A hinge is a mechanical bearing that connects two solid objects, typically allowing only a limited angle of rotation between them. Two objects connected by an ideal hinge rotate relative to each other about a fixed axis of rotation, with all other translations or rotations prevented; thus a hinge has one degree of freedom. Hinges may be made of flexible material or moving components. In biology, many joints function as hinges, such as the elbow joint.

History
Ancient remains of stone, marble, wood, and bronze hinges have been found. Some date back to at least Ancient Egypt.

In Ancient Rome, hinges were called cardō and gave name to the goddess Cardea and the main street Cardo. This name cardō lives on figuratively today as "the chief thing (on which something turns or depends)" in words such as cardinal.

According to the OED, the English word hinge is related to hang.

Door hinges

 Barrel hinge A barrel hinge consists of a sectional barrel (the knuckle) secured by a pivot. A barrel is simply a hollow cylinder.  The vast majority of hinges operate on the barrel principle.

 Butt hinge / Mortise hinge Any hinge designed to be set into a door frame and/or door is considered a butt hinge or mortise hinge. A hinge can also be made as a half-mortise, where only one half is mortised and the other is not. Most mortise hinges are also barrel hinges because of how they pivot (i.e., a pair of leaves secured to each other by knuckles through which runs a pin).

 Butterfly / Parliament (UK) hinge A decorative variety of barrel hinge with leaves somewhat resembling the wings of a butterfly

 Case hinge Similar to butt hinges, but usually more decorative; most commonly used in suitcases, briefcases, and the like

Concealed hinge Used for furniture doors (with or without a self-closing features and/or damping systems),they consist of two parts: (1.) the cup and arm, and (2.) the mounting plate. They are also called "cup hinges", or "Euro hinges", as they were developed in Europe and use metric installation standards. Most concealed hinges offer the advantage of full in situ adjustability for standoff distance from the cabinet face, as well as pitch and roll by means of two screws on each hinge.

 Continuous / Piano hinge This variety of barrel hinge runs the entire length of a door, panel, box, etc. They are manufactured with or without holes.

 Flag hinge A simple two-part hinge, where a single leaf, attached to a pin, is inserted into a leaf with a hole. This allows the hinged objects to be easily removed (such as removable doors). They are made in right- and left-hand configurations.

H hinge These H-shaped barrel hinges are used on flush-mounted doors. Small H hinges () tend to be used for cabinets, while larger ones () are for passage doors and closet doors.

 HL hinge Commonly used for passage doors, room doors, and closet doors in the 17th, 18th, and even 19th centuries. On taller doors, H hinges were occasionally used between them.

 Pivot hinge This hinge pivots in openings in the floor and the top of the door frame. Also referred to as double-acting floor hinges, they are found in ancient dry stone buildings and, rarely, in old wooden buildings. They are a low-cost alternative for use with lightweight doors. Doors with these hinges may be called haar-hung doors.

 Self-closing hinge This is a spring-loaded hinge with a speed control function. The same as spring hinge, usually use spring to provide force to close the door and provide a mechanical or hydraulic damper to control door close speed. That can prevent door slamming problem while auto closes a door.

Spring hinge A spring-loaded hinge that provides assistance in closing or opening the hinge leaves. An inner spring applies force to keep the hinge closed or opened.

Swing Clear hinge Also called offset door hinges, they are ideal for residential and commercial doors, they allow doors to swing completely clear of their openings. They can easily comply with Fair Housing Act (FHA) code by providing a minimum ADA 32" clearance when using a 34" door slab.

Living hinge A hinge of flexible plastic that creates a join between two objects without any knuckles or pins. Molded as a single piece, they never rust or squeak, and have several other advantages over other hinges, but are more susceptible to breakage.

Other types of hinges include:
Coach
Counterflap
Cranked or storm-proof
Double action non-spring
Double action spring
Flush
Friction
Lift-off
Pinge (with a quick-release pin)
Rising butt
Security
Tee

Building access
Since at least medieval times, there have been hinges to draw bridges for defensive purposes for fortified buildings. Hinges are used in contemporary architecture where building settlement can be expected over the life of the building. For example, the Dakin Building in Brisbane, California, was designed with its entrance ramp on a large hinge to allow settlement of the building built on piles over bay mud. This device was effective until October 2006, when it was replaced due to damage and excessive ramp slope.

Large structures
Hinges appear in large structures such as elevated freeway and railroad viaducts, to reduce or eliminate the transfer of bending stresses between structural components, typically in an effort to reduce sensitivity to earthquakes. The primary reason for using a hinge, rather than a simpler device such as a slide, is to prevent the separation of adjacent components. When no bending stresses are transmitted across the hinge, it is called a zero moment hinge.

Spacecraft

A variety of self-actuating, self-locking hinges have been developed for spacecraft deployable structures such as solar array panels, synthetic aperture radar antennas, booms, radiators, etc.

Terminology

Components
Pin The rod that holds the leaves together, inside the knuckle. Also known as a pintle.
Knuckle The hollow—typically circular—portion creating the joint of the hinge through which the pin is set. The knuckles of either leaf typically alternate and interlock with the pin passing through all of them. (aka. loop, joint, node or curl)
Leaf The portions (typically two) that extend laterally from the knuckle and typically revolve around the pin.

Characteristics
 End play Axial movement between the leaves along the axis of the pin. This motion allows the leaves to rotate without binding and is determined by the typical distance between knuckles (knuckle gap) when both edges of the leaves are aligned.
 Gauge Thickness of the leaves.
Hinge width Length from the outer edge of one leaf to the outer edge of the other leaf, perpendicularly across the pin (aka open width).
 Hinge length The length of the leaves parallel to the pin.
 Knuckle length The typical length of an individual knuckle parallel to the pin.
 Leaf width Length from the center of the pin to the outer edge of the leaf.
 Pitch Distance from the end of a knuckle to the same edge of its adjacent knuckle on the same leaf
 Door Stop A colloquialism referring to loose angular movement of the leaves relative to the pin.

Other types
Butler tray hinge Folds to 90 degrees and also snaps flat. They are for tables that have a tray top for serving.
Card table hinge Mortised into edge of antique or reproduction card tables and allow the top to fold onto itself.
Carpentier joint A hinge consisting of several thin metal strips of curved cross section.
Drop-leaf table hinge Mounted under the surface of a table with leaves that drop down. They are most commonly used with rule joints.
Hinged expansion joint an expansion joint with hinges that allow the unit to bend in a single plane
Hinged handcuffs a restraint device designed to secure an individual's wrists in proximity to each other consisting of two cuffs linked with a double or triple hinge. Hinged handcuffs cuffs tend to restrict movement more than chain-linked handcuffs, and they can be used to generate more leverage to force a suspect's hands behind the back, or to apply pain against the wrist, forcing the subject to comply and stop resisting.
Hinge region portion of antibody structure between the fragment antigen-binding region and the fragment crystallizable region
Living hinge a hinge consisting of material that flexes
Piano hinge (or coffin hinge) a long hinge, originally used for piano lids, but now used in many other applications where a long hinge is needed.

Gallery

See also
 Hinge bender, a tool for adjusting hinges

 Hinge joint, a skeletal bone joint functioning like a hinge

References

External links

 Hinge Terminology—Hingecraft; graphics visualizing many terms
 Guden Hinges and Industrial Hardware: Glossary

Hardware (mechanical)
Door furniture
Linkages (mechanical)

Hinge


Antoine Bailleux was an 18th-century Parisian violinist and music publisher, active from 1761 to 1800 or 1801.

Biography

Bailleux was music seller of the Chambre et des Menus Plaisirs du Roi between 1772 and 1778 ; then ordinary music dealer of the King and the royal family from 1779 to the Revolution.

He was the main publisher of composers Jean-Baptiste Davaux, Joseph Bologne de Saint-George and Gossec but he also published works by Grétry, Jean-Frédéric Edelmann, Johann Baptist Wanhal, Ignaz Fränzl, Ernst Eichner, Dittersdorf, Ivan Mane Jarnović (Giornovichi), Karl Joseph Toeschi, Tommaso Giordani  Luigi Boccherini and Wolfgang Amadeus Mozart.

In 1777, he published under the number XXVI and the name Joseph Haydn, a set of six string quartets later referred to as Opus 3.
Since the 1960s, the collection is rather attributed to great admirer of J. Haydn, and friend of Joseph Martin Kraus, the German composer Roman Hofstetter. This practice was quite common among publishers, wishing to improve the distribution of their production. Hofstetter would have sold less than Haydn.

His Parisian addresses appearing on the title pages of his publications were:
 Rue Porte-au-Foin, near rue des Enfants-Rouges
 Rue Saint-Honoré (near rue de la Ferronnerie ; vis-à-vis rue des Bourdonnais ; near rue de la Lingerie, n° 198)
 Rue (previously Honoré and now) d'Orléans, n° 17 (near rue des Deux-Écus ; quartier Honoré ; hôtel du Mouton)
 Rue des Deux-Écus, n° 22.

His sign read "À la Règle d'or".

The Erard ladies were mentioned as "successors of defunct Bailey" in 1802.

Some historians (including Fétis) gave a death date too old by ten years, whereas the Almanach du commerce de Paris from 1800–1801 still mentions him.

Method
Bailleux authored a Méthode raisonnée pour apprendre à jouer du violon avec le doigté de cet instrument et les différents agréments dont il est susceptible, précédée des principes de musique.

Bibliography
 Anik Devriès and François Lesure, Dictionnaire des éditeurs de musique français : Des origines a environ 1820, vol. 1, Geneva, Minkoff, coll. "Archives de l'édition musicale française" (no 4, 1), 1979, 203 p. (, )
 Rudolf Rasch (dir.), Music Publishing in Europe 1600-1900 : Concepts and Issues Bibliography, Berlin, Berliner Wissenschafts-Verlag, coll. "Musical life in Europe 1600-1900, Circulation of music" (no 1), 2005, 314 p. (, , read online

See also
 Répertoire international des sources musicales

References

External links
 Some original editions on IMSLP

1720 births
1800 deaths
French music publishers (people)
18th-century French male classical violinists
Music publishing companies of France

Antoine Bailleux


The first women to fly to Antarctica were the American flight attendants Patricia (Pat) Hepinstall of Holyoke, Colorado and Ruth Kelley of Houston, Texas who were members of the crew on the Pan American flight which landed at the US McMurdo Station on October 15, 1957.

The two women joined the flight in Christchurch, New Zealand, on the last leg of the flight from San Francisco. They received a warm welcome at the base despite misgivings by Rear-Adminal Dufek who had called for an all-male crew. The matter was however outside his jurisdiction. Although some of the station's over-wintering staff avoided meeting the women after so many months, some 50 others took part in celebrations which included a beard contest and a US versus New Zealand sled race. New Zealanders from the nearby Scott Base were also invited to attend. The PanAm pilot, Ralph Savory, referred to the flight attendants as "very nice looking stewardesses".

References

Exploration of Antarctica
Female polar explorers
Flight attendants
McMurdo Station
Pan Am
Women aviation pioneers

Patricia Hepinstall and Ruth Kelley


Papyrus Oxyrhynchus 229 (P. Oxy. 229 or P. Oxy. II 229) is a fragment of the Phaedo, a dialogue by Plato, written in Greek. It was discovered in Oxyrhynchus. The manuscript was written on papyrus in the form of a roll. It is dated to the second or third century. Currently it is housed in the British Library (Department of Manuscripts, 786) in London.

