Michelle Nixon is a bluegrass and acoustic country music artist.  Born Michelle Denice Thurston on December 10, 1963 she grew up in central Virginia where she became involved in music at an early age.  Nixon joined her first band at the age of 14, embarking on a musical journey that found her singing a variety of gospel and classic country music with different Virginia based bands. Gathering inspiration and style from, among others, Loretta Lynn and Emmylou Harris, Nixon quickly developed her own powerful sound.

History
Michelle Nixon began her professional music career when she formed the band Slate River with her husband Nick in 1989. In 1990 and 1991, Nixon won the Virginia Folk Music Association's female vocalist award. Nixon teamed up with mandolin player / vocalist Vernon Hughes in the band "Appalachian Express" in 1993.  In 1996, they joined to create the Virginia Band "Local Exchange" and released the album "Because He Lives" on Copper Creek Records.

After playing a key role in the Virginia Band "Local Exchange", Nixon formed her current band – Michelle Nixon & Drive – in 2002. Within a year, Nixon signed a three-album contract with Pinecastle Records. In the following years Nixon was consecutively nominated for Female Vocalist of the Year (Traditional) at the National SPBGMA (Society for the Preservation of Bluegrass in America) convention in Nashville, TN from 2004 to 2009. In 2006 she was the recipient of the Female Vocalist of the Year (Traditional) at the SPBGMA convention. In total "Michelle Nixon and Drive" received a total of six nominations at SPBGMA in 2006. Additionally from 2005 to 2009 Nixon was nominated for SPBGMA's Entertainer of the Year.

Nixon participated in the much acclaimed "Daughter's of Bluegrass" series of albums both with singing and her song writing abilities.  On the 2006 release "Daughter's of Bluegrass – Back to the Well" Nixon co-wrote the song "Grass Angels" and performed on several of the cuts including a duet with fellow Bluegrass artist Jeanette Williams entitled "How's it Feel" which was written by Dixie and Tom T. Hall.

Blue Circle Records continued the "Daughter's of Bluegrass Series" with the album "Daughter's of Bluegrass – Bluegrass Bouquet" in late 2008.  Michelle Nixon again provided her vocal talents to this various artist project.  For both of these projects Nixon was a recipient of the IBMA Recording Event of the Year Award in 2006 and 2009 respectively.

In 2007, Nixon toured as part of the "Blowin' the Dust Off" tour with Steve Bassett. During this same tour season, she played several Bluegrass Festivals that were not part of the Blowin' The Dust Off Tour including Sertoma Youth Ranch Spring Bluegrass Festival in Florida. Also in 2007 Nixon and her band Drive performed in Toronto, Ontario, Canada, as part of the Bluegrass Sundays Winter Concert Series.

In 2008, Nixon performed at the Induction ceremonies for the newest members of the Country Music Hall of Fame Tom T. Hall and the Statler Brothers at the request of veteran songwriter Tom T. Hall. Her performance included his song "Harper Valley PTA" which she had recently recorded for her next album.

Songwriting
Nixon has focused more and more on her songwriting.  She wrote two to three songs on each of her Pinecastle albums.  She also contributed as a songwriter to the IBMA-winning Daughter's of Bluegrass Album Back to The Well and co-wrote the song "When It's Christmas in Virginia" with her husband Nick Nixon for the A Pinecastle Christmas Gathering album.  In more recent years Nixon's songs have been performed and recorded by other Bluegrass artist such as Dianne McKoy.

Style
Nixon's overall style would be called Contemporary Bluegrass or Acoustic Country.  She has a wide range of vocal and instrumental abilities and often performs both smooth ballads and hard driving Bluegrass. She is well known for performing classic country anthems and remaking them in her own style. In her performances and recording projects, she has shown her ability to shine as a solo vocalist as well as an outstanding ability to sing harmony that she learned as a girl singing gospel music.  She performed and/or recorded projects with many bluegrass artist such as Jeanette Williams and Dale Ann Bradley as well as Country music performer and Grand Ole Opry star Bill Anderson.

Personal life
Nixon is married to Nick Nixon and she has three children – Tia, Chip and Trace.  She balances a busy musical career and family life while still finding time for the great outdoors.  She loves to spend her "spare" time gardening, fishing and camping. Her husband Nick is an acoustic country artist who collaborates with Nixon.  He has most recently been listed as a band member in "Drive".

In 2005 Nixon postponed her California tour due to an illness in the family.  Her daughter was undergoing her fourth heart surgery. Due to her own personal experiences, Nixon has often worked with charity organizations such as the American Heart Association and the Shriners.  For the past several years she has been the host for the Bluegrass in the Blue Ridge Bluegrass Festival in Luray, VA which is a fund raiser for the Shriners Hospitals for Children.

Discography
Local Exchange – Because He Lives – Copper Creek Records 2001
Michelle Nixon and Drive – It's My Turn – Pinecastle 2003
Michelle Nixon and Drive – By Request – Pinecastle 2004
Various Artists – A Pinecastle Christmas Gatherin' – Pinecastle 2004
Michelle Nixon and Drive – What More Should I Say – Pinecastle 2005
Daughter's of Bluegrass (Various Artists) – Back to the Well – Blue Circle Records 2006
Daughter's of Bluegrass (Various Artists) – Bluegrass Bouquet – Blue Circle Records 2008
Michelle Nixon and Drive – A Place I Belong – Mountain Fever Records 2011

See also
Bluegrass music
International Bluegrass Music Association
Bill Anderson (singer)
Tom T. Hall

References

External links
Michelle Nixon Website
Michelle Nixon CMT Page
Cybergrass article
Wayne Rice's Bluegrass Bios

Living people
American folk musicians
Bluegrass musicians from Virginia
Musical groups from Virginia
1963 births
People from Louisa, Virginia
Singer-songwriters from Virginia
People from Goochland, Virginia
Country musicians from Virginia
American women country singers
American country singer-songwriters
21st-century American women

Michelle Nixon


An aura is the changes that people see, hear, smell, taste, or feel before they have an epileptic seizure, or before they have a migraine. It comes from the Greek word for breeze. The cause of the aura is related to the way the brain works, so this is a neurological condition.

Migraines
There are different kinds of migraines. About 15% of people who have a migraine will have an aura. The symptoms may include visual problems like not being able to see for a short time, seeing zig-zag lines or floating spots, dizziness, a ringing noise in the ears (tinnitus), and problems speaking.  It may take up to an hour after the aura begins before a person starts getting a migraine.

Epileptic seizures
Many people with epilepsy have an aura before having a seizure.  This can be helpful, because the aura can tell the person that a seizure is coming ahead of time, and give them time to get to a safe place.  The time between the aura and the seizure is usually short (often from seconds to minutes).

Other causes
There are other neurological conditions which can cause aura-like symptoms.  These include strokes and panic attacks, for example.

Symptoms

 Difficulty speaking
 Vertigo: a kind of dizziness where the person feels as if the world is spinning or moving around them or there is a feeling of spinning or moving in their head.
 Scotomas: blind spots in the person's vision
 Scintillating scotomas, also called teichopsia: seeing bright wavy lines or a spot with flickering lights, which gets bigger and grows into one or more arcs or curves of shimmering white light or colored flickering lights.
 Fortification: seeing zig-zag lines
 Changes in vision
 Photopsia: flashes of light
 Tinnitus: a ringing noise in the ears
 Muscle weakness
 Bilateral facial pain: pain in both the left and right side of the face
 Tingling feelings
 Numbness: usually following the tingling sensation there is numbness (you can not feel very much or not at all) one side of the body.  This can happen in the arm, leg, and/or one side
 Muscle weakness: usually on one side of the body
 Alice in Wonderland Syndrome: these are a type of hallucination (something a person sees that is not real).  These types of hallucinations may make other people or things look much smaller than they really are (micropsia) or bigger than they really are (macropsia)

Scotomas

Scotoma (came from the Greek word for darkness: skotos): a blind spot or area of reduced vision surrounded by a normal visual field. i.e.: A person can see normally except where the scotoma is. Scotomas may affect one or both eyes.  They can be either absolute, where the person can see nothing within the scotoma, or relative, where the person can see something within the scotoma, but less than usual.

Negative scotoma: an area of partial or total blindness.  Usually it is followed by a scintillating scotoma, but the negative scotoma may be surrounded by a scintillating scotoma. A negative scotoma may be either be an absolute scotoma and may seem like a blank spot where the person can not see any light, or a relative scotoma in which some light may be seen but less than normal, the scotoma  may be blurry as if looking through thick plastic. Negative scotomas are usually not noticed by a person and are found by an eye or ophthalmic examination.

Positive scotoma: an area of vision loss or blockage that may be seen as a dark or black spot or the blockage of vision may be what seem to be various shapes or lines that may change in brightness i.e they may get darker and lighter so it seems like a flickering light.

Fortification scotoma (AKA:teichopsia): seeing lines that look like the lines of a fort. The lines may be gray or colored and the brightness may change from darker to lighter so that they appear to be flickering then the fortification scotoma may be called a scintillating scotoma.

Scintillating scotoma: is the progression of a fortification scotoma i.e When the lines seen in a fortificatin scotoma change in brightness rapidly so they look like flickering lights. This is one of the most common scotomas a person who has a migraine with aura may see. It usually starts as a spot of flickering lights in the center of a person's visual field it then gets larger.

References

Migraine
Symptoms
Neurology

Aura (symptom)


St. Joseph Bay is a bay on the Gulf Coast of the U.S. state of Florida. The bay is located in Gulf County between Apalachicola and Panama City. Port St. Joe is located on St. Joseph Bay.

St. Joseph Bay is bounded on the east by the mainland, on the south by Cape San Blas, and on the west by the St. Joseph Peninsula. The north end of the bay is a relatively narrow opening to the Gulf of Mexico. The bay is approximately  long north to south and  wide at its widest point.

The waters of St. Joseph Bay contain the St. Joseph Bay State Buffer Preserve and the St. Joseph Bay Aquatic Preserve. The St. Joseph Peninsula forms the St. Joseph Peninsula State Park.

History
The Spanish established Presidio Bahía San José de Valladares on St. Joseph Bay in 1701. The French established Fort Crevecoeur on the shores of St. Joseph Bay opposite St. Joseph Point, the northern end of the St. Joseph Peninsula, in 1717, and captured the Presidio Bahía San José de Valladares the next year. Under pressure from Spain, the French then abandoned Fort Crevecoeur. The Spanish established the Presidio Bahía San José de Nueva Asturias on St. Joseph Point in 1719, but abandoned it in 1722.

