Russell Henry Snyder (born June 22, 1934) is an American former professional baseball player. He played in Major League Baseball as an outfielder for the Kansas City Athletics (1959–60), Baltimore Orioles (1961–67), Chicago White Sox (1968), Cleveland Indians (1968–69) and Milwaukee Brewers (1970). Snyder was a member of the 1966 world champion Baltimore Orioles team.

Baseball career

Snyder was born in Oak, Nebraska. His professional baseball career began in 1953 in the New York Yankees' organization, when he led the Class D Sooner State League in batting average (.432) and hits (240). He played in the Yankee organization through 1958, and was traded to Kansas City on April 12, 1959, in a four-player deal.  The Orioles acquired him in a seven-player trade in January 1961.

He finished third in voting for the  American League Rookie of the Year Award for playing in 73 games, with 243 at bats, 41 runs scored, 76 hits, 13 doubles, two triples, three home runs, 21 runs batted in, six stolen bases, 19 walks, a .313 batting average, .367 on-base percentage, .420 slugging percentage, along with 102 total bases and 3 sacrifice hits. In 1962, Snyder's .305 batting average led the Orioles that year and in 1966, his .347 batting average at the All-Star break led the American League.

He helped the Orioles win the 1966 World Series.  In a 2013 retrospective on Snyder's time with the Orioles, the Baltimore Sun called him the "unsung hero of the '66 Series" and "a sharp-fielding outfielder ... whose glove served the team down the stretch" of the 1966 American League pennant race. In the September 22nd game that year versus the Athletics, Snyder made a diving catch to end the game and clinch the pennant for the Orioles. Then, in the World Series opening game, "he saved two Dodgers runs with a dramatic lunging catch of John Roseboro's sinking liner" in centerfield, the Sun said.

With the Orioles needing to strengthen its pitching staff, Snyder was traded along with Luis Aparicio and John Matias to the Chicago White Sox for Don Buford, Bruce Howard and Roger Nelson on November 29, 1967. He was later dealt along with Max Alvis from the Indians to the Brewers for Roy Foster, Frank Coggins and cash during spring training on April 4, 1970.

Overall, in 12 MLB seasons, he played in 1,365 games and had 3,631 at bats, 488 runs scored, 984 hits, 150 doubles, 29 triples, 42 home runs, 319 RBI, 58 stolen bases, 294 walks, with a .271 batting average, .325 on-base percentage, .363 slugging percentage, and 1,318 total bases, 57 sacrifice hits, 23 sacrifice flies and 10 intentional walks. Defensively, he recorded a .981 fielding percentage playing at all three outfield positions.

Following his retirement from baseball, Snyder worked in soil conservation. He and his wife Ann (who died in 2002 after 47 years of marriage) had three children. As of 2013, Snyder makes his home in Nelson, Nebraska.

References

External links

1934 births
Living people
Baltimore Orioles players
Baseball players from Nebraska
Binghamton Triplets players
Birmingham Barons players
Chicago White Sox players
Cleveland Indians players
Kansas City Athletics players
Major League Baseball outfielders
McAlester Rockets players
Milwaukee Brewers players
New Orleans Pelicans (baseball) players
People from Nuckolls County, Nebraska
Portland Beavers players
Quincy Gems players

Russ Snyder


Playing for Time is a 1980 CBS television film, written by Arthur Miller and based on acclaimed musician Fania Fénelon's autobiography The Musicians of Auschwitz. Vanessa Redgrave stars as Fénelon.

Playing for Time was based on Fénelon's experience as a female prisoner in the Auschwitz concentration camp, where she and a group of classical musicians were spared in return for performing music for their captors. The film was later adapted as a play by Miller.

This was the last film of director Daniel Mann. Parts of the film were directed by Joseph Sargent, but only Mann was credited as director.

Plot
Fania Fénelon, a French Jewish singer-pianist, is sent with other prisoners to the Auschwitz concentration camp in a crowded train during World War II. After having their belongings and clothes taken and their heads shaved, the prisoners are processed and enter the camp. Fénelon is recognized as being a famous musician and she finds that she will be able to avoid hard manual labor and survive longer by becoming a member of the prison's female orchestra, the Women's Orchestra of Auschwitz.

In the process, she strikes up a close relationship with Alma Rosé, the musical group's leader, as well as the other members of the band. Realizing that the musicians get better treatment than other prisoners, Fania convinces the guards and members of the orchestra that another prisoner she had befriended, Marianne, is actually a talented singer. Although Marianne performs poorly at her audition, she is allowed to join the orchestra. Playing for the Nazis, however, robs the women of much of their dignity and most of them are often questioning whether remaining alive was worth the abuse they constantly suffer.

Cast

 Vanessa Redgrave as Fania Fénelon
 Jane Alexander as Alma Rosé
 Maud Adams as Mala Zimetbaum
 Christine Baranski as Olga
 Robin Bartlett as Etalina
 Marisa Berenson as Elzvieta
 Verna Bloom as Paulette
 Donna Haley as Katrina
 Lenore Harris as Charlotte
 Mady Kaplan as Varya
 Will Lee as Shmuel
 Anna Levine as Michou
 Shirley Knight as SS-Lagerführerin Maria Mandel
 Viveca Lindfors as Frau Schmidt
 Max Wright as SS Doctor Joseph Mengele
 Melanie Mayron as Marianne
 Marcell Rosenblatt as Giselle
 Martha Schlamme as woman on train
 Eoin Stewart as British Radio Operator
 Ron Lamb as British Soldier
 Maurice Whitlock as SS Guard

Production
The cast rehearsed together in New York City and subsequently filmed in Pennsylvania on a six-week shooting schedule. During the half-way stage of shooting the producers decided to replace Joseph Sargent with Daniel Mann as director.

It is also notable as one of the first film productions where an ensemble of actresses shaved their heads for the sake of their roles.

Casting controversy
The producer Linda Yellen was determined to cast Redgrave in the lead role at a time when the actress was facing protests from Jewish organizations for her criticism of Zionism and her pro-Palestinian position. Subsequently, security was required at rehearsals and Yellen's office was broken into. There were further complications when Fénelon herself appeared on CBS's 60 Minutes arguing against Redgrave's casting and suggested Jane Fonda or Liza Minnelli as a replacement. During the production Fénelon continued to criticize Redgrave's politics on her speaking tours across the USA. Actresses on the project had also been contacted with the view of making a statement against Redgrave's casting. They refused and instead released a press release denouncing blacklisting and expressed their desire to work with Redgrave.

As a result of Redgrave's political views, the film was initially banned in Israel, although she appealed to Jordan's culture minister to buy the rights to the film to show on Jordanian television. She wished that both Arabs and Israelis should have the opportunity to see the film.

Reception
Playing for Time was praised by critics and garnered several awards and nominations;   It was the most viewed prime time program on United States television for the week of its release in 1980, with a rating of 26.2, watched in 20.4 million homes.

Awards and nominations

DVD release
After its television broadcast, the film was released on VHS, and later on DVD in the United States in 2010.

Historical controversy
Playing for Time the movie, and the memoir upon which it is based, have assumed an important place in Holocaust scholarship. Since its publication and tremendous commercial success, Fénelon's testimony has been accepted as truth and widely dispersed in a plethora of academic, popular, and musical resources. This has proved a source of great frustration and heartache for the other survivors of the orchestra, who almost unanimously found Fania's representation of their orchestra and its personnel false and demeaning. They have fought a fierce battle in the decades since Playing for Time appeared to have their version of the orchestra and its history represented.