Description
The document was written by an unknown copyist. It contains part of the text of the Phaedo (109 C, D). The measurements of the fragment are 170 by 49 mm. The text is written in a small cramped uncial hand. It uses breathing and accents. There are two lines at the top in a cursive hand, which appear to be a heading. It does not have any remarkable textual variations. The occasional corrections were inserted after the writing, possibly by the original scribe.

It was discovered by Grenfell and Hunt in 1897 in Oxyrhynchus. The text was published by Grenfell and Hunt in 1899.

See also
 Oxyrhynchus Papyri
 Papyrus Oxyrhynchus 228
 Papyrus Oxyrhynchus 230

References

229
2nd-century manuscripts
3rd-century manuscripts
British Library collections
Dialogues of Plato

Papyrus Oxyrhynchus 229


Lycaena dorcas is a species of butterfly in the family Lycaenidae, the gossamer-winged butterflies. Its common names include dorcas copper and cinquefoil copper. The species was first described by William Kirby in 1837. It is native to North America. The species L. dospassosi was once included in L. dorcas.

Description
The top side is brown. The male has a blue-purple iridescence and the female has a few lighter areas. The male is similar in coloration to that of L. helloides. The hindwings have red-orange spots on the border. The underside is brown with a slight orange tint. The wingspan is . The caterpillar is pale green with a single dark green dorsal line and faint white bands.

Range and habitat
L. dorcas occurs as far north as boreal Alaska and south to Washington in the west and the Great Lakes region in the east. There is an isolated population in Maine. Its habitat includes bogs and old overgrown fields.

Life cycle
There is one flight between June and September. The male stays near the host plant to seek females. The females lay white eggs singly on the undersides of the leaves. The eggs drop with the leaves in autumn and overwinter. The caterpillars hatch in spring and return to the host plant to feed.

Larval host plants include Potentilla fruticosa and species of Rumex and Polygonum.

References

Lycaena
Butterflies of North America
Taxa named by William Kirby (entomologist)
Butterflies described in 1837

Lycaena dorcas


Indonesian slang (, ), or informal Indonesian language () is a term that subsumes various vernacular and non-standard styles of expression used throughout Indonesia that are not necessarily mutually intelligible. Regional slang from the capital of Jakarta, based on Betawi language, is however heavily exposed and promoted in national media, and considered the de facto Indonesian slang. Despite its direct origins, Indonesian slang often differs quite significantly in both vocabulary and grammatical structure from the most standard form of Indonesia's national language. These expressions are neither standardized nor taught in any formal establishments, but rather function in daily discourse, usually in informal settings. Several dictionaries of bahasa gaul has been published. Indonesian speakers regularly mix several regional slangs in their conversations regardless of origin, but depending on the audience and the familiarity level with the listeners.

History

It is exactly unclear when the slang was first appeared in conversation. However, the earliest documented use of the slang started during the Dutch colonial era in Indonesia around the 1860s and 1870s. Its native name, bahasa gaul (the 'social language'), was a term coined in the late 1990s where bahasa means 'language' and gaul means 'social', 'cool' or 'trendy'. Similarly, the term bahasa prokem (a more outdated name for Indonesian slang) created in the early 1970s means 'the language of gangsters'. Prokem is a slang form of the word préman 'gangster' and was derived from the Dutch word vrijman, which literally means 'freeman'.

Indonesian slang is predominantly used in everyday conversation, social milieus, among popular media and, to a certain extent, in teen publications or pop culture magazines. For those living in more urbanized regions of Indonesia, Indonesian slang language often functions as the primary language medium for communication in daily life. While it would be unusual to communicate orally with people on a casual basis with very formal Indonesian, the use of proper or 'good and correct' Indonesian (bahasa Indonesia yang baik dan benar) is abundant in the media, government bodies, schools, universities, workplaces, amongst some members of the Indonesian upper-class or nobility and also in many other more formal situations.

Indonesian slang has evolved rapidly. This is, in part, due to its vocabulary that is often so different from that of standard Indonesian and Malaysian and also because so many new words (both original and foreign) are quite easily incorporated into its increasingly wide vocabulary list. However, as with any language, the constant changing of the times means that some words become rarely used or are rendered obsolete as they are considered to be outdated or no longer follow modern day trends.

Classification
At present, there is no formal classification for Indonesian slang language as it is essentially a manipulated and popularized form of the Indonesian (the national language of Indonesia).

Indonesian is part of the Western Malayo-Polynesian subgroup of the Malayo-Polynesian branch of the Austronesian languages. According to the Ethnologue, Indonesian is modelled after Riau Malay, a form of Old Malay originally spoken in Northeast Sumatra.

Geographic distribution
Indonesian slang language is mostly spoken in urban regions of the Indonesian archipelago. It also spoken in some Indonesian soap operas and animated television series (such as Tukang Ojek Pengkolan or Adit Sopo Jarwo). Variations of slang language can be found from city to city, mainly characterised by derivatives of the different local ethnic languages. For example, in Bandung, West Java, the local slang language contains vocabulary from the Sundanese language, while the slang found in Jakarta tends to be heavily influenced by English or the old Batavian dialect (i.e. the language of the original inhabitants of Jakarta or Batavia as it was known during the Dutch colonial period). For more information relating to the geographic distribution of Indonesian slang and regional influences, please see "Region Specific Slang" below.

Official status
Indonesian slang language is not an official language of Indonesia. However, it is a modified form of the Indonesian language and is widely used for everyday communication and in informal situations. Sometimes it is mixed with formal Indonesian in formal situations, except during state ceremonies, business meetings, and sacred prayers. A number of Indonesians sometimes speak a mixture of Indonesian slang and formal Indonesian in everyday conversation and informal situations.

Sounds
Indonesian slang generally uses the same pronunciation as standard Indonesian, although there are many influences from regional dialects on certain aspects such as accent and grammatical structure. Loan words adopted from foreign languages (especially European) such as English or Dutch are often transliterated according to the modern Indonesian orthography. For example, the word "please" is often written as plis. Another closely related phenomenon to arise in recent years is the formation of complex nouns or phrases created using a combination of English and Indonesian (slang) in the one sentence. A prime example of this is the phrase "so what gitu loh!", meaning "who cares?!" or quite simply "so what!" with added emphasis from the phrase "gitu loh". Gitu is an abbreviated form of the Indonesian word begitu meaning 'like that/such as', while loh (also spelt lho) is a particle commonly used in slang or conversational Indonesian to show surprise or instigate a warning. In these cases of combined, interlingual phrases, the original spelling (and quite often the pronunciation) of the foreign word(s) are retained. Hence, the English component of the Indonesian slang phrase "so what gitu loh!" remains relatively unchanged as far as spelling and pronunciation are concerned.

Grammar
The overall structure of Indonesian slang is not all that different from formal Indonesian, although in many cases sentences are simplified or shortened when necessary. The differences between formal and colloquial Indonesian are most evident in vocabulary and grammatical structures (e.g. affixes).

Vocabulary

The structure of the Indonesian slang language is mostly derived from formal Indonesian. However, its vocabulary is a different story altogether. Indonesian slang vocabulary is enriched by a combination of derivatives or loan words/structures from foreign languages such as Min Nan commonly referred to as Hokkien, English, and Dutch, as well as local ethnic languages such as Batavian, Sundanese, and Javanese. However, in many cases, new words are simply created at random and their origins often quite obscure.

A large proportion of the vocabulary used in Indonesian slang language was developed from formal Indonesian through several methods, most of which are listed below:
Shortening the prefix men-, me-, mem-, or meng- into n- or nge-. For example:
mengambil → ngambil 'to take' (from ambil 'to take')
menyapu → nyapu 'to sweep' (from sapu 'broom')
merasa → ngerasa 'to feel' (from rasa 'taste; feel')
membuat → ngebuat 'to make' (from buat 'to make')
Replacing the suffix -kan or -i with -in (Balinese and Betawi influence). For example:
menanyakan → nanyain 'to ask about something' (from tanya 'to ask')
diajari → diajarin 'to be taught' (from ajar 'to teach')
Using ke- at the beginning of non-volitional passive verbs instead of using ter-. For example:
tertangkap → ketangkep 'to be caught' (from tangkap 'to catch')
terpeleset → kepeleset 'to accidentally slip' (from peleset 'to miss a target')
Elimination of s or h from a word. For example:
habis → abis 'deleted, emptied'
tahu → tau 'to know'
hitung → itung 'count'
hitam → item 'black'
hijau → ijo 'green'
sudah → udah 'already'
saja → aja 'just'
lihat → liat 'see'
Contraction of two or more words into one word. For example:
terima kasih → makasih 'thank'
jaga imej → jaim 'to safeguard one's social image'
percaya diri → pd or pede 'confidence'
gak jelas → gaje 'not clear, absurd'
males gerak → mager 'lazy' ()
bokap-nyokap → bonyok 'parents' ()
sange ga tertampung → sagapung or segapung 'hypersex' ().
ewe bo'ol → ebol 'anal intercourse (for consensual anal intercourse), sodomy (for non-consensual anal intercourse)'
 buka paha tinggi-tinggi → bupati (showing their thighs off).
 sekitaran wilayah dada → sekwilda (breast)
Altering the pronunciation of  in final closed syllables into  (Javanese, Betawi, and Sundanese influence). For example:
tangkap → tangkep 'to catch'
benar → bener 'correct'
pintar → pinter 'smart'
malas → males 'lazy'
segar → seger 'fresh'
cepat → cepet 'fast'
hitam → item 'black'
diam → diem 'shut up'
ingat → inget 'remember'
sambal → sambel 'chili sauce'
dekat → deket 'near'
Altering the pronunciation of i into e. For example:
ingin → pengen, 'want'
naik → naek 'up'
kemarin → kemaren 'yesterday'
baik → baek 'good'
Contracting a diphthong into a monophthong (monophthongization). For example:
kalau → kalo 'if'
kacau → kaco 'chaotic'
galau → galo 'confusion
hijau → ijo green
pakai → pake 'to use'
sampai → sampe 'until'
cabai → cabe 'chili'
Addition and exclusion of silent consonants and glottal stops to the beginning/end of a word, usually in speech. For example:
kalo  →
pake  →
sampe  →
Making of a prokem word. For example:
bapak → bokap 'father'
nyak → nyokap 'mother' (a special case where the consonant /k/ become /p/ to make it rhyme with bokap)
jual → jokul 'to sell'
berak → boker 'to defecate'
sapa → sokap 'who' (sapa is a colloquial word of siapa 'who')
sini → sokin
Reversing the phoneme or syllable order from a word. For example:
 sange → engas 'sexually aroused'
 anjing → jingan 'fuck (interjection)' ()
 lumayan → nayamul 'not bad'
 bego → ogeb 'stupid'
 sikat → takis 'to take something'
 selow → woles 'relax; taking easy' (from English word "slow")
 bang → ngab 'older brother; bro' (shortened form of abang 'older brother')
 mabok → kobam 'drunk'
 bisa → sabi 'can, be able to'
 yuk or yuks → kuy or skuy 'let's go, come on'
 mobil → libom 'car'
 enak → kane 'delicious'
 ribut → tubir 'chaos; fight'
satu, dua, tiga → utas, aud, agit 'one, two, three' (in this context, satu or utas means a freshman in Senior High School; aud or dua means a sophomore in Senior High School; while agit or tiga means a penultimate or senior in Senior High School.

