text:
Xul Solar

Xul Solar was the adopted name of Oscar Agustín Alejandro Schulz Solari (14 December 1887 – 9 April 1963), an Argentine painter, sculptor, writer, and inventor of imaginary languages.

Biography
Oscar Agustín Alejandro Schulz Solari was born in San Fernando, Buenos Aires Province, to a cosmopolitan family. His father, Elmo Schulz Riga, of Baltic German origin, was born in the Latvian city of Riga, at that time part of Imperial Russia. His mother, originally from Italy, was named Agustina Solari. He was educated in Buenos Aires, first as a musician, then as an architect (although he never completed his architectural studies). After working as a schoolteacher and holding a series of minor jobs in the municipal bureaucracy, on 5 April 1912, he set out on the ship England Carrier, supposedly to work his passage to Hong Kong, but he disembarked in London and made his way to Turin. He returned to London to meet up with his mother and aunt, with whom he traveled to Paris, Turin (again), Genoa, and his mother's native Zoagli. Over the following few years, despite the onset of World War I, he would move among these cities, as well as Tours, Marseille, and Florence; towards the end of the war he served at the Argentine consulate in Milan.

During the years of the war, he struck up what was to be a lifelong friendship with Argentine artist Emilio Pettoruti, then a young man living in Italy and associated with the futurists. Also around that time, he began to pay more attention to painting, first with watercolor (which would always remain his main medium as a painter), although he gradually began working in tempera and – very occasionally — oils. He also adopted the pen name of Xul Solar. The first major exhibition of his art was in 1920 in Milan, together with sculptor Arturo Martini.

In 1916, Schulz Solari first signed his work "Xul Solar", ostensibly for the purposes to simplify the phonetics of his name, but an examination of the adopted name reveals that the first name is the reverse of "lux," which means "light" in Latin. Combined with "solar", the name reads as "the light of the sun", and demonstrates the artist's affinity for the universal source of light and energy. His father's name "Schulz" and "Xul" are pronounced the same in Spanish. "[H]e gave himself an extraterrestrial identity by modifying his parents' surnames and becoming Xul Solar. The first name reflected light, or lux, spelled backwards; the last, his maternal surname without the 'i,' was the sun itself."

During the years that followed he continued his travels, extending his orbit to Munich and Hamburg. In 1924, his work was exhibited in Paris in a show of Latin American artists. He also struck up an acquaintance with British occultist Aleister Crowley and his mistress Leah Hirsig who held high hopes for his discipleship, but later that year he returned to Buenos Aires, where he promptly became associated with the avant garde "Florida group" (a.k.a. "Martín Fierro group"), a circle that also included Jorge Luis Borges, with whom he was to keep an association and close friendship. It was in this group that he also met poet and novelist Leopoldo Marechal who would immortalize him as the astrologer Schultze in his famous novel Adam Buenosayres. He began to exhibit frequently in the galleries of Buenos Aires, notably in a 1926 exhibition of modern painters that included Norah Borges (sister of Jorge Luis Borges) and Emilio Pettoruti. Throughout the rest of his life, he exhibited regularly in Buenos Aires and Montevideo, Uruguay, but he would not have another major European exhibition until his twilight years. In 1962, a year before his death, he had a major exposition at the Musée National d'Art Moderne in Paris. He died at his house in Tigre on 9 April 1963. Pettoruti published his biography five years later.

Work and interests
Solar's paintings are mainly sculptures, often using striking contrasts and bright colours, typically in relatively small formats. His visual style seems equidistant between Wassily Kandinsky and Paul Klee on the one hand and Marc Chagall on the other. He also worked in some extremely unorthodox artistic media, such as modifying pianos, including a version with three rows of keys.

The poet Fernando Demaría in an essay "Xul Solar y Paul Klee" (published in the Argentine magazine Lyra, 1971), wrote, "It is not easy for the human spirit to elevate itself from astrology to astronomy, but we would be making a mistake if we forget that an authentic astrologer, like Xul Solar, is close to the source of the stars... The primitivism of Xul Solar is anterior to the appearance of the Gods. The Gods correspond to a more evolved form of energy."

Solar had a strong interest in astrology; at least as early as 1939 he began to draw astrological charts. He also had an interest in Buddhism and believed strongly in reincarnation. He also developed his own set of tarot cards. His paintings reflect his religious beliefs, featuring objects such as stairs, roads and the representation of God.

He invented two fully elaborated imaginary languages, symbols from which figure in his paintings, and was also an exponent of duodecimal mathematics. He said of himself "I am maestro of a writing no one reads yet." One of his invented languages was called "Neo Criollo", a poetic fusion of Portuguese and Spanish, which he reportedly would frequently use as a spoken language in talking to people. He also invented a "Pan Lingua", which aspired to be a world language linking mathematics, music, astrology and the visual arts, an idea reminiscent of Hermann Hesse's "glass bead game". Indeed, games were a particular interest of his, including his own invented version of chess, or more precisely "non-chess".

Outside of Argentina, Solar may best be known for his association with Borges. In 1940, he figured as a minor character in Borges's semi-fictional "Tlön, Uqbar, Orbis Tertius"; in 1944, he illustrated a limited edition (300 copies) of Un modelo para la muerte, written by Borges and Adolfo Bioy Casares, writing together under the pseudonym B. Suárez Lynch. He and Borges had common interests in German expressionistic poetry, the works of Emanuel Swedenborg, Algernon Charles Swinburne and William Blake, and Eastern philosophy, especially Buddhism and the I Ching.

Entierro, 1914, watercolor on paper
After a brief experimentation with oils, Xul chose the watercolors and tempera that would become his preferred media. Instead of large-scale canvases, Xul painted on small sheets of paper, sometimes mounting his finished works on sheets of cardboard. One of his early works in what would become his signature format, Entierro (Burial) demonstrates the confluence of Xul's internal thoughts and external influences.

The image is of a funeral procession of beings, possibly celestial, led by an angel-figure floating above the ground. The profiles of the figures suggest Pre-Columbian art, and possibly an ancient Egyptian influence, as well. The angel-figure as well as the mourners have luminous peaks above their heads, in a re-imagining of halos. The shapes of the peaks are repeated by tongues of fire that point up from the bottom edge of the painting. The image strongly suggests an afterworld, but it is not clear from the image whether the environment correlates to tradition Christian understandings of heaven or hell. Xul Solar provides his viewer with a new image of an afterlife.

Two figures hold a shrouded corpse, which is also surrounded by flames. The hands of the corpse are folded, but above the corpse, a figure resembling a fetus emerges. That Xul uses a fetus instead of an image of a deceased person of typical age leads one to read the image as a depiction of reincarnation, representing a break from traditional Catholic ideas of life and death, and demonstrating the investigation into disparate spiritualities which would continue for the rest of Xul's life. As the figures recede in the painting, Xul reduces them to geometric shapes. The forms cease to be recognizable as beings, and then are transformed into what can be a tomb, or portal. That all the mourners are of the same color as the temple indicates that they, just like the deceased, will make the same transition someday.

Xul Solar's life during his twenties was marked by profound existential crisis. His writings at the time reveal a profound desire for creative expression, and a kind of angst caused by the profusion of ideas and thoughts he entertained, "Dazzling light, colors never seen, harmonies of ecstasies and of hell, unheard-of sounds, a new beauty that is mine… If my damaging sorrows are due to labor in childbirth, I am pregnant with an immense, new world!"

Author Mario H. Gradowczyk describes Xul at this point in his life as "a visionary rabidly opposed to the canons reigning in the Buenos Aires of his time". Like other artistically-inclined people of his generation, Xul sought to study in Europe, and settled for a time in Paris while it was an epicenter for avant-garde art. The city was home to the Cubists, while attracting Italian futurists, Russian artists, and participating in the dialogue about German Expressionism. There was also a fashion for sculpture and objects brought back to Europe by anthropologists and traders from African and Pacific Ocean colonies, as well as the Americas.

