Barbershop vocal harmony, as codified during the barbershop revival era (1930s–present), is a style of a cappella close harmony, or unaccompanied vocal music, characterized by consonant four-part chords for every melody note in a primarily homorhythmic texture. Each of the four parts has its own role: generally, the lead sings the melody, the tenor harmonizes above the melody, the bass sings the lowest harmonizing notes, and the baritone completes the chord, usually below the lead. The melody is not usually sung by the tenor or baritone, except for an infrequent note or two to avoid awkward voice leading, in tags or codas, or when some appropriate embellishment can be created.  One characteristic feature of barbershop harmony is the use of what is known as "snakes" and "swipes". This is when a chord is altered by a change in one or more non-melodic voices.  Occasional passages may be sung by fewer than four voice parts.

Barbershop music is generally performed by either a barbershop quartet, a group of four singers with one on each vocal part, or a barbershop chorus, which closely resembles a choir with the notable exception of the genre of music.

According to the Barbershop Harmony Society (BHS), "Barbershop music features songs with understandable lyrics and easily singable melodies, whose tones clearly define a tonal center and imply major and minor chords and barbershop (dominant and secondary dominant) seventh chords that resolve primarily around the circle of fifths, while making frequent use of other resolutions." Slower barbershop songs, especially ballads, often eschew a continuous beat, and notes are often held (or sped up) ad libitum.

Except for the bass, the voice parts in barbershop singing do not correspond closely to their classical music counterparts; the tenor range and tessitura are similar to those of the classical countertenor, the baritone resembles the Heldentenor or lyric baritone in range and a tenor in tessitura, and the lead generally corresponds to the tenor of classical repertoire, with some singers possessing a tessitura more similar to that of a high baritone. Barbershop singing is performed both by men's and women's groups; the elements of the barbershop style and the names of the voice parts are the same for both.

Characteristics

Ringing chords

The defining characteristic of the barbershop style is the ringing chord, one in which certain overtones of the four voices reinforce each other, sometimes so strongly that the overtone is perceived by the listener as a distinct tone, even though none of the voices are perceived as singing that tone. This effect occurs when the chord, as voiced, contains intervals which have strongly reinforcing overtones (fifths and octaves, for example) that fall in the audible range; and when the chord is sung in perfect just tuning without excessive vibrato.  Both of these characteristics are important in many styles of singing, but in Barbershop there is an extreme emphasis on them that tends to override other musical values.  For example, favored chords in the jazz style are characterized by intervals which do not audibly ring, such as diminished or augmented fifths.  For another example, Barbershop music is always a cappella, because the presence of fixed-pitch instruments (tuned to equal-temperament rather than just temperament), which is so highly prized in other choral styles, makes perfect just tuning of chords impossible.

The physics and psychophysics of the effect are fairly well understood; it occurs when the upper harmonics in the individual voice notes, and the sum and difference frequencies resulting from nonlinear combinations within the ear, reinforce each other at a particular frequency, strengthening it so that it stands out separately above the blended sound. The effect is audible only on certain kinds of chords, and only when all voices are equally rich in harmonics and justly tuned and balanced. It is not heard in chords sounded on modern keyboard instruments, due to the slight tuning imperfection of the equal-tempered scale.

Gage Averill writes that "Barbershoppers have become partisans of this acoustic phenomenon" and that "the more experienced singers of the barbershop revival (at least after 1938) have self-consciously tuned their dominant seventh and tonic chords in just intonation to maximize the overlap of common overtones." However, "In practice, it seems that most leads rely on an approximation of an equal-tempered scale for the melody, to which the other voices adjust vertically in just intonation."

What is prized is not so much the "overtone" itself, but a unique sound whose achievement is most easily recognized by the presence of the "overtone". The precise synchrony of the waveforms of the four voices simultaneously creates the perception of a "fifth voice" while at the same time melding the four voices into a unified sound. The ringing chord is qualitatively different in sound from an ordinary musical chord e.g. as sounded on a tempered-scale keyboard instrument.

Most elements of the "revivalist" style are related to the desire to produce these ringing chords. Performance is a cappella to prevent the distracting introduction of equal-tempered intonation, and because listening to anything but the other three voices interferes with a performer's ability to tune with the precision required. Barbershop arrangements stress chords and chord progressions that favor "ringing", at the expense of suspended and diminished chords and other harmonic vocabulary of the ragtime and jazz forms.

The dominant seventh-type chord is so important to barbershop harmony that it is called the "barbershop seventh". BHS arrangers believe that a song should contain dominant seventh chords anywhere from 35 to 60 percent of the time (measured as a percentage of the duration of the song rather than a percentage of the chords present) to sound "barbershop".

Historically barbershoppers may have used the word "minor chord" in a way that is confusing to those with musical training. Averill suggests that it was "a shorthand for chord types other than major triads", and says that the use of the word for "dominant seventh-type chords and diminished chords" was common in the late nineteenth century. A 1910 song called "Play That Barber Shop Chord" (often cited as an early example of "barbershop" in reference to music) contains the lines:

'Cause Mister when you start that minor partI feel your fingers slipping and a grasping at my heart,Oh Lord play that Barber shop chord!

Averill notes the hints of rapture, "quasi-religion" and erotic passion in the language used by barbershoppers to describe the emotional effect. He quotes Jim Ewin as reporting "a tingling of the spine, the raising of the hairs on the back of the neck, the spontaneous arrival of goose flesh on the forearm ... the fifth note has almost mysterious propensities. It's the consummation devoutly wished by those of us who love Barbershop harmony. If you ask us to explain why we love it so, we are hard put to answer; that's where our faith takes over." Averill notes too the use of the language of addiction, "there's this great big chord that gets people hooked." An early manual was entitled "A Handbook for Adeline Addicts".

He notes too that "barbershoppers almost never speak of 'singing' a chord, but almost always draw on a discourse of physical work and exertion; thus, they 'hit', 'chop', 'ring', 'crack', 'swipe', and 'bust.' Vocal harmony is interpreted as an embodied musicking. Barbershoppers never lose sight (or sound) of its physicality."

Historical origins

While the modern era of barbershop music is accepted to have begun with a 1940s revival, opinions as to the genre's origins vary with respect to race, gender, region, and context.

Historical memoirs and journalism indicate a strong tradition of quartet singing among young African American men, gathering informally to "crack up a chord". This was acknowledged as early as 1882, when a New York Age writer traced the development of this singing as a home-grown amusement, arising from the exclusion of Black people from theaters and concert halls. Jazz musician Louis Armstrong told of having harmonized on New Orleans street corners as a boy, and NAACP executive secretary James Weldon Johnson "grew up singing barbershop harmony".

English "barber's music" was described in the 17th century by Samuel Pepys as amateur instrumental music. The Encyclopædia Britannica considers the 19-century origins of the quartet style as "obscure", possibly referring back to barber's music, or dating to when barbershops served as community centers, where men would gather for social and musical activities with barbers traditionally being musicians.  Later, white minstrel singers adopted the style, and in the early days of the recording industry their performances were recorded and sold. Early standards included songs such as "Shine On, Harvest Moon", "Hello, Ma Baby", and "Sweet Adeline". Johnson noted in the 1920s how the genre had already crossed racial barriers.

Barbershop music was very popular between 1900 and 1919, and some of the most popular quartets were the Haydn Quartet, the American Quartet, and the Peerless Quartet. Modern barbershop quartets often costume themselves in gaudy versions of the vaudeville dress of this time, with boaters and vertically striped vests. Composer and pianist Scott Joplin incorporated a barbershop quartet into his 1911 opera Treemonisha. The genre gradually faded into obscurity in the 1920s, although barbershop-style harmonies remained in evidence in a cappella forms of traditional black gospel and white gospel.

Other researchers argue that today's barbershop music is an invented tradition related to several musical features popular around 1900, including quartet singing and the use of the barbershop chord, but effectively created during the 1940s in the ranks of the Barbershop Harmony Society whilst creating a system of singing contests and its contest rules.

Organizations
Barbershop music is promoted through the use of competition for quartets and choruses run by not-for-profit organizations. Barbershop organizations often provide judging, education, coaching and promotion services for local choruses and quartets.

United States
In the United States, there are three major organizations which are intended to preserve the style of Barbershop music: The Barbershop Harmony Society, a historically men's organization until 2018, Sweet Adelines International, a women's organization and Harmony, Incorporated which splintered off from Sweet Adelines in 1959. A minor organization began in 2014 called the Mixed Harmony Barbershop Association to promote mixed harmony barbershop quartets and choruses within the three major organizations and internationally. The Society for the Preservation and Propagation of BarberShop Quartet Singing in the U.S. (SPPBSQSUS) formed in 2018 as a fraternal organization to preserve and perpetuate the all-male barbershop quartet.

