Ness (Irish mythology)

Ness (; ), also called Nessa, is a princess of the Ulaid and the mother of Conchobar mac Nessa in the Ulster Cycle of Irish mythology. Her father is Eochaid Sálbuide, king of the Ulaid.
According to one version of the legend, she asks the druid Cathbad what that day is a good day for, and he replies that it is a good day to conceive a king. There are no other men around, so Ness takes Cathbad to bed, and Conchobar is conceived.
In other versions, Ness was brought up by twelve foster-fathers, and was originally called "Assa" ("easy, gentle"), because she was such a pleasure to foster. Cathbad, who is a leader of a band of "fianna" (landless warriors) as well as a druid in this version, attacks her foster-fathers' house, killing them all. Because the culprit cannot be identified, Eochaid is powerless to do anything about it, so Ness forms her own band of 27 "fianna" to track him down, and becomes known as "Ní-assa" ("not easy, not gentle"), or Ness. However, one day, when she goes off on her own to bathe, Cathbad comes upon her alone and unarmed and demands her as his wife. She has no choice but to agree.
Eochaid gives the couple land in Crích Rois (a region covering parts of the modern counties of Louth, Monaghan and Meath), near the river Conchobar. One night Cathbad is thirsty, and Ness brings him a drink of water from the river, but when he sees two worms floating in it he makes Ness drink it. Although the story specifically denies this is what makes her pregnant, there are many Irish stories in which significant characters are conceived when their mothers swallowed a tiny creature in a drink. Here, the father of her child is said to be Fachtna Fáthach, the High King of Ireland, who is Ness's lover in spite of Cathbad.
While Ness and Cathbad are travelling to visit Fachtna, Ness goes into labour on the bank of the river Conchobar. Cathbad prophesies that if she can wait until the following day before giving birth, her son will share a birthday with Jesus Christ. She sits on a flagstone by the river, and the following day gives birth to a son, who is named Conchobar after the river. The baby tumbles backwards into the river, and Cathbad lifts him out. Cathbad makes a prophecy in verse of his future glory, in which he refers to him as "my son and my grandson", suggesting there was once a tradition that Cathbad was Ness's father, and that Conchobar was born of incest between them.
By the time Conchobar is seven, Fergus mac Róich is king of Ulster, and he falls in love with Ness. She consents to marry him on one condition – that he abdicate his kingship for a year in favour of Conchobar, so that his sons will be able to call themselves the sons of a king. Fergus consults with his nobles, and they advise him that the boy will be king in name only, so he agreed. But Conchobar, advised by his mother, is so crafty at distributing wealth and gifts that when the year is up, the Ulstermen won't have Fergus back, and Conchobar keeps the kingship.
According to some traditions Ness is the mother of Cormac Cond Longas by incest with Conchobar (although in other traditions, Cormac's mother is Conchobar's wife Clothru). She is also the mother of Conchobar's sisters Deichtine and Findchóem.
In popular culture.
Cartoonist Patrick Brown adapted Ness's story as a webcomic in 2007–2008.


Mike Will Made It production discography

The following list is a discography of production by Mike WiLL Made It, an American hip hop record producer from Atlanta, Georgia. It includes a list of songs produced, co-produced and remixed by year, artist, album and title. He has produced multiple singles certified gold or higher by the Recording Industry Association of America (RIAA), including two US "Billboard" number one hit singles.


List of Pennsylvania state historical markers in McKean County

This is a list of the Pennsylvania state historical markers in McKean County.
This is intended to be a complete list of the official state historical markers placed in McKean 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 16 historical markers located in McKean County.


Kiburi-ji

 is a Buddhist temple in Ōno, Gifu Prefecture belonging to the Chisan sect of Shingon Buddhism. The temple claims to have been founded as the Hossō sect temple of Shinpuku-ji by the wandering priest Gyōki in 715 AD. It was burned down by Oda Nobunaga in 1560 and subsequently rebuilt with the support of Toyotomi Hideyoshi, Tokugawa Ieyasu and the Toda clan of Ōgaki Domain during the Edo period.
The temple possess a Heian period set of five scroll painting depicting the five Myō-ō (Fudō Myō-ō, Gōzanze Myō-ō, Gundari Myō-ō, Daiitoku Myō-ō, and Ususama Myō-ō which is a National Treasure of Japan.


Pauvre Pierrot

Pauvre Pierrot (aka Poor Pete) is a French short animated film directed by Charles-Émile Reynaud in 1891 and released in 1892. It consists of 500 individually painted images and lasts about 15 minutes originally.
It is one of the first animated films ever made, and alongside "Un bon bock" (directed in 1888 of which only few images survive at the Cinémathèque française) and "Le Clown et ses chiens" was exhibited on 28 October 1892 when Charles-Émile Reynaud opened his Théâtre Optique at the Musée Grévin. It was the first film to demonstrate the Theatre Optique system developed by Reynaud in 1888. "Pauvre Pierrot" is also believed to be the first known usage of film perforations. The combined performance of all three films was known as "Pantomimes Lumineuses".
These were the first animated pictures publicly exhibited by means of picture bands. Reynaud gave the entire presentation himself by manipulating the images.
Synopsis.
One night, Harlequin encounters his beloved Columbina in a courtyard. Soon, however, Pierrot knocks on the door and the couple hides. Pierrot starts performing a serenade for Columbina, but Harlequin constantly interrupts. He pokes Pierrot with a stick and steals his bottle, always keeping just out of sight. Eventually Pierrot gets scared of the unseen prankster and leaves, allowing Harlequin to enter Columbina's house as the short ends.


Ishay Ribo

Ishay Ribo (, born 1989) is an Israeli singer-songwriter. An Orthodox Jew, he has gained popularity in Israel among Haredi, national-religious, and secular Jewish audiences. He has released four studio albums, two of which have been certified gold and one which went platinum.
Biography.
Ishay Ribo, born 1989 to a traditional Sephardi Jewish family in Marseilles, France. His parents also grew up in France, having immigrated from Morocco and Algeria in their youth. His father began to take on more religious observance in France, and when Ribo was eight and a half years old, the family made aliyah to Israel, where the family became completely Torah-observant. Early on, they resided in Kfar Adumim, where Ribo attended a national-religious elementary school. After six months he transferred to a Haredi Talmud Torah in Jerusalem. He later studied in yeshivas in Kiryat Sefer and Gilo, the latter program designed for French "olim" (immigrants to Israel). Since his marriage he studies at Midreshet Ziv, an Orthodox kollel in the Sha'arei Hesed neighborhood of Jerusalem.
Ribo began working on his first album shortly before enlisting in the Israeli Defense Forces for a two-year stint. He served in the Technology and Maintenance Corps, and sang in the IDF Rabbinical Choir during the last six months of his service.
Ribo and his wife Yael have three sons and reside in the Kiryat Moshe neighborhood of Jerusalem.
Music career.
Ribo began singing at the age of eight; at age thirteen, he began writing, composing and recording songs at his home. Four years later, having composed 100 songs, he learned to play the guitar. He had no formal music education. He and his friends formed a band called "Tachlis" (Goal) which combined heavy metal rock with religious lyrics.
In 2012, Ribo was the first religious singer to take part in the Idan Raichel Project, and performed "Ohr Kazeh" ("A Light Like This") on Raichel's 2013 album "Reva LaShesh" ("A Quarter to Six"). He performed ""Tochu Ratzuf Ahavah" at one of Raichel's concerts.
In 2014, he performed the song "Chadeish Sessoni" on the album "Simchat Olam"" ("Joy of the World"), which consisted of songs composed by Rabbi Yitzchak Ginsburgh. He was also featured on the album "Achakeh Lo" ("I Will Await Him"), which highlights songs from the Holocaust by The Heart and The Spring band.
In August 2019, Ribo performed Amir Benayoun's "Nitzacht Iti HaKol" ("You Won Everything With Me") alongside Benayoun at a concert in Sultan's Pool, Jerusalem; the music video received more than one million views in its first week of release.
Solo singles and albums.
In 2014, Ribo produced his debut album, "Tocho Ratzuf Ahavah" ("He Is Filled With Continuous Love"). The third single from the album, "Kol Dodi" ("The Voice of My Beloved"), earned second place at the 2013 . The album was certified gold.
In October 2015, Ribo released the first single from his second album, "Mekasheh Achat Zahav" ("A Solid Piece of Gold"), which he wrote in honor of the birth of his second son. In 2016, he released his second album, "Pachad Gevahim" ("Fear of Heights"). That album too was certified gold.
In February 2018, Ribo released the album "Shetach Afor" ("Gray Area"), which was certified platinum. The music video for one of the singles on the album, "Lashuv HaBaytah" ("Coming Home"), logged more than 32 million views on YouTube.
In 2018, he released "Nafshi" ("My Soul"), a duet sung with Hasidic singer Motty Steinmetz. Ribo sings his part in traditional Hebrew pronunciation while Steinmetz sings with a Hasidic pronunciation. In January 2019, he released the single "HaLev Shely" ("My Heart"). On 3 September, the single "Seder Ha'avodah" ("Order of the Service") was released, a song which describes the Yom Kippur service in the Temple in Jerusalem. These three singles were from his album "Elul 5779", released in September 2019. This album consists of Selichot hymns and songs relating to Yom Kippur, including covers of songs by Shlomo Carlebach and Rabbi Hillel Paley, whom Ribo wishes to introduce to his secular audiences.
Ribo performs in concert throughout Israel, both in general venues and for gender-separated Haredi audiences. He often performs with Shlomo Artzi, Omer Adam, , and . He credits the national-religious sector for about 90 percent of his concert appearances. At his concerts, audiences sing the words along with him.
Songwriting.
Ribo has written songs for Gad Elbaz, Avraham Fried, and . For Elbaz, these include "Rak Kan" ("Only Here") and "KeBatechilah" ("As In The Beginning"); future collaborations are planned.
Musical style.
Ribo's songs focus exclusively on spirituality, faith, and God, a decision he says he made at the age of 14. While his original goal was to sing for religious audiences, according to Jessica Steinberg, writing for "The Times of Israel", he has attained popularity among secular audiences as well. Though religious songs are generally shunned by secular audiences in Israel, the quality of his music and artistic expression enables him, according to "Haaretz" music critic Ben Shalev, to successfully "bridge the divide" between Orthodox and secular.
Unlike Hasidic music, which sets verses from Tanakh to music, Ribo writes original lyrics, drawing inspiration from a variety of religious sources, including the commentary of Rashi, the teachings of Rabbi Shlomo Wolbe and Rabbi Eliyahu Eliezer Dessler, and ideas he hears in synagogue sermons. He mainly sings in Hebrew. Ribo characterizes his musical genre as "rock/folk". He is known for his "mature" voice and "phenomenal stage presence".
Ribo cites as his musical influences Eviatar Banai and Amir Benayoun.
Awards and recognition.
In 2012, Ribo received an ACUM prize for encouraging creativity. For his debut single (""Tocho Ratzuf Ahavah") he was named Singer of the Year, Discovery of the Year, and Song of the Year by Radio Galei Israel and "Maariv". He also won the accolades of Singer of the Year, Album of the Year ("Tocho Ratzuf Ahavah"), and Song of the Year ("Kol Dodi"") from Radio Kol Chai.
In 2017, he performed at the torch-lighting ceremony on Israel's 69th Independence Day.
In 2019, he was awarded the Israel Minister of Education's Uri Orbach Prize for Jewish Culture in the field of music.
In 2019 Israeli singer Ishay Ribo won first place for the Most Views On Youtube In 2019 by an Orthodox Jewish Artist. He won the award by a high margin for the second year in a row. Ribo's official YouTube channel had 224 million views and 212,000 subscribers. This is the second year in the row that Ribo doubled the number of views on his channel within a year.


