The RGB chromaticity space, two dimensions of the normalized RGB space,
is a chromaticity space, a two-dimensional color space in which there is no intensity information.

In the RGB color space a pixel is identified by the intensity of red, green, and blue primary colors.  Therefore, a bright red can be represented as (R,G,B) (255,0,0), while a dark red may be (40,0,0).  In the normalized RGB space or RG space, a color is represented by the proportion of red, green, and blue in the color, rather than by the intensity of each.  Since these proportions must always add up to a total of 1, we are able to quote just the red and green proportions of the color, and can calculate the blue value if necessary.

Conversion between RGB and RG Chromaticity
Given a color (R,G,B) where R, G, B = linear intensity of red, green and blue, this can be converted to color  where  imply the proportion of red, green and blue in the original color:

The sum of rgb will always equal one, because of this property the b dimension can be thrown away without causing any loss in information. The reverse conversion is not possible with only two dimensions, as the intensity information is lost during the conversion to rg chromaticity, e.g. (1/3, 1/3, 1/3) has equal proportions of each color, but it is not possible to determine whether this corresponds to black, gray, or white. If R, G, B, is normalized to r, g, G color space the conversion can be computed by the following:

The conversion from rgG to RGB, is the same as the conversion from xyY to XYZ. The conversion requires at least some information relative to the intensity of the scene. For this reason if the G is preserved then the inverse is possible.

Version used in computer vision

Motivation
Computer vision algorithms tend to suffer from varying imaging conditions. To make more robust computer vision algorithms it is important to use a (approximately) color invariant color space. Color invariant color spaces are desensitized to disturbances in the image. One common problem in computer vision is varying light source (color and intensity) between multiple images and within a single image.

The rg colorspace is used out of a desire for . For example, if a scene is lit by a spotlight, an object of a given color will change in apparent color as it moves across the scene.  Where color is being used to track an object in an RGB image, this can cause problems. Removing the intensity component should keep the color constant.

Practice
In practice, computer vision uses an "incorrect" form of rg colorspace derived directly from gamma-corrected RGB, typically sRGB. As a result, full removal of intensity is not achieved and 3D objects still show some of fringing.

Illustration

rg color space

r, g, and b chromaticity coordinates are ratios of the one tristimulus value over the sum of all three tristimulus values. A neutral object infers equal values of red, green and blue stimulus. The lack of luminance information in rg prevents having more than 1 neutral point where all three coordinates are of equal value. The white point of the rg chromaticity diagram is defined by the point (1/3,1/3). The white point has one third red, one third green and the final third  blue. On an rg chromaticity diagram the first quadrant where all values of r and g are positive forms a right triangle. With max r equals 1 unit along the x and max g equals 1 unit along the y axis. Connecting a line from the max r (1,0) to max g (0,1) from a straight line with slope of negative 1. Any sample that falls on this line has no blue. Moving along the line from max r to max g, shows a decrease in red and an increase of green in the sample, without blue changing. The further a sample moves from this line the more blue is present in the sample trying to be matched.

CIE RGB

RGB is a color mixture system. Once the color matching function are determined the tristimulus values can be determined easily.  Since standardization is required to compare results, CIE established standards to determine color matching function.

The reference stimuli must be monochromatic lights R, G, B. With wavelengths  respectively.
The basic stimulus is white with equal energy spectrum. Require a ratio of 1.000:4.5907:0.0601 (RGB) to match white point.

Therefore, a white with equi-energy lights of  1.000 + 4.5907 + 0.0601 = 5.6508 lm can be matched by mixing together R, G and B. Guild and Wright used 17 subjects to determine RGB color matching functions. RGB color matching serve as the base for rg chromaticity. The RGB color matching functions are used to determine the tristimulus RGB values for a spectrum. Normalizing the RGB tristimulus values converts the tristimulus into rgb. Normalized RGB tristimulus value can be plotted on an rg chromaticity diagram.

An example of color matching function below.  is any monochromatic. Any monochromatic can be matched by adding reference stimuli  and . The test light is also to bright to account for this reference stimuli is added to the target to dull the saturation.  Thus  is negative.  and  can be defined as a vector in a three-dimensional space. This three-dimensional space is defined as the color space. Any color  can be reached by matching a given amount of  and .

The negative calls for color matching functions that are negative at certain wavelengths. This is evidence of why the  color matching function appears to have negative tristimulus values.

rg chromaticity diagram

The figure to the side is a plotted rg chromaticity diagram. Noting the importance of the E which is defined as the white point where rg are equal and have a value of 1/3. Next notice the straight line from (0,1) to (1,0), follows the expression y = -x + 1. As the x (red) increases the y (green) decreases by the same amount. Any point on the line represents the limit in rg, and can be defined by a point that has no b information and formed by some combination of r and g. Moving of the linear line towards E represents a decrease in r and g and an increase in b. In computer vision and digital imagery only use the first quadrant because a computer cannot display negative RGB values. The range of RGB is 0-255 for most displays. But when trying to form color matches using real stimuli negative values are needed according to Grassmann's Laws to match all possible colors. This is why the rg chromaticity diagram extends in the negative r direction.

Conversion xyY color system

Avoiding negative color coordinate values prompted the change from to rg to xy. Negative coordinates are used in rg space because when making a spectral sample match can be created by adding stimulus to the sample. The color matching functions r, g, and b are negative at certain wavelengths to allow for any monochromatic sample to be matched. This is why in the rg chromaticity diagram the spectral locus extents into the negative r direction and ever so slightly into the negative g direction. On an xy chromaticity diagram the spectral locus if formed by all positive values of x and y.

See also

 RG color space
 CIE 1931 color space
 Trichromacy
 Imaginary color
 Grassmann's law
 Chromaticity
 Chrominance
 Image segmentation
 Computer vision

References

Color space

Rg chromaticity


Yaakov Yeshayah Blau (1929–2013) was a rabbi and a dayan on the Badatz of the Edah HaChareidis in Jerusalem. He was known as an expert in the halakhot of Choshen Mishpat and served as halakhic decisor for over 50 years.

He was born in Jerusalem on 16 September 1929 and grew up in the home of Rabbi Yosef Tzvi Dushinsky, the first Dushinsky rebbe, who raised him after his father died when he was a young child.

In his youth, he studied at the Etz Chaim Yeshiva.

He authored various sefarim on the halakhot of loans and interest, as well as on the halakhot of  mikveh.

As per the request of Rabbi Yitzchok Yaakov Weiss, he was selected to serve as dayan on the Badatz of the Edah HaChareidis.

He died on January 14, 2013 (age 84). He had three sons, Talmidei Chachamim.

References

1929 births
2013 deaths
Authors of books on Jewish law
Hebrew-language writers
20th-century rabbis in Jerusalem
Rabbis of the Edah HaChareidis
Burials at Har HaMenuchot

Yaakov Blau


Abduction is the kind of practical logic which answers questions of the type "how did this come about?". It produces answers which are not guaranteed to be correct. Consider the observation that the lawn is wet in the morning. How did that happen? In London, the answer is most often that it rained. But in Los Angeles it is much more likely that someone left the sprinkler on.

Abduction is logical inference which goes from an observation to a theory which accounts for the observation. It makes the simplest and most likely explanation. In abductive reasoning, unlike in deductive reasoning, the premises do not guarantee the conclusion. Abductive reasoning is "inference to the best explanation".

The philosopher Charles Sanders Peirce (1839–1914) introduced abduction into modern logic.

References

Logic

Abduction (logic)


Pay per click advertising on search engines such as Google and Bing. On Google the adverts are displayed either at the very top of the search results with an orange background, on the right hand side or in both these places. Advertisers pay Google each time someone clicks on their advert. It is often referred to by the letters PPC.  Many pay per click providers exist, Google AdWords, Yahoo! Search Marketing, and Microsoft adCenter are the three largest operators.

Advertising

Pay per click


A capirote is a Catholic pointed hat of conical form that is used in Spain and Hispanic countries by members of a confraternity of penitents. It is part of the uniform of such brotherhoods including the Nazarenos and Fariseos during Easter observances and reenactments in some areas during Holy Week in Spain and its former colonies, though similar hoods are common in other Christian countries such as Italy. Capirote are worn by penitents so that attention is not drawn towards themselves as they repent, but instead to God.

History
Historically, the flagellants are the origin of the current traditions, as they flogged themselves with a discipline to do penance. Pope Clement VI ordered that flagellants could perform penance only under control of the church; he decreed Inter sollicitudines ("inner concerns" for suppression). This is considered one of the reasons why flagellants often hid their faces.

The use of the capirote or coroza was prescribed in Spain by the holy office of Inquisition. Men and women who were arrested had to wear a paper capirote in public as sign of public humiliation. The capirote was worn during the session of an Auto-da-fé. The colour was different, conforming to the judgement of the office. People who were condemned to be executed wore a red coroza. Other punishments used different colours.

When the Inquisition was abolished, the symbol of punishment and penitence was kept in the Catholic brotherhood, however, the capirotes used today are different; they are covered in fine fabric, as prescribed by the brotherhood.  To this day, they are still worn during the celebration of the Holy Week/Easter most notably in Andalusia, by penitentes (who perform public penance for their sins) who walk through streets with the capirote.

The usage of the capirote during the Holy Week was once common throughout Spain's colonies, but this custom has since died out in most of them by the late 19th century. Notable exceptions to this are some parts of Mexico and Guatemala. Similar hoods are common in other Christian countries such as Italy.

The capirote is today the symbol of the Catholic penitent: only members of a confraternity of penance are allowed to wear them during solemn processions. Children can receive the capirote after their first holy communion, when they enter the brotherhood.

Design
Historically the design is called the capirote, but the brotherhoods cover it with fabric together with their face, and the medal of the brotherhood that is worn underneath. The cloth has two holes for the penitent to see through. The insignia or crest of the brotherhood is usually embroidered on the capirote in fine gold.

The capirote is worn during the whole penance.

Use outside of the Catholic Church

According to historian Michael K. Jerryson, the capirote was appropriated by the early 20th-century American Ku Klux Klan, a white supremacist and anti-Catholic group. Alison Kinney of New Republic traces the modern uniform to the popularity of the film The Birth of a Nation, whose costume inspiration was not credited.

Gallery

See also

 List of headgear
 Sanbenito

References

14th-century Christianity
Holy Week in Spain
Catholic religious clothing
Spanish clothing
Spanish Inquisition
Pointed hats

Capirote


The Heavy Vehicles Factory is located in Avadi locality, Chennai metropolitan city. It was set up in the year 1961. It was set up by Ordanance Factories Board , Government of India. The function of this factory is to manufacture battlefield equipment. These include Vijayantas, T-79 Tanks. At present it manufactures India's main battle tank Arjun and T-90 tanks.

References

Chennai

Heavy Vehicles Factory


This is a list of philatelic libraries.

