A Conversation with Gregory Peck

A Conversation with Gregory Peck is a 1999 American documentary film directed by Barbara Kopple. Kopple followed the actor as he embarked on a live speaking tour throughout the United States reflecting on his life and career. The film also looks at Peck's home life with his family, as well as his public appearances where he meets such notable individuals as then President of the United States Bill Clinton, then French President Jacques Chirac, and filmmaker Martin Scorsese. "A Conversation with Gregory Peck" was part of the PBS documentary series "American Masters" and was screened out of competition at the 2000 Cannes Film Festival. It is featured on a 2005 2-disc collector's edition of "To Kill a Mockingbird".


Najdi Arabic

Najdi Arabic () is the group of Arabic varieties originating from the Najd region of Saudi Arabia. As a result of migration, several regions outside of Najd, including Eastern, Al Jawf, Najran, and Northern Borders Regions are now mostly Najdi-speaking. Outside of Saudi Arabia, it is also the main Arabic variety spoken in the Syrian Desert of Iraq, Jordan, and Syria (with the exception of Palmyra oasis and settlements dotting the Euphrates, where Mesopotamian Arabic is spoken) as well as the westernmost part of Kuwait.
Najdi Arabic can be divided into four region-based groups:
Phonology.
Consonants.
Here is a table of the consonant sounds of Najdi Arabic. The phonemes ⟨⟩ and ⟨⟩ (not used by all speakers) are not considered to be part of the phonemic inventory, as they exist only in foreign words and can be pronounced as and respectively depending on the speaker.
Phonetic notes:
Vowels.
Unless adjacent to , is raised in open syllables to , , or , depending on neighboring sounds. Remaining may become fronted to in the context of front sounds, as well as adjacent to the pharyngeals .
Najdi Arabic exhibits the so-called gahawa syndrome, insertion of epenthetic /a/ after (). For example, [gahwah] > [gahawah].
When short appears in an open syllable that is followed by a nonfinal light syllable, it is deleted. For example, is realized as . This, combined with the gahawa syndrome can make underlying sequence of and a following guttural consonant () to appear metathesized, e.g. ('got in a hurry') .
Short high vowels are deleted in non-final open syllables, such as ('you [m. sg.] send') .
There is both limited distributional overlap and free variation between and , with the latter being more likely in the environment of bilabials, pharyngealized consonants, and .
The mid vowels are typically monophthongs, though they can be pronounced as diphthongs when preceding a plosive, e.g. ('house') .
Morphology.
Najdi Arabic sentence structure can have the word order VSO and SVO, however, VSO usually occurs more often. NA morphology is distinguished by three categories which are: nouns "ism", verb "fial", and particle "harf". "Ism" means name in Arabic and it corresponds to nouns and adjectives in English. "Fial" means action in Arabic and it corresponds to verbs. "Harf" means letter and corresponds to pronouns, demonstratives, prepositions, conjunctions and articles.
Verbs are inflected for number, gender, person, tense, aspect and transitives. Nouns show number (singular and plural) and gender (masculine and feminine).
Complementizers in NA have three different classes which are: relative particle, declarative particle, and interrogative particles. The three different complementizers that are used in Najdi Arabic are: "illi", "in", "itha".
Negation.
Two particles are used in negation, which are: "ma" and "la". These particles come before the verb in verbal sentences. "ma" is used with all verbal sentences but "la" is used with imperative verb forms indicating present and future tense.


Clams Casino production discography

The following list is a discography of production by Clams Casino, an American record producer. It includes a list of songs produced and co-produced by year, artist, album and title.
2012.
ASAP Mob – "Lords Never Worry".
Mac Miller - Watching Movies With The Sound Off
• 16. "Youforia"


The Battle of Hearts

The Battle of Hearts is a 1916 American silent drama film written and directed by Oscar Apfel, and produced and distributed by Fox Film Corporation. It starred William Farnum and Elda Furry (later known as Hedda Hopper). The story was by Frances Marion, then still an actress herself. This is Hopper's first motion picture.
Most of the film is lost. Hopper screened small portions of it in 1942 in her self-produced short series "Hedda Hopper's Hollywood". It is unknown if she had a complete print of this film at the time. These portions can be seen today in her 1942 short and are the only known surviving footage from the film.


Mesilat Zion

Mesilat Zion (, "lit." Highway of Zion) is a moshav in central Israel. Located near Beit Shemesh with an area of 1,000 dunams, it falls under the jurisdiction of Mateh Yehuda Regional Council. In it had a population of .
History.
The moshav was established on the land of the depopulated Palestinian village of Bayt Mahsir in 1950.
The moshav was established as a work village in 1950 by immigrants from Yemen. After a few years the founders left and were replaced by Cochin Jews. The name of the village is symbolic, as it is located near the Burma Road. It symbolizes the breaking of the siege over Jerusalem during the 1948 Arab–Israeli War, it is based on verses from the Book of Isaiah, chapter 62, "For Zion's sake will I not hold my peace, and for Jerusalem's sake I will not rest...Go through, go through the gates; prepare ye the way of the people; cast up, cast up the highway; gather out the stones; lift up a standard for the people...Say ye to the daughter of Zion, Behold, thy salvation comes."
The Jerusalem Culinary Institute (JCI) founded in 2001 by chef Yochanan Lambiase is located in Mesilat Zion. JCI is the world's first glatt kosher cooking school.


Quincy Jones production discography

Quincy Jones is an American record producer, musical arranger, film composer, impresario, conductor, and trumpeter. Jones has charted 6 singles and 6 albums in the Top 40 and won 4 Platinum Awards and 7 Gold Awards only in the United States. Jones is one of few producers to have number one records in three consecutive decades (1960s, '70s, and '80s).


Roman Tragedies

Roman Tragedies (Dutch: "Romeinse Tragedies") is a 6-hour stage adaptation of William Shakespeare's plays "Coriolanus", "Julius Caesar", and "Antony and Cleopatra", created in 2007 by Toneelgroep Amsterdam, the theatre company of Amsterdam. As of November 2012, the company continues to perform it at venues across the world. Directed by Ivo van Hove, the production has been highly praised for its acting, its innovative set, and its use of multimedia.
Concept.
"Roman Tragedies" condenses three of Shakespeare's plays into a single 6-hour production. The actors speak Dutch; surtitles are used when touring the production. The surtitles do not present Shakespeare's original text, but rather a lightly modernized adaptation that removes archaisms; only the most famous lines are left untouched.
Director Ivo van Hove has said that he wanted to use Shakespeare's plays to explore the nature of politicians: "How politicians make good decisions, how they make mistakes, why they make mistakes." He wanted to emphasize the similarity between the issues faced by the Roman leaders and those of modern leaders, saying "it's very easy for us to talk about our times with these characters as, in the 17th century, Shakespeare went back to them to talk about his own times."
The production is in modern dress; the characters are dressed as modern politicians even though the text is not adapted to reflect this. Several male characters, including Cassius and Octavius Caesar, are played as women, in order to reflect the existence today of female politicians such as Angela Merkel and Hillary Clinton. The production features much use of multimedia: camera operators are present on stage throughout, so that the actors are visible both on stage and on multiple TV monitors.
The production features an unusual set that enables members of the audience to sit on stage during the performance, on numerous sofas facing in different directions upon the large performance space. When seated on the stage, the audience member is able to view the actors in person, or via the many TV monitors. There is no intermission, but there are several 5-minute set changes. Also on stage is a bar selling food and drink, and an Internet station, which audience members can use during the set changes.
The set also features a news ticker. This is used to summarize events that have been cut for the adaptation (mostly battle scenes), but audience members are also encouraged to submit their responses to the play online, while watching; these responses are played on the ticker during the set changes.
Responses.
Reactions to the production have been very positive. Michael Billington of the British newspaper "The Guardian" claimed it was "as good as theatre gets". Michael Coveney of the British "Independent" newspaper wrote that although the style was impressive, the acting was the most important quality: "Many of the techniques were familiar in modern production. But the overall scope of this wonderful project was impressive because of the acting quality of Toneelgroep. It made you want to go straight on to Amsterdam and catch the rest of their repertoire."
History.
"Roman Tragedies" premiered at the Holland Festival in 2007.
The production has toured to several international venues. It has been staged at the Avignon Festival in France and at the Barbican Centre in London, UK. Its North American premiere was the Festival TransAmériques, where it played at Montreal and Quebec City in 2010.


Tobias Verhaecht

Tobias Verhaecht (1561–1631) was a Flemish painter primarily of landscapes. His style was indebted to the mannerist world landscape developed by artists like Joachim Patinir and Pieter Bruegel the Elder. He was the first teacher of Pieter Paul Rubens.
Life.
Tobias Verhaecht was born in Antwerp as the son of Cornelis van Haecht. His father must also have been an artist as Verhaecht was admitted to the Antwerp Guild of St Luke as the son of a master.
It is not recorded with whom he studied. Before 1590 he travelled to Italy and first worked in Florence where Francesco I de' Medici, Grand Duke of Tuscany was his patron. He then moved on to Rome where he was active as a painter of landscape frescos. He returned to Antwerp where he became a master of the Guild of St. Luke in 1590–91.
Not long after he married Suzanna van Mockenborch, who was the granddaughter of Peter Paul Rubens' stepfather Jan de Landmetere, and a cousin of his mother. The couple had two sons Cornelis and Willem and one daughter Suzanna. His wife died in 1595 after the birth of their daughter. This happened during a difficult financial period for Verhaecht when he had also been appointed deacon of the Guild.
The year following the death of his first wife, he married Esther Pamphi, whose sister Maria married the battle painter Sebastiaen Vrancx. The couple had one more son and daughter. His second wife died in 1612. Verhaecht suffered more family drama with the death of his first-born Cornelis in 1614 and of his daughter Suzanna in 1623.
Verhaecht was a member of the Violieren, a local Chamber of rhetoric connected to the Antwerp Guild of St Luke for which he wrote a comedy in 1620.
He was the first teacher of Rubens who studied with him around 1592 for about two years but left because his interest was history painting and not landscape. His other pupils included his son Willem van Haecht, Jacques Backereel, Marten Ryckaert, Geeraert van Beemel, Adriaen Daep, Leonhard Cemp, Cornelis Bol, Pieter van den Hoeck and Abraham Matthys.
The artist died in Antwerp in 1631.
Work.
Tobias Verhaecht specialized in landscapes and also produced several versions of the Tower of Babel. His landscapes followed the traditional style of the world landscape, which had first been developed in the first half of the 16th century by Joachim Patinir and had reached its peak with Pieter Bruegel the Elder. The landscapes depict imaginary mountains characterized by rocky peaks seen from a high viewpoint and typically including a religious or mythological scene. These landscapes often include villages and figures dwarfed by their surroundings rendered in meticulous detail.
His work closely resembles in style the set of 12 large prints published by Hieronymus Cock after designs by Pieter Bruegel the Elder, which are referred to by art historians as the "Large Landscapes". The earliest works of Verhaecht are clearly conservative in style. The steep and bizarre rock formations and the strange atmosphere are indebted to Joachim Patinir, who was already dead for three-quarters of a century when Verhaecht started to create these works. Verhaecht shows in these works that the evolution of landscape painting during the second half of the sixteenth century had largely passed him by. In the 1620s and 1630s he painted panoramic landscapes with a high horizon and using the traditional three-color plan. He was thus still working in the fantastic landscape tradition at a time when Jan Brueghel the Elder was painting casual village landscapes, and his former pupil Rubens had realized some beautiful atmospheric landscapes. Verhaecht's landscapes were not entirely oblivious of the work of Josse de Momper and Gillis van Coninxloo who were evolving towards a more close-up and realist approach and he adopted some of the elements of the new approach.
He collaborated with other local painters such as Jan Brueghel the Elder, Frans Francken the Younger, Sebastian Vrancx and Gillis Coignet who painted the figures in his paintings. Some of Verhaecht's landscapes were made into prints.


