Hemel Hempstead Evening Post-Echo

The Evening Post-Echo was a British newspaper published in Hemel Hempstead and launched in 1967.
This newspaper was notable for three reasons:
1. It used the then cutting-edge technology of photo-typesetting at a time when the old 'hot metal' process was the norm.
2. It was one of the few non-national newspapers to publish six days a week.
3. It was neither national nor local, but a regional newspaper covering three counties (Bedfordshire, Buckinghamshire and Hertfordshire).
From launch, the paper flourished and grew, attaining a circulation of over 90,000 copies per night at its peak.
Background to launch.
Launched initially as two papers, the "Evening Post" and "Evening Echo", it was an attempt by the Thomson Organization, then Britain's biggest newspaper group, to break the Beaverbrook and Northcliffe domination of the London-Home Counties evening paper market. Two other papers – the "Slough Evening Mail" and the "Reading Evening Post" – were part of this strategy. Lord (Roy) Thomson invested millions in the experiment, which he believed would profit from what he saw as huge advertising potential in prosperous communities north and west of London.
His efforts were thwarted from the start by demands from the print unions, which insisted on unsustainable manning levels. Thomson management was less robust than it might have been because it feared union repercussions at Times Newspapers, publishers of "the Times" and "Sunday Times".
Journalists.
Many Fleet Street figures such as Peter Wright cut their teeth at the newspaper, which was edited in its early days by Ivor Lewis (former Sunday Times) and Richard Parrack, who was later to become a senior executive with News International.
Other outstanding journalists worked on the "Post-Echo" in its heyday. They included Melanie Phillips ("Daily Mail"), Stephen Pile ("Sunday Telegraph"), David Francis ("Mail on Sunday"), Cliff Barr (The Sun, Daily Express), Lee Harrison and John Cathcart ("National Enquirer"), Anthony Holden ("Sunday Times" and "The Observer"), Maurice Chittenden ("Sunday Times"), Jean Ritchie ("The Sun"), Mark Milner ("The Guardian"),Michael Bilton ( "Sunday Times ") and David Felton ("The Independent").
The "Post-Echo"s assistant editor, John Marquis, who worked in London for both Reuters and Thomson Newspapers, became one of the few newspaper editors ever credited with bringing down a national government while editing The Tribune in Nassau, Bahamas, in 2007. While on the "Post-Echo" he won the Provincial Journalist of the Year award for exposing negligence at two hospitals. Melanie Phillips won the Young Journalist of the Year award the following year (1975).
Former Worcestershire and "Young England" cricketer Ivan Johnson trained and worked as a reporter and news sub-editor on the "Post-Echo". Bahamas-born Johnson went on to work as a staff sub-editor on The London Sun and the Daily Star. Johnson founded and launched "The Punch" newspaper, a bi-weekly London-style popular quality tabloid, in Nassau, Bahamas, in February 1990. Johnson is the editor, owner and publisher of "The Punch" newspaper. "The Punch" was credited with bringing down the Old PLP Government of the late Bahamas Prime Minister Sir Lynden Pindling in August 1992. "The Punch" is considered by many to be The Bahamas' most read and controversial newspaper.
Several "Post-Echo" journalists became authors. Stephen Pile wrote "The Book of Heroic Failures", Melanie Phillips the controversial "Londonistan", Jean Ritchie a book about murderess Myra Hindley, and Ashley Walton "The Duke of Hazard" about Prince Philip. Anthony Holden became a biographer and also wrote a book about professional poker called . John Marquis wrote "Blood and Fire", about the famous murder of Sir Harry Oakes, and "Papa Doc", about the Haitian dictator François Duvalier. Michael Bilton wrote books about the Falklands War, the My Lai Massacre and the Hunt for the Yorkshire Ripper.
Design and photography.
In its early days, the "Post-Echo" won many design awards, using offset printing to produce bold broadsheet pages with imaginative use of pictures. It regularly outshone its London rivals, the "Evening News" and "Evening Standard", on the newsstands and was seen by many Fleet Street observers of the day as the future of newspapers. One of the Evening Post photographers, Alun John went on to become the award winning launch Picture Editor of "The Independent".
Famous articles and awards.
In 1973 it published a powerful and much-praised series of articles about the poisoner Graham Young which resulted in a book by Tony Holden called "The St Albans Poisoner". He was one of a four-man investigation team led by Marquis, which included Lee Harrison and reporter Philip Smith, both of whom later worked on "The National Enquirer" in the United States.
However, it was Marquis's hospitals investigation the following year which landed the "Post-Echo" its first major writing award, with Phillips taking her award 12 months later.
Demise.
Despite its editorial excellence, the "Post-Echo" eventually bowed to the inexorable rise of freesheets and their demands on advertising revenue and the deep recession of the early 80s eventually saw its demise. It closed in 1983 with the loss of 470 jobs.
At the time of its closure, the editor was Trevor Wade, who went on to edit the "Reading Evening Post".


Marion E. Wong

Marion E. Wong (January 2, 1895 – February 4, 1969) was a Chinese American company director, costume designer, director, actress, producer, music performer and screenwriter.
Biography.
Marion Evelyn Wong was born on January 2, 1895 in San Francisco but was raised in Oakland, California. In 1911, Wong travelled to China to meet her future husband. Her two brothers, who were looking for wives, accompanied her. Due to citizenship policies at the time, the Wong siblings, who were all born and raised in California, would only be allowed to travel to China for one year or they would risk losing citizenship. As such, they had a condensed timeline during which they could find an appropriate suitor to bring back to the United States. One of her brothers died in China due to smallpox. The other brother Albert Wong, married Violet, who was the sister-in-law to Marion. Violet would prove to become a lifelong supporter and friend in Marion's career, and would soon star in Wong's first motion picture. Wong returned home without a husband because she refused to marry him. Wong was also a student at the University of California for some time where she took up special work.
The birth of the Mandarin Film Company.
During the early 1900s, Wong had established a reputable career in Oakland as a singer-entertainer. In 1916, at the age of 21, she established the Mandarin Film Company. Her uncle, Ben Lim, described in a 1916 newspaper article as a “wealthy Chinese merchant and landowner”, provided the funding. She served as a writer, director, producer, designer, and actor for her works, establishing the company as a promising independent studio. At the time, the film industry was growing through the burgeoning studio system and models were still being established for how the industry would function. The Mandarin Film Company was the first Asian-American based film company and was entirely funded and produced by Asian American individuals.
"The Curse of Quon Gwon".
Wong's trip to China also served as inspiration for "The Curse of Quon Gwon: When the Far East Mingles with the West", Marion's first film in the Mandarin Film Company. The film was regarded as the first Chinese-American feature film.
The film was also written, produced, and directed by Wong, who also designed the costumes and sceneries. Marion also cast herself as one of the characters in the film. "The Curse of Quon Gwon" was the first and only film made by an all-Chinese cast and an all-Chinese company. An article in the July 17, 1917 issue of "The Moving Picture World" said that the film “deals with the curse of a Chinese god that follows his people because of the influence of western civilization.” It is also about Chinese assimilation into American society. The film was a familial labor of love, featuring sister-in-law Violet in the lead role, playing a modern Chinese American woman in San Francisco. Marion was also featured in the film in a smaller role, with parts also written for her mother, as well as Violet's daughter, Stella. Professional actor Henry Soo Hoo portrayed the romantic male lead. A professional actor, he and Violet's performances were celebrated as the heart of the film.
The primary inspiration for the film came from the Charlie Chaplin film "A Night Out". Wong subsequently hired one of Chaplin's cameramen for the project. This resulted in a pristinely shot film, especially for independent standards.
In an "Oakland Tribune" article dated May 11, 1916, Wong said that she had never seen any Chinese movies.
A July 1917 edition of "The Motion Picture World" describes the plot.
Even with all of her efforts, "The Curse of Quon Gwon" only had two screenings after its completion. A rough cut of the film was viewed in 1916 at the Kinema Theater and a formal premiere of the film was shown in 1917 but the film did not receive commercial distribution. This is cited for many reasons, the key one being that distributors were worried audiences would not respond to an Asian American narrative that did not identify or celebrate the racist tropes that had become familiar to white audiences. "The Curse of Quon Gwon" does not feature any “calculating dragon ladies or bumbling coolies”, and as a result, distributors prevented the film from being seen across the nation, despite its critical acclaim and tremendous scope.
Seen as a financial failure, Wong asked her family to never speak of the film again. Her uncle Lim at this time also declared bankruptcy, for he did not see any possibility of return of his investment. Wong's company did not produce any other films after the financial failure of "The Curse of Quon Gwon".
After the Mandarin Film Company.
In 1917, Wong married Kim Seung Hong (Chinese: 熊錦湘). He was the first Chinese student to graduate from the University of California – Berkeley and was the first Chinese electrical engineer in the country. After Kim and Wong got married, Wong founded the Singapor Hut restaurant in Richmond, California in 1919. The restaurant soon became popular for its musical cabarets. Wong performed everything from traditional Chinese operas to popular music at The Singapor Hut. During this time, Wong also toured in vaudeville as a singer and musician. Wong raised a family of entertainers as well, her daughter Arabella Hong-Young having attended Juilliard then continuing on to originate the role of Helen Chiao in Broadway's "Flower Drum Song." Much like "The Curse of Quon Gwon", "Flower Drum Song" is celebrated as a landmark in representation of Asian-Americans in American art. Wong died in 1969.
Legacy.
Despite not being interviewed about the film since 1917 or mentioning the film after the downfall of it, Wong's film came into the spotlight when two reels were found in an Oakland basement. Only two reels of the eight-reel film survive, and they do not explain the characters or plot. These reels are currently featured at the Oakland Museum of California.
Since its last screening in 1917, Wong's film was screened only twice over the following ninety years. It was shown once in 1948 at a public screening in Berkeley, California and once in 1974 at a screening for over seventy family members. The rediscovery of the film brought the film and Wong's children together since Wong's children were unaware of their mother's accomplishment. The film went on to receive greater recognition with the release of "Hollywood Chinese", a documentary by Arthur Dong about the history of Chinese Americans in film. The film features "The Curse of Quon Gwon" prominently, including both excerpts and interviews from Violet's daughters.
Dong celebrates the significance of finding the lost reels of "The Curse of Quon Gwon":
The remaining footage from the film runs 35 minutes in total. The two reels found are labeled four and seven, leaving one to suspect that the entire film ran roughly ninety minutes in length. It is believed that the reels found come from the original negative, produced on 16mm film.
"Hollywood Chinese" also incited a historical stamp for the film when, thirty-six years after Wong's death, in 2006, "The Curse of Quon Gwon" was successfully added to the National Film Registry and catalogued with the Library of Congress. With only 25 films accepted annually, this motion picture was considered historic for the history of Asian American cinema. Currently, there is still a hope for the resurgence of both the shooting script and the missing reels of "The Curse of Quon Gwon". The film in its current form has an original score composed by Judy Rosenberg and has had screenings at universities and theaters across the globe.
The surviving reels of "The Curse of Quon Gwon" were preserved by the Academy Film Archive in 2005.


