Kevin Richard Parker (born 20 January 1986) is an Australian singer, songwriter, multi-instrumentalist, musician, record producer, and DJ, best known for his musical project Tame Impala, for which he writes, performs, records, and produces the music. Parker has released four Tame Impala albums: Innerspeaker (2010), Lonerism (2012), Currents (2015), and The Slow Rush (2020). He has won 13 ARIA Music Awards, two APRA Awards, and a Brit Award, and has received four Grammy Award nominations.

In addition to his work for Tame Impala, Parker was the drummer of Pond from 2009 until 2011. He produced the band's studio albums Beard, Wives, Denim (2012), Hobo Rocket (2013), Man, It Feels Like Space Again (2015), The Weather (2017), and Tasmania (2019). As a producer, Parker has collaborated with artists such as Mark Ronson, Lady Gaga, Rihanna, Kanye West, Gorillaz, Travis Scott, Melody's Echo Chamber, and the Flaming Lips.

Early life and career beginnings
Parker was born in Sydney, but has spent most of his life in Perth, Western Australia. Parker's father, Jerry, was from Zimbabwe and his mother, Rosalind, is from South Africa. Parker's parents separated and divorced when he was three years old. From the age of 12 he lived in Cottesloe with his father, stepmother Rhonda and brother Stephen, while his older paternal half-brother, Stuart, resided in Brisbane, Queensland. He also has a younger maternal half-sister, Helen, from his mother's second marriage.

Parker grew up with a passion for music from a young age. His father "played a lot of music as a hobby" and was a "big part of [Kevin's] musical upbringing". His first experience playing an instrument was accompanying his father on guitar. He said: "I learned guitar by playing rhythm guitar to his Shadows leads. He wanted to play Shadows lead riffs, because he loves Hank B. Marvin, and he got me to play the chords in the background." Parker's father also played music by The Beatles, The Beach Boys and Supertramp in a cover band, which Parker believes was where he "got [his] love of melody", which has been a significant part of Parker's music. Parker also recalls "amusing [him]self by singing along to the vacuum cleaner when [his] mum was cleaning." Parker's father later purchased his first guitar.

At age 11, Parker took up the drums, just like his brother, and later was making "excessively melodic music from about the age of 12 to 15", which was "really weird and repetitive and almost genre-less", by recording his drumming and overdubbing guitar and other instruments in lo-fi experiments. Speaking about this Parker said: "I've always recorded music. When I was 12, I used to set up two tape machines and multi-track myself. First, I'd record a beat on the drums, then, I'd play that tape into another tape recorder while playing keyboard; then I'd take that tape and play bass guitar along with the drums and keyboard. I'd keep adding instruments. I did that for a long time until my dad bought me an 8-track, and then I continued recording music by myself, even if I was in other bands at the same time." This hobby turned into an obsession for Parker who was "just doing music all the time, I never did any homework, I'd just spend every night in the garage recording music." Parker got his first eight-track recorder at age 16.

At age 13, Parker met fellow Tame Impala member Dominic Simper in their music class at John XXIII College, Perth, whom he found a musical connection with. Parker and Simper started off playing covers of Rage Against the Machine, Unwritten Law, Sunk Loto and Korn songs, along with Dan Debuf, who is now a presenter on 2Day FM. In his late-teens, Parker discovered the many 1960s and 1970s psychedelic rock artists that would have a huge influence on his music, saying: "I got into bands like Cream and Jefferson Airplane in a big way, and loved the sound of their recordings. My friends were listening to bands like Brainticket and Demon Fuzz who opened my eyes to different ways of constructing songs. The Beatles way of singing vocal lines often crept into the recordings because they are so unique, whereas the elements we take from those other bands are usually common among a few other bands we listen to."

By the time he was 18, Parker was "playing in the pub scene" and at the time was writing "heavy 70's-style almost prog-rock songs, like Blue Cheer".

As a younger teenager, Parker had periods where he felt lost and alone, saying: "I didn't have the most solid family life. I didn't have a solid base to fall back on there, so I was tackling a lot of things on my own. And I was just lost. I remember thinking, 'I've got no-one'. I remember once, when I was 15 or something, I was brushing my teeth, and I just broke down crying. I just felt so alone." Parker also felt that Tame Impala's 2012 album Lonerism "validates" a lot of the feelings he had as a teenager. He said: "It's got this weird hopefulness to it. Maybe that's the charm of it. Maybe that's why it's done so well."

Parker later had a job as a legal clerk, delivering court documents in Perth. While working there, he wrote songs in his head amidst the boredom. He later quit the job.

Parker's father always warned him about getting into the music industry. Parker said: "My dad always warned me not to choose music as a career. He got quite worried and said 'if you do music as your job, as the thing that puts food on the table, then it will instantly ruin its magic, it won't be mysterious and fun any more, it would just be like work'." Parker believed what his father had told him, and went on to university for a while, studying engineering. He said: "I wanted to please my dad in a way. I had no idea what I wanted to do, because I didn't enjoy anything other than music." Parker said, "I hated it, and one day I decided to change to astronomy. I knew that I would be poor and I just wanted to do whatever was fun." During an astronomy lecture, Parker saw a slide that he would later paint for the artwork of the Tame Impala EP. However, Parker did not abandon his original dream. He said: "I was at uni, and a couple of months before we got signed, I had submitted to the reality that I wasn't actually going to be a famous musician and I should just get on with my career. So that was when I started to knuckle down and actually do stuff at uni. But at the same time, I could never passionately give my attention to anything other than music. Like, it was a disease. I would not be able to listen to a word in lectures because I'd just be thinking about my new song."

On his way to his last astronomy exam, Parker was contacted by Modular Recordings who wished to sign Tame Impala to their label. Upon hearing this, Parker turned his car around from the exam and drove home to make music.

While Parker was recording his first album, his father died after a year-long struggle with cancer. Jerry's death had a "massive" effect on Parker, who said, "It was a weird time, extremely confusing, and I didn't really know what to make of it."

Career
Parker is a part of the large and diverse Perth music scene, where he plays in various different bands in addition to his main project, Tame Impala. Commenting on this, Parker said "it's a really close-knit scene, quiet, separated from the rest of Australia" and "Tame Impala is just one sliver of the giant amount of noise-making that we do as a circle of friends. I don't feel bad doing the recording by myself because I don't expect that input in their bands...to us Tame Impala is just Kevin Parker's project and everyone has a project."

The Dee Dee Dums
In 2005, Parker formed a band called The Dee Dee Dums, which would later become the basis of Tame Impala. Originally a two piece project, with Parker and Luke Epstein, long time Tame Impala member, Dominic Simper, joined the band later on in 2007. The Dee Dee Dums achieved some local acclaim, getting second place at the 2005 AmpFest and winning third place later that year in the state final of The Next Big Thing. In October 2006 Epstein was replaced by drummer Sam Devenport, Epstein going on to play with Sugarpuss. They later went on to win the Western Australia state final of the National Campus Band Competition. Live video of the band in their two piece form, from two different gigs, can be viewed on YouTube.

In late 2007, Parker renamed the band to Tame Impala, and recruited Jay Watson on drums; Devenport went on to pursue an acting career.

Before recruiting Jay Watson on drums, Watson used to "go watch [The Dee Dee Dums] all the time and I was this little 17-year-old fan boy rocking up at their gigs... I knew it was an awesome band. They were my favourite band in Perth actually. I think I told Kevin once that they were in my top 20 bands ever."

Watson then joined the band two months before Modular Recordings approached them. "Those two months before (then) no one cared when we played. Dom and Kev had been playing together for years and we had a good two months of gigs to like seven people at our local pub before we got signed. And they were the best two months ever man!"

Former live bassist Nick Allbrook noted a change in Parker's music and his band, "There were a couple of months where there was a seismic shift in [Kevin's] thing from the Cream influenced, Dee Dee Dums era, and fairly quickly there was the blissed-out, pretty melody, psychedelic thing. And then there was a name change (to Tame Impala), and then a new drummer (Jay Watson) whose style was more elegant than the last drummer."

Tame Impala

Tame Impala is Parker's psychedelic rock project. He writes and records almost all of Tame Impala's music, and plays guitar and sings live.

After sending off approximately 20 songs, many of them later leaked to YouTube, that Parker had recorded as far back as 2003 to different record labels, Tame Impala was signed to Modular Recordings. After the release of their 2008 debut EP, Parker revealed his intentions for recording: "Most of the songs on the EP were never meant to be heard by the rest of Perth, let alone the rest of the world. They were just recorded for my own listening sake, and burning a CD of it and putting it in my car and giving it to my friends."

After much touring in 2008 and 2009, Tame Impala's debut album, Innerspeaker was released to widespread critical acclaim in 2010, winning a J Award and a Rolling Stone Award for Album of the Year, and 5 nominations at the ARIAs. Parker's ability to take many elements of 1960s psychedelic rock, and give it a distinctly modern twist, creating a new and original sound was praised. Parker also received a WAMI Award for Best Guitarist and an APRA Award for Breakthrough Songwriter of the Year.

In a display of Parker's work ethic, work on the next Tame Impala album Lonerism had already started before Innerspeaker was even released. Lonerism was released on 5 October 2012 to widespread critical acclaim, winning many Album of the Year awards from the likes of NME, Rolling Stone, and Triple J. Lonerism marks an extension of Parker's music, featuring synths and poppier melodies, and also a more lavish, lush and expansive sound. Commenting on the new-found sound, Parker said that "[Lonerism] will be the kind of music that I felt as though I wanted to make during Innerspeaker, but I felt that it was too much of a jump. Back when I was doing Innerspeaker, I felt like I should make an album with only guitars, and use no synths, because I felt like it was a compromise to what we do. But I now know that it's not." At the ARIA Music Awards of 2015 he won two trophies, Engineer of the Year and Producer of the Year, for his work on Tame Impala's Currents (July 2015); the group won three further categories at the ceremony: Album of the Year, Best Group and Best Rock Album. On 30 March 2019, the band performed live on Saturday Night Live. On 13 April 2019 Tame Impala, performed as a headlining act of the Coachella Valley Music and Arts Festival. On 28 June 2019, the group performed as the Other Stage headliner at the Glastonbury Festival. The fourth album under the Tame Impala project, The Slow Rush, was released on 14 February 2020.

