four-song demos. The group dissolved on the verge of signing a major label record deal. Forrester's last project prior to his death was Dirty Water with San Antonio, Texas guitarist/co-writer Jonathan Grell, formerly of Winterkat. He was killed shortly after completing a 4-song demo.

Rare material, including five songs from the Mr. Dirty project, featuring Forrester, ex-Steel Lily guitarist Rob Robbins (now found in Moxy), bassist/songwriter Scot Gains, and drummer Ray Mehlbaum, was released in 1996 on the Hell or Highwater memorial CD. The album also contains three songs from the Dirty Water sessions, recorded with Grell, drummer Dwain Miller (Keel, Outlaw Blood, Dogbone), and bassist Robert Cooper. Hell or Highwater received an official digital release in November 2014.

In November 2013, an expanded 30-year anniversary edition of Jack Starr and Rhett Forrester's Out of the Darkness, including rare pictures and liner notes, was issued by Germany's Limb Music label.

Death
Forrester was shot and killed at the Northwest Atlanta intersection of Lovejoy Street (now Centennial Lane) and Merritts Avenue, one block west of Techwood Drive (now Centennial Olympic Park Drive), after he refused to give up his vehicle in an attempted carjacking; he was 37 years old. The crime remained unsolved for some time. He was survived by his mother Lafortune Forrester, his brother, guitarist Lucky Forrester, his ex, Windi Grace, daughter, Jade Grace, and his fiance, Lori Plester, whom he was living with at the time.

One person (who apparently pulled the trigger) was killed and another was arrested for other crimes, finally admitting to being at the scene of Forrester's death, among other murders.

Posthumous honor
Forrester was inducted into Atlanta's Hard Rock Cafe in 1996. The ceremony was held on June 22, two weeks before the 1996 Summer Olympics.

Discography

Solo
1984 – Gone with the Wind
1988 – Even the Score
1996 – Hell or Highwater

With Riot
1982 – Restless Breed
1982 – Riot Live (EP)
1983 – Born in America

With Jack Starr
1984 – Out of the Darkness

With Dogbone
1996 – Dogbone

Videos
1982 – Riot – Restless Breed
1984 – Riot – Born In America
1988 – Rhett Forrester – Assume the Position

Demos
1992 – The Black Symphony – 3-song demo
1993 – Power Plant Sessions – 4-song demo (Jan.)
1993 – Clear Lake Sessions – 4-song demo (Apr.)
1993 – Dirty Water Sessions – 4-song demo

References

External links
Rhett Forrester @ Encyclopedia Metallum
Rhett Forrester @ HotShotDigital.com
Rhett Forrester in The Music's Over
Mr. Rhettster YouTube channel

1956 births
1994 deaths
20th-century American singers
American rock singers
American murder victims
Singers from Atlanta
Deaths by firearm in Georgia (U.S. state)
People murdered in Georgia (U.S. state)
People from Tucker, Georgia
Riot (band) members
1994 murders in the United States

Rhett Forrester


Open Books & Records was founded by Ted Gottfried and Leslie Wimmer.  The original store opened its door in October 1979 in Deerfield Beach, Florida, United States.  The store's location changed several times finally ending up in North Miami Beach, Florida.

Open Books & Records closed its doors in March, 1994.

Core of the scene
Open Books and Records played an important role in the South Florida underground scene.  The original store was located in Deerfield Beach, Florida. According to Walter CZ, "without Leslie, without Ted Gottfried putting together Open Records, we wouldn't be sitting here right now, because everybody that's here saw these little ads in the magazine for this weird little record store in Deerfield Beach that had the records we were looking for. Oh my god, ya know, and sure enough by going up there, you were immediately in touch with all these other people and it just became the hub. It was the core."    According to Richard Shelter, "They promoted so many shows, I mean without Open Records…it was my channel to get everybody to know..."