A Social Celebrity

A Social Celebrity is a 1926 American silent comedy-drama film directed by Malcolm St. Clair and starred Louise Brooks as a small town manicurist who goes to New York City with her boyfriend (Adolphe Menjou), a barber who poses as a French count. The film is now considered lost.
Plot.
Max Haber (Menjou), a small town barber, is the pride of his father, Johann (Chester Conklin), who owns an antiquated barbershop. Max adores Kitty Laverne (Brooks), the manicurist, who loves him but aspires to be a dancer and leaves for New York City, hoping that he will follow in pursuit of better things.
Mrs. Jackson-Greer (Josephine Drake), a New York society matron, has occasion to note Max fashioning the hair of a town girl and induces him to come to New York and pose as a French count. There he meets April (Elsie Lawson), Mrs. King's niece, and loses his heart to her, as well as to Kitty, now a showgirl. At the theater where Kitty is appearing, Max is the best-dressed man in April's party. At a nightclub later that night, Max's true identity is revealed, and he is deserted by his society friends. Disillusioned, Max returns home at the request of his father. Kitty follows, realizing that he needs her.
Production notes.
The film was produced by Famous Players-Lasky Corporation and distributed by Paramount Pictures. "A Social Celebrity" began production in December 1925 with Greta Nissen in the lead role. Louise Brooks was also cast in a supporting role but was recast in the lead after Nissen left the project.
Survival status.
Prints of "A Social Celebrity" still existed up until the 1950s. One print was preserved at the George Eastman House where Louise Brooks viewed it in 1957. That print has since deteriorated. The last known print of the film was preserved at the Cinémathèque Française, but was destroyed in a vault fire on July 10, 1959. No prints of the film are known to exist and "A Social Celebrity" is now considered lost.


Polish National Department

Polish National Department (PND, ) was a major organization of Polish-American Polish diaspora in United States around and after World War I. Originally the Polish Central Relief Committee and based in Chicago, it organized relief for war-torn and newly independent Second Polish Republic. Prominent activists included world-famous pianist and future prime minister of Poland, Ignacy Jan Paderewski and former Illinois Treasurer John F. Smulski.
PND was aligned to Polish "endecja" faction of Roman Dmowski, and opposed to Committee of National Defense (CND, Komitet Obrony Narodowej, KON), aligned to Józef Piłsudski's faction.


Omega the Unknown

Omega the Unknown is an American comic book published by Marvel Comics from 1976 to 1977, featuring the eponymous fictional character. The series, written by Steve Gerber and Mary Skrenes and illustrated by Jim Mooney, ran for 10 issues before cancellation for low sales. Despite its short run, it has remained as a cult classic due to its intriguing characters and unusual storytelling. A 10-issue series revamping the character was published from 2007 to 2008, written by novelist Jonathan Lethem and illustrated by Farel Dalrymple.
Creation and concept.
Unlike many other superhero titles, the main focus of "Omega the Unknown" is not on the superpowered person in an iconic costume and cape. Instead the story largely deals with an unusually mature 12-year-old boy named James-Michael Starling. Through the 10-issue run of the original comic book series it is made clear that there is a connection between the laconic superhero Omega and the strangely analytical child James-Michael, with most issues adding to the mysterious nature of their relationship. Interviewed in 2005 after the sequel was announced, co-creator Steve Gerber stated that he "wanted to do a series about a real kid who was nobody's sidekick, facing real problems in what today would be called a 'grim 'n gritty' setting." The series was cancelled in 1977, but Steve Gerber promised to wrap up its unfinished plotlines in "The Defenders". Gerber was fired by Marvel Comics in 1978 and never completed the storyline.
In late 1978, Al Milgrom, the editor of "The Defenders", assigned writer Steven Grant to complete the story, the conclusion of which was still being sought after in fan correspondence. Grant did this in two issues of "The Defenders" in 1979, at the end of which most of the original series' characters were killed. While Gerber seemed unhappy with Grant's conclusion, it nevertheless tied up the loose ends of the comic series, and is considered "canon" by Marvel. Grant later wrote that the character held no interest for him, but he had tried to approach writing the story in the way that he felt that Gerber would have, had he been allowed to complete it himself.
Plot synopsis.
In the premiere issue, the character of Omega is shown as the last surviving member of an unnamed alien race. He escapes the mechanical beings who have devastated his planet in a ship headed to Earth. The story then cuts to James-Michael waking up in bed having dreamed the events that just occurred with Omega.
In his waking world, James-Michael and his parents are moving to New York City from the mountains so he can improve his socialization skills after years of home-schooling. En route to New York the Starlings' car is driven off the road and both of James-Michael's parents are killed, but not before the boy discovers that both of them were robots. James-Michael collapses into a coma and awakens a month later in a private hospital exhibiting an eerie lack of emotional response to his parents' deaths. The hospital is later attacked by one of the mechanical beings that destroyed Omega's home world, and Omega himself appears to defend James-Michael. The superhero and the android fight but the conflict ends when James-Michael himself destroys the alien mechanism with energy bursts from his hands (an effect used by Omega in James-Michael's dreams).
After this beginning, the story follows James-Michael's life as he is fostered to two young women in the Hell's Kitchen neighborhood of New York City. The series explores the problems he encounters in a strange new place, and his trials and friendships in a New York City public school. Issues of racism and bullying are addressed, although the stories' focus is on how the reserved and detached James-Michael relates to the world around him.
Meanwhile, Omega the Unknown becomes a superhero figure in New York City, tending to fight only second-string supervillains (though he did once confront the Hulk) with a variety of outcomes. Otherwise, Omega tends to appear when James-Michael is in danger and then takes a more proactive role. As the series progresses Omega and James-Michael eventually meet and interact, although the nature of their relationship remains unclear. Omega himself is killed in the 10th and final issue, leaving the mysteries of the story unresolved.
Fictional character biography.
Omega the Unknown is a humanoid being of superhuman power bio-engineered by an extraterrestrial mechanoid race named the Protar, from the planet Protaris in the Regreb System in the Milky Way Galaxy. The Protar, foreseeing their own extinction, decided to create an ideal race of true humanoids as their legacy to the cosmos. Their penultimate model, later called Omega, was placed on the planet Srenesk (an anagram of series co-writer [Mary] "Skrenes") to learn. He commandeered a Protar starship and fled to Earth after inadvertently destroying the world on which he was placed. The Earth was the home of the final "model" in his series, the artificially created boy James-Michael Starling, whom Omega sought to protect from the Protar.
While on Earth, Omega was employed for odd jobs by a New York City pawn-broker, and had a number of battles with local beings. He battled the Hulk, Electro,the Blockbuster, and Nitro. While later embroiled in a rematch with Blockbuster, the second Foolkiller saved Omega's life by murdering Blockbuster.
Omega was finally shot dead in Las Vegas by the Las Vegas Police while battling Ruby Thursday; the police thought Omega was assaulting Ruby. James-Michael Starling, who had inherited Omega's power, learned the true origin of himself and Omega but refused to accept the truth. He threatened to use the power of Earth's biosphere against the Defenders. Seeing the error of his decision, he ended his own life when he turned the power inward and self-destructed.
Powers and abilities.
Omega was created through Protarian technology, and has superhuman strength. He has limited psychokinetic abilities, and has a psionic rapport with other Protarian organic creations.
Omega was educated as a warrior on the planet Srenesk, trained in the fighting skills of a Srenesk warrior. The extraterrestrial Sreneskian endowed him with the ability to draw upon the psionic energy of the biosphere to project energy bolts from his hands and fly. Using biospheric energy beyond a certain level could result in global destruction.
Reception.
In 2010, Comics Bulletin ranked Gerber and Mooney's run on "Omega the Unknown" tenth on its list of the "Top 10 1970s Marvels".
Comic Book Resources placed Omega the Unknown as one of "15 Superheroes Marvel Wants You To Forget", stating "his complicated history makes it exceedingly unlikely that he'll return to the Marvel universe."
2007 series.
Novelist Jonathan Lethem and artist Farel Dalrymple revived Omega the Unknown in a 10-issue limited series published in 2007. Lethem was a childhood fan of the first "Omega" series, and referenced the character in his 2003 novel "The Fortress of Solitude". When asked about Omega's appeal, Lethem stated,
After hearing of Lethem's plans to revive Omega, the character's co-creator Steve Gerber expressed personal outrage over the use of the character without his participation, though he and Mary Skrenes later discussed the project with Lethem and Gerber admitted that he had "misjudged" him.
The first issue of the revamped "Omega the Unknown" was published in October 2007, and Marvel released another issue each month until the 10th was published in July 2008. All 10 issues have been collected and reprinted in a single volume.
The series was nominated in the "Best Limited Series" and "Best Lettering" categories in the 2009 Eisner Awards. An excerpt was selected by Neil Gaiman to be anthologized in "The Best American Comics 2010".


Devil on Deck

Devil on Deck is a 1932 Pre-code talking film directed by Wallace Fox and starring Reed Howes and Molly O'Day. It was produced and distributed by Sono Art-World Wide Pictures, a B-movie studio that turned out occasionally some successful pictures like "The Great Gabbo".
Story.
As this is a lost film, not even the AFI has any story or plot on it. By the promotional material that survives, it's a typical South Seas story found all over the silent film era just a few years before sound arrived. The cast is made up mostly of silent film veterans.