The Phantom Riders

The Phantom Riders is a 1918 silent American Western film directed by John Ford and featuring Harry Carey. The film is considered to be lost.
Plot.
As described in a film magazine, Dave Bland (Steele), head of a band of cattle rustlers operating in Paradise Valley, is defied by Cheyenne Harry (Carey) who has driven his heard into the valley to graze. Bland calls his phantom riders together, routes Harry's cattle, and then seeks their owner intent on taking his life. The Unknown (Pegg), an influential member of the gang who has a grievance against Harry, claims the right to settle with him and this is agreed to. In the meantime, Molly Grant (Malone) prevails upon her father Pebble Grant (Connors) to warn Harry of the danger. The rustlers discover this and hang Grant, and Molly is forced to marry Bland. Hearing that Harry is in a nearby saloon, the gang rushes the place. A gunfight follows and Harry and his partner inflict many casualties. Rangers who were notified by Molly arrive and route the gang. The film ends with the distant chimes of wedding bells for Cheyenne Harry and Molly.
Production.
Filming took place from September 7–27, 1917. Released in January 1918 as a Universal Special feature," The Phantom Riders" was a 50-minute silent film on five reels, part of the "Cheyenne Harry" series of film featurettes. The original story was written by Henry McRae and adapted for the screen by scenarist George Hively.
Reception.
Like many American films of the time, "The Phantom Riders" was subject to cuts by city and state film censorship boards. The Chicago Board of Censors required cuts, in Reel 1, of the shooting of a man at the roulette wheel, three scenes of men laughing at dying man, all scenes of man with knife, indicating slitting of man's mouth, the intertitle "For miles around the phantoms gathered" etc., all except first two scenes of phantoms gathering, Reel 3, two intertitles "We've got his cattle, now let's get him" and "Let's run his cattle to death", all scenes of cattle rustling, five closeups of masked man and thirteen scenes of men assembling, Reel 4, shooting man off horse, three holdup scenes inside cabin, two closeups of masked man alone and view of masked men, entrance of masked man into hut and taking gun from man, two scenes of man hanging from tree, five intertitles "Joe Norton has proved himself a traitor" etc., "You are a sneaking skunk", "Vengeance of the phantoms", "Cheyenne kept his appointment", and "They hung the fellow who tipped us off", Reel 5, four scenes of the holdup of Cheyenne in saloon, reduce length of all shooting and fight scenes, closeup of man shooting around corner of saloon, man fallowing from ladder, four dead body scenes, Cheyenne shooting man and his falling in saloon, all but five shooting scenes between Cheyenne and raiders, all but five fight scenes between rangers and raiders, and to eliminate the trailer.


Caesar Hochstetter

Caesar Hochstetter (also known by the pen name Caesar Ahrlsteller) was an organist and a composer, arranger and critic of music from a talented Jewish family. Born 12 January 1863 in Ladenburg, a suburb of Mannheim, Germany – his date and place of death are unknown but he is thought to have disappeared during The Holocaust. Caesar Hochstetter was a friend and admirer of the well known composer Max Reger who dedicated Aquarellen Op. 25 and Five pittoresque Pieces for 4-hand Piano, Op. 34 to him.
Private life.
On 13 February 1888, Caesar married Blanche Marie Coppex who a short time later gave birth to their daughter, Blanche. Caesar lived and worked in Germany and Switzerland. He moved to Leipzig in 1889, was in Wiesbaden in 1901 and later returned to Zurich, Switzerland. He was last heard of in August 1928 when he left for Darmstadt. His marriage to Blanche ended in divorce after 10 years and in 1904 he married Emma Marie Ficinus in Zurich. Their daughter, Hella Leonora was born in Zurich in 1905. Their son, Fritz Caesar Werner died a few weeks after birth in 1907.
Max Reger.
In 1898 Hochstetter published an article entitled “Noch einmal Max Reger" in a music magazine (Die Redenden Künste 5 nr. 49, s. 943 f). Caesar recommends Reger as “a highly talented young composer" to the publishers. Reger then thanks Hochstetter with the dedications of his Op. 25 and 34.
Compositions and arrangements.
Caesar Hochstetter published his arrangement “Album fuer einhändige Klavierspiel: 8 Stuecke von Bach, Chopin, Schumann, Reger und Zichy”, for right or left hand (Breitkopf & Haertel, 1915). His known works also include “Zwei Clavierstücke” Op. 2 (R. Forberg, Leipzig), arrangements for Bach's “Sarabande und Bourrée” for piano (A. Holzmann, Zurich) and “10 kleine Stücke Op. 24” (A. Holzmann, Zurich).
One-hand compositions.
Hochstetter published an article in "Musikalisches Wochenblatt" in Leipzig on 24 January 1901 giving a positive critique of a concert given in Budapest by Count Géza Zichy of Hungary, who suffered a riding accident in his teens and lost his right arm. Determined to become a pianist, he studied under Franz Liszt and Robert Volkmann and in spite of his physical limitations enjoyed a successful career as a composer and pianist spanning some 40 years.
Hochstetter also corresponded with Josef Rheinberger, a notable composer, organist and pianist from Vaduz, Liechtenstein who composed "Piano studies for one hand and for two hands, Op. 113".
Family.
Caesar was one of four members of the same Hochstetter family to lead distinguished careers in the fields of music and literature.
His first cousin once removed (also a Hochstetter descendant) was Kurt Weill (born 2 March 1900 in Dessau and died 3 April 1950 in Haverstraw, New York), the famous music composer of "The Threepenny Opera" and "Mack the Knife" who married Lotte Lenya (born 18 October 1898 in Vienna and died 27 November 1981 in Haverstraw, New York), the famous Austrian singer and actress.
Caesar's younger brother was Professor (born 12 May 1873 in Mannheim and died in 1942 in Theresienstadt concentration camp), Professor of Literature at the University of Brussels, writer and poet and friend of Wilhelm Busch.
Another first cousin once removed was the childhood prodigy pianist, Lisy Fischer (born 22 Aug 1900 in Zurich, Switzerland and died 6 June 1999 in Newcastle upon Tyne, England), with whom Caesar was in regular contact (she also lived in Switzerland), whose career he followed and to whom he gave support and encouragement.


I Knew It Was You

I Knew It Was You: Rediscovering John Cazale is a 2009 American documentary film about actor John Cazale, directed by Richard Shepard and produced by Brett Ratner, Stacey Reiss and Richard Shepard.
Background.
The film received its title from a famed line from "The Godfather Part II" directed toward Cazale's character of Fredo Corleone, and acts as a retrospective of Cazale's distinguished acting career, which was cut short at age 42 when he died of lung cancer.
The film was produced with the cooperation of Meryl Streep, who was living with Cazale at the time of his death. It features interviews with a number of his notable co-stars and directors.
Release and recognition.
"I Knew It Was You" debuted at the 2009 Sundance Film Festival, and had its television premiere in Spain on June 9, 2009. It was released on DVD in Fall 2010 by Oscilloscope Laboratories.
Critical response.
Victoria Large wrote that "while "I Knew it Was You" works as a wonderful career retrospective for fans or a great primer for newcomers, the real power of the piece lies in the juxtaposition of the highlights of Cazale's career with the warm remembrances of his friends and the biographical facts of his life". Don R. Lewis of "Film Threat" felt that the film did not properly cover Cazale's early life, writing "From its awkward running time of 40 minutes to the way director Richard Shepard completely skims over the man's life outside of acting, I just didn't feel there was enough going on to make this doc truly special. That being said, "I Knew It Was You" is an excellent tribute piece to a fine actor and a great way to learn more about the roles and work ethic of Cazale".


Ajin Panjapan

Ajin Panjapan (, 11 October 1927 – 17 November 2018) was a Thai writer, best known for his "Tine Mine" series of short stories, based on his experiences in the tin dredging operations of Phang-nga Province. He also wrote articles, novels, radio and television dramas, poetry, and songs, and edited and co-published "Fah Muang Thai", a highly successful weekly literary magazine which launched the careers of many Thai writers. Ajin was named National Artist in literature in 1991.


