Eaucourt-sur-Somme (, literally Eaucourt on Somme; ) is a commune in the Somme department in Hauts-de-France in northern France.

Geography
The commune is situated  southeast of Abbeville on the D901 and by the banks of the river Somme.

History
The etymology of the name "Eaucourt". One of many towns in Picardie where the name ends in ‘court’. This dates back to the Middle Ages, when a manor was enlarged by the building of smaller houses around it in a ‘court’. ‘Eau’ is ‘water’.

The town of Eaucourt-sur-Somme appears to have been founded in the 7th or 8th century as part of the possessions of the Abbey of St Riquier.  By usurpation, or by concession, Eaucourt passed into the hands of the lords of the Ferté, at that time, the Châtillons family.

The castle was first constructed in the 13th century, since the diocesan Pouillé of 1301 talks about the chapel of Saint Margherite and the castle. He called it "Aqua curte".
The castle construction was carried out by the lords of the Ferté in response to the wishes of King Philippe II (Augustus) (1165–1223) to fortify towns in order to defend the newly conquered territory.

Around 1358, during the imprisonment of King John the Good of France, municipal troops of Abbeville demolished the castle to prevent the English any means to establish themselves in the region.  Rebuilt soon after, in 1420, by Simon of Boulainvilliers, it was subsequently fought over by the kings of France and England (and the Burgundians) and left in ruins.

The castle was rebuilt in 1436 by John of Eaucourt, who chose to live here. 4 years later it was pillaged by Pierre Renaud of Vignolles in 1440, who put the lord of Eaucourt to ransom.

In 1575, the seigneurie of Eaucourt was held by Françoise of Soyecourt.

In 1589, during the French Wars of Religion, the leaguers of Abbeville attacked the troops of King Henry IV of France and took possession of the castle.

In 1700, the seigneurie of Eaucourt was held by the Dame of Belleforière-Soyecourt.

In 1755, by Joachim-Charles de Seiglière de Belleforière.

In 1777, by François Valliant, knight, who bought the castle and lived there until 1779. This is the last time anyone used it as a home.

In 1983, Damien Maupin founded the Association for the Restoration of the Chateau d’Eaucourt (ARCH) and organized the first restoration work.

Places of interest

 The church
 The windmill (rebuilt by the community)
 The Château

Personalities
 Henri Sannier, the mayor since 1977, is also a well-known French television sports reporter.

Population

See also
Communes of the Somme department

References

External links

 Le site internet de l'ARChE(Association pour la Restauration du Château d'Eaucourt sur Somme)

Communes of Somme (department)


Crotenay () is a commune in the Jura department in Bourgogne-Franche-Comté in eastern France.

Population

See also
Communes of the Jura department

References

Communes of Jura (department)


Cuisia () is a commune in the Jura department in Bourgogne-Franche-Comté in eastern France.

Population

See also
 Communes of the Jura department

References

Communes of Jura (department)


Cuttura () is a former commune in the Jura department in Bourgogne-Franche-Comté in eastern France. On 1 January 2017, it was merged into the new commune Coteaux du Lizon.

Population

See also
 Communes of the Jura department

References

Former communes of Jura (department)


Leonid Gennadyevich Parfyonov (born January 26, 1960) is a Soviet-born Israeli journalist, news presenter, TV producer and author of many documentary TV shows. Parfyonov is known for his studio work and productions for the NTV (of which he was Producer General between 1997 and 1999). From December 3, 2004, until December 20, 2007, he was an editor-in-chief of Russky Newsweek, Russian edition of Newsweek. From 2012 until 2018, Parfyonov was a member of Presidential Council for Civil Society and Human Rights.

As the author and narrator of the daily culture news TV show  on NTV, Parfyonov produced the line of popular history TV documentaries which he narrated and hosted on-site of almost each event portrayed. The series achieved great success and were repeatedly broadcast for years after premiere.

Career

Selected filmography as narrator and producer
 Namedni 1961–1991: Nasha era (1997) (, literally "Recently: Our Era") and 2003 sequel Namedni 1961–2003: Novaya era (, literally ("Recently: New Era") are TV series recapping the History of the Soviet Union and modern Russia since 1961 in 42 year-part manner.
 Rossiyskaya imperiya (, literally "Russian Empire") (2000–2003) is a similar, but larger-span project dedicated to the History of Russian Empire starting with the Peter the Great rule. The series also used animation and additional narration by famous stage actress Alla Demidova.
 Noveyshaya istoriya. Semnadtsat mgnoveniy 25 let spustia () (1998) and Noveyshaya istoriya. Mesto vstrechi, 20 let spustia () are commemorative documentaries on the two iconic Soviet TV series:
 Seventeen Moments of Spring
 The Meeting Place Cannot Be Changed, putting the history of the series' creation in the wider social context of both the plot and the production eras. Parfyonov interviewed members and acquaintances of the casts and crews as well as actual police and KGB operatives.
 Russia in Bloom  (2013) () – a documentary about Sergey Prokudin-Gorsky, a pioneer in color photography of early 20th-century Russia. Available for public viewing with English subtitles on Vimeo.

2010 political censorship escapade
In November 2010 Parfyonov became the first recipient of the Listyev Prize, in honour of Vladislav Listyev, a Russian TV journalist who was murdered in 1995. On the live-broadcast ceremony for the prize, Parfyonov made an unexpected and emotional speech damning Russian TV community for dependence on the authorities, saying “journalists are not journalists at all but bureaucrats, following the logic of service and submission”. This became a contradiction to the past, when Parfyonov had refrained from making political statements, saying "I am a professional journalist, not a professional revolutionary. My job is to report, not to climb the barricades".

Presence on YouTube
In February 2018, Parfyonov created a YouTube channel named Parfenon, where he publishes his documentaries and runs a weekly blog on "what has happened [to Parfyonov] during the week, what [he] saw, and what [he] thought about" as written in his channel's description. He later revived his TV show Namedni and started discussing the latest news. As of April 2020, his channel has 760 thousand subscribers and almost 50 million views.

Awards
 TEFI award and also a special prize in 2004 – for the "Namedni 1961–2003"
 4 more TEFI awards

References

External links

  Leonid Parfyonov's blog at LiveJournal
  Leonid Parfyonov biography at Peoples.ru

1960 births
20th-century Russian journalists
21st-century Russian journalists
Living people
People from Cherepovets
TV Rain
Saint Petersburg State University alumni
Russian documentary filmmakers
Russian male journalists
Russian male voice actors
Russian television personalities
Russian YouTubers
Soviet journalists
Soviet television presenters
Russian activists against the Russian invasion of Ukraine


Cuvier () is a commune in the Jura department in Bourgogne-Franche-Comté in eastern France.

Population

See also
 Communes of the Jura department

External links

Communes of Jura (department)


WJDB may refer to:

 WJDB-FM, a radio station (95.5 FM) licensed to Thomasville, Alabama, United States
 WJDB (AM), a defunct radio station (630 AM) formerly licensed to Thomasville, Alabama, United States


Thomas Rann (born 10 December in Adelaide) is an Australian cellist.

Thomas Rann commenced his cello studies at the age of 9 studying with Ruth Saffir and Niall Brown at the Elder Conservatorium of Music. He relocated to London in 2000 to study under cellist Raphael Wallfisch at the Guildhall School of Music and Drama and has since been under the mentorship of Israeli pedagogue Uzi Wiesel.

Thomas Rann has performed as soloist with the Adelaide Symphony Orchestra, the Melbourne Symphony Orchestra and the Queensland Orchestra amongst others and as recitalist and chamber musician at the Schleswig-Holstein Musik Festival and Verbier Festival.

His awards include the 2003 Tait Memorial Trust award, 2004 Muriel Taylor Scholarship in London (former winners include Raphael Wallfisch, Steven Isserlis and Alexander Baillie), the Hattori Foundation Award and the Ernest Llewellyn Memorial Scholarship for string players. In 2008 Thomas Rann made his Wigmore Hall debut with pianist Wu Qian.

References
http://www.cellist.nl/database/showcellist.asp?id=739
http://www.taitmemorialtrust.org/awards
http://www.robert-gilder.com/ArtistDetail.aspx?artist_id=2228&category_id=1025&location_id=3002

Australian classical cellists
Australian people of English descent
Living people
Musicians from Adelaide
Year of birth missing (living people)


L'Échelle-Saint-Aurin is a commune in the Somme department in Hauts-de-France in northern France.

Geography
The commune is situated  southeast of Amiens on the D54, and on the banks of the Avre,   from the A1 autoroute.

Population

See also
Communes of the Somme department

References

Communes of Somme (department)


Poetry in Motion is an arts program collaborative which displays poems by prominent authors in advertising space on the buses and subways. The program was launched by New York's Metropolitan Transportation Authority and the Poetry Society of America.

History
Poetry in Motion was developed in 1992 by the Metropolitan Transportation Authority and the Poetry Society of America and aimed to make the use of New York City public transportation more enjoyable and enlightening. The program was originally based on the British Council program Poems on the Underground, and was launched to reach the nearly 7 million daily commuters of New York City.

The first set of poems was "Crossing Brooklyn Ferry" by Walt Whitman, "Hope is the Thing with Feathers" by Emily Dickinson, "When You Are Old" by William Butler Yeats, and "Let There Be New Flowering" by Lucille Clifton. Since then, poems by more than 100 different authors have been featured.

Expansion

Originally designed for New York's MTA system, Poetry in Motion expanded to cities including:
1996 - Chicago and Boston
1997 - Baltimore and Portland, Oregon
1998 - Dallas, Los Angeles, Atlanta, and Washington, D.C.
1999 - Philadelphia
2000 - Pioneer Valley, Austin, Fort Collins, Houston, and Ohio State University's public transportation.

Poetry in Motion also appeared in Milwaukee, New Orleans, Salt Lake City, St. Louis, as well as Boise, Idaho; Denver, Colorado; Fresno, California; Hartford, Connecticut; Jacksonville, Florida; and Little Rock, Arkansas. At peak, Poetry in Motion reached 13 million commuters daily in 14 American cities.

The program was launched statewide in Rhode Island in 2017.

