Bror Fredrik "Esbjörn" Svensson (16 April 1964 – 14 June 2008) was a Swedish jazz pianist and founder of the jazz group Esbjörn Svensson Trio, commonly known as e.s.t.

Svensson became one of Europe's most successful jazz musicians at the turn of the 21st century before dying, at the age of 44, in a scuba diving accident.

Early life and work
Svensson was introduced to both classical music and jazz very early in life through his mother, a classical pianist, and his father, a jazz enthusiast, and first showed interest in classical music. In his teenage years, he developed an interest in rock music and started a few garage bands with classmates, before going back to classical music and finally making his way towards jazz. At the age of 16, Svensson went to a music college, where he took piano lessons. He later studied at the Royal College of Music, Stockholm, for four years.

In 1990, Svensson established his own jazz combo with his childhood friend Magnus Öström on percussion. Both had made their first appearances on stage as sidemen in the Swedish and Danish jazz scene during the 1980s. In 1993, bassist Dan Berglund joined the duo, and the Esbjörn Svensson Trio was born. The trio released its debut album, When Everyone Has Gone, in 1993, and in the following years established itself in the Nordic jazz scene. Svensson was nominated for Swedish Jazz Musician of the Year in 1995 and 1996.

Rise to prominence and death
The trio's international breakthrough came with their 1999 album From Gagarin's Point Of View, their first album to be released outside Scandinavia. With the release of their albums Good Morning Susie Soho (2000) and Strange Place for Snow (2002), the trio drew the attention of United States audiences. In 2002, they toured Europe, the U.S. and Japan over 9 months. Their subsequent albums, Seven Days of Falling (2003), Viaticum (2005), and Tuesday Wonderland (2006), were equally well received by critics and resulted in several music industry award nominations as well as making the jazz and pop charts.

e.s.t. was the first European jazz combo to make the front page of the American jazz magazine DownBeat (May 2006 issue). Their last live album, e.s.t. Live in Hamburg, a recording of their fall 2006 concert in Hamburg, Germany, as part of the Tuesday Wonderland Tour, was released in November 2007. Before Svensson's death, the trio had already finished the work for what became their album "Leucocyte", which was posthumously released in September 2008. The music to the album was recorded during a 9-hour jam at 301 studios in Sydney and in 2012 another album was released with music from that same recording entitled 301.  e.s.t.'s last performance took place in Moscow, Russia, at the Tchaikovsky Hall, on 30 May 2008. In addition to his work with e.s.t., Svensson recorded albums with Nils Landgren, Lina Nyberg and Viktoria Tolstoy.

On 14 June 2008, Svensson went missing during a scuba diving session on Ingarö outside Stockholm, Sweden. His diving companions, including an instructor and his then 14-year-old son, eventually found him lying unconscious on the seabed. Having sustained serious injuries, he was rushed to Karolinska University Hospital by helicopter, but could not be saved. He was 44 years old, married and the father of two sons.

Discography

As leader/co-leader
Studio albums
 When Everyone Has Gone (1993) Dragon
 Winter in Venice (1997) Superstudio GUL
 EST plays Monk (1996) Superstudio GUL
 From Gagarin's Point of View (1999) Superstudio GUL
 Good Morning Susie Soho (2000) Superstudio GUL
 Strange Place for Snow (2002) Superstudio GUL
 Seven Days of Falling (2003) Superstudio GUL
 Viaticum (2005) Spamboolimbo
 Tuesday Wonderland (2006, Recorded and mixed by Åke Linton at Bohus Sound Recording Studios, Gothenburg, Sweden, in March 2006)
 Leucocyte (2008, recorded by Åke Linton at Studios 301, Sydney, Australia)
 301 (2012, recorded in January 2007 at Studios 301, Sydney, Australia) ACT

Live albums
 E.S.T. Live '95 (1995, released in Sweden as Mr. & Mrs. Handkerchief) ACT Music + Vision
 Live in Stockholm (2003) DVD, recorded 10 December 2000 – including videos and an interview
 Live in Hamburg (2007, recorded 22 November 2006)
 E.S.T. Live in London (2018, recorded 20 May 2005)

Compilation albums
 Somewhere Else Before (U.S. compilation from From Gagarin's Point of View and Good Morning Susie Soho, 2001)
 Retrospective - The Very Best of E.S.T. (2009)

Compilation with other artists
 Solo Flights (Solo performances by Steve Dobrogosz (3 tracks), Bobo Stenson (2 tracks), Anders Widmark (5 tracks), Esbjörn Svensson (4 tracks). Scandinavian Songs Music Group, 1997)

Solo
 Home.S (posthumous release, ACT Music, 2022)

As sideman
With Lasse Lindgren
 To My Friends (Dragon, 1992)
With Lina Nyberg
 Close (Prophone Records, 1993)
With Nils Landgren
 Swedish Folk Modern (ACT Music, 1998)
 Layers of Light (ACT Music, 2004)

See also

References

External links

 Obituary in The Guardian
 Obituary in The Daily Telegraph
 Photos of Esbjörn Svensson Trio by Luca D'Agostino, 2006
 Photos of Esbjörn Svensson Trio by Emre Boyar, 2005

1964 births
2008 deaths
Swedish jazz pianists
Royal College of Music, Stockholm alumni
ACT Music artists
20th-century pianists
Underwater diving deaths
Accidental deaths in Sweden
People from Västerås
Esbjörn Svensson Trio members

Esbjörn Svensson


The World Courts of Women are public hearings that give a forum to those who are traditionally excluded from formal political and legal proceedings. Organized around particular topics relevant to the hosting country, these unofficial public enquiries highlight the injustices that women face. They include testimonies of personal experience, analyses by scholars and activists, and skill-sharing and strategizing. Through these, the World Courts aim to educate and raise awareness, record injustice and human rights violations, give voice to marginalized women, and develop alternative visions and strategies for the future.

Overview

World Courts of Women are symbolic processes that hold unofficial public enquiries into crimes against women, including the violation of their basic human rights. The main function of these hearings is to allow an opportunity for participants to relate experiences that are not widely publicized by traditional media sources and public discourse. It aims to challenge dominant public discourse by pointing to contradictions between principles of human rights and the experiences of women. The secondary function is for the testimony to provide a resource for social movements and political movements working for social justice and women's liberation, which seek to hold powerful governments and other entities accountable to human rights standards and international law and "transform the dominant paradigm of politics."

The World Courts of Women have been inspired and promoted by Corinne Kumar, an activist leader in the Tunis-based non-governmental organization and human rights advocacy group, El Taller International. In the countries where these occur, the intent is to hold their governments accountable to both international law and human ethics. While such courts lack official legitimacy, by pointing out the failures of formal laws to protect women, they can help undermine the popular acceptance of government authority that is based in patriarchy. In this sense, they aim to increase popular sovereignty and to delegitimize institutions, bureaucracy, and other social groups which are thought to be inadequate in punishing persons who violate the ethics and norms, if not also the formal laws, governing society. They challenge the traditional notion of power and powerholders; according to Kumar, "moving out of the patriarchal mindset would mean refusing the mono-dimensional definition of power, seeking to redefine and relocate power, to discover an alternate concept of power, to find new patterns of power."

There are many gender biases' in the courts especially against women. Women can be denied equal justice, equal treatment, and equal opportunity (Harbour). Women have had laws passed to protect them against violence. It took many years to actually allow them to recognize women as victims of stalking or sexual harassment. Eventually laws were passed to protect these victims. Many women have experienced and lived through the domestic violence that was done to them and no one believed them. Now society is finally recognizing the violence against women more than ever before. Even though women are still put down compared to men in certain situations or jobs the world has evolved to better the understanding that women are just as capable as men.

People's tribunals

People's tribunals assert that targeted judicial systems are failing to provide access for low-income, minority, and other non-elite groups and individuals to prosecute or even bring forth a criminal charge. Investigation is also made into laws recognized by states that fail to consider personal and cultural values of human rights and dignity. These tribunals are also intended to help strengthen international conventions or norms to which governments and other elites are held.

The social spaces where the World Courts of Women occur are communities in which "social categories are suspended, roles become fluid and interaction is privileged."  The symbolic use of the World Courts of Women intends to provide influence, power, and standing for victims unable to find resolution in official judicial systems and institutions.

The first International War Crimes Tribunal was an investigative body immediately followed the 1966 publication of Bertrand Russell's book, War Crimes in Vietnam.  The tribunal investigated and evaluated the United States of America's foreign policy and military intervention in Vietnam and provided a model for further tribunals related to war crimes, human rights violations, and environmental protection.

The International Tribunal on Crimes against Women was a people's tribunal which took place on March 4–8, 1976 in Brussels, Belgium. The event was created with the intention to "make public the full range of crimes, both violently brutal and subtly discriminatory, committed against women of all cultures."

History

What follows is a partial list of past World Courts.

In 1992 the first World Court of Women, called the "Asia Court on Violence Against Women" was held in Lahore, Pakistan. The Courts of Women organized by Asian Women's Human Rights Council (AWHRC) in the Asia Pacific region inspired courts in other regions, particularly in the Arab world, Africa, and Central America.  In 1995 Arab women organized the Arab Women's Court with the assistance of human rights organizations including the international NGO, El Taller.  That year the court held a public hearing in Beirut, Lebanon on violence directed against women. In 1996 the Mahkamate El Nissa El Arabiya (Permanent Arab Women's Court) was established.  Different member organizations were to host this court on a rotating basis.

The Women's International War Crimes Tribunal on Japan's Military Sexual Slavery was held in December 2000. It was a people's tribunal convened to gather testimony from victims, and then, based on international laws that were in place during World War II, to try groups and individuals for rape or sexual slavery, i.e., forcing women to sexually service Japanese soldiers.

The World Court of Women Against War, for Peace was held March 8, 2001 in Khayelitsha, Cape Town, South Africa to bear witness to the enormous violence and genocide caused by wars around the world. 4,000 people from around the Republic of South Africa and the world participated.

World Court of Women on U.S. War Crimes took place in Mumbai, India, on January 18, 2004, as part of the 2004 World Social Forum.

The 36th Court of Women, "Daughters of Fire : The Indian Court of Women on Dowry and Related Forms of Violence Against Women" was held in Bangalore, India on July 26–29, 2009.

The 37th Court of Women, "Southeast Asia Court of Women on HIV and Human Trafficking" was held on August 6, 2009 during the 9th International Congress on AIDS in Asia and the Pacific (ICAAP) in Nusa Dua, Bali. Twenty-two women, from six Southeast Asian countries (Indonesia, Thailand, Burma, the Philippines, Cambodia, and Singapore) spoke about living with HIV/AIDS and their experiences with human trafficking, exploitation, and violence against women.

"World Court of Women on Poverty in the United States: Disappeared in America" was the first US example, held in Oakland, California, USA, from May 10–13, 2012. Representing the western region of the country, the focus was on poverty in the U.S.

