Private Crimes  (Delitti privati) is a 1993 Italian mystery mini television series directed by Sergio Martino.

Plot
The story, set in Lucca, sees the death of a businessman, Marco Pierboni, killed in the garden of his villa outside the city, even if the body is found near the factory who ran while a young girl studying in a conservatory, Sandra Durani, disappears and is later found dead near the bank of the river Serchio as a witness of the murder. At the same time begin to circulate in the city a series of anonymous letters, creating a climate of suspicion in the investigation that involves some people who direct and those who only marginally so far were above all suspicion, and even a third is killed person, Paolo Roversi, a friend of Sandra who was looking for items to be acquitted of double murder.

In response to these crimes Nicole Venturi, a French journalist and mother of Sandra, follow closely with colleague Andrea Baresi the survey coordinated by the Police Commissioner Stefano Avanzo and begins to be idea about the identity of the murderer until you get to see a sad truth to kill the daughter and the contractor was severe Scali, villa Pierboni's governess and best friend of Nicole, to avenge the death of daughter Nina, who committed suicide because it ignores Marco Pierboni with whom she had an affair, while the third murder committed by the housekeeper, too, was due to the fact that Paolo Roversi had suspected something about the theft of paintings took place in the villa outside the city.

Immediately after the confession of severity, Nicole will also discover the author of anonymous letters, ten in all, except the last, written by Dr. Guido Braschi in a desperate attempt to save another pain to Matilde Pierboni the other nine letters were indeed written by Filippo Pierboni, the son of the entrepreneur, who tries to commit suicide out of despair, without success. In the final scene, Nicole's friend greets commissioner before leaving Lucca and boards the train while the two promise each other that sooner or later they would meet again.

Cast
 Edwige Fenech as  Nicole Venturi
 Ray Lovelock as  Inspector Stefano Avanza
  Manuel Bandera  as  Andrea Baresi
  Victoria Vera  as Anna Selpi
 Gudrun Landgrebe as Daniela Pierboni
 Maja Maranow as  Milena Bolzoni
 Lorenzo Flaherty as Paolo Roversi
 Joe Kloenne as Marco Pierboni
 Annie Girardot as Ada Roversi
 Paolo Malco as  Massimo Pierboni
 Cinzia De Ponti as Magistrate Castelli
 Carlo Cartier as  Franco Martelli
 Stefano Nosei
 Davide Bechini as Filippo Pierboni
 Silvia Mocci as Chiara Malvini
 Néstor Garay as lawyer Portili
 Carlo Monni as Paolo's father
 Giovanni Visentin
 Vittoria Belvedere as Sandra Durani
 Laurent Terzieff as  Carlo Mauri
 Jacques Perrin as Roberto Durani
 Gabriele Ferzetti as Dr. Guido Braschi
 Alida Valli as Matilde Pierboni

External links

1993 Italian television series debuts
1993 Italian television series endings
1990s Italian drama television series
1990s Italian television series
Films directed by Sergio Martino
Television shows set in Tuscany


A process is a program in execution, and an integral part of any modern-day operating system (OS). The OS must allocate resources to processes, enable processes to share and exchange information, protect the resources of each process from other processes and enable synchronization among processes. To meet these requirements, the OS  must maintain a data structure for each process, which describes the state and resource ownership of that process, and which enables the OS to exert control over each process.

Multiprogramming
In any modern operating system there can be more than one instance of a program loaded in memory at the same time. For example, more than one user could be executing the same program, each user having separate copies of the program loaded into memory. With some programs, it is possible to have one copy loaded into memory, while several users have shared access to it so that they each can execute the same program-code. Such a program is said to be re-entrant. The processor at any instant can only be executing one instruction from one program but several processes can be sustained over a period of time by assigning each process to the processor at intervals while the remainder become temporarily inactive. A number of processes being executed over a period of time instead of at the same time is called concurrent execution.

A multiprogramming or multitasking OS is a system executing many processes concurrently. Multiprogramming requires that the processor be allocated to each process for a period of time and de-allocated at an appropriate moment. If the processor is de-allocated during the execution of a process, it must be done in such a way that it can be restarted later as easily as possible.

There are two possible ways for an OS to regain control of the processor during a program's execution in order for the OS to perform de-allocation or allocation:

 The process issues a system call (sometimes called a software interrupt); for example, an I/O request occurs requesting to access a file on hard disk.
 A hardware interrupt occurs; for example, a key was pressed on the keyboard, or a timer runs out (used in pre-emptive multitasking).

The stopping of one process and starting (or restarting) of another process is called a context switch or context change. In many modern operating systems, processes can consist of many sub-processes. This introduces the concept of a thread. A thread may be viewed as a sub-process; that is, a separate, independent sequence of execution within the code of one process. Threads are becoming increasingly important in the design of distributed and client–server systems and in software run on multi-processor systems.

How multiprogramming increases efficiency
A common trait observed among processes associated with most computer programs, is that they alternate between CPU cycles and I/O cycles. For the portion of the time required for CPU cycles, the process is being executed; i.e. is occupying the CPU. During the time required for I/O cycles, the process is not using the processor. Instead, it is either waiting to perform Input/Output, or is actually performing Input/Output. An example of this is the reading from or writing to a file on disk. Prior to the advent of multiprogramming, computers operated as single-user systems. Users of such systems quickly became aware that for much of the time that a computer was allocated to a single user, the processor was idle; when the user was entering information or debugging programs for example. Computer scientists observed that overall performance of the machine could be improved by letting a different process use the processor whenever one process was waiting for input/output. In a uni-programming system, if N users were to execute programs with individual execution times of t1, t2, ..., tN, then the total time, tuni, to service the N processes (consecutively) of all N users would be:

 tuni = t1 + t2 + ... + tN.

However, because each process consumes both CPU cycles and I/O cycles, the time which each process actually uses the CPU is a very small fraction of the total execution time for the process. So, for process i:

ti (processor) ≪ ti (execution)

where

ti (processor) is the time process i spends using the CPU, and
ti (execution) is the total execution time for the process; i.e. the time for CPU cycles plus I/O cycles to be carried out (executed) until completion of the process.

In fact, usually the sum of all the processor time, used by N processes, rarely exceeds a small fraction of the time to execute any one of the processes;

Therefore, in uni-programming systems, the processor lay idle for a considerable proportion of the time. To overcome this inefficiency, multiprogramming is now implemented in modern operating systems such as Linux, UNIX and Microsoft Windows. This enables the processor to switch from one process, X, to another, Y, whenever X is involved in the I/O phase of its execution. Since the processing time is much less than a single job's runtime, the total time to service all N users with a multiprogramming system can be reduced to approximately:

 tmulti = max(t1, t2, ..., tN)

Process creation
Operating systems need some ways to create processes. In a very simple system designed for running only a single application (e.g., the controller in a microwave oven), it may be possible to have all the processes that will ever be needed be present when the system comes up. In general-purpose systems, however, some way is needed to create and terminate processes as needed during operation.
There are four principal events that cause a process to be created:
 System initialization.
 Execution of process creation system call by a running process.
 A user request to create a new process.
 Initiation of a batch job.
When an operating system is booted, typically several processes are created. Some of these are foreground processes, that interact with a (human) user and perform work for them. Others are background processes, which are not associated with particular users, but instead have some specific function. For example, one background process may be designed to accept incoming e-mails, sleeping most of the day but suddenly springing to life when an incoming e-mail arrives. Another background process may be designed to accept an incoming request for web pages hosted on the machine, waking up when a request arrives to service that request.

Process creation in UNIX and Linux are done through fork() or clone() system calls. There are several steps involved in process creation. The first step is the validation of whether the parent process has sufficient authorization to create a process. Upon successful validation, the parent process is copied almost entirely, with changes only to the unique process id, parent process, and user-space. Each new process gets its own user space.

Process creation in Windows is done through the CreateProcessA() system call. A new process runs in the security context of the calling process, but otherwise runs independently of the calling process. Methods exist to alter the security context in which a new processes runs. New processes are assigned identifiers by which the can be accessed. Functions are provided to synchronize calling threads to newly created processes.

Process termination
There are many reasons for process termination:
 Batch job issues halt instruction
 User logs off
 Process executes a service request to terminate
 Error and fault conditions
 Normal completion
 Time limit exceeded
 Memory unavailable
 Bounds violation; for example: attempted access of (non-existent) 11th element of a 10-element array
 Protection error; for example: attempted write to read-only file
 Arithmetic error; for example: attempted division by zero
 Time overrun; for example: process waited longer than a specified maximum for an event
 I/O failure
 Invalid instruction; for example: when a process tries to execute data (text)
 Privileged instruction
 Data misuse
 Operating system intervention; for example: to resolve a deadlock
 Parent terminates so child processes terminate (cascading termination)
 Parent request

Two-state process management model
The operating system's principal responsibility is in controlling the execution of processes. This includes determining the interleaving pattern for execution and allocation of resources to processes. One part of designing an OS is to describe the behaviour that we would like each process to exhibit. The simplest model is based on the fact that a process is either being executed by a processor or it is not. Thus, a process may be considered to be in one of two states, RUNNING or NOT RUNNING. When the operating system creates a new process, that process is initially labeled as NOT RUNNING, and is placed into a queue in the system in the NOT RUNNING state. The process (or some portion of it) then exists in main memory, and it waits in the queue for an opportunity to be executed. After some period of time, the currently RUNNING process will be interrupted, and moved from the RUNNING state to the NOT RUNNING state, making the processor available for a different process. The dispatch portion of the OS will then select, from the queue of NOT RUNNING processes, one of the waiting processes to transfer to the processor. The chosen process is then relabeled from a NOT RUNNING state to a RUNNING state, and its execution is either begun if it is a new process, or is resumed if it is a process which was interrupted at an earlier time.

From this model we can identify some design elements of the OS:
 The need to represent, and keep track of each process.
 The state of a process.
 The queuing of NON RUNNING processes

Three-state process management model
Although the two-state process management model is a perfectly valid design for an operating system, the absence of a BLOCKED state means that the processor lies idle when the active process changes from CPU cycles to I/O cycles. This design does not make efficient use of the processor. The three-state process management model is designed to overcome this problem, by introducing a new state called the BLOCKED state. This state describes any process which is waiting for an I/O event to take place. In this case, an I/O event can mean the use of some device or a signal from another process. The three states in this model are:

RUNNING: The process that is currently being executed.
READY: A process that is queuing and prepared to execute when given the opportunity.
BLOCKED: A process that cannot execute until some event occurs, such as the completion of an I/O operation.

