Chuck Wayne (February 27, 1923 – July 29, 1997) was an American jazz guitarist. He came to prominence in the 1940s, and  was among the earliest jazz guitarists to play in the bebop style. Wayne was a member of Woody Herman's First Herd, the first guitarist in the George Shearing quintet, and Tony Bennett's music director and accompanist. He developed a systematic method for playing jazz guitar.

Style
Wayne was known for a bebop style influenced by saxophone players of his time, especially Charlie Parker and Coleman Hawkins. In an era when many guitarists used four-square, mandolin-style picking, with rigid up-down stroke articulation, Wayne developed a technique not widely adopted by others until decades later. He also developed a comprehensive approach to guitar chords and arpeggios – based on generic tetrad forms spanning all possible inversions, in varying degrees of open voicing. This highly analytic approach to the fretboard was later documented in a series of theory books, some released posthumously.

Life and work
Chuck Wayne was born Charles Jagelka in New York City to a Czechoslovakian family. As a boy, he learned banjo, mandolin, and balalaika. In the early 1940s he began playing in jazz bands on 52nd Street. After two years in the Army, he returned to New York City, joined Joe Marsala's band, and settled in Staten Island (until a 1991 move to New Jersey). He changed his musical style after hearing Charlie Parker, recording with Dizzy Gillespie in 1945. Bill Crow writes that Wayne was one of the first jazz guitarists to learn bebop. Two examples are "Groovin' High" and "Blue 'n' Boogie" recorded with Dizzy Gillespie.

Wayne was a member of Woody Herman's First Herd and worked with Coleman Hawkins, Red Norvo, Bud Powell, Jack Teagarden, George Shearing, Lester Young, and Barbara Carroll. During the 1950s, he worked with Tony Bennett,  Gil Evans, Brew Moore, Zoot Sims, and George Wallington. He was employed as staff guitarist for CBS in the 1960s. For the next two decades, he played on Broadway, accompanied vocalists, and performed in guitar duos with Joe Puma and Tal Farlow.

Wayne wrote "Sonny" in honor of Sonny Berman. Years later, Miles Davis took the song, renamed it "Solar", and claimed he wrote it. Wayne's "Butterfingers" and "Prospecting" have been incorrectly attributed to Zoot Sims.

He died of emphysema in Jackson, New Jersey, aged 74.

Recordings
Wayne recorded his debut 10"LP  (reissued on The Jazz Guitarist, Savoy) in 1953 with Zoot Sims and Brew Moore which Fresh Sounds has since reissued along with sessions by Lou Mecca and Bill DeArango as Three Swinging Guitar Sessions. He recorded in a trio for Tapestry (1963) and Morning Mist (Original Jazz Classics, 1964) and in a duo with Joe Puma on Interactions (Choice, 1973).

He recorded an album of banjo jazz in 1963. He loved the crisp, hornlike sound that was possible with the banjo, and he predicted there would be a resurgence of interest in the banjo.

Theory and technique
Chuck Wayne invented a system of playing jazz guitar that emulated the style of Charlie Parker. His system included consecutive-alternate picking, chords, scales, and arpeggios. The following summary reflects material in Wayne's method books.

Consecutive-alternate picking
In Wayne's technique, movement of the pick comes mostly from the joints of the first finger and thumb, not the wrist, hand, or arm. The pick is not held rigidly; its angle changes slightly as it passes over the string. The tip of the pick drags slightly during each stroke so that the tip points up during a down stroke and down during an up stroke. This resembles the apoyando, or rest stroke, used by classical guitarists, particularly if the movement is exaggerated with slow, deliberate strokes, allowing the pick to stop on the adjacent string.

When moving between adjacent strings, the guitarist continues a single up stroke or down stroke to play consecutive notes on two strings. Thus, when moving to a higher string (higher in pitch), the down stroke continues over two strings; when moving to a lower string, the up stroke continues. When more than two notes are played on a single string, the guitarist alternates strokes (or uses a slur, depending on the phrasing). This technique eliminates the "plinka-plinka" of traditional alternate picking and allows smooth, rapid playing.

In rapid passages, the right hand is typically anchored, lightly, by touching the pinky fingernail to the pick guard, which itself should be placed near and slightly below the first string. A narrow pick guard for this use, usually of ebony, became known among luthiers as a "Chuck Wayne style pick-guard" or more accurately as a "finger rest." Some guitarists have referred to consecutive/alternative picking as "spray picking", although Wayne disliked this term.

Wayne was an exponent of the use of the right-hand fingers in combination with the pick. He synthesized plectrum and classical guitar technique. The pick is held in the normal way, but the remaining three fingers are used to play chords and counterpoint. Wayne often surprised audiences by using this method to play difficult Bach fugues and other pieces from classical music. His use of the technique for contrapuntal improvisation was an innovation.

Chords
Wayne's chord system is based on "generic" chord forms, forms that have the same sonority in all keys, and that do not rely on open strings or guitaristic peculiarities.

Wayne observed that most guitar chords in common use do not have these properties and that the way most guitarists play a G7 chord, for example, sounds different from the way they play a C7 or an E7 due to the different arrangements of notes. The common ("cowboy") chords are popular because they simplify fingering, but they constrict musical options. Wayne avoided this problem. (He did also use "specific" chord forms when appropriate, but his system concentrated on chords with universal applications.)

Most chord books have diagrams organized by chord name (A13, Gm7b5) or type (thirteenth, minor seven-flat-five). Under each heading are the fingerings that show the chord in alternative inversions and voicings, generally having little in common other than a shared set of notes. The guitarist memorises the forms, learning a few different ways to play each chord. Over time, through practical experience, the guitarist learns or decides when to use each form. When playing in Bb, such a guitarist will inevitably play with a very different set of voicings from what would be used in F or Eb, simply because the "normal" guitar chords in these keys have very different sonorities. Wayne tried to describe the "complete" scope of harmonic possibilities available on the fretboard, in all voicings, given conventional guitar tuning and a human left hand.

Concepts
In Wayne's system, a generic chord has four different notes. This includes chords like dominant sevenths, major sixths, and minor ninths, but not major or minor triads, or other "specific" triadic forms, which Wayne concluded were rarely useful for jazz. For chords containing five or more notes, such as thirteenths and ninths, Wayne removed the root, and other notes if necessary, to preserve the generic four-note form.

Wayne's focus on four-note generic chords reflects the realities of left hand fingering on a six-string guitar. Four-note chords can be comfortably played in many different voicings and fingerings, but five- or six-note chords work only in specific situations and defeat the purpose of a generic approach. Wayne was trying to give the guitarist the harmonic vocabulary and flexibility available to pianists.

Since there are four different notes in each of Wayne's chords, there are four possible starting notes or inversions. (When such a chord contains the root, it is an inversion in the traditional sense; otherwise, it is a revoicing. For convenience, Wayne calls all such transformations "inversions".) The remaining notes are then arranged above it.

Open voicing and derivatives
Wayne realized that the close voicing normally used on pianos – i.e. where an entire chord is played within the same octave – is not usually practical on the guitar. He found that the most useful generic fingerings could be obtained by raising or lowering one or more of the four notes by an octave.

[The following descriptions cover the main elements of Wayne's chord system; but these may be hard to visualize. Wayne's method books, listed below, are the best source for diagrams and details.]

 Open voicing. The building block of Wayne's chord system is a form he calls "open voicing," where the four notes of each chord are placed on adjacent strings, and the second note of the chord is raised by an octave. For example:
Major sixth, open voicing, root position. A major sixth chord can be comfortably played on the bottom four strings by playing the root on the lowest string, and the fifth, sixth, and third on the adjacent three strings. The second note of the chord (the third) has been raised by an octave, and placed on the top of the chord.
 Major sixth, open voicing, other inversions. The same major sixth chord can be comfortably played on the bottom four strings in three other inversions, by playing the third, fifth, or sixth on the lowest string. In each case, the second note of the chord (the fifth, sixth, or root, respectively) is raised by an octave and played on the fourth string.
 Deriving seventh chords. These four major sixth inversions can easily be changed into other chords. For example, dominant sevenths are obtained by raising the sixth by one fret; major sevenths are obtained by raising it two frets. The chord family remains the same, with its basic four-note structure, the use of the four inversions, and the basic open-voiced shapes. Every four-note chord thus has four possible open-voiced inversions (though not all are practical using human fingers).
 Chords that omit the root. A minor ninth chord in open voicing is formed by starting with a dominant seventh form, lowering the third by one fret, and raising the root by two frets. The resulting chords contain the minor third, fifth, minor seventh, and ninth, but no root. (Omitting the root leaves the harmonic sense intact; it is generally supplied by a bass player, or by the listener.)
 Low, middle, and high voicing. With slight fingering changes, the open voicing forms can be played on any four adjacent strings, not just the lowest four strings. These are sometimes referred to as low, middle, and high voicings.
 Other generic voicings. Working with the basic open-voiced generic forms, it is possible to raise or lower individual notes by an octave, to create additional voicings with an even more "open" sound. For example, consider an open-voiced major sixth chord, starting with the root on the sixth string:
 Spread voicing. Remove the second note from the bottom of the chord (the fifth in this inversion), and move it up an octave, by playing it on the second string. Wayne calls this "spread voicing"; the chord consists of a bass note, a gap, and three notes on adjacent strings. Spread voicing can be used with all of the open-voicing inversions, by raising the second note of the chord by an octave.
 Split voicing. Similarly, remove the third note from the bottom of the chord (the sixth in this inversion), and move it up an octave, by playing it on the second string. Wayne calls this "split voicing"; the chord consists of notes on two pairs of strings, split by a gap.
 Octave voicing. Similarly, replace the top note of a spread voicing chord with the octave of the chord's second note. Wayne calls this "Octave voicing"; it removes the top pitch from the chord, instead creating a three-note chord that is influenced by four-note harmony.
 Closed voicing and "specific" chords. Wayne's system also includes some "closed voicing" chords, and a number of "specific" chord forms that have special uses. But the main thrust is on the family of open, spread, split, and octave forms in all inversions.