Poetry in Motion awards

Poetry in Motion has received numerous awards for design and utility, including:

The New York Press Club’s "Heart of New York Award" – 1994
The Municipal Art Society’s Certificate of Merit – 1994 (Awarded jointly to Poetry in Motion and Arts for Transit)
A proclamation from the Council of the City of New York that honored Poetry in Motion for its "invaluable contribution to the people of New York City" – 2000

Poetry in Motion publications

Poetry In Motion: 100 Poems from the Buses and Subways was published by W.W. Norton in 1996 and was selected as a Best Book for Young Adults by the Young Adult Library Services Association and the American Library Association.

Poetry In Motion From Coast to Coast was published by W.W. Norton in 2002 and includes 120 selections from buses and subways across the country. The book was noted praiseworthy "for its populist approach to poetry."

The Best of Poetry in Motion: Celebrating 25 Years on Subways and Buses by Alice Quinn with a foreword by Billy Collins was published by W. W. Norton & Company in 2017.

Poetry in Motion today

In the Spring of 2009, Poetry in Motion was temporarily suspended in New York. The Poetry Society of America will relaunch the NYC branch in the summer of 2010, returning poems to the city bus system.  Today the program is active in Dallas, Denver, St. Louis, and Los Angeles, as well as several Canadian cities.

References

External links
 Poems Previously Appearing in Poetry in Motion
Poetry Society Page
Reasons to Love New York - 21. Because We Fight Over Poetry

American poetry


Music hall songs were sung in the music halls by a variety of artistes. Most of them were comic in nature. There are a very large number of music hall songs, and most of them have been forgotten. In London between 1900 and 1910, a single publishing company, Francis, Day and Hunter, published between forty and fifty songs a month.

Examples
They number in their tens of thousands and include the following:

"After the Ball" (Charles K. Harris)
"The Army of Today's All Right"
"Any Old Iron" (music by Charles Collins; lyrics by Terry Sheppard) sung by Harry Champion.
"Boiled Beef and Carrots" (Charles Collins and Fred Murray) sung by Harry Champion.
"The Boy I Love is up in the Gallery" (George Ware) sung by Nelly Power and Marie Lloyd.
"Burlington Bertie from Bow" (William Hargreaves) sung by Ella Shields.
"Daddy Wouldn't Buy Me a Bow Wow" (Joseph Tabrar) sung by Vesta Victoria.
"Daisy Bell" (Harry Dacre) sung by Katie Lawrence.
"Don't Dilly Dally on the Way" (Charles Collins and Fred W. Leigh) sung by Marie Lloyd.
"Down at the Old Bull and Bush" (music by Harry von Tilzer; lyrics by Andrew B. Sterling) sung by Florrie Forde.
"Goodbye, Dolly Gray" (Paul Barnes; Will. D. Cobb) sung by George Lashwood.
"Has Anybody Here Seen Kelly?" (C.W. Murphy and Will Letters) sung by Florrie Ford.
"Hello, Hello, Who's Your Lady Friend?" (music by Harry Fragson; lyrics by Worton David and Bert Lee) sung by Mark Sheridan.
"Hold Your Hand Out, Naughty Boy" (C.W. Murphy and Will Letters) sung by Florrie Ford.
"I'm Henery the Eighth, I Am" (1911) (Fred Murray and Bert Weston) sung by Harry Champion.
"The Honeysuckle and the Bee"
"I Do Like to Be Beside the Seaside" sung by various people including Mark Sheridan and Florrie Forde.
"I Live in Trafalgar Square" (C.W. Murphy) sung by Morny Cash.
"If It Wasn't For The 'Ouses In Between" (music by George Le Brunn; lyrics by Edgar Bateman) sung by Gus Elen.
"If You Want to Know the Time, Ask a Policeman" (Edward Rogers and Augustus Durandeau) sung by James Fawn.
"It's a Bit of a Ruin That Cromwell Knocked About a Bit" (Harry Bedford; Terry Sullivan) sung by Marie Lloyd.
"It's a Long Way to Tipperary" (1914) (Jack Judge and Harry Williams) sung by Florrie Forde.
"Knees Up Mother Brown" a song, published in 1938, by which time it had already been known for some years.
"Let's All Go Down the Strand" (Harry Castling and C.W. Murphy) sung by Charles R. Whittle.
"Maybe It's Because I'm a Londoner" (Hubert Gregg)
"Nellie Dean" (Henry W. Armstrong) sung by Gertie Gitana.
"Oh! It's a lovely war" sung by Ella Shields.
"Oh! Mr Porter" (music by George Le Brunn; lyrics by Thomas Le Brunn) sung by Marie Lloyd.
 "Proper Cup of Coffee"
"She Was A Sweet Little Dicky Bird"
"Ship Ahoy! (All the Nice Girls Love a Sailor)", performed by Hetty King
"Ta-ra-ra-boom-de-ay" (Harry J. Sayers) sung by Lottie Collins.
"The Man Who Broke the Bank at Monte Carlo" (Fred Gilbert) sung by Charles Coborn.
"To Be There" (1886) (written by C.A. Page ; composed by J. Iliffe.) sung by Sam Torr.
"Waiting At The Church" (Henry E. Pether; Fred W. Leigh) sung by Vesta Victoria.
"We're Going to Hang out the Washing on the Siegfried Line" by Jimmy Kennedy was first published in 1939
"When Father Papered the Parlour" (Weston and Barnes) sung by Billy Williams.
"Where Did You Get That Hat?" (James Rolmaz) sung by J.C Heffron.
"Your Baby Has Gone Down The Plughole" (also known as "A Mother's Lament" and "The Angels' Reply") (writer unknown), later covered by Cream

Bawdy examples
Many of the following burlesque songs, which were written before the First World War, continue to be sung today in certain British Rugby Football clubs.
"Christmas Day In The Cookhouse"
"Dinah, Dinah Show Us Your Leg"
"Good Ship Venus"
"It's Hard to Say I Love You"
"Ivan Skavinsky Skavar"
"My Father's a Lavatory Cleaner"
"Old Dan Tucker"
"Parlez Vous"
"The Great Big Wheel" a.k.a. the "Engineer's Song"
"The Moon Shines Bright on Charlie Chaplin"
"The Gentleman Soldier"

References
Peter Gammond (1973) Your Own, Your Very Own!: A Music Hall Scrapbook. London: Ian Allan,

Notes

Music hall


Makedonsko Sonce (; ) is a monthly magazine published in North Macedonia. The title means "Macedonian Sun", referring to the Vergina Sun, which is used in the logo of the magazine. It was established by Gjorgija (George) Atanasoski and the first edition was published on June 24, 1994. In the first two decades, the magazine had weekly editions, but in the last few years it is published once a month. It describes its own political stance as affirming "Macedonian national values, not only on territory of Macedonia but also in the other parts of ethnic Macedonia".

References

Magazines published in North Macedonia
Macedonian-language magazines
Magazines established in 1994
Mass media in Skopje
Monthly magazines
Propaganda in North Macedonia


Thomas Francis Dillon Croker FSA FRGS (1831–1912) was a British antiquary and poet. In the literature, he is usually referred to as "T. F. Dillon Croker".

He was the only child of Thomas Crofton Croker, and Marianne Croker; his parents collaborated closely, and the son revised and edited some of their works.

At the time of his father's death, he was a clerk in the Peninsular and Oriental Steam Navigation Company.

References

External links

1831 births
1912 deaths
English male poets
Fellows of the Royal Geographical Society


The 2008 Geelong Football Club season was the club's 109th season in the Australian Football League (AFL). Geelong finished the regular season in first position on the ladder, earning the club a second-consecutive McClelland Trophy, and its ninth overall. Geelong's regular season record was impressive (21 wins, 1 loss), the best performance of a team in the home-and-away season since Essendon Football Club in 2000. Geelong then went on to win its Qualifying and Preliminary finals in succession, earning a place in the 2008 AFL Grand Final against Hawthorn, and the chance for a second-consecutive premiership. However, Geelong failed to capitalise on its outstanding performance during the season, losing the premiership in a Grand Final thriller.

Geelong signed up a club record 36,850 club members for the season, and had an average home crowd attendance of 43,176, also a club record.

Season overview

Geelong did well in the home and away season and finished four games and percentage clear on top of the ladder. It was an outstanding season with the team winning 21 out of the 22 games & finished with a percentage of 161.84, the only loss was to Collingwood in round 9 by a massive 86 points.
With the team widely considered to be premiership favorites the Cats were almost unbackable favourites to win the 2008 AFL premiership. They beat St Kilda in the first qualifying final 17.17(119) to 8.13(61). A 29-point win over the Western Bulldogs in the preliminary final secured the Cats a grand final a berth against Hawthorn.

Geelong were defeated in the 2008 AFL Grand Final by Hawthorn in front of an attendance of 100,012 people. Despite having numerous chances in the first half of the game, and dominating through the midfield, the Cats failed to convert and were defeated by the Hawks.

Captains
 Captain: Tom Harley
 Vice-captain: Cameron Ling
 Deputy vice-captain: Cameron Mooney

Club List

Player List

Rookie List

Changes from 2007 List

Additions
 Exchange period – received:
None
 Rookie elevation:
 Tom Lonergan
 Jason Davenport

 Father/son selection:
 Adam Donohue

 NAB AFL Draft (24 November 2007):
 Harry Taylor (Round 1; Overall pick 17; from East Fremantle)
 Dawson Simpson (Round 2; Overall pick 34; from Murray Bushrangers)
 Scott Simpson (Round 3; Overall pick 44; from Dandenong Stingrays)
 Dan McKenna (Round 3; Overall pick 50; from Gippsland Power)
 Adam Donohue (Round 4; Overall pick 60; from Geelong Falcons)

 NAB AFL Pre-Season Draft (11 December 2007):
None
 NAB AFL Rookie Draft (11 December 2007):
 Brodie Moles (Round 1; Overall pick 16; from Tasmania)
 Jeremy Laidler (Round 2; Overall pick 32; from Calder U18)
 Chris Kangars (Round 3; Overall pick 46; from Geelong U18)
 Shane Mumford (Round 4; Overall pick 57; from Geelong VFL)

Deletions
 Exchange period – traded:
 Tim Callan and Round 4 draft selection (No.66) – to  (received Western Bulldogs' Round 4 draft selection – No.62)
 Henry Playfair – to  (received Sydney's Round 3 draft selection – No.44)
 Steven King and Charlie Gardiner –  (received St Kilda's Round 6 draft selection – No.90)

 Delisted:
 Joel Reynolds
 Matthew Spencer
 Sam Hunt
 Stephen Owen
 Todd Grima

 Retirements:
None

Games

Exhibition and Trial Games

NAB Cup

Premiership season

Finals

See also
 2008 AFL season
 Geelong Football Club

References

External links
 Official website of the Geelong Football Club
 Official website of the Australian Football League
 2008 season scores and results at AFL Tables
 2008 Geelong player statistics at AFL Tables

2008 in Australian rules football
2008
2008 Australian Football League season


These are the official results of the Men's Pole Vault event at the 1987 IAAF World Championships in Rome, Italy. There were a total of 24 participating athletes, with two qualifying groups and the final held on Saturday September 5, 1987.

