Developmentally Appropriate Musical Practice

Developmentally Appropriate Musical Practice (DAMP) is a series of musical experiences that early childhood educators can promote to young children (birth through Age 8) during the traditional school day. These experiences are grounded in a plethora of research studies both in the field of music education and early childhood education. Essentially, DAMP provides young children with optimal learning experiences in which have a profound influence on young children’s social, emotional, physical, and intellectual development.

History of Developmentally Appropriate Musical Practice
Developmentally Appropriate Musical Practice (DAMP) was coined in 2011 by music education researcher Dr. Guerino Terracciano while conducting a study for the effect of a hands-on music education in-service program on early childhood educators’ attitude, knowledge, and self-efficacy for providing DAMP in the learning environment with young children.  Terracciano states the following:
Several studies have investigated the effect of music education on the early childhood educators’ capacity for promoting Developmentally Appropriate Musical Practice (DAMP) in the learning environment with young children (de l’Etoile; Nicholas; Rogers, Hallam, Creech, & Preti; Saunders & Baker ).  For example, these studies show that when providing educators with quality musical resources, they are able to gain the confidence and the knowledge to successfully promote musical experiences during the traditional school day.  On the other hand, these studies also suggest that music education has an effect on the young child’s social, emotional, physical, and intellectual development.  Music education in relationship to cognitive development has been acknowledged throughout history (Dewey; Gardner; Collins, Griess, Carither, & Castillo ).  For example, in the areas of language and literacy development young children have the propensity to learn their everyday spoken language by acquiring the vocabulary words through active engagement during music activities (Moomaw & Davis ). (p. 1)

Types of Developmentally Appropriate Musical Practice (DAMP)

Music and movement

According to the book titled Smart Moves, learning is not all in our head. Hannaford stated that the more young children move the better they will learn. As a result, movement stimulates neurological development, which explains the potential it has on the learning process. Consequently, Gordon suggests that promoting movement while learning has the potential to expand the child’s nerve network wiring system, therefore facilitating understanding of the element of rhythm.  Gordon’s empirical research goes on to explain that young children construct musical understanding through movement.  Gordon looked at movement as an important learning process that the body must undergo in order for the learner to gain a comprehensive understanding of various elements of music, such as rhythm and melody.

The child’s singing voice and musical instruments

Giving students the autonomy to pursue music has shown positive results in students acquiring an interest of the subject. For example, Kemple, Batey, and Hartle suggest that exploration and play become vehicles for musical growth. When young children are given access to play a simple instrument, they unintentionally ‘construct’  specific knowledge and information that relates to an area of interest. Fundamentally, through autonomous engagement young children develop intuitively an interest that the classroom teacher is not able to foster through direct instructional methods.

Identifying sounds

Children’s musical interest may vary from exploring a specific instrument to listening to a type of musical literature that the child finds interesting because of his or her cultural background.  In other words, early childhood musical interest lies with the involvement that the child is actively engaged in the learning milieu.  Morin’s  article suggests that in order for students to develop a personal interest during the exploration of music, they need opportunities and experiences that have been aligned by the educator as developmentally appropriate. In essence, Morin communicates about the importance of giving young children ample opportunities to explore, manipulate, and play in the classroom.

Emergent literacy skills and musical concepts and methods

Historically, music education has been deemed an important subject in the lives of young children during their daily learning experiences (Monroe; Rousseau; McDonald; Brosterman ). Since 1838, The Boston School Committee in the United States adopted music as a branch of instruction in their public school system for the purpose of positively affecting students’ academic potential (Abeles, Hoffer, & Klotman ). During this period, music was given importance, based on the assumption that it could humanize, refine, and elevate our elementary learning communities through listening and singing (Greata). Subsequently, one of the first decisions for music instruction was related to its capacity and potential in fostering intellectual growth (Dewey; Seefeldt ).

References

External links
 The National Association for the Education of Young Children (NAEYC)
 Music Education for Young Children (MEfYC)
 National Association for Music Education (NAfME)

Category:Early childhood education


Paul Holden

Paul Holden may refer to:

Sportspeople
Paul Holden (ice hockey) in 1988–89 Los Angeles Kings season
Paul Holden (hurler) in Kilkenny Minor Hurling Team 2010

Others
Sir Paul Holden, 7th Baronet (born 1923) of the Holden baronets
Paul Holden (judge) in United States Court of Military Commission Review
Paul Holden (musician) from Southend (band)
Paul Eugene Holden (1893-1976), American Professor of Industrial Management at the Stanford
P.J. Holden, comic artist


B. R. Deodhar

Professor B. R. Deodhar (11 September 1901 – 10 March 1990) was an Indian classical singer, musicologist and music educator. He was a vocalist of Khayal-genre of Hindustani classical music.

He was awarded the 1964 Sangeet Natak Akademi Fellowship, the highest honour conferred by Sangeet Natak Akademi, India's National Academy for Music, Dance and Drama. Thereafter in 1976, he was awarded the Padma Shri, by Government of India.

Early life and training
Deodhar was born in Miraj in present Sangli district of Maharashtra on 11 September 1901. He started his musical training with Nilkanth Buwa Alurmath, the guru bhai of noted singer and educator Vishnu Digambar Paluskar (1872–1931), and a disciple of Balakrishnabuwa Ichalkaranjikar of Gwalior gharana. Thereafter, he also received training under Abdul Karim Khan of Kirana gharana and Vinayakrao Patwardhan, another disciple of Paluskar. Later he joined the Gandharva Mahavidyalaya, where he became a leading disciple of Vishnu Digambar Paluskar, the founder of institution. Deodhar was the only student of Paluskar who was allowed to also pursue formal education. Thus after matriculation he also pursued higher education and later received a B.A. degree. He also studied Western classical music.

In the coming years, he continued his musical education from leading musicians of various traditions including those from Agra gharana, Mohanrao Pakelar from Jaipur Gharana, sarangi-player Majeed Khan, Inayat Khan, Ganpatrao Dewaskar, Pt. Sadashivbuwa Jadhav of Gokhale gharana, Shinde Khan of Gwalior gharana, binkaar Murad Khan of Indore gharana,  and most importantly, Bade Ghulam Ali Khan of Patiala gharana, with whom he remained associated for many years, and became an important musical influence on his gayaki, singing style. Thus, he incorporate styles of several traditions, gharanas into his singing, and this also paved way for his career as a musicologist. In time, he also collected musical compositions, rare ragas from all the traditions he was associated with, through his career.

Career
He established the Deodhar School of Music in Mumbai, breaking from the gharana tradition.

He also edited Hindi music monthly magazine, Sangeet Kala Vihar, and also published several books on music and musicians.

In 1964, he was awarded the Sangeet Natak Akademi Fellowship the highest honour conferred by Sangeet Natak Akademi, India's National Academy for Music, Dance and Drama. This was followed by Padma Shri, by Government of India in 1976.

Amongst his noted disciples, were singer Kumar Gandharva, Saraswati Rane, and Laxmi Ganesh Tewari. In 1993, his monthly columns, in Sangeet Kala Vihar, which included biographies of 19th-century Indian musicians, were published as book, Pillars of Hindustani music.

He died on 10 March 1990 in Mumbai.

Works

References

Bibliography

Category:1901 births
Category:1990 deaths
Category:People from Miraj
Category:Hindustani singers
Category:Indian musicologists
Category:Indian magazine editors
Category:Recipients of the Sangeet Natak Akademi Fellowship
Category:Recipients of the Padma Shri in science & engineering
Category:Indian music educators
Category:20th-century Indian singers
Category:Singers from Maharashtra
Category:Indian male classical singers
Category:20th-century Indian educational theorists
Category:20th-century musicologists
Category:20th-century male singers


Banner of Truth Trust

The Banner of Truth Trust is an evangelical and Reformed Christian non-profit publishing house, structured as a charitable trust and founded in London in 1957 by Iain Murray, Sidney Norton and Jack Cullum. Its offices are now in Edinburgh, Scotland with a key branch office and distribution point in Carlisle, Pennsylvania. It positions itself within the conservative evangelical wing of the church, and has been described as "an extremely powerful organization within British nonconformist evangelicalism."

The trust publishes a monthly magazine called The Banner of Truth () which normally appears eleven times per year, with there being a single issue for August and September. The magazine first appeared in September 1955 and as of December 2010 had reached issue number 566.

The Banner of Truth Trust also holds conferences in three countries: UK (annual youth conference and annual ministers' conference), United States (annual conference), and Australia (every two years).

The trust has been connected with the revival of interest in evangelical Calvinism in 20th century England. It has promoted Puritan theology and helped resurrect the ideas of Jonathan Edwards. Alister McGrath refers to the "revival in Puritan spirituality that had been borne aloft on the wings of Banner of Truth's inexpensive paperbacks."

References

External links
"The Story of The Banner of Truth" by Iain H. Murray
The Finder of Reformed Christian Sources – magazine & conferences index, compiled by Michael Keen

Category:Christian publishing companies
Category:Non-profit publishers
Category:Book publishing companies of Scotland
Category:Publishing companies established in 1957
Category:Non-profit organisations based in Scotland


GlowTag

GlowTag is an upcoming  PlayStation Move video game developed by Greenfly Studios for Microsoft Windows, OS X, PlayStation 3 and PlayStation 4.

References

External links

Category:MacOS games
Category:PlayStation 3 games
Category:PlayStation 4 games
Category:PlayStation Move-compatible games
Category:Shooter video games
Category:Upcoming video games
Category:Windows games


Miriam Cabessa

Miriam Cabessa (Born – 1966) is an Israeli-American painter, performance and installation artist. Cabessa was born in Morocco, raised in Israel, and has lived and worked in New York City since 2000. Her slow action painting has been internationally recognized since 1997 when she represented Israel at the Venice Biennale. Over the past two decades, she has abstained from using brushes, opting to make marks with objects and her body. Her imagery ranges from organic to mechanistic with surfaces that are both haptically handmade and digitally serene. Cabessa has shown extensively in the U.S., Europe, and Israel.