Barbershop Harmony Society (BHS)

The revival of a cappella singing took place circa 1938 when tax lawyer Owen C. Cash sought to save the art form from the threat of radio. He garnered support from investment banker Rupert I. Hall. Both came from Tulsa, Oklahoma. Cash was a partisan of quartet singing who advertised the fact that he did not want a cappella to fall by the wayside. Thousands of men responded. Later the "Society for the Preservation and Encouragement of Barber Shop Quartet Singing in America" was established, known by the abbreviation S.P.E.B.S.Q.S.A. at a time when many institutions in the US used multiple initials to denote their function. The group adopted the alternate name "Barbershop Harmony Society" early in its history. While its legal name has never changed, it changed its official brand name to "Barbershop Harmony Society" in 2004.

For the majority of its history, the society had all-male membership. It was all-white until 1963 when it allowed black members, and since 2018, it allows women to join as members.

Sweet Adelines International (SAI)

Sweet Adelines International was established in 1945 by Edna Mae Anderson of Tulsa, Oklahoma.  The aim was to teach and train its members in music and to create and promote barbershop quartets and other musical groups. By year's end, the first chapter incorporated in Oklahoma with Anderson as its president. Sweet Adelines went international on March 23, 1953, when the first chapter outside the U.S. was chartered in Brandon, Manitoba, Canada. Even though there were international chapters, it was not until May 1991 that the name officially changed to Sweet Adelines International. It has a current membership of 23,000 and holds an annual international singing competition.

Harmony, Incorporated (HI)

In 1957, several members of Sweet Adelines International (SAI) broke from the organization in protest of the policy limiting membership to Caucasian women.  In 1958, chapters from Rhode Island, Massachusetts, and Orillia, Ontario, also left SAI to form Harmony, Incorporated. (Sweet Adelines changed their policy in 1966).

Harmony, Inc. was incorporated in the State of Rhode Island on February 26, 1959. The founding member chapters of Harmony, Inc. were the Melody Belles of Providence, Rhode Island; Sea Gals of New Bedford, Massachusetts; The Harmonettes from North Attleboro, Massachusetts; Harmony Belles of Barrie-Orillia, Ontario; and the Harborettes from Scituate, Massachusetts.

In 1963, a Sweet Adeline chapter in Ottawa, Ontario was threatened with expulsion after accepting a black woman, Lana Clowes, as a member. As a result, Ottawa's Capital Chordettes left SAI to become the seventh chapter to join Harmony, Incorporated.

In 2013, Harmony, Inc. announced the creation of the Affiliate membership category, extending membership to men involved with the organization.

International organizations
After the establishment of the above organizations, other countries have begun their organizations to promote Barbershop music. These international organizations are often affiliated with one of the United States organizations listed above or by the World Harmony Council. Some are gender exclusive organizations while some are mixed.  They include; British Association of Barbershop Singers, Barbershop Harmony Australia (BHA), Barbershop Harmony New Zealand (BHNZ), Barbershop in Germany (BinG), Finnish Association of Barbershop Singers (FABS), Holland Harmony (HH), Irish Association of Barbershop Singers (IABS), Ladies Association of Barbershop Singers (LABBS) in the United Kingdom, Spanish Association of Barbershop Singers (SABS) and Society of Nordic Barbershop Singers (SNOBS).

Performance groups

Quartets

A barbershop quartet is an ensemble of four people who sing a cappella in the exacting barbershop music genre.

In North America, the Barbershop Harmony Society hosts contests for all singers. Female barbershop quartet singers can also compete in Sweet Adelines International or Harmony, Inc., and the Society for the Preservation and Propagation of BarberShop Quartet Singing in the U.S. is available to male singers. Similar organizations exist in other continents and countries.

Choruses

A barbershop chorus sings a cappella music in the barbershop style. Most barbershop choruses belong to a larger association of practitioners such as the Barbershop Harmony Society, Sweet Adelines International, LABBS (Ladies Association of British Barbershop Singers), BABS (British Association of Barbershop Singers) or Harmony, Inc.

In the Barbershop Harmony Society, a chorus is the main performing aspect of each chapter. In competition, choruses may have as few as 12 members singing, with no upper limit. Choruses normally sing with a director, as distinct from quartets. It is not uncommon for a new quartet to form within a chorus, or for an established quartet affiliated with a given chorus to lose a member (to death, retirement, or relocation) and recruit a replacement from the ranks of the chorus. Choruses can also provide "spare parts" to temporarily replace a quartet member who is ill or temporarily out of town.

Unlike a quartet, a chorus need not have equal numbers singing each voice part.  According to BHS, the ideal balance in a chorus is about 40% bass, 30% lead, 20% baritone and 10% tenor singers.

Filling the gap between the chorus and the quartet is what is known as a VLQ or Very Large Quartet, in which more than four singers perform together, with two or more voices on some or all of the four parts. A VLQ possesses greater flexibility than a standard quartet, since they can perform even with one or more singers missing, as long as all four parts are covered. Like a normal quartet, a VLQ usually performs without a director.

Typical barbershop songs
Barbershop Harmony Society's Barberpole Cat Songs "Polecats"—12 songs which all Barbershop Harmony Society members are encouraged to learn as a shared canonic repertoire—all famous, traditional examples of the barbershop genre:

The Barbershop Harmony Society announced on May 28, 2015, that the "Polecat" program would be expanded to include the following songs:

Examples of other songs popular in the barbershop genre are:

While these traditional songs still play a part in barbershop today, barbershop music also includes more current titles. Most music can be arranged in the barbershop style, and there are many arrangers within the aforementioned societies with the skills to include the barbershop chord structure in their arrangements. Today's barbershop quartets and choruses sing a variety of music from all eras—show tunes, pop, and even rock music has been arranged for choruses and quartets, making them more attractive to younger singers.

See also
 List of Barbershop Harmony Society quartet champions & List of Barbershop Harmony Society chorus champions
 List of BABS quartet champions by year
 Sweet Adelines International competition
 American Harmony Documentary Film (2009) about Barbershop music

References

Further reading

 Hicks, Val (1988): Heritage of Harmony: Society for the Preservation and Encouragement of Barber Shop Quartet Singing in America. Friendship/WI: New Past Press.
 Abbott, Lynn (1992): Play That Barber Shop Chord: A Case for the African-American Origin of Barbershop Harmony. American Music 10, no. 3, 289–325.
 Stebbins, Robert A. (1996): The Barbershop Singer: Inside the Social World of a Musical Hobby. Toronto: University of Toronto Press.
 Averill, Gage (1999): Bell Tones and Ringing Chords. Sense and Sensation in Barbershop Harmony. The World of Music 41, no. 1, 37–51.
 Henry, James Earl (2000): The Origins of Barbershop Harmony: A Study of Barbershop's Musical Link to Other African-American Musics as Evidenced Through Recordings and Arrangements of Early Black and White Quartets (PhD diss.,  UMI Microform 9972671, Washington University in St. Louis). Ann Arbor: ProQuest.
 Ayling, Benjamin C. (2000): An Historical Perspective of International Champion Quartets of the Society for the Preservation and Encouragement of Barber Shop Quartet Singing in America, 1939–1963 (PhD diss., UMI Microform 9962373, The Ohio State University). Ann Arbor: ProQuest.
 Henry, James Earl (2001): The Historical Roots of Barbershop Harmony. The Harmonizer (July/August), 13–17.
 Averill, Gage (2003): Four Parts, No Waiting. A Social History of American Barbershop Harmony. New York: Oxford University Press.
 Ayling, Benjamin C. (2004): An Historical View of Barbershop Music and the Sight-Reading Methodology and Learning Practices of Early Championship Barbershop Quartet Singers, 1939–1963. International Journal of Research in Choral Singing 4, 53–59.
 Mook, Richard (2004): The Sounds of Liberty: Nostalgia, Masculinity, and Whiteness in Philadelphia Barbershop, 1900–2003 (PhD diss., UMI Microform 3152085, University of Pennsylvania). Ann Arbor: ProQuest.
 Brooks, Tim (2005): Lost Sounds. Blacks and the Birth of the Recording Industry, 1890–1919. Urbana-Champaign/IL: University of Illinois Press.
 Garnett, Liz (2005): The British Barbershopper: A Study in Socio-musical Values. London: Ashgate.
 Mook, Richard (2007): White Masculinity in Barbershop Quartet Singing. Journal for the Society of American Music 1, no. 3 (2007), 453–483.
 Döhl, Frédéric (2009): That Old Barbershop Sound: Die Entstehung einer Tradition amerikanischer A-cappella-Musik. Stuttgart: Franz Steiner Verlag.
 Döhl, Frédéric (2012): Creating Popular Music History: The Barbershop Harmony Revival in the United States around 1940. Popular History Now and Then, ed. Barbara Korte and Sylvia Paletschek. Bielefeld: transcript, 169–183.
 Mook, Richard (2012): The Sounds of Gender: Textualizing Barbershop Performance. Perspectives on Males and Singing (= Landscapes: the Arts, Aesthetics, and Education, vol. 10), ed. Scott D. Harrison/Graham F. Welch/Adam Adler. Dordrecht: Springer, 201–214.
 Nash, Jeffrey Eugene (2012): Ringing the Chord. Sentimentality and Nostalgia among Male Singers. Journal of Contemporary Ethnography 51, no. 5, 581–606.
 Hobson, Vic (2013): Plantation Song: Delius, Barbershop, and the Blues. American Music 31, no. 3, 314–339.
 Nash, Jeffrey Eugene (2013): Puttin' on Your Face: Staged Emotions among Barbershop Singer. The Drama of Social Life: A Dramaturgical Handbook, ed. Charles Edgley. Farnham: Ashgate, 229–244.
 Döhl, Frédéric (2014): From Harmonic Style to Genre. The Early History (1890s–1940s) of the Uniquely American Musical Term Barbershop. American Music 32, no. 2, 123–171.
 Hobson, Vic (2014): Creating Jazz Counterpoint: New Orleans, Barbershop Harmony, and the Blues. Jackson, Mississippi: University Press of Mississippi.
 Hobson, Vic (2018): Creating the Jazz Solo: Louis Armstrong and Barbershop Harmony. Jackson, Mississippi: University Press of Mississippi.
 Hobson, Vic (2020): Historically Informed Jazz Pedagogy: New Orleans Counterpoint and Barbershop Harmony. Jazz Education in Research and Practice 1, no. 1, 155–166.
 Hopkins, Robert G. (2020): From "the Chord Was King" to "a Dynamic Journey". Changes in the Barbershop Quartet Style in Contetsts since the 1950s. American Music 38, no. 1, 78–101.
 Boyd, Clifton (2021): Music Theory, Race, and the Barbershop Harmony Society. The Oxford Handbook of Public Music Theory, ed. J. Daniel Jenkins, Oxford University Press, New York/Oxford 2021, online.

