Stelian Tănase (born  February 17, 1952) is a Romanian writer, journalist, political analyst, and talk show host. Tănase was from November 2013 to October 2015 the president of TVR. Having briefly engaged in politics during the early 1990s, after the fall of the Communist regime, he has remained a leading figure of the Romanian civil society.

Stelian Tănase founded 22 magazine in January 1990 and was its first editor-in-chief. A founding member of both the Group for Social Dialogue and the Civic Alliance, Stelian Tănase was the latter's vice-president between 1991 and 1993. In 1992, he founded Sfera Politicii; he is a managing editor of both, as well as a regular contributor to various Romanian newspapers. Over the years, he was the host of several talk shows (2 plus 1 and Orient express for Antena 1; Maşina de tocat for TVR 1; Zece şi un sfert, Zece fix, Tănase şi Dinescu, and 3 X 3 for Realitatea TV).

Tănase is also vocal in the campaign to declassify all files kept in Securitate archives; in March 2002, he invited on his talk show a discussion his best friend, after it was revealed that the latter had been a Securitate informant who regularly furnished information on Tănase himself.

Biography
Born in Bucharest, he graduated from the local university's Faculty of Philosophy in 1977. Before 1989, two out of his first three books were banned by the Communist regime censorship apparatus.

Tănase became a public figure soon after the Romanian Revolution of 1989: in 1990, he was one of the main organizers of Piata Universitatii marathon protest, Golaniada, the protest movement against former members of the Romanian Communist Party who had gained power during the Revolution.

After July 1991, Tănase sided with the group inside the Civic Alliance that called for the organization's transformation into a political party. As a member of the newly created Civic Alliance Party inside the opposition alliance (the Romanian Democratic Convention), he was elected to the Chamber of Deputies for the 1992–1996 legislature, representing the city of Bucharest. He was vice-president of the Parliamentary Committee for Foreign Affairs (until April 1995) and member of the Special Committee for the Advancing a Legislative Proposal Regarding the Functioning of Political Parties.

In 2006, he was chosen member of the Presidential Commission for the Study of the Communist Dictatorship in Romania by its president, Vladimir Tismăneanu. The Commission was founded by President Traian Băsescu in order to provide for an official and academic basis for condemning the Romanian communist regime. This took place on December 18, 2006, when the President presented the Commission's 660 pages report to Parliament, making Romania the first Eastern Bloc country to officially condemn its communist regime.

Academia
In 1996, he was granted a Ph.D. in political sociology by the University of Bucharest. A visiting professor at the University of California, Los Angeles Sociology Department in 1997, he currently teaches at the University of Bucharest's Faculty of Political Sciences.

Tănase was the recipient of several fellowships: he was Visiting Short-Term Fellow (1993) and Visiting Scholar (1994) at the Woodrow Wilson International Center for Scholars, granted a Visiting Short Term Collaborative research project at the University of California, Los Angeles (with Gail Kligman in 1996); a Fulbright scholar, post-Ph.D. grant, The New School for Social Research (1997); Visiting Short Term Scholar at the Holocaust Memorial Museum in Washington, D.C. (1998).

He has held conferences in Rome, Paris, Oslo, Vienna, Budapest, Washington, D.C., and also at prestigious American universities: the University of California, Los Angeles, the University of California, Berkeley, Stanford University, New York University, Columbia University, the University of Maryland, and The New School for Social Research.

Works

Novels
 1982 - Luxul melancoliei ("The Luxury of Melancholy"); 2 nd ed. 1993
 1990 - Corpuri de iluminat ("Lighting Bodies"), written 1985-1987; 2 nd ed. 1998, 3 rd ed. 2004
 1995 - Playback; 2 nd ed. 2004
 2008 - Maestro
 2010 - "Dracul şi Mumia" ("The Old Nick and the Mummy)
 2011 - "Moartea unui dansator de tango" ("The death of the tango dancer"), translated into Italian and Spanish
 2012 - "Skepsis. Cartea cu Poveşti".
 2017 - "Nocturna cu vampir Opus 1". ("Nocturne with a Vampire opus no. 1")
 2018 - "Partida de vânătoare" ("The Hunting")

Studies and essays
 1993 - Şocuri şi crize ("Shocks and Crises"), collected political articles
 1995 - Ora oficială de iarnă ("Official Winter Time"), diary 1986–1990
 1996 - Sfidarea memoriei. Convorbiri cu Alexandru Paleologu ("Defying Memory. Conversations with Alexandru Paleologu")
 1996 - Revoluţia ca eşec. Elite şi societate ("Revolution as Failure. Elites and Society"), political studies
 1997 - Anatomia mistificării. Procesul Noica-Pillat ("Anatomy of Mystification. The Noica-Pillat Trial")
 1998 - LA vs NY. Jurnal american ("LA vs NY. American Diary")
 1998 - Elite şi societate. Guvernarea Gheorghiu-Dej (1948–1965) ("Elites and Society. The Gheorghiu-Dej Government")
 1999 - Miracolul revoluţiei. O istorie politică a căderii regimurilor comuniste ("The Miracle of Revolution. A Political History of the Fall of Communist Regimes")
 2002 - Acasă se vorbeşte în şoaptă, Dosar & jurnal din anii târzii ai dictaturii ("At Home There is Only Speaking in a Whisper: File and Diary Recording in the Late Years of the Romanian Dictatorship"); contains excerpts from his file at the political police Securitate
 2004 - Zei şi semizei la început de secol ("Gods and Demigods at the Dawn of the Century")
 2005 - Clienţii lu' tanti Varvara. Poveşti clandestine ( "Aunt Varvara's Clients. Clandestine Stories"), translated into English and Spanish
 2017 - "Dinastia" ( "The Dynasty")
 2018 - "Conversaţii cu Regele Mihai" ("Talking with King Michael")

Filmography

Directed
 1991 - Piaţa Univesităţii - România ("University Square - Romania"), documentary

Screenplays
 1999 - Asaltul cerului ("The Siege of the Sky"), documentary for Antena 1; 6 episodes
 2000 - Struma, documentary for Antena 1
 2004 - Vizionarii ("The Foreseers"), portraits of 19th and 20th century Romanian politicians (Mihail Kogălniceanu, Ion Brătianu, Nicolae Iorga, Nicolae Titulescu, Iuliu Maniu), documentary for Realitatea TV; 5 episodes
 2004 - Istoria alegerilor în România secolului XX ("The History of Elections in 20th century Romania"), documentary for Realitatea TV; 6 episodes
 2006 - Dinastia ("The Dynasty"), portraits of the four kings of the Romanians, documentary for the Romanian Television Company; 21 episodes

Honours
  Romanian Royal Family: Knight of the Royal Decoration of the Cross of the Romanian Royal House

References

External links
The Renegade Istrati, excerpt from Aunt Varvara's Clients, translated by Alistair Ian Blyth
 Biography at the Polirom site
Sfera politicii
 Interview in Cariere magazine

1952 births
Living people
Members of the Chamber of Deputies (Romania)
Television people from Bucharest
Romanian political journalists
Romanian film directors
Romanian magazine editors
Romanian memoirists
Romanian novelists
Romanian male novelists
Romanian political scientists
Romanian screenwriters
Romanian television personalities
University of Bucharest alumni
Academic staff of the University of Bucharest
Male screenwriters
Male essayists

Stelian Tănase


Cubo-Futurism or Kubo-Futurizm () was an art movement, developed within Russian Futurism, that arose in early 20th century Russian Empire, defined by its amalgamation of the artistic elements found in Italian Futurism and French Analytical Cubism. Cubo-Futurism was the main school of painting and sculpture practiced by the Russian Futurists.
In 1913, the term "Cubo-Futurism" first came to describe works from members of the poetry group "Hylaeans", as they moved away from poetic Symbolism towards Futurism and zaum, the experimental "visual and sound poetry of Kruchenykh and Khlebninkov". Later in the same year the concept and style of "Cubo-Futurism" became synonymous with the works of artists within Ukrainian and Russian post-revolutionary avant-garde circles as they interrogated non-representational art through the fragmentation and displacement of traditional forms, lines, viewpoints, colours, and textures within their pieces. The impact of Cubo-Futurism was then felt within performance art societies, with Cubo-Futurist painters and poets collaborating on theatre, cinema, and ballet pieces that aimed to break theatre conventions through the use of nonsensical zaum poetry, emphasis on improvisation, and the encouragement of audience participation (an example being the 1913 Futurist satirical tragedy Vladimir Mayakovsky).

The coexistence of these differing strands of artistic practice within Cubo-Futurism reflects an ideological preoccupation with collective renewal and deconstruction (a notion born of their post-revolutionary context) with each poet or painter free to create their own aesthetic consciousness based on the concept of revolution and collective action through reinterpretation of artistic and social traditions.

Background

Importance of Post-Revolutionary context
In the context of late tsarist Russia, society was deeply divided by social class. Russian industrialisation, development, economic growth, and urbanisation fell far behind other Western nations, with the country experiencing high levels of illiteracy, poor health care, and struggling with the limitations of little mass communication outside larger cities. Looking outward at the realities of those from neighbouring countries, artists who would later become members of the Cubo-Futurist movement noticed the impacts of the burgeoning Machine Age on everyday life, recognising the beauty, dynamism, and energy of the utilitarian machine aesthetic leading to a renewed interest in technological modernisation within art, poetry, and life. Ukrainian modernist painter Aleksandr Shevchenko (1883–1948) echoed this sentiment when, in 1913, he stated, "the world has been transformed into a single, monstrous, fantastic, perpetually-moving machine, into a single huge non-animal automatic organism… [this] cannot help but be reflected in our thinking and in our spiritual life: in Art". The "cult of the machine" became an increasingly utopic concept within Cubo-Futurist circles, with artists perceiving the idyllic phenomenon of machine production as the foremost "proletariat creation" due to its ability to help construct an equitable, collective life for all people regardless of class. This ideological conception of utopic perfection through machinery significantly impacted the stylistic elements of the Cubo-Futurist movement, influencing artists to experiment with pure abstraction, geometric shapes, harsh lines and planes, and the deconstruction of organic forms into powerful structures infused with machine symbolism.

Impact of Russian art collectors

At the top of early 20th century Russia's deep social, political, and class divisions were a small group of elite aristocrats and businessmen. With considerable access to international art markets and dealers, they assembled significant number European masterpieces of the early 20th century for their own personal collections. Collectors and patrons, Sergei Shchukin (1854–1936) and Ivan Morozov (1871–1921), paid special attention to Impressionist, Post-Impressionist, Fauvist, Cubist, and Futurist art from all over Europe amassing a large selection of momentous works, and consequently introducing local Russian artists to art movements, techniques, and styles popular around the continent. Shchukin's collection included a considerable number of Picassos, Matisses, Cezannes, Monets, and Gauguins, thus allowing artists in St. Petersburg and Moscow access to Cubist and Futurist artworks that would later influence the development of the Cubo-Futurist movement.

