Goldstar is the name used by three fictional characters apearing in American comic books published by DC Comics.

Fictional character biographies

Trixie Collins
The Goldstar name was actually Booster Gold's original chosen superhero name, but when asked who he was by the President of the United States Ronald Reagan (whose life he had just saved), Booster mangled his old football nickname (Booster) and Goldstar. The President introduced him as Booster Gold and the name stuck.

Attempting to develop a female sidekick for Booster Gold, his corporation hires then S.T.A.R. Labs scientist Jack Soo to create a supersuit for her to wear; the resulting suit infused with magnetic energy which the wearer could use to "key" onto a metallic object to attract or repel the object or the wearer, mimicking the abilities of super-strength and flight. The costume was then dubbed with the name that Booster's corporation had at the time, Goldstar.

When a weak and physically ill Booster's life was threatened by an anti-superhero mob, Booster's personal secretary Theresa "Trixie" Collins reluctantly donned the costume to save his life and followed Booster when he traveled back to the future to save his life and re-power his depleted costume. When the group were finally able to return to the present, Trixie gladly gave the costume back, having no intention of ever becoming a superhero.

Michelle Carter
Booster's twin sister Michelle Carter traveled back in time like her brother and was interested in being a superhero. Michelle decided to explore the present, a time unfamiliar to her and "borrowed" the Goldstar costume. Michelle's suit has been shown to have more powers than originally seen, as she can now fire energy blasts from her wrists like her brother, that still appear as magnetically based, albeit on par with the fully energetic ones of her brother. It is also assumed that her suit was altered by Rip Hunter the same way that Booster's was, to protect her while traveling through the time stream, probably enhancing her abilities in the process, as Rip still has access to the same technology used to build and keep in shape the original Booster Gold suit. She later died during her adventures.

Her death is later revealed as fully expunged from the timeline: since no body was found after the explosion, Rip Hunter actually plucked her from her designed fate to deposit her safely years after her supposed death. Michelle spends some time blissfully unaware of the deeper implications of her return, until Jason Goldstein, the villainous Rex Hunter, deleted from his intended timeline by the Time Stealers because of Rip Hunter's actions, returns as a chronal energy being, forcing Goldstar to witness her intended fate. Despite Rex Hunter's defeat, Michelle is left deeply traumatized, and starts obsessing about her own death, strongly believing her life to be a glitch in the timeline. Resentful against Rip Hunter for having hidden her real fate from her, Goldstar disables Skeets with a powerful magnetic blasts, and escapes into the timestream to an unknown place.

While Rip and Booster tried to find her, they did not find any trace of her. She was revealed to be heading to Coast City in the eve of its destruction. Booster Gold found her in Coast City and brought her back to the present, but her boyfriend Drew died in Coast City's destruction. Afterward, this results in her contemplating going back to the 25th century. She informs Booster Gold who convince her to remain with him and Rip.

Ernest Widdle
Ernest Widdle is a character in the Lobo comics and the younger brother of Bludhound. Goldstar thought that Lobo murdered his brother after witnessing Bludhound's death on the planet Harmony (although Bludhound actually dies of an incurable disease).

Goldstar was generally depicted as an antithesis to Lobo - kind, decent, clean-cut and generally a stick in the mud (as far as Lobo was concerned). All that Goldstar wished to do was encourage niceness, decency and heroism in the universe. For this, he is routinely beaten and brutalized by Lobo.

Goldstar would encounter Lobo multiple times. For a while, Goldstar had amnesia. Lobo (and at times, Jonas Glim) took advantage of this by claiming that Goldstar was his personal servant and tricking him into multiple humiliating situations. At one point, Goldstar is humiliated without Lobo's help; two ladies at Lobo's birthday party overcome the entire celebration and humiliate the men at gunpoint for their own reasons. Eventually, Goldstar recovers his memories and escapes.

It is revealed that Goldstar associates with a team of superheroes, all of whom are just as upbeat and moralistic as he is. They are also just as disaster-prone.

Goldstar spends some time shrunk down in Lobo's body, after an attempt to save a peace-minded diplomat goes wrong. Trapped with him is a biological specialist, Doctor Shapely, whom Goldstar resolves to protect at all costs.

Later, the Godwave, a remnant of energy from the creation of the universe, was slinging through the universe, causing all sorts of havoc. Lobo, on the planet of Apokolips, is seemingly endangered by this wave. Goldstar dies in an attempt to save him, jumping into the Godwave itself.

Powers and abilities
The Trixie Collins version of Goldstar has magnetic-based abilities of flight and super-strength.

The Michelle Carter version of Goldstar has magnetic-based abilities of flight and super-strength, magnetical blasts, resilience to chronal damage, ability to travel in time, and is schooled in time-travel mechanics.

The Ernest Widdle version of Goldstar has good morals and harmonic "niceness vibes".

References

Lobo (DC Comics)
DC Comics superheroes
Characters created by Alan Grant (writer)
Characters created by Dan Jurgens
Comics characters introduced in 1986
Comics characters introduced in 1994
Twin characters in comics

Goldstar (character)


Per Blom (5 May 1946 – 13 February 2013) was a Norwegian film director.

He was born in Søndre Land.

Among his films are Anton from 1973, and Mors hus from 1974, based on a novel by Knut Faldbakken. Further Kvinner from 1979, Sølvmunn from 1981, and The Ice Palace from 1987, based upon a novel by Tarjei Vesaas.

External links

References

1946 births
2013 deaths
People from Søndre Land
Norwegian film directors

Per Blom (director)


The Enfield No. 2 was a  British top-break revolver using the .38 S&W round manufactured from 1930 to 1957. It was the standard British/Commonwealth sidearm in the Second World War, alongside the Webley Mk IV and Smith & Wesson Victory Model revolvers chambered in the same calibre.