External links
 Present at the Creation: Barbershop Quartets from NPR
 Barbershop Quartets on 78rpms: How Quartet Harmonizing Became Known as Barbershop
 Listen to Barbershop music at the Internet Archive
 The Origins of Barbershop Harmony
 Barbershop Wiki Project

African-American music
American styles of music
A cappella
Four-part harmony
Retro-style music

Barbershop music


Liz McManus is a politeecian in the Republic o Ireland, an a member o the Irish pairlament in Dublin, representin the Labour Pairty.  She represents the Wicklow consteetuency in Dáil Éireann, an haes been the depute chief o her pairty syne 2002.

1947 births
Livin fowk
Teachtaí Dála
Female Teachtaí Dála
Democratic Left (Ireland) politeecians
Labour Pairty (Ireland) politeecians
Wirkers' Pairty o Ireland politeecians
Members o the 27t Dáil
Members o the 28t Dáil
Members o the 29t Dáil
Members o the 30t Dáil
Erse novelists
Erse weemen writers
Alumni o Varsity College Dublin
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Meenisters o State o the 27t Dáil

Liz McManus


Colonel Sir John McMahon, 1st Baronet (c. 1754 – 12 September 1817) was an Irish-born politician and Private Secretary to the Sovereign 1811–1817.

Biography
He was born in Limerick, son of John MacMahon, comptroller of the port of Limerick; little is known of his mother, and even her name is uncertain. By his second wife, Mary Stackpoole, his father has two other sons William and Thomas, who both achieved distinction.

McMahon was commissioned into the 44th Foot, and later transferred to the 48th Foot and the 87th Foot. He served as a Member of Parliament for Aldeburgh from 1802 to 1812. He was Paymaster of Widows Pensions in 1812. He was Keeper of the Privy Purse, Auditor of the Duchy of Cornwall, and Secretary to the Duke of Cornwall. A proposal that he receive a salary of £2,000 as Private Secretary was rejected by Parliament in 1812.

McMahon was appointed a Privy Counsellor in 1812, and died in 1817, having been made a Baronet shortly before his death. He was succeeded in the baronetcy according to a special remainder by his brother General Sir Thomas McMahon, 2nd Baronet. He undoubtedly used his position to benefit his family: his half-brother William MacMahon obtained the coveted judicial office of Master of the Rolls in Ireland through John's influence, and he proved to be a popular and respected judge.

He had no children, but his title passed by special remainder to his brother Thomas.

He had at least one sister Mrs O'Halloran, whose daughter married Richard Lalor Sheil, against her own family's wishes, and died young in childbirth.

Literary references
He is a minor character in Georgette Heyer's novel Regency Buck, which shows him in a rather unflattering light.

References

External links

1754 births
1817 deaths
Members of the Parliament of the United Kingdom for English constituencies
48th Regiment of Foot officers
87th (Royal Irish Fusiliers) Regiment of Foot officers
Members of the Privy Council of the United Kingdom
Baronets in the Baronetage of the United Kingdom
UK MPs 1802–1806
UK MPs 1806–1807
UK MPs 1807–1812
44th Regiment of Foot officers
Private Secretaries to the Sovereign

Sir John McMahon, 1st Baronet


Gumii Waaqeffattoota Addunyaa (GWA) garee amantii Waaqeffannaa yoo ta'u kan dhaabbates bara 2008 biyya Noorweyiti; dhaaba kan kan dhaabe baqattoota Oromoo biyya Nooweyi jiraatani. Dhaabbachuun GWA beekkumsaa fi ogummaa Waaqeffannaa keessa jiru addunyaattii beeksiisuu fi furmaataa hafuuraa, dhuunfaa, fi hawaasummaa addunyaaf akka kennuufi ochuu fi.

Ummanni Oromoo, kan waggaa dheeraa dura waaqa akka uumaa hundaa fi ajajaa hundaa ta'uu isaa bare, ummata Aafrikaa keessatti qofa odoo hin taane ummata addunyaa biratti amantii Waaqa tokkotti amanuu (monotheism) kan jalqaban keessaa tokko.

The Oromo people, who had long ago recognized Waaqaa as the only Supreme Reality, the Creator of everything, could be one among the earliest peoples not only in Africa but also in the world, to develop the doctrine of monotheism. Thenceforth, Waaqeffannaa as a religion, as a religious thought, and as a religious practice of the Gadaa-organized Oromo people, sprung out of the Oromo concept of Waaqaa. As a public affair, Waaqeffannaa is manifested by Oromummaa-being Oromo as part of the cultural domain of the Gadaa Oromo Society.

Since the emergence of Waaqeffannaa as a public religious affair, the Waaqeffattootaa have been organizing Irreechaa, "Thanksgiving Ceremony", near a body of water (lake, spring, crater, or stream) or at the Galma of the Qaalluu-spritual hut which resembles church or mosque, every year. The ceremony is conducted by offering thanks and greeneries to Waaqaa, Who helped them, pass through the 'dark' rainy winter season to the bright sunny season, which begins to shine in the month of Fulbaanaa, September, the time crops and plants are furnishing colourful flowers.

In spite of problems confronting the Oromos in course of their history, interaction with other peoples, voluntary or involuntary conversion to the ´written´ religions of the Muslim and Christian worlds, Waaqeffannaa continues to offer pertinent answers to its adherents. Waaqeffannaa has made remarkable contributions in conflict resolutions, in making peace, in maintaining social harmony, in defending the Gadaa-based moral qualities of the Oromo families, in shaping the behavioral system of the Oromos (from blessing ceremonials to etiquette of socializing), and in bestowing socially meaningful names upon the newly born Oromo children.

Therefore, the establishment of the Group of Waaqeffannaa Assembly- GWA is to serve the true Waaqeffannaa religion based on the Will and the Laws of Waaqeffannaa knowledge and wisdom, moral judgments and human compassion by respecting and deeply exploring the values of the indigenous religions, cultures and ethic for the religions of the indigenous peoples of African origin to satisfy their needs. GWA has also an objective of promoting the teachings of Waaqeffannaa creeds, based on the Rules and the Principles of Waaqeffannaa, the Right Path to Gaarummaa, and the Avenue of Peace to the rest of the world. Thus, the rationale behind the establishment of GWA by taking into account the beneficial role of an indigenous religion is to re-cultivate and promote the positive roles of Waaqeffannaa and Gadaa in protecting Namummaa (Humanity) throughout the world.

Mul'ata GWA
Mul'annoon Gumii Waaqeffattoota Addunyaa amantiin Waaqeffannaa golgaa keessaa bahee, dagaagee, babal'atu arguudha. Waaqeffannaa takaallaa irra ture keessaa baasee dagaagsuu fi babal'isuufis Gumiin Waaqeffattoota Addunyaa waan danda'u mara ni hojjata.

Mission
The primary mission of the GWA is the realization of Waaqeffannaa religion for the betterment of Namummaa (humanity), moral judgments and human compassion based on the Rules and the Principles of Waaqeffannaa, the Right Path to Gaarummaa-being kind, and the Avenue of Peace to attain modesty, honesty, happiness, and Peace by respecting and deeply exploring the values of the indigenous religions.

Principles
Waaqeffannaa promotes and cultivates the Will of Waaqaa for the betterment of human being. It is also based on the Rules and the Principles of Waaqeffannaa, the Right Path to Gaarummaa, and the Avenue of Peace to attain Gaarummaa, happiness, and Peace.