Modern Buildings on Zhongshan Square in Dalian

The modern buildings on Zhongshan Square in Dalian refer to the buildings on Zhongshan Square in Dalian, Liaoning Province, China, built mostly in the first half of the twentieth century, during which time Dalian was Japan's leased territory.
These buildings were declared the "Cultural Heritage Sites under Protection by the Chinese State Government" in 2001 and the "Heritage Buildings under Protection by the Dalian Municipal Government" in 2002. The scene of this area with the modern buildings of the first half of the 20th century in China is comparable, in a smaller scale, to that of The Shanghai Bund.
Zhongshan Square.
Zhongshan Square in Dalian was originally built by the Russians as Nikolayevskaya Square (in , meaning Nikolai's plaza) in 1898. It was later renamed by the Japanese as Ōhiroba (in ), meaning the large plaza. After 1945, it was further renamed as Zhongshan Square, after Sun Zhongshan, the first president of the Republic of China.
The square is round and is 213 meters in diameter. There are ten roads that come radially out of the square, anticlockwise:
The Buildings.
On Zhongshan Square, there are presently ten buildings. They are from the building with the address of No. 1 Zhongshan Square, on the north side, with the names of the current occupants, anticlockwise:
Industrial and Commercial Bank of China #1.
The Renaissance architecture building with Corinthian columns in front at No. 1 Zhongshan Square, between Minkang Street and Zhongshan Road, is now Industrial and Commercial Bank of China's Zhongshan Square Branch ().
It was built in December, 1920, as Dalian Branch of Bank of Korea (in ). Architect: Yoshihei Nakamura (in ), residing in Korea at that time, designing the headquarters building of this bank.
Citibank.
The building at No. 2 Zhongshan Square, between Zhongshan Road and Yuguang Street, is now used as Citibank's Dalian Branch and other offices.
It was built in 1908 as Dalian Police Station (in ) which took care of both police and resident registration. It is the oldest building on this square and was designed by the team headed by Shoin Maeda (in ) of the Kwantung government, who later was invited to become professor at Tokyo High School of Technology, the predecessor of Tokyo Institute of Technology.
Dalian Financial Building.
The new Postmodern architecture building at No. 3 Zhongshan Square, between Yuguang Street and Yan'an Road, is Dalian Financial Building (in ), built in 2000. Since 2001, it has been occupied by Shanghai Pudong Development Bank's Dalian Branch on the right side (on Yuguang Street) and Guangdong Development Bank's Dalian Branch on the left side (on Yan'an Road).
At this site stood the British Consulate General's building, completed in 1914 (Architect: H. Ashead). It was demolished in 1995.
Note 1.
Adjacent to the Consulate General's office on the Yuguang Street side (No. 2 Yuguang Street) stood Dalian Anglican church, whose second generation red brick building, built in 1928 in a joint effort of the Church of England and Japanese Anglican Church, still remains there, used as Yuguang Street Church.
Dalian Hotel.
The 4-storey Renaissance architecture building with Ionic columns in front at No. 4 Zhongshan Square, between Yan'an Road and Jiefang Street, is now the Dalian Hotel.
It was built in 1914 as the Dalian Yamato Hotel (in or ), owned by South Manchuria Railway.
Industrial and Commercial Bank of China #2.
The building at No. 5 Zhongshan Square, between Jiefang Street and Luxun Road, is now Industrial and Commercial Bank of China's Dalian Branch (in ).
It was built in 1919 as Dalian City Hall (in ) and was designed by the team headed by Shigemitsu Matsumuro (in ) of the Kwantung government.
Bank of Communications.
The Art Deco building at No. 6 Zhongshan Square, between Luxun and Renmin Roads, is now Bank of Communications' Dalian Branch.
It was built in 1936, under the design of Shuichi Munetaka, as Dalian Branch of Oriental Development Company (in ), Japan's state-owned enterprise, that had branches in Korea and China.
China CITIC Bank.
The French-style Renaissance architecture building at No. 7 Zhongshan Square, between Renmin Road and Qiyi Street, is now China CITIC Bank ().
It was built in 1910 as Dalian Branch of Daqing Bank (in ).
Note 2.
Adjacent to this building on the Renmin Road side (No. 6 Renmin Road) is Zhongshan Square Branch of Bank of Dalian (in ). It was formerly the Dalian Branch of Bank of Taiwan (in ), built in 1910.
Dalian People's Culture Club.
The building at No. 8 Zhongshan Square, between Qiyi and Minsheng Streets, is Dalian People's Culture Club (in ), built in 1951 by the Soviet architecture team led by a Belorussian engineer. It has been the center of music and other cultural activities for the Dalianites.
Bank of China.
The colorful building at No. 9 Zhongshan Square, between Minsheng Street and Shanghai Road, is now Bank of China's Dalian Branch, together with the new main building on the back side, added in 2005, where the bank transactions are done mostly.
It was built in 1909 as Dalian Branch of Yokohama Specie Bank (in ), designed by Tsumaki Yorinaka (in ) and his disciple, Satoshi Ōta (). It was used as the Soviet Union's Far East Bank from 1945 to 1955. The building's interior was massively changed in the 2005 renovation.
Dalian Post Office.
The building at No. 10 Zhongshan Square, between Shanghai Road and Minkang Street, is now used as part of Dalian Post Office, whose main office is on Chanjiang Road in front of Dalian Railway Station.
It was built in December, 1917, as Kwantung Bureau of Communications (in ) and was designed by the team headed by Shigemitsu Matsumuro of Kwantung government.
Protection by the State and Local Governments.
All these buildings, except Dalian Financial Building and the buildings written in the Notes, were declared in 2001:
All buildings were designated in 2002:


Sedment

Sedment is the name of a village in Egypt. In Egyptology it is mainly known for a series of cemeteries excavated near this village. The cemeteries were the target of several expeditions, the most substantial one under Flinders Petrie and Guy Brunton. Their work was published in two volumes. They found several hundred burials dating from around 3000 BC to the New Kingdom. Especially many burials were found dating to the First Intermediate Period and New Kingdom. The First Intermediate Period burials contained several inscribed coffins, but also many burials with wooden models. The New Kingdom burials were found much looted, but some reliefs found demonstrate that several tombs were adorned with a relief–decorated chapel above ground. The largest tomb was that of the vizier Prehotep, who was in office under king Ramses II.


