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wiki20220301en020_102427
Effleurage
Ethereal or aura strokes Feathering, or nerve-stroking Superficial effleurage Deeper effleurage See also Massage Gua sha Petrissage Tapotement References Manual therapy
Effleurage. Ethereal or aura strokes Feathering, or nerve-stroking Superficial effleurage Deeper effleurage See also Massage Gua sha Petrissage Tapotement References Manual therapy
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Public displays of affection (PDA) are acts of physical intimacy in the view of others. What is an acceptable display of affection varies with respect to culture and context. Some organizations have rules limiting or prohibiting public displays of affection. Displays of affection in a public place, such as the street, are more likely to be objected to, than similar practices in a private place with only people from a similar cultural background present. Physical affection has been defined as "any touch intended to arouse feelings of love in the giver and/or the recipient." Worldwide
Public display of affection. Public displays of affection (PDA) are acts of physical intimacy in the view of others. What is an acceptable display of affection varies with respect to culture and context. Some organizations have rules limiting or prohibiting public displays of affection. Displays of affection in a public place, such as the street, are more likely to be objected to, than similar practices in a private place with only people from a similar cultural background present. Physical affection has been defined as "any touch intended to arouse feelings of love in the giver and/or the recipient." Worldwide
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Religiosity Religiosity is one important factor that influences how romantic relationships develop in other countries. Higher levels of religiosity are not directly related to the number of partners reported by the respondents. However, religious respondents report lower levels of intimate contact with their partners. It is apparent that religiosity limits the level of expression of affection in general. Also, religion is related to more conservative values that may have a global effect on all levels of PDA by younger participants.
Public display of affection. Religiosity Religiosity is one important factor that influences how romantic relationships develop in other countries. Higher levels of religiosity are not directly related to the number of partners reported by the respondents. However, religious respondents report lower levels of intimate contact with their partners. It is apparent that religiosity limits the level of expression of affection in general. Also, religion is related to more conservative values that may have a global effect on all levels of PDA by younger participants.
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Seemingly religiosity may work in two different ways where religious communities are in general quite racially segregated around the world, and people with strong religious beliefs may be very unlikely to engage in sexual activity or even to date someone due to the morals advised by their religion. In many regions of the world, religion drives the cultural view on PDA and this sometimes culminates into proscription based on religious rules, for example sharia law, Catholic and Evangelical virginity pledge, Anabaptist plain people, Methodist outward holiness, Quaker testimony of simplicity, Latter-day Saint Law of chastity, Judaic Tzniut, etc. The conservative Islamic schools of thought, especially Salafism-oriented ones forbid public displays of affection.
Public display of affection. Seemingly religiosity may work in two different ways where religious communities are in general quite racially segregated around the world, and people with strong religious beliefs may be very unlikely to engage in sexual activity or even to date someone due to the morals advised by their religion. In many regions of the world, religion drives the cultural view on PDA and this sometimes culminates into proscription based on religious rules, for example sharia law, Catholic and Evangelical virginity pledge, Anabaptist plain people, Methodist outward holiness, Quaker testimony of simplicity, Latter-day Saint Law of chastity, Judaic Tzniut, etc. The conservative Islamic schools of thought, especially Salafism-oriented ones forbid public displays of affection.
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Western world In most of the Western world, such as Western Europe, Australia, New Zealand, Canada, the United States, and Latin America, it is very common to see people holding hands, hugging and sometimes kissing in public. It is not usually socially acceptable to be overly explicit, such as engaging in sexual activities. Kissing is more commonly seen in adult night-life, such as nightclubs.
Public display of affection. Western world In most of the Western world, such as Western Europe, Australia, New Zealand, Canada, the United States, and Latin America, it is very common to see people holding hands, hugging and sometimes kissing in public. It is not usually socially acceptable to be overly explicit, such as engaging in sexual activities. Kissing is more commonly seen in adult night-life, such as nightclubs.
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China
Public display of affection. China
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Historically, the Chinese have regarded most to all physical contact between opposite sex as unacceptable. The earliest iconic record of such view is Mencius: Li Lou I (孟子 · 离娄上, written in the Warring States Period), in which Mencius (Chinese: 孟子; pinyin: mèngzǐ), a Confucian scholar and philosopher, states “It is the etiquette that males and females shall not allow their hands to touch in giving or receiving anything." The exact quote writes「男女授受不亲」 and is still widely used till this day. Open-minded young generations in more developed parts of China are more unafraid of displaying their affections towards their partners in public (partially affected by the emergence of western culture.) It is common to see males and females holding hands or wear coordinating outfits in urbanized cities. "Simply observing the sheer mass availability of condoms and hyper-sexualized advertisements and may attest to China’s increasing acceptance of Public Displays of Affection." However, China is a
Public display of affection. Historically, the Chinese have regarded most to all physical contact between opposite sex as unacceptable. The earliest iconic record of such view is Mencius: Li Lou I (孟子 · 离娄上, written in the Warring States Period), in which Mencius (Chinese: 孟子; pinyin: mèngzǐ), a Confucian scholar and philosopher, states “It is the etiquette that males and females shall not allow their hands to touch in giving or receiving anything." The exact quote writes「男女授受不亲」 and is still widely used till this day. Open-minded young generations in more developed parts of China are more unafraid of displaying their affections towards their partners in public (partially affected by the emergence of western culture.) It is common to see males and females holding hands or wear coordinating outfits in urbanized cities. "Simply observing the sheer mass availability of condoms and hyper-sexualized advertisements and may attest to China’s increasing acceptance of Public Displays of Affection." However, China is a
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"Simply observing the sheer mass availability of condoms and hyper-sexualized advertisements and may attest to China’s increasing acceptance of Public Displays of Affection." However, China is a developing nation nonetheless, meaning traditional ideals still have a strong influence on social norms of relatively remote regions.
Public display of affection. "Simply observing the sheer mass availability of condoms and hyper-sexualized advertisements and may attest to China’s increasing acceptance of Public Displays of Affection." However, China is a developing nation nonetheless, meaning traditional ideals still have a strong influence on social norms of relatively remote regions.
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Succeeding the rise of social media in the 21st century, Chinese netizens coined the expression 秀恩爱 (pinyin: xiù ēn'ài) for public display of affection. Literally translating to "to show off love and affection," the neologism quickly popularized and gained the connotation of "being lovey-dovey to piss off single people." According to a 2004 research by Weiyi Zhang, a researcher from Fudan University, the dissemination of PDA culture in China is largely ascribed to an ultramodern desire to gain public recognition and reality confirmation. Mothers from the Manchu minority ethnic group, as only researched in the 1900s in Aigun of Northern Manchuria where the researcher S. M. Shirokogoroff personally believed the Manchu element were "purer" than those of Southern Manchuria and Peking, used to show affection for their children by performing fellatio on their male babies, placing the penis in their mouths and stimulating it, while they regarded public kissing with revulsion.
Public display of affection. Succeeding the rise of social media in the 21st century, Chinese netizens coined the expression 秀恩爱 (pinyin: xiù ēn'ài) for public display of affection. Literally translating to "to show off love and affection," the neologism quickly popularized and gained the connotation of "being lovey-dovey to piss off single people." According to a 2004 research by Weiyi Zhang, a researcher from Fudan University, the dissemination of PDA culture in China is largely ascribed to an ultramodern desire to gain public recognition and reality confirmation. Mothers from the Manchu minority ethnic group, as only researched in the 1900s in Aigun of Northern Manchuria where the researcher S. M. Shirokogoroff personally believed the Manchu element were "purer" than those of Southern Manchuria and Peking, used to show affection for their children by performing fellatio on their male babies, placing the penis in their mouths and stimulating it, while they regarded public kissing with revulsion.
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India Public display of affection might be regarded as socially unacceptable in India if it disturbs others or creates nuisance. Same-sex physical contact is allowed. Under section 294 of the Indian Penal Code, causing annoyance to others through "obscene acts" is a criminal offense with a punishment of imprisonment up to 3 months or a fine, or both. For example, in 2007, when actor Richard Gere kissed Shilpa Shetty in an AIDS awareness event in New Delhi, a warrant for his arrest was issued by an Indian court, which was overturned by a higher court. However, the Supreme Court of India on various occasions have said that kissing or hugging between adults in public is legal. In the past, attacks by vigilante groups also were a danger for those celebrating Valentine's Day. However, the number of couples celebrating Valentine's Day has grown so much that these attacks have become ineffective in deterring couples.
Public display of affection. India Public display of affection might be regarded as socially unacceptable in India if it disturbs others or creates nuisance. Same-sex physical contact is allowed. Under section 294 of the Indian Penal Code, causing annoyance to others through "obscene acts" is a criminal offense with a punishment of imprisonment up to 3 months or a fine, or both. For example, in 2007, when actor Richard Gere kissed Shilpa Shetty in an AIDS awareness event in New Delhi, a warrant for his arrest was issued by an Indian court, which was overturned by a higher court. However, the Supreme Court of India on various occasions have said that kissing or hugging between adults in public is legal. In the past, attacks by vigilante groups also were a danger for those celebrating Valentine's Day. However, the number of couples celebrating Valentine's Day has grown so much that these attacks have become ineffective in deterring couples.
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Relaxation of previous generations' social norms has made public displays of affection more common among India's younger demographic. In the state of Kerala, a public hugging and kissing campaign (named Kiss Of Love) was launched in November 2014 in protest against moral policing. In the south Indian state of Kerala a sixteen-year-old boy was expelled from school for hugging a girl after she won a prize at an arts competition. When the Kerala State Commission for Protection of Child Rights ordered the school to re-enroll the boy, it was challenged in the High Court. The Court nullified the Commission's order and upheld the school principal's order to expel the student, saying "The school principal is the institution’s guardian, vested with powers to take action necessary to maintain discipline and morality in the school. The child rights commission cannot interfere there."
Public display of affection. Relaxation of previous generations' social norms has made public displays of affection more common among India's younger demographic. In the state of Kerala, a public hugging and kissing campaign (named Kiss Of Love) was launched in November 2014 in protest against moral policing. In the south Indian state of Kerala a sixteen-year-old boy was expelled from school for hugging a girl after she won a prize at an arts competition. When the Kerala State Commission for Protection of Child Rights ordered the school to re-enroll the boy, it was challenged in the High Court. The Court nullified the Commission's order and upheld the school principal's order to expel the student, saying "The school principal is the institution’s guardian, vested with powers to take action necessary to maintain discipline and morality in the school. The child rights commission cannot interfere there."
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Middle East Middle Eastern countries such as Iraq, Saudi Arabia, Jordan and Egypt are predominantly Muslim cultures. Although public displays of affection generally do not fit the local culture and customs, it varies even among these countries. Decency laws do not allow public displays of affection. Penalties can be severe based on the action in different countries. Travelers to Dubai have been given jail sentences for kissing in public. In 2009 a British couple caught publicly kissing in Dubai were deported following a three-month prison sentence. An unmarried Indian couple, who were in a taxi, were sentenced to one year in prison for hugging and kissing. The taxi driver drove the couple directly to a police station. Kissing is considered "an offense to public decency". In Iran, holding hands has become more and more popular especially in big cities and among young generations. Islamic religious police prohibits public display of affection. Adolescent
Public display of affection. Middle East Middle Eastern countries such as Iraq, Saudi Arabia, Jordan and Egypt are predominantly Muslim cultures. Although public displays of affection generally do not fit the local culture and customs, it varies even among these countries. Decency laws do not allow public displays of affection. Penalties can be severe based on the action in different countries. Travelers to Dubai have been given jail sentences for kissing in public. In 2009 a British couple caught publicly kissing in Dubai were deported following a three-month prison sentence. An unmarried Indian couple, who were in a taxi, were sentenced to one year in prison for hugging and kissing. The taxi driver drove the couple directly to a police station. Kissing is considered "an offense to public decency". In Iran, holding hands has become more and more popular especially in big cities and among young generations. Islamic religious police prohibits public display of affection. Adolescent
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It is well recognized that relationships outside the family become increasingly important during adolescence. Although several studies of basic social processes have been conducted by sociologists, much of the research and theorizing about adolescent relationships has been carried out by developmental psychologists. Much more research has been done in the area of specific adolescent behaviors, which has shown that these behaviors are predicted well by relationship variables to include the display of affection.
Public display of affection. It is well recognized that relationships outside the family become increasingly important during adolescence. Although several studies of basic social processes have been conducted by sociologists, much of the research and theorizing about adolescent relationships has been carried out by developmental psychologists. Much more research has been done in the area of specific adolescent behaviors, which has shown that these behaviors are predicted well by relationship variables to include the display of affection.
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Affection or intimacy references a pattern of conduct within relationships that includes subjective assessments of attachment. This pattern of conduct is a part of a larger constellation of factors that contributes to an adolescent’s development of a non-parental relationship. A number of sociologists have explored the more general terrain of gender relations, although several of the key studies focus on preadolescence and early adolescence. Their work is important in highlighting the degree to which features of these early relations, and even intense personal feelings such as being in love, are socially constructed. Adolescents' conceptions about and conduct within these relationships are heavily influenced by interaction and communication with other girls or other boys. Specific rules emerge (e.g., one should always be in love, it is wrong to date more than one person) and gossip or other social sanctions serve as important sources of informal social control around these rules.
Public display of affection. Affection or intimacy references a pattern of conduct within relationships that includes subjective assessments of attachment. This pattern of conduct is a part of a larger constellation of factors that contributes to an adolescent’s development of a non-parental relationship. A number of sociologists have explored the more general terrain of gender relations, although several of the key studies focus on preadolescence and early adolescence. Their work is important in highlighting the degree to which features of these early relations, and even intense personal feelings such as being in love, are socially constructed. Adolescents' conceptions about and conduct within these relationships are heavily influenced by interaction and communication with other girls or other boys. Specific rules emerge (e.g., one should always be in love, it is wrong to date more than one person) and gossip or other social sanctions serve as important sources of informal social control around these rules.
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Research moves into the early adolescent period when youths are old enough to say they are going steady and is useful in actually characterizing the nature of these relationships. These liaisons are described as highly superficial and based on unrealistic idealised expectations. Furthermore, the desire of adolescents to put on a good "front" inhibits the development of intimacy. Going steady is a limiting factor on the adolescent social ritual.
Public display of affection. Research moves into the early adolescent period when youths are old enough to say they are going steady and is useful in actually characterizing the nature of these relationships. These liaisons are described as highly superficial and based on unrealistic idealised expectations. Furthermore, the desire of adolescents to put on a good "front" inhibits the development of intimacy. Going steady is a limiting factor on the adolescent social ritual.