Pond

Parker joined Pond live on drums in late 2009 after being recruited by fellow Tame Impala members Jay Watson and Nick Allbrook. Parker later joined Pond in the studio on drums for the album Beard, Wives, Denim, and also produced it, putting his distinctive production sound on the album. Cameron Avery later filled in for Parker live on Pond's 2012 tour, while Parker was putting the finishing touches on the second Tame Impala album, Lonerism. On 28 June 2012, Parker joined Pond for a one-off performance with legendary Can frontman Damo Suzuki. Parker played drums and later played guitar for the one-off, totally improvised performance with one of his musical idols, Suzuki. Parker has also produced the Pond albums Hobo Rocket, Man It Feels Like Space Again, The Weather and Tasmania.

Mink Mussel Creek
In 2005, Parker, along with other musical companions, including Tame Impala member, Nick Allbrook and Shiny Joe Ryan, formed Mink Mussel Creek. Initially Parker was recruited as a guitarist with founding member Sam Devenport on the drums. However Sam would leave the band in 2007 and Parker moved onto the drums. Parker's drumming was a strong feature of the band's sound, which in turn propelled the Mink Mussel Creek brand of "heavy psych" forward. Mink Mussel Creek slowly built up a fanbase in Perth and was a popular live act.

In 2008, after receiving an AUS$10,000 government grant, Mink Mussel Creek recorded its first album. However, due to circumstances out of the band's control, primarily concerning a problematic producer and dysfunctional recording process, the album was never released;[subjective citation] the album was eventually leaked on the internet under the title Kingdom Tapes, and the band members went their separate ways with other musical projects.

In 2011, Mink Mussel Creek reformed; Parker produced and played drums on Mink Mussel Manticore, an album that was recorded live over the course of a week at local Fremantle venue, the Norfolk Basement. It was later released on USB wristband. As of 2015, the album has been re-released online as well as on vinyl.

Melody's Echo Chamber

In 2012, Parker teamed up with French singer and then girlfriend, Melody Prochet, for her dream pop psychedelic project, Melody's Echo Chamber. The two met after Prochet gave Parker a CD with songs from her other band, My Bee's Garden. This led to a support slot for My Bee's Garden, opening for Tame Impala. Their collaborative self-titled album was released on 2 October 2012, to critical acclaim. Allmusic's Tim Sendra called it "a rather stunning debut". Parker played drums and bass guitar, and also a guitar solo on the track 'I Follow You', featuring his distinctive spacey, phased guitar sound with Prochet's dreamy vocals, and also produced the album.

Other projects
Space Lime Peacock were a short-lived psychedelic funk band, formed in 2008, that featured Parker in various roles, such as on drums, backing vocals, guitar and bass. Space Lime Peacock also featured Jay Watson and Nick Allbrook of Tame Impala. They recorded an album's worth of demos, which never saw an official release, but were leaked on the internet. Parker's developing and distinct guitar tones can be heard on the demos.

Parker has collaborated with Australian electronic duo, Canyons, on various occasions throughout Tame Impala's existence. Canyons have remixed many Tame Impala songs, and in 2011 Parker repaid the favour by contributing vocals on the songs "Tonight" and "When I See You Again" on their album Keep Your Dreams. A bearded Parker also appeared in their music video for 'When I See You Again', for a shot where Parker has been cloned many times on an outdoor staircase.

Parker later spoke of how his musical relationship with Canyons came to be: "They used to run a label which Tame Impala used to sort of be on. We released a 12" vinyl with them once, on one side it had three Tame Impala songs and on the other it was the same three songs remixed by Canyons and that was really cool, it was a really casual relationship. We always talked about releasing things but we never got round to it because I'd just go round to his house and talk about music for a while. So we never actually got anything pressed until we had signed with Modular and then we went back and did stuff with Canyons."

In 2013, Parker collaborated with the French electronic duo Discodeine for their track '"Aydin", from their EP Aydin. Parker provided vocals for the track. Also in 2013, Parker revealed that a new musical project involving French drummer (and Tame Impala live drummer) Julien Barbagallo, called Relation Longue Distance (which translates in English to "long distance relationship"), had formed. After playing some small shows in France, they hope to play some more shows, with the possibility of an official release.

Parker and Cam Avery formed the psychedelic funk/space rock band Kevin Spacey (a play on words, using Parker's first name with the space rock music they played to form the actor's name) on 22 July 2013. The band featured Parker on drums, Avery on bass and fellow Perth musician Cam Parkin on keys. The band was formed as a fundraiser for another Perth musician and close friend Felicity Groom who had her car stolen. Their set featured five improvised jams with Groom joining them on vocals for one of the jams. A full video of the gig emerged on YouTube, which was filmed by an old musical acquaintance of Parker's. Kevin Spacey played their second gig under the name of The Golden Triangle Municipal Funk Band on 21 December 2013, where live video emerged of a song (later known to be "Daffodils") that featured Parker on drums, and guitar played by former front man of Perth band The Chemist, Ben Witt. The group changed their name once again to AAA Aardvark Getdown Services, where they were they played on the 22 February 2014 at a gig organised by local record label Spinning Top, alongside fellow Perth acts Pond, The Silents, Felicity Groom and Peter Bibby. There is also live video, from the same YouTube channel responsible for the previous gig videos, which features most of the group's set.

Parker also mixed French psychedelic rock band Moodoïd's self-titled EP and debut album "Le Monde Möö". Moodoïd is a musical project from Pablo Padovani, the live guitarist for Melody's Echo Chamber.

Parker collaborated with Mark Ronson for the tracks "Summer Breaking", "Daffodils" and "Leaving Los Feliz" on Ronson's album Uptown Special. "Daffodils" premiered on 11 November 2014, which was primarily written by Parker and performed with his funk/disco band AAA Aardvark Getdown Services in late 2013 and early 2014.

Parker produced Perth hip hop/nu jazz septet Koi Child's debut album, with the debut single "Slow One" released on 11 November 2014. Parker discovered them when "two local groups - electronic hip-hop trio Child's Play and nu-jazz quartet Kashikoi - decided to get together for an experimental jam night at X-wray Cafe in Fremantle", with Parker in attendance. This gig landed Koi Child a supporting slot for Tame Impala on Rottnest Island.

In 2016, Parker remixed Miguel's "Waves" on the singer's EP, "Rogue Waves". He also did a remix of friend and bandmate Julien Barbagallo's track, "Longue la nuit".

Parker also worked with Lady Gaga on her album Joanne. The first single, "Perfect Illusion", is a collaboration between Parker, Gaga, Mark Ronson and BloodPop.

Kevin Parker also released a single "Journey To the Real World" for the Barbie Movie.

Tame Impala has 24.4 million monthly listeners on Spotify with their hit song "The Less I Know the Better", with over one billion streams.

Musical equipment and sound

Parker's sound is heavily reliant on various effects pedals to achieve his distinctive guitar tones. The following is a list of Parker's guitars and effects pedals.

Guitars
Parker tunes his guitars down two semitones to D standard to relieve the tension on the strings and to experiment with the different sounds the tuning offers.
 Fender Roadhouse Stratocaster – arctic white with brown shell pickguard and a rosewood fretboard – Parker's primary guitar, used in the studio and live from 2008 to 2015. It appears that Parker has stopped using this live guitar as it has been damaged, although it was used to record Currents, as seen in promotional videos of the album. The guitar is equipped with a MIDI pickup.
 Rickenbacker 335 From 1967 in the colour of Jetglo with toaster pickups – Parker Bought this guitar in 2009 shortly after finishing recording of Innerspeaker. As of 2012, this is Parker's primary guitar.
 Hagström Impala – purchased by Parker in 2010 and used frequently in conjunction with his Stratocaster. Has been used live by Simper as of 2012.
 Epiphone Les Paul – tobacco sunburst – seen live with The Dee Dee Dums in 2006–2007 and during Innerspeaker recording, not seen since.
 Fender Stratocaster - sunburst (finish) - first seen in 2018, used live for "Sundown Syndrome", Innerspeaker era songs, "The Less I Know The Better" and "Love/Paranoia". Also used for the recording of Tame Impala's 4th album. The guitar has been seen during the live performance of "Patience" on Saturday Night Live March 30, 2019. It is unclear the exact model of his new Stratocaster. Parker mentioned that this guitar was destroyed by a wildfire in 2020 and he has been seen with a new American Professional II Stratocaster in 2021.

Effects pedals
These are the effects pedals that Parker has been seen with in his pedal board as of 2011:
 TC Electronic PolyTune
 Boss TU-3 Tuner Pedal
 Boss AB-2 2-Way Selector
 Electro-Harmonix Holy Grail Reverb Pedal
 Electro-Harmonix Holy Grail Nano Reverb Pedal
 Boss BD-2 Blues driver
 Dunlop DVP1 Volume Pedal
 Boss VE-20 Vocal Performer
 Boss FV-50L Volume Pedal
 Boss FS-5U Footswitch
 Dunlop Cry Baby Wah Pedal
 Dunlop MXR Carbon Copy Analog Delay Pedal
 Dunlop MXR Dyna Comp Compression Pedal
 DOD FX25 Envelope Filter Pedal
 Electro-Harmonix Small Stone Phaser Pedal
 Dunlop Fuzz Face Fuzz Pedal
 Diamond Vibrato Pedal
 Moog MoogerFooger MF-105 MuRF
 Seymour Duncan KTG-1 rack unit
 Boss GT-100 Multi-effects Board

Essentially, the key components to Parker's pedal setup is a Small Stone phaser into a Holy Grail reverb into a Carbon Copy delay into a Dyna Comp into a Blues Driver into a Fuzz Face and then into a Diamond Vibrato (vibrato added during Lonerism-era). The reverb into a fuzz and phasers set to a slow rate are the hallmarks of Parker's guitar sound, which has influenced many modern psychedelic rock bands to have a similar setup, which Parker says "it's the most flattering thing in the world to hear a band ripping you off. I know some people get pissed off by it, but if I ever hear an artist and I can tell they're using a phaser pedal the way I do, it's a massive compliment. It makes you feel like you're making an impression, having an impact on people, which is really humbling, flattering".

Amplifiers
 Vox AC30 - typically an AC30H2 since Innerspeaker onwards
Roland KC-150 Keyboard Amp - used alongside the AC30 for DI guitar-tones since Lonerism onwards, mostly likely used in conjunction with the Seymour Duncan KTG-1 rack unit.

Sound

Parker's music is heavily influenced by psychedelic rock, psychedelic pop, and neo-psychedelia, which is achieved through various production methods. Some favoured and often-used effects by Parker include phasing, delay, reverb and fuzz.