The boom town of St. Joseph was founded on the shores of St. Joseph Bay in 1835. The town briefly prospered, but a yellow fever epidemic in 1841 drove most of the residents away and the town was soon abandoned. The St. Joseph Bay Light was established on St. Joseph Point in 1838, to serve the new town's port. The light was discontinued in 1847, after the town had been abandoned, and the unused tower was destroyed in a storm in 1851. A new lighthouse, the St. Joseph Light Range Station, was constructed in 1902 on the mainland across from St. Joseph Point, at Beacon Hill.

A new town, Port St. Joe, was founded a couple of miles north of the site of the old town of St. Joseph around 1910, when the Apalachicola Northern Railroad built a branch line to the Bay.

Wildlife
St. Joseph Bay is known in the area for its abundant scallop habitats. Open-harvest season for bay scallops along Florida's Gulf coast typically runs from July 1 through September 24.

References

  Scalloping

Bodies of water of Gulf County, Florida
Bays of Florida on the Gulf of Mexico

St. Joseph Bay


David Rosenboom (born 1947 in Fairfield, Iowa) is a composer, performer, interdisciplinary artist, author, and educator known for his work in American experimental music.

Rosenboom has explored various forms of music, languages for improvisation, new techniques in scoring for ensembles, multi-disciplinary composition and performance, cross-cultural collaborations, performance art and literature, interactive multi-media, new instrument technologies, generative algorithmic systems, art-science research and philosophy, and extended musical interface with the human nervous system. He is a pioneer in the use of neurofeedback and compositional algorithms.

He is currently Faculty at The Herb Alpert School of Music at California Institute of the Arts, where he served as he dean from 1990 to 2020. He has also taught at other institutions such as Mills College, York University, and the Center for Creative and Performing Arts at the State University of New York in Buffalo. His students include Jin Hi Kim and Gino Robair.

As a young student, he studied (never finishing an undergraduate degree) composition, performance, and electronic music at the University of Illinois at Urbana-Champaign with Salvatore Martirano, Lejaren Hiller, Kenneth Gaburo, Gordon Binkerd, Bernard Goodman, Paul Rolland, Jack McKenzie, Soulima Stravinsky, John Garvey, and others. Working with Don Buchla, he was one of the first composers to use a digital synthesizer. He has performed at CalArts with Trichy Sankaran.

Rosenboom was married to performance artist and vocalist Jacqueline Humbert until 2012. He has three children from the union — Daniel, Dorothea, and Lindsay.

Discography
Suitable For Framing/ Is Art Is/ Patterns for London (A.R.C., 1975)
Collaboration In Performance (1750 Arch, 1978)
A Live Electro-acoustic Retrospective (Slowscan, 1987)
Systems of Judgement (CRC, 1991)
Two Lines (Lovely, 1996) with Anthony Braxton
Brainwave Music (A.R.C., 1976 - EM, 2007)
Future Travel (Street 002, 1981 - New World, 2007)
How Much Better If Plymouth Rock Had Landed On The Pilgrims  (New World, 2009)
Life Field (Tzadik, 2012)
Naked Curvature (Tzadik, 2015)
 Jacqueline Humbert And David Rosenboom: J.Jasmine: My New Music (Unseen Worlds, 2018)

As sideman
With Anthony Braxton
Five Compositions (Quartet) 1986 (Black Saint, 1986)

See also
Encephalophone

References

Sources
Zorn, John, ed. (2000). Arcana: Musicians on Music. New York: Granary Books/Hips Road. .
Liner notes, David Rosenboom's How Much Better if Plymouth Rock Had Landed on the Pilgrims. New World Records
The Mike Douglas Show. "Brain Music for John and Yoko: John Lennon, Yoko Ono & Chuck Berry with David Rosenboom." 1972.

Further reading
 Zimmerman, Walter, Desert Plants – Conversations with 23 American Musicians, Berlin: Beginner Press in cooperation with Mode Records, 2020 (originally published in 1976 by A.R.C., Vancouver). The 2020 edition includes a cd featuring the original interview recordings with Larry Austin, Robert Ashley, Jim Burton, John Cage, Philip Corner, Morton Feldman, Philip Glass, Joan La Barbara, Garrett List, Alvin Lucier, John McGuire, Charles Morrow, J.B. Floyd (on Conlon Nancarrow), Pauline Oliveros, Charlemagne Palestine, Ben Johnston (on Harry Partch), Steve Reich, David Rosenboom, Frederic Rzewski, Richard Teitelbaum, James Tenney, Christian Wolff, and La Monte Young.

External links

David Rosenboom at CalArts School of Music

1947 births
Living people
People from Fairfield, Iowa
20th-century classical composers
American male classical composers
American classical composers
21st-century classical composers
Musicians from Iowa
University of Illinois at Urbana–Champaign School of Music alumni
California Institute of the Arts faculty
Mills College faculty
21st-century American composers
Experimental Music Studios alumni
20th-century American composers
20th-century American male musicians
21st-century American male musicians
Centaur Records artists
Tzadik Records artists

David Rosenboom


The Bowenfels rail viaducts are a series of heritage-listed railway viaducts and railway bridges over Farmers Creek on the Main Western Line in Bowenfels, City of Lithgow, New South Wales, Australia. It was designed in two stages, by John Whitton as the Engineer-in-Chief for Railways, in 1870; and by engineering staff of New South Wales Government Railways in 1921; and was built from 1870 to 1921. It is also known as Farmers Creek viaducts. The property is owned by Transport Asset Holding Entity, an agency of the Government of New South Wales. It was added to the New South Wales State Heritage Register on 2 April 1999. The viaduct are located approximately  west of Central railway station.

History
The Farmers Creek stone railway viaduct, immediately upstream of the 1921 brick viaduct, was built for the Lithgow to Bathurst single-track railway extension, 1869 - 1875. It is one of the oldest railway arch bridges in New South Wales but was bypassed by the 1921 double-track brick arch bridges.

By the early 1900s the original single track from Bowenfels to Wallerawang was inadequate for railway operations so plans were made to duplicate that section of line and at the same time ease the grades and flatten some curves. John Whitton chose to use stone arch construction when denied sufficient funds to use imported wrought iron girders. Economic constraints forced Whitton to build single track bridges. They were progressively bypassed by double track brick arch bridges.

A major programme of similar works was begun in 1910 and continued until the mid 1920s but, because steel was an expensive import from Britain, the dominant material for bridging the many waterways was bricks, mostly from the 1912 State Brickworks at Homebush and mostly in the form of large brick arch culverts and viaducts. The quantity of bricks used in the program was enormous and the period could be aptly described as the "era of the brick arch".

The Bowenfels to Wallerawang work was delayed until after World War I.

The viaducts over Farmers Creek are accessible from a local road that was the original Great Western Highway.

Description

1870 rail viaduct
A sandstone viaduct built for the original single track Great Western Railway over Farmers Creek west of Bowenfels Railway Station. There are nine semi-circular arches  thick. The piers are solid stone, founded at shallow depth into rock. At the piers, the internal "V" formed by the adjoining arches is filled by stone rubble to about  and dished to form a drain. By this arrangement the ballasted tracks are drained and do not get water logged. There is a low stone parapet wall on each side of the viaduct. The abutments are solid stonework.

1921 rail viaduct
A brick arch viaduct comprising six  clear spans plus brick wing walls.

Condition

As at 16 March 2006, the viaducts are in good condition.

Heritage listing
As at 16 March 2006, this 1870 viaduct is significant because it is one of the oldest stone arch railway viaducts in New South Wales. It is associated with John Whitton the "father of New South Wales railways", it is an impressive curved sandstone structure on the edge of historic Bowenfels, its construction contributed significantly to the subsequent railway extension to Bathurst and on to western New South Wales and when John Whitton was denied funds to continue with the expensive wrought iron girder bridges he chose the stone arch viaduct for his major bridge works, particularly for the Zig Zag east of Lithgow and the extension west to Wallerawang. It is a fine representative example of a stone arch railway viaduct and it retains its original fabric.

The 1921 viaduct has significance because, it is part of the Bowenfels to Wallerawang duplication, the last of such works dominated by brick arch construction, the curved viaducts, 1870 and 1921, are an impressive pair of structures on the outskirts of historic Bowenfels, the duplication work contributed significantly to the railway extension to Bathurst and to the continued development of Western New South Wales, for land transport to Sydney and with six  clear spans on tall brick piers, it is one of the largest brick arch structures on the New South Wales railways system. The viaduct is a good representative example of brick arch construction and retains its original fabric and structure.

Bowenfels Rail Viaducts was listed on the New South Wales State Heritage Register on 2 April 1999 having satisfied the following criteria.

The place possesses uncommon, rare or endangered aspects of the cultural or natural history of New South Wales.

This item is assessed as historically rare. This item is assessed as scientifically rare. This item is assessed as arch. rare. This item is assessed as socially rare.

See also

Historic bridges of New South Wales
List of railway bridges in New South Wales

References

Bibliography

Attribution

External links

New South Wales State Heritage Register
Bowenfels, New South Wales
Viaducts in Australia
Railway bridges in New South Wales
Articles incorporating text from the New South Wales State Heritage Register
Arch bridges in Australia
Works of John Whitton
Bridges completed in 1870
Sandstone bridges in Australia
Main Western railway line, New South Wales

Bowenfels rail viaducts


Meïr ben Jacob HaKohen Schiff,  (1608–1644) () called the Maharam Schiff (), was a German rabbi and Talmud scholar.

Early life
Meïr Schiff was born at Frankfort-on-the-Main in 1608. His father, Jacob Schiff, was director of the yeshiva at Frankfort until his death. At the age of seventeen Meïr was called to the rabbinate of Fulda, where he had charge also of a number of pupils. There he composed, between 1627 and 1636, his commentaries, which covered the entire Talmud; but only those on Betzah, Ketubot, Gittin, Bava Metzia, and Hullin, together with fragments on Shabbat, Megillah, Bava Kamma, Bava Batra, Sanhedrin, and Zebahim, have been preserved.

Teachings
Schiff, being averse to pilpul, attacked not only contemporaries, like Solomon Luria (Ket. 94), Meïr of Lublin (B. M. 61), and Samuel Edels (B. M. 50), but even Rashi (Ket. 42), Isaac b. Sheshet (B. M. 48), and Mordecai (B. M. 4). He enters at once upon the discussion of his subjects, which he treats in detail though without digression; nor does he attempt to derive his proofs from remote Talmudic passages. His explanations are often obscure on account of their extreme brevity, many sentences being incomplete. This was due to pressure of other demands on his time, since he was actively interested in the affairs of his community. He did not write his commentaries in note-books, but on loose leaves of paper. He refers only to one of the different kinds of pilpul current in his time, namely, the so-called "Norburger."

