Mercator, or The Merchant, is a Latin comedic play for the early Roman theatre by Titus Maccius Plautus.  It is based on the Greek play Emporos (the Merchant) by the Greek comedy playwright Philemon. It is believed to be among Plautus's first plays, possibly written around 206 BC. The central conflict involves a father who falls in love with a slave girl who is, unbeknownst to the father, his son's lover.

Characters

Charinus—a young merchant
Acanthio—Charinus's slave
Demipho—father of Charinus, also a merchant
Lysimachus—friend of Demipho
Eutychus—friend of Charinus, son of Lysimachus
Pasicompsa—lover and slave of Charinus
Dorippa—wife of Lysimachus
Syra—slave of Lysimachus's family
A cook
Other slaves

Plot

The play takes place in a street in Athens. In the back wall of the stage there are two houses, that of Demipho and his son Charinus, and that of his friend Lysimachus and his son Eutychus. There is a shrine or altar of Apollo near Lysimachus's house.

Prologue

Charinus explains that he had taken after his father's example and decided to become a merchant. He had much success in Rhodes and there fell in love with a slave woman named Pasicompsa. He purchased Pasicompsa and brought her with him to his home in Athens where he now ponders how to prevent his father from discovering his love.

Act I

Acanthio runs to Charinus from the harbor to deliver news that Demipho has been to the ship and seen Pasicompsa. To cover for Charinus, Acanthio had convinced Demipho that Charinus had purchased Pasicompsa to serve as a maid for Charinus's mother. He further tells Charinus that Demipho was flirting with Pasicompsa. Charinus decides he must go to the harbor at once.

Act II

Returning from the harbor, Demipho enters and claims that he has had a dream in which he entrusted a prize goat to his monkey friend, but the monkey lost the goat to a younger goat. He admits to his neighbor Lysimachus that he has fallen in love and feels youthful. Lysimachus leaves and Charinus enters, lamenting his predicament. Demipho then tells Charinus that Pasicompsa is too fine to be a maid and instead insists Pasicompsa be sold. The two begin a bidding war, each claiming to represent imaginary clients. Demipho rejects his son's offers and turns Charinus away from the harbor. When Charinus exits, Demipho reveals his plan to have Lysimachus purchase Pasicompsa on Demipho's behalf. Separately, Charinus sends Eutychus to purchase Pasicompsa himself.

Act III

Lysimachus buys Pasicompsa and is bringing her to Lysimachus's home. He tells her he bought her on behalf of her own master, and Pasicompsa is pleased, believing Lysimachus to mean Charinus. After they exit into Lysimachus's house, Demipho enters and attempts to justify what he believes he has earned with age. Lysimachus returns to Demipho and tells him he must find Pasicompsa elsewhere to stay before Dorippa returns from the countryside. For the time being, the two exit to find a cook for a feast to be held that night. Shortly after, Eutychus tells Charinus that he was too late and Pasicompsa was sold to an unknown buyer. Heartbroken, Charinus decides he will leave Athens, but Eutychus becomes determined to find Pasicompsa.

Act IV

Dorippa returns home from the countryside earlier than expected, and she and Syra (whose name is meant to imply her Syrian ethnicity) discover Pasicompsa in the house, believing her to be Lysimachus's mistress. Lysimachus returns home and tries to explain to his wife that he is only looking after Pasicompsa temporarily, but when the cook hired for that night's feast arrives, Dorippa becomes only more sure of her suspicions and exits into her house crying. Lysimachus dismisses the cook and follows after his wife. Eutychus returns home to find Syra outside, who urges him inside to see his father's mistress. Syra laments the inequalities between the unfaithfulness of men and women.

Act V

Eutychus finds Charinus just as Charinus is about to leave Athens and tells him that he has found Pasicompsa in Eutychus's own home. Charinus exits into the home, and Eutychus remains outside to confront Lysimachus and Demipho. He tells them Pasicompsa was really Charinus's lover and that Demipho should be ashamed for trying to take her for himself. He proposes a law that old men should not interfere in the passionate love of young men, and the three exit into Lysimachus's house.

Metrical structure

The scheme of Mercator is a simple one. If A = iambic senarii, B = other metres, and C = trochaic septenarii, the scheme is as follows: One way of dividing it would be as follows:
ABC, ABC, BAC, AC

Timothy Moore, however, argues that the scene with Pasicompsa (499–543), though only 46 lines, is a metrical unit by itself; he therefore divides the play as follows:
ABC, ABC, B, AC, AC

The Mercator is thought to follow Philemon's original five-act Greek play from which it is adapted fairly closely, although one scholar has suggested that the first act in the Greek play might have ended at 334 rather than 224. Greek plays had a "chorus" or dance interlude between acts to represent the passing of time. Latin plays had no chorus, and the action was continuous. At Pseudolus 573, the -player who was on stage throughout the play played some music to cover the gap; though it is not certain whether this happened regularly.

The "A" passages, in iambic senarii, are believed to have been recited without music. This metre is used for the introduction to the play and also for most of the scenes where the old men are involved. The "B" passages appear to have been songs. In this play various metres are used for the songs: iambic octonarii, mixed with trochaic septenarii and other metres, for the "running slave" scene; mainly bacchiac, but mixed with anapaestic quaternarii and trochaic octonarii, for Charinus's lament;  and iambic septenarii, a metre often used in scenes with prostitutes, for the scene with Pasicompsa. The "C" passages in trochaic septenarii may also have been sung; certainly they were accompanied by music. They tend to round off the episodes in the play.

Demipho sees his son's girlfriend
Act 1.1 (1-110): iambic senarii (109 lines)
The young man Charinus explains to the audience that this play is an adaptation of one called the Emporos ("Merchant") of Philemon. He describes how in early youth he had annoyed his father by wasting a lot of money on a certain courtesan. Eventually his father had sent him to Rhodes to do business, and for two years he had worked there successfully. But shortly before he left he had been invited to a friend's house, and that night had been entertained by a young slave-girl and had fallen in love with her. He had purchased that girl and brought her back. He had left her on the boat with a servant. Suddenly Charinus is alarmed to see the same slave running towards him.

Act 1.2 (111-116): mixed (mostly iambic octonarii but with some tr7, ia4, ia6) (30 lines)
The slave Acanthio arrives running and completely out of breath. Charinus watches him and begs him to say what is the matter. Acanthio seems out of sorts and annoyed.

Act 1.2 (141-224): trochaic septenarii (82 lines)
Eventually, after much hesitation and mutual interruption, Acanthio says he has bad news: Charinus's father had gone on board the ship and seen the girl. Acanthio had told him that Charinus had bought her as a servant for his mother. Charinus is dismayed to hear this; he doesn't want to lie to his father, and doesn't think that his father will believe the tale; but Acanthio assures him that he has already believed it. Charinus hurriedly leaves for the harbour. Acanthio advises him to go by a different route so as not to risk meeting his father.

Demipho plots to have the girl for himself
Act 2.1–2.2 (225-334): iambic senarii (108 lines)
Charinus's father Demipho enters. He recounts a strange dream in which he had bought a she-goat and entrusted it to a monkey to look after; but soon the monkey had come to him complaining that the goat had eaten part of his wife's marriage-portion. Later a billy-goat had come and taken away the she-goat from the monkey and made fun of him. Demipho says that he believes the she-goat must be a beautiful girl he had just seen on the boat his son had arrived in from Rhodes. He had fallen madly in love with this girl.
Demipho's friend and neighbour Lysimachus enters, accompanied by a servant carrying hoes. He tells the servant that he will have a certain troublesome goat castrated. Demipho is alarmed in case these words turn out to be an omen. Lysimachus sends the servant off to his farm with a message to his wife that he will not be at the farm today. Demipho addresses him and tells him he is in love. Lysimachus is surprised. He goes off to the harbour. Demipho watches as his son approaches.

Act 2.3 (335-363): polymetric song (ba, an, tr8) (29 lines)
Charinus enters, singing of his unhappiness. Now that his father has seen the girl, he doesn't think he is going to be able to convince him that she is to be a maid for his mother; he is afraid his father may take her away and sell her overseas.

Act 2.3–2.4 (364-498): trochaic septenarii (130 lines)
Demipho asks Charinus if he is ill, and suggests he should rest, but Charinus says he has business to complete. Next Demipho asks his son about the servant girl he has brought. He says that because she's pretty, she would be unsuitable as a lady's maid. Demipho pretends to see a friend in the distance who is bidding to buy the girl and will pay a high price. Charinus says he also has a friend who is also keen to buy her and is madly in love with her. Charinus raises legal objections; he also says the girl is partly owned by a third party. But Demipho won't listen, and hurries off to the harbour, telling the audience that he will ask his friend Lysimachus to buy the girl.

Charinus is miserable and wishes to kill himself. Suddenly Lysimachus's son Eutychus, a friend of Charinus, comes out of Lysimachus's house. He offers to go to the harbour and trick Charinus's father by outbidding him for the girl. Charinus gladly accepts.

Lysimachus brings Pasicompsa
Act 3.1–3.2 (499-543): (ia7) (46 lines)
Lysimachus returns with the girl, having just purchased her. She tells him her name is Pasicompsa and that she is good at weaving. He says he hasn't purchased her for himself but for another man. For a moment she thinks he means Charinus; but Lysimachus disappoints her by saying that her new owner is old enough to have lost his teeth. He takes her into his house, which is next door to Demipho's.

Act 3.2–3.3 (544-587): iambic senarii (44 lines)
Demipho arrives, congratulating himself on having bought Pasicompsa without his wife or son knowing. He makes as if to go into his house, but changes his mind and heads for Lysimachus's house. Before he can enter, Lysimachus comes out and advises him that in view of his age it might be best to have something to eat before embracing the girl. Demipho agrees and suggests that they hire a cook to prepare a dinner. Lysimachus reminds him that he must also find a lodging since the girl must be gone before Lysimachus's wife returns the next day.