Use of Wayne's chords
Jazz musicians are very much attuned to how "open" a chord sounds; generally, the more open the voicing, the less chance of conflict between the chord and melody or improvisation. For this reason, while comping, Wayne especially used the spread and split voicings, which have the most "open" sound in his system. The other forms, being more "closed", are often chosen in arrangements using counterpoint and melody. However, there are no hard-and-fast rules for choosing a particular form in a given situation.

Surprisingly, Wayne's approach reveals many chord forms that are comfortable to play but rarely seen, except in classical guitar fingerings. This is particularly true of inversions that begin on the third or sixth/seventh, and also of certain split and spread voicings. In Wayne's heyday, experienced guitarists were often puzzled to watch him playing chord shapes that they didn't even recognize, chords with subtle differences from the norm. Wayne's novel strategy gave him an exceptionally wide harmonic palette, helping him avoid the sameness often found in the playing of guitarists – even some great ones.

Scales
Wayne's scale fingerings were designed to maximize use of consecutive/alternate picking, and thus to provide a legato feel. His basic scale fingerings are simple, although he also created various extended forms. Like his analytic approach to chords, his scale fingerings provide a single structure that can be applied to a variety of scale forms.

The simple rule for transverse diatonic, melodic minor, and harmonic minor scales is: 2-3-3-3-2-2, where each number represents the number of notes to play on each string, from low E to high E strings. The simple rule for his extended fingering is: 3-3-3-3-3 (five strings). Wayne provides many other fingering patterns in his "Scales" method book. The idea behind all of the various fingerings is that the student will be able to quickly learn the fretboard. In this way the player can create melodic lines that sound the best. The fingering patterns are practice exercises.

However, by generally playing three notes per string, consecutive picking across adjacent strings occurs frequently throughout the scale when forming a melodic line.

Arpeggios
The arpeggios in Chuck Wayne's system were explained in his book with his student, Ralph Patt. His arpeggios are derived from the rule for each two-octave arpeggio: 2-1-2-1-2 (five strings) for playing the tetrad (4 notes) harmonic forms of Chuck Waynes' chordal voicings. Unlike other ad-hoc arpeggio fingerings, the two notes per string followed by one note per string rule provides the characteristic legato sound of Chuck Wayne. Combined with the consecutive-alternate picking, the arpeggios resemble harp-like flows. Present day jazz guitarists refer to the harp-like sound as "sweep" although Chuck Wayne disliked this term since it refers to a broom.

The word arpeggio is a derivative of the word harp. The genius of the rule 2-1-2-1-2 manifests the harp-like lines and also allows the player to discover and play any arpeggio without the burden of questioning the awkward fret board fingering possibilities. The fingering is known, so it is up to the player to deploy the correct fingering for each tetradic inversion of choice. Arpeggios are revealed in two octaves. The starting note of an ascending arpeggio is either a note on the 6th string or a note on the 5th string, each voicing spanning five strings. The arpeggiated voicing is equivalent to the closed voicing on the piano.

There is a close relationship between Wayne's chord system and his arpeggio forms. A major milestone for Wayne's students was to experience a mental synthesis of his chord system and the arpeggio structures – revealing the internal relationships that link families of chords. Reaching this plateau would "unlock the fretboard", transforming it into something that could be approached more like a piano keyboard. This happens because Wayne's tetrad chord shapes are contained within the 2-1-2-1-2 fingerings.

Again the goal is to play melodic lines that sound the best on the instrument. Wayne taught many other arpeggio fingerings beginning with close chord form: 1-1-1-1 for one octave. Others for one octave are: 1-1-2, 1-2-1, 2-1-1, and 2-2. The 2-1-2-1-2 pattern above is derived from combining the 2-1-1 fingering for one octave and the 1-1-2 fingering for one octave.

Octaves
Another dimension of Chuck Wayne's style was his method of playing octaves. Since Chuck Wayne was an advanced classic guitarist as well as a plectrum player, he combined the two forms to play octaves. His right hand held the pick between the first finger and thumb to play the low note of the octave. His middle finger and ring finger alternated to play the upper note of the octave. His left hand used the "skip one" string form, which is using the index finger for the low note and the fourth finger for the upper note. Regarding two octave spans,  to keep the left hand in position, the fourth finger is used to play the lower note and the first finger is used to play the upper note using the "skip two" (strings) form.

Putting it all together
The figure below depicts the major 7th tetrads (and the minor 9th equivalent) for the spread voicings as well as the arpeggios and the basic scales that correspond to one another in Chuck Wayne's "complete system" of jazz guitar. The vertical bar on the left of the chart(s) marks the tonic on the low E. Notice that the minor 9 framework does not have a tonic (root), since the first note is the 9th.

Discography

As leader
 The Jazz Guitarist (Savoy, 1956)
 String Fever (Vik, 1957)
 Morning Mist (Prestige, 1965)
 Interactions with Joe Puma (Choice, 1974)
 Tasty Pudding (Savoy Jazz, 1984)
 Traveling (Progressive, 2016)

As sideman
With George Shearing
 I Hear Music (MGM, 1955)
 Touch of Genius! (MGM, 1955)
 A Shearing Caravan (MGM, 1958)
 A Jazz Date with George Shearing (MGM, 1961)

With others
 Tony Bennett, Cloud 7 (CBS/Sony, 1975)
 Tony Bennett, My Heart Sings (Columbia, 1961)
 Joe Bushkin, In Concert Town Hall (Reprise, 1964)
 Warren Chiasson, Point Counterpoint (Empathy, 1986)
 Don Elliott, Love Is A Necessary Evil (Columbia, 1962)
 Gil Evans, New Bottle Old Wine (World Pacific, 1958)
 Gil Evans, Great Jazz Standards (World Pacific, 1959)
 Dick Katz, Piano & Pen (Atlantic, 1959)
 Beverly Kenney, Like Yesterday (Decca, 1959)
 Hank Jones, Chuck Wayne, George Duvivier, Charles Persip, Now Dig This!/Jazz in 2 Keys (Music Minus One, 1959)
 Clifford Jordan, These Are My Roots (Atlantic, 1965)
 Duke Jordan, Misty Thursday (SteepleChase, 1978)
 Rolf Kuhn, Rolf Kuhn and His Sound of Jazz (Urania, 1960)
 John Mehegan, Casual Affair T. J. (1959)
 Big Miller, Did You Ever Hear the Blues? (1959)
 Marian Montgomery, Swings for Winners and Losers (Capitol, 1963)
 Tony Perkins, On a Rainy Afternoon (RCA Victor, 1958)
 Jimmy Raney, Chuck Wayne, Joe Puma, Dick Garcia, The Fourmost Guitars (ABC-Paramount, 1957)
 George Wallington, The George Wallington Trios (Prestige, 1968)
 Frank Wess, Flute Juice (Progressive, 1981)

References

Sources
 Feather, Leonard, and Gitler, Ira (eds.), The Biographical Encyclopedia of Jazz, Oxford University Press.
 Crow, Bill, Jazz Anecdotes, 2nd Edition (2005), Oxford University Press.
 Profile of Wayne by bassist Bill Crow
 Profile of Wayne at Classic Jazz Guitar

External links
 Chuck Wayne Papers at the Library of Congress
 Discography at Classic Jazz Guitar
 Discography at Japanese site, but list is in English

20th-century American guitarists
American jazz guitarists
Cool jazz guitarists
Savoy Records artists
1923 births
1997 deaths
American jazz educators
American male guitarists
20th-century American male musicians
American male jazz musicians
Musicians from Staten Island
Jazz musicians from New York City

Chuck Wayne


Seacliff Park is a suburb of Adelaide partly in the City of Marion and the City of Holdfast Bay. The suburb is adjacent to South Brighton in the north, Seaview Downs to the east, Hallett Cove to the south, and Marino and Seacliff on its western side. The suburb is divided diagonally by Ocean Road, with the northern part of the suburb mainly residential, and the southern park partly occupied by a golf course and a quarry.

Prior to the 1836 British colonisation of South Australia, the area was inhabited by the Kaurna people, who occupied the land from Cape Jervis in the south up the western side of the Fleurieu Peninsula, to Crystal Brook in the north, west to the Mount Lofty Ranges, across to Gulf Saint Vincent, including the Adelaide Plains and city of Adelaide.

The Kaurna name for the area was Wita-wattingga, or Wita-wita, was the Kaurna name of an area on the north side of O'Halloran Hill, which was then covered in low woodland of Eucalyptus porosa and/or Eucalyptus odorata known as mallee peppermint gums. The forested area named thus included the north-western slopes at South Brighton and Seaview Downs, across to Seacliff Park, and probably also included the area across the hill nearly as far as the present Main South Road as well as westwards as far as the eastern slopes of Marino. The place name was recorded in 1837 as "Weta wertinga", although its meaning, "in the midst of peppermint gums" was only recorded later. The name may have been a generic name applied to other places with peppermint gums; a similar name, Witawatang, was also applied to an area near Rapid Bay.