The artistic canons that Gradowczyk refers to were propagated by the official Argentine art institutions, which favored visual representations associated with national icons. Painters like Carlos P. Ripamonte, Cesáreo Bernaldo de Quirós, and Fernando Fader extolled images of pampas landscapes and rural gaucho culture. The arrival of Spanish intellectuals such as José Ortega y Gasset and Eugenio d'Ors created a new discourse around art that was disseminated among writers and artists working toward an aesthetic modernity. Entierros firmly places Xul Solar as a member of this modernist Argentine movement. Rather than painting subjects recognizable as Argentine, Xul's focus is internal, painting from his own imagination. His early artistic output seems to represent the profusion of ideas and themes that grew out of Xul's contemplations. The flat shapes and bold colors used in the painting demonstrate a Cubist influence. The faces of the figures, particularly the eyes and shapes of heads can be seen as owing to the fashion for art and artifacts from Africa and the Americas mentioned above.

Fiordo, 1943, tempera on paper mounted on board
The severe, bleak, landscape in Fiordo suggests ancient Chinese and Japanese prints. Narrow mountains with undulating edges stab up from placid water. Here, Xul communicates his affinity with Asian forms and, in turn, ideas. The ladders that criss-cross the mountains, are described by Gradowczyk as symbolizing spirituality, both of the ascendant nature as well as with the possibility of descent. The single figure in the bottom corner suggests a hermetic existence, a difficult spiritual path that is mirrored in the steep staircases. The figure holds a book in one hand and what appears to be a lantern in the other, representing study and guidance. Xul tells his viewer that while spiritual pursuit can be arduous, others have established a path, and they point the way. A structure appears atop one mountain, ostensibly a temple. None of the ladders lead directly to the mountain peak, however. The path twists and turns, and the doors cut into the mountainsides represent the stages, and possible moments of being waylaid, as one endeavors spiritually.

From 1943 and 1944, Xul's painting was influenced by his thoughts on the Second World War. The sudden, powerful emergence of inhumanity and the potential effects on the world at large wore very heavily on the artist. Gradowczyk posits that "Xul reached his highest point of artistic expressivity in these ascetic paintings whose theme corresponded to that anguishing reality".

Legacy
In 1939, Xul initiated a project to establish a "universal club," which he called "Pan Klub" in Neocriollo. His purpose was to create a type of salon for intellectuals and those of mutual interests, and inaugurated the club at his home. Nearly fifty years later, his widow, Micaela (Lita) Cadenas established the Fundación Pan Klub, based on the original precepts set by Xul during his lifetime. This foundation established the Museo Xul Solar in 1993, in a building whose design was based on Xul's work. The museum exhibits works that Xul selected for the Pan Klub, as well as houses objects, sculptures, and the documents compiling his personal archive. The foundation also preserves Xul's home, where his extensive library is located.

From 1980 to 1996, an Argentine literary magazine named Xul was published. In the essay that accompanied the publication of its anthology, several reasons are given for why the magazine was named as such. The last paragraph of the essay begins, "What should have been first remains for the last: XUL, the name of the magazine, was an homage to Xul Solar, a singularly complex individual, writer among many other things, although he was known mainly as one of the principal plastic artists of Argentina."

Quotes
"'I am a world champion of a game that nobody yet knows called panchess (Panajedrez). I am master of a script that nobody yet reads. I am creator of a technique, of a musical grafía that allows the piano to be studied in a third of the usual time that it takes today. I am director of a theatre that as yet has not begun working. I am creator of a universal language called panlingua based on numbers and astrology that will help people know each other better. I am creator of twelve painting techniques, some of them surrealist, and others that transpose a sensory, emotional world on to canvas, and that will produce in those that listen a Chopin suite, a Wagnerian prelude, or a stanza sung by Beniamino Gigli. I am the creator, and this is what most interests me at the moment, apart from the exhibition of painting that I am preparing, of a language that is desperately needed by Latin America.'"

-From Xul Solar's own writings

"Although this is a time when art is more individual and arbitrary than ever, it would be a mistake to call it anarchic. In spite of so much confusion, there exists a well-defined tendency toward simplicity of means, toward clear and solid architecture, toward the pure plastic sense that protects and accents abstract meanings of line, mass, and color, all within a complete liberty of subject and composition…

Let us admit, in any case, that among us now – if mostly still hidden – are many or all of the seeds of our future art, and not in museums overseas, and not in the homes of famous foreign dealers. Let us honor the rare ones, our rebellious spirits who, like this artist, before denying others, find affirmation in themselves; that instead of destroying, seek to build. Let us honor those who struggle so that the soul of our country can be more beautiful.

Because the wars of independence for our America are not yet over…"

-Excerpted from an article written in anticipation of Emilio Pettoruti's first Buenos Aires exhibition for the magazine Martín Fierro, October 9, 1924

Selected exhibitions

 * 1920 – Xul Solar and the sculptor Arturo Martini, Galleria Arte, Milan, November 27 to December 16
 * 1924 – Exposition d’Art Américain-Latin, Musée Gallièra, Paris, March 15 to April 15
 * 1924 – Primer Salón Libre, Witcomb, Buenos Aires
 * 1925 – Salón de los Independientes, Buenos Aires
 * 1926 – Exposición de Pintores Modernos, Amigos del Arte, Buenos Aires
 * 1929 – Xul Solar, Amigos del Arte, Buenos Aires, May
 * 1930 – Salón de Pintores y Escultores Modernos, Amigos del Arte, Buenos Aires, October
 * 1940 – Xul Solar, Amigos del Arte, Buenos Aires
 * 1949 – Xul Solar, Galería Samos, Buenos Aires
 * 1951 – Xul Solar, Galería Guión, Buenos Aires
 * 1952 – Pintura y Escultura Argentina de Este Siglo, Museo Nacional de Bellas Artes, Buenos Aires
 * 1953 – Xul Solar, Galería van Riel, Sala V, Buenos Aires
 * 1963 – Homenaje a Xul Solar, Museo Nacional de Bellas Artes, Buenos Aires
 * 1965 – Xul Solar: Exposición Retrospectiva, Galería Proar, Buenos Aires
 * 1966 – III Bienal Americana de Arte: Homenaje a Xul Solar, Museo Provincial de Bellas Artes, Córdoba
 * 1978 – Xul Solar, Galería Rubbers, Buenos Aires
 * 1993 – Xul Solar: A Collector’s Vision, Rachel Adler Gallery, New York
 * 1994 – Xul Solar: the Architectures, Courtauld Institute Galleries, London
 * 2005 – Xul Solar: Visiones y Revelaciones, Colección Costantini, Buenos Aires, June 17 to August 15
 * 2013 – Xul Solar and Jorge Luis Borges: The Art of Friendship, Americas Society, New York, April 18 to July 20; and Phoenix Art Museum, Phoenix, AZ, September 21 to December 31.

Selected works

 * Nido de Fénices, Oil on board, c. 1914, private collection
 * Paisaje con Monumento, Oil on board, c. 1914, Private collection, Buenos Aires
 * Dos Anjos, 1915, Watercolor on paper, Museo Xul Solar, Buenos Aires
 * Entierro, 1915, Watercolor on paper, Museo Xul Solar, Buenos Aires
 * Ofrenda Cuori, 1915, Watercolor on paper mounted on card, Museo Xul Solar, Buenos Aires
 * Reptil Que Sube, 1920, Watercolor on paper, Museo Xul Solar, Buenos Aires
 * Casas en Alto, 1922, Watercolor on paper, Museo Xul Solar, Buenos Aires
 * Grafía Antiga, 1939, Tempera on paper, Museo Xul Solar, Buenos Aires
 * Fiordo, 1943, Tempera on paper, Museo Xul Solar, Buenos Aires
 * (c. 1945)
 * Casi Plantas, 1946, Tempera on paper, Museo Xul Solar, Buenos Aires
 * Muros Biombos, 1948, Watercolor on paper, Museo Xul Solar, Buenos Aires
 * Pan Arbol, 1954, Watercolor on paper, Museo Xul Solar, Buenos Aires
 * Proyecto fachada para Elsetta (Façade Project for Elsetta), 1954. Pérez Art Museum Miami, United States
 * Cruz, 1954, Wood and watercolor, Museo Xul Solar, Buenos Aires
 * Grafía, 1961, Tempera on paper, Museo Xul Solar, Buenos Aires
 * Mi Pray Per To Min Guardianjo, 1962, Tempera on paper, Museo Xul Solar, Buenos Aires

title: Xul Solar


text:
Friends of the People

Friends of the People is an American sketch comedy television series. It was slated to premiere on TruTV in summer 2014, but was pushed to October 28, 2014, as part of the network's shift in their programming direction. Many of the cast members (Jennifer Bartels, Jermaine Fowler, and Lil Rel Howery) were originally reported to be cast members of a planned revival of In Living Color which never materialized. The show's first season consisted of 10 episodes. This made it the network's first sketch comedy show. The series held a TV-14 rating, though select episodes were rated TV-MA — also a first for the truTV network.