Apart from his halakic commentaries, Schiff also composed sermons on the Pentateuch. In these he appears as an opponent of simple exegesis. He says, for instance, that Jacob must have been familiar with the explanation of Gen. xxv. 33 given by Rashi (B. Ḳ., end). Of the sermons only a fragment on Deut. iv. has been preserved. A mnemonic index to the Bible and the Talmud by him is also extant. In 1636 he removed to Schmalkalden; he was called to the rabbinate of Prague shortly before his death.

On his death-bed Schiff is said to have called his daughter Henlah and told her to keep all his works in a box until one of his younger relatives should be able to study and publish them. Henlah sent the box containing the works to a strange house, where they became moth-eaten, and some of them were stolen; so that her son, Michael Stein, came into possession of only a remnant of them, which he finally published, probably in 1737, at Homburgvor-der-Höhe under the title Ḥiddushe Halakot. A second edition appeared there in 1757; and both were full of misprints. The first revised edition was published by Mordecai Markus of Polozk in 1810. It has been the model for Talmudic study, and a copy is often given as a prize to students who have distinguished themselves in the study of Ḥiddushim.

Most of Schiff's notes on the four Ṭurim, as well as his cabalistic works and Talmudic decisions, were destroyed during the conflagration at Frankfort-on-the-Main in 1711.

He died about 1644 at Prague.

Bibliography
Fraenkel, in Orient, Lit. vi. 827-830;
S. Horodetzki, in Ha-Goren, 1899, ii. 58-66;
Azulai, Shem ha-Gedolim, p. 63;
Wolf, Bibl. Hebr. iii. 1398;
Steinschneider, Cat. Bodl. Col. 1715;
Benjacob, Oẓar ha-Sefarim, p. 179.

1608 births
1644 deaths
Authors of works on the Talmud
German Orthodox rabbis
Kohanim writers of Rabbinic literature
Rabbis from Frankfurt
17th-century German rabbis

Meir Schiff


Victor Robert DiBitetto (born February 9, 1961) is an American stand-up comedian, Internet personality and actor. He often refers to himself as "The Donkey of Comedy" or "The Working Class Zero". DiBitetto is known for his YouTube videos, most notably his "Bread and Milk" and "Who Wants Coffee" videos, and for portraying Gino Chizetti in the 2015 comedy film Paul Blart: Mall Cop 2.

DiBitetto was expected to appear in a Hulu sitcom named Don't Know Jack, but no further updates about the project have been announced since 2015.

Life and career
DiBitetto was born on February 9, 1961, in Brooklyn, New York. He is of Italian descent.  He started doing stand-up in 1981 at Pips Comedy Club, which was located in Sheepshead Bay, Brooklyn.

In 1991, DiBitetto made his first television appearance on America's Funniest People with his son, Michael, and was the $10,000 Grand Prize Winner for their home video of a mock ventriloquist act.

In February 2013, in response to the February 2013 nor'easter, DiBitetto created a YouTube video entitled "Bread and Milk", which received over 17 million views. The video has since then been shown on The View, CNN, The Today Show, and local weather channels. DiBitetto has claimed that this video, along with his internet following, is what eventually got him his stardom in show business, stating that "thirty seconds of stupidity brought [him] more recognition than thirty years of stand-up."

The following year, DiBitetto received a phone call from Kevin James, who had personally asked him to appear in a minor role in Paul Blart: Mall Cop 2 (2015). James had told Dibitetto that he was so impressed by his YouTube videos that he created the "Mall Cop" character, Gino Chizetti, based on Tony Gaga, a recurring character in Dibitetto's videos.

Along with his "Bread and Milk" video, other notable videos that went viral created by DiBitetto include a rant about not wanting to "Drive To Florida"; a reaction to Justin Bieber's 2014 arrest; an encounter with a creepy clown that was seen walking around Staten Island, New York; and a rant about Kanye West's behavior on the 2015 Grammy Awards. DiBitetto also has a mini-web series on his YouTube channel entitled "The Shed". The series takes place in his backyard and involves the construction of a shed that Dibitetto bought from Sam's Club, and the adventures that follow it after the shed is finished being built.

Prior to achieving notoriety with his internet videos and tri-state stand-up tour, DiBitetto worked as a school bus driver for Pioneer Transportation in Staten Island, New York. However, he has since then quit his bus driver job and became a stand-up comedian as a full-time occupation.

Throughout DiBitetto's previous and recent stand-up tours, he has been selling out nearly every venue where he has made an appearance. He has performed at several notable venues such as Gotham Comedy Club, The Paramount Theatre, The Borgata, Governor's Comedy Club, Mohegan Sun, Parx Casino, Las Vegas' Riviera Hotel and Casino, Los Angeles' Laugh Factory, and the 3000-seat NYCB Theatre at Westbury.

On April 7, 2015, DiBitetto appeared alongside Monica Reinagel on The Dr. Oz Show for a segment that discussed the nutrition of having milk within the average diet.

In 2018, DiBitetto starred in his second feature role, a comedy/fantasy "Abnormal Attraction" produced by Fuzz on the Lens Productions.

Personal life

DiBitetto resides in Manalapan Township, New Jersey, with his wife Lucy (). He also purchased a home in Glasgow, Scotland in 2022. He is a fan of The Beatles, KISS, Freddie Mercury, The New York Yankees, Glasgow Celtic, and the New York Giants. While growing up, his comedic idols were Red Skelton, The Three Stooges, Abbott & Costello, Richard Jeni, and George Carlin. His current goal for his career is to perform his stand-up act on The Tonight Show Starring Jimmy Fallon. In 2013, Dibitetto's son, Michael, came out as gay.

Filmography

References

External links

1961 births
Living people
American male comedians
Comedians from New York (state)
Entertainers from Brooklyn
People from Manalapan Township, New Jersey
American YouTubers
Viral videos
Internet memes
American stand-up comedians
American sketch comedians
American male film actors
20th-century American comedians
21st-century American comedians

Vic DiBitetto


Eugene Andolsek (1921 – November 17, 2008) was an American artistic draughtsman.  He is considered an outsider artist.

Life
Eugene Andolsek was born in Adrian, West Virginia, United States. He grew up with his mother's homemade quilts and crochet pieces which became a principal influence for his later drawings. In 1953, Andolsek became a stenographer for the Rock Island Railroad.

Work
In 1950, Andolsek began producing drawings based on grids. He spent almost every evening for the next fifty years drawing intricately patterned pieces, using basic drawing instruments and graph paper, as a means of diverting his thoughts from worrying about work. He was soon creating abstract compositions of remarkable geometric and chromatic complexity and produced several thousand kaleidoscopic designs. His creative work ended in 2003 as a result of deteriorated eyesight.

Mental health
After being made redundant, Andolsek developed an irreversible eye disorder and became almost blind, provoking him to consider suicide. His cousin intervened, moving him to a home and rescuing Andolsek's drawings.

Recognition
As a result of the move Andolsek's drawings were shown to an administrator at Pittsburgh's Andy Warhol Museum, who in turn showed them to Brooke Davis Anderson of the American Folk Art Museum. Anderson included some of the work in a group show at AFAM called "Obsessive Drawing" in 2005. Andolsek's first solo show was in March 2006 at American Primitive Gallery. He had another exhibition there in 2008, before he died of pneumonia and sepsis on November 17 of that year.

References

External links
 Patterson, Tom. 'Eugene Andolsek's Kaleidoscopic Mandalas,' Raw Vision Magazine, Summer 2010, 69:24–29
Online article about Eugene Andolsek, Raw Vision Magazine

1921 births
2008 deaths
American draughtsmen
Outsider artists
People from Upshur County, West Virginia
Artists from West Virginia
20th-century American male artists
21st-century American male artists
Deaths from pneumonia
Deaths from sepsis

Eugene Andolsek


Tikhvin Cemetery () is a historic cemetery in the centre of Saint Petersburg. It is part of the Alexander Nevsky Lavra, and is one of four cemeteries in the complex. Since 1932 it has been part of the , which refers to it as the Necropolis of the Masters of Art ().

Opened in 1823 after the monastery's first cemetery, the Lazarevskoe, had become overcrowded, the cemetery was initially called the "New Lazarevsky". It acquired its name after the building of its cemetery church, consecrated to the icon of the Tikhvin Mother of God. It soon superseded the Lazarevskoe Cemetery and became a popular and prestigious burial ground. The first literary figure, Nikolay Karamzin, was buried in the cemetery in 1826, followed in 1833 by Nikolay Gnedich, an associate of Alexander Pushkin's. Several other friends of Pushkin were later buried in the cemetery. Particularly significant interments were those of Mikhail Glinka in 1857, Fyodor Dostoevsky in 1881, Modest Mussorgsky and Alexander Borodin in the 1880s, and Pyotr Ilyich Tchaikovsky in 1893.

During the Soviet period the cemetery was earmarked for development into a museum necropolis, envisaged primarily as a landscaped park, with strategically placed memorials to important figures of Russian history. With several notable artists having already been buried in the cemetery, it was decided to designate it as the "Necropolis of the Masters of Art". During the 1930s many important Russian composers, painters, sculptors, writers and poets were exhumed from their original resting places across the city, and brought, with or without their monuments, to be reburied in the Tikhvin cemetery. At the same time the monuments of those figures deemed not in keeping with the artistic theme of the cemetery were removed or destroyed. Several more burials of particularly important artists took place during the Soviet period, as the cemetery established a role as a kind of national pantheon.

Establishment

The cemetery is located close to Alexander Nevsky Square, to the right of the pathway leading from the Gate Church to the . This land had previously been occupied with ornamental and vegetable gardens. The first cemetery in the monastery, the Lazarevskoe Cemetery, had been established in 1717, and by the early nineteenth century was becoming overcrowded. In March 1823 the monastery authorities proposed the creation of a new burial ground opposite the St. Petersburg Theological Consistory. The new cemetery, initially called the "New Lazarevsky" (), was established in the eastern part of the plot of land, between the pathway to the monastery, and the consistory building, enclosed with a wooden fence. Over time it expanded to the west, into the areas formerly occupied by monastic gardens, and in the 1870s it was enclosed with a stone wall.

Cemetery church
The brothers D. M. and N. M. Polezhaev, wealthy merchants, funded the construction of a cemetery church, laid down on 26 September 1869 and built to the design of architect N. P. Grebyonki. The church was consecrated on 2 February 1873 in the name of the icon of the Tikhvin Mother of God, which from about 1876 became the common name of the cemetery. Two icons, one of Saint Dimitry of Rostov, and one of Saint Mary of Egypt, were painted by Pavel Pleshanov for the church. In 1825 the church and cemetery were visited by Emperor Alexander I, prior to his journey to Taganrog.