Some words are simply loaned from English. For example:
sorry → sori
friend → fren or pren
swear → suer
brother → bro
sister → sis
please → plis
slow → selow
babe → beb
by the way → btw or betewe
on the way → otw or otewe
double → dobel
triple → tripel
simple → simpel
check it out → cekidot
cancel → cancel

Some words are also loaned from Chinese languages (mainly Hokkien and Mandarin). For example:
angpau/angpao 'monetary gift' (; a gift usually given during holidays or special occasions, stemmed from tradition done by Chinese community)
auban 'stubborn' ()
bo 'no; don't have' (; it is often used with another descriptive noun/adjective, for example bo huat 無法 'unable', bo kam guan 'not sincerely willing to let go off somtehing')
cengli 'fair, make sense' ()
cuan 'earn, profit' ()
hauce 'delicious, tasty' ()
hauce sèn cin ping 'extremely/overly delicious' (; the phrase is derived from Indonesian popular slang expression enak gila (from enak 'delicious' and gila 'crazy, insane'), with shén jīng bìng (神经病) literally means 'crazy, insane')
ho ciak 'delicious, tasty' ()
kepo 'busybody' (; a slang from Taiwanese Hokkien, has a backronym "knowing every particular object")
toke/tauke 'boss' ()

Some words originated from the LGBT community (especially among transvestites) usually have word ending -ong. This either come from the pattern of changing the vocal of the penult into  and replacing the rime of the ultima with -ong, or entirely different origin. This was also an attempt among LGBT community to alter the words to become more "French-sounding", thus sounding more sexy. For example:
dandan → dendong 'to dress up'
gede → gedong 'big'
gratis → gretong 'free'
homo → hemong 'homosexual'
keluar → klewong 'to ejaculate' (from keluar 'to go out')
laki → lekong 'male'
mau → mrong 'want; sexual activity' (the meaning 'sexual activity' comes from the onomatopoeia of a cat sound (méong) during sexual intercourse)
sakit → sekong 'homosexual' (from sakit 'sick')
sepong 'fellatio' (from isep, colloquial form of hisap 'to suck')
tempong or tembong 'anal sex' (from tembak 'to shoot' and bokong 'ass')

Many words also emerged without following the above rules at all or have their own unique history and/or origin not related to its literal meaning. For example:
abg or abege 'teenager' (from anak baru gede, )
alay 'tacky; garish; drama queen' (from anak layangan, ; used to describe the appearance associated with lower class children often spending their time outside and getting sunburnt, but then get a broader meaning)
anjay, anjir, anjrit, anjas, etc. 'wow (interjection)' (from anjing 'dog' usually used as a negative interjection, the change in its rhyme gives a slightly positive meaning)
backstreet 'to date in secret'
bang jago (from abang 'older brother' and jago 'champion; master'; used to end any argument in a passive-aggressive and ad hominem manner)
baper 'touchy' (from bawa perasaan )
banget, from Javanese banget 'very'
basian 'hangover'
beud 'very' (from banget 'very'; this word has become popular after Indonesia's fast food chain, CFC coined the word on one of their television advertisement)
bokep 'blue film' (from the abbreviation of "blue film", BF, which is read as bé-èf or bé-èp then transformed into a prokem word using infix -ok-)
botol 'foolish, stupid' (from the acronym of "bodoh" and "tolol")
buzzeRp 'political buzzer' (a portmanteau of buzzer politik 'political buzzer' and Rupiah)
cabe-cabean 'slut' (from cabe , from the abbreviation of cewek alay bisa diewe ; the term derived from teen motorbike gang/underground racing subculture where sometimes the ante was the racers' girlfriends and the winner could sleep with her)
capcus 'let's go' (from cabut 'to pull off something', colloquially means 'to go'; popularized by LGBT community)
cebong (; a pejorative name for Joko Widodo's supporters)
 cepu 'snitcher'
 chuaks (a vocalization of someone who wants to  spit; used to dismiss someone else's argument, made popular by Reza "Coki" Pardede, an Indonesian comic and Majelis Lucu Indonesia, an Indonesian stand-up comedy community)
ciyus 'serious' (from serius 'serious')
cupu 'out of date, not trendy; nerd' (from culun punya , culun 'out of date; nerd' and punya 'to have, to possess'; it became popular after Indonesia's beverage brand, Pop Ice, coined it in their television advertisement in 2007)
decul (from dede Cules), used by Madridista to ridicule Cules. Similarly, demit or dedemit (from dede Madridista) used by Cules to poke fun at Madridista. Both of these words usually said at El Clásico.
doang from Betawi doang 'just'
fafifu wasweswos or fa fi fu was wes wos 'nonsensical', 'gibberish'.
gebetan 'crush' (from gebet 'to approach, to get closer to someone', itself a slang)
GR or geer 'to have a prejudice about itself' (from gede rasa )
garing 'lame, corny' (from garing 'dry')
halo, dek or halodek, an epithet for Indonesian policeman and soldiers corps, due to their flirtatious yet creepy and perverted behaviour, such as catcalling against girls (especially doctors, pharmacists, midwives, and nurses), both online and offline.
Indog (from "Indonesian dog" or "Indognesial"; a pejorative name for Indonesia and Indonesian)
jamet (from jablay/janda mètal 'women who dresses and acts overly provocative but didn't care about their appearance and won't bother to take care about themselves', jajal metal 'metal poseur', or Jawa metal 'metalhead Javanese'; a pejorative name for Javanese people)
jebakan betmen 'prank' ()
jijay 'disgusting, grotesque' (from jijik 'disgusting'; sometimes used to express a condition of 'utmost disgust', used in the phrase "jijay bajay" or "anjay jijay")
jomblo or jombs 'single' (from Sundanese jomblo 'unable to sell (the product); unrequited')
jutek 'sassy; rude'
kadrun (from kadal gurun ; a pejorative name for Islamic bigot).
kenti 'penis' (from kontol 'penis')
kimpoi 'sexual intercourse' (from kawin 'to have sex')
kinclong 'shiny; good looking'
koplak 'silly'
kuproy 'construction worker' (from kuli proyek 'construction worker'; sometimes pejorative)
kutu kupret 'bastard'
lebay 'overacting' (from lebih 'more' with exaggerated English pronunciation imitation, or from Sumatran Malay labaih/lebaih 'excessive; crossing the line')
lesbiola 'lesbian' (from lesbi 'lesbian', extended into the word les biola )
maho 'gay men' (from manusia homo 'homosexual man')
matre 'materialistic' (from materialistik)
memek 'vagina' (from Sundanese momok 'vagina' in polite form)
miapa or miapah 'really?' (from demi apa )
ndakik-ndakik 'words or terminologies that too hard to understand, to the point it sounds nonsensical or gibberish.
ngondek 'sissy, effeminate' (from kondektur 'public bus attendant'; describing the manner of fast speaking on announcing the destinations while doing waving gesture done by bus attendant, popularized by LGBT community)
PDKT or pedekate 'hitting on someone (romantic)' (from pendekatan 'approach'; has a backronym of pede (from percaya diri 'confident') and kate 'talk')
RT 6 or RT 06 (from rukun tetangga; used by Indonesian Christian apologists to describe Islam, with warga RT 6 or warga RT 06 is used to describe Muslims in general)
RT 16 (used as a counter by Muslim apologists to describe Christianity, and similarly, warga RT 16 is used to describe Christians in general)
segede gaban 'very big' (; Gaban comes from the main protagonist of the Japanese Tokusatsu series called Space Sheriff Gavan, which become a hit in Indonesia in the 1980s, but the term itself started appearing in the 1990s when an approximately 10 meter tall statue of Gavan was erected in Jakarta's theme park, Dunia Fantasi)
sekut 'afraid; cool; come on; panic' (popularized by celebrity Gofar Hilman)
tajir 'filthy rich' (from )
terong-terongan (from térong 'eggplant'; the male counterpart of cabé-cabéan, refer to the similarity of an elongated-shaped purple eggplant with a penis. Thus the term térong dicabéin () means male to female cross-dresser)
TTM or tete'em 'intimate friend' (; this term hugely popularized by a Ratu music video, sometimes also associated as casual sex partner or friends with benefits)
telmi 'slow-witted' (from telat mikir )
T-O-P B-G-T 'cool, awesome' (from the spelling reading of top bgt, the colloquial spelling of top banget 'really cool' used in texting)
Vrindavan or Prindapan (from Vrindavan, the location mentioned in Little Krishna animated series; a pejorative name for India)

Particles

Many slang particles are used in the end of a sentence. Usually, these particles do not directly change the sentence's meaning, in the sense that the truth conditions remain the same. However, they can have other effects, such as emphasizing a sentence, or suggesting hesitancy. They can be used to reinforce the social link between speaker and listener.

For example, the sentence Dia datang (she/he comes) could be modified by one of the following particles:

 Dia datang nih - used as exclamation.
 Dia datang dong - expresses certainty (She comes for sure), or sometimes obviousness (usually cheekily); dong can be stressed with a long vowel to mean She has to come.
 Dia datang kok - used to convince someone who might doubt the sentence.
 Dia datang lah - expresses a high level of certainty.
 Dia datang lho - could be translated as She comes, you know.
 Dia datang ah - expresses hesitancy; could be translated as I think she/he comes.
 Dia datang dooong - expresses hesitancy; could be translated as I wish she'd come or Please let her come
 Dia datang deng - used to correct what was wrong; could be translated as She came apparently
 Dia datang deh - used to emphasize that 'finally' the person is coming, or in different intonation and context, it is used to emphasize a condition for proposing a request, for instance in a context of: 'She will come too, so please also come with us'
 Dia datang, lagi or Dia datang pula - expresses annoyance, exasperation, or general displeasure; could be translated as She/he comes, too?

Particles can also be used to introduce questions.  The following examples could both be translated as How could she come?:

 Kok, Dia datang? - used when the speaker finds the sentence difficult to believe.
 Lho? Dia datang  - indicates surprise or disbelief.

Vocabulary evolution

Pre-1980s
Kumpul kebo literally means 'water buffalo-style gathering' or 'gather like cattle'. It originated during the Dutch colonial era and was known as koempoel gebouw, from koempoel 'to gather' and Dutch gebouw 'building', thus the phrase means to live together under the same roof (as an unmarried couple). Confusion has caused this term to be linked with Javanese kebo 'buffalo'. This term basically means that two people in a relationship are living together without being married, i.e. in a domestic partnership or a de facto relationship. To kumpul kebo in Indonesia is considered immoral and sometimes illicit. For these reasons and also those relating to religion, Asian culture, and general ethics, it is often frowned upon in modern Indonesian society to do such a thing.

1980s
The 1980s was the era of bahasa prokem. At this time slang language vocabulary was formed by the insertion of the infix -ok-, creating a totally new word. Prokem itself is a prokem word from préman.

Prokem words created by reducing the ultima, then inserting the infix -ok- before the vocal of the penult (which is now become the ultima). If the penult is an open syllable, the penult taking the nearest consonant after it as its coda. If the word is monosyllabic, the infix simply inserted before the vocal. Examples are given below, with the vocal of the penult marked with bold and the nearest consonant marked with underscore:

 ba-pak → bap → bokap 'father'
 ju-al → jul → jokul 'to sell'
 sen-di-ri → sen-dir → sendokir

The word sekolah 'school' was transformed into skokul, from skul, reminiscent of the English word "school". This word slowly become outdated and by the 1990s the word was no longer used, and changed to sekul or simply skul.