Open Books and Records moved to Fort Lauderdale in 1981. In early 1982, Wimmer and Gottfried decided to start making record albums and Open Records came into being. According to Greg Baker, "On two nights in January 1982 they recorded Charlie Pickett and the Eggs Live at the Button on Fort Lauderdale Beach."    At the same time "Open compiled an album featuring fifteen bands from Florida, including the Eat, the Bobs, the Essentials, Spanish Dogs, the Front, Larry Joe Miller, and Charlie Pickett and the Eggs. The result was a remarkable piece of vinyl that stands up to this day. It didn't sell diddley."

Open Books and Records was more than a record store.  They had a record label, they put on shows, and they had a hotline called "Song and Dance."

Open Records
Open Records was a label created by Ted Gottfried and Leslie Wimmer owners of Open Records & Books. Gottfried and Wimmer released several Charlie Pickett singles as well as a compilation album titled The Land That Time Forgot. According to Bob Suren, "This 1982 LP is truly a regional sampler, with bands of all styles from all over the state represented, including the Eat, the Bobs, the Essentials, the Front, the Spanish Dogs and many more."

 The Land That Time Forgot - 1982.
 Charlie Pickett & The Eggs - "Feelin'" / "White Light" 7" - 1981.
 Charlie Pickett & The Eggs - Live at The Button (LP)- 1982.
 Charlie Pickett & The Eggs - Cowboy Junkie Au-Go_Go (EP) - 1984.

References

External links
 Glory Days - Miami New Times
 Big Things in Store
 The Goods at Open Books & Records

Independent bookstores of the United States
American independent record labels

Open Books & Records


Vasya is a 2002 American documentary film written, directed and produced by Andrei Zagdansky. The film tells the story of Russian underground artist Vasily Sitnikov, who was declared insane in early 1940s by the Soviet authorities. A man without a passport, in and out of mental asylums, he was the key and often "larger than life" figure of the nonconformist art movement in the Soviet Union. The movie portrays the struggles of the painter as he meets an American man that wants to buy his work.
In 1975 fearing prosecution and another involuntary commitment to a mental asylum he immigrated to Austria and then to the United States. He died virtually unknown in 1987 in NYC.

A number of prominent artists appear in the film, such as Dmitri Plavinsky Vladimir Titov, Kevin Clarke, poet and publisher Konstantyn K. Kuzminsky and art collector Norton Dodge, who has amassed one of the largest collections of Soviet-era art outside the Soviet Union.

Additional Credits
Animation by Signe Baumane
Original score by Alexander Goldstein
AZ Films L.L.S. and Fora Film
© 2002 AZ Films L.L.C.

External links

Vasya on AZ Films L.L.C. web site

2002 films
American documentary films
2000s English-language films
2000s Russian-language films
Soviet art
Documentary films about painters
Works about outsider art
Films directed by Andrei Zagdansky
2000s American films

Vasya (film)


Eva Östlund, better known by her stage name Eva Eastwood (born in Örebro, Sweden, on 25 September 1967), is a Swedish songwriter and singer who sings rockabilly and rock 'n' roll songs.

Although she was offered a contract in the United States in 1997, she chose to go back home and soon after formed the band The Major Keys and made releases crediting Eva Eastwood and the Major Keys through the small Tail Records label based in Jönköping

In 2005, she took part in Allsång på Skansen, a sing-along TV show from Skansen performing "Vårt liv i repris" from her album En ny stil i stan proving to be a turning point in her career. Eva won the Millencolin Music Prize 2010 becoming the first woman to do so. In 2011, she returned to the same stage singing the title track "Lyckost" from her similarly named album.

As a songwriter, she has composed over 800 songs, including the likes of The Boppers, Linda Gail Lewis, Lalla Hansson, Berth Idoffs, Jerry Williams and Larz-Kristerz.

Discography

Albums
1999: Good Things Can Happen
2001: The Good Life I Have
2001: Hot Chicks & Cool Cats
2003: Roots Revival
2021: Candy

Singles

References

External links
Facebook
Website

Swedish women singers
Swedish women songwriters
Living people
1967 births
People from Örebro

Eva Eastwood


Etoricoxib, sold under the trade name Arcoxia, is a selective COX-2 inhibitor developed and commercialized by Merck. It is approved in 63 countries worldwide as of 2007, except the United States where the Food and Drug Administration sent a Non Approvable Letter to Merck and required them to provide additional data.