At any instant, a process is in one and only one of the three states. For a single processor computer, only one process can be in the RUNNING state at any one instant. There can be many processes in the READY and BLOCKED states, and each of these states will have an associated queue for processes.

Processes entering the system must go initially into the READY state, processes can only enter the RUNNING state via the READY state. Processes normally leave the system from the RUNNING state. For each of the three states, the process occupies space in main memory.  While the reason for most transitions from one state to another might be obvious, some may not be so clear.

RUNNING → READY The most common reason for this transition is that the running process has reached the maximum allowable time for uninterrupted execution; i.e. time-out occurs. Other reasons can be the imposition of priority levels as determined by the scheduling policy used for the Low Level Scheduler, and the arrival of a higher priority process into the READY state.
RUNNING → BLOCKED A process is put into the BLOCKED state if it requests something for which it must wait. A request to the OS is usually in the form of a system call, (i.e. a call from the running process to a function that is part of the OS code). For example, requesting a file from disk or a saving a section of code or data from memory to a file on disk.

Process description and control
Each process in the system is represented by a data structure called a Process Control Block (PCB), or Process Descriptor in Linux, which performs the same function as a traveller's passport. The PCB contains the basic information about the job including:
What it is
Where it is going
How much of its processing has been completed
Where it is stored
How much it has "spent" in using resources

Process Identification: Each process is uniquely identified by the user's identification and a pointer connecting it to its descriptor.

Process Status: This indicates the current status of the process;
READY, RUNNING, BLOCKED, READY SUSPEND, BLOCKED SUSPEND.

Process State: This contains all of the information needed to indicate the current state of the job.

Accounting: This contains information used mainly for billing purposes and for performance measurement. It indicates what kind of resources the process has used and for how long.

Processor modes
Contemporary processors incorporate a mode bit to define the execution capability of a program in the processor. This bit can be set to kernel mode or user mode. Kernel mode is also commonly referred to as supervisor mode, monitor mode or ring 0.

In kernel mode, the processor can execute every instruction in its hardware repertoire, whereas in user mode, it can only execute a subset of the instructions. Instructions that can be executed only in kernel mode are called kernel, privileged or protected instructions to distinguish them from the user mode instructions. For example, I/O instructions are privileged. So, if an application program executes in user mode, it cannot perform its own I/O. Instead, it must request the OS to perform I/O on its behalf.

The computer architecture may logically extend the mode bit to define areas of memory to be used when the processor is in kernel mode versus user mode. If the mode bit is set to kernel mode, the process executing in the processor can access either the kernel or user partition of the memory. However, if user mode is set, the process can reference only the user memory space. We frequently refer to two classes of memory user space and system space (or kernel, supervisor or protected space). In general, the mode bit extends the operating system's protection rights. The mode bit is set by the user mode trap instruction, also called a Supervisor Call instruction. This instruction sets the mode bit, and branches to a fixed location in the system space. Since only system code is loaded in the system space, only system code can be invoked via a trap. When the OS has completed the supervisor call, it resets the mode bit to user mode prior to the return.

The Kernel system concept
The parts of the OS critical to its correct operation execute in kernel mode, while other software (such as generic system software) and all application programs execute in user mode. This fundamental distinction is usually the irrefutable distinction between the operating system and other system software. The part of the system executing in kernel supervisor state is called the kernel, or nucleus, of the operating system. The kernel operates as trusted software, meaning that when it was designed and implemented, it was intended to implement protection mechanisms that could not be covertly changed through the actions of untrusted software executing in user space. Extensions to the OS execute in user mode, so the OS does not rely on the correctness of those parts of the system software for correct operation of the OS. Hence, a fundamental design decision for any function to be incorporated into the OS is whether it needs to be implemented in the kernel. If it is implemented in the kernel, it will execute in kernel (supervisor) space, and have access to other parts of the kernel. It will also be trusted software by the other parts of the kernel. If the function is implemented to execute in user mode, it will have no access to kernel data structures. However, the advantage is that it will normally require very limited effort to invoke the function. While kernel-implemented functions may be easy to implement, the trap mechanism and authentication at the time of the call are usually relatively expensive. The kernel code runs fast, but there is a large performance overhead in the actual call. This is a subtle, but important point.

Requesting system services
There are two techniques by which a program executing in user mode can request the kernel's services:

 System call
 Message passing

Operating systems are designed with one or the other of these two facilities, but not both. First, assume that a user process wishes to invoke a particular target system function. For the system call approach, the user process uses the trap instruction. The idea is that the system call should appear to be an ordinary procedure call to the application program; the OS provides a library of user functions with names corresponding to each actual system call. Each of these stub functions contains a trap to the OS function. When the application program calls the stub, it executes the trap instruction, which switches the CPU to kernel mode, and then branches (indirectly through an OS table), to the entry point of the function which is to be invoked. When the function completes, it switches the processor to user mode and then returns control to the user process; thus simulating a normal procedure return.

In the message passing approach, the user process constructs a message, that describes the desired service. Then it uses a trusted send function to pass the message to a trusted OS process. The send function serves the same purpose as the trap; that is, it carefully checks the message, switches the processor to kernel mode, and then delivers the message to a process that implements the target functions. Meanwhile, the user process waits for the result of the service request with a message receive operation. When the OS process completes the operation, it sends a message back to the user process.

The distinction between two approaches has important consequences regarding the relative independence of the OS behavior, from the application process behavior, and the resulting performance. As a rule of thumb, operating system based on a system call interface can be made more efficient than those requiring messages to be exchanged between distinct processes. This is the case, even though the system call must be implemented with a trap instruction; that is, even though the trap is relatively expensive to perform, it is more efficient than the message passing approach, where there are generally higher costs associated with process multiplexing, message formation and message copying. The system call approach has the interesting property that there is not necessarily any OS process. Instead, a process executing in user mode changes to kernel mode when it is executing kernel code, and switches back to user mode when it returns from the OS call. If, on the other hand, the OS is designed as a set of separate processes, it is usually easier to design it so that it gets control of the machine in special situations, than if the kernel is simply a collection of functions executed by users processes in kernel mode. Even procedure-based operating system usually find it necessary to include at least a few system processes (called daemons in UNIX) to handle situation whereby the machine is otherwise idle such as scheduling and handling the network.

See also
Process isolation

References

Sources
 Operating System incorporating Windows and UNIX, Colin Ritchie.
 Operating Systems, William Stallings, Prentice Hall, (4th Edition, 2000)
 Multiprogramming, Process Description and Control
 Operating Systems – A Modern Perspective, Gary Nutt, Addison Wesley, (2nd Edition, 2001).
 Process Management Models, Scheduling, UNIX System V Release 4:
 Modern Operating Systems, Andrew Tanenbaum, Prentice Hall, (2nd Edition, 2001).
 Operating System Concepts, Silberschatz & Galvin & Gagne (http://codex.cs.yale.edu/avi/os-book/OS9/slide-dir/), John Wiley & Sons, (6th Edition, 2003)

Process (computing)
Operating system technology


Langsning FC is an Indian professional football club based in Shillong, Meghalaya. The club competes in Shillong Premier League and has previously competed in I-League 2nd Division, then second tier of football in India.

History
Langsning FC is a Khasi football club; the name "Langsning" is taken from one locality in Shillong known as Jaiaw Langsning, and most of the players are from this or neighboring localities. The club won the Shillong Premier League in 2017.

Langsning FC had played in the 2011, 2012 and 2013 seasons of I-League 2nd Division. The club failed to advance beyond group stage in 2011 and 2012. Langsning FC's best performance so far came in 2013, where they finished fourth.

After four years, Langsning FC competed again in 2017–18 I-League 2nd Division.

Team records

Seasons

Honours
 Shillong Premier League
Champions (6): 1997, 1999, 2000, 2005, 2017, 2018
Bordoloi Trophy
Runners-up (1): 2011
Independence Day Cup
Champions (1): 2012

References

Further reading

External links
 Langsning F.C. at Soccerway

Multi-sport clubs in India
Football clubs in Meghalaya
Association football clubs established in 1974
1974 establishments in Meghalaya
Sport in Shillong
I-League 2nd Division clubs


Howard Keith Pritchard (born 18 October 1958, in Cardiff)  is a Welsh former professional footballer.  His clubs included Bristol City, Swindon Town and Gillingham, and he also made one appearance for the Welsh national team.

References

1958 births
Living people
Welsh men's footballers
Gillingham F.C. players
Bristol City F.C. players
Swindon Town F.C. players
Walsall F.C. players
Maidstone United F.C. (1897) players
Yeovil Town F.C. players
Yate Town F.C. players
Wales men's international footballers
Footballers from Cardiff
Men's association football wingers


TTP/A is a time-triggered real-time fieldbus protocol used for the interconnection of low-cost smart transducer nodes. In contrast to the Time-Triggered Protocol (TTP), which is a high-speed, fault-tolerant communication network intended for safety critical applications (SAE class C), TTP/A provides a low-speed (below 1 MB/s), low-cost protocol suitable for non-critical applications like car body electronics (SAE class A).

Description
Time-triggered means that all actions are scheduled at predefined times. The schedules are repeated periodically for a predictable repetitive behavior. This is for sensor or actuator applications and closed control loops, where arbitrary message delays worsen or even invalidate the result.

Interface
The TTP/A protocol implements a communication layer and data access according to the Object Management Group smart transducer Interface standard which was published in late 2002. The interface to each transducer is known as an Interface File System (IFS), that includes both real-time data, as well as configuration and node management features. The IFS makes it possible to share data between different TTP/A clusters in a transparent fashion, so that for the application no distinction between data from local and remote nodes is made. The TTP/A protocol does not require special controller hardware and can be implemented on any standard embedded microcontroller. An open-source implementation exists for the Atmel AVR architecture. Like the fault-tolerant time-triggered protocol TTP, TTP/A follows the time-triggered paradigm featuring a clock synchronization and predefined time-triggered schedules for communication and execution of tasks. Thus, TTP/A communication implements a strict time division multiple access (TDMA) scheduling. TTP/A can be used as a sub-bus for a higher-performance and more dependable real-time systems, or to provide transducer data to a Linux system in a soft-real-time fashion. TTP/A was used in applications such as an intercommunication system for mobile robots.