Seacliff Park Post Office opened on 15 January 1995, replacing the nearby South Brighton office.

In the 2016 Australian census, there were 2,439 people living in Seacliff Park.

References

See also
List of Adelaide suburbs

Suburbs of Adelaide

Seacliff Park, South Australia


The R345 is a Regional Route in South Africa that connects Cathcart with Hamburg via Hogsback, Alice and the Double Drift Nature Reserve. It is co-signed with the R63 between Fort Hare and Alice.

Its northern origin is Cathcart at the N6. It passes through Hogsback to reach the R63. The roads run west together to reach Alice. From Alice, the route departs heading south. It then bends south-east to reach the N2. It is cosigned heading south-west, and the routes enter Peddie. At Peddie, the route heads east to the R72. The routes are cosigned heading south, before the R345 is given off to end at the coast at Hamburg.

External links
 Routes Travel Info

References

Regional Routes in the Eastern Cape

R345 (South Africa)


7,12-Dimethylbenz[a]anthracene (DMBA) is an immunosuppressor and a powerful organ-specific laboratory carcinogen. DMBA is widely used in many research laboratories studying cancer. DMBA serves as a tumor initiator. Tumor promotion can be induced with treatments of 12-O-tetradecanoylphorbol-13-acetate (TPA) in some models of two-stage carcinogenesis. This allows for a greatly accelerated rate of tumor growth, making many cancer studies possible.

References

Polycyclic aromatic hydrocarbons
Carcinogens
Anthracenes
Immunosuppressants

7,12-Dimethylbenz(a)anthracene


Minnesota History (formerly Minnesota History Bulletin and sometimes called Minnesota History Magazine) is a quarterly peer-reviewed academic journal published by the Minnesota Historical Society Press focusing on the history of the US state of Minnesota and the adjacent area. Published since 1915, the journal is edited by Laura Weber and written for a non-specialist audience, with free distribution to all members of the state historical society. Among US state historical journals, Minnesota History has been regarded throughout its run for the quality of its scholarship and the caliber of the authors publishing in it.

Overview and history
The journal is published quarterly by the Minnesota Historical Society (MNHS). The journal covers topics related to various facets of Minnesota history, as well as the history of adjoining areas. Articles in the journal are intended to be understandable by lay audiences, may vary between 1,500 and 5,000 words, and undergo a double-blind peer-review process before publication. In addition to articles, the journal features book reviews, biographies, and information on the MNHS's collections. The journal's editor-in-chief is Laura Weber, who took over from Anne R. Kaplan in 2016. The MNHS occasionally refers to the journal as the Minnesota History Magazine.

The first issue of the journal was published in February 1915 under the title Minnesota History Bulletin, authorized by MNHS superintendent Solon J. Buck. The Bulletin was intended to disseminate information presented at MNHS meetings or submitted to the society in a more timely manner than the previous method of collecting papers and notes for several years at a time, then publishing them in a larger single volume. Beginning with its March 1925 issue, the journal changed its name to Minnesota History, which the MNHS felt reflected the journal's shifting aims: to include more popularly accessible content and to provide materials for teachers of Minnesota history. The journal is also illustrated.

Among state historical journals, Minnesota History has been well-regarded throughout its print run. The Bulletin was noted in The Mississippi Valley Historical Review shortly after its founding for being among the best local and state historical journals in terms of the quality of its news and notes. In 1932, the publication was described by the Review of Reviews and World's Work as being an "able and important" US state historical periodical. Upon its fiftieth anniversary, a review in the Journal of the Illinois State Historical Society described the "high level of historical quality" within Minnesota History. Another in the Wisconsin Magazine of History described the journal as an exemplar to other state historical societies, for the caliber of its scholarship and of the scholars who contributed to the journal, suggesting that a similar journal should have been established in neighboring Wisconsin much sooner.

Each year, Minnesota History presents the Solon J. Buck Award for the best article published in the journal in the preceding 12 months. The award was first given in 1955 and is open to all contributors to the journal who are not MNHS staff. A second award, the Theodore C. Blegen Award, was established in 1971 and is open to all contributors to the journal who are MNHS employees. As of 2019, the value of the cash prize for both awards was $600.

Distribution and availability
Issues of Minnesota History are distributed for free to members of the MNHS. Beginning in 2009, the MNHS began publishing full issues of Minnesota History on its website, initially with a five-year delay and, beginning in 2017, concurrent with their print publications. The journal is also available through JSTOR.

Abstracting and indexing
The journal is abstracted and indexed in America: History and Life, Historical Abstracts, and the Modern Language Association Database.

Topics
The journal articles cover a range of topics of Minnesota history, including the Sioux people and the Dakota War of 1862, the historical importance of the Saint Anthony Falls, the history of cholera in the state, the historic Near v. Minnesota Supreme Court case, and root beer stands in the Upper Midwest.

See also
Other state history journals

References

External links

Publications established in 1915
History of the United States journals
Quarterly journals
English-language journals
1915 establishments in Minnesota
Minnesota Historical Society
History of Minnesota
Academic journals published by learned and professional societies of the United States

Minnesota History (journal)


Cularo was the name of the Gallic city which evolved into modern Grenoble. It was renamed Gratianopolis in 381 to honor Roman emperor Gratian.

The first remaining reference to what is now Grenoble dates back to a July 43 BC letter by Munatius Plancus to Cicero. The small town founded by the Allobroges Gallic people was at that time called Cularo. In 292, the western emperor Maximian elevated the town to the rank of "city" and had defensive walls built around it. These walls both protected the urban area and marked its status of Civitas. Their vestiges are now a landmark of this era.

Wishing to thank and honor the emperor Gratian for creating its bishopric, the inhabitants of Cularo renamed their town Gratianopolis in 381. That name would subsequently evolve into Grenoble through Graignovol.

The Saint-Laurent crypt and the baptistery of Grenoble date also back from the Gallo-Roman period (4th century), and have been preserved to this day; the latter remained in use until the 9th century but had later been buried under accumulated urban layers; it was rediscovered in 1989 during the construction of tramway tracks, excavated until 1996, and incorporated into the adjacent Musée de l'Ancien Évêché. Several small sections of the Gallo-Roman city wall are also visible in the old town, especially in rue Lafayette.

References

Further reading

External links
 Perseus.

History of Grenoble
Allobroges
Archaeological sites in France
Roman towns and cities in France
Auvergne-Rhône-Alpes region articles needing translation from French Wikipedia

Cularo


The bulbus cordis (the bulb of the heart) is a part of the developing heart that lies ventral to the primitive ventricle after the heart assumes its S-shaped form. The superior end of the bulbus cordis is also called the conotruncus.

Structure
In the early tubular heart, the bulbus cordis is the major outflow pathway. It receives blood from the primitive ventricle, and passes it to the truncus arteriosus. After heart looping, it is located slightly to the left of the ventricle.

Development

The early bulbus cordis is formed by the fifth week of development. The truncus arteriosus is derived from it later.

The adjacent walls of the bulbus cordis and ventricle approximate, fuse, and finally disappear, and the bulbus cordis now communicates freely with the right ventricle, while the junction of the bulbus with the truncus arteriosus is brought directly ventral to and applied to the atrial canal.

By the upgrowth of the ventricular septum the bulbus cordis is separated from the left ventricle, but remains an integral part of the right ventricle, of which it forms the infundibulum.

Together, the bulbus cordis and the primitive ventricle give rise to the ventricles of the formed heart.

Other animals
The bulbus cordis is shared in the development of many animals, including frogs and fish.

Additional images

References

External links

Embryology of cardiovascular system

Bulbus cordis


Francesco Paolo Frontini (Catania, August 6, 1860 – Catania, July 26, 1939) was an Italian composer. He studied music with his father, composer Martino Frontini; he also studied the violin with Santi D'Amico, playing a concert with him at the town concert hall at the age of 13. At 15 his first composition, a Qui tollis, was played at the city cathedral, under the direction of Pietro Antonio Coppola. In 1875 Frontini matriculated at the Palermo Conservatory, where he studied with Pietro Platania; from there he passed to the conservatory in Naples, where he received his diploma in composition under the tuition of Lauro Rossi.

Among his first substantial compositions was a funeral Mass in honor of Pietro Coppola. In 1881 came the premiere of a three-act melodrama, Nella; further operas followed, beginning with Sansone in 1882, Aleramo (based on the legend of Adelasia and Aleramo) in 1883, Fatalità  in 1890, Malia (on a libretto of Luigi Capuana) in 1891, and Il Falconiere in 1899. At the same time his lyric poem Medio-Evo received favorable notice from Jules Massenet. He wrote music for the one-act play Vicolo delle belle by Saverio Fiducia, as well as for Antonino Russo Giusti's comedy U Spiridu, which was shown in 1920 at the communal theater under the direction of Gaetano Emanuel Calì. He also wrote a number of religious and secular choral compositions at this time. Frontini also wrote numerous songs, melodies, serenatas and romances; the most popular of these were his Serenata araba, Il piccolo montanaro, and a Triumphal March. In addition to his activities as a composer, he taught music and counterpoint at the Ospizio di Beneficenza.

One of Frontini's chief interests was popular music and song, and he compiled the first collection of Sicilian folk songs in Italy; fifty pieces from this collection were published by Casa Ricordi in 1882; a second collection, titled Natale siciliano, was published in 1893 by De Marchi of Milan.

Frontini died in the city of his birth in 1939.