The burial vault of Polezhaev family was in the crypt of the church, and in 1901 the church underwent renovations. In 1918 archpriest Peter Skipetrov of the Gate Church, who had been shot and killed during an early attempt by the Bolsheviks to requisition the monastery on 19 January 1918, was buried under the church's altar. The church was closed in 1931 and between 1935 and 1937 it was converted into a post office, with the destruction of its facades and interiors. With the establishment of the State Museum of Urban Sculpture, the building housed its scientific department, and now houses an exhibition hall as part of the museum.

Burials

The rate of burials in the Old and New Lazarevskoe cemeteries was about equal during the early years of the latter's existence, though by the 1830s the New Lazarevskoe Cemetery became more popular. Burials initially took place in the eastern part of the cemetery, and in 1825 the holy fool monk Patermufy was buried there. In 1826 the writer Nikolay Karamzin was buried in the cemetery, followed in 1833 by Nikolay Gnedich, a contemporary of Pushkin's. Gnedich's funeral on 6 February 1833 was attended by many prominent literary figures, including Pushkin, Ivan Krylov, Pyotr Vyazemsky, Pyotr Pletnyov, Fyodor Tolstoy and Alexey Olenin. With the exception of Pushkin, all would eventually be buried in the Lavra's cemeteries; Krylov, Vyazemsky, Pletnyov and Olenin in the Tikhvin, and Tolstoy in the Lazarevskoe. In 1844 another contemporary poet of Pushkin's, Yevgeny Baratynsky, was buried in the cemetery.

The cemetery became a popular and prestigious burial ground for those of many areas of society. The wealthy merchant A.I. Kosikovsky was buried under a monumental sarcophagus on a high pedestal surmounted by a canopy on eight fluted columns. Opposite it stood a similarly grand monument to the statesman Pavel Demidov, which has since been lost. In 1857 the remains of the composer Mikhail Glinka were returned from Berlin and buried in the cemetery, with a grand monument erected two years later to the design of architect I. I. Gornostayev, with sculptures by Nikolay Laveretsky. On 1 February 1881 the author Fyodor Dostoevsky was buried in the cemetery, with a similarly large monument. During the 1880s composers Modest Mussorgsky and Alexander Borodin were buried in the northern part of the grounds, with Pyotr Ilyich Tchaikovsky following in 1893. Eventually all the members of the group of composers termed "The Five", or the "Mighty Handful"; Mussorgsky, Borodin, as well as Mily Balakirev, César Cui and Nikolai Rimsky-Korsakov, were buried in the cemetery.

By the beginning of the 20th century the Tikhvin cemetery contained 1,325 monuments of various designs and sizes, including monumental crosses on pedestals, sarcophagi and steles. There were several family plots with chapels and large crypts of granite and marble.

Soviet necropolis
During the early Soviet period a number of monuments were stolen or destroyed. The cemetery was officially closed for burials in 1927, though they continued until 1932, and it was decided to turn it into a necropolis museum, displaying historically and artistically significant graves. Alongside this was concept of gathering together the graves of the friends and contemporaries of Alexander Pushkin for the 1937 centenary commemorations of the poet's death.  The architectural and planning department of , the city administration, was tasked with creating a memorial park project. Plans were drawn up by architects E.N. Sandler and E.K. Reimers, with further input from the city's chief architect L.A. Ilyin. The Funeral Affair Trust was established to run the necropolis museum, including removing abandoned gravestones for sale as building materials.

The Funeral Affair Trust was authorised to acquire and transfer important graves and monuments from other cemeteries and churches across the city. Meanwhile, those existing graves in the cemetery that were not considered particularly artistic or historic were to be demolished to create space for those brought from other locations. A list of graves in the cemetery was compiled and work began in 1935, planned for completion on 15 August the following year. A 3 July 1935 resolution from the Presidium of Lensovet set out the vision for the future of the necropolis museums. the Tikhvin cemetery and the Literary Walk [in the Volkovo Cemetery] ... after the reconstruction will be turned into necropolis parks of a remarkable and revolutionary culture, with the appearance of parks. Freed from ordinary graves, they will not be of a graveyard nature at all, but will actually represent extensive, architecturally decorated green spaces, sometimes decorated with certain monuments standing on the graves above these wonderful people. The short timeframe allowed for completion of the work led to the hasty and unsystematic demolition of a number of monuments, with the bulk of the work only being completed by August 1937, with remedial work continuing for many years afterwards.

The reconstruction radically altered the nature and appearance of the Tikhvin cemetery. With the intention being to create an "artists' necropolis", graves of those from other sections of society were removed. Fewer than a hundred of the original monuments were preserved. Some were transferred to the neighbouring "Necropolis of the XVIII century", the former Lazarevskoe Cemetery, while others, including those of Aleksandr Gradovsky, Anatoly Koni and Viktor Pashutin, were transferred to the other museum necropolis being established in the Volkov Cemetery.  Meanwhile, the remains of prominent artists, sculptors, composers and musicians were reburied in the cemetery. Among them were personal friends of Pushkin, including Konstantin Danzas, Anton Delvig, and Fyodor Matyushkin. Some remains came from cemeteries earmarked for demolition, such as the , , and ; and others from those that were intended to be kept open, such as the Smolensky, Volkovo, Novodevichy, and Nikolskoe cemeteries. The necropolis was created during an ongoing anti-religious campaign, therefore monuments with religious symbols were often replaced by monuments made by the museum.

The cemetery reconstruction project concentrated the representatives of each type of art together, with even monuments that had been in the Tikhvin originally being moved to fit the new organisational scheme. Composers and musicians were reburied mainly on the "Composer's path", near the northern boundary of the cemetery. Painters and sculptors were placed in the western part, while those who in their lifetimes had been associated with Pushkin were placed close to the eastern section, near the cemetery entrance. Some of the older monuments from the removed graves were retained to serve as decorative ornaments, such as columns placed at the intersection of avenues. The decoration of the park-necropolis was to be enhanced by the construction of one large and four small fountains, and the installation of granite benches. The Tikhvin Church was slated for demolition to improve the access direct from Alexander Nevsky Square. The organisers were faced with the problem that despite designating the cemetery to be the artists' necropolis, historically the Tikhvin had primarily been the burial ground of statesmen, military leaders, scientists, and composers. There were relatively few graves of writers, who had tended to prefer the Smolensky Cemetery; or artists, who had traditionally chosen the Nikolskoe or Novodevichy Cemetery.  This necessitated the transfer of a large number of burials and monuments, which took place in two main periods, from 1936 to 1941 and from 1948 to 1952.

During the Second World War and the siege of Leningrad, the museum worked to provide protection and shelter for monuments. Only a single gravestone was damaged, that of the actress Varvara Asenkova. The monument, designed by , consisted of a granite canopy over a pedestal with a verse epitaph and bronze bust of the actress by Ivan Vitali and had been transferred along with the actress's remains from the Smolensky Cemetery in 1936. It was destroyed by a direct hit from a bomb in 1943. In 1955 the museum installed a marble replica of the bust made by D.A. Sprishinym. Other monuments were stored in the Lavra's Annunciation Church.

Restoration work began immediately after the end of the war, with the necropolis-museum opening in August 1947. The programme of moving and installing monuments resumed after the war and continued until the mid-1950s. There were also several burials of prominent Soviet citizens, as the cemetery gained the status of an urban pantheon. Those buried here included the scientist Sergey Lebedev in 1934, artist Mikhail Avilov in 1954, and actor Nikolay Cherkasov in 1966. In 1972 the remains of the composer Alexander Glazunov were transferred from Paris. In 1968 Fyodor Dostoevsky's wife Anna Dostoevskaya was reburied next to her husband, while theatre director Georgy Tovstonogov was interred in the cemetery in 1989. So far Tovstonogov's has been the last burial to take place in the cemetery.

See also
 List of burial places of classical musicians

References

External links
  Guide to the Tikhvinskoye Cemetery

Eastern Orthodox cemeteries in Russia
Tourist attractions in Saint Petersburg

Cemeteries in the Alexander Nevsky Lavra
1823 establishments in the Russian Empire
Cultural heritage monuments of federal significance in Saint Petersburg

Tikhvin Cemetery


Wang Zhengwei (, Xiao'erjing: ; born June 1957) is a retired Chinese politician, economist, and expert on Islamic affairs. Of Hui ethnic heritage, Wang served as the Chairman of the State Ethnic Affairs Commission between 2013 and 2016, and Chairman (Governor) of the Ningxia Hui Autonomous Region between 2007 and 2013. He is also served as a vice chairman of the Chinese People's Political Consultative Conference between 2013 and 2023.

Biography
Wang was born in Tongxin County, Ningxia, to a Hui Chinese family. After graduating from university, he went back to his hometown to work as an accountant and as a local Communist Youth League organizer. After the Cultural Revolution, he worked on hydraulics projects for a year. He entered Ningxia University in 1977 and majored in Chinese. He joined the Chinese Communist Party in 1981.

After graduating, he became a propaganda official, serving in his home county. In January 1984 he was sent to work for the autonomous region's party organization in Yinchuan, where he climbed through the ranks with a series of administrative and research positions. He eventually was promoted the head the regional propaganda department and entered the regional party standing committee as a result. He also served as party chief of Yinchuan.

Wang was long involved in Hui ethnic affairs, and has written many papers on the economy and culture of the Hui people. In 1988 he was sent as part of a delegation to Turkey to participate in an international Islamic culture conference. Wang made a name for himself as a resident expert in the economy of predominantly Islamic states, conducting extensive research on middle eastern countries.

In September 2000, Wang was admitted into the Ethnic Affairs Institute of the Minzu University of China where he earned a doctorate studying the economic structure of Muslim countries.  The Financial Times reported, in February 2019, that Wang had plagiarised 17 paragraphs from a prior academic work in his doctoral thesis  presented in 2003 to the university.

In 2004, Wang became Executive Vice Chairman of the Ningxia regional government, and on May 12, 2007 was named acting chairman of the Ningxia Hui Autonomous Region, confirmed in January 2008.

After the 12th National People's Congress in 2013, Wang was appointed to head the State Ethnic Affairs Commission. During this time he had been pushing for legislation concerning halal certification. He was also named a Vice-Chairman of the Chinese People's Political Consultative Conference, ascending to sub-national ranks. On April 2, 2015, Wang was named deputy head of the United Front Work Department, creating an unprecedented situation where two leaders of the department (alongside Sun Chunlan) were of sub-national rank.

Wang is an alternate member of the 16th Central Committee of the Chinese Communist Party (elevated to full membership during the 4th conference of the committee), and a full member of the 17th and 18th Central Committees. He is also the chairman of Ningxia Social Science Association, a member of the Chinese Ethnic Writers Association and a member of the Ningxia Writers Association.