==='Hylea' and the impact of Marinetti's 'Futurist Manifesto''' ===

While Cubo-Futurism was first named and identified in 1913, the movement can be traced back to a congregation of Russian artists who called themselves Soyuz Molodyozhi ('Union of Youth') in 1910. The group was brought together by the Ukrainian painter and poet David Burliuk (1882–1967) under the name budetlyane (a Russian interpretation of the western term "futurists"), inspired by Italian Filippo Tommaso Marinetti's (1876–1944) 1909 Futurist Manifesto. Marinetti's work espoused the need for creatives (e.g. artists and writers) to abandon the past by moving towards the utilisation of the aesthetic language of machinery, industrialisation, urban living, and utilitarian design. For Marinetti and those that followed him, the futurist movement stood for freedom, collectivity, perfection, and social rejuvenation. Influenced by the Futurist Manifesto, the aesthetics of dislocation and fragmentation became the vocabulary of the Cubo-Futurists in their attempt to interrogate the tireless and repetitive dynamism of technology, and highlight their fantasies of a utopic mechanical modernity. The Cubo-Futurists combined the modernist, cosmopolitan spirit of Marinetti's futurism with the aesthetic characteristics of analytical cubism (e.g. abstracted forms, flatness, fragmentation, geometric shapes, muted and dark colours, combination of various viewpoints) in order to create their own didactic art form designed to display the revolutionary focus of the artistic community.

History
Origin of the term

The term 'Cubo-Futurism' first appeared in a lecture in 1913, originally to refer to the poets who belonged to David and Vladimir Burliuk's literary group, 'Hylaea', also spelt 'Guilée' and 'Gylea'. This term was coined by Korney Chukovsky (1882-1969), a Russian art critic, in reference to the work of Vladimir Mayakovsky, Aleksey Kruchonykh, Velimir Khlebnikov, Benedict Livshits, and Vasily Kamensky, members of the Hylaea group. It was only after aforementioned poets began to display shocking public behaviour (for example wearing absurd clothes), when the writers and the movement in general began to be called simply 'Russian Futurism'. As a result, 'Cubo-Futurism' then began to refer to the artists who were influenced by Cubism and Futurism, though both terms still remain interchangeable.

Development of the movement

The earliest appearances of the Cubo-Futurist art style can be found in the works of Natalia Goncharova, who, as early as 1909, applied Cubist and Futurist means of expression in her paintings.

Thanks to modern technology (transport and telegraphy, for example) and the artists' experience of other countries, the creatives in Russia knew much about the avant-garde events in Europe. Cubo-Futurism as an art style would begin to take its full form in the years 1912 to 1913, though the style of poetry ended when Russian Futurism itself also faded.

One of the first major painters to become a Cubo-Futurist would be Kazimir Malevich, who entered his Cubo-Futurist phase in 1912–13; he termed the works he exhibited at the 1912 'Donkey's Tail' and 1913 'Target' exhibitions as being 'Cubo-Futurist'. For Malevich, Cubo-Futurism would be especially important, because it symbolised the connection between the stillness of conventional Cubism, and the dynamism inherent in Futurism. Rather than simply following the example of painting industrial scenes, set by the Futurists in Italy, or of painting in fairly flat colours, set by the Cubists in France, he placed heavy rural Russian themes on his work; this therefore led to his paintings of traditional village life in a bright, juxtaposing avant-garde style. An example of his Cubo-Futurist work is The Knifegrinder, painted circa 1912–1913.

Natalia Goncharova officially entered her Futurist stage in around 1912 to 1913; soon, Cubo-Futurist influences became apparent in her work. This was not, for her, a dramatic change in her previous style of painting. In 1913, an exhibition of her latest work was held at a Russian art gallery, which received a massive variety of responses. Mikhail Larionov followed suit in the latest avant-garde trend, by publishing two manifestos on his and Goncharova's new art movement, Rayonism, which was inspired by Cubo-Futurism.

Other Cubo-Futurist artists emerged, for example Aleksandra Ekster, who was involved in Ukrainian and Russian Futurist stage design, and Lyubov Popova, who had learned of Cubism during her 1912 stay in Paris, and painted in the Cubo-Futurist style in the years 1913 to 1914. The movement in Russia was notable for having a large percentage of female painters, in contrast to the movement in Italy.

The Cubo-Futurists – both poets and artists – were also notable for their curious activities, both public and artistic: Mayakovsky wore a bright yellow jacket, Ilia Zdanevich ("Iliazd") and Burliuk painted on their faces, and some of the painters attached objects upon their canvases, in such manners that predated the Dada avant-garde movement based in Zurich, Berlin, and Paris, which would begin a few years later.

In 1913, the opera Victory over the Sun – prologue by Khlebnikov, libretti by Kruchenykh, and music by Mikhail Matyushin – was completed. The costume and set designer was Malevich; the opera has since become notable for starring the first appearance of his influential painting Black Square, as part of a design for a stage curtain. The next year, a Russian Futurist book was published: Tango with Cows, written by aviator-poet Vasily Kamensky and illustrated by the Burliuk brothers.

By 1914, the Russian Futurists (many of them Cubo-Futurist) developed a hostility to the Italians. When Marinetti went on a lecture tour of Russia in that year, he was met with general unfriendliness, contrary to the positive reception he had on his previous tour of 1910: Larionov had, for example, a serious argument with a pro-Marinetti cultural figure, the former wishing to greet him with rotten eggs and the latter with flowers, whereas the female Cubo-Futurist painters may have been put off by Marinetti's misogyny. The relations worsened to such an extent that Hylea began to fake the publication dates of their books, as though to state that they were earlier and more Futurist than their colleagues in Italy.

The Russian Futurists were also disgusted with the Ego-Futurists, a rival Russian literary association who had been formed in 1911 by the poet Igor Severyanin. This time, the negative feelings went both ways: Severyanin disapproved of the attitudes of the Cubo-Futurists, whilst they dismissed the Ego-Futurists as being immature, tasteless impostors.

End of Cubo-Futurism

By the year 1915, Cubism and Futurism both began to become exhausted for the painters; nevertheless, in 1915, the first all-Russian Futurist exhibition, called 'Tramway V', opened on March 3; organised by Ivan Puni, Vladimir Tatlin's works became the main focus, and the exhibition led to a succés de scandale. In 1916, another notable Cubo-Futurist book was published: Universal War, by Aleksei Kruchenykh, perhaps in collaboration with his wife Olga Rozanova.

Cubo-Futurism can be said to have ended with the 0,10 Exhibition of 1915–1916, also organised by Puni, and fuelled by the rivalry between Malevich and Tatlin; afterwards, most of the participants of Cubo-Futurism began to direct their energies to other styles of writing or painting, for example Malevich's new art movement Suprematism, which officially began at the 0,10 Exhibition, or with Constructivism.

According to the Italian Futurist painter Gino Severini, who had met and heard first-hand accounts from the Russian Futurist painters Larionov, Puni and Kseniya Boguslavskaya, the movement finished in 1916, though, according  to the Encyclopædia Britannica, the style continued to be in use until roughly 1919.

 Art

For Cubo-Futurist artists, this movement represented a shift in stylistic values from a perception of painting as a reflection of their current reality into a portrayal of idealism through depictions of a perfect future defined by equality and an organised collective consciousness.

One such example would be Kazimir Malevich's 1912–13 The Knife Grinder (The Glittering Edge). The flickering of reflective metallic colours creates a dynamic representation of motion and energy, depicting the "mechanical vibration and dynamic rhythm" of modernisation through industrialisation and mechanical harmony. The knife grinder himself is central to the composition, camouflaged within the dense abstracted geometric shapes that surround and encompass him, invoking the idea that the man has fused into the mechanical perfection of a giant organised system. To Malevich and other artists of the Cubo-Futurist movement, works like this acted as a social metaphor highlighting the process of transformation, revolution, social rebuilding, and proletariat collectivism they wished to see in their society's future. Complex abstracted geometric shapes and representations of perfected mechanical society's highlights the revolutionary nature of their work as, "only futurist art is constructed on collective principles… Only futurist art is, at the present time, 'the art of the proletariat'", as painter and sculptor Nathan Altman (1889–1970) once stated.

Cubo-Futurist artists are unique in their independence and autonomy from other members of the group. Non-representational artists experimenting with Cubo-Futurism – such as Kandinsky, Larionov, Malevich, and Tatlin – adopted the distinctive ideals and theoretical background of the movement but followed their own aesthetic path, thus depicting the freedom these artists were given to express their own perceptions of a modernised world.

Artists
The following artists have been associated with Cubo-Futurism:

Alexander Archipenko
Wladimir Baranoff-Rossine
Alexander Bogomazov
David Burliuk
Wladimir Burliuk
Aleksandra Ekster
Natalia Goncharova
Ivan Kliun
Mikhail Larionov
Lyubov Popova
Olga Rozanov
Sonia Terk
Vasyl Yermylov
Alberto Magnelli
Vadym Meller
Aristarkh Lentulov
Oleksandr Bogomazov

 Sculpture
Sculpture was a smaller subsect of the Cubo-Futurist movement. Influenced by the work of Italian futurist sculptor and painter Umberto Boccioni, and Pablo Picasso's cubist sculptures, Russian artists began experimenting with the combination of the two styles. Artists who experimented with Cubist and Futurist (or a combination of both) styles within their sculptures all expressed a dislike of traditional, classical artistic traditions, thus highlighting the characteristically Cubo-Futurist interest in transformation, innovation, and rejuvenation.

Cubo-Futurist sculptors included Joseph Chaikov, Boris Korolev and Vera Mukhina, all of whom taught at the Soviet state art school in Moscow, Vkhutemas.

Literature

 Poetry
Poets that experimented with Cubo-Futurist ideals pressed the importance of deconstructing the rules and meaning of poetry, systematically attacking the previously popular Russian classical and symbolist poets due to their propensity to examine metaphysical, esoteric ideas that did not resonate with the common populace. Cubo-Futurist artists had a passion for the democratisation of poetry through the use of chaotic, common language (and concepts) that allowed for freedom of expression and interpretation by the average person. Like artists of the same movement, these poets were interested in creating "totally new words and a new way of combining them", transforming and recreating poetry into a literary form that depicted their ideas of a modernised future. Poets of the Cubo-Futurist movement saw writing as a "laboratory or workshop" to renew language and literature, dissecting words and generating neologisms in order to shift contemporary understandings of poetry in order to display their interest in revolution and modernity. This practice is known as "transrational poetry" (or zaum). The purity and dynamism artists of this movement found in mechanisation and technology, literary Cubo-Futurists found in transrational poetry, with this poetic experimentation later developing to involve the deconstruction of language to onomatopoeic forms. One such example of this is Velimir Khlebnikov's sound-paintings in his play Zangezi. Poets of this movement also utilised unorthodox methods during their public poetry recitals, such as painted faces, public clowning, and extravagant clothing in order to gather attention to their work, and highlight their futuristic experimentation.

