James Leveson Ross (1848 – 20 September 1913), of Montreal, was a Scottish-born Canadian civil engineer, businessman and philanthropist. He established his fortune predominantly through railway construction, notably for the Canadian Pacific Railway, of which he was the major shareholder, and advising Lord Strathcona on railway projects in Argentina and Chile. He oversaw the electrification of street railways in Montreal, Toronto, Winnipeg, Saint John, Birmingham (England), Mexico City and São Paulo. He was president of the Dominion Bridge Company, the Mexican Power Company etc. He was Honorary Lieutenant-Colonel of the 17th Duke of York's Royal Canadian Hussars and Governor of McGill University and the Royal Victoria Hospital. He was an avid collector of the Old Masters and president of the Montreal Museum of Fine Arts. He owned several yachts including two named Glencairn and became the first Canadian to be made a member of the Royal Yacht Squadron. He funded the construction of the Ross Memorial Wing at the Royal Vic; the Ross Memorial Hospital and Nurse's Home at Lindsay, Ontario; and the Protestant Hospital for the Insane at Verdun, Quebec. He lived in the Golden Square Mile.

Early life
Ross was born in 1848 at Cromarty, Scotland. He was the eldest son of Captain John R. Ross (d. 1889), a merchant and shipowner, and his wife Mary B. McKeddie (1826–1896), daughter of Captain McKeddie of Newcastle-on-Tyne. Ross was educated at Inverness Royal Academy and afterwards trained as a civil engineer in England. He worked for a while in a railway, harbour and water works before coming to the United States in 1868 to apply his talents to the rapidly expanding North American railway industry. In 1870, he was appointed engineer, then chief engineer, of the Ulster and Delaware Railroad.

Career

Railway engineer
After marrying in 1872 (see notes below on his family), Ross became chief engineer of the Wisconsin Central Railway and then the Lake Ontario Shore Railroad. On Lake Ontario, Ross came into contact with George Laidlaw and several other well-connected railway promoters, who persuaded him to come to Canada. He was appointed chief engineer of Laidlaw's Victoria Railway, and in 1879, he built the Credit Valley Railway. Ross was then appointed as acting consulting engineer for the Ontario and Quebec Railway, during which time he came into contact with three ambitious young men, namely William Mackenzie, Donald Mann and Herbert S. Holt.

After slow progress was being made in connecting the Canadian Pacific Railway west of Winnipeg, in 1883 under new CEO William Cornelius Van Horne, the company formed the wholly-owned North American Railway Contracting Company (NARCC). With the brief to meet up with the team driving east from the Pacific Ocean under Andrew Onderdonk, Ross was appointed general manager and chief engineer of the NARCC, and he immediately employed the services of Mackenzie, Mann, and Holt. Starting at Swift Current, they built  of railway to Craigellachie, British Columbia, by 7 November 1885, over the Rocky Mountains, the Selkirks and the Gold Range. Completing the project a year ahead of time, Van Horne commented at the opening of the line that Ross's record meant millions to the Canadian Pacific Railway. In achieving this, Ross stuck up a lifelong friendship with Donald Smith, 1st Baron Strathcona and Mount Royal, who drove "The Last Spike".

In 1886, Ross was appointed manager of construction for the Ontario and Quebec Railway, filling in gaps to allow full access into the CPR's Montreal to Windsor line, and onwards to the Michigan Central Railroad. Ross then negotiated the entry of the CPR into the American state of Maine, building the International Railway of Maine east from Montreal into an Atlantic Ocean terminal in Bangor, with an extension to Saint John. Ross then completed extensions of the CPR west of the Rockies to enable full access to the Pacific. At the time of his death, he was still a director of the CPR and was said to have been the company's largest shareholder.

Railway investor
Having completed his work at the CPR, he advised both Lord Strathcona and William Mackenzie on railway contracts in South America, netting US$20 million alone for consulting work in Argentina and Chile. He also formed a railway consulting and contracting company with Mackenzie, Mann and Holt, with:
Ross as general manager,
Mann preparing and grading roadbeds,
Mackenzie cutting the ties and organising timber work for trestles and bridges, and
Holt laying track, general finishing, and clean-up work.

Advising on and constructing feeder lines north from the CPR mainline, the company completed early work on the Winnipeg and Hudson Bay Railway, and constructed both the Regina and Long Lake Railway and the Calgary and Edmonton Railway. The partners also negotiated the incorporation of several land development companies, including the Calgary and Edmonton Land Company and the Canada Land and Investment Company. In a later 1887 partnership with George Stephen, 1st Baron Mount Stephen and Van Horne, they established the Lake of the Woods Milling Company, which bought and processed grain. In 1889, Ross became first president of the Columbia River Lumber Company, which provided timber for railways and housing projects.

Street cars and electricity
After moving to Montreal in 1888, in partnership with William Mackenzie, he oversaw the electrification of street railways in Montreal, Saint John, the Toronto Street Railway and Winnipeg Transit. They later took over the City of Birmingham Tramways Company Ltd in England, reorganising and electrifying that.

Mackenzie then looked for other opportunities in South America, resulting in similar projects in Mexico City and the highly profitable São Paulo Tramway, Light and Power Company, whose holding company later acted as a holding company for all of the team's Canadian and global street car investments.

As the partners recognised the need for clean electricity, they each became involved in local hydro electric projects. Ross through investment became first president of the Mexican Power Company, which developed a hydro electric dam at Necaxa to provide electricity for Mexico City.

Dominion Bridge, Coal and Steel
In 1890, Ross replaced Job Abbott as president of Dominion Bridge Company, a major contractor to the CPR for replacing wooden bridges with stronger and lower-maintenance steel replacements. Although credited to the drive of Ross, vice-president James Pawley Dawes led the development via joint-venture with the St Lawrence Bridge Company to construct the Quebec Bridge.

Ross saw the great need for steel, and formed a syndicate to buy the Dominion Coal Company. Investing in further shares independently, Ross built up such a huge stake in Dominion Coal that he was invited to join the board of the Dominion Iron and Steel Company. However, his influence could not resolve a long contract dispute between the two for the supply of high-grade coal at a disadvantageous price, which resulted in a case review at the High Court of Justice in London, England. Although fault was found on both sides, the contract was found to be legal. Ross resigned from both boards, thus allowing a later merger between the two companies.

Private life

In 1892, architect Bruce Price completed a French château-style mansion for Ross at 3644 Peel Street in Montreal's Golden Square Mile. Between 1897 and 1912, the Maxwell brothers (Edward and William Maxwell) expanded the house, adding an art gallery among other rooms.

Ross' only child, Jack Ross, had a house built for himself across the road at 3647 Peel Street, which was designed by the Maxwell brothers and completed in 1910. However, after the death of his parents, he moved back to his childhood home. He hired the firm of Trowbridge & Livingston, again expanding and remodeling the family mansion. After Jack Ross was declared bankrupt in 1928, the mansion was purchased in 1948 by businessman J.W. McConnell. He then donated it to McGill University, and the building was renamed Chancellor Day Hall (now called Old Chancellor Day Hall). It has been used since that time by the McGill University Faculty of Law. In December 2017, representatives of the Clan Ross Association of Canada and members of the McGill Faculty of Law unveiled a plaque commemorating Ross. The plaque is located near the main entrance of Old Chancellor Day Hall.

Ross had a passion for art and became a significant collector. At the time of his death, he had amassed one of the largest and finest collections of Old Masters on the North American continent. Through this passion, Ross became president of the Montreal Art Association, leaving much of his collection to the museum on his death.

Ross' father had been a shipowner, and Ross too had become a keen sailor after settling in Montreal in 1888. He was made honorary Commodore of the Royal St. Lawrence Yacht Club. He was a member of the New York Yacht Club and the first Canadian member of the Royal Yacht Squadron and the Royal Thames Yacht Club, both in England. He owned several yachts during his lifetime, including the Glencairn, which won the coveted and prestigious Seawanhaka Corinthian Cup for half-raters in American waters, 1896. However, his most famous yacht was the Liberty, purchased in 1912 from the deceased newspaper magnate Joseph Pulitzer. The yacht (which he renamed Glencairn after his previous vessel) required a staff of sixty-five and had a full auditorium, numerous state rooms, and first-class dining rooms. He undertook a cruise around the world in the hope that it would restore his health, but he died soon after returning to Montreal.

After retiring from engineering and active investment, Ross sat on the boards of numerous companies, including the Bank of Montreal and the Royal Trust Company. He was a member of both the American and the Canadian Society of Civil Engineers, and he was appointed honorary Lieutenant-Colonel of the 17th Duke of York's Royal Canadian Hussars. He was a Trustee of Bishop's College School, Governor of the Royal Victoria Hospital, Montreal, and of McGill University, donating generously to all institutions. Ross was a member of several clubs not already mentioned, including the Constitutional Club in London, the Manhattan Club in New York City, and the Montreal Hunt, Jockey, Royal Golf and Racquet Clubs.

Philanthropy

Throughout his lifetime, and in his will, Ross made numerous donations to various charitable and cultural institutions. In memory of his parents, at Lindsay, Ontario, he built the Ross Memorial Hospital and a Nurse's Home. During his lifetime he had donated generously to the Alexandra Hospital and the Royal Victoria Hospital, both in Montreal. In his will, he directed his son, J.K.L. Ross, to continue his support of the Royal Vic, by way of which his son gave $1 million to construct the Ross Memorial Pavilion in 1915. He also built the Protestant Hospital for the Insane at Verdun, Quebec, of which he became a Governor.

Ross was a generous donor to McGill University, and he made several donations of $25,000 during his lifetime to the Montreal Art Association and towards the building of the Montreal Museum of Fine Arts in 1912. In his will, he left the Art Association a further $100,000 and much of his collection of Old Masters.

Family

In 1872, Ross had married Annie Kerr (1847–1915), the eldest daughter of John W. Kerr (1824–1904), of Kingston, New York, and his wife Eliza Davis (1824-1899). His father-in-law was a prominent politician with the Democratic Party and formerly the Sheriff of Ulster County, New York.

The Rosses were the parents of one son, John Kenneth Leveson Ross. In 1902, he married Ethel Matthews, daughter of Wilmot Deloui Matthews (1850–1919) of Toronto. They were the parents of a son and a daughter. They divorced in 1930 and the following year, in Jamaica, he married Iris de Lisser, sister of H. G. de Lisser.

Towards the end of his life, Ross devoted most of his time to sailing in European and Canadian waters. Following his around the world trip aboard his yacht Glencairn, Ross died of existing heart complications at his home in the Golden Square Mile on 20 September 1913.

