Betsy Duke (born Elizabeth Ashburn Duke; July 23, 1952) is an American bank executive who served as a member of the Federal Reserve Board of Governors from 2008 to 2013. Duke was confirmed by the Senate to fill an unexpired term ending January 31, 2012. She was the seventh woman to be appointed to the board. In July 2013, she announced her resignation from the board.

On January 1, 2018, she became the Chair of the Board of Directors of Wells Fargo, having served as Vice-Chair from October 12, 2016.

Early life and education
Elizabeth Ashburn Duke was born in Portsmouth, Virginia, and grew up in Virginia Beach, Virginia. She first studied physics at North Carolina State University before transferring to the University of North Carolina at Chapel Hill, where she graduated with a bachelor of fine arts in drama in 1974. She later graduated with an M.B.A. from Old Dominion University. After graduating, she worked as a part-time teller at First and Merchants National Bank in Virginia Beach because she "needed a job."

Professional career
In 1977, Duke became the vice president and chief financial officer of the Bank of Virginia Beach. While working full-time, she attended Old Dominion University part-time and received her MBA in 1983. She transferred to the Bank of Tidewater in 1985 as vice president and chief financial officer. She became its president in 1987 and chief executive officer in 1991. She was selected as a director of the Federal Reserve Bank of Richmond in 1998. In 1999, she was elected president of the Virginia Bankers Association.

Duke remained as president and CEO of Bank of Tidewater until it was acquired by SouthTrust in 2001. SouthTrust made her executive vice president of community bank development. When Wachovia acquired SouthTrust in 2004, Duke remained an executive VP, but in charge of the merger project office.

She was elected chairman of the American Bankers Association for the 2004-05 year. In 2005, she became senior executive vice president and chief operating officer of TowneBank. She was nominated to the Board of Governors of the Federal Reserve by President George W. Bush on May 15, 2007. On July 11, 2013, Duke announced her resignation from the Board of Governors of the Federal Reserve effective August 31, 2013.

Duke was elected Vice Chair of Wells Fargo's Board of Directors in October 2016. On August 15, 2017, Duke was elected to succeed Wells Fargo current chairman, Stephen Sanger, on January 1, 2018, making the former Federal Reserve governor the first woman to hold the top board role at one of the nation's largest banks.

On March 9, 2020, Duke announced her resignation from the Wells Fargo Board.

Honors, activities
Member of the executive advisory council, Old Dominion University Business School.
Member of Virginia Council on Economic Education 2005-2006 Board of Directors
Commended as an exceptional role model for women in the banking industry by the Virginia General Assembly in 2005.
Honored as one of eight women in the Library of Virginia's 2014 "Virginia Women in History"

References

External links
Statement  before the Senate Committee on Banking, Housing, and Urban Affairs, August 2, 2007
Nomination by George W. Bush, May 15, 2007
Who Is Elizabeth Duke? Real Time Economics blog at The Wall Street Journal. June 29, 2008.
Statements and Speeches of Elizabeth Ashburn Duke

1952 births
Federal Reserve System governors
Living people
Old Dominion University alumni
People from Portsmouth, Virginia
North Carolina State University alumni
University of North Carolina at Chapel Hill alumni
George W. Bush administration personnel
Obama administration personnel
Wells Fargo employees

Elizabeth Ashburn Duke


Francesco Flarer (27 November 1791 – 22 December 1859) was an Italian ophthalmologist born near Merano, South Tyrol.

He initially planned to study theology at Innsbruck, but instead enrolled to take classes in medicine, later relocating to the University of Landshut. Political turmoil made his stays at both institutions brief, and in 1809 transferred to the University of Pavia. In 1815 he received his degree in medicine, followed by a doctorate in surgery shortly afterwards.

On advice from Antonio Scarpa (1752–1832), he studied ophthalmology in the clinic of Georg Joseph Beer (1763–1821) at the University of Vienna, where he obtained a degree in 1817. Following his return to Pavia, he worked as an assistant in the anatomy laboratory of Bartolomeo Panizza (1785–1867). In 1819 Flarer was appointed professor of theoretical and practical ophthalmology at Pavia. In 1832–33 he was named university rector, and in 1854 was appointed dean of the medical faculty.

Among his written works was a treatise on iritis (De iritide eiusque speciebus earumque curatione) that won an award from the Académie Royale de Médecine of Paris in 1836. Another noted work of his was a study of eyelid/eyelash maladies titled Riflessioni sulla Trichiasi, sulla Distichiasi e sull'Entropio, avuto particolare riguardo ai metodi di Jaeger e di Vaccà (Reflections on trichiasis, distichiasis and entropion, with particular regard to the methods of Friedrich Jäger von Jaxtthal (1784–1871) and Andrea Vaccá Berlinghieri (1772–1826).

Flarer was editor of the medical journal Gazzetta medica di Lombardia.

References
 Francesco Flarer in Dizionario Biografico – Treccani (biography translated from Italian)

Italian ophthalmologists
1791 births
1859 deaths
People from Burggrafenamt
University of Pavia alumni
Academic staff of the University of Pavia

Francesco Flarer


A soundie is a three-minute American musical film displaying a performance. Soundies were produced between 1940 and 1946 and have been referred to as "precursors to music videos". Soundies exhibited a variety of musical genres in an effort to draw a broad audience. The shorts were originally viewed in public places on "Panorams": coin-operated, 16mm rear projection machines. Panorams were typically located in businesses like nightclubs, bars, and restaurants. Due to World War II, Soundies also featured patriotic messages and advertisements for war bonds. More adult shorts, such as burlesque and stripteases, were produced to appeal to soldiers on leave.

Technology
Filmed professionally on black-and-white 35 mm stock, like theatrical motion pictures, they were printed on the more portable and economical 16 mm film.

The Panoram "movie jukebox" was manufactured by the Mills Novelty Company of Chicago. Each Panoram housed a 16 mm RCA film projector, with eight Soundies films threaded in an endless-loop arrangement. A system of mirrors flashed the image from the lower half of the cabinet onto a front-facing screen in the top half. Because of the mirror arrangement, the films had to be printed with the image "flipped" (with the titles appearing backwards on the screen). Each film cost 10 cents to play, with no choice of song; the patron saw whatever film was next in the queue. Panorams could be found in public amusement centers, nightclubs, taverns, restaurants, and factory lounges, and the films were changed weekly. The completed Soundies were generally made available within a few weeks of their filming, by the Soundies Distributing Corporation of America.

Several production companies filmed the Soundies shorts in New York City, Hollywood, and Chicago: James Roosevelt's Globe Productions (1940–41), Cinemasters (1940–41), Minoco Productions (owned by Mills Novelty, 1941–43),<ref>{{IMDb title|0814137|Ain't Misbehavin' (soundie with Fats Waller)}}</ref> RCM Productions (1941–46), LOL Productions (1943), Glamourettes (1943), Filmcraft Productions (1943–46), and Alexander Productions (1946) led by William D. Alexander). The performers recorded the music in advance, and mimed to the soundtrack during filming.

Competition
The movie-jukebox idea developed several imitations and variations of the technical design; the most successful of these imitators were the Techniprocess company (managed by Rudy Vallee) and the Featurettes company, which used original novelty songs and usually unknown talent (17-year-old Gwen Verdon appears in a couple of the Featurettes as "Gwen Verdun"). As Soundies quickly gained most of the market for jukebox films, the other companies disbanded, and some sold their films to the Soundies concern.

Musical genres
Soundies emphasized variety from their beginning; the first three bandleaders who contracted for Soundies were boogie-woogie specialist Will Bradley,  established popular music maestro Vincent Lopez, and Hawaiian singer-leader Ray Kinney. Soundies displayed all genres of music, from classical to big-band swing, and from hillbilly novelties to patriotic songs. Harry McClintock, Jimmy Dorsey, Louis Jordan, Spike Jones, Stan Kenton, Kay Starr, Johnnie Johnston, Les Brown, The Hoosier Hot Shots, Charlie Spivak, Cliff Edwards, Martha Tilton, Sally Rand, Nick Lucas, Gene Krupa, Anita O'Day, Jimmie Dodd, Merle Travis, and Lawrence Welk were some of the leading Soundies performers. Many stars of the future made appearances in Soundies at the beginning of their careers, including Gale Storm, Dorothy Dandridge, Ricardo Montalbán, Liberace, Doris Day, Gloria Grahame, Cyd Charisse, Alan Ladd, Marilyn Maxwell, and Yvonne DeCarlo.

Many nightclub and recording artists also made Soundies, including Harry "The Hipster" Gibson, Benny Fields, Frances Faye, Gloria Parker, Charles Magnante, Milton DeLugg, and Gus Van. In the mid-1940s, during a moratorium imposed by James Petrillo of the musicians' union, Soundies resorted to filming nonmusical vaudeville acts, featuring exotic dancers Sally Rand and Faith Bacon, animal acts, acrobats, impressionists, and jugglers.

Beginning in 1941, Soundies experimented with expanding its format, and filmed comedy Soundies with Our Gang actor Carl "Alfalfa" Switzer, Broadway comic Willie Howard, dialect comedians Smith and Dale, Harry Langdon, Snub Pollard, and The Keystone Kops. Most of these films were nonmusical, and were not as well received as the musical Soundies. Soundies abandoned the comedy-sketch idea, but continued to produce filmed versions of comic novelty songs.

Some bandleaders recognized the promotional value of Soundies. Will Bradley, Vincent Lopez, and Ray Kinney were the first, as has been mentioned, and Ozzie Nelson, Cab Calloway, Louis Armstrong, Lawrence Welk, and Louis JordanLouis Jordan and his Tympany Band: Films and Soundies followed. The most prolific Soundies bandleaders were Johnny Long (18 titles) and Stan Kenton (17 titles).

More than 1,800 Soundies minimusicals were made, many of which have been released on home video. The Soundies films were regularly described and reviewed in the entertainment and music trade publications, such as Billboard.

Wartime impact
During their first year, the Soundies made millions of dollars (in dimes). However, in late 1941, the federal government restricted the use of rubber and precious metals, prioritizing these resources for military use during wartime. This meant that Mills Novelty could no longer build and sell Panoram machines, and had to confine its activities to keeping the existing projectors supplied with films. Soundies became strictly a production company, dedicated to making its own musical shorts.

Eclipse
The Soundies Distributing Corporation of America remained active until 1947. With commercial television developing rapidly, the Soundies machines and films became obsolete. Almost all of the Panoram jukeboxes were either junked or modified into self-service "peepshow" machines.  Most remaining Panorams are in the hands of collectors and are occasionally offered for sale. The library of 1,800 Soundies films was sold to home-movie companies Castle Films and Official Films, then to syndicated television, and ultimately to home video (via England's Charly Records).

In 1958, the original Soundies "jukebox" concept was revived by French company Cameca as Scopitone. Similar to Soundies, Scopitones are short musical films designed to be played on a specially designed coin-operated jukebox, but with new technical improvements - color and high-fidelity sound. Scopitones were printed on color 16 mm film with magnetic sound instead of Soundies' optical sound. By the mid-1960s, Scopitone jukeboxes had spread across England and the United States.

