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Fantasia on a Theme by Thomas Tallis

Fantasia on a Theme by Thomas Tallis, also known as the Tallis Fantasia, is a one-movement work for string orchestra by Ralph Vaughan Williams. The theme is by the 16th-century English composer Thomas Tallis. The Fantasia was first performed at Gloucester Cathedral as part of the 1910 Three Choirs Festival, and has entered the orchestral repertoire, with frequent concert performances and recordings by conductors and orchestras of various countries.

Background and first performance
Vaughan Williams did not achieve wide recognition early in his career as a composer, but by 1910, in his late thirties, he was gaining a reputation. In that year the Three Choirs Festival commissioned a work from him, to be premiered in Gloucester Cathedral; this represented a considerable boost to his standing. He composed what his biographer James Day calls "unquestionably the first work by Vaughan Williams that is recognizably and unmistakably his and no one else's". It is based on a tune by the 16th-century English composer Thomas Tallis, which Vaughan Williams had come across while editing the English Hymnal, published in 1906. Vaughan Williams conducted the London Symphony Orchestra in the first performance of the Fantasia, as the first part of a concert in Gloucester Cathedral on 6 September 1910, followed by Elgar's The Dream of Gerontius, conducted by its composer.

Theme

Like several of Vaughan Williams's other works, the Fantasia draws on the music of the English Renaissance. Tallis's tune is in the Phrygian mode, characterised by intervals of a flat second, third, sixth and seventh; the pattern is reproduced by playing the white notes of the piano starting on E.

Tallis's theme was one of nine tunes he wrote for the Psalter of 1567 of the Archbishop of Canterbury, Matthew Parker. It was a setting of Parker's metrical version of Psalm 2, which in the King James Bible version begins, "Why do the heathen rage, and the people imagine a vain thing?", and is rendered by Parker as "Why fumeth in sight: The Gentils spite, In fury raging stout? Why taketh in hond: the people fond, Vayne things to bring about?". The tune is in Double Common Metre (D.C.M. or C.M.D.).

According to his biographer Michael Kennedy, Vaughan Williams came to associate Tallis's theme with John Bunyan's Christian allegory, The Pilgrim's Progress, a subject with which the composer had a lifelong fascination; he used the tune in 1906 in incidental music he composed for a stage version of the book. For the Hymnal, he adapted the tune as a setting of Joseph Addison's hymn "When rising from the bed of death".

Fantasia
The term "fantasia", according to Frank Howes in his study of Vaughan Williams's works, referred to the 16th-century forerunner of the fugue "in that a thread of theme was enunciated and taken up by other parts, then dropped in favour of another akin to it which was similarly treated". Vaughan Williams's fantasia draws on but does not strictly follow this precept, containing sections in which the material is interrelated, although with little wholly imitative writing, and antiphony in preference to contrapuntal echoing of themes.

The Fantasia is scored for double string orchestra with string quartet, employing antiphony between the three contributory ensembles. Orchestra I is the main body of strings; Orchestra II is smaller. The published score does not stipulate the number of players in Orchestra I; Orchestra II consists of two first violins, two seconds, two violas, two cellos and one double bass The composer's metronome marking indicates a playing time of 11½ minutes, but in recorded performances the duration has varied between 12m 40s (Dmitri Mitropoulos, 1958) and 18m 12s (Leonard Bernstein, 1976), with a more typical time of between 15 and 16½ minutes.

The piece is structured with an introduction, opening statement of the themes (Tallis’ original hymn melody broken up into its four constituent phrases and interspersed with a “swaying chord” motif), four episodes (exploring different variations of those themes and different voicings across the three ensembles), and then a restatement of the themes and a coda.

The Introduction begins in B-flat major with all three groups playing together, ppp molto sostenuto for two bars of time before moving to  and the low strings plucking hints of the first two phrases of the Tallis theme interspersed with the bowed sway motif. Kennedy describes the introduction as “a hauntingly poetic introduction before we hear its first full statement in Tallis's four-part harmonisation". Howes comments that "a phrase of swaying chords" after the initial statement of the theme "acts as a kind of recurrent refrain" throughout the main body of the piece.

In the Opening Statement of the full theme, beginning in the 15th bar, the two orchestras and solo quartet come together. The first two Tallis phrases and sway motif are played on all second violins, violas and celli continuing into a section in Phrygian mode for the third and fourth phrases of Tallis’ theme. The first violins join for a restatement of the fourth phrase. In the 30th bar the time signature changes back to and the music rises to a climax. Schwarts says “There's much octave double-stopping (each string player sounds two notes at once), a higher dynamic, and an appassionato marking after all!” The statement ends dying away in section dying with a texture remeniscent of the opening two bars.

In the First Episode the two orchestras divide, the key switches to C major and the time signature (but not the pulse of the music) changes rapidly. The section uses the second and third Tallis phrases alternating with the sway motif.

The solo viola leads off the Second Episode with a variation on the third Tallis phrase in E phrygian marked Poco più animato. The other three members of the quartet join, followed by the two orchestras, while “the string quartet continues its polyphonic meditation”.

The Third Episode explores the sway motif. The quartet and orchestra 1 play together, contrasting with orchestra 2, and moving poco a poco animando to a crescendo to fortissimo. The climax is in. This dies down to a pianissimo "afterglow".

In the Fourth and shortest episode, marked molto adagio, the sway motif is fragmented. Schwartz describes it as the "deep heart's core of the entire piece - a miracle of the imagination”.

The music reverts to the original time and key for the Restatement. The themes return once again plucked on the low strings then taken up by solo violin and viola, while the reunited orchestras provide a “featherbed of sound”.

In Howes's analysis, "by way of coda the solo violin soars [and] The work ends on a chord of G major".

Kennedy observes:

Vaughan Williams revised the work twice: first in January 1913 (for the first London performance), and then again in April 1919, making it more concise each time, taking a total of about two minutes off the original 1910 playing time.

Reception
The premiere of the Fantasia received a generally warm welcome, with a few exceptions: Herbert Brewer, the Gloucester cathedral organist, described it as "a queer, mad work by an odd fellow from Chelsea". The Musical Times reviewer said, "It is a grave work, exhibiting power and much charm of the contemplative kind, but it appears over long for the subject-matter". Other reviews were more enthusiastic. The reviewer in The Daily Telegraph praised Vaughan Williams's mastery of string effect and added that although the work might not appeal to some because of its "seeming austerity", it was "extremely beautiful to such as have ears for the best music of all ages". In The Manchester Guardian, Samuel Langford wrote, "The melody is modal and antique in flavour, while the harmonies are as exotic as those of Debussy … The work marks out the composer as one who has got quite out of the ruts of the commonplace". In The Times, J. A. Fuller Maitland also commented on ancient and Debussian echoes, and observed:

In 1954 Howes wrote:

Listeners of the British classical music radio station Classic FM have regularly voted the piece into the top five of the station's "Hall of Fame", an annual poll of the most popular classical music works.

Recordings
Although the BBC first broadcast the Fantasia in 1926, and again over the following decade, conducted by the composer and Arturo Toscanini, it was not until 1936 that the work was recorded for the gramophone. The fledgling Decca company recorded it with Boyd Neel conducting his orchestra under the supervision of the composer in January 1936, a set described by The Gramophone as one of the outstanding records of the year. Since then there have been more than fifty recordings by orchestras and conductors from various countries.

title: Fantasia on a Theme by Thomas Tallis


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Alstonia

Alstonia is a widespread genus of evergreen trees and shrubs, of the family Apocynaceae. It was named by Robert Brown in 1811, after Charles Alston (1685–1760), professor of botany at Edinburgh from 1716 to 1760.

The type species Alstonia scholaris (L.) R.Br. was originally named Echites scholaris by Linnaeus in 1767.

Description
Alstonia consists of about 40–60 species (according to different authors) native to tropical and subtropical Africa, Central America, Southeast Asia, Polynesia and Australia, with most species in the Malesian region.

These trees can grow very large, such as Alstonia pneumatophora, recorded with a height of 60 m and a diameter of more than 2 m. Alstonia longifolia is the only species growing in Central America (mainly shrubs, but also trees 20 m high).

The leathery, sessile, simple leaves are elliptical, ovate, linear or lanceolate and wedge-shaped at the base. The leaf blade is dorsiventral, medium-sized to large and disposed oppositely or in a whorl and with entire margin. The leaf venation is pinnate, with numerous veins ending in a marginal vein. Phyllotaxy is whorled i.e. two or more leaves arises at a node and form a whorl.

The inflorescence is terminal or axillary, consisting of thyrsiform cymes or compound umbels. The small, more or less fragrant flowers are white, yellow, pink or green and funnel-shaped, growing on a pedicel and subtended by bracts. They consist of 5 petals and 5 sepals, arranged in four whorls. The fertile flowers are hermaphrodite. The gamosepalous green sepals consist of ovate lobes, and are distributed in one whorl. The annular disk is hypogynous. The five gamesepalous petals have oblong or ovate lobes and are disposed in one whorl. The corolla lobes overlapping to the left (such as A. rostrata) or to the right (such as A. macrophylla) in the bud. The ovary has 2 separate follicles with glabrous or ciliate, oblong seeds that develop into deep blue podlike, schizocarp fruit, between 7–40 cm long. The plants contain a milky latex, rich in poisonous alkaloids. Fijians use the latex of A. costata (saurua, sorua) as a form of chewing gum. The Alstonia macrophylla is commonly known in Sri Lanka as 'Havari nuga' or the 'wig banyan' because of its distinct flower that looks like a woman's long wig.

Alstonia trees are used in traditional medicine. The bark of Alstonia constricta and Alstonia scholaris is the source of a remedy against malaria, toothache, rheumatism and snake bites. The latex is used in treating coughs, throat sores and fever.