Biography

Miriam Cabessa was born in 1966 in Casablanca, Morocco. In 1969 she immigrated to Israel together with her family and settled in the city of Tiberias. At the age of thirteen, she moved to Kibbutz Sha'ar Hagolan in the Jordan Valley. She grew up in an artistic home: her father was a jazz trumpeter and her mother ran the “Maskit” shop of Tiberias (a state-owned company promoting locally produced fashion and crafts) and founded a sewing school named after her, the “Helen” School. Cabessa started following private drawing lessons at the age of six and later studied painting at Tel Hai College. She also trained horses at the farm of  Kibbutz Sha'ar Hagolan. At seventeen she qualified for a brown belt in karate and worked as a karate coach at Kibbutz Afikim. She was also one of the first windsurfers to windsurf on the Sea of Galilee. She served in the Israeli army in the mid-1980s and moved to Tel Aviv after completing her military service.

In the year 1988, Cabessa studied at the late Kalisher painting school, after which she studied privately with the artist Tamara Rickman for three years. Cabessa went on to study Fine Art at the Midrasha Art School from 1991 to 1993, and Theory and Criticism at Camera Obscura in 1997. Soon after completing her degree at the Midrasha, she was invited to participate in a group exhibition at the Tel Aviv Art Museum curated by Ellen Ginton. She gained public attention in 1993 with her first solo exhibition at Dvir Gallery, where she presented a series of paintings on masonite that laid the foundations for her artistic identity: using houseware items such as mops, garbage cans, plates and drinking glasses, Cabessa devised a unique and innovative technique to create painterly representations of three-dimensional pipes. Although seemingly complex and computer-generated, the works were all handmade by the artist. The gap between these images and their production process aroused much skepticism and wonder. The exhibition's works thrived on the Israeli art market and positioned Cabessa as a promising young artist. In 1995 she became the first winner of the Gottesdiener Prize, sponsored by the Tel Aviv Art Museum and considered as one of the most prestigious prizes for Israeli artists. At the Gottesdiener Prize exhibition she presented paintings on masonite and graphite works on paper. The show was accompanied by a catalog.

In 1997 Cabessa was chosen by Sarah Breitberg-Semel to represent Israel at the Israeli pavilion of the Venice Biennale, together with Israeli artists Sigalit Landau and Yossi Berger. Cabessa exhibited a series of paintings which notably refined and consolidated the artist's pictural language: the presented black-and-white oil paintings on masonite of abstract swirls and stripes confirmed the artist's high degree of artistic precision, virtuosity and control. Whereas her show at Dvir Gallery had demonstrated her immense capacity for imagination, the Biennale exhibition established her abilities for restraint and self-discipline. One of the works in the series is a “30-second painting”, titled after the duration for which Cabessa imprinted her touch on the painting. Plastik Magazine published a reproduction of this work along with an interview of the artist by Reilly Azoulay. The use of performative constraints and self-instructions allows Cabessa to reformulate the painterly act as both process-based and conceptually driven. The “30-second” constraint is borrowed from the military realm; yet the additional instruction to touch the painting's surface with eyes closed serves to turn a masculine principle into a feminine, intimate and sensual act. This will later lead Cabessa to create public painting performances, exposing to the audience the intimacy of her painting process.

In 1998, Cabessa presented “Mummies”, a series of powerful works produced with a cold and hot iron. This series mimics the act of ironing in a seemingly desperate attempt to flatten out the surface of the painting, bringing to mind both modernism and the tradition of flat painting. Cabessa's choice of painting tools is part of a conscious attempt to turn domestic appliances into feminist instruments: she disconnects houseware items from their original function and redefines their purpose within a new and elevated context. Cabessa has thus transformed garbage cans, rags and squeegees into painting tools. In doing so, she is to be associated with feminist artists from the 1980s such as Barbara Krueger, Cindy Sherman and Sherry Levine, who rather than striving to master the act of painting itself have aimed to question how women could enter the male-dominated world of painting. Hence the act of ironing touches upon both personal memories - the smell of ironing in Cabessa's childhood home - and a much wider feminist aspiration: to break through social and gender limitations.

Before her departure to New York, Cabessa exhibited at Dvir Gallery a painting series of imaginary urban landscapes of New York City. She moved to Manhattan in October 1999 and joined the ISCP studio residency program a year later. In 2001 she started working with Stefan Stux Gallery, leading her work to gain a wider exposure on the New York art scene. In 2002, she participated in a group exhibition curated by John Yao at the Maryland Institute College of Art. This led Yao and Cabessa to initiate a close dialogue on Cabessa's work; its mode of action, its pictorial language and its bodily presence. Yao uncovered the femininity in Cabessa's work and the ingenuity with which it evades masculine motion; some aspects of the artist's practice which only grew stronger and sharper over the years. Cabessa began to think of her work in terms of language: she wanted to formulate a unique language of painting movements by tapping into a much wider context. At this stage, personal and spiritual investigations had become more prevalent in her life and work. She became associated with various spiritual groups operating in New York and beyond ("Circle Paintings", a solo exhibition at Alon Segev Gallery in Tel Aviv, 2003). Her work became particularly influenced by Sufi whirling: the loss of orientation and sense of ecstasy that this practice generates allows for a change in consciousness which guided the artist in her painting. Cabessa would walk around the canvas for long hours, retracing a neverending circular motion.

In 2004, Cabessa's painting process was filmed for the first time in a series of five video works, each lasting a few minutes, documenting her painting action from start to finish.

Between 2005 and 2009, Cabessa participated in group exhibitions in the United States and in Europe. In 2008, she exhibited at Slate Gallery a series of 30 paintings entitled "79" and entirely made with oil and gold dust. 79 is the atomic number of the chemical element of gold which pigment Cabessa used in her paintings.

In 2009 she performed for the first time in front of an audience. In a performance called "Slow motion action painting," she painted on a 15-meter-long canvas using a keffiyeh and a tallit (Jewish prayer shawl). The performance was supported by Artis and presented at Pulse Art Fair on its opening day for 12 consecutive hours. In choosing a keffiyeh and a tallit as painting tools, Cabessa neutralized the highly symbolic charge of those traditional garments while simultaneously uniting them into a harmonious form through the act of painting. They give in to each other and follow each other's motion, in a dialogue that is both formal and conceptual.

In 2010, following a deepened spiritual process, Cabessa exhibited a series of works described as “slow-motion action painting” in which she examined the movement generated by meditative and conscious breathing. The resulting paintings present themselves as breathing traces, or seismographs of the body's vibrations. These works have been shown on a number of platforms throughout the world.

In 2012, after eight years during which she was unable to leave the United States (from 2003 to 2012), Cabassa held a performance at Rothschild 69 Gallery in Tel Aviv, for which she invited about 100 guests. “Performance” had two stages: in the first stage, Cabessa reenacted painting actions from her past works, engaging in a kind of live retrospective. In the second stage, she crawled from one side of the five meter-long surface to the other. The crawling action, a unit of time in itself, served to redefine and delineate time.
In the same year Cabessa exhibited a series of Circle paintings at the Nye+Brown Gallery in Los Angeles, which specializes in artists from the 1960s. Their interest in Cabessa's work lied in the Pop-Art quality proper to this series of painting.

In 2014, Cabessa presented a solo exhibition at Julie M. Gallery in Tel Aviv. She painted on 50cm wide stickers that ran along all the gallery walls (42 meters), totalling 100 meters of painting. This work was produced in her studio over the length of several months as a stream of consciousness or intuitive writing. The final painting was thus presented just as it was made, without any painting rehearsal or subsequent correction.

In 2015, Cabessa exhibited at the Jenn Singer Gallery in New York. For this painting series, Cabessa laid out books she had read and especially liked onto an oil-covered plywood surface, leaving the imprint of their open pages on the surface and at times even inverted letters from the text. She presented close to fifty paintings bearing the imprints of books by authors such as Nabokov and Kafka, selected from Cabessa's collection of most influential books. The produced images deliberately resemble a series of vaginas: like spread-out legs, the imprints of the open books symbolically serve to feminize the books’ mostly male writers. The surprising aspect of this process consisted in the wide variety of images produced from similar-looking books.

At the beginning of 2017, Cabessa decided to start running a studio in Tel Aviv in parallel to her studio in New York, and it is with a strong sense of nostalgia that she returned to the country and landscapes of her birth. She was invited to work at the Harel printing workshop which had just inaugurated a printing press for formats of 2 meters by 1.40 meters, and on which Cabessa was commissioned to produce a new series of works. She chose to use the printing press as one of her painting tools: the Kinneret print series was produced using the press to spread out color. The press served to produce the paint stain, using a mixture of oil paints and metallic pigments to create images reminiscent of the light reflections and surface changes on the Sea of Galilee. The return to the Sea of Galilee is for Cabessa a return to her childhood years when she used to live in Tiberias and observe for long hours the water's changing surface and reflection. As a windsurfer in her youth, Cabessa had established a deep connection with the lake. About 20 works from this series of monotypes were selected for an exhibition at Harel Gallery.

In 2018, she presented her first collaborative project “Night Painting” at the Uri and Rami Nehoshtan Museum, a contemporary art museum located in Kibbutz Ashdot Yaakov in the Jordan Valley, curated by its director Smadar Keren. The work was created in collaboration with theater director Noam Ben Azar and his group of actors. Over the course of a year, they met for a series of improvisation exercises based on the “Grid technique”. This technique acts as a framework for producing incidental interactions and compositions, and allows the actors to reach a deeper intuitive state from which to draw material for their performance. During the sessions, actors were directed by Ben Azar to move around the space following imaginary vertical and horizontal lines on the canvas, tuning themselves to their own body and feelings while maintaining an acute awareness of others’ movements in the space; during that time Cabessa worked with diluted oil paint on the canvas, alternately adding and subtracting paint. This resulted in a four-hour live performance, video and large-scale painting.