In 2013, another World Court of Women was held in Philadelphia, Pennsylvania.

The 2015 session took place in Bangalore, India, to witness the violence and injustice, and highlight the political lessons and resistance, and oppose "the unending wars against women".

References

Organizations established in 1992
1992 establishments in Pakistan
Civil rights and liberties
Women's rights
Feminism and history

World Courts of Women


Terasca, or Terrier-ASROC-Cajun, was an American three-stage sounding rocket developed and launched by the United States Navy. Derived from a combination of the Terrier, ASROC and Cajun rockets, three launches were attempted during 1959, but only one was successful.

Design and development
The Terrier-ASROC-Cajun ("Terasca") rocket was developed during early 1959 by the Naval Ordnance Test Station, located at China Lake, California, to fill a U.S. Navy requirement for a three-stage sounding rocket, intended to launch experimental payloads for conducting high-altitude research. The rocket utilised a combination of existing missiles in its construction; the first stage was a Terrier surface-to-air missile; an ASROC anti-submarine rocket made up the second stage, while a Cajun sounding rocket was utilised as a third stage.

The Terrier first stage produced  thrust, while the ASROC second stage provided  , and the third-stage Cajun motor had a thrust rated at . The theoretical apogee for Terasca was ; it could carry a scientific payload of up to .

Operational history
Three launch attempts of the Terasca missile were made from the launch facility at Vandenberg Air Force Base during 1959, utilising the Western Launch and Test Range. The first launch attempt took place on May 1; this launch was a failure. A second launch attempt on June 26, however, was successful, with the rocket reaching an apogee of . A third launch, attempted on August 12, however, was also a failure; following the third launch, the Terasca program came to a close.

Launch history

References
Notes

Bibliography

Sounding rockets of the United States
Equipment of the United States Navy

Terasca


Nostra Signora dei Turchi (internationally released as Our Lady of the Turks) is a 1968 Italian drama film. It is the feature film debut of Carmelo Bene and it is based on a stage play by the same Bene. It won the  Special Jury Prize at the 1968 Venice Film Festival.

The film was shown as part of a retrospective "Questi fantasmi: Cinema italiano ritrovato" at the 65th Venice International Film Festival.

Plot
A man (Carmelo Bene) cannot bear to be part of the society he lives in. He considers himself a "jerk" and so invents his own philosophy, which involves the destruction of the ways of his native land of Apulia, where all residents are devoted to the Catholic religion. However, the man cannot destroy the belief of the pilgrims of Salento, because a woman prevents him. She is an unknown "Santa Margherita", who tries to turn the man away from what she considers his weird and impossible philosophy. Successive scenes of the film show various dreamlike situations in which the two protagonists try to best each other. After a blasphemous dialogue between monks, the man includes his whole philosophy in a Moorish building. In fact, this seems to have been the scene of the massacre of the famous 800 Martyrs of Otranto, who are considered by the sceptic to be the absolute death of Christianity.The man, dressed as a medieval knight, tries to find pleasure in amorous adventures with a servant, but fails completely. In fact, it seems that a part of him is tied to something so holy that he cannot stand. The woman in the story has told him that she wants to save him from his own philosophy, but the man has always refused. Now that the man is determined to change and destroy his own philosophy, he discovers that it is too late. Santa Margherita, in the famous Moorish palace, is no longer willing to forgive and to convert the man who, struck down, dies without happiness.

Cast

 Carmelo Bene: the man, or central character
 Lydia Mancinelli: Santa Margherita
 Salvatore Siniscalchi: the editor
 Anita Masini: Santa Maria

References

External links

1968 films
Italian drama films
Italian films based on plays
Films directed by Carmelo Bene
Venice Grand Jury Prize winners
1968 directorial debut films
1960s Italian-language films
1960s Italian films

Our Lady of the Turks


WWTX (1290 AM) is a sports formatted radio station in Wilmington, Delaware. The station has local programming, along with coverage from Fox Sports Radio. WWTX is the flagship station for University of Delaware Women's Basketball and also broadcasts weekly High School Football and High School Basketball games. The station is an affiliate of the Baltimore Orioles and Baltimore Ravens.

Football
Every Friday Night in the fall, Fox Sports 1290 brings New Castle County the High School Football Game of the Week. This broadcast showcases the top match-up of the week in upstate Delaware. The season schedule begins with the DFRC Kickoff Classic and concludes with the DIAA State Championship each year. In the summer, Fox Sports, along with partner station WDOV-AM simulcast the DFRC Blue-Gold All*Star Game benefiting Delawareans with intellectual disabilities. The station also hands out game and season awards to outstanding student-athlete performers. Past winners have included Chris Godwin (Middletown) and Troy Reeder (Salesianum) of Penn State, Darius Wade (Middletown) of Boston College, and 2014 Fox Sports MVP Ray Jones (Hodgson) of the University of Delaware.

WWTX is also the only radio station in the state of Delaware broadcasting Baltimore Orioles baseball and Baltimore Ravens football. With a large fan base in the Wilmington, DE area and near the campus of the University of Delaware, Fox Sports 1290 AM allows locals to follow along with Blue Hens legendary QB, Joe Flacco. Fans in Delaware can also follow along with Delaware graduates and current Baltimore Ravens, Gino Gradkowski and Nick Boyle.

Basketball
During basketball season, Fox Sports 1290 broadcasts both Delaware Fightin' Blue Hens Women's Basketball and a High School Basketball Game of the Week. All home and away games for University of Delaware Women's Basketball can be heard on Fox Sports, as well as partner station 1410 WDOV-AM in Dover. Fox Sports 1290 was there for the 2013 Sweet 16 NCAA Tournament run by the Blue Hens led by Elena Delle Donne.

Similar to the football schedule, Fox Sports broadcasts one game each week in New Castle County for High School hoops, including the semifinal and championship games of the DIAA State Tournament. The All-Fox Sports Team is announced following each season and past winners have included Justin Perillo (Tatnall) now playing in the NFL for the Green Bay Packers, Trevor Cooney (Sanford) of Syracuse, A.J. English (Appoquinimink) of Iona, and 2015 Player of the Year, Donte DiVincenzo (Salesianum) of Villanova.

Broadcasters
Fox Sports 1290 and partner station, 94.7 WDSD use award-winning broadcasts and broadcasters. [Delaware Fightin' Blue Hens football] and Delaware Fightin' Blue Hens men's basketball is broadcast on FM by "Voice of the Blue Hens" and 2009 and 2012 National Sportscasters and Sportswriters Association Delaware Sportscaster of the Year, Scott Klatzkin. Matt Janus, the 2014 NSSA Delaware Sportscaster of the Year winner, handles play-by-play duties for Blue Hens Women's Basketball on 1290 AM. 2011 NSSA Delaware Sportswriter of the Year, Jon Buzby, and Marty Sheehan team up for High School sports broadcasts.

When Fox Sports is not airing local content, listeners can tune in to Sports Emmy Award winner, Dan Patrick's The Dan Patrick Show, and Emmy Award nominee Rich Eisen amongst other sports programming.

In September 2014 WWTX rebranded as "Fox Sports 1290" after 11 years as "1290 The Ticket."

References

External links

FCC History Cards for WWTX

WTX
IHeartMedia radio stations
Sports radio stations in the United States
Fox Sports Radio stations
Wilmington, Delaware
Radio stations established in 1947
1947 establishments in Delaware

WWTX


L. C. "Good Rockin'" Robinson (born Louis Charles Robinson; May 13, 1914 – September 26, 1976) was an American blues singer, guitarist, and fiddle player. He played an electric steel guitar.

Biography
Robinson was born in Brenham, Texas, United States. He learned to play guitar at nine years of age, and was supposedly mentored by gospel blues singer-guitarist Blind Willie Johnson in the bottleneck style. Later in his career, he was introduced to the steel guitar by Western swing musician Leon McAuliffe, and became a noted fiddle player, who instructed Sugarcane Harris. L. C. Robinson's brother, harmonica player A. C. Robinson, collaborated with him in Texas in the 1930s, and later the two performed and recorded together in a band in California in the 1940s.

Oakland Blues, a studio album Robinson, Lafayette Thomas and Dave Alexander, was released in 1968 by World Pacific Records. This was followed in 1971 by the album Ups and Downs on Arhoolie, on which Robinson was accompanied by the Muddy Waters band and Dave Alexander's trio. This material was later reissued, along with a previously unissued recording of a radio broadcast with his brother the Reverend A. C. Robinson, as Mojo in My Hand.

Robinson played at the San Francisco Blues Festival in both 1973 and 1974. He visited Sweden the following year, but his work was never widely known in Europe.

He died of a heart attack in Berkeley, California in 1976, aged 61.

Selected discography

References

External links
 Illustrated L.C. Robinson discography

1914 births
1976 deaths
People from Brenham, Texas
American blues singers
American blues guitarists
American male guitarists
West Coast blues musicians
20th-century American guitarists
20th-century American singers
20th-century American male musicians

L. C. Robinson


The Kuunga orogeny (from Swahili, "to unite") was an orogeny that occurred in South-east Africa during the Ediacaran and Cambrian.  Composed of three separate orogenic belts (Damara, Zambesi, and Lurio) that are slightly younger than the East African orogeny, the Kuunga orogeny documents the collision between north and south Gondwana, or what is today Dronning Maud Land in Antarctica and northern Mozambique in Africa.

The name was proposed in 1995 by  J. G. Meert, R. van der Voo and S. Ayub.

References

Sources

Orogenies of Africa

Kuunga orogeny


Prélude à l'après-midi d'un faune (L. 86), known in English as Prelude to the Afternoon of a Faun, is a symphonic poem for orchestra by Claude Debussy, approximately 10 minutes in duration. It was composed in 1894 and first performed in Paris on 22 December 1894, conducted by Gustave Doret. The flute solo was played by Georges Barrère.

The composition was inspired by the poem L'après-midi d'un faune by Stéphane Mallarmé. It is one of Debussy's most famous works and is considered a turning point in the history of Western art music, as well as a masterpiece of Impressionist composition. Pierre Boulez considered the score to be the beginning of modern music, observing that "the flute of the faun brought new breath to the art of music."

Debussy's work later provided the basis for the ballet Afternoon of a Faun choreographed by Vaslav Nijinsky and a later version by Jerome Robbins.

Background

About his composition Debussy wrote:The music of this prelude is a very free illustration of Mallarmé's beautiful poem. By no means does it claim to be a synthesis of it. Rather there is a succession of scenes through which pass the desires and dreams of the faun in the heat of the afternoon. Then, tired of pursuing the timorous flight of nymphs and naiads, he succumbs to intoxicating sleep, in which he can finally realize his dreams of possession in universal Nature.

