Robert "Rob" Reekers (born 7 May 1966) is a retired Dutch footballer who played in the Netherlands for FC Twente and in Germany for ASC Schöppingen, VfL Bochum and FC Gütersloh. He earned four caps for the Netherlands national side between 1988 and 1989. After retiring as a player in 2000, Reekers has managed Rot-Weiß Oberhausen, FC Gütersloh and SuS Stadtlohn.

Reekers worked by the end of June 2009 to June 2012 as Assistant coach of Jos Luhukay at FC Augsburg. For the 2012–13 season, he moved with him to Hertha BSC.

Reekers is one of a small number of Dutch footballers to be selected for the Netherlands national team while never having played in the Dutch Eredivisie. The other capped players are Jordi Cruyff, Jerrel Hasselbaink, Willi Lippens, Wim Hofkens, Nathan Aké, Timothy Fosu-Mensah and Javairô Dilrosun.

Honours
 Oberliga Westfalen: champion 1985–86
 DFB-Pokal: runner-up 1987–88
 2. Bundesliga: champion 1993–94
 Regionalliga West/Südwest: champion 1995–96

References

External links

1966 births
Living people
Footballers from Enschede
Dutch men's footballers
Netherlands men's international footballers
Dutch football managers
Dutch expatriate football managers
FC Twente players
ASC Schöppingen players
VfL Bochum players
FC Gütersloh players
Bundesliga players
2. Bundesliga players
Expatriate football managers in Azerbaijan
FC Gütersloh managers
Rot-Weiß Oberhausen managers
Men's association football defenders
SuS Stadtlohn managers
Dutch expatriate sportspeople in Germany
Dutch expatriate sportspeople in Azerbaijan
Expatriate football managers in Germany
Expatriate men's footballers in Germany
Dutch expatriate men's footballers
Expatriate men's footballers in West Germany
Dutch expatriate sportspeople in West Germany


autoKratz is a London based electronic duo composed of David Cox and Russell Crank. They have released on both French electronic label Kitsuné Music and their own imprint Bad Life.

History
Formed in London in 2007, autoKratz were quickly signed to the Parisian record label Kitsuné, at a time when the French label was at the forefront of electronic music. Joining an artist roster that includes Hot Chip, Crystal Castles, Simian Mobile Disco and Digitalism.

Their debut single "Reaktor" was premiered as 'Record of the Week' on Pete Tong's show on BBC Radio 1.

2008: Down & Out In Paris & London
After having released a string of well received singles plus remixes for La Roux, Alex Gopher, Fischerspooner and Underworld, in 2008 they released their debut mini album, Down & Out In Paris & London.

Named after the George Orwell book of the same name as a nod to their adopted hometown and that of their record label, the album received critical acclaim across a wide variety of publications, including the NME. Their single "Stay The Same", reached number 1 in the DJ magazine Hype Chart.

In July 2008, it was reported in the British tabloid Daily Star newspaper and NME that they had become involved in an altercation with Sex Pistols John Lydon, when both were playing at the Live At Loch Lomond event. Lydon is alleged to have demanded autoKratz get out of the car they were in as he preferred it to the one he was given.

2008 saw them play over 50 dates across Europe including Glastonbury Festival, Summerset Festival in Belgium, culminating in a performance at Rencontres trans musicales.

2009: Animal
Their first album Animal was released in June 2009, which also received favorable reviews from various publications including IDJ which gave it 10/10, Mixmag (Album of the month), Artrocker, Clash Magazine and the Financial Times.

Underworld asked them to be main support them over two nights at Brixton Academy in November 2008.

Since then AutoKratz have supported The Prodigy at Makuhari Messe Tokyo and completed their first Australian tour as part of the Park life Festival alongside Empire of the Sun, La Roux, Busy P, A-Trak, Tiga, Erol Alkan and Crystal Castles.

In October 2009, they embark upon a six-week headline tour around Europe in support of their album.

Throughout 2009/2010, they continued to tour across the world, with highlights including La Route du Rock in France, Wireless Festival in London, Open Air Festival in Zurich, Optimus Alive in Portugal, Solidays in France and Melt Festival in Germany.

2011: Self Help for Beginners
autoKratz's second album Self Help for Beginners was released on 20 June 2011. It received a range of reviews including 4/5 in Q Magazine, who said of the album "Superclub dancefloors are safe in London Duo's hands....dealing in peak time pop nuggets welded to Terminator style-backbones". The first single taken from the album was "Opposite of Love", which premiered on BBC Radio 1 with Jaymo and Andy George.

The album saw the band collaborate with some of their heroes including New Order bassist Peter Hook, Primal Scream guitarist Andrew Innes and Primal Scream and  Kasabian producer Jagz Kooner.

Peter Hook featured on the second single to come off the album, "Becoming the Wraith", and he joined the band on stage to perform the track at Summer Sonic festival in Tokyo, where they headlined the second stage. On the subject of the collaboration, Hook said "I was delighted to be asked by autoKratz and knowing their music, I understand why. The song was great before I even touched it. "I just put the icing on the cake so it was a real pleasure."

In late 2011, the autoKratz track "Stay The Same" featured in the motion picture 50/50 with Seth Rogen and Joseph Gordon-Levitt.

With the growing success of their label Bad Life, the latter part of 2011 saw autoKratz return to releasing more club-centric tracks and adopting a sound which combined elements of electro and techno. The autoKratz present Bad Life #1 EP featured tracks "Heart Attack Man" and "Sucker Sirens", and became Mixmag 's 'Electro Tune of the Month' for January 2012. This was followed by "Faith", a collaboration with Lee Mortimer, which also received the Mixmag accolade again for February 2012, as well as becoming DJ Mag 's 'Tune of the Month'. Both releases received favourable DJ support worldwide finding their way into the playlists of Style of Eye and Benny Benassi.

They became part of a burgeoning new scene known as Future Techno and early 2012 also saw the release of autoKratz present Bad Life #2, which cemented the band's intention to continue making progressive electronic music. They also developed a more techno inspired live show for their first Bad Life label tour in Spring 2012.

Discography

Studio albums and EPs
 Down & Out In Paris & London – EP / Mini album (2008 Kitsuné)
 Animal – Album (2009 Kitsuné)
 Self Help for Beginners – Album (2011 Bad Life)

Singles
 "reaKtor" – Single / Maxi (2007 Kitsuné Music)
 "1000 Things" – Single / Maxi (2008 Kitsuné Music)
 "Pardon Garçon" (rewerk) – Single / Maxi (2008 Kitsuné Music)
 "Stay the Same" – Single / Maxi (2008 Kitsuné Music)
 "Stay the Same Remixes" – Single / Maxi (2008 Kitsuné Music)
 "Always More" – Single / Maxi (2009 Kitsuné Music)
 "Opposite of Love" – Single / Maxi (2011 Bad Life)
 "Becoming the Wraith" – Single / Maxi (2011 Bad Life)
 "autoKratz present Bad Life#1" – Single / Maxi (2011 Bad Life)
 "Faith" – Single / Maxi (2011 Bad Life)
 "autoKratz present Bad Life#2" – Single / Maxi (2012 Bad Life)
 "Devil's Touch" – Single (2012 Bad Life)
 "Midnight Hearts" – Single (2013 Bad Life)

Appears on
 Kitsuné Maison Compilation 5 – ("Pardon Garçon") – (2008 Kitsuné Music)
 Kitsuné Maison Compilation 6 – ("Stay the Same" (Edit)) – (2008 Kitsuné Music)
 Kitsuné Remixes Album#1 – ("Stay the Same" (Alex Gopher Remix)) – (2009 Kitsuné Music)
 Kitsuné Maison Compilation 7 – ("Always More" (Yuksek Remix)) – (2009 Kitsuné Music)
 Kitsuné Remixes Album#2 – ("Always More" (Goshi Goshi Mix)) – (2009 Kitsuné Music)

References

External links

Search for AutoKratz on YouTube

British electronic music groups
Kitsuné artists


Valentin Ioviță (born 23 January 1984 in Galați, Romania) is a Romanian football player currently under contract with Liga II side CF Brăila.

External links

1984 births
Living people
Footballers from Galați
Romanian men's footballers
AFC Dacia Unirea Brăila players
FC Gloria Buzău players
FC Sportul Studențesc București players
ASC Oțelul Galați players
Liga I players
Men's association football midfielders


Eric Nash Devenport (3 May 1926 – 10 November 2012) was Bishop of Dunwich from 1980 to 1992.

Devenport was born in Burslem, Stoke-on-Trent. He attended the Lichfield Cathedral choir school until the family moved to Durham. His training at Kelham Hall theological college was interrupted by National Service in the Royal Navy. He was also educated at the Open University. After ordination he held curacies at St Mark's Church, Leicester and  St Matthew, Barrow-in-Furness. Following this he was Succentor at  Leicester Cathedral, then Vicar of Shepshed and finally (before his ordination to the episcopate)  Leader of Mission for the Diocese of Leicester. He resigned in 1992 and  became Archdeacon of Italy and Malta and Chaplain of St Mark's, Florence, a post he held for five years.

In retirement he was an assistant bishop in the Norwich Diocese until his death in 2012.

References

1926 births
2012 deaths
Alumni of the Open University
Bishops of Dunwich
20th-century Church of England bishops
Archdeacons of Italy and Malta


Liam Óg Ó hÉineacháin is a Gaelic footballer for the Dublin GAA club Kilmacud Crokes. He formerly played for the Dublin county team. He won the Dublin Senior Football Championship with Kilmacud in October 2008 at Parnell Park. Ó hÉineacháin was a panelist against St Oliver Plunketts Eoghan Ruadh but was being rested for the Leinster Senior Club Football Championship. He scored a total of 0-06 in the 2008 Dublin Championship.

References

Living people
Dublin inter-county Gaelic footballers
Kilmacud Crokes Gaelic footballers
Sportspeople from County Longford
Year of birth missing (living people)


The men's featherweight event was part of the weightlifting programme at the 1932 Summer Olympics. The weight class was the lightest contested, and allowed weightlifters of up to 60 kilograms (132 pounds). The competition was held on Sunday, 31 July 1932. Six weightlifters from four nations competed.

Medalists

Records
These were the standing world and Olympic records (in kilograms) prior to the 1932 Summer Olympics.

No world or Olympic record was bettered at this Games. Raymond Suvigny equalized the standing world record in total with 287.5 kilograms.

Results

All figures in kilograms.

References

Sources
 Olympic Report

Featherweight


Blažej Baláž (born 29 October 1958) is a contemporary Slovak artist. His practise as an artist is usually associated with political art, environmental, activist, mail-art and neo-conceptualism. After 1988 he began working with text as art, neo-conceptual and post-conceptual texts (intext, outtext).

Life and work
Baláž was born in Nevoľné, Slovakia, former Czechoslovakia. He studied at the Academy of Fine Arts, Bratislava, and his Magister of Fine Arts degree received in 1983. Baláž has been the Head of Department of Fine Arts Education at the University of Trnava since 1999. He was a founder member of the artists group East of Eden (1998). Since 1979, he has been married to the artist Mária Balážová.

He lives and works in Trnava.

He has worked in the areas of political, environmental, activist and neo-conceptual art. His practice also comprises media painting, works on paper, performances, drawing, object, mail art and printmaking.

He has shown work internationally in exhibitions including the Drawing 1990, Provo, USA (1990), Vth International Drawing Triennale, Wrocław (1992), 12th International Biennale of Small Sculpture, Murska Sobota (1995), International Biennale of Graphic Arts, Ljubljana (1989, 1995, 1999), Object / Object. Prague, Czech Museum of Fine Arts (2001), Intertext / From the conceptual to postconceptual text, Ján Koniarek Gallery, Trnava (2009), Formats of Transformation 89 – 09 / Seven views on the new Czech and Slovak identity, House of Art, Brno (2009).

