Gaetano Capocci (16 October 1811 – 11 January 1898) was a composer, organist and maestro.

Capocci was born in Rome.  As a boy he studied the organ under Sante Pascoli, organist of St. Peter's Basilica, Rome, and he completed his musical studies under Valentino Fioravanti and Francesco Cianciarelli. In 1831 he was granted a diploma as organist by the Accademia Nazionale di Santa Cecilia, and, in 1833, he received a diploma in the art of composition. Almost immediately he was appointed organist of the Basilica di Santa Maria Maggiore, in 1839. In 1855 he was appointed maestro direttore of the Cappella Pia of the Lateran, where he worked for the remainder of his life. Solely devoted to church music, Capocci composed numerous masses and motets. He also wrote two oratorios, Battista and Assalonne. His chief fame rested on his Responsori for Holy Week. At San Salvatore in Lauro he taught castrati Alessandro Moreschi and Giovanni Cesari. His son Filippo Capocci (1840–1911) succeeded him as maestro at the Lateran in 1898.

References
  cites:
 GROVE, Dict. of Music and Musicians, I (London, 1904),

1811 births
1898 deaths
Musicians from Rome
Accademia Nazionale di Santa Cecilia alumni
19th-century Italian composers


The Universe was a planned artificial archipelago in the shape of the Milky Way and Solar System, to be built on the coast of Dubai, United Arab Emirates. The Universe was to be located between the Palm Jumeirah, The World, Jumeirah, and the Palm Deira. The project plan was put on hold indefinitely in 2009.

History

The project was announced in January 2008 by the developer Nakheel, which also built the Palm Islands and The World archipelago. It was stated to be completed sometime between 2023 and 2028, but as of 2009, the project has been placed on hold. The dredging companies Van Oord and Jan de Nul planned to create up to 3,000 hectares of land.

The project was in the planning stages, but was placed on hold indefinitely in 2009. In 2009, Nakheel's website listed The Universe as a "future project". However, as of 11 April 2015 it has been removed.

See also
Tourism in Dubai

References

External links
 The Universe at Nakheel's official site

Nakheel Properties
Artificial islands of Dubai


Cissi Pera Klein (19 April 1929 in Narvik – 3 March 1943 in Auschwitz) was a Norwegian Jewish girl who is commemorated every year as one of the victims of the Holocaust in her home town in Trondheim. Her parents had emigrated to Norway from the Baltic states around 1905, at first living in North Norway, but then establishing a retail store in Trondheim. She was arrested at her school on 6 October 1942, detained, and ultimately deported with the transport ship Gotenland from Oslo to Stettin, from which she was sent by train first to Berlin and then to Auschwitz, where she was murdered the day she arrived, on 3 March 1943. She was 13 years old.

Cissi Klein became famous in her home town of Trondheim in the mid-1990s, when the city decided to appoint one of its 72 residents who were deported as a symbol for the persecution during the war. In 1995, the street where she lived was named Cissi Kleins gate, and a statue of her made by Tore Bjørn Skjølsvik and Tone Ek was unveiled in the park nearby in 1997. In memory of the day she was removed from her school by police, pupils from the Kalvskinnet Primary School visit the park on 6 October every year to lay flowers. The composer Ståle Kleiberg has written a musical piece in her memory.

The statue of Cissi Klein was used in an opening scene of The Birdcatcher (film)

Gallery

References

1929 births
1943 deaths
The Holocaust in Norway
Norwegian Jews who died in the Holocaust
People from Trondheim
People from Narvik
Norwegian civilians killed in World War II
Norwegian people who died in Auschwitz concentration camp
Children who died in Nazi concentration camps
Norwegian children
Jewish children who died in the Holocaust


Herbert Hriberschek Ágústsson (8 August 1926 – 20 June 2017, known as Herbert August Maria Hriberschek before becoming an Icelandic citizen) was an Austrian-Icelandic composer and hornist.

Herbert Hriberschek was born in Austria in August 1926. After completing his studies in 1944 in Graz with Franz Mixa and Arthur Michl, he played first horn for the Graz Philharmonic Orchestra for seven years. In 1953, he moved to Iceland, where he became principal hornist in the Iceland Symphony Orchestra.

His best known works include the Conc. Breve, op. 19 (1970) and Athvarf (1974). For his own instrument, he composed the Concerto for Horn and Orchestra (1963). He died in June 2017 at the age of 90 at Ísafold, a nursing home in Garðabær.

References

 Biography from Nordic Music Days

1926 births
2017 deaths
20th-century classical composers
Austrian classical composers
Austrian horn players
Austrian male classical composers
Austrian emigrants
Immigrants to Iceland
Classical horn players
Herbert Agustsson
Herbert Agustsson
20th-century Austrian male musicians


Hiwan Golf Club is an 18-hole golf course located in Evergreen, Colorado.

The golf course is 7,097 yards from the back tees and is a par 70. The fairways are lined with ponderosa pines and Douglas firs and magnificent Bergen Peak provides an elegant background for nearly every hole. The greens at Hiwan are difficult with oscillations in elevation and steep drops. There are two water holes at Hiwan; the par-4 Number 7 is 450 yards long with a large pond protecting the green and the par-3 Number 12 is the most picturesque hole with a series of waterfalls and three sculpted bunkers. There also is a large practice facility that operates in the summer with a driving range, chipping green and a spacious putting green.

It has a half-size Olympic sized pool, a water slide, 5 tennis courts, and locker rooms. The clubhouse was designed in the 1960s and has two restaurants: The Grill and the Hiwan Room. It also has a library, a pro shop and an exercise room with treadmill, elliptical, weights, and a weight machine.

In the winter, with nearly 120 annual inches of snow, the course serves as a cross-country ski area with three varying trails.

References

External links
Hiwan Golf Club

Tourist attractions in Jefferson County, Colorado
Golf clubs and courses in Colorado
Buildings and structures in Jefferson County, Colorado


Lene Børglum (born 21 August 1961) is a Danish film producer. Børglum was one of the key executives and co-owners of Zentropa from its early start in 1992 and until 2007.

Life and career
Børglum was deeply involved in the development of Zentropa from its very start till its state in 2007 as a major European independent production company. She handled international financing on a large number of Zentropa's international films, including Lars von Trier's highly acclaimed and awarded films The Kingdom (1994, 1996), Breaking The Waves (1996), The Idiots (1998), Dancer in the Dark (2000), and she was executive producer on Trier's films Dogville (2003), Manderlay (2005), and The Boss Of It All (2006). After Børglum left Zentropa in 2007, she was executive producer on Swedish director Lukas Moodysson's first English language film Mammoth (2009) and Nicolas Winding Refn's film Valhalla Rising (2009).

After their successful collaboration on Valhalla Rising, Børglum and Refn teamed up to found the production company Space Rocket Nation in January 2008.

In Space Rocket Nation, Børglum has produced Refn's film Only God Forgives (2012), starring Ryan Gosling and Kristin Scott Thomas, Liv Corfixen’s documentary film My Life Directed by Nicolas Winding Refn (2014) and Refn’s film The Neon Demon (2016). She is currently developing a number of other films.

Selected filmography
 The Kingdom (miniseries) (1994, 1996)
 Breaking the Waves (1996)
 The Idiots (1998)
 Dancer in the Dark (2000)
 Dogville (2003)
 Manderlay (2005)
 The Boss of It All (2006)
 Valhalla Rising (film) (2009)
 Only God Forgives (2013)
 My Life Directed by Nicolas Winding Refn (2014)
 The Neon Demon (2016)

Notes

Sources

Danish film producers
Living people
1961 births
Place of birth missing (living people)
Copenhagen Business School alumni


Savin was incorporated in 1959 by Max M. and Robert K. Low, and the company was named after Max Low's son-in-law, Robert S. Savin.  The firm was run by Low's son, Robert K. Low (finance, management and marketing) and E. Paul Charlap (research and development). It was known primarily for its unusual line of liquid-toner photocopiers, which set it apart from other companies that manufactured dry-toner equipment such as Konica, Xerox, Canon, Sharp, and Kodak.

