The Satirist

The Satirist, or the Censor of the Times was a controversial 19th-century British newspaper which featured reports of scandals involving well known residents of London. It was published by Barnard Gregory, who faced multiple libel charges and was later imprisoned due to its articles. "The Satirist" was frequently criticised by commentators, and James Hain Friswell described it as a "poor imitation of "Town and Country"".
History.
"The Satirist" was first published on April 10, 1831, at that time it cost 7d. It was published weekly and released on Sundays. The paper became notorious for the allegations it published and the legal battles they provoked. The front page of the paper carried the motto, "Satire's my weapon. I was born a critic and a satirist; and my nurse remarked that I hissed as soon as I saw light". Though it never failed to gain an audience, public opinion eventually turned squarely against the paper. "The Satirist" published 924 issues, the last of which was released December 15, 1849. At its height the paper had a weekly circulation of over 9,000.
In many cases Gregory would send a draft of an article that he had prepared to the subject of the article and request a bribe to suppress its publication. This proved to be a lucrative practice for the paper. Gregory was sued for libel several times, however, and he was almost constantly involved in litigation during the eighteen years that he published the paper. Though the nature of the English justice system at the time made it difficult for slandered parties to enforce judgments against him, some wealthy targets of the paper managed to win cases against him, and he served several stints in prison as a result. In addition to legal attacks, some targets of the paper responded by publishing the same type of articles directed at the staff of "The Satirist". After "The Satirist" published articles attacking the printer of the competing "The Town" newspaper, "The Town's" publisher, Renton Nicholson, retaliated with a series of scathing articles directed at Barnard Gregory.
Topics.
"The Satirist" covered accusations as serious as arson and as minor as individuals cheating while playing cards. One topic that it frequently covered, however, was affairs between wealthy men and their female servants. "The Satirist" also editorialised about the mistreatment of the poor. Gregory used his paper to become a prominent critic of the practice of medical schools using the bodies of deceased paupers for dissections. It also attacked Tory politics and published caricatures of its targets, reserving special disdain for the Duke of Cumberland and Queen Adelaide. Other notable targets of the paper included Sir James Hogg and the Duke of Brunswick. Both of these men brought Gregory to court over the articles he published about them and long legal court resulted. In one court battle between the Duke of Brunswick and Gregory, the Duke's lawyer claimed that "The Satirist" published, "divers indecent, obscene, lewd, filthy, and disgusting articles". Though it typically focused on stories set in London, "The Satirist" also published stories about foreign disasters.
"The Satirist" also had a sister publication known as the "Penny Satirist" which was devoted to exposing the transgressions of more obscure citizens.


Crane High School (Texas)

Crane High School is a public high school located in Crane, Texas (USA). It is part of the Crane Independent School District which covers all of Crane County and is classified as a 3A school by the UIL. In 2015, the school was rated "Met Standard" by the Texas Education Agency.
History.
By May 2015 several news stories in Texas stated that there were about 20 cases of chlamydia at Crane High, out of about 300 students. A spokesperson of the Texas Department of State Health Services stated that the whole county, not only the high school, only had three cases of chlamydia. The state department also stated that in the year there were eight cases in the county as a whole and additional persons were undergoing testing. At the time Crane High used an abstinence only sex education program, and Justin Wm. Moyer of "The Washington Post" wrote "the problem has attracted attention to questions about the viability of abstinence education."
The school board of Crane ISD was scheduled to adopt a new sex education curriculum on May 19, 2015.
Athletics.
The Crane Golden Cranes compete in the following sports:
State Titles.
"Crane" (UIL)
^ Was spring sport
"Crane Bethune" (PVIL)


Star Brand

The Star Brand is the name of a number of similar fictional comic book objects of power in the multiverse created by the shared universes of Marvel Comics. The name "Star Brand" is also often adopted by the wielders of these objects. Three of these Star Brands have been prominently featured in series published by Marvel.
The original Star Brand is a black star-shaped tattoo-like mark that first appeared in the comic book series "Star Brand", published by Marvel Comics as a part of its New Universe imprint from 1986 to 1989. All of the other Star Brands are alternates of this original version. The Star Brand gave its bearer infinite, god-like powers, limited only by the wielder's imagination. After the end of the series and the New Universe imprint, this specific Star Brand made appearances in Marvel's main shared universe, the Marvel Universe.
The second Star Brand is a glowing glyph, shaped like the original Star Brand and giving identical powers. This Star Brand is featured in "newuniversal", a series featuring a universe that is a reimagining of the original New Universe that began publication in 2006. This series was abandoned, the story never completed.
The third Star Brand was introduced in 2013's "Avengers Infinity" and is the first to be native to Marvel's main continuity.
New Universe Star Brand.
Publication history.
The Star Brand was created by Marvel Comics editor-in-chief Jim Shooter to be the flagship series of the New Universe line. Mark Gruenwald's notes from the meeting in which the New Universe concept was fleshed out indicate that the original title was "Will Power", and that the name "Star Brand" was taken from an unused concept by Archie Goodwin.
The series was originally written by Shooter. The New Universe had no budget with which to hire big name talent, so it was to Shooter's surprise that John Romita, Jr. (a rising industry star) and Al Williamson (an esteemed comics veteran) volunteered to be the penciler and inker, respectively, of "Star Brand". The stories followed protagonist Ken Connell in his struggle to use his near limitless power in the right way. Jim Shooter's run on "Star Brand" was unique in that, unlike nearly every other superhero comic up to that time, it was not told from omniscient point-of-view, and instead showed only Ken Connell's firsthand experiences. After issue #7, Shooter was fired from Marvel, and Romita and Williamson left the series. "Star Brand" was taken down to bi-monthly status, and consisted of fill-in issues for the next half year.
John Byrne, at the prompting of New Universe editor Howard Mackie (a close friend of Byrne's), took over both the writing and breakdowns with issue #11. Shortly after, a meeting between Byrne, Mackie, and "DP 7" writer Mark Gruenwald was held to come up with a plot device to raise interest in the New Universe. The idea of the Star Brand destroying Pittsburgh was devised at this meeting and implemented in "The Star Brand" #12. Following this issue, Ken Connell was reduced to a supporting character, and the series became a more generalized account of the effects of the Star Brand on humankind. The series was cancelled with issue #19.
Powers and abilities.
The Star Brand grants the bearer potentially infinite power, limited in application only by their imagination. What this actually means in execution varies with each depiction, though it usually includes the traditional super-powers of flight, invulnerability, super-strength and energy blasts. One user transferred the Star Brand to an inanimate object (an asteroid) in hope of ridding themselves of the burden of the power. The Brand, unchecked by a higher intelligence, released a huge amount of force in a single blast, bombarding the Earth with mutating energy endowing a small percentage of all living humans with various paranormal traits and abilities, an occurrence called the White Event.
Wielders.
There were four men who wielded the power of the Star Brand during the course of the original series run:
Reintroduction.
Following the dissolution of the New Universe imprint, Mark Gruenwald, the writer of the New Universe title "DP7", used the Star Brand and other New Universe characters some years later in "Quasar". He later used them in the "Starblast" limited series and crossover which ended when The Stranger used the Star Brand to move the Earth of the New Universe into orbit around his labworld.
Wielders.
During this period there were five individuals who wielded the Star Brand:
newuniversal - Starbrand.
Writer Warren Ellis re-imagined the New Universe and has since named it newuniversal, portraying Kenneth Connell as the Star Brand, originally from Optima Down, Oklahoma. The origin of the Star Brand is central to the entire New Universe re-imagining. The Star Brand was supposedly artificially created by a long-dead alien race as a tool that confers amazing powers to its wielder. The purpose of the Star Brand glyph (tattoo) is to help the transition of a world through the inevitable paradigm shift caused when it comes into contact with a web of strange matter, called "newuniversal structure", wherein normal physical laws operate differently. Specifically, the newuniversal web causes normal humans to become superhumans, or paranormals.
Ken represents an average man whose life is drastically changed, which is one of the major themes in "newuniversal". Ken's life is a relatively normal one where the most dangerous thing about it is that the city's sheriff hates him because he is dating his daughter, Madeline Felix. After a night out drinking Kenneth and Madeline fall asleep on a hillside. In the early hours of March 1, 2006, while they sleep, the White Event takes place, granting him the Star Brand glyph. Ken wakes to find Madeline dead beside him, burned to death when the White Event granted him the star brand. The energies were so strong that a symbol of the Star Brand had been scorched into the hillside around them, with Kenneth at its center. The events of the following few hours push him over the edge as they move far too quickly for him to handle.
Ken spends the next two weeks in a deep depression, coming to terms with his new powers and supposed responsibilities. Believing that Madeline's death was caused by the fact that he was asleep and therefore unable to consciously control the energies of the Star Brand (not limiting the Star Brand with conscious control), he decides to "wake up" and deal with it.
Other versions.
Earth-616 (Prime Earth).
A new Star Brand was introduced into the main Earth-616 continuity during the "Marvel NOW!" event, in Jonathan Hickman's "Avengers" Volume 5. College student Kevin Connor receives the brand from a flawed White Event, causing him to be selected rather than a qualified candidate. His sudden transformation results in the annihilation of his entire college, killing hundreds. The Avengers arrived at the area with Captain Universe and Nightmask to investigate the event. Nightmask and Star Brand later head to Mars to confront Ex Nihilo. The Avengers fought against Nightmask and Star Brand which resulted in Nightmask and Star Brand destroying the living consciousness of Earth. Iron Man imprisoned them in the Sol's Hammer weapon.
Alongside Ex Nihilo, Abyss, and Nightmask, Star Brand joins the Avengers when they leave Earth to fight the Builders. He and several other Avengers were captured, but with the encouragement of the Black Widow Star Brand proved instrumental in destroying the Builder fleet above the Kree homeworld of Hala. After the conclusion of the Builder conflict and the defeat of Thanos on Earth, Captain America decided to keep both Nightmask and Star Brand as members of the Avengers.
In this version, the Star Brand is described as a "planetary defense mechanism," and Star Brands from other worlds eventually appear. Kevin Connor later becomes frenzied and attacks Ghost Rider in South Africa, mistakenly believing that the youth is seeking to unearth an ancient Celestial that was buried there many years ago. He is apparently killed by Ghost Rider's Penance Stare, leaving the Star Brand symbol burned into the ground.
Starbrand next appeared in the six-issue Starbrand & Nightmask comic by Greg Weisman and Domo Staton.
"Fantastic Four".
In "Fantastic Four" 572 (2009), one of "The Council", an interdimensional think-tank and activist group composed entirely of parallel versions of Reed Richards, wields the Star Brand.
"Exiles".
Alternate versions of Ken Connell and the Star Brand appear in "Exiles" during that series' "Worlds Tour" story-arc. The issues depicting this story are #72 - 74, January through March of 2006.
This story is set in a slightly different version of the New Universe (designated as Earth-15731), prior to the Pitt. It sees the Exiles join forces with D.P.7 and Ken Connell to prevent an alternate version of Proteus from taking control of Connell's body and the Star Brand itself.
"Avengers Forever".
In 1998 - 1999 miniseries "Avengers Forever", a version of Ken Connell appeared briefly as one of the Alternate Avengers fighting in The Destiny War.
"Untold Tales of the New Universe".
"Untold Tales of the New Universe: Star Brand" (2006) briefly mentions three more alternate versions that have been investigated by Arden and her fellow Lateral Shifters:
The three Star Brand marks are also pictured - each one looks distinctly different (and none of them resemble the New Universe version).
"Legends".
In issue #5 of the DC Comics limited series "Legends" (March-1987), Guy Gardner battles a villain called "Sunspot", who is a parody of Ken Connell and thus, by proxy, of original "Star Brand"/New Universe creator Jim Shooter (Shooter had modeled many aspects of the Connell character on himself). Issued around the time of the downsizing of the New Universe line and Shooter's departure from Marvel, the scene in "Legends" depicts Sunspot/Connell/Shooter at one point exclaiming "I wield the ultimate power...the power to create a New Universe!", which was then followed by his accidentally shooting himself in the foot. This issue was written by John Byrne, who shortly thereafter returned to Marvel to take over the writing of the "Star Brand" comic itself.
Vnn.
In 1,000,000 B.C., there was a primitive version of Star Brand. He later came together with Agamotto, Lady Phoenix, Odin, and prehistoric versions of Black Panther, Ghost Rider, and Iron Fist. This group came together to fight a Celestial called the Fallen. The Stone Age Avengers defeated the Fallen and sealed it underground in what would become South Africa.
In his backstory, Vnn and his lover Brrkk discovered the Star Brand after running from Deviants. When Brrkk died, Vnn found the corpse of a Tyrannosaurus that previously possessed the Star Brand. Vnn absorbed the Star Brand powers and used them to defeat the Deviants.