Other notable words such as mémblé 'ugly, frowning', kecé 'beautiful, good looking' (from keren cekali 'very cool'), the sentence attribute nih yé, and the exclamation "alamakjan!" all emerged in the same decade.

New Millennium
Much of the slang language created post-2000 originated from the Indonesian LGBT community. The latest method for transforming a word is to take a totally different word which differs in its ultima, rime, or coda. For example, the word mau 'want' is replaced with the word mawar 'rose'. Despite its creativity and originality, this latest form of Indonesian slang can be quite complicated to understand, even to the native Indonesians themselves. For example, "Akika tinta mawar macarena" originates from the sentence written in proper Indonesian "Aku tidak mau makan", which means 'I don't want to eat'.

The abbreviations often used to mask insult, such as kamseupay 'totally lame', abbreviation of kampungan sekali udik payah which means 'really bumpkinish, yokel, lame'.

Region specific slang

Medan slang
Medan is the capital of North Sumatra Province. Most of the slang from Medan are heavily influenced by Malay, Hokkien and Karo language. For example, "bapa" for "father", "nande" for "mother", "kedé" for "shop", "tutup lampu" for "turn off the light", "buka radio" for "turn on the radio". Another example of Medan slang is by adding "punya" at the end of the sentence. For example, "mobil aku punya" for "my car". They also have the tendency to confuse between e and é.

Jambi & Palembang slang
Jambi and Palembang slang mostly involves changing the letter at the end of the word with letter 'o'. However, not all words can be modified to include the characteristic 'o', as this rule applies mostly to words ending with the letter 'a'. Sometimes Palembang use shorter-version of word by erase first syllables, like 'segala' in standard Malay-Indonesian to 'galo'.
Kito - kita (we)
Galo - segala (all, every)
Ngapo - kenapa (why or what happened)
Jugo - Juga (too)

Another characteristic pattern of Jambi and Palembang slang involves the addition or replacement of the final letter of a word with 'k'.
Pulak - pula (too, also, as well)
Aek - air (water)

Another classic Malay Sumatran dialect also prevailed in most of Sumatran cities, from Palembang to Bengkulu, Jambi and Pekanbaru. These classical Malay words such as nian is used in Sumatran cities instead of sangat or banget (very).
Nian - nian (classical Malay) - sangat (standard Indonesian) - banget (Indonesian slang)

Jakarta slang
Jakarta including Botabek is the capital city of Indonesia with a population of more than 20 million people. Consequently, such a huge population will undoubtedly have a role in the Jakarta slang evolution. Much of the slang evolved from the Betawi dialect.

Some prominent examples:
Ajé (from 'saja') - Only, just, from the Betawi dialect
Ayé - I, me
Bacot - Talk too much.
Bang (from 'abang') - Slang form of address for elder males/ brother.
Banget - Very, from the Betawi dialect
Bégo (from 'bodoh') - Stupid, from the Betawi dialect
Berapa duit? or Berapaan? - How much money/ how much is the cost?
Bo'il (with a glottal stop between o and i) - Car
Bokap - Father
Nyokap - Mother
Bonyok - Mother and Father combined, also a slang which means a bruise.
Nggak/Gak/Ga - Not
 Cabé - chili pepper (cabai)
 Capek - Tired (lelah)
 Kebon - Garden (kebun)
Nyolot - Haughty, arrogant.
Doang (from 'saja')- which means only, that's all
Émangnya kenapa? - So what? / What does it matter?
Gilé! (from 'gila')- An exclamation meaning crazy/insane/obscene, as emphasis to a sentence or phrase.
Gua/Gué - I, Me, from the Betawi dialect
Jayus (from jail, usil') - Ignorant and nosy.
Manyun - Someone with protruding lips, usually used to describe when someone is upset.
Mécing - From English word matching which means fitting.
Busèt - A form of expression which is similar to "Oh My God" or "Alas" or "Holy shit!"
Lu/Lo - You, from the Betawi dialect
 Pengen - Want (ingin)
 Kondangan - Invitation (undangan), usually a wedding invitation
Gan/Agan - Boss, from Sundanese "juragan"
Gendut or Gembrot - Fat
Gombal - Crazy or, as another term, flirtatious words
Sinting - Insane, a freak person.
Yo'i - Yes, very cool.
Guga - Juga, (also)
Ngenlay - Kangen, although "kangen" is slang for rindu.

The following words are taken from Hokkien (Fukkien) Chinese, and commonly used in transactions.
Gocap -  IDR 50
Cepek -  IDR 100
Gopek -  IDR 500
Seceng - IDR 1000
Cenggo - IDR 1500
Goceng - IDR 5000
Ceban -  IDR 10.000
Goban -  IDR 50.000
However, many Indonesians of non-Chinese descent do not know the meaning of the transaction words above, probably with the exception of Goceng due to its usage on KFC Indonesia's advertising on their "Goceng" products, in which all "Goceng" menus are sold at the IDR 5000 price range. Sometimes the word "perak", literally "silver", is used to describe small denominations of currency.

Sundanese slang
In the West Java and Banten region, the main place for Sundanese speakers, there are several words or phrases belonging to the slang language. This diversity of slang has its own peculiarities in each region in West Java Province.

Bandung slang
Bandung is the capital city of West Java province with a predominantly Sundanese culture. The Sundanese language has three levels or forms, namely: high (polite), middle class, and low (impolite). Bandung slang often uses the Low Sundanese pronouns along with the many other Sundanese translations of popular Indonesian.

Some examples:
Uing (from kuring) - I/me
Didieu (from di dieu, actually mean 'here') - I/me
Didinya (from di dinya, actually mean 'there') - You
Euy - Sundanese particle in the end of the sentence to express excitement and surprise
Da - Sundanese particle in the end of the sentence to express certainty and emphasizes the meaning, somehow similar to Japanese "desu".
O'on (from Blo'on) or Oneng (from the name of a slow witted character in Sinetron Bajaj Bajuri) - stupid, dim witted
Belegug - stupid
Aslina - (from word asli 'real', plus a suffix -na) which is mean 'for real'.
Jangar - headache

Bogor slang
Bogor is a city in the province of West Java with the former Kingdom of Sunda Padjajaran, Bogor slang is Sundanese with its influence from Indonesian language and sometimes uses Sundanese with the word pronounced backwards.

Sukabumi slang
Sukabumi slang the language is a non-standard variety of Sundanese language that is often used in Sukabumi, West Java in the Tipar area, because Widal itself means Tipar.

This Sani or Widal language can also be called slang or slang in the Sundanese dialect, where the pronunciation of the letters in the consonants changes.

For example, the letter G becomes S, J becomes C, and 'ng' becomes 'ny' and so on.

Javanese slang
These slangs are shared across Central Java and Yogyakarta where Javanese is predominantly spoken. Like Sundanese which are spoken in Bandung, Javanese also has 3 different set of vocabularies, based on the politeness level. Common people usually talk with a mix between low-Javanese, middle-Javanese, and Indonesian. Some non-Javanese residents added their own dialects to the pot, resulting what is called the Central Java slang

Jogjakarta
Jogjakarta slang is also known as Basa Walikan, literally means  'Reverse Language' .

It is a transformation of Javanese, in which Javanese consonants are switched with one another, as shown below:
ha na ca ra ka ↔ pa dha ja ya nya
da ta sa wa la ↔ ma ga ba tha nga

With the above rules, the expletive expression Matamu! (which literally means: 'Your Eyes!') becomes Dagadu!. The following website automatically performs this transformation: Walikan Translator

Malang

Malang slang is inverted alphabetical word (mostly from Javanese and little bit from Indonesian). Commonly known in Javanese as Boso Walikan Malang (Reversed: Osob Kiwalan Ngalam. Meaning: Malang's Reversed language). The slang started appearing sometime in 1949 when the people at Malang's Gerilya Rakyat Kota (GRK meaning City People's Guerilla) needed a form of communication method that is unknown to the occupying Dutch intelligence (Both to the Dutchman, and the recruited natives) while maintaining typical daily conversation. Thus, the idea to reverse Javanese and Indonesian words was born. The goal of the creation of the language is to maintain plan secrecy, prevent leakage of information, and to confuse the enemy. At First, the language was only known amongst the guerillas. Further adding the language's purpose as an identifier whether that person is a friend or foe. But after the Dutch retreated from the city, the language remained and becoming more widespread amongst the people of Malang and its surroundings. In recent years, the technique of reversing words has become more popular nationwide and played a role in creating modern Indonesian slang. Words such as Ngab (From: Abang meaning 'Older Brother'), Sabi (From: Bisa meaning 'Be able to..' or 'Can') or Kuy (From: Yuk meaning 'Let's go') owes credit to Malang's Reversed Language.

Examples:

Sam = Mas (Older brother. Javanese version of 'Abang' or 'Bang')

Ongis Nade= Singo Edan (the nickname of Arema Cronus F.C.)

Helum= Muleh (Go home)

Ublem= Mlebu (Enter)

Utem= Metu (Exit)

Ojob= Bojo (Husband/Wife)

Oges= Sego (Rice)

Rajajowas= Sawojajar (an area in Malang)

Oyoborus= Suroboyo

Ngalam= Malang

Kera Ngalam= Arek Malang (lit. The kid of Malang. Referring to The People of Malang)

Libom= Mobil (Car)

Nawak Ewed = Kawan Dewe (Your own Friend/s)

Silup= Pulis (Police (Although the Javanese word for police is the same as in Indonesian, Polisi. they altered the word slightly to make it less obvious))

Surabaya
As the second largest city in Indonesia and the capital of East Java, Surabaya uses a rougher dialect of Javanese and has a fairly complete list of its own slang. Javanese language originated from the Central Javanese farmland and by the time it reached the coastal area of East Java, it changed from its original polite form into a more impolite version with the creation or further adaptation of many new 'Javanese-style' words and swearwords. One of the most notable Surabaya slang is the word Jancok.

Pontianak slang
Pontianak slang is influenced by Malay, Teochew and Dayak and sometimes combined with Hakka. It is spoken in the Malay dialect. These slang varieties are spoken throughout West Kalimantan.

Makassarese slang
Makassarese slang is highly influenced by the native Makassarese dialect and sometimes combined with Chinese accents. The slang, in the end, sounds more informal and 'rude', as going with the tough image of Makassarese people. The possessive word for you (kamu) has three degrees of politeness:
-ta (very formal and respectful), -mu (neutral), and -nu (informal). For example:

This book belongs to you → Buku ini punya-ta (the - reads as a glottal stop, which makes it punya'ta. In Makassarese dialect, the apostrophe is sometimes added in written form). Buku ini punya'mu is deemed more neutral, while Buku ini punya'nu is only spoken with very close friends.

Meanwhile, the word for you itself is divided into two, the formal ki and the informal ko.

'Di mana maki (Where are you now) as opposed to informal 'Di mana moko. The -ma and -mo derives from the -mi which is often added in the end of words, having various meanings. It is hard to determine when to use mi or not, except to learn it by heart.

Ini mi? -> 'This one?'
Biarkan mi -> 'Let it go'
Ko sudah belajar mi? -> 'Have you studied?'. Ko derives from the informal Indonesian word Kau, which stands for 'you'.
Sudah dimulaimi itu ulangan? -> 'Has the exam started?', literally, 'Has-been started-the exam?'

Ji is also often used in the end of words. Most often, it means 'only', or used to give a more assuring tone to a sentence.

 Sedikit ji -> 'It's only a little'
 Tidak apa-apa ji -> 'It's okay'
 Tidak susah ji soalnya -> 'The problem isn't difficult.'

