Cecile Chong

Cecile Chong is an American artist based in Brooklyn, New York, whose work addresses the process of cultural assimilation and the development of individual identity. For many years she has contributed to New York City public school art programs as a teaching artist.

Early life
Cecile Chong was born in Guayaquil Ecuador. She went to China when she was 10, attending the Sacred Heart Conossian School in Macau, and then at 15 returned to Ecuador to attend the International section of the Colegio Americano High School in Quito. She came to New York City at age 19 to study art.

Background and education
She studied studio art at Queens College, receiving a BA in 1988. She received a master's degree in art education at Hunter College in 1994. During graduate studies at the Parsons School of Design she was challenged to explore her own, genuine and constructive narrative, receiving an MFA degree in 2008.

Selected works and exhibitions
2015 - Time Collision -  in the Project Room of BRIC House an installation of Eastern and Western objects and images in landscape format mixing cultural incongruities.

2018 In Between Daylight, FiveMyles Gallery, Brooklyn NY consisted of a large wall installation of artificial and real flora with small guagua's facing it. and represents the risk, danger and beauty of the immigrant journey.2017 - 2019 El Dorado - The New Forty-niners is a New York City installation of many small swaddled baby (guagua) sculptures. Forty-nine percent of the figures are painted gold, representing the percentage of NYC households that speak a language other than English. Speaking to issues of immigration, the installation as such re-images a present-day wealthy metropolis. Sunset Park in Brooklyn was the first public park iteration as it travels to the five boroughs of NYC; Lewis Latimer House Museum in Flushing Queens was a second  in 2018; and a third appeared in the Bronx at a 2019 Wave Hill summer group show described as a multi-piece “guagua” sculptural installation and a tribute to New York City's immigrant populations.

Solo exhibitions

2017  Selena Gallery, Brooklyn, NY

2015  BRIC House, Brooklyn, NY

2013  Emerson Gallery Berlin, Germany,

2014  Honey Ramka Project Space,

2012  Figuresworks,

2011  Praxis International Art Project Space,

2010  ArtSPACE

2008  Corridor Gallery

Fellowships and residencies
EFA studio program, current

Joan Mitchell Center Residency 2017

Wave Hill Winter Workspace Residency 2017

the Lower East Side Printshop 2016-2017

MASS MoCA Studios Residency

Jerome Foundation Travel and Study Grant 2015

The Center for Book Arts Residency 2013

Socrates Sculpture Park 2011

AIM - Bronx Museum 2011

Urban Artist Initiative NYC 2009

Aljira Emerge

the Joan Mitchell Foundation MFA Grant 2008

References

External references
http://cecilechong.com/index.html

Category:Living people
Category:Artists from Brooklyn
Category:American women artists
Category:1964 births


Bülowstraße (Berlin U-Bahn)

Bülowstraße is a Berlin U-Bahn station located on the  in the Schöneberg district. It opened in 1902 on the western branch of the Stammstrecke, Berlin's first U-Bahn line. Like the eponymous street, the station is named after the Prussian general Friedrich Wilhelm Freiherr von Bülow.

The station features in the 2011 film Unknown with Liam Neeson.

History
Architect Bruno Möhring planned it in an Art nouveau style, and his son Rudolf enlarged the hall in 1929.

Heavily damaged by air raids and the Battle of Berlin on 22/23 November 1943 and 19 July 1944, the station was rebuilt after World War II, but went out of service in 1972 due to the interruption of the U2 line by the construction of the Berlin Wall. The building then hosted a bazaar in discarded U-Bahn wagons, until in 1993 the eastern and western parts of the U2 were reconnected.

References

Category:Berlin U-Bahn stations
Category:Buildings and structures in Tempelhof-Schöneberg
Category:Railway stations opened in 1902
Category:Art Nouveau architecture in Berlin
Category:Art Nouveau railway stations


Daniel Grant (politician)

Daniel Grant (26 September 1826 - ?) was an English printer and Liberal politician who sat in the House of Commons from 1880 to 1885.

Grant was the son of Captain Daniel Grant of South Shields. He was educated at the Upper School of the Royal Hospital Greenwich. He founded the printing firm of Grant and Co of Turnmill Street, Clerkenwell and was principal partner for many years. He was a member of the Sylvan Debating Club.

In 1868 and 1874 Grant stood unsuccessfully for parliament at Marylebone. At the 1880 general election he was elected one of two Members of parliament for Marylebone and held the seat until 1885. Following the Redistribution of Seats Act 1885 the old constituency of Marylebone was divided into a number of single-member constituencies. At the 1885 general election Grant was the Liberal candidate at Marylebone East, but was defeated by his Conservative opponent, Lord Charles Beresford.

References

External links

Category:1826 births
Category:Liberal Party (UK) MPs for English constituencies
Category:UK MPs 1880–1885
Category:Year of death missing


Demand

In economics, demand is the quantity of a good that consumers are willing and able to purchase at various prices during a given period of time. The relationship between price and quantity demanded is also known as the demand curve. Preferences which underlie demand, are influenced by cost, benefit, odds and other variables.

Factors influencing demand

Innumerable factors and circumstances affect a buyer's willingness or ability to buy a good. Some of the common factors are:

Good's own price: The basic demand relationship is between potential prices of a good and the quantities that would be purchased at those prices. Generally the relationship is negative meaning that an increase in price will induce a decrease in the quantity demanded. This negative relationship is embodied in the downward slope of the consumer demand curve. The assumption of a negative relationship is reasonable and intuitive. For example, if the price of a gallon of milk rose from $5 to a price of $15, this is a big price increase. This significant price increase causes the consumer to demand less of that product at the price of $15 because not only is it more expensive, but the new price is very unreasonable for a gallon of milk.

Price of related goods: The principal related goods are complements and substitutes. A complement is a good that is used with the primary good. Examples include hotdogs and mustard, beer and pretzels, automobiles and gasoline. (Perfect complements behave as a single good.) If the price of the complement goes up the quantity demanded of the other good goes down.

Mathematically, the variable representing the price of the complementary good would have a negative coefficient in the demand function. For example, Qd = a - P - Pg where Q is the quantity of automobiles demanded, P is the price of automobiles and Pg is the price of gasoline. The other main category of related goods are substitutes. Substitutes are goods that can be used in place of the primary good. The mathematical relationship between the price of the substitute and the demand for the good in question is positive. If the price of the substitute goes down the demand for the good in question goes down.

Personal Disposable Income: In most cases, the more disposable income (income after tax and receipt of benefits) a person has, the more likely that person is to buy.

Tastes or preferences: The greater the desire to own a good the more likely one is to buy the good. There is a basic distinction between desire and demand. Desire is a measure of the willingness to buy a good based on its intrinsic qualities. Demand is the willingness and ability to put one's desires into effect. It is assumed that tastes and preferences are relatively constant.

Consumer expectations about future prices, income and availability: If a consumer believes that the price of the good will be higher in the future, he/she is more likely to purchase the good now. If the consumer expects that his/her income will be higher in the future, the consumer may buy the good now. Availability (supply side) as well as predicted or expected availability also affects both price and demand.

Population: If the population grows this means that demand will also increase.

Nature of the good: If the good is a basic commodity, it will lead to a higher demand

This list is not exhaustive. All facts and circumstances that a buyer finds relevant to his willingness or ability to buy goods can affect demand. For example, a person caught in an unexpected storm is more likely to buy an umbrella than if the weather were bright and sunny.

Demand function and equation and curve
The demand equation is the mathematical expression of the relationship between the quantity of a good demanded and those factors that affect the willingness and ability of a consumer to buy the good. For example, Qd = f(P; Prg, Y) is a demand equation where Qd is the quantity of a good demanded, P is the price of the good, Prg is the price of a related good, and Y is income; the function on the right side of the equation is called the demand function. The semi-colon in the list of arguments in the demand function means that the variables to the right are being held constant as one plots the demand curve in (quantity, price) space. A simple example of a demand equation is Qd = 325 - P - 30Prg + 1.4Y. Here 325 is the repository of all relevant non-specified factors that affect demand for the product. P is the price of the good. The coefficient is negative in accordance with the law of demand. The related good may be either a complement or a substitute. If it is a complement, the coefficient of its price would be negative as in this example. If it is a substitute, the coefficient of its price would be positive. Income, Y, has a positive coefficient indicating that the good is a normal good. If the coefficient was negative the good in question would be an inferior good meaning that the demand for the good would fall as the consumer's income increased. Specifying values for the non price determinants, Prg = 4.00 and Y = 50, results in the demand equation Q = 325 - P - 30(4) +1.4(50) or Q = 275 - P. If income were to increase to 55 the new demand equation would be Q = 282 - P. Graphically this change in a non price determinant of demand would be reflected in an outward shift of the demand function caused by a change in the x intercept.

Demand curve

In economics the demand curve is the graphical representation of the relationship between the price and the quantity that consumers are willing to purchase. The curve shows how the price of a commodity or service changes as the quantity demanded increases. Every point on the curve is an amount of consumer demand and the corresponding market price. The graph shows the law of demand, which states that people will buy less of something if the price goes up and vice versa.

Price elasticity of demand (PED)

PED is a measure of the sensitivity of the quantity variable, Q, to changes in the price variable, P. Elasticity answers the question of the percent by which the quantity demanded will change relative to (divided by) a given percentage change in the price. For infinitesimal changes the formula for calculating PED is the absolute value of (∂Q/∂P)×(P/Q).

Elasticity along linear demand curve
The slope of a linear demand curve is constant. The elasticity of demand changes continuously as one moves down the demand curve because the ratio of price to quantity continuously falls. At the point the demand curve intersects the y-axis PED is infinitely elastic, because the variable Q appearing in the denominator of the elasticity formula is zero there. At the point the demand curve intersects the x-axis PED is zero, because the variable P appearing in the numerator of the elasticity formula is zero there. At one point on the demand curve PED is unitary elastic: PED equals one. Above the point of unitary elasticity is the elastic range of the demand curve (meaning that the elasticity is greater than one). Below is the inelastic range, in which the elasticity is less than one. The decline in elasticity as one moves down the curve is due to the falling P/Q ratio.

Constant price elasticity demand
Constant elasticity of demand occurs when  where a and c are parameters, and the constant price elasticity is

Perfectly inelastic demand
Perfectly inelastic demand is represented by a vertical demand curve. Under perfect price inelasticity of demand, the price has no effect on the quantity demanded. The demand for the good remains the same regardless of how low or high the price. Goods with (nearly) perfectly inelastic demand are typically goods with no substitutes. For instance, insulin is nearly perfectly inelastic. Diabetics need insulin to survive so a change in price would not effect the quantity demanded.

