Caroline Frederikke Müller née Halle (5 February 1755 – 17 November 1826) also known as Caroline Walther, was a Danish and later naturalized Swedish opera singer (mezzo-soprano).  She was also active as an instructor at the Royal Dramatic Training Academy.  She was a member of the Royal Swedish Academy of Music and a Hovsångare.

She was born as Caroline Halle, was known in Denmark as Caroline Walther (1774–80, during her first marriage) and known in Sweden as Caroline Müller (from 1780, after her second marriage).

Life
She was the illegitimate daughter of the ensign Christian Frederik Halle and Johanne Christine Hansdatter.  She was the half sister of the actor .

Career in Denmark

Her stepfather Thomas Jespersen was a machinist at the Royal Danish Theatre, and had her enrolled as a student in the Royal Danish Ballet in 1761, at the age of six.  Soon, she was also assigned small children's parts at the theater.  The theater had not yet an organized theater school, but she was tutored in declamation by Dorothea Biehl and drama by Lisbeth Cathrine Amalie Rose.

She debuted as an actress at the age of thirteen in the role of Pernille in Ludvig Holberg's Den Stundesløse in the season of 1768-69.  She made a success and soon became the leading soubrette actress of the theater.  In 1771, she made a debut as an opera singer in the main female part of Tronfølgen i Sidon by Giuseppe Sarti.  In 1773, the theater organized an opera school, and she was successfully educated in opera singing by .

In 1773 she left her abusive mother and the following year, she married the music director and secretary Thomas Christian Walther (1749-1788): the marriage ended in 1775 when he left Denmark, but she was thereafter known as Caroline Walther.

She performed over 124 roles at the opera theater: as a soubrette and tragedienne in theater productions, and in the female leads of the opera.  As an opera singer, she also participated in concerts at the royal Danish court.  She is considered to have had a great impact on the great age of Danish opera in the 1770s and has been referred to as the "perhaps greatest female stage artist" in Denmark at that time.   She was painted by Jens Juel, praised by the poet Johannes Ewald and the Det norske Selskab, and the critic Peder Rosenstand-Goiske wrote: "The fire and emotion, that she understands to give her action, reveal the great genius of her mind."

In 1777, general H. H. von Eickstedt became director of the Royal Danish Theatre.  von Eickstedt reportedly undermined her position because he wished to benefit the career of his lover, Catharine Frydendahl, and it is noted how he gave the role in Ewalds Fiskerne, which was written for her, to Frydendahl.   The conflict culminated when von Eickstedt refused to give Caroline's lover, the German violinist Christian Friedrich Müller (1752-1827), a position in the theater, ordered him exiled from Denmark and delayed Caroline's divorce.   Reportedly, the theater direction feared that they would lose her if she married a foreigner.  In 1780, not long after Caroline had finally been granted her divorce, Christian Friedrich Müller left Denmark for Sweden, and soon after, Caroline left Denmark in the guise of a man after her performance as Louise in Desertøren and reunited with him in Gothenburg in Sweden, where they married.  They had one child, Caroline (1791).

Career in Sweden

In 1780, Caroline Müller was engaged at the Royal Swedish Opera in Bollhuset in Stockholm, where she debuted in Alceste by Glück.  Despite her Danish accent, she made a success, and Johan Henric Kellgren wrote: "Yesterday I cried for two hours at the opera, when Alceste was played for the first time: Mrs Müller made her debut. One might say that there had been no performance or an actress in Sweden before."

In 1782, as she was scheduled to perform in the inauguration performance of the new building of the Royal Swedish Opera, Caroline Müller and her spouse suddenly left her contract in Sweden and left for London to escape her creditors.  In London, she became the first Danish opera singer to perform outside of the Nordic countries.  In 1783, she returned to the Royal Swedish Opera when King Gustav III of Sweden offered her an immunity against her contract crime and raised her salary, and her husband was given a position at the Kungliga Hovkapellet.

When Elisabeth Olin retired in 1784, Müller effectively replaced her as the prima donna of the Royal Swedish Opera, performing in productions written by Italian, French, German and Swedish composers, some of which written by the king, Gustav III.  Among her most celebrated parts where Armida and Iphigenie de Thauride by Glück.  Her most famous part was arguably the role of Christina Gyllenstierna in Gustav Wasa by Johann Gottlieb Naumann with text by Kellgren and Gustav III and which was referred to as the national opera if Sweden.  Her last performance was as Christina Gyllenstierna in Gustav Wasa for the newly elected crown prince Carl Johan Bernadotte in 1810.   She was sculptured by J.T. Sergel and a friend of Edvard du Puy and Carl Michael Bellman.

In 1791, she visited Denmark and was present at a performance given to the benefit of her mentor, Lisbeth Cathrine Amalie Rose.

Caroline Müller also took students, and Lars Hjortsberg was among her students.  From 1812 to 1815, she was the principal of the Royal Dramatic Training Academy in succession to Sofia Lovisa Gråå, which was a period of expansion and development of the school.

Caroline Müller was appointed Hovsångare and inducted into the Royal Swedish Academy of Music in 1788 (her spouse was also inducted the same year).

Roles
She played the title role in Alceste by Gluck with Carl Stenborg and Kristofer Kristian Karsten (season 1780–81); Anguelique in Roland by Philippe Quinault with Stenborg and Karsten (1781–82); Iphigenie in Iphigénie en Tauride by Gluck with Stenborg and Karsten; Christina Gyllenstierna in Gustaf Vasa by Gustav II composed by Naumann with Stenborg and Karsten (1785–86); Armide in Armide by Quinault with Stenborg and Karsten (1786–87); Christina of Holstein-Gottorp in Gustaf Adolf och Ebba Brahe (Gustav Adolf and Ebba Brahe) by Gustav III with Franziska Stading, Stenborg and Karsten (1787–88); Prosper in Azémia by Nicolas Dalayrac with Abraham de Broen and Karsten (1792–93); Aretea in Alcides inräde in världen (Alcides arrival into the world) by Haeffner with Carl Fredrik Fernstedt and Marie Louise Marcadet; Georgino in La soirée orageuse by Dalayrac with Abraham de Broen and Kjell Waltman; Josef in Les deux petits savoyards by Dalayrac with Kristofer Kristian Karsten and Marie Louise Marcadet (1793–94); Malena in De gamla friarna (The old Suitors) by Dalayrac with Kjell Waltman, Carl Magnus Craelius, Maria Franck and Inga Åberg; Lisette in Renaud d'Ast by Dalayrac with Karsten (1795–96); Colombine in Le tableau parlant by André Grétry with Carolina Kuhlman (1798–99); and Dido in Aeneas in Carthago (Aeneas in Carthage) with Stenborg and Karsten (1799–1800).

Legacy

Gustav Löwenhielm mentioned her importance in Swedish theater and opera history in the 19th century, during a discussion about the employment of foreign artists, when he pointed out that several of the artists during the foundation of the Royal Swedish Opera and the Royal Dramatic Theatre had been foreigners: "Is it impossible to engage Mr Berg and Miss Schoultz? - Generally, I can not see how we can elude the employment of half grown foreigners. Gustav III's Swedish national theatre started with the Danish Mrs Müller, the French Mrs Marcadet, the German Mamsell Stading, the German Mrs Augusti and the Polish Mrs Karsten. These ladies occupied our stage and kept it from the foundation of the opera and the premature departure of Mrs Olin in the beginning of the 1780s, until the year of 1800, when the school of Mrs Desguillons had created Mamsell Wässelia cum celeris."

References

  Svenskt biografiskt handlexikon
  Dansk Kvindebiografisk Leksikon
 Österberg, Carin, Lewenhaupt, Inga & Wahlberg, Anna Greta, Svenska kvinnor: föregångare nyskapare, Signum, Lund, 1990
 Oscar Levertin, Teater och drama under Gustaf III, Albert Bonniers förlag, Stockholm, Fjärde Upplagan (1920).
 Nordensvan, Georg, Svensk teater och svenska skådespelare från Gustav III till våra dagar. Förra delen, 1772-1842, Bonnier, Stockholm, 1917 (Swedish theatre and Swedish actors from the days of Gustav III to our days. First Book 1772-1842). Albert Bonniers Förlag (1917), Stockholm.
 Kungliga teaterns repertoar 1773-1973 ['Repertoire of the Royal Theatre 1773-1973'], 1974
 Sohlmans musiklexikon ['Sohlman Music Dictionary']

Further reading

Singers from Copenhagen
1755 births
1826 deaths

Members of the Royal Swedish Academy of Music

Danish ballerinas
Danish operatic mezzo-sopranos
Drama teachers
Danish emigrants to Sweden
Swedish operatic mezzo-sopranos
18th-century Danish actresses
Danish stage actresses
18th-century Danish women opera singers
18th-century Swedish women opera singers
19th-century Swedish women opera singers
Gustavian era people
18th-century Danish ballet dancers

Caroline Müller (1755–1826)


Gilvan Samico (June 15, 1928 – November 25, 2013) was a painter, teacher and Brazilian engraver of the Armorial Movement of graphic design.

Art movement
Born in Recife, Brazil in 1928, he was an exponent of the Brazilian figurative modernism developed in the Northeast of Brazil and an icon of the "Armorial Movement" (movimento armorial),  which sought to create a Brazilian art constructed from the sum of the heritage of popular culture and archaic themes of European colonization. His art is filled with fantastic animals, mythical scenes arising from legends and  indigenous stories, whose archetypal expression refers to a universal work. It is strongly rooted in the popular northeastern Brazilian culture expressed by Cordel, art made in small books written in verses and illustrated by woodcuts representing a major regional tradition .

Studies and exhibits
Samico studied woodcut engraving with Lívio Abramo at the Museu de Arte Moderna de Sâo Paulo in 1957 and printmaking with Oswaldo Goeldi at Escola Nacional de Belas Artes . He made more than hundred art works and around 300 individual and collective exhibitions in Brazil an beyond, was awarded by the 31st Venice Biennale and three times by the Museu de Arte Moderna do Rio de Janeiro.  Some of his works are included the collection of the New York MoMa Samico on MoMA NY. In the book "Samico"
, the author Weydson Barros Leal tells that to improve his technic, Samico also developed innovative gadgets and tools like the gouge, an instrument that does not allow the wood grain roll and ink drawing, while the surface of the plate is cut. Away from the major urban centers, he spent his last decades in a house from the seventeenth century in the historic city of Olinda (PE). He died in 2013  and his work has been the subject of multiple exhibitions and tributes in Brazil since then. It was part of the retrospective of 10 years of the Mercosul Biennial  and is featured by the 32ND Bienal de São Paulo.