Di functions more like a question tag, read with a glottal stop at the end, which makes it to be 'dik'

Tidak susah ji di?? -> It's not difficult, right?

Aside from that, Makassarese more often speak with a heavier accent, mixing many of the Indonesian words with native Makassar words.

Tena ku issengi apa maksudnya (or even more complicated Tena ku issengi apa massu'na ) -> Literally, "No I understand what its meaning", actually meaning, "I don't understand what it means". In places, Makassarese slangs add -i at the end of words, putting a glottal stop before that. Furthermore, the words tend to be shortened considerably, which makes -nya read as -na and words ending with -d or -t gets its ending replaced with glottal stops. Menyusut (shrinking) becomes menyusuk, and vice versa. Native Makassar people usually reads becak (pedicab) as becat.

Gallery

See also
 Language families and languages
 Demographics of Indonesia
 British slang
 Cant (language)
 Patois
 Argot
 Slang
 Language game
 Cantonese internet slang, the similar phonemon of Indonesian slang.
 Alay

References
 Harimurti Kridalaksana (2008). Kamus Linguistik (4 ed.). Jakarta: Gramedia Pustaka Utama. .

External links

  Indonesian Slang Online Dictionary with user-contributed definitions
SEASite guide to pronunciation of Indonesian
  Pusatbahasa: Bahasa prokem
  Kitab Gaul - Kamus bahasa gaul Indonesia, cari dan temukan arti kata-kata gaul terkini
 Indonesian Slang Tutorial by Fairy
  Teen Language in Teen Literature
 Slang Particles in Indonesian Language

Slang language, Indonesian
Youth culture
Slang by language

Indonesian slang


The Rock Engraving Park () is an Archaeological Park situated in Grosio and Grosotto, two villages in the valley Valtellina in Lombardy, northern Italy. The park was founded in 1978 to conserve, study and develop the Cultural Heritage on the Dosso dei Castelli (Castle Hill).

Introduction
The Castle Hill displays a combination of the historical, archaeological, architectural and even landscape patrimony of various ages of the Valtellina. The hill is dominated by two castles. The Castello Vecchio (Old Castle) from the 10th-11th century and the Castello Nuovo (New Castle) which got constructed in the 14th century. Of high standard is even the traditional system of dry-stone terraces surrounding the hill. Special and unique is the Rupe Magna, a large rock which contains more than 5,000 engraved figures from the 4th to the 1st millennium BC.

Rupe Magna

Rock engravings (Petroglyphs) are documented in several different locations in the Valtellina, but the most important ones can be found in the Rock Engraving Park of Grosio on the surface of the Rupe Magna. In the year 1966 the Italian Archaeologist Davide Pace found traces of rock engravings. During the following years he made an initial record of the petroglyphs of the Rupe Magna as well as those found on the nearby Dosso Giroldo. The Rupe Magna then became the object of a research project between 1991 and 1995. During these scientific studies, more than 5,000 petroglyphs were located and documented. The Rupe Magna, with a length of 84 m and a width of 35 , is one of the biggest engraved rocks in the Alpine range.

The Rupe Magna owes its shape to the action of the Valtellina glacier. The slow, continual movement of the tongues of ice which occupied the valleys of the Adda and the Roasco molded the surface into its characteristic form. The Rupe Magna is made of dark grey phyllite with quartzite lenses. Numerous themes like human figures, including "orants", armed men and wrestlers, animals, geometrical shapes, cup-marks, rakes and crosses are represented on the surface of the Rupe Magna. On the basis of comparison with objects from archaeological excavations and stylistic considerations they may be dated from the Neolithic Period (4th millennium BC) to the Iron Age (1st millennium BC).

Archaeological excavations in 1995 could proof the existence of prehistoric settlements on the Dosso dei Castelli beginning from the Bronze Age (16th – 14th century BC) up to the Iron Age, precisely to the 1st century BC.

Castello Vecchio

The so called Castello Vecchio (Old Castle) was mentioned the first time in a written document in the year of 1150 as "Castrum Groxi", but archaeological results indicate a construction date already at about the end of the 10th century.

The preserved walls of the Castello Vecchio show the historic size of the whole structure. The nowadays dominating church spire from Romanesque Period was partly restructured at the end of the 19th century. The first construction-phase of the corresponding small church is dated by archaeological results into the 7th or 8th century. Most probably built to cover the two medieval tombs which are cut directly into the rock. The relatively limited size as well as the low fortification level indicate, that the castle was more a symbol of power of the feudatory than a fortress. The feudatories of this area of the Valtellina were at this age the bishops of Como. From about the 12th century onwards their vassals in the region of Grosio were the lords von Matsch, a family that has its origins in the Vinschgau (it. Val Venosta). That's why the family in the Valtellina later on was called Venosta. According to documentary evidence the castle was inhabited until the last decades of the 16th century.

Castello Nuovo

The New Castle, or Castello Nuovo, was constructed between 1350 and 1375 on the initiative of the  House of Visconti. The Visconti family, already lords of Milan, in 1335 acquired also Valtellina after defeating the commune of Como.

The Castello Nuovo was designed as a stronghold, adapted to the strategic needs of the 14th century. It was surrounded by a double defensive wall, had a solid keep and a fortified internal tower (Bergfried) as an ultimate defense structure. The southern part of the castle is built directly on the steep of the Castle Hill, while the north end, in contrast, had a moat. The fortress was never involved into fighting action. As early as in 1526 the Castello Nuovo was partially demolished by the new lords of the Valtellina to avoid possibilities of any kind of insurrection. Some years before in 1512 the three counties Chiavenna, Valtellina and Bormio became part of the Three Leagues (the Grisons) with the status of a subordinated land.

Cultural Landscape Heritage

The slopes of the Dosso dei Castelli represent an example of the local tradition in Valtellina to build systems of dry-stonewall terraces for growing wine. The terraces of the Castle Hill of Grosio were most likely built after 1200.

Since 2013 the Fondazione Fojanini takes care about this major cultural landscape heritage. The terraces were cleaned of the wild vegetation with the aim to grow again wine on them. Grapes grown include Muscaris, Johanniter, Aromera, Bronner and Sauvigner Gris.

Sources
D. Pace, Petroglifi di Grosio (1972)
D. Pace, Sviluppo dell'investigazione archeologica nel sistema petroglifico di Grosio (1974)
D. Pace, Petroglifi dei colli di Grosio (1977)
A. Arcà, A. Fossati, E. Marchi, E. Tognoni, "Rupe Magna. La roccia incisa più grande delle Alpi", in: Quaderni del Parco delle incisioni rupestri di Grosio 1 (1995)
R. Poggiani Keller, "Grosio (So), Dosso dei Castelli e Dosso Giroldo. Un insediamento protostorico sotto i castelli e altri resti dell'età del Bronzo e del Ferro", in: Quaderni del Parco delle incisioni rupestri di Grosio 2 (1995)
R. Poggiani Keller, "Atti del II convegno archeologico provinciale. Grosio 20 e 21 ottobre 1995", in: Quaderni del Parco delle incisioni rupestri di Grosio 3 (1999)
C. Rodolfi, B.Ciapponi Landi, Il Parco delle incisioni rupestri di Grosio (n.d.)
G. Antonioli, La storia dei castelli di Grosio nell'analisi delle fonti documentarie (2001)
R. Poggiani Keller, C. Liborio, M.G. Ruggiero, Guida all'Antiquarium del Parco delle Incisioni Rupestri di Grosio (2008)

Province of Sondrio
Parks in Lombardy
Nature parks of Italy
Protected areas established in 1978

Rock Engraving Park of Grosio


The bombing of Podgorica in World War II was carried out by the Allies from 1943 to 1944 at the request of the Yugoslav Partisans.

Background
Between the two World Wars, Podgorica had a population of 13,000.

On 6 April 1941, the Kingdom of Yugoslavia was invaded by the Axis powers. The state was de facto dissolved, and Montenegro, in which Podgorica was the largest city, became independent as a protectorate of the Kingdom of Italy. That arrangement lasted until the Italian armistice on September 8, 1943, and the fascist Italian forces capitulated. Germany then occupied Montenegro. Until Germany's involvement, the city had not been bombed. During the last years of the war, Podgorica was one of the largest cities on the route of German troops withdrawing from Albania
and Greece and so the decision was made by the Allies to bomb the city.

Initial stage of bombing
The Podgorica airfield was bombed by P-39 Airacobras of the United States Army Air Forces's Twelfth Air Force on 25 October 1943. By December, the German troops had begun setting off bomb sirens in the city, which resulted in many citizens taking shelter in nearby caves.

Bombing of 5 May 1944
The most intense bombing of Podgorica occurred on 5 May 1944. 116 USAAF B-24 Liberators participated in the attack, which dropped 270 tonnes of bombs on the city. The attack resulted in only four German casualties and approximately 100 Chetnik deaths, and 400 Montenegrin civilians were killed. Chetnik casualties included major Đorđije Lašić. During the course of the bombing, a Catholic church and an Orthodox cemetery were damaged, and the Glavatović mosque was destroyed.

The Allied bombing was of questionable legality. International law dictates that a country's recognized government has the
right to bombard any of its cities that is occupied by enemy forces. However, when Anglo-American forces bombed the city, they still officially recognized the Yugoslav royal government-in-exile as the legitimate national government, not Tito, who ordered the bombings.

Final stage of bombing
On 6 November, 72 Royal Air Force planes bombed the city. Reportedly, 700 German troops were killed and 150 German vehicles were smashed during the attack. On 7 November, 124 P-38s strafed Axis troop concentrations in and around the city.

Aftermath
The Allied bombing almost completely destroyed the city. Approximately 4,100 people died in the attacks. Partisans took over Podgorica on 19 December 1944. Damages were estimated in 1946 as 1.06 billion Yugoslav dinars.

References

1940s in Montenegro
Podgorica
1943 in Europe
1944 in Europe
20th century in Podgorica
Events in Podgorica

Bombing of Podgorica in World War II


James Bentley Olander (born February 21, 1963) is a former Major League Baseball outfielder and currently a baseball scout.

Olander attended Sahuaro High School in Tucson, Arizona. He was selected by Philadelphia Phillies in the 7th Round (175th overall) of the 1981 Major League Baseball Draft. Olander played in the minor leagues from 1981 to 1994 with the Phillies, Milwaukee Brewers, and Houston Astros organizations. He was successful in the minor leagues: in 1986 he was named to the Eastern League's All-star Team and was viewed by the Phillies organization as a prospect likely to play in the majors. However his following seasons were shortened by injury and he eventually left the Phillies organization and signed as a free agent with the Astros who soon after traded him to the Brewers. Olander was named the Most Valuable Player of the American Association in 1991. That same year he was a "September call-up" and joined the Brewers for 12 games. Olander was expected to fight for a spot on the Brewers 1992 40-man roster but he broke his leg in early May. He never played another major-league game.

In October 2007, the Detroit Tigers promoted Olander from national crosschecker to big league scout, a job he still holds.
 He was responsible for recommending Cody Ross to the Tigers prior to the 1999 Major League Baseball Draft.