Many Alstonia species are harvested for timber, called pule or pulai in Indonesia and Malaysia. Trees from the section Alstonia produce lightweight timber, while those from the sections Monuraspermum and Dissuraspermum produce heavy timber.

Alstonia trees are widespread and mostly not endangered. However a few species are very rare, such as A. annamensis, A. beatricis, A. breviloba, A. stenophylla and A. guangxiensis.

Species
Alstonia has five distinct sections, each a monophyletic group; Alstonia, Blaberopus, Tonduzia, Monuraspermum, Dissuraspermum.

 * Accepted species
 * 1) Alstonia actinophylla (A.Cunn.) K.Schum. – milkwood - New Guinea, N Australia
 * 2) Alstonia angustifolia A.DC. - Borneo, W Malaysia, Sumatra
 * 3) Alstonia angustiloba Miq. - Borneo, W Malaysia, Sumatra, Thailand, Java
 * 4) Alstonia annamensis (Monach.) K.Sidiyasa - Cambodia, Vietnam
 * 5) Alstonia balansae Guillaumin - New Caledonia
 * 6) Alstonia beatricis K.Sidiyasa - Waigeo I in E Indonesia
 * 7) Alstonia boonei De Wild. - W + C + E Africa
 * 8) Alstonia boulindaensis Boiteau - New Caledonia
 * 9) Alstonia breviloba K.Sidiyasa - Papua New Guinea
 * 10) Alstonia congensis Engl. - W + C Africa
 * 11) Alstonia constricta F.Muell. – bitterbark, quinine tree, Australian fever bark - E Australia
 * 12) Alstonia coriacea Pancher & S.Moore - New Caledonia
 * 13) Alstonia costata R.Br. - S Pacific
 * 14) Alstonia curtisii King & Gamble - Thailand
 * 15) Alstonia deplanchei Van Heurck & Müll.Arg. - New Caledonia
 * 16) Alstonia guangxiensis D.Fang & X.X.Chen - Guangxi in China
 * 17) Alstonia iwahigensis Elmer - Borneo, Palawan
 * 18) Alstonia lanceolata  Van Heurck & Müll.Arg. - New Caledonia
 * 19) Alstonia lanceolifera S.Moore - New Caledonia
 * 20) Alstonia legouixiae Van Heurck & Müll.Arg. - New Caledonia
 * 21) Alstonia lenormandii Van Heurck & Müll.Arg. - New Caledonia
 * 22) Alstonia longifolia (A.DC.) Pichon - Mexico, Central America
 * 23) Alstonia macrophylla Wall. ex G.Don – batino, devil tree - S China, Sri Lanka, SE Asia, New Guinea
 * 24) Alstonia mairei H. Léveillé - S China, N Vietnam
 * 25) Alstonia muelleriana Domin – jackapple, leatherjacket, milky yellowwood - New Guinea, Queensland
 * 26) Alstonia neriifolia D.Don - Nepal, Sikkim, Bhutan
 * 27) Alstonia odontophora Boiteau - New Caledonia
 * 28) Alstonia parkinsonii (M.Gangop. & Chakrab.) Lakra & Chakrab. - Andaman Is.
 * 29) Alstonia parvifolia Merr. - Philippines
 * 30) Alstonia penangiana K.Sidiyasa - Penang Hill in Malaysia
 * 31) Alstonia pneumatophora Backer ex L.G.Den Berger - W Malaysia, Borneo, Sulawesi, Sumatra
 * 32) Alstonia quaternata Van Heurck & Müll.Arg. - New Caledonia
 * 33) Alstonia rostrata C.E.C.Fischer - Yunnan, Indochina, W Malaysia, Sumatra
 * 34) Alstonia rubiginosa K.Sidiyasa - Papua New Guinea
 * 35) Alstonia rupestris Kerr - Thailand
 * 36) Alstonia scholaris (L.) R.Br. – pali-mari, dita bark, bitter bark, milkwood, milky bean, milky pine, white cheesewood, scholar tree, blackboard tree - E + S + SE Asia, Papuasia, N Australia
 * 37) Alstonia sebusii (Van Heurck & Müll.Arg.) Monach. - Yunnan, Bhutan, Assam, N Myanmar
 * 38) Alstonia spatulata Blume – hard milkwood, Siamese balsa - SE Asia, New Guinea
 * 39) Alstonia spectabilis R.Br. – poele bark, jackapple, leatherjacket, milky yellowwood - SE Asia, Papuasia, N Australia
 * 40) Alstonia sphaerocapitata Boiteau - New Caledonia
 * 41) Alstonia venenata R.Br. - S India
 * 42) Alstonia vieillardii Van Heurck & Müll.Arg. - New Caledonia
 * 43) Alstonia vietnamensis D.J.Middleton - Vietnam
 * 44) Alstonia yunnanensis Diels - Yunnan, Guizhou, Guangxi

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

title: Alstonia


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User:Frazzydee/Test

Hi. Your test worked, and has been reverted. Please perform future tests at Sandbox- a page meant for test edits. If you have any further questions, please feel free to leave a note here, or on my talk page. Thanks, and welcome to Wikipedia!

title: User:Frazzydee/Test


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Pet peeve

A pet peeve, pet aversion, or pet hate is a minor annoyance that an individual finds particularly irritating to a greater degree than the norm.

Origin of the concept
The noun peeve, meaning an annoyance, is believed to have originated in the United States early in the twentieth century, derived by back-formation from the adjective peevish, meaning "ornery or ill-tempered", which dates from the late 14th-century.

The term pet peeve was introduced to a wide readership in the single-panel comic strip The Little Pet Peeve in the Chicago Tribune during the period 1916–1920. The strip was created by cartoonist Frank King, who also created the long-running Gasoline Alley strip. King's "little pet peeves" were humorous critiques of generally thoughtless behaviors and nuisance frustrations. Examples included people reading the inter-titles in silent films aloud, cracking an egg only to smell that it's gone rotten, back-seat drivers, and rugs that keep catching the bottom of the door and bunching up. King's readers submitted topics, including theater goers who unwrap candy in crinkly paper during a live performance, and (from a 12-year-old boy) having his mother come in to sweep when he has the pieces of a building toy spread out on the floor.

Current usage and examples
Pet peeves often involve specific behaviors of someone close, such as a spouse or significant other. These behaviors may involve disrespect, manners, personal hygiene, relationships, and family issues. A key aspect of a pet peeve is that it may well seem acceptable or insignificant to others, while the person is likewise not bothered by things that might upset others. For example, a supervisor may have a pet peeve about people leaving the lid up on the copier, when others interrupt when speaking, or their subordinates having messy desks.

title: Pet peeve


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Talk:Eicosanoids

Unbenownst to me at the time of writing this, there is a more complete version at eicosanoid. I am uncertain of the procedure to delete this and create a redirect as opposed to moving it.--Ian 04:38, 15 Aug 2004 (UTC)
 * Don't worry -- it's been done. Eicosanoids is merely a redirect now.  --Coppertwig 01:39, 31 January 2007 (UTC)

title: Talk:Eicosanoids


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Thompson River

The Thompson River is the largest tributary of the Fraser River, flowing through the south-central portion of British Columbia, Canada. The Thompson River has two main branches, the South Thompson River and the North Thompson River. The river is home to several varieties of Pacific salmon and trout. The area's geological history was heavily influenced by glaciation, and the several large glacial lakes have filled the river valley over the last 12,000 years. Archaeological evidence shows human habitation in the watershed dating back at least 8,300 years. The Thompson was named by Fraser River explorer, Simon Fraser, in honour of his friend, Columbia Basin explorer David Thompson. Recreational use of the river includes whitewater rafting and angling.

South Thompson River
The South Thompson originates at the outlet of Little Shuswap Lake at the town of Chase and flows approximately 55 km southwest through a wide valley to Kamloops where it joins the North Thompson. Highway 1, the Trans-Canada Highway and the mainline of the Canadian Pacific Railway parallel the river. Little Shuswap Lake is fed by the Little River, which drains Shuswap Lake, which is fed by several rivers and creeks.

North Thompson River
The North Thompson originates at the toe of the Thompson Glacier in the Cariboo Mountains west of the community of Valemount and flows generally south towards Kamloops and the confluence with the South Thompson. For most of its length, the river is paralleled by Highway 5, and the Canadian National Railway (both of which cross the river a couple times). The North Thompson passes by several small communities, the most notable being Blue River, Clearwater & Barriere.

The North Thompson picks up the Clearwater River at the town of Clearwater. The Clearwater, the North Thompson's largest tributary, drains much of Wells Gray Provincial Park.

A notable feature along the North Thompson is Little Hells Gate, a mini-replica of the much larger rapid on the Fraser downstream from the mouth of the Thompson. About 17.4 km upstream from the small town of Avola, the river is forced through a narrow chute only about 30 ft wide creating a rapid that resembles the Fraser's famous rapid.

Mainstream
At Kamloops, the combined Thompson River flows 15 km from the confluence of the North and South Thompson Rivers before reaching Kamloops Lake, which is roughly 30 km in length, ending at the town of Savona. From there it flows in a meandering course westwards through a broad valley area. At Ashcroft, the Thompson Canyon begins and the river turns southwestward to its confluence with the Fraser. The river is paralleled by the Trans-Canada Highway, the Canadian Pacific Railway and the Canadian National Railway.

From Ashcroft to Lytton, the river is completely confined within Thompson Canyon, making for spectacular scenery. The Thompson River joins the Fraser River in Lytton. There is a striking stretch of dark black cliffside just downstream from Ashcroft and visible from the Logan Lake-Ashcroft highway is officially named the Black Canyon. Just below the town of Spences Bridge was the site of a major rail disaster in the early 20th century. Communities along this section are Bighorn, Shaw Springs, and Goldpan.

