Military tribunals in the United States are military courts designed to judicially try members of enemy forces during wartime, operating outside the scope of conventional criminal and civil proceedings. The judges are military officers and fulfill the role of jurors. Military tribunals are distinct from courts-martial.

A military tribunal is an inquisitorial system based on charges brought by military authorities, prosecuted by a military authority, judged by military officers, and sentenced by military officers against a member of an enemy army.

The United States has made use of military tribunals or commissions, rather than rely on a court-martial, within the military justice system, during times of declared war or rebellion.

Most recently, as discussed below, the administration of George W. Bush sought to use military tribunals to try "unlawful enemy combatants", mostly individuals captured abroad and held at a prison camp at a military base at Guantánamo Bay, Cuba.

Jurisdiction
A military tribunal or commission is most usually used to refer to a court that asserts jurisdiction over persons who are members of an enemy army, are held in military custody, and are accused of a violation of the laws of war. In contrast, courts-martial generally take jurisdiction over only members of their own military. A military tribunal or commission may still use the rules and procedures of a court-martial, although that is not generally the case.

Military tribunals also, generally speaking, do not assert jurisdiction over people who are acknowledged to be civilians who are alleged to have broken civil or criminal laws. However, military tribunals are sometimes used to try individuals not affiliated with a particular state's military who are nonetheless accused of being combatants and acting in violation of the laws of war.

History
General George Washington used military tribunals during the American Revolution, including the prosecution of British Major John André, who was sentenced to death for spying and executed by hanging. Commissions were also used by General (and later President) Andrew Jackson during the War of 1812 to try a British spy; commissions, labeled "Councils of War," were also used in the Mexican–American War.

The Union used military tribunals during and in the immediate aftermath of the American Civil War. Military tribunals were used to try Native Americans who fought the United States during those Indian Wars which occurred during the Civil War; the thirty-eight people who were executed after the Dakota War of 1862 were sentenced by a military tribunal. The so-called Lincoln conspirators were also tried by military commission in the spring and summer of 1865. The most prominent civilians tried in this way were Democratic politicians Clement L. Vallandigham, Lambdin P. Milligan, and Benjamin Gwinn Harris. All were convicted, and Harris was expelled from the Congress as a result. All of these tribunals were concluded prior to the Supreme Court's decision in Milligan.

The use of military tribunals in cases of civilians was often controversial, as tribunals represented a form of justice alien to the common law, which governs criminal justice in the United States, and provides for trial by jury, the presumption of innocence, forbids secret evidence, and provides for public proceedings. Critics of the Civil War military tribunals charged that they had become a political weapon, for which the accused had no legal recourse to the regularly constituted courts, and no recourse whatsoever except through an appeal to the President. The U.S. Supreme Court agreed, and unanimously ruled that military tribunals used to try civilians in any jurisdiction where the civil courts were functioning were unconstitutional, with its decision in Ex parte Milligan (1866).

Military commissions were also used in the Philippines in the aftermath of the Spanish–American War; as these were used in an active war zone as an expedient of war, they did not fall afoul of Milligan.

During World War II, President Franklin D. Roosevelt ordered a military tribunal for eight German prisoners accused of espionage and planning sabotage in the United States as part of Operation Pastorius. Roosevelt's decision was challenged, but upheld, in Ex parte Quirin (1942). All eight of the accused were convicted and sentenced to death. Six were executed by electric chair at the District of Columbia jail on August 8, 1942. Two who had given evidence against the others had their sentences reduced by Roosevelt to prison terms. In 1948, they were released by President Harry S. Truman and deported to the American occupation zone of Germany.

Hamdi v. Rumsfeld

Hamdi v. Rumsfeld, 542 U.S. 507 (2004), is a United States Supreme Court case in which the Court recognized the power of the U.S. government to detain enemy combatants, including U.S. citizens, but ruled that detainees who are U.S. citizens must have the rights of due process, and the ability to challenge their enemy combatant status before an impartial authority.

It reversed the dismissal by a lower court of a habeas corpus petition brought on behalf of Yaser Esam Hamdi, a U.S. citizen who was being detained indefinitely as an illegal enemy combatant after being captured in Afghanistan in 2001. Following the court's decision, on October 9, 2004, the U.S. government released Hamdi without charge and deported him to Saudi Arabia, where his family lived and he had grown up, on the condition that he renounce his U.S. citizenship and commit to travel prohibitions and other conditions.

Argued April 28, 2004

Decided June 28, 2004

Trial by military commission of the Guantanamo detainees

The currently convened military commissions at the Guantanamo Bay detention camp are governed by the Military Commissions Act of 2009.

See also

Military justice
Guantanamo military commissions
List of resignations from the Guantanamo military commission
Combatant Status Review Tribunal
Administrative Review Board

References

Further reading
 Elsea, Jennifer K. [https://crsreports.congress.gov/product/pdf/R/R40932/19 Comparison of Rights in Military Commission Trials and Trials in Federal Criminal Court."] Washington, D.C.: Congressional Research Service, 2019.
 Fisher, Louis. Military Tribunals & Presidential Power: American Revolution to the War on Terrorism (2005)
 Hasian, Marouf. In the name of necessity: Military tribunals and the loss of American civil liberties (University of Alabama Press, 2012)
 Williams, Frank J., and Nicole J. Benjamin. "Military Trials of Terrorists: From the Lincoln Conspirators to the Guantanamo Inmates." Northern Kentucky. Law Review 39 (2012): 609+ online
 Witt, John Fabian. Lincoln's Code: The Laws of War in American History (2012)

International tribunals
 Heller,  by Kevin Jon. The Nuremberg Military Tribunals and the Origins of International Criminal Law [Oxford University Press, 2011(, 509 pp,
 Schabas, William A. "International war crimes tribunals and the United States." Diplomatic History'' 35.5 (2011): 769–786.

External links
Official Military Commissions website
Congressional Research Service (CRS) Report "Military Tribunals: Historical Patterns and Lessons"
Military Tribunals – legal news and resources, JURIST

United States tribunals
United States military law

de:Militärgericht
et:Sõjatribunal
fr:Tribunaux militaires
he:בית משפט צבאי
pl:Sądownictwo wojskowe

Military tribunals in the United States


Jan Nepomuk Maýr (sometimes spelled Mayr, Mayer, or Maier) (17 February 1818 – 25 October 1888) was a Czech operatic tenor, opera director, conductor, composer, and music educator. He is best remembered today for serving as the first director/principal conductor of the Provisional Theatre in Prague.

Biography
Born in Mělník, Maýr began his career working as an opera singer at the opera house in Klagenfurt in 1839. From 1842–1844 he worked at various theatres in Prague, after which he was committed to the opera house in Darmstadt from 1844–1846. At the behest of František Ladislav Rieger, he returned to Prague in 1846 to become a principal singer at the Estates Theatre. His singing was praised by Czech audiences but his acting was found to be wanting. He was eventually appointed the house's chorus master at the beginning of the 1848–1849 season.

By 1851 Maýr was no longer appearing in opera roles, but was now working as a conductor of a number of different musical ensembles in Prague; including choirs in various cathedrals in the city (such as the Our Lady of the Snows Basilica). He left his position as chorus master at the Estates Theatre in 1853 to focus on his career as a conductor. He gained a great reputation in Prague for his conducting of sacred music during the 1850s. In 1854 he was appointed as a teacher of singing at the Prague Conservatory.

In the autumn of 1862, Maýr was appointed the first director/principal conductor of the Provisional Theatre, to the disappointment of Bedřich Smetana, who had hoped for the position himself. The theatre opened on 18 November 1862, with a performance of Vítězslav Hálek's tragic drama King Vakusin. Since there was at the time no Czech opera deemed suitable, the first opera performed at the theatre, on 20 November 1862, was Cherubini's Les deux journées. For the first year or so of its life, the Provisional Theatre alternated opera with straight plays on a daily basis, but from the start of 1864 opera performances were given daily.

Maýr remained at the Provisional Theatre until September 1866; his tenure was marked by a professional rivalry with Smetana, who criticised the theatre's conservatism and failure to fulfil its mission to promote Czech opera. Maýr retaliated by refusing to conduct Smetana's The Brandenburgers in Bohemia. A change in the theatre's management in 1866 led to Maýr's removal and replacement by Smetana. He continued to be active as a conductor in Prague up until his death in that city in 1888. Maýr also produced a few musical compositions. Most of his output was in sacred music, but he also wrote two operas: Horymír and Jaromír, vojvoda český.

Notes and references

Sources

1818 births
1888 deaths
Czech male classical composers
Czech opera directors
Czech operatic tenors
Czech opera composers
Male opera composers
19th-century classical composers
19th-century Czech male opera singers
Academic staff of the Prague Conservatory

Jan Nepomuk Maýr


North Andover is a town in Essex County, Massachusetts, United States. At the 2020 census the population was 30,915.

History

Native Americans inhabited what is now northeastern Massachusetts for thousands of years prior to European colonization of the Americas. At the time of European arrival, Massachusett and Naumkeag people inhabited the area south of the Merrimack River and Pennacooks inhabited the area to the north. The Massachusett referred to the area that would later become North Andover as Cochichawick.

The lands south of the Merrimack River around Lake Cochichewick and the Shawsheen River were set aside by the Massachusetts General Court in 1634 for the purpose of creating an inland plantation. The Cochichewick Plantation, as it was called, was purchased on May 6, 1646 when Reverend John Woodbridge, who had settled the land for the English, paid Massachusett sachem Cutshamekin six pounds and a coat for the lands.  The plantation was then incorporated as Andover, most likely in honor of the hometown of many early residents, Andover, Hampshire, England.  The town was centered in what is now North Andover, but the spread of settlement south and west of the old town center created much conflict in the early years about the location of the parish church.  In 1709, the matter was brought to the General Court, which set aside two parish churches, north and south.  The parishes grew apart as the years went on and on April 7, 1855, the North parish separated from the south and was incorporated as North Andover.

There are several first period (pre-1720) houses still standing in town.  The oldest house is probably the Bridges House, relocated from Marbleridge Road to Court Street in 2001; the original portion of this house probably dates to about 1690.  Other first period houses include the Stevens House on Great Pond Road; the Faulkner House on Appleton Street; the Abiel Stevens House on Salem Street; the Parson Barnard House, which is a museum; a house on Andover Street near the intersection with Chickering Road; and the Carlton-Frie-Tucker House at 140 Mill Road.  No house in North Andover has been scientifically dated by dendrochronology, so dates are based solely on stylistic elements, original deeds, and tradition.

The North Parish Church on the North Andover Green is a historic church building built in 1836.  It was the 5th meetinghouse of the Puritan church congregation founded in 1645 in North Andover. In about 1836 the congregation chose to become a Unitarian church and commissioned this Gothic building.

North Andover's development was varied, with much of the land along the Shawsheen and Merrimack being concerned with industry, and the lands southwest being more agricultural.  Several mills were located in the town, as well as the Western Electric Company, AT&T's manufacturing division, which supplied telephone machinery for many years before it was split up by AT&T into the new company, Lucent Technologies. Today, North Andover is considered a bedroom community of the Greater Boston area.

In January 2018, voters turned down a proposal for a cannabis-growing and research facility in the former Lucent Technologies building, along the Merrimack River. The town meeting vote was 1,430 against having recreational marijuana facilities and 1,155 voted in favor. The growing and research facility was expected to bring in to the town $100 million over a 20-year period.