Philatelic libraries
American Philatelic Research Library (United States)
Crawford Library, part of the British Library Philatelic Collection (United Kingdom)
Hamburg Philatelic Library (Germany)
KNBF Bondsbibliotheek (Netherlands)
Munich Philatelic Library (Germany)
Northern Philatelic Library (United States)
Northwest Philatelic Library (United States)
Philas Library (Australia)
Rocky Mountain Philatelic Library (United States)
San Diego Philatelic Library (United States)
Scandinavian Collectors Club Library (United States)
Western Philatelic Library (United States)
Wineburgh Philatelic Research Library (United States)

Institutions with philatelic libraries
Istituto di studi storici postali "Aldo Cecchi" onlus (Italy)
Postal History Foundation, Peggy J. Slusser Memorial Philatelic Library (United States)
Spellman Museum of Stamps & Postal History (United States)
Smithsonian National Postal Museum (United States)
The Philately Museum of Oaxaca (México)
The Postal Museum (U.K.)
The Royal Philatelic Society London (United Kingdom)
Vincent Graves Greene Philatelic Research Foundation (The Harry Sutherland Philatelic Library, Canada)

See also
 British Library Philatelic Department Photograph Collection
 International Philatelic Libraries Association
 List of philatelic magazines
 Philatelic literature
 Royal Philatelic Society London

External links

List of philatelic libraries


Jo Ann Hackett (born August 14, 1949) is an American scholar of the Hebrew Bible (Old Testament) and of Biblical Hebrew and other ancient Northwest Semitic languages such as Phoenician, Punic, and Aramaic.

Early life and education
Hackett was born in Louisville, Kentucky, and grew up in Jeffersonville, Indiana. She graduated from Jeffersonville High School in 1966. She received her B.A. in Mathematics from DePauw University, 1970; her M.A. in Religious Studies from Indiana University, 1975; and her Ph.D in Near Eastern Languages and Civilizations from Harvard University, 1980.

Career
Hackett began her teaching career as an assistant professor of Religious Studies at Occidental College, Los Angeles. She taught at Indiana University, where she received tenure in 1990. The same year, she moved to Harvard University, as Professor of the Practice of Biblical Hebrew and Northwest Semitic Epigraphy and Director of the Program in Biblical Hebrew. She remained at Harvard until 2009, when she became Professor of Biblical Studies in the Department of Middle Eastern Studies at the University of Texas at Austin. She retired from teaching in 2018, as Professor Emerita. She has also taught at Johns Hopkins University in Baltimore and at the Weston School of Theology in Cambridge, MA.

Scholarship
Hackett's first book presented a philological analysis of a long ancient inscription found at the site of Deir ʕAllā in Jordan, an inscription that featured the biblical character Balaam.  She also wrote several articles about the inscription, and has written extensively about related ancient Northwest Semitic dialects such as Biblical Hebrew, Phoenician, and Ugaritic, also co-editing a book on Northwest Semitic epigraphy in honor of her Doktorvater, Frank Moore Cross.  She is the author of a popular textbook, A Basic Introduction to Biblical Hebrew. Hackett was also among the first scholars to write about the Hebrew Bible from a feminist perspective, with such articles as "In the Days of Jael: Reclaiming the History of Women in Ancient Israel," "Rehabilitating Hagar: Fragments of an Epic Pattern," and "Can a Sexist Model Liberate Us?"  In addition to many other articles on the Hebrew Bible, she has contributed the introduction and notes to the biblical book of Numbers in the HarperCollins Study Bible, and the introduction and notes to the books of Books of Samuel in the Women's Bible Commentary.  She served for many years on the executive council of the Society of Biblical Literature, on the board of the American Schools of Oriental Research, and as an editor of the series Harvard Semitic Studies and of several academic journals.

Honors and awards
In 1996–97, Hackett was the Hugh Pilkington Research Fellow in Biblical Studies at Christ Church, Oxford University. In 2002, she was a Fellow at the Israel Institute for Advanced Studies. In 2006, she received the Everett S. Mendelsohn Excellence in Mentoring Award from Harvard University.  She was presented with a Festschrift in 2015, Epigraphy, Philology, and the Hebrew Bible: Methodological Perspectives on Philological and Comparative Study of the Hebrew Bible in Honor of Jo Ann Hackett included contributions from Gary A. Rendsburg and F. W. Dobbs-Allsopp.  In 2016 she was inducted into the Johns Hopkins University Society of Scholars.

References

Living people
American biblical scholars
Old Testament scholars
University of Texas at Austin faculty
Harvard Graduate School of Arts and Sciences alumni
Harvard University faculty
DePauw University alumni
Indiana University alumni
Indiana University faculty
Female biblical scholars
1949 births

Jo Ann Hackett


The Heckler & Koch PSG-1 is a semi-automatic sniper rifle. It is made by the German gun company Heckler & Koch. PSG-1 is a shortening of the German word Präzisionsschützengewehr-1, or literally the "precision-shooting rifle". It fires the 7.62x51mm NATO bullet. It is a heavily changed version of the G3 rifle. The Munich massacre during the 1972 Summer Olympics showed the need for West German police and counter-terrorists to have a precision rifle, which West Germany did not have at the time.

The PSG-1 is very accurate and has a large 20-round box magazine. However, its heavy weight, high price, lack of versatility, and its ease of jamming made the rifle not very practical, so it was eventually replaced by other sniper rifles. However, its unique look made it a popular weapon in video games. It appeared in games like the Metal Gear series, the Call of Duty series, the Rainbow Six series, and Resident Evil 5.

References

7.62 mm rifles
Rifles of the Cold War

Heckler & Koch PSG-1


The Grandview Training School for Girls (known as the Ontario Training School for Girls - Galt prior to 1967) was established in 1933, in Galt, Ontario, Canada, as the first provincially run reform school for incorrigible and delinquent girls aged 12 to 18. The girls became wards of the province and the parents relinquished their rights as guardians. The facility housed an average of 120 girls annually, with 30 or so held in a secure facility known as Churchill House. Girls were typically sentenced under the federal Juvenile Delinquents Act (JDA, 1908) and the provincial Training School Act (TSA, 1931, 1939). The so-called "training school" was created primarily to rehabilitate working-class girls perceived to be destined for adult criminality. While many of the girls had committed minor crimes, many were sent to the facility because they had been pronounced "unmanageable" under the Juvenile Delinquents Act for reasons such as truancy, drug or alcohol use, or "sexual immorality".

The school consisted of five brick buildings situated on 72 acres of land. Following the closure of the facility in 1976, many former residents came forward with accusations of physical, sexual, and psychological abuse by the staff. The abuse didn't become publicly known, however, until 1991, when two women who were being treated by the same psychologist each told him of very similar experiences of abuse that occurred while they were incarcerated at Grandview. The psychologist introduced the two women to each other and they subsequently made appearances on television, asking others who had been at Grandview to contact the police or the provincial government. In the summer of 1991, the Ontario Provincial Police and Waterloo Regional Police Service began a joint investigation into the allegations.

In December 1992, in order to assist those who had come forward, a Victim Witness Program was established in Kitchener, Ontario. At about the same time, a small group of women, which would later expand to over 300, created the Grandview Survivor's Support Group to investigate collective compensation.

In 1999, then Member of Provincial Parliament Jim Flaherty apologized in the provincial legislature on behalf of the Ontario government to the Grandview Survivors Support Group for the abuses suffered. This has spurred others to come forward with similar complaints of mistreatment at the province's 11 other training schools. The women who ended up in Galt made many formal complaints to staff and family members while being at the school and the complaints of severe sexual abuse were ignored and never investigated.

The institution's buildings were demolished in 2000.

See also
 List of provincial correctional facilities in Ontario

References

Schools in Cambridge, Ontario
Prisons in the Regional Municipality of Waterloo
Youth detention centres in Canada
1933 establishments in Ontario
1976 disestablishments in Ontario
Defunct prisons in Ontario
Women's prisons in Canada
Women in Ontario

Grandview Training School for Girls


Emilio Isgrò (born October 1937, in Barcellona Pozzo di Gotto, Sicily) is an Italian artist and writer, known for his use of the erasure technique in his art works.

Biography
Isgrò was born in Sicily but he moved to Milan when he was 19. He made his literary debut in 1956 with the poetry collection Fiere del Sud (Arturo Schwarz Editore). In 1964 he first began erasing encyclopaedias and other texts, making his personal contribution to the birth and development of visual poetry and conceptual art. In 1966, during a one-man show at the Galleria Traghetto in Venice, he published Dichiarazione 1, defining his conception of poetry as 'general art of the sign'. He published the volume of poems L'età della ginnastica (Mondadori).

In 1977 he took part in the Venice Biennale, returning there in 1978, 1986 and 1993. He was one of a group of artists featured in the exhibition Contemporanea (1973), curated by Achille Bonito Oliva in the underground car park of the Villa Borghese in Rome. The following year Isgrò published L'avventurosa: Vita di Emilio Isgrò nelle testimonianze di uomini di stato, scrittori, artisti, parlamentari, attori, parenti, familiari, amici, anonimi cittadini (Il Formichiere), which was nominated for the Strega Prize. In 1976 the first retrospective of his work was held at the Centro Studi e Archivio della Comunicazione (CSAC) in Parma. In 1977 he was awarded the first prize at the XIVth Bienal de São Paulo in Brazil. That same year he also published the novel Marta de Rogatiis Johnson (Feltrinelli). In 1979 he presented Chopin, an installation and musical score for 15 pianos, at the Rotonda della Besana in Milan.
In 1982 his Gibella del Martirio and San Rocco legge la lista dei miracoli e degli orrori were performed in Gibellina. From the following year and for three consecutive seasons, his Sicilian trilogy Orestea di Gibellina was also performed in Gibellina at the Festival Internazionale delle Orestiadi. In 1985 the Teatro alla Scala commissioned him to create the multimedia installation La veglia di Bach in the San Carpoforo Church in Milan. In 1986 he presented the installation L'ora italiana at the Civic Archaeological Museum in Bologna, commemorating the victims of the terrorist bomb attack at the city's railway station on 2 August 1980. In 1989 he published the novel Polifemo (Mondadori), at the same time working out a new theory of erasure in Teoria della cancellatura (Galleria Fonte d'Abisso).
Isgrò's work was featured in the exhibition The Artist and the Book in Twentieth-Century Italy held at the Museum of Modern Art (MoMA) in New York in 1992 and in 1994 at the Peggy Guggenheim Collection in Venice. In 1994 he also published the novel L'asta delle ceneri (Camunia) and returned to poetry with the collection Oratorio dei ladri (Mondadori). In 1998 he donated his sculpture Orange Seed to his Sicilian birthplace, the town of Barcellona Pozzo di Gotto.