TTP/A is a time-triggered protocol used for the communication of one active master with or among smart transducer nodes within a cluster. This cluster is controlled by the master, which establishes a common time base among the nodes. In case of a master failure, a shadow master can take over control. Every node in this cluster has a unique alias, an 8 bit (1 byte) integer, which can be assigned to the node a priori or set at any time via the configuration interface.

Periodic time-triggered schedule

TTP/A communication is organized into rounds separated by inter round gaps (IRG). The TTP/A bus is inactive for at least 13 bit times during each gap. A TTP/A round consists of one or more frames. A frame is a sequence of bytes transmitted by one node. A byte is transmitted in a slot consisting of 13 bit cells: one start-bit, eight data-bits, one parity, one stop-bits and a two bit cell wide inter byte gap. The rounds are independent from each other. Every round starts with a fireworks byte sent by the master. The arrival of the fireworks byte is a synchronization event for every node in the cluster and identifies the round. According to the specification of the selected round, the fireworks frame is followed by data frames of specified length from the specified nodes. Each such frame is described by an entry in the round descriptor list (RODL) in the file-system of the sender and the receiver(s). Because the slot position at which each communication action takes place is defined a priori, no further bus arbitration is necessary.

The transmission frames are based on universal asynchronous receiver/transmitter (UART) frames.
This allowed the protocol to be implemented using microcontrollers featuring a standard UART module. For low transmission rates, also a software-based implementation without a hardware-supported UART is possible.

Several papers were published by researchers at the Vienna University of Technology on TTP/A from 1994 through 2006 by Hermann Kopetz and Wilfried Elmenreich.
A related protocol called TTP/C was also described in 2003.

References

Industrial computing


"Happy Working Song" is a song written by composer Alan Menken and lyricist Stephen Schwartz for Walt Disney Pictures' musical film Enchanted (2007). Recorded by American actress Amy Adams in her starring role as Giselle, the uptempo pop song both parodies and pays homage to a variety of songs from several Disney animated feature films, particularly "Whistle While You Work" from Snow White and the Seven Dwarfs (1937). Produced by Menken, Schwartz and Danny Troob, the song appears on the film's soundtrack Enchanted: Original Soundtrack.

"Happy Working Song" takes place in Robert's untidy apartment in Manhattan, New York, in which Giselle spends her first night in the city after having been magically transported there from the fictional Andalasia. The next morning, Giselle awakens to find the apartment in a state of neglect and decides to clean it, summoning several animals to her aid. Additionally, the musical number references similar scenes from Disney's Snow White and the Seven Dwarfs and Cinderella (1950). Based on 1950s music, "Happy Working Song"'s bridge deliberately references the song "Belle" from Disney's Beauty and the Beast (1991).

Musically, "Happy Working Song" shares similarities with the songs "Heigh-Ho" from Snow White and the Seven Dwarfs, "The Work Song" from Cinderella and "Something There" from Beauty and the Beast. The song has garnered vastly positive reviews, with both film and music critics praising its humorous, witty lyrics, allusions and references to previous Disney films and songs, as well as Adams' performance. "Happy Working Song" was nominated for the Academy Award for Best Original Song at the 80th Academy Awards in 2008 alongside Enchanteds own "That's How You Know" and "So Close", making the film one of only four to achieve this feat. Ultimately, the song lost to "Falling Slowly" from Once (2007), while the Academy of Motion Picture Arts and Sciences subsequently decided to limit the total number of Best Original Song nominations to only two per film.

Background, writing and references
Veteran Disney composer, Alan Menken, became actively creatively involved with Enchanted in 2006, subsequently inviting his longtime collaborator, lyricist Stephen Schwartz, with whom Menken had previously worked on Disney's Pocahontas (1995) and The Hunchback of Notre Dame (1996), to co-write the songs and musical numbers for Enchanted alongside him. Menken said of the general songwriting process, "the first challenge for us was finding that musical palette and lyrical palette and performance palette that really spoke to everybody and said that we are in the world of early Walt and to have that place to start."

When it came to writing "Happy Working Song", Menken and Schwartz were directly influenced by the song "Whistle While You Work" from Disney's first full-length animated feature film Snow White and the Seven Dwarfs (1937), with Schwartz describing "Happy Working Song" as a "spoof" and "one of the funniest sequences of the film". According to Schwartz, "Happy Working Song" was written rather quickly, having come "[to the songwriters] really fast". Schwartz elaborated, "'Happy Working Song' is ... pretty much out of Snow White and 'Whistle While You Work' and that little thing where they do the dishes and Dopey with the soap bubbles and everything." In addition to this, "Happy Working Song" features references to both the musical number "The Work Song" and "the busy little mice" from Disney's Cinderella (1950), but to a significantly lesser extent. Lyrically, Schwartz decided to approach the song comically as demonstrated by its phrase "Even though you are vermin."

Conceptually, Menken explained that "As the characters become sort of three dimensional, songs become more contemporary." Ultimately, Menken believes that, melodically, "Happy Working Song" is very much similar to the songs "Belle" and "Something There" from Beauty and the Beast. Additionally, orchestrator and arranger Danny Troob revealed the bridge of "Happy Working Song" is directly based on the bridge of "Belle", particularly serving as "a deliberate reference on [the songwriters'] part." Addressing the musical similarities between "Happy Working Song" and "Something There", Troob explained that the former occupies a different "drive" and "attitude", additionally sounding "a little bit more brisk ... because [Giselle is] working." Troob elaborated, "Beauty and the Beast was, for its time, very forward-looking, and 'Happy Working Song' is deliberately retro." Troob decided to alter and deliberately steer the song away from Menken and Schwartz's original 1970s-inspired musical arrangement in an attempt to "make it feel like the 1950s" by "manipulating instruments [sic] textures."

American actress, Amy Adams, who portrays Giselle, had previously "worked in musical theater before [she] moved to Los Angeles" in order to pursue a career as a film actress, and was therefore "very comfortable with the idea of singing". Citing both actress and singer Julie Andrews and several Disney Princesses as musical inspiration, Adams decided to perform the film's first song, "True Love's Kiss", in the style of an operetta before eventually replacing this with a more Broadway musical-style voice for "Happy Working Song".

Context, scene and analysis
Having just recently arrived in New York City after having been magically transported there from her fantastical world of Andalasia, a lost and hopelessly confused Giselle is discovered wandering around by Robert, a single father and divorce attorney, and his daughter Morgan. Robert decides to offer his assistance to Giselle by inviting her to spend a night's shelter in the safety of their apartment. The following morning, Giselle awakens to find Robert's apartment in a complete state of disarray. During the "Happy Working Song" musical sequence, described as one of the film's "large scale production numbers", Giselle, who is very much appalled by the untidy state of Robert's Manhattan apartment, decides to "repay ... the favour" by taking the liberty of confronting and cleaning up the apartment's mess herself. By performing a brief aria and "utilizing her animal-charming abilities", Giselle musically "summons the city's animals" in order "to help her tidy it up". This gesture and scene serves as a reference to similar scenes and musical sequences from preceding Disney animated fairy tale films such as Snow White and the Seven Dwarfs (1937) and Cinderella (1950).

Demonstrating and suggesting "that Giselle really does have some magical power, even in [the real world]", – according to Sean Axmaker of the Seattle Post-Intelligencer, "When she breaks into song ... sewer rats and cockroaches arrive to help with the housework" – the aria is immediately responded to by several animals, creatures and "vermin" typically associated with New York City, including rats, pigeons, roaches, and flies – visually meant to represent "makeshift 'forest friends'" – "as opposed to the woodland critters of the movie's opening animated segment." According to film critic Brent Simon of Shared Darkness, the comedic gag serves as one of the film's "amusing ways to contrast the two worlds" of Giselle's fictional Andalasia and the real-life New York City.

Several professional film critics have allotted a variety of different terms and nicknames to the animals who appear during the "Happy Working Song" sequence. Neil Smith of BBC Online described the animals who appear during the scene as "a grotesque menagerie of CG vermin", while the Orlando Sentinels Roger Moore jokingly referred to them as New York's own "woodland creatures", writing, "the rats and pigeons are merely the cuddlier ones". Manohla Dargis of The New York Times coined the creatures "urban critters."

Composition and inspiration
"Happy Working Song" is a "vibrant", uptempo pop song. Reminiscent of and influenced by a variety of "archetypal Disney" and "classical-sounding" musical numbers, the musical theater-inspired song runs a total length of two minutes and nine seconds. Incorporating into its lyrical structure a variety of "clever" words including "toilet", "hairball" and "vermin", while rhyming humorous terms such as "hum" and "scum" with "dum dum dum" and "vacu-um", "Happy Working Song"'s use of "comical", "tongue-in-cheek lyrics", according to Filmtracks.com, both describe and add narration to Giselle's "attempts to conjure an ultra happy tune while scrubbing floors and toilets in the real world" upon deciding "to clean her new home with the help of ... cockroaches and flies". Its musical instrumentation is heavily reliant on the use of the harpsichord, with Filmtracks.com additionally describing "Happy Working Song" as a "harpsichord-laced" song. Troob purposefully included the harpsichord in the song's instrumentation and orchestration in order to provide it with a more accurate "period setting".

According to Common Sense Media, "Happy Working Song" shares similarities with and is also inspired by "Heigh-Ho" from Snow White and the Seven Dwarfs, in addition to "Whistle While You Work" from Snow White and the Seven Dwarfs and "The Work Song" from Cinderella. Additionally, the song is reminiscent of "Belle" and "Something There" from Beauty and the Beast, specifically when it comes to its bridge and "staccato quality". Written in the key of D major in alla breve cut common time, "Happy Working Song" is structured around a "lilting", Broadway musical-inspired melody. According to the song's official sheet music, published at Musicnotes.com by Walt Disney Music Publishing, "Happy Working Song" follows an upbeat, "perky and live" tempo of 88 beats per minute. In portrayal of Giselle, Adams performs the song using an "earnest", "tart ... soprano voice". Her high soprano vocal range spans approximately two octaves, from the low note of G3 to the high note of D5. The song's lyrics begin, "Come, my little friends, as we all sing a happy little working song, merry little voices clear and strong."

