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Touring bicycle

A touring bicycle is a bicycle designed or modified to handle bicycle touring. To make the bikes sufficiently robust, comfortable and capable of carrying heavy loads, special features may include a long wheelbase (for ride comfort and to avoid pedal-to-luggage conflicts), frame materials that favor flexibility over rigidity (for ride comfort—though frame flexing can eventually lead to metal fatigue and frame failure, so newer frames are rigid), heavy duty wheels (for load capacity), and multiple mounting points (for luggage racks, fenders, and bottle cages).

Types
Touring bicycle configurations are highly variable and may include road, sport touring, trail, recumbent, or tandem configurations.

Road touring
Road touring bicycles have a frame geometry designed to provide a comfortable ride and stable, predictable handling when laden with baggage, provisions for the attachment of fenders and mounting points for carrier racks and panniers.

Modern road tourers may employ 700C (622 mm) wheels — the same diameter as a road (racing) bicycle. Other road touring bikes may feature wider rims and more clearance in the frame for wider bicycle tires. Before the 1980s, many touring bikes were built with 630 mm (27-inch) wheels which have a slightly larger diameter.

Other touring bikes use 660 mm (26-inch) wheels for both off-road and on-road use. Advantages of the slightly smaller wheel include additional strength, worldwide tire availability, and lighter weight. Some touring bicycles, such as the Rivendell Atlantis and Surly Long Haul Trucker, offer frames designed for 660 mm (26-inch, ISO 559) wheels or for 700C (622 mm) wheels, with the frame geometry optimal for the selected wheel size.

Specially made touring tires for 660 mm (26-inch) wheels are now widely available, especially in developing countries, where 700C (622 mm) may be difficult to obtain. Hence, on the mass ride from Paris to the Beijing Olympics in 2008, the Fédération Française de Cyclotourisme asked all riders to use 660 mm (26-inch) wheels. Factors that affect rolling resistance include tire air pressure, tread and tire width as well as wheel size.

Sport touring
The sport/touring bicycle is a very lightweight touring bike fitted with lighter wheels and narrower 25–28 mm tires. It may also be described as a road racing bike fitted with heavier tires and slightly more relaxed frame geometry (though still quicker than the average road touring bike). It is designed as a fast-handling, responsive and quick day touring machine. As such, it is intended to carry only the rider and very light loads, such as encountered in credit card touring, where riders typically carry little more than a pocketbook and credit cards to book overnight lodging at any handy hotel, hostel, or bed-and-breakfast while on a journey.

Gearing is often a mix of closely spaced ratios for speed, combined with a few low gears for long climbs. Sport/touring bikes may sometimes have provisions for mounting slim fenders and a rear carrier or pannier rack, though in the interests of weight savings and quicker handling, most do not.

Expedition touring
There are numerous variants on the traditional road tourer depending on the weight carried and the type of terrain expected. Expedition tourers are strongly built bicycles designed for carrying heavy loads over the roughest roads in remote and far-flung places. These range from simply stronger built mountain bikes, equipped with racks, panniers, mudguards and heavy-duty tires, to purpose-built bicycles built to cope with long-haul touring on tracks and unsealed roads in developing countries. Their frames are often made of steel as it is stronger, more flexible- therefore more comfortable over rough surfaces- and any breakages can be repaired virtually anywhere in the world.

A typical expedition touring bike would be made of relatively heavy duty steel tubing, with 26 in wheels, and componentry chosen for robustness and ease of maintenance. The main design criteria for such a bike would be to allow all-day comfort on the bike, have good handling characteristics under heavy load, and be capable of running smoothly on good roads, but also on the roughest of tracks. Some bike tourers have made their own expedition bikes, by building up on mountain bike frames. The key difference between a mountain bike and an expedition touring bike would be the addition of racks for panniers, and tougher, all purpose tires. They will have a longer wheelbase to allow for more comfortable cruising, at the expense of the manoeuvrability of a mountain bike. Most tourers also prefer heavier, stronger wheels than would be normal on a production mountain bike and although some are now equipped with disc brakes to eliminate natural rim side-wall wear. Most expedition bikes will have the same range of gears as a mountain bike and for durability some use the Rohloff Speedhub at the expense of its high cost.

It is a small, specialist market, so only a small number of bikes are sold under this description, few if any by the biggest manufacturers. Examples are the EXP and Raven from Thorn Cycles, and the Roberts Roughstuff, all made in the UK. Koga-Miyata produce the Signature range of bikes that allows users to specify many aspects of the bikes components to ultimately achieve an expedition bike.

Mixed terrain touring
Mixed terrain cycle touring bikes are a cross between mountain and road bikes. Also called all-rounders, 29er touring or monster cross, these bikes strive for a balance of efficiency and speed on and off-road. Typically they are built with light steel frames and drop handlebars. Unlike expedition touring bikes they typically sport 700C (622 mm) or 650B (584 mm) sized wheels. Yet like other touring bikes, they stress a relaxed geometry for all day comfort. Low mountain bike gearing is often used and these bikes can usually carry a medium weight load without trouble. Mixed terrain touring bikes fall into this category and are used for mixed terrain touring in the mountains. A few manufacturers like Rawland Cycles, Surly Bikes, and Singular Cycles are now producing these bikes. Salsa has also come up with a related model called the Fargo. But many riders convert older, non-suspension mountain bikes and cyclo-cross bikes for the purpose.

Folding/collapsible touring

There is an increasing number of specially designed and built or adapted folding bicycles used in bicycle touring. Most are built with 20 in wheel 406 mm rims, although some are built with 400 mm (16-inch) wheels, and the AM series Moulton is built around a specially made 17 in wheel. Moulton's current TSR range use standard 20 in wheels with the 406 mm rim format. Many have ride characteristics just as good as touring bicycles with 660 mm (26-inch) or 700C (622 mm) wheels, but they have the advantage that they can be folded or collapsed for much easier transportation in trains and in airline luggage. The Bike Friday New World Tourist packs into an airline checkable suitcase that can be converted into a trailer and pulled behind the bicycle. The Raleigh Twenty, manufactured from 1968 to 1984, though still commonly available today second hand, is also a popular frame format used to construct collapsible touring bicycles. Other bicycles such as the Surly Travelers Check and the Santana Travel Tandem are full-sized bicycles which do not fold, but instead use Bicycle Torque Couplings to enable separating the frame into two parts for easier transport.

Recumbent touring

Recumbents differ from more traditional bicycles in that the rider sits in a reclining or semi-reclining position with their legs in front. Benefits claimed include greater comfort and aerodynamic efficiency. The luggage carrying arrangements of recumbents are also different, often requiring special panniers and racks designed to fit under and behind the seat to provide similar capacity to a conventional touring bike. A disadvantage is that the rider becomes less visible in traffic.

Tandem touring

Tandems are bicycles built for two or more riders. They can make it easier for two or more riders of different abilities to ride together and are also used to allow people with disabilities to enjoy cycling. A typical traditional upright tandem does not allow for any more luggage than a solo bicycle, but this limitation can be overcome by pulling a trailer.

Specifications
Touring bicycles are usually equipped with luggage racks front and rear, designed to hold panniers or other forms of luggage. To accommodate long rides, touring bikes have comfortable handlebars and saddles. In fact there are many different bicycle handlebar arrangements available to touring cyclists, the choice of which is highly individual.

Frame
Touring bicycles may appear similar to road bicycles if they have drop handlebars. However, they greatly differ by typically having a longer wheelbase and more stable steering geometry, with numerous attachments for luggage racks, fenders (mudguards), lights, high capacity water bottles, tools and spare parts. Chainstays must be long enough to accommodate panniers without them brushing the rider's heels, and the entire structure must be stiff enough to safely handle long, fast descents with the machine fully loaded.

To be field-repairable (i.e. welding) and for reliability, touring bicycles typically have a steel (CroMo) frame and fork, however aluminum and titanium are also sometimes used.

Wheels
Higher quality touring bikes are outfitted with strong wheels that are less likely to break under heavy loads on rough terrain. This means double-wall rims, with usually 36, and sometimes as many as 48, spokes, laced 3 or 4-cross.

Although both sizes are common, wheels are often 660 mm (26-inch, ISO 559) in preference over 700C (622 mm, ISO 622). This is because ISO 559 wheels are used on mountain bicycles and are more durable and often easier to source in remote locations than 700C (622 mm) wheels. World bicycle tourers Tim and Cindie Travis are notable advocates of ISO 559 mountain wheels for touring bicycles. Older touring bicycles may have 630 mm (27-inch) wheels still.

Gearing
Touring bicycles traditionally use wide-ratio derailleur gears, often with a very low gear, in some countries called a "granny gear", for steep hills under load. Typically the gearing has a triple chainring similar to mountain bicycles, whereas most road bicycles have only two chainrings. Raleigh's 1985 catalogue lists touring bicycles that usually fitted with a 14-32 tooth 6-speed freewheel and 28/45/50-tooth chainrings, typically giving a gear range of 1.84–7.68 metres of development (23 to 96 gear inches). A modern popular combination is to use an 11-34 tooth cassette with 22/32/44-tooth chainrings, typically giving a gear range from 1.44–8.32 metres of development (18 to 104 gear inches).

Internal-geared hubs with 5, 7, 8, 11 or even 14 gear ratios have become an option in recent years because of their robustness and low maintenance. In particular, the Rohloff 14-speed hub with a gear range of over 500% has been used on at least two around-the world bicycle tours. Internal-geared hubs have a couple of advantages over traditional derailleur gears, in that they can use stronger chains as generally a single sprocket and chainring combination will be used. Secondly the spread of gears can be made more evenly, that is to say there are many duplicated and unusable gears in a derailleur geared setup.

Brakes
Touring bicycles usually have linear-pull brakes or cantilever brakes, instead of the caliper brakes used on racing bicycles. Caliper brakes are less suitable because, to fit around mudguards (fenders) and wide tires, they become large and may flex when trying to stop a heavy bike. Some newer touring bikes use disc brakes, because of their greater stopping power in wet and muddy conditions and also to avoid outer rim wear. However, they are more complicated, so repairing them in remote locations can be difficult; they also weigh more than cantilever brakes, increase the stresses on spokes, and require the front wheel to be dished, which reduces the durability of the wheels.

Thus, touring bikes trade speed for utility and ruggedness. This combination is popular with commuters and couriers as well.

Trailers

Instead of panniers, some riders prefer a bicycle trailer. Trailers are easy to use and allow touring with bikes on which it is impossible to attach racks. However, double wheeled trailers decrease maneuverability and are not particularly suited for touring in mountainous regions or on rugged terrain. On the other hand, single wheel trailers are extremely maneuverable, with the trailer wheel tracking very closely with the rear wheel. These can easily be ridden on single track trails (about 40 cm width), over some very technical terrain.

Trailers have an advantage over panniers on single track trails because the bike itself carries no extra weight, except some on the rear axle attachment (the trailer itself can be loaded with up to 70 kg). This allows the rider to shift weight as if without load and clear logs or rocks (trailers will typically follow over anything the bottom bracket clears).

title: Touring bicycle


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Music of North Macedonia

The Macedonian music refers to all forms of music associated with ethnic Macedonians. It shares similarities with the music of neighbouring Balkan countries, yet it remains overall distinctive in its rhythm and sound.