In 2001 he held a major retrospective of his work, Emilio Isgrò 1964-2000, at the unfinished church of Santa Maria dello Spasimo in Palermo. With Le api della Torah he also began a cycle of work featuring insects. In 2002 he published another book of poetry, Brindisi all'amico infame (Aragno), which was shortlisted for the Strega Prize and won the San Pellegrino Prize for poetry awarded by the Italian town of San Pellegrino Terme. In 2007 he collected essays and writings previously published in various newspapers and magazines in a critical and theoretical companion to his creative output entitled La cancellatura e altre soluzioni (Skira). In the following year another retrospective of his work, Dichiaro di essere Emilio Isgrò, was held at the Centro per l'arte contemporanea Luigi Pecci in Prato.

In May 2011 he presented the installation L'Italia che dorme at the Galleria d'Arte Moderna in Rome, as part of the celebrations for the 150th anniversary of the unification of Italy, this artwork was conceived the year before for the exhibition La Costituzione cancellata – Rappresentazione di un crimine, curated by Marco Bazzini at the art gallery Boxart in Verona. In 2012 in Milan at Palazzo Reale the artworks Dichiaro di non essere Emilio Isgrò (1971) and L'avventurosa vita di Emilio Isgrò nelle testimonianze di uomini di stato, artisti, scrittori, parlamentari, attori, parenti, familiari, amici, anonimi cittadini (1972) are exhibited once again; as well as L'ora italiana (1985-1986) at Gallerie d'Italia. In June 2013 he had another retrospective, entitled Modello Italia (2013-1964), at the Galleria d'Arte Moderna in Rome, curated by Angelinandreina Rorro. The same year the collection of essays "Come difendersi dall'arte e dalla pioggia" curated by Beatrice Benedetti is published by Maretti Editore. In 2014 his self-portrait Dichiaro di non essere Emilio Isgrò became part of the collection of Galleria degli Uffizi.

In 2015 he created the Seme dell'Altissimo, a marble sculpture 7 metres in height for Milan Expo. The next year in Milan a special project is created in his honor in three different venues: a solo show at Palazzo Reale, an exhibition of his Alessandro Manzoni's portrait erasure at Gallerie d'Italia, 35 volumes of Promessi Sposi erased for 25 readers and ten people affected by plague at Manzoni's house.
In 2017 the Galleria Tornabuoni exhibits a retrospective dedicated to Emilio Isgrò in London, started in Milan and then moved to Paris, the show opened with the erasure of 24 volumes of Encyclopedia Britannica (1969).The exhibition catalogue is curated by Marco Bazzini for Forma Edizioni.
In 2018 Isgrò inaugurated the artwork "Monumento all'Inferno", specially created for the IULM University of Milan. During April his art has been exhibited in Belgium at MDZ Art Gallery in a double solo show with Christo.

Literary works

Collections of theoretical and critical writings
•	Emilio Isgrò. L'Oro della Mirandola: Cancellature per Giovanni Pico (edited by Giulio Busi e Silvana Greco), Fondazione Palazzo Bondoni Pastorio, 2014.
•	 Cancellatura e altre soluzioni (edited by Alberto Fiz), Skira, 2007.
•	Come difendersi dall'arte e dalla pioggia (edited by Beatrice Benedetti), Maretti Editore, 2013.

Plays
•	L'Orestea di Gibellina e gli altri testi per il teatro (edited by Martina Treu), Le Lettere, 2011.

Poetry
•	Fiere del Sud, Schwarz, Milan, 1956.
•	L'anteguerra, Einaudi, Turin, 1963.
•	Uomini & Donne, Sampietro, Bologna, 1965.
•	L'età della ginnastica, Mondadori, Milan, 1966.
•	Preghiera ecumenica per la salvezza dell'arte e della cultura, Archivio di Nuova Scrittura, 1993.
•	Oratorio dei ladri, Mondadori, Milan, 1996.
•	Brindisi all'amico infame, Nino Aragno Editore, Turin, 2003.

Novels
•	L'avventurosa vita di Emilio Isgrò nelle testimonianze di uomini di stato, scrittori, artisti, parlamentari, attori, parenti, familiari, amici, anonimi cittadini, Il Formichiere, Milan, 1974.
•	Marta de Rogatiis Johnson, Feltrinelli, Milan, 1977.
•	Polifemo, Mondadori, Milan, 1989.
•	L'asta delle ceneri, Camunia, Milan, 1994.

Film
•	La jena più ne ha e più ne vuole, project, screenplay and screen tests for a cancelled film, 1970.

1937 births
Living people
People from Barcellona Pozzo di Gotto
Italian contemporary artists
Italian male writers
Writers from the Province of Messina
Artists from Sicily
Recipients of the Ambrogino d'oro

Emilio Isgrò


The chalcid wasps are formally called the Chalcidoidea. They are a superfamily of parasitoid wasps. They have a huge number of species, estimated as over 500,000 (half a million). The superfamily includes 22 families. The data included morphology and ribosomal 18S data. The researchers comment that only about 22,506 species of the half-million have been formally described.

Most of the species are parasitic on other kinds of insect. They attack the egg or larval stages of at least 12 different insect orders. When that insect is itself a parasitoid, then the chalcid is called a hyperparasitoid. Chalcids are sometimes used to control crop pests. A few chalcids  actually eat plants, and the most famous of these are the fig wasps.

There are 19 living families of chalcids.

References

Wasps
Parasitoids

Chalcid wasp


The music of Brazil encompasses various regional musical styles influenced by European, American, African and Amerindian forms. Brazilian music developed some unique and original styles such as forró, repente, coco de roda, axé, sertanejo, samba, bossa nova, MPB, gaucho music, pagode, tropicália, choro, maracatu, embolada (coco de repente), frevo, brega, modinha and Brazilian versions of foreign musical styles, such as rock, pop music, soul, hip-hop, disco music, country music, ambient, industrial and psychedelic music, rap, classical music, fado, and gospel.

Samba has become the most known form of Brazilian music worldwide, especially because of the country's carnival, although bossa nova, which had Antônio Carlos Jobim as one of its most acclaimed composers and performers, have received much attention abroad since the 1950s, when the song "Desafinado", interpreted by João Gilberto, was first released.

The first four winners of the Shell Brazilian Music prize have each left a legacy on Brazilian music and are among the representatives of Brazilian popular music: Pixinguinha (choro), Antônio Carlos Jobim (bossa nova), Dorival Caymmi (samba and samba-canção).

Instrumental music is also largely practiced in Brazil, with styles ranging from classical to popular and jazz influenced forms. Among the later, Naná Vasconcelos, Pixinguinha, Hermeto Pascoal and Egberto Gismonti are significant figures. Notable classical composers include Heitor Villa-Lobos, Carlos Gomes and Cláudio Santoro. The country also has a growing community of modern/experimental composition, including electroacoustic music.

History

Art music

Origins
Little is known of the music of Brazil before the area's first encounter with Portuguese explorers on 22 April 1500. During the colonial period, documents detail the musical activities of the major Roman Catholic cathedrals and the parlors of the upper classes, but data about musical life outside these domains are sparse. Some information is available in writings left by such travellers as Jean de Léry, who lived in Brazil from 1557 to 1558 and produced the first known transcriptions of native American music: two chants of the Tupinambá, near Rio de Janeiro.

Further registration of musical activity in Brazil came from the activities of two Jesuit priests in 1549. Ten years later, they had already founded settlements for indigenous people (the Reduções), with a musical-educational structure.

One century later, the Reduções of the southern Brazil, which were founded by Spaniard Jesuits, had a strong cultural development, where some music schools were founded. Some of the reports of that time show the fascination of the indigenous people for European music. The indigenous people also took part in the music, with both the construction of musical instruments and practice of vocal and instrumental performance.

The 18th-century school

In the 18th century, there was intense musical activity in all the more developed regions of Brazil, with their moderately stable institutional and educational structures. The previously few private orchestras became more common and the churches presented a great variety of music.

In the first half of this century, the most outstanding works were composed by Luís Álvares Pinto, Caetano de Mello de Jesus and Antônio José da Silva ("the Jew"), who became successful in Lisbon writing librettos for comedies, which were performed also in Brazil with music by António Teixeira.

In the second part of the 18th century, there was a great flourishing in Minas Gerais, mostly in the regions of Vila Rica (currently Ouro Preto), Mariana and Arraial do Tejuco (currently Diamantina), where the mining of gold and diamonds for the Portuguese metropolis attracted a sizable population. At this time, the first outstanding Brazilian composers were revealed, most of them mulattoes. The musical pieces were mostly sacred music. Some of the noteworthy composers of this period were Lobo de Mesquita, Manoel Dias de Oliveira, Francisco Gomes da Rocha, Marcos Coelho Neto and Marcos Coelho Neto Filho. All of them were very active, but in many cases few pieces have survived until the present day. Some of the most famous pieces of this period are the Magnificat by Manoel Dias de Oliveira and the Our Lady's Antiphon by Lobo de Mesquita. In the city of Arraial do Tejuco, nowadays Diamantina, there were ten conductors in activity. In Ouro Preto about 250 musicians were active, and in all of the territory of Minas Gerais almost a thousand musicians were active.

With the impoverishment of the mines at the end of the century, the focus of the musical activity changed to other centers, specially Rio de Janeiro and São Paulo, where André da Silva Gomes, a composer of Portuguese origin, released a great number of works and dynamized the musical life of the city.

Also, the oldest Orchestra of all Americas is situated in São João del-Rei, Minas Gerais, called Lira Sanjoanense, conducted, today, by Modesto Flávio Fonseca.

The Classical period

A crucial factor for the changes in the musical life was the arrival of the Portuguese Royal family to Rio de Janeiro in 1808. Until then, Rio de Janeiro was musically similar to other cultural centers of Brazil but was even less important than Minas Gerais. The presence of the Portuguese Royal family, in exile, radically changed this situation, as the Capela Real of Rio de Janeiro was established.

The king John VI of Portugal brought with him to Brazil the great musical library from the House of Bragança, one of the best of Europe at that time, and ordered the arrival of musicians from Lisbon and the castrati from Italy, re-ordering the Royal Chapel. Later, John VI ordered the construction of a sumptuous theater, called the Royal Theater of São João. The secular music had the presence of Marcos Portugal, who was designated as the official composer of the household, and of Sigismund von Neukomm, who contributed with his own work and brought the works of the Austrian composers Wolfgang Amadeus Mozart and Joseph Haydn. The works of these composers strongly influenced the Brazilian music of this time.

José Maurício Nunes Garcia, the first of the great Brazilian composers, emerged at this time. With a large culture for his origin – he was poor and mulatto – he was one of the founders of the Irmandade de Santa Cecília, in Rio de Janeiro, teacher and mestre de capela of the Royal Chapel during the presence of John VI in Brazil. Nunes Garcia was the most prolific Brazilian composer of this time. He also composed the first opera written in Brazil, Le Due Gemelle (The Two Twins), with text in Italian, but the music is now lost.