According to Waaqeffannaa principle, a cheeky person of sneaky behavior, a counterfeiter, and a renegade, a socially inconsiderate, selfish and deceptive person is understood as existing against the Law of Waaqaa. Hence, Waaqeffannaa refrains from approving a 'certificate of integration' into the religious life of Gadaa Oromoo Families. No one can ever trust such person as a faithful citizen of the Republic of Gadaa Oromoland .

Waaqeffannaa rather adheres to teaching human compassion, conformity to facts of truth, respect to the Law of Waaqaa, honesty to the legitimacy of social taboos, fairness to individual and public opinions, care for strangers, and hospitality to foreigners.

Waaqeffannaa teaches its followers to abhor practices like persecution, ostracizing and segregation of man by man because of differences in faith, language, ethnicity, hair texture, physical character, skin colour, height or weight.

Waaqeffannaa always advocates honesty, modesty, truth, purity and humanity as inherent qualities of the Gadaa-based Oromo Society, which can lead them to successful achievement for the endeavors they are constantly undertaking.

Waaqeffannaa teaches the abhorrence of the root causes that emit cataclysmic social disorders and defile the established social norms with which the Oromos have been living in the longest period of their history, when they stood in the light of Seera Waaqaa and Safuu.

Core Values
As GWA is established to promote and cultivate these Waaqeffannaa Rules and Principles, its guiding values and principles' are also emanates from and based on the Holy messages, the everlasting Laws and Principles of Waaqaa. More specifically, the values of the Group of Waaqeffannaa Assembly are:

 Waaqaa endowed the human beings with the Avenue of Peace, Karaa Nagaa, to walk on,
 Waaqaa blessed for them with the Waaqaa Rule of Law, as promulgated and declared by the Waaqaa's messenger, Qaalluu,
 Waaqaa blessed the human beings to be men of justice and law-abiding citizens as applied in the Gadaa system of the Republic of Gadaa Oromoland ,
 He blessed them to be a victorious and prosperous nation of numerous progenies, if they follow the Avenue of Peace,
 Waaqaa strictly warned them never to cultivate persons of dictatorial ambitions nor to allow the growth of such person among them and so on.

These and other messages of Waaqaa are believed to have been delivered through the mouth of the first Qaalluu, who had been anointing Waaqeffattootaa pilgrims from all over Gadaa Oromoland at Odaa Mormor and Haroo Walaabuu before colonization. The message has become a self-assertive declaration in rejecting any form of internally assumed dictators and the colonial rules and rulers.

Kaayyooo
The Group of Waaqeffannaa Assembly is a religious organization dealing with the Waaqeffannaa affairs. The Objectives of GWA are:
 Serving the true Waaqeffannaa ideology based on the Will of Waaqaa and Rules of Waaqeffannaa,
 Introducing Waaqeffannaa to the world using all available means,
 Supporting the constructive roles of Waaqeffattootaa's- followers of the Waaqeffannaa religion, personal and social development activators to enable them to fulfill their potential in the World society,
 Providing and strengthening the Waaqeffannaa organizations capacity to encourage the positive engagement and integration of the Waaqeffattootaa generation in their spiritual and social environment, and
 It also aims to help assist towards diffusing social tensions, and protect the new generation of Waaqeffannaa followers from extremism and such trends that result in social instability.

Aims
GWA aims to achieve the following:
 Preserve the knowledge and wisdom of Waaqeffannaa religion,
 Educate and train its members in order to overcome problems they face in modern society,
 Encourage them to become active and positive citizens in their societies,
 Introduce Waaqeffannaa to the world in its purest form as a comprehensive system and way of life,
 Establish a relationship of dialogue, understanding and appreciation between Waaqeffannaa organizations and the world cultural groups, and
 Provide assistance to Waaqeffannaa and non- Waaqeffannaa organizations to fulfil these goals through training and cooperation.

Means
 Hold regional and local Waaqeffannaa youth and student camps.
 Help establish Waaqeffannaa scout groups where possible in collaboration with the different Scout Association.
 Organize conferences, symposia, workshops and research circles to address youth and student issues.
 Publish books, brochures, reports and exhibition material that best introduce Waaqeffannaa to non-Waaqeffannaa in its holistic vision, and best educated generation about their role in the world society.
 Organize exchange visits, Irreechaa & Jila trips.
 Provide training and support to the association of Waaqeffannaa society, to clubs of new generation, and to youth organizations in order to help them better fulfil their objectives.

Waaqeffannaa

Gumii Waaqeffattoota Addunyaa


The Story of Mankind is a nonfiction book that was first published in 1921. It was the first book that ever won the Newbery Medal. It won the Newbery Medal in 1922.

The Story of Mankind was written by Hendrik Willem van Loon. He was an American writer and teacher. He wrote The Story of Mankind for his grandchildren. He thought that all children need to know about history.

The Story of Mankind tells how people have lived and what things people have done that made a big change in the world. It starts with cave men. It tells about many different people. The last people it tells about are the people that lived when Hendrik Willem van Loon was writing the book. That was just after World War I. At that time, lots of people wanted to make it so that there would never be another war. Hendrik Willem van Loon thought that if he taught children about history, they would not want to fight wars when they grew up.

Movie
In 1957 the Marx Brothers made a movie of The Story of Mankind. It starred Ronald Colman. Lots of other movie stars were also in the movie. The movie is also called The Story of Mankind.

Other websites
 The Story of Mankind at Project Gutenberg

1921 books
Newbery Medal winning books
American children's books
History books

The Story of Mankind


Reuven Ben-Yosef (; 1937–2001) was an Israeli poet

Biography
Ben-Yosef was born Robert Eliot Reiss, the son of Joseph and Cecilia Reiss, in New York City on May 31, 1937.

His childhood was spent in Manhattan, where he attended P.S. 187 and later, The High School of Music & Art, where he became a professional jazz musician. He went on to complete his secondary education at Westwood High School in New Jersey and attended Oberlin College in Ohio before serving in the U.S. Army in Heilbronn, Germany.

During 1957–59 he published poetry in American literary magazines and The New York Times.

Before he left America to emigrate to Israel he published his first book of poetry, the last he wrote in English, The Endless Seed.

During the Yom Kippur War he was with the first military units to launch the counter-offensive in the southern sector of the Golan Heights and was on front-line duty for 145 days.

In the summer of 1976 he moved to Jerusalem. He supported his family by translating and teaching creative writing to high-school students.

When the Lebanon War broke out in 1982, he was again called to duty and sent to the front for 41 days.

In 1996 he started a small publishing house called Sifre Bitzaron.

He died of lung cancer on March 9, 2001. He left his brother James Reiss, his sister Lucinda Luvaas, his wife, Yehudit, three children and seven grandchildren.

He wrote 19 books of Hebrew poetry, two novels, two books of essays, and a writer's diary. After his death, his wife published a book, In Memory of Reuven Ben-Yosef, which included critical articles by his colleagues (2002).

In 2015 Syracuse University Press published Letters to America: Selected Poems of Reuven Ben-Yosef, edited and translated by Michael Weingrad.

Reviews
"Reuven Ben-Yosef left English and America behind to remake himself as a Hebrew poet in Israel. Now Michael Weingrad has returned him to us, in an English translation that captures the passion, pride, and angry beauty of his verse. Ben-Yosef's meditations on Jewish life in Israel and America—an opposition that split his own family—offer a powerful and unfashionable, counterpoint to the American Jewish literature that was produced to such acclaim during his lifetime. He offers a unique and challenging response to the question of what it means to be a Jewish poet."—Adam Kirsch, senior editor, The New Republic

"Michael Weingrad's Letters to America offers readers an exceptionally thoughtful introduction to the work of a complicated man. Reuven Ben-Yosef was an American and an Israeli, a soldier and a poet, a utopian and a skeptic, and Weingrad's sensitive essay and his intelligent translations included in the volume make the man and his work come alive."—Adam Rovner, author of In the Shadow of Zion: Promised Lands before Israel

Awards
 Twice awarded The Jewish Book Council of America (1969, 1975)
 Moznaim Prize (1978)
 N.Y.U. Neuman Prize (1979)
 Peter Shiprert Prize (1982)
 Bar-Ilan University Prize (1986)
 Keren Hayasod Prize (1990)
 Prime Minister Levi Eshcol Prize (1996–97)

Poems, stories, essays in periodicals
Molad, Moznaim, Amot, Apirion, 77, Bitzaron, Mibifnim, Maariv, Yediot, Haaretz, Davar, Al-Hamishmar, Ariel, Nativ, Psifas, Afikim and others and in the United States literary magazines such as Midstream, which recently published an article by the poet Esther Cameron and some of his poems translated into English.

References

External links
http://www.ithl.org.il/author_info.asp?id=52

Poems and Articles translated into: English, French, Spanish, Italian, Arabic, Hungarian, and German.