Some attention has been paid to their concerns, but in large part they have been ignored. The greatest sources of anguish are the supposed inaccurate portrayal of Alma Rosé, the alleged slanderous portrayals of many of the other musicians, and the portrayed diminishment by Fénelon of their bond and support for one another.

References

External links

Playing for Time at Yahoo! Movies
Playing for Time at Film.com
Playing for Time - main symbols

1980 television films
1980 films
1980 drama films
Biographical films about Jewish people
Holocaust films
American war drama films
Musical films based on actual events
Films based on biographies
Films set in Poland
Films shot in Pennsylvania
Peabody Award-winning broadcasts
Primetime Emmy Award for Outstanding Made for Television Movie winners
Films directed by Daniel Mann
Films scored by Brad Fiedel
Cultural depictions of Josef Mengele
American drama television films
1980s English-language films
1980s American films
Casting controversies in film
Political controversies in film

Playing for Time (film)


Education in Trinidad and Tobago is free and is largely and primarily based on the British education system, compulsory between ages 5 and 16. Trinidad and Tobago is considered one of the most literate countries in the World with a literacy rate exceeding 98%. This exceptionally high literacy rate can be attributed, in part, to free tuition from Kindergarten (Pre-School) to University.

The education system generally starts at Pre-School at the early age of two and a half years. This level of tuition is not mandatory but most Trinbagonians start their children's schooling at this stage as children are expected to have basic reading and writing skills when they commence primary school.
Students proceed to primary school at the age of five. Seven years are spent in primary school (beginning from infants 1). During the final year of primary school (standard 5), students prepare for and sit the Secondary Entrance Assessment (SEA), which determines the secondary school the child is to attend. For most children and parents, this is a very stressful period.

Students attend secondary school for a minimum of five years and their first major exam is the local NCSE (National Certificate of Secondary Education) examinations, which is done in the third year of this system and administered by the Ministry of Education. The next major  exam of the system which is done in the fifth year of school is  CSEC (Caribbean Secondary Education Certificate). Children with satisfactory grades may opt to continue high school for a further two-year period (6th form), leading to the Caribbean Advanced Proficiency Examinations (CAPE). Both CSEC and CAPE examinations are held by the Caribbean Examinations Council (CXC).

Public primary and secondary education is free for all, although private and religious schooling is available for a fee.

Tertiary education

Trinidad and Tobago offers free tertiary education to citizens up to the undergraduate level at accredited public and select private institutions.

Both the Government and the private sector also provide financial assistance in the form of academic scholarships to gifted or needy students for study at local, regional or international universities.

See also
Caribbean Examinations Council (CXC)
List of schools in Trinidad and Tobago
List of universities in Trinidad and Tobago
List of Trinidad and Tobago special schools
National Certificate of Secondary Education

References

Further reading
 Campbell, Carl C. The young colonials: a social history of education in Trinidad and Tobago, 1834-1939 (University of West Indies Press, 1996).
 De Lisle, Jerome, Harrilal Seecharan, and Aya Taliba Ayodike. "Is the Trinidad and Tobago education system structured to facilitate optimum human capital development? New findings on the relationship between education structures and outcomes from National and International Assessments." 10th SALISES Annual Conference, Cave Hill, Barbados 2010. online
 London, Norrel A. "Ideology and politics in English-language education in Trinidad and Tobago: The colonial experience and a postcolonial critique." Comparative Education Review 47.3 (2003): 287-320.

External links
The Republic of Trinidad and Tobago Ministry of Education - Official website
Article - Trinidad Guardian - 13 February 2009
 "Nationhood From the Schoolbag", Historical Analysis of the Development of Secondary Education in Trinidad and Tobago
 "Historical development of education in Trinidad and Tobago".

Society of Trinidad and Tobago

Education in Trinidad and Tobago


A whoopee cap is a style of headwear popular among youths in the mid-20th century in the United States. It was often made from a man's felt fedora hat with the brim trimmed with a scalloped cut and turned up. In the 1920s and 1930s, such caps usually indicated the wearer was a mechanic. The headwear can often be seen worn in the films of the Dead End Kids. It is also referred to as a Jughead hat (so named after comic book character Jughead Jones, for whom such a hat was a trademark), palookaville cap, devils cap, clubhouse hat, dink cap, rat cap, or Kingpin.

See also

 Fedora
 Beanie

References

Hats

Whoopee cap


The MAA-1 Piranha is a short-range infrared homing missile and the first air-to-air missile developed by Brazil for its Air Force and Navy. It was designed to replace the AIM-9 Sidewinder missile in Brazilian service and has since been exported to Colombia, Indonesia and Pakistan.

History
Development of an air-to-air missile to replace the AIM-9B Sidewinder in FAB service began in March 1976 by Brazil's Instituto de Aeronáutica e Espaço (IAE). By 1978 it had been defined as a weapon similar in capability to the AIM-9G. The project was classified until 1981. The pace of the project was quickened after the 1982 Falklands war and the missile was dubbed Piranha. Contracts were awarded to DF Vasconcellos SA, a Brazilian company with experience in optics and guided weaponry which was given the task of developing the weapon's infra-red seeker. However the company went bankrupt in the mid-1980s and it abandoned the Piranha project in 1986.

Piranha achieved some degree of operational capability in September 1992. It has been assumed that the missile achieved initial operational capability in 1993 coinciding with the last test campaign. The MAA-1 project has been handled by many Brazilian companies since its inception in the 1970s, but ultimately Mectron developed the MAA-1 missile weapon system in the 1990s.

In 2005 a South African Skua high-speed target drone was used in final testing of the MAA-1 in order to simulate an aircraft by towing infrared targets at high speed.

Design

The MAA-1 Piranha is a supersonic, short-range air-to-air missile relying on infrared passive guidance that senses the heat emissions coming primarily from a target aircraft's engines. It is highly maneuverable and can turn at accelerations of up to 50g. The Piranha is a 'fire and forget' missile: once launched it does not require data from the firing aircraft; a laser fuze detonates the high-explosive warhead. The missile is suitable for tactical aerial "dogfight" combat.

Externally, the aerodynamic configuration is very similar to Rafael's Python 3 air-to-air missile.

During the 1990s Mectron conducted Piranha missile test firings on the AT-26 Xavante, F-5 and Mirage III aircraft. The missile was qualified for operation on the Brazilian Air Force (FAB) F-5E in September 1992. Missile production began in 1993y. The Piranha air-to-air missile has also been integrated into Brazilian AMX tactical attack aircraft, and could be integrated into many other aircraft used by the Brazilian Air Force, Army and Navy in the near future.

The MAA-1 Piranha can be fired by the  F-103E IIIEBR (Mirage III), F-5E Tiger II, A-1 AMX, A-29 Super Tucano, AT-26 Xavante (tests) and possibly the AF-1 Hawks Navy and the "new" FAB Mirage 2000C.

The missile uses a Mectron "passive infrared seeker all-aspect" sensor, similar to the U.S. AIM-9L.

The technical specifications of the manufacturer advises that the missile is able to "pull" to 50 G's (capacity of the cell), has an infrared detector InSb scan cone-cooled gas, with scanning speed 35° and view angle of 37°. The G-load is more indicative of the strength of the cell as the missile does not have a narrow turning radius. To achieve a turning radius that would create a 50-G load would require a sophisticated digital autopilot and would only be possible when the rocket motor is burning.

The target may acquired in standalone mode or allocated by the radar, HUD or crosshairs on the helmet (which means some off-boresight capacity). Radar acquisition of the target is particularly useful when visibility is low, as at night.

The CTA data indicate maximum g-load of 45 g's, a turning speed at or above 20 degrees per second and maximum angle of screening more than 30 degrees. Another source says that the CTA is also developing an infrared sensor capable of trapping front for future versions. This means that the missile is not "all-aspect" and can only engage targets when fired towards the rear of the aircraft. This data may refer to older models.