Other important composers of this period are Gabriel Fernandes da Trindade, who composed the only Brazilian chamber music from the 19th century which has survived to the present times, and João de Deus de Castro Lobo, who lived in the cities of Mariana and Ouro Preto, which were decadent at this time.

This period, however, was brief. In 1821, John VI went back to Lisbon, taking with him the household, and the cultural life in Rio de Janeiro became empty. And, despite the love of Peter I of Brazil for the music – he was also author of some musical pieces like the Brazilian Independence Anthem – the difficult financial situation did not allow many luxuries. The conflagration of the Royal Theater in 1824 was another symbol of decadence, which reached the most critical point when Peter I renounced the throne, going back to Portugal.

The Romantic period

The only composer who had a relevant work in this period was Francisco Manuel da Silva, disciple of Nunes Garcia, who succeeded him as kapellmeister. In spite of his few resources, he founded the Musical Conservatory of Rio de Janeiro. He was the author of the Brazilian National Anthem's melody. His work reflected the musical transition for the Romanticism, when the interest of the national composers was focused in the opera. The most outstanding Brazilian composer of this period was Antônio Carlos Gomes, who composed Italian-styled operas with national themes, such as Il Guarany (based on José de Alencar's novel O Guarani) and Lo Schiavo. These operas were very successful in European theaters, like the Teatro alla Scala, in Milan. Other important composer of this time is Elias Álvares Lobo, who wrote the opera A Noite de São João, the first Brazilian opera with text in Portuguese.

The opera in Brazil was very popular until the middle of the 20th century, and many opera houses were built at this time, like Teatro Amazonas in Manaus, Municipal Theater of Rio de Janeiro, Municipal Theater of São Paulo, and many others.

At the end of the 19th century, the greatest composers for the symphonic music were revealed. One of the most outstanding name of this period was Leopoldo Miguez, who followed the Wagnerian style and Henrique Oswald, who incorporated elements of the French Impressionism.

Nationalism

In the beginning of the 20th century, there was a movement for creating an authentically Brazilian music, with less influences of the European culture. In this sense, the folklore was the major font of inspiration for the composers. Some composers like Brasílio Itiberê da Cunha, Luciano Gallet and Alexandre Levy, despite having a European formation, included some typically Brazilian elements in their works. This trend reached the highest point with Alberto Nepomuceno, who used largely the rhythms and melodies from the Brazilian folklore. There were local cultural movements to consolidate regional identities through music as for example, José Brazilício de Souza, who wrote the state anthem of Santa Catarina and his son Álvaro Sousa, who was a noticeable musician, music educator, and composer there.

An important event, later, was the Modern Art Week, in 1922, which had a large impact on concepts of national art. In this event the composer Heitor Villa-Lobos, regarded as the most outstanding name of the Brazilian nationalism, was revealed.

Villa-Lobos did researches about the musical folklore of Brazil, and mixed elements both from classical and popular music. He explored many musical genres such as concertos, symphonies, modinhas, Fados, and other symphonic, vocal and chamber music. Some of his masterworks are the ballet Uirapuru and the two series of Chôros and Bachianas Brasileiras.

Other composers of Brazilian national music of this era include Oscar Lorenzo Fernández, Radamés Gnattali, Camargo Guarnieri, Osvaldo Lacerda, Francisco Mignone, and Ernesto Nazareth.

The avant-garde movement

As a reaction against the nationalist school, who was identified as "servile" to the centralizing politics of Getúlio Vargas, in 1939 the Movimento Música Viva (Living Music Movement) appeared, led by Hans Joachim Koellreutter and by Egídio de Castro e Silva, defending the adoption of an international style, derived from the dodecaphonism of Arnold Schoenberg. This group was integrated by composers like Cláudio Santoro, César Guerra-Peixe, Eunice Catunda and Edino Krieger. Koellreutter adopted revolutionary methodes, in respect to the individuality of each student and giving to the students the freedom of creativity before the knowledge of the traditional rules for composition. The movement edited a magazine and presented a series of radio programs showing their fundaments and works of contemporary music. Later, Guerra-Peixe and Santoro followed an independent way, centered in the regional music. Other composers, who used freely the previous styles were Marlos Nobre, Almeida Prado, and Armando Albuquerque, who created their own styles.

After 1960, the Brazilian avant-garde movement received a new wave, focusing on serial music, microtonal music, concrete music and electronic music, employing a completely new language. This movement was called Música Nova (New Music) and was led by Gilberto Mendes and Willy Corrêa de Oliveira. An important fact was the introduction of electronic music in Brazil, with the pioneering works of the carioca Jorge Antunes in 1961.

Brazilian Opera
Carlos Gomes was the first composer on non-European origin to achieve wide recognition in the classical music environment of the Golden age of Opera in Italy. Bossa Nova was created as anti-opera in a time when opera seemed to represent the art-form of the elite. [5] In recent years the style has been revived with works by Jorge Antunes, Flo Menezes, and others.

Since 2014 the International Brazilian Opera (IBOC) has been producing new works, most notably by its artistic director and resident composer Joao MacDowell.

Contemporary

Nowadays, Brazilian music follows the guidelines of both experimentalism and traditional music. Some of the contemporary Brazilian composers are Amaral Vieira, Sílvio Ferraz, Nestor de Hollanda Cavalcanti, Flo Menezes, Marcos Balter, Alexandre Lunsqui, Rodolfo Caesar, Felipe Lara, Edson Zampronha, Marcus Siqueira, Rodrigo Lima, Jorge Antunes, Roberto Victorio and João MacDowell. From the new generation of Brazilian composers, Caio Facó has achieved international recognition for his work.

Brazil has a large number of internationally recognized orchestras and performers, despite the relatively low support of the government. The most famous Brazilian orchestra is probably the São Paulo State Symphony Orchestra, currently under conductor Thierry Fischer. Other Brazilian orchestras worthy of note are the São Paulo University Symphony, the Orquestra Sinfônica Brasileira, Orquestra Filarmônica de Minas Gerais and the Petrobras Sinfônica, supported by the Brazilian state oil company Petrobras.

There are also regular operas scheduled every year in cities such as São Paulo and Rio de Janeiro. The state of São Paulo also hosts the Winter Festival in the city of Campos do Jordão.

Some of the most famous Brazilian conductors are Roberto Minczuk, John Neschling and Isaac Karabtchevsky. The instrumentalists include, among others: Roberto Szidon, Antonio Meneses, Cussy de Almeida, Gilberto Tinetti, Arnaldo Cohen, Nelson Freire, Eudóxia de Barros, Guiomar Novaes and Magda Tagliaferro. And some of the most famous Brazilian singers were, historically, Zola Amaro, Constantina Araújo and Bidu Sayão; living singers include Eliane Coelho, Kismara Pessatti, Maria Lúcia Godoy, Sebastião Teixeira, and others.

In the 1980s, a wave of Brazilian heavy metal bands gained public attention. The most commercially successful of these was Sepultura, founded in São Paulo in 1983, preceded by Dorsal Atlantica and followed by Sarcófago.

The intrusion of alien elements into Brazil's cultural system is not a destructive process. The return of a democratic government allowed for freedom of expression. The Brazilian music industry opened up to international styles and this has allowed for both foreign and local genres to co-exist and identify people. Each different style relates to the people socially, politically, and economically. "Brazil is a regionally divided country with a rich cultural and musical diversity among states. As such, musicians in the country choose to define their local heritage differently depending on where they come from." This shows how globalization has not robbed Brazil of its identity but instead given it the ability to represent its people both in Brazil and the rest of the world.

In recent years Brazilian artists have become more interested in Africa, the Caribbean and their own indigenous and folk music. While there are some artists who continue to perform rock and Western pop, there are now just as many contemporaries playing a fusion of African and European influences with those from across The Americas. Some artists have even become influenced by Asian music, noticing some parallels between music from the Northeast of Brazil and music from India.

Indigenous and folk music

The native peoples of the Brazilian rainforest play instruments including whistles, flutes, horns, drums and rattles. Much of the area's folk music imitates the sounds of the Amazon Rainforest.  When the Portuguese arrived in Brazil, the first natives they met played an array of reed flutes and other wind and percussion instruments.

The Jesuit missionaries introduced songs which used the Tupi language with Christian lyrics, an attempt to convert the people to Christianity, and also introduced Gregorian chant and the flute, bow, and the clavichord.

Capoeira music

The Afro-Brazilian sport of capoeira is never played without its own music, which is usually considered to be a call-and-response type of folk music. The main instruments of capoeira music include the berimbau, the atabaque and the pandeiro. Capoeira songs may be improvised on the spot, or they may be popular songs written by older, and ancient mestres (teachers), and often include accounts of the history of capoeira, or the doings of great mestres.

Maracatu

This type of music is played primarily in the Recife and Olinda regions during Carnaval. It is an Afro-Brazilian tradition. The music serves as the backdrop for parade groups that evolved out of ceremonies conducted during colonial times in honour of the Kings of Congo, who were African slaves occupying symbolic leadership positions among the slave population. The music is played on large alfaia drums, large metal gonguê bells, snare drums and shakers.

An important variant is found in and around Fortaleza, Ceará (called maracatu cearense), which is different from the Recife/Olinda tradition in many respects: triangles are used instead of gonguês, surdos or zabumbas instead of alfaias.  Also, important female characters are performed by cross-dressed male performers, and all African and Afrobrazilian personages are performed using blackface makeup.

Afoxé

Afoxé is the name given to a group dedicated to playing ijexá, which is a kind of religious music, part of the Candomblé tradition.  In 1949, a group called Filhos de Gandhi began playing afoxé during carnaval parades in Salvador; their name translates as Sons of Gandhi, associating black Brazilian activism with Mahatma Gandhi's Indian independence movement.

The Filhos de Gandhi's 1949 appearance was also revolutionary because, until then, the Carnaval parades in Salvador were meant only for light-skinned people.

Repente
Northeastern Brazil is known for a distinctive form of literature called literatura de cordel, which are a type of ballads that include elements incorporated into music as "repentismo", an improvised lyrical contest on themes suggested by the audience.

Similar to Repentismo, appears among the Caipira culture a musical form derived from viola caipira, which is called cururu.