Geology
The Thompson River valley has existed in some form for at least 50 million years; however, for much of its history, it did not drain to the southwest into the Pacific Ocean as it does today. Geologists believe water from the river flowed northward, through the Cariboo region, eventually entering what is the modern-day Peace River drainage basin and ending up in the Arctic Ocean. This flow direction is estimated to have ended approximately 2 million years ago, as the Pleistocene era of heavy glaciation began.

Glacial lakes
During the era of massive glaciers in the Thompson River valley, water from the area likely drained eastward, through the Shuswap Lake area into what is now the Columbia River drainage. This flow direction was influenced by large ice buildups in the Thompson valley, which created extensive glacial lakes. Two large glacial lakes, Glacial Lake Thompson and Glacial Lake Deadman, occupied much of the modern river's course from 13,000 BCE to 10,000 BCE. These deep, narrow, ribbon-shaped lakes held large volumes of water; Glacial Lake Thompson held nearly 84 km3 at its highest point. The lake stretched from Spences Bridge in the west to the eastern reaches of Shuswap Lake, as well as far up the northern reaches of the North Thompson river valley. The last large glacial lake, Lake Deadman, was drained by a catastrophic ice dam failure, called a jökulhlaup, in about 10,000 BCE. This event released as much as 20 km3 of water southwest into the Fraser River system, possibly depositing sediments as far away as the Salish Sea, more than 250 km away. From this point, the Thompson waters stopped flowing eastward into the Columbia River system, and the river became a tributary of the Fraser.

Landslides
Because of large deposits of glacial silt, sand, and gravel in the lower Thompson River valley, large landslides are common. The area downstream from the town of Ashcroft is prone to landslide events; eight major events between 1880 and 1982 have been recorded. Several of them have obstructed the river, and caused large, temporary lakes. An 1880 slide caused the formation of a short-lived lake over 14 kilometers long with a maximum depth of 18 meters. These slides have caused major damage to the rail lines and farming operations in the river valley. Heavy irrigation has been blamed for some of the events.

Aboriginal peoples
The Interior region of British Columbia was first populated after the retreat of the continental ice sheets of the last ice age. The ice moved out of the Thompson River region approximately 11,000 BCE, and migration by the ancestors of the Nlaka'pamux and Secwepemc people is thought to have occurred soon after. Some of the older archaeological sites on the lower Thompson include the Drynoch Slide site, near Spences Bridge, with artifacts dating to about 7350 BCE, and the Landels site, near Ashcroft, which dates to older than 8000 BCE. Archaeologists theorize early settlers lived in small groups, beginning with nomadic bands hunting ungulates on the plateaus around the river, who then established more permanent dwellings along the river benches as their fishing techniques developed.

The South Thompson has the watershed's oldest dated evidence of human habitation, at the Gore site near Pritchard. The human remains date to 8250 BCE, and bone analysis suggests the person was a hunter with small amounts of his protein coming from salmon. Archaeological investigation in the North Thompson has been sparse, but artifacts near Bridge Lake to the west of the river have been dated to 3000 BCE, while pieces found near the tributary Clearwater River are possibly as old as 6000 to 7000 BCE.

European exploration and settlement
Explorer of the Fraser River and North West Company employee Simon Fraser named the river, after passing its mouth on the Fraser in 1808. He named the river after his colleague, David Thompson, who had mapped much of western Canada and was at the time exploring the Columbia River basin to the east. Thompson never visited the river that bears his name. The first documented traverse of the Thompson from Kamloops to Lytton was by Hudson's Bay Company governor George Simpson in 1828. More Europeans entered the Thompson River valley in the early to mid 1800s, drawn by the fur trade and small gold rushes. Others started farming on the fertile benches of the river, and a North West Company trading fort at the confluence of the North and South rivers became the city of Kamloops, now the largest human population center in the watershed.

Ecology
The Thompson River supports 24 fish species, including two considered endangered. It also hosts carp, which are not native to the watershed. The river is home to large populations of Pacific salmon, including coho, sockeye, pink and chinook. Through its tributary, the Adams River, the Thompson has one of the largest sockeye salmon runs in the world. Pink salmon spawn mostly below Kamloops Lake, while coho spawning beds are found in 40 of the Thompson watershed's streams and rivers. Coastal rainbow trout (Oncorhynchus mykiss irideus), including an anadromous variety called steelhead, are found in the river along with a local strain the Kamloops rainbow trout which occurs in Kamloops Lake at the Thompson River headwaters and other nearby lakes. Other fish species include round whitefish, largescale sucker, bridgelip sucker, northern pikeminnow, longnose dace, and slimy sculpin.

Several bird species are found in Thompson River environments, including osprey, merganser, wood ducks, and American dippers. Golden eagles are found near the confluence with the Fraser, and Bald eagles congregate on the river during the salmon run. Trumpeter swans use the South Thompson on their migratory route. Rattlesnakes are found in the dry sagebrush regions of the lower river. Aquatic insects found in the river system are dominated by three groups: mayflies, midges, and caddisflies. Many of these species emerge with the spring snowmelt, which greatly increases the volume of flow on the river.

Conservation and recreation
The Thompson River and its two branches are mostly unprotected through parks or reserves. Small sections of the river are within provincial parks, including Steelhead, Juniper, Goldpan, and North Thompson Provincial Parks. Some of its tributaries, such as the Clearwater, are more protected through large parks like Wells Gray. However, unlike major river systems to the north and east like the Columbia and Nechako, the Thompson has no hydroelectric dams or major man-made water diversions. Under the British Columbia Fish Protection Act of 1997, the Thompson cannot be considered for future dam construction.

Conservation of the Thompson's fisheries, especially its salmon population, has been a focus of provincial, federal, and international bodies, such as the Department of Fisheries and Oceans (DFO) and the Pacific Salmon Commission.

Angling
From the 1950s through the early 1990s the Thompson River was considered one of the premier steelhead angling destinations in North America. The river hosted large runs of both summer and winter run anadromous coastal rainbow trout (Oncorhynchus mykiss irideus). In the late 1980s the runs were estimated at over 10,000 fish. The river attracted anglers from around the world seeking powerful Thompson River steelhead. In 1982, the average male winter run Thompson River steelhead was 16 lbs. By the late 1990s, steelhead populations began to decline due to a wide variety of adverse environmental conditions and overfishing by commercial and First Nations gill netters. In 2016, annual steelhead numbers entering the Thompson were estimated to be less than 400 fish. Low numbers have prompted conservation organizations and sportsman's associations to petition Committee on the Status of Endangered Wildlife in Canada (COSEWIC), for Canada's Species At Risk Act (SARA) protections. The river is subject to catch and release angling only for steelhead and has severely restricted seasons to protect the wild stocks of remaining steelhead.

Whitewater rafting
The rapids of the lower Thompson are used for recreational whitewater rafting. The first commercial rafting operation on the river began in the 1970s, based out of Spences Bridge. Notable whitewater features on the lower river include the Frog, named for a frog-shaped rock formation, and the Jaws of Death, named by CPR engineers. Rapids on the river reach up to Class 5 on the International Scale of River Difficulty.

North Thompson River

 * Albreda River
 * Thunder River
 * Mud Creek
 * Blue River
 * Mad River
 * Raft River
 * Clearwater River
 * Barrière River

South Thompson River

 * Little River (via Little Shuswap Lake from Shuswap Lake)
 * Chase Creek
 * Monte Creek

Mainstream

 * Tranquille River (via Kamloops Lake)
 * Deadman River
 * Bonaparte River
 * Oregon Jack Creek
 * Nicola River
 * Murray Creek
 * Skoonka Creek
 * Nicoamen River
 * Botanie Creek

title: Thompson River


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The Twelve Kingdoms

The Twelve Kingdoms (十二国記) is a series of fantasy novels written by Japanese author Fuyumi Ono and illustrated by Akihiro Yamada. The first entry in the series called The Twelve Kingdoms: Sea of Shadow was published by Kodansha in Japan in 1992; the last Kodansha volume was released in 2001. In 2012, the series was resumed under the Shinchō Bunko line from Shinchosha. Shinchosha has also begun reprinting the older volumes with new cover and interior art from Akihiro Yamada. The first new publication of the series in six years was released in 2019.

An English-language translation was produced and distributed by Tokyopop. The first four volumes were released between March 2007 and November 2010, before the license reverted back to Kodansha.

It was adapted into an anime television series by Pierrot in 2002, which aired on Japan's NHK from April 2002 to August 2003. The series was licensed and distributed by Media Blasters in the United States at the time of its initial Japanese broadcast. As of 2019, Discotek Media held the license to the series.

Plot
Yoko Nakajima, an unhappy high school student, is one day suddenly faced with a strange man who swears allegiance to her. After a battle with demon-like beasts, he then takes her to another world along with two of her classmates. There, her appearance has changed and she can understand the language, though her classmates cannot. But their status as "Kaikyaku" (people who come from Earth) makes them hunted fugitives, so they wander the land of the 12 countries, simply trying to survive and figure out the reason they were brought to this world.

Setting
The Twelve Kingdoms tells several stories from the world of the Twelve Kingdoms. It is located on a group of several islands in another dimension accessible from our world through portals created from naturally-occurring magic (though the other way around is normally impossible). The portals occur in the ocean waters of Japan and China, and ever so often will end up dragging someone from our world from those waters to the kingdoms' islands, and/or on rare occasion, pulling an unborn child from the kingdoms into our world, causing them to be born there. On the islands, magic works and societies similar to those of classical Japan and China exist. While the inhabitants of the kingdoms are aware of the existence of our world as the lands of Hourai (Japan) and Kunlun (China), the reverse is not true for any inhabitants of our world. The inhabitants of the kingdoms speak a different language than the languages of our world, both of which can be learned by either side. Only through extraordinary circumstances can the two worlds affect each other to a certain extent.