Cast

 * Kevin Barnett
 * Jennifer Bartels
 * Jermaine Fowler
 * Lil Rel Howery
 * Keith Lucas
 * Kenny Lucas
 * Josh Rabinowitz

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

title: Friends of the People


text:
User:112192

Introduction
My contribution will be historical, scientific, and factual (I hope!) JC

title: User:112192


text:
Hans Fallada

Hans Fallada (born Rudolf Wilhelm Friedrich Ditzen; 21 July 1893 – 5 February 1947) was a German writer of the first half of the 20th century. Some of his better known novels include Little Man, What Now? (1932) and Every Man Dies Alone (1947). His works belong predominantly to the New Objectivity literary style, a style associated with an emotionless reportage approach, with precision of detail, and a veneration for 'the fact'. Fallada's pseudonym derives from a combination of characters found in the Grimm's Fairy Tales: The titular protagonist of Hans in Luck (KHM 83), and Falada the magical talking horse in The Goose Girl.

Early life
Fallada was born in Greifswald, Germany, the child of a magistrate on his way to becoming a supreme court judge and a mother from a middle-class background, both of whom shared an enthusiasm for music, and to a lesser extent, literature. Jenny Williams notes in her biography More Lives than One (1998), that Fallada's father would often read aloud to his children works by authors such as Shakespeare and Schiller.

In 1899, when Fallada was 6, his father relocated the family to Berlin following the first of several promotions he would receive. Fallada had a very difficult time upon first entering school in 1901. As a result, he immersed himself in books, eschewing literature more in line with his age for authors such as Flaubert, Dostoevsky, and Dickens. In 1909 the family again relocated, to Leipzig, following his father's appointment to the Imperial Supreme Court.

In 1909 (age 16), he was run over by a horse-drawn cart, then kicked in the face by the horse. This mishap plus the contraction of typhoid in 1910 (age 17) seem to mark a turning point in Fallada's life. His lifelong drug problems were born of the pain-killing medications he was taking as the result of his injuries. These issues manifested themselves in multiple suicide attempts.

In 1911 he made a pact with a friend, Hanns Dietrich von Necker, to stage a duel to mask their suicides, feeling that the duel would be seen as more honorable. However, because of both boys' inexperience with weapons, it was a bungled affair. Dietrich missed Fallada, but Fallada did not miss Dietrich, killing him. Fallada was so distraught that he picked up Dietrich's gun and shot himself in the chest, but somehow survived. Nonetheless, the death of his friend ensured his status as an outcast from society.

Although he was found innocent of murder by reason of insanity, from this point on he would undergo multiple stints in mental institutions. At one of these institutions, he was assigned to work in a farmyard, thus beginning his lifelong affinity for farm culture.

Writing career and encounters with National Socialism
While in a sanatorium Fallada took to translation and poetry, albeit unsuccessfully, before finally breaking ground as a novelist in 1920 with the publication of his first book Der junge Goedeschal ("Young Goedeschal"). During this period he also struggled with morphine addiction, and the death of his younger brother in the First World War.

In the wake of the war, Fallada worked at several farmhand and other agricultural jobs in order to support himself and finance his growing drug addiction. While before the war Fallada relied on his father for financial support while writing, after the German defeat he was no longer able, or willing, to depend on his father's assistance. Shortly after the publication of Anton und Gerda Fallada reported to prison in Greifswald to serve a 6-month sentence for stealing grain from his employer and selling it to support his drug habit. Less than 3 years later, in 1926, Fallada again found himself imprisoned as a result of a drug and alcohol-fueled string of thefts from employers. In February 1928 he finally emerged free of addiction.

Fallada married Anna "Suse" Issel in 1929 and maintained a string of respectable jobs in journalism, working for newspapers and eventually for the publisher of his novels, Rowohlt. It is around this time that his novels became noticeably political and started to comment on the social and economic woes of Germany. His breakthrough success came in 1930/1931 with A Small Circus (German: Bauern, Bonzen und Bomben; "Peasants, Bosses and Bombs") based on the history of the Rural People's Movement in Schleswig-Holstein and the farmers' protest and boycott of the town of Neumünster. Williams notes that Fallada's 1930/31 novel "..established [him] as a promising literary talent as well as an author not afraid to tackle controversial issues". Martin Seymour-Smith said it is one of his best novels, "it remains one of the most vivid and sympathetic accounts of a local revolt ever written."

The great success of Kleiner Mann - was nun? (Little Man, What Now?) in 1932, while immediately easing his financial straits, was overshadowed by his anxiety over the rise of national socialism and a subsequent nervous breakdown. Although none of his work was deemed subversive enough to warrant action by the Nazis, many of his peers were arrested and interned, and his future as an author under the Nazi regime looked bleak. A German film of the book was made by Jewish producers at the end of 1932, and this earned Fallada closer attention by the rising Nazi Party. The film, unlike the US film of 1934, bore little resemblance to the novel, and was finally released after many cuts by the Nazi censors in mid-1933.

These anxieties were compounded by the loss of a baby only a few hours after childbirth. However he was heartened by the great success of Little Man, What Now? in Great Britain and the United States, where the book was a bestseller. In the U.S., it was selected by the Book of the Month Club, and was even made into a Hollywood movie, Little Man, What Now? (1934).

Meanwhile, as the careers, and in some cases the lives, of many of Fallada's contemporaries were rapidly drawing to a halt, he began to draw some additional scrutiny from the government in the form of denunciations of his work by Nazi authors and publications, who also noted that he had not joined the Party. On Easter Sunday, 1933, he was jailed by the Gestapo for "anti-Nazi activities" after one such denunciation, but despite a ransacking of his home no evidence was found and he was released a week later.

After Adolf Hitler's rise to power in 1933, Fallada had to make a few changes to the novel that removed anything that showed the Nazis in a bad light: a Sturmabteilung (SA) thug had to be turned into a soccer thug, for example, and the book stayed in print until 1941, after which war time paper shortages curtailed the printing of novels.

In 2016, a complete edition was published in Germany that added about 100 pages to the original 400 pages in the 1932 edition. The cuts had been made with Fallada's consent by his publisher Ernst Rowohlt. German reviewers agreed that the tone and the structure of the novel had not suffered from the cuts, but that the restored sections added 'colour and atmosphere,' such as a dream-like Robinson Crusoe island fantasy taking the main character away from his drab everyday life, a visit to the cinema to see a Charles Chaplin movie, and an evening at the Tanzpalast (Dance Palace).

Although his 1934 novel Wir hatten mal ein Kind (Once We Had a Child) met with initially positive reviews, the official Nazi publication Völkischer Beobachter disapproved. In the same year, the Ministry for Public Enlightenment and Propaganda "recommended the removal of Little Man, What Now? from all public libraries". Meanwhile, the official campaign against Fallada was beginning to take a toll on the sales of his books, landing him in financial straits that precipitated another nervous breakdown in 1934.

In September 1935 Fallada was officially declared an "undesirable author", a designation that banned his work from being translated and published abroad. His novel Old Heart Goes A-Journeying caused him problems with the Reich Literary Chamber because it had Christianity instead of Nazism as the unifier of the people. Although this order was repealed a few months later, it was at this point that his writing shifted from an artistic endeavor to merely a much needed source of income, writing "children's stories and harmless fairy tales" that would also conveniently avoid the unwanted attention of the Nazis. During this time the prospect of emigration held a constant place in Fallada's mind, although he was reluctant because of his love of Germany.

In 1937 the publication and success of Wolf unter Wölfen (Wolf Among Wolves) marked Fallada's temporary return to his serious, realistic style. The Nazis read the book as a sharp criticism of the Weimar Republic, and thus naturally approved. Notably, Joseph Goebbels called it "a super book". Goebbels's interest in Fallada's work would lead the writer to a world of worry: he would subsequently suggest the writer compose an anti-Semitic tract, and his praise indirectly resulted in Fallada's commission to write a novel that would be the basis for a state-sponsored film charting the life of a German family up to 1933.