Popular music

Choro

Choro (literally "cry" in Portuguese, but in context a more appropriate translation would be "lament"), traditionally called chorinho ("little cry" or "little lament"). Instrumental, its origins are in 19th century Rio de Janeiro. Originally choro was played by a trio of flute, guitar and cavaquinho (a small chordophone with four strings). The young pianist Ernesto Nazareth published his first choro (Não Caio Noutra) in 1878 at the age of 14. Nazareth's choros are often listed as polkas; he also composed waltzes, schottisches, milongas and Brazilian Tangos. (He resisted the popular term maxixe to represent Brazilian tango.) Chiquinha Gonzaga was another important composer of choros and started shortly after Nazareth. Chiquinha Gonzaga composed her first success, the polka-choro "Atraente", in 1877. In the beginning, the success of choro came from informal groups of friends which played in parties, pubs (botecos), streets, home balls (forrobodós), and also the musical scores published by print houses. By the 1910s, much of the Brazilian first phonograph records are choros. The mainstream success of this style of music (By the 1930s) came from the early days of radio, when bands performed live on the air. By the 1950s and 1960s it was replaced by samba and Bossa Nova and other styles of Brazilian popular music, but was still alive in amateur circles called "rodas de choro" (informal choro gatherings in residences and botecos). However, in the late 1970s there was a successful effort to revitalize the genre carried out by some famous artists: Pixinguinha, Waldir Azevedo and Jacob do Bandolim.

Samba

In 1929, prompted by the opening of the first radio station in Rio de Janeiro, the so-called radio era began spreading songs – especially the novelty Samba in its current format – to larger masses. This period was dominated by few male interpreters – notably Almirante, Braguinha, Mário Reis, Sílvio Caldas, Francisco Alves and singer/composer Noel Rosa and even fewer chanteuses such as Aracy de Almeida and sisters Aurora Miranda and Carmen Miranda, who eventually came to Hollywood becoming a movie star.

Popular music included instruments like cuicas, tambourines, frying pans ('played' with a metal stick), flutes and guitars.  Noteworthy Samba composers at this early stage included said Noel Rosa plus Lamartine Babo and, around World War II time, Ary Barroso.

MPB (Popular Brazilian Music)

MPB's early stage (from World War II to the mid-1960s) was populated by male singers such as Orlando Silva, Nelson Gonçalves, Jamelão, Agostinho dos Santos, Anísio Silva, Ataulfo Alves, Carlos Galhardo, Ciro Monteiro, Ismael Silva, João Dias, Jorge Goulart, Miltinho, Jorge Veiga and Francisco Egídio and female singers started to mushroom: Nora Ney, Dolores Duran, Ângela Maria, Emilinha Borba, Marlene, Dalva de Oliveira, Maysa Matarazzo, sisters Linda Batista and Dircinha Batista, among others.

MPB's second stage – after the split Bossa Nova (1959) / Jovem Guarda (1965) / Tropicalismo (both 1967) – refers to mainstream Brazilian pop music. Well-known MPB artists include, among many others, singers such as Gretchen, Gal Costa, Nara Leão, Trem da Alegria, Mônica da Silva, Simone, Xuxa, Tiririca, Roberto Carlos, Jorge Ben Jor, Milton Nascimento, Angélica, João Bosco, Ivan Lins, Djavan.

Bossa nova

The first bossa nova records by João Gilberto, in the last years of the 1950s, quickly became huge hits in Brazil. Antonio Carlos Jobim and other composers helped further develop this fusion of jazz harmonies and a smoother, often slower, samba beat, which developed at the beach neighborhoods of Ipanema and, later, the Copacabana nightclubs. Bossa nova was introduced to the rest of the world by American jazz musicians in the early 1960s, and song "The Girl from Ipanema" remains probably the best known Brazilian musical export, eventually becoming a jazz standard.

Brega music

Brega is widely used to refer to popular romantic music with dramatic exaggeration or ingenuity, usually dealing with topics such as declarations of love, infidelity and love delusions. Historically, the greatest singers of the genre are from northeastern and northern Brazil; three of its biggest icons historically were Waldick Soriano, Reginaldo Rossi and Falcão, the latter following a part of a tradition of humorous brega. Paulo Sérgio stood out for his dramatic and romantic music. some precursors of the style in singers of the 1940s and 1950s, who followed, through bolero and samba-canção, a more "romantic" theme. Among them Orlando Dias, Carlos Alberto, Alcides Gerardi and Cauby Peixoto.

Axé

Axé originated in Salvador, Bahia in the 1980s, fusing different Afro-Caribbean genres, such as marcha, reggae, and calypso. It also includes influences of Brazilian music such as frevo, forró and carixada. The word Axé comes from the Yoruba term àṣẹ, meaning "soul, light, spirit or good vibrations". Axé is also present in the Candomblé religion, as "the imagined spiritual power and energy bestowed upon practitioners by the pantheon of orixás". It also has ties with the Roman Catholic Church and the Lenten season, which represents the roots of Bahian Carnival.

Brazilian gospel

Gospel music emerged in Brazil before the 1960s with hymnals that were brought and translated into Portuguese by American missionaries. From the late 1960s the first singers of Christian music groups emerged in Brazil, but the songs were not highly valued. Gospel music became popular in Brazil in the late 1990s, with the emergence of congregational singing and bands such as Diante do Trono, led by Ana Paula Valadão. Diante do Trono has become the largest contemporary worship music ministry in Latin America.

Brazilian rock

The musical style known in Brazil as "Brazilian rock n' roll" dates back to Nora Ney's "Ronda Das Horas", a Portuguese version of "Rock Around the Clock" in 1954. In the 1960s, young singers like Roberto Carlos and the Jovem Guarda movement were very popular. The 1960s also saw the rise of bands such as the "tropicalistas" Os Mutantes and the experimental (mixing progressive rock, jazz and Música popular brasileira) Som Imaginário.

The 1970s saw the emergence of many progressive rock and/or hard rock bands such as O Terço, A Bolha, A Barca do Sol, Som Nosso de Cada Dia, Vímana and Bacamarte, some of which attained some recognition internationally; Rita Lee, in her solo career after Os Mutantes, championed the glam-rock aesthetics in Brazil; Casa das Máquinas and Patrulha do Espaço were more bona-fide hard rock bands, and the likes of (Raul Seixas, Secos e Molhados, Novos Baianos and A Cor do Som) mixed the genre with traditional Brazilian music. In the late 1970s, the Brazilian punk rock scene kicked off mainly in São Paulo and in Brasília, booming in the 1980s, with Inocentes, Cólera, Ratos de Porão, Garotos Podres, etc.

The real commercial boom of Brazilian rock was in the 1980s, with many bands and artists like Blitz, Gang 90, Barão Vermelho, Legião Urbana, Lobão, Engenheiros do Hawaii, Titãs, Kid Abelha, Paralamas do Sucesso, and many others, and festivals like Rock in Rio and Hollywood Rock.. The late 1980s and early 1990s also witnessed the beginnings of an electronica-inspired scene, with a lot more limited commercial potential but achieving some critical acclaim: Suba, Loop B, Harry, etc.

In the 1990s, the meteoric rise of Mamonas Assassinas, which sold more than 3 million copies of its only CD (a record, by Brazilian standards) came to a tragic end when the band's plane crashed, killing all five members of the band, the pilot and the co-pilot. Other commercially successful bands included Jota Quest, Raimundos and Skank, while Chico Science & Nação Zumbi and the whole Mangue Bit movement received much critical attention and accolades, but very little commercial success – success that declined after the death of one of its founders, Chico Science. It was also in the 1990s that the first seeds of what would grow into being the Brazilian indie scene were planted, with the creation of indie festivals such as Abril Pro Rock and, later in the decade, Porão do Rock. The band Pato Fu was considered by Time magazine one of the ten best bands in the world outside the United States. It is also known to re-record hits Brazilian and international versions of toy instruments.

Female singer Pitty is also very popular. The indie scene has been growing exponentially since the early 2000s, with more and more festivals taking place all around the country. However, due to several factors including but not limited to the worldwide collapse of the music industry, all the agitation in the indie scene has so far failed in translating into international success, but in Brazil they developed a real, substantial cultural movement. That scene is still much of a ghetto, with bands capturing the attention of international critics, but many playing again in Brazil when they become popular in the exterior, due to the lack of financial and material support which would allow for careers to be developed. One notable exception is CSS, an alternative electro rock outfit that has launched a successful international career, performing in festivals and venues in North America, Europe, Asia and Australia. Other unique example of success through independent music scene that made to the mainstream is the band Móveis Coloniais de Acaju. The band has its own style, somewhere between rock and folk, and is recognized as the most important independent band in Brazil. The record company Trama  tries to support some bands with structure and exposure, and can be credited with early support to CSS and later to Móveis Coloniais de Acaju.

Brazilian heavy metal

Brazilian metal originated in the mid 1980s with three prominent scenes: Belo Horizonte, São Paulo and Rio de Janeiro. The most famous Brazilian metal bands are Sepultura, Angra, Krisiun and the singer Andre Matos. Sepultura is considered an influential thrash metal band, influencing the development of death metal.

Famous bands of the 1980s include Korzus, Sarcófago, Overdose, Dorsal Atlântica, Viper, MX, PUS, Mutilator, Chakal, Vulcano and Attomica. Bands from the 1990s include Andralls, MQN, Macaco Bong, Black Drawing Chalks, Superguidis, Mental Hor, The Mist, Scars, Distraught, Torture Squad, Eterna and Silent Cry. Bands from the 2000s include It's All Red, Eyes of Shiva, Autoramas, Tuatha de Danann, Claustrofobia, Quimere, Apokalyptic Raids, Project46, Wizards and Andragonia.

There's also Massacration, a Brazilian satirical heavy metal band, self-proclaimed the "greatest band in the world". They began as a sketch on the MTV show "Hermes & Renato", but were so successful amongst fans that the comedians decided to turn it into an actual band. Originally parodying Manowar, they eventually became a spoof of hair metal bands of the 1980s.

As well as Thrash metal, Brazil is also a reference in Death Metal, the main bands in the scene include Krisiun, Torture Squad, Claustrofobia, Rebaelliun, Visceral Leishmaniasis (Brazil), Obskure, Vulcano, Mental Horror and the precursors Sepultura and Sarcófago. There is a growth in the appearance of Brazilian death metal bands with women in formation, especially Nervosa, who gained a lot of prestige after their performance at Rock in Rio in 2019. The female trio were invited to participate in the Wacken Open Air festival in 2020, but the event was cancelled due to the COVID-19 pandemic. Brazilian Death Metal scene is spread across all regions in the country, especially in the Northeast region where it is represented by bands like Headhunter D.C., Escarnium, Decomposed God, Infested Blood, Heavenless, Torment the Skies, Pandemmy, Burning Torment, Infectos, Krenak and especially Cangaço which is a band that mixes Death metal with elements of Baião (regional rhythm of Northeast Brazil) and on 2010 was the winner of W.O.A Metal Battle Brazil and went to the finals of the Wacken Open Air festival.

