text:
Talk:Hypothetical syllogism

Madeline must have known the material for the test, because if a person knows the material, that person will get an A, and Madeline was one of the students that got an A

Madeline not necessarily guilty
The hypothetical syllogism used to say adeline is guilty is a 'fallacy'because the argument used is not 'valid'. This is because the argument used is a contingency and not a tautology. Let P(x) be "x knows the material", and Q(x) be "x gets an A grade". P(x)->Q(x)(an implication) has a true value even if P(x) is false and Q(x) is true.

deleted bit on how hypothetical syllogisms have the "advantage" that they can be counterfactual
There were no examples of counterfactual hypothetical syllogisms given in the section, but it sounded like what was being suggested is that hypothetical syllogism is valid even if all the conditionals are counterfactual conditionals. But this is certainly not true, at least in standard systems of counterfactual logic, like David Lewis's. If p is any contingently false proposition, these systems validate "if p were the case zero would still equal zero" and "if zero were equal to zero, p would still be false" but not "if p were the case, p would be false". —Preceding unsigned comment added by 139.133.7.37 (talk) 15:01, 21 December 2009 (UTC)

Aren't hypothetical syllogisms a category of syllogisms rather than just a single type?
My logic study book explains hypothetical syllogisms as a category of syllogisms that contain a hypothetical proposition. It splits this up into three syllogisms: Conditionals (that which is described in this page), Disjunctives (described in the Disjunctive page), and Conjunctives (Both P and Q; Not P; Thus, not Q). But when I looked here to see what Wikipedia had to say about them, I saw Hypotheticals instead of Conditionals, and Disjunctives, but no Conjunctives. Some research affirms what I just said (here and here) while others call conditionals hypotheticals while still explaining all three together, as if there's some sort of category but completely unstated (here). Still others don't even mention Conjunctives on their websites (philosophy-index). Which is right? Should Wikipedia have an article on Conjunctive Syllogisms? There's woefully little information about Hypothetical Syllogisms.Whizzball1 (talk) 18:47, 17 November 2014 (UTC)
 * The "Conjunctive" you describe is just wrong. I believe the standard use of "Hypothetical Syllogism" dating back (more-or-less) to Aristotle is as described here, while the ones you describe are described here as modus ponens and disjunctive syllogism, while what you call "conjuctive", when corrected, follows from de Morgan's laws and disjunctive syllogism.  — Arthur Rubin  (talk) 10:37, 19 November 2014 (UTC)

 * I realised later that the Conjunctive I described there definitely is wrong. I believe now that what I mean is described on modus ponendo tollens: Not both P and Q. P. Thus, not Q. Sorry about the misunderstanding. Whizzball1 (talk) 19:01, 1 December 2014 (UTC)

Error: "The term originated with Theophrastus"
In the introduction, it is written that the term "hypothetical syllogisms", was originated with Theophrastus. The reference is Britannica oline, but, at least at the time I am writing this comment, Britannica on line does not state exactly that. Here is an extract:

"Theophrastus is also credited with investigations into hypothetical syllogisms. A hypothetical proposition, for Theophrastus is a proposition made up of two or more component propositions (e.g., “p or q,” or “if p then q”), and a hypothetical syllogism is an inference containing at least one hypothetical proposition as a premise".

Either Britannica is wrong here, or only the term "hypothetical proposition" goes with "for Theophrastus is a ...", while "hypothetical syllogism" was originated at a later time.

And indeed, it was originated at a later time, according to Susanne Bobzien, professor of philosophy at Oxford University, in her article: "The Development of Modus Ponens in Antiquity: "From Aristotle to the 2nd Century AD", Phronesis, Vol. 47, No. 4 (2002), pp. 359-394:

"''In late antiquity, arguments of the ponens and tollens forms were generally classified as 'hypothetical syllogisms' (συλλογισμοὶ ὑποθετικοί, syllogismi hypothetici), and they were regarded as valid by virtue of these forms. However,as far as we know, Aristotle did not discuss such arguments, nor did he call any arguments 'hypothetical syllogisms'.

''The Stoics, on the other hand, distinguished certain kinds of arguments that closely resemble modus ponens type argument. But they, too, did not call these arguments 'hypothetical syllogisms', nor did they describe them as ponendo ponens (i.e. as arguments that posit something by positing something), etc''".

So, while Theophrastus and Eudemus were the first to investigate hypothetical syllogisms, the term was coined later. I proceed to make a correction. Aris Makridis (talk) 10:37, 2 November 2023 (UTC)

title: Talk:Hypothetical syllogism


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Rock music in Mexico

Mexican rock music, often referred to in Mexico as rock nacional ("national rock"), originated in the 1950s. Standards by The Beatles, Elvis Presley, The Everly Brothers, Nancy Sinatra, and Chuck Berry were soon covered by bands such as Los Apson, Los Teen Tops, Los Twisters, Los Hitters, Los Nómadas, Los Rockets,, Los Locos del Ritmo, , and Javier Bátiz, which later led to original compositions, often in English. The group "Los Nómadas" was the first racially integrated band of the 1950s. Their lead guitarist, Bill Aken (adopted son of Lupe Mayorga, effectively making Aken the cousin of Ritchie Valens), wrote most of their original material, including the raucous Donde-Donde, and co-wrote the material for their Sounds Of The Barrio album, which is still being sold. Their 1954 recording of She's My Babe was the first top 40 R&B recording by a Latino band. In the southwestern United States, Spanish guitar rhythms and Mexican musical influences may have inspired some of the music of American musicians Ritchie Valens, Danny Flores (of The Champs), Sam the Sham, Roy Orbison, and later, Herb Alpert. Initially, the public exhibited only moderate interest in them, because the media attention was focused on La Ola Inglesa (British Invasion).

However, after the substantial success of Mexican-American guitarist Carlos Santana in the United States in the late 1960s, along with the successful development of Mexico's own counterculture movement called La Onda (The Wave), many bands sprang up. Most of these bands sang in both Spanish and English, keeping foreign commercial exposure in mind. Mexican and Chicano rock have crossed into other Hispanic groups like José Feliciano and Lourdes Rodriguez, of Puerto Rican descent.

Origins: Orchestra and Jazz

Rock activity in Mexico in the 1950s took place either in Mexico City and the surrounding area or in northern cities such as Mexicali, Monterrey, Nuevo Laredo, Ciudad Juárez and Tijuana, whose proximity to the United States gave them more exposure to American sounds.

Rock & roll music was introduced to Mexico in the mid 1950s, as musicians like Elvis Presley and Bill Haley were at the peak of their popularity in the US, and their music began to be broadcast in Mexico and covered by Mexican bands.

Except for Tijuana and Los Tj's. In those early years, the first acts that performed and recorded rock & roll in the country were not rock "bands", but rather orchestras that combined jazz sounds with the new genre. Gloria Ríos, an American-born actress and lounge singer, is often credited with introducing rock & roll music in Mexico. Born in Texas in 1928, Ríos arrived in Mexico in 1944 and began recording in 1955 with many musicians (and their orchestras), such as Héctor Hallal, Jorge Ortega, Pablo Beltrán Ruiz, and most importantly, with Mario Patrón and his Estrellas del Ritmo. Many of her recordings were covers of songs by Bill Haley and Elvis Presley, but with Las Estrellas del Ritmo she also recorded "La mecedora" in 1956, a song composed by Mario Patrón, which was said to be the first original song of Mexican rock & roll. Ríos became very popular at the time due to her starring roles in films like "Las locuras del rock and roll" (1956) and "La rebelión de los adolescentes" (1957), but she later married Mario Patrón and in 1960 she went with him to Europe, where they stayed for many years.

This caused Ríos to be quickly forgotten in Mexico, as the new golden age of rock & roll was starting there and new bands claimed to be the ones who had introduced the genre in Mexico. Ríos died in 2002 at the age of 74 years old.

These orchestras soon started to lose popularity as new rock bands appeared, formed by young musicians who mostly covered American and British songs. Los Lunáticos, founded in 1956, are considered by many to be the first Mexican rock and roll band, and later other bands like Los Locos del Ritmo, Los Rebeldes del Rock, Los Teen Tops, etc. became popular. Las Mary Jets, formed in 1959, were the first all-female rock band in Mexico. Rock, as elsewhere, became tied with the youth revolt of the 1960s.

Many songs are credited as being the first original Mexican rock & roll songs, amongst them:

Bands of the 1950s and, to a lesser degree, were often associated with the middle-class youth of Mexico. Fearing a "Moral Crisis," the PRI-controlled government imposed restrictions on rock music and films, in an effort to protect the "Buenas Costumbres," or proper family values, by "avoid[ing] noxious or disturbing influences on the harmonious development of children and youth." These guides caused any particularly "rebellious" media, including movies and rock, to conform to the PRI's Buenas Costumbres to get their work officially published. In addition, both to protect Mexico's record industry, and simultaneously discourage foreign-inspired challenges to the status quo, heavy tariffs were placed upon imported records. This combination of factors created the "Refrito" movement of the 1950s and early 1960s, where Mexican rock musicians reworked foreign songs to fit in with into the restrictions on music. One of the most popular examples is the song "La Plaga" by Los Teen Tops, a refrito cover of the Little Richard song "Good Golly Miss Molly," where lyrics featuring elements of scandal and rebellion were toned down or altered by Los Teen Tops for the Mexican market.
 * "La mecedora" (1956), written by Mario Patrón and recorded by his orchestra and Gloria Ríos. This is considered to be the first original Mexican rock song in Spanish.
 * "Mexican rock and roll" (1956), written by Pablo Beltrán Ruiz and recorded by his orchestra, it's an instrumental piece.
 * "Where Did You Get It?" (1957), written by José Luis Arcaráz and recorded in English by Los Lunáticos.

While many musicians of the refrito era saw success, both domestically and internationally, their music was often criticized by those on the left as "imperialist in nature," and by those on the right for still being too "rebellious," both of which would carry on into the La Onda era of the late 1960s, particularly as the Mexican youth, particularly those associated with rock, became increasingly frustrated with the government and more progressive-leaning.

Classic Rock

The 1960s are considered to be the "golden age" for rock music in Mexico; during this decade, rock groups frequently dominated the music charts and many of them became teen idols. In the early years of the decade, groups like Los Rebeldes del Rock (whose recording "Hiedra venenosa" is considered to have been the first rock and roll recording to be broadcast in Mexican radio, back in 1959), Los Hooligans, Los Locos del Ritmo, among many others, became very famous recording Spanish-language covers of American and British rock standards, as well as some original songs.

One group in particular, Los Teen Tops was very popular in Mexico and in many other countries of the Hispanic world, specifically in Argentina and Spain; their recordings "La plaga" and "Popotitos" are considered some of the most representative of the era.

The counterculture movement is generally agreed to have its roots along the USA-Mexico border, particularly in Tijuana, where the geographical proximity allowed for easier access to foreign music. Bands such as Los Dug Dugs found success covering songs by bands such as The Beach Boys and The Beatles, and soon moved to Mexico City. Other Northern bands would coalesce on Mexico City around this time, and by 1966, a cultural movement would begin to emerge around this music, incorporating contemporary aspects from American culture and fashion. This was called La Onda.