Folk music
The ethnic Macedonian folk music (Macedonian: Народна музика, Narodna muzika) includes:
 * Traditional music (Macedonian: Изворна музика, translit.: Izvorna muzika literally meaning: roots music)
 * Contemporary folk music (Macedonian language: современа народна музика)

Traditional music
The Macedonian traditional music, which can be rural or urban (starogradska muzika), includes: lyric songs, epic songs, labour songs, ritual songs, humorous songs, circle dance ("oro"), the old urban style called Čalgija (not to be confused with chalga) etc. Popular traditional songs are: Kaleš bre Anǵo, Slušam kaj šumat šumite, Biljana platno beleše, Dafino vino crveno, Narode Makedonski, Zemjo Makedonska and many others. Often referenced oro dances are Teškoto from the village of Galičnik, Kalajdžiskoto, Komitskoto (The Dance of the freedom fighters) and others. An internationally acclaimed professional folklore association is the award-winning Tanec.

The music of the Balkans is known for complex rhythms. Macedonian music exemplifies this trait. Folk songs like "Pomnish li, libe Todoro" (Помниш ли, либе Тодоро) can have rhythms as complex as 22/16, divided by stanza to 2+2+3+2+2+3+2+2+2+2, a combination of the two common meters 11=2+2+3+2+2 and 11=3+2+2+2+2 (sheet music). In order to add tension to notes, musicians (primarily from older schools) will add the distinctive characteristic of stretching out beats.

The gajda (гајда), a type of bagpipe, was the most common folk instrument in traditional Macedonian culture. It has now become an instrument for concert recitation, drawing on recent legends like Pece Atanasovski (video), leader of the Radio Skopje ensemble Ansambl na Narodni Instrumenti, as the source of modern tradition. Other instruments include:
 * šupelka (шупелка) – small flute
 * kemane (кемане) – three-stringed fiddle
 * tambura (тамбура) – long-necked lute
 * zurla (зурла) – large double-reed horn
 * tapan (тапан) – cylindrical drum
 * kaval (кавал) – rim-blown flute
 * harmonika (хармоника) – accordion

Macedonian folk orchestras consist of a clarinet or saxophone, drum kit, bass guitar, accordion and guitar, sometimes with modern synthesizers and drum machines. These orchestras are very popular in Macedonia. Popular members are virtuoso musicians Skender Ameti and Goran Alachki on accordion and Miroslav Businovski on clarinet.

Čalgija is an urban style, played by bands (Čalgii) with a dajre (tambourine) and tarabuka (hourglass drum) providing percussion for ut (lute), kanun (zither), clarinet and violin. Though modern musicians have updated the Čalgija into a spectrum of hard and soft, classical and pop sounds, some traditional musicians remain. Perhaps the most influential of recent years was Tale Ognenovski, who plays a wide variety of traditional and modern sounds.

After World War II People's Republic of Macedonia sponsored the creation of professional ensembles such a "Chalgii orchestra", "Folk music orchestra" and "Authentic folk instruments orchestra" which were departments of "Radio Television Skopje" and performed arranged version of folk melodies. Folk music orchestras performed arranged versions of folk melodies.

Since 1971 the Macedonian folk music duo, Selimova-Želčeski is active. At the International Folklore Conference organized by the International Folklore Committee in Istanbul, Turkey, 1977, on the subject of "Folklore on the Radio" representative from Yugoslavian Radio Television (Former Yugoslavia) was Dushko Dimitrovski, Editor of the Folk Music Department for "Radio Television Skopje" (now Macedonian Radio Television) from the Socialist Republic of Macedonia presented folklore material in his presentation entitled "Chalgija music in Macedonia", including the recordings of Macedonian folk dances: "Kasapsko oro", arranged by Tale Ognenovski, and "Kumovo oro chochek", composed by Tale Ognenovski and performed by him as clarinet soloist accompanied by the "Chalgii" orchestra of Radio Television Skopje (now Macedonian Radio Television), which created great interest not only amongst the delegates of the Conference but also around the world.

In the book entitled "Rough Guide to World Music Volume One: Africa, Europe & The Middle East" written by Simon Broughton and Mark Ellingham on page 202 subtitle: Macedonia tricky rhythm, Kim Burton noted: "In western music, a bar of triple time – such as a waltz has three equal beats: but in Macedonia it may a bar of 7/8 divided up as 3-2-2 or 2-2-3 or 2-3-2 and so on…" In this book on page 203 was written: "One of the few clarinettists to have performed successfully both with a calgia and in the more modern style is Tale Ognenovski, born in 1922 and one of the most influential musicians of the post-war era. He was a member of the Tanec group during the 1950s and lead clarinet of the Radio Skopje calgia. The composer of many tunes that have become standards, and which is the basis for Macedonia's own new composed folk music."

The magazine "Ilustrovana politika" observes,"Radio Television Belgrade" (PGP-RTB, now PGP-RTS Radio Television of Serbia, Serbia) released an LP of Macedonian folk music (LP 1439 RTB, produced in 1979), on which is performances by the extraordinary clarinetist Tale Ognenovski. His music repertoire is folk dances, jazz (besides others he includes works by Benny Goodman and Artie Shaw), concerts from Carl Maria von Weber, Mozart and Ernesto Cavallini...This is Tale Ognenovski who began to play the clarinet in the village of Brusnik near Bitola, who with this wooden instrument toured the world and received well-deserved applause wherever he performed."

In his book, For Our Music Dushko Dimitrovski writes: "The impossible becomes possible: two usually non-complementary parallel-existing worlds of sounds, Europe and The Orient, are in Tale Ognenovski's music naturally brought closer together, understand each other and merge."

In September, 2001 Tale Ognenovski released CD album: Jazz, Macedonian Folk Dances and Classical Music Reviewer Neil Horner of the MusicWeb International comments, "He is undoubtedly an exceptional artist and the predominant image created in my mind is of Benny Goodman playing the superb Contrasts he commissioned Bartók to write for him …This disc is likely to appeal to world music aficionados who enjoy the Balkan/Levantine soundworld and perhaps also those who care to hear the source musics of their classical favourites, the aforementioned Bartók but also, here, perhaps people like Skalkottas."

Contemporary folk music
Contemporary folk music is a popular style based on the traditional folk music. However, unlike it, contemporary folk music is credited to a particular author and it falls under the copyright laws, it is performed by professional musicians and it is usually (but not necessarily) played with modern instrumentation. Usually, the older performers and composers (such as the highly acclaimed Aleksandar Sarievski, Jonče Hristovski and Dobri Stavrevski) stay closer to the traditional roots, and thus contemporary folk music is often mistaken for traditional. On the other hand, the younger usually espouse a more modernized sound and image, thus often being disproved by the traditional purists as kitsch. Nevertheless, the style is popular among the common people and notable performers include: Anka Gieva, Vanja Lazarova, Violeta Tomovska, Elena Georgieva, Suzana Spasovska, Mitre Mitrevski, Efto Pupinovski, Vojo Stojanovski, Orce Stefkovski, Blagica Pavlovska, Dragan Vučić, Zoran Vanev, Vaska Ilieva Wik Kakarotski and others. Some of them also perform traditional songs. The newest generation of performers of this genre such as Aneta Micevska, Blagojce Stojanovski-TUSE, Sonja Tarculovska, Elena Velevska, Jasmina Mukaetova, Aneta Nakovska, Pane Panev altogether with the bands such as Molika, Bioritam, Akademci Bolero bend, Art Plaza have introduced a newer outlook to this kind of music inspired by the Serbian turbofolk, Bulgarian chalga, and Greek laika, so their style is more considered as pop-folk, rather than folk music.

Several popular folk music festivals exist, including: Folk fest Valandovo in Valandovo, Serenada na Širok sokak in Bitola, Cvetnici in Skopje, Ohridski trubaduri – Ohrid Fest in Ohrid and others.

Outside North Macedonia
Traditional as well as modern music is created and performed in other countries where Macedonian communities exist, which include primarily the Balkan countries surrounding North Macedonia, as well as enclaves resulting from the diaspora in the US, Australia, Canada and other countries. A notable example is the folk musician Kostas Novakis from Greece (born in Koufalia, Thessaloniki regional unit, Greek Macedonia), who claims Macedonian ethnicity and performs traditional ethnic Macedonian music. Despite the political tensions between North Macedonia, with ethnic Macedonians on one side and Greece on the other, Novakis released several CD titles with traditional ethnic Macedonian music in Greece.

Receiving the audience through the World of Unusual Rhythm of Macedonian Folk Music
"Macedonian folk music is governed by rhythmic laws and set metres. Foreign influences, in so far as they existed, where subjected to the rules of accentuation of the Macedonian popular language. The melody is usually asymmetrical... ""Teškoto" from Nižopole (Bitola) means "heavy," and indicates the heavy rhythm which is typical of very ancient dances," appeared in an article entitled, "Extracts from PROGRAMME NOTES ON THE DANCES AND SONGS performed at the Yugoslav Folk Music Festival", with the subtitle 'MACEDONIA – represented by 23 villages", published by The International Folk Music Council (IFMC) Stevan Ognenovski in his book entitled Tale Ognenovski Virtuoso of the Clarinet and Composer / Тале Огненовски виртуоз на кларинет и композитор (2000), noted: "At the "Yugoslav Folk Music Festival in Opatija, Croatia (8 to 14 September 1951) the Folk Dance group from the Bitola village of Nižopole from the Bitola in which Tale Ognenovski was playing as a clarinet soloist in the folk dance "Teškoto", received First Award as the best Folk Dance group at the festival. This was a great success because in this Festival participated 85 different folk dance groups from Macedonia, Croatia, Serbia, Slovenia, Montenegro and Bosnia and Herzegovina. The musical part of the group had only two members: Tale Ognenovski played solo clarinet with the accompaniment of drummer Lambe Petrovski."

Croatian ethnomusicologist Dr Vinko Zganec wrote "The clarinet was as effective an accompaniment to the large drum in the folk dance from Kozjak as it was to the small drum in the folk dance "Teškoto" from Nižopole (Bitola). They provided a very effective combination." This appeared in an article entitled "Yugoslav Musical folklore at the Festival in Opatija". Yugoslav Folk Music Festival had been especially arranged by "Unions of Societies for Culture and Education of Yugoslavia" for the members of the Conference of The International Folk Music Council (IFMC) to studying folk music tradition and beauty and variety of Yugoslav folk art of 85 folk dance groups from Serbia, Bosnia and Herzegovina, Montenegro, Slovenia, Macedonia and Croatia which participated at this festival. "Every evening, for three hours or more, we witnessed an astonishing pageant of costume and custom, ritual and social dance, song and instrumental playing by 700 performers brought together from every part of the country. This was a world whose riches most of us had barely guessed at and, in this highly concentrated presentation, it was an overwhelming and unforgettable experience," written by Marie Slocombe and appeared in an article entitled, "Some Impression of the Yugoslav Conference and Festival " published by The International Folk Music Council". (IFMC)

The Tanec Ensemble of folklore dances and songs of Macedonia was founded by the Government of the People's Republic of Macedonia in 1949 with an aim to collect, preserve and present the Macedonian folklore. Ensemble Tanec performed arranged version of folk melodies. " On 20 January 1956, the Tanec ensemble arrived in the US, and their televised performance on CBS TV Programme Omnibus (U.S. TV series) on 22 January 1956 was viewed by millions people. It established the Tanec ensemble international stature and confirmation of this were reviews in the newspapers in North America for his 66 concerts:

On 27 January 1956, the Tanec Ensemble performed at Carnegie Hall in New York City. For this Carnegie Hall concert The New York Times music critic John Martin, wrote, "This particular group, part of a national movement toward the revival of the folk arts, comes from Macedonia … brilliantly spectacular and wonderfully unfamiliar dances … unforgettable pipe."