References

External links
 MoMA
 Official site. http://www.samico.art.br
 Enciclopédia Itau Cultural. http://enciclopedia.itaucultural.org.br/pessoa10514/gilvan-samico
 Artfacts . http://www.artfacts.net/en/artist/gilvan-samico-51175
 Curitiba Biennial. http://bienaldecuritiba.com.br/en/artistas/gilvan-samico/

Brazilian artists
1928 births
2013 deaths

Gilvan Samico


It's the Great Pumpkin, Charlie Brown is a 1966 American animated Halloween television special based on the comic strip Peanuts by Charles M. Schulz. The third Peanuts special, and the second holiday-themed special, to be created, it was written by Schulz along with director/animator Bill Melendez and producer Lee Mendelson. The cast included Peter Robbins as Charlie Brown, Christopher Shea as Linus Van Pelt, Sally Dryer as Lucy Van Pelt, and Melendez as Snoopy. The special features music composed by jazz pianist Vince Guaraldi, whose contributions include the theme song "Linus and Lucy". It aired on broadcast television every year from its debut in 1966 until 2020 when it became an Apple TV+ exclusive.

It's the Great Pumpkin, Charlie Brown follows the children of the Peanuts comics as they celebrate Halloween, while Linus forgoes celebrations to wait in a pumpkin patch for the mythical Great Pumpkin. The sequence following Snoopy as a World War I flying ace and its depiction of Lucy pulling a football away from Charlie Brown have both become widely recognized in pop culture. The program was highly successful, watched by 49% of American television viewers in its debut broadcast. It received widespread critical acclaim, particularly for its artistic style and music score, and it is often regarded as the best of the Peanuts television specials. The success of It's the Great Pumpkin, Charlie Brown led to the development of the Halloween special as a television genre.

Plot

Linus and Lucy Van Pelt go to a pumpkin patch, where they select a pumpkin and bring it home. Linus is upset when Lucy begins carving it for a jack-o'-lantern. Later, Charlie Brown rakes leaves with Snoopy, only to have Linus jump in the pile. Lucy offers to hold a football for Charlie Brown to kick, but she pulls it away and causes him to land on his back. Linus works on a letter to the Great Pumpkin to the derision of other characters, but Sally Brown takes interest in the idea. Charlie Brown then shows up to announce that he was invited to a Halloween party hosted by Violet. Lucy assumes the invitation was sent by mistake. On Halloween night, the children prepare their costumes for trick-or-treating. On the way, they stop at the pumpkin patch to jeer at Linus for missing the festivities. Linus persuades Sally, due to her infatuation with him, to join him. The other children go trick-or-treating, but Charlie Brown is disappointed when he only gets rocks.

Snoopy, dressed as a flying ace from World War I, climbs aboard his doghouse and imagines that it is a Sopwith Camel fighter plane and that he is engaging in a dogfight with the unseen Red Baron. Snoopy is then shown crashing and navigating the countryside behind enemy lines. After going back to the pumpkin patch to tease Linus and Sally again, the children go to Violet's Halloween party. The girls ask Charlie Brown to serve as their model, initially to his delight, then embarrassment, when they use the back of his head to canvas potential jack-o'-lantern designs. Snoopy's voyage ends at Violet's party. He sneaks into the apple bobbing tank while Lucy is bobbing for apples and then becomes emotional listening to Schroeder playing on the piano. In the pumpkin patch, Linus sees a figure and he faints, believing it to be the Great Pumpkin. The figure is Snoopy, and Sally yells at Linus for embarrassing her.

At 4 a.m., Lucy retrieves the sleeping Linus from the pumpkin patch, leads him into the house, and puts him to bed. Charlie Brown and Linus commiserate about Halloween the next day. Charlie Brown attempts to console Linus by explaining that he has done many stupid things in his life. Linus is offended by Charlie Brown's remark and loudly proclaims that the Great Pumpkin will surely come to the pumpkin patch next year.

Cast
The program's cast includes:
 Peter Robbins as Charlie Brown
 Christopher Shea as Linus Van Pelt
 Cathy Steinberg as Sally Brown
 Bill Melendez as Snoopy
 Sally Dryer as Lucy Van Pelt
 Gai DeFaria as "Pig-Pen"
 Glenn Mendelson as Schroeder and Shermy
 Ann Altieri as Violet and Frieda
 Lisa DeFaria as Patty

Background

The Peanuts comic strip by Charles M. Schulz first printed in 1950, and it became popular within its first years of publication. Schulz first introduced the Great Pumpkin in 1959 by having Linus confuse the traditions of Halloween and Christmas. The Great Pumpkin was introduced through a series of comics published over eight days, which became a major event for the comic strip. A similar story appeared again in 1960, encompassing sixteen comics. Schulz continued to write Great Pumpkin stories in Peanuts each October.

The television special A Charlie Brown Christmas had been written by Schulz and broadcast on CBS in December 1965. The special was highly successful, prompting the network to hire Schulz for two additional television specials. His second special, Charlie Brown's All Stars!, broadcast in the summer of 1966. While it was successful, it was not as renowned as A Charlie Brown Christmas.

Production
The network requested another holiday special after the success of A Charlie Brown Christmas. Its plot was formulated by a team of three: Schulz, director Bill Melendez, and producer Lee Mendelson. The network executive communicating with Mendelson specified that it had to be a "blockbuster", which brought considerable stress to the writers. They also gave the writers more creative freedom while they wrote the third special.

The writers began with disparate scenes from the comic strip to adapt, including Snoopy as a World War I flying ace and Lucy pulling the football away from Charlie Brown. Schulz's co-writers immediately took to the idea when he suggested writing a Halloween special around the Great Pumpkin. The writing process went quickly, allowing more time for other aspects of production, such as animation. The decision to adapt Snoopy's flying ace persona from the comic strip came together with the Halloween theme after Schulz realized it resembled a Halloween costume. Schulz suggested the idea of Charlie Brown receiving a rock while trick-or-treating, but Mendelson felt that this was "too cruel". Schulz and Melendez responded by suggesting Charlie Brown should receive three rocks. Mendelson later agreed that it was the right decision after seeing the scene's popularity.

The program was given a production budget of $76,000. The children in the program were voiced by child actors, including both trained child actors and children that lived in Mendelson's neighborhood. Malendez insisted on having child actors in all of the Peanuts specials, and he voiced Snoopy by recording himself saying nonsense words and then speeding it up. Steinberg's lines as Sally Brown were rushed when she developed a loose tooth, fearing that it would cause a lisp. She was taken to the studio to record all of her lines the same night and developed a severe lisp after losing her tooth the following day. Steinberg struggled with the word "restitution" while she was recording, so Mendelson had her pronounce it one syllable at a time and spliced it together afterward.

The animations were drawn by a team of artists led by Melendez. Bill Littlejohn also worked on the program's animation. Unlike previous Peanuts specials, It's the Great Pumpkin, Charlie Brown incorporates frequent movement of the camera. Artist Dean Spille painted the backgrounds of the French countryside during Snoopy's flying ace sequence. He drew from memory as he had previously visited similar areas in Europe, and he was given full creative freedom by Schulz and Melendez. The backgrounds in this sequence used linear perspective rather than a simple flat design. Mendelson later told The Washington Post that the sequence with Snoopy flying his doghouse was "one of the most memorable animated scenes ever." He also described It's the Great Pumpkin, Charlie Brown as Bill Melendez's "animation masterpiece". The program's final runtime was 25 minutes.

Soundtrack

The soundtrack was performed by the Vince Guaraldi Sextet, featuring Guaraldi on piano, Monty Budwig on bass, Colin Bailey on drums, John Gray on guitar, Ronald Lang on woodwinds and Emmanuel Klein on trumpet. It was orchestrated by John Scott Trotter. Recording took place on October 4, 1966, at Desilu's Gower Street Studio in Hollywood. Guaraldi had been in charge of music in both of the previous Peanuts specials, as well as the unaired 1963 documentary A Boy Named Charlie Brown.

Guaraldi's theme for the special, "Great Pumpkin Waltz", is first heard when Linus is writing the Great Pumpkin at the beginning and plays throughout. The World War I songs played by Schroeder while Snoopy dances are: "It's a Long Way to Tipperary", "There's a Long, Long Trail", "Pack Up Your Troubles in Your Old Kit-Bag", and "Roses of Picardy". Guaraldi historian Derrick Bang commented that the music Guaraldi composed for the special "emphatically established the Peanuts 'musical personality'," adding that the version of "Linus and Lucy" featured during the cold open was "arguably the best arrangement…that Guaraldi ever laid down, thanks in great part to Ronald Lang's flute counterpoint." This version was again utilized in the 1969 feature film A Boy Named Charlie Brown. Craft Recordings released the complete soundtrack album from the special on October 5, 2018. Craft Recordings reissued the soundtrack on August 26, 2022 using newly discovered original master tapes, without sound effects from the television special.

Release
The initial broadcast of It's the Great Pumpkin, Charlie Brown took place on October 27, 1966 on CBS, preempting My Three Sons, and tied Bonanza as the No. 1 broadcast in that week's Nielsen TV ratings. The show aired against Star Trek on NBC and The Dating Game on ABC, earning 49% of the total market share with 17.3 million viewers. After its success, CBS rebroadcast the program each year. It moved to ABC in 2001, where it continued to broadcast annually. It's the Great Pumpkin, Charlie Brown was made available as a home release in 1985. The program was released on DVD by Paramount Pictures on September 12, 2000.

Apple Inc. purchased the broadcast rights to all Peanuts specials in 2018, and they became Apple TV+ exclusives in 2020. This was the first year that It's the Great Pumpkin, Charlie Brown was not broadcast on television since its debut in 1966. A licensing agreement allowed the special to air on PBS in 2021. The agreement was not renewed in 2022, so Apple made the special free to watch from October 28 to 31 that year.

Themes
Religion and faith feature prominently in the special. Linus's belief in the Great Pumpkin and Charlie Brown's belief in Santa Claus, and their opposition to one another's beliefs, are described as "denominational differences". This theme is lifted directly from the Peanuts comic strip, with the "denominational differences" line appearing in 1963. Though Schulz was religious, he rejected evangelicalism and revealed religion, and he had long opposed the idea of denominational differences splitting religion, believing that no one denomination could be sure of the truth. Throughout the program, Linus maintains faith in the Great Pumpkin while he is criticized by the other children, and he chooses to maintain a vigil in the pumpkin patch at the cost of missing the festivities.

The special plays off of many traditional aspects of Halloween and celebrations associated with the holiday, including pumpkin carving, trick-or-treating, and wearing costumes. Despite this, it does not incorporate elements of horror fiction outside of the title sequence.
Comparisons to Christmas are also included, particularly the letter to the Great Pumpkin as opposed to Santa Claus, alluding to the success of the franchise's Christmas special the prior year. Schulz modeled Linus's devotion in part on that of children whose families were too poor to purchase vast amounts of Christmas presents, and the hope that things would be better next year if they maintained faith.

