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Talk:Depression

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You can't get a reply? I don't see a message from you to me anywhere. I can't find a MoS reference to lists, but Help:List doesn't give blank lines inbetween list items as an option. What is the purpose? Tedernst | talk 22:34, 28 December 2005 (UTC)

 * I sent an email to you. What is the accepted practice or what is most often done leave a message on article talk page, the person's talk page or email directly to them?  The purpose of blank lines are only to make it a little neater and easier to read.  The Help:List mentions blank lines in item two of the contents.  I don't understand why you didn't leave a reason for making the change?  Thanks, --Jim 22:52, 28 December 2005 (UTC)

Editors preferences vary, though I'd say most will answer something about an article if the question is posed on the talk page of that article. Some also appreciate a pointer from their own user talk page. For me that's not necessary. I'm not aware of any editors preferring email. I don't receive that mail for quite some time, and am unlikely to read it. One reason to keep communication here at Wikipedia is because it's not just you or I that care about this article. Anyone else working here could be interested in our back and forth about how things should go. Bottom line, I don't care that much about the blank lines. I feel the page looks much better without them. I'm not aware of any style guideline that makes it okay to have them in there. I won't take them out again. Tedernst | talk 23:14, 28 December 2005 (UTC)

 * (edit conflict) Email is seldom used. Use talk pages. I think the purpose of the blank lines is that they make the page easier to edit (in the edit window). However, the extra spaces make the page harder to intake for readers, since the entries are spaced out and the eye has to scan more area. I say leave out the spaces. Also, in long dab pages the spaces get rediculous, doubling the length of the page.--Commander Keane 23:23, 28 December 2005 (UTC)

 * I took them out, sorry for confusion. Thanks for the info and advice. --Jim 01:55, 29 December 2005 (UTC)

Changes to Depression (mood) and Clinical depression
I see from the history that these changes are likely to be controversial, but this really isn't the page for more than a short sentence of explanation. For example, the extent that brain chemistry changes are involved in clinical depression is not a simple subject, nor is the causality or otherwise of those changes. All that is far too complex a subject to go into here, this should just give a very basic description of the meaning of the term. Its not meant to inform as to the details of the condition - that's what the actual article is for. It's just to help readers find which of the links they want to click to read more. -- sannse (talk) 20:40, 19 January 2006 (UTC)

 * I'm working to solve this with more clear cross-referencing between the two articles and resolving ambiguous linking where possible, mostly according to whether described as an illness or treated as such. There are also uses of the word that have been linked which don't come under any of the categories, so I've added depression (physiology), although if you look at the link from the Thesaurus page, it looks like we need depression (geometry) as well, or a wiktionary link.  --Cedderstk 09:22, 29 April 2006 (UTC)

I agree. There is a definite difference between that of not feeling well emotionally, and the form of clinical depression in which the victim, (to be termed as such) expeiriences such symptoms varying from a persistant bad mood, to utter hoplessness and despair. As such there should be clear lines seperating the two so as not to induce confusion in the reader.--OpalEye 5:01, 09 July 2006

Varieties of clinical depression
None of the other depressions listed on this disambig page are subsets of Depression (mood). Some are independent disorders. Some are subtypes of Major depressive disorder, as defined by the American Psychiatric Association's Diagnostic and Statistical Manual of Mental Disorders. However, not all countries use DSM. Therefore, there are a variety of terms used for depression in Western countries and world wide. This page should offer the choices that are available, as we do not know what version a particular reader is looking for. If a person has been diagnosed with a depression, Depression (mood) will not help them understand the specific meaning of the formal diagnosis. — Mattisse (Talk) 14:52, 6 November 2008 (UTC)

 * Addendum: There is no other place on Wikipedia where forms of clinical depression are listed. Depression (mood) does not list them. Major depressive disorder only lists those pertaining to it. Some are hard to find, only being located through a search through categories, so it is a disservice to remove them from this page.  — Mattisse  (Talk) 14:56, 6 November 2008 (UTC)

 * Of the eleven links in question (that I believe are unnecessary to list on this page), four are currently listed at Depression (mood) (and it may make sense to move the descriptions of each disorder at this page to that list). Two, Postnatal depression and Depressive Disorder Not Otherwise Specified, are not currently listed at Depression (mood) but it would seem to make sense to add both to that list. Four are literally subtopics of Major depressive disorder. And the last one, Kubler-Ross model, I could concede to its being here if it really matters; the reason I omitted it when I did my page cleanup is that the model article doesn't really SAY anything about depression; it just links back to Depression (mood).

 * The fact that there is no existing article listing various types of depression (although it seems to me that Depression (mood) IS such a list) does not mean they should be listed on the disambiguation page. List of forms of psychological depression can always be created. Propaniac (talk) 12:28, 7 November 2008 (UTC)

 * I have gone ahead and added Postnatal depression and Depressive Disorder Not Otherwise Specified to the list at Depression (mood); if there's no further comment here in the next couple of days, I'll assume there's no conflict anymore and revert the page to my last version. Propaniac (talk) 01:38, 9 November 2008 (UTC)
 * Major depressive disorder is a work in progress and what is included there now may not be after the FAC. Further, the title is controversial, because Major depressive disorder is not a phrase that a layperson would use to describe depression, nor necessarily would identify with if they were given a diagnosis of depression. In fact, it is not a worldwide term for depression, even among professionals. That is why I believe choices should remain available on this page. — Mattisse  (Talk) 02:00, 9 November 2008 (UTC)

 * Also, currently, all the above are listed at Major depressive disorder, including Postnatal depression (which is technically not part of the DSM classification) and Depressive Disorder Not Otherwise Specified (which is). However, Seasonal affective disorder is not, for some reason, yet it is a fairly common form of depression. — Mattisse  (Talk) 02:05, 9 November 2008 (UTC)

Naming of the catergory that includes depression
Should be either labeled medicine or psychiatry. Perferably medicine as most depression is dealt with either by family physicians, psychiatrists or emergency physicians. Psychiatry is the feild that has generated much of the terminology via the DSM4 Doc James  (talk · contribs · email) 21:27, 4 November 2009 (UTC)
 * I'd be ok with "psychiatry", but "medicine" seems a little too broad to me. If it's changed to medicine, the current "physiology" section would also fit under "medicine", and I think it makes more sense to separate the 2. Rreagan007 (talk) 15:23, 5 November 2009 (UTC)

Changes in Severity of Allergy and Anxiety Symptoms Are Positively Correlated in Patients with Recurrent Mood Disorders Who Are Exposed to Seasonal Peaks of Aeroallergens
See also  Free PMC Article

Allergy and Anxiety Symptoms Are Positively Correlated in Patients with Recurrent Mood Disorders Who Are Exposed to Seasonal Peaks of Aeroallergens (PubMed article)

Changes in Severity of Allergy and Anxiety Symptoms Are Positively Correlated in Patients with Recurrent Mood Disorders Who Are Exposed to Seasonal Peaks of Aeroallergens [PubMed] Free PMC Article

http://ukpmc.ac.uk/articlerender.cgi?tool=pubmed&pubmedid=19430577

 * "We have recently found a preliminary association between symptoms of upper airway inflammation and depression (23) and between the seasonality of mood and self-reported mood sensitivity to high pollen counts (24). Additionally, in an animal model intended to examine the effects of allergic sensitization to tree pollen on depressive symptoms, we found significant anxiety-like behavior across trials in the sensitized animals following exposure to tree pollen (25). In individuals with allergic sensitization, when mast cell bound IgE antibody is crosslinked by specific allergens, an activating signal is transduced which results in mast cell degranulation and the release of inflammatory mediators and cytokines. Clinical investigation suggests that Th2-type lymphocytes are predominantly activated in allergic diseases. Th2 cells are characterized by their production of IL-4, IL-5, and IL-13.

 * Cytokines, administered in amounts below the threshold necessary to induce “sickness behaviors,” have been shown to induce anxiety, depression, and cognitive disturbances in healthy subjects (26). An increase in cytokine levels in the blood has been hypothesized as one potential catalyst for the decompensation of depression (27-29). Cytokine-treated patients may also experience an increase in depressive symptoms, including suicidal ideation and attempted suicide (30-33). Even a low dose of cytokine-promoting endotoxins such as lipopolysaccharides (LPS), can trigger depressive symptoms along with anxiety without bringing about other sickness behaviors (26). Certain cytokines released during LPS-induced inflammation are also released during the allergic response. For instance, mast cell degranulation releases TNF-α (34), the administration of which has been shown in animal models to be anxiogenic (33). We have seen that sensitization and subsequent exposure to tree pollen (25) and intranasal LPS administration (35) induce anxiety-like behaviors in sensitized rodents. Additionally, we have reported increased gene expression of cytokines involved with allergic inflammation (36) in the orbital cortex of suicide victims, where histopathological changes in suicide victims have been previously reported (14)."

...

 * The relationship between anxiety and allergy scores became non-significant when we adjusted for depression scores for covariates. This suggests that the depression and anxiety scores are highly intercorrelated, with anxiety symptoms as a component of the depressive syndrome, or indicative of comorbidity between anxiety and depression. On the other hand, the relationship between depression scores and allergy symptom scores remained significant after adjustment for anxiety symptoms. These data suggest that the relationship between allergic disease and depression is a major phenomenon, and seemingly more robust than the one between allergic disease and measures of anxiety. However, our animal model data point towards a more consistent association between anxiety-like behaviors rather than depressive-like behaviors and with sensitization and exposure to tree pollen allergen (35,52). ... —Preceding unsigned comment added by 66.167.61.217 (talk) 22:28, 23 May 2010 (UTC)

Semi-protected edit request on 25 June 2020
https://www.infophysique.in/2020/06/all-you-should-know-about-depression.html — Preceding unsigned comment added by Nipfactz (talk • contribs) 07:38, 25 June 2020 (UTC)

title: Talk:Depression


text:
Jive

Jive may refer to:

Businesses

 * Jive (publisher), a Japanese publishing company in Shinjuku, Tokyo Prefecture
 * Jive Electro, a sublabel of the Zomba Group's Jive Records
 * Jive Records, an American independent record label founded by Clive Calder in 1981
 * Jive Software, an Aurea Software company
 * Jive, a music venue in Adelaide, South Australia

Dances

 * Hand jive, a dance particularly associated with music of the 1950s
 * Jive (dance), a dance style that originated in the United States from African Americans in the early 1930s
 * Modern Jive, a dance style derived from swing, Lindy Hop, rock and roll, salsa and others
 * Skip jive, a British dance, descended from the jazz dances of the 1930s and 1940s jive

Other uses

 * Jive talk, an African-American Vernacular English slang or vocabulary that developed in Harlem
 * Jive (software), a commercial Java EE-based Enterprise 2.0 collaboration and knowledge management tool
 * JIVE, an alias for American singer-songwriter Jive Jones
 * Joint Institute for VLBI ERIC, a research institute to support the operations and users of the European VLBI Network
 * Jive Jones (born 1981), American singer, songwriter, producer, model, and actor

license: Creative Commons - Attribution Share-Alike - https://creativecommons.org/licenses/by-sa/4.0/

title: Jive


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Rumba

The term rumba may refer to a variety of unrelated music styles. Originally, "rumba" was used as a synonym for "party" in northern Cuba, and by the late 19th century it was used to denote the complex of secular music styles known as Cuban rumba. Since the early 20th century the term has been used in different countries to refer to distinct styles of music and dance, most of which are only tangentially related to the original Cuban rumba, if at all. The vague etymological origin of the term rumba, as well as its interchangeable use with guaracha in settings such as bufo theatre, is largely responsible for such worldwide polysemy of the term. In addition, "rumba" was the primary marketing term for Cuban music in North America, as well as West and Central Africa, during much of the 20th century, before the rise of mambo, pachanga and salsa.