The New York Herald Tribune music critic Walter Terry, wrote, "Tanec, a Macedonian group of some forty dancers and musicians, gave generously of their rich folk heritage ... In "Sopska Poskocica", to make the point five young men took over the stage and indulged in show-off tactics to attract the girl ... An audience which jammed Carnegie to capacity cheered and applauded the folk dancing with as much enthusiasm as if it had been witnessing classical, theatrical ballet at its most glittering".

Stjepan Pucak, former Tanjug correspondent and Croatian journalist note: "To choose which were the most successful of the program's seventeen folk dances, when all were greeted with stormy applause, is really very difficult and risky ... "Sopska Poskocica" was even repeated, and to repeat a performance on the American stage is a really rare and exclusive event."

Naum Nachevski, journalist of the newspaper Nova Makedonija, Skopje, People’s Republic of Macedonia note: "The audience interrupted some of the folk dance performances with applause; these dances in particular left great impressions of the folklore … the unusual rhythm of Macedonian folk music. The "Tanec" ensemble not only received a warm welcome from the New York public, but also from the New York press."

The New York Times music critic John Martin, on 5 February 1956, wrote, "There is an amazing variety to the dances that comprised this particular program … the broken circles of the kolo of the Macedonian mountains … a dateless reed pipe"

Tanec's North American tour began with their debut on CBS TV Programme Omnibus (U.S. TV series) on 22 January 1956. Their first live US television performance was taped on videocassette and archived at the Library of Congress in Washington, D.C., and in Catalog Record is written description content: "The Yugoslav national folk ballet / directed by Elliot Silverstein; with the Tanec dance troupe from Macedonia (20 min.)"

For the concerts at The Civic Opera House in Chicago, Illinois on 4–5 February 1956, The Chicago Daily Tribune reviewer, Claudia Cassidy, noted: "… called Tanec, which is the Macedonian word for dance, this group of 37 dancers, singers and musicians is a kaleidoscope of the Balkans ... When five of them dance the "Sopska Poskocica", which apparently just means they are showing off to the girls. I would keep them any day as an unfair trade for the four little swans in Swan Lake."

For the concert at The Academy of Music in Philadelphia, Pennsylvania on 7 February 1956, The Philadelphia Inquirer music critic Samuel Singer commented, "'Tanec' means 'dance', but 'dance' in a larger form than customary. Besides dance alone, it conveys drama, ritual, tradition, songs, even military maneuvers ... there was a remarkable precision in both dancing and playing ... Clarinet, bass fiddle, violin, drums, guitar and flute provided most of the accompaniments in various combinations."

For the concert at The Constitution Hall in Washington, D.C., on 9 February 1956, Paul Hume, the Washington Post and Times music critic observed, "A "Sopska Poskocica" is devised to show the girls how handsome and wonderful and brilliant and exciting and sensational their man friends are. The rate at which it is danced, and the tremendous energy and precision of six men who dance it, is unique and demanded a repetition."

For the concert at Massey Hall in Toronto, Ontario, Canada, on 13 February 1956, John Kraglund, a music critic for The Globe and Mail wrote: "The first impression, however, must be one of rhythmic precision ... Nor was the performance without spectacle ... in the case of one dance, Sopska Poskocica, it was no more than a show-off dance. As such it was highly effective."

For the concert at The War Memorial Opera House in San Francisco, California on 7 March 1956, San Francisco Chronicle music critic R. H. Hagan says, "… in a number titled simply "Macedonian Tune", which in its intricate rhythms and plaintive melody should at least make Dave Brubeck send out an emergency call for Darius Milhaud".

For the concert at The Philharmonic Auditorium in Los Angeles, California on 12 March 1956, Los Angeles Times music critic Albert Goldberg commented: "For authentic folk dancing, wild and free and yet subject to its own intricate disciplines, this group would be hard to beat ...They are accompanied by a group of musicians consisting of a violinist, guitar and accordion players, a flutist, a clarinetist and double bass, though drums of different types are frequently involved, as well as a shepherd's reed pipe"

Dance Observer commented: "The capacity audience at Carnegie Hall on January 27 for the single New York performance of Tanec, the Yugoslav National Folk Ballet, enjoyed a fascinating cross-section of over 2000 years of human history and culture. Tanec is a Macedonian group"

After the end of the tour the Life commented: "A hundred years ago on the rugged roads of Macedonia, bands of brigands used to plunder the caravans of rich merchants and, like Robin Hood, pass on some of their spoils to the poor ... this spring, the Yugoslav National Folk Ballet is making a first, and highly successful tour of the U.S ... Together they make as vigorous a display of dancing as the U.S. has ever seen."

Craig Harris at Allmusic noted for The Tanec Ensemble and clarinetist Tale Ognenovski, "The ensemble reached their peak during the late '50s, when influential clarinet and pipes player Tale Ognenovski was a member."

Notable members of the Tanec Ensemble include clarinetist and composer Tale Ognenovski  –  Tale Ognenovski performed as clarinet and reed pipe (recorder) soloist with Ensemble Tanec during their tour of : United States of America and Canada (66 concerts, between 22 January 1956 and 12 April 1956 including on the Ford Foundation TV Programme Omnibus (U.S. TV series) on 22 January 1956 on CBS and concert on 27 January 1956 at Carnegie Hall in New York City) ; Germany (72 concerts from 15 August until 27 October 1956) ; France (83 concerts from 20 September until 25 November 1959) ;  Switzerland (4 concerts from 7–10 July 1959)

For the contribution of Tale Ognenovski to the Tanec's North American tour, his biographer Stevan Ognenovski in the book entitled Tale Ognenovski Virtuoso of the Clarinet and Composer / Тале Огненовски виртуоз на кларинет и композитор (2000), noted: " Tale Ognenovski was clarinet soloist in "Sopska Poskocica" but he also helped arrange the music for he added his own improvisations to some parts of the dance ... Ensemble Tanec performed 66 concerts ... They were described as a Great Cultural Event by the American press."

Tale Ognenovski as a clarinet soloist performed the Macedonian folk dances "Zhensko Chamche" and "Beranche" with Ensemble Tanec in Vardar Film's 1955 production of "Ritam i zvuk (Rhythm and Sound),.

Ensemble Tanec during their tour of France from 20 September until 25 November 1959. They performed 83 concerts in 58 towns and cities in France. The Ensemble twice had performances broadcast on television, on 21 and 22 September 1959: 20 million people would have seen them on the most popular programme on French Television. Radio Paris recorded a 45-minute programme of Macedonian folk dances and songs.

In a 1964 interview, for the newspaper "Večer", Skopje, People's Republic of Macedonia Raymond Guillier, The Manager of Ensemble Tanec's tour of France (from Paris, France) commented: "Everyone who went to the concerts by Ensemble Tanec in France was fascinated … Tanec is playing in the spirit of Macedonia, no other Ensemble in the world can perform ... Your girls and boys put their whole heart into the dance and example of this is clarinetist Tale Ognenovski."

For the concert of The Tanec ensemble at "Grand Palais" in Bourges, France on 23 September 1959, newspaper "La nouvelle republique du Centre" commented: "The first performance of the National Ballet of Macedonia was a tremendous success. Everyone in the hall applauded with enthusiasm, here in the 'Grand Palais' in Bourges at the first performance in France ... The members of the National Ballet of Macedonia arrived four days ago in Paris and have been shown on television," and newspaper "Le Berry Republicain" commented: "The quality and talent of this group is admirable ... This is the first time that they have performed in France ... At the end of their concert, the members of Ensemble Tanec remained on stage and were applauded by the Bourges audiences for more than a quarter of an hour."

The concerts of the Tanec ensemble were performed in Berne on 7 and 8 July 1959 and in Geneva on 9 and 10 July 1959. Tale Ognenovski made his debut on a special programme broadcast on Swiss Television. Playing as clarinet soloist, he performed his personally composed Macedonian folk dances "Bitolsko oro" and "Brusnichko oro". For the concert of The Tanec ensemble at Port Gitana Bellevue, Geneva on 10 July 1959, newspaper "Tribune de Geneve" commented: "We were presented with remarkable spectacles performed by the Yugoslavian National Folk Ballet 'Tanec' from Macedonia ... Nothing here that resembled classical dances of our Western World ... They have the rhythm of the dances of their country in their blood...."

Tale Ognenovski was included in the book The Greatest Clarinet Players of All Time: Top 100 by Alex Trost and Vadim Kravetsky. Mi2n Music Industry News Network published an article entitled, "Clarinetist Tale Ognenovski Is Included in the Book Entitled "The Greatest Clarinet Players of All Time: Top 100" By Alex Trost And Vadim Kravetsky, Publisher: CreateSpace.""

Mokranjac School of Music
The Mokranjac School of Music was established in Skopje in 1934. In addition to its well-respected choir, it was famous for the people that were involved in its establishment, composers like Trajko Prokopiev and Todor Skalovski.

Post-WWII
After the formation of the PR Macedonia, the Macedonian Philharmonic Orchestra was established in 1944, while in 1947 the Association of Musicians of Macedonia was created. Shortly after that, the first Macedonian radio concert was made, conducted by Todor Skalovski.

During the 1950s, the first Macedonian ballet by Gligor Smokvarski and opera Goce by Kiril Makedonski were produced. The period after these brought a relative renaissance of Macedonian music, focussed on innovation. The most prominent composers in this period are Zivko Firfov, Trajko Prokopiev, Stefan Gajdov, Todor Skalovski, Petre Bogdanov Kocko, Vlastimir Nikolovski, Blagoja Ivanovski, Tomislav Zografski, Toma Prosev and Mihajlo Nikolovski. Among the most prominent music artists in this period are the opera singers Danka Firfova, Pavlina Apostolova, Georgi Bozikov and Zina Krelja, and the pianist Ladislav Palfi. Firfova was one of the first trained sopranos in Macedonia and debuted in 1947 as Santuzza in a Macedonian-language version of the Cavalleria Rusticana, the first opera ever sung in Macedonian.