Medalists

Schedule
All times are Central European Time (UTC+1)

Abbreviations
All results shown are in metres

Records

Results

Qualifying round
Held on Thursday 1987-09-03

Final

See also
 1983 Men's World Championships Pole Vault (Helsinki)
 1984 Men's Olympic Pole Vault (Los Angeles)
 1986 Men's European Championships Pole Vault (Stuttgart)
 1988 Men's Olympic Pole Vault (Seoul)
 1990 Men's European Championships Pole Vault (Split)
 1991 Men's World Championships Pole Vault (Tokyo)
 1992 Men's Olympic Pole Vault (Barcelona)

References
 Results

P
Pole vault at the World Athletics Championships


Éclusier-Vaux (Picard: Éclusier-Veux) is a commune in the Somme department in Hauts-de-France in northern France.

Geography
Éclusier-Vaux is situated on the banks of the river Somme and just off the D1 road some  east of Amiens.

Population

Notable people

 Marcelle Semmer (1895–c.1944) who was a decorated French resistance fighter living in Éclusier during World War I. She was awarded the Cross of the Legion of Honor and the Croix de Guerre.

See also
Communes of the Somme department

References

Communes of Somme (department)


Dub-Indrecht mac Cathail (died 768) was a King of Connacht from the Uí Briúin branch of the Connachta. He was the son of Cathal mac Muiredaig Muillethan (died 735), a previous king. He was of the Síl Cathail sept of the Ui Briun and ruled from 764 to 768.

In 766, Dub-Indrecht defeated the Conmhaícne Cúile Tuireadh at the Battle of Sruthair. His grandson, Fergus mac Fothaid (died 843), was a later king of Connacht.

See also
Kings of Connacht

Notes

References

 Annals of Tigernach
 Annals of Ulster
 Francis J.Byrne, Irish Kings and High-Kings
 The Chronology of the Irish Annals, Daniel P. McCarthy

External links
CELT: Corpus of Electronic Texts at University College Cork

768 deaths
Kings of Connacht
Nobility from County Roscommon
8th-century Irish monarchs
Year of birth unknown
People of Conmaicne Cuile Toladh


Excellence may refer to:

Excellence (magazine), for owners and fans of Porsche cars
Excellence (pop group), a Swedish pop group
Excellence (software), a word processor for the Amiga
Excellence (yacht), launched 2019
Excellence-class cruise ship

See also

Excellency, an honorific
Excellent (disambiguation)
Excellence Canada, a not-for-profit organization
Excellence theory, a general theory of public relations
Center of excellence


Richard Caulfield (1823–1887) was secretary, librarian and custodian of the Royal Cork Institution and librarian for Queen's College, Cork.

Life
Caulfield was born in Cork on 23 April 1823, a grandson of Henry Gosnell, physician at the Lying-In Hospital and first resident surgeon at the Cork North Infirmary. One of six children born to Catherine Gosnell and William Caulfield, he was named Richard, a family name.

Caulfield was educated under Dr. Browne at Bandon endowed school, and was admitted a pensioner at Trinity College, Dublin, in 1841. There he was influenced by the lectures on ancient philosophy of William Archer Butler. He graduated B.A. in 1845, LL.B. in 1864, and LL.D. in 1866.

The Society of Antiquaries elected Caulfield a fellow on 13 February 1862, and he became librarian of the Royal Cork Institution in 1864. He was appointed in 1876 librarian of Queen's College, Cork, and in 1882 was made an honorary member of the Royal Academy of History at Madrid. He was also a member of the Society of Antiquaries of Normandy, and a member of the committee for rebuilding Cork cathedral.

Death and memorials
Caulfield died aged 64 on 3 February 1887 at his residence, the Royal Cork Institution, after a severe attack of bronchitis. He was respected across the sectarian divide. On 4 February, The Protestant Cork Constitution published a short unsigned appreciation which said of him that on more than one occasion he was chosen as arbiter in important historical and theological controversies. The funeral took place on 7 February when he was buried in St Luke's Cemetery, Douglas. beside the grave of his friend, antiquarian colleague and historian of Youghal, the Rev. Samuel Hayman. The Catholic Cork Examiner reported that among those present were the Rev. J. D. Burke, Superior of the Congregation of Christian Brothers, Rev. S. O. Madden, Dean of Saint Finbarre's Cathedral, city dignitaries, and lecturers, students and professors from the Queen's College, including the President, William K. Sullivan.

In Caulfield's memory, a bronze door was erected at Saint Finbarre's Cathedral.

Works
In 1853 Caulfield published Sigilla Ecclesiæ Hibernicæ Illustrata. In 1857 he edited for the Camden Society the Diary of Rowland Davies, D.D., Dean of Cork, 1689–90; and in 1859 he published Rotulus Pipæ Clonensis, the Pipe Roll of Cloyne. In 1860 he discovered at Dunmanway House, Co. Cork, the original manuscript of the autobiographical memoir of Sir Richard Cox, extending from 1702 to 1707; it had been used by Walter Harris in his edition of James Ware's Writers of Ireland, and Caulfield published the fragment.

While at Oxford in 1862 Caulfield discovered in the Bodleian Library the manuscript Life of St. Fin Barre, which he copied and published in 1864. In 1876 appeared his edition of the Council Book of the Corporation of Cork, followed in 1877 by The Register of the Parish of Christ Church, Cork. Next year appeared the Council Book of the Corporation of Youghal, with annals and appendices, and then the Council Book of the Corporation of Kinsale, 1652-1800. He was also author of Annals of St. Fin Barre's Cathedral, Cork, 1871, and Annals of the Cathedral of St. Colman, Cloyne. He contributed to antiquarian periodicals including Notes and Queries.

Bibliography

References

Attribution

External links

Account of Richard Caulfield

1823 births
1887 deaths
People from Cork (city)
Academics of Queens College Cork
Irish librarians


Cecilia M. Seares-Luna (born March 31, 1953) is a Filipino politician. A member of the Liberal Party, she was elected Member of the House of Representatives of the Philippines representing the Lone District of Abra from 2007 to 2010.

References

People from Abra (province)
1953 births
Living people
Liberal Party (Philippines) politicians
Members of the House of Representatives of the Philippines from Abra (province)
Women members of the House of Representatives of the Philippines
Lakas–CMD politicians


Liang Chong (; born January 29, 1980, in Guangzhou, Guangdong) is a Chinese chess Grandmaster.

In 2004, he became China's 16th Grandmaster.

Grandmaster title
Chong gained the GM title in July 2004.

He achieved his first GM norm at the 3rd S.T. Lee Cup Open Tournament in September 1996 scoring 6/10. His second GM norm wasn't achieved until another 5 years in April 2001 at the World Championship Zonal 3.3 in Handan with a score 8/13. His third norm was achieved in September 2003 at the Chinese Team Chess Championship in Tianjin with a score of 6.5/10.

National team
He participated for the China national chess team at the 34th Chess Olympiad (2000) with an overall record of 3 games played (+1, =1, -1); one World Men's Team Chess Championship (2005) with an overall record of 1 game played (+1, =0, -0); and one Men's Asian Team Chess Championships (1999) with an overall record of 5 games played (+2, =2, -1) for the China B team.

World Championship
In 1999 he managed to qualify for the FIDE World Chess Championship Knockout Tournament in Las Vegas, but was beaten in the first round by Goran Dizdar. At the 2001-2 WCC Knockout Tournament in Moscow, he was again defeated in the first round (by Alexander Motylev).

University
In March 2008 he competed at the 10th World University Chess Championship tournament in Novokuznetsk where he came 8th.

China Chess League
Liang Chong plays for China Mobile Group Chongqing Company Ltd chess club in the China Chess League (CCL).

See also
Chess in China

References

External links
Liang Chong - New In Chess. NICBase Online.
FIDE Chess Player card - Individual Calculations

Chessmetrics Career Ratings for Liang Chong
Elo rating with world rankings and historical development since 1990 (benoni.de/schach/elo) for Liang Chong

1980 births
Living people
Chess grandmasters
Chess Olympiad competitors
Chess players from Guangzhou


KRDS may refer to:

 KRDS (FM), a radio station (104.1 FM) licensed to serve Silverton, Colorado, United States
 KCHK-FM, a radio station (95.5 FM) licensed to serve New Prague, Minnesota, United States, which held the call sign KRDS-FM from 2002 to 2013


Ballet is a formalized form of dance with its origins in the Italian Renaissance courts of 15th and 16th centuries.  Ballet spread from Italy to France with the help of Catherine de' Medici, where ballet developed even further under her aristocratic influence.  An early example of Catherine's development of ballet is through 'Le Paradis d' Amour', a piece of work presented at the wedding of her daughter Marguerite de Valois to Henry of Navarre.  Aristocratic money was responsible for the initial stages of development in 'court ballet', as it was royal money that dictated the ideas, literature and music used in ballets that were created to primarily entertain the aristocrats of the time.  The first formal 'court ballet' ever recognized was staged in 1573, 'Ballet des Polonais'.  In true form of royal entertainment, 'Ballet des Polonais' was commissioned by Catherine de' Medici to honor the Polish ambassadors who were visiting Paris upon the accession of Henry of Anjou to the throne of Poland.  In 1581, Catherine de' Medici commissioned another court ballet, Ballet Comique de la Reine, however it was her compatriot, Balthasar de Beaujoyeulx, who organized the ballet. Catherine de' Medici and Balthasar de Beaujoyeulx were responsible for presenting the first court ballet ever to apply the principles of Baif's Academie, by integrating poetry, dance, music and set design to convey a unified dramatic storyline.  Moreover, the early organization and development of 'court ballet' was funded by, influenced by and produced by the aristocrats of the time, fulfilling both their personal entertainment and political propaganda needs.