 Theatre

Introduction of Cubo-Futurist theories and ideologies into the realm of theatre production came with widespread scandal among those within the turn-of-the-century Russian society. Similar to those that engaged with Cubo-Futurism within the art world, individuals within the theatre community utilised the movement's characteristic ideology of cultural renewal, transformation, and revolution within their works, expanding futurism from the literary and artistic realm and into theatre. In July 1913, a collection of poets and artists within the Cubo-Futurist movement came together for a meeting entitled Pervyi vserossiiskii sezd Baiachei Budushchego (poetov futuristov) (First-All Russian Congress of Bards of the Future [The Futurist Poets]), establishing that the group would create a "new 'Futurian' theatre" that would be run by their own collective and "transform Russian theatre" into a modern art form. The Cubo-Futurists employed a more aggressive style within their performances, making use of arte-azione'''s (art-in-action) playfulness, provocative or unintelligible language, improvisation, and unpredictability. As stated by Roman Jakobson (1896–1982): "The evenings of the Futurists brought… the public… The public's reaction was various: many came for the scandal, but a broad segment of the student public awaited the new art, wanted the new world".

Effects of Cubo-Futurism

Cubo-Futurism was incredibly significant in the development of art styles like Rayism, Suprematism, and Constructivism, with the movement acting as a transitionary phase between objective, figurative works and radical non-objective, non-representational abstract art. Cubo-Futurism gave artists the freedom to engage with the limitations of representation and subjectivity, and experiment with use geometric shapes and fragmented forms in order to convey a movement and dynamism that reflected their attempts to reconstruct understandings of their world and their art.

Cubo-Futurism acted as the jumping point for artists Mikhail Larionov (1881–1964) and Natalia Goncharova to develop Rayism (also called Rayonism), one of the first non-objective Russian artistic styles.

It was either Rayism or, once more, Cubism and Futurism (or a mixture of all three) which then later influenced Kazimir Malevich to create Suprematism, an art mode that is now considered one of the most significant modern art movements of the 20th century.

Gallery

See also

 Futurism
 Cubism
 Russian Futurism
 Rayonism
 Vorticism
 Natalia Goncharova
 Mikhail Larionov
 Modern art (disambiguation) – list of articles associated with the title 'Modern art'
 Art period

References

External links

 https://www.moma.org/learn/moma_learning/glossary/- Museum of Modern Art online dictionary of visual art terms.
 https://www.metmuseum.org/learn/educators/curriculum-resources – Metropolitan Museum of Art curriculum resources page
 https://www.moma.org/learn/moma_learning/ – free online resources engaging for modern and contemporary art
 https://www.moma.org/collection/terms/?=MOOC – glossary of significant art terms
 https://www.moma.org/research-and-learning/ – MOMA research and learning online page
 https://www.tate.org.uk/research/publications/tate-papers – Tate Modern London online journal of research papers and scholarly articles
 https://www.oxfordartonline.com/ – Oxford's collection of peer reviewed articles, important dictionary terms, and images

Cubism
Futurist movements
Russian avant-garde
Russian art movements

Cubo-Futurism


Burak Canatan (born 17 May 1992), better known by his stage name Burak King, is a Turkish rapper, songwriter and musician.

Career

King's song "Günah Benim" became widely known and resulted in his breakthrough. Through her children, Sibel Can learned about King's success and asked him and Eypio to perform at her concert in Cemil Topuzlu Open-Air Theatre. Together, they performed the song "Günah Benim" in the form of arabesque and rock. Before the concert Can said "I got to know Eypio and Burak King thanks to my children. Their music video has been watched over 100 million times. I'm so excited to rap for the first time".

UEFA's editor in Turkey Çetin Cem Yılmaz, revealed that the song "Günah Benim" was a favorite of their national football team being played on their bus numerous times. To support their team at the UEFA Euro 2016, King and Eypio used part of their previous song "Günah Benim" and released the new piece "Ay Bizim Yıldız Bizim".

In 2017, King released his new song "Koştum Hekime". The song became one of the most downloaded pieces in Turkey. King was nominated for a Golden Butterfly Award in the category :Song of the Year".

Achievements

 'Best Newcomer' – 43rd Golden Butterfly Awards (2016)
 'Most Successful Song of the Year' "Günah Benim" – Istanbul Technical University Industrial Engineering Student Symposium (EMÖS) (2017)
 'Best Lead Single of the Year' "Günah Benim" – Istanbul Gelisim University Media Awards (2017)
 'Artist of the Year' – Mimar Sinan Fine Arts University Awards (2017)

Discography
Albums
 Rap İçimden (2022)
 Aman Of (2023)

Singles
 Günah Benim (with Eypio)  (2015)
 Sen (with Eypio) (2016)
 Ay Bizim Yıldız Bizim (with Eypio) (2016)
 Geceye mi Küssem? (with Patron) (2017)
 Koştum Hekime (2017)
 Yanıyoruz (2017)
 Var Git (2018)
 Sızı Kaldı (2019)
 Bi Sonu Var Mı? (2020)
 Paramparça (with Rafet El Roman) (2020)
 Eyvallah (with Rozz Kalliope) (2020)
 Gidesim Var (2020)
 Dünya (with Sokrat St) (2021)
 Rap İçimden (2021)
 Artık Zora Gelmiyorum (2021)
 Derde Çareler (2022)
 Bu Şehirde (with Nassa Nef) (2022)
 Hesap (with Tefo and Seko) (2022)
 Sıkıntı Yok Baba (with Sedat) (2022)
 Deli Deli (2022)
 Güle Güle (with Tefo and Seko) (2022)
 İstanbul (with Aleyna Kalaycıoğlu) (2023)
 Kalbim (with Rota) (2023)

References

1992 births
Living people
Dutch people of Turkish descent
21st-century Turkish male singers
21st-century Turkish singers
Turkish lyricists
Turkish rappers

Burak King


Matthew Cooperman is an American poet, critic and editor. He is the author of five full-length collections of poems, most recently Spool, winner of the New Measure Prize (Free Verse Editions/Parlor Press, 2016),  Imago for the Fallen World (w/Marius Lehene, Jaded Ibis, 2013) and Still: of the Earth as the Ark which Does Not Move (Counterpath Press). Cooperman's first book, A Sacrificial Zinc, won the Lena Miles Wever-Todd Prize from Pleiades in 2001.

Biography
Cooperman was born in 1964 in New Haven, Connecticut, but grew up in the Bay Area of California.
He attended Colgate University, the University of Colorado and Ohio University, where he earned a PhD in English Literature and Language. Cooperman has taught at the University of Colorado, Ohio University, Harvard University, Denver University and Cornell College.
He is currently Professor of English at Colorado
State University. He lives in Fort Collins, with the poet Aby Kaupang, and their two children.

Publications

Poetry
His poems have appeared widely in literary journals, including 1913, American Letters & Commentary, Boston Review, CHAIN, Chicago Review, Denver Quarterly, ecopoetics, Hotel Amerika,
Interim, International Quarterly, New American Writing, Parthenon West, Pleiades, Quarterly West, Sentence, Verse and VOLT, among others, and in anthologies including Ecopoetry, The Sentence Book of
Prose Poetry, and The Next of Us is Yet to Be Born (Kent State).

Journals
Cooperman's criticism and interviews have also appeared in such journals as Angelaki: A Journal of Theoretical Humanities, Salt, ecopoetics, Chicago Review, jubilat, The Writers' Chronicle, The
Iowa Review, Interdisciplinary Studies in Literature and the Humanities, American Studies International
and the American Book Review.

Editing
Cooperman has been involved in editing for the publications Rolling Stock, Tattered Fetlock, Sphere, Shankpainter, and Colorado Review, and was a founding editor of the exploratory prose journal Quarter After Eight. He is currently co-poetry editor for Colorado Review.

Other projects
Cooperman has worked with such groups and persons as Sharon Butcher Dance, Marisol Eckert Collective, artist Lisa Cooperman, Italian artist Simonetta Moro, Canadian composer Libby Larsen, and British poet Lawrence Upton.
In 2004 he co-founded the collective Accidental Vestments with the Romanian artist Marius Lehene. Since that time he and Lehene have been active on a number of projects, including the image and textbook Imago for the Fallen World. With the poet Aby Kaupang, Cooperman has authored a number of works, most notably the ongoing projects NOS (disorder, not otherwise specified) and Jungle Book: A Memoir of Abilities. The two often perform together.

Awards
Includes a Residency Fellowship at the Fine Arts Work Center in Provincetown, the New Measure Prize from Free Verse Editions, the E. Marvin Lewis Award from WeberStudies, the Pavement Saw Chapbook Prize, the Wick Chapbook Prize from Kent State, the Billie Murray Denny Poetry Prize, the Jovanovich Prize from the University of Colorado, and five Pushcart nominations. He currently teaches at Colorado State University, and is a poetry editor for Colorado Review.

Works
Surge (Kent State University Press, 1998)

A Sacrificial Zinc (Pleiades/LSU, 2001)

Words About James (phylum press, 2005)

DaZE (Salt Publishing, Ltd, 2006)

Still: (to be) Perpetual (Dove|Tail Poetry, 2007)

Still: of the Earth as the Ark which Does Not Move (Counterpath Press, 2011)

Imago for the Fallen World (Jaded Ibis, 2013)

Little Spool (Pavement Saw, 2015)

Disorder 299.00 (Essay Press, 2016)

Spool (Free Verse Editions/Parlor Press, 2016)

References

External links

 Official website

1964 births
Living people
American male poets
21st-century American poets
21st-century American male writers

Matthew Cooperman


Dungeon Master: Theron's Quest is a modified version of Dungeon Master for the TurboGrafx/PC Engine video game console. It was released on September 18, 1992 in Japan, with a North American release following the next year.

The main goal of the game is Theron finding seven parts of a blue knight's armor (Shield Defiant, Taza Poleyn, Tazahelm, Taza Boots, Taza Armor, Soulcage, The Retaliator), each of which is located in one of seven mini dungeons.

Differences from the original

It has a different story, but can be considered as a light version of Dungeon Master. Theron's Quest doesn't contain all of the items, spells and monsters featured in Dungeon Master. Theron's Quest contains seven small dungeons instead of one big dungeon, which however are partially identical or inspired by the original dungeons of Dungeon Master and Chaos Strikes Back. As in the original, the player goes on a quest with a team of up to four champions fighting through dungeons gaining experience and finding items. In contrast to the original, the player takes the role of a character named Theron and three other champions. After successful completion of each dungeon, the whole party loses its collected items and the three champions lose their skills and statistics. Further, the game can only be saved between dungeons. The lack of the original save option during a level has been replaced by many resurrection 'Altars of VI'. There are also fewer monsters to fight which renders the game easier than the original.

