Ida Gomes, stage name of Ita Szafran (September 25, 1923 – February 22, 2009) was a Polish–born Brazilian actress.

Biography
Gomes was born Ita Szafran to a Jewish family in Kraśnik, Poland. She spent her first 13 years in France, where her family moved in 1924. In Paris, she learned French and came into contact with 17th-century French classical dramaturgy like Racine, Corneille and Molière. Szafran emigrated to Brazil with her family in the late 1930s.

Radio
In 1938, encouraged by her mother, she participated and won a talent contest by reading a poem on Celso Guimarães' program on Rádio Tupi, being offered to sign a contract to work in radio soap operas, taking up the stage name Ida Gomes. During 20 years, she worked as a radio actress, working for Rádio Tupi, and also in Rádio Globo, where he joined the cast of Amaral Gurgel, and for Rádio Nacional, which was at the height of its programming. In 1948, she received a scholarship and moved for a year to the United States and in 1951, she went on to an internship as an announcer for BBC Radio in London.

Television
In 1953, she returned to Brazil, in 1953 and began her career in television, joining TV Tupi, where she performed at Grande Teatro Tupi, a teletheater directed by Sérgio Britto, and at Câmara Um, a series directed by Jacy Campos that staged horror stories. She also performed in the telenovelas Coração Delator (1954) and A Canção de Bernadete (1957).

Gomes moved in 1967 to TV Globo, and her first participation in the telenovelas of this network was in A Rainha Louca. She acted in several telenovelas and miniseries of the Rio TV station, playing unforgettable characters such as the elderly queen Sílvia Candiano in A Ponte dos Suspiros (1968), the unscrupulous Jandira Serrano in Verão Vermelho (1969), the amusing Mother Encarnación in Estúpido Cupido (1976), the spinster Tia Magda in O Astro (1977), the grandiose Zizi de La Rocha in Memórias de um Gigolô (1986), and others.

In 1973, she played her biggest television success: the priceless Dorotéia Cajazeira, one of the three Cajazeiras sisters (the other two sisters were played by actresses Dirce Migliaccio and Dorinha Duval), repressed spinsters, friends of the mayor of Sucupira, and who defended morality and good customs, with certain hypocrisy in O Bem-Amado, the first Brazilian telenovela in color, written by Dias Gomes and directed by Régis Cardoso; a notable feature of this telenovela was its music, composed by Vinícius de Moraes and Toquinho. The success of the telenovela was so great, that it was rebooted as a series seven years later, with Ida and the same protagonists: Paulo Gracindo, Lima Duarte, Emiliano Queiroz and Dirce Migliaccio.

Despite being Jewish, Ida was one of the actresses most known for her roles as a nun on TV. In an interview with Jô Soares on his Programa do Jô, in 2001, Ida jokingly declared when the presenter asked her a question about her multiple roles as a nun on television: "I'm Jewish, but I'm always called to play the charity sister, the Mother Superior. Globo tried to convert me but failed". Her most recent work on TV was in the first season of the miniseries JK, in which she was Sister Maria - a French nun living in Minas Gerais who helped physician Juscelino Kubitschek (played by Wagner Moura) to take care of the wounded in the military battle between the States of Minas and São Paulo.

Voice acting
Parallel to her career on TV, Gomes did voiceovers and was part of the stellar cast of Cine Castro, directed by Carla Civelli, where she dubbed alongside Nathalia Timberg, Alberto Pérez, Cláudio Corrêa e Castro, Angela Bonatti, José Miziara, Daniel Filho and Cláudio Cavalcanti. She became the official voice of Bette Davis and Joan Crawford in their main movies dubbed for the Brazilian television.

Theater
Gomes made her theatrical debut in 1957 at Teatro do Estudante, directed by Paschoal Carlos Magno, with the plays O Primo da California by Joaquim Manuel de Macedo and Catarina da Russia, alongside Herval Rossano. In 1986, she worked on the play Lily, Lily, which earned her acclaim and, in 1989, she founded the Teatro Israelita de Comédia, in order to produce and present the dramaturgy by Jewish authors. In 2003, she acted in Anton Chekhov's play Uncle Vanya, directed by Aderbal Freire Filho. In 2006, she was part of the cast of Rainha Esther, directed by Leon Góes. Between 2007 and 2009, she participated in 7, o Musical, her last work in theater, with Charles Möeller and Cláudio Botelho.

Cinema
Gomes made her cinematographic debut in 1963 in the film Bonitinha, mas Ordinária. She acted in other great successes such as O Mundo Alegre de Helô (1967), A Penúltima Donzela (1969), O Casal (1975), Copacabana (2001), and others.

Death
Gomes died on November 22, 2009, victim of cardiac arrest, a consequence of pneumonia, at the age of 85 and after a 65-year-long career, at the Hospital Samaritano in Rio de Janeiro. She was buried in São João de Meriti. Ida Gomes had already been selected as the great honoree at the 21st edition of the Shell Prize for Theater in Rio de Janeiro, for her longstanding contribution to the Brazilian theater. According to her relatives, she was happily preparing her thanksgiving speech.