Documentaries
Three documentaries have been produced about Soundies. Don McGlynn produced and edited The Soundies in 1986, hosted by Cab Calloway; the film was broadcast nationally on PBS. Dewey Russell compiled an hourlong, direct-to-video history, "Soundies: Music Video from the '40s" in 1987, narrated by Michael Sollazzo. Chris Lamson produced "Soundies: A Musical History," hosted by Michael Feinstein, in 2007 for PBS.

Legacy
For today's filmmakers and archivists, Soundies are known for preserving rare performances of African-American artists who had fewer opportunities to perform in mainstream films. Artists such as The Ink Spots, Fats Waller, Duke Ellington, Louis Jordan, Sister Rosetta Tharpe, Dorothy Dandridge, Big Joe Turner, Bob Howard, Billy Eckstine, Count Basie, The Mills Brothers, Herb Jeffries, Cab Calloway, Meade Lux Lewis, Lena Horne, Louis Armstrong, Nat King Cole, and Stepin Fetchit all made Soundies (several of these were excerpted from longer theatrical films).

Other later forms

The Soundies concept was revived in 1951 by producer Louis D. Snader. Radio stations relied on transcriptions—recorded musical performances. Snader brought the idea to television with films, which he called "Snader Telescriptions." Snader hired dozens of pop-music acts and vaudeville performers, many of whom had already appeared in Soundies, to star in his new films. Snader Telescriptions are often confused with Soundies because of their similarity in length and personnel.

References

 Further reading
 Scott MacGillivray and Ted Okuda: The Soundies Book: A Revised and Expanded Guide to the Music Videos of the 1940s. iUniverse, 2007,
 Susan Delson: Soundies and the Changing Image of Black Americans on Screen: One Dime at a Time.'' Indiana University Press, 2021,

External links

Short film series
Jazz films

Soundie


The Opel Antara was a compact CUV from the General Motors' German automaker Opel from 2006 to 2017.  The Antara replaced the Opel Frontera a badge engineered version of the compact Isuzu Rodeo SUV. It was sold as the second generation Saturn Vue, as a fleet-only Chevrolet Captiva Sport in America, and as a Vauxhall model in the UK. The Vue was discontinued after Saturn went out of business. The Captiva Sport was discontinued upon the introduction of the Trax. The Antara was expected to be replaced with a rebadged Buick Envision and was to be sold as the Opel Antara B. However it was canceled due to the sale of Opel to PSA Peugeot Citroën. It was replaced by an SUV named the Grandland X in 2017.

Antara
2000s automobiles
2010s automobiles

Opel Antara


Adam Swift (born 1961) is a British political philosopher and sociologist who specialises in debates surrounding liberal egalitarianism. He has published books on communitarianism, on the philosophical aspects of school choice, on social justice, on the ethics of the family, and on how to make education policy, as well as an introduction to contemporary political philosophy.

Family and education
Swift's father was the actor Clive Swift and he was the nephew of David Swift. His mother is novelist Margaret Drabble. He is the brother of British poet and essayist Rebecca Swift and television presenter Joe Swift.

Swift studied PPE at Balliol College, Oxford.  He then did an MPhil in Sociology at Nuffield College, Oxford, and subsequently became a Fellow of Balliol College. His DPhil was on the topic of "A Sociologically Informed Political Theory".

Career
Swift was the Founding Director of the Oxford Centre for the Study of Social Justice.  Since September 2018, he has been Professor of Political Theory in the Department of Political Science at University College London.

Swift writes for both academic and non-academic audiences, and is an occasional contributor to political debates about education.

Swift is a member of Giving What We Can, a community of people who have pledged to give at least 10% of their income to effective charities.

Books
 Educational Goods: Values, Evidence and Decision Making (with Harry Brighouse, Helen F. Ladd and Susanna Loeb, (2018)
 Family Values: The Ethics of Parent-Child Relationships (with Harry Brighouse) [2014]
 Political Philosophy: A Beginner's Guide for Students and Politicians [2001, 4th edition 2019]
 How Not To Be A Hypocrite: School Choice for the Morally Perplexed Parent [2003]
 Against the Odds? Social Class and Social Justice in Industrial Societies (with Gordon Marshall and Stephen Roberts) [1997]
 Liberals and Communitarians (with Stephen Mulhall) [1992, 2nd edition 1996]

References

External links
Personal website

1961 births
Living people
British political philosophers
Alumni of Balliol College, Oxford
Alumni of Nuffield College, Oxford
Fellows of Balliol College, Oxford
English Jews
Adam

Adam Swift


Thurgarton  was a wapentake (equivalent to a hundred) of the historic county of Nottinghamshire, England.  It extended north-eastwards from Nottingham.  The River Trent formed most of the eastern boundary.  It consisted of the parishes of Averham, Bathley, Bleasby, Blidworth, Bulcote, Burton Joyce, Calverton, Carlton, Carlton-on-Trent, Caunton, Caythorpe, Colwick, Cromwell, East Stoke, Edingley, Epperstone, Farnsfield, Fiskerton, Fiskerton cum Morton, Fledborough, Gedling, Gonalston, Grassthorpe, Gunthorpe, Halam, Halloughton, Haywood Oaks, Hockerton, Holme, Hoveringham, Kelham, Kersall, Kirklington, Kneesall, Lambley, Lindhurst, Lowdham, Maplebeck, Marnham, Meering, Morton, Normanton on Trent, North Muskham, Norwell, Norwell Woodhouse, Nottingham St Mary, Ossington, Oxton, Park Leys, Rolleston, Sneinton, South Muskham, Southwell, Staythorpe, Stoke Bardolph, Sutton on Trent, Thurgarton, Upton, Weston, Winkburn and Woodborough.

Contained within the boundaries of the wapentake are parts of the current Newark and Sherwood district, Gedling borough and the City of Nottingham.

References
Thurgarton Wapentake at Vision of Britain

Ancient subdivisions of Nottinghamshire

Thurgarton Wapentake


A rangefinder (also rangefinding telemeter, depending on the context) is a device used to measure distances to remote objects. Originally optical devices used in surveying, they soon found applications in other fields, such as photography and in the military. They were specially useful for finding the range of a target, such as in naval gunnery and anti-aircraft artillery. The word telemeter is derived .

Designs

The first rangefinder telemeter was invented by James Watt in 1769 and put to use in 1771 in surveying canals.  Watt called his instrument a micrometer, a term now used with a different meaning in engineering (the micrometer screw gauge).  It consisted of two parallel hairs in the focal plane of a telescope eyepiece crossing an upright hair.  At the point to be measured, two sliding targets on a surveyor's rod were adjusted to align with the hairs in the telescope.  The distance to the rod could then be determined from the distance between the targets on the rod by trigonometry.

Several others have been credited with the invention of the rangefinder telemeter at one time or another. The Royal Society of Arts gave an award to W. Green for its invention in 1778, even though they were made aware of Watt's priority.

In 1778, Georg Friedrich Brander invented the coincidence rangefinder. Two mirrors set a distance apart horizontally in a long slim box, similar to a subtense bar but located at the measuring station, and forming two images. This rangefinder does not require a measuring rod at the target and could perhaps be considered the first true telemeter. In 1790 Jesse Ramsden invented a half-image range finder. Though Alexander Selligue is often mistakenly credited with the invention, he did invent an improved telemeter with fixed lenses in 1821 and is responsible for coining the term.

In 1881, the British Royal Artillery adopted the depression range finder, which had been developed by Captain H.S.S. Watkin for use by coastal artillery. It used the measurement of the angle of depression from the observer, sited on a high vantage point, to the waterline of the target vessel.

In 1899, Carl Pulfrich at Carl Zeiss AG fabricated a practical stereoscopic rangefinder, based on a patent of Hector Alexander de Grousilliers.

World War II era telemeters worked optically with two telescopes focused on the same target but a distance apart along a baseline. The range to the target is found by measuring the difference in bearing of the two telescopes and solving the skinny triangle. Solutions can be obtained automatically, using tables or, rarely, manual calculation. The greater the distance to the target, the longer the baseline needs to be for accurate measurement. The baseline required for the telemeters for battleship guns is very large. More modern telemeters use an electronic technology such as lasers or radar.

Laser rangefinder

Applications
Applications include surveying, navigation, to assist focusing in photography, choosing a golf club according to distance, and correcting aim of a projectile weapon for distance.

Golf
Laser rangefinders are used in golf to measure the yardage of a particular shot but also to gauge slope and wind as well. There has been debate over whether they should be allowed in tournaments. While their use is banned on the professional level, they are becoming widely used on the amateur level.

Ballistics
Rangefinders may be used by users of firearms over long distances, to measure the distance to a target to allow for projectile drop. Until the development of electronic means of measuring range during the Second World War, warships used very large optical rangefinders—with a baseline of many meters—to measure range for naval gunnery.

Forestry
Rangefinders are used for surveying in forestry. Special devices with anti-leaf filters are used.

Virtual reality
Since the 1990s, rangefinders have been used in virtual reality systems to detect operator movements and locate objects.

See also
 GfK-Telemeter, a device to determine the viewing rate
 Telemeter chronograph
 Bombsight
 Spotting scope
 Head-up display

References

Further reading
 "Range Finder (instrument)." Encyclopædia Britannica Online. Encyclopædia Britannica,
 Army Test and Evaluation Command, Aberdeen Proving Ground Maryland (1969)  Laser Rangefinders Ft. Belvoir Defense Technical Information Center, U.S. Army, Ft. Belvoir, Virginia,  (early history of the use of lasers in rangefinders)
 Photographic and Imaging Manufacturers Association (1999) American national standard for photography (optics) : rangefinders and other focusing aids – performance specifications (revision and redesignation of "ANSI PH3.619-1988" as "ANSI/PIMA IT3.619-1998") American National Standards Institute, New York,
 Hicks, Roger and Schultz, Frances (2003) Rangefinder: Equipment, History, Techniques Guild of Master Craftsman, Lewes, UK,

 Whitehouse, J. C. (2005) "Further considerations of defocus rangefinders" Transactions of the Institute of Measurement and Control 27(4): pp. 297–316
 Range-Finding in the Army. How to use range-finders to get results: the erect and inverted types, Popular Science monthly, February 1919, page 118–120, Scanned by Google Books

External links

 Rangefinder Comparison - A National Forest Service document

Length, distance, or range measuring devices
Golf equipment

Rangefinder


Phước Long is a former province of Southeast region of Vietnam. It was established on 22 October 1956 by a presidential decree. It was one of South Vietnam's 22 provinces. It is now part of Bình Phước province. The province was originally into three districts: Phước Bình, Bù Đốp, and Phước Hòa. In 1961, it was reorganized as four districts: Bố Đức, Phước Bình, Đức Phong and Đôn Luân. The administrative center was in Phước Bình.

History
 On 23 January 1959, part of Phước Long province was divided to form Phước Thành province.
 On 24 July 1961, Phước Hòa District was dissolved.
 In 1976 Phước Long province was merged with Bình Dương province and Bình Long province to form the new Sông Bé province.