Solo exhibitions (retrospective): Geld macht Kunst, Ján Koniarek Gallery, Trnava (2003) , Blažej Baláž Texts 1988/2007, The East Slovak Gallery, Košice (2007), Museum of Fine Arts, Žilina (2007), SUCHARATOLEST House of Art, Bratislava (2009), WARTEZEIT, Slowakisches Institut Wien (2009), Post-Geo-Text (with Mária Balážová), Slowakisches Institut Berlin (2011).

His works are held in the public collections of Slovak National Gallery, Bratislava, National Gallery in Prague (CZ), Muzeum Archidiecezjalne, Katowice (PL), Fries Museum, Leeuwarden (NL), Jan Koniarek Gallery, Trnava , East Slovakian Gallery Košice, City Gallery , Bratislava, Central Slovakian Gallery, Banská Bystrica .

Cycle Treptomachia
Baláž's works brings the new possibilities at the field of post-conceptual and neo-conceptual text. The exhibition is divided in three segments, all of them are connected by the specific and authentic search of the possibilities in the conceptual Macaronic language.
The first is created from the neo-conceptual horizontal/vertical texts, a part of Treptomachia, (WARTEZEIT, 2006, WARTERAUM, 2006 and How to domesticate the English language, 2006). The internal orientation of artworks, the search of art itself, the search of language and text brings the cracking of syntactic/semantic wholeness of graphems. The metatexts of initial prototext are distinguished by the colors (oil on canvas, 300 x 200 cm).
In this regard Baláž's eff ort culminates by the diptych TREPTOMACHIA.EN-A / How to domesticate the English language and TREPTOMACHIA.DE-B / How to domesticate the German language (2006). Both are depicted on big-size canvas, within which the only dominating word with partial messages is replaced with newly defined optical language with tens of words. The colour decomposition of the grapheme creates a symptomatic background for language overlapping and the contamination, which creates the supreme moment of the author's Babylonian crossroads.
Another, the second segment, black and white acryl-paintings enriches the former one, the artworks are created on principle of the structuralist analysis of text. It is a variant, which is called and named by author and curator the intext. By the segmentation of text the author discovers several lexis. These have a different lexical origin, five West-European, five East-European, and „dead“ language of Medieval Esperanto – Latin. Despite the cold artificiality of works, this segment has also the hidden sociocritical context, which is oscillated between phenomenons West and East, art and politics.
The third segment is the most open and subjective. These horizontal texts are named by its author as the simultaneous texts. It is a different alternative in the post-conceptual Makaronian text, the melange is created by harmony of the initial and derivative text. Its ironic and attacking character replaces a cold aspect of the first two segments. Vajanský's Suchá ratolesť (an ironic parallel of failing elits) is floundered by streams, the subject is named by the author as east rat in the age of 20-years of wandering a la democrazy, with a more complicated ambivalent reading. The fragility of ground – paper [four artworks, width 10 m] raises the openness of statement, ODRBMADEMOKRATICKY, 2008 [screw me over democratically], is predominative.

Selected solo exhibitions
 Blažej Baláž / Painting, drawing, installations, Central Slovakian Gallery, Banská Bystrica, 1 July - 16 August 1992 (catalogue)
 Postscriptum II, City Gallery of Bratislava, Bratislava, 16 December 1993 – 30 January 1994
 Gutten Tag, Frau Koppl, Jan Koniarek Gallery, Trnava, 18 February  – 23 March 1997
 Geld macht frei, Vojtech Löffler Museum, Košice, 15 November  – 30 December 2000 (catalogue)
 Mária and Blažej Baláž : The Discreet Charm of the Painting , House of Art, Česke Budějovice, 27 March – 21 April 2002
 Geld macht Kunst, Jan Koniarek Gallery, Trnava, 12 June – 18 August 2003
 Texts 1988 / 2007, The East-Slovakian Gallery, Košice, 21 June – 23 July 2007 (catalogue);
 Texts 1988 / 2007, Museum of Fine Arts, Žilina, 13 September – 14 October 2007 (catalogue);
 SUCHARATOLEST, House of Art, Bratislava, 13 May – 8 June 2009
 WARTERAUM , Slowakisches Institut, Vienna, 27 May – 22 June 2009 (catalogue);
 Conceptual texts, Liptov Gallery of P. M. Bohúň, Liptovský Mikuláš, 10 February – 9 April 2011
 Mária Balážová-Blažej Baláž : Post-Geo-Text, Slowakisches Institut, Berlin, 14 April – 30 May 2011
 EINEMU, Nitra Gallery, Nitra, 31 May – 22 July 2012
 Travesties, Turiec Gallery, Martin, 18 July – 15 September 2013
 Private/Public, Gallery of Art, Nové Zámky, 21 May – 24 June 2015
 When Activism Becomes Art, Central Slovakian Gallery, Banská Bystrica, 24 September - 8 November 2015
 ghOstwriter, Central Slovakian Gallery, Banská Bystrica, 24 April - 17 June 2018

Selected group exhibitions
Art Basel 19´88, Basel, Switzerland, 1988
12th International Print Biennale, Cracow, BWA (PL), 1988
18th International Print Biennale, Moderna galerija, Ljubljana, Slovenia, 1989
Ľ Europe des Graveurs, Grenoble, Bibliothèque Municipale, France, 1989
Drawing 1990, Provo, Utah, USA, 1990
9.Internationale Grafik Triennale, Frechen, Kunstferein zu Frechen, Germany, 1990
International Print Triennale, Cracow, Bunkier Sztuki (PL), 1991
Vth International Drawing Triennale, Wroclaw, Poland, 1992
12th International Biennale of Small Sculpture, Murska Sobota, Slovenia, 1995
Seitenwechsel, Heidelberg, Heidelberger Schlos, Germany, 1995
21st International Print Biennale, Ljubljana, Moderna Galerija (SL), 1995
Picturale, Est, Strasbourg, France, 1997
23rd International Biennial of Graphic Arts, Ljubljana, Moderna galerija (SL), 1999
Object / Object. Metamorphoses in Time, The Czech Museum of Fine Arts, Prague, Czech Republic, 2001
The Art of Action, 1989–2000, Poprad, Tatra Gallery, Nitra, Nitra Gallery, 2001
New End of Painting, Trnava, Jan Koniarek Gallery, 2002
Contemporary Slovak Painting 2000-2005, City Gallery of Prague, Prague, Czech Republic, 2005
Slovak Graphic Art of the 20th Century, City Gallery, Bratislava, Slovakia, 2007
Intertext / From conceptual to postconceptual text, Jan Koniarek Gallery, Trnava, Slovakia, 2009
Formate der Transformation 89-09, MUSA - Museum auf Abruf, Vienna, Austria, 2010
After Hours : Phase 2 / Artists from Slovakia, Santa Ana, Orange County Center for Contemporary Art, USA, 2010
1st International Biennial of Drawing, Municipal Museum, Győr, Hungary, 2011
Daisies and Clones, Slovak National Gallery, Bratislava, Slovakia, 2011
ObraSKov, Wannieck Gallery, Brno, Czech Republic, 2011
5th International Drawing Competition Wroclaw 2012, Muzeum Architektury, Wroclaw, Poland, 2012
Blood, Slovak National Gallery, Bratislava, Slovakia, 2012
IX. International Biennial of Drawing Pilsen 2014, Pilsen, Czech Republic, 2014
Here and Now, Budapest, Kunsthalle (HU), 2015
5th International Drawing Triennial: Black and White, Tallinn Art Hall, Tallinn, Estonia, 2015
Osten Biennial of Drawing, Skopje (MK), 2016
Socially alive, Gallery of Slovak Visual Artists, Bratislava, 2016
International Print Triennial Krakow 2018, Krakow, Poland, 2018
International Drawing Biennale India 2018-19, New Delhi (India), 2019
SIGNAL – The Story of (Post-) conceptual art in Slovakia, Budapest, Ludwig Museum (HU), 2019

Awards
 1987 Honorable Mention, Biennale of Slovak Graphic Art IX, Banská Bystrica
 1987 3rd Prize for Printmaking, Competition of Slovakian Fine Artists, Bratislava
 1989 Purchase Prize, 9è Mini Print Internacional, Cadaqués (E)
 1989 1st Prize for Painting, Competition of West-Slovakian Fine Artists, Trenčín
 1990 Award of Excellence, 6th International Miniature Print Biennale, Seoul ( South Korea)
 1995 Award of The Masaryk's Academy of Arts, Prague (CZ)
 1996 Prize Ex Aequo, Biennale of Slovak Graphic Art XIII, Banská Bystrica
 2005 The Jury's Award, Biennale of small graphics GRAFIX, Břeclav (CZ)
 2005 Award of The City Banská Bystrica, Triennial of Slovak Graphic Art XVI, Banská Bystrica
 2008 Award of The City Trnava
 2014 Prize of the Czech Union of Visual Artists of the Czech Republic, 9th International Biennial of Drawing Pilsen (CZ)
 2016 Special Award by the Jury - Osten Biennial of Drawing 2016, Skopje (MK)

Collections
 Slovak National Gallery, Bratislava
 Galéria mesta Bratislavy, Bratislava
 East-Slovakian Gallery, Košice
 Central Slovakian Gallery, Banská Bystrica
 J. Koniarek Gallery, Trnava
 M. A. Bazovský Gallery, Trenčín
 National Gallery, Praha (CZ)
 Moravská galerie, Brno (CZ)
 Osten Museum of Drawing, Skopje (MK)
 Muzeum Archidiecezjalne, Katowice (PL)
 Miejska Galeria Sztuki, Lodž (PL)
 Cremona Civic Museum, Prints Cabinet (I)
 Friske Museum, Leuwarden (N)

Works
 Mechanical Paradise (1988/1990)
 HROBONJOUR (1992)
 My Way (1993 - )
 Artwart (1997)
 Skarabeus (1997)
 Memory 2 / Unpowdered painting (1998)
 Mandala 4 / Black (1997/2000)
 Geld macht frei (2001)
 Mandala 5 (2001)
 Poppy Seed Field (2001/02)- Monochrome painting
 CLEANMONEY (2002)
 Mandala 15 (2003)
 GODSAVEUS (2003)
 The Art of kill (2004)
 WETRUSTIN (2004–07)
 Treptomachia. EN – A / How to domesticate the English language (2005/06)
 Treptomachia. DE – B / How to domesticate the German language (2006)
 WARTERAUM (2007)
 WARTEZEIT (2007)
 SUCHARATOLEST (2008)
 SLOVENSKY (2006/09)
 BESTEHLEN (2007/09)
 BESTOCKEN (2007/09)
 EINEMU (2011)
 Treptomachia.En - Wart (2011)
 Treptomachia.Sk - Vanitas (2011)
 Art after Poetry 6 / IAMAPHERIPHERALARTIST (2011–12)
 Art after Poetry 7 / IAMAPSEUDOCONCEPTUALARTIST (2012)
 Art after Poetry 8 / IAMACHECHEN (2012)
 WHYENTARTAINMENT, 2013
 Travesty.wd.5 / EINTOTESKAPITALKUNSTEMU (2013 /14)

Books, catalogues
 VALOCH, J. – VARTECKÁ, A. 2003. Blažej Baláž. Trnava : Trnava University, East of Eden, 132 p. (In English and Slovak)
 BESKID, V. – GAJDOŠ, R. 2007. Blažej Baláž : Texts 1988 /2007. Trnava : East of Eden, Trnava University, 48 p. (In English and Slovak)
 BALÁŽ, B. 2009. The Texts of the Texts. Trnava : Trnava University, 30 p.
 ORIŠKOVÁ, M. – GAJDOŠ, R. – BALÁŽ, B. 2016. Blažej Baláž – My Way. Trnava : Typi Universitatis Tyrnaviensis, 202 p.

