Commercial Radio Hong Kong (CRHK, , aka Hong Kong Commercial Broadcasting Company Limited is one of the two commercial radio broadcasting companies in Hong Kong along with Metro Radio Hong Kong. CRHK provides radio programmes including news and weather reports, they also produce radio programmes for music, informative, educational, artistical and cultural.

History
CRHK was founded by George Ho Cho-chi on 26 August 1959, when he inherited HK$50,000 from his father Sir Robert Ho Tung. The 10-year franchise of Radio Rediffusion ended its radio operation in 1959. CRHK joined Radio Rediffusion and Radio Television Hong Kong to make what was called the "Three kingdoms of local radio stations". It was one of the most flourishing times in Hong Kong radio broadcasting history, since more competition yielded better productions. However, Radio Rediffusion closed down at the end of September 1973.

At the very beginning, Commercial Radio was situated at Lai Chi Kok, near Mei Foo Sun Chuen. 9 years later, they moved to Broadcast Drive on 25 July 1966.

At that time, the new five-floor building was under refurbishment, the station was temporarily housed in Yau Yat Chuen, until 26 August 1971.

Although CRHK has its own news broadcasts nowadays and provides the latest news on major events around the world, the news division of CRHK was only formed in 1974. At first, news broadcasts were provided by the Information Services Department of the Hong Kong government and later from RTHK. The establishment of its own news division marked a new era in the company's history, since it finally became an independent organisation.

G.J. Ho, son of George Ho, is now the chairman of CRHK. The licence of CRHK was renewed on 22 July 2003 and will last for another 12 years until 26 August 2016.  The statutory body Hong Kong Broadcasting Authority continue to regulate Hong Kong broadcasters.

Channels
Currently CRHK broadcasts through two Cantonese Channels on the FM band and an English one on the AM band. All of the channels are 24-hour broadcast and each of them has its distinct programme formats and audience.

FM 88.1
CR1 FM 88.1 () has the widest audience base in Hong Kong. It is a talk-based channel which broadcasts current affairs, traffic and financial information. There are also many talk shows and interactive phone-in shows. It also offers some cultural dramas programmes. Its target audience are 25- to 40-year-old professionals.

FM 90.3
CR2 FM 90.3 () is a music-based channel targeted at the younger generation and audience who are interested in pop music.

The station hosts the 903 Top 20, a record chart based on airtime.

The programmes feature the latest news in pop music, including Cantonese, Japanese and English songs. This channel is also known for organising one of the four Hong Kong annual music awards, in which the prizes are awarded to the singers according to how often their songs are plugged, as they call it in Hong Kong, by the DJs.

AM 864
AM 864 () is an English channel. It used to offer a diversity of music, from the latest international hits to hip-hop, R&B, jazz, rock and roll and grunge music. It was intended to cater toward audiences all around the world.

Audiences could keep up with the latest news, especially with global issues, through CRHK. News were broadcast every hour throughout the day, with weather forecast and traffic reports. In addition, it regularly produced news reports and public affairs programmes.

From 2000–2003, AM864 was partnered with HMV and was called HMV 864.
Amongst other name, Quote 864 was also used as an on-air name.

In 2004 the station became all music, i.e. without presenters, and only breaking for the hourly news. The format is hit music from the 1960s, 1970s, 1980s, 1990s, 2000s and 2010s. It caters to music lovers from every generation.

Notable programmes

FM 88.1
Among all 88.1 Programmes, there are three programmes that actively discuss contemporary Hong Kong political, social and economic issues every day.

"On a Clear Day" airs during the weekdays, from Monday to Friday, from 6am to 10am. This four-hour programme is hosted by Stephen Chan, Chan Chung and Ken Kwok. The hosts make the programme more interactive by inviting some of the audience and sometimes guests to participate in the discussion of current issues. The programme has a session called voice column in which some Commercial Radio DJs participate as columnists, sharing their own viewpoints on certain issues, e.g. the column "" by To Kit, who has worked for the British Broadcasting Corporation for 8 years.

"Circles" airs during Monday to Friday 3:00pm to 5:00pm. This programme is focusing with the interview with the celebrities and special guests.

"Summit" airs during Monday to Friday 11:00pm to 12:00am. This programme is hosted by Chip Tsao and special hosts. It is a talk programme focusing on the current affairs in Hong Kong, international relations, and culture related stuffs.

FM 90.3
Among all 90.3 Programmes, there are two programmes that actively discuss contemporary Hong Kong political, social and economic issues every day, in a more relaxed way to telling that.

"On a Clear Day" airs during the weekdays, from Monday to Friday, from 8am to 10am. This two-hour programme is hosted by Jan Lamb, Ken Yuen and Michelle Lo. The hosts make the programme more interactive by inviting some of the audience and sometimes guests to participate in the discussion of current issues, in a more comedy way. The programme has a session called voice column in which some Commercial Radio DJs participate as columnists, sharing their own viewpoints on certain issues, e.g. the column "" by To Kit, who has worked for the British Broadcasting Corporation for 8 years.

"Good Morning King" airs during the weekdays, from Monday to Friday, from 10am to 12pm. This programme is hosted by Sammy Leung, Kitty Yuen and Marco Hung. Marco Hung no longer working in the programme after 2023-3-7.

AM 864
Two foreign-language radio programmes – "Hong Kong-Pak This Evening" in Urdu and "Nepal Darshan" in Nepali – were launched jointly by Commercial Radio and the Home Affairs Bureau from 18 June 2005, to promote multiculturalism in Hong Kong. It aims at strengthening the sense of belonging of the ethnic minorities in Hong Kong, but at the same time retaining their cultural identities and differences.

The programmes broadcast for 26 consecutive Saturdays on Commercial Radio Channel 1 (AM864) until 10 December 2005. "Hong Kong-Pak This Evening" and "Nepal Darshan" were on air from 08:00 pm to 08:30 pm and from 08:30 pm to 09:00 pm respectively. The Urdu programme was hosted by Abid Ali Baig, who is a poet and writer, who had been working in the broadcasting industry for 30 years in Pakistan; whereas the Nepali one was hosted by Pushpa Kumar Rai, who had worked in the former British Forces Broadcasting Service for almost 20 years and he is familiar to many Nepalese ears in Hong Kong. The programmes comprise mainly music, news, sport, current affairs and community services related to the respective ethnic groups; local celebrities from the ethnic groups were also invited to talk about their own cultures and their assimilation into the community.

Another programme on AM864 is for the Filipino community in Hong Kong, Good Evening Kabayan. Its initial broadcast aired on the 9th of July in 2001. It started as a two-hour show and two years later aired twice a week on the channel.

In late 2017, the two programmes have been renamed to classify two different formats. From 9pm to 11pm every Friday airs "Pinoy Hit Music Central" and every Saturday, on the same time slot, airs "Pilipinas Week In Review" (P.W.I.R.)

Hit Music Central plays the latest and most unforgettable Original Pinoy Music. It features interviews with celebrities from the Philippines and airs the most requested O.P.M's by its listeners.

Pilipinas Week In Review gives its Pinoy listeners in Hong Kong and around the globe, the latest news and current affairs in Hong Kong and the Philippines.

Controversy and criticism

In the middle of 2004, three of the programme hosts were all well known for their out-spoken hosting style over social and political matters.  Suddenly, all three announced they would stop. Albert Cheng Jing Han announced a hiatus from hosting his programme in April 2004, claiming pressure from the Chinese government, and announced his resignation by the end of July. Another famous political programme host Raymond Wong Yuk-man announced his decision to quit his own programme on the 13 May claiming there was threat to his family's safety. However, he decided to rejoin CRHK to host a brand new programme for the station in October 2004. Allen Lee Peng Fei replaced Cheng Jing Han who announced his resignation on the 19 May also for political reasons. Freedom of speech has been a concern in Hong Kong since the 1997 Handover.

In May 2010, the memory of Lam Bun was evoked after CR allowed the pro-Beijing Democratic Alliance for the Betterment of Hong Kong to sponsor a political radio programme. Activists protested outside the station with images of Lam, a CR host who was assassinated during the 1967 riots and who became an icon of free speech, complaining that the station had desecrated his memory. The DAB said the shows were about livelihood issues, and denied they promoted a political stance.

In late 2013, as a prelude to the renewal of its broadcasting licence, CR replaced outspoken critic of CY Leung who hosted an influential prime-time morning talk show. Lee Wai-ling, long despised by the pro-establishment camp for her vocal criticism of the government, was abruptly shunted to a less prominent evening show and replaced by station chief executive Stephen Chan Chi-wan. Chan denied political motivations were involved. But one former media executive said that it was "an open secret" that some outspoken programme hosts disliked by the government have to leave at the time of licence renewal, as media operators are under considerable political pressure.

Commercial Radio Production

Commercial Radio Production Co. Ltd. (CRP) was established in 1997 to produce radio commercials themselves for their partners, but it has also become a brand of its own now. It aims at providing faster and more updated information and an entertainment platform to the public in the future. It also keeps on providing market-promotion service to its customers.

Productions
CRP organises different kinds of concerts and outdoor activities, such as "Ultimate Song Chart Awards Presentation", "903 id club Music is Life Concert", "Famine 30" . Also, CRP holds different forms of gathering for the audience of CRHK, such as "903 id club"; these activities thus provide a platform and more chances for both the DJs and the audience to communicate with each other. In addition, CRP has been issuing their company products, including books and stationery, to promote its own brand.

Art room
While producing and organising different kinds of activities, a large number of art products are needed, such as pamphlets, posters and even the stage design of the "Ultimate Song Chart Awards Presentation". It fosters creativity and the production of aesthetic artwork.

The Basement
There has always been keen competition amongst Hong Kong radio stations. Recently, CRP launches video production services and issues "903 Music on the Move". In this programme, music and pictures are combined and it creates a new definition for radio production. This combination is then moved on to mobile phone service, creating another new medium for radio and music and hence for the users.

881903.com
CRHK has launched 881903.com in 1995 as the official website of Commercial Radio Hong Kong. CRP is the administrative organisation of 881903.com. The signal is retransmitted through the internet and anyone can listen to it online. Although only the Cantonese version is available, it acts as a platform for the radio station to promote its programmes and related products. In fact, internet users can find updated news and financial information, programme schedule, programme synopsis and even personal pages of the DJs. By logging onto the page, people from all over the world can listen to Radio 1 and 2. Members of 881903.com can have access to past radio programmes as well. An open forum can also be found on 881903.com which allows the audience to leave comments on the radio programmes or the DJs. Because of its rising popularity, a multimedia marketing platform is formed which enables CRP to target a larger audience, especially from overseas countries. Extra revenue is gained from its advertisers such as Netvigator, ICQ and Motorola.

