Thermoplastic elastomers (TPE), sometimes referred to as thermoplastic rubbers, are a class of copolymers or a physical mix of polymers (usually a plastic and a rubber) that consist of materials with both thermoplastic and elastomeric properties. While most elastomers are thermosets, thermoplastics are in contrast relatively easy to use in manufacturing, for example, by injection moulding. Thermoplastic elastomers show advantages typical of both rubbery materials and plastic materials. The benefit of using thermoplastic elastomers is the ability to stretch to moderate elongations and return to its near original shape creating a longer life and better physical range than other materials. The principal difference between thermoset elastomers and thermoplastic elastomers is the type of cross-linking bond in their structures. In fact, crosslinking is a critical structural factor which imparts high elastic properties.

Types

There are six generic classes of commercial TPEs (designations according to ISO 18064) together with one unclassified category:
Styrenic block copolymers, TPS (TPE-s)
Thermoplastic polyolefinelastomers, TPO (TPE-o)
Thermoplastic Vulcanizates, TPV (TPE-v or TPV)
Thermoplastic polyurethanes, TPU (TPU)
Thermoplastic copolyester, TPC (TPE-E)
Thermoplastic polyamides, TPA (TPE-A)
Unclassified thermoplastic elastomers, TPZ

Examples
TPE materials that come from the block copolymers group include CAWITON†, MELIFLEX, THERMOLAST K†, THERMOLAST M†, Chemiton, Arnitel, Hytrel, Dryflex†, Mediprene, Kraton, Pibiflex, Sofprene†, Tuftec†and Laprene†.

† indicates styrenic block copolymers (TPE-s).

Laripur, Desmopan and Elastollan are examples of thermoplastic polyurethanes (TPU).

Sarlink, Santoprene, Termoton, Solprene, THERMOLAST V, Vegaprene, and Forprene are examples of TPV materials.

Examples of thermoplastic olefin elastomers (TPO) compound are For-Tec E or Engage. Ninjaflex used for 3D printing.

Criteria for thermoplastic elastomers
In order to qualify as a thermoplastic elastomer, a material must have these three essential characteristics:
The ability to be stretched to moderate elongations and, upon the removal of stress, return to something close to its original shape
Processable as a melt at elevated temperature
Absence of significant creep

Background

TPE became a commercial reality when thermoplastic polyurethane polymers became available in the 1950s. During the 1960s styrene block copolymer became available, and in the 1970s a wide range of TPEs came on the scene. The worldwide usage of TPEs (680,000 tons/year in 1990) is growing at about nine percent per year. The styrene-butadiene materials possess a two-phase microstructure due to incompatibility between the polystyrene and polybutadiene blocks, the former separating into spheres or rods depending on the exact composition. With low polystyrene content, the material is elastomeric with the properties of the polybutadiene predominating. Generally they offer a much wider range of properties than conventional cross-linked rubbers because the composition can vary to suit final construction goals.

Block copolymers are interesting because they can "microphase separate" to form periodic nanostructures, as in the styrene-butadiene-styrene (SBS) block copolymer shown at right. The polymer is known as Kraton and is used for shoe soles and adhesives. Owing to the microfine structure, a transmission electron microscope (TEM) was needed to examine the structure. The butadiene matrix was stained with osmium tetroxide to provide contrast in the image. The material was made by living polymerization so that the blocks are almost monodisperse, so helping to create a very regular microstructure. The molecular weight of the polystyrene blocks in the main picture is 102,000; the inset picture has a molecular weight of 91,000, producing slightly smaller domains. The spacing between domains has been confirmed by small-angle X-ray scattering, a technique which gives information about microstructure.
Since most polymers are incompatible with one another, forming a block polymer will usually result in phase separation, and the principle has been widely exploited since the introduction of the SBS block polymers, especially where one of the block is highly crystalline. One exception to the rule of incompatibility is the material Noryl, where polystyrene and polyphenylene oxide or PPO form a continuous blend with one another.

Other TPEs have crystalline domains where one kind of block co-crystallizes with other block in adjacent chains, such as in copolyester rubbers, achieving the same effect as in the SBS block polymers. Depending on the block length, the domains are generally more stable than the latter owing to the higher crystal melting point. That point determines the processing temperatures needed to shape the material, as well as the ultimate service use temperatures of the product. Such materials include Hytrel, a polyester-polyether copolymer and Pebax, a nylon or polyamide-polyether copolymer.

Advantages
Depending on the environment, TPEs have outstanding thermal properties and material stability when exposed to a broad range of temperatures and non-polar materials. TPEs consume less energy to produce, can be colored easily by most dyes, and allow economical quality control. TPE requires little or no compounding, with no need to add reinforcing agents, stabilizers or cure systems. Hence, batch-to-batch variations in weighting and metering components are absent, leading to improved consistency in both raw materials and fabricated articles.  TPE materials have the potential to be recyclable since they can be molded, extruded and reused like plastics, but they have typical elastic properties of rubbers which are not recyclable owing to their thermosetting characteristics. They can also be ground up and turned into 3D printing filament with a recyclebot.

Processing
The two most important manufacturing methods with TPEs are extrusion and injection molding. TPEs can now be 3D printed and have been shown to be economically advantageous to make products using distributed manufacturing. Compression molding is seldom, if ever, used. Fabrication via injection molding is extremely rapid and highly economical. Both the equipment and methods normally used for the extrusion or injection molding of a conventional thermoplastic are generally suitable for TPEs. TPEs can also be processed by blow molding, melt calendaring, thermoforming, and heat welding.

Applications

TPEs are used where conventional elastomers cannot provide the range of physical properties needed in the product. These materials find large application in the automotive sector and in household appliances sector. For instance, copolyester TPEs are used in snowmobile tracks where stiffness and abrasion resistance are at a premium. Thermoplastic olefins (TPO) are increasingly used as a roofing material. TPEs are also widely used for catheters where nylon block copolymers offer a range of softness ideal for patients.  Thermoplastic silicone and olefin blends are used for extrusion of glass run and dynamic weatherstripping car profiles. Styrene block copolymers are used in shoe soles for their ease of processing, and widely as adhesives.

Owing to their unrivaled abilities in two-component injection molding to various thermoplastic substrates, engineered TPS materials also cover a broad range of technical applications ranging from automotive market to consumer and medical products. Examples of those are soft grip surfaces, design elements, back-lit switches and surfaces, as well as sealings, gaskets, or damping elements. TPE is commonly used to make suspension bushings for automotive performance applications because of its greater resistance to deformation when compared to regular rubber bushings.  Thermoplastics have experienced growth in the heating, ventilation, and air conditioning (HVAC) industry due to the function, cost effectiveness and adaptability to modify plastic resins into a variety of covers, fans and housings. TPE may also be used in medical devices,  electrical cable jacket and inner insulation, sex toys, and some headphone cables.

References

Further reading
 PR Lewis and C Price, Polymer, 13, 20 (1972)
 Modern Plastic Mid-October Encyclopedia Issue, Introduction to TPEs, page:109-110
 Latest Material and Technological Developments for Activewear, (Joanne Yip, 2020, page 66-67)

Biomaterials
Polymers

Thermoplastic elastomer


Blood sugar is an amount of glucose present in the blood of humans or animals. Sugar in the blood is the primary source for energy for body cells and blood lipids. Low blood sugar means hypoglycemia. High blood sugar means hyperglycemia. People with diabetes mellitus can have high blood sugar.

Hypoglycemia
Hypoglycemia is low blood sugar.

Hyperglycemia
Hyperglycemia is high blood sugar. Some of the signs of high blood sugar are:

 Thirstiness
 Being extra hungry
 Peeing more often
 Headache
 Blurry eyesight

Some signs of long time high blood sugar can be:

 Being very tired
 Loosing weight
 Infections of the skin
 Cuts and sores heal slowly
Another sickness that is caused by high blood sugar is ketoacidosis. This sickness is because of a lack of insulin and a high amount of chemicals called ketones in the blood.

References

Blood
Medical signs
Medicine

Blood sugar


Buckhorn is a community in Pulaski County, Missouri, United States. It is on Route 17 just south of its junction with Interstate 44  It is also on historic U.S. Route 66. The community is within the Mark Twain National Forest and the northwest corner of Fort Leonard Wood is three miles to the east. Waynesville is six miles to the northeast along Route 44 and Laquey is two miles to the southwest off of Route 17.

History
The community was so named on account of the image of a buckhorn on a local tavern sign.

The Decker Cave Archeological Site was listed on the National Register of Historic Places in 1971.

References

Unincorporated communities in Pulaski County, Missouri
Unincorporated communities in Missouri

Buckhorn, Pulaski County, Missouri


Lehman College is a senior college of the City University of New York (CUNY) in the Bronx, New York City. It started in 1931 as the Bronx campus of Hunter College. It became an independent college in CUNY in September 1967. The college is named after Herbert H. Lehman. He was a New York governor, United States senator, philanthropist, and the son of Lehman Brothers co-founder Mayer Lehman. It is a public, comprehensive, coeducational liberal arts college with more than 90 undergraduate and graduate degree programs and specializations. 53% of undergraduate students graduate within six years.

History
Hunter College in the Bronx was built during the 1930s.

Campus

Lehman has a 37-acre (15 hectare) campus with a combination of Collegiate Gothic and modern architecture, located near the Jerome Park Reservoir at 250 Bedford Park Boulevard West (250 West 200th Street).

Students
Students at Lehman College are from multiple ethnic and racial identities, multiple language backgrounds, various social classes, and diverse sexual orientations with many international students.

Enrollment (Fall 2018) Lehman College:
 Undergraduates: 12,639
 Graduate Students: 2,148
 Total: 14,787 students

Programs
Lehman College offers a variety of selective and distinguished undergraduate and graduate programs in the Schools of Arts & Humanities, School of Education, School of Natural and Social Sciences (NSS), School of Health Sciences, Human Services, and Nursing, and School of Continuing Education.