Order of Merit (Malaysia)

The Order of Merit () is a Malaysian federal award presented for those who have made significant contributions in art, science or humanity and are renowned at national and international level. This award was instituted on 26 June 1975.
About the award.
This order does not carry any title and is conferred on Malaysian citizens only. The recipients are those who have made significant contributions in art, science or humanity and are renowned at national and international level. This award is limited to ten living recipients only at any time and to date there have only been two recipients. It is worn around the neck.
The badge of the Order of Merit is round. On the surface is a white circle with the Malaysian Crest engraved in the centre and surmounted by the slogan "Bakti Untuk Negara" (English: "Serve the Nation"). The circle is enclosed by another circle and in between the two circles are five-pointed stars enclosed by a crescent moon. The badge suspends from a ribbon which has green and yellow stripes. The narrow stripes are yellow while the broader stripes are green.
Recipients.
Official source


Pythius of Priene

Pythius (), also known as Pytheos () or Pythis, was a Greek architect, architecture theorist, and sculptor of the 4th century BC. He designed the Temple of Athena Polias at Priene and the Mausoleum at Halicarnassus, which was regarded in antiquity among the Seven Wonders of the World. It is presumed that he came from the Greek city of Priene. The first-century BC roman architect Vitruvius called Pythius a "celebrated builder" ("de Architectura" I.1.12) and referenced lost treatises on architecture written in Greek by Pythius as sources for his Latin architecture manual "de Architectura" (I.1.15).
Architectural Theory.
The Discipline of Architecture.
Pythius' "Commentaries" are lost, but Vitruvius paraphrases his philosophy of architectural education, in which the architect should aim to be a polymath knowledgeable "in all the arts and sciences ("de Architectura" I.1.12)." Pythius was a pioneer because he "propounded the importance of architecture as a learned discipline and sought to establish standards for it."
Criticism of the Doric Order.
Pythius together with Arcesius and Hermogenes disparaged the Doric order, according to Vitruvius (IV.3.1), for the "faults and incongruities" caused by the frieze of triglyphs, which required altering the regular spacing of columns at the corners ("the Doric corner conflict"). Pythius, who worked in Ionia, appears to have used the Ionic order exclusively.
Grid Planning.
The plan for the Temple of Athena Polias at Priene is based on a regular grid with uniformly spaced columns and marks an important development of the grid plan in Greek architecture. J.J. Pollitt called Pythius' grid-based design "'order' in an extreme degree" and a display of "a kind of icy, intellectual elegance." The grid designs of Pythius were a major influence on the Hellenistic architect Hermogenes.
Works.
The Mausoleum at Halicarnassus.
Pythius and Satyros were the co-designers of the Mausoleum at Halicarnassus (modern-day Bodrum, Turkey), the tomb for the Carian king Mausolus. The Mausoleum was covered in statues and reliefs by four important 4th-century Greek sculptors: Leochares, Bryaxis, Scopas of Paros, and Timotheus. Pythius, however, is credited with sculpting the great marble quadriga on top of the structure, fragments of which survive and are today displayed in the British Museum.
Temple of Athena Polias at Priene.
An inscription on an anta of the Temple of Athena Polias at Priene, which today is in the British Museum, records Alexander the Great as the temple's dedicator ca. 330 BC. The temple was not completed until much later.


List of Maryland state historical markers in Dorchester County

This is a list of the Maryland state historical markers in Dorchester County.
This is intended to be a complete list of the official state historical markers placed in Dorchester County, Maryland by the Maryland Historical Trust (MHT). The locations of the historical markers, as well as the latitude and longitude coordinates as provided by the MHT's database, are included below. There are currently 19 historical markers located in Dorchester County.


Udi Davidi

Udi Davidi () is an Israeli singer, musician, lyricist and composer.
Biography.
Udi Davidi was born on April 25, 1975, and grew up in the Israeli city of Kedumim. When he was about 15, he met Lilach, the woman who he would later marry, through the Bnei Akiva youth groups. Today he lives with his family on a farm in Ma'on, Har Hebron, in the hills of Judea, where he raises sheep and composes music.
Music career.
Davidi began his musical career in 2004, when he released his first album, "Speak to Him".
In 2006 his second album, "Coming Back to You", was released. In 2008 his third album, "Time For Everything", came out, following the style of its predecessors. His fourth album, "Good Spirit", was released in 2009 and served as a breakthrough in reaching the general public. The first track on the album, titled "Withholding Your Voice" was broadcast repeatedly on several Israeli radio stations, and nominated on two of them for the Discovery of the Year award. In 2011 Davidi's fifth album, "Beloved Son", was released. It includes a duet with popular Israeli singer Shlomi Shabat. His sixth album entitled "Waiting For Silence" was released in 2014. "Orot Gevohim," Davidi's seventh album, was released in time for the High Holidays of 2015.
His third album sold over 10,000 copies and was picked for the Galgalatz playlist. He has written songs with his wife Lilach Davidi. He plays drums and often performs playing drums and singing simultaneously.
Davidi has music on the CD "Israel's Greatest Hits 2010". He also appears on the compilation CD "Kumzitz for Yeshiva Bochurim, in Eretz Yisroel".
During Hanukkah 2008 he appeared in the musical production of Hershele in Chelm (a "kosher" and educational alternative to the secular Hanukkah extravaganzas), for which he wrote the title song. Davidi performed for over 8,000 people at a celebration to honor the Garinim Torani'im program. The audience included soldiers and their families as well as several ministers and members of Knesset. His music is featured on Breslev Beams Radio, an internet radio station.
Davidi often writes about the relationship between God and man, and is influenced by the teachings of Rabbi Nachman of Breslov.


List of Tenjho Tenge music

This article lists the soundtracks attributed to the series "Tenjho Tenge".
Tenjho Tenge - Great Disc 1.
The Tenjho Tenge original soundtracks by various artists. It was arranged by DJ Fumiya and composed by Fumihiko. The album was released in Japan by Avex on September 29, 2004, and was released in North America by Geneon.
Bomb A Head!V.
Tenjho Tenge Single by the artist m.c.A.T. It was arranged by DJ Fumiya and composed by Akio Togashi. It was released in Japan on August 18, 2004, by Avex.
Tenjo Tenge Character Collection EXTRA BOUT.1.
Tenjho Tenge first character collection album by various artists. It was composed by Yupa. It was released in Japan on January 19, 2005, by Avex.
Tenjo Tenge Character Collection EXTRA BOUT.2.
Tenjho Tenge second character collection album by various artists. It was composed by Decky-Kenji. It was released in Japan on January 19, 2005, by Avex.


Stephen Avenue

Stephen Avenue is a major pedestrian mall in downtown Calgary, Alberta, Canada. The mall is the portion of 8 Avenue SW between 4 Street SW and 1 Street SE. It is open to vehicles only from 6:00 p.m. to 6:00 a.m.
The street is known for some of Calgary's finest restaurants, cafés, pubs and bars. The street also provides an eclectic mix of boutiques and high-end retail. Major shopping centres include The Core Shopping Centre, (formerly Calgary Eaton Centre/TD Square), Bankers Hall, Fashion Central, Scotia Centre, and The Bay department store.
The street is also home to downtown Calgary's major convention and exhibition facility, the Telus Convention Centre, and two hotels, the Hyatt Regency Calgary, which incorporates several historic buildings into its facade, and the Calgary Marriott.
History.
The street was named after George Stephen, 1st Baron Mount Stephen, the first president of the Canadian Pacific Railway. Stephen Avenue contains a high concentration of registered historic buildings and the street itself was declared a Canadian historic site in 2002. Many of these building are made of sandstone that was quarried locally from the Paskapoo Formation; a result of the construction of fire-resistant buildings following a fire in 1886 that damaged many of the city's earlier wooden structures.


Howard Benson production discography

The following list is a discography of production by Howard Benson, a Grammy Award-nominated record producer.


Thomas Byerley (potter)

Thomas Byerley (1747 – 11 September 1810) was an English businessman, a partner in the Wedgwood pottery firm. He was successful whilst his uncle oversaw the finances.
Life.
He was the son of Thomas Byerley (son of Nicholas Byerley of Muggleswick Grange and Hedley) and Margaret Wedgwood, the daughter of Thomas Wedgwood III and sister of Josiah Wedgwood. In 1768 he emigrated to America but returned in 1775 and became a clerk at Etruria, where he became a salesman. He ran the London showroom and shop, latterly called Wedgwood & Byerley. After Josiah Wedgwood I's death in 1795 and after Josiah Wedgwood II moved away he was left in charge of Etruria Works.
Thomas and his wife had successfully run the showroom but Josiah Wedgwood had managed the money. When their uncle Josiah died in 1795 the business ceased to thrive. Maria Byerley and her sister, Frances, started a school to provide for their own upkeep. The school in Warwick was financed initially using Wedgwood bequests and a further loan from the Wedgwood family.
Family.
He married Frances Bruckfield 12 January 1782. They had 12 children:


Harel

Harel is both a surname and a given name. Notable people with the name include:


List of cultural icons of the Netherlands

The List of cultural icons of the Netherlands is a list of links to potential cultural icons of the Netherlands .


Margules

Margules is a surname that, like its variants shown below, is derived from the Ashkenazi Hebrew pronunciation of the Hebrew word (Israeli Hebrew [maɹgali'jot]), meaning 'pearls,' and may refer to:


Samson coat of arms

Samson is a Polish coat of arms. It was used by several szlachta families in the times of the Polish–Lithuanian Commonwealth.
Notable bearers.
Notable bearers of this coat of arms include:


Cumberland House Provincial Park

Cumberland House Provincial Park is a located in Cumberland House, Saskatchewan, Canada, on the site of the first inland Hudson's Bay Company post in Saskatchewan and the oldest village in the province. A powder magazine shed (used to store explosives) built in 1886 and artifacts from the HBC Northcote steamship are the remaining historic elements on the site.
The site was designated a National Historic Site of Canada in 1924, and was protected as a historic park by the provincial government in 1986.
History.
Cumberland House was established in 1774, and was an important stop for the transport of good and passengers by steamship along the Saskatchewan River on routes between Grand Rapids, Manitoba on Lake Winnipeg and Edmonton and Medicine Hat to the west. It also served as a stop for smaller steamships that operated between The Pas and Prince Albert. Due to the arrival of the railway, steamship travel came to an end and the Northcote was beached at Cumberland House in 1886. It also served as an important transit point for copper ore from Flin Flon until the railway arrived in Flin Flon in 1925. Cumberland House was also an important administration and distribution centre as the Hudson's Bay Company until 1821 when the Hudson Bay Company and the North West Company merged and Norway House became the new inland headquarters.