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This table below shows the quality and context of displays of affection in American adolescence among intra-racial couples: Boys and girls begin the process of relating to one another, the transition is much easier for adolescent males, who essentially transport their dominant interaction styles (derived from peer interactions) into this new relationship form with the opposite sex. Public displays of affection may facilitate the demonstration of this dominant interaction style transference in a socially acceptable way.
Public display of affection. This table below shows the quality and context of displays of affection in American adolescence among intra-racial couples: Boys and girls begin the process of relating to one another, the transition is much easier for adolescent males, who essentially transport their dominant interaction styles (derived from peer interactions) into this new relationship form with the opposite sex. Public displays of affection may facilitate the demonstration of this dominant interaction style transference in a socially acceptable way.
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Experimental research on communication processes observed in same- and mixed-gender groups to support this idea. Although behavior observed in cross-gender task groups is relevant, intimate dyadic relationships and task groups are not equivalent social contexts. Thus, an alternative hypothesis is that boys, who have less practice than their female counterparts with PDA (by virtue of their peer group experiences), must make a larger developmental leap as they move into the heterosexual arena. For example, examining the messages students write one another in high-school yearbooks, there were marked differences between boys' discourse directed toward friends (e.g., "you're a lousy wrestler…") and that directed toward romantic partners (e.g., "you are very beautiful in so many ways, it would take me a lifetime to express them in words…"). In contrast, young girls’ use of language in messages to close friends and boyfriends is more similar in form and content. To the degree that the
Public display of affection. Experimental research on communication processes observed in same- and mixed-gender groups to support this idea. Although behavior observed in cross-gender task groups is relevant, intimate dyadic relationships and task groups are not equivalent social contexts. Thus, an alternative hypothesis is that boys, who have less practice than their female counterparts with PDA (by virtue of their peer group experiences), must make a larger developmental leap as they move into the heterosexual arena. For example, examining the messages students write one another in high-school yearbooks, there were marked differences between boys' discourse directed toward friends (e.g., "you're a lousy wrestler…") and that directed toward romantic partners (e.g., "you are very beautiful in so many ways, it would take me a lifetime to express them in words…"). In contrast, young girls’ use of language in messages to close friends and boyfriends is more similar in form and content. To the degree that the
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would take me a lifetime to express them in words…"). In contrast, young girls’ use of language in messages to close friends and boyfriends is more similar in form and content. To the degree that the romantic context provides their only opportunity to express themselves and, more broadly, to relate in this intimate fashion, young males can be considered more dependent on these relations than female adolescents, who have close friends for intimate talk and social support. This quality of uniqueness may figure into the etiology of more negative and sometimes gendered relational dynamics that also emerge in connection with romantic involvements stalking, intrusive control efforts, violence, and the like.
Public display of affection. would take me a lifetime to express them in words…"). In contrast, young girls’ use of language in messages to close friends and boyfriends is more similar in form and content. To the degree that the romantic context provides their only opportunity to express themselves and, more broadly, to relate in this intimate fashion, young males can be considered more dependent on these relations than female adolescents, who have close friends for intimate talk and social support. This quality of uniqueness may figure into the etiology of more negative and sometimes gendered relational dynamics that also emerge in connection with romantic involvements stalking, intrusive control efforts, violence, and the like.
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Interracial
Public display of affection. Interracial
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Implicit or explicit attitudes towards interracial relationships strongly affect interpretations of public displays of affection within this context. These attitudes can be influenced by a plethora of factors, including social contact. For example, personal involvement and extended contact (media representations) with interracial and Black-White relationships has been linked to more positive perspectives regarding interracial relationships. Thus, personal experience and mere exposure to interracial couples tends to be related to more favorable attitudes. This finding supports the contact hypothesis, which states that interpersonal interactions between group members of each race will decrease prejudice and foster amicable connections between races. Beyond the conditions of equal group status, common goals, group cooperation, and social approval, some studies have found other stipulations important for fostering positive relations. For instance, it’s important for the interracial
Public display of affection. Implicit or explicit attitudes towards interracial relationships strongly affect interpretations of public displays of affection within this context. These attitudes can be influenced by a plethora of factors, including social contact. For example, personal involvement and extended contact (media representations) with interracial and Black-White relationships has been linked to more positive perspectives regarding interracial relationships. Thus, personal experience and mere exposure to interracial couples tends to be related to more favorable attitudes. This finding supports the contact hypothesis, which states that interpersonal interactions between group members of each race will decrease prejudice and foster amicable connections between races. Beyond the conditions of equal group status, common goals, group cooperation, and social approval, some studies have found other stipulations important for fostering positive relations. For instance, it’s important for the interracial
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status, common goals, group cooperation, and social approval, some studies have found other stipulations important for fostering positive relations. For instance, it’s important for the interracial contact to be intimate instead of superficial, for it to happen in many different settings, and for it to happen repeatedly with more than one individual from the other race.
Public display of affection. status, common goals, group cooperation, and social approval, some studies have found other stipulations important for fostering positive relations. For instance, it’s important for the interracial contact to be intimate instead of superficial, for it to happen in many different settings, and for it to happen repeatedly with more than one individual from the other race.
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Not everyone, especially those with learned biases and/or racist attitudes, is likely to be exposed to another race under these exact conditions; this lack of exposure to racial diversity will further perpetuate the internal cycle of unsubstantiated prejudice. In fact, the larger presence of African-Americans, Latinos and Asians in neighborhoods and religious congregations significantly predicts higher support from Caucasians for interracial marriages with these other races. Furthermore, it has been found that higher numbers of individuals from each of these racial groups in these social settings predict more interracial friendships. Therefore, it appears that reducing the socially imposed distance between one’s in-group and out-group can result in developing more favorable attitudes towards romantic relationships between races. The problem still exists though that many people who have negative attitudes towards other races will avoid social settings where they may be exposed to other
Public display of affection. Not everyone, especially those with learned biases and/or racist attitudes, is likely to be exposed to another race under these exact conditions; this lack of exposure to racial diversity will further perpetuate the internal cycle of unsubstantiated prejudice. In fact, the larger presence of African-Americans, Latinos and Asians in neighborhoods and religious congregations significantly predicts higher support from Caucasians for interracial marriages with these other races. Furthermore, it has been found that higher numbers of individuals from each of these racial groups in these social settings predict more interracial friendships. Therefore, it appears that reducing the socially imposed distance between one’s in-group and out-group can result in developing more favorable attitudes towards romantic relationships between races. The problem still exists though that many people who have negative attitudes towards other races will avoid social settings where they may be exposed to other
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romantic relationships between races. The problem still exists though that many people who have negative attitudes towards other races will avoid social settings where they may be exposed to other races due to ingrained stereotypes, opting instead to surround themselves with members of their in-group. In general, one study using survey data found that approximately half of African-American respondents versus about a quarter of Caucasian respondents approve of a close relative marrying an individual of the other race. Accordingly, it appears that the problem is pervasive to the point that there are a large proportion of individuals on both sides of the equation who do not approve of interracial relationships.
Public display of affection. romantic relationships between races. The problem still exists though that many people who have negative attitudes towards other races will avoid social settings where they may be exposed to other races due to ingrained stereotypes, opting instead to surround themselves with members of their in-group. In general, one study using survey data found that approximately half of African-American respondents versus about a quarter of Caucasian respondents approve of a close relative marrying an individual of the other race. Accordingly, it appears that the problem is pervasive to the point that there are a large proportion of individuals on both sides of the equation who do not approve of interracial relationships.
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Due to perceptions of others’ attitudes towards interracial relationships, many interracial couples may engage in certain behavioral strategies to reduce stigma and ostracism. Research shows that adolescent interracial couples tend to participate in fewer public and private activities than couples composed of individuals from the same race. Significant differences have been found between these two groups on holding hands in public, whereby interracial couples are less likely to do so, yet these differences do not maintain significance in the context of private displays of intimate affection. Therefore, it appears that the fear of being negatively judged in public inhibits interracial couples from displaying physical affection in comparison to couples of the same race. Interracial couples have also been found to engage in other strategies to deter potential judgment, including ignoring public harassment to avoid confrontation, staying at home or filtering their social group to increase
Public display of affection. Due to perceptions of others’ attitudes towards interracial relationships, many interracial couples may engage in certain behavioral strategies to reduce stigma and ostracism. Research shows that adolescent interracial couples tend to participate in fewer public and private activities than couples composed of individuals from the same race. Significant differences have been found between these two groups on holding hands in public, whereby interracial couples are less likely to do so, yet these differences do not maintain significance in the context of private displays of intimate affection. Therefore, it appears that the fear of being negatively judged in public inhibits interracial couples from displaying physical affection in comparison to couples of the same race. Interracial couples have also been found to engage in other strategies to deter potential judgment, including ignoring public harassment to avoid confrontation, staying at home or filtering their social group to increase
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also been found to engage in other strategies to deter potential judgment, including ignoring public harassment to avoid confrontation, staying at home or filtering their social group to increase acceptance, attending social gatherings attended only by other interracial couples, and publicly surrounding themselves with members of their social support network.
Public display of affection. also been found to engage in other strategies to deter potential judgment, including ignoring public harassment to avoid confrontation, staying at home or filtering their social group to increase acceptance, attending social gatherings attended only by other interracial couples, and publicly surrounding themselves with members of their social support network.
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Consequently, many interracial couples still fear perceptions of public displays of affection, even though increased exposure and contact with other races under harmonious conditions are associated with more favorable attitudes towards interracial relationships. This is made evident in less engagement in these behaviors publicly as well as forms of premeditated coping strategies in response to public harassment. As the research is limited, it is difficult to definitively determine if these behavioral responses are contingent upon the social setting as well as the racial composition of the surrounding public, i.e., would an interracial couple be more likely to engage in public displays of affection in a racially diverse crowd, or a party of friends as opposed to strangers? Moreover, the majority of the extant literature has examined interracial couples composed of African American and Caucasian individuals, neglecting potential differences with different groups of minority interracial
Public display of affection. Consequently, many interracial couples still fear perceptions of public displays of affection, even though increased exposure and contact with other races under harmonious conditions are associated with more favorable attitudes towards interracial relationships. This is made evident in less engagement in these behaviors publicly as well as forms of premeditated coping strategies in response to public harassment. As the research is limited, it is difficult to definitively determine if these behavioral responses are contingent upon the social setting as well as the racial composition of the surrounding public, i.e., would an interracial couple be more likely to engage in public displays of affection in a racially diverse crowd, or a party of friends as opposed to strangers? Moreover, the majority of the extant literature has examined interracial couples composed of African American and Caucasian individuals, neglecting potential differences with different groups of minority interracial
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of the extant literature has examined interracial couples composed of African American and Caucasian individuals, neglecting potential differences with different groups of minority interracial groups, e.g., Asian/Latino, African-American/Asian. Therefore, future research should examine the different dynamics of interracial relationships, including individual differences, social status, social setting, socio-economic status, and other psychosocial factors that may contribute to the engagement or avoidance of public displays of affection.
Public display of affection. of the extant literature has examined interracial couples composed of African American and Caucasian individuals, neglecting potential differences with different groups of minority interracial groups, e.g., Asian/Latino, African-American/Asian. Therefore, future research should examine the different dynamics of interracial relationships, including individual differences, social status, social setting, socio-economic status, and other psychosocial factors that may contribute to the engagement or avoidance of public displays of affection.
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Same-sex Public displays of affection between individuals of the same sex may or may not suggest homosexuality depending on the cultural context. For example, in many African cultures it is socially acceptable for people of the same sex to participate in public displays of affection, whereas in other countries such as the United States and Portugal, it is considered indicative of homosexuality. Public displays of affection tend to be determined largely by culture, which greatly influences perceptions of same-sex PDA.
Public display of affection. Same-sex Public displays of affection between individuals of the same sex may or may not suggest homosexuality depending on the cultural context. For example, in many African cultures it is socially acceptable for people of the same sex to participate in public displays of affection, whereas in other countries such as the United States and Portugal, it is considered indicative of homosexuality. Public displays of affection tend to be determined largely by culture, which greatly influences perceptions of same-sex PDA.
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Intolerance for homosexual PDA is commonplace in large swaths of society in many different cultures. For instance, in Portugal, LGBT individuals only act in ways that contend contemporary ideals and political/economic agendas. Homosexual individuals are less likely to partake in public displays of affection because their society is extremely critical of the act. They believe that by behaving according to what society deems appropriate, (e.g., only opposite-sex couples should partake in acts of public displays of affection), they are protecting themselves from being categorized as abnormal, odd, or deviant. Although same-sex marriage has been legal in Portugal since June 2010 (see Same-sex marriage in Portugal), LGBT people still refrain from public displays of affection for the most part. This detail may suggest that Portugal’s acceptance of same-sex marriage is due to the fact that the LGBT individuals do not broadcast their sexuality, not that the public of Portugal is more
Public display of affection. Intolerance for homosexual PDA is commonplace in large swaths of society in many different cultures. For instance, in Portugal, LGBT individuals only act in ways that contend contemporary ideals and political/economic agendas. Homosexual individuals are less likely to partake in public displays of affection because their society is extremely critical of the act. They believe that by behaving according to what society deems appropriate, (e.g., only opposite-sex couples should partake in acts of public displays of affection), they are protecting themselves from being categorized as abnormal, odd, or deviant. Although same-sex marriage has been legal in Portugal since June 2010 (see Same-sex marriage in Portugal), LGBT people still refrain from public displays of affection for the most part. This detail may suggest that Portugal’s acceptance of same-sex marriage is due to the fact that the LGBT individuals do not broadcast their sexuality, not that the public of Portugal is more
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part. This detail may suggest that Portugal’s acceptance of same-sex marriage is due to the fact that the LGBT individuals do not broadcast their sexuality, not that the public of Portugal is more accepting of these acts. Although it may appear that homosexual individuals are ambivalent about being limited in only displaying affection privately, it seems to happen out of fear of resentment or being perceived as odd rather than out of respect for their societies’ political beliefs and attitudes.
Public display of affection. part. This detail may suggest that Portugal’s acceptance of same-sex marriage is due to the fact that the LGBT individuals do not broadcast their sexuality, not that the public of Portugal is more accepting of these acts. Although it may appear that homosexual individuals are ambivalent about being limited in only displaying affection privately, it seems to happen out of fear of resentment or being perceived as odd rather than out of respect for their societies’ political beliefs and attitudes.