References

External links

 https://www.frontini.de/francesco-paolo-frontini Piano music

1860 births
1939 deaths
Italian classical composers
Italian male classical composers
Italian opera composers
Male opera composers
Musicians from Catania
20th-century Italian composers
20th-century Italian male musicians
19th-century Italian composers
19th-century Italian male musicians
Folk-song collectors
Italian ethnomusicologists
Palermo Conservatory alumni

Francesco Paolo Frontini


The Theodor-Heuss-Rhine River Bridge (Theodor-Heuss-Rheinbrücke) also known as the Autobahnbrücke Frankenthal (Autobahn Bridge, Frankenthal) is a bridge that spans the Rhine River along Autobahn 6 and connects the regions of Rhineland-Palatinate with Baden-Wuerttemberg. The four-lane bridge crosses the upper Rhine north of the cities of Ludwigshafen and Mannheim in an east-west direction on the motorway connecting Saarbrücken, Kaiserslautern, Mannheim, and Viernheim. The length of the entire span, which consists of the main river span and two land spans, is over a kilometer long. The land span on the western side is somewhat longer, because the west bank is flatter than the east.

The bridge construction began in 1938. On 12 December 1940, a major accident occurred when the frame collapsed. The construction was then suspended because of the Second World War. Work on the bridge resumed in 1948 and was completed in 1964.

The bridge has no shoulders along the roadway which results in kilometer-long traffic jams during maintenance work and after accidents. A walkway is available along the center of the bridge that allows walkers and cyclists to cross the Rhine. Staircases in each bridge abutment allow access to the walkway.

External links

Deck arch bridges
Road bridges in Germany
Bridges completed in 1964
Bridges over the Rhine
Bridges in Rhineland-Palatinate
Bridges in Hesse
Theodor Heuss

Theodor Heuss Bridge (Frankenthal)


Kfarshima (), also spelled Kfarchima, is a town in the Baabda District of the Mount Lebanon Governorate, southeast of Beirut and is part of Greater Beirut.
The town is populated by Lebanese Christians: mainly Melkite Greek Catholic and Maronites, with smaller communities of Greek Orthodox and Protestant Evangelical Christians. Kfarshima was subject to heavy bombing during the Lebanese civil war since it was a primary fault line.

Kfarshima is the birthplace of the composers musicians and singers, Philemon Wehbi, Halim el-Roumi and Melhem Barakat, and the singers Marie Sleiman, and Majida El Roumi. Also the Birthplace of the Philosopher Shibli Shumayyil (Chibli Chemayel). It was also the hometown for Lebanese singer Issam Rajji.

Schools
Eastwood College
Ecole Saint Maxime
Lycée Adonis
Ecole Notre Dame Des Soeurs Antonine
Kfarshima Official Middle School
Kfarshima Official High School
National Protestant College

Churches
There are seven churches in Kfarchima:
 The Greek Orthodox church St. Peter & Paul, in Al-Mahatta.
 Three Maronite Churches: St. Elias in Balouh, New Lady of the Rosary in Sahet-al-Ain and the Old Lady of the Rosary in Ain-al-Rouhban.
 The Evangelical Church in Haret-al-Majjadin.
 The St. Takla Church for the Catholics located in Sahet-al-Ain.
The St. Antoine Church (Also called 'Deir Al Karkafi') located in Haret-al-Deir.

Notable residents
 Ilyās Farhāt, poet
 Saleem Takla, co-founder of Al-Ahram
 Shibli Shumayyil
 Hanna K. Korany

External links
Kfar Chima

Greater Beirut
Populated places in Baabda District
Melkite Christian communities in Lebanon
Maronite Christian communities in Lebanon

Kfarshima


The International Colour Authority (ICA) is a private organization publishing forecasts about colour trends for the coming seasons, to be used by industry designers. It also awards a Seal of Approval that companies may display in their promotional materials if the colour ranges they use are appraised by the ICA.

ICA forecasts were launched in 1968. Since then, a panel of international colour specialists, the Spanish Painter Pepa Poch among them, gathers twice a year in London to select the next colour palette. The selection is published 22 months ahead of the retail selling season, thus constituting the earliest colour trend prediction available to the furniture design and textile industries. Nowadays the ICA is one of the leading colour forecasters for the industry, along with the Color Marketing Group. Their products are "high-quality forecast publications containing an abundance of accurate information on market trends", which ranks them among "the favourite publications of many professionals", according to an article published by the International Trade Centre.

Colours in the ICA colour guides are referenced using the Pantone standard, the Natural Color System (NCS) standard, or both.

ICA has now launched an online service through which subscribers can download the forecasts, and is creating an online newsletter, World Colour News.

Other color organizations

Color forecasting trade associations
 The Color Marketing Group (CMG)
 The Color Association of the United States (CAUS)
 The International Colour Authority (ICA)

Color matching/management organizations
 Pantone
 International Color Consortium (ICC)
 International Commission on Illumination

See also
 Graphic design
 Interior design
 Textiles

References

Color organizations
International organisations based in London
Fashion organizations
Organizations established in 1968

International Colour Authority


Saijo Sake Festival is a sake festival held in Hiroshima prefecture in west Japan. Sake is Japan's traditional alcoholic drink. The sake festival is held yearly on the second Saturday and Sunday of October. Every year between 100,000 and 200,000 people attend the festival.

Breweries
Saijo is famous all over Japan for its sake. There are 10 breweries here. Sake has been made in Saijo since 1650. Visitors may walk from brewery to brewery sampling all the varieties of sake.

Event
During the festival the road from the railway station to Chuo Park is lined with food booths. The park is divided into two sections, east and west. The events on the east side include more food, stages with performers and is free. The west side, called Sake Square, requires an admission ticket which costs 1,800 yen.

Visitors can try any of over 900 different kinds of sake. On entry to this side, visitors receive a small saki cup they can refill as many times as they like.

References

Other websites
 日本の名酒辞典/講談社/26 November 2005

Festivals in Japan
Japanese food
Alcoholic drinks

Sakematsuri


Gebhard (died 879) was a mid-9th-century count in the Lahngau and the first documented ancestor of the dynasty later known as the Conradines. He was a "leading man of the [East] Franks" and a brother-in-law of Ernest, margrave of the Bavarian Nordgau. Gebhard may be a son of Odo I, Count of Orléans, if identical with Udo the Elder, count in the Lahngau from 821 to 826.

In 838, he allied with Poppo of Grapfeld and Otgar, Archbishop of Mainz, against the rebellious Louis the German and in favour of the emperor Louis the Pious.

He was the father of
Udo, count in the Lahngau
Waldo, abbot of St. Maximin's at Trier
Bertulf, Bishop of Trier
Berengar, count in the Hessengau
who all rose to prominent positions in West Francia.

Sources
The Annals of Fulda. (Manchester Medieval series, Ninth-Century Histories, Volume II.) Reuter, Timothy (trans.) Manchester: Manchester University Press, 1992.

Counts in Germany
Conradines
879 deaths
Year of birth unknown

Gebhard, Count of the Lahngau


Act! (previously known as Sage ACT! 2010–2013) is a customer relationship management (CRM) software and marketing automation software platform designed for, and used by, small and mid-sized businesses. It has a user base of over 800 thousand registered users.

History
The company Conductor Software was founded 1986 in Dallas, Texas, by Pat Sullivan and Mike Muhney. The original name for the software was Activity Control Technology, then Automated Contact Tracking, before finally just using the acronym. The name of the company was subsequently changed to Contact Software International and it was sold in 1993 to Symantec Corporation, who in 1999 then sold it to SalesLogix (later renamed Interact Commerce). The Sage Group purchased Interact Commerce in 2001 through Best Software, then its North American software division. Swiftpage acquired it in 2013.

Beginning with the 2006 version, the name was styled ACT! by Sage, and in 2010 revised to Sage ACT!.

Following its 2013 acquisition by Swiftpage, it was renamed to Act!. Swiftpage.

In May 2018, Act! was sold to SFW Advisors.

In December 2018, Kuvana, a marketing automation software solution, was acquired by SFW and merged with Act! This add-on is now a complementary service to the core CRM solution.

In December 2019, Act! hired Steve Oriola as President and CEO.

In 2020, Swiftpage changed its company name to Act! LLC.

In March 2023, Act! hired Bruce Reading as President and CEO.

Software
Act! features include contact, company and opportunity management, a calendar, marketing automation and e-marketing tools, reports, interactive dashboards with graphical visualizations, and the ability to track prospective customers.

Act! integrates with Microsoft Word, Excel, Outlook, Google Contacts, Gmail, and other applications via Zapier. For custom integrations, Act! has an in-built API.

Act! can be accessed from Windows desktops (Win7 and later) with local or network shared database; synchronized to laptops or remote officers; Citrix or Remote Desktop; Web browsers (Premium only) with self or SaaS hosting; smartphones and tablets via HTML5 Web (Premium only); smartphones and tablets via sync with Handheld Contact.

See also

 Lists of software
 Sales force management system
 CRM software

References

External links

1987 software
Administrative software
Business software for Windows
Cloud applications
Customer relationship management software
Mobile applications
Mobile web
Productivity software
Products introduced in 1987
Proprietary software
Windows database-related software

Act! LLC


Swimming injuries have many different causes, which can occur immediate or can occur as the result of a long-term swimming career. Some ways that swimmers can increase the risk of an injury are by overuse of a specific part of the body, lacking crucial flexibility and strength, etc. These injuries, like swimmer's shoulder and breaststroker's knee, cause pain to the swimmer in certain regions that permit necessary movement for the required precise technique. Although these injuries can halt a professional swimmer's career, many can be treated and some can even be prevented. There are different procedures and exercises that can either prevent an injury or help with recovering from an injury. Many of the exercises are specific to the injury and vary in helpfulness according to the person and the technique used for the exercise.

