The Dunning–Kruger effect is a bias in thinking, usually where a person is unaware of how badly they grasp a subject, not understanding that they are failing at it. They mistakenly think that they are doing as well as "average" or even "above average".

It is a psychological effect in which people don't realize their level of knowledge or ability in a subject. People who know little about a subject will think that they know more than they actually know. People of low ability may not have enough intelligence to fully grasp how complicated something can be, causing them to overestimate their knowledge or ability. This can cause them to underestimate the intelligence of a high ability person who claims something is complicated when they falsely believe they understand it fully.

This effect was shown in an experiment that was done by Justin Kruger and David Dunning at Cornell University.

The investigators said:
"The miscalibration of the incompetent stems from an error about the self, whereas the miscalibration of the highly competent stems from an error about others".

In 2000, Dunning and Kruger were awarded the Ig Nobel Prize in the field of psychology for their study.

Related pages
 Arrogance
 Confidence
 Megalomania
 Narcissism

References

Cognition
Experiments

Dunning–Kruger effect


Thelymitra nuda, commonly known as the plain sun orchid is a species of orchid that is endemic to eastern Australia. It has a single fleshy, channelled leaf and up to twelve dark blue to purplish, sometimes white or pinkish flowers with white tufts on top of the anther. It grows in a range of habitats and sometimes forms large colonies.

Description
Thelymitra nuda is a tuberous, perennial herb with a single fleshy, channelled, blue green to dark green, linear to lance-shaped leaf  long and  wide with a purplish base. Up to twelve dark blue to purplish, sometimes white or pinkish flowers  wide are arranged on a flowering stem  tall. There are usually two bracts along the flowering stem. The sepals and petals are  long and  wide. The column is pale bluish or pink,  long and  wide. The lobe on the top of the anther is dark brown to blackish and tube-shaped with a yellow tip and a small V-shaped notch. The side lobes turn forwards and have white, toothbrush-like tufts on their ends. The flowers are scented, long-lived, insect-pollinated and open on warm sunny days. Flowering occurs in November and December.

Taxonomy and naming
Thelymitra nuda was first formally described in 1810 by Robert Brown and the description was published in Prodromus Florae Novae Hollandiae et Insulae Van Diemen. The specific epithet (nuda) is a Latin word meaning "bare" or "naked".

Distribution and habitat
The plain sun orchid grows in heath, woodland and forest, sometimes forming extensive colonies. It occurs in New South Wales south from Mount Kaputar, through the Australian Capital Territory to Victoria, South Australia and Tasmania.

References

External links

nuda
Endemic orchids of Australia
Orchids of New South Wales
Orchids of the Australian Capital Territory
Orchids of South Australia
Orchids of Tasmania
Orchids of Victoria (state)
Plants described in 1810

Thelymitra nuda


Madvillainy is the only studio album by American hip hop duo Madvillain, consisting of British-American rapper MF Doom and American record producer Madlib. It was released on March 23, 2004, on Stones Throw Records.

The album was recorded between 2002 and 2004. Madlib created most of the instrumentals during a trip to Brazil in his hotel room using minimal amounts of equipment: a Boss SP-303 sampler, a turntable, and a tape deck. Fourteen months before the album was released, an unfinished demo version was stolen and leaked onto the internet. Frustrated, the duo stopped working on the album and returned to it only after they had released other solo projects.

While Madvillainy achieved only moderate commercial success, it became one of the best-selling Stones Throw albums. It peaked at number 179 on the US Billboard 200, and attracted attention from media outlets not usually covering hip hop music, including The New Yorker. Madvillainy received widespread critical acclaim for Madlib's production and MF Doom's lyricism, and is regarded as Doom's magnum opus. It has ranked in various publications' lists of all-time greatest albums, including at 411 on NME's list of The 500 Greatest Albums of All Time, at 365 on Rolling Stone's 500 Greatest Albums of All Time, and at 18 on Rolling Stone's 200 Greatest Hip-Hop Albums of All Time.

Background
In 1997, after the death of his brother DJ Subroc and the rejection of KMD's album Black Bastards by Elektra Records four years previously, rapper Daniel Dumile (formerly known as Zev Love X) returned to music as the masked rapper MF Doom. In 1999, Doom released his debut solo album Operation: Doomsday on Fondle 'Em Records. According to Nathan Rabin of The A.V. Club, the album "has attained mythic status; its legend has grown in proportion to its relative unavailability". Soon after release of the album, in an interview with the Los Angeles Times, Madlib stated that he wanted to collaborate with two artists: J Dilla and Doom.

In 2001, after Fondle 'Em closed, Doom disappeared. During that time, he lived between Long Island, New York, and Kennesaw, a suburb of Atlanta, Georgia. Coincidentally, Eothen "Egon" Alapatt, who was the manager of Madlib's label Stones Throw Records, had a friend in Kennesaw. He asked the friend to give Doom (who did not know about Madlib and Stones Throw at the time) some instrumentals from Madlib. Three weeks later, the friend called back, telling him that Doom loved the instrumentals and wanted to work with Madlib. Soon, one of Doom's "quasi-managers" made an offer, asking for plane tickets to Los Angeles and $1,500. Despite the fact that the label didn't have enough money after buying the tickets, they immediately agreed. According to Egon, soon after arrival, the manager went to him demanding money, while Doom visited Madlib:

Egon's plan was successful, and Doom and Madlib began working together. Soon after, Stones Throw Records managed to collect the money necessary to pay Doom and a contract to the label was signed, which was written on a paper plate.

Recording
Doom and Madlib started working on Madvillainy in 2002. Madlib created one hundred beats in a matter of weeks, some of which were used on Madvillainy, some were used on his collaboration album with J Dilla Champion Sound, while others were used for M.E.D.'s and Dudley Perkins' albums. Even though Stones Throw booked Doom a hotel room, he spent most of the time in Madlib's studio, based in an old bomb shelter in Mount Washington, Los Angeles. When the duo was not working on the album, they were spending free time together, drinking beer, eating Thai food, smoking marijuana, and taking psychedelic mushrooms. "Figaro" and "Meat Grinder" were among the songs recorded during this time.

In November 2002, Madlib went to Brazil to participate in a Red Bull Music Academy lecture, where he debuted the first music from the album by playing an unfinished version of "America's Most Blunted". Madlib also went crate digging during his time in Brazil, searching for obscure vinyl records he could sample later, with fellow producers Cut Chemist, DJ Babu, and J.Rocc. According to Madlib himself, he bought multiple crates full of vinyl records, two of which he later lost. He used some of these records to produce beats for Madvillainy. Most of the album, including beats for "Strange Ways", "Raid", and "Rhinestone Cowboy", was produced in his hotel room in São Paulo, using a portable turntable, a cassette deck, and a Boss SP-303 sampler. While Madlib was working on the album in Brazil, the unfinished demo was stolen and leaked on the internet, 14 months before its official release. Jeff Jank, Stones Throw's art director, remembers the leak in the interview with Pitchfork:

Doom and Madlib decided to work on different projects. Madlib released Champion Sound with J Dilla, while Doom released two solo albums: Take Me to Your Leader, as King Geedorah, and Vaudeville Villain, as Viktor Vaughn. Nevertheless, after the release of these albums, they decided to return to Madvillainy. For the final version of the album, Doom altered his voice, described by Peanut Butter Wolf as going from "really hyper, more enthusiastic" to "a more mellow, relaxed, confident, less abrasive", and changed some lyrics to coincide with this change. Madlib was also asked by the label to change some instrumentals, but told them that he forgot the samples he used, in order to allow for them to remain on the album. Additionally, the label also requested the duo make a proper ending for the album, forcing them to rent a studio for the recording of "Rhinestone Cowboy". The beat used, however, was produced in Brazil.

Production

Madvillainy was produced almost entirely by Madlib, except the first track, which he produced in collaboration with Doom. On the album, Madlib incorporates his distinctive production style, based on using samples, mostly obscure, from albums recorded in different countries. Aside from sampling records by American artists, namely from jazz and soul, Madlib also used Indian (for example, "Shadows of Tomorrow" samples "Hindu Hoon Main Na Musalman Hoon" by R. D. Burman) and Brazilian records ("Curls" samples "Airport Love Theme" by Waldir Calmon) for Madvillainy. In regards to Madlib's production on the album, he stated in an interview:

I did most of the Madvillain album in Brazil. Cuts like "Raid" I did in my hotel room in Brazil on a portable turntable, my 303, and a little tape deck. I recorded it on tape, came back here, put it on CD, and Doom made a song out of it.

The album consists of 22 songs, most of which are under 3 minutes and contain no hooks or choruses. Sam Samuelson of AllMusic compared the album to a comic book, "sometimes segued with vignettes sampled from 1940s movies and broadcasts or left-field [marijuana]-toting skits". He also noted that some instrumentals on the album "[seem] to be so out of time or step with a traditional hip-hop direction". The A.V. Club compared the album to a buffet, where "Madlib and Doom are interested in throwing out ideas as fast as they have them, giving them as much attention as they need, and moving on to the next thing". Tim O'Neil of PopMatters praised Madlib's instrumentals and said that they "make the album a sonic feast".

Lyrics

Doom's lyrics on Madvillainy are free-associative. According to Stereogum, the album "is about using sound to craft semi-indecipherable vignettes that are situated somewhere between the real and the mythical". Despite originally featuring a more enthusiastic, excited delivery, the leak prompted Doom to go with a slower and more relaxed flow on the final version of the album. This move has been praised by various publications, including Pitchfork, which said that it was "ultimately better-suited" than the original.

Throughout the album, Doom uses a number of literary devices, including multi-syllable rhymes, internal rhymes, alliteration, assonance, and holorimes. Music critics also noted extensive use of wordplay and double entendres. PopMatters wrote, "You can spend hours poring over the lyric sheet and attempting to grok Doom's infinitely dense verbiage. If language is arbitrary, then many of Doom's verses exploit the essence of words stripped of meaning, random conglomerations of syllables assembled in an order that only makes sense from a rhythmical standpoint", the critic added. The Observer stated that "the densely telegraphic lyrics almost always reward closer inspection" and that Doom's "rhymes miss beats, drop into the middle of the next line, work their way through whole verses" allows for a smooth listen.