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There have been many in-depth studies regarding societal attitudes towards homosexuality across many different factors. One study found that heterosexual people had higher negative attitudes towards homosexuals of their own sex, especially if they felt that they were being targets of sexual advances. They also found that men have less negative attitudes towards homosexual females than males whereas women tend to be more accepting overall of homosexuals and their role in society. In the contemporary Western society, attitudes towards same-sex public displays of affection vary city to city much like they vary country to country. Studies have shown that in populations where the majority of individuals have high cultural values and are more accommodating, same-sex or same-gender public displays of affection are more likely to occur. This is understandable because same-sex individuals feel less persecuted by others in society and are less likely to feel as though they are being categorized
Public display of affection. There have been many in-depth studies regarding societal attitudes towards homosexuality across many different factors. One study found that heterosexual people had higher negative attitudes towards homosexuals of their own sex, especially if they felt that they were being targets of sexual advances. They also found that men have less negative attitudes towards homosexual females than males whereas women tend to be more accepting overall of homosexuals and their role in society. In the contemporary Western society, attitudes towards same-sex public displays of affection vary city to city much like they vary country to country. Studies have shown that in populations where the majority of individuals have high cultural values and are more accommodating, same-sex or same-gender public displays of affection are more likely to occur. This is understandable because same-sex individuals feel less persecuted by others in society and are less likely to feel as though they are being categorized
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of affection are more likely to occur. This is understandable because same-sex individuals feel less persecuted by others in society and are less likely to feel as though they are being categorized as odd, abnormal, or deviant like those in Portugal.
Public display of affection. of affection are more likely to occur. This is understandable because same-sex individuals feel less persecuted by others in society and are less likely to feel as though they are being categorized as odd, abnormal, or deviant like those in Portugal.
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Of course, there are negative attitudes towards same-sex or same-gender public displays of affection as well. In a Colorado high school, two yearbook staff resigned after they were informed that they could not print the relationship page because it had a photo of two females holding hands. A spokesman for the New York City Gay and Lesbian Anti-Violence Project declared in 2007 that "people are still verbally harassed and physically attacked daily for engaging in simple displays of affection in public. Everything changes the minute we kiss".
Public display of affection. Of course, there are negative attitudes towards same-sex or same-gender public displays of affection as well. In a Colorado high school, two yearbook staff resigned after they were informed that they could not print the relationship page because it had a photo of two females holding hands. A spokesman for the New York City Gay and Lesbian Anti-Violence Project declared in 2007 that "people are still verbally harassed and physically attacked daily for engaging in simple displays of affection in public. Everything changes the minute we kiss".
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Social media Expression of a person’s feelings towards someone else had previously been limited to written letters, phone calls, or in person. In the modern world, social media sites such as Facebook and Twitter are growing, with 1.7 billion users on Facebook and over half a billion Twitter users. Studies on relationships through Facebook found that, when two individuals who are interested in one another both use Facebook regularly, their relationship progresses in different increments than how it would without social media. After two people meet and form an interest, one or both individuals will go onto the other person’s Facebook page and get information such as relationship status, pictures, and interests. Once a relationship begins, some couples broadcast their relationship with posts, such as pictures and changing the relationship status.
Public display of affection. Social media Expression of a person’s feelings towards someone else had previously been limited to written letters, phone calls, or in person. In the modern world, social media sites such as Facebook and Twitter are growing, with 1.7 billion users on Facebook and over half a billion Twitter users. Studies on relationships through Facebook found that, when two individuals who are interested in one another both use Facebook regularly, their relationship progresses in different increments than how it would without social media. After two people meet and form an interest, one or both individuals will go onto the other person’s Facebook page and get information such as relationship status, pictures, and interests. Once a relationship begins, some couples broadcast their relationship with posts, such as pictures and changing the relationship status.
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How people show their public displays of affection on social media sites can be indicative of relationship security and personality. Frequent and recent communication with a romantic partner through different forms of social media is an indicator of relational escalation, whereas limited communication has shown to be an indicator of alienation or relational de-escalation. Another study has shown that when someone focuses on relationship status and public displays of affection such as posting about activities with the significant other or his or her feelings towards them, that person tends to be more possessive or territorial over their partner.
Public display of affection. How people show their public displays of affection on social media sites can be indicative of relationship security and personality. Frequent and recent communication with a romantic partner through different forms of social media is an indicator of relational escalation, whereas limited communication has shown to be an indicator of alienation or relational de-escalation. Another study has shown that when someone focuses on relationship status and public displays of affection such as posting about activities with the significant other or his or her feelings towards them, that person tends to be more possessive or territorial over their partner.
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A study found female characters on prime time television programs are significantly less likely to demonstrate physical affection if they had a larger body type than thinner female characters. Thus, even television producers act in a way as to intentionally limit public displays of affection based on the appearance of their actors, and that might affect viewership based on social disapproval. Regardless of television portrayals, the frequency and intensity of PDA has a tendency to depend upon the cultural context as well as perceived public perceptions of the couple, including their age group, racial composition, sexuality, and relationship centralized activity on social media. Effects on romantic relationships
Public display of affection. A study found female characters on prime time television programs are significantly less likely to demonstrate physical affection if they had a larger body type than thinner female characters. Thus, even television producers act in a way as to intentionally limit public displays of affection based on the appearance of their actors, and that might affect viewership based on social disapproval. Regardless of television portrayals, the frequency and intensity of PDA has a tendency to depend upon the cultural context as well as perceived public perceptions of the couple, including their age group, racial composition, sexuality, and relationship centralized activity on social media. Effects on romantic relationships
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Effects on romantic relationships Various studies have found physical affection to be associated with positive outcomes in romantic relationships. For instance, it has been related to the formation of attachment bonds and psychological intimacy. Physical affection has been categorized into seven different types including holding hands, cuddling/holding, backrubs/massages, caressing/stroking, kissing the face and cheek, close hug, and kissing on the lips. Five of these behaviors, with the exception of caressing/stroking and holding hands, have been significantly positively associated with relationship and partner satisfaction. Convention In the United States, "get a room" is a phrase that is usually said when one feels a sense of disapproval after seeing what they consider to be an excessive public display of affection. See also Friendship Indecent exposure Interpersonal relationship Intimacy Intimate relationship Norm (sociology) Platonic love Sex in public References
Public display of affection. Effects on romantic relationships Various studies have found physical affection to be associated with positive outcomes in romantic relationships. For instance, it has been related to the formation of attachment bonds and psychological intimacy. Physical affection has been categorized into seven different types including holding hands, cuddling/holding, backrubs/massages, caressing/stroking, kissing the face and cheek, close hug, and kissing on the lips. Five of these behaviors, with the exception of caressing/stroking and holding hands, have been significantly positively associated with relationship and partner satisfaction. Convention In the United States, "get a room" is a phrase that is usually said when one feels a sense of disapproval after seeing what they consider to be an excessive public display of affection. See also Friendship Indecent exposure Interpersonal relationship Intimacy Intimate relationship Norm (sociology) Platonic love Sex in public References
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See also Friendship Indecent exposure Interpersonal relationship Intimacy Intimate relationship Norm (sociology) Platonic love Sex in public References Interpersonal attraction Intimate relationships Kissing Display of affection
Public display of affection. See also Friendship Indecent exposure Interpersonal relationship Intimacy Intimate relationship Norm (sociology) Platonic love Sex in public References Interpersonal attraction Intimate relationships Kissing Display of affection
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Mitsuru Yoshida
Mitsuru Yoshida (吉田 満 Yoshida Mitsuru January 6, 1923 – September 17, 1979) was a Japanese author and naval officer. He was born in Tokyo. He was a survivor of the battleship Yamato when it was sunk on 7 April 1945 during Operation Ten-Go, an attempt to support the defenders of Okinawa. His best-known work is Senkan Yamato-no Saigo (戦艦大和ノ最期, Requiem for Battleship Yamato), based on his personal experiences as a junior officer on Yamato'''s final voyage. It was made into a movie Senkan Yamato ("Battleship Yamato" Shin-Toho. Dir.: Yutaka Abe) in 1953. Another movie, Otoko-tachi no Yamato, was released in 2005. Selected bibliography Requiem for Battleship Yamato (Senkan Yamato-no Saigo'' translated by Richard H. Minear) Japanese writers 1923 births 1979 deaths Imperial Japanese Navy officers Japanese military personnel of World War II
Mitsuru Yoshida. Mitsuru Yoshida (吉田 満 Yoshida Mitsuru January 6, 1923 – September 17, 1979) was a Japanese author and naval officer. He was born in Tokyo. He was a survivor of the battleship Yamato when it was sunk on 7 April 1945 during Operation Ten-Go, an attempt to support the defenders of Okinawa. His best-known work is Senkan Yamato-no Saigo (戦艦大和ノ最期, Requiem for Battleship Yamato), based on his personal experiences as a junior officer on Yamato'''s final voyage. It was made into a movie Senkan Yamato ("Battleship Yamato" Shin-Toho. Dir.: Yutaka Abe) in 1953. Another movie, Otoko-tachi no Yamato, was released in 2005. Selected bibliography Requiem for Battleship Yamato (Senkan Yamato-no Saigo'' translated by Richard H. Minear) Japanese writers 1923 births 1979 deaths Imperial Japanese Navy officers Japanese military personnel of World War II
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Oise (river)
The Oise ( ; ) is a river of Belgium and France, flowing for from its source in the Belgian province of Hainaut, south of Chimay. It crosses the border with France after about . It flows into the Seine at Conflans-Sainte-Honorine, a north-western suburb of Paris. Its main tributary is the Aisne. It gave its name to the French departments of Oise and Val-d'Oise. Places along the river In France, the Oise flows through the following départements and towns: Aisne: Hirson, Guise, Chauny Oise (named after the river): Noyon, Compiègne, Creil Val-d'Oise (named after the river): Auvers-sur-Oise, Pontoise, Cergy, Jouy-le-Moutier Yvelines: Conflans-Sainte-Honorine Navigation
Oise (river). The Oise ( ; ) is a river of Belgium and France, flowing for from its source in the Belgian province of Hainaut, south of Chimay. It crosses the border with France after about . It flows into the Seine at Conflans-Sainte-Honorine, a north-western suburb of Paris. Its main tributary is the Aisne. It gave its name to the French departments of Oise and Val-d'Oise. Places along the river In France, the Oise flows through the following départements and towns: Aisne: Hirson, Guise, Chauny Oise (named after the river): Noyon, Compiègne, Creil Val-d'Oise (named after the river): Auvers-sur-Oise, Pontoise, Cergy, Jouy-le-Moutier Yvelines: Conflans-Sainte-Honorine Navigation
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Navigation Over the past few centuries, the Oise has played an important role as an inland shipping waterway connecting the Seine (and thus Paris) with the coastal regions of northern France, Belgium, and the Netherlands. With the projected construction of the Seine-Nord Europe Canal, a high-capacity water transport system currently in development, the Oise will be linked at Janville, north of Compiègne, with the high-capacity Canal Dunkerque-Escaut, east of Arleux. The Seine-Nord Europe Canal will replace the old Canal de Saint-Quentin and the current Canal du Nord, the capacity of which is far below standard. When the new Seine-Nord connection is complete, it will allow large vessels to transport goods from the Seine, and thus Paris and its surrounding area, to the ports of Dunkirk, Antwerp and Rotterdam.
Oise (river). Navigation Over the past few centuries, the Oise has played an important role as an inland shipping waterway connecting the Seine (and thus Paris) with the coastal regions of northern France, Belgium, and the Netherlands. With the projected construction of the Seine-Nord Europe Canal, a high-capacity water transport system currently in development, the Oise will be linked at Janville, north of Compiègne, with the high-capacity Canal Dunkerque-Escaut, east of Arleux. The Seine-Nord Europe Canal will replace the old Canal de Saint-Quentin and the current Canal du Nord, the capacity of which is far below standard. When the new Seine-Nord connection is complete, it will allow large vessels to transport goods from the Seine, and thus Paris and its surrounding area, to the ports of Dunkirk, Antwerp and Rotterdam.
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Part of the overall project consists in upgrading the river Oise itself between Creil and Compiègne, a project called MAGEO (Mise au gabarit européen de l'Oise) that was put out to public consultation in 2013. Some bends need to be eased and bridges raised to meet the requirements of a class Vb inland waterway. Tributaries Tributaries include Right bank Noirieu Divette Mas or Matz Aronde Brèche Thérain Left bank Gland Thon Serre Ailette Ru de Servais Aisne Automne Nonette Thève See also Canal latéral à l'Oise List of rivers of France List of canals in France References External links River Oise and Canal latéral à l'Oise maps and information, on places, ports and moorings on the canal, by the author of Inland Waterways of France, Imray Navigation details for 80 French rivers and canals (French waterways website section)
Oise (river). Part of the overall project consists in upgrading the river Oise itself between Creil and Compiègne, a project called MAGEO (Mise au gabarit européen de l'Oise) that was put out to public consultation in 2013. Some bends need to be eased and bridges raised to meet the requirements of a class Vb inland waterway. Tributaries Tributaries include Right bank Noirieu Divette Mas or Matz Aronde Brèche Thérain Left bank Gland Thon Serre Ailette Ru de Servais Aisne Automne Nonette Thève See also Canal latéral à l'Oise List of rivers of France List of canals in France References External links River Oise and Canal latéral à l'Oise maps and information, on places, ports and moorings on the canal, by the author of Inland Waterways of France, Imray Navigation details for 80 French rivers and canals (French waterways website section)
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Navigation details for 80 French rivers and canals (French waterways website section) International rivers of Europe Rivers of Belgium Rivers of France Rivers of Aisne Rivers of Oise Rivers of Val-d'Oise Rivers of Yvelines Rivers of Hauts-de-France Rivers of Île-de-France Rivers of Hainaut (province) Rivers of the Ardennes (Belgium) Rivers of the Ardennes (France) Chimay
Oise (river). Navigation details for 80 French rivers and canals (French waterways website section) International rivers of Europe Rivers of Belgium Rivers of France Rivers of Aisne Rivers of Oise Rivers of Val-d'Oise Rivers of Yvelines Rivers of Hauts-de-France Rivers of Île-de-France Rivers of Hainaut (province) Rivers of the Ardennes (Belgium) Rivers of the Ardennes (France) Chimay
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Caramelization
Caramelization or caramelisation is the browning of sugar, a process used extensively in cooking for the resulting sweet nutty flavor and brown color. The brown colors are produced by three groups of polymers: caramelans (C24H36O18), caramelens (C36H50O25), and caramelins (C125H188O80). As the process occurs, volatile chemicals such as diacetyl are released, producing the characteristic caramel flavor. Like the Maillard reaction, caramelization is a type of non-enzymatic browning. Unlike the Maillard reaction, caramelization is pyrolytic, as opposed to being a reaction with amino acids. When caramelization involves the disaccharide sucrose, it is broken down into the monosaccharides fructose and glucose. Process
Caramelization. Caramelization or caramelisation is the browning of sugar, a process used extensively in cooking for the resulting sweet nutty flavor and brown color. The brown colors are produced by three groups of polymers: caramelans (C24H36O18), caramelens (C36H50O25), and caramelins (C125H188O80). As the process occurs, volatile chemicals such as diacetyl are released, producing the characteristic caramel flavor. Like the Maillard reaction, caramelization is a type of non-enzymatic browning. Unlike the Maillard reaction, caramelization is pyrolytic, as opposed to being a reaction with amino acids. When caramelization involves the disaccharide sucrose, it is broken down into the monosaccharides fructose and glucose. Process
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When caramelization involves the disaccharide sucrose, it is broken down into the monosaccharides fructose and glucose. Process Caramelization is a complex, poorly understood process that produces hundreds of chemical products, and includes the following types of reactions: equilibration of anomeric and ring forms sucrose inversion to fructose and glucose condensation reactions intramolecular bonding isomerization of aldoses to ketoses dehydration reactions fragmentation reactions unsaturated polymer formation Effects on caramelization The process is temperature-dependent. Specific sugars each have their own point at which the reactions begin to proceed readily. Impurities in the sugar, such as the molasses remaining in brown sugar, greatly speed the reactions.