References

External links

Profile from The Greatest 21 Days: 1990 CMC

1963 births
Living people
Charlotte Knights players
Chicago Cubs scouts
Cleveland Indians scouts
Colorado Springs Sky Sox players
Denver Zephyrs players
Detroit Tigers scouts
Helena Phillies players
Indianapolis Indians players
Maine Guides players
Maine Phillies players
Milwaukee Brewers players
Peninsula Pilots players
Portland Beavers players
Reading Phillies players
Scranton/Wilkes-Barre Red Barons players
Spartanburg Traders players
Tucson Toros players
American Association (1902–1997) MVP Award winners
Sahuaro High School alumni

Jim Olander


Don and Dewey were an American rock, blues, and R&B duo, comprising Don "Sugarcane" Harris (Don Francis Bowman Harris; June 18, 1938 – December 1, 1999) and Dewey Terry (Dewey Steven Terry; July 17, 1937 – May 11, 2003).

History
Both Harris and Terry were born in Los Angeles and grew up in Pasadena, California.  As children, Terry learned piano and sang in a choir, while Harris learned classical violin.  They met in 1949 when Terry heard Harris practicing guitar, and  at high school formed a doo-wop vocal group, the Squires, with their friends.  The group performed together and made several recordings in the mid-1950s for small local record labels, including Dig This Record.

The group split up in 1956, but Harris and Terry continued to perform together, and made their first recordings as a duo for the Shade label.  By this time, Harris played electric violin, and Terry played piano and bass.  They were signed by Art Rupe's Specialty Records label and for the next two years produced rock and roll. Both Don and Dewey played guitar, with Dewey often doubling on keyboards. When not playing guitar or bass, Don occasionally played the electric violin, a skill for which he subsequently became well known under the name of "Sugarcane" Harris.  Drummer Earl Palmer played frequently on their sessions.

Although Don and Dewey did not have any hits of their own, several of the songs that they wrote and/or recorded would appear on the charts later, performed by other artists. "I'm Leaving It Up to You" became a #1 hit for Dale & Grace in 1963. "Farmer John" was a hit by The Premiers, reaching #19 in 1964, a year after The Searchers released their own version. "Koko Joe" (written by the then-Specialty Records producer Sonny Bono), "Justine" and "Big Boy Pete" were staples for The Righteous Brothers for many years. "Big Boy Pete" became a minor hit in 1960 for The Olympics, reaching #50 and a #4 hit for The Kingsmen when recorded with new lyrics as "The Jolly Green Giant" in 1965.

In 1959 Don and Dewey and producer Bono left Specialty Records for Rush Records, where they recorded a few songs but split up shortly afterward.

In 1964 Art Rupe recorded both Don and Dewey and Little Richard (another Specialty Records act) but there would be no further hits for either act, following their collaborative "Bama Lama, Bama Loo "/"Annie's Back"; by 1965 they went their separate ways. Their working relationship also yielded a successful (mostly overseas) comeback album for Richard and a tour of Europe. The BBC captured the act in Paris on June 6, 1964. Don and Dewey began to perform together again occasionally in the mid-1970s, and continued to do so until Harris's death.

Separate careers
In the late 1960s, Harris featured on recordings with Johnny Otis of The Johnny Otis Show, and John Mayall's Bluesbreakers.  In 1970, as Sugar Cane Harris, he re-emerged to a wider rock audience, playing violin on the Hot Rats solo album by Frank Zappa, with Captain Beefheart (vocals) on "Willie The Pimp" and on the lengthy instrumental jam, "The Gumbo Variations". and in later years, went on to play on several more solo Zappa, and The Mothers of Invention albums.  He died in 1999.

Terry continued to perform and record with blues musicians until his death in 2003.

Tribute

"Don and Dewey" is also an instrumental by the band It's a Beautiful Day. It features on track 1 of their 1970 album Marrying Maiden. The band featured a violin, which might have been the inspiration to write this piece.  This tune by IABD pays homage to Don & Dewey as the main riff borrows directly from the tune Stretchin' Out, the B side on the single credited to 'Don & Dewy', Soul Motion (Rush R-1002).  Deep Purple also used this riff in their instrumental Wring That Neck (Hard Road in the U.S.).

Notes

External links
Marv Goldberg's article on Don & Dewey
Don & Dewey @ rockabilly.nl
Don & Dewey discography

Musical duos from California
Rock music duos
Rock and roll music groups
Specialty Records artists
Musicians from Pasadena, California

Don and Dewey


Peg Parnevik (born 3 September 1995) is a Swedish-American singer, songwriter, and television personality, known for starring in the Swedish reality show Parneviks mainly broadcast from their home in Jupiter, Florida.

Life and career

Early life
Parnevik was born in Stockholm to professional golfer Jesper Parnevik and his wife Mia. She has three younger siblings; Penny, Philippa, and Phoenix and was raised in Jupiter, Florida, in the United States. Her paternal grandfather is Swedish impersonator Bosse Parnevik. She attended The Pine School in Hobe Sound. She spent her freshman year of college at Washington and Lee University in Lexington, Virginia. She then  enrolled at Savannah College of Art and Design in Savannah, Georgia.

2015–present: Parneviks and music career
In 2015, Parnevik began starring in the reality show Parneviks broadcast on the Swedish television channel TV3. The show features Parnevik and the rest of her family welcoming Swedish celebrity guests to stay at their Florida mansion. It has won numerous awards in Sweden, including a Kristallen in 2015 for Best Reality Series. Parnevik later signed to Sony Music Sweden as a solo artist and released her debut single "Ain't No Saint" in March 2016. On 3 June 2016, she released the single "We Are (Ziggy & Carola)".

Her song Ain't No Saint charted in second place on the Swedish singleschart. In August 2016 Parnevik participated in Allsång på Skansen broadcast on SVT. She also had her own reality show called Peg på turné to be broadcast on TV3, a show that will follow her way through Sweden when she promotes her new songs.

Discography

Singles

Notes

Filmography

Television

References

Living people
1995 births
Singers from Stockholm
Swedish pop singers
American people of Swedish descent
People from Jupiter, Florida
Savannah College of Art and Design alumni
Swedish television personalities
Swedish women television presenters
Swedish expatriates in the United States
Swedish women songwriters
English-language singers from Sweden
21st-century Swedish singers
21st-century Swedish women singers

Peg Parnevik


El Castillo de los monstruos (Spanish for 'The castle of the monsters') is a 1958 Mexican horror comedy directed by Julián Soler.

Plot
Mexican funnyman, El Clavillazo (Antonio Espino), is in love with a seamstress named Beatriz (Evangelina Elizondo) and also hangs out with a variety of odd characters, including a newsboy and a mental patient. Meanwhile, a mad scientist named Dr. Sputnik and his scarred, hunchbacked assistant are busy making monsters at the nearby castle. The doctor poses as a kindly blind man in town and uses hypnosis to lure Beatriz to his castle, brainwashing her into believing that she is his own love named Galatea. El Clavillazo, with an assist from his friends, blunders his way into the castle, where he spends most of his time being chased around by various monsters. There is the butler, who looks like the Frankenstein Monster. The other monsters include a werewolf, a mummy, a vampire (clearly modeled after Count Dracula), and a gill-man (clearly patterned after Creature from the Black Lagoon). There is also another unidentified monster being kept in a cell (why it is not allowed to run free with the rest is unknown), referred to as a "gorilla" in some reviews. However, it appears to be more of a humanoid ape-like creature, perhaps based on Dr. Jekyll and Mr. Hyde. In the end, El Clavillazo manages to defeat the monsters, mostly by luck, and rescue the girl. A chemical in Sputnik's lab devolves the gill-man into a big fish, the werewolf is choked out by the monster in the cell (perhaps that is why he was kept behind bars), Frankenstein accidentally electrocutes himself by grabbing a power cable in the lab and turns into cogs and clock-parts, the mummy falls into a pit of alligators and is devoured, and the vampire vanishes when the sun rises. Dr. Sputnik has the usual falling out that all mad scientists seem to eventually have with their deformed assistants (usually due to the scientist mistreating his assistant, or the assistant developing a crush on a girl the scientist has designs on, or sometimes a combination of both), resulting in his being shot after he stabs the scarred hunchback. Clavillazo and Beatriz are trapped in a room and about to be crushed by the walls moving together when they are rescued in the nick of time by the rest of the gang, and they all live happily ever after.

Cast
 Antonio "Clavillazo" Espino as Clavillazo
 Evangelina Elizondo as Beatriz
 Carlos Orellana as Don Melchor
 Guillermo Orea as El Cojo
 Germán Robles as El Vampiro
 José Muñoz (as Jose Muñoz Wilhelmy)
 Jose Moreno Camacho
 Alejandro Reyna as Licenciado (as Alejandro Reyna Garcia)
 Leopoldo Pineda (as Leopoldo Pineda Magaña)
 Fernando Shewan

References

External links

1958 films
1958 horror films
Mummy films
Frankenstein films
Mexican vampire films
Mexican comedy horror films
Mexican werewolf films
Mexican black-and-white films
Mexican science fiction films
1950s comedy horror films
1958 comedy films
Films set in castles
1950s Mexican films

El castillo de los monstruos (1958 film)


Chisago Lake is a lake in Chisago County, Minnesota, in the United States. "Chisago" is a name derived from two Ojibwe language words meaning "large" and "beautiful".

Chisago Lake holds numerous species of fish. Northern pike, largemouth bass, crappie, perch, walleye, and panfish make up the majority of the lake's fish population, although some muskellunge and common carp have also been found in surveys by the DNR.

References

Lakes of Minnesota
Lakes of Chisago County, Minnesota

Chisago Lake


The London Protocol of 22 March 1829 was an agreement between the three Great Powers (Britain, France and Russia), which amended the first London Protocol on the creation of an internally autonomous, but tributary Greek state under Ottoman suzerainty.

As a result of the Greek War of Independence, which had begun in 1821, and the Great Powers' intervention in the conflict in the Battle of Navarino (1827), the creation of some form of Greek state in southern Greece had become certain. In 1827, the Greek Third National Assembly entrusted the governance of the fledgling nation to Ioannis Kapodistrias, who arrived in Greece in January 1828. Alongside his efforts to lay the foundations for a modern state, Kapodistrias undertook negotiations with the Great Powers as to the extent and constitutional status of the new Greek state, especially during the Poros Conference of the Great Powers' ambassadors in September 1828. In November 1828, disregarding the ambassadors' recommendations, the Great Powers agreed on the first London Protocol, which created an autonomous Greek state encompassing the Peloponnese (Morea) and the Cyclades islands only.

On 22 March 1829, the British Foreign Minister, George Hamilton-Gordon, 4th Earl of Aberdeen, and the envoys of France and Russia, Jules de Polignac and Christoph von Lieven, signed the second London Protocol, which largely accepted the recommendations of the Poros Conference. According to the protocol, Greece would become a separate state enjoying complete autonomy under the rule of a hereditary Christian prince to be selected by the Powers, but recognize the suzerainty of the Ottoman Sultan and pay an annual tribute of 1.5 million Turkish piastres. The borders of the new state would run along the line of the Gulf of Arta in the west to the Pagasetic Gulf in the east, thereby including the Peloponnese and Continental Greece, as well as the Cyclades, but neither Crete nor other Aegean islands like Samos which had played a major part in the War of Independence and were still under Greek control.

The Ottoman Empire was forced to acknowledge the protocol in the Treaty of Adrianople, which concluded the Russo-Turkish War of 1828–29, but soon after this, the Powers began to turn towards complete independence for Greece, which was recognized in the London Protocol of 3 February 1830.