Brazilian folk/folk-rock
The new Brazilian folk scene is not to be mistaken with folkloric Brazilian music. The first to break into the mainstream was internet phenomenon Mallu Magalhães, who played covers of her favourite artists in English and her own songs in both English and Portuguese (as well as other languages).  Magalhães only released her first album in 2008, though by then she was already widely recognised as the voice of this sudden new Brazilian folk scene.  Her ex-boyfriend Hélio Flanders is the lead singer of another Brazilian folk group called Vanguart.  Though Vanguart had an album released before Mallu Magalhães, it was her emergence that consolidated them both and others as a fully recognised mainstream scene, topping charts and being featured in prime time television and advertising.  Other acts emerged after the market was opened up to folk. Writing in English is more and more common among Brazilian rock and folk artists.  This has been highly criticised by Portuguese language purists, though it has helped to promote Brazilian artists in other countries (CSS is a perfect example).  The new Brazilian folk scene has just come to the public's attention and it continues to thrive.

Brazilian psychedelic rock

Brazil has a long tradition of psychedelic music since artists like Os Mutantes, Ronnie Von and other rock bands from the late 60s. Nowadays, there exists a revival of this psychedelic/vintage inspired music represented by artists like Jupiter Apple, Violeta de Outono, Nação Zumbi, Mundo Livre S/A, Cidadão Instigado, Otto, China, Kassin, Pata de Elefante, Orquestra Abstrata, among others.

Sertanejo

Música sertaneja or Sertanejo is a term for Brazilian country music. It originally referred to music originating among Sertão and musica caipira. (Caipira music appeared in the state of São Paulo, and some the regions of Mato Grosso do Sul, Goiás, Minas Gerais, Paraná and Mato Grosso. Musical rhythm is very spread out in the Southeastern and southern regions of Brazil.)

The genre is extremely famous in the country, having as some of its greatest exponents Chitãozinho & Xororó, Leandro e Leonardo, Zeze Di Camargo e Luciano, ,  and Sérgio Reis. Additionally, over the past few years, artists such as Jorge & Mateus and Marília Mendonça have been on the rise.

Northeastern Music

North eastern music is a generic term for any popular music from the large region of Northeastern Brazil, including both coastal and inland areas.  Rhythms are slower and are derived from guitars instead of percussion instruments like in the rest of Brazil—in this region, African rhythms and Portuguese melodies combined to form maracatu and forró.  Most influentially, the area around the states of Pernambuco and its neighboring states.

Gaucho music (Southern music)

Southern music, or Brazilian gaucho music () is a general term used for the music originally from the Rio Grande do Sul state, in Southern Brazil. Some of the most famous musicians of this genre are Teixeirinha, , Renato Borghetti, Yamandu Costa, Jayme Caetano Braun and Luiz Marenco, among others.

Music of Salvador: Late 60s to mid-70s
In the latter part of the 1960s, a group of black Bahians began dressing as Native Americans during the Salvadoran Carnaval, identifying with their shared struggles through history.  These groups included Comanches do Pelô and Apaches de Tororó and were known for a forceful and powerful style of percussion, and frequent violent encounters with the police.  Starting in 1974, a group of black Bahians called Ilê Aiyê became prominent, identifying with the Yoruba people of West Africa.  Along with a policy of loosening restrictions by the Brazilian government, Ilê Aiyê's sound and message spread to groups like Grupo Cultural do Olodum, who established community centers and other philanthropic efforts.

Frevo

Frevo is a style of music from Olinda and Recife. Frevo bands always play during the Carnival.

Sambass

Sambass is a fusion of samba and Drum & Bass. The most famous sambass musicians are DJ Marky and DJ Patife whose hit Sambassim might be the most known sambass track.

Funk carioca

Funk carioca is a type of dance music from Rio de Janeiro, derived from and was until the late 1990s, superficially similar to Miami bass. In Rio it is most often simply known as funk, although it is very different musically from what funk means in most other places and contexts. Like other types of hip-hop, funk carioca lifts heavily from samples such as international rips or from previous funk music. Many popular funk songs sampled music from the film Rocky. Funk was popularized in Rio's favelas in the 1980s, with songs like Feira de Acari by Mc Batata, with Furacão 2000, Mc Marlboro and Brazilian versions of freestyle songs by the singer Latino, later turning more aggressive in the 1990s, with precarious lyrics and several MCs with direct links with drug trafficking. Subgenres derived from funk carioca include funk melody, funk ostentação, proibidão, and rasteirinha.

Singers such as Ludmilla and Anitta mixed funk carioca with pop and reggaeton, and their success propelled other funk carioca singers to adopt pop music in their repertoire. Thus a new generation of singers emerged, among them Valesca Popozuda, MC Biel and Melody. The expansion of the genre in Brazil prompted singers of other styles to join the movement, such as Luan Santana, Banda Vingadora, Pabllo Vittar, Jhama, Gaby Amarantos, and Tiago Iorc.

Hip hop music
In São Paulo and other places in the south of Brazil, in more urban areas, hip hop music is very popular. They dress similarly to American rappers.

Brazilian hip hop is heavily associated with racial and economic issues in the country, where a lot of Afro-Brazilians live in economically disadvantaged communities, known in Brazil as favelas. São Paulo is where hip hop began in the country, but it soon spread all over Brazil, and today, almost every big Brazilian city, including Rio de Janeiro, Salvador, Curitiba, Porto Alegre, Belo Horizonte, Recife and Brasilia, has a hip hop scene. São Paulo has gained a strong, underground Brazilian rap scene since its emergence in the late 1980s with many independent labels forming for young rappers to establish themselves on.

Brazilian bass

Brazilian bass is a subgenre of house that originated as a derivation of mainstream deep house music of early 2010s, fused with tech house elements and some minimalistic influences from bass house. The tempo typically range from 120 to 125 bpm. The genre is characterized by distinguishable deep punchy basslines, often making use of low-pitched and filtering effects. The genre was created in Brasília around the mid-2010s, but its national and international repercussion only happened in 2016 with DJs Alok, Bruno Martini and Sevenn.

Notable record labels
Far Out Recordings
Malandro Records
Mr Bongo Records
Som Livre

See also

List of Brazilian composers
List of Brazilian singers and bands of Christian music

References

Further reading

External links
  Audio clips: Traditional music of Brazil. Musée d'Ethnographie de Genève. Accessed 25 November 2010.
BBC Radio 3 Audio (60 minutes): Forro, coco and cowboys. Accessed 25 November 2010.
BBC Radio 3 Audio (60 minutes): Candomble, Samba and Renato Rosa. Accessed 25 November 2010.
BBC Radio 3 Audio (60 minutes): Rio, the samba and Mart'nalia. Accessed 25 November 2010.
BBC Radio 3 Audio (60 minutes): Maracatu, ciranda and Mangue bit. Accessed 25 November 2010.
BBC Radio 3 Audio (60 minutes): Coco music, the pifano flute and Sebastian Dias. Accessed 25 November 2010.
Brazilian Embassy in London – Music Section Brazilian music links
Sounds and Colours Brazil – resource dedicated to Brazilian music and culture Accessed 17 June 2014.
Música Popular Brasileira Accessed 25 November 2010.
Brazil beyond clichés Vast archive of podcasts covering Brazilian music of all styles, regions and time periods, from vintage sambas to modern blends.
Scores and biographies by classical Brazilian composers available in Musica Brasilis website

Music of Brazil


Railway budget of India was the Annual Financial Statement of the state-owned Indian Railways, which handles rail transport in India. It was presented every year by the Minister of Railways, representing the Ministry of Railways, in the Parliament.

The Railway Budget was presented every year, a few days before the Union budget, till 2016. Modi government on 21 September 2016 approved merger of the Rail and General budgets from next year, ending a 92-year-old practice of a separate budget for the nation's largest transporter. Railways Minister Suresh Prabhu said that this merger proposal was in the long term interest of railways as well as the country's economy and was a colonial practice that needed to be ended.

History
Following the recommendation of the Acworth Committee in 1920-21, headed by British railway economist William Acworth The "Acworth Report" led to reorganisation of railways, the railway finances were separated from the general government finances in 1924. After that in 1924 the budget was announced, a practice that continued till 2016.

John Matthai presented the first Railway Budget for independent India on 20th November 1947 which was interim Railway Budget and only after 3 months he presented his second Railway Budget on 24th February 1948  where revised estimates showed a fall in earnings of about 8 crores rupees as compared with the budget estimates.

Jagjivan Ram presented the railway budget most 7 times.

The first live telecast took place on 24 March 1994.

Lalu Prasad Yadav, who remained Railways Minister from 2004 to May 2009, presented the railway budget 6 times in a row. In 2009, under his tenure a  budget was passed.

In the year 1999, Mamata Banerjee (later Chief Minister of West Bengal) became the first female Railway Minister. In 2000, she became the first female to present the Railway budget and is the only woman to do so for two different governing coalitions (NDA and UPA).

In 2014 budget, Railway Minister D. V. Sadananda Gowda announced the first bullet train and 9 High-Speed Rail routes.

The last Railway Budget was presented on 25 February 2016 by Mr. Suresh Prabhu.

Gallery
Traditions included the Railway Minister making final changes to the budget, the railway minister carrying the briefcase with the budget documents, and an after budget press meet.

See also
Union budget of India
Military budget of India

References

Further reading
 Railway Budget Speech 2010 Press Information Bureau, Govt. of India.
 Railway Budget, 2012-13 Press Information Bureau
 Railway Budget, 2013-14 Press Information Bureau

External links
 Official website of the Ministry of Railways

Ministry of Railways (India)

Railway budget of India


Mistletoe Plantation was a quail hunting plantation located in extreme northwest Leon County, Florida and southeast Grady County, Georgia established by Mrs. Jean Hanna Gallien.

Mistletoe Plantation lies mostly in Grady County, Georgia with  in Leon County.

Owner
Mrs. Jean Hanna Gallien was the granddaughter of Melvin Hanna of M. A. Hanna Company, a mining and steel company.  Mistletoe is near her grandfather's Melrose Plantation and Sinkhola Plantation owned by her sister Mrs. Warren Bicknell, Jr.

Mistletoe continues to be a conservation easement for Tall Timbers Research Station and Land Conservancy.

References

Plantations in Leon County, Florida

Mistletoe Plantation


In embroidery, plainweave is a technical category of woven base fabrics that are suitable for working certain varieties of embroidery.  Plainweave fabrics have a tight weave and individual threads are not readily visible.  Surface embroidery may be performed on plainweave, such as crewel work, goldwork, stumpwork, cutwork, and candlewicking.

Embroideries that can be performed on plainweave do not require the crafter to perform stitches at a precise thread count.  Most woven fabrics that were not specifically manufactured for the purpose of embroidery qualify as plainweave. Traditionally, linen plainweave is the preferred fabric for crewel embroidery.  Other plainweaves suitable for crewel include denim, sailcloth, ticking, and organdy when worked in wool.