Market structure and the demand curve
In perfectly competitive markets the demand curve, the average revenue curve, and the marginal revenue curve all coincide and are horizontal at the market-given price. The demand curve is perfectly elastic and coincides with the average and marginal revenue curves. Economic actors are price-takers. Perfectly competitive firms have zero market power; that is, they have no ability to affect the terms and conditions of exchange. A perfectly competitive firm's decisions are limited to whether to produce and if so, how much. In less than perfectly competitive markets the demand curve is negatively sloped and there is a separate marginal revenue curve. A firm in a less than perfectly competitive market is a price-setter. The firm can decide how much to produce or what price to charge. In deciding one variable the firm is necessarily determining the other variable

Inverse demand function

In its standard form a linear demand equation is Q = a - bP. That is, quantity demanded is a function of price. The inverse demand equation, or price equation, treats price as a function g of quantity demanded: P = f(Q). To compute the inverse demand equation, simply solve for P from the demand equation. For example, if the demand equation is Q = 240 - 2P then the inverse demand equation would be P = 120 - .5Q, the right side of which is the inverse demand function.

The inverse demand function is useful in deriving the total and marginal revenue functions. Total revenue equals price, P, times quantity, Q, or TR = P×Q. Multiply the inverse demand function by Q to derive the total revenue function: TR = (120 - .5Q) × Q = 120Q - 0.5Q². The marginal revenue function is the first derivative of the total revenue function; here MR = 120 - Q. Note that the MR function has the same y-intercept as the inverse demand function in this linear example; the x-intercept of the MR function is one-half the value of that of the demand function, and the slope of the MR function is twice that of the inverse demand function. This relationship holds true for all linear demand equations. The importance of being able to quickly calculate MR is that the profit-maximizing condition for firms regardless of market structure is to produce where marginal revenue equals marginal cost (MC). To derive MC the first derivative of the total cost function is taken. For example, assume cost, C, equals 420 + 60Q + Q2. Then MC = 60 + 2Q. Equating MR to MC and solving for Q gives Q = 20. So 20 is the profit maximizing quantity: to find the profit-maximizing price simply plug the value of Q into the inverse demand equation and solve for P.

Residual demand curve
The demand curve facing a particular firm is called the residual demand curve. The residual demand curve is the market demand that is not met by other firms in the industry at a given price. The residual demand curve is the market demand curve D(p), minus the supply of other organizations, So(p):
Dr(p) = D(p) - So(p )

Demand Function and Total Revenue
If the demand curve is linear, then it has the form: p = a - b*q, where p is the price of the good and q is the quantity demanded. The intercept of the curve and the vertical axis is represented by a, meaning the price when no quantity demanded. and b is the slope of the demand function. If the demand function has the form like that, then the Total Revenue should equal quantity demanded times the price of the good, which can be represented by: TR= q*p = q(a-bq).

Is the demand curve for PC firm really flat?
Practically every introductory microeconomics text describes the demand curve facing a perfectly competitive firm as being flat or horizontal. A horizontal demand curve is perfectly elastic. If there are n identical firms in the market then the elasticity of demand PED facing any one firm is
 PEDmi = nPEDm - (n - 1) PES
where PEDm is the market elasticity of demand, PES is the elasticity of supply of each of the other firms, and (n -1) is the number of other firms. This formula suggests two things. The demand curve is not perfectly elastic and if there are a large number of firms in the industry the elasticity of demand for any individual firm will be extremely high and the demand curve facing the firm will be nearly flat.

For example, assume that there are 80 firms in the industry and that the demand elasticity for industry is -1.0 and the price elasticity of supply is 3. Then
 PEDmi = (80 x (-1)) - (79 x 3) = -80 - 237 = -317

That is the firm PED is 317 times as elastic as the market PED. If a firm raised its price "by one tenth of one percent demand would drop by nearly one third." if the firm raised its price by three tenths of one percent the quantity demanded would drop by nearly 100%. Three tenths of one percent marks the effective range of pricing power the firm has because any attempt to raise prices by a higher percentage will effectively reduce quantity demanded to zero.

Demand management in economics
Demand management in economics is the art or science of controlling economic or aggregate demand to avoid a recession. Such management is inspired by Keynesian macroeconomics, and Keynesian economics is sometimes referred to as demand-side economics.

Different types of goods demand
Negative demand: If the market response to a product is negative, it shows that people are not aware of the features of the service and the benefits offered. Under such circumstances, the marketing unit of a service firm has to understand the psyche of the potential buyers and find out the prime reason for the rejection of the service. For example: if passengers refuse a bus conductor's call to board the bus. The service firm has to come up with an appropriate strategy to remove the misunderstandings of the potential buyers. A strategy needs to be designed to transform the negative demand into a positive demand.

No demand: If people are unaware, have insufficient information about a service or due to the consumer's indifference this type of a demand situation could occur. The marketing unit of the firm should focus on promotional campaigns and communicating reasons for potential customers to use the firm's services. Service differentiation is one of the popular strategies used to compete in a no demand situation in the market.

Latent demand: At any given time it is impossible to have a set of services that offer total satisfaction to all the needs and wants of society. In the market there exists a gap between desirables and the availables. There is always a search on for better and newer offers to fill the gap between desirability and availability. Latent demand is a phenomenon of any economy at any given time, it should be looked upon as a business opportunity by service firms and they should orient themselves to identify and exploit such opportunities at the right time. For example, a passenger traveling in an ordinary bus dreams of traveling in a luxury bus. Therefore, latent demand is nothing but the gap between desirability and availability.

Seasonal demand:Some services do not have an all year round demand, they might be required only at a certain period of time. Seasons all over the world are very diverse. Seasonal demands create many problems to service organizations, such as:- idling the capacity, fixed cost and excess expenditure on marketing and promotions. Strategies used by firms to overcome this hurdle are like - to nurture the service consumption habit of customers so as to make the demand unseasonal, or other than that firms recognize markets elsewhere in the world during the off-season period. Hence, this presents and opportunity to target different markets with the appropriate season in different parts of the world. For example, the need for Christmas cards comes around once a year. Or the, seasonal fruits in a country.

Demand patterns need to be studied in different segments of the market. Service organizations need to constantly study changing demands related to their service offerings over various time periods. They have to develop a system to chart these demand fluctuations, which helps them in predicting the demand cycles. Demands do fluctuate randomly, therefore, they should be followed on a daily, weekly or a monthly basis.

Criticism
E. F. Schumacher challenges the prevailing economic assumption that fulfilling demand is the purpose of economic activity, offering a framework of what he calls "Buddhist economics" in which wise demands, fulfilling genuine human needs, are distinguished from unwise demands, arising from the five intellectual impairments recognized by Buddhism:

Demand reduction

In psychopharmacology

Demand reduction refers to efforts aimed at reducing the public desire for illegal and illicit drugs. The drug policy is in contrast to the reduction of drug supply, but the two policies are often implemented together.

In energy conservation

Energy demand management, also known as demand-side management (DSM) or demand-side response (DSR), is the modification of consumer demand for energy through various methods such as financial incentives and behavioral change through education.

See also

 Consumption
 Demand chain
 Demand curve
 Demand-led growth
 Derived demand
 Law of demand
 Law of supply
 Planned obsolescence
 Supply (economics)
 Supply-side economics
 Supply and demand
 Utility

Notes

Further reading

External links

Category:Consumer theory


Jorge Arripe

Jorge Arripe (born 21 January 1936) is an Argentine rower. He competed in the men's coxed four event at the 1952 Summer Olympics.

References

Category:1936 births
Category:Living people
Category:Argentine male rowers
Category:Olympic rowers of Argentina
Category:Rowers at the 1952 Summer Olympics
Category:Place of birth missing (living people)


Toyohara Kunichika

Toyohara Kunichika (; 30 June 1835 – 1 July 1900) was a Japanese woodblock print artist. Talented as a child, at about thirteen he became a  student of Tokyo's then-leading print maker, Utagawa Kunisada. His deep appreciation and knowledge of kabuki drama led to his production primarily of ukiyo-e actor-prints, which are woodblock prints of kabuki actors and scenes from popular plays of the time.

An alcoholic and womanizer, Kunichika also portrayed women deemed beautiful (bijinga), contemporary social life, and a few landscapes and historical scenes. He worked successfully in the Edo period, and carried those traditions into the Meiji period. To his contemporaries and now to some modern art historians, this has been seen as a significant achievement during a transitional period of great social and political change in Japan's history.

Early life and education
The artist who became known as Toyohara Kunichika was born Ōshima Yasohachi on June 30, 1835, in the Kyōbashi district, a merchant and artisan area of Edo (present-day Tokyo). His father, Ōshima Kyujū, was the proprietor of a sentō (public bathhouse), the Ōshūya. An indifferent family man, and poor businessman, he lost the bathhouse sometime in Yasohachi's childhood. The boy's mother, Arakawa Oyae, was the daughter of a teahouse proprietor. At that time, commoners of a certain social standing could ask permission to alter the family name (myōji gomen).  To distance themselves from the father's failure, the family took the mother's surname, and the boy became Arakawa Yasohachi.

Little is known about his childhood except that, as a youth, Yasohachi earned a reputation as a prankster and drew complaints from his neighbors, and that at nine he was involved in a fight at the Sanno Festival in Asakusa . At age ten he was apprenticed to a thread and yarn store. However, because he preferred painting and sketching to learning the dry goods trade, at eleven he moved to a shop near his father's bathhouse.  There he helped in the design of Japanese lampshades called andon, consisting of a wooden frame with a paper cover. When he was twelve, his older brother, Chōkichi, opened a raised picture shop, and Yasohachi drew illustrations for him.

It is believed that around age twelve Yasohachi began to study with Toyohara (Ichiōsai) Chikanobu (not to be confused with  Kunichika’s student Toyohara Chikanobu). At the same time he designed actor portraits for battledores sold by a shop called Meirindo. His teacher gave him the name "Kazunobu". It may have been on the recommendation of Chikanobu that the boy was accepted the following year as an apprentice in the studio of Utagawa Kunisada, the leading and most prolific print maker of the mid-19th century.
By 1854 the young artist had made his first confirmed signed print and had taken the name "Kunichika", a composite of the names of this two teachers, Kunisada and Chikanobu. His early work was derivative of the Utagawa style and some of his prints were outright copies (an accepted practice of the time). While working in Kunisada's studio Kunichika was assigned a commission to make a print illustrating a bird's-eye view of Tenjinbashi Avenue following the terrible earthquake of 1855 that destroyed most of the city. This assignment suggests that he was considered one of Kunisada's better students.

The "prankster" artist got into trouble in 1862 when, in response to a commission for a print illustrating a fight at a theater, he made a "parody print" (mitate-e) which angered the students who had been involved in the fracas. They ransacked Kunichika's house and tried to enter Kunisada's studio by force. His mentor revoked Kunichika's right to use the name he had been given but relented later that year. Decades afterwards Kunichika described himself as greatly "humbled" by the experience.

Kunichika's status continued to rise and he was commissioned to create several portraits of his teacher. When Kunisada died in 1865, his student was commissioned to design two memorial portraits. The right panel of the portrait contains an obituary written by the writer, Kanagaki Robun, while the left contains memorial poems written by the three top students, including Kunichika.