It was patented in 1996 and approved for medical use in 2002.

Medical uses
Etoricoxib is indicated for "the symptomatic relief of osteoarthritis (OA), rheumatoid arthritis (RA), ankylosing spondylitis, and the pain and signs of inflammation associated with acute gouty arthritis."

Efficacy
A Cochrane review assessed the benefits of single-dose etoricoxib in the reduction of acute post-operative pain in adults. Single-dose oral etoricoxib provides four times more pain relief post-operatively than placebo, with equivalent levels of adverse events.  Etoricoxib given at a dose of 120 mg is as effective or even better than other analgesics that are commonly used.

Adverse effects
Like all other NSAIDs, the COX-2 inhibitors too have their share of adverse effects. Fixed drug eruption and generalised erythema, acute generalized exanthematous pustulosis (AGEP), erythema multiforme like eruption and drug induced pretibial erythema are some serious side effects reported, besides the usual innocuous ones.

Mechanism of action
Like any other selective COX-2 inhibitor ("coxib"), etoricoxib selectively inhibits isoform 2 of the enzyme cyclooxygenase (COX-2). It has approximately 106-fold selectivity for COX-2 inhibition over COX-1. This reduces the generation of prostaglandins (PGs) from arachidonic acid. Among the different functions exerted by PGs, their role in the inflammation cascade should be highlighted.

Selective COX-2 inhibitors show less activity on COX-1 compared to traditional non-steroidal anti-inflammatory drugs (NSAID). This reduced activity is the cause of reduced gastrointestinal side effects, as demonstrated in several large clinical trials performed with different coxibs.

Cardiovascular safety and concerns
Etoricoxib's safety on the gastrointestinal tract and cardiovascular was evaluated in the MEDAL Program consisting of three clinical trials: MEDAL (Multinational Etoricoxib Versus Diclofenac Arthritis Long-term Study), EDGE (Etoricoxib versus Diclofenac Sodium Gastrointestinal Tolerability and Effectiveness) and EDGE II. Pooled analysis from these trials shows that etoricoxib has the same rates of thrombotic cardiovascular events as those of diclofenac, including thrombotic events (1.24 events per 100 patient-years with etoricoxib versus 1.24 events per 1,000 patient-years with diclofenac), arterial thrombotic events (1.05 events per 100 patient-years with etoricoxib versus 1.10 events per 100 patient-years with diclofenac) and risks of heart attack, stroke and death of vascular cause (0.84 per 100 patient-years with etoricoxib versus 0.87 events per 100 patient-years with diclofenac). Rates of upper gastrointestinal events (ulcer, bleeding, perforation, and obstruction) are in favor of the etoricoxib group (0.67 events per 100 patient-years with etoricoxib versus 0.97 events per 100 patient-years with diclofenac), but rates of complicated upper gastrointestinal events are similar between two groups.

Like rofecoxib's VIGOR trial, the MEDAL Program was also criticized, this time due to Merck's choice of comparator group. In a testimony before the FDA Arthritis Advisory Committee, Sidney M. Wolfe pointed out that unlike the VIGOR trial, in which the active comparator was naproxen, three trials in the MEDAL Program used diclofenac as an active comparator. Wolfe showed that when compared etoricoxib to naproxen, which is a nonselective COX inhibitor, etoricoxib significantly increases the risks of cardiovascular events to such a degree that "are similar to rofecoxib/naproxen comparison", but when compared etoricoxib to diclofenac, which inhibits COX-2 more preferentially and has a worse CV safety profile than placebo, the difference was not statistically significant. He also noted the increase in other cardiac events, such as heart failure and high blood pressure.

References

COX-2 inhibitors
Nonsteroidal anti-inflammatory drugs
Pyridines
Merck & Co. brands
Chloropyridines

Etoricoxib


was the 27th emperor of Japan, according to the traditional order of succession.  Historians consider details about the life of Emperor Ankan to be possibly legendary, but probable.   The name Ankan-tennō was created for him posthumously by later generations.