Plainweave uses
Historic eighteenth century crewel embroidery preferentially used a linen and cotton twill plainweave because it wore well. The fabric's diagonal rib was regarded as an esthetically pleasing contrast to the embroidery, although sometimes it was brushed before working to create a smoother nap. This material, known as fustian originated in Fustât in ancient times and was probably the forerunner of velvet.

Almost any plainweave fabric can be made suitable for goldwork and other metal embroidery. Fine linen is among the easiest to work with. Silk has been the preferred fabric historically in clerical and royal garments to achieve a shiny and sumptuous effect. Lightweight or stretchy plainweaves may require stabilization to prevent puckering. Traditionally a backing of linen or muslin would be used as a stabilizing element. Dressmaker's interlining and water-soluble paper are contemporary alternatives.

Whitework may be worked on either plainweave or counted thread fabric. When worked on plainweave it is known as fine white. Organdy, sheer Dacron, lawn, batiste, muslin, net, and sheer muslin and wool are suitable plainweaves for this type of embroidery.

Stumpwork embroidery can be done on nearly any fabric including silk, satin, felt, linen, cotton, and wool.

Notes

References

Embroidery

Plainweave


Domestic energy consumption is the total amount of energy used in a house for household work. The amount of energy used per household varies widely depending on the standard of living of the country, the climate, and the age and type of residence.

In the United States as of 2008, in an average household in a temperate climate, the yearly use of household energy can be composed as follows:

This equates to an average instantaneous power consumption of 2 kW at any given time.

Households in different parts of the world will have differing levels of consumption, based on latitude and technology.

As of 2015, the average annual household electricity consumption in the US is 10,766 kWh.

See also
 2000-watt society
 Zero-energy building

References

Energy consumption

Domestic energy consumption


Fort San Francisco de Pupo (Spanish: Fuerte San Francisco de Pupo) was an 18th-century Spanish fort on the west bank of the St. Johns River in Florida, about eighteen miles from St. Augustine (San Agustín), the capital of Spanish Florida (La Florida).  Lying on the old trail to the Spanish province of Apalachee in western Florida, Fort Pupo and its sister outpost, Fort Picolata on the opposite shore of the river, controlled all traffic on the ferry crossing. The remains of Fort Pupo are situated about three miles south of Green Cove Springs in Clay County, near the end of Bayard Point opposite Picolata. The surrounding area is a hammock of southern live oak, southern magnolia, pignut hickory and other typical trees native to the region.

The site of Fort Pupo was excavated in stratigraphic tests by cultural anthropologist John Goggin and students of the University of Florida in 1950 and 1951; his team's excavations indicated that  the original structure of Fort Pupo was little more than a sentry box. A letter written by Royal Engineer Antonio de Arredondo on January 22, 1737 describes it as "a sentry box built of boards, eight feet in diameter…  surrounded by a palisade." This diminutive fortification was replaced in 1738 by the construction of a new wooden blockhouse, barracks, and storehouses on the orders of the governor of La Florida, Manuel de Montiano. The work was done under the direction of Engineer Pedro Ruiz de Olano, who pulled a crew of carpenters, sawyers, and axemen from construction of the Castillo de San Marcos, the fortress of St. Augustine, to rebuild the Pupo blockhouse. The architectural plan and profile of the structure are shown in his "Plano y perfil del nuevo fortín de San Francisco de Pupo" (Plan and Profile of Fort San Francisco de Pupo).

History
Tensions had been growing between the Spanish and the British after James Moore, the governor of Carolina, invaded La Florida in 1704 and 1706. Fort Pupo, along with Fort Picolata on the opposite side of the St. Johns, was built in 1734 by order of Governor Francisco del Moral y Sánchez in anticipation of more attacks by the English and their Indian allies;

A party of Yuchi Indians, allies of the British and the Upper Creeks, attacked Fort Pupo in 1738, damaging the stockade and killing two soldiers. After this event the Spanish enlarged the fort to a 30-by-16 blockhouse, surrounded by a timber and earth rampart. A small garrison of ten soldiers and a sergeant, along with seven cannon, was stationed there. At the same time, James Oglethorpe, the governor of  the British colony of Georgia, began building up a joint force of militia, regular troops, and Indians at Fort Frederica in preparation for a planned invasion of Florida.

With the outbreak of the War of Jenkins' Ear, Oglethorpe determined, in response to an attack  the Spanish had made on the British outpost at Amelia Island (in which they decapitated two British soldiers), to raid the Spanish outposts that were part of the defense network of St. Augustine. Now in command of a fleet of 15 boats and 180 men, his raiding party consisted of a combined force of Highland Rangers and soldiers of the 42nd Regiment of Foot, regular soldiers from Fort Frederica, and Creek, Chickasaw, and Yuchi Indians. Oglethorpe made his first move and invaded Spanish territory in late December 1739, his objective being to harass the Spaniards, burn their plantations, and intimidate their Indian allies. On January 6 (O.S.), 1740, the raiders set out from the fort he had previously built at the mouth of the St. Johns, Fort Saint George, where they were joined by an armed English privateer's sloop.

Oglethorpe led his force and the sloop up the St. Johns River to attack Forts Picolata and Pupo. They landed five miles downstream on the east bank and made a nighttime advance on Fort Picolata, arriving at 2:00 a.m. on the 7th. A detachment of Darien Highlanders, infantrymen from Fort Frederica, and Indians led the attack, and by daybreak the fort was taken and burnt. The Spanish garrison at Fort Pupo spotted Oglethorpe's Indian auxiliaries  from the other side of the river, and, thinking they were Yamasee allies, sent a ferry across, which hastily reversed course and returned when it perceived its mistake.

Oglethorpe then landed his regulars a mile north of Pupo and marched on it with four field guns. An advance party of Indians and Rangers attacked the fort, while the regulars under Ens. Sanford Mace opened their artillery fire. The combined assault forced the defenders to surrender after the second volley, just before sunset; the Highlanders and Indian scouts then seized the fort and the took the men of the garrison prisoner. Oglethorpe stationed the 50 Highlanders under the command of Capt. Hugh MacKay, Jr., and leaving them the sloop, he returned to Fort Frederica. Oglethorpe had successfully struck against the forts Pupo, Picolata, and San Diego during these preliminary raids, made in anticipation of his plan to capture and destroy St. Augustine by a land and sea attack. These raids, however, would prove to be the only successes in his futile campaign to take the city in 1740.

References

San Francisco de Pupo
Government buildings completed in 1737
Pre-statehood history of Florida
Spanish forts in the United States
1737 establishments in the Spanish Empire

Fort San Francisco de Pupo


Goodnight, Mister Tom es una película de 1998 producida para televisión, dirigida por Jack Gold. Se trata de una adaptación para la pequeña pantalla del libro homónimo de Michelle Magorian, novela que ocupa el puesto 49 en la lista The Big Read de las 200 novelas más populares en el Reino Unido. Se estrenó el 25 de octubre de 1998, y obtuvo varios premios.

Argumento
Tom Oakley (John Thaw) es un anciano carpintero que vive en un pueblo inglés. Con el estallido de la II Guerra Mundial, es obligado a hospedar en su casa a William Beech (Nick Robinson), un niño que llega al pueblo junto a otros, evacuados de Londres. Al principio, Tom es reacio a enfrentarse a la situación, pero poco a poco va aceptando a Willie, hasta convertirse en su mentor.

Cuando Willie es llevado de vuelta a Londres, Tom descubre que vive en un barrio miserable y que es objeto de malos tratos por parte de su madre, desequilibrada mental. Tom hará todo lo posible por recuperar al niño, llegando a sacarlo por sus propios medios del hospital en el que se recupera después de haber sido hallado en un pequeño cuarto, amarrado a una cuerda junto a un bebé, en muy mal estado de salud.

Goodnight Mister Tom (film)

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Goodnight Mister Tom

British DVD cover
Based on	Goodnight Mister Tom
by Michelle Magorian
Written by	Brian Finch[1]
Directed by	Jack Gold
Starring	John Thaw
Nick Robinson
Music by	Carl Davis
Country of origin	United Kingdom
Original language	English
Production
Producer	Chris Burt
Editor	Jamie McCoan
Running time	101 minutes
Production company	Carlton Television
Release
Original network	ITV
Original release
25 de octubre de 1998 (UK)
30 de mayo de 1999 (US)
Goodnight Mister Tom is a 1998 film adaptation by Carlton Television of the novel of the same name by Michelle Magorian. The film was directed by Jack Gold, in his final film. The cast featured well-known British actors, including veteran actor John Thaw.

Plot
In September 1939, the United Kingdom declares war on Nazi Germany, and children are evacuated from London to the countryside for their safety. Tom Oakley, a lonely and bitter old man living in the countryside village of Little Weirwold, is forced to look after one of the evacuees, William "Willie" Beech. Tom has long since withdrawn from life after losing his wife and child to scarlet fever many years before, while Willie is a quiet young boy who comes from an abusive home and is apprehensive of Tom.

Despite initial difficulties combined with his reluctance to care for Willie, Tom later takes pity on Willie after learning about his abusive upbringing by discovering the leather belt his mother used to beat him, and does his best to create a suitable home for Willie, such as providing him with new clothes and helping to educate him. Willie's new life with Tom eventually boosts his self-confidence and he opens up to Tom, looking up to him as a surrogate father figure. He also meets and becomes best friends with a Jewish boy, Zacharias "Zach" Wrench. However, shortly after Willie's tenth birthday, Tom receives a letter from Mrs. Beech, who claims to be ill and needs Willie back in London to look after her.

When Willie reunites with his mother, he discovers that she lied to get him to return and is completely fine. Willie also meets his baby half-sister, Trudy. Mrs. Beech claims she is a "present from Jesus", and Willie is too young and naïve to consider any other scenario. It is obvious, however, that Mrs. Beech has been made much more uneasy by the Blitz, and after an argument sparked by her discovery of the absence of the belt (which Tom buried), Mrs. Beech sends Willie to his room for the night. The next day, Mrs. Beech seems better after suffering a mental breakdown, but when Willie presents her with gifts that the locals from Little Weirwold had given him, and tells her about some of his friends, she accuses him of stealing and is angry he had been interacting with girls and Jews. She finally pummels him and eventually locks him in the cupboard under the stairs after he tells her that Jesus was a Jew. Back in Little Weirwold, Tom starts missing Willie greatly. Initially he thinks Willie has moved on from him, until he finds the belt he threw away a few days earlier. Tom has an instinct that Willie is in danger, so he travels to London with his dog Sammy.