See also
List of Bishop's College School alumni

References

External links
James Ross at Quebec History
Biography of James Ross
Obituary of James Ross in the Ottawa Citizen

People from the Black Isle
Scottish civil engineers
Scottish expatriates in the United States
Scottish emigrants to Canada
Canadian civil engineers
Canadian railway pioneers
Canadian Pacific Railway executives
Businesspeople from Montreal
1848 births
1913 deaths
McGill University people
Bishop's College School alumni
19th-century Canadian philanthropists
Royal Canadian Hussars

James Ross (Canadian businessman)


Dionciel (Donny) Armstrong (born December 29, 1973) is an American writer, director, and producer in the film industry. He is currently the president and CEO of Mind Vision Productions. The youngest of five siblings, Armstrong was born and raised in Detroit, Michigan.

Career
In 1997, Dionciel Armstrong founded Rapfiles.com, which is an online recourse and information portal for independent artist, producers, and labels. Prior to launching Rapfiles.com, he owned a full service printing company. Shortly after selling his printing business, Dionciel Armstrong began focusing on his film career by making his debut with a documentary titled "Street Life", which was released on DVD in 2001. Produced, written and directed by Armstrong, the documentary sold over 40,000 units nationwide through their independent distribution company. One year later, "Street Life" was released to a larger distribution company called Xenon Pictures and has sold over a quarter million copies nationwide.

In 2003, Armstrong released "Rap Files: Vol. 1" to DVD. This provided him with the opportunity to expose the industry to up-and-comings and Hip-Hop fans as well. "Rap Files Vol. 1" is now sold in over 10 countries and is currently an online show which features interviews from today's entertainers such as Katt Williams, Method Man, Eminem, and Proof.

Dionciel Armstrong is a consultant to independent based record labels. He has worked with WonderBoy Entertainment as the GM of Operations and Marketing VP. WonderBoy quickly became a successful independent record label that reached a deal with Koch Records and later inked a deal with Motown/Universal Music Group. A couple years later after joining another independent record company based in Michigan, Dionciel Armstrong inked a GM deal at Royalty Records Inc. which operates with the likes of Forty Da Great, Lyric, Show, and its own recording studio.

In 2008 "Five K One", a feature film drama that was produced, written and directed by Armstrong. The film stars Clifton Powell, Anthony Johnson, Melvin Jackson Jr., and Yukmouth. This film focuses on the story of two best friends who has had their run of the streets. Throughout this film they will go through trials and tribulations, and face adversity and life altering decisions that they may not be able to live with. Dionciel Armstrong wrote this film to bring awareness to what the street have to offer which is prison, death and chaos. He took the title straight from the federal sentencing guidelines in section 5.k.1.2 which states that if an individual gives information to convict someone else, their sentence will be expunged or reduced for cooperating.

Filmography
 Street Life (2001) – Producer, Writer, Director
 Rap Files Vol. 1 (2003) – Producer, Writer, Cinematographer
 Five K One (2008) – Producer, Writer, Director
 Rap Files DVD Magazine Vol. 2
 Rap Files DVD Magazine Vol. 3
 Uncut Series DVD Series
 Street Life Directors Cut
 VH1's – Celebrity Disguise
 Wanna Be A Rapper
 Family Secrets
 Beef Carver

References

External links

Rotten Tomatoes
Article in RealDetroit Weekly

1973 births
Living people
American film producers
Film directors from Michigan
American male screenwriters

Dionciel Armstrong


In the United States, a permanent fund is one of the five governmental fund types established by GAAP. It is classified as a restricted true endowment fund for governments and non-profit organizations. Put simply, a permanent fund may be used to generate and disburse money to those entitled to receive payments by qualification or agreement, as in the case of Alaska citizens or residents that satisfy the rules for payment from their permanent fund from State oil revenues. It was first introduced through GASB Statement 34. The name of the fund comes from the purpose of the fund: a sum of equity used to permanently generate payments to maintain some financial obligation. Also, a fund can only be classified as a permanent fund if the money is used to report the status of a restricted financial resource. The resource is restricted in the sense that only earnings from the resource are used and not the principal. For example, a fund can be classified as a permanent fund if it is being used to pay for accounting services for a perpetual endowment of a government-run cemetery or financial endowments towards a government-run library.

A common misconception is that permanent funds are required for special-purpose government entities that solely engage in business-type activities. However, this is not the case. According to Statement 34, that special-purpose government entity needs only to report the net balance of the restricted resources.

See also
 The Petroleum Fund of Norway
 Permanent School Fund - funds K–12 schools in Texas, mostly from oil and natural gas revenue.
 Permanent University Fund - funds universities in Texas, mostly from oil and gas revenue.
 The Alaska Permanent Fund provides annual dividends to residents of the State of Alaska
Public company
Government Accountability Office investigations of the Department of Defense
Federal Accountability Act (Canada)

External links
GAO History Government Accounting Office
PDF - Capital Asset Accounting System (Permission to quote granted in the document)
 - Above document must now be purchased

United States Generally Accepted Accounting Principles
Accounting in the United States
Government Accountability Office
Government audit
Government finances in the United States
Political corruption
Single Audit

Permanent fund


The Delaware Legislative Hall is the state capitol building of Delaware. Located in the state capital city of Dover on Legislative Avenue, it houses the chambers and offices of the Delaware General Assembly.  It was designed in the Colonial Revival architecture style by E. William Martin and Norman M. Isham, and built 1931–1933, with wings added in 1965–1970 and 1994.

Architects
The building was built of red brick with white wooden trim, designed in the Colonial Revival style by E. William Martin and Norman M. Isham, under the direction of the State Buildings and Grounds Commission, created by Governor C. Douglass Buck in 1931 during the Great Depression. Initially the commission was awarded to Isham, but his appointment was protested by Alfred Victor Du Pont (on the grounds that Isham was not a resident of Delaware); therefore, local architect Martin was brought in. The influence of Isham is clear when one notes the resemblance of many architectural details to Old Colony House in Newport, Rhode Island, a building which Isham had also restored in 1932.

History and structure

Old State House

The original capitol of Delaware was the State House (now known as the Old State House), located on The Green in Dover. It was commissioned originally by Kent County as the Kent County Court House, and was constructed from 1787 to 1791, when it became the State House. Kent County and the state government shared the building until 1873, when the Kent County government relocated. The State House was used until the completion of Legislative Hall.

Today, the Old State House has been restored to its 18th-century appearance and is now a museum that includes the site of a former courtroom and the former chambers of the state legislature. The House chamber contains portraits by Thomas Sully of Commodore Jacob Jones and Commodore Thomas Macdonough, of the United States Navy, Delaware heroes who served in the Barbary Wars and the War of 1812.

Legislative Hall
Legislative Hall is opposite the Old State House on the mall. The structure was completed and dedicated in 1933. From 1965 to 1970, flanking north and south wings were added on the sides of the building, giving each member of the Assembly an office in addition to a desk in one of the legislative chambers. The architect George Fletcher Bennet of Dover designed the expansion.

Two more wings, providing more office space for legislators and staff as well as hearing and caucus rooms, were added to the east side / rear of the building in 1994. This expansion was designed by the Wilmington-based firm The Architects Studio. In addition, the entire interior of Legislative Hall was renovated in a three-phase project during the next three years during the summers of 1995, 1996 and 1997, including refurbishment of both the House and Senate chambers as well as the lobby, cafeteria, and many offices. This project was designed by the Wilmington firm Moeckel Carbonell Associates.

In addition to the chambers of the Delaware House of Representatives and Senate, the Legislative Hall also includes space used by the General Assembly's two nonpartisan staff agencies, the Division of Research and the Office of the Controller General, as well as offices for the Governor and Lieutenant Governor while the General Assembly is in session.

Legislative Hall is the home of the Hall of Governors, which includes portraits of all but one of Delaware's past governors. The building also houses other portraits, including of political and military figures such as James Frank Allee, James A. Bayard the elder, Bradford B. Barnes, James A. Bayard Jr., Henry Clay Conrad, Richard S. Cordrey, Samuel Francis Du Pont, Vera Gilbride Davis, J. Allen Frear, Jr., Herman Holloway Sr., Calvin R. McCullough, Eli Saulsbury, John Wales, John Jay Williams, Presley Spruance, Willard Saulsbury, Sr., and Willard Saulsbury, Jr.

See also
Delaware lunar sample displays
List of state and territorial capitols in the United States

Notes

External links

Delaware Legislative Hall
State House Museum ()

Government buildings in Delaware
Government of Delaware
State capitols in the United States
Museums in Dover, Delaware
History museums in Delaware
Buildings and structures in Dover, Delaware
Government buildings completed in 1933

Delaware Legislative Hall


Wilfred Thesiger (June 3, 1910 – August 24, 2003) was a British military officer, explorer, and writer.

He was born in Addis Ababa where his father was an advisor to the Ethiopian emperor. He went to school and university in England but he always dreamed of travel. He didn't make many friends when he studied in England. During his first university holidays he travelled alone, without much money, from England to Istanbul. This was the start of an exciting life filled with adventure in Africa, Iraq and the Arabian Peninsula.

Thesiger was one of the last great British explorers and he was an excellent photographer and writer. When Thesiger died in 2003, he left more than 38,000 photographs to the Pitt Rivers museum in Oxford. Thesiger wrote many books, some of which are considered to be classics. He was a tall, strong man and a successful boxer.

Thesiger travelled through the UAE with his Bedouin friends and even met Sheikh Zayed in Al Ain. (In 2003, the UAE gave money to the Pitt Rivers museum to help keep Thesiger's photos safe). Thesiger had a deep respect for his Bedouin friends who he thought of as better than himself because they were generous, brave and always cheerful. Each time Thesiger and his Bedouin friends met other people, they stopped, invited them to eat their food, and enjoyed sharing the latest news.

Thesiger loved a simple lifestyle. He didn't like cars or the radio. For the rest of his life he always wanted to go back to the desert.

He died in Croydon, London.

1910 births
2003 deaths
Addis Ababa
Alumni of the University of Oxford
British explorers

Wilfred Thesiger


Mawlid an-Nabi is a special day in Islamic calendar to remember the birth of Prophet Muhammad. The day falls on the 12th day of Rabiul Awal of Islamic lunar calendar every year. Every year, Muslims around the world celebrate the day by large street processions, distributing food and charity and talks and sermons about the life of the prophet.

The day is recognised as a public holiday in most Muslim countries with the exception of Saudi Arabia.