History
After the First World War, it was decided by the British Government that a smaller and lighter .38 calibre (9.2 mm) sidearm firing a long, heavy 200 grain (13 g) soft lead bullet would be preferable to the large Webley service revolvers using the .455 (11.6 mm) round.  While the .455 had proven to be an effective weapon for stopping enemy soldiers, the recoil of the .455 cartridge complicated marksmanship training.  The authorities began a search for a double-action revolver with less weight and recoil that could be quickly mastered by a minimally trained soldier, with a good probability of hitting an enemy with the first shot at extremely close ranges.  By using a long, heavy, round-nosed lead bullet in a .38 calibre cartridge, it was found that the bullet, being minimally stabilised for its weight and calibre, tended to 'keyhole' or tumble longitudinally when striking an object, theoretically increasing wounding and stopping ability of human targets at short ranges.  At the time, the .38 calibre Smith & Wesson cartridge with  lead bullet, known as the .38/200, was also a popular cartridge in civilian and police use (in the US, the .38/200 or 380/200 was known as the ".38 Super Police" load).
Consequently, the British firm of Webley & Scott tendered their Webley Mk IV revolver in .38/200 calibre. Rather than adopting it, the British authorities took the design to the Government-run Royal Small Arms Factory at Enfield, and the Enfield factory came up with a revolver that was very similar to the Webley Mk IV .38, but internally slightly different. The Enfield-designed pistol was quickly accepted under the designation "Revolver, No 2 Mk I" (single/double action, with a hammer spur), and was adopted in 1931, followed in 1938 by the Mk I* (lightened trigger pull, spurless hammer, double-action only), and finally the Mk I** (simplified for wartime production) in 1942.

Webley sued the British Government for £2,250, being "costs involved in the research and design" of the revolver. Their action was contested by Enfield, who stated that the Enfield No 2 Mk I was actually designed by Captain Boys (the Assistant Superintendent of Design, after whom the Boys Rifle was named) with assistance from Webley & Scott, and not the other way around—accordingly, their claim was denied. By way of compensation, however, the Royal Commission on Awards to Inventors awarded Webley & Scott £1,250.

RSAF Enfield was unable to manufacture enough No. 2 revolvers to meet the military's wartime demands, and as a result Webley's Mk IV was issued as a substitute standard for the British Army.

Variants

There were three main variants of the Enfield No 2 Mk I revolver. The first was the Mk I which had a full-spur hammer and was double-action/single-action, meaning the shooter could either thumb-cock the hammer before pulling the trigger or could pull the trigger with the hammer uncocked; some shooters preferred the latter option as the trigger pull is much lighter with the hammer cocked. The handgrips were made of wood. This version was made until 1939, when a change order introduced the Mk I*. About 55,000 Mk Is were made, and an unknown number were converted to Mk I* during factory repair, as required by the change order that created the Mk I*. See: Stamps, Mark, and Ian Skennerton, .380 Enfield Revolver No. 2 for further information.

The second variant was the Mk I*, which had a spurless hammer and was double-action only, meaning that the hammer could not be thumb-cocked by the shooter for each shot.  Additionally, in keeping with the revolver's purpose as a close-range weapon, the handgrips, now made of plastic, were redesigned to improve grip when used in rapid double-action fire; the new handgrip design was given the designation Mk II. The majority of Enfields produced were either Mk I* or modified to that standard.

The third variant was the Mk I**, which was a 1942 variant of the Mk I* simplified in order to increase production, but was discontinued shortly thereafter as a result of safety concerns over some of the introduced modifications.

The vast majority of Enfield No 2 Mk I revolvers were modified to Mk I* during World War II, generally as they came in for repair or general maintenance; It is believed that the reason was that the Mk I* version was cheaper and faster to manufacture and allowed for far quicker training. When used in the manner in which British forces trained (rapid double-action fire at very close ranges), the No 2 Mk I* is at least as accurate as any other service pistol of its time, because of the relatively light double-action trigger pull. It is not, however, the best choice for deliberately aimed, long-distance shooting — the double-action pull will throw the most competent shooter's aim off enough to noticeably affect accuracy at ranges of more than  or so.
Despite officially being declared obsolete at the end of World War II, the Enfield (and Webley revolvers) were not completely phased out in favour of the Browning Hi-Power until April 1969.

The Enfield No 2 is very fast to reload—as are all British top-break revolvers—because of its automatic ejector, which simultaneously removes all six cases from the cylinder.
British combat experience with the .38/200 Enfield revolvers during World War II seemed to confirm that, "for the average soldier", the Enfield No. 2 Mk I could be used far more effectively than the bulkier and heavier .455 calibre Webley revolvers that had been issued during World War I. Perhaps because of the relatively long double-action trigger pull compared to other pistols capable of single-action fire, the double-action-only Mk I* revolvers were not popular with troops, many of whom took the first available opportunity to exchange them in favour of Smith & Wesson, Colt, or Webley revolvers.

Ammunition
The Enfield No.2 Mk I was designed for use with the Cartridge S.A. Ball Revolver .380 inch Mk. I and Mk. Iz, a deviation of the  .38 Smith & Wesson cartridge, also known as the .38/200.  It had a . unjacketed round-nose, lead bullet of .359 inch diameter that developed a muzzle velocity of .

Just prior to the outbreak of the Second World War, British authorities became concerned that the soft unjacketed lead bullet used in the 380/200 might be considered as violating the Hague Convention of 1899 governing deforming or 'explosive bullets'.  A new .38 loading was introduced for use in combat utilizing a , gilding-metal-jacketed lead bullet; new foresights were issued to compensate for the new cartridge's ballistics and change to the point of aim.  The new cartridge was accepted into Commonwealth Service as "Cartridge, Pistol, .380 Mk IIz", firing a 178 - 180 grain (11.7 g) full metal jacket round-nose bullet.  The 380/200 Mk I lead bullet cartridge was continued in service, originally restricted to training and marksmanship practice.  However, after the outbreak of war, supply exigencies forced British authorities to use both the 380/200 Mk I and the .380 Mk IIz loadings interchangeably in combat.  U.S. ammunition manufacturers such as Winchester-Western supplied 380/200 Mk I cartridges to British forces throughout the war.

Other manufacturers
The vast majority of Enfield No 2 revolvers were made by RSAF (Royal Small Arms Factory) Enfield, but wartime necessities meant that numbers were produced elsewhere. Albion Motors in Scotland made the Enfield No 2 Mk I* from 1941 to 1943, whereupon the contract for production was passed onto Coventry Gauge & Tool Co. By 1945, 24,000 Enfield No 2 Mk I* and Mk I** revolvers had been produced by Albion/CG&T. The Singer Sewing Machine Company of Clydebank made components but they were assembled at Enfield under their proofmarks; Singer-made parts are marked "SSM".

The Howard Auto Cultivator Company (HAC) in New South Wales, Australia tooled up and began manufacturing the Enfield No 2 Mk I* and I** revolvers in 1941, but the production run was very limited (estimated at around 350 or so revolvers in total), and the revolvers produced were criticised for being non-interchangeable, even with other HAC-produced revolvers. Very few HAC revolvers are known to exist, and it is thought by many collectors that most of the HAC revolvers may have been destroyed in the various Australian Gun Amnesties and "Buy-Backs".