Narsaq stick

The Narsaq stick is a pine twig inscribed with runic symbols dating to ca. 1000. The stick was discovered in Narsaq in Greenland in 1953 and was quickly seen as a significant find, as it was the first Viking Age runic inscription discovered in Greenland. The stick has two sentences of ambiguous and obscure runic text. One suggested interpretation of the first sentence is "He who sat on a tub saw a tub" while another is "On the sea, the sea, the sea is the ambush of the Æsir". The other sentence refers to a maiden named "Bibrau" who may be sitting on the sky. The runic alphabet is carved on one side of the stick in a short-twig form. Yet another side has a series of carefully carved symbols of unclear meaning, possibly cipher runes or some sort of tally.
Scholars have suggested various possibilities for the purpose of the stick. Relatively mundane ideas include that the text is a play on words, a pedagogical exercise in runic ambiguity or a riddle. Magical and religious purposes have also been suggested, with the stick being a pagan plea for protection against the dangers of the sea or possibly a case of love magic. Various parallels have been suggested, particularly with runic inscriptions from Bergen in Norway.
Discovery and archaeological context.
Remains of old habitation in Narsaq were first discovered by Aage Roussell in 1935. The site was placed under conservation order but in 1945 the restrictions were lifted since surface examination of the ruins had not indicated that they were especially valuable. In 1953 a local man, K. N. Christensen, was collecting mud for agriculture at the site of the ruins. He discovered artifacts made of bone and wood in the mud, including a runic stick. Christensen stopped digging and sent the artifacts to the National Museum of Denmark.
In the summer of 1954, archaeologist Christen Leif Pagh Vebæk undertook excavations at the site and found various remains, including arrowheads which could be dated to the oldest period of Norse settlement in Greenland. Further excavations were conducted in 1958 and 1962 and smaller-scale studies took place in 1998–2005. Radiocarbon analysis of the site confirms that the oldest layer dates to ca. 1000. The stick was found in the middle of the living area of the farm. Five other objects with runic symbols have been discovered at the site, all with short and difficult to interpret inscriptions.
The Narsaq stick was the first Viking Age runic inscription to be discovered in Greenland. Writing in 1961, runologist Erik Moltke described the find as "epoch-making" and more important than even the Kingittorsuaq stone.
Description.
The pine stick is natural and only slightly worked. Erik Moltke argued that it must have been carved in Greenland since only in a tree-poor country would a self-respecting rune-carver deign to use such a wretched piece of wood. When found, it was broken into two pieces but this did not cause much damage to the runes. The stick was later glued back together. It has a length of 42.6 cm and the broader sides have a width of 2.4 cm at the widest.
The four sides were labeled A, B, C and D by Moltke. Sides A and C are the broad sides and sides B and D are the narrow sides. Side A has an inscription with linguistic content and Side C has what looks like cipher runes. These are both elegantly cut. Side B has the younger fuþark alphabet. It uses the same form of runes as side A but may have been cut by a less skilled hand. Some additional marks on two of the sides appear to be mere scribbles or tests. The inscription on side A uses short-twig runes but the form of the s rune is unusual, it has the form normally used for the rune.
The runes on side A apparently form two sentences each starting with an × sign. The inscription reads as follows: × ą : sa : sa : sa : is : ąsa : sat × bibrau : haitir : mar : su : is : sitr : ą : blanị The final i is uncertain and it is possible that something is lost at the end.
The first sentence.
The first sentence (ą : sa : sa : sa : is : ąsa : sat) is highly ambiguous. Runic sa can stand for a number of Old Norse words, including the pronoun "sá" ("that one"), the verb "sá" ("saw") and the noun forms "sá" ("tub") and "sæ" ("sea"). There are similarities between this sentence and runic inscriptions from Norway, in particular B 566 from Bergen which reads in part huatsasaerisasasiksasaerisasa and has been taken to mean "What did he see who looked into the tub? He saw himself, he who looked into the tub." ("Hvat sá sá, er í sá sá? Sik sá sá, er í sá sá.") The text is then a play on three "sá" homonyms. Texts similar to that on B 566 are also found on B 617 from Bergen and A 162 from Trondheim and there is a further possible parallel on a bone discovered in Sigtuna in Sweden in 1995.
An interpretation of the first sentence of the Narsaq stick as a play on homonyms was first proposed by Jón Helgason who took the sentence to mean "He who sat on a tub saw a tub." ("Á sá sá sá es á sá sat."), noting as a parallel an Icelandic quatrain which plays on "sá" homonyms. This interpretation has been called "very convincing" and "the most appealing".
Other interpretations have been proposed. Erik Moltke took the first sentence to mean "On the sea, the sea, the sea is the ambush of the Æsir." ("Á sæ, sæ, sæ es Ása sát"), indicating that the sea is treacherous for anyone not favored by the gods. Helgi Guðmundsson further suggested that the gods in question would be Ægir and Rán and that "sát" should be understood as "dwelling place". Another proposal was offered by Ólafur Halldórsson: "He who did not see the sea saw the sea." ("Á sæ sá sá es á sæ sáat"). In this interpretation the sentence is a riddle with the answer 'mirage' given in the second sentence.
The second sentence.
The second sentence (bibrau : haitir : mar : su : is : sitr : ą : blanị) is mostly straightforward but the first and last words are difficult. The sentence can be translated as "bibrau is the name of the maiden who sits on blanị" (bibrau "heitir mær sú es sitr á" blanị). The word or name bibrau is unknown elsewhere. Moltke took its first component to be "bif-" ("movement" or "shaking") as in Bifröst and gave "Bifrau", "Bifrey" and "Bifró" as possible renderings. The b rune is then used for a sound more often represented by the f rune. This is a relatively archaic feature, found in some North Atlantic inscriptions such as the Ballaugh stone cross. Ólafur Halldórsson suggested the rendering "Bifbrá" which he took to mean "mirage" like Icelandic "tíbrá" and Faroese "lognbrá" and to answer what he saw as a riddle in the first sentence. Helgi Guðmundsson saw "Bifrǫ́" as the most likely option and points out that Norwegian and Swedish "rå" is a word for vættir or mythical beings.
The ending of the word blanị is uncertain and Moltke suggested blanum as a reconstruction. He took this to be dative of Bláinn, one of the names of the primordial giant out of whose skull the blue sky was made. The sense would be that the maiden sits on the blue sky. Helgi Guðmundsson argues that the expected dative of "Bláinn" is "Bláni" and that this fits well with what can be seen of the runic word. The sense "blue sky" has been adapted, with some hesitation, by several scholars. An alternative proposal by Jón Helgason is to take blanị to represent "blánni", the dative singular of "blá" ("pond" or "marsh") with the suffixed article. Jón proposes this with the caveat that this is a rather early inscription for the suffixed article to make an appearance.
Cipher runes?
Side C of the stick is carefully carved with 49 signs using the same technique as on the A side. The row begins with four apparently normal runes, aaal, but then continues with a repeated symbol with the appearance of a bind-rune formed of k and reversed upside-down k. These symbols are divided into groups with one-point division marks. In the middle of the line there are again some normal runes, aaaaa, followed by more bind-runes of the same type. The meaning of this row of symbols is unknown. Moltke compared the carving to known systems of coded runes based on the principle of dividing the runic alphabet into three groups ("ættir") and referring to each rune by the number of the group and its location within the group. He was unable to arrive at an interpretation in this manner. Nevertheless, Moltke argued that the symbols are carved and organized with such care that they must have a meaning. Marie Stoklund similarly comments that "The inscription has not yet been deciphered, though it looks as if it ought to make sense". Jonas Nordby is less certain that the carvings are based on a cipher system, suggesting that they might be some form of tally.
Purpose and parallels.
Erik Moltke saw the Narsaq stick as a pagan artifact with religious or magical significance. In his interpretation, the maiden Bifrau is a benevolent mythological being as well as possibly an asterism. She is invoked for protection on the treacherous sea. The core of the magic could be encoded in the cipher runes which might contain the name of the runemaster or a magical word. Helgi Guðmundsson pointed out that a virgin sitting on the sky was reminiscent of Christian ideas but that this did not seem to throw any light on the text. He also suggested a similarity to lines from the Eddic poem "Vafþrúðnismál": "Hræsvelgr he is called who sits at the end of the sky".
In addition to other inscriptions with word play on "sá", scholars have pointed more generally to inscriptions and manuscript texts containing repeated s+vowel elements. Two runic sticks from Bergen (B 524 and B 404) contain s+vowel formulas next to references to attractive women. This has been seen as a parallel to the 'maiden' and repeated sa of the Narsaq stick. Scholars have speculated that some form of love magic was involved. There are also obscure occurrences of s+vowel repetitions in manuscript texts including "sisisill bivivill" in a manuscript of the "Prose Edda" and "sa sa sa sa sa salutem in domino sa" in a manuscript from Bergen.
Jón Helgason suggested that the stick had a pedagogic function with the inscription intended to illustrate the ambiguity of runic writing. He makes a lighthearted suggestion that the carver was Erik the Red himself and the pupil his son Leif and stages a conversation between the two.