The book, Der eiserne Gustav (), was a look at the deprivations and hardships brought on by World War I, but upon reviewing the manuscript Goebbels would suggest that Fallada stretch the time-line of the story to include the rise of the Nazis and their depiction as solving the problems of the War and Weimar. Fallada wrote several different versions before eventually capitulating under the pressure of both Goebbels and his depleted finances. Other evidence of his surrender to Nazi intimidation came in the form of forewords he subsequently wrote for two of his more politically ambiguous works, brief passages in which he essentially declared that the events in his books took place before the rise of the Nazis and were clearly "designed to placate the Nazi authorities". By the end of 1938, despite the deaths of several colleagues at the hands of the Nazis, Fallada finally reversed his decision to emigrate. His British publisher, George Putnam, had made arrangements and sent a private boat to whisk Fallada and his family out of Germany. According to Jenny Williams, Fallada had actually packed his bags and loaded them into the car when he told his wife he wanted to take one more walk around their smallholding. "When he returned some time later," Williams writes, "he declared that he could not leave Germany and that Suse should unpack."

This seemingly abrupt change of plans coincided with an inner conviction that Fallada had long harbored. Years earlier he had confided to an acquaintance that: “I could never write in another language, nor live in any other place than Germany.”

World War II
Fallada once again dedicated himself to writing children's stories and other non-political material suitable for the sensitive times. Nevertheless, with the German invasion of Poland in 1939 and the subsequent outbreak of World War II, life became still more difficult for Fallada and his family. War rations were the basis for several squabbles between his family and other members of his village. On multiple occasions neighbors reported his supposed drug addiction to authorities, threatening to reveal his history of psychological disturbances, a dangerous record indeed under the Nazi regime.

The rationing of paper, which prioritized state-promoted works, was also an impediment to his career. Nevertheless, he continued to publish in a limited role, even enjoying a very brief window of official approval. This window closed abruptly near the end of 1943 with the loss of his 25-year publisher Rowohlt, who fled the country. It was also at this time that he turned to alcohol and extra-marital affairs to cope with, among other matters, the increasingly strained relationship with his wife. Furthermore, in 1943 he travelled to France and the Reichsgau Sudetenland as Sonderführer (B) by order of the so-called Reichsarbeitsdienst.

In 1944, although their divorce was already finalized, a drunk Fallada and his wife were involved in an altercation in which a shot was fired by Fallada, according to Suse Ditzen in an interview she gave late in her life to biographer Jenny Williams. According to Suse Ditzen, she took the gun from her husband and hit him over the head with it before calling the police, who confined him to a psychiatric institution. (The police record of the call to the altercation makes no mention of shots being fired.) Throughout this period Fallada had one hope to cling to: the project he had concocted to put off Goebbels's demands that he write an anti-Semitic novel.

It involved the novelization of "a famous fraud case involving two Jewish financiers in the nineteen twenties" which, because of its potential as propaganda, was supported by the government and had eased pressure on him as he worked on other, more sincere projects. Finding himself incarcerated in a Nazi insane asylum, he used this project as a pretext for obtaining paper and writing materials, saying he had an assignment to fulfill for Goebbels's office. This successfully forestalled more harsh treatment: the insane were regularly subjected to barbarous treatment by the Nazis, including physical abuse, sterilization, and even death. But rather than writing the anti-Jewish novel, Fallada used his allotment of paper to write — in a dense, overlapping script that served to encode the text — the novel The Drinker (Der Trinker), a deeply critical autobiographical account of life under the Nazis, and a short diary In meinem fremden Land (A Stranger in My Own Country). It was an act easily punishable by death, but he was not caught, and was released in December 1944 as the Nazi government began to crumble.

Postwar life
Despite a seemingly successful reconciliation with his first wife, only a few months after his release he went on to marry the young, wealthy and attractive Ursula Losch, widow of the artist Kurt Losch, and moved in with her in Feldberg, Mecklenburg. Shortly after, the Soviets invaded the area. Fallada, as a celebrity, was asked to give a speech at a ceremony to celebrate the end of the war. Following this speech, he was appointed interim mayor of Feldberg for 18 months.

The time in the mental institution had taken a toll on Fallada, and, deeply depressed by the seemingly impossible task of eradicating the vestiges of fascism that were now so deeply ingrained in society by the Nazi regime, he once again turned to morphine with his wife, and both soon ended up in hospital. He spent the brief remainder of his life in and out of hospitals and wards. Losch's addiction to morphine appears to have been even worse than Fallada's, and her constantly mounting debts were an additional source of concern. Fallada wrote Jeder stirbt für sich allein (Every Man Dies Alone) between September and November 1946 (shortly before his death), whilst in a mental institution. He told his family that he had written "a great novel".

Death and legacy
At the time of Fallada's death in February 1947, aged 53, from a weakened heart from years of addiction to morphine, alcohol and other drugs, he had recently completed Every Man Dies Alone, an anti-fascist novel based on the true story of a German couple, Otto and Elise Hampel, who were executed for producing and distributing anti-Nazi material in Berlin during the war. According to Jenny Williams, he wrote the book in a "white heat"—a mere 24 days. Fallada died just weeks before the publication of this final novel. He was buried in Pankow, a borough of Berlin, but was later moved to Carwitz where he had lived from 1933 till 1944. After Fallada's death, because of possible neglect and continuing addiction on the part of his second wife and sole heir, many of his unpublished works were lost or sold.

Fallada remained a popular writer in Germany after his death. But, although Little Man, What Now? had been a great success in the United States and the UK, outside of Germany Fallada faded into obscurity for decades. In Germany, Every Man Dies Alone made a great impact. It was filmed for television in both East and West Germany. The novel was brought to the cinema screen in 1976, starring Hildegard Knef and Carl Raddatz. Every Man Dies Alone remained untranslated in English until 2009, when it was rediscovered by American publishing house Melville House Publishing and released in the US under the title Every Man Dies Alone, in a translation by Michael Hofmann. Melville House licensed it to Penguin Books in the UK, who used the title Alone in Berlin. It became a "surprise bestseller" in both the US and UK. It was listed on the official UK Top 50 for all UK publishers, a rare occurrence for such an old book.

Other German writers who had quit the country when Hitler rose to power felt disgust for those such as Fallada who had remained, compromising their work under the Nazi regime. Most notable of these critics was Fallada's contemporary Thomas Mann, who had fled Nazi repression early on and lived abroad. He expressed harsh condemnation for writers like Fallada who, though opponents of Nazism, made concessions which compromised their work. “It may be superstitious belief, but in my eyes, any books which could be printed at all in Germany between 1933 and 1945 are worse than worthless and not objects one wishes to touch. A stench of blood and shame attaches to them. They should all be pulped.”

The Hans Fallada Prize, a literary prize awarded by the city of Neumünster, was named after the author.

Works
English:
 * Little Man, What Now? (tr. Eric Sutton, 1933; tr. Susan Bennett, 1996)
 * Who Once Eats Out of the Tin Bowl (UK) / The World Outside (US) (tr. Eric Sutton, 1934) / Once a Jailbird (UK) (tr. Nicholas Jacobs and Gardis Cramer von Laue, 2012)
 * Once We Had a Child (tr. Eric Sutton, 1935)
 * An Old Heart Goes A-Journeying (tr. Eric Sutton, 1936)
 * Sparrow Farm (tr. Eric Sutton, 1937)
 * Wolf Among Wolves (tr. Phillip Owens, 1938; unabridged with additional tr. by Thorsten Carstensen and Nicholas Jacobs, 2010)
 * Iron Gustav (tr. Phillip Owens, 1940; unabridged with additional tr. Nicholas Jacobs and Gardis Cramer von Laue, 2014)
 * The Drinker (tr. Charlotte and A.L. Lloyd, 1952)
 * That Rascal, Fridolin (juvenile; tr. R. Michaelis-Jena and R. Ratcliff, 1959)
 * Every Man Dies Alone (US) / Alone in Berlin (UK) (tr. Michael Hofmann, 2009)
 * A Small Circus (tr. Michael Hofmann, 2012)
 * A Stranger in My Own Country: The 1944 Prison Diary (tr. Allan Blunden, 2014)
 * Tales From the Underworld: Selected Shorter Fiction (ed. and tr. Michael Hoffman, 2014)
 * Nightmare in Berlin (tr. Allan Blunden, 2016)

Note: Translations made by E. Sutton and P. Owens in the 1930s and 40s were abbreviated and/or made from unreliable editions, according to Fallada biographer Jenny Williams.