Family
She was the sister of the Brazilian actor Felipe Wagner and aunt of the Brazilian actress Debora Olivieri and the musician Daniel Szafran.

Career

Television

Cinematography

Theater

Dubbing
 Recurring voice of Joan Crawford
 Recurring voice of Bette Davis
 Marie Therese Vauzou (Gladys Cooper) in The Song of Bernadette
 Madame Medusa (Geraldine Page) in The Rescuers
 Madame Mim (Martha Wentworth) in The Sword in the Stone
 Aunt Sponge (Miriam Margolyes) in James and the Giant Peach

References

1923 births
2009 deaths
Brazilian film actresses
Brazilian people of Polish-Jewish descent
Brazilian television actresses
Brazilian voice actresses
Polish emigrants to Brazil
20th-century Polish Jews

Ida Gomes


In business computer information systems, a dashboard is a type of graphical user interface which often provides at-a-glance views of key performance indicators (KPIs) relevant to a particular objective or business process. In other usage, "dashboard" is another name for "progress report" or "report" and considered a form of data visualization. In providing this overview, business owners can save time and improve their decision making by utilizing dashboards.

The "dashboard" is often accessible by a web browser and is usually linked to regularly updating data sources.

Well known dashboards include Google Analytics dashboards, used on 55% of all websites, which show activity on a website; such as visits, entry pages, bounce rate and traffic sources.

The COVID-19 pandemic of 2020 brought other dashboards to the fore, with the Johns Hopkins coronavirus tracker and the UK government coronavirus tracker being good examples.

The term dashboard originates from the automobile dashboard where drivers monitor the major functions at a glance via the instrument panel.

History
The idea of digital dashboards followed the study of decision support systems in the 1970s. Early predecessors of the modern business dashboard were first developed in the 1980s in the form of Executive Information Systems (EISs). Due to problems primarily with data refreshing and handling, it was soon realized that the approach wasn't practical as information was often incomplete, unreliable, and spread across too many disparate sources. Thus, EISs hibernated until the 1990s when the information age quickened pace and data warehousing, and online analytical processing (OLAP) allowed dashboards to function adequately. Despite the availability of enabling technologies, the dashboard use didn't become popular until later in that decade, with the rise of key performance indicators (KPIs), and the introduction of Robert S. Kaplan and David P. Norton's balanced scorecard. In the late 1990s, Microsoft promoted a concept known as the Digital Nervous System and "digital dashboards" were described as being one leg of that concept. Today, the use of dashboards forms an important part of Business Performance Management (BPM). Initially dashboards were used for monitoring purposes, now with the advancement of technology, dashboards are being used for more analytical purposes. The use of dashboards has now been incorporating; scenario analysis, drill down capabilities, and presentation format flexibility.

Benefits
Digital dashboards allow managers to monitor the contribution of the various departments in their organization. In addition, they enable "rolling up" of information to present a consolidated view across an organization. To gauge exactly how well an organization is performing overall, digital dashboards allow you to capture and report specific data points from each department within the organization, thus providing a "snapshot" of performance.

Benefits of using digital dashboards include:
Visual presentation of performance measures
Ability to identify and correct negative trends
Measure efficiencies/inefficiencies
Ability to generate detailed reports showing new trends
Ability to make more informed decisions based on collected business intelligence

Dashboards offers a holistic view of the entire business as it gives the manager a bird's eye view into the performance of sales, data inventory, web traffic, social media analytics and other associated data that is visually presented on a single dashboard. Dashboards lead to better management of marketing/financial strategies as a dashboard for the display of marketing data makes the process of marketing easier and more reliable as compared to doing it manually. Web analytics play a crucial role in shaping the marketing strategy of many businesses. Dashboards also facilitate for better tracking of sales and financial reporting as the data is more precise and in one area. Lastly, dashboards offer for better customer service through monitoring because they keep both the managers and the clients updated on the project progress through automated emails and notifications.

Align strategies and organizational goals
Saves time compared to running multiple reports
Gain total visibility of all systems instantly
Quick identification of data outliers and correlations
Consolidated reporting into one location
Available on mobile devices to quickly access metrics

Classification
Dashboards can be broken down according to role and are either strategic, analytical, operational, or informational. Dashboards are the 3rd step on the information ladder, demonstrating the conversion of data to increasingly valuable insights.

Strategic dashboards support managers at any level in an organization and provide the quick overview that decision-makers need to monitor the health and opportunities of the business. Dashboards of this type focus on high-level measures of performance and forecasts. Strategic dashboards benefit from static snapshots of data (daily, weekly, monthly, and quarterly) that are not constantly changing from one moment to the next.