Act 3.4 (588-666): trochaic septenarii (73 lines)
Charinus enters, full of anxiety. Soon Eutychus arrives, bringing the bad news that an unknown old man had already purchased Pasicompsa before Eutychus reached the harbour. Charinus despairs and despite his friend's protests says he is going to go into exile.

Dorippa discovers the girl
Act 4.1–4.6 (667-829): iambic senarii (161 lines)
Lysimachus's wife Dorippa arrives from the country, accompanied by an aged female slave called Syra. After offering a sprig of bay leaves on the altar of Apollo outside the house, she goes in, only to come out at once saying that there is a prostitute in the house. The two women go inside.

Lysimachus arrives back from the market, saying that Demipho is buying food very extravagantly.

Dorippa comes out again, lamenting that her husband has taken a prostitute into the house. She sees Lysimachus and demands to know who the woman is. He is unable to give her a satisfactory answer.

A hired cook arrives with his assistants who are carrying baskets of food. He embarrasses Lysimachus by asking if Dorippa is the woman Lysimachus is in love with; he also reminds Lysimachus that he had said he detested his wife, who was in the country. Lysimachus frantically tells the cook to go away, and has to pay him a drachma to make him do so. The furious Dorippa asks Lysimachus if what the cook had said is true; he denies it, but she orders Syra to go and fetch her father. Then she goes inside. Lysimachus blames Demipho for the embarrassing situation and goes off to find him.

The servant, Syra, comes back saying that Dorippa's father was unavailable. Eutychus enters from the other side telling the audience that he has failed to find the man who bought Pasicompsa. Syra tells him that his mother has returned from the country and found that his father has brought a prostitute into the house. Eutychus goes inside to investigate. Syra, after complaining that men can get away with extra-marital affairs but women cannot, follows him.

Act 5.1–5.4 (830-1026): trochaic septenarii (198 lines)
Charinus comes out of his house, dressed for a journey, and says a final farewell to the door. Meanwhile Eutychus comes out of the house next door, saying a prayer of thanks to the goddess Venus. Charinus, still speaking to himself, says that neither sea nor mountain, nor heat or cold will deter him from looking for his beloved. He makes as if to depart but Eutychus now sees him and calls him back. He informs Charinus that Pasicompsa is in Lysimachus's house. Charinus calls a boy out to bring him a cloak, and hands the boy his travelling cape. But when Eutychus says he can't go inside to see Pasicompsa just yet, Charinus despairs and asks for his travelling cape again. He begins to talk like a madman as if he is voyaging from place to place in the Mediterranean. At last Eutychus calms him down and takes him inside the house.

Lysimachus and Demipho arrive. Lysimachus is explaining what a lot of trouble Demipho has got him into. Eutychus comes out. He tells his father that his wife is no longer angry with him. But he reproaches Demipho for his unseemly behaviour and tells him that he ought to allow his son to keep his mistress. Demipho claims that he didn't realise the girl was Charinus's girlfriend and he hopes his son will forgive him. They go inside. By way of an epilogue Eutychus tells the audience that he wishes to propose a new law: old men should refrain from womanising, but they should allow their sons to do so.

Analysis and Criticism

The play makes use of many stock characters, with which theatergoers would have been familiar. Charinus plays the role of the adulescens amator, Demipho is the senex, and Pasicompsa is the meretrix. Other familiar characters are the "running slave" (Acanthio), the old nurse (Syra), the hired cook, the indignant wife (Dorippa), and the helpful friend () (Lysimachus and Eutychus).

The plot is relatively straightforward and is most easily compared to that of the Casina, which also revolves around a conflict between the adulescens and senex.

The title of the play may refer to either Charinus or Demipho, as both turn out to be successful merchants. It is possible that this ambiguity was intentional. Their mercantile backgrounds seem to carry over into the rest of their lives; in many lines, Charinus and Demipho speak about Pasicompsa in language characterizing her as a commodity to be traded, rather than as a person.

Pasicompsa, whose name translates to "pretty in every respect," is the central point of contention in the play, though she is only onstage for fewer than 5% of the play's lines. She has little control over her own fate, which is dictated by men. Even though Charinus appears to be in love with her, Pasicompsa's non-citizen status means she and Charinus would never be allowed to marry, thus destining Pasicompsa to a life of being passed between owners.

Translations
 Henry Thomas Riley, 1912: Mercator full text
 Paul Nixon, 1916–38
 Charles T. Murphy, 1942
 George Garrett, 1995
 Wolfang de Melo, 2011

References

Plays by Plautus
Plays based on other plays
Plays set in Athens
Plays set in ancient Greece


Franck Deweare (pronounced "de-vair"), also known by his stage name Deweare, and previously as Franck Marx, is a musician native to Verdun, France, who has been based out of Montreal, Quebec since 2004. Deweare's style, both lyrically and vocally, has been compared to that of Serge Gainsbourg, due to his rough yet seductive voice and dark lyrics.

Early career

Deweare's music was greatly influenced by the resurgence of French punk cult bands such as Bérurier Noir and Ludwig von 88, as well as by rock musician, comedian and poet Alain Bashung and by American music artist Beck—another musician to whom Deweare's vocals have been compared. Deweare stated in a 2006 interview: "It's [Beck] that inspired me to sing, to produce something aesthetic."

Prior to coming to Canada, Deweare moved to Brussels and recorded some material under the name Franck Marx, on the same label as Belgian rock band dEUS. His work under the Marx moniker leaned towards a more aggressive rock/grunge sound.

Move to Montreal

Deweare has stated in more than one interview that his reason for leaving France was due to the political climate and the increasing racial tensions within the country. He stated that he chose Canada because he thought of the country as "an example of integration working."

By chance, Deweare struck-up a conversation with Québécoise musician Ariane Moffatt in 2004 during a flight delay at Charles de Gaulle Airport on his way to Canada for the very first time. After listening to some of his demos, Moffat connected Deweare with some local, Montreal talent—including the members of electro-jazz band Plaster, who wound up backing him on his debut album, High Class Trauma. Since coming to Canada, Deweare has collaborated with many North American artists: He performed live with Moffat and wrote the song "Tes invectives" on her 2008 album Tous les sens, he provided vocals for Afrodizz on their song "Fashion Terrorist" from their album Froots, and he has also worked with Cyndi Lauper and The Herbaliser.

High Class Trauma

High Class Trauma was released in 2006 on the Milagro Records label, and was the first album that the artist had released under the moniker "Deweare". The album is a mixture of grunge-like guitar and electronica and is at times atmospheric, much like a movie soundtrack; the songs are all performed in English and some contain hints of trip-hop and jazz.

On the album Deweare collaborated with many Québécois artists; Deweare received assistance from Éloi Painchaud from the band Okoumé as well as Plaster bandmembers Jean-Phi Goncalves and Alex MacMahon. The first single off the album "The New Dawn" features fellow Montreal vocalist Béatrice Bonifassi—the song is a cover of Nina Simone's rendition of Feeling Good which appeared on her 1965 album I Put a Spell on You. The album was also mixed by Carl Bastien, who has worked with many Québécois artists such as Daniel Bélanger, Dumas and Jean-Pierre Ferland.

Other projects

Deweare is currently working on a new album which will feature songs sung in French. The album's release has been planned for the fall of 2008 and the single Laisse aller can be heard on Deweare's MySpace page.

In early 2009, Deweare collaborated with Ariane Moffatt and co-wrote "L'homme de la situation" on Amandine Bourgeois's first album (released June 1).

References

External links
 Deweare on MySpace
 Deweare's bio on the Milagro Records website

French expatriates in Canada
French Quebecers
Musicians from Montreal
French rock singers
French rock guitarists
French male guitarists
Canadian rock singers
Canadian rock guitarists
Canadian male guitarists
Place of birth missing (living people)
Living people
Year of birth missing (living people)


Share Your Love is a studio album by country singer Kenny Rogers, released in 1981. Produced by Lionel Richie, it is also Rogers' first with Liberty Records besides his Greatest Hits album. The album has sold nine million copies worldwide.

Overview
Four singles were released from this Share Your Love. "I Don't Need You" charted at number 1 on the US and Canadian country charts as well as reaching the top of the US Adult Contemporary charts, and number 3 on the US Hot 100. The title cut "Share Your Love With Me" reached number 14 on the Hot 100 and 5 in the US Country charts, though it did reach number 2 in Canada and led the US Adult Contemporary charts. Rogers then took a break to release a single from his first Christmas album.  "Blaze of Glory", which featured Kin Vassy on backing vocals, was also released as a single.  Although it was a lesser hit than the first two singles, it still made the top ten. The final single, "Through The Years", returned Rogers to the very top by putting him at No. 1 the Adult Contemporary charts once again.

The album reached No. 1 on the country charts and No. 6 on the pop charts, reaching platinum and double-platinum status in the US and Canada, respectively.

Track listing

Personnel
Compiled from liner notes.

