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Thalamic reticular nucleus

The thalamic reticular nucleus is part of the ventral thalamus that forms a capsule around the thalamus laterally. However, recent evidence from mice and fish question this statement and define it as a dorsal thalamic structure. It is separated from the thalamus by the external medullary lamina. Reticular cells are GABAergic, and have discoid dendritic arbors in the plane of the nucleus.

Thalamic Reticular Nucleus is variously abbreviated TRN, RTN, NRT, and RT.

Input and output
The thalamic reticular nucleus receives input from the cerebral cortex and dorsal thalamic nuclei. Most input comes from collaterals of fibers passing through the thalamic reticular nucleus. Primary thalamic reticular nucleus efferent fibers project to dorsal thalamic nuclei, but never to the cerebral cortex. This is the only thalamic nucleus that does not project to the cerebral cortex, instead it modulates the information from other nuclei in the thalamus. Its function is modulatory on signals going through thalamus (and the reticular nucleus).

The thalamic reticular nucleus receives massive projections from the external segment of the Globus Pallidus, thought to play a part in disinhibition of thalamic cells, which is essential for initiation of movement (Parent and Hazrati, 1995)

It has been suggested that the reticular nucleus receives afferent input from the reticular formation and in turn projects to the other thalamic nuclei, regulating the flow of information through these to the cortex. There is debate over the presence of distinct sectors within the nucleus that each correspond to a different sensory or cognitive modality.

For original connectivity anatomy see Jones 1975.

For discussion of mapping and cross modality pathways see Crabtree 2002.

title: Thalamic reticular nucleus


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The Left-Hander (opera)

The Left-Hander or Levsha (ru:Левша; The Left-Hander) is an opera in 2 acts by composer Rodion Shchedrin. The work uses a Russian language libretto by the composer after Nikolai Leskov's The Tale of Cross-eyed Lefty from Tula and the Steel Flea (Russian: Сказ о тульском косом Левше). The work had its world premiere in a concert performance on 26 June 2013, followed by the world stage premiere on 27 July 2013 at the Mariinsky II in St Petersburg. Conductor Valery Gergiev led both performances.

Plot
The action takes place in the early nineteenth century. Tsar Nicolas I admires a tiny dancing flea made of steel by English workmen and given to Nicolas's elder brother Tsar Alexander I. He challenges Russian workmen to create something better. In a flashback the flea is presented to Alexander at Buckingham Palace and its dancing is shown (described in an onomatopoeic orchestral interlude). Back in Nicolas's time, the Left-Hander of the title, a workman, manages to affix minute horseshoes to the English flea; Nicolas is pleased and sends the Left-Hander to England. There he is admiringly interviewed by the Court who try to persuade him to take an English bride, but he refuses. After a tour of English armouries he returns to St Petersburg, his voyage imperilled by a storm and a drunken English “under-skipper”. Arriving drunk himself, he is arrested. He sends a message to the Tsar: the Russian army should stop cleaning their muskets with brick-dust, for the English don't do that, and if war comes between the two nations the Russian guns will be no good. He dies, the Flea sings a lullaby and the opera ends with a burial rite.

Recording
In 2015 a full recording of the opera was released by the Mariinsky Theater with Andrey Popov in the title role, Maria Maksakova as Princess Charlotte, Kristina Alieva as Flea, Edward Tsanga as Platov, Andrei Spekhov as the English sailor, and Vladimir Moroz as both Tsars Alexander I and Nicholas I.

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

title: The Left-Hander (opera)


text:
Loverboy (Mariah Carey song)

"Loverboy" is a song by American singer and songwriter Mariah Carey. It was released on June 19, 2001, by Virgin Records America as the lead single from her eighth studio album Glitter, the soundtrack to the 2001 film of the same name. Written and produced by Carey, Larry Blackmon, Thomas Jenkins and Clark Kent, "Loverboy" is built around a sample from "Candy" by the funk band Cameo, who are also featured on the track. Lyrically, the song finds Carey fantasizing about her loverboy, a man that will fulfill her physical and sexual desires. The recording was accompanied by an official remix, titled "Loverboy Remix", featuring guest artists Ludacris, Da Brat, Shawnna and Twenty II.

The track was subject to controversy, following confirmed reports that Jennifer Lopez and Tommy Mottola (Carey's ex-husband) stole the idea of sampling the singer's original planned sample, Yellow Magic Orchestra's "Firecracker", over a month after Carey had signed for it. Since Carey's Glitter was to be released over a month after Lopez's album, she changed the song's melody to sample from "Candy" instead. Further controversy ensued following its release, as Carey was hospitalized for severe mental and physical exhaustion, following poorly received television appearances involving both the song and album.

After the song's release in the United States, "Loverboy" stalled on the Billboard Hot 100 at number two due to weak radio airplay. The single jumped 58 spots on the Billboard Hot 100 the week ending August 4, 2001, with sales driven by a Virgin promotion offering the CD for a bargain-priced 49 cents. "Loverboy" only spent 14 weeks on the chart. It also became Carey's first lead single to not reach number one. Though it peaked at number one in Croatia and reached the top 10 in Australia and Canada, the song failed to garner strong charting elsewhere, reaching the top 20 in Portugal, Italy and the United Kingdom.

"Loverboy" received generally mixed reviews from music critics; many called the song unoriginal and dated while others felt that the featured artists (primarily on the remix version) overpowered Carey and made the song disorganized. A music video, directed by David LaChapelle, was shot for both versions of the song. The first version features Carey as a scantily-clad car girl, waving a flag as her loverboy finishes a race. The video for the remix version features similar footage, only including shots of the song's guests in race-cars during their verses. She performed "Loverboy" live on The Sweet Sweet Fantasy Tour in 2016, as well as her Caution World Tour in 2019.

In 2020, the original "Firecracker"-sampled version of "Loverboy" was included on Carey's eighth compilation album The Rarities and was released as a limited edition double a-side Japanese single in December 2020.

Background and release

Originally planned to be released at a later date, "Loverboy" was leaked to radio on June 1, 2001. As a result, Virgin Records pushed the release date in order to control the leak. Following the release of "Loverboy", Carey embarked on a short promotional campaign for the song. On July 18, 2001, Virgin scheduled Carey to do a day of interviews with radio stations. After she called in an hour late to Q100 in Atlanta at 9:00 a.m. and the hosts informed Carey that she was late, the rest of the day's interviews were canceled. The next day, Carey made a surprise appearance on the MTV program Total Request Live (TRL). As the show's host Carson Daly began taping following a commercial break, Carey came out onto the filming stage, pushing an ice cream cart while wearing a large men's shirt. Seemingly anxious and exhilarated, Carey began giving out individual bars of ice cream to fans and guests on the program, while waving to the crowd down below on Times Square, while diverging into a rambling monologue regarding therapy. Carey then walked to Daly's platform and began a striptease, in which she shed her shirt to reveal a tight yellow and green ensemble, leading him to exclaim "Mariah Carey has lost her mind!". While she later revealed that Daly was aware of her presence in the building prior to her appearance, she admitted that he was meant to act surprised in order to provide a more dramatic effect for the program.