By having an online radio station, the audience can enjoy greater convenience and more flexibility in listening to the radio and it also helps globalise their programmes, hence the radio station.

my903.com
In 2006, CRHK has launched a dedicated website MY903.com (formerly 90345678.com and 903456.com) for its CR2 channel. This website uses an interactive and eye-catching layout to make closer connection between programme audiences and hosts. Thus creating a promotion platform for special features in prime programmes. In 2007, MY 903 FORUM launched its beta version. This enables instant discussion on programmes between hosts and audiences and an alternative platform for channel opinions.

903 id Club

"903 id Club" is an organisation established by Radio 2, CRHK, where "id" stands for "I Dream", "I Discover", "I Dare" and "I Decide". 903 id club aims at promoting local music and is a trend setter for local teenagers. For example, it is one of the organisers of is Life Concert>>, which attracts thousands of audience every year. It also promotes new films and introduces the latest trend to the public. Besides, 903 id club creates a channel for music and film lovers to share their thoughts and interests. This once again shows CRP's emphasis on audience's involvement.

Moreover, 903 id club is linked to several radio programmes, such as "Sammy Moving" and some of the DJs of those programmes work on projects supported by the club. One of the very successful examples is the annual drama performance done by Sammy Leung Chi-Kin and Kitty Yuen Siu-Yee. Another success story is the boy group I love you boyz, formed by popular DJs Jim Yan and Donald. The group is known for their exaggerating and eerie comedic image. High-profile DJ Jan Lamb has also hosted a series of stand-up comedy shows produced by CR Productions.

Also, members of 903 id club can have discounts in various shops e.g. Laneige and join activities organised by the club. This reinforces the audience's sense of belonging to the channels.

Board of directors
Honorary chairman: George Ho*
Chairman: George Joseph Ho*
Deputy chairman: Winnie Yu*
Chief Executive Officer: Rita Chan
non executive director: Kwok-kit Leung*
non executive director: Richard Yat-sun Tang*
non executive director: Michael Chi-hung Tse*
non executive director: Chin-kung Kwok*
non executive director: Amy Mei-yan Miao*
 *: Board of directors of the H.C.B.C. Enterprises Limited.

See also
Media of Hong Kong
Metro Broadcast Corporation
RTHK
HKGFM.net (www.hkgfm.net)

References
 Chen, Y.J. (2000). A history of Chinese radio broadcasting in Hong Kong 1928–1997. Hong Kong : University of Hong Kong.
 Lok, H., Yam, T., Ting, T. (2002). Broadcasting services survey 2002 : report. Hong Kong : Broadcasting Authority.
 Radio Television Hong Kong (1999). 70 years of broadcasting in Hong Kong, 1928–1998. Hong Kong : Radio Television Hong Kong.
 韋佩文 ... [等」(2004). 從一九二八年說起 : 香港廣播七十五年專輯. 香港: 香港電台.
 Pinyin translated by Cozy Website.

Notes

External links
 881903.com Commercial Radio

Radio stations in Hong Kong
Multilingual broadcasters
Cantonese-language radio stations
Radio stations established in 1959
Mass media companies established in 1959
1959 establishments in Hong Kong

Commercial Radio Hong Kong


Autonov 1 is the name given to the automobile novelty that was created sometime in the 1970s, by making a once regular motor vehicle engine able to run in both the forward and backward directions, utilizing all four pre-existing gears in whichever direction.
A second steering wheel was introduced at the back, with a central revolving chair to effect the driver's switch-over position.

Purpose of design
Its inventor, the late engineering professor Ayodele Awojobi, imagined the advantage of the invention in such a situation as when a motor vehicle drives forward into a cul-de-sac and needs to make a fast, backward retreat. Emergency evacuation procedures or war-time situations exemplify this.

Patent and specification
A patent for the invention was never obtained before the inventor's untimely death. An abandoned Layland jeep was utilized for the invention and it is to this day, displayed at the Faculty of Engineering, University of Lagos during the said faculty's "Engineering week". It basically consists of a jeep, with a second steering wheel built-in at the rear end that connects the axle. A gear-shift is also built here that connects, through a built-in mechanism, to the already pre-existing four gears, such that the hybrid vehicle can be driven on all four gears, in both forward and backward directions. The jeep's central compartment was re-designed to have a rotating floor mechanism that can swivel an occupant from the rear seat, to the front one and vice versa.

Short of dismantling it piece-meal, the detailed knowledge of the designed mechanism is unknown as no drawings or design sketches are known to exist.

References

Automobile transmissions
Cars of Nigeria
Nigerian inventions

Autonov 1


The Elgin Amphora is a large Ancient Greek neck-handled amphora made from fired clay in Athens around 760 to 750 BC.  The ceramic vessel may have been used to hold wine at a funeral feast, and then entombed with the cremated remains of the deceased.  Fragments have survived, decorated in the Late Geometric style, and attributed to an unknown artist given the Notname of "the Dipylon Master", one of the earliest individually identifiable Greek artists.  The fragments have been restored to reconstruct a single but incomplete vessel,  high, which is now displayed at the British Museum in London.

The amphora stands on a rim foot.  The outer surface of its ovoid body is decorated with bands of geometric patterns, including repeated lozenges in a tapestry design around the widest part of the amphora, rows of triangles, and a chequered pattern on its shoulders.  The tall cylindrical neck bears a double meander, and a frieze of water birds just below the rim.  The strap handles are decorated with dotted serpents.

Fragments of the amphora were excavated in Athens by Giovanni Battista Lusieri in 1804–6.  The exact find location is not known, but it was probably somewhere between the Mouseion Hill and the River Ilisos.  It was acquired by Thomas Bruce, 7th Earl of Elgin.  His descendants sold it to John Hewett before the 1950s, and it was then acquired by Hon Robert Erskine, the son of John Erskine, Lord Erskine.   A fragment was sold at Sotheby's in 1994, and later reunited with the other fragments which were bought privately.  It was loaned to the British Museum, and then acquired by the British Museum in 2004 from the Trustees of the Stanford Place Collection, using £40,000 provided by The Art Fund, and funds from the Wolfson Foundation, Alexander Talbot Rice, British Museum Friends, the Caryatid Fund, and the Society of Dilettanti Charitable Trust

References
 The Elgin Amphora, British Museum
 Elgin Amphora by Dipylon Workshop, Athens, Art Fund
 Elgin Amphora, Google Arts & Culture

8th-century BC works
1804 archaeological discoveries
Archaeological discoveries in Greece
Amphorae
Iron Age Greek art
Ancient Greek and Roman objects in the British Museum
Thomas Bruce, 7th Earl of Elgin

Elgin Amphora


Zircon is a silicate mineral. It is found in many different places in almost all kinds of rock. The chemical it is made up of is called  zirconium silicate:  ZrSiO4. Clear zircon may look like diamond and has been used as a cheaper replacement for diamond.  It is not the same as cubic zirconia, which is man-made zirconium dioxide.  In the United States, zircon is considered to be the birth stone for the month of December.

Long lasting zircons
Zircons from the Jack Hills in the Narryer Gneiss Terrane, Yilgarn Craton, Western Australia, have yielded U–Pb (uranium–lead radioactive dating) ages up to 4.404 billion years. This is judged to be the age of crystallization, making them the oldest minerals so far dated on Earth. In addition, the oxygen isotopic compositions of some of these zircons indicate that more than 4.4 billion years ago there was already water on the surface of the Earth. This interpretation is supported by additional trace element data, but is also the subject of debate.

References

Gemstones
Minerals

Zircon


Chocolate letters (Dutch: chocoladeletter ) are a form of candy associated with the Dutch holiday of Sinterklaas (Saint Nicholas).  Celebrants of the Sinterklaas celebration are traditionally given their initials made out of chocolate, either on Sinterklaas Eve, which is the fifth of December each year, or during the morning on Sinterklaas Day, which is the sixth day of December. Various sizes, types and flavours are available.

In order to use the same amount of chocolate for each letter the manufacturer varies the thickness of the letter. This way one letter is not favoured over another, for example, with wide letters such as the W or the M getting more chocolate than narrow letters such as I or the J.  Instead, the wide letters are made with a thinner layer of chocolate, and the narrow letters get a thicker layer of chocolate.

An often used typeface is Egyptienne.

References

External links

 St. Nicholas Center; explains the origin and current use of chocolate letters in the Netherlands.

Chocolate
Dutch confectionery
Sinterklaas food

Chocolate letter


Mushezib-Marduk (reigned 693 BC-689 BC), Chaldean prince chosen as King of Babylon after Nergal-ushezib.

He led the Babylonian populace in revolt against Assyria and King Sennacherib in 689 BC, with the support of Elam and King Humban-nimena (who was attacked by the Babylonians and the Assyrians only years before), at the Battle of Halule. It is not clear who won this battle, since both sides claimed victory, and all rulers remained on their thrones, but as the Assyrians subsequently retreated, they are likely to have suffered the greatest losses.

Mushezib-Marduk lost his ally when the Elamite king Humban-nimena suffered a stroke later that same year, an opportunity King Sennacherib quickly seized by attacking Babylon, and eventually capturing it after a nine-month siege. To avenge the death of his son, whom the Babylonians had effectively killed when they handed him over to the Elamites in 694 BC, Sennacherib pillaged and burned Babylon, tore down its walls, and even diverted the Euphrates into the city. During the Sack of Babylon, Mushezib-Marduk was most likely murdered.

See also
 Kings of Babylon

References

689 BC deaths
7th-century BC Babylonian kings
7th-century BC murdered monarchs
Year of birth unknown
Chaldean kings

Mushezib-Marduk


Potentilla erecta (syn. Tormentilla erecta, Potentilla laeta, Potentilla tormentilla, known as the (common) tormentil, septfoil or erect cinquefoil ) is a herbaceous perennial plant belonging to the rose family (Rosaceae).

Description
Potentilla erecta is a low, clump-forming plant with slender, procumbent to arcuately upright stalks, growing  tall and with non-rooting runners. It grows wild predominantly in Europe and western Asia, mostly on acid soils and in a wide variety of habitats such as mountains, heaths, meadows, sandy soils and dunes.

This plant flowers from May to August/September. There is one yellow,  wide flower, growing at the tip of a long stalk. There are almost always four notched petals, each between 3 and 6 mm long. Four petals are rather uncommon in the rose family. The petals are somewhat longer than the sepals. There are 20–25 stamens.

The radical leaves have a long petiole, whilst the leaves on the flowering stalks are usually sessile or with short petioles. The glossy leaves are alternate, ternate, consisting of three obovate leaflets with serrated margins. The paired stipules are leaflike and palmately lobed.

There are 2–8 dry, inedible fruits.

Distribution

Europe
Potentilla erecta is found wild throughout Europe, Scandinavia and West Asia.