During the 1960s and through the 1980s, Savin developed and sold a line of black-and-white liquid-toner copiers that implemented the technology that was based on patents held by the company. These copiers easily competed with Powder based technology with their far superior fine line resolution once the era of early Electrostatic transfer was done and the liquid was charged in the machine. The reservoir, called a Tank, had to be cleaned and fluid changed at the regular maintenance. Savin Developed very deep Tanks and spring mounts for these copiers used on Naval Vessels. One version was the Savin 772. Shore based service and parts was provided by Savin dealers local to many US Ports. In the later 1980's Savin invented a much darker ink called Landa to compete with the improving Powder Copiers.  Savin's copiers were manufactured by Ricoh Company and distributed by Savin in the US and Canada through 50 branch offices and 500 dealers, and under licenses from Savin to Nashua for Europe and South America, and through Ricoh for the Far East.

Although it was competing against major corporations such as Konica, Xerox, IBM and Kodak, Savin was able to develop its niche of economy-grade copiers through its persistent marketing efforts, which targeted educational institutions.  Savin had sales of approximately $500 million (along with royalties from licensees of $10 million), and was listed on the New York Stock Exchange.  In 1982 it was bought by Canadian Development Corporation, and then acquired by another firm which promptly discontinued the marketing.  This led to a steep decline in revenue from both sales and royalties. In the early 1990s Savin Phased out liquid copiers and entered the low cost powder copier business. Most of Savin copier business was machines that made under 50 copies per minute, where it held dominant low price points.

In 1995, Ricoh Company acquired Savin Corporation, and Savin was made a wholly-owned sales subsidiary.  This resulted in all Savin machines being rebadged Ricoh machines, which use dry toner.

External links
Savin Corporation (www.savin.com)
Ricoh Corporation (www.ricoh.com)
Savin Corporation website for other than USA  (savin-usa.com)

Notes

Electronics companies of the United States
Ricoh
Ricoh acquisitions


"Where Love Is, God Is" (sometimes also translated as "Where Love Is, There God Is Also" or "Martin the Cobbler") is a short story by Russian author Leo Tolstoy. The title references the Catholic hymn Ubi Caritas. One English translation of this short story as translated by Nathan Haskell Dole uses the alternate title translation of "Where Love Is, There God Is Also".  It was published in the United States under Crowell Company's "Worth While Booklet" Series. It was written in 1885.

Summary

"Where Love Is, God Is" is a short story about a shoemaker named Martin Avdeitch. The story begins with a background on Martin's life. He was a fine cobbler as he did his work well and never promised to do anything that he could not do. He stayed busy with his work in his basement which had only one window. Through this window he could see only the feet of people. He was still able to recognize most people by their shoes as he had worked with most of the shoes at least once. He had a wife, but she died, and all their children had died in their infancy except a three-year-old son.

After he thought about sending him off to live with his sister he decided to care for the child himself. Martin however, was not destined to have a child as his son died a few years later with a fever. In grief, he denied God, wondering how He could allow such a thing to happen to him. One day a missionary visited Martin and Martin told him of his hardships. This missionary told Martin that he should live his life for God and not deny Him because God's will is the ultimate deciding factor and as humans we cannot question that. The missionary's words sank deep into Martin. After this encounter Martin went out and bought a large print Testament.

He began to read the Bible, at first only on holidays, but as he read more and more it became daily. His life became full with peace and joy. After his day of work he would sit down with a lamp and read. One night Martin read a passage about a Pharisee who had invited Jesus into his house, and in the house a woman anointed and washed Jesus' feet with her tears. Martin thought of himself as the Pharisee in that story as he was only living for himself. As Martin slept he thought he heard the voice of God telling him that He would visit him the next day.

The next morning Martin skeptically watched out his window for God. While he was searching for God he saw Stepanitch shoveling away snow. Martin invited him in for a warm drink and they talked for a while. Martin told Stepanitch about Jesus and the Pharisee and Stepanitch was moved to tears. Stepanitch later left and thanked Martin for the food, both for the soul and body.

Martin later saw a young woman outside with a baby not properly dressed for the cold. He invited her in for some food and gave her warmer clothes and money. Martin also told her about Jesus and she thanked him and left. Then he saw a young boy stealing from an older lady. He went outside and settled their argument as he extended love and compassion towards the both of them.

That night while Martin wondered why God had not visited him, the three figures appeared in his home, who he had showed hospitality to that day. They said that when he helped them he was helping God. Martin then realized that God had indeed visited him, and he accepted Him well.

Adaptations
The Czech composer Bohuslav Martinů based a short opera on this story,  however he used the title of another story by Tolstoi “What Men Live By”. Libretto of this opera-pastoral in one act (1952) was written by the composer.

The story was made into a 1977 claymation special animated by Will Vinton.  Vinton's recreation was a faithful adaptation of the written word to claymation, with the exception that the narrator was much more quiet and the characters were given greater realm to express themselves.

It was adapted into "Pratiksha" an episode from the Indian television series, Katha Sagar (1986)

The Christmas Guest, a holiday poem written and recorded by Grandpa Jones and later recorded by Johnny Cash and Reba McEntire, is based on this story.

A Haitian Creole translation was produced by Haitian author, Carrié Paultre, published by the Presse Evangélique and the University of Kansas (Bryant C. Freeman).

Shoemaker Martin (1997), a children's book by Brigitte Hanhart, is based on this story.

It was adapted made-for-TV movie, Winter Thaw (2016) for BYUTV, starring John Rhys-Davies, and filmed in Lithuania. The film was produced by Utah-based Kaleidoscope Pictures. The film was directed by Adam Thomas Anderegg and Produced by Russ Kendall. Screenplay by Joseph Clay and Russ Kendall. It was screened on BYU TV and can be viewed on demand. It received an Emmy Award in 2017.

Links

 Source of Text
 Where Love is, God Is, Source Text at RevoltLib.com
 Where Love is, God Is, Source Text at Marxists.org
 Where Love is, God Is, Source Text at TheAnarchistLibrary.org
 Where Love is, God Is, Source Text at Archive.org
 Where Love is, God Is, Source Text at Gutenberg.org

See also
Bibliography of Leo Tolstoy
Twenty-Three Tales

References

Short stories by Leo Tolstoy
1885 short stories
Fiction about shoemakers
Short stories adapted into films
Christian fiction


Dawson River may refer to:

Dawson River (New South Wales)
Dawson River (Queensland)
Dawson River (Tasmania)


SS Tararua was a passenger steamer that struck the reef off Waipapa Point in the Catlins on 29 April 1881, and sank the next day, in the worst civilian shipping disaster in New Zealand's history. Of the 151 passengers and crew on board, only 20 survived the shipwreck.

Ship
The Tararua was a screw-driven steamer with two  engines, measuring  long,  wide and  deep. Built in Dundee by Gourlay Brothers in 1864, her original capacity was 523 tons (net) but alterations later increased her net tonnage to 563 tons.

History

Grounding
On 20 December 1865. Tararua ran aground at Cape Farewell, New Zealand whilst on a voyage from Sydney, New South Wales to Nelson, New Zealand. She was refloated the next day and completed her voyage.

Wreck

Sailing from Port Chalmers, Dunedin at 5 pm on 29 April 1881, the Tararua was en route to Melbourne via Bluff and Hobart. Steering by land on a dark night, with clear skies overhead but a haze over the land, the captain turned the ship west at 4 am believing they had cleared the southernmost point. After breakers were heard at 4:25 am, they steered away to the W by S-half-S for 20 minutes before heading west again. At around 5 am, the ship struck the Otara Reef, which runs 13 km (8 mi) out from Waipapa Point.

Waves caused the SS Tararua to list to port a little bit. George Lawrence got in a boat then jumped into the waves to swim ashore to warn a man who was named Charles Gilbee who rode his horse to Wyndham to send a message. At 11 am a wave caused the bridge to fall. At 1 pm, it was not marked urgent. At 2 pm the Tararua started to break as the stern slowly smashed into the rocks, and it took until 5 pm for the Hawea to leave port with supplies. Meanwhile, the wind and waves had risen. Around noon, six passengers who were strong swimmers were taken close to shore; three managed to get through the surf, with the help of the earlier volunteer, but the others drowned. On a return trip, one man attempted to get ashore on the reef, but had to give up; another three drowned trying to swim to the beach. Eight of its nine crew survived, and the locals who had gathered on the shore could not repair it. The remaining boat could no longer reach the ship, due to the waves, and stood out to sea in hope of flagging down a passing ship to help. The Tararua took over 20 hours to sink, with the stern going under around 10 pm a voice yelled out “a boat for God’s sake a boat”. The last cries of the victims were heard at 2:30 am when a loud crash was heard before a loud cry then stillness.