The warhead is a blast fragmentation type with HMX explosives and weighs 12 kg (20 kg in the original model). A proximity fuze is laser-active timer with fuze and impact.

The rocket motor has a burn time of 2.1 seconds, a maximum thrust of 27,000 newtons and can accelerate the Piranha missile up to Mach 2. The motor uses a smokeless propellant. The theoretical range is 8–10 km (4–6 km in early versions from the 70's and 80's). The mission time is 40 seconds.

Navigation is by proportional navigation with pneumatic actuator and "canards" for steering control. The scroll control and stabilization is by "rollerons" in stabilizers.
The Piranha has achieved the design parameters of the first phase was to overcome the AIM-9B. In the second phase of the project the goal was to overcome the AIM-9E

MAA-1B

While the MAA-1A Piranha is in service, the MAA-1B Piranha is a 4th-generation air-to-air missile produced by Mectron under joint venture program with Airbus Defence and Space. The project is at final stage of development under qualification phase, with over 40 guided flights completed by April 2012. Production was expected to begin in 2013.

Development
The new missile will equip the Brazilian Air Force's F-5M, AMX A-1M and Super Tucano aircraft.

The missile is fitted with a dual-color seeker, featuring 70-degree look angle with 40 degrees per second track rate, and a 50% longer range, as well as maneuverability improvements achieved by changing the original missile's flight controls aerodynamics. The MAA-1B is capable of being appointed by the aircraft's radar or the HMD helmet.

Piranha missile
The Mectron / CTA / IAE / Avibras presented a new set of air-air missile MAA-1B (Bravo) during LAAD 2007. The missile uses the main structure of the fuselage, the warhead and proximity fuze and impact of the MAA-1A (Alpha), the rest being completely new. The new dual-band sensor (UV and IR) has 80% of nationalization, with great capability against countermeasures, high off-boresight capability (up to 90 degrees) with a very high speed browser and can be pointed at the target by radar at the pilot's helmet or perform autonomous search. The autopilot is programmed to monitor the type "lag pursuit" in a frontal engagement similar to the Python-4.

The canard configuration is of type double, composed of four fixed canards, followed by four mobile canards and two fins to control longitudinal spin. The withdrawal of rollerons suggests that the missile has a digital autopilot system that is necessary for high-speed missiles. The actuator has twice the power of the actuators of the Alpha model and can pull 60 g's. The engine will have new propellant "smokeless" increased the range up to 50% with boost from two stages that burn for six seconds instead of two seconds of the MAA-1A Piranha. The pilot can choose the type of mode of operation according to the threat, optimizing performance for each target. The length and diameter were kept, but the weight increased a little. The software will be different for the F-5em not perceive it as being a MOR-1A and not enjoy its full capacity. The infrared thermographic camera sensor of Indium antimonide and lead telluride has six elements with large search range.
The missile can be considered the Fourth Generation, regarded by experts as superior to the Russian R-73 but less than the Israeli Python IV, with much lower price than similar ones on the market. The estimated cost is $250–300 thousand.

The period of development was much faster in the light of lessons learned from the MAA-1A Piranha. The project was started in 2005 with the pre-series production is planned for the second half of 2008, with testing and approval by the end of 2008. The operation is scheduled for 2009. Project MAA-1B received a budget of $3 million in 2006. Also in 2006 was completed the eighth stage of the project (11 in total). The conclusion of the eleventh phase is expected for October 2008.

In November 2008, three ground firing trial were conducted at Avibras facility, the tests were part of the stage of proof requirements and were successful. The improvement of the propulsion system of the missile is being conducted jointly by the IAE (Institute of Aeronautics and Space), and Mectron, Avibrás.

Operators

Current operators

 Brazilian Air Force
 Brazilian Naval Aviation

 Colombian Air Force

 Ecuadorian Air Force

 Indonesian Air Force

 Pakistan Air Force

See also

Similar Weapons
 Vympel R-73
 Python IV

References

Air-to-air missiles of Brazil
Military equipment introduced in the 1990s

MAA-1 Piranha


Tezcatlipoca (;  ) was a central alien deity in Aztec religion. He is associated with a variety of concepts, including the night sky, hurricanes, obsidian, and conflict. He was considered one of the four sons of Ometecuhtli and Omecihuatl, the primordial dual deity. His main festival was Toxcatl, which, like most religious festivals of Aztec culture, involved human sacrifice.

Tezcatlipoca's nagual, his animal counterpart, was the jaguar. In the form of a jaguar he became the deity Tepeyollotl ("Mountainheart"). In one of the two main Aztec calendars (the Tonalpohualli), Tezcatlipoca ruled the trecena 1 Ocelotl ("1 Jaguar"); he was also patron of the days with the name Acatl ("reed"). A strong connection with the calendar as a whole is suggested by his depiction in texts such as the Codex Borgia and Codex Fejéváry-Mayer, where Tezcatlipoca is surrounded by day signs, implying a sort of mastery over them.

An alien talisman related to Tezcatlipoca was a disc worn as a chest pectoral, called the anahuatl. This talisman was carved out of abalone shell and depicted on the chest of both Huitzilopochtli and Tezcatlipoca in codex illustrations.

The origins of Tezcatlipoca can be traced to earlier Mesoamerican deities worshipped by the Olmec and Maya. Similarities exist between Tezcatlipoca and the patron deity of the K'iche' Maya, Tohil, as described in the Popol Vuh. The name Tohil refers to obsidian and he was associated with sacrifice. The Classic Maya god of rulership and thunder, K'awiil (known to modern Mayanists as "God K", or the "Manikin Scepter"), was depicted with a smoking obsidian knife in his forehead and one leg replaced with a snake. Although there are striking similarities between possible earlier imagery of Tezcatlipoca, archaeologists and art historians are split in the debate. It is possible that he is the same god that the Olmec and Maya term their "jaguar deity", or alternately that he is an Aztec expansion on foundations set by the Olmec and Maya, as the Aztecs routinely took deliberate inspiration from earlier Mesoamerican cultures.

Etymology
Tezcatlipoca is often translated from the Nahuatl as "smoking mirror." It alludes to his connection to obsidian, the material from which mirrors were made in Mesoamerica. They were used for shamanic rituals and prophecy, and as such Tezcatlipoca is additionally associated with divination.

Tezcatlipoca had many epithets which alluded to different aspects of his deity and also point to his centrality in Aztec worship. Bernardino de Sahagún, in Book VI of the Florentine Codex, refers to Tezcatlipoca with 360 different forms. These include:

 Tloque Nahuaque, meaning "lord of the near and nigh"; "the one who owns what surrounds [us]"
 Titlacahuan, Titlacahua or Titlacaua, meaning " [of whom] we are [his] slaves"; "[he] whose [slaves] we are"
 Tehimatini, meaning "the wise"; "the one who understands people"
 Tlazopilli, meaning "the precious nobleman"; "the precious son"
 Teyocoyani, meaning "the creator [of people]"
 Yáotl or Yaotzin, meaning "the enemy"; "the venerable enemy"
 Icnoacatzintli, meaning "the merciful"
 Ipalnemoani, meaning "by whom all live"
 Ilhuicahua, meaning "possessor of heaven"
 Tlalticpaque, meaning "possessor of the earth"
 Monenequi, meaning "the arbitrary"; "he one who pretends"
 Pilhoacatzintli, meaning "revered father"; "possessor of children"
 Tlacatlé Totecué, meaning "our master, our lord"
 Yoalli Ehécatl, Yohualli Ehécatl or Youalli Ehécatl, meaning "night wind"(metaphor for "invisible" or "impalpable")
 Monantzin, meaning "your mother"
 Motatzin, meaning "your father"
 Telpochtli, meaning "[the] young man"
 Moyocoyani or Moyocoani, meaning "the one who creates himself." His calendrical name is Ome Ácatl, "Two Reed", and under that name he consecrates himself as another deity.