Users

 - Manufactured unlicensed by Israeli Military Industries from 1951 to 1974, standard issue sidearm for Israeli Police and Border Police to 1975 and for the IDF to 1968.

 - Standard issue sidearm for Pakistan Army officers till 1974, for Pakistan Police till 1989.
 :Retired
 - The Enfield No 2 Mk I Revolver was used by the Philippine Commonwealth military and recognized guerrillas during World War II from 1942 to 1945 and used by the Philippine military during the post-war era from 1945 to 1960s and the Hukbalahap Rebellion from 1946 to 1954.

 : used in Indonesia

See also
Colt .38/200 Revolver
Smith & Wesson .38/200 S&W M&P Revolver
Webley Mk IV revolver

Notes

References
 Smith, W.H.B. 1943 Basic Manual of Military Small Arms (facsimile). Harrisburg, Penn.: Stackpole Books, 1979. .
 Stamps, Mark, and Ian Skennerton. .380 Enfield Revolver No 2. London: Greenhill Books, 1993. .
 Gerard, Henrotin. "Enfield no 2 revolver explained". HLebooks.com, November 2018.

External links

 The Corps of the Royal Electrical and Mechanical Engineers Museum of Technology: Pistol Revolver .38 inch No 2 Mk I and again
 world.guns.ru

Revolvers of the United Kingdom
Military revolvers
World War II infantry weapons of the United Kingdom
History of the London Borough of Enfield
.38 Special firearms
Weapons of the Philippine Army
Double-action revolvers

Enfield No. 2


A coprolite (also known as a coprolith) is fossilized feces. Coprolites are classified as trace fossils as opposed to body fossils, as they give evidence for the animal's behaviour (in this case, diet) rather than morphology. The name is derived from the Greek words κόπρος (kopros, meaning "dung") and λίθος (lithos, meaning "stone"). They were first described by William Buckland in 1829. Before this, they were known as "fossil fir cones" and "bezoar stones". They serve a valuable purpose in paleontology because they provide direct evidence of the predation and diet of extinct organisms. Coprolites may range in size from a few millimetres to over 60 centimetres.

Coprolites, distinct from paleofeces, are fossilized animal dung. Like other fossils, coprolites have had much of their original composition replaced by mineral deposits such as silicates and calcium carbonates. Paleofeces, on the other hand, retain much of their original organic composition and can be reconstituted to determine their original chemical properties, though in practice the term coprolite is also used for ancient human fecal material in archaeological contexts.

Initial discovery
British fossil hunter Mary Anning noticed as early as 1824 that "bezoar stones" were often found in the abdominal region of ichthyosaur skeletons found in the Lias formation at Lyme Regis. She also noted that if such stones were broken open they often contained fossilized fish bones and scales as well as sometimes bones from smaller ichthyosaurs. These observations by Anning led the geologist William Buckland to propose in 1829 that the stones were fossilized feces and name them coprolites. Buckland also suspected that the spiral markings on the fossils indicated that ichthyosaurs had spiral ridges in their intestines similar to those of modern sharks and that some of these coprolites were black with ink from swallowed belemnites.

Research value
By examining coprolites, paleontologists are able to find information about the diet of the animal (if bones or other food remains are present), such as whether it was a herbivore or a carnivore, and the taphonomy of the coprolites, although the producer is rarely identified unambiguously, especially with more ancient examples. In some instances, knowledge about the anatomy of animals' digestive tracts can be helpful in assigning a coprolite to the animal that produced it, one example being the finding that the Triassic dinosauriform Silesaurus may have been an insectivore, a suggestion which was based on the beak-like jaws of the animal and the high density of beetle remains found in associated coprolites. Further, coprolites can be analyzed for certain minerals that are known to exist in trace amounts in certain species of plant that can still be detected millions of years later. In rare cases, coprolites have even been found to contain well-preserved insect remains.

Recognizing coprolites

The recognition of coprolites is aided by their structural patterns, such as spiral or annular markings, content, undigested food fragments, and associated fossil remains. The smallest coprolites are often difficult to distinguish from inorganic pellets or from eggs. Most coprolites are composed chiefly of calcium phosphate, along with minor quantities of organic matter. By analyzing coprolites, it is possible to infer the diet of the animal which produced them.

Coprolites have been recorded in deposits ranging in age from the Cambrian period to recent times and are found worldwide. Some of them are useful as index fossils, such as Favreina from the Jurassic period of Haute-Savoie in France.

Some marine deposits contain a high proportion of fecal remains. However, animal excrement is easily fragmented and destroyed, so usually has little chance of becoming fossilized.

Coprolite mining
In 1842 the Rev John Stevens Henslow, a professor of Botany at St John's College, Cambridge, discovered coprolites just outside Felixstowe in Suffolk in the villages of Trimley St Martin, Falkenham and Kirton and investigated their composition. Realising their potential as a source of available phosphate once they had been treated with sulphuric acid, he patented an extraction process and set about finding new sources.

Very soon, coprolites were being mined on an industrial scale for use as fertiliser due to their high phosphate content. The major area of extraction occurred over the east of England, centred on Cambridgeshire and the Isle of Ely with its refining being carried out in Ipswich by the Fison Company. There is a Coprolite Street near Ipswich docks where the Fisons works once stood.

The industry declined in the 1880s but was revived briefly during the First World War to provide phosphates for munitions. A renewed interest in coprolite mining in the First World War extended the area of interest into parts of Buckinghamshire as far west as Woburn Sands.

See also

 Bromalite
 Fecalith
 Fossil
 Fossils and the geological timescale
 Gastrolith
 Guano
 Lloyds Bank coprolite
 Regurgitalith
 The World of Poo
 Petrifaction
 Petrified wood

Notes

References

Trace fossils
Feces
Animal waste products

Coprolite


Latin music (Portuguese and ) is a term used by the music industry as a catch-all category for various styles of music from Ibero-America, which encompasses Latin America, Spain, Portugal, and the Latino community in Canada and the United States, as well as music that is sung in either Spanish and/or Portuguese.

Terminology and categorization

Because the majority of Latino immigrants living in New York City in the 1950s were of Puerto Rican or Cuban descent, "Latin music" had been stereotyped as music simply originating from the Spanish Caribbean. The popularization of bossa nova and Herb Alpert's Mexican-influenced sounds in the 1960s did little to change the perceived image of Latin music. Since then, the music industry classifies all music sung in Spanish or Portuguese as Latin music, including musics from Spain and Portugal.

