The  American Institute for Foreign Study (AIFS) is an American travel and insurance company, managing a number of educational and travel programs centered on cultural exchange founded or acquired by British businessman and politician Sir Cyril Julian Hebden Taylor starting in 1964. Its operations include college study abroad, au pair placement, camp counsellors and staff, gifted education, and high school foreign exchange. AIFS maintains global offices in 15 countries and is headquartered in Stamford, CT.

AIFS is a privately owned U.S. company with wholly owned subsidiaries around the world and has annual revenues in excess of $180 million.

History
In 1964, Cyril Taylor and his partners left Procter & Gamble to form the American Institute For Foreign Study (AIFS). With the assistance of the late Senator Robert F. Kennedy in 1967, AIFS created the AIFS Foundation, which awards grants and scholarships to students for participation in study abroad programs and provides grants to high schools and other institutions for the purpose of international and educational travel. The AIFS Foundation is an independent, not-for-profit, 501(c)(3) tax exempt public charity and a U.S. Department of State designated sponsor of the J-1 Exchange Visitor Visa. In 1972, AIFS established Richmond, The American International University in London, a non-profit university with 1,000 full-time students from 100 countries.

Sir Cyril continued to serve as AIFS Chairman and Chancellor of Richmond, the American International University in London, until his death at age 82.

References

External links

Financial services companies established in 1964
1964 establishments in Connecticut
Companies based in Stamford, Connecticut
Cultural exchange

American Institute for Foreign Study


Sápmi (as its name is in Northern Sámi language), in English commonly known as Lapland (), is the most northern part of Fennoscandia. Fennoscandia is a peninsula in northern Europe.

The area of Sápmi is shared between four countries: Norway, Sweden, Finland and Russia. In Norway, as far south as Hedmark county, there are areas with many Sámi people.

The original people of Sápmi are the Sámi. They are now a minority there. The Sámi people are sometimes called Lapps, but this word has a negative association and is something most Sámi dislike being called.

The weather of Sápmi is cold. Summer is short. There are big hills with no trees on top of them. Reindeer live in Sápmi. You can see northern lights in the sky.

Related pages
 Finnish Lapland
 Swedish Lapland

References

Sápmi


Lady Godiva (; about 980 – 1067) was an Anglo-Saxon noblewoman. She was married to Earl Leofric and frequently donated to the church, and was highly religious. There are legends that say that she rode naked through the streets of Coventry in England.

Legend
Lady Godiva was the wife of Earl Leofric of Mercia. The Earl's taxes were very high, and people in Coventry were very upset about it. Lady Godiva begged her husband to lower the taxes many times, but he never agreed to. Finally, the Earl told Lady Godiva that if she rode through the streets completely naked, he would lower the taxes. Lady Godiva sent a message through town that told everyone to close their shutters and stay indoors. Then, she rode through town only clothed by her hair. The Earl gave in and lowered the taxes of the town. However, a tailor named Tom drilled a hole through his shutters, and caught a glimpse of Lady Godiva. He was struck blind, some think from heaven, and some think the town "took care of him" themselves. There were many celebrations to remember Lady Godiva's courage.

Related pages
 Exhibitionism
 Public nudity
 The Seven Lady Godivas, an early Dr. Seuss book
 Nudity and protest

References

Other websites

 Lady Godiva, the website of the women's sports team
 Cecilia Parsons, "Countess Godiva", 1999, revised 2004: biography and developing legend
 BBC News – the unearthing of a stained glass window identified with Lady Godiva
 James Grout: Lady Godiva, part of the Encyclopædia Romana
 How Lady Godiva Got a Tax Break

990 births
1067 deaths
Nudity
English nobility
Coventry

Lady Godiva


John Wyatt (April 1700 – 29 November 1766), an English inventor, was born near Lichfield and was related to Sarah Ford, Doctor Johnson's mother.  A carpenter by trade he began work in Birmingham on the development of a spinning machine.  In 1733 he was working in the mill at New Forge (Powells) Pool, Sutton Coldfield attempting to spin the first cotton thread ever spun by mechanical means.

His principal partner was Lewis Paul  and together they developed the concept of elongating cotton threads by running them through rollers and then stretching them through a  faster second set of rollers.  They produced the first ever roller spinning machine but it was very successful.  Paul took out thread in 1738 and in 1758, the year before he died.

In 1757 the Rev. John Dyer of Northampton recognised the importance of the Paul and Wyatt cotton spinning machine in his poem The Fleece (Dyer, p. 99):

A circular machine, of new design
In conic shape: it draws and spins a thread
Without the tedious toil of needless hands.
A wheel invisible, beneath the floor,
To ev'ry member of th' harmonius frame,
Gives necessary motion. One intent
O'erlooks the work; the carded wool, he says,
So smoothly lapped around those cylinders,
Which gently turning, yield it to yon cirue
Of upright spindles, which with rapid whirl
Spin out in long extenet an even twine.

Wyatt went to work for Matthew Boulton in his foundry in Birmingham.  There he invented and produced a weighing machine and experimented with donkey power
to run his spinning machine.  He was brought down by his debts and was made bankrupt.

Despite their failures, their ideas laid the foundations for others who followed, particularly Sir Richard Arkwright.

In their book Das Kapital, Karl Marx and Friedrich Engels wrote:
Als John Wyatt 1735 seine Spinnmaschine und mit ihr die industrielle Revolution des 18. Jahrhunderts ankündigte, erwähnte er mit keinem Wort, daß statt eines Menschen ein Esel die Maschine treibe, und dennoch fiel diese Rolle dem Esel zu. Eine Maschine, "um ohne Finger zu spinnen", lautete sein Programm.(89) (~ When John Wyatt - in 1735 - announced his spinning machine and with that the industrial revolution of the 18th century, he did not mention that a donkey moved the machine  [...].)

See also
 Cotton-spinning machinery#History

References

Sources

English inventors
Textile engineers
1700 births
1766 deaths
Industrial Revolution in England
People of the Industrial Revolution
People from Lichfield
Spinning
18th-century British engineers

John Wyatt (inventor)


Victory Monument (, ) is a military monument in Bangkok, Thailand. The monument was erected in June 1941 to commemorate the Thai victory in the Franco-Thai War. The monument is in Ratchathewi District, northeast of central Bangkok, at the center of a traffic circle in the intersection of Phahonyothin, Phaya Thai and Ratchawithi roads.

Since its erection in 1941, the monument has become a regular spot for protests along with the Democracy Monument, with recent protests taking place in 2022 where protesters attended rallies against Prayut Chan-o-cha.

Design

The monument is entirely Western in design. This is in contrast with another prominent monument of Bangkok, the Democracy Monument, which uses indigenous Thai forms and symbols. The central obelisk, although originally Egyptian, has been frequently used in Europe and the US for national and military memorials, its shape suggesting both a sword and masculine potency. Here it is executed in the shape of five bayonets clasped together. Five statues, representing the army, navy, air force, police, and civilian population, are depicted in Western "heroic" style, familiar in the 1940s in both fascist and communist states. They were created by the Italian sculptor Corrado Feroci, who worked under the Thai name Silpa Bhirasi. The sculptor did not like the combination of his work with the obelisk, and referred to the monument as "the victory of embarrassment". On the obelisk is inscribed the names of 656 civilians and soldiers who lost their lives during the Franco-Thai War.

History
In 1940–1941, Thailand fought a brief conflict against the Vichy French colonial authorities in French Indochina, this conflict was called the Franco-Thai War, which resulted in Thailand annexing some territories in western Cambodia and northern and southern Laos. These were among the territories which the Kingdom of Siam had ceded to France in 1893 and 1904, and nationalist Thais considered them to belong to Thailand.

The fighting between the Thais and the French in December 1940 and January 1941 was brief and inconclusive. 54 Thai troops were killed, with the French sustaining 421 killed or wounded. In the final territorial settlement was imposed on both parties by Japan, which did not want to see a prolonged war between two regional allies at a time when it was preparing to launch a war of conquest in Southeast Asia. Thailand's gains were less than it had hoped for, although more than the French wished to concede. Nevertheless, the Thai regime of Field Marshal Plaek Phibunsongkhram celebrated the outcome of the war as a victory, and the monument was commissioned, designed, and erected within a few months.

The monument became an embarrassment in a more political sense in 1945 when the Allies were victorious in the Pacific War they forced Thailand to evacuate the territories it had gained in 1941 and return them to France. Many Thais regard the monument as an inappropriate symbol of militarism and a relic of what they now see as a discredited regime. Nevertheless, the monument remains one of Bangkok's most familiar landmarks.

Protests
During the 2020-2021 Thai Protests, protestors regularly battled with police around Bangkok including at the Victory Monument. In October 2020, around 10,000 protestors gathered at the monument and blocked local traffic. On August 7, 2021, a road near the monument was sealed off to prevent protestors from reaching the monument by police by using containers, although protestors had to be forced back with teargas. On August 11, another protest this time organized by Thalufa (also known as Tha Lu Fa) ended with a battle between protestors trying to march on the Prime-minister's residence and police: with the police responding with rubber bullets and teargas, and protestors by setting a police truck on fire and also throwing fireworks which injured 8 officers.

After the Thai Constitutional Court ruled that Prime-minister Prayut Chan-o-cha had not reached his term limit of 8 years in October 2022, the activist group Thalufah organized a protest at the Victory Monument with around 500 protesters attending.

References

External links

Monuments and memorials in Thailand
Buildings and structures in Bangkok
Tourist attractions in Bangkok
Military history of Thailand during World War II
Victory monuments
Buildings and structures completed in 1941
Ratchathewi district
1941 establishments in Thailand
Road junctions in Bangkok
Unregistered ancient monuments in Bangkok

Victory Monument (Bangkok)


A national poet or national bard is a poet held by tradition and popular acclaim to represent the identity, beliefs and principles of a particular national culture. The national poet as culture hero is a long-standing symbol, to be distinguished from successive holders of a bureaucratically-appointed poet-laureate office. The idea and honoring of national poets emerged primarily during Romanticism, as a figure that helped consolidation of the nation states, as it provided validation of their ethno-linguistic groups.

Most national poets are historic figures, though a few contemporary writers working in relatively new or revived national literatures are also considered "national poets". Though not formally elected, national poets play a role in shaping a country's understanding of itself. Some nations may have more than one national poet; the idea of a single one is always a simplification. It has been argued that a national poet "must write poetry that closely identifies with the nation's cause – or is thought to do so", with an additional assumption being that "a national poet must write in a national language".

The following is a list of nations, with their associated national poets. It is not a list of sovereign states or countries, though many of the nations listed may also be such. The terms "nation" (as cultural concept), "country" (as geographical concept) and "state" (as political concept) are not synonyms.

Africa

Asia

Europe

North America

Oceania

South America

References

Further reading
 Marcel Cornis-Pope and John Neubauer, eds., Figures of National Poets (2004)
 Edward Whitley, American Bards: Walt Whitman and Other Unlikely Candidates for National Poet (2010)
 Michael Dobson, The Making of the National Poet (1992)
 Josep R. Llobera, Foundations of National Identity (2004)

National poets
Poet
Poets

National poet


Vasily Ivanovich Nemirovich-Danchenko (, born 23 December (4 January), 1845,  Tiflis (now Tbilisi, Georgia), Russian Empire – died 18 September 1936, Prague, Czechoslovakia) was a Russian writer, essayist, journalist, memoirist, and the brother of famous theater director Vladimir Nemirovich-Danchenko. Vasily Nemirovich-Danchenko, the most prolific Russian Empire writer of the late 19th-early 20th century, published more than 250 books; he was widely popular among the general reading public, but had little success with mainstream critics.