In early 2019, Cabessa created “Living Room”, a temporary painting installation that takes over the living room of an old Brooklyn apartment. The 100-year-old building is set to be renovated in the course of 2019. The piece took eight full days to complete. Cabessa painted over the entire space, including the walls, floor and furniture - lamp, table, chair, couch, etc., using the vibration of her own breath to dictate the rhythm of her brushstrokes. If the painting gesture is usually associated with fast and intuitive movements, in this piece it becomes the result of a very slow and careful observation of the breath. This piece marks the beginning of a new direction in Cabessa's work.

Selected Solo Exhibitions
 2018 - “Night Painting”, Painting and Video, Beit Uri and Rami Nehostan Museum, Ashdot Ya’acov, Israel
 2017 - "Illustrated Transitions" Monotypes, Har-el Gallery, Jaffa, Israel
 2015 - Hands On, Dryansky Gallery, San Francisco CA
 2015 - an•thro•pom•e•try, Jenn Singer Gallery, New York NY
 2014 - Painting Installation, Julie M. Gallery, Tel Aviv, Israel
 2012 – "Variations with Hands" , Performance, Tel Aviv Museum, Tel Aviv, Israel
 2012 – Miriam Cabessa / / Performance, Rothschild 69, Tel Aviv, Israel
 2011 – "In Her Wake" , Julie M. Gallery , Toronto, Canada
 2010 – 79, Slate Gallery, Brooklyn, New York
 2009 – Slow Motion Action Painting, Performance, Pulse Art Fair, New York
 2008 – Marking Time, Lyons Wier Ortt Gallery, New York
 2007 – Shelef & Schneidman, Tel Aviv, Israel
 2005 – Moti Hasson Gallery, New York
 2004 – Pack Gallery, Milan, Italy
 2003 – Alon Segev Gallery, Tel Aviv, Israel
 2001 – New Paintings, Stefan Stux Gallery, Project Room, New York
 1999 – Dvir Gallery, Tel Aviv, Israel
 1999 – Letters, " The Office " Gallery, Tel Aviv, Israel
 1998 – Coins, Oranim College of Art, Israel
 1998 – Installation, Kibbutz Rosh-Ha'nekra, Israel
 1998 – Dvir Gallery, Tel Aviv, Israel
 1997 – Venice Biennale, Israeli Pavilion, Venice, Italy
 1996 – The Nathan Gottesdiener Foundation Israeli Art Prize, Tel Aviv Museum of Art, Israel
 1996 – Mary Faouzi Gallery, Jaffa, Israel
 1995 – Palindrome, Installation at Janco-Dada House, En-Hod, Israel
 1995 – New Work, Tel – Hai Gallery, Tel Hai, Israel
 1994 – Pyramus and Thisbe, Installation Kibbutz-Nachshon Gallery, Israel
 1994 – Dvir Gallery, Tel Aviv, Israel

Selected Group Exhibitions
 2017 - “Same  Same but Different”, Haaretz collection, Minus1 Gallery, Tel Aviv, Israel
 2016 - Winter Salon, Jenn Singer Gallery, New York NY
 2015 - Stains and Stampings, Sister Gallery, Tel Aviv, and Art Gallery, Nazareth, Israel
 2015 - Dinner for Breakfast, Victori and Mo Gallery, Brooklyn NY
 2014 - Dynasties, Haifa Museum, Israel
 2014 - From The Land of Everywhere, Birnam Wood Galleries, New York NY
 2014 – Chicago Triangle, Haifa museum, Israel.
 2014 – Broken Beads, Beer-Sheva University, Israel.
 2014 – Contemporary Israeli Art, Julie M, Toronto, Canada.
 2013 – Passive Aggressive, University Gallery, Tel Aviv, Israel
 2013 – A Picnic and Smokes, group show curated by Kipton Cronkite from @60, QF Gallery, East Hampton
 2012 – The Merry Mummy, Ramat Gan Museum, Israel
 2012 – Three people show, Nye+Brown Gallery, LA
 2012 – Monkeys Nine People, Tel Aviv, Israel
 2012 – Masonite, Sommer Contemporary Art, Tel Aviv, Israel
 2012 – Take my Breath Away, Julie M Gallery, Toronto, Canada
 2011 – Festival of Ideas-performance, The New Museum, New York
 2011 – A Group Exhibition, Julie M Gallery, Toronto, Canada
 2010 – Balancing act, Hendershot gallery, New York
 2010 – Sweet Dreams, Bet Haomanim, Tel Aviv, Israel
 2008 – Lyons Weir Ortt Gallery, New York
 2008 – Black & White, Slate Gallery, New York
 2008 – Timeless: The Art of Drawing, The Morris Museum, New Jersey
 2008 – Eventually We'll Die: Young Art In Israel Of The 90's, Herzilya Museum of Contemporary Art, Israel
 2007 – Displacements, Ben-Ari Museum of Contemporary Art, Israel
 2007 – Promised Land, Ermanno Tedeschi Gallery, Rome, Italy
 2007 – Gallery Auction, Vered Gallery, East Hampton, New York
 2007 – Of The Painted Image, Jewish Museum of Pittsburgh, Pennsylvania
 2007 – The Big Show, Silas Marder Gallery, Bridgehampton, New York
 2006 – Hybrid Space, Kulture Gardin, New York
 2005 – Head Over Hand: Pushing the Limits of Paint, Denise Bibro Fine Art, New York
 2005 – Little Red Riding Hood, Art Basel Miami, Dot Fifty One Art Space, Miami, Florida
 2005 – On The Mark, University of Rhode Island, Kingston, Rhode Island
 2005 – Viewfinder, Moti Hasson Gallery, New York
 2005 – Dreaming Art Dreaming Reality, Tel Aviv Museum of Art, Israel
 2004 – Paintings that Paint Themselves, Kresge Art Museum, East Lansing, Michigan
 2004 – Staccato, Jeffrey Coploff Fine Art, New York
 2004 – The sun still shines, Pack Gallery, Milan, Italy
 2004 – I Want To Take You Higher, McKenzie Gallery, New York
 2003 – Momus Gallery, Atlanta, Georgia
 2003 – Scope, Armory Show 2003, New York
 2003 – Liminal, Hamden Gallery, University of Massachusetts, Amherst, Massachusetts
 2002 – Artscape 2002, curated by John Yao, Meyerhoff Gallery, Maryland College of Art, Baltimore
 2002 – New York in Texas, New Gallery, Houston, Texas
 2002 – Armory Show 2002, Stefan Stux Gallery Booth, New York
 2002 – Graham & Sons Gallery, New York
 2002 – Mother Tongue, Museum of Art, Ein Harod, Israel
 2000 – The Vera & Arturo Schwartz Collection of Contemporary Art, Tel Aviv Museum of Art, Israel
 2000 – Ladies and Gentlemen, Tel Aviv Museum of Art, Israel
 1999 – Liste 99, The Young Art Fair, Sommer Gallery, Basel, Switzerland
 1998 – Spring at the End of Summer Young Israeli Art, Tel Aviv Museum of Art, Israel
 1998 – Women Artists, Haifa Museum of Art, Haifa, Israel
 1997 – The Museum Collection, Tel Aviv Museum of Art, Israel
 1996 – Refusalon Gallery, San Francisco, California
 1996 – The Vera & Arturo Schwartz Collection of Contemporary Art, Israel Museum, Jerusalem, Israel
 1996 – New in the Collection: Prints, Tel Aviv Museum of Art, Israel
 1995 – The Ministry of Science and the Arts Prize for a Young Artist, Artist's House Gallery, Tel Aviv, Israel
 1995 – Blind Spot Test, Pyramid Center for Contemporary Art, Haifa, Israel
 1995 – The America-Israel Cultural Foundation Scholarship Recipients, Genia Schreiber University
 1995 – Art Gallery, Tel Aviv University, Israel
 1994 – 90-70-90, Tel Aviv Museum of Art, Israel
 1994 – Along New Lines: Israeli Drawing Today, Israel Museum, Jerusalem, Israel
 1994 – Meta-Sex, Mishkan-Le’Omeont Museum of Art & Bat-Yam Museum of Art, Israel
 1993 – Subtropical: Between Figural and Abstract, Tel Aviv Museum of Art, Israel

Collaborations
 2013 – "Mavirot project" , Comme-il-faut, Tel-Aviv, Israel
 2012 – Artist Book, With poet Natan Zach. monotype prints. Gallery Harel, printers & publishers, Tel-Aviv, Israel.

Awards and Scholarships
 2001 - International Studio & Curatorial Program, sponsored by the NY Cultural Corp. Commission
 1995 - Ministry of Science and the Arts Prize for Young Artists
 1995 - The Nathan Gottesdiener Foundation Israeli Art Prize
 1994 - Scholarship from the American-Israeli Cultural Foundation
 1990 - Scholarship from the American-Israeli Cultural Foundation

Public Collections
Knesset of Israel, Jerusalem
Israel Museum, Jerusalem
Israel Tel Aviv Museum of Art
Israel Haifa Museum of Modern Art
Israel National Museum of Women in the Arts
San Marcos TexasFrederick R Weisman Art foundation
Los Angeles CAArtist Pension Trust Organization
Washington DC American University Museum
Washington DCTexas State University

References

External links
 Artists's website
 Artis Contemporary

Category:1966 births
Category:Living people


Everybodys Jesus

Everybodys Jesus  is a "double b-side" released by Australian hip hop group Butterfingers on 24 January 2005 on the Valley Trash label. The CD single feature the songs "Jesus I Was Evil" and "Everybody's Ugly", the latter which later appeared on the album The Deeper You Dig....

