The Mechanical Turk, also known as the Automaton Chess Player (, ; ), or simply The Turk, was a fraudulent chess-playing machine constructed in 1770, which appeared to be able to play a strong game of chess against a human opponent. For 84 years, it was exhibited on tours by various owners as an automaton. The machine survived and continued giving occasional exhibitions until 1854, when a fire swept through the museum where it was kept, destroying the machine. Afterwards, articles were published by a son of the machine's owner revealing its secrets to the public: that it was an elaborate hoax, suspected by some, but never proven in public while it still existed.

Constructed and unveiled in 1770 by Wolfgang von Kempelen (1734–1804) to impress Empress Maria Theresa of Austria, the mechanism appeared to be able to play a strong game of chess against a human opponent, as well as perform the knight's tour, a puzzle that requires the player to move a knight to occupy every square of a chessboard exactly once.

The Turk was in fact a mechanical illusion that allowed a human chess master hiding inside to operate the machine. With a skilled operator, the Turk won most of the games played during its demonstrations around Europe and the Americas for nearly 84 years, playing and defeating many challengers including statesmen such as Napoleon Bonaparte and Benjamin Franklin. The device was later purchased in 1804 and exhibited by Johann Nepomuk Mälzel. The chessmasters who secretly operated it included Johann Allgaier, Boncourt, Aaron Alexandre, William Lewis, Jacques Mouret, and William Schlumberger, but the operators within the mechanism during Kempelen's original tour remain unknown.

Construction

Kempelen was inspired to build the Turk following his attendance at the court of Maria Theresa of Austria at Schönbrunn Palace, where François Pelletier was performing an illusion act. An exchange afterward resulted in Kempelen promising to return to the Palace with an invention that would top the illusions.

The result of the challenge was the Automaton Chess-player, known in modern times as the Turk. The machine consisted of a life-sized model of a human head and torso, with a black beard and grey eyes, and dressed in Ottoman robes and a turban—"the traditional costume", according to journalist and author Tom Standage, "of an oriental sorcerer". Its left arm held a long Ottoman smoking pipe while at rest, while its right lay on the top of a large cabinet that measured about  long,  wide, and  high. Placed on the top of the cabinet was a chessboard, which measured  on each side. The front of the cabinet consisted of three doors, an opening, and a drawer, which could be opened to reveal a red and white ivory chess set.

The interior of the machine was very complicated and designed to mislead those who observed it. When opened on the left, the front doors of the cabinet exposed a number of gears and cogs similar to clockwork. The section was designed so that if the back doors of the cabinet were open at the same time one could see through the machine. The other side of the cabinet did not house machinery; instead it contained a red cushion and some removable parts, as well as brass structures. This area was also designed to provide a clear line of vision through the machine. Underneath the robes of the Ottoman model, two other doors were hidden. These also exposed clockwork machinery and provided a similarly unobstructed view through the machine. The design allowed the presenter of the machine to open every available door to the public, to maintain the illusion.

Neither the clockwork visible to the left side of the machine nor the drawer that housed the chess set extended fully to the rear of the cabinet; they instead went only one third of the way. A sliding seat was also installed, allowing the operator inside to slide from place to place and thus evade observation as the presenter opened various doors. The sliding of the seat caused dummy machinery to slide into its place to further conceal the person inside the cabinet.

The chessboard on the top of the cabinet was thin enough to allow for a magnetic linkage. Each piece in the chess set had a small, strong magnet attached to its base, and when they were placed on the board the pieces would attract a magnet attached to a string under their specific places on the board. This allowed the operator inside the machine to see which pieces moved where on the chess board. The bottom of the chessboard had corresponding numbers, 1–64, allowing the operator to see which places on the board were affected by a player's move. The internal magnets were positioned in a way that outside magnetic forces did not influence them, and Kempelen would often allow a large magnet to sit at the side of the board in an attempt to show that the machine was not influenced by magnetism.

As a further means of misdirection, the Turk came with a small wooden coffin-like box that the presenter would place on the top of the cabinet. While Johann Nepomuk Mälzel, a later owner of the machine, did not use the box, Kempelen often peered into the box during play, suggesting that the box controlled some aspect of the machine. The box was believed by some to have supernatural power; Karl Gottlieb von Windisch wrote in his 1784 book Inanimate Reason that "[o]ne old lady, in particular, who had not forgotten the tales she had been told in her youth ... went and hid herself in a window seat, as distant as she could from the evil spirit, which she firmly believed possessed the machine."

The interior also contained a pegboard chess board connected to a pantograph-style series of levers that controlled the model's left arm. The metal pointer on the pantograph moved over the interior chessboard, and would simultaneously move the arm of the Turk over the chessboard on the cabinet. The range of motion allowed the operator to move the Turk's arm up and down, and turning the lever would open and close the Turk's hand, allowing it to grasp the pieces on the board. All of this was made visible to the operator by using a simple candle, which had a ventilation system through the model. Other parts of the machinery allowed for a clockwork-type sound to be played when the Turk made a move, further adding to the machinery illusion, and for the Turk to make various facial expressions. A voice box was added following the Turk's acquisition by Mälzel, allowing the machine to say  (French for "check") during matches.

An operator inside the machine also had tools to assist in communicating with the presenter outside. Two brass discs equipped with numbers were positioned opposite each other on the inside and outside of the cabinet. A rod could rotate the discs to the desired number, which acted as a code between the two.

Exhibition
The Turk made its debut in 1770 at Schönbrunn Palace, about six months after Pelletier's act. Kempelen addressed the court, presenting what he had built, and began the demonstration of the machine and its parts. With every showing of the Turk, Kempelen began by opening the doors and drawers of the cabinet, allowing members of the audience to inspect the machine. Following this display, Kempelen would announce that the machine was ready for a challenger.

Kempelen would inform the player that the Turk would use the white pieces and have the first move. Between moves the Turk kept its left arm on the cushion. The Turk could nod twice if it threatened its opponent's queen, and three times upon placing the king in check. If an opponent made an illegal move, the Turk would shake its head, move the piece back and make its own move, thus forcing a forfeit of its opponent's move. Louis Dutens, a traveller who observed a showing of the Turk, attempted to trick the machine "by giving the Queen the move of a Knight, but my mechanic opponent was not to be so imposed upon; he took up my Queen and replaced her in the square from which I had moved her". Kempelen made it a point to traverse the room during the match, and invited observers to bring magnets, irons, and lodestones to the cabinet to test whether the machine was run by a form of magnetism or weights. The first person to play against the Turk was Count Ludwig von Cobenzl, an Austrian courtier at the palace. Along with other challengers that day, he was quickly defeated, with observers of the match stating that the machine played aggressively, and typically beat its opponents within thirty minutes.

Another part of the machine's exhibition was the completion of the knight's tour, a famed chess puzzle. The puzzle requires the player to move a knight around a chessboard, touching each square once along the way. While most experienced chess players of the time still struggled with the puzzle, the Turk was capable of completing the tour without any difficulty from any starting point via a pegboard used by the operator with a mapping of the puzzle laid out.

The Turk also had the ability to converse with spectators using a letter board. The operator, whose identity during the period when Kempelen presented the machine at Schönbrunn Palace is unknown, was able to do this in English, French, and German. Carl Friedrich Hindenburg, a university mathematician, kept a record of the conversations during the Turk's time in Leipzig and published it in 1789 as  (or On the Chessplayer of Mr. von Kempelen And Its Replica). Topics of questions put to and answered by the Turk included its age, marital status, and its secret workings.

Tour of Europe
Following word of its debut, interest in the machine grew across Europe. Kempelen, however, was more interested in his other projects and avoided exhibiting the Turk, often lying about the machine's repair status to prospective challengers. Von Windisch wrote at one point that Kempelen "refused the entreaties of his friends, and a crowd of curious persons from all countries, the satisfaction of seeing this far-famed machine". In the decade following its debut at Schönbrunn Palace the Turk only played one opponent, Sir Robert Murray Keith, a Scottish noble, and Kempelen went as far as dismantling the Turk entirely following the match. Kempelen was quoted as referring to the invention as a "mere bagatelle", as he was not pleased with its popularity and would rather continue work on steam engines and machines that replicated human speech.

In 1781, Kempelen was ordered by Emperor Joseph II to reconstruct the Turk and deliver it to Vienna for a state visit from Grand Duke Paul of Russia and his wife. The appearance was so successful that Grand Duke Paul suggested a tour of Europe for the Turk, a request to which Kempelen reluctantly agreed.

The Turk began its European tour in 1783, beginning with an appearance in France in April. A stop at Versailles beginning on April 17, preceded an exhibition in Paris, where the Turk lost a match to Charles Godefroy de La Tour d'Auvergne, the Duc de Bouillon. Upon arrival in Paris in May 1783, it was displayed to the public and played a variety of opponents, including a lawyer named Mr. Bernard who was a second rank in chess ability. Following the sessions at Versailles, demands increased for a match with François-André Danican Philidor, who was considered the best chess player of his time. Moving to the Café de la Régence, the machine played many of the most skilled players, often losing (e.g. against Bernard and Verdoni), until securing a match with Philidor at the Académie des Sciences. While Philidor won his match with the Turk, Philidor's son noted that his father called it "his most fatiguing game of chess ever!" The Turk's final game in Paris was against Benjamin Franklin, who was serving as ambassador to France from the United States. Franklin reportedly enjoyed the game with the Turk and was interested in the machine for the rest of his life, keeping a copy of Philip Thicknesse's book The Speaking Figure and the Automaton Chess Player, Exposed and Detected in his personal library.