Reception

Critical reviews
"Happy Working Song" has garnered widespread critical acclaim. Filmtracks.com hailed "Happy Working Song" as Menken and Schwartz's "best work together in Enchanted" Describing "Happy Working Song" as a "loving, well-crafted homage ... to Disney classics", Elisabeth Vincentelli of Amazon.com wrote, "tellingly, the lovely 'Happy Working Song' ... sounds like it could have been lifted from any number of Disney movies—and that's meant as a compliment." Drawing similarities between the song and "Heigh-Ho", Jacqueline Rupp of Common Sense Media commented, "the 'Hi-Ho'[sic]-inspired 'Happy Working Song' will have kids giggling and dancing." Jeff Swindoll of Monsters and Critics wrote that "Happy Working Song" successfully "ap[es]'Whistle While You Work' most amusingly." The New York Times Manohla Dargis called "Happy Working Song" "brilliantly surrealistic".

{{rquote|right|The hilarious "Happy Working Song" production number ... encapsulates the joys of Enchanted — an unironic affection for classic Disney fairy tales of old, salted with modern smarts about how the non-Disney world really works for single parents, kids, working women, divorce lawyers, and cockroaches.|Film critic Lisa Schwarzbaum of Entertainment Weekly'''s very positive review of "Happy Working Song".}}
Lisa Schwarzbaum of Entertainment Weekly described "Happy Working Song" as a "hilarious ... production number" that successfully "encapsulates the joys of Enchanted". The Wall Street Journals Joe Morgenstern enthusiastically praised both the song and the sequence, hailing the latter as "magical" while describing "Happy Working Song" as a "gleeful variation on theme of 'Whistle While You Work'". Similarly, Todd McCarthy of Variety called "Happy Working Song" "a hilarious variation on 'Whistle While You Work'". Sun Media's Kevin Williamson hailed the musical number as one of the film's "stand-outs", elaborating, "[']Happy Working Song[' is] a crowd-pleaser." The Mountain Xpress Ken Hanke allotted particular praise to Adams', writing that when the actress is "singing her 'Happy Working Song' with her makeshift 'forest friends' ... she is the perfect cartoon heroine made flesh". Kerry Lengel of The Arizona Republic jokingly lauded "Happy Working Song" as "the funniest - and grossest - set piece in the film." Calling the sequence the "film's highlight", Carrie Rickey of The Philadelphia Inquirer commented, "The song, like the movie, is cheerfully gross enough to get boys - and their fathers - into theater seats for a story every tween and her mother will love."

Film critics who generally disliked Enchanted tended to have mostly positive things to report about "Happy Working Song". Peter Bradshaw of The Guardian, who assigned the film a negative score of two out of five stars, in contrast gave "Happy Working Song" a positive review, describing it as "a funny opening song". Additionally, Bradshaw drew similarities between the musical number and scenes from Snow White and the Seven Dwarfs and Disney's Mary Poppins (1964).

One of the song's few negative reviews was written by Mary F. Pols of the Contra Costa Times, who opined, "a cleaning crew of vermin and cockroaches is just real enough to be crass rather than funny".Empire ranked "Happy Working Song" third on its list of the "10 Great Musical Numbers" of the decade, writing that although "Shrek set the benchmark for Disney song parodies at Everest levels ... it's Amy Adams calling on New York's creatures of the forest to tidy up Patrick Dempsey's apartment that pulls it off to perfection."

 Academy Award nomination and aftermath
"Happy Working Song" was nominated for the Academy Award for Best Original Song at the 80th Academy Awards in 2008 alongside Enchanted songs "That's How You Know" and "So Close", ultimately dominating the category. However, the song was generally not favored to win by the media in spite of the fact that it was vastly a critical success. According to a poll conducted by Billboard in anticipation of the ceremony, when the magazine asked 155 of its readers "Who gets your vote for best original song in a motion picture at the Academy Awards?"; only 5% of them voted in favor of "Happy Working Song" winning the award while 10% voted for "So Close" and 24% voted for "That's How You Know". In addition to this, 6% of readers voted for August Rushs "Raise It Up" and 22% voted for Glen Hansard and Marketa Irglova's "Falling Slowly" from Once (2007). Ultimately, "Happy Working Song" lost to "Falling Slowly". Menken believes that his compositions did not win the Best Original Song award because three of them had been nominated at once.

Famously, Enchanted became the fourth out of only four films in the history of the Academy Awards to receive three separate Academy Award nominations in the Best Original Song category, having been preceded by Disney's own Beauty and the Beast and The Lion King (1994) at the 64th and 67th Academy Awards in 1992 and 1995, respectively, and Dreamgirls (2006) at the 79th Academy Awards in 2007. In anticipation of the 81st Academy Awards occurring the following year in 2009, the Academy of Motion Picture Arts and Sciences ultimately decided to prohibit and prevent this rare feat from reoccurring at upcoming ceremonies by limiting the maximum number of Best Original Song nominations from any one film to a total of only two per film.

 Live performance and Kristin Chenoweth controversy

Adams' first live performance of "Happy Working Song" was at the 80th Academy Awards ceremony in 2008. Performing at approximately 6:01 pm local time, Adams was reportedly very nervous during and after her performance, revealing to The Huffington Post, "I don't know how I did that. It's the thing that was the most terrifying that I've ever done, and the thing I'm most proud of in my career." Subsequently, Adams told Vulture.com that she would likely perform at the Academy Awards again "As long as [she] wasn't doing it by [her]self".

Adams' live rendition of "Happy Working Song" was generally well-received by critics. George Lang of The Oklahoman described it as a "perky" performance, additionally commenting, "[Adams is] great ... and she should have already racked up her first Oscar for acting by now." The Boston Globes Wesley Morris wrote, "Watching Amy Adams sing ... makes you appreciated [sic] the magic of the movies." However, the performance generated some mild controversy revolving around the fact that while Adams was selected to perform "Happy Working Song", Broadway actress and singer Kristin Chenoweth was hired to sing "That's How You Know" live at the ceremony. When questioned about this, Disney executives told the Los Angeles Times that "it's best [Adams] sing 'Happy Working Song' because it has so many parallels to Julie Andrews in Mary Poppins".

However, some critics and journalists have argued that the decision stemmed from Disney and the Academy of Motion Picture Arts and Sciences' belief that Adams, predominantly a film actress, would ultimately not be able to perform "That's How You Know" as adequately as the more experienced Chenoweth. Additionally, critics noted that while Chenoweth's Academy Award performance was staged and choreographed as a large, extravagant number featuring "dozens of colorfully costumed dancers", Adams performed by herself on a mostly barren stage highlighted by a "single spotlight". Vulture.com commented about the performance, "Adams didn't do terribly, but she's no Broadway star, and we felt kind of awful for her." During an interview, Adams told the New York Post ''that she was not upset by the Academy's decision, instead feeling that "That's How You Know" was "perfect" for Chenoweth to perform.

References

External links
 Official video on YouTube

Songs about labor
2007 songs
Songs from Enchanted (film)
Songs with music by Alan Menken
Songs written by Stephen Schwartz (composer)
Song recordings produced by Alan Menken


The Art Interview - International Online Artists' Competition is a quarterly international art award.

Since its inception in 2004, the award has been given to many emerging artists who have become known to the general public for the first time. It has also been awarded to artists who are considered to be more established, such as Bill Wray, Marcus Antonius Jansen, and Erika Blumenfeld, whose works can be found in museums and other collections. The prize winners receive long-term publication of their winning artwork with the sponsoring online magazine (art-interview.com). The first-place winner of the award receives a published interview in Art Interview Online Magazine alongside the interviews of well-established artists such as: El Anatsui, Artists Anonymous, Jim Avignon, David Černý, Richard Estes, Janet Fish, Eric Fischl, Alex Katz, Oleg Kulik, Jesus Moroles, Sylvia Sleigh, Richard Stipl and Kehinde Wiley.

Notes and references

External links
 http://www.art-interview.com

Visual arts awards


Ian Sinclair (born 1929) is an Australian politician.

Ian Sinclair may also refer to:

 Ian David Sinclair (1913–2006), Canadian businessman and senator
 Ian Sinclair (cricketer) (born 1933), New Zealand cricketer
 Ian Sinclair (broadcaster), New Zealand television journalist and reporter
 Ian Sinclair (Canadian football) (born 1960), Canadian football player
 Ian Sinclair (voice actor) (born 1984), American voice actor
 Sir Ian Sinclair (lawyer) (1926–2013), British international lawyer
 Iain Sinclair (born 1943), British writer
 Iain Sinclair (rugby union) (born 1976), Scottish rugby union player


Ciudad Altamirano, is a city of in the Mexican state of Guerrero and serves as the municipal seat for Pungarabato. It is part of the Tierra Caliente region of said entity, on the border with the state of Michoacán.

It stands on the Cutzamala River, one of the main tributaries of the Balsas River, at a height of  above sea level.

The 2010 population was reported to be 37,035 by the Congress of Guerrero.

The city's name honours Ignacio Manuel Altamirano, a 19th-century president of the Supreme Court and writer born in Tixtla, Guerrero.

Ciudad Altamirano has a paved airport named Santa Bárbara Regional Airport. The name comes from the sister town next to Altamirano. Most (if not all) people refer to it as simply Altamirano Airport, or "Aeropuerto Altamirano". The airport does not have any airline services, so the only ones using it are locals who own airplanes. Recently, a small military base was located at the airport.

The Centro de Bachillerato Tecnológico Agropecuario No. 18, a high school, is located in Ciudad Altamirano.

References

Populated places in Guerrero


Sonatala may refer to:
Sonatala Upazila, an upazila in Bogura District, Rajshahi Division, Bangladesh
Sonatala, Malda, a census town in West Bengal, India


Rajorshi Chakraborti is an Indian novelist and academic. He was born in 1977 in Kolkata, and grew up there and in Mumbai. He attended the Lester B. Pearson United World College in Victoria, B.C., Canada, the University of Hull where he was awarded the Philip Larkin Prize, and the University of Edinburgh where he completed his doctoral studies in African and Indian Literature. Chakraborti is the great-grandson of the Bengali writer Hemendrakumar Roy.

Chakraborti's first novel Or the Day Seizes You, (Penguin India), was shortlisted for the Hutch-Crossword Book Award in 2006. A Spanish translation entitled La Vida Que Nos Lleva was published in April 2009 by Ediciones Ambar. His second novel, Derangements was published by HarperCollins in August 2008.