Yose

Yose (Japanese: 寄席) is a form of spoken vaudeville theatre of Japan cultivated since the 18th century.
History.
The "yose" was a popular form of spoken theatre in the Edo period. The term is the shortened form of "Hito yose seki" (人寄せ席), roughly "Where people sit together". Towards the end of the Edo period, there were several hundred theatres, about one per district (町, "chō"). The entrance fee, the "wooden door penny" (木戸銭, "Kido-zeni") was small.
A number of variants existed:
and others
The main direction was the "kōdan", the narrative stories. The beginning goes back to the beginning of the Edo period, to the "Taiheiki-yomi" (太平記読), the recitation of the "Taiheiki". In addition, there were military stories such as the "revenge stories" (仇討物, "Adauchi-mono"), "chivalric stories" (俠客物, "Kyōgaku-mono"), "civic stories" (世話物), etc. When this form of lecture developed, it was called "Kōshaku" (講釈), roughly "Explanatory Lectures", and was only common in places where the "bushi" (武士), i.e. the Japanese nobility, played a role in which the common people were interested. The lecturers, called "hanashi-ka" (噺家), corresponded to the "rakugo" narrators of the present day.
A well-known lecturer at the end of the Edo period into the Meiji era was San'yūtei Enchō (三遊亭 圓朝; 1839-1900), who was a master of all variants and laid the foundation for modern performance practice. He published his lectures under the title "Peony Lantern" (牡丹燈籠, "Botan dōrō") and "Shiobara Tasuke" (塩原多助). The later "Kaidan botan dōrō" (怪談牡丹燈籠) from 1884 was also successful, with Enchō's lectures having been taken down in shorthand.
Small theatre spaces typically seating 200 people existed for performances. Most theatres operated on an "Iromonoseki" (色物席) basis, i.e., after a series of younger lecturers, the master performed. Around 1900, 70 such theatres were still active, of which the Suehiro-tei (末廣亭) in Shinjuku district, the Tachibana-tei (立花亭) in Kanda and the Suzumoto-tei (鈴本亭) in Ueno were the best known. They were broadcast on radio from the 1920s onwards, while most "yose" theatres later had to close due to the surge in cinema competition. So the "yose" lives on today on television and radio and in special live broadcasts. Other forms include "Manzai" (漫才) and "Naniwa-bushi" (浪花節).
"Yosemoji".
 are Japanese lettering styles invented for advertising during the Edo period. The name "yosemoji" () literally means "letters for "yose"". It was used for posters and flyers. Unlike other calligraphic styles, "yosemoji" allows and even encourages multiple brushstrokes in order to fill in the characters as much as possible.


Bonnie May

Bonnie May is a lost silent 1920 American comedy-drama film based on the 1916 novel by Louis Dodge. It was directed by Ida May Park and Joseph De Grasse and starred Bessie Love. It was produced by Andrew J. Callaghan Productions and distributed by Federated Film Exchanges of America, Inc.
Plot.
An orphaned girl (Love) grows up in the theater. She becomes smarter and stronger, and never loses her optimism.
Release.
As this was Bessie Love's first film with Film Exchanges of America, Inc., it was very heavily promoted. A thirty-eight page press book was created, as well as special souvenir mirrors.
On its release, it was shown with "The Son of Tarzan"; "Mystic Mush", a Hank Mann comedy; and a Mutt and Jeff cartoon.
After its release, producer Andrew J. Callaghan sued Federated Film Exchanges, saying that the distributor had not paid the full amount to distribute this film, "The Midlanders", and "Penny of Top Hill Trail".
Reception.
The film received positive reviews. Author Louis Dodge, who wrote the novel on which the film is based, highly praised Love's performance.


MNEK production discography

The following list is a discography of production and songwriting contributions by MNEK, a British record producer and recording artist from East London, United Kingdom. It is split into the full list of contributions and those that have performed in the charts across various countries.
Songs written and produced by MNEK.
Songs written.
 indicates a background vocal contribution
 indicates an un-credited lead vocal contribution
 indicates a credited vocal/featured artist contribution
Songs produced.
 indicates a co-production credit
 indicates an additional production credit
 indicates a vocal production credit
 signifies another name labelled as a co-producer
 signifies another name labelled as an additional producer
 signifies another name labelled as a vocal producer


Gilady

Gilady is a surname. Notable people with the surname include:


I Am Chris Farley

I Am Chris Farley is a 2015 documentary film based on the life of comedian and actor Chris Farley, co-directed by Brent Hodge of Hodgee Films and Derik Murray, who was also a producer, of Network Entertainment. The production features interviews with numerous actors, comedians and others who worked with Farley during his career.
Premise.
A documentary on the life of comedian Chris Farley. The film follows the growth of Farley's career from his first production at a summer camp in Wisconsin to the movies. The film focused on the importance of The Second City and "Saturday Night Live" in his career.
Production and release.
The film has been largely advertised on the Hodgee Films social media pages on Facebook and Instagram and was first announced on the official Chris Farley Facebook page on September 19, 2013.
The film's TV premiere was August 10, 2015 on Spike TV and had a simultaneous release on DVD/Blu-ray and digital download.
Reception.
On review aggregator Rotten Tomatoes, the film holds an approval rating of 71% based on 31 reviews, with an average rating of 6.53/10. The website's critics consensus reads: ""I Am Chris Farley" lives up to its title by taking a poignant look at the life of the deceased star that should prove affecting and illuminating for novicers and longtime fans alike." On Metacritic, the film has a weighted average score of 58 out of 100, based on 11 critics, indicating "mixed or average reviews".
Reviewer Brian Tallerico of RogerEbert.com gave the film three out of four stars, calling the film "a love letter" to Farley and said that Farley "probably would have been embarrassed and a bit shy about the whole thing. But he would have loved the attention. He would have smiled and laughed. And sometimes that’s enough." Film critic Kyle Anderson of "Entertainment Weekly" gave it a B+, calling it "skillfully helmed" by directors Brent Hodge and Derik Murray.