In 2022, As part of Xi Jinping's ethnic assimilation policy, the Chinese Communist Party authorized a corruption inquiry into Wang Zhengwei. The investigation was initiated because party officials felt that Wang had promoted "unrestrained Muslim culture" while in office. This included "promoting certification of halal foods" and encouraging "the building of mosques on a relatively grand scale".

References

External links
  Wang Zhengwei's profile at people.com.cn

1957 births
Living people
Hui people
People from Wuzhong
Ningxia University alumni
People's Republic of China politicians from Ningxia
Political office-holders in Ningxia
Chinese Communist Party politicians from Ningxia
Vice Chairpersons of the National Committee of the Chinese People's Political Consultative Conference

Wang Zhengwei


The Pensacola Dam, also known as the Grand River Dam, is a multiple-arch buttress dam located between the towns of Disney and Langley on the Grand River in Mayes County, Oklahoma. The dam is operated by the Grand River Dam Authority and creates Grand Lake o' the Cherokees. After decades of vision and planning, it was constructed between 1938 and 1940 for the purposes of hydroelectric power generation, flood control and recreation. It is Oklahoma's first hydroelectric power plant and is referred to as the longest multiple-arch dam in the world.

Background
The idea to construct a dam on the Grand River originated in the late 1800s with Henry C. Holderman, a Cherokee Nation citizen, who wanted to provide electric power to the Cherokee Nation. Holderman and a few colleagues soon conducted the first survey of the river in 1895 on their own handmade houseboat. Holderman later left the United States at the age of 16 and worked on dam projects in India and Africa before returning to Oklahoma. He sold his land holdings and borrowed money from friends in order to purchase rights to the dam sites he had prospected. Over several decades, Holderman and a group known as the "Rainbow Chasers" tried to secure funding to construct the dam; making several trips to Washington DC.

The dam was almost built in 1914 by British capitalists but plans were halted due to World War I. In 1920, Holderman refused an offer given by Chicago businessmen and in 1929, the Wall Street Crash ended the hopes of Canadian engineers and investors building the dam for Holderman. In DC, supporters of the dam, which later included state and federal officials, argued for the dam as a source of hydroelectric power and that it could stimulate the state's economy but local energy providers opposed the possibility of a state-run electric utility. The onset of the Great Depression would revive and accelerate plans to construct the dam. Just prior in 1928, Oklahoma Representative Everette B. Howard secured $5,000 in funding for the U.S. Army Corps of Engineers to survey the Grand River. The results of the study concluded that it would cost over $6.2 million to construct a dam at the "Pensacola site" for flood control. The name "Pensacola" was derived from the only available means of identifying the site at the time: an old store on a Cherokee plantation. Because of limited state funding and a limited water supply on the Grand River, the project was not proposed at first for federal funding under the scope of hydroelectric power but instead for flood control.

Oklahoma set up the Grand River Dam Authority (GRDA) on January 10, 1935. Eventually, on September 18, 1937, with the help of Oklahoma Representative Wesley E. Disney, Senator Elmer Thomas and engineer W. R. Holway, President Franklin D. Roosevelt approved $20 million in funding through the New Deal's Public Works Administration for the dam. The higher cost for the dam was attributed to a project that was approved for additional purposes, including hydroelectric power generation and recreation. Additional costs for the dam were covered by the state government and by GRDA municipal bond auctions which appropriated or raised $11 million. Disney had pushed much of the legislation for the dam, comparing the higher electric utility rates in Oklahoma compared to other states. Senator Thomas helped appropriate additional state and public funding for the dam while also being instrumental in its legislation.

Once approved and funded, Holway, the main engineer on the project and previous engineer of the nearby Spavinaw Dam, began survey and engineering work on October 25, 1937. The multiple-arch buttress design was adopted because materials were expensive at the time of the Great Depression and the limestone and chert foundation was considered "ideal" for the design. John Duncan Forsyth served as the architect for the dam and applied an Art Deco-style to it and the power house. Massman Construction Company out of Kansas City, Missouri was selected to construct the major superstructures, including the dam and power plant. Thousands of workers moved to the area to work on the dam before construction began and 3,000 eventually did, earning about $16 a week.

Construction
Initial construction began in February 1938 and included the excavation of over  of earth and rock. Workers also constructed the first cofferdam on the east side of the river and left it in place until the arches were above the normal water level. Once this was achieved, workers removed the east cofferdam and constructed another on the west side of the river to divert water from the location of the future power plant. On December 30, 1938, Massman began the first concrete pour. Pouring was conducted 24-hours a day for 20 months, totaling . A total of 23.9 million pounds of steel and iron were placed into the dam's structure to reinforce it. Major works on the dam were complete on March 21, 1940 and the lake was filled by the end of that year's summer. The dam's power plant, with four original hydroelectric generators, began commercial operation in 1941. The dam was finished in 26 months, ahead of schedule. Much of this was attributed to eastern Oklahoma having its 18 driest months on record during construction which alleviated obstacles from flooding. The federal government took control of the dam in November 1941 to aid in the World War II effort and returned it to the GRDA in 1946.

Effect on Native Americans
The construction of the Pensacola Dam resulted in the loss of  of Cherokee land and  of the Quapaw Indian Agency, most of which belonged to the Seneca-Cayuga Tribe. This land was condemned and later flooded by the reservoir in 1940. Half of the Seneca-Cayuga Elk River ceremonial area was flooded as well. Although losing significant portions of land, some tribe members were forced to find work on the dam project.

Power plant upgrades
In the 1950s, two additional generators were added to the power station, bringing the total to six. Between 1995 and 2003, the dam's six hydroelectric generators were upgraded, bringing the installed capacity of the power plant from 92 MW to 120 MW and increasing its generation 20%. Each autumn, a generator was taken out of service, upgraded and returned to service by spring of the next year. The sixth and final generator upgrade was completed in May 2003. Among the components principally upgraded were the turbine shafts and runners.

Design
Pensacola Dam is a multiple-arch buttress type consisting of 51 arches and one main spillway, two auxiliary. It has a maximum height of  above the river bed. The total length of the dam and its sections is  while the multiple-arch section is  long and its combination with the spillway sections measure . Each arch in the dam has a clear span of  and each buttress is  wide. The thickness of the buttress sidewalls ranges from  at the base to  at the crest. Inside of each buttress are  thick transverse walls that act as "stiffeners". The buttresses were the widest of their type prior to 1938 and are designed to withstand .

The main spillway, part of the eastern end of the dam, is a  long Ogee-type and utilizes twenty-one  tall and  wide tainter gates that are operated by two 60-ton hoists. The auxiliary spillways are located about  northeast of the dam and are controlled by another twenty-one  wide and  high tainter gates stretched over their combined  length. The lip of the spillways lie at an elevation of  above sea level while the tops of the gates are . All three spillways have a combined maximum discharge of . The two-lane State Highway 28 crosses over the top of the dam and a bridge that stretches over the main spillway. It is accessible by cars and trucks within weight.

The dam's reservoir, Grand Lake o' the Cherokees (Grand Lake over the Cherokees), has a storage capacity of  of which  is flood storage. The reservoir's surface area is  and it extends  upstream, creating  of shoreline. Normal surface elevation is  above sea level.

The dam's power station is located at the base of the dam's western end and its building is  long,  wide and  tall. The building houses six 20 MW Francis turbine generators that generate 335 million kWh annually and are each fed with their own individual penstock. The power plant is designed to accommodate four additional generators. It operates at its highest generation levels during the summer and lowest during the winter. Just west of the power station is its substation and an observation house.

Regulation
The power station is regulated by the Federal Energy Regulatory Commission (FERC), under the Federal Power Act, with the current license issued in 1992 and set to expire in 2022. The first license was granted by the FERC's predecessor, the Federal Power Commission in 1939. When the reservoir's elevation exceeds , control of the dam's discharges are transferred to the U.S. Army Corps of Engineers (USACE) who manage flood control in the larger basin. By federal regulation, the GRDA and the Corps of Engineers often coordinate discharges and reservoir levels.

Impact
FERC and USACE regulated releases downstream from the dam have been the center of controversy in recent years. Since the dam is a multi-purpose project, there are conflicting interests between flood control, environmental conservation, recreation and hydroelectric power production. The USACE may request minimal releases to prevent flooding in areas downstream and in hot mid-summer periods, releases can be minimal. This reduces dissolved oxygen (DO) levels in the river downstream. Such reductions resulted in the death of at least 5,000 fish downstream in July 2007. Significant releases from the dam have drawn opposition from people such as Oklahoma State Representative Doug Cox. He argues that the large releases effect the state's economy as an off-road recreational rock park is flooded downstream.  Inconsistent releases are blamed for the overall problem and a better regulation of releases has been proposed while the GRDA is contemplating the installation of aeration devices and conducting studies along with other measures. The 1992 FERC license had addressed problematic DO levels and required the GRDA to plan methods to monitor and improve DO levels to a consistency with state water quality standards.

In 2019-2020, residents of the town of Miami and neighboring Native American groups have objected to proposals to increase high water levels at Pensacola Dam and Grand Lake, on the grounds that when water backs up downstream, it can increase Miami's flooding problems.

Tourism
Between Memorial Day and Labor Day, the GRDA offers free tours of the dam. In 2010, there were over 9,000 visitors; a number which has been steadily growing in recent years. Additionally in 2010, the Ecosystems and Education Center was completed and has become part of the tour. The center serves as a water and fish monitoring research lab while offering visitors information about hydropower and water/electrical safety.

References

External links

Official website and Lake levels at Grand River Dam Authority

Further reading
Voices of Oklahoma interview with Dr. Bruce Howard about the creation of Grand Lake O' the Cherokees and Pensacola Dam. First person interview conducted on December 2, 2014 with Dr. Bruce Howard about the creation of Grand Lake O' the Cherokees and Pensacola Dam. Original audio and transcript archived with Voices of Oklahoma oral history project.

Hydroelectric power plants in Oklahoma
Dams on the National Register of Historic Places in Oklahoma
Art Deco architecture in Oklahoma
Buttress dams
Multiple-arch dams
Buildings and structures in Mayes County, Oklahoma
United States state-owned dams
Dams completed in 1940
Energy infrastructure completed in 1941
1940 establishments in Oklahoma
National Register of Historic Places in Mayes County, Oklahoma
Public Works Administration in Oklahoma

Pensacola Dam


In philosophy, transcendence is the basic ground concept from the word's literal meaning (from Latin), of climbing or going beyond, albeit with varying connotations in its different historical and cultural stages. It includes philosophies, systems, and approaches that describe the fundamental structures of being, not as an ontology (theory of being), but as the framework of emergence and validation of knowledge of being. These definitions are generally grounded in reason and empirical observation and seek to provide a framework for understanding the world that is not reliant on religious beliefs or supernatural forces.   "Transcendental" is a word derived from the scholastic, designating the extra-categorical attributes of beings.