Following his tour of Paris, Kempelen moved the Turk to London, where it was exhibited daily for five shillings. Thicknesse, known in his time as a skeptic, sought out the Turk in an attempt to expose the inner workings of the machine. While he respected Kempelen as "a very ingenious man", he asserted that the Turk was an elaborate hoax with a small child inside the machine, describing the machine as "a complicated piece of clockwork ... which is nothing more, than one, of many other ingenious devices, to misguide and delude the observers".

After a year in London, Kempelen and the Turk travelled to Leipzig, stopping in various European cities along the way. From Leipzig, it went to Dresden, where Joseph Friedrich Freiherr von Racknitz viewed the Turk and published his findings in , along with illustrations showing his beliefs about how the machine operated. It then moved to Amsterdam, after which Kempelen is said to have accepted an invitation to the Sanssouci palace in Potsdam of Frederick the Great, King of Prussia. The story goes that Frederick enjoyed the Turk so much that he paid a large sum of money to Kempelen in exchange for the Turk's secrets. Frederick never gave the secret away, but was reportedly disappointed to learn how the machine worked. This story is almost certainly apocryphal; there is no evidence of the Turk's encounter with Frederick, the first mention of which comes in the early 19th century, by which time the Turk was also incorrectly said to have played against George III of Great Britain. It seems most likely that the machine stayed dormant at Schönbrunn Palace for over two decades, although Kempelen attempted unsuccessfully to sell it in his final years. Kempelen died at the age of 70 on 26 March 1804.

Mälzel and the machine
Following the death of Kempelen, the Turk remained unexhibited until 1805 when Kempelen's son decided to sell it to Johann Nepomuk Mälzel, a Bavarian musician with an interest in various machines and devices. Mälzel, whose successes included patenting a form of metronome, had tried to purchase the Turk once previously, before Kempelen's death. The original attempt had failed, owing to Kempelen's asking price of 20,000 francs; Kempelen's son sold the machine to Mälzel for half this sum.

Upon acquiring the Turk, Mälzel had to learn its secrets and make some repairs to get it back in working order. His stated goal was to make explaining the Turk a greater challenge. While the completion of this goal took ten years, the Turk still made appearances, most notably with Napoleon Bonaparte.

In 1809, Napoleon I of France arrived at Schönbrunn Palace to play the Turk. According to an eyewitness report, Mälzel took responsibility for the construction of the machine while preparing the game, and the Turk (Johann Baptist Allgaier) saluted Napoleon before the start of the match. The details of the match have been published over the years in numerous accounts, many of them contradictory. According to Bradley Ewart, it is believed that the Turk sat at its cabinet, and Napoleon sat at a separate chess table. Napoleon's table was in a roped-off area and he was not allowed to cross into the Turk's area, with Mälzel crossing back and forth to make each player's move and allowing a clear view for the spectators. In a surprise move, Napoleon took the first turn instead of allowing the Turk to make the first move, as was usual; but Mälzel allowed the game to continue. Shortly thereafter, Napoleon attempted an illegal move. Upon noticing the move, the Turk returned the piece to its original spot and continued the game. Napoleon attempted the illegal move a second time, and the Turk responded by removing the piece from the board entirely and taking its turn. Napoleon then attempted the move a third time, the Turk responding with a sweep of its arm, knocking all the pieces off the board. Napoleon was reportedly amused, and then played a real game with the machine, completing nineteen moves before tipping over his king in surrender. Alternate versions of the story include Napoleon being unhappy about losing to the machine, playing the machine at a later time, playing one match with a magnet on the board, and playing a match with a shawl around the head and body of the Turk in an attempt to obscure its vision.

In 1811, Mälzel brought the Turk to Milan for a performance with Eugène de Beauharnais, the Prince of Venice and Viceroy of Italy. Beauharnais enjoyed the machine so much that he offered to purchase it from Mälzel. After some serious bargaining, Beauharnais acquired the Turk for 30,000 francs—three times what Mälzel had paid—and kept it for four years. In 1815, Mälzel returned to Beauharnais in Munich and asked to buy the Turk back. There exist two versions of how much he had to pay, eventually working out an agreement. One version appeared in the French periodical . The complete story does not make a lot of sense since Mälzel visited Paris again, and he also could import his "Conflagration of Moscow".

Following the repurchase, Mälzel brought the Turk back to Paris, where he made acquaintances of many of the leading chess players at Café de la Régence. Mälzel stayed in France with the machine until 1818, when he moved to London and held a number of performances with the Turk and many of his other machines. In London, Mälzel and his act received a large amount of press, and he continued improving the machine, ultimately installing a voice box so the machine could say  when placing a player in check.

In 1819, Mälzel took the Turk on a tour of the United Kingdom. There were several new developments in the act, such as allowing the opponent the first move and eliminating the king's bishop's pawn from the Turk's pieces. This pawn handicap created further interest in the Turk, and spawned a book by W. J. Hunneman chronicling the matches played with this handicap. Despite the handicap, the Turk (operated by Mouret at the time) ended up with forty-five victories, three losses, and two stalemates.

Mälzel in North America
The appearances of the Turk were profitable for Mälzel, and he continued by taking it and his other machines to the United States. In 1826, he opened an exhibition in New York City that slowly grew in popularity, giving rise to many newspaper stories and anonymous threats of exposure of the secret. Mälzel's problem was finding a proper operator for the machine, having trained an unknown woman in France before coming to the United States. He ended up recalling a former operator, William Schlumberger, from Alsace in Europe to come to America and work for him again once Mälzel was able to provide the money for Schlumberger's transport.

Upon Schlumberger's arrival, the Turk debuted in Boston, Mälzel spinning a story that the New York chess players could not handle full games and that the Boston players were much better opponents. This was a success for many weeks, and the tour moved to Philadelphia for three months. Following Philadelphia, the Turk moved to Baltimore, where it played for a number of months, including losing a match against Charles Carroll, a signer of the Declaration of Independence. The exhibition in Baltimore brought news that two brothers had constructed their own machine, the Walker Chess-player. Mälzel viewed the competing machine and attempted to buy it, but the offer was declined and the duplicate machine toured for a number of years, never receiving the fame that Mälzel's machine did and eventually falling into obscurity.

Mälzel continued with exhibitions around the United States until 1828, when he took some time off and visited Europe, returning in 1829. Throughout the 1830s, he continued to tour the United States, exhibiting the machine as far west as the Mississippi River and visiting Canada. In Richmond, Virginia, the Turk was observed by Edgar Allan Poe, who was writing for the Southern Literary Messenger. Poe's essay "Maelzel's Chess Player" was published in April 1836 and is the most famous essay on the Turk, even though many of Poe's hypotheses were incorrect (such as that a chess-playing machine must always win).

Mälzel eventually took the Turk on his second tour to Havana, Cuba. In Cuba, Schlumberger died of yellow fever in February 1838, leaving Mälzel without an operator for his machine. Dejected, Mälzel died at sea in July 1838 at the age of 65 during his return trip, leaving his machinery with the ship captain.

Final years and beyond

When the ship on which Mälzel died returned, his various machines, including the Turk, fell into the hands of Mälzel's friend, the businessman John Ohl. He attempted to auction off the Turk, but owing to low bidding ultimately bought it himself for $400. Only when John Kearsley Mitchell from Philadelphia, Edgar Allan Poe's personal physician and an admirer of the Turk, approached Ohl did the Turk change hands again. Mitchell formed a restoration club and went about the business of repairing the Turk for public appearances, completing the restoration in 1840.

As interest in the Turk outgrew its location, Mitchell and his club chose to donate the machine to the Chinese Museum of Charles Willson Peale. While the Turk still occasionally gave performances, it was eventually relegated to the corners of the museum and forgotten about until 5 July 1854, when a fire that started at the National Theater in Philadelphia reached the Museum and destroyed the Turk. Mitchell believed he had heard "through the struggling flames ... the last words of our departed friend, the sternly whispered, oft repeated syllables, 'echec! echec!!

John Gaughan, an American manufacturer of equipment for magicians based in Los Angeles, spent $120,000 building his own version of Kempelen's machine over a five-year period from 1984. The machine uses the original chessboard, which was stored separately from the original Turk and was not destroyed in the fire. The first public display of Gaughan's Turk was in November 1989 at a history of magic conference. The machine was presented much as Kempelen presented the original, except that the opponent was replaced by a computer running a chess program.

Revealing the secrets
While many books and articles were written during the Turk's life about how it worked, most were inaccurate, drawing incorrect inferences from external observation.

The first articles on the mechanism were published in a French magazine entitled Le Magasin pittoresque in 1834. It was not until Silas Mitchell's series of articles for The Chess Monthly that the secret was fully revealed. Mitchell, son of the final private owner of the Turk, wrote that "no secret was ever kept as the Turk's has been. Guessed at, in part, many times, no one of the several explanations ... ever solved this amusing puzzle". As the Turk was lost to fire at the time of this publication, Silas Mitchell felt that there were "no longer any reasons for concealing from the amateurs of chess, the solution to this ancient enigma".

The most important biographical history about the Chess-player and Mälzel was presented in The Book of the First American Chess Congress, published by Daniel Willard Fiske in 1857. The account, "The Automaton Chess-Player in America", was written by Professor George Allen of Philadelphia, in the form of a letter to William Lewis, one of the former operators of the chess automaton.