Potentilla erecta is almost ubiquitous in the British Isles, recorded in almost all 10 km squares except close to the Wash. and is listed as a species of least concern. It is very common in grasslands, heaths, moors and mountains, bogs including roadsides and pastures, mostly on acidic soils but avoiding chalk. It is a component of British National Vegetation Classification community M25 (Molinia caerulea–Potentilla erecta mire).

North America
In North America Potentilla erecta is found in the east as an introduced species.

Uses
The rhizomatous root is thick.  It has little value for food use  because of its bitterness and low caloric value. The roots are a main ingredient of a bitter liqueur from Bavaria and the Black Forest area, called Blutwurz. It is also used in Ukraine along with honey in horilka.
The plant is used in herbal medicine as an astringent because of its tannin content, which is unusually high for a herbaceous plant. Structurally-related phlobaphenes, used as a red dye for leather known as tormentil red, can be extracted from the root of the common tormentil along with the triterpene alcohol tormentiol.  Aqueous extracts of the rhizomes are reported to have low toxicity in rats and mice.

References

External links

erecta
Flora of Europe
Flora of temperate Asia
Plant dyes
Medicinal plants of Asia
Medicinal plants of Europe
Plants described in 1843
Taxa named by Carl Linnaeus

Potentilla erecta


Wende is a metro station in Taipei, Taiwan. It is a station on the Wenhu Line, whose station code is BR18.

Station layout information
The platforms are above ground level. Platform 1 is for Taipei Nangang Exhibition Center and Platform 2 is for Taipei Zoo.

Around the station
 Neihu High School
 Neihu Junior High School
 Neihu Elementary School
 National Taiwan College of Performing Arts
 Guo Ziyi Memorial Hall
 Liuzhongyuan Community
 Bihu Park
 Yangguan Park
 Wende Park No. 2
 Ronald McDonald House Taiwan
 Fire Safety Museum of Taipei City Fire Department

Railway stations in Taipei

Wende metro station


Prime Minister Anders Fogh Rasmussen retained his parliamentary support in the 2005 Danish parliamentary election, and was able to continue as head of his government. On 18 February 2005, he presented his updated cabinet, the Cabinet of Anders Fogh Rasmussen II. One of the main issues of the cabinet was administrative reform that slashed the number of municipalities and replaced the thirteen counties with five regions.

Anders Fogh Rasmussen has referred to the reform as the biggest reform in thirty years. Furthermore, a reform of the police and judicial systems was initiated in January 2007, changing the numbers of police districts and city courts from 54 to 12 and 82 to 22 respectively. Rasmussen retained parliamentary support in the 2007 election and continued as Prime Minister in the Cabinet of Anders Fogh Rasmussen III, formed on 23 November 2007.

Notable events
On 8 June 2005 somebody made an arson attack on Minister for Refugees, Immigrants and Integration Rikke Hvilshøj's home. Rikke Hvilshøj, her husband, and her two small children escaped unharmed. It is not clear who was behind the attack (Though one unknown group has claimed responsibility), or what the motive were. Following the attack security was stepped up for several ministers.
In January 2006 Prime Minister Anders Fogh Rasmussen became embroiled in the controversy of the Muhammad cartoons which initially were published in the Danish newspaper Jyllands-Posten.
On 13 December 2006 Lars Barfoed was forced to resign as Minister of Family and Consumption because of issues with the ministry's food inspections. Carina Christensen was named as Barfoed's replacement.
On 21 February 2007 Prime Minister Anders Fogh Rasmussen said that the 460 Danish troops in Iraq will have left by August.

Changes from the Cabinet of Anders Fogh Rasmussen I
Bertel Haarder changed from being Minister for Development Cooperation and Minister for Refugees, Immigrants and Integration to being Church Minister and Minister of Education.
The much-criticised Tove Fergo, who failed to get reelected to parliament (though that is not a requirement for a minister) was replaced as Church Minister.
Ulla Tørnæs switched from being Minister of Education to being Minister for Development Cooperation.
Rikke Hvilshøj was appointed Minister for Refugees, Immigrants and Integration.
Lars Barfoed replaced Henriette Kjær as Minister of Family and Consumption, after there had been some criticism Henriette Kjær because her personal finances were in disorder. Barfoed himself resigned, effective 14 December 2006.

List of ministers and portfolios
Some periods in the table below start before 18 February 2005 or end after 23 November 2007 because the minister was also in the Cabinet of Anders Fogh Rasmussen I or III.

References
 Regeringen Anders Fogh Rasmussen II – from the official website of the Folketing

2005 establishments in Denmark
2007 disestablishments in Denmark
Rasmussen, Anders Fogh 2
Anders Fogh Rasmussen
Cabinets established in 2005
Cabinets disestablished in 2007

Anders Fogh Rasmussen II Cabinet


Al-Aflaj Governorate is one of the 22 governorates of Riyadh Province, Saudi Arabia, and its base is Layla city. Al-Aflaj is located more than 300 km away from the capital Riyadh, it has a number of agricultural villages on the mountain of Tuwayq (formerly Al-Arida mountain) from its eastern foot to the western edge.

Location
Al-Aflaj is located in Riyadh region with an area of 54,120 square km, a road passes through it that connects Riyadh (Saudi Arabia's Capital) to 'Asir region in the south and the base of Al-Aflaj (Layla city) 300 km away from Riyadh. In the north, there is Hotat Bani Tamim, Al-H̨arīq in the northwest, Al-Kharj in the northeast, Al-Quwaia in the west, As Sulayyil in the south and the eastern area in the east. It's located between 45.20 degree and 23.15 north of the equator, and between the Longitude 45.15 degree and 48.12 Latitude east of Greenwich.

Administrative Divisions

Villages

 Al-Badie north
 Al-Badie south
 Al-Hadar
 Al-Ahmar
 Wassit
 Al-Ghayl
 Setara
 Harada
 Sayh
 Al-Fuwaydilah
 Al-Amar
 Al-Kharfa
 Al-Rawdah
 Al-Saghw
 Al-Niyabah
 Suwaydan
 Al-Raziqia
 Marwan
 Al-Ajaliya
 Al-Amar
 Al-Juwayfa

References

Populated places in Riyadh Province

Al Aflaj Governorate


Jean-Pierre Louis Rampal (7 January 1922 – 20 May 2000) was a French flautist.  Rampal popularised the flute in the post–World War II years, recovering flute compositions from the Baroque era, and spurring contemporary composers, such as Francis Poulenc, to create new works that have become modern standards in the flautist's repertoire.

Early years
Born in Marseille, the only child of Andrée (née Roggero) and flautist Joseph Rampal. His father Joseph was taught by Hennebains, who also taught Rene le Roy and Marcel Moyse.

Under the tutelage of his father, Rampal began playing the flute at the age of 12. He studied the Altès method at the Conservatoire, where he won first prize in the school's annual flute competition in 1937 at age 16. This was also the year of his first public recital at the Salle Mazenod in Marseille. By then, Rampal was playing second flute alongside his father in the Orchestre des Concerts Classiques de Marseille.

His career in music began without the full encouragement of his parents. Rampal's mother and father encouraged him to become a doctor or surgeon as they felt those professions were more reliable than becoming a professional musician. At the beginning of the Second World War, Rampal duly entered medical school in Marseille, studying there for three years. In 1943, authorities of the Nazi Occupation of France drafted him for forced labour in Germany. To avoid this, he fled to Paris, where it was easier to avoid detection, by frequently changing his lodgings.

While in Paris, Rampal auditioned to study flute at the Paris Conservatoire, where he was taught by Gaston Crunelle from January 1944. Years later, he succeeded Crunelle as flute professor at the Conservatoire. After four months, Rampal's performance of Jolivet's Le chant de Linos won him the coveted first prize in the conservatory's annual flute competition.

Post-war success
In 1945, following the liberation of Paris, Rampal was invited by the composer Henri Tomasi—then conductor of the Orchestre National de France—to perform the Flute Concerto by Jacques Ibert, written for Marcel Moyse in 1934, live on French National Radio. It launched his concert career and was the first of many such broadcasts.

With the war over, Rampal embarked on a series of performances: at first, within France; and then, in 1947, in Switzerland, Austria, Italy, Spain, and the Netherlands. Almost from the beginning, he was accompanied by pianist and harpsichordist Robert Veyron-Lacroix, whom he had met at the Paris Conservatoire in 1946. By contrast with, as Rampal saw it, his own somewhat emotional Provençal temperament, Veyron-Lacroix was a more refined character (a "true upper class Parisian"), but each found with the other a balanced musical partnership. The appearance of this duo after the war has been described as a "complete novelty", allowing them to make a rapid impact on the music-going public in France and elsewhere. In March 1949, in the face of some scepticism, they hired the Salle Gaveau in Paris to perform what then seemed the radical idea of a recital programme made up solely of chamber music for flute. It was one of the first flute/piano recitals the city had seen, and caused a "sensation". The success encouraged Rampal to continue along that track. The recital was repeated the following year in Paris. Throughout the early 1950s, the duo made regular radio broadcasts and gave concerts within France and elsewhere in Europe. Their first international tour came in 1953: an island-hopping journey through Indonesia to ex-pat audiences. From 1954 onwards came his first concerts in eastern Europe—most significantly in Prague, where he premiered Jindrich Feld's Flute Concerto in 1956. In the same year, he appeared in Canada—where, at the Menton festival, he played for the first time in concert with violinist Isaac Stern, who not only became a lifelong friend but also proved a considerable influence on Rampal's own approach to musical expression.

On 14 February 1958, Rampal and Veyron-Lacroix made their US debut with a recital of Poulenc, Bach, Mozart, Beethoven, and Prokofiev in Washington, D.C. at the Library of Congress. In 1959, Rampal gave his first concert in New York City, at the Town Hall. Rampal's successful partnership with Veyron-Lacroix produced their 1962 double LP of the complete Bach flute sonatas. They performed and toured together for some 35 years, until the early 1980s, when Veyron-Lacroix was forced to retire owing to ill-health. Rampal then formed a new and also long-running musical partnership with American pianist John Steele Ritter.

While he pursued his career as a soloist, Rampal remained a ensemble player throughout his life. In 1946, he and oboist Pierre Pierlot founded the Quintette a Vent Francais (French Wind Quintet), formed of a group of musical friends who had made their way through the war: Rampal, Pierlot, clarinetist Jacques Lancelot, bassoonist Paul Hongne, and horn-player Gilbert Coursier. Early in 1944, they had played together, broadcasting at night from a secret "cave" radio station at the Club d'essai in rue de Bec, Paris—a programme of music outlawed by the Nazis, including works with Jewish links by composers such as Hindemith, Schoenberg and Milhaud. The Quintet remained active until the 1960s.

Between 1955 and 1962, Rampal took up the post of Principal Flute at the Paris Opera, traditionally the most prestigious orchestral position open to a French flautist. Having been married in 1947 and now a father of two, the post offered him a regular income.