Parker's decision to make the music for Tame Impala in the studio by himself is a result of Parker liking "the kind of music that is the result of one person constructing an awesome symphony of sound. You can layer your own voice 700 times for half a second if you want, and I just love that kind of music." However, Parker has to translate his music to a live setting with the band, and the band doesn't play the songs until they have been recorded. "The only jamming that's done as a band is done a long time after the song is recorded for the sake of the live environment. It's good for us, because we can take a song that's been recorded and do what we want to it: slow it down, speed it up, make it 10 seconds or 10 minutes long. It gives us a lot of freedom."

Experimentation with different effects pedals has led to Parker creating new and unique sounds. "If you make an effort to not put the pedals in the order you're meant to, then you'll end up with something new sounding. We don't have any things that we got from another planet or anything, it's the same things everyone else has used." "People have a distortion pedal and then a reverb pedal. A reverb is meant to make it sound like it's in a cathedral or something. If you put it the other way around, it won't sound like a guitar being played in a church, it'll sound like a church being stuffed inside a shoebox and then exploded. You can do different things just by treating things differently."

Parker also has a strong sense of melody in his music, having composed "excessively melodic music from about the age of 12 to 15". As a result of Parker's love of melody, he also has revealed that he has a "fetish for extremely sugary pop music" from artists like Britney Spears and Kylie Minogue.

In addition to a love of melody, Parker also loves "fucked-up explosive cosmic music" in the vein of The Flaming Lips, whom Parker collaborated with on the track Children of the Moon in 2012, for the release The Flaming Lips and Heady Fwends.

Combining these two things, shoegaze act My Bloody Valentine have influenced Parker's music with their contrasting combination of loud guitars and ethereal melodies. Parker has "always been in love with the wall of sound as employed by My Bloody Valentine" and he tries to capture that "melancholy dreamy feel". Parker tries to incorporate this balance into his own music. "If I was singing, I wouldn't be able to match the tone of the instruments, which is really crunchy. The instruments are quite sonically brutal, but the voice is really soft, and I think that kind of resonates with people. It's kind of like My Bloody Valentine, where it's really brutal sounding, but kind of beautiful at the same time." Tame Impala live keyboardist Jay Waston has described Parker's music as containing "shoegazey guitar sound, but not played in a shoegazey manner".

Electronic music is another influence. Parker has used rock instrumentation in an electronic manner, saying "The way we do music, it's organic, but it's meant to be quite repetitive and hypnotic, almost in a kind of electronic nature. Using our playing as though it was a living sample." A heavy feature on Innerspeaker is a pitch-shifted guitar tone that many mistook for a synth. Parker mentioned this by saying "I had a few obsessions when recording Innerspeaker. One was to make the guitars sound like synths and drums sound like drum samples and pretty much anything except guitars and drums. I'm obsessed with confusing people as to the origin of a sound."

Parker was inspired to take up various creative endeavours at a young age, "I used to draw a lot when I was very young, and I used to get the most immense feeling of satisfaction from finishing a picture and looking back at it, even though I wasn't actually that good. When I started playing music I got the same feeling from making a song, even if it was just a few noises or drum patterns put together. It was all about the buzz from making something from nothing. Music always affected me greatly as a listener anyway, usually from listening to music in my dad's car or listening to him play guitar."

Parker's process for making music is "I'll have a sudden, spontaneous vision of a song, have all the parts mapped out in mind, and do my best to record it as quick as I can. I'll find my eight-track and do a quick demo of just the riff, or a verse or a chorus. The song will go for like 30 seconds. I'll have a whole bunch of them [demos] and then I'll just choose which ones to make into full songs." For Parker, the music comes before the lyrics, "I usually write the lyrics after the melody and its timing have been decided. But the words have to be meaningful. I try to synchronise certain words with the best parts of the melody, but it can be really difficult and does my head in. I like to keep the meaning pretty open and ambiguous so that it's not just me that gets something out of the lyrics. I usually write lyrics from a persona rather than tell a specific story." Parker also said "Usually I am sufficiently motivated to think of new songs every day, but I usually forget them. I seem to get an emotional kick out of sensing feelings of general desperation or hopelessness, whether it's me or someone near me or someone in a movie or anything. It's really difficult to sit down and force yourself to write a song, and that forced nature usually comes out in the song so I just have to wait until they come to me."

Lo-fi music is also a favourite of Parker's, and he incorporated it heavily in the early days of Tame Impala, heard prominently on the Tame Impala EP. With the release of Innerspeaker, Parker went for a different approach to a lo-fi sound, aiming more for a more cosmic and sonic wall of sound, helped by mixer Dave Fridmann. Parker explained "It sounds more cohesive, like an organism. It has a different emotion to it, it brings out a different feeling when it's absolutely blaring at you. I love that sound."

Personal life
Parker was previously in a relationship with Melody Prochet of Melody's Echo Chamber, having produced the band's 2012 self-titled debut album. On 9 February 2019, Parker married his girlfriend Sophie Lawrence at a vineyard in Western Australia. Their first child, a daughter named Peach, was born in 2021. He currently divides his time between Perth and Los Angeles, where he owns a home in the Hollywood Hills.

Parker is a supporter of the Fremantle Dockers in the Australian Football League (AFL) and was named the club's number-one ticket holder on 22 May 2021. To show his appreciation for the honour, Parker recorded an original "pump-up" song for the team that is now played at its matches.

Discography

as Tame Impala
 Innerspeaker (2010)
 Lonerism (2012)
 Currents (2015)
 The Slow Rush (2020)

Awards

APRA Awards
The APRA Awards are presented annually from 1982 by the Australasian Performing Right Association (APRA), "honouring composers and songwriters".

!
|-
! scope="row"|2011
| Breakthrough Songwriter of the Year
| Himself
|
|
|-
! scope="row" rowspan="2"| 2013
| rowspan="2"| Song of the Year
| "Feels Like We Only Go Backwards"
|
| rowspan="2"|
|-
| "Elephant" by Tame Impala (Kevin Parker)
|
|-
! scope="row"|2020
| Song of the Year
| "Borderline" by Tame Impala (Kevin Parker)
|
|
|-
! scope="row" rowspan="5"| 2021
| rowspan="3"| Song of the Year
| "Is It True?" by Tame Impala (Kevin Parker)
|
| rowspan="2"|
|-
| "It Might Be Time" by Tame Impala (Kevin Parker)
|
|-
| rowspan="2"| "Lost in Yesterday" by Tame Impala (Kevin Parker)
|
| rowspan="2"|
|-
| Most Performed Alternative Work
|
|-
| Himself
| Songwriter of the Year
|
|
|}

ARIA Music Awards
The ARIA Music Awards is an annual awards ceremony that recognises excellence, innovation, and achievement across all genres of Australian music. They commenced in 1987.

!
|-
| ARIA Music Awards of 2020
| Kevin Parker for Tame Impala - "Is It True"
| Best Video
|
|
|-

West Australian Music Industry Awards
The West Australian Music Industry Awards are annual awards celebrating achievements for Western Australian music. They commenced in 1985.

!
|-
| 2011
| Kevin Parker
| Best Guitarist
|
|
|}

References

1986 births
21st-century Australian singers
Alternative rock singers
APRA Award winners
ARIA Award winners
Australian indie rock musicians
Australian multi-instrumentalists
Australian rock drummers
Male drummers
Australian rock guitarists
Australian rock singers
Australian people of South African descent
Australian people of Zimbabwean descent
Lead guitarists
Living people
Musicians from Perth, Western Australia
Psychedelic rock musicians
Tame Impala members
People educated at John XXIII College, Perth
Pond (Australian band) members
21st-century drummers
Australian male guitarists
Australian male singer-songwriters
Australian singer-songwriters
https://open.spotify.com/artist/5INjqkS1o8h1imAzPqGZBb?autoplay=true

Kevin Parker (musician)


Mahavir Prasad Dwivedi (15 May 1864 – 21 December 1938) was an Indian Hindi writer and editor. Adhunikkaal, or the Modern period of the Hindi literature, is divided into four phases, and he represents the second phase, known as the Dwivedi Yug (1893–1918) after him, which was preceded by the Bharatendu Yug (1868–1893), followed by the Chhayavad Yug (1918–1937) and the Contemporary Period  (1937–present).

Biography
He was born in Kanyakubja Brahmin family on 5 May 1864 in Daulatpur village, now in Raebareli District of Uttar Pradesh. His father Ram Sahay Dwivedi was a soldier in East India Company's army, later worked in Bombay as temple priest for the leaders of the Vallabha sampradaya.

Dwivedi received his early education in Sanskrit at his home, and in Hindi and Urdu at the Daulatpur village school. At the age of thirteen, he was sent to the district school in Raibareli, where he studied English and Persian for one year, and then attended schools in Purva, Fatehpur, and Unao for four years.

Career
During his Indian Railways service in Jhansi in the 1880s, Dwivedi earned wide fame as a writer and litterateur. He published his translations and the critical works including Sahitya Sandarbh and  Vichar Vimarsh.

In 1903, Dwivedi joined the Hindi monthly, Saraswati and was able to edit the journal with a knowledge of both classical and contemporary literature gained from his writing experiences. During his tenure as the editor (1903–20), Saraswati became most popular Hindi magazine.

He was considered as the mentor of Maithili Sharan Gupt, another noted Hindi poet and writer.

Works
 Kavya manjusha
 Kavitakalap
 Sugandh
 Mere Jeevan ki Yatra
 Sahitya Sandarbh

References

External links

 Brief profile at indiavisitinformation.com, Retrieved 2011-07-02.

Hindi-language writers
People from Raebareli district
People from Jhansi
1864 births
1938 deaths
Poets from Uttar Pradesh
19th-century Indian poets
20th-century Indian poets
Writers from British India

Mahavir Prasad Dwivedi


The Roman tomb called mausoleum of Fabara or mausoleum of Lucius Aemilius Lupus is located on the left bank of Matarranya River near the village of Fabara, in the province of Zaragoza.

Quite possibly the monument of such type best-preserved of the entire peninsula. The tomb is located in an area with a high density of rural Roman remains, with several archaeological sites and Roman villas. Nearby have been located signs of other buildings of the same type.

It is a construction of the 2nd century AD.

The mausoleum had gone virtually unnoticed by scholars. It was not until 1874 that were officially reported to the administration (in this case, the Royal Academy of History) of its existence. The building was owned by various individuals, until in 1942 it was acquired by the State. Earlier, in 1931 had been declared historical artistic monument. Its state of conservation is enviable.