Osbeorn Bulax

Osbeorn, also spelled Osbjorn and Osbert (died c. 1054), given the nickname Bulax, was the son of Siward, Earl of Northumbria (died 1055). He is one of two known sons of Siward, believed to be the older. While it is normally assumed he was the son of Siward's Bamburgh wife Ælfflæd, it has been suggested by William Kapelle that Osbeorn's mother was not Ælfflæd. The nickname "Bulax" probably represents the Old Norse term for "Poleaxe".
According to the most reliable sources, he died at the Battle of the Seven Sleepers, fought somewhere in Scotland between Siward and Mac Bethad mac Findlaích, King of the Scots, in 1054. Under this year, the "Anglo-Saxon Chronicle", recension D, related that: "At this time earl Siward went with a great army into Scotland, with both fleet and a land-force; and fought against the Scots, and put to flight the king Mac Bethad, and slew all that were best in the land, and brought thence much war-spoil, such as no man obtained before;   And there were slain his son Osbeorn, and his sister's son Siward, and some of his housecarls, and also of the king's, on the day of the Seven Sleepers (July 27)."   This battle was fought somewhere in Scotland north of the Firth of Forth, and is known variously as the "Battle of the Seven Sleepers" or the "Battle of Dunsinane". The location Dunsinane is not accepted as historical by modern historians, resting as it does on later medieval accounts. The earliest mention of Dunsinane as the location of the battle being the early 15th-century account by Andrew of Wyntoun.
In recension C of the "Anglo-Saxon Chronicle", the names of the slain are omitted, an omission repeated by the "Chronicle" of John of Worcester.
Henry of Huntingdon related that Osbeorn had been sent to Scotland ahead of Siward:"[Siward] sent his son to acquire Scotland. And when they reported to his father that he had been slain in battle, [Siward] said, 'Did he receive the mortal wound in front of his body, or behind?' The messengers said. 'In front'. And he replied: 'I rejoice wholly, for I would deem myself or my son worthy of no meaner death'. Siward therefore marched into Scotland and conquered the king battle ... " Another legendary account, in the "Vita et Passio Waldevi", a hagiography of Osbeorn's brother Waltheof, claimed that Osbeorn, called "Osbert Bulax", was killed by Northumbrians while his father was absent in Scotland. The accounts in Henry of Huntingdon and the "Vita et Passio Waldevi" are thought to be derived from a saga devoted to the life of Earl Siward.
Geoffrey Gaimar's account related activity in 1053, an agreement made between Siward and Mac Bethad, but a death of Osbeorn is not mentioned.
Osbeorn's death left Siward's legacy in danger. When he died the following year, his only surviving son Waltheof (Osbeorns baby brother) was underage and thus did not succeed immediately to the whole territory ruled by Siward, Northumbria going instead to Tostig Godwinson.
Osbeorn Bulax was fictionalised as Young Siward in the tragedy "Macbeth" by William Shakespeare.


Wulfnoth Godwinson

Wulfnoth Godwinson (1040-1094) was a younger brother of Harold II of England, the sixth son of Godwin.
Biography.
Wulfnoth was given as a hostage to Edward the Confessor in 1051 as assurance of Godwin's good behaviour and support during the confrontation between the earl and the king which led to the exile of Godwin and his other sons. Upon Godwin's return to England at the head of an army a year later, following extensive preparations in Ireland and Flanders, Norman supporters of King Edward, and especially Archbishop Robert of Jumièges fled England. It is likely at this point that Wulfnoth (and Hakon, son of Svein Godwinson, Godwin's eldest son) were spirited away by the fleeing archbishop, and taken to Normandy, where they were handed over to Duke William of Normandy.
According to "Historia novorum in Anglia" by English historian Eadmer, the reason for Harold's excursion to Normandy in 1064 or 1065 was that he wished to free Wulfnoth as well as his nephew Hakon. To this end he took with him a vast amount of wealth, all of which was confiscated by Count Guy I of Ponthieu when Harold and his party were shipwrecked.
However, Harold's reasons for travelling to the continent are not clear, and there are other reasonable explanations, not the least of which was a sounding out among continental magnates of a response to his own intention to ascend the English throne at one point, given Edward's advanced age and lack of heir. When later Harold allegedly swore an oath to William agreeing to become his vassal and to support his succession to the English crown, one of the promises made by William in return, according to Eadmer, was that Wulfnoth would be returned safe and sound when William had become king. Harold's assumption of the crown broke this alleged agreement and Wulfnoth was not released until 1087, by the dying King William I in an amnesty. He was only freed briefly, before King William II Rufus took him to confinement in England.
Of course, there are many other explanations of Wulfnoth's enduring captivity. Even following William's victory at Hastings (1066) over Harold and crowning as King of England in London later that year, England's pacification remained uncertain. William may have held Wulfnoth as hostage against a resurgence of a remnant of Godwinson power.
Wulfnoth stayed in sometimes comfortable, if not enviable, captivity in Normandy and later in England, and died in Winchester in 1094, still a prisoner.
Popular culture.
On screen, Wulfnoth was portrayed by actor British actor Michael Pennington in the two-part BBC TV play "Conquest" (1966), part of the series "Theatre 625".


Hurt-M-Badd production discography

The following is a production discography of American singer and record producer Tyrone "Hurt-M-Badd" Wrice. It includes a list of songs produced, co-produced and remixed by year, title, artist and album.


The Brass Check (film)

The Brass Check is a lost 1918 American silent comedy-drama film directed by Will S. Davis and starring Francis X. Bushman and Beverly Bayne. Metro Pictures produced and distributed the film.
Plot.
As described in a film magazine, ordered out of the family home because he refused to marry the woman selected by this father Silas Trevor (Currier), Richard Trevor (Bushman) finds himself out in the world without funds or a way of earning some. Becoming a detective, he finds a suitcase check and follows this clue to a private insane asylum. There he helps Henry Everett (Joyner) escape. Richard than assists Everett and his sister Edith (Bayne) across the state line, but then returns to line up the men who made Everett their victim. Richard is surprised to find that his own father was at the bottom of the scheme, and that Everett was being held at the asylum because he had discovered a method of manufacturing rubber but refused to sell it. In a clever way Richard has his father pay a high price for Everett's patent, and then introduces Edith as future wife.
Reception.
Like many American films of the time, "The Brass Check" was subject to cuts by city and state film censorship boards. For example, the Chicago Board of Censors required a cut, in Reel 2, of the boy picking up a pocketbook and running to corner with the same, Reel 4, closeup of man taking rings and following view of him placing them in pocket, and the closeup of an open drawer showing money and following scene with burglar placing money in pockets.


Lope de Rueda

Lope de Rueda (c.1510–1565) was a Spanish dramatist and author, regarded by some as the best of his era. A versatile writer, he also wrote comedies, farces, and pasos. He was the precursor to what is considered the golden age of Spanish literature.
His plays are considered a transitional stage between Torres Naharro and Lope de Vega.
Early life.
He was born early in the sixteenth century in Seville, where, according to Cervantes, he worked as a metal-beater. His name first occurs in 1554 as acting at Benavente, taking mainly comic roles. Evnetually he got to be, between 1558 and 1561, manager of a strolling company which visited Segovia, Seville, Toledo, Madrid, Valencia and Córdoba. Cervantes, a child at the time, recalled having seen him and his company perform.
Works.
His works were issued posthumously in 1567 by Timoneda, who toned down certain passages in the texts. de Rueda's more ambitious plays are mostly adapted from the Italian; in "Eufemia" he draws on Boccaccio, in "Medora" he utilizes Giancarli's "Zingara" as well as Byzantine motives, in "Arinelina" he combines Raineri's "Attilia" with Cecchi's "Servigiale" to create a satirical work ridiculing the superstitions current among Andalusians, and in "Los Engañados" ("The Deceived") he uses "Glingannati", a comedy produced by the Intronati, a literary society at Siena - itself ultimately derived from Plautus' "Menaechmi". These follow the original so closely that they give no idea of de Rueda's talent; but in his "pasos" or prose interludes he displays an abundance of riotous humour, great knowledge of low life, and a most happy gift of dialogue. His works in the genre include "Las accitunas" ("The Olive Trees"). "Cornudo y contento" ("Cuckolded and Content"), "El condidado" ("The Guest"), "Los criados" ("The Servants"), and "Los lacayos lardones" ("The Thieving Lackeys").
"Discordia y cuestion de amor" ("Discord and a Question of Love") is a rhymed pastoral play. "Auto de Naval y Abigail" ("The Story of Naval and Abigail") is an Auto sacramental play based on the Bible.
He disdained the use of bombastic language and what he considered an excessive use of deus ex machina by other playwrights.
His predecessors mostly wrote for courtly audiences or for the study; de Rueda with his strollers created a taste for the drama which he was able to gratify, and he is admitted both by Cervantes and Lope de Vega to be the true founder of the national theatre.
His works have been reprinted by the marqués de Fuensanta del Valle in the "Colección de libros raros curiosos", vols. xxiii. and xxiv.
Modern adaptation.
Nineteen of the 26 pasos were translated into English between 1980 and 1990 by Joan Bucks Hansen, and staged by Steve Hansen and the St. George Street Players of St. Augustine,FL where they were performed nightly for five years in the city's restored Spanish Quarter; and they presented seven of the translations in 1984 at the Ninth Siglo de Oro Festival at Chamizal.
Personal life.
He was twice married; first to actress, singer and dancer, Mariana, who had spent six years as a performer in service to the frail and infirm Don Gaston, Duke de Medinaceli, an avowed friar and cleric, whose estate was the subject of a lawsuit filed by Lope de Rueda on his wife's behalf laying claim to six years of back wages. de Rueda's second marriage was to Rafaela Angela, a Valenciana and woman of property, who bore him a daughter.
Death.
In Córdoba, de Rueda fell ill, and on 21 March 1565 made a will which he was too exhausted to sign; he probably died shortly afterwards, and is said by Cervantes to have been buried in Córdoba cathedral.