Geography
According to the United States Census Bureau, the town has a total area of , of which  is land and , or 5.18%, is water. The town lies to the south of the Merrimack River, which makes up part of its northwest boundary, along with the Shawsheen River. The northeast quadrant of town is dominated by Lake Cochichewick, which is also bordered by the Osgood Hill Reservation, Weir Hill Reservation and the Reas Pond Conservation Area. The town also is home to portions of Harold Parker State Forest, Boxford State Forest and the Charles W. Ward Reservation. There are many brooks, streams and ponds dotting the town.

North Andover lies in the northwestern portion of Essex County along the Merrimack and Shawsheen Rivers. It is bordered by Andover to the southwest, Lawrence and Methuen to the northwest, Haverhill to the northeast, Boxford to the east and Middleton to the southeast. North Andover's Old Center, which is closer to the geographic center of town than its newer town center, is located  southeast of Lawrence's city center, and is  north of Boston and  southeast of Manchester, New Hampshire.

Interstate 495 crosses through the western part of town along the Lawrence border, with one exit within town and two more providing access to the town from Lawrence. The town lies along Massachusetts Route 114, known as the "Salem Turnpike," and is also served by Route 125 and Route 133, which are concurrent for much of their routes within town. The town is partially served by the Merrimack Valley Regional Transit Authority bus line. The nearest train station is located in Lawrence, where the Lawrence stop along the Haverhill/Reading Line of the MBTA Commuter Rail lies (the line actually passes through the town along the Merrimack, but there is no stop). North Andover is also home to the Lawrence Municipal Airport, providing small aircraft service to the region. The nearest national service, at Logan International Airport and Manchester-Boston Regional Airport, is within a thirty-mile ride of the town.

Demographics

As of the census of 2010, there were 28,352 people, 10,516 households, and 7,324 families residing in the town. The population density was . There were 10,964 housing units at an average density of . The racial makeup of the town was 88.7% White, 1.78% African American, 0.09% Native American, 6.31% Asian, 0.01% Pacific Islander, 1.62% from other races, and 1.50% from two or more races. Hispanic or Latino of any race were 4.93% of the population.

There were 10,516 households, out of which 36.1% had children under the age of 18 living with them, 57.0% were married couples living together, 9.6% had a female householder with no husband present, 3.0% had a male householder with no wife present, and 30.4% were non-families. 25.6% of all households were made up of individuals, and 11.6% had someone living alone who was 65 years of age or older. The average household size was 2.62 and the average family size was 3.19.

In the town, the population was spread out, with 26.2% under the age of 18, 7.6% from 18 to 24, 23.9% from 25 to 44, 28.9% from 45 to 64, and 13.4% who were 65 years of age or older. The median age was 40 years. For every 100 females, there were 91.2 males. For every 100 females age 18 and over, there were 92.8 males.

As of the 2017 American Community Survey, the median income for a household in the town was $105,661, and the median income for a family was $132,674. Males had a median income of $68,411 versus $42,270 for females. The per capita income for the town was $51,658. 5.1% of the population and 2.9% of families were below the poverty line. 5.2% of those under the age of 18 and 4.0% of those 65 and older were living below the poverty line.

Government and infrastructure
North Andover employs the open town meeting form of government, and is led by a five-member Select Board and a town manager, Melissa Rodrigues.  The town has its own police and fire departments, EMS, public works, and a senior center. North Andover has no hospital, the nearest being Lawrence General Hospital.

On the state level, the town is served by Essex County services, and is patrolled by the First Barracks of Troop A of the Massachusetts State Police, based in Andover.  North Andover lies in two districts, the Fourteenth Essex and Eighteenth Essex, in the Massachusetts House of Representatives, and the First Essex and First Essex and Middlesex in the Massachusetts Senate. North Andover is located within Massachusetts's 6th congressional district, and has been served by Representative Seth Moulton (D) since 2015. Massachusetts' senior Senator is Elizabeth Warren (D), and its junior Senator is Ed Markey (D), both in office since 2013. North Andover has no mayor, but, until his death in 2006, William P McEvoy, the director of recreation, was known as the "unofficial mayor".

Media
North Andover is located within the Boston media market, and is served by the Eagle-Tribune newspaper.

Education

North Andover is home to its own school system. It has an early childhood center, five elementary schools (Atkinson Elementary, Franklin Elementary, Kittredge Elementary, Annie L. Sargent Elementary, Thomson Elementary), North Andover Middle School and North Andover High School. On May 16, 2017, the citizens of North Andover approved the expansion of the early childhood center, which opened for the 2018–2019 school year. The primary reason behind this expansion was to reduce elementary class size, which it failed to realize.

In 2004, a brand new high school and complete sporting complex including a football field, a soccer field, field hockey greens, and a lacrosse field was added. There is a complete track and field area and numerous tennis courts. North Andover's mascot is the Scarlet Knight and its colors are scarlet and black. It competes in the Merrimack Valley Conference and Division II of the MIAA. Its main rival is Andover, who it plays in the annual Thanksgiving Day football game. High school students from North Andover are also allowed to attend Greater Lawrence Technical School in Andover. There are two private schools in North Andover: Brooks School, and Saint Michael's Elementary School. The nearest private high schools include: Phillips Academy Andover (9–12), Austin Preparatory School (6–12), Central Catholic High School (9–12), which are located in the nearby towns of Andover and Reading, and the city of Lawrence.

North Andover is also home to Merrimack College, a Catholic Augustinian four-year college. The nearest public community college, based in Haverhill, is Northern Essex Community College, which also has a campus in Lawrence and a Corporate & Community Education Center in North Andover.  The nearest public university is University of Massachusetts Lowell (UMass Lowell).

Economy
Barker's Farm, which started in 1643, is the oldest continually operated business in Massachusetts and among the oldest in the United States.

Converse, the popular sneaker company, was headquartered in North Andover from 2002 to 2015.

Entertainment
Residents of North Andover can purchase a discounted summer pass to Steven's Pond where they can go swimming for the day. Nearby Weir Hill offers trails for hiking, walking, biking, and views of the surrounding area and beyond.

Many events are held at the old town center, including the sheep shearing festival in late spring and various summer activities for children and adults. The North Andover Youth Center is also located in the old town center and offers a variety of activities to the town's youth. These services are offered to kids in grades 6 through 12 and yearly passes can be purchased to have full access to their facilities.

Harold Parker State Forest offers  of trails, a campground, and a freshwater swimming beach. Other activities include horseback riding, camping, fishing, hunting, mountain biking, and hiking. In September there is also an annual fishing tournament.

Boxford State Forest is also located in town, and is home to the Sharpner's Pond Anti-Ballistic Missile Site.

The Col. John Osgood House, a historic house, is also in North Andover.

2018 gas leaks and explosions

On September 13, 2018, several gas lines suffered leakage due to high pressure in the tubes of Columbia Gas of Massachusetts, a subsidiary of NiSource. As a result, several fires and explosions occurred, homes were evacuated.

Notable people

 Colin Blackwell, ice hockey forward for the Toronto Maple Leafs
 Cliff Bleszinski, game designer (Gears of War)
 Anne Bradstreet, poet
 Simon Bradstreet, Anne's husband, minister and co-founder of Massachusetts Bay Colony
 Phillips Brooks, minister of Trinity Church, Boston and great-grandson of the founder of Phillips Academy
 Jake Burton Carpenter, founder of Burton Snowboards
 Mike Cavanaugh, head ice hockey coach at University of Connecticut
 Jace Clayton, DJ, writer, interdisciplinary artist
 Joey Daccord, NHL Player
 Daniel Dennett, philosopher and atheist
 Zak DeOssie, former long snapper for New York Giants, NFL linebacker
 Bobby Farnham, professional ice hockey player
 Dorothy Farnum, silent film-era screenwriter
 Jamie Hagerman, Olympic ice hockey player
 Steve Heinze, former NHL player
 Charles Jencks, architect and philanthropist
 George B. Loring, member of US House of Representatives and career politician
 John U. Monro, dean of Harvard College
 Samuel Osgood, first Postmaster General of the United States
 Samuel Phillips Jr., founder of Phillips Academy
 Richard D. Smith, renowned chemist in the area of proteomics
 James Spader, screen and TV actor (Boston Legal and The Blacklist)
 Issac Stevens, first governor of Washington Territory
 Moses Stevens, textile manufacturer
 Oliver Stevens, Suffolk County district attorney
 Sidney J. Watson, former NFL player, former college ice hockey coach, and US Hockey Hall of Fame inductee

See also

 List of mill towns in Massachusetts

References

External links

Town of North Andover official website

Historical maps
 John Farnum and Moses Abbot 1795 Map of Andover. Click on the map for larger image.
 Dorman, Moses. 1830 Map of Andover, including what would later become North Andover.
 Beers, D.G. 1872 Atlas of Essex County Map of North Andover, plate 55.
 Walker, George H. 1884 Atlas of Essex County Map of North Andover, page 121.

Populated places established in 1644
1644 establishments in the Massachusetts Bay Colony
Massachusetts populated places on the Merrimack River

North Andover, Massachusetts


The sabertoothed cats or sabretooth cats are some of the best known and most popular extinct animals. They are among the most impressive carnivores that ever have lived. These cats had long canines and jaws which opened wider than modern cats. This suggests a different style of killing from modern felines.

The sabre-tooth style of life evolved at least five times amongst carnivorous mammals. This is one of the best-known examples of convergent evolution.
Creodonts, were the earliest sabre-tooths known. They lived in the Eocene, and are in a different order from the Feliformia. Machaeroides and Apataelurus are examples.
The Nimravids were a basal group in the Feliformia, lasting from the Eocene to the later Miocene epochs. Hoplophoneus is an example.
The Barbourofelidae is another family of Feliforms which developed the sabre-tooth lifestyle. They flourished in the Miocene. They are probably more closely related to the felids than the Nimravids.
Sparassodonts, such as Thylacosmilus, were a  metatherian  group of mammals. They used to be called "marsupial sabre-tooths", but they belong to a sister-group to the marsupials. Miocene to Pliocene.
The Machairodontinae: a subfamily of the Felidae, lived from the Miocene to the Pleistocene (23 million years ago to 11,000 years ago). Includes the famous Smilodon.
Nimravides, which is a member of the Felinae, and <u/l>not</u/l> one of the Nimravids.

The saber tooths were ambush predators, and probably lived in open forests. This would explain their widespread occurrence in the Miocene, when much of the land was covered with woodland. Apart from the canine teeth, their adaptations included strength in the forelimbs (more so than present-day large cats). Their robust (heavy, tough) bodies speak of strength rather than speed.

An idea of how they killed is as follows. They hid in wait, and pounced. They hung on round the prey's neck, gripping and slashing the underside of the throat with their canine teeth. This would cause death by blood loss and loss of the air supply.

The fact that their teeth vary is interesting. Some have larger teeth, some had smaller dagger-like teeth, some had smooth thick teeth, others had blade-like teeth, sometimes with serrated edges. Some had flanges on the lower jaw, most did not. Ewer remarks that this must show that there were variations in killing method, and in the type of prey, but we know little about this.

There are none living today: they are extinct. The extinctions followed climate change, as the world cooled and grassland took over from woodland in the Pliocene and Pleistocene.