In 1859, a letter published in the Philadelphia Sunday Dispatch by William F. Kummer, who worked as an operator under John Mitchell, revealed another piece of the secret: a candle inside the cabinet. A series of tubes led from the lamp to the turban of the Turk for ventilation. The smoke rising from the turban would be disguised by the smoke coming from the other candelabra in the area where the game was played.

Later in 1859, an uncredited article appeared in Littell's Living Age that purported to be the story of the Turk from French magician Jean Eugène Robert-Houdin. This was rife with errors ranging from dates of events to a story of a Polish officer whose legs were amputated, but ended up being rescued by Kempelen and smuggled back to Russia inside the machine.

A new article about the Turk did not turn up until 1899, when The American Chess Magazine published an account of the Turk's match with Napoleon Bonaparte. The story was basically a review of previous accounts, and a substantive published account would not appear until 1947, when Chess Review published articles by Kenneth Harkness and Jack Straley Battell that amounted to a comprehensive history and description of the Turk, complete with new diagrams that synthesized information from previous publications. Another article written in 1960 for American Heritage by Ernest Wittenberg provided new diagrams describing how the operator sat inside the cabinet.

In Henry A. Davidson's 1945 publication A Short History of Chess, significant weight is given to Poe's essay which erroneously suggested that the player sat inside the Turk figure, rather than on a moving seat inside the cabinet. A similar error would occur in Alex G. Bell's 1978 book The Machine Plays Chess, which falsely asserted that "the operator was a trained boy (or very small adult) who followed the directions of the chess player who was hidden elsewhere on stage or in the theater..."

More books were published about the Turk toward the end of the 20th century. Along with Bell's book, Charles Michael Carroll's The Great Chess Automaton (1975) focused more on the studies of the Turk. Bradley Ewart's Chess: Man vs. Machine (1980) discussed the Turk as well as other purported chess-playing automatons.

It was not until the creation of Deep Blue, IBM's attempt at a computer that could challenge the world's best players, that interest increased again, and two more books were published: Gerald M. Levitt's The Turk, Chess Automaton (2000), and Tom Standage's The Turk: The Life and Times of the Famous Eighteenth-Century Chess-Playing Machine, published in 2002. The Turk was used as a personification of Deep Blue in the 2003 documentary Game Over: Kasparov and the Machine.

Legacy and popular culture

Owing to the Turk's popularity and mystery, its construction inspired a number of inventions and imitations, including Ajeeb, or "The Egyptian", an American imitation built by Charles Hopper that President Grover Cleveland played in 1885, and Mephisto, the self-described "most famous" machine, of which little is known. The first imitation was made while Mälzel was in Baltimore. Created by the Brothers Walker, the "American Chess Player" made its debut in May 1827 in New York. El Ajedrecista was built in 1912 by Leonardo Torres Quevedo as a chess-playing automaton and made its public debut during the Paris World Fair of 1914. Capable of playing rook and king versus king endgames using electromagnets, it was the first true chess-playing automaton, and a precursor of sorts to Deep Blue.

The Turk was visited in London by Rev. Edmund Cartwright in 1784. He was so intrigued by the Turk that he would later question whether "it is more difficult to construct a machine that shall weave than one which shall make all the variety of moves required in that complicated game". Cartwright would patent the prototype for a power loom within the year. Sir Charles Wheatstone, an inventor, saw a later appearance of the Turk while it was owned by Mälzel. He also saw some of Mälzel's speaking machines, and Mälzel later presented a demonstration of the speaking machines to the researcher and his teenage son. Alexander Graham Bell obtained a copy of a book by Wolfgang von Kempelen on speaking machines after being inspired by seeing a similar machine built by Wheatstone; Bell went on to file the first successful patent for the telephone.

A play, The Automaton Chess Player, was presented in New York City in 1845. The advertising, as well as an article that appeared in The Illustrated London News, claimed that the play featured Kempelen's Turk, but it was in fact a copy of the Turk created by J. Walker, who had earlier presented the Walker Chess-player.

Raymond Bernard's silent feature film The Chess Player (1927) weaves elements from the real story of the Turk into an adventure tale set in the aftermath of the first of the Partitions of Poland in 1772. The film's "Baron von Kempelen" helps a dashing young Polish nationalist on the run from the occupying Russians, who also happens to be an expert chess player, by hiding him inside a chess playing automaton called the Turk, closely based on the real Kempelen model. Just as they are about to escape over the border, the Baron is summoned to Saint Petersburg to present the Turk to the empress Catherine II. In an echo of the Napoleon incident, Catherine attempts to cheat the Turk, who wipes all the pieces from the board in response.

The Turk has also inspired works of literary fiction. In 1849, just a few years before the Turk was destroyed, Edgar Allan Poe published a tale "Von Kempelen and His Discovery". Ambrose Bierce's short story "Moxon's Master", published in 1909, is a morbid tale about a chess-playing automaton that resembles the Turk. In 1938, John Dickson Carr published The Crooked Hinge, a locked-room mystery in his line of Dr. Gideon Fell detective novels. Among the puzzles presented included an automaton that operates in a way that is unexplainable to the characters. Gene Wolfe's 1977 science fiction short story "The Marvellous Brass Chessplaying Automaton" also features a device very similar to the Turk. Robert Loehr's 2007 novel The Chess Machine (published in the UK as The Secrets of the Chess Machine) focuses on the man inside the machine. F. Gwynplaine MacIntyre's 2007 story "The Clockwork Horror" reconstructs Edgar Allan Poe's original encounter with Mälzel's chess-player, and also establishes (from contemporary advertisements in a Richmond newspaper) precisely when and where this encounter took place. In 2023, the story "Alone Together" from the Tales from the Pizzaplex book series, itself a part of the Five Nights at Freddy's franchise, features a Mechanical Turk as a school project.

Walter Benjamin alludes to the Mechanical Turk in the first thesis of his Theses on the Philosophy of History (), written in 1940.

Notes

Citations

References

External links

History of chess
Chess automatons
18th century in chess
Hoaxes in science
Hungarian inventions
Historical robots
18th-century robots
18th-century hoaxes

Mechanical Turk


The Communication Review is a peer-reviewed academic journal covering a great variety of aspects of media studies published by England-based publisher Routledge. Since 1999, the editors-in-chief have been Andrea L. Press (University of Virginia) and Bruce A. Williams (University of Virginia). The journal was established in 1995 with Robert Horwitz as founding editor.

The journal bridges the fields of communications and media studies, including historical and feminist scholarship.

External links

Academic journals established in 1995
Routledge academic journals
English-language journals
Quarterly journals
Communication journals

The Communication Review


A seed is the part of a seed plant which can grow into a new plant. It is a reproductive structure which disperses, and can survive for some time. A typical seed includes three basic parts: (1) an embryo, (2) a supply of nutrients for the embryo, and (3) a seed coat.

There are many different kinds of seeds. Some plants make a lot of seeds, some make only a few. Seeds are often hard and very small, but some are larger. The coconut is as big as a child's head, but it contains more than just a seed. At the start, seeds are dormant (resting inside their coat) for a while. When the seed is ready to develop, it needs water, air and warmth but not sunlight to become a seedling.

Seeds carry the food that helps the new plant begin to grow. This food store is in the endosperm, and/or in the cotyledons. Many kinds of seeds are good food for animals and people. The many kinds of grain that people grow, such as rice, wheat, and maize, are all seeds. Seeds are often inside fruits.

Development from the seed
A seed, though not active, is a tiny living thing. It contains the embryo of the future plant, which is not changing or developing: it is dormant. The common idea is that the seed "sleeps" until it gets what it needs to wake up. That is not correct. Different seeds have different habits, no doubt adapted to their habitat. There are different kinds of resting stages in seeds:
1. Seed dormancy: means the seed does not develop for a while even when conditions are suitable.p98 Delayed germination (development) allows time for dispersal. Changes take place inside the seed which sooner or later make it germinate. The details vary hugely between species.
2. Seed hibernation: fails to germinate because conditions are not right. Growth is triggered by particular events in the environment. Details of the triggers are known for some, but not all, seeds. Rain, fire, ground temperature, are examples. Many seeds only germinate after they have been eaten and passed through the digestive system of an animal. This also is a dispersal method.

When a seed germinates ("wakes up"), it begins to grow into a little plant called a seedling. It uses the soft fleshy material inside the seed for nutrients (food) until it is ready to make food on its own using sunlight, water and air.

Most seeds germinate underground where there is no sunlight. The plant does not need the nutrients in soil for a few days or weeks, because the seed has all the things it needs to grow. Later, though, it will begin to need sunlight. If there is sunlight, the plant will use it to grow healthy. If there is no light, the plant will still grow for a while, but its plastids will not mature: the chlorophyll does not turn green. If the plant does not get enough light, it will eventually die. It needs light to make food for itself when the reserve in the seed runs out.

 The oldest carbon 14-dated seed that has grown into a plant was a Judean date palm seed about 2,000 years old, recovered from excavations at Herod the Great's palace on Masada in Israel. It was germinated in 2005.
 The largest seed is produced by the Coco de mer, or "double coconut palm", Lodoicea maldivica.  The entire fruit may weigh up to 23 kilograms (50 pounds) and usually contains a single seed.

Origin and evolution
Seeds have been an important development in the reproduction and spread of conifers and flowering plants. Plants such as mosses, liverworts and ferns do not have seeds, and use unprotected spores and other methods to propagate themselves. Before the upper Devonian period, land plants, like modern ferns, reproduced by sending spores into the air. The spores would land and become new plants only in favourable conditions. Spores have little food stored, and may be just single cells rather than embryos.