Islamic festivals

Mawlid an-Nabi


Johann Friedrich Wilhelm Wolff, nicknamed "Lupus" (21 June 1809 – 9 May 1864) was a German schoolmaster, political activist and publicist.

Life
Wolff was born in Tarnau, Kreis Schweidnitz, Silesia (now Tarnawa, Lower Silesian Voivodeship, Gmina Żarów, Poland) in to a family of farmers. In 1831 he became active as a radical student organization member, for which he was imprisoned between 1834 and 1838.

In 1846, in Brussels, Wolff became a close friend of Karl Marx and Friedrich Engels. He was active in the Brussels Communist Correspondence Committee and a member of the League of the Just in addition to being co-founder of the League of Communists in 1848 as a member of its central authority. He served as an editor of the Neue Rheinische Zeitung in 1848-1849 and as a member of the Frankfurt National Assembly.

Wolff emigrated to Switzerland in 1849 and then to England in 1851.

Legacy
On his death, Wolff left a substantial fortune to Marx, who dedicated the first volume of Das Kapital to him with the line "To my unforgettable friend, Wilhelm Wolff. Intrepid, faithful, noble protagonist of the proletariat."

Gerhart Hauptmann's play Die Weber (The Weavers) is based on Wolff's essay about the weavers' uprising in Silesia in 1844 and its suppression, Das Elend und der Aufuhr in Schlesien.

See also
 Richard D. Wolff

References

External links
 Archive of Wilhelm Wolff Papers at the International Institute of Social History
 Frederick Engels, 1876. Wilhelm Wolff biography

1809 births
1864 deaths
German communists
German socialists
Members of the Frankfurt Parliament
People from Zielona Góra County
People from the Province of Silesia
People from Żarów

Wilhelm Wolff


Field artillery in the American Civil War were cannon that could be moved around the battlefield or could travel with an army unit. Field artillery could only fight unlimbered (disconnected from the cart and horses that pulled it). The limber (or caisson) along with the team of six horses would be moved to a safe area nearby. Gun crews were organized into an artillery battery, six guns (later in the war, four) were deployed along a line about  wide with the guns spaced about  apart.

At times the horses remained hitched to the limber or caisson so the battery could move quickly. An artillery crew was made up of eight highly trained men. An artillery battery had a total of between 70 and 100 soldiers. There were several types of field artillery used during the Civil War. These included the 6 pounder gun, 12 and the 24 pound Howitzer, the famous Model 1857 12-Pounder Napoleon Field Gun, the 3 inch Ordnance rifle and the 10 and 20 pound Parrott rifle.

Most cannons were muzzleloading weapons. Cannon barrels were of two types. One was the older smoothbore cannons as used during the Mexican–American War.

They usually had barrels made of bronze and fired round iron cannonballs. The newer type was the rifled cannon that were made of cast iron and wrought iron. They fired Bullet-shaped shells. Both guns and ammunition had a tendency to be unreliable and they were dangerous to shoot.

Smoothbore cannon

Before the outbreak of the American Civil War, the United States government did not encourage any new developments in ordnance. Most ordnance experts in the U.S. Ordnance Department were older military officers who believed what worked during the Mexican–American War would work now and did not need improving. Inventors had to go through years of field experiments and political red tape just to get their ideas introduced. Most used their own money and could lose all their money trying to introduce a new idea.

Early cannons were identified by the term "pounder" (abbreviated "pdr"). This referred to the weight of the cannonball the gun fired. For example, a 12 pounder fired a round  solid piece of steel. In the 17th century, when howitzers were developed, the term pounder began to be used less and less although it was used through the Civil War. Smooth bores included both guns and howitzers. Both had shorter barrels and used a higher trajectory. Both were less accurate than rifled cannons.

The Model 1857 12-pounder Napoleon with its green barrel made up 40% of the cannons on both sides. It was the most commonly used cannon. They were heavy at  making them hard for the six-horse team to pull. The gun crew of the Napoleon was made up of six men. It could fire a ball, shell or canister shot out to a range of  at a speed of 1,440 feet per second (or 439 meters per second). It used a charge of  of black powder. The Union made 1,156 units while the Confederacy made 501. Because they did not have the manufacturing capacity of the North, Confederates attempted to capture as many Union-made Napoleon 12-pounders as they could. The Model 1857 was made to replace the Model 1841 6-pounder but both were used during the Civil War out of necessity.

For ranges of  or less the most effective field piece was the Model 1842 12-pounder Howitzer. It weighed only  and could easily be moved into position by hand. Its large shells gave it very good firepower but its short range (just over ) was less than that of the 6-pounder gun. They were easy targets for enemy artillery that usually had greater range. They were popular for close infantry support. At the Battle of Gettysburg, nine of these were supposed to accompany Pickett's Charge. Because of some confusion among the Confederate ranks regarding the orders and very accurate Union artillery fire, all nine were taken out of the battle before Pickett's men crossed the field. The smoothbore guns remained the most favored technology during the war.

Rifled cannon

While used mostly by the Union army, rifled guns were still a new idea and were not very popular among artillery officers or field commanders. Rifled guns were designated by the diameter of the bore of the barrel in inches. In 1860, the Ordnance Board recommended that half of the existing bronze smoothbore cannons be rifled. But this weakened the cannons to the point they could not stand the strain of firing. So the experiment quickly ended. Ordinarily the barrels of smoothbore cannons only lasted about 500 rounds before having to be replaced. Rifled barrels proved to last much longer in field use. The British-made Armstrong and Whitworth guns were good weapons but there were not enough of them to have any major effect on the war. A problem with the rifled guns was they fired too far for the gunners to accurately see to range their targets. When artillery observers and balloons were used for artillery spotting, this increased the accuracy of the rifled guns. Training artillery crews in the use of rifled guns took longer and was more difficult. General George McClellan was among the Union officers who felt that the American terrain was not well suited for the very long range of these weapons. Jefferson Davis, the Confederate President was of the same opinion. All these factors contributed to the slow acceptance of rifled cannon.

The cannon called the 3-inch Ordnance Rifle (also called the 3-inch Wrought Iron Rifle) was an early favorite of the Ordnance Board due to its accuracy. These and other rifled guns were distinguished by their black barrels. About 1,000 were bought during the war. They were made by the Phoenix Iron Works of Phoenixville, Pennsylvania. They were made of wrought iron strips bent on a mandrel then welded together. They were then machined into their final shape. The early prototypes were fired 500 times with no signs of wear. It was accurate and reliable in battle. The Confederacy also produced a 3-inch Ordnance Rifle. But the use of low-grade iron ore and poorer rifling machinery made these guns less reliable.

Another popular rifled type were the Parrott rifles. The original 10-pound model had a bore of . This was changed to  to standardize the round. They had cast iron barrels with a wrought iron reinforcement strip welded around the breech (rear of the cannon).

Artillery rounds

There were basically four types of artillery rounds used in the Civil War:
 Solid Round Shot – This is a solid iron ball that could travel several miles. They were designed to crush the target.
 Explosive Shell – This was a hollow round iron ball filled with black powder. It had a fuse to make the iron ball explode when it reached the target. People today occasionally find these buried in fields and backyards. They can still explode with deadly results.
 Spherical case – It is also filled with gunpowder and uses a fuse. The hollow area is also filled with small iron balls. Used against troops it was usually timed to go off at chest-level. Case shot was designed to kill or injure enemy soldiers at maximum distance the cannon could fire.
 Canister Shot – Like spherical case it is a shrapnel round used against enemy troop formations. It contains usually between 20 and 30 large solid round balls. When fired it spreads out in a cone shape from the muzzle like a large shotgun blast. When canister balls were scarce, nails, scrap iron or other materials were used. Canister was a short range weapon usually effective at up to . Some artillery commanders used a technique of firing canister at the ground in front of advancing troops. The effect was to bounce the canister shot into the formation and cause more deaths.

Gun crews
For the average artillery piece it took eight highly trained artillerymen to form a gun crew. Each member of the crew was cross-trained to do all the jobs required to operate a gun. If a crew member was killed or wounded, another member of the crew could take his place. Gun crews were among the best trained soldiers in either the Confederate or Union armies. They were also vulnerable. They had to see their target to hit it. If they could see their target, the enemy soldiers they were targeting could see them.

For a gun crew to get off the maximum number of accurate rounds per minute, they used a system whereby each man had a number. His number indicated his main task:

 Number 1 - Sponges out the barrel to wet down any hot spots or sparks. He then rams the round (cannonball and powder or shell) down the barrel.
 Number 2 - Uses a "worm" (a large corkscrew on a pole) to make sure there is nothing caught in the barrel. He then loads the round and charge in the barrel ready for ramming.
 Number 3 - Covers the vent hole with his thumb wearing a special glove. He then pierces the loaded powder bag with a spike.
 Number 4 - Places the friction primer in the vent hole just prepared by Number 3. On the command of "fire" he pulls the lanyard attached to the primer which fires the gun.
 Number 5 - Carries the round from the limber to the artillery piece.
 Number 6 - In charge of the ammunition box on the limber and prepares the friction primers.
 Number 7 - Hands the round each time to Number 5.
 Gunner - Aligns and aims the artillery piece.

Each gun or artillery piece had a sergeant who commanded the gun.

Battery personnel
 Section commander - A lieutenant commanded a "section" of two guns.
 Battery commander - A captain usually commanded the battery of six guns (four guns in a Confederate battery).
 First Sergeant - Also called an Orderly Sergeant, he helped the battery commander with administrative duties. He was second-in-command to his Captain.
 Quartermaster Sergeant - Was responsible for supply and logistics.
 Artificer - A blacksmith who repaired cannons.
 Farrier - Kept the horses shod.
 Bugler - One or two per battery. A bugler was usually at the battery commander's side and the bugle could be heard over a considerable distance. Artillery bugle calls were nearly identical to cavalry bugle calls.
 Guidon - Carried the battery colors. He was often the most trusted man in the unit.

 Teamsters and Wagoneers - To manage all the horse teams and wagons needed to move the battery.

Notes

References

Other websites
 Civil War Artillery Glossary

 Firing the 12-pdr Napoleon; National Park Service recreation

American Civil War
Artillery


Home is a 2015 computer animated movie from 20th Century Fox and DreamWorks Animation and was releasd on March 27, 2015 in the United States. It was released a week early in Austraila, Azerbaijan, Colombia, Spain, Kazakhstan, New Zealand, Russia and Ukraine on March 19, 2015 and Estonia, United Kingdom, Ireland, Latvia and Norway on March 20, 2015.