Reception

The special was well received by viewers. The response was so positive that the Schulz and the studio began receiving packages of candy in response to Charlie Brown's failure to get any during the program. Critic Lawrence Laurent praised the special in his review for The Washington Post, emphasizing the musical score. Clay Gowran of the Chicago Tribune responded to the program by expressing support for the creation of additional Peanuts specials. Cynthia Lowry of the Associated Press commented on the special's optimism and lauded it for its "charm, adult wit and wisdom". Mary Wood of The Cincinnati Post similarly praised the program as "utterly enchanting". At the 19th Primetime Emmy Awards, the special was nominated for Outstanding Children's Program and for Special Classifications of Individual Achievements. The special has been celebrated for its artistic style, particularly its use of color. The sequence of Snoopy crossing the French countryside has received extensive praise, including from other animators and artists such as Jeff Pidgeon and Paul Felix. It's the Great Pumpkin, Charlie Brown is often described as the best of the Peanuts specials.

Legacy
It's the Great Pumpkin, Charlie Brown defined a new genre, as it was the first major Halloween special to broadcast on television. The special's enduring popularity helped to define Halloween for the baby boomers generation and contributed to the spread of Halloween as a widely celebrated holiday. Its viewing has since been established as a common Halloween tradition, and its 2003 rebroadcast was the most successful holiday special of the 2000s with 13.2 million viewers.

Two scenes adapting common elements of the comic strip—Snoopy as a WWI flying ace and Charlie Brown attempting to kick the football—were popularized by this special and became commonly recognized imagery. The sequence of Snoopy as a flying ace, which featured no other characters and took up approximately one quarter of the program's runtime, popularized Snoopy as a character independently of the others. Schulz replicated It's the Great Pumpkin, Charlie Brown when he portrayed Linus's devotion to the Easter Beagle in the 1974 special It's the Easter Beagle, Charlie Brown. In this case, Schulz was careful to avoid religious overtones, having Snoopy be the Easter Beagle. The Great Pumpkin has also been referenced in later Peanuts specials, including You're Not Elected, Charlie Brown.

References

External links

1960s animated television specials
CBS television specials
Film and television memes
Internet memes introduced from the United States
Television shows directed by Bill Melendez
Halloween television specials
Peanuts television specials
1966 television specials
1960s American television specials
Television shows written by Charles M. Schulz

It's the Great Pumpkin, Charlie Brown


Anna Perenna was an old Roman deity of the circle or "ring" of the year, as indicated by the name (per annum).

Festival
Anna Perenna's festival fell on the Ides of March (March 15), which would have marked the first full moon in the year in the old lunar Roman calendar when March was reckoned as the first month of the year, and was held at the goddess' grove at the first milestone on the Via Flaminia. It was much frequented by the city plebs. Macrobius records that offerings were made to her ut annare perannareque commode liceat, i.e., "that the circle of the year may be completed happily" and that people sacrificed to her both publicly and privately. Johannes Lydus says that public sacrifice and prayers were offered to her to secure a healthy year. Ovid in his Fasti (3.523) provides a vivid description of her outdoor festival:

Origin

Ovid reports a legend that identifies Anna Perenna with the sister of Dido, the Carthaginian founder in Virgil's Aeneid. After Dido's tragic death, Anna finds refuge from her brother Pygmalion on Malta, with Battus, the king of the island and a wealthy host. Upon protecting Anna for three years, Battus counselled her to flee for her safety and find a fresh place of exile as her brother was seeking war. Forced again to flee over the seas, Anna Perenna was shipwrecked on the coasts of Latium where she was hosted by Aeneas's settlement of Lavinium. Anna's presence there made Lavinia increasingly jealous. Dido appeared in Anna's dream, exhorting her to abandon her latest refuge, from where she was swept away by the river-god Numicus and transformed into a river nymph hidden in the "perennial stream" (amnis perennis), and renamed Anna Perenna.

Ovid adds that some equate Anna Perenna with the Moon, with Themis, with Io or with Amaltheia, but prefers the report that during the secessio plebis an old woman of Bovillae named Anna baked cakes every morning and brought them to the hungry rebels, in gratitude for which the plebeians worshipped her as a goddess.  Ovid goes on to report that after old Anna had become a goddess, she impersonated Minerva to gain admission to the god Mars' bedchamber, which is why coarse jokes and coarse songs are used at Anna Perenna's festivities, and remarks that since the festival of Anna Perenna is in the month dedicated to Mars, it is reasonable that Mars and Anna Perenna should be associated as cult partners.

In the 1930s Franz Altheim, an authority on Roman religion, suggested that Anna Perenna was originally an Etruscan mother goddess, and that her relationship with Aeneas was developed to strengthen her association with Rome.

Cult
Two places of worship of Anna Perenna are attested. One in Buscemi, Sicily, where in 1899 some inscriptions to Anna and Apollo were found, and in Rome, where a fountain devoted to Anna Perenna rites was unearthed in 1999.

References

External links

 Obscure Goddess Online Dictionary

Characters in the Aeneid
Roman goddesses
Time and fate goddesses

Anna Perenna


A strain is a series of musical phrases that create a distinct melody of a piece. A strain is often referred  to as a "section" of a musical piece. Often, a strain is repeated for the sake of instilling the melody clearly. This is so in ragtime and marches.

The Oxford English Dictionary lists this use of "strain" (n.2, III, 12) as part of the same noun more often used to denote an extreme of effort or pressure.  OED derives it from the verb, which could once be used to mean "sing," and speculates that this usage derives from one in which the word denotes increasing the tension of a string on a musical instrument.Formal sections in music analysis

Strain (music)


Loya, Łoya or Lóya is a surname in several languages, including Spanish, French, Italian, Plautdietsch, Ukrainian, Bielorrusian and Indian Languages. It may refer to:

Brijgopal Harkishan Loya, Indian judge
Fred Loya (born 1939), American businessman
Javier Loya (born 1986), American boxer
Joe Loya (born 1961), American writer
Mariana Loya (born 1979), American beauty queen
Oscar Loya (born 1979), American singer and actor
Raul Loya (1938–2015), American labor activist

See also
Loya jirga, type of assembly in Afghanistan
Loya Paktia, a region of Afghanistan

Spanish-language surnames

Loya


Brent Michael Bowden (born May 21, 1987) is a former American football punter. He was drafted by the Tampa Bay Buccaneers in the sixth round of the 2010 NFL Draft. He played college football at Virginia Tech.

Bowden has also been a member of the Jacksonville Jaguars and Virginia Destroyers.

Early years
Bowden was born on May 21, 1987, in Huntsville, Alabama, to Tim and Denise Bowden. His older brother, Chris Hall, was a punter for the Florida State Seminoles. His younger brother, Grant, is currently a punter at Liberty University. He attended Westfield High School in Fairfax County, Virginia, where he lettered in football as a punter. In 2003, his junior year, he averaged 40 yards per punt, with a net average of 38 yards, and a long of 64 yards. He had seven punts that were downed inside the 20-yard line and 11 punts that were fair caught. In 2004, his senior year, he had 29 punts for an average of 44 yards and a net average of 37 yards. His longest punt was 58 yards and he had 16 of his punts downed inside the 20-yard line, nine downed inside the 10-yard line and five inside the 5-yard line. Eight of his punts were fair catches. He earned Associated Press and Virginia High School Coaches Association first-team all-state honors after his senior season. He was named first-team All-Concorde District, All-Northern Region and The Washington Post All-Met. Scout.com ranked him as high as the fourth-best high school punter in the nation at one point.

College career

2005 season
In 2005, Bowden was redshirted and served as the backup punter behind Nic Schmitt. He dressed for all 13 games, but did not see any playing time. In the Maroon-White spring scrimmage, he punted three times for an average of 44.7 yards, a long of 48 yards and had one punt downed inside the 20-yard line.

2006 season
In 2006, Bowden dressed for every game in the season, but, like the previous season, did not play in any of them. He was the backup to Schmitt again at punter and was the backup holder on kicks.

2007 season
In 2007, Bowden became the starting punter for the Hokies after Nic Schmitt graduated. In the season-opener against East Carolina, Bowden punted six times for an average of 42.3 yards per punt. He had a long of 52, and four of his punts landed inside the 20-yard line. Against LSU, Bowden punted eight times for an average of 40.1 yards per punt with four punts downed inside the 20-yard line. He had a long of 44. Against Ohio, Bowden punted seven times for an average of 41.3 yards per punt, with three landing inside the 20-yard line. He had one punt that landed in the endzone for a touchback, and he had a long of 47. In the September 22 game against William & Mary, Bowden punted eight times for an average of 43.1 yards per punt. He had a long of 52 and had three punts landed inside the 20-yard line and one go into the endzone for a touchback. Against North Carolina, Bowden had seven punts for 302 yards and a 43.1 average, with one punt going 59 yards. He had one touchback and two punts that landed inside the 20-yard line. Against Clemson on October 6, Bowden punted eight times for a 46.4 average yards per punt. Two punts landed inside the 20-yard line and three were touchbacks. In the October 25 game against Boston College, Bowden punted eight times for a 39.4 average with one touchback and three punts that landed inside the 20-yard line. Against Georgia Tech, Bowden punted seven times for a 47.1 average and a punt that went 54 yards. Against the Virginia Cavaliers, Bowden punted four times for an average of 48.3 yards per punt with one punt that went 57 yards. In the ACC Championship Game against Boston College, Bowden punted seven times for a 46.3 punting average with two touchbacks, one punt that landed inside the 20-yard line and one punt that went 54 yards.

For 2007 Bowden started and played in all 14 games (including ACC Championship and Bowl Game) and tied the VT record for most punts in a year with 87 (42.6 gross, 36.8 net) while Dunlevy had 1 punt, totaling 88 VT punts for the year (70 field punts 43.6 avg and 18 pooch punts 38.2). Of the 88 punts 33 (37% of kicks) were punted Inside the 20 (I20) with 28 downed I20, 22 fair catches, 27 returns (207 yds), 6 out-of-bounds, and longest 59 yds. Bowden held for all FGs and PATs,

2008 season
For 2008 Bowden started and played all 14 games (including ACC Championship and Bowl Game) with 69 punts with a gross average of 40.4 yds. Bowden, as a directional punter, had 55 field punts averaging 42.2 yards while the 14 pooch punts averaged 33.2 yds, kicking from as close as the 35 yd line. He punted 27 (39% of kicks) I20 with 24 downed I20, 23 returns (259 yds), 11 Fair Catches, 6 touchbacks, 11 out of bounds, and longest 57 yds. He held for all FGs and PATs. He played the year with a back strain.

2009 season
For 2009 Bowden started and played in all 13 games with 57 punts, 43.65 gross (46.4 field, 37.3 pooch), 37.2 net, punted 21 I20 (36.8%), 20 downed I20 (36.1%), 13 fair catches (22.8%), 20 returns (172 yds), 10 out of bounds, and longest 60 yds. Bowden was named the first-team All-ACC punter for 2009 with a 43.8 gross average.

College career started and played 41 games in a row as punter and holder, 214 punts (170 field, 44 pooch), 9015 yards, 42.13 gross (43.62 field, 36.34 pooch), 36.88 net, 81 punted I20 (37.9%) and 72 downed I20 (33.65%), 70 returns (466 yds), and 46 fair catches (21.5%).

Bowden played in the Texas vs. The Nation Game on February 6, 2010, averaging over 50 yards on 8 punts.