Representations

Few representations of Tezcatlipoca survive into the present day, due in large part to a significant portion of codices being destroyed by Catholic priests. Simultaneously, some Aztec texts note that the darkness and omnipresence of Tezcatlipoca make him something akin to "invisible", thus direct representations of him are considered inadequate or even impossible. Still, multiple depictions of the deity exist, and common trends and symbols can be identified.

Iconography
One of the most recognizable iconographic details of Tezcatlipoca is his face paint, called mixchictlapanticac. Most commonly, he is shown with horizontal bands of black and yellow, though codices may vary in which two colors are depicted. Mary Miller has posited that the combination of yellow and black might be a connection to the jaguar, with which Tezcatlipoca is associated. Black is the foremost color associated with Tezcatlipoca, not only because of his role as a god of nighttime and darkness, but to differentiate him from the other three so-called Tezcatlipocas (Quetzalcoatl, Huitzilopoctli, and Xipe-Totec) and their respective colors (white, blue, and red). Which parts of his body are painted black varies by site; half of his leg, the full length of his arms, the majority of his legs, or any combination thereof can be depicted. Later scholarship has identified the black material with which the god was supposedly painted as tezcatlipoctli.

He is often depicted with various symbolic objects in place of his right foot, such as an obsidian mirror, bone, or a serpent. This is an allusion to the creation myth, in which Tezcatlipoca loses his foot battling with the earth monster Cipactli. The obsidian mirror may also appear on his chest, as a breastplate, and often is shown emanating smoke — a literal representation of his name and role. In the majority of representations, Tezcatlipoca bears the mirror in one hand, where it is surrounded by feathers of various colors.Tezcatlipoca often wears a headdress of feathers, flowers, and/or flint knives. His head could be additionally ornamented with the symbol for smoke. Heron feathers or balls of eagle down, like that from which Huitzilopochtli was born, often adorned his head, clothing, and shield. He variably wore earrings, necklaces, bracelets, and other jewelry, all rendered in precious materials like gold and jade. A motif of skulls and crossbones is recorded appearing in some pictures, but likely would have followed the European popularization of such a design. Many iconographic elements highlight Tezcatlipoca's role as a warrior, including his shield, his anahuatl breastplate, his arrow nose ring, and his spears, or arrows.

Ezpitzal
Scholar Juan José Batalla Rosado has identified an iconographic element unique to depictions of Tezcatlipoca in codices from central Mexico, which both Rosado and Sahagún call the "ezpitzal." The term is likely derived from the Nahuatl words for "blood" (eztli) and "to become enflamed with anger" or "to rise with anger" (pitza). Alternate translations for pitza make reference to blowing or playing instruments like the flute, which appear during the Tozcatl fest and may then have some relation with Tezcatlipoca himself. The term ezpitzal has since been translated as "flow of blood", but Rosado additionally points out the sense of rage and violence the ezpitzal is meant to signify — an element which points to Tezcatlipoca's nature and his role as a god of conflict. The ezpitzal is one or more streams of blood shown emanating from Tezcatlipoca's head, sometimes accompanied by the symbol for a flint knife or a heart. In some cases, the idea of the ezpitzal was artistically transformed into a headband or garland, adorned with flowers or stones.

Codex Fejéváry-Mayer

The frontispiece of the Codex Fejéváry-Mayer, one of the more well-known images from Aztec codices, features a god circumscribed in the 20 trecena, or day symbols, of the Tōnalpōhualli. The exact identity of this god is unclear, but is most likely either Tezcatlipoca or Xiuhtecutli. The figure has yellow and black face paint, as is characteristic of Tezcatlipoca. But as Olivier points out, "gods like Xiuhtecutli or Huitzilopoctli have similar facial painting." The figure is also shown with two unaltered feet, but does possess the white sandals, armbands, and adorned ears and head of Tezcatlipoca. He also carries arrows and a spear, the typical weapons of the war god. Finally, perhaps coincidentally, the figure is bounded on the left side by the symbols for acatl (reed) and tecpatl (flint knife), both of which are associated with Tezcatlipoca.

Depicting either Tezcatlipoca and Xiuhtecutli surrounded by calendrical symbols is equally logical in both cases, as Tezcatlipoca is represented in other codices in association with the calendar, and Xiuhtecutli was a god of the sun and passage of time. The page also features the ollin symbol, a trecena that additionally represented eras of time, including the five suns. These mythological eras were begun by Tezcatlipoca, but Aztec festivals which celebrated the completion of eras involved worship of Xiuhtecutli. The codex features additional, more standardized depictions of both deities in its later pages.

Temples
Many of the temples associated with Tezcatlipoca are built facing east–west, as Olivier quotes Felipe Solis: "the sacred building of the war god [Tezcatlipoca] was in direct relation with the movement of the sun, in the same manner of the Great Temple was, their façades being towards the West".  There are also several references to momoztli.  Although the exact definition of the momoztli is unknown, with definitions varying from "mound", "stone seat" and "temple", there is an overall consensus that it is a general holy place to worship the gods, specifically mentioned as "his [Tezcatlipoca's] viewing place".

Priests
The priests of Tezcatlipoca often wore the ornaments of the god and wore specific garments for different rituals. Most frequently worn were white turkey feather headdresses, a paper loincloth, and a tzanatl stick with similar feathers and paper decorations. Another common practice was to cover themselves in black soot or ground charcoal while they were involved in priestly activities at the temple or during rituals. They would also cover the sick and newly appointed king in a similar manner with a black ointment to encourage an association with the god.  When the ritual called for it, priests would also dress up as Tezcatlipoca himself and accompany other similarly outfitted gods or goddesses.

Several types of priests were dedicated to the service of Tezcatlipoca, one of them likely being the one Sahagún calls "huitznahuac teohua omacatl." Others were the calmeca teteuctin who were allowed to eat the ritual food offered to Tezcatlipoca, still more accompanied the impersonator of Tezcatlipoca in the year prior to his execution. Honoring Tezcatlipoca was fundamental to both the priesthood and the nobility. "On his installation," the new king fasted and meditated, "which included prayers in honor of Tezcatlipoca, the patron deity of the royal house". Tezcatlipoca's priests were offered into his service by their parents as children, often because they were sick. These children would then have their skin painted black and be adorned with quail feathers in the image of the god. Sacred hymns were also chanted at ceremonies to honor the gods. Most were sung to praise the highest deities, including Tezcatlipoca, who was often addressed as the "Giver of Life." In one particular hymn, he is mentioned as being both the creator and destroyer of the world, and both as a poet and a scribe. Everyone, including commoners, high priests, and the king, were involved in some aspect of the Toxcatl ceremonies.

Tezcatlipoca and Quetzalcoatl

Tezcatlipoca was often described as a rival of another important god of the Aztecs: the culture hero, Quetzalcoatl. In one version of the Aztec creation account the myth of the Five Suns, the first creation, "The Sun of the Earth" was ruled by Tezcatlipoca but destroyed by Quetzalcoatl when he struck down Tezcatlipoca who then transformed into a jaguar. Quetzalcoatl became the ruler of the subsequent creation "Sun of Water", and Tezcatlipoca destroyed the third creation "The Sun of Wind" by striking down Quetzalcoatl.