German:

Much of Fallada's work is available in German at Projekt Gutenberg-DE Hans Fallada.

 * Der junge Goedeschal, 1920
 * Anton und Gerda, 1923
 * Bauern, Bonzen und Bomben, 1931 (English: )
 * Kleiner Mann, was nun?, 1932 (English: Little Man, What Now?)
 * Wer einmal aus dem Blechnapf frißt, 1932 (English: Who Once Eats Out of the Tin Bowl / Once a Jailbird (UK))
 * Wir hatten mal ein Kind, 1934 (English: Once We Had a Child)
 * Märchen vom Stadtschreiber, der aufs Land flog, 1935 (English: Sparrow Farm)
 * Altes Herz geht auf die Reise, 1936 (English: An Old Heart Goes A-Journeying)
 * Hoppelpoppel - wo bist du?, Kindergeschichten, 1936
 * Wolf unter Wölfen, 1937 (English: Wolf Among Wolves)
 * Geschichten aus der Murkelei, Märchen, 1938
 * Der eiserne Gustav, 1938 (English: Iron Gustav)
 * Süßmilch spricht, 1938
 * Kleiner Mann - großer Mann, alles vertauscht, 1939
 * Süßmilch spricht. Ein Abenteuer von Murr und Maxe, Erzählung, 1939
 * Der ungeliebte Mann, 1940
 * Das Abenteuer des Werner Quabs, Erzählung, 1941
 * Damals bei uns daheim, Erinnerungen, 1942
 * Heute bei uns zu Haus, Erinnerungen, 1943
 * Fridolin der freche Dachs, 1944 (English: That Rascal, Fridolin)
 * Jeder stirbt für sich allein, 1947 (English: Every Man Dies Alone (US) / Alone in Berlin (UK))
 * Der Alpdruck, 1947 (English: Nightmare in Berlin)
 * Der Trinker, 1950 (English: The Drinker)
 * Ein Mann will nach oben, 1953
 * Die Stunde, eh´du schlafen gehst, 1954
 * Junger Herr - ganz groß, 1965
 *  2005 (posthumously published)
 * In meinem fremden Land: Gefängnistagebuch 1944 (ed. Jenny Williams & Sabine Lange 2009) (English: A Stranger in My Own Country: The 1944 Prison Diary)

Filmography

 * Little Man, What Now?, directed by Fritz Wendhausen (Germany, 1933, based on the novel Little Man, What Now?)
 * Little Man, What Now?, directed by Frank Borzage (1934, based on the novel Little Man, What Now?)
 * Altes Herz geht auf die Reise, directed by Carl Junghans (Germany, 1938, based on the novel An Old Heart Goes A-Journeying), banned in Nazi Germany, released after World War II
 * Heaven, We Inherit a Castle, directed by Peter Paul Brauer (Germany, 1943, based on the novel Kleiner Mann, großer Mann – alles vertauscht)

 * Tutto da rifare pover'uomo, directed by Eros Macchi (Italy, 1960, TV miniseries, based on the novel Little Man, What Now?)
 * Wer einmal aus dem Blechnapf frisst, directed by Fritz Umgelter (West Germany, 1962, TV miniseries, based on the novel Who Once Eats Out of the Tin Bowl)
 * Jeder stirbt für sich allein, directed by Falk Harnack (West Germany, 1962, TV film, based on the novel Every Man Dies Alone)
 * Wolf Among Wolves, directed by Hans-Joachim Kasprzik (East Germany, 1965, TV miniseries, based on the novel Wolf Among Wolves)
 * Der Trinker, directed by Dietrich Haugk (West Germany, 1967, TV film, based on the novel The Drinker)
 * Kleiner Mann – was nun?, directed by Hans-Joachim Kasprzik (East Germany, 1967, TV miniseries, based on the novel Little Man, What Now?)
 * Jeder stirbt für sich allein, directed by Hans-Joachim Kasprzik (East Germany, 1970, TV miniseries, based on the novel Every Man Dies Alone)
 * Bauern, Bonzen und Bomben, directed by Egon Monk (West Germany, 1973, TV miniseries, based on the novel A Small Circus)

 * Everyone Dies Alone, directed by Alfred Vohrer (West Germany, 1976, based on the novel Every Man Dies Alone)
 * Ein Mann will nach oben, directed by Herbert Ballmann (West Germany, 1978, TV miniseries, based on the novel Ein Mann will nach oben)
 * Der eiserne Gustav (miniseries), directed by Wolfgang Staudte (West Germany, 1979, TV miniseries, based on the novel Iron Gustav)
 * Die Geschichte vom goldenen Taler, directed by Bodo Fürneisen (East Germany, 1985, TV film, based on a short story from Geschichten aus der Murkelei)
 * Altes Herz geht auf die Reise (1987 film), directed by Hans Knötzsch (East Germany, 1987, TV film, based on the novel An Old Heart Goes A-Journeying)
 * The Drinker (film), directed by Tom Toelle (Germany, 1995, TV film, based on the novel The Drinker)
 * Alone in Berlin, directed by Vincent Perez (2016, based on the novel Every Man Dies Alone)

title: Hans Fallada


text:
Petrus Apianus

Petrus Apianus (April 16, 1495 – April 21, 1552), also known as Peter Apian, Peter Bennewitz, and Peter Bienewitz, was a German humanist, known for his works in mathematics, astronomy and cartography. His work on "cosmography", the field that dealt with the earth and its position in the universe, was presented in his most famous publications, Astronomicum Caesareum (1540) and Cosmographicus liber (1524). His books were extremely influential in his time, with the numerous editions in multiple languages being published until 1609. The lunar crater Apianus and asteroid 19139 Apian are named in his honour.

Life and work
Apianus was born as Peter Bienewitz (or Bennewitz) in Leisnig in Saxony; his father, Martin, was a shoemaker. The family was relatively well off, belonging to the middle-class citizenry of Leisnig. Apianus was educated at the Latin school in Rochlitz. From 1516 to 1519 he studied at the University of Leipzig; during this time, he Latinized his name to Apianus (lat. apis means "bee"; "Biene" is the German word for bee).

In 1519, Apianus moved to Vienna and continued his studies at the University of Vienna, which was considered one of the leading universities in geography and mathematics at the time and where Georg Tannstetter taught. When the plague broke out in Vienna in 1521, he completed his studies with a BA and moved to Regensburg and then to Landshut. At Landshut, he produced his Cosmographicus liber (1524), a highly respected work on astronomy and navigation which was to see more than 40 reprints in four languages (Latin; French, 1544; Dutch, 1545; Spanish, 1548) and that remained popular until the end of the 16th century. Later editions were produced by Gemma Frisius.

In 1527, Peter Apianus was called to the University of Ingolstadt as a mathematician and printer. His print shop started small. Among the first books he printed were the writings of Johann Eck, Martin Luther's antagonist. This print shop was active between 1543 and 1540 and became well known for its high-quality editions of geographic and cartographic works. It is thought that he used stereotype printing techniques on woodblocks. The printer's logo included the motto Industria superat vires in Greek, Hebrew, and Latin around the figure of a boy.