The evolution of seeds changed the plant life cycle by freeing plants from the need for external water for sexual reproduction, and by providing protection and nutrients for the developing embryo. These functions allowed plants to expand beyond the immediate neighbourhood of water sources. They were able to exploit environments which were drier and more upland.p92 This can be seen by the success of seed plants in important biological niches on land, from forests to grasslands both in hot and cold climates. The present-day seed plants are the Gymnosperms, with naked seeds, and the Angiosperms with covered seeds, usually fruits.

The first true seeds are from the upper Devonian 370–354 million years ago, which is probably the theatre of their first evolutionary radiation. The earliest seed-producing trees were in the forests of the Carboniferous period.p112 The seed plants steadily became one of the most important elements of nearly all ecosystems.

References

Basic English 850 words
Plant anatomy
Biological reproduction

Seed


Japan state carriages are horse-drawn coaches.  The carriages are used in Imperial events.

The carriages are in regular use.  For example, during the presentation of credentials of a newly appointed ambassador, it sometimes happens that the ambassador will be driven to the south portico of the Imperial Palace in a horse-drawn carriage.  The carriages called zagyoshiki are drawn by two horses

A few carriages are only used rarely. For example, some state carriages are part of ceremonies of enthronement and the marriages of members of the Imperial Family.

History
In December 1923, there was an assassination attempt on the life of Crown Prince Hirohito.  He was in a carriage on his way to the opening of the 48th Session of the Imperial Diet. A small pistol was fired at the Imperial carriage. The bullet injured a chamberlain, but Hirohito was unharmed.

Gallery

Related pages
 British state carriages

References

Other websites

 Meiji jingu (Imperial Treasure Museum), "Phoenix carriage" used by Emperor Meiji
 Metropolitan Museum of Art, Phoenix carriage

State carriages
Animal-powered vehicles

Japan state carriages


Gene Soucy is an American aerobatics pilot. The son of 2 pilots, he would wash airplanes at a local airport in exchange for flight time while growing up in Kentucky. He soloed in a glider at age 14, and in a regular airplane at 16.

Soucy began flying professionally in airshows in 1968, and in 1972 qualified for a place on the U.S. aerobatics team. That year he was the youngest competitor flying at the World championships in England. He placed 6th overall, and contributed to the U.S. team winning the World championship for the first time.

Eagles Aerobatic Team
In 1971, he partnered with Charlie Hillard and Tom Poberezny to form the Red Devils Aerobatic Team, flying the Pitts Special. In 1979, aircraft designer Frank Christensen invited the team to test fly a new aerobatic aircraft he had designed: the Christen Eagle. The Devils were so impressed that they switched their team aircraft to the Eagle, and renamed the Red Devils to the Eagles Aerobatic Team, with Hillard as the lead pilot. The Eagles Aerobatic Team would fly together for more than 25 years, and 1000 performances, setting a record for the longest running aerobatic team with the same members.

Other acts

During his career with the Eagles, Soucy began to develop a new aircraft to fly in airshows. He had a Grumman Ag Cat cropduster modified for a Wing walking act, and named the aircraft the Showcat. His partner and girlfriend Teresa Stokes performs as the wing walker while Soucy takes the Showcat through various aerobatic maneuvers. The Showcat is also configured with pyrotechnics, used as part of a nighttime aerobatic show. After the Eagles team disbanded in 1995, Soucy began performing solo aerobatic in an Extra 300S, in addition to his Showcat performances.

Personal life
In 2002, he began to show signs of kidney disease, and in 2003 underwent a kidney transplant. Teresa Stokes was the donor, after Soucy's siblings proved to not be able to donate. He was back flying at airshows 3 months after the operation.

Soucy has also flown as a stunt pilot for several motion pictures and TV movies. His credits include Aces: Iron Eagle III, where he flew with Charlie Hillard, and The Pancho Barnes Story.

Soucy has two daughters, and lives in Houston, Texas. In addition to his airshow performances, he is a pilot with Delta Air Lines.

See also
 Competition aerobatics
 FAI World Aerobatic Championships
 FAI European Aerobatic Championships

References

External links

 Gene Soucy Airshows

Aerobatic pilots
American aviators
Living people
Year of birth missing (living people)

Gene Soucy


The transition zone is part of the Earth's mantle, and is located between the lower mantle and the upper mantle, between a depth of 410 and 660 km (250 to 400 mi). The Earth's mantle, including the transition zone, consists primarily of peridotite, an ultramafic igneous rock.

The mantle was divided into the upper mantle, transition zone, and lower mantle as a result of sudden seismic-velocity discontinuities at depths of 410 and 660 km (250 to 400 mi).  This is thought to occur as a result of rearrangement of grains in olivine (which constitutes a large portion of peridotite) at a depth of 410 km, to form a denser crystal structure as a result of the increase in pressure with increasing depth.  Below a depth of 660 km, evidence suggests due to pressure changes ringwoodite minerals change into two new denser phases, bridgmanite and periclase. This can be seen using body waves from earthquakes, which are converted, reflected or refracted at the boundary, and predicted from mineral physics, as the phase changes are temperature and density-dependent and hence depth dependent.

410 km discontinuity – phase transition
A peak is seen in seismological data at about 410 km as is predicted by the transition from α- to β-Mg2SiO4 (olivine to wadsleyite). From the Clapeyron slope, this change is predicted to occur at shallower depths in cold regions, such as where subducting slabs penetrate into the transition zone, and at greater depths in warmer regions, such as where mantle plumes pass through the transition zone. Therefore, the exact depth of the "410 km discontinuity" can vary.

660 km discontinuity – phase transition
The 660 km discontinuity appears in PP precursors (a wave which reflects off the discontinuity once) only in certain regions but is always apparent in SS precursors. It is seen as single and double reflections in receiver functions for P to S conversions over a broad range of depths (640–720 km, or 397–447 mi). The Clapeyron slope predicts a deeper discontinuity in cold regions and a shallower discontinuity in hot regions. This discontinuity is generally linked to the transition from ringwoodite to bridgmanite and periclase. This is thermodynamically an endothermic reaction and creates a viscosity jump. Both characteristics cause this phase transition to play an important role in geodynamical models. Cold downwelling material might pond on this transition.

Other discontinuities
There is another major phase transition predicted at 520 km for the transition of olivine (β to γ) and garnet in the pyrolite mantle. This one has only sporadically been observed in seismological data.

Other non-global phase transitions have been suggested at a range of depths.

References

Structure of the Earth

Transition zone (Earth)


The Mathias Point Light was a screw-pile lighthouse in the Potomac River in Maryland; the station was located near the Port Tobacco River. It was particularly noted for its ornate woodwork.

History
Funds for a light near Quantico, Virginia were appropriated in 1872. An engineering study recommended instead that lights be built  downstream, and an appropriation was made in 1874 to build a light on Port Tobacco Flats, with a day beacon for Mathias Point. By the time construction began the two were switched, and the light was completed in 1876. Matthias Point was like no other screw-pile structure on the bay, with much decorative woodwork and a distinctive three tiered structure that some described as resembling a wedding cake.

It was intended that this light replace that at Upper Cedar Point; in the end the number of complaints led to the latter's reactivation in 1882. Mathias Point Light itself was automated in 1951 and replaced in 1961 by a beacon mounted on the old foundation.

References
Mathias Point Shoal Light Chesapeake Chapter, USLHS page

External links

Lighthouses in Maryland
Lighthouses completed in 1876
Lighthouses in the Chesapeake Bay
Buildings and structures demolished in 1961
Transportation buildings and structures in Charles County, Maryland

Mathias Point Light


The Fun.Exe virus is of the w32.Assarm family of computer viruses.   According to Symantec it registers itself as a Windows system process then periodically sends mail with spreading attachments as a response to any unopened emails in Outlook Express.
This virus first appeared in early 2008 and is now recognized by most anti virus programs.

Infection

The virus will install multiple copies of itself throughout the system.  It makes itself hard to remove by installing many different copies with different names in different locations.  The running copy is a system process and will restart if it is closed manually.  It adds itself to auto run information so that it executes multiple copies on startup.  The copies monitor each other and will restore each other if one is deleted.  This makes deleting from Windows nearly impossible.

Known file names used by the virus are Fun.exe, DC.exe, Other.exe, SVIQ.exe, win.exe, WinSit.exe, Windev.exe, and thisisnotmalwarelol.exe. This malware is usually embedded on PowerPoint documents. This allowed to malware to bypass most antiviruses, including Sophos and Kaspersky.

The file icon is made to look like the icon for a folder, inviting the user to open the folder when actually they are running the program thus starting the initial infection.   However the graphic icon for the folder is poorly ripped from windows service icons and can be distinguished by subtle visual differences, predominantly white below the black outline of the folder which on the real folder icon is dithered to transparent space.   This visual difference is especially noticeable in safe mode when graphic operating capacity is in 256 color mode instead of 24 bit color mode.

The files show a creation date of 6-23-2008 and show an original name of Olalatheworld.exe  and an internal name of Olalatheworld.  The files are 124,928 bytes in size.    These characteristics can help distinguish the infected files, which is important because some of the names used by the file are names of legitimate Windows files and therefore care must be taken not to accidentally remove a vital Windows file.

References

Windows file viruses

Fun.exe virus


Kevin DeWayne Blankenship (born January 26, 1963) is a former right-handed pitcher in Major League Baseball for the Chicago Cubs and Atlanta Braves.  A veteran minor league journeyman, Blakenship played in eight seasons with four different Major League Baseball farm systems during his time as a professional player.  Blankenship's career highlights came in  and  when his stellar pitching not only earned him back-to-back minor league all-star selections but also two separate major league call-ups to pitch for the Atlanta Braves and the Chicago Cubs, respectively.