Recovering the Baroque
Rampal's first commercial recording, made in 1946 for the Boite a Musique label in Montparnasse, Paris, was of Mozart's Flute Quartet in D, with the Trio Pasquier. A key element in Rampal's success in the years immediately after World War II—aside from his evident ability—was his passion for the music of the Baroque era. Aside from a few works by Bach and Vivaldi, Baroque music was still largely unrecognised when Rampal started out. He was well aware that his determination to promote the flute as a prominent solo instrument required a wide and flexible repertoire to support the endeavour. Accordingly, he seems to have been clear in his own mind from the beginning about the importance, as a ready-made resource, of the so-called "Golden Age of the Flute", as the Baroque era had become known. Hundreds of concertos and chamber works written for the flute in the 18th century had fallen into obscurity, and he recognised that the sheer abundance of this early material might offer long-term possibilities for an aspiring soloist.

Even before World War II, he had begun collecting obscure sheet music from the Baroque—making himself familiar with original publishers and catalogues, even though very few published editions were then available. He went on to research in libraries and archives in Paris, Berlin, Vienna, Turin, and every other major city he performed in, and corresponded with others across the musical world. From original sources, he developed a detailed understanding of the Baroque style. He studied Quantz and his famous treatise On Playing The Flute (1752), and later acquired an original copy of it. For Rampal, the Baroque legacy was fuel to set alight a renewed interest in the flute, and it was his energy in pursuing this goal that set him apart from his forebears. Whereas Le Roy, Laurent and Barrère had all recorded two or three of Bach's flute sonatas between 1929 and 1939, between 1947 and 1950 Rampal recorded all of them for Boîte à Musique, and was beginning to regularly perform the complete Bach sonatas in recital, organising them across two evenings. As early as 1950–51 he became the first to record all six of Vivaldi's Op.10 concertos, an exercise he was to repeat several times in later years.

In an interview with the New York Times, he offered one explanation for the appeal of Baroque music after the war: "With all this bad mess we had in Europe during the war, people were looking for something quieter, more structured, more well balanced than Romantic music."
In the process of excavating forgotten works for performance, Rampal also had to discover new ways of playing that era's music. He applied his own bright tone and the liveliness and freedom of his style to the original texts, developing along the way a very individual approach to interpretation and, after the Baroque style, to improvised ornamentation. Throughout, Rampal was never tempted to perform on a period instrument; the movement that championed "authentic" instruments for "true" performance of Baroque music had not yet emerged. Instead, he drew on the full range of effects offered by the modern flute to reveal fresh elegance and nuance to Baroque compositions. It was this modernity–the richness and clarity of his sound and the freedom and personality in his expression–combined with a sense of hidden treasures being shared that caught the attention of a wider musical public. "Enchantment is the best possible word to describe this concert", said one Canadian reviewer for Le Devoir in 1956; "Rampal's playing struck me through its variety, its flexibility, its colour and above all its liveliness." This striking effect can be heard on his earliest recordings, between 1946 and 1950. During this period, Rampal quickly benefited from the birth of the long-playing gramophone record. Before 1950, all of his recordings were on 78 rpm discs. After 1950, the 33⅓ rpm long-playing era allowed much greater freedom to accommodate the rate at which he was committing performances to record. At the same time, the birth of the television age ensured Rampal a wider prominence in France than any previous flute-player, through his many concert and recital appearances in the late 1950s and beyond.

A great deal of the material Rampal performed and recorded he also published, supervising sheet music collections in both Europe and the US. In his autobiography, he remarked that he had felt it part of his "duty" to expand as much as possible the repertoire for fellow flautists as well as for himself. In trying to keep the flute before the musical public in the widest sense possible, Rampal also played in as many groups and combinations as he could, a habit he continued for the rest of his life.

In 1952 he founded the Ensemble Baroque de Paris, featuring Rampal himself, Veyron-Lacroix, Pierlot, Hongne, and violinist Robert Gendre. Remaining together over almost three decades, the ensemble proved one of the first musical groups to bring to light the chamber repertoire of the 18th century.

Collaborations
Through his recordings for labels including L'Oiseau-Lyre and, from the mid-1950s, Erato, Rampal continued to give new currency to many "lost" concertos by Italian composers such as Tartini, Cimarosa, Sammartini, and Pergolesi (often collaborating with Claudio Scimone and I Solisti Veneti), and French composers including Devienne, Leclair, and Loeillet, as well as other works from the Potsdam court of the flute-playing king Frederick the Great. His 1955 collaboration in Prague with Czech flautist, composer, and conductor Milan Munclinger resulted in a recording of flute concertos by Benda and Richter. In 1956, with Louis Froment, he recorded concertos in A minor and G major by C.P.E. Bach. Other composers of the era, such as Haydn, Handel, Stamitz, and Quantz, also figured significantly in his repertoire. He was open to experimentation; once, through laborious over-dubbing, he played all five parts in an early recording of a flute quintet by Boismortier.  Rampal was the first flautist to record most, if not all, of the flute works by Bach, Handel, Telemann, Vivaldi, and other composers who now comprise the core repertoire for flute players.

Rampal extended his researches into the Classical and Romantic eras in order to establish some continuity to the repertoire of his instrument. For example, his first "recital" LP, released in both America and Europe, featured music from Bach, Beethoven, Hindemith, Honegger, and Dukas. Aside from recording familiar composers such as Mozart, Schumann, and Schubert, Rampal also helped bring the works of composers such as Reinecke, Gianella, and Mercadante back into view.  From the start, his recital programmes included modern compositions as well. In 1948, as part of his debut recital in Paris, Rampal gave the first Western performance of Prokofiev's Sonata for Flute and Piano in D, which in the 1940s was in danger of being co-opted for the violin despite originally having been written for flute. Later, when preparing a new sheet music edition published by the International Music Company of New York, Rampal consulted Russian violinist David Oistrakh to achieve the best result;<ref>according to Rampal's own account in a radio interview he gave in April 1969 for Chicago classical music station WEFM – contained on CD 16 of JP Rampal: The Complete HMV Recordings: "A Conversation with Jean-Pierre Rampal"</ref> the piece has since become established as a flute favourite. Over his career, he performed all of the flute masterpieces that were composed in the first half of the 20th century, including works by Debussy, Ravel, Roussel, Ibert, Milhaud, Martinů, Hindemith, Honegger, Dukas, Françaix, Damase, and Feld.

As a chamber musician, he continued to collaborate with numerous other soloists, forming collaborations with violinist Isaac Stern and cellist Mstislav Rostropovich. A number of composers wrote especially for Rampal, including Henri Tomasi (Sonatine pour flûte seule, 1949), Jean Françaix (Divertimento, 1953), André Jolivet (Concerto, 1949), Jindřich Feld (Sonata, 1957), and Jean Martinon (Sonatine). Others included Jean Rivier, Antoine Tisné, Serge Nigg, Charles Chaynes, and Maurice Ohana. In addition, he premiered a works by contemporary composers such as Leonard Bernstein, Aaron Copland, Ezra Laderman, David Diamond, and Krzysztof Penderecki. His transcribing in 1968, at the composer's own suggestion, of Aram Khatchaturian's Violin Concerto (recorded 1970) showed Rampal's willingness to broaden the flute repertoire further by borrowing from other instruments. In 1978, the Armenian-American composer Alan Hovhaness wrote his Symphony No. 36, which contained a melodic flute part tailored especially for Rampal, who gave the premiere performance of the work in concert with the National Symphony Orchestra.

The only piece dedicated to Rampal that he never publicly performed was the Sonatine (1946) by Pierre Boulez, which—with its spiky, explosive figures and extravagant use of flutter-tonguing—he found too abstract for his taste. Elsewhere, when sometimes criticised for not playing enough contemporary avant-garde work—"Avant garde of what?" he would ask—Rampal confirmed his aversion to music that looked "like the blueprints for a plumber... pieces that go tweak, twonk, thump, snort—this doesn't inspire me."

One piece in particular, written with Rampal in mind, has since become a modern standard in the essential flute repertoire. Rampal's compatriot Francis Poulenc was commissioned by the Coolidge Foundation of America in 1957 to write a new flute piece. The composer consulted with Rampal regularly on shaping the flute part, and the result, in Rampal's own words, is "a pearl of the flute literature". The official world premiere of Poulenc's Sonata for Flute and Piano was performed on 17 June 1957 by Rampal, accompanied by the composer, at the Strasbourg Festival. Unofficially, however, they had performed it a day or two earlier to a distinguished audience of one: the pianist Artur Rubinstein, a friend of Poulenc's, was unable to stay in Strasbourg for the evening of the concert itself, and so the duo obliged him with a private performance. Poulenc was then unable to travel to Washington for the US premiere on 14 February 1958, so Veyron-Lacroix took his place, and the sonata became a key offering in Rampal's US recital debut, helping launch his long-lived trans-Atlantic career.

 L'homme à la flûte d'or
Rampal was the owner of the only solid gold flute (No. 1375) made, in 1869, by the great French craftsman Louis Lot. Rumours of the survival of the 18-carat gold Lot had been circulating in France for years before the Second World War, but no one knew where the piece had gone. In 1948, almost by chance, Rampal acquired the instrument from an antiques dealer who had wanted to melt the instrument down for the gold—evidently unaware that he was in possession of the flute equivalent of a Stradivarius. With family help, Rampal raised enough funds to rescue the instrument, and went on to perform and record with it for 11 years. In interviews, Rampal said he thought the gold—by contrast with silver—made his naturally bright, sparkling sound "a little darker; the colour is a little warmer, I like it". Only in 1958, when presented during his debut US tour with a 14-carat gold instrument made after the Lot pattern by the William S. Haynes Flute Company of Boston, did Rampal stop using the 1869 original. After one final recording in London, he consigned the golden Lot to the safety of a bank vault in France, and thereafter made the Haynes his concert instrument of choice.

 Celebrity

Throughout the 1960s, 1970s, and 1980s, Rampal remained especially popular in the US and Japan (where he had first toured in 1964). He toured America annually and was a regular presence at the Mostly Mozart Festival at the Lincoln Center in New York. At his busiest, he performed between 150 and 200 concerts a year.

His range extended well beyond the orthodox: alongside the classical recordings, he recorded Catalan and Scottish folk songs, Indian music with sitarist Ravi Shankar, and, accompanied by the French harpist Lily Laskine, an album of Japanese folk melodies that was named album of the year in Japan. He also recorded Scott Joplin rags and Gershwin, and collaborated with French jazz pianist Claude Bolling. The Suite for Flute and Jazz Piano (1975), written by Bolling especially for Rampal, topped the US Billboard charts and remained there for ten years. This raised his profile with the American public even further and led, in January 1981, to a TV appearance on Jim Henson's The Muppet Show, where he played "Lo, Hear the Gentle Lark" with Miss Piggy—and, suitably attired, "Ease on Down the Road" in a scene loosely based on the folktale of the Pied Piper.

