A wax sculpture is a depiction made using a waxy substance. Often these are effigies, usually of a notable individual, but there are also death masks and scenes with many figures, mostly in relief.

The properties of beeswax make it an excellent medium for preparing figures and models, either by modeling or by casting in molds. It can easily be cut and shaped at room temperature, melts at a low temperature, mixes with any coloring matter, takes surface tints well, and its texture and consistency may be modified by the addition of earthy matters and oils or fats. When molten, it is highly responsive to impressions from a mold and, once it sets and hardens, its form is relatively resilient against ordinary temperature variations, even when it is cast in thin laminae. These properties have seen wax used for modelling since the Middle Ages and there is testimony for it having been used for making masks (particularly death masks) in ancient Rome. The death masks of illustrious ancestors would be displayed by the elite holding the right of "ius imaginem."

History

Ancient world
Figures in wax of their deities were used in the funeral rites of the ancient Egyptians, and deposited among other offerings in their graves; many of these are now preserved in museums. That the Egyptians also modelled fruits can be learned from numerous allusions in early literature. Among the Greeks during their best art period, wax figures were largely used as dolls for children; statuettes of deities were modelled for votive offerings and for religious ceremonies, and wax images to which magical properties were attributed were treasured by the people. Wax figures and models held a still more important place among the ancient Romans. The masks (effigies or ) of ancestors, modelled in wax, were preserved by patrician families, this  being one of the privileges of the nobles, and these masks were exposed to view on ceremonial occasions, and carried in their funeral processions. The closing days of the Saturnalia were known as , on account of the custom of making, towards the end of the festival, presents of wax models of fruits and waxen statuettes which were fashioned by the Sigillarii.

Early modern Europe
The display of temporary or permanent effigies in wax and other media of the deceased was a common part of the funeral ceremonies of important people in European historical times. Most of the figures would wear the real clothes of the deceased so they could be made quickly.  The museum of Westminster Abbey has a collection of British royal wax effigies, as well as those of figures such as the naval hero Horatio Nelson, and Frances Stewart, Duchess of Richmond, who also had her parrot stuffed and displayed.  The effigy of Charles II of England (1680) was displayed over his tomb until the early 19th century, when all were removed from the abbey itself.  Nelson's effigy was a pure tourist attraction, commissioned the year after his death in 1805, and his burial in St Paul's Cathedral after a government decision that major public figures should in future be buried there. Concerned for their revenue from visitors, the Abbey decided it needed a rival attraction for admirers of Nelson.

Middle Ages
The practice of wax modelling can be traced through the Middle Ages, when votive offerings of wax figures were made to churches. The memory and lineaments of monarchs and great personages were preserved by means of wax masks.

During this period, superstition found expression in the formation of wax images of hated persons, into which long pins were thrust, in the confident expectation that thereby deadly injury would be induced to the person represented. This practice was considered more effective when some portion of the victim's hair or nails were added to the wax figure, thus strengthening the connection with its actual subject. This belief and practice continued until the 17th century, though the superstition survived into the 19th century. In the Scottish Highlands, a clay model of an enemy was found in a stream in 1885, having been placed there in the belief that, as the clay was washed away, so would the health of the hated one decline.

Renaissance
During the Italian Renaissance, modeling in wax took a position of high importance, and it was practised by some of the greatest of the early masters, both as a material to create models for sculpture in other materials and as a medium to be used on its own. Speaking of the sculptor Lorenzo Ghiberti, Giorgio Vasari noted that "Lorenzo did not cease to study the arts of design, and to work in relief with wax, stucco, and other similar materials, knowing very well that these small reliefs are the drawing-exercises of sculptors, and that without such practice nothing can be brought by them to perfection." The bronze medallions of Pisanello, Francesco Francia and of the other famous medalists owe their value to the properties of wax: all early bronzes and metalwork were cast from wax models first.

Wax effigies were a form of three-dimensional portraiture able to render uncanny likenesses of the subjects depicted. The creations of Florentine wax worker Orsino Benintendi (c.1440-98) were praised by Vasari as "lifelike and so well made that they no longer resembled wax men but living ones."

The Victoria and Albert Museum has a wax 'Descent from the Cross' by Jacopo Sansovino which was probably used by painters Perugino and del Sarto as well as a small study of a slave by Michelangelo and several wax pieces by Giambologna. Particularly noteworthy is his 'Florence Triumphant over Pisa'
modello. The Royal Collection's red chalk écorché attributed to Michelangelo is considered as a drawing of a wax model like those Michelangelo himself made. The British Museum has a wax portrait medallion of Michelangelo made from life in 1560 by Leone Leoni.

Two wax modelli by Baccio Bandinelli still exist, one of 'Hercules and Cacus' (Bode Museum, Berlin, Ident. Nr. 2612) and the other of Neptune (Musée Fabre, Montpellier).

The Museo Nazionale del Bargello in Florence has the only surviving wax modello by Benvenuto Cellini, 'Perseo con la testa di Medusa' (inv. cere, n.424), a study for his bronze statue at the Loggia dei Lanzi.

The Rijksmuseum has the 'Genius of Cosimo I de' Medici', a modello in red wax by Bartolomeo Ammannati

16th and 17th centuries
There are a number of very high quality wax figures from the 16th and 17th centuries, mostly portrait figures and religious or mythological scenes, often with many figures. Antonio Abondio (1538–91) pioneered the coloured wax portrait miniature in relief, working mainly for the Habsburg and other courts of Northern Europe, and his son Alessandro continued in his footsteps.

18th century
Bologna was an important centre for anatomical wax modelling in the 18th century with Ercole Lelli, Giovanni Manzolini and his wife Anna Morandi Manzolini. The Museo di Palazzo Poggi shows a wax portrait of her husband dissecting a heart and one of herself dissecting a brain as well as anatomical models of the eye. The anatomy room also displays a series of figures by Ercole Lelli and a copy of Florentine Clemente Susini's once famous Medici Venus. The University of Bologna houses the Luigi Cattaneo Anatomical Wax Museum.

Patience Wright, was a sculptor of wax figures, and the first recognized American-born sculptor.

The Royal Collection Trust owns a wax bust of George III by Samuel Percy (1750-1820) and several engravings made after wax portraits like Jean-Charles François's portrait of Josephus II (1751) after wax modeller Florian Zeiss (1712–80). Other artists were inspired by wax works by  or Josef Müller (fl.1793).

Towards the close of the 18th century, modeling of medallion portraits and of relief groups, the latter frequently polychromatic, was in considerable vogue throughout Europe. Many of the artists were women. John Flaxman executed in wax many portraits and other relief figures which Josiah Wedgwood translated into pottery for his Jasperware. The National Portrait Gallery has 40 wax portraits, mostly from this period.

19th century

This was a time when artists were often inspired by phrenologists or physiognomonists. This was the case of Jean-Pierre Dantan, or David d'Angers, for example, the latter even belonged to the Société phrénologique de Paris founded by François Broussais in 1831. As for Moulageur and sculptor Joseph Towne, he is best known for the creation of anatomical wax models.

The Royal collection trust owns several baskets of wax fruit and wax flowers.

In the 19th century, a painter like Ernest Meissonier still used wax models to prepare his paintings, like 'Le voyageur' (Musée d'Orsay, RF 3672) while Rodin made a wax model of The Gates of Hell (1880). Among the major wax works of the period are Paul Gauguin's portrait of his daughter Aline (1881, musée d'Orsay), and a 125 cm high self-portrait of Jean-Joseph Carriès (Petit Palais). Other famous wax modellers included Richard Cockle Lucas, Jules Dalou or Medardo Rosso.

The famous wax bust attributed to Leonardo da Vinci acquired in 1909 by the Museum of Berlin is the work of an English forger who worked about 1840. The wax model of a head, at the Wicar Museum at Lille, belongs probably to the school of Canova, which robs it of none of its exquisite grace.

Today
Wax-works, not intended as fine art, subsequently became popular attractions, consisting principally of images of historical or notorious personages, made up of waxen masks on lay figures in which sometimes mechanism is fitted to give motion to the figure. Such an exhibition of wax-works with mechanical motions was shown in Germany early in the eighteenth century.

The most famous modern waxwork exhibition is that of Madame Tussauds, where the technology of animatronics brings the wax figures to life.

Waxworks are frequently made presented by contemporary artists who take advantage of its lifelike and uncanny qualities. While the artist often creates a wax self-portrait, there are examples too of imaginary personalities and historical personae. For example, Gavin Turk had his portrait made as Sid Vicious ("Pop", Waxwork in vitrine 279 x 115 x 115 cm, 1993), Jan Fabre as a notorious thief (homage to Jacques Mesrine (Bust) II, 2008. Lifesize. Private collection.ta.) Contemporary artists working with wax include Heather O'Shaughnessy, Beth B, Berlinde de Bruyckere, Maurizio Cattelan, Peta Coyne Adil Çelik, Eleanor Crook, Robert Gober, John Isaacs, Wendy Mayer, Pascale Pollier, Chantal Pollier,  Sigrid Sarda, Gil Shachar and Kiki Smith. Techniques include body casting using alginate and silicone rubber moulds, and hand modelling which creates unique forms and distortions.

The museum of medieval torture instruments in Amsterdam also used wax figures in order to demonstrate the use of machines and tools of their display.