Compared to athletes who play other sports, competitive swimmers are at higher than average risk of overuse injuries and injuries caused by early sports specialization among children and teenagers.

Swimmer's Shoulder

Swimmer's Shoulder is the name given to a broad range of repetitive motion injuries that typically occur in swimmers.  Typical swim-related shoulder pain occurs in the front and side of the upper shoulder complex.  Pain often will radiate into the upper arm or can extend into the lower neck and upper back region. Pain associated with Swimmer's Shoulder often starts as an irritating soreness following swim training and can persist, escalating to a constant, intense pain that limits shoulder mobility and ultimately athletic performance.

While there are a number of contributing factors leading to the development of Swimmer's Shoulder, it is believed that the three main causes of Swimmer's Shoulder are: 1. faulty swim stroke technique, 2. repetitive use with inadequate rest, and 3. overdeveloped anterior shoulder and chest musculature.

The primary cause of Swimmer's Shoulder is faulty biomechanics due to improper swim stroke technique.  Professional swim coaches are trained on finding and correcting improper swim stroke technique before it becomes a problem for the athlete.  Correcting the swimmer's technique is key to the recovery process.  If a swimmer is allowed to continue with improper technique, repetitive irritation of the shoulder structures occurs, eventually creating a "pincher-type impingement" within the shoulder.  Elevating the arm and forward circumduction of the shoulder becomes painful.  A few examples of improper techniques that can contribute to a swimmer's Shoulder are initiating an arm pull before finishing a breath, training with unilateral breathing, and faulty hand placement during entry.

Another cause of Swimmer's Shoulder is repetitive use with inadequate rest. Overuse of the shoulder muscles and surrounding muscles can lead to fatigue of the muscles.  When muscles are fatigued, they respond less effectively.  With each stroke, biomechanics break down causing vital structures to inflame.  If the soft tissue structures such as tendons and ligaments are not given enough time to repair and for the swelling to resolve, the structures can become damaged.

Treatment methods

Some treatment methods include; warming up slowly prior to training, avoiding strokes and positions that cause pain (butterfly or freestyle), fixing any bad technique that could be causing the pain, adjusting the distance and frequency of training to avoid further overuse of the muscles, discontinue the use of paddles, increase kick sets to allow the shoulder to rest however limit the use of kickboards and avoid pulling sets. Increase the use of fins to assist with maintaining a good body position and to avoid drag, avoid dry land upper body weight training, ice the shoulder daily, consider the use of anti-inflammatory creams and medicines, and seek the advice of a medical professional.

Breaststroker's Knee
Breaststroker's Knee is the name given to pain felt within and around the knee that is experienced by swimmers. It is named this due to the fact it is most commonly only breaststrokers that experience pain within the knee and around the knee. Most swimmers will have no problems with their knees however 'the majority (86%) of breaststroke swimmers will have experienced knee pain at one point in their career and 47.2% of them will have had this problem at least one time every week.'

There are several factors that increase the swimmer's chances of developing knee pain and inflammation of the knee muscles such as the increasing age of the swimmer, the length of the competitive career, the length of the event, inadequate warm-up, strength imbalance of hip abductors/adductors and flexibility imbalance of hip abductors/adductors.

Prevention and treatment
In order to prevent the development of knee pain and inflammation of the knee muscles it is recommended that swimmers use a well-designed strength and stretching program, warm up adequately, use the correct breaststroke kick technique, gradually build up the distance of breaststroke swimming and a balanced training program that focuses on not only breaststroke and also has training sessions that allows for adequate recovery of the knee muscles to prevent fatigue of the muscles causing overuse, inflammation, and pain.

Treatment of breaststroker's knee includes resting the knee muscles, icing daily, elevating the limb, strengthening and stretching, support e.g. strapping or knee braces, seeking medical advice which can lead to physiotherapy, cortisone injections, and in few cases surgery.

References

Sports injuries
Swimming
Swimming culture

Swimming injuries


Lézarde Express Régionale or Chemin de Fer de la Vallée de la Lézarde is an express railway line between Le Havre and Rolleville in Seine-Maritime, France.

The LER is a new fast service introduced in September 2001 to integrate this railway line into the Le Havre bus network and operated by the commune's council.

History
The line connecting Le Havre to Fécamp was opened in stages. A spur was opened between Graville and Montivilliers on 1 October 1876. An extension was then built to Rolleville and opened on 14 August 1896 with the last section to Les Ifs (on the Le Havre to Fécamp line) on 24 December of the same year.

The line was in the 1990s transporting 150 passengers a day and it was decided to modernise the line and create a simpler and faster service: Lézarde Express Régionale.

Lézarde Express Régionale
The journey is made by X 73500 and X 76500 DMUs for a length of journey of 20 minutes between Le Havre and Montivilliers.

The line is of simple design as it is formed by a single track from the junction with the main line to Paris up to its terminus in Rolleville. The frequency between Le Havre and Montivilliers is two return journeys every hour. The frequency between Montivilliers and Rolleville however is restricted to only 5 return journeys daily.

References

External links

Le Havre
Railway lines in Normandy

Lézarde Express Régionale


Gerardo Hernán Matos Rodríguez (March 28, 1897 – April 25, 1948), also known as Becho, was a Uruguayan musician, composer and journalist.

Background and early career
Gerardo Hernán Matos Rodríguez was born in Montevideo, the son of the owner of the Moulin Rouge, a popular local cabaret. He studied architecture, but did not complete the course. He began composing as a young student in 1917, and his first known work was "La Cumparsita", which he wrote on the piano of the Federación de Estudiantes of Uruguay  . It became one of the most recognizable tango pieces, though Matos was initially too shy to play the piece himself and it became well known through the performance of others.

He travelled widely throughout Europe and stayed in Paris for a time, as well as working as Uruguayan consul to Germany. In 1931, he collaborated on the film score for Luces de Buenos Aires, shot in Joinville-le-Pont, France, and starring renowned tango vocalist Carlos Gardel.

Principal compositions

The most famous classic tango of all times is "La Cumparsita", written by Matos Rodríguez in 1916, with lyrics added later by Pascual Contursi and Enrique Pedro Maroni. Roberto Firpo, director and pianist of the orchestra that premiered the song, added parts of his tangos "La Gaucha Manuela" and "Curda Completa" to Matos' carnival march, resulting in "La Cumparsita".

Matos Rodríguez also composed pieces for theater plays premiered in Buenos Aires, among them Manuel Romero's El Gran Circo Rivolta. He led his own tango orchestra in Montevideo for a short time afterwards.

Other tangos composed by him include: "Che papusa, oí", "Son grupos", "Yo tuve una novia", "Cuando bronca el temporal", "Hablame", "Pobre corazón", "Haceme caso a mí", "Canto por no llorar", "Rosa reseca", "Botija linda", "El pescador", "Te fuiste, ¡ja, ja!", "Adiós Argentina", "Mi provinciana", "La milonga azul", "Dale celos", "Raspail", "Mocosita", "La muchacha del circo", and "San Telmo". Rodríguez collaborated with the lyricists Enrique Cadícamo, Victor Soliño, Juan B. A. Reyes, Manuel Romero and Fernán Silva Valdés. With the latter he wrote a series of Canciones Montevideanas ("Songs of Montevideo"), including "Margarita Punzó".

He died in Montevideo after a long illness in 1948.

See also
 Music of Uruguay

References

Todo Tango: Gerardo Matos Rodríguez

External links

20th-century composers
20th-century pianists
1897 births
1948 deaths
Burials at the Central Cemetery of Montevideo
Musicians from Montevideo
Uruguayan composers
Male composers
Uruguayan expatriates in France
Uruguayan expatriates in Germany
Uruguayan people of Spanish descent
Uruguayan pianists
Male pianists
Uruguayan male musicians
Uruguayan tango musicians
20th-century male musicians

Gerardo Matos Rodríguez


Algal mats are one of many types of microbial mat that forms on the surface of water or rocks. They are typically composed of blue-green cyanobacteria and sediments. Formation occurs when alternating layers of blue-green bacteria and sediments are deposited or grow in place, creating dark-laminated layers. Stromatolites are prime examples of algal mats. Algal mats played an important role in the Great Oxidation Event on Earth some 2.3 billion years ago. Algal mats can become a significant ecological problem, if the mats grow so expansive or thick as to disrupt the other underwater marine life by blocking the sunlight or producing toxic chemicals.

Cyanobacteria forming algal mats
Cyanobacteria found in sedimentary rocks indicate that bacterial life began on Earth during the Precambrian age. Fossilized cyanobacteria are commonly found in rocks that date back to Mesoproterozoic. Cyanobacteria are photoautotrophs in nature; they convert carbon dioxide and sunlight into food and energy via photosynthesis. Some species are also able to fix atmospheric nitrogen and convert it into the biologically-usable form of nitrate or nitrite. This gives them competitive advantage over other organisms that may be limited by the shortage of biologically available nitrogen. The cyanobacteria colonies contain two types of cells, the regular cells with chlorophyll carrying out the photosynthesis, and heterocysts which fix the nitrogen. These heterocysts have thick walls and lack chlorophyll, both of which limits their exposure to oxygen, the presence of which inhibits nitrogen fixation. For the same reason, fixation may also be limited to nighttime when the light-dependent reactions of photosynthesis are shut down, minimizing oxygen production.