Carey's appearance on TRL garnered strong media attention, with many critics and newspapers citing her behavior as "troubled" and "erratic". In the days following her appearance on TRL, Carey had begun displaying "erratic behavior" during a public record signing for the single at Tower Records in New York. As the appearance was filmed, she began rambling on several points, leading her to discuss radio-host Howard Stern and how his form of humor on his program bothered her greatly. At that point, Carey's publicist Cindi Berger grabbed the microphone from her hand and ordered the cameras to stop filming. A few days later, Carey began posting irregular voice notes and messages on her official website: I'm trying to understand things in life right now and so I really don't feel that I should be doing music right now. What I'd like to do is just a take a little break or at least get one night of sleep without someone popping up about a video. All I really want is [to] just be me and that's what I should have done in the first place ... I don't say this much but guess what, I don't take care of myself. After the removal of the messages, Berger commented that Carey had been "obviously exhausted and not thinking clearly" when she posted the letters. Two days later on July 26, she was suddenly hospitalized, citing "extreme exhaustion" and a "physical and emotional breakdown". Following the heavy media coverage surrounding Carey's publicized breakdown and hospitalization, Virgin Records and 20th Century Fox delayed the release of both the film's soundtrack and the film itself for three weeks: from August 21 to September 11 and from August 31 to September 21, respectively.

Following Carey's absence from the public eye, as well as her abandonment of promotional appearances for the film and soundtrack, her unprecedented $100 million five-album record deal with Virgin Records (EMI Records) was bought out for $50 million. The decision was brought out due to the low sales of the project, as well as the negative publicity surrounding her breakdown. Soon after, Carey flew to Capri, Italy for a period of five months, in which she began writing material for her new album, stemming from all the personal experiences she had endured throughout the past year. Additionally, she founded her own label modelled after her initials, MonarC Entertainment and signed a new three-album record deal with Island Records, valued at over $23 million.

In 2020, the original and previously unreleased version of "Loverboy" that sampled "Firecracker" was included on Carey's compilation album The Rarities as part of the "#MC30" initiative. The latter was a campaign marking the 30th anniversary of Carey's self-titled debut studio album, Mariah Carey (1990), and coincides with her memoir The Meaning of Mariah Carey (2020). "Loverboy" (Firecracker – Original Version) was released as a limited edition double a-side single with "Here We Go Around Again", another song taken from The Rarities.

Composition
"Loverboy" 's hook is built around a sample of "Candy", by Cameo. Aside from borrowing from the melody, "Loverboy" features the members of Cameo, including group leader Larry Blackmon, as vocalists on the track. According to Chuck Taylor from Billboard, "Loverboy" is reminiscent of several of Carey's previous lead singles, as they too were predominantly built around samples of older songs. He described some of its background flourishes as "swirling harmonies overtop" and noted the inclusion of many shouts and ad-libs from Carey and Cameo.

Due to the song's heavy usage of the "Candy" sample and the heavy blend of instrumentation and vocals, he said that to his bewilderment, the song was "devoid of a standard hook". NME's Elios Therepio felt the idea of sampling "Candy" was genius "on paper", but once it was recorded, it suffered from various miscalculations. He felt it did not match the success Carey's previous single, "Fantasy" (which also recalled its melody from an older song), and criticized the inclusion of several over-the-top "keyboard and synth arrangements". Regarding Carey's voice, aside from describing it as "obscured", Therepio expressed his difficulty in understanding her lyrical phrases, claiming it was weakened from "no-everyone-can-understand-what-you're-saying'-itis". Gil Kaufman from MTV News noted the inclusion of "bouncing funky bass [and] rock guitars", while Roger Caitlin of the Hartford Courant described how Carey was often reduced to "breathy background vocals" on "Loverboy".

Lyrically, the song finds Carey looking for her "loverboy" and a sugar-daddy who is going to "love her right". Therepio found it ironic how Carey was crooning for a sugar-daddy, when she had just left one (referring to her older ex-husband Tommy Mottola). Additionally, he felt Carey was molding her image from that of a balladeer, to a "pin-up image" of a pop star. The song's lyrics are racy and feature the protagonist asking for her "loverboy" to fulfill her sexual desires: "Loverboy come on and love me / Give me more".

Sampling controversy
Throughout 2000, Carey had already been writing and recording material for Glitter. During this period, she developed the concept for the album's lead single, "Loverboy". Originally, Carey had sampled the melody and hook from the 1978 Yellow Magic Orchestra song "Firecracker", using an interpolation of it throughout the chorus and introduction. In early theatrical trailers for Glitter, the original version of "Loverboy" was still featured. As Carey had ended her contract with Columbia Records, Jennifer Lopez was signed by Tommy Mottola and had begun recording material for her album, J.Lo (2001). According to The Inc.'s Irv Gotti, Mottola, head of Columbia and Carey's ex-husband, knew of Carey's usage of the "Firecracker" sample and attempted to have Lopez use the same sample before her. At the time, Carey had become increasingly paranoid over outside executives being informed about Glitter, especially following news of Mottola's "theft" of the song.

When the music publishers for "Firecracker" were questioned, they admitted Carey had licensed usage of the sample first, and Lopez's team had signed for it over one month later, under Mottola's arrangement. Following the scandal, Carey was not able to use the original sample, as Lopez's album was to be released far earlier than Glitter. She subsequently changed the composition of "Loverboy" and incorporated a new sample, "Candy" by Cameo. The "Firecracker" sample ended up being used by Lopez on her song "I'm Real", from her album J.Lo, while the original version of Carey's "Loverboy" with the "Firecracker" sample was later included on her compilation album The Rarities (2020).

Critical reception
"Loverboy" was met with generally mixed reviews from music critics; many were not impressed with the incorporation of the sample and felt the song did not lead Carey into any newer ground or innovation. Additionally, several reviewers were not impressed with Carey's concealed vocals and the song's complex production. Sarah Rodman of the Boston Herald described the song's production as a "traffic-jam" and wrote "'Loverboy' is another in an increasingly long line of glitzy, candy-coated, creatively stunted song." Writing for the Los Angeles Times, Natalie Nichols felt "Loverboy" was "predictable" and presented nothing new for Carey's audience. USA Today's Edna Gunderson wrote the song off as "skimpy", while Glenn Gamboa from Newsday described its overall reception as "lukewarm".

Harry Guerin from Raidió Teilifís Éireann outed the song as one of Carey's "finest moments" on Glitter and disagreed with criticism regarding the "overly-populated" musical background". Allmusic editor Stephen Thomas Erlewine listed the song as the only "recommended" song from Glitter, while Gil Kaufman of MTV News called it a "fun, uptempo dance number". Craig Seymour from Entertainment Weekly rated "Loverboy" a C−, criticizing its lyrical content and production. An anonymous writer from The Guardian felt the song had "no decipherable tune", due to the inclusion of electronic musical instruments and background shouts and ad-libs. Billboard's Chuck Taylor described the song as "self-sabotage" and felt Carey was gambling her longevity. He described the production as a "mumbo jumbo of disparate elements" and wrote "the mighty may have fallen here".