"Rumba" entered the English lexicon in the early 20th century, at least as early as 1919, and by 1935 it was used a verb to denote the ballroom dance. In this sense, the anglicised spelling "rhumba" became prevalent and is now recommended to distinguish it from traditional Cuban rumba. Also in the first third of the 20th century, "rumba" entered the Spanish flamenco world as a fast-paced palo (style) inspired in the Cuban guaracha, and which gave rise to other forms of urban music now known as "rumba". Throughout Latin America, "rumba" acquired different connotations, mostly referring to Cubanized, danceable, local styles, such as Colombian rumba criolla (creole rumba). At the same time, "rumba" began to be used a catch-all term for Afro-Cuban music in most African countries, later giving rise to re-Africanized Cuban-based styles such as Congolese rumba.

In Cuba
During the second half of the 19th century, several secular dance-oriented music styles were developed by Afro-Cuban workers in the poor neighbourhoods of Havana and Matanzas. These syncretic styles would later be referred to as "rumba", a word that also meant "party". Traditionally, the three main styles of rumba are yambú, columbia and guaguancó, each of which has a characteristic dance, rhythm and singing. Although still a purely folkloric genre, numerous innovations have been introduced in rumba since the mid 20th century, including new styles such as batá-rumba and guarapachangueo.

In North America
In the US, the term "rhumba" (anglicised version of rumba) began to be used during the 1920s to refer to ballroom music with Afro-Cuban music themes, particularly in the context of big band music. This music was mostly inspired by son cubano, while being rhythmically and instrumentally unrelated to Cuban rumba. By 1935, with the release of "The Peanut Vendor" by Don Azpiazú and the popularity of Xavier Cugat and other Latin artists, the genre had become highly successful and well-defined. The rhumba dance that developed on the East Coast of the United States was based on the bolero-son. The first rumba competition took place in the Savoy Ballroom in 1930. Nowadays, two different styles of ballroom rumba coexist: American style and International style. From 1935 to the 1950s, the Mexican and American film industry expanded the use of the term rumba as rumbera films became popular. In this context, rumberas were Cuban and Mexican divas, singers and actresses who sang boleros and canciones, but rarely rumbas. Notable rumberas include Rita Montaner, Rosa Carmina, María Antonieta Pons and Ninón Sevilla.

In the 1970s, with the emergence of salsa as a popular music and dance genre in the US, rhythmic elements of Cuban rumba (particularly guaguancó) became prevalent alongside the son. Like salsa, rhumba would then be danced to salsa ensembles instead of big bands. By the end of the 20th century, rhumba was also danced to pop music and jazz bands as seen in TV shows like Dancing with the Stars.

In Spain
In Spain, the term rumba was introduced in the early 20th century as rumba flamenca, one of the palos (styles) of flamenco. Particularly, it is considered one of the cantes de ida y vuelta, since flamenco itself might have had an influence on Cuban rumba, particularly on its vocal style. However, musicologists agree that rumba flamenca does not truly derive from Cuban rumba, but from guaracha, a fast-paced music style from Havana. Apart from rumba flamenca, other syncretic styles of Afro-Cuban origin have been named "rumba" throughout the Iberian peninsula, outside of the context of flamenco (where the term cantes de ida y vuelta is mostly restricted), such as the Galician rumba.

In the late 1950s, popular artists such as Peret (El Rey de la Rumba) and El Pescaílla developed an uptempo style that combined elements from rumba flamenca, Spanish gypsy music and pop. This became known as Catalan rumba (rumba catalana). In the 1980s, the style gained international popularity thanks to French ensemble Gipsy Kings.

In the 1990s, the term “tecno-rumba” was used to describe the music of Camela, and later Azúcar Moreno. Since the early 2000s, the term rumba has been used in Spain to refer to derivatives of Catalan rumba with hip hop and rock elements, as recorded by Estopa, Huecco and Melendi.

In Colombia
In the late 1930s and early 1940s, a fusion of bambuco and Afro-Cuban music was developed in Colombia by artists such as Emilio Sierra, Milciades Garavito, and Diógenes Chaves Pinzón, under the name rumba criolla (creole rumba). Rumba criolla is classified into different regional styles such as rumba antioqueña and rumba tolimense.

In Africa
In the 1930s and 1940s, Afro-Cuban son groups such as Septeto Habanero, Trio Matamoros and Los Guaracheros de Oriente were played over Radio Congo Belge in Léopoldville (Kinshasa), gaining widespread popularity in the country during the following decades. Their recordings were also made available to the public as part of the G.V. Series of 10" singles released by His Master's Voice throughout Africa. Once local bands tried to emulate the sound of Cuban son (incorrectly referred to as "rumba" in Africa, despite being unrelated to Cuban rumba), their music became known as Congolese rumba or rumba Lingala. By the late 1960s, Congolese rumba was an established genre in most of Central Africa, and it would also impact the music of West and East Africa under Muziki wa dansi. Franco's OK Jazz and Le Grand Kallé's African Jazz were amongst the most successful Congolese rumba ensembles of the 20th century. A faster subgenre known as soukous (from the French word secouer, "to shake") was developed in the late 1960s by bands such as African Fiesta and is often used as a synonym of the former.

title: Rumba


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Digestion

Digestion is the breakdown of large insoluble food compounds into small water-soluble components so that they can be absorbed into the blood plasma. In certain organisms, these smaller substances are absorbed through the small intestine into the blood stream. Digestion is a form of catabolism that is often divided into two processes based on how food is broken down: mechanical and chemical digestion. The term mechanical digestion refers to the physical breakdown of large pieces of food into smaller pieces which can subsequently be accessed by digestive enzymes. Mechanical digestion takes place in the mouth through mastication and in the small intestine through segmentation contractions. In chemical digestion, enzymes break down food into the small compounds that the body can use.

In the human digestive system, food enters the mouth and mechanical digestion of the food starts by the action of mastication (chewing), a form of mechanical digestion, and the wetting contact of saliva. Saliva, a liquid secreted by the salivary glands, contains salivary amylase, an enzyme which starts the digestion of starch in the food. The saliva also contains mucus, which lubricates the food; the electrolyte hydrogencarbonate (HCO-3), which provides the ideal conditions of pH for amylase to work; and other electrolytes (Na+, K+, Cl-). About 30% of starch is hydrolyzed into disaccharide in the oral cavity (mouth). After undergoing mastication and starch digestion, the food will be in the form of a small, round slurry mass called a bolus. It will then travel down the esophagus and into the stomach by the action of peristalsis. Gastric juice in the stomach starts protein digestion. Gastric juice mainly contains hydrochloric acid and pepsin. In infants and toddlers, gastric juice also contains rennin to digest milk proteins. As the first two chemicals may damage the stomach wall, mucus and bicarbonates are secreted by the stomach. They provide a slimy layer that acts as a shield against the damaging effects of chemicals like concentrated hydrochloric acid while also aiding lubrication. Hydrochloric acid provides acidic pH for pepsin. At the same time protein digestion is occurring, mechanical mixing occurs by peristalsis, which is waves of muscular contractions that move along the stomach wall. This allows the mass of food to further mix with the digestive enzymes. Pepsin breaks down proteins into peptides or proteoses, which is further broken down into dipeptides and amino acids by enzymes in the small intestine. Studies suggest that increasing the number of chews per bite increases relevant gut hormones and may decrease self-reported hunger and food intake.

When the pyloric sphincter valve opens, partially digested food (chyme) enters the duodenum where it mixes with digestive enzymes from the pancreas and bile juice from the liver and then passes through the small intestine, in which digestion continues. When the chyme is fully digested, it is absorbed into the blood. 95% of nutrient absorption occurs in the small intestine. Water and minerals are reabsorbed back into the blood in the colon (large intestine) where the pH is slightly acidic (about 5.6 ~ 6.9). Some vitamins, such as biotin and vitamin K (K2MK7) produced by bacteria in the colon are also absorbed into the blood in the colon. Absorption of water, simple sugar and alcohol also takes place in stomach. Waste material (feces) is eliminated from the rectum during defecation.

Digestive system
Digestive systems take many forms. There is a fundamental distinction between internal and external digestion. External digestion developed earlier in evolutionary history, and most fungi still rely on it. In this process, enzymes are secreted into the environment surrounding the organism, where they break down an organic material, and some of the products diffuse back to the organism. Animals have a tube (gastrointestinal tract) in which internal digestion occurs, which is more efficient because more of the broken down products can be captured, and the internal chemical environment can be more efficiently controlled.

Some organisms, including nearly all spiders, secrete biotoxins and digestive chemicals (e.g., enzymes) into the extracellular environment prior to ingestion of the consequent "soup". In others, once potential nutrients or food is inside the organism, digestion can be conducted to a vesicle or a sac-like structure, through a tube, or through several specialized organs aimed at making the absorption of nutrients more efficient.

Secretion systems
Bacteria use several systems to obtain nutrients from other organisms in the environments.

Channel transport system
In a channel transport system, several proteins form a contiguous channel traversing the inner and outer membranes of the bacteria. It is a simple system, which consists of only three protein subunits: the ABC protein, membrane fusion protein (MFP), and outer membrane protein. This secretion system transports various chemical species, from ions, drugs, to proteins of various sizes (20–900 kDa). The chemical species secreted vary in size from the small Escherichia coli peptide colicin V, (10 kDa) to the Pseudomonas fluorescens cell adhesion protein LapA of 900 kDa.

Molecular syringe
A type III secretion system means that a molecular syringe is used through which a bacterium (e.g. certain types of Salmonella, Shigella, Yersinia) can inject nutrients into protist cells. One such mechanism was first discovered in Y. pestis and showed that toxins could be injected directly from the bacterial cytoplasm into the cytoplasm of its host's cells rather than be secreted into the extracellular medium.

Conjugation machinery
The conjugation machinery of some bacteria (and archaeal flagella) is capable of transporting both DNA and proteins. It was discovered in Agrobacterium tumefaciens, which uses this system to introduce the Ti plasmid and proteins into the host, which develops the crown gall (tumor). The VirB complex of Agrobacterium tumefaciens is the prototypic system.

In the nitrogen-fixing Rhizobia, conjugative elements naturally engage in inter-kingdom conjugation. Such elements as the Agrobacterium Ti or Ri plasmids contain elements that can transfer to plant cells. Transferred genes enter the plant cell nucleus and effectively transform the plant cells into factories for the production of opines, which the bacteria use as carbon and energy sources. Infected plant cells form crown gall or root tumors. The Ti and Ri plasmids are thus endosymbionts of the bacteria, which are in turn endosymbionts (or parasites) of the infected plant.