No certain dates can be assigned to this emperor's life or reign.  The conventionally accepted names and sequence of the early emperors were not to be confirmed as "traditional" until the reign of Emperor Kammu, who was the 50th monarch of the Yamato dynasty.

Traditional history
According to Kojiki Ankan was the elder son of Emperor Keitai.

Ankan died childless, and the throne passed to his brother, who would become known as Emperor Senka.

Events of Ankan's life
Very little is known about the events of Ankan's life and reign.  Only limited information is available for study prior to the reign of the 29th monarch, Emperor Kimmei.

Ankan attained the Imperial throne when his father, Emperor Keitai, abdicated in his favor.

The construction of state granaries in large numbers throughout Japan was a demonstration of the broad reach of Imperial power and concerns.

His death ended his reign after only four years.

After his death
This emperor's official name after his death (his posthumous name) was regularized many centuries after the lifetime which was ascribed to Ankan.

According to the Imperial Household Agency, the emperor's final resting place is in an earthen tumulus (kofun). Ankan is venerated at a memorial Shinto shrine (misasagi) which is associated with the burial mound.

Related pages
 Emperor of Japan
 List of emperors of Japan
 Japanese imperial family tree
 Kofun period

References

Emperors of Japan

Emperor Ankan


Antonio Ligabue (18 December 1899 – 27 May 1965; born Antonio Laccabue) was an Italian painter. He was one of the most important Naïve artists of the 20th century.

Biography
He was born in Zürich, Switzerland on 18 December 1899, to Elisabetta Costa, a native from Cencenighe Agordino, and supposedly to Bonfiglio Laccabue (the true identity of the father is still unknown), native from Reggio Emilia. His mother, Elisabetta, and three brothers died in 1913 as a result of food poisoning.

In 1942 the painter changed his surname from Laccabue to Ligabue, presumably because of the hate towards his father, whom he considered guilty of the uxoricide of his mother. In September 1900 he was entrusted to the Swiss Johannes Valentin Göbel and Elise Hanselmann. He began to work occasionally as a farm hand and conducted a wandering life. After an altercation with his foster mother, he was hospitalized in a psychiatric clinic.

In 1919, following the complaint by Hanselmann, Ligabue was expelled from Switzerland. From Chiasso he was moved to Gualtieri, in the province of Reggio Emilia, the hamlet of origin of the adoptive father but, not knowing a word of Italian, he tried to return to Switzerland.

Ligabue lived with support from the City Hospice of beggars. He began to paint in 1920. In 1928 he met Renato Marino Mazzacurati, who appreciated his artistic capabilities and taught him the use of oil painting. In those years Ligabue devoted himself to painting and continued to wander aimlessly along the River Po.

In 1937 he was hospitalized in a mental hospital in Reggio Emilia for self-mutilation. In 1941 the sculptor Andrea Mozzali helped him to get out of the psychiatric hospital and welcomed him to his home in Guastalla, near Reggio Emilia. During World War II Ligabue served in the Italian Army as an interpreter for the German troops. In 1945, after beating a German soldier with a bottle, he was interned in a mental hospital and remained there for three years.

In 1948 he began painting more intensely, and journalists, critics and art dealers began to be interested in him. In 1957 Severo Boschi, a journalist at the Il Resto del Carlino newspaper, and photographer Aldo Ferrari went to Gualtieri to meet him. The result was the currently best-known photograph of Ligabue.

In 1961 his first solo exhibition was held at the La Barcaccia gallery in Rome. He had a motorcycle accident and the following year he was stricken with paralysis. Guastalla dedicated him a major retrospective in 1963.
By now ill, asked to be received in the Catholic Church and, shortly after being baptized and confirmed, Ligabue died in  Gualtieri on 27 May 1965.

In 1965, after his death,  a retrospective of his work was held in the context of the Ninth Quadrennial of Rome.

See also
 Ligabue (1978 film)
 Hidden Away (2020 film)

References

1899 births
1965 deaths
20th-century Italian painters
Italian male painters
Naïve painters
Artists from Zürich
20th-century Italian male artists

Antonio Ligabue


Sir Adrian Cedric Boult CH (8 April 1889 – 22 February 1983) was an English conductor.