Father and the Boys

Father and the Boys is a 1915 American silent comedy film directed by Joe De Grasse, written by Ida May Park, and co-starring Lon Chaney and Digby Bell. It is based on a popular 1908 Broadway play produced by Charles Frohman, called "Father and the Boys" by George Ade. This was Louise Lovely's American film debut after emigrating from Australia. She made a total of 8 films with Chaney during this time period.
Digby Bell reprised his Broadway role as Lemuel Morewood in the film (this was his first film role). Louise Lovely's role of Bessie Brayton was played by Margaret Dale in the play. The makeup-savvy Bell befriended Chaney on the set of this film and the two were seen trading makeup tips behind the scenes.
After "Richelieu" (1914), this was Lon Chaney's 2nd appearance in a full-length feature film, running approximately 50 minutes, much longer than the shorts he had been appearing in for Universal. A still exists which shows Chaney in the role of Tuck Bartholomew. The film is today considered to be lost.
Plot.
Lemuel Morewood is a wealthy businessman who hopes someday to see his two sons take over his business. He wants Tom to marry Frances Berkeley and Billy to marry Emily Donelson, but the boys have different plans. Tom is just interested in sports, while Billy is obsessed with high society matters and spends all his time with Mrs. Guilford, the leader of the smart set.
Bessie Brayton is an orphan from Nevada who comes to New York and gets a job as an entertainer at high society parties. She owns a half-interest in the Bluebird Mine, which she believes is worthless. The Morewoods hire Bessie one night to entertain at a party where she meets Major Didsworth, who offers to sell her mine shares for her. Bessie taunts Lemuel that he is old-fashioned, so he gets into his tuxedo, wins a large sum of money gambling with Didsworth, and goes off with Bessie to blow his cash. Lemuel keeps up his wild pace; he goes to the racetrack where his wild behavior infuriates Mrs. Guilford, and she criticizes Lemuel's behavior. Billy defends his father, ending his friendship with Mrs. Guilford.
Bessie receives a telegram from Didsworth offering her $1,000 cash in exchange for her mine stock. Lemuel suspects that she is being cheated, and he goes back to Nevada with her. The boys think their father has run off to elope with Bessie and they follow them, along with Emily, Frances, and Tobias Ford, the family lawyer. Out in Nevada, Lemuel and Bessie learn that her half of the mine is actually worth a fortune, and they learn that the other half is owned by Tuck Bartholomew (Lon Chaney), Bessie's old sweetheart who disappeared years ago up in Alaska.
On route to Nevada, Tom becomes engaged to Emily and Billy becomes engaged to Frances -- exactly the opposite of what their father had planned for the boys. They arrive at a wedding ceremony just in time to stop their father from marrying Bessie, only to learn that Bessie is actually marrying her old flame Tuck Bartholomew, who has come back from Alaska. Lemuel and his two sons return home to New York to run the family business, together with Emily and Frances.
Reception.
"George Ade's comedy is pleasant, genuine and funny. The dialogue being absent, it is not such a sidesplitting affair as it was several years ago on the stage, but it is a lively comedy. An excellent five-reel comedy...Digby Bell, ther veteran character actor is seen in the leading part. He is supported by a good cast... A very pleasing comedy number." --- Motion Picture News
"Ida May Park, the scenario writer, and Joseph De Grasse, director, are to be congratulated on getting this comedy over without either padding or loss of action. It runs smoothly and clearly from scene to scene and preserves the undercurrent of genial humor throughout. The supporting cast is very pleasing." --- Moving Picture World


Kusza coat of arms

Kusza (pronounced Ku-Sha) is a Polish coat of arms.
Families using the main variant of the coat are: Bystrycki, Bystrzycki, Korejwa or Koreywa, Leszczynowicz, Kosicki, Kuszcz, Kuszczyński, Maszkiewicz, Maślakiewicz, Oławski, and Otawski.
Families using Kusza II are Bajrasz, and Czyczuda.
Blazon.
Variations.
There are four variations of this coat of arms:
Notable bearers.
Notable bearers of this coat of arms include:


The Nanny (season 6)

The sixth and final season of the American television sitcom "The Nanny" aired on CBS from September 30, 1998, to June 23, 1999. The series was created by actress Fran Drescher and her-then husband Peter Marc Jacobson, and developed by Prudence Fraser and Robert Sternin. Produced by Sternin and Fraser Ink and TriStar Television, the series features Drescher, Jacobson, Fraser, Sternin, Caryn Lucas and Diane Wilk as executive producers.
Based on an idea inspired by Drescher's visit with a friend and "The Sound of Music", the season revolves around Fran Fine, a Jewish woman from Flushing, Queens, New York, who is hired by a wealthy Broadway producer to be the nanny to his three children. Drescher stars as the titular character, Charles Shaughnessy as British-born producer Maxwell Sheffield, and the children – Maggie, Brighton and Grace – portrayed by Nicholle Tom, Benjamin Salisbury, and Madeline Zima. The series also features Daniel Davis as Niles, the family butler, and Lauren Lane as C.C. Babcock, Maxwell's associate in his production company who is smitten with him. Several recurring characters also played a role in the sitcoms plotlines, many of whom were related to Fran.
The opening sequence changed slightly in this season. Producer Kathy Landsburg was promoted to co-executive producer of the series as her producer credit was moved to the in-show credits, while the creator credits of Drescher and Jacobson, and the developer credits of Sternin and Fraser were added in its place.
Beginning with this season, Renée Taylor, Ann Guilbert and Rachel Chagall are credited as "starring" during the in-show credits.
During the show's original run this season, the show went on a hiatus after the episode "California Here We Come" with the two-part finale airing several weeks later in May. However, six further first-run episodes aired in June, disrupting the chronological continuance of the show. This was remedied in syndication when the two-part finale was moved after the last aired episode from the first-run ("The Baby Shower").
Rachel Chagall was pregnant through half the season.
Episodes.
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Houston Fire Station No. 7

Houston Fire Station No. 7 is a historic fire station located at 2403 Milam Street in Houston, Texas. It was listed on the National Register of Historic Places on April 17, 1986. The fire station was built in 1898 and opened the next year as the first paid station in Houston. It was active until a replacement was built 1969. The building has been used as the Houston Fire Museum after a renovation, started in 1980.


List of Pennsylvania state historical markers in Mifflin County

This is a list of the Pennsylvania state historical markers in Mifflin County.
This is intended to be a complete list of the official state historical markers placed in Mifflin County, Pennsylvania by the Pennsylvania Historical and Museum Commission (PHMC). The locations of the historical markers, as well as the latitude and longitude coordinates as provided by the PHMC's database, are included below when available. There are 12 historical markers located in Mifflin County.


Away Goes Prudence

Away Goes Prudence is a 1920 American silent comedy film produced by Famous Players-Lasky and distributed by Paramount Pictures. This picture was directed by John S. Robertson and starred Billie Burke. Screenwriter Josephine Lovett provided a story direct for the screen. This is now considered a lost film.


Flood Disaster Medal

The Decoration for acknowledgement of excellent deeds performed during a flood disaster (), usually called Flood disaster Medal (), was created by royal decree on 27 March 1855 by King William III of the Netherlands. The medal is intended for those civilians who have shown zeal, courage, leadership, and self-sacrifice during the event of a flood disaster.


Rosyniec coat of arms

Rosyniec - 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:


Moose Jaw Court House

The historic Moose Jaw Court House building is located in downtown Moose Jaw, Saskatchewan, Canada. The building is 2 stories; making use of steel construction, hydraulic-pressed brick and Bedford Stone trimmed with Indiana Limestone. The building is the oldest continuously functioning provincial court house in the province. The building has been designated a National Historic Site of Canada and a Provincial Heritage Property.


Richard Scrob

Richard Scrob (sometimes fitzScrob or FitzScrob; fl. 1052-1066) was a Frenchman who came to England prior to the Norman Conquest of England.
Richard may have been a Norman, but it is not certain that he was. "Scrob" was not a patronymic, but rather an alternative name that was mistaken by the medieval chronicler John of Worcester as a patronymic. Thus Richard is often known as "Richard fitzScrob" or the alternative spellings.
Richard arrived in England during the reign of Edward the Confessor, probably early in the reign, as he was not expelled from England in 1052 along with many of other non-English landholders when Godwin of Wessex returned to power.
Richard possibly held the office of Sheriff of Worcester during Edward's reign. It is, however, certain that he was trusted by Edward with royal business in his locality. He was also named as housecarl of the king. Richard's main holdings were at Auretone in Herefordshire. He built an earthwork castle there, Richard's Castle, which is one of the few castles that predate the Norman Conquest in England. Besides his holdings around Auretone, he also held lands nearby, extending into Worcestershire and Shropshire.
When William the Conqueror invaded England, Richard joined the Norman cause and took part in the fighting against Eadric the Wild in Herefordshire.
Richard married the daughter of Robert the Deacon, who may be the same person as Robert fitzWimarc. Richard's heir was his son, Osbern fitzRichard, who held Richard's Castle by the time of the "Domesday Book". He had another son William also.
Richard's date of death is unknown, but his heir held his lands by 1086.


Starlord (comics)

Starlord was a short-lived weekly British science fiction comic book magazine published by IPC in 1978 as a sister title to "2000 AD", which had been launched the previous year in anticipation of a science fiction boom surrounding "Star Wars".
"Starlord" was planned as a fortnightly title for older readers, with longer stories and higher production values than "2000 AD" and the rest of the IPC boys' comics stable, but this proved too ambitious. Episodes were shortened, the number of colour pages was reduced, although the better quality paper and printing were retained, and "Starlord" was published weekly at a higher cover price than "2000 AD".
Stories.
Stories included:
Publications.
As well as 22 regular issues, there were also three Annuals dated 1980–1982 (each published at the end of the previous year) and one Summer Special in 1978.
Merger.
IPC found that publishing two science fiction titles split the market. "Starlord" was actually the better selling of the two titles, and normal policy was to end the poorer-performing title and merge it into the more popular comic. However, group editor John Sanders preferred "2000 AD" and so he decided to end "Starlord" instead. "Starlord" was cancelled after 22 issues and merged with "2000 AD" in issue 86 of that title. Its last issue was dated 7 October 1978. Sales of "2000 AD" steadily increased.
"2000 AD"'s line-up was strengthened by the merger: "Strontium Dog" became one of its most popular and long-running series; and "Ro-Busters" continued on in "2000 AD" for a while and led to an enduring spin-off, "ABC Warriors", which still features today. "Timequake" also briefly featured in issues 148 to 151. By that time the title "Starlord" had been dropped from the cover of "2000 AD" with issue 127 in August 1979.
Collected editions.
Two series, those that carried on into "2000 AD", have been collected by Rebellion Developments into trade paperbacks:
The series "Mind Wars" was reprinted in the supplements to issues 408 and 409 of the "Judge Dredd Megazine" in 2019. The episode in the Annual was reprinted in the supplement to #411.
Editor.
"Starlord" was edited by Kelvin Gosnell, who was also editor of "2000 AD", although he mostly concentrated on "Starlord" and left "2000 AD" to assistant editor Nick Landau. After "Starlord" merged with "2000 AD", Gosnell became editor of new comic "Tornado".
Like "2000 AD", "Tornado" and "Scream!", "Starlord" had a fictional editor, a bouffant-haired superhero also called Starlord, and each issue was supposed to be a primer for survival in the galaxy. When the title was cancelled and merged with "2000 AD", Starlord announced that his mission on Earth had been successfully completed and he was off to battle the evil Interstellar Federation on other worlds, though he urged his readers to "keep watching the stars" (his catchphrase). When a "2000 AD" reader asked after Starlord's whereabouts in a 1999 issue though, "2000 AD" editor Tharg claimed that "While Starlord has not been sighted on Earth since 1979, rumours that he was seen in a McDonalds in Basingstoke cannot be entirely discounted". On another occasion, it was claimed that he was "out in the Rakkalian Cluster, singing lead soprano with an Alvin Stardust tribute band". Heralding the 40th anniversary of the comic, and satirising the flurry of revelations regarding 1970s children's entertainers, it was suggested in a satirical story that Starlord was in fact a warmongerer who brainwashed children to become child soldiers and had been imprisoned as a war criminal for the past four decades.
Story index.
Regular issues.
Planet of the Damned

Issues: 1–10

Episodes: 10

Pages: 49

Script: R. E. Wright

Art: Lalia 1; Pena 2, 5, 6, 8, 10; Azpiri 3, 4, 7, 9

Cover dates: 13 May 1978 to 15 July 1978
Timequake

"First story"

Issues: 1–3

Episodes: 3

Pages: 18

Script: Jack Adrian

Art: Ian Kennedy 1, 3; John Cooper 2

Dated: 13 May 1978 to 27 May 1978
"Second story"

Issues: 4–9

Episodes: 6

Pages: 36

Script: Jack Adrian

Art: Magellanes Salinas

Dated: 3/6/78 to 8/7/78
"Third story"

Issues: 10–13

Episodes: 4

Pages: 28

Script: Ian Mennell

Art: Magellanes Salinas

Dated: 15 July 1978 to 5 August 1978
Strontium Dog

"Max Quirxx"

Issues: 1–2

Episodes: 2

Pages: 10

Script: John Wagner

Art: Carlos Ezquerra

Dated: 13 May 1978 to 20 May 1978
"Papa Por-ka"

Issues: 3–5

Episodes: 3

Pages: 15

Script: John Wagner

Art: Carlos Ezquerra

Dated: 27 May 1978 to 10 June 1978
"No Cure For Kansyr"

Issues: 6–7

Episodes: 2

Pages: 10

Script: John Wagner

Art: Carlos Ezquerra

Dated: 17 June 1978 to 24 June 1978
"Planet of the Dead"

Issues: 8–10

Episodes: 3

Pages: 15

Script: John Wagner

Art: Carlos Ezquerra

Dated: 1 July 1978 to 15 July 1978
"Two-Faced Terror!"

