Calendula () is a genus of about 15–20 species of annual and perennial herbaceous plants in the daisy family, Asteraceae that are often known as marigolds. They are native to southwestern Asia, western Europe, Macaronesia, and the Mediterranean. Other plants also known as marigolds, including corn marigold, desert marigold, marsh marigold, and plants of the genus Tagetes.

The genus name Calendula is a modern Latin diminutive of calendae, meaning "little calendar", "little clock" or possibly "little weather-glass". The common name "marigold" refers to the Virgin Mary. The most commonly cultivated and used member of the genus is Calendula officinalis, the pot marigold. Popular herbal and cosmetic products named "Calendula" invariably derive from C.officinalis.

Uses

History
Calendula was not a major medicinal herb but it was used in historic times for headaches, red eye, fever and toothaches. As late as the 17th century Nicholas Culpeper claimed Calendula benefited the heart, but it was not considered an especially efficacious medicine.

In historic times Calendula was more often used for magical purposes than medicinal ones. One 16th-century potion containing Calendula claimed to reveal fairies. An unmarried woman with two suitors would take a blend of powdered Calendula, marjoram, wormwood and thyme simmered in honey and white wine used as an ointment in a ritual to reveal her true match.

Ancient Romans and Greeks used the golden Calendula in many rituals and ceremonies, sometimes wearing crowns or garlands made from the flowers. One of its nicknames is "Mary's Gold", referring to the flowers' use in early Christian events in some countries. Calendula flowers are sacred flowers in India and have been used to decorate the statues of Hindu deities since early times.

The most common use in historic times was culinary, however, and the plant was used for both its color and its flavor. They were used for dumplings, wine, oatmeal and puddings. In English cuisine Calendula were often cooked in the same pot with spinach, or used to flavor stewed birds. According to sixteenth-century Englishman John Gerard, every proper soup of Dutch cuisine in his era would include Calendula petals.

Culinary
Also known as "poor man's saffron," the petals are edible and can be used fresh in salads or dried and used to color cheese or as a substitute for saffron. Calendulas have a mildly sweet taste that is slightly bitter, and as it dries these flavors become more intense.  It can be used to add color to soups, stews, poultry dishes, custards and liquors.

The common name for Calendula officinalis in Britain is 'pot-marigold,' named so because of its use in broths and soups.

Dyes
Dye can be extracted from the flower and produce shades of honey, gold oranges, light browns, and vibrant yellows.

Chemistry
The flowers of C. officinalis contain flavonol glycosides, triterpene oligoglycosides, oleanane-type triterpene glycosides, saponins, and a sesquiterpene glucoside.

Pharmacological effects
Calendula officinalis oil is still used medicinally as an anti-inflammatory and a remedy for healing wounds. Calendula ointments are skin products available for use on minor cuts, burns, and skin irritation; evidence of their effectiveness is weak.

Plant pharmacological studies have suggested that Calendula extracts have antiviral, antigenotoxic, and anti-inflammatory properties in vitro. In herbalism, Calendula in suspension or in tincture is used topically for treating acne, reducing inflammation, controlling bleeding, and soothing irritated tissue.
Limited evidence indicates Calendula cream or ointment is effective in treating radiation dermatitis. Topical application of C. officinalis ointment has helped to prevent dermatitis and pain; thus reducing the incidence rate of skipped radiation treatments in randomized trials.

Calendula has been used traditionally for abdominal cramps and constipation. In experiments with rabbit jejunum, the aqueous-ethanol extract of C. officinalis flowers was shown to have both spasmolytic and spasmogenic effects, thus providing a scientific rationale for this traditional use. An aqueous extract of C. officinalis obtained by a novel extraction method has demonstrated antitumor (cytotoxic) activity and immunomodulatory properties (lymphocyte activation) in vitro, as well as antitumor activity in mice.

Calendula plants are known to cause allergic reactions, and should be avoided during pregnancy.

Diversity

Species include:
Calendula arvensis (Vaill.) L. – field marigold, wild marigold
Calendula denticulata Schousb. ex Willd.
Calendula eckerleinii Ohle
Calendula incana Willd.
Calendula incana subsp. algarbiensis (Boiss.) Ohle
Calendula incana subsp. maderensis (DC.) Ohle – Madeiran marigold
Calendula incana subsp. maritima (Guss.) Ohle – sea marigold
Calendula incana subsp. microphylla (Lange) Ohle
Calendula lanzae Maire
Calendula maritima Guss. - sea marigold
Calendula maroccana (Ball) Ball
Calendula maroccana subsp. maroccana
Calendula maroccana subsp. murbeckii (Lanza) Ohle
Calendula meuselii Ohle
Calendula officinalis L. – pot marigold, garden marigold, ruddles, Scottish marigold
Calendula palaestina Boiss.
Calendula stellata Cav.
Calendula suffruticosa Vahl
Calendula suffruticosa subsp. balansae (Boiss. & Reut.) Ohle
Calendula suffruticosa subsp. boissieri Lanza
Calendula suffruticosa subsp. fulgida (Raf.) Guadagno
Calendula suffruticosa subsp. lusitanica (Boiss.) Ohle
Calendula suffruticosa subsp. maritima (Guss.) Meikle
Calendula suffruticosa subsp. monardii (Boiss. & Reut.) Ohle
Calendula suffruticosa subsp. tomentosa Murb.
Calendula tripterocarpa Rupr.

Gallery

References

External links
Flora Europaea: Calendula
Germplasm Resources Information Network: Calendula
Botanical.com: Calendula

Asteraceae genera
Garden plants
Medicinal plants
Taxa named by Carl Linnaeus

Calendula


The lumen (symbol: lm) is the SI derived unit for brightness. It is defined as 1 candela times 1 steradian.

One lumen is about a twelfth the brightness of a candle, so a candle has a brightness of around 12 lumens.

SI derived units

Lumen (unit)


Flame is the name of a roughly human-shaped robot, developed in the Netherlands by Daan Hobbelen of the Mechanical Engineering department of Delft University. Robot motion is more easily done with wheels, but this robot was designed specifically to study human walking. It is 130 cm tall and weights 15 kg.

Flame is a continuation of Denise, another walking robot developed at Delft University, which featured in a Science article in 2005. Just like Denise, Flame walks through controlled falling. It does not try to keep balance, but accepts that it loses balance and reacts to that by placing a foot such that it will stop the fall. Do this continuously, and the result is walking. The idea is that humans walk in the same manner.

Flame uses just a little more energy than a human of the same weight. It turned out Flame walked most efficiently if the 'rear heel' is lifted the moment the 'front heel' hits the ground. Humans do the same.

Flame works differently from Japanese robots, which are generally based on assembly line robots and know exactly what to do when because the environment is fixed. For example, they can walk up stairs quite impressively, but only the set of stairs that they have been programmed for. According to Hobbelen this approach is a dead end. Flame is more flexible and reacts to changing circumstances.

References

External links
 Homepage

Bipedal humanoid robots
Robots of the Netherlands
Delft University of Technology
2000s robots

Flame (robot)


The Violin Sonata No. 2 in A major, Op. 100 ("Thun" or "Meistersinger"), by Johannes Brahms was written while spending the summer of 1886 in Thun in the Bernese Oberland, Switzerland.

It was a very fertile and refreshing time for Brahms. His friend, the Swiss pastor and poet  (1842–1911), lived in Berne and they visited each other.  He was also visited by the poet Klaus Groth and the young German contralto Hermine Spies.  Both Groth and Brahms were somewhat enamoured of Spies. He found himself so invigorated by the genial atmosphere and surroundings that he said the area was "so full of melodies that one has to be careful not to step on any". In a short space of time, he produced, in addition to this violin sonata, the Cello Sonata No. 2 in F major, Op. 99, the Piano Trio No. 3 in C minor, Op. 101, and various songs.

The second Violin Sonata is the shortest and is considered the most lyrical of Brahms's three violin sonatas. It is also considered the most difficult of the three to bring off successfully, and to exhibit its balance of lyricism and virtuosity. It maintains a radiant, happy mood throughout.

Movements

The sonata consists of three movements, with the middle movement doing service as both a slow movement and a scherzo:

Commentary
By giving the work the formal title of "Sonata for Piano and Violin", rather than the more usual "Sonata for Violin and Piano", Brahms indicated the piano part was just as important as the violin part.  In keeping with this, he allowed the piano to announce the opening theme.  The first three notes of the first movement are very similar in both melody and harmony to the first three notes of "Walther's Prize Song" (Morgendlich leuchtend im rosigen Schein) from Richard Wagner's opera Die Meistersinger von Nürnberg.  Although they were musical rivals, Brahms was a great admirer of Wagner's music, but whether this was a deliberate quotation on Brahms's part is open to speculation. Nevertheless, the sonata has often been subtitled the "Meistersinger" Sonata.  It is also sometimes called the "Thun" Sonata from the place of its creation.

Motifs from three of the songs Brahms wrote that summer with Hermine Spies's voice in mind appear fleetingly in the sonata: "Wie Melodien zieht es mir leise durch den Sinn", Op. 105/1 ("Like melodies it steals softly through my mind"; words by Klaus Groth) makes an appearance in the second subject of the first movement.  "Immer leiser wird mein Schlummer", Op. 105/2 ("Ever gentle is my slumber"; words by Hermann Lingg) and "Auf dem Kirchhofe", Op. 105/4 (words by Detlev von Liliencron) are quoted in the final movement.  The song "Komm bald", Op. 97/5 ("Come soon"; words by Groth) is also said have provided thematic inspiration for the sonata.

An outstanding quotation of Brahms' own music can also be found at bar 89 in the last movement. Lied Meine liebe ist grün (Op. 63 no 5, poem by Felix Schumann, son of Robert and Clara, died in 1879) provides the dramatic portion of its melody corresponding to die glänzt wohl herab auf den Fliederbusch lyrics ('which gleams down on the lilac bush').

For French musicologist Georges Kan, this is the location of the little phrase in Vinteuil Sonata which Swann listens to in
'In Search of Lost Time' by Marcel Proust.

The Violin Sonata No. 2 was premiered in Vienna on 2 December 1886 by the violinist Joseph Hellmesberger and Brahms himself at the piano.

Brahms's friend the poet Josef Widmann later wrote a poem to be accompanied by the sonata.

Recordings

References

External links

Chamber music by Johannes Brahms
Brahms, Violin Sonata No. 2
1886 compositions
Compositions in A major

Violin Sonata No. 2 (Brahms)


Niko Bagrationi (; , Nikolay Georgievich Bagration) (1868–1933) was a Georgian nobleman who fought as a volunteer officer in the Boer army during the Second Boer War (Anglo-Boer war). He was also known in Georgia as Niko the Boer (ნიკო ბური, Niko Buri).