Well known faculty
There are nearly 400 full-time faculty. Notable faculty include:
 Allison Amend, Professor of English, novelist, and short story writer
 Michael Bacon, Associate Professor of Music, Lehman alumnus, and Emmy Award winning composer and songwriter; performs in the band the Bacon Brothers with his brother Kevin Bacon
 Jason Behrstock, Professor of Mathematics and Computer Science, Sloan Fellowship winner
 Laird W. Bergad, Distinguished Professor of Latin American and Puerto Rican Studies
 Eugene M. Chudnovsky, Distinguished Professor of Physics
 Jane K. Cleland, Lecturer in English
 Billy Collins, Professor Emeritus of English, United States Poet Laureate 2001–2003
 María Teresa Babín Cortés, Professor Emeritus of Latin American and Latino Studies
 John Corigliano, Professor of Music, Academy Award winner
 Joseph W. Dauben, Distinguished Professor of History
 J. Yellowlees Douglas, former Assistant Professor of English
 Martin Duberman, Distinguished Professor Emeritus of History
 Melvin Fitting, Professor Emeritus of Mathematics and Computer Science
 Dmitry Garanin, Professor of Physics
 Nancy Griffeth, Professor of Mathematics and Computer Science
 Michael Handel, Professor of Mathematics
 Nicholas Hanges, Professor Emeritus of Mathematics (in memoriam)
 David Freeman Hawke, Professor Emeritus of History (in memoriam)
 William M. Hoffman, Associate Professor of Theatre (in memoriam)
 Linda Keen, Professor Emerita of Mathematics, Noether Lecturer
 Ádám Korányi, Distinguished Professor Emeritus of Mathematics and Computer Science
 William Latimer, Professor of Health Sciences
 Robert Lekachman, Distinguished Professor Emeritus of Economics (in memoriam)
 John L. Locke, Professor of Language Science
 Ursula Meyer, Professor Emerita of Sculpture (in memoriam)
 Margot Mifflin, Professor of English
 Joan Miller (choreographer), former Professor of Dance and founder of the Dance program
 Melvyn B. Nathanson, Professor of Mathematics
 Matt O'Dowd, Associate Professor of Astrophysics
 Victor Pan, Distinguished Professor of Mathematics and Computer Science
 Lawrence Raphael, Professor Emeritus of Speech Science
 Stanley Renshon, Professor of Political Science
 Rob Schneiderman, Associate Professor of Mathematics
 Raymond Smullyan, Distinguished Professor Emeritus of Mathematics and Philosophy
 Marilyn Sokol, Distinguished Lecturer of Theatre
 Christina Sormani, Professor of Mathematics
 Dannielle Tegeder, Associate Professor of Art
 Concetta M. Tomaino, Adjunct Professor of Music
 Lloyd Ultan, former Adjunct Professor of History
 Eric Wolf, former Distinguished Professor of Anthropology
 Eleanore Wurtzel, Professor of Biology, AAAS Fellow
 Naomi Zack, Professor of Philosophy

Well known graduates

 André Aciman, writer, author of Call Me by Your Name, and professor at CUNY Graduate Center
 Debo Adegbile, Commissioner for the United States Civil Rights Commission
 Gary Axelbank, journalist, disk jockey and TV personality based in The Bronx
 Michael Bacon, Emmy Award winning composer and songwriter, and Associate Professor of Music at Lehman College; performs in the band the Bacon Brothers with his brother Kevin Bacon
 Jacqueline Bishop, writer, visual artist and photographer from Jamaica and a professor at New York University
 Carl Chaiet, artist and illustrator
 Steven Contursi, businessman and numismatist
 Blondell Cummings, modern dancer and choreographer
 Rubén Díaz Jr., Borough President of the Bronx in New York City
 Rubén Díaz Sr., member of the Democratic Party; represented the 32nd district in the New York State Senate from 2003 to 2017
 Jeffrey Dinowitz, American politician who represents District 81 in the New York State Assembly
 Brandon M. Easton, professional writer, screenwriter, and educator
 Christopher Emdin, professor in the Department of Mathematics, Science, and Technology at Teachers College, Columbia University
 Eliot Engel, U.S. representative for New York's 16th congressional district (1989-2020)
 Ailene Fields, sculptor and stone carving teacher
 Nabie Foday Fofanah, Guinean sprinter, also known as the Speed Doctor
 Philip Foglia, prosecutor and Italian American civic rights activist
 John Fox, former American novelist and short-story writer
 Joe Foy, Major League Baseball third baseman
 Eve Franklin, Democratic, represented Great Falls in the Montana Senate from 1991 through 2002 and served in the Montana House of Representatives from 2003 to 2007
 Lewis Gordon, philosopher, works in Africana philosophy, philosophy of human and life sciences, and phenomenology
 Micki Grant, singer (soprano), actress, writer, and composer
 Ramona Hernández, community leader, sociologist and historian, Professor of Sociology at the City College of New York, and director of the CUNY Dominican Studies Institute
 Andre Harrell, founder of Uptown Records, president/CEO of Motown Records, and the first half of the hip hop duo Dr. Jeckyll & Mr. Hyde
 Letitia James, Attorney General of New York since 2018
 Janet Kaplan, poet and professor
 Matt Kilcullen, Director of Athletics at Mercy College
 Jeffrey R. Korman, politician who was a member of the New York State Senate (33rd District) from 1990 until 1992
 Graig Kreindler, painter and illustrator
 Don Leicht, visual artist who has worked as a painter and sculptor in the Bronx
 Kenney Mencher, painter and Associate Professor of Art and Art History at Ohlone College
 Steve Mirsky, writer for Scientific American and the host of the magazine's weekly science podcast, Science Talk
 Jacqueline Moody, writer, editor, and producer, and Founder and Chief Executive of YadaYadaCo
 Devon J. Moore, American poet and author
 Jenn Morel, Dominican singer and songwriter
 Robert McCullough, former basketball player
 Pepón Osorio, Latino artist
 Ron Perlman, actor and voice actor, best known for playing the comic book character Hellboy in both Hellboy (2004) and its sequel Hellboy II: The Golden Army (2008), and Clay Morrow on the television series Sons of Anarchy (2008–2013).
 Richard Rakowski, entrepreneur, investor, and health care and energy consultant
 Christopher "Kid" Reid, actor, comedian and former rapper, formerly known as Kid (shortened from his original MC name, Kid Coolout)
 Elizabeth Rodriguez, Puerto Rican actress who plays Aleida Diaz in the Netflix series Orange Is the New Black (2013–2019)
 Ediberto Roman, Professor of Law at Florida International University College of Law
 Jimmy Rowser, jazz double-bassist
 Murray Sabrin, professor of finance at Ramapo College and candidate for US Senate in 2018
 Abdel R. Salaam, choreographer, director, producer, mentor, and educator, and co-founder and director of Forces of Nature Dance Theatre
 Davi Santos, Brazilian-born actor best known for playing Sir Ivan, The Gold Ranger on the television series Power Rangers Dino Charge
 Ivan Seidenberg, former chairman and CEO of Verizon Communications Inc.
 José Enrique Serrano, member of the United States House of Representatives since 1990
 David L. Spector, cell and molecular biologist and professor at Cold Spring Harbor Laboratory (CSHL) and head of the Gene Regulation and Cell Proliferation program of the CSHL Cancer Center
 Andrea Stewart-Cousins, Democrat who represents District 35 in the New York State Senate
 Bob Stewart, jazz tuba player
 Andrea Stone, until 2019 the director of career services of the CUNY Graduate School of Journalism (later the Craig Newmark Graduate School of Journalism)
 Theodore Swetz, actor, theatre director, and educator and Head of Acting at UMKC Theatre at the University of Missouri-Kansas City
 Al Taylor, Democrat and Assembly member for the 71st District of the New York State Assembly
 Michelle Tokarczyk, author, poet, and literary critic and a professor of English and former co-director of the Writing Program at Goucher College
 Celines Toribio, Dominican actress, model, and Spanish-speaking television personality
 Robert Torres Sabor Latino, hip hop artist and author
 Julius Penson Williams, African-American composer, conductor, and professor at the Berklee College of Music in Boston

References

Other websites

 Official athletics website

1931 establishments in New York (state)
Colleges and universities in New York City
The Bronx

Lehman College


In Germany an Urban District ( is a large town or city that is responsible for its own local government. Germany is divided into 429 districts. 313 are rural districts (Landkreise, see List of German rural districts) and 116 urban districts (Kreisfreie Städte / Stadtkreise) which are listed below.

It is not part of a rural district, or county ().

In some states, there is another level of government, the Regierungsbezirk or governmental district.  Several urban and rural districts are joined together to make a regierungsbezirk, which does some of their jobs, especially things in land-use planning which can affect several districts.

They are the equivalent of an independent city in the United States or unitary authority in the United Kingdom.

List by state

Baden-Württemberg

Bavaria

Berlin

Brandenburg

Bremen

Hamburg

Hesse

Lower Saxony

¹ following the "Göttingen Law" of January 1 1964, the town of Göttingen is incorporated into the district (Landkreis) of Göttingen, but the rules on urban districts still apply, as long as no other rules exist.
² following the "Law on the region of Hannover", Hannover counts since November 1 2001 as an urban district as long as no other rules apply.

Mecklenburg-Western Pomerania

North Rhine-Westphalia

Rhineland-Palatinate

Saarland
There are no longer any urban districts. The town of Saarbrücken used to be an urban district but became incorporated into the Saarbrücken Town Federation on January 1 1974.

Saxony

1The urban districts of Görlitz, Hoyerswerda, Plauen und Zwickau lost their status as "Kreisfreie Stadt" on 1st July 2008 in a reform of Saxony's districts.

Saxony-Anhalt

Schleswig-Holstein

Thuringia

Related pages
Districts of Germany
List of German districts
Local government of Germany
Rural districts of Germany

References

Districts of Germany
Germany-related lists
Local government of Germany

Urban districts of Germany


Teresa Mann (2 September 1934 in Panama City, Panama – 6 July 2017) was a Panamanian ballerina, ballet teacher and dance pioneer. She was a founding member of the Ballet Nacional de Panama and its lead dancer until 1983. She was also the founding director of the Escuela de Danzas Teresa Mann and the Ballet de Teresa Mann in Panama.