About 74 bodies were recovered, of which 55 were buried in a nearby plot that came to be known as the "Tararua Acre". Three gravestones and a memorial plinth remain there today.

Inquiry
A court of inquiry found that the disaster was primarily caused by the ship's captain failing to establish his correct position at 4 am, before changing course to head west. An able-bodied seaman was also blamed for not keeping a proper lookout, from which breakers would have been heard in time to avoid the reef. The court recommended that steamers should carry enough lifebelts for all their passengers (there were only twelve on the Tararua) and that a lighthouse should be built at Waipapa Point. The lighthouse began operating in 1884.

Previous incident
The Tararua had a narrow escape on a previous voyage in 1865, suffering no damage after grounding on a beach at Cape Farewell.

See also
List of disasters in New Zealand by death toll

References

Sources

External links
 A. Asbjorn Jon, 'Shipwrecks, Tourism and The Catlins Coast', Australian Folklore 2008
Wreck of the S.S. Tararua, 29 April 1881
The S.S. TARARUA Wrecked in Foveaux Strait 29 April 1881
Photos of the "Tararua Acre"

1864 ships
Ships built in Dundee
1881 in New Zealand
Maritime incidents in December 1865
Maritime incidents in April 1881
History of Southland, New Zealand
Ships of the Union Steam Ship Company
Steamships
Shipwrecks of New Zealand
The Catlins
Foveaux Strait
Southland District


Blubberknife (also known as Many a Wonderful Picnic Has Been Ruined by Blubberknife) is the third studio album released by the Australian experimental group Severed Heads, originally as a C90 cassette tape. The first approximately 200 copies were packaged inside cassette cases that were spray-painted silver, stuffed with loose cassette tape and had parts from the insides of television sets glued to the front of the case. Five copies were specially packaged inside fully operational calculators. It's the first album by the group to feature contributions by Stephen Jones, and it is also the first recording by the group to catch the attention of UK label Ink Records, who helped release Since the Accident a year later and reissued Blubberknife in a standard cassette case with new artwork in 1984. As with most of their discography, Blubberknife has been reissued several times.

Track listing
Original C90 cassette (Terse Tapes (Australia)--TRS822–1982; Ink (UK)--IT 00A—1984)

Double C90 cassette reissue (Terse Tapes (Australia)--Terse 881–1988)

This reissue incorporated almost all of the contents of the 1985 2LP release Clifford Darling Please Don't Live in the Past.
Double CD-R/Bandcamp download reissue (SevCom (Australia)--2002)

3-12 are the full live performance at the Stranded Club, divided into tracks based on the main tape loop used in that part.  The Bandcamp version restored these to one 33:54 track, and also combined 14 and 15 into one track (7:42).

Early releases of the CD-R set divided "Nightsong [Live]" into the main track (9:29) and an untitled ninth track (4:30).

Personnel
Tom Ellard - synthesizers, tape loops
Simon Knuckey - guitars
Garry Bradbury - synthesizers, tape loops
Richard Fielding - synthesizers, tape loops
Stephen Jones - video synthesizers, artwork
Grahame Brown - recording on "Rocket Summer"
Philip Samartzis - recording on "J. Edgar Hoover" and "CMID"

References

External links

Severed Heads albums
1982 albums


Frank Alois Pitelka (27 March 1916 – 10 October 2003) was an American ornithologist.  He was the 2001 recipient of the Cooper Ornithological Society’s Loye and Alden Miller Research Award, which is given in recognition of lifetime achievement in ornithological research.
In 1992, Dr. Pitelka received the Eminent Ecologist Award from the Ecological Society of America.

References

External links
 Frank Pitelka obituary

American ornithologists
1916 births
2003 deaths
20th-century American zoologists


Gobessa is a town in southeastern Ethiopia. Located in the Arsi Zone of the Oromia Region, this town has a latitude and longitude of  with an elevation of 2353 meters above sea level. It is the administrative center of Shirka woreda.

According to the Oromia Regional government, this town currently has a telephone station and a post office. Recently it has got access to  electric power. It is also being connected to other nearby towns such as medero and Ticho.

Based on figures from the Central Statistical Agency in 2005, Gobessa has an estimated total population of 10,170 of whom 5,010 were males and 5,160 were females. The 1994 national census reported this town had a total population of 5,689 of whom 2,717 were males and 2,972 were females.

"Local History in Ethiopia"  (pdf) The Nordic Africa Institute website (accessed 19 January 2008)</ref>

Notes

Populated places in the Oromia Region


Duane Anthony Brown (born August 30, 1985) is an American football offensive tackle for the New York Jets of the National Football League (NFL). He played college football at Virginia Tech and was drafted by the Houston Texans in the first round of the 2008 NFL Draft. Brown has also played for the Seattle Seahawks.

High school career
Born and raised in Richmond, Virginia, Brown attended its Hermitage High School and lettered in football, basketball, and track. He was teammates with Fontel Mines. In basketball, he averaged 15 points and 12 rebounds per game. In track, he competed in the throwing events. He finished 4th in the 2003 Group AAA outdoor shot put competition. He recorded top-throws of  in the shot put and  in the discus throw.

Only  coming out of high school, Brown was regarded as a three-star tight end prospect by Rivals.com.

College career
After graduation from high school, Brown attended Virginia Tech in Blacksburg, where he played for Frank Beamer's Hokies. He redshirted as a true freshman (2003), then played in all thirteen games in 2004 and caught his first collegiate pass against the Western Michigan Broncos which went for a touchdown. In 2005, he moved from tight end to offensive tackle, where he started every game and played in 673 offensive snaps during the regular season.

As a junior in 2006, Brown earned second-team All-Atlantic Coast Conference recognition and was voted state Offensive Lineman/End of the Year by the Richmond Touchdown Club. During his senior season in 2007, Brown switched to left offensive tackle and earned second-team All-ACC honors and Offensive Lineman/End of the Year by the Richmond Touchdown Club for the second consecutive year.

Professional career

Houston Texans
Brown was selected by the Houston Texans in the first round (26th overall) of the 2008 NFL Draft. He was only the second Virginia Tech offensive lineman ever drafted in the first round of an NFL Draft, after Eugene Chung in 1992. Brown started all sixteen games as a rookie in 2008 and became the first Texans rookie lineman to start every game since Chester Pitts in 2002. In 2009, Brown protected the blind side of Houston Texans quarterback Matt Schaub who led the NFL with 4,770 passing yards and helped the offense set franchise records with 6,129 total yards and 388 points.

During the 2010 season, Brown started twelve games, allowing 6.5 sacks and zero holding penalties.

In 2011, Brown was listed on the USA Today All-Joe Team and was named second-team All-Pro by the Associated Press, not allowing a single sack or committing a holding penalty.

On August 16, 2012, Brown and the Texans agreed on a six-year, $53.4 million extension, with $22.08 million guaranteed. Brown was in the final year of his rookie contract; the extension kicked in at the conclusion of the 2012 season. Brown was named onto the 2012 All-Pro Team as a first-team selection and was voted to play in the 2013 Pro Bowl at the end of the 2012 season.

On January 3, 2016, Brown tore his quadriceps tendon during the first quarter of a game against the Jacksonville Jaguars. This injury required surgery and he was able to return for the 2016 season. Brown suffered a knee injury during the 2016 offseason and missed the first four games of 2016 before returning in Week 5 and started the final 12 games.

Brown did not attend the Texans' mandatory minicamp as part of a push for a new contract, even though he had two years left on the deal. On July 25, 2017, the Texans placed Brown on the reserve/did not report list after not showing up for the start of training camp. On October 23, Brown returned to the team after missing the first six games.

Seattle Seahawks
On October 30, 2017, Brown was traded to the Seattle Seahawks for cornerback Jeremy Lane and two draft picks (a 2018 fifth round and a 2019 second round). However the following day it was reported Lane had failed his physical and would no longer be part of the trade; instead the Seahawks would send a third-rounder in 2018 (Martinas Rankin) and a second-rounder in 2019 in exchange for Brown and a 2018 fifth round pick. On January 23, 2018, Brown was named to the 2018 Pro Bowl, replacing Philadelphia Eagles tackle Lane Johnson.