Paul Valéry reported that Mallarmé himself was unhappy with his poem being used as the basis for music:
He believed that his own music was sufficient, and that even with the best intentions in the world, it was a veritable crime as far as poetry was concerned to juxtapose poetry and music, even if it were the finest music there is.
However, after attending the premiere performance at Debussy's invitation, Mallarmé wrote to Debussy: "I have just come out of the concert, deeply moved. The marvel! Your illustration of the Afternoon of a Faun, which presents no dissonance with my text, but goes much further, really, into nostalgia and into light, with finesse, with sensuality, with richness. I shake your hand admiringly, Debussy. Yours, Mallarmé."

Composition

The work is scored for three flutes, two oboes, cor anglais, two clarinets in A and B, two bassoons, four horns, two harps, two crotales and strings.

Although it is tempting to call this piece a tone poem, there is very little musical literalism in the piece; instead, the slow and mediated melody and layered orchestration as a whole evoke the eroticism of Mallarmé's poem.
[This prelude] was [Debussy's] musical response to the poem of Stephane Mallarmé (1842–1898), in which a faun playing his pan-pipes alone in the woods becomes aroused by passing nymphs and naiads, pursues them unsuccessfully, then wearily abandons himself to a sleep filled with visions. Though called a "prelude," the work is nevertheless complete – an evocation of the feelings of the poem as a whole.Debussy had intended to compose a second and third movement, an Interlude and Paraphrase finale, respectively, but he decided to concentrate all of his musical ideas into one movement.

The Prélude at first listening seems improvisational and almost free-form; however, closer observation will demonstrate that the piece consists of a complex organization of musical cells, motifs carefully developed and traded between members of the orchestra. A close analysis of the piece reveals a high amount of consciousness of composition on Debussy's part.

The main musical themes are introduced by woodwinds, with delicate but harmonically advanced accompaniment of muted horns, strings and harp. Recurring tools in Debussy's compositional arsenal make appearances in this piece: extended whole-tone scale runs, harmonic fluidity without lengthy modulations between central keys, and tritones in both melody and harmony. The opening flute solo consists of a chromatic descent to a tritone below the original pitch and then subsequent ascent. The development of the slow main theme transitions smoothly between , , and . Debussy uses sophisticated voicings and orchestration, allowing the main melodic cell to move from solo flute to oboe, back to solo flute, then to two unison flutes (yielding a completely different atmosphere to the melody), then to clarinet, and so on. Even the accompaniment explores alternate voicings: the flute duo's crescendo during their melodic cells accompany legato strings with violas carrying the soprano part over alto violins (the tone of a viola in its upper register being especially pronounced).

Main theme

Ambiguous chord progression

Theme

Theme – similar to the main theme in chromaticism and contour. Uses a whole-tone scale in m. 32.

Theme – similar contour to the main theme.

Secondary theme

Theme – new melodic idea created by combining fragments of two previous melodies.

Theme – related to main theme.

Final chromatic harmonization of the main theme

The composition totals 110 bars. If one counts the incomplete lines of verse as one, Mallarmé's text likewise adds up to 110 lines. The second section in D-flat starts at bar 55, exactly halfway through the work.

Ballet versions

In 1912, the piece was made into a short ballet, with costumes and sets by painter Léon Bakst, which was choreographed and performed by renowned dancer Vaslav Nijinsky. It proved to be highly controversial because of the dancers' non-traditional movements and because of a moment in which the faun appears to masturbate.

In 1958, another ballet by Jerome Robbins was made, which has been frequently performed by many companies.

Literature

In Thomas Mann's The Magic Mountain it is implied that protagonist Hans Castorp listened to Debussy's piece on a gramophone. In the book, the Prélude is one of his favorite recordings, and leads him to daydream about a faun playing pipes in an oneiric landscape.

Transcription

Claude Debussy himself transcribed the piece for performance on two pianos in 1895.

Other transcriptions include: the arrangement of Maurice Ravel for piano four hands, the flute and piano version of Gustave Samazeuilh, the arrangement for Pierrot ensemble (flute, clarinet, violin, cello and piano) by Tim Mulleman, a transcription for flute, clarinet and piano by Michael Webster, and an arrangement for the instruments of Ravel's Introduction and Allegro (flute, clarinet, harp and string quartet) with an additional double bass, by Graeme Steele Johnson. The Russian pianist Vyacheslav Gryaznov also transcribed it for solo piano. Linos Piano Trio arranged the piece for piano trio and included it on their 2021 album "Stolen Music".

Benno Sachs, a pupil of Arnold Schoenberg, reorchestrated the work for a chamber ensemble which included a piano and a harmonium, for Schoenberg's Society for Private Musical Performances, which took place on 27 October 1920.

In popular culture

Film
The theme features prominently in the film Portrait of Jennie (1949), and is used as a musical motif for the ethereal heroine played by Jennifer Jones.
Prelude to the Afternoon of a Faun is the first animated segment in Italian director and animator Bruno Bozzetto's film Allegro Non Troppo (1977). While retaining Debussy's music, the on-screen story instead depicts an aging faun's vain attempts to recapture his youth.
A climactic scene from the film Passion (2013) finds the main character attending the ballet version, with a memorable, several-minute-long split screen, with the ballet on one side and the movie action on the other side.
In the found-footage horror film "Leaving DC" (2012), the song was featured on a digital recorder the main character listened to after he placed it on his windowsill to document strange sounds he was hearing in the forest outside his isolated home. The song appeared to play at 3:11am every night for a few seconds, but different parts of the flute solo were heard every time.

Lectures
The work is analyzed at the end of the 4th segment of Leonard Bernstein's Norton lecture The Unanswered Question (1973). Bernstein corroborates the earlier statement that the piece, with its extensive use of the tri-tone interval and whole-tone scale, stretches the limits of tonality, thus setting up the atonal works of the 20th century to come.

Music
It was rearranged and recorded by jazz musician Eumir Deodato for his album Prelude (1973).
A synthesiser arrangement was performed by Isao Tomita on his album Firebird (1975).
Electronic jazz group Koop features the Overture in its piece 'Glömd' (1997) on its album Sons of Koop.

Television
A production music version (arranged by Charlotte Georg) was featured in The Ren & Stimpy Show episode, "Powdered Toast Man".

References

Further reading

 Hendrik Lücke: "Mallarmé – Debussy. Eine vergleichende Studie zur Kunstanschauung am Beispiel von L'Après-midi d'un Faune". (Studien zur Musikwissenschaft, vol. 4). Dr. Kovac, Hamburg 2005, .

External links

 Prélude à l'après-midi d'un faune, score, patachonf.free.fr
 Program notes by Richard Freed, January 2004
, Tmesis Ensemble, Etcetera Records 2019

Compositions by Claude Debussy
Symphonic poems
1894 compositions
Music based on poems
Preludes (music)
Articles containing video clips
Adaptations of works by Stéphane Mallarmé
Fauns in popular culture

Prélude à l'après-midi d'un faune


Tallinn University in its present form was started on 18 March 2005 by joining together of several universities and research institutions in Tallinn:

 Academic Library of Estonia (1946),
 Baltic Film and Media School (1992/97),
 Estonian Institute of Humanities (1988),
 Institute of History (1946)
 Tallinn Pedagogical University (1919)

There are about 7,000 degree students and about 14,000 more taking part in continuing education programmes. This makes Tallinn University the third largest provider of higher education in Estonia. Among degree students, 11% were not Estonian. There are 860 people working at the university in 2022.  About 10% are international academics.

It is divided into five schools:

 School of Educational Sciences,
 Baltic Film, Media, Arts and Communication School - which teaches in English.
 School of Humanities,
 School of Natural Sciences and Health
 School of Governance, Law and Society.

The School of Digital Technologies supports the other five.

References

Colleges and universities in Estonia
Organizations based in Tallinn

Tallinn University


Hildegard Zadek (15 December 1917 – 21 February 2019) was a German operatic soprano. She was Kammersängerin at the Vienna State Opera and performed internationally.

Early life
Zadek, the oldest of three daughters of Elizabeth (Freundlich) and Alex Zadek, was born in Bromberg, Province of Posen, on 15 December 1917. After her hometown became Polish after World War I, her parents moved to Stettin in 1920, where Zadek spent her youth.

However, as a Jew she was forced to leave Germany in 1934 and settled in then Palestine, where she worked as a nurse and shoe saleswoman in Jerusalem, while studying voice with Rose Pauly. In 1945, she returned to Europe and studied at the Zurich Conservatory with Ria Ginster.

Life and career
She made her operatic debut on 3 February 1947 at the Vienna State Opera in the title role of Verdi's Aida to great acclaim; she remained with this theatre until 1971. The following year she first appeared at the Salzburg Festival, where she appeared as Donna Anna in Mozart's Don Giovanni, as Vittelia in his La clemenza di Tito, and in the title role of Ariadne auf Naxos by Richard Strauss. Her repertory also included Elsa in Wagner's Lohengrin, Eva in his Die Meistersinger von Nürnberg, and the title roles of Gluck's Iphigénie en Tauride and Puccini's Tosca.

Zadek took part in the world premiere of Carl Orff's Antigonae in 1949, and sang Magda Sorel in the local premiere in Vienna of Menotti's The Consul in 1950. She also appeared at the Munich State Opera and the Berlin State Opera. She made guest appearances at the Royal Opera House in London (from 1950 to 1953; the title roles of Aida and Tosca, Lisa in The Queen of Spades, Leonora in Il Trovatore, Contessa Almaviva in Le Nozze di Figaro), the Glyndebourne Festival and the Holland Festival, at the Paris Opéra, La Monnaie in Brussels, La Scala in Milan, and the Maggio Musicale Fiorentino, the Bolshoi Theatre in Moscow, etc.

Zadek made her debut at the Metropolitan Opera in New York as Donna Anna in Don Giovanni on 26 November 1952. Beside Donna Anna (4 performances), at the Met she sang Eva in Die Meistersinger von Nürnberg (2 performances), Elsa in Lohengrin (1 performance), and the title role of Aida (1 performance on 14 January 1953, her last at the Met). She also appeared at the San Francisco Opera and the Teatro Colón in Buenos Aires. Beginning in 1967, she taught at the Vienna Music Academy, and gave masterclasses. Her last performance at the Vienna State Opera was as Gerhilde in Die Walküre on 3 January 1971, and the same year she retired from the stage.

She left a notable recording of Donna Anna in a complete Don Giovanni, with conductor Rudolf Moralt, opposite George London, Léopold Simoneau and Sena Jurinac. She turned 100 on 15 December 2017.

Zadek died in Karlsruhe on 21 February 2019 at the age of 101.

For the promotion of young musicians, the Hildegard Zadek Foundation has held the biennial International Hilde Zadek Voice Competition since 2003. Through her father, Zadek was a cousin of noted art collector Heinz Berggruen.