The Ti and Ri plasmids are themselves conjugative. Ti and Ri transfer between bacteria uses an independent system (the tra, or transfer, operon) from that for inter-kingdom transfer (the vir, or virulence, operon). Such transfer creates virulent strains from previously avirulent Agrobacteria.

Release of outer membrane vesicles
In addition to the use of the multiprotein complexes listed above, gram-negative bacteria possess another method for release of material: the formation of outer membrane vesicles. Portions of the outer membrane pinch off, forming spherical structures made of a lipid bilayer enclosing periplasmic materials. Vesicles from a number of bacterial species have been found to contain virulence factors, some have immunomodulatory effects, and some can directly adhere to and intoxicate host cells. While release of vesicles has been demonstrated as a general response to stress conditions, the process of loading cargo proteins seems to be selective.

Gastrovascular cavity
The gastrovascular cavity functions as a stomach in both digestion and the distribution of nutrients to all parts of the body. Extracellular digestion takes place within this central cavity, which is lined with the gastrodermis, the internal layer of epithelium. This cavity has only one opening to the outside that functions as both a mouth and an anus: waste and undigested matter is excreted through the mouth/anus, which can be described as an incomplete gut.

In a plant such as the Venus flytrap that can make its own food through photosynthesis, it does not eat and digest its prey for the traditional objectives of harvesting energy and carbon, but mines prey primarily for essential nutrients (nitrogen and phosphorus in particular) that are in short supply in its boggy, acidic habitat.

Phagosome
A phagosome is a vacuole formed around a particle absorbed by phagocytosis. The vacuole is formed by the fusion of the cell membrane around the particle. A phagosome is a cellular compartment in which pathogenic microorganisms can be killed and digested. Phagosomes fuse with lysosomes in their maturation process, forming phagolysosomes. In humans, Entamoeba histolytica can phagocytose red blood cells.

Specialised organs and behaviours
To aid in the digestion of their food, animals evolved organs such as beaks, tongues, radulae, teeth, crops, gizzards, and others.

Beaks
Birds have bony beaks that are specialised according to the bird's ecological niche. For example, macaws primarily eat seeds, nuts, and fruit, using their beaks to open even the toughest seed. First they scratch a thin line with the sharp point of the beak, then they shear the seed open with the sides of the beak.

The mouth of the squid is equipped with a sharp horny beak mainly made of cross-linked proteins. It is used to kill and tear prey into manageable pieces. The beak is very robust, but does not contain any minerals, unlike the teeth and jaws of many other organisms, including marine species. The beak is the only indigestible part of the squid.

Tongue
The tongue is skeletal muscle on the floor of the mouth of most vertebrates, that manipulates food for chewing (mastication) and swallowing (deglutition). It is sensitive and kept moist by saliva. The underside of the tongue is covered with a smooth mucous membrane. The tongue also has a touch sense for locating and positioning food particles that require further chewing. The tongue is used to roll food particles into a bolus before being transported down the esophagus through peristalsis.

The sublingual region underneath the front of the tongue is a location where the oral mucosa is very thin, and underlain by a plexus of veins. This is an ideal location for introducing certain medications to the body. The sublingual route takes advantage of the highly vascular quality of the oral cavity, and allows for the speedy application of medication into the cardiovascular system, bypassing the gastrointestinal tract.

Teeth
Teeth (singular tooth) are small whitish structures found in the jaws (or mouths) of many vertebrates that are used to tear, scrape, milk and chew food. Teeth are not made of bone, but rather of tissues of varying density and hardness, such as enamel, dentine and cementum. Human teeth have a blood and nerve supply which enables proprioception. This is the ability of sensation when chewing, for example if we were to bite into something too hard for our teeth, such as a chipped plate mixed in food, our teeth send a message to our brain and we realise that it cannot be chewed, so we stop trying.

The shapes, sizes and numbers of types of animals' teeth are related to their diets. For example, herbivores have a number of molars which are used to grind plant matter, which is difficult to digest. Carnivores have canine teeth which are used to kill and tear meat.

Crop
A crop, or croup, is a thin-walled expanded portion of the alimentary tract used for the storage of food prior to digestion. In some birds it is an expanded, muscular pouch near the gullet or throat. In adult doves and pigeons, the crop can produce crop milk to feed newly hatched birds.

Certain insects may have a crop or enlarged esophagus.

Abomasum
Herbivores have evolved cecums (or an abomasum in the case of ruminants). Ruminants have a fore-stomach with four chambers. These are the rumen, reticulum, omasum, and abomasum. In the first two chambers, the rumen and the reticulum, the food is mixed with saliva and separates into layers of solid and liquid material. Solids clump together to form the cud (or bolus). The cud is then regurgitated, chewed slowly to completely mix it with saliva and to break down the particle size.

Fibre, especially cellulose and hemi-cellulose, is primarily broken down into the volatile fatty acids, acetic acid, propionic acid and butyric acid in these chambers (the reticulo-rumen) by microbes: (bacteria, protozoa, and fungi). In the omasum, water and many of the inorganic mineral elements are absorbed into the blood stream.

The abomasum is the fourth and final stomach compartment in ruminants. It is a close equivalent of a monogastric stomach (e.g., those in humans or pigs), and digesta is processed here in much the same way. It serves primarily as a site for acid hydrolysis of microbial and dietary protein, preparing these protein sources for further digestion and absorption in the small intestine. Digesta is finally moved into the small intestine, where the digestion and absorption of nutrients occurs. Microbes produced in the reticulo-rumen are also digested in the small intestine.

Specialised behaviours
Regurgitation has been mentioned above under abomasum and crop, referring to crop milk, a secretion from the lining of the crop of pigeons and doves with which the parents feed their young by regurgitation.

Many sharks have the ability to turn their stomachs inside out and evert it out of their mouths in order to get rid of unwanted contents (perhaps developed as a way to reduce exposure to toxins).

Other animals, such as rabbits and rodents, practise coprophagia behaviours – eating specialised faeces in order to re-digest food, especially in the case of roughage. Capybara, rabbits, hamsters and other related species do not have a complex digestive system as do, for example, ruminants. Instead they extract more nutrition from grass by giving their food a second pass through the gut. Soft faecal pellets of partially digested food are excreted and generally consumed immediately. They also produce normal droppings, which are not eaten.

Young elephants, pandas, koalas, and hippos eat the faeces of their mother, probably to obtain the bacteria required to properly digest vegetation. When they are born, their intestines do not contain these bacteria (they are completely sterile). Without them, they would be unable to get any nutritional value from many plant components.

In earthworms
An earthworm's digestive system consists of a mouth, pharynx, esophagus, crop, gizzard, and intestine. The mouth is surrounded by strong lips, which act like a hand to grab pieces of dead grass, leaves, and weeds, with bits of soil to help chew. The lips break the food down into smaller pieces. In the pharynx, the food is lubricated by mucus secretions for easier passage. The esophagus adds calcium carbonate to neutralize the acids formed by food matter decay. Temporary storage occurs in the crop where food and calcium carbonate are mixed. The powerful muscles of the gizzard churn and mix the mass of food and dirt. When the churning is complete, the glands in the walls of the gizzard add enzymes to the thick paste, which helps chemically breakdown the organic matter. By peristalsis, the mixture is sent to the intestine where friendly bacteria continue chemical breakdown. This releases carbohydrates, protein, fat, and various vitamins and minerals for absorption into the body.

Overview of vertebrate digestion
In most vertebrates, digestion is a multistage process in the digestive system, starting from ingestion of raw materials, most often other organisms. Ingestion usually involves some type of mechanical and chemical processing. Digestion is separated into four steps:
 * 1) Ingestion: placing food into the mouth (entry of food in the digestive system),
 * 2) Mechanical and chemical breakdown:  mastication and the mixing of the resulting bolus with water, acids, bile and enzymes in the stomach and intestine to break down complex chemical species into simple structures,
 * 3) Absorption: of nutrients from the digestive system to the circulatory and lymphatic capillaries through osmosis, active transport, and diffusion, and
 * 4) Egestion (Excretion): Removal of undigested materials from the digestive tract through defecation.

Underlying the process is muscle movement throughout the system through swallowing and peristalsis. Each step in digestion requires energy, and thus imposes an "overhead charge" on the energy made available from absorbed substances. Differences in that overhead cost are important influences on lifestyle, behavior, and even physical structures. Examples may be seen in humans, who differ considerably from other hominids (lack of hair, smaller jaws and musculature, different dentition, length of intestines, cooking, etc.).

The major part of digestion takes place in the small intestine. The large intestine primarily serves as a site for fermentation of indigestible matter by gut bacteria and for resorption of water from digests before excretion.

In mammals, preparation for digestion begins with the cephalic phase in which saliva is produced in the mouth and digestive enzymes are produced in the stomach. Mechanical and chemical digestion begin in the mouth where food is chewed, and mixed with saliva to begin enzymatic processing of starches. The stomach continues to break food down mechanically and chemically through churning and mixing with both acids and enzymes. Absorption occurs in the stomach and gastrointestinal tract, and the process finishes with defecation.

Human digestion process
The human gastrointestinal tract is around 9 m long. Food digestion physiology varies between individuals and upon other factors such as the characteristics of the food and size of the meal, and the process of digestion normally takes between 24 and 72 hours.

Digestion begins in the mouth with the secretion of saliva and its digestive enzymes. Food is formed into a bolus by the mechanical mastication and swallowed into the esophagus from where it enters the stomach through the action of peristalsis. Gastric juice contains hydrochloric acid and pepsin which would damage the walls of the stomach and mucus and bicarbonates are secreted for protection. In the stomach further release of enzymes break down the food further and this is combined with the churning action of the stomach. Mainly proteins are digested in stomach. The partially digested food enters the duodenum as a thick semi-liquid chyme. In the small intestine, the larger part of digestion takes place and this is helped by the secretions of bile, pancreatic juice and intestinal juice. The intestinal walls are lined with villi, and their epithelial cells are covered with numerous microvilli to improve the absorption of nutrients by increasing the surface area of the intestine. Bile helps in emulsification of fats and also activates lipases.

In the large intestine, the passage of food is slower to enable fermentation by the gut flora to take place. Here, water is absorbed and waste material stored as feces to be removed by defecation via the anal canal and anus.

Neural and biochemical control mechanisms
Different phases of digestion take place including: the cephalic phase, gastric phase, and intestinal phase.

The cephalic phase occurs at the sight, thought and smell of food, which stimulate the cerebral cortex. Taste and smell stimuli are sent to the hypothalamus and medulla oblongata. After this it is routed through the vagus nerve and release of acetylcholine. Gastric secretion at this phase rises to 40% of maximum rate. Acidity in the stomach is not buffered by food at this point and thus acts to inhibit parietal (secretes acid) and G cell (secretes gastrin) activity via D cell secretion of somatostatin.