Biography

Early life
Vasily Nemirovich-Danchenko was born in Tiflis, the son of a Russian army officer based in the Caucasus. His memories of early childhood formed the basis of many of his later books, notably those dealing with the Caucasian Wars (The Forgotten Fortress novel, 1895, Gavryushka's Captivity, 1917). He began writing poetry while a student of the Moscow 1st Cadets Corps (1854–1863). In the 1860s he became a member of the Saint Petersburg literary circle based around Sophia Mei (poet Lev Mei's wife). It was in the Modny Magazin (Fashionable Magazine) which she edited that Nemirovich-Danchenko published his first poems in 1865.

In early 1870 Nemirovich-Danchenko was deported to Archangelsk (some biographers suggested it was due to embezzlement, but the exact reason remained unclear). From there he wrote a letter to Aleksey Nekrasov, complaining about the injustices he had suffered. The latter took interest in the young poet and published five of his verses in his Otechestvennye Zapiski (No. 11, 1871, signed D.) magazine, under the title Songs of the Fallen. The magazine's reputation was such that several "thick" journals took interest in Nemirovich-Danchenko and his documentary prose. His books of essays (Beyond the Polar Circle, 1876; From the Ocean: Essays, 1874; Solovki: Remembering a tour with Worshippers, 1874), full of original ethnographic material written in an engaging, lively manner, became highly popular and were later re-issued as compilations. "Who's the author of those articles on Solovetsky Monastery in Vestnik Evropy? They are excellent," enquired Ivan Turgenev to Mikhail Stasyulevich, the magazine's editor-in-chief.

Career
Nemirovich-Danchenko published the majority of his novels, short stories and books for children in the 1870s. A newer series of documentaries (The Bound-up Wanderers, 1877) followed, but this time the critical reception was more cool. Nikolay Mikhaylovsky, while giving the author credit for "having some talent" and "fluency of style" criticised him for being too flashy and "ostentatious in attention-grabbing." It was this aspect of Nemirovich-Danchenko's prose that made it very popular with readers and unpopular with reviewers. Having gained the reputation of a 'tourist writer' and 'ethnographical correspondent', he spent years touring Russia and abroad. The ethnographic material gathered was used extensively in his later fiction (novels Smugglers, 1892 and The Great Old Man, 1898, among others).

As the Russo-Turkish War (1877–1878) broke out, for the first time in Russian history newspaper correspondents were admitted to the fighting Army. Nemirovich-Danchenko travelled to the Balkans as the correspondent for Novoye Vremya (The New Times). His reports were published under the Shest (Six) moniker and later made part one of the One Year of War compilation. He took part in all of the key military operations and was rewarded with the St. George's Cross, usually reserved for heroic soldiers. His cycle of war novels: The Storm (Гроза, 1879), Plevna and Shipka (Плевна и Шипка,  1881), Forward! (Вперед!, 1883), as well as numerous novelettes and short stories were based on his experiences as a correspondent.

The common characteristic of Nemirovich-Danchenko's novels was their "overpopulation"; they boasted a huge number of characters, most of them vague and undeveloped. What he was exceptionally good at, though, was depicting the 'sister of mercy' type of women finding their calling in life in evangelical self-sacrifice. Some critics argued that most of Nemirovich-Danchenko's books of the time were hardly novels in the common sense of the word: huge in size (averaging 700 pages each), they were, in effect, just long sequences of scenes, connected not by a plot line, but by the main characters appearing here and there.

The book of war memoirs called Skobelev: How I Remembered Him (Скобелев. Личные воспоминания и впечатления, 1882) featuring Mikhail Skobelev, the legendary Russian Army general and Turkish War hero as its main character, and containing a wealth of priceless documentary and first-hand historic material written in a captivating manner, became widely popular – among the critics too, for a change. It was general Skobelev who served as a prototype for another well-known Nemirovich-Danchenko novel, The Family of Great Warriors (Семья богатырей).

In 1882 Nemirovich-Danchenko published his first book of poems. In the 1880s and 1890s several of his novels and short stories came out (in Russkaya Mysl, Sever, Nablyudatel and many other magazines) in which the "world of financial capital" served as the major theme. These books dealt with bank crises, financial machinations, stock exchange speculations, money laundering, the shadowy side of the massive railway boom investments, and the murky world of concessions and joint-stock companies (The Lights on Moors, 1903; Slastyonov's Millions, 1893; Diamonds Trump!, 1894, The Tsars of Stock Exchange, 1886). Highly dynamic and full of action, these novels were steeped with murder and suicide, had exuberant and preposterous finales, and were jeered by serious critics as totally farcical. This flaw was evident even more in Nemirovich-Danchenko's romantic fiction (Two Diaries, 1901, A Woman's Confession, 1889, On Different Roads, 1894), using the adultery theme as a common  leitmotif. Some of Nemirovich-Danchenko's novels, concerning "the small man's troubles" (Wolves' Feast) found favor with the leftist press; Russkaya Mysl supported the author "full of deep love for human beings" and carrying "the faith in God's eternal light filling human souls."

One of the most successful of Nemirovich-Danchenko's books was Major Bobkov and His Orphans, a novel about a man of the highest moral standards who devotes his life to the bringing up of orphan children, refusing himself everything for their happiness. Again, it even touched the soul strings of those critics who otherwise treated the author sceptically. Russkoye Bogatstvo wrote of "the novelette's original and beautiful story line," while Akim Volynsky, a critic known for his stern judgements, wrote sympathetically of this paen to "the self-effacing, self-sacrificing man labouring selfishly for the happiness of other people."

As the Russo-Japanese War broke out in early 1904, Nemirovich-Danchenko travelled to Manchuria as a Novoye Slovo war correspondent. He arrived at Port Arthur together with a shipment of ammunition just before the start of the Siege of Port Arthur. Staying in the fortress, in the first year of his mission there he published 350 reports which had "an astounding success". Nemirovich-Danchenko served again as a correspondent in World War I. His popularity with readers never waned; not long before his emigration in 1921 a Vestnik Literatury reviewer described him as "one of our best stylists" and a "master of poetry in prose" whose "books are invariably among the most in demand in libraries ".

Nemirovich-Danchenko was one of the most prolific writers in the history of Russian literature, having published more than 250 books in his lifetime. Dmitry Grigorovich wrote of him: "...What a wonderful novelist Vasily Ivanovich would have made, had he, instead of writing forty volumes, written, say, six. He is a man of such extraordinary talent".

In 1921 Vasily Nemirovich-Danchenko emigrated to Germany, then moved to Czechoslovakia where he died in Prague, in 1936.

English translations
Personal Reminiscences of General Skobeleff, Allen, London, 1884. from Archive.org
With a Diploma, and The whirlwind, Maunsel, London, 1915. from Archive.org
Peasant Tales of Russia, McBride, NY, 1918. from Archive.org

References

External links

19th-century writers from the Russian Empire
Journalists from the Russian Empire
Russian male journalists
Male writers from the Russian Empire
Male poets from the Russian Empire
Russian male poets
Novelists from the Russian Empire
Short story writers from the Russian Empire
Essayists from the Russian Empire
Male essayists
War correspondents of the Russo-Japanese War
1845 births
1936 deaths
Writers from Tbilisi
White Russian emigrants to Germany
White Russian emigrants to Czechoslovakia
Russian male novelists
Russian male short story writers
19th-century short story writers from the Russian Empire
19th-century male writers from the Russian Empire

Vasily Nemirovich-Danchenko


The Examiner was a weekly paper founded by Leigh and John Hunt in 1808. For the first fifty years it was a leading intellectual journal expounding radical principles, but from 1865 it repeatedly changed hands and political allegiance, resulting in a rapid decline in readership and loss of purpose.

Early history
While The Examiner was in the hands of John and Leigh Hunt, the sub-title was "A Sunday paper, on politics, domestic economy, and theatricals", and the newspaper devoted itself to providing independent reports on each of these areas. It consistently published leading writers of the day, including Lord Byron, Mary Shelley, Percy Bysshe Shelley, John Keats and William Hazlitt. The Hunt brothers failed in their initial aspiration to refuse advertisements in an effort to increase impartiality. In the first edition, the editor claimed The Examiner would pursue "truth for its sole object"; the paper's radical reformist principles resulted in a series of high-profile prosecutions of the editors. A tradition of publishing accurate news and witty criticisms of domestic and foreign politics was continued by Albany Fonblanque, who took over the paper in 1828.

Until Fonblanque sold The Examiner in the mid-1860s, the newspaper took the form of a sixteen-page journal priced at 6d, designed to be kept and repeatedly referred to.

Later times
Albany Fonblanque, the journal's political commentator since 1826, took over The Examiner in 1830, serving as editor until 1847. He brought in such contributors as John Stuart Mill, John Forster, William Makepeace Thackeray, and most notably Charles Dickens. Fonblanque also wrote the first notice of Sketches by Boz (28 February 1836) and of The Pickwick Papers (4 September 1836). Forster became the magazine's literary editor in 1835, and succeeded Fonblanque as editor from 1847 to 1855. Forster himself was succeeded by Marmion Savage.

The Examiners reputation was undermined when the new owner, William McCullagh Torrens, halved the price of the publication in 1867. Although its tradition of radical intellectual commentaries was revived in the 1870s under the editorship of William Minto, The Examiner was repeatedly sold until the final edition appeared in February 1881.

The magazine ceased publication in 1886.

References

External links

Defunct newspapers published in the United Kingdom
Defunct weekly newspapers
Publications disestablished in 1886
Publications established in 1808
1808 establishments in the United Kingdom

The Examiner (1808–1886)


Acoustic Sounds, Inc. is a mail-order business specializing in the sale of audiophile vinyl LPs, Direct Stream Digital/PCM downloads (SuperHiRez.com), SACDs, Reel-To-Reel album reissues (Analogue Productions Ultra Tape), DVD-Audios, high-quality CDs and high-end stereo equipment. Located in Salina, Kansas, United States. The business is owned and operated by Chad Kassem and as of 2016 employed 98 people.

Company history
Kassem started Acoustic Sounds in 1986, initially running it solo out of a two-bedroom apartment. Precisely when CDs were being introduced to the public and people were dumping their LP records in favor of CDs, Kassem was purchasing collectible high-quality LPs and then reselling them via buy-sell-and-trade advertisements in various record collector and audiophile magazines. Kassem's record collection grew until he literally lived in a field of Vinyl records. LPs stacked in the living room, the bedrooms, the closets, the kitchen and finally even the bathroom. A small apartment shrunk to only a few pathways — one from the listening position to the kitchen; another from the listening room to the bathroom; and one to each of the bedrooms. Orders grew and Acoustic Sounds was born.

That was 1988, and Kassem's budding success allowed him to purchase a four-bedroom, ranch-styled house. Initially, it even looked like a home. But soon came more records. They devoured the basement, where Kassem's now full-time business had added a few employees. They started climbing the stairs and soon controlled the living room and bedroom. This time the bathrooms were spared, but little else in Kassem's workplace and home escaped the vinyl. He hired more employees for a shrinking workspace. Finally, when 18-wheelers started pulling up to Kassem's residential address to deliver pallets, it was time to move.

