Weberbauerocereus is a genus of ceroid cactus, considered to be intermediate between the genera Trichocereus and Cleistocactus. The genus is named after Augusto Weberbauer because of his extensive research in the Peruvian Andes. The genus is native to Bolivia and Peru.

Description

The species of the genus Weberbauerocereus grow shrub-like to tree-like, branching at the base or above. They sometimes form tribes. The columnar shoots are erect or arching and sometimes climbing. Thorns, which are often strong, emerge from the white to yellowish, woolly areoles.

The large, tubular to bell-shaped flowers are whitish, brownish pink or reddish and usually open at night. The pericarpel and floral tube are densely covered with scales and hair.

The spherical, greenish-purple to orange-yellow fruits have a diameter of 3 to 5 centimeters and are covered with conspicuous hairs. The remainder of the flower is persistent, the pulp is white. The fruits contain black, shiny seeds.

Species
, Plants of the World Online accepted the following species:

References

External links

Cactoideae genera
Cacti of South America
Flora of the Andes

Weberbauerocereus


Chris Joris (born 30 November 1952, Mechelen) is a Belgian jazz percussionist, pianist and composer.  He is the son of Jan Joris, an opera singer.  Joris joined Aksak Maboul in 1977, appeared on their first album but left the group later that year. In the mid-1990s, he formed The Chris Joris Experience, a jazz band with Sam Versweyveld (trumpet), Bart Defoort (saxophone), Ernst Vranckx (piano) and Chris Mentens (acoustic bass).  He won the 1998 Belgian Golden Django for best Flemish artist.

Recordings
In October 2007 Joris released Rainbow Country on the Belgium De Werf label. The CD features:  Bob Stewart: tuba, compo's
Eric Person: alto- et soprano sax, flute, compo's
Baba Sissoko: tama, tamani, ngoni, vocals, compo's
Fabian Fiorini: piano
Reggie Washington: electric bass, compo
Chris Mentens: double bass
Junior Mthombeni: congas, udu, percussion, voice
Chris Joris: timba, cymbals, djembé, congas, steeldrum, likembé, small percussion, compo's, leader

References
Jazz in Belgium biography
[ Chris Joris] at AllMusic

Belgian jazz pianists
Belgian jazz composers
Belgian male musicians
Male jazz composers
Living people
1952 births
21st-century pianists
21st-century male musicians

Chris Joris


The Battle of Sanaa (2017) was fought between forces loyal to Ali Abdullah Saleh and the Houthis in the Yemeni capital of Sana'a. Both sides were allied during the 2014–15 Houthi takeover of the government but the alliance ended when Saleh decided to break ranks with the Houthis and call for dialogue with Saudi Arabia and the United Arab Emirates, who are leading a military intervention in Yemen. Fighting then broke out between the Houthis and forces loyal to Saleh as the Saudi-led coalition began bombing Houthi areas, ultimately resulting in Saleh's death and a Houthi victory.

Background

The Houthis had formed a tactical alliance with Ali Abdullah Saleh, Yemeni President in 1990–2012, after he was deposed in the 2011 Yemeni revolution to which Houthis themselves had contributed. Houthis were also dissatisfied with the new Yemeni president Abdrabbuh Mansur Hadi who was appointed by the Gulf Cooperation Council and didn't let them a share in the government among other reasons. The dissatisfaction turned into widespread protests when Hadi government ordered removal of fuel subsidies. Houthis organized mass protests and advanced into the capital, Sanaa, taking over government buildings but Hadi and his cabinet finally suddenly resigned leaving office in the hands of Houthis. Soon afterwards, the Saudis led a military intervention in Yemen upon Hadi request against Houthis to restore him to power. Houthis and Saleh forces shared administration of the capital and the country since then.

Pro-Saleh forces controlled Southern Sana'a while Houthis were in control of the northern part of the capital. The tactical alliance between Saleh, who was deposed in 2012, and the Houthis has often appeared fragile, with both groups suspicious of each other's ultimate motives and sharing little ideological ground.

Battle

On 2 December 2017, four days after the eruption of armed conflict between the Houthis and forces loyal to Ali Abdullah Saleh, he announced his readiness to start a "new page" with Saudi Arabia and United Arab Emirates, a move which was welcome by the two governments. On 4 December 2017, Saleh officially announced the end of his partnership with the Houthis while Saudi Arabia warplanes were bombing Houthi positions in Sana'a in support of Saleh. The conflict took at least 125 lives and injured 238. According to Ra'iy al-Youm, Saleh's split was an outcome of long-term efforts by Saudi Arabia and the UAE to unravel the Houthi-Saleh alliance after their failure to defeat the Houthis militarily.

It was reported on 4 December that the Bani Bahloul tribe gained control of posts of Houthi militias in southern Sanaa. The tribes of al Hima and Hamadan reportedly controlled other Houthi posts and arrested dozens of Houthi militants, according to Sky News. Also, supervisor of the Houthi militias Abu Mohsen al Qahoum was killed in clashes with General People's Congress (GPC) forces in Sha'oub district of Sanaa. Despite this, the battle turned increasingly against the Saleh loyalists, with GPC secretary general Aref al-Zouka being killed in combat. Many GPC members and Saleh fighters also defected to the Houthis.

Death of Saleh
On 4 December 2017, having declared Saleh and his militias "treasonous", Houthis disabled his vehicle with a rocket-propelled grenade in an ambush when he was on his way to Ma'rib while trying to flee into Saudi-controlled territories and he was subsequently shot in the head by a Houthi sniper. In response, his son Ahmed, former commander of the Republican Guard, pledged vengeance against Houthis. After Saleh's death the forces aligned with him were routed and their commanders fled the city and fighting in the city subsequently ceased but Saudi-led coalition started pounding areas in the city. Saleh's death is described as an embarrassment in a long list of Saudi foreign policy failures under Mohammad bin Salman. The death toll from clashes between GPC forces and Houthi militias in Sanaa has exceeded 200.

On 4 December, The Houthi leader, Abdul-Malik al-Houthi, congratulated the people for "the fall of the conspiracy" that he alleged was instigated by Saudi Arabia and UAE. "We were aware of this conspiracy before it happened and we tried so hard to prevent it in a fraternal way, but the other side was always evasive. We were aware of coordination with the force of aggression and intensive military preparations before they finally reached what they did," he added. Abdul-Malik also noted that it was a certain number of militias and the top leader (Saleh) of the GPC that participated in the sedition while praising "many honorable members of the Congress" who helped Houthis to settle things down.

Aftermath

On 5 December, tens of thousands of pro-Houthi demonstrators took to the streets in Sanaa. Almasirah, the official Ansar Allah website, reported that the rally was held to "thank God" for the failure of the revolt. The crowd, waving Yemen's national flag, chanted slogans such as "ours is a free revolution, we reject colonization.. through unity and resilience, we defeated the Jewish alliance", according to the website. The rally was reported to have been attended by a large number of women as well as members of GPC who stated that the plot was aimed at the entire people of Yemen without exception. The celebration has been broadly confirmed by other sources.

A large part of the GPC consequently pledged allegiance to the Houthis, and elected Sadeq Ameen Abu Rass as new chairman. Those GPC elements which stayed loyal to the Saleh family retreated into Hadi-controlled areas and began to rebuild their military strength to fight the Houthis.

See also
 Battle of Sana'a (2011)
 Battle of Sana'a (2014)

References

2017 in Yemen
21st century in Sanaa
Sanaa (2017)
Military history of Sanaa
Yemeni civil war (2014–present)
Sanaa
November 2017 events in Yemen
December 2017 events in Yemen

Battle of Sanaa (2017)


Anasazisaurus ( ; "Anasazi lizard") is a genus of saurolophine hadrosaurid ("duckbill") ornithopod dinosaur that lived about 74 million years ago, in the Late Cretaceous Period. It was found in the Farmington Member of the Kirtland Formation, in the San Juan Basin of New Mexico, United States. Only a partial skull has been found to date. It was first described as a specimen of Kritosaurus by Jack Horner, and has been intertwined with Kritosaurus since its description. It is known for its short nasal crest, which stuck out above and between its eyes for a short distance.

History
Adrian Hunt and Spencer G. Lucas, American paleontologists, named this dinosaur in 1993. Its name is derived from the Anasazi, an outdated term for the Ancestral Pueblo Native American people, and the Greek word sauros ("lizard"). The Ancestral Puebloans were famous for their cliff-dwellings, such as those in Chaco Canyon, near the location of fossil Anasazisaurus remains. The term "Anasazi" itself is actually a Navajo language word, anaasází ("enemy ancestors"). There is one known species (A. horneri), which is named in honor of Jack Horner, an influential paleontologist who first described the skull in 1992. The holotype skull (and only known specimen) was collected in the late 1970s by a Brigham Young University field party working in San Juan County, and is housed at BYU as BYU 12950.

Horner originally assigned the skull to Kritosaurus navajovius. Later, Hunt and Lucas claimed that the Kritosaurus holotype was undiagnostic and judged the genus to be a nomen dubium. They decided to give BYU 12950 the new name Anasazisaurus horneri. Some later authors, including those of the most recent review, followed this decision. However, others disagreed, including Thomas Williamson, who made the most detailed published case. In a paper published in 2014, Alberto Prieto-Marquez agreed that Anasazisaurus horneri is similar to Kritosaurus navajovius, but found it distinct enough to be considered a valid species of Kritosaurus, as K. horneri. While this conclusion has been accepted in later papers,<ref name="ramirezvelasco2021"/ one study finds it to be a member of the Saurolophini, although it did not include Kritosaurus navajovius.

Description

The anatomy of Anasazisaurus is poorly known. The skull is somewhat poorly preserved, lacks the lower jaw, beak, and quadrate, and was only recently fully prepared. It has a sort of tab or flange of bone, from the nasals, that rises between and above the eyes and folds back under itself. This unique crest allows it to be distinguished from similar hadrosaurs, like Gryposaurus. The top of the crest is roughened, and the maximum preserved length of the skull is ~90 centimeters (~35 in). According to Gregory S. Paul, it was about 7.5 meters long and weigh up to 2500 kg.

Classification
Anasazisaurus is a saurolophine hadrosaurid, meaning it lacked a hollow crest. The most recent review recognized it as distinct, but did not try to place it beyond Hadrosaurinae.

Paleobiology

As a hadrosaurid, Anasazisaurus would have been a large bipedal/quadrupedal herbivore, eating plants with a sophisticated skull that permitted a grinding motion analogous to chewing. Its teeth were continually replacing and packed into dental batteries that contained hundreds of teeth, only a relative handful of which were in use at any time. Plant material would have been cropped by its beak, and held in the jaws by a muscular cheek. Feeding would have been from the ground up to ~4 meters (13 ft) above.