Districts
 Bố Đức
 Phước Bình
 Đức Phong
 Đôn Luân

Provinces of South Vietnam
Southeast (Vietnam)

Phước Long province


Biridašwa (Sanskrit: "Prītāśva," "whose horse is dear" (Mayrhofer II 182)) was a mayor of Aštartu, (Tell-Ashtara), south of Damascus, (named Dimasqu/Dimašqu),  during the time of the Amarna letters correspondence, about 1350–1335 BC. A second mayor of Aštartu, Ayyab, existed in this short 15–20 year time period.

History
Though Biridašwa did not communicate with the Egyptian pharaoh directly in any of the Amarna letters, he, along with the mayors of Busruna and Halunnu were involved with the intrigues of city/city-state takeovers, in the region of Damascus. The region around Dimašqu was named Upu, or Apu, a name going back to at least pharaoh Thutmose III's time, (1479-1425 BC).

Biridašwa of EA letters 196, and EA 197
Biryawaza the king of Dimašqu wrote 4 letters addressed to pharaoh, and letters 3 and 4 are about Biridašwa.

Letter no. 197: title: "Biryawaza's plight"
Biryawaza letter no. 4 of 4:
"[...  ...he] said t[o me when] your servant was in A[dura, ...They gave] his horses and hi[s] chariots to the 'Apiru, and they did not [give them] to the king, my lord. And who am I? My (only) purpose is to be a servant. Everything belongs to the king. Biridašwa saw this deed and moved Yanuamma to rebellion against me. Having barred the city gate against me, he took chariots from Aštartu but gave both of them to the 'Apiru and did not give both of them to the king, my lord. When the king of Busruna and the king of Halunnu saw (i.e. saw this), they waged war with Biridašwa against me, constantly saying, "Come, let's kill Biryawaza-(i.e. 'of Damascus'), and we must not let him go to [...] ...." But, I got away from them and stayed in [...]–Dimašqa, for [by myself h]ow can I serv[e the king, my lord]? [They] keep saying, "[We are servants of the king of Hatti," and I keep saying, "I am a servant of the king of Egyp[t]-(named Mizri)." Arsawuya went to Ki[ssa]-(Qidšu/Kadesh), took (some of) Aziru's troops, and captured Šaddu. He gave it to the 'Apiru and did not give it to the king, my lord. Now, since Itatkama (Etakkama), has caused the loss of the land of Kissa, and since Arsawuya along with Biridašwa is causing the loss of Apu-(i.e. the "region" surrounding Damascus), may the king look carefully to his land lest the enemies take it. Since my brothers are at war with me, I am guarding Kumidu, the city of the king, my lord. May the king indeed be at one with his servant. [M]ay the king [not] abandon his servant, [and may] the kings of [... (and) the ki]ngs of Apu see whe[ther ...]  ... I have seen the archers.  -EA 197, lines 1-42 (~~complete, with lacunae)

Letter EA 197-(EA for 'el Amarna'), is the only reference to the locality/capture of:  Šaddu. Also the only reference to city Yanuamma.

Letter no. 196: title: "Unheard-of deeds"
Biryawaza's letter 196, is a heavily reconstructed letter with "6 lines of 43", a lacuna. The ending is mostly complete and has the referencing to Biridašwa.

Biryawaza letter no. 3 of 4:
"...
Moreover, may the king, [my] lord, send me 200–men to guard ((to guard))-(-emphasis?), the cities of the king, [my] lord, [un]til [I] see the archers [of the king], my lord. The king, my lord, must not negle[ct] this deed that Biridašwa [has] committed, for he has moved the land of [the king], my lord, and [his] cities to rebellion."  -EA 196 (only lines 33-43(End))

See also
Biryawaza
Aram Damascus
Upu

References
Moran, William L. The Amarna Letters. Johns Hopkins University Press, 1987, 1992. (softcover, )

Amarna letters officials
Canaanite people
14th-century BC mayors

Biridašwa


The second inauguration of Bill Clinton as the 42nd president of the United States, took place on January 20, 1997. It was the last inauguration of a president in the 20th century.

The Inauguration

Reverend Billy Graham gave an invocation to start the ceremony followed by the Pledge of Allegiance. Associate Justice of the Supreme Court of the United States Ruth Bader Ginsburg gave the oath to office for Vice President Al Gore. Jessye Norman, the famed Georgian opera singer, then serenaded the crowd with a medley of patriotic songs. After the performance, surrounded by members of Congress dignitaries, Justices of the Supreme Court, family, and friends, Bill Clinton stood next to his daughter while his wife held the Bible. The oath to office was administered by Chief Justice William Rehnquist at 12:05 pm. The oath was ended with the traditional words, "So help me God." The National Anthem was sung and then Arkansas poet Miller Williams read "Of History and Hope," a poem he wrote for the event. President Clinton's speech followed. The  was celebrated that night by 14 different official galas held in honour of the President and First Lady.

January 20, 1997 was also Martin Luther King, Jr. Day. The President's speech spoke about Dr. King and his legacy as a champion of African-American rights and freedoms during the civil rights era. A meal was eaten after the oath was taken at the Capitol's Statutory Hall that was based on traditional recipes from President Thomas Jefferson's era.

Related pages
1996 United States presidential election

References

1997 in the United States
Clinton, Bill
Bill Clinton

Second inauguration of Bill Clinton


Lars H.U.G. (born Lars Haagensen on 11 September 1953 in Sorgenfri) is a Danish musician and painter. He has produced several critically acclaimed albums as a solo artist, and has performed with the group Kliché.

Until the mid 1980s, he went by the name Lars Hug. Hug was the artist's childhood nickname and he also used it as a stage name. In 1987 he was sued by the pipe manufacturer Poul Erwin Hug, which forbid him from performing under their name. In response, he changed his name to Lars Hugh Uno Grammy, which he abbreviated as Lars H.U.G.

Musical career
Lars H.U.G. began his career performing with the group Kliché, which formed in 1977, and released two albums. The group officially broke up in 1985. H.U.G. released his first album as a solo artist, City Slang, in 1984 while Kliché was on a break. The album was in collaboration Søren Ulrik Thomsen, and put music to the poet's anthology of the same title.

In 1993, he became the first rock musician to receive a work grant from the Danish Arts Foundation. He was nominated by the foundation for a lifetime performance award in 2003.

His last album, 10 Sekunders Stilhed, was released in 2014 and received gold certification. H.U.G announced his retirement as a musician at the Crown Prince Couple's Awards in 2016.

Painting
At the age of 18, H.U.G enrolled at the Jutland Art Academy in Aarhus. He studied there from 1975 until 1978 as a painter. Several of his album covers feature his own art.

H.U.G. worked alongside Michael Kvium in Mojacar, Spain in 1988. He held his first major exhibition in 2001 at Gjethuset in Frederiksværk. He has since worked and been exhibited in Brooklyn, Berlin, Washington D.C., and Koroni. In 2009, he was invited to an exhibit in Washington DC by the Danish ambassador. He also held a guest lecture at the Corcoran School of the Arts while in DC. In 2010, he was invited to exhibit his works at the Danish Consulate in New York and to attend the Scandinavia House's Cultural Frontrunner Conference.

Discography

For releases with the band Kliché, see Kliché.

Albums

 City Slang (with Søren Ulrik Thomsen) (Medley, 1984)
 Kysser himlen farvel (Medley, 1987)
 Kopy (Medley) 1989
 Blidt over dig (Medley, 1992)
 Kiss & Hug From a Happy Boy (featuring Once Around the Park) (Medley, 1996)
 Save Me from This Rock 'n' Roll (Medley, 2003)
 10 sekunders stilhed (Genlyd, 2014)

EPs

 Replugged Live (Genlyd, 2015)

Compilation albums

 G.R.E.A.T.E.S.T. (Medley, 1993)
 Greatest H.U.G. (EMI, 2004)
 De første fra Lars H.U.G. (EMI, 2012)

Awards and nominations

References

1953 births
Living people
Danish rock singers
Danish painters
People from Lyngby-Taarbæk Municipality

Lars H.U.G.


Christian hedonism is a controversial Christian doctrine in some evangelical churches, partly those of the Reformed tradition. This term was made by Baptist pastor John Piper in his 1986 book Desiring God. Piper talks about this philosophy of the Christian life as "God is most glorified in us when we are most satisfied in Him."

hedonism

Christian hedonism


"Whenever I Call You Friend" is a song written by Kenny Loggins and Melissa Manchester, which Loggins recorded for his 1978 album Nightwatch. Issued as a single, "Whenever I Call You 'Friend reached #5 in the autumn of 1978.

"Whenever I Call You 'Friend is a duet with Stevie Nicks, who, though credited on the album track, is not credited on the single, making "Whenever I Call You 'Friend, in effect, Loggins's first major solo hit.

In the Netherlands, the pop charts TV programme TopPop invited Dutch singer Kimm Hekker to stand in as the duet singer next to Loggins, as Nicks didn't come over to perform.

Melissa Manchester would say of her one-off songwriting collaboration with Kenny Loggins: "It came out of the oddity of the times - he and I kept running into each other at televised award shows, which were fairly new...We were frequently paired up to present awards together. We would meet and chat in the Green Room, and finally he asked if we could get together and write something. He came to my house one night and we polished off that song."

Manchester would record her own version of the song for her 1979 self-titled album in a duet version with Arnold McCuller. Charles Donovan of AllMusic said Manchester's version was a "far more supple, elegant song" than the Loggins-Nicks duet. In 2012 Manchester, commenting on the absence of her version of "Whenever I Call You Friend" from her retrospective release Playlist: The Very Best of Melissa Manchester, stated: "The reason that it's not [included] is because I don't feel that I have a satisfactory version of the song...Kenny and I have not been able to schedule time to record it together, though we would both like to. We almost got together but our schedules just would not allow it. But the universe is going to create a better time for us to do that." Loggins and Manchester would eventually release a duet together, along with Dave Koz, on October 6, 2023.

Personnel
 Kenny Loggins listed as "Ken Loggins" – lead and backing vocals, guitar
Stevie Nicks – lead and backing vocals
 Mike Hamilton – guitar, backing vocals
 George Hawkins – bass, backing vocals
 Brian Mann – acoustic piano (intro), electric piano
 Tris Imboden – drums
 Jon Clarke – horns, woodwinds
 Vince Denham – horns
 Bob James – string arrangements

Chart performance

Weekly charts

Year-end charts

Cover versions

In 1981 Jeane Manson recorded a French rendering of "Whenever I Call You 'Friend titled "Amitié et amour"; a substantial portion of Loggins's vocal from his 1978 recording was grafted onto the track. Credited to "Jeane Manson & Kenny Loggins," it reached number 54 on the French charts. Later, in 1997 Michael Johnson and Alison Krauss recorded their version for Johnson's album Then and Now, which he co-produced with Gary Paczosa and Krauss's brother Viktor. The album was released by Intersound after its closure and acquisition by Platinum Entertainment.