References

Fossils

Saber–toothed cat


The Chevrolet S-10  Blazer and the similar GMC S-15 Jimmy were mid-size SUVs from General Motors. Production began in 1983. The S-10 was produced through 2005. In the United States retail sales after 2004 were limited to two-door Blazer models. All other models were sold to fleets until April 20, 2005. In the Canadian market, four-door models of the Blazer and Jimmy were sold until the 2004 model year. They were sold until the 2005 model year for the two-door models of both.

The S-series SUVs were based on the Chevrolet S-10 and GMC S-15 pickup trucks. In 1995 a second-generation model was produced. It had improvements in performance and interior room. It also had updated styling but did not carry the S-10 name.

They were produced in Pontiac, Michigan; Linden, New Jersey; Moraine, Ohio; Shreveport, Louisiana; and São Paulo, Brazil. Even though production ceased in the U.S., new Blazers are locally produced in Brazil with their own sheet metal stampings). In North America, the Moraine plant produced only 4-door vehicles. Both 2- and 4-door models were produced at Linden, which was the main assembly plant after the switch from Pontiac, Michigan about 1995.

References

S-10 Blazer
Sport utility vehicles

Chevrolet S-10 Blazer


Edward "Celtic" Davies (7 June 1756 – 7 January 1831) was a Welsh writer and Anglican clergyman whose most influential work examined the origins of Celtic languages and the meaning of Celtic mythology. It became part of the 19th-century recovery and reinvention of druidic tradition.

Born in Llanfaredd, Radnorshire, Davies attended Christ College, Brecon (alongside his friend, the historian Theophilus Jones). He was the curate of Olveston, Gloucestershire and in 1805 was made rector of Bishopston, Gower.

Davies produced a number of collections of poetry and plays but it was his writings on myth and history which were most successful. Influential in their time and later, his historical works are wildly inaccurate and speculative by modern standards. He was not fluent in Welsh and used unreliable sources and guesswork in his attempt to make Celtic myth correspond with biblical history. But unlike his contemporary Iolo Morganwg, Davies was not guilty of deliberate forgery; indeed, he was one of the few at the time who were suspicious of some of Iolo's work, which led to a literary feud between them. However, like most of his contemporaries, Davies fell for a number of Iolo's frauds, which further undermines the reliability of his work. He did however publish a discourse on the authenticity of Ossian in 1825. One keen reader of Davies' books who was interested in his theories was William Blake. Davies' status in his day is demonstrated by the fact that he was one of the first ten writers selected by the newly established Royal Society of Literature to be awarded the honour of "Companion of Literature" in 1823.

Works
Celtic Researches on the Origin, Traditions and Languages of the Ancient Britons (1804)
The Mythology and Rites of the British Druids (1809)

References

1756 births
1831 deaths
Celtic studies scholars
People educated at Christ College, Brecon
People from Radnorshire
Welsh poets
Welsh writers
William Blake's mythology
19th-century Welsh Anglican priests

Edward Davies (Celtic)


The Music Machine was an American rock band formed in Los Angeles, California in 1966.  Fronted by chief songwriter and lead vocalist Sean Bonniwell, the band cultivated a characteristically dark and rebellious image reflected in an untamed musical approach. Sometimes it made use of distorted guitar lines and hallucinogenic organ parts, punctuated by Bonniwell's distinctively throaty vocals. Although they managed to attain national chart success only briefly with two singles, the Music Machine is today considered by many critics to be one of the groundbreaking acts of the 1960s. Their style is now recognized as a pioneering force in proto-punk; yet within a relatively short period of time, they began to employ more complex lyrical and instrumental arrangements that went beyond the typical garage band format.

In 1965, the band came together as a folk rock trio known as the Raggamuffins, before expanding to the quintet that was later rechristened the Music Machine. The group was known for their style of dress, clothing themselves in all-black attire. In 1966, the Music Machine was signed to Original Sound, and released its first single "Talk Talk" in the latter half of the year, with it reaching the Top 20 of the Billboard Hot 100. Their debut album (Turn On) The Music Machine and the moderate hit "The People in Me" followed. The band's original lineup fragmented in late 1967 after managerial and financial disputes. Bonniwell reassembled the group under the name The Bonniwell Music Machine. In 1968, a second album, The Bonniwell Music Machine appeared, but the group disbanded in early 1969.

History

Beginnings (1965–1966)
The nucleus of the band was formed when Sean Bonniwell (lead vocals, rhythm guitar) took part in a jam session with Keith Olsen (bass guitar) and Ron Edgar (drums; born Ronald Edgar on June 25, 1946, in Minneapolis, Minnesota) – both of whom he met in the folk music circuit. Bonniwell, already a practiced "folky", possessed prior experience as a vocalist with the Wayfarers. The traditional folk combo had already enjoyed some regional success: releasing three albums, and building on the experience of Bonniwell who insisted on the importance of rehearsal. As Bonniwell traveled and recorded with the group, he began penning some material that would later surface with the Music Machine.  However, still influenced by acts now considered passé, the Wayfarers' musical traditionalism became stifling to Bonniwell who wanted to explore the type of harder, cutting-edge stylistic possibilities that he eventually would find in rock. Olsen had previously performed in Gale Garnett's backing band, and Edgar was a member of a bohemian folk quintet called the GoldeBriars, which featured later Sunshine Pop progenitor Curt Boettcher (whose career would intertwine with various members of the Music Machine in the late 1960s). With the GoldeBriars, Edgar contributed to their third album, which was slated for release on Epic Records, but the group disbanded before the album was issued.

In 1965, the three formed their own folk rock group, the Raggamuffins, and began performing in Los Angeles with a repertoire that saw the band embrace a more unorthodox style, and depart from their traditional roots. The group also recorded four songs that went unreleased until the 2000 album, Ignition, which represented the transitional phase before the band developed into the Music Machine. Bonniwell and Olsen were enthusiastically experimenting with musical textures while the band arranged strict rehearsal regimens in Bonniwell's garage. The Raggamuffins purchased hardware for a homemade fuzz-tone switch.  From the onset Bonniwell ensured the group resonated like no other by instructing his bandmates to lower their instruments from the standard E note to D-flat. As a result of the adjustment, the Raggamuffins were given a bottom-heavy and ominous sound. In addition, the group began dressing noire, while sporting dyed-black hair, and the trademark single leather glove that presented an eye-catching and unified band image, which would later become influential with certain 1970s punk acts.

Auditions were held in early 1966 to expand the group, resulting in the recruitment of Mark Landon (lead guitar) and Doug Rhodes (organ), the latter previously a session musician for the Association (whose first album was produced by Boettcher). To reflect on the revamped line-up, Bonniwell changed the band's name to the Music Machine. Another purpose for coining the name, Bonniwell explained, was "I seguewayed [sic] all the original material with musical segueways [sic].  So we would be on stage for like an hour and ten minutes, wall-to-wall music just nonstop, which is why I called us the Music Machine". The band established a solid reputation with its performances in Los Angeles clubs. With Bonniwell as the de facto leader and creative force of the band, the Music Machine began to develop a blend of gritty 60s punk and psychedelia, and a repertoire encompassing Bonniwell's self-penned material along with some cover songs. The band's sound was highlighted by the authoritative and versatile vocals provided by Bonniwell, with an energized technique and unusually good intonation in long-sustained passages, and the ability to breakdown phrases into a series of slow pulsations. The Music Machine's artistic stance was also highlighted by Landon's wiry guitar playing, Olsen's reverberant bass, and Edgar's cymbal-punctuated drumming, which gave the band a harder-edged sound than many of their contemporaries.

Commercial success (1966–1967)
Record producer Brian Ross just happened upon the Music Machine at Hollywood Legion Lanes, a bowling alley that was an early stomping ground for the group, and signed them to a recording contract with Original Sound. On July 30, 1966, the band entered RCA Studios in Los Angeles to record the Bonniwell originals "Talk Talk" and "Come on In", which was initially going to be the A-side for the group's debut single.  Bonniwell had composed "Talk Talk" a year prior to forming the band, and the studio time was marked by the Music Machine's collective input aimed toward tightening the structure of its arrangements, including the two-note fuzz guitar riffs and Edgar's precise drumming technique. By virtue of the group's dedication to rehearsal, recording sessions concluded with the Music Machine requiring only three takes to complete the two songs. Though the band was satisfied with the acetate to "Come on In", the members were convinced "Talk Talk" would propel them into the national charts.

"Talk Talk" was released on September 10, 1966, on Original Sound, and rose to number 15 on the Billboard Hot 100. It also peaked at number 21 on Cashbox and number 18 on Record World. The song's relatively short time-length—a mere one minute and 56 seconds—made "Talk Talk" a favorable staple on Top 40 radio and its competing underground FM stations. The Music Machine's hit was arguably the most radical single to appear on mainstream broadcasting in 1966, the phenomenon described by music historian Richie Unterberger as a "rally cry to social alienation with a mixture of sarcasm, rebellion, self-pity, and paranoia". Indeed, Bonniwell's progressive lyrics and arrangements have been credited with influencing the Doors and Iron Butterfly, as well as future punk bands. After the single's release, the Music Machine embarked on a grueling three-month tour across the U.S., packaged with the Beach Boys, Question Mark and the Mysterians, and Clyde McPhatter. It concluded with the group receiving a poor response in the American south, where the band were criticized for their black outfits. Nonetheless, for the most part, their unified image served well for the Music Machine's national recognition, especially as the group made numerous appearances on the television programs Where the Action Is, American Bandstand, and Shindig!.

After their long national tour, the Music Machine returned to the studio to record their debut album, (Turn On) The Music Machine. Much to the disapproval of Bonniwell, his original material had to compete with cover versions of "Cherry, Cherry", "Taxman", "See See Rider", and "96 Tears", all chosen by their record label with an expectation that well-known songs would increase record sales. The band's slow, moody, fuzz-laden arrangement of the folk standard "Hey Joe" bears a strong resemblance to Jimi Hendrix's later version. Bonniwell first heard the song in 1962 at a club in Hermosa Beach. He felt the tune's tempo was too fast, and he unsuccessfully attempted to persuade the Wayfarers to record a slower version. He revisited the concept with altered lyrics after hearing Tim Rose's regionally successful rendition in early 1966. Bonniwell ascribes his throaty vocals, most evident on "Hey Joe", on recording "the Turn On album after a 30-day tour. Mark's fingers were literally bleeding. I could hardly even speak, much less sing". Despite the album's shortcomings, (Turn On) The Music Machine reached number 75 on the Billboard 200. On January 21, 1967, a song taken from the album, "The People in Me", was issued as the group's second single, but it stalled at number 66 nationally after the band's management angered radio executives for initially making the song exclusively available to a rival station.

The Bonniwell Music Machine (1967–1969)
Immediately after (Turn On) The Music Machine was released, the band was booked for another U.S. tour; the group sought an appearance at the Monterey Pop Festival, but it was not included on their itinerary. During off-periods in their hectic touring schedule, the Music Machine demoed a new batch of Bonniwell originals at RCA Studios in New York City and Cosimo Matassa's facility in New Orleans, before polishing the tunes in Los Angeles. From the sessions emerged the group's third single "Double Yellow Line", released in April 1967, and bubbled under the Billboard Hot 100 at number 111. The subsequent release, "Eagle Never Hunts the Fly" failed to chart, but was described as Bonniwell's tour de force—a tune Ross praised as a "sonically compelling work and a lot to listen to, for the time. It was the kind of thing you just didn't hear, you almost worried about getting those sounds onto a 45".