Naoise

In Irish mythology, Naisi, Noíse or Noisiu (modern spelling: Naoise; ) was the nephew of King Conchobar mac Nessa of Ulster, and a son of Uisneach (or Uisliu). He is mentioned in the tale known as the "Tragic Tale of the Sons of Uisnech", or "Exiles of the Sons of Uisnech", usually found within the set of stories in the "Táin Bó Cúailnge", part of the Ulster Cycle.
In the tale he becomes the lover of Deirdre, a woman of great beauty, who is also desired by the king of Ulster Conchobar mac Nessa - as a consequence the lovers with Naoise's two brothers go into exile in Scotland (Alba). Eventually, Conchobar seeks to get them to return, but a series of unfortunate events (including a "geas" placed on Fergus mac Róich their protector and escort, as well as Naoise and his brothers' repeated disregard for Deirdre's prophetic warnings) and the treachery of Conchobar brought on by his desire for Deirdre, leads to tragedy.
The tale climaxes with battle at the Red Branch house at Emain Macha, with many dead including Naoise, his brothers Ainle and Ardan, and Conchobar's son Fiacha. Ultimately the sons of Uisnech are killed in one blow delivered by Maine Red Hand son of the King of Norway (or by Éogan mac Durthacht depending on source). The whole event leads to considerable strife between Ulster and Connacht, the disinheritance of Conchobar and his descendants to the title King of Ulster, and the destruction of Emain Macha.
Mythic biography.
When Deirdre was born, Cathbad the druid named her, and prophesied that she would cause much trouble and strife - on hearing this the assembled lords would have had her killed then, but king Conchobar prevented it and decided to have her brought up in seclusion, and that when she was old enough, he would marry her. She grew up to outshine other women of the time in beauty.
One snowy day when she saw her foster father kill a calf, on which a raven fell to drink the animals blood - she said she wanted a husband who had in him the three colors she saw - hair the color of the raven, cheeks red like the calf's blood, and skin the color of snow. She was told that such a man existed in the house of Conchobar - named Naisi (Naoise), son of Usnach, son of Conall Flatnailed, son of Rury the Great. She asked that she might speak with him, in secret. Naisi met with her, and she declared her love for him, and asked to elope, which he agreed to, though he was tardy to carry out, for fear of Conchobar.
Thus Naisi and his two brothers Ainle and Ardan together with and one hundred and fifty warriors went to Scotland and entered the paid service of the King of Scotland. The Scottish King heard of Deirdre's great beauty and too tried to get her for himself, on which Naisi and his brothers left for an island in the sea, after many battles with the king's men.
Conchobar was at another feast with his people, and asked them if they wanted for anything. They replied they had no want, except the loss of their kinsmen Naisi, Ainle, and Ardan - because of the woman Deirdre. Having heard this Conchobar decided to send an envoy. However Naisi was probited from returning to Ireland except with either Cúchulainn, Conall Cernach, or Fergus mac Ross. Conchobar chose Fergus to go fetch for them.
Fergus journeyed to Loch Etive in Alba (Scotland), and found the hunting lodges of the Naisi and his two brothers, but there was no recent sign of them. Fergus then went to the harbor and made a loud call for them, which was heard by Naisi and Deirdre. Naisi said he had heard an Irish voice, and so had Deirdre, but she lied and said she thought it was a Scottish voice. Fergus called again, and the same happened; and then a third time, and Naisi became sure it was Fergus' voice and asked Ardan to go and meet him.
Deirdre confessed that she had recognized the voice, but concealed the truth as she had a vision the previous night, of three birds from Emain Macha bringing honey in their beaks but returning with blood in their beaks - she interpreted this as meaning that the messenger came with a false promise of peace. Nevertheless, they greeted Fergus warmly, and he then told him of his task as envoy, to make them return to Ulster. The exiles spoke of their missing Ireland, but Deirdre still did not wish to go out of worry - Fergus promised he would give them his protection against any in Ireland, and so Naisi agreed to return.
On the way they came to the fort of Borrach (son of Annte). Borrach welcomed them, and offered a feast (as Conchobar had instructed him to do), but placed Fergus under a "geasa" not to leave the feast until it was finished. Fergus became flustered, telling Borrach that he had promised to bring the three back to Emain Macha on the same day that they returned to Ireland. Fergus decided to stay at the feast and send his own two sons with the returning exiles back to Emain Macha.
The exiles left Borrach's place. Deirdre counseled Naisi to stay at the island of Cuilenn, but Fergus's sons (Illann the Fair, and Buinne the Ruthless Red) spoke against it. Then they went to the White Cairn of Watching on Slaib Fuad, but Deirdre fell behind, and fell asleep. Naisi turned back and found her as she awoke from a dream. She told Naisi of her dream - in it she sees Naisi and Illann headless, but Buinne not with them. Next the party went to Ard na Sailech. Again Deirdre had premonitions, envisioning a 'cloud of blood' over Naisi, Ainle, and Ardan's head. She counselled that they should go to Dún Delgan (Dundalk) and stay until Fergus could join them, or seek Cúchulainn as escort, but the brothers were not worried, and did not follow her advice.
They then went straight to Emain Macha. On reaching it Deirdre foretold a way they could tell whether or not Concobar would do them ill - if they were invited into Cochobar's house they were safe, but if they were invited into the house of the Red Branch without Concobar then evil was intended for them.
At Emain Macha they knocked, and on telling the doorman who it was Concobar said to send them to the Red Branch house. Deirdre suggested they leave, but the men would not, lest they be called timid. They entered the house of the Red Branch, and were served with great food and drink - all the servants drank and ate and became merry, but the exiles would not eat or drink. Naisi then called for Concobar's chessboard (the "Cennchaem") to be brought so they could play - at the same time Conchobar inquired of Deirdre, asking if she was still so beautiful. Concobar's envoy (Levarcham) returned and told him who was there, and that Deirdre was changed from when she left.
Conchobar sent messengers to tell him of Deirdre's appearance twice more. Then he spoke to Tréndorn saying "do you know who killed my father (and three brothers)?" - Tréndhorn replied it was Naisi - then Conchobar sent him report on Deirdre's appearance. As he spied through a window he was spotted, and Naisi threw a chess piece at him so well he lost an eye - he returned to Conchobar and told him "The woman whose form and feature are loveliest in the world is there, and Naisi would be king of the world if she were left to him." Conchobar became enraged and ordered an assault on the Red Branch house.
A the house Conchobar and his men, and the Naisi and his exchanged words, then fighting began. Buinne slew many of Conchobar's men, but Conchobar asked his price, and bribed him with land, and he deserted his companions. The Illann came forth and killed many of Conchobar's men, and would not take a bribe like his brother. Conchobar asked for his own son Fiacha, born on the same night as Illann. He gave Fiacha his arms, but after a hard fight, Illann won. Conchobar's shield made a great sound when its wielder was in distress, and Conall son of Amargin heard it, thinking Conchobar was in need, and came - seeing the scene of the battle he took his spear ("Culghlas") and killed Illann. Wounded, Illann asked who had done it, and told them he was there to guard Naisi and his brothers - on hearing this Conall was sorry, and killed Fiacha in revenge. Illann called Naisi to the fight, then died.
Ardan defended the Red Branch house on the first night, slaying many; the next night Ainle defended; on the third night Naisi defended, also killing many attackers. The three then formed a shield around Deirdre, and leapt outside the walls of Emain. Concobar told his druid Cathbad to put an enchantment on the escapees, stating that if he did so he would not harm the. Cathad conjured water to prevent them. Concobar then called for someone to kill Naisi but none from Ulster would. However one Maine Red-hand from Norway, whose father and brothers had been killed by Naisi, was willing to do the beheading.
Ardan said he should die first, as the youngest, but Ainle offered himself; Naisi gave his exceptional sword, which was from Manannán mac Lir himself, to Maine, and Maine killed all three with it, in one blow. Deirdre kissed her dead husband and drank his blood, and sang a long lament. She then flung herself into Naisi's grave and died.
Cathbad cursed Emain Macha because of the evil of that day, and said that neither Conchobar nor his descendants would ever possess it again. Fergus came the next day, and saw the disaster, and (together with Cormac "conloinggeas" and Dubhtach "daelultach") gave battle to Conchobar, brought the destruction of Emain Macha, together with Conchobar's women. Fergus then sought aid from Ailill King of Connacht, and Maeve the queen. Much of Ulster was raided or destroyed, with hostilities continuing for several years.
Other sources.
The tale is also found in the "Glenmasan manuscript" version of the Táin Bó Flidhais.


Peter Eldin

Peter Eldin (born 1939) is a British author and magician. He has written almost two hundred books; most of them are non-fiction for young people. According to WorldCat there are "132 works in 188 publications in 12 languages and 8,912 library holdings." He writes mainly on factual material, fun (puzzles, quizzes, jokes, and games) and magic for children, and has also edited magic magazines "The Magic Circular" and "Abracadabra", and written scripts for TV shows including "The Weakest Link".
Books for children.
He is best known for the series of humorous instructional books for children such as "The Trickster's Handbook" (1976), "The Secret Agent's Handbook" (1977) and "The Whizzkid's Handbook" (1979), full of tricks, games, puzzles, and advice, with illustrations by Roger Smith. The following gives a brief flavour of these works: "tell your friends you can kiss a book 'inside and outside' without opening it - then prove it by kissing the book while standing outdoors ... and then indoors. Something semiserious? Baffle your buddies with vanishing water or instant indoor rainbows." The series was adapted for television in 1980 as "The Whizzkids Guide" starring Kenneth Williams, Rita Webb and Arthur Mullard as overgrown schoolchildren. Williams said "the script is full of corny gags which actually make me laugh".
School Library Journal called "The Magic Handbook" "an excellent standard source for magical tricks and advice for most children's library collections for many years to come." His book "Magic" (1998) has also received praise as an informative history of magic. "The Spookster's Handbook" (CIP Sterling, 1989) is "an entertaining little gem that's chock-full of zany ideas for Halloween", including haunted house ideas, optical illusions, tricks, and riddles, aimed at kids, parents, teachers, and group leaders.
Magic.
In addition to writing several books on magic (illusionism), he is also an honorary member of the magicians' organisation the Magic Circle. He was involved in curating the Magic Circle's museum in the 1970s and edited the Circle's magazine "The Magic Circular" from 1990-1998.


Bertha George Harris

Bertha George Harris (June 29, 1913 – October 14, 2014) was an American Catawba tribal elder and master potter. She specialized in a specific type of pottery unique to the Catawba, which she crafted from river clay without the use of electricity or a potter's wheel. Harris was the oldest living member of the Catawba tribe at the time of her death in October 2014. The Catawba number approximately 2,800 people, presently based in York County, South Carolina, as well the surrounding region.
Life.
Harris was born Bertha George on June 29, 1913, in Lancaster County, South Carolina, to Moroni James George and Hattie Milling George. She lived in neighboring Catawba County and York Counties for the majority of her life. A resident of Rock Hill, South Carolina, she was raised under racial segregation in the American South, in which the Catawba and other Native American groups were considered inferior to whites. She was married to George Furman Harris for 75 years, until his death in 2006 at the age of 95. The couple had seven children.
Harris created Catawba pottery and was considered one of the Catawba's master potters. Catawba pottery is composed of river clay, which is shaped without the use of a potter's wheel. According to members of the Catawba, she considered it an honor to be the oldest living elder.
Bertha George Harris died on October 14, 2014, at the age of 101, as the oldest member of the Catawba.
Her funeral was held at The Church of Jesus Christ of Latter-day Saints on the Catawba Indian Nation reservation. Gilbert Blue, the former Chief of the Catawba from 1977 to 2007, was raised with Harris' children. He paid tribute to Harris telling a reporter, "I spoke with her about her position as the oldest several times, and she held that to be important… Bertha Harris recognized what her status as the oldest meant, and not only did it make her feel something good and important, it made all of us feel good." Present Catawba Chief Bill Harris, her great-nephew, also paid tribute to her noting, "Of the Catawba people, of the people who have been here on this patch of ground for all these centuries, she was the oldest among us… That is truly a remarkable idea–that a person was the oldest of all of us on the entire earth. That was always for her and all of us a great, even sacred, honor." She was survived by five of her seven children: three daughters and two sons.
Frances Wade, who was 92 years old in October 2014, became the oldest Catawba elder following Harris' death.


The Dressmaker from Paris

The Dressmaker from Paris is a 1925 silent film romantic comedy/drama film directed by Paul Bern. The story was written by Howard Hawks and Adelaide Heilbron. Heilbron also wrote the screenplay. The film starred Leatrice Joy and was her last film for Paramount Pictures. The film was costume designer Travis Banton's first assignment. The film is now considered lost.
This was Joy's last silent for Paramount. Afterwards she followed Cecil DeMille to his PDC arrangement production company, which released through the Pathé Exchange company. Director Paul Bern has his girlfriend Olive Borden in a small role as one of the models.