Caramelization. When caramelization involves the disaccharide sucrose, it is broken down into the monosaccharides fructose and glucose. Process Caramelization is a complex, poorly understood process that produces hundreds of chemical products, and includes the following types of reactions: equilibration of anomeric and ring forms sucrose inversion to fructose and glucose condensation reactions intramolecular bonding isomerization of aldoses to ketoses dehydration reactions fragmentation reactions unsaturated polymer formation Effects on caramelization The process is temperature-dependent. Specific sugars each have their own point at which the reactions begin to proceed readily. Impurities in the sugar, such as the molasses remaining in brown sugar, greatly speed the reactions.
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Caramelization reactions are also sensitive to the chemical environment, and the reaction rate, or temperature at which reactions occur most readily, can be altered by controlling the level of acidity (pH). The rate of caramelization is generally lowest at near-neutral acidity (pH around 7), and accelerated under both acidic (especially pH below 3) and basic (especially pH above 9) conditions. Uses in food Caramelization is used to produce several foods, including: Caramel sauce, a sauce made with caramel Confiture de lait and Dulce de leche, caramelized, sweetened milk Caramel candies Creme Caramel, and the similar crème brûlée, a custard dish topped with sugar caramelized with a blowtorch Caramelized onions, which are used in dishes like French onion soup. Onions require 30 to 45 minutes of cooking to caramelize. Caramelized potatoes Caramelized pears Cola, of which some brands use caramelized sugar in small amounts for color
Caramelization. Caramelization reactions are also sensitive to the chemical environment, and the reaction rate, or temperature at which reactions occur most readily, can be altered by controlling the level of acidity (pH). The rate of caramelization is generally lowest at near-neutral acidity (pH around 7), and accelerated under both acidic (especially pH below 3) and basic (especially pH above 9) conditions. Uses in food Caramelization is used to produce several foods, including: Caramel sauce, a sauce made with caramel Confiture de lait and Dulce de leche, caramelized, sweetened milk Caramel candies Creme Caramel, and the similar crème brûlée, a custard dish topped with sugar caramelized with a blowtorch Caramelized onions, which are used in dishes like French onion soup. Onions require 30 to 45 minutes of cooking to caramelize. Caramelized potatoes Caramelized pears Cola, of which some brands use caramelized sugar in small amounts for color
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Caramelization reactions involves Maillard reaction, a browning reaction due to interactions between protein or high amino acid ingredients with reducing sugars. Besides appearance change, caramelization may also influence the taste and texture of the food due to the Maillard reaction. See also List of cooking techniques References External links Caramelization at Science of Cooking Cooking techniques Culinary terminology de:Karamellisieren
Caramelization. Caramelization reactions involves Maillard reaction, a browning reaction due to interactions between protein or high amino acid ingredients with reducing sugars. Besides appearance change, caramelization may also influence the taste and texture of the food due to the Maillard reaction. See also List of cooking techniques References External links Caramelization at Science of Cooking Cooking techniques Culinary terminology de:Karamellisieren
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Worth County
Worth County is the name of three counties in the United States: Worth County, Georgia Worth County, Iowa Worth County, Missouri
Worth County. Worth County is the name of three counties in the United States: Worth County, Georgia Worth County, Iowa Worth County, Missouri
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Namba Station
is a name shared by two railway stations in the Namba district of Chūō-ku, Osaka, Japan. One is owned by Nankai Electric Railway, while the other is by the Osaka Metro. The names of both stations are written in hiragana on signage within the stations, because the kanji "難波" can be also read "Naniwa". However, the name of both stations officially employs kanji, printed on train tickets. They are close to JR Namba Station and Ōsaka Namba Station. Lines Nankai Electric Railway (NK01) Nankai Main Line Nankai Koya Line Osaka Metro Midōsuji Line (M20) Sennichimae Line (S16) Yotsubashi Line (Y15) Connecting Stations Ōsaka Namba Station (renamed from Kintetsu Namba Station in 2009) Kintetsu Namba Line Hanshin Namba Line JR Namba Station (renamed from Minatomachi Station in 1994) Kansai Main Line (Yamatoji Line) Nankai Electric Railway
Namba Station. is a name shared by two railway stations in the Namba district of Chūō-ku, Osaka, Japan. One is owned by Nankai Electric Railway, while the other is by the Osaka Metro. The names of both stations are written in hiragana on signage within the stations, because the kanji "難波" can be also read "Naniwa". However, the name of both stations officially employs kanji, printed on train tickets. They are close to JR Namba Station and Ōsaka Namba Station. Lines Nankai Electric Railway (NK01) Nankai Main Line Nankai Koya Line Osaka Metro Midōsuji Line (M20) Sennichimae Line (S16) Yotsubashi Line (Y15) Connecting Stations Ōsaka Namba Station (renamed from Kintetsu Namba Station in 2009) Kintetsu Namba Line Hanshin Namba Line JR Namba Station (renamed from Minatomachi Station in 1994) Kansai Main Line (Yamatoji Line) Nankai Electric Railway
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Namba Station
Nankai Electric Railway Layout There are nine bay platforms with eight tracks on the third floor. Nankai Terminal Building is located in front of the station. Ticket gates are located in the north of the platform, in the center on the second floor and in the south on the second floor. Nankai Koya Line - for (change for ) and (Semboku Rapid Railway) Nankai Line and Airport Line - for and Adjacent stations Osaka Metro Layout Midōsuji Line An island platform and a side platform with two tracks. The Midōsuji Line station originally opened as an island platform serving two tracks, but overcrowding prompted construction of a side platform serving northbound trains (that platform opened in 1987). , the island platform serves only southbound trains, and the northbound side of the island platform is fenced off. Sennichimae Line An island platform with two tracks Yotsubashi Line An island platform with two tracks Adjacent stations
Namba Station. Nankai Electric Railway Layout There are nine bay platforms with eight tracks on the third floor. Nankai Terminal Building is located in front of the station. Ticket gates are located in the north of the platform, in the center on the second floor and in the south on the second floor. Nankai Koya Line - for (change for ) and (Semboku Rapid Railway) Nankai Line and Airport Line - for and Adjacent stations Osaka Metro Layout Midōsuji Line An island platform and a side platform with two tracks. The Midōsuji Line station originally opened as an island platform serving two tracks, but overcrowding prompted construction of a side platform serving northbound trains (that platform opened in 1987). , the island platform serves only southbound trains, and the northbound side of the island platform is fenced off. Sennichimae Line An island platform with two tracks Yotsubashi Line An island platform with two tracks Adjacent stations
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Namba Station
Sennichimae Line An island platform with two tracks Yotsubashi Line An island platform with two tracks Adjacent stations History The Nankai Electric Railway station opened on 29 December 1885. The Osaka Subway Midosuji Line station opened on 30 October 1935, the Yotsubashi Line station opened on 1 October 1965, and the Sennichimae Line opened on 11 March 1970. Surrounding area Takashimaya Namba City Namba Walk Namba Parks Swissôtel Nankai Osaka Namba Expressway Bus Terminal Osaka City Air Terminal (OCAT) Parks Tower (Namba Parks) Bic Camera Minatomachi River Place (including FM OSAKA) Namba Grand Kagetsu Nankai Electric Railway headquarters Osaka Prefectural Gymnasium Ebisubashi Shopping Arcade NMB48 See also List of railway stations in Japan References External links
Namba Station. Sennichimae Line An island platform with two tracks Yotsubashi Line An island platform with two tracks Adjacent stations History The Nankai Electric Railway station opened on 29 December 1885. The Osaka Subway Midosuji Line station opened on 30 October 1935, the Yotsubashi Line station opened on 1 October 1965, and the Sennichimae Line opened on 11 March 1970. Surrounding area Takashimaya Namba City Namba Walk Namba Parks Swissôtel Nankai Osaka Namba Expressway Bus Terminal Osaka City Air Terminal (OCAT) Parks Tower (Namba Parks) Bic Camera Minatomachi River Place (including FM OSAKA) Namba Grand Kagetsu Nankai Electric Railway headquarters Osaka Prefectural Gymnasium Ebisubashi Shopping Arcade NMB48 See also List of railway stations in Japan References External links
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Namba Station
See also List of railway stations in Japan References External links Nankai Electric Railway station information Namba - Osaka Metro station Midosuji Line Namba - Osaka Metro station Midosuji Line Namba - Osaka Metro station Sennichimae Line Namba - Osaka Metro station Sennichimae Line Namba - Osaka Metro station Yotsubashi Line Namba - Osaka Metro station Yotsubashi Line Railway stations in Osaka Osaka Metro stations Railway stations in Japan opened in 1935
Namba Station. See also List of railway stations in Japan References External links Nankai Electric Railway station information Namba - Osaka Metro station Midosuji Line Namba - Osaka Metro station Midosuji Line Namba - Osaka Metro station Sennichimae Line Namba - Osaka Metro station Sennichimae Line Namba - Osaka Metro station Yotsubashi Line Namba - Osaka Metro station Yotsubashi Line Railway stations in Osaka Osaka Metro stations Railway stations in Japan opened in 1935
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Louise Bénédicte de Bourbon
Anne Louise Bénédicte de Bourbon (8 November 167623 January 1753) was the daughter of Henri Jules de Bourbon, Prince of Condé, and Anne Henriette of Bavaria. As a member of the reigning House of Bourbon, she was a princesse du sang. Forced to marry the Duke of Maine, legitimised son of Louis XIV and Madame de Montespan, she revelled in politics and the arts, and held a popular salon at the Hôtel du Maine as well as at the Château de Sceaux. Biography Louise Bénédicte was born on 8 November 1676 at the Hôtel de Condé in Paris. She was the eighth child born to the then Duke and Duchess of Enghien. The name Bénédicte was added in honour of the girls' maternal aunt, Benedicta, Duchess of Brunswick-Lüneburg.
Louise Bénédicte de Bourbon. Anne Louise Bénédicte de Bourbon (8 November 167623 January 1753) was the daughter of Henri Jules de Bourbon, Prince of Condé, and Anne Henriette of Bavaria. As a member of the reigning House of Bourbon, she was a princesse du sang. Forced to marry the Duke of Maine, legitimised son of Louis XIV and Madame de Montespan, she revelled in politics and the arts, and held a popular salon at the Hôtel du Maine as well as at the Château de Sceaux. Biography Louise Bénédicte was born on 8 November 1676 at the Hôtel de Condé in Paris. She was the eighth child born to the then Duke and Duchess of Enghien. The name Bénédicte was added in honour of the girls' maternal aunt, Benedicta, Duchess of Brunswick-Lüneburg.
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Louise Bénédicte de Bourbon
She was brought up at the Hôtel de Condé with her many sisters and had to endure slave-like conditions under the madness of her father. Her mother, who was pious and gentle, was often beaten by her father as were their staff and her sister Marie Anne, Mademoiselle de Montmorency. When formally addressed, Louise Bénédicte was known as Mademosielle d'Enghien. As a princess of the blood, she possessed the style of Serene Highness. When she was nine years old, her father was given the title of Count of Charolais, and as a result Louise Bénédicte became known as court as Mademoiselle de Charolais. This appellation would later pass to her niece Louise Anne.
Louise Bénédicte de Bourbon. She was brought up at the Hôtel de Condé with her many sisters and had to endure slave-like conditions under the madness of her father. Her mother, who was pious and gentle, was often beaten by her father as were their staff and her sister Marie Anne, Mademoiselle de Montmorency. When formally addressed, Louise Bénédicte was known as Mademosielle d'Enghien. As a princess of the blood, she possessed the style of Serene Highness. When she was nine years old, her father was given the title of Count of Charolais, and as a result Louise Bénédicte became known as court as Mademoiselle de Charolais. This appellation would later pass to her niece Louise Anne.
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Louise Bénédicte de Bourbon
She was very outspoken and witty, and had a terrible temper. As she was very small and paid much attention to her appearance, she was nicknamed poupée du Sang at the French court, literally, "Doll of the Blood", a play on the honorific princesse du sang, princess of the Blood. This nickname is sometimes said to have been made up by her sister-in-law the Duchess of Bourbon. She was close to her sister Marie Anne, whose marriage to the Duke of Vendôme (1654–1712) she later arranged. Although born with a lame arm, she was generally thought to be the most attractive of the Condé daughters. Despite this Madame, Duchess of Orléans, sister-in-law of Louis XIV called her a "little toad." Some time after her marriage, the Duchess of Orléans also said that "Madame du Maine is not taller than a child ten years old, and is not well-made. To appear tolerably well, it is necessary for her to keep her mouth shut; for when she opens it, she opens it very wide, and shows her irregular teeth. She is
Louise Bénédicte de Bourbon. She was very outspoken and witty, and had a terrible temper. As she was very small and paid much attention to her appearance, she was nicknamed poupée du Sang at the French court, literally, "Doll of the Blood", a play on the honorific princesse du sang, princess of the Blood. This nickname is sometimes said to have been made up by her sister-in-law the Duchess of Bourbon. She was close to her sister Marie Anne, whose marriage to the Duke of Vendôme (1654–1712) she later arranged. Although born with a lame arm, she was generally thought to be the most attractive of the Condé daughters. Despite this Madame, Duchess of Orléans, sister-in-law of Louis XIV called her a "little toad." Some time after her marriage, the Duchess of Orléans also said that "Madame du Maine is not taller than a child ten years old, and is not well-made. To appear tolerably well, it is necessary for her to keep her mouth shut; for when she opens it, she opens it very wide, and shows her irregular teeth. She is
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ten years old, and is not well-made. To appear tolerably well, it is necessary for her to keep her mouth shut; for when she opens it, she opens it very wide, and shows her irregular teeth. She is not very stout, uses a great quantity of paint, has fine eyes, a white skin, and fair hair. If she were well-disposed, she might pass, but her wickedness is insupportable". She was very short like her older sister Anne Marie, Mademoiselle de Condé. Louise Bénédicte and her oldest sister Marie Thérèse de Bourbon, known as Mademoiselle de Bourbon until her marriage to le Grand Conti in 1688, were considered the most attractive of the daughters born to the Condés.