Musicians
 Kenny Rogers – lead vocals, rhythm track arrangements (4)
 Reginald "Sonny" Burke – keyboards
 Barnaby Finch – keyboards
 Glen Hardin – keyboards
 John Hobbs – keyboards
 Lincoln Mayorga – keyboards (5)
 Sylvester Rivers – keyboards
 James Burton – guitars
 Rickey Harper – guitars
 Paul Jackson Jr. – guitars
 Darrell Jones – guitars
 Thomas McClary – guitars
 Ray Parker Jr. – guitars
 Fred Tackett – guitars
 Billy Joe Walker Jr. – guitars
 Dennis Belfield – bass (2)
 Joe Chemay – bass (1, 3, 7)
 Nathan East – bass (5)
 Abraham Laboriel – bass (6, 8, 9)
 Jerry Scheff – bass (10)
 Freddie Washington – bass (4)
 Ed Greene – drums
 Paul Leim – drums
 Rick Shlosser – drums (5)
 Eddie "Bongo" Brown – percussion
 Ollie E. Brown – percussion
 Paulinho da Costa – percussion (10)
 David Boruff – saxophone solo (2)
 Gary Herbig – saxophone solo (6)
 Gene Page – string, horn and rhythm arrangements
 Edgar Struble – string arrangements (2, 4)
 Harry Bluestone – concertmaster

Backing vocalists
 Track 1: Kin Vassy, Terry Williams, Gene Marford
 Track 2: Terry Williams, Kin Vassy, Cindy Fee, Juanice Charmain
 Track 3: Deborah Thomas, Kin Vassy, Terry Williams, Cindy Fee
 Track 4: Kin Vassy, Terry Williams, Cindy Fee
 Track 5: none
 Track 6: Gladys Knight & the Pips (Gladys Knight, William Guest, Merald "Bubba" Knight, Edward Patten), Lionel Richie
 Track 7: Lionel Richie, Terry Williams, Cindy Fee
 Track 8: Lionel Richie, Michael Jackson
 Track 9: Kin Vassy, Terry Williams, Deborah Thomas, Brooks Hunnicut
 Track 10: Lionel Richie, Terry Williams, Dorothy Sugarloaf

Technical
 Reginald Dozier – recording and mixing engineer
 Larry Ferguson – second engineer
 Bernie Grundman – mastering at Capitol Studios (Hollywood, CA).
 Michael Mancini – second engineer
 Brenda Harvey-Richie – assistant production
 Lionel Richie – producer
 Kenny Rogers – mixing engineer

Additional credits
 Bill Burks – art direction, design
 Roy R. Guzman – design
 Ken Kragen – management
 Gary Register – photography

Charting History

Weekly Charts

Year-end charts

Charting Singles

References

External links
[ "Share Your Love" album page at Billboard]

1981 albums
Kenny Rogers albums
Albums arranged by Gene Page
Liberty Records albums
Albums produced by Lionel Richie


Patrick John Kennelly  (3 June 1900 – 12 December 1981) was an Australian politician. Born in Melbourne, he was educated at Catholic schools before becoming a clerk in the Australian Labor Party (ALP) office in Melbourne.

He was an organiser of the Victorian ALP 1930–1946, Secretary 1946–1950 and Federal Secretary of the ALP 1946–1954.

In 1938, he was elected to the Victorian Legislative Council for Melbourne West. He was an honorary minister in 1943, Commissioner of Public Works 1945–1947, and Minister in Charge of Electrical Undertakings 1945–1947.

He left the Council in 1952, and in 1953 was elected to the Australian Senate as a Labor Senator for Victoria. He held the seat until his retirement in 1971. Kennelly died in 1981.

References

1900 births
1981 deaths
Australian Labor Party members of the Parliament of Australia
Australian Labor Party members of the Parliament of Victoria
Members of the Australian Senate for Victoria
Members of the Australian Senate
Members of the Victorian Legislative Council
Vice-Presidents of the Board of Land and Works
Officers of the Order of Australia
20th-century Australian politicians
Port Melbourne Football Club players
People from Northcote, Victoria
Politicians from Melbourne
Ministers for Public Works (Victoria)


Wutam & J-Break are a live DJ act/production team in electronic music/house music since their residencies in the underground Orlando nightclub scene in 1999. Since then, their original tracks and remixes have gained support from Tiesto, Hybrid (producers), & Joachim Garraud as well as collaborations with Jackal & Hyde, Melleefresh & Josef Plante. In 2008, they had over 10,000 downloads on Beatport.com with top 10 hits such as "Don't You" & "Lady."

Their songs have been heard on Sirius Radio & XM Radio, BBC Radio 1, MTV, praised by Ministry of Sound, & reviewed by URB Magazine & BPM (magazine). They have toured extensively worldwide at events like Love Parade, Earthdance & Ultra Music Festival, as well as prominent nightclubs like The Limelight in New York City.

In 2008, Wutam & J-Break signed with /Sony BMG /Universal Music Group as Sidetrax with David "Scratch D" Noller from Dynamix II, a gold certified electro artist from Miami, FL. In 2009, their remix of The Black Eyed Peas "I Gotta Feeling," has received over a million views on YouTube.

Sources
http://www.your-scene.com/interview_detail.php?id=L6151224064
http://www.your-scene.com/interview_electro_detail.php?id=L4380760271
http://538.tiestoworld.nl/
http://hybridized.org/sets/508
http://www.nextlevelrecordings.com/JBreak.htm
http://dancemusic.about.com/od/reviews/fr/JBreakBarc.htm
http://www.bbc.co.uk/radio1/annienightingale/tracklistingarchive.shtml?20061023
http://www.sflovefest.org/lpsf_floats_2005.php
http://www.sflovefest.org/dj_lineup_2006.php
http://www.djdownload.com/dj-charts/Wutam+26+J-Break+28Digital+Records+-+June+Chart29/1111
http://www.earthdance.org/2008/flyers.html
http://www.dpulse-america.com/artists/index.htm
http://www.dynamixii.com/demo/bio.htm
http://www.Beatport.com
https://www.youtube.com/watch?v=5lSQ9Z5wsVE

External links
http://www.myspace.com/WutamandJBreak

Electronic music groups from California


Tellus Series A: Dynamic Meteorology and Oceanography is a peer-reviewed scientific journal that is published by Co-action Publishing on behalf of the International Meteorological Institute in Stockholm, Sweden. Since January 2012, the journal is published open access. Until that time it had been published as a subscription journal by Blackwell Munksgaard. The journal publishes original articles, short contributions and correspondence encompassing dynamic meteorology, climatology and oceanography, including numerical modelling, synoptic meteorology, weather forecasting, and climate analysis.

Tellus A is the companion to Tellus Series B: Chemical and Physical Meteorology.

See also
 List of scientific journals
 List of scientific journals in earth and atmospheric sciences

References

External links

 Journal page at Blackwell Munksgaard

Earth and atmospheric sciences journals
Wiley-Blackwell academic journals
Academic journals established in 1948
Bimonthly journals
English-language journals
Creative Commons-licensed journals


The frequency-doubling illusion is an apparent doubling of spatial frequency when a sinusoidal grating is modulated rapidly in temporal counterphase. Recently, it has been proposed that the illusion arises from a spatially nonlinear ganglion cell class. The contrast threshold values needed for perceiving this physiological effect are used in frequency doubling technology perimetry for the detection of even early phases of glaucoma.
A more recent study's results argue against the hypothesis that spatially nonlinear retinal ganglion cells are the physiological substrate of the frequency-doubling illusion. A cortical pathway of temporal phase discrimination may be the principal cause of the illusion, whereas spatial phase information (i.e., grating position) is retained.

Sensitivity to the spatial-frequency-doubling illusion was also positively correlated with reading lag and coherent motion. The results provide good support for a magno deficit in dyslexia that has its origins at a retinal level with impairment in—at least partially—M(y)-cell activity.

References

Eye
Illusions


George Conrad Hannan (10 September 19101 May 2009) was an Australian politician who served as a Senator for Victoria from 1956 to 1965 and 1970 to 1974. He was a member of the Liberal Party for all but the last few months of his career, and was known as a strident anti-communist. He lost Liberal preselection in 1973, and the following year announced the formation of a new social conservative political party, the National Liberal Party. He was unsuccessful in his bid for re-election at the 1974 election and dissolved the party shortly after.

Early life
Hannan was born on 10 September 1910 in Wagga Wagga, New South Wales. He was the oldest son of Theresa Caroline (née Reis) and James Francis Hannan. His father, a country storekeeper, was a Lang Labor supporter and stood for the Australian Labor Party (ALP) in Albury at the 1927 New South Wales state election.

Hannan was educated at St Patrick's College, Goulburn, before going on to study law at the University of Melbourne where he was a member of Newman College. He completed his articles of clerkship in 1933 and was admitted to the Victorian Bar the following year. He married Eileen Frances Williams in 1938, with whom he had four children.

During World War II, Hannan was a member of the Royal Australian Naval Volunteer Reserve. He was mobilised in 1942 and was stationed at the  base as a radar officer. After his discharge in 1946, he resumed his legal career but was also employed as a social commentator on 3XY, a Melbourne radio station strongly linked with the Liberal Party. He was a life member of the Wireless Institute of Australia and was an active member of Actors Equity of Australia.

Politics
Hannan served on the state executive of the Liberal and Country Party for over a decade. He first stood for parliament in 1948, losing a Victorian Legislative Council by-election for Melbourne Province. He subsequently contested the Division of Maribyrnong at the 1949 federal election and East Yarra Province at the 1952 Legislative Council election.

Hannan was an unsuccessful candidate for Senate preselection prior to the 1955 federal election. On 28 August 1956, he was appointed to the Senate to fill the casual vacancy caused by the resignation of John Spicer. He defeated Magnus Cormack for the position. At the 1958 federal election he was elected to a full term. He was defeated in 1964, his term ending on 30 June 1965.

He was re-elected at the 1970 Senate election, taking his place immediately. In 1974, he resigned from the Liberal Party, forming a new party, the National Liberal Party, under which banner he contested the 1974 double dissolution election. He received 1.2 per cent of the vote, and was not elected.

George Hannan died on 1 May 2009, aged 98. He was the last surviving member of the 1956–1962 Senate.

Family
Both he and his wife Eileen née Williams were lawyers.  They had 2 sons, Peter and Michael, and 2 daughters, Judith and Eilene. Judith Hannan (1939–2014) was married to Sir Guy Boileau, 8th Bt. until his death in February 2013. Eilene Hannan (1946–2014) was a renowned international operatic soprano.  Eilene Hannan died in July 2014 and her sister Lady Boileau died less than a month later in August 2014.