Early life (1934–1951)

Mann was born in Panama City, Panama on September 2, 1934. Her father was a Canadian and a banker, Henry Lindsay Mann, who had been sent to Panama while working for the Royal Bank of Canada. Her mother was a Panamanian, Rosaura de Obarrio, daughter of engineer, Alberto de Obarrio. Shortly after Mann's birth, the family returned to Caracas, Venezuela.

Mann began her pre-ballet studies in Caracas with Stephy Stahl. A few years later, the family moved to Lima, Peru. There, Mann initiated her formal classical ballet studies with Kaye McKinnon and Dimitri Rostoff. She graduated from the Escuela Oficial del Ballet Peruano and danced professionally with the Ballet Peruano under the direction of  McKinnon.

The Mann family returned to Panama in 1946 where Mann attended and graduated from the Maria Inmaculada International School. She studied ballet with Anna Ludmilla Gee and was a founding student of the National Ballet School of Panama. Around this time, she returned briefly to Peru where she danced with the Ballet Peruano.

Early career (1951–63)
Mann received a Bachelor of Arts from Holy Names College in Oakland, California. While there, she studied ballet with Sybil Marion and Guillermo Del Oro, then with Margaret Crazke and Antony Tudor in New York City.

In 1956 she was hired by the National Ballet of Canada, under the direction of Celia Franca. Two years later, at 21 years old, she was interviewed by the Catholic Register in Toronto. In that interview she said, "[All] I ever had was the will inside me to keep trying. I was all wrong for ballet but I've been just stubborn enough to continue through all odds and adversity. I even changed the shape of my body through exercise."

In the same interview she also said that "the Hand of God directed me to this very fine company where, I feel I contribute something, in a small way. Ballet is one of the finest of the arts and I want to give my talent given to me by God as a contribution to the world."

While on an NBC tour to California in 1958, she wrote a letter that was published in the Holy Names College Alumni Bulletin: "Finally I have achieved that peace of soul which comes from knowing that this is my mission in life." Teresa Mann was with the National Ballet of Canada for five years, until 1961. She then moved to London, England for two years, where she trained with Audrey De Vos and danced with various companies in Europe.

National Ballet of Panama (1963–83)
Mann returned to Panama in 1963 and was instrumental in the formation of the first ballet company in the country in 1972, the Ballet Nacional de Panama.

Five years later, Mann, together with Panamanian dancers, Ileana de Sola, Otilia Tejeira, Nitzia Cucalón de Martín, Armando Villamil, among others, created a group called Ballet Concierto de Panama, under the direction of Francoise Adret. The company then became the Ballet Concierto Universitario after the creation of a Department of Artistic Expressions (DEXA) at the University of Panama.

In the National Ballet of Panama's debut 1972 performance, La Bayadère, the principal dancers were Mann, Ginela Vazquez, Armando Villamil, Nitzia Cucalon, Raisa Gutierrez and Alejandro Lugo. Mann was lead dancer (prima ballerina) for the National Ballet until 1983 when she left the company to focus on her Escuela de Danzas Teresa Mann and Ballet de Teresa Mann, which she founded in 1965 and 1975, respectively.

Roles and partners
Shortly after the creation of the Ballet Universitario, Mann invited her old friend Earl Kraul from the National Ballet of Canada, to come to Panama as a guest artist. In Panama, Mann also danced with Armando Villamil, Alejandro Lugo, Andres Nieto and most notably, with Julio Araúz.

Her notable mentions with the National Ballet include: Black Swan, Grand Pas Classique, Grand Pas de Deux from the Nutcracker, Le Corsaire, Les Sylphides, Pas de Quatre, The Dying Swan, Nikiya in La Bayadère, Nymph in Walpurgis Nights, El Diablo in La Flor del Diablo, and Pena y Consuelo, Romance and Titania in Midsummer Night's Dream.

Further studies
In 1976, Mann received her Master of Science in Ballet from the Music School of the University of Indiana in Bloomington, Indiana. Mann also studied Spanish and Ethnic Dancing, Character, Modern, Jazz, Yoga, Drama, Lighting and Music, including 12 years of piano.

In 1981 she joined the Dance Educators of America and was invited numerous times as a guest teacher for master classes.

During her time as director of the Teresa Mann School of Dance, Mann constantly took her students to dance seminars, congresses, festivals and competitions, where they received numerous awards. In 1984 she began taking her students to dance competitions in Lima, Peru. She was a major supporter of the Certamen Infantil Juvenil de Ballet de Centroamerica, Mexico y Panama and was a guest teacher ag many festivals including the third Festival de Ballet Infantil Juvenil in Guadalajara, Mexico in 2008.

Awards
In 1996 Mann received an Galardon Atenea award in the arts category from Panama's Club de Mujeres y Negocios y Profesionales de Chanis. On the 35th anniversary of her dance school in 2000, she received the Condecoración Nacional de la Orden Manuel Amador Guerrero en Grado de Gran Oficial, the highest honor in Panama, for her contribution to the development of Panamanian culture. Her message to future generations that evening was, "We cannot accept the possibility of our inability to do nothing."

That year also, Mann received the Placa de Honor from the Dirección Nacional de la Mujer por el Ministerio de la Juventud, la Mujer, la Niñez y la Familia (Ministry of Youth, Women, Children and Family) and a Recognition from City Hall in Panama City (Pergamino de Reconocimiento por la Alcaldía del Distrito Capital).

Four years later, in celebration of the country's centenary, she was selected as one of the 100 Distinguished Women of Panama by the Faculty of Humanities of the National University of Panama and is one of the 100 Panamanian women recognized and celebrated in its publication. The article quotes her as saying, that "art is achieved through disciplined concentration and a loving giving (of self)."

In 2008 she received the Estrella Emerita award from Panama's Premios Anita Villalaz, given to distinguished personalities. On that occasion Mann shared her philosophy of life: "Even though the world is so fast-paced, we have to forget that phrase, as I did: "I can't". That word does not exist in my vocabulary." That same year she was a guest on the FETV program, Gente Interesante on Channel 5.

In 2009, during the celebration of the International Day of Dance, she received a plaque from the Panamanian Instituto Nacional de Cultura in recognition of her contributions to dance and ballet in the country and her continued contribution and support of the cultural development of Panama. Finally in 2015, she received the Education in the Arts Musicalion award for her work as a dance educator in Panama.

Personal life
In 1964, Mann married Carlos Emilio Guevara Céspedes. Together they had three children, Carlos, Myriam and Pedro. In 2008 she retired formally as director of her school and her daughter, Myriam Guevara, became its new director. Teresa Mann died in Panama City on July 6, 2017.

Legacy
Thousands of Panamanian women have studied ballet under Teresa Mann and have danced at her school since 1965. Most of the owners of other dance schools in Panama today are graduates of the Escuela de Danzas Teresa Mann (EDTM).

Teresa Mann said once during an interview with the newspaper Panama America that discipline was very important for her. "Competition medals were of secondary importance for her, what's really valuable is the experience, the training, discipline and the mastering of that discipline, and concentration; benefits that they will keep for life," that same interview said of her. She added: "Most of these girls will not be professional dancers, but they would have learned to organize their time and widen their horizons."
The EDTM continues the legacy that Mann started in 1965.

Bibliography

 "Obituario: Fallece la bailarina panameña," TVN Noticias, 7/13/17
 Sotillo, Irlanda, "Homenaje a Teresa Mann," La Prensa, 9/28/15
 Pinel, Melissa, "Teresa Mann, un legado que perdura," Revista Ellas, 7/14/17
 Chong, Daschenka, "Escuela de Danzas Teresa Mann: tradición de triunfo," Panamá América, 8/10/03
 Pedro, Deacon, "Deacon-structing: A Devotion to the Little Flower," saltandlighttv.org, 8/6/17

External links
 Teresa Mann on National Ballet of Canada website
 Teresa Mann Tribute on Youtube
 Ellas: 100 Panameñas Destacadas
 Escuela Nacional de Danzas (Panama)

References

1934 births
2017 deaths
Ballerinas
Panamanian people of Canadian descent
People from Panama City

Teresa Mann


54 Nude Honeys (Greatest Hits) is the first and only compilation album by the Japanese punk rock band 54 Nude Honeys, released on April 17, 2006, by Skydog International, a French punk label. It is also the group's final release. A limited pressing of the album was released with a bonus DVD of the group's three music videos and a live performance recorded at the CBGB punk club in New York.

Track listing

References

54 Nude Honeys albums
2006 compilation albums

54 Nude Honeys (Greatest Hits)


A song cycle () is a group, or cycle, of individually complete songs designed to be performed in sequence, as a unit.

The songs are either for solo voice or an ensemble, or rarely a combination of solo songs mingled with choral pieces. The number of songs in a song cycle may be as brief as two songs or as long as 30 or more songs. The term "song cycle" did not enter lexicography until 1865, in Arrey von Dommer's edition of Koch's Musikalisches Lexikon, but works definable in retrospect as song cycles existed long before then. One of the earliest examples may be the set of seven Cantigas de amigo by the 13th-century Galician jongleur Martin Codax. Jeffrey Mark identified the group of dialect songs 'Hodge und Malkyn' from Thomas Ravenscroft's The Briefe Discourse (1614) as the first of a number of early 17th-century examples in England.

A song cycle is similar to a song collection, and the two can be difficult to distinguish. Some type of coherence, however, is regarded as a necessary attribute of song cycles. It may derive from the text (a single poet; a story line; a central theme or topic such as love or nature; a unifying mood; poetic form or genre, as in a sonnet or ballad cycle) or from musical procedures (tonal schemes; recurring motifs, passages or entire songs; formal structures). These unifying features may appear singly or in combination. Because of these many variations, the song cycle "resists definition". The nature and quality of the coherence within a song cycle must therefore be examined "in individual cases".