Artist on the cusp of a new era

At the time Kunichika began his serious studies the late Edo period, an extension of traditions based on a feudal society, was about to end. The "modern" Meiji era (1868–1912), a time of rapid modernization, industrialization, and extensive contact with the West, was in stark contrast to what had come before.

Ukiyo-e artists had traditionally illustrated urban life and society – especially the theater, for which their prints often served as advertising.  The Meiji period brought competition from the new technologies of photography and photoengraving, effectively destroying the careers of most.

As Kunichika matured his reputation as a master of design and of drama grew steadily. In guides rating ukiyo-e artists his name appeared in the top ten in 1865, 1867, and 1885, when he was in eighth, fifth, and fourth place, respectively. In 1867, one year before the collapse of the Tokugawa Shogunate, he received an official commission by the government to contribute ten pictures to the 1867 World Exhibition in Paris. He also had a print at the 1893 World's Columbian Exposition in Chicago.
Kunichika often portrayed beautiful women (bijinga), but his finest works are considered to have been bust, half- and three-quarter length, and close-up or "large-head" portraits of actors, and triptychs that presented "wide-screen" views of plays and popular stories.

Although Kunichika's Meiji-era works remained rooted in the traditions of his teachers, he made an effort to incorporate references to modern technology. In 1869 he did a series jointly with Yoshitoshi, a more "modern" artist in the sense that he depicted faces realistically. In addition, Kunichika experimented with "Western" vanishing point perspective.

The press affirmed that Kunichika's success continued into the Meiji era. In July 1874, the magazine Shinbun hentai said that: "Color woodcuts are one of the specialties of Tokyo, and that Kyôsai, Yoshitoshi, Yoshiiku, Kunichika, and Ginkô are the experts in this area." In September 1874 The same journal held that: "The masters of Ukiyoe: Yoshiiku, Kunichika and Yoshitoshi. They are the most popular Ukiyo-e artists." In 1890, the book Tôkyô meishô doku annai (Famous Views of Tokyo), under the heading of woodblock artist, gave as examples Kunichika, Kunisada, Yoshiiku, and Yoshitoshi. In November 1890 a reporter for the newspaper Yomiuri Shimbun wrote about the specializations of artists of the Utagawa school: "Yoshitoshi was the specialist for warrior prints, Kunichika the woodblock artist known for portraits of actors, and Chikanobu for court ladies."

Contemporary observers noted Kunichika's skillful use of color in his actor prints, but he was also criticized for his choices.  Unlike most artists of the period, he made use of strong reds and dark purples, often as background colors, rather than the softer colors that had previously been used. These new colors were made of aniline dyes imported in the Meiji period from Germany. (For the Japanese the color red meant progress and enlightenment in the new era of Western-style progress.)

Like most artists of his era and genre, Kunichika created many series of prints, including: Yoshiwara beauties compared with thirty-six poems; Thirty-two fashionable physiognomies; Sixteen Musashi parodying modern customs; Thirty-six good and evil beauties; Thirty-six modern restaurants; Mirror of the flowering of manners and customs; Fifty-four modern feelings matched with chapters of The Tale of Genji; Scenes of the twenty-four hours parodied; Actors in theatrical hits as great heroes in robber plays; Eight views of bandits parodied.

In 1863 Kunichika was one of a number of artists who contributed landscape prints to two series of famous Tokaido scenes commissioned to commemorate the journey made by the shōgun Iemochi from Edo to Kyoto to pay his respects to the emperor. Otherwise, his landscapes were primarily theater sets, or backgrounds for groups of beauties enjoying the out-of-doors. He recorded some popular myths and tales, but rarely illustrated battles. When portraying people he only occasionally showed figures wearing Western dress, despite its growing popularity in Japan. He is known to have done some shunga (erotic art) prints but attribution can be difficult as, like most artists of the time, he did not always sign them.
Kunichika had many students but few attained recognition as print artists.  In the changing art scene they could not support themselves designing woodblock prints, but had to make illustrations for such popular media as books, magazines and newspapers.  His best-known students were Toyohara Chikanobu and Morikawa Chikashige. Both initially followed their master's interest in theater, but later Chikanobu more enthusiastically portrayed women's fashions, and Chikashige did illustrations.  Neither is considered by critics to have achieved his master's high reputation.

Kunichika had one female student, Toyohara Chikayoshi, who reportedly became his partner in his later years.  Her work reflected the Utagawa style.  She competently depicted actors, and the manners and customs of the day.

Personal life
As a young man, Kunichika had a reputation for a beautiful singing voice and as a fine dancer. He is known to have used these talents in amateur burlesque shows.

In 1861 Kunichika married his first wife, Ohana, and in that same year had a daughter, Hana.  The marriage is thought not to have lasted long, as he was a womanizer. He fathered two out-of-wedlock children, a girl and a boy, with whom he had no contact, but he does appear to have remained strongly attached to Hana.

Kunichika was described as having an open, friendly and sincere personality. He enjoyed partying with the geishas and prostitutes of the Yoshiwara district, while consuming abundant amounts of alcohol.  His greatest passion, however, was said to be the theater, where he was a backstage regular. His appearance said to be shabby. He was constantly in debt and often borrowed money from the kabuki actors he depicted so admiringly.  A contemporary said of him: "Print designing, theater and drinking were his life and for him that was enough." A contemporary actor, Matsusuke IV, said that when visiting actors backstage for the purpose of sketching them, Kunichika would not socialize but would concentrate intensely on his work.

Around 1897, his older brother opened the Arakawa Photo shop, and Kunichika worked in the store. Because Kunichika had a dislike for both the store and photography, only one photograph of him exists.

In October 1898 Kunichika was interviewed for a series of four articles about him, The Meiji-period child of Edo, which appeared in the Tokyo newspaper Yomiuri Shimbun.  In the introduction to the series, the reporter wrote:
...his house is located on the (north) side of Higashi Kumagaya-Inari. Although his residence is just a partitioned tenement house, it has an elegant, latticed door, a nameplate and letterbox. Inside, the entry...leads to a room with worn tatami mats upon which a long hibachi has been placed. The space is also adorned with a Buddhist altar. A cluttered desk stands at the back of the miserable two-tatami room; it is hard to believe that the well-known artist Kunichika lives here...Looking around with a piercing gaze and stroking his long white beard, Kunichika talks about the height of prosperity of the Edokko...

During the interview, Kunichika claimed to have moved 107 times, but it seems more likely that he moved only ten times.

Kunichika died at his home in Honjo (an eastern suburb of Edo) on July 1, 1900 at the age of 65, due to a combination of poor health and bouts of heavy drinking brought on by the death at 39 of his daughter Hana while giving birth to his grandson, Yoshido Ito, some months previously. He was buried at the Shingon Buddhist sect temple of Honryuji in Imado, Asakusa.
His grave marker is thought to have been destroyed in a 1923 earthquake, but family members erected a new one in 1974. In old Japan, it had been a common custom for people of high cultural standing to write a poem before death. On Kunichika's grave his poem reads:
"Since I am tired of painting portraits of people of this world, I will paint portraits of the King of hell and the devils." Yo no naka no, hito no nigao mo akitareba, enma ya oni no ikiutsushisemu.

Legacy
In 1915, Arthur Davison Ficke, an Iowa lawyer, poet, and influential collector of Japanese prints, wrote Chats on Japanese Prints.  In the book he listed fifty-five artists, including Kunichika, whose work he dismissed as "degenerate" and as "All that meaningless complexity of design, coarseness of color and carelessness of printing that we associate with the final ruin of the art of color prints." His opinion, which differed from that of Kunichika's contemporaries, influenced American collectors for many years, with the result that Japanese prints produced in the second half of the 19th century, especially figure prints, fell out of favor.

In the late 1920s and early 1930s an author, adventurer, banker and great collector of Japanese art, Kojima Usui, wrote many articles aimed at resurrecting Kunichika's reputation.  He was not successful in his day, but his work became a basis for later research, which did not really begin until quite recently.
In 1876 Laurance P. Roberts wrote in his Dictionary of Japanese Artists that Kunichika produced prints of actors and other subjects in the late Kunisada tradition, reflecting the declining taste of the Japanese and the deterioration of color printing. Roberts described him as, "A minor artist, but represents the last of the great ukiyo-e tradition." The cited biography reflects the author's preference for classical ukiyo-e. Richard A. Waldman, owner of The Art of Japan, said of Roberts's view, "Articles such as the above and others by early western authors managed to put this artist in the dustbin of art history."
An influential reason for Kunichika's return to favor in the western world is the publication, in 1999, in English, of Amy Reigle Newland's Time present and time past: Images of a forgotten master: Toyohara Kunichika 1835–1900.

In addition, the 2008 show at the Brooklyn Museum, Utagawa: Masters of the Japanese Print, 1770–1900, and a resulting article in The New York Times of 03/22/08 have increased public awareness of and prices for Kunichika prints.

Artworks

See also
 Kabuki
 Ukiyo-e
 Woodblock printing in Japan

Notes

References

At this time this is the only substantive reference written in English.  All other sources cite this one. The book consists of "Toyohara Kunichika: His life and personality," pp 7–16; "Aspects of Kunichika's art: Images of beauties and actors," pp 17–29; "Kunichika's legacy," pp 30–32; footnotes, pp 33–38; "Kawanabe Kyosai and Toyohara Kunichika," an essay by Shigeru Oikawa, pp 39–49. The remainder of the book, pp 50–154, is an illustrated catalog of 133 of the prints; an appendix on signatures and seals, pp 155–164; a glossary, pp 165–167.

External links

Biography
 Kunichika's biography
 Oe Naokichi Collection of Toyohara Kunichika's  Ukiyo-e prints at the Kyoto University of Art and Design  collection.

Looking at Kunichika
 Aniline Dyes (Toyohara Kunichika)

Museum Sites
 Fine Arts Museums of San Francisco
 Museum of Fine Arts, Boston

Image Sources
 Castle fine arts
 Japan Print Gallery
 Man-Pai / Japanese Prints
 Ohmi Gallery: Ukiyo-e and Shin Hanga prints from the collection of Dr Ross Walker
 Robyn Buntin of Honolulu
 Tokugawa Gallery
 Toyohara Kunichika (1835–1900) Bildband

Category:1835 births
Category:1900 deaths
Category:Ukiyo-e artists
Category:19th-century Japanese people
Category:19th-century Japanese painters
Category:Buddhist artists
Category:People from Tokyo


Ike Azotam

Ikechukwu "Ike" Azotam (born January 14, 1991) is a Nigerian-American professional basketball player who currently plays for Leyma Básquet Coruña of the Spanish LEB Oro league. He played basketball at the collegiate level with Quinnipiac for four seasons and earned all-conference recognition on three occasions. Azotam attended the John D. O'Bryant School of Mathematics & Science and Marianapolis Preparatory School for high school and was named New England All-Star in his final two seasons. He is mainly a power forward.