The "Macedonian National Police Wind Orchestra" comprising about 30 musicians and conducted by Micho Kostovski was established in 1949. In December 1952, Tale Ognenovski as clarinet soloist, together with pianist Nino Cipušev as accompaniment, performed the classical concert "Concert Polka for Clarinet" by Miler Bela in the "Police House" in Skopje with outstanding success and he became the first clarinet soloist in the history of country to perform a classical concert for the clarinet. On 24 May 1953 he played clarinet soloist in the classical concert "Concert Polka for Clarinet" by Miler Bela with Gligor Smokvarski's arrangement for the "Public Police Wind Orchestra", comprising about 30 musicians and conducted by Micho Kostovski. The concert was performed in the Radio Skopje building, and broadcast directly to the nation via Radio Skopje (now Macedonian Radio Television).

Tale Ognenovski and his son Stevan Ognenovski arranged for two clarinets Clarinet Concerto in A Major, K.622, composed by Wolfgang Amadeus Mozart and recorded the albums: Mozart and Ognenovski Clarinet Concertos  and Mozart Clarinet Concerto in A, K. 622 Arranged for Two Clarinets by Tale Ognenovski. Perhaps these two albums are unique recordings of this concert with two clarinets where first clarinet with first arrangement and second clarinet with second arrangement that's played simultaneously – by one performer (Tale Ognenovski). Top40-Charts News published the articles entitled, "Tale Ognenovski, Internationally Renowned Jazz And Classical Clarinetist Released CD Album Entitled: Mozart And Ognenovski Clarinet Concertos To Celebrate The 250th Anniversary of Mozart's Birthday" on 13 November 2006,  and  "Mozart and Ognenovski Is the Best Clarinet Concertos in the World" on 21 November 2014  Mi2n Music Industry News Network published an article entitled, "New Digital Album of Clarinetist And Composer Tale Ognenovski: "Mozart Clarinet Concerto in A, K. 622 Arranged For Two Clarinets By Tale Ognenovski""on 27 April 2017.

Today
Today, one of the most prominent classical music artists is the pianists Simon Trpčeski, also notable opera singers include Neven Siljanovski, Blagoj Nacoski, Ana Durlovski, Igor Durlovski and Boris Trajanov. From the diaspora, a notable performer is the Australian born, but Macedonian pianist Hristijan Spirovski. The most prominent conductors include Borjan Canev, Sasho Tatarchevski, Bisera Chadlovska and Oliver Balaburski, and the most notable instrumentalist are the violinists Ljubisha Kirovski, Oleg Kondratenko and Russian born Anna Kondratenko, the saxophonist Ninoslav Dimov, the clarinetist Stojan Dimov, the bassists Velko Todevski and Petrus Petrusevski, the oboists Tome Atanasov, Vasil Atanasov and Gordana Josifova-Nedelkovska. Among the composers are Darija Andovska, Jana Andreevska, Goce Kolarovski, Tome Mancev, Stojan Stojkov, Damjan Temkov, Valentina Velkovska, Soni Petrovski, Goran Nachevski, Boris Svetiev, Ljubomir Brangjolica, Michael Bakrnčev and the composer, but also a performer, musicologist and researcher, Dimitrije Bužarovski.

Pop music
Popular pop music performers in North Macedonia include: Toše Proeski (the most prominent Macedonian singer), Karolina Gočeva, Maja Odžaklievska, Ljupka Dimitrovska, Rebeka, Gjoko Gjorchev, Elena Risteska, Andrea, Vlatko Ilievski, Vlatko Lozanoski, DNK, Dani Dimitrovska, Kaliopi, Tamara Todevska, Vrcak, Robert Bilbilov, Lambe Alabakoski, Jovan Jovanov, Andrijana Janevska, Kristina Arnaudova, Aco Andonov and others. Notable composers, producers and arrangers involved in the pop music scene are Darko Dimitrov, Damir Imeri, Aleksandar Masevski, and Grigor Koprov. Many artists are famous as both singer and songwriter such as Jovan Jovanov and Miyatta.

The first examples of Macedonian pop music appeared in the mid-20th century and was called "zabavna muzika". The most famous old-generation performers are Zafir Hadzimanov, Verica Risteska, Dragan Mijalkovski and many others. According to style, Macedonian pop music is a Western type of pop music, with influences of folk and oriental music. Several fusion genres such as pop-rock, pop-rap, ethnopop, and pop-folk also have developed.

Music festivals
Major music festivals in North Macedonia include Skopje Fest in Skopje, Ohrid Fest in Ohrid, MakFest in Štip, Interfest in Bitola.

North Macedonia debuted as an independent state at the Eurovision Song Contest 1998. So far, its highest placing was seventh in Eurovision Song Contest 2019 final which altogether was overall best result in televoting years.

Rock music
The most successful and influential rock band in North Macedonia and one of the most popular in Western Balkans was Leb i Sol. They combined rock music with fusion jazz and traditional music elements creating a distinct sound of their own, becoming one of the top acts of the Western Balkans. After they broke up, the guitarist Vlatko Stefanovski, the bassist Bodan Arsovski, the keyboard player Kokan Dimuševski and the drummer Garabet Tavitijan all started successful solo careers, each in his own right. In 2006 they gathered again for a reunion tour to mark 30th anniversary since their beginning as a band. In 2008, a different line-up recorded a new album, I taka nataka without Stefanovski's and Tavitjan's participation.

Other notable group was Bisbez, which was influenced by The Beatles and other 1960s artists. It was formed in 1964 by merging two previously existing bands Biseri (meaning Pearls) and Bezimeni (Nameless). During the 1970s notable groups were Pu, Madrigali, Ilinden 903, Den za Den, Leva patika, Triangl, Torr and others. Most of them were into hard rock, progressive rock, folk rock, symphonic rock, jazz rock and funk rock. The late 1970s saw the emergence of punk rock. The first punk rock band was Fol Jazik, formed in Skopje in 1979. During the 1980s other notable punk groups were Saraceni and Badmingtons, both led by Vladimir Petrovski Karter. Later he switched to a more mainstream sound and formed the group Aleksandar Makedonski (Alexander of Macedon). The new wave scene featured artists such as the ska group Cilindar, Usta na usta and Tokmu taka. Tokmu taka's vocalist Ljupčo Bubo Karov from Kavadarci later became popular as an actor of the comedy TV show K-15, while Usta na usta's member Aleksandar Prokopiev became a prominent writer. Another influential band was Bon Ton Bend with Dario Pankovski, who released many hits of new wave music. Notable heavy metal artists were the groups Karamela and Concorde, the latter being remembered for their more radio-friendly hit "Visoki štikli i crni čorapi" ("High Heels and Black Stockings"). Its guitarist Venko Serafimov later started a successful solo career. The synthpop trio Bastion which featured Kiril Džajkovski was one of the most important 1980s acts. Another notable 1980's act was Haos in Laos. The pop-rock group Memorija formed in 1984 was one of the most prosperous from this period. The most productive in the country was the post-punk, darkwave and gothic rock scene which included the cult bands Mizar, Arhangel and Padot na Vizantija, the latter led by Goran Trajkoski and Klime Kovaceski. Later they formed the neo-folk group Anastasia which became internationally acclaimed with its soundtrack for the Milčo Mančevski's Academy Award-nominated film Before the Rain.

Notable artists during the first half of the 1990s music included the thrash metal group Sanatorium, the alternative rock bands Suns, Last Expedition, The Hip, Balkan Express, Decadence, Vodolija, Nikeja, the punk rockers Rok Agresori and Parketi, and D' Daltons, which was initially a rockabilly act. The second half of the decade saw the emergence of the hardcore punk bands Sidewalk, Fluks, Tank Warning Net, Smut, Bumbiks and No Name Nation, while notable extreme metal band was Siniac. In the 2000s, prominent acts included Superhiks (ska punk), Denny Te Chuva (melodic hardcore, emo), Smut (metalcore), Verka (folk metal), Two Sides (hardcore punk), Parketi (pop punk), Kulturno Umetnički Rabotnici (garage punk), Noviot početok (hardcore punk), Bernays Propaganda (indie-rock, post-punk revival) and others. Notable artists during the 2010s are Vizija (alternative/experimental rock), XaХаXa (punk rock), Molokai (Surf rock), Smoke shakers (indie rock), Chromatic point (progressive metal), Culture Development (post hardcore), Tempera (Alternative rock) and others. Notable all-female bands in the Macedonian scene were Royal Albert Hall and Vivid.

There are several rock music festivals, some of the most notable include: Taksirat annually organized by Lithium Records and the Skopje gori organized by Avalon Productions. Both of the festivals hosted numerous internationally acclaimed rock, electronica and hip hop acts. There are also smaller demo band festivals such as Winner Fest (formerly known as Loser Fest) and Rok-fest, the latter has existed for several decades. The most notable international open-air festival was Alarm held in Ljubaništa by the Ohrid Lake in 2002. In 1994 a peace festival called Urban fest was organized in Skopje gathering underground music artists from all the Balkan countries.

Hip hop
A well-developed hip hop music scene also exists.

Electronic scene
The most prominent electronic musicians are Kiril Džajkovski (a former member of Bastion), Galoski, the PMG Collective, Robotek, Novogradska and Gotra. North Macedonia has a developed clubbing scene especially in Skopje. Several festivals featuring foreign DJs take place in the country, many of them on the Ohrid Lake during the summer season. Psychedelic trance is one of the most popular electronic genres in North Macedonia, and there is large number of internationally popular and successful psytrance acts from Macedonia, for example Imaginary Sight,Fobi, Kala, Yudhisthira, AntHill (joined project of Kala and Yudhisthira), Blisargon Demogorgon, Atriohm, Zopmanika, Demoniac Insomniac, Egorythmia, Galactic Explorers, Djantrix, Spirit Architect, Tengri, etc.

Jazz
The Macedonian jazz scene is highly appreciated as well. Famous and celebrated jazz musicians and bands include: guitarist Toni Kitanovski, vibraphonist Zoran Madžirov, pianists Dragan Soldatovic – Labish and Simon Kiselicki, bands like Tavitjan Brothers, Sethstat, Letecki Pekinezeri, La Colonie Volvox among others. The Skopje Jazz Festival is held annually.

In September 2008, Tale Ognenovski Quartet released CD album: Macedonian Clarinet Jazz Composed by Tale Ognenovski. All About Jazz published article entitled: "New CD 'Macedonian Clarinet Jazz Composed By Tale Ognenovski of Internationally Renowned Jazz, Folk Dance And Classical Clarinetist" on 27 September 2008 at his website.

"…lively discussion about clarinetist Tale Ognenovski, which segued to the proliferation of New York bands interpreting Balkan music," wrote JazzTimes music critic Bill Shoemaker in an article entitled "Dave Douglas: Parallel Worlds", appearing in the website of JazzTimes on 3 January 1998.

Jazzclub Unterfahrt from Munich, Bavaria, Germany commented: "Playing the music of clarinetist Tale Ognenovski is different from imitating Michael Breckers style."

All About Jazz celebrated 27 April 2009, the birthday of Tale Ognenovski with All About Jazz recognition: Jazz Musician of the Day: Tale Ognenovski, with announcement published at his website.