Cylinders of Nabonidus

The Cylinders of Nabonidus refers to cuneiform inscriptions of king Nabonidus of Babylonia (556-539 BC). These inscriptions were made on clay cylinders. They include the Nabonidus Cylinder from Sippar, and the Nabonidus Cylinders from Ur, four in number.
Description.
The Nabonidus Cylinder from Sippar is a long text in which Nabonidus describes how he repaired three temples: the sanctuary of the moon god Sin in Harran, the sanctuary of the warrior goddess Anunitu in Sippar, and the temple of Šamaš in Sippar.
The Nabonidus Cylinders from Ur contain the foundation text of a ziggurat called E-lugal-galga-sisa, which belonged to the temple of Sin in Ur. Nabonidus describes how he repaired the structure. It is probably the king's last building inscription and may be dated to ca. 540 BC. The text is interesting because it offers a full syncretism of Sin, Marduk, and Nabu.
Nabonidus cylinders from Ur are also noteworthy because they mention a son named Belshazzar, who is mentioned in the Book of Daniel. The cylinders state:
"As for me, Nabonidus, king of Babylon, save me from sinning against your great godhead and grant me as a present a life long of days, and as for Belshazzar, the eldest son -my offspring- instill reverence for your great godhead in his heart and may he not commit any cultic mistake, may he be sated with a life of plenitude."
Excavation.
In 1854, J.G. Taylor found four cuneiform cylinders in the foundation of a ziggurat at Ur. These were deposited by Nabonidus; all four apparently have an identical inscription.
In 1881, Assyriologist Hormuzd Rassam made an important find at Sippar in Babylonia (now called "Abu Habba"), where he discovered the temple of the sun. There he also found a clay cylinder of Nabonidus. This cylinder, excavated in the royal palace, is now in the Pergamon Museum in Berlin. A copy is in the British Museum in London. The text was written after Nabonidus' return from Arabia in his thirteenth regnal year, but before war broke out with the Persian king Cyrus the Great, who is mentioned as an instrument of the gods.
The Nabonidus Cylinder from Sippar contains echoes from earlier foundation texts, and develops the same themes as later ones, like the better-known Cyrus Cylinder: a lengthy titulary, a story about an angry god who has abandoned his shrine, who is reconciled with his people, orders a king to restore the temple, and a king who piously increases the daily offerings. Prayers are also included.
Translation of the Sippar cylinder.
The translation of the Nabonidus Cylinder of Sippar was made by Paul-Alain Beaulieu, author of, "The Reign of Nabonidus, King of Babylon 556-539 B.C."
[i.1-7] I, Nabonidus, the great king, the strong king, the king of the universe, the king of Babylon, the king of the four corners, the caretaker of Esagila and Ezida, for whom Sin and Ningal in his mother's womb decreed a royal fate as his destiny, the son of Nabû-balâssi-iqbi, the wise prince, the worshiper of the great gods, I:
[i.8-ii.25] Ehulhul, the temple of Sin in Harran, where since days of yore Sin, the great lord, had established his favorite residence - his great heart became angry against that city and temple and he aroused the Mede, destroyed the temple and turned it into ruin - in my legitimate reign Bel and the great lord,[1] for the love of my kingship, became reconciled with that city and temple and showed compassion.
In the beginning of my everlasting reign they sent me a dream. Marduk, the great lord, and Sin, the luminary of heaven and the netherworld, stood together. Marduk spoke with me: 'Nabonidus, king of Babylon, carry bricks on your riding horse, rebuild Ehulhul and cause Sin, the great lord, to establish his residence in its midst.'
Reverently, I spoke to the Enlil of the gods, Marduk: 'That temple which you ordered me to build, the Mede surrounds it and his might is excessive.'
But Marduk spoke with me: 'The Mede whom you mentioned, he, his country and the kings who march at his side will be no more.'
At the beginning of the third year [Summer 553], they aroused him, Cyrus, the king of Anšan, his second in rank.[2] He scattered the vast Median hordes with his small army. He captured Astyages, the king of the Medes, and took him to his country as captive. Such was the word of the great lord Marduk and of Sin, the luminary of heaven and the netherworld, whose command is not revoked. I feared their august command, I became troubled, I was worried and my face showed signs of anxiety. I was not neglectful, nor remiss, nor careless.
For rebuilding Ehulhul, the temple of Sin, my lords, who marches at my side, which is in Harran, which Aššurbanipal, king of Assyria, son of Esarhaddon, a prince who proceeded me, had rebuilt, I mustered my numerous troops, from the country of Gaza on the border of Egypt, near the Upper Sea [the Mediterranean] on the other side of the Euphrates, to the Lower Sea [the Persian Gulf], the kings, princes, governors and my numerous troops which Sin, Šamaš and Ištar -my lords- had entrusted to me. And in a propitious month, on an auspicious day, which Šamaš and Adad revealed to me by means of divination, by the wisdom of Ea and Asalluhi, with the craft of the exorcist, according to the art of Kulla, the lord of foundations and brickwork, upon beads of silver and gold, choice gems, logs of resinous woods, aromatic herbs and cuts of cedar wood, in joy and gladness, on the foundation deposit of Aššurbanipal, king of Assyria, who had found the foundation of Šalmaneser [III], the son of Aššurnasirpal [II], I cleared its foundations and laid its brickwork.
I mixed its mortar with beer, wine, oil and honey and anointed its excavation ramps with it. More than the kings -my fathers- had done, I strengthened its building and perfected its work. That temple from its foundation to its parapet I built anew and I completed its work. Beams of lofty cedar trees, a product of Lebanon, I set above it. Doors of cedar wood, whose scent is pleasing, I affixed at its gates. With gold and silver glaze I coated its wall and made it shine like the sun. I set up in its chapel a 'wild bull' of shining silver alloy, fiercely attacking my foes. At the Gate of Sunrise I set up two 'long haired heroes' coated with silver, destroyers of enemies, one to the left, one to the right. I led Sin, Ningal, Nusku, and Sadarnunna -my lords- in procession from Babylon, my royal city, and in joy and gladness I caused them to dwell in its midst, a dwelling of enjoyment. I performed in their presence a pure sacrifice of glorification, presented my gifts, and filled Ehulhul with the finest products, and I made the city of Harran, in its totality, as brilliant as moonlight.
[ii.26-43a] O Sin, king of the gods of heaven and the netherworld, without whom no city or country can be founded, nor be restored, when you enter Ehulhul, the dwelling of your plenitude, may good recommendations for that city and that temple be set on your lips. May the gods who dwell in heaven and the netherworld constantly praise the temple of Sin, the father, their creator. As for me, Nabonidus king of Babylon, who completed that temple, may Sin, the king of the gods of heaven and the netherworld, joyfully cast his favorable look upon me and every month, in rising and setting, make my ominous signs favorable. May he lengthen my days, extend my years, make my reign firm, conquer my enemies, annihilate those hostile to me, destroy my foes. May Ningal, the mother of the great gods, speak favorably before Sin, her beloved, on my behalf. May Šamaš and Ištar, his shining offspring, recommend me favorably to Sin, the father, their creator. May Nusku, the august vizier, hear my prayer and intercede for me.
[ii.43b-46] The inscription written in the name of Aššurbanipal, king of Assyria, I found and did not alter. I anointed it with oil, performed a sacrifice, placed it with my own inscription, and returned it to its place.
[ii.47-iii.7] For Šamaš, the judge of heaven and the netherworld, concerning Ebabbar ['shining house'], his temple which is in Sippar, which Nebuchadnezzar, a former king had rebuilt and whose old foundation deposit he had looked for but not found -yet he rebuilt that temple and after forty-five years the walls of that temple had sagged- I became troubled, I became fearful, I was worried and my face showed signs of anxiety.
While I led Šamaš out of its midst and caused him to dwell in another sanctuary, I removed the debris of that temple, looked for its old foundation deposit, dug to a depth of eighteen cubits into the ground and then Šamaš, the great lord, revealed to me the original foundations of Ebabbar, the temple which is his favorite dwelling, by disclosing the foundation deposit of Naram-Sin, son of Sargon, which no king among my predecessors had found in three thousand and two hundred years.[3]
In the month Tašrîtu, in a propitious month, on an auspicious day, which Šamaš and Adad had revealed to me by means of divination, upon beds of silver and gold, choice gems, logs of resinous woods, aromatic herbs, and cuts of cedar wood, in joy and gladness, on the foundation deposit of Naram-Sin, son of Sargon, not a finger's breadth too wide or too narrow, I laid its brick work. Five thousand massive beams of cedar wood I set up for its roofing. Lofty doors of cedar wood, thresholds and pivots I affixed at its gates. Ebabbar, together with E-kun-ankuga ['pure stairway to heaven'], its ziggurat, I built anew and completed its work. I led Šamaš, my lord, in procession and, in joy and gladness, I caused him to dwell in the midst of his favorite dwelling.
[iii.8-10] The inscription in the name of Naram-Sin, son of Sargon, I found and did not alter. I anointed it with oil, made offerings, placed it with my own inscription and returned it to its original place.
[iii.11-21] O Šamaš, great lord of heaven and the netherworld, light of the gods -your fathers- offspring of Sin and Ningal, when you enter Ebabbar your beloved temple, when you take up residence in your eternal dais, look joyfully upon me, Nabonidus, king of Babylon, the prince your caretaker, the one who pleases you and built your august chapel, and upon my good deeds, and every day at sunrise and sunset, in the heavens and on the earth, make my omens favorable, accept my supplications and receive my prayers. With the scepter and the legitimate staff which placed in my hands may I rule forever.
[iii.22-38] For Anunitu -the lady of warfare, who carries the bow and the quiver, who fulfills the command of Enlil her father, who annihilates the enemy, who destroys the evil one, who precedes the gods, who, at sunrise and sunset, causes my ominous signs to be favorable- I excavated, surveyed and inspected the old foundations of Eulmaš, her temple which is in Sippar-Anunitu, which for eight hundred years,[4] since the time of Šagarakti-Šuriaš, king of Babylon, son of Kudur-Enlil, and on the foundation deposit of Šagarakti-Šuriaš, son of Kudur Enlil, I cleared its foundations and laid its brickwork. I built that temple anew and completed its work. Anunitu, the lady of warfare, who fulfills the command of Enlil her father, who annihilates the enemy, who destroys the evil one, who precedes the gods, I caused her to establish her residence. The regular offerings and the other offerings I increased over what they were and I established for her.
[iii.38-42] As for you, O Anunitu, great lady, when you joyfully enter that temple, look joyfully upon my good deeds and every month, at sunrise and sunset, petition Sin, your father, your begetter, for favors on my behalf.
[iii.43-51] Whoever you are whom Sin and Šamaš will call to kingship, and in whose reign that temple will fall into disrepair and who build it anew, may he find the inscription written in my name and not alter it. May he anoint it with oil, perform a sacrifice, place it with the inscription written in his own name and return it to its original place. May Šamaš and Anunitu hear his supplication, receive his utterance, march at his side, annihilate his enemy and daily speak good recommendations on his behalf to Sin, the father, their creator.
Verse account of Nabonidus.
The following is a text known as the "Verse account of Nabonidus" (ME 38299). It was probably written during the reign of Cyrus the Great. William F. Albright called this the ″Panegyric of Cyrus″.
The translation was made by A. Leo Oppenheim and is copied from James B. Pritchard's Ancient Near Eastern Texts Relating to the Old Testament, 1950 Princeton. Some minor changes have been made.
[About one third of the text is missing. In the lacuna, words like 'stylus' and 'the king is mad' can be discerned; the sequel suggests that a Persian official made an insulting remark on Nabonidus' incapacity to write with a stylus, that war broke out, that Nabonidus had some kind of hallucinatory vision, boasted a victory over Cyrus that he actually had not won, and was ultimately defeated. The texts continues with a comparison of the pious Cyrus and the blasphemous liar Nabonidus.]