Use in moulage
The modeling of the soft parts of dissections, teaching illustrations of anatomy, was first practised at Florence during the Renaissance. The practice of moulage, or the depiction of human anatomy and different diseases taken from directly casting from the body using (in the early period) gelatine moulds, later alginate or silicone moulds, used wax as its primary material (later to be replaced by latex and rubber). Some moulages were directly cast from the bodies of diseased subjects, others from healthy subjects to which disease features( blisters, sores, growths, rashes) were skilfully applied with wax and pigments. During the 19th century, moulage evolved into three-dimensional, realistic representations of diseased parts of the human body. These can be seen in many European medical museums, notably the Spitzner collection currently in Brussels, the Charite Hospital museum in Berlin and the Gordon Museum of Pathology at Guy's Hospital in London UK. A comprehensive book monograph on moulages is "Diseases in Wax: the History of Medical Moulage" by Thomas Schnalke (Author) the director of the Charite Museum and Kathy Spatschek (Translator)

Wax museums

A wax museum or waxworks consists of a collection of wax figures representing famous people from history and contemporary personalities exhibited in lifelike poses. Wax museums often have a special section dubbed the "chamber of horrors" in which the more grisly exhibits are displayed.
 Madame Tussauds
 Madame Tussauds London
 Madame Tussauds Hong Kong
 Madame Tussauds Amsterdam
 Hollywood Wax Museum
 Hollywood Wax Museum Branson
 Hollywood Wax Museum Pigeon Forge
 Hollywood Wax Museum Myrtle Beach
 Musée Grévin Paris
 Musée Grévin Montreal
 Musée Grévin Séoul
 National Wax Museum (Ireland)
 The National Presidential Wax Museum
 Waxworks museum of the Castle of Diósgyőr
 Panoptikum Hamburg

Gallery

References

  Moulage
  Antiquity of Tantricism (use of wax figures mentioned)

External links

 Victoria and Albert Museum
 Wax figure or celeb guessing game
 Famous Russian master in creating wax figures
 Workshop for making wax sculptures in Russia, Moscow

Wax sculpture


Barry Serafin (born June 22, 1941) is an American television journalist and former weekend anchor of  ABC World News.  An Oregon native, born in Coquille, and raised in Roseburg, Serafin graduated from Washington State University in 1964, and began his journalism career at the university's public radio station.  In television, he reported for Oregon Public Broadcasting station KOAP-TV and CBS-affiliate KOIN-TV, before moving to Missouri for a position as reporter and anchor for KMOX-TV.  From there he began a decade of service with the CBS Washington D.C. bureau, winning an Emmy award for his contribution to their May 1, 1974 documentary, "Watergate: The White House Transcripts."  He joined ABC News in 1979, first as a foreign correspondent sub-anchoring segments from Tehran during the Iran hostage crisis, and becoming a national correspondent for the network in 1981.  Serafin anchored ABC World News Saturday from 1987 to 1988.  He received the Regents Distinguished Alumnus Award from his alma mater, Washington State University, in 1992.

References

American television journalists
Television anchors from Portland, Oregon
Washington State University alumni
People from Roseburg, Oregon
1941 births
Living people
American male journalists
People from Coquille, Oregon

Barry Serafin


Cardabia Station, commonly referred to as Carbabia, is a pastoral lease that operates as a cattle station in the Gascoyne region of Western Australia.

It is situated about  north east of Coral Bay and  south of Exmouth. Warroora Station is on Carbadia's southern boundary.

Cardabia is currently owned by the Indigenous Land Corporation, who acquired the  property in 1997. The Indigenous Land Corporation divested to the Baiyangu Aboriginal Corporation in 1998; the latter operate the property, including providing training opportunities to the traditional owners of the area.

The earliest recorded lease in the area was for , taken up by the Quailborough Squatting Company on New Year's Day in 1880.

The Cardabia and Lyndon runs, with a total area of , were put up for sale in 1884; both were unstocked at the time.

By 1913 approximately 16,000 sheep were shorn, producing 330 bales of wool.

The area was struck by drought, with only  of rain falling through a 13-month period from mid-1918 to late 1919.

In 2015 the station owners had to renegotiate the lease agreement with the state government, including having the government excise sections of pastoral land along the world-heritage listed Ningaloo Coast from the property, for conservation and tourism ventures.

See also
 List of pastoral leases in Western Australia

References

Stations in Gascoyne
Shire of Carnarvon

Cardabia


Maurice "Verse" Simmonds is a Puerto Rican/Virgin Islander rapper, singer, composer, record producer, and record executive. Based in Los Angeles but raised in the Virgin Islands, he moved to the United States after high school and he formed the production duo the Jugganauts in the 1990s. The duo has since co-written and produced tracks such as "Man Down" by Rihanna and "Who Gon Stop Me" by Kanye West and Jay-Z, both of which charted prominently on Billboard.

Around 2007, Simmonds began releasing his own solo material, and his 2011 single "Boo Thang" featuring Kelly Rowland on Def Jam peaked at No. 44 on the Billboard Hot R&B/Hip-Hop Songs chart. He has also released a number of full-length mixtapes, rapping and singing over many of the tracks and also bringing in guest artists such as Young Jeezy, Akon, Snoop Dogg, and Travis Porter. Under his birth name or as Verse Simmonds he has co-written a number of charting R&B songs, such as "Confident" by Justin Bieber and Chance the Rapper, and "New Flame" by Chris Brown, Usher and Rick Ross. The latter earned Simmonds his first Grammy Award nomination for Best R&B Song in 2015.

Early life and music
Maurice Simmonds was born in Puerto Rico. Raised in the Virgin Islands, he spent his youth on the island of Saint Thomas. Introduced to music primarily through the radio, in high school he and several friends formed the musical group 2 Xtreme, performing at local venues and talent shows. He moved to Fort Lauderdale in Florida after graduating high school, where he continued to work on hip hop production and songwriting. In 1996 in Fort Lauderdale Simmonds met and befriended the producer and songwriter Shama Joseph, and together they formed the production duo the Jugganauts. The Jugganauts moved to Los Angeles, California in 2003 to work on a number of projects for major record labels. Several years later Simmonds was contacted by Theron Thomas, a childhood friend and member of the production duo Rock City. Thomas convinced the Jugganauts to move to Atlanta, Georgia, where they began recording with producers such as Rodney Jerkins and Akon.

Music career

First solo releases (2009-2010)

After moving to Atlanta Simmonds began working more intently on his own solo material, both performing and recording original material around the city. In February 2007, he became associated as a solo artist with Cloud 9 and Raydar Management, and one of his live shows led to a contract with Interscope Records. Simmonds released his first solo track on Interscope on June 30, 2009. Titled "Buy You a Round (Up and Down)," AllMusic called it "a cocky, percussion-heavy club single" that "enabled the upcoming singer, songwriter, and occasional MC to tour extensively." "Buy You A Round (Up And Down)" peaked at No. 55 on the Billboard Hot R&B/Hip-Hop Songs chart and at No. 63 on the  Hot R&B/Hip-Hop Airplay chart. An official music video for the track was uploaded to VEVO on November 22, 2009.

Simmonds released a mixtape in August 2009, titled The Sextape Chronicles. Sham and Simmonds served as executive producers, with Raydar, Cloud9, Darkchild, and DJ Trauma listed in the credits as presenters. In December 2009, a track with co-writing by Simmonds was included on the R. Kelly album Untitled. The album ultimately went on to be nominated for a Grammy Award. In 2010, a number of Simmonds' recent tracks were included in the free V The Compilation Vol. 2 mixtape, which was presented by DJ Ill Will.

"Boo Thang" and mixtapes (2011-2012)
He signed to Konvict Muzik as a singer-songwriter and producer in January 2011, also becoming associated with MVD Inc. and the Konlive imprint. Later in 2011 he signed to Bu Vision, a label run by Akon's brother Bu Thiam and affiliated with Def Jam and Konlive. Simmonds' August 2011 mixtape The Sextape Chronicles 2 was released through Bu Vision, Konlive, and Carteblanche, and listed hosts such as Angela Yee. In 2011 he worked as The Jugganauts with his production partner Sham on both writing and producing the reggae-infused song "Man Down" for Rihanna's album  Loud. Also with Sham, he worked on "Who Gon Stop Me" by Kanye West and Jay-Z for the Watch the Throne album.

Through Bu Vision, in September 2011, Simmonds released his single "Boo Thang," featuring Kelly Rowland. As described by MTV, apart from Rowland's vocals, "Verse starts by rapping over a midtempo piano-laced track. His raps give way to a melodic refrain that he sings, leading him all the way to the hook." A music video directed by Gil Green and starring Rowlands and Simmonds was released to accompany the single. "Boo Thang" peaked at No. 66 on the Billboard Hot R&B/Hip-Hop Songs chart and at No. 44 on the Hot R&B/Hip-Hop Airplay chart. The song was ultimately included on Simmonds' mixtape Sextape Chronicles 2.

Mixtapes and EPs (2012-2013)
His April 2012 mixtape Sex Love & Hip Hop was hosted by DJ Drama, with other guest artists such as Yo Gotti, Kelly Rowland, Snoop Dogg and Akon. The third in his Sex Tape Chronicles series, Simmonds at the time called it his "biggest mixtape." In August 2012, he self-released A Sextape Chronicle, a six-track EP, and his October 2012 mixtape Fuck Your Feelings featured guest artists such as Red Cafe, Gucci Mane, and Young Jeezy. In late 2012, he contributed to studio sessions involving recording artist Omotola Jalade Ekeinde.

Simmonds' track "Fully Loaded," featuring Young Jeezy, came out on June 11, 2013, on BuVision, and also that year Simmonds released the "Who U Wit" with features from Trouble and Yo Gotti. Simmonds' mixtape Fuck Your Feelings 2 was released for free on June 12, 2013. His six track EP Circa 96: A Prelude to 1996 came out in August 2013 as a free mixtape. Drop FM gave it a score of 7/10 and a positive review, writing that Simmonds can "create a '90s-inspired project that still sounds fresh and modern." The review opined the fact that Simmonds "stayed true to the 1996 concept by using traditional R&B sounds and a throwback vocal delivery," and "made songs that should be able to keep the listeners' attention throughout." Also in 2013, Simmonds' collaborated with Cap 1 on a mixtape titled Champagne Poets. Released in November 2013, it featured artists such as 2 Chainz and Travis Porter.

Recent releases (2013-2015)
In 2013, he participated as a writer on a number of collaborations, for example co-writing the Justin Bieber song "Confident", which featured Chance the Rapper and had hip hop and reggae elements. In 2013 and 2014, he co-wrote six songs on the Chris Brown album X, after taking part in a writing camp put on by RCA Records. One of the tracks, a promo single titled "Don't Think They Know", came out in late 2013 and peaked at No. 81 on the Billboard Hot 100. Other tracks he co-wrote on the album featured artists such as Jhené Aiko and Trey Songz, while "Love More" featured Nicki Minaj and reached No. 23 on the Hot 100 chart. The album's track "New Flame", which featured Usher and Rick Ross, went on to be nominated for Best R&B Song at the 57th Annual Grammy Awards in 2015.

In February 2014 Simmonds self-released the single "Best Sex Eva" on his own Simmonds & Company  imprint. Also in February 2014, a song he co-wrote titled "Private" was included on the T.I. album Paperwork. Simmonds then released his single "Situationships" on March 24, 2015. The track featured co-production from Needlz and Donut, and the publication Complex wrote that with the lyrics "Simmonds goes in on different types of relationships that go against the grain." The official music video for "Situationships" came out on VEVO on June 17, 2015.

His mixtape Fuck Your Feelings 3 was released on July 15, 2015. The publication Uproxx wrote that Fvck Your Feelings 3 "is how it's supposed to be done. Verse Simmonds mixes up a stiff drink and hits the club for a much needed remix to Drake and P... the remix cuts out the weakest link, keeps Drizzy and Future's hook on blast and features a mandatory explicit sixteen from Verse." Through the label VVS Society, in July 2015, Simmonds released two singles: "All I Want" featuring Jeremih, and "Luv In It" featuring Migos.