Artwork
The album cover art was created by Stones Throw's art director Jeff Jank, based on a grayscale photo of Doom in his metal mask. In an interview with Ego Trip, Jank said:

The photo was created by photographer Eric Coleman at Stones Throw's house in Los Angeles, and edited by Jank. While working on the Madvillainy album cover, Jank drew inspiration from King Crimson's In the Court of the Crimson King artwork, however, following its completion, he noticed the artwork eerily resembled Madonna's Madonna artwork. Despite this, Jank stuck with the original artwork, labeling it as the "rap version of Beauty and the Beast". A small orange square was added to the final version of Madvillainy, due to Jank's thinking that the artwork "needed something distinctive", comparing it to the orange "O" on the Madonna cover.

Release and promotion
Two singles from Madvillainy were released before the album release: "Money Folder" bundled with "America's Most Blunted", and "All Caps" bundled with "Curls". The first single peaked at number 66 on the Billboard Hot R&B/Hip-Hop Songs chart. Madvillainy was released on March 23, 2004. Despite Stones Throw Records being a relatively small label, the album achieved moderate commercial success, which was big for the label. According to Pitchfork, "after two years of hectoring Stones Throw for making unsalable records, distributor EMI couldn't keep Madvillainy in stock." The album peaked at number 179 on Billboard 200 and sold approximately 150,000 copies, making it one of the label's best-selling albums. Its success allowed Stones Throw to open an office in Highland Park, Los Angeles.

Four official videos were created for the album upon its initial release : "All Caps" (directed by James Reitano), "Rhinestone Cowboy" and "Accordion" (both directed by Andrew Gura), and "Shadows of Tomorrow" (directed by System D-128). "All Caps" and "Rhinestone Cowboy" appear on the DVD Stones Throw 101 along with a hidden easter egg video for "Shadows Of Tomorrow" as a special bonus feature. An impromptu video for "Accordion" was filmed in 2004 but was not released until 2008's In Living the True Gods DVD.

An instrumental version of the album was released in 2004 only in vinyl format and digitally through various online stores, with the tracks "The Illest Villains", "Bistro", "Sickfit", "Do Not Fire!", and "Supervillain Theme" being omitted. It was re-released in 2012 on vinyl with picture sleeve.

In 2014, in honor of the 10th anniversary of Madvillainy, Stones Throw released a special edition of the album on vinyl. The album re-entered Billboard 200 chart, peaking at number 117, higher than it did originally. The same year Madvillainy was also released on Compact Cassettes, as part of the Cassette Store Day.

Remixes
Several remixes of the album were released. Two remix EPs of Madvillainy were released on Stones Throw in 2005. The remixes were done by Four Tet and Koushik. Madvillainy 2: The Madlib Remix was released on Stones Throw in 2008, containing a complete remix of the album by Madlib as a part of a Madvillain box set. According to Stereogum, it was Madlib's "attempt to get Doom excited enough to work on a true follow-up", recorded after he got tired of waiting for Doom to record the official sequel.

Critical reception

Madvillainy was met with widespread critical acclaim from music critics and became one of the most critically acclaimed projects of both artists. At Metacritic, which assigns a normalized rating out of 100 to reviews from mainstream critics, the album received an average score of 93, based on 20 reviews; it was the year's best-reviewed rap album and third highest reviewed album overall, according to the website. It also was the second most acclaimed rap album at the time of its release, behind Outkast's Stankonia. Sam Samuelson of AllMusic wrote that album's strength "lies in its mix between seemingly obtuse beats, samples, MCing, and some straight-up hip-hop bumping" and that "MF Doom's unpredictable lyrical style fits quite nicely within Madlib's unconventional beat orchestrations". Will Hermes of Entertainment Weekly called it "indie rap blowing session by two guys near the top of their game". Alternative Press praised Madvillainy as "all invention and no indulgence", while HipHopDX dubbed it an "experimental, eclectic, raw, spontaneous" classic. Mojo praised the album, calling it "a symphony of such densely constructed chaos" and noting that "Madvillainys very opacity is part of its brilliance".

Pitchfork called Madvillainy "inexhaustibly brilliant, with layer-upon-layer of carefully considered yet immediate hip-hop, forward-thinking but always close to its roots", noting that "the samples are smart and never played-out, and the production and rhymes reveal a determined sense of cooperation, as MF Doom spouts off his most brilliant lyrical change-ups and production-conscious playoffs". Q called Madlib "the most innovative beatsman since Prince Paul", who created "an oddball, cartoon-heavy backdrop for MF Doom's mellifluous wordplay". Rolling Stone described Madlib's tracks as, "fuzzy and crackling with dust", and praised MF Doom, whose flow was commended as "a particularly elegant slur, with syllables spreading over a beat, not crisply adhering to it". Eric Henderson of Slant Magazine called it "a chameleonic masterpiece that alone validates the artistry of sampler culture". Robert Christgau, writing for The Village Voice, praised the album as "a glorious phantasmagoria of flow". Blenders Jody Rosen called it a "torrid album that marries old-school rap aesthetics to punk-rock concision."

Madvillainy also attracted positive reviews from several publications with infrequent coverage of hip hop music. David Segal of The Washington Post called the album "hysterical, [...] perplexing, arresting, thought-provoking or just plain silly". Kelefa Sanneh of The New York Times called it "a delirious collaboration" and hailed MF Doom as a rapper who "understands the deformative power of rhyme" and "delivers long, free-associative verses full of sideways leaps and unexpected twists". Sasha Frere-Jones of The New Yorker praised the album, noting that "the point of Madvillainy is largely poetic—celebrating the language of music and the music of language" and that while the album's beats are based on samples of records, it's "hard to say which ones, even in a general way".

Accolades
Several publications included Madvillainy in their lists of the best albums of the year. Pitchfork ranked it number six on their list of the 50 best albums of 2004, stating that "the collaboration brings out the best in both men, without copying anything in their catalogs". Prefix ranked the album first on its list of the 60 best albums of 2004, stating that "when Doom and Madlib combine, they form like Voltron". PopMatters positioned it at number nine on their list of the 100 best albums of 2004, commending MF Doom's "royal, pop culture-laden flow" and Madlib's "beat-mining expertise". Spin ranked it number 17 on their list of the 40 best albums of 2004, praising Madlib's production, "thick, woozy slabs of beatnik bass", that "keeps things hotter than an underground volcano lair". Washington City Paper ranked Madvillainy number one on their list of the top 20 albums of 2004. Stylus Magazine named it the second best album of 2004. In The Village Voice annual poll Pazz & Jop, which combined votes from 793 critics, Madvillainy was ranked number 11 on the list of the best albums of 2004. The Wire and AllMusic also included the album in their unordered lists of the best albums of the year.

Numerous publications included Madvillainy in various lists of the best albums. Clash positioned it at number 47 in their list of top 100 albums of Clash lifetime, calling it "slapdash and dilapidated, wholly unconcerned with making sense", "defined by its flippancy and attitude to professionalism". The magazine also listed it on their list of ten best hip hop albums ever, calling it "one of this decade's finest hip-hop albums" that "elevated the profile of both [artists] to whole new levels". Complex placed the album in their list of 100 best albums available on Spotify, calling it "dusty, weeded up, 22-song masterpiece that stood alone and brought us all into its own little world" and stating that "Madlib and MF Doom's classic wasn't meant for the radio, but it was too good to be kept to the underground". The magazine also listed it among 25 albums of the decade that deserve classic status, describing it as "a classic record that had a goofy cartoony unpredictability, balanced with moments of oddball sincerity" and 71st on the list "The 100 Best Albums of the Complex Decade". HipHopGoldenAge ranked it first in their list of the Top 150 Hip Hop Albums of the Decade, calling it "a perfect example of what can happen if two left-field geniuses combine powers."The A.V. Club featured the album on the list "The Best Music of the Decade", referring to the album as "an instant masterpiece". Fact ranked it number 14 at their list of 100 best albums of the 2000s and praised it as "a perfect synergy between raw beats and incredible rhymes". The magazine also named it the second best album on their list of 100 best indie hip hop records ever made, stating that it was "arguably the signature moment from the signature rapper and signature producer of the entire movement". Heavy.com ranked the album number 9 on their list "The Top 10 Hip-Hop Albums of the Decade", stating that "MF Doom has never sounded better than he did when he teamed up with Madlib for this little ditty of WTF hip hop". Slant Magazine placed the album at number 39 on the list "The 100 Best Albums of the Aughts", calling it the "undisputed pinnacle of aughts underground rap". Stylus Magazine ranked the album number 13 on its list "The Top 50 Albums: 2000-2004". Fact ranked the album 14th on its "The 100 Best Albums of the 2000s" list, praising it as "a perfect synergy between raw beats and incredible rhymes that in the minds and hearts of many, neither party has yet to surpass". The Guardian included the album in their list of 1000 albums to hear before you die, describing it as "a colourful window into Dumile's world", while praising its "busy unpredictability and stoned comic-book mythos". HipHopDX included the album in two lists: top 10 albums of 2000s and the 30 best underground hip hop albums since 2000, describing it as "the super rap album, reaching unforeseen creative heights" that "elevated [Doom and Madlib] into Gods for many core Hip Hop heads". Rolling Stone featured it on their list of 40 one album wonders, and in 2020, ranked the album at number 365 in their revised list of the 500 Greatest Albums of All Time.

NME ranked the album number 411 on their list of the 500 greatest albums of all time, describing it as "stoner humour and mind-bending beats from a hip-hop dream team" and stating that "MF Doom and Madlib might not have invented underground rap, but they damn well perfected it". Pitchfork ranked the album at number 13 in their list of the top 100 albums of 2000–2004, commenting, "While Madlib's special power played tricks on your ears – a sample you were sure was the sound of cars rolling by on the street might sound like the hiss of a record on a different day ("Rainbows") – MF Doom unfurled his clever lyrics like a roll of sod on earth... and the album curved in on itself like a two-way mirror."Pitchfork also ranked Madvillainy as the 25th best album of the 2000s, describing it as "a preternaturally perfect pairing of like-minded talents" who "have each been responsible for tons of great, grimy underground hip-hop". Tiny Mix Tapes considered the album the fourth best of the 2000s. Rhapsody ranked the album 1st on its "Hip-Hop's Best Albums of the Decade" list. PopMatters positioned it at number 49 on their list of the 100 best albums of the 2000s and praised MF Doom, who "free-associates culture high and low, from Hemingway to Robh Ruppel, across tongue-tied internal rhymes", and Madlib's "fusion breaks, psych soul, and Steve Reich", and called the album "the best chemistry of either's career, and one of the best of hip-hop, period". In 2016 Q listed Madvillainy among the albums that didn't appear in their list of the best albums of last 30 years, stating that "underground hip-hop's cracked geniuses, Madlib and MF Doom, unite on a labyrinth of weed-stained vignettes that combine invention and accessibility". Spin ranked it number 123 on their list of the 300 best albums of the past 30 years (1985–2014), calling it "a genius cross-pollination of seemingly divergent styles". The magazine also positioned the album at number eight on the list of the 50 best hip hop debut albums since Reasonable Doubt. Stylus Magazine ranked the album number 13 on their list of the top 50 albums of 2000–2005, praising Madlib's production, based on "an endless supply of funk, soul, and jazz samples", and stating that the album was "displaying the future of hip-hop".