References

Further reading
 ž.u.m. (= URRA MUENA, Ž.).1992. Blažej Baláž. In Saur Allgemeines Künstler – Lexikon, band 6. Mϋnchen, Leipzig : K.G.Saur. (D)
 BARTOŠOVÁ, Z. 1995. Blažej Baláž. In 12th International Biennial of Small Sculpture. Murska Sobota : Galerija Murska Sobota, p. 158-159 (SL)
 GERŽOVÁ, J. 1999. Junk art. In Dictionary of World and Slovak Fine Art in the 2nd half of the 20th century. Bratislava : Kruh súčasného umenia Profil, p. 285
 VRBANOVÁ, A. 2000. New Form in Graphic Art. In RUSINOVÁ, Z. et al. 2000. Art of the 20th century. Bratislava : Slovak National Gallery, p. 114-116
 VALOCH, J. 2001. The Connotation of Powdered Painting. In Ateliér, vol.14, no.6, 22.3.2001, p. 9, Prague (CZ)
 BESKID, V. 2003. Geld macht Kunst. Macht Kunst Geld? In Profil, vol. X, no.2/2003, p. 128-131
 ADAM, R. – ROBERTSON, C. 2007. Intaglio. London : Thames & Hudson, p. 29 (UK)
 BÖHMEROVÁ, Z. – JANČÁR, I. 2007. Slovak Graphics of the 20th Century. Bratislava : City Gallery, 2007, p. 195, 285, 304, 312
  BARTOŠOVÁ, Z. 2007. 20th Century. In Art in Slovakia / Summary History of Pictures. Bratislava. Bratislava : Slovart, p. 224
 GAJDOŠ, R. 2008. The projection of linguistic thinking to contemporary fine arts.. In SCHNEIDER, J. – KRAUSOVA, L. 2008 (eds). Intermediality: Word – image – sound. Olomouc : University of J. E. Palacký, 334 p. [p. 223-229] (CZ)
 VALOCH, J. 2009. Venice In-Between Geometry and Concept. Ateliér, vol.22, no.18, p. 4, 10.9.2009 (CZ)
  GERŽOVÁ, B. 2009. From plaster to chewing gum – Author's techniques, Nitra : Nitra Gallery, p. 5, 9, 44, 45
  BESKID, V. 2009. From a Political Space toward a Public One. In KOWOLOWSKI, F. (ed.) 2009. Formats of Transformation 89 – 09 / Seven views on the new Czech and Slovak identity. Brno : House of Art, p. 14 – 17, 200 (CZ)
  KNÍŽÁK, M. – VLČEK, T. (eds.). 2009. 909 / Art from the Turn of the Millennium in the National Gallery in Prague 1990 - 2009. Prague - National Gallery, p. 362 (CZ)
  GAJDOŠ, R. 2010. Conceptual Text / Genesis and Metamorphosis. Trnava : Typi Universitatis Tyrnaviensis and Veda, p. 11, 12, 76, 87, 89, 99, 101, 104, 105, 128 (SK)
  BESKID, V. 2012. Rónaiová's Cuts by Social Art. In Veronika Rónaiová's Social Investigation 2. Trnava : Typi Universitatis Tyrnaviensis, p. 6-7
  GAJDOŠ, R. 2012. In Veronika Rónaiová's Social Investigation 2. Trnava : Typi Universitatis Tyrnaviensis, p. 10, 13
  GREGOROVÁ, L. 2012. In. BURAN, D. (ed.). 2012. Blood. Bratislava : Slovak National Gallery, p. 86-87
 BESKID, V. 2012. The image of painting in the „Picture du nouveau“. In ObraSKovo nanovo / Contemporary Slovak Painting.  Poprad : Tatranská  Gallery, p. 15
 MICHÁLEK, O. 2016. Magie otisku. Grafické techniky a technologie tisku. Brno : Barrister & Principal, s. 246, 248, 249
 GAJDOŠ, R. 2016. In Opposite Direction. In Protocollum 2016/2017. Berlin : Dickersbach Kunstverlag, p. 94-97

External links
 http://www.bbalaz.sk/
 http://www.artfacts.net/en/artist/blazej-balaz-165810/profile.html
 http://www.kunstaspekte.de/index.php?k=8735&action=webpages
 http://www.artgallery.sk/pouzivatel.php?ArtGallery_Session=f82e20a9e6d69f7b28890e45fd3bd3f1&getPouzivatel=764
 http://www.osobnosti.sk/index.php?os=zivotopis&ID=59280&mainkat=4
 :sk:Blažej Baláž
 https://web.archive.org/web/20080617073554/http://pdfweb.truni.sk/fak/katedry/kpvu/bbalaz/index.html
 http://www.gjk.sk/en/exhibition/archive-of-expositions/2009/intertext/
 https://web.archive.org/web/20080918075827/http://www.pgu.sk/archive/2007/balaz.htm
 Monochrome painting

1958 births
Living people
People from Žiar nad Hronom District
20th-century Slovak painters
Conceptual artists
Postmodern artists
Contemporary painters
Post-conceptual artists


Be Seeing You was the fifth album by Dr. Feelgood, and was released in October 1977. After the departure of Wilko Johnson, this was Dr. Feelgood's first album with guitarist Gypie Mayo.

The album reached number 55 in the UK Albums Chart in October 1977, and remained in that chart for only three weeks. It spawned their second single to enter the corresponding UK Singles Chart - "She's A Wind Up".

The album's title was a catchphrase, used by the band, taken from the cult TV series, The Prisoner, which was enjoying a revival at the time.  This theme continued on the album sleeve with the line "produced by Number 2 for Number 6", and included photos of the band in piped blazers and scarves, similar to those used in the series, and some "penny farthing" badges, although the album's front cover was photographed in the band's local pub, the Admiral Jellicoe.

Track listing
 "Ninety-Nine and a Half (Won't Do)" (Steve Cropper, Eddie Floyd, Wilson Pickett) – 3:08
 "She's a Wind Up" (Lee Brilleaux, John Martin, John Mayo, John B. Sparks) – 2:01
 "I Thought I Had It Made" (Lee Brilleaux, John Mayo) – 2:16
 "I Don't Want to Know" (Lee Brilleaux, John Mayo) – 2:42
 "That's It, I Quit" (Nick Lowe) – 2:35
 "As Long as the Price Is Right" (Larry Wallis) – 3:09)
 "Hi-Rise" (John Mayo) – 2:37
 "My Buddy Buddy Friends" (Aaron Corthon) – 2:45
 "Baby Jane" (John Bishop, Harry Nesbitt, Bernard Reed, Lee Simmons, Jerry Wilson) – 2:58
 "The Blues Had a Baby, and They Named It Rock & Roll (#2)" (Brownie McGhee, McKinley Morganfield) – 2:20
 "Looking Back" (Johnny "Guitar" Watson) – 2:00
 "60 Minutes of Your Love" (Isaac Hayes, David Porter) – 2:25

Personnel
Dr. Feelgood
 Lee Brilleaux - vocals, guitar, harmonica
 John B. Sparks - bass guitar, backing vocals
 Gypie Mayo - guitar
 The Big Figure (John Martin) - drums, backing vocals
Technical
 Paul Carrack - keyboards
 Nick Lowe - producer
 Paul Henry - cover design
 Keith Morris - photography

References

External links
 Album lyrics @ Lyrics.doheth.co.uk

1977 albums
Albums produced by Nick Lowe
United Artists Records albums
Dr. Feelgood (band) albums


Tina Moore (born October 17, 1970, in Racine, Wisconsin) is an American R&B musician. She scored two top 20 hit singles in the UK in 1997 with "Never Gonna Let You Go" (#7) and "Nobody Better" (#20). Both singles are UK garage remixes of songs from her 1995 album Tina Moore.

Discography

Studio albums

Singles

References

External links

1970 births
Living people
American contemporary R&B singers
Musicians from Racine, Wisconsin
20th-century African-American women singers
21st-century African-American women singers
20th-century American women singers
20th-century American singers
21st-century American women singers
UK garage singers
RCA Records artists
Scotti Brothers Records artists


Club de Fútbol Ribamontán al Mar is a football team based in Galizano, Ribamontán al Mar in the autonomous community of Cantabria. Founded in 1971, the team plays in Tercera División – Group 3. The club's home ground is Baceñuela, which has a capacity of 3,000 spectators.

History
In the 2018-19 season the club appeared in Tercera División after a four-years break, spent in Regional leagues. This season the club managed to remain its place in Tercera División, Group 3 by finishing 11th.

Season to season

28 seasons in Tercera División

References

External links
 Futbolme.com profile
 Profile on City Hall

Football clubs in Cantabria
Association football clubs established in 1971
1971 establishments in Spain


Odadar' is a coastal village  from Porbandar, in the state of Gujarat, India. It has a population of around 4000 and is known for the many stone quarries in its vicinity. It is the original village of Odedra Mer people, and has a large temple for Gorakshanath the guru of the Odedras. Also, a temple for Shikoter Maa is to be found in this village the kuldevi for Odedras.

References

Villages in Porbandar district


Jean-Baptiste Billot (15 August 1828, Chaumeil, Corrèze – 31 May 1907, Paris) was a French general and politician.

Life
Jean-Baptiste Billot entered the École spéciale militaire de Saint-Cyr in 1847, and on leaving it in 1849 joined the staff with the rank of sous-lieutenant.  His Republican convictions led to his voting no in the plebiscite of 1851 according full powers to Louis-Napoléon Bonaparte. Even so, he pursued a brilliant military career under the Second French Empire, promoted to lieutenant in 1852 then captain in 1854.  He received the légion d'honneur in 1859. Billot participated in the Mexico expedition (1861–1867) :  commandant of the state of Chihuahua then of Querétaro with the rank of chef d'escadrons (1863, he was mentioned 7 times in dispatches and received the cross of an officer of the légion d'honneur in 1867. He refused the post of under-secretary of state for war under emperor Maximilian.  On his return to France, he made a rich marriage and in 1869 was named Chief of staff of the province of Constantine with the rank of lieutenant-colonel.

He fought in the Franco-Prussian War, at first as Chief of staff under general Laveaucoupet, commander of the 3rd Infantry Division integrated into 2nd Army Corps of general Frossard.  Billot participated in the battles of Sarrebruck, Forbach where he was mentioned in dispatches, Borny and Noiseville.  He managed to escape after the capture of Metz and put himself in the service of the Government of National Defence.  He was promoted to colonel, then général de brigade and provisional général de division. Chief of staff then commander of the 18th Army Corps, Billot was beaten at Beaune-la-Rolande on 28 November 1870.  Confirmed as permanent général de brigade, he fought in the battle of Villersexel in January 1871.

Billot was elected deputy for Corrèze in 1871 as a member of the Gauche républicaine parliamentary group, before representing this département as "sénateur inamovible" from 1875, sitting among the Republicans.  Promoted to général de division in 1878, he received the command of the 1st Infantry Division in 1879, then of the 15th Army Corps, a post in which he organised the embarkation of the troops for the expedition of Tunisia from 1880 to 1881.  In 1882 he was minister for war in the second ministry of Charles de Freycinet (1882), the ministry of Charles Duclerc (1882–83) and that of Jules Méline (1896–98).  During his time as minister he saw the Dreyfus affair and in 1882 appointed Georges Ernest Boulanger director of infantry at the war office.  He alternated military commands with political posts: vice-president of the Conseil supérieur de la Caisse des offrandes nationales and member of the Conseil supérieur for war from 1883 to 1896, commander of the 1st Army Corps from 1884 to 1888, then minister for war in the Méline government from 1896 to 1898.  Grand-Cross of the Légion d'Honneur in 1896 and Médaille militaire in 1897, general Billot was also grand-cross of the order of Cambodia, then a French protectorate, in 1898 and of the order of the Crown of Romania.