Professional career
Bowden was ranked as the second-best punter in the 2010 NFL Draft by NFLDraftScout.com, and was projected to be drafted in the seventh round. He was invited to participate in the 2010 NFL Scouting Combine.

Tampa Bay Buccaneers
Bowden was drafted by the Tampa Bay Buccaneers in the sixth round (172nd overall) of the 2010 NFL Draft. He was signed to a four-year contract on June 16, 2010. He was released on September 6 to make room for Chris Bryan. Bowden was re-signed to the team's practice squad on September 8, but was released on September 14.

Jacksonville Jaguars
On August 13, 2011, Bowden signed with the Jacksonville Jaguars. He was waived on August 25.

Virginia Destroyers
Brent signed with the Virginia Destroyers September 2012. In the first game against Las Vegas he averaged 48.5 yards on 4 punts with two inside the 20-yard line.

References

External links
 Tampa Bay Buccaneers bio
 Virginia Tech Hokies football bio
 NFLDraftScout.com profile
 Scout.com High School profile
 Rivals.com profile

1987 births
Living people
American football punters
Jacksonville Jaguars players
Players of American football from Huntsville, Alabama
Tampa Bay Buccaneers players
Virginia Tech Hokies football players

Brent Bowden


Frank Martin Williams (April 11, 1873 – February 20, 1930) was an American lawyer, civil engineer and politician from New York. He was New York State Engineer and Surveyor from 1909 to 1910, and from 1915 to 1922.

Biography
He was born on April 11, 1873, in Verona, New York.

He graduated from Colgate University in 1895. Then he studied law at Oneida, New York, graduated from Syracuse University College of Law in 1897, but did not practice. In 1898, he entered the Department of the State Engineer and rose through the ranks up to Resident Engineer.

He was State Engineer and Surveyor from 1909 to 1910, and from 1915 to 1922, elected on the Republican ticket in 1908, defeated for re-election in 1910 and 1912 by Democrat John A. Bensel, and elected again in 1914, 1916, 1918 and 1920.

From 1911 to 1914, he was engaged in the construction of highways in Ohio.

He died on February 20, 1930, in Albany, New York. He was buried at the Glenwood Cemetery in Oneida.

External links
 His appointments, in NYT on December 25, 1908
 The Rep. state convention, with short bios of the nominees, in NYT on September 28, 1912

1873 births
1930 deaths
New York State Engineers and Surveyors
Syracuse University College of Law alumni
American civil engineers
People from Verona, New York
Colgate University alumni
New York (state) Republicans

Frank M. Williams


In geomorphology and geology, a peneplain is a low-relief plain formed by protracted erosion. This is the definition in the broadest of terms, albeit with frequency the usage of peneplain is meant to imply the representation of a near-final (or penultimate) stage of fluvial erosion during times of extended tectonic stability. Peneplains are sometimes associated with the cycle of erosion theory of William Morris Davis, but Davis and other workers have also used the term in a purely descriptive manner without any theory or particular genesis attached.

The existence of some peneplains, and peneplanation as a process in nature, is not without controversy, due to a lack of contemporary examples and uncertainty in identifying relic examples. By some definitions, peneplains grade down to a base level represented by sea level, yet in other definitions such a condition is ignored. Geomorphologist Karna Lidmar-Bergström and co-workers consider the base level criterion crucial and above the precise mechanism of formation of peneplains, including this way some pediplains among peneplains.

While peneplains are usually assumed to form near sea level it has also been posited that peneplains can form at height if extensive sedimentation raises the local base level sufficiently or if river networks are continuously obstructed by tectonic deformation. The peneplains of the Pyrenees and Tibetan Plateau may exemplify these two cases respectively.

A common misconception about peneplains is that they ought to be so plain they are featureless. In fact, some peneplains may be hilly as they reflect irregular deep weathering, forming a plain grading to a base level only at a grand-scale.

At the grand-scale peneplains are characterized by appearing to be sculpted in rock with disregard of rock structure and lithology, but in detail, their shape is structurally controlled, for example, drainage divides in peneplain can follow more resistant rock. In the view of Davis large streams do became insensitive to lithology and structure, which they were not during the valley phase of erosion cycle. This may explain the existence of superimposed streams.

Types of peneplains
There are various terms for landforms that are either alternatives to classical peneplains, a sub-set of peneplains or partially overlap with the term. The last is the case of planation surfaces that may be peneplains or not, while some peneplains are not planation surfaces.

In their 2013 work Green, Lidmar-Bergström and co-workers provide the following classification scheme for peneplains:
Planation surfaces
Pediplain
Inselberg plain
Etchplain
Hilly relief
Etched hilly relief

Rhodes Fairbridge and Charles Finkl argue that peneplains are often of mixed origin (polygenetic), as they may have been shaped by etchplanation during periods of humid climate and pediplanation during periods of arid and semi-arid climate. The long time spans under which some peneplains evolve ensures varied climatic influences. The same authors do also list marine abrasion and glacial erosion among processes that can contribute in shaping peneplains.

In addition, epigene peneplains can be distinguished from exhumed peneplains. Epigene peneplains are those that have never been buried or covered by sedimentary rock. Exhumed peneplains are those that are re-exposed after having been buried in sediments.

The oldest identifiable peneplain in a region is known as a primary peneplain. An example of a primary peneplain is the Sub-Cambrian peneplain in southern Sweden.

Pediplains
The peneplain concept is often juxtaposed to that of pediplain. However authors like Karna Lidmar-Bergström classify pediplains as a type of peneplain. On the contrary Lester Charles King held them as incompatible landforms arguing that peneplains do not exist. King wrote:
A peneplain in the Davisian sense, resulting from slope reduction and downwearing, does not exist in nature. It should be redefined as "an imaginary landform."
According to King the difference between pediplains and Davis' peneplains is in the history and processes behind their formation, and less so in the final shape. A difference in form that may be present is that of residual hills, which in Davis' peneplains are to have gentle slopes, while in pediplains they ought to have the same steepness as the slopes in the early stages of erosion leading to pediplanation. Given that the coalesced pediments of the pediplains form a series of very gentle concave slopes, a difference with Davis' understanding of peneplains may lie in the fact that his idealized peneplains had very gentle convex slopes instead. However, Davis' views on the subject are not fully clear. Contrary to this view Rhodes Fairbridge and Charles Finkl argue that the precise mechanism of formation (pediplanation, etc.) is irrelevant and that the term peneplain has been used and can be used in a purely descriptive manner. Further, alternation of processes with varying climate, relative sea level and biota make old surfaces unlikely to be of a single origin.

Preservation and destruction of peneplains

Peneplains that are detached from their base level are identified by either hosting an accumulation of sediments that buries it or by being in an uplifted position. Burial preserves the peneplain. Any exposed peneplain detached from its baselevel can be considered a paleosurface or paleoplain. Uplift of a peneplain commonly results in renewed erosion.  As Davis put it in  1885:
"the decrepit surface must wait either until extinguished by submergence below the sea, or regenerated by elevation into a new cycle of life"

Uplifted peneplains can be preserved as fossil landforms in conditions of extreme aridity or under non-eroding cold-based glacier ice. Erosion of peneplains by glaciers in shield regions is limited. In the Fennoscandian Shield average glacier erosion during the Quaternary amounts to tens of meters, albeit this was not evenly distributed. For glacier erosion to be effective in shields a long "preparation period" of weathering under non-glacial conditions may be a requirement.

Silicification of peneplain surfaces exposed to sub-tropical and tropical climate for long enough time can protect them from erosion.

See also

Notes

References

Geomorphology
Erosion landforms
Fluvial geomorphology

Peneplain


Arvind Parikh (born 19 October 1927) is an Indian classical sitar player.

Early life
Arvind was born in Ahmedabad into a Gujarati business family with cultural and spiritual influences. His father Natwar Lal was a businessman and mother Chandra kala ben was a painter. His primary and secondary education continued in a nationalist school. In 1944, at the age of 17, he moved to Mumbai and started learning from sitar player Vilayat Khan. As per Khan's wish Parikh entered Bombay University, along with the music education from Khan. Parikh got admission in Elphinstone College, Bombay. His musical education continued uninterrupted for 60 years throughout his performing career, from 1944 to 2004 until Khan's death. Arvind was married to the ace classical singer Kishori Parikh (1929-2007). Kishori Parikh was a student of Kirana Gharana stalwarts Niaz Ahmed and Faiyaz Ahmad. The couple has a son Snehal and a daughter Poorvi, a classical singer.

Music career
Arvind Parikh has been performing for over six decades. Associations with other musicians helped him in his research work. These musicians include B. R. Deodhar, Latafat Hussain Khan, Amir Khan, Niyaz Ahmad-Faiyaz Ahmad Khan, D. T. Joshi, and Radhika Mohan Maitra. He has performed in India and abroad. He has performed at music festivals in India and Europe, and has had concert tours in several parts of West Asia, Far East and Australia. Parikh is a regular performer on All India Radio. His daughter Purvi Parikh is also a classical vocalist. His wife was a disciple of Niyaz Ahmad - Faiyaz Ahmad Khan of Kirana gharana. Parikh has compiled compositions and ragas in "Sitar Guru" and "Bandish Parampara" published by Navras Records UK.

Cultural ambassador
Parikh was vice president of the International Music Council (UNESCO) during 1994-97 and is currently co-ordinator for the Indian sub-continent. He is President of the Indian Musicological Society, chairman of the Western India chapter of ITC Sangeet Research Academy.

Arvind Parikh has been conducting Baithaks with top notch Classical Musicians covering vocalists and instrumentalists.

Baithaks have a unique format and style where there is open but focused conversation with the artist to highlight, aspects of classical music such gharana, methodology of teaching, current context of Hindustani classical music.

He is archiving the rich heritage of the music with minimal bias. A big contribution to hindustani music, the heritage.

Parikh conceived establishing a forum at which all segments of the music world could meet to discuss issues of common interests. Music forums are established in Mumbai, Chennai, Kolkata and Delhi. He is currently spearheading an association of 12 classical musicians, called All India Musicians' Group (AIMG) - drawn from the Carnatic and Hindustani traditions (including Zakir Hussain, Hari Prasad Chaurasia, Shivkumar Sharma, Ravi Kiran, and Rajan-Sajan Mishra), to create greater support in government, industry and the media for Indian classical music.

Awards and recognition
Parikh has been awarded the Gaurav Puraskar for the year 1997-98 by the Gujarat State Sangeet Natak Academy. He has also been awarded the National Award by Sangeet Natak Akademi for Instrumental music (sitar) for the year 2003.

He was given India's third highest civilian award, the Padma Bhushan, in 2018.

Industrialist
Parikh has handled the pursuits of business and music simultaneously. Parikh's business is a logistics provider in 51 Indian cities. Its latest joint venture with Deutsche Post and DHL as DHL Lemuir Logistics Pvt. Ltd. He is chairman of an Indian transportation organization and director of a travel and tourism company, and his family owned group owns a company for printing accessories.