Son of Prince George Nikolaevich Bagration. A member of the Mukhrani branch of the Bagrationi family (formerly a royal dynasty of Georgia), he was born at the Mukhrani castle near Tbilisi (then Tiflis, Imperial Russia). He represented Georgian nobility at the Russian Tsar Alexander III's coronation in 1881.

In 1899, he attended the Paris international exhibition and was going to leave for big-game hunting when he heard that the Anglo-Boer war had broken out. He later wrote in his memoirs that although he had never heard of the Transvaal until then, its struggle for independence reminded him of his motherland. Thus, he was the first volunteer from Russia to arrive in Pretoria where he was welcomed by the Boer statesman Paul Kruger and his generals. Prince Bagrationi quickly won popularity among the Boers and was promoted to colonel. Later, he was taken prisoner by the British and summoned by Lord Kitchener to explain his conduct – a memorable confrontation in which he accused Kitchener of atrocities. He escaped execution because of his royal descent and was exiled to St Helena, where he remained very cheerful and organizing sports and other activities for his fellow prisoners.

He was soon released, and Bagrationi returned to France and then to Georgia, where he wrote a memoir, Burebtan ("With the Boers"; published in Tbilisi, 1951), about his experiences in South Africa. After the Sovietization of Georgia in 1921, he openly opposed Bolshevik rule and lost his property, but surprisingly survived the 1920s purges that targeted Georgian nobility. He ended his days in poverty, selling cigarettes at the Tbilisi marketplace, still dressed in princely garments.

Prince Bagrationi married, in 1902, Anna Buchkiashvili (1883-1959). They were the parents of
 Constantine (1903, died infant)
 George (1905, died infant)
 Natalia (1903, Tbilisi, - 1979, Paris), married at Paris, in 1931, Jean Eugène Marie Victor Tourangin (1885-1977)
 Rusudan (1905, Tbilisi, - 1986, Tbilisi), married Ivane Chikvaidze (1900-1979)
 Alexandre (1908-1934)
 Irina (1916, Tbilisi, - 2000, Paris), a participant in the French Resistance during World War II

See also
 Boer Foreign Volunteers

References

1868 births
1933 deaths
House of Mukhrani
Memoirists from Georgia (country)
Military personnel from Georgia (country)
Second Boer War prisoners of war held by the United Kingdom
Prisoners of war from Georgia (country)
South African Republic military personnel of the Second Boer War
Emigrants from the Russian Empire
Immigrants to the South African Republic

Niko Bagration


Epifanio Obdulio "Epy" Guerrero (January 3, 1942 - May 23, 2013)  was a Dominican baseball scout who signed more than 50 Major League Baseball (MLB) players for the Houston Astros, New York Yankees, Toronto Blue Jays and Milwaukee Brewers. Epy was the brother of former shortstop Mario Guerrero, and had two sons, Epy Jr. (Sandy) and Mike, who played and Coached minor league ball.

Guerrero was a Toronto Blue Jays coach in . As a Blue Jays scout, Guerrero signed Tony Fernández and Carlos Delgado, and urged upper management to draft George Bell away from the Philadelphia Phillies.

He is considered to have signed more major leaguers than any other scout, including All Stars Cesar Cedeño, Carlos Delgado, Tony Fernández, Dámaso García, Alfredo Griffin, and José Mesa.

Guerrero was inducted into the Dominican Sports Hall of Fame in October , and on January 15, , Guerrero received a "Legends in Scouting Award" from the Professional Baseball Scouts Foundation.

MLB players signed
During the 40 years Guerrero scouted for the Astros (1963–1973), Yankees (1974–1976), Blue Jays (1977–1995) and Brewers (1996–2003), 54 of the players he signed eventually reached the major leagues.

Houston Astros
 Cesar Cedeño
 Jesús de la Rosa
 Al Javier
 Luis Pujols
 Luis Sánchez
 José Sosa
 Alex Taveras

New York Yankees
 Juan Espino
 Jesús Figueroa
 Dámaso García
 Domingo Ramos
 Rafael Santana
 Jose Uribe

Toronto Blue Jays

 Carlos Almanzar
 Luis Aquino
 Gerónimo Berroa
 Tilson Brito
 Enrique Burgos
 Francisco Cabrera
 Sil Campusano
 Giovanni Carrara
 Tony Castillo
 Domingo Cedeño
 Pasqual Coco
 Francisco de la Rosa
 Carlos Delgado
 José Escobar
 Kelvim Escobar
 Junior Félix
 Tony Fernández
 Freddy García
 Beiker Graterol
 Toby Hernández
 José Herrera
 Edwin Hurtado
 Alexis Infante
 Luis Leal
 Nelson Liriano
 Fred Manrique
 Domingo Martínez
 Sandy Martinez
 José Mesa
 Julio Mosquera
 Pedro Muñoz
 Abraham Núñez
 Oswaldo Peraza
 Robert Pérez
 Luis Sojo
 William Suero
 Dilson Torres

Milwaukee Brewers
 Alcides Escobar
 Hernán Iribarren
 Luis Martínez
 Guilder Rodríguez

References

External links
Retrosheet

1942 births
2013 deaths
Houston Astros scouts
Milwaukee Brewers scouts
New York Yankees scouts
Toronto Blue Jays scouts

Epy Guerrero


Millom Castle is an ancient building at Millom in Cumbria. It is a Grade I listed building and scheduled ancient monument.

History
A manor on the site was granted to Godard de Boyvill, owner of the Manor of Millom, in around 1134. The manor came into the Hudleston family's ownership in around 1240 when de Boyvill's granddaughter married into the Hudleston family. John Hudleston was given a licence to crenellate in 1335. The great tower dates from the 16th or perhaps 17th century.

The Hudlestones took an active part in England's regional warfare. In the Wars of the Roses, Sir John Hudlestone fought on the Yorkist side, being present at the Battle of Blore Heath in 1459, and also the Battle of Bosworth Field in 1485. In 1460 Millom Castle was captured by Lancastrian forces. After the accession of Henry VII, Sir John and his son Henry secured a pardon and retained the estate. In the English Civil War of the 1600s, Sir William Hudlestone was a leading Royalist colonel in Cumberland and Lancashire. He was defeated by Parliamentarian forces, and Millom Castle damaged by cannon fire in 1644. Heavy fines exacted by victorious Parliament began the slide of the Hudlestons into debt.

By 1739 the castle walls were in dilapidated condition. In 1748, Elizabeth Huddleston sold the castle to Sir James Lowther of Whitehaven. The gatepiers were added in the 17th or 18th century. The great tower is now used as a farmhouse.

Architecture

The stone building has ashlar dressings and slate roofs. The east side has a gatehouse and 17th-century steps. The west side has a pointed entrance. Various barns and outhouses have been attached to the north and west sides. It has the remains of a moat to the north and west.

See also

Grade I listed buildings in Cumbria
Listed buildings in Millom

References

Castles in Cumbria
Grade I listed buildings in Cumbria
Grade I listed houses
Millom

Millom Castle


The firefly squid (Watasenia scintillans), also commonly known as the sparkling enope squid or hotaru-ika in Japan, is a species of squid in the family Enoploteuthidae. It is the sole species in the monotypic genus Watasenia. These tiny squid are found on the shores of Japan in springtime during spawning season, but spend most of their life in deeper waters between 200 and 400 metres (700 and 1,300 feet; 100 and 200 fathoms). They are bioluminescent organisms and emit blue light from photophores, which some scientists have thought could be used for communication, camouflage, or attracting food, but it is still unclear in the scientific community exactly how this species uses their bioluminescence. The firefly squid is a predator and actively hunts its food, which includes copepods, small fish, and other squids. The lifespan of a firefly squid is about one year. At the end of their lives females return close to shore to release their eggs, and then die shortly thereafter. This mass migration of firefly squid to the shore is amazing business for Japanese fishermen, and during spawning season many go out to the bays to collect the dying squid. Many more also visit Japan during spawning season to see the bright blue light created from the firefly squid's bioluminescence light up the bay, making their spawning season not only a fishing opportunity but also a tourist attraction.

Cephalopods
Animals of Japan
Bioluminescent animals

Firefly squid


The Hungry Lion Throws Itself on the Antelope (Le lion ayant faim se jette sur l'antilope) is a large oil-on-canvas painting created by Henri Rousseau in 1905.  Following Scouts Attacked by a Tiger the previous year, The Hungry Lion was the second jungle painting to mark Rousseau's return to this genre after a 10-year hiatus caused by the generally negative reception to his 1891 painting Tiger in a Tropical Storm.

The Hungry Lion features a jungle scene of thick green foliage lit by a deep red setting sun.  In the foreground, a lion bites deeply into the neck of an antelope.  Other animals are visible in the dense undergrowth: a panther watches from the right, an owl stares out of the background holding a bloody strand of meat in its beak in the centre, with a second bird to its left, and dark ape-like shape with gimlet eye lurks to the left.  Rousseau based the central pair of animals on a diorama of stuffed animals at the Paris Muséum national d'histoire naturelle, entitled Senegal Lion Devouring an Antelope.

Rousseau's first jungle painting, Tiger in a Tropical Storm, was rejected by the Académie de peinture et de sculpture for their official Paris Salon, but he was able to show it at the 1891 Salon des Indépendants.  Despite his increasing reputation, Rousseau continued to exhibit his works at the annual Salon des Indépendants, but The Hungry Lion was first shown at a third show, the Salon d'Automne, in 1905, alongside works by Matisse and Derain.  Rousseau wrote a longer subtitle or caption to accompany his painting:

The magazine L'Illustration printed a copy of the work in its edition of 4 November 1905, with works by Matisse, Derain, Cézanne and Vuillard.

The avant-garde works on display at the 1905 Salon d'Automne were decried by art critic Louis Vauxcelles as, "Donatello chez les fauves" (Donatello among the wild beasts), contrasting the paintings with a Renaissance-style sculpture displayed in the same room at the Grand Palais. Vauxcelles' comment was printed on 17 October 1905 in Gil Blas, a daily newspaper, and the term Fauvism passed into popular usage for the type of work exhibited, of seeming simplicity in vibrant colours.  The very term Fauvism may have been influenced directly by Rousseau's The Hungry Lion, although Rousseau was not himself counted as a Fauve.

Despite their apparent simplicity, Rousseau's jungle paintings were built up meticulously in layers, using a large number of green shades to capture the lush exuberance of the jungle.  Rousseau's work continued to be derided by the critics up to and after his death in 1910, but he won a following among his contemporaries: Picasso, Matisse, and Toulouse-Lautrec were all admirers of his work.

The Hungry Lion is now held by the Fondation Beyeler and is exhibited at their gallery at Riehen, near Basel, in Switzerland.