On July 28, 2018, Brown signed a three-year, $36.5 million contract extension with the Seahawks, keeping him under contract through the 2021 season. He was named second-team All-Pro for the 2018 season and later named to the 2021 Pro Bowl in his final season with the team.

New York Jets
On August 15, 2022, Brown signed a two-year, $22 million contract with the New York Jets. He was signed in order to replace Mekhi Becton after he suffered a knee injury and was placed on injured reserve. He was placed on injured reserve on September 10, 2022 after injuring his shoulder in practice. He was activated on October 8.

In 2023, Brown suffered a hip injury in Week 2 and was placed on injured reserve on September 23, 2023.

NFL career statistics

Personal life
On November 22, 2011, Brown proposed to Devi Brown, a morning show host on Sirius XM's Shade 45.

On July 9, 2022, Brown was arrested for allegedly possessing a concealed weapon at Los Angeles International Airport and was released on $10,000 bond.

References

External links

New York Jets bio

1985 births
Living people
Players of American football from Richmond, Virginia
American football offensive tackles
Virginia Tech Hokies football players
Houston Texans players
New York Jets players
Seattle Seahawks players
American Conference Pro Bowl players
Unconferenced Pro Bowl players
National Conference Pro Bowl players


Tommaso Giordani (c.1730 to 1733 – before 24 February 1806) was an Italian composer active in England and particularly in Ireland.

Life
Giordani was born in Naples between 1730 and 1733 and came from a musical family. His father was Giuseppe Giordani senior, born around 1695 in Naples, and died after 1762, probably in London (no relation to the Neapolitan organist Carmine Giordani, b. 1685). A possible younger brother was Giuseppe Giordani (1751–1798), called "Giordanello". Tommaso was trained in Naples and moved with his father and siblings (including singer Nicolina) via Graz (1747), Salzburg and Frankfurt (1750), Amsterdam (1752) and Paris (1753) to London, where they performed four burlettas at Covent Garden in the 1753–4 season. Although the family performed in London for the next two years, Tommaso is not mentioned in the newspaper reports of the time.

His whereabouts in the following eight years are unknown. In 1764, he accepted an invitation to act as musical director of the Smock Alley Theatre, Dublin, where he stayed for the next three years, performing comic operas and co-produced the first ever opera seria to be performed in Ireland, L'eroe cinese (1766). Following accusations of plagiarism, he went back to London in 1767, where for the next 16 years he was relatively successful as an opera composer.

In 1783, Giordani returned to live in Ireland for the remainder of his life. He was particularly active in opera, as both composer and impresario. He had a stake in the short-lived 'English Opera House', which he founded in 1783 and which produced works by Irish composers and librettists, also in a music shop, neither of which was financially successful. Among his pupils were Lady Morgan, Thomas Simpson Cooke, and John Field, the inventor of the nocturne, who made his debut at one of Giordani's Rotunda concerts (4 April 1792). He died in Dublin.

Music
Among Giordani's compositions are a number of operas and theatrical pieces, including Genius of Ireland (1784) and The Island of Saints, or The Institution of the Shamrock (1785), the oratorio Isaac (1767), and a large number of overtures, sonatas, concertos, quartets (mostly string quartets, though some with flute, keyboard or guitar), trios for violin, flute and basso continuo, songs, etc. He is likely to have been composer and conductor at the Francis Street Chapel, Dublin, from approximately 1784 to 1798, and conducted a Te Deum of his own at the celebration upon the recovery of King George III, 30 April 1789. His last opera, The Cottage Festival, was produced at the Theatre Royal, Dublin, 28 November 1796. Giordani composed in a tuneful, galant style and was often confronted with accusations of plagiarism.

The authorship of the popular arietta Caro mio ben (1783) is as yet uncertain. It is mostly ascribed to Tommaso, but sometimes to his father or to the younger Giuseppe Giordani.

Selected works
Operas and other stage works (Dublin only)
The Beggar's Opera, new arrangement in Italian (Smock Alley Theatre, 2 January 1765)
Don Fulminone, or The Lover with Two Mistresses, comic opera (Smock Alley, 7 January 1765)
The Maid of the Mill, comic opera (Isaac Bickerstaff, after S. Richardson et al.) (Smock Alley, 26 March 1765)
Love in Disguise, comic opera (Henry Lucas) (Smock Alley, 24 April 1766)
L'eroe cinese, opera seria (Pietro Metastasio) (Smock Alley, 7 May 1766)
Phyllis at Court, comic opera (R. Lloyd after C.-S. Favart) (Crow Street Theatre, 25 February 1767)
The Contract, adaptation of comic opera by Philip Cogan and John Andrew Stevenson (Smock Alley, 14 May 1782)
Gibraltar (Robert Houlton), comic opera (English Opera House, Capel Street, 18 December 1783)
The Haunted Castle (W.C. Oulton), afterpiece (Capel St., 18 December 1783)
The Enchantress, or The Happy Island (A.M. Edwards), musical entertainment (Capel St., 31 December 1783)
Genius of Ireland, masque (Capel St., 9 February 1784)
The Island of Saints, or The Institution of the Shamrock, pantomime (Smock Alley, 27 January 1785)
Calypso, or Love and Enchantment, serio-comic opera (Smock Alley, April 1785)
The Distressed Knight, or The Enchanted Lady, comic opera (Crow Street, 12 February 1791)
The Siege of Belgrade, or The Turkish Overthrow, adaptation of Stephen Storace's opera (Crow St., 14 December 1791)
The Cottage Festival, or A Day in Wales (L. MacNally), comic opera (Crow Street, 28 November 1796)

Oratorios and cantatas (Dublin)
Isaac, oratorio (after Pietro Metastasio), 1767
The Castle Ode (text, G.E. Howard), 1769
Ode on the Prince of Wales Attaining His Majority (R. Houlton), 1783
Elliott's Wreath, or Gibraltar Preserved (R. Houlton), cantata, 1783)
Ode on the Passions, 1789
Te Deum (for the recovery of George III), 1789
Kyrie and Gloria, 1792

Songs
Six duettini italiens op. 6 (c.1773)
Six Canzonets op. 11 (1775)
Six Italian Canzonets op. 13 (c.1775)
Eight English Canzonets op. 15 (1776)
Six English Canzonets op. 16 (1777)
At the Close of the Day: the Hermit, a favourite English Ballad op. 20 (1778)
A Fourth Sett of English Canzonetts op. 22 (c.1780)
Six English Canzonets op. 28 (1781)
Six Favourite Songs, the Words taken from the Reliques of Ancient English Poetry (c.1785)
Six Canzonets (1795)

Orchestral music
A Select Overture in Eight Parts (c.1767)
A Favourite Overture in Eight Parts (c.1780)

Chamber music
Sei quintetti [op. 1], for harpsichord and string quartet (1771)
Six Quartettos op. 2: four for string quartet, two for flute, violin, viola, cello (1772)
Six Chamber Concertos op. 3, for flute, 2 violins and basso continuo (b.c.) (c.1773)
Six Sonatas op. 4, for keyboard (c.1773)
Six Sonatas op. 5, for violin and harpsichord (c.1773)
Six Duets op. 7, for 2 flutes (1774–5)
Sei quartetti op. 8 for string quartet (c.1775)
Six Easy Solos op. 9 for flute & b.c. (1774)
Six Sonatas op. 10, for keyboard (1775)
Six Trios op. 12, for flute, viola, cello (1775)
Six Concertos op. 14, for keyboard, 2 violins & b.c. (1776)
Six quatuor op. 17, for harpsichord, flute, violin, double bass (1778)
Six Duettos op. 18, for 2 celli (c.1780)
Six Concertos op. 19, for flute, 2 violins & b.c. (c.1780)
Six Duettos op. 21 (4 for violin  cello; 2 for 2 violins) (c.1780)
A Second Sett of Six Concertos op. 23, for harpsichord or piano, 2 violins & b.c. (1779)
Six Sonatas op. 24, for violin or flute and harpsichord or piano (c.1779)
Six Solos and One Trio (solos for guitar, with thorough bass for harpsichord; the trio for guitar, violin and double bass (c.1780)
Six Marches, Six Quick Steps and Two Concertos Militaire for harpsichord or piano (1780)
Twelve Progressive Lessons ... Composed for the Improvement of Young Practitioners op. 25, for keyboard (1780)
Six Sonatas op. 27, for violin and harpsichord or piano (1781)
Three Sonatas op. 30, for flute or violin, bass viol or viola and harpsichord or piano (1782)
Six Sonatas, for violin and harpsichord or piano (1783)
Six Progressive Lessons, for harpsichord or piano (1784)
Four Favourite Duettinos, for harpsichord or piano (1784)
Three Sonatas op. 31, for violin, cello and harpsichord or piano (c.1785)
Six Grand Lessons op. 32, for violin and harpsichord or piano (c.1785)
Three Concertos ... Third Set op. 33[a], for 2 violins, harpsichord or piano & b.c. (1786)
Fourteen Preludes or Capriccios and Eight Cadences op. 33[b], for keyboard or harp (c.1785)
Three Sonatas op. 34, for violin and harpsichord or piano (1788)
A Third Set of Six Duetts, for 2 flutes (before 1789)
Countess of Antrim's Minuet, for harpsichord or piano (after 1790)
Lady Letitia MacDonell's Minuett, for harpsichord or piano (after 1790)
Six Sonatas op. 35, for violin and piano (1794)