In May 1967, the original lineup recorded together for the final time, completing "Astrologically Incompatible", "Talk Me Down", and "The Day Today". One problem that led to the band's first breakup was that as part of their production deal, the "Music Machine" name was owned by Ross, who paid the group little to no royalties. Leaving Bonniwell to carry on the project, Olsen, Edgar, and Rhodes joined the Millennium, a sunshine pop group conceived by Boettcher and Olsen. The Millennium recorded one album, Begin, in 1968 before disbanding. The three former Music Machine members also took part in Boettcher's next production, the studio group with Gary Usher called Sagittarius. The group released the album Present Tense, coupled with the moderately successful single "My World Fell Down", before Edgar and Rhodes departed. Olsen stayed on board to record Sagittarius' second album, The Blue Marble (on which Boettcher had minimal involvement), and subsequently forged a successful career as a record producer in the 1970s.

Undeterred, Bonniwell successfully negotiated his recording contract with Original Sound be transferred to Warner Bros. Records, in hopes of finding a greater degree of independence. The Music Machine's spell with Original Sound was drawing to a close, though the label did release "Hey Joe" as a single in 1968 in an attempt to cash in on Hendrix's success with the song. There was also the Bonniwell solo project in association with producer Paul Buff that resulted in the rare "Nothing Is Too Good for My Car" single being put out under the name the Friendly Torpedoes. Writer Greg Russo, who composed the liner notes for the single's remastered release, explains the side-project was initiated during a confusing transitional phase for Bonniwell that also generated the tune "Citizen Fear", which did not receive distribution until the Ignition album in 2000. Free from company pressure, Bonniwell formed a new band, rechristened The Bonniwell Music Machine, with session musicians Ed Jones on bass guitar, Harry Garfield on organ, Alan Wisdom on lead guitar, and Jerry Harris on drums.

In March 1967, Bonniwell and Ross ushered in the new lineup at United Western Recorders to record the second album The Bonniwell Music Machine. The recording and mixing process was painstakingly masterminded almost solely by Bonniwell, who was appreciative of his new bandmates' efforts to develop the album's concept, but disillusioned by the project's lack of cohesion. He further explains that the "Warner Brothers album has such an eclectic approach; each track is (was) a singular, studio invention. Not only was my songwriting divergent, but my approach to recording was exploratory as well". Six of the album's tracks were holdovers from the first lineup's sessions at Cosimo Matassa's studio and RCA Studios. This resulted in a hodgepodge of musical styles, including exploratory approaches toward psychedelia and soft rock. On February 10, 1968, The Bonniwell Music Machine was released with little commercial success. Consequently, the Bonniwell Music Machine was largely forgotten by the general public and the second lineup fragmented in July 1968.

Disbandment and aftermath
One final version of the Bonniwell Music Machine was assembled with a revolving door of musicians. Two more singles were released on the Warner Bros. label with little notice, before "Advice and Consent", the group's final single, was distributed on Bell Records in March 1969. Disenchanted by the music industry and having to tour against imitation Music Machine groups, Bonniwell gave up the rights to the band's name and signed on to Capitol Records as a solo artist. Under the name T.S. Bonniwell, he recorded the album Close, which saw a poetically-inclined Bonniwell explore string and orchestral arrangements. Following the album's release, Bonniwell departed on what he called his "westernized guru era"—studying eastern mysticism and practicing meditation and vegetarianism.

The band was all but forgotten after their dissolution, but the Music Machine and their music experienced a revival of interest in the late-1980s. It began with Rhino Records featuring tracks on the Nuggets compilation albums Nuggets Volume 1: The Hits and Nuggets, Volume 2: Punk, before releasing the album The Best of the Music Machine in 1984. Other compilations such as Beyond the Garage, The Very Best of the Music Machine, and Ignition have added to the Music Machine's return to the public's interest. In addition, "Talk Talk" and "Double Yellow Line" appear on the 1998 expanded box-set of Nuggets: Original Artyfacts from the First Psychedelic Era, 1965–1968.

In 2000, Bonniwell published his autobiography Beyond the Garage, which recalled his experiences with the Music Machine and his life after the group's disbandment. A new version of the Bonniwell Music Machine in 2004 played to packed clubs on a European tour that included an appearance headlining one night of the Wild Weekend festival in Spain. Aside from this, a few live performances with the Larksmen, and a guest appearance on their 2006 album, Bonniwell never returned to an active music career, though he claimed to have penned over 300 songs after his tenure with the Music Machine. On December 20, 2011, Bonniwell died of lung cancer at a medical center in Visalia, California; he was 71 years old. Drummer Ronald "Ron" Edgar died on February 23, 2015, at the age of 68. Bass guitarist Keith Olsen died on March 9, 2020, at age 74.

Discography

Studio albums
 (Turn On) The Music Machine (1966) US Billboard # 76
 The Bonniwell Music Machine (1968)

Extended plays
 Talk Talk (1967)

Compilation albums
 The Best of the Music Machine (1984)
 The Music Machine (1994)
 Beyond the Garage (1995)
 Rock 'n' Roll Hits (1997)
 Turn On: The Best of the Music Machine (1999)
 Ignition (2000)
 The Ultimate Turn On (2006)
 Rarities, Vol. 1: Last Singles & Demos (2014)
 Rarities, Vol. 2: Early Mixes & Rehearsals (2014)
 Re-Ignition (2015)

Singles
 "Talk Talk" b/w "Come on In" (1966) US Billboard # 15; Canada RPM # 4
 "The People in Me" b/w "Masculine Intuition" (1967) US Billboard # 66; Canada RPM # 62
 "Double Yellow Line" b/w "Absolutely Positively" (1967) US Billboard # 111
 "The Eagle Never Hunts the Fly" b/w "I've Loved You" (1967)
 "Hey Joe" b/w "Taxman" (1967)
 "Advise and Consent" b/w "Mother Nature, Father Earth" (1969)

As The Bonniwell Music Machine
 "Bottom of the Soul" b/w "Astrologically Incompatible" (1967)
 "Me, Myself and I" b/w "Soul Love" (1968)
 "Tin Can Beach" b/w "Time Out for a Daydream" (1968)
 "You'll Love Me Again" b/w "To the Light" (1968)
 "Point of No Return" b/w "King Mixer" (1997)

Other
 "Nothing's Too Good for My Car" b/w "So Long Ago" (1968, as the Friendly Torpedos)

References

External links

Acid rock music groups
Bell Records artists
Original Sound artists
Garage rock groups from California
Musical groups established in 1965
Musical groups disestablished in 1969
Musical groups from Los Angeles
Protopunk groups
Psychedelic rock music groups from California

The Music Machine


Salyut 2 was the Soviet Union's second space station. It was also known as OPS-1 and was the first station in the Almaz program. Almaz was a program to make military space stations to spy on other countries.

Salyut 2 was launched into orbit on 3 April 1973 but was damaged before it could be used. It was burned up in the atmosphere in May 1973.

Space stations
Spacecraft launched in the 1970s

Salyut 2


Paul Harvey Aurandt (born 4 September, 1918; died 28 Februar, 2009) wis an American radio host. He wis best kent for his short radio program callit "The Rest of the Story" that was broadcast on many radio stations in the Unitit States. He workit in the radio industry frae 1933 to 2009.

Daith
Harvey deit on 28 Februar 2009 at a hospital in Phoenix, Arizona. His son, Paul Harvey Jr., said, "millions have lost a friend".

References

1918 births
2009 daiths
American broadcast news analysts
American militar personnel o Warld War II
American Plymouth Brethren
American radio reporters an correspondents
American male jurnalists
American jurnalists
American aviators
Buirials at Forest Home Cemetery, Chicago
Commentators
National Radio Hall of Fame inductees
Radio personalities frae Chicago
Fowk frae Tulsa, Oklahoma
Presidential Medal o Freedom recipients
Unitit States Airmy Air Forces sodgers
Varsity o Tulsa alumni
Central High School (Tulsa, Oklahoma) alumni
American anti-communists
Fowk frae River Forest, Illinois
DeMolay Internaitional Haw ofFame members

Paul Harvey


, abbreviated as A.C.E. 2, is a third-person mecha action video game produced by Banpresto and developed by From Software.  It is the sequel to the popular 2005 game Another Century's Episode.  It was released for the PlayStation 2 on March 30, 2006.

On November 29, 2007, Banpresto released A.C.E. 2 Special Vocal Edition as a follow-up to the heels of A.C.E. 2s sequel, Another Century's Episode 3: The Final. This version includes vocal theme songs for each of the featured animated series in the game.

Plot
A.C.E.2 is not a direct sequel to its predecessor, as it involves its own original plot, as well as covering events that already happened in A.C.E., albeit differently. This is not an unusual occurrence, as Banpresto has done this with most entries in the Super Robot Wars franchise; most of the games in that series are not connected by an established continuity (exceptions include the Super Robot Wars Alpha games and the titles in the Super Robot Wars classic timeline), with remakes or updates abounding.

However, there are some links back to A.C.E. in the sequel. The Ark series, including the main character's Gunark, use as their power source the super-volatile substance E2, which was introduced in the first game.  Additionally, most of the A.C.E. original enemies return, this time with a backstory, while in A.C.E. they were simply there to add to the challenge.

System changesFaster Combat: A.C.E. 2 delivers and portrays high-speed mecha combat better than its predecessor.Pilot Cut-Ins: The game will feature the pilots in both 2D and cel-shaded 3D forms, while in A.C.E. their only presence was in sound bites played while launching and during certain battles.More Weapons: Each unit can also have up to seven weapons, which can be set by the player; this allows the player to separate the units primary ranged weapon and melee weapon, unlike the previous game.Improved Support: While A.C.E. allowed the player to have other units support him/her during a stage, their presence was limited to occasional voice clips. A.C.E. 2 will have the other units actually appear during the stage as computer-controlled allies.Combination Attacks: The player will be able to perform special combination attacks where their team members combine their skills with incredibly devastating (and cinematic) results.  Certain combinations of characters will result in team-ups from the anime involved, such as Brain Powerd's Chakra Extension and Nadesico's Double Gekigan Flare.  Some combinations of characters (such as the major characters from Macross and Endless Waltz) get new combinations.  If the player uses three unrelated characters for a combination attack, they simply perform a generic all-out attack.Favorites System: Much like recent entries into the Super Robot Wars series (specifically MX and J), A.C.E. 2 features a system by which the player can designate one of the featured series as their favorite.  The units from the favored series may be upgraded more than they would normally, potentially making them the strongest units in that player's game.

Control types

Like the previous game in the series, A.C.E. 2 features two different set-ups for the controller: shift and select type.  However, unlike A.C.E., neither of these set-ups will be a "simple mode" for first-time players. Instead, the two different set-ups will simply represent different ways of using the many weapons available to the player.

Flight controls

The player can also choose to modify the controls for plane-type units, such as the Re-GZ, the Valkyrie's Fighter Mode and the transformations of machines like Layzner MK II and L-Gaim MK II.  Flight Mode is the standard control system, where the player controls roll and pitch with the Left Analogue Stick, and can bank with the L1 and R1 buttons.  Easy Mode has the analogue stick control both roll and pitch.  Flight Reverse Mode''' reverses the natural set-up for altitude, so that tilting the analogue Stick down causes the machine to dive, while holding it up makes the machine climb.