Louise Bénédicte de Bourbon. ten years old, and is not well-made. To appear tolerably well, it is necessary for her to keep her mouth shut; for when she opens it, she opens it very wide, and shows her irregular teeth. She is not very stout, uses a great quantity of paint, has fine eyes, a white skin, and fair hair. If she were well-disposed, she might pass, but her wickedness is insupportable". She was very short like her older sister Anne Marie, Mademoiselle de Condé. Louise Bénédicte and her oldest sister Marie Thérèse de Bourbon, known as Mademoiselle de Bourbon until her marriage to le Grand Conti in 1688, were considered the most attractive of the daughters born to the Condés.
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Mademoiselle d'Enghien received the typical education given to girls of the nobility in France and was taught reading, writing, dancing, singing and other matters which were considered necessary for a young aristocrat. She spent most of her time in the company of her mother and two older sisters. Marriage At first, it was proposed that she marry Louis de Bourbon, Count of Vermandois, son of Louis XIV and Louise de La Vallière. However, the count died in exile in 1683. Louis XIV arranged several marriages into princely houses of France for his legitimised children by Louise de La Vallière. Prior to her marriage, she saw the marriage of Philippe d'Orléans to Mademoiselle de Blois, future duchesse d'Orléans. Louise Bénédicte's own brother Louis de Bourbon had even had been forced to marry Mademoiselle de Nantes, eldest legitimised daughter of Louis XIV and Madame de Montespan.
Louise Bénédicte de Bourbon. Mademoiselle d'Enghien received the typical education given to girls of the nobility in France and was taught reading, writing, dancing, singing and other matters which were considered necessary for a young aristocrat. She spent most of her time in the company of her mother and two older sisters. Marriage At first, it was proposed that she marry Louis de Bourbon, Count of Vermandois, son of Louis XIV and Louise de La Vallière. However, the count died in exile in 1683. Louis XIV arranged several marriages into princely houses of France for his legitimised children by Louise de La Vallière. Prior to her marriage, she saw the marriage of Philippe d'Orléans to Mademoiselle de Blois, future duchesse d'Orléans. Louise Bénédicte's own brother Louis de Bourbon had even had been forced to marry Mademoiselle de Nantes, eldest legitimised daughter of Louis XIV and Madame de Montespan.
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In 1692, the 15-year-old Louise Bénédicte married the 22-year-old Louis Auguste de Bourbon, Légitimé de France, Duke of Maine.
Louise Bénédicte de Bourbon. In 1692, the 15-year-old Louise Bénédicte married the 22-year-old Louis Auguste de Bourbon, Légitimé de France, Duke of Maine.
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The wedding ceremony took place on 19 May 1692 in the chapel of the Palace of Versailles, Madame de Montespan was not invited but all of Maine's siblings attended as well as the princes and princesses of the blood. As both the groom and his wife were physically handicapped, members of the court joked that "look at the union of a one-armed woman and a lame man! What a beautiful couple!".
Louise Bénédicte de Bourbon. The wedding ceremony took place on 19 May 1692 in the chapel of the Palace of Versailles, Madame de Montespan was not invited but all of Maine's siblings attended as well as the princes and princesses of the blood. As both the groom and his wife were physically handicapped, members of the court joked that "look at the union of a one-armed woman and a lame man! What a beautiful couple!".
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The marriage was not happy. The couple did not like each other, Louise Bénédicte found her husband weak and abhorred his lack of ambition. He could not stand her terrible temper and deliberate attempts to embarrass him at court. Louise Bénédicte's is said to have had several affairs which were known to Maine. To her husband, she was recorded as saying, "Just look at yourself - a lame bastard! - and you'd like to boss me? I am a pure bred royal princess, Monsieur, with no stain on my cradle! What would you be without the sticks at which everyone laughs? One to support your body, and the other, me, to maintain your rank! And this Leggy wants to rule my steps!" (Since Maine limped, his wife called him 'Gambillard', which meant leggy).
Louise Bénédicte de Bourbon. The marriage was not happy. The couple did not like each other, Louise Bénédicte found her husband weak and abhorred his lack of ambition. He could not stand her terrible temper and deliberate attempts to embarrass him at court. Louise Bénédicte's is said to have had several affairs which were known to Maine. To her husband, she was recorded as saying, "Just look at yourself - a lame bastard! - and you'd like to boss me? I am a pure bred royal princess, Monsieur, with no stain on my cradle! What would you be without the sticks at which everyone laughs? One to support your body, and the other, me, to maintain your rank! And this Leggy wants to rule my steps!" (Since Maine limped, his wife called him 'Gambillard', which meant leggy).
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In order to escape the dull court of Madame de Maintenon, Louis XIV's secret wife since October 1683, the enthusiastic duchesse du Maine created a little court at the Château de Sceaux, where she entertained brilliantly and immersed herself in political intrigues. The château, the former residence of Jean-Baptiste Colbert and his family, was bought in 1700 by her husband for the sum of 900,000 livres. Louise Bénédicte spent a further 80,000 livres on its furnishings and decorations.
Louise Bénédicte de Bourbon. In order to escape the dull court of Madame de Maintenon, Louis XIV's secret wife since October 1683, the enthusiastic duchesse du Maine created a little court at the Château de Sceaux, where she entertained brilliantly and immersed herself in political intrigues. The château, the former residence of Jean-Baptiste Colbert and his family, was bought in 1700 by her husband for the sum of 900,000 livres. Louise Bénédicte spent a further 80,000 livres on its furnishings and decorations.
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After extensive renovations, she took up residence in December 1700. There, she began to be called La Reine des Abeilles, or Queen of the Bees. In 1703, to amuse herself, Louise Bénédicte created her own personal chivalric order, the Order of the Honey Bee. She gave the order to thirty-nine people. Each member had a robe embroidered with silver thread, a wig in the shape of a beehive and a medal embossed with a profile of Louise Bénédicte and engraved with the letters L. BAR. D. SC. D.P.D.L.O.D.L.M.A.M, meaning Louise, baronne de Sceaux, dictatrice perpétuelle de l'ordre de la Mouche à miel ("Louise, baroness of Sceaux, dictator of Order of the Honey Bee"). To her small court, Louise Bénédicte attracted a host of literary figures of the day, including the young Voltaire, the baron de Montesquieu, the cardinal de Bernis, the comte de Caylus, Charles-Jean-François Hénault and Jean-Baptiste Rousseau.
Louise Bénédicte de Bourbon. After extensive renovations, she took up residence in December 1700. There, she began to be called La Reine des Abeilles, or Queen of the Bees. In 1703, to amuse herself, Louise Bénédicte created her own personal chivalric order, the Order of the Honey Bee. She gave the order to thirty-nine people. Each member had a robe embroidered with silver thread, a wig in the shape of a beehive and a medal embossed with a profile of Louise Bénédicte and engraved with the letters L. BAR. D. SC. D.P.D.L.O.D.L.M.A.M, meaning Louise, baronne de Sceaux, dictatrice perpétuelle de l'ordre de la Mouche à miel ("Louise, baroness of Sceaux, dictator of Order of the Honey Bee"). To her small court, Louise Bénédicte attracted a host of literary figures of the day, including the young Voltaire, the baron de Montesquieu, the cardinal de Bernis, the comte de Caylus, Charles-Jean-François Hénault and Jean-Baptiste Rousseau.
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In 1710, she helped to plot the marriage of her sister, Marie Anne, Mademoiselle de Monmorency, to the famous general Louis Joseph de Bourbon, duc de Vendôme. For mercenary reasons, Louise Bénédicte wanted a marriage that would not produce any children. Upon the death of a childless Vendôme, Louise Bénédicte hoped that she or her children would inherit the duke's huge estate, which he had acquired as the grandson of the rich heiress, Françoise of Lorraine. At thirty-two, Marie Anne was considered past child-bearing age, and Vendôme was a well known homosexual, thirty years older than his prospective bride. As it happened, though, Louise Bénédicte got nothing. On the duke's death, Marie Anne was created Duchess of Étampes in her own right and inherited the Hôtel de Vendôme in Paris, where she died in 1718 from alcoholism.
Louise Bénédicte de Bourbon. In 1710, she helped to plot the marriage of her sister, Marie Anne, Mademoiselle de Monmorency, to the famous general Louis Joseph de Bourbon, duc de Vendôme. For mercenary reasons, Louise Bénédicte wanted a marriage that would not produce any children. Upon the death of a childless Vendôme, Louise Bénédicte hoped that she or her children would inherit the duke's huge estate, which he had acquired as the grandson of the rich heiress, Françoise of Lorraine. At thirty-two, Marie Anne was considered past child-bearing age, and Vendôme was a well known homosexual, thirty years older than his prospective bride. As it happened, though, Louise Bénédicte got nothing. On the duke's death, Marie Anne was created Duchess of Étampes in her own right and inherited the Hôtel de Vendôme in Paris, where she died in 1718 from alcoholism.
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Both the Maines doted on their children. Their daughter, who would remain close to her mother until her death, was baptised at Versailles on 9 April 1714. Mademoiselle du Maine was given the name of her paternal aunt Louise Françoise de Bourbon, known at court as Madame la Duchesse. Madame la Duchesse had grown up with Maine under the care of Madame de Maintenon. The guest of honour at the baptism of Mademoiselle du Maine was the small dauphin, the future Louis XV, who was chaperoned by Maine's other sister, the new Duchess of Orléans. The cardinal de Rohan baptised Mademoiselle du Maine. Thanks to the help of Madame de Maintenon, who had always loved Maine, Louis XIV created Maine a Prince of the Blood which put him in line of succession to the throne. In his will, Louis XIV also appointed Maine to be the Regent of France for his five-year-old great-grandson, the future Louis XV. Regency of Philippe d'Orléans
Louise Bénédicte de Bourbon. Both the Maines doted on their children. Their daughter, who would remain close to her mother until her death, was baptised at Versailles on 9 April 1714. Mademoiselle du Maine was given the name of her paternal aunt Louise Françoise de Bourbon, known at court as Madame la Duchesse. Madame la Duchesse had grown up with Maine under the care of Madame de Maintenon. The guest of honour at the baptism of Mademoiselle du Maine was the small dauphin, the future Louis XV, who was chaperoned by Maine's other sister, the new Duchess of Orléans. The cardinal de Rohan baptised Mademoiselle du Maine. Thanks to the help of Madame de Maintenon, who had always loved Maine, Louis XIV created Maine a Prince of the Blood which put him in line of succession to the throne. In his will, Louis XIV also appointed Maine to be the Regent of France for his five-year-old great-grandson, the future Louis XV. Regency of Philippe d'Orléans
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Regency of Philippe d'Orléans At the death of the king in 1715, however, the Parlement de Paris annulled Louis XIV's will and named Maine's brother-in-law, Philippe d'Orléans, Duke of Orléans, as Régent for the child king. Upset with this and the role played by the duc d'Orléans in reducing the status of the legitimised children of Louis XIV from the rank of Princes du Sang (which Louise Bénédicte had enjoyed since birth) to mere peers of France, Louise Bénédicte induced her husband to join in the Cellamare Conspiracy in the hope of transferring the regency to King Philip V of Spain, the uncle of Louis XV. The plot was named after Antonio del Giudice, Duke of Giovinazzo, Prince of Cellamare, who was the Spanish ambassador to France.
Louise Bénédicte de Bourbon. Regency of Philippe d'Orléans At the death of the king in 1715, however, the Parlement de Paris annulled Louis XIV's will and named Maine's brother-in-law, Philippe d'Orléans, Duke of Orléans, as Régent for the child king. Upset with this and the role played by the duc d'Orléans in reducing the status of the legitimised children of Louis XIV from the rank of Princes du Sang (which Louise Bénédicte had enjoyed since birth) to mere peers of France, Louise Bénédicte induced her husband to join in the Cellamare Conspiracy in the hope of transferring the regency to King Philip V of Spain, the uncle of Louis XV. The plot was named after Antonio del Giudice, Duke of Giovinazzo, Prince of Cellamare, who was the Spanish ambassador to France.
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In order to gain more support for a new regent, Louise Bénédicte started a correspondence with Giulio Alberoni, the Spanish Prime Minister. Among her co-conspirators were the Duke of Richelieu and Melchior de Polignac. The plot, however, was discovered, and both the Maines were arrested and forced to abandon their residence at Sceaux. In 1719, the duke was imprisoned in the Doullens fortress and the duchess in Dijon. Their two sons were put in the care of their governor in Gien, and their daughter was taken from a convent at Maubuisson to another convent at Chaillot in Paris, in the area of the present Trocadéro. She stayed at Chaillot till 1720 when her parents were released from their separate imprisonments.
Louise Bénédicte de Bourbon. In order to gain more support for a new regent, Louise Bénédicte started a correspondence with Giulio Alberoni, the Spanish Prime Minister. Among her co-conspirators were the Duke of Richelieu and Melchior de Polignac. The plot, however, was discovered, and both the Maines were arrested and forced to abandon their residence at Sceaux. In 1719, the duke was imprisoned in the Doullens fortress and the duchess in Dijon. Their two sons were put in the care of their governor in Gien, and their daughter was taken from a convent at Maubuisson to another convent at Chaillot in Paris, in the area of the present Trocadéro. She stayed at Chaillot till 1720 when her parents were released from their separate imprisonments.