Early career

Blankenship began his baseball career at El Dorado High School, in Placentia, California where he pitched for the El Dorado Hawks varsity baseball team.  He rose to prominence during his senior year in 1981, setting school records in wins, ERA, and strikeouts while leading the team to the CIF 3A championship. Blankenship was signed by the Braves as an undrafted free agent out of the University of Arizona.

He spent his minor league debut with the Rookie-level Gulf Coast League Braves in  as a reliever. After posting a 1.34 ERA over 19 games, the rookie pitcher was called up to spend the summer of  in North Carolina with the Durham Bulls.  Blankenship split the season as both a starting and relief pitcher, posting an 8–8 record. His performance in the Single-A won the young pitcher an invitation to join the Greenville Braves, where he bounced between starting and relieving for the next two seasons.

During his third season with Greenville, Blankenship put on a breakout performance on the pitcher's mound posting a 13–9 record, a 2.34 ERA with 127 strikeouts.  Now a regular starter, he finished the season earning a spot on the 1988 Southern League All-Star team and a call up to the majors by Atlanta in late 1988. He made two starts for the Braves, debuting on September 20, when he struck out the first batter he faced, San Francisco's Brett Butler. Taking the loss on both September 20 and 25, before Atlanta traded him and Kevin Coffman to the Cubs in an extraordinarily late-in-the-season deal for catcher Jody Davis.

Chicago Cubs

1989 season
He started the Cubs' final game of the season and got his first major league win, going five-plus innings and allowing four runs, defeating the Pittsburgh Pirates' Randy Kramer. Blankenship was helped out significantly by a Rafael Palmeiro grand slam that put the Cubs up 8–1 in the fifth inning.

Blankenship spent most of 1989 pitching for the Cubs' AAA team in Iowa, but was called up when rosters expanded in September and made two relief appearances for Chicago in the final month of their divisional championship season, allowing one run in 5 innings of work. He was not on the Cubs' postseason roster. In fact, in an unusual move, Cubs' manager Don Zimmer actually sent Blankenship home before the season ended after Blankenship showed up late to team events twice in a four-day period.

On September 20, 1989, the Cubs pitching coach Dick Pole awakened Blankenship in his hotel room at 11 a.m., 30 minutes after he was to be in uniform. He showed up at 11:45 a.m.  And then, on September 24, 1989, Blankenship arrived 15 minutes late for an 8:30 a.m. physical. At that point, Zimmer sent Blankenship home to Fullerton, California. "I overlooked (the first infraction)", Zimmer told The Chicago Tribune, "I'm thinking to myself, 'How the hell could somebody oversleep a day game and show up at a quarter to 12?'" After the second instance of tardiness, however, Zimmer's patience ran out. "I called him into my office and said, 'Go on home.' I gave him the benefit of the doubt (previously). I could have fined him $300–$400. I can't stand being late.  I sent him home.  That's it.  I didn't ask for any explanation."

1990 season
Several months later, Blankenship played winter league ball in Venezuela, going 6–1 with a 1.81 earned-run average.  In January 1990, Zimmer told the Chicago Sun-Times that Blankenship would be back for spring training.  "That's forgotten," he told the paper.  "It's over with."  And in spring training 1990, Blankenship told the Sun-Times that the issue of tardiness was in his past.  "We talked," Blankenship said, referring to Zimmer.  "From what I gather, it won't be held against me.  The problem won't pop up again unless I do something to make it. And I don't plan on doing that.  Everything I know and have heard of Zim, he's not the kind of guy to hold grudges."

The 1990 Cubs had a rash of injuries to their starting pitchers, and Blankenship again found himself in the majors in May. He made just two starts, losing both. His final appearance was in relief of Mike Bielecki on June 12 in a game the Cubs ended up losing 19–8 at Wrigley Field. Blankenship allowed two runs in 2 innings on a day when Cub outfielder Doug Dascenzo pitched a scoreless ninth inning, the only Cub hurler not to allow a run that day.

Later career
After spending the rest of 1990 in Iowa, Blankenship became a free agent. He signed with the Pittsburgh Pirates and pitched for their AAA farm team in Buffalo in 1991, then closed out his career pitching in Oklahoma City in 1992 for Texas's AAA affiliate. Blankenship retired after the 1992 season with a major league record of 1–3 and a 4.59 ERA.

References

External links

Pura Pelota (Venezuelan Winter League)

1963 births
Living people
Águilas del Zulia players
Arizona Wildcats baseball players
Atlanta Braves players
Baseball players from Anaheim, California
Buffalo Bisons (minor league) players
Chicago Cubs players
Durham Bulls players
Greenville Braves players
Gulf Coast Braves players
Iowa Cubs players
Major League Baseball pitchers
Oklahoma City 89ers players
Tiburones de La Guaira players
American expatriate baseball players in Venezuela
University of Arizona alumni

Kevin Blankenship


The mountain parakeet (Psilopsiagon aurifrons), also known as the golden-fronted parakeet, is a species of parrot, one of two in the genus Psilopsiagon within the family Psittacidae. It is found in the Puna grassland. Its natural habitat is subtropical or tropical high-altitude shrubland. Four subspecies are recognised.

Subspecies
There are four subspecies:
 P. a. aurifrons – the coast and western slopes of the Andes in central Peru
 P. a. margaritae – the Andean slopes of southern Peru, Bolivia, northern Chile and northwestern Argentina
 P. a. robertsi – the Marañón Valley in north central Peru
 P. a. rubrirostris – the Andean slopes of northwestern Argentina, between Catamarca and Córdoba, and southern Chile.

Description
This small parrot reaches about  in length and weighs about . The male of the nominate subspecies, P. a. aurifrons, has a green head, mantle, back and tail. The otherwise green primary feathers have blue outer webs. The face, throat and breast are yellow gradually fading to a yellowish-green belly. The eye is brown and the bill horn-coloured. The female is similar to the male but has a yellow forehead, and the juvenile resembles the female but has a shorter tail.

Both sexes of P. a. margaritae are similar to the female P. a. aurifrons but are larger with shorter tails and the colour of the female's bill is grey. P. a. rubrirostris is a similar colour to P. a. margaritae but the head, breast and belly are a rather darker shade of green tinged with blue. The male's bill is pinkish-buff and the female's grey. The male and female P. a. robertsi resemble P. a. aurifrons but the belly is a darker shade of green and the chin and throat brighter yellow.

Distribution and habitat
The mountain parakeet is found in the Andes at altitudes between . Its range includes Peru, Chile, Bolivia and Argentina. Its typical habitat is among vegetation near rivers, on bushy slopes, among scrub, on rough grassland with cacti and brush and agricultural land. It also occurs in man-made environments such as parks and gardens. The four subspecies occupy separate, non-overlapping parts of the range. This species does not migrate, but the birds move to higher altitudes in summer and lower ones in winter.

Biology
The mountain parakeet is a sociable bird and forages on the ground and in scrub for buds, berries and seeds of such plants as Fabiana densa, Lepidophyllum and Adesmia. Breeding takes place at different times of year in different parts of the range. A clutch of three to six eggs is laid in a hole or crevice in a rocky outcrop, cliff face or river bank.

Status
The mountain parakeet has a very wide range and is fairly common in suitable habitat over much of that range. The IUCN has listed its conservation status as being of "least concern".

References

mountain parakeet
mountain parakeet
Birds of the Puna grassland
mountain parakeet
Taxonomy articles created by Polbot
Taxa named by René Lesson

Mountain parakeet


Los Cenzontles (Nahuatl for The Mockingbirds) is a Mexican-American group, cultural arts academy, and media production studio, that promotes Mexican roots music through research, performance, education, musical recordings and videos. They are based in the working-class city of San Pablo, California where they form the core of Los Cenzontles Cultural Arts Academy, where the members of the group were trained. Los Cenzontles have revived and promoted little known styles of Mexican regional music since 1989. The group has collaborated with numerous artists that include David Hidalgo, Linda Ronstadt,  Los Lobos, Ry Cooder, Taj Mahal, Jackson Browne, The Chieftains and Flaco Jimenez, among others. Los Cenzontles has produced 30 tradition-based and cross cultural albums, 4 documentaries, and hundreds of video shorts available on their YouTube channel.

History
Los Cenzontles was begun in 1989 by Eugene Rodriguez as part of a California Arts Council artist residency.  The goal of the Los Cenzontles Project was to create a place for area youth to learn traditional Mexican music and dance. When students' training advanced, the original touring group of Los Cenzontles was formed to showcase Mexican folk music and focus on educational outreach. That same year Eugene met Grupo Mono Blanco, leaders in the fandango movement in Veracruz, Mexico. He established a long-term international collaboration designed to bridge the Jarocho and Chicano communities. Chicano teen members of Los Cenzontles traveled to rural Veracruz in 1991, 93 and 98. Rodriguez established the Fandango Project with support from the US Mexico Fund for Culture to create a residency to promote increased cultural participation in California for Gilberto Gutierrez, of Mono Blanco, and photographer Silvia Gonzalez de Leon.