References

Further reading
 The Autobiography of Arvind Parikh: The Raga of My Life.

1927 births
Living people
Hindustani instrumentalists
Indian male classical musicians
Sitar players
Etawah gharana
Recipients of the Sangeet Natak Akademi Award
Indian musicologists
Recipients of the Padma Bhushan in arts
Recipients of the Sangeet Natak Akademi Fellowship

Arvind Parikh


James Garver (born September 8, 1957) is a country music guitarist.  Garver is credited with referencing the bar "The Oasis" (after a closed establishment in his hometown of Concordia, Kansas) in the song Friends in Low Places made famous by Garth Brooks. Garver toured extensively with Brooks and as of 2012, Garver has been credited with 25 different albums with roles ranging from musician to composer.

Biography
Garver grew up in Concordia, Kansas, with his parents, Don and Donna. Garver played in several bands, including the KFDI Ranchhouse Swing Band for about a year, before moving to Nashville, Tennessee. He was working full-time as a bricklayer, and playing in a local band, in 1988 when he attended a writers' showcase one night at the Bluebird Cafe and met Garth Brooks. That same week, after learning that Brooks worked at a boot store, Garver went to the store and the two talked music again. Brooks invited Garver to join his band in May.
Shortly afterwards, Garver introduced Brooks to steel guitarist Steve McClure, a fellow Kansan, who also joined Brooks' band, now named Stillwater. Within two months, Brooks signed with Capitol Records.
Garver recalled, "I originally started out as a fiddle player for him and he ended up liking my guitar playing better, so that's where I ended up." He added, "I was just happy to have a job."
In subsequent years, Garver provided backing vocals and played lead electric guitar, acoustic guitar, banjo, piano, and percussion.

Mr. Garver has not performed as a musician since 2000. He and his wife Lana now own and operate Garver Builders, LLC, a commercial and industrial building contractor and developer, in Gallatin, Tennessee.

Discography

References

External links
 Jim Garver guitar solo tribute YouTube

American country guitarists
American male guitarists
Living people
Guitarists from Kansas
People from Concordia, Kansas
1957 births

Jim Garver


Saburō Ōkita (大来 佐武郎 Ōkita Saburō) (3 November 1914 – 9 February 1993) was a Japanese economist and politician noted for his role in the postwar development of the Japanese economy and Japan-US relations.

Early life and education
Ōkita was born in Dalian, Kwantung Leased Territory on 3 November 1914. He graduated from Tokyo Imperial University, and later earned a PhD from Nagoya University in 1962.

Career
In 1937, Ōkita worked as an engineer with the Ministry of Posts. Later on he held numerous government positions, including chief of research for the Economic Stabilization Board in 1947, chief of the economic cooperation unit for the Economic Planning Agency in 1953 and later director general of their planning bureau in 1957, and then in 1963 the director general of the EPA development bureau. In each of these positions, he played an important role under the economic plan of then prime minister Hayato Ikeda, which greatly helped Japan's postwar economy. In his EPA role, he became known for his central role in the "Income Doubling Plan" which presaged Japan's rapid postwar industrial development.

In 1964, Ōkita became the president of the Japan Center for Economic Research, and later served as its chairman from 1973 to 1979.

From 1979 to 1980 he served as the Foreign Minister, and continued to be one of Japan's foremost academic spokesmen. He was the only academic to serve in this normally political role, and was noted for shifting away from bilateralism toward multilateralism, as well as strengthening Japan's role in international diplomacy and disputes.

He subsequently held other positions including President Of International University of Japan and as an advisor to the ministry of foreign affairs in 1982, and in 1989, as chairman of the Institute for Domestic and Policy Studies in Tokyo. He served as the international chair of the Pacific Economic Cooperation Council from 1986 to 1988.

In 1986, Okita proposed a Japanese version of the Marshall Plan to support developing countries using Japan's internationally criticized trade surplus.

Days prior to his death in 1993, he wrote a paper directed at the Clinton administration which pointed out that Asian countries were becoming less reliant on trade with the United States and more reliant upon trade with each other, expressing a hope that "the United States will support greater networking within Asia, and will cooperate with Asia as a whole rather than only with individual Asian countries." He died of a heart attack while discussing US-Japan economic cooperation on a phone call with economist C. Fred Bergsten.

Awards
He received the Ramon Magsaysay Award in 1971 for International Understanding. In 1985 he became a Companion of the Order of Australia, and in 1986 was made a Grand Cordon of the Order of the Rising Sun. He was also awarded the Indira Gandhi Prize in 1992.

Works
 The Future of Japan's Economy (1960)
 Economic Planning (1962)
 Future Vision for the Japanese Economy (1968)
 Japan and the World Economy (1975)
 Developing Economics and Japan: Lessons in Growth (1980)
 Japan's Challenging Years: Reflections on My Lifetime (1983)

References

1914 births
1993 deaths
University of Tokyo alumni
Foreign ministers of Japan
Honorary Companions of the Order of Australia
Japanese expatriates in China
Japanese people from Manchukuo
Politicians from Dalian
Recipients of the Order of the Rising Sun
Ramon Magsaysay Award winners
20th-century  Japanese economists

Saburo Okita


Muhammad Quli Qutb Shah (1565 – 11 January 1612) was the fifth sultan of the Qutb Shahi dynasty of Golkonda and founded the city of Hyderabad, in South-central India and built its architectural centerpiece, the Charminar and Mecca Masjid. He was an able administrator and his reign is considered one of the high points of the Qutb Shahi dynasty. He ascended to the throne in 1580 at the age of 15 and ruled for 31 years.
Mausoleum of Muhammad Quli Qutb Shah in Hyderabad.

Birth, early life and personal life
Muhammad Quli Qutub Shah was the third son of Ibrahim Quli Qutb Shah Wali and Bhagirathi. He was an accomplished poet and wrote his poetry in Persian, Telugu and Urdu. As the first author in the Urdu language, he composed his verses in the Persian diwan style, and his poems consisted of verses relating to a single topic, gazal-i musalsal. Muhammad Quli's Kulliyat comprised 1800 pages, over half were gazals, qasidas on one hundred pages, while the rest contained over 300 pages of matnawi and marsiyas.
Charminar in Hyderabad was built by Quli Qutub Shah

City of Hyderabad
Muhammad Quli built the city of Hyderabad on the southern bank of the Musi River in 1591. He called architects from all around the world to lay out the city, which was built on a grid plan. The city was named in the remembrance of 4th Caliph of Islam or 1st Imam of Shia Muslim Ali Ibne Abi Talib. He constructed Char Minar and Makkah Masjid. He was the one who laid foundation stone of Makkah Masjid after checking that there was no one in the crowd who never skipped a single prayer except him.

Patronage of literature
Quli Qutb Shah was a scholar of Arabic, Persian and Telugu languages. He wrote poetry in Urdu, Persian, and Telugu. His poetry has been compiled into a volume entitled "Kulliyat-e-Quli Qutub Shah." He had the distinction of being the first Saheb-e-dewan Urdu poet and is credited with introducing a new sensibility into prevailing genres of Persian/Urdu poetry.

1565 births
1612 deaths

Muhammad Quli Qutb Shah


Franklin Wendell Welker (born March 12, 1946) is an American voice actor. He began his career in the 1960s, and holds over 860 film, television, and video game credits as of 2023, making him one of the most prolific voice actors of all time. With a total worldwide box-office gross of $17.4 billion, he is also the third-highest-grossing actor of all time, as of 2011.

Welker is best known for voicing Fred Jones in the Scooby-Doo franchise since its inception in 1969, and the title protagonist himself since 2002. In 2020, Welker reprised the latter role in the CGI-animated film Scoob!, the only original voice actor from the series in the movie's cast. He has also voiced Baby Kermit in the original Muppet Babies, Oswald the Lucky Rabbit in Epic Mickey and its sequel; Megatron, Galvatron, Soundwave, and various characters in the Transformers franchise; Santa's Little Helper and Snowball II on The Simpsons; Shao Kahn and Reptile in the 1995 Mortal Kombat film; Curious George in the Curious George franchise; Garfield on The Garfield Show; Nibbler on Futurama; the titular character in Jabberjaw; Speed Buggy in the Scooby-Doo franchise; Astro and Orbitty on the 1980s revival of The Jetsons; and various characters in The Smurfs as well as numerous animal vocal effects in many works.

In 2016, he received a Lifetime Achievement Emmy Award and was nominated for the Children's and Family Emmy Award for Outstanding Voice Performance in an Animated Program in 2022.

Early life
Welker was born on March 12, 1946, in Denver, Colorado. His parents were Merrill Welker, a mining engineer, and Lillian.

Career

Voice-acting career

Welker began his career as a stand-up comedian and impressionist in 1967, before transitioning to on-screen acting and later voice acting. His first major voice role came in 1969 as Fred Jones in the Scooby-Doo franchise. Welker has voiced Fred in almost every series and incarnation of the Scooby-Doo animated franchise (with the exceptions of A Pup Named Scooby-Doo, Scoob!, and Velma, the latter of which he portrayed Fred's father) and has also provided the voice of Scooby-Doo since 2002. With the death of Casey Kasem in 2014, Welker is the only original voice actor still in the Scooby-Doo franchise.

His next major character voice was for Wonder Dog (which was inspired by Scooby-Doo) and Marvin White on the 1973 series Super Friends (also produced by Hanna-Barbera). That same year, he played Pudge and Gabby on DePatie-Freleng Enterprises' animated series Bailey's Comets. Welker continued to provide voices for many characters for Hanna-Barbera for several years, which include Jabberjaw, Dynomutt, Dog Wonder, and the Shmoo in The New Fred and Barney Show and its spin-off, The Flintstones Comedy Show. Frank Welker described the voice he used for the Shmoo as "a bubble voice" (one he later used for Gogo Dodo in Tiny Toon Adventures).

In 1978, he played the title character on Fangface and later in its spin-off, Fangface and Fangpuss, and also voiced Heckle and Jeckle and Quacula on The New Adventures of Mighty Mouse and Heckle & Jeckle, and Spike, Tyke, Droopy, Slick Wolf and Barney Bear on The Tom and Jerry Comedy Show.

During the 1980s and 1990s, Welker became a very busy voice actor, providing the voice for many popular cartoon characters in multiple TV series, including Uni on Dungeons & Dragons; Brain, Doctor Claw, and M.A.D. Cat on Inspector Gadget; Mister Mxyzptlk, Darkseid, and Kalibak on Super Friends: The Legendary Super Powers Show; Iceman & various characters on Spider-Man and His Amazing Friends; Baby Kermit, Baby Beaker and various other characters on Muppet Babies; Wild Bill, Dreadnok Torch, and various G.I. Joe heroes and villains; Scooter on Challenge of the GoBots; Ray Stantz and Slimer in The Real Ghostbusters; the villainous Dr. Jeremiah Surd on The Real Adventures of Jonny Quest; Bubba the Caveduck and two of the Beagle Boys (Bigtime & Baggie) on DuckTales; multiple voices on The Smurfs, including Hefty Smurf, Poet Smurf, and Peewit; and various characters on Captain Planet and the Planeteers.