Awards
 1951 Kammersängerin
 1965 Austrian Cross of Honour for Science and Art
 1977 Honorary member of the Vienna State Opera
 1978  in gold
 2007 Honorary doctorate from the University of Music Karlsruhe (on her 90th birthday)
 2012 Grand Decoration of Honour for Services to the Republic of Austria

Writings

References

External links

1917 births
2019 deaths
German centenarians
German expatriates in Austria
Jewish emigrants from Nazi Germany to Mandatory Palestine
Jewish opera singers
German operatic sopranos
Österreichischer Kammersänger
Recipients of the Austrian Cross of Honour for Science and Art
Recipients of the Grand Decoration for Services to the Republic of Austria
Musicians from Bydgoszcz
20th-century German  women  opera singers
Women centenarians

Hilde Zadek


Andrew John Timothy George  (born 12 May 1963), is Deputy Vice-Chancellor (Educational and International) at Brunel University London and Professor of Immunology.

Education

George was educated at Clifton College, Bristol. He studied Natural Sciences at Trinity College, Cambridge (Part II Pathology), before going to the Tenovus Laboratories, Southampton University, where he undertook his PhD (1987) under the supervision of Freda Stevenson (Idiotypic immunity against a B cell lymphoma).

Career

Following his PhD, George was awarded a Beit Memorial Fellowship to carry out postdoctoral research at the Tenovus Laboratories. He then went to the National Institutes of Health to work in the laboratory of Dr David Segal, developing recombinant antibody-based molecules. He returned to the UK in 1992 to a lectureship at the Royal Postgraduate Medical School, Hammersmith Hospital (which merged with Imperial College London in 1997). He was promoted to Senior Lecturer, Reader and Professor of Molecular Immunology. His research has sought to understand and manipulate the immune system to treat disease. He was awarded a DSc by Imperial College London in 2012.

He was appointed director of the Graduate School of Life Sciences and Medicine in 2010, and then director of the merged Graduate School from 2011. He was Director of the School of Professional Development from 2010. In 2013 he moved to Brunel University London as Vice Principal/Deputy Vice Chancellor (Education & International) and Professor of Immunology.

External appointments

George was Chair of the Hammersmith Hospitals Research Ethics Committee from 2000 to 2010, and chair of the National Research Ethics Advisors' Panel from 2009 to 2017. He was chair of the Gene Therapy Advisory Group in 2012, and continued as gene therapy advisor to the Health Research Authority. Between 2007 and 2017 he was a member of the Clinical Trials Expert Advisory Group for the Commission on Human Medicines and the MHRA, set up to scrutinize high risk clinical trials involving biological or similar agents.

He has served on many grant giving bodies, including Chair of the Scientific Advisory Panel of Action Medical Research (2008–2012), and on the NERC Training Advisory Group (2012–2014). He was Section Editor for Expert Opinion on Therapeutic Patents (1996–2000) and the Journal of Immunological Methods (1999–2003, Editorial Board 1996–2008) and on the Editorial Board of Trends in Immunology (2007–2011) and Transplantation (2000–2014).

George has been Trustee of Action Medical Research (2008–2015). He is currently governor of Richmond Adult Community College and of John Hampden Grammar School. He is a Director of Imperial College Healthcare Partners and West London Business.

Fellowships and awards

George is a Fellow of the Royal College of Pathologists, of the Higher Education Academy, of the Royal Society of Arts and of the Royal Society of Biology. He has held honorary or visiting Chairs in the Institute of Ophthalmology (UCL), Flinders University and Hubei University of Medicine.

He was awarded an MBE in the 2017 New Year Honours List for services to research participants and the ethical governance of clinical research.

References

1.'GEORGE, Andrew JT', Who's Who 2016, A & C Black, an imprint of Bloomsbury Publishing plc, 2016; online edn, Oxford University Press". (subscription required)

2.https://www.linkedin.com/in/andrew-george-aa529b85/
3.https://twitter.com/ProfAGeorge
4.https://www.brunel.ac.uk/about/people/andrew-george
5.Redirection of T cell-mediated cytotoxicity by a recombinant single-chain Fv molecule, George AJ1, Titus JA, Jost CR, Kurucz I, Perez P, Andrew SM, Nicholls PJ, Huston JS, Segal DM, Journal of Immunology15;152(4):1802-11.
6.New National Research and Ethics Advisors' Panel starts work, Health Research Authority, 29 March 2017
7.https://www.racc.ac.uk/about-us/governance/racc-governors/andrew-george-mbe

British immunologists
Academics of Brunel University London
1963 births
Living people
People educated at Clifton College
Alumni of the University of Southampton
Alumni of Trinity College, Cambridge
Members of the Order of the British Empire

Andrew George (immunologist)


The Central Business District (CBD) is a neighborhood of the city of New Orleans, Louisiana, United States.

A subdistrict of the French Quarter/CBD area, its boundaries, as defined by the City Planning Commission, are Iberville, Decatur and Canal Streets to the north; the Mississippi River to the east; the New Orleans Morial Convention Center, Julia and Magazine Streets, and the Pontchartrain Expressway to the south; and South Claiborne Avenue, Cleveland Street, and South and North Derbigny Streets to the west. It is the equivalent of what many cities call their downtown, although in New Orleans "downtown" or "down town" was historically used to mean all portions of the city downriver from Canal Street (in the direction of flow of the Mississippi River). In recent decades, however, use of the catch-all "downtown" adjective to describe neighborhoods downriver from Canal Street has largely ceased, having been replaced in usage by individual neighborhood names (such as Bywater).

Originally developed as the largely-residential Faubourg Ste. Marie (English: St. Mary Suburb) in the late 18th century, the modern Central Business District is today a dynamic, mixed-use neighborhood, the home of professional offices in skyscrapers, specialty and neighborhood retail stores, numerous restaurants and clubs, and thousands of residents inhabiting restored, historic commercial and industrial buildings.

A part of the area is listed on the National Register of Historic Places as the New Orleans Lower Central Business District.

History

Streets in the Central Business District (originally Faubourg Ste. Marie) were initially platted in the late 18th century, representing the first expansion of New Orleans beyond its original French Quarter footprint. Significant investment began in earnest following the Louisiana Purchase of 1803, as people from other parts of the United States flocked to the city. Consequently, the district began to be referred to as the American Sector.

While traditionally Canal Street was viewed as the dividing line between the French Quarter and the American Sector, legally both sides of Canal Street are today considered part of the Central Business District for zoning and regulatory purposes. Through the 19th and into the 20th century, the Central Business District continued developing almost without pause. By the mid-20th century, most professional offices in the region were located downtown, the hub of a well-developed public transit system.

Canal Street was the primary retail destination for New Orleanians, as well as for residents of the surrounding region. Local and regional department stores Maison Blanche, D.H. Holmes, Godchaux's, Gus Mayer, Labiche's, Kreeger's, and Krauss anchored numerous well-known specialty retailers, such as Rubenstein Bros., Adler's Jewelry, Koslow's, Rapp's, and Werlein's Music. National retailers, like Kress, Woolworth, and Walgreens were present alongside local drugstore K&B. Sears operated a large store one block off Canal, on Baronne Street.

Bookstores, theaters, and movie palaces also abounded, with the neon marquees of the Saenger, Loews State, RKO Orpheum, Joy, and Civic theaters nightly casting multi-colored lights onto surrounding sidewalks.

In the 1950s, six-lane Loyola Avenue was constructed as an extension of Elk Place, cutting a swath through a low-income residential district and initially hosting the city's new civic center complex. The late-1960s widening of Poydras Street was undertaken to create another six-lane central area circulator for vehicular traffic, as well as to accommodate modern high-rise construction. The City of New Orleans partook in transforming the district from 1973 to 1993, in a collaboration between public and private sectors to spark active community participation.

The portion of the CBD closer to the Mississippi River and upriver from Poydras Street is known as the Warehouse District, because it was heavily devoted to warehousing and manufacturing before shipping became containerized.  The 1984 World's Fair drew attention to the then semi-derelict district, resulting in steady investment and redevelopment from the mid-1980s onward.  Many of the old 19th-century warehouses have been converted into hotels, restaurants, condominiums, and art galleries. For further information: Loft 523, a boutique hotel.

Notable structures in the CBD include the Greek Revival Gallier Hall (the city's former city hall); Caesars Superdome; the Smoothie King Center; the city's present-day, International style city hall; and Hancock Whitney Center, the city's tallest building and headquarters for Royal Dutch Shell's Gulf of Mexico Exploration and Production.  Other significant attractions include the postmodern Piazza d'Italia, Harrah's Casino, the World Trade Center New Orleans, the U.S. Fifth Circuit Court of Appeals, St. Patrick's Church, the Hibernia Bank Building, and the former New Orleans Cotton Exchange.

The principal public park in the CBD is Lafayette Square, upon which face both Gallier Hall and the Fifth Circuit Court of Appeals.  Other public spaces include Duncan Plaza, Elk Place, the Piazza d'Italia, Lee Circle, Mississippi River Heritage Park, Spanish Plaza, and the Richard and Annette Bloch Cancer Survivors Plaza.

Museums include the National World War II Museum, the Ogden Museum of Southern Art, the Louisiana Children's Museum, the New Orleans Contemporary Arts Center and Confederate Memorial Hall Museum.

New Orleans CBD was one of the few areas of New Orleans that escaped the catastrophic flooding of 2005's Hurricane Katrina.

Geography
The Central Business District is located at   and has an elevation of . As is true of most of metropolitan New Orleans, the parts of the district nearer the river are higher in elevation than areas further removed from it. According to the United States Census Bureau, the district has a total area of .   of which is land and  (10.17%) of which is water.

Adjacent neighborhoods
 Iberville Development (north)
 French Quarter (north)
 Lower Garden District (south)
 Central City (south)
 Tulane/Gravier (west)

Boundaries
The City Planning Commission defines the boundaries of the Central Business District as these streets: Iberville Street, Decatur Street, Canal Street, the Mississippi River, the New Orleans Morial Convention Center, Julia Street, Magazine Street, the Pontchartrain Expressway, South Claiborne Avenue, Cleveland Avenue, South Derbigny Street and North Derbigny Street.

Demographics
As of the census of 2000, there were 3,435 inhabitants of the census tracts best corresponding to the boundaries of the New Orleans Downtown Development District. The population density was 1,692 /mi² (664 /km²). Another 4,142 inhabitants of the adjacent French Quarter neighborhood were recorded in the 2000 Census. The CBD, its subdistricts (e.g., the Warehouse District), and the bordering neighborhoods of Tremé, the French Quarter, and the Lower Garden District possessed 21,630 residents, according to the 2000 Census.

Government and infrastructure
The New Orleans City Hall and surrounding structures, including the circa-1960, architecturally award-winning Main Branch of the New Orleans Public Library face Duncan Plaza, an exercise in 1950s-style urban renewal embodying then-mayor Chep Morrison's desire to create a modern civic center.  The New Orleans Civic Center is today much diminished, with the Louisiana Supreme Court building having been torn down in the wake of the court's 2004 departure for the French Quarter, the Louisiana State office building having suffered the same fate, and Duncan Plaza itself having been fenced off.