References

1910 births
2009 deaths
Liberal Party of Australia members of the Parliament of Australia
Members of the Australian Senate for Victoria
Members of the Australian Senate
National Liberal Party members of the Parliament of Australia
20th-century Australian politicians
People from Wagga Wagga
University of Melbourne alumni
Australian barristers


Richard Price (born November 30, 1941, in New York City) is an American anthropologist and historian, best known for his studies of the Caribbean and his experiments with writing ethnography.

Career
Price grew up in the Riverdale section of the Bronx and attended the Fieldston School. He received both Bachelors and Ph.D. degrees from Harvard University (1963, 1970), having conducted fieldwork in Peru, and then with Sally Price in Martinique, Mexico, Spain, and for two years among the Saramaka Maroons of Suriname. A year studying with Claude Lévi-Strauss in Paris and another in Amsterdam working with Dutch scholars of Maroons preceded his five years of teaching in the Department of Anthropology at Yale University. In 1974, he moved to Johns Hopkins University to found the Department of Anthropology, where he served three terms as chair, before leaving in 1986 for two years of teaching in Paris. A decade of freelance teaching (University of Minnesota, Stanford University, Princeton University, University of Florida, Universidade Federal da Bahia), while based in Martinique, ended with an appointment as Duane A. and Virginia S. Dittman Professor of American Studies, Anthropology, and History at the College of William and Mary. He has continued fieldwork with Maroons, notably in French Guiana and Suriname, as well as with his Martiniquan neighbors, into the present. Since the 1990s, he has worked with Saramaka Maroons in defense of their human rights, twice testifying as expert witness on behalf of the Saramakas in cases that they eventually won before the Inter-American Court for Human Rights in Costa Rica.

Contributions
Price's early contributions, influenced by his teachers Clyde Kluckhohn, Evon Z. Vogt, and Sidney W. Mintz, included the first conceptualization of Maroon (runaway slave) communities throughout the Americas in a comparative framework. His demonstration that people previously considered largely “without history,” such as Saramaka Maroons (the descendants of runaway slaves), in fact possessed rich and deep historical consciousness has influenced historians as well as anthropologists. For this work in what he calls “ethnographic history,” Price's books have won numerous awards: First-Time won the Elsie Clews Parsons Prize of the American Folklore Society and Alabi’s World won the Albert J. Beveridge Award of the American Historical Association, the Gordon K. Lewis Award of the Caribbean Studies Association, and the School of American Research's prestigious J. I. Staley Prize. An essay originally written in 1973 with Sidney Mintz, The Birth of African-American Culture, has had considerable influence on Afro-Americanist historians and anthropologists, sometimes inciting strong controversy about the extent to which enslaved Africans and their descendants “retained” aspects of their home cultures and societies and the extent to which they created new cultural and social forms in the Americas. Price's Travels with Tooy, an ethnography of the imaginaire of a Saramaka healer, attempts to transcend this dichotomy by demonstrating that historical processes of creolization involved people making creative uses of their varied, specific African heritages in the process of nation-building in the New World. In 2008, Travels with Tooy won the Victor Turner Prize in Ethnographic Writing, and in 2009, the Gordon K. and Sybil Lewis Award for Caribbean Scholarship and the Clifford Geertz Prize in the Anthropology of Religion. Price's Rainforest Warriors tells the story of the Saramaka struggle to protect their territory against the encroachments of the State of Suriname. In 2012, the book won the Best Book Prize of the American Political Science Association in the field of human rights and the Senior Book Prize of the American Ethnological Society.

Several of Price's books have been written with anthropologist and art critic Sally Price, including a critical edition of the famous eighteenth-century narrative of John Gabriel Stedman and an exploration of the Caribbean paintings of African American artist Romare Bearden. Since the 1980s, he has frequently experimented with new forms of writing culture, including experiments with typesetting and page layout and authoring books that are in part memoirs (or highly reflexive anthropology) and, in one case, an anthropological novel. Despite the label of postmodern sometimes applied to his work, he prefers to consider himself an ethnographic historian. Most of Price's books continue to draw on his continuing ethnography with Suriname Maroons, but one innovative work, The Convict and The Colonel, centers on his four-decades-long relationship with Martinique, where he and Sally Price live for most of each year. And in 2022, he published Inside/Outside: Adventures in Caribbean History and Anthropology, a memoir about his life as a historian and anthropologist. His books have been translated into French, Spanish, Dutch, German, Portuguese, and Saramaccan.

In 2014, at a ceremony in Havana, he received the prestigious Premio Internacional Fernando Ortiz (“El Premio Internacional Fernando Ortiz es el más alto reconocimiento otorgado por la Fundación homónima por la actividad de toda una vida”], and the same year in France, he was decorated by France's Minister of Culture as "Chevalier des Arts et des Lettres" for his "contribution déterminante au rayonnement de la recherche anthropologique."

Books
 1973. Maroon Societies: Rebel Slave Communities in the Americas (edited and with an introduction by Richard Price)
 1975. Saramaka Social Structure: Analysis of a Maroon Society in Surinam
 1976. The Guiana Maroons: A Historical and Bibliographical Introduction
 1980. Afro-American Arts of the Suriname Rain Forest (with Sally Price)
 1983. First-Time: The Historical Vision of an Afro-American People
 1983. To Slay the Hydra: Dutch Colonial Perspectives on the Saramaka Wars
 1988. John Gabriel Stedman's Narrative of a Five Years Expedition Against the Revolted Negroes of Surinam (Newly Transcribed from the Original 1790 Manuscript, Edited, and with an Introduction and Notes, by Richard and Sally Price)
 1990. Alabi's World
 1991. Two Evenings in Saramaka (with Sally Price)
 1992. Stedman's Surinam: Life in an Eighteenth-Century Slave Society (with Sally Price)
 1992. The Birth of African-American Culture (with Sidney W. Mintz)
 1992. Equatoria (with Sally Price)
 1994. On the Mall (with Sally Price)
 1995. Enigma Variations (with Sally Price)
 1998. The Convict and The Colonel
 1999. Maroon Arts: Cultural Vitality in the African Diaspora (with Sally Price)
 2003. Les Marrons (with Sally Price)
 2003. The Root of Roots: Or, How Afro-American Anthropology Got Its Start (with Sally Price)
 2006. Romare Bearden: The Caribbean Dimension (with Sally Price)
 2008. Travels with Tooy: History, Memory, and the African American Imagination
 2010. Rainforest Warriors: Human Rights on Trial. University of Pennsylvania Press. .
 2013. Fesiten
 2017. Saamaka Dreaming (with Sally Price)
 2022. Maroons in Guyane: Past, Present, Future (with Sally Price)
 2022. Inside/Outside: Adventures in Caribbean History and Anthropology

References
 Cole, Jennifer. Review of The Convict and the Colonel in American Ethnologist 26(1999):1011-1012.
 Davis, David Brion. 1989.  “The Ends of Slavery.” New York Review of Books 36(5):29-34.
 Dening, Greg. 2000. Review of The Convict and the Colonel in Rethinking History 4(2):220-223.
 Hobsbawm, Eric J. 1990. “Escaped Slaves of the Forest.” New York Review of Books 37(19):46-48.
 Mascia-Lees, Frances E. Review of The Convict and the Colonel in American Anthropologist 101(1999):217-218.
 Price, Richard. 1995. “Executing Ethnicity: The Killings in Suriname.” Cultural Anthropology 10:437-471.
 Richard Price, “Invitation to Historians: Practices of Historical Narrative.” Rethinking History 5(2001):357-365.
 Price, Richard. 2006. “On the Miracle of Creolization,” in Kevin A. Yelvington (ed.), Afro-Atlantic Dialogues: Anthropology in the Diaspora. Santa Fe: SAR Press, pp. 113–145, 206.
 Ramdas, Anil. 1996  “Verraad in de jungle.” NRC Handelsblad. Zaterdags Bijvoegsel, 25 May, pp. 1–2.
 Scott, David. 1991 “That Event, This Memory: Notes on the Anthropology of African Diasporas in the New World.” Diaspora 1:261-284.
 Sokolov, Raymond. 1995. “Faking it in the Green Hell.” Wall Street Journal 226(33):pA9.
 Trouillot, Michel-Rolph. 1992. “The Caribbean Region: An Open Frontier in Anthropological Theory.” Annual Review of Anthropology 21:19-42.
 Yelvington, Kevin A. 2001 “The Anthropology of Afro-Latin America and the Caribbean: Diasporic Dimensions.” Annual Review of Anthropology 30: 227-260.

Notes

External links
 http://www.richandsally.net
 Richard Price at the College of William and Mary

1941 births
Living people
American anthropologists
Harvard University alumni


The Prospect League is a collegiate summer baseball league comprising teams of college players from North America and beyond. All players in the league must have NCAA eligibility remaining in order to participate. So as to maintain their college eligibility, players are not paid. Beginning in 2012, the league added four games to the season, making a total of 60 games per team (30 home and 30 road).

League history

Origin
In 1963, the Central Illinois Collegiate League (CICL), the precursor league to the Prospect league, was formed as a charter member of the National Collegiate Athletic Association (NCAA) summer collegiate baseball program. The league existed under NCAA rules and guidance for 41 years. In 2005, the NCAA ended its official association with summer collegiate baseball; however, the CICL continued to preserve the amateur status of its member athletes by abiding by the rules and regulations of the National Alliance of College Summer Baseball (NACSB). In 2009, the CICL planned to expand to six teams by adding the Hannibal Cavemen, but in winter 2008, the league ownership voted against further expansion.

Dr. Chris Hanners, owner of the Chillicothe franchise and one of the founders of the independent professional Frontier League, wanted to keep a Paints baseball team in Chillicothe. Dr. Hanners, Leo Trich, former Frontier league director of development; General Manager and majority owner of the Butler BlueSox, and Duke Ward, former owner of the Frontier League's Richmond Roosters worked with the ownership of the CICL to form the Prospect League.