In the late 17th century Louis XIV founded the Académie Royale de Musique (the Paris Opera) within which emerged the first professional theatrical ballet company, the Paris Opera Ballet. The predominance of French in the vocabulary of ballet reflects this history. Theatrical ballet soon became an independent form of art, although still frequently maintaining a close association with opera, and spread from the heart of Europe to other nations. The Royal Danish Ballet and the Imperial Ballet of the Russian Empire were founded in the 1740s and began to flourish, especially after about 1850. In 1907 the Russian ballet in turn moved back to France, where the Ballets Russes of Sergei Diaghilev and its successors were particularly influential. Soon ballet spread around the world with the formation of new companies, including London's The Royal Ballet (1931), the San Francisco Ballet (1933), American Ballet Theatre (1937), the Royal Winnipeg Ballet (1939), The Australian Ballet (1940 as the predecessor Borovansky Ballet), the New York City Ballet (1948), the Cuban National Ballet (1948), the National Ballet of Canada (1951), and the National Ballet Academy and Trust of India (2002).

In the 20th century styles of ballet continued to develop and strongly influence broader concert dance, for example, in the United States choreographer George Balanchine developed what is now known as neoclassical ballet, subsequent developments have included contemporary ballet and post-structural ballet, for example seen in the work of William Forsythe in Germany.

The etymology of the word "ballet" reflects its history. The word ballet comes from French and was borrowed into English around the 17th century. The French word in turn has its origins in Italian balletto, a diminutive of ballo (dance). Ballet ultimately traces back to Italian ballare, meaning "to dance".

Origins

Renaissance – Italy and France

Ballet originated in the Renaissance court as an outgrowth of court pageantry in Italy, where aristocratic weddings were lavish celebrations. Tutus, ballet slippers and pointe work were not yet used. The choreography was adapted from court dance steps. Performers dressed in fashions of the times. For women that meant formal gowns that covered their legs to the ankle. Early ballet was participatory, with the audience joining the dance towards the end.

Domenico da Piacenza (c. 1400–c. 1470) was one of the first dancing masters. Along with his students, Antonio Cornazzano and Guglielmo Ebreo da Pesaro, he was trained in dance and responsible for teaching nobles the art. Da Piacenza left one work:  De arte saltandi et choreus ducendi (On the art of dancing and conducting dances), which was put together by his students.

In 1489, Galeazzo, Duke of Milan, married Isabella of Aragon in Tortona. An elaborate dance entertainment was arranged for the celebrations by the Italian dance master Bergonzio Botta. The dances were linked by a slim narrative concerning Jason and the Argonauts, and each corresponded to a different course for the dinner.  of Milan wrote about the event, and it was considered so impressive, that many similar spectacles were organized elsewhere.<ref>Vuillier, Gaston (1898). [https://books.google.com/books?id=xNnZzTJTWLEC&q=%27%27History&pg=PA65 of Dancing from the Earliest Ages to Our Own Times], pp. 65–69. New York: D. Anderson and Company. [Facsimile reprint (2004): Whitefish, Montana: Kessinger Publishing. .]</ref>

Ballet was further shaped by the French ballet de cour, which consisted of social dances performed by the nobility in tandem with music, speech, verse, song, pageant, decor and costume. When Catherine de' Medici, an Italian aristocrat with an interest in the arts, married the French crown heir Henry II, she brought her enthusiasm for dance to France and provided financial support. Catherine's glittering entertainments supported the aims of court politics and usually were organized around mythological themes. The first ballet de cour was the Ballet de Polonais. This Ballet was performed in 1573 on the occasion of the visit of the Polish Ambassador. It was choreographed by Balthasar de Beaujoyeulx and featured an hour-long dance for sixteen women, each representing a French province. Ballet Comique de la Reine (1581), which was also choreographed and directed by Balthasar de Beaujoyeulx, was commissioned by Louise of Lorraine, queen consort of King Henry III, son of Catherine, to celebrate the marriage of Henry's favorite the Duke de Joyeuse to Marguerite de Lorraine, the sister of Queen Louise. The ballet lasted for more than five hours and was danced by twenty-four dancers: twelve naiades and twelve pages.Cooper, Elizabeth (2004). "Le Balet Comique de la Reine, 1581: An Analysis". University of Washington website.

In the same year, the publication of Fabritio Caroso's Il Ballarino, a technical manual on court dancing, both performance and social, helped to establish Italy as a centre of technical ballet development.

17th century – France and Court Dance

Ballet developed as a performance-focused art form in France during the reign of Louis XIV, who was passionate about dance. His interest in ballet dancing was politically motivated. He established strict social etiquettes through dancing and turned it into one of the most crucial elements in court social life, effectively holding authority over the nobles and reigning over the state. Louis's initiates led to the refinement and perfection of social dancing among aristocrats as a way to display royalty, further consolidating the art of classical ballet with newly established rules and protocols.

In 1661 Louis XIV, determined to further his ambition in controlling the nobles and reverse a decline in dance standards that began in the 17th century, established the Académie Royale de Danse. Before that, aristocrats considered dancing, together with riding and military training as three major disciplines in showcasing their nobility. Nonetheless, Louis' founding of the academy diverted their attention from military arts to court social functions, from war to ballet, further tightening rules around them.

To expand the influence of French culture throughout Europe, Louis ordered Pierre Beauchamp, the king's personal dance teacher and favorite partner in ballet de cour in the 1650s, to create "a way of making dance understood on paper". Beauchamp was also appointed Intendant des ballets du roi and in 1680 became the director of the dance academy, a position he held until 1687. This order led to an intense research in this area by many ballet masters, however, only Beauchamp's dance notation system got recognized. In his system, he codified the five basic positions of the feet in ballet. Raoul Auger Feuillet, a Parisian ballet master, later adopted his system and had his work published in 1700. His notation system became significantly popular in Europe.

Feuillet concentrated his efforts on the most influencing dance at court, called "La belle danse", or also known as "The French noble style". This kind of dance was popular at balls or courts with more demanding skills. "Entrée grave", as one of la belle danse's highest form, was typically performed by one man or two men with graceful and dignified movements, followed by slow and elegant music. At this time, it's only men that performed la belle danse and entrée grave. Women did perform at queen's ballets and other social occasions, but not at entrée grave, king's ballets, at courts or on Paris' stages, not until 1680s. During this particular time, men were considered to be the champion and master of art, displaying their masculine, dignified and noble dance, a king's dance. This also set the model for classical ballet.

Court ballets had a long history of combining dance and etiquette since the Renaissance, but when it came to la belle danse, etiquettes in ballet were brought to a completely new height. Every single etiquette rule in Louis' courts was put in great detail in la belle danse and one could certainly see others' noble status through their dances. Five positions of the bodies codified by Beauchamp, followed by Feuillet, described the body like a miniature court, with the head as the central point, coordinating its limbs like the king ruling his state. A dancer performing a genuine noble would perform different five positions than one performing a peasant or lower-ranking characters. Proof of nobility was also indicated through use of masks, makeup, costumes especially shoes in la belle danse.

Jean-Baptiste Lully, an Italian violinist, dancer, choreographer, and composer, who joined the court of Louis XIV in 1652, played a significant role in establishing the general direction ballet would follow for the next century. Supported and admired by King Louis XIV, Lully often cast the king in his ballets. The title of Sun King for the French monarch, originated in Louis XIV's role in Lully's Ballet de la Nuit (1653). The fourteen-year-old Louis XIV danced five roles in this 12-hour ballet. This Ballet was lavish and featured a scene where a set piece of a house was burned down, included witches, werewolves, gypsies, shepherds, thieves, and the goddesses Venus and Diana. The ballet's main theme was not darkness and night terrors though, but its focus was on Louis who appeared at the end as the Sun (the Sun God, Apollo), putting an end to the night. Lully's main contribution to ballet were his nuanced compositions. His understanding of movement and dance allowed him to compose specifically for ballet, with musical phrasings that complemented physical movements. Lully also collaborated with the French playwright Molière. Together, they took an Italian theatre style, the commedia dell'arte, and adapted it into their work for a French audience, creating the comédie-ballet. Among their greatest productions, with Beauchamp as the choreographer, was Le Bourgeois Gentilhomme (1670).

In 1669 Louis XIV founded the Académie d'Opéra with Pierre Perrin as director. Louis XIV retired as a dancer in 1670, largely because of excessive weight gain. Earlier, in 1661 he had founded a school, the Adacemie Royale de danse. Beauchamp was the first ballet-master of the Opéra and created the dances for the new company's first production Pomone with music by Robert Cambert. Later, after Perrin went bankrupt, the king reestablished the Opéra as the Académie royale de Musique and made Lully the director. Beauchamp was one of the principal choreographers. In this position Lully, with his librettist Philippe Quinault, created a new genre, the tragédie en musique, each act of which featured a divertissement that was a miniature ballet scene. With almost all his important creations Jean-Baptiste Lully brought together music and drama with Italian and French dance elements. His work created a legacy which would define the future of ballet.

Popularity throughout Europe

France's court was in some ways the leading source of fashionable culture for many other royal courts in Europe. Styles of entertainment were imitated, including the royal ballets. Courts in Spain, Portugal, Poland, Germany, and elsewhere all became audiences and participants in ballets. In addition to France, Italy became an important influence on the art form, predominantly Venice.

Professional ballet troupes began to organize and tour Europe, performing for aristocratic audiences. In Poland, King Władysław IV Vasa (1633–1648) hosted Italian opera productions, which included ballet performers in some scenes. The famous European ballet-masters who worked for the Polish court include Jean Favier, Antoine Pitrot, Antonio Sacco and Francesco Caselli.

18th century

France and development as an art form

The 18th century was a period of advancement in the technical standards of ballet and the period when ballet became a serious dramatic art form on par with the opera. Central to this advance was the seminal work of Jean-Georges Noverre, Lettres sur la danse et les ballets (1760), which focused on developing the ballet d'action, in which the movements of the dancers are designed to express character and assist in the narrative. Noverre believed that: ballet should be technical but also move the audience emotionally, plots need to be unified, the scenery and music need to support the plot and be unified within the story, and that pantomime needs to be simple and understandable.

Reforms were made in ballet composition by composers such as Christoph Willibald Gluck. Finally, ballet was divided into three formal techniques sérieux, demi-caractère and comique. Ballet also began to be featured in operas as interludes called divertissements.