Paleoecology
Anasazisaurus was discovered in the Farmington Member of the Kirtland Formation, which is one of the lower members. This formation dates from the late Campanian stages of the Late Cretaceous Period (73-74 million years ago), and is also the source of several other dinosaurs, like Bistahieversor, Kritosaurus, Naashoibitosaurus, Parasaurolophus, Pentaceratops, Nodocephalosaurus, Saurornitholestes, and Ziapelta.

See also

 Timeline of hadrosaur research

References

Saurolophines
Late Cretaceous dinosaurs of North America
Natural history of San Juan County, New Mexico
Taxa named by Spencer G. Lucas
Fossil taxa described in 1993
Paleontology in New Mexico
Campanian genus first appearances
Campanian genus extinctions
Ornithischian genera

Anasazisaurus


The National Art Museum of Ukraine () is a museum dedicated to Ukrainian art in Kyiv, Ukraine.

History

The National Art Museum of Ukraine, which was the first museum in Kyiv to be freely open to the public, was founded at the end of the 19th century by the efforts of Ukrainian intellectuals.

Museum building was constructed under the project of Moscow architect Petro Boitsov in neo-classic style. This project was updated and implemented by Polish architect Władysław Horodecki. Sculpture decoration of the frontispiece is performed by Elio Salia.

The first exhibition on the occasion of the ХІ All-Russian Archaeology Conference took place in incompleted building of Kyiv City Museum of Antiquity and Art in August 1899. Official opening and consecration of the institution called Sovereign Emperor Nikolay Aleksandrovich (Nicholas II) Kyiv Art-Industrial and Scientific Museum was held on December 30, 1904.

In 1919, after the nationalization, museum was called the First State, from 1924 – Taras Shevchenko All-Ukrainian Historical Museum, from 1936 – the State Ukrainian Museum, from 1939 – The State Museum of Ukrainian Art. During the Germany occupation of Kyiv in 1942, the museum was integrated with the Russian art collection under the common name the State Museum of East European Art. In 1944, the previous museum status was renewed. Changes of the museum names reflected the complicated life processes in the country and certain stages of Ukrainian museum work restoration. For example, the name changing shows the changes of museum collection's profile and separation of certain parts of this collection for establishment of other Kyiv museums.

The last name of this institution is the National Art Museum of Ukraine, it arose in 1994 in the independent Ukrainian state and it proved the highest museum status as the leading collection of Ukrainian art, which still remains the spiritual treasury of our country, its pride and wealth.

Main building architecture

It is located in a building that was constructed in 1898 by architect Władysław Horodecki for the Kyiv City Museum. It was in fact a remake of the talented Moscow architect Petr Boitsov who failed to receive a government license. The building was originally designed as a museum for the local society of patrons of arts and antique lovers. The facade of the building conveys a neoclassical architecture form – precise reproduction of a six-column porch of Doric order with entablature, triglyphs, metopes and frieze decoration depicting the Triumph of Arts. The architectural composition featuring figures of gryphons and large concrete lions at the top of the stairs were created by an Italian sculptor, Emilio Sala. On the construction of the building was expended 249,000 rubles with only 100,000 paid by the government of Russian Empire. Another 108,000 rubles were paid by the Tereshchenko family who also created the Museum of Western and Oriental Art in Kyiv. At first, at the first floor was located exhibition of the Russian archeologist Vikentiy Khvoyka who moved to Kyiv from the Kingdom of Bohemia. The museum officially opened just before Christmas on December 23, 1904, as the Kyiv Industrial Arts and Science museum of Emperor Nicholas II. The first director of museum became Mykola Biliashivsky.

Collections

The National Art Museum of Ukraine has the most representative collection of Ukrainian figurative art in the world. Collection of the museum numbers almost 40 thousands exhibits, among which masterpieces of Ukrainian painting, sculpture, and graphics from Kyiv Rus age to nowadays are represented.

Museum has one of the best Ukrainian icon collections which opens with the rare object of the 12th century – polychrome wooden relief "Saint George with hagiography" of Byzantine origin. Middle Ages are represented with classic examples of icon painting of 14–16th centuries from the Western Ukraine, including the unique antiquities such as Holy Mother "Hodigitria" from Volyn, St. George The Dragon Slayer, and The Passion of the Christ from Halychyna region.

The collection of Ukrainian Baroque art is outstanding by its value. Here one can find amazing examples of Ukrainian baroque icons such as The Intercession with the Portrait of Bohdan Khmelnytskiy (first half of the 18th century, Kyiv region), pair icons Great Martyrs Anastasia and Juliania, Barbara and Catherine (18th century, Northern Left Bank), icons from Kyiv-Pechersk Lavra workshops from the iconostasis of Dormition Cathedral Entrance to Jerusalem and The Nativity (1729). The iconostasis from Berezna village (Chernihiv region, 1860s) is the zest of the collection.

It shows the monumental reaching and excellent artistry of the masters of Ukrainian Baroque era. The impression of this wonderful age is strengthened by the collection of 18th century Ukrainian Portraits which represent the first secular genre in Ukrainian painting. The collection of folk paintings "Cossack the Bandura Player" is one of the biggest in the museum and expands the secular art of the Baroque period in Ukraine.

The age of the 19th century art, when St. Petersburg Academy of Arts was the trendsetter, opens with works of the famous Ukrainian portraitists, who connected their lives with the capital city of the Russian Empire — Dmytro Levytskiy and Volodymyr Borovykovskiy. Taras Shevchenko, the painter, occupies a special position in the history of Ukrainian art. Small collection of paintings and graphic works by Shevchenko gives a vision of his outstanding talent and shows new democratic tendencies in Ukrainian figurative art, continued by the artists of the next generation. Monographic collection of Mykola Pymonenko's works presents the following development of Ukrainian painting traditions which consisted in the increase of the genre subjects and transformation of painting manner from realism to impressionism. Odessa painting school led by Kiriak Kostandi is presented in the exhibition. The impression of the development of Ukrainian art is widened with the classical portraits (works by H. Vasko, A. Mokrytskiy, O. Rokachevskiy) and landscape paintings (works by V. Shternberg, V. Orlovkiy, S. Svitoslavskiy, S. Vasylkivskiy). Monographic collection of Oleksandr Murashko, bald art reformer who worked in the beginning of the 20th century, is the most interesting.

Vivid and original heritage of Ukrainian avant-garde represented in the museum is shown by the works of the world-wide famous sculptor Oleksandr Arkhypenko, painters Oleksandra Ekster, Oleksa Hryshchenko, Oleksandr Bohomazov, and Viktor Palmov. Unique trend in Ukrainian art of 1910s–1930s (called after its leading artist, Mykhailo Boichuk) "boichukism" is introduced in one of the exhibition halls. In soviet epoch boichukists were included into the list of repressed and prohibited painters and only nowadays their art has found a respective place in the museum exposition. The art of totalitarian age, in spite of the dramatic historical collisions, gave birth to a galaxy of creative individuals. The names of Fedir Krychevskiy, Anatol Petrytskiy, Tetiana Yablonska, Serhiy Hryhoriev, and Mykola Hlushchenko are inscribed in the golden book of Ukrainian art history. Collection of graphics and sculpture of the 20th century evokes special attention and desire to explore it.

The museum collection is in formation still, and the trends of contemporary of the end of the 20th — the beginning of the 21st century find their place here.

Editions
Using the informational space for the promotion of Ukrainian artistic culture is an important goal for the National Art Museum of Ukraine.

Despite the lack of own printing resources the Museum gradually establishes issuance of its own printing products.

National Art Museum of Ukraine's Publishing Program has the following streams:

 Popularization of retrospective museum collection of the Ukrainian art;
 Scientific-monographic and self-monographic publications of the outstanding Ukrainian art persons;
 Scientific catalogues to large-scale exhibitions of the National Art Museum of Ukraine;
 "Muzeinyi Provulok (Museum Lane)" magazine.

Publication of the "National Art Museum of Ukraine" art album of significant size and content ("Artania Nova" Publishing House) became an important museum event in 2003. This album is the first step on this long way. Covering a large volume of information on museum's past and nowadays and its collections, this album presents the Ukrainian art history in this significant manner for the first time ever. It is the result of several scientific generations' hard work.

2004 – following publications were issued

 "Ukrainian Painting of 19th – early 20th century"
 "Ukrainian Icon Painting of 12th – early19th century"
 "Serhiy Vasylkivskiy"

From May 2004 – in the focus of attention was

 "Muzeinyi Provulok (Museum Lane)" magazine

2005 – published

 monographic album "Oleksandr Murashko"

2006 – issued

 "Ukrainian Painting of 20th – early 21st century"
 "Ukrainian Portrait of XVII-XVIII centuries"
 monographs "M.Pymonenko, V.Orlovskiy"
 "S.Svitoslavskiy"
 "Ukrainian Modernism"
 6th number of "Muzeinyi Provulok (Museum Lane)" magazine

2007– 2008 – published

 7, 8 and 9 numbers of "Muzeinyi Provulok (Museum Lane)" magazine

Current exhibition
Today, the museum continues to expand its collection. Some new additions include a unique icon relief of St. George and works by the international Kyiv born pioneer of Geometric abstract art Kazimir Malevich.

The current exhibition includes over 20 thousand pieces. Among many are works by a now world-renowned constructivist Vasiliy Yermilov, and Cubo-Futurist Alexander Bogomazov. The Ukrainian side is represented by works of famous Ukrainian and Russian artists such as David Burliuk, Aleksandra Ekster, Vadim Meller, Kliment Red'ko, Solomon Nikritin, Victor Palmov, Maria Sinyakova, Mykhailo Boychuk, Mykola Pymonenko, Ilya Shtilman and many others.

On April 26, 2014, Art retrieved from the ex-president Victor Yanukovich's home is being exhibited at the museum.

Now Museum collects unofficial art works of totalitarian period — Ukrainian underground from the end of 1950 until 1991, articularly art woks by Feodosiy Tetianych, Mykola Trehub, Vudon Baklytskyi, Olena Golub and others.

Gallery

References

Further reading

in Ukr.: Національний художній музей України: Альбом/ Уклад., авт. ст.: Т.Рязанова, Л.Членова, О.Жбанкова та ін.- К.: Артанія Нова, 2003.- 416 с.
 Kyiv Sightseeing Guide (2001) .

External links

 Information about the museum from Kiev.info
 Official website (in Ukrainian)
 Information about the museum at the Museums of Ukraine website (in Ukrainian)

1899 establishments in Ukraine
Art museums established in 1899
Buildings and structures completed in 1898
Art museums and galleries in Ukraine
Art Museum
Museums in Kyiv
Neoclassical architecture in Kyiv
Hrushevsky Street (Kyiv)
Architectural monuments of Ukraine of national importance in Kyiv
Institutions with the title of National in Ukraine

National Art Museum of Ukraine


NoSQL (originally referring to "non-SQL" or "non-relational") is an approach to database design that focuses on providing a mechanism for storage and retrieval of data that is modeled in means other than the tabular relations used in relational databases. Instead of the typical tabular structure of a relational database, NoSQL databases house data within one data structure. Since this non-relational database design does not require a schema, it offers rapid scalability to manage large and typically unstructured data sets.  NoSQL systems are also sometimes called "Not only SQL" to emphasize that they may support SQL-like query languages or sit alongside SQL databases in polyglot-persistent architectures.