He also voiced various characters on The Simpsons, such as Santa's Little Helper, Snowball II, and various other animals from 1991 to his departure from the show in 2002. Welker provided both the speaking voice and animal sounds for Nibbler on Matt Groening's Futurama. He provided the voices for Mr. Plotz, Runt, Ralph the Guard, Buttons, and other characters on Animaniacs, Gogo Dodo, Furball, Beeper, and others on Tiny Toon Adventures, Hector the Bulldog on The Sylvester & Tweety Mysteries, and Tom Cat, Jerry Mouse, and McWolf, the main antagonist to Droopy and his nephew Dripple on Tom & Jerry Kids Show and Droopy, Master Detective.

He also voiced "Gus Goose", "Salty the Seal", "Figaro", "Pegasus" from Hercules, "Abu" the Monkey from Aladdin, "Aracuan Bird" & Cri-Kee from Mulan in the "House of Mouse" from 2001 to 2003.

Welker has also created the vocal effects for many animals and creatures in films, including Abu the monkey, Rajah the tiger, and the Cave of Wonders in Aladdin (1992), its two sequels, the television series, and the remake (2019), Arnold the Pig in the television film Return to Green Acres (1990), the whales in Free Willy 2: The Adventure Home, Shao Kahn and Reptile in the Mortal Kombat movie (1995), the Martians in Tim Burton's Mars Attacks! (1996), and the penguins in Mr. Popper's Penguins (2011). He performed Spock's screams in Star Trek III: The Search for Spock (1984) and voiced The Thing in The Golden Child (1986), Jinx the robot in SpaceCamp (1986), Totoro in the 2005 English version of Studio Ghibli's film My Neighbor Totoro (1988), Alien Sil in Species (1995), Malebolgia in Spawn (1997), and Gargamel's cat Azrael in Sony Pictures Animation's live action/animated film versions of The Smurfs.

In 2006, he began voicing George in the popular children's series Curious George. He also voiced George in the animated film of the same name that same year. In 2007, Welker became the new voice of Garfield, following Bill Murray's departure from the role, and succeeding the original actor Lorenzo Music, who died in 2001 (Welker and Music had previously worked together on The Real Ghostbusters and the original Garfield and Friends). Welker voiced Garfield in Garfield Gets Real (2007), Garfield's Fun Fest (2008), Garfield's Pet Force (2009), and on the series The Garfield Show, which ran from 2008 to 2016. In 2011, he provided the voice of Batman in a Scooby-Doo crossover segment of the Batman: The Brave and the Bold episode, "Bat-Mite Presents: Batman's Strangest Cases!". In the same episode, he also voiced Batboy, the classic Mad Magazine Batman spoof, originally created by Wally Wood.

Welker has also provided voices for many video game characters, most notably Disney's Oswald the Lucky Rabbit and The Shadow Blot in Epic Mickey and its sequel Epic Mickey 2: The Power of Two, as well as Zurvan, also called the Ancient One, on StarCraft II: Heart of the Swarm. He also provided the voice of the mad mage Xzar for the Baldur's Gate video game series, and reprised his role from Avengers Assemble as Odin for Lego Marvel's Avengers.

In 2016, Welker received a Lifetime Achievement Emmy Award at the 43rd Daytime Creative Arts Emmy Awards.

Live-action acting career

Welker's first on-camera film role was as a college kid from Rutgers University who befriends Elvis Presley in The Trouble with Girls (1969). His next film role was in the Disney film The Computer Wore Tennis Shoes (1969), which starred Kurt Russell (he also appeared in the film's sequel, Now You See Him, Now You Don't, in 1972). He later co-starred with Don Knotts in Universal's How to Frame a Figg (1971), appeared in Dirty Little Billy (1972), and on The Paul Lynde Show (1972).

On-camera television appearances included roles on Laugh-In, Love, American Style, The Partridge Family, and The Don Knotts Show. He played a prosecutor in the highly acclaimed ABC special The Trial of General Yamashita and as Captain Pace beside Richard Dreyfuss' Yossarian in Paramount Television's pilot Catch-22. He also appeared on Rowan & Martin's Laugh-In, The Mike Douglas Show, The Tonight Show, The Merv Griffin Show, The Smothers Brothers Show, The Burns and Schreiber Comedy Hour, Laugh Trax, and as one of the cast members in the special of That Was the Year That Was (1985) with David Frost.

Welker also played an on-camera role as a voice actor in a 1984 episode of Simon & Simon. In The Duck Factory, he played a rival actor trying to steal the role of Dippy Duck from fellow voice actor Wally Wooster (Don Messick). In later years, he appeared in Steven Soderbergh's film The Informant! (2009) as Matt Damon's father.

In 1978, Welker appeared on The Dean Martin Celebrity Roast to George Burns. While saluting Burns, he showed his abilities as an impressionist by honoring George Burns with the voices of Walter Cronkite, Henry Kissinger, Muhammad Ali, David Frost, and Jimmy Carter. In 1987, he performed stand-up comedy on an episode of the short lived TV show Keep On Cruisin'''.

Transformers
In the 1980s, Welker voiced many recurring characters in the original Transformers animated series. He voiced several Decepticons, including the leader Megatron, Soundwave, Skywarp, Mixmaster, Rumble, Frenzy, Ravage, and Ratbat, as well as Autobots Mirage, Trailbreaker, and Sludge. He took on the role of Wheelie in The Transformers: The Movie (1986), and in the post-movie episodes took over the role of Galvatron (from his Star Trek III castmate Leonard Nimoy) and also voiced Chromedome and Pinpointer.

In 2010, Welker reprised the roles of Megatron and Soundwave in the series Transformers: Prime (retitled Transformers: Prime – Beast Hunters for its third season) and the Transformers: Generation 1 video game Transformers: Devastation. In Prime, Welker significantly altered Megatron's voice from his Generation 1 portrayal to sound more sinister. In the 2015 follow-up series Transformers: Robots in Disguise, Welker once again reprised his role as Soundwave, who has broken his vow of silence since the events of Prime.

Welker returned to two of his Transformers roles when he portrayed Megatron and Soundwave as part of a spoof in a third-season episode of Robot Chicken, which aired shortly after the release of the first installment of the live-action film series. In the second installment film, Transformers: Revenge of the Fallen (2009), he joined the voice cast and reprised the roles of Soundwave and Ravage, and also provided the voices for Grindor, Devastator, and Reedman. He again reprised his role as Soundwave, and took on the roles of Shockwave and Barricade, in the third film, Transformers: Dark of the Moon (2011). In Transformers: Age of Extinction (2014), he reprised his role as Galvatron, albeit with a voice similar to his portrayal of Megatron in Transformers: Prime.

Welker does not voice Megatron in the first three live-action films (Hugo Weaving was chosen for the role instead). However, he did voice Megatron in the two video games based on the first two films, as well as the theme park attractions at Universal Studios Singapore, Universal Studios Hollywood, and Universal Studios Florida, Transformers: The Ride. In the fifth installment of the film series, Transformers: The Last Knight (2017), he finally reprised the voice of Megatron, once again utilizing his Transformers: Prime version of the character's voice.

As of 2019, Welker continues to occasionally voice Megatron for various Transformers media, alternating between his Generation 1 and his Prime portrayals.

 Personal life
Welker claims to have dated actress Pamela Sue Martin and his Tom and Jerry Kids and Droopy, Master Detective co-star Teresa Ganzel. He is a good friend of his longtime Transformers'' co-star and fellow voice actor Peter Cullen, in contrast to the rivalry of their respective characters.

A licensed pilot since 2010, Welker flies a Beechcraft Bonanza B36T from a local general aviation airport in Los Angeles County, California.

Filmography

References

External links

 Frank Welker @ The Numbers

1946 births
Living people
20th-century American comedians
20th-century American male actors
21st-century American comedians
21st-century American male actors
American male comedians
Disney people
American male film actors
American male television actors
American male video game actors
American male voice actors
American people of German descent
Animal impersonators
Audiobook narrators
Comedians from Colorado
Daytime Emmy Award winners
Hanna-Barbera people
Male actors from Denver
Santa Monica College alumni
Scooby-Doo
American impressionists (entertainers)

Frank Welker


The SIAI S.52 was an Italian fighter prototype of 1924.

Design and development
In 1919, Alessandro Marchetti (1884–1966) designed the Marchetti MVT fighter, renamed the SIAI S.50 in 1922 when Marchetti joined the SIAI company as its chief designer. SIAI entered the S.50 in the 1923 Regia Aeronautica (Italian Royal Air Force) fighter contest, even though the S.50 was powered by a 212-kilowatt (285-horsepower) SPA 62a six-cylinder engine instead of the 224-kilowatt (300-horsepower) Hispano-Suiza HS 42 eight-cylinder water-cooled engine required by the Italian Air Ministrys specification for entrance in the contest. Despite this, the S.50 attracted enough Regia Aeronautica interest to prompt it to acquire three S.50 fighters from SIAI for evaluation, although a proposal to order twelve S.50 aircraft never bore fruit.

Marchetti decided to design a derivative of the S.50 powered by the HS 42 engine for entry in the 1923 fighter contest. The resulting S.52 was a single-seat, all-metal biplane with its fuselage suspended between the upper and lower wings. The after part of the fuselage itself was flattened to serve as an airfoil. The semi-elliptical wings were extremely thin in section and larger in area than those of the S.50, and used ailerons to allow lateral control rather than the wing warping the S.50 employed. The S.50s all-moving tail surfaces were replaced in the S.52 by a conventional tail unit which combined fixed and moving surfaces. The engine drove a two-bladed propeller, and the S.52 was armed with two fixed, forward-firing 7.7-millimeter (0.303-inch) Vickers machine guns synchronized to fire through the propeller.

Operational history
The S.52 was too late for the 1923 fighter contest, first flying in 1924. Two prototypes – designated MM.3 and MM.4 – were built, but no Italian production order ensued.

In 1925, a proposal was made to re-engine one of the prototypes with a 306-kilowatt (410-horsepower) Fiat A 20 engine, which was projected to give it a top speed of 285 kilometers per hour (177 miles per hour). This conversion never took place.

The other prototype was shipped to Latin America for demonstration flights, one of which was a 1927 flight from Argentina to Paraguay. SIAI had learned that the Paraguayan Air Arm was purchasing airplanes, so the S.52 made a series of successful flights at the Paraguayan Military Aviation School. The Paraguayan government decided to buy it in 1927 – the first fighter Paraguay had ever bought and its only fighter until the arrival of seven Wibault 73 C.1 aircraft in 1928 – but placed no order for additional S.52s.

The Paraguayan S.52 received the serial number 16 in 1932. It apparently took no part in the Chaco War (1932-1935), but saw intensive use as a fighter trainer at Paraguays Ñu-Guazú Military Aviation School until it was destroyed in an accident on 8 May 1933 at the Ñu-Guazú airfield. Its pilot, Lieutenant Emilio Rocholl, survived the crash.