Featured series
Six of the series from A.C.E. return in A.C.E. 2, joined by five new ones (although one of the new series, Endless Waltz, is the sequel to one of the series that did not return from A.C.E. and Gundam Wing). Additionally, three EX Series are included, although their involvement in the game's story is not as significant as the other series (excluding Wings of Rean, which is announced to join the series in later promotion video, and have its ONA released after the game). A grand total of 106 playable mecha from the fourteen anime represented, as well as the originals, are playable.

In addition to the fourteen series, A.C.E. 2 includes new original characters and mecha, designed by Takuya Saito and Junya Ishigaki, respectively. The heroes of the game are Tak Kepford (voiced by Daisuke Kishio) and Marina Carson (voiced by Naomi Shindou), and they pilot transforming mecha called Gun Arks.Mobile Suit Gundam: Char's CounterattackPlayable Mecha
RX-93 Nu Gundam (pilot: Amuro Ray)
RGZ-91 RE-GZ (pilot: Amuro Ray)Aura Battler DunbinePlayable Mechas
Billbine (pilot: Sho Zama)
Dunbine (pilot: Marvel Frozen)
Non-Playable Mechas
Leprechaun (pilot: Jerryl Coochibi)
Wryneck (pilot: Todd Guinness)
Zwarth (pilot: Black Knight a.k.a. Bern Burnings)
Galava (pilot: Black Knight)Blue Comet SPT LayznerLayzner (pilot: Eiji Asuka)
New Layzner (pilot Eiji Asuka)
Layzner Mk-II (pilot Eiji Asuka)Brain PowerdNelly Brain (pilot: Yuu Isami)
Hime Brain (pilot: Hime Utsumiya)
Yuu Brain (pilot: Yuu Isami)
Quincy Baronz (pilot: Quincy Issa)Metal Armor DragonarXDFU Dragonar-1 Lifter (pilot: Kaine Wakaba)
XD-01SR Dragonar-1 Lifter (pilot: Kaine Wakaba)
XD-01SR Dragonar-1 Custom (pilot: Kaine Wakaba)
XDFU-02 Dragonar-2 Lifter (pilot: Tapp Oceano)
XD-02SR Dragonar-2 Custom (pilot: Tapp Oceano)
XDFU-03 Dragonar-3 Lifter (pilot: Light Newman)
XDFU-03 Enhanced Dragonar Lifter-3 (pilot: Light Newman)
MAFFU-09 Falguen MAFFU (pilot: Meio Plato)Heavy Metal L-GaimL-Gaim (pilot: Daba Mylord)
Novel D.Sserd (pilot: Gaw Ha Leccee)
BatshuuThe Super Dimension Fortress MacrossVF-1 Valkyrie (pilot: Hikaru Ichijyo)
VF-1J Armored Valkyrie (pilot: Hikaru Ichijyo)
SDF-1 MacrossMacross: Do You Remember Love?VF-1S Strike Valkyrie (pilot: Roy Focker)
VF-1A Valkyrie (pilot: Maximillion Jenius)
Queadluun-Rau (pilot: Millian Jenius)Martian Successor NadesicoAestivalis (pilot: Akito Tenkawa)
Aestivalis Custom (pilots: Ryoko Subaru, Izumi Maki, Hikaru Amano, Nagare Akatsuki)
NadesicoMobile Suit Gundam 0083: Stardust MemoryRX-78GP01 Gundam "Zephyranthes" (pilot: Kou Uraki)
RX-78GP01Fb Gundam Full Vernian "Zephyranthes" (pilot: Kou Uraki)
RX-78GP02A Gundam "Physalis" (pilot: Anavel Gato)
RX-78GP03 Gundam "Dendrobium Orchis" (pilot: Kou Uraki)
AMA-002 Neue Ziel (pilot: Anavel Gato)Mobile Fighter G GundamGF13-017NJII God Gundam (pilot: Domon Kasshu)Gundam Wing: Endless WaltzXXXG-00W0 Wing Gundam Zero (pilot: Heero Yui)
XXXG-01D2 Gundam Deathscythe Hell (pilot: Duo Maxwell)
XXXG-01H Gundam Heavyarms (pilot: Trowa Barton)
XXXG-01SR Gundam Sandrock (pilot: Quatre Rabera Winner)
XXXG-01S2 Altron Gundam (pilot: Chang Wufei)
OZ-00MS2B Tallgeese III (pilot: Milliardo Peacecraft)Martian Successor Nadesico: The Motion Picture – Prince of DarknessBlack Selena (pilot: Akito Tenkawa)
Aestivalis Custom (pilot: Ryoko Subaru)
Alstroemeria (pilot: Genichiro Tsukiomi)
Yatenkou (pilot: Hokushin)The Wings of ReanNanajin (pilot: Asap Suzuki)
Aka-Nanajin (pilot: Asap Suzuki)
Oukaou (pilot: Shinjiro Sakomizu)

Music
The game's opening theme is "Glorious" by Rina Aiuchi; its ending theme, also performed by Aiuchi, is "Precious Place".A.C.E. 2 follows the musical style of its predecessor, using remixes of themes from the featured anime along with several new songs composed for the game. However, A.C.E. 2 uses much more faithful remixes of the songs borrowed from anime, while A.C.E. used more rock and roll-styled remixes.

The theme songs for each series are:Aura Battler Dunbine - "Dunbine Tobu, Senka no Tsume Ato"Blue Comet SPT Layzner - "Melos no Youni ~Lonely Way~"Brain Powerd - "In My Dream"Gundam Wing: Endless Waltz - "White Reflection"Heavy Metal L-Gaim - "Kaze no No Reply"Macross: Do You Remember Love? - "Do You Remember Love?"
Note: Through Macross's "Do You Remember Love?" appears in the vocal version as a plot of story, it is not selectable by player.Martian Successor Nadesico - "You Get to Burning, Go! Aestivalis!"Martian Successor Nadesico: The Motion Picture – Prince of Darkness - "Main Motif Nadesico"Metal Armor Dragonar - "Yume Iro Chaser"Mobile Suit Gundam 0083: Stardust Memory - "The Winner, Assault Waves, Rising Operation Stardust"Mobile Suit Gundam: Char's Counterattack - "Sally"Mobile Fighter G Gundam - "Flying in the Sky, Moeagare Toushi, Waga Kokoro Meikyo Shisui"The Super Dimension Fortress Macross - "Dog Fighter, Destined Battle"The Wings of Rean - "Wings of Rean BGM"

The August 2007 issue of Famitsu announced a special vocal version of A.C.E. 2, which will be released on November 29, 2007. Like its sequel, A.C.E. 3, the theme songs of each respective series will be replaced by their original vocal themes.Aura Battler Dunbine - "Dunbine Tobu"Blue Comet SPT Layzner - "Melos no Youni ~Lonely Way~"Brain Powerd - "In My Dream"Gundam Wing: Endless Waltz - "White Reflection"Heavy Metal L-Gaim - "Time for L-Gaim"Macross: Do You Remember Love? - "Do You Remember Love?"Metal Armor Dragonar - "Yume Iro Chaser"Mobile Fighter G Gundam - "Flying in the Sky"Mobile Suit Gundam 0083: Stardust Memory'' - "Men of Destiny"

References

External links

2006 video games
Action games
Banpresto games
Crossover video games
FromSoftware games
Japan-exclusive video games
Video games about mecha
PlayStation 2 games
PlayStation 2-only games
Multiplayer and single-player video games
Video games developed in Japan

Another Century's Episode 2


Anne Teresa, Baroness De Keersmaeker (, born 1960 in Mechelen, Belgium, grew up in Wemmel) is a contemporary dance choreographer. The dance company constructed around her, , was in residence at La Monnaie in Brussels from 1992 to 2007.

Biography
De Keersmaeker did not study dance until her last year of high school, instead studying music, specifically the flute. She studied from 1978 to 1980 at Mudra in Brussels, a school with links to La Monnaie and to Maurice Béjart's Ballet of the 20th Century. She has said that the percussionist and her music teacher at MUDRA, , was a major influence on her. In 1981, she attended the Tisch School of the Arts at New York University. While at the Tisch she presented her first production, Asch (1980), in Brussels. In 1982 upon her return from the U.S.A. she created , four movements to the music of Steve Reich. It was this production that brought her "a breakthrough on the international dance scene, performing, among other places, at the Avignon Festival".

The success of Fase contributed largely to the foundation of the Rosas in 1983. Rosas danst Rosas - Anne Teresa De Keersmaeker's first choreography for the young company to new compositions of Thierry De Mey and Peter Vermeersch - brought Rosas the international breakthrough as a company. During the eighties, Rosas was supported by Kaaitheater of Brussels (director Hugo De Greef). Within the framework of Kaaitheater, her oeuvre took shape. Performances such as Elena's Aria (1984), Bartók/Aantekeningen (1986), a staging of Heiner Müller's triptych Verkommenes Ufer/Medeamaterial Landschaft mit Argonauten (1987), Mikrokosmos-Monument Selbstporträt mit Reich und Riley (und Chopin ist auch dabei)/In zart fliessender Bewegung - Quatuor Nr.4, (1987), Ottone, Ottone (1988), Stella (1990) and Achterland (1990) were produced in collaboration with Kaaitheater.

In 1992, La Monnaie's general director Bernard Foccroulle invited Rosas to become the resident company of Brussels' Royal Opera De Munt/La Monnaie. At the start of the residency, Anne Teresa De Keersmaeker set herself three objectives: to intensify the relation between dance and music, to build a repertory, and to launch a dance school (after the disappearance of MUDRA from Brussels in 1988). That year, Rosas created ERTS and released Rosa - a film of a choreography by Anne Teresa De Keersmaeker to Bartók music directed by Peter Greenaway. Later that year, Rosas created Mozart Concert Arias, un moto di gioia for the Avignon Festival. A production made in collaboration with the Orchestre des Champs Elysées, directed by Philippe Herreweghe. In 1993, Rosas created Toccata, to the music of J.S. Bach, for the Holland Festival. In May 1994, the KunstenFESTIVALdes Arts in Brussels premièred Kinok, produced in collaboration with Thierry De Mey and the Ictus Ensemble. At the end of 1994, this collaboration resulted in a new creation: Amor Constante más allá de la muerte. In November 1995, La Monnaie premièred Verklärte Nacht, a choreography that was part of a production of Schönberg music Erwartung/Verklärte Nacht.

In 1995, Rosas and La Monnaie launched in Brussels a new international school for contemporary dance, the Performing Arts Research and Training Studios (PARTS), where sixty students coming from some 25 countries are trained, over a three-year period, by more than 50 teachers.

In December 1996, Woud, three movements to the music of Berg, Schönberg & Wagner was premièred in Seville.
At the beginning of 1997, Anne Teresa De Keersmaeker created, together with Steve Paxton and The Wooster Group, 3 solos for Vincent Dunoyer. In November 1997, Just Before, to a live performance by the Ictus Ensemble of music composed by Magnus Lindberg, John Cage, Iannis Xenakis, Steve Reich, Pierre Bartholomée and Thierry De Mey, was presented in La Monnaie.