Through his work, Apianus became a favourite of emperor Charles V, who had praised Cosmographicus liber at the Imperial Diet of 1530 and granted him a printing monopoly in 1532 and 1534. In 1535, the emperor made Apianus an armiger, i.e. granted him the right to display a coat of arms. In 1540, Apianus printed the Astronomicum Caesareum, dedicated to Charles V. Charles promised him a truly royal sum (3,000 golden guilders), appointed him his court mathematician, and made him a Reichsritter (a Free Imperial Knight) and in 1544 even an Imperial Count Palatine. All this furthered Apianus's reputation as an eminent scientist. Astronomicum Caesareum is noted for its visual appeal. Printed and bound decoratively, with about 100 known copies, it included several Volvelles that allowed users to calculate dates, the positions of constellations and so on. Apianus noted that it took a month to produce some of the plates. Thirty-five octagonal paper cut instruments were included with woodcuts that are thought to have been made by Hans Brosamer (c. 1495 – 1555) who may have trained under Lucas Cranach, Sr. in Wittemberg. It also incorporated star and constellation names from the work of the Arab astronomer Azophi (Abd al-Rahman al-Sufi AD 903–986). Apianus is also remembered for publishing the only known depiction of the Bedouin constellations in 1533. On this map Ursa Minor is an old woman and three maidens, Draco is four camels and Cepheus was illustrated as a shepherd with sheep and dog. Despite many calls from other universities, including Leipzig, Padua, Tübingen, and Vienna, Apianus remained in Ingolstadt until his death. Although he neglected his teaching duties, the university evidently was proud to host such an esteemed scientist. Apianus's work included in mathematics—in 1527 he published a variation of Pascal's triangle, and in 1534 a table of sines— as well as astronomy. In 1531, he observed Halley's Comet and noted that a comet's tail always point away from the sun. Girolamo Fracastoro also detected this in 1531, but Apianus's publication was the first to also include graphics. He designed sundials, published manuals for astronomical instruments and crafted volvelles ("Apian wheels"), measuring instruments useful for calculating time and distance for astronomical and astrological applications.

Apianus married the daughter of a councilman of Landshut, Katharina Mosner, in 1526. They would have fourteen children together, five girls and nine sons, one of whom was Philipp Apian (1531–1589), who, in addition to his own research, preserved the legacy of his father.

Works

 * (also called Cosmographia)
 * Ein newe und wolgegründete underweisung aller Kauffmanns Rechnung in dreyen Büchern, mit schönen Regeln und fragstücken begriffen, Ingolstadt 1527. A handbook of commercial arithmetic; depicted in the painting The Ambassadors by Hans Holbein the Younger.
 * Cosmographiae introductio, cum quibusdam Geometriae ac Astronomiae principiis ad eam rem necessariis, Ingolstadt 1529.
 * Ein kurtzer bericht der Observation unnd urtels des jüngst erschinnen Cometen..., Ingolstadt 1532. On his comet observations.
 * Quadrans Apiani astronomicus, Ingolstadt 1532. On quadrants.
 * Horoscopion Apiani..., Ingolstadt 1533. On sundials.
 * Instrument Buch..., Ingolstadt 1533. A scientific book on astronomical instruments in German.
 * . On trigonometry, contains sine tables.
 * Instrument Buch..., Ingolstadt 1533. A scientific book on astronomical instruments in German.
 * . On trigonometry, contains sine tables.

title: Petrus Apianus


text:
Jason West

Jason West (born March 26, 1977 ) is an American politician who served as mayor of the village of New Paltz, New York, from January 1, 2003 to May 31, 2007, and again from June 1, 2011 to May 31, 2015.

A graduate of the State University of New York at New Paltz, West made headlines by solemnizing same-sex marriages in New York. After running as a protest candidate for the New York State Assembly in 2000 and 2002 on the Green Party ticket, West was elected mayor of New Paltz in 2003. He lost his reelection bid on May 1, 2007, to village trustee Terry Dungan.

Summary
Elected mayor of New Paltz in 2003 with promises of environmental sustainability, West gained international attention, initially as part of the first Green Party majority elected in New York State and later for risking criminal prosecution to marry 25 same-sex couples.

West was named the Best New Mayor of 2003 by Hudson Valley magazine. He was honored by such organizations as the New York State Senate Democratic Conference, the California State Legislature and community organizations from around the country. He has been profiled in the New York Times Magazine, Plenty, Out, The Advocate, and Jane, among others.

Same-sex marriages
On February 27, 2004, West drew national attention to New Paltz when he announced that he would be performing same-sex marriages. On the first day he performed 24 such ceremonies. On March 2, he was charged with 19 misdemeanor counts of "solemnizing marriages without a license" by Ulster County District Attorney Donald Williams. According to Williams, West was not charged for all 25 ceremonies because police only witnessed 19 of them.

West originally announced that he intended to continue performing same-sex weddings; however, on March 5, New York state judge Vincent Bradley issued a temporary restraining order barring West from performing any such ceremonies for a month. West indicated that he would abide by the judicial order while evaluating his legal options. On June 6, Ulster County Supreme Court Judge Michael Kavanagh made the injunction permanent. West later remarked, "Give it 10 or 20 years when we're holding state legislatures and Congress. It will just be a nonissue."

On June 10, New Paltz Town Court Justice Jonathan Katz dismissed the charges against West, ruling that the district attorney had failed to show that the state had a legitimate interest in preventing the marriages, or that the law under which West was charged was constitutional. The district attorney said that he would appeal the ruling.

Involvement in the United Nations Urban Environmental Accords
As mayor, West took part in the creation of the United Nations Urban Environmental Accords in San Francisco in the Spring of 2005. He is one of 60 mayors from across the world who signed the original accords.

A signatory to the United States Mayors' Climate Protection Agreement and the member of the international network Mayors for Peace, West was also a founding member of the Young Elected Officials Network, a nationwide organization of progressive politicians under 35. He also served on its steering committee.

Defeat in 2007
West lost his bid for a second four-year term by on May 1, 2007, after a campaign highlighted by an endorsement by Ralph Nader with 514 votes for Dungan to West's 379.

Reelection in 2011
West was reelected as mayor of New Paltz on May 3, 2011. His salary at the time was $22,500. West requested a $13,000 raise in 2012. The Village of New Paltz Board of Trustees approved the raise. West requested another $13,000 raise in 2013 but instead had his salary returned to the $22,500 level in a revised budget passed 4-0 by the board, with the mayor absent from voting. In response, West sued the board of trustees. The lawsuit was settled by a $12,000 settlement in February 2015.

Defeat in 2015
West was defeated by former New Paltz school board member Tim Rogers, who garnered 323 votes, while West received 204 votes. West stated that he was considering the possibility of returning to school for a teaching degree while remaining active in village affairs, and then went about pursuing a master of science degree at Bard College.

Writings
Dare to Hope: Saving American Democracy 2005, ISBN 1-4013-5238-3

title: Jason West


text:
ACCC

ACCC may refer to:

Industry

 * ACCC conductor, Aluminium Conductor Composite Core, high voltage power line cables

Education

 * Association of Canadian Community Colleges, a national association formed in 1972
 * Atlantic Cape Community College, an accredited, co-educational, two-year, public, community college

Sports

 * Alabama Community College Conference, the athletic conference of the community colleges in Alabama
 * Hockey Africa Cup for Club Champions, a men's field hockey competition for clubs in Africa.
 * Hockey Africa Cup for Club Champions (women), a women's field hockey competition for clubs in Africa.

Law

 * Australian Competition and Consumer Commission, an independent Australian Commonwealth government authority established in 1995
 * Aarhus Convention Compliance Committee, the body ensuring compliance with the Aarhus Convention on access to information, public participation in decision-making and access to justice in environmental matters

Religion

 * American Council of Christian Churches, a national council of churches
 * Anglican Catholic Church of Canada, an Anglican church that was founded in the 1970s by conservative Anglicans
 * The Australian Centre for Christianity and Culture, a Christian ecumenical centre

Other uses

 * Adams County Correctional Center, a private prison

title: ACCC


text:
Multi-booting

Multi-booting is the act of installing multiple operating systems on a single computer, and being able to choose which one to boot. The term dual-booting refers to the common configuration of specifically two operating systems. Multi-booting may require a custom boot loader.

Usage
Multi-booting allows more than one operating system to reside on one computer; for example, if a user has a primary operating system that they use most frequently and an alternate operating system that they use less frequently. Multi-booting allows a new operating system to configure all applications needed and migrate data before removing the old operating system, if desired. Another reason for multi-booting can be to investigate or test a new operating system without switching completely.

Multi-booting is also useful in situations where different software requires different operating systems. A multi-boot configuration allows a user to use all of their software on one computer. This is often accomplished by using a boot loader such as NTLDR, LILO, or GRUB which can boot more than one operating system.

Multi-booting is also used by software developers when multiple operating systems are required for development or testing purposes. Having these systems on one machine is a way to reduce hardware costs.

Multi-booting also allows a user to switch between private and work dedicated systems to maintain access integrity and separation between the two user environments, even if the same operating system is used for each of them.

A possible alternative to multi-booting is virtualization, where a hypervisor is used to host one or more virtual machines running guest operating systems.