Children's music
One of the most notable children's music festivals is Zlatno slavejče (Golden Nightingale) annually held in Skopje, which has a long tradition in North Macedonia. Other festivals include Si-Do in Bitola Kalinka in Gevgelija and Super Zvezda, also in Skopje. Notable composers of children's songs, producers and arrangers include Mile Sherdenkov, Dragan Karanfilovski Bojs, Miodrag and Marjan Nečak, Kire Kostov, Petar Sidovski, Slave Dimitrov, Milko Lozanovski, Aleksandar Džambazov, Ljupčo Mirkovski, Darko Mijalkovski and others. Several TV shows featuring children music exist. The country also takes part in the Junior Eurovision Song Contest and recently achieved the best result- 5th place for their 2007 entry at the Junior Eurovision Song Contest 2007.

Audio

 * Kaleš bre Angjo
 * Slušam kaj šumat šumite
 * Biljana platno beleše
 * Dafino vino crveno
 * Narode Makedonski

Video

 * Teškoto oro folk dance
 * Kalajdžiskoto oro folk dance
 * Pece Atanasovski playing gajda (bagpipe)
 * Pajduško oro folk dance
 * Nevestinskoto oro – Wedding folk dance
 * Žensko beranče female folk dance

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

title: Music of North Macedonia


text:
Daniel Coit Gilman

Daniel Coit "D. C." Gilman (July 6, 1831 – October 13, 1908) was an American educator and academic. Gilman was instrumental in founding the Sheffield Scientific School at Yale College, and subsequently served as the second president of the University of California, Berkeley, as the first president of Johns Hopkins University, and as founding president of the Carnegie Institution.

Eponymous halls at both Berkeley and Hopkins pay tribute to his service. He was also co-founder of the Russell Trust Association, which administers the business affairs of Yale's Skull and Bones society. Gilman served for twenty five years as president of Johns Hopkins; his inauguration in 1876 has been said to mark "the starting point of postgraduate education in the U.S."

Early life and education
Born in Norwich, Connecticut, the son of Eliza (Coit) and mill owner William Charles Gilman, a descendant of Edward Gilman, one of the first settlers of Exeter, New Hampshire, of Thomas Dudley, Governor of the Massachusetts Bay Colony and one of the founders of Harvard College, and of Thomas Adgate, one of the founders of Norwich in 1659. Daniel Coit Gilman graduated from Yale College in 1852 with a degree in geography.

At Yale, he was a classmate of Andrew Dickson White, who would later serve as first president of Cornell University. The two were members of the Skull and Bones secret society, and traveled to Europe together after graduation and remained lifelong friends. Gilman was also a member of the Alpha Delta Phi fraternity. Gilman would later co-found the Russell Trust Association, the foundation behind Skull and Bones. After serving as attaché of the United States legation at St. Petersburg, Russia from 1853 to 1855, he returned to Yale and was active in planning and raising funds for the founding of Sheffield Scientific School. Gilman contemplated going into the ministry, and even took out a license to preach, but later settled on a career in education.

Career
From 1856 to 1865, Gilman served as librarian of Yale College, and was also concerned with improving the New Haven public school system. When the Civil War broke out, Gilman became the recruiting sergeant for the Norton Cadets, a group of Yale graduates and faculty who drilled on the New Haven Green under the oversight of Yale professor William Augustus Norton.

In 1863, he was appointed professor of geography at the Sheffield Scientific School, and became secretary and librarian as well in 1866. Having been passed over for the presidency of Yale, for which post Gilman was said to have been the favorite of the younger faculty, he resigned these posts in 1872 to become the third president of the newly organized University of California, Berkeley. His work there was hampered by the state legislature, and in 1875 Gilman accepted the offer to establish and become first president of Johns Hopkins University.

Before being formally installed as president in 1876, he spent a year studying university organization and selecting an outstanding staff of teachers and scholars. His formal inauguration, on 22 February 1876, has become Hopkins' Commemoration Day, the day on which many university presidents have chosen to be installed in office. Among the legendary educators he assembled to teach at Johns Hopkins were classicist Basil Lanneau Gildersleeve, mathematician James Joseph Sylvester, historian Herbert Baxter Adams and chemist Ira Remsen.

In 1876, Gilman was elected as a member to the American Philosophical Society.

Gilman's primary interest was in fostering advanced instruction and research, and as president he developed the first American graduate university in the German tradition. The aim of the modern research university, said Gilman, was to "extend, even by minute accretions, the realm of knowledge" At his inaugural address at Hopkins, Gilman asked: "What are we aiming at?" The answer, he said, was "the encouragement of research and the advancement of individual scholars, who by their excellence will advance the sciences they pursue, and the society where they dwell."

In 1884, Gilman was elected a member of the American Antiquarian Society.

Gilman was also active in founding Johns Hopkins Hospital in 1889 and Johns Hopkins Medical School in 1893. He founded and was for many years president of the Charity Organization of Baltimore, and in 1897 he served on the commission to draft a new charter for Baltimore. From 1896 to 1897, he was a member of the commission to settle the boundary line between Venezuela and British Guiana.

Gilman served as a trustee of the John F. Slater and Peabody education funds and as a member of John D. Rockefeller's General Education Board. In this capacity, he became active in the promotion of education in the southern United States. He was president of the National Civil Service Reform League (1901–1907) and the American Oriental Society (1893–1906), vice president of the Archaeological Institute of America, and executive officer of the Maryland Geological Survey. He retired from Johns Hopkins in 1901, but accepted the presidency (1902–1904) of the newly founded Carnegie Institution of Washington.

His books include biographies of James Monroe (1883) and James Dwight Dana, a collection of addresses entitled University Problems (1898), and The Launching of a University (1906).

Personal life
Gilman married twice. His first wife was Mary Van Winker Ketcham, daughter of Tredwell Ketcham of New York City. They married on December 4, 1861, and had two daughters: Alice, who married Everett Wheeler; and Elisabeth Gilman, who became a social activist and was a candidate for mayor of Baltimore, and for governor and senator of Maryland, on the Socialist Party of America ticket. Mary Ketcham Gilman died in 1869, and Daniel Coit Gilman married his second wife, Elizabeth Dwight Woolsey, daughter of John M. Woolsey of Cleveland, and niece of Yale president Theodore Dwight Woolsey, in 1877. Daniel Gilman's brother Edward Whiting Gilman was married to Julia Silliman, daughter of Yale University professor and chemist Benjamin Silliman. Daniel Coit Gilman died in Norwich, Connecticut.

Legacy
The original academic building on the Homewood campus of the Johns Hopkins University, Gilman Hall, is named in his honor. In 1897, he helped found a preparatory school called 'The Country School for Boys' on the Johns Hopkins campus. Upon relocation in 1910, it was renamed in his honor and today, the Gilman School continues to be regarded among the nation's elite private boys' schools.

On the University of California, Berkeley campus, Gilman Hall, also named in his honor, is the oldest building of the College of Chemistry and a National Historic Chemical Landmark. Named for Gilman as well is Gilman Street in Berkeley. Gilman Drive, which passes through the University of California, San Diego campus in La Jolla, CA is also named for Gilman. The Daniel Coit Gilman Summer House, in Maine, was declared a U.S. National Historic Landmark in 1965. Gilman High School in Northeast Harbor, Maine, was named for Daniel Coit Gilman, who was active in local educational affairs, but it was later rebuilt and christened Mount Desert High School.

He was awarded American Library Association Honorary Membership in 1895.

Published works by Daniel Coit Gilman

 * Scientific Schools in Europe, Hartford, 1856
 * A Historical Discourse Delivered in Norwich, Connecticut, September 7, 1859, at the Bi-Centennial Celebration of the Settlement of the Town, Boston, 1859
 * The Library of Yale College: Historical Sketch, New Haven, 1860
 * Our National Schools of Science, Cambridge, 1867
 * Statement of the Progress and Condition of the University of California, Berkeley, 1875
 * James Monroe in His Relations to the Public Service During Half a Century, 1776–1826, Boston, 1883
 * The Benefits Which Society Derives from Universities, Baltimore, 1885
 * An Address Before the Phi Beta Kappa Society of Harvard University, July 1, 1886, Baltimore, 1886
 * Development of the Public Library in America, Ithaca, 1891
 * Our Relations to Our Other Neighbors, Baltimore, 1891
 * The Johns Hopkins University from 1873 to 1893, Baltimore, 1893
 * Recollections of the Life of John Glenn Who Died in Baltimore, March 30, 1896, Baltimore, 1896
 * University Problems in the United States, New York, 1898
 * Democracy in America, Alexis de Tocqueville, introduction by Daniel Coit Gilman, New York, 1898
 * The Life of James Dwight Dana, Scientific Explorer, Mineralogist, Geologist, Zoologist, Professor in Yale University, New York, 1899
 * Memorial of Samuel de Champlain: Who Discovered the Island of Mt. Desert, Maine, September 5, 1604, Baltimore, 1904
 * The Launching of a University and Other Papers, New York, 1906

Papers of Daniel Coit Gilman
The Papers of Daniel Coit Gilman were donated to Johns Hopkins University by Gilman's daughter Elisabeth, and are open on an unrestricted basis to the public at the Milton S. Eisenhower Library at Hopkins. Aside from many photographs of Gilman and his contemporaries, the papers include Gilman's correspondence with leading figures of the day, including Charles W. Eliot, Sidney Lanier, Ralph Waldo Emerson, Henry James, James Russell Lowell, Henry Wadsworth Longfellow, William McKinley, Basil Gildersleeve, Theodore Roosevelt, Woodrow Wilson, George Bancroft, Alexander Graham Bell, Thomas Huxley, Andrew Carnegie, Horace Greeley, Helen Keller, Louis Pasteur, Henry Ward Beecher, William Osler, W.E.B. Du Bois, Booker T Washington and others.

title: Daniel Coit Gilman


text:
Introduction (British House of Commons)

In the House of Commons of the United Kingdom, members of the House elected at a by-election must be formally "introduced" to the House. (Members elected at a general election are not introduced.) The ceremony in the Commons is considerably simpler than those in the House of Lords.

By-elections are generally held on Thursdays, and the introduction in the afternoon of the Tuesday after the election. The new Member enters the Chamber along with two other members acting as "supporters" and bows to the Speaker. The Member and supporters then process to the Speaker's table, where the new Member takes the Oath of Allegiance or Solemn Affirmation. Then, the Member signs the Test Roll, at the top of which the Oath is written. Finally, the Member returns to sit along with the rest of his or her party.

title: Introduction (British House of Commons)


text:
User:Jahsonic

July 29, 2024 @  (UTC)

If a chain is only as strong as its weakest link, Wikipedia has a long way to go. See for example the Wikipedia pages bouzingo and phallic architecture, two appallingly bad articles.

Encyclopædia Britannica would never have published such shite, pardon my French.