Coat of arms of the West Pomeranian Voivodeship

The coat of arms of the West Pomeranian Voivodeship is one of the symbols of the West Pomeranian Voivodeship, an administrative unit of Poland.
Symbols.
The coat of arms of the West Pomeranian Voivodeship depicts in the silver (white) field of the Spanish red coat of arms shield (in combat position) a Pomeranian gryphon with a golden bow, golden claws, with a tail turned up and turned to the right (heraldic). This coat of arms was adopted in 2000.
History.
The Red Griffin has been a symbol of the Gryfit dynasty ruling in Pomerania since the 12th century. Modelled on the gryphon placed on the banner of the Szczecin Prince Kazimierz V captured by King Jagiełło near Grunwald. From the 1630s, it was a sign of the whole of Pomerania, Bogusław X, united by the Duke of Pomerania, and held an honourable place on the great nine-field coat of arms of Pomerania.


Welsh heraldry

Heraldry in Wales has a tradition distinct from that of English and Scottish heraldry. There is evidence that heraldry was already being used in Wales by the middle of the thirteenth century; for instance, in Gwynedd, two sons of Llywelyn the Great are recorded as having borne coats of arms in this period. Following the integration of Wales into England in the fourteenth and fifteenth centuries, the Welsh heraldic tradition became merged into that of England.
Welsh successor states.
Of the Kingdoms.
Before the conquest of Gwynedd by Edward I, Wales was ruled by a number of Kings and Princes whose dominions shifted and sometimes merged following the vagaries of war, marriage and inheritance. All these Kings and Princes were ascribed personal coats of arms, often retrospectively if they lived before the dawn of heraldry, and these were borne by their descendants in Wales. The two principal Welsh kingdoms were those of Gwynedd, in the north, and Deheubarth in the south. Of these, the most successful, and the last, finally, to fall, was that of Gwynedd, and the arms now borne by the Princes of Wales as an escutcheon are the historic arms of the dynasty of Gwynedd as borne by the last native Princes of Wales, including Llywelyn the Great and Llywelyn ap Gruffudd.
The arms associated with former Kingdom of Powys are a red lion rampant on a gold field. They were used by the House of Mathrafal when Powys was an independent kingdom and later by the Earls of Powis ("de la Pole" and "de Cherleton" families) up until the late Middle Ages and can now be found on various civic coats of arms.
The arms associated with the principal dynasty of south Wales (Deheubarth) are, on the other hand, a gold lion rampant on a red field within an indented (sometimes engrailed) gold border. Although never included in the English Royal Arms, they continue to be borne by families descended from the dynasty of Deheubarth: most notably by the Talbot family (Earl of Shrewsbury, etc.) which married an heiress of the dynasty in the 14th century.
Use.
 Arms of houses and of influential people are often combined, as shown in this example of the quartered arms of Hughes of Gwerclas, which gives a broad overview of Welsh heraldry. The arms are quarterly of four:
Key features shown are the predominance of the Welsh dragon, the use of colour differences to distinguish branches of a family, and the use of crests. The arms here show an allegiance to both people and to Kingdoms within Wales.
Royal Badge of Wales.
A new Royal Badge of Wales was approved in May 2008. It is based on the arms borne by Llywelyn the Great, the famous thirteenth century Welsh prince ("blazoned quarterly Or and gules, four lions countercharged langued and armed azure"), with the addition of the imperial crown atop a continuous scroll which, together with a wreath consisting of the plant emblems of the four countries of the United Kingdom, surrounds the shield. The motto which appears on the scroll, ("I am true to my country"), is taken from the National Anthem of Wales and is also found on Welsh design £1 coins. The new badge appears on the cover of Assembly Measures passed by the National Assembly for Wales.
The current badge follows in a long line of heraldic devices representing Wales. Its predecessors have all been variations on either the Red Dragon, an ancient emblem revived by Henry VII, or the arms of Llywelyn.


Amariah (given name)

Amariah is a Hebrew male name meaning "God has said" or "Promised by God". Variations can include Amarissa, Amaris, or Amarit. Amariah is different from Amaria, a Greek female name meaning "Moon, Alluring, Pure, Illuminating."
Amariah may refer to:


Mr. Porter production discography

This is a list of all of the songs that Mr. Porter has produced.


List of Suzuka music

While most anime have multiple albums released, "Suzuka" only has three. Each album has hours of background music (BGM), as well as vocals. All BGM were composed by Masanori Takumi, but the openings and endings were performed by COACH☆.
Original Soundtracks (OSTs).
OST 1.
The first Suzuka OST to be released, it contained many original vocals by Tonbow and Tapiko, the lyricists, and Masanori Takumi. This album actually included a DVD as well, featuring COACH☆ performing "Start Line." It was released on September 22, 2005 by King's Records.
KICA-714
OST 2.
This second OST complete with a character song collection was released on November 23, 2005, also by King's Records.
KICA-735
Suzuka singles album.
Suzuka OP ED Single - Start Line [COACH☆]
In addition to the two OSTs, King's Records has also included an album/CD for those who wish to sing karaoke to the music. This album was released on August 13, 2005.
KICM-3110
Opening and ending themes.
The anime version of "Suzuka" features pieces performed by COACH☆ as the Opening and theme songs.
COACH☆.
COACH☆ is a group made up of Ai Hayashi, Satomi Akesaka, Hatsumi Miura, Yumiko Hosono and Michie Kitaura. Each member of COACH☆ also has a voice part in "Suzuka", as follows:
COACH☆ sings every vocal piece in Suzuka, which are "Start Line", "Aoi Field", "Kimi no Koto", "DREAM", "乙女座の恋" (), "ゲッチュ!" (), "ヤクソク" (), "My Friend", "あこがれ" (), and "My Love". Incidentally, "My Love" was the karaoke piece that Nana sings for the group in episode 17.
The only music video COACH☆ has ever released was of Start Line, included in a DVD that came with the first OST.


List of Pennsylvania state historical markers in Allegheny County

This is a list of the Pennsylvania state historical markers in Allegheny County.
This is intended to be a complete list of the official state historical markers placed in Allegheny 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 currently 148 historical markers located in Allegheny County.