Issues: 12–15

Episodes: 4

Pages: 23

Script: John Wagner

Art: Carlos Ezquerra

Dated: 29 July 1978 to 19 August 1978
"Demon Maker"

Issues: 17–19

Episodes: 3

Pages: 15

Script: John Wagner

Art: Brendan McCarthy 1; Ian Gibson 2–3

Dated: 2 September 1978 to 16 September 1978
"The Ultimate Weapon"

Issues: 21–22

Episodes: 2

Pages: 10

Script: John Wagner

Art: Carlos Ezquerra

Dated: 30 September 1978 to 7 October 78
Ro-Busters

"First story"

Issue: 1

Episodes: 1

Pages: 11

Script: Pat Mills

Art: Carlos Pino

Dated: 13 May 1978

"Second story"

Issues: 2–4

Episodes: 3

Pages: 18

Script: Pat Mills

Art: Carlos Pino

Dated: 20 May 1978 to 3 March 1978
"Third story"

Issues: 5–6

Episodes: 2

Pages: 10

Script: Bill Henry

Art: Ian Kennedy

Dated: 10 June 1978 to 17 June 1978
"Fourth story"

Issues: 7–12

Episodes: 6

Pages: 38

Script: Pat Mills

Art: Carlos Pino

Dated: 24 June 1978 to 29 July 1978
"Fifth story"

Issues: 13–14

Episodes: 2

Pages: 14

Script: V. Gross

Art: Ian Kennedy

Dated: 5/8/78 to 12/8/78
"Sixth story"

Issues: 15–19

Episodes: 5

Pages: 34

Script: Jack Adrian

Art: Carlos Pino 1, 3, 5; Ferrer 2, 4

Dated: 19 August 1978 to 16 September 1978
"Seventh story"

Issues: 20–22

Episodes: 3

Pages: 23

Script: Jack Adrian

Art: Ferrer 1, 3; Carlos Pino 2

Dated: 23 September 1978 to 7 October 1978
Mind Wars

Issues: 2–22

Episodes: 21

Pages: 129

Script: Alan Hebden

Art: Jesus Redondo 1–19, 21
(with Ian Gibson in episode 11);
Mike White 20

Dated: 20 May 1978 to 7 October 1978
Good Morning, Sheldon, I Love You!

Issue: 11

Episodes: 1

Pages: 6

Script: John Wagner

Art: Casanovas

Dated: 22 July 1978
Holocaust

Issues: 14–22

Episodes: 9

Pages: 69

Script: Alan Hebden

Art: Lalia 1–4; "unknown artist" 5, 8–9;

Madigllianes 6; Luis 7

Dated: 12/8/78 to 7/10/78
Earn Big Money While You Sleep!

Issue: 16

Episodes: 1

Pages: 6

Script: Alan Grant and John Wagner

Art: Casanovas

Dated: 26 August 1978
The Snatch

Issue: 17

Episodes: 1

Pages: 3

Script: Alan Hebden

Art: Pena

Dated: 2/9/78
Skirmish!

Issue: 20

Episodes: 1

Pages: 5

Script: Alan Hebden

Art: Pena

Dated: 23 September 1978
Summer special.
Timequake

Pages: 9

Script: Patterson

Art: John Cooper
Ro-Busters

Pages: 10

Script: V. Gross

Art: G. Campion
Trash

Pages: 7

Script: D. Hooper

Art: Magano
Strontium Dog

Pages: 10

Script: Bill Henry

Art: Brendan McCarthy
Neutron Tide

Text story by Arthur C. Clarke


Margery Wilson

Margery Wilson (born Sara Barker Strayer) was an American actress, writer, and silent movie director. She appeared in 51 films between 1914 and 1939.
Early life and education.
Wilson was born in Gracey, Kentucky. She received higher education in philosophy and literature while also pursuing social service work.
Starting out, Wilson gave public performances in Cincinnati at clubs, schools, and churches. Later, she was able to tour from Ohio to Atlanta with the John Lawrence Players as the leading lady.
By the age of 16, she founded her own theater company. She and her sister left for London on a world tour as musical entertainers.
Film career.
In 1914, Wilson traveled to Los Angeles to pursue a career in Hollywood. She was in a wide range of motion pictures but is best known for her portrayal of Brown Eyes, a character in the D.W. Griffith film "Intolerance". She had three dozen roles, many of them leads.
Wilson also was one of Hollywood's earliest women directors. Her career as a film writer, director, and producer was short, lasting from 1920 to 1922. Those three years did not include the time she toured with her films. She directed at least three movies: "That Something" (1920), "The Offenders" (1921), and "Insinuation" (1922). There are no surviving prints of any of her directing efforts. She finished her work as a film director by her late twenties.
Later life.
Wilson was married more than once and had two children. Both of her children died before she did. She left the film production business to take care of her children after marrying Otto Meeks, the owner of a ranching empire. Although she was no longer in film production, she stayed connected to the business by contributing to pamphlets about famous people. Because of her Hollywood connections, she was able to write 50 of the pamphlets.
Professional achievements.
In a 1982 interview, Wilson stated that she did not wish to be called a feminist; however, many who analyzed her work have seen her as such.
She wrote guidance books that coached husbands on how to protect and treat their wives. In 1951, her book "How to Make the Most of Wife" was published. These books could also be considered inspirational nonfiction. Her autobiography, "I Found My Way", was published in 1956. Wilson also authored several inspirational, self-help books for women, including "Charm" and "The Woman You Want to Be".
After her career as a filmmaker, she was a successful speech coach for actors and gave public lectures both on the radio and in person.


Bawit

Bawit ( "Bāwīṭ"; Coptic: ⲡⲁⲩⲏⲧ "Bawet") is an archaeological site located north of Asyut, near the village of Dashlout, in Egypt. It covers an area of , and houses a cemetery and the ruins of the Hermopolite monastery of Apa Apollo founded by Apollo in the late fourth century. The structures on this site are relatively well preserved, and demonstrate different aspects of a monastic complex of Middle Egypt.
History.
The Apa Apolla monastery (Coptic: ⲧⲟⲡⲟⲥ ⲛⲁⲡⲁ ⲁⲡⲟⲗⲗⲱ) is a Coptic monastery founded c. 385/390 and had about 500 monks. The sixth and seventh centuries were a period of prosperity for this monastery, which then hosted a community of women, under the patronage of Rachel. A fresco found at the monastery depicting Rachel dates to the sixth century. After the Islamic invasion, the monastery declined, and was abandoned around the tenth century.
Excavation.
In early 1901, a survey of the site and surrounding areas was made by Jean Clédat, who was based at the French Institute of Oriental Archaeology in Cairo. Continuing into 1902, Clédat was assisted by Émile Gaston Chassinat and Charles Palanque. Clédat found hermitages he called "chapels" that contained Coptic art. His colleagues discovered two churches, today simply called North and South Church, with stone and wood carvings that were removed to the Coptic Museum in Cairo and the Musée du Louvre in Paris. Numerous sculptures and paintings were unearthed during the excavations. The papyrologist Jean Maspero (1885–1915) resumed excavations in 1913, discovering a common room with several entrances. In 1976, then 1984 and 1985, the Supreme Council of Antiquities resumed excavations and added to the collections of the Coptic Museum. Since then, excavations have continued under various organizations.


List of National Socialist publishers

This is an overview of publishers that mainly published National Socialist works until the end of the Second World War.


Dry Martini (film)

Dry Martini is a 1928 film comedy produced and distributed by Fox Film Corporation starring Mary Astor and Matt Moore. The Movietone sound system was used for music and sound effects but otherwise it is a silent film. A silent version was also made. Samuel L. Rothafel also contributed music for the film. It was adapted from the 1926 novel "Dry Martini: a Gentleman Turns to Love" by John Thomas. Ray Flynn was an assistant director.
This film is lost.
Plot.
Wealthy divorced American Willoughby Quimby has been living in Paris, France for ten years when he learns his adult daughter Elizabeth is coming to visit. He has been living the high life full of wine and women but decides to forego both during her stay. Elizabeth gets bored with him so she begins seeing rakish artist Paul De Launay. Quimby's young pal Freddie Fletcher saves Elizabeth from the clutches of de Launay in the nick of time. After Elizabeth's marriage to Freddie her father returns to his wanton ways.


List of Pennsylvania state historical markers in Wayne County

This is a list of the Pennsylvania state historical markers in Wayne County.
This is intended to be a complete list of the official state historical markers placed in Wayne County, Pennsylvania by the Pennsylvania Historical and Museum Commission (PHMC). The locations of the historical markers, as well as the latitude and longitude coordinates as provided by the PHMC's database, are included below when available. There are 15 historical markers located in Wayne County.


Tommaso Debenedetti

Tommaso Debenedetti (born in 1969) is an Italian writer known for writing fake news as well as a schoolteacher in Rome. He is a father of two children.
Hoaxes.
Interviews.
Debenedetti wrote many fake interviews, published by writers such as Grisham, Saramago, Vargas Llosa, and Yehoshua, and interviewing personalities such as Gorbachev, the Dalai Lama and Pope Benedict XVI. The interviews were published for decades in Italian regional newspapers.
Fake news.
Since 2011, Debenedetti has created fake Twitter accounts of famous world personalities, spreading fake news. In 2012, a hoax announcing the death of Syrian president Assad created a global rise in the price of oil. Other Debenedetti Twitter hoaxes were picked by important news sources, fooling many newspapers, including "The New York Times", "The Guardian", "USA Today", and "Neue Zürcher Zeitung", as well as world leaders and organizations.
Response.
Debenedetti explained he did it "to show how easy it is to fool the press in the era of social media". Mario Vargas Llosa, in his essay "Notes of the death of culture" (written in 2015) quoted Debenedetti as "an hero of the civilization of the spectacle".