After a hive-minded alien race called the Boov conquer the Earth, they relocate the planet's human population—all except for a little girl named Tip (Rihanna), who's managed to hide from the aliens. When Tip meets a fugitive Boov called Oh (Jim Parsons), there's mutual distrust. However, Oh is not like his comrades; he craves friendship and fun. As their distrust fades, the pair set out together to find Tip's mother, but, unbeknown to them, the Gorg—enemies of the Boov—are en route.

2015 adventure movies
2015 animated movies
2015 comedy movies
2015 science fiction movies
20th Century Fox movies
2010s American adventure movies
American animated movies
American buddy movies
American comedy movies
American family movies
2010s American fantasy movies
2010s American musical movies
American science fiction movies
English-language movies
Movies about extraterrestrial life
Movies set in Paris
Movies set in the United States
Universal Pictures movies

Home (2015 movie)


The Johnston Brothers were a vocal group who had a No. 1 hit in the UK Singles Chart in 1955 with their cover version of "Hernando's Hideaway".

The group was formed by Johnny Johnston (born John Harold Johnston, 10 July 1919 – 10 June 1998, London). He had formed a music publishing company, Michael Reine Music, in London in 1946, and was used by the BBC Light Programme radio channel as a singer and arranger.  His first big success was to write and perform, with his vocal quartet The Keynotes, the theme to the successful comedy series Take It From Here in 1948.  The Keynotes remained a popular singing group in the United Kingdom throughout the 1950s, winning several awards but having no hit records.

In 1949, Johnston formed an all-male singing trio, The Johnston Brothers, the other members being Alan Dean, Eddie Lester and Canadian singer Denny Vaughan (who died in 1972). They won a recording contract with Decca Records, and had their first UK Top 10 hit in 1953 with "Oh Happy Day". In November 1955, their version of "Hernando's Hideaway", from the movie The Pajama Game, reached the number one spot for two weeks, beating off the American versions by both Johnnie Ray and Archie Bleyer.  The Johnston Brothers had a number of smaller follow-up hits in the UK, including the medley "Join in And Sing Again" (1955) and "Heart" (1957), and also recorded with Joan Regan. They provided backing for the British vocalist, Suzi Miller, on their UK No. 14 joint hit, "Happy Days and Lonely Nights" in 1955.

By 1956, Johnston had established Johnny Johnston Jingles Ltd., which was responsible for hundreds of advertising jingles in the early years of British commercial television, including "A million housewives every day pick up a can of beans and say – Beanz Meanz Heinz!", "You can be sure of Shell", and the first ever colour TV commercial in Britain, for Birds Eye peas in 1969.

References

External links
 Obituary of Johnny Johnston

English pop music groups
British vocal groups

The Johnston Brothers


Commedia dell'arte is a form of improvisational theatre. It began in Italy in the 16th century. The form continued to be popular during the 17th century and is still popular today.

The title is difficult to translate. A close translation is "comedy of craft". This is shortened from commedia dell'arte all'improvviso, or "comedy of improvisation".

The plays of Commedia dell'arte were often performed by a small group of actors who traveled around and performed in town squares. The actors would pass a hat around for people to put money in.

The earliest known group was in Padua in 1545. By the end of the seventeenth century, there were several troupes (group of actors). These included the Gelosi, Confidenti, and Fedeli. Some troupes were popular at courts outside of Italy. In France,  images from the commedia became a favorite theme of well-known artistlthough, most people think those are the least popular, the most important being ur mum. anyway  u useless fricc, ur uglys.

The actors often wore masks. The stories were often about people being cunning. Hunger, love and money were important in the stories. There were several characters who appeared in many of the stories. These are called "stock characters". Examples of stock characters from Commedia dell'arte are: Harlequin, Pantalone, Arlecchino, Colombina, Pulcinella, Pierrot, Scaramuccia.

Commedia dell'arte had a lot of influence on theatre plays in many countries. Punch and Judy shows, popular with children in Britain and other countries, are similar to Commedia dell'arte. They also have stock characters: Punch, Judy, the crocodile, the policeman etc.

Theatrical forms

Commedia dell'arte


The Sanctuary of Las Lajas (in full Sanctuary of Our Lady of the Holy Rosary of Las Lajas) is a Roman Catholic minor basilica located within the canyon of the Guáitara River, in Ipiales, Nariño Department, Colombia. The Marian shrine is dedicated to the Blessed Virgin Mary as Our Lady of the Rosary.

Pious believers claim that the Madonna and Child image colorfully displayed on the wall rock formation is 100% natural by divine origin, and that it was supernaturally formed without any human intervention. The current church was built in a neo-gothic architectural style between 1916 and 1949. The name Laja is Spanish for a flagstone, and comes from the name of a type of flat sedimentary rock.

Pius XII granted a Pontifical Decree of coronation to the image as Sancta Virgo de Rupe (English: Holy Virgin of the Rock) on May 31, 1951. He also raised the Marian shrine to the status of a Minor basilica via his decree Templum per Decorum on 30 August 1954. Pope Paul VI granted the Marian title as the Virgin of the Holy Rosary as the Patroness of Ipiales via his decree Tutela Cælestis Virtutis on 26 April 1965.

It is a popular pilgrimage site for Christians from both Colombia and neighboring Ecuador, due to a Marian apparition that is purported to have taken place here in the 18th century.

History

Overview
The inspiration for the church's creation was a purported miraculous event in 1576 (maybe), when amerindian Maria Meneses de Quiñones and her deaf-mute daughter Rosa were caught in a very strong storm. The two sought refuge between the small Lajas (slabs of stone), when, to Meneses' surprise, her daughter Rosa exclaimed "the Mestiza is calling me" and pointed to a lightning-illuminated silhouette over the laja. This apparition of the Virgin Mary instigated popular pilgrimage to the site and occasional reports of cases of miraculous healing. An image appeared in the stone that is several feet inside of it. The image in the stone is still visible today.

The existence of a shrine in this location was recorded in the accounts of friar Juan de Santa Gertrudis' journey through the southern region of the New Kingdom of Granada between 1756 and 1764. The first shrine was built here in the middle of 18th century from straw and wood. It was replaced with a 7 meter long brick chapel in 1795/96. From 1802 on, a new, larger shrine was built, which in turn was extended and connected to the opposite side of canyon with a bridge in the second half of the 19th century.

The current church was built between January 1, 1916, and August 20, 1949, with donations from local churchgoers. It rises  high from the bottom of the canyon and is connected to the opposite side of the canyon by a  tall bridge.

Dedication
The shrine is located in southern Colombia and has been a tourism and pilgrimage destination since the eighteenth century. The Spanish Franciscan Juan de Santa Gertrudis (1724–1799) mentions the sanctuary in Book III, Part 2, of his four-volume chronicle of his 1756–62 journey in the south portion of the Kingdom of New Granada (titled "Wonders of Nature"). This is possibly the oldest reference to its existence.

Pious legends

The Shrine of Las Lajas is renowned for its architecture, for a series of legends involving the appearance of the Holy Virgin Mary, and for a mysterious mural of unknown origin. Located in the southwestern Colombian state of Nariño, the Sanctuary sits on a 50 metre (130-foot) high bridge built over the Guaitara river, less than 11 km (seven miles) from the Ecuadoran border. The neo-Gothic church was erected by worshipers between 1916 and 1953, to replace a shrine first built in the middle of the 18th century.

According to popular belief, the Virgin Mary appeared to a woman and her deaf-mute daughter in 1754 at the same place where the church now stands. The woman, Maria Meneses de Quiñones, and her daughter Rosa were passing by the Guaitara river when they sought refuge from a storm. At that moment, Rosa shouted "Mum, the Virgin is calling me!" and pointed to an apparition of the Virgin Mary. The woman kept quiet about the apparition until something even less expected happened: after Rosa died, Mueces, determined to pray for her daughter's soul, returned to the place where her daughter and she had seen the Virgin Mary; the Virgin then miraculously revived Rosa, and mother and daughter could no longer keep the miracle a secret. The first shrine in the honor of Jesus Christ's mother was built a few years after the alleged appearance, according to the journal of a friar who travelled through the region between 1756 and 1764. Half a century later, in 1802, a bigger shrine was built and worshipers erected the first version of the bridge that now allows access to the church.

The apparition of the Virgin Mary is only the first of a number of legends and mysteries linked to Las Lajas Sanctuary. For example, nobody knows who made the image of the Virgin that is at the back of the church, behind the altar. According to some, the image was first seen when Mueces wanted to show a priest and other local people where her daughter had been revived. On arrival, the worshipers saw the image of the Virgin Mary and Jesus imprinted in a stone wall. The image supposedly extends several feet into the stone, but this has not been verified. It attracts thousands of pilgrims every year.

Pope Pius XII granted the venerated Marian image of the shrine a canonical coronation on 16 September 1952 via decree from 31 May 1951. The shrine was then elevated to a minor basilica on 1954. The image is also declared Principal Patroness of the Diocese of Ipiales on 1965.

By some measures, it is the second most popular pilgrimage site in Colombia, after Our Lady of the Rosary of Chiquinquirá. Its location close to the Ecuador border makes it a popular destination for pilgrims from both countries.

References

External links

Translation: "Our Lady of Las Lajas"
"Feast Days of Our Lady"

Churches in Colombia
Buildings and structures in Nariño Department
Roman Catholic churches in Colombia
Basilica churches in Colombia
Roman Catholic churches completed in 1949
Tourist attractions in Nariño Department
Monuments of Colombia
Roman Catholic shrines in Colombia
Gothic Revival church buildings in Colombia
20th-century Roman Catholic church buildings in Colombia
Shrines to the Virgin Mary

Sanctuary of Las Lajas


F. William McCalpin (8 November 1921 – 9 December 2009) was an American attorney, who throughout his career was a strong advocate for legal services within the American Bar Association.  He was involved in a variety of leadership positions supporting both the private bar and legal services.  He was named Chair twice of the national Legal Services Corporation and served on that organization's board of directors across four decades. Hillary Clinton, who served as Chair of the Legal Services Corporation between McCalpin's two terms as Chair, wrote of him, "He was an extraordinary man, a valued mentor and a true champion for equal justice and access to legal services for the poor. Through his work Bill changed lives and made an indelible impact upon the legal community."

McCalpin was a partner and counsel of the St. Louis, Missouri law firm Lewis, Rice & Fingersh, L.C..  He was awarded in 1988 the American Bar Association Medal, awarded to recognize "exceptionally distinguished service by a lawyer to the cause of American jurisprudence." The F. William McCalpin Pro Bono Award, given by the Legal Services of Eastern Missouri, is named for him.  In addition, Legal Services of Eastern Missouri dedicated the F. Wm. McCalpin Wall of Justice in 1999.