Stromatolites
Stromatolites are alternating layers of cyanobacteria and sediments. The grain size of sediment portion of stromatolites is affected by the depositional environment. During the Proterozoic, stromatolites' compositions were dominated by micrite and thinly laminated lime mud, with thicknesses no greater than 100 microns. Modern stromatolites are characterized by their thicker and more irregular laminations due to coarser grain size. Stromatolites trap sediment particles when the particles come to a rest from wave agitation. Trapping is separate process where filaments of bacteria traps the particle, provided the angle of the filaments are still within the limits before the grain rolls off due to overcoming the friction of the film. The length of the cyanobacterial filaments plays an important role in deciding the grain size trapped. It has been noted that these bacterial mats were marked by geochemical areas, such as volcanism and tectonics. They favour harsh environments that are either nutrient-depleted or have high salinity levels. This resilience may also be due to the autotrophic lifestyle of the bacteria, which enables them to thrive in a variety of harsh environments. Stromatolites can be found in places with ranging temperature such as in the marine, limnic and soil

The importance of algal mats in the past
Algal mats consist largely of filaments made of autotrophic bacteria and fine-grained particles. These bacterial are well known for the formation of stromatolites. Phototrophic bacteria such as cyanobacteria are evolutionary organisms responsible for the increased oxygen levels during the Proterozoic age. The event was known as The Great Oxidation Event, during which complex eukaryotic life forms originated, potentially due to the increased oxygen availability. Preserved stromatolites are called stromatoliths. They can be easily recognized by their crystallized, thinly laminated layers and their domed, columnar or conical shapes. However, the same cannot be said for stromatolites that were not crystallized. The lack of many well-preserved stromatolites has been proposed as a consequence of ongoing diagenesis during formation. Diagenesis is a weathering process where newly deposited sediments lies on top of the old sedimentary bed, buried and compacted, lithified and uplifted to the surface as sedimentary rocks.

Negative impacts of algal mats
The rapid formation of algal mats can result in harmful algal blooms (HABs), also known as red tides or green tides. HABs have been known to produce a wide range of toxins, with newer toxins discovered frequently, which makes the task of understanding these phenomena increasingly difficult. HABs can be found in water of high importance for economic and environment; with salinity ranging from low to high such as in rivers and lakes to reservoirs and oceans. Toxins can seep into the water column, from which they may be introduced into the local water supply, affecting humans and livestock. Toxins can have either direct or indirect effects on an organism. Some marine life is directly susceptible to toxins caused by HABs, while others are affected through accumulation of toxins over a period of time. This bioaccumulation process typically affects organisms such as filter-feeding shellfish and secondary consumers. It has been estimated that there are thousands of human poisoning cases annually in Asia from toxic water. Single HAB fish-kill events in Korea have been estimated to have cost millions of dollars, and in Japan such events have been estimated to have resulted in losses of fish worth more than $300 million.

Moreover, some HABs are harmful to the ecosystem simply by their sheer biomass accumulation. Such biomass accumulation can lead to a multitude of negative consequences. For one, their growth and proliferation can reduce the light penetration in the water column, thereby reducing habitat suitability for the growth of submersed grasses. Exceedingly high biomass can also cause fish gills to clog, leading to suffocation. High biomass blooms can also lead to the development of "dead zones", formed when the algae begin to die and their decomposition depletes the water of oxygen. Dead zones are unable to support (aerobic) aquatic life, and are responsible for losses of millions of dollars' worth of fish annually.

Potential applications of algal mats
Third generation biofuel feedstocks are represented by both micro- and macro- algae, which present further advantages over the previous generations. (The first generation biofuels are made from edible feedstock like corn, soybean, sugarcane, and rapeseed. Second generation of biofuels from waste and dedicated lignocellulosic feedstock shave advantages over those of first generation.) Marine and aquatic biomass tentatively demonstrates high yield while requiring minimal use of arable land. Major advantages of algae are: no competition with food crops for arable land, high growth rates, and low fractions of lignin which reduces the need for energy-intensive pretreatment and compatibility with biorefinery approach implementation. It has been proven that macroalgae can reach 2–20 times the production potential of conventional terrestrial energy crops However, some disadvantages such as the presence of high water content, seasonal chemical composition and the occurrence of inhibitory phenomena during anaerobic digestion, make algal biofuels not yet economically feasible although they are more environmental friendly than fossil fuels.

References

Aquatic ecology
Algae

Algal mat


Julius "Nipsey" Russell (September 15, 1918 – October 2, 2005) was an American actor, comedian, poet, and dancer best known for his appearances as a panelist on game shows from the 1960s through the 1990s, including Match Game, Password, Hollywood Squares, To Tell the Truth, and Pyramid. His appearances were often distinguished by short, humorous poems he recited during the broadcast, which led to his nickname "the poet laureate of television". He had one of the leading roles in the film version of The Wiz as the Tin Man. He was a frequent guest on the Dean Martin Celebrity Roast series and often appeared on Late Night with Conan O'Brien during the program's early years.

Early life
Julius Russell was born in Atlanta, Georgia. His birthdate is unclear; according to one report his birth certificate was lost. At the time of his 2005 death, friends said he was 80, and that was the age reported in his obituaries. That implies a birth year of 1924 or 1925; the New York Times obituary gave his birthdate as October 13, 1924. Federal records suggest that he was born in 1918: Census documents record a Julius Russell in Atlanta aged 1 year 4 months in 1920, consistent with a birthdate in late 1918. The Social Security Death Index lists his birthdate as September 15, 1918.

He acquired the nickname "Nipsey" from his mother, who liked the way it sounded.

He went to Booker T. Washington High School in Atlanta, then moved to Cincinnati to live with an aunt during his senior year so that he could establish residency to attend the University of Cincinnati tuition-free. He attended the University of Cincinnati for one semester in 1936, which is also consistent with a birthdate of 1918, as he would have been 18 and not merely 11 or 12, as he would have been if he had been born in 1924 or 1925. He served as a medic in the United States Army during World War II, enlisting as a private on June 27, 1941, and returning from Europe in 1945 as a second lieutenant.

He got his start as a comedian in the 1940s as a carhop at the Atlanta drive-in The Varsity, where he increased the tips he earned by making customers laugh. He was discovered after he began performing in nightclubs in the 1950s. He subsequently made many "party albums", which were essentially compilations of his stand-up routines.

Early career
In 1952, Russell joined with film comedian Mantan Moreland for a stage act, replacing Ben Carter as Moreland's dapper straight man. One of their bits was an old routine that Moreland and Carter had performed in vaudeville and in Charlie Chan films. In the "interruption routine" (or "incomplete sentences") Moreland would engage Russell in conversation, only to be interrupted by Russell, who in turn was interrupted by Moreland:

Moreland: Guess who I saw? I saw old—
Russell: Is he back again? I thought he was—
Moreland: He was, but he got out.
Russell: Is that so?
Moreland: Yeah, he was over—
Russell: Is that so?

Soon the entire conversation was conducted in incomplete sentences, with each man anticipating or contradicting the other. Their act can be seen in two all-black-cast compilation films, Rhythm and Blues Review and Rock and Roll Revue; another variation of the "interruption routine", performed by Tommy Davidson and Savion Glover, was featured in Spike Lee's 2000 film Bamboozled.

A September 1957 appearance on The Ed Sullivan Show led to several guest spots with Jack Paar on The Tonight Show and in 1961 a supporting role as a New York policeman, "Andy" Anderson, in the sitcom Car 54, Where Are You? Russell returned to the role in the feature film version of Car 54, Where Are You? (filmed in 1990, released in 1994), with "Anderson" now serving as the precinct captain.

In 1965, Russell became a co-host of ABC's Les Crane Show. In 1970, he was a co-star on the ABC sitcom Barefoot in the Park. From 1973 through 1976, he appeared regularly on The Dean Martin Show and The Dean Martin Comedy World. In 1978 he played the Tin Man in the film version of "The Wiz" alongside Diana Ross and Michael Jackson. Scattered appearances on television series followed, as well as occasional guest-host stints on The Tonight Show during the Johnny Carson era. Russell also appeared frequently in Las Vegas, including a series of appearances with Sergio Franchi at the Frontier Hotel in 1978 and 1979, and with Franchi in 1979 at the Sands Hotel Copa Room. He performed at Kutsher's Country Club in Monticello, New York, on January 1, 1977.

Game shows
Russell became the first black performer to become a regular panelist on a daily network game show when he joined ABC's Missing Links in 1964. Another ABC show, Rhyme and Reason, had poetry as a premise. In 1971, he started as a featured panelist on To Tell the Truth, which led to his being hired for The Match Game when Goodson-Todman Productions revived it two years later. He also served as panelist in 1968 on the syndicated version of What's My Line? Producer Bob Stewart featured him regularly as a panelist on Pyramid throughout its 1970s and 1980s runs. He hosted two revivals of Jack Barry and Dan Enright's Juvenile Jury for BET from 1983 to 1984, then again for syndication from 1989 to 1991. In 1983, Russell hosted a pilot game show on CBS called Star Words. Three pilots were recorded in June of that year but the show was not picked up. In 1985, he hosted the short-lived NBC game show Your Number's Up, which was produced by Sande Stewart.

Later career and death
During the 1990s, Russell gained popularity with a new generation of television viewers as a regular on Late Night with Conan O'Brien. Russell often appeared during comedy sketches between scheduled guests and delivered his trademark rhymes.

Russell's final TV appearance was as a panelist on a game show–themed week on the final season of the Tom Bergeron version of Hollywood Squares in 2003.