Outside France
Venice continued to be a centre of dance in Europe, particularly during the Venice Carnival, when dancers and visitors from across the continent would travel to the city for a lively cultural exchange. The city's Teatro San Benedetto became a famous landmark largely due to the ballets performed there. Italian ballet techniques remained the dominant influence in much of southern and eastern Europe until Russian techniques supplanted them in the early 20th century.

Ballet performances spread to Eastern Europe during the 18th century, into areas such as Hungary, where they were held in private theatres at aristocratic castles. Professional companies were established that performed throughout Hungary and also toured abroad. The Budapest National Theatre increasingly serving a role as a home for the dancers.

Some of the leading dancers of the time who performed throughout Europe were Louis Dupré, Charles Le Picque with Anna Binetti, Gaetano Vestris, and Jean-Georges Noverre.

19th century

The ballerina became the most popular dance performer in Europe in the first half of the 19th century, gradually turning the spotlight away from the male dancer. In many performances, ballet heroes were played by a woman, like the Principal Boy in pantomime.

The professionalism of ballet companies became a focus for a new generation of ballet masters and dancers. Vienna was an important source of influential ballet coaches. The first ballet master of Hungary's National Theatre and Royal Opera was the Vienna-born Frigyes Campilli, who worked in Budapest for 40 years.

The 19th century was a period of great social change, which was reflected in ballet by a shift away from the aristocratic sensibilities that had dominated earlier periods through romantic ballet. Ballerinas such as Geneviève Gosselin, Marie Taglioni and Fanny Elssler experimented with new techniques such as pointework that gave the ballerina prominence as the ideal stage figure. Taglioni was known as the "Christian Dancer," as her image was light and pure (associated with her role as the sylph in La Sylphide). She was trained primarily by her father, Filipo Taglioni. In 1834, Fanny Elssler arrived at the Paris Opera and became known as the "Pagan Dancer," because of the fiery qualities of the Cachucha dance that made her famous.  Professional librettists began crafting the stories in ballets. Teachers like Carlo Blasis codified ballet technique in the basic form that is still used today. The ballet boxed toe shoe was invented to support pointe work.

Romantic movement

The Romantic movement in art, literature, and theatre was a reaction against formal constraints and the mechanics of industrialization.[22] The zeitgeist led choreographers to compose romantic ballets that appeared light, airy and free that would act as a contrast to the spread of reductionist science through many aspects of daily life that had, in the words of Edgar Allan Poe, "driven the hamadryad from the woods". These "unreal" ballets portrayed women as fragile unearthly beings, ethereal creatures who could be lifted effortlessly and almost seemed to float in the air. Ballerinas began to wear costumes with pastel, flowing skirts that bared the shins. The stories revolved around uncanny, folkloric spirits. An example of one such romantic ballet is La Sylphide, one of the oldest romantic ballets still performed today.

One strain of the Romantic movement was a new exploration of folklore and traditional ethnic culture. This influence was seen in the emergence of European folk dance and western portrayals of African, Asian, and Middle East peoples on European stages.  In ballets from this period, non-European characters were often created as villains or as silly divertisements to fit the orientalist western understanding of the world. The National Opera of Ukraine, a performing arts theatre with a resident opera company, was established in Kyiv in 1867. It also included a small resident troupe of ballet dancers, who would perform mainly folk-style dancing during opera productions. By 1893, this grew to a troupe large enough to stage large ballets. Folk dancing and ballets with Ukrainian stories were among the early productions.

Many leading European professional ballet companies that survive today were established at new theatres in Europe's capital cities during the mid- to late- 19th century, including the Kyiv Ballet, the Hungarian National Ballet, the National Theatre Ballet (Prague) and the Vienna State Ballet (formerly the Vienna State Opera Ballet). These theatres usually combined large opera, drama and ballet companies under the same roof. Composers, dramatists, and choreographers were then able to create works that took advantage of the ability to collaborate among these performance troupes.

Russia

While France was instrumental in early ballet, other countries and cultures soon adopted the art form, most notably Russia. Russia has a recognized tradition of ballet, and Russian ballet has had great importance in its country throughout history.
After 1850, ballet began to wane in Paris, but it flourished in Denmark and Russia thanks to masters such as August Bournonville, Jules Perrot, Arthur Saint-Léon, Enrico Cecchetti and Marius Petipa. In the late nineteenth century, orientalism was in vogue. Colonialism brought awareness of Asian and African cultures, but distorted with disinformation and fantasy. The East was often perceived as a faraway place where anything was possible, provided it was lavish, exotic and decadent.
Petipa appealed to popular taste with The Pharaoh's Daughter (1862), and later The Talisman (1889), and La Bayadère (1877). Petipa is best remembered for his collaborations with Tchaikovsky. He used his music for his choreography of The Nutcracker (1892, though this is open to some debate among historians), The Sleeping Beauty (1890), and the definitive revival of Swan Lake (1895, with Lev Ivanov). These works were all drawn from European folklore.

The female dancers' classical tutu as it is recognized today began to appear at this time. It consisted of a short, stiff skirt supported by layers of crinoline or tulle that revealed the acrobatic legwork, combined with a wide gusset that served to preserve modesty.

Argentina
Ballet companies from Europe began lucrative tours of theatres in North, Central and South America during the mid-19th century. The prestigious Colon Theater in Buenos Aires, Argentina had hosted foreign ballet artists on its stage, with touring companies from Europe presenting full ballets as early as 1867. By the 1880s, the Colon Theater had its own professional ballet company. It would still be several decades before most countries outside of Europe could claim their own professional ballet companies, however.

20th century and modernism

Russia and the Ballets Russes

Sergei Diaghilev brought ballet full-circle back to Paris when he opened his company, Ballets Russes. It was made up of dancers from the Russian exile community in Paris after the Revolution.

Diaghilev and composer Igor Stravinsky merged their talents to bring Russian folklore to life in The Firebird and Petrushka choreographed by Fokine. Diaghilev's next choreographic commissions went to Nijinsky. His First ballet was L'apres-midi d'un Faune (Afternoon of a Faun) to music by Debussy. It was notable for its two dimensional shapes and lack of ballet technique. It caused controversy by depicting the faun rubbing the scarf of one of the maidens on himself, in simulated masturbation. The most controversial work of the Ballets Russes however, was The Rite of Spring, choreographed by Nijinsky with music by Stravinsky. The ballet's modern music, pigeon toed stomping and theme of human sacrifice shocked audiences so much they rioted.

After the "golden age" of Petipa, Michel Fokine began his career in St. Petersburg but moved to Paris and worked with Diaghilev and the Ballets Russes.

Russian ballet continued development under Soviet rule. There was little talent left in the country after the Revolution, but it was enough to seed a new generation. After stagnation in the 1920s, by the mid-1930s that new generation of dancers and choreographers appeared on the scene. The technical perfection and precision of dance was promoted (and demanded) by Agrippina Vaganova, who had been taught by Petipa and Cecchetti and headed the Vaganova Ballet Academy, the school to prepare dancers for the Kirov Ballet in St. Petersburg/Leningrad.

Ballet was popular with the public. Both the Moscow-based Bolshoi and the St. Petersburg (then Leningrad)-based Kirov ballet companies were active. Ideological pressure forced the creation of many socialist realist pieces, most of which made little impression on the public and were removed from the repertoire of both companies later.

Some pieces of that era, however, were remarkable. The Romeo and Juliet by Prokofiev and Lavrovsky is a masterpiece. The Flames of Paris, while it shows all the faults of socialist realist art, pioneered the active use of the corps de ballet in the performance and required stunning virtuosity. The ballet version of the Pushkin poem, The Fountain of Bakhchisarai with music from Boris Asafiev and choreography by Rostislav Zakharov was also a hit.

The well-known ballet Cinderella, for which Prokofiev provided the music, is also the product of the Soviet ballet. During the Soviet era, these pieces were mostly unknown outside the Soviet Union and later outside of the Eastern Bloc. However, after the collapse of the Soviet Union they received more recognition.

The 1999 North American premiere of The Fountain of Bakhchisarai by the Kirov Ballet in New York was an outstanding success, for example. The Soviet era of the Russian Ballet put a lot of emphasis on technique, virtuosity and strength. It demanded strength usually above the norm of contemporary Western dancers. Notable prima ballerinas include Galina Ulanova, Natalya Dudinskaya and Maya Plisetskaya and choreographers such as Pyotr Gusev.

Russian companies, particularly after World War II engaged in multiple tours all over the world that revitalized ballet in the West.Maiden Tower written by Afrasiyab Badalbeyli is the first ballet in the Muslim East.Большая Советская Энциклопедия. Гл. ред. А. М. Прохоров, 3-е изд. Т. 1. А – Ангоб. 1969. 608 стр., илл.; 47 л. илл. и карт, 1 отд. л. табл.

United States
Following the move of the Ballets Russes to France, ballet began to have a broader influence, particularly in the United States of America.

From Paris, after disagreements with Diaghilev, Fokine went to Sweden and then the US and settled in New York. Diaghilev believed that traditional ballet offered little more than prettiness and athletic display. For Fokine that was not enough. In addition to technical virtuosity he demanded drama, expression and historical authenticity. The choreographer must research the period and cultural context of the setting and reject the traditional tutu in favour of accurate period costuming.

Fokine choreographed Sheherazade and Cleopatra. He also reworked Petrouchka and The Firebird. One of his most famous works was The Dying Swan, performed by Anna Pavlova. Beyond her talents as a ballerina, Pavlova had the theatrical gifts to fulfill Fokine's vision of ballet as drama. Legend has it that Pavlova identified so much with the swan role that she requested her swan costume from her deathbed.

George Balanchine developed state-of-the-art technique in America by opening a school in New York. He adapted ballet to the new media, movies and television. A prolific worker, Balanchine rechoreographed classics such as Swan Lake and Sleeping Beauty as well as creating new ballets. He produced original interpretations of the dramas of William Shakespeare such as Romeo and Juliet and A Midsummer Night's Dream, and also of Franz Léhar's The Merry Widow.

In 1967, Balanchine's Jewels broke with the narrative tradition and dramatized a theme rather than a plot.  This focus fits with the state-sponsored funding sources in the United States which sought to encourage "liberty and freethinking" in contrast to narrative-driven dance, which was seen as to be connected too closely with socialism, especially Soviet communism. Today, partly thanks to Balanchine, ballet is one of the most well-preserved dances in the world.