Bibliography
 Lawrence, W. J.: "Tommaso Giordani. An Italian Composer in Ireland", in: The Musical Antiquary 2 (1910–11), pp. 99–107.
 Hogan, Ita M.: Anglo-Irish Music 1780-1830 (Cork: Cork University Press, 1966).
 Walsh, T. J.: Opera in Dublin 1705-1797. The Social Scene (Dublin: Allen Figgis, 1973).
 Paton, J. G.: "Caro mio ben: Some Early Sources", in: Bulletin of the National Association of Teachers of Singing 37 (1981) no. 2, pp. 20–22.
 Zanetti, E.: "Di alcuni interrogativi intorno a Caro mio ben", in: A. Ziino (ed.): Musica senza aggetivi: Studi per Fedele D'Amico (Florence, 1991), pp. 61–83.
 Boydell, Brian: Rotunda Music in Eighteenth-Century Dublin (Dublin: Irish Academic Press, 1992).
 Klein, Axel: "Stage-Irish, or The National in Irish Opera", in: The Opera Quarterly 21 (2005) 1, pp. 27–67.
 Rhodes, David J.: "Giordani, Tommaso", in: The Encyclopaedia of Music in Ireland, ed. by H. White & B. Boydell (Dublin: UCD Press, 2013).
 Sharpe, Richard: "Tommaso Giordani, Gregorio Ballabene’s Messa a dodici cori con organo and Sacred Music in Late-Eighteenth-Century Dublin", in Journal of the Society for Musicology in Ireland, 11 (2016) pp. 25–35.

References

External links

1730s births
1806 deaths
18th-century Italian composers
18th-century Italian male musicians
Composers for piano
Composers for the classical guitar
Composers for violin
Irish male classical composers
Irish classical composers
Irish opera composers
Italian opera composers
Italian Classical-period composers
Italian male classical composers
Male opera composers
String quartet composers


A. Laurence Lyon (1934–2006) was a composer of music, usually sacred music with a Latter-day Saint theme.  He also served for 30 years as a professor at Western Oregon University.

Lyon was born in Rotterdam, Netherlands where his father, T. Edgar Lyon was serving as president of the Netherlands Mission of the Church of Jesus Christ of Latter-day Saints (LDS Church).

Lyon created his first composition at 12. He was first called as an organist for a congregation of the LDS Church when he was 16 years old.  That same year, he wrote and premiered a sextet for brass and woodwinds at Granite High School in Salt Lake City, Utah. He served as a LDS Church missionary in the Netherlands Mission, and organized and directed the choir from that mission that sang at the dedication of the Swiss Temple. In 1958 he married Donna Reeder in the Salt Lake Temple.

After his mission, Lyon received a bachelor's degree from the University of Utah and a Ph.D. from the Eastman School of Music.

From 1967 until 1997, Lyon was a professor of music at Western Oregon University. He was also president of Modern Music Methods, a publisher of string music for children.

Lyon has been involved with the music for many LDS Church temple dedications.  He wrote an arrangement of "The Morning Breaks" specifically for the dedication of the Oakland California Temple and directed choirs that performed at the dedications of the Portland Oregon Temple and the Seattle Washington Temple.

Lyon served on multiple occasions in LDS bishoprics and on stake high councils.  He was a member of the General Sunday School board in 1967 and of the general church music committee from 1985-1993.  From 1999 until 2000, he and his wife served as missionaries in the Chile Osorno Mission.

Two of Lyon's works are included in the 1985 edition of the LDS Church hymnbook.  They are "Each Life That Touches Ours For Good" and "Saints, Behold How Great Jehovah." He also wrote seven works in the Primary Children's Songbook.

Over 200 arrangements and compositions by Lyon were published. Many of his choral and organ works were featured on the Mormon Tabernacle Choir's weekly broadcasts. Among his works was the oratorio "Visions of Light and Truth," which was commissioned by BYU-Idaho.

References

 Church News, 1998-06-06, p.Z4
We Shall Make Music: Stories of Primary Songs and How They Came to Be, p. 81

1934 births
2006 deaths
American Latter Day Saint hymnwriters
American Mormon missionaries in Germany
American male composers
Mormon missionaries in Chile
University of Utah alumni
Eastman School of Music alumni
Western Oregon University faculty
Musicians from Rotterdam
20th-century Mormon missionaries
American expatriates in the Netherlands
20th-century American composers
20th-century American male musicians


Iakovos Nafpliotis, (or Nafpliotis or Naupliotis or Naupliotes: ) (1864 in Naxos – December 5, 1942 in Athens) was the Archon Protopsaltis (First cantor) of the Holy and Great Church of Christ in Constantinople (Istanbul, Turkey). Iakovos Nafpliotis is one of the first chanters to have ever been recorded; many people also regard him as being one of the greatest.

Biography

Early life

Iakovos Nafpliotis was born in Greece, on the island of Naxos (Cyclades) in 1864. The Nafpliotis family, which was originally called "Anapliotis", originated from Anaplous (an area along the western shore of the Bosphorus), and ran a printing shop in Naxos until the first half of the 19th century. The first to change the name from "Anapliotis" to "Nafpliotis" was Anastasios Anapliotis, who was a member of the Philiki Etairia.

Musical education

Iakovos travelled to Constantinople at the age of seven, where he was acclaimed for his exceptional vocal quality and was ordained as canonarch at the church Saint Nicholas. He was later on ordained as First Canonarch of St. George's Greek Orthodox Patriarchal Church in 1878 (when he was only 14 years old) and served this function for three years.

Iakovos had heard exceptional Patriarchal protopsaltes (right chorus leading chanters) such as Ioannis Byzantios (the surname "Byzantios" meaning "originating from Constantinople"), Konstantinos Byzantios and Georgios Raidestinos II (the surname "Raidestinos" meaning "originating from Raidestos"). They, in turn, had heard their predecessors: Daniel from Tyrnabos, Iakovos Giakoumakis from Peloponnesos, Petros Byzantios, and Gregorios the Levite. Iakovos' main teacher was Nikolaos Stoyianovitz the Lambadarios (left chorus leading chanter).

Main career

Iakovos Nafpliotis was the last chanter to have progressively passed through all the psaltic ophikion (officium) stages, in the following order and duration:

First Canonarchos: 1878 to 1881 (14 to 17 years of age = 3 years of service)
Second Domestikos: 1881 to 1888, (17 to 24 years of age = 7 years of service)
First Domestikos: 1888 to 1905 (24 to 41 years of age = 17 years of service)
Archon Lampadarios: 1905 to 1911, (41 to 47 years of age = 6 years of service)
Archon Protopsaltes: 1911 to 1938 (47 to 74 = 27 years of service).

Iakovos Nafpliotis served at the Patriarchal Analogion for 60 years, and was blessed with the privilege of having chanted for a succession of 14 Patriarchs.