Legacy and influence

Madvillainy influenced a generation of artists. Among some of them are rappers Joey Badass, the late Capital STEEZ, Bishop Nehru, Tyler, The Creator, Earl Sweatshirt, Danny Brown, Kirk Knight, producer and rapper Flying Lotus, producer and DJ Cashmere Cat, neo soul collective Jungle, indie rock band Cults, and Radiohead singer Thom Yorke. The singer Bilal names it among his 25 favorite albums. According to Earl Sweatshirt, Madvillainy influenced his generation the same way Wu-Tang Clan influenced the rappers of the 1990s with their album Enter the Wu-Tang (36 Chambers). In 2009 a video of Mos Def working on his album The Ecstatic in a studio was released. In the video he praised Doom, saying that "he rhymes as weird as I feel", and recited some of Doom's lines, including the ones from Madvillainy. He added:

In 2015, in honor of the release of All-New, All-Different Marvel comics line and to pay homage to classic and contemporary hip hop albums, Marvel released variant covers inspired by these albums. One of them was variant cover of The Mighty Thor comics, based on Madvillainy cover. It used grayscale image of Jane Foster's face behind the metal mask, with a picture of Mjolnir in a small orange square on top right corner and "THE MIGHTY THOR" text in pixelated font on top left.

Track listing
All tracks written by Daniel Dumile and Otis Jackson Jr., except where noted; all tracks produced by Madlib, except "The Illest Villains", produced by Madlib and MF Doom, and voice skits produced by Doom.

Personnel
Credits are adapted from the album's liner notes.Madvillain MF Doom – MC, production , recording
 Madlib – beats, production, recordingAdditional personnel Peanut Butter Wolf – executive producer
 Allah's Reflection – additional vocals
 Dave Cooley – mixing, mastering, recording
 James Reitano – illustration
 Egon – project coordination
 Miranda Jane – project consultant
 Eric Coleman – photography
 Jeff Jank – design

 Madvillainy Demo Tape

On July 23, 2008 Stones Throw announced the release of Madvillainy 2: The Box, a box set containing, among other things, a cassette of the leaked Madvillainy demo tape. The box was later released on September 15 of that year, marking the first official release of the Madvillainy demo. The demo was re-released by itself on September 7, 2013, in celebration of the first annual Cassette Store Day.

Charts

AlbumOriginal release2014 re-releaseLater entries'

Singles

Certifications

References

External links

2004 albums
Madlib albums
MF Doom albums
Psychedelic rap albums
Stones Throw Records albums
Albums produced by Madlib

Madvillainy


Douglas Reagan Ault (March 9, 1950 – December 22, 2004) was an American professional baseball first baseman and designated hitter who played for the Texas Rangers (1976) and Toronto Blue Jays (1977–1978, 1980). He is best known for hitting the first two home runs in Blue Jays history, in the team's first Major League Baseball (MLB) game on April 7, 1977, a 9–5 Toronto win against the Chicago White Sox.

Career
A native of Beaumont, Texas, Ault was a varsity baseball star at Texas Tech. He was drafted three times in the MLB Draft, but refused to sign. He was finally signed by the hometown Rangers in 1973 as an amateur free agent. He advanced relatively quickly though the minor League hierarchy, making the majors in 1976 as a late season replacement. With Mike Hargrove at first base, Ault became available in the 1976 Major League Baseball expansion draft where he was drafted by the Blue Jays. He became the starting first baseman in their first regular season game, and his actions that day turned Ault into the Blue Jays first superstar. However, he did not meet the expectations set for him, had an otherwise average career, and was out of the majors within three years.

He managed in the minor Leagues for several years, leading the Syracuse Chiefs to a pennant in 1985. He retired in 1994, and went to the automobile business, but a series of personal tragedies and business failures plagued him in later life. Ault committed suicide on December 22, 2004.

Playing career
Doug Ault was born in Beaumont, Texas. When he was young, Ault credited his eldest sister Brenda as his main influence in baseball, for training him every day at the local baseball park and attending all his games as an amateur. He was varsity baseball star at Texas Tech. He was drafted on three occasions, by the Pittsburgh Pirates in 1969, the San Diego Padres in the second round in the 1970 January secondary draft, and by the Cleveland Indians in the 1970 June secondary draft, but never signed. While at Texas Tech he hit .473 his senior year and was named to the 1972 College Baseball All-America Team.

He was signed by the Rangers in 1973 as an amateur free agent. He was sent to Gastonia in the Western Carolina League where he led the league in home runs with 19 in his first season playing professionally. Within the next few years, Ault became a top prospect. In 1976, Ault played in 143 games for the Sacramento Solons of the Pacific Coast League leading the league in runs with 112 and total bases (278) while finishing third in home runs (25), and hits (168). Meanwhile, he worked the off-season in an oil-platform.

Major league career (1976–1980)

Texas Rangers (1976)
Ault made his Major League Baseball debut with the Texas Rangers on September 9, 1976, and in his first at-bat, he struck out against Dave Goltz of the Minnesota Twins in the second inning. Ault later singled in the fifth inning off Goltz to record his first career hit. However, the Rangers lost to the Twins 6-0. Ault finished the season appearing in nine games with the Rangers, hitting .300 with six hits in 20 at-bats.

Toronto Blue Jays (1977–1980)
On November 5, the Toronto Blue Jays selected Ault with the 32nd overall pick in the 1976 MLB expansion draft. He considered that day as "grateful" as it gave him an opportunity to play every day in the major leagues, as he was blocked at first base by All-Star Mike Hargrove while at Texas. During spring training, Ault competed with veterans Nate Colbert and Ron Fairly for the starting first base position.

On April 7, 1977, Ault was the Blue Jays' starting first baseman versus the Chicago White Sox, in the team's first professional game. In bottom of the first inning, Ault, batting third in the lineup, slugged the first home run (and first hit) in Blue Jays' history off White Sox starting pitcher Ken Brett. He hit another home run off Brett in the third inning, tying a major league record for most home runs in an Opening Day game. Those were the first two home runs of Ault's career (Ault also had an RBI single and a walk in the game), and the Blue Jays defeated the White Sox 9-5.  George Bell of the Blue Jays broke the record when he hit three home runs on Opening Day in 1988, and was matched by Tuffy Rhodes of the Chicago Cubs in 1994 and Dmitri Young of the Detroit Tigers in 2005. Ault was covered with "immediate acclaim and nationwide publicity" as a result of the feat.

He finished his rookie season hitting .245 with 11 home runs and 64 runs batted in during 129 games. His 64 runs batted in tied Ault with Fairly to lead the Blue Jays in that category, and was a Blue Jays rookie record until Eric Hinske drove in 84 runs in 2002.

With the Blue Jays acquiring first baseman John Mayberry, Ault was limited to 54 games in 1978, in which he hit .240 with three home runs and collected seven runs batted in over 104 at-bats.

He spent the entire 1979 season with the Syracuse Chiefs, the Blue Jays Triple-A affiliate, before reappearing with the Blue Jays in 1980. In 64 games in 1980, Ault hit .194 with three home runs and fifteen runs batted in. All three home runs came against Cleveland at Municipal Stadium, in a series played in early August. Ault played his final career game with the Jays on October 5, 1980.

After his time with Toronto, Ault played with the Hanshin Tigers in the Japanese Central League in 1981, before returning to the Chiefs in 1982. Ault also spent some time with the Mexico City Tigres of the Mexican League in 1982.

Ault finished his career with a .236 batting average, hitting 17 home runs and recording 86 runs batted in, playing 256 games, 247 of them with the Toronto Blue Jays.

Managing career
Following his playing career, Ault served as a manager in the Blue Jays organization for the single-A teams Dunedin, Kinston, Myrtle Beach and St. Catharines. He was promoted to manage his former club, the Triple-A Syracuse Chiefs of the International League in 1985, where he managed them to a pennant that same season, the first in club history. As a result, he won the International League Manager of the Year Award. He lasted with the Chiefs until 1987.  In 1992, he won the South Atlantic League championship with the Myrtle Beach Hurricanes.

Later life and death
Ault and his first wife Julie had two children.  They divorced in 1990. After the completion of his baseball managing career in 1994, Ault became a car salesman, first in Texas, then in Clearwater, Florida, where he moved to be closer to the Blue Jays spring training site.

He married his second wife, Lynn Marie, an obstetrician, in 2000. In 2002, she lost her medical license for violating Florida statutes regarding patient safety; a year later, she filed bankruptcy. In January 2004, their home in Tarpon Springs, Florida was sold though a bankruptcy proceeding, and they were separated for "a while". A few months later, Ault's first wife Julie died, after which he left his job at a Clearwater car dealership. According to some of his former teammates, at the time of his death "things were not going great" for Ault.

Ault died at his home in Tarpon Springs on December 22 of a self-inflicted gunshot wound. It was ruled a suicide by the coroner's office on December 28.

References

External links

1950 births
2004 deaths
All-American college baseball players
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Browne Falls is a waterfall above Doubtful Sound, which is located in Fiordland National Park, New Zealand. In a temperate rain forest, the falls cascade down to the fiord near Hall Arm. Heights of 619 metres and 836 metres have been given for the falls.
Their source is a tarn called Lake Browne (836 m above sea level) which when full, overflows down the side of the mountain face (similar to Sutherland's source). The stream makes 836 m height difference over 1,130 m horizontal difference, thus the mean gradient of stream is 42 degrees. This comparatively low angle makes the falls less impressive.

The falls are one of the two candidates for the title of New Zealand's highest waterfall. The other is sourced from a tarn behind Elizabeth Island which is also in Fiordland.

The falls are named after pioneering aerial photographer, Victor Carlyle Browne, who discovered Lake Browne and the associated falls on one of his flights over Fiordland in the 1940s.

There are at least two other notable waterfalls falling to Doubtful Sound: Helena Falls and Lady Alice Falls.

Natural history
There is a diversity of plant and birdlife in the vicinity and watershed of Browne Falls. Extensive stands of nothofagus dominated trees are present along with a wide variety of understory ferns and shrubs; examples of the forest floor vegetation include crown fern (Lomaria discolor).