Rockeras
Women rock musicians, sometimes referred to as rockeras, played a sizeable, if often overlooked role in La Onda, and Mexican rock as a whole. Bands such as Las Mary Jets, Los Spitfires, and Las Chics were the most prominent in the 1960s, though were also subject to the restrictions and regulations placed on the genre by the PRI, as well as increased social stigma for playing rock music in a conservative society. After her band's dissolution, Silvia Garcel of Las Chics reflected on this, saying of her televised performances "They wanted us to look like little girls, well-dressed, modest, neat, and decent," but that this didn't reflect their style: "We wore miniskirts, but only as part of the show. In real life, we didn't wear them[,]" instead preferring to wear the blue jeans associated with the American-influenced La Onda movement. Often times, however, the social and political constraints would prove to win out against more progressive themes, epitomized by Angélica María, who bore the title "Mexico's Girlfriend" in a social role that served as both a role model for young women and girls, and an object of enamor and adoration among men. Because of this, more rebellious rockeras were further vilified in the public eye, when compared to the pure, more socially acceptable Angélica María.

Festival Rock y Ruedas de Avándaro, La Onda

Many Mexican rock stars became involved in the counterculture movement. One of the most notorious bands from this decade was La Revolución de Emiliano Zapata, from Guadalajara, Mexico. After winning a local contest, they signed a contract with Polydor Records, and their single "Nasty Sex" was a #1 hit in Mexico in 1971, the only rock song from a Mexican band to achieve such a feat in that decade. However, after many members left the band and the Mexican government severely restricted the recording, publishing, and airplay of rock music in the country, the band (like many others at the time) changed its format and became a romantic ballad group.

The two-day Festival Rock y Ruedas de Avándaro, held in 1971, was organized in the hamlet of Tenantongo near the city of Toluca, a town neighboring Mexico City, and became known as "The Mexican Woodstock".

At that rock festival, nudity, free love, experimental drug use, profanity, the peace sign inserted in the Mexican flag and the presence of the American flag so scandalized the conservative Mexican society that the government imposed cultural curbs to La Onda, and especially to rock music. The media called the move El Avandarazo. The festival, intended to emulate Woodstock and Altamont, expected to attract a maximum of 25,000 concertgoers but about 300,000 showed up. The government helped some stranded attendees at the end of the festival by sending 300 buses.

During President Luis Echeverría's administration, the Mexican government tried to win back the country's legitimacy through populist, leftist-oriented programmes.

Most things that could possibly be connected to the counterculture or to student protests were sidelined on public airwaves by the powers that be, who feared a repeat of the student protests of 1968, an event the new government denounced. But most Mexican rock bands sang and criticized the administration in general and, more specifically, corruption, poverty and persistent social inequalities that had taken place through Mexican history.

With the Avandarazo effect at its height and the hippie movement waning worldwide, few bands survived the curbs; though the ones that did, like Three Souls in My Mind (later El Tri), remained popular due in part to their adoption of Spanish for their lyrics, and had a dedicated following. As the hippie trend waned c. 1973, many Mexican bands moved to progressive and hard rock. During the seventies there were many new bands but very little support from the music industry for original rock music. The bands suffered from it and had to limit themselves to performing in. Representative bands of this period were: Perro Fantastico, Mara, Vox Populi, Stray Cat, Rock Moviloy and many more. Perro Fantastico, a band from the east side of Mexico City (Ciudad Nezahualcoyotl) created rock music sung in both Spanish and English, formed by the brothers Jose Luis and Jaime Francisco González (guitar and bass) with Guillermo Avalos (drums) and Arturo Fajardo (rhythm guitar). They played, among other bands, in places like Salon Chicago, Macumba, El Herradero until the band disbanded around 1978. During the seventies bands also performed in high schools, universities and other places. Many others followed or continued during the eighties.

Ban on Rock
The government's ban on rock music during this decade also extended to American groups, and after a 1975 concert in Mexico City by the band Chicago ended with turbulence and police repression, president Echeverría issued a temporary ban on all concerts by American musicians in Mexico.

Punk and Underground Rock
After various government crackdowns and restrictions on rock, particularly after the 1971 Festival Rock y Ruedas de Avándaro, the bands that remained together or formed during this time moved into an underground scene, centered around Mexico City, where the rock and its subgenres finally started to see adoption among the lower classes of Mexican society. This created an entirely new movement, with musicians and fans of their music formed "bandas." Many in these bands created names based on their imposed lower position, such as Mierdas Punk, Manchados, and Punks Not Dead. After the Catholic Church began disparaging these bandas on the basis of assumed Satanism, new bandas formed with names based on this supposed tie to Satanism, such as Abadón, Lucifer, and Blasfemia.

As most rock musicians, particularly anti-establishment ones, had great difficulty finding gigs at proper venues, the 1970s saw many bands performing in "Hoyos Fonquis," literally "funky holes," which were quite unsafe for the performers, as both audience members and police raids could prove harmful. Because of this, many bandas formed cultures of mutual self-defense, a trend that has continued into the modern day. In the 1980s, however, the PRI loosened their restrictions on rock performances, and the bands that had been playing in the Hoyos Fonquis now had access to larger, more legitimate audiences, particularly at the Tianguis del Chopo, a large open-air market in Mexico city, which became a hotspot for fans and practitioners of a variety of genres to come together and trade records, as well as attend live performances. Bands such as El Tri saw their earliest rise to success in this environment.

Metal
Since the 1960s, hard rock had been assimilated by several groups, like the aforementioned Los Dug Dugs and El Ritual, and later by others like Polvo and Náhuatl, Nuevo México and Bloody Rock. During the following decade it continued to exist in forms of heavy blues, which was an authentic underground movement, peaking in the late 1970s when the Hoyos Funky came to notoriety around 1977.

Groups like Ramses and La Cruz are veterans of the era and were some of the first to be labeled as "heavy metal", but then again it was not until the 1980s and the early 1990s that bands like Transmetal, Next, Luzbel and Semefo contributed to the scene with original approaches, when the most radical forms of the genre like death metal and grindcore were fully digested. Today the metal scene is populated by such groups as Brujeria, Hacavitz, and Disgorge.

The early bands were followed by many others, in an ever-growing underground movement of sports arenas weekend concerts all over the country.

Important bands of this period were • Enigma

• Kaleidoscopio

• El Tarro de Mostaza

• El Ritual

• Peace and Love

• Ciruela

• The Spiders

• El Amor

• Three Souls in My Mind

• Toncho Pilatos

• Los Dug Dug's

• El Epilogo

• La Semilla del Amor

• Love Army

• Tinta Blanca

• La Revolución de Emiliano Zapata

• La Tribu

• La Comuna

• 39.4

• La Division del Norte

• Bandido

• Polvo

• La Fachada de Piedra

• Hongo

• Cosa Nostra.

Rupestre Music

Since the late 1960s, poets have sung to acoustic guitars and played in the then-prosperous café cantante scene. These forums showcased the folkloric music that came from South America, specially from Peru and Chile. Performers like Víctor Jara, Violeta Parra, Inti-Illimani, Los Folkloristas and local Óscar Chávez among many others denounced in their songs the atrocities of the military juntas, all of which experimented with even worse repression than Mexico during the Tlatelolco incident, that governed most of the countries from Nicaragua to Tierra del Fuego, and curiously the cafes cantantes thrived, as long as nothing was overtly critical of the Mexican government in general.

The scene eclipsed by the early 1980s, but several musicians like Rockdrigo, sometimes nicknamed "the Mexican Bob Dylan" developed a uniquely Mexican folk style, which came to be known as música rupestre. Later, the musicians were dubbed 'Los Urbanos', because although they played acoustic guitars, the themes of their lyrics revealed the adverse conditions the working class had to face in the big cities, and blues forms were incorporated in their compositions. When El Tri made an electric rendition of Rockdrigo's Metro Balderas the fusion of rock and música rupestre was consummated. Many others continued to surface, but Rockdrigo's untimely death during the earthquake of 1985 in Mexico City skyrocketed his already legendary status, and thus he is considered the most influential exponent of both rock urbano and música rupestre.

Other notable bands were Banda Bostik, Sur 16, Tex-Tex and Interpuesto. The racially integrated group Los Nómadas was one of the few to survive for decades. Members of the group consisted of Chico Vasquez, Jose 'J.D.' Moreno, Abel Padilla, and Bill Aken, who formed the band in 1953; they stayed together until well into the 1990s. They were often called into recording sessions to back up Mexicano artists such as Freddy Fender. Their final recording session was in early 1994; when Chico Vasquez died several months later, the group disbanded. The most prominent member of the group was singer-songwriter and producer Bill Aken (aka Zane Ashton), the adopted son of Mexican actress Lupe Mayorga and the only Caucasian member of the band.

The Chopo
In 1980, the National University of Mexico UNAM, through one of its cultural departments, invited the general public to bring their LP records and trade them with others at the Museo Universitario del Chopo in Mexico City, every Saturday morning.

Initially the trading took place inside the facilities of the museum, but by the end of the year the increasing number of attendees became too large for the venue, as collectors sought records that were otherwise impossible to get from established outlets. The trading became selling in many cases, with record dealers taking advantage of the new market for rock "rarities". The gathering extended to the street right in front of the museum, and several stands were erected, transforming the event into a tianguis, a kind of outdoor flea market or bazaar. The museum became a popular hang-out for punks, new wavers, hippies, rastafaris, and other subcultures who were able to express themselves freely at the weekly gathering and meet others with the same tastes.

The museum and the National University eventually broke ties with the tianguis, stating that it had got out of hand, and due to increasing friction with local residents, the government soon tried to ban it. By now the participants had established themselves into a community, and collectively presented a proposition to the local government dependency, offering to maintain the necessary security and pay a permanent fee.

However, the officials were reluctant, and between 1982 and 1989 the "Chopo", while still growing, changed locations six times, from parks to parking lots to faculty gardens, always due to pressure from officials.

Since 1990 it has been taking place on a street behind the Buenavista railway station, less than three blocks from the original 'Museo del Chopo' location. From the original 100 people that began attending in 1980, it is estimated that more than 10,000 people now visit the tianguis every week. As well as the original record trading, other products sold and displayed at the event include clothing, posters, movies, handicrafts, magazines, books, instruments, and other rock-related paraphernalia.

Spanish Invasion and Response
Concurrent to the second wave British Invasion in the U.S., the Mexican rock scene in the early 1980s immediately fell prey to a “European Invasion” of its own with various artists from Spain taking over the radio. Influential Spanish rock bands like Hombres G, Mecano, Radio Futura and La Unión took over the spotlight with their experimental sounds and melancholic lyrics. Mexico’s music culture saw a newly inspired generation of rock bands emerge in response such Caifanes, Maná, Ritmo Peligroso, Botellita de Jeréz, El Tri and the Micro Chips.

Mexican pop music on the other hand (a genre known for its trademark ballads) saw an unexpected explosion of success by incorporating early synths into an overall more pop rock based production with bands such as Timbiriche, Pandora, and Flans dominating the charts alongside Spanish pop bands like Olé-Olé.