1937 births
2001 deaths
Deaths from lung cancer in Israel
Jewish American poets
American emigrants to Israel
Jewish Israeli writers
Israeli male poets
Oberlin College alumni
20th-century Israeli poets
People from Westwood, New Jersey
The High School of Music & Art alumni
Westwood Regional High School alumni
Burials at Har HaMenuchot

Reuven Ben-Yosef


Roberto A. Mendoza, known as Panoptica, has been one of the figures in the Mexican electronic music scene since the late 1980s, founding bands like electro pos-industrial outfit Artefakto and in the late 1990s being part of the Tijuana-based norteña-meets-techno Nortec Collective. He has also been releasing tracks as Panóptica and it was under this name that English DJ John Peel took notice, inviting him to do one of his Peel sessions for the BBC in 2001. In 2005 Roberto had embarked on finishing two projects, one called "Desierto" and the other "Mendoza", where friends like David J. (Bauhaus, Love and Rockets) lend a hand on bass and guitars. In late 2007 he separated from the Nortec Collective and created the "Nortec Panoptica Orchestra" a band for his live shows. In early 2008 Roberto decided to record a new solo album to push and further develop the electronic sound, working independently from the Tijuana collective and with new musical partners Zoell Farrujia (Ambiente), Benjamin Rivera (Grupo de Acero), Edgar Hernandez (Banda Aguacaliente), Adrian Rodriguez (Koñorteño), and special guests: Javiera Mena, Khan Oral, Yerba Buena. The album was set to be released in March 2010 in Vinyl LP and digital form

References

External links

Year of birth missing (living people)
Living people
Mexican electronic musicians

Panoptica


The Pulitzer Prize for Poetry is one of the seven American Pulitzer Prizes given every year for Books, Drama, and Music. It was first given in 1922.

The prize is given "For a distinguished volume of original verse by an American author." That means it is given for an important book of original poetry. The book must be published during the calendar year before the prize is given.

Since 1980, two finalists (other important books) have been named at the same time as the winner.

1918 and 1919 special prizes

Before the establishment of the award, the 1918 and 1919 Pulitzer cycles included three Pulitzer Prize Special Citations and Awards (called at the time the Columbia University Poetry Prize) for poetry books funded by "a special grant from The Poetry Society."
 1918: Love Songs by Sara Teasdale
 1919: Cornhuskers by Carl Sandburg
 1919: The Old Road to Paradise by Margaret Widdemer

Winners

In its first 92 years to 2013, the Pulitzer Prize for Poetry was awarded 92 times. Two were given in 2008, none in 1946. Robert Frost won the prize four times and some other poets won it more than once).

1920s
 1922: Collected Poems by Edwin Arlington Robinson
 1923: "The Ballad of the Harp-Weaver", A Few Figs from Thistles, and "Eight Sonnets", by Edna St. Vincent Millay
 1924: New Hampshire: A Poem with Notes and Grace Notes by Robert Frost
 1925: The Man Who Died Twice by Edwin Arlington Robinson
 1926: What's O'Clock by Amy Lowell
 1927: Fiddler's Farewell by Leonora Speyer
 1928: Tristram by Edwin Arlington Robinson
 1929: John Brown's Body by Stephen Vincent Benét

1930s
 1930: Selected Poems by Conrad Aiken
 1931: Collected Poems by Robert Frost
 1932: The Flowering Stone by George Dillon
 1933: Conquistador by Archibald MacLeish
 1934: Collected Verse by Robert Hillyer
 1935: Bright Ambush by Audrey Wurdemann
 1936: Strange Holiness by Robert P. T. Coffin
 1937: A Further Range by Robert Frost
 1938: Cold Morning Sky by Marya Zaturenska
 1939: Selected Poems by John Gould Fletcher

1940s
 1940: Collected Poems by Mark Van Doren
 1941: Sunderland Capture by Leonard Bacon
 1942: The Dust Which Is God by William Rose Benét
 1943: A Witness Tree by Robert Frost
 1944: Western Star by Stephen Vincent Benét
 1945: V-Letter and Other Poems by Karl Shapiro
 1946: no award given
 1947: Lord Weary's Castle by Robert Lowell
 1948: The Age of Anxiety by W. H. Auden
 1949: Terror and Decorum by Peter Viereck

1950s

 1950: Annie Allen by Gwendolyn Brooks
 1951: Complete Poems by Carl Sandburg
 1952: Collected Poems by Marianne Moore
 1953: Collected Poems 1917-1952 by Archibald MacLeish
 1954: The Waking by Theodore Roethke
 1955: Collected Poems by Wallace Stevens
 1956: Poems: North & South — A Cold Spring by Elizabeth Bishop
 1957: Things of This World by Richard Wilbur
 1958: Promises: Poems 1954-1956 by Robert Penn Warren
 1959: Selected Poems 1928-1958 by Stanley Kunitz

1960s
 1960: Heart's Needle by W. D. Snodgrass
 1961: Times Three: Selected Verse From Three Decades by Phyllis McGinley
 1962: Poems by Alan Dugan
 1963: Pictures from Brueghel by William Carlos Williams
 1964: At The End Of The Open Road by Louis Simpson
 1965: 77 Dream Songs by John Berryman
 1966: Selected Poems by Richard Eberhart
 1967: Live or Die by Anne Sexton
 1968: The Hard Hours by Anthony Hecht
 1969: Of Being Numerous by George Oppen

1970s
 1970: Untitled Subjects by Richard Howard
 1971: The Carrier of Ladders by W. S. Merwin
 1972: Collected Poems by James Wright
 1973: Up Country by Maxine Kumin
 1974: The Dolphin by Robert Lowell
 1975: Turtle Island by Gary Snyder
 1976: Self-portrait in a Convex Mirror by John Ashbery
 1977: Divine Comedies by James Merrill
 1978: Collected Poems by Howard Nemerov
 1979: Now and Then by Robert Penn Warren

1980s
Indented entries are finalists after each year's winner.
 1980: Selected Poems by Donald Justice
 Goshawk, Antelope by Dave Smith
 Selected Poems by Richard Hugo
 1981: The Morning of the Poem by James Schuyler
 Selected Poems by Mark Strand
 The Right Madness on Skye by Richard Hugo
 1982: The Collected Poems by Sylvia Plath
 Dream Flights by Dave Smith
 The Southern Cross by Charles Wright
 1983: Selected Poems by Galway Kinnell
 Country Music, Selected Early Poems by Charles Wright
 Monolithos, Poems 1962 and 1982 by Jack Gilbert
 1984: American Primitive by Mary Oliver
 Collected Poems, 1930-1982 by Josephine Miles
 Weather-Fear: New and Selected Poems by John Engels
 1985: Yin by Carolyn Kizer
 Ground Work by Robert Duncan
 The Other Side of the River by Charles Wright
 1986: The Flying Change by Henry S. Taylor
 Saints and Strangers by Andrew Hudgins
 Selected Poems, 1963-1983 by Charles Simic
 1987: Thomas and Beulah by Rita Dove
 The Selected Poetry of Hayden Carruth by Hayden Carruth
 Unending Blues by Charles Simic
 1988: Partial Accounts: New and Selected Poems by William Meredith
 Flesh and Blood by C.K. Williams
 Good Woman: Poems and a Memoir 1969-1980 and Next: New Poems by Lucille Clifton
 1989: New and Collected Poems by Richard Wilbur
 The One Day by Donald Hall
 The River of Heaven by Garrett Hongo

1990s
Indented entries are finalists after each year's winner.

 1990: The World Doesn't End by Charles Simic
 Selected and Last Poems by Paul Zweig
 Time's Power by Adrienne Rich

 1991: Near Changes by Mona Van Duyn
 Leaving Another Kingdom by Gerald Stern
 The Transparent Man by Anthony Hecht
 1992: Selected Poems by James Tate
 An Atlas of the Difficult World by Adrienne Rich
 Selected Poems by Robert Creeley
 1993: The Wild Iris by Louise Glück
 Hotel Lautreamont by John Ashbery
 Selected Poems 1946-1985 by James Merrill
 1994: Neon Vernacular: New and Selected Poems by Yusef Komunyakaa
 Bright Existence by Brenda Hillman
 The Metamorphoses of Ovid by Allen Mandelbaum
 1995: The Simple Truth by Philip Levine
 Cosmopolitan Greetings: Poems 1986-1992 by Allen Ginsberg
 On The Great Atlantic Rainway: Selected Poems 1950-1988 and One Train by Kenneth Koch
 1996: The Dream of the Unified Field by Jorie Graham
 Chickamauga by Charles Wright
 New and Selected Poems by Donald Justice
 1997: Alive Together: New and Selected Poems by Lisel Mueller
 The Figured Wheel by Robert Pinsky
 The Willow Grove by Laurie Sheck
 1998: Black Zodiac by Charles Wright
 Desire by Frank Bidart
 The Vigil by C.K. Williams
 1999: Blizzard of One by Mark Strand
 Going Fast by Frederick Seidel
 Mysteries of Small Houses by Alice Notley

2000s
Indented entries are finalists after each year's winner. Two prizes were awarded in 2008.