Russell died on October 2, 2005, at age 87 in New York City, of cancer. He was cremated and his ashes were scattered in the Atlantic Ocean.

References

External links

1918 births
2005 deaths
20th-century African-American writers
20th-century American comedians
20th-century American dancers
20th-century American male actors
20th-century American poets
20th-century American male writers
21st-century African-American people
21st-century American comedians
African-American dancers
African-American game show hosts
African-American male actors
African-American male comedians
African-American male dancers
African-American male writers
African-American poets
African-American United States Army personnel
African Americans in World War II
American game show hosts
American male comedians
American male dancers
American male film actors
American male poets
American male stage actors
American male television actors
Comedians from Georgia (U.S. state)
Deaths from cancer in New York (state)
Deaths from stomach cancer
Military personnel from Georgia (U.S. state)
People from Atlanta
United States Army officers
United States Army personnel of World War II

Nipsey Russell


Richard Dauenhauer (April 10, 1942 – August 19, 2014) was an American poet, linguist, and translator who married into, and subsequently became an expert on, the Tlingit nation of southeastern Alaska.  He was married to the Tlingit poet and scholar Nora Marks Dauenhauer. With his wife and Lydia T. Black, he won an American Book Award for Russians in Tlingit America: The Battles of Sitka, 1802 And 1804

Life
Dauenhauer was born in Syracuse, New York. His B.A. was from Syracuse University in Slavic Languages and his M.A. from the University of Texas at Austin in German. He earned his Ph.D. in Comparative Literature in 1975 from the University of Wisconsin–Madison, with a dissertation titled Text and Context of Tlingit Oral Tradition. He became a professor of literature at Alaska Methodist University in Anchorage, where he came in contact with the Tlingit people. In 1973 he married his second wife Nora, and became an honorary member of the Tlingit people.

From 1981 to 1988, he was the poet laureate of Alaska.
He worked as a program director at the Sealaska Heritage Foundation from 1983 to 1997, and with his wife edited the foundation's highly regarded Classics of Tlingit Oral Literature series. He also became a professor at the University of Alaska Southeast until retiring in 2011.

Dauenhauer "made recording, transcribing and advocating for the Tlingit language his life's work". He and his wife published histories of the Tlingit people and translations of their works, made recordings of spoken works in Tlingit, and helped standardize a written form for the language. They wrote an introductory textbook on the Tlingit language, and he brought what had previously been the oral traditions of the Tlingit into his poetry. As a professor, he also trained many others to teach and translate Tlingit. As a result of his efforts, Tlingit-language teaching is now available to many Alaskans from grade school through the college level.

His papers from 1961 to 1985 are held at University of Alaska Anchorage.

Dauenhauer died on August 19, 2014, in Juneau's Bartlett Regional Hospital, after having been diagnosed with pancreatic cancer a month prior.

Works
(with Philip Binham) (eds.) (1978) Snow in May: An Anthology of Finnish Writing 1945–1972. Madison, NJ: Fairleigh Dickinson University Press.
(1980) Glacier Bay Concerto. Anchorage: Alaska Pacific University Press.
 (1982) "Two Missions to Alaska."  Pacific Historian,, vol. 26, pp. 29–41.
(1986) Phenologies. Austin: Thorp Springs Press.
(1987) Frames of Reference. Haines, AK: Black Current Press.
 (1990) "Education in Russian Alaska."  In: Russian America: The Forgotten Frontier, ed. by Barbara Smith and Redmond J. Barnett, pp. 155–163.  Tacoma: Washington State Historical Society.
 (with Nora Marks Dauenhauer) "Beginning Tlingit", third edition.  Juneau, AK: Sealaska Heritage Foundation Press. (1991[1976])
 (with Nora Marks Dauenhauer) (eds.) (1981) "Because We Cherish You ...": Sealaska Elders Speak to the Future.  Juneau: Sealaska Heritage Foundation.
 (with Nora Marks Dauenhauer) (eds.) (1987) Haa Shuká, Our Ancestors: Tlingit Oral Narratives.    (Classics of Tlingit Oral Literature, vol. 1.)  Seattle: University of Washington Press.
 (with Nora Marks Dauenhauer) (eds.) (1990) Haa Tuwanáagu Yís, for Healing Our Spirit: Tlingit Oratory.    (Classics of Tlingit Oral Literature, vol. 2.)  Seattle: University of Washington Press.
 (with Nora Marks Dauenhauer) (eds.) (1994) Haa Ḵusteeyí, Our Culture: Tlingit Life Stories.  (Classics of Tlingit Oral Literature, vol. 3.)  Seattle: University of Washington Press.
 (with Nora Marks Dauenhauer) (1998) 'Technical, emotional and ideological issues in reversing language shift: examples from Southeast Alaska', in Grenoble, L A. & Whaley, L J. Endangered Languages: Language Loss and Community Response. Cambridge: Cambridge University Press

(2013) Benchmarks: New and Selected Poems 1963–2013. Fairbanks: University of Alaska Press.

References

1942 births
2014 deaths
American male poets
Deaths from cancer in Alaska
Deaths from pancreatic cancer
People from Juneau, Alaska
Writers from Syracuse, New York
Poets from Alaska
Poets from New York (state)
Poets Laureate of Alaska
Syracuse University alumni
University of Texas at Austin College of Liberal Arts alumni
University of Wisconsin–Madison alumni
Alaska Pacific University faculty
University of Alaska Southeast faculty
20th-century American poets
20th-century American translators
American Book Award winners
20th-century American male writers

Richard Dauenhauer


James Sangster Memorial is a heritage-listed memorial at Browns Park, Downs Street, North Ipswich, City of Ipswich, Queensland, Australia. The memorial was erected to commemorate the heroism of police constable James Sangster who drowned attempting to save two people. It was designed and built in 1898 by C Wilson & Co. It was added to the Queensland Heritage Register on 18 September 2008.

History

The James Sangster Memorial, located at Brown's Park, North Ipswich, was dedicated on Saturday 7 May 1898 with funds raised by the people of Ipswich. It was erected to commemorate the heroism of police constable James Sangster who drowned, aged 25 years, in February 1893, whilst attempting to rescue two people trapped by floodwaters.

The 1893 floods were the outcome of the "Mooloolah rainfall event", the highest recorded rainfall in south-east Queensland to that date, with  of rain falling in 72 hours. From 30 January 1893 the rain effects of three tropical cyclones affected south-east Queensland and northern New South Wales in quick succession. Over  of rain in the Brisbane River catchment caused heavy flooding and extensive damage. Approximately  were flooded as the river rose  or more above normal level in some places. Over a two-week period from 1–14 February 1893, 35 people were killed, 500 were injured and over 5,000 were made homeless. Over 600 houses were destroyed; 150 of these were washed away, many out to sea. Several of the 35 deaths occurred as houses were swept away and others as people tried to use boats in the torrent. In Ipswich the Bremer River overflowed its banks on Friday 3 February with the water reported at being approximately  deep in Brisbane Street that night.

On Saturday, 4 February, the Brisbane River rose close to the Jackson family home at Blackwall, near Kholo, about  from Ipswich. Mr Jackson, an engine driver on the Ipswich line, was at work at the time. Mary Jackson remained in the house with John Rowe, a farm worker, whilst Mrs Jackson and her other children, including 17-year-old Kate, rowed to shore. The plan was that, after reaching the riverbank, Kate, who was described as an excellent rower and swimmer, was to return to the house for the other two. As the boat neared the riverbank, however, it overturned. Mrs Jackson and one of her daughters sought refuge in a tree and were rescued by nearby railway workers. In spite of her swimming ability, Kate was not strong enough to hold the other three children (two sisters and a brother) and all four drowned. Their bodies were recovered the following Tuesday.

With waters rising Mary Jackson and John Rowe, who had remained in the house, climbed onto the roof. As the waters rose, the house was lifted and carried downstream crashing into a large tree. Both managed to cling to the tree and climb into branches above the water. Constable James Sangster had arrived at the riverbank on horseback, meeting a rescue party with a boat. He and another man attempted to reach the two but the boat was swamped. Sangster, who could not swim, reached a sapling as the other man swam safely to shore. Rescue attempts continued however the sapling snapped and Constable Sangster disappeared with onlookers powerless to help. His body was never recovered. Mary Jackson and John Rowe remained in the tree for 22 hours until the waters receded and they were rescued safely.

Sangster had applied for admission into the Queensland Police Force on 21 May 1890 and was sworn in on 4 August 1890, aged 22 years. He had been living in the colony for three years residing for some of that time in Charters Towers. Originally from Aberdeenshire in Scotland, he had no relatives in Queensland. He arrived in Ipswich in November 1890 and was based at the North Ipswich Police Station.

After the tragedy, members of the Jackson family decided to raise funds by public subscription to erect a memorial in Sangster's honour. A memorial fund committee was established to erect a monument in Brown's Park, North Ipswich. The government contributed  to the fund. The memorial, occupying a prominent position in Brown's Park, was completed by Messrs C Wilson & Co. and was unveiled on Saturday 7 May 1898 by Alfred John Stephenson, the Member of the Queensland Legislative Assembly for Ipswich at a well-attended ceremony and to the sounds of the Brisbane Police Band. A marble lion's head was located immediately above the fountain's bowl.

The James Sangster Memorial is the only known monument in Queensland erected by public subscription to commemorate a police officer serving at the time of his death. The Queensland Police Museum records other police officers who have had headstones and memorials erected by police colleagues, including Senior Constable Alfred Wavell who had a memorial headstone erected "by comrades in conjunction with the government of Queensland" at Corinda, south-west of Burketown in October 1889, after being fatally shot whilst on duty. Another officer, Senior Constable William Conroy, had his headstone erected by the "Queensland government and officers and men of the Queensland Police Force" in July 1895. Senior Constable Conroy had been stabbed during a domestic dispute on Thursday Island.