Song cycles in German Lieder
Although most European countries began developing the art song genre by the beginning of the 19th century, the rise of Lieder in "Austria and Germany have outweighed all others in terms of influence." German-language song composition at the end of 18th century shifted from accessible, Strophic form, more traditional folk songs to 19th century settings of more sophisticated poetry for a more educated middle class, "who were gradually supplanting the aristocracy as the main patrons of the arts". Since these songs were relatively small-scale works, like the lyric poetry used for their musical settings, they were often published in collections, and consequently borrowed various poetic terms to mark their groupings: Reihe (series), Kranz (ring), Zyklus (cycle) or Kreis (circle). In the first few decades of the 1800s, the collections of poetry and the subsequent song settings took on more underlying coherence and dramatic plot, giving rise to the song cycle. This coherence allowed the song genre to be elevated to a "higher form", serious enough to be compared with symphonies and cycles of lyric piano pieces.

Two of the earliest examples of the German song cycle were composed in 1816: Beethoven's An die ferne Geliebte (Op. 98), and Die Temperamente beim Verluste der Geliebten (J. 200-3, \Op. 46) by Carl Maria von Weber.

The genre was firmly established by the cycles of Schubert; his Die schöne Müllerin (1823) and Winterreise (1827), settings of poems by Wilhelm Müller, are among his most greatly admired works. Schubert's Schwanengesang (1828), though collected posthumously, is also frequently performed as a cycle.

Schumann's great cycles were all composed in 1840. They comprise Dichterliebe, Frauenliebe und -leben, two collections entitled Liederkreis (Opp. 24 & 39 on texts by Heinrich Heine and Eichendorf respectively)—a German word meaning a song cycle—and the Kerner Lieder (Op. 35), a Liederreihe (literally "song row") on poems by Justinus Kerner. Brahms composed settings (Op. 33) of verses from Ludwig Tieck's novel "Magelone", and modern performances usually include some sort of connecting narration. He also wrote Vier ernste Gesänge ("Four Serious Songs"), Op. 121 (1896). Mahler's Lieder eines fahrenden Gesellen, Kindertotenlieder, and Das Lied von der Erde expand the accompaniment from piano to orchestra.

Wolf made the composition of song collections by a single poet something of a specialty, although only the shorter Italian Songbook and Spanish Songbook are performed at a single sitting, and Eisler's Hollywood Liederbuch also falls into the category of anthology.

Das Buch der hängenden Gärten by Schoenberg and Krenek's Reisebuch aus den österreichischen Alpen are important 20th-century examples. Wilhelm Killmayer composed several song cycles, on lyrics by Sappho, French Renaissance poets, German Romantic poets, and contemporary poets. The tradition is carried on by Wolfgang Rihm, with so far a dozen works. Graham Waterhouse composed a song cycle Sechs späteste Lieder after Hölderlin's late poems in 2003.

Song cycles in France
The six songs of Berlioz's Les nuits d'été (1841), first published with piano accompaniment but later orchestrated, is a notable early example of the French song cycle. French cycles reached a pinnacle in Fauré's La bonne chanson (Verlaine) of the early 1890s, La chanson d'Ève, premiered complete in 1910, and L'horizon chimérique (1921). Chabrier's four 'Barnyard songs' (1889) "introduced a new note into contemporary French music" and prefigured Ravel's Histoires naturelles. Poulenc produced a long line of song cycles, from Le Bestiaire (1919), the Poèmes de Ronsard of 1925, Chansons Gaillardes (anonymous 17th-century texts) of the following year, Quatre poèmes de Guillaume Apollinaire (1931), Tel jour telle nuit (poems by Paul Éluard), 1937, Banalités (poems by Apollinaire, 1940), to his last, La Courte Paille (1960) - seven songs in eight minutes.

Poèmes pour Mi, Chants de Terre et de Ciel and Harawi by Messiaen, Paroles tissées and Chantefleurs et Chantefables by Lutosławski (only an honorary Frenchman) as well as Correspondances and Le temps l'horloge by Dutilleux continued the French cycle tradition in the later 20th century.

English, Scottish, and American song cycles
Perhaps the first English song cycle was Arthur Sullivan's The Window; or, The Song of the Wrens (1871), to a text of eleven poems by Tennyson. In the early 20th century, Vaughan Williams composed his famous song cycle, the Songs of Travel. Other song cycles by Vaughan Williams are The House of Life on sonnets by Dante Gabriel Rossetti and On Wenlock Edge on poems from A. E. Housman's A Shropshire Lad, the latter originally for voice with piano and string quartet but later orchestrated. The composer and renowned Lieder accompanist Benjamin Britten also wrote song cycles, including The Holy Sonnets of John Donne, Seven Sonnets of Michelangelo, Sechs Hölderlin-Fragmente, and Winter Words, all with piano accompaniment, and the orchestral Les Illuminations, Serenade for Tenor, Horn and Strings, and Nocturne.

Raising Sparks (1977) by the Scottish composer James MacMillan (1997) is a more recent example.
Trevor Hold wrote numerous song cycles, including many setting his own words, such as The Image Stays (1979), River Songs (1982) and Book of Beasts (1984).
The English composer Robin Holloway's many song cycles include From High Windows (Philip Larkin) (1977), Wherever We May Be (Robert Graves) (1980) and Retreats and Advances (A.S.J. Tessimond) (2016). His pupil Peter Seabourne's five song cycles include Sonnets to Orpheus (2016) setting eleven poems of Rainer Maria Rilke. Stephen Hough has written three cycles: Herbstlieder (Rilke) (2007), Dappled Things (Wilde and Hopkins) (2013), and Other Love Songs (2010) for four singers and piano duet. Graham Waterhouse composed several song cycles, based on texts by Shakespeare, James Joyce, and Irish female writers, among others.

American examples include Samuel Barber's Hermit Songs (1953), Mélodies Passagères, and Despite and Still, and Songfest by Leonard Bernstein, Hammarskjöld Portrait (1974), Les Olympiques (1976), Tribute to a Hero (1981), Elegies for Angels, Punks and Raging Queens (1989), Next Year in Jerusalem (1985), and A Year of Birds (1995) by Malcolm Williamson, Maury Yeston's December Songs (1991), commissioned by Carnegie Hall for its centennial year celebration, Honey and Rue by André Previn (composed for the American soprano Kathleen Battle). David Conte's American Death Ballads (2015) won the National Association of Teachers of Singing Composition Award in 2016. Alex Weiser's song cycle in Yiddish and English, and all the days were purple (2019), was a 2020 finalist for the Pulitzer Prize.

Song cycles in other countries
Mussorgsky wrote Sunless (1874), The Nursery (1868–72) and Songs and Dances of Death (1875–77), and Shostakovich wrote cycles on English and Yiddish poets, as well as Michelangelo and Alexander Pushkin.

The orchestral song cycle Sing, Poetry on the 2011 album Troika consists of settings of Vladimir Nabokov's Russian and English-language poetry by three Russian and three American composers.

Cycles in other languages have been written by Granados, Mohammed Fairouz, Cristiano Melli, Falla, Juan María Solare, Grieg, Lorenzo Ferrero, Dvořák, Janáček, Bartók, Kodály, Sibelius, Rautavaara, Peter Schat, Mompou, Montsalvatge, and A. Saygun etc.

Popular music

Song cycles written by popular musicians (also called rock operas) are a short series of songs that tell a story or focus on a particular theme. Some musicians also blend tracks together, so that the start of the next song continues from the preceding one. Modern examples of this can be found in James Pankow's rock opera Ballet for a Girl in Buchannon (for Chicago on their self-titled second album) Pink Floyd's rock opera The Wall, Dream Theater's progressive metal albums Metropolis Pt. 2: Scenes from a Memory and The Astonishing, as well as Marvin Gaye's classic soul album What's Going On.

The R&B singer Raphael Saadiq's 2019 album, Jimmy Lee, is composed as a song cycle with personal narratives thematizing issues affecting African Americans, including addiction, stress, domestic conflict, AIDS, perpetual financial hardship, and mass incarceration.

Musical theater

One of the earliest song cycle musical theater works was created in 1991. This was December Songs (1991), created by Maury Yeston, and commissioned by Carnegie Hall for its Centennial celebration in 1991. It has been translated, performed and recorded in French, German. and Polish. Other examples include Ghost Quartet by Dave Malloy (2014), Songs for a New World by Jason Robert Brown (1995), William Finn's Elegies (2003), Bill Russell's Elegies for Angels, Punks and Raging Queens (1989), and Myths and Hymns by Adam Guettel (1998).

References

Bibliography
Bingham, Ruth O., "The Early Nineteenth-Century Song Cycle", in The Cambridge Companion to the Lied, ed. James Parsons (Cambridge: Cambridge University Press, 2004), pp. 101–119.

 Ferreira, Manuel Pedro. 2001. "Codax [Codaz], Martin". The New Grove Dictionary of Music and Musicians, second edition, edited by Stanley Sadie and John Tyrrell. London: Macmillan Publishers.

 Youens, Susan. n.d. "Song Cycle". Grove Music Online, edited by Deane Root. Oxford University Press. Web. (accessed 23 September 2014)

Cycles (music)
Cycle
Vocal musical compositions

Song cycle


Choice modelling attempts to model the decision process of an individual or segment via revealed preferences or stated preferences made in a particular context or contexts. Typically, it attempts to use discrete choices (A over B; B over A, B & C) in order to infer positions of the items (A, B and C) on some relevant latent scale (typically "utility" in economics and various related fields). Indeed many alternative models exist in econometrics, marketing, sociometrics and other fields, including utility maximization, optimization applied to consumer theory, and a plethora of other identification strategies which may be more or less accurate depending on the data, sample, hypothesis and the particular decision being modelled. In addition, choice modelling is regarded as the most suitable method for estimating consumers' willingness to pay for quality improvements in multiple dimensions.

Related terms
There are a number of terms which are considered to be synonyms with the term choice modelling. Some are accurate (although typically discipline or continent specific) and some are used in industry applications, although considered inaccurate in academia (such as conjoint analysis).

These include the following:

Stated preference discrete choice modeling
Discrete choice
Choice experiment
Stated preference studies
Conjoint analysis
Controlled experiments
Although disagreements in terminology persist, it is notable that the academic journal intended to provide a cross-disciplinary source of new and empirical research into the field is called the Journal of Choice Modelling.