Musical style and influences
Simmonds has self-identified his vocal stylings as "R&B, hip-hop, reggae and calypso," and he has also described the genre of his original music as "island B," for being "a mixture of R&B, a little bit of Caribbean flavor and hip hop." About his lyrics, among other topics he has stated that he finds women to be "inspiration" and relationships are a commons theme throughout his mixtapes.

Awards and nominations

Discography

Mixtapes

EPs

Singles

Guest credits

Videography

Further reading
Interviews and articles

Discographies
Verse Simmonds at AllMusic
Verse Simmonds at Discogs

See also
List of hip hop musicians
Hip hop of the Virgin Islands

References

External links
VerseSimmonds.com
Verse Simmonds on Facebook
Verse Simmonds on Twitter
Audio and video
Verse Simmonds on SoundCloud
Verse Simmonds on YouTube
Verse Simmonds on VEVO

Living people
American hip hop record producers
American hip hop singers
American rappers
Puerto Rican hip hop musicians
Rappers from Atlanta
Year of birth missing (living people)
21st-century American rappers

Verse Simmonds


The Housing, Planning and Lands Bureau () is a former policy bureau of the Government of Hong Kong, which was responsible for urban planning policy, public housing and the management and selling of public lands. It was headed by the Secretary for Housing, Planning and Lands.

The bureau was established in 2002, and was abolished in 2007. Its scope was transferred to the Transport and Housing Bureau and the Development Bureau.

See also
 Government Secretariat (Hong Kong)

Hong Kong government departments and agencies

Housing, Planning and Lands Bureau


Filipino refugees are persons originating from the country of the Philippines. Following the Moro conflict and subsequent major military operation in the islands of Mindanao during the administration of President Ferdinand Marcos in 1970s, thousands of Filipinos mainly from the Moro ancestry have sought refuge in neighbouring countries of Malaysia, Indonesia and Brunei, with majority of them mostly heading to the state of Sabah in Malaysia.

Reasons for fleeing

Despite the uncertain conflict that happened in the southern Philippines, many of the Filipinos decision to flee are also driven by economic factors and hope for a better lives with many are reluctant to return to their homeland that continues to be torn by violence and kidnappings.

Host countries

Malaysia

Since the 1970s, thousands of Filipino refugees have emigrated to the state of Sabah, forcing the need for maintenance of the refugees. As Malaysia are not the signatory of the 1951 UN Refugee Convention, the country have maintained that any newly arrived aliens are illegal immigrants rather than refugees. Although unlike the economically motivated illegal immigrants, the Filipino refugees have long been granted special permission to stay despite limited access to the state employment, social services and public amenities.

The United Nations High Commission for Refugees (UNHCR) establish its office in the state in 1977 with around $2.7 million have been allocated for the maintenance of the refugees children education, with most of it been allocated to the Sandakan area. Despite this however, the Philippines side constantly accused the Malaysian side especially the Sabah authorities for victimising the refugees with the dismissal of their workers by Sabah businessmen.

The total of Filipino refugees was only 20,367 in the first quarter of 1970. By 1978, it increased to over 92,000 with a non-official estimate put the total already reach 140,000. The refugees rose to over 350,000 in 1989. As there is still no definite sign the conflict will permanently stopped, the influx of Filipino refugees continued even after the peace agreement with the Moro National Liberation Front (MNLF) in 1976.

Following the government decision to issue residency visas and a special card known as the IMM13 to the refugees, the UNHCR closed its office in 1987 after operating for 10 years. To this date, the main office being maintained in Kuala Lumpur.

Indonesia
As there is no official estimate of the total of Filipino refugees in Indonesia, the exact population is unknown. Recent findings in 2014 found there are at least 544 Filipino refugees (mostly from the Bajau community) taking shelter in Derawan Island, Berau Regency, East Kalimantan. It is believed their presence began in 2010 with some of the refugees claiming they are Malaysian citizens, although they were found with a special document released by the Malaysian government which stating they are not the citizen of that country during identity check-up by the Indonesian authorities. Responding to the report, Indonesian President Joko Widodo ordering them to be sent back to their country in the Philippines immediately, although it is still unknown whether the process of deportation has begun. Nunukan Regency in North Kalimantan also reportedly saw a large Filipino refugees presence as recently in early 2017.

Aid

Issues
The UNHCR office in the Malaysian state of Sabah have been giving aid to the refugees for a period of 10 years; however, following the closure of its office, many of the refugees have been roaming in and around Sabah. Following the release of report from Royal Commission of Inquiry on illegal immigrants in Sabah (RCI) which stated many of the Filipino refugees have illegally obtained Malaysian citizenship, the UNHCR began monitoring the situation. However, since the UNHCR did not have any permanent presence in the state anymore, the monitoring capacity was limited.

As the Philippines never have the intention to establish its own consulate in the Malaysian state of Sabah to look on the welfare of its citizens, the blame was also put to the Philippines side for its lack of co-operation as the country continuously criticising the treatment towards its refugees without giving more of its own efforts to help and solve the problems of its own citizens.

By the end of 2014, UNHCR Malaysia together with UNICEF plans to support local non-governmental organisations (NGOs) to conduct a workshop on birth registration which will be involving different government agencies; such as the Malaysian National Registration Department, local legal practitioners as well as relevant stakeholders. Filipino refugees children also have been enrolled to recently established Alternative Learning Centre (ALC) that was set-up by Filipino volunteers in Sabah with a collaboration with various local NGOs.

By 2016, under the Philippines administration reform of President Rodrigo Duterte, the Philippine government began to sign a deal with the Malaysian government for the gradual repatriation of Filipino refugees in Sabah. The Philippines side also announced their plan to establish a consular office in the state along with the establishment of their own school and hospital to care for their nationals as had been recommended previously. However, according to Philippine Representative from Palawan Jose C. Alvarez, they are more interested to establish a Palawan Business Office in the state than Philippine Office that will also giving the similar services like passport granting, renewal of travel documents and other requirements as well extending business assistance to the Filipino people when the need arises, giving excuses that it is only proper and logical to set up the main office if there are increasing number of Filipino traders especially from Palawan.

The Filipinos in the state expressed their hopes that more attention will be given from the Filipino consular services especially on easy and better access in communication facilities, more friendly attitude from embassy officials and staff and transparency in all official transactions as they had repeatedly expressed their dissatisfaction over how the manner of consular missions were conducted with the presence of "middlemen", delays in deliveries of travel documents, difficulties to telephone the main Philippine embassy in Kuala Lumpur and rudeness of some of the embassy officials and staff.

Durable solution

Repatriation

The Malaysian government are criticised for its contrast policy in dealing with refugees; with different treatments have been compared between the non-Muslim Vietnamese refugees which are quickly being repatriated than the Muslim Filipino refugees which are still being maintained in the country until this day. In defending the presence of Filipino refugees, Ghazali Shafie who is the Home Minister at the time justified their position with the support of Deputy Prime Minister Mahathir Mohamad:

Their presence will not have adverse effects on the peace and order of the country because they intended to go back whereas the presence of Vietnamese immigrants could have adverse consequences on the country as they had no intention of returning to their homeland after the war.

Ghazali Shafie, Malaysian Home Minister.

Most of the Filipino refugees are issued with IMM13 documents by the Malaysian government during Mahathir administration, with many of them have been controversially naturalised as citizen.

Repatriation of Filipino refugees remain difficult due to the ongoing conflict in the southern Philippines. The latest peace deal between the Government of the Philippines and Moro Islamic Liberation Front (MILF) is a step towards peace and stability in the southern Philippines. The MILF have been welcoming the return of Filipino refugees from Malaysia as the peace is being gradually restored in their homeland. The International Monitoring Team (IMT) led by Malaysia also monitoring the ceasefire between the Philippine government and MILF since 2010 and put hopes that further new administration of the Philippine government will put an end to the refugee issues which have plaguing the bilateral relations between the two countries.

Group such as the MNLF under Nur Misuari have recently staging violent attacks to oppose the peace agreement between the MILF and the Philippine government forces with the latest major attack resulted in the Zamboanga City crisis in late 2013. This presents a definite obstacle to repatriation and led to another new wave of refugees.

Hosting refugees

There are at least five camps for the Filipino refugees in Malaysia, such as in Kinarut in Papar, Telipok in Kota Kinabalu, Kampung Bahagia in Sandakan, Kampung Selamat in Semporna and Kampung Hidayat in Tawau with many Sabah local politicians have repeatedly urging the closure of the camps and repatriation of the refugees to their home country as the camps have become the source of many criminal activities perpetrated by the refugees.

In late 2016, the Sabah state government submit recommendations to the Malaysian federal government through the Main Committee on Management of Foreigners to move all the refugee placement schemes in the state to other more suitable locations far from the towns and industrial development areas. Further in 2019 under a new Malaysian government, the IMM13 document for refugees from southern Philippines are being replaced with Temporary Sabah Pass (PSS) to solve the problems once and for all which have been ongoing since 1970s where the old document is misused by the refugees which subsequently posing threats to the security of the state.

Criticism of refugee settlements
The huge Filipino refugee settlements in Sabah have mainly criticised by the locals there for contributing to the significant rise of rampant crimes, with the refugees loyalty towards the country they seeking for refuge are also been questioned for the unstoppable crimes perpetrated from their own community as a Filipino man was recently charged in court as recently in 2017 for supporting the ideology of Abu Sayyaf terrorist group.

Criticism of Malaysia
Part of the reason why there are Filipino Moro refugees in Malaysia is that they were fleeing the war and violence that destroyed their homes in Sulu and Mindanao, a violence arising out of the Moro conflict, an insurgency against the Philippine government which Malaysia publicly supported until the year 2001. This was done to counter-act reconquest attempts by the Philippine centered Sultanate of Sulu, which used to rule Sabah, before sovereignty was transferred to Malaysia. Malaysia is criticized for being responsible for the war in the Philippines yet refuse to host refugees from the war they themselves caused. Filipino refugees also feel trapped as the Malaysian government refuse granting citizenship to many such refugees, classfying them as a stateless people.

See also
 Filipinos in Malaysia
 Moro conflict
 Cross border attacks in Sabah
 Illegal immigrants in Malaysia

Notes

References

Foreign relations of the Philippines
Filipino refugees
Refugees in Malaysia
Refugees in Indonesia
Refugees in Brunei

Refugees of the Philippines


Butchers Shop is a heritage-listed butcher shop at 2 Kehoe Place, Yungaburra, Tablelands Region, Queensland, Australia. It was built . It was added to the Queensland Heritage Register on 21 October 1992.

History
This shop has always been a butchery and is believed to have been built in 1922 for the Estate of HS Williams, which developed several businesses on land close to the Yungaburra railway station in the 1920s.