Early life
Ike was born on January 14, 1991 in Boston, Massachusetts as the youngest of four children of Ada and Bennet Azotam. He has two brothers, Dozie and Uchenna, and a sister, Adaorah. Azotam's parents both moved from Nigeria to the United States at about 20 years old for a better life. Dozie played American football for the Georgetown Hoyas and is a member of the school's African-American Advisory Board (AAAB). Unchenna and Adaorah attended Georgetown as well, leading Ike to consider joining the same school. The family lived on the south end of Roxbury, a neighborhood in Boston, on 1350 Tremont St. Their house was located very close to the Reggie Lewis Track and Athletic Center.

Ike began playing basketball in fifth grade, but began taking it more seriously once he went through a growth spurt heading into ninth grade. Growing up, he often walked from his home to a nearby YMCA facility to practice. Azotam supposedly made his first slam dunk his first at the age of 15, a moment that he would remember for the rest of his life. Despite repeatedly performed the same move, but failed to do so when he called his friends to watch him. However, in the summer, he grew four inches and was eventually able to consistently dunk the ball. Azotam also liked to play with Dozie, who was seven years older and playing college football at around the same time. His mother said, "You would have to ask him to take out the trash, clean the dishes and clean his room, but you never had to ask him to play basketball."

High school career

Azotam first played high school basketball with John D. O'Bryant School of Mathematics & Science in the neighborhood of Roxbury in Boston. He came in as a freshman with very little experience in organized basketball and O'Bryant head coach Juan Figueroa praised him for his athleticism but considered him very raw, primarily on the defensive end. However, he rapidly improved within the next three years. On March 2, 2007, as a sophomore, Azotam recorded 18 points and 9 rebounds. He had two offensive rebounds in the final two minutes of the game, but North Attleborough High School pulled off the upset win. By the end of his sophomore season, he was averaging 16.5 points and 9.5 rebounds per game. In his junior season, on January 12, 2009, Azotam was one of seven Players of the Week in boys' basketball named by Boston.com after scoring a total of 40 points and 34 rebounds in wins over Boston English and West Roxbury High School. Later that year, on February 21, John O'Bryant was defeated by Madison Park Technical Vocational High School at the Boston City League championship game despite having Azotam put up a double-double of 16 points and 20 rebounds. Following his third season at O'Bryant, after which they finished 18–6, Azotam earned New England All-Star and Massachusetts All-Scholastic recognition. He decided to attend Marianapolis Preparatory School in Thompson, Connecticut as a senior to help secure an NCAA Division I scholarship in the near future. By the end of his season with Marianapolis Prep, he was averaging 19.3 points, 10.3 rebounds, 5.2 assists, and 2.1 blocks, leading the team to second place at the NEPSAC championship. The Golden Knights finished with a record of 21–9.

College career
Azotam played collegiately for the Quinnipiac Bobcats from 2010 to 2014. He was twice named to the Second-team All–NEC in 2012 and 2013. Azotam was a First-team All–MAAC selection in his senior year in 2014.

Professional career
In September 2014, Azotam signed his first professional contract with Marín Peixegalego of the LEB Plata, the second-best basketball league in Spain behind the ACB. The team was coming off a 9–15 season, in which they failed to qualify for the playoffs. He made his debut on October 5 against Azpeitia, scoring 22 points and adding 7 rebounds and 2 steals. In his next game, on October 11, Azotam recorded his first double-double, with 19 points and 13 rebounds vs Canarias Basketball Academy. He followed up by notching a season-high 24 points on Xuventude Baloncesto. Azotam had another notable performance on November 30, when he scored 19 points and grabbed 10 rebounds against FC Barcelona Bàsquet B. Azotam led Marín in points, rebounds, field goal percentage and minutes through February 17, 2015, when he was named LEB Plata Player of the Week. By the end of the season, he was averaging 13.9 points and 6.6 rebounds and making over 55% of his shots.

On October 29, 2015, Azotam inked with the Island Storm of the National Basketball League of Canada (NBL). He claimed that he wanted to play with the team because the Storm were historically successful in the NBL Canada. Head coach Joe Salerno said, "Ike is a tough, hard nose, physical player, who has a great mid-range game and isn't scared to mix it up a bit in the paint." Salerno also believed that Azotam would have an even more successful second season in professional basketball.

Azotam returned to Spain in December 2015, after signing with Leyma Básquet Coruña of the LEB Oro.

Personal
Throughout his childhood, Ike was closest to his eldest brother Dozie. Dozie, ironically, can’t hit a free throw and has no bounce, but he provided great emotional support. Apart from playing basketball with him, the younger Azotam would ride to the airport with his father whenever Dozie, who attended Georgetown University, would return to his family's Boston home. Upon his return, he would go to the local YMCA with Ike. He did this to the extent that it became a tradition. Dozie said, "It just became a habit...Family comes first." Unfortunately, Ike couldn’t learn much from his brother, Dozie, due to his overall lack of basketball knowledge. He instead turned to Steve Ekechuku to fine tune his game. Mr. Ekechuku earned his stripes on the Akron blacktop crossing up anyone who dared challenge him. They called him simply “That Guy.” Steve was happy to pick up the slack left by Dozie and impart much of his wisdom on his young understudy. Steve always told Ike, “if you believe in yourself, you can accomplish anything!” None of Ike's siblings stand above 6 ft 1 in (1.85 m) and his mother is even shorter. However, his uncles and cousins are far taller, ranging from 6 ft 6 in (1.98 m) to 6 ft 8 in (2.03 m). Ike himself has a height of 6 ft 7 in (2.01 m) and stood 6 ft 6 (1.98 m) as a high school senior.

References

External links

 Ike Azotam on Eurobasket.com
 Ike Azotam on RealGM
 Ike Azotam on Sports Reference

Category:1991 births
Category:Living people
Category:American expatriate basketball people in Spain
Category:American people of Nigerian descent
Category:Básquet Coruña players
Category:People from Roxbury, Boston
Category:Power forwards (basketball)
Category:Quinnipiac Bobcats men's basketball players
Category:Sportspeople from Boston
Category:American men's basketball players


Hierarchical decision process

The hierarchical decision process (HDP) refines the classical analytic hierarchy process (AHP) a step further in eliciting and evaluating subjective judgements.  These improvements, proposed initially by Dr. Jang Ra (a student of Dr. Thomas L. Saaty who developed and refined AHP) include the constant-sum measurement scale (1–99 scale) for comparing two elements, the logarithmic least squares method (LLSM) for computing normalized values, the sum of inverse column sums (SICS) for measuring the degree of (in)consistency, and sensitivity analysis of pairwise comparisons matrices.  These subtle modifications address issues concerning normal AHP consistency and applicability in the process of constructing hierarchies: generating criteria, classifying/selecting criteria, and screening/selecting decision alternatives.

References

Category:Group decision-making


Tomorrow (C-Murder album)

Tomorrow is the eighth studio album by rapper C-Murder. The album was released on June 15, 2010 under TRU Records & Venti Uno, while he is serving life imprisonment sentence for second degree murder.

Track listing
"The Message" — 1:46
"The Life Eye Live" (featuring Verse & AR) — 5:10
"Snow Bunny" (featuring Verse & Jason Lyric) — 4:02
"Tomorrow" (featuring B-Streezy) — 4:43
"Message Parlor" (Skit) — 1:59
"Bottom of da Boot" (featuring Verse & Dofus) — 4:02
"Heartbeat" (featuring Verse) — 3:44
"See It in My Eyes" (featuring Von, Holidae & AR) — 4:28
"Neva Look Back" — 3:45
"How I Live" (featuring Verse) — 4:48
"Chinese Restaurant" (Skit) — 0:54
"I'm a Problem" (featuring Pukie, Von & Jahbo) — 4:05
"Suicide Mission" (featuring Macho & Kis) — 4:38
"Make U Cry" — 3:07
"Thank You" — 0:38

Credits

References

Category:C-Murder albums
Category:2010 albums


Chris Byrne (footballer)

Christopher Thomas Byrne (born 9 February 1975) is an English former professional footballer who played as a midfielder for various teams in the Football League.

External links

Category:1975 births
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Category:Association football midfielders
Category:Macclesfield Town F.C. players
Category:Sunderland A.F.C. players
Category:Stockport County F.C. players
Category:English Football League players


The Edge (1997 film)

The Edge is a 1997 American survival film directed by Lee Tamahori and starring Anthony Hopkins and Alec Baldwin. A plane carrying wealthy Charles Morse (Hopkins) crashes down in the Alaskan wilderness. Together with the two other passengers, photographer Bob Green (Baldwin) and assistant Stephen (Harold Perrineau), Charles devises a plan to help them reach civilization. However, his biggest obstacle might not be the elements, or even a large Kodiak bear stalking them -- it could be Bob, whom Charles has reason to believe is having an affair with his wife and would not mind seeing him dead. Bart the Bear, a trained Kodiak bear known for appearances in several Hollywood movies, also appears in the film as the vicious Kodiak; this was one of his last film roles.

Plot
Charles Morse (Anthony Hopkins), a billionaire, Robert "Bob" Green (Alec Baldwin), a photographer, and Stephen (Harold Perrineau), Bob's assistant, arrive in a remote Alaskan village with Charles' wife, Mickey (Elle Macpherson), a model. Styles (L.Q. Jones), the proprietor of the lodge, warns everyone about not leaving uncovered food that will attract bears. Charles is surprised with a birthday party where Mickey gives him an engraved pocket watch and Bob gives a hunting knife. Another of Charles's valued possessions is a book with instruction and advice for surviving in the wild. During key moments early on, he is often shown losing the thread of conversations because he is so absorbed in his reading.

During a photo shoot, Charles observes Bob and Mickey kissing platonically. The three men fly to a location to find a local Alaskan man (Gordon Tootoosis), for photographs. A note on his door indicates he is miles away bear hunting. They fly north where the man is supposed to be hunting. During the flight, Charles asks Bob how he is planning to kill him. Before Bob can answer, the plane strikes a flock of birds and nose-dives into a lake, killing the pilot. Charles, Bob, and Stephen barely reach shore. Lost in the crash is Charles's survival book.

After building a fire and spending the night on the lake shore, the three men attempt to hike the next day to a more likely search area, only to find a vicious male Kodiak bear stalking them. While crossing a makeshift bridge trying to elude the bear, Charles falls into the rapids. Bob saves him, leaving Charles doubting his earlier suspicions about Bob's intentions. The group becomes lost and Stephen wounds his leg.  That night, the bear attacks their camp, killing Stephen and chasing the other two away.

The two men see a rescue helicopter in the distance. They attempt to flag it down, but the pilot does not see them, leaving them reduced to finding their own way out.

The bear eventually finds Charles and Bob again and continually frustrates their efforts to find primitive food. Charles decides that they must bait the bear and kill it in order to survive. The next day, the bear attacks the two. They manage to lure it into a river to fight it. The bear attacks Bob but Charles distracts it, luring it away. Charles wedges his spear between rocks allowing the bear to use its own weight to fatally wound itself after rearing up and being impaled on Charles' spear. The bear dies as a result. The two men find food from the animal's meat and use its fur as clothing

Following the river south, the men find an empty cabin. Charles notices a deadfall, while Bob rushes into the cabin. They find supplies, including a canoe, rifle, and ammunition. While Bob is checking if the canoe is usable, Charles finds a receipt in his pocket to use as tinder. The receipt contains information confirming his suspicions about his wife's infidelities with Bob.