Lew II coat of arms

Lew II () - Polish coat of arms, used by several genera. Two of them were families from the region of Kaszuby. Coat of arms "Lew II" is a variant of the coat of arms "Leo" ().
Blazon.
Description of emblem, proposed by Alfred Znamierowski (): Gules lion rampant or. Crest - three ostrich feathers. Mantling gules lined or.
Mentioned in Hzhanski () differences in Tables () coat of arms "Krupski" (). No color, he was quoted as Emilian Seligo-Zhernitsky (), as the emblem of "Shada" and "Shadyn-Bozhishkovskih of Kashuba" (). Other branches of genus used a coat of arms "Bozhyshkovski", "Bozhyshkovski III ", "Lodz" () could also use Coat of arms "Sas".


Guillaume de Palerme

Guillaume de Palerme ("William of Palerne") is a French romance poem, which has been translated into English.
The French verse romance was composed c. 1200, commissioned by Countess Yolande (who is generally identified as Yolande, daughter of Baldwin IV, Count of Hainaut). The prose version of the French romance, printed by N Bonfons, passed through several editions.
The English poem in alliterative verse, commissioned by Humphrey de Bohun, 6th Earl of Hereford, was written c. 1350 by a poet named William. A single surviving manuscript of the English version is held at King's College, Cambridge. The Oxford English Dictionary has cited this poem as being the earliest known use of singular "they" in written English.
Plot.
Guillaume, a foundling supposed to be of low degree, is brought up at the court of the emperor of Rome, and loves the emperor's daughter Melior who is destined for a Greek prince. The lovers flee into the woods, disguised in bear-skins. Alfonso, who is Guillaume's cousin and a Spanish prince, has been changed into a wolf by his stepmother's enchantments. He provides food and protection for the fugitives, and Guillaume eventually triumphs over Alfonso's father, and wins back from him his kingdom. The benevolent werewolf is disenchanted, and marries Guillaume's sister.
Motifs.
The werewolf as used in this story draws on later developments of that legend than such lais as "Bisclavret" and "Melion", where the werewolf status is inherent, although his obeisance to the king, his father, corresponds to the same act in the other stories. The werewolf's protection of the child probably stems from the anecdote found in both "The Seven Sages" and "Gesta Romanorum". But the werewolf's attack on his wicked stepmother corresponds to that of the werewolf on his false wife in "Bisclavret" and "Melion", and Guillaume plays the same role as the king, protecting the werewolf after the attack.
The love of Guillaume and Melior, though presented as classical courtly love, ends in marriage and children—a deviation from the original formulation of courtly love that grew common in romances of this era.


Doran

Doran may refer to:


Anguksa

Anguk-sa is a Korean Buddhist temple situated in Pyongsong, South Pyongan Province, North Korea. Built on the slopes of Mt. Pongrin, the temple dates to the Koryo dynasty, though all of the buildings date to later Joseon dynasty renovations. The building is registered as National Treasure #34.
History.
Anguk Temple was founded in 503 under Koguryo. It was later reconstructed in 1419, and again renovated in 1785 under king Chŏngjo.
Architecture.
The temple has a linear layout. Through the temple's front gate is the outer court, with a monument to the temple's construction and a 9-tiered pagoda dating to the original Koryo temple. The ginkgo tree located in this yard was planted around 1400, and is listed as Living Monument #31.
Access to the temple's inner court is through T'aepyŏng Pavilion (, "Pavilion of Perfect Peace"), located across from the main gate/Though very simple on the outside, it is ornately painted within. The sighboard of the hall is said to have been painted by King Sunjo of Joseon. Directly across from the pavilion is Taeung Hall ( "Hall of Great Enlightenment"). As the temple's main prayer hall, Taeung Hall is by far the most impressive of the temple's structures; it is also the largest at 17 by 13 meters long. It has the curious feature of being two-storied in its construction, unlike most other Korean temples of the era, and has two gabled roofs supported by cow's tongue brackets. To the right of Taeung Hall is the temple dormitory; to the left is a library of Buddhist scriptures.


Don Donald

Don Donald is a 1937 American animated short film produced by Walt Disney Productions and released by United Artists. The cartoon follows Donald Duck attempting to woo a female Mexican duck named Donna. It was directed by Ben Sharpsteen and features music by Paul J. Smith which was adapted from the Mexican folk songs "Cielito Lindo" and "Jarabe Tapatío." Clarence Nash voiced both Donald and Donna.
Although billed at the time as another "Mickey Mouse" cartoon, explaining the face of Mickey Mouse at the beginning of the original release, the film is actually the first installment of the "Donald Duck" series, and is the first to feature Donald as the primary starring character. The film also introduces a love interest for Donald.
Plot.
Donald Duck rides a donkey through the Mexican desert playing a guitar and wearing a sombrero on his way to the house of his girlfriend, Donna Duck. Donna dances the Mexican Hat Dance and eventually lands on Donald's donkey who throws her off his back. Donald laughs causing Donna to get angry. She knocks Donald into a fountain, breaks his guitar over his head, and storms back inside the house.
Back outside, the donkey laughs at Donald's misfortunes. Donald decides to exchange the donkey for a car at a nearby trading post.
Donna is immediately won back with Donald's car. She lands in the rumble seat and gives Donald a big kiss. Together they speed off through the desert, but eventually the car has engine problems and stops working. Donald confidently tries to fix the problem but the car throws Donald out and speeds off without him. The rumble seat closes on Donna and she is trapped inside with Donald in pursuit. The car crashes, throwing Donna out of the rumble seat, across a waterhole, and into a mud puddle, and Donald laughs at her. Donna furious once again, grabs the car's horn and hits Donald with it, until he lands in some cacti and Donna shoves the horn in his mouth. Donna then rides off on her unicycle which she has conveniently carried with her in her purse, and declares their relationship over.
Donald, alone in the desert with the donkey who has escaped from the trading post, is furious at the car and throws the horn at it in retaliation. This however causes the car's radiator to explode and the hot water lands on Donald's sombrero, shrinking it. The donkey laughs yet again.
Donna Duck.
It is unclear if Donna Duck simply represents an earlier version of Daisy Duck or is a separate character entirely. Donna was later retconned in a 1951 Disney comic strip as Daisy's rival.
Donna made several other appearances in the British magazine "Mickey Mouse Weekly". Donna did not appear in any other films.
Releases.
Source:
Home media.
The short was released on May 18, 2004 on "".
Additional releases include:


Famille jaune, noire, rose, verte

Famille jaune, noire, rose, verte are terms used in the West to classify Chinese porcelain of the Qing dynasty by the dominant colour of its enamel palette. These wares were initially grouped under the French names of ' ("green family"), and ' (pink family) by Albert Jacquemart in 1862. The other terms ' (yellow) and ' (black) may have been introduced later by dealers or collectors and they are generally considered subcategories of "famille verte". "Famille verte" porcelain was produced mainly during the Kangxi era, while "famille rose" porcelain was popular in the 18th and 19th century. Much of the Chinese production was Jingdezhen porcelain, and a large proportion were made for export to the West, but some of the finest were made for the Imperial court.
Famille verte.
"Famille verte" (康熙五彩, "Kangxi wucai", also 素三彩, "Susancai"), adopted in the Kangxi period around 1680, uses green in a few different shades and iron red with other overglaze colours. It developed from the "wucai" (五彩, "Five colours") style, which combines underglaze cobalt blue with a few overglaze colours. The "famille verte" enamels may be painted on the biscuit (unglazed prefired ware) with no underglaze blue, or over high-fired glaze, producing wares of different appearances. Wares with enamel painted on the biscuit usually have a solid-colour ground such as yellow, black or green, while those painted over the glaze may have a white ground. Occasionally both underglaze and overglaze blue may be seen in the same object. The firing to fuse the enamels was done at a relatively low temperature.
The colours found in "famille verte" are typically green, red, yellow, blue and aubergine (non-vivid purple). Black may also be used and occasionally gold. The blue colour is more violet or royal blue in tone, which is different in shade from the blue used in Ming dynasty porcelain. The ability to achieve colour gradation "famille verte" is limited. The coloured enamels are often painted over the pure white body of the porcelain which comes over through the glaze. The colours may also be set off on a black or yellow grounds (known as "famille noire" and "famille jaune" respectively), and more rarely aubergine and green.
"Famille verte" wares were popular for several decades until the 1720s after the reign of Kangxi when it became supplanted by "famille rose" which has a greater colour range. It continued to be made in small amounts in the subsequent periods, and its popularity revived in the West in the late 19th and early 20th century.
Famille jaune.
"Famille jaune" is a variation of "famille verte", using "famille verte" enamels on a yellow ground.
Famille noire.
"Famille noire" (Chinese: 墨地素三彩, "Modi susancai") uses a black ground (although some clobbered wares had the black added in the 19th century). "Famille noire" wares were made in the Kangxi era. They may have a copper-green lead based enamel painted over dry black cobalt ground on the biscuit, and a transparent green glaze was then applied, giving it a near-iridescent appearance. "Famille noire" was once highly appreciated by western collectors, which led to high prices and many pieces were then counterfeited, with the result that a large proportion of surviving examples are forgeries. The popularity of this type of porcelain has since declined.
Famille rose.
"Famille rose", known in Chinese as "fencai" () or "ruancai" ( / ), 'pale colours' or 'soft colours'), "yangcai" (), lit. 'foreign colours'), and "falangcai" (, lit. 'enamel colours'), was introduced in China during the reign of Kangxi (1654–1722), possibly around 1720, but perfected only in the Yongzheng era when the finest pieces were made. "Famille rose" is named after its pink coloured enamel, but which may actually ranged from pale pink to deep ruby. Apart from pink, a range of other soft colour palettes were used in "famille rose", hence the term "fencai". The gradation of colours was produced by mixing coloured enamels with 'glassy white' (玻璃白, "boli bai"), an opaque white enamel (lead arsenate).
"Famille rose" colour palette was first achieved in Europe through the use of purple of Cassius made of colloidal gold and first used on glass. It is generally believe that the use of the new colour palette in China was introduced by Jesuits in China to the Imperial court, initially on enamels used on metal wares such as cloisonné produced in the "falang" workshop (珐琅作, "falang" meaning enamel may have originated from the word for the "Franks" or "France"), or through adaptation of enamels used in tin-glazed South German earthenware. Research has failed to show that the chemical composition of the pink colour pigment to be the same as that of the European one. However, the term used by Tang Ying (who oversaw the production of porcelain at Jingdezhen) and in Qing documents was "yangcai" ("foreign colours"), indicating its foreign origin or influence. Rudimentary "famille rose" have been found in Chinese porcelain from the 1720s, although the technique was not fully developed until around 1730 during the Yongzheng period. The pink of the early pieces of the 1720s were darker in colours made with ruby-coloured glass, but after 1725 softer shades were achieved by mixing with white enamels. At the Palace workshops in Beijing, experimentation was conducted to develop a range of enamel colours and techniques for applying the such enamels onto blank porcelain supplied by Jingdezhen, and the wares produced were called "falangcai". Court painters were employed to make drafts to decorate such wares, which produced a new aesthetic style of decoration on porcelain. "Falangcai" decorations may be painted on a white ground, or on a coloured ground with yellow the most popular. As "falangcai" was produced at the palace for its exclusive use, there are relatively fewer pieces of "falangcai" porcelain.
With the successful creation of "falangcai" porcelain at the palace, "falangcai" was also then made at the imperial kilns of Jingdezhen. The term "yangcai" was used to refer to porcelain produced at Jingdezhen to imitate "falangcai". Visually there is little difference in appearance between "falangcai" and "yangcai" wares produced for imperial use, but differences may be detected in the chemical composition of the flux used. "Ruancai" ('soft colours') was also a term used in the Yongzheng era as the colours used are softer in contrast to the 'hard colours' (硬彩, "yingcai") previously used for "famille verte" or "wucai". "Fencai" is the more modern term used by Chen Liu (陈浏) in the early 20th century and it then replaced "yangcai" in Chinese usage.
The "famille rose" enamels allow for a greater range of colour and tone than was previously possible, enabling the depiction of more complex images, particularly during the Qianlong era, and decorations became more elaborate and crowded in the later Qianlong period. The images may be painted on coloured grounds, including yellow, blue, pink, coral red, light green, 'cafe au lait' and brown. Black ground or "famille noire" may also be used on "famille rose" ware, but they are not highly regarded. Many produced in the Qianlong period were on eggshell porcelain. "Famille rose" supplanted "famille verte" in popularity, and its production overtook blue and white porcelain in the mid-18th century. It remained popular throughout the 18th and the 19th centuries and continued to be made in the 20th century. The quality of wares produced however declined after the Qianlong period.
Jingdezhen produced many "famille rose" pieces, and some of the finest pieces were made there. However, from the late 18th century onwards, many pieces were decorated in the port city of Canton to produce the Canton ware intended for export, using white porcelain from Jingdezhen. In contrast to the more refined 'court-taste' porcelain, export wares particularly those from the 19th century tend to be highly and brightly decorated. The decorative patterns used in these export wares may be referred to as Rose Canton, Rose Mandarin and Rose Medallion.
"Famille rose" enamels were known to have been used in Europe before its usage became established in China, for example in Vienna porcelain made by the Du Paquier factory in 1725. Large number of "famille rose" porcelains were exported from China to the West, and many European factories such as Meissen, Chelsea and Chantilly copied the "famille rose" palette used in Chinese porcelain. Export of Chinese porcelain then declined due to competition from the European factories.