He was implicated by Émile Zola of conspiracy to frame Alfred Dreyfus, a Jewish officer, for espionage in an 1898 open letter J'Accuse…!. In it Zola accuses General Billot of having held in his hands absolute proof of Dreyfus's innocence and covering it up. The case, known as the Dreyfus affair, captivated and divided France.

1828 births
1907 deaths
People from Corrèze
Politicians from Nouvelle-Aquitaine
Opportunist Republicans
French Ministers of War
People of the Second French Empire
Members of the National Assembly (1871)
French life senators
French generals
Second French intervention in Mexico
French military personnel of the Franco-Prussian War
Grand Cross of the Legion of Honour
Knights Grand Cross of the Royal Order of Cambodia
People associated with the Dreyfus affair


This is a list of notable Barbadian British people (i.e. Barbadian immigrants to the UK and British-born individuals of Barbadian ethnic or national origin).

 Nigel Benn, former boxer
 Dennis Bovell, reggae musician and producer
 Ashley Cole, England international footballer, Bajan father
 Carl Cox, techno DJ, born in Barbados
 Des'ree, singer, Bajan father
 Digga D, rapper
 Livvi Franc, singer-songwriter
 Fredo, rapper
 Kieran Gibbs, England and Arsenal F.C. footballer, Bajan father
 David Harewood, actor
 Guy Hewitt, High Commissioner 2014-2018 and Activist for the Windrush Generation
 Chris Jordan, cricketer
 Jofra Archer, cricketer
 Shaznay Lewis, singer-songwriter, member of All Saints, Bajan father
 Mark Morrison, singer
 Redd Pepper, voice actor
 Nevada Phillips, cricketer
 Leigh-Anne Pinnock, member of British girl group Little Mix
 Oliver Skeete, showjumper, born in Speightstown
 Moira Stuart, newsreader and broadcaster, Bajan father
 Sir Michael Stoute, thoroughbred horse trainer, born in St. Michael's Parish
 Swarmz, rapper
 Walter Tull, footballer and British army officer, his father Daniel Tull was born in Barbados
 Alison Hinds, popular female Barbadian Soca singer, (born in England to  Barbadian parents)
 Gary Younge, journalist, author and broadcaster
 Benjamin Zephaniah, writer and poet, Bajan father
 La'Vere Corbin-Ong, footballer (Barbadian) father)
 Rhian Brewster, footballer (Barbadian) father)

See also
 Barbadian British
 List of Barbadians
 List of Barbadian Americans
 Barbadian Canadians

References

External links
 National Council of Barbadian Associations (UK)

Barbadian
Barbadian Britons


The Dorset Ooser () is a wooden head that featured in the 19th-century folk culture of Melbury Osmond, a village in the southwestern English county of Dorset. The head was hollow, thus perhaps serving as a mask, and included a humanoid face with horns, a beard, and a hinged jaw which allowed the mouth to open and close. Although sometimes used to scare people during practical jokes, its main recorded purpose was as part of a local variant of the charivari custom known as "skimity riding" or "rough music", in which it was used to humiliate those who were deemed to have behaved in an immoral manner.

The Dorset Ooser was first brought to public attention in 1891, at which time it was under the ownership of the Cave family of Melbury Osmond's Holt Farm. After travelling with Edward Cave to Somerset, the Ooser went missing around 1897. Since then, various folklorists and historians have debated the origins of the head, which has possible connections to the horned costumes sometimes worn by participants in English Mummers plays. The folklorists Frederick Thomas Elworthy and H. S. L. Dewar believed that the head was a representation of the Devil and thus was designed to intimidate people into behaving according to the local community's moral system. Conversely, the folklorist Margaret Murray suggested that it represented a pre-Christian god of fertility whose worship survived in Dorset into the modern period, although more recent scholarship has been highly sceptical of this interpretation. The etymology of Ooser is also disputed, with various possibilities available.

In 1975 a replica of the original Ooser was produced by John Byfleet, which has since been on display at Dorset County Museum in Dorchester. This mask retains a place in Dorset folk culture, being removed from the museum for use in local Morris dancing processions held by the Wessex Morris Men on both St. George's Day and May Day. The design of the Ooser has also inspired the production of copies which have been used as representations of the Horned God in the modern Pagan religion of Wicca in both the United Kingdom and United States.

Description and etymology
A wooden head, the Dorset Ooser had been cut from a single block of timber, with the exception of the lower jaw, which was movable and connected to the rest of the mask by leather hinges. The lower jaw could be moved by pulling on a string which passed through a hole in the upper jaw to connect to the lower. The mask also contained locks of hair on either side of its head, a beard on its chin, and a pair of bullock's horns. Between the Ooser's eyes was a rounded boss, the meaning of which is unknown. The Ooser was hollow, allowing someone to place their own head within it, potentially permitting it to be worn as a mask whilst being supported on the shoulders; however, there were no holes allowing for the wearer to see while wearing it in this way. The historian Ronald Hutton described the Ooser as "a terrifying horned mask with human face, staring eyes, beard, and gnashing teeth". Similarly, the folklorist H. S. L. Dewar stated that "the expression of the eyes [conveyed] a really agonized spirit of hatred, terror, and despair".

The term "Ooser" was pronounced with a short, quick s by villagers as Osser. It is unclear if the head itself was the Ooser, or whether it instead was designed as a depiction of an entity called the Ooser. Dewar suggested the possibility that it might have been connected to the term Wurse, used for the Devil in Layamon's Brut, or to the 17th-century Italian term Oser, again used for the Devil. Alternately, he suggested that it might be a derivative of Guisard or Guiser, two old terms for a mummer. Hutton instead proposed that Osser possibly derived from Wooset, a term used in the dialect around Wiltshire to refer to a pole upon which a horse's skull with deer's horns was affixed. This Wooset was recorded as having been paraded by youths in the Marlborough district until the 1830s, where it was used to mock neighbours whose partners were suspected of marital infidelity, the horns being a traditional sign of cuckoldry. Similar traditions have been recorded in Wiltshire and Somerset, where they can be traced back to at least the early 17th century.

History
The first public mention of the Dorset Ooser was in an 1891 edition of Somerset and Dorset Notes and Queries, where it was the subject of an article by the journal's editor, Charles Herbert Mayo. The head was, at the time, in the possession of Thomas Cave of Holt Farm in Melbury Osmond; the editor noted that it had been owned by Cave's family from "time out of mind". Cave had stated that it had formerly been kept in an "old malt-house" in the village, "where it was an object of terror to children who ventured to intrude upon the premises". Mayo noted that it was "possibly the only example now in existence, or at any rate from one of the very few which may still survive in the County", adding that Cave was "willing to dispose of this mask to a lover of objects of antiquarian interest".

At some point before 1897, another member of the family, the doctor Edward Cave, left Holt Farm and moved to Crewkerne in Somerset, taking the Ooser with him. In 1897, he relocated to Bath, leaving the Ooser with his family coachman; when Edward Cave subsequently tried to recover the head, he was informed that it had been "disposed of", with some suggestion that it had found its way to the United States. In 1935, a folklore collector named S. A. Ramsden undertook enquiries into the fate of the head at the prompting of the Egyptologist and folklorist Margaret Murray. His enquiries led him to meet with Cave's coachman, Lawrence, who – after Cave left Crewkerne – had subsequently served as the coachman for Cave's replacement, a doctor by the name of Webber. Lawrence said that Cave left the head in his house in the village, where it was hung up in a loft and began to fall apart; Lawrence recalled wearing it to frighten people during a parade around 1900, at which time the hair was falling out. He said that the house was later pulled down, with the head probably still inside it, in order for a local post office to be constructed in its place.

Usage and origins
In Somerset and Dorset Notes and Queries, Charles Herbert Mayo noted that "no recollection of its ever being made use of is retained", although thought that "it may plausibly be conjectured" that the Ooser was used in "village revels, and at similar times of rustic entertainment". The following year, the curator of the Dorset County Museum, Henry Joseph Moule, published a note in the same journal relating that their childhood nurse, who was from the village of Cerne Abbas, had talked about the head, and had referred to it as the "Wurser". Moule added that it was "surely" used in Mummers' plays performed at Christmas time.
Dewar, after subsequent research, reported the recollections of K. G. Knight—a member of the Melbury Estate staff—that inhabitants of Melbury Osmond associated the head with a folk custom known as "Skimity Riding" or "Rough Music". In this custom, someone accused of "husband-beating, scolding, sexual unfaithfulness or irregularity, and cuckoldry" was made to ride on a donkey or horse, facing the direction of the animal's tail, while the assembled crowd made much noise by beating frying pans, kettles, bulls' horns, and bones. In Melbury Osmond, the Ooser was brought out into the crowd at such an occasion. Similar forms of "mob-punishment" were recorded in parts of neighbouring Devon, where the act was termed "Skimmety Riding", "Skimmington", and "Skivetton". As he deemed it too heavy to be carried or worn by an individual, the historian of folklore Peter Robson later suggested that the Ooser might originally have been mounted in a carnival procession.

Dewar also recorded the villagers' claims that the Ooser was brought to the door of a tallet in order to scare the local children, and that it was also used to scare adults on some occasions. Knight came across the claim that it was once used to frighten a stable hand, who jumped through a window to escape it, and in doing so "so injured himself that his life was despaired of". Dewar further drew comparisons with the horned masks sometimes worn during Mummers' plays. He noted that in a case of a group of Christmas Wassailers at Kingscote, Gloucestershire, a man was "dressed in a sack, his head in a real bull's face, head and horns complete". Another case highlighted by Dewar was taken from an account provided by G. W. Greening of Dorchester, in which a member of the Bradstock Mummers was dressed as Beelzebub. Given these similarities, Dewar ultimately suggested that the Ooser was "likely enough an off-shoot from the 14th century and later Mummers' plays". The antiquary Frederick Thomas Elworthy expressed the view that the Dorset Ooser was "the probable head" of a hobby horse. The folklorist E. C. Cawte, in his in-depth study of the hobby horse tradition in English folk culture, stated that although both entailed dressing up in an animalistic costume, the Ooser had no clear connection with this tradition.

Elworthy suggested that the Ooser was a depiction of the Devil, an idea supported by Dewar, who believed that, as the Devil, its imagery was "intended to inspire terror in the minds of the foolish and the wicked". Conversely, others have suggested that it is a depiction of a pre-Christian god. In her 1931 book The God of the Witches, Margaret Murray connected the Ooser to her version of the witch-cult hypothesis—the idea that those tried as alleged witches were adherents of a surviving pre-Christian fertility religion—claiming that the mask was a cult item that reflected continuing worship of the cult's Horned God. Murray's hypothesis is now discredited. The historians Jeffrey B. Russell and Brooks Alexander have stated that "today, scholars are agreed that Murray was more than just wrong [regarding the existence of the witch-cult] – she was completely and embarrassingly wrong on nearly all of her basic premises". The Ooser's pre-Christian origin theory was echoed in the Reader's Digest encyclopaedia of British folklore, Folklore, Myths and Legends of Britain, where it was described as "the idol of a former god of fertility". A gold embossed image of the Ooser was included on the front of the black clothbound encyclopaedia.  Although not believing that the Ooser was a specific depiction of a surviving pre-Christian deity, Dewar suggested that the imagery of the Devil, and thus of the Ooser, was originally drawn from the pre-Christian gods of "phallic or fertility worship".