The novel Derangements appeared in the US in July 2010 under the title Shadow Play, published by St Martin's Press (Minotaur Books).  Chakraborti's third novel, Balloonists, was released in June 2010 in India, published by Westland Books.

He has also published reviews, short stories and essays in periodicals and anthologies including the Edinburgh Review; Turbine; The Istanbul Review (forthcoming); Excess: The Tehelka Book of Stories (Hachette India: 2010); Why We Don't Talk (Rupa: 2010); Too Asian, Not Asian Enough (An Anthology of New British Asian Fiction) (Tindal Street Press: 2011), The Edinburgh Introduction to Studying English Literature (EUP: 2010), and The Popcorn Essayists: What Movies do to Writers (Westland: 2011).

Between 2007 and 2010, Chakraborti worked as a lecturer in English Literature and Creative Writing at the University of Edinburgh. He currently lives in Wellington, New Zealand.

Chakraborti's novel, Mumbai Rollercoaster, appeared in India in November 2011, published by Hachette India.
His most recent novel "The Man Who Would Not See" is published by Penguin Random House New Zealand in February 2018, it has been longlisted for the NZ Ockham Book Awards 2019

References
Rajorshi Chakraborti's Author Website: http://www.rajorshichakraborti.com/

Chakraborti's Facebook Author Page: http://www.facebook.com/pages/Rajorshi-Chakraborti/141572942606603
An Interview with Rajorshi Chakraborti: http://jaiarjun.blogspot.com/2006/03/conversation-with-rajorshi-chakraborti.html
A Short Story by Rajorshi Chakraborti: http://www.tehelka.com/story_main41.asp?filename=hub100109the_good.asp
An Extract from Shadow Play: http://textualities.net/writers/creative-writing/chakrabortir01.php

Writers from Kolkata
Living people
Year of birth missing (living people)
People educated at a United World College


The Spaak Committee was an Intergovernmental Committee set up by the Foreign Ministers of the six Member States of the European Coal and Steel Community (ECSC) as a result of the Messina Conference of 1955. The Spaak Committee started its work on 9 July 1955 and ended on 20 April 1956, when the Heads of Delegation of the six Member States of the ECSC approved the Spaak report. The committee worked on two main topics, one was the creation of a general common market and the other one was the establishment of a European Community for the peaceful use of atomic energy.

The steering committee was composed of Paul-Henri Spaak, the six heads of delegation from the ECSC member states and a representative, Russell Frederick Bretherton, of the United Kingdom. The different committees examined the common market, investments and social issues, conventional energy, nuclear energy and public transport and public works. In addition several highly specialised subcommittees would then be set up, depending on the topics raised, which might relate to either customs or nuclear matters.

The common market was the core issue of the committee, although the question of agriculture also arose. In addition transportation and conventional energy were also to be dealt with. By November 1955 the focus of the committee was on the establishment of the common market by abolition of trade barriers, customs arrangements with third countries, social and financial harmonisation and the establishment of common institutions.

On 6 September 1955 at the Noordwijk Conference, Spaak presented an interim report. In October 1955 the United Kingdom decided to leave the Spaak Committee as the UK opposed a customs union and did not want to submit its atomic research program to Euratom. On 25 September 1955 the Treaty of Association between the ECSC and the United Kingdom was already enough for the UK. Russell Bretherton left the committee on 7 November 1955.

The Ministers for Foreign Affairs of the ECSC convened in Brussels on 11 and 12 February 1956 to take the final decisions. The Spaak Report was then published in April 1956. The Spaak report was presented to the foreign ministers of the six Member States of the ECSC on 21 April 1956 and at the Venice conference one month later.

The Spaak report was approved at the Venice Conference on 29 and 30 May 1956 and was used as the basis for discussion in the work of the Intergovernmental Conference on the Common Market and Euratom from July 1956 which met at the Château of Val-Duchesse in Brussels. This would lead to the Treaties of Rome being signed in 1957 which established the European Economic Community (EEC) and the European Atomic Energy Community (Euratom) among the members of the ECSC.

See also
 History of the European Union
 BeNeLux memorandum
 Spaak method

References

Sources
 The Spaak Committee on CVCE website (EU)
 The work of the Spaak Committee on CVCE website (EU)
 Interview de Jean-François Deniau: la position du Royaume-Uni (Brussels, 26 March 1997) on CVCE website
 W. Maas, The Genesis of European Rights, JCMS: Journal of Common Market Studies 43 (5), 1009–1025.

History of the European Union


"So Close" is a song written by composer Alan Menken and lyricist Stephen Schwartz for the musical fantasy film Enchanted (2007), recorded by American singer Jon McLaughlin. In the film, the song is performed by McLaughlin as himself, a band vocalist, musically accompanying main characters Giselle and Robert as they dance together at a costume ball. The song's lyrics describe both their relationship with each other, as well as Giselle's journey and growth as a character.

Enchanted's songs become more contemporary in style as Giselle matures into a modern-day young woman, with "So Close" resembling the style of music featured in Disney films during the 1990s, a theme similarly reflected by the character's choice of wardrobe during the scene. A romantic pop ballad, Menken and Schwartz based "So Close" on the title song from Disney's Beauty and the Beast (1991), a song Menken himself had written the music for, while its cinematography was designed to invoke the camera movement in Beauty and the Beast's famous ballroom sequence. The track was arranged and produced by Robbie Buchanan, who had previously arranged pop versions of the theme songs from Beauty and the Beast, Aladdin (1992) and Pocahontas (1995).

The song has received generally negative reviews from film and music critics, who were unimpressed with its slow tempo. "So Close" was one of three songs from Enchanted nominated for an Academy Award for Best Original Song at the 80th Academy Awards. McLaughlin's live performance during the telecast was met with critical acclaim, and is credited with introducing the singer to a wider audience while bolstering sales of his own material.

Writing and recording
"So Close" was written by composer Alan Menken and lyricist Stephen Schwartz. Menken and Schwartz based "So Close" on the title song from Beauty and the Beast (1991), a song Menken himself had written the music for. In addition to conceiving the song's title, director Kevin Lima specifically asked that the song's final lyrics be "So close and still so far" to mirror the idea that this appears to be Enchanted's main characters Giselle and Robert's final moment together. The songwriters enlisted Robbie Buchanan to produce the track; Buchanan had previously arranged and produced the single version of "Beauty and the Beast", as well as "A Whole New World" and "Colors of the Wind" from Aladdin (1992) and Pocahontas (1995), respectively.

Menken recorded an early demo version of the song before it was forwarded to Buchanan, who created its backing track. In addition to Buchanan, many musicians contributed to the track before it was finally returned to the producer, and then Menken. Menken proceeded to use Buchanan's track to orchestrate the song while developing an instrumental "middle section" during which the characters would dance. Menken and Schwartz co-produced. Although arranger Danny Troob contributed some orchestration to the song, he attributes the majority of its arrangement to Buchanan. "So Close" was recorded by singer-songwriter Jon McLaughlin, who was recruited from his record label by the film's music supervisor after Menken and Schwartz began searching for a suitable singer. Instrumentalists on the track include bassist Neil Stubenhaus, drummer John Robinson and guitarist Michael Landau, while Buchanan himself contributed both piano and synthesizer.

Menken had written an alternative version of "So Close", which the filmmakers enjoyed but ultimately rejected in favor of the final version used in the film. Additionally, a song originally written for the villain Queen Narissa (Susan Sarandon) was eliminated from the film because Lima felt that the musical number would occur too close to "So Close", wanting to prevent the film from becoming a "full out" musical. The song was released on November 20, 2007 as part of the film's soundtrack.

Context

Background
Stylistically, the songs in Enchanted progress and become more modern over the course of the film, with Amy Adams describing "So Close" as "a lot more poppy" than previous songs "Happy Working Song" and "That's How You Know". Schwartz explained that the score grows increasingly modern as Giselle develops into "a contemporary young woman", likening "So Close" to the 1990s era of Disney musicals, such as Beauty and the Beast and Pocahontas. The decision to have the song performed by an "outer voice" as opposed to a main character was derived from the reality of this particular moment in the film, and the songwriters agreed that it would be more appropriate to "have somebody sing it right in that ball." Troob observed that, although the actors pretend that the song is being performed by a professional singer, the track is "a pop record with a pop orchestra playing behind it." Patrick Dempsey initially protested the idea of singing a small portion of the song, but Schwartz insisted. The sequence was deliberately choreographed to reference the camera movement and angles used in the famous ballroom sequence from Beauty and the Beast, as Lima had envisioned replicating the scene in live-action.Adams and Dempsey attended several dance classes together prior to filming the scene. Despite already having experience as a solo dancer, Adams found the process unusual as she was required to "break down some of my own barriers" in order to learn how to dance with a partner for the first time. She was initially reluctant to allow Dempsey to lead, describing herself as "stubborn" and suffering the loss of a few toenails in the process. Adams found it difficult to adjust until a professional ballroom dancer reviewed their progress and advised her to "surrender" to Dempsey, reminding her "that you are dancing your own dance even though you are being led". The actors rehearsed several times before they finally trusted each other. Adams received this as an important "life lesson" that can be applied to real-life relationships and situations: "working with Patrick ... was really important ... I had to learn to trust him fully to lead me backwards through a crowd of people and I think really helped us form communication and trust on set, because we were forced to tell each other what we really needed.”

Giselle's transition from a fairy tale character into a "real woman" is exemplified by her wardrobe choices. The purple gown Adams wears during the ball sequence was designed by costume designer Mona May, who drew inspiration from costumes used in 1930s musical films, specifically gowns worn by actress Ginger Rogers, as well as several concept drawings of early Disney Princesses. However, the costume designer also wanted the dress to resemble an outfit purchased from Bergdorf Goodman, explaining, "it’s so important to be slick and modern, to be not fairy tale anymore, because we’ve seen the fairy tale ... She’s now a modern girl. She’s deciding to stay here to really understand this world, to know her feelings and who she is", an idea she believes is supported by the gown's silhouette and color. May described Giselle's final look as "completely modern", devoid pouf and curls in her hair. Identifying Giselle as one of Disney's first princesses "to save the prince", May also wanted her gown to demonstrate the character's "feminine strength". Although Giselle is shown undergoing a makeover during a shopping montage, the filmmakers avoided showing Giselle trying on different outfits to ensure that her final selection remains a surprise. Adams helped design the "glass slippers" her character wears during the scene, which were custom made to allow her to dance. Meanwhile, Roberts' outfit pays homage to the Beast's tuxedo in Beauty and the Beast.