Religious definition

In religion, transcendence refers to the aspect of God's nature and power which is wholly independent of the material universe, beyond all physical laws. This is contrasted with immanence, where a god is said to be fully present in the physical world and thus accessible to creatures in various ways. In religious experience transcendence is a state of being that has overcome the limitations of physical existence and by some definitions has also become independent of it. This is typically manifested in prayer, séance, meditation, psychedelics and paranormal "visions".

It is affirmed in various religious traditions' concept of the divine, which contrasts with the notion of a god (or, the Absolute) that exists exclusively in the physical order (immanentism), or indistinguishable from it (pantheism). Transcendence can be attributed to the divine not only in its being, but also in its knowledge. Thus, God may transcend both the universe and knowledge (is beyond the grasp of the human mind).

Although transcendence is defined as the opposite of immanence, the two are not necessarily mutually exclusive. Some theologians and metaphysicians of various religious traditions affirm that a god is both within and beyond the universe (panentheism); in it, but not of it; simultaneously pervading it and surpassing it.

Modern philosophy

The Ethics of Baruch Spinoza used the expression "transcendental terms" (in Latin: termini transcendentales) to indicate concepts like Being, Thing, Something, which are so general not to be included in the definitions of species, genus and category.

In modern philosophy, Immanuel Kant introduced a new term, transcendental, thus instituting a new, third meaning. In his theory of knowledge, this concept is concerned with the condition of possibility of knowledge itself. He also opposed the term transcendental to the term transcendent, the latter meaning "that which goes beyond" (transcends) any possible knowledge of a human being. For him transcendental meant knowledge about our cognitive faculty with regard to how objects are possible a priori. "I call all knowledge transcendental if it is occupied, not with objects, but with the way that we can possibly know objects even before we experience them." Therefore, metaphysics, as a fundamental and universal theory, turns out to be an epistemology. Transcendental philosophy, consequently, is not considered a traditional ontological form of metaphysics.

Kant also equated transcendental with that which is "...in respect of the subject's faculty of cognition." Something is transcendental if it plays a role in the way in which the mind "constitutes" objects and makes it possible for us to experience them as objects in the first place. Ordinary knowledge is knowledge of objects; transcendental knowledge is knowledge of how it is possible for us to experience those objects as objects. This is based on Kant's acceptance of David Hume's argument that certain general features of objects (e.g. persistence, causal relationships) cannot be derived from the sense impressions we have of them. Kant argues that the mind must contribute those features and make it possible for us to experience objects as objects. In the central part of his Critique of Pure Reason, the "Transcendental Deduction of the Categories", Kant argues for a deep interconnection between the ability to have consciousness of self and the ability to experience a world of objects. Through a process of synthesis, the mind generates both the structure of objects and its own unity.

A metaphilosophical question discussed by many Kantian scholars is what transcendental reflection is and how transcendental reflection is itself possible. Valentin Balanovskiy shows that this is a special instrument inherent in our consciousness, something by what individuals can distinguish themselves from any other objects of reality. Stephen Palmquist argues that Kant's solution to this problem is an appeal to faith.

For Kant, the "transcendent", as opposed to the "transcendental", is that which lies beyond what our faculty of knowledge can legitimately know. Hegel's counter-argument to Kant was that to know a boundary is also to be aware of what it bounds and as such what lies beyond it – in other words, to have already transcended it.

Contemporary philosophy
In phenomenology, the "transcendent" is that which transcends our own consciousness: that which is objective rather than only a phenomenon of consciousness.

Jean-Paul Sartre also speaks of transcendence in his works. In Being and Nothingness, Sartre uses transcendence to describe the relation of the self to the object-oriented world, as well as our concrete relations with others. For Sartre, the for-itself is sometimes called a transcendence. Additionally, if the other is viewed strictly as an object, much like any other object, then the other is, for the for-itself, a transcendence-transcended. When the for-itself grasps the other in the others world, and grasps the subjectivity that the other has, it is referred to as transcending-transcendence. Thus, Sartre defines relations with others in terms of transcendence.

Contemporary transcendental philosophy is developed by German philosopher Harald Holz with a holistic approach. Holz distanced transcendental philosophy from the convergence of neo-Kantianism. He critically discussed transcendental pragmatism and the relation between transcendental philosophy, neo-empiricism, and so-called postmodernism.

Comparison to religious definitions
Philosophical definitions of transcendence often emphasize the idea of going beyond or exceeding the limits of human experience, and may focus on concepts such as rationality, consciousness, or the nature of reality. These definitions are generally grounded in reason and empirical observation, and seek to provide a framework for understanding the world that is not reliant on religious beliefs or supernatural forces.

Religious definitions of transcendence, on the other hand, often emphasize the idea of connecting with something beyond the self or the material world, and may focus on concepts such as God, the soul, or the afterlife. These definitions are often grounded in faith and revelation, and may be seen as offering a way to access a higher or divine reality that cannot be directly observed or explained through reason alone.

While there may be some overlap between these two definitions of transcendence, they are ultimately grounded in different epistemological frameworks and ways of understanding the world.

Therefore, the scope derived from the philosophical definition of transcendence could contain the scope derived from the religious definition of transcendence, but not vice versa. This is because the philosophical definition of transcendence is broader and more abstract than the religious definition, which is more specific and focused on a particular faith or belief system.

Colloquial usage
In everyday language, "transcendence" means "going beyond", and "self-transcendence" means going beyond a prior form or state of oneself. Mystical experience is thought of as a particularly advanced state of self-transcendence, in which the sense of a separate self is abandoned. "Self-transcendence" is believed to be psychometrically measurable, and (at least partially) inherited, and has been incorporated as a personality dimension in the Temperament and Character Inventory. The discovery of this is described in the book "The God Gene" by Dean Hamer, although this has been criticized by commentators such as Carl Zimmer.

Comparison to Immanence
The doctrine or theory of immanence holds that the divine encompasses or is manifested in the material world. It is held by some philosophical and metaphysical theories of divine presence. Immanence is usually applied in monotheistic, pantheistic, pandeistic, or panentheistic faiths to suggest that the spiritual world permeates the mundane. It is often contrasted with theories of transcendence, in which the divine is seen to be outside the material world.

It was argured that both of these concepts have been important in religious thought throughout history, but that they have often been seen as mutually exclusive. He suggests that this is a false dichotomy, and that a more nuanced understanding of these concepts can help us to better understand the divine.

It was also argured that a better understanding of transcendence and immanence can help us to understand the relationship between God and the world. He suggests that immanence can help us to see God's presence in the world around us, while transcendence can help us to understand the ultimate nature of God. These two concepts can be seen as complementary, rather than contradictory, and that a more nuanced understanding of them can help us to better understand the divine.

See also

 Transcendence (religion)
 Immanence
 God gene
 Ignoramus et ignorabimus
 Maslow's hierarchy of needs
 Materialism
 Meta
 Transcendental empiricism
 Transcendental hermeneutic phenomenology
 Transcendental humanism
 Transcendental materialism
 Transcendental Meditation
 Transcendental naturalism
 Transcendental nihilism
 Transcendental nominalism
 Transcendental realism
 Transcendental Thomism
 Transcendentalism
 Transcendentals
 Tzimtzum, the traditional kabbalistic understanding

References

Bibliography

External links
 Aldous Huxley on Self-Transcedence - The Epilog of The Devils of Loudun
 Stephen Palmquist, Kant's System of Perspectives (Lanham: University Press of America, 1993). See especially Part Two.

A priori
Aesthetics
The arts
Concepts in aesthetics
Concepts in epistemology
Metaphysical properties
Concepts in the philosophy of mind
Kantianism
Nonduality
Ontology
Panentheism
Pantheism
Perennial philosophy
Philosophy of religion
Religious philosophical concepts
Spirituality
Thought
Transcendentalism
Unitarian Universalism

Transcendence (philosophy)


Charles Bingham Bolton (1909–1976) was an American dentist known for developing the "Bolton Standards of Craniofacial Growth" that is often used during diagnosis of different malocclusions in the field of orthodontics.

Life
He was son of the Congressman Chester C. Bolton and Frances P. Bolton. His mother succeeded his father's congressional post due to his father's untimely death. He initially studied at the Hawken School.  He then attended Milton Academy, Massachusetts. Later on he served as the Chairman of the Hawken trustee group. Hawken later honored him with a teaching chair and its Distinguished Alumnus Award; also the school's "most esteemed award" is the Charles B. Bolton Award, given to a student who has excelled in "all aspects of education."

Charles played a huge role in developing the Franchester Farms which was a Guernsey dairy operation started by his father in 1919. He moved the farm to Ohio at a 1700-acre site and the farm became to known as one of the best known Guernsey herds in America. He then later supplemented the dairy operation with extensive Charolais and Yorkshire production. In 1953 the American Guernsey Cattle Club conferred on him its Certificate of Honor.

Charle's mother played a role in establishing the Frances Payne Bolton School of Nursing in Cleveland. Dr. Bolton was played an instrumental role in expanding the Case School of Dental Medicine. When expanded the building was designated the name Charles Bingham Bolton Building.

Dr. Bolton died at his home in Ohio due to stroke he suffered in 1976.

Bolton Standards of Dentofacial Developmental Growth
Dr. Bolton is known for his contributions related to the Bolton study. This study was funded by his mother and Dr. Holly Broadbent Sr. was the director of this study. In 1975, he published the now famous articled named Bolton Standards of Dentofacial Developmental Growth.

The study was one of the longest studies that was done to study the effects of growth. This study was initiated and conducted by the Case Western Reserve University starting in 1930 and ending in 1973. There were 5,000 subjects involved in this study where about 22,000 records were taken. These individuals were mostly from the European descent and were aged 1–18 years old. The Bolton Standard of dentofacial growth were developed after the landmarks, cephalometric tracings and measurement of changes were determined. The study offers both hard and soft tissue profiles where an orthodontist may be able to choose the suitable landmark to superimpose the cephalometric radiograph. The standards developed by Charles Bolton's work are still used in many comparative studies, assessing both the hard and soft tissue profiles.

Awards and Recognitions
 Albert H. Ketcham Award in Orthodontics

References

American dentists
Orthodontists
1909 births
1976 deaths
Hawken School alumni
20th-century dentists

Charles B. Bolton


James "Jim" Avram Lebenthal (June 22, 1928 – November 14, 2014) was an American business person, specialised in municipal bonds. Earlier in his career he also worked as a journalist, filmmaker and copywriter. In 1959 he was nominated for the Academy Award for Best Live Action Short Film for his first and only film production T Is for Tumbleweed.

Life
Lebenthal was born in 1928. He attended Princeton University and graduated 1949 with a Bachelor of Arts. Afterwards he worked as journalist for Life magazine and NBC, in filmmaking at The Walt Disney Company and as copywriter for Ogilvy & Mather and Young & Rubicam.