Contemporary usage and influence

In 1975 the local Morris dancer John Byfleet made a replica of the original Ooser, which he carved from a log using a penknife. This replica is on display at Dorset County Museum in Dorchester. It is taken from the museum twice a year, on May Day and St. George's Day, when it is used by the Wessex Morris Men as part of their seasonal festivities. In 2005, a journalist from The Guardian reported on a dawn ceremony performed by the troupe on May Day atop Giant Hill near Cerne Abbas. The ceremony involved one member carrying the Dorset Ooser replica atop his head, with other Morris men dancing around him; after the rite they proceeded, still dancing, to a local pub, the Red Lion. In summer 2006, the Wessex Morris Men took the replica to Melbury Osmond for the first time, where they performed a dance in a local street.

Murray's interpretation of the Ooser was embraced by Doreen Valiente, an earlier practitioner of the modern Pagan religion of Wicca, who stated that the mask "is certainly connected with the Old Religion [i.e. the witch-cult], and that from a long way back". The Gardnerian Wiccan Melissa Seims suggested that the iconography of the Ooser was an influence on the design of the Head of Atho, a statue of the Wiccan Horned God created by Raymond Howard in mid-20th century England. Wiccans in the Minnesota area of the United States make use of a head with stag antlers that they term the Minnesota Ooser. Representing the religion's Horned God, it is kept on an altar and brought out for use in Sabbat rituals.

References

Footnotes

Bibliography

External links

"The Dorset Ooser" at Dorset County Museum's WordPress blog
"The Dorset Ooser" at the Dark Dorset website
"The Dorset Ooser", a study by Daniel Patrick Quinn
"Spotlight on SDNQ: Christmas traditions" on the SDNQ website

Ooser
English folklore
Horned deities
Masks in Europe
Morris dance
Ritual animal disguise
Ritual masks


These are the results of the women's K-1 slalom competition in canoeing at the 2000 Summer Olympics. The K-1 (kayak single) event is raced by one-person kayaks through a whitewater course.  The venue for the 2000 Olympic competition was at the Penrith Whitewater Stadium.

Medalists

Results

Qualifying
The 20 competitors each took two runs through the whitewater slalom course on 17 September. The combined score of both runs counted for the event with the top 15 advancing to the final round the following day.

Final
15 competitors each took two runs through the whitewater slalom course on 18 September. The combined score of both runs counted for the event.

References

2000 Summer Olympics Canoe slalom results.
Sports-reference.com 2000 women's slalom K-1 results
Wallechinsky, David and Jaime Loucky (2008). "Canoeing: Women's Kayak Slalom Singles". In The Complete Book of the Olympics: 2008 Edition. London: Aurum Press Limited. p. 496.

Women's Slalom K-1
Olympic
Women's events at the 2000 Summer Olympics


In the City is the second studio album by American musician Kevin Rudolf which featured guest appearances from Lil Wayne, Nas, Rick Ross and Birdman. It was released nationwide, physically and digitally, on November 24, 2008, via Cash Money Records and Universal Republic. Every song on the album was produced and written by Rudolf. "She Can Get It" was a production collaboration between Rudolf and Chad Hugo of The Neptunes.  "Let It Rock" was the first single released from the album. The song "NYC" was featured on an episode of CSI: NY and "Let It Rock" was featured on the Melrose Place pilot and The Hills as well as being featured as the theme song for the 2009 WWE Royal Rumble. The album has sold 102,000 copies in the US.

The album's first single, "Let It Rock" reached number 2 on the Canadian Hot 100, number 5 on the U.S. Billboard Hot 100, number 3 on the Australian ARIA charts and number 4 on the Irish Singles Chart.

"Welcome to the World", the version featuring Kid Cudi, is the second single released in February 2009, and reached number 58 on the US Hot 100 and peaked at number 42 on Australia's Aria Singles Chart.

Promotion
On February 25, 2009, Kevin Rudolf announced a 22-city U.S. tour with Hyper Crush, Cash Cash, The Audition and Go Crash Audio as supporting acts, beginning in Nashville's Rocketown venue and finishing at Baltimore's Sonar Nightclub.

Critical reception

In the City was met with "mixed or average" reviews from critics. At Metacritic, which assigns a weighted average rating out of 100 to reviews from mainstream publications, the album received an average score of 53 based on 9 reviews.

Mikael Wood from Entertainment Weekly said that Rudolf "steps out with a weirdly infectious debut that mixes his rap-track know-how with his love of guitar-god theatrics. (Think "Beat It," not Limp Bizkit.)" Billboard writer Gary Graff noted how the record consisted of songs ranging from the "thumping, synthesizer-heavy club anthems" found in the featured rap collaborations to the more "mellower moments ("I Song", "Scarred")". He concluded that the closing track "Great Escape" "displays some of the chops that could ultimately separate him from the pack." AllMusic's David Jeffries highlighted the Lil Wayne and Rick Ross-featured tracks but felt the album overall was filled with "cringe-worthy" lyrics and "so-so filler", concluding that: "In the City gets by on hooks and hugeness, like an irony-free Andrew W.K., Timbaland working with Aerosmith, or a jaded version of the Jonas Brothers now willing to drop the F-bomb." Alex Sheremet of RapReviews wrote that: "In the City offers good production, excellent melodies, and – of course – the same song, idea(s), and kinds of guest appearances many times over. Still, I'd recommend it as a blueprint for potential. It's also good to enjoy on a visceral level, if you're interested in that sort of thing."

Rolling Stones Christian Hoard said that despite the Lil Wayne-assisted single, he found the rest of Rudolf's debut to be "a middling rock record dressed up in sleek digital clothes." Evan Sawdey from PopMatters was critical of Rudolf's clumsy lyrical output on being above the dark side of achieving fame and celebrity culture, showing "very little musical variation" beyond the "Let It Rock" formula and felt the "token acoustic tracks ("I Song" and "Scarred")" were interchangeable from each other, concluding that: "If anything, Rudolf does show promise beyond that of just a simple studio session man. He has some solid ideas and keen sense of production; the problem is that his solo songs, by and large, suffer from a frightening lack of creativity and a remarkably shallow lyrical outlook." Pitchfork contributor Ian Cohen panned In the City for taking the dumb parts of "80s corporate rock" without any sense of fun and having "little indication it was constructed by real people in real time." He concluded by sarcastically writing: "But just in case you're taking a half-full approach to Rebirth, you might want to hear this first."

Track listing
All tracks produced by Kevin Rudolf; track 10 co-produced by The Neptunes

Chart performance

References

2008 debut albums
Kevin Rudolf albums
Cash Money Records albums
Universal Records albums
Albums produced by the Neptunes
Electronic rock albums by American artists


Filipp Olegovich Yankovsky () is a Russian actor and film director. He was born on October 10, 1968, to actor Oleg Yankovsky.

Life and career
Filipp Yankovsky was born October 10, 1968, in Saratov in the family of actors Oleg Yankovsky and Lyudmila Zorina. At that time, his parents played at the Saratov Drama Theater. When Filipp turned four, the family moved to Moscow.

His first role as an actor was in the 1974 film The Mirror by Andrei Tarkovsky. In the same year he had an uncredited role in Under a Stone Sky. Filipp's first role as a grown-up was in Sentimental Journey to Potatoes (1986).

In 1990 he graduated from the Moscow Art Theater School (Oleg Tabakov's course). Then he studied at VGIK from 1990 until 2004 at the directing faculty (workshop of Vladimir Naumov).

Yankovsky began his directorial career with music videos — he has made approximately 150 music videos. In 1997, he was nominated for the Ovation Award as the best music video director.

He made his directorial debut in 2002 with the feature film In Motion, for which he was awarded the "Discovery of the Year" prize at the Nika Awards in 2003 and the audience award at Kinotavr. The film was about Sasha Guriev (Konstantin Khabensky), a successful and charming journalist who suddenly realizes that he has found compromising evidence on his politician friend.

His next directorial work was the 2005 screen version of Boris Akunin's detective novel The State Counsellor. Oleg Menshikov, Nikita Mikhalkov and Konstantin Khabensky were the lead actors of the picture. In 2006 he directed The Sword Bearer which starred Artyom Tkachenko and Chulpan Khamatova.

Personal life

Family
Wife - Oksana Fandera, actress; children:
Son - Ivan Yankovsky (born October 30, 1990), actor.
Grandson - Oleg Yankovsky (b.2021).
Daughter - Elizaveta Yankovskaya (born May 1, 1995).

Health
When Filipp was 41, he was diagnosed with lymphoma. In 2016 it was reported that Yankovsky has been cured from stage III cancer, after undergoing chemotherapy seven times.

Selected filmography
As actor:

 1974 The Mirror (Зеркало) as 5-year-old Alyosha
 1986 Sentimental Journey to the Potato (Сентиментальное путешествие на картошку)
 1991 Afghan Breakdown (Афганский излом) as Nikita Steklov, senior lieutenant
 2005  The State Counsellor (Статский советник) as a drunk hussar
 2011 Raspoutine (Распутин) as  Felix Yusupov
 2013 The Three Musketeers (Три мушкетера) as Louis XIII of France
 2014 Wonderworker (Чудотворец) as Nikolai Arbenin
 2016 Mysterious passion (Таинственная страсть)  as Yan Tushinsky
 2016 Brutus (Брут) as Horst
 2022 We (Мы)
As director
 2002 In Motion (В движении)
 2005  The State Counsellor (Статский советник)
 2006 The Sword Bearer (Меченосец)
 2008 Rock Head (Каменная башка)

References

Bibliography
 Holmstrom, John. The Moving Picture Boy: An International Encyclopaedia from 1895 to 1995. Norwich, Michael Russell, 1996, p. 371.

Russian male actors
1968 births
Russian film directors
Living people
Russian people of Polish descent
Recipients of the Nika Award
Soviet male actors
Moscow Art Theatre School alumni
Actors from Saratov


Voltage optimisation is a term given to the systematic controlled reduction in the voltages received by an energy consumer to reduce energy use, power demand and reactive power demand.  While some voltage 'optimisation' devices have a fixed voltage adjustment, others electronically regulate the voltage automatically.

Voltage optimisation systems are typically installed in series with the mains electrical supply to a building, allowing all its electrical equipment to benefit from an optimised supply.

Background
Voltage optimisation is an electrical energy saving technique which is mainly installed in series with the mains electricity supply to provide a reduced supply voltage for the site's equipment. Typically, voltage optimisation can improve power quality by balancing phase voltages and filtering harmonics and transients from the supply, although not always. Voltage optimisers are essentially transformers used to deliver power at a reduced voltage from the raw mains supply.

The term voltage optimisation is frequently misused, as the term implies some form of selective voltage reduction, which will improve the energy consumption within a building, whereas generally these units consists of a transformer within a box, offering no selectivity and dropping voltage on all supplies, whether this would offer a commercial benefit or not.  Some VO units have been installed on high frequency lighting circuits, offering little or no commercial benefit, therefore one must be careful when the term is used.

Most VO units are installed in commercial premises, in between the raw mains transformer and main low voltage distribution board. However, this provides for no selectivity and in electrical engineering terms is considered a poor solution. A full study should be undertaken by the facilities manager and VO company, to select which supplies could benefit the owner by reducing the voltage and which supplies would give no commercial benefit. This way the owner only purchases a VO of the correct size and not one that's for all supplies. Installing a VO unit to 'optimise' all supplies would give a longer return on investment, a higher capital outlay and makes little commercial sense.

United Kingdom

The declared low voltage electricity supply in the United Kingdom as per the Electrical Safety, Quality and Continuity Regulations 2002, is now 230 V with a tolerance of +10% to -6%. This means that supply voltage can theoretically be anywhere between 216 V and 253 V depending on local conditions. However, the average voltage supplied from the national grid (in mainland UK) is 242 V, compared to the typical European voltage of 218-222 V. (The average supply voltage in Northern Ireland is around 239 V, and 235 V in the Republic of Ireland.)