The Athenian Mercury

The Athenian Mercury, or The Athenian Gazette, or The Question Project, or The Casuistical Mercury, was a periodical written by "The Athenian Society" and published in London twice weekly between 17 March 1690 (i.e. 1691 Gregorian calendar) and 14 June 1697. John Dunton was the editor in chief. A spin-off of "The Athenian Mercury" was "The Ladies' Mercury", also published by "The Athenian Society", in 1693, for four weeks. It was the first periodical that catered specifically to women.
Title.
The magazine was first called "The Athenian Gazette or The Casuistical Mercury" when it was first printed. Dunton explains in his autobiography "Life and Errors" he had an inspiration for the title one day while he was walking home that he would "not exchange for 50 guineas." He continues that a reader of his magazine need only consult Acts 17:21 to see the reasoning behind the title.
After the first issue was published, concerns were raised about Dunton's use of the word "Gazette", to which the 25-year-old "London Gazette" could be considered to have prior claim; in response, Dunton changed "Gazette" to "Mercury".
Advice column.
Scholars credit Dunton with initiating the advice column format. It was first used in "The Athenian Mercury" in 1691. He formed a "society of experts", which he called The Athenian Society, to give their knowledgeable advice on questions submitted by the magazine's readers. The magazine had an announcement at the end encouraging readers to send in their questions, "All Persons whatever may be resolved gratis in any Question that their own satisfaction or curiosity shall prompt 'em to, if they send their Questions by a Penny Post letter to Mr. Smith at his Coffee-house in Stocks Market in the Poultry, where orders are given for the reception of such Letters, and care shall be taken for their Resolution by the next Weekly Paper after their sending." The "most nice and curious questions" ran from natural sciences to religion to literature to politics. During the lifetime of the magazine "the experts" grappled with thousands of questions. The readers submitted questions like:
Dunton's "question-answer project", as he referred to his new format, needed people to help publish it. The first person that partnered with him was Richard Sault, a mathematics teacher. Sault understood the philosophy of Nicolas Malebranche and could convey it to Dunton. The first two issues of the magazine were composed and published by these two only. The "surprising and unthought of" magazine's style produced a response of hundreds of letters of inquiries. "The Athenian Gazette", as these first two issues were called, produced such a large readership that an increase in their Society membership of "experts" was required.
The next person to join the "secret" society of the Athenians was one Dr. Norris (likely the physician Edward Norris, the fifth son of Thomas Norris of Lancashire) who devoted his assistance without any compensation or recognition. As readership increased and the amount of inquiries became overwhelming, they added another member, Dunton's brother-in-law the poet Reverend Samuel Wesley. The Society consisted of these four real members and several fictional members.
Because Dunton's "answers to correspondents" were "universally received" his "Children of the Brain" were being plagiarized by a copycat publication called "The Lacedemonian Mercury." He fought this with advertising that said any queries that they had replied to should be resubmitted to his magazine for "amendments." Dunton referred to Tom Brown, chief editor of "The Lacedemonian Mercury", as "the chief Antagonist."
Some of the people who read the advice column in "The Athenian Mercury", and sometimes submitted questions and comments of their own, according to Dunton, were Sir William Temple (pertaining to Talismans, amongst other things), Jonathan Swift, Marquess of Halifax, Sir Thomas Pope Blount, Sir William Hedges, and Sir Peter Pett.
Related contemporary texts.
Periodicals.
Dunton was surprised one day early on into his "question project" with a letter that came from a "gentle-woman" who wish to know if ladies could submit inquiries also. He assured them that their questions would be seriously considered, as on 23 May 1691 "The Athenian Mercury" printed the "gentle-woman's" questions. One thing lead to another and on 28 February 1693 "The Ladies' Mercury", a spin-off, started its own publication, a periodical exclusively for women.
Dunton followed in 1703 with a collection of the questions and answers from "The Athenian Mercury" called the "Athenian Oracle." The concept of questions submitted by readers of a periodical and free "expert advice" given was then followed by writer Daniel Defoe with his "Review" in 1704, followed by "The little Review." Then in 1708 came "The British Apollo."
Satire.
A comical representation of the Athenian Society written by Elkanah Settle, published in 1693 and titled "New Athenian Comedy," satirizes the mythical members of the Athenian Society and plays fun at the premises of the "Athenian Mercury."
Historiographical approach.
The "Athenian Mercury" is approached by most scholars in the context of Dunton's life. Additionally, analysis of the questions in the "Athenian Mercury" has been focused on the political and scientific content portrayed by the authors. Though this approach is useful, the "Athenian Mercury" can also be analysed in the context of gender representation due to the number of questions about courtship and gender relations. Helen Berry, in her book "Gender, Society and Print Culture in Late-Stuart England: The Cultural World of the Athenian Mercury", focuses more on the 30% of questions that are directly related to gender issues, a subject first broached by Kathryn Shevelow in "Women and Print Culture: The Construction of Femininity in the Early Periodical."


Gallacher

Gallacher is a surname of Irish origin and is a variant of the Gaelic Ó Gallchóbhair found chiefly in Scotland. The name Ó Gallchóbhair has been variously anglicised as Gallagher, Gallaher, Gallaugher, Goligher etc.
Notable people with the surname include:


Diane of the Follies

Diane of the Follies is a 1916 American drama film directed by Christy Cabanne. The film is considered to be lost.


Daunian pottery

Daunian pottery was produced in the "Daunia", today's Italian provinces of Barletta and Foggia. It was created by the Daunians, a tribe of the Iapygian civilization who had come from Illyria.
Daunian pottery was mainly produced in the regional production centers of Ordona and Canosa di Puglia, beginning around 700 BC. The early paintings on the pottery show the vessels with geometric patterns. The ceramics were hand-formed, rather than thrown on a potter's wheel. They consisted of red, brown or black earth color applied with the decor. Diamonds, triangles, circles, crosses, squares, arcs, swastika and other forms of art were painted on them. The development of Daunian pottery forms is independent of the first Greek ceramics. Typical Daunian pottery include the Askos, hopper vessels and bowls with loop handles. Striking are often manual, or anthropomorphic Protomen to the sides and handles of the ceramics attached to or reproduced graphically.
From the 5th century BC, Daunian pottery is influenced by the Greek forms to an extent that crude human, bird and plant figures are depicted on the pottery. From 350 BC-250 BC the decorative forms change even further.


Spidey Super Stories

"Spidey Super Stories" is a live-action, recurring skit on the original version of the Children's Television Workshop series "The Electric Company". Episodes featured the Marvel Comics character Spider-Man, provided to the Children's Television Workshop free of charge, and was played (always in costume) by puppeteer and dancer Danny Seagren. It premiered during the premiere of "The Electric Company's" fourth (1974–1975) season, show 391. It predated the pilot film of the series "The Amazing Spider-Man" by three years, becoming the first live-action rendition of Spider-Man, and was the first live-action rendition of a Marvel character in any medium since the "Captain America" serial of 1944.
Stories involved the masked superhero foiling mischievous characters who were involved in petty criminal activities, although sometimes the crooks would commit more serious crimes such as assault or larceny. The cast of "The Electric Company" played the roles of the various characters in each story, with another serving as narrator. In many of these sketches, in keeping with Stan Lee's writing style, viewers were addressed as "true believers".
Unlike other live-action and cartoon productions of Spider-Man, this version of the web-slinging hero did not speak out loud, instead communicating only with word balloons (having a similar role to Clarabell the Clown of Howdy Doody), in order to encourage young viewers to practice their reading skills. Due to the series' budget limitations, comic book panels were interspersed through each skit in lieu of special effects. However, aside from Spider-Man himself, no characters from the comic series ever appeared on "Spidey Super Stories".
Theme song.
The theme song that plays at the beginning and end of the shorts was written by Gary William Friedman. The lyrics are as follows:
Episodes.
Approximately one dozen "Spidey Super Stories" segments were produced during "The Electric Company's" 1974–1975 season, with another twelve or so during the 1975–1976 season, and further episodes during the series' final season.
A 4-DVD boxed set was released by Shout! Factory and Sony BMG Music Entertainment on February 7, 2006, named "The Best of Electric Company". It featured 20 episodes from 1971–1977 (D4D 34121), three of which contained Spidey segments.
A second 4-DVD boxed set with 20 shows from 1971–1976 was released on November 14, 2006 (82666-31014). Two of the episodes in this boxed set featured Spidey segments; however, in several of the other episodes, the Spider-Man segments were edited out to minimize the appearance of the character because of rights issues. Episode 60A, from season five, which featured a Spider-Man sketch as the sketch of the day, was altered drastically from the version that originally aired on television.
On March 7, 2006, another DVD named "The Best of the Best of Electric Company", a truncated version of the volume-one boxed set, was released (DD 31006).
1974–75.
A number of episodes from season 1 (season 4 of "The Electric Company") featured Spidey battling the villain in the screenshot of the comic book cover. Other only had a standard picture of Spidey alone. This is documented in the chart below.
In other media.
Comics.
From 1974 to 1982, Marvel Comics published a comic book called "Spidey Super Stories", which was aimed at children ages 6–10. A total of 57 issues were produced, the first 15 of which were written by Jean Thomas (previously writer of "Night Nurse"). Jim Salicrup succeeded her as the series writer, and most issues were drawn by Win Mortimer. Thomas and Salicrup remarked that the comic was subject to an exceptionally high level of editorial scrutiny, as staff from both Marvel Comics and the Children's Television Workshop reviewed the stories to ensure they were faithful to the Electric Company and Marvel Comics casts, featured age-appropriate content and reading level and gave significant roles to female characters. Spider-Man signature artist John Romita, Sr. was the Marvel editor of the book and drew some of the covers. During the early years, a comic book version of one of "The Electric Company" Spidey skits was included. A truncated version also appeared in "The Electric Company Magazine". In contrast to the live-action segments on "The Electric Company", Spidey often appeared out of costume as Peter Parker.
Every issue of "Spidey Super Stories" featured at least one story where Spidey would team up with an established Marvel Comics superhero and/or fight an established Marvel villain. This served to introduce other Marvel characters to new readers who were unfamiliar with the company's characters prior to seeing Spider-Man on "The Electric Company". Most of these stories would feature quick origins, usually taking up a single page or less, of both the featured hero and villain. Guest heroes included Iron Man, Captain America, Iceman, Doctor Strange, Spider-Woman, Nova, The Cat and Ms. Marvel. Guest villains included the Green Goblin, the Blizzard, Jack O'Lantern, and even Thanos.
Other stories in the issue would feature regular characters from "The Electric Company", such as Easy Reader and detective Fargo North, Decoder, with Spidey as a supporting character; conversely, "The Electric Company" characters would sometimes appear as supporting characters in the Spidey-centric stories. Supporting characters from other Spider-Man comics made regular appearances as well, such as Peter Parker's girlfriend, Mary Jane Watson, and the staff of Parker's workplace, the Daily Bugle, most notably publisher and editor J. Jonah Jameson.
Marvel parodied "Spidey Super Stories" in a humorous issue of "What If...?" For two pages, an alternate universe is shown where Marvel had instead teamed up with the National Endowment of the Arts to produce "Spidey Intellectual Stories", where Spider-Man defeats the Mad Thinker by debating philosophy. The Watcher notes that it "is for a [yawn] select audience, to be sure."
Record.
"Spidey Super Stories" also appeared as a special vinyl record in the 1970s licensed by Children's Television Workshop to Peter Pan Records. Included on the record are two stories from "The Electric Company": "Spidey Versus Mr. Measles" and "The Queen Bee." Other stories include Spidey versus an evil toy-wielding criminal called the Jester in "The Last Laugh," The Purple Pirates and Evil MacWeevil in "The Leader of the Pack" (which includes a cameo of Fargo North, Decoder), and Spidey's origin story. Three other stories feature Spidey with members of the Short Circus, and Pedro and his guard-plant Maurice fighting the Mole Man in "20,000 Feet Under the Ground"; and the group tackling more traditional Marvel Comics villains in "Deadly is the Doctor Called Doom" and "Spidey Versus the Sandman". Due to the lack of a visual presentation, Spidey/Peter Parker would speak with audibly, as voiced by Jim Boyd. However, the album's artwork featured the traditional Spidey-talking technique of having his words in word balloons. Elements such as Spidey's spider-sense and the spider-tracer are used in these stories as well.