Chart performance
In the United States, "Loverboy" became Carey's second-lowest debut of her career on the Billboard Hot 100 chart at number 79. On the week of August 4, 2001, the song jumped from number 60 to number two on the chart, as a result of Carey's publicized hospitalization, as well as Virgin's price reduction on the single, becoming the largest jump into the top-three spot in Billboard history; this record was later broke by American singer JoJo for her song "Too Little Too Late" (2006). Its poor radio airplay throughout the United States was given as the reason as to why it did not reach number one. It also peaked atop the Billboard's Hot Singles Sales chart for four consecutive weeks. "Loverboy" finished as the best-selling single of 2001 in the United States, with sales of 571,000 units, falling short of the previous year's best-seller, which accumulated sales upwards of one million copies. The Recording Industry Association of America (RIAA) certified the song Gold. In Canada, "Loverboy" peaked at number three on the singles chart and charted for a total of thirteen weeks.

Throughout Australasia and Europe, the song peaked outside the top 20 in most countries. "Loverboy" debuted at its peak position of number seven on the Australian Singles Chart, during the week of July 29, 2001. The following week, the song began its decline and experienced a total chart trajectory of seven weeks. The song was certified Gold by the Australian Recording Industry Association (ARIA), denoting shipments of over 35,000 units. On July 29, 2001, "Loverboy" debuted at number 65 on the Ö3 Austria Top 40 chart, spending a total of three weeks in the chart. The song achieved relatively weak charting in both the Flemish and Wallonian territories in Belgium, peaking at numbers 49 and 34, respectively. Making its debut at its peak position of number 54, "Loverboy" charted for a total of nine weeks in France, before falling out on November 3, 2001. On the Dutch Top 40 chart, the song made its debut at number 68. The following week the song peaked at number 34, before dropping outside the top 40 three weeks later, ending its five-week run. On July 26, 2001, "Loverboy" debuted at number 49 on the Swedish Singles Chart and reached a peak of number 44. Similarly in Switzerland, the song peaked at number 66 and spent only four weeks fluctuating inside the chart. On the UK Singles Chart, the song debuted at its peak of number 12. The following week, the song dropped to number 29 on the chart, before dropping outside the top 40 two weeks later.

Remix
Aside from the regular version of the song, an official remix of "Loverboy" was included on Glitter. The song's main remix, titled "Loverboy Remix", uses the same sample as the album version and retains all of Carey's original vocals. It has a different introduction, the singing and spoken parts of Cameo are greatly reduced (and are not credited), and additional raps are included by Da Brat, Ludacris, Shawnna, and Twenty II. NME writer Elios Therepio rated the remix five out of ten stars and claimed the song to have been a much weaker lead single than Carey's "Fantasy" (1995). Jim Farber from Daily News criticized Brat's verse, writing how it "cut right through" the production. The Morning Call's Len Righi described the remix as "cloddish", while Jim Abbott from the Orlando Sentinel felt the song's guests "upstaged" Carey.

Music video
Two music videos, both directed by David LaChapelle, were shot for the song and its accompanying remix and premiered on Total Request Live on June 8, 2001. The videos introduced a less demure image of Carey, one that received negative backlash from critics. She appears in the video with a lighter hair color than she had sported in the past and wearing a series of revealing ensembles. Reviewers disregarded Carey's newer image, primarily her double-handkerchief bra, and likened her to younger pop singers such as Britney Spears, which they felt cheapened the singer. The video begins with Cameo frontman Larry Blackmon driving all over a racetrack, while Carey, dressed in revealing clothing, is shown singing in various "car girl" positions at the track on a hot summer day. She flags down cars as the "flag girl" and dances as a "tire girl" in a kaleidoscope-inspired sequence, before jumping out of a pop out cake to the roars of the crowd below.

Several other scenes of Carey in a pink jumpsuit while riding on top of a race-car are shown, during which Blackmon continues the race. A video was also made for the remix and retains most of the shots of the original. In it, Ludacris and Shawnna can be seen rapping together as they ride in an old car, while Da Brat and Twenty II rap together in a more modern car without a hood.

The music video for "Loverboy" received generally negative reviews from critics, many of whom felt Carey was portrayed in an overtly sexual manner. A writer from The Guardian criticized the video, calling it "wacky" and describing Carey's choreography as "running amok". Slant Magazine's Sal Cinquemani felt the video was "brilliantly over-the-top", while an anonymous columnist from NME commented that it would cause male viewers to "play with themselves" after watching. In a countdown of "The 5 Least Sexiest Music Videos", Priya Elan from NME included the video at number three, writing how the singer "spins with the mad-eyed grace of someone who hasn't been to sleep for 72 hours" (referring to Carey's mention of insomnia as a reason for her breakdown). Japiya Burns of The Michigan Daily was critical of Carey's portrayal in the video, primarily her double-handkerchief bra. He felt that in doing so, Carey was cheapening herself and her image to resemble younger pop singers such as Britney Spears.

Live performances
At the time of its release, Carey did not perform "Loverboy" live. The first performance of the song came 5 months later at a private special concert for the US troops at Camp Bondsteele in Kosovo. Carey also performed her single at the time "Never Too Far / Hero Medley", "My All", a snippet of "Santa Claus Is Comin' to Town" and "All I Want for Christmas Is You". 15 years later, it was performed again on Carey's Sweet Sweet Fantasy Tour in 2016, this time as part of the Car Ride medley. Three years later, it was also performed as part of the #JusticeForGlitter medley of Carey's Caution World Tour.

Formats and track listings
Australian CD single
 * 1) "Loverboy" (featuring Cameo)
 * 2) "Loverboy" (Remix featuring Da Brat and Ludacris)
 * 3) "Loverboy" (Club of Love Remix)
 * 4) "Loverboy" (MJ Cole Remix)
 * 5) "Loverboy" (Dub of Love Remix)

Australian promo CD single
 * 1) "Loverboy" (featuring Cameo)
 * 2) "Loverboy" (David Morales Club of Love Mix)
 * 3) "Loverboy" (Remix featuring Da Brat and Ludacris)
 * 4) "Loverboy" (MJ Cole Main Mix Radio Edit)
 * 5) "Loverboy" (David Morales Drums Of Love Mix)

Japanese CD single
 * 1) "Loverboy" (featuring Cameo)
 * 2) "Loverboy" (Remix featuring Da Brat and Ludacris)

European CD maxi-single
 * 1) "Loverboy" (MJ Cole Remix)
 * 2) "Loverboy" (MJ Cole Radio Edit)
 * 3) "Loverboy" (MJ Cole London Dub Mix)
 * 4) "Loverboy" (MJ Cole Instrumental)
 * 5) "Loverboy" (Club of Love Remix)
 * 6) "Loverboy" (Club of Love Radio Edit)
 * 7) "Loverboy" (Dreamy Club of Love Radio Edit)
 * 8) "Loverboy" (Dub of Love Remix)
 * 9) "Loverboy" (Drums of Love)

European CD single
 * 1) "Loverboy" (featuring Cameo)
 * 2) "Loverboy" (Remix featuring Da Brat and Ludacris)

UK 12-inch vinyl single
 * 1) "Loverboy" (Drums of Love)
 * 2) "Loverboy" (Dub of Love Remix)
 * 3) "Loverboy" (MJ Cole London Dub Mix)

UK promo maxi-single
 * 1) "Loverboy" (featuring Cameo)
 * 2) "Loverboy" (MJ Cole Remix)
 * 3) "Loverboy" (Club of Love Remix)

US CD maxi-single
 * 1) "Loverboy" (featuring Cameo)
 * 2) "Loverboy" (Remix featuring Da Brat and Ludacris)
 * 3) "Loverboy" (MJ Cole Remix)
 * 4) "Loverboy" (MJ Cole Instrumental)
 * 5) "Loverboy" (MJ Cole London Dub Mix)
 * 6) "Loverboy" (Club of Love Remix)
 * 7) "Loverboy" (Dub of Love Remix)
 * 8) "Loverboy" (Drums of Love)

Japanese Limited Edition 2020 Cassette Single
 * 1) "Here We Go Around Again"
 * 2) "Loverboy" (Firecracker – Original Version)

Credits and personnel
Credits for Glitter adapted from the album's liner notes.