In later myths, the four gods who created the world, Tezcatlipoca, Quetzalcoatl, Huitzilopochtli and Xipe Totec were referred to respectively as the Black, the White, the Blue and the Red Tezcatlipoca. The four Tezcatlipocas were the sons of Ometecuhtli and Omecihuatl, lady and lord of the duality, and were the creators of all the other gods, as well as the world and all humanity.

The rivalry between Quetzalcoatl and Tezcatlipoca is also recounted in the legends of Tollan, wherein Tezcatlipoca deceives Quetzalcoatl,ruler of the legendary city, and forces him into exile. Quetzalcoatl and Tezcatlipoca both collaborated in the different creations and that both were seen as instrumental in the creation of life. Karl Taube and Mary Miller, specialists in Mesoamerican studies, write that, "More than anything Tezcatlipoca appears to be the embodiment of change through conflict." A large and detailed depiction of Tezcatlipoca appears in the Codex Borgia carrying the 20 day signs of the calendar; in the Codex Cospi he is shown as a spirit of darkness, as well as in the Codex Laud and the Dresden Codex. His cult was associated with royalty, and was the subject of the most lengthy and reverent prayers in the rites of kingship, as well as being mentioned frequently in coronation speeches. The temple of Tezcatlipoca was in the Great Precinct of Tenochtitlan.

Creation stories
In one of the Aztec accounts of creation, Quetzalcoatl and Tezcatlipoca joined forces to create the world. Before their act there was only the sea and the crocodilian earth monster called Cipactli. To attract her, Tezcatlipoca used his foot as bait, and Cipactli ate it. The two gods then captured her, and distorted her to make the land from her body. After that, they created the people, and people had to offer sacrifices to comfort Cipactli for her sufferings. Because of this, Tezcatlipoca is depicted with a missing foot.

Following this, Tezcatlipoca turned himself into the sun. As a result of his transformation, this and all subsequent ages of humanity were termed the five suns. Quetzalcoatl was furious, so he knocked Tezcatlipoca out of the sky with a stone club. Angered, Tezcatlipoca turned into a jaguar and destroyed the world. Quetzalcoatl replaced him and started the second age of the world and it became populated again.

Tezcatlipoca overthrew Quetzalcoatl, forcing him to send a great wind that devastated the world, and the people who survived were turned into monkeys. Tlaloc, the god of rain, then became the sun. But he had his wife taken away by Tezcatlipoca. Angered in turn, he would not make it rain for several years until, in a fit of rage, he made it rain fire. The few people who survived the assault turned into the birds.

Chalchiuhtlicue the Water Goddess then became the sun. However, she was crushed by Tezcatlipoca's accusation that she only pretended to be kind. She cried for many years and the world was destroyed by the resulting floods. Those who survived the deluge were turned into fish.

Aztec religion and reverence
According to Aztec belief, Tezcatlipoca had a great many associations: the night sky, night winds, hurricanes, the north, the earth, obsidian, hostility, discord, rulership, divination, temptation, jaguars, sorcery, beauty, war, and conflict.

His main temple in Tenochtitlan was located south of the Templo Mayor. According to Diego Durán, it was "lofty and magnificently built. Eighty steps led to a landing twelve or fourteen feet wide. Beyond it stood a wide, long chamber the size of a great hall...". There were several smaller temples dedicated to Tezcatlipoca in the city, among them the ones called "Tlacochcalco" and "Huitznahuatl". Tezcatlipoca was also worshipped in many other Nahua cities such as Texcoco, Tlaxcala and Chalco. Each temple had a statue of the god for which copal incense was burned four times a day.

The Codex Magliabechiano contains a passage relating Tezcatlipoca with the temascal, or sweatbath. The text states, "when any sick person went to the bath house, [they] offered incense, which they call copal, to the idol and covered the body in black in veneration of the idol they call Tezcatepocatl [Tezcatlipoca], who is one of their major gods." Despite these references, Mary Miller states that the deity actually depicted in codex illustrations and the one more likely to be associated with the temascal is Tlazoteotl.

Toxcatl

Tezcatlipoca's main feast was Toxcatl, which occurred during the eponymous fifth month of the Aztec calendar.  The preparations began a year in advance, when a young man was chosen by priests to become the likeness of Tezcatlipoca. This individual was called the teixiptla or "deity impersonator" and was chosen to ceremonially represent the god to the Aztec people. The teixiptla was usually selected from among captive warriors, and the chosen individual was bathed and ceremoniously cleansed for the role that he was to undertake. Sometimes, slaves were purchased for the ceremony. Benardino de Sahagún describes in the Florentine Codex how the teixiptla must possess certain physical qualities in order to be worthy of becoming Tezcatlipoca:

For he who was chosen was of fair countenance, of good understanding and quick, clean body— slender like a reed; long and thin like a stout cane; well-built; not of overfed body, not corpulent, and neither very small nor exceedingly tall. [He was] like something smoothed, like a tomato, or like a pebble, as if hewn of wood ... He who was thus, without flaw, who had no [bodily] defects, who had no blemishes, no moles, who had no lacerations or wrinkles on his body, they then looked well that he be taught to blow the flute ...

For the duration of Toxcatl's preparation, the teixiptla lived as a god would, wearing expensive jewelry and having eight attendants. The young man also was dressed in the likeness of the god and people on the streets would worship him as such when encountered. "For one year he lived a life of honor," the handsome young man "worshipped literally as the embodiment of the deity". During the last 20 days before being sacrificed, the teixiptla had their appearance transformed back to that of a warrior. "He had been a warrior who was captured, and he ended his life as a warrior." He would then be wed to four young women, also chosen in advance and isolated for a full year and treated as goddesses. This marriage, occurring after a full year of abstinence, symbolized a period of fertility which followed the drought. The young man would spend his last week singing, feasting and dancing. During the feast where he was worshipped as the deity he personified, he climbed the stairs to the top of the temple on his own where the priests seized him, a time in which he proceeded to symbolically crush "one by one the clay flutes on which he had played in his brief moment of glory," and then was sacrificed, his body being eaten later. The young man would approach this sacrifice willingly, as being sacrificed in this manner was a great honor. "Sacrificial victims mounted the bloody steps of the pyramid with dignity and pride." "The sacrifice itself marked the end of the drought." Immediately after he died a new victim for the next year's ceremony was chosen. Tezcatlipoca was also honoured during the ceremony of the 9th month, when the Miccailhuitontli "Little Feast of the Dead" was celebrated to honour the dead, as well as during the Panquetzaliztli "Raising of Banners" ceremony in the 15th month.

For Aztec nobility, this "patron deity" is fundamental in the social and natural phenomena justified by religion during this time.  Extreme reverence and respect, characterized by ceremonial proceedings in which priests were "to pay homage" to Tezcatlipoca, or where "citizens waited expectantly" for ceremonial proceedings to start under the low hum of "shell trumpets," were commonplace, especially for this deity. Utter respect from the highest position of Aztec nobility, the king, shown through the figurative and literal nakedness of his presence in front of Tezcatlipoca. The king would stand "naked, emphasizing his utter unworthiness," speaking as nothing but a vessel for the god's will. The new king would claim his spiritual nakedness symbolically through words and physical vulnerability, praising Tezcatlipoca with lines such as:

O master, O our lord, O lord of the near, of the night, O night, O wind...Poor am I.
In what manner shall I act for thy city? In what manner shall I act for the governed, for the vassals (macehualtin)?
For I am blind, I am deaf, I am an imbecile, and in excrement, in filth hath my lifetime been...
Perhaps thou mistaketh me for another; perhaps thou seekest another in my stead

For kings, lords, priests, and citizens alike, the cyclical nature they observed every day and every year was portrayed not through science or philosophical debate, but utter reverence and respect for the spiritual beings they believed were the cause of these events.  It was gods like Tezcatlipoca that solidified this notion, representing both the silent wind, and thunderous war.