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After her release, Louise Bénédicte led a more peaceful life at Sceaux, still surrounded though by her little court of wits and poets. On 27 December 1718, before their exile, she and her husband had purchased an unfinished house in Paris on the rue de Bourbon (now rue de Lille) from her sister Marie Thérèse de Bourbon. It was originally designed by the architect Robert de Cotte, but they had hired a new architect, Armand-Claude Mollet, to enlarge and redesign it. It was completed before their return from exile and became known as the Hôtel du Maine (destroyed 1838).
Louise Bénédicte de Bourbon. After her release, Louise Bénédicte led a more peaceful life at Sceaux, still surrounded though by her little court of wits and poets. On 27 December 1718, before their exile, she and her husband had purchased an unfinished house in Paris on the rue de Bourbon (now rue de Lille) from her sister Marie Thérèse de Bourbon. It was originally designed by the architect Robert de Cotte, but they had hired a new architect, Armand-Claude Mollet, to enlarge and redesign it. It was completed before their return from exile and became known as the Hôtel du Maine (destroyed 1838).
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At the time of her imprisonment, she was trying to arrange the marriage of her eldest son, Louis Auguste de Bourbon, heir to the Maine's fortune, to his cousin Charlotte Aglaé, Mademoiselle de Valois. The rivalry between the Maines and Charlotte Aglaé's father, the Duke of Orléans, was well known, and it was hoped that the wedding would heal old wounds. A marriage did not occur, however, as the young Mademoiselle de Valois refused her cousin, much to the annoyance of the proud Louise Bénédicte. Madame du Maine was not happy when she found out that Charlotte Aglaé had considered the hand of another cousin, Charles de Bourbon, the son of Monsieur le Duc, Louise Bénédicte's brother, and Madame la Duchesse, Maine's sister. Widowhood
Louise Bénédicte de Bourbon. At the time of her imprisonment, she was trying to arrange the marriage of her eldest son, Louis Auguste de Bourbon, heir to the Maine's fortune, to his cousin Charlotte Aglaé, Mademoiselle de Valois. The rivalry between the Maines and Charlotte Aglaé's father, the Duke of Orléans, was well known, and it was hoped that the wedding would heal old wounds. A marriage did not occur, however, as the young Mademoiselle de Valois refused her cousin, much to the annoyance of the proud Louise Bénédicte. Madame du Maine was not happy when she found out that Charlotte Aglaé had considered the hand of another cousin, Charles de Bourbon, the son of Monsieur le Duc, Louise Bénédicte's brother, and Madame la Duchesse, Maine's sister. Widowhood
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Widowhood After their release from imprisonment in 1720, the Maines seemed to have reconciled and led a more compatible life rather than being hostile to each other. In May 1736, the duke died at the age of sixty-six. Louis XV allowed Louise Bénédicte to keep her apartments at Versailles next to those of her daughter. These apartments overlooked the Orangérie. Both her sons also had apartments at court, but both preferred to stay in the country hunting. Madame du Maine tried on more than one occasion to arrange an advantageous marriage for her daughter. The first was to one Monsieur de Guise, but that marriage never materialised. Later, she tried to convince the widower Jacques I, Prince of Monaco, who was often at Versailles, to wed again. Despite the lure of a large dowry, both men considered Mademoiselle du Maine to be very unattractive. Unwed, she died in 1743. She was buried at the Église at Sceaux. At the time of her death, her library was numbered at having some 3000 books.
Louise Bénédicte de Bourbon. Widowhood After their release from imprisonment in 1720, the Maines seemed to have reconciled and led a more compatible life rather than being hostile to each other. In May 1736, the duke died at the age of sixty-six. Louis XV allowed Louise Bénédicte to keep her apartments at Versailles next to those of her daughter. These apartments overlooked the Orangérie. Both her sons also had apartments at court, but both preferred to stay in the country hunting. Madame du Maine tried on more than one occasion to arrange an advantageous marriage for her daughter. The first was to one Monsieur de Guise, but that marriage never materialised. Later, she tried to convince the widower Jacques I, Prince of Monaco, who was often at Versailles, to wed again. Despite the lure of a large dowry, both men considered Mademoiselle du Maine to be very unattractive. Unwed, she died in 1743. She was buried at the Église at Sceaux. At the time of her death, her library was numbered at having some 3000 books.
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In 1736 Louise Bénédicte received the medieval Château de Montrond, which she allowed to be dismantled for its stone and the slate and lead in its roof. In 1737, she leased the Hôtel Peyrenc-de-Moras (today the Musée Rodin) in Paris from the widow of Abraham Peyrenc de Moras. During the remainder of her life, this was also referred to as the Hôtel du Maine, and she died there in January 1753. Dying at the age of seventy-six, Louise Bénédicte had outlived all of her siblings. She was buried at the Saint Jean-Baptiste church in Sceaux. Her oldest son, Louis Auguste, died less than two years after her, having been injured in a duel at Fontainebleau. Her youngest surviving son, Louis Charles, never married and died childless in 1775. He left his fortune to his first cousin, the already wealthy Louis Jean Marie de Bourbon, Duke of Penthièvre. Issue
Louise Bénédicte de Bourbon. In 1736 Louise Bénédicte received the medieval Château de Montrond, which she allowed to be dismantled for its stone and the slate and lead in its roof. In 1737, she leased the Hôtel Peyrenc-de-Moras (today the Musée Rodin) in Paris from the widow of Abraham Peyrenc de Moras. During the remainder of her life, this was also referred to as the Hôtel du Maine, and she died there in January 1753. Dying at the age of seventy-six, Louise Bénédicte had outlived all of her siblings. She was buried at the Saint Jean-Baptiste church in Sceaux. Her oldest son, Louis Auguste, died less than two years after her, having been injured in a duel at Fontainebleau. Her youngest surviving son, Louis Charles, never married and died childless in 1775. He left his fortune to his first cousin, the already wealthy Louis Jean Marie de Bourbon, Duke of Penthièvre. Issue
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Issue Mademoiselle de Dombes (Palace of Versailles, 11 September 1694Palace of Versailles, 15 September 1694) died in infancy. Louis Constantin de Bourbon, Prince of Dombes (Palace of Versailles, 17 November 1695Palace of Versailles, 28 September 1698) died in infancy. Mademoiselle d'Aumale (Palace of Versailles, 21 December 1697Palace of Versailles, 4 August 1699) died in infancy. Louis Auguste de Bourbon, Prince of Dombes (Palace of Versailles, 4 March 1700Palace of Fontainebleau, 1 October 1755) unwed. Louis Charles de Bourbon, Count of Eu (Château de Sceaux, 15 October 170113 July 1775) unwed. Charles de Bourbon, Duke of Aumale (Palace of Versailles, 31 March 1704Château de Sceaux, 2 September 1708) died in infancy. Louise Françoise de Bourbon, Mademoiselle du Maine (Palace of Versailles, 4 December 1707Château d'Anet, 19 August 1743) unwed. Ancestry Notes References External links
Louise Bénédicte de Bourbon. Issue Mademoiselle de Dombes (Palace of Versailles, 11 September 1694Palace of Versailles, 15 September 1694) died in infancy. Louis Constantin de Bourbon, Prince of Dombes (Palace of Versailles, 17 November 1695Palace of Versailles, 28 September 1698) died in infancy. Mademoiselle d'Aumale (Palace of Versailles, 21 December 1697Palace of Versailles, 4 August 1699) died in infancy. Louis Auguste de Bourbon, Prince of Dombes (Palace of Versailles, 4 March 1700Palace of Fontainebleau, 1 October 1755) unwed. Louis Charles de Bourbon, Count of Eu (Château de Sceaux, 15 October 170113 July 1775) unwed. Charles de Bourbon, Duke of Aumale (Palace of Versailles, 31 March 1704Château de Sceaux, 2 September 1708) died in infancy. Louise Françoise de Bourbon, Mademoiselle du Maine (Palace of Versailles, 4 December 1707Château d'Anet, 19 August 1743) unwed. Ancestry Notes References External links
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Ancestry Notes References External links 1676 births 1753 deaths Louise Benedicte Louise Benedicte Countesses of Eu French salon-holders 18th-century French people 17th-century French people People of the Regency of Philippe d'Orléans Nobility from Paris Princesses of the Blood 17th-century letter writers 18th-century letter writers
Louise Bénédicte de Bourbon. Ancestry Notes References External links 1676 births 1753 deaths Louise Benedicte Louise Benedicte Countesses of Eu French salon-holders 18th-century French people 17th-century French people People of the Regency of Philippe d'Orléans Nobility from Paris Princesses of the Blood 17th-century letter writers 18th-century letter writers
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Tabula Capuana
The Tabula Capuana ("Tablet from Capua"; Ital. Tavola Capuana), is an ancient terracotta slab, , with a long inscribed text in Etruscan, apparently a ritual calendar. About 390 words are legible, making it the second-most extensive surviving Etruscan text. (The longest is the linen book (Liber Linteus) used in ancient Egypt for mummy wrappings, now at Zagreb.) It is located in the Altes Museum, Berlin. Description Horizontal scribed lines divide the text into ten sections. The writing is most similar to that used in Campania in the mid 5th century BC, though surely the text being transcribed is much older. It is an archaic ten-month year beginning in March (Etruscan Velxitna). Attempts at deciphering the text (Mauro Cristofani, 1995) are most generally based on the supposition that it prescribes certain rites on certain days of the year at certain places for certain deities. The text itself was edited by Francesco Roncalli, in Scrivere etrusco 1985.
Tabula Capuana. The Tabula Capuana ("Tablet from Capua"; Ital. Tavola Capuana), is an ancient terracotta slab, , with a long inscribed text in Etruscan, apparently a ritual calendar. About 390 words are legible, making it the second-most extensive surviving Etruscan text. (The longest is the linen book (Liber Linteus) used in ancient Egypt for mummy wrappings, now at Zagreb.) It is located in the Altes Museum, Berlin. Description Horizontal scribed lines divide the text into ten sections. The writing is most similar to that used in Campania in the mid 5th century BC, though surely the text being transcribed is much older. It is an archaic ten-month year beginning in March (Etruscan Velxitna). Attempts at deciphering the text (Mauro Cristofani, 1995) are most generally based on the supposition that it prescribes certain rites on certain days of the year at certain places for certain deities. The text itself was edited by Francesco Roncalli, in Scrivere etrusco 1985.
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Discovery The tablet was uncovered in 1898 in the burial ground of Santa Maria Capua Vetere. References External links Basic information, adopted for this entry; photograph (Italian) Curtun (Modern Cortona) Full Etruscan text and translation into Italian 5th-century BC works 1898 archaeological discoveries Clay tablets Etruscan artefacts Etruscan ceramics Etruscan inscriptions Capua (ancient city) Archaeological discoveries in Italy
Tabula Capuana. Discovery The tablet was uncovered in 1898 in the burial ground of Santa Maria Capua Vetere. References External links Basic information, adopted for this entry; photograph (Italian) Curtun (Modern Cortona) Full Etruscan text and translation into Italian 5th-century BC works 1898 archaeological discoveries Clay tablets Etruscan artefacts Etruscan ceramics Etruscan inscriptions Capua (ancient city) Archaeological discoveries in Italy
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Pat Metheny Group
The Pat Metheny Group was an American jazz band founded in 1977. The core members of the group were guitarist, composer and bandleader Pat Metheny; and keyboardist and composer Lyle Mays, who was in the group at its inception. Other long-standing members included bassist and producer Steve Rodby, from 1981 to 2010, and Antonio Sanchez, from 2002 to 2010. Vocalist Pedro Aznar and drummer Paul Wertico were also long-time members. In addition to a core quartet, the group was often joined by a variety of other instrumentalists expanding the size to six or eight musicians. History 1970s Founder Pat Metheny first emerged on the jazz scene in the mid-1970s with a pair of solo albums. First was Bright Size Life, released in 1976, a trio album with bass guitarist Jaco Pastorius and drummer Bob Moses. The next album, released in 1977, was Watercolors, featuring Eberhard Weber on bass, pianist Lyle Mays, and drummer Danny Gottlieb.
Pat Metheny Group. The Pat Metheny Group was an American jazz band founded in 1977. The core members of the group were guitarist, composer and bandleader Pat Metheny; and keyboardist and composer Lyle Mays, who was in the group at its inception. Other long-standing members included bassist and producer Steve Rodby, from 1981 to 2010, and Antonio Sanchez, from 2002 to 2010. Vocalist Pedro Aznar and drummer Paul Wertico were also long-time members. In addition to a core quartet, the group was often joined by a variety of other instrumentalists expanding the size to six or eight musicians. History 1970s Founder Pat Metheny first emerged on the jazz scene in the mid-1970s with a pair of solo albums. First was Bright Size Life, released in 1976, a trio album with bass guitarist Jaco Pastorius and drummer Bob Moses. The next album, released in 1977, was Watercolors, featuring Eberhard Weber on bass, pianist Lyle Mays, and drummer Danny Gottlieb.
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In 1977, bassist Mark Egan joined Metheny, Mays, and Gottlieb to form the Pat Metheny Group. ECM released the album Pat Metheny Group in 1978 with songs co-written by Metheny and Mays. Pat Metheny Group marked Mays' first use of the Oberheim synthesizer, which became an integral part of the Group's sound. The group's second album, American Garage in 1979 reached No. 1 on the jazz chart at Billboard magazine. 1980s The Pat Metheny Group released the album Offramp in 1982. Offramp marked the first recorded appearance of bassist Steve Rodby in the group (replacing Mark Egan), and also featured Brazilian "guest artist" Naná Vasconcelos. Vasconcelos had appeared on the Pat Metheny/Lyle Mays album As Falls Wichita, So Falls Wichita Falls in 1981, and his performance on percussion and wordless vocals marked the first addition of Latin-South American music shadings to the Group's sound. Offramp was also the group's first recording to win a Grammy Award, the first win of many for the group.
Pat Metheny Group. In 1977, bassist Mark Egan joined Metheny, Mays, and Gottlieb to form the Pat Metheny Group. ECM released the album Pat Metheny Group in 1978 with songs co-written by Metheny and Mays. Pat Metheny Group marked Mays' first use of the Oberheim synthesizer, which became an integral part of the Group's sound. The group's second album, American Garage in 1979 reached No. 1 on the jazz chart at Billboard magazine. 1980s The Pat Metheny Group released the album Offramp in 1982. Offramp marked the first recorded appearance of bassist Steve Rodby in the group (replacing Mark Egan), and also featured Brazilian "guest artist" Naná Vasconcelos. Vasconcelos had appeared on the Pat Metheny/Lyle Mays album As Falls Wichita, So Falls Wichita Falls in 1981, and his performance on percussion and wordless vocals marked the first addition of Latin-South American music shadings to the Group's sound. Offramp was also the group's first recording to win a Grammy Award, the first win of many for the group.