References

1905 paintings
Paintings by Henri Rousseau
Mammals in art
Lions in art
Paintings in Basel
Birds in art
Sun in art
Owls in art


Straightedge and compass construction, also known as ruler-and-compass construction, is drawing of lengths, angles or shapes using only a ruler and compass.

Some things cannot be drawn this way.  For example, there are only 32 regular polygons with an uneven number of sides which are known to be constructible.  It has been proven that a square with the same area as the area of a circle cannot be constructed.  This is called "Squaring the circle".

Geometry

Straightedge and compass construction


The Voyager program is a space exploration program of the United States' NASA agency. It consists of a pair of unmanned scientific probes, Voyager 1 and Voyager 2. They were launched in 1977 to take advantage of a favorable planetary alignment of the late 1970s. Although they were officially used to study just Jupiter and Saturn, the two probes were able to continue their mission into the outer solar system. They have since continued out and exited the solar system. These probes were built at JPL and were funded by NASA.

Both missions have gathered large amounts of data about the gas giants of the solar system, of which little was known before. In addition, the spacecraft paths have been used to place limits on the existence of Planet X, a planet believed by some people to be farther from the Sun than Pluto.

In 2013, NASA announced that Voyager 1 had  left the solar system (Heliosphere) on 25 August 2012. It is the first man-made object to enter interstellar space. In 2018, NASA announced that Voyager 2 had reached the heliopause on 5 November of that year.  Both of them are now in travelling in the interstellar space. Voyager spacecraft are the farthest spacecraft from Earth. On February 17, 1998, Voyager 1 passed the first spacecraft that completed the 1st mission to Jupiter, Pioneer 10 in the distance to the Sun at 70 AU (6.5 billion miles, 10.5 billion km) from it as the farthest spacecraft from the Sun. Voyager 2 overtook Pioneer 10 in the distance to the Sun at 133.92 AU (12.447 billion miles, 20.03 billion km) from it on July 18, 2023 as the 2nd farthest spacecraft from the Sun.

References

Other websites
 NASA Voyager website - Main source of information.
 Voyager Spacecraft Lifetime
 Space Exploration - Robotic Missions
 NASA Facts - Voyager Mission to the Outer Planets (PDF format)
 Spacecraft Escaping the Solar System  - current positions and diagrams
 Voyager 1 and 2 atlas of six Saturnian satellites (PDF format) 1984
 Mission state

1970s in spaceflight

Voyager program


The 1975 Cricket World Cup Final was a One Day International cricket match played at Lord's, London on 21 June 1975 to determine the winner of the 1975 Cricket World Cup. It was the second time that the West Indies and Australia had met in the tournament after playing against each other in the group stage. The West Indies won the match by 17 runs to claim their first title.

Road to the final

West Indies
West Indies qualified for the knockouts with a first-place finish in Group B. The team won all three of their matches against Australia, Pakistan and Sri Lanka. Then in the semi-final against New Zealand, the opposition opened brilliantly, but when Glenn Turner fell, the wickets tumbled the West Indies scored the required 158 to reach the final.

Australia
Australia made it through to the knockouts in second place with their only loss being against the West Indies. But they did defeat Pakistan and Sri Lanka to take on England in the semi-final. Gary Gilmour took six wickets in the English innings to help them through to the final.

Final

Summary
The first Cricket World Cup final was played on 21 June (Midsummer of that year), a sunny day, in front of a capacity crowd of 26,765. Australia won the toss and invited the West Indies to bat, hoping to make use of ideal bowling conditions. The first moment of drama came when opener Roy Fredericks was dismissed hit wicket; he hooked a bouncer from Dennis Lillee for six, but in his follow-through lost his balance and knocked the bails off the stumps. Australia were on top at 50/3 when West Indian captain Clive Lloyd came to the crease in partnership with veteran Rohan Kanhai. The pair swung the match in the West Indies' favour by putting on 149 for the fourth wicket. Kanhai played the anchor role – not scoring for 11 overs – while Lloyd took on the Australian bowling attack, surviving a dropped catch on 26 to score a memorable century off 82 balls with 12 fours and 2 sixes and was dismissed shortly afterwards for 102. Kanhai, in what would be his farewell from international cricket, scored an invaluable 55, and solid contributions from Keith Boyce and Bernard Julien helped the West Indies close their innings at 291/8. Burly left-arm seamer Gary Gilmour was the pick of the Australian bowlers with 5/48, backing up his amazing semi-final performance.

The Australian run chase began steadily enough; at the 20-over mark, the Aussies were at 80/1 with Alan Turner and captain Ian Chappell taking advantage of an easy pitch and fast outfield. Then Viv Richards, who had failed with the bat, left his mark on the match with the next three run-outs. First he swooped in and dismissed Turner with a direct hit from close range, then Greg Chappell was also out with a direct hit after a slight misfield. Doug Walters came in and helped his captain steady the ship. Australia were at 162/3 with 21 overs remaining when Chappell, facing his opposing captain, pushed a ball to the left of mid-wicket and started off for a run. He hesitated initially when he saw Richards approaching, but started off again after Richards fumbled the ball, only to be caught short of the crease by Richards' lightning recovery and return to Lloyd at the bowler's end. In each situation, the batsmen probably would have made the run had they not hesitated. When Lillee joined Jeff Thomson as last man in, Australia required 59 runs to win off seven overs. The duo kept the game alive, putting on an unlikely last-wicket stand. With three overs remaining, the game reached an unlikely climax when Lillee hit a no-ball to Fredericks at extra cover off Vanburn Holder, and the crowd rushed onto the field oblivious to the umpire's call. Amid the chaos, Fredericks attempted a run-out but missed and the ball disappeared into the crowd. Lillee and Thomson kept running between the wickets until the crowd were dispersed. When play was resumed, the umpires decided to give Australia two runs. After protest from Thomson, they awarded three runs.

Match details

See also

 ICC Cricket World Cup

References

External links
 Cricket World Cup 1975 from Cricinfo

International sports competitions in London
Cricket World Cup Final, 1975
Final, 1975 Cricket World Cup
Cricket World Cup Final, 1975
Cricket World Cup finals
1975–76 Australian cricket season
Lord's
Cricket in London

1975 Cricket World Cup final


The Courcelette Memorial is a Canadian war memorial that commemorates the actions of the Canadian Corps in the final two and a half months of the infamous four-and-a-half-month-long Somme Offensive of the First World War. The Canadians participated at the Somme from early September to the British offensives end in mid-November 1916, engaging in several of the battles-within-the-battle of the Somme, including actions at: Flers-Courcelette, Thiepval Ridge, the Ancre Heights, the Ancre as well as a small role in providing relief to the First Australian Imperial Force in the final days of the Battle of Pozières. The battles on the Somme were the first in which all four Canadian divisions participated in the same battle, although not together in a cohesive formation. The Canadian divisions suffered over 24,000 casualties.

Monument

Site Selection
The Canadian Battlefield Monument Commission established after the Great War was appointed to select the location and design of the memorials to commemorate the Canadian participation in the First World War. The Canadian National Vimy Memorial at Vimy Ridge was selected as the national memorial site and seven other locations at Hill 62, St. Julien and Passchendaele in Belgium, as well as Le Quesnel, Dury, Courcelette and Bourlon Wood in France were chosen to commemorate significant battles the Canadian Expeditionary Force had engaged in. Each of the seven sites were to have an identical granite block inscribed with a brief description of the battle in both English and French.

The particular location of the memorial corresponds to the position the Canadians reached by the end of the first day of fighting during the Battle of Flers Courcelette, almost two kilometres from their starting point on the outskirts of Pozières.

Location & Design

The Courcelette Memorial sits beside the D929 (Albert-Bapaume) roadway, just south of the village of Courcelette itself. The site is a small square park with gardens of hedges and a variety of maple trees. The choice to not have a wide variety of colours in the gardens is a conscious attempt to help the visitor focus their visit on contemplating the considerable sacrifice and cost the Canadians shouldered during the battle.
A 'Y' shaped pathway leads from the entrance to stone seats at several places around the outer edge looking out at the former battlefield.  In the centre of the park the grey granite block monument is set on a low circular flagstone terrace.

External links
 Courcelette Memorial - Veteran's Affairs Canada
 Wikimapia satellite image of the Canadian Courcelette Memorial site

References

Military history of Canada
Canadian military memorials and cemeteries
World War I memorials in France
Canada in World War I
Monuments and memorials in Somme (department)
Herbert Baker buildings and structures

Courcelette Memorial


ۋەھران () بىر شەھەردۇر.
[[
China - areasAnshan+86 - 412Beijing+86 - 10Dalian+86 - 411Guangzhou+86 - 20Hangzhou+86 - 571Harbin+86 - 451Huaian+86 - 517Huaibei+86 - 561Changchun+86 - 431Chengdu+86 - 28Chongqing+86 - 23Jilin+86 - 432Jinan+86 - 531Nanjing+86 - 25Ningbo+86 - 574Qingdao+86 - 532Shanghai+86 - 21Shenyang+86 - 24Suizhou+86 - 722Tianjin+86 - 22Weifang+86 - 536Wuhan+86 - 27Wuxi+86 - 510Xiangfan+86 - 710Yangzhou+86 - 514Yantai+86 - 535Zaozhuang+86 - 632Zibo+86 - 533Calling China from other countries

In this list you will find links to make phone calls between countries. It is a list of countries from which you

]].

International dialing codes

SearchList of countries by:LETTERSCONTINENTSITEMAP

How to call ChinaInternational phone number China: +86

The international dialing code for China is +86. You must enter this number if you are calling from another country.

China

International phone number: +86

IDD
00ISO code 2:
CNISO code 3:
CHNCapital city:
BeijingNumber of inhabitants:
1 330 044 000Area:
9 596 960,00km2

Continent: Asia

Internet domain of country:: .cn

Currency:: Yuan Renminbi (CNY)

Languages::

Chinese (PRC)

Neighbouring countries:

Afghanistan

AFAFG+93

Bhutan

BTBTN+975

Kazakhstan

KZKAZ+7

Laos

LALAO+856

Mongolia

MNMNG+976

Nepal

NPNPL+977

Tajikistan

TJTJK+992

China - Telephone area codes

Each country area has its own local phone prefix. This phone prefix is added after IDD and international phone number. In case of local call (call just between areas not countries) you don't need to add IDD and international phone number.

If you are calling from other country than China to the Anshan area, dial IDD of your country, then international phone number (country code) +86 , after that phone area code of +86 - 412 and call number.

Example: International call
+86 - 412 (Telephone number)

If you are calling inside country China , you don't need to dial IDD and international phone number (country code) of Anshan . Just dial phone area code of 412 and call number.