Dashboards for analytical purposes often include more context, comparisons, and history, along with subtler performance evaluators. In addition, analytical dashboards typically support interactions with the data, such as drilling down into the underlying details. Dashboards for monitoring operations are often designed differently from those that support strategic decision making or data analysis and often require monitoring of activities and events that are constantly changing and might require attention and response at a moment's notice.

Types of dashboards

Digital dashboards may be laid out to track the flows inherent in the business processes that they monitor. Graphically, users may see the high-level processes and then drill down into low-level data. This level of detail is often buried deep within the corporate enterprise and otherwise unavailable to the senior executives.

Three main types of digital dashboards dominate the market today: desktop software applications, web-browser-based applications, and desktop applications are also known as desktop widgets. The last are driven by a widget engine.

Both Desktop and Browser-based providers enable the distribution of dashboards via a web browser. An example of the latter is web-based-browser Asana, which helps teams orchestrate their work, from daily tasks to strategic cross-functional initiatives. With it, teams can manage everything from company objectives to digital transformation to product launches and marketing campaigns.

Specialized dashboards may track all corporate functions. Examples include human resources, recruiting, sales, operations, security, information technology, project management, customer relationship management, digital marketing and many more departmental dashboards. For a smaller organization like a startup a compact startup scorecard dashboard tracks important activities across lot of domains ranging from social media to sales.

Digital dashboard projects involve business units as the driver and the information technology department as the enabler. Therefore, the success of dashboard projects depends on the relevancy/importance of information provided within the dashboard. This includes the metrics chosen to monitor and the timeliness of the data forming those metrics; data must be up to date and accurate.

Key performance indicators, balanced scorecards, and sales performance figures are some of the content appropriate on business dashboards.

Performance Dashboards
Dashboards involve the combination of visual and functional features. This combination of features helps improve cognition and interpretation. A performance dashboard sits at the intersection of two powerful disciplines: business intelligence and performance management. Therefore, there are different users who could use these dashboards for different reasons. For example, a level of workers could look at monitoring inventory while those in more managerial roles can look at lagging measure. Then executives could utilize the dashboard to evaluate strategic performance against objectives.

Dashboards and scorecards
Balanced scorecards and dashboards have been linked together as if they were interchangeable. However, although both visually display critical information, the difference is in the format: Scorecards can open the quality of an operation while dashboards provide calculated direction. A balanced scorecard has what they called a "prescriptive" format. It should always contain these components:
Perspectives – group
Objectives – verb-noun phrases pulled from a strategy plan
Measures – also called metric or key performance indicators (KPIs)
Spotlight indicators – red, yellow, or green symbols that provide an at-a-glance view of a measure's performance.
Each of these sections ensures that a Balanced Scorecard is essentially connected to the businesses critical strategic needs.

The design of a dashboard is more loosely defined. Dashboards are usually a series of graphics, charts, gauges and other visual indicators that can be monitored and interpreted. Even when there is a strategic link, on a dashboard, it may not be noticed as such since objectives are not normally present on dashboards. However, dashboards can be customized to link their graphs and charts to strategic objectives.

Design
Digital dashboard technology is available "out-of-the-box" from many software providers. Some companies, however, continue to do in-house development and maintenance of dashboard applications. For example, GE Aviation has developed a proprietary software/portal called "Digital Cockpit" to monitor the trends in the aircraft spare parts business.

Good dashboard design practices take into account and address the following:

 the medium it is designed for (desktop, laptop, mobile, tablet)
 use of visuals over the tabular presentation of data
 bar charts: to visualize one or more series of data
 line charts: to track changes in several dependent data sets over a period of time
 sparklines: to show the trend in a single data set
 scorecards: to monitor KPIs and trends
 use of legends anytime more than one color or shape is present on a graph
 spatial arrangement: place your most important view on the top left (if the language is written left to right) then arrange the following views in a Z pattern with the most important information following the top-to-bottom, left-to-right pattern
 use colorblind friendly palettes with color used consistently and only where necessary

A good information design will clearly communicate key information to users and makes supporting information easily accessible.

Assessing the quality of dashboards
There are a few key elements to a good dashboard:.
 Simple, communicates easily
 Minimum distractions...it could cause confusion
 Supports organized business with meaning and useful data
 Applies human visual perception to visual presentation of information
 It can be accessed easily by its intended audience
A research-based framework for Business Intelligence dashboard design includes the following questions:

Dashboard software

Dashboards serve as a visual representation for a company to monitor progress and trends, not only among themselves but against other companies as well. Dashboards and visualizations contain data that is updated in real time. For example, if the underlying data in an Excel spreadsheet were to change, so would the visualization.