The Prospect League began its inaugural season in summer 2009 with the original CICL teams forming the Western Division. Five expansion teams formed the Eastern Division. Three of the Eastern Division teams began play in markets previously served by Frontier League teams. Besides the Chillicothe Paints, the Richmond RiverRats (Richmond, Indiana) played in the previous home of the Frontier League's Richmond Roosters, which are now the Traverse City Beach Bums. The Slippery Rock Sliders (Slippery Rock, Pennsylvania) played in the previous home of the Frontier League team of the same name.

2010 expansion
In 2010, the Prospect League expanded adding four new franchises: the Terre Haute Rex (Terre Haute, Indiana), the West Virginia Miners (Beckley, West Virginia), the DeKalb County Liners (Sycamore, Illinois), and the Nashville Outlaws (Nashville, Tennessee).

Due to a change in team ownership in 2010, the North Coast Knights became the Lorain County Ironmen.

2011 and 2012 team departures
In 2011 the DuPage Dragons franchise folded after five years with the CICL (2006–08) and Prospect League (2009–10). As a result, the league returned to a 2-division format after having 3 divisions in 2010. Richmond was moved to the six-team Eastern Division, while Danville, Nashville, Terre Haute, and Dubois County were moved to the eight-team Western Division.

Before the 2012 season, the Nashville Outlaws folded, and the DeKalb County Liners left the league to join the Midwest Collegiate League, leaving the Prospect League with twelve teams in two, six-team divisions. The 2012 schedule consisted of 60 games with no "cross-over" games; with all games played among teams from the same division only. The only time teams from opposite divisions meet is in the Championship Series.

Expansion into New York
For the 2015 season, the league added its easternmost team yet, the Jamestown Jammers (Jamestown, New York). The Kokomo Jackrabbits (Kokomo, Indiana) were also added to the league to play in the new Kokomo Municipal Stadium, set to open for the 2015 season. After the 2015 season, the Richmond RiverRats folded, and the Jamestown Jammers moved to the Perfect Game Collegiate Baseball League after just one season in the Prospect League.

Lafayette and DuPage join the league
The league stayed at 12 total teams for the 2016 season by adding the new Lafayette Aviators (Lafayette, Indiana) and DuPage Drones (Lisle, Illinois).

2017 contraction
For the 2017 season, the league contracted to 10 teams, as the Hannibal Cavemen and DuPage Drones both ceased operation.
Hannibal reentered the league for the 2018 season as the Hannibal Hoots.

2019 expansion and reorganization
The league returned to a twelve team league for the 2019 season with the addition of the Cape Catfish in Cape Girardeau, Missouri, the departure of the Kokomo Jackrabbits to the Northwoods League, the addition of the Normal CornBelters from the Frontier League and the addition of the DuPage Pistol Shrimp in Lisle, Illinois.

The 2019 league featured two divisions, each with six teams. The West Division consisted of the Cape Catfish, DuPage Pistol Shrimp, Hannibal Hoots, Normal CornBelters, Quincy Gems and the Springfield Sliders. The East Division consisted of the Champion City Kings, Chillicothe Paints, Danville Dans, Lafayette Aviators, Terre Haute REX and the West Virginia Miners.

2020 season cancellation
On May 29, 2020, the Prospect League announced cancellation of the 2020 season due to the COVID-19 pandemic. In January 2020, the league announced adding a new team in Alton, Illinois for the 2021 season. In September 2020, the league announced adding a new team in Johnstown, Pennsylvania for the 2021 season.

2021 expansion
In February 2021, the league announced the addition of two new teams in Iowa, the Clinton LumberKings and Burlington Bees. Both teams are former Midwest League teams displaced in the 2021 realignment of the minor leagues.

2023 expansion
In December 2021, the league announced the addition of the Jackson Rockabillys for the 2023 season, playing home games in Jackson, Tennessee at West Tennessee Baseball Stadium (formerly known as The Ballpark at Jackson). In August 2022, the league announced that a Southern Illinois team would begin play in 2023 at Rent One Park in Marion, Illinois; in February 2023, the team was named the Thrillville Thrillbillies. The league announced that the West Virginia Miners would be dormant for the 2023 season.

Members

Current members

 * Former professional baseball team
 ^ Former professional baseball venue
Charter members: Butler BlueSox, Champion City Kings (as the Slippery Rock Sliders), Chillicothe Paints, Danville Dans, DuPage Dragons, Hannibal Cavemen, Richmond RiverRats, Springfield Sliders, Quincy Gems

Former members

The Cape Catfish, DuPage Pistol Shrimp and Normal CornBelters joined the league in the 2019, replacing the Kokomo Jackrabbits, who left for the Northwoods League, and the Butler BlueSox, who suspended operations.

Division and league champions

Playoff format
2009: After 56-game schedule, teams with best record in each division faced each other in a best-of-three series for the Championship.

2010: 56-game schedule divided in two halves. Winners from each half in each division faced each other in a one-game playoff (home field to team with best overall record). Where the same team won both halves in a division, the team with the next-best overall record from that division was declared the wild card. Championship Series was a two-game affair with the divisional playoff winner with the best overall record receiving a bye into the Championship Game. The remaining two divisional playoff winners met in a one-game play-in for the right to go to the Championship Game. Championship Series held at Chillicothe, Ohio.

Teams in italics qualified for that season's playoffs as a wild card entry under that particular season's playoff format.

2011: 56-game schedule divided in two halves. Winners from each half in each division faced each other in a one-game playoff (home field to team winning the first half). Where the same team won both halves in a division, the team with the next-best overall record from that division was declared the wild card. Divisional playoff winners met in one-game playoff with home field awarded to the team with the best overall record from the regular season.

2012: 60-game schedule divided in two halves. Winners from each half in each division to face each other in a one-game playoff to be hosted by the first-half champions in each division. If the same team wins both halves, the team with the best overall record from that division will be declared the wild card. Winners of each divisional playoff game will meet in a best-of-three Championship Series, with home advantage given to the division that wins the annual All-Star Game (to be held in Butler, PA). Game One of the Championship Series will be played at the home field of the team from the losing division at the All-Star Game, with Game Two and Game Three (if necessary) held at the home field of the team from the winning division at the All-Star Game.

2013–2016: 60-game schedule divided into two halves. Winners from each half in each division to face each other in a best-of-three with game one being held at second-half winner and games two and three (if necessary) at home of first-half winner. There are no travel days in the Division Series. Each division champion plays in the best-of-three Prospect League Championship Series. Game one is held at the home of the team representing the division that lost that year's All-Star Game. Games two and three (if necessary) are held at the home of the team representing the division that won that year's All-Star Game.

2017–present: After a 60-game schedule, the top two teams in the East Division and the West Division play each other in the first round in a best of 3 series with the first place teams getting home field advantage. The winner of the East Division and West Division series face off in a best-of-three Prospect League Championship series with the team with the best record getting home field advantage.

Championship results

Awards

Mike Schmidt Award winners (Player of the Year)

Pitcher of the Year Award winners

References

External links
Prospect League
Google Map of the Prospect League teams

Summer baseball leagues
2008 establishments in the United States
College baseball leagues in the United States
Sports leagues established in 2008

Baseball leagues in Illinois
Baseball leagues in Ohio
Baseball leagues in Missouri
Baseball leagues in Indiana
Baseball leagues in West Virginia
Baseball leagues in Iowa
Baseball leagues in Pennsylvania


Kallidaikurichi Aiyah Nilakanta Sastri (12 August 1892 – 15 June 1975) was an Indian historian who wrote on South Indian history. Many of his books form the standard reference works on the subject. Sastri was acclaimed for his scholarship and mastery of sources and was a recipient of the third highest Indian civilian honour, the Padma Bhushan.

Career

Nilakanta Sastri was born in a Telugu Niyogi Brahmin family, in Kallidaikurichi near Tirunelveli, on 12 August 1892. He completed his FA at the M.D.T Hindu College, Tirunelveli and his college education at the Madras Christian College.

Sastri obtained his MA by ranking first in the Madras Presidency. He joined the Hindu College as a lecturer in 1913 where he taught till 1918. He served as the Professor of History, Banaras Hindu University from 1918 to 1920. After that he became the Principal of the then new Arts College of Annamalai University.
In 1929, he was employed as the Professor of History at National College, Trichy. The same year, he succeeded Sakkottai Krishnaswamy Aiyangar as the Professor of History and Archaeology at the Madras University, a post he held till 1946. He was the Professor of Indology (now the Department of History and Archaeology) at the University of Mysore from 1952 to 1955. He was appointed the ex-officio Director of Archaeology for Mysore State in 1954. He was also the President of the All-India Oriental Conference in the early 1950s. From 1957 to 1972, he served as the Director of UNESCO's Institute of Traditional Cultures of South East Asia. In 1957, he was awarded the Padma Bhushan, India's third highest civilian honour. In the summer of 1959, he was a visiting professor at the University of Chicago where he delivered a series of lectures on South Indian History. Nilakanta Sastri died in 1975.

Assessment

Nilakanta Sastri is regarded as the greatest and most prolific among professional historians of South India. Tamil historian A R Venkatachalapathy regards him as "arguably the most distinguished historian of twentieth-century Tamil Nadu".

In 1915, Bengali historian Jadunath Sarkar, writing in an essay Confessions of a History Teacher in the Modern Review, regretted the lack of acclaimed historical works in vernacular languages and stressed that efforts should be made to write history books and teach history in vernacular languages. Nilakanta Sastri, who was then a young teacher in Thirunelveli, wrote a letter to the newspaper opposing Sarkar's suggestion by saying that "English serves me better as a medium of expression than Tamil – I mean in handling historical subjects. Perhaps the vernacular is not so well off in this part of the country as it should be". Sastri's comments evoked sharp criticism from the nationalist poet Subramanya Bharathi. According to Venkatachalapathy, Sastri's Tamil proficiency was not good and he relied on Tamil scholar S. Vaiyapuri Pillai for understanding Tamil literary works. Thus he was not able to analyse the changing meaning of words over time. Venkatachalapathy says, "In the professional historiography in Tamil Nadu practised in the age of K. A. Nilakanta Sastri there was rarely any interrogation of sources (except in terms of authenticity and chronology)."