Example: Local call
0 412 (Telephone number)

China - areasAnshan+86 - 412Beijing+86 - 10Dalian+86 - 411Guangzhou+86 - 20Hangzhou+86 - 571Harbin+86 - 451Huaian+86 - 517Huaibei+86 - 561Changchun+86 - 431Chengdu+86 - 28Chongqing+86 - 23Jilin+86 - 432Jinan+86 - 531Nanjing+86 - 25Ningbo+86 - 574Qingdao+86 - 532Shanghai+86 - 21Shenyang+86 - 24Suizhou+86 - 722Tianjin+86 - 22Weifang+86 - 536Wuhan+86 - 27Wuxi+86 - 510Xiangfan+86 - 710Yangzhou+86 - 514Yantai+86 - 535Zaozhuang+86 - 632Zibo+86 - 533Calling China from other countries

In this list you will find links to make phone calls between countries. It is a list of countries from which you can make calls to China.

Phone call toAndorraPhone call toUnited Arab EmiratesPhone call toAfghanistanPhone call toAnguillaPhone call toAlbaniaPhone call toArmeniaPhone call toAngolaPhone call toAntarcticaPhone call toArgentinaShow all countries in the listPower plug in ChinaIn China are used power plugs and socketsof type A,C,I 230 V and 50 Hz . More information about electricity in China can be found at www.electricplug.eu.

Power plug type APower plug type CPower plug type I

Traveling and ChinaIf you are planning a business trip or vacation to China, you need to know the following information:China uses the phone code +86Type of electrical sockets in China is A,C,I 230 V and 50 Hz. You can see photos of electrical sockets above this article.If you plan to travel, you can book accommodation in China here.
Many hotels are ready for tourists and have electrical outlets of various types. You can use the area code +86 for China, call the hotel and find out which electrical outlets they have.

Words that characterize this project: International dialing code, Country code, Area code, International calling code, Area phone code

(XLM) GC7NR37T7MWMIQFG453BECOZK34L6ACZ4GDMEKTPFUIQ7MOIFDYFLTLG(XRP) rEK5iQ28qWjCqnr2SJcZrnFSihbHDeimzt(ETH) 0x464ea1878Cf32eb04A7DF9c65cF3adBD10AF7836(BTC) 3LmDusVssb9fUnL8Ge1NoDm8YDJQkEKQXw

Language

SVKCZEITA

                                 website                                 cookie                                 3rd party host

Cookie Notices and Cookie Consent Explained

Cookies are integral to the way modern websites work. Most personalisation and social media integration on websites relies on cookies in one way or another.

However they can be used in a way that doesn't benefit visitors, and they are often used to track people across the web, and build up profiles that are very valuable to brands and advertisers for targeted marketing.

This is often seen as an invasion of privacy, and because cookies are a fairly quiet technology – this can be happening to you without you realising it, or being able to stop it if you wanted to.

To help you become more aware of this activity, and give you a say in whether you want to allow it to happen, new EU-wide privacy legislation was put in place in 2011. This has become known as the Cookie Law.

The Cookie Law requires that websites give you clear, detailed information about how they use cookies, and provide ways for you to signal whether or not you want to allow such use. The website is then required by law to respect your wishes. This might mean they block the cookies you don't like, or they don't let you access the site – however you should expect to be given the choice.

Some websites will allow you to choose which types of cookies to allow or block, although in some cases if you do this you may not be able to use or see all of a website.

If a website you visit is not giving you sufficient information or choice, and the company that owns it is based in the EU, then it may be breaking the law, and you can take action against the owner.

This website has been created to help people understand better what cookies are and how they are used by different websites. You can use it to look up your favourite websites, and soon you will be able to search for information about specific cookies to understand what they are used for.

EU Cookie DirectiveThe EU Cookie LawsCookie Laws Across EuropeCookie Law in the UKCookie Law Compliance GuidanceCookie ConsentHow to Complain About Cookies

Simplify compliance with ePrivacy and GDPR

Cookie BannerCookie NoticeWebsite ScannerCookie PreferencesRecords of ConsentDo not Track

Sign Up for Free
Get started for free. Upgrade anytime.

© 2020 Cookiepedia. All Rights Reserved.

Cookie Notice|Privacy Notice|Terms of Use|Contact Us

Cookie List

2 hosts returned.

First Party CookiesView Cookies

Name

__cfduid

Host

cookiepedia.co.uk

Duration

19 Days

Type

First Party

Category

Strictly Necessary Cookies

Description

Cookie associated with sites using CloudFlare, used to speed up page load times. According to CloudFlare it is used to override any security restrictions based on the IP address the visitor is coming from. It does not contain any user identification information.

Name

OptanonAlertBoxClosed

Host

cookiepedia.co.uk

Duration

365 Days

Type

First Party

Category

Strictly Necessary Cookies

Description

This cookie is set by websites using certain versions of the cookie law compliance solution from OneTrust. It is set after visitors have seen a cookie information notice and in some cases only when they actively close the notice down. It enables the website not to show the message more than once to a user. The cookie has a one year lifespan and contains no personal information.

Name

ARRAffinitySameSite

Host

cookiepedia.co.uk

Duration

Session

Type

First Party

Category

Strictly Necessary Cookies

Description

This cookie is set by websites run on the Windows Azure cloud platform in order to pair a client request to a specific server. It is used for load balancing to make sure the visitor page requests are routed to the same server in any browsing session. This is a built-in feature of Azure App Service to facilitate session data management.

Name

OptanonConsent

Host

cookiepedia.co.uk

Duration

354 Days

Type

First Party

Category

Strictly Necessary Cookies

Description

This cookie is set by the cookie compliance solution from OneTrust. It stores information about the categories of cookies the site uses and whether visitors have given or withdrawn consent for the use of each category. This enables site owners to prevent cookies in each category from being set in the users browser, when consent is not given. The cookie has a normal lifespan of one year, so that returning visitors to the site will have their preferences remembered. It contains no information that can identify the site visitor.

Name

ARRAffinity

Host

cookiepedia.co.uk

Duration

Session

Type

First Party

abort.=Ezequiel Chapa

ۋەھران


John Walls Cushnahan (born 23 July 1948) is a former politician in both Northern Ireland and the Republic of Ireland who served as leader of the Alliance Party of Northern Ireland and then as a Member of the European Parliament for Fine Gael.

Cushnahan was educated at St Mary's Christian Brothers Grammar School and Queen's University, Belfast and worked as a teacher before going into politics. He worked as General Secretary of the Alliance Party from 1974 until 1982 and was a member of Belfast City Council between 1977 and 1985.

In 1982 he was elected to the Prior Assembly for North Down and two years later he became the new leader of Alliance, succeeding Oliver Napier. During his tenure as leader he sought to strengthen the party's links with the British Liberal Party. The Anglo Irish Agreement was signed during this period and Cushnahan faced the difficult position of giving Alliance support to it and facing the united opposition of the Unionist parties. However, when the Assembly was dissolved in 1986, Cushnahan found it financially difficult to remain in politics and so stood down as leader in 1987 to be succeeded by John Alderdice.

Two years later Cushnahan made a surprise political comeback when he moved to the Republic of Ireland and stood as a Fine Gael candidate in the 1989 election to the European Parliament, winning a seat in the Munster constituency. He was an MEP for fifteen years before retiring at the 2004 elections.

Cushnahan now serves as a board member of the peace and reconciliation charity Co-operation Ireland.

References

External links

1948 births
Living people
Leaders of the Alliance Party of Northern Ireland
Members of Belfast City Council
Northern Ireland MPAs 1982–1986
Schoolteachers from Northern Ireland
People educated at St. Mary's Christian Brothers' Grammar School, Belfast
Alumni of Queen's University Belfast
MEPs for the Republic of Ireland 1999–2004
MEPs for the Republic of Ireland 1994–1999
MEPs for the Republic of Ireland 1989–1994
Fine Gael MEPs
Alliance Party of Northern Ireland councillors

John Cushnahan


Bringing It All Back Home (known as Subterranean Homesick Blues in some European countries; sometimes also spelled Bringin' It All Back Home) is the fifth studio album by American singer-songwriter Bob Dylan. It was released in March 1965, by Columbia Records.

The first half of the album features electric songs, followed by mainly acoustic songs in the second half. The album abandons the protest music of Dylan's previous records in favor of more surreal, complex lyrics. On side one of the original LP, Dylan is backed by an electric rock and roll band—a move that further alienated him from some of his former peers in the folk music community.

The album reached No. 6 on Billboards Pop Albums chart, the first of Dylan's LPs to break into the US top 10. It also topped the UK charts later that spring. The first track, "Subterranean Homesick Blues", became Dylan's first single to chart in the US, peaking at No. 39. Bringing It All Back Home has been described as one of the greatest albums of all time by multiple publications.

Recording

Dylan spent much of the summer of 1964 in Woodstock, a small town in upstate New York where his manager, Albert Grossman, had a place. When Joan Baez went to see Dylan that August, they stayed at Grossman's house. Baez recalls that "most of the month or so we were there, Bob stood at the typewriter in the corner of his room, drinking red wine and smoking and tapping away relentlessly for hours. And in the dead of night, he would wake up, grunt, grab a cigarette, and stumble over to the typewriter again." Dylan already had one song ready for his next album: "Mr. Tambourine Man" was written in February 1964 but omitted from Another Side of Bob Dylan. Another song, "Gates of Eden", was also written earlier that year, appearing in the original manuscripts to Another Side of Bob Dylan; a few lyrical changes were eventually made, but it's unclear if these were made that August in Woodstock. At least two songs were written that month: "If You Gotta Go, Go Now" and "It's Alright Ma (I'm Only Bleeding)". During this time, Dylan's lyrics became increasingly surreal, and his prose grew more stylistic, often resembling stream-of-consciousness writing with published letters dating from 1964 becoming increasingly intense and dreamlike as the year wore on.

Dylan returned to the city, and on August 28, he met with the Beatles for the first time in their New York hotel. In retrospect, this meeting with the Beatles would prove to be influential to the direction of Dylan's music, as he would soon record music invoking a rock sound for at least the next three albums. Dylan would remain on good terms with the Beatles, and as biographer Clinton Heylin writes, "the evening established a personal dimension to the very real rivalry that would endure for the remainder of a momentous decade."