"Jesus I Was Evil" was written and originally recorded by New Zealand artist Darcy Clay and is the band's first recorded cover. Clay (born Daniel Bolton) released the song in June 1997, where it peaked at No. 5 on the New Zealand Singles Chart remaining in the chart for eight weeks. Clay committed suicide on 15 March 1998.

The song received considerable airplay on national broadcaster Triple J and for the first time, commercial radio via Nova FM. "Jesus I Was Evil" charted at No. 69 in the Triple J's Hottest 100 of 2005. The single reached No. 17 on the ARIA Hitseekers chart and also peaked at No. 7 on the AIR Singles charts in February 2005.

In a review by the Oz Music Project, "Jesus I Was Evil" was described as "an anarchic tale of youth rebellion pummelled into sensible, reformed adulthood.", whilst the reviewer considered that "Everybody's Ugly" "...continues on the mutinous path with a gritty rock feel that almost can’t decide whether to be punk or rock, or perhaps the bastard child of both styles."

Track listing
All songs written by Eddie Jacobson, except where noted
"Jesus I Was Evil" (Daniel Bolton) - 1:47
"Everybody's Ugly" - 2:45

References

External links
Butterfingers official site

Category:2005 songs
Category:Butterfingers (Australian band) songs


Daniel Clement Colesworthy

Daniel Clement Colesworthy (14 July 1810 – 1 April 1893) was an American printer, bookseller, and poet. He was born in Portland, Maine in 1810, the son of Daniel P. and Anna Collins Colesworthy.  He became a printer, having served an apprenticeship in the office of Arthur Shirley, beginning at the age of fourteen years.  Early in his life, he became the editor and publisher of a young people's paper first known as The Sabbath School Instructor, and afterwards Moral Reformer, and Journal of Reform, which did not last many years.

In June, 1840, he commenced the publication of a small semi-monthly paper call The Youth's Monitor, which he continued for about two years. In 1841 he printed the first number of a weekly literary paper, the Portland Tribune, which he continued for four years and ten weeks, and in June, 1845, sold his interest in the paper to John Edwards, who was publisher of the Portland Bulletin.  The two papers, becoming united, were called the Tribune and Bulletin.

Colesworthy kept a book store on Exchange Street, and for a while in the basement of the old Mariners' church Building, on the corner of Fore and Moulton Streets.

He afterwards, and before 1851, moved to Boston and opened a bookstore on Cornhill.  He was also proprietor of another store in the immediate vicinity, having his home in Chelsea.

He was a voluminous writer, both in prose and verse, seeking to instruct as well as amuse his readers.  Among his publications are several volumes of poetry, including the following in order of publication: "The Opening Buds," "A Group of Children," "The Year," and "School is Out." The latter of these was published in 1876, with copious notes, that were valuable for their biographical and historical data. The following notable quotation is from this work.

Ay, soon upon the stage of life,
Sweet, happy children, you will rise,
To mingle in its care and strife,
Or early find the peaceful skies.
Then be it yours, while you pursue
The golden moments, quick to haste
Some noble work of love to do,
Nor suffer one bright hour to waste.
[School is Out]

His son, William Gibson Colesworthy (1851–1907), attended Harvard and Boston University, entered his father's business in 1877 and carried on his father's bookstore at 66 Cornhill until his own death in 1907.

References

External links

Category:1810 births
Category:1893 deaths
Category:Artists from Portland, Maine
Category:19th century in Boston
Category:19th-century American poets
Category:American male poets
Category:Writers from Portland, Maine
Category:19th-century American male writers


MAN Turbo 6022

The MAN Turbo 6022 (also BMW 6022/MTU 6022) is a German gas turbine turboshaft engine for helicopter use. Designed in the early 1960s by BMW the engine powered the third prototype of the MBB Bo 105 on its maiden flight in December 1967.

Variants
6022-A1
Base variant.  at 6,000 rpm.

6022-A2
 at 6,000 rpm. Powered the third prototype Bo 105. Passed 100 hour type test in 1968.

6022-A3
 at 6,000 rpm. Production engines for Bo 105 with strengthened reduction gear.

Applications
 MBB Bo 105 (third prototype)
 Dornier Aerodyne
 Dornier Kiebitz

Engines on display
Hubschraubermuseum Bückeburg

Specifications (6022-A3)

See also

References

Category:1960s turboshaft engines


Murtaja Qureiris

Murtaja Qureiris (Arabic: مرتجى قريريص Murtajā Qurayrīṣ; born 24 October 2000) is a Saudi Arabian activist and member of the minority Shia. Qureiris was accused by the Saudi Government of joining a "terror group" and "sowing sedition", and was arrested in September 2014, when he was 13. According to The Guardian, he has been periodically held in solitary confinement. The Saudi authorities have not publicly commented on any details about his case, although in 2018, Saudi prosecutors suggested that they would pursue the death penalty. In June 2019, Amnesty International asked Saudi Arabia to rule out the death penalty for Qureiris and other teenagers who were arrested in 2014.

Background
According to Amnesty International, Saudi Arabia is among the top five countries in the world in executions. At least 139 people were executed by the Saudi government in 2018. In April 2019, 37 people accused of terrorism were executed in Riyadh, central Qasim Province, and Eastern Province, the latter being home to a significant Shia minority.

In response to a 2017 inquiry from the United Nations High Commissioner for Human Rights, the Saudi government stated that the death penalty "can only be imposed for the most serious offenses and subject to the strictest controls." Saudi executions have been condemned by the United Nations and human rights groups. Reprieve has argued that Crown Prince Mohammed bin Salman should be held accountable.

The European Saudi Organisation for Human Rights found that Qureiris is a member of Shia minority. CNN reported that if Qureiris is executed, he would be the fourth minor prisoner to be executed in 2019 for crimes allegedly committed before age 18. Among the 37 executed in April 2019, two were executed for crimes committed as a minor.

Amnesty International has claimed that Saudi authorities are using the death penalty "as a weapon to crush political dissent." Amnesty International has followed Qureiris's case over his five-year imprisonment, and found that Qureiris was jailed in solitary confinement and was tortured for a month near the beginning of his captivity.

The Saudi government executed at least 110 people since the beginning of 2019, and the 37 killed in April constituted the largest mass execution in Saudi Arabia since 2016. According to the World Report from Human Rights Watch in 2019, Saudi Arabia executed 139 people in 2018, with most of the accused killed for alleged murder or drug crimes, with 54 being killed for other crimes.

Arrest
Qureiris was arrested at age 13 for a crime committed when he was 10. He was accused of taking part in anti-Saudi government protests during 2011, and also of throwing Molotov cocktails at a police station after his brother was killed by Saudi forces in a protest in 2011. CNN published a video that showed Qureiris leading a group of children at a bike protest in 2011. According to the CNN report, Qureiris denied the charges and said he was forced to confess under torture. When he was arrested by the Saudi government, he became the youngest recorded political prisoner in Saudi Arabia. Amnesty International claimed that Qureiris was moved to a Mabahith prison in al-Dammam, which meant that he was 16 when sent to an adult prison.

Qureiris was born to a family of political activists in Qatif. His older brother, Ali Qureiris, was killed during a protest in 2011. The Saudi border police arrested Qureiris while he was traveling with his family to Bahrain in 2014. Amnesty International claimed that Qureiris was denied access to a lawyer until his first court session in August 2018. His first court session was held at Saudi Arabia's Specialized Criminal Court, a court that is only used for political charges.

According to international law, the death penalty is forbidden for persons under age 18. Lynn Maalouf, Amnesty International's Middle East research director, has claimed that Saudi Arabia actively uses the death penalty for minors. Human rights groups also take issue with Saudi Arabia's use of beheading as a means for punishment.

The European Saudi Organisation for Human Rights said that the Saudi public prosecutor's office charged Qureiris for participating in anti-Saudi government protests and sentenced him to death.

Reactions
The Embassy of Saudi Arabia in Washington, D.C. has not commented on Qureiris's case.

Lynn Maalouf, Amnesty International's Middle East research director, said that "The international community [...] must take a public stand on these cases and demand that the Saudi authorities end their use of the death penalty".

Maya Foa, director of Reprieve, said "the execution of children is forbidden in international law, but the Saudi government is trying to show its impunity to the world by beheading prisoners and people."

See also
Walid Fitaihi

References

Category:Human rights in Saudi Arabia
Category:Anti-corruption measures
Category:Political history of Saudi Arabia
Category:Judiciary of Saudi Arabia
Category:Saudi Arabian Shia Muslims
Category:2000 births
Category:Living people


Probezzia infuscata

Probezzia infuscata is a species of biting midges in the family Ceratopogonidae.

References

Further reading

Category:Ceratopogonidae
Category:Articles created by Qbugbot
Category:Insects described in 1915


Eastern Michigan University College of Education

The Eastern Michigan University College of Education was established in 1959. Eastern Michigan University has had a long history of developing educators since its founding in 1849 as Michigan State Normal School. Eastern Michigan is the largest producer of educational personnel in the country since 1991. The College of Education is divided into 3 departments and offers over 85 majors and minors and over 30 graduate degrees. The college has one of the oldest special education programs in the United States.

History
Eastern Michigan University College of Education was one of the first colleges established at the newly named Eastern Michigan University. Even though the college was established in 1959, Eastern Michigan University has had a long history of training future educators since its inception in 1849. Eastern Michigan University was originally established as Michigan State Normal School. Michigan State Normal School was the first in Michigan and the first normal school created outside the original 13 colonies. A normal school was a school created to train high school graduates to be teachers. Its purpose was to establish teaching standards or norms, hence its name. The normal schools were to train teachers for common schools, which were being established rapidly in new towns in the state of Michigan. In 1849, when Michigan State Normal School was established, Michigan had only been a state for 12 years.