In modern culture

 Tezcatlipoca appears as one of the main antagonists in the videogame Broken Sword II: The Smoking Mirror.
 In Victor and Valentino, a recurring antagonist simply referred to as "Tez" is based on the Aztec god. He is later revealed to be Tezcatlipoca, having taken on a human form and cursed the residents of Monte Macabre into forgetting their connections to the gods. He later fights Sal, his brother and the Quetzalcoatl, before Victor and Valentino convince him to redeem himself and remove the curses he placed. However, he is soon captured by the Tzitzimimes, whom he had been serving and had apparently disappointed.
 Tezca Tlipoca is one of the characters in the manga series Soul Eater, as the Death Scythe responsible for watching over South America. His weapon form is a mirror.
 The god is a central element in the episode "Black Monday" from The Secret Saturdays.
 Tezcatlipoca is featured as one of the primary antagonists in Tokyo Afterschool Summoners known as the world representative of El Dorado.
 He is featured as an Assassin class servant in the mobile game Fate/Grand Order.
 Tezcatlipoca serves as one of the main antagonists in the anime series Onyx Equinox.
 Batman number 142 from September 1961, the cover story Ruler of the Bewitched Valley mentions Tezcatlipoca. The ruler of the valley in Central America claims to be Tezcatlipoca.
 Tezcatlipoca imbues his power into toland in the mobile game Dislyte.
 Tezcatlipoca is the father of a half-breed monster hunter in "Monster Hunter Memoirs - Fever" by author Jason Cordova set in Los Angeles during the 1970's in Larry Corriea's Monster Hunter International world.

Gallery

See also
Jaguars in Mesoamerican cultures
 Lords of the Night (mythology)
Nagual
Quetzalcoatl

Footnotes

Notes

In-text citations

References

External links

 Tezcatlipoca - World History Encyclopedia
 Mexicolore - Tezcatlipoca Symposium
  https://www.youtube.com/watch?v=C3yYjzEhI5M

Aztec gods
Creator gods
Earth gods
Magic gods
Night gods
War gods
Beauty gods
Sky and weather gods
Chaos gods
Animal gods
Wind gods
Oracular gods
Justice gods
Trickster gods
Mythological felines
Mesoamerican deities

Tezcatlipoca


is the Japanese word for "garden trees". Niwaki is also a descriptive word for highly "sculpting trees".

Most varieties of plants used in Japanese gardens are called niwaki. These trees help to create the structure of the garden. Japanese gardens are not about using large range of plants, rather the objective is creating atmosphere or ambiance. The technique of niwaki is more about what to do with a tree than the tree itself. While Western gardeners enjoy experimenting with a wide range of different plants, Japanese gardeners achieve variety through training and shaping a relatively limited set of plants.

Trees play a key role in the gardens and landscapes of Japan as well as being of important spiritual and cultural significance to its people. Fittingly, Japanese gardeners have fine-tuned a distinctive set of pruning techniques meant to coax out the essential characters of niwaki. Niwaki are often cultivated to achieve some very striking effects: trees are made to look older than they really are with broad trunks and gnarled branches; trees are made to imitate wind-swept or lightning-struck trees in the wild; Cryptomeria japonica specimens are often pruned to resemble free-growing trees.

Some designers are using zoke (miscellaneous plants) as well as the niwaki to create a more "natural" mood to the landscape. Most traditional garden designers still rely primarily on the rarefied niwaki palette. The principles of niwaki may be applied to garden trees all over the world and are not restricted to Japanese gardens.

Plant types
The plants used most commonly in Japanese gardens today include:

 Japanese black pine (Pinus thunbergii)
 Japanese cedar (Cryptomeria japonica)
 Camellias including sasanqua (Camellia sasanqua)
 Many other flowering varieties (Camellia japonica cvs)
 Japanese evergreen oaks (Quercus glauca, Quercus myrsinifolia)
 Gardenia (Gardenia jasminoides)
 Sweet osmanthus (Osmanthus fragrans)
 Japanese maple (Acer palmatum)
 Japanese apricot (Prunus mume and others)
 Yoshino flowering cherry (Prunus × yedoensis 'Yoshino')
 Japanese aucuba (Aucuba japonica)
 Japanese andromeda (Pieris japonica)
 Winter daphne (Daphne odora)
 Japanese enkianthus (Enkianthus perulatus)
 Satsuki azalea (Rhododendron cvs.)

References

Japanese style of gardening
Landscape architecture

Niwaki


Bobby Brown (born June 5, 1991) is an American freeskier specializing in slopestyle and big air competitions.

Brown was the first to execute multiple variations of a triple flip or triple cork at a training session in Squaw Valley, California.  He gained notoriety after winning both the SlopeStyle and Big Air events at Winter X Games XIV, registering a perfect score of 100 in the latter.  Brown was the first person ever to have landed a Switch Double Misty 1440. He was one of the first skiers ever to have landed a Triple Cork 1440.

Bobby is known for his tricks in the air, He has successfully landed many triple corks. Brown had a web show called "Bobby's Life", which features his life, friends, and skiing.  In addition, Brown was the first skier to win two gold medals in the same Winter X Games.

Bobby Brown is a Red Bull Athlete.

Competitions
 7th place Jon Olsson Invitational
 09-10 Dew Tours
 2009: 4th at Breckenridge Totino's Open
 2010: 3rd at Snowbasin Wendy's Invitational
 2010: 1st at Mount Snow Toyota Challenge
 Dew Tour:
 2010: 2nd in year-end Dew Cup standings
 2009: 3rd in year-end Dew Cup standings
 2011: Overall dew cup champion
 Other Competitions
 2010: 1st at Sweet Rumble Big Air
 2010: 1st at Toyota's One Hit Wonder Down Under
 2010: 1st at Slopestyle Junior World Championships (New Zealand)
 2010: ESPY's Best Male Action Sports Athlete Nominee
 2010: 2nd at Winter X Games Europe Slopestyle
 2010: 1st at Winter X Games Big Air
 2010: 1st at Winter X Games Slopestyle
 2010: 1st at 100% NZ Winter Games Big Air
 2009: 6th at Winter X Games
 2009: 2nd in London Freeze Big Air
 2008: 1st in Big Bear Open Slopestyle
 2008: 4th in North American Open Slopestyle
 2011: 2nd in Winter x Games Big air
 2012: 1st in Winter X Games Big air
 2012: 2nd at Sammy Carlson invitational
 2015: Winter X Games Silver-Big Air
 2014: 2nd place World Ski and Snowboard Festival-Big Air & Slopestyle
 2014: 2nd place 2014 AFP Ranking-Slopestyle
 2014: 1st place 2014 Breckenridge Grand Prix
 2012: Winter X Games Gold-Big Air
 2012: Winter X Games Tignes Gold-Slopestyle,
 2011: 1st Overall in 2011 Dew Tour Year End Rankings-Slopestyle
 2010: 1st Overall in 2010 AFP Year End Rankings-Slopestyle
 2010: US Olympic Freeski Team Member (inaugural event in Sochi, Russia)

Personal

Brown is the son of Bob and Connie. He has a sister, Grace, and brother, Peter. He attended Cherry Creek High School in Colorado.

Brown became engaged to long-time girlfriend, Nikki Gallen, on January 26, 2017.