Dylan and producer Tom Wilson were soon experimenting with their own fusion of rock and folk music. The first unsuccessful test involved overdubbing a "Fats Domino early rock & roll thing" over Dylan's earlier, acoustic recording of "House of the Rising Sun", according to Wilson. This took place in the Columbia 30th Street Studio in December 1964. It was quickly discarded, though Wilson would more famously use the same technique of overdubbing an electric backing track to an existing acoustic recording with Simon & Garfunkel's "The Sound of Silence". In the meantime, Dylan turned his attention to another folk-rock experiment conducted by John P. Hammond, an old friend and musician whose father, John H. Hammond, originally signed Dylan to Columbia. Hammond was planning an electric album around the blues songs that framed his acoustic live performances of the time. To do this, he recruited three members of an American/Canadian bar band he met sometime in 1963: guitarist Robbie Robertson, drummer Levon Helm, and organist Garth Hudson (members of the Hawks, who would go on to become the Band). Dylan was very aware of the resulting album, So Many Roads; according to his friend, Danny Kalb, "Bob was really excited about what John Hammond was doing with electric blues. I talked to him in the Figaro in 1964 and he was telling me about John and his going to Chicago and playing with a band and so on …"

However, when Dylan and Wilson began work on the next album, they temporarily refrained from their own electric experimentation. The first session, held on January 13, 1965, in Columbia's Studio A in New York, was recorded solo, with Dylan playing piano or acoustic guitar. Ten complete songs and several song sketches were produced, nearly all of which were discarded. Take one of "Bob Dylan's 115th Dream" would be used for the album, but three would eventually be released: "I'll Keep It With Mine" on 1985's Biograph, and "Farewell Angelina" and an acoustic version of "Subterranean Homesick Blues" on 1991's The Bootleg Series Volumes 1–3 (Rare & Unreleased) 1961–1991.

Other songs and sketches recorded at this session: "Love Minus Zero/No Limit", "It's All Over Now, Baby Blue", "She Belongs to Me", "On the Road Again", "If You Gotta Go, Go Now", "You Don't Have to Do That", "California," and "Outlaw Blues", all of which were original compositions.

Dylan and Wilson held another session at Studio B the following day, this time with a full, electric band. Guitarists Al Gorgoni, Kenny Rankin, and Bruce Langhorne were recruited, as were pianist Paul Griffin, bassists Joseph Macho Jr. and William E. Lee, and drummer Bobby Gregg. The day's work focused on eight songs, all of which had been attempted the previous day. According to Langhorne, there was no rehearsal, "we just did first takes and I remember that, for what it was, it was amazingly intuitive and successful." Few takes were required of each song, and after three and a half hours of recording (lasting from 2:30 pm to 6:00 pm), master takes of "Love Minus Zero/No Limit", "Subterranean Homesick Blues", "Outlaw Blues", "She Belongs to Me", and "Bob Dylan's 115th Dream" were all recorded and selected for the final album.

Sometime after dinner, Dylan reportedly continued recording with a different set of musicians, including John P. Hammond and John Sebastian (only Langhorne returned from earlier that day). They recorded six songs, but the results were deemed unsatisfactory and ultimately rejected.

Another session was held at Studio A the next day, and it would be the last one needed. Once again, Dylan kept at his disposal the musicians from the previous day (that is, those that participated in the 2:30 pm to 6:00 pm session); the one exception was pianist Paul Griffin, who was unable to attend and replaced by Frank Owens. Daniel Kramer recalls:

The session began with "Maggie's Farm": only one take was recorded, and it was the only one they'd ever need. From there, Dylan successfully recorded master takes of "On the Road Again", "It's Alright, Ma (I'm Only Bleeding)", "Gates of Eden", "Mr. Tambourine Man", and "It's All Over Now, Baby Blue", all of which were set aside for the album. A master take of "If You Gotta Go, Go Now" was also selected, but it would not be included on the album; instead, it was issued as a single-only release in Europe, but not in the US or the UK.

Though Dylan was able to record electric versions of virtually every song included on the final album, he apparently never intended Bringing It All Back Home to be completely electric. As a result, roughly half of the finished album would feature full electric band arrangements while the other half consisted of solo acoustic performances, sometimes accompanied by Langhorne, who would embellish Dylan's acoustic performance with a countermelody on his electric guitar.

Songs

Overview
Bringing It All Back Home consists mainly of blues and folk rock and is considered to have been instrumental in the birth of the folk rock genre, inspiring acts such as Simon and Garfunkel and Buffalo Springfield. On Dylan's following two albums, Highway 61 Revisited and Blonde on Blonde, he would expand on the genre, pushing other groups such as the Beatles to innovate in their songwriting, which can be seen most clearly in Rubber Soul - a folk rock album itself.

Side one

"Subterranean Homesick Blues"
The album opens with "Subterranean Homesick Blues", heavily inspired by Chuck Berry's "Too Much Monkey Business". "Subterranean Homesick Blues" became a Top 40 hit for Dylan. "Snagged by a sour, pinched guitar riff, the song has an acerbic tinge … and Dylan sings the title rejoinders in mock self-pity," writes music critic Tim Riley. "It's less an indictment of the system than a coil of imagery that spells out how the system hangs itself with the rope it's so proud of."

"She Belongs to Me"
"She Belongs to Me" extols the bohemian virtues of an artistic lover whose creativity must be constantly fed ("Bow down to her on Sunday / Salute her when her birthday comes. / For Halloween buy her a trumpet / And for Christmas, give her a drum.")

"Maggie's Farm"
"Maggie's Farm" contains themes of social, economic and political criticism, with lines such as "Well I try my best to be just like I am/But everybody wants you to be just like them" and "Well, I wake up in the morning, fold my hands and pray for rain/I got a head full of ideas that are drivin' me insane". It follows a straightforward blues structure, with the opening line of each verse ("I ain't gonna work...") sung twice, then repeated at the end of the verse. The third to fifth lines of each verse elaborate on and explain the sentiment expressed in the verse's opening/closing lines.  With its references to working for Maggie, her father, her mother, and her brother on a farm, the song obviously references plantation life; not working there any more is therefore the declaration of a freed slave.

"Love Minus Zero/No Limit"
"Love Minus Zero/No Limit" is a love song. Its main musical hook is a series of three descending chords, while its lyrics articulate Dylan's feelings for his lover, and have been interpreted as describing how she brings a needed zen-like calm to his chaotic world. The song uses surreal imagery, which some authors and critics have suggested recalls Edgar Allan Poe's "The Raven" (the final lines are "My love she's like some raven / At my window with a broken wing") and the biblical Book of Daniel. Critics have also remarked that the style of the lyrics is reminiscent of William Blake's poem "The Sick Rose".

"Outlaw Blues"
"Outlaw Blues" is an electric blues song that lyrically follows a fugitive traveling through harsh conditions ("Ain't it hard to stumble and land in some muddy lagoon?/Especially when it's nine below zero and three o'clock in the afternoon") as he resents the life of being on the run.

"On the Road Again"
"On the Road Again" catalogs the absurd affectations and degenerate living conditions of bohemia. The song concludes: "Then you ask why I don't live here / Honey, how come you don't move?"

"Bob Dylan's 115th Dream"
"Bob Dylan's 115th Dream" narrates a surreal experience involving the discovery of America, "Captain Arab" (a clear reference to Captain Ahab of Moby Dick), and numerous bizarre encounters. It is the longest song in the electric section of the album, starting out as an acoustic ballad before being interrupted by laughter, and then starting back up again with an electric blues rhythm. The music is so similar in places to Another Side of Bob Dylan's "Motorpsycho Nitemare" as to be indistinguishable from it but for the electric instrumentation. The song can be best read as a highly sardonic, non-linear (historically) dreamscape parallel cataloguing of the discovery, creation and merits (or lack thereof) of the United States.

Side two

"Mr. Tambourine Man"
"Mr. Tambourine Man" is the first track on side 2 of the album. It was written and composed in early 1964, at the same approximate time as "Chimes of Freedom", which Dylan recorded later that spring for his album Another Side of Bob Dylan. The lyrics are surrealist and may be influenced by the work of Arthur Rimbaud (most notably for the "magic swirlin' ship" evoked in the lyrics).

"Gates of Eden"
"Gates of Eden" is the only song on the album that is mono on the stereo release and all subsequent reissues. Dylan plays the song solo, accompanying himself on acoustic guitar and harmonica. It is considered one of Dylan's most surreal songs.

"It's Alright Ma (I'm Only Bleeding)"
"It's Alright Ma (I'm Only Bleeding)" was written in the summer of 1964, first performed live on October 10, 1964, and recorded on January 15, 1965. It is described by Dylan biographer Howard Sounes as a "grim masterpiece". The song features some of Dylan's most memorable lyrical images. Among the well-known lines sung in the song are "He not busy being born is busy dying," "Money doesn't talk, it swears," "Although the masters make the rules, for the wisemen and the fools" and "But even the president of the United States sometimes must have to stand naked." Musically, it is similar to Dylan's cover of "Highway 51 Blues", which he recorded four years earlier and released as the closing track on his debut album, Bob Dylan.

"It's All Over Now, Baby Blue"
"It's All Over Now, Baby Blue" is the album's closing song. The song was recorded on January 15, 1965, with Dylan's acoustic guitar and harmonica and William E. Lee's bass guitar the only instrumentation.

Artwork
The album's cover,  photographed by Daniel Kramer with an edge-softened lens, features Sally Grossman (wife of Dylan's manager Albert Grossman) lounging in the background. There are also artifacts scattered around the room, including LPs by the Impressions (Keep on Pushing), Robert Johnson (King of the Delta Blues Singers), Ravi Shankar (India's Master Musician), Lotte Lenya (Sings Berlin Theatre Songs by Kurt Weill) and Eric Von Schmidt (The Folk Blues of Eric Von Schmidt). Dylan had "met" Schmidt "one day in the green pastures of Harvard University" and would later mimic his album cover pose (tipping his hat) for his own Nashville Skyline four years later. A further record, Françoise Hardy's EP J'suis D'accord, was on the floor near Dylan's feet but can only be seen in other shots from the same photo session, as well as a copy of the Wilhelm/Baynes version of I Ching.

Visible behind Grossman is the top of Dylan's head from the cover of Another Side of Bob Dylan; under her right arm is the magazine Time with President Lyndon B. Johnson as "Man of the Year" on the cover of the January 1, 1965 issue. There is a harmonica resting on a table with a fallout shelter (capacity 80) sign leaning against it. Above the fireplace on the mantle directly to the left of the painting is the Lord Buckley album The Best of Lord Buckley. Next to Lord Buckley is a copy of GNAOUA, a magazine devoted to exorcism and Beat Generation poetry edited by poet Ira Cohen, and a glass collage by Dylan called "The Clown" made for Bernard Paturel from colored glass Bernard was about to discard.

Dylan sits forward holding his cat (named Rolling Stone) and has an opened magazine featuring an advertisement on Jean Harlow's Life Story by the columnist Louella Parsons resting on his crossed leg. The cufflinks Dylan wore in the picture were a gift from Joan Baez, as she later referenced in her 1975 song "Diamonds & Rust". Daniel Kramer received a Grammy nomination for best album cover for the photograph.

On the back cover (also by Kramer), the woman massaging Dylan's scalp is the filmmaker and performance artist Barbara Rubin.

Release

Bringing It All Back Home was released in April 1965 by Columbia Records.

The mono version of Bringing It All Back Home was re-released in 2010 on The Original Mono Recordings, accompanied by a booklet containing a critical essay by Greil Marcus.