Rock in Monterrey

Starting in the 90s, the city of Monterrey in the Mexican state of Nuevo Léon witnessed the birth of several bands that have become internationally acclaimed. Their genres vary considerably, but they include Jumbo, Volován, Panda, Plastilina Mosh, COhETICA, Zurdok, Kinky, El Gran Silencio, Genitallica, and the heavy metal band IRA.

The song Los Oxidados by Plastilina Mosh opens the 2005 movie Mr. & Mrs. Smith. Kinky performed at the 2004 edition of the Coachella Valley Music and Arts Festival in Indio, California, along with Radiohead, The Cure and The Killers. A few of the popular local live music venues in Monterrey include the Arena Monterrey, the Auditorio Banamex, and local clubs Cafe Iguana and McMullen's, both located in the Barrio Antiguo section of the city. The all girl Monterrey Heavy Rock band The Warning is proving increasingly popular. Their album, titled Queen of the Murder Scene, was released on November 25, 2018. It achieved high showings in the iTunes and Amazon rock music charts for several weeks after release, despite it being independent.

Indigenous Rock
Indigenous musicians have been a part of Mexican rock movements since at least the 1970s, but recently have seen an increase in popularity in recent decades, with artists from a myriad of backgrounds adding their distinct flair and sound to rock. Bands such as Sak Tzevul, Hamac Caziim, and Los Cogelones have been some of the most prevalent in the modern Indigenous rock scene, with each bringing their own distinct style through their cultural dress and language. Hamac Caziim in particular are invested in using the platform of music in order to more popularize and support the Comcaac language and community they are a part of.

Indigenous musicians have unfortunately always faced discrimination and undue criticism, with some critics deriding Indigenous rock as "inauthentic", due to their western influence. Tzotzil band Sak Tzevul responded to this line of criticism by stating "There are things so deeply rooted that neither Coca-Cola nor anyone else can take away from us."

Alternative and Indie rock
In the 1990s and 2000s, a number of performers have attained international renown, including alternative rock acts such as Santa Sabina, Café Tacuba, Fobia, Caifanes (now Jaguares), Julieta Venegas, ska band Maldita Vecindad, and synthpop group Mœnia.

Control Machete, Delasónica and Molotov explored rap/rock fusion, with lyrics containing social commentary mixed with urban vulgarity. The most popular Mexican rock group during this period has been Maná, which have sold over 22 million albums worldwide.

Modern rock
The 2000s also saw the emergence of a new generation of Mexican alternative and indie rock musicians. Alternative groups and artists such as Motel, Reik, Allison, Panda, Hello Seahorse!, División Minúscula, Zoé, Natalia Lafourcade, and Insite have received mainstream success in Mexico and throughout Latin America.

The indie music scene in Mexico has produced bands such as Porter, Austin TV, Animal Gang, The Copper Gamins, inspired by The White Stripes, from more remote central Mexico, Los Dynamite, Chikita Violenta, Los Jaigüey, Secret Agent, Bengala, and Hello Seahorse!, who often write lyrics in English and have toured alongside American indie rock bands throughout Latin America and the United States.

Popular electronic music and synthpop groups include Moenia, Belanova, Jotdog, Sussie 4, Hocico, Amduscia and The Nortec Collective.

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

title: Rock music in Mexico


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Eisenacher Motorenwerk

Eisenacher Motorenwerk (EMW) was an East German manufacturer of automobiles and motorcycles based in Eisenach. EMW also entered Formula One as a constructor in 1953, but participated in only one race, the 1953 German Grand Prix. The car retired after 12 laps with exhaust problems.

Continuing BMW production
One of the pre-World War II BMW factories was located in Eisenach, which after the war was taken over by the Soviets, since Eisenach was situated in the Soviet occupation zone. The factory continued producing cars and motorcycles under the BMW brand, but after a lawsuit in 1952 they had to change the name to EMW instead. The logotype was also similar, but instead of the blue BMW used, EMW used red.

The Kasernierte Volkspolizei (a paramilitary police branch which preceded the National People's Army) and the succeeding East German armed forces needed vehicles and expressed interest in reviving production of the BMW 325, an unsuccessful wartime off-road Einheits-PKW (standardized military light utility vehicle) built by BMW in Eisenach. This was developed into the new EMW 325/3, of which 166 were built in 1952. This remilitarization, however, was in violation of the terms of the Potsdam Conference and led to protests from the West.

New designs
Later the automobile section of EMW became VEB Automobilwerk Eisenach and built the Wartburg. Motorcycle manufacture ended in the 1950s and was replaced by the AWO 425 built by Simson at Suhl.

Complete Formula One World Championship results
(key)

* Constructors' Championship not awarded until.

title: Eisenacher Motorenwerk


text:
User talk:Innternal

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title: User talk:Innternal


text:
Pelmorex

Pelmorex Corp. is a Canadian weather information and media company. Based in Oakville, Ontario, it is the owner of the Canadian specialty channels The Weather Network (English) and MétéoMédia (French), and their associated digital properties.

Founded in 1989, "Pelmorex" is a portmanteau derived from the name of the company's chairman and controlling shareholder, Pierre L. Morrissette.

History
Pelmorex Corp. was established in 1989 and acquired The Weather Network and MeteoMedia shortly after. The brand grew in Canada and in 1996, The Weather Channel in the United States was brought on board as a strategic minority shareholder.

In the early 1990s, the company owned the Pelmorex Radio Network stations in Northern Ontario. The company sold the stations in 1998 and 1999, to Telemedia and Haliburton Broadcasting Group respectively.

In 2006, Pelmorex purchased the operations of World Weatherwatch, a meteorological service company with clients such as the Ontario Ministry of Transportation, Hydro One and Bruce Nuclear Generating Station. Terms of the transaction were not disclosed.

In 2012, Pelmorex acquired the Spanish weather website eltiempo.es, where it focused on bolstering its digital and marketing operations, and hiring prominent local personality José Antonio Maldonado. It also acquired the traffic information provider Beat the Traffic. In 2013, Ron Close became the new president and CEO of the company. The company also began to plot out further expansion in Europe, Latin America, and the United States, as well as optimization of digital advertising delivery based on weather data.

In 2015, Pelmorex bought out The Weather Channel's 49% stake in the company.

Public alerting
In 2001, Pelmorex first proposed that an emergency population warning system, "All Channel Alert", be implemented by all television providers, using proprietary Pelmorex hardware and funded primarily via an increase in carriage fees for The Weather Network/MétéoMédia. The CRTC rejected the proposal, citing the need to consult with the industry over design, costs, and governance of the system.

In 2010, Pelmorex established a "national aggregator and distributor" (NAAD) of localized emergency alert messages compliant with the Common Alerting Protocol as a condition of a request for must-carry status for the two channels. It is governed by representatives of the broadcasting industry, the federal government, members of the Senior Officials Responsible for Emergency Management (SOREM), and the Canadian Association for Public Alerting and Notification. In 2011, the CRTC renewed the must-carry status, under the condition that Pelmorex allow all federal, provincial and territorial emergency management officials to have access to the system, that it commit at least $1 million per-year on public awareness campaigns, and that it develop "broadcast-intrusive" alerts. On August 29, 2014, the CRTC ruled that all over-the-air television channels, radio stations, and television providers must begin relaying emergency messages relayed via NAAD beginning March 31, 2015; Pelmorex markets this under the public-facing brand "Alert Ready" (French: En Alerte). Beginning April 2018, emergency alerts also became mandatory on mobile phones.

title: Pelmorex


text:
Marius Kurkinski

Ivaylo Stoyanov (Ивайло Стоянов) (born 15 October 1969), better known as Marius Kurkinski (Мариус Куркински), is a Bulgarian actor, director, film writer and pop singer. He wrote, directed and starred in the 1996 Bulgarian film Dnevnikat Na Edin Lud (The Diary of a Madman).

Kurkinski has built a reputation both in Bulgaria and abroad for his one-man shows such as "The Lady with the Dog” and "The Lone Man". He won the award Europe's Actor in the International Monodrama Festival in Oteševo, Republic of Macedonia for his performance of "The Dream" by Julian Barnes in 2003. Later that year, he won the Apolonia Award at the Apollonia Festival held in Sozopol, Bulgaria. In honour of the awards, he was invited to participate in World Theatre Day on March 27, 2004 held in Paris, France.

He is openly gay.

Filmography

 * Sirna Nedelya (a.k.a. A Day of Forgiveness 1993)
 * La Donna e Mobile (1993)
 * Granitza (a.k.a. The Border 1994)
 * Dnevnikat Na Edin Lud (a.k.a. Diary of a Madman 1996)
 * Pryatelite na Emiliya (a.k.a. Emilia's Friends 1996)
 * Vsichko Ot Nula (a.k.a. Starting From the Scratch 1996)
 * Ad Libitum 4 Variatzii Na Graf dyo Burbulon (a.k.a. Ad Libitum: Variations of Count de Bourboulon 2000)
 * Posseteni ot Gosspoda (a.k.a. Meme Dieu est venu nous voir released in Bulgaria 2001 and in France 2003)
 * Opashkata na Dyavola (a.k.a. Devil's Tail 2001)
 * Zasukan Sviat (a.k.a. A Twisted World 2019)

title: Marius Kurkinski


text:
KMTV-TV

KMTV-TV (channel 3) is a television station in Omaha, Nebraska, United States, affiliated with CBS. Owned by the E. W. Scripps Company, the station has studios on Mockingbird Drive in southwest Omaha, and its transmitter is located on a "tower farm" near North 72nd Street and Crown Point Avenue in north-central Omaha. It also doubles as a secondary CBS station in the Platte Purchase area (northern portions of the St. Joseph, Missouri, television market) alongside local affiliate KCJO-LD.

History
KMTV began broadcasting on September 1, 1949, as the second oldest television station in Nebraska. It operated as a CBS affiliate, but carried secondary affiliations with ABC and the DuMont Television Network. The station's call letters were originally intended to be KMA-TV, reflecting its first owner, Shenandoah, Iowa–based May Broadcasting, which owned KMA (960 AM) in that community. However, this violated Federal Communications Commission (FCC) rules, which at the time required stations have the same or adjacent city of license in order to share a base call sign. The station originally operated from studios located at 2615 Farnam Street in downtown Omaha, seven blocks east of WOW-TV (channel 6, now WOWT, at 3501 Farnam).

KMTV briefly dropped ABC programming when KFOR-TV signed on from Lincoln in 1953. The network returned to KMTV when the FCC separated Lincoln to form its own market a year later. In 1956, KMTV switched affiliations with WOW-TV and became an NBC affiliate. This was part of CBS' multi-year, five-station affiliation deal with Meredith Corporation, as a compensation for Phoenix sister station KPHO to lose affiliation with network (KCMO-AM-FM-TV also switched to the network several months earlier). It also lost DuMont programming that same year when that network ceased operations. In September 1957, KMTV dropped its secondary ABC affiliation when KETV signed on as an exclusive affiliate of the network, from studios on Douglas Street just north of channel 3's facility. A sister station agreement with TV Shizuoka from Japan was signed in 1974.