Following protests from Latinos in New York, a category for Latin music was created by National Recording Academy (NARAS) for the Grammy Awards titled Best Latin Recording in 1975. Enrique Fernandez wrote in Billboard that the lone category for Latin music meant that all Latin music genres had to compete with each other despite the distinct sounds of the genre. He also noted that the accolade was usually given to performers of tropical music. Eight years later, the organization debuted three new categories for Latin music: Best Latin Pop Performance, Best Mexican/Mexican-American Performance, and Best Tropical Latin Performance. Latin pop is a catch-all for any pop music sung in Spanish, while Mexican/Mexican-American (also to referred to as Regional Mexican) is defined as any musical style originating from Mexico or influences by its immigrants in the United States including Tejano, and tropical music is any music from the Spanish Caribbean.

In 1997, NARAS established the Latin Recording Academy (LARAS) in an effort to expand its operations in both Latin America and Spain. In September 2000, LARAS launched the Latin Grammy Awards, a separate award ceremony from the Grammy Awards. Its organizers stated that the Latin music universe was too large to fit within the Grammys. Michael Greene, former head of NARAS, said that the process of creating the Latin Grammy Awards was complicated due to the diverse Latin musical styles, noting that the only thing they had in common was language. As a result, the Latin Grammy Awards are presented to records performed in Spanish or Portuguese, while the organization focuses on music from Latin America, Spain, and Portugal.

Since the late 1990s, the United States has seen increasing growth in its population of "Latinos", a term popularized since the 1960s due to confusing the wrong term "Spanish" with the more proper but less popular term "Hispanic". The music industry in the United States began to refer to any kind of music featuring Spanish vocals as "Latin music". Under this definition, Spanish sung in any genre is categorized as "Latin". In turn, this has led to artists from Spain being labelled as "Latin" because they sing in the same language.

The Recording Industry Association of America (RIAA) and Billboard magazine use this definition of Latin music to track sales of Spanish-language records in the United States. Billboard however considers an artist to be "Latin" if they perform in Spanish or Portuguese. The RIAA initiated the "Los Premios de Oro y Platino" ("The Gold and Platinum Awards" in Spanish) in 2000 to certify sales of Latin music albums and singles under a different threshold than its standard certifications. Billboard divides its Latin music charts into three subcategories: Latin pop, Regional Mexican, and tropical. A fourth subcategory was added in the mid 2000s to address the rise of Latin urban music genres such as Latin hip hop and reggaeton.

History

1940s–1950s

The term "Latin music" originated from the United States due to the growing influence of Latino Americans in the American music market, including pioneers Xavier Cugat (1940s) and Tito Puente (1950s) and accelerating in later decades. As one author explained the rising popularity from the 1940s: "Latin America, the one part of the world not engulfed in World War II, became a favorite topic for songs and films for Americans who wanted momentarily to forget about the conflagration." Wartime propaganda for America's "Good Neighbor Policy" further enhanced the cultural impact. Pérez Prado composed such famous pieces as "Mambo No. 5" and "Mambo No. 8". At the height of the mambo movement in 1955, Pérez hit number one on the American charts with a cha-cha-chá version of "Cherry Pink and Apple Blossom White". El manisero, known in English as The Peanut Vendor, is a Cuban son-pregón composed by Moisés Simons. Together with "Guantanamera", it is arguably the most famous piece of music created by a Cuban musician. "The Peanut Vendor" has been recorded more than 160 times, sold over a million copies of sheet music, and was the first million-selling 78 rpm single of Cuban music.

1960s

The Brazilian bossa nova became widespread in Latin America and later became an international trend, led especially by Antônio Carlos Jobim. Rock en español became popular with the younger generation of Latinos in Latin America, for example the Argentine band Almendra. Mexican-American Latin rock guitarist Carlos Santana began decades of popularity. By the late 60s, the boogaloo boom was coming, and boogaloo musicians such as Pérez Prado, Tito Rodríguez and Tito Puente released boogaloo singles and albums. Most of the other groups were young musicians such as Pucho & His Latin Soul Brothers and Joe Bataan.

Early examples of boogaloo were 1966 music by Richie Ray and Bobby Cruz. The biggest boogaloo hit of the '60s was "Bang Bang" by the Joe Cuba Sextet in 1966. Hits by other groups included Johnny Colón's "Boogaloo Blues", Pete Rodríguez's "I Like It like That"(1967).

1970s

Salsa music became the dominant genre of tropical music in the 1970s. Fania Records was credited for popularizing salsa music, with acts such as Rubén Blades, Héctor Lavoe, and Celia Cruz expanding the audience. In the late 1970s, an influx of balladeers from Spain such as Julio Iglesias, Camilo Sesto, and Raphael established their presence on the music charts both in Latin America and the US Latin market. In 1972, OTI Festival was established by the Organización de Telecomunicaciones de Iberoamérica as a songwriting contest to interconnect the Ibero-American countries (Latin America, Spain, and Portugal). Ramiro Burr of Billboard remarked that the contest was considered to be the "largest and most prestigious songwriting festival in the Latin music world".

1980s

In the 1980s, the Latin ballad continued to be the main form of Latin pop music, with Juan Gabriel, José José, Julio Iglesias, Roberto Carlos, and José Luis Rodríguez dominating the charts. Salsa music lost some traction, and its rhythm slowed with more emphasis on romantic lyrics. This became known as the salsa romantica era.