A high-definition 5.1 surround sound edition of the album was released on SACD by Columbia in 2003.

Reception

The release of Bringing It All Back Home coincided with the final show of a joint tour with Joan Baez. By this time, Dylan had grown far more popular and acclaimed than Baez, and his music had radically evolved from their former shared folk style in a totally unique direction. It would be the last time they would perform extensively together until 1975. (She would accompany him on another tour in May 1965, but Dylan would not ask her to perform with him.) The timing was appropriate as Bringing It All Back Home signaled a new era.

Dylan is backed by an electric rock and roll band—a move that further alienated him from some of his former peers in the folk music community.

The album reached No. 6 on Billboards Pop Albums chart, the first of Dylan's LPs to break into the US top 10. It also topped the UK charts later that spring. The first track, "Subterranean Homesick Blues", became Dylan's first single to chart in the US, peaking at #39.

Legacy

Bringing It All Back Home is regarded as one of the greatest albums in rock history. In 1979 Rolling Stone Record Guide critic Dave Marsh wrote: "By fusing the Chuck Berry beat of the Rolling Stones and the Beatles with the leftist, folk tradition of the folk revival, Dylan really had brought it back home, creating a new kind of rock & roll [...] that made every type of artistic tradition available to rock." Clinton Heylin later wrote that Bringing It All Back Home was possibly "the most influential album of its era. Almost everything to come in contemporary popular song can be found therein."

In 2003, the album was ranked number 31 on Rolling Stone magazine's list of the 500 greatest albums of all time, it maintained the rating in a 2012 revised list, and was ranked number 181 on the 2020 list.

It was inducted into the Grammy Hall of Fame in 2006.

In a 1986 interview, film director John Hughes cited it as so influential on him as an artist that upon its release (while Hughes was still in his teens), "Thursday I was one person, and Friday I was another."

The album was included in Robert Christgau's "Basic Record Library" of 1950s and 1960s recordings—published in Christgau's Record Guide: Rock Albums of the Seventies (1981)—and in Robert Dimery's music reference book 1001 Albums You Must Hear Before You Die (2010).
It was voted number 189 in the third edition of Colin Larkin's book All Time Top 1000 Albums (2000).

Hip hop group Public Enemy reference it in their 2007 Dylan tribute song "Long and Whining Road": "It's been a long and whining road, even though time keeps a-changin' / I'm a bring it all back home".

Outtakes

The following outtakes were recorded for possible inclusion to Bringing It All Back Home.

"California" (early version of "Outlaw Blues")
"Farewell Angelina"
"If You Gotta Go, Go Now (Or Else You Got to Stay All Night)"
"I'll Keep It with Mine"
"You Don't Have to Do That" (titled "Bending Down on My Stomick Lookin' West" on recording sheet)(fragment)

The raunchy "If You Gotta Go, Go Now (Or Else You Got To Stay All Night)" was issued as a single in Benelux. A different version of the song appears on The Bootleg Series Volumes 1–3 (Rare & Unreleased) 1961–1991. An upbeat, electric performance, the song is relatively straightforward, with the title providing much of the subtext.  Manfred Mann took the song to #2 in the UK in September 1965. Fairport Convention recorded a tongue-in-cheek, acoustic French-language version, "Si Tu Dois Partir", for their celebrated third album, Unhalfbricking.

"I'll Keep It with Mine" was written before Another Side of Bob Dylan and was given to Nico in 1964. Nico was not yet a recording artist at the time, and she would eventually record the song for Chelsea Girl (released in 1967), but not before Judy Collins recorded her own version in 1965. Fairport Convention would also record their own version on their critically acclaimed second album, What We Did on Our Holidays. Widely considered a strong composition from this period (Clinton Heylin called it "one of his finest songs"), a complete acoustic version, with Dylan playing piano and harmonica, was released on 1985's Biograph. An electric recording exists as well—not of an actual take but of a rehearsal from January 1966 (the sound of an engineer saying "what you were doing" through a control room mike briefly interrupts the recording)—was released on The Bootleg Series Volumes 1–3 (Rare & Unreleased) 1961–1991.

"Farewell Angelina" was ultimately given to Joan Baez, who released it in 1965 as the title track of her album, Farewell, Angelina. The Greek singer Nana Mouskouri recorded her own versions of this song in French ("Adieu Angelina") in 1967 and German ("Schlaf-ein Angelina") in 1975.

In the film Dont Look Back, a documentary of Dylan's 1965 tour of the UK, Baez is shown in one scene singing a fragment of the then apparently still unfinished song "Love Is Just A Four Letter Word" in a hotel room late at night. She then tells Dylan, "If you finish it, I'll sing it on a record". Dylan never released a version of the song, and, according to his website, he has never performed the song live.

"You Don't Have to Do That" is one of the great "what if" songs of Dylan's mid-1960s output. A very brief recording, under a minute long, it has Dylan playing a snippet of the song, which he abandoned midway through to begin playing the piano.

Track listing

Personnel
Bob Dylan – guitar, harmonica, keyboards, vocals

Additional musicians
Steve Boone – bass guitar
Al Gorgoni – guitar
Bobby Gregg – drums
Paul Griffin – piano, keyboards
John P. Hammond – guitar
Bruce Langhorne – guitar
Bill Lee – bass guitar on "It's All Over Now, Baby Blue"
Joseph Macho Jr. – bass guitar
Frank Owens – piano
Kenny Rankin – guitar
John Sebastian – bass guitar

Technical
Daniel Kramer – photography
Tom Wilson – production

Charts

Weekly charts

Singles

Certifications

References

Notes

1965 albums
Albums produced by Tom Wilson (record producer)
Albums recorded at CBS 30th Street Studio
Columbia Records albums
Bob Dylan albums

Bringing It All Back Home


Varun Gandhi (born 13 March 1980) is an Indian politician, and a member of Parliament for Lok Sabha. He is elected from the Pilibhit constituency. He is a member of the Bharatiya Janata Party(BJP). He is from the Nehru–Gandhi family

Early life
Varun Gandhi was born in Delhi to Sanjay Gandhi and Maneka Gandhi. He is the grandson of former Prime Minister of India, Indira Gandhi and the great-grandson of India's first Prime Minister, Jawaharlal Nehru. When Varun was three months old,his father died in a plane crash. Varun attended Rishi Valley School and the British School, New Delhi.

Early career
Varun Gandhi's first appearance as politician was at Pilibhit constituency during the 1999 election campaigning. His mother was a part of the National Democratic Alliance.  Varun joined BJP in 2004.In an interview on BBC's HARDTalk in October 2005, Gandhi said "His father had helped revive the industrialization of India by starting Maruti Udyog and whose strategy helped the Congress party's comeback after the first ever non-Congress Janata Party government".

As a Member of Parliament
In the 2009 general election, the BJP put Varun Gandhi as its candidate from the Pilibhit constituency instead of his mother Maneka Gandhi. He won the seat by receiving 419,539 votes. The victory was the strongest of any of the four Gandhi family candidates in the election: his mother Maneka Gandhi, aunt Sonia Gandhi and first cousin Rahul Gandhi.

In March 2013, Varun Gandhi was appointed as the national general secretary of the BJP. He became the youngest ever general secretary of the party. In August 2013, Gandhi was the only MP in the country who had spent all of his MP Local Area Development Fund (MPLAD) before stipulated time. According to official sources, Varun Gandhi used his funds for the development in education, health and infrastructure activities.

In May 2014, Gandhi won Lok Sabha 2014 elections.In March 2016, he introduced the Representation of the People (Amendment) Bill, 2016 in Lok Sabha.In 2019 general elections,he become an MP for the third time in a row.

As a Political Writer and Poet
Gandhi writes articles for many national dailies and magazines in India like The Indian Express, The Economic Times,The Times of India, Hindustan Times, The Asian Age,The Hindu, Outlook. Gandhi wrote his first volume of poems, titled The Otherness of Self, at the age of 20, in 2000. His second volume of poems, titled Stillness was published by HarperCollins in April 2015. The book became the bestselling non-fiction book. In 2018, he released his book on the Indian rural economy titled "The Rural Manifesto: Realising India's Future Through Her Villages".

References

1980 births
Living people
Politicians from New Delhi

Varun Gandhi


George Woodard (born June 18, 1952) is an actor, musician, and dairy farmer in Waterbury Center, Vermont. He experimented with acting in high school, taking part in high school and local summer stock plays and musicals, while rebuilding the family dairy business.  Later he moved to Hollywood for approximately four years to explore acting.  During this time, he worked on low budget and student films, learning the mechanics of film production along with screenplay writing, and directing.  He also delivered JAN-AL ATA grade flight cases to various rock and roll royalty...to pay the bills.  The need for someone to lead the operation of the Woodard family farm brought him home to Vermont. He took over the dairy business and has been doing it ever since. His job of dairy farming mixed with his acting career resulted in his being featured in an article for Premiere Magazine.

In between milking twice a day, he found the time to be in films Time Chasers, Ethan Frome, My Mother's Early Lovers, The Mudge Boy, Mud Season, America's Heart and Soul, along with a few TV commercials.  He also created his own home-grown variety show, The Ground Hog Opry, which combines Vermont-related political satire with songs written by Woodard and other members of the cast, including writing partner Charles "Al" Boright.

In 2010, Woodard wrote the screenplay, directed, edited and acted, along with a solid local cast for The Summer of Walter Hacks, a coming of age story, set in the long forgotten rural New England of the 1950s. The film was shot in color, then transferred to black and white, a medium Woodard says, "you can do things in black and white that just don't work in color...like darker shadows, high contrast starkness, and more."  The Film has been successful on the independent film circuit and has been enjoyed by thousands. Due to a unique arrangement with some of the copyrighted content, originally the film could not legally be duplicated and was shown only to live audiences on a regional barnstorming effort by Woodard and producer Gerianne Smart.

Plans for duplication are still being considered.

His major role in the 1994 film Time Chasers, has been successfully lampooned by the popular Mystery Science Theater 3000. A running gag in the episode is Mike and the Bots comically mimicking Woodard's voice.

He is also featured in two short children's films, "Where the Garbage Goes" (1997) and "Road Construction Ahead" (1991), which are part of the children's series Little Hardhats.

References

External links

American male film actors
Living people
People from Waterbury, Vermont
Male actors from Vermont
1952 births

George Woodard


Joe Ruback, better known as License Plate Guy (born June 7, 1969), is a fan of the New York Giants, best known for the license plates he wears at each game and his presence at most Giants games in general. Ruback went to all 283 games (272 regular season and eleven playoff games) the team played at Giants Stadium. He has attended every Giants home and away game since 2000, except during the 2020 NFL season in which fans were not permitted to attend due to the COVID-19 pandemic.