Power BI
Power BI provides the tools for a user to create different types of visualizations to communicate the data that they are using. Some examples of these visualizations include graphs, maps, and clustered columns. Power BI pulls data from Excel that can be used to create dashboards and visualizations. Whereas Excel does not import data from Power BI. Excel is typically used for less data and Power BI is more complex. Power BI can be used to display trends over time. For example, a company can create a time plot that shows its costs and revenues over a certain period. The data can then be arranged to show per day, month, quarter, year, etc. This requires simple formatting tools so the data can quickly be changed and compared. Power BI allows the user to customize their visualizations by adding colors and labels. In addition, when the user clicks a data point, they are able to understand what the point or selection is showing. Power BI also has a commonly used map feature where businesses can view their sales and earnings across different states and countries. Places with the highest amounts of data will appear larger in size. For example, a state with the most revenue will be bigger than states with less data. Power BI is also interactive in that in any type of map a person can expand a specific category to look deeper into the data contained.

Tableau
Tableau is another program that allows users to create dashboards. Allegedly, One of Tableau's biggest advantages is how much data it can hold. Tableau can hold an unlimited amount, whereas an Excel spreadsheet has a capacity of 1,048,576 rows. However, it is possible to hold and analyze effectively billions of rows in Excel, using its Power Pivot feature. Tableau has the ability to make interactive dashboards by clicking into a specific point. For example, you can have data be displayed within a map. By clicking a specific state or city you can get a closer look at the data contained within that location. Filters and parameters can also be added. For example, if one were to analyze revenues across the United States you could set a parameter to only show salaries within a particular range. Once set, only states within this range will be highlighted.

Excel
Excel has many tools that help the user not only implement data but also visualize data. Excel has many built in functions that can help break down data and also separate data by scenarios. The user can easily download and add files to their Excel sheets to use for their data. Other tools Excel offers is the use of conditional formatting and basic pivot tables and charts. Excel allows the user to reference other cells which ultimately allows for complex computations to be made and conclusions to be drawn from data.

Arena Calibrate
Arena Calibrate provides a comprehensive business intelligence reporting tool, accompanied by hands-on data & BI support. Their offerings cater to startups, agencies, and SMEs, empowering them to fully leverage Advertising, Sales, Email, CRM, Web, and Analytics data.

Offering high-tier ETL data integration, flexible data warehousing, and custom data visualization, Arena Calibrate is trusted by businesses like Amex, Gentle Dental, and National Golf Foundation. Their dedicated account managers and BI specialists work as an extension of the client's team, aiming to realize each client's unique reporting vision.

Guidelines for dashboard design
There are certain guidelines that can be useful when creating dashboards and other visualizations. The guidelines have a structure that can be followed and that is beginning with reading direction. When it comes to how you are arranging your information on your dashboard or a visualization it can be helpful to think about reading direction. General reading direction is from left to right and from top to bottom. Having information flow in this structure will allow others to read and understand your visuals in a more natural structure. Local proximity is another idea to keep in mind when creating a visual or a dashboard. Having information in a close proximity can be compared with a better effectiveness and allow users to draw conclusions. Being able to make sure the user is not being overloaded with information when creating your visual. Having a few key figures with significant importance can be more helpful compared to having too much information. When you have too much information and not a structure to what you are presenting then that is known as a "data graveyard". Another aspect to keep in mind while creating visuals that goes along with information overload is the idea of interaction within your visual. Interacting with the dashboard would allow for further detail to be obtained from the user and allow them to better understand the information on your dashboard.

Chart visualization is an important aspect when creating dashboards, diagrams in particular. When you have complex data it can be difficult to come to conclusions from that material and being able to have different visual elements within the dashboard can be helpful in giving a larger overview of the material. Being able to have a visual reporting system allows multiple processing operations to be carried out and that could increase the effectiveness of decisions. There are different types of visualizations that can be seen as more effective depending on the data type and the recipient. Looking at traditional business graphics in an interactive form is another aspect to keep in mind when creating a dashboard. Business charts are used mainly in the form of interactive dashboards. A major advantage of business charts is that the majority of users have an understanding of them.

There are many connections between dashboards and accounting. Dashboards aid with budgeting, management control, and wage control. Dashboards are used to present data in a quick and easy to read way. The ability to present data in a quick way with a visual allows for more data to be processed and understood. Dashboards are used for performance reports, sales analysis on sectors, and inventory rotation. Dashboards should be quick visualizations that allow decisions to be made quicker than they usually would without the access to dashboard technology.

Dashboards are also used in accounting decision making settings. The data can help prove a change is efficient or inefficient and therefore help with improving systems throughout an organization.

In order for a dashboard to be efficient, the individual creating the dashboard needs to make sure that the information is simple and easy to read and be interpreted.

See also
 Business activity monitoring
 Complex event processing
 Corporate performance management
 Data presentation architecture
 Enterprise manufacturing intelligence
 Event stream processing
 Information graphics
 Information design
 Scientific visualization
 Control panel (software)

References

Further reading

Business software
Business terms
Computing terminology
Content management systems
Data warehousing
Data management
Information systems
Website management

Dashboard (business)


Second Person Singular is a 2010 novel by the Arab Israeli writer Sayed Kashua. Kashua explores the identity of Arabs who are assimilated in Israeli culture; Arabs that speak Hebrew and had their education at Israeli institutes.