In this world, there are a total of thirteen lands. At the center of the world lies the Koukai (the Yellow Sea) and Five Mountains where the Gods communicate their will to the Twelve Kingdoms of the world. Each of the Twelve Kingdoms possesses their own ruler and its own Kirin, a divine creature which embodies the will of heaven and is entrusted to choose a kingdom's ruler by Tentei: Emperor of Heaven. The Kirin serves as the ruler's aide. The ruler will have immortal life as long as they keep the kingdom healthy and their heads are not severed from their body. If the ruler's Kirin dies or is killed, the ruler will die within a year.

The Koukai, known as the Yellow Sea, is surrounded by four inland seas: the Black Sea in the north, the Blue Sea to the east, the Red Sea in the south, and the White Sea to the west. Eight of the Twelve Kingdoms (Kei, En, Ryu, Kyou, Han, Sai, Sou, and Kou) border at least one of these four seas, extending from the center like the petals of a flower. The remaining four kingdoms (Tai, Hou, Ren, and Shun) are not part of the central mainland and are isolated by the Kyokai (虚海) (Void Sea) which surrounds the lands of the Twelve Kingdoms.

Publication
There are seven novels in the Twelve Kingdoms series, plus two short story collections. The novels are illustrated by Akihiro Yamada. Some of the novels have been published in two or more volume editions such that the total number of volumes is sixteen (as originally released in Japan).

Before she started work on Twelve Kingdoms, Fuyumi Ono wrote The Demonic Child (魔性の子) (Kodansha: September 1991, ISBN 978-4-10-124021-3; Shinchosha reprint: July 2012, ISBN 978-4-10-124051-0), a horror novel about a boy from another world. She later worked certain events from this novel into the Twelve Kingdoms series. Short stories set in the various kingdoms include Kasho (華胥), Toei (冬栄), Shokan (書簡), Kizan (帰山) and Jogetsu (乗月); these stories have been collected into one volume, Kasho no Yume. One short story, Drifting Ship (漂舶), published in 1997, accompanied the drama CD for Higashi no Wadatsumi, Nishi no Sōkai and remains uncollected elsewhere. In February 2008, the new Twelve Kingdoms short story, Hisho no Tori (丕緒の鳥) was published in Shinchosha's Yomyom magazine, followed by Rakushou no Goku (落照の獄) in September 2009. Hisho no Tori and Rakushou no Goku were later collected into a volume of short stories titled Hisho no Tori, along with two new previously unpublished stories in 2013.

U.S. release
On May 11, 2006, U.S. publisher Tokyopop said in an interview with comic book news website Newsarama that it would be publishing the novels under its "Pop Fiction" imprint. The first book was released in March 2007. The first four books have been released.

Anime
The anime adaptation by studio Pierrot aired from April 9, 2002, to August 30, 2003, in Japan on NHK for forty-five episodes. The opening theme is "Juunigenmukyoku" by Kunihiko Ryo while the ending theme is "Getsumei-Fuuei" by Mika Arisaka. The anime series has been released on DVD and Blu-ray in the United States by Media Blasters, which are now out of print. The license was transferred to Discotek Media, who released the complete series on Blu-ray in 2019.

Animanga
Kodansha printed a fifteen-volume "animanga" series in 2002–2004 by combining images from the anime series with printed dialogue and sound effects. It has been released only in Japanese.

Video games
Konami has released in Japan two games based on Twelve Kingdoms, both produced by Takashi Shimomichi. They are Juuni Kokuki: Guren no Shirube Koujin no Michi and Juuni Kokuki: Kakukakutaru Oudou Kouryoku no Uka. Both games contain footage from the anime and many stills of the characters are used during conversation and during battle. The games are sprite-based, with small sprites used on-screen and larger, highly animated sprites used during battle.

Juuni Kokuki: Guren no Shirube Koujin no Michi was released for PlayStation 2 on August 28, 2003. It follows Yoko's journey to becoming Empress of Kei. While classified as an RPG, it is often described as an adventure game. The game was re-released in Konami's The Best lineup on June 9, 2004. Yoko is capable of summoning Keiki's Shirei into battle as well as having additional party members.

Juuni Kokuki: Kakukakutaru Oudou Kouryoku no Uka was released for PlayStation 2 on April 4, 2004, and is a sequel to the first game, continuing with Yoko's problems after she becomes the monarch of Kei. Game data from the first game can be loaded into the second. This game contains more RPG elements than the first with party-/menu-based battles becoming standard. Many of the event scenes are pulled from the novels but there are also scenes made just for the game.

Reception
By March 2020, the novel series had over 12 million copies in circulation.

title: The Twelve Kingdoms


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Talk:Leila (music producer)

Requested move 31 October 2022

 * The following is a closed discussion of a requested move. Please do not modify it. Subsequent comments should be made in a new section on the talk page. Editors desiring to contest the closing decision should consider a move review after discussing it on the closer's talk page. No further edits should be made to this discussion.

The result of the move request was: Moved to Leila (music producer). (non-admin closure) Adumbrativus (talk) 04:48, 16 November 2022 (UTC)

Leila Arab → Leila (musician) – Per WP:COMMONNAME and WP:BANDDAB. Although her real name is Leila Arab, she has released most, if not all, of her music (albums, EPs, singles) as Leila. See also third-party reliable sources such as AllMusic and Pitchfork. If other editors think "Leila (music producer)" is more appropriate than "Leila (musician)", I'm okay with that. 2400:4050:C222:B700:94EB:B5EB:5FF0:309D (talk) 15:53, 31 October 2022 (UTC) — Relisting. — Ceso femmuin mbolgaig mbung, mellohi! (投稿) 19:19, 8 November 2022 (UTC)
 * Leila (disambiguation) In ictu oculi (talk) 11:51, 1 November 2022 (UTC)
 * Move to Leila (music producer). 162 etc. (talk) 20:26, 2 November 2022 (UTC)
 *  Move to Leila (DJ). Shwcz (talk) 04:01, 8 November 2022 (UTC)
 * Relisting comment: Music producer or DJ? — Ceso femmuin mbolgaig mbung, mellohi! (投稿) 19:19, 8 November 2022 (UTC)

The discussion above is closed. Please do not modify it. Subsequent comments should be made on the appropriate discussion page. No further edits should be made to this discussion.

title: Talk:Leila (music producer)


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Mount Olympus (Washington)

Mount Olympus, at 7,980 ft, is the tallest and most prominent mountain in the Olympic Mountains of the U.S. state of Washington. Located on the Olympic Peninsula, it is also a central feature of Olympic National Park. Mount Olympus is the highest summit of the Olympic Mountains; however, peaks such as Mount Constance and The Brothers, on the eastern margin of the range, are better known, being visible from the Seattle metropolitan area.

Description
With notable local relief, Mount Olympus ascends over 2100 m from the 293 m elevation confluence of the Hoh River with Glacier Creek in only 8.8 km. Mount Olympus has 2386 m of prominence, ranking 5th in the state of Washington.

Due to heavy winter snowfalls, Mount Olympus supports large glaciers, despite its modest elevation and relatively low latitude. These glaciers include Blue, Hoh, Humes, Jeffers, Hubert, Black Glacier, and White, the longest of which is the Hoh Glacier at 4.93 km. The largest is Blue with a volume of 0.57 km3 and area of 5.31 km2. As with most temperate latitude glaciers, these have all been shrinking in area and volume, and shortening in recent decades.

History
According to Edmond S. Meany (1923), Origin of Washington geographic names, citing Joseph A. Costello (1895), The Siwash, their life, legends and tales, the Duwamish used the name Sunh-a-do for the Olympian Mountains (or Coast Range in Costello 1895); besides its unclear origin, some references misuse this name for the Native American name of the mountain. Spanish explorer Juan Pérez named the mountain Cerro Nevado de Santa Rosalía ("Snowy Peak of Saint Rosalia") in 1774. This is said to be the first time a European named a geographic feature in what is now Washington state. On July 4, 1788, British explorer John Meares gave the mountain its present name.

In 1890 an expedition, led by US Army officer Joseph P. O'Neil, reached the summit, of what is today presumed to have been the southern peak.

On March 2, 1909, Mount Olympus National Monument was proclaimed by President Theodore Roosevelt. On June 28, 1938, it was designated a national park by President Franklin D. Roosevelt. In 1976 the Olympic National Park became an International Biosphere Reserve. In 1981 it was designated a World Heritage Site. In 1988 Congress designated 95% of the park as the Olympic Wilderness.

Climate
The peak of Mount Olympus has a tundra climate (ET) with extremely heavy precipitation from October to April and heavy precipitation from May to September. A large part of this precipitation falls as snow. The west peak is the wettest place in mainland USA.

title: Mount Olympus (Washington)


text:
José Vicente Rangel

José Vicente Rangel Vale (10 July 1929 – 18 December 2020) was a Venezuelan politician and journalist. He ran for president three times in the 1970s and 1980s and later supported Hugo Chávez. He served under Chávez as Minister of Foreign Affairs from 1999 to 2001, as Minister of Defense from 2001 to 2002, and as the vice president from 2002 to 2007.

Political activism
Born in Caracas, he returned to Venezuela following the downfall of the dictatorship of Marcos Pérez Jiménez in 1958 and was elected to the Congress that same year, representing the Democratic Republican Union (Unión Republicana Democrática, URD). In addition to his political activities, he worked as a lawyer and journalist. He also made presidential bids on three occasions: in the 1973 presidential election and 1978 presidential election as candidate of MAS – Movimiento al Socialismo (Movement for Socialism), and in the 1983 presidential election as candidate of MEP – Movimiento Electoral del Pueblo.