According to Angelos Boudouris, Iakovos Nafpliotis was concerned about the relative ignorance of chanters who were introduced into the Patriarchal Cathedral without going through the necessary officiums (such as the musicologist Protopsaltis Georgios Biolakis),  and who were said by others to not be as proficient in the local Patriarchal style (hyphos) as was Iakovos.  Iakovos, along with those of his subordinates, who had grown up in the Patriarchate, would "drag newcomers by the nose" in an obstinate effort to safekeep the tradition they had been taught. The unfortunate newcomers had no choice but to "follow along", in spite of their superior official positions. Boudouris was able to testify to all this because he grew up in the Patriarcheion as well, during the early 1900s.

Despite the general respect of Iakovos by the majority of people around him, there were several unsuccessful attempts to have him removed from the Patriarchate: Iakovos was actually replaced twice as Protopsaltis.

Stylianos Tsolakidis, who was the First Canonarchos and later on helper Domestichos of Iakovos Nafpliotis – for a total of about 10 years – during the 1910 decade, claimed that Iakovos Nafpliotis was "a serious chanter and teacher, and that no one of his time chanted like him". Stylianos Tsolakidis had also chanted along Georgios Binakis (student of Nikolaos Raidestinos [who Tsolakidis had heard chant at a very late age], son and student of Georgios Raidestinos II) as first Canonarchos for two years, and along Nileas Kamarados as well, but no one in Constantinople had the "psaltic stability" or "stamima" of Iakovos. According to his testimony, Iakovos would chant everything by heart, in an upright position, without any corporal motion whatsoever, his lips barely moving. According to both Boudouris and Tsolakidis, Iakovos avoided talking in everyday life.

Iakovos Nafpliotis was once replaced for 6 months by Antonios Syrkas in the late 1930s. According to Boudouris, the latter did not know much about the Patriarchal method of chanting. During this period, Iakovos contemplated leaving Constantinople, given that some Greeks had doubts as to his right to remain on the Patriarchal analogion in terms of his citizenship, which (fortunately) did not seem to be an issue for the Turkish authorities.

Later years
On the occasion of his 50th year of service, the entire personnel was remunerated in double.

Upon his retirement, the Patriarch Benjamin I bestowed upon him the title of "Honorary Protopsaltes of the Holy and Great Church of Christ".

Iakovos Nafpliotis retired in Athens, a city chosen by members of his family, where he died in 1942 at the age of 78 years. He was buried in the First Cemetery of Athens.

Works
The disciple of Iakovos Nafpliotis, Angelos Boudouris, has left behind almost ten thousand pages of authentic psaltic manuscripts of which many include transcriptions of Iakovos’ traditional interpretations of the entire year-round, functional psaltic repertoire. Angelos Boudouris informs his readers that this great teacher had learned how to chant traditionally during his apprenticeship as second Domestikos next to the Lampadarios Nikolaos Stoyianovitz, who knew nothing of the reformed Round notation (also known as the Neo-Byzantine notation or Contemporary psaltic notation), which was in current use since Chrysanthos of Madytos.

During his service as first Domestikos, Iakovos Nafpliotis helped transcribe old notation books according to the reformed notation of the New Method (1899: Doxastarion of Petros Peloponnesios). He taught  "psaltiki," or "the psaltic art" at the  Patriarchal Music school of Phanarion in the Μεγάλη τοῦ Γένους Σχολὴ (also known as the Halki seminary), and also published a book in three volumes: the Forminx (the very name Konstantinos Pringos used later on for his own editions), which contains various hymns and songs for use in elementary schools.

Angelos Boudouris made extraordinary efforts to transcribe Iakovos’ performances of classical pieces, either by bringing his manuscripts to the Patriarchal church so as to modify them from one year to the next, or by listening to his children, Constantinos and Leontios (both Canonarchs of Iakovos), chant whatever their teacher had taught them. Nevertheless, Iakovos could not understand the purpose of such transcriptions, for he knew and taught everything by heart by continuous repetition. The Canonarchs would learn in this manner, after they had studied "παραλλαγή" ("solfeggio") of the classical pieces with their master.

Recordings
His voice was recorded owing to the foresight of Patriarch Germanos V (1913–1918), who even contributed from his personal purse so as to finance some of the historic plates which were recorded under the label "Orfeon Records". Most of these recordings were realised with Konstantinos Pringos, who was actually protopsaltis in another church in Constantinople at the time.

According to the Protocanonarchos Stylianos Tsolakidis, these recordings are more of paedagogical nature: the tempo is very slow (which was eventually accelerated whenever there was lack of recording time), there is hardly any συνεπτυγμένος χρόνος-syneptigmenos chronos (a form of rubato), and analyseis - ἀναλύσεις (developments) are maintained to a strict minimum. This is the way Iakovos would chant so as to teach the basics of a hymn the "first time around". During live, ecclesiastical performances of these hymns in the Patriarchate, the interpretations were slightly more vivid, due in part to a variety of rhythmic nuances, yet never too far off from the actual recordings.

No one seems to know exactly how many such plates there really exist. Many originals are to be found in Thessaloniki and  have been restored in a project led by Prof. Antonios Alygizakis, which were finally published as CDs by the end of 2008.  Some records were obtained from Turkish national archives.  Others had been found in the archives of the Hellenic Broadcasting Corporation (ERT). Others claim that the entire collection is to be found in the Cypriot Monastery of Kykkos.

Some of these historic recordings have been put on CD, but we are far from the minimal estimate of 6 hours (300 minutes and, at 3 minutes per plate = about 130 plates) that exist in various collectors’ safe boxes. Recently however these recordings have been put up for the benefit of all, in memory of the chanter, and those who admired him and made enormous sacrifices so as to obtain these recordings.

Teachings and hyphos (style)
The patriarchal paedagogy of Iakovos, which was based in past on o/aural memory transmission, there was one other particularity, that of "chronos" and the way it was counted, which he managed to transmit to at least one of the few students who had the opportunity to be his disciple ever since a young age (Stylianos Tsolakidis, the others being Constantinos and Leontios Boudouris). Other students who studied at a later age (e.g. Angelos Boudouris, Anastasios Michaelides "Sobatzis", Konstantinos Pringos, Georgios Karakasis) were also permeated with many of the elements of Iakovos’ Majestuous Patriarchal style ("hyphos"). The many ways of counting the "chronos" (which is not the "rhythmos") and of combining "analyseis" (developments or "variations") are what allow a good chanter to chant a unique score in many ways, and which can lead to catastrophic performances by those who have not been taught by the Patriarchal method.

Although most of the chanters of Constantinople had good intervals and attacks (which is not the case of most chanters of today), their "politikon hyphos" or "style" is not to be confused with the "patriarchal style", where the repertoire chanted was different not only in composition (usually of abbreviated nature) as compared to some classical editions, but in terms of chronos counting (divided ("dieremenos"), unitary ("monosimos"), simple ("haplos"), complex ("synthetos" or "syneptigmenos chronos" which is not to be confused with syneptigmenos "rhythmos"), free ("elevtheros"), callophonic etc.), as well. Nevertheless, Iakovos would first teach using the classical editions and then only would he initiate his disciples to the particular compositions that were used in the Patriarchal church.

Most of the 14 Patriarchs as well as the numerous hierarchs that crossed Iakovos’ psaltic career were firm supporters of and would acclaim his traditional chanting. Those who were ignorant even went as far as to replace him once. During this episode and after his retirement, some areas of Greece, namely that of Chios, proposed that they add to his retirement funds so that he might continue to honour them with his serious, hegemonic and praying chant.

According to Angelos Boudouris, Iakovos Nafpliotis was a standard of psaltiki that most other chanters acknowledged and respected, which is attested to by the fact that they would meet at the Patriarchal church approximately once a month so as to continue benefiting from this master's knowledge. Few were the chanters who were as traditional. Both Angelos Boudouris as well as Stylianos Tsolakidis mention the traditional Georgios Binakis (first chanter of Agios Ioannis Chios in Constantinople, whose retirement years were supplemented by the merchants of Chios, where he spent the remainder of his life chanting in the Metropolis of Chios). On the other hand, many were those who had personal ideas about manuscripts and composition and chant as a whole (including choral chanting), of which the most famous ones were Konstantinos Psachos and Nileus Kamarados.

Iakovos Nafpliotis as opposed to other schools of chant (Galatan, Kamarados, etc.)
Although Iakovos Nafpliotis' chanting was characterised as "unique", it could be classified into what is commonly known as the "Πατριαρχικὸν ὕφος |Patriarchal Style".  This very category is part of a current debate as well, given that some musicologists do not consider Patriarchal chanting in the 1800s as being similar to that which existed before the fall of Constantinople (1453). Notwithstanding the foregoing, the best representative of the "Πατριαρχικὸν ὕφος |Patriarchal Style" as referred to by Boudouris, was Iakovos Nafpliotis.