In 1899, the school became the Michigan State Normal College when it created the first four-year curriculum for a normal college in the nation. Normal began the 20th century as Michigan's premier teacher-preparatory school and became the first teacher-training school in the United States to have a four-year degree program. In 1915, the school was the first program in the nation to train teachers to serve the disabled. In 1923 the Eastern Michigan University's Department of Special Education was established making it one of the oldest in the nation. In 1959, the College of Education was established. At the same time, Eastern became a university gaining the title Eastern Michigan University. The Porter College of Education is named after John W. Porter, former EMU President from 1979 to 1988.

Facility

The Porter College of Education building was built in 1967. The facility was originally built to serve at the university's library. As the university grew in size, a new library was needed. In 1998, Halle Library was built moving the library to its new location. The Porter College of Education then occupied the University Library's old location. The facility is 133,500 square feet. During the renovations in 1998 and 1999, the building was updated to provide state-of-the-art computer networks and an up-to-date multimedia systems.

Departments
The College of Education is divided into 3 departments: Leadership and Counseling, Special Education, and Teacher Education and offers over 85 majors and minors and over 30 graduate degrees.

Programs
The college itself has only been established since 1959 but the school has always been known for its education programs. The special needs program is one of the school's oldest. In 2008, with a joint program with the College of Health and Human Services, the COE began to offer a Ph.D. in Nursing education. The university declares the program as "the first of its kind in the midwest". The program is aimed to prepare nursing faculty to assist in the nursing shortage.

Education
Eastern declares that one of every four teachers in Michigan holds a degree from EMU. In the past the school also declared that at one time 1% of all the teachers in the United States received their degree from EMU. According to U.S. News the program is ranked #140 in the United States and #4 in the state of Michigan.

Special Education

In 1915, the school was one of the first in the nation to train teachers to serve people with disabilities. Today Eastern Michigan University's Department of Special Education is among the oldest and largest special education program in the United States.

Awards & Recognitions
 2007 - Eastern Michigan University, the No. 1 producer of educators in the nation, received an "Exemplary" grade from the Michigan Department of Education.
 2004 - The Michigan State Board of Education recognized Eastern Michigan University for its extensive inclusion in the U.S. News & World Report book Becoming a Teacher.
 1991 - Distinguished Program in Teacher Education (CITE), Association of Teacher Educators. Silver Award, Council for Advancement and Support of Education.
 1989 - EMU was cited for ten innovative teacher education programs in Those Who Can (American Association of Colleges for Teacher Education, 1989).
 1987 - Distinguished Achievement Award in Teacher Education, American Association of Colleges for Teacher Education.
 1986 - Distinguished Program in Teacher Education, Association of Teacher Educators.
 Exemplary Staff Development Program Which Serves as a Model for the Nation's Schools, American Association of School Administrators.
 1985 - Showcase for Excellence (Pre-service Elementary Teacher Education Program in Science), American Association of State Colleges and Universities.
 Showcase for Excellence (Staff Development for School Improvement Program), American Association of State Colleges and Universities.
 Exemplary Science Program, National Science Teachers Association.

Notes

Category:Eastern Michigan University
Category:Universities and colleges in Michigan
Category:1959 establishments in Michigan


Lys Symonette

Bertlies "Lys" Symonette (born Berta Weinschenk: 21 December 1914 – 27 November 2005) was a German-American pianist, chorus singer and musical stage performer. In 1945 she took a job as  rehearsal pianist, coach, understudy or multi-tasking "swing-girl" for The Firebrand of Florence, a Kurt Weill musical making its Broadway debut. This proved to be the start of a new career as Weill's musical assistant: from that point a principal focus of her professional life was on the composer and, more particularly after his early death in 1950, the career of his widow, the stage performer Lotte Lenya. When Lenya died, in 1981, Lys Symonette was appointed vice-president of the Kurt Weill Foundation, also serving as its "musical executive". When she died her friend and frequent collaborator, Prof. Kim H. Kowalke, published an affectionate tribute in which he described her as "the last and irreplaceable link to the inner artistic circle of Weill and Lenya".

Life

Provenance and early years
Berta Elisabeth Weinschenk was born in Mainz. Max Weinschenk, her father, was a Jewish wine merchant. Her mother, born Gertrude Metzger, was a committed singer who, as a contralto, gave recitals not just in her home city but also in Frankfurt and Gotha. There was musicianship on her father's side too: Jacob Hugo Weinschenk, her uncle, was an enthusiastic 'cellist (who also wrote sonnets). Bertlies (as she quickly came to be known) grew up with her parents and her younger sister, Marianne, at the family home at "Fischtor 21" in Mainz. An early blow was the death of her father when she was eleven. Almost at once, however, Bertlies and Marianne found they had acquired a (Christian) stepfather, Dr. Willi Honheisser. She attended the "Linkenbach" private school and then, between 1924 and 1934, the Senior Girls' School in Mainz. She passed her school final exams (Abitur) in 1934. She had not excelled particularly at mathematics and the sciences, but at the Senior School she had obtained top marks in singing and shown herself to be more than competent as a pianist. Her exam results in 1934 would, under other circumstances, have opened the way to university level education, but it was at this time still unusual for girls to attend university and the times were, in any case, malign. Nevertheless, at some point she was taught by  at the Peter Cornelius Conservatory in Mainz, and she briefly moved to Berlin to embark on a period as a music student, studying both the piano and singing.

Nazi takeover
At the start of 1933 the Nazi Party took power in Weimar Germany and lost little time in transforming the country into a one-party dictatorship. The shrill antisemitism which had featured prominently in Nazi propaganda during the preceding decade became a key underpinning of government policy. During 1933 and 1934 many believed that the government, like others before it, would not last, but four years later the Nazis were still in control. At this stage arrest and imprisonment were still, for the most part, restricted to those Jews who were politically active: nevertheless, employment and business opportunities were being systematically cut away. In September 1933 Bertlies Weinschenk obtained an exit visa and relocated with her family, briefly, to Cologne where her sister had found a job in the garments industry. In 1936 she fled via Italy to Cuba. Bertlies would later recall that on the day they left Cologne she opened the balcony window of the hotel room where she was staying and played records of music from Kurt Weill's Threepenny Opera – which had been banned in Germany since 1933 – for the benefit of passers-by. From Cuba, helped by American contacts, she was able to obtain the necessary permits to enter the United States of America towards the end of 1937. In 1938 she was joined in the U.S. by her younger sister, who had managed to make the journey from Nazi Germany with fewer hold-ups.

New life in the United States
It was also in 1938 that Bertlies Weinschenk enrolled at the Curtis Institute of Music in Philadelphia where, as before, she studied as both a piano and a voice student. She received a stipendium which funded her studies and covered her living expenses. Her teachers included Vera Brodsky and Elisabeth Schumann. Someone else whom she met at the Curtis was Ned Rorem, a composition student from the mid-west: she became the first singer to perform Rorem's songs in public. After graduating, during the early 1940s she performed regularly in clubs across the country as part of the two-piano combo "Yola and Lisa, the Mexican sisters" with Alberta Masiello, for which the two young women dressed "appropriately", "with big skirts and big earrings". The story is told of one night when the "sisters" were hired to perform at a club venue precariously located at the end of a pier in Galveston: they played on through a hurricane in order to avoid foregoing their fee.

Kurt Weill and Randolph Symonette
It was Maurice Abravanel who recommended her to Kurt Weill as a rehearsal pianist for his new 1945 Broadway musical, The Firebrand of Florence. Abravanel was the conductor for the original production. As she would later laconically recall, Abravenal "suspected that [she] might be able to do the job, having been both a voice and piano major at the Curtis ...". After three days of "sight-reading-transposing-improvising" as she provided accompaniment for what felt like a never ending succession of auditioneers, a small man emerged, grinning, from the shadows of the auditorium: "I'd love to have you in the show. I'm Kurt Weill". Until Weill's early death in 1950 she worked closely with him. Using the stage name "Lys Bert" she appeared in the chorus. On the occasion of Lotte Lenya's Broadway debut, the great diva (still relatively unknown outside Germany) was to be preceded by Billy Dee Williams singing "Make Way for the Duchess", but Williams found himself unable to maintain his pitch that night and the song was instead sung offstage by
the "boyish-sounding soprano", "Lisa Bert" (as she was listed on that occasion).   Despite participating in stage performances, it appears that her more crucial contribution quickly became as a répétiteuse and as a coach for the singers. She evidently had an intense understanding of the singular singing style that Weill's music invited and, she would have insisted, needed. In 1949 she embarked on a parallel role as a translator, applying her skills to the libtretto of Weill's 1927 one-act comic opera, Der Zar lässt sich photographieren (The Czar Has His Photograph Taken) for the Metropolitan Opera studio.

The part of the Hangman in the original production of The Firebrand of Florence had been taken by a New York bass-baritone called Randolph Symonette. In October 1949, Lost in the Stars opened on Broadway. Her rehearsal work done, Lys left for an extended visit to Canada where she married "The Hangman". They returned to New York in March 1950: when Lys Symonette tried to telephone him that she was back, the telephone was answered by a maid who told her that "Mr Weill" was in hospital. He died a few days later. This triggered a major turning point. Randolph and Lys Symonette now relocated to West Germany where Randolph Symonette appeared in various major opera houses, focusing on some of the large-voice Wagner roles. Initially he spoke absolutely no German and his new wife had to coach him phonetically for his roles. During the 1953/54 season Lys was able to return with her husband to Mainz where he appeared at the recently reopened Staatstheater. During their time living in West Germany she also promoted Weill's later works in that country "through ingenious translations and ceaseless proselytizing".

Return to New York
Ten years later the couple returned to New York City. Over the next few years Randolph made a number of further appearances at the Metropolitan Opera. Lys appeared with Weill's widow, Lotte Lenya at the Theatre de Lys, accompanying the singer in Gene Frankel's production, Brecht on Brecht. Over the next couple of decades she worked closely with Lenya as accompanist, trusted musical advisor and, at least on matters touching Kurt Weill's artistic legacy, friend and mentor. She persuaded Lenya to allow her to hand over a fat pile of unpublished Kurt Weill songs to Teresa Stratas which led to the publication of numerous songs that otherwise would have been lost to posterity including, most notably, "Youkali".