I don't mean to brag, but artandpopularculture.--Jahsonic (talk) 13:00, 28 December 2013 (UTC)

Favourite wikipedians
User:Wayland - User:Wetman - User:Olaf_Simons - User:Charles Matthews

title: User:Jahsonic


text:
User:Protasis

protasis ...

that's not my name, so you can say it all you want ...

leave me messages here ... if i don't respond to them, e-mail me at aisie{atsgn}bonbon{dot}net ...

title: User:Protasis


text:
Namhae Expressway

The Namhae Expressway (Korean: 남해고속도로, Namhae Gosok Doro; lit. 'South Sea Expressway') is a freeway in South Korea, connecting Yeongam to Suncheon, Gwangyang, Jinju, Changwon and Busan.

It was opened in 1973 with Honam Expressway's Jeonju - Suncheon section, through W.Suncheon IC is connected to the Honam Expressway.

At the time this was an opening round two-lane road. However, through the expansion progressed from 1977 to 1996 was expanded to four lanes round the entire section.

It was expanded to 8 lanes 2001 Naengjeong JCT ~ Changwon JCT section, with 8 lanes 2011 Sanin JCT ~ Jinju section, Sacheon ~ Jinju section has been expanded to 6 lanes, December 2014 Naengjeong JCT ~ Daejeo JCT section is extended to 6-8 lanes some section have been expanded such that at least 6 lanes.

Yeongam - Suncheon section's construction period by 2002 was inaugurated April 27, 2012. Mokpo and Busan opening section, but this is easily linked to the, not directly in some sections it has the disadvantage of an indirect linkage to the national highway.

History

 * 10 November 1972 - Busan-Suncheon construction sector.
 * 14 November 1973 - Busan-Suncheon opening section.
 * 22 May 1978 - Highway Namhae 2nd Branch construction sector.
 * 4 September 1981 - Naengjeong-Sasang of highway Namhae 2nd Branch and 4-lane round-trip of W.Masan - Naejeong opening.
 * 7 September 1989 - 4-lane round-trip of Jinju - W.Masan opening.
 * 9 November 1991 - Highway Namhae 3rd Branch construction sector.
 * 27 December 1995 - Highway Namhae 3rd Branch opens to traffic.
 * 1 July 1996 - Highway Namhae 3rd Branch lowered to National Highway(National Route 59)
 * 27 April 2012 - Jungnim~Suncheonman opening section. (indirect Connected with Suncheon-Busan)

Lanes

 * Jungnim JC~Sacheon IC, Sanin JC~Changwon JC: 4
 * Sacheon IC~Jinju JC: 6
 * Jinju JC~Sanin JC, Changwon JC~Deokcheon JC: 8

Length

 * Yeongam~Suncheon: 106.84 km
 * Suncheon~Busan: 166.33 km

Limited Speed

 * 100 km/h

List of facilities

 * IC: Interchange, JC: Junction, SA: Service Area, TG:Tollgate

Namhae 1st Branch Expressway
The Namhae 1st Branch Expressway(Korean:남해고속도로 제1지선, Namhae Gosok Doro Je-il(1) Jiseon) is a freeway in South Korea, connecting Haman to Changwon. It is Branch Line of Namhae Expressway.

History

 * 14 November 1973: Open to Traffic.(This segment is one of the Namhae Expressway)
 * 25 August 2001: Masan North Sunhwan Expressway(마산외각고속도로) opens to traffic.(Sanin~Changwon)
 * 17 November 2008: This segment is endowed name with Namhae 1st Branch Expressway, And Masan North Sunhwan Expressway is changed name with Namhae Expressway.

Lanes

 * 4 lanes

Length

 * 17.88 km

Limited Speed

 * 100 km/h

List of facilities

 * IC: Interchange, JC: Junction, SA: Service Area, TG:Tollgate

Namhae 2nd Branch Expressway
The Namhae 2nd Branch Expressway(Korean:남해고속도로 제2지선, Namhae Gosok Doro Je-i(2) Jiseon) is a freeway in South Korea, connecting Gimhae to Busan. It is Branch Line of Namhae Expressway. Former name is Buma Expressway(부마고속도로).

History

 * 22 May 1978: Construction Begin
 * 4 September 1981: Opens to traffic.(Name: Buma Expressway)
 * 29 April 1992: Name is changed to Namhae 2nd Branch Expressway

Lanes

 * 4 lanes

Length

 * 20.6 km

Limited Speed

 * 90 km/h

List of facilities

 * IC: Interchange, JC: Junction, SA: Service Area, TG:Tollgate

title: Namhae Expressway


text:
Open Sound Control

Open Sound Control (OSC) is a protocol for networking sound synthesizers, computers, and other multimedia devices for purposes such as musical performance or show control. OSC's advantages include interoperability, accuracy, flexibility and enhanced organization and documentation. Its disadvantages include inefficient coding of information, increased load on embedded processors, and lack of standardized messages/interoperability. The first specification was released in March 2002.

Motivation
OSC is a content format developed at CNMAT by Adrian Freed and Matt Wright comparable to XML, WDDX, or JSON. It was originally intended for sharing music performance data (gestures, parameters and note sequences) between musical instruments (especially electronic musical instruments such as synthesizers), computers, and other multimedia devices. OSC is sometimes used as an alternative to the 1983 MIDI standard, when higher resolution and a richer parameter space is desired. OSC messages are transported across the internet and within local subnets using UDP/IP and Ethernet. OSC messages between gestural controllers are usually transmitted over serial endpoints of USB wrapped in the SLIP protocol.

Features
OSC's main features, compared to MIDI, include:
 * Open-ended, dynamic, URI-style symbolic naming scheme
 * Symbolic and high-resolution numeric data
 * Pattern matching language to specify multiple recipients of a single message
 * High resolution time tags
 * "Bundles" of messages whose effects must occur simultaneously

Applications
There are dozens of OSC applications, including real-time sound and media processing environments, web interactivity tools, software synthesizers, programming languages and hardware devices. OSC has achieved wide use in fields including musical expression, robotics, video performance interfaces, distributed music systems and inter-process communication.

The TUIO community standard for tangible interfaces such as multitouch is built on top of OSC. Similarly the GDIF system for representing gestures integrates OSC.

OSC is used extensively in experimental musical controllers, and has been built into several open source and commercial products.

The Open Sound World (OSW) music programming language is designed around OSC messaging.

OSC is the heart of the DSSI plugin API, an evolution of the LADSPA API, in order to make the eventual GUI interact with the core of the plugin via messaging the plugin host. LADSPA and DSSI are APIs dedicated to audio effects and synthesizers.

In 2007, a standardized namespace within OSC called SYN, for communication between controllers, synthesizers and hosts, was proposed,

Notable software with OSC implementations include:

• Ableton Live

• Ardour

• Aurora dBTechnologies Network

• Bidule

• ChucK

• CasparCG (open source video graphics engine)

• Crystal Space

• CSound

• Digital Performer

• Fluxus

• FreeJ

• Gig Performer

• IanniX

• Impromptu

• Isadora (v.1.1)

• JUCE (Framework)

• Kyma

• Lily

• LiVES

• Logic Pro

• LoopToGo

• MadMapper

• Magic Music Visuals

• Max/MSP

• Mocolo

• Modul8

• MuseScore

• Mxwendler

• openFrameworks

• ossia score

• Processing

• Pure

• Pure Data

• QLab

• Quartz Composer (as of v3.0 / Mac OS X v10.5)

• Reaktor

• REAPER

• Renoise

• Resolume Arena/Avenue

• ShowForge

• Sonic Pi

• SPAT Revolution

• Squeak

• SuperCollider

• Surge XT

• TouchDesigner

• Unreal Engine

• VRChat

• Ventuz

Notable hardware with OSC implementations include:

• AlphaSphere

• Audiocubes

• ETC EOS Consoles

• DiGiCo SD Mixing Consoles

• Flic Flic smart controller

• Kyma

• Lemur

• MC2 Delta-DSP Amplifiers

• MIDIbox

• Milkymist One

• Monome 40h

• X32 Digital Mixing Console

• XTA DPA Amplifiers

• Yamaha Rivage PM Series Consoles (V5.0)

Design
OSC messages consist of an address pattern (such as ), a type tag string (such as   for a float32 argument followed by an int32 argument), and the arguments themselves (which may include a time tag). Address patterns form a hierarchical name space, reminiscent of a Unix filesystem path, or a URL, and refer to "Methods" inside the server, which are invoked with the attached arguments. Type tag strings are a compact string representation of the argument types. Arguments are represented in binary form with four-byte alignment. The core types supported are

 * 32-bit two's complement signed integers
 * 32-bit IEEE floating point numbers
 * Null-terminated arrays of eight-bit encoded data (C-style strings)
 * arbitrary sized blob (e.g. audio data, or a video frame)

An example message is included in the spec (with null padding bytes represented by ␀):, Followed by the 4-byte float32 representation of 440.0: 0x43dc0000.

Messages may be combined into bundles, which themselves may be combined into bundles, etc. Each bundle contains a timestamp, which determines whether the server should respond immediately or at some point in the future.

Applications commonly employ extensions to this core set. More recently some of these extensions such as a compact Boolean type were integrated into the required core types of OSC 1.1.

The advantages of OSC over MIDI are primarily internet connectivity; data type resolution; and the comparative ease of specifying a symbolic path, as opposed to specifying all connections as seven-bit numbers with seven-bit or fourteen-bit data types. This human-readability has the disadvantage of being inefficient to transmit and more difficult to parse by embedded firmware, however.

The spec does not define any particular OSC Methods or OSC Containers. All messages are implementation-defined and vary from server to server.

title: Open Sound Control


text:
Friedrich Bergius

Friedrich Karl Rudolf Bergius (, 11 October 1884 – 30 March 1949) was a German chemist known for the Bergius process for producing synthetic fuel from coal, Nobel Prize in Chemistry (1931, together with Carl Bosch) in recognition of contributions to the invention and development of chemical high-pressure methods. Having worked with IG Farben during World War II, his citizenship came into question following the war, causing him to ultimately flee to Argentina, where he acted as adviser to the Ministry of Industry.

Bergius was born near Breslau (Wrocław), within the German Empire's Prussian Province of Silesia.

Academic career
Before studying chemistry, Bergius was sent to work for 6 months at the Friedrich Wilhelms steel works in Mülheim. His studies started at the University of Breslau in 1903 and ended with a PhD in chemistry at the University of Leipzig in 1907, after only 4 years. His thesis on sulfuric acid as solvent was supervised by Arthur Rudolf Hantzsch. In 1909 Bergius worked for one semester with Fritz Haber and Carl Bosch at the University of Karlsruhe in the development of the Haber-Bosch Process. On the same year he was invited to work at the Leibniz University Hannover with Max Bodenstein, who developed the idea of chemical kinetics and held a position as professor.

Synthetic fuel from coal
During his habilitation, techniques for the high-pressure and high-temperature chemistry of carbon-containing substrates were developed, yielding a patent on the Bergius process in 1913. In this process liquid hydrocarbons used as synthetic fuel are produced by hydrogenation of lignite (brown coal). He developed the process well before the commonly known Fischer–Tropsch process. Theodor Goldschmidt invited him to build an industrial plant at his factory the Th. Goldschmidt AG in 1914. The production began only in 1919, after the World War I ended, when the need for fuel was already declining. The technical problems, inflation and the constant criticism of Franz Joseph Emil Fischer, which changed to support after a personal demonstration of the process, made the progress slow and Bergius sold his patent to BASF, where Carl Bosch worked on it. Before World War II several plants were built with an annual capacity of 4 million tons of synthetic fuel.