Theoretical background
The theory behind choice modelling was developed independently by economists and mathematical psychologists. The origins of choice modelling can be traced to Thurstone's research into food preferences in the 1920s and to random utility theory. In economics, random utility theory was then developed by Daniel McFadden and in mathematical psychology primarily by Duncan Luce and Anthony Marley. In essence, choice modelling assumes that the utility (benefit, or value) that an individual derives from item A over item B is a function of the frequency that (s)he chooses item A over item B in repeated choices. Due to his use of the normal distribution Thurstone was unable to generalise this binary choice into a multinomial choice framework (which required the multinomial logistic regression rather than probit link function), hence why the method languished for over 30 years. However, in the 1960s through 1980s the method was axiomatised and applied in a variety of types of study.

Distinction between revealed and stated preference studies
Choice modelling is used in both revealed preference (RP) and stated preference (SP) studies. RP studies use the choices made already by individuals to estimate the value they ascribe to items - they "reveal their preferences - and hence values (utilities) – by their choices". SP studies use the choices made by individuals made under experimental conditions to estimate these values – they "state their preferences via their choices". McFadden successfully used revealed preferences (made in previous transport studies) to predict the demand for the Bay Area Rapid Transit (BART) before it was built. Luce and Marley had previously axiomatised random utility theory but had not used it in a real world application; furthermore they spent many years testing the method in SP studies involving psychology students.

History
McFadden's work earned him the Nobel Memorial Prize in Economic Sciences in 2000. However, much of the work in choice modelling had for almost 20 years been proceeding in the field of stated preferences. Such work arose in various disciplines, originally transport and marketing, due to the need to predict demand for new products that were potentially expensive to produce. This work drew heavily on the fields of conjoint analysis and design of experiments, in order to:
 Present to consumers goods or services that were defined by particular features (attributes) that had levels, e.g. "price" with levels "$10, $20, $30"; "follow-up service" with levels "no warranty, 10 year warranty";
 Present configurations of these goods that minimised the number of choices needed in order to estimate the consumer's utility function (decision rule).
Specifically, the aim was to present the minimum number of pairs/triples etc of (for example) mobile/cell phones in order that the analyst might estimate the value the consumer derived (in monetary units) from every possible feature of a phone. In contrast to much of the work in conjoint analysis, discrete choices (A versus B; B versus A, B & C) were to be made, rather than ratings on category rating scales (Likert scales). David Hensher and Jordan Louviere are widely credited with the first stated preference choice models. They remained pivotal figures, together with others including Joffre Swait and Moshe Ben-Akiva, and over the next three decades in the fields of transport and marketing helped develop and disseminate the methods. However, many other figures, predominantly working in transport economics and marketing, contributed to theory and practice and helped disseminate the work widely.

Relationship with conjoint analysis
Choice modelling from the outset suffered from a lack of standardisation of terminology and all the terms given above have been used to describe it. However, the largest disagreement has proved to be geographical: in the Americas, following industry practice there, the term "choice-based conjoint analysis" has come to dominate. This reflected a desire that choice modelling (1) reflect the attribute and level structure inherited from conjoint analysis, but (2) show that discrete choices, rather than numerical ratings, be used as the outcome measure elicited from consumers. Elsewhere in the world, the term discrete choice experiment has come to dominate in virtually all disciplines. Louviere (marketing and transport) and colleagues in environmental and health economics came to disavow the American terminology, claiming that it was misleading and disguised a fundamental difference discrete choice experiments have from traditional conjoint methods: discrete choice experiments have a testable theory of human decision-making underpinning them (random utility theory), whilst conjoint methods are simply a way of decomposing the value of a good using statistical designs from numerical ratings that have no psychological theory to explain what the rating scale numbers mean.

Designing a choice model
Designing a choice model or discrete choice experiment (DCE) generally follows the following steps:
 Identifying the good or service to be valued;
 Deciding on what attributes and levels fully describe the good or service;
 Constructing an Experimental design that is appropriate for those attributes and levels, either from a design catalogue, or via a software program;
 Constructing the survey, replacing the design codes (numbers) with the relevant attribute levels;
 Administering the survey to a sample of respondents in any of a number of formats including paper and pen, but increasingly via web surveys;
 Analysing the data using appropriate models, often beginning with the Multinomial logistic regression model, given its attractive properties in terms of consistency with economic demand theory.

Identifying the good or service to be valued
This is often the easiest task, typically defined by:
 the research question in an academic study, or
 the needs of the client (in the context of a consumer good or service)

Deciding on what attributes and levels fully describe the good or service
A good or service, for instance mobile (cell) phone, is typically described by a number of attributes (features). Phones are often described by shape, size, memory, brand, etc. The attributes to be varied in the DCE must be all those that are of interest to respondents. Omitting key attributes typically causes respondents to make inferences (guesses) about those missing from the DCE, leading to omitted variable problems. The levels must typically include all those currently available, and often are expanded to include those that are possible in future – this is particularly useful in guiding product development.

Constructing an experimental design that is appropriate for those attributes and levels, either from a design catalogue, or via a software program
A strength of DCEs and conjoint analyses is that they typically present a subset of the full factorial. For example, a phone with two brands, three shapes, three sizes and four amounts of memory has 2x3x3x4=72 possible configurations. This is the full factorial and in most cases is too large to administer to respondents. Subsets of the full factorial can be produced in a variety of ways but in general they have the following aim: to enable estimation of a certain limited number of parameters describing the good: main effects (for example the value associated with brand, holding all else equal), two-way interactions (for example the value associated with this brand and the smallest size, that brand and the smallest size), etc. This is typically achieved by deliberately confounding higher order interactions with lower order interactions. For example, two-way and three-way interactions may be confounded with main effects. This has the following consequences:
 The number of profiles (configurations) is significantly reduced;
 A regression coefficient for a given main effect is unbiased if and only if the confounded terms (higher order interactions) are zero;
 A regression coefficient is biased in an unknown direction and with an unknown magnitude if the confounded interaction terms are non-zero;
 No correction can be made at the analysis to solve the problem, should the confounded terms be non-zero.
Thus, researchers have repeatedly been warned that design involves critical decisions to be made concerning whether two-way and higher order interactions are likely to be non-zero; making a mistake at the design stage effectively invalidates the results since the hypothesis of higher order interactions being non-zero is untestable.

Designs are available from catalogues and statistical programs. Traditionally they had the property of Orthogonality where all attribute levels can be estimated independently of each other. This ensures zero collinearity and can be explained using the following example.

Imagine a car dealership that sells both luxury cars and used low-end vehicles. Using the utility maximisation principle and assuming an MNL model, we hypothesise that the decision to buy a car from this dealership is the sum of the individual contribution of each of the following to the total utility.
 Price
 Marque (BMW, Chrysler, Mitsubishi)
 Origin (German, American)
 Performance

Using multinomial regression on the sales data however will not tell us what we want to know. The reason is that much of the data is collinear since cars at this dealership are either:

 high performance, expensive German cars
 low performance, cheap American cars

There is not enough information, nor will there ever be enough, to tell us whether people are buying cars because they are European, because they are a BMW or because they are high performance. This is a fundamental reason why RP data are often unsuitable and why SP data are required. In RP data these three attributes always co-occur and in this case are perfectly correlated. That is: all BMWs are made in Germany and are of high performance. These three attributes: origin, marque and performance are said to be collinear or non-orthogonal. Only in experimental conditions, via SP data, can performance and price be varied independently – have their effects decomposed.

An experimental design (below) in a Choice Experiment is a strict scheme for controlling and presenting hypothetical scenarios, or choice sets to respondents. For the same experiment, different designs could be used, each with different properties. The best design depends on the objectives of the exercise.

It is the experimental design that drives the experiment and the ultimate capabilities of the model. Many very efficient designs exist in the public domain that allow near optimal experiments to be performed.

For example the Latin square 1617 design allows the estimation of all main effects of a product that could have up to 1617 (approximately 295 followed by eighteen zeros) configurations. Furthermore this could be achieved within a sample frame of only around 256 respondents.

Below is an example of a much smaller design. This is 34 main effects design.

This design would allow the estimation of main effects utilities from 81 (34) possible product configurations assuming all higher order interactions are zero. A sample of around 20 respondents could model the main effects of all 81 possible product configurations with statistically significant results.

Some examples of other experimental designs commonly used:

Balanced incomplete block designs (BIBD)
Random designs
Main effects
Higher order interaction designs
Full factorial

More recently, efficient designs have been produced. These typically minimise functions of the variance of the (unknown but estimated) parameters. A common function is the D-efficiency of the parameters. The aim of these designs is to reduce the sample size required to achieve statistical significance of the estimated utility parameters. Such designs have often incorporated Bayesian priors for the parameters, to further improve statistical precision. Highly efficient designs have become extremely popular, given the costs of recruiting larger numbers of respondents. However, key figures in the development of these designs have warned of possible limitations, most notably the following. Design efficiency is typically maximised when good A and good B are as different as possible: for instance every attribute (feature) defining the phone differs across A and B. This forces the respondent to trade across price, brand, size, memory, etc; no attribute has the same level in both A and B. This may impose cognitive burden on the respondent, leading him/her to use simplifying heuristics ("always choose the cheapest phone") that do not reflect his/her true utility function (decision rule). Recent empirical work has confirmed that respondents do indeed have different decision rules when answering a less efficient design compared to a highly efficient design.

More information on experimental designs may be found here. It is worth reiterating, however, that small designs that estimate main effects typically do so by deliberately confounding higher order interactions with the main effects. This means that unless those interactions are zero in practice, the analyst will obtain biased estimates of the main effects. Furthermore (s)he has (1) no way of testing this, and (2) no way of correcting it in analysis. This emphasises the crucial role of design in DCEs.