The United States Postal Service operates the New Orleans Main Post Office at 701 Loyola Avenue in the CBD.
The Union Passenger Terminal is the terminus for three of Amtrak's long-distance trains, the City of New Orleans, the Crescent and, since 2005, the Sunset Limited (with the elimination, due to Katrina damage, of the eastbound portion of the Sunset Limited route), and also offers inter-city bus service via Greyhound Lines.

Interstate Highway access is provided by I-10, via the Claiborne and Pontchartrain Expressways.  When I-10 curves to the east by the Louisiana Superdome and becomes the Claiborne Expressway, elevated above N. Claiborne Avenue, the Pontchartrain Expressway continues as U.S. Route 90 Business and crosses the Mississippi River on the twin-bridge Crescent City Connection.

Significant thoroughfares in the CBD include St. Charles Avenue, Camp Street, Carondelet Street, Gravier Street, Poydras Street, Tchoupitoulas Street, Howard Avenue, and Canal Street.  Prior to the 1980s, the intersection of Gravier and Carondelet streets was the de facto heart of the city's financial district.  Though still a vibrant area, that part of the CBD witnessed the migration of much business slightly upriver to Poydras Street, as many modern high-rise office towers were constructed there in the 1970s and 1980s.  The widening of Loyola Avenue, Poydras Street and O'Keefe Avenue aimed to simultaneously create an effective downtown circulator high capacity road network for automobile traffic and make room for large-scale redevelopment (e.g., Duncan Plaza, Superdome).  However, many of the development sites created in the wake of these improvements were never built upon, leaving a noticeable and unfortunate quantity of surface parking lots along these widened streets.

Economy
Entergy, the region's sole Fortune 500 firm, maintains its headquarters in the CBD, as does Reily Foods Company, which markets Luzianne products and Standard Coffee. Other local companies headquartered downtown include McMoRan Exploration, Pan American Life Insurance, Superior Energy Services, TurboSquid, iSeatz, Historic Restoration Inc. (HRI Properties), Tidewater Marine, Energy Partners Ltd., Intermarine, IMTT, International Coffee Corp., and The Receivables Exchange.

The CBD also hosts the New Orleans I.P., an "Intellectual Property", home to numerous creative industries firms, and numerous bioscience companies are established at the New Orleans BioInnovation Center, located within BioDistrict New Orleans.

The regional economic alliance Greater New Orleans, Inc. (GNO Inc.), the New Orleans metropolitan area's lead economic development entity for the ten-parish New Orleans region, is also headquartered downtown, as is the New Orleans Business Alliance (NOLA BA), the public-private partnership agency leading economic development efforts for the city proper.

The World Trade Center of New Orleans (WTCNO) has been located in the CBD since its establishment in 1943. The WTCNO facilitates the addition of wealth and jobs in Louisiana through international trade, economic development, and allied activities by supporting a prosperous international business climate in Louisiana.

Diplomatic missions
The Consulate of Mexico in New Orleans is located in the CBD. The consulate re-opened in that location in 2008 because of the dramatic increase in the local Mexican immigrant population, many of whom arrived in the wake of Hurricane Katrina to assist in the city's rebuilding.

In addition to Mexico, France maintains a consulate in downtown New Orleans, a reflection of the long-standing ties between that nation and Louisiana, and of France's role as the founder of New Orleans in 1718.

At one time the Consulate-General of Japan in New Orleans was located in the Entergy Tower. In 2006 Japan announced that it was moving the consulate to Nashville, Tennessee. The Japanese Government relocated the mission to be close to industries and operations owned by Japanese companies.

Honorary consuls for numerous other nations may also be found within the CBD.

See also
 Downtown New Orleans
New Orleans Downtown Development District
 New Orleans Lower Central Business District
 Girod Street Cemetery (1822–1957)
 Hibernia Bank Building
 Lafayette Square, park designed in the late 18th century
Gallier Hall, formerly City Hall
 New Orleans Cotton Exchange
 Immaculate Conception Church
 St. Patrick's Church
 Buildings and architecture of New Orleans
 List of streets of New Orleans
Canal Street, New Orleans
 List of tallest buildings in New Orleans
 Neighborhoods in New Orleans
 Streetcars in New Orleans

References

External links

 BioDistrict New Orleans
 New Orleans Downtown Development District

Neighborhoods in New Orleans
Downtown New Orleans
Central business districts in the United States
Economy of New Orleans
Louisiana populated places on the Mississippi River

New Orleans Central Business District


Laudexium metilsulfate is a neuromuscular blocking drug or skeletal muscle relaxant in the category of non-depolarizing neuromuscular-blocking drugs, used adjunctively in surgical anesthesia to facilitate endotracheal intubation and to provide skeletal muscle relaxation during surgery or mechanical ventilation.

Laudexium is no longer used in clinical practice, though it was introduced clinically in the early 1950s.  It has about half the potency, a slower onset of action and a duration of action much longer than that of d-tubocurarine. As with all clinically established (as well as experimental agents) with a non-depolarizing mechanism of action, its pharmacological action can be antagonized by anticholinesterases.

The displacement of laudexium from clinical use was assured owing to recurrent reports of significant post-operative re-curarization.

References

External links

Nicotinic antagonists
Quaternary ammonium compounds
Norsalsolinol ethers

Laudexium metilsulfate


A commercial bank is a financial institution which accepts deposits from the public and gives loans for the purposes of consumption and investment to make profit.

It can also refer to a bank or a division of a large bank which deals with corporations or a large or middle-sized business, to differentiate it from a retail bank and an investment bank. Commercial banks include private sector banks and public sector banks.

History

The name bank derives from the Italian word banco "desk/bench", used during the Italian Renaissance era by Florentine bankers, who used to carry out their transactions on a desk covered by a green tablecloth. However, traces of banking activity can be found even in ancient times.

In the United States, the term commercial bank was often used to distinguish it from an investment bank due to differences in bank regulation. After the Great Depression, through the Glass–Steagall Act, the U.S. Congress required that commercial banks only engage in banking activities, whereas investment banks were limited to capital market activities. This separation was mostly repealed in 1999 by the Gramm–Leach–Bliley Act.

Role
The general role of commercial banks is to provide financial services to the general public and business, ensuring economic and social stability and sustainable growth of the economy.

In this respect, credit creation is the most significant function of commercial banks. While sanctioning a loan to a customer, they do not provide cash to the borrower. Instead, they open a deposit account from which the borrower can withdraw. In other words, while sanctioning a loan, they automatically create deposits.

THUS, in absence of a charge ABSENCE OF A GREEN AND PUBLIC GOOD BENEFIT Which could be counter-inflationary and deficit-reducing.  Or initially a credit creation charge from Eco-Fit retro-insulation could become a revenue-stream for local primary schools, libraries (from Eco-Fit Money, enveloping, GreenER Deal, etc and eventually extended to reduced general taxation - that is, adjustable..  see followig reference

The story of the Commonwealth Bank of Australia
By DJ Amos
A well-referenced pamphlet or mini-book
Veritas 1986
Describes how control was wrested from the original governor (and the board and officials) taking most of the revenue, particularly from credit or 'mortgage money' creation away from the public purse or Treasury revenue.

Particularly relevant to the post 2006 events (which earlier had led to decline of govt-created money to Mervyn King's "97% commercially-created" statement 2006/7 and Greenwood's Illustration of '30 times UK property price "growth" in 30 years, that's 3000% compared to compounding 3% over 30 years if 3% year-on-year calculates up to be around 245% - so 'out' by a factor of 10.'

Greenwood adds: UK property regularly "grew" in numerical 'value' over the 3 decades (often 10% p.a. since I arrived in 1974/5 and bought my first house in 1976 (hence the 2006 '30-times' observation).

"This made me particularly interested in AUS/UK fluctuations and exchange rates £stg vs $AU as during work there I acquired another modest cottage and could compare rental levels and see exchange rates vary, suggesting a credit creation charge - at base rate, or one-third in the interim phase - to good effect (UK-Gov then claiming not to wish to interfere)."

Primary functions
Commercial banks accept various types of deposits from the public especially from its clients, including saving account deposits and fixed deposits. These deposits are returned whenever the customer demands it after a certain time period.
Commercial banks provide loans and advances of various forms, Such as [overdraft] facility, cash credit, bill discounting, money  call, etc. They also give demand and term loans to all types of clients against proper security. They also act as trustees for wills of their customers etc.
The function of credit creation is generated on the basis of credit and payment intermediary. Commercial banks use the deposits they absorb to make loans. On the basis of check circulation and transfer settlement, the loans are converted into derivative deposits. To a certain extent, the derivative funds of are increased by interval times the original deposits which greatly improves the driving force of commercial banks to serve the economic development.

Regulations

In most countries, commercial banks are heavily regulated and this is typically done by a country's central bank.  They will impose a number of conditions on the banks that they regulate such as keeping bank reserves and to maintain minimum capital requirements.

Services by product
Commercial banks generally provide a number of services to its clients; these can be split into core banking services such as deposits, loans, and other services which are related to payment systems and other financial services.

Core products and services
 Accepting money on various types of Deposit accounts
 Lending money by overdraft, and loans both secured and unsecured.
 Providing transaction accounts
 Cash management
 Treasury management
 Private equity financing
 Issuing Bank drafts and Bank cheques
 Processing payments via telegraphic transfer, EFTPOS, internet banking, or other payment methods.

Other functions
Along with core products and services, commercial banks perform several secondary functions. The secondary functions of commercial banks can be divided into agency functions and utility functions.

Agency functions include:
 To collect and clear cheques, dividends, and interest warrant
 To make payments of rent, insurance premium
 To deal in foreign exchange transactions
 To purchase and sell securities
 To act as the trustee, attorney, correspondent and executor
 To accept tax proceeds and tax returns

Utility functions include:
 To provide safe deposit boxes to customers
 To provide money transfer facility
 To issue traveler's cheques
 To act as referees
 To accept various bills for payment: phone bills, gas bills, water bills
 To provide various cards such as credit cards and debit cards

See also
 Assets and Liabilities of Commercial Banks in the United States
 Glass–Steagall legislation
 Investment banking
 Mortgage constant
 Retail bank
 Universal bank

References

Further reading
  Abstract

 Commercial Banks directory and guidelines Commercial Banks

Banks
Banking terms

Commercial bank


Brigadier David Lansana (22 March 1922 – 19 July 1975) was the first prominent Sierra Leonean in the Sierra Leone Military during the colonial era. After Sierra Leone gained independence, he served as Military Attaché to the United States.

Lansana was one of the most distinguished officers in the history of the Sierra Leone Armed Forces. He was one of the first Sierra Leoneans to train at the Royal Military Academy Sandhurst, Berkshire, United Kingdom.