Description

It is a rectangular building, of  coated with sandstone, without mortar; the blocks are locked with metal parts. Is perfectly oriented along the cardinal points, with the main facade and entrance from east. Is a temple of classical type, the type known as prostyle, i.e. the facade consists of four columns: two between the side walls, and two attached to them. The blank walls are decorated with pilasters, two in the rear corners and two more in the middle of the side walls.

On the walls and columns of the facade, of Tuscan order, stood the entablature decorated outside. This entablature had in its front an inscription, now lost, made of bronze letters nailed. Of these disappeared letters have remained only the signs of its existence in the stone. On the sides and rear, are reliefs with floral motifs and garlands.

Above the entablature are placed two pediments, one at the front, badly damaged, but still retains the inscription, thanks to that has been identified in the building. The second pediment, in the back, is smooth and better preserved.

Between the columns and the front gate, is the pronao. The interior cell is covered with a barrel vault. A stairs give access to the fourth burial beneath the building and also covered with a barrel vault.

In the pediment is the inscription that can be easily read yet:
L' A  MILI  LVPI
It is assumed that between the A and M would be required to place an E. Above there traces of have contained nailed metal letters, easily a D and a M. As full registration might have been:
D. M.L'AEMILI   LVPI
That could translate: «To the manes gods of Lucius Aemilius Lupus», a character until now unknown.

External links

 Mausoleu romà de Fabara (in Catalan)

Fabara
Buildings and structures in the Province of Zaragoza
History of Aragon
Buildings and structures completed in the 2nd century
2nd-century establishments in the Roman Empire
Bien de Interés Cultural landmarks in the Province of Zaragoza
Tourist attractions in Aragon

Roman mausoleum of Fabara


The Mecklenburg T 4 was a German steam locomotive built for the Grand Duchy of Mecklenburg Friedrich-Franz Railway as a goods train  with a leading axle and three coupled axles. In 1925 it was incorporated in the renumbering plan of the Deutsche Reichsbahn as DRG Class 91.19.

At the beginning of the 20th century much more powerful locomotives were needed for branch line operations, but the tried and trusted Prussian engines could not be used because the T 9 family was already clearly too heavy. As a result, Henschel-Werke was given an order for what became the Mecklenburg T 4, one of the few locomotive classes to be developed by Mecklenburg itself. Contrary to what is often stated in the literature, these engines had a Krauss-Helmholtz bogie (just like the Prussian T 9.3). The Reichsbahn took over all 50 vehicles. Because the Mecklenburg routes were reinforced, the first locomotives became superfluous as early as the 1930s. Of the 38 locomotives left after the Second World War, two were taken over by the  PKP in Poland, four came into the hands of the Deutsche Bundesbahn (DB), 15 had to be given up as reparations and two were retired as a result of serious damage, leaving just 13 with the Deutsche Reichsbahn (DR) in East Germany, of which two in the early 1950s ran in Saxony (for example between Niederschlema and Schneeberg, because damage by the uranium mines meant that only very light vehicles could be employed; eventually even that was no longer possible).  The DB retired its locomotives by 1950 due to their low numbers, but continued to use them for a long time as industrial locos in repair shops. In 1949, the DR took over four of the six locomotives built in 1919/1920 for private lines by Henschel and gave them the numbers 91 6401–6404. The last of these engines were withdrawn from service in 1970.

See also
Grand Duchy of Mecklenburg Friedrich-Franz Railway
List of Mecklenburg locomotives

References

2-6-0T locomotives
T04
Standard gauge locomotives of Germany
Railway locomotives introduced in 1907
Henschel locomotives
Orenstein & Koppel locomotives
1′C n2t locomotives
Freight locomotives

Mecklenburg T 4


The Alhambra Theatre, Glasgow opened on 19 December 1910 at the corner of Waterloo Street and Wellington Street, Glasgow under the direction of Sir Alfred Butt and was acknowledged as one of the best equipped theatres in Britain, planned to accommodate 2,800 people.

The theatre was designed by architect, Sir John James Burnet. It was built on the site of the popular Waterloo Rooms, which had previously been Wellington Street Church. The name derives from association with the Moorish palace in Granada, and was styled in "a cubic design with a colonnade of deep eaves, topped with twin oriental domes. Its exterior was red brick banded with black and panels of white-glazed tile towards the top. Inside were canopies with sparing Louis XVI decoration." .

It was always regarded as a modern theatre and one of the No 1 theatres, known also as A1 theatres, of which by the 1960s there were only 14 remaining in Britain.
Throughout most of its life the theatre was owned by Glasgow Alhambra Ltd. In the 1920s it formed an association with Moss Empires who bought 20% of the company shareholding.

The Alhambra opened with Yvonne Guilbert from France and specialised in variety, including artistes from America, Australia and Continental Europe. Pantomimes began, using the Wylie-Tate production company. Scottish performers included Harry Lauder, Will Fyffe, Alec Finlay and Harry Gordon; revues and musical plays were added, featuring Cicely Courtneidge, Jack Buchanan, Evelyn Laye, Jessie Matthews and Ivor Novello; and also opera, ballet and dance. In 1941 it was the debut theatre of the International Ballet newly formed by Mona Inglesby.

The Alhambra presented variety, ballet, opera, musicals, revues, plays and pantomime; significantly after a major extension in 1927 of the stage and increase in dressing rooms, all with showers, many of its musicals were the British premieres of musicals from America.

From 1941, the new Wilson Barrett Repertory Company, not the 19c company, made the Alhambra their largest base in Scotland. In its 14 years of staging plays over 12 weeks each summer, the company produced over 450 plays.

The theatre became a part of the Howard & Wyndham Ltd theatre company, in 1953, which purchased the theatre after selling its Theatre Royal, to Roy Thomson, founder of Scottish Television. The theatre had a revolving stage, and from 1961 the stage was doubled in size to become the Starlight Room for the summer season Five Past Eight shows.

Shows now included the fabulous Half Past Eight summer shows, later named Five-Past Eight produced by Dick Hurran and the Wish for Jamie pantomimes produced by Freddie Carpenter. These shows included : Rikki Fulton, Jimmy Logan, Stanley Baxter, Fay Lenore, Eve Boswell, Kenneth McKellar, David Hughes, Max Bygraves and Frankie Vaughan. The Bluebell Girls of Paris, based at Le Lido, made their debut in Britain, over two summers, in the Alhambra in 1962 and 1963.

The theatre had the distinction of staging Scotland's first Royal Variety Performance on 3 July 1958 attended by Queen Elizabeth and the Duke of Edinburgh, and the second in 1963. Likewise the Scottish première of My Fair Lady in May 1964. Glasgow Scouts performed their first Gang Show here in 1936; and Marlene Dietrich performed her Farewell at the Alhambra from 7–11 November 1966.

The theatre continued to be well attended but the company were selling off their theatres, and after the final show by Cilla Black on 24 May 1969, the theatre closed. It was demolished in 1971. The site is now occupied by an office block, Alhambra House.

References

External links
Arthur Lloyd website for history of the Alhambra Theatre Glasgow written by Graeme Smith

Theatre in Scotland
Theatres in Glasgow
1910 establishments in Scotland
Buildings and structures demolished in 1971

Alhambra Theatre Glasgow


Utilitarian genocide is one of five forms of genocide categorized and defined in 1975 by genocide scholar Vahakn Dadrian. Utilitarian genocide is distinctly different from ideologically motivated genocides like the Holocaust and the Cambodian genocide. This form of genocide has as its aim some form of material gain, such as the seizure of territory in order to gain control of economic resources for commercial exploitation. Two given examples of this form are the genocide of indigenous peoples in Brazil and the genocide of indigenous peoples in Paraguay.

This form of genocide was highly prominent during the European colonial expansions into the Americas, Asia, and Africa. The indigenous population collapsed from a combination of murder, enslavement and disease (mostly smallpox). Dadrian has also given as further examples of utilitarian genocide the murders of Moors and Jews during the Spanish Inquisition and the deaths of Cherokee Indians during the westward expansion of the United States via the process of Indian removal.

This type of genocide has continued into the twentieth century, with the ongoing genocide of indigenous tribes in the rain forests of South America primarily due to industrial progress and the development of resources within their territories; as these regions are exploited for economic gain the indigenous peoples are considered a "hindrance" and are forcibly relocated or killed.

See also
 Outline of Genocide studies

Notes

References

Citations

Sources

European colonization of the Americas
History of colonialism
Spanish Inquisition
Genocides
Historical controversies

Utilitarian genocide


Ajit Prataprao Bhoite (born 9 October 1976 in Baroda, Gujarat) is a former Indian cricketer who played for the Baroda cricket team. He was a right-handed batsman as well as a right-arm offbreak bowler.

Bhoite made his first-class debut for Baroda against Gujarat in 1996-97 and made his List A debut the following season. As well as Baroda he also represented the West Zone in the 2001/02 Duleep Trophy. His cricket career ended following the 2006/07 season.

References
cricinfo.com
Cricket-Online

Indian cricketers
1976 births
Living people
Baroda cricketers
West Zone cricketers

Ajit Bhoite


The white-footed mouse (Peromyscus leucopus) is a rodent native to North America from Ontario, Quebec, Labrador, and the Maritime Provinces (excluding the island of Newfoundland) to the southwestern United States and Mexico. In the Maritimes, its only location is a disjunct population in southern Nova Scotia. It is also known as the woodmouse, particularly in Texas.

Description
Adults are  in length, not counting the tail, which can add another . A young adult weighs . While their maximum lifespan is 96 months, the mean life expectancy for the species is 45.5 months for females and 47.5 for males. In northern climates, the average life expectancy is 12–24 months. The species is similar to Peromyscus maniculatus.

Behavior and diet
White-footed mice are omnivorous, and eat seeds and insects. They are particularly voracious predators of the pupal stage of the invasive spongy moth (formerly termed the gypsy moth). They are timid and generally avoid humans, but they occasionally take up residence in ground-floor walls of homes and apartments, where they build nests and store food. White-footed mice spend substantial time in trees and bushes, sometimes taking unoccupied old bird nests and building roofs on them.

Diseases
Like the North American deer mouse, this species may carry hantaviruses, which can cause severe illness in humans. It has also been found to be a competent reservoir for the Lyme disease–causing spirochete, Borrelia burgdorferi. The white-footed mouse is the favored host for the parasitic botfly Cuterebra fontinella.

Interactions with humans
The white-footed mouse is one of the most common mouse species used as laboratory mice after the house mouse, and their domesticated version is called Peromyscus leucopus linville. Such domesticated mice are also kept as pets and have been bred to have many different colors.