Sugar from wood
The hydrolysis of wood to produce sugar for industrial use became a hard task for Bergius. After he moved to Heidelberg he started to improve the process and planned an industrial scale production. The high costs and technical problems nearly led him to bankruptcy. A bailiff followed Bergius to Stockholm to get the money from his Nobel Prize in Chemistry in 1931.

The autarky movement before the World War II boosted the process and several plants were built. Bergius moved to Berlin where he was only marginally involved in the development. While he was in Bad Gastein Austria, his laboratory and his house were destroyed by an air raid. The rest of the war he stayed in Austria.

International engagement
After the war his citizenship was called into question because of his collaboration with IG Farben, resulting in his departure from Germany to work as an adviser in Italy, Turkey, Switzerland and Spain. He emigrated to Argentina, where he worked as an adviser to the Ministry of Industry. He died in Buenos Aires on 30 March 1949, and is buried in the Cementerio Alemán next to La Chacarita Cemetery.

Awards
He and Carl Bosch won the Nobel Prize in Chemistry in 1931 in recognition of their contributions to the invention and development of chemical high-pressure methods. In 1937, he was awarded the Wilhelm Exner Medal.

Personal life
Bergius was the father of Renate Burgess.

title: Friedrich Bergius


text:
OSC

OSC may refer to:

Organizations

 * Odborové sdružení československé, the Czechoslovak Trade Union Association
 * Office of Special Counsel (in the United States of America)
 * Ohio Supercomputer Center, a computing research facility in Columbus
 * Onslow County Schools, a school district in Onslow County, North Carolina
 * Ontario Science Centre, a science museum in Toronto, Canada
 * Ontario Securities Commission, a securities regulatory agency
 * Open Source Center, a United States government center that provides analysis of open-source intelligence
 * Open Source Consortium, The UK Open Source trade association
 * Orbital Sciences Corporation, a satellite-oriented company
 * Order of Saint Clare, a Religious Order founded by Clare of Assisi whose members use the post-nominal letters O.S.C.
 * Ordo Sanctae Crucis or Canons Regular of the Order of the Holy Cross, a Roman Catholic religious order commonly called Crosiers
 * Orlando Science Center, a science-education establishment in Florida
 * Overseas School of Colombo, a multinational English medium international school located in Colombo, Sri Lanka.

Computing

 * Open Sound Control, a music-oriented electronic communications protocol used in computers and multimedia devices
 * openSUSE Command-line tool, a command-line tool used for openSUSE build service
 * Orthogonal signal correction, a spectral preprocessing technique
 * Operating system command, one of the C0 and C1 control codes
 * Optical Signature Code, an industry standard format for LWIR signatures.

Other

 * Off-site construction, a mode of construction
 * Osceola (Amtrak station), Iowa, United States; Amtrak station code OSC
 * Orson Scott Card, author of speculative fiction
 * Organic solar cell
 * Oscoda–Wurtsmith Airport (IATA code) - Michigan, United States
 * Order to show cause

title: OSC


text:
Christie suspension

The Christie suspension is a suspension system developed by American engineer J. Walter Christie for his tank designs. It allowed considerably longer movement than conventional leaf spring systems then in common use, which allowed his tanks to have considerably greater cross-country speed. The system was first introduced on his M1928 design, and used on all of his designs until his death in 1944.

History
Christie advocated the use of lightweight tanks with long range and high speed, designed to penetrate enemy lines and attack their infrastructure and logistics capabilities.

A major problem with tanks in World War I was tracked suspension failure. Christie's first tank design of 1919 could be driven on its wheels to get to the starting point and then the tracks fitted before it went into action. The US Tank Corps ordered a single tank from Christie's company based on this design. The tank, known as the M1919, was delivered in early 1921 and tested until Christie proposed modifying it. The modifications added coil suspension to the front wheels and removed the turret - the armament being moved to the nose of the vehicle. The tank - now known as M1921 - was tested in 1922 and 1923 but considered lacking in maneuverability and internal space and so put into the Ordnance Museum at Aberdeen Proving Ground in 1924.

His earlier designs in the 1920s were hampered by poor cross-country performance due to limited suspension capability. The major problem he faced was the limited vertical space for springs to move in: for a 25 cm movement it might need 50 or 75 cm of vertical space for the spring and strut, and his small designs did not offer such space.

In the late 1920s he devised a better solution. The solution was the addition of a bellcrank, which changed the direction of motion from vertical to horizontal. The road wheels were individually mounted on a pipe that could move vertically only, at the top of which the bell crank rotated the direction of motion to the rear. Springs were mounted on the end of the crank, and could be as long as needed, lying along the inside of the hull. The result was a substantial increase in range of motion, from only some 10 cm in his original designs, to 25 cm on the M1928, 35 cm on the M1930, and 60 cm on the M1932.

The M1928 weighed under 9 ST and had a 338 hp Liberty engine; this allowed it to reach 42 mph on tracks and 70 mph on its wheels. For context, this is comparable to a luxury/performance passenger car of the era, faster than a typical car, and faster even than a modern main battle tank that tops out at approximately 70 kph. The four sprung road wheels could move 11 inches on top of the "compression due to the weight of the vehicle". Although there was interest by the Army in the design, negotiations over the requirements were drawn out and a single Christie M1931 was delivered in March 1931 followed by an order for 7 more in June. These received official designation as "Convertible Medium Tank T3" and all seven were delivered by 1932. Four were given to the cavalry for testing. They had the main gun replaced with a heavy machine gun and were renamed "Combat Car T1". The crew of two and relatively light armour was insufficient for the infantry support function the tank was expected to have. The Army drew up a specification for an improved T3 but following disputes with Christie the order - for 5 of the "Convertible Medium Tank T3E2" was given to the American-La France company.

The most famous Christie-based tanks, the Soviet BT tank series and the T-34, used coil springs mounted vertically (on the BT) or at a slight angle from vertical (the T-34).

Another feature of Christie's designs was the "convertible" drive: the ability to remove the tracks for road travel, allowing for higher speeds and better range, and reducing wear on the fragile caterpillar track systems of the 1930s. In one public test 1931 in Linden, NJ, Army officials clocked a Christie M1931 tank attaining 104 mph, making it the fastest tank in the world: a record many believe it still holds. There were no return rollers for the upper track run; the tracks were supported by the road wheels. As with many track designs with center guide teeth, dual wheels were used, allowing the guide teeth to run between them.

Because large road wheels and "slack track" are characteristic of the Christie suspension, other designs with these features are sometimes misidentified as such. The real Christie suspension was used only on a few designs, notably the Soviet BT tanks and T-34, the British Cruiser tanks, including the A13s: Cruiser Mk III, Cruiser Mk IV, Covenanter, Crusader, Cromwell and the Comet, as well as some experimental Polish and Italian designs. Post-T-34 Soviet tanks, while remaining outwardly similar, have actually used torsion bar suspension, as did the German tanks with Heinrich Kniepkamp and Ernst Lehr's Schachtellaufwerke (interlaced running gear) suspension.

Later wartime developments simplified the suspension. By 1939, the Soviets found that the BT tank's convertible drive was an unnecessary complication which occupied valuable space in the tank, and the feature was dropped in the T-34. The original Christie suspension used large rubber-rimmed road wheels but wartime rubber shortages forced some T-34 factories to use wheels with sprung steel rims to be used instead. Most T-34s continued to be built with rubber-rimmed tires.

title: Christie suspension


text:
Alfredo Griffin

Alfredo Claudino Baptist Read Griffin (born October 6, 1957) is a Dominican former professional baseball player. He played shortstop in Major League Baseball (MLB) for four teams from 1976 to 1993.

Playing career
Griffin began his career as a member of the Cleveland Indians, who signed him as an amateur free agent in 1973. On December 5, 1978, before having played a full season in the majors, he was traded, along with Phil Lansford (minors), to the Toronto Blue Jays for Víctor Cruz. Griffin made an immediate impact, sharing the American League Rookie of the Year Award in 1979 with John Castino.

In 1980, Griffin led the majors in triples, tying Willie Wilson of the Kansas City Royals with 15; both Griffin and Wilson set an AL record for most triples in a single season by a switch-hitter. Five years later in 1985, Wilson himself shattered the record that he shared with Griffin by tallying 21 triples.

In 1984, Griffin was named to the All-Star team. This was explained by John Feinstein of The Washington Post as: "Making the All-Star team the hard way: Major league baseball pays the expenses for each player here and for one guest. In most cases, players bring wives or girlfriends. Dámaso García, the Toronto Blue Jays' second baseman, brought his shortstop, Alfredo Griffin. When the Tigers' Alan Trammell hurt his arm and could not play tonight, Manager Joe Altobelli named Griffin to the team, partly because he's a fine player, but mostly because he was here."

Griffin spent six years with the Blue Jays from 1979 to 1984, playing in 392 consecutive games. He was traded after the 1984 season to the Oakland Athletics, where, despite his reluctance to draw walks and a tendency to be overaggressive on the basepaths, he began to harness the offensive promise that he showed in 1980. Griffin won the American League Gold Glove Award in 1985.

After establishing personal bests in most offensive categories with the Athletics, Griffin was traded to the Los Angeles Dodgers for Bob Welch prior to the 1988 season. The three-team trade, which included the New York Mets, also netted the Dodgers Jay Howell and Jesse Orosco. All three teams involved in the deal would go on to win their respective divisions in 1988. A Dwight Gooden fastball broke Griffin's hand in May 1988, causing him to miss some time, but he returned to start all 12 of the Dodgers' postseason games at shortstop in 1988, winning his first World Series title.

In 1990, Griffin became the last player to finish last in the National League, of those who qualified for the batting title, in batting average, on-base percentage, and slugging percentage.

Griffin returned to Toronto in 1992 and was a bench player as the Blue Jays won the first of two consecutive championships. On October 23, 1993, he stood on deck as Joe Carter faced Mitch Williams in the ninth inning of Game Six. His career came to an end moments later when Carter homered to win the World Series for Toronto.

Griffin was the first player in major league history to have started three times for the opposing line-ups in a perfect game: against Len Barker (Cleveland) in 1981 for the Toronto Blue Jays, then against Tom Browning (Cincinnati) in 1988 and Dennis Martínez (Montreal) in 1991, both for the Los Angeles Dodgers.

Griffin ended his 18-year playing career with a .249 batting average, 24 home runs, 527 runs batted in, and a 67 OPS+ in 1,962 games played. Writer Bill James named Griffin the most aggressive baserunner of the 1980s.

Coaching career
Griffin coached for the Toronto Blue Jays in 1996 and 1997. He was the first base coach for the Los Angeles Angels of Anaheim in MLB from 2000 to 2018, and also for the Estrellas Orientales (Eastern Stars) in his native Dominican Republic's Winter League.

title: Alfredo Griffin


text:
Second anointing

In the Latter Day Saint movement the second anointing is the pinnacle ordinance of the temple and an extension of the endowment ceremony. Founder Joseph Smith taught that the function of the ordinance was to ensure salvation, guarantee exaltation, and confer godhood. In the ordinance, a participant is anointed as a "priest and king" or a "priestess and queen", and is sealed to the highest degree of salvation available in Mormon theology.