New business divisions added
In 1991, Kassem scouted out a 3,500-square-foot former dance studio in this mid-sized Kansas downtown. At first the space was a dream. There was room for shelves to stock inventory. There was a conventional shipping-and-receiving area. But Acoustic Sounds continued to grow.   In 1992, Kassem launched a reissue label called Analogue Productions. Kassem contracted with record labels – majors and independents – and licensed the original analog master tapes of choice recordings. He then had those titles remastered and pressed on a superior grade of vinyl and then offered the finished product for sale through his Acoustic Sounds catalog and to wholesale accounts around the world. Analogue Productions now has more than 450 titles in print.
Also during this time, in 1993, Kassem began APO Records (Analogue Productions Originals), an original record label focused on recording the most authentic and legendary blues artists still living. APO's first title – Jimmy Rogers/Blue Bird – won the 1995 W.C. Handy Traditional Blues Album of the Year. APO Records as of 2011 had 43 titles available.

Recording studio in Gothic-style church
By 1994, Acoustic Sounds had again outgrown its space. Kassem found a warehouse with enough room for his growing inventory and plenty of office space. There was a loading dock for the shipping. There was a large basement for overstock. The building was perfect for about eight years. But finally, records began to stack on and around employees' desks, across the floor of what was supposed to be the shipping and receiving area and in every single corner of the building. Plus, Acoustic Sounds started to sell more equipment, which meant turntables, CD players, accessories and the like had to compete with the LPs and CDs for the limited space. So, after 10 years in the warehouse, it was time to move.  In the meantime, Acoustic Sounds further branched into new musical endeavors with the addition of Blue Heaven Studios. In 1996, Kassem purchased an old Gothic-style church in downtown Salina. He initially planned to use the space for storage for Acoustic Sounds' overflow inventory. But after recognizing how incredible the church's natural acoustics were, Kassem decided to outfit it as a state-of-the-art recording studio. After a significant financial investment, including completely new electrical service, the building of a control room and the outfitting of the church with modern recording equipment and microphones, Blue Heaven was born. Kassem also left the original pew and balcony seats in the church sanctuary and so the space doubles as a concert hall. In August 1997, Jimmy Rogers performed the first concert at Blue Heaven. Beginning in 1998, Blue Heaven began hosting an annual two-night concert series called the Blues Masters at the Crossroads. Fans flock from around the world each October to see the most legendary lineup of Blues artists assembled. Blue Heaven also became the home of APO Records and is where all of the APO titles have been recorded since 1998. The studio is also available for anyone to book session time and additionally is available for weddings.

Record pressing plant launched
Kassem was photographed for the cover of Billboard magazine, a leading publication in the music industry, in a profile written by Chris Morris for the Aug. 17, 2002, issue titled "Audiophile Labels Put a New Spin On Vinyl."
In 2004, Acoustic Sounds moved from their 6,000-square-foot warehouse to an 18,000-square-foot former grocery store. At the time, the space seemed big enough to allow for as much growth as could possibly be foreseen. But just six years later, in 2010, Acoustic Sounds had once again outgrown its space. Kassem then purchased three buildings. All of the inventory was moved to a 28,000-square-foot warehouse. The office workers were moved to a 20,000-square-foot office building.
The third building – 21,000 square feet – was used to launch the latest Acoustic Sounds venture, Quality Record Pressings (QRP), a modern record pressing plant. QRP operates three different kinds of record presses and has equipped each with pioneering modifications, including adding microprocessors to the presses so that they will cycle based on temperature rather than the less accurate cycling by time.
All of the Analogue Productions reissues and the APO Records titles are now pressed at QRP and the pressing plant also handles the jobs of several other record labels.

SuperHiRez DSD/PCM download site launched
On August 28, 2013, Acoustic Sounds launched SuperHiRez.com, an Internet site selling mainstream title high-resolution album downloads from major record labels, produced using Direct Stream Digital (DSD) as well as PCM audio formats. Uncompressed DSD technology results in music as close to the master recording as possible and is the same technology employed in the manufacture of SACDs. Kassem said publicly he expected the service to offer as many as 500 titles by year-end. On September 4, 2013, Acoustic Sounds announced an agreement with Sony Music Entertainment to provide the company's new digital download service with albums that have been produced or remastered in Direct Stream Digital format. The deal followed an earlier agreement reached with Universal Music Group. On December 31, 2020, the decision was made to shutdown Acoustic Sounds Super HiRez digital downloads service after seven years due to streaming continuing to eclipse downloading.

See also
 Analogue Productions
 Blue Heaven Studios
 Quality Record Pressings

References

External links
 Acoustic Sounds
 Salina record-maker revels in vinyl's comeback - The Wichita Eagle

Mail-order retailers
Music retailers of the United States
Companies based in Kansas
1986 establishments in Kansas

Acoustic Sounds, Inc.


The String Quintet No. 6 in E-flat major, K. 614, was completed by Wolfgang Amadeus Mozart on April 12, 1791. It is Mozart's last major chamber work. Like all of Mozart's string quintets, it is a "viola quintet" in that it is scored for string quartet and an extra viola (two violins, two violas and cello.)

Movements
The work is in standard four movement form:
I. Allegro di molto  in E-flat major
II. Andante  in B-flat major
III. Menuetto: Allegretto  in E-flat major, with trio in E-flat major
IV. Allegro  in E-flat major

References
Melvin Berger, "Guide to Chamber Music", 2001, Dover

External links

Performance of String Quintet No. 6 by the Musicians from Marlboro from the Isabella Stewart Gardner Museum in MP3 format

String quintets by Wolfgang Amadeus Mozart
Stefan Zweig Collection
Compositions in E-flat major
1791 compositions

String Quintet No. 6 (Mozart)


Ferrocarrils de la Generalitat Valenciana (, "Valencian Government Railways") or FGV is a Valencian public railway company which operates several  lines, in the autonomous community of Valencia, Spain.

The company currently operates the city metro and tram system of Valencia (Valencia Metro) and Alicante (Alicante Tram).

It also operates a non-electrified  long line, between Benidorm and Dénia, in Alicante province.

The company is owned by the Generalitat Valenciana (i.e. the autonomous government body of the Valencian Community).

History

Establishment of FGV
FGV was founded as a company in 1986, and on 1 January 1987 took over all remaining narrow gauge railways in the Valencian Community. These had previously been part of the nationally owned FEVE system.

The newly formed railway system consisted of various electrified suburban lines around Valencia and the diesel-worked Alicante to Denia railway. Much of the infrastructure was in a poor state following years of neglect by the FEVE administration and patronage was consequently low.

Investment in the Valencia system
The early years of FGV saw much investment in the Valencia suburban system. The lines to the north and south of the city were connected by cross-town tunnels which were developed into the current metro system. FGV also introduced the first modern tram in Spain, partly running on the alignment of narrow gauge railways.

Both the metro and trams systems are being developed through the addition of new lines. Projects are also in hand to modernise the classic parts of the system through realignments and new rolling stock.

Investment in the Alicante system

In Alicante too, the narrow gauge railway is being developed into a modern tramway. It has been extended through a tunnel to Mercado and will ultimately reach the RENFE railway station through an extension of this tunnel. The tram system is also being extended in other directions.

The Alicante to Dénia railway line is being electrified as far as Benidorm and will be served by tram-trains (vehicles that can run on both railway and tramway infrastructure). The remaining section to Denia will continue to be diesel-worked for the time being and trainsets have been modernised for this purpose.

In Benidorm, a local tram service is also being planned. This will branch off the main railway line and serve the centre of this town.

Future projects
FGV is seeking to take over the Xàtiva to Alcoi railway from Renfe. The mountain railway is currently in a poor state and served only by three trains per day and direction. The company also provided assessment to the city of Rosario in Argentina for its future Rosario Tramway, a project which is largely based on the Valencia system.

Rolling stock

In use

Former rolling stock

References

External links

Railway companies of Spain
Rail transport in Valencia
Rail transport in the Valencian Community
Metre gauge railways in Spain


Deus ex Machina is a piano concerto by the American composer Michael Daugherty. The 33-minute work was jointly commissioned by the Charlotte, Nashville, New Jersey, Rochester and Syracuse Symphony Orchestras.  It won the 2011 Grammy for Best Classical Contemporary Composition for a recording by soloist Terrance Wilson and the Nashville Symphony Orchestra under the baton of Giancarlo Guerrero.

Deus ex Machina was recorded and released on Naxos along with a work from earlier in Michael Daugherty's career, the Metropolis Symphony.  The album was nominated for a total of 5 Grammys.

Program note
The title refers to the Latin phrase, "god from the machine."  Each of the three movements of the piano concerto is a musical response by the composer to the world of trains.

Movements
I. Fast Forward (Di andata veloce)
II. Train of Tears
III. Night Steam

Instrumentation
Instruments used: piano, piccolo, two flutes, two oboes, English horn, two clarinets, bass clarinet, two bassoons, contrabassoon, four horns, three trumpets, three trombones, tuba, timpani, percussion and strings.

Performance history
The world premiere performance was on March 16, 2007 at the Blumenthal Performing Arts Center, Belk Theater, Charlotte, North Carolina.  It was premiered by the Terrence Wilson with the Charlotte Symphony, conducted by Giancarlo Guerrero.
In 2010, an arrangement of Deus ex Machina by Bill Locklear was used by the Dutch Fork High School under the direction of Jon Brady and field direction of drum major Clark Cothran. The band placed 10th at the Bands of America Regional in Towson, MD.

Discography
DAUGHERTY, M.: Metropolis Symphony / Deus ex Machina (T. Wilson piano, Nashville Symphony, Guerrero conductor) 2009, Naxos.

Accolades
In addition to Best Classical Contemporary Composition, it won in the categories of Best Orchestral Performance and Best Engineered Album, Classical.

See also
The Futurist Manifesto
Assassination of Abraham Lincoln
O. Winston Link

References

External links
Composer's official website
Program Notes for Deus ex Machina

Concertos by Michael Daugherty
2007 compositions
Piano concertos
21st-century classical music
Music commissioned by the Nashville Symphony
Music commissioned by the Syracuse Symphony Orchestra
Works about rail transport

Deus ex Machina (Daugherty)


The Rowley River is a small river between Ipswich and Rowley, Massachusetts.

The river lies within the estuary of Plum Island Sound, and is formed by the confluence of the Egypt River and Muddy Run in Ipswich, with numerous tributaries in the estuary. The river and a few smaller coastal streams together drain about  of watershed.

Rowley River is navigable for small craft, and home to bass, shad and alewives. Its banks are lined with tidal salt marshes, and abound in clams. Today the river is popular for kayaking and lobstering.

References
  Sammel, Edward A., Water resources of the Parker and Rowley River basins, Massachusetts, USGS Hydrologic Atlas HA-247, 1967.
 USGS Parker River Drainage Basin

Rivers of Essex County, Massachusetts
Rowley, Massachusetts
Rivers of Massachusetts

Rowley River


Gregory S. Kealey  (born 1948) is a historian of the working class in Canada, founding editor of the journal Labour/Le Travail, and former vice-president (research) and provost of the University of New Brunswick, where he is Professor Emeritus of History. The author and editor of numerous books and articles on labour history, intelligence studies, and state security, Kealey is a fellow of the Royal Historical Society and Royal Society of Canada and served as president of the Canadian Historical Association. In 2016 the Canadian Historical Review published a memoir of his career. In 2017 he was appointed a member of the Order of Canada.

Early life and education

Born in Toronto in 1948, Kealey attended St. Michael's College School, a high school for boys, where he focused on history. He completed his bachelor's degree in Modern History at the University of Toronto in 1970, serving on the Students Administrative Council and  participating  in the student movement. He completed his MA and PhD at the University of Rochester, working under the supervision of American labour historian Herbert Gutman and Christopher Lasch on a dissertation that examined the Toronto working class during the transition to industrial capitalism. He would later publish this work in the Canadian Historical Association's Macdonald prize-winning book Toronto Workers Respond to Industrial Capitalism (1980). He followed this work with the co-authored (with Bryan Palmer), the CHA and AHA Corey prize-winning Dreaming of What Might Be: The Knights of Labor in Ontario (1982).