Non-relational databases have existed since the late 1960s, but the name "NoSQL" was only coined in the early 21st century, triggered by the needs of Web 2.0 companies. NoSQL databases are increasingly used in big data and real-time web applications.

Motivations for this approach include simplicity of design, simpler "horizontal" scaling to clusters of machines (which is a problem for relational databases), finer control over availability, and limiting the object-relational impedance mismatch. The data structures used by NoSQL databases (e.g. key–value pair, wide column, graph, or document) are different from those used by default in relational databases, making some operations faster in NoSQL. The particular suitability of a given NoSQL database depends on the problem it must solve.  Sometimes the data structures used by NoSQL databases are also viewed as "more flexible" than relational database tables.

Many NoSQL stores compromise consistency (in the sense of the CAP theorem) in favor of availability, partition tolerance, and speed. Barriers to the greater adoption of NoSQL stores include the use of low-level query languages (instead of SQL, for instance), lack of ability to perform ad hoc joins across tables, lack of standardized interfaces, and huge previous investments in existing relational databases. Most NoSQL stores lack true ACID transactions, although a few databases have made them central to their designs.

Instead, most NoSQL databases offer a concept of "eventual consistency", in which database changes are propagated to all nodes "eventually" (typically within milliseconds), so queries for data might not return updated data immediately or might result in reading data that is not accurate, a problem known as stale read. Additionally, some NoSQL systems may exhibit lost writes and other forms of data loss. Some NoSQL systems provide concepts such as write-ahead logging to avoid data loss. For distributed transaction processing across multiple databases, data consistency is an even bigger challenge that is difficult for both NoSQL and relational databases. Relational databases "do not allow referential integrity constraints to span databases". Few systems maintain both ACID transactions and X/Open XA standards for distributed transaction processing. Interactive relational databases share conformational relay analysis techniques as a common feature. Limitations within the interface environment are overcome using semantic virtualization protocols, such that NoSQL services are accessible to most operating systems.

History
The term NoSQL was used by Carlo Strozzi in 1998 to name his lightweight Strozzi NoSQL open-source relational database that did not expose the standard Structured Query Language (SQL) interface, but was still relational. His NoSQL RDBMS is distinct from the around-2009 general concept of NoSQL databases.  Strozzi suggests that, because the current NoSQL movement "departs from the relational model altogether, it should therefore have been called more appropriately 'NoREL'", referring to "not relational".

Johan Oskarsson, then a developer at Last.fm, reintroduced the term NoSQL in early 2009 when he organized an event to discuss "open-source distributed, non-relational databases". The name attempted to label the emergence of an increasing number of non-relational, distributed data stores, including open source clones of Google's Bigtable/MapReduce and Amazon's DynamoDB.

Types and examples
There are various ways to classify NoSQL databases, with different categories and subcategories, some of which overlap. What follows is a non-exhaustive classification by data model, with examples:

Key–value store

Key–value (KV) stores use the associative array (also called a map or dictionary) as their fundamental data model. In this model, data is represented as a collection of key–value pairs, such that each possible key appears at most once in the collection.

The key–value model is one of the simplest non-trivial data models, and richer data models are often implemented as an extension of it. The key–value model can be extended to a discretely ordered model that maintains keys in lexicographic order. This extension is computationally powerful, in that it can efficiently retrieve selective key ranges.

Key–value stores can use consistency models ranging from eventual consistency to serializability. Some databases support ordering of keys. There are various hardware implementations, and some users store data in memory (RAM), while others on solid-state drives (SSD) or rotating disks (aka hard disk drive (HDD)).

Document store

The central concept of a document store is that of a "document". While the details of this definition differ among document-oriented databases, they all assume that documents encapsulate and encode data (or information) in some standard formats or encodings. Encodings in use include XML, YAML, and JSON and binary forms like BSON. Documents are addressed in the database via a unique key that represents that document. Another defining characteristic of a document-oriented database is an API or query language to retrieve documents based on their contents.

Different implementations offer different ways of organizing and/or grouping documents:
 Collections
 Tags
 Non-visible metadata
 Directory hierarchies

Compared to relational databases, collections could be considered analogous to tables and documents analogous to records. But they are different – every record in a table has the same sequence of fields, while documents in a collection may have fields that are completely different.

Graph

Graph databases are designed for data whose relations are well represented as a graph consisting of elements connected by a finite number of relations. Examples of data include social relations, public transport links, road maps, network topologies, etc.

 Graph databases and their query language

Performance

The performance of NoSQL databases is usually evaluated using the metric of throughput, which is measured as operations/second. Performance evaluation must pay attention to the right benchmarks such as production configurations, parameters of the databases, anticipated data volume, and concurrent user workloads.

Ben Scofield rated different categories of NoSQL databases as follows:

Performance and scalability comparisons are most commonly done using the YCSB benchmark.

Handling relational data
Since most NoSQL databases lack ability for joins in queries, the database schema generally needs to be designed differently. There are three main techniques for handling relational data in a NoSQL database. (See table Join and ACID Support for NoSQL databases that support joins.)

Multiple queries
Instead of retrieving all the data with one query, it is common to do several queries to get the desired data. NoSQL queries are often faster than traditional SQL queries so the cost of additional queries may be acceptable. If an excessive number of queries would be necessary, one of the other two approaches is more appropriate.

Caching, replication and non-normalized data
Instead of only storing foreign keys, it is common to store actual foreign values along with the model's data. For example, each blog comment might include the username in addition to a user id, thus providing easy access to the username without requiring another lookup. When a username changes however, this will now need to be changed in many places in the database. Thus this approach works better when reads are much more common than writes.

Nesting data
With document databases like MongoDB it is common to put more data in a smaller number of collections. For example, in a blogging application, one might choose to store comments within the blog post document so that with a single retrieval one gets all the comments. Thus in this approach a single document contains all the data you need for a specific task.

ACID and join support

A database is marked as supporting ACID properties (Atomicity, Consistency, Isolation, Durability) or join operations if the documentation for the database makes that claim. However, this doesn't necessarily mean that the capability is fully supported in a manner similar to most SQL databases.

See also

 CAP theorem
 Comparison of object database management systems
 Comparison of structured storage software
 C++
Database scalability
 Distributed cache
 Faceted search
 MultiValue database
 Multi-model database
 Triplestore
 Schema-agnostic databases

References

Further reading

External links

Data management
Distributed data stores
Structured storage
Data analysis

NoSQL


Lyle E. Craker was a Professor in the Department of Plant, Soil and Insect Sciences at the University of Massachusetts Amherst. Since 2001, Craker has been trying to obtain a permit from the United States Drug Enforcement Administration (DEA) to grow marijuana for research purposes. He died in May 2022.

Education
In 1963, Craker received a B.S. degree in agronomy from the University of Wisconsin, Madison. In 1967 he received a Ph.D. in agronomy and plant genetics with a specialty in plant physiology from the University of Minnesota. In 1976 he received an associate degree in business administration from Massachusetts Bay Community College.

Marijuana studies
Craker is known for proposing that medical grade marijuana be available for scientific studies into its possible health benefits. Since the marijuana available for studies is too weak for any kind of medical study, he proposed that medical grade marijuanna be made available for research purposes. He has been named in many newspapers on this subject.  The federal government refuses to give him a license to grow medical grade marijuana. On April 29, 2009, Senators Edward M. Kennedy and John F. Kerry wrote a letter to the Honorable David W. Ogden urging the Deputy Attorney General to delay a final decision on the application by Lyle E. Craker of the University of Massachusetts Amherst to produce research-grade marijuana for use in federally approved clinical trials

Notes

External links

Year of birth missing (living people)
Living people
University of Wisconsin–Madison College of Agricultural and Life Sciences alumni
University of Minnesota College of Food, Agricultural and Natural Resource Sciences alumni
21st-century American botanists

Lyle Craker


Conservation, also known as conservation and restoration, is a job where people try to protect the important parts of a culture for the future.

Conservation activities include examination, documentation, treatment, protection.  All of this work is supported by research and education.

Definition
In traditional terms, the role of the conservator involves the examination, conservation, and preservation of cultural heritage using "any methods that prove effective in keeping that property in as close to its original condition as possible for as long as possible."

The role of conservation is a kind stewardship.

The conservator has ethical guidelines, including
 Minimal intervention
 Materials and methods which can be undone if necessary
 Full documentation of all work

An appropriate conservation strategy requires good judgment, taking into account
 the views of the owner of the object
 the heritage value and meaning of the object
 the physical needs of the material

Gallery
This series of images shows the process of restoration of a mural in France.

References

Other websites

 Metropolitan Museum of Art, What is Art Conservation?
 Liverpool Museum, Agents of Deterioration

Art

Conservation (art)


Yttrium is a chemical elemental metal with an atomic number of 39, a chemical symbol of Y, and an atomic weight of 88.905(abridged). It is classified as a transition metal. It is atomic number 39 which means it has 39 protons in an atom. It is silvery-white, solid at room temperature, and tends to form crystals. In chunk form, it is unreactive in air, but powdered yttrium may burn at 400 degrees Celsius. It has several uses, which include lasers, TV's, and metallurgy. It is a transition metal, and along with terbium, erbium, and ytterbium, is one of the four elements to be named after the town of Ytterby in Sweden, all of which are rare earth elements.

Transition metals

Yttrium


Donald George Brewer (born September 3, 1948) is an American drummer and singer. He is one of the originators of the band Grand Funk Railroad.

Early life
Brewer was born in Flint, Michigan, on September 3, 1948, the son of Clara Eileen (née Waterman) and Donald A. Brewer, and is a graduate of Swartz Creek High School.

Early career
Brewer started his first band, called The Red Devils, at the age of 12. After leaving The Red Devils, Brewer formed another band named the Jazzmasters for whom he played drums and sang. In 1964, Brewer joined former DJ Terry Knight as well as bassist Herm Jackson, guitarist Curt Johnson, and keyboardist Bobby Caldwell and formed the band Terry Knight and the Pack. In 1966, he experienced his first top 40 hit with "I (Who Have Nothing)".