Francis Farewell Starlite

Francis Farewell Starlite (born Abe Morre Katz-Milder; 14 June 1981) is an American musician, record producer, singer, songwriter, and dancer. He is best known as the founder and lead vocalist of the pop band Francis and the Lights. He is primarily a vocalist and pianist, and is often credited by the Francis and the Lights name for his solo work.
He is a frequent collaborator of multiple artists and producers, including Kanye West, Justin Vernon of Bon Iver, Benny Blanco, Cashmere Cat, Chance the Rapper, Nico Segal, Frank Ocean and Banks.
Biography.
Early life and education.
Starlite was born Abe Morre Katz-Milder on 14 June 1981 in Oakland, California. He was raised in Berkeley, California, and attended Berkeley High School, where he befriended future collaborators and Francis and the Lights members Rene Solomon and Jake Schreier. In 1999, Starlite enrolled at Wesleyan University in Middletown, Connecticut. Starlite befriended future Francis and the Lights collaborator Jake Rabinbach while a student at Wesleyan. Starlite attended Wesleyan from 1999 before ultimately dropping out in 2002. While there, Starlite and Rabinach were schoolmates of MGMT's members Andrew VanWyngarden and Benjamin Goldwasser, whom they have since toured with.
Francis and the Lights.
Starlite began traveling across the United States by train in an effort to find what direction he was going to take his life. While on a train traveling from Elkhart, Indiana to New Orleans, Starlite came to the decision that he was going to pursue his passion for music as a career path. In an interview with "Entertainment Weekly" in 2010, he said, "I had played music and loved it my entire life, but hadn’t fully committed to it. And there was a moment when I wrote down the different things I could do. And then I wrote down, 'I think I’ll give the band a go.'" Shortly afterwards, Starlite returned to his birthplace of Oakland, California, where he lived and worked in a rehearsal space at Soundwave Studios and wrote songs for close to a year. He subsequently drove across the U.S. in a decommissioned postal truck to New York City, where he then formed Francis and the Lights. The band rehearsed for an entire year before starting to perform through a series of invitation-only shows at a white fabric-draped warehouse space.
On 3 November 2008, Starlite incorporated Francis and the Lights, LLC, as a limited liability company, as an alternative to signing a record deal. This was followed by an investment of $100,000 from the Normative Music Company, giving Francis and the Lights, LLC a valuation of $1 million. Normative's president, Jake Lodwick, a friend of Starlite and a co-founder of Vimeo, said, "Francis Starlite is an uncompromising musician and a strong leader. I believe he will bring Francis and the Lights to international stardom. The spectacular live shows, beautiful recordings, and his relentless character back me up." In late 2009, Normative Music Company shut down. The duo have since collaborated on the music app Keezy.
Francis and the Lights have released four EPs and two albums, including "Farewell, Starlite!" (2016) and "Just for Us" (2017).
They provided the soundtrack for the film "Robot & Frank" (2012), directed by friend and collaborator Jake Schreier. Schreier has performed as part of Francis and the Lights, producing some of their work and directing a majority of their music videos.
Starlite works closely with Muxtape founder Justin Ouellette, who has designed several websites and HTML5 music players for Francis and the Lights releases. Ouellette previously worked as engineer for Vimeo alongside Lodwick. He also met Schreier through Starlite and served as a designer for "Robot & Frank."
Production career.
Starlite rose to prominence after producing and co-writing the song "Karaoke" for Canadian rapper Drake from his 2010 debut album "Thank Me Later".
His recent production work is primarily through credits with other producers such as Benny Blanco, Cashmere Cat, Rostam Batmanglij, Ariel Rechtshaid, and Ryan Tedder.
He is the inventor of a layered vocal effect he refers to as the 'Prismizer.' It features prominently on many of his productions, including "Close to You" by Frank Ocean and throughout "Coloring Book" by Chance the Rapper. Justin Vernon sought to create a real-time solution capable of implementing the effect without latency for use in live performance and on his Bon Iver album "22, A Million." The result was a combination of hardware and software nicknamed 'The Messina' after audio engineer Chris Messina.
Starlite worked with Kanye West on his 2018 albums "ye" and "Kids See Ghosts". Starlite is credited as a writer and producer on "ye's" "I Thought About Killing You," and as a producer on "All Mine," and "Ghost Town". On "Kids See Ghosts", Starlite is credited as a producer on "Feel the Love."
Personal life.
Starlite legally changed his name to Francis Farewell Starlite in 2004. When asked in an interview with "Entertainment Weekly" why he had changed his name, he answered: Let me think about how I want to answer that question. Let me think for a moment. [One minute passes] It’s very difficult because I’m very proud of the fact that I changed my name. It has meaning to me. I believe that people change, and that you are what you make of yourself. And that that is true. That’s true … I don’t want to, I don’t want to … The problem is that I feel like when I start talking about these things, I start to say things that I wouldn’t necessarily want to read myself saying. They might be too easily misinterpreted. So I think I’ll just leave it at that. I’m proud of the fact that I changed my name. I am what I make of myself.


Gortzius Geldorp

Gortzius Geldorp (1553–1618) was a Flemish Renaissance artist who was active in Germany where he distinguished himself through his portrait paintings.
Life.
Gortzius Geldorp was born in Leuven. The early Flemish biographer Karel van Mander reported that Geldorp first learned to paint from Frans Francken I and later from Frans Pourbus the Elder. Frans Pourbus the Elder was a prominent portrait painter in Flanders. Frans Francken I and Frans Pourbus the Elder were both pupils of Frans Floris, the leading Renaissance painter in Antwerp.
Geldorp became court painter to the Duke of Terra Nova, Carlo d'Aragona Tagliavia, whom he accompanied on his trips. He travelled to Cologne with the Duke who was participating in peace negotiations with the Dutch Republic. Geldorp stayed in the city while remaining a companion of the Duke on his travels. In 1610 Geldorp took over the seat of Barthel Bruyn the Younger on the city council of Cologne. Geldorp was a successful portrait painter working for the aristocracy and other prominent patrons.
Geldorp died in Cologne, aged about 65. The painter Georg Geldorp who was mainly active in England was his son. The painter Melchior Geldorp who worked in Cologne was probably his son or nephew.
Work.
Geldorp was mainly a painter of individual and group portraits. Van Mander also mentions some history paintings such as a Diana, a Susanna, an Evangelist, the History of Esther and Ahasverus and two busts of Christ und Mary. These history paintings typically take the form of portrait-style depiction of a saint or a biblical or mythological figure. An example is the (Sotheby's London sale of 2 May 2018 lot 27), which shows Venus in the form of a portrait of a semi-nude woman.
There are 70 known works by him which are mostly painted on panel. A series of nine family portraits are part of the collection of the Rijksmuseum, Amsterdam.
He had a brilliant and powerful palette in which the browns dominate. His later works are characterised by soft transitions and a blueish tone in the wrists and neck of his subjects.
Some of his paintings were engraved by Crispijn van de Passe.


Gur Aryeh

Gur Aryeh or "variant" may refer to:


M. A. Benton House

The M. A. Benton House is an historic landmark in Fort Worth, Texas (USA), located on a four-lot corner at 1730 Sixth Avenue. This Victorian-style house, still owned by Benton descendants, was built in 1898 and is one of the oldest homes in Fort Worth. The descendants have preserved the cottage's architecture features, including the one-and-a-half-story structure and the fence that has surrounded the cottage since it was first built. As a family home, it is not open to the public. The Benton House is individually listed on the National Register of Historic Places for its architectural qualities. In 1971, the Benton House was designated a Recorded Texas Historic Landmark.
History.
The Benton House was owned by a tobacco seller, Meredith A. Benton, and his wife, Ella Belle. M. A. Benton's father, a Kansas City builder, erected the house for the couple in 1898. It was built originally with a barn and hayloft and a two-room servants’ house, but the servants’ quarters were redesigned into a garage building in 1937. Ella Belle Benton lived alone for most of the time because her husband was an active civic worker. She helped start the Rose Gardens, now part of the Fort Worth Botanic Garden, as well as a public kindergarten program.
Features.
The Benton House is a Victorian gingerbread home. Made of cypress, it contains six rooms, a central hall, and tiled fireplaces. Some special features of this house are an asymmetrical floorplan, fine spindle work, cross gables over a hipped roof, and a cutaway window.
References.
Ladd, Sweetie. “Benton House.” Sweetie Ladd's Historic Fort Worth. 23 Apr. 2009 < https://books.google.com/books?id=nLapxhyJDxoC&printsec=frontcover&dq=sweetie+ladd%27s#v=onepage&q=&f=false>.
Nieke, William. “Benton House.” Texas Historical Marker. 22 Apr. 2009 <https://web.archive.org/web/20110707072256/http://www.9key.com/markers/marker_detail.asp?atlas_number=5439000374>.
Roark, Carol E. Fort Worth's Legendary Landmarks. Illus. Byrd Williams. Fort Worth: Texas Christian UP, 1995. Print.


The Girl from Montmartre

The Girl from Montmartre is a 1926 silent film romantic drama film directed by Alfred E. Green and starring Barbara La Marr, in her last film role. It was distributed through First National the day after La Marr died.
Lost Film Files mistakenly has this as a lost film. The online Library of Congress/FIAF database quotes a print existing at George Eastman House Motion Picture Collection and an excerpt of one reel at UCLA Film and Television Archive.