Back on the classical stage, he was not afraid to be, as he put it, "a bit of a ham"; when performing Scott Joplin's Ragtime Dance and Stomp as a concert hall encore, for example, he provided extra percussion by stamping his feet rhythmically on stage in time to the music.
Meanwhile, Bolling and Rampal came together again for Bolling's Picnic Suite (1980) with guitarist Alexander Lagoya, the Suite No. 2 for Flute and Jazz Piano (1987), and also to perform the instrumental theme song "Goodbye For Now" by Stephen Sondheim for Reds, Warren Beatty's 1981 movie about the Communist revolution in Russia. His reputation as a celebrity soloist in America became such that, as Esquire reported, one critic dubbed him "the Alexander of the flute, with no new worlds to conquer." Following a performance of Mozart's Concerto for Flute, Harp, and Orchestra with the New York Philharmonic in 1976, New York Times critic Harold C. Schonberg wrote "Mr. Rampal, with his effortless long line, his sweet and pure tone and his sensitive musicianship, is of course one of the great flutists in history." Throughout these years of mounting celebrity, Rampal continued to research and edit sheet-music editions of flute works for publishing houses including Georges Billaudot in Paris and the International Music Company in the US.

 Achievement
Of the primal appeal of the flute, Rampal once told the Chicago Tribune: "For me, the flute is really the sound of humanity, the sound of man flowing, completely free from his body almost without an intermediary[...] Playing the flute is not as direct as singing, but it's nearly the same."

Calling Rampal "an indisputably major artist", The New York Times said "Rampal's popularity was grounded in qualities that won him consistent praise from critics and musicians in the first decades of his career: solid musicianship, technical command, uncanny breath control, and a distinctive tone that eschewed Romantic richness and warm vibrato in favor of clarity, radiance, focus and a wide palette of colorings. Younger flutists assiduously studied and tried to copy his approaches to tonguing, fingering, embouchure (the position of the lips on the mouthpiece) and breathing."

Throughout the busiest years of his concert career, Rampal continued to find time to teach others, encouraging his students to listen not only to other flute players, but also to take inspiration from other great musical interpreters—be they pianists, violinists, or singers. He maintained a clear opinion about the right balance between "virtuosity" and aspiring to real musical expressiveness. "Of course," he said, "you have to master all the problems of technique to be free to express yourself through your instrument. You can have a big imagination and a big heart but you cannot express it without technique. But the first quality you must have to be good, to be inspiring, is the sound. Without the sound you cannot achieve anything. The tone, the sound, the sonorité is most important. Otherwise, with the fingers alone it is not enough... everyone these days has the fingers, the virtuosity... but the sound, the tone, that's not so easy."

Following the foundation of the Nice Summer Academy in 1959, Rampal held classes there annually until 1977. In 1969, he succeeded Gaston Crunelle as flute professor at the Paris Conservatoire, a position he held until 1981. William Bennett, too, has commented on Rampal's infectious enthusiasm for music-making: "his repute came more from his musical sparkle and the happy personality which radiated to the audience". Bennett had also sought Rampal out for lessons in Paris and was "instantly delighted with him—his humour, and his generosity—especially for his sharing my enthusiasm for other great players such as Moyse, Dufrene & Crunelle".

Rampal's principal American students include concert and recording artist Robert Stallman and Ransom Wilson, who has followed in his mentor's footsteps as conductor as well as flautist.

Family life

Rampal and his harpist wife Françoise, née Bacqueryrisse, were married on 7 June 1947. They made their home in Paris, living in the Avenue Mozart. They had two children, Isabelle and Jean-Jacques. Each year, they holidayed at their house on Corsica, where Jean-Pierre was able to indulge his passion for boating, fishing and photography. Well known for his love of good food, he liked to maintain a private rule wherever he went on tour that he would eat "only the cuisine of the country" he was in and he looked forward to his post-concert dinners with relish. He developed a particular fondness for Japanese cuisine, and in 1981 wrote an introduction to The Book of Sushi written by a chef and a master sushi teacher.
Rampal's autobiography Music, My Love appeared in 1989 (published by Random House).

 Leaving the stage
In later years, Rampal took up the conductor's baton with more frequency but he continued to play well into his late 70s. The last work of importance dedicated to him was Krzysztof Penderecki's Flute Concerto which he premiered in Switzerland in 1992, followed by its first performance in America at Lincoln Center. Rampal's last public recital was held at the Theatre Villamarta in Jerez de la Frontera (Spain) in November 1999, when he was 77; he performed works by Bach, Mozart, Kuhlau and Mendelssohn. His last recording was made with the Pasquier Trio and flautist Claudi Arimany (trio and quartets by Mozart and Hoffmeister) in Paris in December 1999.

After Rampal died in Paris of heart failure in May 2000 at age 78, French President Jacques Chirac led the tributes, saying "his flute spoke to the heart. A light in the musical world has just flickered out."  Flautist Eugenia Zukerman observed: "He played with such a rich palette of color in a way that few people had done before and no one since. He had an ability to imbue sound with texture and clarity and emotional content. He was a dazzling virtuoso, but more than anything he was a supreme poet." The trustees and staff of Carnegie Hall in New York, where Rampal had performed 45 times over a 29-year period, hailed him as "one of the greatest flutists of the 20th Century and one of the greatest musical spirits of our time." The obituary in Le Monde claimed him to be no less than "L'inventeur de la flute" and celebrated all the musical characteristics that charmed audiences worldwide: "la sonorite sublime, la vivacite des phrases, la virtuosite laissaient une impression de bonheur, de joie a ses auditeurs".

James Galway, Rampal's globally known successor as "The Man with the Golden Flute", dedicated performances to him and recalled elsewhere how as a teenager he had been captivated by the sound of Rampal's "fluid technique" and "the beauty of his tone". For a young musician in the 1960s, he said, listening to Rampal's recordings "was a step into the stars as far as flute playing was concerned." He recalled also the generous encouragement Rampal gave him following their meetings in Paris. Of the passing of his "hero", Galway added: "He was the first major influence in my life and I am still grateful for everything he ever did for me. He was a great influence on the flute world and the musical world in general, bringing to ordinary folk through his music making a charm which enhanced their everyday lives."

At Rampal's funeral, fellow flautists played the Adagio from Boismortier's Second Flute Concerto in A Minor in recognition of his lifelong passion for Baroque music in general and Boismortier in particular.

Jean-Pierre Rampal is buried in the Cimetière du Montparnasse, Paris.

Honours
Rampal's honours include his Grand Prix du Disques from l'Académie Charles Cros which included awards for his recording of Vivaldi's Op. 10 flute concertos (1954), his recording of concertos by Benda and Richter (1955) with the Chamber Orchestra of Prague (Milan Munclinger), and in 1976 the Grand Prix ad honorem du Président de la République for his overall recording career to date. He also received the "Réalité" Oscar du Premier Virtuose Francais (1964), the Edison Prize; the Prix Mondial du Disque; the 1978 Leonie Sonning Prize (Denmark), the 1980 Prix d'Honneur of the 13th Montreux World Recording Prize for all his recordings; and the Lotos Club Medal of Merit for his lifetime's achievement. In 1988, he was created President d'honneur of the French Flute Association "La Traversière", while in 1991 the National Flute Association of America gave him its inaugural Lifetime Achievement award.

State honours included being made Chevalier de la Légion d'Honneur (1966) and Officier de la Légion d'Honneur (1979). He was also made a Commandeur de l'Ordre National du Mérite (1982) and Commandeur de l'Ordre des Arts et Lettres (1989). The City of Paris presented him with the Grande Médaille de la Ville Paris (1987), and in 1994 he received the Trophée des Arts from the Franco-American French Institute Alliance Française "for bridging French and American Cultures through his magnificent music". In 1994 the Ambassador of Japan presented Rampal with the Order du Tréasor Sacre, the highest distinction presented by the Japanese government, in recognition of having inspired a new generation of aspiring flute-players in that country. Strangely, with his enduring international fame assured, Rampal himself came to feel in later years that his own reputation within his native France had in some way diminished. It was "curious", he wrote in Le Monde in 1990, that no French music critics appeared to take any notice of his latest recordings: "Everything continues as if I didn't exist", he said; "This doesn't matter; I still play to full houses."
But after his death, there was no shortage of public accolades to reflect the fact that he was indeed a source of national pride.

The Jean-Pierre Rampal Flute Competition, begun in his honour in 1980 and open to flautists of all nationalities born after 8 November 1971, is held tri-annually as part of the Concours internationaux de la Ville de Paris.

In June 2005, the Association Jean-Pierre Rampal was founded in France to perpetuate the study and appreciation of Rampal's contribution to the art of flute-playing. Among other projects, which include maintaining the Jean-Pierre Rampal Archive, the association has collaborated in the re-release on the Premier Horizons label of a number of early Rampal performances on CD.

 Discography
Throughout his life Rampal was prolific when it came to committing performances to record. He recorded for a wide range of labels in Europe, America and Japan. In his autobiography (Music My Love, 1989) Rampal admitted that he himself found it difficult to keep track of the number of recordings he had made over his lifetime. In its obituary of Rampal (June Emerson, 24 May 2000), The Guardian newspaper offered up the customary claim that Rampal "became one of the world's most recorded artists, with more than 400 records spanning the essential flute repertoire, quantities of new discoveries and first recordings of hitherto unknown works". The New York Times obituary (Anthony Tommasini, 21 May 2000) agreed, pronouncing him "one of the most-recorded and best-selling classical instrumentalists in history." Rampal's last record label, Sony Classical, went a little further, describing the flutist as perhaps the world's single most-recorded classical musician of all.

Rampal's earliest recordings, 1946–1950, were on 78 rpm discs, many for the Parisian "Boite a Musique" label. With the opening of the 33 rpm LP era, he recorded for over 20 different labels between 1950 and 1970. Among the most significant of these was the French Erato label, founded in 1953, for whom he made approximately 100 recordings (several issued in the US on the RCA Red Seal label). In 1964 alone he recorded 17 albums, including three complete sets of flute pieces by Mozart, Handel, and Beethoven, in addition to concertos and other works. In 1978, with Ensemble Lunaire, he recorded Japanese Folk Melodies, which included three folk songs transcribed by Akio Yashiro but primarily featured music by late 19th and early 20th-century Japanese doyo composers: Tamezō Narita, Kōsaku Yamada, Megumi Ohnaka, Rentarō Taki, Ryūtarō Hirota, Kozaburo Hirai, Nagayo Motohori, and Shin Kusakawa, on CBS Records. In 1979, he signed an exclusive contract with the CBS label (later Sony Classical), and he made over 60 albums for them.