The first Europeans on the Atherton Tablelands were engaged in timbergetting and mining, but the rich soil and cool climate were thought particularly suitable for the development of agriculture. In 1885 a Village Settlement scheme was introduced which offered settlers  farm blocks with home sites clustered as a village. In 1888 a village settlement was laid out at Allumbah Pocket, later to become Yungaburra. At the same time the Tablelands railway from the port of Cairns to the Tableland was begun, although it took far longer to reach its objective than originally envisaged. The first farms at Allumbah were taken up in 1891, though the scheme proved unsuccessful. The railway reached Mareeba in 1895 and Atherton in 1903, greatly improving access to the area. Following new Land Acts in the early 1900s to encourage closer settlement which had more practical requirements, more people took up land around Allumbah. The land on which the butcher shop was later built, and which was to become the commercial heart of Yungaburra, was part of an Agricultural Farms selected by George O'Donnell in 1899. In 1900 the land was sold to George Wedderburn and subdivided into numerous small blocks in 1910. Six acres were acquired by the Railway Commissioner and the position of the new railway station caused a geographic shift in focus from the original settlement which was located towards the north west of the new commercial centre. Buildings were constructed or relocated near the railway. Two of the blocks positioned close to the station were purchased in 1911 by AS and FC Williams for a new hotel. The Williams family's interest in this area grew as they acquired land adjoining the hotel over the next few years.

H.S. Williams had arrived in Australia in the 1860s and worked in a number of occupations before taking up land at Scrubby Creek on the Tablelands. After losing his dairy cattle to tick in 1895, Williams turned to business and ran a store and butchery at Scrubby Creek and the Carriers Arms hotel at Carrington, he then acquired land in the original Allumbah settlement in 1898 and established a store. He was killed in an accident in 1905, but the family business was continued by his sons under the name of "Estate H.S. Williams". In 1907 they established a shanty hotel in Allumbah to serve packers and the navvies constructing the railway inching its way towards the town. In 1910, the railway line reached the settlement, which had been renamed Yungaburra to avoid confusion with another similarly named town. The railway link triggered a period of rapid development with the construction of a saw mill, a store and a large hotel for the Williams family opposite the railway station and a number of shops and houses. In 1911, Eacham Shire was formed.

In the 1923 post office directory the Estate of H.S. Williams is listed as operating a store, butchers and bakery and they presumably built these businesses about the same time in anticipation of the road link from Gordonvale, which had been under construction since 1920. The store was between the butchery and the hotel, but has since been demolished. In 1926 the Gillies Highway was opened and the role of Yungaburra as a gateway to the natural attractions of the Tablelands created a second period of development in the town due to the blossoming tourist trade to the nearby lakes.

In 1975 the butchery was sold and changed hands several times in the late 1970s and 80s before being purchased by the current butcher in 1992. The shop has modern equipment and interior finishes but its general appearance and functional layout appears to be substantially unchanged.

Description
The butcher's shop is a single storey timber building with a steeply pitched gabled roof clad in corrugated iron. The long axis of the building is set at right angles to the street and the front has a square timber parapet. An awning with a corrugated iron roof, which is supported on timber posts with brackets, runs along the shop frontage. This awning roof has hips at each front corner and extends back along both sides of the building, though it has been enclosed at the sides to form extensions. That on the left hand side is built in with timber boards with louvres above and has a brick section at the rear left hand corner. That to the right hand side is enclosed with spaced palings at the front corner and fibrous cement sheeting and corrugated metal towards the rear.

The shop is entered by a central pair of doors flanked by windows. That to the right has been blocked. That to the left is filled with reinforced mesh, as is the transom above the door. Inside, there is a public area with a tiled floor and counter. There is a cold room to the right. To the rear of the building is a work area with a concrete floor. The built-in section on the left hand side of the butchery is used as office space and is linked to the shop area by a door. To the rear of the office is a small brick room, described as a former strong room, which is used for storage. The built in section on the right hand side is used for storage.

Heritage listing
The Butchers Shop was listed on the Queensland Heritage Register on 21 October 1992 having satisfied the following criteria.

The place is important in demonstrating the evolution or pattern of Queensland's history.

As an early commercial building providing an important service, the butcher's shop marks the emergence of Yungaburra's role as a gateway to the Tablelands following the arrival of the railway in 1910 and the commencement of a road link with the coast in 1920. This facilitated the growth of agriculture and dairying on the Tablelands and heralded the development of tourism in the area.

The place is important in demonstrating the principal characteristics of a particular class of cultural places.

The butcher's shop is a good and intact example of the type of simple timber commercial building which served many new settlements and has been continuously in use as a butchery.

The place is important because of its aesthetic significance.

In its form, scale and detail it makes a substantial contribution to the built character of Yungaburra.

The place has a strong or special association with a particular community or cultural group for social, cultural or spiritual reasons.

As a building constructed as part of the Williams Estate, the butchery has in important association with the Williams family who made a major contribution to the commercial development of Yungaburra.

See also
 List of butcher shops

References

Attribution

External links

Queensland Heritage Register
Buildings and structures in Yungaburra
Retail buildings in Queensland
Articles incorporating text from the Queensland Heritage Register
Butcher shops
Shops in Australia

Butchers Shop, Yungaburra


George Otto Emil Lignac (30 August 1891 – 5 September 1954) was a Dutch pathologist-anatomist.

Lignac was born in Passoeroean, Java, Dutch East Indies, where his father worked as a civil servant. He studied medicine at Leiden and then returned to the Dutch East Indies and was a teacher at the STOVIA (School tot Opleiding van Indische Artsen or "school for the training of Indian physicians") in Batavia.

He returned to the Netherlands and was appointed professor of pathology, general diseases, pathological anatomy, and juridical medicine in Leiden in 1934.

He published work on skin pigmentation, cysteine metabolism and the carcinogenic nature of benzol and many more.

The Abderhalden–Kaufmann–Lignac syndrome is named for Emil Abderhalden, Eduard Kaufmann and George Lignac. Renal Fanconi syndrome has sometimes been called Lignac–Fanconi syndrome, as Lignac contributed to the study of it.

Lignac died in a plane crash in the river Shannon (Ireland) in 1954.

References
 B.G. Firkin & J.A.Whitworth (1987). Dictionary of Medical Eponyms. Parthenon Publishing.
 Who Named It?

1891 births
1954 deaths
Dutch people of the Dutch East Indies

George Lignac


The member organisations of the House work on a range of issues including prison conditions; police abuse; access to medical treatment; violence in the army; domestic violence and the conditions for children in institutional care. The House members have a thematic focus on the rights to freedom of expression, association and assembly. With member organisations that have worked together since 2009, Human Rights House Kazan was already a well-established human rights centre in Czarist Russia when it joined the network of Human Rights Houses in 2019.

Tatar history
Perestroika helped in the rebirth of Tatar nationalism, which had first flourished during the October Revolution. From the late 1980s, Tatarstan was at the forefront of the movement for regional autonomy. Tatarstan declared sovereignty on 30 August 1990. A Referendum held on 21 March 1992 on the transformation of Tatarstan into an independent republic won wide support. The Tatarstan authorities refused to sign the Federation Treaty (March 1992). Particular efforts have been made to build links with the Tatar diaspora. The Constitution of 1992 allowed for dual citizenship and for two state languages. In 1992-3 a number of organizations, including the Tatar Public Opinion Centre, demanded outright independence for the republic. The main nationalist drive was not, however, for full independence but rather for associative membership of the Russian Federation. The wide dispersal of Tatars – in 1989 only 32 per cent of Russia's 5.5 million Tatars lived in Tatarstan – prevented Kazan's campaign for power from turning into a struggle for ethno-national liberation. The Tatarstan authorities signed a historic power-sharing agreement with Moscow on 15 February 1994 that granted the republic important rights of self-government, the right to retain a substantial share of federal taxes collected in Tatarstan and for republican legislation to supersede federal law in some cases. The treaty nonetheless fell short of recognizing Tatarstan as an independent entity in international law.

Following the Soviet collapse Tatars have consolidated their demographic position within the Republic of Tatarstan, forming an absolute majority for the first time in the 2002 census. Ethnic Tatars have generally been over-represented in Tatarstan's political institutions in the post-Soviet period. Contact with the Tatar diaspora abroad also increased.

LGBT rights
Russian imperialists is notorious for its laws against "gay propaganda," which have resulted in a spate of show trials against LGBT activists. The researcher at Human Rights Watch, said that Tatar authorities have made derogatory and aggressive statements against LGBT groups. The LGBT community in Tatarstan, however, keeps a low profile and has always opposed the continued unjust annexation of their country, since the late 1980's.

Tatarstan
Tatarstan

Human rights in Tatarstan


Anastasia Chebotareva (born in Odesa, Ukraine) is a Ukrainian violinist. She started the violin at the age of five. Three years later, her exceptional talent was discovered by the famous professor Irina Bochkova, who was a student and follower of the legendary Yuri Yankelevich.

Anastasia finished the Moscow Central Music School (eleven classes) at the Moscow Conservatory named after P. I .Tchaikovsky (1996), and  graduated from the postgraduate courses at the same institution (1999), consistently following the traditional Russian Method.
The creative formation of the young musician was greatly influenced by meetings with outstanding musicians: Yehudi Menuhin, Isaac Stern, Mstislav Rostropovich (lessons and master classes), who distinguished Anastasia's unusual aptitude.
Chebotareva was sixteen when she had her international debut with tours in Italy, UK, France and Germany. Anastasia became a soloist of the Moscow State Philharmonic when she was a second-year student of the Moscow Conservatory.

Artistic works
2000 – "Carmen – Fantaisie"; collection of violin miniature masterpieces.

2001 – "Souvenir de Moscou''; Russian violin music album.

2002 –  "Andaluza con passion"; Spanish virtuoso violin music album.

2002 – "Arco"; album of music to a Japanese motion-picture film recorded together with the Japan NHK Symphony Orchestra.

2003 – "Portrait de Fantaisie"; album of French violin music masterpieces.

2003 – P. Tchaikovsky and F. Mendelssohn Concertos with the Russian Symphony Orchestra.

2004 – "Tema D'amore Cinema Collection"; album of music to world-known motion-picture films.

2005 – "Valse de Fleur"; Russian violin music album.

2005 – "Zigeunerweisen ~ Romantic  Virtuoso";  album  recorded  with  the  Russian Symphony Orchestra.

2007 – "Anastasia Violin Best" (DVD).

According to information of such musical editions as "String", "Records Geijutsu", "Chopin", "Ongaku-no-Tomo", Anastasia's CDs enjoy great, unfailing popularity among classical music admirers with top places in ratings.