Number of operating systems per volume (logical drive)
In an OS/2 dual-boot configuration, the C drive can contain both DOS and OS/2. The user issues the BOOT command from the DOS or OS/2 command line to do the necessary copy, move and rename operations and then reboot to the specified system on C:. Other systems provide similar mechanisms for alternate systems on the same logical drive.

Number of operating systems per storage device
In a multi-boot computer each of the multiple operating systems can reside on its own storage device, or some storage devices might contain more than one operating system in different partitions. The boot loader in or loaded by the MBR displays a menu of logical drives and loads the selected boot loader from the PBR of that drive.

An example of a computer with one operating system per storage device is a dual-booting computer that stores Windows on one disk drive and Linux on another disk drive. In this case a multi-booting boot loader is not strictly necessary because the user can choose to enter BIOS configuration immediately after power-up and make the desired drive first in the boot-order list. However, it is more convenient to have a multi-booting boot loader on one of the drives, set BIOS once to always start booting from (i.e. load the boot loader from) that drive, and then allow the user to choose an operating system from that boot loader's menu. No special disk partitioning is necessary when each operating system has its own dedicated disk drive.

An example of a computer with multiple operating systems per storage device is a dual-booting computer that stores both Windows and Linux on the same disk drive but where the BIOS in the system does not let the user boot individual drives and partitions. In this case a multi-booting boot loader is necessary. Also, the disk must be partitioned to give each operating system its own partition on the disk drive. This is necessary because each system has its own set of files and operating instructions. Also, when a completely separate operating system is used partitions may need to be formatted to a different format. For example, if a user intends to install both Windows and Linux, then the Windows partition will be most likely formatted in the NTFS format as Windows cannot run off of ext4, and the Linux partition will most likely be formatted in the ext4 file format as Linux cannot run off of NTFS. However, if a user intends to dual-boot two versions of Windows (i.e. Windows 7 and Windows Vista) or two versions of Linux (i.e. Linux Mint and Ubuntu Linux), then the same file system (e.g. NTFS or ext4) can be used across both drives and partitions.

Partitioning
The basic concept involves partitioning a disk to accommodate each planned installation, usually including separate partitions for boot, root, data storage and backups.

MBR loader
An MBR loader, such as Air-Boot, replaces the standard boot code in track 0 with code that displays a selection menu and loads the selected system. Some, e.g., Air-Boot, can be configured either automatically or by the user at boot time, rather than requiring an external configuration menu.

Linux boot loaders
Linux loaders such as GRUB and LILO, can reside in the MBR or in a PBR. They use configuration files in /boot to control their selection menus,

OS/2 Boot Manager
The OS/2 Boot Manager must be installed in a primary partition. The OS/2 partitioning utilities can configure up to four systems in the menu, each of which can be either in a primary partition or in a logical volume within the extended logical partition. It is possible to include a boot loader such as GRUB in the OS/2 Boot Manager menu, and it is possible to include the OS/2 Boot Manager in the menu for another boot loader. Newer loaders such as Air-Boot, GRUB and LILO offer more flexibility.

Microsoft Windows and Linux
One popular multi-boot configuration is to dual-boot Linux and Windows operating systems, each contained within its own partition. Windows does not facilitate or support multi-boot systems, other than allowing for partition-specific installations, and no choice of boot loader is offered. However, most current Linux installers accommodate dual-booting (although some knowledge of partitions is desirable). Commonly installations proceed without incident but upon restart, the boot loader will recognize only one of the two operating systems.

There are some advantages to installing a Linux boot manager/loader (usually GRUB) as the primary bootloader pointed to by the master boot record. Windows operating systems will be found by properly installed Linux bootloaders, but Windows boot managers do not recognize Linux installations (nor does Windows deal natively with Linux file systems). The MBR boot code can be backed up and restored with dd, available on System Rescue CD.

It is often recommended that Windows be installed to the first primary partition. The boot loaders of both Windows and Linux identify partitions with a number derived by counting the partitions. (Note, both Windows and Linux count the partitions according to the ordering of the partitions in the partition table, which may be different from the order of the partitions on the disk.) Adding or deleting a partition at the end of a hard drive will have no effect on any partitions prior to it. However, if a partition is added or deleted at the beginning or middle of a hard drive, the numbering of subsequent partitions may change. If the number of the system partition changes, it requires boot loader reconfiguration in order for an operating system to boot and function properly.

Windows must be installed into a primary partition (and in older systems this must be the first partition). Linux can be installed into a partition in any position on the hard drive and can also be installed into logical partitions (within the extended partition). If Linux is installed into a logical partition within the extended partition, it is unaffected by changes in the primary partitions.

Neutral MBR
An alternative to storing GRUB in the MBR is keeping Windows' or other generic PC boot code in the MBR, and installing GRUB or another bootloader into a primary partition other than that of Windows, thus keeping the MBR neutral. Operating system selection at boot time consequently depends on the bootloader configured within the primary partition that has the boot or "active" flag set on its partition table entry, which could be a bootloader of DOS, OS/2, eComStation, ArcaOS or BSD, in addition to Linux or Windows.

With the boot flag set on the Windows primary, the Windows Boot Manager can be used to chainload another installed bootloader through use of a program like EasyBCD. This means the active partition's boot manager will first prompt the user for selection what OS to boot, then load another if necessary, such as GRUB, even a bootloader installed to a logical partition, and then GRUB will load the Linux kernel as it normally would were GRUB installed to the MBR.

The active partition could also be one that exists for no purpose other than choosing an operating system to boot, such as the boot manager that shipped with IBM's OS/2 Warp and its derivatives.

Apple's Boot Camp
Boot Camp allows owners of Intel-based Apple Macintosh computers to install Windows XP, Vista, 7, 8, and 10 on their Macs. The software was initially available in beta version as a download from Apple's website (which was compatible with Mac OS X version 10.4 (Tiger)), and later came bundled with Mac OS X since version 10.5 (Leopard).

Boot Camp allows non-destructive disk partitioning and resizing of HFS+ filesystems, boot menu options, and an option to burn a CD with necessary device drivers. Since Windows XP is incompatible with Extensible Firmware Interface (the successor to legacy BIOS), the firmware on early Intel Macs needs to be updated to support BIOS emulation first. BIOS emulation is achieved with a compatibility support module (CSM). Apple does not support non-Windows partition formats or drivers so therefore configuring other operating systems is not directly possible through Boot Camp itself. However, any operating system which can utilize the BIOS emulation of Intel Macintosh can be made to work, including non-XP versions of Windows. The Ubuntu Linux distribution is particularly popular for this purpose because they provide an option to use proprietary device drivers along with open source drivers.

title: Multi-booting


text:
Volleyball at the 2000 Summer Olympics

At the 2000 Summer Olympics, four volleyball events were contested – men's and women's indoor volleyball, and men's and women's beach volleyball.

title: Volleyball at the 2000 Summer Olympics


text:
David McTaggart

David Fraser McTaggart (June 24, 1932 – March 23, 2001) was a Canadian environmentalist who played a central part in the foundation of Greenpeace International.

An excellent all-around athlete, as a young man he won three consecutive Canadian National Badminton Championships in men's singles (1956–1958) and represented that country in badminton's Thomas Cup (men's world team championship) competition. Prior to his involvement in Greenpeace he had prospered as a builder and developer.

In 1972, responding to an ad in the newspapers, he used his personal boat to protest the testing of nuclear weapons in the Pacific by the French government. After getting his boat damaged and being physically hurt by the French Military, his protest succeeded in 1974 when the French announced the end of their atmospheric nuclear testing program. McTaggart spent the next several years pursuing legal action against the French government and assisting in the formation of Greenpeace affiliates across Western Europe. In 1979 he brokered an agreement that led to the formation of Greenpeace International, ending the leadership of the original founding group based in Vancouver, Canada. He became chairman and chief spokesman for Greenpeace in 1979, retiring in 1991 to live on an olive farm in Paciano, Umbria, Italy. McTaggart continued to participate in Greenpeace forums after retirement for the rest of his life. He and singer Bryan Adams did a massive postcard campaign to help create the Southern Antarctic Whale Sanctuary. For nearly two years they toured the world asking thousands of concert goers to write to countries involved with whaling to support the sanctuary. The Southern Ocean Whale Sanctuary was established by the IWC in 1994 with 23 countries supporting the agreement and Japan opposing it.