Sastri's A History of South India is a recommended textbook for university students of Indian history. In a preface to the 2013 reprint, historian Sanjay Subrahmanyam describes the book thus

Historian Noboru Karashima, who edited A Concise History of South India (2014), describes Sastri's A History of South India as an excellent book, and praises Sastri's examination of sources of south Indian history as "thoroughgoing and meticulous". However, Karashima also states that being a Brahmin, Sastri was inclined to emphasize the role of "North Indian and Sanskrit culture in the development of south Indian society", which resulted in occasional bias. Karashima notes that Sastri's book remained the only authoritative scholarly book on the south Indian history for a number of reasons: nobody could match Sastri in bringing out a similar work; attacks from Tamil nationalists deterred historians from writing such a book; and new trends in history writing made composition of works on general history more difficult.

Ganapathy Subbiah (2007) of the Indian History Congress describes Sastri as "the greatest" of all South Indian historians. During Sastri's period, strong language-based movements had emerged in various regions of South India. Subbiah notes that Sastri attempted to portray South India as a distinct geocultural unit, and was keen to dissolve the growth of regionalism in South Indian historiography. Subbiah adds that Sastri's macro-level view of the South Indian history "revolved around Aryan-Dravidian syndrome", and this view changed with his age: in his 20s, Sastri asserted the existence of "an independent Tamil culture which flourished for centuries before it was touched by extraneous influences"; a few years later, he wrote that the culture of the Sangam period was a composite of two distinct "Tamilian and Aryan" cultures; and a decade later, he declared that "Sanskrit is the pivot of our whole culture, and [...] Tamil culture is no exception to this rule". According to Subbiah, Sastri's views should be analyzed in the context of the rise of the anti-Brahmin Dravida Nadu movement in the mid-20th century: his assertions over-emphasizing the importance of Indo-Aryan and Sanskrit influence in south Indian history can be seen as "his angry and desperate response" against the Dravida Nadu secessionists.

Bibliography

In all, Nilakanta Sastri authored 25 historical works mostly on the history of South India.

Notes

Bibliography

Further reading

Tamil historians
1892 births
1975 deaths
Indian Indologists
Dravidologists
Madras Christian College alumni
Recipients of the Padma Bhushan in literature & education
Academic staff of the University of Mysore
People from Tirunelveli district
Academic staff of Annamalai University
Academic staff of the University of Madras
University of Madras alumni
20th-century Indian historians
Historians of South Asia
Scholars from Tamil Nadu
Telugu people
Historians of Kerala


Aurangabad is a census town in the Suti II CD block in the Jangipur subdivision of the Murshidabad district in the Indian state of West Bengal. The town lies between The Ganga and the feeder canal.

Geography

Location
Aurangabad is located at .

According to the map of Suti II CD block in the District Census Handbook, Murshidabad, Dafahat, Jagtaj, Debipur, Aurangabad, Hafania, Mahendrapur, Paschim Punropara, Bhabki, Khidirpur, Khanpur, Ichhlampur, Chakmeghoan and Kakramari, form a cluster of census towns.

Area overview
Jangipur subdivision is crowded with 52 census towns and as such it had to be presented in two location maps. One of the maps can be seen alongside. The subdivision is located in the Rarh region that is spread over from adjoining Santhal Pargana division of Jharkhand. The land is slightly higher in altitude than the surrounding plains and is gently undulating. The river Ganges, along with its distributaries, is prominent in both the maps. At the head of the subdivision is the 2,245 m long Farakka Barrage, one of the largest projects of its kind in the country. Murshidabad district shares with Bangladesh a porous international border which is notoriously crime prone (partly shown in this map). The subdivision has two large power plants - the 2,100 MW Farakka Super Thermal Power Station and the 1,600 MW Sagardighi Thermal Power Station. According to a 2016 report, there are around 1,000,000 (1 million/ ten lakh) workers engaged in the beedi industry in Jangipur subdivision. 90% are home-based and 70% of the home-based workers are women. As of 2013, an estimated 2.4 million people reside along the banks of the Ganges alone in Murshidabad district. Severe erosion occurs along the banks.

Note: The two maps present some of the notable locations in the subdivision. All places marked in the maps are linked in the larger full screen maps.

History

Demographics
According to the 2011 Census of India, Aurangabad had a total population of 39,261, of which 19,474 (50%) were males and 19,787 (49%) were females. Population in the age range 0–6 years was 6,529. The total number of literate persons in Aurangabad was 21,027 (64.24% of the population over 6 years).

As per 2001 Census of India Aurangabad had a population of 32,134. Males constitute 50% of the population and females 50%. Aurangabad has an average literacy rate of 44%, lower than the national average of 59.5%: male literacy is 52%, and female literacy is 36%. In Aurangabad, 19% of the population is under 6 years of. Aurangabad also includes Mahendrapur village which has a population of 6979.

Infrastructure
According to the District Census Handbook, Murshidabad,  2011, Aurangabad covered an area of 2.77 km2. The protected water-supply involved overhead tank, tube well, borwell. It had 3099 domestic electric connections. Among the medical facilities it had 5 dispensaries/ health centres, 11 medicine shops. Among the educational facilities, it had 18 primary schools, 1 middle school,  2 secondary schools, 2 senior secondary schools, 1 general degree college. It had 1 recognised shorthand, typewriting, vocational training institution. Among the social cultural and recreational facilities it had 1 stadium, 1 auditorium/ community hall. It produced beedi, spices, handloom. It had branches of 2 nationalised banks, 1 private commercial bank.

Education
College

Dukhulal Nibaran Chandra College of Aurangabad is recognized by UGC.

Schools

Aurangabad High School (H. S) of Aurangabad is maintained by the 'National University of Educational Planning and Administration' under the program 'District Information System for Education 2013–2014.

Aurangabad Balika Vidyalaya

Chhabghati K.D. Vidyalaya (H.S.)

English Oriental Academy, CBSE Board

Aurangabad High Madrasah (H.S)

Ideal Education Mission School

Nimtita G. D Institution

Panchagram I. S. A High School

Aurangabad PTTI

Aurangabad Public School

Altab Hossain PTTI

As Sabin Mission

ARTM Public School

Prabananda Vidyapith

Gurukul Sikhsha Niketan

Aurangabad Public School

Other institutions

Jakir Hossain Institute of Polytechnic

Aurangabad B.Ed. College

Nathulal Das B.Ed. College

Am Teacher's  Training college

Aurangabad B.Ed. Training College

J.S B.Ed. College

Industry
Aurangabad is noted for its beedi industry.

Healthcare
Aurangabad has a Primary Health Centre (PHC).

Suti II CD block is one of the areas of Murshidabad district where ground water is affected by a high level of arsenic contamination. The WHO guideline for arsenic in drinking water is 10 mg/ litre, and the Indian Standard value is 50 mg/ litre. The maximum concentration in Suti II CD block is 1,852 mg/litre.

Electoral constituencies
Aurangabad was assembly constituency No. 51 of West Bengal; later as recommendations of Delimitation Commission were implemented, this area was part of new assembly constituency No. 57, Suti, which will contain the whole area under Suti I and Suti II CD Blocks.

References

Cities and towns in Murshidabad district


Kotu Ellima is a two-player abstract strategy board game from Sri Lanka (formerly called Ceylon)  played by the Sinhalese people.  The game was documented by Henry Parker in Ancient Ceylon: An Account of the Aborigines and of Part of the Early Civilisation (1909); the game was printed as "Kotu Ellima" which is actually a misspelling because his source for the game was Leopold Ludovici's Journal of the Ceylon Branch of the Royal Asiatic Society (1873), and specifically in the chapter entitled "The Sports and Games of the Singhalese", and Ludovici wrote the name of the game as Kotu Ellime or Taking of the Castles.  The game is similar to draughts (checkers) and Alquerque as players hop over one another's pieces to capture them; it is more similar to Alquerque between the two since it uses a standard Alquerque board.  However, unlike draughts and standard Alquerque, the game is played on an expanded Alquerque board consisting of four triangular boards attached to the four sides of a standard Alquerque board.  It closely resembles Peralikatuma and Sixteen Soldiers (or Sholo Guti) which are also played in Sri Lanka and other parts of the Indian subcontinent with the only difference being the number of pieces.  In Sixteen Soldiers, each player has 16 pieces hence the name of the game.  In Peralikatuma, each player has 23 pieces.  In Kotu Ellima, each player has 24 pieces, and at the beginning of the game the whole board is covered with them except the central point reminiscent of standard Alquerque.

Setup

An expanded Alquerque board is used.  Four triangle boards are attached to the center of the four sides of an Alquerqe board.  Each player has 24 pieces distinguishable from the other player.

Pieces are placed on the intersections (or "points") of the board, and specifically on their half of the Alquerque board, the nearest triangular board and the triangular board on their right.  Their last piece is placed on the point to the right of the central point of the Alquerque board.  Only the central point is left vacant in the beginning of the game.

Rules

  Players alternate their turns

  A player may only use one of their pieces in a turn, and must either make a move or perform a capture but not both.

  A piece may move onto any vacant adjacent point along a line.

  A piece may capture an opposing piece by the short leap as in draughts or Alquerque. The piece must be adjacent to the opposing piece, and leap over it onto a vacant point immediately beyond. The leap must be in a straight line and follow the pattern on the board.  The captured piece is removed from the board.

  The player who captures all of the other player's pieces wins.