Barbara Karinska was a Russian emigree and a skilled seamstress who collaborated with Balanchine to elevate the art of costume design from a secondary role to an integral part of a ballet performance. She introduced the bias cut and a simplified classic tutu that allowed the dancer more freedom of movement. With meticulous attention to detail, she decorated her tutus with beadwork, embroidery, crochet and appliqué.

 Ballet During the Cold War in U.S.
The Cold War was characterized by ideological competition between the capitalist United States and the communist Soviet Union. Ballet performances were often used to demonstrate the artistic and creative freedom prevalent in Western societies, contrasting with the perceived restrictions on artistic expression in the Soviet Union. Many ballet companies like the Bolshoi Ballet from the Soviet Union and the American Ballet Theatre from the United States were seen as ambassadors of their respective nations. They performed in international tours, including exchanges between the Soviet Union and the United States, showcasing their artistic excellence and promoting cultural understanding. According to Anne Searcy, an assistant professor in the School of Music, in her book "Ballet in the Cold War," the tours during the Cold War era were not solely about ballet performances but also served as a means for the U.S. and Soviet governments to assert their influence on a global scale. Searcy argues that these tours had underlying political motives, with both nations competing for global control and attempting to shape the perception of the rest of the world. She further highlights that the audiences in both nations reacted in unexpected ways, and despite the ideological differences, ballet in the United States and the Soviet Union shared more similarities than either side was willing to acknowledge. Dancers Rudolf Nureyev and Mikhail Baryshnikov from the Soviet Union defected to the West during the Cold War. Their high-profile defections brought attention to the artistic repression in the Soviet Union and highlighted the allure of freedom and artistic expression in the West.

However, during the cultural exchanges between the United States and the Soviet Union, cultural misunderstandings commonly obstructed the ballet performances. Bolshoi Ballet's production of "Spartacus" in the states caused conflict with Americans, as they didn't see the performance as a ballet. Coincidentally, a Hollywood film with the same title had just been released, leading to the confusion among the audiences. The Soviet producers had hoped to convey the ballet's message of proletarian revolt, but American viewers found the production unfamiliar and unconventional. The dancers wore flat Roman sandals instead of the traditional pointe shoes, and the affordability of movie tickets led to disappointment and disapproval from the audience. This resulted in many negative reactions, and the ballet was unfortunately removed from the scheduled performances, causing more conflict and hatred between Russians and Americans.

Besides the misconceptions and conflict, ballet was used as a tool of soft power, a means to project cultural influence and ideals. The Ballet Russes - a company in Paris consisting of a Russian instructor and Russian dancers - impacted the view of how America saw Russia positively. They showcased their artistic achievements and showcased their cultural heritage, attempting to win hearts and minds and helping Russia gain its recognition in ballet in the Western world. These ballet performances were seen as symbols of national pride and cultural superiority. This company brought a wealth of Russian cultural elements to their performances. This included Russian composers, choreographers, painters, traditional costumes, melodies, and stories. Notably, the ballet that showcased the most Russian influences, like Petrushka, were also the most popular among the audience. While these performances did not necessarily depict the actual Russia of the time, they contributed to a perception of Russia in the Western mind as a symbol of progressiveness and exceptional artistic talent. After the impact of the Ballet Russes, Russian ballet has been accepted into American culture and provided inspiration for America to incorporate ballet into their own culture as well.

In 1963, Lincoln Kirstein's American Ballet which was the first ballet made in America achieved significant success, thanks to the support of the Ford Foundation, which established George Balanchine's neoclassical style as a prominent national institution. By examining the cultural diplomacy efforts of the New York City Ballet, it became apparent that Balanchine occupied a favorable position within the networks formed between the government, private and corporate foundations, and the arts during the cultural Cold War, however, the collaboration between the ballet company and the government is complex, as the artists often held distinct political motivations from the state. The Cold War had a transformative shift in arts funding, organization, and management on the belief in the societal influence of art that had been nurtured in the 1930s.

Ballet performances were sometimes infused with political symbolism during the Cold War. Choreographers and dancers used the medium to express political ideas or comment on societal issues. These performances had the potential to start discussions and debates about politics, society, and the role of art in shaping public opinion.  Overall, the exposure to ballet during the Cold War influenced American culture by expanding artistic horizons and introducing new styles. and techniques. It contributed to the development of American ballet companies, the growth of dance education, and the popularization of ballet as an art form in the United States.

Neoclassical ballet

George Balanchine is often considered to have been the first pioneer of what is now known as neoclassical ballet, a style of dance between classical ballet and today's contemporary ballet. Tim Scholl, author of From Petipa to Balanchine, considers Balanchine's Apollo (1928) to be the first neoclassical ballet. It represented a return to form in response to Serge Diaghilev's abstract ballets. Apollo and other works are still performed today, predominantly by the New York City Ballet. However, other companies are able to pay a fee for performance rights to George Balanchine's works.

Frederick Ashton is another prominent choreographer associated with the neoclassical style. Three of his works have become standard pieces in the international repertoire: Sylvia (1952), Romeo and Juliet (1956), and Ondine (1958), the last of which was created as a vehicle to showcase Margot Fonteyn.

Contemporary

One dancer who trained with Balanchine and absorbed much of this neo-classical style was Mikhail Baryshnikov. Following Baryshnikov's appointment as artistic director of American Ballet Theatre in 1980, he worked with various modern choreographers, most notably Twyla Tharp. Tharp choreographed Push Comes To Shove for ABT and Baryshnikov in 1976; in 1986 she created In The Upper Room for her own company. Both these pieces were considered innovative for their use of distinctly modern movements melded with the use of pointe shoes and classically trained dancers—for their use of contemporary ballet.

Tharp also worked with the Joffrey Ballet company, founded in 1957 by Robert Joffrey. She choreographed Deuce Coupe for them in 1973, using pop music and a blend of modern and ballet techniques. The Joffrey Ballet continued to perform numerous contemporary pieces, many choreographed by co-founder Gerald Arpino.

Today there are many contemporary ballet companies and choreographers. These include Madrid Ballet; Royal Ballet of Flanders; Alonzo King and his company, Alonzo King LINES Ballet; Nacho Duato and Compañia Nacional de Danza; William Forsythe, who has worked extensively with the Frankfurt Ballet and today runs The Forsythe Company; and Jiří Kylián, formerly the artistic director of the Nederlands Dans Theater. Traditionally "classical" companies, such as the Kirov Ballet and the Paris Opera Ballet, also regularly perform contemporary works.

Development of ballet method

Several well-known ballet methods are named after their originators. For example, two prevailing systems from Russia are known as the Vaganova method after Agrippina Vaganova, and the Legat Method, after Nikolai Legat. The Cecchetti method was invented by Italian dancer Enrico Cecchetti (1850–1928), and the Bournonville method, which was invented by August Bournonville (1805–1879), is employed chiefly in Bournonville's own country of Denmark.

See also
List of ballets by title
Ballet music
History of dance
Black women in ballet

References

Further reading

 Andre, Paul; Arkadyev, V. (1999) Great History of Russian Ballet: Its Art & Choreography (1999).

Caddy, Davinia.  (2012). The Ballets Russes and Beyond:  Music and Dance in Belle-Epoque Paris.  Cambridge:  Cambridge University Press.

 Cross, Samuel H. (1944) "The Russian Ballet Before Dyagilev." Slavonic and East European Review. American Series 3.4 (1944): 19–49. in JSTOR
 Ezrahi, Christina. (2012) Swans of the Kremlin: Ballet and Power in Soviet Russia (University of Pittsburgh Press); examines the resilience of artistic creativity in a history of the Bolshoi and Marinsky/Kirov ballets

 Homans, Jennifer, (2010).  Apollo's Angels: A History of Ballet.  New York:  Random House.
 Johnson, Alfred Edwin. (1913) The Russian Ballet (Houghton Mifflin)  online

 Lifar, Serge. (1954). A history of Russian ballet from its origins to the present day (Hutchinson)

 Propert, Walter Archibald. (1972) The Russian Ballet in Western Europe, 1909-1920. B. Blom
Roslavleva, Natalia. (1966). Era of the Russian Ballet, New York: E.P. Dutton & Co., Inc.

 Surit͡s, E. I͡A, and E. I︠A︡ Surit︠s︡. (1990) Soviet Choreographers in the 1920s (Duke Univ Press, 1990).
 Wiley, Roland John. (1990) A century of Russian ballet: documents and accounts, 1810-1910'' (Oxford University Press)

Ballet
Articles containing video clips


Compact Software was the first commercially successful microwave computer-aided design (CAD) company. The company was founded in 1973 by Les Besser to commercialize his eponymous program COMPACT (Computerized Optimization of Microwave Passive and Active CircuiTs), released when he was at Farinon Electric Company.

History
Besser began working on simulators during his employment at HP (1966–1969), using the BASIC computer language and time-sharing computers. After leaving HP, he joined the newly formed microwave division of Fairchild Semiconductor, where he authored his first-generation program, SPEEDY, in 1970 to promote Fairchild's transistors. SPEEDY lacked the optimization feature, represented by the 'O' in the COMPACT acronym, but included a large s-parameter database with the all Fairchild's bipolar and GaAs microwave transistors. Fairchild customers had access to that database through SPEEDY. Besser later converted another program, originally written for his graduate thesis work, to run on a commercial time-share system and launched a part-time business, Compact Engineering (later renamed Compact Software). This second-generation program, COMPACT, included circuit optimization capability and noise analysis, a wide range of active and passive microwave components, and was offered through five different international time-sharing systems. It quickly became the industry standard, used heavily by companies developing products for defense industries. Some of the companies also purchased the program for in-house installation. In 1976 he left his engineering employment to dedicate all his energies to CAD. His father-in-law, a long-time employee of Standard Oil Co, was very concerned about Besser's new venture. His worries were summarized by saying, "I cannot see how anyone could make a living by selling computer programs."

In 1980, Compact merged with Communication Satellite Corporation (COMSAT), creating a new division with Besser heading the microwave CAD development. The new company aimed at increasing engineering efficiency. A third-generation program, SuperCOMPACT was released in 1981. SuperCOMPACT enjoyed worldwide monopoly with nearly 400 international companies using it through timesharing as well as on-site installation in large-scale mainframes as well as mini-computers. Besser left three years later to form a new company, Besser Associates, focusing on continuing education of RF and microwave professionals.