Through his marriage to Komeh Gulama Lansana, the daughter of Paramount Chief Julius Gulama of Kaiyamba Chiefdom, Lansana was therefore a relative of Paramount Chief Ella Koblo Gulama and her husband Paramount Chief Bai Koblo Pathbana II, two of the nation's most influential politicians.

On 21 March 1967, Lansana staged Sierra Leone's first coup d'état. Lansana was charged with treason, tried and found guilty. He was executed on 19 July 1975.

Early life and education

Lansana was born on 22 March 1922 in Baiima, Mandu Chiefdom, Kailahun District, British Sierra Leone. He was a Mende.

In 1947, he enlisted as a private and began his training in the Sierra Leone Army. Lansana was the bearer of Sierra Leone's colours during the coronation of Queen Elizabeth II.

Royal Military Academy Sandhurst

Lansana was one of a small, elite group of Sierra Leoneans to be educated and trained at the Royal Military Academy Sandhurst, Berkshire, United Kingdom during the colonial period.

As a Lieutenant, he was a frequent and popular visitor to the home of Sir Robert de Zouche Hall, Governor of Sierra Leone from 1952 to 1956.

Marriage and family

He was married to Komeh Gulama Lansana, the daughter of Paramount Chief Julius Gulama of Kaiyamba Chiefdom and Madame Lucy Gulama. The Gulamas are Mende royalty and among the most important ruling families in Sierra Leone.

His father-in-law was a founding member of the Sierra Leone People's Party, the first and oldest political party in the country.  His sister-in-law was Paramount Chief Ella Koblo Gulama. His brother-in-law was Paramount Chief Bai Koblo Pathbana II.

Lansana and his wife had five children Sheku, Judy, Tala, Foday, Kornya. Lansana also had a son, Daniel, from another relationship.

Force Commander of the Sierra Leone Military

He was appointed army commander of Sierra Leone in 1964.

When his close friend and ally Prime Minister Albert Margai came to power, Brigadier Lansana took control of the army from British colonial adviser, Brigadier R.D. Blackie. Margai promoted a one party (non-democratic) state. Both Lansana and Margai came from the Mende tribe which exacerbated existing conflicts with the northern tribes and the Krios. Northern and Krio officers were systematically purged from the armed forces.

Sierra Leone's first coup d'état

The 1967 General Election

On 17 March 1967, Margai was defeated in the general election. The All People's Congress (APC) won 32 seats in parliament while Margai's SLPP held on to just 28 seats.

Martial Law

Sierra Leone was the first country in postcolonial Africa to hold a successful democratic election. This distinction lasted only four days. On 21 March 1967, Lansana instructed Samuel Hinga Norman conduct the extrajudicial arrest of the new, democratically elected prime minister Siaka Stevens. The arrest took place prior to the announcement of the election result.

Lansana then seized control of Government House as well as the national radio and television channels and declared martial law in Sierra Leone.

On 22 March 1967, Lansana made a second radio broadcast reiterating his declaration of martial law. He was determined to restore Albert Margai to power.

Counter coup

Lansana's unilateral decision was unpopular with many of his fellow Mende officers who did not believe the army should be a tool of internal government. In addition to this, before to the coup d'état his influence with his subordinates had been compromised by accusations of "drunkenness" and "womanizing".

On 23 March 1967, Major Charles Blake and other senior military officers relieved Lansana of his command. They established the National Reformation Council (NRC) and took control of the government.

Subsequently, Lt.-Colonel Andrew Juxon-Smith, of the Krio community, who was abroad when the coup took place, was asked to return and head the NRC military regime in 1968.

Arrest

Both Lansana and his sister-in-law Paramount Chief Ella Koblo Gulama were arrested on charges of treason and detained at Padema Road Prison. Both were charged of conspiracy with former Prime Minister Albert Margai.

The claim was based on a meeting between Gulama and Margai on 19 March 1967 in which Margai is said to have expressed his wish not to lose his office. He was said to be weighing his options, including military intervention.

Gulama was a minister without portfolio in Margai's government. She was also the hereditary ruler of Kaiyamba District, the most powerful Mende chiefdom in Sierra Leone. She reportedly advised him not to stand down from the office of prime minister in spite of the APC victory. She was also reported to have offered him her formidable support and suggested that both Margai bribe Lansana to stage a coup d'état.

The charges against Gulama could not be proven and she was released from prison after one and a half year.

Incarceration and execution

Lansana was detained at Pademba Road Prison, Freetown, Sierra Leone.

On 19 July 1975, Lansana was executed by hanging with former Minister of Finance Mohamed Forna, Lieutenant Habib Lansana Kamara, Ibrahim Bash Taqi, and Paramount Chief Bai Makarie N'silk were executed at Pademba Road Prison.

After their executions, their bodies were displayed for an hour.

See also

 Komeh Gulama Lansana
 Paramount Chief Julius Gulama
 Madame Lucy Gulama
 Ella Koblo Gulama
 Paramount Chief Bai Koblo Pathbana II
 Sir Albert Margai
 Siaka Probyn Stevens

References

1922 births
1975 deaths
20th-century executions by Sierra Leone
Executed Sierra Leonean people
Graduates of the Royal Military Academy Sandhurst
Leaders who took power by coup
Mende people
People executed by Sierra Leone by hanging
Prime Ministers of Sierra Leone
Sierra Leonean politicians
Sierra Leonean military personnel
Sierra Leonean royalty
People from Kailahun District
Sierra Leonean expatriates in the United States

David Lansana


John Smyth (c. 1554 – c. 28 August 1612) was an English Anglican, Baptist, then Mennonite minister and a defender of the principle of religious liberty.

Early life
Smyth is thought to have been the son of John Smyth, a yeoman of Sturton-le-Steeple, Nottinghamshire. He was educated locally, most likely under Rev Quipp at Sturton though at the grammar school in Gainsborough has also been suggested. Then he attended in Christ's College, Cambridge, where he became a Fellow in 1594. Smyth was ordained as an Anglican priest in 1594 in England.

Ministry
He preached in the city of Lincoln in 1600 to 1602. During his time as Lecturer, he held somewhat moderate Puritan views, accepting the set forms of prayer as well as both vocal and instrumental music in church. He was concerned with the influence of recusants throughout the parish, and wrote in support of the Crown's authority to govern the church and appoint ecclesiastical magistrates.

In 1607, he broke with the Church of England and left for Holland where he, Thomas Helwys and his small congregation began to study the Bible ardently. He briefly returned to England. In the beginning, Smyth was closely aligned with his Anglican heritage. As time passed, his views evolved.  Smyth's education at Cambridge included the "trivium" and "quadrivium" which included a heavy emphasis upon Aristotelian logic and metaphysics.  Smyth's evolving ecclesiology was due to his applying biblical truth about the truth into numerous logical syllogisms.

It was in Holland that Smyth discovered Anabaptist theology and retained its principles, notably on believer's baptism by immersion, opposed to infant baptism and the memorial of the last Supper, opposed to consubstantiation and transubstantiation.

In 1608, he published The Differences of the Churches, in which he explained the characteristics of a biblical church:

First, Smyth insisted that true worship comes from the heart and that there should be no books other than the Bible in worship. Praying, singing and preaching should be spontaneous only. He did not read the Bible translation during worship, preferring the original language version.

Second, Smyth introduced a twofold church leadership, that of pastor and deacon and said that a church could have several pastors.

Third, the financial support of the church should come only from the members and not from the government, because that would mean giving them control over the church.

In 1609, Smyth, and Thomas Helwys, along with a group in Holland, came to believe in believer's baptism (thereby rejecting infant baptism) and they came together to form one of the earliest Baptist churches. He was utterly convinced that believer's baptism and a free church gathered by covenant were foundational to the church.

Having been baptized as infants, like the Anabaptists of the Radical Reformation they came to believe they would need to be re-baptized. Since there was no other minister to administer baptism, Smyth baptized himself in 1609 (for which reason he was called "the Se-baptist," from the Latin word se '[one]self') and then with Thomas Helwys proceeded to baptize the Church.

John Clifford as cited in the General Baptist Magazine, London, July 1879, vol. 81) records that "[I]n 1606 on March 24. . .this night at midnight elder John Morton baptized John Smyth, vicar of Gainsborough, in the River Don. It was so dark we were obliged to have torch lights. Elder Brewster prayed, Mister Smith made a good confession; walked to Epworth in his cold clothes, but received no harm. The distance was over two miles. All of our friends were present. To the triune God be praise." This account was later revealed to have been a forgery connected with the rebuilding of the Baptist Church at Crowle, where the church (now closed) still bears a plaque falsely claiming to have been founded in 1599.
It has been suggested by W. T. Whitley that Smyth may have coined such well-known theological terms as Pedobaptist.

In February 1610, Smyth and other church members wrote a letter to a Mennonite community in Waterland to join their movement. This resulted in his excommunication from the church by Thomas Helwys. Smyth and part of the church joined a Mennonite church, while Helwys and part of the church returned to England to found the first permanent Baptist church there, in 1612. The churches that descended from Helwys were of the General Baptist persuasion. Baptist historian Tom J. Nettles argues that Helwys and his group "earned the name General Baptists" because they "claimed that Christ died for all men rather than for the elect only". This is seen as a step away from fully Calvinist commitments.

Death
He died from dysentery on 28 August 1612 in Amsterdam.

See also

 Baptists
 Believer's baptism
 Baptist offices

References

Further reading
 Hathi Trust. In two volumes.

1550s births
1612 deaths
Year of birth uncertain
16th-century English Anglican priests
17th-century English Baptist ministers
English separatists
People from Lincolnshire
English Baptist theologians
16th-century English theologians
17th-century English theologians
People educated at Queen Elizabeth's High School

John Smyth (English theologian)


Guglielmo Ratcliff is a tragic opera in four acts by Pietro Mascagni to an Italian libretto by Andrea Maffei, translated from the German play Wilhelm Ratcliff (1822) by Heinrich Heine. Mascagni had substantially finished the composition of Ratcliff before the success of his first opera, Cavalleria rusticana.

After the composition and performance of further operas L'amico Fritz in 1891 and I Rantzau in 1893, Ratcliff eventually premiered on 16 February 1895 at the Teatro alla Scala in Milan and has been revived a number of times since, including a concert performance in 2003 at the Alice Tully Hall in New York and a staged performance at Wexford Festival Opera in 2015, conducted by Francesco Cilluffo.

Mascagni often wrote that Ratcliff was his best opera. However, it has not entered the standard operatic repertoire, in part because the title role is one of the most taxing tenor parts ever written. It is especially known for its act 3 Intermezzo, which features prominently in the Martin Scorsese film Raging Bull. (Heine's play, which was never performed during his life, was also used as the basis for César Cui's 1869 opera of the same name and for Volkmar Andreae's 1914 opera Ratcliff.)