References

Further reading
 Anderson, M.S. The Eastern Question, 1774-1923: A Study in International Relations (1966) online

1829 in London
1829 treaties
1829 in the United Kingdom
Diplomacy during the Greek War of Independence
Greece–United Kingdom relations
Treaties of the United Kingdom (1801–1922)
Treaties of the Bourbon Restoration
Treaties of the Russian Empire
1829 in British law
Ioannis Kapodistrias
George Hamilton-Gordon, 4th Earl of Aberdeen

London Protocol (1829)


Carly Sarah Smithson ( Hennessy; born 12 September 1983) is an Irish soul and pop rock singer who was the sixth place finalist on the seventh season of American Idol. In 2001, Smithson released her first studio album for MCA Records called Ultimate High. Smithson was dropped from the record label in 2002. After being introduced to former Evanescence guitarist Ben Moody in early 2009, plans for Smithson's post-Idol solo album were scrapped and instead she became the lead singer of the rock band We Are the Fallen.

Biography

Early life and education
Smithson was born in Dublin to Marie Murray and Luke Hennessy. After living 6 months in Dublin, Smithson and her parents moved to Johannesburg, South Africa. She lived there until they moved back to Dublin when she was 4 years old. Smithson began singing around the age of 4 and has also had some experience with acting. She was featured in advertisements for Denny's Sausage for three years, starting at the age of five. In 1990, Smithson played Young Marianne in Fools of Fortune. Two years later, in 1992, she joined the cast of Les Misérables and starred as Little Cosette in Ireland. When she was 10 years old, she released an independent CD titled Carly's Christmas Album which was released in the United Kingdom. Smithson's parents separated when she was fourteen. She and her father relocated to America the following year, in 1999, so that Smithson could pursue a career in music. Smithson is a high school drop-out.

Personal life
After Smithson's record deal with MCA Records dissolved, she decided to take a break from music. She met her husband Todd Smithson, a tattoo artist, in San Diego. They lived in Marietta, Georgia, for a few years, where Smithson worked at an Irish bar called Fado. In a coincidental connection, Michael Johns (an American Idol season 7 finalist) performed weekly at Fado, under his real name Michael Lee.

During the time that she was on Idol, reports claimed that her unfinished sleeve tattoo on her right arm seemed to be a drawing of Amy Winehouse. However, in an interview after her elimination, Smithson clarified that it is a drawing of a Japanese Geisha, based on a painting that she owns.

Smithson gave birth to daughter Olivia Mabel Smithson on 30 September 2012. She became an American citizen on 23 August 2017.

Career

Ultimate High (1999–2001)

Before the marriage to her husband Todd Smithson, Smithson (as Carly Hennessy) released an album for MCA Records called Ultimate High in 2001. Despite MCA Records spending over $2 million on the production and promotion of Smithson's debut album, it sold only 378 copies in its first three months. Smithson has stated that the uptempo party record did not have the opportunity to find an audience, due to it being released so soon after the events of 9/11, as well as the record company's untimely merger with a parent company. Though some established artists like Sheryl Crow survived the merger, yet-to-be-released artists did not. In the album, Smithson covered Danielle Brisebois' "Just Missed the Train". Kelly Clarkson covered the same song on her 2003 album, Thankful.
After American Idol, Ultimate High was quietly reissued by Universal Music, both to physical and online music retailers. For a brief period after Smithson's elimination, the album peaked in the Top 10 of Amazon's Top Selling Digital Albums, as well as being featured on their MP3 homepage. The album lists conductor Derek Gleeson as its executive producer.

American Idol

Season 5
Smithson auditioned in Las Vegas, Nevada, for the fifth season of American Idol and was unanimously accepted by the judges. However, she was later disqualified because the paperwork for her work visa was delayed.

Season 7
In 2007, Smithson auditioned again for the seventh season of American Idol making it to Hollywood, but this time with the proper paperwork. She advanced with a unanimous vote after singing "I'm Every Woman". Simon Cowell noted that he remembered her from her season 5 audition. In Hollywood, she sang Heart's "Alone" for her audition and once again received a unanimous praise from the judges. Smithson was one of the first foreign contestants to make the show's Top 12 with the other one being Michael Johns who was an Australian. Smithson was eliminated on 23 April 2008. Her final song performance was "Superstar" from Andrew Lloyd Webber's Jesus Christ Superstar. The performance was considered to be one of her best by the judges.
The day before she was eliminated Cowell stated, "I thought that was the best performance of the night so far.", prompting Smithson to pull out a T-shirt sent to her by her fans with a sign on it that said "Simon Loves Me (this week)". After it was announced that she was eliminated, Cowell said: "I apologize for giving you a compliment last night—kiss of death, but let me tell you, Carly, you can leave with your head held high".

Controversies
Shortly after it was announced that Smithson had made the show's Top 24, articles appeared in the mainstream press questioning her selection because of her previous record deal. Randy Jackson also worked for MCA during the same time that Smithson was signed. Despite this, she remained on the show. After her elimination, Smithson briefly acknowledged the situation in interviews. On The Ellen DeGeneres Show, she stated that she felt that she was "kind of singled out" and she added that "The media kind of does what they do and I got a lot of weird and negative press very early on but, you know, I just kind of held my head high and it kind of got forgotten about as the show went on." She adds "You know, a lot of the people had professional careers that were involved and I actually hadn't really had lots of stage experience and a lot of the other people had and I think that's more of the experience that you really need on that show."

Smithson's elimination came as a surprise to viewers as she was considered one of the front-runners on the show. This prompted an unprecedented reaction, with bloggers questioning the popular program's credibility amidst reports from fans of busy signals throughout the voting period. Whitney Pastorek of Entertainment Weekly mockingly called the show "America's Embarrassing Lapses in Judgment", saying "Carly Smithson was sent packing, despite a rendition of 'Jesus Christ Superstar' that Jesus himself would have been hard-pressed to top". There were claims of fixing and calls for the show to publish precise voting totals, resulting in a press release from Fox and the show's producers: "The network and producers will not disclose voting tallies for the competition, as the release of such information would only serve to create additional rumor and speculation", conflicting with executive producer Ken Warwick's claim that they were open to scrutiny, quoted "No one is saying you can't look at them."

Performances/results

 : Smithson was saved first from elimination.
 : When revealing the results, Ryan Seacrest simultaneously declared Smithson and Syesha Mercado safe, as Michael Johns was eliminated.

Post-Idol

After she was eliminated from American Idol, Smithson appeared on talk shows, including Live with Regis and Kelly, The Tonight Show with Jay Leno, Access Hollywood, Today and The Ellen DeGeneres Show.

Smithson completed the American Idols LIVE! Tour 2008, which ran from 1 July 2008 to 12 September 2008. She performed "Bring Me to Life" by Evanescence, "Crazy on You" by Heart, and "I Drove All Night" by Cyndi Lauper.
Smithson returned to Idol during its eighth season, as a mentor to contestants taking part in Boot Camp Training during "Hollywood Week," although this footage did not appear on the show. Later, during the 18 February 2009 live semi-finals results show, Smithson and fellow season 7 contestant Michael Johns performed "The Letter," a song they had also performed for the Idol Finale the previous season. She also appeared in the season 8 Grand Finale, where she served as a correspondent covering the events of the celebration in San Diego, Adam Lambert's hometown.

Two of Smithson's own original songs, titled "Let Me Fall" and "Lay with Me," were featured in a Los Angeles Times interview video of Carly recording songs for her post-Idol album. In the interview, Smithson revealed that "pop rock" was the sound she had chosen and explained "I don't want to go too hard rock or too pop." Smithson was putting the finishing touches on the album when it was announced on 18 June 2009, that she would be joining forces with Evanescence co-founder Ben Moody in a new band called We Are the Fallen, thought to be named after Evanescence's first album. The solo album Smithson had been recording was reportedly scrapped.

On 28 October 2009, it was announced that We Are the Fallen, along with Smithson, had signed with Universal Republic. The band released their first album on 11 May 2010. After touring and releasing two singles, it was announced that the band was dropped by Universal Republic on 27 May 2011 but that they would not be disbanding.

In December 2010, Smithson began singing with Cirque du Soleil in Viva Elvis. She performed in the Las Vegas production for nearly two years until it closed in August 2012. One month later on 30 September 2012, she gave birth to her first child, a daughter named Olivia Mabel Smithson.

Smithson served as a table judge in the stadium auditions for the fourteenth season of American Idol in Minneapolis, Minnesota, New Orleans, Louisiana, Long Island, New York, and Nashville, Tennessee between 18 June and 30 July 2014. On her Twitter account, Smithson said, "It hurt my soul to not put everyone through. Such amazing people with touching stories. I did however get to put through some huge talent. Honored to have shared a moment that might change somebody's life."

On 7 April 2016, Smithson appeared on American Idol's farewell episode, performing Dolly Parton's "Here You Come Again."

Discography

Albums

Singles

We Are the Fallen

Filmography

Film

Television

References

External links

Official website
Official artist page at MCA Records

1983 births
Living people
21st-century American women singers
21st-century American singer-songwriters
21st-century Irish women singers
American Idol participants
American women singer-songwriters
American women pop singers
American women rock singers
American pop rock singers
Irish women singer-songwriters
21st-century Irish singer-songwriters
Irish pop singers
Irish rock singers
Irish emigrants to the United States
Actresses from Dublin (city)
Actresses from San Diego
Musicians from Dublin (city)
Singers from San Diego
Naturalized citizens of the United States
Soul singers
We Are the Fallen members
Singer-songwriters from California

Carly Smithson


Garfield was a Canadian progressive rock band based in Toronto, Ontario in the late 1970s, fronted by vocalist and songwriter Garfield French, and including Walter Lawrence on guitar and electric cello, Paul O'Donnell on guitar, harmonica and banjo, Jacques Fillion on keyboards, Dennis French on drums, Chip Yarwood on flute and keyboards, and Maris Tora on bass guitar. The band received a Juno Award nomination for Most Promising Group at the Juno Awards of 1977.

History
The group was formed in the early 1970s as The Garfield Band by French.  The band toured in Southern Ontario, and were signed to Mercury Records after a gig opening for 10cc in Ottawa. At this time, they changed their name from The Garfield Band to Garfield.

The band's debut album Strange Streets, released in 1976 on the Mercury label in the United States and Polydor Records in Canada, was listed in the RPM Top 50 albums that year. The album garnered Canadian radio airplay for the single "Old Time Movies". Garfield supported the album by touring both on their own and as an opening act for Canadian dates by The Doobie Brothers. That year they played at Montreal's Moustache Club for a week, and performed their first show in the United States.

Garfield's second album, Out There Tonight, was released in 1977. It was less successful, leading to conflict with their label, and the band moved to the Capricorn label in the United States, while remaining with Polydor in Canada for their third album Reason to Be in 1979. One more album, Flights of Fantasy, was released in 1981 before the band broke up.

In 2016, French started recording new material under the Garfield name, releasing a new album titled December Roads in late 2016. The album was thematically inspired by the death of French's father, and featured contributions from previous members of the band.

In 2017, Garfield released  Lost in the Shoals: Wishbone Studio Recording 1979, an album that the band had recorded in 1979, and was intended to be the follow-up to 1977's Out There Tonight.  French also released The Early Days On Wildcat, a compilation of unreleased songs from the band's early days. He also released Sundown, a 30-minute recording of a live performance.