Executive producer Chris Chase decided to set the scene in the Woolworth Building, a skyscraper in Manhattan, because he believes that the building "is such a medieval-looking castle", containing gargoyles in addition to being "very decorated." He described it as "a modern-day reflection of a castle", thus adhering to the film's theme of both reflecting and contrasting traditional fairy tales.

Use in Enchanted
The sequence is preceded by a shopping montage, in which Giselle (Adams) is treated to a shopping spree by Robert's daughter Morgan (Rachel Covey) to update her wardrobe in preparation for The King & Queen's Ball. The dress Giselle ultimately wears is meant to signify her "transformation into a contemporary New Yorker", as opposed to a more opulent outfit. Giselle and her betrothed, Prince Edward (James Marsden), arrive at The Kings & Queens Ball, a costume ball where they meet Robert (Dempsey) and his fiance Nancy (Idina Menzel). For "The King and Queen's Waltz", the conductor invites all gentlemen to ask a lady with whom they did not attend the ball dance, requiring the attendees to switch partners. Edward immediately invites Nancy to dance and, after a moment of hesitation, Robert asks Giselle to do the same, allowing the two to "finalize [their] bond" with each other. In the film, McLaughlin plays himself and performs "So Close" diegetically as a band vocalist, accompanied by an orchestra.

The song offers "an outer voice that mirrors Giselle's inner emotional journey." While Giselle and Robert dance, the other couples vacate the center of the ballroom floor, allowing them more room. Robert quietly sings a few of the song's lines to Giselle, prior to which he had vehemently refused to sing for much of the film. The couples dance in quadruple meter. Nancy eventually interrupts them, reuniting with Robert as Edward prepares to leave the ball (and New York) with Giselle. While Edward retrieves Giselle's wrap, she gazes at Robert completing their dance with Nancy as the song concludes. Menken described "So Close" as "a heartfelt, emotional moment" in the film. According to Jordan Iacobucci of Screen Rant, the ballad "tells the entire story of Enchanted in the span of three minutes", with Giselle and Robert realizing how close they were to finding their happy ending with each other, before it was ultimately taken away.

Composition
According to the song's official sheet music published by Walt Disney Music Publishing on Musicnotes.com, "So Close" was written in the key of E major, performed "slowly" in common time. The track lasts a duration of three minutes and forty-nine seconds. According to The Musical Theater of Stephen Schwartz: From Godspell to Wicked author Paul R. Laird, the song is performed in 4/4 time "with a prevailing triplet motion", thus the ballad is not a waltz since it is not written in 3/4 time. Filmtracks.com identified the song as a "modern ... contemporary pop" ballad. Musically, "So Close" resembles Menken's "era of Disney songwriting", with the composer himself describing the track as "a more contemporary, adult ballad" and agreeing that the song is "really in my ballad style". Troob described "So Close" as a "very straight-ahead pop ballad" reminiscent of music popular during the 1980s and 1990s. Peter Knegt of IndieWire described the ballad as "mid-1990s slow dance sounding". In addition to being a pop song, the track employs heavy pop orchestration; instruments such as bass, drums, guitar, piano and synthesizer can be heard throughout the piece. Laird described Menken's composition as "a flowing tune with a wide range that takes [McLaughlin's] tenor to a d-flat", which he performs in falsetto. Performing the track using a "melancholic voice", McLaughlin's vocal range on the song spans three octaves, from B3-Db6.

"So Close" is a love song. The song features lyrics that mirror the film and Giselle's relationship with Robert, beginning with "You're in my arms/And all the word is gone/The music playing on/for only two/so close together" and ending "...So close, and still/So far..." to indicate that there is still separation between the two, despite how close they've grown. This last line refers to the characters' close physical proximity to each other but different fates. According to McKinley Catherine Keener of The Odyssey Online, "So Close" briefly suggests that Enchanted may lack a conventionally happy ending, specifically the lyrics "A life goes by, romantic dreams must die." McLaughlin's raspy, sentimental vocals and melody contradict with the song's cynical lyrics. Laird observed that, in addition to conveying the song's dual message, Schwartz is less reliant on rhyming words, but nonetheless uses lyrics such as "happy end" instead of "happy ending" in order to rhyme with "pretend". The ballad's lyrics also consist of puns.

Reception

Critical reception towards "So Close" has been generally negative. Filmtracks.com described the song as "stale". The Houston Chronicle's Amy Biancolli criticized its slow tempo, writing that "musical nitpickers ... might wish that [the] climactic ballroom 'waltz' had actually been in three-four time." Golderby writer Andrew Carden dismissed "So Close" as "a real snooze." Jared Johnson, writing for The Sojourn, conversely described the track as "a beautiful love ballad".

"So Close" was nominated for an Academy Award for Best Original Song at the 80th Academy Awards in 2008, in addition to "Happy Working Song" and "That's How You Know" from Enchanted. "So Close" was the only nominated song from Enchanted not performed by Adams. The three songs had collectively sold 177,000 digital downloads prior to the awards ceremony. Although Peter Knegt of IndieWire enjoyed Enchanted's songs, he felt that "So Close" was undeserving of a nomination. Billboard polled its readers, asking them which of the five nominees they hoped would win Best Original Song, 10% of whom voted for "So Close". "So Close" is ranked as McLaughlin's most streamed song on Spotify, having accumulated more than 16 million streams as of January 2019.

In 2020, Ross Tanenbaum of Screen Rant ranked "So Close" Disney's fourth most underrated song, describing it as a charming ballad with "good lyrics, an enchanting melody, and a soothing vocal performance." The same publication ranked "So Close" the best song from Enchanted.The Odyssey Online's McKinley Catherine Keener described "So Close" as "simultaneously one of the sweetest and most heartbreaking songs Disney has ever produced."

Live performances and covers
McLaughlin performed "So Close" live at the 80th Academy Awards, where the song had been nominated for Best Original Song. The performance was introduced by Dempsey, while dancers dressed as the film's main characters recreated the ballroom scene on stage. McLaughlin's performance earned critical acclaim, and is credited with establishing him as "an overnight sensation" while introducing his music to a wider audience. Following McLaughlin's performance, Amanda Valentovic of Bandsintown deemed the song a "classic". McLaughlin's debut studio album Indiana experienced a 1,514% increase in sales on Amazon overnight, resulting in the album peaking at number-one on its Movers & Shakers chart. AllMusic biographer Marisa Brown wrote that the singer's public "profile received an extra boost" following the ceremony, claiming that McLaughlin "used the resulting momentum to drum up support for his third studio album, OK Now." Charlee Vaughan and Jared Johnson, both critics for The Sojourn, lamented the fact that the singer excluded the song from his 2012 and 2013 performances at the Phillippe Performing Arts Center, which Vaughan found unusual considering its popularity.

Singer John Barrowman and actress Jodie Prenger covered the song as a duet for the former's 2010 eponymous studio album. Barrowman had met Prenger when she auditioned for the British talent competition I'd Do Anything in 2008, and asked her to record "So Close" with him in September 2009, to which she immediately agreed. Prenger was the first artist Barrowman considered for the duet. Adrian Edwards of BBC wrote that their rendition failed to leave "any lasting impression."

Japanese singer Koda Kumi covered the song in 2017 for the Japanese cover album, Thank You, Disney. Like the rest of the songs from the album, she retained the English lyrics, although the musical arrangement became pop and jazz influenced.

References

2000s ballads
2007 singles
2007 songs
Songs from Enchanted (film)
Love themes
Pop ballads
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Damaliscus lunatus jimela is a subspecies of topi, and is usually just called a topi. It is a highly social and fast type of antelope found in the savannas, semi-deserts, and floodplains of sub-Saharan Africa.

Names
The word tope or topi is Swahili, and was first recorded in the 1880s by the German explorer Gustav Fischer to refer to the local topi population in the Lamu County region of Kenya; this population is now designated as Damaliscus lunatus topi. Contemporaneously, in English, sportsmen referred to the animal as a Senegal hartebeest, as it was considered the same species as what is now recognised as D. lunatus korrigum.

Other names recorded in East Africa by various German explorers were  in Kisukuma and  in Kinyamwezi. The Luganda name was  according to Neumann, or  according to Lugard.

By the turn of the 19th century this antelope was called a topi by most in English. Writing in 1908, Richard Lydekker complains that it would have so much simpler if all these new forms of korrigum had simply been called East African korrigum, Bahr-el-Ghazal korrigum, etc., than constantly adopting different native names for different geographic forms of essentially the same antelope.

In 2003 Fenton Cotterill argued the correct name for jimela topi was  in English, referencing that to the 1993 Kingdon field guide, which reports it as another Swahili name for topi antelopes.

New names invented in 2011 for various populations of this subspecies were Serengeti topi, Ruaha topi and Uganda topi.

Taxonomy and range
Damaliscus lunatus jimela was originally described in 1892 by the German zoologist Paul Matschie based on the skull of an animal shot by the famous German hunter Richard Böhm in what is now Tanzania, and a watercolour painting Böhm had made of the animal, which his widow had given to Matschie. By the turn of the century this had become the accepted scientific name for topi in East Africa, but in 1907 a new subspecies was introduced by Lydekker to classify the topi occurring in Kenya and Uganda: D. korrigum selousi based on a specimen from the Uasin-Gishu plateau. It was distinguished from the other races by having the black face mask not cover the eyes and muzzle completely; these being surrounded by patches of tan-coloured hair.

In 1914 Gilbert Blaine pointed out that Matschie's description in which the dark patch on the upper foreleg extended as a stripe down the front of the leg towards the hooves, if correctly taken from Böhm's painting, and if correctly painted, was not present in any of the specimens known to him in London, and that this was thus another subspecies than the other topi of East Africa, and perhaps restricted to a small area. He subsequently created another four subspecies based on small differences in hair colour and size, recognising seven in East Africa.

Some recent authors have controversially split it into three different species, or have classified it as Damaliscus korrigum jimela, although this has been rejected by the American Society of Mammalogists' Mammal Diversity Database as of 2021. Some recent researchers simply consider this population to belong to D. lunatus korrigum.