The gastric phase takes 3 to 4 hours. It is stimulated by distension of the stomach, presence of food in stomach and decrease in pH. Distention activates long and myenteric reflexes. This activates the release of acetylcholine, which stimulates the release of more gastric juices. As protein enters the stomach, it binds to hydrogen ions, which raises the pH of the stomach. Inhibition of gastrin and gastric acid secretion is lifted. This triggers G cells to release gastrin, which in turn stimulates parietal cells to secrete gastric acid. Gastric acid is about 0.5% hydrochloric acid, which lowers the pH to the desired pH of 1–3. Acid release is also triggered by acetylcholine and histamine.

The intestinal phase has two parts, the excitatory and the inhibitory. Partially digested food fills the duodenum. This triggers intestinal gastrin to be released. Enterogastric reflex inhibits vagal nuclei, activating sympathetic fibers causing the pyloric sphincter to tighten to prevent more food from entering, and inhibits local reflexes.

Protein digestion
Protein digestion occurs in the stomach and duodenum in which 3 main enzymes, pepsin secreted by the stomach and trypsin and chymotrypsin secreted by the pancreas, break down food proteins into polypeptides that are then broken down by various exopeptidases and dipeptidases into amino acids. The digestive enzymes however are mostly secreted as their inactive precursors, the zymogens. For example, trypsin is secreted by pancreas in the form of trypsinogen, which is activated in the duodenum by enterokinase to form trypsin. Trypsin then cleaves proteins to smaller polypeptides.

Fat digestion
Digestion of some fats can begin in the mouth where lingual lipase breaks down some short chain lipids into diglycerides. However fats are mainly digested in the small intestine. The presence of fat in the small intestine produces hormones that stimulate the release of pancreatic lipase from the pancreas and bile from the liver which helps in the emulsification of fats for absorption of fatty acids. Complete digestion of one molecule of fat (a triglyceride) results a mixture of fatty acids, mono- and di-glycerides, but no glycerol.

Carbohydrate digestion
In humans, dietary starches are composed of glucose units arranged in long chains called amylose, a polysaccharide. During digestion, bonds between glucose molecules are broken by salivary and pancreatic amylase, resulting in progressively smaller chains of glucose. This results in simple sugars glucose and maltose (2 glucose molecules) that can be absorbed by the small intestine.

Lactase is an enzyme that breaks down the disaccharide lactose to its component parts, glucose and galactose. Glucose and galactose can be absorbed by the small intestine. Approximately 65 percent of the adult population produce only small amounts of lactase and are unable to eat unfermented milk-based foods. This is commonly known as lactose intolerance. Lactose intolerance varies widely by genetic heritage; more than 90 percent of peoples of east Asian descent are lactose intolerant, in contrast to about 5 percent of people of northern European descent.

Sucrase is an enzyme that breaks down the disaccharide sucrose, commonly known as table sugar, cane sugar, or beet sugar. Sucrose digestion yields the sugars fructose and glucose which are readily absorbed by the small intestine.

DNA and RNA digestion
DNA and RNA are broken down into mononucleotides by the nucleases deoxyribonuclease and ribonuclease (DNase and RNase) from the pancreas.

Non-destructive digestion
Some nutrients are complex molecules (for example vitamin B12) which would be destroyed if they were broken down into their functional groups. To digest vitamin B12 non-destructively, haptocorrin in saliva strongly binds and protects the B12 molecules from stomach acid as they enter the stomach and are cleaved from their protein complexes.

After the B12-haptocorrin complexes pass from the stomach via the pylorus to the duodenum, pancreatic proteases cleave haptocorrin from the B12 molecules which rebind to intrinsic factor (IF). These B12-IF complexes travel to the ileum portion of the small intestine where cubilin receptors enable assimilation and circulation of B12-IF complexes in the blood.

Digestive hormones
There are at least five hormones that aid and regulate the digestive system in mammals. There are variations across the vertebrates, as for instance in birds. Arrangements are complex and additional details are regularly discovered. Connections to metabolic control (largely the glucose-insulin system) have been uncovered.
 * Gastrin – is in the stomach and stimulates the gastric glands to secrete pepsinogen (an inactive form of the enzyme pepsin) and hydrochloric acid. Secretion of gastrin is stimulated by food arriving in stomach. The secretion is inhibited by low pH.
 * Secretin – is in the duodenum and signals the secretion of sodium bicarbonate in the pancreas and it stimulates the bile secretion in the liver. This hormone responds to the acidity of the chyme.
 * Cholecystokinin (CCK) – is in the duodenum and stimulates the release of digestive enzymes in the pancreas and stimulates the emptying of bile in the gall bladder. This hormone is secreted in response to fat in chyme.
 * Gastric inhibitory peptide (GIP) – is in the duodenum and decreases the stomach churning in turn slowing the emptying in the stomach. Another function is to induce insulin secretion.
 * Motilin – is in the duodenum and increases the migrating myoelectric complex component of gastrointestinal motility and stimulates the production of pepsin.

Significance of pH
Digestion is a complex process controlled by several factors. pH plays a crucial role in a normally functioning digestive tract. In the mouth, pharynx and esophagus, pH is typically about 6.8, very weakly acidic. Saliva controls pH in this region of the digestive tract. Salivary amylase is contained in saliva and starts the breakdown of carbohydrates into monosaccharides. Most digestive enzymes are sensitive to pH and will denature in a high or low pH environment.

The stomach's high acidity inhibits the breakdown of carbohydrates within it. This acidity confers two benefits: it denatures proteins for further digestion in the small intestines, and provides non-specific immunity, damaging or eliminating various pathogens.

In the small intestines, the duodenum provides critical pH balancing to activate digestive enzymes. The liver secretes bile into the duodenum to neutralize the acidic conditions from the stomach, and the pancreatic duct empties into the duodenum, adding bicarbonate to neutralize the acidic chyme, thus creating a neutral environment. The mucosal tissue of the small intestines is alkaline with a pH of about 8.5.

title: Digestion


text:
William Rose Benét

William Rose Benét (February 2, 1886 – May 4, 1950) was an American poet, writer, and editor. He was the older brother of Stephen Vincent Benét.

Early life and education
He was born in Brooklyn, New York, the son of Col. James Walker Benét and his wife, Frances Neill (née Rose), and grandson of Brigadier General Stephen Vincent Benét. He was educated The Albany Academy in Albany, NY and at Sheffield Scientific School of Yale University, graduating with a Ph.B. in 1907. At Yale, he edited and contributed light verse to campus humor magazine The Yale Record.

Benét came to California in 1909 where his father was stationed as a commander of the Benicia Arsenal in Benicia. He arrived at the Carmel-by-the-Sea writers' colony and stayed with, roommate and friend, Sinclair Lewis. Lewis and Benét left Carmel after six months.

Career
He began the Saturday Review of Literature in 1924 and continued to edit and write for it until his death.

In 1942, he was awarded the Pulitzer Prize for Poetry for his book of autobiographical verse, The Dust Which Is God (1941). His brother Stephen Vincent Benét was awarded the same prize two years later in 1944.

Benét is also the author of The Reader's Encyclopedia, a standard American guide to world literature.

Today he is perhaps best known as the author of "The Skater of Ghost Lake," a poem frequently assigned in American schools for its use of onomatopoeia and rhythm as well as its tone of dark mystery.

Personal life
Benét married four times. First, on September 3, 1912, he married Teresa Frances Thompson, with whom he had three children (James Walker Benét (1914-2012), Frances Rosemary Benét, and Kathleen Anne Benét). Teresa died in 1919. Benét's second wife, whom he married on October 5, 1923, was poet Elinor Wylie. She died in 1928. Benét's third wife, whom he married on March 15, 1932, was Lora Baxter. They divorced in 1937. Benét's fourth wife, and widow, was children's writer Marjorie Flack. They were married from June 22, 1941, until his death in 1950.

Benét's son, James Walker Benét, fought in the Abraham Lincoln Brigade and was the author of two suspense novels and a guidebook to the San Francisco Bay Area.

Works

 * Merchants of Cathay (1913)
 * The Great White Wall: A Poem (1916)
 * Perpetual Light: A Memorial (1919)
 * Moons of Grandeur: A Book of Poems (1920)
 * Dry Points: Studies in Black and White (1921)
 * The Flying King of Kurio: A Story of Children (1926)
 * Wild Goslings: A Selection of Fugitive Pieces (1927)
 * Rip Tide: A Novel in Verse (1932)
 * Starry Harness (1933)
 * Pocket University: Guide to Daily Reading (1934)
 * Golden Fleece: A Collection of Poems and Ballads Old and New (1935)
 * Great Poems of the English Language (1936)
 * Mother Goose: A Comprehensive Collection of the Rhymes (1936)
 * Mad Blake: A Poem (1937)
 * Day of Deliverance: A Book of Poems in Wartime (1940)
 * The Dust Which is God: A Novel in Verse (1941)
 * The Stairway of Surprise: Poems (1947)
 * Timothy's Angels, Verse (1947)
 * The Reader's Encyclopedia (1948)
 *  The Spirit of the Scene (1951)
 * The First Person Singular (1971)
 * The Prose and Poetry of Elinor Wylie (1974)

title: William Rose Benét


text:
Viennese waltz

Viennese waltz (Wiener Walzer) is a genre of ballroom dance. At least four different meanings are recognized. In the historically first sense, the name may refer to several versions of the waltz, including the earliest waltzes done in ballroom dancing, danced to the music of Viennese waltz.

What is now called the Viennese waltz is the original form of the waltz. It was the first ballroom dance performed in the closed hold or "waltz" position. The dance that is popularly known as the waltz is actually the English or slow waltz, danced at approximately 90 beats per minute with 3 beats to the bar (the international standard of 30 measures per minute), while the Viennese waltz is danced at about 180 beats (58-60 measures) per minute. To this day however, in Germany, Austria, Scandinavia, and France, the words Walzer (German), vals (Danish, Norwegian, and Swedish), and valse (French) still implicitly refer to the original dance and not the slow waltz.

The Viennese waltz is a rotary dance where the dancers are constantly turning either toward the leader's right (natural) or toward the leader's left (reverse), interspersed with non-rotating change steps to switch between the direction of rotation.

As the waltz evolved, some of the versions that were done at about the original fast tempo came to be called specifically "Viennese waltz" to distinguish them from the slower waltzes. In the modern ballroom dance, two versions of Viennese waltz are recognized: International Style and American Style.

Today the Viennese waltz is a ballroom and partner dance that is part of the International Standard division of contemporary ballroom dance. The Waltz Series is a New York membership society devoted to preserving the pre-World War I tradition of Viennese waltz. It organizes a program of dances.