In 1968 the Symonettes relocated to Tallahassee where Randolph had accepted a teaching job – later a professorship – at Florida State University.   Two years after that she was drawn back to New York in order to be at the side of Lotte Lenya during preparations for an English-language premiere of Weill's "Aufstieg und Fall der Stadt Mahagonny" ("Rise and Fall of the City of Mahagonny").   Preparation of the opera had been dogged by artistic and legal disagreement, and Symonette reprised her role as "musical representative" of Lotte Lenya for rehearsals and performances.   In the end credit for the translation of the libretto was shared between Lys Symonette and the poet Arnold Weinstein.

As the 1970s progressed the amount of time spent supporting Lotte Lenya increased.   Additionally, in 1974 Lys Symonette returned to the Curtis Institute, now as a voice coach.   During the decade she collaborated on several new Weill productions and engaged in other projects which involved the publication and, frequently, the performance of hitherto unknown Kurt Weill songs.

Later years and the Kurt Weill Foundation
Lotte Lenya died of cancer on 27 November 1981.   She had been ill for several years, undergoing surgery in 1977 and again in 1978, and had initially avoided the implications of her failing health for her late husband's artistic legacy.   However, by the later summer of 1980 she had been persuaded to give the matter serious consideration, and on 25 September a board of six trustees was elected for the newly established "Kurt Weill Foundation".   The six included Kim Kowalke, today (2017) the foundation's long-standing president and, Lys Symonette who for a quarter of a century, till her death would serve as the foundation's vice-president.   When Lenya died the foundation's mandate to "administer, promote, and perpetuate "the legacies of Kurt Weill and Lotte Lenya" was confirmed in her will.

Lys Symonette suffered a fatal heart attack at Windsor, New York less than a month before what would have been her ninety-first birthday.

References
Sources

Category:People from Mainz
Category:German editors
Category:Emigrants from Nazi Germany
Category:German emigrants to the United States
Category:Jews who emigrated to escape Nazism
Category:1914 births
Category:2005 deaths


List of constituencies of the West Bengal Legislative Assembly

Vidhan Sabha constituencies in West Bengal are as follows:

Constituency 1-50

Constituency 51-100

Constituency 101-150

Constituency 151-200

Constituency 201-250

Constituency 251-294

References

West Bengal
*
Category:West Bengal-related lists


Fraus latistria

Fraus latistria, the broad-striped ghost moth,  is a moth of the family Hepialidae. It is endemic to Tasmania.

References

Category:Moths described in 1989
Category:Hepialidae


Tony Albert

Tony Albert (born 1981) is a contemporary Australian artist working in a wide range of mediums including painting, photography and mixed media. His work engages with political, historical and cultural Aboriginal and Australian history, and his fascination with kitsch “Aboriginalia".

Biography
Albert was born in 1981 in Townsville, North Queensland. In 2004 he graduated from the Queensland College of Art, Griffith University, Brisbane, with a degree in Contemporary Australian Indigenous Art. Albert's family is from Cardwell, Queensland and he is a descendant of the Girramay, Yidinji and Kuku-Yalanji peoples.

Albert was a founding member of the urban-based Indigenous art collective ProppaNOW founded in 2004. ProppaNOW also included artists Richard Bell, Jennifer Herd, Vernon Ah Kee, Fiona Foley, Bianca Beetson, and Andrea Fisher.

Work
Like Bell and Ah Kee, the use of text is essential to Albert's practice. Headhunter (2007), an installation consisted of various objects Albert had been collecting for several years, portrays the past racism in Australia and puts emphasis on "the commodification of Aboriginal people for consumption by the non-Indigenous population, at a time when actual engagements with Aboriginal people were rare and predominantly paternalistic."

The application of text can also be seen in Albert's photographic work such as Hey ya! (Shake it like a Polaroid picture) (2007).

Awards and commissions

In 2014 Albert won first prize in the National Aboriginal & Torres Strait Islander Art Award with his work We can be Heroes, prompted by the 2012 shooting by police of two Aboriginal teenagers in Kings Cross.  Albert's was the first photographic work to win the prize.

In 2015, Albert was commissioned by the City of Sydney to create Yininmadyemi - Thou didst let fall, a public work for Hyde Park, Sydney. The work serves as a memorial to Aboriginal military history and features four large upright bullets and shell casings. He was the Archibald Prize finalist in 2016 and 2017.

Exhibitions
Albert's work has been the subject of nine solo exhibitions and over fifty group exhibitions.

References

External links
 Official site
 Tony Albert at the Art Gallery of New South Wales
 Tony Albert at UnDisclosed

Category:People from Townsville
Category:21st-century Australian photographers
Category:1981 births
Category:Living people
Category:Griffith University alumni
Category:21st-century Australian painters
Category:Photographers from Queensland
Category:Indigenous Australian artists
Category:Archibald Prize finalists
Category:Mixed-media artists


1960–61 United States network television schedule (late night)

These are the late night Monday-Friday schedules on all three networks for each calendar season beginning September 1960. All times are Eastern and Pacific.

Talk shows are highlighted in yellow, local programming is white.

Fall 1960

Winter 1960/1961

Spring 1961

Summer 1961

Category:United States late night network television schedules
Category:1960 in American television
Category:1961 in American television


Otto Braun (communist)

Otto Braun (28 September 1900 – 15 August 1974) was a German Communist with a long and varied career. His most significant role was as a Comintern agent sent to China in 1934, to advise the Communist Party of China (CPC) on military strategy during the Chinese Civil War. At the time Braun adopted a Chinese name, Li De (); it was only many years later that Otto Braun and "Li De" came to be known as the same person.

Early life
Otto Braun was born in Ismaning, Upper Bavaria, near Munich. Even though his mother was still alive, he grew up in an orphanage.

He enrolled at a teachers' training college in Pasing in the Munich area. In June 1918, Braun was drafted into the ranks of the Bavarian army, part of the Imperial German Army, but the First World War ended before he could face combat duty.

After the armistice he went back to complete his studies at the teachers' training college. However, he did not take a job as a primary school teacher. Rather, he joined the newly founded Communist Party of Germany (KPD), embarking on what would be a lifelong vocation and career, and traveled widely, mainly in North Germany.

Communist activity in the 1920s and early 1930s
It seems that it was in 1921 that Braun became a full-time paid KPD party worker.

He was involved in an affair concerning the theft of some sensitive documents from Colonel Freyberg, a White Russian emigrant based in Berlin. For his part in this he was detained by the police in July 1921. He was put on trial but managed to hide his Communist connections and convince the court that he was a "right-winger." Due to the bias often exhibited by the judicial system of the Weimar Republic, this masquerade helped him get off with a light sentence. In fact, he did not go to jail, but went into hiding.

By that time, he was already a central member of the KPD apparatus, not only regularly writing articles for the party papers but, after 1924, heading the party's "counter-espionage" efforts. He was also deeply involved in its militia and para-military activities.

The police caught up with him again in September 1926. He first served his "Freyberg sentence" of 1922, then was kept in detention at the Moabit Prison. However, on April 11, 1928, a band of Communists including his then-lover Olga Benário succeeded in staging his jail break.

The daring escape got worldwide publicity. Braun and Benário then made their way to Moscow, where they became involved in the International Communist movement. Both of them were at the Lenin School operated by the Comintern. Braun went to the Frunze Military Academy while Benário worked as an instructor of the Communist Youth International, first in the Soviet Union, then in France and England, where she participated in coordinating anti-fascist activities.

Braun and Benário parted ways in 1931. She went on to marry the famous Brazilian revolutionary leader Luís Carlos Prestes and went to live in his country. She was finally arrested by the Getúlio Vargas dictatorship and extradited to Germany, where she was eventually gassed to death at the Bernburg Euthanasia Centre. She is remembered as a martyr by the Brazilian and German Left. For his part, Otto Braun embarked on the most significantand in some ways, the most controversialpart of his revolutionary career, as the Comintern representative in China.

In China
In 1932, following his graduation at the Frunze Academy, Soviet Military Intelligence's Fourth Directorate dispatched Braun to Harbin in Manchuria, China. From there he traveled to Shanghai, where he joined the local Comintern bureau. There he was in military affairs under the orders of "General Kleber" (nom de guerre of Manfred Stern), who maintained a "military section" in the city, and in political issues under Arthur Ewert, a fellow German Communist.

However, Shanghai was at that time a backwater in Chinese revolutionary affairsthe local Communist movement having been effectively crushed by Chiang Kai-shek's Kuomintang (KMT) in the Shanghai massacre of 1927. The Chinese Communists had subsequently retreated to the countryside and started to organize in the province of Jiangxi. In the later part of 1933 Braun arrived in Ruijin, at that time capital of the "Chinese Soviet Republic" set up by the surviving Chinese Communists, where he became a military adviser.

The precise circumstances of his getting this appointment and his activities in the following years are still debated with some aspects remaining unclear. As noted by Freddy Litten, who thoroughly researched this part of Otto Braun's career, "[Braun]'s memoirs are an important, though dubious, source for the events of these years".

At that time the Kuomintangperceiving the Communists as a dangerous threat to its rulelaunched a series of vigorous attacks on the CPC in urban areas. Its forces came near to Ruijin, which was in danger of being surrounded and became untenable. The CPC initiated the Long March to escape this danger. Braun, under his assumed Chinese name "Li De" was nearly the only foreigner to participate in the Long March, and might have even been the original proposer of the idea of embarking on such a march in an effort to reach the safer interior of China.