In February 1998, Anne Teresa De Keersmaeker made her debut as an opera director at La Monnaie with Bartók's Duke Bluebeard's Castle. In August 1998, the Impuls Festival in Vienna premièred Drumming, a production to Steve Reich's composition of the same name. In November 1998  she created The Lisbon Piece, for the Portuguese Companhia Nacional de Bailado: her first experience as a guest choreographer.

In March 1999, Anne Teresa De Keersmaeker created, together with Rosas dancer Cynthia Loemij and Jolente De Keersmaeker and Frank Vercruyssen from the theatre company STAN, Quartett; a dance-theatre performance based on the text by Heiner Müller. One month later, she choreographed and danced a duet with Elizabeth Corbett for the production with/for/by. In May 1999, Rosas premiered I said I, a collaboration with Jolente De Keersmaeker for the direction, with the Ictus Ensemble, Aka Moon and DJ Grazzhoppa for the music composition and execution. Jan Joris Lamers designed the set and lighting and Dries van Noten the costumes. For In Real Time in 2000, Rosas again collaborated with Stan, as well as with the jazz-ensemble Aka Moon for the composition and live interpretation of the music.
In January 2001, Anne Teresa De Keersmaeker created Rain, another performance to a score by Steve Reich, his Music for 18 Musicians.

2002 saw the celebration of twenty years of Rosas and ten years of residence at La Monnaie, with the re-run of the text-pieces, the creation of (but if a look should) April me and Rain live, the two latter accompanied by Brussels contemporary music ensemble Ictus.  A 336 pages book Rosas, if and only if wonder was published and a multimedia exhibition was organised in newly opened halls at the Centre for Fine Arts, Brussels, and was attended by over 15,000 people. Once, a solo to the music of Joan Baez, concluded the celebration year's performances.

2003 showed yet a new evolution: whereas in the past her choreographies had been very precise and closely linked to the music, in Bitches Brew / Tacoma Narrows, De Keersmaeker for the first time allowed improvisation by her dancers during the performance.

Over the past years, Rosas has also revived several earlier pieces: Rosas danst Rosas, , Mikrokosmos, Achterland and others. Rosas' productions have been invited by theatres and festivals across five continents.

In October 2011, De Keersmaeker's choreography from "Rosas Danst Rosas" and "Achterland" was sampled without permission by the R&B singer Beyoncé in the music video for the single Countdown.

In July 2021 she founded the ATDK Foundation a foundation with the intent of safeguarding her artistic legacy, and enable her to share her artistic excellence.

Awards
Both the performances and the films of Anne Teresa De Keersmaeker have been distinguished by various international awards. Rosas danst Rosas won the Bessie Award (1987), Mikrokosmos received a Japanese Dance Award for the best foreign production (1989), Stella got the London Dance and Performances Award (1989), Drumming was prized with the Golden Laurel Wreath for the best choreography in Sarajevo (October 1998). In 2011, she received the American Dance Festival Award for her career and at this occasion presented one of her seminal work Rosas danst Rosas (1983).

The film Hoppla! was awarded a Sole d'Oro in Italy and the Grand Prix Vidéo Danse in Sète (1989). The film Rosa has been distinguished by a Dance Screen Award, got a Special Jury Commendation in the Black and White Short Film Competition at the Film Festival in Cork and was selected for the 49th Mostra Interazionale d'Arte Cinematografica in Venice (1992). In 1994 in Lyon a Dance Screen Award was offered to the film Achterland (1994), while the film Rosas danst Rosas obtained the Grand Prix International Vidéo Danse in 1997 and the special prize of the Jury of the International Festival of Film and New Media on Art in Athens in 1998. In 2000, the short film Tippeke got the Grand Prix Carina Ari of the Festival International Media Dance in Boulogne-Billancourt.
Furthermore, in June 1995, Anne Teresa De Keersmaeker received the title of Doctor Honoris Causa at the Vrije Universiteit Brussel. In March 1996 the government of the province of Antwerp awarded her the Eugène Baie prize, and in May 2000 she was awarded by the French Republic the "Officier dans l'Ordre des Arts et des Lettres" title. In 2002 she received the annual award of the Gabriella Moortgat Stichting and la médaille de Vermeil from the City of Paris and a medal ('Erepenning') of the Belgian Flemish government. In 2004 she was awarded the "Keizer Karelprijs" by the province of Oost Vlaanderen. In 2008, she became—again in France—"Commandeur de l'Ordre des Arts et des Lettres".

Honours
 1996 Created Baroness de Keersmaeker, by king Albert II.
 2000 Officer in the Ordre des Arts et des Lettres of the French Republic
 2005 Member of the Royal Flemish Academy of Belgium for Science and the Arts.
 2008 Commander in the Order of Arts and Letters.
 2012 Golden Medal of the City of Lisbon.
 2014 Medal for Merit to Culture from the Portuguese government
 2015 Venice Biennale Golden Lion for Lifetime Achievement
 2015: Austrian Decoration for Science and Art.
 2021 Bronzen Zinneke
 2021 Helena Vaz da Silva European Award

Choreography

 2023 EXIT ABOVE, after the tempest / d'après la tempête / naar de storm
 2022 Forêt
 2022 Dark Red - Beyeler/RPS
 2022 Dark Red - Neue Nationalgalerie
 2022 Mystery Sonatas / for Rosa
 2021 Dark Red - Louvre-Lens
 2020 Dark Red - Kolumba
 2020 3ird5 @ w9rk
 2020 The Goldberg Variations, BWV 988
 2019 Brancusi
 2019 The Dark Red Research Project
 2019 Bartók / Beethoven / Schönberg
 2019 Somnia
 2018 The Six Brandenburg Concertos
 2017 Zeitigung
 2017 Mitten wir im Leben sind/Bach6cellosuiten
 2017 A Love Supreme
 2017 Così Fan Tutte (for the Opera of Paris)
 2015 Die Weise Von Liebe und Tod des Cornets Christoph Rilke
 2015 My Breathing Is My Dancing
 2015 Work/Travail/Arbeid
 2015 Golden Hours (As you like it)
 2014 Verklärte Nacht
 2014 Twice
 2013 Vortex Temporum
 2013 Partita 2
 2011 Cesena
 2010 En Atendant
 2010 3abschied
 2009 The Song
 2008 Zeitung
 2007 Keeping Still Part 1
 2007 Steve Reich Evening
 2006 Bartók / Beethoven / Schönberg Repertoireavond
 2006 D'un Soir Un Jour
 2005 Raga For The Rainy Season / A Love Supreme
 2005 Desh
 2004 Kassandra - Speaking In Twelve Voices
 2003 Bitches Brew / Tacoma Narrows
 2002 Once
 2002 Repertoireavond
 2002 (But If A Look Should) April Me
 2001 Small Hands (Out Of The Lie Of No)
 2001 Rain
 2000 In Real Time
 1999 I Said I
 1999 With / For / By
 1999 Quartett
 1998 Drumming
 1998 Duke Bluebeard's Castle
 1997 Just Before
 1997 3 Solos For Vincent Dunoyer
 1996 Woud, Three Movements To The Music Of Berg, Schönberg & Wagner
 1995 Erwartung / Verklärte Nacht
 1994 Amor Constante, Más Allá De La Muerte
 1994 Kinok
 1993 Toccata
 1992 Mozart / Concert Arias. Un moto di gioia.
 1992 Erts
 1990 Achterland
 1990 Stella
 1988 Ottone Ottone
 1987 Bartók / Mikrokosmos
 1987 Verkommenes Ufer / Medeamaterial / Landschaft mit Argonauten
 1986 Bartók / Aantekeningen
 1984 Elena's Aria
 1983 Rosas danst Rosas
 1982 Fase, Four Movements to the Music of Steve Reich
 1980 Asch

Choreography for other companies than Rosas
 The Lisbon Piece (for the Portuguese Companhia Nacional de Bailado)

Opera directions
 Bluebeard's Castle (music by Bartók) (1998)
 I due Foscari (music by Verdi) (2003)
 Hanjo (music by Toshio Hosokawa) (2004)
 Così fan tutte (music by Mozart) (2017)

Filmography
 Répétitions (Marie André, 1985, 43min)
 Hoppla! (Wolfgang Kolb, 1989, 52min)
 Monoloog van Fumiyo Ikeda op het einde van Ottone, Ottone (Walter Verdin, Anne Teresa De Keersmaeker and Jean-Luc Ducourt, 1989, 6min23sec)
 Ottone, Ottone (Part 1 and 2) (Walter Verdin and Anne Teresa De Keersmaeker, 1991, Part 1: 52min and Part 2: 50min)
 Rosa (Peter Greenaway, 1992, 16min)
 Mozartmateriaal (Jurgen Persijn and Ana Torfs, 1993, 52min)
 Achterland (Anne Teresa De Keersmaeker and Herman Van Eyken, 1994, 84min)
 Tippeke (Thierry De Mey, 1996, 18min)
 Rosas danst Rosas (Thierry De Mey, 1997, 57min)
 Ma mère l'Oye (Thierry De Mey, 2001, 28min)
 Fase (Thierry De Mey, 2002, 58min)
 Counter Phrases (Thierry De Mey, 2004)
 Prélude à la mer (Thierry De Mey, 2009, 16min)[
 Early Works - Films and Documentaries 4 DVDs / Cinéart, 2012 (Fase, A film by Thierry De Mey, 2002, 58 min - Rosas danst Rosas, A film by Thierry De Mey, 1997, 57 min - Répétitions, A film by Marie André, 1985, 43 min - Hoppla!, A film by Wolfgang Kolb, 1989, 52 min)
 Rain (Olivia Rochette en Gerard-Jan Claes, 2012, 83min)
 Work/Travail/Arbeid A film installation by Eric De Kuyper (2017)
 Mitten (Olivia Rochette en Gerard-Jan Claes, 2019, 53min)

Sources

External links

Biography on Rosas website
Rosas, Bal Moderne and Dancing Kids!
Review of Rosas' performance of de Keersmaeker's Once by Ann Williams, 19 October 2003

Belgian choreographers
Belgian women choreographers
Belgian female dancers
Belgian dancers
Barons of Belgium
Dance directors of La Monnaie
1960 births
Living people
People from Mechelen
Tisch School of the Arts alumni
Bessie Award winners
Members of the Academy of Arts, Berlin
Members of the Royal Flemish Academy of Belgium for Science and the Arts
Contemporary dancers

Anne Teresa De Keersmaeker


Alan Gerard Fletcher (27 September 1931 – 21 September 2006) was a British graphic designer.  In his obituary, he was described by The Daily Telegraph as "the most highly regarded graphic designer of his generation, and probably one of the most prolific".

Born in Nairobi, Kenya, Fletcher moved to England at age five, and studied at four art schools: Hammersmith School of Art, Central School of Art, Royal College of Art (1953–1956) and lastly Yale School of Art and Architecture at Yale University in 1956.

Early life
Fletcher was born in Nairobi, where his father was a civil servant. When his father was terminally ill he returned to England at the age of five with the rest of his family. He lived with his grandparents in Shepherd's Bush in West London, before being evacuated in 1939 to Christ's Hospital in Horsham.

He studied at the Hammersmith School of Art from 1949, then at the Central School of Art, where he studied under noted typographer Anthony Froshaug and befriended Colin Forbes, Terence Conran, David Hicks, Peter Firmin, Theo Crosby, Derek Birdsall and Ken Garland. After a year teaching English at Berlitz Language School in Barcelona, he returned to London to study at the Royal College of Art from 1953 to 1956, where he met Peter Blake, Joe Tilson, Len Deighton, Denis Bailey, David Gentleman and Dick Smith.