References

External links

1978 songs
1978 singles
Kenny Loggins songs
Stevie Nicks songs
Columbia Records singles
Songs written by Kenny Loggins
Songs written by Melissa Manchester
Male–female vocal duets
Alison Krauss songs
Melissa Manchester songs
Michael Johnson (singer) songs
Songs about friendship

Whenever I Call You "Friend"


The Battle of (the) Berezina (or Beresina) took place from 26 to 29 November 1812, between Napoleon's  and the Imperial Russian Army under Field Marshal Wittgenstein and Admiral Chichagov. Napoleon was retreating back toward Poland in chaos after the aborted occupation of Moscow and trying to cross the Berezina River at Borisov. The outcome of the battle was inconclusive as, despite heavy losses, Napoleon managed to cross the river and continue his retreat with the surviving remnants of his army.

Background
Napoleon had fought his way out of Russia in the battles of Maloyaroslavets, Vyazma and Krasnoi. His plan was to cross the Berezina River at Borisov (in Belarusian Governorate General) in order to join up with his Austrian ally, Field Marshall Schwarzenberg at Minsk. As the central core of Napoleon's  marched toward Borisov, however, Russian troops supported by Cossacks moved to block his battered force, reduced to 49,000 men under arms and 40,000 stragglers.

On 21 November, the Russians attacked and captured the French garrison at Borisov including the bridge over the Berezina. A French advance force attempted to regain Borisov on 23 November, but the Russians destroyed the bridge and remained in control of the west bank. To the north, Russian field marshal Wittgenstein and an army of 30,000 tracked Napoleon as he moved west. From Minsk in the west, Russian admiral Chichagov (with Chaplits in the vanguard) and an army of 35,000 advanced toward Borisov. And pursuing Napoleon's army from the east was Russian General Miloradovich with a force of an additional 32,000 soldiers.

On 23 November 1812, the Sacred Squadron (French: L'escadron sacré) was formed as an ad hoc cavalry unit which consisted – out of military necessity – entirely of officers to serve as Napoleon's bodyguard.

Russian field marshal Kutuzov with another 39,000 men was in the vicinity, 64 kilometres to the east, but was not involved in the fighting. General Sir Robert Wilson, a British liaison officer traveling with Kutuzov, advocated for a direct confrontation with Napoleon and protested against the Russian strategy allowing Napoleon to withdraw with only peripheral attacks. Kutuzov replied that he was not at all sure that the total destruction of the Emperor Napoleon and his army would be such a benefit to Russia, as Britain would then dominate Europe, and that would be intolerable.

The crossing and battles

As Napoleon's army reached Bobr, 50 kilometres from Borisov, he was informed that the bridge over the Berezina at Borisov had been destroyed. Napoleon also learned that a French cavalry brigade had discovered a place where the river might be crossed eight miles north of Borisov at the hamlet of Studienka. Although this was a place where an ice crossing could normally be made in November, a temporary thaw of the ice and the muddy banks made it necessary that bridges be constructed.

Plans were made to build pontoon bridges. The commander of the pontoon bridge builders, General Jean Baptiste Eblé, had disobeyed Napoleon's previous orders given during the withdrawal to destroy the equipment, forges, and tools necessary for building bridges. To draw the Russians' attention away from the vicinity of the crossing, numerous diversions were undertaken. On 25 November, bridge construction started in Studienka even though numerous campfires belonging to the forces of Admiral Chichagov were observed across the river at Brili.

The movements of French General Nicolas Oudinot's corps and numerous rumours led the Russians to believe that Napoleon would either attack at Borisov and attempt to repair the bridge or he would lead his troops south of Borisov and cross the Berezina downstream. As a result, Chichagov made the decision to move the main body of his force south of Borisov to Szabaszeviki so that he could watch and patrol a 90kilometre stretch of the Berezina River. Russian General Tshaplitz and his force of approximately 3,000 men camped at Brili were ordered to move 15 kilometres south to support the Russian forces at Borisov.

As a result, on the morning of 26 November, the French discovered that the Russians had abandoned their camp on the west bank. Forty French cavalry troopers made their way across the river and protected the crossing of 400 men in boats. This small force then secured the west bank so that the bridges could be completed. Meanwhile, neither of the Russian forces pursuing Napoleon from the rear were very aggressive and both remained substantial distances north and west of the Berezina River while the French bridged the river. This river was 20-30 metres wide and filled with drifting ice, but its banks are swampy, making the crossing extremely difficult.

By 1 p.m. the smaller of the two bridges was complete and Oudinot began to lead his infantry of 7,000 men across the river and establish a defensive position to protect against the Russian forces to the south. Later that afternoon, the larger of the two bridges (for the artillery) was completed, but collapsed twice. Napoleon began to move his force across the Berezina in earnest.

Overnight on 26-27 November, Russian General Chaplitz became aware of the French crossing, consolidated his forces, and attempted to return to Brili to intercept the French. Tshaplitz's forces, however, were stopped well to the south of Brili by Oudinot's battalions. Also on the 27th, Chichagov began to move the main portion of his army back to Borisov when it became apparent that there was no French activity downstream. Chichagov, however, chose not to immediately move north to Brili inasmuch as his men were still in transit and not fully assembled.

By midday of the 27th, Napoleon and his Imperial Guard were across. One of the spans broke in the late afternoon, but the engineers had it repaired by early evening. The corps of Marshal Davout and Prince Eugene were able to cross before the day ended. The last unit on the eastern bank, Marshal Victor's IX Corps was given the order to defend against the approach of Wittgenstein who had then reached Borisov. As a part of that operation, French General Louis Partouneaux's 12th Division of the IX Corps suffered a great defeat, surrendering over 8,000 men when they were overwhelmed by Wittgenstein at Staroi-Borisov.

On 28 November, the Russians coordinated their efforts and attacked Napoleon's  on both sides of the river. On the west bank, Tshaplitz reinforced with additional infantry attacked the French forward positions and began to push Oudinot back to Brili. French General Ney took command when Oudinot was wounded and the Russian advance was stopped. Twenty-five thousand men engaged in a firefight that lasted into the night. Finally, French General Doumerc led a cavalry charge of the Cuirassiers,forcing the Russians back and ending the battle for the day. On the east bank of the river, Wittgenstein attacked Victor's IX Corps at 5 a.m. The French were pushed back in fighting that went on for eight hours. At 1 p.m., the Russians attained a position that enabled them to flank the French and rain down cannon fire on the bridges. The artillery bombardment fell largely upon the stragglers causing a human stampede as individuals rushed for the bridges or jumped into the cold river in an attempt to swim to the other side. The fighting and bombardment lasted for approximately four hours at which time the bridge engineers began working to clear a path for Victor's IX Corps to cross the river.

At about 10 p.m. that evening, Victor's IX Corps made their crossing and three hours later the bridges were free of Napoleon's armed troops. The bridges were then available for the stragglers; however, despite encouragement, most of those who had fought so hard to get across the river during the bombardment chose to light their campfires and spend the night on the east bank. The next morning, the commander of the engineers, General Eblé had Napoleon's order to burn the bridges at 7 a.m. Eblé delayed the execution of that order until 8:30 a.m., at which time, tens of thousands of stragglers and their civilian companions were left behind.

...The unfortunate men who had not taken advantage of the night to get away had at the first appearance of dawn rushed on to the bridge, but now it was too late. Preparations were already made to burn it down. Numbers jumped into the water, hoping to swim through the floating bits of ice, but not one reached the shore. I saw them all there in water up to their shoulders, and, overcome by the terrible cold, they all miserably perished. On the bridge was a canteen man carrying a child on his head. His wife was in front of him, crying bitterly. I could not stay any longer, it was more than I could bear. Just as I turned away, a cart containing a wounded officer fell from the bridge, with the horse also. They next set fire to the bridge, and I have been told that scenes impossible to describe for horror then took place...

Cossacks and Wittgenstein's troops closed in upon Studienka and took the stragglers on the east bank as prisoners. With the pontoon bridges gone, Wittgenstein had no means to cross the river and pursue Napoleon. On the west bank, Napoleon and his  were on their way to Vilna. Chichagov sent Chaplits in pursuit of Napoleon but the French had destroyed three successive bridges across the Gaina swamp between Brili and the Zembin Road leading to Vilna. The swamp could not be crossed without the bridges. Napoleon had escaped. The battle at the Berezina River was over.

Casualties
Author David G. Chandler wrote in "The Campaigns of Napoleon"

Aftermath
The immediate result of the battle of Berezina had been simple: the French retreat went on, the Russian Army followed. Although it had been a Russian tactical victory by definition as the losses of the "defeated" outweighed those of the "victor", the victorious Russian force failed to meet its original objectives. Indeed, despite enormous losses, Napoleon was in a position to claim a strategic victory, having snatched what was left of his army from a seemingly unavoidable catastrophe. There would be no large military confrontation for the rest of the retreat, although the incessant harassment of Russian Cossacks and the weather continued to take a toll on the surviving members of the French army.

The losses had been extraordinary. It is estimated that 20–30,000 French combatants became casualties. "To the number of the slain in action must be added probably as many as 30,000 non-combatants." The Guard, which had not come into action at all, lost about 1,500 men out of 3,500. Much, however, had been saved. Napoleon, his generals, 200 guns, the war chest, much of the baggage, and thousands of officers and veteran soldiers had escaped. Overall, approximately 40,000 members of Napoleon's army were saved. Without this core of experienced men, Napoleon could not have rebuilt his armies for the battles of the War of the Sixth Coalition.

According to author Andrew Zamoyski:
The next two days were, according to some, among the worst of the entire retreat[...]no fallen horse or cattle remained uneaten, no dog, no cat, no carrion, nor indeed, the corpses of those who died of cold and hunger.

Napoleon left his army on 5 December at Vilna. The temperatures dropped to -33.75 °C on 8 December and the number of combatants was down to 4,300. On 14 December the rest of the French main army crossed the Niemen. 36,000 French prisoners of the  were taken by the Cossacks between 1–14 December. The only troops that had remained were the flanking forces (43,000 under Schwarzenberg, 23,000 under Macdonald), about 1,000 men of the Guard and about 40,000 stragglers. No more than 110,000 were all that was left from 612,000 (including reinforcements) that had entered Russia. The Russian losses may be about 250,000 men.
Louise Fusil, a French  actress, who was living in Russia for six years, returned with the army and offers details in her memoires.