Reception
Upon the game's release, all but one of Electronic Gaming Monthly'''s four reviewers remarked that Dungeon Master'', despite having aged badly over the years, remains a solid RPG. The remaining reviewer stated that dungeon crawls "just isn't my type of game." The reviewers generally praised the new CD-quality soundtrack and gave the game a score of 6.5 out of 10.

References

External links

Role-playing video games
Action role-playing video games
First-person party-based dungeon crawler video games
TurboGrafx-CD games
TurboGrafx-CD-only games
Fantasy video games
Puzzle video games
1992 video games
Video games developed in Japan
Video games developed in Australia
Video games scored by Tsukasa Tawada
Single-player video games

Dungeon Master: Theron's Quest


Dr. Strange is a 1978 American superhero television film based on the Marvel Comics fictional character of the same name, co-created by Steve Ditko and Stan Lee. Philip DeGuere directed the film and wrote it specifically for television, and produced the film along with Alex Beaton and Gregory Hoblit. Stan Lee served as a consultant on the film, which was created as a pilot for a proposed television series. Dr. Strange stars Peter Hooten in the title role, along with Jessica Walter, Eddie Benton, Clyde Kusatsu, Philip Sterling, and John Mills. The film aired on September 6, 1978, in a two-hour block from 8pm to 10pm on CBS, the same network that, at that time, aired The Amazing Spider-Man and The Incredible Hulk; CBS did not pick up Dr. Strange as a series.

Plot
An evil entity tells Morgan le Fay she has been prevented from breaking through to the earthly realm by a great wizard, and that she has three days to defeat the wizard and win over his successor to her master's side.

Le Fay possesses a young woman named Clea Lake and uses her as a weapon against Thomas Lindmer, the "Sorcerer Supreme". She pushes him off a bridge to his death, but he magically heals himself. His friend, Wong, looks after him and locates Lake. Suffering from nightmares of le Fay, Lake is under the care of psychiatrist Dr. Stephen Strange at a psychiatric hospital. Strange has the potential to become Lindmer's successor through inherited items from his father, including a signet ring. Strange intuitively senses something wrong, sharing Lake's nightmares.

Lindmer contacts Strange at the hospital and tells him Lake needs more help than can be offered by medical science. Strange takes Lindmer's card, which bears the same symbol as his ring. Meanwhile, le Fay possesses a cat and tries to enter Lindmer's house, but magical barriers repel it.

At the hospital, the head of Strange's department sedates Lake, and she slips into a coma. Strange visits Lindmer, and Le Fay declines an opportunity to kill him.

Lindmer tells Strange that his ignorance is a form of protection, and asks him whether he wants to know the truth. Strange demands the truth, and Lindmer says he knows about Strange's parents dying when he was eighteen. He says there are different realms, and that Lake is trapped in them and only Strange can save her. Strange is dispatched to the astral plane and confronts the demon Balzaroth sent by le Fay. Strange and Lake return to the physical world.

The evil entity asks le Fay why she spared Strange. She confesses to being attracted to him, and the demon threatens to turn her into an elderly woman. Strange checks on Lake, and agrees to dinner with her. He goes to see Lindmer and rejects magic. As he leaves, he tries to remove his father's ring and finds he cannot. He accidentally lets the possessed cat in, which allows le Fay to best Wong. She defeats Lindmer, and summons Asmodeus to take him to the demon realms.

Strange visits Lake, but le Fay interrupts, promising not to harm Lake if he comes with her to the demon realm. Once there, he appears to be under her command. She attempts to seduce him, and asks him to remove his ring, claiming he can do it. He refuses and defeats her, rescues Lindmer, and returns them to the earthly realm, where he also revives Wong. The evil entity transforms le Fay into an old hag.

Lindmer explains that Strange must choose between remaining mortal or becoming the Sorcerer Supreme, forgoing ignorance, offspring, and a painless death. Strange decides to protect humanity, and Lindmer's power is transferred to him. Wong then warns him that, while he now has Lindmer's powers, he does not yet have the knowledge or wisdom to use them correctly, and can harm himself or others.

Strange is then shown at the hospital, where many patients have been discharged. He leaves with Lake, who seems to have no memory of what happened. Le Fay is shown on television, young again, posing as a self-help guru. The film closes with Strange playing a trick on a street magician, turning the flowers the magician was going to produce using sleight-of-hand into a dove.

Cast
 Peter Hooten as Dr. Stephen Strange, a psychiatrist, who becomes the new Sorcerer Supreme to safeguard the Earth from Morgan Le Fay.
 Jessica Walter as Morgan Le Fay, an evil sorceress from the "fourth dimension", who plans to invade Earth.
 Anne-Marie Martin (credited as "Eddie Benton") as Clea Lake, Strange's patient.
 Clyde Kusatsu as Wong
 Philip Sterling as Dr. Frank Taylor
 John Mills as Thomas Lindmer, Dr. Strange's mentor and the original Sorcerer Supreme.
 June Barrett as Sarah.
 Sarah Rush as a Nurse.
 Diana Webster as the Head Nurse.
 Bob Delegall as an Intern.
 Larry Anderson as a Magician.
 Blake Marion as the Department Chief.
 Lady Rowlands as Mrs. Sullivan.
 Inez Pedroza as the Announcer.
 Michael Clark as a Taxi Driver.
 Frank Catalano as an Orderly.
 Michael Ansara as the voice of Yao/Ancient One; uncredited.
 Ted Cassidy as the voice of the demon Balzaroth; uncredited.
 David Hooks as The Nameless One; uncredited.

Production
Philip DeGuere was given an ample budget for Dr. Strange, which he wrote, directed, and produced. The film was shot on Universal sets in Los Angeles, going over-schedule by several days because of the special effects, which included a lot of the era's green screen. DeGuere's friend, composer Paul Chiraha, was encouraged to produce an electronic score. Chihara, interviewed in 2016, said that DeGuere had high hopes for the film, and that he was crushed when it "tanked" in the Nielsen ratings.

In March 1985, Stan Lee recounted the largely positive experience of working on Dr. Strange, compared with the other live-action Marvel Comics adaptations under the publisher's development deal with CBS and Universal in the late 1970s: I probably had the most input into that one. I've become good friends with the writer/producer Phil DeGuere. I was pleased with Dr. Strange and The Incredible Hulk. I think that Dr. Strange would have done much better than it did in the ratings, except that it aired opposite Roots. Those are the only experiences I've had with live action television. Dr. Strange and The Incredible Hulk were fine. Captain America was a bit [of a] disappointment, and Spider-Man was a total nightmare.

Reception
Dr. Strange got very low Nielsen ratings and, from critics, generally negative reviews:
 Kieran Shiach and Elle Collins called it a bad film and suggested that this was the reason CBS did not pick up the series, saying that "it struggles under its origins, and not much happens over the course of ninety minutes".
 Mike Ryan found the film "boring", complaining that the first two-thirds of the film played like a medical procedural.
 Scott Beggs defended the film but conceded that it was slow-moving, lacking any sense of urgency, or indeed much going for the titular character, as Strange was a bit of a "Gary Stu" in the film: "He's instantly good at everything without any training, only fails once before miraculously being awesome immediately afterwards, and he's just generally an idiot. He's also barely there as a figure".
 Aaron Couch called the film an "ambitious shoot" whose effects were "campy by today's standards", but described the acting as "wonderfully committed performances".

Home media
The film was released twice on VHS in the United States, in 1987 and 1995, and also had multiple foreign releases. Dr. Strange was released on DVD for the first time in the United States and Canada on November 1, 2016, and on Blu-ray on April 26, 2022, by Shout! Factory.

References

External links

1978 television films
1978 films
1970s superhero films
American superhero films
Arthurian films
CBS network films
Doctor Strange films
Films set in New York City
Films shot in Los Angeles
Television pilots not picked up as a series
Films scored by Paul Chihara
1970s English-language films
1970s American films
Live-action films based on Marvel Comics

Dr. Strange (1978 film)


Durgavati Devi (7 October 1907 – 15 October 1999), popularly known as Durga Bhabhi, was an Indian revolutionary and freedom fighter. She was one of the few women revolutionaries who actively participated in armed revolution against the ruling British Raj. She is best known for having accompanied Bhagat Singh on the train journey in which he made his escape in disguise after the killing of John P. Saunders. Since she was the wife of another Hindustan Socialist Republican Association (HSRA) member Bhagwati Charan Vohra, other members of HSRA referred to her as Bhabhi (elder brother's wife) and became popular as "Durga Bhabhi" in Indian revolutionary circles.

Life
Devi was born into Gujarati Brahmin family in Allahabad. She was married to Bhagwati Charan Vohra when she was eleven.

She was an active member of the Naujawan Bharat Sabha, Devi came into prominence when the Sabha decided to observe the 11th anniversary of Kartar Singh Sarabha's martyrdom on 16 November 1926 in Lahore. Devi was instrumental in helping Bhagat Singh and Shivaram Rajguru escape after the killing of John P. Saunders, a British police officer in Lahore who, on the instructions of James Scott, killed Lala Lajpat Rai during a lathi charge.

She led the funeral procession of Jatin Das from Lahore to Calcutta after his death in a 63-day jail hunger strike. All along the way, huge crowds joined the funeral procession.

Revolutionary activities
After Bhagat Singh surrendered himself for the 1929 Assembly bomb throwing incident, Devi attempted to assassinate Lord Hailey; he escaped, but some of his associates were injured. She was caught by the police and imprisoned for three years. She had also sold her ornaments worth ₹3,000 to rescue Singh and his comrades under trial.

Devi, along with her husband, helped Vimal Prasad Jain, an HSRA member, in running a bomb factory named 'Himalayan Toilets' (a smokescreen to hide the agenda of making bombs) at Qutub Road, Delhi. In this factory, they handled picric acid, nitroglycerine and fulminate of mercury.

Two days after killing John P. Saunders, on 19 December 1928, Sukhdev Thapar called on Devi for help, which she agreed to do. They decided to catch the train departing from Lahore for Bathinda en route to Howrah (Calcutta) early the next morning. She posed as the wife of Singh and put her son Sachin in his lap while Shivaram Rajguru carried their luggage as their servant. To avoid recognition, Singh had shaved off his beard and cut his hair short the previous day and dressed in Western attire. In fact, when Singh and Sukhdev came to her house on the night of 19 December 1928, Sukhdev introduced Singh as a new friend. Devi could not recognize Singh at all. Then, Sukhdev told Devi the truth and said that if Devi could not recognise Singh in his changed clean-shaved appearance despite knowing him well, surely the police would also not recognize him as they would be looking for a bearded Sikh.

They left the house early the next morning. At the station, Singh, with his concealed identity, bought three tickets to Cawnpore — two first-class tickets for Devi and himself and a third class one for Rajguru. Both men had loaded revolvers with them to deal with any unanticipated incident. They avoided raising the suspicions of the police and boarded the train. Breaking the journey at Cawnpore,(now Kanpur) they boarded a train for Lucknow since the CID at Howrah railway station usually scrutinised passengers on the direct train from Lahore. At Lucknow, Rajguru left separately for Benares while Singh, Devi and the infant went to Howrah. Devi returned to Lahore a few days later with her infant child.