Older electrical equipment manufactured for the UK was rated at 240 V, and older equipment manufactured for Continental Europe was rated at 220 V (see Worldwide Mains Voltages). New equipment should be designed for 230 V. A mixture of equipment is likely to be found in older premises. All equipment placed on the market within the E.U. since voltage harmonisation in 1995 should operate satisfactorily at voltages within the range 230 V +/-10%. Equipment rated at 220 V should operate satisfactorily down to 200 V. By efficiently bringing supply voltages to the lower end of the statutory voltage range, voltage optimisation technology could yield average energy savings of around 13% .

The higher the voltage the higher the power consumption in the case of a pure resistance load.  A reduction in voltage does not affect the energy used by the domestic appliances which use resistive loads except in devices such as kettles and toasters which will take longer to do their job due to atmospheric losses.  The main commercial benefit when installing VO units, is on inductive loads, like motors which run pumps, fans and the like. In the home, the potential energy saving can be up to 12% on electricity bills. A VO device will lower the voltage to the most efficient level to maximise the savings on electricity consumption, so you may notice certain things taking a little longer, such as a kettle may take a little longer to boil.

It is a common misconception that fridges and freezers do not provide savings through voltage optimisation because they are fitted with a thermostat. Fridges and freezers operate completely differently from resistive heating devices. If a resistive heating device is driven from a higher voltage the result is heat which is helpful in its intended purpose (heating). If a fridge or freezer is driven from a higher voltage the result is also heat however this is not helpful in its intended purpose (cooling). The compressor motor power output is reduced slightly by voltage optimisation so the fridge/freezer thermostat will keep the motor on a little longer however overall the effect is for the motor to run slightly longer at much lower losses. Tests at Manchester university showed a 10 °C reduction in motor temperature under voltage optimisation due to the reduced losses in the motor.

Common power quality problems

Overvoltage
Overvoltage refers to voltage higher than the voltage at which equipment is designed to operate most effectively. It can cause a reduction in equipment lifetime and increases in energy consumed with no improvement in performance. A commentary on the Wiring Regulations BS 7671 makes the following statements in relation to overvoltage:
"A 230 V rated lamp used at 240 will achieve only 55% of its rated life" (referring to incandescent lamps) and
"A 230 V linear appliance used on a 240 V supply will take 4.3% more current and will consume almost 9% more energy".

Various technologies can be used to avoid overvoltage, but it must be done so efficiently so that energy savings resulting from using the correct voltage are not offset by energy wasted within the device used to do so. Reliability is also important, and there are potential problems inherent in running full incoming power through electro-mechanical devices such as servo-controlled variable autotransformers.

Undervoltage refers to voltage lower than the voltage at which equipment is designed to operate most effectively. If the design of the VO does not take into consideration voltage drop over distance to remote power users, then this may lead to premature equipment failure, failure to start up, increased temperature in the case of motor windings and loss of service.

Harmonics
Harmonics are current and voltage waveforms at multiples of the fundamental frequency of the 50 Hz (or 60 Hz) main supply. Harmonics are caused by non-linear loads, which include power supplies for computer equipment, variable speed drives, and discharge lighting. "Triplen" harmonics (odd multiples of the third harmonic) result when phase voltages are not balanced in a three phase power systems and add in the neutral, causing wasteful currents to flow.

The possible effects if the level of harmonics, known as total harmonic distortion becomes too high include damage to sensitive electronic equipment and reduction in the efficiency of the HV transformer. The efficiency of electrical loads can be improved by attenuating harmonics at the supply, or by preventing their generation.  Some voltage optimisation devices also mitigate harmonics, reducing losses associated with harmonic content on the electrical system.

Transients
Transients are large, very brief and potentially destructive increases in voltage. Their causes include lightning strikes, switching of large electrical loads such as motors, transformers and electrical drives, and by switching between power generation sources to balance supply and demand. Although they typically only last thousandths or millionths of a second, transients can damage electronic systems causing data loss, degrading equipment components and shortening equipment life.  Some voltage optimisation devices include transient protection.

Phase voltage imbalance
Industrial and commercial sites are supplied with 3-phase electricity. Imbalance between the phases causes problems such as heating in motors and existing wiring, leading to wasteful energy consumption. Some voltage optimisation devices are able to improve balance on the building's electrical supply, reducing losses and improving the longevity of three phase induction motors.

Power dips
Power dips are reductions in voltage, mostly of short duration (<300 ms) but sometimes longer. They may cause a number of problems with equipment, for example contactors and relays may drop out causing machinery to stop. There are a number of low voltage ride through techniques including Uninterruptible Power Supplies, the use of capacitors on low voltage DC control circuits, the use of capacitors on the DC bus of Variable Speed Drives. Care must be taken that Voltage Optimisation measures do not reduce the voltage to an extent that equipment is more vulnerable to power dips.

Power factor and reactive power

The power factor of an electrical supply is the ratio of the real power to the apparent power of the supply. It is the useful power used by the site divided by the total power that is drawn. The latter includes power that is unusable, so a power factor of 1 is desirable. A low power factor would mean that the electricity supplier would effectively supply more energy than the consumer's bill would indicate, and suppliers are allowed to charge for low power factors.

Reactive power is the name given to unusable power. It does no work in the electrical system, but is used to charge capacitors or produce a magnetic field around the field of an inductor. Reactive power needs to be generated and distributed through a circuit to provide sufficient real power to enable processes to run.
Reactive power increases significantly with increasing voltage as the reactance of equipment increases. Correcting this with voltage optimisation will therefore lead to a reduction in reactive power and improvement in power factor.

Effects on electrical loads

A common misconception as far as Voltage Optimisation is concerned is to assume that a reduction in voltage will result in an increase in current and therefore constant power. Whilst this is true for certain fixed-power loads, most sites have a diversity of loads that will benefit to a greater or lesser extent with energy savings aggregating across a site as a whole.  The benefit to typical equipment at three phase sites is discussed below.

Three phase motors
Three phase induction motors are probably the most common type of three phase load and are used in a variety of equipment including refrigeration, pumps, air conditioning, conveyor drives as well as their more obvious applications. The de-rating effects of overvoltage and three phase imbalance on AC motors are well known. Excessive overvoltage results in saturation of the iron core, wasting energy through eddy currents and increased hysteresis losses. Drawing excessive current results in excess heat output due to copper losses. The additional stress of overvoltage on motors will decrease motor lifetime.

Avoiding overvoltage high enough to cause saturation does not reduce efficiency so substantial energy savings can be made through reducing iron and copper losses. However, motors designed for the nominal voltage (e.g. 400 V) should be able to cope with normal variation in voltage within the supply limits(+/-10%) without saturation, so this is unlikely to be a significant problem.

Reducing voltage to an induction motor will slightly affect the motor speed as slip will increase, but speed is mainly a function of the supply frequency and the number of poles. Motor efficiency is optimum at reasonable load (typically 75%) and at the designed voltage, and will fall off slightly with small variations either side of this voltage. Larger variations affect efficiency more.

Very lightly loaded motors (<25%) and small motors benefit most from reducing voltage.

For the case of motors driven by Variable Speed Drives, when the input voltage is reduced, there will be a proportionate reduction of the output voltage from the VSD and the motor will draw less current and eventually consume less power. However, if the motor is running on high load (>80%), the reduction in voltage will result in reduced torque and motor will end up drawing more current and power.

Lighting
When lighting loads are in use for a high proportion of the time, energy savings on lighting equipment are extremely valuable. When voltage is reduced, incandescent lighting will see a large decrease in power drawn, a large decrease in light output and an increase in lifetime, as the previous extracts from the Electricians Guide illustrate. Since the decrease in light output will exceed the decrease in power drawn, the energy efficiency - luminous efficacy - of the lighting will drop.

However, other types of lighting can also benefit from improved power quality, including systems with resistive or reactive ballasts. Fluorescent & discharge lighting is more efficient than incandescent lighting. Fluorescent lighting with conventional magnetic ballasts will see a reduced power consumption, but also a reduced lumen output from the lamp. Fluorescent lamps on modern electronic ballasts will use approximately the same power and give the same light.

To provide the same wattage at the reduced voltage will require a greater current and increase cable losses. However, lighting controllers and ballasts are responsible for generating high levels of harmonic distortion, which can be filtered with some types of voltage optimiser, in addition reducing the need for lighting controllers.
A common concern is that some lighting will fail to strike at lower voltages. However, this should not occur since the aim of voltage optimisation is not simply to reduce the voltage as far as possible, but to bring it to the service level voltage at which it was designed to operate most efficiently.

Heating
Heaters will consume less power, but give less heat. Thermostatically controlled space or water heaters will consume less power while running, but will have to run for longer in each hour to produce the required output, resulting in no saving.

Switched mode power supplies
Switched mode power supplies will use the same power as before, but will draw a slightly greater current to achieve this, with slightly increased cable losses, and slight risk of the increased current tripping MCBs.

Energy savings
The energy savings achieved by Voltage Optimization are an aggregation of the improved efficiency of all equipment across a site in response to the improvements in the power quality problems outlined above. It possible technique for savings in energy consumption in certain circumstances.

Research in Taiwan suggested that, for an industrial supply, for voltage reduction upstream of the transformer, there is a 0.241% decrease of energy consumption when the voltage is decreased by 1%, and an increase of 0.297% when the voltage is increased by 1%.  This assumed a mixture of loads including 7% fluorescent lighting, 0.5% incandescent lighting, 12.5% three phase air conditioners, 5% motors, 22.5% small 3-phase motors, 52.5% large 3-phase motors.

It is likely that a modern installation would have less opportunity: almost no incandescent lighting, partly high-frequency fluorescent lighting (no saving), some variable speed drives (no saving), higher motor efficiencies (so less waste to save). A northern European installation would not have the large number of small single phase motors for air conditioning.

Energy saving is possible with older lighting, at the expense of lower light output, (e.g. incandescent or fluorescent and discharge lighting with inefficient ballast or control gear). Therefore, older commercial and office premises may save more than modern buildings or industrial sites. However modern lighting systems (typically LED) will save significantly more energy due to higher efficiency than energy saved on older lighting systems following installation of a voltage optimiser.

Obtaining energy savings with a voltage optimiser used with modern lighting systems is very questionable. Modern electronic switching controllers for LED or fluorescent lighting systems are designed to run the lights at optimal light output and longevity with high efficiency. Variations in supply voltage will therefore not make any difference to the overall energy use of these types of lights. However, there exist types of low cost LED and fluorescent lamp controllers which reduce the voltage by shedding energy as heat (e.g. multiple LEDs in series with a series resistance). Varying the supply voltage would affect the energy used by these types of lights, but these type of lamps are generally low power and the light output would also be affected.

Worked example
A typical 100 watt incandescent lamp has an efficiency of no more than 17.5 lumens per watt (l/W) and will therefore produce 1750 lumens at its rated voltage. A typical modern LED lamp has an efficiency of about 150 lumens per watt, and therefore requires no more than 12 watts for the same light output. According to Lamp rerating formulae, reducing the voltage across an incandescent lamp by 10% reduces the power (and therefore energy) by about 16% and reduces the light output by about 31%.

Therefore, a voltage optimiser that reduces the voltage on an incandescent lamp by 10%, will reduce the energy by 16% and light output by 31%, producing only 1210 lumens and consuming 84 watts. Changing the incandescent lamp to an LED lamp with similar light output would have reduce the consumption more effectively, down to 12 watts. Furthermore, since the light output is reduced by so much, higher savings could be made by changing to a 75 watt incandescent lamp without a voltage optimiser (1312.5 lumens assuming 17.5 L/W). The LED lamp could also be reduced in size to 8W, if only 1210 lumens is required.