To Live in Peace

To Live in Peace () is a 1947 Italian neorealist comedy-drama war film directed by Luigi Zampa.


La Cantiga del Fuego

La Cantiga del Fuego (literally "the song of fire" in Spanish) is the third studio album by Ana Alcaide, released in November 12, 2012 and sung in both Spanish and Judeo-Spanish.
Personnel.
Taken from the album's booklet:


Cultural assets of North Korea

Designated cultural assets of North Korea are tangible artifacts, sites, and buildings deemed to have significant historical or artistic value. They are not, however, considered important enough to merit designation as a national treasure.


Jenni Calder

Jenni Calder (née Daiches) (born 1941) is a Scottish literary historian, and arts establishment figure.
Edinburgh based, she has been part of the Scottish literary community for many years. Her teaching and writing cover Scottish, English and American literary and historical subjects.
She has written 28 books on literary and historical subjects, including biographies of Walter Scott, Robert Louis Stevenson, George Orwell and Naomi Mitchison and books on Scottish history and Scottish emigration. She has a particular research interest in emigration and the Scottish diaspora. She worked at the National Museums of Scotland from 1978 to 2001 and latterly as Head of Museum of Scotland International. In 2003 she helped to organise the National Museums of Scotland's exhibition called 'Trailblazers - the Scots in Canada'. She was president of Scottish PEN, a not-for-profit organisation that champions freedom of expression and literature across borders.
She writes fiction and poetry as Jenni Daiches.
She was formerly married to Angus Calder, and is the daughter of David Daiches a prominent Scottish, Jewish, writer, critic and historian. She was born in the USA and spent time in Kenya. Her book "Not Nebuchadnezzar" is a partly a biography and a "'chronicle of the consuming search for that elusive concept known as 'identity"". She has spoken out about anti-antisemitism
On the question of Scottish independence; of 27 Scottish authors whose opinion was sought, Calder was one of only two offering a definite No.


Dance Madness

Dance Madness is a 1926 American silent comedy film directed by Robert Z. Leonard based upon a script by Frederica Sagor. The film starred Claire Windsor, Conrad Nagel, and Hedda Hopper. "Dance Madness" is now considered to be a lost film.
According to the credited screenwriter, Frederica Sagor, "Dance Madness" was "patently a rewrite" of "The Guardsman", a work by Ferenc Molnár that was later directly adapted for film. Sagor notes the screenplay was not written by her, but by Alice D. G. Miller, and she only provided script rewrites.
Plot.
May (Claire Windsor) is married to Roger (Conrad Nagel), an alcoholic hell-raiser. During one of their riotous parties, she tests his fidelity by impersonating a notorious masked dancer (Hedda Hopper) and trying to seduce him.


David of Munktorp

Saint David of Munktorp ("David av Munktorp") was an Anglo-Saxon Cluniac monk of the 11th century.
David was sent as a missionary to Sweden by Saint Sigfrid of Växjö along with Saint Botvid and Saint Eskil. The missionaries David, Eskil, and Botvid preached chiefly in Södermanland and Västmanland, in the area of Lake Mälaren.
David is associated with Munktorp, a village situated in Köping Municipality, in Västmanland County. He reportedly originated Munktorp Church ("Munktorps kyrka"). The original church structures are known as David's Church ("Davidskyrkan"). Munktorp Church is in Västerås diocese, northeast of Köping, Sweden.
David became known as the Västmanland apostle ("Västmanlands apostel"). David sought to become a martyr but died peacefully in 1082 of old age. After his death, his remains were buried in Munktorps kyrka.
According to the Västerås breviary, David came to evangelize in Sweden in order to become a martyr. It further says that David "wandered among villages and towns, preaching the word of God and baptizing the converted, kept nightly prayer vigils, committing to God with tears and sighs his plentiful offspring, which he had thus born in the Lord".


Prashant Shah

Prashant Shah is a film producer based in Las Vegas, Los Angeles and the UK. He is the CEO and founder of Bollywood Hollywood Production Inc., a film and television production company that produces and shoots Bollywood movies in the UK, India, Canada, United States and South America. His latest films as a Producer titled "Jungle Cry.
Career.
Prashant Shah (PS) first worked in a variety of industries including global marketing and business development in electronics. With education in computer science PS had IT consulting business related to biometric and security software applications. His experiences include F&B, healthcare staffing solutions. Currently in development a media-tech product, and products in F&B for 2021 launch.
Producer.
PS has more than 30 feature films & TV shows including "My Name is Khan, "Padman", "ZERO", "Roadies" and new releasing home production feature film "Jungle Cry" to his credits.
Selected filmography.
Shah's films include:


Parkwood Estate

The Parkwood Estate, located in Oshawa, Ontario, was the residence of Samuel McLaughlin (founder of General Motors of Canada) and was home to the McLaughlin family from 1917 until 1972. The residence was designed by Darling and Pearson, a noted Toronto architectural firm, with construction starting in 1916. In 1989, Parkwood was officially designated a National Historic Site, and tours are now given year-round.
House.
Parkwood's architectural, landscape and interior designs are based on those of the 1920s and 1930s. The national Historic Sites and Monuments Board describes it as “a rare surviving example of the type of estate developed in Canada during the inter-war years, and is rarer still by its essentially intact condition, furnished and run to illustrate as it was lived within.”
Parkwood was the family home of the McLaughlins from 1917 until 1972. The federal government designated it a National Historic Site in 1989, and it was opened it to the public. R.S. McLaughlin was named a National Historic Person that same year.
Interior.
The interiors at Parkwood represent early 20th century design and contain housewares, books, photographs and memorabilia, artwork, and trophies, all displayed in their original settings. Murals include works by Canadian artists Frederick Challener and Frederick Haines. Decorations include carved wood and plaster architectural finishes, as well as novelties such as hidden panels and stairways.
The 55 room mansion has of space, including the basement and third-floor servants' rooms.
Gardens.
The McLaughlin family had an avid interest in horticulture and landscaping, as evidenced by their eleven greenhouses and staff of 24 gardeners. McLaughlin sought out the best talent available to create the numerous gardens of his estate - Harries and Hall in the 1910s, the husband and wife team Howard and Lorrie Dunington-Grubb in the 1920s, and award winning architect John Lyle in the 1930s.
The Parkwood gardens have references to the great gardens of England and Europe, but with a 20th-century spirit. Much of the landscape design draws inspiration from the English Arts & Crafts gardening movement. This style called for a high degree of formality near the house, dissolving into less formal presentation with distance from the house, including a broad expanse of immaculate lawn.
The perimeters included denser woodland borders and the use of cedar hedges to sub-divide the landscape into formal garden spaces, recreation areas, and farming space for the production of cut flowers, fruits, and vegetables. The hedges served to prevent the viewing of the entire landscape all at once and were complemented by garden gates beckoning visitors to proceed through a sequence of garden views and experiences.
Shortly after the family took residence in 1917, landscape designers Harries & Hall were engaged to design a fitting setting for the mansion. This was achieved by linking each principal room of the house to a terrace or garden area just outside and finally out into the beautiful wooded park. The site was further refined during the early 1920s by H.B. and L.A. Dunington-Grubb. The husband and wife design team created spectacular outdoor “garden rooms” including the Italian Garden, Sundial Garden, Summer House and the Sunken Garden. They also refined the South Terrace and designed the intricate lattice fencing for the tennis court and Italian Garden. The Dunington-Grubbs were influential in the development of their profession, were the founding members of the Society of Landscape Architects as well as Sheridan Nurseries. Sheridan Nurseries is still thriving today and remain generous supporters of the Parkwood Foundation.
The last of the major additions to the gardens occurred between 1935–1936, with the commission of architect John Lyle to create the Formal Garden. Lyle was awarded the Bronze Medal from the Royal Architectural Institute of Canada for its design. The two-acre garden is in an art moderne style.
Then and now, the gardens are linked by theme and function to the Parkwood greenhouse complex. Three greenhouses are still used for the production of period and specialty plant materials. The greenhouses display palms, orchids, and tropical plants and are home to the Japanese Garden and the Greenhouse Tea Room. Today, the gardens of Parkwood have been restored to represent how they appeared in the 1930s.
Filming.
Parkwood’s beauty and history provide a backdrop for film work and professional photography. The estate appears regularly as the backdrop in fashion photography and magazine ads, and it is one of Ontario’s most popular locations for location filming, arranged by the Ontario Media Development Corporation.