In 1910, the Spanish professor Ángel Cabrera described a new species, Damaliscus phalius, also from the Uasin-Gishu plateau, on account of the face mask, normally dark-coloured, being whitish, like a bontebok. This taxon was described from a skull and a photograph of the slain animal, procured by the sportsman Ricardo de la Huerta, who described to the professor a great herd of this species, and that he saw it in two locations. The natives also assured him that the Teddy Roosevelt hunting party had also already come across the same herd. If this was indeed the case, when in 1914 in the United States his book on the matter was published, he explained that such a whitish face was a mere variation, seen uncommonly among a herd of otherwise normal topi. Upon examining a set of thirty specimens from the wider region in the American collection, he described how a number of them had some varying amount of whitish hairs, albeit not across the entire face.

According to the 2005 definition of D. korrigum jimela, topi can be found in the following countries: Democratic Republic of the Congo, Kenya, Rwanda, Tanzania, and Uganda. The species is regionally extinct in Burundi. The 2011 definition of D. jimela restricted it to the Serengeti subpopulation. D. ugandae occurred in Uganda and the Lake Rukwa population was considered D. eurus. It is unclear what the small intervening populations were supposed to be. Data given in the same 2011 book which recognised all these species show that D. jimela, D. ugandae, D. eurus and D. topi are all morphologically indistinguishable, aside from a single characteristic used to recognise these species: the subjective hair colour of a limited number of skins.

Description

The hair colour of the pelage may vary across the different geographic subpopulations, being darker or lighter (see photos).

This subspecies has horns with a shape that gives the effect of the space between them having a lyrate profile when seen from a certain angle, as opposed to lunate, which is seen in the sassaby subspecies found to the south: D. lunatus lunatus and D. lunatus superstes. It is in principal indistinguishable from D. lunatus topi, the topi population found to the east along the coasts. A hartebeest also has lyrate horns, but these are sharper angled.

Ecology

Topi prefer pastures with green grass that is medium in height with leaf-like swards. Topis are more densely populated in areas where green plants last into the dry season, particularly near water. When foraging for food, topi tend to take small bites at a fast rate.

The topi has what is possibly the most diverse social organization of the antelopes. The reproductive organization ranges between the traditional territorial system or resource defense polygyny herds to gatherings that contain short-lasting territories to lek systems. In patches of grassland surrounded by woodlands, topi live in the sedentary-dispersion mode.

The vast majority of births occur between October and December with half of them occurring in October. The fidelity of a female to a territory can last three years in the Serengeti. The females in these territories function as part of the resident male's harem. These herds tend to be closed (except when new females are accepted) and both the male and his females defend the territory.

Status and conservation
In 1998, Rod East estimated a global population of ca. 71,000 topi for the IUCN. The conservation status of D. lunatus jimela was assessed as "least concern" by the IUCN in 2008, based on an estimated population of ca. 93,000, with over 90% in protected areas, and a lack of evidence to show an overall decline of over 20% over three generations (20 years) that would justify "near threatened" or "vulnerable" status. Nonetheless they stated that they believed the population was trending downward.

In Tanzania, East estimated a total of 58,510 individuals in 1998.
According to the 2014 A Field Guide to the Larger Mammals of Tanzania, there were a total of 35,000-46,500 individuals in the country. Of those, there are some 27,000-38,500 in the Serengeti, an estimated 4,000-5,000 in the adjoining Moyowosi and Kigosi Game Reserves, and 1,000-2,000 in Ugalla River Game Reserve.

In Kenya there were an average total of 126,330 topi in the period 1977–1980, based on aerial survey data. East estimated a total of 11,120 individuals in 1998, although aerial counts at the time registered at least three times more. A 2011 study by Ogutu et al. of the wild animal population in and around Masai Mara National Park found that topi population size had declined by over 70% between the 1977–1979 average population and the 2007–2009 average population. A 2016 study by Ogutu et al. compiling aerial survey records for entire Kenya found an average population of 22,239 for the period 2011–2013. There was an increase of topi numbers in Narok County since the late 1970s, but this was more than offset by the drops in other counties.

In Rwanda, East estimated a that there were less than 500 individuals in 1998. An aerial census counted 560 in Akagera National Park and neighbouring Mutara Domaine de Chasse (hunting area) in 2013, an identically done census counted 805 in 2015. This was believed to be natural increase in the absence of significant numbers of predators.

In Uganda the first topi population counts in the Ishasha Flats region in the Rukungiri District, a part of Queen Elizabeth National Park, where the topi seemed to congregate, were calculated from monthly ground count samples from 1963-1967, but these were soon doubted as the methodology used caused an overestimation due to the spatial distribution of the antelopes in aggregations. Based on three ground-based counts in 1970, Jewell estimated a total of 4,000 topi in this area using a different calculation method. The mean population derived from estimations based on aerial surveys made in 1971 and 1972 was 4,932. Yoaciel counted a maximum of 5,578 in 1975, but in 1977 the numbers declined to half that, with the last count of 1978 jumping back to 2,973. At the same time, the home range of the population shrunk and kob numbers doubled. In 1981 a conservationist claimed that the Yoaciel et al. study revealed topi numbers here were 20% of their 1973 level in 1980, although that appears to be a incorrect. To explain the population reduction, Yoaciel et al. pointed to three causes: poaching pressure, lion predation and changes in the vegetation structure. Poaching had increased, especially with the establishment of a military border post in Ishasha. Lions in Ishasha had a preference for topi, in some years the topi formed over 80% of their prey, meaning the 32 adult lions roughly killed some 660 topi in those years, although lower percentages of topi prey in later years meant lions killed 320 a year. Lastly, the rangeland was changing in vegetation structure, with the tree species Acacia sieberiana encroaching upon the shrinking grassland. It was suspected either changed fire regimes and the local reduction in the elephant population due to ivory poaching was causing this afforestation. East estimated a that there were 580 individuals in 1998 in Uganda, with an unknown number in the Democratic Republic of the Congo (DRC). Joint aerial surveys of the adjoining Queen Elizabeth National Park, Kigezi Game Reserve and Kyambura Game Reserve in Uganda, and Parc National des Virunga (Virunga National Park) in the DRC, which together completely encircle Lake Edward, found that all of the topi cluster to the south of the lake shore in the Ishasha Flats. The total minimum population in this region was counted as 2,874 in the 2006 survey, but dropped to 1,302 in the 2010 survey. Another joint survey in 2014 found 2,679 topi in the region, most in the Uganda part. In 2020, Uganda Wildlife Authority executive director Samuel John Mwandha stated that the wildlife in park has been increasing in the last five years.

In the adjoining Pian-Upe, Bokora and Matheniko Game Reserves, and the controlled hunting areas surrounding and connecting these areas to Kidepo Valley National Park, topi were numerous in the 1960s. A ground-based survey in April 2012 registered no sightings of topi, it is possible they have been extirpated. The Uganda Wildlife Authority was planning to relocate twenty topi to the area as of 2013.

Lake Mburo National Park also supports a topi population. Annual roadside survey count numbers have fluctuated, with a low of 57 in 1995, and a high of 362 only two years later. The 2010 survey counted 173 topi. Topi also occur in the controlled hunting areas buffering the park. A problem facing topi in the park are the changes in habitat occurring over time. Most areas which were formerly grassland in the park have changed into bushveld or forest as the invasive native shrubby tree species Acacia hockii has colonised these areas. The acacia in turn is protecting other bush and tree species, which are growing faster and thicker. This afforestation is forcing topi into the surrounding ranches and private land, causing topi to be resented as pests. Uganda has tried to organise these areas into controlled hunting areas for sport, but land owners complain the money this generates is being spent on community projects such as schools, health centres and roads rather than addressing individual challenges resulting from problem animals. The procurement of an excavator for habitat management, different wildfire regimes, translocating excess animals, fencing, wildlife ranching for the hunting industry, community tourism, licensing more sport hunting companies and increasing quotas may alleviate this; the local community is permitted to uproot acacia for firewood, but this has proved ineffective.

In 2016 the IUCN estimated a similar number as in 1998, with 50,000-70,000 mature individuals, and continued to state the population was trending downward. No mention made of the 2008 assessment, but it was stated that East had estimated 58,500 in 1998 (the assessment cites the date 1999) in Tanzania and the 2014 book had estimated it as 35,000-46,500, which represents a 25-46% decline over three generations (18 years) in the country which holds the majority of the population, thus assuming the figures for Tanzania are accurate and can be applied to other countries, and assuming East's 1998 numbers for the other countries are accurate, this could mean the world population had dropped by a mean of 36%, which would qualify this species for a "vulnerable" status, although if the population in Kenya, Rwanda and Uganda had not fallen below their 1998 estimations the species would actually qualify as "near threatened".

References

Damaliscus
Mammals of Kenya
Mammals of Rwanda
Mammals of Tanzania
Mammals of Uganda
Fauna of East Africa
Mammals described in 1892
Bovids of Africa


Breganzona is a quarter of the city of Lugano, Switzerland. Breganzona was formerly a municipality of its own, having been incorporated into Lugano in 2004. It was first recorded in 984 as Brianzona.
The municipality had 232 inhabitants in 1850, which increased to 369 in 1900, 883 in 1950, 4,654 in 1990 and 4,782 in 2000.

Biogno

In 1925 the municipality of Biogno was split into two parts and assigned to Breganzona and Bioggio.

Bibliography
 Nicola Pfund, Breganzona: echi dalla collina di ponente, Fontana Edizioni, 2005.

References

External links

 Official site of the quarter

Former municipalities of Ticino
Districts of Lugano


Ivanhoe School (formerly Ivanhoe College) is a coeducational secondary school located in Ashby-de-la-Zouch, Leicestershire, England.

The school was established in 1954 and named after the historical novel Ivanhoe by Sir Walter Scott, part of which was set at Ashby de la Zouch Castle.

It was previously a community middle school with specialist technology college status. In July 2012 Ivanhoe College converted to academy status. In September 2022 the school expanded its age range to 11, becoming a secondary school.

References

Educational institutions established in 1954
Secondary schools in Leicestershire
1954 establishments in England
Academies in Leicestershire
Ashby-de-la-Zouch

There are fights


Bianco, rosso e Verdone is a 1981 Italian comedy film directed and starred by Carlo Verdone, playing three characters.