Later life

Unlike other freedom fighters, after Indian independence, Devi started living as a common citizen in quiet anonymity and exclusion in Ghaziabad. She later opened a school for poor children in Lucknow. Devi died in Ghaziabad on 15 October 1999 at the age of 92.

A small reference to her character was seen in Rakeysh Omprakash Mehra's 2006 film Rang De Basanti, where Soha Ali Khan played her part.

The seventh episode of the 2014 Indian Epic TV anthology television series, Adrishya, is about Devi.

The 64 episode of the 2022 DD National's Historical television Series, Swaraj, is about Devi and Her Husband.

See also
Ram Prasad Bismil
Kakori Train Robbery
Revolutionary movement for Indian independence
Manmath Nath Gupta
Delhi Conspiracy Commission

References

External links

Indian revolutionaries
Hindustan Socialist Republican Association
1907 births
1999 deaths
People from Ghaziabad, Uttar Pradesh

Durgawati Devi


"The Middle" is a 2001 song released by Jimmy Eat World from their album, Bleed American. It is the third song from their album.

The song is not what is usually heard from the band. It is one of the more straightforward, upbeat songs, its also one of their most well-known singles.

There is electric guitar, drums and vocals used in this song, typical for a punk/rock song.

Music video

The band are featured in this music video. It also shows girls in their bikinis and a swimming pool, and someone goes into it during the guitar solo so for a moment its kinda faded out, but then he goes back to the surface. At the start of this video, two people in a car get out and go inside to the party.

2001 songs

The Middle


Paul Langford FBA FRHistS (20 November 1945, Bridgend – 27 July 2015) was a British historian. From 2000 until late 2012 he was the rector of Lincoln College, Oxford, succeeded by professor Henry Woudhuysen.

Educated at Monmouth School and Hertford College, Oxford, Langford was elected to a junior research fellowship in modern history at Lincoln College in 1969, becoming a tutorial fellow in 1970. He was a lecturer at the University of Oxford from 1971 to 1994, being elected a reader in modern history in 1994 and becoming a professor in 1996.

Having served as a member of the Humanities Research Board from 1995, in 1998 he was appointed chairman and chief executive of the newly established Arts and Humanities Research Board, "dashing around the country, successfully selling the idea that research in the arts and humanities should be as fully and imaginatively funded as research in the social or natural sciences." He held this post until returning to Oxford to take up the rectorship of Lincoln College in 2000.

Langford was a fellow of the Royal Historical Society from 1979, a fellow of the British Academy from 1993 and was made an honorary fellow of Hertford College in 2000. In 2002, the University of Sheffield awarded him an  honorary doctor of letters.

His notable publications include A Polite and Commercial People. England 1727-1783, the first volume to be published in the New Oxford History of England.

Langford married Margaret Edwards in 1970 and they had one son: Hugh. He was a freeman of Worshipful Company of Haberdashers.

Selected writings

 P. Langford, The First Rockingham Administration, 1765–6 (Oxford, 1973)
 P. Langford, The Excise Crisis: Society and Politics in the Age of Walpole (Oxford, 1975)
 P. Langford, The Eighteenth Century, 1688–1815 (London, 1976)
 P. Langford and W. B. Todd (eds.), The Writings and Speeches of Edmund Burke, vol. 2 "Party, Parliament, and the American War, 1766–1774." (Oxford, 1981)
 P. Langford, A Polite and Commercial People: England 1727–1783 (Oxford, 1989)
 P. Langford, Public Life and the Propertied Englishman 1689–1798 (Oxford, 1991)
 P. Langford, Eighteenth-Century Britain: a Very Short Introduction (Oxford, 2000)

References

External links
  Paul Langford profile
 Debrett's People of Today
 Biographical Memoir of Paul Langford as Fellow of the British Academy

1945 births
2015 deaths
People educated at Monmouth School for Boys
Alumni of Hertford College, Oxford
Fellows of Lincoln College, Oxford
Rectors of Lincoln College, Oxford
Fellows of the British Academy
Fellows of the Royal Historical Society

Paul Langford


Charles Laughton (1 July 1899 – 15 December 1962) was an Anglo-American actor, screenwriter, producer, and director. He was born in Scarborough, North Riding of Yorkshire. He is known for playing Quasimodo in The Hunchback of Notre Dame and Captain Bligh in Mutiny on the Bounty. He directed The Night of the Hunter. He won the 1933 Academy Award for Best Actor in a Leading Role for The Private Life of Henry VIII. Laughton was bisexual. He was married to actress Elsa Lanchester from 1929 until his death. The couple became American citizens in 1950. They had no children. Laughton died of kidney cancer in Hollywood, Los Angeles.

Other websites

1899 births
1962 deaths
Academy Award winning actors
Actors from Yorkshire
American LGBT people
American movie actors
American movie directors
American movie producers
American screenwriters
American television actors
Bisexual people
Cancer deaths in Los Angeles
Deaths from kidney cancer
English LGBT people
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Charles Laughton


Kongonaphon is an early member of the dinosaur–pterosaur clade Ornithodira. It is a small reptile-type fossil found in the
Middle to Late Triassic of Madagascar. It was probably an insectivore, based on the shape and texture of its teeth.

Kongonaphon is notable for its tiny size, even compared to other small early avemetatarsalia. The femur was only about 4 cm (1.6 inches) long, and the total height of the animal was about 10 cm (3.9 inches).

It has long been thought that early members of the group were small. If they were as small as this, then a miniaturization event occurred near the base of the avian stem lineage. Also the small size explains the origin of body covering ("integument", hair on the body of dinosaurs and feathers on birds). Tiny creatures are most vulnerable to changes in external temperature.

References

Fossils
Archosaurs
Animals of Madagascar

Kongonaphon


Rhino (Aleksei Sytsevich) is a fictional supervillain appearing in American comic books published by Marvel Comics. He is a supporting antagonist in Spider-Man comic book series and a minor antagonist in the Marvel Universe. He was a Russian immigrant who was succumbed to radioactive testing, granting him powerful superhuman strength and durability. He was also given a suit of tough, rhinoceros-like armor and horns for even more destructive capabilities. He is mostly on Spider-Man's rogues gallery, but sometimes clashes with Hulk too.

One of Spider-Man's most prominent adversaries, the Rhino has been adapted into various forms of media since his original debut in the Silver Age of Comic Books, including animated television series and video games. He has also featured in Marvel merchandise such as action figures and trading cards.

American actor Paul Giamatti played aversion of Aleksei Sytsevich who uses a rhinoceros-themed battle armor, similar to the character's Ultimate Marvel incarnation, in the 2014 movie The Amazing Spider-Man 2.

Rhino (Marvel Comics)


Stanley Diamond (January 4, 1922 in New York City, NY – March 31, 1991 in New York City, NY) was an American poet and anthropologist. As a young man, he identified as a poet, and his disdain for the fascism of the 1930s greatly influenced his thinking. Diamond was a professor at several universities, spending most of his career at The New School. He wrote several books and founded Dialectical Anthropology, a Marxist anthropology journal, in 1975.

Early life
Diamond was born into a progressive and intellectual middle-class Jewish family in New York City. His family had strong ties to the city's Yiddish community, and his grandfather had founded a Yiddish theater. However, he rarely discussed secular or religious Judaism in his work, and a biographer characterized his tone when discussing Judaism as "dismissive, even bitter."

Diamond was interested in African-Americans' civil rights at a young age, writing about the topic as early as age fourteen. As a young man, he befriended an African-American artist whom he admired, and they remained close. While he was serving with the British army in North Africa, he met soldiers who had been sold by their tribal chiefs to the South African military. Diamond attributes his social justice values to his early experiences: "Being a Jew I always tie the two things together, that is, the persecution of Jews and the persecution of Africans and African-Americans were twin horrors of civilization. I suppose it goes back, then, to the question of social conscientiousness and social conscience."

Education
Diamond attended the University of North Carolina at Chapel Hill and then New York University, graduating from the latter with a B.A. degree in English and philosophy. At the outbreak of World War II, Diamond joined the British Army Field Service and served in North Africa. Like many veterans of his generation, he went to graduate school on the G.I. Bill. And, in 1951, received a Ph.D. degree in anthropology from Columbia University, where he was greatly influenced by the anti-racism writing of Franz Boas. Supporting Diamond's Ph.D.-degree was his unpublished dissertation "Dahomey: A Proto-State in West Africa" (1951).

Career
After graduation, his first teaching position was at the University of California at Los Angeles, but, as a result of denouncing the McCarthyist politics of that era and on a politically divided campus, he was dismissed and found that no other university was willing to hire him for the next three years. It was during this period that he conducted his first ethnographic fieldwork, which took him in the 1950s to an Israeli kibbutz and a nearby Arab mountain village. On his return to the United States, he taught at Brandeis University from 1956 to 1961. At Brandeis, Diamond became very close to Paul Radin and organized a Festschrift for that notable student of Franz Boas.

In the 1960s, Diamond was a member of the research team, the first to study schizophrenia from a cultural perspective, at the National Institute of Mental Health. After a professorship at the Maxwell Graduate Faculty at Syracuse University, he moved to The New School for Social Research in 1966, where he founded The New School's anthropology program. Within a few years, the program developed into the first critical department of anthropology in the U.S., where Diamond served as the department chair until 1983. He became the Distinguished Professor of Anthropology and Humanities at The New School and also Poet in the University. Diamond later taught as visiting professor in Berlin and Mexico and at Bard College.

As an ethnographer and social critic and in addition to conducting research in Israel, he was active among the Anaguta of the Jos Plateau in Nigeria during the last years of British colonial rule; among the Seneca Nation of upstate New York; and in Biafra during the 1967-1970 Biafran War, when he advocated for Biafran independence. Diamond is also known for having founded social-science journal Dialectical Anthropology in 1976.

His published books are several volumes of poetry, including Totems and Going West and a collection of essays called In Search of the Primitive: A Critique of Civilization (1974).

In 1968, he signed the "Writers and Editors War Tax Protest" pledge, vowing to refuse tax payments in protest against the Vietnam War.

In memoriam in the journal which he founded, his legacy was recognized thus: "Diamond was one of the first anthropologists to insist that researchers both acknowledge and confront power relations, often colonial and neocolonial, that form the context of their work. His sympathetic portrayal of the Arab mountain villages, and analysis of psychodynamics on the Israeli kibbutz — as stemming from an incomplete critique of shtetl life — was as much against the grain of contemporary research then as it is today. His concern for countering racism found its way into a number of trenchant popular and scholarly writings and, always, in his teaching" (Dialectical Anthropology, vol. 16, p. 105, 1991).

Diamond died of liver cancer on March 31, 1991, at the age of 69.