In 1976 Kealey helped found the journal Labour/Le Travail to provide an outlet for a new generation of scholars practising the "new labour and working-class history," influenced by the work of E. P. Thompson and the Marxist tradition. He edited the journal from 1976 to 1997, when Bryan Palmer took over as editor. He returned briefly in 2016–17 as a co-editor, first with Bryan Palmer and then with Charles Smith. The journal, published by the Canadian Committee on Labour History, also produced books in the field under the CCLH imprint, many of which Kealey has edited. Kealey and his peers also co-operatively ran New Hogtown Press, a successor to the earlier Hogtown Press, publishing a number of books and left-wing pamphlets in the 1970s and 1980s in an attempt to provide a model of a non-profit socialist enterprise within a capitalist society.

Teaching, research, and administration

Returning to Toronto after his doctoral studies in 1972, Kealey worked on his dissertation and his partner, fellow labour historian Linda Kealey, commenced her own PhD work at the University of Toronto, initially under the supervision of Jill Ker Conway. They moved to Halifax in 1974, where he began his academic career as an assistant professor of history at Dalhousie University and then moved to  Memorial University of Newfoundland in 1981, where he served as university research professor and later as dean of the school of graduate studies. While in St. John's, Kealey wrote a regular labour column for the Telegram newspaper. He was elected a Fellow of the Royal Society of Canada in 1999.

In 2001, Kealey was appointed vice-president (research) at the University of New Brunswick, relocating to Fredericton. He assumed the role of provost of the university in 2008, holding both positions until 2012, while serving on the boards of a number of organizations and spearheading the university's rapidly expanding research activities, including successful commercialization efforts. In 2017 Kealey was awarded the Order of Canada.

Focusing on research as professor of history, Kealey co-authored with Reg Whitaker and Andy Parnaby the book Secret Service: Political Policing in Canada from the Fenians to Fortress America in 2012, which won the CFHSS's Canada Prize for the Social Sciences and an Honourable Mention for the Macdonald Prize of the Canadian Historical Association. It was also shortlisted for the JW Dafoe Book Prize and the Smiley Prize of the Canadian Political Science Association. He also co-edited the book Debating Dissent (2012), a collection of essays on Canada in the 1960s. He travelled to Australia and New Zealand in 2013 as a visiting scholar at Monash and Massey universities, which reflects his significant scholarly associations on three continents. He returned to Massey as a visiting fellow in 2015. In 2017 the University of Toronto Press published his collection of essays, Spying on Canadians.

Kealey has supervised more than 20 PhDs to completion at Dalhousie, MUN and UNB, including Craig Heron, John Manley, Sean Cadigan, Mark Leier,  Christina Burr, Michael Smith, Miriam Wright,  Andrew Parnaby, Dominique Clement, Michelle McBride, Janis Thiessen, Michael Butt, Fred Winsor, Richard Rennie, Kurt Korneski, Kirk Niergarth,  Benjamin Isitt, Christopher Powell, David Foord and William Vinh-Doyle. He  served on the scientific advisory committee of the Council of Canadian Academies and served on the finance committee of the Royal Society of Canada. He also continues to serve as treasurer and chair of the publications committee of the Canadian Committee on Labour History. In addition he is a member of the board of the Fergusson Foundation, which is dedicated to combating family violence.

Published works

References

External links
Labour/Le Travail
Fergusson Foundation, Board and Staff

Living people
20th-century Canadian historians
Canadian male non-fiction writers
1948 births
Historians of Canada
University of Rochester alumni
Writers from Toronto
Labour history of Canada
University of Toronto alumni
Labor historians
Presidents of the Canadian Historical Association
21st-century Canadian historians

Gregory Kealey


There are several meanings of the word sense.  This page is for disambiguation - there are more detailed articles on each meaning:

When a word has several meanings, one can refer to it as being used "in the sense of..." some context or other.  In Simple English for instance we avoid using words in unusual senses.

The sensory system of animals
The human sensory system is usually said to have six senses:
Hearing is the sense of sound that comes into our ears.
Sight is the sense of seeing things with our eyes.
Touch is the sense of feeling things with our skin.
Taste is the sense of the flavor of things with our tongues
Smell is the sense of smelling things with our noses.
Kinesthetic sense is knowing where your whole body is and where it is not.
Other animals may have other senses. Fish have lateral lines which detect changes in the water pressure around them, and some can detect changes in electric fields around them.

Sense in language
Sense in this context is the meaning conveyed by language.

Another use is to flag whether an argument or statement is correct and understood.  "That makes no sense" or "That is nonsense" are examples from everyday speech.

A variation of this is to say that something does not make "economic sense".  Usually these words signal a political dispute or some failure to define terms correctly.

The term "common sense" is thinking based on a wide experience of life. It used to mean practical wisdom. It has a long history of being used in politics, often to mean that some idea will be accepted or rejected because of human nature (what people are like).

Basic English 850 words

Sense


Woollsia is a monotypic genus in the family Ericaceae. The sole species, Woollsia pungens, known as snow heath, is a small shrub found in eastern Australia, from Pigeon House Mountain in southern New South Wales north into Queensland.

Taxonomy
Antonio José Cavanilles described the species as Epacris pungens in 1797, from material collected in the Sydney district. Victorian state botanist Ferdinand von Mueller proposed the new genus Woollsia in 1873, though did not publish its new binomial name until 1875. The genus name honours William Woolls.

Genetic analysis shows that it is an early offshoot of a lineage that includes Lysinema ciliatum and the genus Epacris.

'Snow heath' is a common name.

Distribution and habitat
In the Sydney region, Woollsia pungens grows in heathland with such species as saw banksia (Banksia serrata), mountain devil (Lambertia formosa), grasstree (Xanthorrhoea resinifera), and open sclerophyll forest under such trees as  Sydney peppermint (Eucalyptus piperita), scribbly gum (E. haemastoma) and red bloodwood (Corymbia gummifera).

Ecology
Plants are thought to live 10–20 years in the wild. They are generally killed by bushfire, with new seedlings growing from seed stored in the soil.

Cultivation
In cultivation, it grows best in a part-shaded spot with good drainage and ample moisture. It can be propagated by cuttings or seed.

References

Epacridoideae
Ericales of Australia
Flora of New South Wales
Flora of Queensland
Monotypic Ericaceae genera
Taxa named by Ferdinand von Mueller

Woollsia


The Cunning Little Vixen (original title Příhody lišky Bystroušky or Tales of Vixen Sharp-Ears in English), is a three-act Czech-language opera by Leoš Janáček completed in 1923 to a libretto the composer himself adapted from a novella by Rudolf Těsnohlídek.

Name
The opera's libretto was adapted by the composer from a 1920 serialized novella, Liška Bystrouška, by Rudolf Těsnohlídek, which was first published in the newspaper Lidové noviny (with illustrations by Stanislav Lolek). For the title of the opera, Příhody means tales; lišky is the genitive of vixen. Bystroušky, still genitive, is the pun sharp, having the double meaning of pointed, like fox ears, and clever. The opera first became familiar outside Czechoslovakia in a 1927 German adaptation by Max Brod who provided the new name Das schlaue Füchslein, by which Germans still know it and which in English means The Cunning Little Vixen.

Composition
When Janáček discovered Těsnohlídek's comic-strip-inspired story and decided to turn it into an opera, in 1921, he began work by meeting with the author and studying the animals. With this understanding of the characters involved, his own 70 years of life experience, and an undying, unrequited love for the much younger, married Kamila Stösslová, he began work on the opera. He transformed the originally comedic cartoon into a philosophical reflection on the cycle of life by ending with the death of the titular Vixen; as with other operas by elderly composers, this one depicts life leading to a return to simplicity. Work was completed in 1922-23 and the first edition was published the next year in Vienna by Universal Edition. The premiere took place on 6 November 1924 in National Theatre Brno conducted by František Neumann, with Ota Zítek as director and Eduard Milén as stage designer.

The opera incorporates Moravian folk music and rhythms as it recounts the life of a clever (alternative reading: sharp-eared) fox and accompanying wildlife, as well as a few humans, and their small adventures while traversing their lifecycles. Described as a comic opera, it has nonetheless been noted to contain a serious theme. Interpretations of the work remain varied, ranging from children's entertainment to tragedy.

Performance history
The first non-Czech performance took place in Mainz, Germany, in 1927 in  an adaptation by Max Brod under the title Das schlaue Füchslein. Brod described the opera as a "dream of the eternity of nature and love-lust", but his version substantially changed the story-line. It was not successful.  In 1956 Walter Felsenstein created a performing version closer to the original, which was successfully performed at the Komische Oper in Berlin. In 1965, Felsenstein made this a Deutscher Fernsehfunk movie with Irmgard Arnold in the title role, but retaining Brod's Das schlaue Füchslein title.

The opera received its Italian premiere at La Scala in 1958 with Mariella Adani in the title role.
The work was first staged in England in 1961 by the Sadler's Wells Opera Company (now the English National Opera) with June Bronhill in the title, albeit with a tenor Fox (Kevin Miller); the director was Colin Graham, with conductor Colin Davis, and scenery and costume designs by Barry Kay. A production by David Pountney was mounted by the three UK national companies in the 1980s, first being seen with Scottish Opera at the 1980 Edinburgh Festival, then Welsh National Opera in London the following year and finally with English National Opera in June 1988; nearly 40 years on Pountney supervised a revival by Welsh National Opera in Cardiff and on tour. In 1981, the New York City Opera mounted a production in English based on images created by Maurice Sendak and conducted by Michael Tilson Thomas in his company debut. It starred soprano Gianna Rolandi as Vixen Sharp-Ears and baritone Richard Cross as the Forester. Glyndebourne Festival Opera staged it in 2012, directed by Melly Still, and a revival was included in the Glyndebourne Festival for 2016 with Christopher Purves as the Forester and Elena Tsallagova as the Vixen, conductor Jakub Hrůša and the London Philharmonic Orchestra. In May 2014 the Cleveland Orchestra, conducted by Franz Welser-Möst, performed an innovative version directed by Yuval Sharon. This production returned the opera to its roots by utilizing animation and hand drawn video sets by the artists Bill Barminski and Christopher Louie of Walter Robot Studios.  The production featured the use of hole-in-the-wall carnival cutouts to place the singers' heads on the animated bodies of the animal characters.

In 2023, the opera was staged in São Paulo, directed by Ira Levin and production by André Heller-Lopes, taking a surrealistic approach.