Plot
Second Person Singular follows two Arab men, a successful criminal attorney and a social worker, whose fates meet in a curious way.

The lawyer has a flourishing office in West Jerusalem where he has two fellow Arabs jurists working for him: Tariq and Samaah. Tariq also works as a criminal attorney, Samaah works as his secretary. Although Samaah studied law, her diploma from the University of Jordan is not recognized in Israel. Furthermore, the lawyer thought it would be useful to have the daughter of a high ranking Fatah member working for him.

In an effort to sustain his image as a sophisticated Israeli Arab, the lawyer visits a local bookstore every Thursday to buy novels that he read about in the literary supplement of his newspaper. On one evening, he buys a second-hand copy of Tolstoy's The Kreutzer Sonata. His wife once asked him about this book, because it was mentioned all the time during her psychology lectures on Freud. Inside he finds a small white note in Arabic in his wife's handwriting that looks like a love letter. In a blind rage over the presumed betrayal the lawyer decides to hunt down the previous owner of the book. The previous owner – named Yonathan – had his name written down on the first page of the book.

Meanwhile a second plot-line unfolds about an Arab named Amir. Amir works as a social worker in Jerusalem. One day a beautiful new intern, Laila, turns up at his office. After they go to a dance together where coincidentally all his coworkers are Amir decides to quit his job. Laila left him a note in the office explaining how she enjoyed the night and asking if he would call her back.

Amir had already taken up a second job, caring for a Jewish young man named Yonathan who is in a permanent vegetative state. Since he can't afford his rent anymore with only one job, Amir moves in with Yonathan and his mother. Amir and Yonathan look similar enough for Amir to assume Yonathan's identity. Amir uses his new Jewish identity to get into the prestigious Bezalel art school. After Yonathan dies, Yonathan is buried under Amir's name and Amir keeps the identity of Yonathan.

The lawyer's research leads him to Amir and he confronts him about his assumed identity. Laila turns out to be the wife of the lawyer. Both she and Amir, tell the same story that they never met each other after the dance. This dance took place before she and the lawyer had met. The lawyer is satisfied with the explanation and resumes his normal activity.

In the epilogue, the lawyer visits an exposition of all the graduates of the Bezalel. When he finds the photographs Amir (under Yonathan's name) made there is a photograph of a naked woman who, he would swear, was Laila.

Publication history
2010, Israel, Keter , Paperback
2012, United States, GrovePress , Pub date 3 April 2012, Translated by: Mitch Ginsburg, Hardback
2012, Netherlands, Ambo Anthos , Pub date May 2012, Translated by: Ruben Verhasselt Paperback
2013, Germany, Berlin Verlag , Pub date 14 January 2013, Translated by: Mirjam Pressler, Paperback
2013, Italy, Neri Pozza , Translated by: Elena Loewenthal

Reception
Second Person Singular was well received, both in the Israeli and the International press.

Awards and nominations
Second Person Singular has won the Bernstein Prize in 2011.
It was shortlisted for the Sapir Prize in 2010.

References

External links

Thetower.org
Thejewishweek.com

2010 novels
21st-century Israeli novels

Second Person Singular


Sir William Ivan Cecil Ewart, 6th Baronet, DSC (18 July 1919 – 29 November 1995) was a decorated Northern Irish naval officer, businessman and charity worker. He succeeded his cousin as baronet in 1959.

Early years
Sir Ivan was the son of Major William Basil Ewart (the son of Oxford educated barrister F. W. Ewart) and Rebe Annette Grindle.

Born into an Irish family of linen industrialists, their firm employed over 2,500 people, making it one of the largest manufacturers and exporters of Irish linen in the western world. Born at Derryvolgie House, Lisburn, where he resided until 1970, he was educated at Radley. He took over the running of the family business after the war. Families such as the Ewarts were referred to colloquially as the "Linenocracy" or "Linen barons."

War years
Sir Ivan served during the Second World War as Lieutenant in the Royal Navy Volunteer Reserve. He served on a Motor Torpedo Boat which he commanded which on 17 January 1942 this came under German fire and, in the ensuing explosions etc., He lost an eye and severely injured his right arm. He was, distinctively, to wear an eye patch for the rest of his life.

He was later captured by the Germans and sent to Colditz Castle, a camp for "incorrigible" Allied officers who had repeatedly escaped from other camps, where he spent the remainder of the war. In 1945 he was awarded the Distinguished Service Cross.

Business and charity work
In 1948 Sir Ivan married Pauline Preston. He took on the running his family's linen business, William Ewart & Son Ltd., in 1954. Other business interests included William Ewart Investments Ltd, Belfast (1973–77); chairman and Ewart New Northern Ltd, Belfast (1973–77).  Ten years later his wife died and, in the wake of this, Sir Ivan went to East Africa to work with Royal Commonwealth Society for the Blind (for which he was East Africa's Resident Representative) and later at the Freda Carr Hospital in Uganda.