 * Mariah Carey – songwriting, producer, vocals, background vocals
 * Da Brat – songwriting, vocals (remix only)
 * Larry Blackmon – songwriting
 * Tomi Jenkins – songwriting
 * Clark Kent – producer
 * Carl "Butch" Small – percussion
 * Peter Novak – engineer
 * Ludacris – songwriting, vocals (remix only)
 * Andrew Felluss – engineer
 * Ann Mincieli – engineer
 * Anthony Kilhoffer – engineer
 * Elliot Blakely – engineer
 * Dana Jon Chappelle – mixing
 * Michael "Mikizza" Schlesinger – mixing
 * Evren Göknar – Mastering Engineer
 * Cameo – vocals
 * Mary Ann Tatum – background vocals
 * Shawnna – songwriting, vocals (remix only)
 * Twenty II – songwriting, vocals (remix only)

title: Loverboy (Mariah Carey song)


text:
Peter McIntyre (artist)

Peter McIntyre (4 July 1910 – 11 September 1995) was a New Zealand painter and author who rose to prominence as a result of artwork produced in his capacity as an official war artist during the Second World War.

Born in Dunedin, McIntyre commenced a journalism degree at the University of Otago but abandoned his studies and went to England in 1931 to attend the Slade School of Fine Art. After graduating he worked as a commercial artist in London. On the outbreak of the Second World War, he enlisted in the Second New Zealand Expeditionary Force (2NZEF) and was posted to the 34th Anti-tank Battery. By 1940, he was serving in the Middle East with the 2nd New Zealand Division, where his artwork caught the attention of Major General Bernard Freyberg, the commander of the 2NZEF. Freyberg appointed him the official war artist of the 2NZEF, and McIntyre went on to produce many notable works depicting the efforts of the 2nd New Zealand Division during the war, including major engagements in Egypt, Libya, Tunisia and Italy.

After the war, McIntyre returned to New Zealand and worked as a professional painter. In his later years, he produced an autobiography and a number of art books, covering topics such as New Zealand, the Pacific Islands, and his war art. These helped maintain his high profile in New Zealand and in 1970 he was appointed an Officer of the Order of the British Empire. He died in Wellington in 1995, aged 85, one of the country's best known artists.

Early life
Peter McIntyre was born in Dunedin, New Zealand, on 4 July 1910, the son of Peter McIntyre, an emigrant from Scotland, and his wife, Isabella Edith Cubitt. His father, a co-founder of the Caxton Printing Company, was well known for his lithographs and work in watercolours, and also worked as a cartoonist for the Otago Daily Times. He was educated at Otago Boys' High School and, encouraged by his father, received instruction in art from Alfred O'Keefe, a local artist, executing several works for family and friends. After completing his schooling, he then went onto the University of Otago, to study journalism. However, by 1931, McIntyre had decided to pursue art studies and abandoned his courses in New Zealand.

London
Initially funded by his family, McIntyre went to London where he attended the Slade School of Fine Art, studying for a Bachelor of Fine Arts. His work at this time was influenced by the likes of Russell Flint, Maurice Greiffenhagen and Alfred Munnings. He enjoyed life in London, mixing with fellow students and attending exhibitions. Despite limited income, he often travelled to mainland Europe and painted scenes in France, Germany, Italy and Spain. In 1934, his final year of studies at Slade, he won prizes in composition and figure drawing.

Following his graduation, McIntyre remained in London and worked as a free-lance commercial artist. The 1930s in Britain were difficult due to the state of the economy and work was not easy to come across. As a consequence, his output was varied; he did art for theatre productions, murals for restaurants, and serials for woman's magazines. He also did his own contemporary work in modern styles such as French cubism and English avant-garde. In 1937, he married an Englishwoman, Lillian Welbourn, herself a painter in addition to being a model.

Second World War
On the outbreak of the Second World War, McIntyre attempted to enlist in the British Army but was declined. He soon found out that New Zealand expatriates were able to join a section of the 2nd New Zealand Expeditionary Force (2NZEF) that was being raised in London. He promptly enlisted, seeking "the promise of excitement after a decade of paralysis, the doldrum thirties". The London section of the 2NZEF became the 34th Anti-tank Battery which received its training at Aldershot. In April 1940, the unit left England for Egypt, where it was initially based at Maadi Camp, on the outskirts of Cairo, and attached to the 2nd New Zealand Division. While in Egypt, McIntyre's artistic skills were soon recognised. He provided drawings for Parade, a military magazine and was invited to prepare artwork to form the basis of a security poster. The artwork was later used for a postcard and McIntyre also worked on the divisional Christmas card. On his own time, he also executed landscapes and portraits of fellow soldiers of the 2NZEF.

His skills soon saw him transferred to the draughting office at the headquarters of the 2nd New Zealand Division, preparing maps and drawings of Italian defensive positions based on aerial photographs. His workspace was surrounded by some of his own artwork which soon attracted the attention of the division's commander, Major General Bernard Freyberg. For some time, the New Zealand government had been considering appointing an official war artist to record the exploits of its men at war but was yet to make a commitment. In January 1941, Freyberg, tiring of the lengthy appointment process, selected McIntyre as the official New Zealand war artist, promoting him to lieutenant at the same time.

In his new role, it was proposed that McIntyre would execute portraits of decorated soldiers, battle scenes, and a series on the life of a New Zealand soldier, both in the frontlines and in the rear areas. McIntyre's first orders from Freyberg were to paint portraits of the brigadiers of the 2nd New Zealand Division, a task of which he soon tired. However, he soon found that Freyberg allowed him plenty of leeway in what was to be produced.

Crete
When the 2nd New Zealand Division was sent to Greece, as one of a number of Allied units dispatched to support the country in early March 1941 in anticipation of an invasion by Germany, McIntyre was ordered to remain in Egypt. Following the disastrous Allied campaign in Greece, the division was evacuated to Crete. He petitioned Freyberg for permission to be sent there, was successful, and arrived in Crete on 14 May. His first task was to paint a portrait of the King of Greece, who had been evacuated to the island. McIntyre was present during the airborne invasion of 20 May and it was at this time that he began to establish his methods for capturing events as they unfolded before him. He would work relatively close to the frontlines, executing sketches from which he would later work up paintings. In doing so, he moved away from his avant-garde influenced style and developed a romantic realism in his work.