Lebenthal wrote the script and produced the short film T Is for Tumbleweed in 1958, directed by Louis Clyde Stoumen. The film starred the five-year-old Anne Lockhart. The movie was nominated at the 31st Academy Awards for the Academy Award for Best Live Action Short Film, but ultimately lost to the Walt Disney production Grand Canyon.

In 1963 he joined Lebenthal & Company, formerly led by his mother Sayra Fischer Lebenthal. In the 1970s he created a marketing campaign for municipal bonds with TV and radio spots. In 1995 he shifted the responsibility for the company to his daughter Alexandra Lebenthal. The family sold the business to Advest, Inc. for 25 million USD in 2001. In 2006 Lebenthal left the company, when Advest sold Lebenthal & Company to Merrill Lynch. In the same year he published his first book Confessions of a Municipal Bond Salesman. Two years later he and his daughter Alexandra founded the new businesses Lebenthal & Co. LLC and Wealth and Family Office Management, Alexandra & James.

Lebenthal received several prizes, such as the lifetime awards of the National Federation of Municipal Analysts and The Bond Market Association.

Personal life
He was married to Jacqueline Beymer Lebenthal (1930–2010) until her death. Both have two daughters and a son. He died in New York City on November 14, 2014 at the age of 86 after a heart attack.

Works
 Jim Lebenthal, Bernice Kanner: Confessions of a Municipal Bond Salesman. John Wiley & Sons, 2006, 226 Seiten,
 Jim Lebenthal: Lebenthal On Munis – Straight Talk About Tax Free Municipal Bonds For The Troubled Investor Deciding, "Yes…" or "No!" Morgan-James Publishing, 2009, 160 Seiten,

References

External links

 James A. Lebenthal at lebenthal.com

1928 births
20th-century American Jews
American film producers
American male screenwriters
2014 deaths
Princeton University alumni
American business writers
American male non-fiction writers
21st-century American Jews

James A. Lebenthal


Airas Nunes (c. 1230 – 1293) was a Galician cleric and troubador of the 13th century. He served under a bishop and much later, between 1284 and 1289, was a poet in the court of Sancho IV of Castille.

His songs are written in medieval Galician-Portuguese. Fourteen of his compositions are known, of which 6 are love songs (Cantigas de Amor), 3 songs of the friend (Cantigas de Amigo), 4 satires, and a pastoral song. At times quotations from other authors, such as King Denis of Portugal, King Alfonso X of Castile, João Zorro and Nuno Fernandes Torneol, are found in his work.

It is thought that he may have collaborated in the composition of the Cantigas de Santa Maria of Alfonso X the Wise.

References
 Airas Nunes, in Cantigas Medievais Galego-Portuguesas

13th-century Galician-Portuguese troubadours
Year of birth uncertain
1293 deaths

Airas Nunes


Frederick Grinke CBE (8 August 1911 – 16 March 1987) was a Canadian-born violinist who had an international career as soloist, chamber musician, and teacher. He was known especially for his performances of 20th-century English music.

Training
Frederick Grinke started learning to play the violin at the age of 9, and studied with John Waterhouse and others in Winnipeg. He made his first broadcast at the age of about 12, and formed a trio at age 15. In 1927, he won a Dominion of Canada scholarship award to the Royal Academy of Music in London, where he studied with Rowsby Woof. He continued his studies (at age 21) for a summer with Adolf Busch in Switzerland, and afterwards in Belgium and London with Carl Flesch.

Career
Hamilton Harty considered appointing him leader of the London Symphony Orchestra at the age of 21, but the offer was not made on account of his youth. From around 1930 to 1936, Grinke was second violin of the Kutcher String Quartet (in which John Barbirolli was for a time the 'cellist). In 1935, with pianist, Dorothy Manley, he gave the premiere of the Canadian composer Hector Gratton's Quatrieme danse canadienne. It was with Manley and Florence Hooton, both fellow students at the Academy, that Grinke formed his trio, Kendall Taylor later replacing Manley.

Boyd Neel Orchestra
In 1937 he became concertmaster of the Boyd Neel Orchestra. His first performance with them was Salzburg Festival in 1937, giving the premiere of Variations on a Theme of Frank Bridge By Benjamin Britten. He began teaching as Professor at the Royal Academy in 1939. Included among his pupils, were many who went on to become leading British artists (including Sydney Humphreys (of the Aeolian Quartet), Clarence Myerscough and Rosemary Rapaport) and Daphne Godson, who founded the Scottish Baroque Ensemble.

In 1940, he volunteered for the Royal Air Force, joining its Royal Air Force Symphony Orchestra, and toured with them worldwide, notably in the United States. On one occasion, he was flown back to England for a performance of the Arnold Bax concerto (with which he was particularly associated) at the Royal Albert Hall. He also performed before Winston Churchill, Joseph Stalin and Harry S. Truman at the Potsdam Three-Power Conference. In 1945, he was elected a Fellow of the Royal Academy of Music.

Post-war: concerts and recordings
He remained concertmaster for the Boyd Neel Orchestra until 1947, performing in Europe, USA, Australia and New Zealand (In 1947), and at the London Proms, Salzburg and the Edinburgh Festival. He resigned from it to pursue his solo career.

During the later 1940s, Grinke made numerous recordings, mainly for Decca, many of which were originally released in the last years of 78rpm records. His recordings of John Ireland's chamber music include the Phantasie Trio of 1908, the 1938 Trio no 3 in E major, and The Holy Boy (with Florence Hooton (cello) and Kendall Taylor (piano)), and the Violin Sonata no 1 of 1909 with the composer at the piano. The trio also recorded the Phantasy trio of Frank Bridge and the Beethoven trio in E flat.

Ralph Vaughan Williams dedicated his Sonata in A minor, written in 1952, to Grinke, who recorded the composer's Concerto Accademico in D minor, and The Lark Ascending, with the Boyd Neel Orchestra. Grinke and David Martin (also a Canadian violinist) performed J.S. Bach's Concerto for two violins at Vaughan Williams's funeral. He made a broadcast of the Arnold Bax concerto from Australia.

Among other recordings from the 1940s were nos 3 and 9 from the 1697 set of 10 Sonatas by Henry Purcell, with Jean Pougnet and Boris Ord, and that composer's sonata in G minor with Arnold Goldsbrough. He is heard with Kendall Taylor in the Dvořák G major Sonatina op 100, and with Watson Forbes (violist of the Stratton Quartet and Aeolian Quartet) in Mozart duos. He also premiered and recorded works by Arthur Benjamin, Benjamin Dale, Lennox Berkeley, Kenneth Leighton, Edmund Rubbra, York Bowen, Howard Ferguson, Arthur Bliss, Béla Bartók, Beethoven, Handel, Rachmaninoff and Smetana, often accompanied by Ivor Newton. He recorded a complete Brandenburg Concertos with the Boyd Neel.

Later teaching
Despite his work in Britain Grinke maintained connections with Canada through the 1960s. From 1963 to 1966 he taught at the Yehudi Menuhin School at Stoke D'Abernon, Surrey. He frequently sat on juries for international competitions. He retired from the Royal Academy of Music in 1978, where his students included John Georgiadis, and was appointed a CBE in 1979, but continued teaching until his death, which occurred in 1987. The National Portrait Gallery lists 8 portraits of Grinke in its collections.

Grinke played an instrument by J. B. Rogerius of 1686, with aluminium-covered D and A, and silver-covered G and steel E strings, but also often played a Stradivarius dated 1718, lent by the Royal Academy of Music. He was married in 1942 to Dorothy Sirr Sheldon and had one son. He is buried in the churchyard of St Mary, Thornham Parva, Suffolk.

References
Notes

Citations

Bibliography

1911 births
1987 deaths
Canadian classical violinists
Male classical violinists
Commanders of the Order of the British Empire
Fellows of the Royal Academy of Music
Musicians from Winnipeg
20th-century classical violinists
20th-century Canadian male musicians
20th-century Canadian violinists and fiddlers
Canadian male violinists and fiddlers
Canadian emigrants to the United Kingdom

Frederick Grinke


Life Embitters () is a 1967 book by the Spanish writer Josep Pla. The content is a mix of anecdotes, travelogue, historical essays, journalism and memoir, with stories set in various parts of Europe which Pla visited. An English translation by Peter Bush was published by Archipelago Books in 2015.

Reception
Kirkus Reviews wrote in 2015: "Moving around the capitals of Europe in a time of depression and unremitting melancholy, Pla often serves up small moments of perhaps unintentional brilliance[.] ... About all that's missing from this sprawling narrative of vignettes and sharp aperçus is a sense of the author, who sometimes remains hidden; a circumstantial introduction, especially addressing Pla's politics in that most political of times, would have been very useful. Students of Orwell's journalism and of Kapuscinski will be glad to discover Pla, whose melancholy resembles that of his contemporary Stefan Zweig—and for some of the same reasons." The same year, Michael Euade of Catalonia Today wrote that "Pla's portraits are sharp, but not cruel: in part, because he does not except himself." Euade continued: "In his piece on Italian painting, Pla urges his readers to throw away the 'pamphlets that only distort your vision – however handy or abstruse they might be… Set out to see things firsthand, be curious: that's the way to travel.' This is what he did. Combining general comment and the immediacy of close observation, he helps us see the world afresh."

References

External links
 Publicity page at Archipelago Books' website

1967 books
Catalan-language literature
Spanish books

Life Embitters


In mathematics, especially operator theory, a convexoid operator is a bounded linear operator T on a complex Hilbert space H such that the closure of the numerical range coincides with the convex hull of its spectrum.

An example of such an operator is a normal operator (or some of its generalization).

A closely related operator is a spectraloid operator: an operator whose spectral radius coincides with its numerical radius. In fact, an operator T is convexoid if and only if  is spectraloid for every complex number .

See also
Aluthge transform

References
T. Furuta. Certain convexoid operators

Operator theory

Convexoid operator


Forest Elwood "Woody" Smith (born February 25, 1927 in University City, Missouri, United States; died February 4, 2005) was a baseball figure who spent 18 seasons playing in the minor leagues and another 12 managing at that level.

A third baseman, Smith played from 1946 to 1962 and again in 1969. Though his statistical record is incomplete, it is known that he collected at least 1,755 hits in his career - with at least 342 being doubles, 43 being triples and 130 being home runs. In 1951, he had perhaps his best season when he hit .320 with 30 doubles, six triples, three home runs and 162 hits for the West Palm Beach Indians.

He spent 1957 with the Miami Marlins of the International League, where he, Pancho Herrera, Mickey Micelotta, and Pancho Herrera were considered to be one of the best infields in the International League, with one writer saying, "they make plays the Phillies couldn't make." In October 1957, he was purchased by the Philadelphia Phillies to be placed on their roster, however he never appeared in the major leagues with them.