In 1983, another key Compact employee, William Childs, left and teamed up with Chuck Abronson to form a new software company, EEsof. Their first product, Touchstone, was written directly for then new IBM PC and quickly became popular among microwave circuit designers. In 1985, H-P started selling Microwave Design System (MDS), developed earlier for internal use. (Later, in 1993, EEsof was acquired by H-P and TouchStone was marketed alongside MDS, for PCs and UNIX-based workstations respectively.) After losing Compact Software's original leadership and facing competition from EEsof and H-P, COMSAT decided to exit the CAD business by selling the Compact assets to Dr. Ulrich L. Rohde in 1985. Over the next twelve years the number of employees increased to over 100.  Becoming a partner in the 1988 DARPA MIMIC program, and mostly financed from earnings rather than DARPA money, SuperCOMPACT's mainframe and PC versions went through major updates—including re-engineering and new documentation created by Optimization Systems Associates under John Bandler's leadership—improving reliability and accuracy of microwave models, and introducing advanced optimization algorithms and yield-driven design. The latter capabilities were verified by Raytheon, Texas Instruments and other users.

The most significant contributions in this period were:
 N-dimensional nodal noise analysis for all types of both linear and non-linear circuits, including oscillators, mixers and amplifiers under large signal conditions.
 Lookup tables and curve fitting replaced by efficient EM-based models e.g. multi-coupled line models.
 Nodal-based harmonic balance simulator with stable convergence for multi-tone analysis. This is important for mixers (3-tones) and n-stage designs where more harmonics are generated.
 Nonlinear microwave models such as GaAs, HBT etc.
 Yield analysis and yield-driven optimization capability.
 Non-linear optimization enabling oscillators to be optimized for best phase.

As Ansoft was missing circuit simulation, system simulation and filter synthesis, and Compact Software was missing a good EM simulator, so Dr. Rohde negotiated the acquisition of Compact with Ansoft in 1997. He served on Ansoft board of directors until 2001. After the merger with Ansoft, the Harmonica Program became Ansoft Designer. In 2008, ANSYS acquired Ansoft. The product was renamed ANSYS DesignerRF.

See also
 Lothar Rohde - father of Ulrich L. Rohde and co-founder of Rohde & Schwarz

Notes

References

Articles by Besser
 Besser, L., Newcomb, R., "A Scattering Matrix Program for High Frequency Circuit Analysis" IEEE Conference on Systems, Networks, and Computers, Mexico, January 1971
 Besser, L. "Computer Aided Design of High Frequency Circuits" Electromechanical Design, August 1971
 Besser, L. "A Fast Computer Routine to Design High Frequency Circuits" IEEE ICC Conference, San Francisco, California, June 1970

Articles by Rohde
 Ulrich L. Rohde, Anthony M. Pavio and Robert A. Pucel, "Accurate Noise Simulation of Microwave Amplifiers Using CAD", Microwave Journal, December 1988.
 R.A. Pucel, W. Struble, R Hallgren, and U.L. Rohde,  "A General Noise De-embedding Procedure for Packaged Two-Port Linear Active Devices", IEEE Transactions on Microwave Theory and Techniques, Vol. 40, No. 11, November 1992, pp. 2013–2024.
 R.A. Pucel and U.L. Rohde, "An Exact Expression for the Noise Resistance Rn of a Bipolar Transistor for Use with the Hawkins Noise Model", IEEE Microwave and Guided Wave Letters, Vol. 3, No. 2, February 1993, pp. 35–37. 1993
 U. L. Rohde, "Designing and Optimizing Low Phase Noise Oscillators using Harmonic Balance Simulators and Advanced Parameter Extraction" Session B3-3,2nd IEEE Joint Chapter Workshop in conjunction with M94 CAE, Modeling and Measurement Verification, October 24, 1994 - Wembley Conference Centre, London, UK, 1994RF/
 Ulrich L. Rohde and Matthias Rudolph, "RF/Microwave Circuit Design for Wireless Applications", 2nd Edition, John Wiley & Sons, December 2012,
 George D. Vendelin, Anthony M. Pavio, Ulrich L. Rohde, Matthias Rudolph, "Microwave Circuit Design Using Linear and Nonlinear Techniques ", 3rd Edition, John Wiley & Sons, New York, NY, April 2021, .
 Ulrich L. Rohde, Ajay K. Poddar, Georg Böck, "The Design of Modern Microwave Oscillators for Wireless Applications "   John Wiley & Sons, New York, NY, May 2005, .

Electronic design automation companies


Legal channeling is the act of legally making one entity responsible for an event, and thereby dismissing other parties from liability for an event.

For example; the third part liability for nuclear power plants is often channelled to the operator of the nuclear power plant. Therefore, contractors, who work at a nuclear power plant, do not have to have insurance in case one of their employees causes an accident with third party damages as a consequence.

See also
 Strict liability
 Joint and several liability
 Vicarious liability

Tort law
Nuclear liability


Jose "Joboy" Sabijon Aquino II (born March 18, 1956) is a Filipino politician. A member of the Lakas–CMD Party, he currently serves as a Member of the House of Representatives representing the 1st District of Agusan del Norte since 2022. He previously served as a member of the House from 2007 to 2013. He also served as the vice mayor of Butuan from 2016 until 2022.

Political career
In 2022, Aquino ran for the seat of Agusan del Norte's 1st District. He won garnering 89,584 votes.

References

People from Agusan del Norte
1956 births
Living people
Lakas–CMD (1991) politicians
Lakas–CMD politicians
Members of the House of Representatives of the Philippines from Agusan del Norte
People from Butuan


Toyism is a contemporary art movement that originated in the 1990s in Emmen, Netherlands. The word symbolises the playful character of the artworks and the philosophy behind it. The suffix ism refers to motion or movements that exist in both the world of art and religion. Nevertheless, the game of Toyism is a serious matter that shows a new, critical and sensitive perspective on our present-day world.

Origin

Toyism as art movement is a reaction on the post-modern world of individualism, which existed in the 1970s through the 1990s, the era in which “everything is allowed”. The name originated in 1990 when artist Dejo made a graphic work which was titled "Escape of computer spiders". It was this work and later similar works that were the origin of the style at the beginning of the nineties. However, it took another two years before this resulted in a manifest. On September the 5th 1992 artist and musician Dejo (pseudonym) from Emmen wrote a manifesto called Mother and introduced Toyism to the audience.

History
Toyism can be split in two different periods, the period from 1992 to 2000 and 2002 to the present.

1992-2000
A couple of months after the manifesto was written, two other artists from Emmen joined the movement. In the first period, mostly the themes were worked out in a surrealistic manner and the returning presence of fixed icons (computer, space shuttle and teddy-bear) in their paintings. These icons represented the attending artists. The first exhibition was on February 24, 1993 in Het Veenpark. One year after the foundation work was exhibited in New York City.
At the base was a figurative style with uniform areas of colour and simplistic elements that were inspired by Super Mario and the game console Nintendo.
After the triumvirate fell apart, founder Dejo decided to make a world-trip and got inspired to make Toyism more international and open.

2002
After his world-trip Dejo rewrote the manifesto and gave other artists access to join the movement. As from 2002 the group of artists grows exponentially and artists from every corner of the earth decide to participate (Thailand, South Africa, Malaysia, United States, Iceland, Mexico, Peru, Italy, Australia, Canada, Belgium, the Netherlands, Romania, Germany, China).

Present
Present day the toyists have created 800 works of art, varying from paintings to sculptures and buildings. The toyists had a permanent studio/gallery in Emmen until 2015. In the same year they relocated their headquarters to the city of Groningen. They had a gallery in Villa Heymans next to the Groninger Museum for two years. As of 2017 they are located next to the KLM Flight Academy and Groningen Airport Eelde.

Philosophy
The philosophy of Toyism is that the artists operate as a collective, instead of separate individuals, hence one Toyist cannot be seen as more important or famous than the other. There is no rivalry among the artists. The evident message they carry out is that the artworks count, not the artist itself that has created it. Although the artists do make their own art, in many occasions the Toyists work together, which means that the produced artwork cannot be attributed to a single artist.

Manifesto
The secret manifesto Mother contains a palette of ingredients from which mainly paintings, but lately also sculptures, silkscreens, jewelry and glass art emerge. The manifesto is only meant to be read by the attending artists. The artworks can be seen as children of Mother and one or more parents (the artists). A parent can be either a man or a woman, or even more artists representing one parent next to Mother. This can be established because of the anonymous characteristics of the parents, they operate by using a pseudonym hiding their real identity for the audience. Every parent mixes ideas and characteristics with properties of Mother. This strongly connects the children, after all they arose from Mother.

Pseudonym
Every toyist that joins the group chooses a pseudonym (pen name) starting with one of the available letters from the alphabet, a letter not yet in use by another toyist. This means that the group cannot be represented by more than 26 artists. Every single toyist chooses a so-called puppet, an icon representing the artist.
By means of this puppet the toyist has its own face towards the public, although he or she is in fact faceless. Toyists never expose their human face (on photo or camera), instead, they wear masks to cover their identity.

All the toyists, under their pseudonyms, that have been/or still are part of the movement:

 Alfago
 Amukek
 Aniyina
 Bogha
 Bliissem
 Clamaoing
 Cluv
 Dejo
 Eiiz
 Fihi
 Gihili
 Hribso
 Iffio
 Iqoy
 Jaf’r
 Kixoz
 Knafoe
 Link
 Lodieteb
 Miku
 Mwano
 Nooiya
 Ollafinah
 Pixy
 Qooimee
 Roq
 Sassy
 Srylyn
 Toescat
 UULUU
 Vixyv
 Wennigeb
 Wolemeo
 Wywy
 Xippez
 Yoza
 Yicazoo
 Zigowst

Characteristics
 Figurative
 Storytelling
 Colours do not mix, they stand out against each other
 Dots
 Excellent craftsmanship
 Contemporary subjects
 Joyful at first sight, but often with a serious undertone

Projects

Mind Games
In 2004 this game concept is devised. Two artists battle against each other and by doing so together they create a composition. Based on existing games like Tic-tac-toe, Chess and Four-in-a-row two main themes (and when applicable sub-themes) are worked out by the participating artists. Mostly the complete artwork consists of separate pieces of art that can be joined together differently, visualising different game situations.

The Dot Project (De Stip)

On July 14, 2009 the group is ventured upon an extensive project: painting a spherical gas storage container, being 22 meters in height and 1250 square meters in surface, situated in Emmen, Netherlands. The toyists transformed this object within 9 months (6000 hours) into a colourful artwork called The Dot tells the story about Live with Energy.