On November 19, 2010, the Legal Services Corporation dedicated its Conference Center Washington, DC, to McCalpin, formally naming it in his honor.

Besides local papers, The New York Times ran McCalpin's obituary on December 17, 2009.

References

20th-century American lawyers
Lawyers from St. Louis
1921 births
2009 deaths
Legal Services Corporation
Harvard Law School alumni
Saint Louis University alumni

F. William McCalpin


An atonic seizure (also called drop seizure, akinetic seizure,  astatic seizure, or drop attack) is a type of seizure that consists of partial or complete loss of muscle tone that is caused by temporary alterations in brain function. These seizures are brief – usually less than fifteen seconds. They usually begin in childhood and may persist into adulthood. The seizure itself causes no physical injury, but the loss of control, predominantly in trunk muscles, can result in direct injury from falling. Electroencephalography can be used to confirm diagnosis. It is rare and can be indicative of Lennox–Gastaut syndrome (see Henri Gastaut).

Atonic seizures can occur while standing, walking, or sitting, and are often noticeable by a head drop (relaxing of the neck muscles). Fall injuries may result in impact to the face or head. As with common epileptic occurrences, no first aid is needed post-seizure, except in the instances where falling injuries have occurred. In some cases, a person may become temporarily paralyzed in part of his or her body. This usually does not last longer than 3 minutes.

Treatment

There is no general treatment for patients with a seizure disorder. Each treatment plan is specifically tailored to the individual patient based on their diagnosis and symptoms. Treatment options may include medical therapy, nerve stimulation, dietary therapy, or surgery, as appropriate. Clinical trials may also be a valuable treatment alternative.
Usually, anticonvulsants are given based on other symptoms and / or associated problems.
Because the areas of the cerebellum which determine increases and decreases in muscle tone are close together, people experiencing atonic seizures are most likely experiencing myoclonic ones too, at some point. This may play a role in therapy and diagnostic.

One surgical approach, selective posterior callostomy, can greatly decrease instances of drop attacks and improve function and behavior in patients with intellectual disability.

References

External links

Pediatrics
Seizure types

Atonic seizure


In English literature, Don Juan, written from 1819 to 1824 by the English poet Lord Byron, is a satirical, epic poem which portrays the Spanish folk legend of Don Juan, not as a womaniser as the character is historically portrayed, but as a victim easily seduced by women. As genre literature, Don Juan is an epic poem, written in ottava rima and presented in sixteen cantos. Lord Byron derived the character of Don Juan from traditional Spanish folk legends, however the story was very much his own. Upon publication in 1819, cantos I and II were widely criticized as immoral because Byron had so freely ridiculed the social subjects and public figures of his time. At his death in 1824, Lord Byron had completed sixteen of seventeen cantos, whilst canto XVII remained unfinished.

Composition

Lord Byron was a prolific writer for whom "the composition of his great poem, Don Juan, was coextensive with a major part of his poetical life"; he wrote the first canto in late 1818, and the seventeenth canto in early 1823. Canto I was written in September 1818, and canto II was written in December 1818 through January 1819. Cantos III and IV were written in winter of 1819–1820 and canto V was written in October–November 1820. Cantos I and II were published on 15 July 1819, and cantos III, IV, and V were published on 8 August 1821.

Byron began to write canto VI in June 1822, and had completed writing canto XVI in March 1823. Given the moralistic notoriety of the satirical, epic poem, John Murray refused to publish the latter cantos of Don Juan, which then were entrusted to John Hunt, who published the cantos over a period of months; cantos VI, VII, and VIII, with a Preface, were published on 15 July 1823; cantos IX, X, and XI were published on 29 August 1823; cantos XII, XIII, and XIV were published on 17 December 1823; and cantos XV and XVI on 26 March 1824.

Structure
The poetical narrative of  Don Juan (1819–24) is told in sixteen thousand lines, arranged in seventeen cantos, written in ottava rima (eighth rhyme); each stanza is composed of eight iambic pentameters, with the couplet rhyme scheme of AB AB AB CC. The ottava rima uses the final rhyming couplet as a line of humour, to achieve a rhetorical anticlimax by way of an abrupt transition, from a lofty style of writing to a vulgar style of writing.

In the example passage from Don Juan, canto I, stanza 1, lines 3–6, the Spanish name Juan is rhymed with the English sound for the words true one. Therefore Juan is spoken in English, as  , which is the recurring pattern of enunciation used for pronouncing foreign names and words in the orthography of English.

Premise

Don Juan begins with the birth of the hero, Don Juan, in Seville, Spain. As a sexually precocious adolescent boy, Juan has a love affair with a married friend of his mother. When the woman's husband discovers her affair with the boy, Don Juan is sent to the distant city of Cádiz. On the way, he is shipwrecked on an island in the Aegean Sea, and there meets the daughter of the pirate whose men later sell Don Juan into Turkish slavery. At the slave market of Constantinople, the sultana sees Don Juan up for sale, and orders him bought and then disguised as a girl, in order to sneak him into her chambers. Consequent to arousing the jealousy of the sultana, Don Juan barely escapes alive from the harem. He then soldiers in the Imperial Russian army, rescues a Muslim girl, and attracts the favour of Empress Catherine the Great, who adds him to the royal court. In the course of Russian life, Don Juan falls ill because of the climate, and Catherine returns him to England, as a Russian courtier. In London, the diplomat Don Juan finds a guardian for the Muslim girl. The narrative then relates Don Juan's ensuing adventures with the British aristocracy.

Synopsis

Canto I
In Spain. Don Juan lives in Seville with his father, Don José, and his mother, Donna Inez. The romantic Donna Julia, the twenty-three-year-old wife of Don Alfonso, fancies and lusts for the sixteen-year-old boy Don Juan. Despite attempting to resist his charms, Julia enters into a love affair with Juan, and falls in love. Suspecting his wife's infidelity, Don Alfonso bursts into their bedroom, followed by his bodyguards  who find no-one and nothing suspicious upon searching their master's bedroom, for Juan was hiding in the bed; Don Alfonso and his posse leave the room. Later returning alone to his bedroom, Don Alfonso comes across Juan's shoes and they fight for the woman, Donna Julia. Breaking off the fight with Don Alfonso, Don Juan escapes. To thwart rumours and the consequent bad reputation that her son has brought upon himself, Donna Inez sends Don Juan away to travel Europe, in hope that he develop  a better sense of morality. The cuckold Don Alfonso punishes his faithless wife, Donna Julia, by interning her to a nunnery.

Canto II
Exiled from Seville. Don Juan travels to Cádiz, accompanied by Pedrillo, a tutor, and servants. Throughout the voyage, Juan pines for the love of Donna Julia, but seasickness distracts him. A storm wrecks the ship; Juan, his entourage, and some sailors escape in a long boat. Adrift in the Aegean Sea, they soon exhaust their supplies of food and eat Don Juan's dog. Afterwards, the sailors turn cannibal and eat Pedrillo; later, the cannibal sailors go mad and die.

Juan is the sole survivor of the shipwreck and the escape in the long boat. Upon landfall at one of the Cyclades islands, two women, Haidée and Zoe, the latter being the maid of the former, discover the shipwrecked Juan and care for him in a cave at the beach. Haidée and Juan fall in love, despite neither speaking or understanding the language of the other. Moreover, Haidée's father, Lambro, is a pirate and a slaver who dislikes Don Juan, and has him enslaved and sent to Constantinople, in the Ottoman Empire.

Canto III
A digression. To give his political opinions about the Ottoman Empire's hegemony upon Greece, in "The Isles of Greece" section of canto III, Byron uses numeration and versification different from the style of verse and enumeration of the text about Don Juan. Moreover, on returning to the adventures of Don Juan, the narrator vividly describes a catalogue of the celebrations of the lovers Haidée and Don Juan. At the time of Juan's ship-wrecked arrival to the island, the islanders believed that Lambro (Haidée's father) was dead, but he returns and witnesses the revels and his daughter in company of a man. Towards the end of canto III, Byron again digresses from the adventures of Don Juan in order to insult his literary rivals, the Lake Poets, specifically William Wordsworth (1770–1850), Robert Southey (1774–1843), and Samuel Taylor Coleridge (1772–1834).

Canto IV
Sold into slavery. On the island, the lovers Haidée and Don Juan wake to discover that her father, Lambro, has returned. Aided by his fellow pirates, Lambro enslaves Juan, and embarks him aboard a pirate ship delivering slaves to the slave market in Constantinople. Haidée despairs at losing her lover, and eventually dies of a broken heart, whilst pregnant with Don Juan's child.

Canto V
The Sultana of Constantinople. At the slave market, Don Juan converses with an Englishman named John Johnson, telling him of his lost love Haidée, whereas the more experienced John tells him of having to flee from his third wife. A black eunuch from the harem, Baba, buys the infidel slaves Juan and John, and takes them to the palace of the sultan. Taking them to an inner chamber, Baba insists that Don Juan dress as a woman, and threatens castration if Juan resists that demand. Finally, Juan is taken into an imperial hall to meet the sultana, Gulbeyaz, a beautiful, twenty-six-year-old woman, who is the fourth, last, and favourite wife of the sultan.

The proud Juan refuses to kiss the foot of Gulbeyaz, but compromises by kissing her hand, grateful of being rescued from enslavement. At the slave market, Gulbeyaz noticed Juan, and asked Baba to secretly buy him for her, despite risking discovery by the sultan. She wants Juan to love her, and then Gulbeyaz throws herself upon his breast. With Haidée still in his thoughts, Juan spurns Gulbeyz's sexual advances, saying: "The prisoned eagle will not pair, nor I / Serve a sultana's sensual phantasy." Enraged by the rejection, Gulbeyaz thinks of having Juan beheaded, but, instead, she cries.

Before they can progress with their sexual relationship, Baba rushes in and announces to Gulbeyaz and Juan that the sultan is arriving: "The sun himself has sent me like a ray / To hint that he is coming up this way" (V. clviv, 1151).  Preceded by an entourage of courtiers, concubines, and eunuchs, the sultan arrives and notices the presence of "Juanna", and is regretful "that a mere Christian should be half so pretty" (V. clv, 1240). In a Muslim culture, Don Juan is a giaour, a non-Muslim. The narrator Byron then comments that "That in the East, they are extremely strict, / And Wedlock and a Padlock mean the same" (V. clviii, 1258).