Journalist
In 1990, Rangel re-entered journalism, contributing to a range of newspapers as a columnist (including El Universal, Panorama, El Informador, La Tarde, El Regional, 2001). In the 1960s he was editor of the weekly Qué Pasa en Venezuela (1960–67) and of the dailies La Razón and Clarín.

Rangel played a role in the 1993 impeachment of President Carlos Andrés Pérez, being the first to publish (in November 1992) the corruption allegations which would ultimately be endorsed by the Supreme Court. On 20 May 1993, the Supreme Court considered the accusation valid, and the National Congress removed Pérez from office. He was imprisoned and sentenced to two years of prison on May, 1994 for malversation of funds of the so-called secret fund. For many years he has held a political opinion show on Televen called "José Vicente Hoy".

Political career
Hugo Chávez chose Rangel to serve as his Minister of Foreign Affairs when he took office as president in February 1999. Rangel served in that position until early February 2001, when Chávez instead appointed him as Minister of Defence, replacing General Ismael Hurtado. Rangel was the first civilian to serve as Defense Minister in decades.

After a little more than a year as Minister of Defense, Rangel became vice-president in May 2002, replacing Diosdado Cabello. On 3 January 2007, Chávez announced that Rangel would be replaced as vice president by Jorge Rodríguez. Chávez said that the decision was "not easy", and that he regarded Rangel "with the same respect and affection as a son would a father", but did not explain the reasoning behind the decision. At the swearing in ceremony for the new cabinet on 8 January, Rangel said that he was leaving the government, but not the revolution. He and Rodríguez exchanged praise, with the latter saying that Rangel was the first person he had ever voted for, in the 1983 election.

Personal life and death
Rangel was the author of Expediente Negro, an investigation of human rights violations in Venezuela in the 1960s and 1970s. His son, José Vicente Rangel Ávalos, has also been involved in Venezuelan politics, having been mayor of the Sucre District in Caracas. Rangel died of cardiac arrest on 18 December 2020. He was 91 years old.

Books

 * Expediente Negro, Caracas: Editorial Fuentes, 1972
 * Tiempo de Verdades, Caracas: Ediciones Centauro, 1973 – a selection of Rangel's press contributions
 * Rangel et al., Militares y política (una polėmica inconclusa), Caracas: Ediciones Centauro, 1976
 * Seguridad, defensa, democracia: Un tema para cíviles y militares, Caracas: Ediciones Centauro, 1980
 * Socialismo y Democracia
 * La Administración de Justicia en Venezuela

title: José Vicente Rangel


text:
Talk:Crown glass

Ambiguity
"The first recorded use of crown glass in windows"

type 1 or type 2? - Omegatron 04:47, Aug 15, 2004 (UTC)

 * Definitely type 1 :-)
 * Does this "first use" apply to Britain, or is this the first window anywhere in the world? -- Petri Krohn 23:08, 10 October 2005 (UTC)

Forces in rotation
I changed the word "cetripedal" to "centrifugal" because, although it is not considered a 'true' force, it is the outward force on a spinning object. Centrifugal force is not considered a true force because it is simply caused by the inertia of a spinning coordinate system. However, just as one feels a reaction force when one pushes on an object, the centripedal force that keeps an object spinning is feeling a reaction from the object it is pushing on, this is centrifugal force. Because centrifugal force is merely a reaction force, it ceases to exist when an object is released from its circular path, so the object flies off tangent to the circle, rather than directly outward from it.

-Paul Foster 10:26, May 21, 2005 (EST)

Quantifying properties
It might be nice to include this "low" refractive index which type 2 crown glass possesses. Or the range which can be achieved, as in flint glass. It might also be nice to include the dispersion. --Joel 21:04, 3 September 2005 (UTC)

title: Talk:Crown glass


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Interaction picture

In quantum mechanics, the interaction picture (also known as the interaction representation or Dirac picture after Paul Dirac, who introduced it) is an intermediate representation between the Schrödinger picture and the Heisenberg picture. Whereas in the other two pictures either the state vector or the operators carry time dependence, in the interaction picture both carry part of the time dependence of observables. The interaction picture is useful in dealing with changes to the wave functions and observables due to interactions. Most field-theoretical calculations use the interaction representation because they construct the solution to the many-body Schrödinger equation as the solution to the free-particle problem plus some unknown interaction parts.

Equations that include operators acting at different times, which hold in the interaction picture, don't necessarily hold in the Schrödinger or the Heisenberg picture. This is because time-dependent unitary transformations relate operators in one picture to the analogous operators in the others.

The interaction picture is a special case of unitary transformation applied to the Hamiltonian and state vectors.

Definition
Operators and state vectors in the interaction picture are related by a change of basis (unitary transformation) to those same operators and state vectors in the Schrödinger picture.

To switch into the interaction picture, we divide the Schrödinger picture Hamiltonian into two parts:

Any possible choice of parts will yield a valid interaction picture; but in order for the interaction picture to be useful in simplifying the analysis of a problem, the parts will typically be chosen so that H0,S is well understood and exactly solvable, while H1,S contains some harder-to-analyze perturbation to this system.

If the Hamiltonian has explicit time-dependence (for example, if the quantum system interacts with an applied external electric field that varies in time), it will usually be advantageous to include the explicitly time-dependent terms with H1,S, leaving H0,S time-independent. We proceed assuming that this is the case. If there is a context in which it makes sense to have H0,S be time-dependent, then one can proceed by replacing $$\mathrm{e}^{\pm \mathrm{i} H_{0,\text{S}} t/\hbar}$$ by the corresponding time-evolution operator in the definitions below.

State vectors
Let $$|\psi_\text{S}(t)\rangle = \mathrm{e}^{-\mathrm{i}H_\text{S}t/\hbar}|\psi(0)\rangle$$ be the time-dependent state vector in the Schrödinger picture. A state vector in the interaction picture, $$|\psi_\text{I}(t)\rangle$$, is defined with an additional time-dependent unitary transformation.

Operators
An operator in the interaction picture is defined as

Note that AS(t) will typically not depend on $t$ and can be rewritten as just AS. It only depends on $t$ if the operator has "explicit time dependence", for example, due to its dependence on an applied external time-varying electric field. Another instance of explicit time dependence may occur when AS(t) is a density matrix (see below).

Hamiltonian operator
For the operator $$H_0$$ itself, the interaction picture and Schrödinger picture coincide:
 * $$H_{0,\text{I}}(t) = \mathrm{e}^{\mathrm{i} H_{0,\text{S}} t / \hbar} H_{0,\text{S}} \mathrm{e}^{-\mathrm{i} H_{0,\text{S}} t / \hbar} = H_{0,\text{S}}.$$

This is easily seen through the fact that operators commute with differentiable functions of themselves. This particular operator then can be called $$H_0$$ without ambiguity.

For the perturbation Hamiltonian $$H_{1,\text{I}}$$, however,
 * $$H_{1,\text{I}}(t) = \mathrm{e}^{\mathrm{i} H_{0,\text{S}} t / \hbar} H_{1,\text{S}} \mathrm{e}^{-\mathrm{i} H_{0,\text{S}} t / \hbar},$$

where the interaction-picture perturbation Hamiltonian becomes a time-dependent Hamiltonian, unless [H1,S, H0,S] = 0.

It is possible to obtain the interaction picture for a time-dependent Hamiltonian H0,S(t) as well, but the exponentials need to be replaced by the unitary propagator for the evolution generated by H0,S(t), or more explicitly with a time-ordered exponential integral.

Density matrix
The density matrix can be shown to transform to the interaction picture in the same way as any other operator. In particular, let $ρ_{I}$ and $ρ_{S}$ be the density matrices in the interaction picture and the Schrödinger picture respectively. If there is probability $p_{n}$ to be in the physical state |ψn⟩, then
 * $$\begin{align}

\rho_\text{I}(t) &= \sum_n p_n(t) \left|\psi_{n,\text{I}}(t)\right\rang \left\lang \psi_{n,\text{I}}(t)\right| \\ &= \sum_n p_n(t) \mathrm{e}^{\mathrm{i} H_{0,\text{S}} t / \hbar} \left|\psi_{n,\text{S}}(t)\right\rang \left\lang \psi_{n,\text{S}}(t)\right| \mathrm{e}^{-\mathrm{i} H_{0,\text{S}} t / \hbar} \\ &= \mathrm{e}^{\mathrm{i} H_{0,\text{S}} t / \hbar} \rho_\text{S}(t) \mathrm{e}^{-\mathrm{i} H_{0,\text{S}} t / \hbar}. \end{align}$$

Time-evolution of states
Transforming the Schrödinger equation into the interaction picture gives

 * $$ \mathrm{i} \hbar \frac{\mathrm{d}}{\mathrm{d}t} |\psi_\text{I}(t)\rang = H_{1,\text{I}}(t) |\psi_\text{I}(t)\rang, $$

which states that in the interaction picture, a quantum state is evolved by the interaction part of the Hamiltonian as expressed in the interaction picture. A proof is given in Fetter and Walecka.

Time-evolution of operators
If the operator AS is time-independent (i.e., does not have "explicit time dependence"; see above), then the corresponding time evolution for AI(t) is given by
 * $$ \mathrm{i}\hbar\frac{\mathrm{d}}{\mathrm{d}t}A_\text{I}(t) = [A_\text{I}(t),H_{0,\text{S}}].$$

In the interaction picture the operators evolve in time like the operators in the Heisenberg picture with the Hamiltonian $H' = H_{0}$.