From the fighting in Crete, McIntyre produced a number of notable works; landings of Fallschirmjäger (paratroopers), bombing of divisional field hospitals, and crashed German gliders. The latter images featured German war dead; he did not depict New Zealand dead although he would show wounded. On returning to Egypt after the division had been evacuated from Crete at the end of May, several of McIntyre's works were published in Parade magazine. He was not able to bring with him all his paintings; some of the larger watercolours had to be abandoned in Crete.

North Africa
In Egypt, McIntyre's initial focus was converting the many sketches he had made on Crete into proper paintings. Impressed by the output, Freyberg promoted him to captain. The first exhibition of his work was held in Cairo in July 1941 and some of his work was also used to illustrate an article in the Illustrated London News later in the year. The 2nd New Zealand Division was in the process of being rebuilt following the campaigns in Greece and Crete and McIntyre captured aspects of this process; he depicted many scenes of camp life and the daily activities. When authorities announced the award of the Victoria Cross to Lieutenant Charles Upham of the 20th Battalion, McIntyre was instructed to undertake a portrait of him. When the division moved to the front to participate in Operation Crusader, McIntyre went with it, sketching battle scenes and depictions of New Zealanders on the move. He was among those who were able to get into Tobruk and once there made several sketches and paintings of the besieged port. After Operation Crusader, McIntyre returned to Egypt and spent time working up his sketches into completed paintings. Another exhibition of his work was held in Cairo in April 1942, which was well received. He then spent time with the Long Range Desert Group, which had many New Zealanders serving with it. He would produce several works from this experience, describing the desert as "the most fascinating country to paint that I had ever seen".

In June 1942, the 2nd New Zealand Division was heavily engaged at Minqar Qaim, where it had been encircled by the Axis forces but successfully broke out. It then fought in the First Battle of El Alamein. Notable works were produced by McIntyre during this period; he would often focus on the comradeship of the New Zealand soldiers. Following the withdrawal of the Axis forces into Libya and then Tunisia, the 2nd New Zealand Division, along with the rest of the British 8th Army, and McIntyre followed, painting along the way. He was present for the victory parade at Tripoli on 4 February 1943, at the behest of Freyberg who wanted a painting of the parade to be presented to Winston Churchill, also present at Tripoli. McIntyre was unable to produce a satisfactory painting and instead worked up sketches instead.

Furlough to New Zealand
With the war in Africa over following the surrender of the Axis forces there, in July 1943 the first group of long serving soldiers of the 2NZEF were returning to New Zealand on furlough. McIntyre went with them, for his first visit to the country for 12 years. During his time there, his war art were exhibited around the country. Several had already been reproduced as prints but this was the first time the originals had been exhibited in New Zealand.

Beginning in Dunedin, McIntyre's home town, he gave a series of talks about his work and experiences with the 2NZEF. The exhibition moved onto Christchurch, Wellington and then Auckland. At the latter city, the paintings were displayed from 30 November to 3 January 1944 at the Auckland Art Gallery and were seen by over 28,000 people. Selected pieces of McIntyre's art work were used by the New Zealand publishing company A.H. Reed Limited, to illustrate Passage to Tobruk, a memoir by Francis Jackson that was published under Reed's Raupo imprint.

Italy
McIntyre left for Egypt on 12 January, intending to go onto to Italy where the 2nd New Zealand Division was engaged in the Italian campaign. However, while in Egypt he became ill with pneumonia and had to be hospitalised. It was not until March 1944 that McIntyre headed for Cassino, where the division was involved in heavy fighting. Some of his most notable war art was produced at this time, including depictions of the controversial bombing of the Cassino Monastery. He was in Rome shortly after the city's liberation by American forces, where at Freyberg's request he executed a portrait of Pope Pius XII. For most of the remainder of the war he followed the 2nd New Zealand Division as it advanced up Italy.

Later in the year McIntyre went to London to put on an exhibition of the work he had produced during the Italian campaign, which totalled 39 paintings. It was well attended, with viewers including Noël Coward, the 7th Duke of Wellington, and General Ian Hamilton. Sir Russell Flint commented favourably on McIntyre's work. At the end of the exhibition, he travelled to France, linking up with New Zealand personnel serving in the Royal Air Force, before making his way back to Italy in time to see the end of the war there. Promoted to major on 6 May 1945, McIntyre was not immediately repatriated to New Zealand, instead remaining for several months around the Mediterranean. During this time, he visited Trieste, Florence, monasteries in Italy and Greece, returned to Crete, before receiving his discharge orders at the end of the year.

Later life
Arriving in Dunedin in February 1946, McIntyre set up a studio on the city's Princes Street and started working full-time on commissioned portraits and landscapes. He later conceded that he "had great difficulty in adjusting myself to peacetime painting after the hurlyburly of war". He had planned on establishing a school for the arts beginning with the development of a community of like-minded artists. However, this proved to be a challenge as he found the local art scene to be amateurish. He was somewhat disparaging of the local art scene, considering it to merely replicate the painting styles of British and European artists. In return, many established local artists, such as Toss Woollaston and Colin McCahon who were both pacifists, decried the fact that McIntyre's reputation was based on his war art.

In early 1949, his marriage to Lillian McIntyre ended in divorce and he promptly remarried. He and his new wife, Patricia Miles, soon moved to Wellington, where he based himself in Mount Victoria. His first showing there was successful, in contrast to a failed exhibition he had in Dunedin before the shift north. Among the purchasers of his work was Freyberg, who was now the Governor-General of New Zealand. As a result of his marriage, he admitted to being much more settled and taking painting more seriously. He was successful in art competitions, placing third in the 1957 Kelliher Art Award with a landscape of the Rangitikei River and winning outright two years later with a scene of Dunedin's Octagon. He was third again in 1960, 1961, and 1963.

Publications
In 1962 McIntyre was approached by Ray Richards, of A.H. Reed Limited, with a suggestion of writing a book on his career. This resulted in The Painted Years, the first of several books authored and illustrated by McIntyre. It was a success, and led to his commissioning by Reed to produce a volume with landscapes of New Zealand. This was Peter McIntyre's New Zealand, published in 1964. The first print run of 5,000 sold out within days. The book was particularly important in highlighting the work of a local artist in New Zealand, bringing his work to the attention of a wider audience, and would remain in print for 20 years. His next book, Peter McIntyre's Pacific, published in 1966, was also a success and ended up being distributed into the United States. A Californian company, Lane Publishing Company, partnered with Reed and McIntyre to produce Peter McIntyre's West, containing scenes from the western states. This was published in 1970, selling over 27,000 copies and boosting McIntyre's profile in the United States.

A particularly personal project for McIntyre was Kakahi. Named for the small town of Kākahi in the King Country where he owned a holiday home, the book highlighted themes of conservation and rural landscapes. McIntyre's daughter would later note of Kākahi, that her father was "very content here". McIntyre's Country was published in 1979 and the last of his books was Peter McIntyre: War Artist. This was published in 1981 and returned his war art to the public eye.