In 1978, KMTV relocated to its current studio facilities near 108th and Mockingbird Drive; the station's auxiliary transmitter remains at the station's former studio location. In 1986, KMTV and WOWT entered into an agreement which allowed them to return to their original affiliations; as a result, KMTV rejoined CBS after 30 years with NBC on June 29, 1986. A few months after returning to CBS, May sold both of its television stations—KMTV and KGUN-TV in Tucson, Arizona—to Lee Enterprises after over 37 years of ownership. Lee sold its entire broadcasting division, including KMTV, to Emmis Communications in October 2000. In 2005, Emmis announced its exit from television station ownership to concentrate on its radio station properties, selling most non-license assets of KMTV as well as outright ownership of KGUN to the Journal Broadcast Group. The sale closed in late December of that year. At that point, Journal took over control of KMTV through a time brokerage agreement.

In late January 2007, Journal announced the sale of radio station KOMJ (1490 AM) to Cochise Broadcasting LLC, in order to purchase KMTV outright. The sale of KOMJ was necessary because Journal already owned the maximum number of broadcasting properties in the Omaha media market as designated by the FCC. The transactions were completed on March 27, 2007.

As of July 2013 within a month-long dispute between Journal and Time Warner Cable, KMTV was removed from the Time Warner system in Lincoln and replaced by GSN, and KOLN was solidified as the only CBS affiliate on that system.

On July 30, 2014, it was announced that The E. W. Scripps Company would acquire Journal Communications in an all-stock transaction. The combined firm will retain their broadcast properties, including KMTV, and spin off their print assets as Journal Media Group. The FCC approved the deal on December 12, 2014. It was approved by shareholders on March 11, 2015. The merger was completed on April 1, 2015.

Programming
KMTV formerly served as the Omaha "Love Network" affiliate of the MDA Labor Day Telethon, until the organization's 2013 move from a syndicated broadcast to a network telecast on ABC.

Jeopardy! and Wheel of Fortune both formerly ran on KMTV, which respectively carried the game shows at 4:30 and 6:30 p.m. weekdays until Jeopardy! moved to WOWT and Wheel moved to KETV, both in September 1994 (Jeopardy! initially ran on KETV from 1984 to 1986, when it moved to KMTV; it began airing Wheel in January 1984). Live! with Kelly also aired on KMTV (as far back as the Regis and Kathie Lee era) until 2012, when the show moved to Fox affiliate KPTM.

The station also ran a long-running children's religious show that debuted in 1961 called Ms. Jean's Storytime, which ended in September 2011 after a 50-year run.

In August 2012, the station began carrying Green Bay Packers preseason football games, as part the team's "official broadcaster" deal with Journal, which in addition to owning KMTV and WTMJ, also owns Green Bay's WGBA-TV, a deal which continues under Scripps ownership.

News operation
KMTV presently broadcasts 29 hours of locally produced newscasts each week (with five hours each weekday and two hours each on Saturdays and Sundays). For most of the time since the early 1960s, KMTV has been the third rated station in the Omaha market.

Over the years, KMTV underwent many identity changes to keep up with broadcasting trends, as well to keep up in the local ratings race. The station's newscasts were once known as KMTV News; NewsCenter 3; Channel 3 News; KMTV News 3; KM3 News; and most recently as Action 3 News; today, the station's newscasts are known as 3 News Now. Former NBC News anchor Tom Brokaw worked at the station as a reporter from 1962 to 1965.

In 2002, KMTV discontinued its 6 p.m. newscast and replaced it with syndicated tabloid programs. That same year, sports segments were dropped from the 10 p.m. newscast, and were replaced with a nightly commentary segment called "For What It's Worth" that was presented by then-sports director Travis Justice. In late 2005, KMTV discontinued "For What It's Worth", returning to the traditional sports segment.

KMTV returned a newscast to the 6 p.m. timeslot on September 5, 2006, coinciding with Katie Couric's debut as anchor of the CBS Evening News. The station has also taken on the glossy imaging and graphics packages seen on most other Journal stations, though with differing fonts and colors. On December 22, 2006, the station announced it would not be renewing the contracts of evening news anchors Deborah Ward and Greg Peterson; the two were replaced by Carol Wang and Carlo Cecchetto on January 22, 2007.

On July 11, 2009, KMTV became the first commercial television station in Omaha, and the second commercial station in the state of Nebraska (after KOLN and PBS member station NET, both in Lincoln) to begin broadcasting its local newscasts in 16:9 widescreen standard definition. In October 2013, KMTV became the third commercial station in Omaha (after WOWT and KPTM) to broadcast its newscasts in high definition.

In late 2013 and early 2014, KMTV added one and one-half hours worth of new news programming. On July 15, 2013, KMTV announced that it would launch a weekday half-hour 4 p.m. newscast; the program made its debut September 23, 2013, the newscast was then expanded to an hour. In January 2014 KMTV began broadcasting an early morning show focused on weather. Early Riser runs from 4:30 a.m. to 5 a.m. and features Ryan McPike covering the weather for the upcoming day. The station's 4 p.m. newscast became Upfront at 4 with the 2015–16 season, its first full season under Scripps ownership.

On March 8, 2017, KMTV introduced a new virtual set and re-branded its newscasts as 3 News Now. The station also switched to the standard Scripps graphics package and Stephen Arnold's "Inergy" music package to match other Scripps sister stations.

In January 2019, KMTV slashed at least half of its newscast schedule. The noon newscast was dropped to make way for Right This Minute, one of Scripps' original co-productions; the hour-long 4 p.m. newscast was also dropped to make way for The List and Entertainment Tonight; the 5 p.m. newscast became a mix of local and national stories and was renamed The NOW Omaha; the weeknight 6 p.m. newscast was expanded to a full hour; and the early-evening weekend half-hour newscasts on Saturdays at 6 p.m. and on Sundays at 5:30 p.m. were discontinued in favor of syndicated programming. As of May 2020, a traditional newscast has returned to the weekday 5 p.m. slot and the half-hour noon newscast has been reinstated.

Notable former on-air staff

 * Tom Brokaw – reporter (1960s; former anchor of the NBC Nightly News, later contributor at NBC News; retired)
 * Dick Fletcher – meteorologist (late 1970s; moved to WTSP in St. Petersburg in 1980; died February 26, 2008)
 * Bill Fries - commercials (1950–1960; later become more famous for his character C. W. McCall)
 * Dale Hansen – sports reporter (1970s; now sports director for WFAA in Dallas; retired)
 * Mary Hart – anchor (mid-1970s; later co-anchor of syndicated entertainment news show Entertainment Tonight)
 * Floyd Kalber – anchor (1950s; later with NBC News; died in 2004)
 * Jon Kelley – reporter (1990–1991; later weekend co-host of syndicated entertainment news show Extra, later host of The Mole on ABC, later with KNTV in San Jose–San Francisco–Oakland, now host of Funny You Should Ask)
 * Chuck Roberts – anchor (1975–1981; later at CNN Headline News)

Subchannels
The station's signal is multiplexed: {{legend|#DFEBF6|Broadcast on behalf of another station}}

KMTV was the last television station in the market to begin carrying a digital subchannel; digital subchannel 3.2 was originally affiliated with TheCoolTV starting in late 2010 or early 2011, but dropped the network on October 1, 2011, in favor of Live Well Network as part of a compensation dispute between Journal Broadcast Group and TheCoolTV's parent company Cool Music Network, LLC. In turn, Antenna TV took LWN's place on December 29, 2014.

In late 2021, Grit and Court TV switched places at 3.2 and 3.5.

Analog-to-digital conversion
KMTV shut down its analog signal, over VHF channel 3, on June 12, 2009, as part of the federally mandated transition from analog to digital television. The station's digital signal remained on its pre-transition UHF channel 45, using virtual channel 3. Although KMTV never had a "-TV" suffix affixed to its call sign from the beginning, it (along with other Journal-owned television stations which previously did not have a "-TV" suffix in their calls) officially added one to the callsign on June 19.

title: KMTV-TV


text:
File:DuranDuran ThankYou albumcover.jpg

Fair use rationale for

 * It is believed that the use of this image on the English-language Wikipedia to illustrate an article on the audio recording in question falls under the "Non-profit educational" clause of the Fair Use doctrine currently upheld by United States law. (17 U.S.C. § 107)
 * The image is irreplaceable; a free analogue is impossible to produce as the original will be covered by copyright for the foreseeable future
 * Owing to the limited web-resolution of the image, only a small portion of a copyrighted work is used
 * For the same reasons, the portion of the copyrighted work used is of inherently lower quality than the original, reducing the risk of competitiveness and therefore the effects of this copy on the market for or value of versions held by the owner of the copyright

title: File:DuranDuran ThankYou albumcover.jpg


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Charles Keeping

Charles William James Keeping (22 September 1924 – 16 May 1988) was an English illustrator, children's book author and lithographer. He made the illustrations for Rosemary Sutcliff's historical novels for children, and he created more than twenty picture books. He also illustrated the complete works of Charles Dickens for the Folio Society.

Keeping won two Kate Greenaway Medals from the Library Association for the best children's book illustration of the year, for his own story Charley, Charlotte and the Golden Canary (1967) and for a new edition (1981) of Alfred Noyes's poem "The Highwayman". For the 50th anniversary of the Medal (1955–2005), a panel named his edition of The Highwayman one of the top ten winning works, which composed the ballot for a public election of the nation's favourite. He also illustrated The God Beneath the Sea, by Leon Garfield and Edward Blishen, which won the 1970 Carnegie Medal for children's literature. For his contribution as a children's illustrator Keeping was a runner-up for the Hans Christian Andersen Award in 1974.

His lithographs have been exhibited in London, Italy, Austria and the U.S., including at the 1958 Fifth International Biennial of Contemporary Color Lithography in Cincinnati. He has prints in many collections, including at the Victoria and Albert Museum.

Early life
Charles Keeping was born and grew up in Lambeth, London, in a terraced house that housed three generations. He lived in an inner city environment of street markets and working horses that would inform his work his entire life. Charles and his elder sister, Grace, drew and made up stories from an early age, on surplus newsstand placards brought home by their father, Charles Keeping senior, who distributed newspapers to shops and newsstands in the area and boxed under the name Charlie Clarke. He later described his upbringing as "comfortable working class".

He attended the Frank Bryant School for Boys in Kennington, North London, leaving at the minimum age of 14, after which two of his aunts paid for him to take a correspondence course in art. He took a job with the book printing company William Clowes & Sons, and after the outbreak of the Second World War joined Durrants, an engineering company producing munitions. He also spent some time working as a gasman. In 1942, when he turned 18, he joined the Royal Navy as a wireless operator, serving four years.

He returned to civvy street in 1946 with a profound depression and a belief that a head wound he had sustained had disfigured him on the inside as well as (temporarily) on the outside, and would cause him to turn evil like Dr Jekyll becoming Mr Hyde. He received treatment, was institutionalised for a time, and made a full recovery, but perhaps his sympathetic visual treatment of Grendel, the monster from Beowulf, owes something to this period of his life.