Gallery
The drama of the battle's story inspired many works of art centred on the crossing:

See also
List of battles of the French invasion of Russia

Citations

References

General references

 Mikaberidze, Alexander (2010). Napoleon's Great Escape: The Battle of the Berezina. London: Pen and Sword. .
 Morelock, Jerry, Napoleon's Russian nightmare. Misjudgments, Russian strategy and "General Winter" changed the course of history, 2011
 Pigeard, Alain – "Dictionnaire des batailles de Napoléon", Tallandier, Bibliothèque Napoléonienne, 2004,
 Pigeard, Alain – "La Bérézina", Napoléon Ier Editions 2009
 Tulard, Jean – "Dictionnaire Napoléon"; Librairie Artème Fayard, 1999,
 Weider, Ben and Franceschi, Michel, The Wars Against Napoleon: Debunking the Myth of the Napoleonic Wars, 2007

External links

1812 in Belarus
1812 in the Russian Empire
Barysaw
Battles of the French invasion of Russia
Battles of the Napoleonic Wars
Battles involving France
Battles involving Poland
Battles involving Russia
Conflicts in 1812
Military history of Belarus
Minsk Governorate
November 1812 events

Battle of Berezina


Santa Maria Assunta is  a Roman Catholic parish church in the comune of Galzignano Terme, province of Padova, region of Veneto, Italy.

History
The first parish church, dedicated to the Holy Trinity, was built in the 11th century. This church was destroyed in 1337 by Riccobona Carrarese, when he patronized the Franciscan monastery of Sant'Antonio. A chapel or oratory likely existed at the site of Santa Maria Assunta, and with growth of population, it became parish church, while St Eusebius became chapel. The present layout of the church is owed to a 1674 reconstruction, and refurbished in a neoclassical-style  in the mid-19th century. The bell tower was completed in 1905. The main altar (1676) houses an altarpiece depicting the Assumption of the Madonna above St Valentine and Phillip Neri by Claudio Ridolfi.

References

17th-century Roman Catholic church buildings in Italy
Churches in the province of Padova
Neoclassical architecture in Veneto
Neoclassical church buildings in Italy
Galzignano Terme

Santa Maria Assunta, Galzignano Terme


Nancy Harrow (born October 3, 1930, New York City) is an American jazz singer and songwriter.

Career
Harrow studied classical piano beginning at age seven, then decided to pursue careers in dancing and singing.

She released an album for Candid Records in 1961 (featuring Kenny Burrell, Buck Clayton, Dickie Wells, and Milt Hinton) and one for Atlantic Records in 1963 (featuring John Lewis, Dick Katz, Phil Woods, Jim Hall, Richard Davis, and Connie Kay), then left music to raise a family. She returned to music in 1975.

Since then she has worked with Katz and Woods, Clark Terry, Roland Hanna, and Bob Brookmeyer. She recorded albums based on The Lost Lady by Willa Cather and The Marble Faun by Nathaniel Hawthorne. Her album Winter Dreams, based on the life of F. Scott Fitzgerald, was used for the musical This Side of Paradise, which ran for six weeks in New York City in 2010 at the Theatre at St. Clements and in 2013 at the History Theatre in St. Paul, Minnesota. For the Last Time, a jazz musical based on The Marble Faun, ran for six weeks at the Clurman Theatre on Theatre Row in New York City in 2015.

Two of Harrow's song cycles were based on children's stories. The Adventures of Maya the Bee, based on a story by Waldemar Bonsels, ran as a puppet show in New York City for seven years, was translated into Japanese, and was performed in Japan for two years. The Cat Who Went to Heaven, based on a story by Elizabeth Coatsworth, had short runs in New York City at the Mercer Street Theater, the Asia Society, and the Harlem School of the Arts. It had elevens performances at the Kennedy Center in the spring of 2011 and was performed at the Brooklyn Academy of Music in 2014.

Harrow is the mother of Damon Krukowski, a musician with the band Galaxie 500 and the duo Damon and Naomi.

Discography

As leader
 Wild Women Don't Have the Blues (Candid, 1961)
 You Never Know (Atlantic, 1963)
 Anything Goes (Audiophile, 1979)
 Two's Company (Inner City, 1984)
 You're Nearer (Tono, 1986)
 Street of Dreams (Poljazz, 1989)
 The Beatles & Other Standards (Nippon Phonogram/EmArcy, 1990)
 Secrets (Soul Note, 1991)
 Lost Lady (Soul Note, 1994)
 The Marble Faun (Harbinger, 1999)
 The Adventures of Maya the Bee (Harbinger, 2000)
 Winter Dreams: The Life and Passions of F. Scott Fitzgerald (Artists House, 2003)
 The Cat Who Went to Heaven (Artists House, 2005)
 An Intimate Evening With Nancy Harrow (Benfan, 2010)
 In the Wee Small Hours (Camerata, 2010)
 The Song Is All (Benfan, 2016)
 Partners (Benfan, 2018)
 Partners II: I Don't Know What Kind of Blues I've Got (Benfan, 2021)

As guest
  John Lewis, The John Lewis Album for Nancy Harrow'' (Finesse, 1981)

References
 Scott Yanow, [ Nancy Harrow profile at Allmusic.com]

Notes

1930 births
American women jazz singers
American jazz singers
Inner City Records artists
Living people
Singers from New York City
Jazz musicians from New York (state)
Black Saint/Soul Note artists
Atlantic Records artists
Candid Records artists
21st-century American women

Nancy Harrow


A jam band is a musical group whose concerts and live albums substantially feature improvisational "jamming." Typically, jam bands will play variations of pre-existing songs, extending them to improvise over  chord patterns or rhythmic grooves. Jam bands are known for having a very fluid structure, playing long sets of music which often cross genre boundaries, varying their nightly setlists, and segueing from one song into another without a break.

The jam-band musical style, spawned from the psychedelic rock movement of the 1960s, was a feature of nationally famed groups such as the Grateful Dead and The Allman Brothers Band, whose regular touring schedules continued into the 1990s. The style influenced a new wave of jam bands who toured the United States with jam band-style concerts in the late 1980s and early '90s, such as Phish, Blues Traveler, Widespread Panic, Dave Matthews Band, The String Cheese Incident, and Col. Bruce Hampton and the Aquarium Rescue Unit. The jam-band movement gained mainstream exposure in the US in the early 1990s with the rise of Phish and the Dave Matthews Band as major touring acts and the dissolution of the Grateful Dead following Jerry Garcia's death in 1995.

Jam-band artists often perform a wide variety of genres. While the Grateful Dead is categorized as psychedelic rock, by the 1990s the term "jam band" was applied to acts that incorporated genres such as blues, country music, contemporary folk music, funk, progressive rock, world music, jazz fusion, Southern rock, alternative rock, acid jazz, bluegrass, folk rock and electronic music into their sound. Although the term has been used to describe cross-genre and improvisational artists, it retains an affinity to the fan cultures of the Grateful Dead or Phish.

A feature of the jam-band scene is fan recording of live concerts. While the mainstream music industry often views fan taping as "illegal bootlegging", jam bands often allow their fans to make tapes or recordings of their live shows. Fans trade recordings and collect recordings of different live shows, because improvisational jam bands play their songs differently at each performance.

History

Modern use and definition

In the 1980s, the Grateful Dead's fan base included a large core group that followed their tours from show to show. These fans (known as "Deadheads") developed a sense of community and loyalty. In the 1990s, the band Phish began to attract this fan base. The term "jam band" was first used regarding Grateful Dead and Phish culture in the 1980s. In 1998, Dean Budnick wrote the first book devoted to the subject, entitled Jam Bands. He founded Jambands.com later that year and is often credited with coining the term. However, in his second book on the subject, 2004's Jambands: A Complete Guide to the Players, Music & Scene, he explains that he only popularized it.

Rolling Stone magazine asserted in a 2004 biography that Phish "was the living, breathing, noodling definition of the term" jam band, in that it became a "cultural phenomenon, followed across the country from summer shed to summer shed by thousands of new-generation hippies and hacky-sack enthusiasts, and spawning a new wave of bands oriented around group improvisation and super-extended grooves." Another term for "jam band music" used in the 1990s was "Bay Rock". It was coined by the founder of Relix magazine, Les Kippel, as a reference to the 1960s San Francisco Bay Area music scene, which included the Grateful Dead, Jefferson Airplane and Moby Grape, among many others.

By the late 1990s, the types of jam bands had grown so that the term became quite broad, as exemplified by the definition written by Dean Budnick, which appeared in the program for the first annual Jammy Awards in 2000 (Budnick co-created the show with Wetlands Preserve owner Peter Shapiro).

Although in 2007 the term may have been used to describe nearly any cross-genre band, festival band, or improvisational band, the term retains an affinity to Grateful Dead-like bands such as Phish. Andy Gadiel, the initial webmaster of Jambands.com, states in Budnick's 2004 edition of Jambands that the music "...had a link that would not only unite bands themselves but also a very large community around them."

Ambiguity

By the late 1990s, the term jam band became applied retroactively in jam band circles for bands such as Cream, who for decades were categorized as a "power-trio" and "psychedelic rock", and who when active were largely unrelated to the Grateful Dead, but whose live concerts usually featured several extended collective improvisations. In his October 2000 column on the subject for jambands.com, Dan Greenhaus attempted to explain the evolution of a jam band as such: At this point, what you sing about, what instruments you play, how often you tour and how old you are has become virtually irrelevant. At this point, one thing is left and, ironically, after all these years, it's the single most important place one should focus on; the approach to the music. And the jamband or improvisational umbrella, essentially nothing more than a broad label for a diverse array of bands, is open wide enough to shelter several different types of bands, whether you are The Dave Matthews Band or RAQ.

The Jammy Awards have had members of non-jamming bands which were founded in the 1970s and were unrelated to the Grateful Dead perform at their show such as new wave band The B-52's. The Jammys have also awarded musicians from prior decades such as Frank Zappa.

Debate

Artists such as The Derek Trucks Band have resisted being labelled a jam band. Dave Schools of Widespread Panic said in an interview, "We want to shake free of that name, jam band. The jam band thing used to be the Grateful Dead bands. We shook free of that as hard as we could back in 1989. Then Blues Traveler came on the scene. All together, we created the H.O.R.D.E. tour, which focused a lot of attention on jam bands. Then someone coined the term jam bands. I'd rather just be called retro. When you pigeonhole something, you limit its ability to grow and change." An example of a prior-era band that gained the label "jam band" through an active affiliation with the 1990s jam band culture is The Allman Brothers Band. However, Gregg Allman has been quoted as recently as 2003 by his fellow band member Butch Trucks in stating that rather than being a jam band, The Allman Brothers are "a band that jams".

Although Trucks suggests that this is only a difference of semantics, the term has a recent history for which it is used exclusively. An example of this discernment is the acceptance of Les Claypool as a jam band in the year 2000. Though known for his decade with Primus (a band that jams) and solo works, it was after he created the Fearless Flying Frog Brigade with members of Ratdog and released Live Frogs Set 1 that as Budnick wrote had "marked [Claypool's] entry into [the jamband] world." Budnick has been both editor-in-chief of Jambands.com and executive editor of Relix magazine.

Late 1960s–1970s: The Dead and the Allmans

The band that set the template for future jam bands was the Grateful Dead, founded in 1965 by San Francisco-based guitarist Jerry Garcia. The Dead attracted an enormous cult following, mainly on the strength of their live performances and live albums (their studio albums were only modest successes and received little radio play). The band specialized in improvisational jamming at concerts. They played long two-set shows, and gave their fans a different experience every night, with varying set lists, evolving songs, creative segues, and extended instrumentals. Some of their fans, known as "Deadheads", followed their tours from city to city, and a hippie subculture developed around the band, complete with psychedelic clothes, a black market in concert-related products, and drug paraphernalia. The band toured regularly for most of three decades.