In 1994, three major events provoked Rodriguez to incorporate Los Cenzontles as a non-profit organization:

 That year the recording of Papa's Dream, produced by Eugene for Los Lobos, Lalo Guerrero and members of Los Cenzontles was released. The recording was subsequently nominated for a Grammy for Best Musical Album for Children.
 Eugene Rodriguez incorporated Los Cenzontles Mexican Arts Center as a non-profit, responding to spiraling social problems among local youth.
 That same year, 15-year-old Cecilia Rios, San Pablo resident and close friend of many of the Center's students, was brutally raped and murdered. In response to the tragic loss, the members of Los Cenzontles composed their first original work, El Corrido de Cecilia Rios.

In 1995, the group released its first album, Con Su Permiso, Señores. The group has released 23 albums in 21 years and have collaborated with David Hidalgo, Jackson Browne, Taj Mahal, Ry Cooder, The Chieftains, Linda Ronstadt, Lalo Guerrero, Pete Sears, Gregorio Hernández Ríos "El Goyo", Lázaro Ros, Mariachi los Camperos de Nati Cano, Carlos Caro, Shira Kammen, The Estrada Brothers, Saul Hernandez, Bobby Black, Bill Evans (banjo), Julian Gonzalez, Atilano Lopez, Grupo Mono Blanco and Santiago Jimenez, Jr.  Currently, Los Cenzontles tours venues in the United States, Europe, Caribbean and Mexico.  Los Cenzontles has also opened performances for Los Tigres del Norte, Los Lobos and Jaguares.

In 1997 Los Cenzontles Mexican Arts Center (LCMAC) sponsored the International Youth in the Tradition Festival featuring workshops and performances in Son Jarocho, Conjunto, Mariachi and Banda. The five-day festival featured youth groups from Mexico and California and artists including Lalo Guerrero, Yolanda del Rio, Graciela Beltran, Grupo Mono Blanco and others. The Festival was sponsored by the US Mexico Fund for Culture.

In 2002 LCMAC received the Coming Up Taller Award from the President's Committee on the Arts and the Humanities.

With support from the James Irvine Foundation, Los Cenzontles began developing a 3-part documentary series in 2003. The "Cultures of México in California" project is a cultural preservation/awareness project that explores the changing role of roots music and dance in Mexican immigrant and Mexican-American communities in California.  Their first DVD, Pasajero, was released in 2004.

In 2013, Eugene Rodriguez was awarded a United States Artists Oliver Fellowship.

In 2016, Los Cenzontles completed a successful 11 day tour to Cuba where they performed numerous concerts and cultural exchanges in various cities that included Havana, Sancti Spiritus, Las Tunas and Santa Clara. The resulting documentary Conexiones: A Cuban Mexican Connection has been broadcast on Public Television on numerous affiliates nationwide and screened at many film festivals.

In 2017, they collaborated with Jackson Browne on the composition, recording and video of their song The Dreamer about DACA youth.

In 2018, Los Cenzontles performed with Preservation Hall Jazz Band at the SFJazz Gala that was followed up by an invitation to the group to do a week long residency at Preservation Hall in New Orleans.

In 2019, 22 members of Los Cenzontles, ages eight to adult, accompanied Linda Ronstadt on a trip to Sonora, Mexico to perform at the birthplace of Linda's grandfather. Jackson Browne also traveled on the trip that was filmed by director James Keach for an upcoming documentary.

In June 2019, the group performed at the Kennedy Center Millenium stage and Library of Congress in Washington D.C.

Today, Los Cenzontles continues to perform, research, teach, present and create new work.

Current members
 Fabiola Trujillo - Voice
 Lucina Rodriguez - Voice, jarana, guitar, percussion, zapateado
 Eugene Rodriguez - Voice, guitars
 Emiliano Rodriguez - Accordion, guitar, bass

Discography

 Con Su Permiso, Señores, 1995
 You'll Come Flying, 1997
 Amor, Paz y Sinceridad, 1999
 Volando en los Cafetales, 1999
 Hypnotizada, 1999
 De Una Bonita, 2000
 Cancionero, 2000
 Cuatro Maestros, 2001
 Media Vida, 2002
 Plan de la Villa, 2002
 El Pasajero, 2003
 Pocas Palabras, 2003
 Pasajero, A Journey of Time and Memory, 2004
 El Chivo Traditional Mariachi Volume III, 2004
 El Toro Viejo Traditional Mariachi Volume IV, 2006
 Los Senn-sont-less, 2007
 Songs of Wood and Steel, 2008 (with David Hidalgo)
 American Horizon, 2009 (with Taj Mahal and David Hidalgo)
 San Patricio, 2010 (contributing three songs with The Chieftains and Ry Cooder)
 Estado de Verguenza, 2010 (single)
 Raza de Oro, 2010
 Flor de Canela, 10 Anos de Dueto compilation, 2011
 Regeneration, 2012
 Los Cenzontles with David Hidalgo - Puro Jam, 2013
 American Roulette EP, 2014 (with David Hidalgo)
 Shades of Brown, Zydeco Mexican Connection 2015 (with David Hidalgo & Andre Thierry)
 Alma Campirana, 2015
 Covers, 2016
 Carta Jugada, with Los Texmaniacs and Flaco Jimenez, 2017
 Covers 2, 2018
 Con Mucho Sentimiento, Los Cenzontles Juvenil, 2018
 A La Mar, with Shira Kammen, 2018
 Alma P'urhépecha, with Atilano Lopez Patricio, 2018

DVD and video
 Pasajero, A Journey of Time and Memory, 2004
 Fandango, Searching for the White Monkey, 2006
 Vivir (To Live), 2008
 Los Cenzontles on YouTube
 Tata's Gift
 Jackson Browne - The Dreamer (Featuring Los Cenzontles)0
 Conexiones: A Cuban Mexican Connection
 Musical Conversations - Los Cenzontles at Preservation Hall

References

External links
 Los Cenzontles homepage
 Los Cenzontles on YouTube
 Los Cenzontles Mexican Arts Center homepage
  El Corrido de Cecilia Rios, A Film by Kristy Guevara Flannagan
  The Pedagogy of Intangible Heritage: Los Cenzontles and Mexican Folk Music by Maribel Alvarez
  New York Times editorial by Lawrence Downes
  SF Chronicle by Joel Selvin
  New York Times CD review by Jon Pareles
  NPR Morning Edition A Little Factory of Culture
  American Routes Radio
  Herald de Paris
 Santa Cruz Sentinel

Musical groups established in 1994
Latin music groups
American world music groups
1994 establishments in California
Arhoolie Records artists

Los Cenzontles


Love for Lydia is a semi-autobiographical novel written by British author H. E. Bates, first published in 1952.

Plot
Lydia Aspen, a seemingly shy girl from a wealthy but isolated background, is encouraged by her aunts, her new carers, to discover the delights of growing up. They entrust her education to Mr Richardson, the young apprentice for Evensford's local newspaper, who is sent to their house to "get a story" about the recent death of Lydia's father.

Richardson's access to the Aspens is unusual, as they are rarely seen by anyone from the town and hide behind their stone walls and perimeter of trees; introducing Lydia to the town's inhabitants gives Richardson a great sense of pride. Visiting the Aspen estate also allows Richardson the chance to escape from the great engulfing vacuum of Evensford, with its endless stretch of factory roofs and back alleys.

As Lydia and Richardson spend more time together, he realises that his initial concept of Lydia was wrong, that she is far from being shy, and is often impetuous and demanding and enjoys captivating the young men who become her companions. Richardson soon discovers that his promise to love her, no matter what she does to him, is going to push him beyond the pain and feelings he thinks he is capable of experiencing.

Reception
A 1952 book review by Kirkus Reviews called the book "a certain latter day-disenchantment for a return to a lost youth, and a first love for Lydia, whose capricious charms were to destroy as well as affect in a fickle, facile pursuit" and summarized: "A moment in time—and feeling, recaptured with a poignant detachment and regret, with however—none of the external drama of earlier novels."

TV adaptation
Love for Lydia was adapted into a 13-part serial by London Weekend Television, first broadcast in 1977. It featured several actors in performances which were early in their television careers, including Christopher Blake, Mel Martin, Christopher Hancock, Peter Davison, Jeremy Irons, Ralph Arliss and Sherrie Hewson. It also featured Rachel Kempson, Beatrix Lehmann and Michael Aldridge, as Lydia's eccentric relations, plus David Ryall and Sam Kydd.

Radio dramatisation
A two-part dramatisation with Tim Pigott-Smith as the narrator was first broadcast by BBC Radio 4 in 2004.

DVD release
Love for Lydia is available on DVD in the UK (issued by Acorn Media UK) and the US.

References

External links

Love for Lydia at HEBates.com

1952 British novels
British autobiographical novels
Novels by H. E. Bates
Little, Brown and Company books

Love for Lydia


John Bailey (14 April 1945 – 9 July 2019) was an Irish Fine Gael politician who was a member of Dún Laoghaire–Rathdown County Council. He spent 10 years as chairman of the Dublin County Board of the Gaelic Athletic Association.

Political career

Fake endorsement letter incident
On 23 May 2007, the eve of the General Election in the Republic of Ireland, Bailey circulated a letter purporting to be an official missive from the Fine Gael party, advising party supporters to vote No 1 for Bailey for vote management reasons. The letter was headed with a photo of the party leader, Enda Kenny. This action was subsequently criticised by his running mate, Eugene Regan, who called the letter 'entirely dishonest'. Fine Gael's local director of elections, Paddy Hayes, described the letter as a 'serious breach of party discipline and unity'.