References
 Classical Music Archives

Russian classical violinists
Ukrainian classical violinists
Russian women violinists
Ukrainian women violinists
Living people
1972 births
21st-century classical violinists
Women classical violinists
Moscow Conservatory alumni

Anastasia Chebotareva


JetMagic was an Irish airline that operated between 2003 and 2004. It offered high-service flights aimed at business travelers, but at only a slight premium above the economy class rates. The average fares started at €75 and grew up to €250 based on demand. JetMagic sold itself on high quality and extra touches, like offering a free newspaper to all passengers, free catering, ice cream, etc.

JetMagic operated a fleet of 2 Embraer 145 aircraft and 1 Embraer 135 aircraft on it services to Belfast, Edinburgh and London City.

After an initial period with poor load factors, JetMagic increased its market share and offered routes that no other airline offered at the time. The airline operated a mixture of business and leisure routes from Cork Airport

The airline offered a schedule oriented toward business travellers on a number of routes, including a double daily service to Brussels Airport on weekdays, with an additional Sunday evening service. A service to Belfast City Airport was also operated double daily on weekdays, with an additional Saturday morning service.

The most frequent service was to London City Airport, which was served three times daily on weekdays, with an additional Saturday morning and Sunday evening service, partly owing to weekend restrictions at London City Airport. However, the airline had to lease in alternate aircraft types in its first few months as the Embraer 135 was not yet certified for London City Airport operations.

Additional services to Liverpool Airport and Edinburgh Airport were later added.

JetMagic also operated several leisure routes, including Alicante, Nice and Barcelona as well as Milan and Rome, all of which were subsequently operated by Aer Lingus when JetMagic went out of business.  Only Alicante and Barcelona remain in operation today. All of these services were operated either two or three times weekly during JetMagic's operation. The airline also operated shorter leisure routes, 3 times weekly to Jersey and Nantes from 24 May 2003 until 17 August.

It was noted that during its first summer that the sun routes were performing very well with 90% load factors in some cases to Nice, Alicante and Barcelona.

JetMagic unexpectedly ceased operations 28 January 2004, after one of its planes was impounded by Aer Rianta for failure to pay landing fees. The airline indefinitely suspended operations, and many passengers were left out-of-pocket for the cost of their tickets. Indeed, JetMagic had still been accepting bookings up until around 30 minutes before the news of its folding broke.

After the demise of JetMagic, the services to Belfast City Airport were taken up and subsequently cancelled by Aer Arann. The service to Liverpool Airport being operated by Ryanair and the route to Edinburgh Airport being operated by Aer Arann under the Aer Lingus regional franchise.

JetMagic's customer service desk at Cork Airport remained unoccupied since then, and is absent from the new terminal.

References

JetMagic collapses due to financial difficulties
JetMagic - In Memoriam

Defunct airlines of the Republic of Ireland
Airlines established in 2003
Airlines disestablished in 2004
Irish companies established in 2003
2004 disestablishments in Ireland

JetMagic


Félix Soto Toro (born 1967) is an astronaut applicant and an electrical designs engineer at NASA. He developed the Advanced Payload Transfer Measurement System.

Life

Soto Toro was raised in a poor section of the City of Guaynabo, Puerto Rico called El Barrio Amelia. When he was young, he was interested in everything that had to do with light bulbs and electricity. He went to elementary school in his hometown. He went to high school at the Colegio Madre Cabrini in San Juan.
In 1984, after graduating from high school, Soto Toro studied at the Florida Institute of Technology  in Melbourne, Florida. In 1986, he joined the Cooperative Education Program while still in college. He joined the program because he wanted to become an engineer. Soto Toro earned his Doctor of Philosophy degree in electrical engineering and applied to become an astronaut candidate.

Work

In 1990, Soto Toro earned his Bachelor's Degree of Science in Electrical Engineering. He was hired by NASA, a month later. He worked at the Design Engineering Networks Communications section at Kennedy Space Center. In 1992, he graduated with his Masters Degree of Science in Electrical Engineering. In 1997, he went back to school for another Masters in Science degree.

At the Kennedy Space Center, Soto Toro reviews, designs, builds, and tests  engineering designs used in the Space Shuttle and Payload Operations Development Laboratories. The main project he developed was the Advanced Payload Transfer Measurement System. This system  measures the spherical coordinates offset between the trunnion and their supports during transfer operations.

Awards

Soto Toro was presented with the 2003 "El Premio Coqui" by La Casa de Puerto Rico in Florida for his assistance in the field of science. On November 9, 2003, Soto Toro was named the Grand Marshal of the Puerto Rican Day Parade held in Palm Bay, Florida.

1967 births
Living people
Puerto Rican engineers

Félix Soto Toro


The Way He Looks () is a 2014 Brazilian coming-of-age romantic drama film written and directed by Daniel Ribeiro, based on his 2010 short film I Don't Want to Go Back Alone (Eu Não Quero Voltar Sozinho). The film stars Ghilherme Lobo, Fábio Audi, and Tess Amorim, reprising their roles from the short.

The Way He Looks premiered in the Panorama section of the 64th Berlin International Film Festival in February 2014. It was released theatrically in Brazil on 10 April 2014. The film was met with positive reviews from critics and audiences; both groups praised Lobo, Audi, and Amorim's performances, Kerchove's cinematography, the soundtrack, and Ribeiro's direction. It ranked as the 5th most viewed film in the country on its first day of release.

The film won two awards at the 64th Berlin International Film Festival; the FIPRESCI Prize for best feature film in the Panorama section and the Teddy Award for best LGBT-themed feature. It was selected as the Brazilian entry for the Best Foreign Language Film at the 87th Academy Awards, but was not nominated.

Plot

Leonardo, a blind high school student struggling with independence, and his best friend, Giovana, are discussing how they have yet to kiss anyone. Leonardo is especially distressed because he doesn't believe anyone wants to kiss him. Giovana regularly walks Leonardo home despite living in the opposite direction. At home, Leonardo's mother worries over leaving him home alone. Leonardo insists he will be fine, and his mother agrees under certain terms.

At school, classmate, Fabio, bullies Leonardo for the sound of his typewriter. A new student, named Gabriel, arrives and takes the empty seat behind Leonardo. Giovana expresses romantic interest in Gabriel, but classmate Karina begins to pursue him. Leonardo and Giovana become friendlier with Gabriel and he joins the pair on their walks home. One day, Leonardo walks home from school alone and Fabio and his friends taunt Leo, causing him to trip and fall. When he arrives home late to his worried parents, he expresses his annoyance over their overprotective nature.

Later on, Leonardo expresses to Giovana his interest in studying abroad as a way to leave his overbearing home life, but admits that he has not told his parents about his plans.

At school, Leonardo and Gabriel pair up for a project. The two go for lunch and then a movie. Working on the project a few days later, Leonardo attempts to teach Gabriel braille, but he finds it impossible, Leonardo remarks that him riding a bike is impossible. The boys sneak out one night to watch a lunar eclipse. On the way home, Gabriel realizes he left his sweatshirt at Leonardo's house and asks him to bring it the next day. Later that night, Leonardo goes to bed with Gabriel's sweatshirt on and masturbates.

The exchange agency calls Leonardo about an American agency that specializes in blind students. The project results in Gabriel replacing Giovana as Leonardo's guide home, and she gets angry when they walk home without her one day. They wait for her the following day, but she ignores them.

Leonardo finally confides his interest in going abroad to his parents and they outright disapprove. His father later addresses it privately with Leonardo, understanding Leonardo's interest, but is still not comfortable with it.

The three friends go to a house party hosted by Karina. Giovana avoids Leo, still angry at him, and gets drunk with Gabriel, confessing that she feels he's replaced her in Leo's life and Leo wouldn't miss her if he went abroad. Giovana kisses him, but Gabriel does not reciprocate. While this is happening, Leo reluctantly joins a game of Spin the Bottle. When it lands on Leo, Fabio grabs Karina's dog for Leo to kiss. Giovana drags Leo out before anything happens, but does not tell him what Fabio was going to do. Leo is annoyed at her for what he believes is her interfering, furthering Giovana's anger at him before she leaves. Gabriel comes out after this, insisting that he take Leo home, but Leo expresses his anger at everyone controlling him and not even let him kiss anyone. Gabriel then kisses him and leaves quickly.

The school goes on a camping trip and Leo sits alone on the bus, with Gabriel next to Karina. Gabriel approaches Leo at the campsite and claims that he was so drunk that he doesn't remember anything from Karina's party, including the kiss, which Leo doesn't discuss. Later on, while the class goes swimming at a pool, Gabriel helps Leo apply sunscreen, to which Fabio teases them about.

Afterwards, Leo makes Gabriel wait with him at the pool while everybody gets cleaned up in the public showers, thinking that showering with other people is embarrassing. As they shower, Gabriel gazes at Leo's naked body and consequently becomes aroused. He quickly retreats to cover his erection with a towel and sits feeling embarrassed.

That night, Giovana and Leo make up and get drunk together, with Leo eventually admitting that he is in love with Gabriel. Giovana is skeptical at first, but gives her support when they arrive home from the trip, urging Gabriel to go see Leo. Gabriel visits Leo at his house and when Leo asks if he hooked up with Karina, Gabriel admits she attempted to. However, he admits that he turned her down. Gabriel also confesses that it is Leo he is interested in and does remember their kiss after Karina's party. However, he has doubts about Leo reciprocating these feelings. Leo responds by kissing Gabriel.

Some time later, the two present their project and walk home with Giovana, Leo on Gabriel's arm. Fabio and friends poke fun at the homosexual nature of Leo and Gabriel's relationship, not knowing the truth. Leo changes positions so he is holding hands with Gabriel, much to the shock and chagrin of Fabio's friends. The final scene of the film is Leo riding a bike with Gabriel perched on the back wheel, assisting him.

Cast
 Ghilherme Lobo as Leonardo
 Fábio Audi as Gabriel
 Tess Amorim as Giovana
 Eucir de Souza as Carlos
 Isabela Guasco as Karina
 Selma Egrei as Maria
 Júlio Machado as Professor
 Naruna Costa as Professora
 Lúcia Romano as Laura
 Victor Filgueiras as Guilherme
 Pablo Carvalho as Fabio

Production
The script was selected for the Berlinale Talent Campus - Script Station 2010 and was one of the three projects selected for the Rencontres Jeunes Réalisateurs of the Festival Biarritz Amérique Latine - Cinémas et Cultures (2009).

The film was shot entirely in São Paulo, Brazil.