Life

Early years
Boult was born in Chester. He went to school in Westminster School and studied at Christ Church, Oxford. He then went to the Leipzig Conservatory where he learnt to conduct by watching the great Hungarian conductor Arthur Nikisch. He sang in choral festivals and at the Leeds Festival of 1913, where he went to watch Nikisch conduct.

During World War I he worked for the War Office, and while he was there in 1918 he planned a series of concerts with the London Symphony Orchestra, which included several important new British works including Gustav Holst's The Planets, A London Symphony by Ralph Vaughan Williams, and Elgar's Symphony No. 2. When Boult was a boy he had already met Elgar. Elgar now wrote to him and said he felt sure the future of his music was safe in Boult's hands. Boult was at the start of a great career in which he conducted a lot of 20th century British music.

Birmingham and the BBC
In 1924 Boult became conductor of the City of Birmingham Orchestra—now the City of Birmingham Symphony Orchestra — and in 1930 he was made Director of Music at the BBC. When the BBC formed the BBC Symphony Orchestra, Boult also became its chief conductor, combining both jobs.

Boult became famous for conducting a wide repertoire, including the very modern-sounding music of Arnold Schoenberg. In 1933 he married Ann Wilson, the ex-wife of the singer and administrator Steuart Wilson. The marriage lasted until Boult's death. Boult was knighted in 1937.

War years and after
During World War II the BBC Symphony Orchestra was evacuated to Bristol. Even there it was not safe from the bombing and they moved again to Bedford.
After the war the BBC started the BBC Third Programme and Boult was involved in many new plans for concerts and recordings.

In 1948, Steuart Wilson became Director of Music at the BBC. Some people were saying that the music on the BBC was not so good and that Boult ought to retire when he became 60 in 1949. He then became conductor of the London Philharmonic Orchestra with whom he made many recordings.

Later years
Boult continued to conduct until he was very old. His many recordings, including music he had heard Nikisch conduct many years before. His last public performance was conducting Elgar's ballet The Sanguine Fan for London Festival Ballet at the Coliseum, in London on 24 June 1978.

Boult was made a Companion of Honour in 1969.

Writings
Boult wrote two books about conducting, Thoughts on Conducting and A handbook on the technique of conducting. He also wrote an autobiography: My Own Trumpet (the expression "to blow one's own trumpet" means: "to boast about oneself).  He also gave talks on the radio. He spoke in a very polite, formal style.

His conducting
Boult always conducted with a baton (conductor's stick).  His conducting was very graceful, his movements were very simple and clear.

Discography
Studio albums
 Shostakovich: Symphony Nos. 6 & 9 (1995)
 On the Banks of Green Willow (1997)
 Vaughan Williams: Dona Nobis Pacem and Other Works (2001)
 Beethoven: Symphony No. 5; Leonore Overture No. 3 (2005)
 Havergal Brian: Symphony No. 1 'The Gothic''' (2010)
 Elgar: Symphony No. 2; Wagner: Tannhauser Overture & Venusberg Music'' (2013)

References

1889 births
1983 deaths
British autobiographers
British conductors
Companions of Honour
Knights Bachelor
Musicians from Cheshire
People from Chester

Adrian Boult


Miniature Pioneering or Model Pioneering is an art form featuring the miniaturized version of pioneering construction. This technique was originally used by Boy Scouts to create a model for campsite planning. Models are a convenient way to plan a construction project, requiring the same techniques as a full-scale model, and allowing for accurate equipment lists to be developed, as well as for difficulties in sequencing construction to be identified. However, scout troops in Malaysia are innovating it into a new form of art through competitions. While real pioneering is a combination of wooden spars and ropes, these materials are replaced by wooden sticks and white thread in Miniature Pioneering.

Although design and complexity plays a major part in judging the value of a model, lashing quality plays a major role whereby it is evaluated based on the three criteria of tightness, tidiness, and cleanliness. Similar to all handmade models, the activity of making a miniature pioneering model is good training for patience and perfection.

See also
 Scale model

Scoutcraft
Scale modeling

Miniature pioneering