Ram Fortress

The Ram Fortress () is a 15th century fort situated on a steep slope on the right bank of the Danube, in the village of Ram, municipality of Veliko Gradište, eastern Serbia. The fortress is located on a rock, which is from the northeast side tilted towards the Danube. It is assumed that the city was built on the opposite side from Haram fortress, which was located across the Danube and left no remnants. The remains of the city are in good condition.
Locality.
The fortress is located on the bend of the Danube, right across the mouths of the Karaš and Nera rivers, at Danube's . West of the fortress are lower ( high), marshy areas of the Danube's right bank, including the islands of Čibuklija and Ostrvo. East of Ram, the terrain elevates to , at the Gorica Hill. At Ram, the Danube is wide. Geographically, the area surrounding the fortress is the Ram-Golubac Sand, a long and long sand area. It is a southern extension of the much larger Deliblato Sand in the Banat region and two sand areas are divided by the Danube.
The widening of the Danube at the mouths of Karaš and Nera was known as a Ram Lake. When the hydroelectrical plant Đerdap I began to fill its reservoir in the late 1960s, due to the backwater of the Danube, the widening grew and flooded surrounding plains. The wetland, covering , became known as Labudovo okno. Today, the habitat is protected by the IUCN Category IV and was declared a Ramsar wetland of international importance on 1 May 2006.
Due to its elevated position on the rock above the major widening of the river, the fortress is described as allowing the view on the "most beautiful Danubian dusk".
History.
Name.
On some older maps, the fortress is marked by the name Hram. In time, letter H got silent, and the name was shortened to Ram. It can't be confirmed whether this is a genuine Serbian name as "hram" in Serbian means "temple", and there are indeed remains of various religious architecture from all different people who lived in the area, or Hram came via folk etymology, and itself was shortened from the Turkish name of the fortress, Ihram (or Ihram Haram).
Antiquity.
During the archaeological exploration of the fortress in the 2015-2018 period, it was discovered that the modern fortress was predated by the much older architectural elements. Though not mentioned in historical records, there were artifacts pointing out to the pre-Roman habitation of the Celts. Close to the modern fortress, the remains of the Celtic fortified settlement Opidum have been found. Based on this, and the description of the Danube's bank in ancient texts which corresponds to the Ram's geography, some scholars suggested that this may be the location where Alexander the Great encountered the Celtic delegation in the 4th century BC.
An entire Roman mausoleum has been uncovered. The mausoleum has a diameter of and thick rampart walls, which points to its importance at the time. The location was referenced for the first time during the reign of emperor Trajan, when it was mentioned as a settlement where the cavalry units were stationed. The Roman complex probably had a religious purpose, but also served as an orienteering point on the river.
There is a tower within the fortress, for decades described as the "Mysterious Tower". It has no windows and its purpose was complete unknown. Archaeologist supposed it might be a mosque or a pantry of some kind. During the 2010s surveys prior to the reconstruction, the table was discovered, placed by one of the legionnaires of the Roman emperor Claudius. He built the tower and dedicated it to the supreme Roman God, Jupiter.The inscription on the boulder tablet below the fortress there is inscription "To Jupiter, the greatest and the mightiest, the standard-bearer of the "Legio VII Claudia" Gaius Licinius Rufinus dedicates the table".
Middle Age.
The earliest record of the Ram Fortress dates back to 1128 AD, when the Byzantines army defeated the Hungarians in the area. After victories in this region, Byzantine army focused their activities on the Pannonian Basin.
In order to protect the right bank of the Danube Ottoman sultan Bayezid II (1480-1512) revised and strengthened the existing fortress for fighting firearms. Built in 1483, Ram Fortress is one of the oldest artillery forts in Serbia and Bayezid II built it after he finished the near Smederevo. It was also built in order to enhance the protection from the Hungarian excursions from the north, provided by the existing Smederevo and Golubac fortresses. The fortress lost its strategic importance in 1521 when the Ottomans defeated Hungarians and spread their territory across the Danube, thus leaving Ram Fortress in the hinterland of the Ottoman Empire.
According to the legend, while the sultan was inspecting his troops, he stopped to take a rest on a small hill from which it had an excellent view on the Danube and the Hungarian lands across the river. He fell asleep on "ihram" (carpet) and felt rejuvenated when he woke up, so he ordered for the fortress to be built on this spot. This also gave the original, Turkish name of the fortress, the Ihram Fortress. The fortress was especially built for the elite Ottoman units and the heavy artillery. Apart from defensive role against the Hungarians, it also controlled the traffic on the Danube and served as the starting point in Turkish excursions in the northern areas, and the occupation in 1521.
Concurrently with the fortress, a caravanserai was built in its vicinity. It had 24 rooms, each with its own fireplace, for the caravan travelers and voyagers. In time, it grew into the modern village of Ram. Modern Serbian Orthodox Church, built in 1839, is located on this spot today and the former caravanserai serves as it churchyard. It is the only surviving caravanserai in Serbia and one of the best preserved such facilities in the Balkans. Construction of the church helped the preservation, as it prevented the further crumbling and theft of the building materials.
Modern period.
During the 18th century and various Ottoman–Habsburg wars (1683-1699, 1716-1718, 1735-1739, 1788-1791), Ram partially regained its former importance. The interior of the fortress was demolished during the Serbian anti-Ottoman Koča's frontier rebellion in 1788. From then on, the life within the tower slowly withered, until the fortress was evacuated altogether by the Ottomans in the mid-19th century.
The majority of fortress, as it is today, originate from the 17th and 18th century, from the periods of frequent Ottoman–Habsburg wars. The fortress was damaged in both World Wars. The plans for the renovation of the fortress were proposed in the 1980s, but nothing has been done on its revitalization until the 2010s.
Architecture.
The fortress was built from crushed stone and quality limestone mortar. The bricks were used for the arches and vaults. The original, wooden "grill-type construction" still holds the fortress together.
Is not known when the original city was built, but it certainly is one of the oldest forts in this region. The Ottomans didn't demolish the Roman mausoleum, instead they built the fortress around it. This, for the major part, allowed for the older remains to survive in relatively good shape until today. Sultan Bayazid II built the present fortifications in the form of an irregular pentagon with the maximum length of and width of , designed to withstand cannon warfare. The city consists of 5 towers at four levels (three floors and the ground level), three on the east and two on the western rampart. Apart from the place, where the fortress is entered, there are four corner towers. The side towards and fort are surrounded by a low wall and wide dry moat in front of it. City entrance is at the keep tower ("donžon"), which is located in the southwestern side of the fort. The towers have different bases, but are projected in regular pattern and built in the similar architectural conception. On the first floors of each tower there were cannon embrasures. The walls are thick. In order to prevent easy capture of the fortress, the upper floors could be reached only via the each tower's gate or the outer stairs.
The pathway made of towers and ramparts had parapets with battlements on the outers side, used as a shelter by the soldiers. The height and width of the ramparts varies, from . The fortress is further surrounded by the moat and two smaller outer ramparts.
Masonry fireplaces, rare in the medieval buildings of this region, are preserved in them. These furnaces were discovered during the archaeological surveys and each had its own chimney built into the walls. The toilet, specifically built for the commander of the fortress, was also discovered. Over city's moat lies a bridge which is located at the southeastern tower, and that leads to a space between the fortress and the low walls around it. On all the ramparts except the West one, the embrasures are placed at the same distance from the tower.
The five towers have a total of 36 cannon embrasures, which means it needed at least 100 soldiers to operate the artillery. The fortress, in general, has a different internal structure from other fortresses in this period. It also had a civilian purpose, and the remains of the fireplaces have been found on upper floors. There are also remains of the mosque in the central part of the inner section.
Below the towers there is a paved plateau. It is the starting point of the stone stairs which lead down to the bank of the Danube, and the ferry dock.
Present.
Condition.
Archaeological works were conducted in 1980. As of February 2018, the Ram Fortress is in very good condition. The towers are in good state, except for the Southeast (Tower II), whose front part is almost completely destroyed. Ramparts of the fortress are also in good condition, while the small bulwark is present in trace amounts. Inside the fort, along the western rampart, lies remains a building, with a base of proper octagon, with sides length of . The whole area around the fortress was archaeologically examined during the 1980s. A plan for the reconstruction of Ram fortress was adopted in 2013.
Further exploration of the interior ensued in 2015, followed by the renovation. First, the fortress and its vicinity were thoroughly cleaned. After exploring almost 70% of the fortress, archaeologists reached the original floor. Several edifices from the 16th to the 18th century were discovered, from the period when Ram already wasn't functioning as a military camp anymore. Rifles from the 17th century, small arms, glass bombs, tools and antique vessels were also found. Some other artifacts point to the cultural function of the fortress, like glass, great number of small stone cannonballs (which were used as weights for the balance scales), and Chinese porcelain. After restoration, all the items will be exhibited in the fortress. During the surveys, a ruler, which served as the construction standard, was discovered. It measures .
There is a ferry line which connects Ram with Stara Palanka across the Danube, in the Banat region. In order to boost the tourism, a pier on the Danube for the cruiser ships is also projected. Ministry of culture plans to adapt the entire village of Ram into the eco-museum while the long access road is under construction in 2019.
2017-2019 reconstruction.
Full reconstruction began in 2017. Restoration covered three towers and four walls. The towers IV and V were renovated while the Tower II, which was in the worst shape and almost completely crumbled, was partially reconstructed. Its foundations were built from scratch and it was rebuilt to the roof level, including the embrasures in the walls. By February 2018, several phases of archaeological works (phase IV) and renovation (phase I), or 60% of planned work, was done. Further works require more archaeological digging and a proposed design of the interior. It was planned that the restoration will be finished by July 2018, adaptation of the fortress by December 2019 while the renovation of the remains of the old caravanserai is planned, too.
First phase of the reconstruction was extended to November 2018, when the fortress should be reopened for visitors. This was extended to June 2019. The restorers used the same materials from the nearby shale quarry that was used for the original fortress. 21 analysis of the original mortar were conducted in order to recreate it. Only wooden beams were used and the reconstruction was conducted without the use of cement, concrete additives or iron bars. Instead of using the modern, common types, the bricks were specifically made for the reconstruction. The fortress was reopened for visitors on 6 August 2019.
Future.
By 2020 a pedestrian and bicycle paths should be finished. It will connect the fortress to the village of Zatonje, on the shore of the Silver Lake. Further modernization of the complex includes the dock on the Danube for the cruiser ships and a new, long access road.
Ambitious plans were announced for the future, which include: construction of the motorway which would connect the fortress with the state capital, Belgrade; planting of over 150 flower species around the entire fortress complex, forming a flower belt around it; construction of railings and fences along each staircase; re-building of the bridges which connected the towers, recreating the circular, above-ground path; computerized presentations of the former life in the fortress; reconstruction of caravanserai; reconstruction of the Mysterious Tower.