Constructing the survey
Constructing the survey typically involves:
 Doing a "find and replace" in order that the experimental design codes (typically numbers as given in the example above) are replaced by the attribute levels of the good in question.
 Putting the resulting configurations (for instance types of mobile/cell phones) into a broader survey than may include questions pertaining to sociodemographics of the respondents. This may aid in segmenting the data at the analysis stage: for example males may differ from females in their preferences.

Administering the survey to a sample of respondents in any of a number of formats including paper and pen, but increasingly via web surveys
Traditionally, DCEs were administered via paper and pen methods. Increasingly, with the power of the web, internet surveys have become the norm. These have advantages in terms of cost, randomising respondents to different versions of the survey, and using screening. An example of the latter would be to achieve balance in gender: if too many males answered, they can be screened out in order that the number of females matches that of males.

Analysing the data using appropriate models, often beginning with the multinomial logistic regression model, given its attractive properties in terms of consistency with economic demand theory
Analysing the data from a DCE requires the analyst to assume a particular type of decision rule - or functional form of the utility equation in economists' terms. This is usually dictated by the design: if a main effects design has been used then two-way and higher order interaction terms cannot be included in the model. Regression models are then typically estimated. These often begin with the conditional logit model - traditionally, although slightly misleadingly, referred to as the multinomial logistic (MNL) regression model by choice modellers. The MNL model converts the observed choice frequencies (being estimated probabilities, on a ratio scale) into utility estimates (on an interval scale) via the logistic function. The utility (value) associated with every attribute level can be estimated, thus allowing the analyst to construct the total utility of any possible configuration (in this case, of car or phone). However, a DCE may alternatively be used to estimate non-market environmental benefits and costs.

Strengths
 Forces respondents to consider trade-offs between attributes;
 Makes the frame of reference explicit to respondents via the inclusion of an array of attributes and product alternatives;
 Enables implicit prices to be estimated for attributes;
 Enables welfare impacts to be estimated for multiple scenarios;
 Can be used to estimate the level of customer demand for alternative 'service product' in non-monetary terms; and
 Potentially reduces the incentive for respondents to behave strategically.

Weaknesses
 Discrete choices provide only ordinal data, which provides less information than ratio or interval data;
 Inferences from ordinal data, to produce estimates on an interval/ratio scale, require assumptions about error distributions and the respondent's decision rule (functional form of the utility function);
 Fractional factorial designs used in practice deliberately confound two-way and higher order interactions with lower order (typically main effects) estimates in order to make the design small: if the higher order interactions are non-zero then main effects are biased, with no way for the analyst to know or correct this ex post;
 Non-probabilistic (deterministic) decision-making by the individual violates random utility theory: under a random utility model, utility estimates become infinite.
 There is one fundamental weakness of all limited dependent variable models such as logit and probit models: the means (true positions) and variances on the latent scale are perfectly Confounded. In other words they cannot be separated.

The mean-variance confound
Yatchew and Griliches first proved that means and variances were confounded in limited dependent variable models (where the dependent variable takes any of a discrete set of values rather than a continuous one as in conventional linear regression). This limitation becomes acute in choice modelling for the following reason: a large estimated beta from the MNL regression model or any other choice model can mean:
 Respondents place the item high up on the latent scale (they value it highly), or
 Respondents do not place the item high up on the scale BUT they are very certain of their preferences, consistently (frequently) choosing the item over others presented alongside, or
 Some combination of (1) and (2).
This has significant implications for the interpretation of the output of a regression model. All statistical programs "solve" the mean-variance confound by setting the variance equal to a constant; all estimated beta coefficients are, in fact, an estimated beta multiplied by an estimated lambda (an inverse function of the variance). This tempts the analyst to ignore the problem. However (s)he must consider whether a set of large beta coefficients reflect strong preferences (a large true beta) or consistency in choices (a large true lambda), or some combination of the two. Dividing all estimates by one other – typically that of the price variable – cancels the confounded lambda term from numerator and denominator. This solves the problem, with the added benefit that it provides economists with the respondent's willingness to pay for each attribute level. However, the finding that results estimated in "utility space" do not match those estimated in "willingness to pay space", suggests that the confound problem is not solved by this "trick": variances may be attribute specific or some other function of the variables (which would explain the discrepancy). This is a subject of current research in the field.

Versus traditional ratings-based conjoint methods
Major problems with ratings questions that do not occur with choice models are:
no trade-off information. A risk with ratings is that respondents tend not to differentiate between perceived 'good' attributes and rate them all as attractive.
variant personal scales. Different individuals value a '2' on a scale of 1 to 5 differently. Aggregation of the frequencies of each of the scale measures has no theoretical basis.
no relative measure. How does an analyst compare something rated a 1 to something rated a 2? Is one twice as good as the other? Again there is no theoretical way of aggregating the data.

Other types

Ranking
Rankings do tend to force the individual to indicate relative preferences for the items of interest. Thus the trade-offs between these can, like in a DCE, typically be estimated. However, ranking models must test whether the same utility function is being estimated at every ranking depth: e.g. the same estimates (up to variance scale) must result from the bottom rank data as from the top rank data.

Best–worst scaling
Best–worst scaling (BWS) is a well-regarded alternative to ratings and ranking. It asks people to choose their most and least preferred options from a range of alternatives. By subtracting or integrating across the choice probabilities, utility scores for each alternative can be estimated on an interval or ratio scale, for individuals and/or groups. Various psychological models may be utilised by individuals to produce best-worst data, including the MaxDiff model.

Uses

Choice modelling is particularly useful for:

Predicting uptake and refining new product development
Estimating the implied willingness to pay (WTP) for goods and services
Product or service viability testing
Estimating the effects of product characteristics on consumer choice
Variations of product attributes
Understanding brand value and preference, including for products like colleges
Demand estimates and optimum pricing

See also
 Consumer choice
 Discrete choice
 Outline of management

References

External links

Curated bibliography at IDEAS/RePEc

Economics models
Econometric modeling
Behavioral economics

Choice modelling


Mswati II (d. 1868), also known as Mswati and Mavuso II, was the king of Eswatini between 1840 and 1868. He was also the eponym of Eswatini.  Scholars say Mswati was the best of Eswatini's fighting kings. He made Eswatini much larger.

Mswati was the son of Sobhuza I and Tsandzile Ndwandwe (known as 'LaZidze) who after ruling as Queen Mother became Queen Regent after the death of her son. When Sobhuza died, Mswati inherited the kingdom.  At that time, it was from present day Barberton in the north and included the Nomahasha district in Mozambique. Mswati's became a strong military power after Mswati and his brothers Fokoti, Somcuba and Malambule stopped fighting each other.

When Mswati's armies attacked other Bantu armies or nations, they stole cattle and captured people instead of trying to make the other people's territory part of their kingdom. Around this time, the Trekboers became the first Europeans to meet any Swazis.

Mswati made Swazi territory much larger than it is today. There were military outposts and royal village outposts such as Mbhuleni, on the upper Komati River at the foot of the Mkongomo Mountains, south of Badplaas, Mekemeke which is east of the Mbayiyane Mountains, situated east of Mantibovu (Low's Creek). The death of Mswati II in July 1868 ended the era of Swazi conquest, territorial expansion and resulted in unification of various people into one nation.

1868 deaths
1820 births
19th century in Africa
Kings of Swaziland

Mswati II


Audrey Fildes (24 November 1922, Bromborough, Cheshire, England – 13 September 1997, Toronto, Ontario, Canada) was a British actress whose first film credit was the 1947 production While I Live. In 1949, she played the role of Louis Mazzini's mother, who was ostracised by her aristocratic family, in the film Kind Hearts and Coronets.

Granddaughter of Victorian painter, Sir Luke Fildes R.A. and Welsh Sculptor Sir William Goscombe-John R.A., and son of British Olympian (Épée) Luke Val Fildes, Audrey showed keen interest in acting while a student at Hayes Court School. She later related that, while at Hayes Court, she was directed in a performance of The Merchant of Venice by Alec Guinness. At the performance, he brought Peggy Ashcroft backstage and introduced Audrey to her as "my Portia". During her 20s she enjoyed an active acting career, appearing as Sonia in the celebrated production of Dostoyevsky's Crime and Punishment with John Gielgud at the New Theatre in 1946 and as Diana in Jean Anouilh's Ring Round the Moon (1950), directed by Peter Brook and co-starring Paul Scofield.

In 1947 she appeared as Miss Design, opposite Joyce Grenfell Miss Arty, in Designing Women, a short film made by the Central Office of Information for the Council for Industrial Design in an attempt to influence consumers' taste. Helping a newly-wed couple consider their motley collection of wedding gifts, she advised them to ask "Does it work? Is it genuine and well-made? Is it attractive?". An author writing about the film in 2009 described Fildes as a "beautiful starlet".

She married a Canadian design consultant in 1955, and moved to Ottawa. They had two sons Paul and Nicholas before separating, following which Audrey returned to England to bring up her sons. In the early 1970s Audrey trained for a second career as a gilder and restorer at the City and Guilds of London School. In 1976 she returned to Canada, settling in Toronto. Her gilding and restoration clients included the Government of Ontario and pieces of her work remain at Queen's Park, the Provincial Parliament. She was a member of the William Morris Society of Canada.

The National Portrait Gallery holds a 1944 photograph of Fildes by Cecil Beaton, and the collection of Amgueddfa Cymru – Museum Wales includes a 1934 bronze bust Audrey by her grandfather Goscombe John, which may be of Fildes. She appeared as a model in the September 1950 edition of British Vogue.

Filmography

Television Work

References

External links

Audrey Fildes at BFI

1922 births
1997 deaths
English film actresses
Actresses from Liverpool
20th-century English actresses
British comedy actresses
British emigrants to Canada

Audrey Fildes


Qedrîcan or Qedrîcan, Abdulkadir Can (1911–1972) was a Kurdish poet, writer and translator. He was born in Derik, a small town (present-day Mardin Province, south-eastern Turkey).  At a time when schooling was the subject of jokes and when few people studied Qedrîcan's father, known as "Cano" (hence the last name) sent him to school.  He was a very successful student, especially in the areas of science and mathematics. Seeing that his son was a successful student Cano decided to send his son to Konya to study at the teachers' college there.  During his days as a student there Qedrî Can was blacklisted for cultivating "political strife"; he was made a target for writing poetry in Kurdish and was forced to escape Turkey.  At a time after the defeat of the Sheikh Said Rebellion, he escaped to Syria and lived in Damascus until his death in 1972.