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In 1983, a live album titled Travels was released. It won the Grammy Award for Best Jazz Fusion Performance in 1984. 1984 brought the release of First Circle, a popular album that featured compositions with mixed meters. With this album, the group had a new drummer, Paul Wertico (replacing Danny Gottlieb). Wertico and Steve Rodby having both played with the Simon & Bard Group. A soundtrack album The Falcon and the Snowman followed in 1985. It featured the song "This Is Not America", a writing and performing collaboration with David Bowie which reached #14 in the British Top 40 and #32 on the US Billboard Hot 100 in early 1985.
Pat Metheny Group. In 1983, a live album titled Travels was released. It won the Grammy Award for Best Jazz Fusion Performance in 1984. 1984 brought the release of First Circle, a popular album that featured compositions with mixed meters. With this album, the group had a new drummer, Paul Wertico (replacing Danny Gottlieb). Wertico and Steve Rodby having both played with the Simon & Bard Group. A soundtrack album The Falcon and the Snowman followed in 1985. It featured the song "This Is Not America", a writing and performing collaboration with David Bowie which reached #14 in the British Top 40 and #32 on the US Billboard Hot 100 in early 1985.
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The South American influence would continue and intensify on First Circle with the addition of Argentine multi-instrumentalist Pedro Aznar. This period saw the commercial popularity of the band increase, especially thanks to the live recording Travels. First Circle would also be Metheny's last project with the ECM label; Metheny had been a key artist for ECM but left over conceptual disagreements with label founder Manfred Eicher.
Pat Metheny Group. The South American influence would continue and intensify on First Circle with the addition of Argentine multi-instrumentalist Pedro Aznar. This period saw the commercial popularity of the band increase, especially thanks to the live recording Travels. First Circle would also be Metheny's last project with the ECM label; Metheny had been a key artist for ECM but left over conceptual disagreements with label founder Manfred Eicher.
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The next three Pat Metheny Group releases would be based around a further intensification of the Brazilian rhythms first heard in the early '80s. Additional South American musicians appear as guests, notably Brazilian percussion player Armando Marçal. Still Life (Talking) in 1987, was the Group's first release on new label, Geffen Records, and featured several tracks which have long been popular with the group's followers, and which are still in their setlist. In particular, the album's first tune, "Minuano (Six Eight)", represents a good example of the Pat Metheny group compositional style from this period: the track starts with a haunting minor section from Mays, lifts off in a typical Methenian jubilant major melody, leading to a Maysian metric and harmonically-modulated interlude, creating suspense which is finally resolved in the Methenian major theme. Another popular highlight was "Last Train Home", a rhythmically relentless piece evoking the American Midwest. The 1989 release
Pat Metheny Group. The next three Pat Metheny Group releases would be based around a further intensification of the Brazilian rhythms first heard in the early '80s. Additional South American musicians appear as guests, notably Brazilian percussion player Armando Marçal. Still Life (Talking) in 1987, was the Group's first release on new label, Geffen Records, and featured several tracks which have long been popular with the group's followers, and which are still in their setlist. In particular, the album's first tune, "Minuano (Six Eight)", represents a good example of the Pat Metheny group compositional style from this period: the track starts with a haunting minor section from Mays, lifts off in a typical Methenian jubilant major melody, leading to a Maysian metric and harmonically-modulated interlude, creating suspense which is finally resolved in the Methenian major theme. Another popular highlight was "Last Train Home", a rhythmically relentless piece evoking the American Midwest. The 1989 release
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suspense which is finally resolved in the Methenian major theme. Another popular highlight was "Last Train Home", a rhythmically relentless piece evoking the American Midwest. The 1989 release Letter from Home continued this approach, with the South American influence becoming even more prevalent in its bossa nova and samba rhythms.
Pat Metheny Group. suspense which is finally resolved in the Methenian major theme. Another popular highlight was "Last Train Home", a rhythmically relentless piece evoking the American Midwest. The 1989 release Letter from Home continued this approach, with the South American influence becoming even more prevalent in its bossa nova and samba rhythms.
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1990s Metheny then again concentrated on other solo and band projects, and four years went by before the release of the next record for the next Pat Metheny Group. This was a live set recorded in Europe entitled The Road to You in 1993, and it featured tracks from the two Geffen studio albums alongside new tunes. By this stage, the group had integrated new instrumentation and technologies into its sound, including Mays' addition of midi-controlled synthesized sounds to acoustic piano solos, accomplished via a pedal control.
Pat Metheny Group. 1990s Metheny then again concentrated on other solo and band projects, and four years went by before the release of the next record for the next Pat Metheny Group. This was a live set recorded in Europe entitled The Road to You in 1993, and it featured tracks from the two Geffen studio albums alongside new tunes. By this stage, the group had integrated new instrumentation and technologies into its sound, including Mays' addition of midi-controlled synthesized sounds to acoustic piano solos, accomplished via a pedal control.
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Mays and Metheny refer to the following three Pat Metheny Group releases as the triptych: We Live Here in 1995, Quartet in 1996, and Imaginary Day in 1997. Moving away from the Latin style which had dominated the releases of the previous decade, these albums included hip-hop drum loops, free-form improvisation on acoustic instruments, and symphonic signatures, blues and sonata schemes. On some tunes from this era, the band also experimented with thrash metal, electronica, and folk music from parts of the world unexplored by the band in the past. 2000s After another hiatus, the Pat Metheny Group re-emerged in 2002 with the release Speaking of Now, marking another change in direction through the addition of younger musicians. Joining the core players (Metheny, Mays and Rodby), were drummer Antonio Sanchez from Mexico City, Vietnam-born trumpeter Cuong Vu from Seattle and bassist, vocalist, guitarist, and percussionist Richard Bona from Cameroon.
Pat Metheny Group. Mays and Metheny refer to the following three Pat Metheny Group releases as the triptych: We Live Here in 1995, Quartet in 1996, and Imaginary Day in 1997. Moving away from the Latin style which had dominated the releases of the previous decade, these albums included hip-hop drum loops, free-form improvisation on acoustic instruments, and symphonic signatures, blues and sonata schemes. On some tunes from this era, the band also experimented with thrash metal, electronica, and folk music from parts of the world unexplored by the band in the past. 2000s After another hiatus, the Pat Metheny Group re-emerged in 2002 with the release Speaking of Now, marking another change in direction through the addition of younger musicians. Joining the core players (Metheny, Mays and Rodby), were drummer Antonio Sanchez from Mexico City, Vietnam-born trumpeter Cuong Vu from Seattle and bassist, vocalist, guitarist, and percussionist Richard Bona from Cameroon.
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Following the group's 2002 tour, Bona left to concentrate on his solo career, but appeared as one of two guest artists (the other being mallet cymbalist Dave Samuels) on the group's final release, 2005's The Way Up, together with a new group member: Swiss-American harmonica player Grégoire Maret. The Way Up is a large-scale concept record which consists of a single 68 minute-long piece (split into four sections only for CD navigation). Metheny has said that one of the inspirations for the labyrinthine piece was a reaction against a perceived trend for music requiring a short attention span and which lacks nuance and detail. Many of the textures in The Way Up are created from interlocking guitar lines -- Steve Reich is credited on the CD as an inspiration, along with Eberhard Weber, and there are large open sections for solo improvisation and group interplay. On the group's 2005 tour (when its lineup was supplemented by Brazilian multi-instrumentalist Nando Lauria), The Way Up was
Pat Metheny Group. Following the group's 2002 tour, Bona left to concentrate on his solo career, but appeared as one of two guest artists (the other being mallet cymbalist Dave Samuels) on the group's final release, 2005's The Way Up, together with a new group member: Swiss-American harmonica player Grégoire Maret. The Way Up is a large-scale concept record which consists of a single 68 minute-long piece (split into four sections only for CD navigation). Metheny has said that one of the inspirations for the labyrinthine piece was a reaction against a perceived trend for music requiring a short attention span and which lacks nuance and detail. Many of the textures in The Way Up are created from interlocking guitar lines -- Steve Reich is credited on the CD as an inspiration, along with Eberhard Weber, and there are large open sections for solo improvisation and group interplay. On the group's 2005 tour (when its lineup was supplemented by Brazilian multi-instrumentalist Nando Lauria), The Way Up was
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there are large open sections for solo improvisation and group interplay. On the group's 2005 tour (when its lineup was supplemented by Brazilian multi-instrumentalist Nando Lauria), The Way Up was played in its entirety as the first half of the concert. The final performance of the piece was at a free show for more than a hundred thousand people at the close of the 2005 Montreal Jazz Festival.
Pat Metheny Group. there are large open sections for solo improvisation and group interplay. On the group's 2005 tour (when its lineup was supplemented by Brazilian multi-instrumentalist Nando Lauria), The Way Up was played in its entirety as the first half of the concert. The final performance of the piece was at a free show for more than a hundred thousand people at the close of the 2005 Montreal Jazz Festival.
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Their final album, The Way Up was released through Nonesuch Records. It is planned that all of Metheny's Geffen and Warner Bros. Records albums are to be rereleased on the label. The Pat Metheny Group played at the Blue Note Tokyo in January 2009 in its core quartet of Lyle Mays, Steve Rodby and Antonio Sanchez. This quartet version of the group later toured the jazz festivals of Europe in the summer of 2010 as part of the "Songbook Tour". These concerts featured music from all eras of the group but no new material. Members
Pat Metheny Group. Their final album, The Way Up was released through Nonesuch Records. It is planned that all of Metheny's Geffen and Warner Bros. Records albums are to be rereleased on the label. The Pat Metheny Group played at the Blue Note Tokyo in January 2009 in its core quartet of Lyle Mays, Steve Rodby and Antonio Sanchez. This quartet version of the group later toured the jazz festivals of Europe in the summer of 2010 as part of the "Songbook Tour". These concerts featured music from all eras of the group but no new material. Members
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Past members Lyle Mays – piano, synthesizers (1977–2010, died 2020) Pat Metheny – acoustic and electric guitars, guitar synthesizers (1977–2010) Mark Egan – bass (1977–1980) Danny Gottlieb – drums (1977–1982) Steve Rodby – bass guitar, acoustic bass (1981–2010) Naná Vasconcelos – vocals, percussion (1980–1982, 1986, died 2016) Pedro Aznar – vocals, percussion, melodica, guitars, saxophone, miscellaneous instruments (1983–1985, 1989–1991, 1992) Paul Wertico – drums (1983–2001) Armando Marçal – percussion, vocals (1987–1992, 1995–1996) David Blamires – vocals, miscellaneous instruments (1986–1988, 1992, 1994–1997) Mark Ledford – vocals, miscellaneous instruments (1987–1988, 1992, 1994–1998, died 2004) Luis Conte - percussion (1994-1995) Nando Lauria – guitar, vocals, percussion and miscellaneous instruments (1988, 2005) Philip Hamilton – vocals, miscellaneous instruments (1997–1998) Jeff Haynes – percussion (1997–1998), Antonio Sánchez, – drums, percussion (2001–2010)
Pat Metheny Group. Past members Lyle Mays – piano, synthesizers (1977–2010, died 2020) Pat Metheny – acoustic and electric guitars, guitar synthesizers (1977–2010) Mark Egan – bass (1977–1980) Danny Gottlieb – drums (1977–1982) Steve Rodby – bass guitar, acoustic bass (1981–2010) Naná Vasconcelos – vocals, percussion (1980–1982, 1986, died 2016) Pedro Aznar – vocals, percussion, melodica, guitars, saxophone, miscellaneous instruments (1983–1985, 1989–1991, 1992) Paul Wertico – drums (1983–2001) Armando Marçal – percussion, vocals (1987–1992, 1995–1996) David Blamires – vocals, miscellaneous instruments (1986–1988, 1992, 1994–1997) Mark Ledford – vocals, miscellaneous instruments (1987–1988, 1992, 1994–1998, died 2004) Luis Conte - percussion (1994-1995) Nando Lauria – guitar, vocals, percussion and miscellaneous instruments (1988, 2005) Philip Hamilton – vocals, miscellaneous instruments (1997–1998) Jeff Haynes – percussion (1997–1998), Antonio Sánchez, – drums, percussion (2001–2010)
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Philip Hamilton – vocals, miscellaneous instruments (1997–1998) Jeff Haynes – percussion (1997–1998), Antonio Sánchez, – drums, percussion (2001–2010) Richard Bona – percussion, vocals, electric bass, acoustic guitar, miscellaneous instruments (2002–2004) Cuong Vu – trumpet, vocals, guitar, miscellaneous instruments (2001–2005) Grégoire Maret – harmonica, vocals, miscellaneous instruments (2003-2005)
Pat Metheny Group. Philip Hamilton – vocals, miscellaneous instruments (1997–1998) Jeff Haynes – percussion (1997–1998), Antonio Sánchez, – drums, percussion (2001–2010) Richard Bona – percussion, vocals, electric bass, acoustic guitar, miscellaneous instruments (2002–2004) Cuong Vu – trumpet, vocals, guitar, miscellaneous instruments (2001–2005) Grégoire Maret – harmonica, vocals, miscellaneous instruments (2003-2005)
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Timeline * This timeline reflects active members of the band, at either times they recorded or times they toured with the band. Members may have left the band by the time albums they performed on were released. Minor contributors to albums who did not tour with the band are not included. Discography Studio albums Live albums Compilation albums Soundtracks Awards and nominations References External links Pat Metheny home page Pat Metheny Songbooks Booking Band member biographies American jazz ensembles from Missouri Jazz fusion ensembles Grammy Award winners ECM Records artists Geffen Records artists Warner Records artists Nonesuch Records artists Musical groups established in 1977
Pat Metheny Group. Timeline * This timeline reflects active members of the band, at either times they recorded or times they toured with the band. Members may have left the band by the time albums they performed on were released. Minor contributors to albums who did not tour with the band are not included. Discography Studio albums Live albums Compilation albums Soundtracks Awards and nominations References External links Pat Metheny home page Pat Metheny Songbooks Booking Band member biographies American jazz ensembles from Missouri Jazz fusion ensembles Grammy Award winners ECM Records artists Geffen Records artists Warner Records artists Nonesuch Records artists Musical groups established in 1977
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Vrisa
Vrisa () is a village in the southern part of Lesbos island approximately 50 km from Mytilene. The village is named after one of the two girls Agamemnon took from Lesbos during the ten-year Trojan War. Five kilometers south is the famous Vatera beach. On June 12, 2017 Vrissa was severely damaged in an earthquake that struck approximately 12 km South of the town of Plomari. Most people could not return to their homes, rendering the village effectively a "ghost village". See also List of settlements in Lesbos Populated places in Lesbos
Vrisa. Vrisa () is a village in the southern part of Lesbos island approximately 50 km from Mytilene. The village is named after one of the two girls Agamemnon took from Lesbos during the ten-year Trojan War. Five kilometers south is the famous Vatera beach. On June 12, 2017 Vrissa was severely damaged in an earthquake that struck approximately 12 km South of the town of Plomari. Most people could not return to their homes, rendering the village effectively a "ghost village". See also List of settlements in Lesbos Populated places in Lesbos
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Meow (disambiguation)
Meow is an imitative word for a sound made in cat communication. Meow or Miaow may also refer to: Music Miaow (band), an English band Miaow (album), a 1994 album by The Beautiful South Mew (band), a band from Denmark "Meow", a song from the Anamanaguchi album Endless Fantasy "Meow Meow" (song), a song from the Tamil film Kanthaswamy "Me-ow", a 1918 ragtime song by Mel B. Kaufman Other uses Meow 104.8 FM, an FM Radio Channel in India Meow (cat), once the world's heaviest cat Miaow, or miaow miaow, a supposed slang name for the stimulant drug mephedrone Meow (Pillow Pal), a Pillow Pal cat made by Ty Meow (film), a 2017 Hong Kong film Meow (Dark Angel), an episode in the TV Series Meow, a cat-like alien character in the anime Space Dandy.