Roles

{| class="wikitable"
!Role
!Voice type
!Premiere cast, 6 November 1924(Conductor: František Neumann)
|-
|Sharp-Ears (Bystrouška) the Vixen
|soprano
|Hana Hrdličková-Zavřelová
|-
|Gold-Stripe (Zlatohřbítek) the Fox
|soprano or mezzo-soprano
|Božena Snopková
|-
|Forester (Revírník)
|baritone
|Arnold Flögl
|-
|Parson
|bass
|
|-
|Schoolmaster
|tenor
|Antonín Pelc
|-
|Harašta, a poultry dealer
|bass
|Ferdinand Pour
|-
!colspan=3|Supporting roles:
|-
|Forester's wife
|contralto
|-
|Lapák, a dog
|mezzo-soprano
|Marta Dobruská
|-
|Chocholka, a hen
|soprano
|Vlasta Kubiková
|-
|Rooster
|soprano
|
|-
!colspan=3|Bit roles:
|-
|Pepík, Forester's grandson
|soprano
|Bozena Polaková
|-
|Frantík, Pepík's friend
|soprano
|Milada Rabasová
|-
|Pásek, an innkeeper|tenor
|Bedřich Zavadil
|-
|Mrs. Páskova, Pásek's wife|soprano
|Jelena Jezicová
|-
|Young Vixen Bystrouška
|child soprano
|
|-
|Cricket
|child soprano
|
|-
|Young Frog
|child soprano
|
|-
|Grasshopper
|child soprano
|
|-
|Jay
|soprano
|
|-
|Owl
|contralto
|
|-
|Woodpecker
|contralto
|
|-
|Mosquito
|tenor
|
|-
|Badger
|bass
|
|-
!colspan=3|Chorus roles:
|-
|Hens
|women's chorus (SA)
|
|-
|Forest Creatures
|women's chorus (SA)
|
|-
|Voice of the Forest
|mixed chorus (SAATTBB)
|
|-
|Fox Cubs
|[children's] chorus
|
|-
!colspan=3|Ballet roles:
|-
| colspan="4"|Blue Dragonfly, Midges, Apparition of the Vixen as a girl, Hedgehog, Squirrels, a Young Vixen, Forest Creatures
|}

According to instructions in the score, four pairs of roles may be performed by the same singer: Parson/Badger, Schoolmaster/Mosquito, Forester's Wife/Owl, and Rooster/Jay. Janácek later required that Lapák, Rooster, and Chocholka be sung by "girls approximately fifteen years old."

Synopsis

Act 1
In the forest, the animals and insects are playing and dancing. The forester enters and lies down against a tree for a nap. A curious vixen cub (often sung by a young girl), inquisitively chases a frog right into the lap of the surprised forester who forcibly takes the vixen home as a pet. Time passes (in the form of an orchestral interlude) and we see the vixen, now grown up into a young adult (and sung by a soprano) tied up in the forester's yard with the conservative old dachshund. Fed up with life in confinement, the vixen chews through her rope, attacks the rooster and hen, kills the other chickens, jumps over the fence and runs off to freedom.

Act 2
The vixen takes over a badger's home and kicks him out. At the inn, the parson, the forester, and the schoolmaster drink and talk about their mutual infatuation with the gypsy girl Terynka. The drunken schoolmaster leaves the inn and mistakes a sunflower behind which the vixen is hiding for Terynka, professing his devotion to her. The forester, also on his way home, sees the vixen and fires two shots at her, sending her running. Later, the vixen, coming into her adulthood, meets a charming boy fox, and they retire to the badger's home. An unexpected pregnancy and a forest full of gossipy creatures necessitate their marriage, which rounds out the act.

Act 3
The poacher Harašta is engaged to Terynka and is out hunting in preparation for their marriage. He sets a fox trap, which the numerous fox and vixen cubs mock. Harašta, watching from a distance, shoots and kills the vixen, sending her children running. At Harašta's wedding, the forester sees the vixen's fur, which Harašta gave to Terynka as a wedding present, and flees to the forest to reflect. He returns to the place where he met the vixen, and sits at the tree, grieving the loss of both the vixen and Terynka. His grief grows until, just as in the beginning of the opera, a frog unexpectedly jumps in his lap, the grandson of the one who did so in Act 1. This reassurance of the cycle of death bringing new life gives his heart a deep peace.

Music

Apart from The Excursions of Mr. Brouček, this is Janáček's lightest opera, and, despite the titular vixen's death at the end of the work, it stands in contrast to the often brutally serious nature of operas such as Jenůfa and Káťa Kabanová. In The Cunning Little Vixen, the composer moved away from the more conversational style of previous and subsequent operas in favor of a more folk-like style, and wove into its fabric some of his most experimental opera concepts (ballet, mime, and orchestral interludes).

Janáček based The Cunning Little Vixens tonality on modes (similarly to much output during his last decade), expanding the music's harmonic range through the utilisation of the seventh and ninth chords. The composition makes frequent use of folk-influenced rhythms and "sčasovka" (personally-coined term for a short motif), while it has been noted to contain similarities to the music of French composer Claude Debussy.

At Janáček's request, the final scene from  The Cunning Little Vixen was performed at his funeral in 1928.

Recordings
 Prague National Theatre Chorus and Orchestra/Bohumil Gregor (Supraphon SU 3071-2612)
 Royal Opera House Chorus and Orchestra/Simon Rattle, recorded 1991 (Chandos 3101(2), sung in English)
 Wiener Staatsopernchor & Philharmoniker/Charles Mackerras, recorded 1981 (Decca 417 129-2)
 Orchestre de Paris/Charles Mackerras, video recorded 1995 (Kultur D4544, ; Medici Arts, )
 London Symphony Orchestra/Simon Rattle, 2020 (LSO Live, LSO0850)

Arrangements
 Orchestral suite of the opera by Václav Talich, performed by Czech Philharmonic Orchestra, conductor Václav Talich
 Orchestral suite of the opera by Václav Talich, performed by Boston Symphony Orchestra, conductor Erich Leinsdorf
 Orchestral suite of the opera by Václav Talich, performed by Czech Philharmonic Orchestra, conductor Charles Mackerras
 Entr'actes from the opera, arrangement by František Jílek, performed by Brno Philharmonic Orchestra, conductor Jakub Hrůša
 Music from the opera for brass quintet, arrangement by František Jílek, performed by Brno Brass Quintet, ar Vlastimil Bialas
 Cut version of the opera for an animated film, arrangement by Kent Nagano, in English, texted Geoff Dunbar, performed by soloists, Berlin German Symphony Orchestra, conductor Kent Nagano

Films
 In 1965, Walter Felsenstein directed a filmed version in German (Das schlaue Füchslein).
 In 1990, the BBC broadcast the opera from the Royal Opera House, conducted by Simon Rattle with Lillian Watson as the vixen, Diana Montague as the fox and Thomas Allen as the forester. The broadcast was directed by Barrie Gavin.
 In 2003, an animated version was produced by the BBC.

Adaptations
Ursula Dubosarsky's 2018 novel for children, Brindabella, is based on Rudolf Těsnohlídek's Vixen Sharp Ears, the source story of the Cunning Little Vixen, relocated in the Australian bush, with the role of the Vixen played by a kangaroo.

References
Notes

Sources
 Holden, Amanda (ed.) (2001), The New Penguin Opera Guide, New York: Penguin Putnam.
Janáček, Leoš (Timothy Cheek) (2004), The Janáček Opera Libretti: Káťa Kabanová, Scarecrow Press.
 Kennedy, Michael and Joyce. Oxford Concise Dictionary of Music (5th edition). Oxford: Oxford University Press, 2007. .
 Sokol, Martin L. (1981), The New York City Opera – An American Adventure, Macmillan.
 Warrack, John and West, Ewan (1992), The Oxford Dictionary of Opera'',
Zemanová, Mirka (2002), Janáček: A Composer's Life, University Press of New England.

External links
 Gavin Plumley's Leoš Janáček site, information on The Cunning Little Vixen
 Synopsis of The Cunning Little Vixen from the English Touring Opera
 Synopsis of The Cunning Little Vixen from the Royal Opera House

Czech-language operas
Fictional foxes
Operas by Leoš Janáček
Operas
Operas based on comics
1924 operas
Anthropomorphic foxes

The Cunning Little Vixen


A knight is a chess piece. It is represented by a horse's head and neck. Each player starts the game with two knights. It moves in an L pattern, two squares in one direction then one square in another. It is the only piece in chess that can jump over other pieces. It is also the only piece that can be in position to attack a king, queen, bishop, or rook without also being attacked by that piece.

'Knight' is shortened to Kt or N when recording games. In printed game scores, it is represented by a figurine.

Knight

Knight (chess)


The list of California Institute of Technology trustees includes notable trustees of the California Institute of Technology. The current chair of the board of trustees is Dr. David Li Lee (PhD '74).

List of current trustees

The official board of trustees site listed the following trustees.
(The list was dated November 8, 2006, and consulted March 12, 2007.)

(Regular) Trustees

 Ambassador Barbara M. Barrett
 Brigitte M. Bren, Esq.
 John E. Bryson — former U.S. Secretary of Commerce
Dr. Milton M. Chang — Managing Director, Incubic Venture Capital
 John S. Chen - CEO, Blackberry, Inc.
 Wenchi Chen - President and CEO, VLA Technologies, Inc.
 Dr. Peggy T. Cherng - Co-chairman, Panda Restaurant Group
  Robert B. Chess — Chairman, Nektar Therapeutics
 David T. Dreier - Chairman, Annenberg-Dreier Commission
 Lounette M. Dyer, Ph.D. - entrepreneur
 Joshua S. Friedman - co-founder, Canyon Partners, LLC
 William T. Gross — chairman and founder, Idealab
 Dr. Narendra K. Gupta - co-founder, Nexus Venture Partners
 Maria D. Hummer-Tuttle - President, Hummer Tuttle Foundation
 Robert T. Jenkins
  G. Bradford Jones - founding partner, Redpoint Ventures
  Peter D. Kaufman - CEO, Glenair, Inc.
  Louise Kirkbride — board member, State of California Contractors State License Board
  Walter G. Kortschak
 Jon B. Kutler — Chairman and CEO, Admiralty Partners, Inc.
 Dr. David Li Lee — Managing General Partner, Clarity Partners, L.P.
 Dr. York Liao — Managing Director, Winbridge Company Ltd.
 Dr. Alexander Lidow — Chief Executive Officer, International Rectifier Corporation
 Dr. Ronald K. Linde — independent investor and chairman of the board, The Ronald and Maxine Linde Foundation
  Andrew N. Liveris - Chairman and CEO, The Dow Chemical Company
 Dr. Shirley M. Malcom — director of Education and Human Resources Programs, American Association for the Advancement of Science
 Deborah D. McWhinney
 Dr. Richard N. Merkin - founder, Heritage Provider Network
Kenneth G. Moore - trustee, Gordon and Betty Moore Foundation
 Dr. Philip M. Neches — consultant and entrepreneur
 Dr. Patrick H. Nettles, Jr. — Executive Chairman, Ciena Corporation
 Peter Norton — president, Norton Family Office
 Ronald L. Olson — senior partner, Munger, Tolles & Olson
  Stephen R. Onderdonk — President and CEO (retired), Econolite Control Products, Inc
 Dr. Thomas F. Rosenbaum - President, California Institute of Technology
 Dr. Stephen A. Ross — Franco Modigliani Professor of Finance and Economics, Massachusetts Institute of Technology; chairman, Compensation Valuation, Inc.
  James F. Rothenberg — President, Capital Research and Management Company
 Dr. Richard H. Scheller - Genentech
  Marc Stern — President, TCW Group, Inc.
  Donald W. Tang
  Kevin M. Tawell
  David W. Thompson - Chairman and CEO, Orbital Sciences Corporation
 Gayle E. Wilson — non-profit consultant
 Dr. Richard A. Wolf