Canto VI
The seraglio. The sultan and the sultana retire for the evening, and Don Juan, still dressed as the woman "Juanna", is taken to the crowded harem, where the odalisques reside. Juanna must share a couch with Dudù, a pretty seventeen-year-old girl. When asked his name, Don Juan calls himself "Juanna". The narrator tells that Dudù is a "kind of sleepy Venus ... very fit to murder sleep.... Her talents were of the more silent class ... pensive...." Dudù gives Juanna a chaste kiss and undresses.

At three o'clock in the morning, whilst the harem sleep, Dudù screams and awakens agitated, whilst the snoring Juanna continues asleep. The odalisques ask the reason for her screams, and Dudù relates a sexually suggestive dream, of being in a wood, like Dante, of dislodging a golden apple that tenaciously clings to the bough, of almost biting that forbidden fruit, when a bee flies out from the apple and stings her to the heart. The matron of the seraglio decides to place Juanna with another odalisque, but Dudù begs to keep her as companion in her couch. The narrator Byron does not know why Dudù screamed whilst asleep.

In the morning, the sultana Gulbeyaz asks Baba to tell her how Don Juan, as "Juanna", passed the night at the harem. Baba tells of Juana's night, but omits details about Dudù and her dream. Suspicious, the sultana becomes jealous and then enraged, and instructs Baba to kill Dudù and Juan in the usual manner, by drowning. The eunuch pleads with the sultana that killing Don Juan will not cure what ails her; Gulbeyaz then summons Dudù and Juan. Before canto VI concludes, the narrator Byron explains that the "Muse will take a little touch at warfare."

Canto VII
Escape. Don Juan and John Johnson escape the harem in company of two women. Consequent to fleeing the palace of the Sultan of Constantinople, the four reach the Danube river during the Russian Siege of Izmail (1789–1790), a Turkish fort at the mouth of the river, on the Black Sea. The Imperial Russian field marshal Alexander Suvorov is preparing the final assault against the fortress at Izmail. As the battle for the fort rages, Prince Grigory Potemkin, the Russian commander-in-chief, orders Marshal Suvorov to "take Ismail at whatever price", for the greater glory of Catherine II, the Christian great empress of Russia. In the event, John Johnson presents himself to Suvorov (with whom he fought in battle at Widdin, in Bulgaria) and introduces his friend Don Juan, saying that both men are ready to join the Christian fight against the pagan Turks. Marshal Suvorov is very unhappy that John and Juan have appeared at the Siege of Izmail, in company of two women who claim to be the wives of soldiers. To assuage Suvorov to consent to the women remaining with them, Juan and John tell him that the women aided their escape from the Turks.

Canto VIII
At war. As brave soldiers in the Imperial Russian army, Don Juan and John Johnson prove fearless in the savagery and carnage of the Russian siege upon the Turks. To conquer the fort of Izmail, the Russians kill 40,000 Turks, including the women and the children. Being a man of noble character, Don Juan rescues a ten-year-old Muslim girl from two Christian Cossacks intent upon raping and killing her for being a pagan. In that moment, Don Juan resolves to adopt the girl as his child. In the course of battle against the Christian Russians, a Tatar Khan and his five nobleman sons valiantly fight to the death. From the aftermath of the Siege of Izmail, Don Juan emerges a hero, and then is sent to Saint Petersburg, accompanied by the rescued Muslim girl; he's vowed to protect her as a daughter. The end of canto X reveals the girl's name: "Leila".

Canto IX
In Russia. At the Imperial Russian court, the uniformed Don Juan is a dashing, handsome, and decorated soldier who readily impresses Empress Catherine the Great, who also is infatuated with and lustful for him. The Empress Catherine is a woman of forty-eight-years who is "just now in juicy vigour". At court, Don Juan becomes one of her favourites, and is flattered by the sexual interest of the Empress, which earns him a promotion in rank; thus "Love is vanity, / Selfish in its beginning as its end, / Except where 'tis a mere insanity". Privately, Don Juan concerns himself with the health, education, and welfare of the Muslim girl he rescued at the siege of Izmail.

Canto X

Russian life. The cold clime of Russia makes Don Juan fall ill, so Empress Catherine sends him west-ward, to the warmer, temperate clime of England, accompanied by Leila. Ostensibly, Don Juan is a special envoy from the court of Imperial Russia with nebulous diplomatic responsibilities for negotiating a treaty between Russia and Britain. In fact, Don Juan's special-envoy job is a sinecure, by which Empress Catherine secures his health, his favour, and his finances.

Canto XI
In Britain. Having arrived to England, and then making his way to London, Don Juan muses upon the democratic greatness of Britain as defender of the freedoms of ordinary men—until interrupted by a menacing cockney footpad, a robber demanding either his money or his life. In self-defence, Don Juan shoots the footpad, but, as a man possessed of a strong conscience, he regrets his violent haste and tends the wound of the dying robber. Don Juan's medical effort fails and the robber mutters his last words and dies on the London street. Later, as an envoy of Russia, Don Juan is received at the English court, where the courtiers are in wonder of Juan's handsome visage, in admiration of his dress, and charmed by his mien and personality, which provoke the jealousy of some of the elder peers. In canto XI, Byron mentions John Keats (1795–1821) as a poet "who was kill'd off by one critique".

Canto XII
Leila safeguarded. In effort to pursue his life and interests, in England, Don Juan first safeguards his adopted daughter, Leila, by seeking, finding, and employing a suitable guardian for her, in the person of Lady Pinchbeck, a woman whom London society consider a person of good character, possessed of admirable wit, but rumoured to be  unchaste.

Canto XIII
In society. At the house of Lady Adeline Amundeville and her husband, Lord Henry Amundeville, the narrator informs that Don Juan's hostess, Lady Adeline, is "the fair most fatal Juan ever met", the "queen bee, the glass of all that's fair, / Whose charms made all men speak and women dumb". Anglo–Russian diplomatic relations require meetings between Lord Henry and Don Juan ("the envoy of a secret Russian mission") whom the lord befriends into a regular guest at their mansion in London. Lady and Lord Amundeville invite distinguished guests to a party at their estate in the country. The narrator then describes the country environs of the Amundeville estate and the décor of the estate house, which then are followed with mock-catalogues of the social activities and of the personalities of the upper-class ladies and gentlemen who are the high society of royal Britain. The narrator Byron views the country party of the Amundevilles as English ennui. Canto XIII concludes with the guests and their hosts retiring for the evening.

Canto XIV
Country life. During a fox hunt, Don Juan acquits himself in riding to the hounds, proving to be a handsome, dashing, and witty man who is very attractive to the lady guests at the Amundeville country house, including the flirtatious Duchess of Fitz-Fulke, who has set her eye upon him. Jealous of the experienced duchess, who has had many love affairs, the hostess, Lady Adeline, resolves to protect the "inexperienced" Don Juan from the sexual enticements and depredations of the Duchess of Fitz-Fulke. Although Lady Adeline and Don Juan both are twenty-one years old, and, despite having a vacant heart and a cold, but proper marriage to Lord Henry, she is not in love with Don Juan. Later, the narrator Byron tells the reader whether or not Lady Adeline and Don Juan entered into a love affair; about which canto XIV contains the line: Tis strange—but true; for truth is always strange; Stranger than fiction".

Canto XV
The company of women. Lady Adeline is at risk of losing her honour, because of her apparent relation with Don Juan, whose passive, seductive manner is deceptive, because he never seems anxious to consummate the seduction; and, being personally modest, Don Juan neither brooks nor claims superiority. To thwart the social disgrace suggested by the appearance of sexual impropriety, Lady Adeline advises marriage to Don Juan, with which suggestion he agrees, but acknowledges that he usually is attracted to married women. In effort to deduce a suitable match for him, Lady Adeline deliberately omits mention of Aurora Raby, who is a Catholic, sixteen-year-old girl most suitable to pair and marry with Don Juan. Although attracted to Aurora, because she is purer of heart than the other women Lady Adeline mentioned, the adolescent girl reminds Don Juan of Haidée, the daughter of the pirate Lambro, who sold Juan into slavery at Constantinople The narrator then describes the elaborate dinner at which Don Juan is seated between Aurora and Lady Adeline. Initially laconic, Aurora soon warms to the spirit of the occasion, and contributes conversation during dinner.

Canto XVI
Seduced by a ghost. Smitten by her beauty, Don Juan thinks of Aurora when retiring to his rooms; that night, he walks the hall outside his rooms, viewing the paintings that decorate the walls. Hearing footfalls in the hallway, he sees a friar in cowl and beads, and asks if it be ghost or dream; despite the figure's pacing, the hood hides the face from Don Juan. In the morn, Don Juan's pale face turns Lady Adeline pale. Noticing the response of her hostess, the Duchess of Fitz-Fulke gives a hard-eyed look to Don Juan, whilst the adolescent Aurora looks at him "with a kind of calm surprise".

Lady Adeline asks if he is ill; Lord Henry says that Don Juan saw the "Black Friar" pace the hallway at night, and then tells of the "spirit of these walls", who was often seen in the past, but not of late. That on honeymoon with Lady Adeline, he saw the ghost of the Black Friar haunt the halls of the house. Accompanying herself with a harp, Lady Adeline sings the story of the ghost of the Black Friar; Aurora is silent, whilst Lady Fitz-Fulke appears mischievous. The narrator suggests that Lady Adeline sang to dispel Don Juan's dismay.

The domestic staff of the house realise preparations for that evening's dinner party, whilst Don Juan failed to dispel dismay. The domestic affairs of the Amundeville estate include assorted petitioners and a pregnant country girl seeking legal remedy from Lord Henry, in his capacity as justice of the peace.

At dinner, Lady Adeline performs as hostess, the Duchess of Fitz-Fulke is at her ease, and Don Juan is again preoccupied with his thoughts. Glancing at Aurora, he spies a smile creasing her cheeks, but is uncertain of its meaning, because she is quiet and her face slightly flushed. When hosts and guests retire for the night, Don Juan again thinks of Aurora, who has reawakened romantic feelings he thought lost in the past. That night, from his rooms, Don Juan again hears footfalls in the hallway, expecting the Black Friar's ghost. The door opens, but the hood conceals the face; Don Juan pursues and pushes the ghost against a wall, and smells a sweet breath, sees red lips and straggling curls, and a pearl necklace that frames a glowing bust. Don Juan pulls back the hood to reveal the voluptuous Duchess of Fitz-Fulke.