After journalists made enquiries, it was found that the works executed by the official war artists during the Second World War, and which were the property of the New Zealand government, had been widely dispersed throughout the country. Many were displayed at Returned Services Associations, regional museums, and government departments without thought given to their care. The poor condition of many works resulted in public criticism being directed towards the nominal custodian of the works, the Department of Internal Affairs. After initially claiming it lacked hanging space for them, it set about centralising the war artist's work to the National Archives. It transpired that of the 160 Mcintyre works in the collection, 40 needed some restoration work.

Final years and legacy
McIntyre's work remained of public interest, with high prices paid throughout the 1970s and 1980s for his paintings. In 1983, at an Auckland exhibition of his paintings of Venice scenes, he achieved over $110,000 in sales. Two years later, in recognition of his work, he was awarded the Governor General’s Art Award. Several years earlier he had been appointed an Officer of the Order of the British Empire for services to the arts. He died in Wellington on 11 September 1995, survived by his wife and two children. Earlier in the year, Wellington City Gallery held an exhibition of his war art; over 22,000 people had viewed his work by the time of his death.

For many New Zealanders, McIntyre's work was their first introduction to local art and he was well known across the country. His paintings continue to be sought after; an auction held in November 2015 of paintings of farming scenes fetched prices well above of what was expected. An exhibition of his paintings of Kākahi was held in Wellington in February 2021.

title: Peter McIntyre (artist)


text:
Iowa–Iowa State football rivalry

The Iowa–Iowa State football rivalry is an American college football rivalry game between the Iowa State Cyclones and Iowa Hawkeyes. The Cy-Hawk Trophy is awarded to the winner of the game. It is named after the teams' mascots, Cy the Cardinal and Herky the Hawk.

Conceived and created as a traveling trophy by the Greater Des Moines Athletic Club in 1976, the trophy was first presented to the winner by Iowa Governor Robert D. Ray in 1977. That game was the first meeting between the two since 1934. In the entire history of the rivalry, the game has never been contested anywhere beside Iowa City or Ames and alternates between the two respective campuses. Games in odd-numbered years are played in Ames at Iowa State University, and even-numbered years in Iowa City at the University of Iowa.

Trophy design
The trophy design used through the 2010 season featured a football, a running back in the classic stiff-arm pose, and the likenesses of Iowa State's Cy the Cardinal and Iowa's Herky the Hawk. The trophy was replaced after the 2010 game, making it the only rivalry trophy with a sponsor attached to it. Since then the Cy-Hawk trophy makes an annual tour with WHO sportscaster Keith Murphy the week before the game. It remains the recognizable symbol of the contest and, according to Murphy, "people love it."

A new trophy, donated by the Iowa Corn Growers Association, was introduced to the public during the Iowa State Fair on August 19, 2011. A sculpture atop the new trophy depicted a farm family with small children huddled about a bushel basket of corn. Dean Taylor, president of the Association, called it "a work of art that represents Iowans and their hard work." Within hours of its presentation, however, the new trophy was widely ridiculed in newspaper columns and internet postings by the public. Iowa Governor Terry Branstad publicly provided negative feedback, as did retired Iowa football coach Hayden Fry, who said, "The farmer, family and corn is all wonderful, but I don't really get the relationship to a football game."

On August 23, 2011, Iowa Corn Growers Association CEO Craig Floss announced that the new Cy-Hawk Trophy would be changed as a result of the negative public reaction. Selection of the new trophy would involve public input. A temporary trophy was used for 2011.

With fan input, the newly redesigned trophy was unveiled at the end of the 2012 game won by Iowa State featuring mascots of the two universities, a raised football, and corn making up the background.

Game results
The two schools played each other 24 times between 1894 and 1934, before the Cy-Hawk Trophy was established in 1977. The series halted after 1934 after then University of Iowa Athletic Director and head football coach Ossie Solem would not return calls to reschedule the rivalry; the series was restarted in 1977. Of the 68 games in the series played through 2021, 40 of them have been played in Iowa City while just 28 games have been contested in Ames.

Games in the series are often decided by less than seven points, regardless of the pregame ranking of the teams. Through the 2021 season, Iowa has won the last six contests. The game was canceled in 2020 due to the COVID-19 pandemic, marking the first time since 1976 that the rivalry was not played.

The 2019 game featured an appearance by ESPN College GameDay, the first time Iowa State had hosted the program. GameDay returned for the 2021 edition, which was the first time the rivalry feature both teams ranked in the AP Top 10.

Iowa State's home field advantage has not been very advantageous for the Cyclones as they are 8–21 in Cy-Hawk games played in Ames. As of 2022, Iowa State's last victory in Ames came in 2011 and Iowa State has only won three Cy-Hawk games in Ames in the past 20 years. Iowa State has found more success in Iowa City as three of their last four wins have come in Iowa City (occurring in 2022, 2014, and 2012).

title: Iowa–Iowa State football rivalry


text:
Talk:Domed city

Umm, add a reference to The Big O.

Underwater
Hey what about domed under-the-sea habitats? These cities figure in Scifi too, but can't really be called "space habitats". --Jquarry 02:29, 22 February 2007 (UTC)

Lack of pictures
Could do well to add pics of all those glittering domes of plexiglas from sci-fi classics set on the Moon and Mars. I could probably find one or two (when I get some time).Pomona17 (talk) 14:09, 6 October 2008 (UTC)

The Simpsons Movie?
Can't we sneak in a mentioning of The Simpsons Movie, whose entire plot revolved around being trapped inside a dome? NERVUN (talk) 18:49, 14 January 2011 (UTC)

Link to wrong book
In the sentence "One catalog of early science fiction mentions the 1881 socialist and white supremacist fantasy Three Hundred Years Hence by British author William Delisle Hay.", the link on "Three Hundred Years Hence" links to the wrong book, apparently one that has the same name. Sbrools ( talk . contribs ) 12:41, 26 October 2016 (UTC)

Truman Show
Wasn't that Jim Carrey movie The Truman Show set inside a dome - over an island? --Uncle Ed (talk) 03:14, 12 December 2016 (UTC)

External links modified
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title: Talk:Domed city


text:
Corella, Bohol

Corella, officially the Municipality of Corella (Munisipalidad sa Corella; ), is a 5th class municipality in the province of Bohol, Philippines. According to the 2020 census, it has a population of 9,479 people.

Located 10 km northeast of Tagbilaran, it may have been named after a town in the province of Navarre in northern Spain.

Corella is known primarily as the home of the endemic Philippine tarsier, one of the world's smallest primates. The 7.4 ha Philippine tarsier sanctuary run by the Philippine Tarsier Foundation, as well as the Research and Development Center, is in Canapnapan, 3 km east of the centre of town.

The people of Corella are predominantly conservative Roman Catholics belonging to the parish of Our Lady of the Village whose feast is celebrated on 27 April.

History
The municipality's former name was Nugas before it obtained its present name, Corella. It was then a barrio of Baclayon. The adoption of the name Corella was made at the behest of Fr. Jose Maria Cabañas del Carmen, then the parish priest of Baclayon, and endorsed by Fr. Felix Guillen de San Jose, the first Spanish priest. Corella was a name of a village in Navarra, Spain where this town's patroness, Nuestra Señora del Villar, showered miracles.