The Allman Brothers Band were also considered a jam band, particularly during the Duane Allman era. Songs such as "In Memory of Elizabeth Reed" and "Whipping Post", which were 5–7 minutes long on their studio albums, became 20-minute jams at concerts. The Allmans performed a 34-minute jam with the Grateful Dead in 1970. Their 1972 album Eat A Peach included "Mountain Jam", a 34-minute instrumental that was recorded live. The 1971 live album At Fillmore East featured a 24-minute version of "Whipping Post", and a 20-minute version of Willie Cobbs' "You Don't Love Me".

The British space rock band Hawkwind were also progenitors of the jam band sound.

1980–1999: Deadheads

The eventual heirs to "Shakedown Street" fan culture, Phish, formed in 1983 at the University of Vermont. They solidified their lineup in 1985 and began their career with a few Grateful Dead songs in their repertoire. The party atmosphere of Grateful Dead shows drew in a new generation of fans, especially after they released "Touch of Grey" which became a hit song on MTV in 1987. They eventually began playing football stadiums, where fans turned the parking lots into campgrounds.

In the mid-1980s and early-1990s, the bands Phish, moe., Edie Brickell & New Bohemians, Blues Traveler, Ozric Tentacles, Widespread Panic, Dave Matthews Band, Bela Fleck and the Flecktones, Spin Doctors, The String Cheese Incident, Col. Bruce Hampton and the Aquarium Rescue Unit, Medeski Martin & Wood, The Black Crowes, Leftover Salmon, The Samples, Galactic, əkoostik hookah, and Lettuce, began touring with jam band-style concerts. Their popularity increased in the early 1990s. Widespread Panic originated when Michael Houser and John Bell started playing together. In 1986, after Todd Nance and Dave Schools joined them, the band played their first show as "Widespread Panic". Blues Traveler and Spin Doctors - formed and fronted by school friends John Popper and Chris Barron, respectively - regularly performed at the jam band-friendly venue Wetlands Preserve in New York City.

Improvisations have taken a backseat to more polished material, which may be due to their crossover commercial successes, MTV videos, and mainstream radio airplay. Most notable in pre-jam band history was the obvious influence of the Grateful Dead. By the end of the decade, Phish had signed a recording contract with Elektra Records, and transformed from a New England/Northeast-based band into a national touring band (see: Colorado '88). While they may not have had Phish's commercial success, "With its fusion of southern rock, jazz, and blues, Widespread Panic has earned renown as one of America's best live bands. They have often appeared in Pollstar's "Concert Pulse" chart of the top fifty bands on the road, and they have performed more than 150 live dates a year."

In the early 1990s, a new generation of bands was spurred by the Grateful Dead's touring and the increased exposure of The Black Crowes, Phish, and Widespread Panic. Phish was building a large fan base and innovating new concepts into their shows. At the same time, the Internet gained popularity and provided a medium for fans to discuss these bands and their performances as well as to view emerging concepts.

Phish (along with the Grateful Dead, Bob Dylan, and The Beatles) was one of the first bands to have a Usenet newsgroup. To capitalize on this, they experimented with new theatrics at shows, such as the Big Ball Jam (1992–1994), the Secret Language (from 1992), and the Audience Chess match (1995 tour). A rapidly expanding concert-going market in the early 1990s saw Phish playing mid-sized amphitheaters in 1993 and 1994. The band also played at large venues such as Madison Square Garden. Many new bands were formed, which were the first to actually be called "jam bands", including ekoostik hookah, Dispatch, Gov't Mule, Leftover Salmon, moe., Rusted Root and The String Cheese Incident.

During the summer of 1995 Garcia died. The surviving members of the Grateful Dead formed The Other Ones (appearing as "The Dead" for some tours). During the same period, Phish rose to prominence, and bands such as String Cheese Incident and Blues Traveler became successful. Many Deadheads migrated to the Phish scene, and Phish became recognized as more mainstream.

The jam-band scene gained more recognition during the late 1990s, with Dave Matthews Band and Phish being among the most influential bands of the genre, drawing large crowds to amphitheaters and arenas. Dave Matthews Band played at Woodstock '99 while Phish celebrated the new millennium with an enormous festival called "Big Cypress" in southern Florida, which concluded with an eight-hour set. As of 2015, Phish has played a total of ten multi-day camping festivals. Other jam bands followed the success of these festivals, notably the Disco Biscuits, who held their first Camp Bisco in 1999, and moe., which began its annual moe.down festivals in 2000.

2000–present
The third generation of jam bands appeared in the late 1990s and early 2000s, many inspired by Phish and other acts of the second wave. These included Soulive, Gov't Mule, The Derek Trucks Band, Steve Kimock Band and My Morning Jacket. Additionally, groups such as The Disco Biscuits and Sound Tribe Sector 9 added electronic and techno elements into their performances, developing the livetronica subgenre. The early 2010s saw a fourth generation of jam bands, including Dopapod, Pigeons Playing Ping Pong, CBDB, Goose, Twiddle, Moon Taxi and Spafford. Members of the Grateful Dead have continued touring since 1995 in many different iterations, such as The Dead, Bob Weir & Ratdog, Phil Lesh and Friends, Donna Jean Godchaux Band, 7 Walkers, Furthur, and Dead & Company. Members of other jam bands often perform together in various configurations and supergroups, such as Tedeschi Trucks Band, Oysterhead, and Dave Matthews & Friends. A consequence of Phish's repopularization of large-scale festivals can be seen in the founding of the Bonnaroo Music Festival in 2002. This multi-band, multi-day festival which annually draws close to 100,000 music fans, started as a jam band-focused event.  Over time, bands from many genres have performed at Bonnaroo, but the similarities to Phish's festivals are still apparent.

There was no clear jam-band successor after Phish's 2004 breakup. Newer bands such as STS9, Disco Biscuits, and Umphrey's McGee grew their fanbase. No upcoming jam band has yet to reach the attendance levels of Phish, who themselves had never attained the peak attendance of the Grateful Dead. The long-term fragmentation of the jam-band scene has been a continuing process. Phish held a reunion concert in March 2009 at Hampton Coliseum, and again became one of the top US concert draws. The band were one of the highest-grossing touring musical artists of both 2016 and 2017, and their 13-night "Baker's Dozen" run at Madison Square Garden in 2017 grossed $15 million.

Many of today's jam bands have brought widely varied genres into the scene. A jam band festival may include bands with electronic, folk rock, blues rock, jazz fusion, psychedelic rock, southern rock, progressive rock, acid jazz, hip hop, hard rock, reggae, and bluegrass sounds. The electronic trend has been led by such bands as The Disco Biscuits, Sound Tribe Sector 9 (STS9), Lotus, EOTO, The New Deal, and Dopapod. Bands like moe., Umphrey's McGee, Lettuce, Assembly of Dust, The Heavy Pets and The Breakfast have carried on the classic rock sound mixed with exploratory jams.  Members of the Grateful Dead have continued touring in many different configurations as The Dead, Bob Weir & Ratdog, Phil Lesh and Friends, 7 Walkers, Furthur, and Dead & Company.

The British Intelligent dance music (IDM) band Autechre became known as "the first digital jam band" after their 4-hour long 2016 album set elseq 1-5. Blending jam-band elements with those of electronica is known as "jamtronica" or "livetronica" (a portmanteau of the terms "live music" and "electronica"). Bands includes The Disco Biscuits, STS9 (Sound Tribe Sector 9), and The New Deal (although STS9 guitarist Hunter Brown has expressed basic reservations about the "livetronica" label, explaining that "it's a really vague term to describe a lot of bands", he did cite Tortoise as stylistic precursors). Entertainment Weekly also identified Prefuse 73, VHS or Beta, Lotus, Signal Path, MFA, and Midwest Product as notable livetronica groups.

Jam scene
The contemporary jam scene has grown to encompass bands from a great diversity of musical genres. A 2000-era genre of jam-band music uses live improvisation that mimics the sounds of DJs and electronica musicians and has been dubbed "jamtronica". Progressive bluegrass, progressive rock and jazz fusion are also quite popular among fans of jam bands. In the early 2000s, the jam scene helped influence the touring patterns and approach of a new wave of indie bands like Vampire Weekend, MGMT, Interpol, and The National.

Hundreds of jam-based festivals and concerts are held throughout the US. The Bonnaroo Music Festival, held each June in Tennessee, continues to provide a highly visible forum for jam acts, although this festival has attracted many different genres during its decade-plus history. As with other music scenes, devout fans of jam bands are known to travel from festival to festival, often developing a family-like community. These committed fan groups are often referred to by the derogatory terms "wookies" or "wooks".

Taping

Jam bands often allow their fans to record their live shows, a practice which many other musical genres view as "illegal bootlegging". The Grateful Dead encouraged this practice, which helped to create a thriving scene around the collecting and trading of recordings of their live performances.

Starting in 1984, the band recognized the fact that people were already "unofficially" taping their shows, so they started to sell taper tickets for a taper's section, segregating these people with their equipment into one area of the venue to keep them from interfering with other concertgoers.

Improvisational jam bands perform their songs differently at each performance and generally have no fixed setlist, to encourage fans to see them on multiple nights. Some fans collect versions of their favourite songs and actively debate which is the best version of any particular song, keeping lists of notable version. This may extend to the song's relative rarity in setlists of differing eras. Some bands will play on this anticipation by adding little "teases" into their sets. For example, playing a few bars of a famous cover song or hinting at a popular jam and then either never getting around to actually playing the song, or coming back to it after an extended jam. The use of segues to blend strings of songs is another mark of a jam band, and one which makes for sought-after tapes.

Music downloading
By the 2000s, as internet downloading of MP3 music files became common, the downloading of jam-band songs became an extension of the cassette taping trend. Archived jam-band downloads are available at various websites, the most prominent ones being etree and the Live Music Archive, which is part of the Internet Archive.

Some jam bands distribute their latest shows online. Bands such as Phish, Widespread Panic, The String Cheese Incident, Gov't Mule, əkoostik hookah, Umphrey's McGee, Dopapod, Lotus, and The Disco Biscuits have offered digital downloads within days, or sometimes hours, of concerts. The Grateful Dead have begun to offer live releases from their archives for download.

Some concert venues offer kiosks where fans may purchase a digital recording of the concert and download it to a USB flash drive or another portable digital storage device. Some bands offer concert recordings made available for purchase on compact disc or flash drive shortly after the show ends. Most major music festivals also offer digital live recordings at the event. Several vendors such as Instant Live by Live Nation and Aderra offer this remote recording service for instant delivery. Although these shows are freely traded in digital format, "official" versions are collected by fans for the graphics, liner notes, and packaging.