See also
 Energy conservation
 Efficient energy use
 Power conditioner
 Voltage scaling

References

Electrical power control
Energy conservation
Low-energy building


Vragel da Silva (born 29 March 1974) is a Brazilian former footballer and current manager. He last worked as the manager of Oberlausitz Neugersdorf.

Career
Born in Campo Grande, Vragel da Silva began his career in Brazil for Campo Grande. He went on to play in Denmark for Brøndby, and in Germany for Karlsruher SC and SSV Ulm.

References

External links

Living people
1974 births
Footballers from Campo Grande
Men's association football defenders
Brazilian men's footballers
Brazilian expatriate men's footballers
Campo Grande Atlético Clube players
Brøndby IF players
Karlsruher SC players
SSV Ulm 1846 players
FC Energie Cottbus players
Danish Superliga players
Bundesliga players
Expatriate men's footballers in Denmark
Expatriate men's footballers in Germany


Miguel Mora Morales (born 3 June 1974) is a Spanish former footballer who played as a goalkeeper.

Club career
Born in Barcelona, Catalonia, Mora was an unsuccessful FC Barcelona youth graduate, spent his first professional years with modest clubs, also mostly in his native region. His biggest success was appearing in 27 matches in 1998–99's second division, with UE Lleida.

Mora moved to neighbouring Portugal in January 2001, first with another lowly side, Madeira's C.F. União. For the 2003–04 season he joined Rio Ave F.C. of the Primeira Liga, and was the Vila do Conde team's first choice for the vast majority of his lengthy spell.

In 2007–08, Rio Ave returned from the second tier but Mora only managed to be backup in the following two top-flight campaigns, successively to Márcio Paiva and Carlos Fernandes, playing a total of four games. He retired in June 2010, at the age of 36.

References

External links

1974 births
Living people
Footballers from Barcelona
Spanish men's footballers
Men's association football goalkeepers
Segunda División players
Segunda División B players
Tercera División players
UE Lleida players
CF Balaguer footballers
CF Gavà players
CD Binéfar players
CD Badajoz players
Primeira Liga players
Liga Portugal 2 players
Segunda Divisão players
C.F. União players
Rio Ave F.C. players
Spanish expatriate men's footballers
Expatriate men's footballers in Portugal
Spanish expatriate sportspeople in Portugal


Asociación Deportiva Siete Villas is a football team based in Castillo, Arnuero in the autonomous community of Cantabria. Founded in 1969 as Club Deportivo Siete Villas, the team plays in . The club's home ground is San Pedro, which has a capacity of 500 spectators.

History

Founded in 1969, CD Siete Villas played in the regional leagues until 1986, when they ceased activities. The club returned in 1993, under the name of SD Siete Villas, before changing to current name in 1999.

In its first season in Tercera División (2003–04) the club finished 13th. The following season was slightly better as Siete Villas finished 12th.

Club background
Club Deportivo Siete Villas – (1969–1986)
Sociedad Deportiva Siete Villas – (1993–1999)
Asociación Deportiva Siete Villas – (1999–present)

Season to season

18 seasons in Tercera División
3 seasons in Tercera Federación/Tercera División RFEF

References

External links
Futbolme team profile
Profile

Football clubs in Cantabria
Association football clubs established in 1969
1969 establishments in Spain


Arunodaya is a village development committee in Tanahu District in the Gandaki Zone of central Nepal. At the time of the 2011 Nepal census it had a population of 5008 people living in 1098 individual households.

References

External links
UN map of the municipalities of Tanahu District

Populated places in Tanahun District


Baidi, Nepal is a village development committee in Tanahu District in the Gandaki Zone of central Nepal. At the time of the 2011 Nepal census it had a population of 4551 people living in 844 individual households.

References

External links
UN map of the municipalities of Tanahu District

Populated places in Tanahun District


Barbhanjyang is a village development committee in Tanahu District in the Gandaki Zone of central Nepal. At the time of the 2011 Nepal census it had a population of 5074 people living in 1365 individual households.

References

External links
UN map of the municipalities of Tanahu District

Populated places in Tanahun District


Basantapur, Gandaki is a village development committee in Tanahu District in the Gandaki Zone of central Nepal. At the time of the 2011 Nepal census it had a population of 3415 people living in 868 individual households.

References

External links
UN map of the municipalities of Tanahu District

Populated places in Tanahun District


Sociedad Deportiva Solares-Medio Cudeyo  is a football team based in Solares, Medio Cudeyo in the autonomous community of Cantabria. Founded in 1968, the team plays in . The club plays its home games at La Estación, which has artificial turf, capacity of 1,500 spectators and a stadium bar.

History
The club was founded in 1968 with the name of Solares Sociedad Deportiva. In 2014, after the takeover of the Municipal Football School of Medio Cudeyo, the club took the denomination of Sociedad Deportiva Solares-Medio Cudeyo. In the 2016-17 season the club won Preferente Cantabria and promoted to the Tercera División.

Season to season

10 seasons in Tercera División
2 seasons in Tercera Federación

References

External links
Official website
Futbolme.com profile

Football clubs in Cantabria
Association football clubs established in 1968
Divisiones Regionales de Fútbol clubs
1968 establishments in Spain


Joseph Jogindra Ghose (born 1869 - died 1942) of Allahabad, India. Son of Jadunath Ghose of Calcutta who was one of the earliest high-caste Hindu converts to Christianity in Bengal. Graduated from St. John's College, Agra in 1890 and passed his postgraduation from Allahabad University in 1892. He started his teaching career from St. John's College, Agra. He also served as the headmaster of the Government College, Ahmedabad, and Jumna High School, Allahabad.  He studied at the American College, Beyrout, Lebanon, and was the first Indian to do a D.Litt. from a foreign university. He did his D.Litt. in "The Spoken Arabic of Syria" from the University of Edinburgh, Scotland in 1909. Founder of the Modern High School in Allahabad which is now named after him. His first wife Manorama was the daughter of Col. Kali Prasad Gupta the first Indian FRCS and niece of the first Lord Sinha of Raipur.

After the death of his first wife, he married Muriel Cuthbertson, daughter of David Cuthbertson, noted Scottish writer, poet and Librarian at the University of Edinburgh. Author of the book "Adventures with Evil Spirits." Also the elder brother of Prof. Nathaniel Nath Ghosh of St. John's College, Agra who was instrumental in framing the syllabus of geography at Agra University in the early part of the 20th century.

References

1869 births
1942 deaths
Alumni of the University of Edinburgh


Barry John Lloyd (6 September 1953 – 1 December 2016) was a Welsh cricketer.

Barry Lloyd was born in Neath, Glamorgan, Wales and educated at Bangor Normal School. He was a right-handed batsman and a right-arm off-break bowler who represented Glamorgan between 1972 and 1984 and the Wales Minor Counties XI in 1993. He captained Glamorgan in 1982 and also was awarded his county cap during the same season.

In 147 first-class matches, he scored 1,631 runs (average 11.90) and took 247 wickets (average 41.02) with a personal best of 8/70. In 95 List A matches, he scored 422 runs (average 12.41) and took 64 wickets (average 38.06) with a personal best of 4/26.

His daughter Hannah Lloyd is an ODI cricketer for the England Women XI and has also represented Somerset, West of England, Diamonds and Central Districts.

References

External links

 Profile by Andrew Hignell at CricketArchive

1953 births
2016 deaths
Glamorgan cricket captains
Glamorgan cricketers
Welsh cricket captains
Welsh cricketers
Wales National County cricketers


Ministry of Foreign Affairs and Expatriates of the Syrian Arab Republic () is a cabinet ministry of Syria, responsible for conducting foreign relations of the country. The ministry oversees the expression of Syrian foreign policy, the protection of the interests of the Syrian Arab Republic and the interests of Syrian citizens abroad, as well as the representation of the country to other countries and international organizations.

History
The responsibilities of the Ministry of Expatriates were merged on April 14, 2011.

Senior officials
The senior officials in the ministry are as follows:

Foreign ministers

The following is a list of foreign ministers of Syria since 1920:

Arab Kingdom of Syria (1918–1920)
(1920)       Awni Abd al-Hadi
(1920)       Abd al-Rahman Shahbandar
(1920)       Alaa ad-Din ad-Durubi

French Mandate for Syria (1920–1946)
(1936–1939)  Saadallah al-Jabiri
(1939)       Fayez al-Khoury
(1939)       Khalid al-Azm
(1941–1943)  Fayez al-Khoury
(1943)       Naim Antaki
(1943–1945)  Jamil Mardam Bey
(1945)       Mikhail Ilyan
(1945–1946)  Saadallah al-Jabiri

Syrian Republic (1946–1958)
(1946–1947)  Naim Antaki
(1947–1948)  Jamil Mardam Bey
(1948)       Muhsin al-Barazi
(1948–1949)  Khalid al-Azm
(1949)       Adil Arslan
(1949)       Muhsin al-Barazi
(1949)       Nazim al-Kudsi
(1949–1950)  Khalid al-Azm
(1950–1951)  Nazim al-Kudsi
(1951)       Khalid al-Azm
(1951)       Faydi al-Atassi
(1951)       Shakir al-As
(1952–1953)  Zafir ar-Rifai
(1953–1954)  Khalil Mardam Bey
(1954        Faydi al-Atassi
(1954)       Izzat Sakkal
(1954–1955)  Faydi al-Atassi
(1955)       Khalid al-Azm
(1955–1956)  Said al-Ghazzi
(1956–1958)  Salah al-Din Bitar

United Arab Republic (1958–1961)

 (1958–1961) Mahmoud Fawzi

Syrian Arab Republic (1961–present)
(1961)       Maamun al-Kuzbari
(1961)       Izzat al-Nuss
(1961–1962)  Maaruf al-Dawalibi
(1962)       Adnan Azhari
(1962)       Jamal al-Farra
(1962–1963)  Assad Mahassen
(1963)       Salah al-Din Bitar
(1963–1965)  Hassan Mraywed
(1965–1966)  Brahim Makhous
(1966)       Salah al-Din Bitar
(1966–1968)  Brahim Makhous
(1968–1969)  Muhammad Eid Ashawi
(1969–1970)  Mustapha al-Said
(1970–1984)  Abdul-Halim Khaddam
(1984–2006)  Farouk al-Sharaa
(2006–2020)  Walid Muallem
(2020–present) Faisal Mekdad

See also
President of Syria
List of presidents of Syria
Vice President of Syria
Prime Minister of Syria
List of prime ministers of Syria
Speaker of the People's Assembly of Syria
Cabinet of Syria

References

Foreign ministers
Foreign Affairs
Diaspora ministries


Dean Brody (born August 12, 1975) is a Canadian country music artist who has won 16 CCMA Awards and 2 JUNO Awards. Originally signed to Broken Bow Records in 2008, Brody made his debut later that year with the single "Brothers". This song, a Top 40 country hit in the US, was the first single from his self-titled debut album, released in 2009 under the production of Matt Rovey. In 2010, Brody was signed to Open Road Recordings and released his second album, Trail in Life. In 2012, he released his third album, Dirt, earning the 2012 CCMA Album of the Year award and a 2013 Juno nomination for Country Album of the Year. Brody also won the 2012 and 2013 CCMA Male Artist of the Year award. Brody's fourth album, Crop Circles, was released in 2013. Brody's fifth album, Gypsy Road, was released in 2015. Brody's sixth album, Beautiful Freakshow, was released in 2016, and he subsequently earned the singer 3 Awards at the 2017 CCMA Awards show, including Fan's Choice, Songwriter of the Year and Top-Selling Canadian Single of the Year for "Bush Party". In 2020, Brody landed the record for the most played song ever in a single week at Canadian country radio with "Canadian Summer", which was included on his seventh album Boys. He is the only Canadian country artist to have headlined the Budweiser Stage in Toronto for six consecutive years.