It was produced by Sergio Leone, soundtrack composed by Ennio Morricone and guest starred by Mario Brega, all formerly scored in the Dollars trilogy and Spaghetti Western movies in the 1960s.

Cast
 Carlo Verdone as Furio, Mimmo and Pasquale Amitrano
 Irina Sanpiter (dubbed by Solvejg D'Assunta) as Magda, Furio's wife
 Elena Fabrizi as Mimmo's grandmother
 Milena Vukotic as a call-girl
 Mario Brega as "The Prince" truck driver
 Angelo Infanti as Raul the seducer
 Andrea Aureli as Mimmo's Uncle
 Elisabeth Wiener as Pasquale's German wife
 Anna Alessandra Ariorio
 Vittorio Zarfati as the motel doorkeeper
 Giovanni Brusadori
 Guido Monti
 Giuseppe Pezzulli

Plot
Italian election day in the early '80s. Three men leave to reach their respective voting places. Furio, a pedantic and chatterbox clerk living in Turin, is leaving with his family on his way to Rome. The same goes for are half-witted Mimmo and his diabetic grandmother, whom he will have to care for during the travel. Meanwhile, Pasquale, an Italian immigrant in Germany, almost mute and married to a local  valkyrie-like  woman, leaves alone on his Alfasud car directed to Matera, southern Italy.
Theirs is an eventful journey through Italian motorways. Furio's wife Magda is on the edge of a nervous breakdown because of her husband, whose perfectionism forces the entire family into a life where every step is overly planned and detailed. Mimmo is continuously mocked by his disabled but cunning grandmother. Pasquale, oblivious to the hardships of the world, keeps being targeted by thieves at every stop he takes.
Magda, Mimmo and their relatives spend a night in the same motel, while Furio stays at hospital because of a car crash. The woman is courted by Raul, a handsome man that had been following them since the earlier hours of their travel. Mimmo is taken by a call-girl who works in the motel. He is so naive and gullible to misunderstand the nature of her job, mistakes her pubic hair for a "fur underwear", and completely misunderstands her intentions. Pasquale's car is eventually stripped bare and left without seats, windscreen and decorative wheel rims. Saddened but determined, he continues his journey.
The three men eventually get to their polling stations. Magda escapes with Raul while Furio is voting. Mimmo's grandma, eager to vote for the Italian Communist Party, dies in the voting cabin, with the scrutinizers arguing about the validity of her vote while Mimmo cries. Pasquale, fed up with his misadventures that started at the very moment he returned to his country, for the first time in the movie voices his anger with an unintelligible rant, retelling his misfortunes and hardships and protesting the uselessness of his vote. Finally, with only his last few words being understandable by the audience, tells the scrutinizers (and, more broadly, Italy as a whole) to "screw themselves", bids farewell, and leaves for Germany.

Comment
Verdone's second movie, coming through his successful Fun is beautiful (Un sacco bello). He uses the same formula of the first work, as director and multi-role starring. The election day as background to mock the miseries and hardships of Italian society, especially in the emigrant's misfortunes. The producer Sergio Leone was formerly afraid the character Furio would result hateful to viewers, so he was of an old aged and actual diabetic Lella Fabrizi's performance. He's latter agreed with Verdone's choices. The obsessive, pedantic Furio character often falls in Verdone's works, telling to be inspired by one's of his relatives. Russian actress Irina Sanpiter was chosen because of her big blue eyes and angelical, pale face. Pasquale's dated character stereotypes the helpless Italian emigrant, emphasized by his untidy and old fashioned wear, garish car decoration, listening of Italian '50s music.

Notes

External links

1980s Italian-language films
Commedia all'italiana
1981 films
1981 comedy films
Films directed by Carlo Verdone
Films scored by Ennio Morricone
Sergio Leone
1980s Italian films


Vilmos Zsolnay (April 19, 1828 in Pécs  March 23, 1900 in Pécs) was a Hungarian industrialist and entrepreneur. As the director of the Zsolnay porcelain manufacture he introduced new materials and inventions into the manufacture of pottery and ceramics and led the company to world-wide recognition.

Early life and education
Zsolnay was born on April 19, 1828, in Pécs and studied at Vienna's Polytechnical High School.

Business career
He returned and joined the company in 1863 to eventually take over its management. He was able to attract talented artists to work for him, and under his directorship the small family-owned company grew into a world-renowned enterprise. The introduction of new techniques and materials was important in this development. With , Zsolnay discovered the eosin process that gives articles an iridescent glaze in multiple colors. Pyrogranite is a ceramic building material that he introduced and that became popular with the architects of the Hungarian art nouveau movement. He displayed his products at several World expositions, and was honored with the French Légion d'honneur and the Order of Franz Joseph in recognition of his artistic work.

As a designer, he was major employer for visual artists like Ármin Klein, and his doughters Terez and Julia as well as Sándor Apáti Abt, and several others. Important architects of his time were delighted to use Zsolnay's ceramics, e.g.:
 Imre Steindl
 Ödön Lechner
 Aladár Árkay
 Flóris Korb
 Kálmán Giergl
 Béla Lajta
 Samu Pecz

 Frigyes Schulek

Death and legacy
After he died on March 23, 1900, his son Miklós Zsolnay took over the management of the manufacture.

In 1907 the city of Pécs inaugurated a statue of Vilmos Zsolnay, the first known statue in Hungary in the honour of someone other than statesmen or clergy, highlighting his importance in the contemporary development of commerce and industry. The statue is one of main touristic landmarks of the city.

See also

External links
 Zsolnay homepage
 Informationen about Zsolnay

1828 births
1900 deaths
19th-century Hungarian people
Hungarian potters
People from Pécs


Biogno is a village and former municipality in the canton of Ticino, Switzerland.

It was first recorded in 1022 as Biogno.

Biogno municipality had 232 inhabitants in 1850, which increased to 369 in 1900. In 1925 the municipality was split in two to form the two new municipalities Breganzona and Bioggio. The village Biogno was located in Breganzona, except for Mulini which was moved to Bioggio.

Bibliography
Valerio Crivelli, San Quirico. 1489-1989. Biogno-Breganzona, Aurora SA, Canobbio 1989.
Nicola Pfund, Breganzona: echi dalla collina di ponente, Fontana Edizioni, 2005.

References

Former municipalities of Ticino
Villages in Ticino
Lugano


The London Steam Carriage was an early steam-powered road vehicle constructed by Richard Trevithick in 1803 and the world's first self-propelled passenger-carrying vehicle. Cugnot had built a steam vehicle 30 years previously, but that had been a slow-moving artillery tractor, not built to carry passengers.

History
In 1801, after James Watt's earlier patent on "a carriage propelled by a steam engine" had expired, Richard Trevithick constructed an experimental steam-driven vehicle (Puffing Devil) at Camborne, Cornwall. It was equipped with a firebox enclosed within the boiler, with one vertical cylinder, the motion of the single piston was transmitted directly to the driving wheels by means of connecting rods. It was reported as weighing  fully loaded, with a speed of  on the flat. Trevithick ran this for several hundred yards up a hill with several people hanging on to it. Unfortunately, while the driver and passengers were in a pub celebrating the event, it set fire to a shed in which it had been left unattended, and was destroyed.

The following year, Trevithick and his partner, his cousin Andrew Vivian, patented a steam coach, the patent also describing other uses for Trevithick's new high-pressure engines. The vehicle was assembled at Felton's carriage works at Leather Lane, London, the engine components having been brought from Falmouth where they were made.

In 1831, Trevithick gave evidence to a Parliamentary select committee on steam carriages.

Description
Not all the details of the carriage are known, but the drawings which accompanied the original patent have survived, as have contemporary drawings made by a naval engineer who was sent to examine it. Further information has also been obtained from eyewitness accounts.

The carriage had  driving wheels which were intended to smooth out the road surfaces of the time, to help the fire from being extinguished by shaking. A forked piston rod reduced the distance between the single cylinder and the crankshaft and was considered a singular innovation at the time. Spring-operated valve gear was used to minimise the weight of the flywheel, overcoming one of the drawbacks of industrial steam engines.

The engine had a single horizontal cylinder which, along with the boiler and firebox, was placed behind the rear axle. The motion of the piston was transmitted to a separate crankshaft via the forked piston rod. The crankshaft drove the axle of the driving wheel (which was fitted with a flywheel) via a spur gear. The steam cocks (used to blow out water condensate from the steam chest), the force pump and the firebox bellows were also driven by the crankshaft.

The patent shows two features which may have been incorporated by Trevithick to discourage unlicensed copies: if the engine had been assembled as per the patent drawings it would have been able to run only backwards; and if the water pump had been arranged to be driven by the valve spring as shown, it would have run unevenly if at all.

It is reported that the coach builder William Felton charged £207 for building the coach (not including the engine) and that the cost of transporting the engine from Falmouth to London was £20 14s 11d. The cost of the engine is unknown.

Operation
Following its completion, the London Steam Carriage was driven about  through the streets of London to Paddington and back via Islington, with seven or eight passengers, at a speed of , the streets having been closed to other traffic.

On a subsequent evening, Trevithick and his colleague crashed the carriage into some house railings and, as a result of this, plus lack of interest in the carriage by potential purchasers, and its demonstrations having exhausted the inventors' financial resources, it was eventually scrapped.

See also
History of steam road vehicles

References

External links
Working replica of the London Steam Carriage

Steam road vehicles
Wheeled vehicles


Royal Colonel is an appointment made by the British monarch, currently King Charles III, to members of the British Royal Family who are appointed to the position of Colonel-in-Chief or Colonel of a regiment within the British or Commonwealth army.  Royal Colonel appointments are made for regiments and military units of the British Army.  Similar roles exist in honorary Air Commodores-in-Chief and Air Commodores for the Royal Air Force, and honorary Commodore-in-Chief for the Royal Navy.

These appointments are honorary and allow the holder to wear the regimental uniform with rank insignia of (full) colonel, regardless of their official rank. They are a ceremonial appointment designed to further strengthen the bond between the British Army and the Royal Family.

The appointment of Royal Colonels is made by the Sovereign and is announced in a press release issued by Buckingham Palace.

References

British royal titles
Senior appointments of the British Army
Military appointments of the British Army
British monarchy
Honorary military appointments