When Bob returns to the cabin, he reveals that he plans to kill Charles for his wife. He orders Charles outside, but before he is able to kill him, Bob falls into the deadfall, despite Charles's attempt to warn him. Bob is badly injured and begs Charles for his help. Charles removes Bob from the pit and tends to his wounds. They go downriver in the canoe together.

Charles makes camp with a fire to keep Bob warm. Bob apologizes for betraying Charles and says Mickey was unaware he intended to murder him. A helicopter appears and Charles successfully attracts its attention, but Bob dies before the helicopter lands.

Charles is brought back to the lodge and reveals to his wife that he is aware of her betrayal by handing her Bob's watch. He states to the press that the other men died, "saving my life."

Cast

Production
Principal photography began on August 19, 1996. Footage was taken primarily in Alberta, Canada.  Among the Alberta locations were Banff National Park, Canmore, Edmonton, Thunderstone Quarries, Fortress Ski Resort and Allarcom Studios.  Additional scenes were shot in Yoho National Park and Golden, both in British Columbia. Filming ended on November 22, 1996.

The shooting of the film is discussed by Art Linson in his 2002 book What Just Happened?, later made into a film starring Robert De Niro. Initially called Bookworm, the script was turned down by Harrison Ford and Dustin Hoffman before Alec Baldwin settled on the role of Green. De Niro showed some interest in the role of Morse but ultimately declined. Baldwin's unwillingness to shave a beard that he had grown for the role is reenacted by Bruce Willis in Barry Levinson's adaptation of Linson's book.

Like many other actors who had worked with Bart the Bear, Baldwin was extremely impressed with how well-trained and docile the bear was. During interviews, he revealed that during filming he was concerned that the film simply wouldn't work because of how docile Bart was. After the film was completed, Baldwin commented that Bart "should send the film editor a fruit basket every day for making him look so scary."  As for Hopkins, who had worked with Bart in Legends of the Fall, he "was absolutely brilliant with Bart," according to trainer Lynn Seus, who went on to say that Hopkins "acknowledged and respected (Bart) like a fellow actor. He would spend hours just looking at Bart and admiring him. He did so many of his own scenes with Bart."

Three months before the film was to be released, the studio felt Bookworm needed a more commercial title. Dozens of others were considered, according to Linson, until the film was renamed The Edge.

Music
The film's musical score was composed by Jerry Goldsmith, who worked closely with director Lee Tamahori to develop a score more diverse than other works by Goldsmith in the 1990s. Initially, the score was released on CD in 1997, upon the film's release, by RCA Records. Over time, the first release went out of print, leading to La-La Land Records issuing a limited 3500-unit pressing of the complete score, which was also out of print by July 2013. The new release contains 25 minutes of unreleased music and fixes a problem found on the RCA release affecting the track "Rescued", which contained rustling noises during some quieter parts.

RCA Records track list:
 Lost In The Wild (3:01)
 The Ravine (4:38)
 Birds (2:24)
 Mighty Hunter (1:34)
 Bitter Coffee (3:03)
 Stalking (5:47)
 Deadfall (6:15)
 The River (2:21)
 Rescued (6:04)
 The Edge (2:57)

La-La Land Records track list:
 Early Arrival (1:32)*
 Lost In The Wild(s) (2:59)
 A Lucky Man/Open Door (1:41)* (does not include the final orchestral outburst as the "bear" bursts through the door, which only lasts for a few seconds)
 Mighty Hunter (1:31)
 The Spirit (0:36)*
 Birds (2:22)
 The Fire / Breakfast (2:31)*
 Rich Man (0:58)*
 The Ravine (4:36)
 Bitter Coffee (3:01)
 Wound (1:38)*
 Stephen's Death (2:26)* (contains an unused ending from 1:45 onwards)
 The Cage / False Hope / No Matches (3:34)* (contains crossfades between the three cues, although they are separated in the film)
 Stalking (5:46)
 Deadfall / Bear Fight (6:21)
 The Discovery / Turn Your Back (5:01)* (contains a brief alternate segment at 1:34 – 1:46)
 The River (2:26)
 Rescued (6:03)
 End Title (Lost In The Wild)(s) (1:59)*
 The Edge (2:55)

Bonus tracks:
 False Hope (Alternate Take) (1:08)* (alternate of 0:56 – 2:00 of track 13, with more percussion and an additional brass melody)
 Rescued (Film Version Ending) (1:19)* (alternate ending of track 18, reflecting the film version)
 The Edge (Alternate Take) (3:00)* (alternate recording of track 20)
 = Previously unreleased

Release
The Edge had its premiere at the Toronto International Film Festival in Canada on September 6, 1996. It was released in the U.S. on September 26, 1997 in 2,351 theaters. It grossed $7.7 million in its opening weekend. It went on to gross $27.8 million in the U.S. and $15.4 million overseas, for a worldwide total of $43.3 million in its theatrical run.

Reception
Upon release, The Edge received mixed to positive reviews from critics. Based on 49 reviews collected by Rotten Tomatoes, the film received a 63% approval rating from critics, with an average score of 6.4/10. Roger Ebert  of the Chicago Sun-Times gave the film 3 out of 4 stars, claiming the filmmakers did well by not going berserk with the action sequences as other films do. But, he did go on to criticize the ending by saying that:
"Having successfully negotiated almost its entire 118 minutes, The Edge shoots itself in the foot. After the emotionally fraught final moments, just as we are savoring the implications of what has just happened, the screen fades to black and we immediately get a big credit for Bart the Bear. Now Bart is one helluva bear (I loved him in the title role of The Bear), but this credit in this place is a spectacularly bad idea."

Home media
Following its initial release on VHS, The Edge was released on a non-anamorphic widescreen NTSC DVD in the US, with no extras, save the original theatrical trailer. Meanwhile, PAL DVDs released in Europe, Australia, etc. feature an anamorphic transfer, the trailer, a six-minute featurette, seven short cast and crew interviews and five text biographies. As of 2017, it has also been released on Blu-ray in the US and Germany, with the same extras as each country's DVD.

References

External links

Category:1997 films
Category:1990s buddy films
Category:1990s disaster films
Category:1990s drama films
Category:20th Century Fox films
Category:American adventure drama films
Category:American aviation films
Category:American buddy drama films
Category:American disaster films
Category:American films
Category:American survival films
Category:Canadian aviation films
Category:Canadian disaster films
Category:Canadian drama films
Category:Canadian films
Category:Films about aviation accidents or incidents
Category:Films about bears
Category:Films about death
Category:Films directed by Lee Tamahori
Category:Films scored by Jerry Goldsmith
Category:Films set in Alaska
Category:Films set in forests
Category:Films shot in Edmonton
Category:Films shot in British Columbia
Category:Grizzly bears in popular culture
Category:Films with screenplays by David Mamet


Mordellistena longicornis

Mordellistena longicornis is a beetle in the genus Mordellistena of the family Mordellidae. It was described in 1856 by Étienne Mulsant.

References

longicornis
Category:Beetles described in 1856


Saskatchewan Highway 305

Highway 305 is a highway in the Canadian province of Saskatchewan. It runs from Highway 16 near Langham to Highway 11 near Warman. Highway 305 is about  long.

Highway 305 begins at Highway 16 at the southeastern corner of the Langham town limits. It travels east towards Dalmeny, where it turns south until it intersects Highway 684 and Highway 784. Highway 305 resumes traveling east, intersecting Highway 12 approximately  north of Martensville.  Highway 305 bypasses Warman, following the northern city boundary, and ends at Highway 11. As of 2019, an interchange with Highway 11 has opened, modifying traffic patterns around other existing intersections.

History
Highway 305 was the original alignment of Highway 16, which at the time was designated as Provincial Highway 5.  At the time, the highway continued east from Warman, crossed the South Saskatchewan River via a ferry, and continued east to Aberdeen and Humboldt. By the mid-1950s, Highway 5 was rerouted to follow Highway 12 south and pass through Saskatoon, bypassing the Warman ferry. In the 1960s, Highway 5 was realigned between Langham and Saskatoon, and the bypassed section was re-designated as Highway 305. Until 2014, Highway 305 followed Central Street (Highway 784) through Warman and ended at Highway 11, until a new bypass was opened in 2014.

Major intersections
From west to east:

References

305


George Taylor (Connecticut politician)

George Taylor (August 24, 1802 – January 14, 1881) was an American physician and politician.

Taylor was born in New Milford, Conn., August 24, 1802, the son of Col. William Taylor and Abigail (Starr) Taylor. His great grandfather, Rev. Daniel Boardman, and his grandfather, Rev. Nathaniel Taylor, were the first and second pastors of New Milford.

Taylor graduated from Yale Medical School in 1824. Immediately on graduation he began practice in his native town, where he continued to reside until his death, after a long illness, January 14, 1881, in his 79th year.

He became convinced of the truth of homoeopathy in 1837, and was the first practitioner of that school in Connecticut.

He was elected to the Connecticut State Senate in 1835 and 1836, and represented New Milford in the Connecticut House of Representatives in 1833, 1834, 1850, 1863, 1871, 1872, and 1874, being in the last instance the senior member of the House, save one, in length of service. He filled various other local offices, being Judge of Probate from 1836 to 1838, from 1842 to 1844, and from 1855 to 1857, and Town Treasurer for 14 years. In 1844 he was the Democratic candidate for US Congress in his district; in 1864, a delegate to the Democratic National Convention; and in 1876, on the Democratic ticket for Presidential Elector.

He was married, Oct 25, 1826, to Harriett D. Allen, who died in 1847. Two children survived him—his only son and only grandson followed the same profession.

External links

Category:1802 births
Category:1881 deaths
Category:People from New Milford, Connecticut
Category:Yale School of Medicine alumni
Category:American homeopaths
Category:Physicians from Connecticut
Category:Connecticut Democrats
Category:Connecticut state senators
Category:Members of the Connecticut House of Representatives
Category:Connecticut state court judges
Category:Connecticut local politicians
Category:19th-century American politicians


William Sacheverell

William Sacheverell (1638 – 9 October 1691) was an English politician who sat in the House of Commons in two periods between 1670 and 1691.

Life
Sacheverell was the son of Henry Sacheverell, a country gentleman, by his wife Joyce Mansfield.  His family had been prominent in Derbyshire and Nottinghamshire since the 12th century; William inherited large estates from his father. He was admitted to Gray's Inn in 1667, and in 1670 he was elected Member of Parliament for Derbyshire. He immediately gained a prominent position in the party hostile to the Court, and before he had been in the House of Commons for six months, he proposed a resolution that all "popish recusants" should be removed from military commands; the motion, enlarged so as to include civil employment, was carried without a division on 28 February 1672/1673. This resolution was the forerunner of the Test Act, in the preparation of which Sacheverell took an active part, and which caused the breakup of the cabal.