Venues and festivals

In the August 2006 issue of Guitar One on jam bands, the following places were referred to as the "best places to see jam music": Red Rocks Amphitheatre, Red Rocks Park, Denver, CO; The Gorge Amphitheatre, George, Washington; High Sierra Music Festival, Quincy, CA; Saratoga Performing Arts Center, Saratoga Springs, NY; The Greek Theater, Berkeley, CA; Bonnaroo Music Festival (Bonnaroo has become increasingly mainstream in recent years, and has seen a shift in fan base), Manchester, TN; The Warfield Theater, San Francisco, California; Higher Ground, Burlington, Vermont, Nelson Ledges Quarry Park, Garrettsville, Ohio; and the Jam in the Dam in Amsterdam.

One way to see many jam bands in one place is by going to a jam band-oriented music festival. Some popular festivals that include jam bands are: Bonnaroo Music Festival in Manchester, Tennessee; Gathering of the Vibes in Bridgeport, Connecticut; Rothbury Festival in Rothbury, Michigan (now known as Electric Forest Festival); High Sierra Music Festival in Quincy, California; All Good Music Festival; The Peach Music Festival in Scranton, PA; Mountain Jam (festival) in Hunter Mt, New York; Telluride Bluegrass Festival in Colorado; Lockn' Festival in Arrington, Virginia; The Werk Out Music Festival in Thornville, Ohio; and Summer Camp Music Festival in Chillicothe, Illinois.

Business model and copyright law

Law professor Mark Schultz found that jam bands had fundamentally different business models from the mainstream music industry. This could be seen in the perceptions of their fans:  Jam-band fans view themselves and the band as part of a shared community, which the band management serves. In comparison, fans of mainstream music "often portray band management as part of a ruthless industry that ... mistreats fans and musicians alike".

Professor Tom R. Tyler considered the main law-enforcement strategies for copyright protection, finding that deterrence and process-based strategies could both be effective, but that the latter was more efficient.

Jam bands encourage fans to bring recording equipment to live performances and give away copies of what they record. This practice may increase the sizes of their audiences and the total revenue received from concerts and the sale of recorded music. The fans reciprocate the generosity of the jam bands by helping enforce the copyright rules that the bands write, consistent with Tyler's "process-based" law enforcement. Schultz said the Recording Industry Association of America (RIAA) seems to call most fans pirates intent on stealing their music.

Schultz said that the key concept here is reciprocity: Fans treated with generosity and respect by jam bands tend to be more loyal even to the point of helping enforce the copyrights the jam bands claim. Fans similarly reciprocate the hostility they perceive in the anti-piracy lawsuits filed by the mainstream recording industry. It is unclear which business model is most remunerative for music industry managers, but Schultz insisted that jam bands tend to have more loyal fans, and the mainstream music industry might benefit from following this model and treating their fans with more respect.

List of jam bands

See also

Deadhead
Jerry Garcia
Monterey Pop Festival (1967)
Woodstock (1969)
Altamont Free Concert (1969)
Isle of Wight Festival
Psychedelic rock
Jammy Award
List of jam bands
List of jam band music festivals

References

External links

Musical improvisation
Jazz terminology

Jam band


Doblada in Mexican food, is a corn tortilla or wheat tortilla,  folded one time, forming a half circle, or folded twice forming a quarter circle, which is sauteed in oil, covered with sauce and sprinkled with cheese. As a garnish, it can accompany some dishes as in carne a la tampiqueña or be an appetizer, as in enchiladas or enfrijoladas with no chicken filling.

References
Del Castillo, María. (1966). Cocina mexicana. Ed. Olimpo.

Mexican cuisine
Tortilla

Doblada (Mexican cuisine)


Howell is a town located in the Blue Creek Valley in northeast Box Elder County, Utah, United States. The population was 245 at the 2010 census.

Geography
According to the United States Census Bureau, the town has a total area of , of which  is land and  (0.56%) is water.

Demographics

As of the census of 2000, there were 221 people, 68 households, and 55 families residing in the town. The population density was 6.2 people per square mile (2.4/km2). There were 75 housing units at an average density of 2.1 per square mile (0.8/km2). The racial makeup of the town was 99.10% White, 0.45% African American and 0.45% Native American.

There were 68 households, out of which 41.2% had children under the age of 18 living with them, 75.0% were married couples living together, 4.4% had a female householder with no husband present, and 19.1% were non-families. 19.1% of all households were made up of individuals, and 4.4% had someone living alone who was 65 years of age or older. The average household size was 3.25 and the average family size was 3.76.

In the town, the population was spread out, with 36.2% under the age of 18, 12.2% from 18 to 24, 20.8% from 25 to 44, 22.6% from 45 to 64, and 8.1% who were 65 years of age or older. The median age was 26 years. For every 100 females, there were 130.2 males. For every 100 females age 18 and over, there were 101.4 males.

The median income for a household in the town was $40,750, and the median income for a family was $42,250. Males had a median income of $39,861 versus $12,292 for females. The per capita income for the town was $16,510. About 7.3% of families and 7.6% of the population were below the poverty line, including 12.6% of those under the age of eighteen and 17.6% of those 65 or over.

History
Howell lies in the Blue Creek Valley that stretches north-south between four mountain ranges, Promontory Mountains, south, North Promontory Mountains, west, West Hills, northeast, and Blue Spring Hills, southeast. The northeast Great Salt Lake lies to the south of Howell, and north of Howell finds Interstate 84, roughly the area known to locals as Blue Creek. Nomadic Shoshone Indians used the area to travel between the Great Salt Lake and areas to the north.

Charles Crocker, a California developer and business man oversaw development of the First transcontinental railroad, which passed through Promontory, about  south of Howell. The Golden Spike was driven near Promontory (at Lampo) in 1869. Crocker formed the Promontory Land and Livestock Company in this time period, which had land holdings that stretched from the Great Salt Lake north to Idaho, and west to Nevada. The area was used for cattle ranching, with headquarters in Promontory, Howell, and the Dilly Ranch. The company disbanded in 1909.

In 1909 the newly created Promontory-Curlew Land Company purchased the Promontory Land and Livestock Company's Utah and Idaho land holdings. Howell is named after Utah Congressman Joseph Howell who was involved with the Promontory-Curlew Land Company.

In 1910 Nephi Nessen purchased  from the Promontory-Curlew Land Company, and established the first private and permanent residence in Howell. Nessen was born in Logan, Utah in 1867, the son of Danish immigrants and converts to the Church of Jesus Christ of Latter-day Saints who crossed the plains from the east as part of a Handcart company. Other settler families included Andersen, Baxter, Cravens, Gunnell, Bailey, Carlsen, Douglas, Fonnesbeck, Rock, Wood, Allen, Barber, and Maughn.

The Bar M Ranch was headquartered near what is now the town center. A school was opened in 1910 in a Bar M Ranch building. In 1911, a new school was opened (pictured above), which has now been converted into a community center. In 1980, a modern school was built for kindergarten through third grades, but closed in 2008.

In 1904, the Blue Creek Reservoir was built on Blue Creek,  northwest of Howell. However, the reservoir is now located almost entirely within the town limits

Transportation
While I-84 only passes through the northeastern corner of the town, SR-83 heads south from the interstate to pass through the town (and continues on to Corinne).

See also

 List of cities and towns in Utah

References

External links

 Howell - archived page on Box Elder County website (via web.archive.org)
 Howell history (on Box Elder County website)

Towns in Box Elder County, Utah
Towns in Utah
Populated places established in 1909
1909 establishments in Utah

Howell, Utah


Schönteichen is a former municipality in the district of Bautzen, in Saxony, Germany. Schönteichen was created in 1994 by the merger of nine formerly independent municipalities. It was merged into the town Kamenz in January 2019. Schönteichen is a small community between the Upper Lusatian heath and the pond area of the Westlausitzer hills and mountains. With its nine districts - Biehla, Brauna, Cunnersdorf, Hausdorf, Liebenau, Petershain, Rohrbach, Schönbach and Schwosdorf - it covers an area of almost 45 km², surrounded by larger forest areas and nestled in a charming pond landscape. The municipality has its name from the countless ponds in the towns, which decisively shape the landscape.

References

External links
Schönteichen Website

Populated places in Bautzen (district)
Former municipalities in Saxony

Schönteichen


Enriqueta Favez  (c. 1791 – 1856) also known as Henriette Favez and Henrietta Faber, was a Swiss physician and surgeon who practiced medicine in the Napoleonic Wars and in Cuba. Although female, Favez lived as a male surgeon for approximately four years in Cuba—a fact that culminated in a well-documented trial and expulsion from the Spanish territories. Following her expulsion, she lived the remainder of her life as Sor Magdalena, a nurse for Daughters of Charity Services in New Orleans, eventually rising to the position of Mother Superior for that congregation.

Biography
Enriqueta Favez may have been born into a bourgeois family in Lausanne, Switzerland, around 1791. Her family origin is unverifiable, and undocumented. According to her own testimony, collected during a trial in Cuba, her parents died while she was an infant, and she was married to a French soldier at the age of 15 (c. 1806) by an uncle. Three years later, both her husband and infant daughter died. The former allegedly died in battle, the latter died for unknown reasons at eight days old.

Favez remained in Paris and took up the study of medicine at the Sorbonne, taking on the dress and identity of a male army officer with her deceased husband's rank. After Favez's graduation, she worked as a French army surgeon during the Napoleonic Wars, allegedly alongside her uncle, until she was captured by Wellington's forces in Spain, and imprisoned.

After the war, Favez left for Cuba. She was licensed by the medical board in Habana, and started a practice in Baracoa, then a small outpost in eastern Cuba. Her clients included the largely poor local population.

Eventually, Favez married an impoverished, mestizo woman from a neighboring town, Juana de Léon. Although Juana was most likely aware of the fact that Favez was female, there is lingering speculation about whether Juana knew of that fact when they were married.

Four years after her marriage to Juana, and successful integration into the elite in Baracoa, speculation about Favez' biological sex surfaced. Despite efforts to stem rumors, Favez was found inebriated, with her shirt unbuttoned, by a servant, who promptly informed the local authorities. Favez was arrested, imprisoned, and put on trial. The charges cited by the court included the illegal practice of medicine by a woman, fraud against the medical board and local authorities, and coercing a woman into disreputable marriage. Forcible examinations by local doctors revealed her sexual anatomy, and several accusatory letters allegedly written by Juana de Léon surfaced throughout her trial. Historical documents at her trial record that she defended herself against the charges by stating that she was a male spirit in a female body. Favez was declared guilty, and her marriage to Juana de Léon was annulled.

After deliberations, the court in Baracoa sought to place Favez in the Hospital de Paula de la ciudad de La Habana, in Havana, to serve a four-year sentence. The Hospital rejected this arrangement, and requested that Favez be transferred to La Casa de Recogidas de San Francisco de Paula, a secure institution housing female criminals, citing concerns over its own lack of security and "proper" supervision.

Following her second recorded suicide attempt, Favez was barred from the institution, as well as the Spanish territories, and placed on a ship to New Orleans, where she joined the Daughters of Charity Services as a nun. As Sor Magdalena, she continued to provide medical aid to the poor, and later became the Mother Superior of her Congregation. She died in New Orleans at the age of 65, having never returned to Cuba.