Roles

Synopsis
Place: The North of Scotland
Time: Early 19th century

Act 1
Count Douglas, Maria's betrothed, arrives at the Castle of Maria and her father MacGregor. He tells them how he was attacked by bandits near the castle but saved by an unknown knight. Maria faints, and then recovers. MacGregor tells Douglas about Gugliemo Ratcliff, whom Maria had rejected as a suitor. Ratcliff's revenge was to challenge her next two suitors to duels in which he killed them. Count Douglas then receives a message from Ratcliff delivered by his friend Lesley challenging him to a similar duel at Black Rock.

Act 2
In an inn frequented by thieves and swindlers, the innkeeper Tom, is holding his son, Willie on his knees. When he asks the child to recite the Pater Noster, he repeatedly stumbles on the line "And lead us not into temptation". Tom grows increasingly angry with the boy, tells him that he will end up like the clientele of the inn, and eventually sends him from the room. Ratcliff then tells Lesley how Maria's rejection of him led to his compulsion to kill any man who succeeded in winning her love. Ratcliff is disturbed by the appearance of strange figures who, unbeknownst to him, are the ghosts of Maria's dead suitors.

Act 3
Douglas arrives at Black Rock for his duel with Ratcliff. The two strange figures who have been following Ratcliff briefly appear and then disappear. When Ratcliff arrives, Douglas realises that he is the knight who had saved him from the bandits, and when he gets the better of Ratcliff in the duel refuses to kill him. Ratcliff is left lying on the ground where he is again visited by the ghostly figures.

Act 4
In her room, Maria is preparing for her wedding to Douglas. Her nurse, Margherita, tells Maria the story of her mother Elisa's death. Before she married MacGregor, Elisa had been in love with Edward, Guglielmo Ratcliff's father, but both married others. Edward and Elisa later realised their mistake and became lovers. When MacGregor found out, he murdered Edward, and Elisa died from grief. Gugliemo Ratcliff then bursts into Maria's room covered in blood from his unsuccessful duel with Douglas and begs Maria to run away with him. With her mother's story still on her mind and thinking that she might be making the same mistake, Maria at first feels pity for Guglielmo, but then asks him to leave. Her refusal drives Guglielmo mad. He kills both Maria and her father who rushes into the room after hearing her calls for help. Ratcliff then commits suicide. The opera ends with his dying words "O Maria, vengo a te! Son qui, soave Maria!" (Oh Maria, I'm coming to you. I'm here my sweet Maria!).

References
Notes

Sources

External links

Complete libretto in Italian

1895 operas
Italian-language operas
Operas
Operas by Pietro Mascagni
Operas based on plays

Guglielmo Ratcliff


In linguistics, a word stem is a part of a word responsible for its lexical meaning. Typically, a stem remains unmodified during inflection with few exceptions due to apophony (for example in Polish,  ("city") and  ("in the city"); in English, sing, sang, and sung, where it can be modified according to morphological rules or peculiarities, such as sandhi)

Uncovering and analyzing cognation between word stems and roots within and across languages has allowed comparative philology and comparative linguistics to determine the history of languages and language families. The term is used with slightly different meanings depending on the morphology of the language in question. In Athabaskan linguistics, for example, a verb stem is a root that cannot appear on its own and that carries the tone of the word.

Root vs stem
By attaching the morpheme -ship to the root word friend (which some linguists call a stem, too), the new word friendship was synthesized. While an s can be attached to friendship, it can not be attached to the root within it to form a plural. A stem is a base from which all its inflected variants are formed. For example, the stabil- (a variant of stable unable to stand alone) is the root of the destabilized, while the stem consists of de·stabil·ize, including de- and -ize. The -(e)d, on the other hand, is not part of the stem.

Stem may either consist of a root (e.g. run) alone or a compound word, such as meatball and bottleneck (examples of compound nouns) or blacken and standardize (examples of compound verbs). The stem of the verb to wait is wait: it is the part that is common to all its inflected variants.
wait (infinitive, imperative, present subjunctive, and present indicative except in the 3rd-person singular)
waits (3rd person singular simple present indicative)
waited (simple past)
waited (past participle)
waiting (present participle)

Citation forms and bound morphemes

In languages with very little inflection, such as English and Chinese, the stem is usually not distinct from the "normal" form of the word (the lemma, citation, or dictionary form). However, in other languages, word stems may rarely or never occur on their own. For example, the English verb stem run is indistinguishable from its present tense form (except in the third person singular). However, the equivalent Spanish verb stem corr- never appears as such because it is cited with the infinitive inflection (correr) and always appears in actual speech as a non-finite (infinitive or participle) or conjugated form. Such morphemes that cannot occur on their own in this way are usually referred to as bound morphemes.

In computational linguistics, the term "stem" is used for the part of the word that never changes, even morphologically, when inflected, and a lemma is the base form of the word. For example, given the word "produced", its lemma (linguistics) is "produce", but the stem is "produc-" because of the inflected form "producing".

Paradigms and suppletion
A list of all the inflected forms of a word stem is called its inflectional paradigm. The paradigm of the adjective tall is given below, and the stem of this adjective is tall.
tall (positive); taller (comparative); tallest (superlative)
Some paradigms do not make use of the same stem throughout; this phenomenon is called suppletion. An example of a suppletive paradigm is the paradigm for the adjective good: its stem changes from good to the bound morpheme bet-.
good (positive); better (comparative); best (superlative)

Oblique stem
Both in Latin and  Greek, the declension (inflection) of some nouns uses a different stem in the oblique cases than in the nominative and vocative singular cases. Such words belong to, respectively, the so-called third declension of the Latin grammar and the so-called third declension of the Ancient Greek grammar. For example, the genitive singular is formed by adding -is (Latin) or -ος (Greek) to the oblique stem, and the genitive singular is conventionally listed in Greek and Latin dictionaries to illustrate the oblique.

Examples

English words derived from Latin or Greek often involve the oblique stem: adipose, altitudinal, android, and mathematics.

Historically, the difference in stems arose due to sound changes in the nominative. In the Latin third declension, for example, the nominative singular suffix -s is combined with a stem-final consonant. If that consonant was c, the result was x (a mere orthographic change), while if it was g, the -s caused it to devoice, again resulting in x. If the stem-final consonant was another alveolar consonant (t, d, r), it elided before the -s. In a later era, n before the nominative ending was also lost, producing pairs like atlas, atlant- (for English Atlas, Atlantic).

See also
 Lemma (morphology)
 Lexeme
 Morphological typology
 Morphology (linguistics)
 Principal parts
 Root (linguistics)
 Stemming algorithms (computer science)
 Thematic vowel

References

 What is a stem? – SIL International, Glossary of Linguistic Terms.
 Bauer, Laurie (2003) Introducing Linguistic Morphology. Georgetown University Press; 2nd edition.
 Williams, Edwin and Anna-Maria DiScullio (1987) On the definition of a word. Cambridge MA, MIT Press.

External links

 Searchable reference for word stems including affixes (prefixes and suffixes)

Morphemes
Linguistics terminology

eo:Radiko#Lingvo

Word stem


Sir Michael Romily Heald Jenkins,  (9 January 1936 – 31 March 2013)  was a British diplomat.

Born in Cambridge and son of the Byzantine scholar, Romilly Jenkins, he was trained as a Russian interpreter during his National Service. He subsequently studied languages and history as an Exhibitioner at King's College, Cambridge (1956–59), from where he graduated and joined the Diplomatic Service in 1959. Following senior postings in Europe, including ten years at the European Commission, he became Minister at the British Embassy in Washington, and in 1988 Ambassador to the Netherlands. He retired from the Foreign Office in 1993 after which he joined the Board of Kleinwort Benson as an executive director, becoming Vice-Chairman of Dresdner Kleinwort Benson in 1996. For five years he was a non-executive director of Aegon, the Dutch-based insurance company. In 2003 he was appointed President of Boeing UK. In 2007 he joined the Board of Geopark, the Aim listed oil and gas company, as a non-executive Director; and in March 2008, Sir Michael became Chairman of Matra Petroleum plc.

Sir Michael held several senior positions at the Marylebone Cricket Club (MCC) and was Chairman of the Club from 2000–2001. He was also a Commissioner at the Royal Hospital Chelsea.

While serving a tour of duty in Moscow, he researched a biography of Aleksey Arakcheyev which was published in 1969, and towards the end of his diplomatic career he wrote a memoir of his youth, A House in Flanders. He also edited a memoir by his aunt, the writer Elizabeth Jenkins, which was published in 2005, her 100th year.

Jenkins was made a Knight Commander of the Order of St Michael and St George in 1989 for his diplomatic services.

Books

Arakcheev: Grand Vizier of the Russian Empire (Faber and Faber, and The Dial Press, 1969)
A House in Flanders (Souvenir Press 1992, Meulenhoff 1992, Minerva 1993, Viking 1993, Clausen 1994 & La Table Ronde 1996)
The View from Downshire Hill (Editor) (Michael Russell 2005)

References

1936 births
2013 deaths
Knights Commander of the Order of St Michael and St George
Alumni of King's College, Cambridge
Ambassadors of the United Kingdom to the Netherlands

Michael Jenkins (diplomat)


The 1974 Annual World's Best SF is an anthology of science fiction short stories edited by Donald A. Wollheim and Arthur W. Saha, the third volume in a series of nineteen. It was first published in paperback by DAW Books in May 1974, followed by a hardcover edition issued in September of the same year by the same publisher as a selection of the Science Fiction Book Club. For the hardcover edition the original cover art of Jack Gaughan was replaced by a new cover painting by Victor Valla. The paperback edition was reissued by DAW in December 1979 under the variant title Wollheim's World's Best SF: Series Three, this time with cover art by Vicente Segrelles. A British hardcover edition was published by The Elmfield Press in October 1975 under the variant title The World's Best SF Short Stories No. 1.

The book collects ten novelettes and short stories by various science fiction authors, with an introduction by Wollheim. Most of the stories were previously published in 1973 in the magazines Galaxy, Worlds of If, Vertex, The Magazine of Fantasy & Science Fiction, and  Amazing Science Fiction, and the anthologies View from Another Shore and New Writings in SF 22.

Contents
"Introduction" (Donald A. Wollheim)
"A Supplicant in Space" (Robert Sheckley)
"Parthen" (R. A. Lafferty)
"Doomship" (Frederik Pohl and Jack Williamson)
"Weed of Time" (Norman Spinrad) (Originally published in 1970)
"A Modest Genius" (translation of "Skromnyi Geniy", 1963) (Vadim Shefner)
"The Deathbird" (Harlan Ellison)
"Evane" (E. C. Tubb)
"Moby, Too" (Gordon Eklund)
"Death and Designation Among the Asadi" (Michael Bishop)
"Construction Shack" (Clifford D. Simak)

Awards
"The Deathbird" was nominated for the 1973 Nebula Award for Best Novelette, won the 1974 Hugo Award for Best Novelette, and placed first in the 1974 Locus Poll Award for Best Short Fiction.