In the years following Rampal's death in 2000 many of his recordings spanning more than half a century were re-issued. Of particular note are the several collections produced by the recording companies he was most associated with.

Jean-Pierre Rampal: Le premier virtuose moderne - The compact disc set, issued in France in 2002 in collaboration with the Association Française de la Flûte,  contains rare early performances from 78 rpm records made from 1946 to 1959. Charting the emergence of the young Rampal on record in the post-war years, this 3xCD Traversieres Flute Collection collection (Patrimoine, Vol.1) includes a set of five Bach Sonatas (BWV 1030, 1031, 1032, 1020, 1034 – recorded 1947-50); sonatas by Telemann (rec 1949) and Leclair (rec 1950); pieces by Couperin (rec 1950) and Haydn (rec 1950); a concerto for five flutes by Boismortier (rec 1949); a duet in G by Beethoven played with his father Joseph Rampal (rec 1951); and three Mozart quartets (KV 285, 285a and 285b – recorded 1946-50); alongside these are contemporary works by Roussel (rec 1950), Milhaud (rec 1949), Honegger (rec 1949), Dukas (rec 1950), Hindemith (rec 1950), Feld (rec 1959) and Francaix (rec 1955), and Rampal's earliest recording of Debussy's 'Syrinx' (rec 1949). The accompanying notes by Dennis Verroust of the French Flute Association, June 2002, reveal that in the 1949 Boismortier recording Rampal is not yet the star but plays the third flute part alongside Fernand Dufrene, Robert Rochut, Alphonse Kenvyn and Georges Lussagnet; it also confirms what Rampal himself declared in his autobiography 'Music, My Love' that the D major flute quartet (KV 285) by Mozart, with the Trio Pasquier in April 1946, was in fact his first ever recording.

The Association Jean-Pierre Rampal has re-issued a number of early recordings (on the Premier Horizons label and elsewhere), including his 1954 recording of the concerto by Feld, and a range of recordings he made between 1954 and 1966 with orchestras conducted by Karl Ristenpart, with whom he enjoyed a close collaboration. These include works by Vivaldi, Bach, Handel, Tartini, Mozart, Arma, and Jolivet.

Jean-Pierre Rampal: The Complete Erato Recordings (3 vols) -
In 2015, the Complete Erato Recordings made by Rampal were reissued, containing a wealth of material on the label for which he recorded extensively from the early 1950s to the early 1980s. These three volumes, comprising over 40 CDs (vo.1: 1954–63, vol.2: 1963–69, vol.3: 1970–82), stand alongside the Complete HMV Recordings (1951–76 on 12 CDs) also re-issued under the Erato label.

In 2017 the release of the double CD Jean-Pierre Rampal in Prague: the Complete Supraphon Recordings specifically marked his landmark collaboration in the mid-1950s with Czech conductor and flutist Milan Munclinger, and contains the first recordings of concertos by Benda, Richter, Stamitz and Feld, together with the Prokofiev sonata and other pieces.

Jean-Pierre Rampal: The Complete CBS Masterworks Recordings -
In 2022, to mark the centenary of Rampal's birth, Sony Classical, in collaboration with Association Jean-Pierre Rampal, issued its collection Jean-Pierre Rampal: The Complete CBS Masterworks Recordings. Across 56 CDs, this box-set features recordings that Rampal made through the second half of his career, between 1969 and 1996, a period that saw his recording interests transferred to the American company CBS after his earlier and lengthy partnership with the French label Erato.  Although the bulk of the CBS recordings are from the classical repertoire, there are also several cross-over albums (e.g. music by Bolling, Gershwin, Joplin, etc). Among many highlights, the collection charts Rampal's collaboration with American pianist John Steele Ritter, who in the late 1970s took over as his principal accompanist once illness had caused long-time recital partner Robert Veyron Lacroix to step back from touring.

 Rampal on TV and DVD
Rampal made a great number of television concert appearances in France from the late 1950s onwards, and later elsewhere—especially in America and Japan, where his reputation and following remained highest. As the first televised flute-player of any age, the medium contributed to his worldwide popularity in the decades after World War II:Jean-Pierre RampalEMI "Classic Archive" DVB 51089991; released 2007 in collaboration with the Association Jean-Pierre Rampal This presents a collection of fine early performances filmed for French TV between 1958 and 1965 and still held in the Institut National de l'Audiovisuel, the national French television archive. The earliest footage was broadcast on 17 March 1958, in the musical TV series Les Grandes Interprètes, soon after Rampal had returned from his successful debut tour of the US.
He begins with Handel's Sonata in F (HWV.369), then plays Debussy's The Little Shepherd and Ravel's Pièce en forme de habanera, both transcribed for flute and piano; and also Jolivet's Incantation C for unaccompanied flute. For the Handel, Debussy, and Ravel pieces, he is accompanied by the programme's presenter, pianist Bernard Gavoty. After a performance of Vivaldi's La Notte concerto in G minor RV 439 with the Collegium Musicum de Paris (broadcast 8 October 1963) comes a rendition of J.S. Bach's Suite in C minor BWV 997 (Paris, 16 April 1963) and the opening Allegro from Bach's Sonata in G minor BWV 1020 (Paris, broadcast 28 December 1964), both with Veyron-Lacroix at the harpsichord. More of this duo in recital at the Salle Gaveau in Paris (19 March 1964) appears from the TV series the Jeunesses musicales de France, featuring Couperin's Concert Royal No. 4, parts of J. S. Bach's Partita in A minor for solo flute and a sonata in B flat, K.15, by Mozart. The two concerto performances that complete the collection, both with the Orchestre Philharmonique de l'ORTF conducted by Rampal's long-time collaborator Louis de Froment, are of Mozart's Concerto No. 1 in G, K.313 (Paris, 5 May 1965), and the Ibert flute concerto (Paris, 8 April 1962). Of the Mozart concertos, Rampal said in a BBC Radio 4 interview that he did not like his 1966 recording with the Vienna Symphony Orchestra for ERATO because his playing was adversely affected by the uncomfortably high orchestral pitch insisted upon in Vienna. By contrast, he said he preferred his 1978 recording with the 'Israel Symphony Orchestra', even though it does not compare particularly well with the earlier TV performance.Francis Poulenc and FriendsEMI 'Classic Archive' DVB 3102019 Rampal, playing the Poulenc flute sonata, is featured twice in this compilation, once with Poulenc himself in 1959 and again after the composer's death in 1963. The initial footage, preserved in the national French TV archive, is of a televised concert given by Poulenc in Paris at the Salle Gaveau in 1959. After a brief interview with the composer, Poulenc is joined on set by Rampal to perform the slow Cantilena from the flute Sonata. Rampal is seen again later in footage from a TV broadcast in which he plays the complete Flute Sonata, this time accompanied by  Veyron-Lacroix. Additional performances of Poulenc's music are provided by artists including pianist Jacques Février, cellist Maurice Gendron, baritone Gabriel Bacquier, organist Jean-Jacques Grunenwald, soprano Denise Duval and others, together with the ORTF National Orchestra conducted by Georges Prêtre.The Art of Jean-Pierre Rampal 1956–1966Video Artists International This is a two-volume DVD compilation featuring a series of Radio-Canada "Telecasts", broadcast and recorded during the years when Rampal was at the peak of his fame. In this rare footage, retrieved from the archives of CBC Montreal, Rampal is accompanied by Veyron-Lacroix and the McGill Chamber Orchestra, conducted by Alexander Brott. The first volume of this set of live broadcasts includes: Boccherini's Concerto for Flute and Orchestra in D major (broadcast 1 March 1956); Haydn's Concerto for flute, harpsichord and string orchestra in F major, with Debussy's Syrinx for unaccompanied flute (broadcast 28 March 1957); Couperin's Concert Royal IV, with J. S. Bach's Sonata for flute and harpsichord in G minor, BWV 1020 (broadcast 27 December 1961). Volume two features Mozart's Flute Concerto No. 2 in D major, K.314, together with the Flute Concerto No. 1 in G major, K.313 (broadcast 24 February 1966).Bolling: Suite for Flute and Jazz Piano This features a live televised performance from 1976 of Claude Bolling's cross-over Suite (1973), written for Jean-Pierre Rampal (who plays a classical line to Bolling's jazz piano) and which by then had become a runaway success in the Billboard charts. Special guest double-bass player Max Hediguer is also featured.

 Radio
Apart from the many French Radio broadcasts of performances by Rampal, BBC Radio 4 broadcast a 45-minute profile, Rampal–"Prince of Flute Players", on 11 October 1983 in the 20:20–21:05 documentary slot. It contained extracts from an interview with Rampal himself, rare for the fact that Rampal gave very few interviews of any length in English. Rampal talks about his life and times and his approach to music-making. Also featured are interviews with English flautist William Bennett, American flautist and Rampal's sometime-pupil Elena Duran, and violinist Isaac Stern—who was Rampal's long-time friend and musical collaborator. The programme is kept in the BBC Sound Archive, together with the two unedited original interviews with Rampal that it draws on (both recorded by BBC producer Peter Griffiths in London, in January 1981 and November 1982, at the Westbury Hotel, Conduit Street, off Regent Street, where Rampal normally stayed in London).

FilmsL. Subramaniam: Violin From the Heart (1999), directed by Jean Henri Meunier, includes a scene of Rampal performing with L. Subramaniam.

Rampal also makes an appearance in the 1977 educational film The Joy of Bach'', playing his flute on a rooftop in France.

Footnotes

References

Cited sources

External links
L'Association Jean-Pierre Rampal
Jean Pierre-Rampal Flute Competition The 8th Jean-Pierre Rampal International Flute Competition is to be held in Paris, from 23 September to 4 October 2008, as part of the Concours internationaux de la Ville de Paris.

Fanfaire tributes to Rampal
Some programs, introduction and photos from his 3 acclaimed tours of Southern Africa, 1959–73
Photographs of Jean-Pierre Rampal at the Académie Internationale d'Eté in Nice, 1968 & 1970
Photographs of Rampal in rehearsal with Aaron Copland at Saratoga Springs, New York, 1979
 J-P Rampal touring Southern Africa with the French Wind Quintet, 1963

Musicians from Marseille
1922 births
2000 deaths
Burials at Montparnasse Cemetery
Conservatoire de Paris alumni
French classical flautists
Academic staff of the Conservatoire de Paris
Recipients of the Léonie Sonning Music Prize
20th-century classical musicians
20th-century French musicians
Erato Records artists
20th-century flautists

Jean-Pierre Rampal


Janez Janez Švajncer (shortened Janez J. Švajncer) (born 3 July 1948) is a Slovenian retired brigadier, historian, lawyer, museologist, writer, editor and a veteran of the Ten-Day War. He is an author of several volumes and articles on military history, and is one of the most renowned Slovenian militar historians.