Early history
The Viennese waltz, so called to distinguish it from the waltz and the French waltz, is the oldest of the current ballroom dances. It emerged in the second half of the 18th century from the German dance and the Ländler in Austria and was both popular and subject to criticism. At that time, the waltz, as described in a magazine from 1799, was performed by dancers who held on to their long gowns to prevent them from dragging or being stepped on. The dancers would lift their dresses and hold them high like cloaks, and this would bring both their bodies under one cover. This action also required the dancers' bodies to be very close together, and this closeness attracted moral disparagement. In 1797, Wolf published a pamphlet against the dance entitled "Proof that Waltzing is the Main Source of Weakness of the Body and Mind of our Generation". But even when faced with all this negativity, it became very popular in Vienna. Large dance halls like the Zum Sperl in 1807 and the Apollo in 1808 were opened to provide space for thousands of dancers. The dance reached and spread to England sometime before 1812. It was introduced as the German waltz and became a huge hit. It gained ground through the Congress of Vienna at the beginning of the 19th century and by the famous compositions by Josef Lanner, Johann Strauss I and his son, Johann Strauss II, and since then has been known as the Viennese waltz.

Initially, the waltz was significantly different from its form today. In the first place, the couples did not dance in the closed position as today. The illustrations and descriptions make it clear that the couples danced with arm positions similar to that of the precursor dances, the Ländler and the Allemande. The hold was at times semi-closed and at times side by side. Arms were intertwined and circling movements were made under raised arms. No couple in Wilson's plate are shown in close embrace, but some are in closed hold facing each other. Another significant difference from the present technique was that the feet were turned out and the rise of foot during the dance was much more pronounced. This can be seen quite clearly in the figure, and such a style imposes its limitations on how the dance can be performed.

To understand why Quirey says "The advent of the Waltz [sic] in polite society was quite simply the greatest change in dance form and dancing manners that has happened in our history" we need to realize that all European social dances before the waltz were communal sequence dances – communal, because all the dancers on the floor took part in a preset pattern (often chosen by a master of ceremony). Dancers separately, and as couples, faced outwards to the spectators as much as they faced inwards. Thus all present took part as dancers or as onlookers. This was the way with the country dance and all previous popular dances. With the waltz, couples were independent of each other and were turned towards each other (though not in close contact). Lord Byron wrote a furious letter, which precedes his poem "The Waltz", in which he decries the anti-social nature of the dance, with the couple "like two cockchafers spitted on the same bodkin."

Technique and styles
The Viennese waltz is a rotary dance where the dancers are constantly turning either in a clockwise ("natural") or counter-clockwise ("reverse") direction interspersed with non-rotating change steps to switch between the direction of rotation. A true Viennese waltz consists only of turns and change steps. Other moves such as the fleckerls, American-style figures and side sway or underarm turns are modern inventions.

The competitive styles of Viennese waltz has a reduced number of steps, depending on the style and competition level or medal exam level.

International-style Viennese waltz
International-style Viennese waltz is danced in closed position. The syllabus is limited to natural and reverse turns, closed and open changes, fleckerls, contra check, left whisk, and canter-time pivot turns (canter pivots).

In World Dance Council competition, canter pivots are excluded.

American-style Viennese waltz
American-style Viennese waltz has much more freedom, both in dance positions and syllabus.

title: Viennese waltz


text:
Willows High School

Willows High School (Ysgol Uwchradd Willows) is a secondary school located in the Tremorfa area of Cardiff, Wales. It caters for pupils aged 11 to 16 and is English-medium. As of September 2015, the headteacher is Chris Norman. He succeeded Joy Ballard, under whom the proportion of pupils attaining five A*-C grades rose from 14% to 50%. In recent years, Willows has been oversubscribed for pupils.

History
The school site is extensive and dates from the late 1960s, and was built on the site of the World War II airfield RAF Pengam Moors. The school is named after the air balloon pioneer Ernest Willows who had his airfield on the site.

Many of the buildings have since been modernised. There are plans to continue this modernisation in the future, including with a PFI agreement as part of plans by Cardiff Council. A completely new building is planned, which could be located in nearby Tremorfa Park. The site proposed originally included St. Alban's Primary School, which was slated to close. However, in 2019 the closure was successfully petitioned, and stopped in 2020.

The school featured in the 2015 Channel 4 documentary series Educating Cardiff. This detailed every aspect of school life, and also highlighted many of the improvements the school has made in recent years.

Starting in 2015, Willows participated in the South Wales Challenge (SWC) Initiative, sharing best-practice in education with Tonyrefail School, Rhondda Cynon Taf. This aimed to help the school to improve academic standards further.

Estyn Inspections
In 2012, Estyn rated the school as "unsatisfactory", reporting that it needed "significant improvement". The inspectors reported that, although pupils often had unsatisfactory English grammar and literacy skills, leadership was "adequate" and there were real prospects of improvement. The school substantially improved after this, and by 2014 no longer requires significant improvement. However, the more recent 2018 has found there are still many aspects of school life that could be improved, particularly in the methods of teaching and leadership. Despite this, the school had improved enough that in 2019 it was removed from monitoring by Estyn.

There were 586 pupils at the school during the 2018 Estyn inspection, a significant drop since the 2012 inspection. The proportion of pupils receiving free school meals is 44%, which is much higher than the national average of 17.4%. Almost two-thirds of the pupils live in the 20% most deprived areas in Wales. Around 8% of pupils have English as an additional language. Twenty-nine per cent of the pupils come from minority ethnic backgrounds.

Former students
Notable former students include Jessica Leigh Jones.

title: Willows High School


text:
Magma (band)

Magma is a French progressive rock band founded in Paris in 1969 by self-taught drummer Christian Vander, who claimed as his inspiration a "vision of humanity's spiritual and ecological future" that profoundly disturbed him. The style of progressive rock that Vander developed with Magma is termed "Zeuhl", and has been applied to other bands in France operating in the same period, and to some recent Japanese bands.

Vander created a fictional language, Kobaïan, in which most lyrics are sung. In a 1977 interview with Vander and long-time Magma vocalist Klaus Blasquiz, Blasquiz said that Kobaïan is a "phonetic language made by elements of the Slavonic and Germanic languages to be able to express some things musically. The language has of course a content, but not word by word." Vander himself has said, "When I wrote, the sounds [of Kobaïan] came naturally with it—I didn't intellectualise the process by saying 'Ok, now I'm going to write some words in a particular language', it was really sounds that were coming at the same time as the music." In the course of their first album, the band tells the story of a group of people fleeing a doomed Earth to settle on the planet Kobaïa. Subsequently, conflict arises when the Kobaïans - descendants of the original colonists - encounter other Earth refugees. Later albums tell different stories set in more ancient times; however, the Kobaïan language remains an integral part of the music.

In 1986, the French label Seventh Records was founded to (re-)publish Magma's and Vander's work. Over the years, Seventh has also released albums by related artists such as Stella Vander, Patrick Gauthier, and Collectif Mu.

Beginnings (1967–1971)
In early 1967, drummer Christian Vander played in the Wurdalaks and Cruciferius Lobonz, two rhythm and blues bands. With these groups, he wrote his first compositions, "Nogma" and "Atumba". The death of John Coltrane saddened Vander, who left the groups and traveled to Italy. He returned to France in 1969 and met saxophonist René Garber and bassist and conductor Laurent Thibault. Together with singer Lucien Zabuski and organist Francis Moze, they created the group Uniweria Zekt Magma Composedra Arguezdra, shortened to Magma.

After their first tour, Magma experienced significant lineup turnover. Vocalist Lucien Zabuski was replaced with Klaus Blasquiz, and pianist Eddie Rabin, double bassist Jacky Vidal, and guitarist Claude Engel also joined the group. The group worked on material for three months in a house in the Chevreuse Valley. Eddie Rabin was replaced by François Cahen on keyboards, and Laurent Thibault abandoned bass to devote himself to production. Francis Moze became the new bassist. The band also expanded with a brass section, consisting of Teddy Lasry on saxophone and clarinet, Richard Raux on saxophone and flute, and Paco Charlery on trumpet. The group's first album, Magma, was released in the spring of 1970 by Philips Records. The group caused a sensation but audience reactions were mixed.

After the album was released, Claude Engel, Richard Raux, and Paco Charlery left the group. Jeff Seffer replaced Raux on saxophone, and Louis Toesca replaced Charlery on trumpet. Their second album, 1001° Centigrades, was released in April 1971. The album won the band more exposure, including a performance at the Montreux Jazz Festival.

Mëkanïk Dëstruktïẁ Kömmandöh, to Üdü Wüdü (1972–1977)
In August 1972, Magma released the album The Unnamables, under the alias Univeria Zekt. However, the album sold only 1,500 copies. Many musicians left the band that year, including François Cahen, Louis Toesca, Jeff Seffer, Francis Moze, and Teddy Lasry. That same year, Christian Vander recorded the soundtrack for Yvan Lagrange's film ''Tristan et Iseult. ''

In 1973, Vander formed a new lineup of the band, adding Stella Vander as a second vocalist, Claude Olmos on guitar, Jannick Top replacing Francis Moze on bass, René Garber on saxophone and clarinet, and Jean-Luc Manderlier on keyboards, among others. This new version of the band would release their most famous work Mëkanïk Dëstruktïẁ Kömmandöh, which would later become their most acclaimed album, and gave them international fame, including a spot at the prestigious Newport Jazz Festival, their first American performance. In 1974, under Vander's name, the band released a soundtrack album accompanying Yvan Lagrange's 1972 film Tristan et Iseult, also known as Ẁurdah Ïtah; under Magma's name, they followed up with Köhntarkösz, which was successful among fans, but not received as well among the public as Mëkanïk Dëstruktïẁ Kömmandöh. The band would then go on a long, year-and-a-half long tour of France, and after another member shakeup (Bernard Paganotti replacing Jannick Top on bass, Didier Lockwood added as a violinist, Jean-Pol Asseline and Benot Widemann replacing Gerard Bikialo on keyboards, and Gabriel Federow replacing Claude Olmos on guitar), released their first live album, Live / Hhaï, in December 1975, recorded at the Taverne de l'Olympia in Paris.

In 1976, Top briefly rejoined the band for the recording of the album Üdü Ẁüdü, but left soon after due to strained relations with frontman Christian Vander. More lineup turnover followed in 1977, with Jean DeAntoni replacing Gabriel Federow on guitar, Guy Delacroix replacing Bernard Paganotti on bass, and Clement Bailly hired as a second drummer.

Changing sound and breakup (1978–1984)
In 1978, Magma released the album Attahk. Vying for more commercial success, the album included elements of soul, rhythm & blues, and funk music.

Celebrating 10 years as a band, in 1980, Magma performed three nights at L'Olympia in Paris, with guest appearances from many of the group's past musicians. These were recorded and released as Retrospektïẁ (Parts I+II) and Retrospektïẁ (Part III). The concerts were successful, and allowed Magma to play a number of shows around France, including a three-week residency at Paris's Bobino in 1981, which was recorded and filmed, and later released as Concert Bobino 1981.

In 1984, the band recorded the album Merci, and disbanded shortly afterwards. Christian Vander formed other projects such as Offering, and various jazz projects including the Christian Vander Trio.

Reformation (1996–present)
While performing as Offering, Vander would occasionally perform Magma songs. In 1989, professional snooker champion Steve Davis convinced Vander to perform a reunion tour (at least six shows ) which led Vander to consider reuniting Magma.