Operators

Regia Aeronautica

Paraguayan Air Arm

Specifications

Notes:
Time to 1,000 m (3,281 ft): 1 min 30 sec

See also

Notes

References

Green, William, and Gordon Swanborough. The Complete Book of Fighters: An Illustrated Encyclopedia of Every Fighter Aircraft Built and Flown. New York: SMITHMARK Publishers, 1994. .
 Sapienza Fracchia, Antonio Luis. La Contribución Italiana en la Aviación Paraguaya. Author's edition. Asunción, 2007. 300 pp.

S.52
1920s Italian fighter aircraft
Biplanes
Single-engined tractor aircraft
Aircraft first flown in 1924

SIAI S.52


Christians in Science (CiS) is a British organisation of scientists, philosophers, theologians, ministers, teachers, and science students, predominantly evangelical Christians, concerned with the dialogue between Christianity and science. The organisation was started in the 1940s as one of the professional groups of IVF (now UCCF), and was known as the Research Scientists' Christian Fellowship from 1950 until it adopted the current name in 1988.

It took on financial independence from UCCF in 1996. The organisation has over 850 members, is a member of the Evangelical Alliance, and includes R. J. Berry and John T. Houghton as two of its more noteworthy members.

Along with the Victoria Institute, it publishes Science and Christian Belief twice yearly.

Statement of Faith

Christians in Science is an "explicitly Christian society", and full membership is open only to those who can affirm the following "Statement of Faith", though it is possible for corporate bodies such as libraries and individuals who do not wish to make the declaration to become associate members.

I declare my belief in the triune God as creator and sustainer of the universe, and my faith in Jesus as Saviour, Lord of all and God.

I acknowledge the Bible as the Word of God and its final authority in matters of faith and conduct.

As a steward of God's world, I accept my responsibility to encourage the use of science and technology for the good of humanity and the environment.

I agree with the aims of Christians in Science.

Aims of Christians in Science

Science and faith

To develop and promote biblical Christian views on the nature, scope and limitations of science, and on the changing interactions between science and faith.

To bring biblical Christian thought on scientific issues into the public arena.

Faith and the environment

To stimulate responsible Christian attitudes and action towards care for the environment.

Students

To help Christians who are science students to integrate their religious beliefs and their scientific studies.

See also
 Christian Evidence Society
 Victoria Institute
 List of Christian thinkers in science
 Relationship between religion and science

References

External links

Evangelical parachurch organizations
Christianity and science

Christians in Science


Machanayim (, also spelled Machanaim) is a game similar to dodgeball that is frequently played in North American Jewish schools and summer camps.  The name Machanayim comes from the Hebrew word meaning "two encampments" or, in this case, two teams.

Rules
Game Play:
Players are divided into two encampments and the room is split in two with the teams facing each other. The playing area does not extend all the way to the back of the room or court - the two far ends are left empty, and one volunteer, typically one of the better players, from each team is placed behind the opposing team. This player is called "the captain".

A ball is thrown into play at the start, although it is not activated (see below).  The game is similar to Dodgeball, in that players try and throw the ball at opponents. When a player is hit, they are out.

The difference between Machanayim and Dodgeball is that when a player is out in Machanayim, they are still part of the game.  Rather than leaving the court, the player goes to the end area behind the opposing team, joining the original volunteer from their team.

Activation:
The ball is only eligible for use in getting others out once it has been "activated". To activate a ball, a player must throw it to any other player, on either team, without it hitting the ground. The ball is  announced "alive" when it has been activated. As soon as the ball hits the ground, it is pronounced "dead" and needs resuscitation.

Ball Types:
Almost any spherical mass can be used to play Machanayim, the only rule being that it must be easily catchable by most players.  To that extent, very small balls (like a pea) or very large ones (like a weather balloon) should not be used.  Basketballs are generally considered too heavy and can cause injury.  Soccer balls and volleyballs or Rubber Playground balls are the most popular.

Winning:
When one team runs out of players (they are all behind the opposing team), the captain goes into the middle. The captain has more than one "life" (can be up to 3) Some games allow the captain to give over one of his lives to another team player to give the captain respite. Once the captain is out 3 times, the other team wins.

Similar games

Machanayim is similar to the German or Austrian variant of dodge ball called Völkerball.

In secular Yiddish speaking camps such as SKIF, the game is called Tzvey-fayern ("Two shoot").

References

  Bnei Akiva Couselor Guide

Ball games
Jewish-American sports history
Jewish sports
Jewish summer camps

Machanayim


The action of 18 March 2006 occurred when two United States naval vessels were attacked by pirates. The U.S. ships were part of Combined Task Force 150.

Background

By 2006 the lack of any government-controlled naval authority along the Somali coast was taking its toll. Pirate gangs controlled by local warlords started to capture passing merchant ships in an attempt to gain funding by ransoming the ships and their crews. As the raids became successful, the pirates became bolder. They began seizing UN aid ships, and even attacked a cruise liner attempting to capture it for ransom. The U.S. and Coalition vessels from Combined Task Force 150 began actively pursuing pirate vessels in an attempt to deter the attacks.

Battle
On 18 March the destroyer  intercepted a suspicious ship, a large diesel-powered skiff towing two small gasoline-powered "attack" skiffs  off the Somali coast. USS Gonzalez first noticed the common pirate profile of a diesel boat towing smaller skiffs and, with  closing from  away, trailed the suspects until dawn. Shortly before sunrise, the two American ships each sent a pair of rigid-hulled inflatable boats with specially trained boarding teams to investigate. The boats' boarding attempt was aborted when the pirates opened fire on them from extremely short range, and they returned fire and withdrew.

The pirates chased the boarding team, then opened fire upon the Navy ships with rocket-propelled grenades and other small arms. Too close for major weapon systems, the two American ships returned fire with small caliber guns. The larger pirate skiff was soon set on fire by a .50 caliber tracer round fired from USS Gonzalez hitting and setting ablaze a  fuel drum, and burned to the waterline. The two small skiffs were engaged and surrendered to USS Cape St. George upon seeing the larger skiff with all their fuel in flames. By the time the action was over at least one pirate was killed (only one body was recovered from one of the remaining small skiffs), and 12 (including 5 wounded) pirates were captured. A spokesman for the Somali pirate militia in Hardhere claimed there were 27 pirates that had gone to sea to act as "coastguardsmen" for the largely lawless state. Cape St. George received minor superficial damage but no US forces were injured.

Aftermath
After the action was over, a Dutch fast-combat support ship, HNLMS Amsterdam, provided medical assistance to the wounded, and the two U.S. ships continued on their mission. The U.S. government chose not to prosecute the captured men for piracy and repatriated them over a period of several months, some requiring advanced medical care aboard U.S. and Coalition warships due to the injuries they received during the action.

References

Maritime incidents in 2006
Conflicts in 2006
2006 in Somalia
Naval battles of Operation Enduring Freedom
21st-century naval battles
Somalia–United States military relations
Anti-piracy battles involving the United States
Naval battles involving pirates
Piracy in Somalia
March 2006 events in Africa

Action of 18 March 2006


Corporate Power and Responsibility: Issues in the Theory of Company Law (1993) is a seminal book in UK company law by J.E. Parkinson. Its focus is corporate governance from a progressive perspective which charts the flaws and maps the reforms needed to match the responsibility modern corporations have to their responsibility.

Contents

1. Corporate power
2. Ownership, control and the pursuit of profit
3. The legal control of management discretion
4. Managerial efficiency
5. Reinforcing and challenging the legal model
6. Corporate governance: shareholder democracy and the monitoring board
7. Management self dealing
8. The enforcement of directors' duties
9. Social responsibility within the current legal fabric
10. An evaluation of profit sacrificing social responsibility
11. Strengthening the constraints
12. The democratic imperative: beyond social responsibility

See also
Globalization

Notes

Literature
Adolf Berle and Gardiner Means, The Modern Corporation and Private Property (1932)
Brian Cheffins, Company law: Theory, Structure and Operation (1998)

United Kingdom company law

Corporate Power and Responsibility


Charlotte von Mahlsdorf (18 March 1928 – 30 April 2002) was a German transgender woman who founded the Gründerzeit Museum in Berlin-Mahlsdorf.

When a local mansion was due for demolition, von Mahlsdorf was allowed to live there, and its contents became the basis for her collection of everyday household items from the Gründerzeit period (c. 1870s). The museum became a popular meeting-point for East Berlin's gay community, to the disapproval of the East German regime (Stasi).

Early years
Von Mahlsdorf was born to parents Max Berfelde and Gretchen Gaupp in Berlin-Mahlsdorf, Germany. At a very young age she felt more like a girl, and expressed more interest in the clothing and articles of little girls. She helped a second-hand goods dealer clear out the apartments of deported Jews and sometimes kept items.

Career
Von Mahlsdorf's collection evolved into the Gründerzeit Museum. She had become engaged in the preservation of the von Mahlsdorf estate, which was threatened with demolition, and was awarded the manor house rent-free. In 1960, Von Mahlsdorf opened the museum of everyday articles from the Gründerzeit (the time of the founding of the German Empire) in the only partially-reconstructed Mahlsdorf manor house. The museum became well known in cinematic, artistic and gay circles. From 1970 on, the East Berlin homosexual scene often had meetings and celebrations in the museum.

In 1974 the East German authorities announced that they wanted to bring the museum and its exhibits under state control. In protest, von Mahlsdorf began giving away the exhibits to visitors. Thanks to the committed involvement of the actress Annekathrin Bürger and the attorney —and possibly also thanks to her enlistment as an inoffizieller Mitarbeiter (an unofficial collaborator) for Stasi, the secret East German police—the authorities' attempt was stopped in 1976 and she was able to keep the museum.

In 1991, neo-Nazis attacked one of her celebrations in the museum. Several participants were hurt. At this time, von Mahlsdorf announced she was considering leaving Germany.

In 1992, she received the Bundesverdienstkreuz, 'Order of Merit of the Federal Republic of Germany.'

Her decision to leave Germany meant that she guided her last visitor through the museum in 1995, and in 1997 she moved to Porla Brunn, an old spa near Hasselfors, Sweden, where she opened (with moderate success) a new museum dedicated to the turn of the 19th century. The city of Berlin bought the Gründerzeit Museum, and by 1997 it had been opened again by the "Förderverein Gutshaus Mahlsdorf e. V.".

Her life could be described as that of an outsider who survived, no matter the ruling ideology, during the Nazi period, Communist-controlled East Germany, or, once the wall fell, modern Germany, as described in the article "The Sexual and Political Chameleon of Berlin: The Ambiguities of Charlotte von Mahlsdorf's Life in I Am My Own Wife."

Von Mahlsdorf died from heart failure during a visit to Berlin on 30 April 2002.