Švajncer was born in Ljubljana, Federal People's Republic of Yugoslavia, now Slovenia. In 1967 he graduated from a grammar school in Maribor. Three years later he took a degree in a law school and after that he enrolled the Faculty of law in Ljubljana.

Between December 1990 and June 1991, he helped in the reorganization of the Slovenian Territorial Defence into a proper Slovenian Army. He participated in the Ten Day War against the invasion of the Yugoslav People's Army. Between 1991 and 1992, he was head of the Department for Patriotic Education of the Headquarters of the Slovenian Army; between 1992 and 1994, he served as vice-secretary of the Ministry of Defence and director of the Office for Military Affairs within the Ministry. After the dismissal of Defence Minister Janez Janša in 1994, Janez Švajncer was dismissed from office and retired in 1996.

Švajncer is author of numerous volumes of military history, both Slovenian and widely European. He is also author of several novels and children books.

References

1948 births
Living people
Journalists from Ljubljana
Military personnel from Ljubljana
20th-century Slovenian historians
Slovenian writers

Janez J. Švajncer


Caulanthus californicus is a species of flowering plant in the family Brassicaceae known by the common names California jewelflower and St. Francis cabbage.

It is endemic to California, where it has been known only from the San Joaquin Valley and the adjacent eastern slopes of the Central Coast Ranges, including the Carrizo Plain and Cuyama Valley. Its range is dramatically decreased from its historical distribution, and the plant is a federally listed endangered species.

This is an annual herb producing an erect or spreading branched stem which is variable in height. The rounded or oval, toothed leaves are up to 10 centimeters long and clasp the stem, mainly around the lower part. The inflorescence produces several rounded flowers, often only along one side of the stem. Each flower has pouched sepals which are dark purple when new and turn light green to white as the flower opens. The frilly petals inside are nearly white with purple veining. The fruit is a silique up to 6 centimeters long.

This endangered plant once occurred across the San Joaquin Valley and well into the surrounding coastal and Transverse Ranges, as well as the Sierra Nevada foothills. As the Central Valley floor was converted to agriculture on a large scale, the plant was extirpated from there. It currently exists in three remaining areas: the Carrizo Plain, Santa Barbara Canyon in Santa Barbara County, and the Kreyenhagen Hills in Fresno County. There are 20 occurrences remaining; at least 35 known occurrences have been extirpated.

References

External links
Jepson Manual Treatment; Caulanthus californicus
USDA Plants Profile of Caulanthus californicus
Caulanthus californicus — U.C. Photo gallery

californicus
Endemic flora of California
Natural history of the California Coast Ranges
Natural history of the Central Valley (California)
Plants described in 1880
NatureServe critically imperiled species

Caulanthus californicus


Boundary layer suction is a boundary layer control technique in which an air pump is used to extract the boundary layer at the wing or the inlet of an aircraft. Improving the air flow can reduce drag. Improvements in fuel efficiency have been estimated as high as 30%.

The boundary layer
The air molecules at the surface of a wing are effectively stationary (see the no-slip condition). If the flow is smooth, known as laminar flow, the velocity of the air increases steadily as measurements are taken further away from the surface. However the smooth flow is often disturbed by the boundary layer breaking away from the surface and creating a low pressure region immediately behind the airfoil (see flow separation). This low pressure region results in increased overall drag. Attempts have been made over the years to delay the onset of this flow separation by careful design and smooth surfaces.

Use of suction
As flow separation results from the velocity deficit that is characteristic of boundary layers, suction attempts to remove the boundary layer from the surface before it can separate.  The technology was first developed by Werner Pfenninger in the Second World War and has been researched almost continuously since. In the 1960s, NASA experimented with this concept with the Northrop X-21, a converted Douglas WB-66D. In the 1990s, tests were done by NASA with an F-16XL.

Research is going on for its use in gliders at the Technical University of Delft. However, about 500 watts of power would be needed to drive the pumps which would mean covering the glider with solar panels and would increase the cost greatly.}

See also
 The pusher configuration is an alternative way to re-energize the boundary layer, but is only used on the fuselage.
 NASA F-16XL research aircraft
 Vortex generator
 Aerodynamics
 Boundary layer control
 Circulation control wing
 Turbulator

References

External links

 DGflugzeugbau article
 combination of vortex generator with suction

Boundary layers
Aircraft wing design

Boundary layer suction


A long distance race is any running event on the track that is longer than 3000m. This includes such events as the 3000m run, the 3000m steeplechase, the 3200m run, the two mile run,  the three mile run, 5000m run, five mile run, six mile run, and 10000m run, and so on.

The original marathon race, created in 1896, paid tribute to the legendary run completed by Greek messenger Pheidippides in 490 BC. Pheidippides gives word of the Greek victory over Persia at the Battle of Marathon to the people of Athens.  That's when, according to legend, Pheidippides (530-490 BC) ran 26 miles from Marathon to Athens to deliver news of a military victory against the Persians in the Battle of Marathon.

Related pages
 Sprint
 Middle distance race
 Walking race
 Hurdle race
 Relay
 Steeplechase (athletics)
 Cross-country race
 Marathon

Running

Long distance race


Honyaki (本焼) (literally true-fired) is the name for the Japanese traditional method of metalwork construction most often seen in kitchen knives (but also other tools) by forging a blade, with a technique most similar to the tradition of nihonto, from a single piece of high-carbon steel covered with clay to yield upon quench a soft, resilient spine, a hamon (or temper line), and a hard, sharp edge. Honyaki as a term alone can refer to either mizu honyaki (water-quench) or abura honyaki (oil quench). The goal is to produce a sharper, longer lasting edge than is usually achievable with the lamination method. The term has been adapted to describe high-end mono-stainless in Japan and carbon blades by non-Japanese bladesmiths that have a hamon but are made with Western steel, heat treat, equipment, finishing (etching and polishing), and design.

Traditional process

Fuel and steel: Pine charcoal is cut to size for use in the fire as gentle heat for the blade before quench. Coke is the most common fuel to forge the blade to shape and is preheated to remove remaining sulfur and phosphorus. Gas is cheaper and may also be used but may yield lower quality, whereas pine charcoal may yield higher quality but it is more expensive. An electric fan or a box bellow is used to feed air into the forge. The steel is usually one of the carbon knife steels Hitachi produces at Yasugi Specialty Steel. These are the unalloyed White steel (1, 2, 3) and the tungsten and chromium alloyed Blue steel (1, 2, Super), with White 2 the most common and Blue 2 the next most produced. Less common are White 1 and White 3 and rarely used is Blue Super (because it is much harder to forge due to the resiliency to stretching from the alloying), and even less common is tamahagane (as the steel is expensive, much more difficult to process, and must be correctly forge welded and flattened).

Steel qualities and quenchant: Blacksmith skill aside and specific heat treatment aside, the 1 versions (higher carbon) are harder, more wear resistant, more fragile and harder to forge, harder to sharpen, and harder to straighten. The 3 versions (lower carbon, at the eutectoid point) are not necessarily softer, but often tougher, easier to sharpen, and easier to make. Blue steel is more difficult to forge, sharpen, and straighten (because the "soft" steel covered by clay still hardens). To perform traditional water quench on this steel can exacerbate the formation of cracks because of its deeper hardening. White steel 1 is difficult to forge and to quench due to its higher carbon and can become harder and more brittle than White 2. A water quench with these traditional steels and processes will result in a blade that is harder, stiffer, sharper with longer lasting sharpness but that is more difficult to sharpen and relatively less tough. An oil quench with the same steels will result in a blade that is marginally less hard, stiff, sharp with less lasting sharpness but that is easier to sharpen and tougher. The choice of quenchant depends on user preference of blade qualities.

Forging: Unlike awase bocho, honyaki in general have no need to raise to forge welding heat. This skips the possible carbon migration to the mild steel and decarburization from the heating to around 1000 degrees Celsius. Furthermore, the smith skips the need to weld the layers careful under careful heating and to evenly forge the core steel. In this regard to forging White 2 steel, honyaki is easier than in awase bocho. More alloy and higher carbon make this more difficult. There are multiple re-heatings and forging from high temperatures downward. Blades are cooled and annealed in carbonized rice straw or ash, cut to rough shape, cold forged, and corrected for distortion multiple times. They are preferably left to stabilize for a bit between each step to help reduce distortion. The knife is rough ground to shape with the , , and profile. These steps generally require more effort than with laminated knives.

Quenching: A paste is applied to the blade using water, charcoal, clay, ground natural sharpening stone, and other ingredients in a proprietary way and composition. This thicker paste goes on the blade spine on both sides and traditionally mimics the wavy hamon of nihonto. A thinner slip goes on the hard edge to help heat transfer there. It then must dry in air or over heat. The quench water or oil is prepared and brought to the right temperature. The forge is heated. Lights are turned off and the room shut from the outside. Once ready, the blade is buried and shuffled around in the charcoal and when it reaches the correct temperature it is thrust into water and moved forward and back (so as to prevent lateral distortion) and then after a couple seconds side to side. The knife could also be brought up slightly above temperature and then held in the room to the correct temperature before quench. The quench could be interrupted toward the end for more rough grinding or to correct distortion. The blade is tempered either immediately over fire, or in oil, or in an oven. The water quench regularly destroys many blades by cracking them or warping them too badly to reasonably sell.

Sharpening and finishing: The forged and quenched blade is preferably left to sit for some time to age-harden, so that when the knife is made straight, few if any distortions will appear later on as the knife ages further. If the knife is being made under the Sakai, Osaka production system, the knife is sent to a sharpener who corrects for distortion and sharpens simultaneously to make the final geometry and profile of the knife, and then is finished by polishing, engraving, and installation of handle by other craftsmen. It may be mirror polished or finished with natural stones to highlight the hamon, resist rusting, and improve balance and some honyaki display alloy banding upon polish. The handle is installed and a saya is usually made. Ebony fittings denote ornamental display as the wood is hard enough to scratch the blade in the saya and the ebony can crack under changes in humidity, and the extra weight may make holding the knife more tiring but can help balance with longer blades. If used for work, it represents the status of the cost and knowledge of proper care and use. The extra labor in manufacture, sharpening, and finishing, time lost to failed blades, and skill in temperature control and forging contributes to the higher price compared to usual laminated blades.

Culture and use
Craftsman: Honyaki is the application of Japanese swordsmithing tradition. Blacksmithing backgrounds (specialty, personality, geography, family lineage, teacher, knowledge, money, tradition, business structure) differ and accordingly produce different interpretation of the technique. It usually represents the best work of all craftsmen involved.