Laurencita Herrera

Laurencita R. Herrera (1912–1984) was a was a renowned Native American Cochiti Pueblo artist, specializing in traditional Cochiti figurative pottery called storytellers and her pottery vessels. She is of the Herrera family, a renowned family of Pueblo potters in New Mexico, whose work is often found in art collections and in art museums. She was an actively making pottery between the 1930s through the 1970s and is known as one of the, "finest Cochiti potters of that era".
About.
Laurencita R. Herrera was born in 1912 at Cochiti Pueblo in Cochiti, New Mexico. She started learning pottery making from her mother Reyes Romero (ca. 1890 -?). She was married to Cochiti Pueblo drum maker, Nestor Herrera. Together they had nine children and two of her daughters were potters, Seferina Ortiz (née Herrera) and Mary Francis Herrera. Many of her grandchildren are potters and artists, including Inez Ortiz, Virgil Ortiz, Joyce Lewis (née Ortiz), Janice Ortiz, Mary Ramona Herrera, and even some of her great grandchildren, including Lisa Holt.
The Cochiti Pueblo has documented storyteller pottery for sale to tourists as early as the 1870s, however the tradition had become less popular until 1964, when Helen Cordero created the first revival of the Cochiti storyteller figure due to a request from her patron, Alexander Girard. A number of artists at the time started creating pottery of either animal figurines, adult figures holding drums or pots ("singing ladies"), and/or adult figures singing to a baby in their arms ("singing mothers"), including artists Laurencita Herrera, Damacia Cordero, Teresita Romero.
Her artwork is on permanent display at the Indian Pueblo Cultural Center in Albuquerque, New Mexico and in the permanent museum collection at the Museum of International Folk Art in Santa Fe, New Mexico and in the Bandelier Museum within the Bandelier National Monument.


List of Pennsylvania state historical markers

This is a list of Pennsylvania State Historical Markers which were first placed by the Commonwealth of Pennsylvania in 1914 and are currently overseen by the Pennsylvania Historical and Museum Commission (PHMC) as part of its Historical Markers Program. Since the modern PHMC program began in 1946, there have been over 2,000 historical sites in all 67 Pennsylvania counties that are marked by an official Pennsylvania state historical marker.
History.
The Historical Markers Program was authorized by the Commonwealth of Pennsylvania when it created Pennsylvania Historical Commission (PHC), the precursor of the Pennsylvania Historical and Museum Commission (PHMC), through the Act of the General Assembly No. 777, on July 25, 1913. The PHC was empowered to mark by proper monuments, tablets, or markers, places or buildings within the Commonwealth where historical events transpired.
The earliest markers were bronze plaques often mounted on large stones gathered from the Pennsylvania countryside. Philadelphia architect Paul Philippe Cret (1876-1945) designed later bronze plaques that included the state's coat of arms with text laid out within a rectangular double border. Starting in 1945, markers were cast of aluminum, used gold-colored text of raised characters on a deep blue background within a silver-colored frame, and were initially affixed to concrete posts, so as to be more easily seen by motorists alongside roads. Eventually smaller and narrower city markers were added for their better suitability in urban settings.
Listings of markers by county.
The following are approximate tallies of current marker listings in Pennsylvania by county. These counts are based on entries in the Pennsylvania Historical and Museum Commission's database as of August, 2020. There are yearly additions to the listings and some markers may be missing or stolen. (Approved markers)


Trans-Mississippi Exposition

The Trans-Mississippi and International Exposition was a world's fair held in Omaha, Nebraska from June 1 to November 1 of 1898. Its goal was to showcase the development of the entire West, stretching from the Mississippi River to the Pacific Coast. The Indian Congress was held concurrently. Over 2.6 million people came to Omaha to view the 4,062 exhibits during the five months of the Exposition. President William McKinley and William Jennings Bryan were among the dignitaries who attended at the invitation of Gurdon Wattles, the event's leader. 100,000 people assembled on the plaza to hear them speak. The Expo stretched over a tract in North Omaha and featured a -long lagoon encircled by 21 classical buildings that featured fine and modern products from around the world.
One reporter wrote, "Perhaps the candid Nebraskan would tell you in a moment of frank contriteness that the prime object of this exposition was to boom Omaha."
Timeline.
The decision to hold [an] Exposition was made in late 1895 by a small committee of Omaha businessmen determined to hold the Expo, led by banker Gurdon Wattles. In making their decision, the committee set aside several sites for consideration, including an area near 16th Avenue and Pershing Drive in East Omaha, near the now-dry Florence Lake. It was the preferred site for the Exposition early in 1897. surrounding the tract that became Miller Park was considered the strongest contender towards the middle of the year. However, both sites ended up losing out to a site in North Omaha later in the year when Omaha banker Herman Kountze donated land in his Kountze Place development to the City of Omaha. After the Expo some of that land would become Kountze Park.
Many important developments happened throughout the city before the opening of the Trans-Mississippi Exposition. They included the opening of the Burlington Train Station in downtown Omaha.
During the Expo, on August 31, 1898, the committee declared "Cody Day" in honor of Buffalo Bill Cody. Cody brought his "world-famous" Wild West Show back to the Omaha Driving Park where it was formally founded several years earlier.
October 12 was "President's Day" at the Expo and featured a speech by President William McKinley focused on international affairs and the necessity of not being isolationist.
The total attendance was 2,613,508, and the total receipts were $1,924,077. The following year after the Expo some members of its managing committee decided to host another Expo-type event, which became the Great American Exposition in summer 1899.
Construction.
Many temporary buildings, structures, and features were installed for the Exposition. Thomas Rogers Kimball and C. Howard Walker were named co-architects-in-chief for the event. The two men were responsible for the overall site development, including perimeter buildings. They designed several major buildings, some smaller structures and the Arch of States, which was a main entrance.
All these structures were temporary by design, built at about half the cost of permanent buildings. The lower cost allowed the construction of larger structures. The construction of the hundreds of temporary buildings at the Expo was notable because of the almost exclusive usage of a new, cheap and pliable building material called staff. It allowed Expo designers to construct visual reproductions of Grecian and Roman temples, fine European buildings, and more. The buildings were constructed of strips of wood covered with staff.
The Grand Court of the 1898 Trans-Mississippi Exposition was located on the current site of Kountze Park.
Commemoration.
The Post Office Department issued a series of nine postage stamps to mark the Exposition, each depicting a Western scene. Now known as the Trans-Mississippi Issue and considered among the finest stamps produced by the US, they are highly prized by collectors; a complete unused set is worth about US$5,000. The stamps were reissued in 1998 for a limited time.
A monument to the exposition was placed in Omaha's Kountze Park, the former site of the exposition, during a Centennial celebration of the Trans-Mississippi and International Exposition in 1998.


Minuet step

The minuet step is the dance step performed in the dance minuet. It "is composed of four plain straight Steps or Walks, and may be performed forwards, backward, sideways, &c." or in a square. The steps are often referred to by direction to distinguish them. "A Movement, or Sink and Rise, being added to the first Step of the three belonging to the Minuet Step, produces a Bouree; and the like to the fourth and last a Half Coupee, which together compose what is commonly called the English Minuet Step" .
"The second Method of its Performance is with a Bound; that is to say, instead of the Half Coupee or Movement to the last Step made upon the Floor, as in the aforesaid, you bound instead thereof, which is the only Variation from the foregoing" .
"The third Method is quite the Reverse, because, instead of the Bouree, the Half Coupee is made first and afterwards the Bouree, or as the French term it, One and a Fleuret, which is usually called the French Step" .
"The fourth Way of performing this Step is, by adding another Movement to the third Step of the aforesaid Fleuret, or the fourth of the Minuet Step; and it will then be notwithstanding the same Step, only of three Movements. As to the two first foregoing Steps, I shall say little concerning them, for the following Reasons: In the first Place, because they are now rarely, if ever, practised amongst Persons of the first Rank, and seem to be, for the present, intirely laid aside; not as being ungraceful, or that the Dancer could not give Pleasure to the Beholders, or raise to himself a Reputation, in their Performance, but merely through Alteration of Fashion, which varies in this Respect, as in Dressing, &c." .
Variation and ornamentation of the basic steps was applied in three ways: (1) "ad libitum" variation on the frequency and order of the basic figures, (2) "ad libitum" variation of the step-pattern and ornamental foot and hand movements, and (3) special variant choreographies ("menuets figurees") created by dancing masters for special occasions, for particular pupils, or for published manuals (these often required specially composed music to fit the choreographies) .