Legacy

People still honour her memory, be it for her work as the founder of the Gründerzeit Museum, or for her public role as a transgender woman and her foregrounding of the persecution of homosexuals in both the Third Reich and East Germany. The appeal for a memorial to von Mahlsdorf, organized by the "Förderverein Gutshaus Mahlsdorf e. V." and the "Interessengemeinschaft Historische Friedhöfe Berlin" (Alliance of Historical Cemeteries in Berlin) was therefore a success.

The intention of the organizers was to erect a memorial with the inscription "Ich bin meine eigene Frau (I am my own woman) – Charlotte von Mahlsdorf – 18. März 1928 – 30. April 2002" on the first anniversary of Charlotte's death. Although Charlotte von Mahlsdorf had been known almost exclusively by her "stage name" in recent years, her relatives pushed through the inscription "Lothar Berfelde, 1928 – 2002, genannt Charlotte von Mahlsdorf. Dem Museumsgründer zur Erinnerung" (Lothar Berfelde, 1928 – 2002, known as Charlotte von Mahlsdorf. In memory of the [male] founder of the museum).

Documentary film
In 1992, German filmmaker Rosa von Praunheim made a film about von Mahlsdorf called I Am My Own Woman (Original title: Ich bin meine eigene Frau) with von Mahlsdorf appearing in the film.

Film
Charlotte in Schweden by filmmaker Rosa von Praunheim. In 2002, von Praunheim made a film about Charlotte's new life in Porla Brunn, Sweden.
Charlotte by John Edward Heys, 2009. Screened at the 56th Internationale Kurzfilmtage Oberhausen, 2010.

Theatre plays

American playwright Doug Wright wrote the character play, I Am My Own Wife based on von Mahlsdorf's life from his own research of her biography. Since its initial run on- and off-Broadway the play has garnered many major American theatre awards, including the Pulitzer Prize for Drama, Tony Award, the Drama Desk Award, Drama League Award, the Lucille Lortel Award, and the Lambda Literary Award for Drama.

German author , co-author and publisher of von Mahlsdorf's book, has made another play called Ich bin meine eigene Frau. The play had its premiere in spring 2006 at the Schauspiel Leipzig.

Larry Moss and Josef Ludwig Pfitzer made an adaptation of the Doug Wright play called Ich mach ja doch, was ich will (I still do what I want), that was shown at Teamtheater in May 2012 in Munich, Germany.

Bibliography

References

External links

 Literature by and about Charlotte von Mahlsdorf in the catalogue of Die Deutsche Bibliothek
 Gründerzeitmuseum – Official Website
 Article in Die Berliner Zeitung on questions about Charlotte von Mahlsdorf's biography
 cleispress.com: The book: I Am My Own Wife by Charlotte von Mahlsdorf (initially published as I Am My Own Woman)

 I Am My Own Wife – Inside Look with Doug Wright and Charlotte on YouTube
 Naming a street in Berlin after Charlotte von Mahlsdorf. Straßenbennung zu Ehren Charlotte von Mahlsdorf on YouTube.

1928 births
2002 deaths
German autobiographers
German collectors
German founders
German women writers
German LGBT writers
Museum founders
Women museum directors
People of the Stasi
East German women
Recipients of the Cross of the Order of Merit of the Federal Republic of Germany
German transgender people
Transgender women writers
Women autobiographers
Women collectors
Women founders
Writers from Berlin
20th-century philanthropists
Hitler Youth members
20th-century German women
20th-century German LGBT people

Charlotte von Mahlsdorf


In mathematics, a Hadamard manifold, named after Jacques Hadamard — more often called a Cartan–Hadamard manifold, after Élie Cartan — is a Riemannian manifold  that is complete and simply connected and has everywhere non-positive sectional curvature. By Cartan–Hadamard theorem all Cartan–Hadamard manifolds are diffeomorphic to the Euclidean space  Furthermore it follows from the Hopf–Rinow theorem that every pairs of points in a Cartan–Hadamard manifold may be connected by a unique geodesic segment. Thus Cartan–Hadamard manifolds are some of the closest relatives of

Examples

The Euclidean space  with its usual metric is a Cartan–Hadamard manifold with constant sectional curvature equal to

Standard -dimensional hyperbolic space  is a Cartan–Hadamard manifold with constant sectional curvature equal to

Properties

In Cartan-Hadamard manifolds, the map  is a diffeomorphism for all

See also

References

Riemannian manifolds

Hadamard manifold


The Missa Sancti Bernardi von Offida is a mass in B-flat major by Joseph Haydn, Hob. XXII:10, Novello 1, was written the same year as the Missa in tempore belli (1796), and it "may have been the first mass Haydn wrote after his return from England." Yet it may also have been the second. It is usually given as Haydn's ninth setting of the mass, though its Hoboken number is XXII:10.  This mass was written in honor of St. Bernard of Offida, a Capuchins who devoted himself to helping the poor; a century after the friar's death, he was beatified by Pope Pius VI.

Scored for four soloists, choir, 2 oboes, clarinets (a later revision expanded their part), 2 bassoons, 2 trumpets in B-flat, timpani, strings and organ, the latter supplying figured bass for most of the duration.

The setting is divided into six movements.

 Kyrie Adagio - Allegro moderato, B-flat major, 3/4
 Gloria Vivace, B-flat major, common time
 "Gratias agimus tibi" Allegretto, G minor, 3/4
 "Qui tollis peccata mundi" Più allegro, G minor, 3/4
 "Quoniam tu solus sanctus" Vivace, common time
 Credo Allegro, B-flat major, cut time
 "Et incarnatus est" Adagio, E-flat major, 3/4
 "Et resurrexit" Allegro, B-flat major, 3/4
 "Et vitam venturi" Vivace assai, B-flat major, 3/4
 Sanctus Adagio, B-flat major, cut time
 "Pleni sunt coeli" Allegro, B-flat major, 3/4
 Benedictus Moderato, E-flat major, 2/4
 Agnus Dei Adagio, B-flat minor, 3/4
 "Dona nobis pacem" Allegro, B-flat major, 3/4

The Sanctus section of the mass is a setting of a then-popular Austrian tune to the German translation of Sanctus, "Heilig". The Mass takes its popular German title Heiligmesse from this section.
The mass includes what are, for the time, unexpected modulations and innovative use of third relations that would influence later mass settings by nineteenth-century composers. The Quoniam in Anton Bruckner's Missa Solemnis in B-flat minor quotes this mass.

Notes

References

 Hawkshaw, Paul (2004). "Bruckner's large sacred compositions" The Cambridge Companion to Bruckner edited by Williamson, John. Cambridge University Press. Cambridge.
 Heartz, Daniel (2009). Mozart, Haydn and Early Beethoven: 1781 — 1802 W. W. Norton & Co. New York.
 Hugues, Rosemary (1974). Haydn. J. M. Dent & Sons Ltd. London.
 Larsen, Jans Peter; Feder, Georg (1997). The New Grove Haydn W. W. Norton & Co. New York. .
 Schenbeck, Lawrence (1996). Joseph Haydn and the Classical Choral Tradition. Hinshaw Music. Chapel Hill, North Carolina.
 Strimple, Nick (2008). Choral music in the nineteenth century. Hal Leonard. New York.

External links

Masses by Joseph Haydn
Compositions in B-flat major
1796 compositions

Missa Sancti Bernardi von Offida


Patricia Blomfield Holt (15 September 1910 – 5 June 2003) was a Canadian composer, pianist and music educator. An associate of the Canadian Music Centre and a member of the Association of Canadian Women Composers, her compositions have been performed by notable musical ensembles throughout North America and Europe.

Life
Born Patricia Blomfield in Lindsay, Ontario, Blomfield Holt began her career in her teenage years as a largely self-taught composer and pianist. She studied with Norah de Kresz privately before she entered The Royal Conservatory of Music at the age of 19 in 1928. She studied and taught concurrently for the next ten years. She was a pupil there of Norman Wilks, Hayunga Carman, Leo Smith, Ernest MacMillan and Healey Willan. She was a self-taught composer until she began studying with Willan in 1936.

In 1938 she won the Vogt Society Award for the best music composition for her Suite No. 1 for Violin and Piano. Her Suite No. 2 was described by London's Musical Times: "The language is frankly of the 19th century, and the forms are reminiscent of Schumann, but the material is handled with certainty and a nice sense of texture". After marrying in 1939, she subsequently turned down a scholarship to Juilliard. She also left her teaching position at The Royal Conservatory of Music and did not return until 1954. Blomfield Holt taught music history, music theory, composition and piano performance until she retired from the faculty in 1985.

Musical style
Blomfield Holt's music has been described as "tonally conservative and well crafted". The majority of her output consists of chamber and vocal works. Her Lyric Piece No. 2 was recorded by Jeremy Findlay and Elena Braslavsky in 2002. Her orchestral work, Legend of the North Woods is "an evocation of a lake depicted in Canadian painter J.R. Seauvy's picture of an unspoilt early Indian scene in the lake country" and was recorded by the University of Calgary Orchestra.

Selected works

Incidental Music

 Sister Beatrice (1936)

Orchestral

 Pastorale (1940)
 Short Sketch on a Theme (1940)
 Legend of the North Woods (1985)
 To the Distant Shore (1988)

Chamber

 Pastorale and Finale, violin and piano (1935)
 Suite no.1, violin and piano (1936)
 Lyric Pieces nos.1-2, cello and piano (1937)
 String Quartet No. 1 (1937 rev 1939)
 Suite No. 2, violin or viola and piano (1939)
 String Quartet no. 2 (1956 rev 1985, 1987)
 Metamorphosis, viola and piano (1985)
 Set of Two, flute and piano (1987)
 Cello Sonata (1987)
 Invocations for flute, cello and harp (1989)

Vocal

 Songs of Early Canada for baritone, harp, horn, strings (1950)
 Songs of My Country for baritone or alto, harp, horn and strings with words by Duncan Campbell Scott, Susanna Moodie, Marjorie Pickthall (1950)
 3 Songs of Contemplation for voice and piano with words by E. J. Pratt, M. Adeney, A. Lowell (1970)
 The Birds, voice and piano with words by Hilaire Belloc (1971)
 A Lake Memory for low voice and piano with words by William Wilfred Campbell (1979)
 Magnificat for SATB (1986)
 Polar Chrysalis: 10 Haiku Poems for mezzo-soprano, piano, horn, cello and percussion (1988)
 Who Knows Not Grief for SATB (1991)
 Let the Nations Rejoice for 9 voices (1995)

Piano

 Scherzo - Riding a Bicycle (1962)
 Two Piano Pieces (1974)
 Three Short Pieces (1974)
 Hardy's Ground (1982 rev 1995)
 Two Short Pieces (1999)
 Moments in Time (2002)

References

1910 births
2003 deaths
Canadian classical pianists
Canadian women pianists
Canadian composers
Canadian music educators
Canadian women music educators
The Royal Conservatory of Music alumni
Academic staff of The Royal Conservatory of Music
20th-century classical pianists
20th-century Canadian pianists
20th-century Canadian women musicians
Women classical pianists
Canadian women composers
People from Kawartha Lakes
Musicians from Ontario
20th-century women pianists

Patricia Blomfield Holt