He applied for a grant to study art at the Regent Street Polytechnic, but was initially turned down, so he read meters for a gas company during the day and took art classes in the evening. He finally got his grant and studied full-time from 1949 to 1952, completing the two-year Intermediate Examination in six months before specialising in illustration and lithography. His teachers included illustrators Stuart Tresilian and Nigel Lambourne, and lithographer Henry Trivick. He also worked as a life model, and on one such occasion in 1949 his demonstration of the functions of the muscles of the back attracted the eye of Renate Meyer, a fellow student who had left Germany with her family in 1933. They married in 1952 and four children.

Early work
Keeping went freelance after graduation, and spent four years drawing a comic strip for the Daily Herald, but did not enjoy the editorial restrictions he had to work under. He also drew cartoons for the Jewish Chronicle, the Middle Eastern Review, and, later, Punch, and his first book commission was a series of cartoon illustrations for a humorous health-promotion book called Why Die of Heart Disease? in 1953. He also did some work in advertising, and illustrated some educational textbooks.

Children's books
In 1956 he began to work through the artist's agent B. L. Kearley Ltd, whose rep Patsy Lambe referred him to Mabel George, editor of children's books at Oxford University Press. George commissioned him to illustrate Rosemary Sutcliff's historical children's novel The Silver Branch. He was unenthused by the ancient Roman subject matter, but experimented with double page spreads and drawings in the margins, and was quickly assigned more books by Sutcliff and others, including Henry Treece. This began a professional relationship with Oxford University Press, for whom he illustrated more books than for any other publisher. Keeping, along with Victor Ambrus, established a new, exuberant style of illustration for children's historical fiction, refusing to shy away from the violence of warfare.

Leon Garfield and Edward Blishen's retelling of Greek myths, The God Beneath the Sea, which Keeping illustrated in 1970, won the Carnegie Medal for that year.

From the later 1960s Keeping, alongside illustrators like Brian Wildsmith and John Burningham, took advantage of advances in printing technology to move from black and white work to adventurous colour techniques. In 1966 he created his first full-colour picture books, Black Dolly and Sean and the Carthorse, both about mistreated working horses. He followed these with Charley, Charlotte and the Golden Canary, a modern fairy tale about two children who grow up in the same street, are separated when one family moves to a new tower block, and are reunited thanks to a pet canary, which depicts the gradual disappearance of the London of Keeping's childhood, a theme he would persistently revisit. The full-colour illustrations are messy and spontaneous, using intense colour, sponge texturing and wax resist, and won Keeping his first Greenaway Medal. Kirkus Reviews concluded a very short review, "Intense colors in striking combinations overwhelm the minimal story."

Keeping created 15 full-colour picture books for Oxford University Press, and several for other publishers. Joseph's Yard (1969) and Through the Window (1970), two of his finest, were also produced as short films for the BBC's "Storyline" programme. Through the Window in particular showcases many of Keeping's techniques and themes. Told through the eyes of a small boy watching events in the street outside from his bedroom window, the illustrations are full of intense evening light and colour, movement, and even, when a horse-drawn dray rattles across a double-page spread, virtual sound. Other picture books include Richard (1973), about a day in the life of a police horse; Wasteground Circus (1975), on the transient but magical effect on two young boys of the circus coming to town; and Willie's Fire Engine (1980), a romantic, dreamlike tale of a young Edinburgh boy's dream of being a firefighter.

In the 1980s Oxford University Press created a new format for Keeping - the black and white picture book for older children. Keeping created four books in this format: The Highwayman (1981), illustrating the 1906 poem by Alfred Noyes in gruesome detail, for which he won his second Greenaway Medal; Beowulf (1982), adapted from the Anglo-Saxon epic by Kevin Crossley-Holland, in which the illustrations subverted the text with a certain sympathy for the monster; The Wedding Ghost (1985), an original story by Leon Garfield; and The Lady of Shalott (1986), illustrating the 1833/1842 Arthurian poem by Alfred, Lord Tennyson. All were illustrated in evocative line and wash. The influence of Swedish illustrator John Bauer can most clearly be seen on Beowulf.

Keeping continued to produce colour picture books from time to time, including Railway Passage, which was Highly Commended for the 1974 Greenaway Medal; Sammy Streetsinger (1984), about a subway busker's rise to fame as a pop star and subsequent return to happy obscurity; and his final book, Adam and Paradise Island, another story of the changing landscape of London, which was published posthumously in 1989.

Classic fiction
In 1964 Keeping illustrated his first book for the Folio Society, an edition of Emily Brontë's Wuthering Heights. He disliked the book, finding the characters unconvincing, and so illustrated them in two-colour lithographs in an expressionist style, paying little attention to the faces. He had been contracted for twelve illustrations, but delivered twenty-two, and asked the publisher to choose the twelve best. He followed this with Erich Maria Remarque's All Quiet on the Western Front (1966) in a similar style. For the same publisher he illustrated Ghost Stories of M. R. James (1973), Horace Walpole's The Castle of Otranto (1976) and Victor Hugo's Les Misérables (2 volumes, 1976) in two-colour lithographs, and Fyodor Dostoyevsky's The Idiot (1971) in line drawings.

Beginning in 1978 with The Pickwick Papers, Keeping took on the mammoth task of illustrating the complete works of Charles Dickens for the Folio Society. His knowledge of the vanishing world of industrial London made him the perfect man for the job. The books were originally to be produced by letterpress printing, meaning the illustrations must be pure line drawings with no tones or washes. When they came to be published more modern printing techniques were used which would have allowed Keeping a full range of tones, but he had started with line drawings, so he used the same technique for the entire series, illustrating two books a year until he completed the task with Martin Chuzzlewit in 1988.

He also worked for another publisher of classic fiction, the Geneva-based Heron Books, for whom he illustrated works by Wilkie Collins, Joseph Conrad, Aldous Huxley, W. Somerset Maugham, Nevil Shute, Robert Louis Stevenson and H. G. Wells.

Other book illustration
In 1975 Keeping produced perhaps his most personal work, Cockney Ding Dong, a lavish 190-page volume collecting and illustrating the traditional songs of the family singalongs of his childhood. A record of some the songs was also released, featuring the voices of members of Keeping's family. Charles himself sings "They're Moving Father's Grave to Build a Sewer!"

Teaching
At the invitation of Henry Trivick, Keeping continued to use the printing presses at Regent Street Polytechnic after his graduation, and from 1956 to 1963 he lectured there one day a week. From 1963 he was a visiting lecturer at Croydon College of Art, initially in illustration, and after 1979 in lithography. His students included Fiona French.

Personal life
Charles Keeping died of a brain tumour on 16 May 1988. His widow, Renate, ran the Keeping Gallery, displaying his and her own work for many years. She died in 2014.

Reception
Keeping's work was controversial in some quarters. Some felt his work too flashy, and illustrator Edward Ardizzone is said to have referred to him as "that vulgar artist". Others felt that the frankness and violence of his work, and his taste for the morbid and macabre, were unsuitable for children. His biographer has commented,

"His formidable originality within the picture-book convention may not have been altogether apparent to Keeping himself, which is both a strength and a weakness: the strength that he could communicate with unrivalled emotional intensity - but possibly only with one child in twenty; the concomitant weakness is that there was not a lot he could do to broaden this minority appeal and ensure that his books remained in print over longer periods."

Keeping's former editor Mabel George said of him, "I have always had a strong feeling that Charles was a true genius... it is my belief that he came to maturity very slowly (not in terms of technique, at which he was a master from his earliest days) but from the point of view of his self-confidence as an artist. ... he was all the time growing and developing as a man whose whole life, heart and mind, was dedicated to exploring the human situation in a universe that he found both beautiful and terrifying." His former teacher and fellow illustrator Nigel Lambourne has described him as "one of the few great illustrators we've got. A superb draughtsman, and he had – for all his marvellously brash, outgoing manner – an ability to tear up purposively anything that didn't work."

Awards
The biennial Hans Christian Andersen Award conferred by the International Board on Books for Young People is the highest recognition available to a writer or illustrator of children's books. Keeping was one of three runners-up for the illustration award in 1974 and was the British nominee again in 1978. He won a Golden Apple award at the Biennial of Illustration Bratislava in 1975.

He won several awards for particular books.

 * 1967 Kate Greenaway Medal, Charley, Charlotte and the Golden Canary, written by Keeping
 * 1972 Francis Williams Award for Illustration, Tinker Tailor: Folk Song Tales (New York: World), tunes "arranged for voice and piano by K. Neil Slater" (WorldCat)
 * 1977 Francis Williams Award for Illustration, The Wildman, written by Kevin Crossley-Holland
 * 1981 Kate Greenaway Medal, The Highwayman, written by Alfred Noyes (1906)
 * 1987 Kurt Maschler Award, or the Emil, Jack the Treacle Eater (Macmillan), with writer Charles Causley for integrated of writing and illustration in a British children's book
 * 1988 W H Smith Illustration Award, Charles Keeping's Classic Tales of the Macabre, written by various authors

Keeping was also a runner-up for at least three Greenaway Medals, which then recognised the year's best children's book illustration by a British subject:
 * 1969, Joseph's Yard, written by himself
 * 1970, The God Beneath the Sea, written by Edward Blishen and Leon Garfield (who jointly won the annual British Carnegie Medal)
 * 1974, Railway Passage (Oxford), written by himself

Railway Passage was the first runner up "Highly Commended" for the Medal. Both distinctions were abandoned after 2002.

title: Charles Keeping


text:
Connew

Connew Racing Team, commonly known as Connew, was a short lived British Formula One constructor. Founded in 1971 by Peter Connew, the team constructed a single car, the PC1. The first monococque had to be aborted due to a change in regulations and the second tub was known as PC2. However, record books show the car driven by Migault and others as PC1. The intent was to compete in the Formula One World Championship in 1972, but a lack of financial and technical resources meant that the car only managed to start in one championship race, the 1972 Austrian Grand Prix, with French driver François Migault at the wheel. Following the Austrian race, the car competed in a handful of non-championship races before being converted to meet Formula 5000 specifications for the 1973 season. The chassis was damaged beyond repair during the season finale at Brands Hatch and the team closed.

History
In 1969, at the age of 23, Peter Connew was asked by a friend if he wanted to attend the Italian Grand Prix at Monza. Connew's employer refused to give him time off to attend the race, so he resigned and travelled to the race anyway. Upon returning Connew needed employment and was hired by Surtees, a Formula One team run by former champion John Surtees, as a draughtsman.

1972: Formula One
After a falling out with team principal John Surtees, Connew left the team to pursue designing his own car. A garage was rented in Chadwell Heath and the initial construction of the chassis jig began in December 1970. Connew was assisted by Roger Doran, who worked as a shopfitter, and Connew's cousin Barry Boor.

Connew's design philosophy was that whilst the car should be efficient, it should also be easy to work on and maintain. The Connew design was tested and refined by utilising a wind tunnel of a local technical college. During the build, drivers Tony Trimmer, Howden Ganley and Gerry Birrell all came to view the car, with Trimmer stating it to be one of the most comfortable cars he had ever sat in.