Major publications
Culture in History, Columbia University Press, 1960.
Primitive Views of the World, Columbia University Press, 1964.
Music of the Jos Plateau and Other Regions of Nigeria (audio recording), Folkways Records, 1966.
The Transformation of East Africa: Studies in political anthropology (Stanley Diamond and Fred G. Burke, editors), Basic Books, 1967.
Anthropological Perspectives on Education (Murray L. Wax, Stanley Diamond, and Fred O. Gearing, editors), Basic Books, 1971.
In Search of the Primitive: A Critique of Civilization, Transaction Books, 1974.
Toward a Marxist Anthropology: Problems and Perspectives, Mouton, 1979.
Anthropology: Ancestors and Heirs (Stanley Diamond, editor), Mouton, 1980.
Culture in History: Essays in Honor of Paul Radin (Stanley Diamond, editor), Octagon Books, 1981.
Dahomey: Transition and Conflict in State Formation, Bergin & Garvey, 1983,
Paul Radin. In: Sydel Silverman (Editor) Totems and Teachers: Key Figures in the History of Anthropology. Alta Mira, 2003, S. 51–73,

Notes

References
"Stanley Diamond: In Memoriam," Dialectical Anthropology, vol. 16, no. 2 (June, 1991), pp. 105–106.

External links
 The African Activist Archive Project website includes the pamphlet NIGERIA Model of a Colonial Failure by Stanley Diamond published by the American Committee on Africa in 1967.

1922 births
1991 deaths
American ethnographers
American tax resisters
Cultural anthropologists
Jewish American social scientists
Jewish socialists
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20th-century American anthropologists
Jewish American poets
American male poets
Jewish anti-fascists
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Columbia Graduate School of Arts and Sciences alumni
University of California, Los Angeles faculty
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The New School faculty
British Army personnel of World War II
Jewish American military personnel
Victims of McCarthyism
American anti–Vietnam War activists
Activists for African-American civil rights
Deaths from liver cancer
Deaths from cancer in New York (state)

Stanley Diamond


Electrum is a naturally occurring alloy of gold and silver, with trace amounts of copper and other metals. Its color ranges from pale to bright yellow, depending on the proportions of gold and silver. It has been produced artificially and is also known as "green gold".

Electrum was used as early as the third millennium BC in Old Kingdom of Egypt, sometimes as an exterior coating to the pyramidions atop ancient Egyptian pyramids and obelisks. It was also used in the making of ancient drinking vessels. The first known metal coins made were of electrum, dating back to the end of the 7th century or the beginning of the 6th century BC.

Etymology
The name electrum is the Latinized form of the Greek word ἤλεκτρον (ḗlektron), mentioned in the Odyssey referring to a metallic substance consisting of gold alloyed with silver. The same word was also used for the substance amber, likely because of the pale yellow color of certain varieties. It is from amber's electrostatic properties that the modern English words electron and electricity are derived. Electrum was often referred to as "white gold" in ancient times, but could be more accurately described as "pale gold" because it is usually pale yellow or yellowish-white in color. The modern use of the term white gold usually concerns gold alloyed with any one or a combination of nickel, silver, platinum, and palladium to produce a silver-colored gold.

Composition
Electrum consists primarily of gold and silver but is sometimes found with traces of platinum, copper, and other metals. The name is mostly applied informally to compositions between about 20–80% gold and 20–80% silver, but these are strictly called gold or silver depending on the dominant element. Analysis of the composition of electrum in ancient Greek coinage dating from about 600 BC shows that the gold content was about 55.5% in the coinage issued by Phocaea. In the early classical period, the gold content of electrum ranged from 46% in Phokaia to 43% in Mytilene. In later coinage from these areas, dating to 326 BC, the gold content averaged 40% to 41%. In the Hellenistic period, electrum coins with a regularly decreasing proportion of gold were issued by the Carthaginians. In the later Eastern Roman Empire controlled from Constantinople, the purity of the gold coinage was reduced.

History

Electrum is mentioned in an account of an expedition sent by Pharaoh Sahure of the Fifth Dynasty of Egypt. It is also discussed by Pliny the Elder in his Naturalis Historia.

Early coinage
The earliest known electrum coins, Lydian coins and East Greek coins found under the Temple of Artemis at Ephesus, are currently dated to the last quarter of the 7th century BC (625–600 BC). Electrum is believed to have been used in coins c. 600 BC in Lydia during the reign of Alyattes.

Electrum was much better for coinage than gold, mostly because it was harder and more durable, but also because techniques for refining gold were not widespread at the time. The gold content of naturally occurring electrum in modern western Anatolia ranges from 70% to 90%, in contrast to the 45–55% of gold in electrum used in ancient Lydian coinage of the same geographical area. This suggests that the Lydians had already solved the refining technology for silver and were adding refined silver to the local native electrum some decades before introducing pure silver coins.

In Lydia, electrum was minted into coins weighing , each valued at  stater (meaning "standard"). Three of these coins—with a weight of about —totaled one stater, about one month's pay for a soldier. To complement the stater, fractions were made: the trite (third), the hekte (sixth), and so forth, including  of a stater, and even down to  and  of a stater. The  stater was about  to . Larger denominations, such as a one stater coin, were minted as well.

Because of variation in the composition of electrum, it was difficult to determine the exact worth of each coin. Widespread trading was hampered by this problem, as the intrinsic value of each electrum coin could not be easily determined. This suggests that one reason for the invention of coinage in that area was to increase the profits from seigniorage by issuing currency with a lower gold content than the commonly circulating metal.

These difficulties were eliminated circa 570 BC when the Croeseids, coins of pure gold and silver, were introduced. However, electrum currency remained common until approximately 350 BC. The simplest reason for this was that, because of the gold content, one 14.1 gram stater was worth as much as ten 14.1 gram silver pieces.

See also
Corinthian bronze – a highly prized alloy in antiquity that may have contained electrum
Hepatizon
Orichalcum – another distinct metal or alloy mentioned in texts from classical antiquity, later used to refer to brass
Panchaloha
Shakudō – a Japanese billon of gold and copper with a dark blue-purple patina
Shibuichi – another Japanese alloy known for its patina
Thokcha – an alloy of meteoric iron or "thunderbolt iron" commonly used in Tibet
Tumbaga – a similar material, originating in Pre-Columbian America

References

External links

 Electrum lion coins of the ancient Lydians (about 600 BC)
 An image of the obverse of a Lydian coin made of electrum

Gold
Coinage metals and alloys
Precious metal alloys
Silver
Copper alloys

Electrum


Eadburh (), also spelled Eadburg, (fl. 787–802) was the daughter of King Offa of Mercia and Queen Cynethryth. She was the wife of King Beorhtric of Wessex, and according to Asser's Life of Alfred the Great she killed her husband by poison while attempting to poison another. She fled to Francia, where she is said to have been offered the chance of marrying Charlemagne, but ruined the opportunity. Instead she was appointed as the abbess of a convent. Here she is said to have fornicated with an English exile. As a result, she was eventually expelled from the monastery and ended her days begging in the streets of Pavia.

Family
Eadburh was the daughter of King Offa and Queen Cynethryth. She was one of  five children, four of them girls; they all witnessed a charter in 787.

Queen
Eadburh married Beorhtric, king of Wessex from 787 to 802, in 789. Offa was then the most powerful king in England, and Beorhtric gained his support as a result of the marriage. According to Asser, Eadburh became all powerful, and often demanded the executions or exile of her enemies. She was also alleged to have assassinated those men whom she couldn't compel Beorhtric to kill through poisoning their food or drink. In 802, according to Asser, Eadburh attempted to poison a young favourite of the king but instead killed both of them. The young man may have been called Worr, as the Anglo-Saxon Chronicle records the death of both men shortly before the succession of Egbert, the grandfather of Alfred the Great, as king of Wessex.

Exile

Eadburg subsequently fled to Francia and took refuge at the court of Charlemagne, where her husband's successor, Egbert of Wessex, had taken refuge after being exiled by Beorhtric. There Asser relates that Charlemagne was smitten by the former queen. He brought in one of his sons and asked her which she preferred, him or his son, as a husband. She answered that, given the son's youth, she preferred the son. Charlemagne replied famously: "Had you chosen me, you would have had both of us. But, since you chose him, you shall have neither." He instead offered her a position as an abbess of a convent which she accepted.

Soon though she was caught in a sexual affair with another Saxon man and, after being duly convicted, was expelled on the direct orders of Charlemagne, penniless, into the streets. In her last years she lived as a beggar on the streets of Pavia.

Aftermath and legacy
Two possibly authentic charters of 801 show Eadburh as regina (queen), a title which was rarely used for king's wives in Wessex in the ninth century. According to Asser this was because of the shame Eadburh had brought on the position. However, Offa and Beorhtric had driven Egbert into exile in the 780s, and the blackening of her name may also have been partly due to a desire to discredit Beorhtric.

Asser also writes that as a result of the aristocracy's resentment of Eadburh the status and influence of the subsequent queens was diminished and they were titled not 'queen' but 'king's wife'; the queen was also prohibited from sitting beside the king on the throne. This changed again when Charles the Bald insisted that his daughter Judith, who married King Æthelwulf, be properly crowned queen.

Citations

Further reading

Keynes, Simon & Lapidge, Michael (eds & trans), Alfred the Great. Asser's Life of King Alfred and Other Contemporary Sources. London: Penguin, 1983.
Kirby, D.P., The Earliest English Kings. London: Unwin Hyman, 1991.

Stafford, Pauline, "Succession and inheritance: a gendered perspective on Alfred's family history" in Gender, Family and the Legitimation of Power: England from the Ninth to the early Twelfth Century. Aldershot: Ashgate, 2006.
Story, Joanna, Carolingian Connections: Anglo-Saxon England and Carolingian Francia, c. 750–870. Aldershot: Ashgate, 2003.

8th-century English people
9th-century English people
Anglo-Saxon royal consorts
Beggars
8th-century births
9th-century deaths
Iclingas

Eadburh


Rafael "Ralph" Escudero (July 16, 1898 in Manatí, Puerto Rico – April 10, 1970 in Puerto Rico) was a bassist and tubist active on the early American jazz scene.

Escudero began playing bass in a school band at the age of 12, and moved to New York City, playing with the New Amsterdam Musical Association in 1920–21. In 1923 he was playing with Wilbur Sweatman at the Howard Theater in Washington, D.C. when Fletcher Henderson overheard his playing and offered him a job. He remained in Henderson's employ until 1926, when he joined McKinney's Cotton Pickers, where he played and recorded until 1931. In the 1930s he played with Kaiser Marshall, the Savoy Bearcats, and W.C. Handy, then returned to Puerto Rico, playing there into the 1960s.

References
Leonard Feather and Ira Gitler, The Biographical Encyclopedia of Jazz. Oxford, 1999, p. 213.