Senior Trustees

  Gordon M. Binder - Managing Director - Coastview Capital
  Robert C. Bonner
 Lynn A. Booth
 Dr. William H. Davidow - founding partner, Mohr, Davidow Ventures
 Dr. Thomas E. Everhart — President Emeritus, California Institute of Technology
 B. Kipling Hagopian
 Frederick J. Hameetman - Chairman - Cal-American
 Shirley M. Hufstedler — Senior of Counsel, Morrison & Foerster
 Admiral Bobby R. Inman — Professor, Lyndon B. Johnson Centennial Chair in National Policy, LBJ School of Public Affairs, The University of Texas at Austin
  Kent Kresa
 Dr. Ronald K. Linde
  A. Michael Lipper - CEO, Lipper Advisory Services
 Ronald L. Olson
 Stewart A. Resnick - President, Roll Global, LLC
  Nelson C. Rising
  Charles R. Trimble
  Lewis W. Van Amerongen
 Walter L. Weisman
 Dr. Suzanne H. Woolsey

Life Trustees

 TGeorge L. Argyros
  Stephen D. Bechtel, Jr. — Chairman Emeritus and Director, Bechtel Group, Inc.
 Donald L. Bren — Chairman of the Board, The Irvine Company
  Eli Broad
 Dr. Harold Brown
  Walter Burke
 Dr. Jewel Plummer Cobb — President Emerita, California State University, Fullerton
  Harry M. Conger — Chairman and chief executive officer, emeritus, Homestake Mining Company
  Richard P. Cooley
 Camilla Chandler Frost
 Arthur L. Goldstein
Philip M. Hawley — President, P.M. Hawley, Inc.
 Dr. Gordon E. Moore
 Sidney R. Petersen
 Dr. Simon Ramo — co-founder, TRW Inc.
  Arthur Rock — Principal, Arthur Rock and Company
 Benjamin M. Rosen — Chairman Emeritus, Compaq Computer Corporation
 Richard M. Rosenberg
 Robert J. Schultz — Vice Chairman (retired), General Motors Corporation
 Mary Scranton — non-profit consultant
 Dennis Stanfill — Dennis Stanfill Company
 Dr. Charles H. Townes — professor in the Graduate School, University of California, Berkeley, Department of Physics
 Dr. Virginia V. Weldon

External links
 Caltech Board of Trustees official site

California Institute of Technology trustees

List of California Institute of Technology trustees


Remo Anzovino (born 12 February 1976) is an Italian composer, musician and criminal lawyer.

In the early years of his artistic activity, he composed music for theater and sound design; he later found its way into a personal relationship between silent cinema and music: by inverting the relationship between images and sounds, in his concerts he offers songs with the accompaniment of silent film sequences that serve as a sort of visual soundtrack. A strong visual element, the fusion of languages used, and the immediacy of the melodies are all peculiarities of his compositions.

Biography
Anzovino was introduced to music at the age of 10, and he soon developed a natural aptitude for writing. In eighth grade he founded The Left Hand Band together with his school friends. The singer of the group was his brother Marco, three-years younger, who became a popular songwriter ("Radio1 Premio Recanati" plaque, 2001) and rhythm guitarist whom he shares each subsequent experience with. He recorded with the band in 1994 an album called Malìa (on cassette), nowhere to be found today.

In 1994, while he was still in high school, Anzovino was hired for his first stage music for a theater show from Fabio Scaramucci's Ortoteatro company, finding its way into the instrumental language. In the same year he began to work with some agencies for the music of promotional and commercial films. In 2002 he ventured for the first time with the music for a silent film commissioned by the Cineteca di Bologna. In the period 2002–2007 he gave a soundtrack to more than thirty silent films, mostly true masterpieces of the period, working with major film libraries and participating in festivals in the area, including the "Cinema Ritrovato" in Bologna (2004) and "Le giornate del Cinema Muto" in Pordenone (2003).

In 2005 he composed a score for symphony orchestra for the film Nanook of the North: A Story of Life and Love in the Actual Arctic premiered in the charming Piazza San Marco in Pordenone, with the simultaneous screening of the film, receiving more than 10 minutes of applause. The following year, the soundtrack won the Special Audience Award at the Bolzano "Rimusicazioni" festival. In 2005 he won second place in the Prix dedicated to Maestro Angelo Francesco Lavagnino. In 2007 he received the "Moret D'Aur" prize by a jury of twenty journalists of Friuli Venezia Giulia, as an Emerging Character in showbiz. In 2011 the same jury, after only four years, rewarded him with the "Moret D'Aur" as the representative showbiz personality of the region.

On 15 June 2006 he released his first album, Dispari (which collects a milonga inspired by Tina Modotti (Que viva Tina!), and some of the themes originally composed for silent movies – here reconceived in a completely autonomous way. The album reached the #1 position in the Italian jazz chart on iTunes, and all subsequent albums would do the same.

In March 2007, his composition "L'immagine ritrovata", taken from Dispari, was chosen by Simone Cristicchi as the main theme opening and closing the docu-movie about asylums "Dall'altra parte del cancello" (directed by Alberto Puliafito), which was attached to Cristicchi's eponymous album (Sony BMG) published in coincidence with the San Remo Festival victory: Cristicchi also used the composition in his theatrical performance"Centro di igiene mentale – Storie di matti e di manicomi".

On 3 September 2007 Anzovino was invited by Ente dello Spettacolo and La rivista del Cinematografo to perform at the 64th Venice Film Festival with a specifically written show. He proposed a new experiment: reversing the usual relationship between music and images accompanying the execution of songs with sequences taken from silent film masterpieces, making each piece match with a completely different movie. The music is the real protagonist, images comment her emotional/psychological content serving as a veritable visual track. On 17 January 2008 he participated in the Maurizio Costanzo Show on Canale 5 channel.

On 1 October 2008 he released his second album, Tabù, a musical meditation on contemporary transgressions. This album established him as the new revelation of the Italian instrumental music. A disc with a strong rhythmic vitality and ideally dedicated to the movement of the body as a tool of liberation of instincts. The rhythm section was headed by U.T. Gandhi and Danilo Gallo; Mauro Ottolini joined the album on trombone.

On 26 April 2010 Anzovino released his third album, Igloo – Piccola sinfonia per orchestra e duetti contemporanei, on which the encoded symphonic movements – entrusted to an orchestra of more than 40 elements – are counterpointed by the duets between Anzovino and some of the greatest Italian musicians on the international scene: with Franz Di Cioccio's drums (PFM), with the clarinet of Gabriele Mirabassi, with the bass of Enzo Pietropaoli, with the guitar of Bebo Ferra, and with the two Top Jazz 2009 artists (the annual referendum organized by the historic magazine "Musica Jazz") Francesco Bearzatti on saxophone and Luca Aquino on trumpet. It is a record that represents a bridge between classical music and the most contemporary jazz music. The cover was created by Davide Toffolo, one of the most important Italian cartoonists as well as leader of the punk rock band "Tre Allegri Ragazzi Morti". After working for the piano-drums duet of the title track of Igloo, Anzovino and Franz Di Cioccio consolidated their relationship into the project of a live set: Di Cioccio on drums and Anzovino on piano, one against another, to represent the clash between two fires, and the meeting of two generations of musicians and two worlds.

In December 2010, he featured as a special guest the album Primitivi del dub (La Tempesta Dischi) by "Tre Allegri Ragazzi Morti", produced by Paolo Baldini: he played Fender Rhodes and clavinet on the song "La rivolta dell'avvocato" (literally, "The lawyer's revolt"), so titled in his honor.

In March 2012 he participated together with Dargen D'Amico and Roberto Dellera from Afterhours, as music composer/piano special guest/string director on the album Fili invisibili (Metatron) by DJ Aladyn, in the eight-hands song "Mi vuoi bene".

In June 2012 signed the theme song and deadlifts for LA7 channel's show In Bianco e Nero, an early-evening summer programme of the black and white masterpieces of American cinema, including The Killing and Paths of Glory by Stanley Kubrick, Billy Wilder's Witness for the Prosecution, and The Great Dictator by Charlie Chaplin. The theme song chosen for the program was "Giostra", from the album Igloo.

On 8 October 2012 his fourth album Viaggiatore Immobile (Egea Music) was released, produced by sound designer Taketo Gohara, with orchestral arrangements by Stefano Nanni and cover signed by Oliviero Toscani. For the first time one of his discs was also released in LP format.

Some principal musicians of the orchestra of La Scala in Milan contributed to the album recordings – and with them some prominent musicians such as Vincenzo Vasi, Alessandro "Asso" Stefana, Mauro Ottolini, Edodea Quartet (directed by Edoardo De Angelis), Achille Succi. The disc ends with the song "9 Ottobre 1963 (Suite for Vajont)", performed with 42 male voices of the Ruda Polyphonic Choir directed by Fabiana Noro, in memory of the Vajont tragedy.

On 18 February 2013, the newspaper"Il Fatto Quotidiano published in its first page the incipit manuscript of "9 Ottobre 1963 (Suite for Vajont)" and the image of Anzovino with the heading "Soundtrack of the Week", reporting the following thought of the composer: "Music can sometimes help memory."

On 15 September 2013, the 50th anniversary of the disaster, Anzovino was invited by the Vajont Foundation (which brings together, among others, the municipalities of Longarone, Erto and Casso, Castellavazzo and Vajont) to hold a concert on the dam, in the heart of the landslide in Erto, that drew 2,000 people, in a climate of great emotion. The composition "9 Ottobre 1963 (Suite for Vajont)", which Anzovino opened and closed the concert with, was recognized by the Vajont Foundation as the official music of the memory of the tragedy.

On 7 October 2013, Anzovino won the "Premio Anima" award  "to the growth of an ethical conscience – music section," for his composition  "9 Ottobre 1963 (Suite for Vajont)", a piece composed by the pianist in memory of the Vajont tragedy. The award is given every year under the patronage of the Presidency of the Italian Republic to enhance the contribution made by the art world personalities and culture that have excelled in their respective categories for the value of content and communicative power of the message and the significant contribution to the growth of the culture of ethics and accountability in the country. The jury – chaired by Luigi Abete – gave this explanation to the award: " "9 Ottobre 1963 (Suite for Vajont)" is a strong and overwhelming composition showing Anzovino's great human and artistic sensitivity: only a son of that land could compose it."

On 2 December 2013, preceded by the single "No Smile (Buster Keaton)" – a homage to the comedian – the album Vivo was released. This was his first live album, and the fifth of his discography. It contained the recording of the concert held on 20 December 2013 at the "Auditorium Parco della Musica" in Rome, the DVD video of the "Concerto della Rimembranza" concert on the Vajont dam, and a collectible photo booklet with photos from the concert in Rome signed by Gianluca Moro. The album cover is a photo of the band that has accompanied Anzovino in the recordings, formed by Vincenzo Vasi, Marco Anzovino and Alberto Milani, taken in the tent/dressing room a few minutes before the concert on the Vajont dam.

In an interview with Ernesto Assante for Repubblica.it, Anzovino explained his choice: "I have always felt to be an unconventional pianist, I tried to form a band and put around the piano some new and original sound. I wanted to express a liberating idea of the piano, which becomes as the lead singer of a rock band in a concert that is definitely a party, where the Music changes night after night."

On 7 December 2013, the Lelio Luttazzi Foundation invited Anzovino to hold a special concert for piano solo in honor of the great artist from Trieste at the "Palazzo delle Esposizioni" in Rome, as the event of the exhibition "LelioSwing 50 anni di storia italiana".

On 19 April 2014, Vivo was released in a double LP gatefold 180 gram vinyl edition, with an attached DVD of the historic "Concerto della Memoria" concert on the Vajont dam, all enriched by a photographic dossier of sixteen full-color pages in collectible vinyl format signed by Gianluca Moro.