The creation of this town was due to the efforts of its inhabitants including Isidoro Ramo, who became its first gobernadorcillo.

The stone church and the convent were constructed during the tenure of Fr. Felix Gullen and completed by later priests, one of them being Fr. Dionisio Llorete who also spearheaded the erection of two stone school buildings and the municipal building during the term of the gobernadorcillo, Celedonio Sayon. But the construction of Corella's present concrete church began in 1924 under Fr. Pedro Montelbon, the parish priest of Tagbilaran who took over the administration of the Corella parish after the incumbent, Fr. Eugenio Desamparados, left.

A battle of principles, rights, obligations, and duties raged in the municipality in 1920 between Simeon Sambola, the parish priest and the municipal president, Nicanor C. Tocmo, who were at loggerheads on the matter of school administration. From the pulpit, Fr. Simeon lambasted the municipal administration and condemned the teachings in Corella schools as having originated from the mouth of hell. As a result, enrollment in the school greatly diminished. Only close family friends and relatives of president Tocmo sent their children to school. The local civil administration complained to the provincial and national authorities. After a fact-finding investigation by the Department of Public Instruction whose report was submitted to the Governor-General, Fr. Simeon was removed from the parish.

During the Japanese occupation, the area at a distance halfway between Corella and Gaboc was "no-man's land". Several civilians were arrested there by the Japanese and executed on the spot. Honorio Butawan, a bolo volunteer, was caught by the enemy, and taken to Tagbilaran never to return. Other civilians of Corella suffered instant death from the Japanese as the latter tried to escape the US army of liberation.

In October 1944, Capt. Martin Maliwanag, a guerrilla leader under Major Ismael Ingeniero, established his headquarters in Corella, making the convent his command post and the primary school building east of the town plaza his detention cell. Several Filipino JCs (Japanese Constabulary) surrendered voluntarily. The first to surrender on 29 October 1944 was Lt. Victorio Sumodabila. He was shot on the spot by Capt. Maliwanag. Four other JCs from Corella who were killed and buried in the common grave of Corella were Dandong Lamayo, his brother Fermin Lamayo, Felicisimo Guscal, and his brother-in-law, Celistino Formentera. In all, there were nine Filipino JCs who met their violent deaths in Corella on orders of Capt. Maliwanag, who met his own death when he attacked the Japanese garrison in Gaboc. His body was buried in the same cemetery as his victims. It was Maliwanag's men who captured the puppet Japanese governor Agapito Hontanosas.

During the guerrilla period, Corella had four mayors closely succeeding each other:
 * The Commonwealth-elected mayor Catalino C. Vale, who was suspected to be a Japanese puppet, was detained in Behind The Clouds (San Jose) in Batuan, where the Bohol Area Command (BAC) of the guerilla forces had its headquarters.
 * Roman Calotes Tocmo who was named acting vice mayor by the guerillas and Tiburcio Aranas who was the acting mayor.
 * After Aranas's death, Jose Clarin replaced him.
 * When Clarin went on leave, he was substituted by Isaac Filo.

Barangays
At present, Corella is politically subdivided into 8 barangays. Each barangay consists of puroks and some have sitios.

All barangays are classified as rural.

Demographics
From 1990, a marked decrease in population is noted. Groups of people migrated to other parts of the country, such as Mindanao, where they founded a new municipality, "New Corella".

Economy
Corella does not have any major industry. A great majority of the people of the town are engaged in small-scale home businesses.

title: Corella, Bohol


text:
Barber Conable

Barber Benjamin Conable Jr. (November 2, 1922 – November 30, 2003) was a U.S. Congressman from New York and former President of the World Bank Group.

Biography
Conable was born in Warsaw, New York on November 2, 1922. Conable was an Eagle Scout and received the Distinguished Eagle Scout Award from the Boy Scouts of America. He graduated from Cornell University in 1942, where he was president of the Quill and Dagger society and a member of the Phi Delta Theta fraternity. He then enlisted in the Marines and was sent to the Pacific front in World War II, where he learned to speak Japanese and fought in the Battle of Iwo Jima. After the war, he received his law degree from Cornell University Law School in 1948, where he lived at the Cornell Branch of the Telluride Association, having been admitted to the House as a law student, after an unsuccessful attempt as an undergraduate. He later re-enlisted and fought in the Korean War.

In 1952, Conable married Charlotte Williams, his wife until his death. He died from a staphylococcus infection in 2003, at his winter home in Sarasota, Florida.

Legislative career
In 1962, Conable was elected as a Republican to the New York State Senate. After only one term, he was elected to the U.S. House of Representatives in 1964 from a Rochester-based district. He was reelected nine more times. He was known on both sides of the aisle for his honesty and integrity, at one point being voted by his colleagues the "most respected" member of Congress; he refused to accept personal contributions larger than $50. As a longtime ranking minority member of the House Ways and Means Committee, one of his signal legislative achievements was a provision in the U.S. tax code that made so-called 401(k) and 403(b) defined-contribution retirement plans possible, and contributions to those plans by both employers and employees tax-deferred, under federal tax law. A long-time ally of Richard Nixon, Conable broke with him in disgust after the revelations of the Watergate scandal. When the White House released a tape of Nixon instructing his Chief of Staff H. R. Haldeman to obstruct the FBI investigation, Conable said it was a "smoking gun", a phrase which quickly entered the political folklore.

In 1980, Conable appeared in Milton Friedman's PBS documentary Free to Choose.

Conable retired from the House in 1984.

President of the World Bank
From 1986 until August 31, 1991, Conable was president of the World Bank. His experience as a legislator proved crucial as he persuaded his former colleagues to almost double Congress's appropriations for the bank.

After the Tiananmen Square protests and massacre, Conable opposed elements of the George H.W. Bush administration and Congress which sought to take a more punitive stance toward China. In Conable's view, those elements were motivated by the desire to improve their position in the 1992 by being overly harsh on China. Conable's view was that imposing excessive punishment was ill-advised at a time when Deng Xiaoping was struggling with domestic opponents over whether to continue economic reform. Conable successfully encouraged the World Bank Board of Governors to take an expansive view of humanitarian loans to China, including with regard to environmental loans because of the intrinsic merit of those investments. When asked by academic David M. Lampton what Conable was most proud of in his World Bank interaction with China, Conable answered, "We planted a billion trees in China."

Literature by and about Conable

 * Window on Congress: A Congressional Biography of Barber B. Conable Jr., James S. Fleming, Rochester, New York: University of Rochester Press, 2004, ISBN 1-58046-128-X.
 * The Conable Years at the World Bank: Major Policy Addresses of Barber B. Conable, 1986–91, Barber B. Conable Jr., Washington, D.C.: World Bank, 1991, ISBN 0-8213-1901-9.
 * Congress and The Income Tax, Barber B. Conable Jr. and Arthur L. Singleton, Norman, Oklahoma: University of Oklahoma Press, 1989, ISBN 0-8061-2195-5.
 * Controlling the Cost of Social Security: Held on June 25, 1981, and Sponsored by the American Enterprise Institute for Public Policy Research, Barber B. Conable Jr., John Charles, et al., Washington, D.C.: The Institute, 1981, ISBN 0-8447-2225-1.
 * Foreign Assistance in a Time of Constraints, Barber B. Conable Jr., Richard S. Belous, S. Dahlia Stern, and Nita Christine Kent, eds., Washington, D.C.: National Planning Association, 1995, ISBN 0-89068-132-5.
 * Papers at Cornell University.

title: Barber Conable


text:
Hornby High School

Hornby High School is a state coeducational secondary school located in the western Christchurch, New Zealand suburb of Hornby. It caters for approximately students from Years 7 to 13 (ages 10 to 18).