Qedrîcan is remembered for openly teaching the Kurdish Language to students in Northeastern Syria.  Among his circle of friends are the well known names of renowned Kurdish intellectuals: Celadet Bedir Khan, Kamuran Bedir Khan, Dr. Nurettin Zaza, Dr. Nuri Dersimi, Ekrem Cemilpaşa, Kadri Cemilpaşa, Dr. Abdul Rahman Ghassemlou, and more.

Works
Qedrîcan was one of the first Kurdish poets to write poetry in the modern Free verse style. His poetry is similar to that of Mayakovsky and Nazim Hikmet and he promoted socialism through his poetry. In addition to poetry, he also wrote short stories and biographies. Most of his works were published in the Kurdish journals Hawar, Ronahî and Roja Nû.

Stories

Tayê Pora Sipî, Ronahî Journal, No.3, 1931.
Hewar hebe, Gazî li dayê, Hawar Journal,  No.1, 1932.
Gundê Nû Ava,  Hawar Journal, No.2, 1932.
Silêman Bedirxan, Hawar Journal, No.3,  1932.
Hêviya çarde şevî, Hawar Journal, No.6, 1932.
Gelo newisan,  Hawar Journal, No.10, 1933.
Tabûta bi xwînê,  Hawar Journal,  No.11, 1933.
Bihara Dêrikê,  Hawar Journal, No.13, 1933.
Dabê, Hawar Journal, No.14, 1933.
Sehên zozanan,  Ronahî Journal, No.14, 1933.
Gulçîn, Ronahî Journal, No.16, 1933.
Guneh, Hawar Journal, No.16, 1933.
Rojên Derbasbûyî, Hawar Journal, No.52, 1943.
Sond, Hawar Journal, No.33, 1944.

Poems
Tabûta bi xwînê, Hawar Journal, No.2, 1932.
Berdêlk, Hawar Journal, No.6, 1932.
Hesinker, Hawar Journal, No.7, 1932.
Di Şorezarekêda, Hawar Journal, No.10, 1933.
Cegerxwîn, Hawar Journal, No.12, 1933.
Xewna hişyartî, Hawar Journal, No.13, 1933.
Dadê, Hawar Journal, No.14, 1933.

Kurdish-language writers
Kurdish-language poets
Kurdish poets
20th-century Kurdish people
1911 births
1972 deaths
People from Derik
20th-century poets

Qedrîcan


Mykola Bevz (19 December 1954, Buchach) — Ukrainian scientist, architect, member of ICOMOS from Ukraine.

Born in a family of teachers, Buchach farm-college (now — Buchach agrocollege of Podilsky State Agro-Techn. University (Kamianets-Podilskyi).

Graduated in Buchach sec. school (now - Volodymyr Hnatiuk Buchach gymnasium) in 1972, and graduated from Buchach children's art school (teacher — Omelian Mentus). 1972-1977 gg. studied at the Lviv Polytechnic Institute (LPI, now — National University "Lviv Polytechnic") at the Faculty of Architecture (teacher's specialty — Tetiana Maksym'yuk, Viktor Kravtsov). 1977-1978 worked as an architect in student design office at Lviv Polytechnic Institute (led by Vira Liaskovs'ka).

From 1978 to now has taught at the Lviv Polytechnic Institute, Faculty of Architecture, to 1992 worked as an assistant and senior lecturer of Urban Planning LPI. From 1992 works at the Department of Restoration and reconstruction of architectural complexes. May 2002 was elected Chair. Full member of the Ukrainian Committee of the International Council on Monuments and Cities, ICOMOS. In December 2003, he was elected vice-president of the Ukrainian Committee of ICOMOS. Vice President of supporters forts and palaces (Lviv). Member of the Scientific Society Shevchenko in the city Lviv. Member of the Society of fans of the city.

Co-Chair of Ukrainian-Polish Scientific Expedition (research, archaeological excavations in the territory of the present Basilica of the Birth of the Virgin Mary, the former Cathedral of the Nativity of the Blessed Virgin Mary) in Chełm.

References

Sources
 Mykola Bevz. Lviv Polytechnic National University
 Колодницький С. Бевз Микола Валентинович // ТЕС 4 — С. 40. ukr.
 Інститут архітектури. Бевз Микола Валентинович ukr.
 Кафедра реставрації та реконструкції архітектурних комплексів (РРАК) ukr.
 Наукова діяльність кафедри реставрації та реконструкції архітектурних комплексів. ukr.

1954 births
Living people
People from Buchach
Ukrainian architects
Lviv Polytechnic alumni
Academic staff of Lviv Polytechnic

Mykola Bevz


Polskie Radio Program II, also known as PR2 or Dwójka, is a radio channel produced by the Polish public broadcaster, Polskie Radio. It is dedicated to classical music, culture, and the arts. Thanks to its extensive cooperation with other public broadcasters from around the world, the channel provides numerous transmissions of concerts and other classical music events from every part of the globe. It is widely considered to be the most elite-targeted of all Polish radio channels. Its studios are located at the Polskie Radio headquarters in Warsaw. Program 2 often also uses a concert studio belonging to  the public Polish Television (TVP).

Day of protest
In a 24-hour protest action – aimed at raising public awareness of the threat posed to the channel, and to the cultural activities it currently supports, by a decrease in public funding and the lack of clear guarantees as to future financing – the staff of Dwójka replaced all scheduled programming between 06.00 on 8 July 2009 and 06.00 the following morning with a recording of bird song interspersed with announcements explaining the reasons for the staff's action and calling for public support.

References

External links
 Polskie Radio Program II - official website

Polskie Radio
Classical music radio stations
Radio stations established in 1937
1937 establishments in Poland

Polskie Radio Program II


A prelate () is a high-ranking member of the Christian clergy who is an ordinary or who ranks in precedence with ordinaries. The word derives from the Latin , the past participle of , which means 'carry before', 'be set above or over' or 'prefer'; hence, a prelate is one set over others.

The archetypal prelate is a bishop, whose prelature is his particular church. All other prelates, including the regular prelates such as abbots and major superiors, are based upon this original model of prelacy.

Related terminology

In a general sense, a "prelate" in the Roman Catholic Church and other Christian churches is a bishop or other ecclesiastical person who possesses ordinary authority of a jurisdiction, i.e., of a diocese or similar jurisdiction, e.g., ordinariates, apostolic vicariates/exarchates, or territorial abbacies. It equally applies to cardinals, who enjoy a kind of "co-governance" of the church as the most senior ecclesiastical advisers and moral representatives of the Supreme Pontiff, and certain "superior prelates of the offices of the Roman Curia" who are not bishops, e.g., the auditors (judges) of the Roman Rota and protonotaries apostolic. By extension, it refers to "inferior" or "lesser prelates", that is priests who have the title and dress of prelates as a personal honorific, i.e., Papal chaplains, prelates of honor (formerly "domestic prelates"), and honorary protonotaries apostolic. All these enjoy the title of "monsignor", which also is used in some nations for bishops and archbishops. The seven de numero protonotaries apostolic in Rome, who are special Papal notaries, are true prelates like bishops; others are "supernumerary" protonotaries apostolic who enjoy this as an honorific, like Papal chaplains and prelates of honor.

In the strict canonical sense, "prelate" denominates a priest or bishop who is ordinary of a personal prelature (see below), which is a functional equivalent of a diocese that has a "particular pastoral or missionary work for various regions or for different social groups" (cf. Code of Canon Law, Canon 294) yet no territorial jurisdiction.

In the Armenian Apostolic Church, "prelate" (in English) denominates a diocesan bishop, whose jurisdiction of his diocese is denominated a "prelacy".

Territorial prelatures

In the Catholic Church, a territorial prelate is a prelate whose geographic jurisdiction, denominated a "territorial prelature", is outside of and therefore not subject to any diocese. A territorial prelate is sometimes denominated a "prelate nullius", from the Latin "nullius diœceseos" (prelate of no diocese), denoting that his territory is directly subject to the Holy See (the Supreme Pontiff) and is not a diocese. , there were 44 territorial prelatures, all of which were in the Latin Church.

The term also is used generically, in which case it may equally refer to an apostolic prefecture, an apostolic vicariate, or a territorial abbacy.

Personal prelatures

In the Catholic Church, the personal prelature was conceived during the Second Vatican Council (1962–65) in no. 10 of the decree Presbyterorum ordinis and Pope Paul VI later enacted it into law in the motu proprio Ecclesiae sanctae. The institution was later reaffirmed in the Code of Canon Law of 1983. Such a prelature is an institution having clergy and, possibly, lay members which would execute specific pastoral activities. The adjective "personal" refers to the fact that, in contrast with previous canonical use for ecclesiastical institutions, the jurisdiction of the prelate is not territorial and instead is of specific persons wherever they are located. The establishment of personal prelatures is an exercise of the theologically inherent power of self-organization which the Church has in order to pursue its mission, though a personal prelature is not a particular church, as are dioceses and military ordinariates.

Personal prelatures are fundamentally secular organizations operating in the world (members do not take vows and live normal, everyday lives), whereas religious institutes are religious organizations operating out of the world (members take vows and live in accordance with the proper law of their institute).

The first, and presently only, personal prelature is Opus Dei, which Pope John Paul II erected as such in 1982 by the Apostolic constitution Ut sit. In the case of Opus Dei, the Prelate is elected by members of the Prelature and confirmed by the Supreme Pontiff; the laity and clergy of the Prelature remain subject to the government of the particular churches in whose territory they live, and the laity associated with the Prelature, both men and women, are organically united under the jurisdiction of the Prelate.