He married Paola Biagi, an Italian national, in 1956 (they met with a heated discussion about if orange and pink were a good or bad colour pair). He then took up a scholarship to study at the Yale School of Art and Architecture at Yale University, under Alvin Eisenman, Norman Ives, Herbert Matter, Bradbury Thompson, Josef Albers and Paul Rand. He visited Robert Brownjohn, Ivan Chermayeff and Tom Geismar in New York, became friends with Bob Gill, and was commissioned by Leo Lionni to design a cover for Fortune magazine in 1958. After a visit to Venezuela, he returned to London in 1959, having worked briefly for Saul Bass in Los Angeles and Pirelli in Milan.

Professional career
He founded a design firm called 'Fletcher/Forbes/Gill' with Colin Forbes and Bob Gill in 1962. An early product was their 1963 book Graphic Design: A Visual Comparison in John Lewis's Studio Paperbacks series.

Clients included Pirelli, Cunard, Penguin Books and Olivetti. Gill left the partnership in 1965 and was replaced by Theo Crosby, so the firm became Crosby/Fletcher/Forbes.  Two new partners joined, and the partnership evolved into Pentagram in 1972, with Forbes, Crosby, Kenneth Grange and Mervyn Kurlansky, with clients including Lloyd's of London and Daimler Benz.

Much of his work is still in use: a logo for Reuters made up of 84 dots, which he created in 1965, was retired in 1992, but his 1989 "V&A" logo for Victoria and Albert Museum, and his "IoD" logo for the Institute of Directors remain in use. In last years he designed the logo for the Italian School of Architecture "Facolta' di Architettura di Alghero", (University of Sassari). In 1962, he co-founded British Design & Art Direction, along with David Bailey, Terence Donovan, which was later renamed Designers and Art Directors Association (D&AD).

He left Pentagram in 1992, and worked from the home in Notting Hill that he had occupied since the early 1960s, where he was assisted by his daughter Raffaella Fletcher, Leah Klein and Sarah Copplestone, and worked for new clients, such as Novartis. Much of his later work was as art director for the publisher Phaidon Press, which he joined in 1993. For him, life and work were inseparable: "Design is not a thing you do. It's a way of life." (quoted in his obituary in The Times). He would continue working, even on holiday, drawing on a notepad with a pencil.

A book of his designs, Beware Wet Paint, was published by Jeremy Myerson in 1994. Fletcher also wrote several books about graphic design and visual thinking, most notably The Art of Looking Sideways (2001), which had taken him 18 years to finish.

An exhibition of his life's work was displayed at the Design Museum in London between 11 November 2006 until 18 February 2007, alongside the posthumous publication of a book, Picturing and Poeting. The exhibition went on tour in 2008. It was installed at the Ginza Graphic Gallery in Tokyo between 9 and 31 May 2008, and was installed at the Pitzhanger Manor Gallery in Ealing, West London, between 14 November 2008 and 3 January 2009.

He won the 1993 Prince Philip Designers Prize given by the Design Council, was President of the D&AD (Designers and Art Directors Association) in 1973 and International President of the Alliance Graphique Internationale from 1982 to 1985.  He was elected to the Hall of Fame of the New York Art Directors Club in 1994, was a senior fellow of the Royal College of Art in 1989 and became an honorary fellow of the London Institute in 2000.

The December 2006 limited-edition cover of Wallpaper* magazine featured one of his last works omitting his calligraphic signature in the compliments slip accompanying his completed work for he was too frail by then.

He died of cancer in London, and is survived by his wife and daughter.

Further reading
 Alan Fletcher, Picturing and Poeting (2006. Phaidon Press)
 Beware Wet Paint: Designs by Alan Fletcher, by Jeremy Myerson, David Gibbs and Rick Poynor (2004. Phaidon Press) ()
 Alan Fletcher, The Art of Looking Sideways (2001. Phaidon Press)

References

External links
Official website
Alan Fletcher -Designing Modern Britain (1931–2006) from the British Council Design Museum
Obituary, The Times, 26 September 2006
Obituary, The Daily Telegraph, 29 September 2006
Obituary, The Independent, 26 September 2006
, a video interview concerning the preparation of the book

1931 births
2006 deaths
People from Nairobi
People educated at Christ's Hospital
20th-century British businesspeople
Alumni of the Royal College of Art
Academics of the Royal College of Art
Logo designers
British graphic designers
Design writers
Deaths from cancer in England
Yale School of Architecture alumni
Design educators
British illustrators
Alumni of the Central School of Art and Design
Pentagram partners (past and present)

Alan Fletcher (graphic designer)


A DNase footprinting assay is a DNA footprinting technique from molecular biology/biochemistry that detects DNA-protein interaction using the fact that a protein bound to DNA will often protect that DNA from enzymatic cleavage. This makes it possible to locate a protein binding site on a particular DNA molecule. The method uses an enzyme, deoxyribonuclease (DNase, for short), to cut the radioactively end-labeled DNA, followed by gel electrophoresis to detect the resulting cleavage pattern.

For example, the DNA fragment of interest may be PCR amplified using a 32P 5' labeled primer, with the result being many DNA molecules with a radioactive label on one end of one strand of each double stranded molecule. Cleavage by DNase will produce fragments. The fragments which are smaller with respect to the 32P-labelled end will appear further on the gel than the longer fragments. The gel is then used to expose a special photographic film.

The cleavage pattern of the DNA in the absence of a DNA binding protein, typically referred to as free DNA, is compared to the cleavage pattern of DNA in the presence of a DNA binding protein. If the protein binds DNA, the binding site is protected from enzymatic cleavage. This protection will result in a clear area on the gel which is referred to as the "footprint".

By varying the concentration of the DNA-binding protein, the binding affinity of the protein can be estimated according to the minimum concentration of protein at which a footprint is observed.

This technique was developed by David J. Galas and Albert Schmitz at Geneva in 1977

See also
 DNA footprinting
 DNase I
 Toeprinting assay

References

Biochemistry detection methods
Molecular biology
Laboratory techniques

DNase footprinting assay


Marcelino Pons López (September 23, 1943 – November 29, 2001) was a Cuban professional baseball player. He played in Major League Baseball as a left-handed pitcher in  and from  through , most notably as a member of the Baltimore Orioles dynasty that won two American League pennants and one World Series championship. He also played for the Milwaukee Brewers and the Cleveland Indians.

Early years
López signed as an amateur free agent with the Philadelphia Phillies at just sixteen years old. He made his major league debut in 1963, but after just four appearances, was back in the minors by the end of April. He spent all of the 1964 season with Philadelphia's Triple-A affiliate, the Chattanooga Lookouts. After the Phillies acquired first baseman Vic Power from the Los Angeles Angels (September 9, 1964), López was selected as the "player to be named later," the following month.

California Angels
In 1965, López went 14–13 with a 2.93 earned run average and 122 strikeouts for the Angels to finish second to Curt Blefary in American League rookie of the year balloting.

His numbers fell off considerably in 1966, largely because he led AL starters in hit batsmen with nine, and was second in the league with twelve wild pitches (the Chicago White Sox's Joe Horlen had 14). Shoulder injuries limited López to just nine innings for the Angels in 1967. On June 15, he and minor leaguer Tom Arruda were sent to the Baltimore Orioles for Woodie Held.

Baltimore Orioles
López spent all of 1968 in the minors before making his first major league appearance with the Orioles in 1969. At this point in his career, he was converted into a reliever, and was 4–2 with a 4.06 ERA out of the bullpen (he was 1–1 with a 5.40 ERA in his four starts).

The Orioles ran away with the American League East by nineteen games over the Detroit Tigers. López's only appearance in the 1969 American League Championship Series came in game one. In the twelfth inning, he faced four batters, retiring only one before manager Earl Weaver removed him in favor of Dick Hall. He did not make an appearance in the 1969 World Series against the New York Mets.

López became one of the most reliable relievers in Baltimore's bullpen in 1970, as he had a 1.65 ERA in relief. He was 1–0 with a 3.18 ERA as a starter. Baltimore returned to the post-season, and again, López made just one appearance. In the second game of the 1970 World Series, he faced just one batter, Bobby Tolan, and got him to fly out to Brooks Robinson in foul territory.

Milwaukee Brewers
During spring training the following season, López was traded to the Milwaukee Brewers for Roric Harrison and minor leaguer Marion Jackson. He began the 1971 season as a reliever, but was added to the starting rotation midway through the season. He had a 1–5 record as a starter.

Retirement
López's contract was purchased by the Cleveland Indians during spring training 1972. After spending the entire season with Cleveland's Triple-A affiliate, the Portland Beavers, López made four appearances with the Indians that September. He played minor league ball for the San Diego Padres, Pittsburgh Pirates and Houston Astros before retiring. He died in 2001 at age 58.

References

External links

Marcelino López at SABR (Baseball BioProject)
Marcelino López at Baseball Almanac
Marcelino López at Pura Pelota (Venezuelan Professional Baseball League)

1943 births
2001 deaths
Baseball players from Havana
Rojos del Águila de Veracruz players
Alijadores de Tampico players
Arkansas Travelers players
Baltimore Orioles players
Buffalo Bisons (minor league) players
California Angels players
Charleston Charlies players
Chattanooga Lookouts players
Cleveland Indians players
Columbus Astros players
Elmira Pioneers players
Florida Instructional League Orioles players
Hawaii Islanders players
Los Angeles Angels players
Major League Baseball pitchers
Major League Baseball players from Cuba
Cuban expatriate baseball players in the United States
Miami Marlins (FSL) players
Milwaukee Brewers players
Mineros de Coahuila players
Philadelphia Phillies players
Portland Beavers players
Rochester Red Wings players
Tampa Tarpons (1957–1987) players
Tiburones de La Guaira players
Cuban expatriate baseball players in Venezuela
Tigres de Aragua players
Williamsport Grays players

Marcelino López


Frank Showell Styles (14 March 1908 – 19 February 2005) was an English writer and mountaineer.

Biography

Showell Styles was born in Four Oaks, Birmingham and educated at Bishop Vesey's Grammar School in nearby Sutton Coldfield. His father Alfred Thomas Styles was also born in Four Oaks, in 1882. Known to his friends as 'Pip', Showell Styles' childhood was spent in the hills of North Wales where he became an avid mountaineer and explorer. During the Second World War, Styles joined the Royal Navy and was posted in the Mediterranean, but even there he walked and climbed as much as he could. As reported in his obituary by the daily post, in the early 1950s Showell Styles led several expeditions in the Himalayas and Arctic. He also climbed in the Pyrenees and Alps.

An aspiring writer, Styles already had articles published in Punch, before setting out to make his living as an author. His first novel, Traitor's Mountain, was a murder mystery set on and around Tryfan in Wales. He became a prolific writer with over 160 books published for children as well as adults. In addition to historic naval adventure fiction such as the Midshipman Quinn and Lieutenant Michael Fitton series set during the Napoleonic Wars, and non-fiction works on mountains and such as The Mountaineer's Weekend Book, he wrote detective fiction under the pseudonym of Glyn Carr, and humorous pieces as C.L. Inker.