1898 births
1970 deaths
People from Manatí, Puerto Rico
Puerto Rican jazz musicians
20th-century American musicians
McKinney's Cotton Pickers members
Savoy Bearcats members

Ralph Escudero


Simon is a children's historical novel written by Rosemary Sutcliff, first published in 1953. It is set during the First English Civil War, primarily focusing on the final campaign of 1645-1646 in the West Country and shows the effect of the conflict on two friends, who find themselves on opposite sides.

Plot summary
Apart from 'The Chronicles of Robin Hood,' Sutcliff's three previous novels, The Queen Elizabeth Story, The Armourer's House and Brother Dusty-Feet were aimed at a younger audience and set in the 16th century. 'Simon' shows a significant shift in both tone and subject matter and is generally acknowledged to be the first to feature the mastery of subject and style for which she is now remembered.

The story begins in the West Devon town of Torrington, on the eve of the First English Civil War in 1642. The protagonists are Simon Carey, son of a local farmer who supports Parliament and his best friend, Amias Hannaford, son of the Royalist town doctor. The two friends fall out when the war begins; Simon's father goes off to fight for Parliament but orders him to finish school first.

Amias joins the Royalist forces in April 1644, while Simon helps a regiment of Parliamentary cavalry escape after their defeat at Lostwithiel in September. With the help of an officer he met then, he joins the New Model Army in early 1645 as a Cornet in the regiment of the Army commander, Sir Thomas Fairfax. His corporal is an Ironside trooper called Zeal-for-the-Lord Relf.

The story covers the decisive Parliamentary victory at Naseby in June 1645; when Zeal-for-the-Lord deserts to seek revenge on a former friend, he is flogged and dismissed from the army. The rest of the book covers the final campaign in the West Country; Simon takes part in the July 1645 Battle of Langport, then helps capture a house at Okeham Paine held by the Royalists, where he finds himself fighting against Amias. He is badly wounded and then sent home as a scout to gather information on the Royalist army led by Ralph Hopton; here he meets again with both Amias and Zeal-for-the-Lord, who is now with the Royalists and gives him the information he needs.

Simon rejoins the army for the Battle of Torrington; this results in a Parliamentary victory but a huge explosion blows up the church, killing over 200 prisoners. Simon helps the injured Amias, who is suspected of causing the explosion and is also arrested for 'harbouring the enemy.' Zeal-for-the-Lord is one of the wounded recovered from the explosion and before he dies, helps clear Amias. Simon is also freed and the story ends four years later in 1649, after the Second English Civil War with the two resuming their friendship.

In 'Simon,' Sutcliff addresses a theme that re-appears in many of her works ie that of conflicting personal and societal loyalties and what keeping faith with one can mean for the other. Thomas Fairfax also appears in Sutcliff's novel 'Rider of the White Horse,' written from the perspective of his wife Anne Fairfax.

Historical background
Rosemary Sutcliff wrote that it is a fiction based on real events; "Most history books deal with the final campaign of the civil war in a single paragraph, and the Battle of Torrington they seldom mention at all.  In this story I have tried to show what that final campaign in the west was like, and to re-fight the battles fought over my own countryside.  Most of the people I've written about really lived; Torrington Church really did blow up, with 200 Royalist prisoners and their Parliamentary Guard inside, and no one has ever known how it happened, though Chaplain Joshua Sprigg left it on record that the deed was done by 'one Watts, a desperate villain.'"

While the fact of the explosion is historically correct, other sources claim the prisoners were Parliamentary soldiers held by the Royalists (Sutcliff has it the other way round), while the actual number killed is unclear. The battle itself features in local historical re-enactments.

References

External links
 Website on Simon and all Rosemary Sutcliff books by her godchild and literary executor

1953 British novels
1953 children's books
British children's novels
Children's historical novels
Novels by Rosemary Sutcliff
Novels set during the English Civil War
Novels set in Devon
Oxford University Press books
Children's books set in Devon
Children's books set in the 1640s

Simon (Sutcliff novel)


Universe Sandbox is a series of interactive space sandbox gravity simulator educational software video games. Using Universe Sandbox, users can see the effects of gravity on objects in the universe and run scale simulations of the Solar System, various galaxies or other simulations, while at the same time interacting and maintaining control over gravity, time, and other objects in the universe, such as moons, planets, asteroids, comets, and black holes. The original Universe Sandbox was only available for Windows-based PCs, but an updated version was released for Windows, macOS, and Linux in 2015.

Universe Sandbox was designed by Dan Dixon, who released the first version in May 2008. Dixon worked full-time on the project since 2010, founding the company Giant Army the following year. Since then, he has hired eight additional designers for the company. Work on a new version of the game, originally called Universe Sandbox², began in 2014. In November 2018, the original Universe Sandbox was renamed to Universe Sandbox Legacy, and the new version was then renamed to Universe Sandbox in December.

Simulations
Both realistic and fictional simulations appear in Universe Sandbox, with each area of outer space being placed by default or according to the player's preference. Real simulations include the Solar System, which includes the eight planets, five minor planets, 160+ moons, and hundreds of asteroids; and predictions of future events such as the Andromeda and Milky Way galaxy collision which will occur in 3.8 to 4.5 billion years. During gameplay, the player may be introduced to the regions that include the 100 largest bodies in the Solar System, the nearest 1000 stars to the Sun or the nearest 70 galaxies to the Milky Way. A visual size comparison of the largest known stars and planets can be explored, and real time animations of events like the Apophis asteroid passing near Earth in the year 2029 can be watched. Comets can be observed colliding into planets, such as the Shoemaker Levy 9's collision with Jupiter. The trans-Neptunian object 2008 KV42 with a retrograde motion orbit can be seen in a simulation. Moons are able to be converged into planets, and may be able to affect the planet's atmosphere or minerals. Players are able to view the Rho Cancri (55 Cancri) star in the constellation of Cancer; they can see the five known planets in the system. The Pioneer and Voyager spacecraft can be seen in its encounters with Jupiter, Saturn, Uranus, and Neptune. Visual Lagrange points of the Earth and Moon can be seen, along with the galaxy and star system. The gamma-ray burst locations, found in distant galaxies, can be found. Supernovas are shown in real time.

Reception

Duncan Geere of PC Gamer UK gave it an 84/100 and spoke positively of the game, "Universe Sandbox is not going to change your life. It is not going to make you cry, and it won't sit in the top of your most-played list in Steam for weeks. But if you like the idea of an interactive orrery that you can rip apart and put back together in whatever way you like, and you're happy to feed it with a bit of imagination, it's hard to find a better way to spend £6." Jules of Wired said in their review, "I've seen some pretty wonderful interactive programs that allow you and your family to explore the vast regions of the universe, but nothing nearly as enthralling as Universe Sandbox. [...] Unlike most astronomy software that just shows you what the sky looks like or where the planets are, Universe Sandbox is a powerful gravity simulator."

Rewrite

The team began working on a complete rewrite of Universe Sandbox, originally titled Universe Sandbox², in 2014. Some of the new features include atmospheres being shown on planets, dynamic and procedurally generated textures on stars and gas giants, a more realistic and graphic collision system, 3D charts in chart mode, simulation of stellar evolution, procedural detail in rings/particles, visualization of black holes, simulation of fluid-like objects (such as gas clouds, nebulae and protoplanetary disks, and planetary collisions) and much more. The team demonstrated many of these features at the Unite 2012 conference. On November 15, 2018, the feature to share simulations through Steam Workshop was added. Such simulations like Planet X crashing into Earth, Venus and Mars as the planets were billions of years ago are possible. In December 2018, the game was renamed from Universe Sandbox² to Universe Sandbox.

See also

 Gravity (software)

References

External links

Astronomy software
Educational software for macOS
Educational software for Linux
Windows games
MacOS games
Linux games
Space simulators
Video game franchises
Video game franchises introduced in 2008

Universe Sandbox


Jacob Downing (April 1830 – 1907) was a major in the Union Army during the American Civil War. He was present at the infamous Sand Creek Massacre as a subordinate of Colonel John Chivington. After the war ended, he played a part in the development of Colorado and in particular the city of Denver.

Early life
Jacob Downing was born in Albany, New York in April 1830, the youngest of 11 children of Jacob Downing, Sr. (1785-1858) and Jane (née Winne) Downing. Downing, Sr. was, according to one source, the owner of several farms and a successful entrepreneur. The family were Hicksite Quakers, Downing, Sr. being a cousin of Elias Hicks.

The younger Downing was schooled at The Albany Academy. At 14, he went to work as a clerk at the Albany City Bank. In 1850, he was badly injured aboard the steamer Alabama when the boiler burst. He studied law in Chicago and was admitted to the Illinois bar in 1858. Downing moved to Denver, Colorado, in 1859, during the Colorado Gold Rush, or in 1860. In 1860, he was elected a judge of the municipal court.

Military service

When the American Civil War broke out in 1861, he volunteered and was assigned to the 1st Colorado Infantry Regiment. He fought in the Battles of Apache Canyon and Pigeon's Ranch (March 1862), and Peralta (April 1862) in the New Mexico Campaign. Promoted to the rank of major, he was given command of Fort Larned, Kansas in 1862.

In April 1864, Downing came upon a band of Cheyenne camped near Cedar Canyon, 60 miles above the South Platte River. Although he only suspected them of stealing cattle and horses, Downing launched an attack that killed an estimated 25 Cheyennes and destroyed their lodges and belongings.

Downing was also present at the Sand Creek massacre (also called the "Chivington massacre" after the officer in charge, Colonel John Chivington). In the ensuing outcry, he served as Chivington's legal counsel.

Return to civilian life
He mustered out of the army in 1864 or 1865 and returned to Denver. In 1867, Downing was elected probate judge of Arapahoe County, Colorado, for a term of two years. He acquired land, and took up developing real estate, farming, and raising cattle and horses. He acquired a  ranch near Denver and made it into a showplace called "Downingdale".

A civic leader, he was one of those who pushed for parks in the community, and originated the bill that led to the establishment of City Park. He also donated land and money for the Colfax Avenue streetcar and extended and improved Mount View Boulevard. When the Gentlemen's Driving and Riding Club of Denver, established in 1882 and whose members were "men who were leaders in the Denver business community and society", moved from Arlington Park to City Park, in the mid-1880s, "Downing acquired the property and maintained it as a clubhouse." After his death in 1907, his widow converted the building into the Downing Home for Old People. South Downing Street in Denver is named after him.

Personal life

On November 1, 1871, he married Caroline Rosecrans in Glen Falls, New York. She was an artist, musician and poet. Caroline Downing was the first member of the Ladies' Relief Society, president of the Ladies' Auxiliary to the Grand Army of the Republic and president of Pioneer Ladies' Aid Society. She gave to the Denver Orphans' Home, Colorado Women's College, Children's Hospital, Denver Public Library and Jacob Downing Home for the Aged. She was a member of the Woman's Press Club and the Woman's Club.