Sacheverell took part in nearly every debate in the House of Commons, and was recognized as one of the most able leaders of the opposition or "Country Party". He strongly opposed the king's alliance with France, advocating a league with the Dutch and the refusal of supplies until the demands of the Commons should be complied with. Sacheverell took a special interest in the navy and spoke in many debates on this question. In 1677 he carried an address to the king calling upon him to conclude an alliance with the United Provinces against Louis XIV of France, and when the Speaker adjourned the House by Charles's order Sacheverell made an eloquent protest, asserting the right of the House itself to decide the question of its adjournment. When parliament met early in 1678 assurances were received from Charles that he had arranged the treaties demanded by the Commons; but Sacheverell boldly questioned the king's good faith, and warned the Commons that they were being deceived. When the secret treaty with France became known, confirming Sacheverell's insight, he called for the disbandment of the forces and advocated the refusal of further supplies for military purposes; and in June 1678 he resolutely opposed Lord Danby's proposal to grant £300,000 per annum to Charles II for life. Jean Barillon mentions Sacheverell among the Whig leaders who accepted bribes from Louis XIV, but the evidence against him is not conclusive.

When Titus Oates began his "revelations" in 1678, Sacheverell was among those who most firmly believed in the existence of a Popish Plot. He was one of the most active investigators of the affair, and one of the managers of the impeachment of the five Catholic peers. He also acted for a time as chairman of the secret committee of the Commons, and drew up the report on the examination of the Jesuit Coleman, secretary to Mary of Modena, the Duchess of York. He was a member of the committee that drafted the articles of impeachment against Danby in 1678, and was appointed one of the managers of the Commons; and in 1679, when the impeachment, interrupted by the dissolution of parliament, was resumed in the new parliament, he spoke strongly against the validity of Danby's plea of pardon by the king.

The allegations in Sacheverell's report on the examination of Coleman prompted the country party to demand the exclusion of James, Duke of York, from the succession to the throne, the first suggestion of the famous Exclusion Bill being made by Sacheverell on 4 November 1678 in a debate--"the greatest that ever was in Parliament," as it was pronounced by contemporaries—raised by Lord Russell with the object of removing the duke from the King's Council. He vigorously promoted the bill in the House of Commons and opposed granting supplies until it should pass. When Charles offered an alternative scheme (1679) for limiting the powers of a Catholic sovereign, Sacheverell made a great speech in which he pointed out the insufficiency of the king's terms for securing the object desired by the Whigs. In the conflict between the Petitioners and the Abhorrers he supported the former, and on 27 October 1680 brought forward a motion asserting the right of petitioning the king to summon parliament, and proposed the impeachment of Chief Justice North as the author of the proclamation against tumultuous petitioning. Sacheverell was one of the managers on behalf of the Commons at the trial of Lord Stafford in Westminster Hall; but took no further part in public affairs till after the elections of March 1681, when he was returned unopposed for Derbyshire. He was prosecuted for riot in connection with the surrender of the charter of Nottingham in 1682, and tried before George Jeffreys, who fined him 500 marks.

At the general election following the death of Charles II in 1685 Sacheverell lost his seat, and for the next four years he lived in retirement on his estates. In the Convention Parliament summoned by William III in 1689,  he sat for Heytesbury. He spoke in favour of a radical resettlement of the constitution, and served on a committee, of which Somers was chairman, for drawing up a new constitution in the form of the Declaration of Right; he was one of the representatives of the Commons in their conference with the peers on the question of declaring the throne vacant. William III appointed Sacheverell a lord of the admiralty, but he resigned the office after a few months. He procured the omission of Lord Jeffreys's name from the Act of Indemnity.

In 1690 Sacheverell moved a famous amendment to the Corporation Bill, proposing the addition of a clause for disqualifying for office for seven years municipal functionaries who had surrendered their charters to the Crown. A celebrated debate on this question took place in the House of Commons in January 1690; but the evident intention of the Whigs to perpetuate their own ascendancy by tampering with the franchise contributed largely to the Tory reaction which resulted in the defeat of the Whigs in the elections of that year. Sacheverell was elected member for Nottinghamshire; but be died before taking his seat.

In the judgment of Speaker Onslow, Sacheverell was the "ablest parliament man" of the reign of Charles II. He was one of the earliest English parliamentary orators; his speeches greatly impressed his contemporaries, and in a later generation, as Thomas Macaulay observes, they were "a favourite theme of old men who lived to see the conflicts of Robert Walpole and William Pulteney. Though his fame has become dimmed in comparison with that of Shaftesbury, Russell and Sidney, he was equally conspicuous in the parliamentary proceedings of Charles II's reign, and left a more permanent mark than any of them on the constitutional changes of the period."

Family
Sacheverell was twice married. His first wife was Mary, daughter of William Staunton of Staunton; and his second was Jane, daughter of Sir John Newton. His eldest son, Robert, represented the borough of Nottingham in six parliaments. The family became extinct in the male line in 1724.

References

Bibliography

Many of Sacheverell's speeches are reported in Anchitell Grey, Debates of the House of Commons, 1667–1694 (10 vols., 1769).
 Sir John Reresby, Memoirs, 1634–1689, edited by J. J. Cartwright. (1875);
 Roger North, Autobiography, edited by Augustus Jessopp (1887);
 Lives of the Right Hon. F. North, Baron Guilford, etc. (3 vols., London, 1826);
 The Hatton Correspondence, edited by E. M. Thompson for the Camden Society (2 vols., 1878);
 Laurence Eachard, History of England 5 vols., 1707–1718).

Category:1638 births
Category:1691 deaths
Category:Members of the Parliament of England (pre-1707) for constituencies in Derbyshire
Category:Lords of the Admiralty
Category:English MPs 1661–1679
Category:People of the Stuart period
Category:English MPs 1679
Category:English MPs 1680–1681
Category:English MPs 1681
Category:English MPs 1689–1690
Category:English MPs 1690–1695


Pennisetum polystachion

Pennisetum polystachion, the mission grass, is a species of grass native to tropical Africa, and is an invasive species in Northern Australia and in Sri Lanka.

References

External links

polystachion
Category:Invasive plant species in Sri Lanka


Both Feet on the Ground

Both Feet on the Ground is an album by guitarist Kenny Burrell recorded in 1973 and released on the Fantasy Records label.

Reception

Allmusic awarded the album 4½ stars.

Track listing
All compositions by Kenny Burrell except as indicated
 "Naña" (Moacir Santos, Mario Telles, Yanna Kotti) - 6:18
 "All Mine (Minha)" (Francis Hime, Ray Evans, Jay Livingston) - 6:24
 "Tomorrow" (Benny Golson) - 6:33
 "Spin" (Mike Wofford) - 4:48
 "Good Morning Heartache" (Ervin Drake, Dan Fisher, Irene Higginbotham) - 4:57
 "Listen to the Dawn" - 4:25
 "Both Feet on the Ground" - 6:29

Personnel
Kenny Burrell - guitar, arranger (track 5)
Al Aarons (tracks 1-4 & 7), Oscar Brashear (track 6) - trumpet, flügelhorn
Maurice Spears - trombone (tracks 1-4, 6 & 7)
Jerome Richardson (tracks 1-4 & 7), Ernie Watts (track 6) - clarinet, flute, piccolo, alto saxophone, tenor saxophone
Jack Nimitz - clarinet, flute, bass flute, baritone saxophone (tracks 1-4, 6 & 7)
Mike Wofford - piano, electric piano, arranger (track 4)
Reggie Johnson - bass
Lenny McBrowne - drums
Moacir Santos - congas, percussion
Benny Golson - arranger (tracks 1-3, 6 & 7)

References

Category:Kenny Burrell albums
Category:1973 albums
Category:Fantasy Records albums
Category:Albums arranged by Benny Golson


Kiss 105-108

Kiss 105-108 is East Anglia's radio station, playing predominantly dance, hip hop, electronic, urban and R'n'B music across Norfolk, Suffolk, Cambridgeshire and North Essex. It has been known as Vibe 105-108, Vibe FM and briefly Non-Stop Vibe which ran successfully from 22 November 1997 until relaunch on 6 September 2006 as part of the Kiss network, alongside sister stations Vibe 101 in Bristol (which became Kiss 101 on the same date) and Kiss 100, London.

All three Kiss stations started to carry the new Kiss logo, and the core music genre followed Kiss 100's more urban bias (the Vibe music brand was much more dance oriented).
Kiss 105-108 and Kiss 101 retained some shows and DJs who had presented under the Vibe brand, but also offered shows that were simulcast by one DJ across two or all three stations including international high-profile DJs such as Armin Van Buuren and John Digweed.

Kiss 105-108 used to be broadcast from Reflection House, Bury St. Edmunds, Suffolk, however now relays Kiss 100 for everything.

Technical

FM

Suffolk, Norfolk, Cambridgeshire, North Essex 106.4 FM Mendlesham transmitting station Main Transmitter.

North East Norfolk 106.1 FM Stoke Holy Cross Filler Transmitter.

Cambridgeshire 105.6 & 107.7 FM Madingley & Gunthorpe Filler Transmitters.

The station has four transmitters in the East of England, Mendelsham transmitting station in Suffolk on 106.4 at 20KW which can be heard across Suffolk, Norfolk, Cambridgeshire and North Essex. It also has three filler transmitters provided to serve the major cities and surrounding towns. From Stoke Holy Cross near Norwich on 106.1 at 4KW to North Walsham, Wymondham and Great Yarmouth. From Madingley near Cambridge on 105.6 at 1KW to Ely, Newmarket and St Ives and Gunthorpe in Peterborough on 107.7 at a lower power of 200W, which can be heard across the whole of Greater Peterborough, Market Deeping, Crowland, Spalding, Yaxley and Whittlesey.

Kiss 105-108 can frequently be heard across South Lincolnshire, South Essex, and even the edge of Bedfordshire and Greater London, although it does not serve these areas.

DAB

Kiss 105-108 broadcast on DAB format to Cambridge, Norwich and Peterborough, however this was replaced by a national relay of Kiss 100 in 2013.

Internet

The station is streamed in the MP3 format via the "Kiss Kube" at http://kube.kissfmuk.com/

History

The station was founded by the Essex Radio Group, who at the time owned a handful of local radio stations, the largest being Essex FM (now Heart Essex). Shortly after the group was bought by Daily Mail and in 1998 acquired by DMGT.

In 2000, the Essex Radio Group concern of DMGT was purchased by the GWR Group, (now 'Global') in a joint venture with Scottish Radio Holdings (SRH). At this point in time the GWR group also acquired Galaxy 101 in Bristol (Renamed to Vibe 101) from the Chrysalis media group (now 'Global'), extending the Vibe brand to South Wales and the West. For ownership reasons, the two Vibe stations were 'owned' by Vibe Radio Holdings, a company invented by and jointly owned by GWR and SRH.
SRH bought both Vibe stations outright from GWR in 2003.