Walt Disney Records discography

This is a list of albums released by Walt Disney Records, including studio albums, soundtrack albums, compilation albums, and remix albums released by the label. Disney licensed its music to other labels from 1937 to 1956. The company started publishing its own music under Disneyland Records in 1956, eventually also adopting the Buena Vista label in 1959 for albums aimed at a slightly more adult audience and price-point (such as music from their live-action Westerns). In 1989, Disneyland Records was renamed to its current branding, Walt Disney Records.


Ingvar runestones

The Ingvar Runestones () is the name of around 26 Varangian Runestones that were raised in commemoration of those who died in the Swedish Viking expedition to the Caspian Sea of Ingvar the Far-Travelled.
The Ingvar expedition was the single Swedish event that is mentioned on most runestones, and in number, they are only surpassed by the approximately 30 Greece Runestones and the approximately 30 England Runestones. It was a fateful expedition taking place between 1036 and 1041 with many ships. The Vikings came to the south-eastern shores of the Caspian Sea, and they appear to have taken part in the Battle of Sasireti, in Georgia. Few returned, as many died in battle, but most of them, including Ingvar, died of disease.
The expedition was also immortalized as a saga in Iceland in the 11th century, the "Yngvars saga víðförla", and in the Georgian chronicle "Kartlis tskhovreba", where king Julfr of the saga corresponds to king Baghrat IV.
Beside the Tillinge Runestone in Uppland and a rune stone on Gotland, the Ingvar Runestones are the only remaining runic inscriptions that mention Serkland. Below follows a presentation of the runestones, but additional runestones that are associated with the expedition are: Sö 360, , U 540, U 785, Vs 1-2, Vs 18 and Vg 184. The nine runestones that mention Serkland can also be grouped as a runestone group of their own, in line with the same guidelines that apply to runestone groups such as the Ingvar Runestones and the England Runestones.
The transcriptions into Old Norse are in the Swedish and Danish dialect to facilitate comparison with the inscriptions, while the English translation provided by Rundata gives the names in the de facto standard dialect (the Icelandic and Norwegian dialect):
Uppland.
U 439.
This runestone in runestone style Fp and is one of the Serkland runestones. It was located at Steninge Palace, but it is now lost. Johan Bureus, one of the first prominent Swedish runologists, visited Steninge on May 8, 1595, and made a drawing of the runestone which stood by the jetty. Only 50 years later it had disappeared and in a letter written in 1645 it was explained that the stone had been used in the construction of a new stone jetty.
The inscription contained an Old Norse poem. Of the names in the text, Sæbiorn means "sea bear," Hærlæif means "warrior love relic" or "beloved warrior," and Þorgærðr is the name of a goddess, Þorgerðr, which combines the god name Thor and "gerðr", the latter word meaning "fenced in." Ingvar, the leader of the expedition, has a name meaning "the god Ing's warrior." This runestone is attributed to the runemaster Äskil.
Latin transliteration:
Old Norse transcription:
English translation:
U 644.
This runestone in style Fp is located at Ekilla bro. It is raised in memory of the same man as U 654, below. The same family also raised the runestone U 643 and which reports the death of Andvéttr. Omeljan Pritsak suggests that he may have died in Vladimir of Novgorod's attack on Constantinople in 1043.
The monument is more than 2 metres high, and it was mentioned for the first time in the 17th century during the national revision of historic monuments. It was at the time lying under the stone bridge that crossed the river north of Ekilla. It would remain lying there until 1860, when it was moved with great difficulty by Richard Dybeck. After one failed attempt a crew of 12 men managed to move it out of the water and raise it 25 metres north of the bridge, where it still remains. Next to it, there are two barrows and a monument of raised stones. There were formerly two other runestones at the bridge, but they were moved to Ekolsund in the early 19th century. One of them speaks of the same family as U 644, and it is raised after Andvéttr and his sons Gunnleifr and Kárr (one of the sons has the same name as his grandfather and the other one has the same name as his uncle).
The inscription is finished with a Christian prayer, which shows that the family was Christian. It is of note that "andinni" ("the spirit") is in the definite form, as this is a grammatic category that appears in Old Norse at the end of the Viking Age. It would remain rare even in the medieval Swedish provincial laws. The same form was used on a lost runestone in the vicinity, which, however, was not made by the same runemaster, which suggest that there were two runemasters in the region using the same linguistic innovation.
Latin transliteration:
Old Norse transcription:
English translation:
U 654.
The Varpsund runestone is in style Fp. It is almost three metres tall, and it is located on a promontory between Stora Ullfjärden ("Great fjord of Ullr") and Ryssviken ("Bay of the Russians") so as to be well visible for both those travelling on land and those travelling by water. It contains an Old Norse poem.
The runestone was depicted as early as 1599 by Johannes Bureus, and in the 17th century on a drawing by Johan Hadorph and Johan Leitz. Unfortunately, the names of two of the brothers who are mentioned on the stone were already lost at that time. Luckily, the brothers raised a second stone (U 644, above) at Ekilla Bro a few kilometres to the south of Varpsund, which is why scholars are certain that their names were Andvéttr and Blesi.
The runemaster's name is partially superficially carved and the last rune has disappeared, but it was probably Alrikr. It is a characteristic of this runemaster that the r-rune is used where the R-rune should be. Moreover, the u-rune is probably used on this stone for an u-umlauted "a". These are dialect traits typical of the Old Norse dialect of Iceland and Norway (Old West Norse).
The inscription mentions the knarr, which was a larger seagoing trading vessel with ample cargo space. The knarr is mentioned in five other Viking Age runestones, two in Södermanland and three in Uppland. A sixth inscription is found in the medieval church of Sakshaug in the fjord of Trondheim, Norway, where someone has carved the image of a knarr and written in runes "there was a knarr outside".
The same family also raised the runestone U 643 and which reports the death of Andvéttr. Omeljan Pritsak suggests that he may have died in Vladimir of Novgorod's attack on Constantinople in 1043.
Latin transliteration:
Old Norse transcription:
English translation:
U 661.
This stone is in style Fp. It is located c. 500 metres south-west of the church of Råby in a gravefield with c. 175 registered pre-historic monuments. Among these monuments, there are many raised stones, mostly in stone circles, 34 barrows and a triangular cairn. The runestone contains an Old Norse poem.
The runestone was examined in the early 17th century by Johannes Bureus and it was included in his book "Monumenta Sveo-Gothica Hactenus Expulta".
The artwork of the stone is in line with many of the other Ingvar runestones, but it is debated whether they were made by the same runemaster or not. It is of note that the u-rune appears to be used for an u-umlauted "a", an umlaut which existed in Sweden, but was typical of the dialect of Iceland and Norway (Old West Norse).
Latin transliteration:
Old Norse transcription:
English translation:
U 778.
This stone is in runestone style Fp and was carved by the runemaster Áskell. It is located in the porch of the church of Svinnegarn. It contains an Old Norse poem.
The text refers to the "lið" of Ingvar. This word, translated by Rundata as "retinue," is often used in reference to the Þingalið, the Scandinavian forces that served the English kings from 1013–1066, and is used that way on runestone U 668. It has been suggested that "lið" could also refer to a "collection of ships."
Latin transliteration:
Old Norse transcription:
English translation:
U 837.
This stone is located in Alsta, Nysätra. It was discovered in the 1940s by a local boy, and an unsuccessful search was initiated to find the remaining parts. It is presently located in the forest about 100 metres from the road. Its identity as an Ingvar runestone is based on the remaining runes -rs + liþ, which agree with ikuars × liþ ("Ingvar's retinue") on runestone U 778.
Latin transliteration:
Old Norse transcription:
English translation:
U 1143.
This stone is located at the church of Tierp. It is tentatively categorized as style Pr1. Although very worn today, the text of the inscription is known from a drawing made by Johan Peringskiöld.
Latin transliteration:
Old Norse transcription:
English translation:
U Fv1992;157.
This stone in style Fp was reported by road construction workers on April 6, 1990. A runologist arrived and noted that it was missing some parts. It was also lying with text upwards and it had probably been dug up and moved by machinery the previous winter from somewhere in the vicinity. The existence of lichen showed that it had not been completely covered by soil. Later in the month, an archaeological excavation uncovered two missing pieces of the stone. On the 23rd it was moved to the museum of Sigtuna and on May 16, it was transported to a stonemason who mended the stone.
The stone is a light grey and finely grained granite, and it is 2.30 m tall and 1.73 m wide. The runemaster does not appear to have prepared the surface much and so the surface is quite coarse, but still the runes are legible. It was made by the same runemaster as the Ingvar runestone U 439 and probably the Ingvar runestone U 661. It is the only Ingvar runestone that talks of the construction of a bridge. The excavation had established that the stone had been located beside a road, and there was once a creek at the location across which the bridge had passed. The reference to bridge-building in the runic text is fairly common in rune stones during this time period and are interpreted as Christian references related to the soul passing the bridge into the afterlife. At this time, the Catholic Church sponsored the building of roads and bridges through the use of indulgences in return for intercession for the soul. There are many examples of these bridge stones dated from the 11th century, including runic inscriptions Sö 101, U 489, and U 617.
Since it could not be reerected at its original location, the Swedish Civil Aviation Administration arranged so that it could be installed in the new terminal 2 for domestic flights. It was inaugurated in the terminal with a solemn ceremony by the Civil Aviation Administration on May 17, 1992.
Latin transliteration:
Old Norse transcription:
English translation:
Södermanland.
Sö 9.
This stone is located in Lifsinge and it is in style Fp. The runemaster used the imagery of the cross in the center to emphasize salvation; the text meaning "may God help Ulfr's soul" surrounds the cross.
Latin transliteration:
Old Norse transcription:
English translation:
Sö 96.
This stone in style Fp is located at the church of Jäder.
Latin transliteration:
Old Norse transcription:
English translation:
Sö 105.
This stone in style Fp is located in Högstena, Södermanland. It was raised by Holmviðr in memory of his son Þorbjörn.
Based on other runestones, the wider family connections of those mentioned on this runestone has been reconstructed as follows: Holmviðr was a wealthy landowner who also appears on the . He was married to Gýriðr, the sister of Sigfastr, the owner of Snottsta, who is mentioned on runestones U 623 and U 331, but for further information on the family saga of Sigfastr and his descendants, see the articles Gerlög and Inga, and Estrid.
Latin transliteration:
Old Norse transcription:
English translation:
Sö 107.