Chef: Traditionally chefs first learn to use stainless, then kasumi, hon-kasumi, and finally mizu or abura honyaki. The honyaki knives are usually used only after completion of an apprenticeship after becoming proficient in ingredients, cooking, sharpening, and knife use. Honyaki knives are usually harder to sharpen in comparison to laminated blades because they have no mild steel that is quickly removed and are usually even harder. They usually chip more easily in use and sharpening and are extra sensitive to hard surfaces including in sharpening. As the edge is more fragile, the user must know how to hold, cut, sharpen, store, and care for it.

Laminated vs Honyaki: From a strictly heat treat and microscopy point of view, there should be no difference between a laminated and honyaki steel with the same observed structure and heat treat process, but the heat treat necessarily differs, and many users say there is benefit to honyaki. Many users also prefer laminated blades for ease of maintenance, sharpening feel, cost, and toughness. Many blacksmiths prefer laminated blades because at the minimum, they are easier to produce. At the highest levels they have core steel of comparable hardness and sharpness and are not necessarily easier to make due to the skill to forge weld at lower temperatures, with minimal loss of carbon, less flux and iron powder, and with minimal scars while stretching out the laminate. Pattern welding (suminagashi) requires its own skill as well and can produce a stiffer awase knife with less distortion during use and sharpening.

Makers and brands

As Sakai is the kitchen knife capital of Japan, many honyaki come from there.

Brands that offer honyaki include Akifusa, Aritsugu, Ashi Hamono, Carter Cutlery, Fudo Kuniyuki, Gesshin, Ino, Ittotsai Kotetsu, Kikuichi-monji, Hiromoto, Konosuke, Masamoto Sohonten, Masamoto Tsukiji, Minamoto Izumimasa, Mizuno Tanrenjo, Monzaburo, MAC Corporation, Nenohi, Sakai Takayuki, Singatirin, Suisin, Sukenari, Tesshu, Tsubaya, Yamamoto Haken (Hide), Yoshihiro/Yamawaki.

Blacksmiths who have produced honyaki include Futoshi Nagao, Genkai, Hiroki Ashi, Kenichi Shiraki, Satoshi Nakagawa, Kenji Togashi, Kiyoshi Kato, Jyunichi Takagi, Okishiba Masakuni, Tatsuo Ikeda, Watanabe, Yasha Yukawa, Jun Mizuno and Yoshikazu Ikeda.

Stainless "honyaki" (actually zenko) include Suisin Inox Honyaki and Masahiro MV Honyaki.

Makers of Western style "honyaki" include Cris Anderson, Mert Tansu, Nathan James Knives, Bill Burke, Bryan Raquin, William Catcheside,Tslil Censor and Bob Kramer.

References

Japanese knives

Honyaki


Haliburton County is a county in Ontario, Canada. The county seat is Minden Hills. It was named after Thomas Chandler Haliburton, who helped bring settlers into the area. The county covers an area of 4,071.86 square kilometers (1,572.15 square miles) and has a population of 17,026, according to the 2011 census.

There are two townships in Haliburton: Algonquin Highlands and Minden Hills. It also has two municipalities: Dysart et al and Highlands East.

The county is a popular place for toruism, because there are so many lakes and rivers in the county for activities such as fishing and camping. Some of the popular places for tourists to visit are Boshkung Lake, Haliburton Lake, and Kawagama Lake, which is the largest lake in the county.

Counties of Ontario

Haliburton County


Trafalgar Square is in the heart of London and is a large pedestrian square that is bounded on three sides by roads. It serves as a refuge and a major traffic intersection. Important roads go from the square: Whitehall goes to Parliament, the Mall goes to Buckingham Palace and the Strand goes to the City of London. The square is also close to Covent Garden and Charing Cross station.

More than 15 million people go to visit there every year. It contains a large statue of Admiral Horatio Nelson. The square celebrates the Battle of Trafalgar, which was fought in 1805, and contains Nelson's Column, a statue of Nelson mounted on a tall column, with four statues of lions around it. The column is 56 m tall, and the statue is 5 m tall. The National Art Gallery is one of several important buildings facing the Square.

A point in Trafalgar Square is regarded as the official centre of London in legislation, and when measuring distances from the capital.

Uses
The square is visited by many tourists, mainly for pleasure and relaxation. There are, however, meetings and demonstrations in the square.

When the square was first built, demonstrations were banned. The ban lasted until the 1880s, when the new labour movement started to hold demonstrations. One group that did so was the Social Democratic Federation. On "Black Monday", on 6 February 1886, there was a major demonstration about unemployment that led to a riot in Pall Mall.

There were demonstrations in the 1980s against South African apartheid. In 1990, there were riots against the poll tax. In the 2000s, there were demonstrations against the Iraq War.

In recent years the square has become a gathering place for celebrations. When England won the Rugby World Cup in 2003, thousands of fans gathered in the square. Public festivities again happened when London won its bid to hold the 2012 Summer Olympic Games.

The square was also the scene of a large gathering after the terrorist bombings in London on 7 July 2005.

Past
The Square was last dug up in the 19th century in preparation to its present format. Discovered were the skeletons of lion, woolly mammoth, hippopotamus, and hyaenas. Very similar species were found in East London when Ilford was dug up.

The warm stage lasted from 125,000 to 24,000 years ago before the colder climate prevailed until modern times.

References

National squares
Town squares in Europe
Buildings and structures in the City of Westminster

Trafalgar Square


Margaret "Midge" Costanza (November 28, 1932 – March 23, 2010) was an American Presidential advisor, social and political activist. A lifelong champion of gay and women's rights, she was known for her wit, outspoken manner and commitment to her convictions.

Early life and family
Costanza was born to Philip Costanza and Concetta Granata Costanza on November 28, 1932, in LeRoy, New York, and was raised in Rochester. Her parents were Sicilian immigrant sausage-makers. Following various clerical jobs she took after high school, Costanza became an administrative assistant for a real estate developer in Rochester, using this job to become active in several community organizations.

Political career

Activist, councilwoman, and vice-mayor of Rochester
Taking an interest in politics, Costanza volunteered on W. Averell Harriman's campaign for governor in 1954 and soon became the Monroe County, New York, executive director of Robert F. Kennedy's Senate campaign in 1964. She served as a Democratic National Committee member from 1972 until 1977.

In 1973 she ran for an at-large seat on the Rochester city council, becoming Rochester's first councilwoman in a landslide. The recipient of the largest votes traditionally was named mayor, however the council chose a man for the post, naming Costanza vice-mayor, a largely ceremonial position with little power.

Congressional aspirations
Costanza lost a race for the United States House of Representatives in 1974 to the popular Republican incumbent. In 1976 when Georgia Governor Jimmy Carter ran for President of the United States, Costanza served as co-chair of his New York campaign operation and gave a seconding speech for him at the Democratic National Convention (Carter had been a volunteer in Costanza's congressional campaign two years prior).

Woman in the White House
Upon Carter's election Costanza was named Assistant to the President for Public Liaison, moving into the office next door to the Oval Office. Costanza was nicknamed "the President's window to the nation", consulting with a wide array of groups. While in the White House she was a supporter of the Equal Rights Amendment. Costanza caused controversy when she invited fourteen National Gay Task Force leaders and gay rights activists to the White House at the height of Anita Bryant's homophobic "Save Our Children" campaign.

Costanza went on to arrange discussions between the NGTF co-directors and senior officials of the administration. Public disagreements with some of the president's policies, caused controversy and saw Costanza's role in the White House diminished. As her successor Anne Wexler described it: "OPL under Costanza had functioned as an office providing responsiveness to interest groups, a form of White House case work, but had not taken enough initiative to enlist group support by building coalitions that would move the president's program on Capitol Hill." Affirming her support for Carter, she resigned from his administration effective September 1, 1978.

Costanza had been popular with women's groups, and had earned herself a Newsweek cover titled "Woman in the White House". Following her resignation many feminists were angered with Carter, feeling he had "fired" Costanza, on whom much pressure was put to quit.

Career and activism after the White House
Costanza became executive director of her friend Shirley MacLaine's "Higher Self" seminars after moving to Los Angeles and later became vice-president at Alan Landsburg Productions, where she made commercial films and advertisements. She served on many service group boards of directors, including the AIDS research organization Search Alliance and the National Gay Rights Advocates.

Moving to San Diego County, California, in 1990, Costanza coached candidates for office in public speaking, serving as the coordinator for Barbara Boxer's winning United States Senate in the Year of the Woman, 1992, and as manager for Kathleen Brown's failed gubernatorial candidacy in 1994. Governor of California Gray Davis appointed Costanza as a liaison for women's groups and issues. Costanza lost that job when Gray Davis lost a recall reelection in November 2003.

Costanza became a professor at San Diego State University in 2004 and was working with the Political Science and Women's Studies departments of San Diego State and the Political Science department of the University of California, San Diego to develop the Midge Costanza Institute. The Institute is mainly aimed at inspiring young people to become active in political and social causes.

Honor
Midge Costanza was nominated and inducted into the San Diego County Women's Hall of Fame in 2011 by Women's Museum of California, Commission on the Status of Women, University of California, San Diego Women's Center, and San Diego State University Women's Studies.

Death
Costanza died of cancer at Scripps Mercy Hospital in San Diego, California, on March 23, 2010, at the age of 77. She is survived by her brother Anthony.

Midge Costanza was nominated and inducted into the San Diego County Women's Hall of Fame in 2011 for the title of Trailblazer, meaning, women who have paved the way for other women, or were the first in their field. The annual Women's Hall of Fame induction is co-hosted by Women's Museum of California (Located in San Diego), Commission on the Status of Women, UC San Diego Women's Center, and San Diego State Women's Studies.

References

External links
The Midge Costanza Institute
Former Carter aide dies at Bay Ledger

 Margaret "Midge" Costanza papers (American English) , Rare Books, Special Collections, and Preservation, River Campus Libraries, University of Rochester

1932 births
2010 deaths
Activists from California
Activists from Rochester, New York
American feminists
American people of Italian descent
American women's rights activists
Deaths from cancer in California
LGBT appointed officials in the United States
American LGBT rights activists
New York (state) Democrats
People from Le Roy, New York
Rochester City Council members (New York)
People from San Diego County, California
San Diego State University faculty
University of California, San Diego faculty
Women city councillors in New York (state)
Women in New York (state) politics
21st-century American women
Equal Rights Amendment activists

Midge Costanza


A drive-through or drive-thru is a way of achieving quick service, particularly at restaurants. There are also drive-throughs at other places, such as banks or coffee shops.

Examples
 Alcohol at a drive-through liquor store
 Banking services at a drive-through bank
 Coffee at a drive-through coffee shop
 Dairy products at a drive-through dairy store (notably the Skinner Dairy shops of North-East Florida)
 Drugs at a drive-through pharmacy
 Food or drink at a drive-through restaurant (typically fast food)
 Marriage (primarily at special drive-through marriage chapels in Las Vegas in the United States)

Buildings and structures

Drive-through