Time-evolution of the density matrix
The evolution of the density matrix in the interaction picture is

 * $$ \mathrm{i}\hbar \frac{\mathrm{d}}{\mathrm{d}t} \rho_\text{I}(t) = [H_{1,\text{I}}(t), \rho_\text{I}(t)],$$

in consistency with the Schrödinger equation in the interaction picture.

Expectation values
For a general operator $$A$$, the expectation value in the interaction picture is given by

\langle A_\text{I}(t) \rangle = \langle \psi_\text{I}(t) | A_\text{I}(t) | \psi_\text{I}(t) \rangle = \langle \psi_\text{S}(t) | e^{-i H_{0,\text{S}} t} e^{i H_{0,\text{S}} t} \, A_\text{S} \, e^{-i H_{0,\text{S}} t} e^{i H_{0,\text{S}} t } | \psi_\text{S}(t) \rangle = \langle A_\text{S}(t) \rangle. $$

Using the density-matrix expression for expectation value, we will get

 * $$\langle A_\text{I}(t) \rangle = \operatorname{Tr}\big(\rho_\text{I}(t) \, A_\text{I}(t)\big).$$

Schwinger–Tomonaga equation
The term interaction representation was invented by Schwinger. In this new mixed representation the state vector is no longer constant in general, but it is constant if there is no coupling between fields. The change of representation leads directly to the Tomonaga–Schwinger equation:
 * $$ihc \frac {\partial \Psi[\sigma]}{\partial \sigma(x)} = \hat{H}(x)\Psi(\sigma) $$
 * $$ \hat{H}(x) = - \frac{1}{c} j_{\mu}(x) A^{\mu}(x) $$

Where the Hamiltonian in this case is the QED interaction Hamiltonian, but it can also be a generic interaction, and $$\sigma$$ is a spacelike surface that is passing through the point $$x$$. The derivative formally represents a variation over that surface given $$x$$ fixed. It is difficult to give a precise mathematical formal interpretation of this equation.

This approach is called the 'differential' and 'field' approach by Schwinger, as opposed to the 'integral' and 'particle' approach of the Feynman diagrams.

The core idea is that if the interaction has a small coupling constant (i.e. in the case of electromagnetism of the order of the fine structure constant) successive perturbative terms will be powers of the coupling constant and therefore smaller.

Use
The purpose of the interaction picture is to shunt all the time dependence due to H0 onto the operators, thus allowing them to evolve freely, and leaving only H1,I to control the time-evolution of the state vectors.

The interaction picture is convenient when considering the effect of a small interaction term, H1,S, being added to the Hamiltonian of a solved system, H0,S. By utilizing the interaction picture, one can use time-dependent perturbation theory to find the effect of H1,I,  e.g., in the derivation of Fermi's golden rule,  or the Dyson series  in quantum field theory: in 1947, Shin'ichirō Tomonaga and Julian Schwinger appreciated that covariant perturbation theory could be formulated elegantly in the interaction picture, since field operators can evolve in time as free fields, even in the presence of interactions, now treated perturbatively in such a Dyson series.

Summary comparison of evolution in all pictures
For a time-independent Hamiltonian HS, where H0,S is the free Hamiltonian,

title: Interaction picture


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The Blessed and the Damned

The Blessed and the Damned is a double CD best of compilation album by American heavy metal band Iced Earth. The CD-booklet can be reversed, to show either angels or demons on the cover. The booklet also includes Jon Schaffer's comments on previous albums and his life. Even though the CD was released after The Glorious Burden, the biography in the booklet makes no mention of it. This is probably because Iced Earth left their record label Century Media Records prior to The Glorious Burden, and signed with SPV. In turn, Century Media released this compilation album.

Personnel

 * Jon Schaffer − rhythm guitar, backing vocals on all songs. vocals on track 6 on disc one
 * Matt Barlow − vocals on tracks 1–3, 5, 7–9, and 11 on disc one; tracks 1–5, 7–10, and 12 on disc two
 * Gene Adam − vocals on tracks 4 and 10 on disc one; track 11 on disc two
 * John Greely − vocals on track 6 on disc two
 * Randall Shawver − lead guitar on tracks 3–4, 6–7, and 9–10 on disc one; tracks 1–3, 6–7, 9, and 11 on disc two
 * Larry Tarnowski − lead guitar on tracks 1–2, 5, 8, and 11 on disc one; tracks 4–5, 8, 10, and 12 on disc two
 * Dave Abell − bass on tracks 3–4, 6–7, and 9–10 on disc one; tracks 3, 6–7, and 11 on disc two
 * James MacDonough − bass on tracks 1, 5, and 8 on disc one; tracks 1, 2, 4–5, 8, 9 and 12 on disc two
 * Steve Di Giorgio − bass on tracks 2 and 11 on disc one, and track 10 on disc two
 * Mark Prator − drums on tracks 3 and 9 on disc one; track 7 on disc two
 * Richey Secchiari − drums on track 6 on disc one; track 6 on disc two
 * Mike McGill − drums on tracks 4 and 10 on disc one; track 11 on disc two
 * Richard Christy − drums on tracks 2 and 11 on disc one; track 10 on disc two
 * Brent Smedley − drums on tracks 1, 5, and 8 on disc one; tracks 1, 2, 4, 5, 8, 9, and 12 on disc two
 * Rodney Beasley − drums on track 7 on disc one; track 3 on disc two
 * Leo Hao – cover art

title: The Blessed and the Damned


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Banyen Rakgan

Banyen Rakkaen (บานเย็น รากแก่น; ) (born on October 14, 1952, to an Isan family in Ubon Ratchathani province in the Isan region of Northeast Thailand) is a Thai mor lam and Thai luk thung singer. Banyen Rakkaen is known as the "Queen of mor lam" and after 45 years in the business she was named a National Artist in 2014 for her contribution to folk music.

Biography
She is also a student of National Artist, Master Chaweewan Dumnern.

Banyen was the first national mor lam star, whose appearances on television in the 1980s brought the form to an audience beyond its northeastern heartland. She bridges the gap between traditional and modern mor lam, normally appearing in traditional clothing but using electrified instruments and singing luk thung and dance-influenced songs.

title: Banyen Rakgan


text:
William Gray Espy

William Gray Espy (born July 19, 1948 in Dothan, Alabama, U.S.) is an actor, best known for roles in serials such as The Young and the Restless as William "Snapper" Foster (1973-1975, 2003) and Another World as Mitch Blake (1979-1982, 1986-1990).

Espy also appeared in the 1977 movie Haunts, and had a guest-starring role in 1984 on the popular Miami Vice.

He left acting in the early 1990s and returned to Alabama to take care of family matters. He is devoted to preserving and reforesting land and developing a wildlife habitat for turkey, quail, and deer.

He currently resides in Dothan, Alabama.

title: William Gray Espy


text:
31 Minutos

31 minutos (English: 31 minutes) is a Chilean comedy television series and a children's music virtual band created by the production company Aplaplac (owned by Álvaro Díaz, Pedro Peirano and Juan Manuel Egaña) that was first broadcast March 15, 2003 on Televisión Nacional de Chile (TVN). The program is a parody of 60 Minutos, a controversial news program broadcast on the same channel throughout the 1970s and 1980s. Its format as a current affairs news program led by host Tulio Triviño frames a variety of unexpected and humorous events involving various members of the news team. The show features both explicit and implicit educational messages alongside content simply designed to show ridiculous and funny situations.

In its first period, the series had three seasons, from 2003 to 2005, in addition to a participation for the 2003 Chilean Telethon and a Christmas special that same year. On March 27, 2008, the series was taken to the cinema under the title of 31 minutos, la película.

After the third season and for the next nine years the series had no new episodes. In 2012, the production company Aplaplac confirmed that the series would return to television with a fourth season, which was released on October 4, 2014 through TVN, and its last original episode was broadcast on the night of December 27, 2014. During its run, the series received universal acclaim from critics and viewers alike, with praise directed to its clever humour, soundtrack, accessibility towards children about complex issues and helping to revitalize the Chilean puppetry tradition.

From 2004 to 2007, it was broadcast throughout Latin America by Nickelodeon and from 2015, it began to be broadcast by Cartoon Network. It also broadcasts in Mexico on Canal Once and Once Niños, and its most recent season is available in the Netflix Latin America catalog.

31 minutos has performed throughout Chile and Mexico, making the program a musical band. On their tours they perform the songs broadcast on the program and their musical works outside of it.

Origins and foundation of Aplaplac
The origins of 31 minutos date back to 1990, when its creators Álvaro Díaz and Pedro Peirano entered the Universidad de Chile to study journalism and met each other for the first time. At first, Díaz did not meet with Peirano nor was he interested in talking to him, but they got together to do some academic work, which led both of them to realize that they shared the same sense of humor and to become friends. The two met again in 1995, when they produced programs such as Plan Z and El Factor Humano for the Chilean television channel Rock & Pop. But, contrary to their expectations, neither production prospered. In addition, the channel ceased broadcasting on December 1, 1999, leaving both Peirano and Diaz unemployed.

To get out of this situation, they founded the production company Aplaplac together with Juan Manuel Egaña. Initially, Aplaplac developed two programs: Sangre, sudor y lágrimas (Blood, Sweat and Tears), —a human-interest program bought by the sports channel PSN—, and Mira tú (Look at You), a cultural program produced with funds from the Consejo Nacional de Televisión in 2001 and broadcast by Televisión Nacional de Chile in 2002.