The Sangster memorial was erected at a period when public memorials honouring prominent local citizens were popular expressions of public sentiment. Other Queensland public memorial drinking fountains erected to commemorate an individual include:
 the Eagle street Fountain, Brisbane (Mooney Memorial Fountain), erected between 1878 and 1880, dedicated to firefighter James Mooney who lost his life whilst fighting a fire in Queen Street in 1877
 the Mary Watson's Monument, Cooktown, erected in 1886 by the citizens of Cooktown to honour Mrs Mary Watson, who perished, along with her infant son and her Chinese employee Ah Sam, from thirst and exposure on one of the islands of the Howick group, northeast of Cooktown, in October 1881
 the Dr EA Koch Memorial, Cairns, erected in 1903 by the citizens of Cairns, to honour the doctor's work in tropical medicine in Cairns and district in the late nineteenth century
 the FDA Carstens Memorial, Port Douglas, erected -1908 by his widow to honour her husband's work with the Douglas Divisional Board

In 1989 conservation works were undertaken to the James Sangster Memorial by Thomas Andrew Farrell, stonemason and sculptor. At this time some of the stonework and the plaque were replaced. The stone came from Helidon with the original stone coming from Denmark Hill. The original lead-lettered, marble memorial plaque has been removed to the Queensland Police Museum in Brisbane.

The James Sangster Memorial is now the focus for the annual Police Remembrance Day service in Ipswich. Since 1989, National Police Remembrance Day has been observed in Brisbane and many regional centres throughout Queensland on 29 September, which coincides with the Feast of the Archangel St Michael who was said to have always fought evil.

The memorial was restored again in 2006 with the Queensland Government contributing $9,600 through the Community Memorial Restoration Program and $1,000 donated by the Queensland Police Service. At this time, the monument was moved  back from the road further into the park to accommodate widening of the street. Following the restoration the monument was re-dedicated on 4 August 2006, the same day on which Constable Sangster had been sworn into the Queensland Police Force in 1890.

Description
The James Sangster Memorial is constructed of sandstone and stands  high. It sits on the Downs Street boundary of Brown's Park, flanked by boundary tree plantings to each side and the rest of the park behind it. It acts as a closure to views east along Canning Lane. The memorial is capped by a broken obelisk, symbolising a life cut short with its floral wreath motifs symbolising remembrance of the dead.

The stepped base on which the memorial fountain stands is relatively plain. Above this base the pedestal carries the bowl at the front, with a column recessed into each corner. Above this is a heavy projecting label mould, which at the front, receives the shaped top of the dedication plaque and on the other three sides bears a laurel wreath. Above the plaque is a wreath, carved chiefly of roses. Dropping from the centre of the broken obelisk is another wreath and under this there is a floral motif located on each face.

The dedication on the replacement plaque reads:Erected by public subscription in memory of Constable James Sangster who lost his life in a gallant attempt at rescue in the flood waters of the Brisbane River 5 February 1893

Heritage listing
James Sangster Memorial was listed on the Queensland Heritage Register on 18 September 2008 having satisfied the following criteria.

The place is important in demonstrating the evolution or pattern of Queensland's history.

Dedicated on 7 May 1898, the James Sangster Memorial Fountain is significant for its symbolic association with the impact of the devastating floods of 1893 that affected south-east Queensland. Constable Sangster lost his life attempting to save lives in the floods in the North Ipswich area, his heroism being acknowledged by the community and the colonial government with the construction of the memorial fountain. The James Sangster Memorial is the only known monument in Queensland erected by public subscription to commemorate a police officer serving at the time of his death.

The memorial fountain is distinctive as it provides a tangible and poignant reminder of the impact of the 1893 floods and illustrates how one community worked through a grieving process after it was affected by one of the highest floods recorded in the colony to that date.

References

Attribution

External links

Queensland Heritage Register
North Ipswich, Queensland
Monuments and memorials in Queensland
Articles incorporating text from the Queensland Heritage Register
19th-century floods in Oceania
1890s floods
1893 natural disasters
Queensland police officers
1893 disasters in Australia

James Sangster Memorial


James Cookson (6 December 1904 – 14 December 1970) was an English footballer who played as a centre forward in the Football League for Manchester City, Chesterfield, West Bromwich Albion, Plymouth Argyle and Swindon Town.

Life and career
Cookson was born in Manchester. He began his career as a wing half with South Salford Lad's Club and then played for Clayton and Manchester North End. He turned professional with Manchester City in August 1923, but was unable to break into the first team and was sent to Southport on loan for a trial period in 1924. He was transferred to Chesterfield in April 1925, and converted to a centre forward. He was the leading goalscorer in the Third Division North for the 1925–26 season with 44 goals, and scored 85 overall in 74 league appearances. In August 1927, he joined West Bromwich Albion for a £2,500 fee. He continued to score goals at his new club and was a member of the 1930–31 squad that won the FA Cup and promotion to the First Division. Later in 1931, Cookson was selected for the Football Association tour of Canada.

He scored 103 league goals in 122 matches for Albion, including six in a Second Division game against Blackpool in 1927. Cookson was also the leading goalscorer in the Second Division for the 1927–28 season with 38 goals. Cookson maintained his high goalscoring ratio after joining Second Division club Plymouth Argyle in 1933. He scored 28 goals in his first season with Argyle, including 27 in 29 league appearances, but injuries restricted his playing time over the next two campaigns. Cookson managed a further 10 goals in 17 matches to bring his overall tally to 38 goals in 48 games. He moved to Swindon Town in 1936, where he played on for two more seasons, and scored 31 goals in 50 league appearances. Cookson retired from the game in May 1938 to become a publican.

Cookson's Football League record of 256 goals scored in 292 appearances is one of the best in the League's history. His great quality was a willingness to shoot, and shoot early, whenever a chance presented itself. Cookson died in Warminster on 14 December 1970.

References

1904 births
Footballers from Manchester
English men's footballers
Men's association football forwards
Manchester City F.C. players
Chesterfield F.C. players
West Bromwich Albion F.C. players
Plymouth Argyle F.C. players
Swindon Town F.C. players
English Football League players
1970 deaths

Jimmy Cookson


Angham Mohamed Ali Suleiman () (born January 19, 1972) is an Egyptan singer, record producer and actress. She is one the most successful Egyptian female singers.

Discography

Studio albums

 1987: Fil Rokn elBaeed elHady (In The Far Distant Corner)
 1988: Awal Gawab (First Letter)
 1989: Lalili Lali
 1989: Layek (It Suits)
 1989: Shokran (Thank You)
 1990: Ettafakna (We Agreed) Sono Cairo Qahira
 1991: Bibasata Kida (As Simple As Like That) Sono Cairo Qahira
 1992: Inta elAlam (You Are The World) Sono Cairo Qahira
 1992: Shayfak (I'll See You) Sono Cairo Qahira
 1993: Ella Ana (Except Me) Rocky Records-Pyramedia
 1994: Inta Mahboubi (You Are My Beloved) Sout Production
 1995: Baollak Eih (Tell You What) Cairo Media* 1996: Akdar (I Can Make It Through) Cairo Media
 1996: Shey Daa (Something Lost) Star Media
 1997: Betheb Meen (Who Do You Love) Rotana
 1998: Khally Bokra li Bokra (Keep Tomorrow For The Future)Funoon Al Jazeera + Star Media
 1999: Wahdaniya (Lonely Woman) Sono Cairo Qahira
 2001: Leih Sebtaha (Why Did You Leave Her) Alam El Phan
 2003: Omry Maak (My Life With You) Mazzika
 2005: Bahibbik Wahashteeny (I Love You, I Miss You) Stallions Records
 2007: Kolma N'arrab (Whenever We Come Closer) Rotana
 2009: Nefsy Ahebbak (I wish to Love You) Rotana
 2010: Alhekaya Almohamadia (Mouhamed's Story) Arabica Music
 2010: Mahadesh Yehasebni (No One Judges Me)

Singles

 Nehlam Eih (What Should We Dream Of?) ft. Thekra
 Mahabba (Love) ft. Talal Salama
 Le Soal (I Have A Question) ft. Abdalla Rweished
 Maizza (Preciousness) ft. Abdalla Rweished
 Khaleeny Maak (Keep Me With You) ft. Fahd
 El Ard Hiya Hiya (The Land Will Stay) tribute to Kuwait's liberation
 Azeez We Ghali (Dear and Precious)
 elAmaken (The Places) tribute to Mohammad Abdo
 Ana Mnel Balad Dee (I Am From This Country) tribute to Egypt
 Mitel elAwal (Like The First) released on the Internet
 Hadeeth elSabah Wel Masaa (Talks Of the Mornings and the Nights) intro for episode
 Ra' w Ein (R and N) released for princess Reem elWaleed's wedding
 Ya Rab (Oh God) released for Holy Month of Ramadan
 Hekayat elGharam (Love Stories)
 Ma Bataallemsh (I'll Never Learn)
 Ynayer (January) 25-1-2011
 Sebto (I've left him) 2011
 `Aeish Galby (Staying in the heart) (Khaliji song) 2012
 Law Kont (If You Were) 2012
 Ajmal Makan (The Most Beautiful Place) 2014

References

1972 births
Living people
Egyptian singers
People from Alexandria
Record producers

Angham