Missing Golf club planning objection
In 2009, Bailey wrote to constituents in the vicinity of Dún Laoghaire Golf Club to inform them that he had submitted an objection to An Bord Pleanála concerning building development proposed for the Golf club grounds. The appeals body denied receiving an objection from Bailey. Bailey stated it must have gone missing in the post and that his bank was trying to trace the cheque for his submission fee. The Sunday Business Post and The Sunday Tribune both reported that Bailey and his daughter had received financial donations towards their election campaigns from the builders and the estate agents of the Golf Club development. Bailey assured the public that the donations had no bearing on his failure to object to the development.

Legal action over candidate selection
Less than two years after the criticism by Eugene Regan of John Bailey, Regan's 25-year-old daughter, Naja, sought to be selected to run as a Fine Gael candidate in the 2009 local elections. The initial selection convention in November 2008 was cancelled at short notice following a letter written by the Fine Gael's three sitting councillors (including John Bailey) to the FG executive council declaring their "unanimous view" that they should be the only candidates selected to run in the ward.

The selection convention was held in February 2009. Naja Regan was prevented from contesting the selection process by order of the national executive council of Fine Gael. She responded by seeking a High Court injunction against Fine Gael for failing to follow its own procedures.

The case was settled out of court when Regan agreed not to contest the election but to be the first substitute candidate for he council in the event of a Fine Gael member ceasing to be a councillor during the term of the council.

Undeclared donations from developers
The Irish Times reported in August, 2010, that Bailey had received donations from a local developer, Devondale Holdings Ltd, that he failed to declare to the Standards in Public Office Commission. Bailey said he would return the donation straight away. "I've always declared everything and I'm not ashamed of anything I've done. Everything I do is straight on the table. I work 6½ days a week for Dún Laoghaire. Nobody has been stronger against developers," he said. Subsequently, The Sunday Tribune reported that he had also received undeclared donations in breach of SIPO rules, from Cosgrave Developments Ltd, the developer of the Dun Laoghaire Golf Course scheme.

Fake newspaper endorsement
In 2013, Bailey issued a leaflet designed to look like a local newspaper, the Dun Laoghaire Gazette. The "newspaper" appeared to endorse Bailey, and painted him in a positive light. The Dublin Gazette group denied any involvement in the leaflet, and sought an apology from Bailey. He said that he had "no problem in apologising", but didn't "see what the big deal is". Fine Gael distanced themselves from the leaflet, saying that they would not "condone or support" such literature. This breach of copyright was facilitated by Niall Mescall, Managing Director of Reads Design & Print Sandyford & Dún Laoghaire. Mr Mescall instructed staff into editing an article about amgen and the National Rehabilitation Hospital indicating Gazette Group Newspapers had given permission for use in this way. It was reported that John Bailey had delivered approximately 300 of these leaflets to his constituents, however closer to 3000 were actually produced. For this Bailey paid Niall Mescall approximately €600.

Electoral history
He was elected to Dún Laoghaire–Rathdown County Council in 2004. On this occasion, his daughter, Maria Bailey, was also elected. They were re-elected in 2009. He was a candidate in the Irish general elections in 2002 and 2007 for the Dún Laoghaire constituency but failed to be elected to the Dáil. He failed to be elected to the Seanad in 2002 and 2007.

In April 2012, The Irish Times reported that he was the highest earning councillor on Dún Laoghaire-Rathdown council in 2011, earning more than €47,000.

Sports administration career

Mickey Whelan and John O'Leary
In goalkeeper John O'Leary's autobiography Back to the Hill, he recounts that Bailey claimed to have O'Leary's support in order to persuade delegates to retain manager Mickey Whelan. However, O'Leary says he opposed Whelan and believes that the delegates were misled. 'Bailey presented them with a selective version of events', he wrote.

Sacking of Dublin manager Tommy Carr
Bailey tabled a motion of no confidence in Dublin manager Tommy Carr in February 2001. His motion failed, yet his public statements during the following months strongly supported Carr's position as manager - even to the point of denying that the no confidence motion had ever taken place. On 1 October 2001 Carr was removed as manager during a club meeting where the vote was tied and required Bailey's casting vote as chairman. Carr then confirmed that Bailey had been trying to remove him for the previous 8 months while publicly supporting him.
The Dublin Senior Football Team stated they felt
"obliged to respond publicly in a bid to reverse the move, and highlight the lack of integrity involved in the due process...Honesty is demanded from anyone who wears the Dublin jersey. We expect it from our selectors and from our manager. Should we not, at least, expect honesty from our officials?"

Resignation of Niall Moyna
In 2002 Niall Moyna, head of Dublin City University's Sports Science and Health department, had been working for the Dublin County Board "to develop a best practice model for under-age football in Dublin which would eventually be used nationally". After a Dublin-Donegal match in August 2002, remarks made by Bailey were considered so offensive by Dr Moyna that he resigned his position. Bailey later said 'I was very animated at the time. I didn't set out to upset anybody, but I do fight the Dublin cause passionately.'

Dublin hurlers' revolt
In June 2005, Humphrey Kelleher was removed as manager of the Dublin hurling team, following their defeat by Laois. John Bailey was appointed interim manager. The players, however, refused to train under John Bailey and issued a joint public statement claiming that they felt intimidated after he had threatened them with being barred for life from playing for Dublin should they refuse to accept his management. Bailey had previously denied on radio that he had made this threat. Tommy Naughton was appointed shortly afterwards to be the new team manager, defusing the row.

Personal life
Bailey was born in a house on Hyde Road in Dalkey. He ran a pub called The Arches in Dalkey which he sold in 1999. Subsequently he worked as a horse trainer. He was a Managing Director of Brendan Tours Ltd and a Managing Director of Budget Rent-A-Car. He had five daughters and lived in Killiney. He opposed marriage equality and also opposed abortion.

He died at his home in Killiney, County Dublin from motor neuron disease on 9 July 2019. On 14 October 2019, Mary Fayne was co-opted to his council seat.

References

External links
Boundary changes and internal rivalries mean heads will roll The Irish Times 6 January 2009
Row in FG over phoney 'official' vote plea The Irish Independent 25 May 2007
General Election Results for Dun Laoghaire Rathdown 2007 from RTÉ
Moyna resigns over Bailey remarks Article in The Sunday Independent 18 August 2002
Local factors may hamper FG-Labour strategy The Irish Times 7 July 2005

1945 births
2019 deaths
Chairmen of county boards of the Gaelic Athletic Association
Deaths from motor neuron disease
Dublin County Board administrators
Fine Gael candidates in Dáil elections
Gaelic games players from County Dublin
Irish sportsperson-politicians
Members of Dún Laoghaire–Rathdown Council
Neurological disease deaths in the Republic of Ireland
People from Dún Laoghaire
Politicians from County Dublin
Fine Gael local councillors

John Bailey (Irish politician)


The Martyrdom of Saint Ursula (1610), is a painting by the Italian artist Caravaggio (1571–1610) and thought to be his last picture. It is in the Intesa Sanpaolo Collection, the Gallery of Palazzo Zevallos Stigliano, Naples.

According to one version of the legend of  Saint Ursula, she and her eleven thousand virgin companions were captured by the Huns. The eleven thousand virgins were slaughtered, but the king of the Huns was overcome by Ursula's modesty and beauty and begged her forgiveness if only she would marry him. Ursula replied that she would not, upon which the king transfixed her with an arrow.

History
Caravaggio painted Saint Ursula in 1610 in Naples for Marcantonio Doria, a 25-year-old nobleman from Genoa. Doria had become an ardent collector of Caravaggio's work, and he commissioned the painting to mark the entry of his stepdaughter into a religious order as Sister Ursula. The date of the painting can be located at shortly prior to 11 May 1610,  when Doria's procurator in Naples, Lanfranco Massa, wrote to his master that the painting was finished. There had been a slight accident, the agent wrote, when he had tried to hasten the drying by leaving it out in the sun the day before, softening the varnish. The agent told  Doria not to worry as he would take it back to Caravaggio to be fixed and, in fact, Doria should commission more works from the artist as "people are fighting over him and this is a good chance." However, this may be a reference to another artist Marcantonio had also commissioned work from. The original source document is unclear. The painting was received in Genoa on 18 June and Doria was delighted, placing it with his Raphaels and Leonardos and his vial of the authentic blood of John the Baptist.

In his will of 19 October 1651, Marcantonio left his art collection to his eldest son Nicolò, Prince of Angri and Duke of Eboli. The estate was transferred to Naples by Maria Doria Cattaneo in 1832. The painting is listed in the inventory of Giovan Carlo Doria's inheritance, taken in 1854–55, in the Palazzo Doria d'Angri allo Spirito Santo, Naples.

Caravaggio had arrived in Naples from Sicily in September or October 1609. Within days he was attacked outside a restaurant by four armed men, leading to rumours that he had been killed or facially disfigured. It is probable that he took a long time to convalesce, and it is difficult to link more than a handful of works, and most of them hesitantly, to this second stay in the city. The Saint Ursula, however, can be positively identified. It marks yet another change in style: in Sicily he had continued the compositional scheme introduced with The Beheading of Saint John the Baptist, a small group of figures dwarfed by massive architecture, but Ursula marks a return to a scene which brings the action directly into the space of the viewer, at the very moment when the Hun king lets fly his arrow, and Ursula looks down with an expression of mild surprise at the shaft sticking out of her chest. To the right and rear a few onlookers stare in shock, one of them, the upturned face behind Ursula, apparently Caravaggio himself. Everyone who had seen the painting had been stunned, Doria's agent reported. Doria himself might have been glad to see his favourite artist, unmarked despite all the rumours.