In the later part of 1934 Braun/Li De assumed a position of command in the early First Front Army, together with Zhou Enlai and Bo Guwith authority to make all military decisions. Braun advocated that the First Front Army directly attack the far larger and better equipped KMT Army. The First Front Army's suffered great casualties, so that CPC forces fell drastically, from 86,000 to about 25,000, within a year.

In 1935, the CPC met at the Zunyi Conference where Mao Zedong and Peng Dehuai expressed their opposition to Braun, Bo Gu, and their tactics. Mao argued that the direct attacks were costing lives, and suggested that their smaller, poorer equipped forces should run and surround the KMT, using the guerrilla tactics for which Mao was to become famed. (Mao already distrusted European advisors from the Comintern, especially considering that in the 1920s advisers such as the Dutch Henk Sneevliet had given Chinese Communists disastrous advice.) Other military wing leaders agreed with Mao, so Braun and Bo Gu were removed as the military commanders and Mao become the leader of the Long March. After this conference, the Comintern was pushed aside, and "Native Communists" took control of the CPC.

Still, Braun stayed in China until 1939 and participated in the Long March along with the CPC. No longer holding a military command, he was mainly involved in advisory work and some teaching of tactics.

Though never returning to China after leaving in 1939, for the rest of his life he continued to show interest in Chinese affairs.

Soviet period in the 1940s
In 1939 Braun arrived in the Soviet Union. At the time, that was a very dangerous place for foreign Communists, many of whomincluding German Communistswere imprisoned, tortured or killed by Joseph Stalin's secret police (NKVD), despite being completely loyal to the revolutionary cause and having often undergone persecution for its sake in their own countries. Braun managed to avoid such a fate, though he did face some political difficulties immediately upon his arrival.

The Moscow Foreign Languages Press gave him employment as an editor and translator. After the German invasion of the Soviet Union in 1941, use was made of his German antecedents by making him a "polit-instrukteur" striving to turn the loyalty of German officers captured by the Soviets. In that role he used an old alias from the 1920s, "Kommissar Wagner". He later performed a similar tactic towards captive Japanese officers as well.

Between 1946 and 1948 he was based at Krasnogorsk, Moscow Oblast where he lectured in the Antifascist Central School. Afterwards he had another period of working in the Moscow Foreign Languages Press.

Return to Germany and later years
Only after the death of Stalin was Otto Braun allowed to return to his homeland after nearly three decades of exile.

Following his arrival at the German Democratic Republic (East Germany) Braun became a fellow at the Institute for Marxism-Leninism maintained by the Central Committee of ruling Socialist Unity Party (SED), as the Communist Party was officially called. His main responsibility was the publication in German of the writings of Vladimir Lenin.

He was First Secretary of the German Writers' Association from 1961 to 1963when he fell from grace. Already in his mid-sixties, he was for some time a pensioner doing some freelance translation from Russian.

His return to the authorities' good books was evident when in 1964 the ruling party's organ Neues Deutschland carried the revelation that the otherwise unknown Li De, involved in the Chinese Long March of the 1930s, had been in fact none other than the German Otto Braun.

This gave Braun the possibility and the impetus to write his Chinese Notes. As mentioned, researchers consider these as full of interesting information, particularly useful as offering a different angle to that of official Chinese Communist historiographybut in themselves far from objective or impartial. They were written in the late 1960s, when Braun was also a fellow of Institute for Social Sciences. The memoirs were published in book form at 1973 and translated to Chinese, English and other tongues.

Braun died at age 74, while on vacation in Varna, Bulgaria. He was buried in East Berlin, and his obituaries appeared in Pravda and in The New York Times.

References

 "Otto Brauns frühes Wirken in China (1932-1935)" ("Otto Braun's Early Activity in China (1932-1935") by Freddy Litten .
 Freddy Litten (Frederick S. Litten), abstracts from "China and intelligence history" (on the Long March)
 Litten, who made a through research on Braun, gave the following note on his sources:
 The article on "Braun in Germany" is based on documents in archives in Berlin, Potsdam and Munich, contemporary newspaper reports and publications.
 "Braun in China" is based on Litten's own paper "Otto Brauns frühes Wirken in China (1932-1935)" .
 "Otto Braun's Curriculum Vitae" is based on some further unpublished documents (especially his privately held cv), but mostly on a wide array of publications in German, English, Russian and Chinese.

Category:1900 births
Category:1974 deaths
Category:People from Munich (district)
Category:People from the Kingdom of Bavaria
Category:Communist Party of Germany politicians
Category:Socialist Unity Party of Germany politicians
Category:National Committee for a Free Germany members
Category:People of the Chinese Civil War
Category:German Comintern people
Category:East German writers
Category:Writers from Bavaria
Category:Escapees from German detention
Category:German escapees
Category:Recipients of the Order of Karl Marx
Category:Recipients of the Patriotic Order of Merit in gold
Category:German expatriates in China
Category:German male writers


List of songs in Equestria Girls

My Little Pony: Equestria Girls (or simply Equestria Girls) is an animated spin-off franchise based on the children's television series My Little Pony: Friendship Is Magic, which in turn is based on the My Little Pony toyline created by American toy and game manufacturer Hasbro. Much like Friendship Is Magic, the franchise also has musical elements, featuring songs performed onscreen by its characters in the films and other media.

Overall, as of 2019, the spin-off franchise has featured over 50 original songs.

Equestria Girls

Feature films

Equestria Girls (2013)

1In case of several characters providing lead vocals, the performers are listed in the order in which their characters (of the first of their characters in case they voice several) start singing.
3The singer is not portraying a character.
4As the song only features several characters singing in harmony, there are no lead vocals per se.

Rainbow Rocks (2014)

1In case of several characters providing lead vocals, the performers are listed in the order in which their characters (of the first of their characters in case they voice several) start singing.
7This song starts before "Rainbooms Battle", and continues after it; the two are performed as one song, but are credited as two separate songs.

Friendship Games (2015)

1In case of several characters providing lead vocals, the performers are listed in the order in which their characters (of the first of their characters in case they voice several) start singing.

Legend of Everfree (2016)

1In case of several characters providing lead vocals, the performers are listed in the order in which their characters (of the first of their characters in case they voice several) start singing.
4As the song only features several characters singing in harmony, there are no lead vocals.

Specials

Dance Magic  (2017)

Forgotten Friendship  (2018)

Rollercoaster of Friendship  (2018)

Spring Breakdown (2019)

Sunset's Backstage Pass (2019)

Summertime Shorts (2017)

Web series

Season 1 (2017-18)

Season 2 (2019-present)
The show's second season is expected to have "ten original songs and six music videos."

Other

1In case of several characters providing lead vocals, the performers are listed in the order in which their characters (of the first of their characters in case they voice several) start singing.
3The singer is not portraying a character.

Discography

Soundtrack albums

Compilation albums

References

Category:My Little Pony: Equestria Girls
Category:Lists of songs
Category:Film and television discographies
Category:Television soundtracks


DermAtlas

DermAtlas is an open access web site devoted to dermatology that is hosted by Johns Hopkins University's Dr. Bernard A. Cohen and Dr. Christoph U. Lehmann.  Its goal is to build a large high quality dermatologic atlas, a database of images of skin conditions, and it encourages its users to submit their dermatology images and links for inclusion.

It is edited in a collaborative fashion by physicians around the globe and includes an online Dermatology Quiz, that allows any one to test their dermatology knowledge.

The database currently includes over 10,500 images and consists of both clinical images and histological images. Great emphasis is placed on dermatological condition in pediatric patients.

References

External links
 Interactive Dermatology Atlas

Category:Online databases
Category:Johns Hopkins University
Category:Johns Hopkins Hospital
Category:American medical websites


Ginjin

Garid Gotsbayar (born November 4, 1992), known professionally as Ginjin (pronounced: /ˈɡɪndʒɪn/), is a Mongolian rapper and songwriter. Ginjin is representing the coldest capital city in the world - Ulaanbaatar, Mongolia. Together with his group LOI4IXCOH (pronounced: /'Löi-chix-son/) consisting of Ginjin, Lil Thug E and FLA are pioneering Mongolian Rap, Hip hop. This group is also known as the Mongolian Migos.

Early life

1992-2010
Garid Gotsbayar was born on November 4, 1992, in Leipzig, Germany to Mongolian parents. When he was 2 years old his parents moved back to Ulaanbaatar, Mongolia. Gotsbayar’s interest in music sparkled already in primary school where he was active in musical and theatrical showcases.

University
After graduating High School, Gotsbayar wanted to pursue his academic career further. Since his parents owned a tour agency in Mongolia, he chose to study abroad at I-Shou University, Kaohsiung Taiwan at the International Tourism and Hospitality Department. While studying, Gotsbayar would continue making trap music in his free time and released a mixtape called “Kaohsiung’s Most Wanted”. On January 22, 2015 Gotsbayar graduated with a bachelor degree of science in International Tourism and Hospitality Management.

Career

EZ-LOC (2007-2013)
In 2006 Gotsbayar started to write his own lyrics. A year later in 2007 he recorded first song called “220” under the name EZ Loc. His first album called “Mungu Ol Uls Ulaan Bandana Hot” (2008) sounding like “Mongol Uls (country), Ulaanbaatar City” which could be translated as “Get Money State, Red Bandana City” was published independently and sold out quickly. After the album release he was heavily affiliated with rapper Tsetse and other Vanquish’s members.

Beginning of GINJIN (2013)

On October 27, 2013 Gotsbayar released his last song under the name EZ Loc called #Ginjin. After that he decided to change his stage name to Ginjin, which could be translated as “chainy or somebody who has many chains”. Since studying in Taiwan and being far away from Mongolia, Gotsbayar decided to improve his English rapping skills by creating songs fully in English. From November 2013 till June 2014 he recorder a mixtape called “Kaohsiung’s Most Wanted” which contained 15 English songs. With having English songs on his repertoire, Ginjin was able to perform multiple shows in Taiwan, most notaibly at Free the Beach in Kenting in front 10,000 people or at Cultural Festival in 2014 and 2015 at Eda Mall. The mixtape wasn’t originally planned to be released but Ginjin finally uploaded it to YouTube in April 2015.