 2000: Repair by C. K. Williams
 Elegy for the Southern Drawl by Rodney Jones
 Midnight Salvage: Poems 1995-1998 by Adrienne Rich
 2001: Different Hours by Stephen Dunn
 Pursuit of a Wound by Sydney Lea
 The Other Lover by Bruce Smith
 2002: Practical Gods by Carl Dennis
 The Beforelife by Franz Wright
 The Seven Ages by Louise Glück
 2003: Moy Sand and Gravel by Paul Muldoon
 Hazmat by J. D. McClatchy
 Music Like Dirt by Frank Bidart
 2004: Walking to Martha's Vineyard by Franz Wright
 Eyeshot by Heather McHugh
 Middle Earth by Henri Cole
 2005: Delights & Shadows by Ted Kooser
 Search Party: Collected Poems by William Matthews
 The Orchard by Brigit Pegeen Kelly
 2006: Late Wife by Claudia Emerson
 American Sublime by Elizabeth Alexander
 Elegy on Toy Piano by Dean Young
 2007: Native Guard by Natasha Trethewey
 Interrogation Palace: New & Selected Poems 1982-2004 by David Wojahn
 The Republic of Poetry by Martín Espada
 2008: Time and Materials by Robert Hass and Failure by Philip Schultz
 Messenger: New and Selected Poems, 1976-2006 by Ellen Bryant Voigt
 2009: The Shadow of Sirius by W. S. Merwin
 Watching the Spring Festival by Frank Bidart
 What Love Comes To: New & Selected Poems by Ruth Stone

2010s
Indented entries are finalists after each year's winner.

 2010: Versed by Rae Armantrout
 Inseminating the Elephant by Lucia Perillo
 Tryst by Angie Estes
 2011: The Best of It: New and Selected Poems by Kay Ryan
 Break the Glass by Jean Valentine
 The Common Man by Maurice Manning
 2012: Life on Mars by Tracy K. Smith
 Core Samples from the World by Forrest Gander
 How Long by Ron Padgett
 2013: Stag's Leap by Sharon Olds
 Collected Poems by Jack Gilbert
 The Abundance of Nothing by Bruce Weigl
 2014: 3 Sections by Vijay Seshadri
 The Big Smoke by Adrian Matejka
 The Sleep of Reason by Morri Creech
 2015: Digest by Gregory Pardlo
 Compass Rose by Arthur Sze
 Reel to Reel by Alan Shapiro
 2016: Ozone Journal by Peter Balakian
 Alive: New and Selected Poems by Elizabeth Willis
 Four-Legged Girl by Diane Seuss
 2017: Olio by Tyehimba Jess
 Collected Poems: 1950-2012 by Adrienne Rich
 XX by Campbell McGrath
 2018: Half-light: Collected Poems 1965–2016 by Frank Bidart
 Incendiary Art, by Patricia Smith
 semiautomatic, by Evie Shockley
 2019: Be With by Forrest Gander
 feeld by Jos Charles
 Like by A.E. Stallings

2020s
Indented entries are finalists after each year's winner.

 2020: The Tradition by Jericho Brown
 Dunce by Mary Ruefle
 Only as the Day Is Long: New and Selected Poems by Dorianne Laux
 2021: Postcolonial Love Poem by Natalie Diaz
 A Treatise on Stars by Mei-mei Berssenbrugge
 In the Lateness of the World by Carolyn Forché
 2022: frank: sonnets by Diane Seuss
 Refractive Africa: Ballet of the Forgotten by Will Alexander
 Yellow Rain by Mai Der Vang

References

Poetry

Pulitzer Prize for Poetry


The Naitional Coat o Airms o Denmark consists o three crouned blae lions accompanied bi nine reid herts, aw in a gowden shield. The auldest kent depiction o the insignie dates frae a seal uised bi King Canute VI c. 1194. The auldest documentation for the colours dates frae c. 1270. Historically, the lions faced the viewer an the nummer o herts wis no regulatit an coud be muckle heicher. Historians believe that the herts oreeginally wur søblade (literally: sea-leafs) but that this meanin wis lost early due tae worn an crudely made signets uised in the Middle Ages. A ryal decree o 1972 specifies thir figures as søblade but Danes normally refer tae them as herts. The current version wis adoptit in 1819 in the ring o King Frederick VI wha standardised the nummer o herts tae nine an decreed that the heraldic beasts wur lions, consequently facin forwart. A rare version exists frae the ring o king Eric o Pomeranie in whilk the three lions haud the Dens banner thegither, in a seimilar fashion as in the coat o airms o the umwhile Sooth Jutland Coonty.
Till c. 1960, Denmark uised baith a "sma" an a "lairge" coat o airms, seimilar tae the seestem still uised in Swaden. The latter seembol held wide uise athin the govrenment admeenistration, e.g. bi the Foreign Meenistry. Syne this time, the latter seembol haes been classifee'd as the coat o airms o the ryal faimily, leavin Denmark wi ae ane naitional coat o airms, uised for aw offeecial purposes.

The croun on the shield is a heraldic construction based on the croun o King Christian V, nae tae be ramfeeselt wi the croun o King Christian IV. The main difference frae the real croun is that the latter is covered wi table cut diamonds raither than pearls. Baith crouns, an ither ryal insignie, are locatit in Rosenborg Castle in Copenhagen.

The blazon in heraldic terms is: Or, three lions passant in fauch Azure crouned an airmed Or langued Gules, nine herts Gules.

This insignie is naur identical tae the coats o airms o Estonie an Tallinn which can baith be traced directly back tae King Valdemar II an the Dens rule in northren Estonie 1219-1346. The main differences is: In the Dens coat o airms the lions is crouned, face forwart, an accompanied bi nine herts. In the Estonian coat o airms, the "leopards" face the viewer, thay arenae crouned, an nae herts is present. The coat o airms o Tallinn resembles the Estonian airms, but the leopards in the umwhile airms is crouned wi gowden crouns seemilar tae the anes in the Dens airms. It shaws great similarities wi the contemporary insignie o Ingland's Richard the Lionheart an the current airms o the German state o Baden-Württemberg. The Dens coat o airms haes an aa been the inspiration for the coat o airms o the umwhile Duchy o Schleswig, a umwhile Dens province (twa blae lions in a gowden shield.) The herts o the coat o airms appears in the coat o airms o the German destrict o Lüneburg an aw.

References

Naitional seembols o Denmark
Denmark

Coat o airms o Denmark


Bhavavarman I wis a king of the Cambodian kinrick o Kamboja, whilk woud later become the Khmer empire. Though the fou dates o his ring is wankent, it is kent that he reigned aroond the year 550.

Bhavavarman's queen wis named Kambuja-raja-lakshmi, an it wis through her that he inheritit the ryal lineage. He wis vera likely the grandson o the king o Funan, a neighbourin an mair pouerful Cambodian kinrick.

The main accomplishment o Bhavavarman's ring wis the expansion o Kamboja intae the Mekong river glen, attackin baith Funan an Champa, an ancient Vietnamese kinrick. The raisons for thir attacks isnae clear, but maist like revolve aroond the accession o Rudravarman tae the Funan throne; Rudravarman killt the legitimate heir tae the throne, an Bhavavarman mey hae seen hissel as a richtful member o that lineage. It isna clear, housomeivver, gif he wantit tae claim the throne o Funan for hissel, or tae simply see Rudravarman unseatit so that the next legitimate heir coud tak it.

He wis succeedit bi his brither Chitrasena, wha teuk the king name Mahendravarman. Cheenese records o the time indicate that Chitrasena wis responsible for mair o the conquests an battles than his brither, but it seems fair tae assume that thae wur the actions o baith kings. The Cheenese records indicate that, aroond this time at the beginnin o the 7t century, the king o Funan wis replaced, and that the new king wis a 'bad king' wha didna support Buddhism; aither Bhavavarman or his brither could fit that definition, as baith belanged the tradeitional Shivaite releigion o Kamboja.

References
Coedes, G. (1962). The Making of South-east Asia. London: Cox & Wyman Ltd.

Cambodian monarchs
Saivite releegious figures
Hindu monarchs
Cambodian Shaivites
600 daiths

Bhavavarman I


The 2012 Atlantic hurricane season was an above average season in terms of ACE and damage but most storms were week and short lived. It was theevent that occurs when tropical cyclones develop in the Atlantic basin. The season began when Tropical Storm Alberto formed on May 19, 2012. Four days later, Tropical Storm Beryl developed. It became a subtropical storm and on May 27, was upgraded to a tropical storm. This is the first time since the 1908 Atlantic hurricane season that two storms formed before the official start date. The 2012 Atlantic hurricane season began on June 1 and ended on November 30, 2012. There were no storms formed in the month of July.

Storms

Tropical Storm Alberto
Tropical Storm Alberto formed on May 19, 2012. It became an "early season storm" because it formed before the official start of the season. Tropical Storm Alberto dissipated on May 22 without making landfall. Its maximun sustatined winds were at 60 miles per hour.

Tropical Storm Beryl
Tropical Storm Beryl developed. It became a subtropical storm and on May 27, was upgraded to a tropical storm. It hit Jacksonville, Florida.