Saint Ursula was one of the last paintings ever made by Caravaggio. In July he set off by boat to receive a pardon from the Pope for his part in the death of a young man in a duel in 1606. But instead of the pardon, he died; exactly how is unclear, although a fever is most frequently quoted as the cause, at Porto Ercole, on the coast north of Rome. A discussion of his death is given under the article on John the Baptist.

See also
List of paintings by Caravaggio

References

Further reading

External links

1610 paintings
Paintings by Caravaggio
Paintings about death
Christian art about death
Palazzo Zevallos Stigliano
Religious paintings
Paintings of Saint Ursula

The Martyrdom of Saint Ursula (Caravaggio)


Pareni Maya Jalaima, or Pare Ni Maya Jalaima (Nepali alternative transliteration) or Undone by Love (English-language title), is a 2004 movie filmed 80% in Hong Kong with the remaining footage shot in Nepal. It was nominated for best story, best screenplay, and best cinematography at the 2005 National Film Festival, and it won the best screenplay award for writer-director Prithvi Rana Magar. It is the most expensive film ever made in the history of Nepalese Cinema with a production cost of about 18 million rupees. It was shot on 35-millimeter film—a rarity for Nepalese movies—by Hong Kong cinematographer Gavin Liew. Because of a long and exhausting legal battle between the investors, the film's release was delayed for three years. By the time it hit theaters, the charm of the highly anticipated movie had vanished. Although people who watched the movie liked and appreciated it, it was not successful at the box office because of poor marketing and excessive use of the English language, which Nepalese audiences are not accustomed to. The movie only made around 30% of its investment. It grossed around 12 lakhs in Nepal and 10 lakhs internationally against its budget of 1 crore 80 lakhs.

Cast
 Dilip Rayamajhi as Himal
 Uttam Pradhan as Suraj
 Drishya Mishra as Naina
 Jharana Bajracharya as Kiran
 Mitthila Sharma
 Sunil Thapa
 Prithvi Rana Magar
 Laxmi Giri
 Hritika Gurung

Plot
Man Bahadur (Prithvi Rana Magar) is an ex-Gurkha soldier living in Hong Kong with his family. He has a son named Himal (Dilip Raimajhi), a nephew Suraj (Uttam Pradhan)—whom he has looked after since childhood—and his wife (Mithila Sharma). Himal and Suraj are of the same age and are close. However, there is a great difference in their personalities. Himal's thinking is Westernized and has friends of poor character. Himal uses drugs occasionally and is dating a girl named Jenny from the Philippines. He spends most of his time in discos, rather than with his family or at work. On the other hand, Suraj has a good work ethic and, unlike Himal, likes Nepalese music, food., and culture. Man Bahadur and his wife are concerned about Himal's future: Man Bahadur fears their son has escaped their influence, while his wife has not lost hope yet. She thinks if Himal marries a Nepalese girl, everything will be all right.

One day in a disco, Himal gets drunk and, not knowing what he is doing, kisses a girl against her will. A fight breaks out between Himal and the girl's boyfriend, and Himal is badly beaten up. Man Bahadur's worst fears are becoming real now. However, his wife is still optimistic and insists on finding a Nepalese girl for him. Man Bahadur resists at first, but eventually gives up to his wife's pressure and agrees to write to his childhood friend Bal Bahadur (Sunil Thapa) for his daughter Kiran's (Jharana Bajracharya) hand in marriage for Himal. Man proposes that Bal send his daughter to Hong Kong as a tourist; during her stay in Hong Kong, if Himal and Kiran like each other, only then will their parents announce the marriage. Bal is delighted, thinking Himal is the perfect groom for his daughter and hoping she can escape hardship in Nepal. After consulting his wife, Bal sends Kiran to Hong Kong, telling her that it is their gift for her college vacation.

Kiran arrives in Hong Kong, and meets Himal and Suraj; during her stay with the family she gets to know them and finds herself gradually falling in love with Suraj. Himal, on the other hand, is happy with his girlfriend Jenny, drinking and using drugs. Due to absenteeism at work, he is fired from his job, refuses to get another one, and runs through his savings; this drives Jenny to leave him. Himal incurs a serious head injury in a fight with Jenny's new boyfriend and his friends. While in the hospital after surgery, he realizes the error of his ways and vows to turn over a new leaf. Out of gratitude to Man Bahadur and his family, Kiran visits Himal in the hospital and takes care of him. After spending times with Kiran, Himal finds her attractive and slowly starts liking her, but he doesn't know that she is already in love with Suraj.

Man Bahadur and his wife see that Himal and Kiran like each other; thinking Kiran is responsible for Himal's rehabilitation. they announce their engagement at a party, which stuns Suraj and Kiran. Kiran leaves the party; Suraj follows her and, after a long talk, convinces Kiran to marry Himal to keep the family together. What happens next? Better leave it here as what happens next is astonishing.

External links

Nepalese romantic drama films
2004 films
Films shot in Hong Kong
2000s Nepali-language films
Films set in Hong Kong
2000s romance films

Pareni Maya Jalaima


Amoebiasis, also known as amebiasis or entamoebiasis, is an  intestinal infection caused by  amoebas of the Entamoeba group. The infection is usually caused by Entamoeba histolytica. The infection is normally got when someone drinks water with the parasite in it.

In some cases, the parasite lives in a person's large intestine and does not cause any symptoms. Symptoms vary from serious to none at all. There may be abdominal pain, mild diarrhoea, bloody diarrhoea or severe colitis with tissue death and perforation. This last complication may cause peritonitis. People affected may develop anaemia due to loss of blood.

Amoebiasis is usually transmitted by water contaminated with faeces. It can also be got indirectly by contact with dirty hands or objects.

Infection is spread by ingesting the cyst form of the parasite. This tough and semi-dormant structure is found in faeces. Since amoebiasis is transmitted by contaminated food and water, it is often endemic in parts of the world with poor sanitation (such as México, Central America, western South America, South Asia, and western and southern Africa).

Amoebic dysentery is often confused with "traveller's diarrhoea" because of its prevalence in developing nations. In fact, most traveller's diarrhoea is bacterial or viral in origin.

E. histolytica infections occur in both the intestine and (in people with symptoms) in tissue of the intestine and/or liver. So, two different classes of drugs are needed to treat the infection, one for each location. Such anti-amoebic drugs are known as amoebicides.

References

Diseases caused by protozoa
Diseases and disorders of the digestive system

Amoebiasis


Dance Fever is an American musical variety television series that aired weekly in syndication from January 1979 to September 1987. The series was technically created by Merv Griffin, but his agent Murray Schwartz actually conceived the idea of a pilot which piggybacked on a special Merv Griffin Show salute to the movie Thank God It's Friday, which would feature top disco dancers from eight cities competing for a title. Casablanca Records had already paid for the set, so a pilot could be produced at a significant reduction. Merv's vision was to have frequent Griffin guest Deney Terrio as the host, and to have celebrities dancing with professional disco dancers. (In a sense, it was very similar to Dancing with the Stars.)  But pilot show producer Ernest Chambers had no success convincing the stars who were approached to consent to the format. They were afraid they would look bad. On the Sunday prior to the show, director Dick Carson suggested that, since they already had the dancers for the Thank God It's Friday salute, they should select the top four couples from that show and have them compete on the pilot with celebrities as judges. He was quoted as saying "Nobody's ever going to see this thing anyway." Within a couple days, Sherman Hemsley, Barbi Benton, and Herve Villechaize were secured as the judges.  After the Thursday night Griffin/Thank God It's Friday special was taped, show staffers Larry Strawther and Paul Gilbert were dispatched to lure the top four finishers to participate in the next night's pilot production, but to keep it a secret. That didn't happen, but despite some acrimony among the dancers, not helped by a one-night stand between a couple of dancers that caused a rift, the pilot was produced and ended up being sold. Another long-time Griffin staffer, Paul Abeyta, produced the show's first two seasons which were written by Tony Garofalo. Later seasons were produced by Paul Gilbert.

Deney Terrio hosted the series until September 1985, when he was replaced by Adrian Zmed. Diane Day and Janet Jones appeared as Motion, Terrio's regular backup dancers. The show's announcer for the first two years was Freeman King; in September 1980 he was replaced by Charlie O'Donnell, who was the announcer on another Griffin show, Wheel of Fortune.

During Terrio's tenure as host, the show's theme was performed by a musical team called Triple "S" Connection.

Format
Each week, four dancing couples competed for a weekly cash prize of $1,000; Each couple performed their dance routine for 90–120 seconds and the celebrity judges scored them anywhere between 70 and 100 points, based on 4 categories: originality, showmanship, style, and technique. The couple with the highest average total score were the winners and advanced into the next round of competition. In the event of a tie, one set of celebrity scores was dropped in an effort to decide a winner; every fifth week was a semi-final show where those winning couples from the last four weeks competed for $5,000.

At the end of a 25-week competition, the five semi-final winners all came back to face off in the show's annual Grand Prix Finals for cash and prizes worth over $25,000 which included two brand new cars (one for each member of the winning dance team). In September 1984, the grand prize package was raised to $50,000.

Each week except for the year-end Grand Prix Finals, the show also featured a segment in which some of the top disco, pop, or R&B artists of the day would perform their latest hit.

References

External links

1979 American television series debuts
1987 American television series endings
1970s American variety television series
1980s American variety television series
Dance television shows
English-language television shows
First-run syndicated television programs in the United States
Television series by Merv Griffin Enterprises
Television series by Merv Griffin Entertainment
Television series by 20th Century Fox Television
Television series created by Merv Griffin
Television series by Sony Pictures Television

Dance Fever