After the dissolution of Offering, this was fully realised in 1996 after friend Bernard Ivan asked Vander if he was considering reviving Magma, as he was confident he could get Vander concert dates. Vander agreed, but confessed that he didn't think there would be any remaining interest in the band. Ivan came back to Vander to tell him he fully booked a number of gigs for Magma and Vander, surprised, quickly cobbled a lineup from Offering and friends in the music scene to create a new 14-piece Magma.

Vander decided to revive some sections of tracks he had written back in 1972-1973 while working on Köhntarkösz on this new tour. Eventually, these merged into one big composition K.A (Köhntarkösz Anteria), which released in 2004 to acclaim and surprise at their comeback. K.A is conceptually the prequel to Köhntarkösz, which was then followed up by a sequel Ëmëhntëhtt-Ré in 2009, ending a narrative trilogy between the three albums.

On 30 September 2022 Magma released their fifteenth album Kartëhl. The album is a collective work of the band members. The copyright proceeds of the track Dëhndë will be donated to a charity for people with autism.

Magma still tour today.

Kobaïan
Kobaïan is a lyrical language created by French drummer and composer Christian Vander for his progressive rock band Magma. It is the language of Kobaïa, a fictional planet invented by Vander and the setting for a musical "space opera" sung in Kobaïan by Magma on fifteen concept albums.

Development
French drummer and composer Christian Vander formed Magma in late 1969 in an attempt to fill the void left by the death of American jazz musician and composer John Coltrane. Magma's first album, Magma (later reissued as Kobaïa), told a story of refugees fleeing a future Earth and settling on a fictional planet called Kobaïa. The lyrics were all in Kobaïan (except the title track, sung mostly in English), a language Vander constructed for the album, some sung by soloists and others by "massive quasi-operatic choruses". Over the next three decades, Magma have made fifteen albums that continues the mythology of Kobaïa, all sung in Kobaïan.

Vander (his Kobaïan name is Zëbëhn Straïn dë Ğeuštaah) said in an interview that he invented Kobaïan for Magma because "French just wasn't expressive enough. Either for the story or for the sound of the music". He said that the language developed in parallel with the music, that sounds appeared as he was composing on a piano. Vander based Kobaïan in part on elements of Slavic and Germanic languages and in part on the scat-yodeling vocal style of American avant-garde jazz singer Leon Thomas. The subsequent expansion of the language became a group effort, and as Magma's personnel changed, so new ideas were incorporated into the language (and the music).

British music critic Ian MacDonald said that Kobaïan is "phonetic, not semantic", and that it is based on "sonorities, not on applied meanings". One of Magma's singers, Klaus Blasquiz, described Kobaïan as "a language of the heart" whose words are "inseparable from the music". Magma expert Michael Draine said "the abstraction provided by the Kobaïan verse seems to inspire Magma's singers to heights of emotional abandon rarely permitted by conventional lyrics".

The Kobaïan lyrics on Magma's albums were generally not translated (though both Kobaïan lyrics and an English translation were provided for the first UK release on A&M of Mëkanïk Dëstruktïẁ Kömmandöh), but clues to the unfolding story of Kobaïa were given in French in the albums' liner notes. While the original intent of the language was to avoid over-scrutiny, unofficial Kobaïan online lexicons were created by Magma fans, and Vander himself has since translated many of the words.

Influence
Christian Vander called Magma's music "Zeuhl" (Kobaïan for "celestial"), and it influenced a number of other (mostly French) bands, including Zao (France), Art Zoyd (France) and Univers Zero (Belgium). Zeuhl later became a music genre which was used to describe music similar to that of Magma. Several Japanese Zeuhl bands also sprang up, including Ruins and Kōenji Hyakkei, whose lyrics are also sung in a constructed language similar to Kobaïan.

Style and influences
Christian Vander has described the style of progressive rock that he developed with Magma in France from 1969 onwards as "zeuhl". Dominique Leone, writing for Pitchfork, says the style is "about what you'd expect an alien rock opera to sound like: massed, chanted choral motifs, martial, repetitive percussion, sudden bursts of explosive improv and just as unexpected lapses into eerie, minimalist trance-rock." The term comes from Kobaïan, the fictional language created by Vander for Magma. He has said that it means celestial; that "Zeuhl music means 'vibratory music'" and that zeuhl is "L'esprit au travers de la matière. That is Zeuhl. Zeuhl is also the sound which you can feel vibrating in your belly. Pronounce the word Zeuhl very slowly, and stress the letter 'z' at the beginning, and you will feel your body vibrating."

Originally applied solely to the music of Magma, the term "zeuhl" was eventually used to describe the similar music produced by French bands beginning in the 1970s. In addition to Magma, bands who are associated with the term include: Happy Family, Kōenji Hyakkei, and Ruins from Japan, and French band Zao.

The Chicago Reader wrote that Magma's music "could arguably be labeled modern classical, progressive rock, free jazz, or even psychedelia, but it’s too big for any of those boxes".

Vander was musically influenced by John Coltrane and Carl Orff.

The mythology of Kobaïa seems to be strongly influenced by the esoteric The Urantia Book, a kind of pseudo-bible that combines religious elements of various origins with scientific findings and science fiction. Furthermore, the motifs surrounding the myth of Kobaïa, particularly in the first three albums, have similarities with Johannes Kepler's novel Somnium from 1634, Francis Godwin's novel The Man in the Moone from 1638 and Cyrano de Bergerac's The Other World (Orig. L'autre monde), whose works gained new popularity in France in the 1970s. With the album Theusz Hamthaak, the motifs increasingly approach modern science fiction literature of the 20th century such as H. G. Wells' The Time Machine, Olaf Stapledon's The Last and the First Men and The Star Maker of 1930 or Arthur C. Clark's The Last Generation from 1953. However, Vander has not yet commented directly on the sources of his inspirations.

Legacy
The band is widely considered to be musically adventurous and imaginative  among music critics. Magma uses choirs extensively in a way reminiscent of the composer Carl Orff. Magma's music is also highly influenced by jazz saxophone player John Coltrane, and Vander has said that "it is still Coltrane who actually gives me the real material to work on, to be able to move on".

Many of the musicians who have played with Magma have also formed solo projects or spinoff acts. The Kobaïan term Zeuhl has come to refer to the musical style of these bands and the French jazz fusion/symphonic rock scene that grew around them. Besides Christian Vander, other well-known Magma alumni include the violinist Didier Lockwood, bassist-composer Jannick "Janik" Top, and spinoff act Weidorje.

Fandom
The band has a number of high-profile fans. Punk rock singer Johnny Rotten, metal musician Kristoffer Rygg, Steven Wilson of Porcupine Tree, Mikael Åkerfeldt of Opeth, Bruce Dickinson of Iron Maiden, Cattle Decapitation vocalist Travis Ryan, magician Penn Jillette, and Chilean filmmaker Alejandro Jodorowsky have all stated their admiration of the band.

In the 1980s, British World champion snooker player Steve Davis declared himself a passionate follower of the band since his youth and used some of his winnings to promote a series of concerts by Magma in London.

Television journalist Antoine de Caunes wrote a biography of the band entitled Magma.

In 2017, documentary filmmaker Laurent Goldstein directed To Life, Death and Beyond – The Music of Magma. Interviewees include Christian Vander, Stella Vander, James MacGaw, Trey Gunn, Robert Trujillo, and Jello Biafra.

Discography

 * Studio albums
 * 1970: Magma (reissued as Kobaïa)
 * 1971: 1001° Centigrades (or Magma 2)
 * 1973: Mëkanïk Dëstruktïẁ Kömmandöh
 * 1989: Mekanïk Kommandöh (archival, original version of Mëkanïk Dëstruktïẁ Kömmandöh)
 * 1974: Ẁurdah Ïtah (originally Tristan & Iseult by Christian Vander)
 * 1974: Köhntarkösz
 * 1976: Üdü Ẁüdü
 * 1978: Attahk
 * 1985: Merci
 * 2004: K.A (Köhntarkösz Anteria)
 * 2009: Ëmëhntëhtt-Ré
 * 2012: Félicité Thösz
 * 2014: Rïah Sahïltaahk
 * 2015: Šlaǧ Tanƶ
 * 2019: Zëss
 * 2022: Kãrtëhl

 * Live albums
 * 1975: Live/Hhaï
 * 1977: Inédits
 * 1981: Retrospektïẁ (Parts I+II)
 * 1981: Retrospektïẁ (Part III)
 * 1989: Akt X: Mekanïk Kommandöh (earlier studio recording of Mekanïk Destruktïw Kommandöh from 1973) [different from the bonus track mentioned above]
 * 1992: Akt I: Les Voix De Magma (from August 2, 1992 at Douarnenez)
 * 1994: Akt IV: Theatre Du Taur Concert, 1975 (from September 24, 1975)
 * 1995: Akt V: Concert Bobino 1981 (from May 16, 1981)
 * 1996: Akt VIII: Bruxelles 1971 (from November 12, 1971 at Theatre 140)
 * 1996: Akt IX: Opéra De Reims, 1976 (from March 2, 1976)
 * 1999: Akt XIII: BBC 1974 Londres (from March 14, 1974 at the London BBC studios)
 * 2001: Trilogie Theusz Hamtaahk (Concert du Trianon), CD + DVD
 * 2008: Akt XV: Bourges, 1979 (from April 17, 1979)
 * 2009: Live in Tokyo 2005
 * 2014: Zühn Wöhl Ünsai – Live 1974 (2 CD; Radio Bremen recordings)
 * 2018: Akt XVIII: Marquee - Londres 17 Mars 1974
 * 2021: Eskähl 2020 (Bordeaux, Toulouse, Perpignan)

 * EPs
 * 1998: Floë Ëssi/Ëktah
 * 2014: Rïah Sahïltaahk
 * 2015: Šlaǧ Tanƶ

 * Compilations/boxsets/other material
 * 1972: The Unnamables (studio album released under the alias "Univeria Zekt")
 * 1986: Mythes et Légendes Vol. I (compilation)
 * 1992: Akt II: Sons: Document 1973 (recorded in 1973 at Le Manor, featuring a scaled-back line-up of Christian Vander, Klaus Blasquiz, Jannick Top and René Garber)
 * 1997: Kompila
 * 1998: Simples
 * 2008: Archiẁ I & II (included in the Studio Zünd: 40 Ans d'Evolution boxset)
 * 2008: Studio Zünd: 40 Ans d'Evolution (12 disc box set, includes Kobaïa to K.A plus Archiẁ I & II)
 * 2015: Köhnzert Zünd (12 CD; Live recordings, from Magma Live to Trilogie Au Trianon plus Triton Zünd and Alhambra 2009)
 * 2017: Retrospektïw (3 LPs. Includes Retrospektïw I, II & III series. Limited edition of 1,500 numbered copies. Also includes the comic strip.)
 * 2023: Magma une histoire de Mekanik Coffret 50 ans Mëkanïk Dëstruktïw Kömmandöh (7 LP's of different M.D.K. versions. Limited edition of 2,000 numbered copies)