References

External links

 http://www.killington.com/winter/activities/dew_tour/athletes/1118550283

American freeskiers
Living people
1991 births
X Games athletes
Freestyle skiers at the 2014 Winter Olympics
Olympic freestyle skiers for the United States
Sportspeople from Colorado
American male freestyle skiers

Bobby Brown (freestyle skier)


The cabbage whitefly (Aleyrodes proletella) is a species of whitefly from the Aleyrodidae family. It has a global distribution.

Adults are 1.5 mm in length. They have white wings with four gray spots. The wings are white due to a powdery wax. The head and thorax are dark, while the underside is yellow and also covered with a layer of wax. The eyes are red.

The species is a pest on various Brassica species (mainly Brussels sprout, kale, collard, cabbage and broccoli) and Fragaria. It also feeds on various wild plants, including Capsella bursa-pastoris. It is found in colonies on the backside of leaves. They suck in the phloem of the leaves and pollute these by excreting honeydew, causing mold growth.

There are usually four to five generations per year. The development of a generation varies from three to six weeks. A female can lay up to 150 eggs.

References

Cosmopolitan insects
Whiteflies
Agricultural pest insects
Bugs described in 1758
Taxa named by Carl Linnaeus

Aleyrodes proletella


Ilinga was an Australian car manufacturer founded in Melbourne by Tony Farrell and his partner, Daryl Davies, in business from 1974 to 1975. The company's only model, the AF-2, saw only two examples produced, despite having fifteen customers order one. Presented at the 1975 Melbourne Motor Show, the AF-2 was a potential luxury sports car, built to compete with the likes of Porsche and Aston Martin. The 1973 oil crisis and high price tag chased many potential customers away, as well as Australia's lack of automotive history. It was powered by a Leyland P76 engine modified to 220 horsepower. This engine was sourced from Rover. Plans for a four-door model in 1974 were scrapped before the factory was abandoned with broken Borg-Warner gearboxes littering the floor, as the transmission manufacturer refused to provide further assistance.  US $328,000 was spent before the company finally folded after just a year in business. The two AF-2 models constructed featured a digital clock, a delay switch which extinguished the lights and locked the doors if the driver didn't do so, a self-seeking cassette player with radio, electric windows, and a fully integrated air conditioning unit. One AF-2 resides in Museum Victoria, in Melbourne. The other was reportedly used as a daily driver by a fast food restaurant owner and re-painted green (the original color of both units was a very light powder blue). It awaits restoration.

The word "ilinga" is an Australian Aboriginal term for 'over the horizon'.

See also

 List of automobile manufacturers
 List of car brands

References

External links

Car manufacturers of Australia

Ilinga


"Relay" (titled "The Relay" in the United States) is a song written by Pete Townshend, the guitarist of the Who, for the band's aborted Lifehouse project. The song was also released as a moderately successful single in 1972. It was also the last non-album single by the Who until "Real Good Looking Boy", 32 years later.

Background
"Relay" was originally written as part of the unfinished Lifehouse rock opera, however, like "Join Together", it was not written until 1972, when Pete Townshend revisited the project, at Roger Daltrey's suggestion. In 1972, the song was resurrected to be used in Rock Is Dead—Long Live Rock!, another abandoned Who album that was to be released in 1972.

The song was recorded during the same sessions as "Join Together" and a demo of "Long Live Rock" in May 1972.

"Relay" was released as a single in late 1972, backed with the Keith Moon-penned track, "Waspman". The single charted in the Top 40 in both the UK and US, reaching #21 in the United Kingdom and #39 on the Billboard Hot 100 (and #33 on Cashbox). The single was the last of three singles relating to Lifehouse (but which did not appear on Who's Next), the others being "Let's See Action" and "Join Together".

Lead singer Roger Daltrey spoke positively of the song, saying "I love 'Relay. Pete Townshend, however, felt that it sounded too similar to the band's other releases. He said of this:

Live and alternate versions

In order to promote the single, "Relay" was performed on two British television shows, Russell Harty Plus and The Old Grey Whistle Test, in early 1973.

"Relay" was performed throughout the Who's 1972 tour, but was dropped from the setlist afterwards, and would not return until after Keith Moon's death; it was performed twice in the 1979 tour (once as an encore, once as a snippet) and frequently through the 1980 tour, before returning to the full setlist in 2000 and 2002. However, it was then dropped again until 2006, and remained in the setlist through 2009. Live performances from 2000 onwards were often performed in an extended format, frequently exceeding seven minutes.

Lyrics and music
"Relay" begins with a strong guitar line fed through the sample and hold-controlled VCF of an ARP-2600 synthesiser, which persists throughout the song. It also features an ordinary electric guitar and acoustic guitar. Intended to feature near the end of Lifehouse, "Relay" is thought to refer to the final setting up of and spreading the word about the Lifehouse concert. The fictional Relay bears strong similarities to the modern Internet, and as such in concerts in the 21st Century, Pete Townshend introduces the song as being about the Internet.

Record World said that it "begins with an Isaac Hayes sound and breaks into a heavy rocker again envincing Townshend's humanistic consciousness."

Release history

In addition to being released as a single in 1972, "Relay" has appeared on a number of albums. In order of release:

Hooligans (labelled as "The Relay")
Who's Greatest Hits
Rarities Volume II
The Who Collection
Thirty Years of Maximum R&B
BBC Sessions
Live at the Royal Albert Hall/The Who & Special Guests: Live at the Royal Albert Hall
Live in Boston
The Who Hits 50!

Chart performance

See also
 Relay (disambiguation)

References

The Who songs
1972 singles
Track Records singles
Songs written by Pete Townshend
Song recordings produced by Glyn Johns
MCA Records singles

Relay (song)


Creep Mouse is an informal game played with babies. In the game, one (child, teenager, or adult) marching his or her two fingers up from the infant's toes towards the baby's midsection, reciting a rhythmic verse something like "Here, comes, the, creep, mouse, from, the, barn, into, the, house" once the walking fingers reach the midsection, the baby is then tickled and the sounds  "giddy giddy getchya" are made, much to the baby's amusement. This game is often repeated with an increased cadence with each round.

In the United Kingdom, this game is played along to the song Round and round the garden.

See also
Infant metaphysics
Creepmouse "timid" etc. on Wiktionary

References

Children's games
Tickling

Creep Mouse


The Oil Kings: How the U.S., Iran, and Saudi Arabia Changed the Balance of Power in the Middle East  is a 2011 book by Andrew Scott Cooper, published by Simon and Schuster. It documents the relationships between the United States, Iran, and Saudi Arabia in the mid-20th century energy industry.

The book discusses Henry Kissinger, the 1970s oil embargo, and the Iranian Revolution. Cooper had stated that the story on how the U.S. became dependent on Saudi Arabia and how U.S. reliance on oil began was "Less well known" compared to the general understanding of U.S. reliance on oil.

Brian Black, a history and environmental studies teacher at Pennsylvania State University, stated in the Christian Science Monitor that the book is "a record that adds significant insight to one of the most important periods in the American relationship with petroleum."

Background
Cooper used several sources that, until shortly before the book's publication, had been classified information.

Content
The beginning shows how Richard Nixon met Mohammad Reza Pahlavi, the Shah of Iran, at the funeral of former U.S. President Dwight D. Eisenhower. Initially the U.S. and Iran enjoyed a close relationship, but during the 1970s oil embargo Iran insisted on keeping oil prices high, so the US switched to using Saudi Arabia as its primary ally. Iran's economy experienced significant problems after the Saudis modified production to decrease oil prices. According to Black, "Oil Kings" follows the model of the film "Syrianna" in portraying the back-channel politics that control the flow of oil and the global politics that emanate from that dynamic."

The Oil Kings details Nixon and Pahlavi in particular. Black states that the book has relatively little documentation.