Grand Funk Railroad

In 1968, Brewer left Terry Knight and the Pack along with bandmate Mark Farner and recruited Mel Schacher, the bassist for the hit band ? and the Mysterians, and formed Grand Funk Railroad. They hired Terry Knight as their manager. Grand Funk Railroad released their first album On Time in 1969 which sold over a million copies. In 1973, Grand Funk released the album We're an American Band, featuring the hit song "We're an American Band". This track, written and sung by Brewer, was the band's first #1 single. Still popular, the song has since been recorded by other artists. In addition to playing drums for Grand Funk, Brewer also provided lead vocals for a number of songs, including the first and third verses of "Some Kind of Wonderful" (1974). Brewer was the baritone lead singer for the group, in contrast to the tenor vocals of Mark Farner. In 1974, the label Qualico released the album Monumental Funk, recorded by Mark Farner and Brewer.

In 1977, following the initial breakup of Grand Funk, Brewer and former Grand Funk bandmates Mel Schacher and Craig Frost formed a new band named Flint, which released one self-titled album in 1978 before disbanding. He also continued in other musical endeavors, including producing for the band The Godz (from Columbus, Ohio) their self-titled debut album The Godz in 1978.

In 1981, Brewer and Farner resurrected Grand Funk for the album Grand Funk Lives that cracked the Billboard albums chart. Two years later, they split again and Brewer joined Bob Seger's Silver Bullet Band. In 1996 Brewer, Schacher, and Farner reunited as Grand Funk. Farner decided to leave the band at the end of 1998 to resume his solo career. In 2000, Brewer and Schacher added vocalist Max Carl, former Kiss guitarist Bruce Kulick and keyboardist Tim Cashion to the line-up. This band has been touring the U.S. and Canada playing about 40 shows per year.

Other drumming
Brewer played the bongo on Frank Zappa's song "Let Me Take You to the Beach" from the album Studio Tan, released in 1978.
Brewer was featured in Classic Rock Drum Solos DVD (2007), performing a solo from when he and Grand Funk Railroad sold out Shea Stadium in 1971. In 2000, Brewer performed as a guest clinician at Modern Drummer Magazine's annual Drum Festival event. In 2006, Brewer rejoined Bob Seger & The Silver Bullet Band for their 2006–07 tour; it was his first appearance with the band since he played for them on their 1983 tour. He also played with them on their 2011 tour and during Seger's 2014–2015 Ride Out U.S. concert tour.

Personal life
Brewer lives in Jupiter, Florida, with his wife Sunny Quinn. Together since 1985, Don and Sunny have two daughters and five grandchildren.

References

1948 births
Living people
American rock drummers
Bob Seger & the Silver Bullet Band members
Florida Atlantic University alumni
Grand Funk Railroad members
Musicians from Flint, Michigan
20th-century American drummers
American male drummers
Terry Knight and the Pack members
20th-century American male musicians

Don Brewer


Malai (Hindi: मलाई, Urdu: ) is a type of clotted cream, originating from the Indian subcontinent, used in the cuisine of the Indian subcontinent, especially, in regards to sweets from the Indian subcontinent.  It is made by heating non-homogenized whole milk to about 80 °C (180 °F) for about one hour and then cooling it. A thick yellowish layer of fat and coagulated proteins forms on the surface, which is skimmed off.

Malai has about 55% butterfat. Buffalo milk is thought to produce better malai because of its high fat content. Buffalo milk with fat contents varying from 5 to 12% is boiled and then cooled down to 4 °C (39 °F) for best results. Similarly, cow's milk with milk fat from 3 to 5% is boiled and cooled to make malai.

Uses

Malai is a major ingredient in malai kofta dumplings and in sweet dishes like malai pedha, ras malai and malai kulfi. Fried koftas are made with potatoes and paneer. The flavour becomes even richer when vegetables are added to it. An example of this would be methi matar malai where the main constituent is green peas.

See also
 Kaymak
 Qishta
 Kulfi

References

Indian dairy products
Pakistani cuisine
Indian cuisine

Malai


Ballet Theatre of Queensland, founded in 1937 by Phyllis Danaher  FRAD, is the oldest continuous dance company in Australia. Ballet Theatre is based in Brisbane in the Australian state of Queensland.

History
Predating both the Australian Ballet and the Queensland Ballet, Ballet Theatre of Queensland was established by Phyllis Danaher to bring dance on a regular basis to people in Queensland. Prior to its inception, ballet had only been presented by touring companies such as that of the famous Russian ballerina, Anna Pavlova on an irregular basis. Danaher was determined to change this state of affairs and to provide opportunities for talented Queenslanders to shine in this area of the performing arts. Today the company founded by Danaher continues to present full-scale productions every year at the Playhouse, Queensland Performing Arts Centre, South Bank, Queensland.

Many wonderful artists have acted as Artistic Director over the years including from 2002 until 2011, Jodie-Anne White and Boris Bivona. Following White's death in 2012 they were succeeded by Timothy Brown and Libby McDonnell, with Tim Brown as sole Artistic Director from 2013-2019.

Funding, organisational and artistic structures
Ballet Theatre of Queensland is a non-profit incorporated organisation, governed by a board of non-executive directors under the Chairmanship of Craig Spencer. In 2013 the corporate structure of the company was changed to incorporate the governing board and an Executive Director (Denise Richardson) was appointed to manage the company in conjunction with the Artistic Director, Timothy Brown. The organisation receives no recurrent or operational funding from the Australian or Queensland Governments. Ballet Theatre of Queensland relies purely on box office from its annual production, corporate sponsors and costume and set hire fees.

Each annual production highlights the talents of dancers from dance schools across south-east Queensland. All dancers are required to take part in an audition process and are usually aged between ten and eighteen. Invited artists sometimes perform as guests with the company. Dancers of Ballet Theatre of Queensland all undertake individual studies and ballet examinations, such as Royal Academy of Dance, with their own dance schools.

Productions and equipment
In 2008, Ballet Theatre of Queensland presented performances of The Sleeping Princess in Brisbane and on tour in Toowoomba. Previous years have seen productions of Coppélia, The Nutcracker, Peter Pan, Pinocchio, Aladdin, Paquita and many others. As a result, a vast quantity of sets and costumes have been created which are available for hire by other performing arts groups.

References

Dance companies in Australia
Culture of Brisbane
Queensland Ballet
1937 establishments in Australia
Performing groups established in 1937
Companies based in Brisbane

Ballet Theatre of Queensland


Laika (; c. 1954 – November 3, 1957) was a Soviet Union space dog.  She was one of the first animals in space, and the first animal to orbit the Earth. She was a mix of either a Siberian Husky or other Nordic breed, and a terrier. NASA refers to Laika as a "part-Samoyed terrier." A dog was sent into space to get information about the behavior of living organisms in a space environment. Information from the flight led to the discovery of solar (from the sun) and cosmic radiation.

Laika had been a stray dog living in the streets of Moscow. She underwent training with two other dogs. She was then chosen as the dog to go up in the Soviet spacecraft Sputnik 2. It was launched into outer space on November 3, 1957.

Fate of Laika known
Not much was known about how spaceflight would affect living animals at the time of Laika's mission. There was also no way, at that time, to bring the satellite back down to Earth. So all the scientists knew there would be no way for Laika to survive her trip. It was necessary to send a dog first as a test, because it was not thought that humans could live in outer space.

Before her trip in Sputnik, one of the scientists took Laika home to play with his children. Dr. Vladimir Yazdovsky wrote: "Laika was quiet and charming...I wanted to do something nice for her: She had so little time left to live."

One of the technicians getting the capsule ready before final lift-off said that "after placing Laika in the container and before closing the hatch, we kissed her nose and wished her bon voyage, knowing that she would not survive the flight."

Death in space
Laika died within hours from overheating.  Her body temperature got way too hot for her to survive. The heat in her spacecraft had quickly risen to 40 degrees Celsius (104 degrees Fahrenheit). The true cause and time of her death were hidden from people until 2002.  Instead, it was reported that she died when her oxygen ran out on day six. Another untruth, as the Soviet government first said, was that she was euthanised (put to sleep) before her oxygen ran out.

In the Soviet Union, during the following years, no one openly questioned the decision to send a dog into space. It was not until 1998, after the collapse of the Soviet Union, that Oleg Gazenko, one of the top-level scientists responsible for sending Laika into space, said he was sorry for allowing her to die:

Return to Earth
Over five months later, after 2,570 orbits, Sputnik 2 burned up—along with Laika's remains—during re-entry on April 14, 1958.

Memorials and tribute
On April 11, 2008, Russian officials opened a monument to Laika. It was built near the military research facility in Moscow which prepared Laika's space flight. It is of a dog standing on top of a rocket.

She also appears on the Monument to the Conquerors of Space in Moscow.

Laika & the Cosmonauts, a Finnish surf rock band, were named for Laika. They formed in 1987.

References
Notes

Citations

Other websites

Picture of Laika's memorial

Spaceflight
Animal rights
Individual dogs
1950s in the Soviet Union

Laika


March Township is a geographic township and former municipality originally part of Carleton County in eastern Ontario, Canada.  It is currently part of the City of Ottawa. It is located in the western part of the county, bordered to the northwest by Torbolton Township, to the southwest by Huntley Township, to the east by Nepean, to the south by Goulbourn Township and to the north by the Ottawa River. According to the Canada 2001 Census, the Township had a population of approximately 26,650.

History
The township took its name from the subsidiary title of Charles Lennox, 4th Duke of Richmond, the Earl of March. The township was established in the 1820s. Early settlers in the area included Hamnett Kirkes Pinhey and Doctor Alexander James Christie.

Long before the Royal Military College of Canada was established in 1876, retired British navy and army officers who had settled in March township, proposed a military college boarding school for boys on the Great Lakes on naval and military lines in 1826.

By 1866, March was a post village with a population of about 100, situated in the township of March, and county of Carleton. The postmaster was T. Read. Citizens included W.H. Berry, brewer; George I McMurtry tanner, saddle and harness maker; William Boucher, saw mill proprietor; D Munroe, hotel keeper; Horace Pinhey, saw mill owner and D. McMurtry, general merchant.

In 1978, all of the township became part of the new city of Kanata. The village of Dunrobin, Ontario was also located in the township. In 2001, this area was amalgamated into the new city of Ottawa.

Reeves
1850 Hamnett Kirkes Pinhey
1856 R.Y. Greene
1864 W.H. Berry
1868 R.Y. Greene
1871 William Richardson
1876 R.Y. Greene
1897 n/a
1907 S. Gilchrist
1909 O. Riddell
1910 S. Gilchrist
1911 O. Riddell
1912 Godfrey Armitrage
1913 A.H. Acres
1917 George Armstrong
1923 C.R. Irvine
1925 Godfrey Armitrage
1932 John M. Storey
1949 Claude V. Riddell
1960 Ernest McCord
1962 Charles Sweeney
1963 Harold N. Craig
1968 John Mlacak
1976 Marianne Wilkinson

See also
List of townships in Ontario

Notes

References

 Woods, Shirley E. Jr. Ottawa: The Capital of Canada, Toronto: Doubleday Canada, 1980.