Adaptations to urbanization in New York City
Native populations of P. leucopus in New York city are isolated by dense human infrastructure and are largely confined to small urban forest islands such as Prospect Park and Central Park. The limited gene flow caused by human activities and coupled with a bottleneck event in urban populations has been powerful enough to lead to evolutionary divergence of urban white-footed mice.

Metabolism
New York City mice exhibit local adaptations to diet-mediated selective pressures of urban habitats. Being opportunistic feeders, urban P. leucopus populations subsist on food discarded by humans as a readily available source of nutriment, thereby consuming a lot more fat and carbohydrates than rural populations. Results of a landscape genomics study showed evidence of positive selection in mitochondrial genes of urban mice that are responsible for lipid and carbohydrate breakdown and digestion. Isolated P. leucopus populations inhabiting NYC parks show signs of molecular-level adaptation to urban food resources. The differential evolution of metabolic processes in urban P. leucopus populations is thought to contribute to their success and survival in NYC urban forests. Furthermore, the morphology of urban white-footed mice may be changing to adapt to alternative food sources. For instance, the teeth of white-footed mice in New York City are shorter than the teeth of rural mice. This change in physical traits could be explained by the availability of higher-quality food sources in urban forests, which negates the need for long, powerful teeth.

Detoxification
Urban populations of P. leucopus may be under unique selective pressures due to increased routine exposure to pollutants and toxins. A comparative transcriptome study found evidence of positive selection acting on the genes of urban mice that play major roles in detoxification and xenobiotic metabolism. The genes under positive selection pressure include CYPA1A and Hsp90, which are known to be involved in the metabolism of foreign substances and drugs. High concentrations of heavy metals such as lead and mercury in NYC park soils pose a unique selective pressure that likely led urban populations of P. leucopus to develop metabolic adaptations to the toxicity of urban forest environments. Furthermore, exposure of pollutants is known to induce hypermethylation of DNA. A study showed that in urban white-footed mice, a gene coding for a demethylase enzyme is under positive selection. This means that urban populations of white-food mice that live in highly polluted environments uniquely benefit from an active demethylase enzyme that removes methyl groups from DNA.

Reproduction
City-dwelling white-footed mouse populations are densely concentrated in isolated urban parks, which makes sperm competition a particularly powerful source of selection in urban environments. Genetic studies have identified signs of molecular-level evolution of reproductive processes in urban white-footed mouse populations. Genes associated with spermatogenesis, sperm locomotion, and sperm-egg interactions in urban mice show a divergent pattern of regulation compared to their rural counterparts. Therefore, the intensified sperm competition of dense mouse populations in urban forests has driven them to develop faster, more efficient sperm than that of rural mice.

Immunity
Urban environments are saturated with large numbers of novel and familiar pathogens that are introduced by transportation, traffic, and trade. The elevated occurrence of pathogens is a driver of directional selection in which genetic variants that more efficiently resist infection are favored. The outcome of this selection can be seen in genetic divergence between urban and rural P. leucopus populations at loci that regulate the innate immune response and inflammation. Furthermore, a study has found evidence of positive selection acting on genes that modulate pathogen recognition in urban mice. Immunoregulatory proteins that are found on T lymphocytes are overexpressed in urban mice when compared to rural populations. These findings suggest that the immune systems of NYC white-footed mice may be evolving to recognize and respond to pathogens more efficiently. The divergence between rural and urban white-footed mice is especially prominent due to impeded gene flow between these populations, which is caused by landscape barriers including roads, highways, and pedestrian sidewalks. Monitoring the strength of immune defenses in P. leucopus is of special importance because they are commonly infected with dangerous pathogens such as hantaviruses and Borrelia burgdorferi.

See also
 Monongahela virus

References

General references

 Ostfeld RS, Miller MC & Hazler KR (1996) Causes and consequences of tick (Ixodes scapularis) burdens on white-footed mice (Peromyscus leucopus). J Mammal ; 77:266–273.
 Ostfeld RS, Schauber EM, Canham CD, Keesing F & al. (2001) Effects of acorn production and mouse abundance on abundance and Borrelia burgdorferi infection prevalence of nymphal Ixodes scapularis ticks. Vector Borne Zoonot Dis ; 1:55–63
 Pederson AB, Grieves TJ (2008) 'he interaction of parasites and resource cause crashes in wild mouse population. J Anim Ecol ; 77:370–377
 Schwan, TG, Burgdorfer, W, Schrumpf, ME, Karstens, RH. (1988) The urinary bladder, a consistent source of Borrelia burgdorferi in experimentally infected white-footed mice (Peromyscus leucopus). J Clin Microbiol ; 26:893–895

External links
 White-footed Mouse, State University of New York, College of Environmental Science and Forestry
 White-footed Mouse, CanadianFauna.com
 White-footed Mouse, Canadian Biodiversity Website

Mammals described in 1818
Peromyscus
Taxa named by Constantine Samuel Rafinesque

White-footed mouse


A spoofed URL involves one website masquerading as another, often leveraging vulnerabilities in web browser technology to facilitate a malicious computer attack. These attacks are particularly effective against computers that lack up-to-date security patches. Alternatively, some spoofed URLs are crafted for satirical purposes.

In such an attack scenario, an unsuspecting computer user visits a website and observes a familiar URL, like http://www.wikipedia.org, in the address bar. However, unbeknownst to them, the information they input is being directed to a completely different location, usually monitored by an information thief. When a fraudulent website requests sensitive information, it's referred to as phishing.

These fraudulent websites often entice users through emails or hyperlinks.

In a different variation, a website might resemble the original but is, in reality, a parody. These instances are generally harmless and conspicuously distinct from the genuine sites, as they typically do not exploit web browser vulnerabilities.

Another avenue for these exploits involves redirects within a hosts file, rerouting traffic from legitimate sites to an alternate IP associated with the spoofed URL.

Cyber security
Spoofing is the act of deception or hoaxing. URLs are the address of a resource (as a document or website) on the Internet that consists of a communications protocol followed by the name or address of a computer on the network and that often includes additional locating information (as directory and file names). Simply, a spoofed URL is a web address that illuminates an immense amount of deception through its ability to appear as an original site, despite it not being one. In order to prevent falling victim to the prevalent scams stemmed from the spoofed URLs, major software companies have come forward and advised techniques to detect and prevent spoofed URLs.

Detection
In order to prevent criminals from accessing personal information, such as credit card information, bank account/routing numbers, and one's telephone number, home address, etc. it is important to learn and understand how these spoof URLs can be detected. It is very important to first verify the name of the site on a digital certification through the use of SSL/TLS. Always try to identify the actual URL for the web page you are on. Make sure you are able to see the full URL for any hyperlink, so that you can examine the address. Some characters that are commonly found in spoofed URLs are: %00, %01, @. Sometimes the URLs can differ by a single letter or number. In general, only input personal information on a Website if the name has been verified on the digital certificate. Also, if you have any concern about the confidentiality of a website leave the page immediately.

Prevention
Spoofed URLs, a universal defining identity for phishing scams, pose a serious threat to end-users and commercial institutions. Email continues to be the favorite vehicle to perpetrate such scams mainly due to its widespread use combined with the ability to easily spoof them. Several approaches, both generic and specialized, have been proposed to address this problem. However, phishing techniques, growing in ingenuity as well as sophistication, render these solutions weak. In order to prevent users from future victimization stemmed from a spoofed URL, Internet vigilantes have published numerous tips to help users identify a spoof. The most common are: using authentication based on key exchange between the machines on your network, using an access control list to deny private IP addresses on your downstream interface, implementing filters of both inbound and outbound traffic, configuring routers and switches if they support such configuration, to reject packets originating from outside the local network that claim to originate from within, and enable encryption sessions in the router so that trusted hosts that are outside your network can securely communicate with your local hosts. Ultimately, protection comes from the individual user. Keeping up with new spoofing techniques or scams will readily allow one to identify a scam and most importantly keep information secure and personal.

Susceptible targets
PayPal, an e-commerce business allows money transactions to be made through the Internet and is a common target for spoofed URLs. This forgery of a legitimate PayPal website allows hackers to gain personal and financial information and thus, steal money through fraud. Along with spoof or fake emails that appear with generic greetings, misspellings, and a false sense of urgency, spoofed URLs are an easy way for hackers to violate one's PayPal privacy. For example, www.paypalsecure.com, includes the name, but is a spoofed URL designed to deceive. Remember to always log into PayPal through a new window browser and never log in through email. In the case that you do receive a suspected spoofed URL, forward the entire email to firstname.lastname@example.com to help prevent the URL from tricking other PayPal users.

Common crimes
A major crime associated with spoofed URLs is identity theft. The thief will create a website very similar in appearance to that of a popular site, then when a user accesses the spoofed URL, they can inadvertently give the thief their credit card and personal details. Their spoofed URLs might use "too good to be true" prices to lure more and more looking for a good deal. Crimes like these happen quite often, and most frequently during the festive holidays and other heavy online shopping periods of the year.

Another crime associated with spoofed URLs is setting up a fake anti-malware software. An example of this would be Ransomware, fake anti-malware software that locks up important files for the computer to run, and forces the user to pay a ransom to get the files back. If the user refuses to pay after a certain period of time, the Ransomware will delete the files from the computer, essentially making the computer unusable. Ads for these programs usually appear on popular websites, such as dating sites or social media sites like Facebook and Twitter. They can also come in the form of attachments to emails.
Phishing scams are also another major way that users can get tricked into scams (see below).

Phishing
Phishing is a scam by which an e-mail user is duped into revealing personal or confidential information which the scammer can use illicitly. Phishing is the action of fraudsters sending an email to an individual, hoping to seek private information used for identity theft, by falsely asserting to be a reputable legal business. Phishing is performed through emails containing a spoofed URL, which links them to a website. Since it usually appears in the form on an email, it is crucial to not rely just on the address in the "from" field in order to prevent phishing. Computer users should also look out for spelling mistakes within the website's URLs, as this is another common sign to look out for in a phishing email. The website whose URLs are in the e-mails requests individuals to enter personal information so businesses can update it in their system. This information often includes passwords, credit card numbers, social security, and bank account numbers. In turn, the email recipients are giving these fake businesses their information the real businesses already have.

See also
 Computer insecurity
 Hosts File
 IDN homograph attack
 Internet fraud prevention
 Social engineering (computer security)
 Spoofing attack

References

URL
Web security exploits

Spoofed URL


Madeleine Françoise Basseporte, (28 April 1701 – 6 September 1780) was a French painter. From 1741 until her death, she served as the Royal Painter for the King's Garden and Cabinet (now the Jardin des Plantes), an unprecedented appointment for a woman artist at the time.