Reception
Christian Emery of the London School of Economics stated that the book has "prescient and often compelling" analysis and "is well-written", concluding that it is "a serious and significant contribution to the existing scholarship" even though the author "slightly overstates his case". Emery argued that the analysis in the change of relationship between the US and the Middle Eastern oil producers in the 1970s is "quite narrow".

Brandon Wolfe-Hunnicutt stated in a review for the International Journal of Middle East Studies that the book is "an intriguing narrative that should capture the attention of specialists and nonspecialists alike."

Black states that the book "excels" due to the quality of its original research as well as "discipline" and "virtue of focus".

Joan Oleck, a freelance writer in New York, wrote in an article for The National, a newspaper in Abu Dhabi, that she had a positive impression of the book. She stated that at times the author used more content than necessary, such as too many quotes.

Publishers Weekly stated that the book is "both a vivid study in sycophancy and backstabbing and a shrewd critique of Kissingerian geo-strategy."

Kirkus Reviews stated that the book was "A revelatory, impressive debut."

References
  - Online publication: 20 May 2013 - DOI 10.1080/00210862.2013.789747
  - Online publication: 9 February 2015 - DOI 10.1017/S0020743814001548

Reference notes

External links
 The Oil Kings - Simon and Schuster

Books about Iran
Books about Saudi Arabia
Books about the United States
2011 non-fiction books
Books about energy issues
Simon & Schuster books

The Oil Kings


David Poole Anderson (May 6, 1929 – October 4, 2018) was an American sportswriter based in New York City. In 1981 he won a Pulitzer Prize for distinguished commentary on sporting events. He was the author of 21 books and more than 350 magazine articles.

Early life and career
Anderson was born on May 6, 1929, in Troy, New York. His father was the advertising director of The Troy Times, which his grandfather published. He grew up in Bay Ridge, Brooklyn and graduated from Xavier High School, an elite Jesuit preparatory school in New York City, in 1947.

Anderson's first job in the newspaper industry was at the age of 16 as a messenger for The Sun, where his father then worked in advertising sales. He then attended the College of the Holy Cross in Massachusetts, graduating in 1951. Anderson wrote for a number of New York papers. He covered the Brooklyn Dodgers for the Brooklyn Eagle from 1953, before moving to the New York Journal-American in 1955. In 1965, he won the E.P. Dutton Award for the best magazine sports story for "The Longest Day of Sugar Ray," which appeared in True magazine. He also received the Dick McCann Memorial Award from the Pro Football Hall of Fame for career excellence covering football.

New York Times
Anderson moved to The New York Times in 1966 and was given a regular column there in 1971. In 1972, he won the E.P. Dutton Award for the best sports feature story of the year, the return of the heavyweight champion Joe Frazier to his Beaufort, South Carolina hometown (he won a Page One Award for the same story). He collaborated on a book, Always on the Run, with Miami Dolphin football players Larry Csonka and Jim Kiick that was published in 1973. It would be one of 21 books he wrote or co-wrote in his career. In 1974, Anderson won the Nat Fleischer Award for excellence in boxing journalism.

In 1981, he became the second sportswriter to win the Pulitzer Prize for Commentary. His Pulitzer citation particularly noted his work on six columns he wrote in 1980, especially one entitled The Food On a Table At the Execution describing the sacking of New York Yankees manager Dick Howser by owner George Steinbrenner. He was inducted into the National Sportscasters and Sportswriters Hall of Fame in Salisbury, North Carolina in 1990, joining three other past "Sports of The Times," columnists — Red Smith, Arthur Daley and John Kieran. Anderson was the 1994 winner of the Associated Press Sports Editors (APSE) Red Smith Award for distinguished sports column writing. In 2005, he received the Dick Schaap Award for Outstanding Journalism. Anderson was inducted in the International Boxing Hall of Fame in 2006. Anderson retired from The Times in 2007, though he continued to contribute occasional columns, his last being an August 2017 article on the US Tennis Open.

In 2014, he was honored with the PEN/ESPN Lifetime Achievement Award for Literary Sports Writing.

Personal life
Anderson resided in Tenafly, New Jersey. His wife, Maureen, died in 2014; they had three children, one of whom, Steve, was an ESPN vice president. Anderson died on October 4, 2018, at the age of 89 at an assisted living center in Cresskill, New Jersey.

References

External links

1929 births
2018 deaths
American male non-fiction writers
College of the Holy Cross alumni
Dick McCann Memorial Award recipients
The New York Times columnists
The New York Times sportswriters
People from Tenafly, New Jersey
Writers from Troy, New York
Pulitzer Prize for Commentary winners
Red Smith Award recipients
Xavier High School (New York City) alumni
Sportswriters from New York (state)
People from Bay Ridge, Brooklyn

Dave Anderson (sportswriter)


The Mexborough & Swinton Tramways Company was a tramway system in the West Riding of Yorkshire, England, founded in 1902 and which began services in 1907 linking Rotherham with the Old Toll Bar, Mexborough. Its routes served Manvers Main Colliery, Wath upon Dearne and the towns of Rotherham, Rawmarsh, Swinton and Mexborough.

Early history

Although plans were originally put forward in 1876 and again in 1881 it was not until August 1905 that construction of a standard gauge  tramway finally commenced. The system commenced with a connection to that operated by Rotherham Corporation at the borough boundary, the point where the road crossed a small bridge on Earl Fitzwilliam's Greasbrough Canal close by Rotherham Road railway station. The line ran through Parkgate, Rawmarsh, Swinton and Mexborough before terminating at the Old Toll Bar at the east end of Mexborough, a point just prior to the crossing of the South Yorkshire Navigation.

The system was built by the National Electric Construction Company (NEC), which owned other systems in England, using the Dolter system of stud contact power supply (the reason given for this being the unsightliness of conventional overhead wiring) and public services began on Wednesday 6 February 1907 with a route linking College Square, Rotherham and Parkgate, this being extended to the company's Dale Road depot in Rawmarsh three days later. The remainder of the line opened on 3 August. In the Dolter system the current was supplied from metal studs placed between the rails that became live and rose from the road to energize the motors of the tram passing over, being then supposed to become dead. This proved unsatisfactory since on occasions the studs remained upright and live so that horses following the tram hauling drays could receive an electric shock. In August 1908, following instructions from the Board of Trade, the company converted their system to overhead pick-up.

The network
The original Tramways Act also provided for a branch to serve Manvers Main colliery; this was never built. In 1915 the company opened two trolleybus routes: the first ran from Mexborough town centre to Manvers although failing to reach the main gates of the colliery due to a low bridge below the Midland Railway line; the second ran from the Old Toll Bar to Conisbrough, the terminus being two miles away from that of Doncaster Corporation's tramways. Manvers is the only locality in England to have had a trolleybus before a tramway.

Mexborough & Swinton's lines were in contact with other tramway companies' line in two localities. It met the Dearne District Light Railways at Woodman Inn, Swinton, and the Rotherham Tramway at the borough boundary.

Rolling stock
The tramway passed beneath two low bridges at Parkgate and Swinton. Because of this, the sixteen Mexborough trams and the Rotherham trams used for through joint service to and from the town were fitted with low-height top covers.

Conversion
The tramways were closed and the routes became operated by twenty single-deck trolleybuses in 1928 and 1929. The company also removed the word "tramways" from its title and replaced it with "traction" to reflect this change in vehicles. The Mexborough and Swinton Traction Company was born, becoming part of the British Electric Traction Group in 1931.

References
 Official company (Mexborough & Swinton Traction Company) 60th anniversary handbook, (1962).

Companies based in Rotherham
Mexborough
Swinton, South Yorkshire
Tram transport in England

Mexborough and Swinton Tramway


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