Sir Ivan was also president of the Northern Ireland Chamber of Commerce and Industry (The papers of Enoch Powell), a Northern Ireland Delegate to the Duke of Edinburgh's Study Conference on the Human Problems of Industrial Communities within the Commonwealth and Empire at Oxford in 1956, President of the Church of Ireland's Young Men's Society, 1951–61 and Chairman of the Flax Spinners Association. In 1976, he was appointed High Sheriff of Antrim.

He was President of Oldpark Unionist Association and 1950–68. Belfast Harbour Commissioner from 1968 to 1977 and High Sheriff for County Antrim (Royal Naval Volunteer Reserve (RNVR) Officers 1939–1945).

Several weeks before his death he travelled to Germany to meet with an officer who had participated in the attack upon his MTB. This was an event he had been waiting fifty years for, he held no animosity toward the enemy, regarding them as honourable adversaries.

He had one son, his heir, Sir Michael Ewart, 7th Baronet, and two daughters; Susan Eveleen and Patricia Rebe. He lived at Hill House, Hillsborough, County Down.

References

External links
Observer
Burke's Peerage & Baronetage 107th Edition
Who's Who, 1994

1919 births
1995 deaths
Baronets in the Baronetage of the United Kingdom
Prisoners of war held at Colditz Castle
High Sheriffs of Antrim
Anglicans from Northern Ireland
People educated at Radley College
Recipients of the Distinguished Service Cross (United Kingdom)
Royal Navy officers
Linen industry in Ireland
Royal Naval Volunteer Reserve personnel of World War II
Military personnel from Lisburn
Irish officers in the Royal Navy

Ivan Ewart


In physics, the field strength of a field is the magnitude (size) of its (vector) value. This means that the force exerted by the field on a given object is proportional to the field strength.

In differential geometry, the field strength is another name for the curvature form.  For the electromagnetic field, the curvature form is an antisymmetric matrix whose elements are the electric field and magnetic field: the electromagnetic tensor.

In radio engineering, field strength is the strength of radio waves in a particular location.

Physics

Field strength


Mariano Abril y Ostalo (May 25, 1861 − December, 5 1935) was a Puerto Rican politician. He served as a member of the Senate of Puerto Rico from 1917 to 1920.

Early years and work

Mariano Abril y Ostalo was born on May 25, 1861, in San Juan, Puerto Rico.

During his youth, he worked as a notary clerk while writing for El Palenque de la Juventud under the pseudonym of "Florete". In 1888, he founded La Linterna, a magazine that was censored by the government. He then worked for El Clamor del País, a San Juan political newspaper. He also collaborated for La Democracia, another newspaper which he ended up directing in 1895.

Exile in Europe
In 1896, after attacking the government in his newspaper, he was convicted to prison by a War Council. However, he fled to France where he stayed for a while. He then moved to Madrid, where he was detained and jailed for several months. After receiving a pardon from the Ministry of Overseas, Don Antonio Cánovas del Castillo, he remained in Madrid for three years collaborating for the newspapers El Globo, Heraldo de Madrid, and El Liberal.

Return to Puerto Rico and political career

Abril y Ostalo then moved to Venezuela and then to United States. When the Spanish–American War ended in 1898, he returned to Puerto Rico and joined Luis Muñoz Rivera in his political fight. He became a member of the Puerto Rico House of Representatives in 1904, and then of the first Senate of Puerto Rico in 1917, representing the District of Guayama. He was again reelected in 1920, this time as a Senator at-large.

Writings and later years

Abril continued to collaborate with newspapers and magazines like Revista de las Antillas, Puerto Rico Ilustrado, and El Mundo, as well as the Cuban publication Las Antillas. He also wrote poems which were compiled in the 1900 book Amorosas. Other of his books were Sensaciones de un cronista (1903) and Un héroe de la independencia de España y América: Antonio Valero de Bernabé (1929).

Abril y Ostalo was the first president of the Puerto Rican Academy of History and since 1931 served as Official Historian of Puerto Rico, until his death on December 5, 1935. He is buried at  Puerto Rico Memorial Cemetery in Carolina, Puerto Rico.

References

External links
Biografía de Mariano Abril y Ostalo

1861 births
1935 deaths
Members of the Senate of Puerto Rico
20th-century Puerto Rican historians
Historians of Puerto Rico
People from Spanish Puerto Rico
Union of Puerto Rico politicians

Mariano Abril y Ostalo


Carel Verbrugge (14 October 1926 – 18 February 1985), known as Willy Alberti, was a Dutch singer, who sang in Dutch and Italian. He was also an actor and a radio and TV personality.

Alberti was born in Amsterdam as the third of eight children to Jacobus Wilhelm Verbrugge and Sophia Jacoba van Musscher. He sang with family members at a very young age.