Arkansas lunar sample displays

The Arkansas lunar sample displays are two commemorative plaques consisting of small fragments of Moon specimen brought back with the Apollo 11 and Apollo 17 lunar missions and given in the 1970s to the people of the state of Arkansas by United States President Richard Nixon as goodwill gifts.
Description.
Apollo 11.
The Arkansas Apollo 11 lunar sample plaque display consists of four "Moon rock" rice-size particle specimens that were collected by Apollo 11 astronauts Neil Armstrong and Buzz Aldrin in 1969, and a small Arkansas state flag that was taken to the Moon and back on Apollo 11.
The four "Moon rocks" weigh about 0.05 grams total and are entirely enveloped in a clear plastic button the size of a coin which is mounted to a wooden board approximately a foot square on a small podium pedestal display. The small podium plaque display also has mounted on it a small Arkansas state flag that had been taken to the Moon and back, which lies directly below the "goodwill Moon rocks". The small podium plaque display was given to the people of the state of Arkansas as a gift by President Richard Nixon. Similar lunar sample displays were also distributed to all the other states of the United States and all the countries (at the time) of the world.
The messages at the bottom of the wooden podium plaque display read
First message:
Second message:
Apollo 17.
The Arkansas Apollo 17 lunar sample display commemorative style plaque, measuring 10 by 14 inches, consists of one "Moon rock" particle specimen that was cut from lunar basalt 70017 and an Arkansas state flag. The basalt 70017 was collected by Apollo 17 astronaut Harrison Schmitt on the Moon in 1972. Once lunar basalt 70017 was brought back to Earth from the Moon, the basalt Moon rock was cut up into small fragments of approximately 1 gram. The piece of "Moon rock" given to Arkansas weighed about 1.142-gram (0.0025 lb). The specimen was encased in a plastic ball that was mounted on the wooden plaque along with the Arkansas state flag which had been taken to the Moon and back by the crew of Apollo 17. The plaque was then distributed in 1973 by President Richard Nixon to the state of Arkansas as he did that year to the other 49 states (the same as for the Apollo 11 plaque gifts). This was done as a goodwill gesture to promote peace and harmony.
History.
The Arkansas Apollo 17 lunar sample display was first presented to Arkansas governor David Pryor in 1976 and the people of the State of Arkansas. Bill Clinton succeeded Pryor as Governor of Arkansas. Valued at several million dollars, the Arkansas Apollo 17 lunar sample display with the "goodwill Moon rock" was reported missing around 1980 when Clinton lost his first re-election as Governor of Arkansas. Apparently the memorial plaque with the "Moon rocks" had been packed away with Clinton's gubernatorial papers and was forgotten about for some 30 years.
It was rediscovered in 2011 by an archivist, according to the director of the Central Arkansas Library System. The archivist found it in a box of Clinton's gubernatorial materials in the basement of the Butler Center for Arkansas Studies in Little Rock, which is a joint operation with the Central Arkansas Library System. The plastic ball container with the Moon rock encased within it was originally attached to the wooden plague, but was broken off when it was found lying at the bottom of the box of Clinton's gubernatorial materials. (It has since been reattached.)
How the Arkansas Apollo 17 lunar sample display with the "goodwill Moon rock" got in a box of gubernatorial materials belonging to Clinton is unclear. The director of the Central Arkansas Library System speculates that when Clinton became governor in 1978, the previous governor who had received the "goodwill Moon rock" plaque display from President Nixon left it in the office in Clinton's care. When Clinton lost re-election in 1980, everything was packed up in 2,000 boxes and stored away, including the Arkansas Apollo 17 lunar sample display. Some 30 years later when an archivist was prowling through these boxes he stumbled across the display and immediately recognized what it was. He turned it over to his director, who in turn turned it over to the appropriate authorities for display at the Arkansas Museum of Discovery in Little Rock.
According to Moon rocks researcher Robert Pearlman, the Arkansas Apollo 11 lunar sample display is also housed at the Arkansas Museum of Discovery.


The Man from Funeral Range

The Man from Funeral Range is a lost 1918 American silent Western film directed by Walter Edwards and written by Monte M. Katterjohn and W.E. Wilkes. The film stars Wallace Reid, Ann Little, Lottie Pickford, Willis Marks, Tully Marshall, and George A. McDaniel. The film was released on October 6, 1918, by Paramount Pictures.
Reception.
Like many American films of the time, "The Man from Funeral Range" was subject to cuts by city and state film censorship boards. For example, the Chicago Board of Censors required cuts, in Reel 2, of the young woman shooting the man and, in Reel 4, two scenes of an attack on a guard.


The Romance of Elaine

The Romance of Elaine is a 1915 American silent adventure film serial directed by George B. Seitz, Leopold Wharton and Theodore Wharton, based on the novel by Arthur B. Reeve. The film is considered to be lost.


Kwanumsa (Kaesong)

Kwanŭm-sa is a Korean Buddhist temple located within Taehung Castle on Mt. Chonma near Kaesong, North Korea. The site is one of the National Treasures of North Korea. Named after Guanyin, the buddhist bodhisattva of compassion, this small temple is located in the beautiful valley between Mts. Chonma and Songgo. The temple was founded in 970 when a monk deposited two marble statues of the goddess in a cave behind the temple's current location. The temple itself was constructed in 1393 under the Koryo Dynasty, and later renovated in 1646 under the Joseon. The site contains many ancient relics, including a seven-story pagoda from the Koryo dynasty and the ancient Guanyin statues in Kwanum Cave. The doors of the main shrine, known as the Taeung Hall, are decorated with carved flowers and leaves; an old legend relays why the decorations on one door are unfinished. During the reconstruction of the temple during the Joseon dynasty, one of the main carvers was a twelve-year-old boy named Unna, famed for his skill in carving. One day, while working on the temple, he heard his mother was seriously ill, and asked to be allowed to visit her. He was refused, and his mother died shortly after. He blamed himself and his skillful hands for his mother's death, and so out of grief used his carving axe to chop off his hand. He then disappeared into the forest, never to be seen again. Today, a carving of a boy with one hand ascending to heaven on the back of a white tiger can still be seen on the unfinished door.


Thurbrand the Hold

Thurbrand (; fl. 1010s), nicknamed "the Hold", was a Northumbrian magnate in the early 11th-century. Perhaps based in Holderness and East Yorkshire, Thurbrand was recorded as the killer of Uhtred the Bold, Earl of Northumbria. The killing appears to have been part of the war between Sweyn Forkbeard and Cnut the Great against the English king Æthelred the Unready, Uhtred being the latter's chief Northumbrian supporter. Thurbrand may also have attested a charter of 1009 and given a horse to Æthelred's son Æthelstan Ætheling. The killing is the first known act, if it did not initiate, a bloodfeud between Thurbrand's family and Uhtred going into the time of Earl Waltheof. It is possible that Holderness took its name because of Thurbrand's presence or ownership of the peninsula.
Background.
Thurbrand's "floruit" lay in the reigns of Æthelred (978–1016), Sweyn Forkbeard (1013–1014) and Cnut (1016–1035). The "Historia Regum" and "Chronicle" of John of Worcester say that Thurbrand was a "Danish nobleman" ("nobilo et Danico viro") His title, that of "Hold", derives from an office said by the "Norðleoda laga" ("Law of the North People") to have been equal in wergild to a royal high-reeve, above a thegn but below an ealdorman. There is a strong possibility that Thurbrand ruled Holderness (see below).
In a charter of 1009, recording King Æthelred's grant of land in Derbyshire to a thegn named Morcar, the 26th thegn on the witness list is named Thurbrand ("Þurbrand"). In the will of Æthelstan Ætheling, dating to 1014, a "Þurbrand" is said to have given the ætheling a horse. It is possible that either or both are Thurbrand the Hold.
According to the late 11th- or early 12th-century Durham tract called "De Obsessione Dunelmi", Thurbrand was the "leading enemy" of Styr son of Ulf. The same source says that Styr was a "wealthy citizen", perhaps of the city of York, and he was notable according to the "Historia de Sancto Cuthberto" and the "Libellus de Exordio" for giving Darlington and other lands to the church of Durham. "De Obsessione"e says that the Earl of the Northumbrians Uhtred the Bold married Styr's daughter Sige on the condition that he would kill Thurbrand, becoming "a kind of contract killer" [Fletcher]. It becomes apparent however that Uhtred failed to carry out his task—although it is presumed he tried—as Thurbrand lives to slay Uhtred.
Killing of Uhtred.
"De Obsessione" relates that Uhtred had taken King Æthelred's daughter Ælfgifu as his new wife, perhaps as part of a deal made by the king in order to ensure Uhtred's loyalty against Sweyn Forkbeard and Cnut or else as a reward for loyalty already proven. "De Obsessione" goes on to describe Earl Uhtred's death at the hands of Thurbrand: After King Æthelred's death, when Cnut had laid hands upon the whole kingdom of England, he sent to the earl ordering him to come to him as his new lord. He did so, having accepted safe conduct for his journey and return. On the appointed day, he entered the king's presence at "Wiheal" to discuss terms of peace; through the treachery of a powerful king's thegn, Thurbrand, known as "Hold", the king's soldiers who had hidden behind a curtain spread across the width of the hall, suddenly sprang out in mail and slaughtered the earl and forty of his chief men who had entered with him. The "Anglo-Saxon Chronicle" versions C D and E, John of Worcester's "Chronicle" and the "Historia Regum" add that one of the nobles killed with Uhtred was Thurcytel son of Nafena. The sources indicate that Cnut had been behind the killing, following it up with the appointment of Eric of Hlathir as earl.
The killing has been dated to 1016, as this is the year it falls under in the "Anglo-Saxon Chronicle", the "Chronicle" of John of Worcester and the "Historia Regum". Historian A. A. M. Duncan has argued that this date is unreliable. The "Anglo-Saxon Chronicle", reflecting closely the source for the "Historia Regum" and the Worcester "Chronicle" on this entry, does not say that Uhtred died in this year, merely adding as an aside that Uhtred and Thurcytel were later killed despite having submitted to Cnut in this year. The location of this killing is given as "Wiheal". This has been identified as Wighill, a place just north-west of the Roman road north of Tadcaster but south of York. This identity however is far from secure, an alleged weak point being that the early spellings of Wighill (e.g. "Wichele") do not resemble "De Obsessione"'s "Wiheal" very closely. Another possibility is Worrall near Sheffield, spelled "Wihala" and "Wihale" in the "Domesday Book".
Death and legacy.
If "De Obsessione" is to be believed, Thurbrand met his death at the hands of Uhtred's son, Ealdred. This is thought to have occurred around 1024. One son of Thurbrand is known, Carl. Carl was known to have had four sons; two of them, Cnut and Sumarlithr, are known definitely by name, and the eldest is thought to have been Thurbrand of Settrington, whose land was taken by Berengar de Tosny after the Norman conquest of Northumbria. As some of Thurbrand's descendants, Cnut in particular, held land in the East Yorkshire peninsula of Holderness, it has been suggested that Thurbrand may have been the hold from whom the peninsula gained its name, "Cape of the Hold".
Ealdred was killed by Carl, and two of Carl's sons in turn were killed by Ealdred's grandson Earl Waltheof. The multi-generational feud allegedly behind all these killings are the subject of Richard A. Fletcher's "Bloodfeud: Murder and Revenge in Anglo-Saxon England", published in 2002 by Penguin Books. Fletcher's fellow historian William E. Kapelle had argued that these events do not signify a pre-existing bloodfeud at all. Kapelle thought that the dispute between Uhtred and Thurbrand was a result of Uhtred's attempt to control Yorkshire, and this led to the later bloodfeud. Fletcher rejected Kapelle's arguments, claiming that Kapelle misunderstood the context and created a false distinction between social and political conflict. William M. Aird and other historians have held that Thurbrand represented a "Scandinavian party", and Uhtred a "Wessex faction", while the dispute in general is taken as evidence of tension between ["English"] Northumbria north and ["Danish"] Northumbria south of the River Tees.