Aguilar Family

The Aguilar Family is a Native American family of potters from Santo Domingo Pueblo (currently known as Kewa Pueblo), New Mexico, United States. The group consisting of two sisters, Felipita Aguilar Garcia, Asuncion Aguilar Cate, and their sister in law, Mrs. Ramos Aguilar. Their pottery work together became known as Aguilar pottery, however they are sometimes referred to as the Aguilar Sisters.
History.
In the early 1900s, pottery creation at Santo Domingo Pueblo had experienced a significant decline. In 1910, Julius Seligman, who worked at the Bernalillo Mercantile Company near the pueblo, noticed the decline in the sales. At his suggestion, the two sisters, Felipita Aguilar Garcia, Asuncion Aguilar Cate, and their sister in law, Mrs. Ramos Aguilar attempted to revive the dying art. The three women worked together making pottery and their work became known as “Aguilar pottery.”
The Aguilar sisters made traditional polychrome ollas, jars and dough bowls with several different styles of decoration. The painting style for which they are best known was a bold, geometric pattern with black paint on a cream colored slip or black and red on a cream slip, which almost totally obscured the cream background. This style was unique compared to the typical geometric forms of Santo Domingo pottery where areas were usually left open of unpainted. This style has become known as “negative boldface” or reverse-painted Aguilar pottery. They also made traditional Santo Domingo types of pottery painting including black-on-cream and black-on-red.
The Aguilar sisters' style of pottery ended around 1915, but is today making a comeback as the Aguilar polychrome style has been revived by one of Kewa pueblo’s leading potters, Robert Tenorio.
Their pottery work, both as a family and as individual artists, can be found in various museum permanent collections including, the Brooklyn Museum, Nelson Atkins Museum of Art, Denver Art Museum, and others.


Order for Merits to Lithuania

The Order for Merits to Lithuania () is an award, presented by the President of Lithuania, which may be conferred on the citizens of Lithuania and foreign nationals for distinguished services promoting name of Lithuania, expanding a develop international relationships, for distinguished merits in social, culture, science, business, sport, military and in other areas. The award is presented in five classes, in ascending order, Knight, Officer, Commander, Grand Commander, and Grand Cross.
Appearance.
The insignia of all of the classes contains a five-pointed cross is made of gold and covered with white enamel varying in size depending on the grade of the award. An oxidized silver Vytis is centered on the Cross with rays between the edges. The reverse of the cross depicts the coats of arms of Vilnius, Kaunas, Klaipėda, Šiauliai, and Panevėžys. Inscribed in the center is "Pro Lituania" and 2002. The ribbon is red moiré, with yellow and green stripes at the edges. The cross is attached to the ribbon by a device which depicts the area for which the award was made.
The rank of Grand Cross was awarded to Olympics swimming gold medalist Rūta Meilutytė on 10 August 2012 by Lithuanian President Dalia Grybauskaitė for her achievement in sports.


Visitor Q

 is a 2001 Japanese black comedy film directed by Takashi Miike. It was filmed as the sixth and final part of the Love Cinema series consisting of six straight-to-video releases by independent filmmakers via a brief but exclusive run at the minuscule Shimokitazawa cinema in Tokyo. The six films were conceived as low budget exercises to explore the benefits afforded by the low-cost digital video medium such as the increased mobility of the camera and the low-lighting conditions available to the filmmakers.
"Visitor Q" often replicates the style of documentary footage and home movies, which invokes a sense of realism that contradicts the film's more bizarre elements and black comedy.
Plot.
The film's plot is often compared to Pier Paolo Pasolini's "Teorema", in which a strange visitor to a wealthy family seduces the maid, the son, the mother, the daughter, and finally the father, before leaving a few days after, subsequently changing their lives.
The film starts off with a question: "Have you ever done it with your Dad?"; the viewer then sees Miki Yamazaki, a young prostitute, trying to persuade her father, Kiyoshi, into having sex with her. Her father is videotaping the scene for a documentary he is preparing on Japanese youths. Once it appears the father is letting himself be persuaded, she tells him the price (50,000 Yen). They have sex, the father ejaculates after a very short time, and the disappointed daughter informs him it will be 100,000 Yen now, because of this. The father then realizes the camera has been on all along.
In the next scene, called "Have you ever been hit on the head?", a man (Visitor Q) hits the father over the head with a rock for no apparent reason.
The film then moves on to a scene titled "Have you ever hit your mom?" In this scene, the mother, Keiko, is working on a jigsaw puzzle, and her hands are shown to have red marks, showing where she has been beaten. Her teenage son, Takuya, comes in and starts throwing things at the already broken apartment walls because he is unhappy with the toothbrush his mother bought him. He then hits his mother with a rug beater. Later, bullies from the son's school come to the front of the house and shoot fireworks through the son's bedroom window, forcing him to cower on the floor. The mother is later seen injecting heroin. It does not seem to have a significant effect on her, suggesting she is a regular user.
On his way back from work, the father is yet again hit on the head by the visitor. They both arrive at the father's home, and the mother serves them dinner. The father announces that the man will be staying with the family for a while. The son comes down while they are eating and starts beating the mother again. This does not surprise or bother the father or the visitor. Later, the father is seen watching one of his old tapes, and it turns out that he was raped by a group of teenagers.
The next day, the father is on his way to work when he sees his son being beaten and robbed by some of his schoolmates. He films it from a distance and appears very pleased with the footage.
The mother, meanwhile, is getting ready for work. The viewer discovers her body is covered in marks from where the son has hurt her. She also has a limp.
The father meets with a female co-worker (Asako Murata), who believes he is going too far in his work. The mother, working as a prostitute, is whipping a customer with a belt (at his request). She then goes to a park to buy some drugs.
When she gets home, she discovers the pieces from her jigsaw puzzle have been arranged so as to form a trail through the house, ending at a photograph of her daughter. The visitor is at home, and he introduces her to lactation sex (squeezing her nipples to make her lactate, a recurring theme in this film). The son sees this while hiding behind the door.
At dinner, the mother is much happier than usual and has prepared a nice meal. The son, however, is sullen and throws a bowl of hot soup at her face. The wife, instead of being downtrodden as usual, comes back with a carving knife and throws it at the head of her son, who dodges just in time. Everyone is very pleased, except the son. However, the father becomes exhilarated when his son's schoolmates start attacking his house with fireworks again, which he videotapes. Meanwhile, the mother and the visitor continue to eat peacefully.
Next day, the son is bullied again. The father is taping his son from his car with the visitor and his female co-worker. The co-worker gets fed up with the father and tries to leave. The father follows her on foot and sexually assaults her while the visitor, emotionally neutral, tapes the scene. The father unintentionally chokes his victim to death.
He takes her body back home and puts her in the greenhouse. The visitor is still taping, at the father's instruction. The father sends the visitor to get garbage bags from the mother. But when the visitor asks her for them, she takes her clothes off and reveals she is dressed in a garbage bag. She then makes herself lactate and produces a rain of human milk that covers the floor while the visitor watches from underneath an umbrella.
During this time, the husband is drawing on the woman's body to mark the best places to cut it up so the smaller pieces will fit in the bags. He tapes this for his documentary. Becoming aroused, the father has sex with the dead body. He then notices she is getting wet and is amazed that this is possible for a dead woman. When he brings his hand up, however, it is covered in feces. He then discovers that his penis is stuck inside the corpse due to rigor mortis. The mother comes out to help and rushes to the shop to buy several large bottles of vinegar. She empties the bottles into the bath with her husband and the corpse. This does not help, though, so she gives him a shot of heroin, which frees him. They are both exhilarated.
The visitor has filmed the whole scene.
Later on, the couple is having fun dismembering the female co-worker's corpse when the son turns up in the front yard with the same schoolmates beating him. The parents rush out, and with great pleasure they finally kill all the bullies using the saws and knives they were using to cut the co-worker's body to pieces. Later, their son is shown lying on the floor in the puddle of maternal milk. He thanks the visitor for bringing together the family through the chaos he brought.
The visitor leaves the family. Afterwards, encountering and being propositioned by the prostitute daughter on the street, he appears to be about to hit her on the head with a rock, and does so offscreen. Bruised by her encounter with the visitor, the daughter returns home to find her mother clad in a tarpaulin in the greenhouse, her father nursing from her mother’s breast.


Historical American Exposition

The 1892 Historical American Exposition held in Madrid was intended to mark the four hundredth year of the discovery of America.
Participants.
Several countries including
Argentina,
Bolivia,
Colombia,
Costa Rica, Denmark,
Dominican Republic,
Ecuador,
Germany,
Guatemala,
Mexico,
Nicaragua, Norway,
Peru, Portugal,
Sweden,
Uruguay and USA
participated, along with the Captaincy General of Cuba and Spain herself.
Costa Rica.
The Costa Rica exhibit was organised by the National Museum of Costa Rica director Anastasio Alfaro and included over 1000 relics from an 1891 excavation of a cemetery at Guayabo de Turrialba. After the Madrid exhibition, much of the Costa Rican display was taken to the 1893 World's Columbian Exposition in Chicago.
Mexico.
The Mexican exhibit was curated by Francisco del Paso y Troncoso and included models of the El Tajín, Xochicalco, and Teuchitlan pyramids and of the complete Cempoala site.
Spain.
The Spanish section had many artefacts loaned from the National Archaeological Museum of Spain including the Troano codex