Related games
Peralikatuma
Sixteen Soldiers (Sholo guti)
Permainan-Tabal
Draughts
Alquerque
Terhuchu, and the variant called War Game
Meurimueng-rimueng peuet ploh
Satoel
Astar (game)

Notes

References

External links
Bona Ludo, 16 soldiers, Peralikatuma, Cows and leopards and Kotu ellima – cousins of Halatafl and Draughts
Ares Cronida,The games of soldiers
Cyningstan, Traditional Board Games, Sixteen Soldiers

Abstract strategy games
Traditional board games


Tellus Series B: Chemical and Physical Meteorology is a scientific journal that was published by Blackwell Publishing for the International Meteorological Institute in Stockholm, Sweden until December 2011. From January 2012 the issues are published online by Co-action Publishing as an open access journal. The journal publishes original articles, short contributions, and correspondence on atmospheric chemistry, surface exchange processes, long-range and global transport, aerosol science, and cloud physics including related radiation transfer. Biogeochemical cycles including related aspects of marine chemistry and geochemistry also represent a central theme.

Tellus B is the companion to Tellus Series A: Dynamic Meteorology and Oceanography.

See also
 List of scientific journals
 List of scientific journals in earth and atmospheric sciences

References

External links
 Journal homepage at Blackwell Publishing
 Journal homepage at Co-action Publishing

Geochemistry journals
Meteorology journals
Wiley-Blackwell academic journals
English-language journals
Academic journals established in 1948


The Marlin-class submarines are a proposed class of diesel-electric attack submarines. The design features diesel propulsion and an additional air-independent propulsion (AIP), developed solely by the French company DCNS, formerly  DCN, after the Spanish company Navantia (formerly Bazan, then Izar), its partner in the  design, went with Lockheed Martin to build the competing , which was selected by the Spanish Navy to form its next-generation submarine force, at the expense of the Scorpène.

Not much is known about this design, however DCNS's successful Scorpène class is approximately 1,800 tons while the S-80 is 3,500 tons. Therefore it is likely that DCNS's Marlin-class design is larger than the Scorpène in order to compete on the international market with Navantia's bigger S-80 submarine, currently under construction for the Spanish Navy.

Submarine classes
Proposed ships


Logographic cues are visual images embedded with specific, widely understood meaning; they are pictures that represent certain words or concepts. These pictures are "designed to offer readers a high-utility message in a minimum amount of space." Some languages, for example, many East Asian languages, such as Chinese varieties (e.g. Mandarin, Cantonese, Min, and Wu), and partially Korean and Japanese, are written in  logographic scripts; single glyphs represent whole morphemes.

Examples of logographic cues include traffic signs, restroom signs, and pictorial flashcards. Unsurprisingly, logographic cues tend to be processed in the right brain hemisphere, the side more actively engaged with visuospatial input. Due to advances in technology and the media where logographic cues such as brand logos abound, the ability and tendency to draw meaning from pictures has become more widespread and intuitive.

Utility to education
Logographic cues have also become increasingly useful in the domain of education, specifically in the development of reading skills. Many sources of educational advice suggest the use of logographic cues to tap into visual learning and intelligence, which usually takes a subordinate role to verbal education in schools; such sources include literacy expert Kylene Beers and a nationwide reading program, All America Reads.

Specific activities that utilize logographic cues include students making symbols within the margins of print text, worksheets that provide a pictorial summary of the information given, and picture flash cards that foster vocabulary development. Teaching methods employing logographic cues can help to encourage and increase word recognition, text reformulation and information organization. The method also helps to tap into the sensory stimulation that encodes information into long-term memory.

Criticisms
The use of this method has also received some criticism. In reference to the use of logographic cues to develop word recognition the International Journal of Disability, Development and Education writes that "the results of controlled studies show it to be ineffective and potentially detrimental to student learning." The particular study documented in this journal suggested similar but modified alternatives such as Integrated Picture Cueing or the Handle Technique. The Integrated Picture Cueing (IPC) technique makes pictures out of the desired words, themselves, rather than symbolic pictorial depictions. The Handle Technique depicts the word with an extra serif (handle) that helps students encode the word and its meaning. Despite these findings and alternatives, logographic cues are widely used and encouraged in education.

Notes

References

Literacy
Dyslexia


"I Can Understand It" is a soul classic written and originally recorded by rhythm and blues musician Bobby Womack, who originally recorded the song for his top ten album, Understanding, released in late 1972. The Womack version was done in a more blues style.

New Birth recording
In 1973, New Birth recorded a James Brown-esque style recording of the song with lead singer Leslie Wilson, who sounded like Womack, was vocally influenced by Sam Cooke. Their fast-paced version peaked at number four on the R&B charts and number thirty-five on the Hot 100. The New Birth version is the better-known version and has garnered praise.

Other versions
Bobby Womack's brothers, The Valentinos, also recorded the song. Their version was released as a single, and became a chart hit.
In 1975 Columbia records released a third version of this classic track. The least known of the three, this version by Kokomo, a British-soul group, includes delicately mixed congas with a tempo similar to New Birth's and is perhaps, musically, the funkiest of the three. This version peaked at #13 on the US Disco File Top 20 chart. Lead singer Tony O'Malley's vocal style is reminiscent of [Dr. John]'s. The background harmonies and ad-libs make this an outstanding track.

References

External links
Kokomo's version

1972 songs
1973 singles
Bobby Womack songs
New Birth (band) songs
Songs written by Bobby Womack


Barry Allen Munitz (born July 26, 1941) has been a senior administrator at the University of Illinois and the University of Houston, a business executive at Maxxam, Inc., chancellor of the California State University system, and chief executive officer of the world's wealthiest art institution, the J. Paul Getty Trust. He is on the Board of Selectors of Jefferson Awards for Public Service.

Early life and education
Munitz was born and raised in Brooklyn, the son of parents from Eastern Europe.  Munitz earned a B.A. degree in classics and comparative literature at Brooklyn College in 1963.  He earned M.A. and Ph. D. degrees in comparative literature from Princeton University.

Career
Munitz's first teaching job was at the University of California, Berkeley from 1966 to 1968, where he also worked as a part-time assistant to the UC system president, Clark Kerr.  When Kerr resigned and became chairman of the Carnegie Commission on Higher Education in 1968, he brought along Munitz as a staff associate.
In 1970 Munitz moved to the University of Illinois, and was soon promoted to vice president for academic affairs at the University of Illinois, Chicago from 1972 to 1976.

University of Houston (1977–1982)
When Philip G. Hoffman resigned as president of the University of Houston to become the first chancellor of the newly created University of Houston System, the university was looking for someone who could fill the shoes of its popular leader from 1962 to 1977.  They turned to 35-year-old "wunderkind" Barry Munitz—then serving as vice-president and dean of faculties in the system office—to be the new president of the University of Houston. It was anticipated that Munitz could work with the business community to build up the University's endowment.  After several years, Munitz's cultivating the business community led to an offer to join a local corporation, Maxxam, Inc., that was busy acquiring other companies in leveraged buyouts.

Maxxam, Inc. (1982–1991)
Charles Hurwitz, Maxxam's president, hired Munitz as vice-president in 1982.  Munitz was active with Maxxam's related companies, including serving as chair of the executive committee of United Savings Association of Texas (USAT), and assisted Hurwitz with his 1985 take-over of Pacific Lumber Company, with its old-growth redwoods, including Headwaters Forest in northern California.  USAT became the fifth-largest savings and loan failure at a cost to the public of $1.6 billion.

California State University (1991–1998)
In 1991 Munitz was selected as chancellor of the 23-campus California State University, the country's largest senior system of public higher education.  He introduced management practices from the corporate world, including tying a portion of salary increases for faculty to performance reviews, evaluating campus presidents on their success in fund-raising from the private sector, and mandating a common financial and data management system for all campuses.

J. Paul Getty Trust (1998–2006)
In 1997 Munitz was named the president and CEO of the J. Paul Getty Trust, which oversees the Getty Center in Los Angeles, the Getty Villa in Pacific Palisades, California, the Getty Foundation,  the Getty Research Institute, and the Getty Conservation Institute.  He began work in January 1998, succeeding Harold M. Williams, the first president of the Getty Trust, who oversaw construction of the $1 billion Getty Center designed by architect Richard Meier.  With an endowment of $4.2 billion, the Getty Trust is the wealthiest art institution in the world.  Early in his tenure, Munitz reorganized the Getty Trust, closing two of the institution's six programs—the Getty Information Institute and the Getty Education Institute. To deal with long-run financial issues, he sought to cultivate relationships with donors and corporate partners. His leadership became increasingly controversial as the Getty Trust was embroiled in numerous controversies relating to the provenance of various antiquities in the Getty Museum's collections and Munitz' expense account. In the midst of an investigation by the California Attorney General,
Munitz resigned in 2006 and was forced to "forgo his severance package of more than $2 million, and reimburse the Getty Trust for $250,000 after alleged improprieties including lavish expense account spending."

post-Getty
After leaving the Getty Trust, Munitz returned to the California State University as a Trustee Professor, based at California State University, Los Angeles.

Munitz has served on the Princeton University Board of Trustees, and chaired the American Council on Education and the California Education Roundtable.  He is also a director of Sallie Mae.

Awards
In 1999, Munitz was awarded an honorary Doctor of Humane Letters (L.H.D.) degree from Whittier College.

Notes

Directors of museums in the United States
1941 births
Living people
Chancellors of the California State University System
People associated with the J. Paul Getty Museum
Presidents of the University of Houston
20th-century American Jews
Brooklyn College alumni
Princeton University alumni
21st-century American Jews


Thomas Myers Hunt (May 27, 1923 – November 11, 2008) was an American petroleum industry executive who was chairman of Hunt Petroleum and an advisor to his uncle H. L. Hunt, the founder of the family dynasty.