1990s

In the Regional Mexican field, Tejano music became the most prominent genre and one of the fastest-growing music genres in the United States. On January 10, 1990, EMI Latin bought Bob Grever's Cara Records, beginning the golden age of Tejano music. Tejano music's growth exploded, as journalist Ramiro Burr put it "a stubborn brushfire spread over the horizon", the genre converted radio stations to play Tejano music. This garnered the attention of record labels across the United States who were eager to expand their rosters. In 1991, Warner Nashville created Warner Discos specifically for Tejano artists crossing over into country music while Arista Nashville erected Artista Texas with the same objective. Other labels such as PolyGram Latino and WEA Latina began deliberations to exclusively sign Tejano acts, while Fonovisa began signing Tejano musicians. These incentives helped expand performers' fanbases beyond Texas and the southwest. It also brought the genre to territories unfamiliar with the genre. The golden age is generally considered by journalists to have ended on March 31, 1995, when Selena was shot and killed. Tejano music set five consecutive years of sales and concert attendance records from 1990 to 1995. Mario Tarradell of The Dallas Morning News wrote that the singles from Amor Prohibido elevated Selena to success on Latin radio whose promoters had not previously taken the singer seriously. By 1994, Tejano acts were effortless selling 100,000 units of their albums, while La Mafia and Selena were the two most commercially successful Tejano artists. Selena's music led the genre's 1990s revival and made it marketable for the first time. Tejano music is believed by Jose Behar to have hit Mexico "like an atomic bomb" by 1994. While Tejano singer Emilio Navaira decided on a crossover into American country music, preparations began for Selena's crossover into American pop music. The singer was fatally wounded after a confrontation with Yolanda Saldivar, a friend and former associate of the singer's fan club, and boutiques. Her unfinished crossover album, Dreaming of You (1995), became the first mostly-Spanish album to debut and peak at number one on the US Billboard 200 chart. Tejano music suffered and its popularity waned following Selena's death, and record labels began abandoning their Tejano artists while radio stations in the United States switched from Tejano to Regional Mexican music.

By the mid-1990s, Tejano music was replaced by Latin pop as the dominant Latin music genre in the United States. Gloria and her husband Emilio Estefan are considered to have "open[ed] the door" to a number of artists throughout the 1990s decade. Their production is believed to have provided Mexican singer Thalía with her first platinum award for En éxtasis (1995). Colombian pop rock singer Shakira released her international debut album Pies Descalzos (1995). She worked closely with the Estefans for her album Dónde Están Los Ladrones? (1998), which topped the US Billboard Top Latin Albums chart. The album's success and production by the Estefans, provided Shakira with a lucrative formula that she used for her English-language crossover which was released in 2001. Enrique Iglesias, the son of Spanish singer-songwriter Julio Iglesias, released two albums; his self-titled album released in 1995, and Vivir (1997), that concentrated on pop ballads and rhythms. With improvements in his songwriting on Vivir, Enrique was able to successfully convey "his innermost thoughts and feelings". Critics found Vivir to be superior to Enrique's contemporaries and reportedly sold over five million copies in Asia, Europe, and South and Central America within a week of its release, the first Latin album to do so. Ricky Martin's hip-shaking dance moves were compared to those of Elvis Presley among American music critics seeking to find an artist who resembled Martin's dance moves and their effect on the United States pop market. In 1998, music and ticket sales of Martin grossed $106 million, which was the equivalent of the total exports of Puerto Rico to Mexico in 1996. His 1998 album Vuelve contained "La Copa de la Vida", which became the official 1998 FIFA World Cup song. This provided Martin with worldwide visibility, though it was his performance of the recording at the 1999 Grammy Awards that brought Martin attention from American audiences. In 1999, he released his self-titled album which contained the English-language number-one song "Livin' la Vida Loca". Following the commercial and critical success of the film Selena (1997), Jennifer Lopez catapulted to fame in the title role. Lopez entered the music market following a string of films and released her debut recording On the 6 (1999), which she described as a Latin soul album.

Bolero music saw a resurgence of popularity with the younger audience. Mexican singer Luis Miguel was credited for the renewed interest with the success of his album, Romance (1991), a collection of classics covered by the artist. Around the same time, artists from Italy such as Eros Ramazzotti, Laura Pausini, and Nek successfully crossed over to the Latin music field by recording Spanish-language versions of their songs. In the tropical music field, merengue, which had gained attention in the 1980s, rivaled salsa in popularity.

2000s

In the mid-2000s, reggaeton became popular in the mainstream market, with Héctor el Father Tego Calderón, Daddy Yankee, Don Omar, and Wisin & Yandel considered to be the frontiers of the genre. In the tropical music scene, bachata music became popular in the field, with artists such as Monchy & Alexandra and Aventura finding success in the urban areas of Latin America. Banda was the dominant genre in the Regional Mexican music field.

2010s
By the turn of the decade, the Latin music field was dominated by up-tempo rhythms, including electropop, reggaeton, urbano, banda and contemporary bachata music, as Latin ballads and crooners fell out of favor among U.S. Latin radio programmers. Streaming has become the dominant form of revenue in the Latin music industry in the United States, Latin America and Spain. Latin trap gained mainstream attention in the mid-2010s with artists such as Ozuna, Bad Bunny, and Anuel AA.

Regions

United States

The origins of Latin Music in the United States dates back to the 1930s with Rhumba. Rhumba was prominent with Cuban-style ballroom dancing in the 1930s, but was not mainstream. It was not until the 1950s and 1960s that Latin Music started to become intertwined with American culture. Latin music is starting to become mainstream in the US as Latin artists are teaming up with English speaking artists. In 2017, a song named, "Despacito" by Justin Bieber, Luis Fonsi, and Daddy Yankee had 4.5 billion views on YouTube. In 2017, six of the top ten viewed songs on YouTube feature Latin Artists. The song was the beginning for the boom of Latin music in the United States. Some of the most popular forms of Latin music are Salsa, Bachata, Regional Mexican music, Tango, Merengue, Latin Pop, and Reggaeton. Today, reggaeton is a very popular style that combines reggae and American hip-hop. Some of the most popular artists today are Daddy Yankee, Melymel, J Balvin and Nicky Jam. In 2018, Latin music came second in total video streams with 21.8% market share. Latin music listeners tend to be younger, more tech savvy, 95% of Latin music coming from streaming suggests, according to Jeff Benjamin.

Immigration and globalization has caused Latin music to skyrocket in popularity. Historically, the United States and Britain have had control over the music industry but the internet and technology has allowed for diversification and local music to become more prominent throughout the world. The technological advancements have allowed streaming services to flourish that offer a wide variety of music without having to pay for each individual song/album. The increase in Latin artists working with English speaking American artists has caused songs such as Ritmo by An American band, The Black Eyed Peas, and J Balvin, a Latin singer, to be number one on the billboard's Hot Latin Songs chart. This increase has caused Latin music sales revenue in the US to rise from 176 million to 413 million dollars in 2018. From 2016 to 2017, the amount of Latin songs on the billboard hot 100 increased from four to 19. Latin music surpassed Country and EDM in terms of album sales in the US in 2018. This trend has caused pop music in the US to adopt certain styles from Latin music. This has some experts questioning whether less popular Latin genres will become more niche in the future as record labels focus on products in industries with a greater concentration of money.