Guidelines
On 15 February 2018, a motu proprio issued by Pope Francis ordered prelates and bishops to live simply and renounce any desire for power after they retire from senior offices of the Roman Curia. A number of such officials and bishops had been criticized in the preceding years for luxurious living, such as having large apartments and police escorts after they retired. One notable incident involved Tarcisio Bertone, an Italian prelate and former Cardinal Secretary of State removed from office in 2013, who used an apartment that had been renovated at the cost of nearly half a million dollars in funds, which were diverted from a Vatican-owned hospital by the former president of the hospital. Even after he retired, Tarcisio Bertone used escorts of Vatican City and Italian police to move around Rome.

See also

 Catholic Church hierarchy § Equivalents of diocesan bishops in law
 Ordinariate for the faithful of eastern rite
 Personal ordinariate

References

Catholic ecclesiastical titles

Anglican ecclesiastical offices

Prelate


Chettupattu is a locality in the Indian city of Chennai. It is served by Chetpet railway station in the Beach-Tambaram line of Chennai Suburban Railway. Chettupattu has a pond between the Chetpet railway station and the Poonamallee High Road, one of the last surviving natural water bodies in the city.

Towns in India

Chettupattu


Avengers: Celestial Quest is an eight-issue comic book limited series published from November 2001 to June 2002 by Marvel Comics. The series was written by Steve Englehart and drawn by Jorge Santamaria.

Plot summary
Thanos decides to hunt down and kill fragments of the former Avenger called Mantis. Opposing him are The Avengers and Haywire. The heroes head for Tamal, the Cotati homeworld, to save Mantis's son Sequoia (AKA Quoi) from Thanos. The Avengers then defeat Saurian space pirates, while Thanos gives Reptyl god-like powers. Thanos also turns Primo into a god, while Mantis tries to bond with her son, and the Titans have a failed attack on Thanos. Raptra then escapes from Thanos's ship and kidnaps Quoi, who she attempts to trade to Thanos for her life. Thanos refuses, so Raptra heads for the Rot, the child of Death and Thanos, to hide with Quoi. The Avengers escape from the Cotati, who are angered at them for failing to guard Quoi. Quoi and Raptra become romantically involved while on the run, Mantis finds out that the patch of utter darkness known as the Rot is a cancer for Eternity, and Thanos captures Raptra, Sequoia, Mantis and Vision. Thanos then tries to get into Mantis's and Quoi's minds but fails. His prisoners escape, and he's attacked by the Avengers. They all are then surrounded by the Rot, who is defeated by the heroes and villains.

References

External links

 Avengers: Celestial Quest at the Marvel Database

Comics by Steve Englehart

Avengers: Celestial Quest


12 Rounds is a British rock band formed by Atticus Ross and singer Claudia Sarne, who are married. After the release of their first album, Jitter Juice, they toured with the Sneaker Pimps. 12 Rounds played the Reading Festival in 1996. Their song "Something's Burning" was featured on the soundtrack to the 1997 film All Over Me, and "Just Another Day," their collaboration with Pale 3, was featured on the soundtrack to the 2000 film The Princess and the Warrior. The group released a few projects under various record labels before releasing My Big Hero under Trent Reznor's Nothing Records. They were the opening act on Marilyn Manson's Mechanical Animals promo tour that ranged from September to December 1998. A follow-up album was recorded with Reznor as producer; it remains unreleased. Ross has nonetheless worked with Reznor on every Nine Inch Nails album since With Teeth as well as other projects.

12 Rounds re-obtained rights to songs from the unreleased third album and plan on releasing singles on their official website.  The first song released was titled "Shine On."

Discography

Albums
1996: Jitter Juice (Polydor)
1998: My Big Hero (Nothing/Interscope)

EPs
1996: Personally (Polydor)

References

External links
Official site

Nothing Records artists

12 Rounds (band)


Donald Grover Wise (born March 24, 1942, in Westerly, Rhode Island) is an American tenor saxophonist, songwriter, and music producer. He gained attention as reliable sideman of the singer-songwriter Delbert McClinton from Lubbock, Texas, for more than 20 years. Wise played with many artists and in venues all over the globe in his more than 50-year musical career. He released four CDs under his own name before retiring from the music business in 2008.

Wise is married and lives with his family in Knoxville, Tennessee.

Development and musical career
Wise began playing music on a clarinet. At age 12 he moved to the saxophone, initially alto sax and a year later settled on the tenor sax. He was inspired by the rhythm and blues of the 1950s; however, he also played country, swing, and big band music. He joined his first band in 1957. Riding the tide of rock 'n' roll, they called themselves the Rhythm Rockers. Early saxophone influences were Red Prysock, Sam "The Man" Taylor, Earl Bostic, David "Fathead" Newman, and a little later, King Curtis, Sam Butera, and Junior Walker. With these musical inspirations, over the years he developed his versatility and his own signature sound and became a sought-after session musician.

Wise toured with various bands across the U.S. in the 1970s and '80s and has performed with Jeffrey Osborne, Ruben Ramos, Chuck Jackson, Maxine Brown, Taj Mahal, Willie Nelson, Marcia Ball, Rickey Godfrey, Jimmie Dale Gilmore, Tower of Power, Huey Lewis, Hal Ketchum, Teresa James and Joe Ely.  A milestone was the invitation from Ray Charles to back him on a nationally broadcast TV appearance for the ESPYs in New York City in 1997. Wise was also member of the "Allstar Band" performing the Inaugural-Concert for George H. W. Bush in 1989.

While recording in 1985 with Radio Zebra, a Texas rock group with whom he had toured Germany a month prior, he received a call from Delbert McClinton to fill the position as saxophonist in his band. Wise took the opportunity and remained a pillar of the group for 23 years. He served as instrumentalist and co-producer of McClinton's Grammy-nominated album Live from Austin in 1989 and as musician of Grammy winner Cost of Living in 2005. After more tours in Central Europe and Scandinavia, a large fan base grew outside the U.S. and led to Wise' increased recognition and the popularity of his music.

His eclectic skills brought various honors, from Country Sax Player of the Year at the Oklahoma Country Music Awards in 1980, to 2002 when he earned the Best Instrumentalist Cammy Award from the Beach Music Association.  His playing style is written about in John Laughter's Contemporary Saxophone, with four of his solos from the Live from Austin CD featured on the book's companion disc. Reviewers in a variety of journals, magazines, and e-zines describe his soulful solos and just-right backup playing.

In 1997 he produced the first CD of his own, which garnered excellent reviews and led to three more discs over the next eight years. Colleagues including Delbert McClinton, Marcia Ball, Gary Bunton, Britt Johansen, Robin Griffin, Bugs Henderson, Big Joe Maher, Teresa James and Steve Williams helped get his ideas heard and appreciated. Friend and co-producer, Wally Moyers, owner of Studio 84 in Lubbock, was invaluable in achieving the sound Wise wanted. Besides featuring his friends' and colleagues' talents, Wise complemented these projects with his own musicianship as a sax pro, as well as his gifts as a composer, lyricist, producer, and singer.

In 2008, after an acclaimed tour of Finland and Norway, Wise exited the Delbert McClinton band to devote his time to his family and hobbies. Sometimes he still plays as a guest with various artists, such as Mingo Fishtrap from Austin, Texas, or on Delbert McClinton's annual Sandy Beaches Cruise. In 2021 Wise was inducted into the Westerly High Music Hall of Fame.

Instruments

Wise plays "The Martin Tenor" built in 1951 with the Otto Link 7S, metal mouthpiece (adapted By "Doc" Tenney in Cedar Falls, Iowa). In addition, he has a Martin silver tenor saxophone (which he acquired in trade for a black Keilwerth tenor with golden flaps), a Martin alto, and a Conn soprano sax.

Awards
 Country Saxophonist of the Year, 1980, Oklahoma Country Music Association
 Cammy Award – Best Instrumentalist, 2002, Beach Music Association
 Induction into the Westerly High Music Hall of Fame, 2021

Discography
Excerpt of productions, Wise has contributed as a saxophonist, producer, composer and/or songwriter:

Solo-CDs
All released by Horn O' Copia Recordings.
 1997 In Wise Hands
 2000 In the Verge of Survival
 2002 Genuine Snake
 2005 Swingin' Up a Storm

As sideman, session or guest musician

 1981 Warhorse Band: Live in Lubbock
 1985 Radio Zebra: Different stripes for different types
 1988 Bugs Henderson & The Shuffle Kings: American Music
 1989 Delbert McClinton: Live from Austin
 1990 Genuine Houserockin' Music, Vol. 4
 1991 The Best of Mountain Stage Live, Vol. 2
 1992 Hot Rhythm & Cool Blues – Texas Style
 1993 Bugs Henderson: Years in the jungle
 1997 Delbert McClinton: One of the Fortunate Few
 1998 Big Blues Extravaganza!: The Best of Austin City Limits
 1998 Bugs Henderson & The Shuffle Kings: Have Blues...Must Rock
 2000 Kevin McKendree: Miss Laura's Kitchen
 2001 All Aboard: The Beach Boogie Train, Vol. 3
 2001 The Delta Riders: Kickin' up Dust
 2002 Delbert McClinton: Room to Breathe
 2002 Todd Sharp: Walking All the Way
 2003 Johnny Flash & The Rockets: I Hear My Baby Knocking
 2003 Paul Craver: Let the Music Play
 2003 Delbert McClinton: Live
 2003 Bugs Henderson & The Shuffle Kings: We're a Texas Band – Live in Germany
 2005 Delbert McClinton: Cost of living
 2005 Teresa James: Rhythm Method
 2008 Rob Roy Parnell: Let's Start Something
 2010 Rickey Godfrey: Nasty Man
 2012 Topcat Records 20th Anniversary Extravaganza

References

External links
 Official website
 Video-Interview with Don Wise on his Homepage
 Don Wise & Marcia Ball on Youtube

 Rickey Godfrey Website

1942 births
Living people
American male saxophonists
American rhythm and blues musicians
Rhythm and blues saxophonists
Songwriters from Rhode Island
Record producers from Rhode Island
People from Westerly, Rhode Island
Musicians from Tennessee
Songwriters from Tennessee
Record producers from Tennessee
21st-century American saxophonists
21st-century American male musicians
American male songwriters

Don Wise