Toyism Ka
A Ford Ka has been transformed to a driving artwork which has been moving around the town of Emmen and eventually was bought by a private person during a public sale.

Elephant Parade 2010
In 2010 the Elephant Parade was held in Emmen, the same year in which Dierenpark Emmen was celebrating its 75th anniversary. For this occasion the toyists designed "E-Phant" (Energy-Phant). Being an extension of the "Living with Energy" project, E-Phant is equipped with solar collectors in its ears, with which batteries are charged during daytime and twenty surrounding LED lights per ear shine when it gets dark.

Hotel Ten Cate

In 2012 the toyists started to completely transform Hotel Ten Cate in Emmen to a huge piece of art. On May 16, 2012 the official reveal took place. The facade was changed into a gigantic painting called 'Dreams for Breakfast'. Inside the hotel one room was changed into a piece of art in which people can go to sleep. In October of the same year another six hotel rooms were delivered and there are more to follow in the coming years. The rooms are not only subject to painting, but their floor-covering and curtains are also revised accordingly. Every room has its own theme, for example ‘Savanne – The Dreaming Lion’, ‘Cinema – Charley Playing the Piano’, ‘Bal Masqué – Hide and Seek’, ‘Underwaterworld – Secrets of the Ocean’.

Uppspretta

A neglected water tower situated in Keflavík, Iceland has been transformed magically by the toyists. The colourful story shown on this object represents the legend of Uppspretta. The project was realised during the summer of 2013, enduring very bad weather 11 toyists completed this task in only 6 weeks. With Uppspretta the toyists have done their first step abroad as an artistic collective.

Horsepower Mania
As a government commission toyism made six sculptures and one painting about the history of the Dutch TT that is part of the Moto GP and is held on the TT Circuit Assen. The six sculptures were placed along the historical route covering several towns in the province of Drenthe. Riders like Marc Marquez, Valentino Rossi, Kevin Schwantz, Jack Middelburg, Wil Hartog and Giacomo Agostini play a prominent role in the artworks.

The Flying Dutchman
In 2017 toyism celebrated its 25th anniversary in the former building of the KLM Royal Flight Academy at the Groningen Airport Eelde by making the sculpture 'The Flying Dutchman'. The sculpture is both a reference to the KLM Royal Flight Academy and also the Dutch art movement De Stijl. The building was, amongst others, designed by Bart van der Leck.

What's for Dinner
In 2018 Toyism won first prize in an artist competition set up by the embassy of The Kingdom of the Netherlands in Beijing, China. The mural 'What's for Dinner' was placed on a wall in the 798 Art Zone, part of the Chaoyang District.

Noah's Ark - The Philosophy of Faith
In Hong Kong at the Kei Faat Primary School (Yau Tong) Toyism created six murals with the theme Noah's Ark in the period from October 1 to October 31, 2018. The project was set up as a community art project and with the help of students, parents and teachers the Toyists painted the murals.

Representation
The toyists are represented by Toyisme Studio in The Netherlands.

Bibliography
 1993 - The Fairy Tale of the Toyists
 1996 - The History of the Toyists
 2004 - The Building Blocks of the Toyists
 2004 - Playing Dice with the Toyists
 2004 - Invasion of the Toyists
 2005 - Let the Games Begin
 2007 - Art through the Mind of a Toyist
 2011 - Connecting the Dots
 2011 - The Toyists have landed
 2012 - Toyism Behind the Mask
 2013 - Toyism Making History
 2013 - More Art by Printing
 2014 - Uppspretta

Quotations
"Until now, every artist has played an individual game within his own composition. Now the compositions have become the starting point for everyone, so that the work of two artists can be combined into one work of art via certain rules of play."
"What I find even more interesting is the contemporary sense of Toyism. We live in an era of individualism with egocentric characteristics. The toyists present themselves as a group. That is exactly what distinguishes them from the rest."
"Establish the framework. Determine the playing field. Come to clear agreements (...) In contrast to what is often believed, agreements and strict rules need not interfere with the pleasure or the creative process. Drawing the lines during the game and knowing the boundaries of the playing field, handling restrictions creatively and attempting to obtain the maximum out of yourself and the game, those are things that toyists know all about. Actually, that’s what it’s all about for them"
"There are countless artists, but countable are those who are on the leading edge."

See also
 The Dot (Toyism)
 Uppspretta

References

External links

 www.toyisten.nl
 toyism.biz
 Hotel in Emmen veranderd in groot schilderij

Art movements


Broomlee Lough is an inland lake in Northumberland, England at the southern edge of Northumberland National Park. The lough lies immediately north of the course of Hadrian's Wall.  Old legends portray the lake as a repository of hidden treasure.

Protected species
The White-clawed crayfish Austropotamobius pallipes is present in the Lough. The species is in decline in Europe, Great Britain, and in northeast England, and is the only crayfish native to the British Isles. It is likely that crayfish have never been widespread in Northumberland National Park as their preferred habitat of calcareous burns, rivers, and lakes is very limited.

See also
Crag Lough
Greenlee Lough
Halleypike Lough

References

Lakes of Northumberland


The third World Chess Championship was held in New York City from 9 December 1890 to 22 January 1891. Holder Wilhelm Steinitz (known as William Steinitz since his naturalisation as an American citizen) narrowly defeated his Hungarian challenger, Isidor Gunsberg.

Background
In 1887 the American Chess Congress started work on drawing up regulations for the future conduct of world championship contests. Steinitz actively supported this endeavor, as he thought he was becoming too old to remain world champion – he wrote in his own magazine "I know I am not fit to be the champion, and I am not likely to bear that title for ever".

The American Chess Congress's final proposal was that the winner of a tournament to be held in New York in 1889 should be regarded as world champion for the time being, but must be prepared to face a challenge from the second or third placed competitor within a month. Steinitz wrote that he would not play in the tournament and would not challenge the winner unless the second and third placed competitors failed to do so. The tournament was duly played, but the outcome was not quite as planned: Mikhail Chigorin and Max Weiss tied for first place; their play-off resulted in four draws, and Weiss then wanted to get back to his work for the Rothschild Bank, conceding the title to Chigorin.

However, the third prize-winner Isidor Gunsberg was prepared to play for the title. The match was played in New York in 1890 and ended in a 10½–8½ victory for Steinitz. The American Chess Congress's experiment was not repeated, and Steinitz's last three matches were private arrangements between the players.

Results
The winner would be first to 10 wins (draws not counting), or most wins after 20 games. A draw would be declared if the score reached 9 wins each.
{|class="wikitable" style="text-align:left"
|+World Chess Championship 1891
|-
!Player !!  1  !!  2  !!  3  !!  4 !!  5  !!  6 !!  7  !!  8  !!  9  !! 10 !! 11 !! 12 !! 13 !! 14 !! 15 !! 16 !! 17 !! 18 !! 19 !! Wins
|-
|
| ½ ||style="background:black; color:white"| 1 || ½ ||style="background:black; color:white"| 0 || 0 ||style="background:black; color:white"| 1 || 1 ||style="background:black; color:white"| ½ || ½ ||style="background:black; color:white"| 1 || ½ ||style="background:black; color:white"| 0 || 1 ||style="background:black; color:white"| ½ || ½ ||style="background:black; color:white"| 0 || ½ ||style="background:black; color:white"| 1 || ½  ||
|-
|
|style="background:black; color:white"| ½ || 0 ||style="background:black; color:white"| ½ || 1 ||style="background:black; color:white"| 1 || 0 ||style="background:black; color:white"| 0 || ½ ||style="background:black; color:white"| ½ || 0 || style="background:black; color:white"| ½ || 1 ||style="background:black; color:white"| 0 || ½ ||style="background:black; color:white"| ½ || 1 ||style="background:black; color:white"| ½ || 0 ||style="background:black; color:white"| ½ ||
|}
Steinitz led by 2 with only one game left, and so was declared the winner.

Games

Game 1: Steinitz–Gunsberg, ½–½

Game 2: Gunsberz–Steinitz, 0–1

Game 3: Steinitz–Gunsberg, ½–½

Game 4: Gunsberg–Steinitz, 1–0

Game 5: Steinitz–Gunsberg, 0–1

Game 6: Gunsberz–Steinitz, 0–1

Game 7: Steinitz–Gunsberg, 1–0

Game 8: Gunsberz–Steinitz, ½–½

Game 9: Steinitz–Gunsberg, ½–½

Game 10: Gunsberz–Steinitz, 0–1

Game 11: Steinitz–Gunsberg, ½–½

Game 12: Gunsberz–Steinitz, 1–0

Game 13: Steinitz–Gunsberg, 1–0

Game 14: Gunsberz–Steinitz ½–½

Game 15: Steinitz–Gunsberg, ½–½

Game 16: Gunsberz–Steinitz, 1–0

Game 17: Steinitz–Gunsberg, ½–½

Game 18: Gunsberz–Steinitz, 0–1

Game 19: Steinitz–Gunsberg, ½–½

References

External links
 Match details and all games on Chessgames.com

1891
1890 in chess
1890 in sports in New York City
1891 in chess
1891 in sports in New York City
Chess in the United States
Sports competitions in New York City


Distensibility is a metric of the stiffness of blood vessels. It is defined as

,

where  and  are the diameter of the vessel in systole and diastole, and and are the systolic and diastolic blood pressure.

References

Human physiology


KBGZ (103.9 FM, "Big Country 103.9") is a radio station licensed to serve Spring Creek, Nevada. The station is owned by Richard Hudson, through licensee Global One Media, Inc. It airs a country music format.

Ownership and licensing
The station was assigned the KEBG call sign by the Federal Communications Commission on August 30, 2007. The station was licensed by the FCC on December 2, 2009. In April 2011, the call sign was changed to KBGZ concurrent with the station adding High Definition Radio Service. The HD2 program features '70's and 80's music, and the HD2 program is also rebroadcast on fill-in translator K299AN.

On November 26, 2007, Ken and Alene Sutherland applied to the FCC for a License to cover for KEBG. Effective May 31, 2022, the Sutherlands' Ruby Radio Corporation sold KBGZ, sister stations KHIZ and KUOL, and three translators to Global One Media for $1 million.

References

External links
KBGZ official website

BGZ
Country radio stations in the United States
Elko County, Nevada
Radio stations established in 2008