However it wasn’t until the summer 2014 when Mongolian public started to get to know Ginjin. After the release of “Ugzug Saihan Bol Zus Saihan” which could be translated as “as long as the ass is good everything is fine“ Ginjin gained popularity among Mongolians. The song became the summer anthem of Mongolia and reached over 3 million views in a country with a population of 3 million. The single was recorded in Kaohsiung, Taiwan while still studying at university.

In 2017, he released his single called “Pretty Girls Like Trap Music” which influenced Mongolian audience and other rap artists heavily to like trap music much more.

In November 2017 Ginjin returned to Taiwan to headline the first Taiwan Hip-Hop Festival or THHF (台灣嘻哈音樂季). It was held on November 18, 2017 at the Taiwan Sugar Museum in order to promote hip hop culture to the locals. Besides live music acts, THHF featured rap battles and graffiti jam. Debut turnout has been estimated to be around 1000 people. During the festival he established a friendship with YZ, a Taipei based Trap artist and Jay Izaak, an Atlanta producer.

In 2018 Ginjin released multiple singles such as Baiji, Unuudur, Luujin, Chanartai Yum Uuy and gained the title of Trap music|Trap King in Mongolia. As part of LOITOUR with LOI4IXCOH they toured Japan, Korea, Taiwan and China as well as headlined the biggest hip hop festival XMF in Mongolia where they performed in front of 40,000 people. In early 2019 he released two singles Ganbei, meaning "cheers" in Mandarin Chinese and Arasso meaning Alright ? or Understand ? in Korean. The first mentioned was featured on the world famous YouTube channel FCKTHEM. Ganbei is listed in the Asia playlist, which aims to promote a new wave artist from the region. After releasing 7 singles in the first half of 2019, Ginjin performed at the Golden Melody Awards and Festival otherwise known as Taiwan’s Grammy Awards in Taipei. Following this prestigious performance he toured Taiwanese clubs with YZ (Taipei based Trap artist) and headlined Playtime the biggest music festival in Mongolia.

Other ventures
Ginjin has numerous tattoos all over his body. Ginjin’s first tattoo was a burger, which caught Burger King's attention and made him star in a Burger King 2015 Brazil commercial. Parts of the shooting took part in Kaohsiung, Taiwan and in Sao Paolo, Brazil. Three years after that Burger King Mongolia approached him to remix his song “Pretty girls like Trap music” into “Pretty girls like Black Whopper”.  Gotsbayar also starred in numerous TV shows such as cooking shows, quiz shows etc.

Musical style and influence
Ginjin's music is generally categorized as hip hop, or more specifically sub-genres Trap. Ginjin is able to rap in different flows in both Mongolian and English language as well as singing. His music is a mix of American Hip Hop music with Asian elements.

Discography

Studio Album

Mixtapes

 Mungu Ol Uls Ulaan Bandana Hot (2008)

Soundtrack

Single Ladies 4 (Mongolia): Khaluut (with Alihan Dze & Saryuna) – 2020
MAM (Mongolia): Uhel Tugsgul Uu – 2019
Love & Sex (Mongolia): Hanahgui (with Mrs M & Lil Thug E) – 2019

Singles

 24 Seven (feat. Desant)
Tous Les Jours (with. Siente)
"Suvgaa Soli" (feat. Mrs M)
"Ene Much" (feat. Mrs M)
 "Hariu"
 "27"
 "Be Right" (with FLA, Tsetse & Lil Thug E)
 "Arasso"
 "Ganbei"
 "Unuudur"
 "Letter 2 MCIT"
 "5 10 20k" (with Lil Thug E & FLA)
 "Bad Bitch"
 "Baiji"
 "Luujin"
 "Bid Uhej Baina"
 "Huurhun Ohid Trap Sonsdog"
 "Whats Love"
 "Arigu" (with Lil Thug E & Mrs M)
 "Get Money" (with Lil Thug E & FLA)
 "Huchindmeergui Baina"
 "Ugzug Saihan Bol Zus Saihan"

Featured artist

 "Taa Daa" (with Lil Thug E)
 "Demi Moore" (with Speedy & Choidog)
 "It's Okay" (with Zaya, Magnet & IQ)
 "Chanartai Yum Uuy" (with Tsetse, Alihan Dze & Lil Thug E)
 "Midnight" (with Desant, Jacool, Ka & Lil Thug E)

References

External links

Official website

Category:Mumble rappers
Category:1992 births
Category:Mongolian rappers
Category:Asian-American culture
Category:Living people


Condottieri (film)

Condottieri is a 1937 Italian historical film directed by Luis Trenker and starring Trenker, Loris Gizzi and Laura Nucci. It portrays the life of Giovanni de' Medici, a celebrated condottiere of the sixteenth century. A separate German-language version was also made.

The film received 9.6 million lire of funding from the Italian government, as part as a major drive by the Fascist authorities to develop the Italian film industry (which also involved the construction of the large Cinecittà complex in Rome). Along with Scipio Africanus, the film was an attempt to harness history to support the Fascist regime's current policies. Condottieri drew parallels between the dictator Benito Mussolini and the historical figure of de' Medici, portraying both as unifying Italy. The film's elaborate sets were designed by Virgilio Marchi.

Cast
Luis Trenker, as Giovanni de' Medici
Loris Gizzi, as Malatesta
Laura Nucci, as Tullia delle Grazie
Carla Sveva, as Maria Salviati
Ethel Maggi, as Caterina Sforza
Mario Ferrari, as Cesare Borgia
Angelo Ferrari
Giulio Cirino, as Rüschli
Sandro Dani, as D'Argentière
Tito Gobbi, as Nino
Augusto Marcacci, as Daniello
Nino Marchetti, as Corrado
Lando Muzio, as Pedro
Ernesto Nannicini
Umberto Sacripante, as Sanzio
Carlo Tamberlani, as Duke of Urbino
Gino Viotti, as Pope
Giuseppe Addobbati, as Duke of Imola
Friedl Trenker, as Giovanni
Oreste Bilancia
Alberto Emmerich
Carlo Fontana
Tullio Galvani
Luis Gerold, as Barbo
Alberto Minoprio
Carlo Simoneschi
Virgilio Botti
Mara Danieli
Claudio Ermelli
Carlo Duse

See also
The Violent Patriot (1956)
The Profession of Arms (2001)

References

Bibliography
 Gundle, Stephen. Mussolini's Dream Factory: Film Stardom in Fascist Italy. Berghahn Books, 2013.
 Ricci, Steven. Cinema and Fascism: Italian Film and Society. University of California Press, 2008.

External links

Category:1937 films
Category:1930s action films
Category:1930s historical films
Category:1930s war films
Category:Italian films
Category:Italian action films
Category:Italian war films
Category:Italian historical films
Category:German films
Category:Films of Nazi Germany
Category:German black-and-white films
Category:Italian-language films
Category:Films directed by Luis Trenker
Category:Films set in the 16th century
Category:Italian multilingual films
Category:Italian black-and-white films
Category:Cultural depictions of Cesare Borgia
Category:1930s multilingual films


Candidates of the 1995 Queensland state election

This is a list of candidates who stood for the 1995 Queensland state election. The election was held on 15 July 1995.

By-elections
 On 30 April 1994, Ted Malone (National) was elected to succeed Jim Randell (National), who had resigned on 31 March 1994, as the member for Mirani.

Retiring Members

Labor
Ed Casey (Mackay)
Pat Comben (Kedron)
Ken Vaughan (Nudgee)
Anne Warner (South Brisbane)

Candidates
Sitting members are shown in bold text.

See also
Members of the Queensland Legislative Assembly, 1992–1995
Members of the Queensland Legislative Assembly, 1995–1998
1995 Queensland state election
List of political parties in Australia

References
Psephos: Adam Carr's Election Archive - Queensland 1995
 Queensland Legislative Assembly (1995). Details of polling at general election held on 15 July 1995.
 Green, Antony. 1995 Election Totals and Electorate Results

Category:Candidates for Queensland state elections


Michal Muller

Lieutenant General Michal Muller  was a South African military commander, who held the post of Chief of the South African Air Force

He joined the Union Defence Force in 1948, training as a Pilot. He served with 2 Squadron SAAF in the Korean War, flying a P-51 Mustang.
After his return to South Africa he served in various posts, including as Commanding Officer of 1 Squadron SAAF, 24 Squadron SAAF and Fighter Command.

He was appointed Chief of Air Staff operations in July 1978 before becoming Chief of the Air Force in December 1979.

After his retirement he served as Ambassador to Chile.

Awards and Decorations

See also
List of South African military chiefs
South African Air Force

References

Category:1930 births
Category:Living people
Category:South African military personnel of the Korean War
Category:South African military personnel of the Border War
Category:Chiefs of the South African Air Force
Category:Ambassadors of South Africa to Chile


Sean Michael Fidler

Sean Michael Fidler is an American sailboat racer and sailplane competition pilot.

Sean was a US Sailing Team] Gold Medalist in Yachting at the 1991 Pan American Games in the Lightning Class.  Sean has also won several world and national championships in various one-design sailboat classes.

Sean is also an American sailplane (glider) competition pilot.  Sean is a member of the 2015, 2016 and 2017 US Soaring Team and will compete in the 18-meter class at the 2017 FAI Gliding World Championships in Benalla, Australia, in January 2017.  Sean placed third in the 1st Pan American Gliding Championships held in Benton, Tennessee in April 2015 in the 15-meter class.

References

Category:Living people
Category:Pan American Games medalists in sailing
Category:Pan American Games gold medalists for the United States
Category:American male sailors (sport)
Category:Year of birth missing (living people)
Category:Sailors at the 1991 Pan American Games