Biography
Hunt was born in Pana, Illinois. He served during World War II in the Pacific with the 380th Bomb Group of the United States Army Air Corps in the Pacific Theater. Hunt flew on the first bomber from the 380th to land in Japan, and flew on a B-24 Liberator representing the 380th during a flyover of Tokyo Bay to mark the Japanese surrender on the USS Missouri.

Hunt attended the University of Arkansas, where he studied chemical engineering, but at his uncle Herbert's suggestion, he worked for the family oil interests in Wyoming, North Dakota,  and in Montana's Williston Basin. He was ultimately assigned to manage the Hunt family operations in Louisiana.

Hunt played a major role in the negotiations of the June 2008 acquisition of Hunt Petroleum by Fort Worth, Texas-based XTO Energy for $4.186 billion. Tom Hunt served as the trustee for the family trusts of Margaret Hunt Hill and Hassie Hunt which each owned half of Hunt Petroleum. Al Hill III, grandson of Margaret Hunt Hill, sued his father and other family members to block the sale, including demands that Tom Hunt be removed as trustee.

Hunt spoke at the October 2008 unveiling of plans the Tom Hunt Energy Hall to be located at the Museum of Nature & Science's new location in the Victory Park development. The name recognizes a contribution of $10 million made to the museum by Hunt Petroleum in 2005.

Part of a clan that The New York Times described as "a family of great egos", Tom Hunt was a plain-living bachelor, who worked out of a sparse office and answered his own phone. He lived in a modest townhouse in University Park, Texas and enjoyed gardening and making nut candy. He never amassed the huge personal fortune of many of his relatives.

Hunt died at age 85 on November 11, 2008 in Dallas at the Baylor University Medical Center. The cause of death was leukemia.

References

1923 births
2008 deaths
Hunt family
Deaths from cancer in Texas
Deaths from leukemia
People from Pana, Illinois
People from University Park, Texas
University of Arkansas alumni
United States Army Air Forces personnel of World War II
Military personnel from Illinois
United States Army Air Forces soldiers


, also known as Samurai Town: Story 1, Story 2 and Story 3, are respectively 1928 and 1929 black and white Japanese silent films directed by Masahiro Makino. Serving as parts of a 4-part series, the first and second installments are representative films of Masahiro Makino, the son of Shozo Makino (considered the 'father of Japanese film'). The Story 2 consists of two parts - the "first chapter" () and "the solution" ().

These films lent status to ensemble casts and did not rely on famous stars. The film was known for its depiction of the unique setting of the ronin town as well as for the exquisite camera work and fast-paced sword fighting scenes.

Most of the film of Story 1 was lost, and Story 3 was completely lost. The shortened version of the film of Story 2 exists.

Makino remade this movie in 1939, 1951, 1957, 1990.

External links

1928 films
Japanese black-and-white films
Japanese silent films


The Crash Moderns are an American power pop band based in New York City, consisting of Danny Roselle on Vox/ Guitar/ Synth, akaTRENT on Bass/Vox, Mikey Vranek on Guitar, Vox, Keys and Paolo Dell'Olio on Drums. In 2008 they released their debut album Good Night Glamour, Good Morning Disaster.

They have opened for such bands as The Goo Goo Dolls, Bowling for Soup, American Hi-Fi, The Spill Canvas The Pink Spiders, Eve 6, Live, and Lifehouse. Their biggest gig was opening for Bon Jovi. In 2008, they toured the U.S. including playing the South by Southwest music festival.

Influences cited by the band include The Beatles, The Cars, The Descendents, Weezer, Jimmy Eat World, Elvis Costello, Motion City Soundtrack, and Cheap Trick. Music writers have compared their sound to that of Marvelous 3, Cheap Trick, Green Day, and Elvis Costello.

Before The Crash Moderns, frontman Danny Roselle (born Daniel William Roselle on August 19, 1981) was in the band No Soap Radio, known for their music on The Sopranos. He is also an occasional fill in member of the band Dramarama.

Joe Trent, has played with many notable acts including Jersey favorites Lady Radiator. He is well known for his Gaming blog on YouTube under the name "akaTRENT".

Paolo Dell'olio was a previously a member of Milan Italy-based band, The New Story. (EMI)

History

The band's first album, Good Night Glamour, Good Morning Disaster, was recorded at Near Studios in Long Branch, New Jersey. The album was mixed and produced by long-time friends Bart Schoudel and Ron Haney of the band The Churchills.
The album was recorded in a span of one and a half months in November/December 2007. Late December 2007, the album was mastered by Chris Ghehringer at Sterling Sound in New York City.

In April 2008, the album was officially released. At first, the album was only available at their live performances, but soon was quickly picked up by the teenage rock/pop culture store Hot Topic. The CD was then only available in the New York/New Jersey region, but has spread since then to different stores throughout the country. Today, the album is available everywhere in the world through iTunes and Amazon.com.

Support for the album started immediately after its release with several east coast tours as well as a nationwide tour in April 2008. Through the Summer into the fall of 2008, the band continued touring and doing festivals. Some shows on these tours included opening slots for The Ataris, Go Radio, The Teenagers, and Eve 6. The band also took part in a very high-profile series of shows in front of thousands on South Padre Island, Texas for the Blender Sessions Spring Break concert alongside artists such as Cartel, Forever the Sickest Kids, and All Time Low.

December 2008, the band found themselves back in the studio recording a cover of The Monroes single "What Do All The People Know?" as well as re-recording several songs off of Good Night Glamour, Good Morning Disaster. This time, they recorded and mixed with Kenny Gioia in Queens, New York.

In August 2010, The Crash Moderns, while still on tour supporting Good Night Glamour, Good Morning Disaster were asked by the US military to travel to Japan to play for the troops stationed on the island of Okinawa. The band also had the chance to showcase in March at the 2009 SXSW Music Festival in Austin, Texas.

Personnel
As of February 2010 the band lineup consists of:
Danny Roselle -Vox/rhythm guitar/ synth
Joe "akaTRENT" - bass/ Vox
Mikey Vranek -lead guitar, keys

Discography
 2004: The Crash Moderns (EP)
 2008: Good Night Glamour, Good Morning Disaster
 2009: Re-recorded songs: "Pimp My Life", "Where Did All the Scene Girls Go?", "This Time", "Everybody Hates Me"
 2009: "What Do All the People Know?" - Cover song by The Monroes

Good Night Glamour, Good Morning Disaster Track listing

References

External links
 Album review at AbsolutePunk.net
 Shockhound:
 ReverbNation:

American power pop groups
Musical groups from New York City
Musical groups established in 2004


The  is a cable-stayed bridge in Aomori, Aomori Prefecture, Japan. It was constructed in order to alleviate cargo ship traffic. It is a very notable part of Aomori's skyline.

Details

The Aomori Bay Bridge is the longest bridge in the city of Aomori at 1219 meters. It's the second longest bridge in Aomori Prefecture after the 1323.7 meter Hachinohe Ōhashi Bridge. Previously the longest bridge in Aomori City was the 993.9 meter Aomori West Bypass overpass, it's now the third longest bridge in Aomori Prefecture.

Emphasis was placed on the aesthetics of the bridge, causing the total cost of construction to come to approximately 27 billion yen (¥) in comparison to only ¥8.9 billion for the longer Hachinohe Ōhashi Bridge. An example of the emphasis on the bridge's appearance is the emblazoning of the letter "A", for "Aomori", at various places such as the base of the bridge and in the shape of the suspension cables. The use of the letter "A" continues on from the nearby  Aomori Prefecture Sightseeing Products Mansion, or ASPAM Building, which is built in the shape of a triangle so that it would look like the initial "A".

The bridge's main towers are made from high strength concrete.

In response to the bridge's long standing problems with ice in the winter months, a plan was made to lay pipes circulating sea water under the road surface to melt the ice. However, due to problems related to the cost and construction time, only one section was able to be completed. As yet there are no indications of when the system will be implemented over the remainder of the bridge as originally planned. Even so, since the installation of the system the number of traffic accidents has drastically decreased.

Development
 1982 – Project created (Project name: Aomori Port Improvement Project, planned to bridge a 1993-meter section)
 1985 – Construction begins on the bridge.
 1992 – July – Tentatively, two lanes are opened for traffic. The project receives the Doboku Gakkai Tanaka Award presented by the Japan Society of Civil Engineers for outstanding bridge construction projects.
 1994 – July – All four lanes are opened for traffic.
 2002 – Projects to increase earthquake resistance and to install a de-icing system begin. (Project name: Aomori Port Area Bridges (Earthquake Proofing), total budget of approximately 2.5 million yen.)
 2004 – December - De-icing systems begin being used on 442 meters of the downhill part of the Okidate side (West side) of the bridge.
 2006 – February – De-icing systems begin being used on 138 meters near the intersection of the Hon-machi side (East side). 253 meters of de-icing systems are planned to begin being used from the Hon-machi side to the Okidate side during the winter of 2006.

Major Connecting Roads
 Aomori Prefectural Route 18, Aomori Port Route (commonly referred to as Yanagi-machi Avenue)
 Port Road Route 1 (Western Road)
 Port Road Route 3 (Eastern Road)

Surrounding area
 Aomori Station
 A-Factory
 Seikan Connector Ferry Boat Memorial Ship “Hakkōda-maru”
 Nebuta Museum Wa Rasse
 Aomori Prefecture Tourist Center “Asupamu”

References

See also

 Yokohama Bay Bridge, the inspiration for the name of the Aomori Bay Bridge
 Leonard P. Zakim Bunker Hill Memorial Bridge, a bridge in Boston, Massachusetts, USA very similar in appearance to the Aomori Bay Bridge.

Cable-stayed bridges in Japan
Bridges completed in 1994
Tourist attractions in Aomori Prefecture
Bridges in Aomori Prefecture
Roads in Aomori Prefecture
Transport in Aomori (city)
1994 establishments in Japan
Buildings and structures in Aomori (city)