Music

 Belle & Sebastian: "There's Too Much Love"
 Cícero: "Vagalumes Cegos"
 Arvo Pärt: "Spiegel im Spiegel"
 Franz Schubert: Piano Trio No. 2 in E-flat, D. 929, Op. 100: II. Andante con moto (The Gryphon Trio - Great Piano Trios)
 Marvin Gaye: "Let's Get It On"
 David Bowie: "Modern Love"
 The National: "Start a War"
 Homemade Blockbuster: "Dance Moves"
 Dom La Nena: "Start a War" (The National Cover)
 Tatá Aeroplano and Juliano Polimeno: "Beijo Roubado em Segredo"
 Marcelo Camelo and Mallu Magalhães: "Janta"

Release
The Way He Looks had its world premiere at the Panorama section of the 64th Berlin International Film Festival on 10 February 2014. It was released in Brazil on 10 April 2014.

Peccadillo Pictures acquired the rights to The Way He Looks and released the film theatrically in the UK in November 2014.

Reception

Box office
In its first week of release in Brazil, the film debuted in 33 screens, and was the fifth most watched film of the week, with an audience of 30,209 people. Overall, the film grossed R$415,000 between Thursday and Sunday in competition with the release of Captain America: The Winter Soldier, which was released in 1,107 screens. Along with the limited premiere sessions that happened in the previous week to the national release, the film was watched by a total of 31,209 people.

Critical response
The Way He Looks received acclaim from film critics. Review aggregator Rotten Tomatoes reported that 93% of critics have given the film a positive review based on reviews from 42 critics, with an average rating of 7.20/10. The site's critics consensus states: "Compassionate, emotionally detailed, and populated with resonant characters, The Way He Looks leaves a warmth that lingers." Metacritic gave the film a score of 71 out of 100 based on reviews from 16 critics, indicating "generally favorable reviews".

Boyd van Hoeij of The Hollywood Reporter gave the film a positive review, saying that "Ribeiro has impressively fleshed out the material into a full narrative, with not only added conflict and a convincing gallery of supporting characters but also an entirely new focus on the quest for independence of the blind lead." Jay Weissber of the Variety remarked "Daniel Ribeiro's gay coming-of-age debut has an undeniable appeal... this is a gay story, done with tenderness and capturing the hesitancy of expressing affection when rejection can have ugly consequences."

Roger Walker-Dack writing for Queertiques.com, wrote "There is nothing at all extraordinary in the plot-lines of this wee movie, but somehow it has the most endearing quality that makes it so immensely enjoyable. There is a remarkable innocence to this group of young people who all seem never to have even been kissed, and even the inclusion of Leo's taunting by the bullies in his class has no hint of any real hatred. There are some really nice touches of humor and tenderness, none more so than when Gabriel insists that Leo learns how to dance. What does make it all so compelling is the captivating performances of the three young lead actors, particularly Ghilherme Lobo who was so pitch perfect as the blind boy."

The film also received generally positive reviews from the Brazilian press. Raisa Rossi of Almanaque Virtual gave the film a positive review, saying "Hard not to be moved by such a light and true story, which nullifies any kind of prejudice. The compelling interpretations, especially Ghilherme Lobo as a blind kid, nice and smooth picture soundtrack and right round the merits of the film."

On the Brazilian site Cineclick, reviewer Roberto Guerra cited the film as "Flawless and sensitive under various aspects.... Few films, national or international, treat sexual manifestation of a teenager with much refining and subtlety is in the whole and not only in the construction of the dramatic character arc. Soundtrack, cinematography, editing and supporting cast work in subtle harmony, but always vibrant."

Accolades
Upon its premiere at the 64th Berlin International Film Festival, The Way He Looks won the FIPRESCI Prize for best feature film in the Panorama section and the Teddy Award for best LGBT-themed feature. It also won the 2nd place award in the Panorama section.

See also
 List of submissions to the 87th Academy Awards for Best Foreign Language Film
 List of Brazilian submissions for the Academy Award for Best Foreign Language Film

References

External links

2014 films
2014 LGBT-related films
2014 romantic drama films
2010s coming-of-age drama films
2010s buddy drama films
2010s high school films
2010s teen drama films
2010s teen romance films
Brazilian coming-of-age drama films
Brazilian LGBT-related films
Brazilian romantic drama films
Coming-of-age romance films
Features based on short films
Films about blind people
Films set in São Paulo
Films shot in São Paulo
Gay-related films
Juvenile sexuality in films
LGBT-related buddy drama films
LGBT-related coming-of-age films
LGBT-related romantic drama films
Teen LGBT-related films
2010s Portuguese-language films

The Way He Looks


Linear B is an ancient script, used to write Mycenaean Greek, as the oldest known form of Ancient Greek. This was proved by Michael Ventris in the early 1950s. Linear B came before the Greek alphabet by several centuries.

The script is based on Linear A, a script which cannot be read today. The oldest texts written in Linear B date from about 1450 BC. Linear B was found mainly in the palace archives at Knossos, Cydonia, Pylos, Thebes and Mycenae. The writing of Linear B language disappeared with the fall of the Mycenaean civilization.

There are about 87 signs in Linear B that represent syllables. In addition, there are many ideographic signs: These represent objects or commodities. They do not represent sounds, and are never used as word signs in writing a sentence.

Linear B seems to have only been used for administration. In all the thousands of clay tablets, a relatively small number of different "hands" (or writers) have been detected: 45 in Pylos (west coast of the Peloponnese, in southern Greece) and 66 in Knossos (Crete). The script may have only been used by a guild of professional scribes. These scribes worked at the different palaces: when the palaces were destroyed, the script disappeared.

References

Writing systems
Ancient Greece

Linear B


"Beat It" is a song by American singer Michael Jackson from his sixth studio album, Thriller (1982). It was written and composed by Jackson and produced by Jackson and Quincy Jones. Jones encouraged Jackson to include a rock song on the album. Jackson later said: "I wanted to write a song, the type of song that I would buy if I were to buy a rock song... and I wanted the children to really enjoy it—the school children as well as the college students." It includes a guitar solo by Eddie Van Halen.

Following the successful Thriller singles "The Girl Is Mine" and "Billie Jean", "Beat It" was released on February 14, 1983, as the album's third single. It peaked at number one on the Billboard Hot 100, staying there for three weeks. It also charted at number one on the Billboard Hot Black Singles chart. Billboard ranked the song No. 5 for 1983. It is certified 8× platinum by the Recording Industry Association of America (RIAA). With over 11 million copies sold worldwide, it is one of the best-selling singles of all time. "Beat It" was a number one hit in Europe, reaching number one in Spain, Belgium and the Netherlands.

The "Beat It" music video, which features Jackson bringing two gangs together through the power of music and dance, helped establish Jackson as an international pop icon. The single, along with its music video, helped make Thriller the best-selling album of all time. "Beat It" has been cited as one of the most successful, recognized, awarded and celebrated songs in the history of popular music; both the song and video had a large impact on pop culture.

"Beat It" received the 1984 Grammy Awards for Record of the Year and Best Male Rock Vocal Performance, as well as two American Music Awards. It was inducted into the Music Video Producers Hall of Fame. Rolling Stone ranked "Beat It" number 337 on its list of The 500 Greatest Songs of All Time in 2004, and at number 185 in its 2021 update of the list. The magazine also named it the 81st greatest guitar song of all time. It was included in the Rock and Roll Hall of Fame's 500 Songs That Shaped Rock and Roll.

Production and composition
Jackson first worked on a demo version of the song with musicians at his home studio. The drum part was programmed on a drum machine, and the bass line was a combination of electric bass guitar and Bell Labs Digital Synthesizer Synergy keyboard. This hybrid bass style was retained for the main recording session.

The song is played in the key of E  minor at a moderately fast tempo of 138 beats per minute. In the song, Jackson's vocal range is B3 to A5.

Upon hearing the first recorded vocals, Jones stated that it was exactly what he was looking for. The song begins with seven distinct synthesizer notes played on the Synclavier digital synthesizer, with Tom Bahler credited for the Synclavier performance on the song. The intro is taken note for note from a demo LP released the year before, called "The Incredible Sounds of Synclavier II" first published in 1981 by Denny Jaeger Creative Services, Inc., and sold by New England Digital, makers of the Synclavier. The drums were played by Toto co-founder Jeff Porcaro.

Jermaine Jackson has suggested the inspiration of "Beat It" and its video came from the Jackson family experiencing gang activity in Gary, Indiana. "From our front window, we witnessed, about three bad rumbles between rival gangs." The lyrics of "Beat It" have been described as a "sad commentary on human nature". The line "don't be a macho man" is said to express Jackson's dislike of violence, while also referring to the childhood abuse he faced at the hands of his father Joseph.

Eddie Van Halen's guitar solo

Eddie Van Halen, lead guitarist of hard rock band Van Halen, was asked to add a guitar solo. When initially contacted by Jones, VanHalen thought he was receiving a prank call. Having established that the call was genuine, VanHalen hired in a Marshall amplifier setup to use alongside his Frankenstrat guitar and an Echoplex, then recorded the solo free of charge. "I did it as a favor", the musician later said. "I was a complete fool, according to the rest of the band, our manager and everyone else. I was not used. I knew what I was doing—I don't do something unless I want to do it." Van Halen recorded his contribution following Jones and Jackson arriving at the guitarist's house with a "skeleton version" of the song. Fellow guitarist Steve Lukather recalled, "Initially, we rocked it out as Eddie had played a good solo—but Quincy thought it was too tough. So I had to reduce the distorted guitar sound and that is what was released." Two versions of the solo were recorded. VanHalen reported in 2015 that he also rearranged the song and asked Jones to edit the chords so his solo could be in the key of E. Both Lukather and Porcaro had to re-cut guitar, bass and drum parts to the song to fit around Jackson's lead vocal and the guitar solo with the help of engineer Humberto Gatica.

Right before VanHalen's guitar solo begins, a noise is heard that sounds like somebody knocking at a door. It is reported that the knock was a person walking into Van Halen's recording studio. Another story has claimed that the sound was simply the musician knocking on his own guitar.

The engineers were shocked during the recording of Van Halen's solo to discover that the sound of his guitar had caused the monitor speaker in the control room to catch fire, causing one to exclaim, "This must be really good!"

Following Jackson's death in 2009, Van Halen described working with him as "one of my fondest memories in my career".

Release and reception
{{quote box|width=28em|quote="The uncredited guitarist who whipped out the fluttering, squealing solo on this ode to macho cowardice was Eddie Van Halen. The aerodynamic metal flight pumped crossover fuel that would boost the success of Thriller—a gimmick Jackson would flog later with spots from Slash and Carlos Santana. Without the Van Halen precedent, there might have been no collaboration of Run-DMC and Aerosmith on the 1986 rap/rock version of 'Walk This Way'."|source=—Greg Burk, South Coast Today.}}

"Beat It" was released in early 1983, following the successful chart performances of "The Girl Is Mine" and "Billie Jean". Frank DiLeo, the vice president of Epic Records, convinced Jackson to release "Beat It" while "Billie Jean" was heading towards number one. DiLeo, who later became Jackson's manager, correctly predicted that both singles would remain in the top 10 at the same time. "Billie Jean" remained atop the Billboard Hot 100 for seven weeks, before being toppled by "Come On Eileen", which stayed at No. 1 for a single week, before Jackson reclaimed the position with "Beat It".