Biography
Dean Brody was born in Smithers, British Columbia and grew up in Jaffray, British Columbia. As a boy, Brody worked at a sawmill, also playing guitar in his spare time. By 2004, he had moved to Nashville, Tennessee to pursue his musical career. Although he found a songwriting contract, the expiration of his US work permit forced him to move back to Canada. Eventually, he returned to Nashville through the suggestion of producer Keith Stegall, who helped him sign with Broken Bow Records in 2008. Brody released his debut single, "Brothers", late that year. Shortly before its release, Brody was injured in a waterskiing accident on the Potomac River and had to undergo extensive reconstructive surgery. Brody lived in Windsor, Nova Scotia and Chester, Nova Scotia from 2010 to 2017. In 2020, he launched his own beer, "Hucklejack Canadian Lager". Brody has run the "Dean Brody Foundation", which supports global initiatives, since the early 2010s.

Music career

2009–2011: Dean Brody and Trail in Life
Brody's self-titled debut album was released in the United States on April 28, 2009, via the independent label Broken Bow Records. The album debuted at Number 32 on the U.S. Billboard Top Country Albums chart, and was released in Canada on May 12, 2009. "Brothers" peaked at number 26 in the US. "Dirt Road Scholar" and "Undone" were both released in Canada and "Gravity" in the United States.

The first single from Brody's second album, "Wildflower", was released in April 2010. A second single, "Roll That Barrel Out", was released in July 2010. The album, Trail in Life, was released by Open Road Recordings in August 2010. Other singles included the title track, "People Know You by Your First Name" and "Little Yellow Blanket".

2012–2014: Dirt and Crop Circles
Brody's third studio album, Dirt, was released by Open Road Recordings on April 24, 2012. Its first single, "Canadian Girls", became Brody's first song to reach the top 40 on the Canadian Hot 100 and his first certified gold digital single. Brody sold out his first headline Dirt Tour across Canada in 2012.

Brody's fourth studio album, Crop Circles, was released on November 5, 2013. The lead single, "Bounty", was released on August 19. It was followed by the title track in December 2013, "Another Man's Gold" in April 2014 and "Mountain Man" in September 2014.

2015–2017: Gypsy Road and Beautiful Freakshow
Brody's fifth studio album, Gypsy Road, was released on April 21, 2015. The lead single, "Upside Down", was released on February 9. The album's second single, "Bring Down the House", was released to Canadian country radio on May 25, 2015. The album's third single, "Love Would Be Enough", was released to Canadian country radio on October 23, 2015. The album's fourth single, "Monterey", was released to Canadian country radio in March 2016.

Brody's sixth studio album, Beautiful Freakshow, was released on October 21, 2016. The album's lead single, "Bush Party" released to Canadian country radio on 2016, and was certified Platinum by Music Canada. The album also included Brody's third number one hit "8th Day", as well as the Platinum-certified "Beautiful Freakshow" and Gold-certified "Time". In 2017, Brody headlined the Budweiser Stage in Toronto, Ontario for the first tine.

2018–2019: Black Sheep
On April 26, 2019, Brody released the EP Black Sheep, which featured four singles, "Good Goodbye", "Dose of Country", the platinum-certified "Whiskey in a Teacup", and "Black Sheep", all of which charted in the top ten of the Canadian Country charts. He co-headlined a tour across Canada with fellow Canadian country artist Dallas Smith.

2020–present: Boys and Right Round Here
In February 2020, Brody independently released the single "Can't Help Myself" with The Reklaws through his own label, Scurvy Dog Music. The song reached No. 1 on the Billboard Canada Country chart and No. 49 on the Canadian Hot 100. It was officially the most played song ever at Canadian country radio in a single week on the Nielsen BDS charts with 1782 spins. In June 2020, Brody released the single "Canadian Summer". It would become his second consecutive No. 1 at Canadian Country radio, and fifth overall, while breaking the previous record at Canadian country radio set by "Can't Help Myself" with 1817 spins.

Brody released his seventh album, Boys on November 18, 2020. The title track "Boys" was released as the third single to country radio off the album and featured American country singer Mickey Guyton. The song would also reach #1 on the Canada Country chart. "Lightning Bug" was released to radio as the fourth single off the album in April 2021. Brody then collaborated with fellow Canadian country artist Jade Eagleson on "More Drinkin' Than Fishin'", and released "I'd Go to Jail" as the fifth single from Boys.

In May 2022, he released the new single "Where'd You Learn How to Do That". The song would go on to become Brody's eight number one in Canada, and he followed it up with the release of "You Got the Wrong Guy" in October 2022. In April 2023, he released the single "Broke", which will be included on his ninth studio album, slated for release in the fall of 2023. In July 2023, Canadian Country Music Association announced that Brody would receive "Gary Slaight Music Humanitarian Award" for his contributions and achievements through his Dean Brody Foundation.

In September 2023, Brody released his eighth album Right Round Here, which includes his previous singles from 2022 and 2023. He is set to embark on the acoustic "Right Round Here" Tour across Canada to support the album in the fall of 2023.

Discography

Dean Brody (2009)
Trail in Life (2010)
Dirt (2012)
Crop Circles (2013)
Gypsy Road (2015)
Beautiful Freakshow (2016)
Black Sheep (2019)
Boys (2020)
Right Round Here (2023)

Awards and nominations

References

External links

1975 births
Canadian country singer-songwriters
Canadian male singer-songwriters
Living people
BBR Music Group artists
Open Road Recordings artists
People from Smithers, British Columbia
Musicians from British Columbia
Canadian Country Music Association Male Artist of the Year winners
Canadian Country Music Association Songwriter(s) of the Year winners
Juno Award for Country Album of the Year winners
Canadian Country Music Association Single of the Year winners
21st-century Canadian male singers
Canadian Country Music Association Fans' Choice Award winners
Canadian Country Music Association Album of the Year winners
21st-century Canadian singer-songwriters


Earl James Atkisson (August 12, 1886 – September 18, 1941) was Colonel of the United States Army's 1st Gas Regiment in World War I.

Early career
Earl James Atkisson was born in Broken Bow, Nebraska, but his family moved to Fresno County, California and he graduated from high school in Fowler.  He was appointed to the United States Military Academy in 1904. He graduated seventh in his class in 1908, and was commissioned a second lieutenant in the Corps of Engineers.

Atkisson served two years at Fort Leavenworth, followed by six at the Army's Engineering school at Washington Barracks, less one year he spent earning his M.E. degree at Cornell University, which he received in 1911. While there, he was promoted to first lieutenant. He was next assigned as a captain to be superintendent of the Gatun Locks of the Panama Canal, where he was serving when World War I broke out.

World War I

In July 1917, Atkisson was made a major in the National Army, and placed in command of the 30th Engineers, which became the 1st Gas Regiment. This regiment arrived in France on March 10, 1918, and eventually participated in the Aisne-Marne, St. Mihel, and Meuse-Argonne operations. In May 1918 he was made commandant of the Gas Service Experimental Field and Gas Defense School at Hanlon Field near Chaumont, France. Beginning in January 1919, having risen to the rank of colonel, he served in various capacities with the Army of Occupation. For his service in the war, Atkisson was awarded the Distinguished Service Medal, the Purple Heart, and the Distinguished Service Order of Great Britain. The citation for his Army DSM reads:

Later career
Returning to the United States in September 1919, Atkisson returned to his Regular Army rank of major, and transferred to the fledgling Chemical Warfare Service. In 1920, he became commander of Edgewood Arsenal, the Chemical Warfare Service's large manufacturing establishment near Baltimore, Maryland, for three years.  While there, he assisted in rescuing two officers from drowning, for which he was awarded the Lifesaving Medal. He then served as Assistant Military Attaché at the American embassy in London from 1923 to 1925. He then served as the Chemical Officer for the Ninth Corps Area at the Presidio of San Francisco, until his retirement for disability in March 1926. He was given his World War I rank of colonel by Act of Congress in June 1930.

Upon retirement, Atkisson returned to Sanger, where he managed his father's department store company until his death in September 1941. He is buried in the Sanger Cemetery.

Portrayals

Christopher Alexander McCowan aka Alexander Christof Grimaldi played Earl J. Atkisson in "A Man Comes To Fowler" by the Cornerstone Theater Company which is based in Los Angeles. The play took place in Fowler, California from August 11–13, 2011

See also

References

Further reading

External links

1886 births
1941 deaths
United States Army personnel of World War I
Cornell University College of Engineering alumni
People from Sanger, California
Recipients of the Distinguished Service Medal (US Army)
United States Military Academy alumni
United States Army colonels
People from Broken Bow, Nebraska
People from Fowler, California
Military personnel from Nebraska
Burials in California


Francesco Caputo (born 6 August 1987), commonly known as Ciccio, is an Italian professional footballer who plays as a forward for Empoli. He has also represented the Italy national team.

Club career
Caputo started his career in the Pugliesi amateur divisions, first with Toritto and then with Real Altamura, before joining Bari in the summer of 2008. With the club, Caputo won the Serie B title during the 2008–09 season, but he was excluded from Bari's Serie A plans the following season. In mid-2009, he was loaned to Salernitana, along with his teammates Giuseppe Statella and Gianluca Galasso. The following season he was loaned out to Siena. He returned to Bari in 2011, and remained at the club for four seasons.

In 2015, he joined Entella on loan with an option to buy; at the end of the season, he was signed outright by the club. He remained with Entella for two seasons, scoring 35 goals.

On 18 August 2017, Empoli signed Caputo on a four-year contract for €2.8 million plus bonuses. He helped Empoli win the Serie B title and achieve promotion to Serie A during the 2017–18 season, forming a prolific attacking partnership with Alfredo Donnarumma; together, the pair scored 49 goals, and Caputo finished as the top scorer in the league, with 26 goals, while Donnarumma finished as the second-highest scorer with 23.

On 13 July 2019, Caputo signed to Sassuolo.

On 31 August 2021, Caputo joined Sampdoria on loan with an obligation to buy.

On 2 January 2023, Caputo returned to former club Empoli on loan with an obligation to buy should his new club avoid relegation.

International career
Caputo was called up to the senior Italy squad for the UEFA Nations League matches against Bosnia and Herzegovina and Netherlands in September 2020. Caputo made his debut for the national team on 7 October 2020 in a 6–0 home friendly win against Moldova, scoring the match's second goal. In so doing, he became the oldest player in history to score his debut goal for Italy at 33 years and 62 days. This was surpassed by Giacomo Bonaventura, who tallied his inaugural goal at 34 years, one month and 22 days on 14 October 2023 in a Euro 2024 qualifier against Malta.

Style of play
A technically gifted forward, with an eye for goal, Caputo mainly plays as a striker, although he is capable of playing anywhere along the front line. He is mainly known in the media for his pace, work-rate, movement off the ball, and his powerful and accurate striking ability.

Career statistics

Club

International

Scores and results list Italy's goal tally first, score column indicates score after each Caputo goal.

Honours
Bari
Serie B: 2008–09

Empoli
Serie B: 2017–18

Individual
Serie B top scorer: 2017–18

References

External links

1987 births
Living people
People from Altamura
Footballers from Apulia
Men's association football forwards
Italian men's footballers
Italy men's international footballers
AS Noicattaro Calcio players
SSC Bari players
US Salernitana 1919 players
ACR Siena 1904 players
Virtus Entella players
Empoli FC players
US Sassuolo Calcio players
UC Sampdoria players
Serie A players
Serie B players
Sportspeople from the Metropolitan City of Bari