Miscategorization

Numerous computer science and music experts have reported a common error on streaming services such as Spotify. Overlooking mainstay artists in catch-all genre terms such as Latin music, potentially causing a categorical homogenization of musical styles; incorrectly miscategorizing musicians and songs from heritage styles, such as Norteño, New Mexico music, Duranguense, and Tejano music, leading to underperformance of these styles on their platforms.

See also

 Billboard Top Latin Albums
 Hot Latin Songs
 List of best-selling Latin albums
 List of best-selling Latin music artists
 :Category:Latin music by year

References

Works cited

Further reading

External links

 What Is Latin Music?  About.com
 Latin Music Genre Overview AllMusic
 Latin Music Billboard
  Music Genres: Latin Grammy Awards
 Latin Grammy
 Latin Music USA PBS
 Latin Songwriters Hall of Fame
 American Sabor

American styles of music
Latin American music

Music industry
20th-century music genres
Radio formats

Latin music


Margaret "Margie" Dingeldein (born May 30, 1980, in Merced, California) is an American water polo player who won a bronze medal in the 2004 Athens Olympics. Her position is attacker, and she is considered an excellent perimeter shooter.

High school
Dingeldein attended Merced High School and was named a water polo high school All-American and member of the U.S. Junior National Team. In 1998, she graduated valedictorian of her high school class and was named a National Merit Finalist.

College
As a freshman at Stanford University in 1999, Dingeldein was the Cardinals' top scorer with 45 goals. She earned first-team all-tournament at the water polo National Tournament, as well as Academic All-American. In 2000, she again led the team in scoring with 59 goals and was named First Team All-America by the American Water Polo Coaches Association. Dingeldein scored a team-high nine goals in the four games at the National Championships, including four in a win over Princeton University. In 2001, Dingeldein was second on the team in scoring with 48 goals and again earned Academic All-American. She was second again with 35 goals in 2002, when the Stanford women's water polo team defeated the UCLA Bruins 8-4 in the NCAA Women's Water Polo Championships, winning the Cardinal their first NCAA water polo title. Dingeldein graduated from Stanford University in 2002 with a degree in human biology.

Dingeldein attended medical school at the University of California, San Francisco, and on graduating became an anesthesiology resident at UCSF Medical Center.

International
Dingeldein was a member of the US National Team, winning the gold medal in 2003 at the FINA World Water Polo Championships. She scored 8 goals in two games at the 2003 Pan American Games, qualifying Team USA for the Olympics. At the Athens Olympics in 2004, Dingeldein contributed a goal each in the games against Russia, Canada and Italy, and the US women took home an Olympic bronze medal.

In 2005, Dingeldein joined the women's water polo team coaching staff at the University of Hawaii.

See also
 United States women's Olympic water polo team records and statistics
 List of Olympic medalists in water polo (women)
 List of world champions in women's water polo
 List of World Aquatics Championships medalists in water polo

References
 Stanford biography
 2004 Olympic biography
 2004 Team USA biography

External links

1980 births
American female water polo players
Water polo players at the 2004 Summer Olympics
Living people
Stanford Cardinal women's water polo players
World Aquatics Championships medalists in water polo
Medalists at the 2004 Summer Olympics
Olympic bronze medalists for the United States in water polo
American water polo coaches
Sportspeople from Merced, California

Margaret Dingeldein


The Smith of Kochel is a figure from Bavarian myth. According to this myth, he was a soldier in the Habsburg-Ottoman Wars (Battle of Vienna). Armed with nothing but a bar, he supposedly stoved in the gates of Belgrade. He refused rewards for his heroic deed from the prince electors.

Another legend attributed to him is leading the farmer rebellion against the imperial troops of the Habsburg Emperor Joseph I during the War of Spanish Succession. This culminated in the Sendlinger Mordweihnacht ("Sendling Christmas Massacre"). In literature, the smith is described as a man of over 70 years of age, yet great in stature and power. For the revolt, he supposedly armed himself with a spiked club of his own making that weighed over 100 lb (50 kg) . On the night of the massacre, the smith fought in the ranks of the rebels at the Sendling Parish Church. There he died heroically, the last man to fall.

History

Historical research about the smith of Kochel has shown that he was probably only a legend and a symbol rather than a real person, possibly invented to make the defeat of the revolt more bearable. The smith is known as Balthasar with a last name of either Mayer or Riesenberger. A Balthasar Mayer (born January 6, 1644 in Waalkirchen) actually existed, but no evidence of this person being a smith in Kochel could be found. A Balthasar Riesenberger (born in Bach bei Holzolling) took part in the battle in Sendling, but no evidence of his being a smith in Kochel could be found either. The fact that Kochel belonged to the court district of Murnau at the time of the revolt, which did not take part in the Oberländer rebellion, also speaks against the Kochel theory. In memory of the Sendling Christmas Massacre and the Smith of Kochel, there are regular pageants and events in Bavaria.

Culture of Altbayern
German folklore
Bavarian folklore
Legendary German people
Fictional smiths
Fictional soldiers
Germany in fiction
Fictional characters from Altbayern

The Smith of Kochel


The Osbourn Trough, is a -long extinct mid-ocean ridge, that may have stopped spreading as recently as 79 million years ago. It is a west-to-east oriented sea floor feature, located to the east of the present Tonga-Kermadec Ridge where the present Pacific Plate is under going subduction under a micro-plate of the Australian Plate. The Osbourn Trough is key to understanding the postulated breakup mechanism of the historic massive Ontong Java-Manihiki-Hikurangi large igneous province (LIP), as it has been shown to be the spreading centre that lead to the separation of the Manihiki Plateau to its north and the Hikurangi Plateau to its south close to New Zealand.

Geology

Its basement is known to be oceanic basaltic crust with compositional affinity with a Pacific mid-ocean ridge basalt ( MORB ) mantle source.  There is only relatively thin sediment overlay to this, often less than  thick. The ocean depth ranges between  to  over the trough which has been characterised as having at least three segments, each of which has an axial valley up to  wide bounded by ridges up to  high. Its south western aspect intersects and helps separate geographically the very deep Tonga Trench to the north from the Kermadec Trench which is also where presently the Louisville Ridge at the Osbourn Seamount is subducting under the Kermadec Plate. It is located at about near 26°S about midway between the two large oceanic plateau. The Manihiki Plateau is now  to the north and to its south is the Hikurangi Plateau,  away, near New Zealand. To the east the trough finishes at the Wishbone–East Manihiki scarp. The Osbourn Trough was active during the period of the Cretaceous Normal Superchron ( C34 normal magnetic polarity period, Chron 34n ) which lasted for almost 40 million years. This means that the trough has uniform magnetic polarity unlike most spreading centres which have evidence of geomagnetic reversal in parallel to the axis of the spreading ridge. Further the Osbourn Trough is a more prominent feature in gravity anomaly studies than in bathymetric data. This uniformity over such a large area of ocean floor lead to its first description as a possible spreading center in 1997 and means spreading stopped by end of the Chron 34n. The Glomar Challenger had surveyed part of the area by 1987 but the global magnetism data was not available to allow an understanding that a large undersea feature existed.