In his works, Angelos Boudouris remains very critical, and depending on the issue upon which he was focused upon, he would describe a given chanter as being traditional at times while being non traditional in others. A case in point is a supposed rivalry between the "school of Galata" (centered upon Georgios Raidestinos II [1870s], and perpetuated by his son, Nikolaos Raidestinos) and the Old Patriarchal School as represented by Iakovos' teacher, the lambadarios Nikolaos Stoyianovitz.  Although some unpleasant scenes between Georgios Raidestinos II and lambadarios Nikolaos Stoyianovitz could be interpreted as a clash between the two schools, the differences between them were minute, the proof being that Boudouris claims elsewhere that Georgios Binakis (student of the so-called "Galatan" school) was an excellent and traditional chanter, such an elogy being very rare in his memoirs. Further proof is that Stylianos Tsolakis, student of Iakovos, recognised patriarchal chanting ("πατριαρχικὰ ἀκούσματα") in the chanting of Alexandros Mardas (student of Nikolaos Chantzistamatis, student of Georgios Binakis, whom Stylianos had as a teacher as well).

Differences between the "Πατριαρχικὸν ὕφος |Patriarchal Style" of Iakovos Nafpliotis and the "Kamarados" school (as represented by Nileus Kamarados and his student Antonios Syrkas and followers such as the late Georgios Syrkas and the current Archon Protopsaltis of Canada, Constantinos Lagouros) are slightly greater, and Angelos Boudouris' criticisms were restrained to knowledge of how and when particular hymns were to be chanted.

As concerns the "Πατριαρχικὸν ὕφος |Patriarchal Style" of Iakovos Nafpliotis and what later on became known as the school of "Simon Karas", Angelos Boudouris, as opposed to the aforementioned schools,  quotes Iakovos' unilateral opinion as far as music is concerned, even though merit was granted for Karas' intentions and initiatives.

Iakovos Nafpliotis on Simon Karas
Iakovos also met and heard Simon Karas, a music researcher whose ideas and "style" of chanting is known worldwide but is also contested by many (namely the Hypermachos Association) in Greece. Simon Karas is one of the few musicians that Iakovos Nafpliotis, who was otherwise very conservative, even in the number of words he’d utter, criticizes overtly by stating the following:

Iakovos Nafpliotis' opinion is at the center of a flaming current debate, as Simon Karas had collected information concerning oral tradition, much in the same way as other renowned musicologists of his time (for instance Spyridon Peristeris in Athens and Kallinikos Theodoulos in Cyprus). In spite of the worldwide recognition of Simon Karas' musicological positions, which are heralded by many of his students and followers, many are those who hang on to Iakovos' opinion, given the latter's excellence in the practice of ψαλτικὴ ("psaltiki" or "the psaltic art").

On the correct writing of Nafpliotis' family name
His last name is simply Nafpliotis and not o Nafpliotis, which would imply that he had originated from the city of Nafplion. If Iakovos' geographic origins are to be taken into consideration, as is the case with all the great chanters whose names have crossed the centuries (e.g. Petros from Laconia, Peloponnese called Petros o Peloponnesios or Petros Lacedaemon), one may wish to call Iakovos Nafpliotis by the following: Iakovos Nafpliotis o ek Naxou the Megaloprepis, (Iakovos Nafpliotis from Naxos, the Majestuous Protopsaltis) so as to distinguish him from his predecessors of the same first name (e.g. Iakovos Peloponnesios).

References

Bibliography

External links

Iakovos Nafpliotis
Serafeim Farasoglu: Biography and recordings on the Page of the Patriarchate (GR)
Serafeim Farasoglu: Biography and recordings on the Page of the Patriarchate (EN)
Recordings and biography (EN) (GR)
Iakovos Nafpliotis: The old Patriarchal school (students and followers) (EN) (GR)
Theodoros V. Vasileiou: Biography and recordings (GR)

His student Angelos Boudouris
Biography and publications (EN)(GR)
Facsimile edition of Angelos Boudouris' Manuscripts
Translation of excerpts taken from Angelos Boudouris’ books (Analogion):
"Introduction to Byzantine Music"
"Musicological Memoirs"
"Music Review"

Information about the living tradition of Byzantine chant
Melodos: view Psaltic music and pitch vs. time video (instrumental version)
Free Psaltic OCR program
MontrealPsaltiki English, Greek
Analogion English, Greek
Analogion Greek
Iero Psaltis English, Greek
Lots of material on psaltiki

1864 births
1942 deaths
People from Naxos
Performers of Byzantine music
19th-century Greek male singers
20th-century Greek male singers
Musicians from Istanbul


Ionia Township may refer to the following townships in the United States:

 Ionia Township, Michigan
 Ionia Township, Jewell County, Kansas


Sun on the Stubble is a novel by Colin Thiele, published in 1961. It tells the story of a German immigrant family living in rural South Australia during the 1930s. Colin Thiele was a South Australian educator and school principal.

Television series
It was adapted in 1996 as a TV miniseries entitled "Sun on the Stubble" in Australia, directed by Robert Marchand, and known as "The Valley Between"  overseas.

Cast
Christian Kohlund - Marcus Gunther
Jamie Croft - Bruno Gunther
Sophie Heathcote - Lottie Gunther
Susan Lyons - Ellie Gunther
Mignon Kent - Anna Gunther
Caroline Winnall - Emma Gunther
Ann Burbrook - Miss Knightley
Wynn Roberts

See also

 South Australian Film Corporation

References

External links

Novels set in South Australia
Australian children's novels
1990s Australian television miniseries
Television shows set in South Australia
1996 Australian television series debuts
1990s Australian drama television series
Australian Broadcasting Corporation original programming
1961 children's books
Works by Colin Thiele
1961 Australian novels
1996 Australian television series endings


Miss Universe República Dominicana 1999 was held on June 2, 1998. There were 32 candidates, representing provinces and municipalities, who entered. The winner would represent the Dominican Republic at Miss Universe 1999 and Miss World 1999. The Miss Internacional Dominicana would enter Miss International 1999. The first runner up would enter in Reinado Internacional del Café 1999. The second runner up would enter in Reina Mundial del Banano 1999. The third runner up would enter in Miss Atlantico 1999. The rest of the finalists entered different pageants. This edition would be the first edition to select Top 15 quarter finalist in the history of Miss Dominican Republic.

Results

Delegates

External links
Search Miss Republica Dominicana 1999

Miss Dominican Republic
1999 beauty pageants
1999 in the Dominican Republic


Animal Emergency is an Australian observational documentary series that began airing on the Nine Network on 16 March 2008. It is narrated by Gold Logie winner Georgie Parker.Animal Emergency follows the daily happenings of the Lort-Smith Animal Hospital in Melbourne.

Some media outlets have reported the title of the program to be Animal Hospital; Nine Network has since clarified that this is incorrect, and the show will indeed be titled Animal Emergency.

References

External links
 Official Website

Nine Network original programming
Television series about animals
Television shows set in Victoria (state)
2008 Australian television series debuts
2008 Australian television series endings
Australian factual television series


"Hangman Jury" is a song by American rock band Aerosmith. It was released as a promotional single in 1987 on the album Permanent Vacation. It was written by lead singer Steven Tyler, guitarist Joe Perry, and outside collaborator Jim Vallance. In contrast with the rest of the album which contains highly polished glam metal, the song is a mostly blues song. The chorus has a close similarity to "Linin' Track" by Lead Belly.

Background
Perry said of writing the song when sober that "when the riff to 'Hangman Jury' came flying off an old funky Silvertone guitar I had found, I was relieved.  The music was there.  The music was always there.  The music for 'Hangman' reflected the rapport I'd always felt for Taj Mahal's deep-rooted blues.  I knew we were off to a good start. I kept telling myself that, as a sober kid, I had loved music. The excitement and drive were built in, not supplied by a bottle or a drug."

Perry claimed that the praise for this song was his biggest surprise of the Permanent Vacation album.  He received praise for the song from everyone from his 14-year-old son to hip hop record producer Rick Rubin.  Rubin said, "I like this one, and I like that one, but you know, I really like 'Hangman Jury.' It's interesting, the spectrum of people who pick up on that."