Meow (disambiguation). Meow is an imitative word for a sound made in cat communication. Meow or Miaow may also refer to: Music Miaow (band), an English band Miaow (album), a 1994 album by The Beautiful South Mew (band), a band from Denmark "Meow", a song from the Anamanaguchi album Endless Fantasy "Meow Meow" (song), a song from the Tamil film Kanthaswamy "Me-ow", a 1918 ragtime song by Mel B. Kaufman Other uses Meow 104.8 FM, an FM Radio Channel in India Meow (cat), once the world's heaviest cat Miaow, or miaow miaow, a supposed slang name for the stimulant drug mephedrone Meow (Pillow Pal), a Pillow Pal cat made by Ty Meow (film), a 2017 Hong Kong film Meow (Dark Angel), an episode in the TV Series Meow, a cat-like alien character in the anime Space Dandy.
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Meow (disambiguation)
See also Colonel Meow, an individual cat with this name noted for its fur length Meow Wars, a series of flame wars on Usenet in the 1990s Meow Meow (disambiguation) Meowy (disambiguation) Miao (disambiguation) Miou Miou, a Czech pop band Miou-Miou, French actress Cat's meow (disambiguation)
Meow (disambiguation). See also Colonel Meow, an individual cat with this name noted for its fur length Meow Wars, a series of flame wars on Usenet in the 1990s Meow Meow (disambiguation) Meowy (disambiguation) Miao (disambiguation) Miou Miou, a Czech pop band Miou-Miou, French actress Cat's meow (disambiguation)
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Mashup (music)
A mashup (also mesh, mash up, mash-up, blend, bastard pop or bootleg) is a creative work, usually in a form of a song, created by blending two or more pre-recorded songs, typically by superimposing the vocal track of one song seamlessly over the instrumental track of another, changing the tempo and key where necessary. To the extent that such works are "transformative" of original content, in the United States they may find protection from copyright claims under the "fair use" doctrine of copyright law.
Mashup (music). A mashup (also mesh, mash up, mash-up, blend, bastard pop or bootleg) is a creative work, usually in a form of a song, created by blending two or more pre-recorded songs, typically by superimposing the vocal track of one song seamlessly over the instrumental track of another, changing the tempo and key where necessary. To the extent that such works are "transformative" of original content, in the United States they may find protection from copyright claims under the "fair use" doctrine of copyright law.
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Mashup (music)
History The 1967 Harry Nilsson album Pandemonium Shadow Show features what is nominally a cover of the Beatles' "You Can't Do That" but actually introduced the "mashup" to studio-recording. Nilsson's recording of "You Can't Do That" mashes his own vocal recreations of more than a dozen Beatles songs into this track. Nilsson conceived the combining of many overlaying songs into one track after he played a chord on his guitar and realized how many Beatles songs it could apply to. This recording has led some to describe Harry Nilsson as the inventor of the mashup.
Mashup (music). History The 1967 Harry Nilsson album Pandemonium Shadow Show features what is nominally a cover of the Beatles' "You Can't Do That" but actually introduced the "mashup" to studio-recording. Nilsson's recording of "You Can't Do That" mashes his own vocal recreations of more than a dozen Beatles songs into this track. Nilsson conceived the combining of many overlaying songs into one track after he played a chord on his guitar and realized how many Beatles songs it could apply to. This recording has led some to describe Harry Nilsson as the inventor of the mashup.
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Mashup (music)
Although described as a medley in its title, "Do It Again Medley with Billie Jean" by Italian music project Club House could be described as one of the first ever commercially released mashups in 1983. The song combines elements of "Do It Again", a 1973 Top 10 hit in the US and Canada by Steely Dan, with Michael Jackson's #1 hit from earlier in the year, "Billie Jean". It reached #11 in the UK, and the Top 10 in Belgium, Ireland and the Netherlands. In 1990, Norman Cook reached #1 on the UK charts with his act Beats International with "Dub Be Good To Me", essentially a mashup of re-recorded vocals of The SOS Band's "Just Be Good To Me" with The Clash's "The Guns of Brixton", making it the first mashup to achieve significant mainstream success. The 1990 John Zorn album Naked City features a version of Ornette Coleman's "Lonely Woman" set over the bassline of Roy Orbison's "Pretty Woman".
Mashup (music). Although described as a medley in its title, "Do It Again Medley with Billie Jean" by Italian music project Club House could be described as one of the first ever commercially released mashups in 1983. The song combines elements of "Do It Again", a 1973 Top 10 hit in the US and Canada by Steely Dan, with Michael Jackson's #1 hit from earlier in the year, "Billie Jean". It reached #11 in the UK, and the Top 10 in Belgium, Ireland and the Netherlands. In 1990, Norman Cook reached #1 on the UK charts with his act Beats International with "Dub Be Good To Me", essentially a mashup of re-recorded vocals of The SOS Band's "Just Be Good To Me" with The Clash's "The Guns of Brixton", making it the first mashup to achieve significant mainstream success. The 1990 John Zorn album Naked City features a version of Ornette Coleman's "Lonely Woman" set over the bassline of Roy Orbison's "Pretty Woman".
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Mashup (music)
The 1990 John Zorn album Naked City features a version of Ornette Coleman's "Lonely Woman" set over the bassline of Roy Orbison's "Pretty Woman". In 1991, The Source featuring Candi Staton released "You Got The Love", based on a mashup created by DJ Eren Abdullah that had been an underground club hit since 1989, placing a Candi Staton a cappella over an instrumental version of Frankie Knuckles and Jamie Principle's house classic, "Your Love". It reached #4 on the UK charts, and had continued success over subsequent years with several remixes and a cover by Florence + The Machine.
Mashup (music). The 1990 John Zorn album Naked City features a version of Ornette Coleman's "Lonely Woman" set over the bassline of Roy Orbison's "Pretty Woman". In 1991, The Source featuring Candi Staton released "You Got The Love", based on a mashup created by DJ Eren Abdullah that had been an underground club hit since 1989, placing a Candi Staton a cappella over an instrumental version of Frankie Knuckles and Jamie Principle's house classic, "Your Love". It reached #4 on the UK charts, and had continued success over subsequent years with several remixes and a cover by Florence + The Machine.
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Mashup (music)
In 1994, the experimental band Evolution Control Committee released the first modern mashup tracks on their hand-made cassette album, Gunderphonic. These "Whipped Cream Mixes" combined a pair of Public Enemy a cappellas with instrumentals by Herb Alpert and the Tijuana Brass. First released on home-made cassettes in early 1992, it was later pressed on 7" vinyl, and distributed by Eerie Materials in the mid-1990s. The tracks gained some degree of notoriety on college radio stations in the United States. The name Pop Will Eat Itself was taken from an NME feature on the band Jamie Wednesday, written by David Quantick, which proposed the theory that because popular music simply recycles good ideas continuously, the perfect pop song could be written by combining the best of those ideas into one track. Hence, "pop will eat itself".
Mashup (music). In 1994, the experimental band Evolution Control Committee released the first modern mashup tracks on their hand-made cassette album, Gunderphonic. These "Whipped Cream Mixes" combined a pair of Public Enemy a cappellas with instrumentals by Herb Alpert and the Tijuana Brass. First released on home-made cassettes in early 1992, it was later pressed on 7" vinyl, and distributed by Eerie Materials in the mid-1990s. The tracks gained some degree of notoriety on college radio stations in the United States. The name Pop Will Eat Itself was taken from an NME feature on the band Jamie Wednesday, written by David Quantick, which proposed the theory that because popular music simply recycles good ideas continuously, the perfect pop song could be written by combining the best of those ideas into one track. Hence, "pop will eat itself".
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Mashup (music)
Pre-empting the rise of the mashup in the 2000s, German trance act Fragma reached #1 in the UK and the Top 10 in Australia and across Europe with "Toca's Miracle", a mashup of their previous single "Toca Me" and Coco Star's 1996 single "I Need A Miracle", initially created by British DJ Vimto in 1999. The mashup movement gained momentum again in 2001 with the release of the 2 Many DJs album As Heard on Radio Soulwax Pt. 2 by Soulwax's Dewaele brothers, which combined 45 different tracks; the same year a remix of Christina Aguilera's "Genie in a Bottle" was also released by Freelance Hellraiser, which coupled Aguilera's vocals with the guitar track of "Hard to Explain" by New York's the Strokes, in a piece called "A Stroke of Genie-us".
Mashup (music). Pre-empting the rise of the mashup in the 2000s, German trance act Fragma reached #1 in the UK and the Top 10 in Australia and across Europe with "Toca's Miracle", a mashup of their previous single "Toca Me" and Coco Star's 1996 single "I Need A Miracle", initially created by British DJ Vimto in 1999. The mashup movement gained momentum again in 2001 with the release of the 2 Many DJs album As Heard on Radio Soulwax Pt. 2 by Soulwax's Dewaele brothers, which combined 45 different tracks; the same year a remix of Christina Aguilera's "Genie in a Bottle" was also released by Freelance Hellraiser, which coupled Aguilera's vocals with the guitar track of "Hard to Explain" by New York's the Strokes, in a piece called "A Stroke of Genie-us".
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Mashup (music)
In 2001, English producer Richard X had created a bootleg mashup of Adina Howard's "Freak Like Me" and Tubeway Army's "Are "Friends" Electric?", titled "We Don't Give a Damn About Our Friends", which became a successful underground dance track under his alias "Girls on Top". He could not get permission to use the original vocals to release the mashup commercially, so he enlisted the English girl group Sugababes to re-record the vocals. It was released in April 2002, giving the group their first UK #1 single, and drawing further recognition, acclaim and mainstream success for the mashup genre. Richard X had continued success with two more mashups reaching the UK Top 10: "Being Nobody" (#3), with pop group Liberty X combining vocals of Chaka Khan and Rufus's "Ain't Nobody" with The Human League's "Being Boiled", and "Finest Dreams" (#8), featuring American vocalist Kelis singing the vocals from The SOS Band's "The Finest" over an instrumental of The Human League's "The Things That
Mashup (music). In 2001, English producer Richard X had created a bootleg mashup of Adina Howard's "Freak Like Me" and Tubeway Army's "Are "Friends" Electric?", titled "We Don't Give a Damn About Our Friends", which became a successful underground dance track under his alias "Girls on Top". He could not get permission to use the original vocals to release the mashup commercially, so he enlisted the English girl group Sugababes to re-record the vocals. It was released in April 2002, giving the group their first UK #1 single, and drawing further recognition, acclaim and mainstream success for the mashup genre. Richard X had continued success with two more mashups reaching the UK Top 10: "Being Nobody" (#3), with pop group Liberty X combining vocals of Chaka Khan and Rufus's "Ain't Nobody" with The Human League's "Being Boiled", and "Finest Dreams" (#8), featuring American vocalist Kelis singing the vocals from The SOS Band's "The Finest" over an instrumental of The Human League's "The Things That
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Mashup (music)
League's "Being Boiled", and "Finest Dreams" (#8), featuring American vocalist Kelis singing the vocals from The SOS Band's "The Finest" over an instrumental of The Human League's "The Things That Dreams Are Made Of".
Mashup (music). League's "Being Boiled", and "Finest Dreams" (#8), featuring American vocalist Kelis singing the vocals from The SOS Band's "The Finest" over an instrumental of The Human League's "The Things That Dreams Are Made Of".
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Mashup (music)
At the 2002 Brit Awards held on 20 February 2002, Australian pop singer Kylie Minogue performed a mash-up version of her #1 hit "Can't Get You Out of My Head", combined with New Order's song "Blue Monday". The live performance is cited as one of the first by a mainstream recording artist to utilise a mashup, and was ranked at number 40 on The Guardian'''s 2011 list of 50 Key Events in the History of Dance Music. The mashup, titled "Can't Get Blue Monday Out of My Head", was later released as the B-side of "Love at First Sight" and was included on Minogue's 2008 remix album Boombox. In the years that followed, mash-ups became more widely used by major artists in their live performances, particularly to update previous material to meld with the themes and sounds of their more recent work. For example, on her 2006 Confessions Tour, Madonna incorporated elements of The Trammps's "Disco Inferno" in the performance of her 2000 hit "Music", to assist the song in blending in with the tour's
Mashup (music). At the 2002 Brit Awards held on 20 February 2002, Australian pop singer Kylie Minogue performed a mash-up version of her #1 hit "Can't Get You Out of My Head", combined with New Order's song "Blue Monday". The live performance is cited as one of the first by a mainstream recording artist to utilise a mashup, and was ranked at number 40 on The Guardian'''s 2011 list of 50 Key Events in the History of Dance Music. The mashup, titled "Can't Get Blue Monday Out of My Head", was later released as the B-side of "Love at First Sight" and was included on Minogue's 2008 remix album Boombox. In the years that followed, mash-ups became more widely used by major artists in their live performances, particularly to update previous material to meld with the themes and sounds of their more recent work. For example, on her 2006 Confessions Tour, Madonna incorporated elements of The Trammps's "Disco Inferno" in the performance of her 2000 hit "Music", to assist the song in blending in with the tour's
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