He began recording professionally in the early 1940s. In 1944 he married Ria Kuiper, and his daughter Willeke Alberti, later to become a successful Dutch vocalist herself, was born in 1945. After the war Alberti established himself in the Netherlands with Italian songs; he became increasingly popular in the 1950s, when he had a string of hits beginning with Nel blu dipinto di blu in 1958. In the 1960s he began to act alongside his daughter Willeke; as a duo, they also scored hits on the Dutch charts. From 1965 father and daughter presented a popular monthly television show for the AVRO. Alberti won two Edison Awards in the 1960s.

In the 1970s, Alberti's fame began to decline, though he did score a few more hits. In 1984, Alberti was diagnosed with liver cancer, and he died in Amsterdam on 18 February of the following year, aged 58. He was cremated at the Westgaarde Crematorium in Amsterdam.

Dutch singles
Pre-Top 40
Ik zing dit lied voor jou alleen 1946
Veel mooier dan het mooiste schilderij 1946
Droomland 1950 with Ans Heidendaal
Ci-ciu-ci 1955
Mijn sprookjesboek 1955
Vivere 1955
Nel blu dipinto di blu (Volare) 1958 #4
Come prima 1958 #2
Piove 1959 #1
Li per li 1959
Una marcia infa 1959 #3
Marina 1959 #1 (US: Billboard: #42 Cash Box: #12)
Romantica 1960 #14
Quando quando quando 1962 #11
Sei rimasta sola 1963 #8 with Willeke Alberti
Sabato sera 1964 #44 with Willeke Alberti

Top 40
Dat afgezaagde zinnetje  1967 #2 with Willeke Alberti
Mooi Amsterdam  1968  with Wim Sonneveld
De glimlach van een kind 1968 #26
Ajax olé olé olé (je bent mijn glorie) 1969
Chi-ri-bi-ri-bin pom pom pom  1969 with Willeke Alberti
Een reisje langs de Rijn  1969 with Willeke Alberti
We gaan naar Londen  1971 #17
Juliana bedankt 1980 #18
Niemand laat z'n eigen kind alleen 1983 #5 with Willeke Alberti
Liefde  1987 #38
De glimlach van een kind (new version) 1995 #34 with Willeke Alberti
Jij bent het leven voor mij  1997 #32 with André Hazes

References

1926 births
1985 deaths
Dutch levenslied singers
Dutch male television actors
Male actors from Amsterdam
Musicians from Amsterdam
20th-century Dutch male actors
20th-century Dutch male singers
Nationaal Songfestival contestants
Deaths from cancer in the Netherlands
Deaths from liver cancer

Willy Alberti


Novo Hamburgo is an Brazilian city in the state of Rio Grande do Sul. 247,032 people lived here in 2020 and its area is 224 km². It was named after the German city of Hamburg.  The people who founded the city in the 1830s were from the Azores. During the next 50 years, many people immigrated from Germany. They were not from Hamburg, but mostly from the Hunsrück, a mountain range near Koblenz. They all used the port of Hamburg to leave Europe, though. Novo Hamburgo is about  north of Porto Alegre. Together with Franca, the city calls itself the capital of shoes (Capital Nacional do Calçado, in Portuguese).

Cities in Rio Grande do Sul

Novo Hamburgo


Gully Boy is the soundtrack album for the 2019 film of the same name directed by Zoya Akhtar. The 18-song soundtrack includes work by DIVINE, Naezy, Sez on the Beat, Rishi Rich, Dub Sharma, Jasleen Royal, Ace, Ishq Bector, MC Altaf, MC TodFod, 100RBH, Maharya, Noxious D, Viveick Rajagopalan, and others. The soundtrack album had been composed by hip hop artists, rather than a traditional Bolywood composer.

Ankur Tewari, the music supervisor who also compiled the soundtrack stated that he aimed to "bring the two worlds of hip hop and Bollywood together". Initial development for the soundtrack began on late 2015. With Tewari being the music supervisor and compiler of the entire soundtrack and score, multi-instrumentalist Karsh Kale, a band member of Tewari's The Ghalat Family also worked in the project in late November 2018. Becoming one of the most anticipated soundtracks of Bollywood, Tewari stated that the "artists of the scene would get their much-deserved due through this film and soundtrack".

It was released at a promotional launch event on 12 January 2019 and also in the music streaming platforms, the same day. The soundtrack received exceptionally positive reviews from critics and audiences for keeping away with the cliches and stereotypes, being regularly produced in Bollywood film albums which was considered as the highlight. The soundtrack became one of the best Hindi albums in 2019; apart from receiving numerous accolades, the album shared the Screen Awards and Filmfare Awards for Best Music Direction with Kabir Singh (another film released in 2019).