Ruback first wore a plate to a game when he was 16, but the tradition of license plates did not become what it is now until the last decade. He now boasts a collection of over 100 Giants-themed plates.

Joe Ruback has made several appearances on The Boomer & Carton radio show on WFAN in New York. Ruback has become a fan favorite, but prides himself as "an average fan" and can be seen before every game (home and away) in the parking lot taking pictures with fans.. Joe has also been featured on NFL Network and Good Day New York.

Philanthropy
Ruback participates in many off the field philanthropic endeavors including "Pink Tailgate" raising money and awareness for breast cancer and those affected.

In 2017, Ruback organized a charity softball game to raise money for the Tom Coughlin Jay Fund.  Working with Landon Collins, who headlined the event, a softball match was organized between current and past Giants team members. The event also featured a dodgeball game and a home run derby.

In 2021, Ruback began an initiative to collect and redistribute unused tickets to other Giants fans, aiming for a higher turnout at MetLife Stadium. The program received media attention and contributions from players Darnay Holmes and Logan Ryan.

Legal issues
Ruback was arrested on possible affiliation of loan sharking, extortion, and grand larceny; however charges in a 2014 case were dropped in 2016. The New York Giants have stated they have no affiliation with Ruback and he does not represent the New York Giants in any capacity.

See also
Barrel Man
Chief Zee
Crazy Ray
Fireman Ed
Hogettes
Bleacher Creatures

References

Living people
New York Giants
Spectators of American football
Vehicle registration plates of the United States
1969 births

License Plate Guy


A rubric is a word or section of text that is traditionally written or printed in red ink for emphasis. The word derives from the , meaning red ochre or red chalk, and originates in medieval illuminated manuscripts from the 13th century or earlier. In these, red letters were used to highlight initial capitals (particularly of psalms), section headings and names of religious significance, a practice known as rubrication, which was a separate stage in the production of a manuscript.

Rubric can also mean the red ink or paint used to make rubrics, or the pigment used to make it. Although red was most often used, other colours came into use from the late Middle Ages onwards, and the word rubric was used for these also. Medievalists can use patterns of rubrication to help identify textual traditions.

Various figurative senses of the word have been extended from its original meaning. Usually these senses are used within the set phrase "under [whatever] rubric", for example, "under this rubric, [X is true]", or "[X was done] under the rubric of Y". Such senses include: "an authoritative rule"; "the title of a statute"; "something under which a thing is classed"; "an explanatory or introductory commentary"; "an established rule, tradition, or custom"; or "a guide listing specific criteria for grading or scoring academic assignments".

As liturgical instructions
Instructions for a priest explaining what he must do during a liturgy were also rubricated in missals and the other liturgical books, and the texts to be spoken aloud were in black. From this, "rubric" has a secondary denotation of an instruction in a text, regardless of how it is actually inscribed. This is the oldest recorded definition in English, found in 1375. Less formally, "rubrics" may refer to any liturgical action customarily performed, whether or not pursuant to a written instruction. The history, status, and authority of the content of rubrics are significant, and sometimes controversial, among liturgical scholars. In the past, some theologians distinguished between rubrics they considered of Divine origin and those merely of human origin. Rubrics were probably originally verbal, and then written in separate volumes. The earliest extant liturgical books do not contain them, but from references in texts of the first millennium it appears that written versions existed. Full rubrics regarding matters such as vesture, appearance of the altar, timing of specific liturgies, and similar matters still may be published separately. In modern liturgical books, e. g. the Catholic Roman Missal, lengthy general rubrics, probably printed in black, pertain to such matters and preface the actual order of liturgies, which contain shorter, specific rubrics that still are usually rubricated. Red is also often used to distinguish words spoken by the celebrant and those by the congregation, or by other specific persons involved in the liturgy, e. g. those marrying.

After the development of printing

With the arrival of printing, other typographic effects such as italic type, bolded type, or different sizes of type were used to emphasize a section of text, and as printing in two colours is more expensive and time consuming, rubrication has tended to be reserved for sacred and liturgical books or luxury editions of other works.

William Morris's medievally inspired typography for the Kelmscott Press at the end of the 19th century included chapter titles and other accents in red, or rarely blue, ink, and was influential on small press art typography associated with the Arts and Crafts movement in both England and the United States, particularly the work of the Ashendene, Doves, and Roycroft Presses.

Around 1900, rubrication was incorporated into a Red letter edition of the King James Version of the Bible to distinguish the Dominical words, i. e., those spoken by Jesus Christ during His corporeal life on Earth, because that translation lacked quotation marks. Other versions of the Bible have since adopted the popular practice.

Rubrics in education

A rubric is an explicit set of criteria used for assessing a particular type of work or performance and provides more details than a single grade or mark. Rubrics, therefore, help teachers grade more objectively and "they improve students' ability to include required elements of an assignment".

See also
Code of Rubrics
Rubrication
Scriptorium

References

Glossary of Manuscript Terms  British Library

External links

Rubrics of the Anglican Low Mass (from 1931)  Very full set of rubrics (more than a normal service book would include); perversely, the words to be spoken are here shown in red, and the rubrics in black.
Catholic Order of Mass  Rubrics showing who speaks are in red; others in small italics.
Kelmscott Press Examples of Kelmscott Press pages showing use of red accents.
So this then is the preachment entitled Chicago tongue  A "flip book" presentation of the Roycroft Press edition , illustrating use of rubrics in the Arts and Crafts tradition.
Good Recipes  This cookbook  published by the Woman's Society of the Winnetka Congregational Church in 1906 shows the influence of Arts and Crafts rubrics on everyday typography in the early 20th century.

Typography
Manuscripts
Christian practices
Catholic liturgy

Rubric


Matsuo Bashō 松尾 芭蕉 (1644 – 28 November 1694) wis the maist famous poet o the Edo period in Japan. Durin his lifetime, Bashō wis recognised for his works in the collaborative haikai no renga form; today, efter centuries o commentary, he is recognised as a master o brief an clear haiku. His poetry is internaitionally renouned, an athin Japan mony o his poems ar reproduced on monuments an traditional sites.

Bashō wis introduced tae poetry at a yung age, an efter integratin himsel intae the intellectual scene o Edo he quickly became well-kent throughoot Japan. He made a livin as a teacher, but renoonced the social, urban life o the literary circles an wis inclined tae wander throughoot the kintra, heidin wast, east, an far intae the northren wilderness tae gain inspiration for his writin. His poems wur influenced bi his firsthand experience o the warld aroond him, aften encapsulatin the feelin o a scene in a few simple elements.

1644 births
1694 daiths
Japanese poets
Japanese Zen Buddhists
Japanese writers o the Edo period

Matsuo Bashō


Deliberation is a process of thoughtfully weighing options, for example prior to voting. Deliberation emphasizes the use of logic and reason as opposed to power-struggle, creativity, or dialogue. Group decisions are generally made after deliberation through a vote or consensus of those involved.

In legal settings a jury famously uses deliberation because it is given specific options, like guilty or not guilty, along with information and arguments to evaluate. In "deliberative democracy", the aim is for both elected officials and the general public to use deliberation rather than power-struggle as the basis for their vote.

Individual deliberation is also a description of day-to-day rational decision-making, and as such is an epistemic virtue.

Trial juries

In countries with a jury system, the jury's deliberation in criminal matters can involve both rendering a verdict and determining the appropriate sentence. In civil cases, the jury decision is whether to agree with the plaintiff or the defendant and rendering a resolution binding actions by the parties based on the results of the trial.

Typically, a jury must come to a unanimous decision before it delivers a verdict; however, there are exceptions. When a jury does not reach a unanimous decision and does not feel it is possible to do so, they declare themselves a "hung jury", a mistrial is declared, and the trial will have to be redone at the discretion of the plaintiff or prosecutor.

One of the most famous dramatic depictions of this phase of a trial in practice is the film 12 Angry Men.

In political philosophy

In political philosophy, there is a wide range of views regarding how political deliberation becomes possible within particular governmental regimes. Political philosophy embraces deliberation alternatively as a crucial component or as the death-knell of democratic systems. Contemporary democratic theory contrasts democracy with authoritarian regimes. This leads to differing definitions of deliberation within political philosophy. In a broad sense, deliberation involves interaction guided by specific norms, rules, or boundaries. Deliberative ideals often include "face-to-face discussion, the implementation of good public policy, decisionmaking competence, and critical mass."

The origins of philosophical interest in deliberation can be traced to Aristotle's concept of , understood as "prudence" or "practical wisdom", and its exercise by individuals who deliberate in order to discern the positive or negative consequences of potential actions.

Many modern political philosophers believe that strict norms, rules, or fixed boundaries either in how subjects eligible for political deliberation are formed (John Rawls) or in the types of qualifying arguments (Jürgen Habermas) can hinder deliberation and render it unfeasible.

"Existential deliberation" is a term introduced by emotional public sphere theorists. They argue that political deliberation is an inherent state, not a deployable process. Therefore, deliberation is infrequent and possibly occurs only in face-to-face interactions. This concept aligns with radical deliberation insights, suggesting that politics emerges sporadically as potential within an otherwise inert social environment.

"Pragmatic deliberation" represents the epistemic variation of existential deliberation, focusing on assisting groups in achieving positive outcomes that both aggregate and reshape the perspectives of the affected public.

Advocates of "public deliberation" as an essential democratic practice focus on processes of inclusiveness and interaction in making political decisions. The validity and reliability of public opinion improves with the development of "public judgment" as citizens consider multiple perspectives, weigh possible options, and accept the outcomes of decisions made together.

Radical deliberation

Radical deliberation refers to a philosophical view of deliberation inspired by the events of the student revolution in May 1968.  It aligns with political theories of radical democracy from figures like Michel Foucault, Ernesto Laclau, Chantal Mouffe, Jacques Rancière, and Alain Badiou. These theories emphasize political deliberation as a means of engaging diverse perspectives, setting the stage for political possibilities. In their view, radical democracy remains open-ended and susceptible to changes beyond individual influence. Instead, it's shaped by the discourse resulting from contingent gatherings within larger political entities.

Michel Foucault employs "technologies of discourse" and "mechanisms of power" to explain how deliberation can be hindered or emerge through discourse technologies that give a semblance of agency by reproducing power dynamics among individuals. The concept of "mechanisms" or "technologies" presents a paradox. On one hand, these technologies are intertwined with the subjects who utilize them. On the other, discussing the coordinating machine or technology implies an infrastructure organizing society collectively. This notion suggests distancing individuals from the means of their organization, offering a god's-eye view of the social that is coordinated by the movement of its parts.

Chantal Mouffe employs "the democratic paradox" to establish a self-sustaining political model founded on inherent contradictions. These unresolved contradictions fuel productive tensions among subjects who acknowledge each other's right to speak. According to Mouffe, the only stable political foundation is the configuration of the social and the certainty of . This signifies that societal re-articulations will persist. Here, process prevails over content: the liberal/popular sovereignty paradox propels radical democracy.  functions as a mechanism—an interface connecting human and language machinery, fostering the conditions for ongoing reconfiguration: a positive feedback loop within politics.