Life
Basseporte was born and died in Paris. Originally a portrait painter specializing in pastels, she apprenticed with the botanical illustrator Claude Aubriet, requiring her to shift from pastels to watercolors and to adopt a precise, near-photographic style. In 1741, she replaced  the ailing Aubriet as "Peintre du Roy, de son Cabinet et du Jardin", making her the first female artist to occupy the office. She served for nearly 40 years in this capacity, employing not only scientific illustration skills, but also the capacity to dissect plants and reveal their internal structures. The philosopher Jean-Jacques Rousseau paid tribute to her, writing "Nature gives plants their existence, but Mademoiselle Basseporte gives them their preservation."

She collaborated with the chemist Rouelle and the sculptor Larchevêque, and studied botany with Jussieu.  She later taught anatomical illustration to Marie Marguerite Bihéron, who later became a wax modeler. King Louis XV of France commissioned her to teach his daughters, the royal princesses, how to paint flowers. She is also believed to have been frequently consulted as an interior decorator by the royal mistress Madame de Pompadour.

Genres
Basseporte was best known as a botanical illustrator. In contact with many of the major botanists and naturalists of her time, she gained recognition for her illustrations of plants, shells, animals, birds, and sea creatures. Though adept in pastel portraiture, Basseporte chose to pursue botanical illustration because it provided a steady income with which to support her family. She worked more specifically in the genre of "peinture des plantes," taking a scientific approach to botanical illustration that focused more on plant structure than the flower. Her work stands at the intersection of art and science.

Influences
Basseporte's first teacher was the painter and engraver Paul-Ponce-Antoine Robert (also known as Robert de Sery). Under the patronage of the Cardinal de Rohan, Robert exposed Basseporte to the paintings of old masters in the Hôtel de Soubise and Palais-Royal in Paris. There, she found influence in the works of artists such as Rosalba Carriera.

After Robert's death, Basseporte was apprenticed to Claude Aubriet and eventually succeeded him as the official painter of the Jardin du roi, and adding to Les Vélins du Roi. During her time at the Jardin du roi, Basseporte interacted with botanists Carolus Linnaeus and Georges-Louis Leclerc, the latter with whom she corresponded regularly. Basseporte furthered her connections to the scientific community through Noel-Antoine Pluche, whose Spectacle de la nature she helped illustrate, and plant physiologist Henri-Louis Duhamel du Monceau. Monceau, working with the Académie des sciences, served to influence Basseporte's work during her tenure as an Académie dessinateur.

In addition to teaching royals and nobility, Basseporte is thought to have taught and heavily influenced artists such as Marie Therese Vien and Anne Vallayer-Coster.

Work
Basseporte was a teacher to Louis XV's daughters and was responsible for educating them on the art of flower painting. It is during this time that she is believed to have also worked as an interior decorator for Madame de Pompadour, the king's official mistress. Basseporte's connections to major botanists of the time, such as the previously mentioned Carolus Linnaeus and Georges-Louis Leclerc, reveal the artist's status within the genre of botanical illustration. Despite this, however, there is very little additional information available on her. The majority of said information derives from the Louis Poinsinet de Sivry and Jean Castilhon's the "Notice", which can be found inside the 1781 volume of Le Nécrologe des hommes célèbres de France, par une société de gens de lettres.

Many of Basseporte's botanical illustrations, including those featured in attached external links below, were done in watercolor over pencil on vellum and measure about 15 x 12 inches. The ones included in below links belong to a series of 117 prints that were once incorrectly attributed to Pierre Joseph Redouté, an artist who worked much later than Basseporte, but are now believed to have been by the latter. By viewing samples of Basseporte's work from this series, one can see the variety of content in which Basseporte both studied and depicted - from the leafy and green Polygonatum Multifloratum (Solomon's seal) and Nepeta Glechoma (ground ivy) to the bright red delicate petals of the Papaver (poppy). Each of these are shown isolated as single specimens and are restricted within the confines of illustrated frames against a plain background.

References

External links

Gallery

1701 births
1780 deaths
18th-century French women artists
18th-century French painters
Medical illustrators
Botanical illustrators
French women painters
French women illustrators
French illustrators
Painters from Paris

Françoise Basseporte


Springs Brooks Stadium/Vrooman Field is a baseball park in the southeastern United States, located on the campus of Coastal Carolina University in Conway, South Carolina. It is the home field of the Coastal Carolina Chanticleers of the Sun Belt Conference. The  baseball project includes 2,500 permanent seats, with the potential to accommodate between 5,000-6,000 for major events like the NCAA postseason tournament.

History
Formerly known as Charles Watson Stadium - Vrooman Field, the facility underwent renovations in 2004, which included a new scoreboard, a new fence, a new infield, and a new sound system.  The field also had new lights installed in 2005.  In 2008, new seats and new turf outside of the bases and home plate were installed.  The clubhouse was also renovated with new lockers, a new lounge and a new training facility.  Stadium capacity was expanded to nearly 2,200 during the 2008 season, with the addition of a right field deck dubbed "The Rooster's Nest." The stadium hosted an NCAA Regional for the first time in 2008. Following the 2012 season, the venue underwent major renovations and Coastal Carolina played their home games in 2013 and 2014 in nearby Myrtle Beach at TicketReturn.com Field.

The ballpark officially reopened in 2015 under its new name, Springs Brooks Stadium - Vrooman Field, on February 13. Its first game was between Maryland and Western Kentucky as part of the Caravelle Resort Tournament that CCU hosted. Later that day, Coastal Carolina defeated Old Dominion 4–0 in front of a crowd of 1,736, their first home game since renovations were completed. The attendance record of 3,086 was set on March 24, 2015, when CCU defeated South Carolina 9–8 in

The diamond has an unorthodox southeasterly alignment (home plate to center field); the recommended orientation is  The elevation of the field is approximately  above sea level.

See also
 List of NCAA Division I baseball venues

References

External links
Charles L. Watson Stadium/Vrooman Field
Springs Brooks Stadium/Vrooman Field

College baseball venues in the United States
Sports venues in Horry County, South Carolina
Baseball venues in South Carolina
Coastal Carolina Chanticleers baseball venues
Buildings and structures in Conway, South Carolina
2015 establishments in South Carolina
Sports venues completed in 2015

Springs Brooks Stadium


The Matatila Dam is a dam in district Lalitpur, Uttar Pradesh, India, that was built in 1958 on the Betwa River. Situated 50 km from Jhansi and 93 km away from Deogarh, this earthen dam is 35 m high. The dam has 23 Spillway gates. The catchment area is around 20 km2 with a maximum storage capacity of 1132 million cubic metres.

The dam is popular among tourists. Water sports facilities are also available. The best period to visit this place is from September to May. It connects Jhansi to Babina route.

The dam generates about 45 MW of power.

Nearest railway stations are at Matatila, Talbahat (10 km) and Lalitpur, Uttar Pradesh (40 km).

Construction
It is believed that, before the dam's construction, there was a seat of "Mata Sharda" on top of the hill. People worshipped the hill. Later, the hill was renamed as Matatila. "Mata" is for Goddess Sharda and "tila" means "top." When the dam was constructed here it was given the same name, Matatila Dam.

Matatila Dam was built in 1958. It is an earthen dam with a height of 35 meters.

Power Station of the dam is located at the left bank of the River Betwa. The river originates from Bhopal and passes through the outskirts of Jhansi, forming a border line of the states of Uttar Pradesh and Madhya Pradesh. Then, it flows mostly in Uttar Pradesh. Here, it meets the River Yamuna in Hamirpur district.

The River is completely rain fed. It features high water discharge during monsoon and very low water discharge during summer. The Matatila Power House features three machines of 10.2 MW each. It was set up in 1965.

The catchment area of Matatila Dam is 8000 square miles. Its reservoir capacity is at 4000 M.Cu.Ft.

Economy
Matatila Dam was constructed for dual purposes – irrigation and production of hydro electric power.

The dam is built with a capacity to produce 30.6 MW hydro electricity. For this purpose, both flanks of the dam feature robust structural support to ensure ample water discharge force during the time of releasing water and operating heavy duty turbine engines.

Each unit of the power plant has a capacity to produce 10.2 MW electricity. Three hydro machines are installed at the dam. The method of electricity production is direct release of water.

Best Time to Visit
The best time to visit Matatila Dam is from September to May. Summers are hot with temperatures reaching up to 50 degree Celsius at times. Winters are too cold. Sometimes, it rains in the summer; otherwise the weather here is dry throughout the year.

How to Reach
Nearby cities from Matatila Dam are Talbehat, Picchouri, Shivpuri, and Babina. The nearest railway station from this Dam is Talbehat, which is 10 km. It is a busy station. The other two nearby stations are Jakhlaun, which is 13 km, and Lalitpur, which is 23 km.

Matatila Dam is located about 93 km from Deogarh and 50 km from Jhansi City. Tourists coming from Delhi-Bombay route find Jhansi as the nearest railway station to this dam.

References

Betwa River
Hydroelectric power stations in Uttar Pradesh
Dams in Uttar Pradesh
Dams completed in 1958
Tourist attractions in Lalitpur district, India
1958 establishments in Uttar Pradesh
20th-century architecture in India

Matatila Dam


The J-I was a Solid-fuel rocket expendable launch vehicle developed by the National Space Development Agency of Japan and the Institute of Space and Astronautical Science. In an attempt to reduce development costs, it used the solid rocket booster from the H-II as the first stage, and the upper stages of the M-3SII. It flew only once on a suborbital flight taking place 11 February 1996 UTC from Tanegashima Space Center pad LA-N, in a partial configuration, to launch the demonstrator HYFLEX. The vehicle never flew in the final orbital capability configuration, which should have launched the OICETS satellite (OICETS was launched on a Russian R-36MUTTH Intercontinental ballistic missile-based Dnepr rocket instead).

On the HYFLEX mission a load of 1,054 kg was launched 1,300 km downrange. Apogee was 110km; the HYFLEX payload achieved speed of approximately 3.8 km/s.

See also
 Epsilon (rocket)
 Mu (rocket family)
 M-V
 Comparison of orbital launchers families

References

External links

Space launch vehicles of Japan

J-I


Tefik Selim Mborja (6 November 1891 – 1 July 1954) was an Albanian politician and lawyer. He served as the general secretary of the Albanian Fascist Party during the Second World War.