Te Vaka dedicated its song "Sei Ma Le Losa" to McTaggart, who was killed in a car accident on March 23, 2001, near his home in Italy.

In 1987 McTaggart founded the Third Millennium Foundation, a US 501(c)(3) dedicated to continuing his work for disarmament, peace, and a sustainable future. The foundation, headquartered in his former home in Paciano, Italy, continues today promoting local and global projects in his memory.

In 1996 he received the journalistic prize Golden Doves for Peace issued by the Italian Research Institute Archivio Disarmo.

title: David McTaggart


text:
Talk:Jēkabs Peterss

Untitled
Wow! so complex brackets! --Yacht 10:20, Feb 29, 2004 (UTC)
 * A little better now. Bastie 09:22, 17 January 2007 (UTC)

Wife
I have seen the police file in the NRA for Jacob Peters' wife, May (not Maisie) Peters, and her attempts after her divorce to get back into the UK. However, I haven't got the reference, so won't edit now. BobFromBrockley (talk) 14:50, 1 October 2008 (UTC)

I've added a reference on this. Looks like May was the mother and Maisie the daughter. To me it looks like he deceived and betrayed her. Her story ought not to be glossed over in this public encyclopedia. Please add more detailed sources. -  Metalello    talk 00:16, 3 September 2012 (UTC)

1922
There is very little on Peters' career from 1922 to 1938 in the article as it is now. — Preceding unsigned comment added by 86.176.127.7 (talk) 16:28, 15 August 2011 (UTC)
 * There is some detail in the box on the right. — Preceding unsigned comment added by 109.149.30.34 (talk) 16:21, 19 August 2013 (UTC)

1971
The date, 1971, for the death of Maisie, seems to be wrong. The article is still confused about the names of the two. — Preceding unsigned comment added by 109.149.30.34 (talk) 16:16, 19 August 2013 (UTC)

The confusion between mother & daughter has not been corrected yet. I have found a separate source that indicates that May is the mother & Maisie the daughter, so I am changing the article to reflect that information. CFLeon (talk) 20:19, 19 January 2019 (UTC)

title: Talk:Jēkabs Peterss


text:
Hana Ichi Monme

Hana Ichi Monme (花一匁) is a traditional Japanese children's game. The game is similar to the game Red Rover in the Western world, and is often played in kindergartens and elementary schools.

The name "Hana Ichi Monme" means "a flower is one monme", where a monme is a historical (Edo period) Japanese coin with a value of 3.75 grams of silver.

Other traditional Japanese children's games include Kagome Kagome and Dahrumasan ga Koronda. Many games have songs that go with them.

Play
Players split into two groups, and the members of each group hold hands, so that the teams face each other in two lines. One group steps toward the other in the rhythm of a song that is used only for the game, and the other steps back so that the team lines remain parallel. In each phrase of the song, the team that is stepping back changes, and the team creates a move that associates a swing.

Each time the song ends, the team leaders step forward and do janken, a Japanese version of rock paper scissors. The winner goes back to his team, and they discuss who the team wants to add from the other team. After they have decided, they sing another song doing the same movement and announce the person they want. The game ends when one team loses all of its members.

Variant
In this variant, the two teams sing alternate lines from a song when advancing. As the word monme is sung, that team kicks into the air as if to kick the dirt into the opponents' faces.

The children then huddle to choose a person from the opposing team and return in line to call out:-

The two named children then step forward to janken. The loser joins the winning team's line. The game ends the same way.

title: Hana Ichi Monme


text:
Piastre

The piastre or piaster is any of a number of units of currency. The term originates from the Italian for "thin metal plate". The name was applied to Spanish and Hispanic American pieces of eight, or pesos, by Venetian traders in the Levant in the 16th century.

These pesos, minted continually for centuries, were readily accepted by traders in many parts of the world. After the countries of Latin America had gained independence, pesos of Mexico began flowing in through the trade routes, and became prolific in the Far East, taking the place of the Spanish pieces of eight which had been introduced by the Spanish at Manila, and by the Portuguese at Malacca. When the French colonised Indochina, they began issuing the new French Indochinese piastre (piastre de commerce), which was equal in value to the familiar Spanish and Mexican pesos.

In the Ottoman Empire, the word piastre was a colloquial European name of Kuruş. Successive currency reforms had reduced the value of the Ottoman piastre by the late 19th century so as to be worth about two pence (2d) sterling. Hence the name piastre referred to two distinct kinds of coins in two distinct parts of the world, both of which had descended from the Spanish pieces of eight.

Because of the debased values of the piastres in the Middle East, these piastres became subsidiary units for the Turkish, Cypriot, and Egyptian pounds. Meanwhile, in Indochina, the piastre continued into the 1950s and was subsequently renamed the riel, the kip, and the dong in Cambodia, Laos and Vietnam respectively.

As a main unit

 * French Indochinese piastre

As a sub-unit

 * $1/undefined$ of the Egyptian pound
 * $1/undefined$ of the Jordanian dinar
 * $1/undefined$ of the Lebanese pound
 * $1/undefined$ of the South Sudanese pound (spelled "piaster")
 * $1/undefined$ of the Sudanese pound
 * $1/undefined$ of the Syrian pound

Obsolete currencies

 * $1/undefined$ of the Cypriot pound
 * $1/undefined$ of the Libyan pound
 * $1/undefined$ of the Turkish lira

Other usage

Early private bank currency issues in French-speaking regions of Canada were denominated in piastres, and the term continued in official use for some time as a term for the Canadian dollar. For example, the original French version of the 1867 Constitution of Canada refers to a requirement that senators hold property d'une valeur de quatre mille piastres.

The term is still unofficially used in Quebec, Acadian, Franco-Manitoban, and Franco-Ontarian language as a reference to the Canadian dollar, much as English speakers say "bucks." (The official French term for the modern Canadian dollar is dollar.) When used colloquially in this way, the term is often pronounced and spelled "piasse" (pl. "piasses"). It was equivalent to 6 New France livres or 120 sous, a quarter of which was "30 sous", which is also still in slang use when referring to 25 cents.

Piastre was also the original French word for the United States dollar, used for example in the French text of the Louisiana Purchase. Calling the US dollar a piastre is still common among speakers of Cajun French and New England French. Modern French uses dollar for this unit of currency as well. The term is still used as slang for US dollars in the French-speaking Caribbean islands, most notably Haiti.

Piastre is another name for kuruş, $1/undefined$ of the Turkish lira.

The piastre is still used in Mauritius when bidding in auction sales, similarly to the way that guineas are used at British racehorse auctions. It is equivalent to 2 Mauritian rupees.

"Piaster" is referenced in the Steely Dan song Dr. Wu: "You walked in And my life began again Just when I'd spent the last piaster I could borrow"

title: Piastre


text:
DSD

DSD may refer to:

Science and research

 * Detrusor sphincter dyssynergia, disorder of urination
 * Disorders of sex development, differences of sex differentiation
 * Definitive Screening Design, an experimental design for multiple variables

Technology

 * Data structure diagram of a data model
 * Direct Stream Digital, Sony and Philips digital recording trademark
 * Document Structure Description, a schema language for describing valid XML

Organizations

 * Defence Signals Directorate, an Australian intelligence agency
 * Department for Social Development
 * Det Stavangerske Dampskibsselskap, a Norwegian transport and shipping company
 * Drainage Services Department, Hong Kong
 * Davis School District, Utah
 * Delaware School for the Deaf

Government

 * United States District Court for the District of South Dakota, abbreviation in case decisions
 * Downing Street Declaration, by UK PM and Irish Taoiseach
 * New Zealand Distinguished Service Decoration, a medal awarded by the New Zealand Defence Force

Media

 * Do Something Different, a British CBBC television show
 * DSD, a group on the album Thug Misses

Other uses

 * Defence Studies Department (King's College, London)
 * Deutsches Sprachdiplom (German Language Diploma), of the German Academic Exchange Service
 * Direct store delivery, without 3rd party distributor
 * Discover Scuba Diving program
 * Driver's Safety Device, or dead man's switch
 * Raindrop size distribution in rain, snow, etc...
 * Dsd, the Köppen climate classification for an extremely rare subarctic climate variant with dry summers and extreme winters

title: DSD