Chantal Mouffe and Jacques Rancière hold contrasting views regarding the conditions of politics. For Mouffe, it involves internal rearrangements of existing social structures through "articulations". Conversely, Rancière sees it as the intrusion of an unaccounted-for externality. In the realm of political "arithmetical/geometric" distinctions, there's a clear nod to mechanics or mathematics. Politics endures by perpetuating a dynamic between homeostasis and reconfiguration, akin to what N. Katherine Hayles terms "pattern" and "randomness". This cycle relies on counting what's within the police order. The political mechanism facilitates future reconfigurations by adding new elements, reshaping the social fabric, and then returning to equilibrium, ensuring the perpetuity of an incomplete "whole." Once more, it's a rhetorical paradox driving politics—a foundational arbitrariness in determining who can speak and who can't.

Other theorists

See also

References

External links

Political philosophy
Legal reasoning
Juries
Group decision-making

Deliberation


The James J. Hill House in Saint Paul, Minnesota, United States, was built by railroad magnate James J. Hill.  The house, completed in 1891, is near the eastern end of Summit Avenue near the Cathedral of Saint Paul.  The house, for its time, was very large and was the "showcase of St. Paul" until James J. Hill's death in 1916.  It is listed as a U.S. National Historic Landmark, operated by the Minnesota Historical Society. It is also a contributing property to the Historic Hill District.

The home has  of living area and  of total space.

History
Hill bought three lots on Summit Avenue in 1882, during an era when wealthy citizens were scrambling to build fashionable homes in the neighborhood.  The street offered a commanding view of downtown St. Paul and the Mississippi River area, making it a highly desirable location.  The family previously lived in the Lowertown area in St. Paul, near Ninth and Canada streets.  As new warehouses and railroad tracks crowded the Lowertown residential area, and as Hill's collection of paintings and sculpture overflowed the house, the Hill family thought it was desirable to move.  Hill also realized that recent improvements in home technology, such as electric lighting, plumbing, ventilation, and fireproofing, could be incorporated into a new home.  Moreover, since Hill was becoming a socially prominent person in the community, a new home would stand as a tribute to his status as the "Empire Builder".

The house was designed by an East Coast architectural firm, Peabody, Stearns and Furber, at a time when other homes in the neighborhood were designed by local architects such as Clarence Johnston and Cass Gilbert.  The house was designed in the Richardsonian Romanesque style, with a massive, rugged style featuring randomly sized blocks of stone, sturdy pillars, rounded arches, and a generally strong horizontal emphasis.  Hill supervised the design and construction closely.  As an example, when the Lewis Comfort Tiffany Company submitted designs for the stained glass windows, Hill replied that they were, "anything but what I want," and the job went to A.B. Cutter and Company of Boston.  Later, in 1889, Hill fired the architects because they had overridden his orders to the stonecutters in Massachusetts, and hired the Boston firm of Irving and Casson to finish the project.  The St. Paul Pioneer Press reviewed the house just before it was completed in 1891, writing:

Solid, substantial, roomy, and comfortable is the new home of James J. Hill and family. ... There has been no attempt at display, no desire to flaunt an advertisement of wealth in the eyes of the world.  Just a family home ... impressive, fine, even grand in the simplicity of design, but after all a St. Paul home.

Interior

The interior features an art gallery that housed Hill's collection of painting and sculpture.  It even had a pipe organ, installed after someone suggested to Hill that other wealthy people had pipe organs in their homes.  The house had a hybrid system of gas and electric lighting, with rotary switches on the walls to turn on the electric lights.  However, there were no electrical outlets installed, because during that era electricity was only used for lighting.  The woodwork in the house is very intricate, with hand-carved woodworking in the central hallway, the formal dining room, and the music room.  Other rooms in the house, particularly on the second floor where most of the family members lived, do not have hand carved woodwork, but the woodwork is still richly colored and nicely detailed.

The first floor, in addition to the art gallery, music room, hall, and formal dining room previously mentioned, also had a library, a drawing room, and Mr. Hill's home office.  The second floor contained Mr. and Mrs. Hill's rooms, two guest rooms, and rooms for their five daughters, Gertrude, Rachel, Clara, Ruth, and Charlotte.  The third floor contained rooms for their sons James, Walter, and Louis (who later succeeded his father as president of the Great Northern Railway).  It also had a room that served as a gymnasium and school room for the children, as well as quarters for the servants.

Later history
After James J. Hill died in 1916 and his wife died in 1921, the children eventually moved out.  In 1925, four of the daughters purchased the house from the estate and donated it to the Roman Catholic Archdiocese of Saint Paul and Minneapolis.  The church used it for the next fifty-three years as space for offices, residences, and a teacher's college for women.  The church preserved it well and did not make any significant alterations, although most of the original furniture was sold during this period.  In 1961, the United States Department of the Interior designated the house a National Historic Landmark.  The Minnesota Historical Society acquired the house in 1978, after the Archdiocese consolidated its offices elsewhere.  The house has been restored and is now open for tours.

Photo gallery

See also
List of National Historic Landmarks in Minnesota
National Register of Historic Places listings in Ramsey County, Minnesota

References

External links

 James J. Hill House in MNopedia, the Minnesota Encyclopedia
 James J. Hill House, Minnesota Historical Society
 James J. Hill House Phototour from The Minnesota Historical Society on Flickr
 Minnesota History Quarterly: The James Hill House: Symbol of Status and Security (Summer 1997)
NHL summary

Great Northern Railway (U.S.)
Historic house museums in Minnesota
Houses completed in 1891
Houses in Saint Paul, Minnesota
Houses on the National Register of Historic Places in Minnesota
Individually listed contributing properties to historic districts on the National Register in Minnesota
Minnesota Historical Society
Minnesota state historic sites
Museums in Saint Paul, Minnesota
National Historic Landmarks in Minnesota
National Register of Historic Places in Saint Paul, Minnesota
Peabody and Stearns buildings
Richardsonian Romanesque architecture in Minnesota
Gilded Age mansions

James J. Hill House


The Breast of National Lampoon: A Collection of Sexual Humor, is an American humor book that was first published in 1972. The book was a special issue of National Lampoon magazine, so it was sold on newsstands; however, it was put out in addition to the regular issues of the magazine. The book is a "best-of", a compilation of pieces that had already been published in the magazine, pieces that had been created by the National Lampoon's regular contributors.

The book included written pieces by Michael O'Donoghue, Chris Miller, Doug Kenney, Sean Kelly and Tony Hendra, and artwork by Arnold Roth.

References

 A list of National Lampoon books
 Amazon listing here

Breast
1972 books

The Breast of National Lampoon


Wendy Ann Ashmore (née Matthews; June 26, 1948 – January 8, 2019) was an American professor of Maya archaeology at the University of California, Riverside. She was involved in excavations in Belize, Guatemala, and Honduras. Her research focused on the implications that spaces, settlement patterns, and gender can have on social organization. She received her B.A. from the University of California, Los Angeles in 1970 and her Ph.D. in 1981 from the University of Pennsylvania. Her dissertation analyzed the results of the site periphery program that took place between 1975 and 1979 at Quirigua, Guatemala. In her dissertation, she discusses the use of random sampling in the Maya region and offers suggestions for how research might be carried out in that region in the future. In the 1980s she taught archaeology at Rutgers University.  She left for a position at the University of Pennsylvania. Ashmore died in 2019 at her home in Riverside, California.

Landscape archaeology

She was particularly interested in landscape archaeology. In her book with Arthur Bernard Knapp, Archaeology of Landscape: Contemporary Perspectives, Ashmore discusses the importance of the landscape to ancient Maya ritual and religious life. This work emphasizes the social and symbolic role of the landscape on the development of Maya culture and identity. Knapp and Ashmore claim that although ideologically important landscapes are not always marked in ways that leave traces archaeologically, it is still possible to glean clues from the landscape about what was important to the people using it. One important factor to keep in mind when examining sacred landscapes is architectural mimicry, or designing a building or collection of buildings to resemble the natural landscape.  Examples of architectural mimicry include designing pyramids that resemble mountains or designing the layout of towns to resemble the area's natural topography.

Quirigua

In her article, Classic Maya Wells at Quirigua, Guatemala: Household Facilities in a Water-Rich Setting Ashmore argues that the presence of ceramic lined wells in eighth century Quirigua were an important innovation in spite of the fact that Quirigua was not a water-poor city.  Ashmore argues that too much theoretical emphasis is often placed on innovations that are developed as the result of threats to survival.  Even though there was always a ready supply of water available at Quirigua, the wells provide archaeologists with an excellent example of specialized Maya hydraulic technology.

In the article Playing with Power: Ballcourts and Ritual in Southern Mesoamerica with John Gerard Fox, John H. Blitz, Susan D. Gillespie, Stephen D. Houston, Ted J.J. Leyenaar, Joyce Marcus, Jerry D. Moore, Patricia A. Urban, Edward M. Shortman, and David Webster, Ashmore challenges the assumption that ballcourts functioned as public architecture in ancient Maya society.  It suggests alternately that they instead functioned as a "lived space" more closely resembling households and private dwellings than public architecture like temples.  The article argues that since the ballcourt was associated strongly with the supernatural, it functioned as a place where political and cosmological drama unfolded.

In the article Spatial Orders in Maya Civic Plans, Ashmore and Jeremy Sabloff address how the way the Maya laid out their cities, specifically their civic and ceremonial centers, reflects their beliefs about the universe and their place in it. They claim that landscape archaeology can be used to determine how the Maya conducted their politics and how they ran their government. Several archaeologists have criticized this approach for its lack of objectivity and for being ungrounded in empirical data. Critics have also claimed that it is too reliant on speculation.
For many years, her textbook, coauthored with long-time collaborator Robert J. Sharer, Fundamentals of Archaeology was a top seller.
She taught archaeology at Rutgers University for many years, where she was highly respected by all, and held in the highest esteem by her many students. She quickly became an expert in the history, ethnography and archaeology of the Lenape.

In the mid-1980s, her team from Rutgers, along with a team from Kenyon College, conducted extensive investigations of the Maya Periphery site of Gualoquito.  This site, near Santa Barbara was endangered by construction of a new bridge and highway.

Publications

Fundamentals of Archaeology
Sharer and Ashmore
The Benjamin Cummings Publishing Co., Inc
1979

References

External links

American archaeologists
1948 births
2019 deaths
University of Pennsylvania alumni
University of California, Riverside faculty
University of California, Los Angeles alumni
American women archaeologists
Academics from Los Angeles
21st-century American women

Wendy Ashmore