Hurricane Chris
Hurricane Chris was the third tropical system. It formed on June 19. It was also the first hurricane of the season, unexpectedly becoming one. It was in an unfavorable environment, with cool sea waters and moderate vertical wind shear. Chris, after weakening from a hurricane, became a non-tropical cyclone southeast of Newfoundland on June 22.

Tropical Storm Debby
This system became the record earliest 4th storm, which was broken in 2012. The storm made landfall in Florida, and caused bad flooding. Ten people died.

Timeline of events

Storm names
The following names were used for named storms in the North Atlantic in 2012. The names not retired from this list was used again in the 2018 season. This is the same list used in the 2006 season. The names Kirk, Oscar, Patty, Rafael, Sandy, and Tony were used for Atlantic storms for the first time in 2012. Kirk replaced Keith after 2000, but was not used in 2006.

Retirement
On April 11, 2013 the name "Sandy" was retired due to the damage and deaths it caused. Sandy was replaced with "Sara" for the 2018 Atlantic hurricane season, Sara wasn't used in 2018.

References

Other websites
 Hydrometeorological Prediction Center's rainfall page for tropical cyclones in 2012
 National Hurricane Center's Atlantic Tropical Weather Outlook

2012 Atlantic hurricane season

2012 Atlantic hurricane season


Regent Records is a United Kingdom choral music and organ record label and production company based in Wolverhampton.

Founded in 1987 by Gary Cole, the label is run by Gary and Pippa Cole. It currently has nearly 150 commercial releases. In addition the company has produced over 200 projects for private clients and over 250 recordings for release on other major labels.

In the last two years the company has received three Editor's Choices in Gramophone (UK), three recordings were selected as Critic's Choices in the Jan/Feb 2013 edition of The American Record Guide, and in 2010 one of its releases was a 'Record of the Year' in The Absolute Sound (US).

The label mainly works with the UK's foremost Cathedral choirs, including the choirs of Wells, Winchester, Truro, York and Hereford, Bath Abbey, the Saint Louis Chamber Chorus, the choirs of Selwyn, Christ's and Emmanuel Colleges in Cambridge, and outstanding organists including Thomas Trotter.

External links

British record labels
Wolverhampton

Regent Records (UK)


Oscar Tschirky (1866 – November 6, 1950) was a Swiss-American restaurateur who was maître d'hôtel of Delmonico's Restaurant and subsequently the Waldorf-Astoria Hotel in Manhattan, New York, United States. He was widely known as "Oscar of the Waldorf" and published a large cookbook.

Early life and education
Oscar Tschirky was born in 1866 in La Chaux-de-Fonds, Switzerland. He left for the United States in 1883, settling in New York City.

Career
Working first as a busboy, or commis waiter, in the Hoffman House shortly after his arrival in New York, he participated in the rise of exclusive restaurants. He became known as maître d'hôtel of Delmonico's Restaurant and subsequently the Waldorf-Astoria Hotel in Manhattan, New York. He was widely known as "Oscar of the Waldorf".

Because of his association with the restaurant, he capitalized on his association with food, although he had never worked as a chef. He published a large cookbook. He is also pictured on a relish bottle displayed in the lobby of the Waldorf-Astoria, along with other photos of him at the major events during his tenure as maître d'hôtel. He is credited with having created the Waldorf salad, and for aiding in the popularization of the Thousand Island dressing. Tschirky is also credited with developing the preparation of Eggs Benedict, although differing accounts make this hard to confirm.

Tschirky had a farm in New Paltz, New York, where he hosted picnics for friends and family as well as other chefs.  In later years the property was purchased by the Philantropique Society and was operated as a retirement home for chefs. It later opened to the general public and was known as The Culinarians' Home.

Cornell University holds the Oscar Tschirky papers and his noted collection of menus (Cornell University School of Hotel Administration).  Karl Schriftgiesser's biography of Tshirky, Oscar of the Waldorf (1943), rather, reads much like an autobiography.  Most of Oscar Tschirky's recollections therein are devoted to the Waldorf-Astoria Hotel and its founder, George C. Boldt, and his wife, Louise Kehrer Boldt.

References

1866 births
1950 deaths
American food writers
American hoteliers
People from La Chaux-de-Fonds
People from New Paltz, New York
Waldorf Astoria New York
American restaurateurs
Swiss emigrants to the United States

Oscar Tschirky


Simón Rodríguez (October 28, 1769, Caracas, Venezuela – February 28, 1854, Amotape, Peru), known during his exile from Spanish America as Samuel Robinson, was a Venezuelan philosopher and educator, notably Simón Bolívar's tutor and mentor.

His mother, Rosalia Rodríguez, was the daughter of an owner of farms and livestock; her father was originally from the Canary Islands.

Career in Venezuela

In May 1791, the Caracas Council (Cabildo) gave him a position as teacher in the "Reading and Writing School for Children". In 1794, he presented his critical writing Reflection on the flaws vitiating the Reading and Writing School for Children in Caracas and Means of Achieving its Reform and a New Establishment to the council, which represented an original approach to a modern school system. His role in the failed Gual and España conspiracy against the Spanish crown in 1797 forced him to leave Venezuela.

Exile

In Kingston, Jamaica he changed his name to Samuel Robinson, and after staying some years in the United States he traveled to France (1801). There, in 1804, he met his former protégé, Simón Bolivar; together they made a long journey across Europe. They witnessed the coronation of Napoleon Bonaparte in Milan, as King of Italy and in Rome, witnessed how Bolívar took his famous oath that he would liberate all of America from the Spanish Crown, and registered it for history:
"I swear before you; I swear on my parent's God; I swear on them; I swear on my honor; and I swear on my Motherland; that I won't give rest to my arm, nor repose to my soul, until I have broken the chains that oppress us by will of the Spanish power."

Rodríguez returned to America in 1823, using his name "Simón Rodríguez" again. In Colombia he established the first workshop-school in 1824. He was called to Peru by Simón Bolívar and became "Director for Public Education, Physical and Mathematical Sciences and Arts" and "Director of Mines, Agriculture and Public Roads" of Bolivia.

In 1826, Rodríguez established a second workshop-school, as part of a project for all Bolivia. But Antonio José de Sucre, president of Bolivia since October 1826, did not have a good relationship with him, and Rodríguez resigned the same year, working during the rest of his life as educator and writer, living alternatively in different places of Peru, Chile and Ecuador. His work Sociedades Americanas (American Societies) was divided in several issues and published in Arequipa (1828), in Concepción (1834), Valparaíso (1838), and Lima (1842).

Last years and legacy
Most of Rodríguez's written works remained in Guayaquil, Ecuador, but were lost in the large city fire of 1896. Rodriguez is the face on the 50 Bolivar Fuerte bills. He was also the face in the old 20,000 Bolívar bills (until 2007). One of the Bolivarian Missions of Hugo Chávez, Mission Robinson, is named for him.

Tribute
On October 28, 2018, Rodríguez was honoured with a Google Doodle posthumously on his 249th birthday.

References

Sources
Consuelo Hernández. "Simón Rodríguez y la crítica", El Nacional. August 7, 1982
Consuelo Hernández."Simón Rodríguez visto en la perspectiva del tiempo", Revista de la Universidad Simón Rodríguez. Año III. No. 4 (1982), pp. 21–33.

External links
 Sociedades Americanas, mipagina.cantv.net; accessed August 3, 2017.
 Profile, Glrbv.org.ve; accessed August 3, 2017.

Writers from Caracas
Venezuelan male writers
Venezuelan schoolteachers
Venezuelan people of Canarian descent
Venezuelan people of Spanish descent
1769 births
1854 deaths
Burials at the National Pantheon of Venezuela

Simón Rodríguez


Barbara McClintock (June 16, 1902 – September 2, 1992) was an American biologist. She was a distinguished cytogeneticist who worked on inheritance in maize. McClintock was awarded the 1983 Nobel Prize in Physiology or Medicine.

McClintock got her PhD in botany from Cornell University in 1927. Maize cytogenetics was the focus of her research for the rest of her career.

From the late 1920s, McClintock studied chromosomes and how they change during reproduction in maize. She used microscopic analysis to show genetic recombination by crossing-over during meiosis—a mechanism by which chromosomes exchange information.

She produced the first genetic map for maize, and demonstrated the role of the telomere and centromere. These are regions of the chromosome that are important in preserving genetic information.

She was recognized amongst the best in the field, awarded prestigious fellowships, and elected a member of the National Academy of Sciences in 1944.

During the 1940s and 1950s, McClintock discovered transposition and used it to show how genes are responsible for turning physical characteristics on or off. She developed theories to explain the control of genetic information from one generation of maize plants to the next. Encountering skepticism of her research and its implications, she stopped publishing her data in 1953. Later, she made an extensive study of the cytogenetics of maize races from South America.

McClintock's research became well understood in the 1960s and 1970s, as researchers discovered the mechanisms behind the genetic change and gene regulation that she had shown in her maize research in the 1940s and 1950s.