"Death and Designation Among the Asadi" was nominated for the 1973 Nebula Award for Best Novella and the 1974 Hugo Award for Best Novella, and placed seventh in the 1974 Locus Poll Award for Best Novella.

"Construction Shack" was nominated for the 1974 Hugo Award for Best Short Story.

External links

1974 anthologies
1974
DAW Books books

The 1974 Annual World's Best SF


The ornate burrowing frog (Platyplectrum ornatum) is a species of ground frog native to Australia. It was moved to the genus Opisthodon in 2006, following a major revision of amphibians, and is now classified in the genus Platyplectrum.

Description

This frog is a relatively small and stubby species, growing no larger than 50 mm. It ranges in colour from grey to brown to yellow, and the dorsal surface patterns vary greatly between specimens. There is usually a butterfly-shaped patch behind the eyes. The dorsum is generally covered with red-tipped warts, and skin folds are present towards the head. The legs and arms are barred or spotted with darker markings. Toes have a slight webbing, while fingers have none.

It has the smallest genome known to any frog, and is even smaller than that of many birds. This is an adaptation to the desert environment where it lives. Because the ponds where they breed dries up fast in the desert, the tadpoles has to go through metamorphosis as fast as possible, which can occur just eleven days after the eggs were fertilized. A small genome gives small cells, and the smaller the cells are, the faster the tadpoles transform into small frogs and can escape the shrinking ponds.

Ecology and behaviour

This species distribution ranges from western Sydney to Cape York in Queensland, running along either side of the Great Dividing Range across to Western Australia. It occurs in both wet sclerophyll forest in coastal areas and in woodland in more arid regions. As its name suggest, this species of frog burrows. It burrows feet first, enlarged tubercles on the frogs feet help them in scraping out soil. This species is usually only seen after heavy rain during spring or summer. Males call while floating in still water bodies such as dams, puddles and flooded grassland. The call is a short, nasal "unk" repeated slowly.

Breeding

Breeding occurs only after heavy rain. Up to 1600 eggs are deposited in a small, dome shaped foam mass that soon collapses into a single floating film layer of eggs and jelly. Tadpoles reach 50mm but commonly only reach 36 mm in length. The dorsum is a dusky grey or brown. The side of the body has silver and/or gold flecking and the tail has grey-silver flecks.

Similar species

This species looks very similar to Spencer's burrowing frog, Platyplectrum spenceri and some Neobatrachus species. It is distinguished from all of these species by the reduced webbing and mating call.

References

Anstis, M. 2002. Tadpoles of South-eastern Australia. Reed New Holland: Sydney.
Barker, J.; Grigg, G.C.; Tyler, M.J. (1995). A Field Guide to Australian Frogs. Surrey Beatty & Sons.

Footnotes

Platyplectrum
Amphibians of Queensland
Amphibians of New South Wales
Amphibians of the Northern Territory
Amphibians of Western Australia
Amphibians described in 1842
Taxa named by John Edward Gray
Frogs of Australia

Ornate burrowing frog


Snow White is a popular fairy tale.

Snow White or Snow White and the Seven Dwarfs may also refer to:

Films
 Snow White (1902 film), a silent film
 Snow White (1916 film), a Players-Lasky Corporation silent film
 Snow White (1933 film), a Betty Boop cartoon from Fleischer Studios
 Snow White and the Seven Dwarfs (1937 film), a feature animated film produced by Walt Disney
 Snow White (Disney character)
 Snow White (franchise)
 Snow White and the Seven Dwarfs (1955 film), a German film by Erich Kobler
 Snow White and the Three Stooges, a 1961 film starring Patricia Medina and Carol Heiss
 Snow White (1962 film), an East German film
 Snow White (1987 film), a musical starring Diana Rigg, Billy Barty, Nicola Stapleton and Sarah Patterson
 Snow White: Happily Ever After (1989 film), an unofficial sequel animated film based on the original fairy tale
 Snow White: A Tale of Terror, a 1997 TV horror film starring Sigourney Weaver, Taryn Davis, Monica Keena and Sam Neill
 Snow White: The Fairest of Them All, a 2001 TV fantasy-adventure film starring Kristin Kreuk and Miranda Richardson
 Snow White: The Sequel (Blanche-Neige, la suite), a 2007 animated feature-length film
 Snow White and the Huntsman, a 2012 fantasy-action film starring Kristen Stewart and Charlize Theron
 Snow White: A Deadly Summer, a 2012 horror film
 Grimm's Snow White, a 2012 fantasy film
 Snow White (Once Upon a Time) (also known as Mary Margaret Blanchard), a character from the ABC television series Once Upon a Time
 Snow White (Shrek), a character in the Shrek film series
 Snow White, a fictional device in the 2006 film Déjà Vu
 Snow White and the Evil Queen, an upcoming live-action film by The Daily Wire's streaming service, Bentkey
 Snow White (2025 film), an upcoming live-action musical film

Literature
 Snow White and the Seven Dwarfs (book), a 1938 book by Wanda Gág
 Snow White (1967 novel), a novel by Donald Barthelme
 Snow White (Fables), a fictional character in the comic book Fables
 Snow-White and Rose-Red, a German fairy tale
 "Snow-White-Fire-Red", an Italian fairy tale
 Varda or Snow-white, a fictional deity in J. R. R. Tolkien's legendarium

Music
 Snow White (album), a 2005 album by Magic Dirt
 Snow White and the Seven Dwarfs (soundtrack), a soundtrack album from the 1937 film
 "Snow White", a song by Christina Grimmie from Side A
 "Snow White", a song by Streetheart
 Snowhite, original band name of the American metal band Znowhite

Stage productions
 Snow White and the Seven Dwarfs (libretto by Adelheid Wette)
 Snow White and the Seven Dwarfs (1912 play), a Broadway play
 Snow White and the Seven Dwarfs (musical), a 1979 musical based on the 1937 film
 Snow White and the Seven Dwarfs (ballet), a ballet performed by the Placer Theatre Ballet

Television
 "Snow White and the Seven Dwarfs", an episode of Faerie Tale Theatre
 "Rugrats Tales from the Crib: Snow White", an episode of Rugrats

Other uses
 Snow White (horse), a champion standardbred racing horse
 Snow White design language, an industrial design language used by Apple Computer
 Operation Snow White, a 1970s government-infiltration and information-suppression effort by the Church of Scientology
 225088 Gonggong or Snow White, a trans-Neptunian object
 Hallard White or Snow White, a former All Black and Presidents of Auckland and New Zealand Unions
 Snow White and the 7 Dwarfs (video game), a 2006 game for the PlayStation 2
 Snow White Sugar, a brand of sugar produced by Hacienda Mercedita in Puerto Rico

See also
 Blancanieves, a 2012 Spanish film by Pablo Berger
 Happily Ever After (1993 film), an American animated film
 The Legend of Snow White (Shirayuki Hime no Densetsu), a Japanese anime television series
 Mirror Mirror (film), a 2012 comedy film starring Lily Collins and Julia Roberts
 Schneewittchen (opera), a 1998 opera by Heinz Holliger
 7 Dwarves – Men Alone in the Wood, a 2004 German comedy
 Snow White and the Huntsman, a 2012 action film starring Kristen Stewart, Sam Claflin, Charlize Theron and Chris Hemsworth
 "Snow White 2", a 1981 episode of The Goodies
 Snow White with the Red Hair (Akagami no Shirayukihime), a Japanese anime television series
 Snowy White, English musician
 White as Snow (disambiguation)

Snow White (disambiguation)


Hermann Max (born 1941 in Goslar) is a German choral conductor.

In 1977, he founded the Jugendkantorei Dormagen, which in 1985 became the basis of the Rheinische Kantorei and Das Kleine Konzert. In 1992 he founded the Knechtsteden Early Music Festival.

The Rheinische Kantorei and Das Kleine Konzert under Max have a discography of over 100 recordings focussing on the German choral repertory, particularly the Bach family: J. S. Bach, W. F. Bach, W. F. E. Bach, J. C. F. Bach, J. C. Bach, C. P. E. Bach, the distantly related J. L. Bach, and the last of the composing Bachs J. M. Bach the Younger, as well as Telemann, Graupner, Hummel, Naumann, Andreas Romberg, Johann Heinrich Rolle and others.

References

1941 births
Living people
German male conductors (music)
21st-century German conductors (music)
21st-century German male musicians

Hermann Max


A blasting machine or shot exploder is a portable source of electric current to reliably fire a blasting cap to trigger a main explosive charge. It is mostly used in  mining and demolition.

The use of the term "machine" dates from early designs that used an electrical generator operated by winding a rotary handle or pushing down a T-handle. Modern blasting machines are battery-powered and operated by key switches and push-buttons, and do not resemble the older designs.

History

The first satisfactory magnetic induction blasting machine was constructed in 1878 by Henry Julius Smith of Mountain View, New Jersey.  Its mechanism consisted of a T-handle that was pushed down; the lower end of the handle was a rack that drove a pinion, which in turn drove a high-voltage magneto, which generated the high voltage that is required to detonate the blasting cap.

Design

A typical "capacitive discharge" blasting machine works by charging a capacitor from a battery, then discharging the capacitor through an external circuit, called the firing line, to fire the blasting cap. While the machine is idle, an "internal shunt" is connected across the output terminals so that any stray voltages induced in the external circuit, for example by nearby radio transmitters, are harmlessly short-circuited without triggering the blasting cap. The machines also typically include an "abort" feature to discharge the internal capacitor without firing the cap.

In popular culture

Despite the older "T-Handle" design no longer being used, this design of blasting machine is most closely associated with Looney Tunes, and the character Wile E. Coyote, due to his penchant for attempting to use explosive materials to capture or incapacitate the Road Runner; often ending in disaster for the Coyote as the explosive either backfires, the machine does not work properly, or the T-handle gets stuck.

References

External links

Mining equipment
Demolition

Blasting machine


The China Railways AM3 class steam locomotive was a class of 4-4-0 steam locomotives operated by the China Railway, built by the American Locomotive Company in the United States between 1923 and 1929.

Twenty-six of these locomotives were originally built for the Huning Railway. After the establishment of the puppet government of the Reformed Government of the Republic of China during the Japanese occupation, they were operated by the Central China Railway, which had been created in 1939 to manage all railway operations in the territory of the collaborationist government by nationalising all privately owned railways in the territory.

After the end of the Pacific War, these locomotives were passed on to the Republic of China Railway. After the establishment of the People's Republic of China, China Railways designated them ㄚㄇ3 (AM3) class in 1951; the class was retired in 1955.

References

4-4-0 locomotives
ALCO locomotives
Railway locomotives introduced in 1923
 Scrapped locomotives
Steam locomotives of China
Standard gauge locomotives of China
Passenger locomotives

China Railways AM3