 * Videos
 * 1995: Concert Bobino 1981 (Akt VI), DVD (also released on VHS video cassette)
 * 2001: Trilogie Theusz Hamtaahk (Concert du Trianon), DVD + CD
 * 2006: Mythes et Légendes Epok 1, DVD
 * 2006: Mythes et Légendes Epok 2, DVD
 * 2007: Mythes et Légendes Epok 3, DVD
 * 2008: Mythes et Légendes Epok 4, DVD
 * 2013: Mythes et Légendes Epok 5, DVD
 * 2016: Nihao Hamtaï – Magma in China, DVD
 * 2017: Ëmëhntëhtt-Rê Trilogy, DVD

Members

 * Violinist: Didier Lockwood
 * Guitarists: Claude Engel, Claude Olmos, Gabriel Federow, Marc Fosset, James Mac Gaw, Jean-Luc Chevalier (currently guitarist with Tri Yann ), Jim Grandcamp, Rudy Blas, Brian Godding.
 * Bassists: Jannick Top, Bernard Paganotti, Guy Delacroix, Francis Moze, Laurent Thibault, Michel Hervé, Dominique Bertram, Marc Éliard (currently bassist with Indochine), Philippe Bussonnet, Jimmy Top
 * Keyboardists: Benoît Widemann, Michel Graillier, Gérard Bikialo, Jean Luc Manderlier, François "Faton" Cahen (former leader of the group Zao), Guy Khalifa, Sofia Domancich, Patrick Gauthier, Simon Goubert, Pierre-Michel Sivadier, Jean Pol Asseline, Jean Pierre Fouquey, Frédéric D'Oelsnitz, Benoît Alziari (plus vibraphone and theremin), Emmanuel Borghi, Bruno Ruder, Thierry Eliez
 * Saxophonists: Teddy Lasry, Richard Raux, Alain Guillard, René Garber and Jeff "Yochk’o" Seffer
 * Trumpeters: Louis Toesca and Yvon Guillard
 * Male vocalists: Klaus Blasquiz, Christian Vander, Guy Khalifa, Antoine Paganotti and Hervé Aknin
 * Female vocalists: Stella Vander, Isabelle Feuillebois, Maria Popkiewicz, Liza de Luxe, Himiko Paganotti, Sandrine Fougère, Sandrine Destefanis, Sylvie Fisichella, Laura Guarrato
 * Drummers and percussionists: Christian Vander, Michel Garrec, Doudou Weiss, Simon Goubert, Clément Bailly, Claude Salmiéri, François Laizeau.

Reading list

 * (Analysis of the musical style of Magma)
 * (Analysis of the musical style of Magma)
 * (Analysis of the musical style of Magma)

title: Magma (band)


text:
Ken (doll)

Kenneth Sean "Ken" Carson Jr. is a fashion doll introduced by American toy company Mattel in 1961 as the counterpart of Barbie, who had been introduced two years earlier.

Similar to Barbie, Ken is from Willows, Wisconsin, and has a fashionable line of clothing and accessories (although he made his debut wearing only a swimsuit). In the Barbie mythos, Ken met Barbie on the set of a TV commercial and is her boyfriend, per promotional box inscriptions from his debut until 2018. , he is perceived as one of Barbie's main friends. Since his debut, Ken has held over 40 occupations, the latest being "beach" (standing in the sand and surveying the waves), as depicted in the 2023 Barbie film.

History
Ken was introduced as the male counterpart to Barbie by the American toy company Mattel in 1961. He was named after Kenneth Handler, son of Barbie creator/inventor Ruth Handler, just as Barbie was named after her daughter. Ken Handler died in 1994 of a brain tumor.

From 1961 to the debut of Superstar Ken in 1977, Ken had straight arms that did not bend. His head could only turn left and right. Ken's hair was made of felt in his first year (known to collectors as the "flocked" hair Ken), but this was replaced with a plastic, molded hairstyle when the creators realized that the felt hair fell off when wet. Superstar Ken featured a dimpled smile, a head that could swivel, bent arms, a more muscular physique, jewelry, and underwear permanently molded to his body. Allegedly Ruth Handler built Ken's appearance in resemblance to her husband.

In February 2004, Mattel announced a split for Ken and Barbie, with Russell Arons, vice president of marketing at Mattel, saying that Barbie and Ken "feel it's time to spend some quality time – apart...Like other celebrity couples, their Hollywood romance has come to an end", though Arons indicated that the duo would "remain friends".

In February 2006, however, a revamped version of the Ken doll was launched, though it was stated that his relationship with Barbie was still purely platonic. In 2011, Mattel launched a massive campaign for Ken to win Barbie's affections back. The pair officially reunited on Valentine's Day 2011.

In 2011, Mattel introduced Japan Ken, the first Ken doll to be included in the "Dolls of the World" collection, which was formerly a Barbie-only line. The Japan Ken doll features a new face sculpt.

In 2021, Mattel announced 15 new looks for Ken. This included looks with different skin tones, body shapes and hair styles. Barbie underwent a similar makeover in 2020. Outside of this change, Ken has not changed much since he was introduced 24 years ago.

Earring Magic Ken
In 1993, Earring Magic Ken was released. The style of the doll was thought to resemble fashions and accessories worn by some segments of the gay community at the time, and "Earring Magic Ken" subsequently attained a cult following, becoming a collector's item.

Sugar Daddy Ken
In October 2009, Mattel announced a new Palm Beach line which included a "Sugar Daddy Ken" doll aimed for adult collectors. The said line officially debuted in the spring of 2010. The line proved to be controversial, because of Ken's suggestive-sounding name. The doll had a more mature appearance and came with a West Highland Terrier puppy. Mattel defended the doll's name, saying that the puppy's name is "Sugar", thus making Ken "Sugar's Daddy". The doll's outfit resembled an outfit worn by a socialite seen in Slim Aarons' photo Palm Springs Party.

Other lines
Ken's best friend, Allan Sherwood (Midge's boyfriend, later husband), was introduced in 1964. In 1968 Brad, the first African American male doll, was introduced as the boyfriend of Barbie's African American friend, Christie, who was introduced in 1967.

Careers

 * Astronaut (clothing pack 1965 )
 * Banker (playset 1995 )
 * Barista (2019 )
 * Baseball player (clothing pack 1991 )
 * Basketball player (clothing pack 2021 )
 * Beach (2023 )
 * Boxer (clothing pack 1963 )
 * Businessman (clothing pack 1992 )
 * Cameraman (playset 1987 )
 * Coach (clothing pack 1992 )
 * Country Western singer (1999 )
 * Cowboy (Venezuela-exclusive Llanero 1989 )
 * Dancer (2011 )
 * Dentist (2020 )
 * Doctor (1963-1965 fashion pack,1987, 1988, clothing pack 1992, 1998, 2010, 2012 )
 * Dog trainer (2020 )
 * Drum major (clothing pack 1964 )
 * Farmer (2019 )
 * Fashion model (2003 )
 * Film art director (2003 )
 * Firefighter (2010, 2019 )
 * Football player (clothing pack 1992 )
 * Golfer (clothing pack 2019 )
 * Hamburger chef (clothing pack 2020 )
 * Movie star (1977, 1988 )
 * Ice skater (1990 )
 * Lifeguard (1995, 2019 )
 * Nurse (clothing pack 2021 )
 * Olympic athlete (Venezuela-exclusive 1988 )
 * Olympic figure skater (1997 )
 * Olympic hockey player (clothing pack 1975 )
 * Olympic skier (1975 )
 * Olympic swimmer (1975 )
 * Photographer (2000 )
 * Pilot (clothing pack 1964, clothing pack 1973, 1990, 2014 )
 * Pizza chef (clothing pack 2019 )
 * Rapper (1992 )
 * Referee (clothing pack 2019 )
 * Reporter (clothing pack 1965, 2015 )
 * Rock star (1987, 1989, clothing pack 1991 )
 * Sailor (clothing pack 1963 )
 * Saxophonist (clothing pack 2020 )
 * Science teacher (clothing pack 2020 )
 * Skier (clothing pack 1963 )
 * Snowboarder (2012 )
 * Soccer player (2019 )
 * Soda fountain worker (clothing pack 1964, 2000 )
 * Spy (2015 )
 * Starfleet command officer (1996 )
 * Tennis player (1979 )
 * United States Air Force pilot (clothing pack 1963, 1993 )
 * United States Air Force Thunderbirds pilot (1994 )
 * United States Army officer (clothing pack 1963, 1992 )
 * United States Marine Corps sergeant (1992 )
 * Wildlife veterinarian (2020 )

Criticism
Ken's body proportions have been described as unrealistic by scholarly studies (his chest is estimated to be about 27.5% too large for a representative human male). Unrealistic body proportions in Barbie dolls, including Ken's, have been connected to some eating disorders in children. Another controversy has also centered around the visibility (or lack of it) of Ken's male genitalia.

Media/multimedia appearances
Ken has starred in various roles not disclosed by Mattel in the Barbie media franchise, including the Barbie films, Barbie: Life in the Dreamhouse, Barbie: Vlogger, Barbie Dreamhouse Adventures, Barbie's Dreamworld, Barbie: It Takes Two and Barbie: A Touch of Magic.

Billy Flanigan appeared as Ken in "Disney’s Magical World of Barbie". René Dif appeared as Ken in the music video for "Barbie Girl".

Ken appeared in the Toy Story films from Pixar from Toy Story 2 onward. In the third film, which he appeared in as one of the henchmen of the film's villain, Lots-O'-Huggin' Bear, he was voiced by Michael Keaton.

American Rapper Lil B likely named his 2017 mixtape Black Ken after Ken, as the cover art for the mixtape depicts Lil B and some of his female friends as dolls in the same style as Barbie.

Atlanta rapper Kenyatta Lee Frazier Jr., known professionally as Ken Carson, got his name from the doll as he wanted to "live better than him".

In 2019, Pete Davidson and Julia Fox were a part of a photo shoot in Paper magazine, where Davidson posed as Ken and Fox posed as Barbie. The photo shoot was created for the 'Break the Internet' series of the magazine, which was made popular by Kim Kardashian's popular "Champagne Incident" portrait.

Various iterations of Ken appear in the 2023 live-action Barbie film, with the lead Ken played by Ryan Gosling, and others by Simu Liu, Kingsley Ben-Adir, Ncuti Gatwa, Scott Evans and John Cena. Gosling received widespread critical acclaim and various accolades, including a nomination for the Academy Award for Best Supporting Actor. And there are songs inspired from Ken character in the movie's soundtrack album, "Man I Am" by Sam Smith and "I'm Just Ken" performed by Gosling with all Ken actors which received widespread critical acclaim and nominations for Golden Globe Award for Best Original Song, Grammy Awards for Best Song Written for Visual Media and Academy Award for Best Original Song.

Names
Ken is named after Ruth Handler’s son Kenneth. In the 1960s Random House books, the character's surname is given as Carson. Barbie and Ken's surnames were taken from the name of Mattel's ad agency Carson/Roberts. Ken's middle name is Sean.

title: Ken (doll)


text:
Talk:William Rose Benét

On italics and the Pulitzer
With regard to italicization, the usual (which I assume is also the Wikipedian) way to refer to short works (poems, short stories) is to enclose them in quotation marks, while longer works are italicized.