Discography
Strange Streets (1976)
Out There Tonight (1977)
Reason to Be (1979)
Flights of Fantasy (1981)
Lost in the Shoals: Wishbone Studio Recordings (2016)
December Roads (2016)
The Early Days on Wildcat (2017)
Sundown (2017)

References

Canadian progressive rock groups
Musical groups from Toronto
Musical groups established in the 1970s
1970s establishments in Ontario

Garfield (band)


Sore Throat were a British crust punk band formed in Huddersfield in 1987. They are known for being one of the earliest exponents of the grindcore subgenre known as "noisecore", as well as for launching the careers of several prominent members of the British heavy metal community.

Biography
Sore Throat were formed in 1987 by Richard "Militia" Walker (vocals; of Wartorn and Warfear) and Nick Royles (drums). After a short-lived false start that involved Mick Harris & Jim Whitley from Napalm Death on vocals and bass respectively, with Rich actually playing guitar, they soon recruited John "Doom" Pickering (bass; previously a member of Doom, Pelvic Thrust, Police Bastard, and Cain), Brian "Bri" Talbot (guitar; also previously associated with Doom and Pelvic Thrust, as well as Ackworth St. Chaos Front, Metal Motherfuckers from Mars, Bugeyed, Warfear, Woodhouse Rejects, Stalingrad, Blood Sucking Feaks, Devils, and Virtual Reality). The band were vehemently opposed to what they saw as commercialism with the hardcore scene, and used ridicule to lyrically lambast the likes of Napalm Death, Sex Pistols, Suicidal Tendencies, D.R.I., OLD, Wehrmacht, and S.O.D. Other lyrics mocked Nazis, capitalism, and the straight edge movement. The band developed a style completely based on improvisation: all of their musical output was made up on the spot, without rehearsals, during recording sessions.

The band's first release was the Aural Butchery demo, recorded on 20 August 1987, and like other early releases such as the 42 track Death to Capitalist Hardcore EP (1988) and the Noise Annoys demo (1988) consisted largely of raw, sub-one minute blast of grindcore noise; Death to Capitalist Hardcore was later ranked number 14 in Terrorizer Magazine'''s list of essential European grindcore albums. A line-up change resulted in Paul "Hammy" Halmshaw taking over on drums and after signing to the Meantime label in 1988, Sore Throat released their debut album, Unhindered by Talent, which continued the trend, albeit with a number of more traditional, Discharge-style numbers. Their second album, Disgrace to the Corpse of Sid on Earache, showed even more diversity, incorporating distortion, blast beats, screams and grunts, and sound samples. It featured 101 tracks in total. However, whilst the A side of the album consisted of the band's patented noisecore, the B side contained more doom-inspired crust punk, along the lines of Amebix. The band also released the Inde$troy album in 1989 under the moniker Saw Throat, through Manic Ears Records.

Sore Throat released their final full-length album, Never Mind the Napalm... Here's Sore Throat, in 1989, returning to their crust punk roots. A number of other releases followed, including the Soar Throat EP, the And We Don't Care compilation and the Poison Idea / No Handle Beer demo (featuring two Poison Idea covers and one original track), but Sore Throat disbanded in 1990 due to the band coming to "its logical conclusion."

Vocalist Rich Walker was already involved with Sludgelord and went on to play in the doom metal band Solstice and epic heavy metal group Isen Torr, as well as some hardcore bands like Wartorn, Warfear, Discontrol, Nailbomb and Harmony As One, all of whom released records in the early 1990s. He currently runs his own label The Miskatonic Foundation and plays guitar in Solstice. Guitarist Brian Talbot went on to play with doom metal group Khang (latterly Lazarus Blackstar). Bassist John Pickering became a DJ at Radio Kerrang! Original drummer Nick Royles went on to play in several straight edge bands namely Withstand, In Touch, No Way Out, Steadfast, Ironside, Unborn, Season of War and Unquiet Grave. He ran Sure Hand Records and the influential How We Rock Fanzine in the 90s. He also became a DJ with his own club night playing Gypsy Punk and Balkan turbo folk. Currently playing in Howl and Cracked Cop Skulls. Paul Halmshaw founded Peaceville Records.

In 1991, the band briefly reformed with Royles returning on drums. They played a single performance at the 1 in 12 Club, and planned to release an EP, however broke up for a second time before it could be negotiated.

On 4 February 2022, the band announced on their official Facebook page that they "were bored last Monday afternoon so we recorded 25 new songs of which 22 will be released as a 22 song 12-inch vinyl EP". The title was revealed to be Starving Wolves Stand & Fight! with the release date being 6 May on Bandcamp.

 Members
 Rich "Militia" Walker – vocals (1987–1990, 1991)
 Brian "Bri" Talbot – guitar (1987–1990, 1991)
 John "Doom" Pickering – bass (1987–1990, 1991)
 Nick Royles – drums (1987–1988, 1991)
 Paul "Hammy" Halmshaw – drums (1988–1990)

 Discography
 Official releases
 Aural Butchery demo (1987)
 Death to Capitalist Hardcore EP (also known as self-titled EP) (1988) (Acid Rain Records)
 [Death to Capitalist Hardcore] (Cassette Tape)(2022) (Grindtoday Records)
 Noise Annoys demo (1988)
 Unhindered by Talent LP/cassette (1988) (Meantime Records)
 Disgrace to the Corpse Of Sid LP/CD (1988) (Earache Records) &(Cassette Tape)(2022) (Grindtoday Records)
 Inde$troy LP/CD (1989)(Manic Ears) (the band went under Saw Throat for this release) (LP rerelease on Epistrophy Records and Skuld releases in 2006, CD rerelease in 2006 on s.o.a.) & (Cassette Tape)(2023) (Grindtoday Records)
 Never Mind the Napalm... MLP/cassette (European edition: 60 tracks, USA edition: 16 tracks) (1989) & (Cassette Tape)(2022) (Grindtoday Records)
 Soar Throat EP (the band went under the name Soar Throat for this release) (1989)
 And We Don't Care CD (1989)
 Poison Idea / No Handle Beer demo (two Poison Idea covers and one original track) (1989)
 Death to Capitalist Halmshaw (featuring all Sore Throat demo tracks, the Death To Capitalist Hardcore EP and rare live material and unreleased material) (2006)
 Disgrace to the Corpse of Sid & Unhindered By Talent CD (re-released) (2010) (Earache Records)
 Who Killed Gumby? (The first ever Sore Throat recording, made in Rich Militia's bedroom in May 1987) (2021) (FOAD Records) & (Cassette Tape)(2022) (Grindtoday Records)
 Starving Wolves Stand & Fight! EP (Cassette Tape)(2022) (Grindtoday Records)
 Pick Your King, E.P (Cassette Tape)(2023) (Grindtoday Records)

 Compilations featuring Sore Throat
 A Vile Peace LP (Peaceville)
 Spleurk LP (Meantime)
 Grindcrusher LP (Earache)
 The Hysterical Years CD (Manic Ears)
 Six Ways 7-inch LP (Komist-A))
 Summertime Sampler 7-inch flexi (Skateboard magazine)
 Volnitza LP (1 In 12 Records)

 Bootlegs
Aside from their official discography, Sore Throat have been heavily bootlegged. Rich Walker commented that bootlegging of T-shirts has been especially prevalent. All Sore Throat albums have also been bootlegged on both CD and vinyl; some examples include:

 Abraham's Ear 7-inch EP (Aural Butchery demo released with bonus live tracks)
 Death to Capitalist Hardcore EP (bootlegged three times with red/black sleeve)
 Death to Capitalist Grindcore LP
 Death to Capitalist Thrashcore LP
 F.O.A.D. studio/live LP (first half of this release is Walker's post-Sore Throat band Sludgelord)
 Algo Que Nunca Fue CD
 Encerrado En El Trago'' CD

References

External links
 Sore Throat Myspace profile
 Sore Throat biography at MusicMight

English grindcore musical groups
British crust and d-beat groups
Musical groups established in 1987
Musical groups disestablished in 1990
Earache Records artists
Punk rock groups from West Yorkshire

Sore Throat (grindcore band)


Thomas Ogden is a psychoanalyst and writer, of both psychoanalytic and fiction books, who lives and works in San Francisco, California.

Ogden received a BA from Amherst College, MA, and an MD from Yale, where he also completed a psychiatric residency.  He served for a year as an Associate Psychiatrist at the Tavistock Clinic in London, and did his psychoanalytic training at the San Francisco Psychoanalytic Institute, where he has remained on the faculty.  For more than 25 years he has served as Director of the Center for the Advanced Study of the Psychoses.  He has also been a member of the North American Editorial Board for the International Journal of Psychoanalysis, and Psychoanalytic Dialogues.

Ogden is a supervising and personal analyst at the Psychoanalytic Institute of Northern California.

Psychoanalytic approach
Ogden has been referred to as "a poet's psychoanalyst — someone who listens to his patients on the level of voice, metaphor."

Gregorio Kohon, of the British Psychoanalytical Society, remarks that "Ogden belongs to that rare group of psychoanalysts who are also good writers.  ...he re-creates the vitality of his own dream-life through creative readings of poetry and the unspoken, of fiction and mourning, of analytic sensibility and the aliveness of language.  Ogden transforms the relationship between reader and writer into a fruitful and intimate dialogue.  One's own reveries, ruminations, daydreams, memories, and - of course - dreams, become part of the conversation with him."

In his own words, Ogden has described how his "position in the analytic world has not been that of an advocate of a school of psychoanalysis (or as an adversary of 'opposing' schools of psychoanalysis.)  Neither do I view myself as a 'lone voice', because that suggests that I think of myself as a renegade.  I would much prefer to describe myself as an independent thinker."

Thomas Ogden's style and personal contributions to psychoanalysis include:
 his introduction of the concept of "the analytic third"
 his use of reverie
 a revised conception of aspects of analytic technique - including the fundamental rule, the use of the couch, and dream analysis
 the concept of an "autistic-contiguous position" in mental experience
 revised understandings of the male and female Oedipus complex
 his unique perspective on the use of language in psychoanalysis
 his approach to the psychoanalysis of schizophrenic patients
 the relationship between psychoanalysis and literature
 creative readings of seminal works by major 20th Century psychoanalytic writers

Awards
Ogden's honors include  the 2004 International Journal of Psychoanalysis Award for the Most Important Paper of the year; the 2010 Haskell Norman Prize, an international award for Outstanding Achievement in Psychoanalysis; the 2012 Sigourney Award.; and the 2014 Hans Loewald Award for Distinguished Contribution to Psychoanalytic Education.

Bibliography
 2021 - Coming to life in the consulting room: towards a new analytic sensibility
 2021 - This will do...: a novel
 2016 - Reclaiming Unlived Life: Experiences in Psychoanalysis
 2016 - The Hands of Gravity and Chance: A Novel
 2014 - The Parts Left Out: A Novel
 2013 - The Analyst's Ear and the Critic's Eye: Rethinking Psychoanalysis and Literature (co-authored with Benjamin Ogden)
 2012 - Creative Readings: Essays on Seminal Analytic Works
 2009 - Rediscovering Psychoanalysis: Thinking and Dreaming, Learning and Forgetting
 2005 - This Art of Psychoanalysis: Dreaming Undreamt Dreams and Interrupted Cries
 2001 - Conversations at the Frontier of Dreaming
 1997 - Reverie and Interpretation: Sensing Something Human
 1994 - Subjects of Analysis
 1989 - The Primitive Edge of Experience
 1986 - The Matrix of the Mind:  Object Relations and the Psychoanalytic Dialogue
 1982 - Projective Identification and Psychotherapeutic Technique

References

1946 births
Living people
Amherst College alumni
Yale School of Medicine alumni

Thomas Ogden