Biography
Tefik Mborja was born in 1888, in Mborje, Vilayet of Monastir, Ottoman Empire (today Albania).
Mborja was a member of parliament during the interbellum years. A staunch opponent of Ahmet Zogu, he supported Fan Noli. Mborja was served as Noli's representative in Rome from 1924. He was assigned to establish the diplomatic relations with Soviet Union, and for this reason he communicate with Soviet representative in Rome Konstantin Juranev. In Italy, he befriended the family of Count Galeazzo Ciano. He studied jurisprudence in Rome.

With the invasion of Albania by Italian forces in 1939, Mborja was appointed new Prefect of the province of Korçë by the Albanian Provisional Committee. When the Albanian Fascist Party was founded within a month of the invasion, Mborja was appointed general secretary of the party by Victor Emmanuel III. The main criteria behind his nomination were the links with the Ciano family that he had cultivated in the 1920s.

As the general secretary of the Albanian Fascist Party Mborja was included in the Albanian government as an ex-officio minister. Mborja was able to exercise a certain degree over political influence over government policies through his position in the government. However the Italian fascists retained veto rights over the actions of the Albanian party, and Mborja's work was supervised by Giovanni Giro (inspector-general of the party and a close associate of Benito Mussolini). In theory, according to his official biography, Mborja was supposed to be included in the leadership of the Italian Fascist Party, although was unclear in what function. On May 29, 1939 he was appointed as member of the Italian Chamber of Fasces and Corporations as well as the Central Council of Corporative Economy.

He was arrested in December 1944 by Albanian Communists and sentenced with 20 years by the Special Court of Spring 1945. He was poisoned while in prison and died in 1954.

References

Albanian Fascist Party politicians
Ambassadors of Albania to Italy
People from Korçë
People from Manastir vilayet
19th-century Albanian politicians
20th-century Albanian politicians
Albanian collaborators with Fascist Italy
Albanian politicians
Political party leaders of Albania
19th-century births
1954 deaths
Members of the Chamber of Fasces and Corporations
Prisoners who died in Albanian detention

Tefik Mborja


Milanuncios.com is a Spanish website used for online classified advertisements.

The service of Milanuncios consists in the insertion of ads, created by the users of the website, in the portal milanuncios.com. This way Milanuncios helps to connect advertisers with those interested in the ad.

So far, the company has only focused on the Spanish market.

In 2014, Milanuncios SL was acquired by Schibsted.

Description
Milanuncios is divided into 16 different sections:
 Motor
 Jobs
 Real Estate
 Pets
 Services
 Businesses
 Computers
 Phones
 House and Garden
 Sports
 Image and Sound
 Fashion
 Hobbies
 Books and Education
 Contacts.

The posting of ads on the website is completely free of charge both for individuals and for professionals/companies.  There is no limit as to how many ads can be posted as long as the Terms and conditions are being respected.

Milanuncios' most important section is Motor followed by Goods.  With 372k vehicle ads in August 2012, Milanuncios has the most complete offering in the Spanish market, well ahead of its competitors segundamano.es with 246k ads, and also the specialized motors vertical coches.net (120k ads).

Milanuncios helps to connect advertisers with those interested in the ad but does not mediate between the parties.  Therefore, users need to be cautious in their interactions and transactions.  As a general norm, the webpage recommends not to pay before receiving the product or service and users should meet in person to close the transaction.  The website offers a series of simple filters to facilitate local searches.

Competitors
The main competitors of Milanuncios are vibbo.com (former segundamano.es and Milanuncios has bought this website), tablondeanuncios.com , clasf.es anuncios.ebay.es, wallapop.com, poneranuncios.com, anuncialoquequieras.com, mundoanuncio.com and campusanuncios.com.

Milanuncios.com has a market share of around 50% followed by segundamano.es with a share close to 30% in June 2012.
Segundamano was bought by Schibsted in 2006, a Norwegian media group.

In Spain, the brand Milanuncios (also known as mil anuncios or 1000 anuncios) became very strong among internet users and has overtaken not only segundamano, but also eBay.

History
Since its creation in September 2005, Milanuncios' growth was fundamentally organic focusing on a good user experience.  In that regard it is a unique example in the online classifieds market of how a small startup without funds become the number one market place in its local market.

By 2012, Milanuncios.com had become the most popular Spanish website for online classifieds:
 11 million visitors per month compared to 8.2 M of segundamano.es
 23 million visits per month, 64% more than segundamano.es
 The users of milanuncios.com were spending a total of 364 million minutes on the site in the month of June 2012 — almost doubling the time spent on the site by users of segundamano.es

The portal belongs 100% to Milanuncios SL, a Spanish company that was financed without any external capital injection.

In early 2014, SCM Spain (Schibsted Classified Media Spain) announced the agreement to acquired Milanuncios. The acquisition was completed in the end of 2014.

References

External links

 Blog of Milanuncios

Internet properties established in 2005
Online advertising services and affiliate networks
Online marketplaces of Spain
Spanish-language websites

Milanuncios


Lucius Aemilius Paullus Macedonicus (c. 229 – 160 BC) was a two-time consul of the Roman Republic and general, who conquered Macedon in the Third Macedonian War.

Family
Paullus' father was Lucius Aemilius Paullus, the consul defeated and killed in the Battle of Cannae. He was, in his time, the head of his branch of the Aemilii Paulii, an old and aristocratic patrician family. Their influence was immense, particularly due to their fortune and alliance with the Cornelii Scipiones. He was father to Scipio Aemilianus.

Early career
After the fulfillment of Paullus' military service, and being elected military tribune, he was elected curule aedile in 193.  The next step of his cursus honorum was his election as praetor in 191. During his term of office, he went to the Hispania provinces, where he campaigned against the Lusitanians between 191 and 189. However, he failed to be elected consul for several years.  Paullus was elected consul for the first time in 182, with Gnaeus Baebius Tamphilus as junior partner. His next military command, with proconsular imperium, was in 181, against the Ingauni of Liguria.

Later career

The Third Macedonian War broke out in 171, when King Perseus of Macedon defeated a Roman army led by the consul Publius Licinius Crassus in the Battle of Callinicus. After two years of indecisive results for either side, Paullus was elected consul again in 168 (with Gaius Licinius Crassus as his colleague). As consul, he was appointed by the Senate to deal with the Macedonian war. Shortly afterward, on 22 June, he won the decisive Battle of Pydna. Perseus of Macedonia was made prisoner and the Third Macedonian War ended.

In 167, Paullus received the Senate's instruction to return to Rome after first pillaging Epirus, a kingdom suspected of sympathizing with the Macedonian cause.  After loading the treasures in the Macedonian royal palace onto Rome-bound ships, he marched his army to Epirus, where contrary to his inclination, he ordered the plunder of seventy towns, resulting in the enslavement of 150,000 people.

Paullus' return to Rome was glorious. With the immense plunder collected in Macedonia and Epirus, he celebrated a spectacular triumph, featuring no less than the captured king of Macedonia himself, and the king's sons, putting an end to the Antigonid dynasty. As a gesture of acknowledgement, the Senate awarded him the nickname (agnomen) Macedonicus. This was the peak of his career. In 164 he was elected censor. He fell ill, appeared to recover, but relapsed within three days and died during his term of office in 160.

Family life and descendants

Paullus's father Lucius Aemilius Paullus died in the Battle of Cannae in 216 BC, when Paullus was still a boy. The Aemilii Paulli were connected by marriage and political interests to the Scipios, but their role in his subsequent upbringing is not clear.

Paullus had been married first to Papiria Masonis (or Papiria Masonia), daughter of the consul Gaius Papirius Maso (consul in 231 BC), whom he divorced, according to Plutarch, for no particular reason. From this marriage, four children were born: two sons and two daughters. He divorced his wife while his younger son was still a baby, according to Roman historians; thus the divorce probably took place around 183–182 BC. Nevertheless, he was elected consul in 182.

Paullus then married a second time (this wife's name is unknown) and had two more sons, the elder born around 181 and the younger born around 176, and another daughter, Aemilia Tertia, who was a small girl when he was chosen consul for the second time.

Since four boys were too many for a father to support through the cursus honorum, Paullus decided to give the oldest two boys up for adoption, probably between 175 and 170.  The elder boy was adopted in the Fabia family and became Quintus Fabius Maximus Aemilianus, thus joining his fortunes to the house of Quintus Fabius Maximus Verrucosus, a national hero. The younger boy, possibly named Lucius, was adopted by his own cousin, Publius Cornelius Scipio, elder son and heir of Scipio Africanus, and became Publius Cornelius Scipio Aemilianus, thus becoming heir to the legacy of Rome's most influential political dynasty.

With the eldest sons safely adopted by two of the most powerful patrician houses, Paullus counted on the two younger ones to continue his own name. Both of them died young, one shortly after the other, at the same time that Paullus celebrated his triumph.  The elder of the two remaining sons was 14 and the younger 9, according to Polybius.  Their names are unknown to us. The successes of his political and military career were thus not accompanied by a happy family life.

At Paullus' death, his sons Quintus Fabius Maximus Aemilianus and Publius Cornelius Scipio Africanus Aemilianus received his property by his will, even though they were legally no longer Aemilii Paulli; Scipio gave his share to his older brother who was less wealthy.  Paullus's second wife (whose name is unknown to us) received her dowry back from the sale of some of her late husband's property (Livy and Polybius both claim that Paullus died relatively poor, and that he had kept little for himself from the successful Macedonian campaign).

With the death of Paullus, the Aemilii Paulli became extinct, even though he had two living sons. His elder surviving son Fabius Aemilianus eventually became consul and fathered at least one son, who in turn became consul as Fabius Allobrigicus in 121. This man, in turn, may have been the ancestor of later Fabii who tied their fortunes to Julius Caesar and Augustus.  The younger surviving son was more famous as Scipio Aemilianus but died leaving no known issue.

Paullus' first and former wife Papiria Masonia survived her ex-husband and lived to enjoy her former sister-in-law's property presented to her by her younger son (per Polybius). At her death, her property was divided between her sons, but Scipio gave it to his sisters.

Of Paullus' daughters, one of the eldest two married Quintus Aelius Tubero from a relatively poor plebeian family; she was the mother of Quintus Aelius Tubero.  The youngest, Aemilia Paulla Tertia, married the eldest son of Marcus Porcius Cato and was the mother of consuls Marcus Porcius Cato and Gaius Porcius Cato.

See also
Aemilia gens
Scipio-Paullus-Gracchus family tree
Monument of Aemilius Paullus

References

Sources
Livy, History of Rome XLIV, 17 – XLVI, 41.
Plutarch, Aemilius Paulus.
Polybius, Histories, XXXII, 8.