Smith began his managerial career in 1969 as skipper of the Miami Marlins, heading them until 1970. He then skippered the Miami Orioles until 1972. Each of the teams he managed in his first four seasons ended up becoming league champions.

In 1973, Smith managed the Key West Conchs. He skippered the San Antonio Missions in 1974 and 1975. Though he did not manage in 1976, he returned in 1977, managing the Waterloo Indians. That year, he led them to the league finals, which they lost, and in 1978 he led them to the playoffs, though they did not get past the first round. From 1979 to 1981, he managed the Chattanooga Lookouts.

References

External links
"Woody Smith Remains Bitter"

1927 births
2005 deaths
Aberdeen Pheasants players
Ada Herefords players
Baseball players from Missouri
Beaumont Roughnecks players
California Angels scouts
Charleston Senators players
Chattanooga Lookouts managers
Denver Bears players
Gloversville-Johnstown Glovers players
Hannibal Pilots players
Havana Sugar Kings players
Kansas City Blues (baseball) players
Miami Marlins (FSL) players
Miami Marlins (International League) players
Muskogee Reds players
Rochester Red Wings players
Springfield Browns players
Syracuse Chiefs players
Wausau Lumberjacks players
West Palm Beach Indians players
American expatriate baseball players in Cuba

Woody Smith


György Thurzó (, ; 2 September 1567 – 24 December 1616) was a powerful Hungarian magnate, who served as the Palatine of Hungary between 1609 and 1616.

Biography
György Thurzó was born into the richest noble house in Upper Hungary, the Thurzó family from Szepes County. When György was 9 years old, his father, Ferenc, died and he was raised by his mother Katarina Zrinski (Kata Zrínyi), who was the daughter of Croatian Ban Nikola IV Zrinski (Miklós Zrínyi).

In 1575, Katarina and her children moved to the Nagybiccse (now Bytča, Slovakia) estate. György's mother remarried to Imre Forgách who rather liked György and ensured him a very high standard of education with the highly regarded scientist from Saxony, Christoph Echardus.

At the age of 17, György decided to take up a military and political career which he was able to put into action against the invading Ottomans in many battles. In 1590, at the Battle of Esztergom, he won a great victory over the Ottomans and then in the same year, at the Battle of Székesfehervár. György was a very educated man; he spoke Hungarian, German, Latin, Greek, Croatian and Slovak fluently, was very interested in the arts and the sciences, and he was excited by new ideas.

He grew up on the Royal court of then Archduke Matthias, brother of Rudolf II, Holy Roman Emperor, whom he succeeded. On 26 April 1585 György's mother died and he was forced to return to Nagybiccse to take care of his estates of Árva (now Orava, Slovakia), Zsolnalitva (now Lietava, Slovakia) and Nagybiccse.

In the same year, he married Zsófia Forgách and they had two daughters together, but Zsófia died giving birth to the second daughter in 1590. Several years later, György married Erzsébet Czobor, with whom he had six unnamed daughters and a son, Imre Thurzó.

Thurzó is perhaps best remembered for being the interceptor of the Hungarian Countess Elizabeth Báthory, without a formal hearing. He was also a devout Lutheran. He built Lutheran churches in his lands. He paid for the construction of Lutheran guilds in his estates. In 1610, he issued a decree: Cuius regio, eius religio. In 1609, he was bestowed with the title of, "Palatine of Hungary". Until his death, he remained loyal to the Habsburg emperor. He died in 1616, in his estate in Nagybiccse.

See also
Orava Castle

References

:sk:Juraj VII. Turzo

1567 births
1616 deaths
Hungarian politicians
Palatines of Hungary
Gyorgy
Hungarian people of Croatian descent
Elizabeth Báthory

György Thurzó


The North Western Refrigerator Line (NWX) was a Chicago, Illinois-based private refrigerator car line established in 1924, one of the last such companies to be formed. Between 1924 and 1940 the company acquired more than 3,000 new wood refrigerator cars originally built by the American Car and Foundry Company, and leased the former Ringling Brothers Circus railroad car plant in Baraboo, Wisconsin to serve as a car shop.

The NWX was closely allied with the Chicago and North Western Railway as several officials also held positions at the C&NW. In 1946 the North American Car Company purchased the NWX, though all cars continued to carry the NWX reporting marks. During the 1950s the fleet was rebuilt at North American's Green Bay, Hudson, and Baraboo facilities. North American closed the Baraboo shops in December 1963 as new mechanical reefers were being purchased, and refurbishment of wood cars was no longer required. By 1978, only 25 NWX cars were left in service. When North American was taken over by General Electric Railcar in 1984, the few remaining cars were stored, and dismantled soon thereafter.

Preserved NWX reefers #19769, #19781, and #19786 are on display at the Mid-Continent Railway Museum in North Freedom, Wisconsin.

North Western Refrigerator Line Roster, 1930–1960:

*estimated

Source: The Great Yellow Fleet, p. 16.

References
 White, John W.  (1986).  The Great Yellow Fleet.  Golden West Books, San Marino, CA.  .

Transport companies established in 1924
Refrigerator car lines of the United States
1924 establishments in Illinois
American companies established in 1924

North Western Refrigerator Line


Gabrio Piola (15 July 1794 – 9 November 1850) was an Italian mathematician and physicist, member of the  Lombardo Institute of Science, Letters and Arts. He studied in particular the mechanics of the continuous, linking his name to the tensors called Piola–Kirchhoff.

Biography
Count Gabrio Piola Daverio was born in Milan in a rich and aristocratic family. Initially he studied at home and then at the local high school. Given his exceptional ability in mathematics and physics, he started to study mathematics at the University of Pavia, as a student of Vincenzo Brunacci, obtaining his doctorate on 24 June 1816. He didn't follow an academic career even though he was offered the chair of Applied Mathematics in Rome; he preferred dedicating himself to private teaching.

One of his students was Francesco Brioschi who became Professor of rational mechanics at Pavia and President of the Academy of High Schools.

His research activity started in 1824, winning a competition and related prize at the Lombard Institute of Milan, with a long article on the mechanics of Lagrange. His  mathematical research contributed to the calculation of the finite differences and to integral calculus, whilst in mechanics he dedicated himself to continuous mechanics  and to hydraulics.

Piola was also editor of a journal,  mathematical and physics booklets of which only two volumes were published. However this journal was the means of presenting the theories of Cauchy in Italy: in effect the journal contained some of Cauchy's fundamental works, translated from French into Italian.

Count Piola was also a person of great culture who dedicated himself to the study of history and philosophy: amongst the fruits of his studies he wrote about Bonaventura Cavalieri.

He was a member of many scientific societies, amongst which the Italian Society of Science, and from 1825 he was part of the Roman Academy of the Catholic Religion. He was a fervent Catholic, as also was Cauchy. For the latter Piola was a reference point for his stay in Italy from 1830 to 1833. He additionally taught religion for twenty-four years in a parish in Milan and was the friend of Antonio Rosmini, at that time  the most important exponent of Catholic spirituality.

He was mainly involved in continuum mechanics, concerning fluids and solids. The Piola–Kirchhoff stress tensor and Piola transformation bear his name.

Piazzale Piola and stazione Piola in Milan are named after him. He died in Giussano della Brianza in 1850.

Writings

 Gabrio Piola, Sull'applicazione de' principj della meccanica analitica del Lagrange ai principali problemi. Memoria di Gabrio Piola presentata al concorso del premio e coronata dall'I.R. Istituto di Scienze, ecc. nella solennita del giorno 4 ottobre 1824, Milano, Imp. Regia stamperia, 1825
 Gabrio Piola, Sulla trasformazione delle formole integrali duplicate e triplicate,  Modena, Tipografia Camerale, 1828
 Gabrio Piola, Sulla teorica delle funzioni discontinue, Modena, Tipografia Camerale, 1830
 Gabrio Piola, Memoria sulla Teorica del Pendolo, Milano, Imp. Reg. Stamperia, 1831
 Gabrio Piola, Memoria sull'applicazione del calcolo delle differenze alle questioni dell'analisi indeterminata, Padova, Tip. del Seminario, 1831
 Gabrio Piola, La meccanica de' corpi naturalmente estesi: trattata col calcolo delle variazioni, Milano, Giusti, 1833
 Gabrio Piola, Nuova analisi per tutte le questioni della meccanica molecolare, Modena, Tipografia camerale, 1835
 Gabrio Piola, Nuove ricerche per una risoluzione più rigorosa di vari problemi sul moto dell'acqua: memoria, Milano, Bernardoni, 1840
 Gabrio Piola, Trattato sul calcolo degli integrali definiti: parte 1, Milano: Giusti, 1839
 Gabrio Piola, Sulla legge della permanenza delle molecole de' fluidi in moto alle superficie libere, Milano, Bernardoni, 1843
 Gabrio Piola, Sul moto permanente dell'acqua, Milano, G. Bernardoni e C., 1845
 Gabrio Piola, Memoria intorno alle equazioni fondamentali del movimento di corpi qualsivogliono considerati secondo la naturale loro forma e costituzione, Modena, Tipi del R.D. Camera, 1846
 Gabrio Piola, Di un principio controverso della Meccanica analitica di Lagrange e delle molteplici sue applicazioni (memoria postuma pubblicata per cura del prof. Francesco Brioschi), Milano, Bernardoni, 1856

Writings on line

Notes

References
 D. Capecchi, "Gabrio Piola e la Meccanica italiana agli inizi dell'Ottocento",  Atti del XXIII Congresso Nazionale di Storia della Fisica e dell'Astronomia - Bari 5-7 giugno 2003, pp. 95–108 (at the University of Milan)
 A. Filoni, A. Giampaglia, "Gabrio Piola 1794-1850 Biografia di un matematico umanista" Città di Giussano, Bellavite, (2006).
 F. dell'Isola, G. Maier, U. Perego, U. Andreaus, R. Esposito, S. Forest, "The complete works of Gabrio Piola: Volume I - Commented English Translation". Springer, (2014). ().
 F. dell'Isola, U. Andreaus U, L. Placidi, "At the origins and in the vanguard of peridynamics, non-local and higher-gradient continuum mechanics: An underestimated and still topical contribution of Gabrio Piola". Math. Mech. Solids, 20:887-928, 2015. (doi:10.1177/1081286513509811)

External links

 Gabrio Piola and Italian Mechanics by Danilo Capecchi at the University of Naples
 Gabrio Piola – scientist

19th-century Italian mathematicians
19th-century Italian physicists
1794 births
1850 deaths
Scientists from Milan
University of Pavia alumni

Gabrio Piola