Perry felt that with the song's "acoustic bottleneck guitar work and spooky country-blues overtones" it is "a perfect example of Aerosmith seeing 'how gritty we can make it'".

According to Aerosmith biographer Martin Power, Tyler got the idea for the song from a record by Taj Mahal, who got the phrase "if I surely could" which most interested Tyler from Lead Belly, who got it from a chant that had been sung by slaves on southern US cotton fields.  Aerosmith received permission from Taj Mahal to adapt his song, but Lead Belly's estate sued the band for copyright infringement.

Power describes "Hangman Jury" as "a remarkably powerful song detailing the murder of a wife at the hands of her husband, his dark reasoning for the deed and the terrible consequences to be faced", also saying that it is an example of Aerosmith trying and succeeding to do something different.  He describes Tyler's vocal performance as "insightful and chilling" and Perry's guitar playing as "invoking the ghost of Robert Johnson".  Power also notes that performances of "Hangman Jury" were a highlight of the Permanent Vacation tour.  Richard Bienstock describes the song as being similar to some Led Zeppelin songs, particularly in its arrangement and Tyler's vocal performance and harmonica playing.

Critical reception
Rocky Mount Telegram critic Deborah Saine interprets the song as a warning against using cocaine.  Saine regards "Hangman Jury" as being possibly the most creative song on Permanent Vacation.  Allmusic critic John Franck described it as an "excellent hobo-harmonica fable."

Charts

References

Aerosmith songs
1987 singles
Songs written by Jim Vallance
Songs written by Steven Tyler
Songs written by Joe Perry (musician)
Song recordings produced by Bruce Fairbairn
Geffen Records singles
Blues songs


Kula is a town in southeastern Ethiopia. Located in the Arsi Zone of the Oromia Region, it has a latitude and longitude of  with an elevation of 2842 meters above sea level. The town is the administrative center of Sude woreda; according to materials on the Nordic Africa Institute website, it had been the administrative center at least as early as the 1980s.

According to the Oromia Regional government, this town currently has wired & wireless telephone service, 24 hours electricity, one community FM station. A veterinary clinic is reportedly under construction.

Based on figures from the Central Statistical Agency in 2005, Kula has an estimated total population of 2,648 of whom 1,278 were males and 1,370 were females.

Notes

Populated places in the Oromia Region


Armored Core: For Answer is a 2008 vehicular combat game developed by FromSoftware and published by Ubisoft for the PlayStation 3 and Xbox 360. It is the 13th installment in the mecha-based Armored Core series, the game is the direct sequel to Armored Core 4.

Gameplay
AC customization has been changed from the previous Armored Core title, with a new interface and many new parts not found in Armored Core 4. Online mode returns with a new co-operative mode alongside the player versus mode. Gameplay enhancements included a power increase for both Quick Boost and Over Boost, as well as an auxiliary high-speed booster, which is known as the Vanguard Over Booster (VOB). Another new feature in the game is the Assault Armor attack that becomes available by equipping certain Over boost parts. This attack uses up all available Primal Armor (PA) that the AC has and generates a huge blast consisting of Kojima particles (highly reactive particles) that destroys or damages all objects surrounding the AC. However, this also leaves the AC vulnerable because not only will the AC lose its PA, it will also not regenerate for a few seconds. Laser blades are deadlier because of the revamped laser blade attack. Once the blade has acquired a lock-on, the AC will instantly rush to the target, traveling a great distance to use the laser blade. All parts carried over from the previous game have had their parameters altered, much like the transition between previous series installments Silent Line and Nexus. The on-screen HUD can now be changed to any of 20 colors. There are now 442 FRS tuning points available to unlock, which is an increase from the 300 (PS3) and 337 (Xbox 360) FRS points available in AC4. Maps are much larger and more detailed including environmental damage such as collapsing buildings. The game is also the second in the series (after Last Raven) to feature multiple endings, with three different possible plot branches available depending on your actions and decisions in the game.

Plot
Five years have passed since the LYNX War. Earth is now governed by the League of Ruling Companies, an international council composed of the corporations that survived the war, which ostensibly seeks to preserve global peace and corporate prosperity. In truth, the League is little more than a puppet of its chief member, Omer Science Technology, which emerged from the LYNX War with an enormous technological advantage and seeks to keep it. Since much of the world's surface was polluted to inhospitable levels by hazardous Kojima Particles dispersed during the LYNX War, the League built perpetually-airborne habitats known as Cradles, which are dependent on ground-based power plants called Arteria that generate even more Kojima Particles as waste. Over half of the human population now lives in the Cradles, while the surface is a battlefield where corporate armies and mercenaries wage the interminable Economic War over control of Kojima Particle-based technology.

During the League's rise to power, it relied on the capabilities of LYNX, the pilots of the combat mechs known as NEXTs, and then abandoned the LYNX on the surface in favor of utilizing Arms Forts, mobile super weapons that could bring tremendous amounts of firepower to bear. While most LYNX are forced to eke out a living as mercenaries for Collared, a League-controlled intermediary organization, a handful of LYNX discovered the corporations' dark secrets and formed a resistance group called ORCA to overthrow the League. The player takes on the role of a LYNX known as Strayed who works for Collared and eventually becomes a pivotal figure in the escalating conflict between the League and ORCA.

Three ending routes can be unlocked sequentially over three playthroughs. In the first ending, Strayed is tasked by the League with stopping ORCA from seizing the Arteria. Strayed succeeds, ensuring the Cradles stay aloft. ORCA is eliminated and the League remains in power, but the existential threat posed by Kojima Particle radiation is still unsolved, and one day, it will rise to the Cradles' altitude.

In the second ending, Strayed helps ORCA take control of the Arteria. As a result, the Cradles lose power and make an emergency descent to the surface, causing many civilians to die from Kojima Particle exposure. However, the energy from the Arteria is redirected to destroy an array of autonomous weaponized satellites in Earth's orbit. The satellites had originally been put in place by the corporations years ago as a means of precluding any single corporation from exploiting space's wealth of resources and attaining economic supremacy. With the satellites neutralized, humanity gains the opportunity to save itself from extinction by colonizing other worlds.

In the third ending, a psychotic ORCA-affiliated LYNX with the callsign "Old King" reaches out to Strayed. Old King is the last survivor of an anti-corporate terrorist group that Strayed eradicated, but he blames the corporations for his comrades' deaths and disagrees with ORCA's efforts to minimize bloodshed, so he proposes destroying Cradle 03, a fleet of five Cradle airships with 100 million inhabitants between them. After Old King and Strayed carry out this unprecedented atrocity, Collared deploys a team of its best LYNX to hunt the two mass-murderers down. Old King dies in the battle, but Strayed emerges victorious and goes on to destroy all of the other Cradles, becoming the single most prolific killer in history.

Reception

Armored Core: For Answer received "mixed or average" reviews on both platforms according to the review aggregator website Metacritic. One of the most consistent complaints among reviewers seemed to be the lack of any sort of online community. Kevin Van Ord of GameSpot stated in his review that there were "fewer than a dozen [players on] Xbox Live" when he tried to playtest the game, and that similar attempts to find a game on PlayStation Network yielded "just a single opponent". In Japan, Famitsu gave it a score of 29 out of 40 for the PlayStation 3 version, and one nine and three sevens for the Xbox 360 version, while Famitsu Xbox 360 gave the latter console version 31 out of 40.

References

External links
 Official website (Japanese)

2008 video games
Armored Core
Video games about mecha
PlayStation 3 games
Third-person shooters
Ubisoft games
Video game sequels
Xbox 360 games
Multiplayer and single-player video games
Fiction about corporate warfare
Video games developed in Japan
Video games directed by Hidetaka Miyazaki
Video games scored by Kota Hoshino


Richard T. Holmes is an American ornithologist. He was the 2002 recipient of the Cooper Ornithological Society’s Loye and Alden Miller Research Award, which is given in recognition of lifetime achievement in ornithological research. He was also awarded the 2002 Margaret Morse Nice Medal by the Wilson Ornithological Society.

Holmes has authored a book called Hubbard Brook-The Story of a Forest Ecosystem with Gene E. Likens.

References

American ornithologists
Living people
Year of birth missing (living people)