Nitocris of Babylon

Nitocris of Babylon (c. 550 BC) is an otherwise unknown queen of Babylon described by Herodotus in his "Histories". According to Herodotus she was the wife of Nabonidus (Gr. "Labynetus") against whose son Cyrus the Great launched an expedition. Dougherty and Beaulieu identify the son as Belshazzar. If this is the case, she is most likely the queen in the story of Belshazzar's feast, and she is identified as such in Handel's oratorio "Belshazzar".
She is credited by Herodotus with various building projects in Babylon. She is also said to have tricked Darius I by placing her tomb above a gate so that no Persian could pass below and enter through. According to the account, Darius was lured in by a mysterious inscription that served as a trap for greedy kings.
In the past, various hypotheses have been proposed to link her with one or several known persons:


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

Afton, New York
"This is an incomplete list of New York State Historic Markers in Chenango County, New York. Afton, New York


Marion Leonard

Marion Leonard (June 9, 1881 – January 9, 1956) was an American stage actress who became one of the first motion picture celebrities in the early years of the silent film era.
Early career.
Born in Cincinnati, Ohio, Marion Leonard began working in live theatre until the age of twenty-seven when she was signed by American Mutoscope and Biograph Company. She made her screen debut in the short film "At the Crossroads of Life" (1908) directed by Wallace McCutcheon, Jr. (1884–1928) from a screenplay by D. W. Griffith, who also appeared as an actor in this film.
Within a year, she had leading roles, frequently directed by Griffith. At a time when screen credits were not given to actors, she and Florence Auer were the first star actresses to be billed by the studio as a "Biograph Girl". Of her films made at Biograph, thirty-two were with an up-and-coming young actress named Mary Pickford.
Marriage and switch to Universal Pictures.
While working for Biograph, Leonard met screenwriter/director Stanner E.V. Taylor and a personal relationship developed that led to marriage. The two would eventually leave Biograph to make films together for Universal Pictures and other studios and sometimes through their own production company.
In 1915, after appearing in more than one hundred and fifty films, Marion Leonard retired from film but did return eleven years later at age forty-five for one final appearance in a 1926 Mack Sennett comedy.
Marion Leonard died in 1956 at the Motion Picture & Television Country House and Hospital in Woodland Hills, California.


Ben Asher (surname)

Ben Asher is a Jewish surname meaning "son of Asher".


Corral de comedias

Corral de comedias, literally a "theatrical courtyard", is a type of open-air theatre specific to Spain. In Spanish all secular plays were called "comedias", which embraced three genres: tragedy, drama, and comedy itself. During the Spanish Golden Age, "corrals" became popular sites for theatrical presentations in the early 16th century when the theatre took on a special importance in the country. The performance was held in the afternoon and lasted two to three hours, there being no intermission, and few breaks. The entertainment was continuous, including complete shows with parts sung and danced. All spectators were placed according to their sex and social status.
History.
In modern times, the first buildings devoted to the theatre in Spain appeared in the 16th century. Representations of "comedias" were instead held in the courtyard of houses or inns where a stage with background scenery was improvised along one of the sides. The three remaining sides served as public galleries to the wealthy, with the remaining spectators watching the play from the open courtyard.
The courtyard structure was maintained in permanent theatres built for the purpose from the end of the sixteenth century, called "corrales de comedias," which used the open-air enclosed rectangular courtyard typical of a block of houses. Playwrights and dramatists such as Lope de Vega, Juan Pérez de Montalbán, Tirso de Molina, and Pedro Calderón de la Barca created works which were performed in "corrales de comedias."
The first permanent theater of this type, Corral de la Cruz, was constructed in Madrid in 1579. The number of theaters increased rapidly after 1600, responding to the public's enthusiasm for this new form of entertainment. The oldest surviving corral, albeit significantly altered, is the Corral de comedias de Alcalá de Henares. This "corral", formerly a courtyard theatre, has been roofed and used as a "teatro romántico" and a cinema, leading to major changes in the building's architecture.
The last known such courtyard theatre to be built in Spain, Corral de comedias de Almagro, in Almagro, Castile-La Mancha, is a purpose-built theater that dates to 1628. This only functioning courtyard theater still standing, once one among the many, annually celebrates the "Festival Internacional de Teatro Clásico" (International Classical Theatre Festival);
There are recently found remains of a corral in Torralba de Calatrava, which the municipality wished to rebuild in 2006.
Corrales in the Americas.
The theatre type specific to Spain, was extended to Mexico when a "corral de comedias" was built in Tecali de Herrera around 1540.
Parallels with the Elizabethan Theatre.
The "corrales" present some parallels to Elizabethan theatre where productions were held in galleried inns. The George Inn, Southwark is a partially surviving example of such a structure.
As well as similarities as regards the type of buildings used, there were similarities in the subject matter of the plays: Spanish literature was translated into English in Shakespeare´s time, and in 1613 his company mounted a lost play called "Cardenio" which appears to have been based on an episode in "Don Quixote".
Although Shakespeare was not translated into Spanish until the eighteenth century, his work has since been performed in the corrales; for example in 2016, which saw the quatercentenary of the deaths of Cervantes and Shakespeare, there were Shakespearean productions in Amalgro and Alcalá de Henares.
Architecture and fittings.
The stage was installed at one end of the court, against the back wall. In front of the stage was the outdoor patio at the end of which sat the so-called "musketeers." The balconies and windows of the adjoining houses formed the quarters reserved for men and women of nobility. In Madrid, above the "cazuela", were the quarters of the councilors and other authorities, such as the chairman of the Council of Castile.
On the upper floors were the "desvanes" (attics), very small quarters, among which stood the tertulia of the church and a second "cazuela." The stage and lateral galleries were protected by an overhang. An awning, hung from hooks, protected the men of the common public who sat in the patio from the sun, avoiding contrast between sunlit and shaded areas, such as was found on stage and in the courtyard. That probably also improved the acoustics of the venue, avoiding straining the voices of actors. This provision was similar to the Elizabethan theatres from the same period in England. In the earlier built corrals, there were no toilets: with the advent of "new enlightened governments" during the reign of Philip V, some "corrales" were closed due to hygiene issues, risk of fire or disorder. With the arrival of a bourgeois class who did not want to watch the plays in awkward spaces such as these, larger theatrical structures were constructed, which required confined spaces and specific acoustic treatment.
Performances.
During the Spanish Golden Age, any theatrical event was known as "comedia". The public came in masses for entertainments like this, whether comedy, drama or tragedy. The season of performances usually began on Easter Sunday, ending on Ash Wednesday. Smoking was forbidden because of the risk of fire, and from October to April the "comedia" began at two in the afternoon, in the spring at three and at four during summer, in order for all to finish before sunset. The performance's duration was approximately four to six hours, structured in six different rounds: the first act or "loa", the opening round, then an appetizer, the second round, the masquerade or "jácaras", a third round and the final act. Men and women could not sit together; men occupied the courtyard, side stands, the benches or the central stands, and the women watched the performance from their "cazuelas" above. The only place where they were allowed to be together was in the chamber corridors. Children were not allowed to attend. The audience paid fees at different points: at the entrance, then a tip to the "brotherhood" or beneficiary, and a third one for the privilege of a seat so they could watch the play comfortably. The theatrical company rarely received as much as 20% of the total. In university towns, it was forbidden to perform on weekdays, so the students would not be distracted. Two characters were instantly recognized in the "corrales": the "mozo", maintainer of order, equipped with a big garrote to calm the excited spectator, and the "spacer", that is, the one in charge of finding a suitable place for an individual in between two others. The first regulation on the operation of corrals was published by the Royal Council of Castile for the "corrales" of Madrid, later extended to the whole kingdom. Among its provisions, was the presence of a bailiff whose function was to ensure that no noise, tumults, or scandals ensued and that men and women were kept separated in their respective seating by the required entrances and exits.


Ethyle Batley

Ethyle Batley (born Alice Ethel Murray; 3 December 1876 – 23 April 1917) was a British film director, actress and screenwriter. She made nearly 70 films between 1912 and her early death in 1917.
Early life and career.
Batley was born in December 1876 in Wigan, northwest England, the second daughter of an iron merchant. In the late 1890s, she travelled to London to work as a theatre actress, performing under the name Ethyle Gordon Murray.
While working with a touring theatre company, Murray met Ernest Batley, an actor from East London. They were married on 22 June 1901 at a registry office ceremony in Wandsworth, and began their married life living in Battersea. In 1902, Ernest and Ethyle had their first child, actress Dorothy Audrey Batley, who was born on 18 January.
Film career.
Ethyle's first directing credit was in October 1912, with the film "Peggy Gets Rid of the Baby", which starred Dorothy in the lead role. During the First World War, Batley was one of the most active directors of patriotic films.
Legacy.
Batley's contribution to the early history of cinema in Britain has often been overlooked or understated. In 2009, film historian Gerry Turvey described her as a "unique figure" who "merits fuller recognition than she has so far received".