Mira tú stood out for its quality and became the production company's letter of introduction, therefore Díaz, Peirano and Egaña applied for a second time to a CNTV competition fund in 2002, this time in the children's television category. The project presented was entitled El gabinete del Doctor Mojado (The Wet Doctor's Cabinet), and in it a fish was conducting a television program from a fishbowl. In one of its segments, a puppet reported on what was happening with the excrements in the treatment plants. Aplaplac won the contest and obtained funds to produce 21 episodes that would be broadcast on Televisión Nacional de Chile. The idea evolved into a puppet and marionette news show called "31 minutos" -—a name that originated from the contest rules, which mentioned that the projects had to last half an hour—.

At the same time, Peirano worked at the Chilean newspaper El Mercurio, where he met the artist Rodrigo Salinas, who -together with the artists Daniel Castro and Matias Iglesis- formed the art collective La nueva gráfica chilena. Peirano invited them to be part of the production team for 31 minutos, leaving Salinas and Castro as scriptwriters —along with Díaz and Peirano—, Iglesis as art director —establishing the visual identity of the program and its characters— and Juan Manuel Egaña as executive producer of Aplaplac and 31 minutos. Due to requirements from TVN, a stable female character had to be included in the episodes. The actress and comedian Alejandra Dueñas —known from La nueva gráfica chilena— later joined the team, giving life to Patana's character.

The conviction of their creators at the beginning was to make a type of television program that they would have liked to see as children. They were fully aware that minors no longer consumed only programs that were aimed at a child audience and, based on that, came to the idea that a satire of the news had to be made. The idea also arose of inventing songs and presenting them in a musical classification. To that end, Peirano —who shared friendship with the members of the Chilean funk rock group Chancho en Piedra— introduced Pablo Ilabaca —guitarist of that band—, who brought with him a compact disc of tracks without lyrics, with which he didn't know what to do. The first instrumental Díaz and Peirano heard was the one that later became the central theme of 31 minutos, of which they quickly became fond. The rest of the tracks were used for the soundtrack of the episodes, along with other songs invented by the team. Ilabaca remained as the music producer for 31 minutos, giving rise to the Ranking Top segment, of which the character Policarpo Avendaño —interpreted by Daniel Castro— is in charge.

Success and internationalization
31 minutos made its debut on March 15, 2003. Its first episodes marked 6 points of screen rating, but as time went on it began to popularize and increase its audience to an average of 14 points. Initially it was a news show of interest to children, however, as the program progressed in its first season, it went from being a parody of news to becoming a character comedy. In view of the popularity achieved by the program in 2003, the creators agreed to produce a second and third season, this time with funds from the channel.

Part of the program's success lies in its script and characters, with hidden references to Chile's social reality. It has also been successful among young and adult audiences: the double entendre that it handles is manifested, for example, in the fact that the puppets are ironic imitations of real Chilean television characters, and recall events or television events that characterized Chile in the 1970s and 1980s.

The commercial success of the program was reflected in the appearance of several products based on it. On July 8, 2003, a studio album called 31 minutos was released, with the songs that were part of the musical classification of the first season of the program. It naturally sold out all its copies in less than a day and came to sell more than 200,000 copies. Not only was an album released, but on July 28, 2004, there was a release of 31 canciones de amor y una canción de Guaripolo, which included the songs of the second season. The name of the album refers to the book Veinte poemas de amor y una canción desesperada by Pablo Neruda. Its premiere took place in the Paseo Ahumada in Santiago and, despite not surpassing the phenomenon achieved by its predecessor, in one week it sold 20,000 copies and achieved the position of platinum record. The songs of the third season were compiled in the album Ratoncitos -in which the musician Angelo Pierattini-, which was awarded a gold record a few days after its release. In addition to the records with the songs of the program, near Christmas 2003 the home videos Lo mejor de 31 minutos and Los Policarpo Top Top Top Awards were released, which together sold more than 35,000 records. This fact made them the best selling local DVDs in the history of Chile.

The popularity obtained with the program has led its characters to be part of publicity and propagandistic campaigns in Chile. For example, Tulio and Bodoque appeared in commercial messages on the transport system of Santiago de Chile, Transantiago, to educate people on how to behave on the buses. In 2010, UNICEF released a commercial entitled "Rearmemos la vida de niños y niñas" (Let's revive the lives of children) with the aim of raising morale after the 2010 Chile earthquake. These ads show Tulio talking about the fear he feels from the tremors, but his friends from the news encourage him by telling him that together everything is better and that it is normal to feel fear. Another ad with UNICEF was about short films showing musical numbers in which Patana gives Tulio advice on how to prevent influenza. In addition, since 2015, Mario Hugo has been the face of the Santiago Metropolitan Regional Government's campaign entitled "Cuidado con el perro" (Be careful with your dog), which calls for sterilization, responsible ownership and care of dogs in public spaces.

The second season of 31 minutos made its debut on March 20, 2004 on Televisión Nacional de Chile, and simultaneously the program began to be known in other countries. On June 9, 2004, Nickelodeon's Latin American signal bought the first two seasons of the series, and premiered them on September 17 of the same year. The network broadcast the episodes until 2007. Thanks to Nickelodeon's children's audience, the program became internationalized, with good reception in countries such as Mexico and Brazil —where it was dubbed into Portuguese— On June 19, 2005, the third season began to be broadcast on TVN, consisting of only 15 episodes.

Mexico was the first country other than Chile to broadcast the series on open television when it premiered in 2006 on Canal 11. Thanks to Canal 11's broadcasting, in 2007 the EMI label released the album 31 minutos for the first time in Mexico. Both events made 31 minutos a popular hit in the country. Ro Velázquez —a member of the Mexican group Liquits— came up with the idea of producing a tribute album for the program in which fanatical artists chose their favorite song to record in their own way. The project became official with the release of "La regla primordial" —from the album Ratoncitos— versioned by Tepetokio (a duo formed by Mexican singer Rubén Albarrán and his wife Psykini) as a single. The tribute was named Yo nunca vi televisión and was published in December 2009 under the label Terricolas imbéciles. In it, fourteen Chilean and Mexican artists performed some songs from the first three albums of 31 minutos. Yo nunca vi televisión was distributed in Mexico and the southern United States, and sold about 5,000 copies in its first weeks. In addition to its physical version, it was uploaded to the iTunes store for downloading.

Theater plays and concerts
At the end of 2010, 31 minutos performed a play called Resucitando una estrella ("Resuscitating a Star"). The plot revolved around a television talent show, where Tulio Triviño and other characters were looking for the best old-fashioned artist to give them the chance to be again. These performances began as a tour of southern Chile to bring joy to people in the localities most devastated by the earthquake of February 27 that year, but some time later the play arrived in Mexico, in 2012. On March 31, 2012 they performed at the Lollapalooza Chile festival. Juan Manuel Egaña received an invitation and, together with Felipe Ilabaca —bass player of Chancho en Piedra—, convinced Díaz and Peirano to participate —who, at first, considered the event as a humorous one— It was such an impact that the band (composed by the musicians Pablo Ilabaca on the electric guitar, Felipe Ilabaca on the bass, Camilo Salinas on the keyboards and Pedropiedra on the drums, together with the voice actors of the program) scheduled four presentations for July in the Movistar Arena of Santiago. These events were very well attended and popular, in addition to being released on a live album called Gira Mundial —under the label Feria Music—. In the second half of 2012 the Organizing Committee of the 2013 Viña del Mar International Song Festival confirmed 31 minutos as one of the national artists for the journey. They performed on February 27, 2013, being the first puppet group to set foot in the Quinta Vergara. In more than an hour and a half of presentation they achieved a show that was praised by the press and applauded by the audience present, which gave them the 4 maximum awards of the evening. They also achieved the maximum position of tune of the 2013 edition of the festival: 53 points of screen share. Coinciding with the same day of the presentation, the company Amnesia Games developed a game of 31 minutos for cellular phones in alliance with the producer Aplaplac and the telephone company Claro Chile. The game stood out in the stores of Windows Phone and Amazon and managed to position itself in the first places of the App Store.

In view of the success achieved at the festival, they decided to play the stages again, but this time with Radio Guaripolo, a show directed by Alvaro Diaz and written by Pedro Peirano, which officially opened at the Teatro Municipal de Las Condes. In it, Guaripolo owns a radio station, where he plays pranks on the phone to the rest of the characters of 31 minutos. One of the most important events of this production was the premiere of the song "Mi mamá me lo teje todo", which would later be part of the soundtrack of the fourth season.

Fourth season and present
In addition, after nine years of absence, 31 minutos announced its return to television, according to an interview given by Aplaplac to the Chilean newspaper La Tercera. The fourth season began its recordings in 2013 and was broadcast on TVN. In addition, the program again won a fund from the CNTV to finance it. The team underwent restructuring, such as the change of Juan Manuel Egaña —who became Manager of Management and Development of Chilevisión— to Alejandra Neumann in the executive production of Aplaplac and the series, and the performance of Juanín, who although dubbed by Salinas did not participate as a puppeteer in the recordings, so the actor Héctor Velozo had to take his place. Salinas only brought his characters to life live in the presentation at the 2013 Viña del Mar Festival.

This season's premiere was on October 4, 2014, viewed for the first time in HD (16:9) format. The first episode marked 9.3 points of screen share, but was surpassed by the program Morandé con compañía of the Chilean television channel Mega —which obtained more than 15—. It ended the night of December 27, 2014 after a cycle of twelve episodes. Despite the low results it obtained on Televisión Nacional de Chile, from October 2015 it was bought and transmitted by the Cartoon Network signal to Chile, Peru, Bolivia and Ecuador, and then began to be broadcast to all of Latin America by Boomerang. On January 5, 2020 it was added to Netflix Latin America.