See also
List of waterfalls by height
Waterfalls of New Zealand

References

External links
Introduction to Manapouri
Doubtful Sound at the New Zealand Tourism Guide

Waterfalls of Fiordland
Cascade waterfalls

Browne Falls


An enzyme is a protein molecule in cells which works as a biological catalyst. Enzymes speed up chemical reactions in the body, but do not get used up in the process, so they can be used over and over again.

Almost all biochemical reactions in living things need enzymes. With an enzyme, chemical reactions go much faster than they would without the enzyme.p39  Other biocatalysts are catalytic RNA molecules, called ribozymes.

The substances at the start of a reaction are called substrates. The substances at the end of a reaction are the products. Enzymes work on the substrates, and turn them into products. The study of enzymes is called enzymology.

The first enzyme was found in 1833 by Anselme Payen.

Enzyme structure

There are thousands of different enzymes and each one is specific to the reaction which it catalyses. Enzymes have names which show what they do. Enzyme names usually end in –ase to show that they are enzymes. Examples of this include ATP synthase. It makes a chemical called ATP. Another example is DNA polymerase. It reads an intact DNA strand and uses it as a template to make a new strand.

One example of an enzyme is amylase, found in saliva. It breaks down starch molecules into smaller glucose and maltose molecules. Another kind of enzyme is lipase. It breaks down fats into smaller molecules, fatty acids and glycerol.

The proteases are a whole class of enzymes. They break down other enzymes and proteins back into amino acids. Nucleases are enzymes that cut DNA or RNA, often in specific place in the molecule.

Enzymes are not only for breaking large chemicals into smaller chemicals. Other enzymes take smaller chemicals and build them up into bigger chemicals, and do many other chemical tasks. The classification below lists the main types.

Biochemists often draw a picture of an enzyme to use as a visual aid or map of the enzyme. This is hard to do because there may be hundreds or thousands of atoms in an enzyme. Biochemists can not draw all this detail. Instead, they use ribbon models as pictures of enzymes. Ribbon models can show the shape of an enzyme without having to draw every atom.

Most enzymes will not work unless the temperature and pH are just right. In mammals the right temperature is usually about 37oC degrees (body temperature). The correct pH can vary greatly. Pepsin is an example of an enzyme that works best when pH is about 1.5.

Heating an enzyme above a certain temperature will destroy the enzyme permanently. It will be broken down by protease and the chemicals will be used again.

Some chemicals can help an enzyme do its job even better. These are called activators. Sometimes, a chemical can slow down an enzyme or even make the enzyme not work at all. These are called inhibitors. Most drugs are chemicals that either speed up or slow down some enzyme in the human body.

Lock and key model
Enzymes are very specific. In 1894 Emil Fischer suggested that both the enzyme and the substrate have specific complementary geometric shapes that fit exactly into one another. This is often referred to as "the lock and key" model. However, this model fails to explain what happens next.

In 1958, Daniel Koshland suggested a modification to the lock and key model. Since enzymes are rather flexible structures, the active site is reshaped by interactions with the substrate. As a result, the substrate does not simply bind to a rigid active site. The amino acid side-chains of the active site are bent into positions so the enzyme does its catalytic work. In some cases, such as glycosidases, the substrate molecule also changes shape slightly as it enters the active site.

Function
The general equation for an enzyme reaction is:
Substrate + Enzyme –> Substrate:Enzyme –> Product:Enzyme –> Product + Enzyme

Enzymes lower the activation energy of a reaction by forming an intermediary complex with the substrate. This complex is called an enzyme-substrate complex.

For example, sucrase, 400 times the size of its substrate sucrose, splits the sucrose into its constituent sugars, which are glucose and fructose. The sucrase bends the sucrose, and strains the bond between the glucose and fructose. Water molecules join in and make the cleavage in a fraction of a second. Enzymes have these key features:
 They are catalytic. They commonly increase the rate of reaction 10 billion-fold.p39 The enzyme itself is not changed by the reaction.
 They are effective in tiny amounts. One enzyme molecule may convert 1000 molecules of substrate a minute, and some are known to convert 3 million in a minute.p39
 They are highly specific. One enzyme will only carry out one of the many reactions of which a substrate is capable.

Control of enzyme activity

There are five main ways that enzyme activity is controlled in the cell.

 Enzyme production (transcription and translation of enzyme genes) can be increased or reduced in response to changes in the cell's environment. This form of gene regulation is called enzyme induction and inhibition. For example, in bacteria which are resistant to antibiotics such as penicillin, enzymes are induced which hydrolyse the penicillin molecule.
 Enzymes can occur in different cellular compartments. For example, fatty acids are synthesized by one set of enzymes in the cytosol, endoplasmic reticulum and Golgi apparatus. Then they are used by a different set of enzymes as a source of energy in the mitochondria.
 Enzymes can be regulated by their own products. For example, the end product(s) often inhibit one of the first enzymes of the pathway. Such a regulatory mechanism is called negative feedback, because the amount of the end product produced is regulated by its own concentration. This prevents the cells making too much enzyme. The control of enzyme action helps keep a stable internal environment in living organisms.
 Enzymes can be regulated by being modified after their production. An example is the cleavage of the polypeptide chain. Chymotrypsin, a digestive protease, is produced in inactive form in the pancreas and transported in this form to the stomach where it is activated. This stops the enzyme from digesting the pancreas or other tissues before it enters the gut. This type of inactive precursor to an enzyme is known as a zymogen.
 Some enzymes may become activated when they move to a different environment (e.g. from high pH to low pH). For example, haemagglutinin in the influenza virus is activated by a change in shape. This is caused by the acidic conditions which occur inside the host cell's lysosome.

Enzyme inhibitors
Inhibitors can be used to stop an enzyme from binding to a substrate. This may be done to slow down an enzyme-controlled reaction. The inhibitors fit loosely or partially into the enzyme's active site. This prevents or slows down an enzyme-substrate complex being formed.

Denaturation
Denaturation is the irreversible alteration of an enzyme's active site, caused by an extreme change in temperature or pH. It will decrease the rate of reaction because the substrate molecule will not be able to fit into the active site, so products cannot be formed.

Cofactors
Cofactors, or coenzymes, are helper molecules which are needed to make an enzyme work. They are not proteins, and may be organic or inorganic molecules. Both types of molecules sometimes contain a metal ion at the centre, such as Mg2+, Cu2+, Mn2+ or iron-sulphur clusters. This is because such ions may act as electron donors, and this is important in many reactions. The need of enzymes for various little helpers is the basic reason why animals, including ourselves, need trace elements and vitamins.

Classification
Enzymes have been classified by the International Union of Biochemistry. Their Commission on Enzymes has grouped all known enzymes into six classes:
 Oxido-reductases: catalyse transfer of electrons
 Transferases: move functional group from one molecule to another
 Hydrolases: add –OH (hydroxyl) group
 Lyases: split chemical bonds, and often add double bond or ring structure
 Isomerases: A –> B where B is an isomer of A
 Ligases: join two large molecules: Ab + C –> A–C + b
The individual enzymes are given a four-figure number which classifies them in the database.p145

Uses of enzymes
Enzymes are used commercially for:
 making baby food - pre-digesting food for babies
 softening the centres of chocolates
 biological washing powder - which contains protease enzymes to break down the grime and dirt. It breaks the large, insoluble molecules into small, soluble molecules. It works at a lower temperature, so less energy is needed (thermostable)

Related pages
 Burst kinetics

References

Molecular biology

Enzyme


James Patton Anderson (February 16, 1822 – September 20, 1872) was an American slave owner, physician, lawyer, and politician, most notably serving as a United States Congressman from the Washington Territory, a Mississippi state legislator, and a delegate at the Florida state secession convention to withdraw from the United States. He also served in the American Civil War as a general in the Confederate States Army, serving in the Army of Tennessee.

Early life and career
James Patton Anderson was born near Winchester in Franklin County, Tennessee. He is the son of Col. William P. and Margaret L. (Adair) Anderson. As a young boy, he moved with his family to Kentucky in 1831, where he lived for most of his childhood, and then to Mississippi in 1838. He attended the medical school of Jefferson College in Canonsburg, Pennsylvania in 1840, before a family financial crisis forced him to withdraw a short time before graduation in 1842. Soon after his return home, Anderson began practicing medicine.

He studied law at Montrose Law School in Frankfort, Kentucky, and was admitted to the bar in 1843, establishing a practice in Hernando in DeSoto County, Mississippi. He also entered the state's militia forces with the rank of captain in 1846. He later served in the Mexican–American War, commanding the 2nd Battalion, Mississippi Rifles with the rank of lieutenant colonel as of February 22, 1848. That July he was mustered out of the volunteer service.

Anderson later entered politics, serving in the Mississippi House of Representatives and befriending Jefferson Davis, a fellow former Mississippi volunteer officer in the U.S. Army. He also found work as a gold prospector. When Davis became Secretary of War under President Franklin Pierce, he appointed Anderson as U.S. Marshal for the Washington Territory. Anderson relocated there to Olympia and served as marshal for several years before being selected to represent the territory in the 34th Congress as a Democrat.

After his two-year term, concerned that the Union was collapsing, he moved back to the South to the state of Florida. His aunt Ellen Adair White Beatty, who owned the "Casa Bianca" plantation outside Monticello in Jefferson County, Florida, invited him and his family to live at the plantation and manage it for her. He was an active participant in the Florida state secession convention.

American Civil War
Just prior to the start of the American Civil War, Anderson was appointed a captain of the Jefferson Rifles in the Florida Militia on January 11, 1861. Soon after Florida's secession, Anderson was one of three deputies (delegates) from Florida to the Provisional Congress of the Confederate States, beginning February 4 and resigned on May 2. He accepted a commission as the Colonel of the 1st Florida Infantry on April 1, and initially served under Braxton Bragg in Pensacola. There he commanded the 2nd Brigade in the Army of Pensacola from October 12 to January 27, 1862.

He was promoted to the rank of Brigadier general on February 10, 1862, and was assigned to the Western Theater, commanding a brigade in the Battle of Shiloh in April. He fought with the Army of Tennessee during the battles of Perryville, Stones River, Chickamauga, and Chattanooga, before being promoted to Major general on February 17, 1864.