Galop Infernal


Spike Jonze videography


Kingdom of the Rhinns

Na Renna, or the Kingdom of the Rhinns, was a Norse-Gaelic lordship which appears in 11th century records. The Rhinns () was a province in Medieval Scotland, and comprised, along with Farines, the later Wigtownshire. The "Martyrology of Óengus" gives some idea of the kingdom's domain in the 11th century, as Dún Reichet (Dunragit) and Futerna (Whithorn) are said to lie in the kingdom, implying that it embraced the whole of later Wigtownshire.
List of known rulers.
Three rulers are explicitly stated in the sources to have ruled this kingdom:


Ballet de la Merlaison

The Ballet de la Merlaison is a ballet de cour first performed on 15 March 1635 at the Château de Chantilly, during the reign of Louis XIII. It is the most popular ballet performed during the reign of Louis XIII, which marked an important development of the ballet de cour.
Music.
The music of this "ballet à entrées" is considered to be written with the participation of Louis XIII. While some claim he had written only a few "airs", most experts consider the entire ballet to be written by Louis XIII. One thing we know for sure is that Louis XIII made up the story, the choreography and danced himself in the ballet. The music is very typical for the era of Louis XIII, yet it is very interesting for modern musicologists, since it is crucial for the understanding of development from Late Renaissance to Early and High Baroque music.


A Kind of Loving (film)

A Kind of Loving is a 1962 British kitchen sink drama film directed by John Schlesinger, based on the 1960 novel of the same name by Stan Barstow. It stars Alan Bates and June Ritchie as two lovers in early 1960s Lancashire. The photography was by Denys Coop, and the music by Ron Grainer. Filming locations included the towns of Preston, Blackburn, Bolton, Salford, Manchester, Radcliffe and St Anne's-on-Sea in the northwest of England.
The film belongs to the British New Wave movement in film, and the related genre commonly known as "kitchen sink drama". The novel was later adapted into the 1982 television series "A Kind of Loving".
Plot summary.
Victor 'Vic' Brown (Bates) is a draughtsman in a Manchester factory who sleeps with a typist called Ingrid Rothwell (Ritchie) who also works there. She falls for him but he is less enamoured of her. When he learns he has made her pregnant Vic proposes marriage and the couple move in with Ingrid's protective, domineering mother, Mrs Rothwell (Thora Hird), who disapproves of the match. Ingrid has a miscarriage, Vic has regrets and comes home drunk. The couple then consider the possibility of making do with 'a kind of loving'.
Reception.
It was the sixth most popular film at the British box office in 1962.
Awards.
The film won the Golden Bear award at the 12th Berlin International Film Festival in 1962.


2005 Indonesian embassy bioterrorism hoax

The 2005 Indonesian embassy bioterrorism hoax occurred when Indonesian ambassador to Australia Imron Cotan received a suspect letter addressed to him at the Indonesian Embassy in Canberra, Australia, on 1 June 2005. The suspect letter later turned out to be harmless.
Events.
The letter was opened by his personal assistant and contained white bacterial powder and a threatening message. Prime Minister John Howard made an apology to Indonesia after the incident, describing the incident as "a reckless act of indifference to human life".
The identity of the powder and whether it posed any health risk was initially unclear; initial testing of the powder detected traces of a "biological agent", but it was later found to be nontoxic. Approximately 50 staff members were quarantined for 12 hours. The embassy remained closed for several days following the incident.
The act is suspected to be related to the Schapelle Corby trial held at the time in Bali, Indonesia. Other Indonesian Diplomatic missions around Australia have reported receiving threatening emails and letters since the trial began. A bullet was sent in an envelope to the Indonesia consulate in Perth.
On 3 June 2005 a section of Parliament House was sealed off when the discovery of a suspicious package delivered to Foreign Minister Alexander Downer was discovered in the car park. The suspect package was taken away for analysis and no evacuations occurred. The analysis has since shown the contents to be harmless but forensic tests are continuing to establish if there are any links between this package and the earlier one sent to the Indonesian embassy.
Various news reports, including those from SBS have reported that the enclosed letter was written in Indonesian, with a high degree of competence. However, this has been contradicted in other reports, see links below.


Dino Armas

Matías "Dino" Armas Lago (born 20 November 1941) is a Uruguayan theater director and writer.
Biography.
Matías Armas was born in the Montevidean neighborhood of Villa del Cerro, where he lived until he was 20 years old. His parents were Matías Armas, a port worker of socialist extraction, and Nicanda Lago Méndez, a housewife. He owes the pseudonym "Dino" to his father, who started calling him that after the first name of an Italian footballer.
The neighborhood, the early years of his life, and his family have important presence in his written work. It was during his adolescence that he first approached a theater group that worked at the Rampla Juniors Fútbol Club in his neighborhood.
He studied teaching and worked for 30 years as a teacher of primary education, until he retired with the position of school director.
In 1965 his first work, "En otro y último ardiente verano", won one of the first three prizes in a theater contest organized by the El Tinglado Theater.
He is one of the most prolific Uruguayan playwrights, and his works have been staged in Latin America, the United States, and Europe. The 2009 film "El novio de la muerta" is based on two of his plays: "Sus ojos se cerraron" (1992) and "Mujeres solas".
Armas has produced and directed adaptations of texts by authors such as Prosper Mérimée, Saint-Exupéry, and Henry Miller. He is the author of more than 60 plays. In addition to directing them in person, they have also been directed by Elena Zuasti, , Omar Varela, Carlos Aguilera, Gloria Levy, Lucila Irazábal, Lucía Sommer, Antoine Baldomir, Marcelino Duffau, and others.
He has won numerous prizes, such as the 1993 for best national author text for "Se ruega no enviar coronas", the 2006 Silver for career achievement, first prize in the unpublished theater-drama category of the Ministry of Education and Culture's 2011 Annual Literature Prizes for "Ave Mater", the 2015 Florencio for 50-year career and in the comedy category for "Sus ojos se cerraron", and the 2015 from the Uruguayan branch of B'nai B'rith. He has also received awards for plays for children.


Ari (name)

Ari is a given name in many languages and cultures, for both men and women. It also may be a nickname for a wide variety of unrelated names.
Etymology.
Albanian.
In Albanian Language Ari is a male name meaning gold. Ari is also used as measuring unit for land, where 100 Ar = 1 hectare.
Badaga.
Ari in the Badaga language, "Ari" ("A:ri") has a literal meaning of "sun-like" and is used as a male name, sometimes changed to "Harry" in the case of converts to Christianity.
Finnic languages.
Ari is thought to be a Finnic form of Adrian.
Greek.
Ari or Aris is a common shortened version of the Greek names Aristotle, Ariadne, Ariana, Arietta, Aristides, Aristarchus, Aristomenes, Aristobulos, Aristoxenos, Aristos, Aristophanes, Aristea, Aristotelis, and others, the majority of which are compounds of the adjectival superlative "áristos", "best" or "superior". They are also modern Greek transliterations for Ares, the god of war and the name for the planet Mars. The archaic Greek prefix "ari-" (e.g. in "Ariadne", "Arimnestus" etc.) or "eri-", a cognate of "áristos", means "very" or "verily".
Hebrew.
Ari is a common masculine given name in Hebrew (אריה/ארי). It means lion.
Scandinavian.
Ari is a given name in Old Norse, Icelandic, Faroese, Danish, Norwegian and Swedish and means eagle or is the pet form of the names starting with "Arn-" or Old Norse "ari" "eagle".


The Chorus Lady

The Chorus Lady is a 1915 American comedy silent film directed by Frank Reicher. The screenplay was by Marion Fairfax and James Forbes. The film stars Cleo Ridgely, Marjorie Daw, Wallace Reid, Richard Grey and Mrs. Lewis McCord.
It is based on a book and play of the same name, written in 1906 by James Forbes, written in 1906 for Rose Stahl.
The film was released on October 18, 1915, by Paramount Pictures. It was remade in 1924 by Ralph Ince.
Plot.
Patricia O'Brian is engaged to Danny Mallory, a detective whose ambition is to own a farm and leave the Broadway life for the countryside. Patricia, on the other hand, is a chorus girl and, knowing the theater environment, tries to keep Nora, her younger sister, away from her. The girl, with a head full of crickets for the celebrity world, attracts the attention of Dicky Crawford, a patron of the womanizing arts who gets her a part in a show. Nora falls in love and Patricia tries to distract Crawford's interest from her sister by flirting with him. During the dress rehearsal, Patricia is chosen to replace the first sick actress. But, while in the dressing room, he sees a note that Nora is preparing to go to Crawford's apartment. Half dressed, he rushes to stop her, leaving the theater as he is, throwing on only a coat over the petticoat. At Crawford's house, the man tells her he is only interested in her. The two, however, are surprised by Danny who, working as an investigator for Crawford's wife, is looking for evidence to nail the man so that his wife can get a divorce. Having found his girlfriend wearing only underwear under her coat, Danny doesn't want to hear Patricia's protests of innocence. Only later, when Pat is about to be evicted, do the two manage to talk and clarify. Reconciled, they marry, moving to the countryside with Nora and her new boyfriend, a young stage assistant in love with her.