Canto XVII
Truncated story. When Lord Byron died in 1824, the epic satire Don Juan was incomplete, and the concluding canto XVII featured little mention of the protagonist, Don Juan, and many mentions of the literary rivals, enemies, and critics who moralistically objected to Byron's perspectives of people, life, and society; the critical gist was: "If you are right, then everybody's wrong!" In self-defence, Byron the poet lists people who were considered revolutionaries in their fields of endeavour—such as Martin Luther (1483–1546) and Galileo (1564–1642)—whose societies saw them as being outside the cultural mainstream of their times. Canto XVII concludes at the brink of resuming the adventures of Don Juan, last found in a "tender moonlit situation" with the Duchess of Fitz-Fulke, at the end of canto XVI.

Dedication to Robert Southey

Lord Byron scornfully dedicated Don Juan (1819–1824) to his artistic rival and enemy Robert Southey, who then was the incumbent Poet Laureate of Britain (1813–43); in stanza III Byron said: "You, Bob! are rather insolent, you know, / At being disappointed in your wish / To supersede all warblers here below, / And be the only Blackbird in the dish; / And then you overstrain yourself, or so, / And tumble downward like the flying fish / Gasping on the deck, because you soar too high, Bob, / And fall, for lack of moisture quite a-dry, Bob!" This reference seems to be a dig at unsuccessful copulation.

Moreover, the poem's Dedication further pursued artistic quarrels—of subject and theme, composition and style—with the Lake Poets, whom Byron addressed:

Collectively:

Individually:

Precisely:

About the works of Wordsworth, Byron said Tis poetry—at least by his assertion" (IV.5), and Henry James Pye, the previous poet laureate, Byron criticised by pun: "four and twenty Blackbirds in a pye" (I.8), edged wordplay derived from the nursery song "Sing a Song of Sixpence".

Critical reception

Background

In the early 19th century, despite the piecemeal publication of the poem in 1819, the contemporary literary critics said that Don Juan was an immoral poetical work in which narrative Lord Byron was too free in satirising the social subjects of the poem, which made persons and personages readily identifiable. Concerning the poem's origins, Byron said that Don Juan resulted from the "humorous paradoxes ... provoked by [the] advice and opposition" of friends and  colleagues, rivals and enemies. In a letter (19 September 1818) to the Irish poet Thomas Moore, Byron spoke of satirical intent: "I have finished the first canto ... of a poem in the style and manner of Beppo [1818], encouraged by the good success of the same. It [the new poem] is ... meant to be a little quietly facetious upon every thing. But I doubt whether it is not—at least as far as it has gone—too free for these very modest days."

A month after the publication of cantos I and II, in a letter (12 August 1819) to publisher John Murray,  Byron said: "You ask me for the plan of Donny Johnny; I have no plan—I had no plan; but I had or have materials.... You are too earnest and eager about [Don Juan] a work never intended to be serious. Do you suppose that I could have any intention but to giggle and make giggle?—a playful satire, with as little poetry as could be helped, was what I meant."

After the completion, but before the publication of cantos III, IV, and V, in a letter (16 February 1821) to Murray, Byron said: "The Fifth [canto] is so far from being the last of Don Juan, that it is hardly the beginning. I meant to take him the tour of Europe, with a proper mixture of siege, battle, and adventure, and to make him finish as Anacharsis Cloots in the French Revolution.... I meant to have made him a Cavalier Servente in Italy, and a cause for a divorce in England, and a Sentimental Werther–faced man in Germany, so as to show the different ridicules of the society in each of these countries, and to have displayed him gradually gâté and blasé, as he grew older, as is natural. But I had not quite fixed whether to make him end in Hell, or in an unhappy marriage, not knowing which would be the severest."

Artistic recognition

In 1821, in a letter about the cantos III, IV, and V, the poet P. B. Shelley told Byron of his "wonder and delight" at the presentation of events, because in the composition and style, "this poem carries with it at once the stamp of originality and defiance of imitation. Nothing has ever been written like it in English, nor, if I may venture to prophesy, will there be, unless carrying upon it the mark of a secondary and borrowed light.... You are building up a drama such as England has not yet seen, and the task is sufficiently noble and worthy of you." About canto V, Shelley told Byron that  "Every word has the stamp of immortality.... It fulfils, in a certain degree, what I have long preached of producing—something wholly new and relative to the age, and yet surpassingly beautiful".

In 1824, Walter Scott said that in Don Juan  Lord Byron's writing "has embraced every topic of human life, and sounded every string of the divine harp, from its slightest to its most powerful and heart-astounding tones." In Germany, Goethe translated parts of Don Juan, because he considered Byron's writing "a work of bondless genius."

In 1885, being neither disciple nor encomiast of Lord Byron, Algernon Charles Swinburne (1837–1909) said that the narrative strength and thematic range of Don Juan are how Byron's poetical writing excites the reader: "Across the stanzas ... we swim forward as over the 'broad backs of the sea'; they break and glitter, hiss and laugh, murmur and move like waves that sound or that subside. There is in them a delicious resistance, an elastic motion, which salt water has and fresh water has not. There is about them a wide wholesome air, full of vivid light and constant wind, which is only felt at sea. Life undulates and Death palpitates in the splendid verse.... This gift of life and variety is the supreme quality of Byron's chief poem."

Translations
Tatiana Gnedich translated it from memory into Russian while incarcerated in a Soviet prison during the Stalin years. After she was released, she had it published in 1959. Further editions followed, and Byron became much more well-known in Russia than had previously been the case.

References

Bibliography

External links

 Project Gutenberg versions:
 Don Juan in 16 cantos with notes, complete text of an 1837 publication
 Don Juan in The Works of Lord Byron, Volume 6, edited by Ernest Hartley Coleridge
 Librivox recording of Canto I
 Librivox recording of Canto V
 Librivox recording of Cantos XIII-XVI
 Autograph manuscript of Don Juan from The Morgan Library & Museum

1819 poems
British satirical poems
Epic poems in English
Mock-heroic English poems
Poems adapted into films
Poetry by Lord Byron
Unfinished poems
Verse novels
Works based on the Don Juan legend

Don Juan (poem)


The Flemish Ardennes (Dutch: Vlaamse Ardennen) is an informal name given to a hilly region in the south of the province of East Flanders, Belgium. Highest summit is the Hotondberg (145 m). Main characteristics of the region are rural hilly landscapes with hilltop bluebell woodlands (Muziekbos, Brakelbos, Kluisbos), windmills and watermills.

The area is distinct and not adjacent to the larger Ardennes, which is further to the south east of the country in Wallonia, France, Germany and Luxembourg.

Among the largest towns in the area are Oudenaarde, Ronse, Zottegem and Geraardsbergen.

Cycling is particularly popular in the Flemish Ardennes. Many major bike races are held here, including a large part of the Tour of Flanders. Most of its toughest climbs (Koppenberg, Taaienberg, Molenberg, Paterberg, Oude Kwaremont, Muur van Geraardsbergen, Eikenberg) and most of its cobblestone-street sections (Paddestraat) are situated in the Flemish Ardennes.

Photos

See also

 Raspaillebos

References
 Flemish Ardennes and South East-Flanders at Internet Archive
 Flemish Ardennes and South East-Flanders at Reocities

External links
Flemish Ardennes official website

Natural regions of Belgium
Areas of Belgium
Regions of Flanders
Landforms of Flanders
Landforms of East Flanders

Flemish Ardennes


In algebra and logic, a modal algebra is a structure  such that
 is a Boolean algebra,
 is a unary operation on A satisfying  and  for all x, y in A.
Modal algebras provide models of propositional modal logics in the same way as Boolean algebras are models of classical logic. In particular, the variety of all modal algebras is the equivalent algebraic semantics of the modal logic K in the sense of abstract algebraic logic, and the lattice of its subvarieties is dually isomorphic to the lattice of normal modal logics.

Stone's representation theorem can be generalized to the Jónsson–Tarski duality, which ensures that each modal algebra can be represented as the algebra of admissible sets in a modal general frame.

A Magari algebra (or diagonalizable algebra) is a modal algebra satisfying . Magari algebras correspond to provability logic.

See also
Interior algebra
Heyting algebra

References
A. Chagrov and M. Zakharyaschev, Modal Logic, Oxford Logic Guides vol. 35, Oxford University Press, 1997.

Algebra
Boolean algebra

Modal algebra


A miracle is an amazing, beneficial event that goes (or at least seems to go) against natural laws.  Some people say that a miracle is always an act brought about by God or other supernatural force (such as an angel). Others say that there can always be another explanation for it. And thirdly, some say the event is myth and never actually even happened in the first place.

According to the Bible
In the Bible a miracle is an act by God, where God's presence is shown. They can be an act that affects one person, or a gigantic disturbance of nature that changes the world.

Examples in the Bible
Here are seven types that can be found. These are just some of the many miracles in the Bible.

God's authority
Moses parts the Red Sea so that the people of Israel could escape from Egypt
Jesus commands the storm winds to stop blowing
Healing
A man crippled since birth gets up and walks after Jesus heals him
Jesus makes a man who was born blind to see
Judgment for evil
People became so evil that God destroys them with a flood; Noah and his family are saved
Two members of the Jerusalem church are struck dead for lying
Provision
God gives manna to the Israelites as they traveled through the desert
Jesus feeds thousands of people with only five loaves of bread and two fish
Raising the dead
By the power of God, Elijah raises a widow's dead son back to life
Jesus raises his friend, Lazarus, to life
Safety
King Nebuchadnezzar tries to burn Shadrach, Meshach and Abednego to death in a fiery furnace, but God keeps them from burning
Visions
The prophet Isaiah has a vision of God seated on his throne surrounded by angels
Saul has a vision of Jesus that changed his life

In other books
Other religious books, like the Quran, Mahabharata and the Avesta, contains many references to this definition of miracle. An example of a miracle in the Quran is when Muhammad splits the moon into halves.

References

Theology

Miracle


Baroota is a locality in the Australian state of South Australia located on the east coast of Spencer Gulf about  north of the state capital of Adelaide and about  north-east of the city of Port Pirie.

Baroota originally started as a private sub-division in the cadastral unit of the Hundred of Baroota.  Its boundaries were created for the "long established name" on 13 March 1997.  Its name is reported as being derived from "an early pastoral lease which derived the name either from the local Aboriginal tribe or a corruption of the Aboriginal word "nilbaroota" meaning reedy place for animals or animal food."

The locality occupies land extending from the coastline with Spencer Gulf in the west to the western side of the Flinders Ranges in the east.  The Augusta Highway and Adelaide-Port Augusta railway line both pass through the locality in a north-south direction.   The southern end of the Black Range section of the Mount Remarkable National Park extends into the locality from the north-east.  The Baroota Reservoir is located on the Baroota Creek in the east of the locality.

The land use within the locality is divided between agriculture and conservation of land associated with both the coastline in the west and the water catchment for the Baroota Reservoir in the locality's east.