On Friday 25 April 2014, Anzovino was awarded the Premio San Marco 2014 prize in the Room of the Municipal Council of Pordenone, the highest honor that the city assigns by the hands of the Mayor, on the advice of the prestigious Academy of San Marco and the Propordenone association, "to those citizens who excelled so much in the various fields of human activity (arts, humanities, sciences, business, sports, social commitment) as to give prominence to the name of the city and can be offered as an example, particularly for the younger ones". The motivation: "Composer and pianist, born in 1976, despite his young age he has already demonstrated considerable talent with excellent results in national and international contexts, where he was appreciated for its artistic and human qualities. He composed the music for silent film masterpieces and important plays. Its prestigious concerts have enjoyed considerable success – just remember, among all, the one of 2013 at the Vajont dam in the 50th anniversary of the tragedy. He's an extraordinary musician, a master of emotional description, of the same magic of Rota and Morricone. Although more and more successes often lead him out of his city, it remains strongly attached to his land, which he maintains a strong emotional bond with." He was nominated Academician by "Accademia San Marco", which includes the most prominent citizens in the history of the city such as Lino Zanussi, Aldo Savio, Armando Cimolai and other praiseworthy ones.

Anzovino usually gives concerts in special schedules and natural areas. Among others, the list includes the concerts held at dawn on the beach in Cesenatico (15 August 2010), in the reserve of Torre Guaceto (Brindisi) (24 August 2012) and in Pordenone, in the nearbies of the river Noncello, symbolic place of the city (12 July 2014), and the concert at high altitude at about 2,000 meters in Sella Nevea (10 August 2014) for the "No Borders Music Festival", the awakening concert at 7:30 am in Piazza San Giacomo, Udine (4 July 2015), in Vicenza in the consecrated temple of Santa Corona (4 October 2015) (and in the evening of the same day at Ragusa in Piazza della Repubblica), the recital in the function room of the Grand Hotel of Rimini, iconic place of Fellinian imagery, on 20 December 2015.

In an interview given on the occasion of the concert at dawn on the Noncello in Pordenone, he declared: "Dawn is the time at which something is born and something dies, it is the closest time to the soul. I really like to be the soundtrack of that time." The concert marked the artistic history of Pordenone and ranked among the dawn music events with more participation, establishing – as evidenced by Ernesto Assante, music journalist for the newspaper "La Repubblica" – "almost a record. I difficultly recall so many people for a sunrise concert". The newspaper of the Friuli Venezia Giulia, "Il Messaggero Veneto", asked Remo Anzovino to write an editor's review of the construction of the dawn concert, published on the front page on 14 July 2014 with the title "Sinfonia di una Città".

He participated in the tribute album to Cesária Évora and Cape Verdean music with a piano and voice duet with Gino Paoli of "Santo me", the Italian version of "Sao Tomè no Equador", also as producer and arranger. The album Capo Verde Terra d'amore in Jazz was published as an attachment to the historic magazine Musica Jazz in May 2014, and was attended among others by Stefano Bollani, Ornella Vanoni with Teofilo Chantre, Paolo Fresu, Fabrizio Bosso, Enrico Pieranunzi, and Antonella Ruggiero.

Anzovino participated in the tribute album to Lelio Luttazzi with a personal and melodic piano solo version (which he played with his own piano) of "Buonanotte Rossana", which he had already performed at the opening of the exhibition "LelioSwing 50 anni di storia italiana" at Mercati di Traiano in Rome. The album was published also in this case as an attachment to the historic magazine Musica Jazz in December 2014, with the participation among others of Mina, Lucio Dalla, Fabio Concato, Stefano Bollani, Franco D'Andrea, Danilo Rea and Rita Marcotulli, and Enrico Intra.

On the occasion of the 40th anniversary of the death of Pier Paolo Pasolini, Anzovino undertook the project "L'Alba dei Tram", which gives birth to a theatrical work, a single, an album and a film score: on 25 October 2015, in the Pier Paolo Pasolini theater of Casarsa della Delizia, it took place "Recital in honor of Pasolini" with Lino Capolicchio (narrator), Mauro Ermanno Giovanardi (vocals), Danilo Rossi (viola), Marco Anzovino (guitar and percussion), and Remo Anzovino (piano). The show, included in the official program of the Ministry of Culture "Pasolini40", received at its first representation a moving standing ovation and a 10' applause. Lino Capolicchio told that his first meeting with Anzovino "happened quite by chance at the film festival of Fondi, dedicated to Giuseppe De Sanctis: on that occasion I read, with its accompaniment, some poems by Pasolini. I loved his music. And so the idea of this "tribute" – which he wrote some very beautiful, well chosen and poignant pieces for – came to life".

During the premiere of the recital, the song "L'Alba dei Tram" (music by Anzovino and verses of Giuliano Sangiorgi, leader of the Italian band "Negramaro") was performed for the first time. The song, produced by Taketo Gohara and Anzovino, was released as a single on 29 October 2015, supported by an official video signed by Gianluca Moro and Daniel Natoli, which filmed the artists in the room during the recordings at the "Teatro delle Voci" of Treviso. The song is interpreted by the voice of Mauro Ermanno Giovanardi, the solo violist Danilo Rossi (principal violoist, Orchestra of Teatro La Scala, Milan) and the Italian String Orchestra, founded by Mario Brunello and directed by Maestro Stefano Nanni (who edited also the orchestral arrangement).[32]

On 2 November 2015, the 40th anniversary of Pasolini's death, the RAI news "TG1", in the main edition at 8 pm, launched the song "L'Alba dei Tram" with a report by the journalist Vincenzo Mollica, in which he re-edited the official video of the song interpolating RAI stock images of Pasolini in Sabaudia in the short documentary "Pasolini e ... la forma della città" (broadcast on 7 April 1974). On the same evening, the TV channel Sky Arte programmed in prime time, for its first broadcast, the docu-movie "Pasolini Maestro Corsaro" (produced by La Repubblica/Sky Arte and 3D Produzioni, directed by Emanuela Audisio, speaker Fabrizio Gifuni, with Martin Scorsese, Dacia Maraini, Paolo Paoli, Dante Ferretti, Ninetto Davoli, Dino Pedriali and many others), with Anzovino's signature for the whole soundtrack.

On 6 November 2015, the album L'Alba dei Tram – Dedicato a Pasolini was released in CD format: it contains the song, its instrumental version (entitled Inilosap – the poet's name written backward), and all the music used by Emanuela Audisio for the soundtrack of the documentary film Pasolini Maestro Corsaro. The cover of the single/album disc "L'Alba dei Tram" is a photo shoot by Dino Pedriali, dating back to the last days of Pier Paolo Pasolini's life, and belonging to the serie (required by Pasolini himself to Pedriali) commissioned for illustrating his novel Petrolio, published only posthumously in 1992. The photograph shows Pasolini at dawn in his last home in Torre di Chia. The internal notes of the disc were edited by the journalists Tommaso Cerno, Jonathan Giustini, Angela Felice and by Anzovino himself, explaining: "The music of "L'Alba dei Tram" began to grow inside of me two years ago, after a visit by night to the Idroscalo of Ostia, where Pasolini was murdered... The music was born after many months and called Inilosap, thinking about the name of the poet backward, as if rewinding the film of his intellectual and human story the movie could remain even more intact every time... The viscerally popular side of Pasolini has always struck me... So I felt it would be great if the music had become a song and if the author of the verses were my age, somebody whowas born – like me – after his death... I played to music to Giuliano, who decided to give me such beautiful verses... This little work of mine has no claim to be exhaustive nor even to explain Pasolini... This disc is just a set of images, which I hope will come from the sounds to stimulate to reread (or – for the youngest – to discover for the first time) pages and universal images fulloof disruptive force, even today, and perhaps even today indispensable".

The album "L'Alba dei Tram – Dedicato a Pasolini" entered for two consecutive weeks in the FIMI ranking of best-selling albums in Italy, reaching #56 position.

On 25 February 2016, Emanuela Audisio's docu-movie Pasolini maestro corsaro, which Anzovino signed the entirely soundtrack for, received the "Nastro d'Argento" special mention. On 15 March 2016 the music portal Rockit inserted the song "L'Alba dei Tram" among the 10 best ever dedicated songs 40 years after the death of Pasolini, together with, among others, Francesco De Gregori (A Pa), Fabrizio De André (Una storia sbagliata), C.S.I. (Irata), Giovanna Marini (Lamento per la morte di Pasolini).

On 11 May 2016 he performed a piano solo in front of 12,000 people at the Arena di Verona in the opening concert for 2Cellos, on the first date of their European tour, receiving a standing ovation and being defined by the Italian magazine Sky Mag "the Van Gogh of the piano 2.0". On 21 May 2016 Anzovino was one of the protagonists of the piano festival "Piano City Music" in Milan, with a concert at sunset in the scenario of the Vertical Forest designed by Stefano Boeri.

On 27 and 28 May 2016 he was chosen by the magazine Il Messaggero Veneto as the only guest artist of the celebrations for the 70 years of the newspaper, performing in two concerts at the Teatro Nuovo Giovanni da Udine, with the participation – in addition to the Director Tommaso Cerno – of journalists Enrico Mentana, Franca Leosini, Myrta Merlino, Lirio Abbate and Emiliano Fittipaldi.

On 8 July 2016 Anzovino was chosen by RAI and Premio Strega as the official composer for the 70th edition of the most prestigious Italian literary prize. The final ceremony is broadcast on national television Rai 3, and Anzovino accompanied with his music the entire evening, both with the actress Paola Pitagora and the conductor Pino Strabioli. Moreover, he sonorized some period films live, and duetted with the singer Chiara Civello in Gino Paoli's song "Senza Fine", captivating the auditors in the auditorium Parco della Musica-Sala Sinopoli and the entire TV audience.

On 12 September 2016 the song "L'Alba dei Tram – Canzone per Pasolini" was chosen by a jury of 210 journalists as a finalist for the Premio Tenco for the category "Best song of the year".

Discography
 Dispari, CNI/Rai Trade, 2006
 Tabù, Egea Music, 2008
 Igloo, Egea Music, 2010
 Viaggiatore Immobile, Egea Music, 2012
 Vivo, Egea Music, 2013
 L'Alba dei Tram – Dedicato a Pasolini, Egea Music, 2015

Featuring
 Dj Aladin feat. Remo Anzovino, Dargen D'Amico e Roberto Dellera. Mi vuoi bene – Traccia 2. Fili Invisibili (2012 Metatron/Audioglobe) – music, strings and piano arrangement.
 Gino Paoli e Remo Anzovino. Santo me – Traccia 1. Capo Verde terra d'amore vol. 3 (2012 Numar Un/Egea Music) – elaboration of the original music piece "Sao Tomè na Equador" starring Cesária Évora.
 Tre Allegri Ragazzi Morti cd-album Primitivi del dub (2010 La tempesta) – fender rhodes in the song "La rivolta dell'avvocato".

Compilation
 Chill out-Blue (2007) – La Repubblica – Espresso – "Cammino nella notte" (from "Dispari").
 Chill out–Green (2008) – La Repubblica – Espresso –"Amante" (from "Tabù").
 Capo Verde Terra d'amore in Jazz (2014) – attachment to the monthly magazine "Musica Jazz" / May – "Santo me" duet with Gino Paoli.
 Lelio Swing (2014) – attachment to the monthly magazine "Musica Jazz" / December – "Goodnight Rossana".