See also

References

External links
Etching of Jacob W. Downing, Denver Public Library Digital Collections

1830 births
1907 deaths
Union Army officers
The Albany Academy alumni
Colorado state court judges
19th-century American judges
Lawyers from Albany, New York
Probate court judges in the United States
Military personnel from Albany, New York
People of Colorado in the American Civil War
American military personnel of the Indian Wars
Lawyers from Denver

Jacob Downing


"Cuckservative" is a pejorative formed as a portmanteau of "cuck", an abbreviation of the word "cuckold", and the political designation "conservative". It has become a derogatory label used by white nationalists and the alt-right in the United States to denigrate other  conservatives.

The word "cuckservative" reached a high level of mainstream political conversation around mid-July 2015, where it gained media attention just a few weeks before the start of the first Republican primary debate for the 2016 United States presidential election.

The term, as well as the shortened form "cuck" for cuckold, originated on websites such as 4chan (specifically the /pol/ imageboard) and 8chan, the right-wing message board My Posting Career, the blog The Right Stuff, and other sites associated with the alt-right.

Definition and origin
One definition of "cuckservative" is someone who is associated with the right-wing politics in contemporary America but also opposes white supremacy. According to Richard B. Spencer, a white supremacist, the term is a shorthand used to express "a certain kind of contempt for conservatives".

Initially, the phrase was also used by social conservatives in a manner similar to "Republican In Name Only" (RINO) against conservatives who were seen as not conservative enough. Social conservatives use the term to condemn Republicans they accuse of running on socially conservative values to appeal to their base during an election cycle only to use vote trading to compromise on those values while in office and, thus, capitulate to liberal politicians and public sentiment. Some observers, such as the Southern Poverty Law Center, say that the term's usage was rising among white supremacists in the United States as of August 2015.

The term "cuckold" has a long history as an insult implying that a specific man is weak and emasculated, and may even feel pleasure at his own humiliation. The shortened form "cuck" arose in this manner as an Internet insult, and it also refers to a genre of pornography in which a married woman spurns her weak husband for sex with a strong man. The husband is thus cuckolded or "cucked".

Some American political writers have suggested that the terms "cuck" and "cuckservative" are fetish charged due to their pornographic roots, instead of simply being a sexual insult like the original "cuckold". Thus, "cuck" is said by various writers to project the insulter's anxieties and insults by insinuating that the target is weak or enjoys his humiliation. The term "cuckservative" is said to imply that certain Republicans are humiliated through their actions while feeling thrilled from their own degradation of others because of the "abandonment of their own moral standards."

White supremacists have used the term to condemn white politicians who they say unknowingly promote "the interests of Jews and non-whites." The Anti-Defamation League says that the term is used by white supremacists as a synonym of the pre-existing phrase "race traitors". Those in the self-described conservative media targeted by the "cuckservative" slur, as well as journalists and commentators from other media outlets, have decried the term as an anti-Christian, racist slur and a rallying cry for white supremacists and neoreactionaries.

A conservative news site in Spain translated "cuckservative" to "cornuservador", stating that: "Republicans are nothing but the 'controlled opposition' completely in the hands of the political left, whose only aspiration is for those rare occasions when those hands pat them on the head, and the media rewards them with the coveted adjective 'moderate': these are the cornuservadores."

Use
Jeet Heer of The New Republic wrote that the word is a "fine example of how the sound of a word can reinforce its meaning: abrasive on the ears, cuckservative appropriately enough has an ugly origin and meaning". The word was most popularly adopted in mid-2015 after some alt-right web users were disapproving of the attempts by John McCain, Jeb Bush, and other Republicans to establish more politically conservative positions, dubbing those who did "cuckservatives". Over a matter of weeks, the term then proceeded to attain usage additionally on social media and the wider internet.

Writing for Hot Air, Taylor Millard criticized the word and its history of usage by white supremacists on the political right. He called it short-sighted, giving his opinion that Rand Paul's popularity at leading majority-black universities could make African Americans more conservative in the future. Matt Lewis, in The Daily Beast, gave his opinion that the word could become as popular with Republicans as "RINO" (Republican In Name Only), even if they were oblivious to its often fetish connotations. Writing in The Washington Post, David Weigel described the term as arising from disaffected elements of the right wing.

See also

 Beta male (slang)
 Criticism of neoconservatism
 Dog-whistle politics
 Regressive left
 Rockefeller Republican
 Social justice warrior

References

External links

/pol/ phenomena
2010s slang
Alt-right
Criticism of neoconservatism
Donald Trump 2016 presidential campaign
Identity politics in the United States
Political pejoratives for people
Political terminology of the United States
Republican Party (United States) terminology
White nationalism in the United States
2010s neologisms
Anti-immigration politics in the United States
Neoconservatism
Paleoconservatism
Manosphere

Cuckservative


Bioenergetics is the study of energy transfer within living systems. For living organisms to function, they must transfer energy within their systems and between other organisms. These transfers happen following the Laws of Bioenergetics, which are themselves restatements of laws of thermodynamics.

The first law states that energy cannot be created or destroyed. The total amount of energy must remain constant. Organisms cannot create energy, merely transform it from one form to another. For instance, plants do not create energy through photosynthesis, they convert energy from the sun into stored energy in food that can the be used to perform life functions.

Energy is able to move through the systems by undergoing these energy conversion. As an example, energy from the sun is converted from thermal energy into chemical energy by a producer; the producer is then eaten by a consumer; and the energy travels up the food chain. At each level the amount of energy is reduced, following the second law of bioenergetics that states that energy transfer will always proceed in the direction of increased entropy, and the release of "free energy." In this situation, most energy is lost as heat as it travels through the food chain.

In living organisms, the molecule that is the source of the stored energy used for cell functions comes in the form of Adenosine Triphosphate, or ATP. The energy is stored in the bonds between the phosphates in the ATP. When energy is needed to do work, for instance moving materials across the cell membrane or for chemical reactions, the bonds are broken and energy is released. Cells therefore have to produce the ATP through the processes of photosynthesis and cellular respiration.

References

Biology

Bioenergetics


The True Jesus Kirk is an independent indeeginous Kirk that stairtit oot in Beijing, Cheenae an it wis foondit bi Paul Wei in 1917. Its current Preses is Yung-Ji Lin. The kirk haes aboot atween 1.5 tae fower million follaers in fowerty kintras aa ower the warld an is conseidered a Cheenese affshuit o the Pentecostal brainch o Christianity that emerged throu the stairt o the 1900s.
The kirk disagrees wi Treenity an hauds tae Aneness Pentecostal theolgy insteid. In 1978, immigrants frae Hong Kong estaiblished the kirk in Edinburrie, Scotland..

The Five Main Doctrines

Haly Speerit
"Receivin the Haly Speerit, Evidensed bi speakin in toungs, is the guairantee o oor inheritance o the kingdom o Heiven".

Bapteesm
"Watter Bapteesm is the sacrement for the remeession o Sins for tae regenerate. The kirk believes that bapteesm shoud tak place in naitural leevin watter, sic as that fae rivers, burns, the sea or springs.

The Baptist, that haes aareadies recieved bapteesm o watter an the Haly Speerit, conducts the bapteesm in the name o the Laird Jesus Christ.
The kirk believes that the body resievin the bapteesm be haily immersed intae watter wi the heid bowed an face dounwart".

Feet Washin
"The sacriment o Feet Washin enables a body tae hae a pairt wi the Laird Jesus.
It sers as a constant mynder that a body shoud gie luv, haliness, hummlenes, forgieness an service.

Ilka body that haes recieved watter bapteesm shoud hae their feet wuishen in the name o Jesus Christ. Mutual feet washin micht aye be practiced whaniver is richt".

Haly Communion
"The Haly Communion is the sacriment tae commemorate the deith o the Laird Jesus Christ.

It allous us tae partak o the flesh an bluid o oor Laird an tae be in communion wi Him sae that we can hae eternal life an be raised on the Last Day.
This sacriment is hauden sae aften as possible. Anerly ae unleavened bap an grape juice is uised".

Sawbath Day
"The Sawbath day, the sievent day of the week (Setturday), is a Haly Day, blessit an sanctifee'd bi God. It is observed unner the Laird's grace for the commemoration o God's creation an salvation an wi the howp o eternal rest in the life tae come".

Addeetional doctrines
Later on in the 1980s, mair wis eikit tae thir five main doctrines for tae become the 10 basic beliefs o the True Jesus Kirk:

Jesus
"Jesus Christ, the Ward that became flesh, Dee'd on the ruid for the redemption o sinners, ressurrectit on the third day an ascendit tae heaven. He is the ae Saviour o mankind, the Creator o the hivens an yird, an the ae true God".

The Bible
"The Haly Bible, consceesting o the Auld an New Testaments, is inspeered bi God, the ae scriptural truith, an the staundart for Christian leevin".

Salvation
"Salvation is gien bi the grace o God throu faith. Believers maun relee on the Haly Speerit for tae pursue haliness, tae honour God, an tae luv humanity".

The Kirk
"The True Jesus Kirk, estaiblished bi our Laird Jesus Christ, throu the Haily Speerit durin the time o the 'lattere rain', is the restored true kirk o the Apostolic time".

Seicont Comein
"The Laird's Seicont Comein will tak place on the Last Day whan He desends frae heiven tae juidge the warld: the juist will recieve eternall life, while the wickit will be eternally condemned".

Fremmit Airtins
 True Jesus Kirk in Edinburrie  (in Inglis)

 True Jesus Kirk, Unitit Kinrick

Christianity

True Jesus Kirk


The Headwaters Wilderness is a  wilderness area located within the Nicolet unit of the Chequamegon–Nicolet National Forest in northeastern Wisconsin. It is the largest federally designated wilderness area on Wisconsin's mainland.

The wilderness area contains the headwaters of the Pine River, a legally protected wild river and a tributary of the Menominee River. The landscape is primarily forested swampland and bogs; the generally flat terrain is covered by pine forest, with some features of northern hardwood forests.

The northern section of the wilderness area contains Kimball Creek, which feeds into the Pine River. In the southwest is the Shelp Lake unit, containing some of the largest and oldest trees in the national forest. In the southeast section features the Pine River, which flows east out of the forest towards the upper peninsula of Michigan.

The Headwaters Wilderness area provides opportunities for hiking, although most trails are primitive and the area contains only a few miles of designated hiking trails. The trails travel past old growth eastern white pine and eastern hemlock, some of Wisconsin's oldest and largest trees. Hunting, fishing, and birdwatching are other popular activities. Several species of bird that are uncommon in Wisconsin can be found in the area including Canada jays, boreal chickadees, and black-backed woodpeckers.

See also
 List of U.S. Wilderness Areas
 Wilderness Act

References

External links
 Official Site at United States Forest Service
 Headwaters - Wilderness.net

IUCN Category Ib
Protected areas of Forest County, Wisconsin
Wilderness areas of Wisconsin
Protected areas established in 1984
1984 establishments in Wisconsin

Headwaters Wilderness