Bevis Marks Synagogue

Bevis Marks Synagogue, officially Qahal Kadosh Sha'ar ha-Shamayim (, "Holy Congregation Gate of Heaven"), is the oldest synagogue in the United Kingdom in continuous use. It is located off Bevis Marks, Aldgate, in the City of London.
The synagogue was built in 1701 and is affiliated to London's historic Spanish and Portuguese Jewish community. It is a Grade I listed building. It is the only synagogue in Europe which has held regular services continuously for more than 300 years.
History.
Construction.
Services at a small synagogue in Creechurch Lane date to at least October 1663, when it was visited on the festival of Simchat Torah by the diarist Samuel Pepys, who recorded his impressions of the service. In 1698 Rabbi David Nieto took spiritual charge of the congregation of "Spanish and Portuguese Jews" (Sephardim).
A considerable influx of Jews made it necessary to obtain more commodious quarters. Accordingly, a committee was appointed, consisting of António Gomes Serra, Menasseh Mendes, Alfonso Rodrigues, Manuel Nunez Miranda, Andrea Lopez, and Pontaleão Rodriguez. It investigated matters for nearly a year and, on 12 February 1699, signed a contract with Joseph Avis, a Quaker, for the construction of a building to cost £2,650. According to legend, Avis declined to collect his full fee, on the ground that it was wrong to profit from building a house of God. Also unsubstantiated is the story that a timber was donated by the then Princess Anne for the roof of the synagogue. On 24 June 1699, the committee leased from Sir Thomas and Lady Pointz (also known as Littleton) a tract of land at Plough Yard, in Bevis Marks, for 61 years, with the option of renewal for a further 38 years, at £120 a year.
The structure was completed and dedicated in September 1701. The interior decor and furnishing and layout of the synagogue reflect the influence of the great Portuguese Synagogue of Amsterdam of 1675. The roof was destroyed by fire in 1738 and repaired in 1749. During the London Blitz the synagogue's silver, records and fittings were removed to a place of safety; the synagogue suffered only minor damage. The synagogue suffered some collateral damage from the IRA in 1992 and the 1993 Bishopsgate bombing, but this was restored. The essential original structure of the building thus remains today.
In 1747 Benjamin Mendes da Costa bought the lease of the ground on which the building stood, and presented it to the congregation, vesting the deeds in the names of a committee consisting of Gabriel Lopez de Britto, David Aboab Ozorio, Moses Gomes Serra, David Franco, Joseph Jessurun Rodriguez, and Moses Mendes da Costa.
Influence.
For Sephardic Jews, the Bevis Marks Synagogue was a religious centre of the Anglo-Jewish world for more than a century, and served as a clearing-house for congregational and individual Jewish problems all over the world. These included the appeal of Jews in Jamaica for a reduction in taxation (1736), the internecine quarrel among Jews in Barbados (1753), and the aiding of seven-year-old Moses de Paz, who escaped from Gibraltar in 1777 to avoid a forced conversion to Christianity. The congregation came to the aid of the Jewish community in Ireland by donating funds to build a wall around the Ballybough Cemetery and providing an agent to oversee the works. The deeds for the cemetery were then lodged at Bevis Marks Synagogue. Through the actions of the leading synagogue member Moses Montefiore the synagogue was also involved in the 19th century in the Damascus Affair and the Mortara Affair, two events provoking much international discussion of Jewish rights and reputation. It was part of the inspiration for Jacob Sassoon's Ohel Rachel Synagogue in Shanghai, the largest synagogue in the Far East.
Amongst the Chief Rabbis of the Anglo-Sephardic Community (Hahamim) who have served at Bevis Marks have been Daniel Nieto (1654–1728) and Moses Gaster (1856–1939). Amongst other notable members of the synagogue's congregation have been the boxer Daniel Mendoza, and Isaac D'Israeli (father of Benjamin Disraeli), who resigned from the congregation after an argument over synagogue fees.
Expansion of the community.
As the Spanish and Portuguese Jewish community grew and moved out of the City and East End of London to the West End and the suburbs, members demanded a new synagogue to be built in the West End. When the leadership refused this, some members formed a breakaway synagogue in Burton Street, which later became the West London Synagogue. In 1853 a branch synagogue was opened in Wigmore Street; in 1866 this moved to Bryanston Street, Bayswater. Attendance at Bevis Marks declined so much that in 1886 a move to sell the site was contemplated; a "Bevis Marks Anti-Demolition League" was founded, under the auspices of H. Guedalla and A. H. Newman, and the proposed move was abandoned.
In 1896 a new synagogue was built at Lauderdale Road, Maida Vale, as successor to the Bryanston Street synagogue.
Events in the twentieth century.
On 10 April 1992, the synagogue was affected by an IRA terrorist attack on the Baltic Exchange. The bomb was contained in a large white truck and consisted of a fertiliser device wrapped with a detonation cord made from Semtex. The Chairman of Buildings for the Spanish & Portuguese Congregation, donning a hard hat and escorted by police, was one of the first people to enter the cordoned area of streets to examine the damage to the synagogue. He, with the agreement of the insurance company, put in place a programme of repair which lasted fifteen weeks, but enabled the building to be restored before his daughter's wedding.
The following year the synagogue was also affected by an attack on Bishopsgate. Nearly £200,000 was raised by donation to help with the renovations to return it to its former glory.
In June 2019, it was awarded £2.7m by the National Lottery for conservation work and to cover half the costs of building a new religious and cultural centre.
Features.
A prominent feature of the synagogue is the Renaissance-style ark (containing the Torah scrolls) located at the centre of the Eastern wall of the building. It resembles in design the "reredos" of the churches of the same period. Painted to look as though it is made of coloured Italian marble, it is in fact made entirely of oak.
Seven hanging brass candelabra symbolise the seven days of the week, the largest of which – hanging in the centre of the synagogue – represents the Sabbath. This central candelabrum was donated by the community of the Great Synagogue of Amsterdam. The candles are still lit today for weddings and the Jewish Festivals. The rest of the year the Synagogue is lit by the electric lights added in 1928. The ner tamid (sanctuary lamp) is of silver and dates from 1876.
Twelve pillars, symbolising the twelve tribes of Israel, support the women's gallery.
The synagogue contains benches running parallel to the side walls and facing inward, leaving two aisles for the procession with the Torah scrolls. In addition, backless benches at the rear of the synagogue, taken from the original synagogue at Creechurch Lane, date from 1657 and are still regularly used.
A number of seats in the synagogue are roped off as they belong or have belonged to notable people within the community. Two seats were reserved for the most senior officials of the congregation's publishing arm, "Heshaim". A third seat, fitted with a footstool, (the seat nearest the Ark on the central row of the left half of the benches) is also withheld as it belonged to Moses Montefiore. It is now only ever occupied by very senior dignitaries as a particular honour. In 2001 Prince Charles used the seat during the synagogue's tercentenary service. Prime Minister Tony Blair used it for the service celebrating the 350th anniversary of the re-settlement of the Jews in Great Britain in 2006, when the Chief Rabbi of the United Synagogue Sir Jonathan Sacks and the Lord Mayor of London were also present.
The synagogue retains notable historical records, including community circumcision and marriage records dating back to 1679.
The modern synagogue.
On Friday 13 November 1998, Peter, Lord Levene of Portsoken became the eighth Jewish Lord Mayor of London. An Ashkenazi Jew by birth, Lord Levene's first public act was to walk, with a retinue, from his official residence (Mansion House) to Bevis Marks Synagogue, for the Sabbath Eve service. This was repeated on Friday 12 November 2010 by the then Lord Mayor Michael Bear.
Today the Spanish and Portuguese descendant community in London operates three synagogues: Bevis Marks; Lauderdale Road (which is the community's administrative headquarters); and a smaller synagogue in Wembley. The community's sheltered housing scheme "Harris Court" and old-age home "Edinburgh House" are also located in Wembley. A number of other Sephardic synagogues in Britain have associated status. Bevis Marks Synagogue remains the flagship synagogue of the British Sephardic Jewish community. Daily services are held and the synagogue is frequently a venue for weddings and other celebrations.
As of 2020 the rabbi of Bevis Marks is Shalom Morris, an American of Ashkenazi descent. He is a great grandson of Rabbi Eliezer Silver.


Gille Aldan

Gille (or Gilla) Aldan (Gaelic: "Servant of Saint Aldwin[e]"), of Whithorn, was a native Galwegian who was the first Bishop of the resurrected Bishopric of Whithorn or Galloway. He was the first to be consecrated by the Archbishop of York, who at that time was Thurstan. The re-creation of the Bishopric suited both the ruler of Galloway, Fergus, and the Archbishop, who had few suffragans and needed more in order to maintain his independence from Canterbury.
We have the record of a mandate by Pope Honorius II, dating to December in 1128, confirming that Gille Aldan should seek consecration from Thurstan. Richard Oram argues that the creation of the Bishopric of Whithorn probably encouraged the wrath and enmity of Bishop Wimund of the Isles, who seems to have regarded the area as his natural area of authority. William of Newburgh records that Wimund made an attack on another Bishop in order to extort tribute. If Oram is correct, and his victim was in fact Gilla Aldan, then this attack would make perfect sense, as Wimund's See was the obvious loser out of the deal done between Fergus and York.
Gilla Aldan's name is recorded for the last time in 1151, when he was told by Pope Eugene III to give homage to the new Archbishop of York, Henry Murdac. We know that Gille Aldan was dead by 1154, because in that year his successor Christian was consecrated.


Mycenaean cemetery of Voudeni

The Mycenaean cemetery of Voudeni () along with the Mycenaean settlement at the locality of Bortzi, comprise the Patras Mycenaean Park (Μυκηναϊκό Πάρκο Πατρών), located near the settlement of Voudeni (also known as Skioessa) of the Municipality of Patras in Western Greece. The archaeological site of a total area of 180 acres is located at an altitude of 220 meters, 7 kilometers northeast of Patras, has been transformed into a recreational park. It includes 78 carved tombs and the ruins of a prehistoric settlement, possibly identified with that of ancient Mesatis. First archaeological excavations began in 1923 by Nikolaos Kyparissis. Many of the findings such as vases, clay statuettes, bronze artifacts, tools, weapons and jewellery have been transported and exhibited at the nearby Archaeological Museum of Patras.
Settlement.
The prehistoric settlement of Voudeni, lasting approximately five hundred years (1500–1050 BC), was one of the most prominent regional sites of the periphery of the Mycenaean world. Due to the natural fortification and hiding provided by the Bortzi hill at the foot of Mt. Panachaiko, the settlement was the center of a wider set of smaller settlements developed in the surrounding lowland areas. Geographical position played an important role in the establishment and development of the settlement, as it provided observation of the sea as well as an easy escape route to the mountains in case of an emergency or danger. A natural harbor located at the present day marsh of Agyia, provided access to the sea, allowing control of the entire gulf of Patras. Also, the rich and fertile stretches of land could provide sufficient agricultural and livestock products for the self-sufficiency of the community. The existence of a soft soil allowed the creation of a cemetery southeast of the settlement on the hillside (Amygdalia position), to the west of the present day settlement of Voudeni.
Cemetery.
West of the present day settlement of Voudeni and southeast of the prehistoric settlement, at Amygdalia position, excavations firstly led by archaeologists Nikolaos Kyparissis and later on by Lazaros Kolonas, revealed a Mycenaean cemetery. On an total area of 18 acres, 78 chamber tombs of various shapes and sizes were discovered, with a recent research suggesting a dozen more possible tombs. Most of the explored graves were carved in circular, square, horseshoe or quadrilateral form with a dome, of varying dimensions often housing multiple burials. Some of the largest tombs are number 4 and 75, which are presumed to belong to officials or community lords due to their large size. All of the tombs revealed objects of everyday life, such as vases, jewellery, tools, weapons and utensils, that prove the prosperity and commercial relations of the locals. Most of the objects were transferred to warehouses and the most important finds are exhibited at the nearby newly found archaeological museum of Patras.