Awards and recognition for her contributions to the field followed for the discovery of transposons; she is the only woman to receive an unshared Nobel Prize in the category 'Physiology or Medicine'.

Discovery of controlling elements

In the summer of 1944 at Cold Spring Harbor Laboratory, McClintock began systematic studies on the inheritance of colour patterns of maize seeds. In early 1948, she made the surprising discovery that two genetic loci, Dissociator and Activator could transpose, or change position, on the chromosomes.

McClintock also found that the transposition of Ds and the is determined by the number of Ac copies in the cell.

Between 1948 and 1950, she developed a theory: these mobile elements regulated genes by inhibiting or modulating their action. She referred to Dissociator and Activator as "controlling units"—later, as "controlling elements"—to distinguish them from genes.

She suggested that gene regulation could explain how complex multicellular organisms made of cells with identical genomes have cells of different function. McClintock's discovery challenged the concept of the genome as a static set of instructions passed between generations.

In 1950, she reported her work on Ac/Ds and her ideas about gene regulation in a paper. In summer 1951, when she reported on her work on gene mutability in maize at the annual symposium at Cold Spring Harbor Laboratory.

Her work on controlling elements and gene regulation was difficult and was not immediately understood or accepted by her contemporaries; she described the reception of her research as "puzzlement, even hostility". Nevertheless, McClintock continued to develop her ideas on controlling elements. She published a paper in 1953 where she presented all her statistical data, and undertook lecture tours to universities throughout the 1950s to speak about her work. She continued to investigate the problem and identified a new element that she called Suppressor-mutator (Spm), which, although similar to Ac/Ds, displays more complex behavior.

Key publications
McClintock B. 1929. A cytological and genetical study of triploid maize. Genetics 14 (2): 180–222. PMID
 McClintock B. 1950. The origin and behavior of mutable loci in maize. Proceedings of the National Academy of Sciences of the United States of America 36 (6): 344–355. PMC 1063197. PMID 15430309.
 McClintock B. 1953. Induction of instability at selected loci in maize. Genetics 38 (6): 579–599. PMC 1209627. PMID 17247459.
 McClintock B. 1961. Some parallels between gene control systems in maize and in bacteria. The American Naturalist 95 (884): 265–277.

References

1902 births
1992 deaths
American botanists
American geneticists
American Nobel Prize winners
Cornell University alumni
Foreign Members of the Royal Society
Scientists from Hartford, Connecticut
Scientists from New York City

Barbara McClintock


Charles Edward Russell (September 25, 1860 – April 23, 1941) was an American journalist and politician. He started the National Association for the Advancement of Colored People with people including W. E. B. Du Bois, Ida B. Wells, Archibald Grimké, Henry Moskowitz, Mary White Ovington, Oswald Garrison Villard, William English Walling (the last son of a former slave-holding family), and Florence Kelley in 1909. For the rest of his life Russell worked on the board of directors. Russell also wrote 27 books. In 1928 he won a Pulitzer Prize for The American Orchestra and Theodore Thomas.

Early life
Charles Edward Russell was born in Davenport, Iowa on September 25, 1860. His father was a newspaper editor at the Davenport Gazette. Russell went to St. Johnsbury Academy for high school.

Career
Russell worked as a "muckraker". A muckraker was a journalist who reported about how capitalism was bad. In 1902, Russell's first book, Such Stuff as Dreams, was published. Russell joined the Socialist Party of America in 1908. He was a member until 1917. Russell was the Socialist candidate for Governor of New York in 1910 and 1912. He was a candidate for U.S. Senator from New York in 1914. Russell's memoir These Shifting Scenes was published in 1915.  Russell acted in the 1917 movie The Fall of the Romanoffs. In 1928 Russell won the Pulitzer Prize for his biography The American Orchestra and Theodore Thomas. In 1933 Russell's second memoir Bare Hands and Stone Walls was published. Russell was an editorial writer for social democratic magazine The New Leader.

Personal life
Russell had one child, John Russell. Charles Edward Russell died on 23rd April 1941.

References

1860 births
1941 deaths
National Association for the Advancement of Colored People
American progressives
American biographers
American journalists by state
Politicians from Iowa
American political writers
Pulitzer Prize winners
Social democrats

Charles Edward Russell


Nonius Marcellus was a Roman grammarian of the 4th or 5th century AD.  His only surviving work is the De compendiosa doctrina, a dictionary or encyclopedia in 20 books that shows his interests in antiquarianism and Latin literature from Plautus to Apuleius. Nonius may have come from Africa.

Life

Little is known about Nonius.  The full title of his work, Noni Marcelli Peripatetici Tubursicensis de Conpendiosa Doctrina ad filium, indicates that he was a Peripatetic philosopher from Thubursicum in Numidia. An inscription at Thubursicum dedicated by a certain "Nonius Marcellus Herculius" in 323 AD indicates that his family was based in that area. Since Nonius does not mention Christianity and calls himself a peripatetic, he seems not to have converted.

Nonius quotes Aulus Gellius and other 2nd-century compilers, and is himself quoted and praised three times by Priscian in the 5th century, and so must have lived between these dates.  According to the Cambridge History of Classical Literature, he was probably active in the first half of the 4th century, although some scholars of the 19th and early 20th centuries thought he might have lived later in the 4th or even in the 5th century. More recently it has been argued that Nonius lived in the Severan period and can be dated to around A.D. 205–20.

Works
The De compendiosa doctrina is one of the major sources for lost works of the Roman Republic, including the tragedies of Accius and Pacuvius, the satires of Lucilius, and the history of Sisenna. It consists of words, a short definition, and then quotations of authors using the word.  It has been printed under a number of titles, including De proprietate latini sermonis and De varia significatione Verborum. It is one of three major Latin dictionaries preserved from antiquity, along with that of Festus, which was an epitome of Verrius Flaccus' work De verborum significatu, and the Etymologiae of Isidore of Seville.

The first twelve of Nonius's twenty books are organized grammatically around words or forms of words, and the remaining eight by subject matter such as clothing, weapons, food, etc. Each entry of either type consists of a brief definition and quotations from Republican-era writers, taken from 2nd-century sources, including Aulus Gellius and Fronto, rather than the original texts. "His ignorance and inattention," notes the Cambridge History of Classical Literature, "diminish but cannot destroy the value of his compilation."

The research of W. M. Lindsay and later of Strzelecki has shown that Nonius obtained many of his lemmata (entries) and the first citation for each from earlier grammatical texts which are now lost. The remainder of the entries and the extra citations belong to 41 books which he either owned or borrowed from a local library. For each section (either a book or a letter entry within a book), Nonius worked through his 41 lists from 41 volumes in the same order, first to find the lead-citation, and then again in order for additional citations. Based on this methodology, it can be determined whether Nonius is quoting an author first-hand, or from a grammar which was full of errors.

The Doctrina preserves fragments from early dramatists, annalists, satirists, and antiquarian writers. In arranging quotations from authors, Nonius always follows the same order, beginning with Plautus and ending with Varro and Cato. The grammarians Priscian and Fulgentius borrowed largely from his book, and in the 5th century a certain Julius Tryphonianus Sabinus brought out a revised and annotated edition.

The Doctrina was edited with notes by J. Mercier in 1614 at Paris under the title De varia significatione Verborum. The page numbers of the Mercier edition are used as a reference in later editions (e.g. 121 M. means "page 121 of the Mercier edition").

Nonius also wrote a volume of letters On the neglect of study, which is lost but to which he refers in the Doctrina.

Literature

Editions
 Christophe Plantin (1565): (Nonii Marcelli Compendiosa Doctrina ad filium) de Proprietate Sermonum
 L. Müller (1888): vol. 1, vol. 2.
 J. H. Onions (1895)
 W. M. Lindsay (Teubner, 1903, also with Müller's pagination): vol. 1, vol. 2, vol. 3.

Studies
 Articles in the Classical Review, Dec. 1888, June and July 1889.
 J. H. Onions, Classical Review Oct. 1890, Oct. 1895, Feb. 1896, Feb. 1902.
 W. M. Lindsay, Journal of Philology, xvi. (1888), xviii. (1890), (JH Onions), xxi. (1893). ("The Printed Editions of Nonius," by Henry Nettleship)
 W. M. Lindsay, 1901 article online at Google books here
 Paul Monceaux, Les Africains. Etude sur la littérature latine d'Afrique : les Païens, P., Lecène, Oudin & Cie, V+500pp (1894)
 W. S. Teuffel, History of Roman Literature (Eng. trans.), 404A;
 Martin Schanz, Geschichte der römischen Literatur, iv. 1 (1904).

References

External links

 Roger Pearse, How the text of Nonius Marcellus reaches us – Information on manuscripts
 10th century British Library manuscript of Nonius Marcellus in digital form

Grammarians of Latin
4th-century writers in Latin
Lexicographers
Ancient Roman antiquarians
People from Souk Ahras Province
Nonii
4th-century Romans
5th-century Romans
Year of death unknown
Year of birth unknown

Encyclopedias in classical antiquity

Nonius Marcellus