This stone was originally located in Balsta. It was moved to Eskilstuna in the 17th century, and then moved to Gredby in 1930 adjacent to Sö 108 and Sö 109. It is tentatively categorized as style Pr2. The name Skarfr from the inscription translates as "cormorant."
Latin transliteration:
Old Norse transcription:
English translation:
Sö 108.
This stone in style Fp is located in Gredby. The father's name Ulf means "wolf," while the son Gunnulf's name combines "gunnr" to make "war-wolf."
Latin transliteration:
Old Norse transcription:
English translation:
Sö 131.
This stone in style RAK is one of the Serkland Runestones, and it is located in Lundby. When Richard Dybeck visited the grave field in the mid-19th century, someone pointed out a stone which rose only three inches above the ground and which was said to be "written". Dybeck excavated the stone and discovered that it was a runestone with an interesting inscription. In Dybeck's time, there were also the remains of a stone ship next to the runestone.
Skarði is a rather unusual name, but it appears in runic inscriptions in Sweden, Norway and Denmark. The name is probably derived from a word for "score" and it probably refers to someone who is hare lipped. The name Spjóti is also unusual and the unique name Spjót is found on the nearby Kjula Runestone. The word "heðan" ("from here") is only found in one single Viking Age runic inscription.
The last part of the inscription is an alliterative poem. This kind of verse appears on several runestones and it is well known from Old West Norse poetry.
Latin transliteration:
Old Norse transcription:
English translation:
Sö 173.
In the village of Tystberga there are three raised stones. Two of them are runestones called Sö 173 and , of which the last one has a cross. Sö 173 is categorized as both style Fp and style Pr2. Both inscriptions are from the 11th century and tell of the same family. They probably refer to Viking expeditions both westwards and eastwards.
The location was first described by Lukas Gadd during the nationwide revision of pre-historic monuments that took place in the 17th century. In a paddock at the state owned homestead of Tystberga there was a flat stone lying with runes and next to it there was another flat stone that was leaning. In addition, there was a large square stone surrounded with rows of smaller stones, which Gadd described as a "fairly large cemetery". Not far from the stones, there were also two giant passage graves, about 20 paces long.
There is a depiction of the cross-less stone from the 17th century, made by Johan Hadorph and Johan Peringskiöld. This depiction has helped scholars reconstruct the parts that are damaged today. The runestone was raised anew by Richard Dybeck in 1864. In 1936, Ivar Schnell examined the stone, and he noted that there was a large stone next to it. When this stone was raised, they discovered that it was also a runestone, and it was probably the one that had been previously described by Lukas Gadd as the "square stone". In the vicinity, Schnell found a destroyed stone without runes which probably was the leaning stone described by Gadd. Since they would hinder agriculture, the three stones were re-erected at a distance of 60 metres, at the side of the road. The stone circle and the other monuments described by Gadd could not be found anymore.
The runes mani can be interpreted in two ways, since runic inscriptions never repeat two runes. One possibility is that it refers to Máni, the moon, and the other alternative is the male name "Manni" which is derived from "maðr" ("man"). The runes mus:kia are more challenging and the older interpretation that it was "Mus-Gea" is now rejected. It is probably a nominalization of "myskia" which means "darken" as during sunset, and one scholar has suggested that it could mean "sunset" and "twilight" and refer to e.g. a hair colour. A second theory is that the name refers to the animal bat. It is also disputed whether it is a man's name or a woman's name, but most scholars think that it refers to a woman. The name "Myskia" appears in a second runic inscription in Södermanland, and it may refer to the same person.
The last part of the cross-less inscription is both unusual and partly problematic. The word "ystarla" could without context be interpreted as both "westwards" and "eastwards", but since an "austarla" appears later in the inscription, it is agreed that "ystarla" means "westwards". It is unusual, but not unique, that the "y-rune" () represents the v phoneme. An additional reason for this interpretation is the fact that it would allow the last part of the inscription to be interpreted as a poem in the meter fornyrðislag. This would explain the use of the rune since "vestarla" permits alliteration with "um vaʀit". It is not known whether "he" refers to Hróðgeirr (Roger) or Holmsteinn, but most think that it is Holmsteinn who had been westwards. The plural ending -"u" in the verb form "dou" shows that both Hróðgeirr and Holmsteinn died in the Ingvar expedition.
Latin transliteration:
Old Norse transcription:
English translation:
Sö 179.
The Gripsholm Runestone is one of the Serkland Runestones and it is in style Fp. It is located beside the drive of Gripsholm Castle together with another runestone from the 11th century, Sö 178, but their original location is unknown.
The runestone was discovered in the early 1820s by Wallin, the caretaker of the castle, and it was then forming the threshold of the cellar of the eastern tower of the castle, the so-called "theatre tower". It was under both side walls of the door and also covered with tar, which suggests that it had been part of another construction before being used as construction material for the castle. It would take an additional 100 years before the stone was retrieved from the castle and could be read in its entirety.
The inscription says that it is raised in memory of Haraldr, the brother of Ingvar, and he is believed to have died in the region of the Caspian Sea. A subject that has been vividly discussed is why the runestone is raised only after Haraldr and not after Ingvar, and the most widely accepted explanation is that Tóla was only Harald's mother and that the two men were only half-brothers. It is also possible that there were originally two stones of which one was in memory of Ingvar, but that Ingvar's stone has disappeared. A third possibility is that "brother" refers to brother-in-arms, blood brother, or something similar, and this is a use of the word that appears on one of the runestones in Hällestad in Scania.
One theory proposed by Braun connects this stone to the runestones , U 540, and Sö 279, and it holds Ingvar the Far-Travelled to be the son of the Swedish king Emund the Old.
The second half of the inscription is in alliterative verse of the form fornyrðislag. The phrase to "feed the eagle" is a kenning which means "to kill enemies".
Latin transliteration:
Old Norse transcription:
English translation:
Sö 254.
This stone is located in Vansta and it is in style Fp.
Latin transliteration:
Old Norse transcription:
English translation:
Sö 277.
This stone is located at the cathedral of Strängnäs, and it is in style Pr2.
Latin transliteration:
Old Norse transcription:
English translation:
Sö 279.
This stone is one of the Serkland Runestones and it is located at Strängnäs Cathedral. It is in style Pr2. One theory proposed by Braun connects this stone to the runestones , U 540, and Sö 179, and it holds Ingvar the Far-Travelled to be the son of the Swedish king Emund the Old.
Latin transliteration:
Old Norse transcription:
English translation:
Sö 281.
This stone is located at the Strängnäs Cathedral and it is in style Pr2.
Latin transliteration:
Old Norse transcription:
English translation:
Sö 287.
This stone was located in Hunhammar, but it has disappeared.
Latin transliteration:
Old Norse transcription:
English translation:
Sö 320.
This stone is located in the park of the manor house Stäringe beside the runestone Sö 319. It is in style Fp.
Latin transliteration:
Old Norse transcription:
English translation:
Sö 335.
This stone is located at the church ruin of Ärja and it is in style Fp. It contains the word "skipari" which means "shipmate". This word is found in a second runestone in Södermanland and there are six other attestations in stones from southern Sweden and Denmark. From this usage, it seems that Holmsteinn was a captain of one of the ships of the expedition and Ósníkinn a crew member.
The first rune in the inscription is apparently superfluous, and this can be compared with the fact that the name Ingvar is spelled with two initial i-runes. What name was written in the first runes is not certain, but some scholars have proposed that it was a not hitherto known woman's name "Ulfvi". Another proposal is that it was a misspelling of the name "Ulfr" or the rare name "Ulfvid". The name "Osnikin" appears in half a dozen inscriptions in Uppland and Södermanland and it means, like "osniken" still does in modern Swedish, "generous."
Latin transliteration:
Old Norse transcription:
English translation:
Västmanland.
Vs 19.
This stone is located in Berga, Skultuna. It is in style Fp and it is made by the same runemaster as runestone Vs 18. It is dated to the 1040s. The name Gunnvaldr in the inscription combines "gunnr" meaning "war" and "valdr" meaning "wielder" or "keeper," while the name Ormr means "serpent" or "dragon."
Latin transliteration:
Old Norse transcription:
English translation:
Östergötland.
Ög 145.
This stone is located at the church of Dagsberg.
Latin transliteration:
Old Norse transcription:
English translation:
Ög 155.
This stone is tentatively categorized as style RAK. It is located in Sylten, and it is the southernmost of the Ingvar runestones. It was known in the 17th century and a drawing by Johan Hadorph, Petrus Helgonius and Petrus Törnewall is preserved. Later, the stone was toppled and partially covered with soil. In 1896, it was re-erected by the owner of the homestead of Bjällbrunna and moved a small distance.
The word "helfningr" (appears in the dative case as the eastern dialectal form "hælfningi") is originally a word for "half" but it could also mean "troop." It only appears in one additional runestone, which is located at the church of Dagsberg in Östergötland (see Ög 145).
The i-rune can represent both the "i" and the "e" phonem, which means that the first name can be interpreted both as the woman's name "Þorfríðr" and the man's name "Þorfreðr". It is consequently not known whether it was the mother or the father who raised the stone.
Ásgautr was a common name which appears in about 30 runic inscriptions. Gauti (modern Göte) was, however, rare in the runic inscriptions of the Viking Age and the only additional runestone where it appears is on U 516 (although damaged or unclear inscriptions on runestones Sö 14, G 65, and Norway's N 331 also have words translated as the name Gauti). It is believed to mean an inhabitant of Götaland, i.e. a Geat. The personal name element "Gaut" appears, however, in not only this part of Scandinavia but also in Svealand and in Denmark.
Latin transliteration:
Old Norse transcription:
English translation:


Passamezzo

The passamezzo (plural: "passamezzi" or "passamezzos") is an Italian folk dance of the 16th and early 17th centuries.
Many pieces in named "passamezzo" follow one of two chord progressions that came to be named after the dance, passamezzo antico and passamezzo moderno.
Name.
There are many variant spellings. In Italian or international usage, the name is also rendered as "pass'e mez(z)o", "passo e mezzo", and "passomez(z)o". In early English usage, the names frequently incorporated the word measure in a folk etymology, giving such renderings as "passemeasure", "passingmeasure", "passy-measures" or "passemeasure(s) pavan", particularly to designate the "passamezzo antico" progression. Passamezzi following the "passamezzo moderno" progression are designated "quadro pavan" or "quadran(t) pavan."


List of New York State Historic Markers in Erie County, New York

This is a complete list of New York State Historic Markers in Erie County, New York.


Suchekomnaty coat of arms

Suchekomnaty 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: