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Lee Suggs

Lee Ernest Suggs, Jr. (born August 11, 1980) is an American former professional football player who was a running back in the National Football League (NFL). He played college football for the Virginia Tech Hokies before playing in the NFL for the Cleveland Browns and Miami Dolphins.

Early life
Suggs attended high school at William Fleming High School. During his 1998 senior year in high school, he rushed for 2,918 yards and 30 touchdowns, capping a prolific high school career and helping boost his ranking among running backs to fourth in the state and 19th in the nation, according to the SuperPrep scouting organization.

College career
While at Virginia Tech he set, and still holds the NCAA Division I Football Bowl Subdivision (FBS) records for most games scoring a touchdown in a single season (14 games in 2002), and for most consecutive games scoring a touchdown (27 consecutive games, from September 2, 2000 through December 31, 2002; 57 touchdowns). His accomplishments at the university earned him a spot in the Virginia Tech Sports Hall of Fame.

Cleveland Browns
Suggs was selected by the Cleveland Browns with the 18th pick in the fourth round and 115th overall of the 2003 NFL draft. In Week 17 of the 2003 season, Suggs rushed for 186 yards on 26 carries for two touchdowns against the Cincinnati Bengals to help the Browns finish with a 22–14 victory. One of his touchdown runs that day went 78 yards long. In 2004, Suggs had his best year as a pro, gaining 922 yards from scrimmage in only 10 games. He was unable to play a full season due to several injuries as well as the acquisition of Reuben Droughns. On August 14, 2006, Suggs was traded to the New York Jets for defensive back Derrick Strait, but the trade was voided when Suggs failed his physical, and returned to the Browns. He was subsequently cut by the Browns.

Miami Dolphins
Suggs was claimed off waivers by the Miami Dolphins on September 3, 2006. He was released by the Dolphins on October 10, 2006.

Coaching career
Suggs is currently the running back coach at the Catholic University of America. He began his coaching career at Oberlin College as running backs coach in 2008.

title: Lee Suggs


text:
Funky Monks

Funky Monks is a 1991 documentary (also the title of a song from the 1991 album Blood Sugar Sex Magik) about the rock band Red Hot Chili Peppers and the recording of their highly successful 1991 Warner Bros. debut Blood Sugar Sex Magik. The album was produced by Rick Rubin and recorded in The Mansion, a supposedly haunted house which Rubin now owns. The 60-minute documentary, which was filmed in black-and-white, features footage of the band recording many of the tracks that made the album, and tracks that didn't make the album although would be released as singles and b-sides (such as "Soul to Squeeze", "Sikamikanico" and an Iggy & the Stooges cover Search And Destroy).It also features interviews from each member of the band, as well as Rick Rubin and the band's former and longtime manager, Lindy Goetz. Footage from the documentary was compiled for use in the "Suck My Kiss" music video, which was released in 1992. Funky Monks was originally released on VHS but was re-released on DVD. It was filmed and directed by Gavin Bowden.

On July 16, 2011, NME voted Funky Monks the 14th must see rock documentary on their 20 must see rock documentaries list.

The release was certified gold by the RIAA.

Unreleased version, bonus footage
In 2013, a first edit cut of the documentary containing over 18 minutes of footage not included in the released version was released onto YouTube. The newly released footage includes scenes of the band recording "They're Red Hot", "Search and Destroy", "Sikamikanico" and "Soul to Squeeze". Some of the footage is extended from the released version.

It has been widely believed for years a 3-hour cut of the documentary exists. Footage not from the released documentary has been used in other forms of media such as television interviews and documentaries on the band. Rare color footage was also used at the time for various interviews including ones with MTV. A VH-1 documentary contained unseen footage featuring an unreleased song from the Blood Sugar Sex Magik recording sessions that has yet to be identified.

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

title: Funky Monks


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Axel Fredrik Cronstedt

Baron Axel Fredrik Cronstedt (/kroonstet/ 23 December 1722 – 19 August 1765) was a Swedish mineralogist and chemist who discovered the element nickel in 1751 as a mining expert with the Bureau of Mines. Cronstedt is considered a founder of modern mineralogy, for introducing the blowpipe as a tool for mineralogists, and for proposing that the mineral kingdom be organized on the basis of chemical analysis in his book Försök til  mineralogie,  eller  mineral-rikets upställning (“An attempt at mineralogy or arrangement of the  Mineral Kingdom”, 1758).

Life
Axel Fredrik Cronstedt was born on 23 December 1722 on the estate of Ströpsta, in Sudermania. His father, Gabriel Olderman Cronstedt (1670–1757), was a military engineer. His mother, Maria Elizabeth Adlersberg, was Gabriel Cronstedt's second wife.

Beginning in 1738, Axel Cronstedt was an unregistered student at   the University of Uppsala, hearing lectures with Johan Gottschalk Wallerius (1709–1785), professor  of  chemistry,  and astronomer Anders  Celsius (1701–1744). At Uppsala, he became a friend of Sven Rinman, discoverer of Rinman's green. In 1743, during an unstable period politically,   Cronstedt left Uppsala to act as his father's secretary on a military tour of inspection. This tour strengthened his interest in mines and mineralogy.

Cronstedt entered the School of Mines where his instructors included geologist Daniel Tilas (1712-1772). On Tilas' recommendation, Cronstedt went on mining tours in the summers of 1744 and 1745. In 1746, he surveyed copper mines. From 1746 to 1748 Cronstedt took classes with George Brandt, the discoverer of cobalt, at the royal mining laboratory in Stockholm, the Laboratorium Chemicum. There he studied chemical analysis and smelting.

Between 1748, when he completed his studies, and 1758, Cronstedt held a variety of positions. In 1756, he was disappointed to be passed over for a position at the Bureau of Mines, but in 1758, he became a superintendent of mining operations for the mining districts of Öster and Västerbergslagen.

In 1760 Cronstedt married Gertrud Charlotta    Söderhielm (1728–1769). In 1761, he moved to the estate of Nisshytte,  north  of Riddarhyttan. He died there on 19 August 1765.

Research
Cronstedt initiated the use of the blowpipe for the analysis of minerals. Originally a goldsmith's tool, it became widely used for the identification of small ore samples, particularly in Sweden where his contemporaries had seen Cronstedt use it. Use of the blowpipe enabled mineralogists to discover eleven new elements, beginning with Cronstedt's discovery of nickel. John Joseph Griffin credits Cronstedt as "the first person of eminence who used the blowpipe" and "the founder of Mineralogy" in A Practical Treatise on the Use of the Blowpipe (1827).

Cronstedt discovered the mineral now known as scheelite in 1751 at Bispberg Klack, later obtaining samples from the Kuhschacht mine in Freiberg, Germany. He gave it the name tungsten, meaning "heavy stone" in Swedish. Thirty years later, Carl Wilhelm Scheele determined that scheelite was in fact an ore, and that a new metal could be extracted from it. This element then became known by Cronstedt's name, tungsten.

Cronstedt also extracted the element nickel from ores in the cobalt mines of Los, Sweden. The ore was described by miners as kupfernickel because it had a similar appearance to copper (kupfer) and a mischievous sprite (nickel) was supposed by miners to be the cause of their failure to extract copper from it. Cronstedt presented his research on nickel to the Swedish Academy of Sciences in 1751 and 1754. Decades later, some scientists still argued that it was a mixture, and not a new metal, but its nature was eventually accepted.

In 1756, Cronstedt coined the term zeolite after heating the mineral stilbite with a blowpipe flame. He was the first to describe its distinctive properties, having observed the "frothing" when heated with a blowpipe.

Cronstedt's book Försök til  mineralogie,  eller  mineral-rikets upställning (“An attempt at mineralogy or arrangement of the  Mineral Kingdom”, 1758) was originally published anonymously. In it, Cronstedt proposed that minerals be classified on the basis of chemical analysis of their composition. He was surprised that others supported his ideas and put them into practice. It was translated into English by Gustav Von Engeström (1738-1813) as An essay towards a system of mineralogy (1770). Engeström added an appendix, "Description and Use of a Mineralogical Pocket Laboratory; and especially the Use of the Blow-pipe in Mineralogy", which brought considerable attention to Cronstedt's use of the blowpipe.

Cronstedt noted in Försök til  mineralogie,  eller  mineral-rikets upställning that he had observed an  “unidentified  earth” in a heavy red stone from the Bastnäs mine in Riddarhyttan. Forty-five years later, Jöns Jacob Berzelius and  Wilhelm Hisinger isolated the first element of the  lanthanide series of the rare earth elements,  cerium, in ore from the mine.

Awards and honors
In 1753, Cronstedt was elected a member of the Royal Swedish Academy of Sciences.

title: Axel Fredrik Cronstedt


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Poll tax riots

The poll tax riots were a series of riots in British towns and cities during protests against the Community Charge (commonly known as the "poll tax"), introduced by the Conservative government of Prime Minister Margaret Thatcher. The largest protest occurred in central London on Saturday 31 March 1990, shortly before the tax was due to come into force in England and Wales.

Background
The advent of the poll tax was due to an effort to alter the way the tax system was used to fund local government in the UK. The system in place until this time was called "rates" and had been in place in some form from the beginning of the 17th century. The rates system has been described as "a levy on property, which in modern times saw each taxpayer paying a rate based on the estimated rental value of their home".

The Thatcher government had long promised to replace domestic rates, which were unpopular, especially among Conservative voters. They were seen by many as an unfair way of raising revenue for local councils. It was levied on houses rather than people.

The proposed replacement was a flat-rate per capita Community Charge—"a head tax that saw every adult pay a fixed rate amount set by their local authority". The new Charge was widely called a "poll tax" and was introduced in Scotland in 1989 and in England and Wales a year later. The Charge proved extremely unpopular; while students and the registered unemployed had to pay 20%, some large families occupying relatively small houses saw their charges go up considerably, and the tax was thus accused of saving the rich money and moving the expenses onto the poor.

In November 1989 the All Britain Anti-Poll Tax Federation was set up by the Militant tendency. Other groups such as the 3D network provided national coordination for anti-poll tax unions who were not aligned to particular political factions. After the leadership of the Labour Party refused to back any demonstration against the poll tax, the All Britain Federation called a demonstration in London for 31 March 1990, the day before the tax was due to be launched.

During the early months of 1990, over 6,000 anti-poll tax actions were held nationwide, with demonstrations in cities around England and Wales drawing together thousands of protestors, in a wave of protests which attracted notably large numbers in the South West. On 6 March, a 5,000-strong demonstration in Bristol escalated into clashes, leading to mounted police charging the crowd and arresting 26 demonstrators, with injuries being sustained by both sides. The following day, police baton charged demonstrators in Hackney, escalating the demonstration into a riot, during which 50 high street shop windows were smashed and 56 rioters were arrested. Demonstrations were routinely called in places where councils discussed the poll tax, some resolving peacefully and others escalating into riots, with numerous cases of protestors storming council chambers and forcing meetings to be called off - although none prevented the tax from being implemented. Both Prime Minister Margaret Thatcher and opposition leader Neil Kinnock responded by blaming the demonstrations on outside agitators, respectively calling them "rent a mob extremists" and "Toy Town revolutionaries".

As coaches bound for London were booked all around the country, it soon became clear that the planned demonstration was going to be larger than the 20,000 expected by Militant, who were more focused on the non-payment campaign than political demonstrations. When campaigners met with Metropolitan Police and gave them an expected number of 30,000, the chief police officer responded with laughter, as their own intelligence indicated far fewer numbers. In acknowledgement of the square's capacity, the organisers asked to divert the march to Hyde Park but were denied.

Protest in Trafalgar Square
On 31 March 1990, people began gathering in Kennington Park from noon. Between 180,000 and 250,000 arrived. The police report, a year after the riot, estimated the crowd at 200,000. An abandoned rally by the Labour Party may have contributed to the number of protesters. The march began at Kennington Park at 1:30pm, moving faster than planned because some of the crowd had forced open the gates of the park, presumably in order to avoid being forced through smaller gates. This split the march over both sides of the road, and protesters continued in much the same way for the rest of the route.

By 2:30pm, Trafalgar Square was nearing its capacity. Unable to continue moving easily into Trafalgar Square, at about 3pm the march stopped in Whitehall. The police, worried about a surge towards the new security gates of Downing Street, blocked the top and bottom of Whitehall, and lined the pavement refusing to let people leave the road. Additional police units were dispatched to reinforce the officers manning the barrier blocking the Downing Street side of Whitehall. The section of the march which stopped opposite Downing Street reportedly contained veteran anarchists and a group called "Bikers Against The Poll Tax", some of whom became aggravated by reportedly heavy-handed arrests, including one of a man in a wheelchair.

Mounted riot police were brought in behind this immobilised section of the march, in theory to clear the protesters from Whitehall, despite both retreat and advance being blocked by further lines of police. Meanwhile, the tail-end had been diverted at the Parliament Square end of Whitehall, and the anarchists it had attracted were at the head of an unpoliced portion of the march. These people walked to Richmond Terrace, bringing the diverted march into Whitehall, opposite Downing Street and behind the police lines on that side of Whitehall. The protesters at the rear of the stationary group, being faced by mounted police seemingly preparing to charge, sat down on the road for safety. Despite black-clothed and scarf-masked people running through seemingly from behind the police lines and urging them up, they remained seated until physically dragged away and arrested for "obstructing Whitehall". The mounted police then advanced at speed, forcing the Whitehall section of the march to fight its way into Trafalgar Square.

From 4pm, with the rally nearly officially over, contradictory reports began to arise. According to some sources, mounted riot police (officially used in an attempt to clear Whitehall of protesters) charged out of a side street into the crowd in Trafalgar Square. Whether intentional or not, this was interpreted by the crowd as a provocation, fueling anger in the Square where the police had already been pushing sections of crowd back into corners, leaving no way out except through the police. At 4:30pm, four shielded police riot vans drove into the crowd (a tactic in dealing with mass demonstrations at the time) outside the South African Embassy, attempting to force through to the entrance to Whitehall where police were re-grouping. The crowd attacked the vans with wooden staves and scaffolding poles. Soon after, rioting began to escalate.

By 4:30pm, police had closed the main Underground stations in the area and southern exits of Trafalgar Square, making it difficult for people to disperse. Coaches had been parked south of the river, so many marchers tried to move south. At this point, Militant Fed stewards were withdrawn on police orders. Sections of the crowd, including unemployed coal miners, climbed scaffolding and rained debris on the police below. At 5pm, builders' cabins below the scaffolding caught fire, followed by a room in the South African Embassy on the other side of the Square. The smoke from the fires caused near darkness in the Square and produced a 20-minute lull in rioting.

Between 6 and 7pm, the police opened the southern exits of the Square and slowly moved people out of Trafalgar Square. A large section of the crowd was moved back down Northumberland Avenue and allowed over the River Thames in order to return to their organised transport. Two other sections of demonstrators, now very angry and aggravated, were pushed north into the wealthy shopping streets of West End, which suffered reported theft and vandalism. Published accounts detail shop windows being broken, goods looted, and cars being overturned in Piccadilly Circus, Oxford Street, Regent Street, Charing Cross Road, and Covent Garden. Police ordered pubs to close.

The demonstrators mixed in with the general public. By midnight, released figures claimed 113 were injured, mostly members of the public, but also police officers, and 339 people had been arrested. Scuffles between rioters and police continued until 3am. Rioters attacked numerous shops, most notably Stringfellow's nightclub, and car showrooms, and Covent Garden cafés and wine bars were set ablaze, along with motor vehicles.

Responses
The response of the Metropolitan Police, the Government, the Labour Party and the labour movement and some of the Marxist and Trotskyist left, notably the Militant tendency, was to condemn the riot as senseless and to blame anarchists. Tommy Sheridan of Scottish Militant Labour condemned the protesters. The next day, Steve Nally, also a Socialist Party member and Secretary of the All Britain Anti-Poll Tax Federation, said that they would "hold an enquiry and name names". Many others denounced the All Britain Anti-Poll Tax Federation position and defended those who fought back against the police attacks. Danny Burns (secretary of the Avon Federation of anti-Poll Tax Unions) for example said: "Often attack is the only effective form of defence and, as a movement, we should not be ashamed or defensive about these actions; we should be proud of those who did fight back."

The Socialist Workers' Party (SWP), which was blamed for the violence by some in the media and by Labour MP George Galloway, refused to condemn protesters, calling the events a "police riot". Pat Stack, then a member of the SWP's Central Committee, told The Times: "We did not go on the demonstration with any intention of fighting with the police, but we understand why people are angry and we will not condemn that anger."

A 1991 police report concluded there was "no evidence that the trouble was orchestrated by left-wing anarchist groups". Afterwards, the non-aligned Trafalgar Square Defendants Campaign was set up, committed to unconditional support for the defendants, and to accountability to the defendants. The Campaign acquired more than 50 hours of police videos. Use of these was influential in acquitting many of the 491 defendants, suggesting the police had fabricated or inflated charges.

In March 1991, the police report suggested additional contributing internal police factors: squeezed overtime budgets which led to the initial deployment of 2,000 men, insufficient given the number of demonstrators, a lack of riot shields (400 "short" riot shields were available), and erratic or poor-quality radio, with a lag of up to five minutes in the computerised switching of radio messages during the evening West End rioting. Prime Minister Thatcher was at a conference of the Conservative Party Council in Cheltenham; the poll tax was the focus of the conference. As coverage of the demonstrations unfolded, speculation developed for the first time about Thatcher's position as leader. In November 1990, Thatcher would face a Party leadership challenge, and would lose to John Major in the subsequent leadership election.

Abolition of the tax
Vehement national opposition to the poll tax (which was especially strong in the north of England and Scotland) was the most important factor in its abolition. An opinion poll conducted in 1990 indicated that 78% of those polled and who expressed an opinion gave preference to alternative means of taxation.

John Major, initially in his first Prime Minister's Questions, only said his government would "look at" the Community Charge, and if necessary "ensure it is accepted throughout the country", though it is a common misconception that he instantly scrapped it. In 1991, he then announced in a parliamentary speech as Prime Minister that the poll tax was to be replaced by Council Tax. The council tax came into effect in 1993. Similar to the previous system of rates, the new system set tax levels on property value. Although it was not directly linked to income, the council tax took ability to pay into consideration, unlike the poll tax.

title: Poll tax riots


text:
Franz Anton Schiefner

Franz Anton Schiefner (June 18, 1817 – November 16, 1879) was a Baltic German linguist and tibetologist.

Schiefner was born to a German-speaking family in Reval (Tallinn), Estonia, then part of Russian Empire. His father was a merchant who had emigrated from Bohemia. He was educated first at the Reval grammar school, matriculated at St Petersburg as a law student in 1836, and subsequently at Berlin, from 1840 to 1842, where he devoted himself exclusively to studies of Eastern languages. On his return to St Petersburg in 1843 he taught classics in the First Grammar School, and soon afterwards received a post in the Imperial Academy, where in 1852 the cultivation of the Tibetan language and literature was assigned to him as a special function. From 1860 to 1873 he simultaneously held the professorship of classical languages in the Saint Petersburg Roman Catholic Theological Academy. From 1854 until his death he was an extraordinary member of the Imperial Academy. He visited England three times for purposes of research in 1863, 1865 and 1878.

Schiefner made his mark in literary research in three directions. First, he contributed to the Memoirs and Bulletin of the St Petersburg Academy, and brought out independently a number of valuable articles and larger publications on the language and literature of Tibet. He possessed also a remarkable acquaintance with the Mongolian language, and when death overtook him had just finished a revision of the New Testament in that language with which the British and Foreign Bible Society had entrusted him.

Further, he was one of the greatest authorities on the philology and ethnology of the Finnic languages. He edited and translated the great Finnish epic Kalevala into German; he arranged, completed and brought out in twelve volumes the literary remains of Matthias Alexander Castrén, bearing on the languages of the Samoyedic tribes, the Koibal, Karagass, Tungusic, Buryat, Ostyak and Kottic tongues, and prepared several valuable papers on Finnic mythology for the Imperial Academy.

In the third place, he investigated the languages of the Caucasus, which his lucid analyses placed within reach of European philologists. Thus he gave a full analysis of the Tush language, and in quick succession, from Baron Peter von Uslar's investigations, comprehensive papers on the Avar, Udi, Abkhaz, Chechen, Kasi-Kumuk, and Hyrcanian languages. He had also mastered Ossetic, and brought out a number of translations from that language, several of them accompanied by the original text.

He died in Saint Petersburg.

Works
23 Janvier / 4 Fevrier. Melanges asiatiques 8.1881, 623-640
 * 133  Ehstnische Märchen. Aufgezeichnet von Friedrich Kreutzwald. Aus dem Ehstnischen übersetzt von F. Löwe, ehem. Bibliothekar a. d. Petersb. Akad. d. Wissenschaften. Nebst einem Vorwort von Anton Schiefner und Anmerkungen von Reinhold Köhler und Anton Schiefner. Halle: Verlag der Buchhandlung des Waisenhauses 1869. VIII, 365 S.; 1 S. Berichtigungen und Zusätze. Vorwort, S. IV gez.: St. Petersburg, den 8. (20.) Februar 1869. [Ergänzend dazu:] Estnische Märchen. Aufgezeichnet von Friedrich Kreutzwald. Aus dem Estnischen übersetzt von F. Löwe, ehem. Bibliothekar a. d. Petersb. Akademie der Wissenschaften, corresp. Mitglied der gelehrten esthnischen Gesellschaft zu Dorpat. Zweite Hälfte. Dorpat: C. Mattiesen 1881. IV, 178 S.
 * 134   Des Missionars Jäschke Bemühungen um die Erlangung einer Handschrift der Gesar, von A. Schiefner. (Lu le 19 novembre 1868.) Bulletin de l'Academie imperiale des sciences de St. Petersbourg 13.1869, Sp. 476-484 19 November/ 1 December 1868. Melanges asiatiques 6.1873, 1-12
 * 135   Täranätha's Geschichte des Buddhismus in Indien. Aus dem Tibetischen übersetzt von Anton Schiefner. St. Petersburg: Kais. Akademie der Wissenschaften 1869. XII, 346 S. S.345-346: Berichtigungen Widmung: Der Ritter- und Domschule zu Reval zur Feier ihres fünfhundert-undfünzigjährigen Bestehens von ihrem dankbaren Schüler. Vorwort, X, gez.: St. Petersburg, 27. Mai (8. Juni) 1869.
 * 136  Herrn Professor Wassiljew's Vorrede zu seiner russischen Übersetzung von Täranätha's Geschichte des Buddhismus in Indien, deutsch mitgetheilt von A. Schiefner. Nachtrag zu der deutschen Übersetzung Täranäthas's. St. Petersburg: Kaiserliche Akademie der Wissenschaften 1869. 32 S. Vorw. S. 6 gez.: St. Petersburg, den 30. September (12. October) 1869.
 * 137   Über einige morgenländische Fassungen der Rhampsinit-Sage. Von A. Schiefner. (Lu le 11 mars 1869.) Bulletin de l'Academie imperiale des sciences de St. Petersbourg 14.1870, Sp. 299-316 11/23 März 1869. Mel. asiat. 6.1873, 161-186
 * 138   Ausführlicher Bericht über Baron P. v. Uslar's Hürkanische Studien. Von A. Schiefner, Mitgliede der Akademie. Gelesen den 1. December 1870. St. Petersburg: Academie imperiale des sciences 1871. IV, 200 S. (Memoires de l'Academie imperiale des Sciences de St.-Petersbourg, VII ser., t. XVII, Nr 8) Vorwort, IV, gez.: Den 26. October / 7. November 1871. A. Schiefner
 * 139   Bericht über eine im Sommer 1870 unternommene Reise. Von A. Schiefner. (Lu le 6 octobre 1870.) Bulletin de l'Academie imperiale des sciences de St. Petersbourg 15.1871, Sp. 397-403 6/18 October 1870. Mel. asiat. 6.1873, 287-295
 * 140   Beiträge zur Kenntniss der jukagirischen Sprache. Von A. Schiefner. Bulletin de l'Academie imperiale des sciences de St. Petersbourg 15.1871, Sp. 373-399 16/28 Februar 1871. Melanges asiatiques 6.1873, 409-446
 * 141   Über Baron Gerhard von Maydells jukagirische Sprachproben. Von A. Schiefner. Bulletin de l'Academie imperiale des sciences de St. Petersbourg 15.1871, Sp. 86-103 28 September /10 October 1871. Melanges asiatiques 6.1873, 600-626
 * 142   Ausführlicher Bericht über Baron P. v. Uslar's awarische Studien. Von A. Schiefner, Mitgliede der Akademie. Gelesen den 7. September 1871. St. Petersburg 1872. VIII, 180 S. (Memoires de l'Academie imperiale des Sciences de St.-Petersbourg, VII sei., t. XVIII, Nr 6)
 * 143 Ausführlicher Bericht über Baron P. v. Uslar's kürinische Studien. Von A. Schiefner. Der Akademie vorgelegt am 3. October 1872. St. Petersbourg: Academie imperiale des sciences 1873. IV, 256 S. (Memoires de l'Academie imperiale des Sciences de St.-Petersbourg, VII ser., t. XVIII, Nr 2) Vorwort, IV, gez.: St. Petersbourg, den 12/24. September 1873. A. Schiefner S. 255-256
 * 144   Awarische Texte. Herausgegeben von A. Schiefner, Mitgliede der Akademie. (Lu le 15 fevrier 1872.) St. Petersburg: Kaiserliche Akademie der Wissenschaften 1873. L, 113 S. (Memoires de l'Academie imperiale des Sciences de St.-Petersbourg, VII ser.,t. XIX, Nr 6) Rez.: Revue critique 8.1874, II, 1-3 (G. P.)
 * 145   Leopold Radioff's Wörterbuch der Kinai-Sprache. Herausgegeben von A. Schiefner. (Lu le 5 mars 1874.) St. Petersbourg: Academie imperiale des sciences 1874. X, 33 S. (Memoires de l'Academie imperiale des Sciences de St.-Petersbourg, VII ser., t. XXI, Nr 8) X, gez.: St. Petersburg, den 6. (18.) Mai 1874. A. Schiefner.
 * 146   Baron Gerhard von Maydell's Tungusische Sprachproben. Mitgetheilt von A. Schiefner. (Lu le 14 mai 1874.) Bulletin de l'Academie imperiale des sciences de St. Petersbourg 20.1875, Sp. 209-246 14 / 26 Mai 1874. Melanges asiatiques 7.1873/76, 323-377
 * 147   Tungusische Miscellen. Von A. Schiefner. (Lu 15 octobre 1874.) Bulletin de l'Academie imperiale des sciences de St. Petersbourg 20.1875:2, Sp. 247-257 15/27 October. Melanges asiatiques 7.1873/76, 378-394
 * 148   Zur buddhistischen Apokalyptik. Von A. Schiefner. (Lu le 3 decembre 1874.) Bulletin de l'Academie imperiale des sciences de St. Petersbourg 20.1875, Sp. 379-387 3 /15 December 1874. Melanges asiatiques. 7.1873/76,416-428
 * 149   Bharatae responsa tibetice cum versione Latina ab Antonio Schiefner edita. Viro illustrissimo Victori Bouniakowsky Imperialis Academiae Scientiarum Petropolitanae praesidis vices geranti diem XIX (XXXI) mensis Maii A. MDCCCLXXV quo die ante hos quinquaginta annos matheseos doctor ab  Academia parisiensi renunciatus est venerabunda gratulatur Imperialis Academiae Scientiarum Petropolitanae classis historico-philologica. Petropoli, typis Imperialis Academiae Scientiarum MDCCCLXX. IV, 46 S. 4° IV gez.: Petropolidie 4(16) mensis Maii 1875. Rez.: Jenaer Literaturzeitung 2.1875,423 (D. D. Whitney)
 * 150 [Rez.] Fu pen hing tsi king. The romantic legend of Säkya Buddha: from the Chinese-Sanskrit. By Samuel Beal. London: Trübner & Comp. 1875. XII, 395 S. Jenaer Literaturzeitung 1875:24, S. 423 ff.
 * 151 Mahäkätjäjana und König Tshanda-Pradjota. Ein Cyclus buddhistischer Erzählungen. Mitgetheilt von A. Schiefner. (Lu le 2 Septembre 1875.) St. Petersburg 1875. VIII, 67 S. (Memoires, VII ser., t. XXII, Nr 7) Vorwort, VIII, gez.: St. Petersburg, den 19 (29.) October 1875.
 * 152 Indische Künstleranekdoten. Von A. Schiefner (Lu le 25 novembre 1875.) Bulletin de l'Academie imperiale des sciences de St. Petersbourg 21.1876, Sp. 193-197 25 Novembre / 7 Decembre 1875. Melanges asiatiques 7.1873/76, 519-525
 * 153  Indische Erzählungen. [1-47.] Bulletin de l'Academie imperiale des sciences de St. Petersbourg 21.1876, Sp. 433-493 (Lu le 17 fevrier 1876.); 22.1877, Sp. 123-138; 23.1877, Sp. 1-70, 529-565; 24.1878, Sp. 449-508 (Lu le 18 octobre 1877) Dass.: Melanges asiatiques 7.1876, 673-760, 773-795; 8.1876/81, 89-188, 281-333,449-534
 * 154   Über Pluralbezeichnungen im Tibetischen. Von A. Schiefner. (Lu le 20 septembre 1877.) St. Petersburg: Academie imp. des sciences 1877. 17 S. (Memoires de 1'Academie imperiale des sciences de St. Petersbourg, VII ser., t.XXV,Nrl)
 * 155   Alexander Czekanowski's Tungusisches Wörterverzeichniss. Herausgegeben von A. Schiefner. (Lu le 26 avril 1877.) Bulletin de l'Academie imperiale des sciences de St. Petersbourg 24.1878, Sp.89-146 26 Avril / 8 Mai 1877. Melanges asiatiques 8.1881, 335-416
 * 156   Über Vasubandhu's Gäthäsamgraha. Von A. Schiefner. (Lu le 3 avril 1878.) Bulletin de l'Academie imperiale des sciences de St. Petersbourg 25.1879, Sp. 69-94 3/15 Avril 1878. Melanges asiatiques 8.1876/81, 559-593
 * 157   Über eine tibetische Handschrift des India Office in London von A. Schiefner. (Lu le 23 janvier 1879.) Bulletin de l'Academie imperiale des sciences de St. Petersbourg 25.1879, Sp. 321-333

 * 158a The languages of the Caucasus. Transactions of the Philological Society 1877-8-9. London, Strasburg 1879, 593-602
 * 158  Über das Bonpo-Sütra: «Das weisse Näga-Hunderttausend.» Von A. Schiefner. (Lu le 18 Septembre 1879.) St. Petersbourg: Academie Imperiale des Sciences 1880. IV, 86 S. (Memoires de l'Academie imperiale des Sciences de St.-Petersbourg VII ser., t. XXVIII, Nr 1) Vorwort, IV, gez.: St. Petersburg, den 15. September 1880. W. Grube
 * 159   Tibetan tales derived from Indian sources. Translated from the Tibetan of the Kahgyur by F. Anton von Schiefner, and from the German into English by W. R. S. Ralston, M.A. With an introduction. New edition with a preface by C. A. F. Rhys Davids, D.Litt., M.A. London: Trübner & Co. 1882. XV, 368 S. (Trübner's Oriental series.)
 * 160   Kalewala, das National-Epos der Finnen, nach der zweiten Ausgabe ins Deutsche übertragen von Anton Schiefner. München: Georg Müller Verlag 1914. VIII, 482 S.
 * 161   Kalewala, das National-Epos der Finnen. Übertragung von Anton Schief ner. Bearbeitet und durch Anmerkungen und eine Einführung ergänzt von Martin Buber. 3. Tausend. München: Meyer & Jessen Verlag [1922 ?]. XX, 355 S. OHLdr Vorwort zu dieser Ausgabe, [V] gez.: Heppenheim an der Bergstraße, Ende 1921. Martin Buber.
 * 162   Tibetanische Märchen. In das Deutsche übertragen von Maria Leitner. 1.-3. Tsd. Berlin: Juncker Verlag (1923). 224 S. [Übersetzungen von I. J. Schmidt, A. Schiefner, gekennzeichnet durch, sowie 3 Märchen aus Captain O'Connors Sammlung.]
 * 163   Tibetan tales derived from Indian sources. Translated from the Tibetan of the Kahgyur by F. Anton von Schiefner, and from the German into English by W. R. S. Ralston, M.A. With an introduction. New edition with a preface by C. A. F. Rhys Davids, D.Litt., M.A. London: George Routledge & Sons 1925.
 * 164    Kalewala, das National-Epos der Finnen. Übertragung von Anton Schiefner. Bearbeitet und durch Anmerkungen und eine Einführung ergänzt von Martin Buber. 5. Tausend. Verbesserte Neuausgabe. Berlin: Lambert Schneider [1927]. XX, 355 S. OHLdr Vorwort zu dieser Ausgabe, [V] gez.: Heppenheim an der Bergstraße, Ende 1921. Martin Buber.
 * 165   Ghoshal, U. N.; N. Dutt (Übers.): Täranäth's History of Buddhism in India. Translated from the German version of A. Schiefner. Indian Historical Quarterly 3.1927, 508-510, 803-807; 4.1928,530-533; 5.1929,715-721; 6.1930,334-344; 7.1931, 150-160; 8.1932,247-252; 10.1934,551-559.
 * 166   Heldensagen der Minussinschen Tataren. Rhythmisch bearbeitet von Anton Schiefner. Friedrichsegen/Lahn: Folkwang-Auriga-Verlag 1929. LXII, 142 S. (Kulturen der Erde: Abteilung Textwerke.)
 * 167   Kullerwo. Ein finnisches Heldenlied aus dem Kalewala. Ins Deutsche übertragen von Anton Schiefner. Bearbeitet und herausgegeben von Heinz Flügel. Berlin: Verlag Die Rabenpresse (1939). 71 S. (Die Kunst des Wortes. 12/13.) Satz und Druck der Offizin Haag Drugulin in Leipzig. 67-70: Nachwort, gez.: H. F. 71 : Erklärung der Namen Veränderte Neuausgabe.
 * 168   Kalewala. Das Nationalepos der Finnen in der Übertragung von Anton Schiefner. Erster -Zweiter Band. Berlin: Lambert Schneider [1942]. XVIII, 396, 381 S. Gedruckt in der Offizin Poeschel & Trepte, Leipzig
 * 169   Gold Khan [and other Siberian legends]. Translated by Norman Cohn. Preface by Arthur Waley [S. 7-8]. (London:) Secker & Warburg 1946. 180 S.
 * 170   Kalevala. Das Nationalepos der Finnen. Nach der zweiten Ausgabe ins Deutsche übertragen von Anton Schiefner 1852, in neuer Übersetzung durch Dagmar Welding. Stuttgart: Philipp Otto Röhm Verlag 1948. 689 S.
 * 171    Kalevala. Das Nationalepos der Finnen. Nach der zweiten Ausgabe ins Deutsche übertragen von Anton Schiefner 1852. In neuer Übersetzung durch Dagmar Welding. Stuttgart: Philipp Otto Röhm Verlag (1964). 692 S.
 * 172   M. A. Castren: Grammatik der samojedischen Sprachen. With a foreword by Peter Hajdü. Bloomington, The Hague 1966. 8, XXIV, 608 S. (Indiana University Publications. Uralic and Altaic Series.53) Herausgegeben von Anton Schiefner. Reprinted [from the edition published as part of Castren's Nordische Reisen und Forschungen, 1854.]
 * 173  Kalevala. (Das Nationalepos der Finnen.) Nach der deutschen Übertragung von Anton Schiefner und Martin Buber. Neubearbeitet und mit einem Nachwort versehen von Wolfgang Steinitz. Illustrationen Bert Heller. Rostock: VEB Hinstorff 1968. 408 S. 4° Auf 12438 Runen gekürzt.
 * 174   Tibetan tales derived from Indian sources. Translated from the Tibetan of the Kahgyur by F. Anton von Schiefner, and from the German into English by W. R. S. Ralston, M.A. With an introduction. New edition with a preface by C. A. F. Rhys Davids, D.Litt., M.A. Norwood, PA: Norwood Editions 1975. LXV, 368 S. Reprint of the 1882 ed. published by J. R. Osgood, Boston.
 * 175   Tibetan tales derivedfrom Indian sources. Translated from the Tibetan of the Kahgyur by F. Anton von Schiefner, and from the German into English by W. R. S. Ralston, M.A. With an introduction. New edition with a preface by C. A. F. Rhys Davids, D.Litt., M.A. Folcroft, PA: Folcroft Library Editions 1976. LXV, 368 S. Reprint of the 1882 ed. published by J. R. Osgood, Boston.
 * 176   Kalevala. Das Nationalepos der Finnen. (Aus dem Finnischen nach der deutschen Übertragung von Anton Schiefner und Martin Buber. Neubearbeitet von Wolfgang Steinitz. Mit einem Nachwort von Richard Semrau.) Leipzig: Reclam 1984. 386 S. (Reclams Universal-Bibliothek. 1030.)
 * 177   Sampo und Kullervo. Aus dem Kalevala. Illustriert von Osmo Niemi. (Rostock:) Hinstorff Verlag 1985. 156 S.
 * 178   Kalevala. 41. Gesang. Mit 4 Farbholzschnitten von Archibald Bajorat. Koblenz: Edition Plato 1985. 10 Bl. auf Bütten. 4° (Kalevala-Presse. 1.)
 * 179   Kalevala. 45. Gesang. Koblenz: Edition Plato 1987. 24 ungez. Bl. 4° Mit 4 ganzseitigen Farbholzschnitten von Archibald Bajorat. (Kalevala-Presse.2.)
 * 180   Buddhistische Triglotte. A Sanskrit-Tibetan-Mongolian glossary. A Xylographie print from Mongolia preserved in the Baron Schilling von Canstadt collection. Reproduced with a German foreword by Franz Anton Schiefner in 1859. [Reprint.] New Delhi: Ngawang Topgay 1987. 79 S.
 * 181    Tibetan tales, derived from Indian sources.  Translated from the Tibetan of the Kah Gyur by F. Anton von Schiefner and from the German into English by W. R. S. Ralston. With an introduction. New edition with a preface by C. A. F. Rhys Davids. Delhi: Sri Satguru Publ. (1988). LXV, 368 S. (Bibliotheca Indo-Buddhica.52.)
 * 182   Tibetan tales derived from Indian sources. Translated from the Tibetan of the Kahgyur by F. Anton von Schiefner, and from the German into English by W. R. S. Ralston, M.A. With an introduction. New edition with a preface by C. A. F. Rhys Davids, D.Litt., M.A. Taipei: SMC (1990). XLV,368 S.
 * 183    Kalewala. Das Nationalepos der Finnen. Nach der zweiten Ausgabe ins Deutsche übertragen von Anton Schiefner. München: Säur (1990–1994). (Bibliothek der deutschen Literatur: Mikrofiche-Gesamtausgabe nach den Angaben des Taschengoedeke. Eine Edition der Kulturstiftung der Länder. 16888.)
 * 184   The Bible of Tibet: Tibetan tales from Indian sources. Translated from the Tibetan of the Kahgyur by F. Anton von Schiefner and from the German into English by W. R. S. Ralston. New edition, with a preface by C. A. F. Rhys Davids. London, New York, Bahrain: Kegan Paul (2003). XLV, 368 S. (The Kegan Paul Library of Religion and Mysticism.)

title: Franz Anton Schiefner


text:
Mystère (Cirque du Soleil)

Mystère (,, "mystery") is one of six resident Cirque du Soleil shows in Las Vegas, Nevada. Held in a custom theatre at the Treasure Island Hotel and Casino, the show was first performed on 25 December 1993, making it the company's longest running show. As with many Cirque du Soleil productions, Mystère features a mixture of circus skills, dance, elaborate sets, opera, worldbeat music, and street theatre-style comedy. Featuring a musical score composed by René Dupéré and Benoît Jutras, the show was created under the direction of Franco Dragone.

History
The idea for Mystère started around 1990. It was originally planned for Caesars Palace with a theme based on Greek and Roman mythology. The plan, however, was scrapped by the casino executives, who thought the project would be too financially risky. Mystère was very different from the typical material they were used to in a Las Vegas show. According to Mystère set designer Michel Crête, "Vegas... was still very influenced by Folies Bergère, with the scarves, feather boas, etc. There was a European culture already in place, oddly enough, not an American one. The people who opened the door for something new were Siegfried and Roy. They were the first to move away from the Folies Bergère thing."

Treasure Island picked up the show three years later. Mystère was their first show that would have its own theater, rather than touring with a circus tent. Mystère would have a permanent base in Las Vegas. They worked with The Mirage hotel to produce a show.

Recent milestones Mystère has achieved include:
 * Mystère celebrated their 20th anniversary on 25 December 2013
 * Mystère celebrated their 10,000th show on 27 December 2014.
 * Mystère celebrated their 11,111th show on 17 May 2017.

Set and technical information
The theater is a unique theater built in the Treasure Island Hotel and Casino specifically for the show. The design of the theater was created by Michel Crête and that of Montreal-based team of Scéno Plus. This theater seats 1,541 audience members. The stage measures 120 feet by 70 feet deep and covers approximately 10,032 square feet. The stage floor is made of a layer of Base Mat, which is rubber made from recycled old tires and sneakers. This helps give the stage some bounce for tumbling. This is held together by polyurethane adhesive and covered with thousands of gallons of liquid that dries onto the surface. The Downstage D Lift is 36 feet in diameter and includes a 28-foot revolving stage. The revolving stage rotates up to 10 revolutions per minute. Props, equipment, and performers are elevated to stage level from the basement or trap by four moving lifts. These moving lifts were constructed in Montreal and then assembled in Las Vegas, NV.

The snail seen growing larger throughout the show is called Alice. By the end of the show, she is a giant inflatable puppet controlled by four puppeteers from the inside. The puppeteers move her around by following markings on the floor, since they can not see outside the puppet. They also control her eyes, torso, and tail.

The taiko drums in Mystère are created by the Japanese company Asano Taiko, located in Mattō, Ishikawa Prefecture. The largest drum in Mystère is the ōdaiko, which is 6 ft in diameter and 15 ft in length, and weighs half a ton. Due to the large size of the drum, it had to be brought into the theatre during construction. Since the completion of the theatre the drum can not be removed, as no door is large enough to accommodate it.

Characters
The cast of Mystère comprises a myriad of fantastic and mysterious characters. All this information was confirmed by Mystère's artistic director from 1995 to 2001: Pavel Brun.
 * Inti X & Y (Spermatos/Spermatites): A comic chorus representing the seeds of life.
 * Red Bird: Convinced he can fly. According to Pavel Brun, he is the main character in the entire narrative of Mystère's universe.
 * Les Laquais: The "lackeys" of Mystère who serve and support others. They perform in the Korean plank act.
 * Brian Le Petit: A troublemaker who steals people's popcorn and causes chaos both onstage and off. (2000–present)
 * Chanteuses Plumes: A duo of muses who sing the emotion of all humans.
 * The Firebirds: Along with the Double Faces, they perform the Chinese pole act.
 * Les Bébés: Two enormous babies on a quest for nourishment. There's Big Baby (also known as Bébé François) and the Baby Girl. There was a third baby for a short period, similar to Francois, who was a part of the original 1993 cast, until his eventual removal in Mid-1994. All the babies carried some object of their own: Baby François carried a red ball, baby girl carried a miniature Alice and the third baby that lasted from 1993 to 1994 carried a puppet of Tony, who came to life as a performer.
 * Egon Egli: A strange, lanky, bespectacled youth who would get into childish antics during the performance. No longer in the show.
 * La Vache à lait: Protector of youth and a symbol of fertility. When he sounds his horn, it heralds a new beginning.
 * Moha-Samedi: A man in pink, named after the first day of the new millennium. He is the narrator no one listens to, he was originally portrayed by Canadian actor Paul Ahmarani and later by Lorenzo Pisoni and Nicky Dewhurst.
 * La Belle: Afraid of ugliness, she seeks to avoid pain at all costs.
 * Black Widow: The antithesis of La Belle. She represents a praying mantis who destroys the illusions and dreams of her victims. Originally portrayed by Katie Renauld
 * Birds of Prey: These unpredictable birds soar and fly throughout the world of Mystère. They are graceful, yet aggressive when hungry. Originally portrayed by Lejdka Zievert and Mark Ward
 * The Frog: Creepy characters witness to the strength of birth and time.
 * The Green Lizards: Mischievous and skittish chameleons. There is the Male Chameleon and the Female Chameleon (who are not present in the show anymore). The Male Chameleon was originally portrayed by Karl Baumann
 * Double Faces: These two-faced creatures perform in the Chinese pole act.
 * Les Palmiers: Out of a purple-blue mist, these tropical ladies float by.
 * Deus ex machina: The machine that regulates the existence of everything.
 * The Tribe (Les Pagnes): The primitive, tragic ghosts of modern humanity. They descend from the skies to provide the earthly beat of our journey. They welcome us, and they bid us farewell. They perform in Taïko
 * Monarch Bird: A male bird introduced in 2022 as backup dancing character.
 * The Prince of the Darkness: The prince of the dark side of Mystère, performed by Miguel Godreau; he would perform in the show, but never participate in the premiere due to complications from HIV.
 * La Banane: A yellow creature with a large, bulbous head that performed with some artists from 1993 to 1995; no longer in the show. originally appeared on the Net-Up set, before Flying Trapeze.
 * The Shaman: A mysterious man who creates the sounds of the world; no longer in the show. Originally portrayed by Luis Perez
 * Bungee Warriors: A duo of muscle men able to fly in the air.
 * The Jugglers: A trio of jugglers that performed the Manipulation act from 1993 to 1995; no longer in the show.
 * The Cube Man: Exhibiting great strength and courage, he captures the attention of young souls in search of wonder.; no longer in the show. Originally played by Mikhail "Misha" Matorin, and later Paul Bowler
 * The Mountain Man: An archangel who is ready to sacrifice everything. Originally known as Gabriel.
 * Mephisto and Vénus: Part of the Giants race, they are thwarted, twisted creatures. Their presence wreaks havoc in any domain. Together they want to create chaos and destroy the balance that exists within the world of Mystère.
 * The Giants: A gentle race with feathers and long legs. There's the happy-go-lucky Pumpkin Giant, the grumpy Fly Giant, the magnificent Giraffe Giant, the rare Plume Giant (no longer in the show) and the Egg Giant, a delicate interior inside a protective shell.
 * The Yellow Bird: A kind of playful dwarf. Performs handbalancing since 1998, Originally played by Stas Greyner.
 * The Medusa: A long-appendaged creature that was part of. the original cast between 1993 and 1995; no longer in the show. Appeared among the smoke and disappeared among the shadows, performed during the Net-Set Up.
 * The Wheel Rider: A character who performed the German Wheel act from 1995 to 1997; no longer in the show. Originally played by Wolfgang Bientzle.
 * The Green Man: A curly-horned creature similar to a Satyr that was part of the cast from a short period in 1997, no longer in the show. Originally portrayed by Guennadi Tchijov, who joined the show after Saltimbanco had ended in 1997. After the announcement of Saltimbanco's return a year later, Tchijov left, and Sebastian Coin took his place and reprised the role of Yellow Bird in the Handbalancing act, which he still performs today.
 * The Toy: A living doll who was from the third baby and magically came to life as a performer, he was the original Handbalancer of the Chinese Poles act that was part of the original cast between 1993 and 1994, Originally portrayed by Tony Manducas; no longer in the show.
 *  The Zucchinis: Two inflatable marionettes only used in the Net Set-up for the original trapeze act; no longer in the show.
 * The Egg: An egg-like creature who appeared sometimes during the Overture and Bungee acts from 1993 to 1995; no longer in the show. Originally portrayed by Jean François Rougemont.
 * Alice the Escargot: An enormous snail. Born from a spring rain, carrier of the souls of the ancestors and herald of the future.
 * The Bungees: Like majestic birds in flight, the Bungees dive fearlessly through the air, creating images of unison and separation.
 * Benny Le Grand: Mystère's original clown, who was a bitter old man, often mocking the show and disrupting it with his dangerous antics. (1993 - 1995, 1996 - 2000)
 * Alex El Sobrino: Benny Le Grand's Spanish nephew, who was much younger. (1998 - 2000)
 * Alfredo et Adrenaline: A comedic duo of clowns who had previously appeared in Le Cirque Reinventé's European tour, and the special Zirkus Knie show. (1995 - 1996)
 * Lucky: A Pyrotechnic obsessed clown who briefly replaced Benny Le Grand. He was a somewhat absent minded character modeled after Vaudevillian performers like Buster Keaton and Harold Lloyd that often got into surreally comical situations involving a shoddily made Pogo Stick and a fire breathing Dog House. Originally portrayed by Jonah Logan. (1997)

Acts
Mystère features several acrobatic acts, supplemented by clown acts and transitional scenes that advance the storyline.
 * Aerial Straps Duo (2017 – present): A pair of aerialists performs twists and turns as they fly over the stage.
 * Chinese Poles and Hand Balancing (2012–present): A group of acrobats climb up, jump between, and slide down four adjacent metal poles while an acrobat contorts into poses on two balancing canes on a platform above the Chinese poles.
 * Hand-to-Hand (1993 – present): Two artists perform an exhibition of strength and stamina on a rotating dome.
 * Bungee (1993 – present): A group of artists bounce and swing from the ceiling to the ground and back on bungees.
 * Teeterboard and Power Track (2017–present): Artists perform a combination of these two skills.
 * Taiko (1993 – present): A group of artists perform powerful rhythms on Japanese taiko drums.
 * Flying trapeze (2012 – present): Unlike the original version where two separate trapeze towers were surrounded by a platform on one side and an aerial cradle on the other, the current version has a platform on either side. Each trapeze tower now has two trapeze bars swinging beside each other. The act and music were originally from Zed (a resident show at Tokyo Disney Resort) which closed in 2011.

Reserve acts
On reserve for the aerial straps duo; features a single artist on straps with the Black Widow or La Belle performing choreography on stage.
 * Aerial Straps (1994, 2002 – present)

 * German Wheel (1995 - 1997)

Retired acts

 * Manipulation (1993 - 1995)
 * Flying Trapeze (1993 - 1995)
 * German Wheel (1995 - 1997)
 * Dual High Bar (1996 - 2012)
 * Flying Man in Silk (1997)
 * Aerial Cube (1996, 1998 – 2015)
 * Chinese Poles (1993 - 2011)
 * Trampoline, Fast Track, and Korean plank/Teeterboard (1993 - 2017)
 * Aerial Straps and Cube (2016 – 2017)
 * Aerial Silk (2012 – 2017)

Acts used in the film Cirque du Soleil: Journey of Man (2000)

 * Taiko
 * Aerial cube
 * Aerial straps

Acts used in the film Cirque du Soleil: Worlds Away (2012)

 * Aerial cube

Costumes
Dominique Lemieux took inspiration from nature to create the colorful costumes of Mystère. One such costume is the Firebird, which has red feathers and accents that give the impression of embers flying through the air. The odd-looking Spermatos and Spermatites are dressed in elongated costumes which bulge in the center and have a tendril-like feature on the head. To give the characters an organic nature, spandex/lycra was used in conjunction with fringes and borders.

Music
The original score of Mystère was composed by René Dupéré, who had composed all of Cirque du Soleil's earlier shows, including Nouvelle Expérience and Saltimbanco. In 1994 the show's music was released as a studio album featuring the vocals of Canadian singers Élise Gouin (now known as Élise Velle) and Nathalie Gauvin.

In 1995 the show underwent an artistic overhaul, including changes in the lineup of acts. The "Manipulation" act was replaced by the "Aerial Cube", the Flying Trapeze act by the Aerial High Bars (the Flying Trapeze returned in 2012), and the Acro Net setup dance act was excluded from the show. At the same time the musical score was renovated with assistance from Benoît Jutras, a longtime music director and arranger for Cirque who later went on to compose for Quidam and other Cirque shows. The result, captured in the album Mystère: Live in Las Vegas, was a score that reflects the diverse compositional styles of both composers. Mystère: Live in Las Vegas is a live, in-house recording of the new score, featuring Nathalie Gauvin and Wendy Talley on vocals; the album was released on November 12, 1996. After the release of the live album, the music was rearranged and altered once again. While the album resembles the current live music closely, it is not identical. For the celebration of the 25th anniversary of the show in 2018, a vinyl album specifically dedicated to the employees was created in limited quantities, just as it was done for the show Alegria in 1994 and Saltimbanco in 1997.

Below are the track lists for the 1994, 1996 and 2018 Mystère soundtrack albums. Acts are listed next to the songs they have accompanied in the show.

 * 1994 studio album
 * 1) Égypte (Chinese poles intro)
 * 2) Rumeurs (Manipulation, 1993 - 1995)
 * 3) Birimbau (Flying Trapeze, 1993 - 1995)
 * 4) Kunya Sobé (Bungee pt. 2 (1993 - 2012, 2018–2022), complete Bungee act (2012–2017) )
 * 5) En Ville (Trampoline, fast track/power track, Korean plank/teeterboard)
 * 6) Ulysse (Hand-to-hand (1993 - present) Main à Main (1993 - 1995; 1996 - 1998) Solo Aerial Straps (1994) )
 * 7) Rondo (Chinese poles and Handbalancing)
 * 8) Caravena (Interlude (Set Up for Flying Trapeze), 1993 - 1995)
 * 9) Kalimando (Aerial silk (2012 - 2017), Bungee pt. 1 (1993 - 2012, 2018 - present) )

 * 1996 live album (Live in Las Vegas)
 * 1) Ouverture/Ramsani (Opening 1993 - present)
 * 2) Misha (Aerial cube (1996 - 2015), Solo Aerial Straps (2002 - 2015), Flying Man in Silk (1997), Duo Aerial Straps (2018 - Present) )
 * 3) Égypte (Chinese poles intro 1993 - present)
 * 4) Rondo/Double Face (Chinese poles and Handbalancing 1993 - present)
 * 5) Ulysse (Hand-to-Hand (1993–present) Main à Main (1993 - 1995; 1996 - 1998) Solo Aerial Straps (1994) )
 * 6) Dôme (Interlude from Hand-to-Hand)
 * 7) Kalimando (Aerial silk (2012 – 2017), Bungee pt. 1 (1993 - 2012, 2018–present) )
 * 8) Kunya Sobé (Bungee pt. 2 (1993 - 2012, 2018 - 2022), complete Bungee act (2012 - 2017) )
 * 9) En Ville/Frisco (Trampoline (1993 - 2016), Fast Track/Power Track, Korean Plank/Teeterboard (1993 - 2017) )
 * 10) Gambade (Finale interlude (1993 - 1995) Dance interlude and Dei ex Machina (1993 - 2017) )
 * 11) High Bar (Dual high bar (1996 - 2010), Intro to dual high bar (2010 - 2012) )
 * 12) Taïko (Taiko drumming)
 * 13) Finale (Finale, 1996 - Present)

 * 2018 vinyl live album (twenty-five LIVE)
 * 1) Ouverture/Ramsani (Opening 1993 - present)
 * 2) Misha (Duo Aerial Straps, 2018 - present)
 * 3) Égypte (Chinese poles intro 1993 - present)
 * 4) Rondo/Double Face (Chinese poles and Handbalancing 1993 - present)
 * 5) Ulysse (Hand-to-hand (1993 – present) Main à Main (1993 - 1995; 1996 - 1998) Solo Aerial Straps (1994) )
 * 6) Dôme (Interlude from hand-to-hand)
 * 7) Kalimando (Aerial silk (2012 – 2017), bungee pt. 1 (1993 - 2012, 2018–present) )
 * 8) Kunya Sobé (Bungee pt. 2 (1993 - 2012, 2018 - 2022), complete Bungee act (2012 - 2017) )
 * 9) Convergence (Teeterboard and power track (2017 – present) )
 * 10) Rogue (Planche Dance interlude and Dei ex Machina (2017–present) )
 * 11) Fiesta (originally from Zed) (Flying Trapeze, 2012–present)
 * 12) Strike of the Net (Set-Up to Taiko drumming)
 * 13) Finale (Finale, 1996 - Present)

Songs not appearing on either album:
 * Alice (Ending, 1993 - 1995. Updated version of song right after "Finale," 1995 - present)
 * Benny (Clown act, 1996 – present)
 * Mime (Clown act, 1995 - 1996)
 * Bolero (Clown act, 1995 - 1996)
 * Benny Le Grand (Clown act, 1993 - 1995)
 * Cercles (German Wheel, 1995 - 1997)
 * High Bar II (Dual high bar, 2010 - 2012)
 * Avos (Bungee, 2022 - Present)
 * Hell/Angel (Dei ex machina, 1993 – present)
 * Rampant (Chineses poles Exit)
 * Nouvel Envol (Aerial cube, 2015 - 2017) (Solo Aerial Straps, 2015–present) (Duo Aerial Straps, 2017 - 2018)
 * Love Over (Duo Aerial Straps, 2018 - present)

Singer 1 Singer 2 Singer 3
 * Vocalists:
 * Nathalie Gauvin: Dec 1993 - Dec 2005
 * Jeannette D' Armand: 2000 (temporarily replaced Nathalie Gauvin)
 * Mirjana Milovanovic: Jan 2006 - Jul 2007
 * Sarah Boucher: Jul 2007 - Sep 2009
 * Silje Marie Norderhaugh: Sep 2009 - Jan 2013
 * Anna Bille: Jan 2013 - Dec 2014, Oct 2017
 * Kailee Ann: Dec 2014 - Aug 2017
 * Mackenzie Thomas: April 2018 - Present
 * Elise "Gouin" Velle: Dec 1993 - Sep 1994
 * Wendy Talley: Sep 1994 - Dec 1997, 1998 (temporarily replaced Chantal Hamel)
 * Chantal Hamel: Dec 1997 - Jul 1999
 * Stacey Beth Sanford: Jul 1999 - Dec 2000
 * Dina Emerson: Jan 2001 - Jan 2002, Apr 2007 - Jun 2017
 * Rochelle Collins: Jan 2002 - Jul 2003, Oct 2003 - May 2007
 * Briana Rossi: Jun 2017 - July 2021
 * Brittany Avey: July 2021 - Present
 * Luis Perez: Dec 1993 - Jul 1996

In popular culture

 * Mystère was a featured guest performance on Lopez Tonight, airing December 20, 2010. The featured acts included the hand-to-hand and aerial cube acts.
 * In the film Knocked Up, the main characters watched Mystère.
 * In the webseries Dorm Life, the character Courtney Cloverlock, a huge Cirque du Soleil fan, has posters of both Mystère and Love by her bed.
 * Yuji Naka, creator of the video game Nights into Dreams…, has cited Mystère as an inspiration for the game.
 * Mystère did a performance collaboration with alternative rock band Imagine Dragons for the Life is Beautiful Festival.

title: Mystère (Cirque du Soleil)


text:
Douglas D-558-1 Skystreak

The Douglas Skystreak (D-558-1 or D-558-I) was an American single-engine jet research aircraft of the 1940s. It was designed in 1945 by the Douglas Aircraft Company for the U.S. Navy Bureau of Aeronautics, in conjunction with the National Advisory Committee for Aeronautics (NACA). The Skystreak was a turbojet-powered aircraft that took off from the ground under its own power and had unswept flying surfaces.

Development
The D558 program was conceived as a joint NACA/U.S. Navy research program for transonic and supersonic flight. As originally envisioned, there would be three phases to the D558 program: a jet-powered airplane, a mixed rocket/jet-powered configuration, and a design and mockup of a combat aircraft. A contract for design and construction of six D558-1 aircraft for the first phase was issued on 22 June 1945. The original plan had been for six aircraft with a mixture of nose and side air inlets and varying wing airfoil sections. That plan was quickly reduced to three aircraft of a single configuration with a nose inlet. Plans for the second phase with mixed rocket/jet propulsion were also dropped. Instead, a new aircraft, the D558-2, was designed with mixed rocket and jet propulsion for supersonic flight.

Construction of the first 558-1 began in 1946 and was completed in January 1947. The fuselage used lightweight, high strength HK31 magnesium alloy extensively, while the wings were fabricated from more conventional aluminum alloys. The airframe was designed to withstand unusually high loads of up to 18 times gravity due to the uncertainties of transonic flight. The forward fuselage, including the cockpit, could be jettisoned from the aircraft in an emergency. The aircraft was configured to carry more than 500 lb of test equipment, including sensors (such as strain gauges and accelerometers) in 400 locations throughout the aircraft. One wing was pierced by 400 small holes for the pressure measurements required for calculating airloads.

The Skystreaks were powered by one Allison J-35-A-11 engine (developed by General Electric as the TG-180) — one of the first axial-flow turbojets of American origin — and carried 230 US gallons (871 L) of jet fuel (kerosene).

Operational history

All the Skystreaks were initially painted scarlet, which led to the nickname crimson test tube. NACA later had the color of the Skystreaks changed to white to improve optical tracking and photography. The first of three D-558-1 Skystreaks, BuNo 37970, made its maiden flight on 14 April 1947, at Muroc Army Air Field (later named Edwards AFB). Less than 4 months later, on August 20, this aircraft with Commander Turner Caldwell, USN, reached 640.744 mph flying D-558-1 #1. This was recognised as an official world air speed record, as the World War II German Me 163B V18 Komet rocket fighter prototype that was claimed to have reached 1130 km/h in July 1944 did so in secrecy and not under the strict conditions that regulate official records (presence of FIA officials as observers, timed runs in two directions to cancel out wind speed, etc). The D-558-1 #1 Skystreak's record lasted 5 days, and was broken by then-Lieutenant Colonel Marion Carl, USMC, going 10 mph faster in D-558-1 #2, BuNo 37971. This aircraft was delivered to the NACA Muroc Flight Test Unit in April 1949 after 101 flights had been completed by the Navy, Air Force, and Douglas. This aircraft was never flown by the NACA. The D-558-1 #1 is located at the National Naval Aviation Museum at Naval Air Station Pensacola, Florida.

Following 27 flights by the Navy and Douglas the second D-558-1 aircraft was delivered to the NACA in November 1947. The D-558-1 #2 underwent extensive instrumentation by the NACA Muroc instrumentation section. The number 2 Skystreak made a total of 19 flights with the NACA before it crashed on takeoff due to compressor disintegration on May 3, 1948, killing NACA pilot Howard C. Lilly. The third D-558-I, BuNo 37972, aircraft was delivered to the NACA Muroc Flight Test Unit in 1949 after three Douglas test pilots and Howard Lilly had flown it. The number three aircraft took over the planned flight program of the D-558-1 #2. From the first flight in 1949 through 1953 the third Skystreak was flown in an intensive flight-research program by seven NACA test pilots, with a great deal of useful data collected on high-subsonic handling. The D-558-1 #3 made a total of 78 research flights with the NACA before being retired on June 10, 1953. The third Skystreak is on display at Carolinas Aviation Museum located at the Charlotte-Douglas International Airport (CLT) in Charlotte, North Carolina.

The Skystreak reached Mach 0.99 in level flight, but only flew supersonic in a dive. In the public mind, much of the research performed by the D-558-1 Skystreaks was quickly overshadowed by Chuck Yeager and the supersonic Bell X-1 rocket plane. However, the Skystreak performed an important role in aeronautical research by flying for extended periods of time at transonic speeds, which freed the X-1 to fly for limited periods at supersonic speeds.

Aircraft Bureau Numbers (BuNo) and status

 * D-558-1 Skystreak
 * D-558-1 #1 - BuNo 37970 NACA-140, 101 flights (retired to National Naval Aviation Museum, NAS Pensacola, Florida)
 * D-558-1 #2 - BuNo 37971 NACA-141, 46 flights (destroyed in crash, 3 May 1948)
 * D-558-1 #3 - BuNo 37972 NACA-142, 81 flights (retired to Carolinas Aviation Museum, Charlotte-Douglas International Airport, Charlotte, North Carolina)
 * D-558-1 #4, #5, #6 Additional aircraft originally ordered but later cancelled.

title: Douglas D-558-1 Skystreak


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Mitzpe Ramon

Mitzpe Ramon (מִצְפֵּה רָמוֹן, Ramon Lookout; متسبي رمون) is a local council in the Negev desert of southern Israel. It is situated on the northern ridge at an elevation of 860 meters (2,800 feet) overlooking the world's largest erosion cirque, known as the Makhtesh Ramon. In it had a population of.

History
Mitzpe Ramon was founded in 1951 as a camp for the workers building Highway 40. The town's first permanent residents, several young families from Kibbutz Re'im and other parts of Israel began settling there in 1956. After five years, the town was home to 370 residents including 160 children, most of them veteran Israelis. There were also 180 housing units to absorb new immigrants They were joined by immigrants from North Africa, Romania, and India in the 1960s, and it became the southernmost of the Negev's development towns.

Conditions in the early years were harsh, with limited food supplies and practically no modern-day amenities. Ice blocks and provisions were delivered once a week by a supply truck. There was a single school with one classroom for all ages. The homes of the first settlers were prefabricated asbestos barracks. Later, rows of small attached stone houses were built and after that, apartment buildings, beginning in the early 1960s.

On April 29, 1964, a Nord 2501D Noratlas (4X-FAD/044) of the IAF crashed into a mountain near Mitzpe Ramon, killing all nine occupants, including pilots Hagay Gilboa and Shlomo Tzlil. The crash is currently Israel's deadliest.

In 1972, Mitzpe Ramon had a population of about 1,400 people living in 300 households. The town further grew after Ramon Airbase was completed in 1982. In 1988, the town had a population of about 3,000, and it experienced more significant population growth when it absorbed Soviet immigrants during the 1990s post-Soviet aliyah.

Geology and climate
Ramon Crater, known as a makhtesh Ramon, is 38 km long, 6 km wide and 450 meters deep. Mitzpe Ramon's climate borders between hot desert climate and cold desert climate (Köppen climate classification: BWh/BWk), characterized by hot, dry summers and cold winters. There are moderate to strong winds all year long, caused by its location above the crater, which make Mitzpe Ramon feel much colder than it really is. Precipitation is scarce, concentrated around the winter months, with an annual precipitation amount of roughly 70 mm. Snowfall occurs on average once in a couple of years. Night frost occurs almost every winter.

Economy
The development of Mitzpe Ramon was adversely affected by the opening of Route 90 in the late 1960s. After the inauguration of this highway, traffic to and from Eilat bypassed Mitzpe Ramon almost entirely. However, growing interest in ecotourism, Jeep trekking (access to Nabatean ruins), mountain biking and hiking, stargazing and the upgrading of Route 40, which is considered a more scenic route to Eilat, have improved the economy.

Jerusalem Marble, one of a few major suppliers and overseas exporters of Jerusalem stone (established in 1923), inaugurated a state-of-the-art factory in Mitzpe Ramon in January 2000. Jerusalem Stone is exported globally.

Mitzpe Ramon has six hotels and dozens of bed and breakfast establishments. In 2011, the Isrotel hotel chain opened a luxury hotel, the Beresheet Hotel, in Mitzpe Ramon.

The Tourism Ministry allocated NIS 9.5 million for infrastructure development in Mitzpe Ramon, and the Ministry for the Development of the Negev and Galilee financed the construction of a landing strip for light aircraft. In December 2013, plans were proposed for a Las Vegas-style Casino in the town.

Local government
The previous mayor, Flora Shoshan, sister of former Israeli defense minister Amir Peretz and wife of the former mayor, Sami Shoshan, was voted out on October 23, 2013, and replaced by Roni Marom, in a landslide victory for Marom.

Music and culture
The Mitzpe Ramon Jazz Club hosts musical ensembles on the weekend. On weekdays, it operates as a music school. 'Me'ever', a hostel and event space, is in the artist quarter of Mitzpe Ramon.

title: Mitzpe Ramon


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Johan Gottlieb Gahn

Johan Gottlieb Gahn (19 August 1745 – 8 December 1818) was a Swedish chemist and metallurgist who isolated manganese in 1774.

Gahn studied in Uppsala from 1762 to 1770 and became acquainted with chemists Torbern Bergman and Carl Wilhelm Scheele. 1770 he settled in Falun, where he introduced improvements in copper smelting, and participated in building up several factories, including those for vitriol, sulfur and red paint.

He was the chemist for the Swedish Board of Mines from 1773 to 1817. He was very reluctant to publish his scientific findings himself, but freely communicated them to Bergman and Scheele. One of Gahn's discoveries was that manganese dioxide could be reduced to manganese metal using carbon, becoming the first to isolate this element in its metal form.

In 1784, Gahn was elected a member of the Royal Swedish Academy of Sciences. He also had a managerial career in Swedish mining.

title: Johan Gottlieb Gahn


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La Nouba

La Nouba was a Cirque du Soleil show that ran for 19 years in a custom-built, freestanding theater at Disney Springs' West Side at the Walt Disney World Resort in Lake Buena Vista, Florida. It was a contemporary circus performance featuring acrobats, gymnasts, and other skilled performers. The show's creation was directed by Franco Dragone, who also directed many of Cirque du Soleil's earlier shows. Its title derives from the French phrase faire la nouba, meaning "to party" or "to live it up".

The show was succeeded by Drawn to Life, which premiered on November 18, 2021.

History
On December 23, 1998, the entertainment company Cirque du Soleil premiered a contemporary circus production, La Nouba, in a new theater custom-designed and built for Cirque du Soleil in Downtown Disney (later renamed Disney Springs) at the Walt Disney World Resort. With an international cast of 67 artists, the show welcomed more than 1,650 spectators ten times a week. The show was Cirque du Soleil's third resident (non-touring) show created after Mystère and O in Las Vegas.

In 2007, 12 members of the power track act performed a routine during the pre-game show of Super Bowl XLI.

La Nouba reached a major milestone on July 10, 2009, during its 9pm showing—this was their 5000th performance. On August 13, 2011, during the 6pm showing, the show celebrated its 6000th performance. The show's 7000th performance was celebrated on September 12, 2013, at the 6pm showing. La Nouba celebrated its 15th anniversary on December 18, 2013, with a special appearance from Mickey Mouse and Minnie Mouse. This was the first time any Disney characters had appeared in the show.

La Nouba ended its 19-year run on December 31, 2017, to be replaced by a new Cirque du Soleil show. The show, Drawn to Life, premiered on 18 November 2021.

Set and technical information
The theater housing La Nouba was the first freestanding permanent structure built for Cirque du Soleil. The theater was designed by Michel Crête, Michel Aubé of Scéno Plus, Walt Disney Imagineering, and the architects of the Rockwell Group of New York. It could seat a total of 1,671 people per show. The building incorporated elements of fabric and tension reminiscent of the form of a circus tent.

The backdrop of the stage was a trellis measuring 60 x and made of PVC panels and scrim. The stage floor itself had five elevator lifts, each with a 3000 lb load capacity. These lifts could move at a rate of 1 ft/s and rise to a maximum height of 16 ft. The center stage lift, in addition to elevating, could also descend 16 ft below the stage on a second axis. Other movable set elements included the two téléphériques installed along the back wall which could transport acrobatic equipment, props, and scenery at a pace of 4 ft/s.

Four retractable power track floors were housed in the stage. Each floor weighed over 10000 lb and could move up to 2 ft/s. The trampoline bed was tighter and used the second generation of springs, allowing the performers to jump higher and faster down the track, which measured 60 ft in length. The trampolines consisted of two overlapping tracks, as seen in Alegría. The entire stage deck was layered with impact-resilient Mondo Sport Floor over wood in order to avoid injury.

The theater's immense height (ground level to fly height was 100 ft; ground level to top of the masts was 152 ft ) allowed the scenic and acrobatic equipment to be stored in the ceiling. As another first for Cirque du Soleil, the trapeze net was installed mechanically during the show with no visible stagehands as it was lowered into place from the ceiling.

Characters
In La Nouba there were two main character categories: the Cirques, or circus people, sporting bright, fluorescent colors; and the Urbains, or urbanites, who wore dark, muted colors or monochromatic costumes. As in every Cirque du Soleil show, in addition to the performances, there were several distinctive characters that participated in the show, sometimes as performers and sometimes as spectators. In La Nouba, these included:
 * L'Oiseau (The Green Bird): Out of her cage, this bird wants to fly, and is very marionettesque in her actions.
 * Les Cons (The Nuts): Dressed in all-white, these mischievous characters are the ever-present fools of the show.
 * Le Titan (The Titan): The show's resident "strong man" who confronts everyone on stage while contorting his body in unusual poses.
 * Le Promeneur (The Walker): Dressed in grey pinstripes with a small bowler hat, he sees the world through happiness.
 * Liama: A princess in the world of La Nouba who sings her joy and passion.
 * The Peacock Singer: A ambiguous character, dangerous and protective at the same time. He lives in height, perched at the top of the mountain, on the wall at the End of the World, where he sings the tale of all the action he sees from the sky, like a bird.
 * The Devil: Far away at the End of the World lives the Devil, who creates desire and fears into the hearth of lovers.
 * The Pierrot Acrobat: Agile and nimble, he appears as a red acrobat. He is the adversary of the Titan until he joins him in mutual admiration at the end of the show. He is part of the Red Pierrot family, themselves part of a larger group of individuals known as Les Cirques. He appears up on the mountain, on the wall at the End of the World, on the Rocks, at the heart of the action.
 * Les Danseurs (The Dancers): The Romeo and Juliet of the show. One is a Lost Ballerina, who looking for a purpose to her existence. She will find love and join the Cirques. The second is the Pierrot Clown, a lost soul in the dark city, who will find a purpose and motivation to evolve through his love for the Lost Ballerina.
 * Clowns:
 * Balto and Sergey (1998–2013): An unexpected clown duo directing people to their seats. Balthazar was originally created by Michel Deschamps in the 1970s and joined Cirque du Soleil's 1989-1990 American and European tours and Fascination in Japan in 1992. He also often made small appearances as Leonid Leykin's understudy during Alegría's 1997-1998 European tour. Sergei Shashalev also previously appeared in the latter.
 * The Pablos (2014–2017): Former Alegría clowns who joined this show in 2014.
 * The Prince: A noble prince transformed into a frog.
 * The Rag Doll: A rag doll left in the attic that will fly away for a while with The Walker through the door of her imagination.
 * The Jester: A Circus equilibrist performing during the birthday dinner scene.
 * Virginia, the Cleaning Lady: Also referred to as "La Femme de Ménage", she is shocked to be in this world and astonished by what goes on around her. She sweeps and dusts nonetheless until her dream becomes a reality.
 * The Automatons: Futuristic puppet-like creatures, originally part of the German Wheel and Skipping Rope act, no longer in the show.

Acts
The show contained the following acts:

 * Breakdancing: Josh Ortiz ("The Incredible Josh"), Jean Carlos Lloret ("Bebo"), and Dmytro Li ("Flying Buddha") performed routines that straddled the line between dance and acrobatics, with spins, flips and other tricks.
 * Aerial bamboo: Alexander and Ekaterina Abramov did a variety of tricks while hanging from a pole-shaped apparatus suspended from the ceiling. This act originated in China using bamboo poles, hence its name.
 * Diabolos: A children's toy with a circus twist, four young and very talented girls threw hourglass-shaped, giant yoyos in the air with help of a long line of string connected to two sticks that they held in each hand. The children flipped, rolled, and even skipped with the string while the spinning diabolo plummeted to the stage to be caught at the last second. Up to two diabolos were manipulated by each performer in this game of dexterity.
 * Cycles: Included one BMX cyclist and a mountain biker performing tricks on bicycles.
 * Aerial cradle: The aerial cradle looked like a door and was the setting for a demonstration of equal-opportunity strength and agility. This display featured elements of traditional circus aerial cradle but added a unique twist: the male and female artists took turns supporting one another, 34 ft above the stage.
 * Aerial ballet in silk: A solo male performer dangled above the stage using incredible strength to create multiple poses, while four female artists wrapped themselves in the long column of silk and then unwrapped themselves by spinning and flipping in this sky high ballet. This was the most dangerous act in La Nouba as it used no wires or support, only the artists' concentration.
 * Rola bola: A colorful performer built a tower of cylinders and pipes, all the while balancing on a board on top of it all. As his tower grew higher and higher, so did the risk and excitement; the acrobat juggled while on top of the shaky tower.
 * Flying trapeze: Four pendulum-like swings, on two different levels, carried a team of perfectly synchronized aerialists 53 ft above the stage.
 * Power track and trampoline: This high-energy spectacle had performers literally bouncing off the walls and through the windows and roof of a three-dimensional building. This seven-and-a-half minute act included athletes performing 394 flips and 62 twists.

Acts in rotation

 * Cyr wheel: This act was a backup act for aerial bamboo and was not commonly performed in the show.

Retired acts

 * Balancing on chairs: Featured a solo performer who hand-balanced on eight chairs stacked on a table. The chair stack rose 25 ft in the air. The area below the chairs and table rose via a platform raising the performer a full 41 ft above the stage. This act was originally created and performed by Vasily Demenchukov, who had previously performed a similar act in the Nouvelle Expérience. The act was then taken over by Rokardy Rodriguez in 2002, who kept performing until the entire act was replaced with Anthony Gatto's juggling act in 2010.
 * German wheel: Featured two performers inside of large double-hoops, manipulated by shifting their center of gravity. The performers would roll around obstacles, fall over spinning until they were almost flat on the ground then stand back up, and perform tricks with both performers in one wheel. This act was replaced by the jump rope act in 2010.
 * Juggling: Anthony Gatto juggled clubs, rings and balls. This act was replaced by the rola bola act in 2014.
 * Jump rope: A rebooted version of the young children's game, two expert skipping soloists were the centre of attention in this speedy act. In 2015, this act made way for the B-boys.
 * High wire: The entire act took place on a 90 ft-long high wire. Wire walkers ascended to a height of 34 ft above the stage, supported by a half-inch steel wire. This act was replaced by the aerial bamboo act in 2015.

Costumes
Costume designer Dominique Lemieux created thirty different costume concepts and drew up at least ten different designs for each concept. Lemieux mixed historical and traditional circus ideas with contemporary fashions in her designs, and ten special technicians were employed in order to custom dye fabrics, real and synthetic hair, feathers, horsehair, and leather materials used on the various costumes. In the eight weeks, she was given to design the costumes (October 24 to December 23, 1998), she created two drastically different styles to separate the urban people from the circus people. The circus people donned bright, neon colors while the urbanites were represented by black, gray, and muted tones. Lemieux used natural, textured fabrics such as hemp to epitomize the urbanites.

Many of the performers underwent a metamorphosis indicated by often dramatic costume changes; for instance, the urbanites' outfits began in dark, muted blues, reds, and greens and ended in white, fairy-like outfits. In the German wheel costumes, Lemieux accented dark colors with fluorescent fabrics to provide a high contrast with the black lights used during this act. The performers were designed to appear as marionettes and to emphasize human anatomy. The costumes designed for the flying trapeze act were tribal and androgynous. They were elaborated with complex collars, head ornaments and tutu skirts for the males. Les Cons were inspired by the Pierrot, with simple, white outfits to depict their innocence.

For all Cirque du Soleil productions, plaster head molds were created to make certain that all wigs, masks, and headpieces fit perfectly. Four different wig designs were created for the show and each wig took one person approximately seventy hours to complete.

Music
The music of La Nouba, composed by Benoît Jutras, was performed live by six musicians and two singers. A CD album of the music of La Nouba was originally released in 1999 and re-released in 2005. It features most of the music played during the show.

Below are the tracks in order as they appear on the CD. Listed after each track title is the act that was associated with the track.

 * 1) Once Upon a Time
 * 2) * German wheel (1998-2010)
 * 3) * Jump rope (2010-2015)
 * 4) * Breakdancing (2015-2017)
 * 5) A Tale (Aerial ballet in silk pt. 2)
 * 6) Porte
 * 7) * Aerial cradle (1999-2017)
 * 8) La Nouba (Parade, Curtain Call)
 * 9) Distorted (Diabolo exit, BMX, Bows)
 * 10) Liama
 * 11) * Aerial cradle (1998)
 * 12) * High wire (1998-2015)
 * 13) * Aerial bamboo (2015-2017)
 * 14) Queens (Flying trapeze)
 * 15) À la Lune
 * 16) * Balancing on Chairs (1998-2010)
 * 17) * Intro to Jongleur (2010-2013)
 * 18) * Rola Bola (2013-2017)
 * 19) Rêve Rouge (Aerial ballet in silk pt. 1 and 3)
 * 20) Urban (Power track, trampolines) (1999-2017)
 * 21) Propel (Dance Interlude)
 * 22) Jardin Chinois (Diabolos)

Additional songs in the show not included on the album:
 * Vieux Grenier (Overture)
 * Prelude to Liama (Transition to high wire act) (1998-2000)
 * Prelude to Propel (Transition to clown act I)
 * Les Astronautes (Clowns In Space) (1998-2013)
 * Tout mêlé (Clown Chairs) (1998-2013)
 * Château Perdu (Clown Window) (1998-2013)
 * Cow-cus (Clown Cowboys) (1998-2013)
 * Baby Buggy (Clown Carriage) ''(1998-2013)
 * Pinata (Clown Pinata) (2014-2017)
 * Thieves (Clowns Thieves) (2014-2017)
 * Igor (High Wire) (1998)
 * Building (Power track, trampolines, Bows) (1998)
 * Cinq à Sept
 * Juggling (2010-2013)
 * Cyr Wheel (2017)
 * Panic (Transition to Frog Dance)
 * Virginia's Tango (Frog Dance)
 * Prince (Transition to Curtain Call) (1999-2017)

title: La Nouba


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Wilhelm Schirmer

August Wilhelm Ferdinand Schirmer (born 6 May 1802 in Berlin; died 8 June 1866 in Nyon) was a German landscape artist.

Biography
Schirmer was born in Berlin. As a youth Schirmer painted flowers in the royal porcelain factory; afterwards he became a pupil of Friedrich Wilhelm Schadow in the Berlin Academy, but his art owed most to Italy. In 1827 he went to Italy, where his sojourn extended over three years. He became a disciple of his countryman Joseph Koch, who built historic landscape on the Poussins, and is said to have caught inspiration from J. M. W. Turner. In 1831 Schirmer established himself in Berlin in a studio with scholars. From 1839 to 1865 he was professor of landscape in the academy.

Schirmer's place in the history of art is distinctive. His sketches in Italy were more than transcripts of the spots; he studied nature with the purpose of composing historic and poetic landscapes. On the completion of the Berlin Museum of Antiquities came his opportunity. Upon the walls he painted classic sites and temples, and elucidated the collections by the landscape scenery with which they were historically associated.

Schirmer's goal was to make his art the poetic interpretation of nature and he deemed technique secondary to conception.

title: Wilhelm Schirmer


text:
Mediumwave transmitter Bremen

The Mediumwave Transmitter Bremen was the mediumwave broadcasting facility of Radio Bremen situated at Bremen-Oberneuland, Germany. It operated at 936 kHz, with a transmitter output power of 50 kW. The transmitter at Bremen-Oberneuland was built in 1999 as a replacement for the old transmission facility of Radio Bremen at Leher Feld, which was demolished to make room for an industrial area.

History
The transmitter station was built when Radio Bremen was established in 1950. Founded by an US-American donation on October 15, 1951, the 20 kW of Radio Bremen Radio Bremen at Leher Feld got on air. To avoid of interferences with a transmitter in Tirana on the same frequency the direction to manteld to south-east was manteled. In 1999 the new, but smaller transmitter close to the Wümme bog grassland was built.

The mediumwave transmitter Bremen was the only transmitter owned by Radio Bremen — all other transmitters now used by Radio Bremen are the property of Deutsche Telekom — used a cage aerial, mounted on a 45-metre (146 feet) high, grounded, guyed lattice steel mast. This aerial had a high gain of 4.5 dB, which means that the 50 kW transmitter feeding it produced the same effect as a 140 kW transmitter feeding an antenna with a gain of 1 dB.

The broadcasts from this transmitter reached all northern Germany during daylight, except the most eastern areas. At night it covered all of Europe, although a transmitter operating at the same frequency in Lviv, Ukraine often interfered with it. In 2006 the aerial mast got a new coat of paint.

Due to financial difficulties, Radio Bremen switched off the transmitter in March 2010 "temporarily" and dismantled it in 2014 after only 200 people voiced their protest.

title: Mediumwave transmitter Bremen


text:
Talk:Kęstutis

Untitled
It's strange, that in Lithuanian book i'd read in english Kęstutis was wroten as Kestutis, without ogonek... --Untifler 22:29, 11 Dec 2004 (UTC) Another example of lithuanization mania with target to the past. It is ahistorical use name Kęstutis - there is no source from XIV century with such name, even in Lithuanian scripts ę appeared somewhere in XVIII-XIX centuries. —Preceding unsigned comment added by 82.135.217.131 (talk) 09:17, 1 May 2008 (UTC)

 * He's Lithuanian and the name is Lithuanian. Modernization is not the same as "Lithuanization", hardly possible in this case. The spelling isn modernized, so what? That's really the norm. And the modernized Lithuanian name is the most common way of referring to him in English, so all else is mute. Deacon of Pndapetzim ( Talk ) 12:58, 1 May 2008 (UTC)

Kęstutis
The meaning of the name in this article is not right [kęs-ti]. Kęstutis possibly came from Keistutis what means a little bit strange.

Name and primary sources
If Kęstutis was fighting the more literate German Knights, then maybe there are some primary sources mentioning his name in German (from Teutonic Annals) which could be cited in this article? Because Lithuanian alphabet with "ę" formed only in 19(??)th century, and the first Lithuanian writing samples were found from 1503-1525 (Lithuanian_language), so "Kęstutis" is like an invention of later centuries to come; he himself could have pronounced his name totally different and only people who met him could have had the opportunity to pronounce his name and to write it down in their own (literary) language: Ruthenian, German, Old Polish. Kazkaskazkasako (talk) 09:58, 20 September 2009 (UTC)

title: Talk:Kęstutis