After briefly serving as commander of the Confederate District of Florida, Anderson returned to the field in July 1864 during the Atlanta Campaign. He led a division in Leonidas Polk's Corps in the Army of Tennessee at the battles of Ezra Church, Utoy Creek, and in the early stages of the Battle of Jonesboro before suffering a serious jaw wound on the evening of August 31. Temporarily unfit for duty, he was relieved of his command and sent home to Monticello.

He later returned to duty in April 1865 during the Carolinas Campaign, against his physicians' orders, and served with his men for the remainder of the war until their surrender to federal forces at Greensboro, North Carolina, in the spring of 1865. He was paroled on May 1, and would be pardoned by the U.S. Government on December 2, 1866.

Later life
Following the war, Anderson resided in Memphis, Tennessee, although he faced difficulty working due to his injuries sustained during the war. He sold insurance for a while and eventually became the editor of a small agricultural newspaper. He was collector of delinquent state taxes for Shelby County.

Anderson died in relative poverty at his home in Memphis at the age of 50, due primarily to lingering effects of his old war wound. He was buried there in the city's Elmwood Cemetery, Memphis, Tennessee.

See also
 List of American Civil War generals

Notes

References

Further reading
 Eicher, John H., and David J. Eicher, Civil War High Commands. Stanford: Stanford University Press, 2001. .
 Hewitt, Lawrence L. "James Patton Anderson." In The Confederate General, vol. 1, edited by William C. Davis and Julie Hoffman. Harrisburg, PA: National Historical Society, 1991. .
 Linedecker, Clifford L., ed. Civil War, A-Z: The Complete Handbook of America's Bloodiest Conflict. New York: Ballantine Books, 2002. .
 Raab, James W. J. Patton Anderson, Confederate General: A Biography. Jefferson, N.C.: McFarland & Co., 2004.
 Sifakis, Stewart. Who Was Who in the Civil War. New York: Facts On File, 1988. .
 Sketch of General Anderson's Life, Special Collections, Robert Manning Strozier Library, Florida State University, Tallahassee, Florida.
 Warner, Ezra J. Generals in Gray: Lives of the Confederate Commanders. Baton Rouge: Louisiana State University Press, 1959. .

External links

 The James Patton Anderson Papers at the University of Florida

1822 births
1872 deaths
19th-century American politicians
American military personnel of the Mexican–American War
Confederate States Army major generals
Delegates to the United States House of Representatives from Washington Territory
Deputies and delegates to the Provisional Congress of the Confederate States
Farmers from Tennessee
Members of the Mississippi House of Representatives
Mississippi lawyers
People from Franklin County, Tennessee
People of Florida in the American Civil War
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Signers of the Provisional Constitution of the Confederate States
Tennessee lawyers
United States Army officers
United States Marshals
Washington (state) Democrats
Washington & Jefferson College alumni
19th-century American lawyers
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James Patton Anderson


Carl August Konrad Cannabich (christened on 11 October 1771 – 1 May 1806) was a German composer, violinist, concertmaster and music director.

Family
Born in Mannheim, Cannabich was the son of the court music director Christian Cannabich, one of the most renowned composers of the Mannheim school. His grandfather was the court musician Martin Friedrich Cannabich, his sister Rose was a pianist and his sister Augusta Elisabeth a singer. He was married to the soprano Josephine Woraleck (1781-1830), the daughter of the composer Nicklas Woraleck.

Life
In 1778 he moved with his parents to Munich. From the age of four he played piano and violin and at the age of nine received violin lessons from Johann Friedrich Eck. He later studied composition with Joseph Graetz and Peter von Winter. Already at the age of 12 he made a concert tour through Germany together with Ludwig August Lebrun. In 1785 he travelled to Italy for two years to further his musical education.

In 1788 he joined the Munich Court Orchestra as a violinist. In 1796 he worked as a theatre Kapellmeister in Frankfurt, where he also met his wife and married. In 1798 he received the title of churpfalzbaierischer Conzertmeister, was ordered back to Munich in 1800 and appointed court music director in 1801. In 1805 he made a trip to Paris. After his return he fell ill with nervous fever and died shortly afterwards in Munich at the early age of 34.

Among other things he composed the ballet music for the performances of Antonio Salieri's Axur, re d'Ormus in 1801.

Further reading

 Cannabich, Karl on BMLO
Biography of Carl Cannabich in Lexikon Baader-Lipowski

External links

References

German classical composers
German male classical composers
German violists
Music directors
1771 births
1806 deaths
Musicians from Mannheim

Carl Cannabich


The Lemberg Mosaic, subtitled the "Memoirs of Two who Survived the Destruction of Jewish Galicia", is a book on The Holocaust by Jakob Weiss. This work brings to light the relatively obscure history of the systematic and total destruction of Jewish Lemberg (Lwów, now Lviv in Ukraine). It is presented in the format of a biography, detailing the struggle for survival of four families in the backdrop of two back-to-back invasions of the city and surrounding region by both the Soviets (1939) and the Germans (1941).

Overview
Before the Second World War Lviv was known as Lwów. After the Treaty of Versailles and the rebirth of modern Poland (the Second Polish Republic), Lwów (formerly, Lemberg) became the third largest city in Poland with the third largest Jewish population (after Warsaw and Lódz). Some sources call the destruction of this once vibrant Jewish community the "Holocaust by Bullets," or the "Shoah of Jewish Galicia" or the "Ukrainian Holocaust." Recent forensic evidence as uncovered and analyzed by researchers like the French priest, Father Patrick Desbois, has corobborated the testimony of both survivors and eyewitnesses that well over one million and perhaps as many as 1.5 million Jews were brutally murdered in World War II during the Nazi invasion of the easternmost region of Poland, also known as Galicia, today's West Ukraine.

Afterword by Dr. Berthold Zarwyn

The book's Afterword was penned by Dr. Berthold Zarwyn himself a native of the city and survivor of the Lemberg ghetto. In it, he details his own eyewitness account of what transpired during the Nazi invasion, including participation of the Ukrainian militia, the Ukrainian Auxiliary Police and the local populace in the atrocities - primarily targeting the Jews in the city and the surrounding region of eastern Galicia (District of Galicia). In his comments, a cross reference is made by Dr. Zarwyn to a specific Ukrainian auxiliary police officer, John Kalymon who was stripped of his United States citizenship for falsifying his role as a guard in the Lemberg Ghetto. Dr. Zarwyn has made a significant contribution to the continuing efforts to bring former Nazi collaborators to justice such as Kalymon who is currently the subject of a criminal prosecution by a Munich tribunal as Operation Last Chance continues. The Munich prosecution of Kalymon is now before same court (led by the same prosecutor) that tried and convicted the infamous John Demjanjuk as an accessory to the murder of 27,900 Jews.

References

The Holocaust in Ukraine
The Holocaust in Poland
History of Lviv
Ukrainian collaborators with Nazi Germany
Aftermath of the Holocaust
History books about the Holocaust
History books about Ukraine

The Lemberg Mosaic


Cesare Manzella (; December 18, 1897 – April 26, 1963) was a traditional Mafia capo, who sat on the first Sicilian Mafia Commission. He was the head of the Mafia family in Cinisi, a small seaside town near the Punta Raisi Airport. As the airport was in their territory it was an invaluable asset for the import and export of contraband, including narcotics. His deputy was Gaetano Badalamenti.

Expelled from the US

After a stay in the United States, where he had spent many years organising gambling houses in Chicago, Manzella settled back in Cinisi after he was expelled by US authorities in 1947. In Cinisi he owned an extensive citrus plantation. Manzella was described as a "violent and bullying individual", by the local Carabinieri. "He is cunning and has a well-developed organisational ability, which enables him to enjoy an undisputed ascendancy over local criminals and mafiosi."  Not only in Cinisi, but also in the surrounding communities Carini, Torretta, Terrasini, Partinico, Borgetto and Camporeale. He was a member of the first Sicilian Mafia Commission that was established in 1958.

Manzella loved to show off as a benefactor. As he strolled down the narrow streets of Cinisi, wearing his wide-brimmed American-style hat, he would hand out pocketfuls of sweets to orphans and street rascals. He devoted a proportion of his illicit profits to building an orphanage. His charity was rewarded by his election as president of the Azione Cattolica (Catholic Action) in Cinisi.

First Mafia War
Manzella was heavily involved in cigarette smuggling and heroin trafficking. He was a protagonist in the First Mafia War. The conflict erupted over an underweight shipment of heroin. The shipment was financed by Manzella, the Greco cousins from Ciaculli and the La Barbera brothers from Palermo Centre. Suspicion fell on Calcedonio Di Pisa, who had collected the heroin for Manzella from the Corsican supplier, Pascal Molinelli, and had organised the transport to Manzella's partners in New York.

The case was brought before the Mafia Commission, but disagreement on how to handle it led to a bloody conflict, known as the First Mafia War, between the Grecos, headed by Salvatore "Ciaschiteddu" Greco, and the La Barberas – in particular when Di Pisa was killed on December 26, 1962. Manzella sided with the Grecos and became the target of the rival faction. Manzella was killed on April 26, 1963, when he was blown to pieces by a car bomb. Pieces of Manzella's body were found stuck to lemon trees hundreds of meters from the crater where the car had been.

Impastato
Manzella was an uncle by marriage of Giuseppe Impastato, the Anti-mafia activist who was murdered by the Mafia in 1978. Peppino Impastato's Anti-mafia activity might have been triggered by the brutal murder of Manzella, when Peppino was 15 years old. Peppino was traumatized by the event, saying: "Is this really Mafia? If this is Mafia I will fight it for the rest of my life…."

References

Dickie, John (2004). Cosa Nostra. A history of the Sicilian Mafia, London: Coronet,
Gambetta, Diego (1993). The Sicilian Mafia: The Business of Private Protection, New York: Harvard University Press,
Lewis, Norman (1964/2003). Honoured Society: The Sicilian Mafia Observed, London: Eland,
Shawcross, Tim & Martin Young (1987). Men Of Honour: The Confessions Of Tommaso Buscetta, London: Collins

1897 births
1963 deaths
Sicilian mafiosi
Sicilian Mafia Commission
Murdered Mafiosi
People murdered in Italy
Deaths by car bomb in Italy

Cesare Manzella


Govind Kumar Singh is an Indian fashion designer.  He has appeared in two series of Let's Design, a television reality show, on Zoom and won the 2011 series.

Early life and career
Singh is from the Supaul district of Bihar. He graduated from the National Institute of Fashion Technology (NIFT) in Bangalore, India. , he was appointed as assistant professor, fashion design, at the NIFT campus in Shillong. In 2012–13 he conducted skills development programmes related to fashion design for the rural women of Assam.

Recognition

Singh's label, Rainush, was launched soon after he had success in a television competition. He won the reality-based competition Let's Design in 2011. As with all the other competitors in the series, he had to work with cotton to design an haute couture collection. In 2010 he won the Most Creative and Innovative Design Collection Award in the NIFT Graduation Fashion show. He also won an award for the best prêt-à-porter garment in the first season of Let's Design, 2009.

References

Year of birth missing (living people)
Living people
People from Supaul district
National Institute of Fashion Technology alumni
Indian male fashion designers
Participants in Indian reality television series
Artists from Bihar

Govind Kumar Singh


George F. Kennan: An American Life is a nonfiction book about U.S. diplomat George F. Kennan by John Lewis Gaddis that won the 2012 Pulitzer Prize for Biography or Autobiography and the National Book Critics Circle Award for biography.

Pulitzer.org describes this as "an engaging portrait of a globetrotting diplomat whose complicated life was interwoven with the Cold War and America's emergence as the world's dominant power". In The New York Times in November 2011, Henry Kissinger said, the book "bids fair to be as close to the final word as possible on one of the most important, complex, moving, challenging and exasperating American public servants". In April 2012 and after the Pulitzer prize was announced, Jonathan Haslam of The Guardian presented its review as a discussion of a "Pulitzer-winning life of an opponent of McCarthy and George Bush". Fred Kaplan's review in The New York Times described the book as "an epic work—probing, engrossing, occasionally revelatory—but also a well-timed one".

According to a review in The Economist, the circumstances of the biography were that Gaddis began conducting interviews and accumulating papers from Kennan in 1981 with the expectation that a posthumous biography would be published. Kennan was 78 at the time, but he did not die until 2005, which changed the context in which the book was published due to contemporaneous concerns about "economic misery and questions about the future of American dominance in international affairs". Kennan granted access on the condition that the publication be posthumous.

Gideon Rachman of The Financial Times describes Kennan as "a rare example of a diplomat who changed history through the power of his ideas and the clarity of his writing". Kissinger reminds us that "the highest position he ever held was ambassador to Moscow for five months in 1952 and to Yugoslavia for two years in the early 1960s". Kennan won two Pulitzer Prizes including one for his own 1967 Memoirs.

Gaddis' book was also reviewed by Frank Costigliola in The New York Review of Books,
by John Gray in the New Statesman,
by Alex Danchev in Times Higher Education,
and by Rajiv Bhatia in The Hindu.

On April 16, 2012, it was announced that the 2012 Pulitzer Prize for Biography or Autobiography would be awarded for George F. Kennan: An American Life.

References

External links
Pulitzer page
Penguin Books official page
After Words interview with Gaddis on George F. Kennan: An American Life, March 3, 2012

2011 non-fiction books
Pulitzer Prize for Biography or Autobiography-winning works
National Book Critics Circle Award-winning works
W. W. Norton & Company books

George F. Kennan: An American Life


Cellophane is a bioplastic wrapping material. It is a thin, transparent sheet made of cellulose. It has low permeability. That means very little air, oils, greases, bacteria, and water can get in. That makes it useful for food packaging.

Cellophane was invented by Swiss chemist Jacques E. Brandenberger.
It took ten years for Brandenberger to perfect his idea. He added glycerin to soften the material. By 1912 he had built a machine to make the film. He called the product "Cellophane", from the words cellulose and diaphane ("transparent"). Cellophane was patented that year.

DuPont built the first cellophane manufacturing plant in the US. One of their chemists found a way to make it moisture proof. The material became hugely popular.

"Cellophane" is a general term in some countries, but in other countries it is a registered trademark.

Cellophane played a crucial role in developing the self-service retailing of fresh meat. The transparency helped customers see the quality of meat before buying. Cellophane also largely prevents discoloration of food.

References

Polymers
Synthetic materials

Cellophane


Wallisian, or Uvean (), is the Polynesian language spoken on Wallis Island (also known as Uvea). The language is also known as East Uvean to distinguish it from the related West Uvean language spoken on the outlier island of Ouvéa near New Caledonia. The latter island was colonised from Wallis Island in the 18th century.

Indigenous to Wallis island, the language is also spoken in New Caledonia since the 1950s due to a migration of many Wallisians (especially in Nouméa, Dumbéa, La Foa, and Mont Dore). According to the CIA World Factbook, it had 7,660 speakers in 2015. However, Livingston (2016) states that the actual number of speakers is much higher (around 20,000), albeit difficult to count precisely.

The closest language to Wallisian is Niuafo'ou. It is also closely related to Tongan, though part of the Samoic branch, and has borrowed extensively from Tongan due to the Tongan invasion of the island in the 15th and 16th centuries. Uvea was settled about 3,000 years ago.

Alphabet
Wallisian has 10 vowels: the standard 5 vowels: /a, e, i, o, u/ and their lengthened variants: ā, ē, ī, ō, ū.

Writing
The , representing the glottal stop (see also okina), is known in Wallisian as  (: causative prefix, : Adam's apple). The  can be written with straight, curly or inverted curly apostrophes. Similarly the macron () is used to mark long vowels but isn't always written.

For example:  (hello) can be written .

Wallisian was only an oral language until contact with Westerners. The first Wallisian vocabulary was created by French missionary Pierre Bataillon in 1840 and revised in 1871 but published only in 1932. German linguist Karl Rensch used Bataillon's work as the basis for his 1948 Wallisian-French dictionary, in which he chose not to use the macron.

Vocabulary

Registers
In Wallisian, there are three registers: the honorific language is used by both commoners and royals themselves. The royalty use it as it is the chiefly language and the commoners use it when talking to either a royal or when talking to God. The honorific language is also used by commoners when talking about God or about a royal figure regardless of their presence. The second language is the commoner language which is what is considered "ordinary" Wallisian, and finally, there is vulgar or derogatory language. For example, the word for "to remain" in honorific, commoner, and vulgar registers are respectively , , & . Each of the three are used in their respective circumstances.

History and classification

Wallisian is a Polynesian language that comes from Proto-Polynesian. However, its classification has been a subject of debate among scholars. Due to its proximity with Tongan language, Wallisian has sometimes been classified within the Tongic subgroup (Elbert, 1953), but later linguists stated it belonged to the Nuclear Polynesian group: Pawley and Green (1966), Bruce Biggs (1978) and Jeffrey Marck (2000).

The closest language to Wallisian is the Niuafo'ou language, spoken on the island of Niuafo'ou (Northern Tonga, Niuas group). Intercomprehension is very high between those two languages, due to intense contacts between both islands until the mid-20th century.

Influence from other languages

Influence from Tongan
Wallisian is related to Rennellese. It is also closely related to Tongan, because of former Tonga invasions in Wallis. For instance, the past form ne'e comes from Tongan. Wallisian is very closely related to Tongan, while Futunan is more closely related to Samoan.

Influence from English
During the 19th century, a form of pidgin English was used by Wallisians to communicate with traders, mainly due to the fact that the natives of Wallis and Futuna had a lot of contact with New England whaling ships as they frequently stopped at Wallis and Futuna. Currently, there are about 70 pidgin words that are still in use on Wallis island. In 1937 however, an infestation of coconut beetles on Wallis island scared many of the trade partners of Wallis island who happened to have been mainly English. Trade to Fiji, for example, was halted because of the infestation. Loanwords included European foods (laisi "rice", suka "sugar") and objects (pepa "paper"), but also some animals (hosi "horse").

Influence from English grew stronger after the American army set a military base on the island in 1942. Loanwords such as puna ("spoon"), motoka ("car", from motor car), famili ("family"), suka ("sugar"), peni ("pen"), tini ("tin"),  etc. have integrated the Wallisian language.

Influence from Latin
When the missionaries came, they also introduced many Latin words, mainly for religious purposes. Jesus Christ was rendered as Sesu Kilisito, words like komunio ("communion"), kofesio ("confession"), temonio ("devil", from demonio, fr démon), but also some non religious vocabulary : hola ("time, hour" (lat. hora)) ; hisitolia ("history" (Lat. historia)) were introduced and are now part of the everyday Wallisian language. Not all religious words have been borrowed, though. Missionaries also tried to use existing concepts in Wallisians and give them a new Christian meaning. Thus Tohi tapu ("sacred book") refers to the Bible, while aho tapu ("holy day") means Sunday, and Po Tapu ("sacred night") is Christmas; the concept of Trinity was translated into Tahitolu tapu, which literally translates to "one-three holy". Missionaries also introduced the days of the week into the language, using the Latin ecclesiastical style of naming weekdays with feria (transliterated as felia), much like in Portuguese.

Claire Moyse-Faurie explains that in Wallisian, "loanwords conform to the syllabic structure by inserting an epenthetic vowel into the cluster and by either adding a final vowel or eliminating the final consonant".

Influence from French
Wallisian has been heavily influenced by French. French missionaries arrived at the end of the 19th century; in 1961, Wallis and Futuna became a French oversea territory and French is now the official language. According to many linguists such as  Dr Karl Rensch,  French did not affect much the language in the beginning but is now profoundly transforming Wallisian. Many neologisms have been created by transliterating French words into Wallisian, as in the vocabulary of politics. Words such as Falanise ("France"), Telituale ("Territory"), politike, ("politics"), Lepupilika ("Republic")..., many technical words (telefoni, televisio...), food that was brought in Wallis by the Europeans (tomato, tapaka ("tobacco", from Fr. tabac, ), alikole ("alcohol"), kafe ("coffee", from Fr. café)), etc. are borrowings from French.

In 1984, Karl Rensch stated that more and more French loanwords were entering the Wallisian language. In the 2000s, young people have started mixing both languages in their speech.

-French influence in Uvea can be seen through media and in schools. French was even implemented as a primary and secondary school language since 1961, reinforcing the French governmental dominance over the island. During the year 1968–9 when a Wallisian was caught speaking in his native language in school they would be forced to wear a tin corned beef lid as a necklace and then write an hour-long French composition during the weekend marked by the French teacher. When the next student was to be caught speaking Wallisian then the necklace would be passed on to them but whoever holds the necklace will have to wear it until someone else is caught speaking their suppressed native language.

Due to the French influence on Wallis island about half of the media is in French and constantly available while for example some news stations and television programs in Wallisian are only available once a week and are usually at the end of the week which discourages people from watching them since they would have already seen the news earlier in the week. This only leads to people interacting more with the French language and feeling more discouraged to learn Wallisian. Some parents even discourage the learning of Wallisian in nursery and primary schools calling the language a waste of time to learn.

Relationships between Wallisian and Futunan
Despite being two different Polynesian languages, Wallisian and Futunan are similar enough to one another that knowing one language makes it much easier to learn the other as well.

Many Wallisians see themselves as superior to Futunans, such as reinforcing stereotypes claiming that Wallisian is easy while Futunan is a difficult language to pronounce. These stereotypes arise from the fact that since Wallis island was chosen as the administrative center for the French and as the seat of the Catholic bishop. Wallis island enjoyed more benefits from France and hence Wallisian became dominant to Futunan, especially since Futuna island lacked the educational resources that Wallis island could provide in the 1990s. A highly educated Futunan is typically expected to be trilingual in French, Futunan, and Wallisian. Only by being trilingual in all three can a Futunan retain the pride of Futuna island while being able to have the opportunity to advance economically and educationally on Wallis island.

The language debate: the Church and the French administration
The natives of Wallis islands and Futuna were able to get very close to the Catholic missionaries as the missionaries stayed, learned the native languages Wallisian and Futunan, and the missionaries created schools in order to educate the young and encourage young men to join the priesthood. The natives of the islands had a poor relationship with administrative officials since administrators only stay for two to three years before being moved elsewhere, this causes administrators to typically not learn local languages as they had very little use for it being exposed for such a relatively short period of time compared to the missionaries. The natives being close to the Catholics however caused the locals to begin learning Latin words which they began to incorporate into their own language, especially in religious settings.

This rift between the clergy and the administration was seen all the way in France where anticlericalism was widespread. French politicians and church officials had been having difficulties agreeing with one another. The clergy for example found very little to no reason to impose the French language on the natives of Wallis and Futuna, however, Paris demanded that the islands learn the language and an agreement between French politicians and the Catholic church was made. French would be taught two hours a day, four times a week, and as long as French classes did not interfere with Catholic studies. In 1959 when the islands of Wallis and Futuna joined the French republic as an overseas territory the educational system changed dramatically. The Catholic church lost control of the educational system to the French politicians who ordered teachers of the French language from France to teach French on the islands. Most of these teachers had very little experience teaching French as a second language and the change in the educational system led to a sociolinguistic split, younger generations became more or less bilingual while the older generations had a very little grasp of the French language. French teachers on the Wallis and Futuna islands were in a similar position as the French administrators. French teachers only taught for two to three years before their teaching contract ended and they are moved elsewhere.

Having similar opinions to the priests the French teachers were asked about their experience when returning to France and they usually said that teaching French on the islands was a waste of time as only few people saw the need for the locals to become fluent in French. As the debates over how the people should be educated continued, Wallisians realized the cultural importance of their language and found a new desire to protect it by attempting to standardize the language, creating social media/entertainment in Wallisian rather than in French (despite the fact that most media comes from France), and by making Wallisian a school subject.

As the French missionaries arrived in 1837 spreading Latin language, the natives became wary of a loss of Wallisian culture. The natives of Wallis island began to have Wallisian classes for middle school children, and when the community obtained FM and AM transmitters in 1979, the community began operating radio channels specifically in Wallisian.

References

Bibliography

External links

An online French–Wallisian dictionary

Futunic languages
Languages of New Caledonia
Languages of Wallis and Futuna

Wallisian language


The Inmates are a British pub rock band, which formed after the split of The Flying Tigers in 1977.  In 1982, they had a medium-sized international hit with a cover of The Standells' "Dirty Water", and a UK Top 40 hit with their cover of Jimmy McCracklin's track, "The Walk". "Dirty Water" reached number 51 in the United States in January 1980. The song led directly to them recording their debut album, First Offence, produced by Vic Maile for Radar Records. Two further albums were quickly recorded; Shot in the Dark again produced by Vic Maile, and Heatwave in Alaska produced by Stuart Coleman.

Around 1981, lead singer Bill Hurley became ill following a breakdown, and his place was taken for some time by Barrie Masters, who had recently split with Eddie and the Hot Rods.  The Inmates continued to record (True Live Stories, a live album recorded by Vic Maile at London's the Venue nightclub and, Five, a studio album again produced by Maile) and tour with Masters until he decided to reform the Hot Rods, and Hurley was well enough to return to fronting the Inmates.

In 1987, The Inmates recorded Meet the Beatles, a live album of Beatles cover versions.  It was re-released on CD with bonus cuts including a live version of "Dirty Water".

One of The Inmates' songs, "So Much in Love" (written by Mick Jagger and Keith Richards), was covered by Los Lonely Boys in the mid-1990s.

Another song, "I Can't Sleep" from their debut LP First Offence, was included as a chapter heading in the Stephen King bestseller Christine.

"(I Thought I Heard A) Heartbeat" was recorded by American band Will and the Kill, which included guitarist Will Sexton (brother of Charlie Sexton) and Dr. Feelgood on the album Classic, the last release on Stiff Records. Dr. Feelgood also recorded "Sweet Sweet Lovin'" on their album Fast Women, Slow Horses.

As of 2013, The Inmates were still working and touring, especially in continental Europe. After thirty years, they still have four of the original five band members, and continue to play both original songs and covers.

In 2022, Peter Gunn, the lead guitarist of the Inmates, released a solo album, credited to Peter Gunn & the Neatbloods, entitled Life Savings.  This included a guest appearance on drums by Jim Russell.

Line-up
Bill Hurley - vocals
Peter Gunn - guitar
Tony Oliver - guitar
Ben Donnelly - bass
Eddie Edwards - drums

Former members
Jim Russell - drums
Paul Turner - drums
 Barrie Masters - vocals

Discography
First Offence (1979) US number 40
Shot in the Dark (1980)
Heatwave in Alaska (1981)
True Live Stories (1984)
Five (1985)
Meet the Beatles (1988)
Fast Forward (1989)
Inside Out (1991)
Wanted (1993)
Silverio (1997)
Heat of the Night (Live) (2003)
Back in History (Live) (2008)

References

External links
Official Myspace
Riverside Record's website

English rock music groups
English new wave musical groups
British pub rock music groups
Musical groups established in 1977
Radar Records artists
Polydor Records artists

The Inmates


Alfred Peck Edgerton (January 11, 1813 – May 14, 1897) was an American businessman who served as a member of the United States House of Representatives from Ohio for two terms from 1851 to 1855.

Early life and career
Edgerton was born in Plattsburgh, New York, on January 11, 1813. He graduated from Plattsburgh Academy and worked briefly for a newspaper.

He moved to New York City to work in advertising and other business pursuits. Within a few years, in 1837, Edgerton moved to Hicksville, Ohio, an area of development. He became manager of the American Land Company, engaging in surveying and selling land for settlement and development in northern Ohio. He was the founder of Edgerton, Ohio.

Congress
A Democrat, Edgerton served in the Ohio State Senate from 1845 and 1846. He was elected to the United States House of Representatives in 1850 and served two terms as a member of the Thirty-second and Thirty-third Congresses, March 4, 1851, to March 3, 1855.

Later career
After leaving Congress, Edgerton resided in New York City. He worked as the financial agent of Ohio's Board of Fund Commissioners, the agency responsible for issuing, paying interest on, redeeming and canceling the state's general obligation bonds. In 1857 he moved to Fort Wayne, Indiana, as general manager of the Wabash and Erie Canal.

Edgerton returned to Ohio in 1868, and that year was an unsuccessful candidate for lieutenant governor.

In 1873 he built St. Paul's Episcopal Church (Hicksville, Ohio). The church was consecrated on Oct 1, 1875, and on the same day his grandson Robert Swartwout was the first child baptized.

In 1885 Edgerton was appointed Chairman of the United States Civil Service Commission, and he served until 1889.

Death and family legacy
Edgerton died in Hicksville, Ohio, on May 14, 1897. His body was transported to Fort Wayne, Indiana, where he was buried in Lindenwood Cemetery, as was his brother.

Alfred P. Edgerton was the brother of Joseph Ketchum Edgerton, an attorney and businessman who served in Congress from Indiana. His parents were Bela Edgerton and Phebe Ketchum. On February 9, 1841, he married Charlotte Elizabeth Dixon (1816-1895), daughter of Charles Dixon and Lucy Sage. They had eight children, Henry, Cornelia, Frances, Alfred Jr., Charlotte Anna, Arthur, and Dixon Edgerton. He was the grandfather to architect Egerton Swartwout.

Links

References

1813 births
1897 deaths
Politicians from Plattsburgh, New York
People from Hicksville, Ohio
Politicians from Fort Wayne, Indiana
Democratic Party Ohio state senators
Democratic Party members of the United States House of Representatives from Ohio
19th-century American politicians

Alfred Peck Edgerton


Kassassin () is a village of Lower Egypt  by rail west of Ismailia, a major city on the Suez Canal.

Battle of Kassassin Lock

At the Sweet Water Canal, on August 28, 1882, the British force was attacked by the Egyptians, led by Amed Urabi Pasha. They needed to carve a passage through Ismailia and the cultivated Delta. Both attacks were repulsed. The Household Cavalry under the command of General Drury Drury-Lowe led the "Moonlight Charge", consisting of the Royal Horse Guards and 7th Dragoon Guards galloping at full tilt into enemy rifle fire. Their ranks were whittled down from the saddle, but still they charged headlong, ever forward. Sir Baker Russell commanded 7th on the right; whereas the Household was led by Colonel Ewart, c/o of the Life Guards. They captured 11 Egyptian guns.  Despite only half a dozen casualties, Wolseley was so concerned about the quality of his men that he wrote Cambridge for reforms to recruiting. Nonetheless, these were the elite of the British army and, these skirmishes were costly. Legend and a poem "At Kassassin", say the battle began as it was getting dark.

On September 9, Urabi seized what he considered his last chance to attack the British position. A fierce battle ensued on the railway line at 7 am. General Willis sallied out from emplacements to drive back the Egyptians, who at 12 pm returned to their trenches. Thereupon Sir Garnet Wolseley arrived with the main force, while the Household Cavalry guarded his flank from a force at Salanieh. A total force of 634 officers and 16,767 NCOs and men were stationed at Kassassin before they marched on September 13, 1882, towards the main objective at Tell El Kebir where another battle was fought, the Battle of Tell El Kebir.

Battle immortalized in poetry
The battle as described in the poem by Arthur Clark Kennedy, At Kassassin, mentions the battle began as the day turned to evening.
AT KASSASSIN

RAINED on all day by the sun,
Beating through helmet and head,
Through to the brain.
Inactive, no water, no bread,
We had stood on the desolate plain
Till evening shades drew on amain;
And we thought that our day's work was done,
When, lo! it had only begun.