Tectonics

The precise timing of the Osborne Trough formation has been a matter of some debate as it is important to dating geological events in the South Pacific region, in particular subduction cessation. The first rifting must have occurred prior to 115 million years ago. The spreading took place over about 21 million years and resulted in between  to  of plate convergence along the Hikurangi Plate and the Gondwana margin to its south.
In the current best fit Pacific Plate reference frame tectonics model the Osborne Trough is modelled as a spreading centre between the Manihiki Plate and the Hikurangi Plate which later when spreading ceased became fixed components of today's Pacific Plate.
Spreading between the Manihiki and Hikurangi Plateau ceased when Hikurangi LIP collided with the Chatham Rise east of New Zealand and this event, which must have been no more distant in time than 101 million years ago, has been dated at 86 million years ago, but is now with Pacific Plate reference frame modelling believed to be up to 7 million years more recent.

See also

Wishbone scarp
Tonga Trench
Manihiki Plateau
Hikurangi Plateau

External Links
Gplate portal -Extinct Ridges

References

Sources

Oceanic basins of the Pacific Ocean
Cretaceous Oceania

Osbourn Trough


The 2nd Panzer Army () was a German armoured formation during World War II, formed from the 2nd Panzer Group on October 5, 1941.

Organisation
Panzer Group Guderian () was formed on 5 June 1940 and named after its commander, general Heinz Guderian. In early June 1940, after reaching the English Channel following the breakthrough in the Ardennes, the Panzergruppe Guderian was formed from the XIX Army Corps, and thrust deep into France, cutting off the Maginot Line. In November 1940, it was upgraded into Panzergruppe 2.

The 2nd Panzer Group () was formed in November 1940 from Panzer Group Guderian. In October 1941 it was renamed the 2nd Panzer Army. Panzer Group 2 played a significant role in the early stages of the German invasion of the Soviet Union during Operation Barbarossa in 1941 when it was a constituent part of Army Group Centre.

Operational history
2nd Panzer Group was part of the Army Group Centre during Operation Barbarossa, the invasion of the Soviet Union. Guderian's 2nd Panzer Army formed the Army Group's southern pincer while Hoth's 3rd Panzer Army formed the northern pincer destroying several Soviet armies during the opening phase of Operation Barbarossa. During the battles of Bialystok and Minsk substantial numbers of prisoners were captured and several weapons captured.

Suffering heavy losses in men and equipment, the German forces advanced deeper into the Soviet Union. The rasputitsa season (literally "roadlessness", due to heavy rains and sluggish muddy roads) began to slow down the formation's progress to a few kilometres a day. The rasputitsa was not an unusual phenomenon, but the Wehrmacht did not prepare for this contingency as the German high command had expected the German army to be in Moscow and beyond at this time, with the campaign over before the end of summer. After Minsk, the 2nd and 3rd Panzer Armies captured Smolensk in another successful pincer operation taking around 300,000 prisoners.

Hitler ordered Army Group Center to detach the 2nd Panzer Group, turning southward towards Kyiv to form the northern pincer at Kyiv. Guderian's 2nd Panzer Army and Kleist's 1st Panzer Army were locked in a pincer around Kyiv to trap 665,000 Soviet prisoners. After concluding the Kyiv encirclement, the German planned for the three Panzer armies to attack Moscow from different directions:

4th Panzer Army in the North around Leningrad would attack southward. Hoth's 3rd Panzer Army would attack eastward towards Moscow, while the 2nd Panzer Army would turn northwest and attack Moscow from the south. Guderian's forces tried to encircle the 50th Army, which was successfully defending Tula. After unsuccessful attempts to capture Tula, the high command ordered Gudarian to bypass Tula on November 18 and head towards the vital town of Kashira. The furthest attack was stopped near Kashira by the 1st Guards Cavalry Corps, 173rd Rifle Division, and other units that withstood the central attack of the Guderian army.

The Group's divisions had suffered heavy attrition since the beginning of the invasion and experienced shortages in fuel and ammunition due to the breakdown in logistics. By November, the situation of Guderian's Panzer Group was dire. Nonetheless, Guderian expected the Red Army's resistance to collapse and, driven by National Socialist military thinking, including the idea that the "will" was key to success, continued to direct his forces to attack.

By early December, the final advance on Moscow failed in the face of stiffening Soviet resistance and due to shortages in men and equipment. Until the Soviet counter-offensive, the Germans enjoyed complete domination of the skies and numerical advantage in material and men power during the Battle of Moscow. The massive and unexpected counter-attacks of 1st Guards Cavalry Corps, 50th Army, 10th Army, and parts of 49th Army drove the Germans the furthest from the capital, thus resulting in Hitler's dismissal of Heinz Guderian. After the battle he would never again reach the height and the popularity with Hitler or command any significant part of the German forces.

In August 1943, the 2nd Panzer Army was transferred to occupied Yugoslavia, where it was incorporated into Army Group F and engaged in anti-partisan operations against the Chetniks under Draža Mihailović and the communist Yugoslav Partisans under Josip Broz Tito. Despite engaging in several operations aimed to crush the partisan movement, particularly the communists, no clear victory was gained. Indeed, the partisan movement grew in size and equipment, particularly after the fall of Italian Fascism in the 1943 coup of 25 Luglio led to the mass defection and surrender of Italian units stationed in occupied Bosnia and Montenegro.

Throughout 1943-44, the 2nd Panzer Army was progressively stripped of its heavy armor destined for the war on the Eastern Front, and became a primarily motorized infantry force. It did gain specialized Alpine support from units like the Brandenburgers and 7th SS Volunteer Mountain Division Prinz Eugen divisions. However, endemic guerilla warfare cost the 2nd Panzer Army heavily, and only months after the Raid on Drvar (Operation Rösselsprung) failed to assassinate the communist partisan leadership via airborne assault, the 2nd Panzer Army and all of Army Group F were pushed out of Belgrade in a joint operation by the Partisans and Red Army during the Belgrade Offensive. The 2nd Panzer Army finished the war in disarray in modern Austria.