In this case, I believe that the Pulitzer Prize for Poetry is given for the best book of verse by a single poet, rather than for a single poem. -- Someone else 02:57 Jan 5, 2003 (UTC)

Photo
The photo on the William Rose Benet Wikipedia entry is NOT that of William, but of William's brother, Stephen Vincent Benet. Thebookbeast (talk) 20:38, 14 June 2014 (UTC)

title: Talk:William Rose Benét


text:
Pointillism

Pointillism is a technique of painting in which small, distinct dots of color are applied in patterns to form an image.

Georges Seurat and Paul Signac developed the technique in 1886, branching from Impressionism. The term "Pointillism" was coined by art critics in the late 1880s to ridicule the works of these artists, but is now used without its earlier pejorative connotation. The movement Seurat began with this technique is known as Neo-impressionism. The Divisionists used a similar technique of patterns to form images, though with larger cube-like brushstrokes.

Technique
The technique relies on the ability of the eye and mind of the viewer to blend the color spots into a fuller range of tones. It is related to Divisionism, a more technical variant of the method. Divisionism is concerned with color theory, whereas pointillism is more focused on the specific style of brushwork used to apply the paint. It is a technique with few serious practitioners today and is notably seen in the works of Seurat, Signac, and Cross.

From 1905 to 1907, Robert Delaunay and Jean Metzinger painted in a Divisionist style with large squares or 'cubes' of color: the size and direction of each gave a sense of rhythm to the painting, yet color varied independently of size and placement. This form of Divisionism was a significant step beyond the preoccupations of Signac and Cross. In 1906, the art critic Louis Chassevent recognized the difference and, as art historian Daniel Robbins pointed out, used the word "cube" which would later be taken up by Louis Vauxcelles to baptize Cubism. Chassevent writes:
 * M. Metzinger is a mosaicist like M. Signac but he brings more precision to the cutting of his cubes of color which appear to have been made mechanically [...].

Practice
The practice of Pointillism is in sharp contrast to the traditional methods of blending pigments on a palette. Pointillism is analogous to the four-color CMYK printing process used by some color printers and large presses that place dots of cyan, magenta, yellow, and key (black). Televisions and computer monitors use a similar technique to represent image colors using Red, Green, and Blue (RGB) colors.

If red, blue, and green light (the additive primaries) are mixed, the result is something close to white light (see Prism (optics)). Painting is inherently subtractive, but Pointillist colors often seem brighter than typical mixed subtractive colors. This may be partly because subtractive mixing of the pigments is avoided, and because some of the white canvas may be showing between the applied dots.

The painting technique used for Pointillist color mixing is at the expense of the traditional brushwork used to delineate texture.

The majority of Pointillism is done in oil paint. Anything may be used in its place, but oils are preferred for their thickness and tendency not to run or bleed.

Music
Pointillism also refers to a style of 20th-century music composition. Different musical notes are made in seclusion, rather than in a linear sequence, giving a sound texture similar to the painting version of Pointillism. This type of music is also known as punctualism or klangfarbenmelodie.

Notable artists

 * Georges Seurat
 * Charles Angrand
 * Chuck Close
 * Henri-Edmond Cross
 * Henri Delavallée
 * Albert Dubois-Pillet
 * Louis Fabien (pseudonym)
 * Georges Lemmen
 * Maximilien Luce
 * Jean Metzinger
 * Camille Pissarro
 * John Roy
 * Paul Signac
 * Vincent van Gogh
 * Théo van Rysselberghe
 * Hippolyte Petitjean
 * Jan Toorop
 * Alfred William Finch
 * Gale D. Jones

Notable paintings

 * A Sunday Afternoon on the Island of La Grande Jatte by Georges Seurat
 * Bathers at Asnières by Georges Seurat
 * The Windmills at Overschie by Paul Signac
 * Banks of Seine by Georges Seurat
 * A Coastal Scene by Théo van Rysselberghe
 * Family in the Orchard by Théo van Rysselberghe
 * Countryside at Noon by Théo van Rysselberghe
 * Afternoon at Pardigon by Henri-Edmond Cross
 * Rio San Trovaso, Venice by Henri-Edmond Cross
 * The Seine in front of the Trocadero by Henri-Edmond Cross
 * The Pine Tree at St. Tropez by Paul Signac
 * Opus 217. Against the Enamel of a Background Rhythmic with Beats and Angles, Tones, and Tints, Portrait of M. Félix Fénéon in 1890 by Paul Signac
 * The Yellow Sail, Venice by Paul Signac
 * Notre Dame Cathedral by Maximilien Luce
 * Le Pont De Pierre, Rouen by Charles Angrand
 * The Beach at Heist by Georges Lemmen
 * Aline Marechal by Georges Lemmen
 * Vase of Flowers by Georges Lemmen
 * Two Nudes in an Exotic Landscape by Jean Metzinger

title: Pointillism


text:
Paul Signac

Paul Victor Jules Signac (, ; 11 November 1863 – 15 August 1935) was a French Neo-Impressionist painter who, with Georges Seurat, helped develop the artistic technique Pointillism.

Biography
Paul-Victor-Jules Signac was born in Paris on 11 November 1863. His parents wanted him to study architecture but, as he said, his preference was to draw the Seine. He was particularly affected by an 1880 exhibition of Claude Monet's work. Signac began boating.

In 1884 he met Claude Monet and Georges Seurat. He was struck by the systematic working methods of Seurat and by his theory of colors and he became Seurat's faithful supporter, friend, and heir with his description of Neo-Impressionism and Divisionism method. Under Seurat's influence he abandoned the short brushstrokes of Impressionism to experiment with scientifically-juxtaposed small dots of pure color, intended to combine and blend not on the canvas, but in the viewer's eye, the defining feature of Pointillism.

The Mediterranean coast is a major theme across Signac's paintings. He left the capital each summer, to stay in the south of France in the village of Collioure or at St. Tropez, where he bought a house and invited his friends. He envisioned the south of France as the perfect location for a future anarchist utopia.

Signac, Albert Dubois-Pillet, Odilon Redon, and Seurat were among the founders of the Société des Artistes Indépendants. The association began in Paris 29 July 1884 with the organization of massive exhibitions, embracing as their motto, "Neither jury nor awards" (Sans jury ni récompense). "The purpose of Société des Artistes Indépendants—based on the principle of abolishing admission jury—is to allow the artists to present their works to public judgement with complete freedom". For the following three decades their annual exhibitions flourished and set the trends in art of the early twentieth century. Signac was a guiding force in the Société and was its President from 1908 until his death.

In 1886 Signac met Vincent van Gogh in Paris. During 1887 the two artists regularly went to Asnières-sur-Seine together, where they painted such subjects as river landscapes and cafés. Initially, Van Gogh chiefly admired Signac's loose painting technique. Signac would also meet Toulouse Lautrec who was a friend of Van Gogh.

In March 1889, Signac visited Van Gogh at Arles. In 1890, during the banquet of the XX exhibition in Brussels, Lautrec challenged to a duel the artist Henri de Groux who criticized Van Gogh's works. Signac declared he would continue to fight for Van Gogh’s honor if Lautrec was killed. De Groux apologized for the slight and left the group and the duel never took place.

The next year he made a short trip to Italy, seeing Genoa, Florence, and Naples.

In 1888, Signac discovered anarchist ideas by reading Élisée Reclus, Kropotkin, and Jean Grave, who all developed the ideas of anarchist communism. With his friends Angrand Cross, Maximilien Luce, and Camille Pissarro he contributed to Jean Grave's paper, Les Temps Nouveaux (New Times).

In 1892, he sailed the Garonne River southeast in France to the Mediterranean Sea, spending time in Saint-Tropez.

Signac experimented with various media. As well as oil paintings and watercolors he made etchings, lithographs, and many pen-and-ink sketches composed of small, laborious dots.

The Neo-Impressionists influenced the next generation: Signac inspired Henri Matisse and André Derain in particular, thus playing a decisive role in the evolution of Fauvism. Signac himself did not admire the style when it first appeared.

Having prospered well, his financial support of the arts was considerable. As donations, he sent regular cheques and made a gift of his works for five lotteries between 1895 and 1912. Signac's 1893 painting, In the Time of Harmony originally was entitled, In the Time of Anarchy, but political repression targeting the anarchists in France at this time forced him to change the title before the work could be accepted by a gallery.

At the 1905 Salon des Indépendants, Henri Matisse exhibited the proto-Fauve painting Luxe, Calme et Volupté. The brightly colored composition was painted in 1904 after a summer spent working in St. Tropez on the French Riviera alongside the neo-Impressionist painters Henri-Edmond Cross and Paul Signac. The painting is Matisse's most important work in which he used the Divisionist technique advocated by Signac, which Matisse had adopted in 1898 after reading Signac's essay, d'Eugène Delacroix au Néo-Impressionnisme. Signac purchased the work after the 1905 Salon des Indépendants. In 1908 Signac was elected president of the Twenty-fourth Salon des Indépendants.

As president of the Société des Artistes Indépendants, from 1908 until his death, Signac encouraged younger artists by exhibiting the controversial works of the Fauves and the Cubists. He was the first patron to buy a painting by Matisse.

Signac served as a juror with Florence Meyer Blumenthal in awarding the Prix Blumenthal, a grant given between 1919 and 1954 to painters, sculptors, decorators, engravers, writers, and musicians.

Personal life
On 7 November 1892, Signac married Berthe Roblès at the town hall of the 18th arrondissement of Paris. The witnesses at the wedding were Alexandre Lemonier, Maximilien Luce, Camille Pissarro, and Georges Lecomte.

In November 1897, the Signacs moved to a new apartment in the Castel Béranger, which was built by Hector Guimard. A little later, in December of the same year, they acquired a house in Saint-Tropez named, La Hune, where the painter had a vast studio constructed that he inaugurated on 16 August 1898.

In September 1913, Signac rented a house at Antibes, where he took up residence with Jeanne Selmersheim-Desgrange. She gave birth to their daughter, Ginette, on 2 October 1913. Meanwhile, Signac left La Hune and the Castel Beranger apartment to Berthe and they remained friends for the rest of his life. On 6 April 1927, Signac formally adopted Ginette. His granddaughter, Françoise Cachin, was an art historian.

Paul Signac died from sepsis in Paris on 15 August 1935 at the age of 71. His body was cremated and was interred three days later, on 18 August, at the Père Lachaise Cemetery.

Author
Signac wrote several important works on the theory of art, among them, From Eugène Delacroix to Neo-Impressionism, first published in serial form in 1898. It is an important history of color and explanation of neo-impressionist technique. It also discusses Johan Barthold Jongkind (1819–1891). Signac also authored several introductions to the catalogues of art exhibitions and many other writings yet to be published.

Politically, he was an anarchist, as were many of his friends, including Félix Fénéon and Camille Pissarro.

Illustrations in periodicals

 * L'almanach de Cocagne pour l'an 1920–1922, Dédié aux vrais Gourmands Et aux Francs Buveurs (1921), published by Jean Cocteau and Bertrand Guégan (1892–1943)
 * La Gerbe (Nantes), periodical.

title: Paul Signac