'Charge!' And away through the night,
Toward the red flashes of light
Spurting in fire on our sight,
Swifter and swifter we sped.
'Charge!' At that word of command,
On through the loose-holding sand,
On through the hot, folding sand,
Through hailstorms of iron and lead,
Swifter and swifter we sped.

Thud! fell a friend at my hand;
No halt, ne'er a stay, nor a stand.
What though a comrade fell dead?
Swifter and swifter we sped.

Only the red, flashing light
Guided our purpose aright;
For night was upon us, around,
Deceptive in sight as in sound.
We knew not the enemy's ground,
We knew not his force;
But on, gaining pace at each bound,
Flew man and horse.

Burst on the enemy's flank,
On through his gunners and guns,
Swifter and swifter we sped;
Over each bayonet-ranged rank,
Earthward their dusky waves sank,
Scattered and fled.
They ran as a startled flock runs;
But still we pursued o'er the plain,
Till the rising moon counted the slain,
And some hundred Egyptians lay dead.

Oh! 'twas a glorious ride,
And I rode on the crest of the tide.
We dashed them aside like the mud of the street,
We threshed them away like the chaff from the
   wheat,
We trod out their victory under our feet,
And charged them again and again;
For demons were loose on the hot-breathing wind,
And entered the souls of our men.
A feverish delight filled our bones,
Heightened by curses and groans—
The mind taking hold of the body, the body react-
    ing on mind.

Ha! 'twas a glorious ride,
Though I miss an old friend from my side,
And sadness is mingled with pride.
Still, 'twas a glorious ride—
That race through the darkness, the straining, the
     shock,
The struggle, and slaughter by Kassassin lock.

References

Battles involving Egypt
Geography of Egypt
Historical poems
Populated places in Ismailia Governorate
War poetry

Kassassin


You Will Go To The Moon is a work of children's literature written by Mae and Ira Freeman and illustrated by Robert Patterson, published in 1959, ten years before the first crewed Moon landing. The first edition was reprinted in England in 1962 under the same title. A second edition was published in 1971, with new illustrations reflecting NASA's Project Apollo. This was reprinted in England in 1973 under the title Going to the Moon.

The book is a children's story in the Beginner Books series, written using a restricted vocabulary of simple words for a readership age of six.  The illustrations show a lunar mission concept based on the Von Braun and Ley space exploration concepts of 1952 (see Man Will Conquer Space Soon!), featuring wingèd three-stage rockets ferrying the passengers to a rotating-wheel space station, serving as a transfer station to the spider-like lunar surface shuttle.

The writing is unusual in that it is written in the second-person future tense.

External links

Official Amazon page.
sample page

Children's non-fiction books
1959 children's books
American picture books
Children's books about the Moon

You Will Go to the Moon (book)


Anthony George Symonds (born 15 February 1962) is a former Australian rules footballer who played for the Hawthorn Football Club in the Victorian Football League (VFL) and the Glenelg Football Club in the South Australian National Football League (SANFL).

Symonds was a regular fixture of the Glenelg team of the 1980s, playing mostly as a wingman. He was a member of both Glenelg's 1985 and 1986 premiership teams. Using the last pick of the 1986 VFL draft, Hawthorn acquired his services for the 1987 VFL season where he played three games before returning to South Australia. He made his league debut in the opening round, with four disposals against Carlton. His next appearance came two weeks later, in a win over Collingwood, where he had 9 disposals and kicked two behinds. At the Sydney Cricket Ground in round seven, he played his third and final game, kicking a goal and managing 10 disposals.

After leaving Hawthorn, Symonds continued his career at Glenelg and in 1995 was appointed senior coach, as a replacement for Mark Williams, who had joined Essendon as an assistant. His coaching career started well with a 92-point win over Port Adelaide in the season opener but Glenelg could only finish the year in seventh. Again in 1996, the club finished in seventh position and he lost his job to former team-mate Wayne Stringer.

References

External links

1962 births
Hawthorn Football Club players
Glenelg Football Club players
Glenelg Football Club coaches
Australian rules footballers from South Australia
Living people

Tony Symonds


Olav Kallenberg (born 1939) is a probability theorist known for his work on exchangeable stochastic processes and for his graduate-level textbooks and monographs. Kallenberg is a professor of mathematics at Auburn University in Alabama in the USA.

From 1991 to 1994, Kallenberg served as the Editor-in-Chief of Probability Theory and Related Fields (a leading journal in probability).

Biography

Olav Kallenberg was educated in Sweden. He has worked as a probabilist in Sweden and in the United States.

Sweden
Kallenberg was born and educated in Sweden, with an undergraduate exam in engineering physics from Royal Institute of Technology (KTH) in Stockholm. Kallenberg entered doctoral studies in mathematical statistics at KTH, but left his studies to work in operations analysis for a consulting firm in Gothenburg. While in Gothenburg, Kallenberg also taught at Chalmers University of Technology, from which he received his Ph.D. in 1972 under the supervision of Harald Bergström.
After earning his doctoral degree, Kallenberg stayed with Chalmers as a lecturer.

Kallenberg was appointed a full professor in Uppsala University.

United States
Later he moved to the United States. Since 1986, he has been Professor of Mathematics and Statistics at Auburn University.

Honours and awards
In 1977, Kallenberg was awarded the Rollo Davidson Prize from Cambridge University, and Kallenberg was only the second recipient of the prize in history.

Kallenberg is a Fellow of the Institute of Mathematical Statistics.

In April 2006 Kallenberg was selected Auburn's 32nd annual Distinguished Graduate Faculty Lecturer at Auburn. Kallenberg delivered the 2003 AACTM Lewis-Parker Lecture at the University of Alabama in Huntsville.

Selected publications

Books
 Kallenberg, O., Probabilistic Symmetries and Invariance Principles. Springer -Verlag, New York (2005). 510 pp. .
 Kallenberg, O., Foundations of Modern Probability, 2nd ed. Springer Series in Statistics. (2002). 650 pp. ; 3rd ed. Probability Theory and Stochastic Modelling. (2021). 946 pp.
 Kallenberg, O., Random Measures, 4th edition.  Academic Press, New York, London; Akademie-Verlag, Berlin (1986).

Scientific papers
 Homogeneity and the strong Markov property. Ann. Probab. 15 (1987), 213–240.
 Spreading and predictable sampling in exchangeable sequences and processes. Ann. Probab. 16 (1988), 508–534.
 Multiple integration with respect to Poisson and Lévy processes (with J. Szulga). Probab. Th. Rel. Fields (1989), 101–134.
 General Wald-type identities for exchangeable sequences and processes. Probab. Th. Rel. Fields 83 (1989), 447–487.
 Random time change and an integral representation for marked stopping times. Probab. Th. Rel. Fields 86 (1990), 167–202.
 Some dimension-free features of vector-valued martingales (with R. Sztencel). Probab. Th. Rel. Fields 88 (1991), 215–247.
 Symmetries on random arrays and set-indexed processes. J. Theor. Probab. 5 (1992), 727–765.
 Random arrays and functionals with multivariate rotational symmetries. Probab. Th. Rel. Fields 103 (1995), 91–141.
 On the existence of universal functional solutions to classical SDEs. Ann. Probab. 24 (1996), 196–205.

References

External links
 Brief CV for the 2003 Lewis-Parker Lecturer .

Living people
20th-century American mathematicians
21st-century American mathematicians
Swedish emigrants to the United States
Swedish mathematicians
Probability theorists
KTH Royal Institute of Technology alumni
Chalmers University of Technology alumni
Auburn University faculty
1939 births
Measure theorists
Academic staff of Uppsala University
Probability Theory and Related Fields editors

Olav Kallenberg


The Musikverein in Vienna, Austria is one of the most famous concert halls in the world. It opened on 6 January 1870, and is known for its acoustics. The world-famous Vienna Philharmonic Orchestra performs at Musikverein.

The concert hall was built by the Gesellschaft der Musikfreunde (Society of Friends of Music) who had been given the land by Emperor Franz Joseph. In 1907 a beautiful organ was put in the Konzerthaus by the Austrian firm of organ builders Rieger.

The main auditorium is called the Goldener Saal (The Golden Hall). There are seats for 1,744 people and standing room for another 300. The Brahms Hall is also in the Musikverein building, and seats close to 600. Four more concert halls were added underneath the main building in 2004: the Glass Hall with 380 seats, the Steel Room with 70 seats, the Stone Room with 60 seats, and the Wood Room with 50 seats. Every year on 1 January the Vienna New Year's Concert is held here. Millions of people in countries all over the world watch this concert on New Year's Day.

References

Concert halls

Musikverein


Accutone Technologies Limited is a manufacturer and marketer of telephone headsets for call centers, and premium-grade consumer audio headphones for smartphones and music-playing devices. A UK brand with headquarters in Spain, Mexico, Hong Kong, and manufacturing facilities in China, Accutone also builds ODM headsets for UK telecom companies, as well as telco in S.America and US.

Its mother company started out manufacturing loudspeakers in 1969, Accutone has been in the field of electro-acoustics for more than 45 years. Aside from being one of the big four business headset brand globally, Accutone has begun building a wide range of pro-grade audio headphones for consumers since 2011.

Headsets for Call Centers
The business unit of Accutone builds headsets for office and call centres, ranging from telephone connection to VoIP connection. They are one of the few brands to supply Unified Communication (UC) Headsets in the market, supporting Microsoft Lync platform. With the expected continual growth of demand for headset in the global contact center and office market, a research showed that Accutone is a key contributor amongst only a handful of brands.

Consumer Audio Headphones
At the retail level, the Accutone brand is associated with a wide series of audio headphones, ranging from in-ear to over-the-head size and bluetooth headphones. Features like bass-tuning ability, usage of beryllium speakers, magnetic detachable cable, audio nozzle kits and dual-wear methods set them apart from other brands. Accutone has partnership with American company Comply to supply all their pro-line products with premium memory foam tips to improve bass performance.

Ergonomics

Along with other developers like Plantronics, work safety is one of the primary concerns promoted by Accutone. They have in the past been highly involved in educating office workers, in headset ergonomics.

References

Other references
 Accutone's Official Site
 Accutone Audio's News Blog
 Accutone Biz's News Blog
 Taurus Reviews in Japan's AV Watch
 TMCnet's review on Accutone's USB500 Headset
 British Telecom Business Direct for Accutone
 Advertisement for USB500

Electronics companies of the United Kingdom

Accutone