Former municipalities now in Ottawa
Geographic townships in Ontario
Populated places disestablished in 1978

March Township, Ontario


Eltham is a district in the south of London in the Royal Borough of Greenwich. The London Plan says Eltham is one of 35 major centres in Greater London. As a residential area (a suburb), the main features, apart from the housing, are the schools and the shops.

It was once an elite area with a palace (Eltham Palace) that dates back to the 13th century. It is now the biggest shopping area in S.E. London.

The Palace was made over in the 1930s. Stephen Courtauld had it made up in art deco style. The Courtauld family was immensely rich at the time. The Palace still has a few parts which date back in time to its former royal use. It is now owned by English Heritage.

The three wards of Eltham North, South and West have a total population of 35,459.

Eltham College is a public school (independent fee-paying school) in Mottingham, southeast London. Eltham and Mottingham were part of the same parish.

Secondary schools in Eltham include Eltham Hill School for Girls, Harris Academy Greenwich, St Thomas More Catholic School and Stationers' Crown Woods Academy (built upon the land of King Henry VIII's hunting grounds).

A campus of the University of Greenwich is in Avery Hill Park, on the borders of Eltham and New Eltham .

Eltham used to be a village and has shops like TK Maxx. The river Quaggy is in Eltham and is 17KM long. Eltham is in the royal borough of Greenwich. There  is  a graveyard.  Haimo primary is in Eltham. There is a Lidl and Poundland. Tesco is next to Eltham . There are lots of houses.  Eltham palace dates back to the Tudor times. The design was inspired by Christopher Wren. There is a swimming pool near the library. A McDonalds here they do hamburgers.

References

Areas of London
Royal Borough of Greenwich

Eltham


The Oboe Concerto in D minor, S D935, is an early 18th-century concerto for oboe, strings and continuo attributed to the Venetian composer Alessandro Marcello. The earliest extant manuscript containing Johann Sebastian Bach's solo keyboard arrangement of the concerto, BWV 974, dates from around 1715. As a concerto for oboe, strings and continuo its oldest extant sources date from 1717: that year it was printed in Amsterdam, and a C minor variant of the concerto, S Z799, was written down.

Bach's keyboard version was published as an arrangement of a concerto by Antonio Vivaldi in the 19th century. In 1923 the C minor version of the oboe concerto was published as a composition by Benedetto Marcello, Alessandro's brother. In the second half of the 20th century several publications indicated Alessandro again as the composer of the piece, as it had been in its early 18th-century print, and the oboe concerto was again published in its D minor version.

In the 20th and 21st centuries the concerto developed into a well-established repertoire piece, as well as an oboe concerto as performed on keyboard.

History
The Concerto in D minor, S D935, was published by Jeanne Roger in Amsterdam in 1717, as a Concerto a Cinque (concerto in five parts) for oboe (soloist), strings (two violin and one viola parts) and continuo composed by Alessandro Marcello. No publication date appears in the print: although the year of publication is, depending on author, sometimes given as "ca. 1714-1717" or "1716" it can be inferred from the consecutive testaments of the publisher's father (Estienne Roger) and from the sequence of publication numbers. The publication presents the melody lines unadorned, that is: it is left to the performing musician to embellish melodies with ornaments such as trills, mordents and grace notes. Alessandro Marcello published most of his works under a pseudonym (Eterio Stinfalico): the oboe concerto publication was an exception in that sense as it used his real name.

In his Weimar period (1708–17) Johann Sebastian Bach arranged several concertos by Venetian composers, most of them by Antonio Vivaldi, for solo keyboard, known as his Weimar concerto transcriptions. In July 1713 Prince Johann Ernst returned to Weimar from the Netherlands with several compositions by Italian masters. Vivaldi's Op. 3, L'estro Armonico had been published in Amsterdam in 1711, and there is little doubt that the Prince brought this edition, containing twelve concertos, to Weimar in 1713, as Bach apparently used this print for five of his solo keyboard arrangements. The Prince, who also composed Italianate concertos, presumably encouraged Bach to produce solo keyboard arrangements of such works. As the Prince left Weimar in July 1714 it is estimated that most of Bach's solo keyboard arrangements of Italian and Italianate concertos originated in the period from July 1713 to July 1714. That is, at least those arrangements that could be performed on a harpsichord without pedalboard, while the Weimar court organ (which would be needed for arrangements including pedals such as BWV 592–597) would have been unavailable for undergoing repairs in this period.

Bach's manualiter arrangement, BWV 974, of the Marcello concerto was apparently not based on the Amsterdam edition, but must have been based on a (lost) manuscript version of the concerto that circulated before it was printed. The July 1713 to July 1714 timeframe may fit for the production of the arrangement of this concerto, although an earlier or later date is possible too. Bach's autograph of the solo keyboard arrangement is lost, but the arrangement was copied around 1715 by Bach's second cousin Johann Bernhard, as the third item in a manuscript containing 12 of Johann Sebastian's keyboard transcriptions of Italian and Italianate concertos. In 1739 Johann Bernhard's son Johann Ernst wrote a title page for this collection, suggesting that the collection contained Vivaldi arrangements for organ exclusively. He may have intended this title page for the first concerto in the collection only (which was indeed an arrangement of a Vivaldi concerto), but an unknown hand later added the number "XII" before the title, thus causing the misunderstanding that all 12 were Vivaldi arrangements. Another copy of Bach's arrangement indicates "Marcello" (without first name) as the composer of the original work, and J. S. Bach as the arranger. That copy, specifying harpsichord as the intended instrument for the arrangement, originated after Johann Bernhard's, but may have been copied from an earlier stage of Bach's arrangement. Another manuscript containing Bach's arrangement of Marcello's oboe concerto indicated "J. S. B." as composer on the title page, without mentioning an earlier model, or its composer, for the composition.

The ornamentation as indicated in Bach's keyboard version of the concerto works well on harpsichord, but is less suitable for performance on an early 18th-century oboe. Nonetheless Bach's ornamentation has been used for 20th-century publications of the oboe concerto – the ornamentation causes fewer problems when performed on a modern oboe. Editions of the D minor version of the oboe concerto with an ornamentation which is better in line with the possibilities of a baroque oboe have been proposed since the late 20th century.

Another transcription of the concerto, as concerto a 5 for oboe, strings and continuo in C minor, is found in a 1717 manuscript. The type of errors in this manuscript seems to suggest that the transposition from D minor to C minor may have been produced by its scribes while copying. This manuscript writes the composer's name as "Marcello" without specifying a first name: as Alessandro's brother Benedetto was far better known as a composer by the name Marcello, later generations would interpret the title of the manuscript as referring to the better known of the "Marcello" composers.

Movements
The piece has three movements:
 Andante spiccato
 Adagio
 Presto

The concerto survives in different printed and manuscript versions, one of these in C minor.

Other versions
The concerto has also been recorded played on a piccolo trumpet - a notoriously challenging transcription due to the breath control and tight embouchure required for its sustained passages in the higher register.

References

Sources
Manuscripts
 D-B Mus. ms. Bach P 280 (3) at Berlin State Library: , pp. 12–16, 1715, in XII. CONCERTO | di | VIVALDI. | elabor: | di | J. S. Bach. ("Concerto in d (BWV 974)" in Bach Digital Source 00001222; )
 SW Mus. Ms. 3530 at , Musikaliensammlung (D-SWl): Concerto a 5: | Hautbois | Violino: Primo | Violino: Secundo | Viola: | et | Basso Continuo | dÿ | Marcello:, 1717 (S Z799; )
 D-B Mus. ms. Bach P 804, Fascicle 4 at Berlin State Library, after 1727  BWV 974, copied by Johann Peter Kellner and others; Bach Digital Source 00001801)
 D-DS Mus. ms. 66 at , 1720–39 (BWV 974; Source 00002746 and first page at Bach Digital website)

Score publications
 "Concerto II: del Sig. Alexandro Marcello" in Concerti a Cinque: Con Violini, Oboè, Violetta, Violoncello e Basso Continuo, Del Signori G. Valentini, A. Vivaldi, T. Albinoni, F. M. Veracini, G. St. Martin, A. Marcello, G. Rampin, A. Predieri. – Volume I. Amsterdam: Jeanne Roger (Catalogue No. 432), [1717] (S D935)
 Ernst Naumann (editor). Concerto III (pp. 73–79) of "VIII: XVI Concerte nach A. Vivaldi" in Volume 42: Clavierwerke, Band 5 of the Bach-Gesellschaft Ausgabe. Leipzig: Breitkopf und Härtel, 1894. Plate B.W. XLII.
 Richard Lauschmann (editor). Benedetto Marcello: Concerto für Oboe in c-Moll mit Begleitung von zwei Violinen, Viola, Basso und Cembalo (oder Pianoforte). Leipzig: Forberg, 1923
 Hugo Ruf (editor). Konzert d-moll für Oboe (Violine), Streicher und Basso continuo: Cembalo (Orgel), Violoncello (Viola da gamba) ad lib. Schott, 1963.
 Bernard Howard Gilmore (editor). Alessandro Marcello's Concerto in D minor, for oboe, strings, and continuo: A practical edition and discussion, No. 1 Department of Music, 1965.
 Himie Voxman (editor); Richard Hervig (continuo realization / piano reduction). Alessandro Marcello: Concerto in D minor (C minor) for Oboe & Strings (with Bach's Ornaments). London: Musica Rara, 1977
 Manfred Fechner (editor). Alessandro Marcello: Konzert d-Moll für Oboe, Streicher und Basso continuo. Leipzig: Peters, 1977.
 Karl Heller (editor). "Concerto d-moll BWV 974 nach dem Oboenkonzert von Marcello" in Johann Sebastian Bach: Neue Ausgabe sämtlicher Werke, Series V: Keyboard and Lute Works, Volume 11: Arrangements of Works from other Composers. Bärenreiter, 1997.

Writings
 Richard D. P. Jones. "Concerto Transcriptions" pp. 142–153 in The Creative Development of Johann Sebastian Bach, Volume I: 1695–1717 – Music to Delight the Spirit. Oxford University Press, 2006.
 Rudolf Rasch. "De dochters van Estienne Roger", pp. 65–78 in Jaarboek voor Nederlandse boekgeschiedenis, Vol. 12. Nijmegen: Vantilt, 2005.
 David Schulenberg. "8: The Concerto Transcriptions", pp. 117–139 in The Keyboard Music of J.S. Bach. Routledge, 22013.
 Eleanor Selfridge-Field. The Music of Benedetto and Alessandro Marcello: A Thematic Catalogue with Commentary on the Composers, Repertory, and Sources. Oxford University Press/Clarendon Press, 1990.
 Rebecca Kemper Scarnati. The Ornamentation of Four Early Eighteenth-century Italian Oboe Concerti Found in "Concerti a Cinque... Libro primo" of Jeanne Roger (Amsterdam, ca. 1714-1717). University of Arizona, 1996 (Ph.D. thesis).