List of Doctor Who music releases

This is a list of music releases from and relating to the BBC television series "Doctor Who". It is split into two sections: One for soundtracks of music from the show and its spinoffs, and one for music relating to the series, mainly novelty or tribute releases.
Soundtrack music.
"Doctor Who".
There have been several LP and CD releases of music and sound effects over the years from the BBC television series "Doctor Who" by the BBC Radiophonic Workshop, freelance composers, and stock music.
Home video isolated scores.
Various stories have been released on DVD/Blu-ray by BBC Video/2 Entertain with isolated scores as an option during viewing.
Spinoffs.
Big Finish.
Music from the Big Finish range of audios.
Related music releases.
Over the years, there have been music releases that did not feature in the series, but are related to "Doctor Who", ranging from novelty spoofs to tributes to the series.


Walter Verco

Sir Walter John George Verco (18 January 1907 – 10 March 2001) was a long-serving officer of arms who served in many capacities at the College of Arms in London.
Biography.
Walter John George Verco was born in London on 18 January 1907. He was educated at Tollington Park Central School.
In 1954 he was appointed Rouge Croix Pursuivant of Arms in Ordinary. He was on the Earl Marshal's staff for the funeral of King George VI in 1952, the Queen's coronation in 1953, the funeral of Sir Winston Churchill in 1965 and the Investiture of the Prince of Wales in 1969. He was also appointed Earl Marshal's Secretary in 1961. In 1960, Verco was promoted to Chester Herald of Arms in Ordinary. He was promoted to Norroy and Ulster King of Arms in 1971. He was appointed Surrey Herald Extraordinary in 1980, a post he held until May 1996.
Verco was also Honorary Genealogist to the Royal Victorian Order.
Honours and appointments.
Verco was appointed a member of the Royal Victorian Order in 1952. He was advanced to the degree of Commander of the same Order in 1970, and was made a Knight Commander in 1981.


You All Are Captains

You All Are Captains (original title: Todos vós sodes capitáns) is a 2010 drama film written and directed by Oliver Laxe.
Synopsis.
A European filmmaker is making a movie with children living in a foster home for socially excluded youngsters in Tangier, Morocco. While filming, the director's unorthodox methods of working cause his relationship with the children to disintegrate to such a point that the initial course of the project is altered.


Dance in ancient Egypt

Dancing played a vital role in the lives of the ancient Egyptians. However, men and women are never depicted dancing together. The "trf" was a dance performed by a pair of men during the Old Kingdom. Dance groups were accessible to perform at dinner parties, banquets, lodging houses, and even religious temples. Some women from wealthy harems were trained in music and dance. They danced for royalty accompanied by male musicians playing on guitars, lyres, and harps. Yet, no well-bred Egyptian would dance in public, because that was the privilege of the lower classes. Wealthy Egyptians kept slaves to entertain at their banquets and present pleasant diversion to their owners.
History.
The oldest known depictions of dance in this region are found in Predynastic era rock carvings, a linen shroud, a wall painting, a clay model, and pottery in Upper Egypt. The earliest examples of Predynastic dancers come from pottery of the Badarian culture from the 5th millennium B.C. and Naqada I and Naqada II cultures from the 4th millennium B.C. The importance of dance appeared to lessen over time as dancing scenes became rare in the late Naqada period.
The first illustrations of dance in ancient Egypt come from scenes in Old Kingdom tombs of performers associated with funerals.
Researcher Irena Lexová authored the first monograph entirely on ancient Egyptian dance.
Dancers.
Professional groups of singers ("ḥsı͗t"), musicians ("ḥnı͗t" or "ḥnwt"), and dancers ("ḥbw") often performed at important festivals and funerary services. These groups were referred to in the Old and Middle Kingdoms as the "ḫnr" or "khener", which in context translates to "musical performers." "Khener" can also be used to describe a troupe of singers and dancers arranged through a bureau. Victorian scholars often confused the term "khener" with a harem due to poor understanding of the depictions and cultural differences. The "khener" are depicted as entertainers for religious ceremonies, entertaining the deceased kings, but the "khener" may not be solely religious. "Khener" were used at the Temples of Hathor, Bat, Wepwawet, and Horus Iunmutef. Some "kheners" were itinerant, traveling from their permanent seat to offer their services as indicated in the story of Ruddedet. Dancers also took on work outside performances in order to support themselves.
The main types of "ḫnr" thought to have existed are those associated with cults and temples, the king and funerary estates. The "ḫnr" appear to have been dominated and headed by females until the latter days of the Old Kingdom.
Foreign dancers and musicians became more represented in the New Kingdom. Scholars recognize these dancers' origins by costume, hairstyle, and names in texts among other attributes. They apparently could join an "ḫnr", but their participation may have been limited. Scenes in temple reliefs indicate that some cult performances were only reserved for elite Egyptian women.
Costumes and headdress of ancient Egyptian dancers.
Female dancers rarely wore the restrictive ordinary dress – a strapped white sheath starting at the bust and running down to the ankles. An exception in the Old Kingdom was for funeral dances. Old Kingdom dancers are not only depicted in dresses but in men's aprons with a scarf or men's skirts.
Middle and New Kingdom dancers never wore men's skirts, but did wear men's aprons without the scarf. By the New Kingdom, adult dancers appear more scantily clad, often wearing only a belt or scarf about their hips, sometimes with a transparent robe to allow observation of their bodies. New Kingdom dancers also wore variations of ordinary dress in their transparent broad long cloaks. Dresses often left the right breast exposed.
Dancers adorned themselves with bracelets and ribbons or garlands on their heads. Old Kingdom dancers would wear ribbons around their chests. New Kingdom dancers would wear floral collars, earrings and cones made of fragranced semi-solid fat or beeswax, used to give out a pleasant perfume as the dancers performed. Dancers' eyes were thickly outlined with kohl.
In the Old and Middle Kingdoms, women's hair dress was characteristically “evenly cut and smoothly combed down, divided into two thinner plaits hanging from the shoulders down to the chest and one broad plait covering the upper part of the back.” Female dancers who did not have long hair resorted to wearing wigs styled in the same fashion.
Female dancers are also depicted with a tattooed or painted symbol on their thigh of Bes, a god of fertility and childbirth affiliated with music and dance. It is unclear whether this decoration was unique to dancers or if women commonly had it applied.
Male dancers had short hair and typically wore the standard men's dress "viz." skirt; in the Old and Middle Kingdoms, they would also wear an apron with round edges in the front.
Among the ornaments male dancers would wear were collars or chains around their necks, whereas the younger boys wore bracelets on their feet.
Lexova also added that dancers of that era used a short curved stick or cane while dancing, which is a prop still used by modern Egyptian dancers.
Musical instruments.
Before the New Kingdom, dancers were mostly accompanied by clapping or percussion instruments. Afterward, performers could dance to a greater range of music with the introduction of stringed instruments like the lute and the lyre.
The ancient Egyptians used a vast array of musical instruments such as sistrums, harps, drums, flutes, cymbals, clappers, and tambourines that played a prominent role in melodic compositions of ancient Egyptians composers and musicians. It was rare to find wind or stringed instrument players close to dancers in the same scene. However, it was noted that whenever musicians are depicted, dancers were not generally far away.
Types of dancing.
Lexová set out classifications for the various dances of the period: the purely movemental dance, the gymnastic dance, the imitative dance, the pair dance, the group dance, the war dance, the dramatic dance, the lyrical dance, the grotesque dance, the funeral dance and the religious dance.
Dance scholar and performer Elizabeth "Artemis" Mourat also categorized dances into six types: religious dances, non-religious dances, banquet dances, harem dances, combat dances and street dances.
Solo, pair and group dances.
Ancient Egyptian dancers danced either as soloists, in pairs or in groups, depending on the occasion and type of the dance performed. Individual or solo dances included performances by the king or priests designated as his representatives. The king would perform the sun dance and he or his deputy danced at the harvest festival honoring Min of Koptos, a fertility god.
Pair dancing.
In pair dancing, two people of the same gender would perform together. This form of dancing was established by the 6th Dynasty. An image from this time depicted female pair dancers with canes. 5th Dynasty female dancers are shown to hold hands while performing in unison. The dances used symmetrical and dramatic movements and conveyed emotions such as longing or depression.
Group dances.
There were two types of Egyptian group dances. One was performed in individual movements that confirmed a theme or idea or was carried out spontaneously as in prehistoric times. Dancers competed with one another, often in groups, substituting movement that were later established in funeral dances rites.(Lexová 1935) A second type featured pairs or ranks of dancers who executed repetitive movements in a circle. Banquets and festivals often included performances by trained pair dancers.
Funeral dances.
Dances associated with funerals included ritual, postures and gestures and secular dances.
Old Kingdom performers included a specialized group of female dancers called “the acacia house.” Dances by the acacia house followed mummification and were aimed at appeasing the goddess Sekhmet and rejuvenating and mourning the dead. Khener dancers are often portrayed entertaining the rejuvenated deceased while he eats from the offering table.
The women in banquet scenes playing music and dancing for the deceased and his family, especially in New Kingdom tombs, were not all professional and sometimes included close family relations. The scenes reflected what was hoped to be replayed in the afterlife.
During the Middle and New Kingdom periods, a separate funeral dance was practiced dedicated to Hathor in the goddess's role as guide for the dead into the afterlife. It involved leaping or skipping and was accompanied by a sung or spoken prayer to the sounds of percussion, including the clapping of hands and sticks.
Another specialized troupe of sacred dancers, "mww" or muu dancers, existed across the Kingdoms. They performed at various points in the funeral, wearing kilts and crowns of woven reed or palm fiber that signified their role as ferrymen. The crowns themselves were cone-shaped and resembled the king's White Crown of Upper Egypt. Through their dance, they symbolically delivered the deceased to the netherworld. One researcher finds that the "dances... made by the sacred dancers at the door of... [the] tomb" in the Story of Sinuhe is named the "Dance of the Weary-ones." The title referred to the deceased's ancestors.
Dwarfs and pygmies.
Dwarfs and pygmies were known from the Old Kingdom and were prized for their rarity and as dancers were hired for special occasions. The dances they performed were farewell performances associated with the departure of the sun. The dwarfs were used as they were thought to represent the sun due to their stunted growth. There are indications that dancing dwarfs replaced "mww" dancers at the tomb entrance by the Twentieth Dynasty. Lexová notes an image of the dancers of the dwarf dances wearing similar crowns.
After the New Kingdom changes of tomb decoration took place funerary dances were no longer depicted on tomb walls but were found in temples instead. The dancing scenes portrayed in temples reflected both royal and divine ceremonies. All dancing scenes had one common feature that being the solemn procession of the sacred barks carrying a god.
Festive dances.
Among the festivals during which dancing took place the following are enumerated:


Order of Merit (Egypt)

The Order of Merit is an Egyptian order of merit.
History.
The Order of Merit was founded by the Regent on behalf of King Ahmad Fuad in 1953 as a general award for meritorious service.
Classes.
The order is composed of the following classes of merit :


Roman Kartsev

Roman Andreyevich Kartsev (, born Roman Antshelevich Katz (); 20 May 1939 – 2 October 2018) was a Russian entertainer of stage, theater and cinema.
He was Honored Artist of the RSFSR (1990), People's Artist of the Russian Federation (1999). Actor of the Moscow Theater of Miniatures under the leadership of Mikhail Zhvanetsky. For several decades he performed in a duet with (Kartsev and Ilchenko).
Roman Kartsev was born in Odessa to Sura-Lea (in life as Sonia) Ruvinovna Fuksman and Antshel Zelmanovich Katz. The maternal grandfather, after whom the artist was named, was a synagogue cantor. The spoken language in the family was Yiddish. Before the war, Roman lived with his parents in Tiraspol, where in 1939–1941 his father was a striker for the Tiraspol team in the second league of the USSR Football Championship. During the Great Patriotic War, together with his mother and brother was in evacuation in Omsk; the grandparents who remained in Odessa died. After the demobilization of the father in 1946, the whole family returned to Odessa.