Sonorizations and soundtracks
 Docu-movie "Pasolini Maestro Corsaro" directed by Emanuela Audisio (La Repubblica/SKY Arte – 3D Produzioni), readings by Fabrizio Gifuni. With Martin Scorsese, Dacia Maraini, Paolo Poli, Ninetto Davoli, Dante Ferretti, Nico Naldini, Dino Pedriali.
 Docu-movie "Lei è mio marito" directed by Annamaria Gallone (Kenzi Production), biography of the lawyer Alessandra Gracis.
 Simone Cristicchi – docu-movie "Dall'altra parte del cancello" (2007 – Sony BMG, DVD) – main musical theme "L'immagine ritrovata" from the album "Dispari".
 Short film "Can Can", directed by Matthew Oleotto (Centro Sperimentale di Cinematografia), with Roberto Citran.
 Docu-movie "Il Lupo in calzoncini corti" directed by Lucia Stano/Nadia Delle Vedove (Faro Film and Graffiti Doc).
 Sonorization of the painter Ottavio Sgubin Barboni's exhibition (Rome, Stazione Termini, Galleria Nazionale).
 Sonorization of the exhibition "Entrare nella terra" by sculptor Guerino Dirindin (Pordenone, Ex Cerit).

Music for silent movies
 Metropolis – Fritz Lang
 The Circus – C. Chaplin
 Nosferatu, eine Symphonie des Grauens – F. W. Murnau
 Die Finanzen des Großherzogs – F. W. Murnau
 Sunrise: A Song of Two Humans – F. W. Murnau
 Mussolini visita gli stabilimenti della FIAT – Pittaluga
 Das Cabinet des Dr. Caligari – R. Wiene
 Tagebuch einer Verlorenen – G.W. Pabst
 Beggars of life – of W. Wellman
 Die Büchse der Pandora – G.W. Pabst
 Geheimnisse einer Seele – G.W. Pabst
 The Cameraman – B. Keaton
 The Navigator – B. Keaton
 One week – B. Keaton
 The Cops – B. Keaton
 Nanook of the North: A Story of Life and Love in the Actual Arctic – R.J. Flaherty
 Travelling in arctic – Sakan Palsi
 Das Wachsfigurenkabinett – Leni P. and L. Birinski
 Novy Vavilon – Trauberg
 Os Lobos – Lupi
 Mandrin – Fescaurt
 La Maison du Maltes
 Le voyage dans la lune – G. Melies
 La Glace à trois faces – J. Epstein
 L'uomo meccanico – A. Deed
 Tabu: A Story of the South Seas – F. W. Murnau and R.J. Flaherty

Music for the theater
 La zapatera prodigiosa – by F. G. Lorca (directed by F. Scaramucci)
 Ревизор (Revizor) – N. V. Gogol (directed by F. Scaramucci)
 La donna volubile – by Carlo Goldoni (directed by C. Pontesilli)
 Облако в штанах. (Тетраптих) – V. V. Majakovskij (directed by F. Scaramucci)
 Il pais de cucagne – by P. Biasatti (directed by F. Merisi)
 Dyonisus – freely adapted from T. Suzuki (directed by F. Merisi)
 Le sette berrette di Gaspare Berretta – (written and directed by F. Scaramucci)
 Storia del gatto che se ne andava per i fatti suoi (written and directed by F. Scaramucci)
 Come Pierino diventò Pierone e incontrò la strega bistrega (written and directed by F. Scaramucci)
 La pulce mingherlina (written and directed by F. Scaramucci)
 Il signor Bonaventura – by S. Tofano (directed by C. Manzon)

Music for advertising
 Alitalia – institutional and promotional board campaign
 New Holland Fiat – institutional
 Chimento Gioielli – commercial
 Lotto – commercial
 Palazzetti – commercial
 Seleco – institutional
 Electrolux – institutional
 Valcucine – institutional
 A.M.I.U – G.E.A. – institutional
 Euroflex – commercial
 Premek – institutional

Video
 Tabù (2008, produced and directed by Francesco Guazzoni).
 Spasimo (2012, Grapevine Studio production, directed by Sergio Chiara).
 Natural Mind/Teaser 3 (2012, produced and directed by Francesco Guazzoni).
 9 ottobre 1963 (Suite for Vajont) (2012, written and directed by Francesco Guazzoni, Marco Dioda and Liana Chiarot)
 No Smile (Buster Keaton), (2013, produced and directed by Francesco Guazzoni).
 L'Alba dei Tram – Canzone per Pasolini (2015, direction/photography Gianluca Moro).

Concerts
 "Dispari Tour", 2006–2008 (Line up: piano Remo Anzovino, accordion Gianni Fassetta, acoustic guitar Marco Anzovino. Added elements during some concerts: cello Antonino Puliafito, double-bass Mauro Zavagno).
 "Tabù Tour", 2008–2010 (Line up: piano Remo Anzovino, accordion Gianni Fassetta, acoustic and electric guitar Marco Anzovino.)
 "Igloo Tour", 2010–2012 (Line up: piano Remo Anzovino, accordion Gianni Fassetta, acoustic and electric guitar Marco Anzovino. Guests: tenor sax Francesco Bearzatti, drums Franz Di Ciocco, bass Enzo Pietropaoli, clarinet Gabriele Mirabassi, acoustic guitar Bebo Ferra, flugelhorn Luca Aquino).
 "Viaggiatore Immobile Tour", 2010–2012 (Line up: piano Remo Anzovino, theremin/glockenspiel/bass guitar/sampler/voice Vincenzo Vasi, acoustic guitar and percussion Marco Anzovino, electric guitar Alberto Milani. Added elements during some concerts: strings Edodea Ensemble, violin/theremin/glockenspiel/bass guitar/sampler Valeria Sturba, electric bass Andrea Lombardini).
 "Vivo in Tour", 2014 (Line up: piano Remo Anzovino, theremin/glockenspiel/bass guitar/sampler/voice Vincenzo Vasi, violin/theremin/glockenspiel/bass guitar/sampler Valeria Sturba, acoustic guitar and percussion Marco Anzovino, electric guitar Alberto Milani).

Collaborations
During his career, among many others, he collaborated with Franz Di Cioccio, Giuliano Sangiorgi, Gino Paoli, Oliviero Toscani, Mauro Ermanno Giovanardi, Danilo Rossi, Dino Pedriali, Lino Capolicchio, Enzo Pietropaoli, Tre Allegri Ragazzi Morti, Davide Toffolo, Simone Cristicchi, Taketo Gohara, Paolo Baldini, Vincenzo Vasi, Francesco Bearzatti, Bebo Ferra, Gabriele Mirabassi, Luca Aquino, Tommaso Cerno, Orchestra D'Archi Italiana, Coro Polifonico di Ruda, Luisa Prandina, Giuseppe Ettorre, Giuseppe Cacciola, Alessandro "Asso" Stefana, Fondazione Lelio Luttazzi, Dj Aladyn, Dargen D'Amico, Roberto Dellera, Emanuela Audisio.

Notes

 In November 2003, at the University of Bologna DAMS Faculty (Cinema Studies section) a thesis entitled "La musica nel cinema muto oggi: il commento musicale di Remo Anzovino per il film Diario di una donna perduta di G.W. Pabst" ("Music in silent films today: the Remo Anzovino's musical comment to the film Tagebuch einer Verlorenen by G.W. Pabst") was discussed: it was a work entirely dedicated to the music created by the composer for the masterpiece of German Expressionist cinema and starring Louise Brooks, performed for the first time at Cinema Lumiere in Bologna during the exhibition "Louise Brooks, la ribelle".
 Remo Anzovino graduated at age 24 with full honors in Law with a thesis in criminal law about the customer abetting cases by the defense counsel and an appendix on the cases of collusion in the mafia associative crimes by professionals. He practices as a criminal lawyer.
 The first silent movie he created music for has been "Nanook of the North: A Story of Life and Love in the Actual Arctic" by Flaherty. The music was performed for the first time (piano solo) in December 2002 at the Cineteca di Bologna at Cinema Lumiere, during the exhibition "Il cinema del circolo polare artico".
 The picture on the cover of the first album, Dispari, is a scribble on the mixing notes of Ado Scaife, forerunner of the Italian punk ("The Great Complotto"; "Tampax") and cultural entrepreneur, who has followed the executive production of the disc.
 The photograph on the cover of second album, Tabù, was taken by Gianluca Moro (author of the disc cover of the Italian band Baustelle among others), which was inspired by Francis Bacon's studio.
 The cover and interior illustrations of the album Igloo were created by Davide Toffolo, appreciated Italian cartoonist, as well as leader of the rock band "Tre Allegri Ragazzi Morti", who imagined the musical world of that opera as two bears, others from themselves, watching an ice wreck – like a skyscraper surplus – advancing into thin air, in a polar landscape.

References

External links

1976 births
Living people
Criminal defense lawyers
21st-century Italian lawyers
Italian male composers
21st-century Italian male musicians

Remo Anzovino


Enzo Emilio Galbiati (23 May 1897 – 23 May 1982) was an Italian soldier and fascist politician.

Biography
Born in Monza, Galbiati was a lieutenant in the Royal Italian Army's elite Arditi during the First World War. He was wounded in action in 1917. Whilst still in the army (he was demobilised in 1920) he joined the Monza fascio in 1919 and became the leader of the squadristi. Involved in the March on Rome, Galbiati gained a reputation for his brutality as a squad leader and in 1924 he charged with, although later acquitted of, murder. As a consul of the Blackshirts, Galbiati was involved in the 'revolt of the consuls' when on 31 December 1924 thirty leading fascists entered the offices of Benito Mussolini in an attempt to force him to overcome the political impasse that followed the Matteotti Crisis.

From 1925 to the following year Galbiati was out of the fascist movement after Mussolini expelled him for his involvement in the 'revolt'. However he was soon readmitted and once again became a leading figure in the Blackshirts, suffering further war wounds in the Second Italo-Abyssinian War. Returning to Italy he was appointed inspector of university militias and had risen to the rank of Luogotenente Generale in the Blackshirts by the time Italy entered the Second World War. He saw service in the Italian invasion of Albania before in May 1941 succeeding Achille Starace as Blackshirt Chief of Staff. By 1943 he was the national commander of the Milizia Volontaria per la Sicurezza Nazionale (MVSN), as the Blackshirts were formally known.

The role in the fall of Mussolini

Despite his earlier involvement in the consuls' revolt Galbiati became a staunch Mussolini loyalist in later years and opposed the motion against him on 25 July 1943. On the morning of that day, he proposed to Mussolini the arrest of the nineteen gerarchi who had voted for the "OdG Grandi" (order of the day from Dino Grandi), but he refused. When news of Mussolini's arrest was released at 7 o'clock in the evening the headquarters of the MVSN in Viale Romania were surrounded by army units. Galbiati, who was in his office, ordered the MVSN not to provoke incidents. Although the majority of his officers wanted to react, after consulting with four generals he called the under-secretary of the interior Umberto Albini and told him that the MVSN would have "remained faithful to its principles, that is to serve the fatherland through its pair, Duce and King." After that, it was clear that the Blackshirts would have not reacted to the putsch. Shortly before midnight, he was ordered to hand over control to the army general Quirino Armellini. Galbiati capitulated to Grandi's men and it has been argued that it was this that cost him a high office in the Italian Social Republic. He served 11 months in prison after the war, before largely disappearing from the public eye.

Bibliography
Carlo Rastrelli. Enzo Galbiati. Storia Militare N° 161 (Febbraio 2007) pag. 29-41

References

1897 births
1982 deaths
People from Monza
National Fascist Party politicians
Italian military personnel of World War I
Italian military personnel of World War II
Italian military personnel of the Second Italo-Ethiopian War
Prisoners and detainees of Italy

Enzo Galbiati