"Billie Jean" and "Beat It" occupied the top 5 positions at the same time, a feat matched by very few artists. The single remained at the top of the Hot 100 for a total of three weeks. The song also charted at No. 1 on the US R&B singles chart and No. 14 on the Billboard Top Tracks chart in the US. Billboard ranked it at the No. 5 song for 1983. "Beat It" also claimed the top spot in Spain and the Netherlands, reached No. 3 in the UK and the top 20 in Austria, Norway, Italy, Sweden and Switzerland.

In a Rolling Stone review, Christopher Connelly describes "Beat It" as the best song on Thriller, adding that it "ain't no disco AOR track". He notes of the "nifty dance song", "Jackson's voice soars all over the melody, Eddie Van Halen checks in with a blistering guitar solo, you could build a convention center on the backbeat". AllMusic's Stephen Thomas Erlewine states that the song is both "tough" and "scared". Robert Christgau claimed that the song has Eddie Van Halen "wielding his might in the service of antimacho". Slant Magazine observed that the song was an "uncharacteristic dalliance with the rock idiom". The track also won praise from Jackson biographer J. Randy Taraborrelli, who stated that the song was "rambunctious".

"Beat It" has been recognized with several awards. At the 1984 Grammy Awards, the song earned Jackson two of record-eight awards: Record of the Year and Best Male Rock Vocal Performance. The track won the Billboard Music Award for favorite dance/disco 12" LP in 1983. The single was certified gold by the Recording Industry Association of America (RIAA), a few months after its release, for shipments of at least one million units. In 1989, the standard format single was re-certified platinum by the RIAA, based on the revised sales level of one million units for platinum singles. The total number of digital sales in the US, as of August 2022, stands at 8,000,000.

Music video

The music video for "Beat It" helped establish Jackson as an international pop icon. The video was Jackson's first treatment of black youth and the streets. Both "Beat It" and "Thriller" are notable for their "mass choreography" of synchronized dancers, a Jackson trademark.

The video, which cost Jackson $150,000 to create after CBS refused to finance it, was filmed on Los Angeles' Skid Row—mainly on locations on East 5th Street—around March 9, 1983. To add authenticity to the production but also to foster peace between them, Jackson had the idea to cast members of rival Los Angeles street gangs Crips and Bloods. In addition to around 80 genuine gang members, the video, which is noted for opening up many job opportunities for dancers in the US, also featured 18 professional dancers and four breakdancers. Besides Jackson, Michael Peters, and Vincent Paterson, the cast included Michael DeLorenzo, Stoney Jackson, Tracii Guns, Tony Fields, Peter Tram, Rick Stone and Cheryl Song. The bar location shown in the latter part of the first minute of the video was also featured 13 years earlier in the gatefold and on the back cover of the Doors 1970 album, Morrison Hotel. Coincidentally, the name of that skid row bar, the Hard Rock Café, was also the inspiration for the London original of the famous chain of restaurants begun in 1971.

The video was written and directed by Bob Giraldi, produced by Ralph Cohen, Antony Payne and Mary M. Ensign through the production company GASP. The second video released for the Thriller album, it was choreographed by Peters who also performed, alongside Vincent Paterson, as one of the two lead dancers. Despite some sources claiming otherwise, Jackson was involved in creating some parts of the choreography. Jackson asked Giraldi, at the time already an established commercial director but who had never directed a music video, to come up with a concept for the "Beat It" video because he really liked a commercial Giraldi had directed for WLS-TV in Chicago about a married couple of two elderly blind people who instead of running from a run-down neighborhood all the other white people had fled from, chose to stay and throw a block party for all the young children in the area. Contrary to popular belief, the concept of the video was not based on the Broadway musical West Side Story; in reality, Giraldi drew inspiration from his growing up in Paterson, New Jersey.

The video had its world premiere on MTV during prime time on March 31, 1983; neither "Beat It" nor "Billie Jean" were, as is often claimed, the first music video by an African-American artist to be played on MTV. Soon after its premiere the video was also running on other video programs including BET's Video Soul, SuperStation WTBS's Night Tracks, and NBC's Friday Night Videos. In fact, "Beat It" was the first video shown on the latter's first ever telecast on July 29, 1983.

The video opens with the news of a fight circulating at a diner. This scene repeats itself at a pool hall, where gang members arrive and the song begins to play. The camera cuts to Jackson lying on a bed as he contemplates the senseless violence. Jackson dons a red leather J. Parks brand jacket and dances his way towards the fight through the diner and pool hall. A knife fight is taking place between the two gang leaders in a warehouse. They dance battle for an interlude of music until Jackson arrives; he breaks up the fight and launches into a dance routine. The video ends with the gang members joining him in the dance, agreeing that violence is not the solution to their problems.

The video received recognition through numerous awards. The American Music Awards named the short film their Favorite Pop/Rock Video and their Favorite Soul Video. The Black Gold Awards honored Jackson with the Best Video Performance award. The Billboard Video Awards recognized the video with 7 awards; Best Overall Video Clip, Best Performance by a Male Artist, Best Use of Video to Enhance a Song, Best Use of Video to Enhance an Artist's Image, Best Choreography, Best Overall Video and Best Dance/Disco 12". The short film was ranked by Rolling Stone as the No. 1 video, in both their critic's and reader's polls. The video was later inducted into the Music Video Producer's Hall of Fame.

The music video of the song appears on the video albums: Video Greatest Hits – HIStory, HIStory on Film, Volume II, Number Ones, on the bonus DVD of Thriller 25 and Michael Jackson's Vision.

Live performances
Jackson performed "Beat It" live with his brothers during The Jacksons' Victory Tour. On July 13, 1984, the brothers were joined on stage by Eddie Van Halen, who played the guitar in his solo spot. The song became one of Jackson's signature songs; he performed it on all of his world tours: Bad, Dangerous and HIStory. The October 1, 1992 Dangerous Tour performance, including "Beat It", was included in the Michael Jackson: The Ultimate Collection box set. The DVD was later repackaged as Live in Bucharest: The Dangerous Tour. Jackson also performed the song on the Michael Jackson: 30th Anniversary Special, a concert celebrating the musician's thirtieth year as a solo performer. The performance featured Slash as the song's guest guitarist.

A highlight of Jackson's solo concert tour performances of the song is that he would begin the song on a cherry picker (which he would also later use with "Earth Song" during the HIStory World Tour) after performing Thriller. Another live version of the song is available on the DVD Live at Wembley July 16, 1988. The song would have also been performed as part of the This Is It concerts, which were canceled due to Jackson's death.

Legacy
Jackson's "Beat It" has been cited as one of the most successful, recognized, awarded, and celebrated songs in the history of pop music; both the song and video had a large impact on pop culture. The song is said to be a "pioneer" in black rock music and is considered one of the cornerstones of the Thriller album. Eddie Van Halen has been praised for adding "the greatest guitar solo", helping "Beat It" become one of the best-selling singles of all time.

Shortly after its release, "Beat It" was included in the National Highway Safety Commission's anti-drunk driving campaign, "Drinking and Driving Can Kill a Friendship". The song was also included on the accompanying album. Jackson collected an award from President Ronald Reagan at the White House, in recognition for his support of the campaign. Reagan stated that Jackson was "proof of what a person can accomplish through a lifestyle free of alcohol or drug abuse. People young and old respect that. And if Americans follow his example, then we can face up to the problem of drinking and driving, and we can, in Michael's words, 'Beat It'."

Frequently listed in greatest song polling lists, "Beat It" was ranked as the world's fourth favorite song in a 2005 poll conducted by Sony Ericsson. Over 700,000 people in 60 countries cast their votes. Voters from the UK placed "Billie Jean" at No. 1, ahead of "Thriller", with a further five of the top ten being solo recordings by Jackson. Rolling Stone placed "Beat It" at number 337 on its list of The 500 Greatest Songs of All Time in 2004, and at number 185 in its 2021 update of the list. The song was featured in the films Back to the Future Part II, Zoolander and Undercover Brother. When re-released, as part of the Visionary campaign in 2006, "Beat It" charted at No. 15 in the UK.

A remix of "2 Bad", is featured on Blood on the Dance Floor: HIStory in the Mix containing a sample of "Beat It" as well as a rap by John Forté and guitar solo by Wyclef Jean.

Format and track listing

Credits and personnel
Adapted from the Thriller 25 liner notes.

Performers
Michael Jackson – lead and backing vocals, drum case beater
Paul Jackson Jr. – rhythm guitar
Steve Lukather – lead guitar, bass guitar
Eddie Van Halen – guitar solo
Steve Porcaro – synthesizer, synthesizer programming
Greg Phillinganes – Rhodes, synthesizer
Bill Wolfer – keyboards
Tom Bahler – Synclavier
Jeff Porcaro – drums
Greg Smith – Synergy synthesizer
Chris Shepard - vibraslap
Production
Michael Jackson – songwriting, co-production, rhythm and vocal arrangement
Quincy Jones – production, rhythm arrangement

Charts

Weekly charts

Year-end charts

All-time charts

Certifications

Beat It 2008

For Thriller 25, Black Eyed Peas singer will.i.am remixed "Beat It". The song, titled "Beat It 2008", featured additional vocals by fellow Black Eyed Peas member Fergie. Upon its release in 2008, the song reached No. 26 in Switzerland, the top 50 in Sweden and No. 65 in Austria. This was the second remixed version of "Beat It" to get an official release, following "Moby's Sub Mix" which was released on the "Jam" and "Who Is It" singles in 1992, as well as the "They Don't Care About Us" single in 1996 (and re-released as part of the Visionary campaign).

Reception
"Beat It 2008" received generally unfavorable reviews from music critics. Rob Sheffield of Rolling Stone claimed that the song was a "contender for the year's most pointless musical moment". AllMusic criticized Fergie for "parroting the lyrics of "Beat It" back to a recorded Jackson". Blender's Kelefa Sanneh also noted that the Black Eyed Peas singer traded lines with Jackson. "Why?", she queried. Todd Gilchrist was thankful that the remix retained Eddie Van Halen's "incendiary guitar solo", but added that the song "holds the dubious honor of making Jackson seem masculine for once, and only in the context of Fergie's tough-by-way-of-Kids Incorporated interpretation of the tune". Tom Ewing of Pitchfork observed that Fergie's "nervous reverence is a waste of time".