In June 2005 the EMAP group acquired SRH. Emap's radio stations and public magazines was then bought by Bauer in January 2008.

Audience figures

(source: RAJAR Q4 2013)

Kiss 105-108 is commercial market leader reaching 492,000 listeners each week

The station achieved RAJAR 11 consecutive quarterly year on year increases whilst local programmed during key dayparts (under Programme Director Glen White with Stuart Grant on the breakfast show and Michael Lewis on Drive time) from 2007-2010.

See also
Kiss Network
Kiss TV

References

External links
 KISS
 KissKube.com: Kiss 105-108 Live Stream & Radio Player
 Media UK
 Kiss Breakfast with Stuart Grant on Myspace (Official)
 Gunthorpe transmitter
 Madingley transmitter
 Mendlesham transmitter
 Stoke Holy Cross transmitter.

Category:Bauer Radio
Category:Radio stations in England
Category:Dance radio stations
Category:Kiss Network
Category:Radio stations established in 2006


Rescue swimming

Rescue Swimming refers to skills that enable an individual to attempt a rescue when a swimmer is in difficulty. These include a combination of communication skills, specific "rescue" swimming strokes, and release and evade techniques for self-preservation should the rescue go wrong.

 From the outset once a swimmer in difficulty is spotted, eye contact must be maintained at all times.
 Assess the situation: environment, available physical equipment, others who can help, etc.
 Attempt to establish voice contact, which if successful can often result in a "voice-rescue."
 A rescuer should enter the water only as a last resort.
 Rescues should be attempted in the following order:  talk, throw, reach, wade, row, swim, tow and carry.

There are four main rescue strokes: the Front crawl (Freestyle), Breaststroke, Inverted Breaststroke, and Sidestroke.

See also
Swiftwater rescue

References

External links
 Free Lifesaving Society
Lifesaving Society of Canada
Lifesaving Society (Official Website)
 Aufstellpool Training (in Germany)

Category:Surf lifesaving
Category:Rescue


Cleiton

José Cleiton Ferreira Júnior  (born 6 April 1986) is a Brazilian footballer who currently plays for Guarany Sporting Club.

References
 Guardian Football

Category:Living people
Category:1986 births
Category:Brazilian footballers
Category:Brazilian expatriate footballers
Category:Veikkausliiga players
Category:Fortaleza Esporte Clube players
Category:Myllykosken Pallo −47 players
Category:Expatriate footballers in Finland
Category:Horizonte Futebol Clube players

Category:Association football forwards


Haydarlı, Gölbaşı

Haydarlı is a village in the District of Gölbaşı, Adıyaman Province, Turkey.

References

Category:Populated places in Adıyaman Province
Category:Gölbaşı, Adıyaman
Category:Villages in Turkey


Leonard Sax (disambiguation)

Leonard (or Lenny) Sax (or Saxe, Sachs) may refer to:

 Leonard Saxe (born 1947), American social psychologist, especially concerning the American Jewish community
 Leonard Sax, American psychologist and physician, author of books for parents
 Leonard Sachs (1909–1990), British actor
 Lenny Sachs (1897–1942), American football and basketball player and coach


Big City Rodeo

"Big City Rodeo" (stylized as "BIG CITY RODEO") is a song by Japanese boy band Generations from Exile Tribe, taken from their first greatest hits compilation Best Generations (2018). It was released by Rhythm Zone on two physical formats, and for digital consumption. The track was written by Amon Hayashi, composed by musicians Jay'ed and T.Kura, and produced by Exile Hiro T.Kura and G.Sky . Recording of the song was held at Prime Sound Studios in Shibuya, Tokyo, and was mixed by D.O.I. at Daimonion Recordings. Musically, "Big City Rodeo" is a dance number that is heavily influenced by electro house music, and lyrically focuses on a high lifestyle and luxury.

"Big City Rodeo" premiered as the album's lead and only single on October 25, 2017, featuring two B-side songs: "Mad Cyclone" and the English version of their previous single "Taiyou mo Tsuki mo". The single received positive reviews from music critics, who commended the electronic-influenced composition and production. Commercially, it was successful in Japan, peaking at number two on the Oricon Singles Chart and Japan Hot 100 chart. It was certified gold by the Recording Industry Association of Japan (RIAJ) for shipments of 100,000 copies. An accompanying music video featured all seven members in a large neon-lit club, surrounded by expensive luxuries and audience members. In order to promote the single, it featured in three commercial endorsements in Japan, and eventually appeared on the set list of their 2017 Mad Cyclone tour.

Background and release
After the release of their fourth studio album, Namida wo Nagasenai Pierrot wa Taiyou mo Tsuki mo nai Sora wo Miageta (2017), Generations conducted their fifth nationwide concert tour titled Mad Cyclone Live 2017. While on tour, several members from the group uploaded snippets of them backstage and their live performances; additionally, previews of their track "Mad Cyclone" were added to the visuals, indicating work on their new project. Prior to its announcement, the band revealed the track "Big City Rodeo" on several dates of their Mad Cyclone tour and, at the start of October 2017, Generations announced it would be released as a standard single. "Big City Rodeo" was written by Amon Hayashi, composed by fellow LDH-musicians Jay'ed and T.Kura, and produced by Exile Hiro and T.Kura. Recording of the song was held at Prime Sound Studios in Shibuya, Tokyo by Yutaro Wada, and was mixed by D.O.I. at Daimonion Recordings. Additionally, Jay'ed provided background vocals for the song.

Musically, "Big City Rodeo" is composed as a dance number that is heavily influenced by electro house music. Lyrically, the song focuses on a high lifestyle and luxury, which was eventually reflected onto the accompanying music video. "Big City Rodeo" premiered as the lead and only single from their first greatest hits compilation, Best Generations (2018). It was released on October 25, 2017 by Rhythm Zone in two physical formats, and for digital consumption. The standard track list for each edition features the single, and two B-side songs: "Mad Cyclone"—a techno-inspired anthem that was written by production duo Michico and T.Kura—and the English version of their previous single "Taiyou mo Tsuki mo". The CD-only version featured the instrumental versions of the first two songs, whereas the DVD format included the visuals to "Big City Rodeo" and "Mad Cyclone". First-press editions came with a bonus B-2 sized poster to promote the single.

Reception
"Big City Rodeo" received positive reviews from music critics. Japanese publication T-Site News noted that it was a more "adult" approach to their sound, finding it a departure from their previous work. The review also described the tune as "catchy". Although describing the songs quality as "sharp", Japanese magazine CD Journal praised the involvement of producer T.Kura. They also highlighted "Mad Cyclone" as a stand out, praising Michico's songwriting and production. The staff at American publication AllMusic selected all three maxi-songs—"Big City Rodeo", "Mad Cyclone", and the English edit of "Taiyou mo Tsuki mo"—as some of their best work from their discography.

Commercially, "Big City Rodeo" was a success in Japan. It made its first appearance on the daily Oricon Singles Chart, selling over 50,000 copies in the first 24 hours. Based on a six-day figure, the single opened at number two on the Oricon Singles Chart, selling 72,955 copies in its first week. It fell to number 18 the following week, shifting only 3,801 units. It performed steadily for the next few weeks, until making a second appearance in the top ten during the Christmas holiday sales period; it reached number 10 with 12,186 units sold. The single ranked at 53 on Oricon's year-end chart, selling 117,842 units. It was certified gold by the Recording Industry Association of Japan (RIAJ) for shipments of 100,000 copies.

On the Japan Hot 100 chart, published by Billboard, "Big City Rodeo" debuted and peaked at number two, just behind Keyakizaka46's single "Kaze Ni Fukaretemo". Additionally, "Mad Cyclone" made an appearance at number 73. Its final appearance in the top ten was presented the following week, peaking at number 10 itself. In total, the song spent 11 weeks in the chart, and remains their highest entry on the Hot 100 to date. Additionally, "Big City Rodeo" managed to appear on three component charts; it reached number five on the Streaming Songs and Download Songs chart, and number two on the Hot Singles Sales chart.

Music video
An accompany music video premiered on YouTube on September 28, 2017.

Promotion and live performances
In order to promote the track, it made an appearance on three different commercials in Japan. It was first distributed on a commercial to commemorate Generation's 5th anniversary, promoted by HMV-Lawson's. Later, it appeared on a promotional campaign for Japanese electronics brand Daiichi Kosho Company, and was used as the theme song for Alpine Electronics. Apart from the first endorsement, none of the commercials featured members of Generations. The single's B-side "Mad Cyclone" was created specifically for their 2017 Mad Cyclone Live tour in Japan, and promoted as its main theme song. Nevertheless, both "Big City Rodeo" and the titular recording was added to the tour's accompanying set list.

Track listing

CD single
"Big City Rodeo" – 4:55
"Mad Cyclone" – 5:01
"Big City Rodeo" (Instrumental) – 4:55
"Mad Cyclone" (Instrumental) – 5:01
"Taiyou mo Tsuki mo" (English version) – 4:04

DVD single
"Big City Rodeo" – 4:55
"Mad Cyclone" – 5:01
"Big City Rodeo" (Instrumental) – 4:55
"Mad Cyclone" (Instrumental) – 5:01
"Taiyou mo Tsuki mo" (English version) – 4:04
"Big City Rodeo" (music video)
"Mad Cyclone" (music video)

Digital download
"Big City Rodeo" – 4:55
"Mad Cyclone" – 5:01
"Taiyou mo Tsuki mo" (English version) – 4:04

Credits and personnel
Credits adapted by the liner notes of the physical editions of "Big City Rodeo".

Recording
Recorded at Prime Sound Studios by Yutaro Wada, Shibuya, Tokyo. Mixed by D.O.I. at Daimonion Recordings.

Personnel

Ryota Katayose – vocals, background vocals, performer
Ryuto Kazuhara – vocals, background vocals, performer
Alan Shirahama – performer
Hayato Komori – performer
Reo Sano – performer
Mandy Segikuchi – performer
Yuta Nakasuta – performer
Amon Hayashi – songwriter
T.Kura – composer, arranger, producer, vocal director, instrumentation
Jay'ed – composer, background vocals
Exile Hiro – producer
Michico – songwriter, producer, background vocals, vocal director, instrumentation
P.O.S. – songwriter
Hikari – composer, producer
Hani – composer
Dejo – composer, producer
Odake Masato – songwriter

Packaging

Motoki Mizoguchi – art director, designer
Mayumi Koshiishi – photographer
Masataka Hattori – stylist
Takeshi Teramoto – hair and make-up
Koichi Inoue – producer
Atsushi Hayasaka – producer
Yusuke Hagiwara – producer

Charts

Daily and weekly charts

Rankings

Certification and sales

|-
! scope="row"| Japan (RIAJ)
| Gold
| 117,842
|-
! scope="row"| Japan (RIAJ)
|
| 3,271
|-

Release history

References

External links
"Big City Rodeo" at Generations from Exile Tribe official Japanese website.