During the premiere of the fourth season's chapters, 31 minutos adapted their 2003 Christmas special to a montage entitled Calurosa Navidad, with which they performed during the month of December at the Centro de las Artes 660 in Las Condes. The program had already established itself as a band, and Díaz and Peirano decided to focus their future on touring and live concerts. During 2015, they prepared a play based on William Shakespeare's Romeo and Juliet, which was presented in January 2016 as part of the Santiago a Mil International Festival. It was then shown at venues such as the Teatro Municipal de Las Condes in April 2016 and the Teatro Oriente de Providencia in July of the same year. It again participated in the 2017 version of the Santiago a Mil International Festival. On September 12, 2015, Aplaplac independently released the album Arwrarwrirwrarwro —where the songs of the fourth season are located—. The album had a pre-sale in Mexico, in July of the same year, during a presentation of Radio Guaripolo. Pablo Ilabaca and Álvaro Díaz were in charge of its production, but it had the support of Felipe Ilabaca, Camilo Salinas and Pedropiedra in the instruments.

On the other hand, Radio Guaripolo performed for the last time at the Festival Osorno de la Leche y la Carne, on January 30, 2016. For the tour in Mexico 2016, Aplaplac released Tremendo Tulio Tour, a parody of the tributes of artists for their careers, where they give one to Tulio Triviño. The success of the tour led them to play live for the first time in Argentina and Colombia. The first performance took place at the Usina del Arte in Buenos Aires on April 21, 2018. This was the last show in which Pedropiedra participated as drummer for 31 minutos, so Leonardo Corvalán —drummer for Chancho en Piedra— took his place. The second was at the Festival Rock al Paque in Bogotá on June 30, 2019, with three performances on the same day.

In January 2019, a fifth studio album was confirmed, without relying on the music of a season. To promote it, the first single was "Ritmo sideral", released on October 11, 2019. It was followed by "Perro chico" and "Lucía, la sandía", which appeared on November 22, 2019 and January 17, 2020,  respectively. On November 20, 2019, the organizers of the Mexican festival Vive Latino released the line-up for its 21st edition, where it highlighted 31 minutos with a double performance, on March 14 and 15, 2020 with a special show. They named the show Yo nunca vi televisión —like the homonymous song on the first album of 31 minutos—, and in it they recreated the format of a newscast —like in the TV series— and played a repertoire of songs of which "Ritmo sideral" and "Perro chico" were part. During February 2020 a tour in Mexico was scheduled in which Yo nunca vi televisión was to perform during March in the cities of San Luis Potosí, Guadalajara and Mérida, but to prevent contagion from the COVID-19 pandemic it was decided to reschedule the dates for October of the following year. Of the original presentations, 31 minutos could only be presented on both days at the Vive Latino festival. The crisis caused by this disease was the reason for 31 minutos to join for the third time with UNICEF to launch the "Cuarentena 31" campaign, with the aim of addressing issues that affect children during confinement. The capsules were broadcast on Cartoon Network and Boomerang Latinoamécica, and on July 29, 2020, a song entitled "Primavera" was launched to encourage people in the midst of the health crisis. On September 1, 2020, UNICEF named 31 minutos as Goodwill Ambassadors for UNICEF Chile.

Díaz and Peirano have stated on multiple occasions that it is not possible to make a fifth season for Chilean television, because this is not a format where the program can remain —adding to this the high costs of production—. The reinvention through tours, new songs and records has been key to the validity of the franchise. In any case, none of them have ruled out the possibility of making it on streaming platforms, according to the interest of these.

Characters
31 minutos is conducted by Tulio Triviño Tufillo, a millionaire gray chimpanzee who is self-centered, but ignorant and short on understanding. He is the best friend of Juan Carlos Bodoque, a red rabbit. He is the program's star journalist and is in charge of the environmental section La Nota Verde. He is moody, bohemian, witty, an occasional poet, a womanizer, but above all, a great gambler addicted to horse racing and betting at the hippodrome. Juanín Juan Harry is the studio's general producer, but on the other hand the only survivor of his species, the Juanines. He loves his work and everyone is aware that he is the one who does everything. Policarpo Avendaño is the entertainment commentator, owner of the music segment Ranking Top. Mario Hugo is an absent-minded reporter, owner of many dogs. He is madly in love with Patana Tufillo, a young intern journalist, who is also Tulio's niece. This team is joined by Calcetín con Rombos Man, the superhero defender of children's rights, and Guaripolo, who calls himself the "favorite character of kids of 31 minutos", although nobody knows him.

Dub
Despite being mostly broadcast in Latin American countries in their original language, 31 minutos has been dubbed for broadcast in other countries. The first two seasons of the program were dubbed into Portuguese by Nickelodeon under the studio Alamo for broadcast in Brazil during 2004 and 2007, and later season four in the studio Unidub (with the same actors) for Netflix Brazil. A pilot dubbed into Spanish from Europe was shown to Spanish channels in 2004, however, it was not until 2008 that the series was broadcast in Spain through the VeoTV channel, but with its original audio. A fragment of episode fifteen of the second season (Hielito) was also shown in Holland as a segment within another show, and its dubbing was done by the comedian Niels van der Laan, who played all the characters.

Film
Since the success of their first season, Diaz and Peirano had a much larger project in mind, a film of 31 minutos. This began to be developed after the completion of the third season's production. The incidental music was provided by Pablo Ilabaca and Angelo Pierattini —who had already worked together on the album of the third season Ratoncitos—. The recordings began in Chile in October 2006 and ended in the summer of 2007 in Rio de Janeiro, Brazil —where the production company Total Entertainment joined in to provide the cinematic experience that Aplaplac did not have—. However, the post-production and sound process delayed the film, with things like a telephone casting to choose the voices of Tulio, Bodoque, and Juanín in their childhood. In September 2007, Peirano went to review the co-production in Spain. Because he was not carrying cash, he was not allowed into the country, which he was able to enter only after the intervention of the Chilean embassy.

Finally the series was brought to the big screen under the name of 31 minutos, la película, and was released in Chile on March 27, 2008, in Mexico on October 16, 2009  and in Brazil on August 3, 2012. With this film the series was given a temporary end. In total, 210,000 spectators attended to see the film in Chile. Despite being praised, it did not collect what it cost to produce it, which led Aplaplac into an economic crisis for two years, and its members had to work on other projects. In addition, they were affected by a robbery at the production company's offices.

Spin-offs
Aplaplac has produced several mini-series with the characters of 31 minutos. As a project for the National Museum of Dentistry of the University of Chile, the production company made a four-episode web series called Las muelas de Guaripolo, in which this character appears teaching the public information about dental hygiene and its history. Together with Las muelas de Guaripolo, in 2017, 31 minutos in collaboration with the Ministry of Health of Chile made the web series La nube de humo. This mini-series consists of three chapters of four to five minutes and deals with how Juan Carlos Bodoque —already retired from journalism— decides to fall into Ramona's requests to do a report on air pollution in Chile.

On July 11, 2009, Las vacaciones de Tulio, Patana y el pequeño Tim premiered on TVN. The program —which consists of 12 episodes— is designed as a spin-off of 31 minutos, that is, a production derived from some of its characters; and the one chosen was precisely Tulio Triviño, the self-centered news anchor who now moves to his lavish summer cabin with his niece Patana and Tim, a friend of hers. The stay is boring, so Tulio entertains his little companions by telling them stories, and so each chapter begins. It is worth mentioning that Juan Carlos Bodoque is also present in Tulio's stories giving ecological advice.

Discography

 * 31 minutos (2003)
 * 31 canciones de amor y una canción de Guaripolo (2004)
 * Ratoncitos (2005)
 * Gira mundial (en vivo) (2012)
 * Arwrarwrirwrarwro (2015)

Live shows

 * Resucitando una estrella (Resurrecting a star).
 * Tuliopalooza.
 * Gira mundial (World tour).
 * Festival de Triviña (performance at the Festival de la canción de Viña del Mar 2013).
 * Radio Guaripolo.
 * Calurosa navidad (Hot Christmas).
 * Romeo y Julieta (Romeo and Juliet).
 * Tremendo Tulio Tour.
 * Yo nunca vi televisión (I never watched TV).
 * Don Quijote (Don Quixote).

Awards, nominations and distinctions
 2003
 * Spanish American Prix Jeunesse Award, in the category Best Childhood TV Show for 6 - 11 years non-fiction, and TV Show chosen by children.
 * TV-Grama Award in the category Best Childhood TV Show.
 * Chile's Circle of Reviewer Award, in the category Television.

 2004
 * Award given by the School of Communication Studies, Film and TV from UNIACC University to 31 minutos by Creative Contribution to Chilean TV.
 * Only nominee and winner category Contribution to the TV in Apes awards.
 * Winner of Altazor award in the categories Rock popular music, Graphic design and illustration, TV Show Direction and Script.
 * The organization Actitud Animal and the Chilean Federation of Animal Protection Institutions given an award to Juan Carlos Bodoque by to teach how care and guard different species.
 * 4th place in the category Light Entertainment of Prix Jeunesse Internacional.
 * Was nominated to Inte Awards in the category Infantil TV Show of the Year.
 * Nominated to International Emmy Award in the category Children & Young People.

2009
 * Choral Award in the Animation category of the Havana Film Festival for 31 minutos, la película.

2013
 * Antorcha de Plata, Antorcha de Oro, Gaviota de Plata and Gaviota de Oro in the LIV Viña del Mar International Song Festival.

2016
 * At the 2016 Pulsar Awards the program was nominated in three categories for its album Arwrarwrirwrarwro, for Best Children Artist, Artist of the Year and Album of the Year.

2018
 * Winner of the Indigo Awards 2018, in the Best Live Show category.

2019
 * The website Rave recognized 31 minutos as the Best Chilean production in the history, based on IMDb statistics —with a rating of 8.4—.

title: 31 Minutos


text: Category:Jefferson County, Missouri

title: Category:Jefferson County, Missouri