External links
Marcello's Concerto in D minor for Oboe, Strings and Basso continuo: a view of its origin and use in J.S. Bach's Concerto III for solo harpsichord, BWV 974

Compositions by Alessandro Marcello
Marcello
1715 compositions
1710s in music
Compositions in D minor
Compositions with a spurious or doubtful attribution

Oboe Concerto (Marcello)


Truman is a 1995 American biographical drama television film directed by Frank Pierson and written by Thomas Rickman, based on David McCullough's Pulitzer Prize-winning 1992 book, Truman. Starring Gary Sinise as Harry S. Truman, the film centers on Truman's humble beginnings, his rise to the presidency, World War II, and his decision to use the first atomic bomb. The film's tagline is "It took a farmer's hand to shape a nation."

Cast
 Gary Sinise as Harry S. Truman
 Diana Scarwid as Bess Truman
 Richard Dysart as Henry L. Stimson
 Colm Feore as Charlie Ross
 James Gammon as Sam Rayburn
 Tony Goldwyn as Clark Clifford
 Pat Hingle as  Boss Tom Pendergast
 Harris Yulin as General George C. Marshall
 Leo Burmester as Frank Vassar
 Amelia Campbell as Margaret Truman
 Virginia Capers as Elizabeth Moore
 John Finn as Bob Hannegan
 Željko Ivanek as Eddie Jacobson
 David Lansbury as Lt. Jim Pendergast
 Remak Ramsay as Dean Acheson
 Marian Seldes as Eleanor Roosevelt
 Lois Smith as Madge Wallace Gates
 Richard Venture as J. Lester Perry
 Daniel von Bargen as General Douglas MacArthur
 Michael Murphy as Dinner Speaker (uncredited)

Reception
On Rotten Tomatoes, the film has an 88% rating based on reviews from 8 critics. Steve Crum of the Dispatch-Tribune Newspapers rated it 5 out of 5, calling it a "Superb production with memorable Sinise performance in title role." TV Guide said, "Over-applauded by many critics, Truman is sturdy, standardized biographical moviemaking elevated by incontestably brilliant acting. Unfortunately, this cavalcade of facts and figures is conceived and executed impersonally like a docent delivering a speech in front of the waxworks at a Presidential museum. … [The audience lacks] a sense that Truman's travails have been shaped on screen by a filmmaker's passion. … Truman offers the satisfaction of textual thoroughness and seamless storytelling, but few flashes of inspiration or imagination."

Accolades

Notes

References

External links

1995 television films
1995 films
1995 drama films
1990s biographical drama films
1990s English-language films
1990s political drama films
American biographical drama films
American political drama films
Films about Harry Truman
Biographical television films
Cultural depictions of Douglas MacArthur
Cultural depictions of Eleanor Roosevelt
Cultural depictions of Harry S. Truman
American drama television films
Films about presidents of the United States
Films based on biographies
Films set in Missouri
Films shot in Kansas
Films shot in Missouri
Films directed by Frank Pierson
Films scored by David Mansfield
HBO Films films
Primetime Emmy Award for Outstanding Made for Television Movie winners
Television films based on books
1990s American films

Truman (1995 film)


Marjorie's Quest is a sentimental children's novel about an orphan girl by Jeanie Gould, first published in 1872.

The book inspired the Polish writer Henryk Sienkiewicz to write his children's book In Desert and Wilderness.

Plot summary
The story takes place in the second part of the 1850s.  At the beginning of the novel, recently orphaned ten-year-old Marjorie is on her way to stay with an unknown relative. She meets a nice and concerned Judge Gray, who believes the relative, a shiftless drunkard, to be unsuitable. He keeps the girl for a while at his place, where she befriends his teenage son, Reggie.

Marjorie is eventually sent to an orphanage, but does not stay there long, since a wealthy family adopts her. The parents have just lost their own little girl and dote on Marjorie, but their teenage son becomes highly jealous of his new sister. His unpleasant behaviour results in Marjorie having an accident, and consequently she loses her memory and goes missing. An old beggar finds her and looks after her. The beggar turns out to have selfish motives, though. When Marjorie recovers, she is taken out to beg by the beggar because people more willingly give money to children. One day, they meet a young woman who takes Marjorie from the beggar and adopts her.

Six years later, Marjorie goes to a Southern farm, where she is a teacher for two little children. There, she meets a young soldier.

References

External links
 Free Marjorie's Quest e-book

1872 American novels
Novels set during the American Civil War
American children's novels
Fiction set in the 1850s
Novels about orphans
1870s children's books
Children's books set in the 1850s
Children's books set in orphanages

Marjorie's Quest


Raven are an English heavy metal band, formed in 1974 by the Gallagher brothers, bassist and vocalist John and guitarist Mark. They have released fifteen studio albums to date, and had a hit with the single "On and On". Often referred to as "athletic rock", the band gained notoriety as part of the early-to-mid 1980s new wave of British heavy metal scene and is considered to be an influence and inspiration on the development of the thrash metal genre, including "the big four" (Metallica, Slayer, Megadeth and Anthrax), as well as other bands such as Testament, Exodus, Overkill, Kreator, Destruction, Sodom, Onslaught, Death Angel, Flotsam and Jetsam, Coroner, Annihilator, and Razor. Raven are also notable for headlining Metallica's first-ever national tour in 1983.

History

Formation (1974–1979)
Raven was formed in 1974 in Newcastle, England, by brothers John and Mark Gallagher, and Paul Bowden.

The band began creating a sound which was rooted in British hard rock, with progressive rock tendencies and a willingness to take musical chances. Raven's highly energized live show and interaction between band members developed a unique image and style of play, described as "athletic". They began wearing guards, helmets, and plates from various sports (hockey, baseball, etc.), and incorporating them into the playing of their instruments (for instance, elbow pads and hockey masks were used to strike cymbals). Their music began to develop into a unique amalgam of speed and power – heavily influencing the genres of speed/thrash metal and power metal.

They started by playing local pubs and working men's clubs in the North East of England – occasionally opening shows for punk bands such as the Stranglers and the Motors.

Early years (1980–1983)
Eventually, the band signed with Neat Records, a low-budget metal label based in Newcastle, England. They released  their first single, "Don't Need Your Money", in 1980 and embarked on a number of UK shows opening for bands such as Ozzy Osbourne's Blizzard of Ozz, Motörhead, Whitesnake, and Iron Maiden. Raven's first album, Rock Until You Drop, was released to critical acclaim in 1981, leading the band to tour Italy and the Netherlands. Their second album, Wiped Out, was released in 1982, and was influential on creating the burgeoning thrash and speed metal genres, making their only appearance in the UK Albums Chart, with the collection peaking at No. 63.

Sufficient noise was made for the American market to take notice and New Jersey's Megaforce Records signed them, issuing their next recording in the States as All for One in 1983. The band came stateside in 1983, and toured extensively on the "Kill 'em All for One" tour with young thrashers Metallica (on their first tour) as their opening act.

Commercial success (1984–1987)
The manager and founder of Megaforce Jon Zazula believed that Raven was major-label material, and kept them touring constantly until the big labels noticed. The Live at the Inferno recording, released in 1984, was a product of one of those tours. Raven contributed songs Hot Moves and Ladykiller to the soundtrack for the 1984 movie Hot Moves.   Atlantic Records signed Raven to a worldwide contract after a minor bidding war (major label contracts would follow for Metallica and Anthrax in the following year). The band moved its permanent base from Newcastle to New York City.

Stay Hard was released in 1985, and proved a minor hit on the strength of single and video "On and On". The Atlantic years proved to be less than stellar for the band. A drastic shift in a more commercial direction came at the label's behest, with many die-hard fans being alienated by the slick, lightweight production of The Pack Is Back. However, the band redeemed themselves with a return to form on the Mad EP in 1986 and the Life's a Bitch album in 1987, before arranging their departure from Atlantic.

After the tour for Life's a Bitch, drummer Rob "Wacko" Hunter left the band in late 1987, to spend more time with his new wife and family. He later pursued a career in audio production and engineering, eventually working with jazz musicians Branford Marsalis and Harry Connick Jr.

Post-Atlantic era (1987–2000)
Joe Hasselvander (ex-Pentagram) joined as drummer in late 1987, and the band dropped the outlandish image for a more conventional denim-and-leather look for their 1988 release Nothing Exceeds Like Excess, which was self-produced and continued the band's return to form with fast, involved compositions. A concert at the Trocadero Theatre in Philadelphia was released by Combat Records as Ultimate Revenge 2 in 1989, and featured the band on four cuts, alongside a number of thrash bands such as Death, Forbidden, Dark Angel, and Faith or Fear. Next was a US tour opening for Testament, and then a European tour with German band Kreator. The advent of grunge and the dissolution of their record label Combat Records led the band to concentrate on continental Europe and Japan, where they retained more of a following.

In 1990, the band recorded the album Architect of Fear in Germany (again self-produced) showcasing the band's heavier side. They toured Europe in 1991 as special guests of German band Running Wild. 1992 saw the band releasing an EP called Heads Up, featuring four new studio songs and three live tracks from the 1991 tour. They again toured Europe with German band Risk as openers.

The band spent the first half of 1993 writing and demoing new material; delays ensued due to John Gallagher having a house fire and thieves stealing guitars from the remains. In the following year, the band regrouped and inked a deal with Japanese label Zero – an album entitled Glow was recorded at Showplace Studios, Dover, New Jersey. The album was self-produced and varied in feel, even sporting a few ballads alongside heavier material such as "Altar" and "Enemy". A cover of Thin Lizzy's "The Rocker" also made the album. Also in 1994, the band attended and played live at the Foundations Forum metal convention in Burbank, California, alongside acts such as Korn, Yngwie Malmsteen, and Machine Head.

The band toured Japan for the first time in May 1995. Raven was also touring Europe irregularly.
A live album called Destroy All Monsters/Live in Japan was recorded featuring songs from Glow, as well as older cuts such as "For the Future".

1996 was spent writing and recording the new studio album Everything Louder, with the sessions taking place in Manassas, Virginia at future Bret Michaels guitarist Pete Evick's studio. The recording was a frantic affair done over four weekends with almost no rehearsal to get a "live" feel onto tape. The album came out in 1997 in Japan, Europe and the US, and the band went on the road in Europe with support acts Tank and HammerFall.

1999 promised a Raven box set with the New York label Spitfire Records. However, after a "lack of communication" John took the extra live/studio/bootleg tracks and working with engineer S.A. Adams compiled a collection entitled Raw Tracks, featuring unreleased material from 1984 to the present. The band also reunited with producer Michael Wagener and worked on an album titled One for All recorded at Wagener's Wireworld Studio in Nashville, Tennessee. Following its release, the band toured opening for old friend Udo Dirkschneider's band U.D.O. in Europe, followed by a US tour with U.D.O. in 2000.