Category:2017 singles
Category:2017 songs


Suriyan Satta Kalloori

Suriyan Satta Kalloori (lit. Suriyan, Law College) is a 2009 Tamil action drama film directed by R. Pavan. The film features newcomers Kajni and Mithra Kurian in lead roles, with Radha Ravi, Pawan, M. S. Bhaskar, Ganja Karuppu, Aarthi, Kadhal Sukumar and Chaams playing supporting roles. The film, produced by Sivasakthi Pandian, had musical score by Deva and was released on 25 September 2009.

Plot

The film begins with Suriyan (Kajni) getting into a fight with another cellmate and he then remembers about his past.

Suriyan was a model law college student and also the chairman of the student council, and everyone liked him in the college. He and the new student Mahalakshmi (Mithra Kurian) fell in love with each other. Suriyan initiated a proposal for instituting a national 'Best Student' award and travels to Delhi to submit his proposal to the central government. In the meantime, Thiruchelvan (Pawan) with the support of a politician joins as a student in the same college. Upon his arrival, Thiruchelvan eve teased the college girls, humiliated the professors and violated the college rules on purpose. Suriyan first tried a soft method to change him but it failed, so Suriyan had to use his fists to teach him a lesson. Thiruchelvan was admitted to the hospital in a serious condition and his twin brother Kalaichelvan (Pawan), a local don, decided to take revenge on Suriyan.

Kalaichelvan posed as Thiruchelvan entered the college and acted as a good student. The twin brothers then started playing with Suriyan and confused everyone, they even created a conflict between Suriyan and Mahalakshmi. Suriyan then found out about their trick. During a fight, Suriyan killed the twin brothers in front of Mahalakshmi's eyes to save her as she was abducted. In court, Suriyan who didn't want to disrespect the law confessed that he had killed them and he was sentenced to the death penalty.

Back to the present, the government accepts Suriyan's 'Best Student' project and wants to award Suriyan of the first award. The film ends with Mahalakshmi, the college students, the college principal and the professors mourning the death of Suriyan.

Cast

Kajni as Suriyan (Suriyanarayan)
Mithra Kurian as Mahalakshmi
Radha Ravi as College Principal
Pawan as Thiruchelvan and Kalaichelvan
M. S. Bhaskar as Saama Iyer
Ganja Karuppu as Idithangi
Aarthi as Booma
Kadhal Sukumar as Raghu
Chaams as Kethu
Selvaraj
Besant Ravi as Ravi
Rajyalakshmi as Suriyan's mother
Sujibala in a special appearance
Srikanth Deva in a cameo appearance
Deva in a cameo appearance

Production
Sivasakthi Pandian who had produced films like Kadhal Kottai (1996) and Vetri Kodi Kattu (2000) returned after a brief exile with Suriyan Satta Kalloori, a film directed by newcomer R. Pavan. Newcomer Kajni, son of the producer Kaja Mohideen, and Malayalam actress Mithra Kurian were signed to play the lead roles. Actors like Pawan, Radha Ravi, M. S. Bhaskar, Ganja Karuppu and Aarthi were roped in for playing prominent roles. U. K. Senthil Kumar took care of camera works while Deva scored the music and the editing was handled by S. Surajkavee.

Soundtrack

The film score and the soundtrack were composed by film composer Deva. Deva took 21 days to complete the re-recording. The soundtrack, released in 2009, features 5 tracks with lyrics written by Kabilan and R. Pavan.

Release
The film was released on 25 September 2009 alongside four other films.

Critical reception
S. R. Ashok Kumar of The Hindu said, "One does welcome the story, written by producer Sivasakthi Pandian, which has such a message. The director in his screenplay also has many loose ends that ultimately leave a lot of questions unanswered". Pavithra Srinivasan of Rediff.com rated the film 1 out of 5 and wrote, "Suriyan Satta Kalloori tries to address real problems and gives solutions but it's done in such a cheesy, clichéd fashion, with wooden acting and special effects that the message itself is hopelessly lost". Another reviewer said, "While its lead character is bland and uninteresting, its story takes a convoluted, illogical route to convey its message".

Box office
The film took a below average opening at the Chennai box office.

References

Category:2009 films
Category:Indian films
Category:Tamil-language films
Category:2000s Tamil-language films
Category:Indian action films
Category:Indian action drama films
Category:Films featuring an item number
Category:Directorial debut films
Category:Films scored by Deva (composer)
Category:Films set in universities and colleges


Saint Waltrude Collegiate Church

Saint Waltrude Collegiate Church is a Catholic church, named in honour of Saint Waltrude of Mons. This old church is a protected monument.

History
The History of the church dates back to 1450, and the origin of the famous chapter of noble canonesse that seated for centuries inside this church. The chapter played an important part in the local history, all of the Canonesse were familymembers of important noble houses. Antoine-Joseph Fetis, titular organist, taught his eldest son François-Joseph the first steps of the practice of organ music.

Inside the church important graves can be found amongst them Antoine de Carondelet and Alice of Namur

famous Canonesses
Their statutes, approved by the Empress, required the canonesses to prove their noble status.
 Isabel, sister of Katherine Swynford.
 Eléonore-Jeanne de Mérode.
 Marie-Magdelaine de Gavre.
 Anne de Noyelles.
 Anne Charlotte de Lorraine, Secular Abbess of the chapter in 1754 by imperial request of Empress Maria-Theresia.

Architecture

The exterior of the church is a fine example of Brabant Gothic architecture, parts are built by Matheus de Layens. However in the 17th century the works stopped and the building was never completely finished. The interior contains important artworks, including sculptures by Jacques du Broeucq and paintings by Peter Paul Rubens, Floris de Vriendt, Theodoor van Thulden, Otto Venius and Michiel Coxie.

References

Category:Protected heritage sites in Hainaut (province)
Category:History of Mons
Category:Collegiate churches in Belgium


Feltham marshalling yard

Feltham marshalling yard, also known as Feltham hump yard, was a large railway marshalling yard designed for the concentration of freight traffic to and from South West London, and for transfer to other marshalling yards in London.  It was built on the Waterloo to Reading Line. It opened in 1918 and was closed by British Railways on 6 January 1969.

History
During the early years of the twentieth century the  London and South Western Railway (LSWR) experienced a substantial growth in its freight traffic to and from London, and for transfer to other railways. By 1910 this traffic was beginning to overwhelm the existing facilities at Nine Elms.  Plans were therefore made for a hump marshaling yard and motive power depot at Feltham. The purchase of  of land was confirmed in 1911, with additional land being purchased in 1915. This location gave excellent access to the company main lines as well as direct links to the Great Western Railway and London and North Western Railway, and to the Midland Railway, Great Northern Railway and Great Eastern Railway via the North London line.
The plans were confirmed on 30 March 1916, and work started soon after with the help of around 200 German prisoners of war. The first nine ‘down’ sidings were opened on 9 December 1917 and the remainder by 2 October 1921.

The yard was completed in 1921 and incorporated two gravity shunting humps and equipped with the latest automated technology including electrically operated points, and widespread use of Track circuits. With its  of track, (the longest siding being  in length and the shortest being ), it could handle 2500 wagons a day. These were brought in by 50 down and 26 up trains, and being removed by 18 down and 46 up services. This was, probably, the busiest marshalling yard in the country at that time. Up to 3390 wagons could be sorted per day and an incoming train of wagons could be sorted in 12 minutes.

The yard fulfilled an important part in the rail network for over four decades, especially during World War II, passing in to Southern Railway ownership in 1923 and British Railways in 1948. However, with the reduction of freight traffic carried by rail in the 1960s the yard became redundant and closed on 6 January 1969. Today, part of it is the site of the Jubilee Mail Centre, which handles work for the TW, KT, GU postcode areas as well as parts of South and West London.

Motive Power Depot
Plans for a new automated locomotive servicing depot at the marshalling yard, to replace an existing depot at Strawberry Hill (which was converted into an electric multiple unit servicing depot. The shed was  with six roads and could accommodate 42 locomotives. There were inspection pits throughout and a 50-ton engine-hoist. There was also an electrically driven  turntable and an electrically operated coaling plant.

In 1921 Robert Urie, the Chief Mechanical Engineer of the LSWR introduced four large 4-8-0 shunting tank locomotives of the G16 class specifically to operate the yard, and five similar H16 class of 4-6-2T to undertake the transfer freight workings from Feltham. In addition the depot had a large allocation of H15 and S15 4-6-0 locomotives for heavy freight duties. The G16 and H16 locomotives were all withdrawn between 1959 and 1962, and the depot was closed by British Railways in 1967.

See also
Aerial view of yard and motive power depot 1931 http://homepages.tesco.net/~early/lswr/004.html
Shunter Black's Night Off, 1941 (filmed at Feltham marshalling yard) http://www.britishrailways.tv/train-videos/2012/shunter-black's-night-off-(1941)/
The remnants of Feltham Marshalling Yards still visible in 2011 http://www.artofthestate.co.uk/rail/feltham-marshalling-yards.htm

References

Category:Rail yards in the United Kingdom
Category:1918 establishments in England
Category:Transport in the London Borough of Hounslow
Category:Rail infrastructure in London
Category:London and South Western Railway
Category:Former buildings and structures in the London Borough of Hounslow
Category:Railway depots in England


Doris W. Jones

Doris Winnefred Jones (born June 3, 1913) was an American ballet dancer and dance instructor, known for founding the Jones-Haywood School of Ballet in 1941 with Claire Haywood.

Life and career
Doris Winnefred Jones was born on June 3, 1913 in Malden, Massachusetts to Maddie Lightfoot Jones and Walter James Jones. She wanted to become a ballet dancer, even though she had never met a black ballet dancer and many studios refused to teach her. However, some let her watch the classes, and from then on she taught herself through observation and books. Soon, she began to teach others and founded a ballet school of her own in 1933. Jones founded the Jones-Haywood School of Ballet in 1941 with Claire Haywood in Washington, D.C., in order to give African-American students the opportunity to learn classical dance. In 1961, Jones and Haywood founded the Capitol Ballet Company as an extension of their school. The Capitol Ballet Company was the leading Jones invited Keith Lee, the first African-American principal male dancer at the American Ballet Theatre, to be a guest teacher at the company, which he accepted. Lee later revived the school in 1988, after it closed in 1985 due to lack of funds.

Famous pupils of Jones include Chita Rivera, Sylvester Campbell, Sandra Fortune, and Louis Johnson.

Jones died on March 21, 2006, in Washington, D.C.

References

Category:People from Malden, Massachusetts
Category:American ballerinas
Category:1913 births
Category:2006 deaths
Category:African-American ballet dancers
Category:20th-century American dancers


Ruimondo Mayer

Ruimondo Mayer (30 December 1888 – September 1959) was a Portuguese fencer. He competed in the individual and team Épée events at the 1920 and 1924 Summer Olympics.

References

Category:1888 births
Category:1959 deaths
Category:Portuguese male fencers
Category:Olympic fencers of Portugal
Category:Fencers at the 1920 Summer Olympics
Category:Fencers at the 1924 Summer Olympics
Category:Sportspeople from Lisbon