In the Church of Jesus Christ of Latter-day Saints (LDS Church), Mormonism's largest denomination, the ordinance is currently only given in secret to select couples whom top leaders say God has chosen. The LDS Church regularly performed the ceremony for nominated couples from the 1840s to the 1920s, and continued less regularly into the 1940s. By 1941, about 15,000 second anointings had been performed for the living, and over 6,000 for the dead. The practice became much less common thereafter, but has continued into modern times. Most modern LDS adherents are unaware of the ritual's existence. Instructors in the church's institutes of religion are told, "Do not attempt in any way to discuss or answer questions about the second anointing." (emphasis in the original). The ordinance is also performed by many Mormon fundamentalist groups. However, it is not performed by denominations such as the Community of Christ, who historically did not practice the Nauvoo endowment ceremony.

First Performance of the Ritual
Joseph Smith introduced the Nauvoo endowment in 1842, but stated that his work in establishing the "fullness of the priesthood" was not yet complete. In August 1843, church apostle Brigham Young stated that "[i]f any in the Church had the fullness of the priesthood, he did not know it". Young understood that the "fullness of the priesthood" involved an anointing as "king and priest", with the actual kingdom to be given after resurrection. The first time a Second Anointing was performed was on September 28, 1843, when Smith and one of his wives, Emma received it. During Smith's lifetime, the second anointing was performed on at least 20 men and 17 women. Historian Gary James Bergera stated that the ordinance functioned as a de facto marriage sealing, though recipient Alpheus Cutler (founder of the Cutlerite branch of Mormonism) and two of his five wives (Abigail Andrews and Sally Cox) who also received the ordinance were not sealed at the time. Additionally, Orson Pratt and Parley P. Pratt received the ordinance without their wives. Many of the Anointed Quorum and Council of Fifty received their second anointing under Smith. About 40% of all male recipients of the ordinance in Smith's lifetime were in polygamous marriages.

LDS practice under Young (1842–1877)
After Smith's death, and the subsequent succession crisis, Young became leader for the majority of Smith's adherents. In January 1846, he began administering the second anointing in the nearly completed Nauvoo Temple. Young re-administered the ordinance to many of those who had received it under Smith, and he delegated his authority to others, who performed nearly 600 second anointings (some to polygamous unions) before the temple was closed on February 7, 1846. After migration to the Salt Lake Valley, records don't show the administration of further LDS second anointings for two decades (until 1866). Beginning in the 1870s, second anointings began to be performed vicariously for dead members of the church.

LDS practice under Taylor and after (1877–1950)
In the 1880s, church president John Taylor was concerned that too many second anointings were being performed, and he instituted a series of procedural safeguards, requiring recommendation by a stake president, and a guideline that the ordinance "belonged particularly to old men". In 1901, church president Lorenzo Snow further limited accessibility to the ordinance by outlining stringent criteria for worthiness.

By 1918, over 14,000 second anointings had been performed for the living and the dead. During the administration of church president Heber J. Grant in the 1920s, the frequency of second anointings was dramatically reduced. Stake presidents at the local congregation level were no longer permitted to recommend candidates for the ordinance; rather, recommendations could only be made by higher-ranking leaders in the Quorum of Twelve Apostles. By 1941, just under 15,000 second anointings had been performed for the living, and just over 6,000 for the dead. The church has not allowed historians to have access to second anointing records subsequent to 1941; therefore, the current frequency of second anointings is unknown. It is known that in 1942, 13 of the church's 32 general authorities had not received the second anointing. In 1949, one apostle wrote the rite had been "practically discontinued".

Modern LDS practice
Second anointings continue to be practiced in the modern-day church. For example, Russell M. Nelson (the church's president since 2018) mentioned in a 1979 autobiography that he and his wife attended "a special meeting [in the temple] at the invitation of President Spencer W. Kimball" in 1974 that could possibly have been for the Nelsons to receive the second anointing: "The sacred nature of this event precludes our mentioning more about it here other than to say that it did take place, but this experience is of the greatest importance to us and to our family." The modern Latter-Day Saint practice is kept absolutely secret and is only given to a very small number of adherents, usually after a lifetime of loyal service to the church. One British former stake president and former area executive secretary, Tom Phillips, said his spouse and he had received the ordinance before his public disaffiliation.

Eligibility
Some members of the church were historically or are currently ineligible for the second anointing ordinance. All candidates for the rite cannot be single and must be temple married before receiving it, and between 1847 and 1978 all LDS endowment-related temple ordinances including the second anointing were denied to all members with African-American heritage. All temple ordinances continue to be denied for non-heterosexual couples and transgender couples as of 2023.

Confidentiality
The ordinance is currently only given confidentially to select couples, and most current LDS adherents are unaware of the ritual's existence. Additionally, church class instructors are emphatically told not to discuss the ceremony at all. Historically, the church's newspaper openly discussed the rite's occurrence in print,  and at least one obituary from a largely LDS Utah city mentioned the ordinance in 1909. In response to a researcher publishing an academic article on the topic in the 1980s the church banned him from future access to its historical archives and increased restrictions on public access. In 1978 Mark Hofmann forged a handwritten document purporting to be a historical description of the secret ordinance and sold it to Utah State University.

Ceremony

According to 19th-century journal entries and contemporary sources, the LDS second anointing ceremony consists of three parts:

 * 1) Prayer and Washing - First the couple and an officiator or two participate in a prayer circle (conducted by the husband) in a dedicated temple room, and then a male officiator washes only the husband's feet.
 * 2) Anointing - Next the officiator anoints the husband as a king and priest to God, and then anoints the wife as a queen and priestess to her husband. For example, the following words were used by Heber C. Kimball during the second anointing of Brigham Young in the Nauvoo temple in 1846: "Brother Brigham Young, I pour this holy consecrated oil upon your head and anoint thee a king and a priest of the most high God, over the Church of Jesus Christ of Latter-day Saints and unto all Israel. ... And I seal thee up unto eternal life, that thou shalt come forth in the morn of the first resurrection ... and thou shalt attain unto the eternal Godhead and receive a fulness of joy, and glory, and power; and that thou mayest do all things whatsoever is wisdom that thou shouldst do, even if it be to create worlds and redeem them."
 * 3) Washing of the Husband - Later,the wife symbolically prepares her husband for his death and resurrection as his priestess by washing and anointing the husband's feet and then laying her hands on his head to give a blessing. This portion of the ceremony was historically done at home, in a room dedicated by the husband. Elder Hans Mattsson, and his wife Birgitta described that they were led into a private room that would normally be used for the Temple endowment, where a bowl of water and towel were prepared for Birgitta to wash Han's feet and give him a Priesthood blessing.

Before 1846 the woman was also anointed as a "priestess unto God," but Brigham Young changed the ceremony and readministered the rite such that the wife would now be a "queen and priestess unto thine husband." The woman would also be exalted through her husband instead of through God, but only if she "dost obey [her husband’s] counsel."

First anointing meanings
The "first anointing" refers to the washing and anointing part of the endowment ceremony, in which a person is anointed to become a king and priest or a queen and priestess unto God. In the second anointing, on the other hand, participants are anointed as a king and priest, or queen and priestess. When the anointing is given, according to Brigham Young, the participant "will then have received the fulness of the Priesthood, all that can be given on earth." The "first anointing" promises blessings in the afterlife contingent on the patron's faithfulness, while the second anointing actually bestows those blessings.

Second anointing meanings
Church leaders have stated that those who participate in the second anointing ordinance have received the "fullness of the priesthood", their "calling and election made sure", their eternal temple marriage "sealed by the holy spirit of promise", and received the "more sure word of prophecy", "higher blessing," or "second endowment". According to prominent 20th-century LDS Church apostle Bruce R. McConkie, those who have their calling and election made sure "receive the more sure word of prophecy, which means that the Lord seals their exaltation upon them while they are yet in this life. ... [T]heir exaltation is assured."

The second anointing may have been intended to fulfill scriptural references to the "fulness of the priesthood", such as that in Doctrine and Covenants,, a revelation by Joseph Smith commanding the building of a temple in Nauvoo, Illinois, in part, because "there is not a place found on earth that he may come to and restore again that which was lost unto you, or which he hath taken away, even the fulness of the priesthood" (emphasis added). LDS Church leaders have connected this ordinance with a statement by Peter in his second Epistle. In, he talks about making one's "calling and election sure," and further remarks, "We have also a more sure word of prophecy". Smith referenced this process in saying, "When the Lord has thoroughly proved [a person], and finds that the [person] is determined to serve Him at all hazards, then the [person] will find his calling and election made sure".

Feminine priestesshood
The second anointing is performed only on married, heterosexual couples. Some writers have argued that because of this, women who receive the second anointing (in which they are anointed as "priestesses") are ordained to the "fulness of the priesthood" in the same manner as their husbands. These scholars suggest that Smith may have considered these women to have, in fact, received the power of the priesthood, though not necessarily a specific priesthood office.

Controversy and criticism
The ceremony has been criticized and viewed as controversial. One former member stated that learning of the elitism and secrecy around the second anointing started him questioning LDS church authority. A 1910 Salt Lake Tribune editor's criticism of LDS temple practices stated in a negative tone that one LDS leader who had received his "second anointings" prayed in 1867 for the damnation of all Americans.

Hans Mattsson, a former member of the area authority seventy spoke publicly about his experience receiving the second anointing in the Frankfurt Temple.

title: Second anointing


text:
Gwangju–Daegu Expressway

The Gwangju–Daegu Expressway formerly 88 Olympic Expressway is a freeway in South Korea, connecting Gwangju to Daegu (175.3 km). It was only expressway that has 2 lanes in South Korea.

History

 * 14 November 1973: Goseo-Damyang Segment opens to traffic for Branch Line of Honam Expressway
 * 11 October 1981: Construction Begin
 * 11 August 1984: Damyang-Okpo segment opens to traffic. (2 Lanes)
 * 7 December 2006: Goseo-Damyang, Goryeong-Okpo segments widen 4~6 lanes.
 * 8 November 2007: Muan Airport-Gwangju segment opens to traffic. (4 Lanes)
 * 22 December 2015: Damyang~Goryeong segment will widen 4 lanes.

Lanes

 * Goseo JC~Damyang JC, E.Goryeong IC~Okpo JC: 6
 * Damyang JC~Damyang IC~E.Goryeong IC: 4

Length

 * 181.6 km

Limited Speed

 * Goseo IC~Damyang IC~ E.Goryeong IC~Okpo JC: 100 km/h

List of facilities

 * IC: Interchange, JC: Junction, SA: Service Area, TG:Tollgate
 * Muan Airport ~ Gwangju segment's name is Muan–Gwangju Expressway.
 * ■ : Overlap with Honam expressway

title: Gwangju–Daegu Expressway