Captain Starlight, or Gentleman of the Road

Captain Starlight, or Gentleman of the Road is a 1911 Australian silent film about the bushranger Captain Starlight. It was based on Alfred Dampier's stage adaptation of the 1888 novel "Robbery Under Arms".
It is considered a lost film.
Film.
It is possible to gauge some idea of the plot from contemporary reviews. One critic wrote that "plenty of relief in the way of comedy has been introduced; and whilst there are many grim incidents, these are not allowed to unduly obtrude themselves."
The film starts at the home of the Marston family. Some troopers, led by Sergeant Goring, are looking for Captain Starlight. Goring harasses Aileen Marston when a Mr Beresford appears. Beresford introduces himself as Captain Starlight and tells them to put their hands up. According to a contemporary report, "Sergeant Goring, with both hands in the air, carries the situation off with as much dignity as can be expected, but some of his men fall to the ground in terror."
Starlight and his friends go to the horse races at Turon where Starlight enters his horse Rainbow in the Goldfield Cup under the name Darkie. Starlight encourages all his friends to bet on the horse, but his jockey is found to be too drunk to ride and Starlight has to run the race himself. He wins but is chased off the course by police.
Starlight and his gang, including the vicious Dan Moran, hold up the mail coach at Rocky Rises. Moran robs a pretty young girl but Starlight points his revolver at him and persuades him to hand the young lady back her money. When Starlight discovers that the young lady has no other money apart from that on her possession, he takes her purse and puts a wad of bank notes in it, then restores it to her.
Later Sir Ferdinand Morringer is captured by Moran. He is tied to a tree at Terrible Hollow in order to make him confess where the money to pay the troopers has been concealed. Morringer will not tell so Moran starts beating him. The bushranger is about to kill Morringer when Starlight intervenes, overpowers Moran and sets Morringer free.
Moran is captured by the police. He leads Sergeant Goring and the troopers to Starlight's stronghold. During the final battle, Moran is mortally wounded but Starlight's life is saved by Warrigul, his faithful aboriginal servant who carries him across a river to safety.
Starlight and Dick Marston are subsequently pardoned for their crimes, due in part to the influence of Morringer. This happy ending was in contrast to the novel but consistent with the play adaptation.
Contemporary advertisements listed a synopsis of scenes and events. They were as follows:
According to contemporary reports the character of "Warrigul is always funny-except in the touching scene where, careless of his own life, he brings the wounded Starlight to a place of safety."
Cast.
According to a contemporary review, "the parts of Sir Ferdinand Morringer and of Sergeant Goring were played by two officials in the police force, who, as most people will agree, would have made their mark at acting had they not taken to the more prosaic business of preserving the peace." Warrigul was played by a white actor.
Original stage adaptation.
In collaboration with journalist Garnet Walch, Dampier adapted the novel into a play in 1890.
The play made some key changes to the story, such as:
The play drew heavily on the story of Ned Kelly and his family – in particular Constable Fitzpatrick's harassment of Kate Kelly, which inspired Goring's treatment of Martson – as well as the themes of the novel "Les Misérables".
It is considered likely Garnet Walch's main contribution to the play was providing a comic subplot.
The play was highly successful and was much revived during the 1890s and 1900s, including performances in London in 1894. Dampier played the role of Captain Starlight on stage many times to great acclaim, and it was the role he was most identified with during his career.
Alfred Rolfe, who later directed the movie, was well versed with the play, having played Sir Ferdinand Morringer in its first production, George Storefield in a revival, and Dick Marston in later productions. In 1893 he married Dampier's daughter Lily, who played Aileen Marston in numerous productions of the play.
The play was highly influential on bushranging drama as a genre, leading to a number of imitators such as Arnold Denham's "The Kelly Gang" (1899), which was likely the basis for the film "The Story of the Kelly Gang" (1906).
Production.
It is likely the name of the story was changed from "Robbery Under Arms" to avoid confusion with the 1907 film version of the novel which was still playing in cinemas.
Reception.
It appears the film was a success at the box office, screening in cinemas as late as 1917. The "Moving Picture World" called it "a brilliant success and record breaker, and highly eulogised by the press and public."
Critical response.
It also received good reviews, the "Sunday Times" saying "the 'chase scene' through the bush and across a lagoon is very realistic." The "Register" called it "a thrilling and absorbingly interesting story of Australian bush life, and several daring feats of horsemanship are displayed."
The "Sydney Morning Herald" stated that "one of the most applauded of the scenes... was the burning of the stables and the rescue of the horses, Starlight's Last Stand also excited enthusiasm."
The "Argus" said the film was:
A series of exciting incidents, situations, and escapades... sustained interest throughout and tells the story in a straightforward businesslike way, with a judicious mixture of comedy to relieve it from too great a weight of sensationalism. Much picturesque scenery is introduced, and many fine views of the bush are shown the most notable examples being Terrible Hollow, the Rocky Rises and the localities selected for the sticking up of the mail coach, and Starlight's last stand against the police.
US release.
It was released in the US in 1914 by Sawyers Inc as "The Bandit Terrors of Australia".


Billy Liar (film)

Billy Liar is a 1963 British CinemaScope comedy-drama film based on the 1959 novel by Keith Waterhouse. Directed by John Schlesinger, it stars Tom Courtenay (who had understudied Albert Finney in the West End theatre adaptation of the novel) as Billy, and Julie Christie as Liz, one of his three girlfriends. Mona Washbourne plays Mrs. Fisher, and Wilfred Pickles plays Mr. Fisher. Rodney Bewes, Finlay Currie and Leonard Rossiter also feature. The Cinemascope photography is by Denys Coop, and Richard Rodney Bennett supplied the score.
The film belongs to the British New Wave (or "kitchen sink drama") movement, inspired by the earlier French New Wave. Characteristic of the style is a documentary/"cinéma vérité" feel and the use of real locations (in this case, many in the city of Bradford in Yorkshire).
The film opened at the Warner Theatre in London's West End on 15 August 1963.
Plot.
Billy Fisher (Tom Courtenay) lives in Yorkshire with his parents (Wilfred Pickles and Mona Washbourne) and grandmother (Ethel Griffies). Billy wishes to get away from his stifling job and family life. To escape the boredom of his humdrum existence, he constantly daydreams and fantasises, often picturing himself as the ruler and military hero of an imaginary country called Ambrosia. In his fantasies, he gives speeches to large crowds in a manner resembling Hitler or Mussolini. He makes up stories about himself and his family, causing him to be nicknamed "Billy Liar." In reality, he lives in a lower-middle-class home with parents who constantly scold and nag him about his behaviour.
Billy works as an undertakers' clerk overseen by the rigid Mr. Shadrack (Leonard Rossiter). At work, he is tasked with mailing out a large shipment of advertising calendars to potential customers, but instead hides the calendars and keeps the postage money. When he notices the calendars in his wardrobe, he dreams of being imprisoned in Wormwood Scrubs for the crime of pocketing the postage money. He is eventually found out by Shadrack, who refuses to let him resign from his position until he pays back the postage money.
Billy aspires to get a more interesting job as a scriptwriter for comic Danny Boon (Leslie Randall), but when Boon comes to town, he is not interested in Billy's overtures. However, Billy tells everyone that Boon is very interested in his stories and that he will be moving to London very soon. Whenever Billy experiences something unpleasant, such as his parents scolding him or his boss harassing him, he imagines himself to be somewhere else. His fantasies generally involve himself as a hero with everyone very pleased with him. However, Billy shows himself to be happier fantasising about being a great success than actually taking a risk to make something of himself.
Billy has further complicated his life by proposing to two very different girls, the sheltered, virginal Barbara (Helen Fraser) and the tough, brassy Rita (Gwendolyn Watts). He has given the same engagement ring to each girl and lies constantly to get it back from one and give it to the other. Rita discovers he has lied about the ring being at the jeweller's and shows up at Billy's door but he lies to her again and she leaves. When Billy's father questions him about what he is doing with Rita, Billy yells at him and his shocked grandmother begins gasping for breath and has to lie down. Billy feels guilty but imagines himself as a general winning a difficult war.
Billy also finds himself attracted to his former girlfriend Liz (Julie Christie), who has just returned to town from Doncaster. Liz is a free spirit who, unlike anyone else in town, understands and accepts Billy's imagination. However, she has more courage and confidence than Billy, as shown by her willingness to leave her home town and enjoy new and different experiences. Under pressure, Billy ends up making dates with both Barbara and Rita to meet each one on the same night at the same local ballroom. There, the two girls discover the double engagement and begin fighting with each other. All of Billy's lies seem to catch up with him as it's announced publicly that he is moving to London to work with Danny Boon, and Billy's friend scolds him for lying to his mother.
Distraught, Billy encounters Liz outside and shares a romantic interlude with her, during which he shares his fantasies about Ambrosia. He proposes marriage to her and she accepts. She urges him to accompany her to London that evening, and he goes home to pack his bags, only to find his grandmother has fallen ill and been taken to hospital. Billy gets into an argument with his father who has found out about Billy's problems at work and trashed Billy's room. Billy joins his mother at the hospital just in time to learn his grandmother has died. He then continues to the station to meet Liz, and the couple board the train, but at the last minute Billy disembarks with the excuse of buying some milk to drink on the journey. He delays returning to the train, and by the time he gets back it is pulling out, with an understanding Liz at the window and his suitcase left behind on the platform. Alone, Billy walks the dark deserted road back to his home, imagining himself leading the marching army of Ambrosia.
Awards and recognition.
The film marked the breakthrough role of Julie Christie, who was nominated for a BAFTA award for her performance as Liz. The film was also nominated for another five BAFTAs.
In 1999, the British Film Institute named "Billy Liar" number 76 in its list of the top 100 British films.
In 2004, "Total Film" named "Billy Liar" the 12th in its list of the greatest British Films of all time.
In 2007, "Empire" praised Tom Courtenay for the main role stating: "Skulking between temerity and timidity, callousness and innocence, Tom Courtenay dominates the picture, whether defrauding his employers or duping his trio of girlfriends. But the most memorable moment remains the sight of Julie Christie on the train to London, watching Courtenay shrugging on the platform and settling for the mediocrity he despises and probably deserves."
The movie's ending is considered by film critic Philip French "a pivotal moment in British cinema" as he wrote in his column in "The Guardian", while Danny Leigh observed that at the time of its first release the movie fed great expectations about a change in film industry: "Social mobility brought the film to life. While director John Schlesinger was solidly Hampstead, Waterhouse was a dropout from Osmondthorpe Council School, Leeds, and star Tom Courtenay the son of a Hull dockworker. As the box office boomed, a daydreamer might have conjured up a British film industry filled with working-class actors and writers, maybe even directors and producers, too."
In 2020, "Slant magazine" considered "Billy Liar" heir to the innovative cinematography developed by Truffaut and its main character somewhat a precursor to "A Clockwork Orange"s Alex DeLarge.