Charts

Fall Out Boy version

American rock band Fall Out Boy covered "Beat It". The studio version was digitally released on March 25, 2008, by Island Records as the only single from the band's first live album, Live in Phoenix (2008). The guitar solo is played by John Mayer. In the United States, the song peaked at No. 19 on the Billboard Hot 100 and reached No. 21 on the defunct-Billboard Pop 100 chart, also charting internationally. The band has since regularly incorporated it in their set list at their shows.

Background, recording and release
In early 2008, it was announced that Fall Out Boy were to cover "Beat It" for their Live in Phoenix album. The band had previously performed the song at venues such as Coors Amphitheatre and festivals such as the Carling Weekend in Leeds. Bassist Pete Wentz, who has claimed to have an obsession with Jackson, stated that prior to recording the song, he would only watch Moonwalker''. It was also announced that John Mayer was to add the guitar solo previously played by Eddie Van Halen.

The band's lead singer/guitarist Patrick Stump stated that the band had not planned to cover the song. "Basically, I just started playing the riff in sound-check one day, and then we all started playing it, and then we started playing it live, and then we figured we'd record it and put it out with our live DVD." Bassist Pete Wentz added that the band had not originally intended for the song to be released as a single either. "'Beat It' seemed like a song that would be cool and that we could do our own take on," he said. Having spent time deciding on a guitarist for the song, Wentz eventually called John Mayer to add the guitar solo. "We were trying to think about who is a contemporary guitar guy who's going to go down as a legend," Wentz later noted.

Upon its digital release as a single in April 2008, Fall Out Boy's cover of "Beat It" became a mainstay on iTunes' Top 10 chart. The song peaked at No. 8 in Canada, becoming another top 10 hit in the region. It also charted at No. 13 in Australia, No. 14 in New Zealand, No. 75 in Austria and No. 98 in the Netherlands.

Music video
The music video for Fall Out Boy's "Beat It" was directed by Shane Drake and was made in homage to Jackson. "I think when you're doing a Michael Jackson cover, there's this expectation that you're going to do one of his videos verbatim," Stump said. "What we decided to do was kind of inspired by Michael Jackson and the mythology of him. There are specific images that are reference points for us, but at any given point, it's not any of his videos. It's kind of all of his videos, all at once, but on a Fall Out Boy budget, so it's not quite as fancy." The costumes for the video were similar to the originals. "My costume is this take on one of the guys from Michael Jackson's original 'Beat It' video, like, the guy who plays the rival dancer," Wentz said during the filming of the video. The music video featured numerous cameos, including a karate class/dance session being taught by Tony Hale, Donald Faison, Joel David Moore and Hal Sparks dressed up like Michael Jackson. The short film later received a MTV Video Music Award nomination for Best Rock Video.

Charts

Weekly charts

Year-end charts

"Eat It" parody
In 1984, American parodist "Weird Al" Yankovic released his parody song "Eat It". Yankovic recorded the song with Jackson's permission. The song's music video followed the "Beat It" short film scene-for-scene, with Yankovic mimicking Jackson's dance moves in a clumsy fashion. Jackson received royalties as Jackson was listed as co-writer of "Eat It".

See also
List of Top 25 singles for 1983 in Australia
List of Billboard Hot 100 number-one singles of 1983
Billboard Year-End Hot 100 singles of 1983
List of number-one singles of 1983 (Canada)
List of Cash Box Top 100 number-one singles of 1983
List of Dutch Top 40 number-one singles of 1983
List of European number-one hits of 1983
List of number-one singles from the 1980s (New Zealand)
List of number-one R&B singles of 1983 (U.S.)
List of number-one singles of 2006 (Spain)

References

Bibliography

1982 songs
1983 singles
American hard rock songs
Dance-rock songs
Michael Jackson songs
Fall Out Boy songs
Fergie (singer) songs
John Mayer songs
Epic Records singles
Island Records singles
Grammy Award for Record of the Year
Grammy Award for Best Male Rock Vocal Performance
Music videos directed by Shane Drake
Music videos directed by Bob Giraldi
Song recordings produced by Michael Jackson
Song recordings produced by Quincy Jones
Song recordings produced by will.i.am
Songs written by Michael Jackson
Billboard Hot 100 number-one singles
Cashbox number-one singles
European Hot 100 Singles number-one singles
Dutch Top 40 number-one singles
Number-one singles in New Zealand
Number-one singles in Spain
RPM Top Singles number-one singles
Ultratop 50 Singles (Flanders) number-one singles

Beat It


Tamil Murasu () is a Singapore-based Tamil-language newspaper officially launched on 2 May 1936 by Thamizhavel G. Sarangapani, Tamil Murasu is Singapore's only Tamil-language newspaper. It is one of the sixteen newspapers in Singapore.

Market Coverage
Readership* 	154,000 (Print + Digital)
Circulation^ 	16,000 (Mon-Sun)
* Media Nielsen Research Media Index 2013
^ Average Circulation Jan-Nov 2013

History
Thamizhavel G. Sarangapani officially launched Tamil Murasu on 2 May 1936 as his second publication (after Seerthirutham (Reform) in 1929 and before Munnetram (Progress) in 1939) pricing it at 1 cent per copy to accommodate the lower economic status of the Tamil community at the time. Starting as a weekly from 1937 onward it was published daily. A reformist, Sarangapani advocated for positions similar to Periyar, decrying discrimination from the British and Malays as well as calling for increased labor rights for workers and changing the political state of Tamils in Singapore. Tamil Murasu reduced the dominance of English-educated upper-class Brahmins in Singaporean Tamil journalism.

1952: Student supplement Manavar Murasu is launched.

1963: Labour unrest disrupts operations for the first time since the Japanese Occupation.

1991: Singapore Press Holdings (SPH) takes over distribution of Tamil Murasu.

1993: Hipro Printing, Tamil Murasu's family-owned publisher, is incorporated

1995: SPH and Times Publishing buy Hipro Printing. This makes Tamil Murasu the last daily paper in Singapore that was not owned by SPH.

1999: Youth page Ilyar Murasu is launched.

2000: Tamil Murasu webpage is launched.

2004: SPH buys Times Publishing's share of Hipro, making it a wholly owned SPH subsidiary.

2005: Hirpo Printing is renamed Tamil Murasu.

2008: Weekly English tabloid tabla! is launched.

2017: Balar Murasu, a fortnightly supplement for pre-schoolers, is launched. Tamil Murasu becomes part of SPH's English/Malay/Tamil Media Group.

2019: The Tamil Murasu website receives a revamp.

2020: Tamil Murasu celebrates its 85th anniversary.

2021: Tamil Murasu Starts distributing copies of their "Manavar Murasu" Paper to schools in Singapore.

See also
 Vasantham
 Oli 968

References

External links

Newspapers published in Singapore
SPH Media
Indian diaspora in Singapore
Culture of Indian diaspora
Tamil-language newspapers
Newspapers established in 1936
1935 establishments in Singapore

Tamil Murasu


Genetic screening finds out genetic susceptibility to a particular disease. Genetic testing identifies differences in chromosomes, genes, or proteins. It allows the genetic diagnosis of vulnerabilities to inherited diseases. It can also be used to find out a child's parentage (genetic mother and father).

Genetic screening in a broader sense includes biochemical tests for the possible presence of genetic diseases, or mutant forms of genes associated with increased risk of developing genetic disorders.
Most of the time, testing is used to find changes that are associated with inherited disorders. The results of a genetic test can confirm or rule out a suspected genetic condition or help determine a person's chance of developing or passing on a genetic disorder. Several hundred genetic tests are currently in use, and more are being developed.

Since genetic testing may open up ethical or psychological problems, genetic testing is often accompanied by genetic counselling.

Related pages
Designer baby

References

Genetics

Genetic screening


Hajipur () is a city in Bihar, India. It is the headquarters of Vaishali district. There is also a Lok Sabha area under the parliamentary system of Hajipur India.  Hajipur became its headquarters after Vaishali became an independent district on 12 October 1972 after being separated from Muzaffarpur. The city is the headquarters of the East-Central Railway of Indian Railways, established on 8 September 1996. It has several national level institutions and famous for Banana, Mango and Litchi.

References

Cities in Bihar

Hajipur


Roderick Townley (born June 7, 1942) is an American author of juvenile, young adult, and adult books, including books of poetry, nonfiction, and literary criticism. He received his Ph.D. from Rutgers University, New Brunswick, and was for many years a poet and fiction writer, and for a time lived in New York City and wrote for TV Guide, The Village Voice and other publications. In 2001, he began the Sylvie Cycle, a metafictional series about the spunky, fictional Princess Sylvie who lives her life in a book.

Biography

Roderick Townley has published over a dozen books, comprising poetry, fiction, nonfiction, and literary criticism. The Sylvie Cycle, his trilogy of middle grade novels, has been widely praised and appears in several foreign editions, as well as in large print and audio versions. He has also written two young adult novels, Sky (Atheneum, 2004), and The Red Thread: A Novel in Three Incarnations (Atheneum, 2007).

Mr. Townley taught in Chile on a Fulbright scholarship, worked in New York City as an editor, and now writes from his home in Kansas. Along the way, he has won a number of honors, including the Peregrine Prize for Short Fiction, the Thorpe Menn Award, the Kansas Arts Commission Fellowship in Fiction, the Kansas Governor's Arts Award, and First Prize in two contests sponsored by the Academy of American Poets. His novel, The Great Good Thing (the first volume in The Sylvie Cycle), was a Top Ten Book Sense Pick and has been optioned for film.

Townley continues to write poetry, publishing his work in The Paris Review, The Yale Review, The North American Review, and other journals.

Mr. Townley has two children, Jesse and Grace, and is married to poet and yoga instructor Wyatt Townley.

Bibliography

Poetry
Blue Angels Black Angels (1972)Three Musicians (1978)Final Approach (1986)

Literary criticismThe Early Poetry of William Carlos Williams (1975)Night Errands: How Poets Use Dreams (1998)

Adult fictionMinor Gods, St. Martin's Press (1977)

Young adultThe Great Good Thing: The Sylvie Cycle, Book One (2001)Into The Labyrinth: The Sylvie Cycle, Book Two (2002)Sky (2004)The Constellation of Sylvie: The Sylvie Cycle, Book Three (2005)The Red Thread (2007)The Blue Shoe (2009)The Door in the Forest (2011)A Bitter Magic'' (2015)

External links/references
Roderick Townley's Official Webpage
Simon & Schuster: Roderick Townley
Kansas Poets: Roderick Townley

1942 births
Living people
American children's writers
People from Kansas

Roderick Townley