Further reading
 Lora Holland, "Plutarch's Aemilius Paullus and the Model of the Philosopher Statesman", L. de Blois et al. (eds.): The Statesman in Plutarch's Works. Proceedings of the Sixth International Conference of the International Plutarch Society, vol. II: The Statesman in Plutarch's Greek and Roman Lives, (Leiden, 2005), pp. 269–279.
 Paolo Moreno, "Statua in Bronzo di Emilio Paolo",  in A. Melucco Vaccaro-G. De Palma (a c. di), I Bronzi di Riace: Restauro Come Conoscenza, Roma, 2003.
 William Reiter, Aemilius Paullus: Conqueror of Greece, London 1988.
 Manuel Tröster, "Plutarch and Mos Maiorum in the Life of Aemilius Paullus", Ancient Society, 42 (2012), pp. 219–254.

External links

220s BC births
160 BC deaths
3rd-century BC Romans
2nd-century BC Roman augurs
2nd-century BC Roman consuls
2nd-century BC Roman praetors
Curule aediles
Paullus, Lucius, Macedonicus
Characters in Book VI of the Aeneid
Ancient Roman censors
Ancient Roman triumphators
Third Macedonian War
Year of birth uncertain

Lucius Aemilius Paullus Macedonicus


An accent is the way a person speaks.

Some people pronounce words differently. Often, in different countries that speak the same language  the same words are pronounced in a different way. Usually they can be understood, but to listeners notice they sound different. This may, or may not, be a difficulty.

Sometimes, people will talk about someone's accent.  They might say that the person has a German accent, or an Australian accent. An accent is the way you say the words. If you notice someone has (for example) a British accent, you can understand them (you know what they are saying), but also know they came from Britain.

The way a person says words usually comes from where the person was a child (where they "grew up", or their "home town") and the other people where the person lives. People learn how to say words and sentences and so they sound the same people near them when they speak.

People speaking the same language do have different accents. Even people in the same country may have different accents.  Sometimes people can tell what city someone lived in when they were a child by the way that person speaks. One example is a New York City accent. They might say "bwoll" () instead of ball (normally  in America), like used in sports and games; or they might say "hwot dwog" () instead of hot dog (normally  or  in that country). It sounds different, but people still know they mean "ball" or "hot dog" when they're talking.

When first trying to learn a new language, often a person will still have the old accent from their first language. That often allows other people to guess which country or place that person lived in before.

If someone can learn another language well enough, someone may not have the old accent anymore and may get a new accent in the new language. If someone studied German in Austria, for example, people in Germany may think that person was Austrian.

Sometimes it can be confusing for people learning a language if there are more than one common accent. Perhaps it is better to learn the language with one accent so you can be less confused, and when you're good enough at the language, you can start to understand the different accents which people from different areas may have.

Regional accents
Regional accents were much stronger in the past. In virtually all countries the regional accents were stronger in the past than they are today. Even a small country like England had many dialects, which sounded almost like different languages.
The difference has been radio and television. The daily effect of hearing standard speech on the media has had an effect in reducing alternative regional pronunciation. People speak more like they hear on television, and this effect began about 1920 with the advent of radio.

Another effect has been that smaller languages have gradually got edged out, perhaps because children tend to copy the language they hear on television. If the local language is very different from the language on television, children may learn both. Welsh is a good example. There is television in Welsh, and many Welsh people can speak both Welsh and English. According to the region, one or the other is the preferred language for general conversation.

References

Pronunciation

Accent


This is a list of town tramway systems in Austria. It includes all tram systems in Austria, past and present; cities with currently operating systems, and those systems themselves, are indicated in bold and blue background colored rows. The use of the diamond (♦) symbol indicates where there were (or are) two or more independent tram systems operating concurrently within a single metropolitan area.  Those tram systems that operated on other than standard gauge track (where known) are indicated in the 'Notes' column.

See also
 List of town tramway systems – parent article
 List of town tramway systems in Europe
 List of tram and light rail transit systems
 List of metro systems

References

Bibliography
Books and periodicals shown in List of town tramway systems

Tram
Austria

List of town tramway systems in Austria


Cecilia Ulrika Laura Lovisa Bååth-Holmberg (1 March 1857 – 30 July 1920) was a Swedish writer, translator, educator, and activist. Best known for her Swedish translation of the hymn "", she was awarded the Swedish royal medal Litteris et Artibus for her significant contributions. As an active proponent of public morality, Bååth-Holmberg established the Swedish National Association for Moral Culture in 1909. At her suggestion, Mother's Day was celebrated for the first time in Sweden in 1919.

Life
Cecilia Bååth-Holmberg was born on 1 March 1857 in Malmö, Sweden. Her father Laurentius Andreas Bååth was a vicar, and her mother Alfhilda Bååth came from a German family. Bååth-Holmberg's father died when she was very young. She grew up in a religious family, which helped develop in her a strong social conscience and firmly held conservative ideas.

In 1877, Bååth-Holmberg married Teodor Holmberg. They moved to Västmanland where her husband became the first principal of the newly formed Tärna Folk High School. Bååth-Holmberg was responsible for supervising the school's domestic science education, and she started teaching courses that were intended for female students. As lecturers and debaters, the couple became prominent figures in the field of popular education, and were actively engaged in discussions on educational, social and cultural issues. They ran the school for 36 years.

Bååth-Holmberg had a productive writing career. She authored several works of fiction including, the anthology of short stories entitled Pepita och andra berättelser (1899), and I häfdernas hall: Verklighetssagor för de unga (1900). Her works of nonfiction included travel books on Nordic places, and historical biographies of eminent figures such as those of Giuseppe Garibaldi and Charles XV. Commentators have described her writings to be reproduced by Bååth-Holmberg's stereotyping of national romanticism.

Bååth-Holmberg was widely recognised as a translator and she translated a large number of works from Norwegian, Danish, and German to Swedish. She is arguably best known for her Swedish translation of the hymn "".

Bååth-Holmberg actively championed against the negative impact of literature and press on public morality, publishing an article in Stockholms Dagblad in 1908. The following year, she co-founded the Swedish National Association for Moral Culture with her husband. Since its inception, the association was influential in the social scene, releasing publications, lectures, and a programme called Förädlande folknöjen. Bååth-Holmberg became an imperative figure of the organisation, serving as its chairperson, and later its secretary. During this time, she also wrote for its magazine På Vakt, contributing reviews that criticised the modernity of literature. At her suggestion, Mother's Day was celebrated for the first time in Sweden in 1919.

References

Further reading

1857 births
1920 deaths
19th-century Swedish educators
20th-century Swedish educators
Swedish women educators
19th-century Swedish writers
Swedish women writers
Swedish translators
19th-century Swedish women writers
Litteris et Artibus recipients

Cecilia Bååth-Holmberg


A chess tournament is a competition between chess players. It can take one of these forms:
A knock-out tournament. Not a popular choice in chess events.
An all-play-all event. A highly regarded format, but does not permit large entries.
A Swiss system event. Permits large entries, and is the most common format. The event has a pre-set number of rounds, and there are many more players than rounds. Progressively, players play opponents with roughly similar points to their own score. Players who win get stronger opponents, players who lose get weaker opponents. Pairing each round may be done by computer. This is an invention of the chess world and, like chess clocks, has been adopted by a number of other two-person sports.

Since the first international chess tournament in London, 1851, chess tournaments have become the standard form of chess competition among serious players. Currently, FIDE holds candidates tournaments every two years to determine challenger to the world champion.

In 1851, Adolf Anderssen became first unofficial champion. In 1858, Paul Morphy beat him and became second unofficial champion. In 1871, Johannez Zukertort defeated Adolf Anderssen to become third unofficial chess champion. There are three unofficial world chess champions: Adolf Anderssen, Paul Morphy and Johannes Zukertort, stemming from first strong international tournament in London in 1851, won by Anderssen.

References

Chess competitions

Chess tournament


Russell Lee Bauers (May 10, 1914 – January 21, 1995) was a right-handed pitcher/left-handed batter in Major League Baseball for the Pittsburgh Pirates, Chicago Cubs, and St. Louis Browns during eight different seasons between 1936 and 1950. Signed as a 20-year-old free agent by the Philadelphia Phillies in early 1935, Bauers was released after one year and then signed with the Pirates, the organization for whom he would make his major-league debut.

Bauers was called up from the minors to be the Pirates' starting pitcher on August 20, 1936, but could not make it out of the second inning. In 1 innings of work, he allowed 5 earned runs on 2 hits and 4 walks for an unflattering ERA of 33.75. He would not return to Pittsburgh until the next season, when he became a regular contributor. Bauers pitched in 35 games, including 19 starts, and posted a 13–6 record. He was able to complete 11 of his starts and even threw 2 shutouts, posting a stellar ERA of 2.88, good enough for fourth-best in the league. Bauers also placed in the league's top ten in strikeouts, winning percentage, and fewest hits allowed per nine innings. His season was good enough to earn him a solid spot in Pittsburgh's starting rotation.

Bauers enjoyed another solid season in 1938, though his won-lost record was only 13–14 at year's end. His ERA of 3.07 was still good for seventh-best in the league, and he was in the top ten in innings pitched, strikeouts, games started, and fewest hits allowed per nine innings (where he was second behind only Johnny "Double No-Hit" Vander Meer). After the 1938 season, however, Bauers would become only a part-time major leaguer with oddly lengthy gaps in his career. Over the 1939–1941 seasons combines, he appeared in a total of 38 games, starting only 15, with a won-lost record of 3–9.

From 1943 to 1945 Bauers served in the army during World War II. During this time, he still played baseball while being assigned to the European Theatre of Operations, playing in the ETO World Series.

Although Bauers vanished from the major leagues for four full seasons, he was released by the Pirates before the 1946 season. He was able to sign a contract with the Chicago Cubs in mid-season and made a comeback of sorts, going 2–1 with a save and a nifty 3.53 ERA, but he again vanished from the majors after the season was up. The Cubs released him after the 1948 season, and Bauers was unable to find another suitor until late in the 1949 campaign, when he signed with the St. Louis Browns. In May 1950, the Browns called him up to the major league club at the age of 36. On May 6 he pitched the final two innings of a game against the Philadelphia Athletics. It was his last appearance in the major leagues.

Bauers died on January 21, 1995, in Hines, Illinois.

References

External links

1914 births
1995 deaths
Baseball players from Wisconsin
Chicago Cubs players
Pittsburgh Pirates players
St. Louis Browns players
Major League Baseball pitchers
People from Oconto County, Wisconsin
United States Army personnel of World War II

Russ Bauers