After spending the night in an air raid shelter, Tom enlists the help of an A.R.P. Warden, Ralph, to find Willie's address. They are informed by a neighbour, unaware that Willie has returned from evacuation, that Mrs. Beech has left. Sammy detects a strange smell from the house and Tom breaks the door down. Sammy leads Tom and Ralph to the cupboard under the stairs, which appears to be the source of a vile stench. They find Willie bloodied and battered, but still alive, and chained to the closet wall. He is also holding Trudy, who has died. Tom visits Willie in the hospital and meets Dr. Stelton, a child psychiatrist who works with a children's home in Sussex. Stelton wishes to take Willie to the children's home as he believes he needs psychiatric treatment, although he promises to attempt to trace any surviving relatives that Willie might have. It is during a discussion with Ralph that Tom learns about Willie's early childhood; Willie's father was a violent wife-beating alcoholic who choked to death on his own vomit. Tom decides that it would be best for Willie to return to Little Weirwold and kidnaps him from the hospital.

Willie gradually recovers from his injuries and reunites with Zach and the others. While speaking with Zach, Willie learns about the concept of sex, something his mother raised him to believe was "something dirty" and unacceptable, and realises that his mother herself had been having a relationship with another man, which resulted in the birth of Trudy. Eventually, Stelton and some social workers come to Tom's house with the news that Willie's mother is dead, having committed suicide. They intend to take Willie to the children's home, but Willie and Tom protest. Tom explains a bad dream that Willie has repeatedly been having regarding this exact event, and argues that he needs to be with someone who loves him.

Tom speaks alone with an official from the Home Office, Mr. Greenway, and persuades him that the only reason he wants Willie back is because he loves him like his own son and that Willie has clearly been happier with him than he ever was when he lived with his mother. Mr. Greenway accepts Tom's story and allows him to adopt Willie. Unfortunately, Willie's newfound happiness is cut short when Zach receives a phone call from his mother, saying that London's East End was bombed while his father was there, and he wants to see Zach one last time in case he dies. Then Willie dreamt that he and Mr Tom slept in the air raid shelter.  The next morning at breakfast Zach is then killed in another air raid, and the news devastates Willie, causing him to withdraw from life. willie thinks he saw Zack but he didn't it was just his imagination . Tom, however, remembers how he felt when he lost his own family, and in an attempt to stop Willie going down the same path he did, gives Willie a heartfelt speech that while a loved one may physically be gone, they will always live on inside someone else's heart.

Willie eventually overcomes his grief and teaches himself how to ride the bicycle Zach left behind. In the film's final scene, Willie rides the bicycle down the long hill and stops just in front of an impressed Tom, whom he addresses as "Dad" for the first time.

Premios
 Lew Grade Award (1999)
 National Television Award (1999): Most Popular Actor (John Thaw); Most Popular Drama.
 TRIC Award (1999): ITV Programme of the Year

Referencias

Enlaces externos

Véase también
 Goodnight Mister Tom (novela)

Películas sobre infancia
Películas sobre educación

Goodnight Mister Tom (película)


Harmanpreet Kaur ( ; born 8 March 1989) is an Indian cricketer who serves as the captain of the India women's national cricket team in all formats . She plays as an all-rounder for the Indian women's cricket team; and was awarded the Arjuna Award for Cricket in the year 2017 by the Ministry of Youth Affairs and Sports.

In November 2018, she became the first woman for India to score a century in a Women's Twenty20 International (WT20I) match and is the only Indian women cricketer with more than 3,000 runs in T20Is and is one of only three Indian women to have scored more than 3,000 runs in Women's One Day Internationals (WODI). In October 2019, during the series against South Africa, she became the first cricketer for India, male or female, to play in 100 international Twenty20 matches.

Early life
Kaur was born on 8th March 1989 in Moga, Punjab, to Harmandar Singh Bhullar, a volleyball and basketball player and Satwinder Kaur. Her parents are baptised Sikhs. Her younger sister Hemjeet, is post-graduate in English and works as an assistant professor at Guru Nanak College in Moga. Her father, who now is a clerk at a judicial court, was once an aspiring cricketer. He was the first coach of Harman when she had begun playing the sport. She took to cricket after joining the Gian Jyoti School Academy,  away from her residence in Moga, where she trained under Kamaldeesh Singh Sodhi. Harman used to play with men in the formative days of her career. She moved to Mumbai in 2014 where she began working for the Indian Railways. Harmanpreet was inspired by Virender Sehwag.

She has claimed to have obtained a Bachelor of Arts from Chaudhary Charan Singh University in Meerut, Uttar Pradesh; though an investigation by university officials found no records of her enrollment and the claims to be fabricated. This was during a request for verification by the Punjab Police, after her honorary appointment there as a deputy superintendent of police. Other reports indicate that she actually studied at the Hans Raj Mahila Maha Vidyalaya college (of the Guru Nanak Dev University) in Jalandhar, Punjab.

Career
In March 2009, she made her ODI debut aged 20 in a match against Pakistan women's team played at Bradman Oval during the World Cup. In the match, she bowled 4 overs conceding 10 runs and also caught Armaan Khan off Amita Sharma.

In June 2009, she made her Twenty20 International debut in the ICC Women's World Twenty20 against England women's team at County Ground, Taunton, where she scored 8 runs off 7 balls.

Her ability to hit the ball a long way was seen when she played quick-fire innings of 33 against England women's in a T20I game played in Mumbai in 2010.

She was named as Indian women's captain for the 2012 Women's Twenty20 Asia Cup final, as captain Mithali Raj and vice-captain Jhulan Goswami were out because of injuries. She made her debut as captain against Pakistan women's as India defended 81 runs thus won Asia Cup.

In March 2013, she was named ODI captain of India women's when Bangladesh women's team toured in India. In the series, Kaur scored her second ODI century in the 2nd ODI. Kaur finished the series 195 runs at average of 97.50 with a century and a fifty along with 2 wickets.

In August 2014, she one of the eight debut that played against England women cricket team in a Test match at Sir Paul Getty's Ground, Wormsley in which she scored 9 and a duck in a match.

In November 2014, she took 9 wickets in a Test match South Africa women cricket team played at Gangothri Glades Cricket Ground, Mysore and helped India to win the match by an innings and 34 runs.

In January 2016, she helped India to win series in Australia as well as scored a 31-ball 46 runs in India's highest ever chase in T20 internationals. She continued her form in the 2016 ICC Women's World Twenty20 where she scored 89 runs and took seven wickets in four matches.

In June 2016, she became the first Indian cricketer to be signed by an overseas Twenty20 franchise. Sydney Thunder, the Women's Big Bash League champions, signed her for the 2016–17 season. On 20 July 2017 she scored 171*(115) against Australia in the 2017 Women's Cricket World Cup semi-final in Derby. Kaur's 171* is currently the second-highest score by an Indian batter in women's one-day internationals, behind Deepti Sharma's 188 runs. Kaur also holds the record for the highest individual score for India in Women's cricket World Cup history. Kaur now holds the record for registering the highest ever individual score in a knockout stage of a Women's World Cup match (171*) surpassing the previous record of 107* by Karen Rolton. Kaur was part of the Indian team to reach the final of the 2017 Women's Cricket World Cup where the team lost to England by nine runs. In July 2017, Harman became second India batter to feature in the top-10 of ICC Women's ODI Player Rankings after Mithali Raj.

In December 2017, she was named as one of the players in the ICC Women's T20I Team of the Year.

In October 2018, she was named as the captain of India's squad for the 2018 ICC Women's World Twenty20 tournament in the West Indies. Ahead of the tournament, she was named as one of the players to watch. In the opening match of the tournament, against New Zealand, she became the first woman for India to score a century in WT20Is, when she made 103 runs from 51 balls. She was the leading run-scorer for India in the tournament, with 183 runs in five matches.

In November 2018, she was named in Sydney Thunder's squad for the 2018–19 Women's Big Bash League season. In January 2020, she was named as the captain of India's squad for the 2020 ICC Women's T20 World Cup in Australia. In 2021, she was drafted by Manchester Originals for the inaugural season of The Hundred. She played for them in 3 games, scoring 104 runs before withdrawing herself from the tournament due to injury.

In March 2021, in a match against South Africa, she became fifth Indian woman cricketer to represent the country in 100 ODIs. In May 2021, she was named as the vice-captain of India's Test squad for their one-off match against the England women's cricket team. In September 2021, she was signed by Melbourne Renegades for 2021–22 Women's Big Bash League season.

In January 2022, she was named in India's team for the 2022 Women's Cricket World Cup in New Zealand. In July 2022, she was named as the captain of India's team for the cricket tournament at the 2022 Commonwealth Games in Birmingham, England.

In February 2023, in the inaugural WPL auction, she was bought by Mumbai Indians for ₹1.80 crores. The Mumbai Indians, captained by her, went on to win the inaugural WPL.

In July 2023, Kaur was fined 75% of her match fee, received four demerit points, and was suspended for two matches by the International Cricket Council (ICC) for breaching the code of conduct for her outbursts during the final ODI of the Bangladesh series. She pleaded guilty to two separate charges pressed by Akhtar Ahmed, the match referee. Kaur received three demerit points and fined 50% of her match fee relating to "showing dissent at an umpire's decision". Thus, she became the first women's player to be given a Level 2 sanction since the ICC began listing code of conduct breaches publicly in 2016. She was also awarded one demerit point for a separate Level 1 penalty along with a fine of 25% of her match fee for "public criticism" of match officials. Kaur found herself in the controversy after hitting the stumps with her bat when she was declared out. In the post-match presentation, she publicly criticised the umpires and disrespected the opposing team during the photo session, leading the Bangladeshi players to walkout.

Honours

Team
 Women's Cricket World Cup: 3rd place 2009
 ICC Women's T20 World Cup: semi-finalists 2009, 2010, 2023; runners-up 2020
 Women's Twenty20 Asia Cup: Champions 2012, 2016, 2022
 Women's Premier League: Champion 2023
Silver Medal in Cricket at the 2022 Commonwealth Games
Gold Medal in Cricket at the 2022 Asian Games

Individual
 Arjuna Award for Cricket: 2017
 Women's Big Bash League Player of the Tournament: 2021–22
 One of the five Wisden Cricketers of the Year: 2023
 Time 100 Next: 2023

Notes

References

Further reading

External links

1989 births
Living people
Indian women cricketers
India women One Day International cricketers
India women Twenty20 International cricketers
India women Test cricketers
Indian women cricket captains
People from Moga, Punjab
Punjabi people
Punjab, India women cricketers
Sydney Thunder (WBBL) cricketers
Lancashire Thunder cricketers
IPL Supernovas cricketers
Recipients of the Arjuna Award
Manchester Originals cricketers
Melbourne Renegades (WBBL) cricketers
Mumbai Indians (WPL) cricketers
Cricketers at the 2022 Commonwealth Games
Commonwealth Games silver medallists for India
Commonwealth Games medallists in cricket
Medallists at the 2022 Commonwealth Games
Wisden Cricketers of the Year
Trent Rockets cricketers
People who fabricated academic degrees
Asian Games medalists in cricket
Cricketers at the 2022 Asian Games
Asian Games gold medalists for India
Medalists at the 2022 Asian Games

Harmanpreet Kaur