Legacy

Favez's story is documented in several books, including For Dressing Like a Man by Cuban historian Julio Cesar Gonzáles Pagés, whose publication was supported by the Swiss Agency for Development and Cooperation. The present article is based on documentary evidence and news digests of that book. Pagés, though referring to Favez as a woman confronting the challenges of her time and Favez's marriage as a lesbian one, also raised the possibility in an interview that Favez may have been a trans man.

The life of Favez is also the subject of a 2005 documentary film by director Lídice Pérez (see ) and a theatre play by the group Rita Montaner. In 2018, the Cuban-Swiss film Insumisas was released, with Sylvie Testud in the role of Enriqueta Favez.

See also
 James Barry (surgeon)

References

 For Dressing Like a Man. A New Book on Transexuality. Interview with Julio Cesar Gonzáles Pagés.

French military doctors
University of Paris alumni
1790s births
1856 deaths
People from Lausanne
19th-century Swiss LGBT people
Female wartime cross-dressers
19th-century Cuban people
Swiss expatriates in Cuba

Enriqueta Favez


Cleats or studs are spikes or studs that are attached to the bottom of a shoe to provide more traction (grip) on a soft or slippery surface. Shoes specially designed for several kinds of sports, such as baseball and all the different kinds of football, have cleats, so that the players do not slip on the ground so easily. Ice cleats (or crampons) are a type of spikes that usually are attachable to the soles of shoes to prevent slipping on ice.

Footwear
Sports equipment

Cleat


Viktor Yefimovich Khain ( 26 February 1914, Baku – 24 December 2009, Moscow) was a Soviet and Russian geology scientist, academician of Academy of Sciences of the Soviet Union (1987) and a number of national and international academies.

Early years and education
He was born in Baku. He graduated from the geological survey department of the mining faculty of the Azerbaijan Industrial Institute (now the Azerbaijan State Oil Academy). Following his work for Aznefterazvedka (Azerbaijan Oil Exploration Company) until 1938, he moved on to the Azerbaijan Oil Scientific Research Institute and worked there until 1941. In 1940, he defended his Ph.D. thesis at the Leningrad Central Scientific Research Institute of Geological Exploration. As a Red Army draftee between 1941 and 1945, he served in a Baku Air Defense Army regiment until 1945.

Academic career
In 1945, Khain started working for the Institute of Geology of the Azerbaijan Academy of Sciences where he was soon appointed head of the regional geology department, teaching at the same time a course on geotectonics at the Azerbaijan Industrial Institute. Under his guidance, a monograph titled "Geology of Azerbaijan" as well as a geological map and a tectonic map of Azerbaijan were published. In 1947 he defended his doctoral thesis on geological structure and oil and gas potential of the South-Eastern Caucasus at the Institute of Geology of the Azerbaijan Academy of Sciences. In 1949 V. Khain was awarded professorship in the oil and gas geology department and worked there until 1954, having published in the interim a fundamental monograph titled "Geotectonic basics of oil exploration". He moved to Moscow in 1954. The geologist's selfless work was highly appreciated, and in 1966 V. Khain was elected a corresponding member of the USSR Academy of Sciences and became a USSR AS academician on geotectonics and geophysics in 1987.

Recent initiatives
In 2009, Khain together with his student – Vice-president of the International Academy of Sciences (IAS) Health & Ecology, IAS and RANS academician, Doctor of geological and mineralogical sciences, Professor Elchin Nusrat oglu Khalilov came up with an initiative called Geochange Communiqué on global change of the geological environment. The Communiqué provides geological and geophysical evidence to substantiate the existence of global changes of the geological environment, the changes which cause Earth's seismic and volcanic activity to increase significantly and its magnetic pole drift to accelerate to a great extent, ultimately leading to global climate change. The Communiqué supported by WOSCO (World Organization for Scientific Cooperation) Scientific Coordinating Board has been signed by well-known scientists, public and political figures and experts. The Communiqué is designed to be submitted to the UN, European Union, international organizations and heads of states.

Throughout his life, V. Khain closely collaborated with many world scientists, taking an active part in joint researches and international projects. Khain's scientific support contributed to the creation of the Global Network for the Forecasting of Earthquakes.

Editorial work
V. Khain was an editorial board member of the most authoritative Russian and international journals such as "Geotectonics", "Science without Borders. Transactions of the International Academy of Science H & E", "Nature", "Moscow State University Herald. Geology", "Higher School Proceedings. Geology and Exploration", among others. He was also the "Geology" journal's editor-in-chief.

Awards, honors, academic works
USSR State Prize (1987)
Alexander Karpinsky gold medal (1992)
Winner of Lomonosov prize (1993) for "Global tectonics of Earth" series
State Prize of the Russian Federation (1995) for a number of fundamental scientific works.

V. Khain was USSR AS and RAS academician, USSR and Russian Federation State Prize Laureate, author of over 1000 scientific works including nearly 60 fundamental monographs, honorary doctor of the Pierre and Marie Curie University of Paris, honorary member of the European Academy of Sciences, full member of the International Academy of Science, Munich honorary member of French, London, Bulgarian and U.S. geological societies, member of the International Committee on the History of Geological Sciences (1984)

In 1991 he was awarded the Gustav-Steinmann-Medal of the German Geological Society, Prestwich Medal of the French Geological Society, Golden Medal and Diploma of the First Degree of the World Organization for Scientific Cooperation, Nobel Prize Laureate Pavlov golden badge award of the International Academy of Science Health & Ecology.

V. Khain was Honorary Professor of the Lomonosov Moscow State University, Dynamic Geology department. In 2007, he was elected Honorary President of the International Academy of Science, Munich.

Scientific activities
In 2009, E. Khain was elected honorary president of World Organization for Scientific Cooperation|WOSCO (World Organization for Scientific Cooperation). In recent years, he devoted his scientific researches to the most important problems of humanity, investigating seismic and volcanic activity cycles and their interrelation with other geological and cosmic factors. His studies on global changes in the geological environment have made it possible to view Earth's climate change processes and geological life from a new perspective. These research topics are dealt with in his fundamental monographs and articles.

In recent years, he devoted his scientific researches to the most important problems of humanity, investigating seismic and volcanic activity cycles and their interrelation with other geological and cosmic factors.

Selected publications
His studies on global changes in the geological environment have made it possible to view Earth's climate change processes and geological life from a new perspective. These research topics are dealt with in his fundamental monographs and articles:
 V. E. Khain, E. N. Cyclicity of geodynamic processes: its possible nature, Moskau 2009
 V. E. Khain, E.N.Khalilov. Cyclicity of geodynamic processes: Its possible nature. Moscow, Scientific World, 2009, p. 520;
 V. E .Khain, E.N.Khalilov. Spatiotemporal patterns of seismic and volcanic activity. Burgas, Bulgaria, SWB, 2008, p. 304
 V. E. Khain, E.N.Khalilov. ABOUT POSSIBLE INFLUENCE OF SOLAR ACTIVITY UPON SEISMIC AND VOLCANIC ACTIVITIES: LONG-TERM FORECAST. SCIENCE WITHOUT BORDERS. Transactions of the International Academy of Science H & E.Vol.3. 2007/2008, SWB, Innsbruck, 2009  ;
 V. E. Khain, E.N.Khalilov. GLOBAL CLIMATE FLUCTUATION AND CYCLICITY OF THE VOLCANIC ACTIVITY. Transactions of the International Academy of Science H & E. Vol.3. 2007/2008, SWB, Innsbruck, 2009  ;

References

External links
Khalilov.biz/pdf
 International Academy of Science, Members

1914 births
2009 deaths
20th-century geologists
21st-century geologists
Scientists from Baku
Azerbaijan State Oil and Industry University alumni
Full Members of the Russian Academy of Sciences
Full Members of the USSR Academy of Sciences
Recipients of the Order of Friendship of Peoples
Recipients of the Order of Honour (Russia)
Recipients of the Order of the Red Banner of Labour
Recipients of the USSR State Prize
State Prize of the Russian Federation laureates
Russian geologists
Soviet geologists
Burials in Troyekurovskoye Cemetery

Viktor Khain


Live Floor Show is a television comedy show produced by BBC Scotland for three series from 2002–2003. The first two series, hosted by Greg Hemphill, were broadcast on BBC One Scotland. The third series, hosted by Dara Ó Briain, was shown on BBC Two.

The programme featured a number of regular acts on one of the three stages at the Queen Margaret Drive studios in Glasgow: Frankie Boyle, Al Murray, Craig Hill, Paul Sneddon, Miles Jupp, and Jim Muir. The show also featured many other well-known guest acts: Bill Bailey, Doug Stanhope, Mackenzie Crook, Des McLean, Des Clarke, Craig Charles, Dan Antopolski, Jo Brand, and Matt Blaize.

At the end of each show there was a musical act. One notable appearance was by Robert Plant, on the same night as Bill Bailey.

References

2000s British comedy television series
2000s Scottish television series
2002 Scottish television series debuts
2003 Scottish television series endings
BBC Scotland television shows
BBC television comedy
Scottish television comedy

Live Floor Show


My Heart of Darkness is a Swedish–German 2010 documentary film about four ex-soldiers from different sides of the Angolan civil war and their posttraumatic stress disorder. The film was recorded in 2007. It was first shown at the International Documentary Film Festival Amsterdam on November 20, 2010. It premiered in Sweden on April 8 the next year. The title of the film is a reference to Joseph Conrad's novella Heart of Darkness. The film, like the novella, takes place on a boat traveling up an African river, and covers issues of tragedy and abuse.

The four ex-soldiers do not all speak the same language, but translate for each other. The narrator Marius van Niekerk, who is also the film's director and lead character, speaks English, while the others speak Portuguese and Afrikaans.

Story
In 1979, during the height of apartheid, 17-year old Afrikaner Marius van Niekerk joined the South African Defence Force (SADF), serving with some distinction during the South African Border War. By 1985, he had emigrated to Sweden, but remained haunted by post-traumatic stress disorder. The documentary's narrative follows van Niekerk as he returns to Angola for the first time since the end of the war to make peace with his past, accompanied by three other veterans of various conflicts in that country: Samuel Machado Amaru, Patrick Johannes, and Mario Mahonga. During their sojourn, van Niekerk describes the war crimes he witnessed in the SADF, as well as symptoms of his post-traumatic stress. He invites the other three veterans to describe their military service as well. The film ends with the four participating in a purification ritual, in which they destroy various symbolic mementos from their past.

References

External links

 Mitt mörka hjärta in Svensk Filmdatabas

2010 films
Swedish documentary films
German documentary films
Films set in Angola
2010s Portuguese-language films
Afrikaans-language films
2010 documentary films
Documentary films about the South African Border War
Documentary films about veterans
Documentary films about post-traumatic stress disorder
2010s English-language films
2010 multilingual films
Swedish multilingual films
German multilingual films
2010s German films
2010s Swedish films

My Heart of Darkness