Release
The soundtrack launch was a heavily promoted pre-release event and its musical launch was quite unusual for a mainstream Bollywood film. The film's audio was launched on 12 January 2019, at special event and a promotional music concert held in Byculla, Mumbai. The film's lead actor Ranveer Singh performed live on stage along with actress Alia Bhatt and several other rappers and singers who have contributed to the film's music. In addition to the soundtrack release, the album was made available in music streaming platforms and YouTube. The televised version of the launch event was aired through Amazon Prime Video (which acquired the film's streaming rights) on 26 January 2019. Irrespective of the soundtrack release, a promotional single for the film, "NY Se Mumbai", was released on 9 February 2019 and performed by DIVINE, Naezy and Ranveer Singh, along with American rapper Nas. The track was produced by XD Pro Music, a Toronto based producer duo, and Ill Wayno.

Reception
Swetha Ramakrishnan of Firstpost reviewed it as "The best thing about the Gully Boy soundtrack is that not one song feels stretched. Each track is paced well; in fact, very often you are left wanting more." Avinash Ramachandran of Cinema Express stated that the soundtrack is a "much needed revolution in the Indian music scene". Apoorva Nijhara of Pinkvilla assigned a score of 80 (out of 100) in her music review, praising the composers and music producers for creating "a perfect combination of high tempo rap, soft songs and poems". Priyanka Bansal of The Quint reviewed "Gully Boy's music retains the original essence of the street-rap genre. One can only hope that with all the other trends that Gully Boy is setting, honest music from independent artists makes its way into the mainstream." Suanshu Khurana of The Indian Express stated "Gully Boy's music is the hallmark of change in Bollywood, which is getting stuck in the rut of regularity quite easily these days." Joginder Tuteja of Bollywood Hungama reviewed it as a "trippy" soundtrack, further stating, "An experimental score, this one has few songs in there which are potential chartbusters in the making" and gave a rating of 3.5 out of 5. Vipin Nair of Music Aloud gave 4 out of 5 to the soundtrack stating it as an exceptional one, comparing to the director's previous films.

Track listing

Accolades

References

2019 soundtrack albums
Hindi film soundtracks

Gully Boy (soundtrack)


Richard Simonds (April 24, 1789 – May 2, 1836) was a merchant and political figure in the pre-Confederation Province of New Brunswick, Canada. He represented Northumberland County in the Legislative Assembly of New Brunswick from 1816 to 1828.

He was born in Portland (later Saint John, New Brunswick), the son of James Simonds and Hannah Peabody, and was educated there. He went into business with his uncle Francis Peabody at Miramichi in 1810 and also operated his owner business from 1819 to 1824. In 1813, he married Ann Charters. Simonds served as a justice of the peace and justice for the Inferior Court of Common Pleas. In 1824, he moved from Miramichi to Saint John. He was elected Speaker for the Legislative Assembly in 1828 but resigned his seat in December of the same year after being named Provincial Treasurer. His brother Charles replaced him as speaker the following year. In 1829, he married Margaret Walker after the death of his first wife. In 1832, still provincial treasurer, he was named to the Legislative Council of New Brunswick. He died in Saint John at the age of 47.

External links
Biography at the Dictionary of Canadian Biography Online

1789 births
1836 deaths
Businesspeople from Saint John, New Brunswick
Members of the Legislative Assembly of New Brunswick
Speakers of the Legislative Assembly of New Brunswick
Members of the Executive Council of New Brunswick
Members of the Legislative Council of New Brunswick
Colony of New Brunswick people
Colony of New Brunswick judges

Richard Simonds


The seminal use of cordon sanitaire ("sanitary cordon") as a metaphor for ideological containment referred to "the system of alliances instituted by France in post-World War I Europe that stretched from Finland to the Balkans" and which "completely ringed Germany and sealed off Russia from Western Europe, thereby isolating the two politically 'diseased' nations of Europe."

French Prime Minister Georges Clemenceau is credited with coining the usage, when, in March 1919, he urged the newly independent border states (also called limitrophe states) that had formed in Eastern Europe after World War I to form a defensive union. Such a system would both isolate the Soviet Union from Western Europe, and thus quarantine the spread of communism, while simultaneously threatening Germany's eastern border in the event of war, guaranteeing French security. He called such an alliance a cordon sanitaire. France subsequently put this policy into practice by creating an alliance with Poland in 1921, followed by alliances with each member of the French-backed Little Entente alliance (Czechoslovakia, Yugoslavia, and Romania) starting in 1924. The alliance was further reinforced by bilateral treaties among Eastern European states such as the Polish–Romanian alliance. This is still probably the most famous use of the phrase, though it is sometimes used more generally to describe a set of buffer states that form a barrier against a larger, ideologically hostile state.

See also
 Locarno Treaties
 Germany–Soviet Union relations, 1918–1941
 Georgian–Polish alliance
 Intermarium
 Prometheism

References

Further reading

 Stoker, Donald J. Undermining the Cordon Sanitaire: Naval Arms Sales, Naval Building, and Anglo-French Competition in the Baltic, 1918-1940: Poland-Finland-the Baltic States. Unpublished PhD Thesis, Florida State University 1997.

International relations terminology
French words and phrases
1919 in France
1920s in France
Geopolitics

Cordon sanitaire (international relations)