Mark Gallagher's accident, hiatus and Walk Through Fire (2001–2014)

The band recorded and toured until 2001, when a wall collapsed on guitarist Mark Gallagher, crushing his legs. Raven went on hiatus for nearly four years, from 2001 to 2004, while the guitarist rehabilitated. A number of shows were played in 2004 with Mark in the North East of the US with him in a wheelchair.

Following a number of United States shows and European festival appearances (Bloodstock Open Air in the UK in 2005, Keep it True in Germany in 2005, Bang Your Head!!! in Germany in 2006) the band started work on the new album Walk Through Fire, initially released in Japan on King Records in 2009, then securing releases in 2010 for Europe on SPV and in North America on Metal Blade. The album was well received both critically and by the fans, and the band have been steadily playing live, playing the European festival circuit, making a triumphant return to Japan, and playing their first shows in South America, returning there in 2012.

In 2013, a retrospective DVD was released, entitled Rock Until You Drop – A Long Day's Journey, featuring never before seen footage of the band from 1982 onward, interviews with musicians including; Lars Ulrich, Dee Snider, Dave Ellefson, Chuck Billy, Jon Zazula, and Chris Jericho. The band played its first full-scale tour of the US since 1989 headlining on the East Coast and joining forces for a double headlining jaunt through the West Coast with fellow UK heavy metal band Diamond Head. November and December had the band playing Europe with old mates Girlschool as support, garnering favorable reviews for the energetic performances.

In January 2014, the band were featured on the 70000 Tons of Metal cruise from Miami to Mexico and played in South America in March. Metallica invited the band to open for them at a football stadium in São Paulo, Brazil in March 2014 in front of almost 70,000 fans. The band started work on a new album, ExtermiNation, in September 2014, and were special guests on three United States showcase gigs with Accept. They then played a 43-date United States tour in October and November.

ExtermiNation (2015–2016)
In order to cover additional recording costs for a new album to be titled ExtermiNation, the band initiated a Kickstarter crowdfunding project; in the process they recorded eleven songs for a cover album entitled Party Killers exclusively for the contributors. The album rehearsals and recording of Party Killers were held at Etching Tin Studios in Richmond, Virginia.

As with the Walk Through Fire album, ExtermiNation was recorded at Assembly Line Studios in Vienna, Virginia with Kevin "131" Guitierrez engineering and the band producing. Recording took place in August 2014 with a short break as the band played special guest on three shows by German band Accept in the US.
The band spent a lot of time in the writing/arranging phase of the project; actual recording took approximately two weeks.

ExtermiNation was released in late April 2015 and consists of 14 songs plus the bonus track "Malice in Geordieland" (sung entirely in the Newcastle "Geordie" accent). It was released worldwide via SPV, except in Japan via Spiritual Beast and in South America via Die Hard. The album garnered both favorable fan reaction and critical acclaim noting the production, songwriting, performances and especially the aggression of the band which harkened back to the early albums.
A lyric video for "Destroy All Monsters" kicked off the album release, followed by a band video for "Tank Treads – The Blood Runs Red"
In 2015, the band played their first shows in Colombia (in Pereira and Bogotá), where they were present for a 6.2 earthquake; then, the Pentaport Festival in South Korea was followed by dates in Japan. After a two-week run of dates in the United States, the band embarked on their longest headline European tour for many years from September through October, visiting a number of countries for the first time.

New drummer, Metal City and next album (2017–present)
In May 2017, Joe Hasselvander suffered a heart attack two days before a string of US/European dates. In order to fulfill these obligations, the Gallagher brothers had a number of drummers to assist. Jimmy Mess did the Chicago show, Mike Heller (Fear Factory, Malignancy) performed on three US dates, Fabio Alessandrini (Annihilator) did the Muskelrock (Sweden) festival, and Dave Chedrick did the 11-date tour of Europe.
When it became obvious Joe Hasselvander would not be physically able to play drums for the foreseeable future, the Gallagher brothers invited Heller to play the upcoming Euro festival dates they had booked (Bang Your Head, Leyendes Del Rock, Headbangers Open Air, Metaldays and Alcatraz), as his playing was a perfect fit. The band then embarked upon a 70-date European run with 50 dates as special guests on the Udo Dirkschneider "Back to the Roots 2" tour and 20 select headline shows.

Raven released their fourteenth studio album, Metal City, on 18 September 2020. It marked their first studio album in five years, and their first to feature Mike Heller on drums.

In July 2022, Raven announced that they had signed to Silver Lining Music and are planning to release their fifteenth studio album in 2023.

Band members

Current members
 John Gallagher – bass, lead vocals (1974–present)
 Mark Gallagher – guitar, backing vocals (1974–present)
 Mike Heller – drums (2017–present)

Touring substitutes
 Manos Kehagias – drums (2013)
 Spiros Antonatos – drums (2013)
 Nick Papadopoulos – drums (2013)
 Fabio Alessandrini – drums (2017)
 Jimmy Mess – drums (2017)
 Dave Chedrick – drums (2017)

Former members
 Paul Bowden – guitar, backing vocals (1974–1979)
 Paul Sherrif – drums (1975–1976)
 Mike "Mick" Kenworthy – drums (1976–1977)
 Sean Taylor – drums (1977–1979)
 Pete Shore – guitar, backing vocals (1979–1980)
 Rob "Wacko" Hunter – drums, backing vocals (1979–1987)
 Joe Hasselvander – drums, backing vocals (1987–2017)

Lineups

Timeline

Discography

Studio albums
Rock Until You Drop (1981)
Wiped Out (1982)
All for One (1983)
Stay Hard (1985)
The Pack Is Back (1986)
Life's a Bitch (1987)
Nothing Exceeds Like Excess (1988)
Architect of Fear (1991)
Glow (1994)
Everything Louder (1997)
One for All (2000)
Walk Through Fire (2009)
ExtermiNation (2015)
Metal City (2020)
All Hell's Breaking Loose (2023)

See also
List of new wave of British heavy metal bands

References

External links

Magazine clippings of Raven

English heavy metal musical groups
British speed metal musical groups
English hard rock musical groups
Musical groups established in 1974
English musical trios
Musical groups from Newcastle upon Tyne
Sibling musical groups
Combat Records artists
Megaforce Records artists
Atlantic Records artists
New Wave of British Heavy Metal musical groups

Raven (British band)


Adam Helfant is a former Association of Tennis Professionals (ATP) executive chairman and president who succeeded Etienne de Villiers in 2009. Helfant is an MIT and Harvard Law graduate. He spent 12 years with Nike as a senior executive and three years with the National Hockey League as an attorney.

Helfant left the ATP at the end of 2011. He denied that he asked for more money, insisting that he was offered a long-term contract when his initial three-year deal was expiring and that he turned the offer down for personal reasons. Helfant left the ATP with in a strong financial position. He had tried to increase the amount of rest the players got. In November 2011 Helfant stated that he had boosted the ATP's commercial revenue by 80% and that the company's reserves had increased by more than 1,400%.

In 2012, with Chris Bevilacqua, Helfant started a sports and media advisory company called Bevilacqua Helfant Ventures.

Helfant's niece Grace McDonnell was one of the victims of the Newtown Tragedy.

References

Living people
National Hockey League executives
Nike, Inc. people
Tennis people from Connecticut
Harvard Law School alumni
Massachusetts Institute of Technology alumni
American lawyers
Year of birth missing (living people)
Tennis executives

Adam Helfant


Paul Vincent Guilfoyle () (born April 28, 1949) is an American television and film actor. He was a regular cast member of the CBS crime drama CSI: Crime Scene Investigation, on which he played Captain Jim Brass from 2000 to 2014. He returned for the series finale, "Immortality", in 2015. He also returned for two episodes in the sequel CSI: Vegas.

Early life
Guilfoyle was born in Boston, Massachusetts. He attended Boston College High School and spoke at the 2005 commencement of the school's seniors. He would later appear in Spotlight, which features the school. Guilfoyle graduated from Lehigh University in 1972.

He is a member of The Actors Studio and established a substantial theatrical reputation on and off Broadway, including 12 years with the Theatre Company of Boston, appearances on Broadway include in David Rabe's The Basic Training of Pavlo Hummel, Those The River Keeps, Richard III with Al Pacino, David Mamet's Glengarry Glen Ross, Death Defying Acts, and Search and Destroy.

Career
Guilfoyle appeared in Three Men and a Baby, and in an early episode of Crime Story, where he played a criminal who takes a hostage, getting into a shootout with the Major Crimes Unit. He has since become one of the industry's leading character actors specializing in roles on both the good and bad side of law enforcement.

His television appearances most notably include guest roles on Miami Vice, Law & Order, Wiseguy, New York Undercover, Ally McBeal and Justice League Unlimited as Travis Morgan, the Warlord. His film credits are numerous, spanning nearly three decades. His appearances in notable films include Howard the Duck, Wall Street, Celtic Pride, Beverly Hills Cop II, Quiz Show, Final Analysis, Hoffa, Mrs. Doubtfire, Air Force One, Striptease, Amistad, The Negotiator, Extreme Measures, Session 9, Primary Colors, and L.A. Confidential.

Guilfoyle also appears in Alter Bridge's video for their single "Broken Wings", and the HBO original film Live from Baghdad.

Guilfoyle is best known for his role as L.V.P.D. Captain James "Jim" Brass in the CBS police drama CSI: Crime Scene Investigation, which he performed since the show's inception in 2000.

In 2014, it was announced that Guilfoyle would be leaving CSI: Crime Scene Investigation after 14 years, but returned in 2015 for the two-hour series finale "Immortality".

In 2020, he guest-starred on Star Trek: Discovery in the two-part story "Terra Firma", as Carl, the humanoid avatar of the Guardian of Forever.

Personal life
In 1989, Guilfoyle married choreographer and aerial artist Lisa Giobbi. They have one child and live in New York City.

Filmography

Film

Television

Video games

Awards and nominations

References

External links

1949 births
20th-century American male actors
21st-century American male actors
American male film actors
American male television actors
Boston College High School alumni
Lehigh University alumni
Living people
Male actors from Massachusetts
People from Canton, Massachusetts
Yale University alumni

Paul Guilfoyle


Yu (Chinese surname) (Chinese: 余)
Yee (surname) (simp. 叶, trad. 葉) -- variants Yee, Yeh, Yip/Ip, Yap, Yapp

Notable people with surname Yee (余)
Persons with surname "Yee"(余) include:
Charmaine Yee (born 1987), Singaporean emcee and radio announcer
James Yee (born 1968), US Army Chaplain
Kelvin Han Yee (born 1961), American Actor

Notable people with surname Yee (爾)
Persons with surname "Yee"(爾) include:
Derek Yee (born 1957), film director and screenwriter

Notable people with surname Yee

Angela Yee, American radio personality
Becky Yee (born 1969), American portrait photographer
Betty Yee, California Comptroller
David Yee, Canadian actor and playwright
Harry Yee (1918-2022), American bartender
Jennifer Yee, American chef
Jimmie R. Yee (born 1934), American politician
Kelvin Han Yee, American actor
Kimberly Yee (born 1974), American politician
Leland Yee (born 1948), American politician
Lisa Yee, Chinese American writer
Mark Yee (born 1982), Filipino basketball player
Mary Yee (née Ygnacio, 1897–1965), the last first-language speaker of the Barbareño language
Nick Yee, American researcher of social interaction in virtual environments
Paul Yee (born 1956), Chinese-Canadian historian and writer
Richard Yee, Filipino basketball player
Rodney Yee, American yoga instructor
Yee Chung-Man, Chinese production designer, art director, costume designer and film director
Yee Jee Tso (born 1975), Canadian actor

Yee


A shipwreck is the remains of a ship that has been wrecked. Shipwrecks are found either beached on land or sunken to the seabed of a body of water. They may be deliberate or accidental. UNESCO estimates that worldwide over 3 million shipwrecks. Some are thousands of years old.