Zusha (band)

Zusha is an American Hasidic folk/soul band from Manhattan, New York. They formed in 2013 with lead singer Shlomo Gaisin and guitarist Zachariah Goldschmiedt. The band, named after Zusha of Hanipol, combines traditional Hasidic "niggunim" with secular styles like jazz, folk, and reggae. Their self-titled debut EP, released on October 28, 2014, reached No. 9 on "Billboard"'s World Albums chart, while their debut full-length album, "Kavana" (2016), reached No. 2.
History.
Origins (2013-2014).
Zusha was formed in 2013 by Shlomo Gaisin, Zachariah Goldschmiedt, and Elisha Mlotek. All three had prior music backgrounds: Gaisin was the lead singer of the Jewish rock band JudaBlue, Goldschmiedt was the lead singer and producer for the electro-funk band Ch!nch!lla, and Mlotek is the son of Folksbiene director Zalmen Mlotek and grandson of Yiddish musicologist Eleanor Mlotek.
Gaisin and Mlotek met at a Chabad house in Bowery, and both were later introduced to Goldschmiedt through a mutual friend. They began rehearsing in friends' apartments, recording their sessions via iPhone, until Dani Bronstein, their current manager and Rabbi Avram Mlotek, Elisha Mlotek's brother, encouraged them to share their music more publicly.
"Zusha" EP (2014-2016).
Zusha's self-titled debut EP was recorded and produced by Mason Jar Music and released on October 28, 2014, two days after the band's first show at the Mercury Lounge with Levi Robin. The EP subsequently reached No. 9 on "Billboard"'s World Albums chart. In December, they performed at the Knitting Factory and opened for Soulfarm at the Highline Ballroom. The EP features cover art by Hasidic expressionist artist, Chezi Gerin.
In 2015, they gave a Purim concert with G-Nome Project at the Bowery Ballroom and a Havdalah concert at the Atlanta Jewish Academy. They also performed at the Kulturfest Yiddish Soul concert at Central Park's Rumsey Playfield, alongside Hasidic pop stars Avraham Fried and Lipa Schmeltzer, cantors Joseph Malovany and Yaakov Lemmer, and klezmer trumpeter Frank London. In May, they played at the Washington, D.C. Jewish Community Center as part of the Washington Jewish Music Festival.
"Kavana" (2016-present).
The band's first full-length album, "Kavana", was released on January 5, 2016, and subsequently reached No. 2 on "Billboard"'s World Albums chart. A music video was filmed for the song "Mashiach". The album's song "Pashut" was featured in the trailer for the 2017 film "Menashe", which premiered at the Sundance Film Festival.
"A Colorful World", Zusha’s second full album, was released on September 4, 2017. Unlike their previous albums, most songs on "A Colorful World" feature Hebrew lyrics of some sort, whether biblical (such as Mizmor) or more modern (like Hatikva).
Zusha’s third full album, "When the Sea Split", released on September 1, 2019. The album marked Elisha Mlotek’s departure from the band.
Musical style.
Zusha's music combines the wordless vocals and improvised nature of traditional "nigunim" with elements folk, jazz, soul, reggae, and ska. Influences cited by the band include Shlomo Carlebach, Matisyahu, Bob Dylan, Damian Marley, and Yosi Piamenta.
Hasidic influence.
The band is often associated with the Hasidic hipster and neo-Hasidism movements, although they have debated the latter term, arguing that they are merely rediscovering Hasidism rather than reinventing it. They have also rejected the label of being "Jewish music", with Mlotek saying, "The music is deeper than religion. It’s deeper than a faith. I’m Jewish, but I’m a person. Let’s start from there."


List of Maryland state historical markers in Frederick County

This is a list of the Maryland state historical markers in Frederick County.
This is intended to be a complete list of the official state historical markers placed in Frederick County, Maryland by the Maryland Historical Trust (MHT). The locations of the historical markers, as well as the latitude and longitude coordinates as provided by the MHT's database, are included below. There are currently 24 historical markers located in Frederick County.


Papal armorial

Papal coats of arms are the personal coat of arms of popes of the Catholic Church. These have been a tradition since the Late Middle Ages, and has displayed his own, initially that of his family, and thus not unique to himself alone, but in some cases composed by him with symbols referring to his past or his aspirations. This personal coat of arms coexists with that of the Holy See.
Although Boniface VIII (1294-1303), Eugene IV (1431-1447), Adrian VI (1522-1523) and a few others used no crest above their escutcheon, from John XXII (1316-1334) onward the papal tiara began to appear (a custom maintained until Nicholas V) and, from the time of Nicholas V's successor, Callistus III (1455-1458), the tiara combined with the keys of Peter.
Even before the early modern period, a man who did not have a family coat of arms would assume one upon becoming a bishop, as men did when knighted or on achieving some other prominence. Some who already had an episcopal coat of arms altered it on being elected to the papal throne. The last pope who was elected without already being a bishop was Gregory XVI in 1831 and the last who was not even a priest when elected was Leo X in 1513.
In the 16th and 17th century, heraldists also made up coats of arms for earlier popes, especially of the 11th and 12th centuries. This became more restrained by the end of the 17th century.
External ornaments.
Papal coats of arms are traditionally shown with an image of the papal tiara and the keys of Peter as an external ornament of the escutcheon. The tiara is usually set above the escutcheon, while the keys are in saltire, passing behind it (formerly also "en cimier", below the tiara and above the shield). In modern times, the dexter and sinister keys are usually shown in gold (or) and silver (argent), respectively. The first depiction of a tiara, still with a single coronet, in connection with papal arms, is on the tomb of Boniface VIII (d. 1303) in the Archbasilica of Saint John Lateran.
Benedict XVI in 2005 deviated from tradition in replacing the tiara with the mitre and pallium (see Coat of arms of Pope Benedict XVI).
The two keys have been given the interpretation of representing the power to bind and to loose on earth (silver) and in heaven (gold), in reference to :
The gold key signifies that the power reaches to heaven and the silver key that it extends to all the faithful on earth, the interlacing indicating the linking between the two aspects of the power, and the arrangement with the handles of the keys at the base symbolizes that the power is in the hands of the pope.
The oldest known representation of the crossed keys beneath the papal tiara in the Coats of arms of the Holy See dates from the time of Pope Martin V (1417–1431). His successor Pope Eugene IV (1431–1447) included it in the design of a silver coin.
Martin V also included the keys in his personal arms (those of the Colonna family); however he did not show them as external ornaments, instead placing them in chief on the shield (this example was followed by Urban V and VIII and Alexander VII; Nicolas V seems to have used just the crossed keys and the tiara in an escutcheon. The placing of the keys above the shield becomes the fashion in the early 16th century, so shown on the tomb of Pius III (d. 1503). Adrian VI (1522/3) placed the keys in saltire behind the shield.
High Middle Ages.
Heraldry developed out of military insignia from the time of the First Crusade.
The first papal coats of arms appeared when heraldry began to be codified in the 12th to 13th centuries.
At first, the popes simply used the secular coat of arms of their family.
Thus, Innocent IV (1243-1254), who was born Sinibaldo Fieschi, presumably used the Fieschi coat of arms, as did Adrian V (Ottobon de Fieschi), the nephew of Innocent IV.
According to Michel Pastoureau, Innocent IV (1243-1254) is likely the first who displayed personal arms, but the first of whom a contemporary coat of arms survives is Boniface VIII (1294-1303).
Modern sources show attributed arms of the popes of the second half of the 12th century; thus, editions of the "Annuario Pontificio" of the 1960s presented the arms of the popes beginning with Innocent III (1198-1216), and John Woodward gave those of the popes from Lucius II (1144-1145) onward, though he noted that "it seems probably that many of the early popes made little if any use of their family arms".
Thus, Innocent III (Lothaire de Segni, 1160–1216) and Gregory IX (Ugolin de Segni, 1145–1241) may have used the coat of arms of the counts of Segni.
The following papal coat of arms should be considered "traditional", lacking contemporary attribution.
For the popes of noble families, the coats of arms of the family is substituted, and for commoners, the traditional coat of arms as shown in early modern heraldic sources.
Late Middle Ages and Renaissance.
Note that some of the images of the coats of arms shown below anachronistically include the external adornments of the papal tiara and the keys of Peter. These ornaments were not in use before the 1450s.
Popes of the Early Modern period.
Most popes of the 16th to 18th centuries came from Italian noble families, but there were some exceptions, such as
Sixtus V (1585-1590), who was of low birth.
Popes of the modern period.
The last person elected as pope who was not already an ordained priest or monk was Leo X (Giovanni di Lorenzo de' Medici) in 1513. Thus, throughout the Early Modern period, the elected pope already had a coat of arms: if he did not have a family coat of arms to begin with, he would have adopted one upon being made bishop. Upon his election as pope, he would continue using his pre-existing coat of arms, in some cases with heraldic augmentations. This tradition was continued into the modern period.