The 2016 Australian census which was conducted in August 2016 reports that Telowie had a population of 95 people.

Baroota is located within the federal division of Grey, the state electoral district of Stuart and the local government area of the District Council of Mount Remarkable.

See also
Daniel Cudmore (businessman)

References

Towns in South Australia
Spencer Gulf

Baroota, South Australia


Sürpriz were a six-member German-Turkish musical group, consisting of Cihan Özden, Deniz Filizmen, Yasemin Akkar, Filiz Zeyno, Savaş Uçar and Bülent Ural, known for their participation in the Eurovision Song Contest 1999. The word "Sürpriz", means "Surprise" in Turkish.

Biography
The group was formed by Özden in 1999 specifically in order to enter that year's German Eurovision selection with the song "Reise nach Jerusalem - Kudüs'e seyahat" ("Journey to Jerusalem"), which had been written by regular Eurovision composers Ralph Siegel and Bernd Meinunger.  At the original selection held in Bremen on 12 March, "Reise nach Jerusalem - Kudüs'e seyahat" finished in second place behind Corinna May's "Hör den Kindern einfach zu".  However, some days later it emerged that May's song had previously been released by another singer in 1997, which contravened Eurovision rules and led to its disqualification.  As runners-up, Sürpriz were therefore offered the Eurovision spot, but this too caused controversy when allegations of self-plagiarism were made, claiming that the song was remarkably similar to another Siegel composition which had appeared on a B-side in 1984, "Wo geht die Reise hin?" ("Where Does the Journey Go?") by Harmony Four. The matter was taken to the European Broadcasting Union, where a panel of experts concluded that the similarity was not sufficient to disqualify the song on the grounds alleged.

Sürpriz therefore were given the go-ahead to perform in the 44th Eurovision Song Contest, which took place in Jerusalem on 29 May. On the night, the song was performed in a combination of English, German, Turkish and Hebrew, and in what turned out to be a closely fought contest with some notably topsy-turvy voting, "Reise nach Jerusalem - Kudüs'e seyahat" claimed an unexpected third place of the 23 entries.

The good showing at Eurovision failed to translate into substantial sales, and "Reise nach Jerusalem - Kudüs'e seyahat" failed to chart in Germany. The group recorded a self-titled CD, which was released in Turkey only in 2000, and continued through several personnel changes before disbanding in 2002.

References

German musical groups
Turkish musical groups
Eurovision Song Contest entrants for Germany
Eurovision Song Contest entrants of 1999

Sürpriz


Abdominal aura (also known as visceral aura and epigastric aura) is used to denote a type of somatosensory or somaesthetic aura that typically manifests itself as abdominal discomfort in the form of nausea, malaise, hunger, or pain. The term is indebted to the Latin words  (belly) and  (wind, odor, or gleam of light).

Other presentations of the abdominal aura include viscerosensitive sensations such as abdominal discomfort, visceromotor symptoms presenting in the form of tachycardia, borborygmi or vomiting, and vegetative symptoms such as blushing and sweating. Pathophysiologically, the abdominal aura is associated with aberrant neuronal discharges in sensory cortical areas representing the abdominal viscera. Etiologically, it is associated primarily with paroxysmal neurological disorders such as migraine and epilepsy. The abdominal aura can be classified as a somatic or coenesthetic hallucination. The term is used in opposition to various terms denoting other types of somatosensory aura, notably splitting of the body image and paraesthesia.

Notes

somatosensory system
Medical signs
Symptoms and signs
Epilepsy
Migraine

Abdominal aura


Davide Martello, also known as Klavierkunst (born 1 November 1981 in Lörrach in the southwest of Baden-Württemberg), is a German pianist of Italian descent. He was raised in Tuningen, between the Black Forest and the Swabian Jura.

He is known for travelling around conflict zones to play his baby grand piano, which he tows behind his bicycle using a powered trailer. Martello has been recognised by the European parliament for his "outstanding contribution to European cooperation and the promotion of common values". According to his website his aim is to play in every capital of the world.

Performances
Over Christmas 2012 he played in Afghanistan, for the soldiers in Mazar-i-Sharif, Kunduz and Termez (Uzbekistan).

During the Gezi Park protests, in the evening of 12 June 2013, a concert was held in Taksim Square to an audience of thousands, centered on a 14-hour-long piano recital on a grand piano by Martello, on a world tour, on a piano he had built himself. The evening proceeded peacefully without police intervention, though the following day the police confiscated the piano.

He also performed at the Maidan revolution in Kiev and the civil war in Donetsk in April 2014.

In 2015 he performed at the sites of the January 2015 Île-de-France attacks. Later that year in the aftermath of the November 2015 Paris attacks, on 14 November 2015, Martello rode his grand piano by bike to the Bataclan theatre (the venue where 89 people were killed in a terror attack) and started playing "Imagine" from John Lennon in tribute to the victims of the Paris attacks for a crowd gathered outside the hall.

On 6 October 2018 Martello performed at the "" demonstration against the cutting of the Hambach Forest to extend the Hambach open pit mine in Germany.

In March 2019, on the way to play at a pier in San Francisco, Martello wrecked his piano on a hill on Bay Street, but was able to mend it sufficiently to play as planned.

In June 2020, he played in Minneapolis, Minnesota during protests after the murder of George Floyd.

In March 2022, he played at the Ukrainian-Polish border with refugees from the Russian invasion.

References

External links

German pianists
1981 births
People from Lörrach
Living people
21st-century pianists

Davide Martello


Anthony Draycot (died 1571 in Draycott in the Moors) was an English Roman Catholic churchman and lawyer. During the reign of Queen Mary he held a diocesan position as chancellor;
his role in condemning numerous Protestants to death is detailed in Foxe's Book of Martyrs.

Life
He was from Staffordshire, and became principal of White Hall (afterwards included in Jesus College), Oxford, and of Pirye Hall adjoining it. On 23 June 1522 he was admitted bachelor of canons, taking his doctor's degree on 21 July following. He held the family rectum of Draycot. On 11 December 1527 he was instituted to the vicarage of Hitchin, Hertfordshire, which he exchanged on 5 March 1531 for the rectory of Cottingham, Northamptonshire. He was archdeacon of Stow, 15 January 1543, and archdeacon of Huntingdon, 27 July 1543, both in the same church of Lincoln. On 2 December 1547 he was appointed by convocation head of a committee to draw up a form of a statute for paying tithes in cities. Draycot held a number of positions as rector of St Mary's Church, Wirksworth, North Wingfield, Kettering, and Grindon.

He was chancellor for a time to John Longland, bishop of Lincoln, and to Ralph Baine, bishop of Coventry and Lichfield, acting against the Protestants. It is said that after giving a sermon on the day of Joan Waste's execution he then went home to eat. In 1553 he was one of the committee for the restitution of Bishop Edmund Bonner. At Elizabeth's accession he refused to take the oath of supremacy, and was stripped of all his preferments, except the rectory of Draycot. In 1560 he was in the Fleet Prison. He was allowed out to die at his family's home in Draycott in the Moors, on 20 January 1571.

References

Attribution

16th-century English Roman Catholic priests
Canon law jurists
Archdeacons of Huntingdon
Archdeacons of Stow
Year of birth missing
1571 deaths
Clergy from Staffordshire
Inmates of Fleet Prison
16th-century English lawyers
People from Staffordshire Moorlands (district)

Anthony Draycot


A casino is a gambling establishment where gambling with declared monetary or other property gains is carried out using roulette, gaming tables for card games and dice, gambling machines, and other gambling equipment. The board game is conducted with the help of assistants - the dealer.

In modern English, casinos are places associated with gambling. These are often built on or around hotels, cruise ships, restaurants and certain other places.

There are lots of casinos in the US state of Nevada and especially in the area of Las Vegas called the "Strip". Other places famous for their casinos is Monte Carlo in Monaco and Macau in China, but they are also prevalent in certain other parts of the world.

In Mexico, gambling is regulated by the Gaming Regulations. It regulates all gambling games and is governed by the law except the National Lottery, which is ruled through its own regulation.

Gambling in Canada is regulated on the Federal level by the Criminal Code of Canada whose Section 201- 207 provides for laws relating to betting and gambling.

The principle of most games held in the casino is the result of the game, for its participant depends, first of all, on the element of chance. In casino games, a casino can act as the actual organizer (roulette, blackjack, craps), and as a serving party (Texas poker, Omaha poker, baccarat, etc.).

In the most casinos in the world gambling halls are divided into two types: a hall of traditional games and a games room. Games that have gained the most popularity in casinos around the world: roulette, blackjack, poker, baccarat, punto-banko, craps, slot machines etc.

In 1994 the internet brought forth the web's first online casino named the Gaming Club. It was developed by Microgaming software and is still operating with active players today. Microgaming became one of the internet casino industry's largest providers of online gambling software early on. Internet casinos are currently legal and regulated in the United Kingdom and some parts of the United States.

References

Casinos

Casino


Winston Peters (born 11 Aprile 1945 in Whangarei) is a New Zealand politeecian, an a member o the kintra's pairlament in Wellington, representin the pairty New Zealand First. He is a leet member o the pairlament unner the proportional representation seestem. He is the chief o his pairty forbye, syne its foondin in 1993. He held the affice o Deputy Prime meenister frae 1996 tae 1998, an foreign meenister frae 2005 tae 2008, an haes held baith poseetions again unner Jacinda Ardern's Labour-led coaleetion syne October 2017. He is an aa expectit tae fulfil the duties o Prime meenister when Ardern gies birth in Juin 2018.

1945 births
Depute Prime Meenisters o New Zealand
Māori MPs
New Zealand First MPs
New Zealand furrin meenisters
New Zealand leet MPs
New Zealand MPs for North Island electorates
New Zealand Naitional Pairty MPs
Leaders o poleetical pairties in New Zealand
New Zealand fowk o Scots strynd
New Zealand rugby union players
Ngāti Wai
Fowk frae Tauranga
Fowk frae Whangarei
Varsity o Auckland alumni
Livin fowk
Members o the New Zealand Hoose o Representatives
Unsuccessfu candidates in the 2008 New Zealand general election
Unsuccessfu candidates in the 1981 New Zealand general election
Unsuccessfu candidates in the 1975 New Zealand general election
Fowk eddicatit at Dargaville High School
Fowk eddicatit at Whangarei Boys' High School
New Zealand members o the Privy Cooncil o the Unitit Kinrick
21st-century New Zealand politeecians
Candidates in the 2017 New Zealand general election
Members o the Cabinet o New Zealand

Winston Peters