Works

Children's books
 First Up Everest (1969), illustrated by Raymond Briggs,
 Marty's Mountain (1973), illus. Malcolm Hargreaves
 Welsh Tales for Children (1974), retold by Styles, illus. Bernadette Watts

Anthologies edited
 Men and Mountaineering: An Anthology of Writings by Climbers (1968),

Fiction

Midshipman Septimus Quinn

Midshipman Quinn (1956)
Quinn of the Fury (1958)
Midshipman Quinn and Denise the spy (1961)
Midshipman Quinn Wins Through (1961)
Quinn at Trafalgar (1965)
The Midshipman Quinn Collection (omnibus) (2000)

Lieutenant Michael Fitton Adventures

A Sword for Mr. Fitton (1975)
Mr. Fitton's Commission (1977)
The Baltic Convoy (1979)
Gun Brig Captain (1987)
A Ship for Mr. Fitton (1991)
Mr. Fitton's Prize (1993)
Mr. Fitton and the Black Legion (1994)
Mr. Fitton in Command (1995)
The 12-Gun Cutter (1996)
Lieutenant Fitton (1997)
Mr. Fitton at the Helm (1998)
The Martinique Mission (1999)
Mr. Fitton's Hurricane (2000)

Tiger Patrol

Tiger Patrol (1957)
The Tiger Patrol Wins Through (1958)
The Tiger Patrol at Sea (1958)
The Tiger Patrol Presses On (1961)

Wolf Cubs

Red for adventure (1965)
Wolf Cub Island (1966)
The Sea Cub (1967)
Cubs of the Castle (1969)
Cubs on the Job (1972)

Simon & Mag Hughes

The Shop in the Mountain (1961)
The Ladder of Snow (1962)
A Necklace of Glaciers (1963)
The Pass of Morning (1966)

Abercrombie Lewker

Traitor's Mountain (1946)
Kidnap Castle (1947)
Hammer Island (1948)

Subsequent Lewker novels were written under the pseudonym 'Glyn Carr'
Murder on the Matterhorn  (1951)
Death on Milestone Buttress  (1951)
The Youth Hostel Murders  (1952)
The Corpse in the Crevasse  (1952)
Death Under Snowdon  (1954)
A Corpse at Camp Two  (1955)
Murder of an Owl  (1956)
The Ice Axe Murders  (1958)
Swing Away Climber  (1959)
Holiday With Murder  (1960)
Death Finds a Foothold  (1961)
Lewker in Norway  (1963)
Death of a Weirdy  (1965)
Lewker in Tyrol  (1967)
Fat Man's Agony  (1969)

Other novels

Sir Devil (1949)
Path to Glory (1951)
Dark Hazard (1952)
Land from the Sea (1952)
Mr. Nelson's Ladies (1953)
The Frigate Captain (1954)
His Was Fire (1956)
The Lost Glacier (1956)
The Sea Lord (1956)
Kami the Sherpa (US Title: Sherpa Adventure) (1957)
Admiral's Fancy (1958)
Wolfe Commands You (1959)
Shadow Buttress (1959)
The Battle of Cotton: Revolution in Britain (1960)
Greencoats Against Napoleon (1960)
The Flying Ensign: Greencoats Against Napoleon (1960)
The Battle of Steam: Revolution in Britain (1961)
The Lost Pothole (1961)
The Sea Officer (1961)
Byrd of the 95th (1962)
Gentleman Johnny (1962)
Thunder Over Spain (1962)
H.M.S. Diamond Rock (1963)
The Camp in the Hills (1964)
Greenhorn's Cruise (1964)
Mr Fiddle (1965)
Number Two-Ninety (1966)
Confederate Raider (1967)
Mr Fiddle's Band (1967)
Indestructible Jones (1967)
Journey with a Secret (1968) (aka Mystery of the Fleeing Girl)]
Sea Road to Camperdown (1968)
Journey with a Success (1969)
Jones' Private Navy (1969)
Case for Mister Fiddle (1969)
The Snowdon Rangers (1970)
Forbidden Frontiers (1970)
A Tent on Top (1971)
Vincey Joe at Quiberon (1971)
Admiral of England (1973)
Kiss for Captain Hardy (1979)
Centurion Comes Home (1980)
Quarterdeck Ladder (1982)
Seven Gun Broadside (1982)
Stella And The Fireships (1983)
The Malta Frigate (1983)
Mutiny in the Caribbean (1984)
The Lee Shore (1986)
H. M. S. Cracker (1988)
Nelson Made Me (1989)
Nelson's Midshipman (1991)
The Independent Cruise (1992)

 Non-fiction

A Climber in Wales (1949)
Walks and Climbs in Malta (1949)
The Mountaineer's Week-End Book (1950)
Introduction to Mountaineering (1954)
Mountains of the Midnight Sun (1954)
The Moated Mountain (1955)
The Camper's and Tramper's Week-End Book (1957)
Introduction to Caravanning (1957)
Getting to Know Mountains (1958)
How Mountains Are Climbed (1958)
How Underground Britain Is Explored (1959)
Look At Mountains (1962)
Modern Mountaineering (1964)
Blue Remembered Hills (1965)
The Foundations of Climbing (1966)
Climbing (1967)
On Top of the World (1967)
The Arrow Book of Climbing (1967)
Rock and Rope (1967)
Mallory of Everest (1967)
The Climber's Bedside Book (1968)
First on the Summits (1970)
Welsh Walks and Legends (1972)
What to See in Beddgelert and How to See It (1973)
Snowdon Range: Snowdonia District Guide Books (1973)
Mountains of North Wales (1973)
Glyder Range: Snowdonia District Guide Books (1974)
Exploring Gwynedd from Porthmadog (1974)
Souvenir Guide: Chwarel Hên Llanfair, Old Llanfair Quarry, Slate Caverns (1974)
Backpacking in Alps and Pyrenees (1976)
Backpacking: A Comprehensive Guide (1976)
Backpacking in Wales (1977)
Welsh walks & legends, South Wales (1977)
Llanberis Area Guide (1978)
Walks in Gwynedd (1980)
Public Footpath Walks from the Cambrian Coast (1980)
Walks from the Festiniog Railway (1980)
Snowdonia National Park: National Parks Guide (1987)
Welsh Walks and Legends: North Wales (1996)
North Wales Walks and Legends (2002)

Short non-fiction
 "Women are Climbing", Coventry Herald (14 January 1939)
 "Personalities of the Crumb Board", SMT Magazine & Scottish Country Life (March 1939)
 "The Battle of Camp Hill", Warwickshire Evening Despatch (6 April 1939)
 "Hands off the Park", Birmingham Mail (22 June 1939)
 "What's All the Fuss about?", Warwickshire Evening Despatch (5 July 1939)
 "Cheapest Way of Seeing the World", Midland Daily Telegraph'' (12 September 1939)

References

External links

Obituary in The Angry Corrie (archived 2007-09-04)
Showell Styles at FantasticFiction.co.uk

 Glyn Carr at LC Authorities, with 5 records, and at WorldCat

1908 births
2005 deaths
English male novelists
English explorers
English children's writers
English crime fiction writers
People educated at Bishop Vesey's Grammar School
20th-century English novelists
Members of the Detection Club
20th-century English male writers
Nautical historical novelists
Royal Navy officers of World War II
People from Sutton Coldfield

Showell Styles


P. Sri Acharya (16 April 1886 – 28 October 1981) was a Tamil scholar, journalist and writer from Tamil Nadu, India.

Biography
Acharya was born in Thenthiruperai, Thoothukudi District in 1886 to Pichu Iyengar and Pichu Ammal. His full birth name was P. Srinivasacharya, which was later shortened to P. Sri Acharya and further to P. Sri. He was educated at MDT Hindu College, Tirunelveli. He was a friend of the nationalist poet Subramania Bharathi and under his influence become an independence activist. At the insistence of C. Rajagopalachari he started reading Tamil literature and it soon became his primary field of expertise. He also published a journal titled Grama Paribalanam (lit. Administration of Villages) briefly. Later he worked as a journalist for the journal Kumaran. At Kalki Krishnamurthy's invitation he joined Ananda Vikatan. He ended his journalistic career as the editor of Dina Mani. In 1965, he was awarded the Sahitya Akademi Award for Tamil for his biography of Ramanuja. He died in 1981.

Bibliography

Alliance Publishers
Arupadai Veedugal (6 Volumes)
Azhwargal Varalaaru (8 Volumes)
Divya Prabandha Saaram
Aruna Girinadhar
Kandhapurana Kadhaigal
Naradhar
Navarathiri Kadhaigal
Rajarishi Viswamithrar
Thayumanavar
Dasavathara Kadhaigal
Thulli Thirindha Kalathilae
Avvaiyar
Moonru Deepangal

Kannadasan Publishers
(Critical Commentaries)
Ramanum Muruganum
Manikkavasagarum Nammazhvarum
Kabirdasarum Thayumanavarum
Gandhiyum Leninum
Gandhiyum Vinobavum
Andalum Meeravum
Bharathiyum Tagorum
Valluvarum Socratesum
Nandanarum Thirupaanalwarum
Bharathi: Naan Kandathum Kettadhum

Kalaimagal Kariyalayam
Anbu Vazhartha Arivu Payir - Azhwargalum Acharyargalum
Paadum Bhaktha Manigal (9 Volumes)
Moovar Erriya Mozhivilakku
Thonda Kulamae thozhu kulam
Thuyil Ezhuppiya Thondar
Adi Soodiya Arasu
Bhagawanai Valartha Bhakthar

Unknown publisher
Thiruppavai
Thiruvembavai
Kuzhandhai Valarppu Murai
Sivanesa Selvar
Thamizh valarndha Kadhai
Sri Ramanujar 1964, Sudhesamitran Publishers, Madras.

References

1886 births
1981 deaths
20th-century Indian journalists
Recipients of the Sahitya Akademi Award in Tamil
Tamil writers
People from Thoothukudi district
Journalists from Tamil Nadu
Indian Tamil people

P. Sri Acharya


Resusci Anne, also known as Rescue Anne, Resusci Annie or CPR Annie, is a training mannequin used for teaching cardiopulmonary resuscitation (CPR).  It is for both emergency workers and members of the general public.  Resusci Anne was made by Norwegian toy maker Åsmund Laerdal. It was based on the research of Peter Safar and James Elam. It was first used in 1960.  The mannequin is made to be just like the human respiratory system and outer body in order to help training.

Since its first use, several different versions of Resusci Anne have been introduced.  These include versions with computer monitoring, and versions that seem like other emergency medical conditions, such as severe wounds and trauma.

Trainees using the original Resusci Anne were expected to approach the mannequin. After getting no response, the trainees then administered CPR to the mannequin. This system was meant to teach trainees that not all victims require CPR. If a victim can respond when asked if okay, the victim does not need CPR.

The face of Resusci Anne was based on L'Inconnue de la Seine. It was the death mask of an unidentified young woman who may have drowned in the Seine River around the late 1880s.

References

Training

Resusci Anne


In American football, a handoff is the act of handing the ball directly from one player to another, i. e. without it leaving the first player's hands. Most rushing plays on offense begin with a handoff from the quarterback to another running back. The biggest risk with any hand-off is the chance of fumble on the exchange. A hand-off can occur in any direction. Sometimes called a "switch" in touch football. Alternately spelled without the hyphen; i.e., "handoff".

References

American football terminology

Hand-off