Attraction

Historic wrecks are attractive to marine archaeologists because they preserve historical information. For example, studying the wreck of Mary Rose revealed information about seafaring, warfare, and life in the 16th century. Military wrecks, caused by a battle at sea, are studied to find details about the historic events. They can reveal much about the battle that occurred. Once in a while there is a discovery of a treasure ship, often from the period of European colonisation. Some contemporary wrecks, such as the oil tankers Prestige or Erika, are of interest because of their potential harm to the environment. Other contemporary wrecks are scuttled (sank deliberately) in order to create reef growth.

Famous shipwrecks

Some very famous shipwrecks include the RMS Titanic, HMHS Britannic, RMS Lusitania, SS Andrea Doria, SS Edmund Fitzgerald or the Costa Concordia.  There are also thousands of wrecks that were not lost at sea but have been abandoned or sunk. These abandoned, or derelict ships are typically smaller craft, such as fishing vessels. They sometimes pose a hazard to navigation.

References

Other websites

 10 Shipwrecks Frozen In Time
 International Registry of Sunken Ships

Shipwrecks

Shipwreck


Trinity Congregational Church, later known as Union Chapel, is a former place of worship for Congregationalists and Independent Christians in Arundel, an ancient town in the Arun district of West Sussex, England.  Protestant Nonconformism has always been strong in the town, and the chapel's founding congregation emerged in the 1780s.  After worshipping elsewhere in the town, they founded the present building in the 1830s and remained for many years.  Former pastors included the poet George MacDonald.  Robert Abraham's distinctive neo-Norman/Romanesque Revival building was converted into a market in the 1980s and has been renamed Nineveh House.  The church is a Grade II Listed building.

History
Protestant Nonconformism—Christian worship which stood apart from both the Established Anglican Church and Roman Catholicism—was successful and influential in Sussex from the 17th century.  Although East Sussex had greater numbers of Nonconformists and more chapels, some parts of West Sussex were hotbeds of Protestant dissent. Among these was the ancient hilltop town of Arundel, on the River Arun inland from the English Channel coast.  Several groups founded congregations there in the 17th century, including Presbyterians, Quakers and Baptists.

A period of decline for Nonconformist worship was reversed in the late 18th century, and a group of Independent Christians (who advocated Congregationalist polity) began meeting in 1780.  In 1784, they erected a chapel in Tarrant Street in the town centre.  The congregation had early links with Presbyterianism and the Countess of Huntingdon's Connexion, a localised Calvinistic sect, but by the 19th century the chapel was aligned with the Congregational Church.

The congregation thrived in the early 19th century: a Sunday school and a choir were established in the 1810s, and the building was extended in 1822.  Membership was recorded as 150 in 1829. In 1836, a site adjacent to the chapel was acquired for a new chapel.  The contract to design and built it was issued on 18 July 1836. London-based architect Robert Abraham won the commission, and building work lasted from 1836 until 1838, when the new chapel was consecrated. The new building was larger and had a hall underneath, originally used as a schoolroom. Abraham was working on Arundel Town Hall at the same time, and the buildings have some similarities of design.

George MacDonald, the Scottish poet and children's writer, became the pastor in 1850, but his views and sermons were unpopular and he resigned three years later. He had trained as a Congregational pastor at Highbury Theological College, but did not finish the course which he began in 1848 and took up the position at Arundel after spending some time as a travelling preacher.  His preaching was influenced by his poetry and did not suit the congregation's beliefs; he left in May 1853 after his stipend was cut, and turned to writing.

The church founded several other congregations and chapels in the area during the 19th century, starting at Yapton in the 1840s: the present building, a Grade II-listed flint structure with an attached Sunday school, was put up in 1861 and now houses an Evangelical congregation with the name Yapton Free Church. Providence Congregational Chapel was founded at Marehill, near Pulborough, in 1845; its successor, built in the 1950s in Pulborough town centre, is now known as Pulborough United Reformed Church. Amberley Congregational Chapel in Amberley was founded in 1867 and was used for worship until 1978. At Trinity Church, attendance at the time of the 1851 Census was over 100, and more than 100 children went to the Sunday school in the hall under the church.  Ministers were housed in a manse further along Tarrant Street.

The church became known as Arundel Union Church (or simply Union Church) in 1966 when the congregation of the Arundel Baptist chapel joined; this allowed their building in Arun Street to be closed and sold. The Congregational denomination merged with the Presbyterian Church of England and some smaller denominations in 1972 to form the United Reformed Church, which prompted the Baptist members of the congregation to split from the church in 1973 and join Angmering Baptist Church until they built a new church of their own in Arundel in 1980. Meanwhile, United Reformed services were held at Union Church until 1981, but the building was sold during the 1980s.  Since 1990 it has housed the Arundel Arts, Crafts and Antiques Market, which has 16 stalls and is open daily.  The name Nineveh House has been adopted since the building was converted to commercial use. It was designated a Grade II Listed building on 7 October 1974.

The chapel was registered for the solemnisation of marriages from April 1840 until its certification was formally revoked in August 1982.

Architecture

Robert Abraham's design represents a "brief appearance" of the Romanesque Revival style in the architectural history of Nonconformist chapels in Sussex. There are also elements of Neo-Norman architecture. Ian Nairn dismissed the building as "not good", and notes its similarity to the "gloomy" town hall and council offices of 1836 by Abrahams.

The façade is of knapped flint with galletting and stone quoins, dressings, buttresses and string-courses.  The side walls have red and grey brickwork and knapped flint. The front elevation is divided into three equal-width bays by full-height ashlar-faced stone buttresses in the form of pilasters, which terminate at a stone string-course separating the gabled slate roof (enclosing attic space) from the body of the two-storey building. The eaves are supported on ashlar corbels. Below the gable, at the attic level, is a louvred round-arched window surrounded by roll-moulding. The first floor has three tall windows with round heads, and the centrally placed entrance at ground-floor level is set into a similar arch flanked by capital-topped colonnettes (small medieval-style shafts). The stone used for the window and door surrounds, string-courses and buttresses was quarried at nearby Pulborough. Inside, the original gallery on the north wall (surrounding the entrance) survives, but those on the west and east sides have been removed.

There was originally a garden at the front.  Its surrounding walls and gate piers are included in the English Heritage listing.  They are of brick with inlaid flints and stone dressings and coping.  The piers are also of stone from Pulborough, and have string-courses and decorative panelling.

See also
List of places of worship in Arun

References

Bibliography

Churches completed in 1838
19th-century Protestant churches
Romanesque Revival church buildings in England
Former churches in West Sussex
Grade II listed churches in West Sussex
Congregational churches in West Sussex

Trinity Congregational Church, Arundel


"Millennium" was a comic book crossover story line that ran through an eight-issue, self-titled, limited series and various other titles cover dated January and February 1988 by DC Comics. The limited series was published weekly, which was a departure for an American series. It was written by Steve Englehart, and with art by Joe Staton and Ian Gibson.

Plot
The story took place at a time when the Guardians of the Universe had left Earth's dimension along with their mates, the Zamarons. However, one Guardian, Herupa Hando Hu, and his Zamaron mate, Nadia Safir, traveled to Earth and announced to the world that they would select 10 persons who would become the new Guardians of the Universe, and give birth to a new race of immortals. They gathered Earth's superheroes and sent them to find the chosen persons, who came from various parts of the world. One of them turned out to be Hal Jordan's friend, Thomas Kalmaku, while another was the former villain known as the Floronic Man.

Manhunters
Unknown to everyone, the robotic cult known as the Manhunters (whom the Justice League believed had been destroyed years before) had found a sphere that Harbinger had used to store all the information she had gathered about the universe after the Crisis on Infinite Earths. Because of it, they knew the secret identities of Earth's heroes, and had planted their agents (including androids, mind-controlled humans and willing human agents) close to them (in other words, many of the supporting characters featured in the heroes' own comic titles were revealed to be Manhunters). On finding out about the search for The Chosen, the Manhunters decided to prevent it, and had their agents reveal themselves and attack Earth's heroes. The heroes, joined by Harbinger, defeated the Manhunter agents and then attacked their home planet, defeating the cult again.

New Guardians
The Heroes managed to gather most of the Chosen, but two were killed over the course of the series, one (Terra of the Teen Titans) was already dead before it started, and one was senile. Another Chosen, a white supremacist from South Africa named Janwillem Kroef, eventually left the group because it contained non-white members. The Guardian and the Zamaron then died activating the latent powers of the remaining Chosen. They became a new superhero group, The New Guardians, which had its own comic book series afterwards, also by Englehart and Staton. The new series only lasted 12 issues.

The True Chosen
The spirits of Haru and Safir later reappeared and explained that alternate plans had also been put in motion, and that a group of beings created by Kroef would be the true Chosen. The New Guardians later disbanded. The current status of the second Chosen is unknown. The Manhunters are apparently active again.

Tie-in issues
Action Comics #596
Adventures of Superman #436-437
Batman #415
Blue Beetle vol. 6, #20-21
Booster Gold #24-25
Captain Atom vol. 2,  #11
Detective Comics #582
Firestorm the Nuclear Man vol. 2 #67-68
Flash vol. 2 #8-9
Green Lantern Corps #220-221
Infinity, Inc. #46-47
Justice League International #9-10
Legion of Super-Heroes vol. 3 #42-43
The Outsiders #27-28
Secret Origins vol. 2 #22-23
The Spectre vol. 2 #10-11
Suicide Squad #9
Superman vol. 2 #13-14
Teen Titans Spotlight #18-19
Wonder Woman vol. 2 #12-13
Young All-Stars #8-9
Swamp Thing vol. 2 #65-66; an unofficial tie-in with the Millennium-related story of the Floronic Man

References

External links
 Millennium at Mike's Amazing World of DC Comics with scans of covers

Alien invasions in comics
Comics by Steve Englehart
Justice League storylines
Green Lantern storylines

Millennium (comics)