War crimes
As all German armies on the Eastern Front, Panzer Group 2 implemented the criminal Commissar Order during Operation Barbarossa. In September 1942, the 2nd Panzer Army took part in war crimes while conducting anti-guerrilla operations in the Soviet Union. These operations killed at least a thousand people, razed entire villages, and deported over 18,500. During these operations, Jews and suspected partisans were murdered by being forced to drag ploughs through minefields.

In August 1943, the army's headquarters was subordinated to Army Group F and transferred to the Balkans for anti-partisan operations. The army became primarily an infantry formation at this point and found itself committed to anti-partisan operations, and personnel were accused postwar of multiple atrocities against civilians and partisans.

After the Belgrade Offensive overtook army headquarters, surviving units of the 2nd Panzer Army were subsequently transferred to Hungary as part of Army Group South in January 1945, holding off the Soviet invasion of Austria. 2nd Panzer Army took part in the Battle of the Transdanubian Hills in March 1945 before surrendering at the end of the war to both Soviet and Anglo-American forces.

Commanders

Order of battle
Organization of Panzer Group Guderian on 28 May 1940

June 22, 1941

July 27, 1941

September 30, 1941

November 30, 1943

Notes

Sources

P2
Military units and formations established in 1940
Military units and formations of Germany in Yugoslavia in World War II
Military units and formations disestablished in 1945
War crimes of the Wehrmacht
Heinz Guderian

2nd Panzer Army


Diane Delano (born January 29, 1957) is an American character actress. She is known for her numerous roles in films and television, such as Sergeant Barbara Semanski on the CBS television series Northern Exposure and Roberta "Bobbi" Glass on The WB television series Popular.

Aside from Bobbi Glass and her twin sister Nurse Jessi Glass on Popular, she played the role of Hilda, an FBI agent hired to protect Sami Brady, on Days of Our Lives. She also recently provided the voice for Big Barda in Batman: The Brave and the Bold. Prior to this, she had voiced the superheroine Pantha in Teen Titans.

Filmography

Film

Television

Video games

References

Sources

External links

1957 births
Actresses from Los Angeles
American film actresses
American television actresses
American voice actresses
Living people
21st-century American women

Diane Delano


Penig () is a town in the district of Mittelsachsen, in the Free State of Saxony, Germany. It is situated on the river Zwickauer Mulde, 19 km northwest of Chemnitz. The old and the new castle were owned by the House of Schönburg from 1378 until 1945. Penig housed a concentration camp during World War II.

People
Friedrich Eduard Bilz

References

Mittelsachsen

Penig


The China-Africa Development Fund (), more commonly known as CAD Fund, is a China Government Guidance Fund solely funded by China Development Bank, a Chinese government policy bank. The aim of the fund is to stimulate investment in Africa by Chinese companies in power generation, transportation infrastructure, natural resources, manufacturing, and other sectors.

History
The creation of CAD Fund was announced as one of the "Eight Measures" for Sino-African relations at the Beijing summit of the Forum on China-Africa Cooperation (FOCAC) by President Hu Jintao on November 4, 2006.  It was established in June 2007 with US$1 billion of initial funding by the China Development Bank and is envisioned to grow to US$5 billion in the future.  The fund entered into its second round of fundraising in May 2010 to raise US$2 billion. In 2015, China announced its plan to expand the CAD fund to $10 billion.

Investments
The fund's primary purpose is foster Sino-African investment through bridging finance, financial advice, Africa specific managerial advice, and identification of potential investment opportunities as well as connecting African projects to Chinese investors.

As of 2010 the fund had invested in 30 projects in Africa worth around US$800 million.  In 2009 alone, the fund invested US$140 million of China's total US$1.3 billion invested in Africa that year. The fund primarily focused on industrial development. For example, in 2010 it teamed up with several partners by contributing 382.5 million ZAR into a 1.65 billion ZAR investment by Jidong Cement to build a cement plant in Limpopo, South Africa.

The fund has also participated in acquiring natural resource assets by forming a joint venture with China National Nuclear Corporation (then China Guangdong Nuclear Power Group) to acquire most of the Husab Mine for US$996 million in February 2012.

The fund made a rare move in media in December 2013 when it was the financial partner in the acquisition of 20% of Independent News and Media SA, a newspaper publishing house in South Africa, for 400 million ZAR.

List of equity investments
 China-Africa Xinyin Investment (35%)
 Huayou Cobalt (, 7.59%)
 Africa World Airlines

Grants and other activities
The China Africa Development Fund provides support in connection with the overseas special economic zones that Chinese enterprises have established in Africa.  Although the Chinese government generally takes a hands-off approach to the development of these zones, leaving it to Chinese enterprises to work with host countries to establish them, the CAD Fund provides support in the form of grants, loans, and subsidies.

See also
 Belt and Road Initiative
 Africa–China relations

References

External links

Private equity firms of China
Africa–China relations
2007 establishments in China
Government-owned companies of China

China-Africa Development Fund


The Lamtuna () are a nomadic Berber tribe belonging to the Iẓnagen / Sanhaja (Zenaga) confederation, who traditionally inhabited areas from Sous to Adrar Plateau. During the Almoravid period, many Lamtunas emigrated northwards. Currently, the Lemtuna Tribe is based in the South of Mauritania (Monguel and Agueilat). The chief of this Tribe is Mr. Limam Ould Teguedi (former Minister of Justice, former Minister of Culture and former Attorney General of Mauritania. Among notable families, the family of Ehl Aly Ibn Ibrahim and the family of Ehel Sidelemine, Ehl Abdawa, Ehl Mohamed El-Emine, Ehl Mohammed Ghali. Sahrawi Tajakant as well as Messouma tribes are of the most recognisable offshoots of the Lamtunas. They inhabit the area between Morocco and Western Sahara.

The Banu Ghaniya, the successors of this dynasty in Tripoli and the Nafusa Mountains and the governors of the Spanish Balearic Islands until about the middle of the 13th century, originated from this tribe as well.

Notable Lamtunas
Abu Bakr ibn Umar
Yusuf ibn Tashfin
Yahya ibn Umar al-Lamtuni

Berber peoples and tribes
Sanhaja

Lamtuna