The team planned to make their racing debut at the Monaco Grand Prix, but a sudden rule change required the construction of another chassis in a different type of aluminium. In the meantime, Connew made a deal with McLaren to purchase a second hand Cosworth DFV engine. Frenchman François Migault signed a deal to drive for the team and also provided a Ford truck, which carried the car to France. The truck broke down before it could get to the Clermont-Ferrand circuit, the location of the French Grand Prix and instead the team tested at the Bugatti Circuit in Le Mans.

The car finally took part in practice for the 1972 British Grand Prix but was withdrawn before the race. The car had an unusual rear suspension which proved not to be up to the job. It was taken back to the workshop and repaired overnight, but upon loading the next day, a rear upright was found to be cracked and it was withdrawn.

The small team also managed to show up at the 1972 German Grand Prix, but without having made a proper prior entry, participation was denied by the race officials.

The car was modified and entered in the 1972 Austrian Grand Prix. Migault qualified at the end of the field despite some engine troubles. After 22 laps, Migault had passed four competitors, but a rear wishbone mounting point failed and Migault had a nasty moment. The car swerved towards the barriers on the start/finish straight, but the driver brought the car safely to a halt without damage.

The Connew reappeared at the end of season World Championship Victory Race at Brands Hatch with David Purley driving but did not start because of electrical problems. Purley had asked for an electrical "kill" switch to be fitted to the steering wheel, but on the warm-up lap this malfunctioned, the engine stopped and the car was retired.

1973: Formula 5000
The car was modified to meet Formula 5000 regulations and appeared in the European Formula 5000 Championship in 1973, fitted with a Chevrolet V8 engine. The car made its first outing in the series at Mallory Park for round 10 of 18. Swiss driver Pierre Soukry qualified the car in twenty-first place, but was unable to start due to a split oil pipe. Three races later, the Connew failed to qualify at Brands Hatch, with Soukry at the wheel. The car's final appearance was at the season finale, again at Brands Hatch. Tony Trimmer drove but a collision with a barrier put the chassis beyond repair.

Formula One World Championship
(key)

European Formula 5000 Championship
(key)

title: Connew


text:
Jing'an Temple

Jing'an Temple is an esoteric Tangmi Buddhist temple on the West Nanjing Road in Shanghai. Jing'an District, where it is located, is named after the temple.

History
The original temple was first built in 247 AD in the Wu Kingdom during the Three Kingdoms period of ancient China. Originally located beside the Suzhou Creek, it was relocated to the Jing'an site in 1216 during the Song dynasty. The temple was rebuilt in the Qing dynasty but, during the Cultural Revolution, the temple was razed and turned into a plastic factory. In 1983, the site was returned to its original purpose and the temple rebuilt. Over the years, the temple has been expanded, with the Jing'an Pagoda being completed in 2010. In 1953, Master Chisong (释持松), a monk who had been initiated into the Shingon sect and was trained as an acharya, was appointed abbot of the temple. He re-established the temple under the Tangmi Buddhist tradition and enshrined the Mandala of the Two Realms within the temple. In contemporary times, the temple still officially practices Tangmi Buddhism. On December 19, 2009, a 15-ton silver statue of Buddha Rudra cast in pure silver was installed in Jing'an Temple. More than ten 3-ton silver statues of the Bodhisattva and the disciples were added to the Daxiongbao Hall.

Features

Three Southern-style halls, each with its own courtyard, dating from the most recent reconstruction (1880):
 * Hall of Heavenly Kings
 * Hall of the Three Saints
 * Hall of Virtuous Works
 * The Mahavira Hall ("Precious Hall of the Great Hero"), the main hall
 * To the east of the main hall is the Guanyin Hall. In the center of the hall is a statue of the goddess made out of camphor wood. Standing on a lotus-shaped base, it is 6.2 meters tall and weighs 5 metric tons
 * Opposite the hall is the Jade Buddha Hall, where a 3.8-meter jade Buddha sits in the center. It is the largest sitting jade Buddha statue in the country
 * Abbot's Chambers
 * Ming Dynasty copper bell (Hongwu Bell), weighing 3.5 tons
 * Stone Buddhas from the Southern and Northern Dynasties period (420-589 AD)
 * Paintings by master painters, Chu Zhishan, Zhang Daqian and Wen Zhenming
 * Mandalas enshrined at a tantric altar on the upper floor

Transportation
The temple sits on top of the Jing'an Temple Station, a major hub of the Shanghai Metro network where Line 2 and Line 7 intersect.

You can take Bus No.113, 40, 830, 824, 20, 15, 37, 21 to arrive Jing'an Temple.

There are also Shuttle Express Service provided from airports to Jing'an Temple. Pudong Airport Shuttle Bus Line No. 2 run from City Terminal (beside Jing'an Temple)

Opening Time
The temple opens at 7:30AM and closes at 17:00PM daily in most times of the year.

title: Jing'an Temple


text:
Behra-Porsche

Behra-Porsche was a Formula One constructor which entered four World Championship Grands Prix across the 1959 and 1960 seasons. The constructor started - and finished - two races, both in the 1960 season, but scored no championship points in the process.

Jean Behra was a French racing driver, who by the end of the 1950s was a stalwart of the Formula One paddock. He had achieved success earlier in the decade with the Maserati team, but was contracted to Ferrari for the 1959 season. Despite his obligations to Ferrari, Behra commissioned Porsche to build a Formula 2 single-seater car, taking componentry from the Porsche 718 'RSK'. The chassis for the car had already been designed by former Maserati engineer Valerio Colotti, who subsequently adapted it so that components from the 718 RSK could be used. The vehicle was named the 'Behra-Porsche' and painted in the Bleu de France colour of the Frenchman's homeland.

The car made an initial outing at the 1959 Monaco Grand Prix, with Behra's good friend Maria Teresa de Filippis at the wheel. De Filippis was unable to qualify, however, and the car did not start the race.

After the French Grand Prix, Behra was dismissed from the Ferrari team following an altercation with the team manager. This meant, however, that Behra was able to race the Behra-Porsche himself in the upcoming German Grand Prix.

The German Grand Prix was the only one ever to be held at the AVUS circuit in Berlin. Not only had Behra entered the Behra-Porsche into the Grand Prix, he had also entered his RSK sportscar into a support race. It was in this race that Behra crashed fatally, spinning out over the top of the infamous AVUS banking and being thrown from his vehicle. Behra hit a flagpole and fell to the ground, fracturing his skull and breaking many ribs. It was concluded by a doctor on the scene that he died on impact.

Following Behra's death, the Behra-Porsche was acquired by Lloyd Casner for the Camoradi International team. The first of the Behra-Porsche's two outings in 1960 was in the Argentine Grand Prix on 7 February. Masten Gregory took 12th place in the race, four laps behind the leader. Towards the latter half of the season, Fred Gamble became the last driver to pilot the Behra-Porsche in a World Championship Grand Prix. The 1960 Italian Grand Prix, which was noted for a boycott by the three British teams, saw Gamble take 10th place. He was the last finisher, nine laps down on the leader.

Complete Formula One World Championship results
(key)

title: Behra-Porsche


text:
Kakadu

Kakadu is the German word for cockatoo

Kakadu may refer to:

Australia

 * Kakadu National Park, a protected area
 * Kakadu Highway, a highway in the Northern Territory
 * Kakadu, Northern Territory, a locality

Australia

 * Kakadu dunnart, a species of dunnart
 * Kakadu pebble-mound mouse, a species of rodent
 * Kakadu plum, a species of flowering plant
 * Kakadu woolly-butt, a species of tree
 * Kakadu sand goanna, a species of monitor lizard
 * Kakadu vicetail, a species of dragonfly

Arts and entertainment

 * Kakadu Variations, by Ludwig van Beethoven
 * Kakadu und Kiebitz, a 1920 German silent film
 * Kakadu (Sculthorpe), an orchestral composition by Peter Sculthorpe

Other

 * Kakadu language, an extinct Australian Aboriginal language
 * Kakadu (people), an Australian Aboriginal people
 * Kakadu (sailplane), a large sailplane built in 1928 by Julius Hatry
 * Kakadu (software), a software library for encoding and decoding JPEG 2000 images
 * Kakadu Storm, a rugby team in the Darwin Rugby League

title: Kakadu


text:
Peruvian rock

Rock music entered the Peruvian scene in the late 1950s, through listening to performers like Elvis Presley, Buddy Holly and Bill Haley, who popularized rockabilly in the United States. The first Peruvian rock bands appeared during this time. They included Los Millonarios del Jazz, Los Stars, Conjunto Astoria, Los Incas Modernos, and Los Zodiacs.

1960s
New trends like British Merseybeat and American surf became popular, and a number of Peruvian bands built a loyal audience. Los Saicos blended psychedelic rock, garage rock and surf. Los Shains featured rock guitar hero Pico Ego-Aguirre (later in Pax). Traffic Sound, the first Peruvian supergroup, merged core players from Los Hang Ten's with other important musicians. Also popular were Los York's, Los Jaguars, Los Silvertons, Los Belkings and Los Doltons.

1970s
After the military coup in October 1968, rock music was branded an alienating phenomenon by the government of General Juan Velasco Alvarado. There was a ban of concerts in key venues including a highly anticipated Carlos Santana concert in 1971. However, some AM radio stations continued to play rock music (such as Radio Miraflores, Radio 1160, and Radio Atalaya). Also, record companies continued to release LPs of rock bands (such as Led Zeppelin and Jimi Hendrix) in Peru. The movie Woodstock was shown in Lima every two or three years. Moreover, some bands left their mark, such as El Polen, Traffic Sound, Pax, We All Together, Telegraph Avenue, Black Sugar, Crossroads, Tripping Foxters, Red Amber (the first Peruvian progressive rock band), and Fragil (in the late 1970s). In the late 1970s, the band Breeze with Roxana Valdivieso released a self-titled album with English lyrics.

Peruvian rock descended into its most obscure era during the mid-1970s, losing the momentum it had laboriously gained. Disco and salsa dominated the airwaves for the remainder of the decade. Some rock musicians became jazz musicians, such as guitarist Richie Zellon.

1980s
During the late 1970s and early 1980s, Peruvian rock bands were confined to the underground scene; with no radio or TV support. The half-hour TV show Disco Club led by singer-songwriter Gerardo Manuel (Rojas) was an occasional exception. Fragil released its first LP in 1981. Nevertheless, because of the deep crisis that the country was suffering, Peruvian rockers looked for a way to channel their frustrations. In this environment, it is no surprise that British punk rock became a major influence to a few young Peruvians rockers of this era, and quickly a small "underground" scene started brewing parallel to the free-again 'mainstream' scene. Bands like Leusemia, Narcosis, Autopsia, Guerrilla Urbana, Zcuela Crrada formed part of the first wave. The members of these bands were mostly from poor neighborhoods, but a few came from upper-class neighborhoods and had learned English in their schools.

Bands like Fragil, Rio, Miki Gonzales, Pax, JAS, Imagenes, Trama, Danai y Pateandolatas came from upper and middle-class backgrounds, uncovering the social division in Peruvian society. According to some scholars (mainly left-wing thinkers), the 'underground' scene was by far richer in creativity, though lacking technical skills; others thought the 'commercial' scene was more worthwhile, since the underground scene only reached a few hundred supporters per concert and was focused in the capital of Lima, being virtually unknown to the rest of the country.

Quickly several bands started appearing and creating subgenres within the umbrella 'underground' scene. Radio or TV support was nonexistent for them (the mainstream bands did have some), poverty and lack of technology prevented most bands from recording any moderate-quality material. Despite all this, the present and future looked much brighter than in the 1970s, since these bands, especially the mainstream ones, were pioneers in the rock scene after the 1975–1985 downturn.

At the same time, an underground scene of death metal and black metal developed in Lima, influenced by European bands. Local bands such as Mortem and Kranium were formed in the 1980s.

1990s
The further growth of the underground scene and the liberalization of Peruvian society and economy allowed rock musicians to create sub-circuits, and rock became very diverse. Some of the best (but not necessarily best known) rock bands from Peru came out during this decade. Leusemia became the leaders of not only the 'underground' faction, but of all Peruvian rock, undergoing a change from very basic rock band to a prolific and influential group that included rock anthems, ballads and symphonic, almost progressive rock. For those who liked the 1980s post-punk, Dolores Delirio, Voz Propia and Cardenales were among the best at the goth sound.

Huelga De Hambre was one of Peru's grunge-influenced group. El Aire, G3, Arcana, Radio Criminal, Los Mojarras, Mar De Copas, La Liga del Sueño and Rafo Raez were very solid bands of diverse genres that were followed in the late 1990s by La Sarita, Ni Voz Ni Voto, Cementerio Club, D'Mente Comun and Líbido, greatly expanding rock music in Peru.

Due to financial difficulties and lack of support from promoters, most bands had to play the same few venues, where they build loyal and knowledgeable fanbases. Although the concerts were very small at the beginning (typically 50 people), as the decade progressed, more young people started to notice these bands and fill bigger venues with 500, 1000, or 2000 people. Towards the end of the decade, major concerts like "Acustirock", "El Niño Malo", "Antimiseria" and "Inrockuptibles" each brought in at least 10,000 fans.

Peruvian media began to pay attention to these bands in the late 1990s, giving exposure to bands of a decidedly more upper-class and 'safer' sounding rock. The most prominent bands of 'mainstream' 1990s Peruvian rock were Nosequien y Los Nosecuantos, Miki Gonzales and Arena Hash. From this last band, Pedro Suárez-Vértiz went on a solo career and became the most commercially successful Peruvian rocker of the decade.

The black metal and death metal scene remained an underground, with a few bands releasing self-produced material. Bands included black-metal acts Illapa, Belzec, and Nahual; and death-thrash metal acts like Dark Silence, Ensalve, and Hadez. Many conflicts between bands (which include trash-talking and rivalries) and critical political and economic issues led to the breakup of many metal groups.

A report on Peruvian rock included in the July 1999 issue of Maximum RocknRoll mentions the following bands: Aeropajitas, Manganzoides, 60s garage punk/garage revival, Asmereir, a blend of punk/ska/reggae/hardcore/thrash, Leusemia, that put out a double CD through Coyote Records titled Moxon, Histeria Kolectiva reminiscing of Leusemia, dios hastío euro-crustcore intense and desperate, Ataque Frontal classic I-spit-on-your-face band, one of the shapers of the scene, Psicosis ska/punk orchestra, 3 Al Hilo, punk rock and roll, Metadona female-fronted pop-punk, Magras punk/hardcore and reggae, P. T. K. this means Pateando Tu Kara, Sudor de Huevos (SDH)-punk, Los Rezios, Autonomia, Migraña, Irreverentes, Hazloquechuchapunkron, Perú No Existe, Generacion Perdida. It also mentioned fanzines: Caleta, Sub, Cuero Negro and Crash Boom Zap.

2000s
A mature and prolific rock scene soon gained exposure due to the improved economic presence of Peru in the region. Peruvian TV and the Latin American division of MTV took notice of Peruvian bands, and included them in their shows ahead of the Peruvian mainstream radio. Peruvian rock videos were in normal rotation alongside regionally known acts like Soda Stereo, Shakira and Jaguares.

Líbido became Peru's most successful band, selling hundreds of thousands of discs worldwide and receiving Grammy nominations and several Latin MTV awards. Soon other bands like Amen, Zen and TK found success. Aliados and Inyectores (both made up of ex-G3 members), Los Fuckin Sombreros, Campo De Almas, Pelo Madueño (drummer of the 1980s Peruvian rock band Narcosis and leader, vocalist and guitarist of the 1990s Peruvian rock band La Liga Del Sueño), 6 Voltios, Space bee, Zaraúz, Brinvonda, Turbopotamos, Vaselina, Leusemia, Pancho Pepe Jazz Band, Los Claxon, DaleVuelta, Tráfico, Uchpa which is a rock & blues band in Quechua, Jose Arbulú (the vocalist and lead guitar of Cementerio Club), and Area 7 (an exponent of Peruvian Nu-Metal and the country's only all-female metal band), were acts that developed at the local level. Peruvian electronic music has its representatives in bands like Theremyn 4, Unidad central, Deimos, Insumision, Ensamble, Vacuna tu hijo, Kollantes.

Dozens of new bands kept coming out and most of the 1990s bands were still playing and improving their recordings. The albums of the early rock banks, including Los Saicos, Traffic Sound, and We All Together were released on CDs. Radio stations became more receptive of mainstream Peruvian Rock, given its recent commercial success. Most of the Peruvian media continues to not promote popular underground acts such as punk and reggae.

2010s
During the 2010s, many groups have emerged in the larger cities of Peru, especially in Lima. The growing world scene of psychedelic rock had led to the psychedelic sound being mixed with other genres, influencing Peruvian bands Cholo Visceral (blending with prog rock), Los Silver Mornings (vintage rock), Spatial Moods (blues), Onerom (jazz), and The Dead End-Alley Band and El Jefazo (stoner rock). In some Internet articles it is called "Nueva Psicodelia Latinoamericana" as a way to differentiate it from other kinds of psychedelic rock music that have emerged in Latinamerica during the 1970s, 1980s or 1990s.https://noisey.vice.com/es_co/article/el-despertar-de-la-nueva-psicodelia-en-latinoamerica-parte-2

List of bands and solo performers

 * Frágil
 * Amen
 * 6 Voltios
 * Mar de Copas
 * Crimson Death
 * Dale Vuelta
 * Los Dickens
 * Theremyn 4
 * A.M.A.X.A
 * (1957) Los Millonarios del Jazz
 * (1958) Eulogio Molina y sus Rockanrollers
 * (1959) Jorge Botteri
 * (1962) Los Kreps
 * (1962) Los Incas Modernos
 * (1963) Los Sunset
 * (1963) Los Golden Boys
 * (1964) Los Zodiacs
 * (1964) Los Saicos
 * (1964) Los Shains
 * (1965) Los Termits
 * (1965) Los Doltons
 * (1965) Los Drags
 * (1965) Los Steivos
 * (1965) Los Fannings
 * (1965) Los Teddys
 * (1965) Los VIPs
 * (1965) Los Belkings
 * (1966) Los Spectros
 * (1966) Los Golden Stars
 * (1966) Los York's
 * (1966) Los Silverstons
 * (1967) Los Holys
 * (1967) Los Zanys
 * (1967) Traffic Sounds
 * (1968) The Mad's
 * (1968) Los Comandos
 * (1969) El Opio
 * (1969) Los Far Fen
 * (1969) The (St Thomas) Pepper Smelter
 * (1969) Telegraph Avenue
 * (1969) PAX
 * (1970) Black Sugar
 * (1970) Grupo Amigos
 * (1970) Gerardo Manuel & El Humo
 * (1971) El Alamo
 * (1971) Smog
 * (1971) Cacique
 * (1971) We All Together
 * (1972) El Ayllu
 * (1972) El Polen
 * (1972) Tarkus
 * (1974) Red Amber
 * (1976) Frágil
 * (1980) Up Lapsus
 * (1982) Autocontrol
 * (1983) Rio
 * (1983) Leuzemia
 * (1984) Feiser
 * (1984) Narcosis
 * (1985) M.A.S.A.C.R.E.
 * (1986) Arena Hash
 * (1986) Miki Gonzáles
 * (1986) G-3
 * (1986) Salón Dadá
 * (1986) XDinero
 * (1987) Trama
 * (1987) Orgus
 * (1988) No se quién y no se cuántos
 * (1991) UCHPA
 * (1991) La Liga del Sueño
 * (1992) Mar de Copas
 * (1993) Los Zopilotes
 * (1993) Pedro Suárez-Vértiz
 * (1994) Campo de Almas
 * (1994) Dolores Delirio
 * (1994) Ni Voz Ni Voto
 * (1994) Huelga de Hambre
 * (1995) Amen
 * (1996) Madre Matilda
 * (1995) Trémolo
 * (1996) Deimos
 * (1996) El Aire
 * (1996) Libido
 * (1996) Arcana
 * (1996) Cementerio Club
 * (1998) Semillas
 * (2000) Chaska
 * (2000) Inyectores
 * (2001) TK
 * (2001) Chabelos
 * (2001) Gaia
 * (2002) La Negra
 * (2002) Fuera del Resto
 * (2002) ZEN
 * (2003) Wayo
 * (2004) Pamela Rodriguez
 * (2005) YAWARHIEM
 * (2005) Dos Vírgenes
 * (2005) Emergency Blanket
 * (2007) Alerta Rocket
 * (2007) Los Silver Mornings
 * (2007) Diego Dibós
 * (2007) Grisho
 * (2008) Pelo Madueño
 * (2008) Autobus
 * (2009) Jhovan
 * (2010) Zhoria
 * (2010) Difonía
 * (2010) Los Luna
 * (2010) Kanaku y El Tigre
 * (2010) Los Casablanca
 * (2011) Alejandro y Maria Laura
 * (2011) Cholo Visceral
 * (2011) Francois Peglau
 * (2012) Gris Volta
 * (2012) Spatial Moods
 * (2012) Tourista (rock)
 * (2013) Danitse
 * (2013) Puto Man Insecto
 * (2014) La Lá
 * (2014) Almirante Ackbar
 * (2014) Mundaka
 * (2015) Los Lagartos
 * (2015) Serto Mercurio
 * (2015) Fabricio Robles
 * (2015) Astronaut Project
 * (2015) Banana Child
 * (2015) Manuel Vera Tudela Wither
 * (2016) El Cuarto de Juegos
 * (2016) Bricheros
 * (2016) Golden Cameleon
 * (2017) Inzul
 * (2017) Santa García
 * (2017) Mecánica del Caos
 * (2018) Lorena Blume
 * (2019) Putzy

title: Peruvian rock


text:
Kya

Kya, kya or KYA may also refer to:

People or fictional characters

 * Kya Lau, chef and contestant on MasterChef Junior, season 4
 * Kya, mother of Katara and Sokka, in Avatar: The Last Airbender
 * Kya, daughter of Aang and Katara in The Legend of Korra
 * KYA, Christina Parie's former stage name

Other uses

 * kya (unit), an abbreviation for "kilo years ago", that is, a thousand years ago
 * Konya Airport's IATA code
 * KYA (AM), a San Francisco, California, radio station
 * KYA-FM, a San Francisco, California, radio station

title: Kya


text:
Alex von Falkenhausen Motorenbau

Alex von Falkenhausen Motorenbau (AFM) (but some sources claim the M stood for Munich ) was a German racing car constructor. The team was started by Alexander von Falkenhausen, who was in the 1930s an important engineer in the development of BMW's model 328, along with Alfred Boning, Ernst Loof and Fritz Fiedler. The 328 was a dominant sports car in late 1930s Europe and winner of the 1940 Mille Miglia race in Brescia, Italy.

After World War II, von Falkenhausen opened a garage in Munich where he tuned pre-war 328s, converting some of them into single-seaters, and in 1948 went on to build his own car marque with the 328's engine. As a result, the Formula 2 AFM-1 appeared in 1949, driven by Hans Stuck, resulting in a third place at the Grenzlandring. AFM won a heat in the Autodromo GP at Monza with Stuck behind the wheel, beating the Ferraris of Alberto Ascari and Juan Manuel Fangio. Other cars were raced by Fritz Riess, Karl Gommann, Willi Heeks and Manfred von Brauchitsch. By 1951 Stuck was within the development of a lightweight V8 engine designed by Richard Küchen and won the 1951 Grenzlandring F2 race with the so-called AFM-4-"Küchen". The and  World Drivers' Championships were run to Formula Two regulations, enabling AFM cars to compete in several World Championship rounds. By the time 1953 rolled in, the cars were becoming less competitive and with the fall of F2 that year the marque and the team faded away, while Freiherr von Falkenhausen in 1954 started to work for BMW again, leading their Rennsportabteilung for more than the following 20 years.

World Championship participation: 1952–53
The first AFM to be entered in a World Championship Grand Prix was a works car entered for Stuck at the 1952 Swiss Grand Prix. Stuck qualified the car 14th, beating some established names such as Harry Schell, who was driving a Maserati entered by Enrico Platé. However, he was some 14 seconds behind the pole time of Giuseppe Farina's works Ferrari. In the race, Stuck dropped back steadily until Küchen's engine failed him on the fifth lap.

The other race of 1952 to feature AFM cars was the German Grand Prix. Privately owned cars were entered by Willi Heeks, Helmut Niedermayr, Ludwig Fischer and Willi Krakau, all using BMW engines instead of the Küchen unit favoured by the works team. Neither Fischer nor Krakau started the race, and while Niedermayr was down in 22nd place, Heeks qualified his car a magnificent 9th. He qualified ahead of several works cars, including Jean Behra's Gordini. Come the race, Heeks took advantage of both Paul Pietsch's Veritas and Ernst Klodwig's BMW running into trouble on the opening lap, and moved up to 7th, where he remained for 5 laps. However, on lap 6, he began to suffer with the BMW engine in his car, and by the end of the 8th lap, he was out. Meanwhile, Niedermayr had been making fantastic progress from his lowly grid slot. Heeks' retirement moved his compatriot up into 9th place. By capitalising on other's mistakes. Niedermayr had moved up through the field, and when Robert Manzon's Gordini lost a wheel on the 9th lap, he inherited the Frenchman's 8th place. He was passed by Toni Ulmen, driving a Veritas, late in the race, but still brought the car home in 9th, the first ever finish for an AFM in a championship race.

AFMs were back in action in Germany the following year. Stuck entered once again, privately this time. He was using yet another different engine, the Bristol straight six. He was joined by Günther Bechem in his privately entered machine, and Theo Fitzau, driving a car for Niedermayr, who had performed so well in it himself the previous year. Niedermayr himself had retired from racing after killing at least 13 spectators during a crash at the Grenzlandring in 1952. Both Bechem and Fitzau were using BMW engines. Fitzau was the highest qualifier, in 21st place, over 80 seconds behind Alberto Ascari on pole for Ferrari. Stuck was 23rd, while Bechem, down in 30th, was well over 2 minutes shy of Ascari's time, made possible by the extreme length of the Nürburgring circuit. Stuck was out on lap 1, as his new engine failed. By the end of lap 4, Bechem and Fitzau were also out with similar engine problems.

AFM's last appearance in championship F1 came at the Italian Grand Prix later in the year, as Stuck entered his car again. He qualified second last, beating only Johnny Claes's Connaught. However, he finished 14th in the race, simply by virtue of not running into difficulties. He was 13 laps behind the victorious Juan Manuel Fangio.

As Grand Prix racing abandoned the F2 regulations at the end of 1953, so AFM withdrew from the scene. Their best result remained Niedermayr's 9th place at the German Grand Prix of 1952.

Complete World Championship results
(key)

title: Alex von Falkenhausen Motorenbau


text:
BYA

BYA may refer to:

 * Black-Yellow Alliance, a monarchist movement in Austria
 * Brigham Young Academy, an American school
 * bya, a unit of time
 * BYA (airline), an American charter airline
 * BYA (railway station), a railway station serving the remote settlement of Berney Arms in the English county of Norfolk

title: BYA


text:
Adventures of Lolo 3

Adventures of Lolo 3 is a puzzle video game developed and published by HAL Laboratory for the Nintendo Entertainment System. It is based on the Japanese Eggerland video game series. It is the ninth installment of the Japanese Eggerland video game series; it was the fifth game released in European countries and the third one released in the United States and Canada. This American game re-used new gameplay elements, cut-scenes, and graphics from the Japanese-only Adventures of Lolo 2 (unrelated to the American Adventures of Lolo 2).

The Japan-exclusive Adventures of Lolo 2,Adobenchāzu obu Roro 2 (アドベンチャーズ オブ ロロ 2) on the other hand, is a different game. It has a different difficulty curve and featured completely different stages. It was released for the Famicom and it is the eighth installment in the Eggerland series. New gameplay elements, later re-used in the American Adventures of Lolo 3, were added to make the base gameplay deeper than before.

Synopsis
Lolo and Lala are enjoying some time together when the Great King of Eggerland's son and heir throws a potion on all of Lolo and Lala's friends, turning them to stone. Lolo and Lala return home to see the damage that the Great King's son and heir has done and embark on a quest to stop him and return their friends to normal.

Game information
The player has the ability to select between playing as Lolo or Lala in the levels by pressing the "A" or "B" button when on the overworld map. Neither character has any advantage over the other, however, the only difference being the character dialogue in the tutorial levels.

Two changes to the gameplay included the crumbling bridge, which is a bridge that can only be crossed two times before it crumbles into nothingness. The other change was a new monster called Moby. Mobies only appear in the underwater levels and use a line of sight attack that sucks Lolo in towards them. Though not directly a fatal attack, it can cause Lolo to get stuck and have to restart the room.

When pressing Select to give up, Lolo does not actually die this time. Instead, a short "give up" tune plays and the level restarts. Pressing Start will return the player to the overworld map. Pressing Start again reveals the password to that point in the game. Adventures of Lolo 3 uses 16-character passwords instead of four-character ones.

Unlike the previous game, there is no limit on lives. The player may restart the level as many times as desired without returning to the title screen.

The game features a total of 17 levels with 100 different puzzle rooms, nine boss rooms, and ten training rooms. Levels 3, 13, and 17 have ten rooms each. The other levels only have five rooms. Levels 4–7, 9–12, and 17 have a boss at the end. The two big trees on the overworld map are where the training rooms are, each tree having five rooms each.

Reception
Reception to Adventures of Lolo 3 is universally positive. Dylan Cornelius of Questicle wrote that Adventures of Lolo 3 is "worth every penny". Lee Evans of Downwards Compatible wrote: "If you like puzzlers, the Lolo series is a ton of fun, and Adventures of Lolo 3 is a standout".

Entertainment Weekly gave the game an A, and later picked the game as the #10 greatest game available in 1991.

title: Adventures of Lolo 3


text:
Ota Šik

Ota Šik (11 September 1919 – 22 August 2004) was a Czech economist and politician. He was the man behind the New Economic Model (economic liberalization plan) and he was also one of the key figures in the Prague Spring.

Early years
Šik was born in the industrial town of Plzeň, Czechoslovakia in to the family of a Jewish merchant as Ota Schick. Before the Second World War Šik studied Art at Charles University of Prague, and studied politics after the war.

Following the German annexation of the Sudetenland, and the partition of the whole nation in March 1939, Šik joined the Czech Resistance movement. However, he was arrested by the Gestapo in 1940 and sent to the Mauthausen-Gusen concentration camp. At Mauthausen Šik's fellow inmates included Antonín Novotný, the future president of Czechoslovakia (who was succeeded by the leader of the Prague Spring Alexander Dubček), and Dubček's father, Štefan.

Political career
The connections that Šik made at Mauthausen proved useful in his post-war political career. In the early 1960s he attempted to persuade the hardline president, Novotný, into loosening his rigid adherence to central planning, which had been crippling the economy. Šik, who by this point was an economics professor and member of the Communist party, wanted to bring market elements into central planning, to relax price controls and to promote private enterprise in the hope of kickstarting the stagnant economic climate. It was around this point that Šik was elected to the party's central committee and was made head of the economics institute at the Czech Academy of Sciences.

Šik's reforms were launched in 1967, before Dubček came to power, but were heavily watered down by party apparatchiks who worried about losing control of the factories. The only palpable, and certainly the most popular, result of the reforms was the appearance of private taxis on the streets of Prague. In December 1967, at a party meeting that was a precursor to Dubček's rise to power a month later, Šik publicly denounced Novotný's regime. He demanded a fundamental change to the Communist system and a new leadership, two decades before Mikhail Gorbachev he announced that economic reform could not be separated from fundamental political change. By this point Czechoslovakia had the lowest growth rates in the Soviet bloc, whereas previously it had been the economic backbone of the Habsburg empire.

Following Dubček's election as First Secretary of the Communist Party of Czechoslovakia, Šik was made a deputy prime minister in April 1968 and he was the architect of the economics section of Dubček's action programme. Šik claimed that if his policies were followed then Czechoslovakia would be on an economic par with neighbouring Austria within four years. However these plans were never followed out after the Prague Spring was brutally ended in August of the same year by the tanks of the Soviet army.

After the Prague Spring
When the tanks rolled into Prague, Šik was on holiday in Yugoslavia. With the threat of arrest looming, he did not return to his homeland. Leonid Brezhnev and the Soviet Communist Party's propaganda machine singled Šik out for particular attention. In August 1968, TASS issued a press release calling him an agent of U.S. imperialism and "one of the most odious figures of the rightwing revisionists".

Šik left Yugoslavia in October 1968 and moved to Switzerland. In 1969, he returned to Prague and tried to convince his colleagues but his views were rejected. Thus, he returned to Switzerland, where he became an economics professor at the University of St. Gallen in 1970, holding the post until his retirement in 1990. After the Velvet Revolution, Šik became an economic advisor to the Czech president, but had no impact on actual economic policies. He became a Swiss citizen and lived there until his death.

Major works
Šik was known as a market socialist but through the time he became a proponent of social market economy instead of market socialism. His major works include:
 * The Third Way: Marxist-Leninist Theory & Modern Industrial Society (1972)
 * For a Humane Economic Democracy (1979)
 * The Communist Power System (1981)
 * Economic Systems (1989)

title: Ota Šik


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