History
The school opened in February 1975 to serve the growing Hornby area. The permanent classroom blocks were supposed to be ready for the first intake of 240 Form 3 (now Year 9) students, but delays within the Treasury and Ministry of Works saw the completion date pushed back to early 1976. As a temporary solution, the Canterbury Education Board constructed twelve CEBUS relocatable classroom blocks at the eastern end of the school site. Most of the CEBUS classrooms are still present at the school, alongside the permanent S68 classroom blocks typical of 1970s-built New Zealand state secondary schools.

Originally a Year 9 to 13 secondary school, the school added Years 7 and 8 in January 2014 following the closure of nearby Branston Intermediate School

Notable staff
John Minto, political activist

title: Hornby High School


text:
Wikipedia:Articles for deletion/Phony passport

 This page is an archive of the discussion about the proposed deletion of the article below. This page is no longer live. Further comments should be made on the article's talk page rather than here so that this page is preserved as an historic record. The result of the debate was merge, and the content was "merged" by the creator to Identity document forgery. — Xezbeth 18:40, May 11, 2005 (UTC)

Phony passport
Another useless pop culture article that should just be merged into Passport w/o the so called "pop culture" refrence added into it, written by our ******* friend SuperDude115 (talk · contributions) aka SamuraiClinton (talk · contributions), as it seems that the RFC was a waste of time, as he continues to just do the same thing over and over again. --Boothy443 | comhrÚ 03:49, 26 Apr 2005 (UTC) WITHDRAWN
 * Delete - Ridiculous. Duh.  If anything, it should be merged into the Passport article, but it DEFINITELY needs to be deleted from where it is now. -- Cabhan 03:53, 26 Apr 2005 (UTC)
 * Keep. People do make phony passports in real life therefore this is Wikipedic. Many Wikipedians curious about law enforcement might want to know about this illegal practice. --SuperDude 04:05, 26 Apr 2005 (UTC)
 * The pop culture reference has been removed! Anyone think this should be kept now??? --SuperDude 04:41, 26 Apr 2005 (UTC)
 * Delete. SamuraiClintoncruft.  RickK 04:45, Apr 26, 2005 (UTC)
 * Press the clunky delete button.   [  +t,  +c  ] 08:12, Apr 26, 2005 (UTC)
 * Delete, cruft. Megan1967 08:15, 26 Apr 2005 (UTC)
 * Redirect to identity document or passport for now. Article about forged identification documents or something like that would definitely be useful, though, in which case this page could be redirected to that - Skysmith 09:36, 26 Apr 2005 (UTC)
 * Redirect. Might be more useful as a search phrase than as an article. - Lucky 6.9 05:04, 27 Apr 2005 (UTC)
 * It is a self-evident definition of the two words "phony" and "passport". Even though redirects are cheap, I vote delete.  Rossami (talk) 23:38, 28 Apr 2005 (UTC)
 * Merge with Fake ID - which is, itself, a tiny stub of an article, desperately in need of expansion. -- BD Abram son thi m k 20:41, 2005 May 1 (UTC)
 * On second thought, the Fake ID article was just created yesterday, and the syntax is suspiciously familiar.... hold the thought. -- BD Abram son thi m k 20:44, 2005 May 1 (UTC)
 * I have just created a stub for Identity document forgery, suggest a merge to that title. -- BD Abram son  thi m k 21:05, 2005 May 1 (UTC)
 * I'll second that. Good start. - Skysmith 07:12, 2 May 2005 (UTC)
 * I just merged content from Phony passport to the identity document forgery article, should we redirect phony passport now? --SuperDude 02:29, 7 May 2005 (UTC)

 * This page is now preserved as an archive of the debate and, like some other VfD subpages, is no longer 'live'. Subsequent comments on the issue, the deletion, or the decision-making process should be placed on the relevant 'live' pages. Please do not edit this page.


text:
Media economics

Media economics embodies economic theoretical and practical economic questions specific to media of all types. Of particular concern to media economics are the economic policies and practices of media companies and disciplines including journalism and the news industry, film production, entertainment programs, print, broadcast, mobile communications, Internet, advertising and public relations. Deregulation of media, media ownership and concentration, market share, intellectual property rights, competitive economic strategies, company economics, "media tax" and other issues are considered parts of the field. Media economics has social, cultural, and economic implications. Regular study of media economic issues began in the 1970s but flourished in the 1980s with the addition of classes on the subject at U.S. and European universities. The Journal of Media Economics began publishing in 1988, edited by Robert G. Picard, one of the founding fathers of the discipline. Since that time the field of inquiry has flourished and there are now hundreds of universities offering courses and programs in media economics. Other significant figures in the field have included Steven S. Wildman, Alan Albarran, Bruce M. Owen, Ben Compaine, Ghislain Deslandes, Stuart McFadyen, Gillian Doyle, Karl Erik Gustafsson, Lucy Küng, Gregory Ferrell Lowe, Nadine Toussaint Desmoulins, Achour Fenni, Amanda D. Lotz, and Stephen Lacy.

Within academia, the location of media economics research varies depending upon the tradition and history of the institution. In some universities it is located in schools of business or economics, whereas in others it is located in communication, media or journalism schools (or departments).

The term "cultural economics" is sometimes used as a synonym for media economics but they are not substitutable. Cultural economics includes a wide variety of activities that do not necessarily involve mediated dissemination such as museums, symphonies, operas, and festivals. At times these may cross over into media economic issues, such as when audio or video recordings are made of performances or museum holdings are put on CDs.

Worldwide media
There is no definitive list of every radio and television station in the world. The National Association of Broadcasters cites the estimate from the U.S. C.I.A. World Fact Book, which reports that "as of January 2000, there are over 21,500 television stations and over 44,000 radio stations." (CIA World Fact Book references – Radio, TV)

In the United States the FCC provides a list of "Licensed Broadcast Station Totals (Index) 1990 to Present," which may be found here. According to the FCC report –

 * The Commission has announced the following totals for broadcast stations licensed as of March 31, 2004

Advertising revenues
In the United States, a report from the Radio Advertising Bureau (RAB) states that in 2002, radio's revenue reached $19.4 billion, an increase of 5.7% from the $17.7 billion earned in 2001. For additional details see RAB's Radio Fact Book. Total broadcast revenues for 2001 were $54.4 billion, as reported by The Television Advertising Bureau (TVB).

Advertiser spending

 * Quote – "Annually advertisers spend approximately $150 billion to sponsor TV and radio programs, in the hopes of making two-to-three times as much in return from media consumers who buy their products and services (Fox, 2002). From the 1970s to the 1990s, the daily number of ads targeted at the average American jumped from 560 to 3,000 (Fox, 2002). In that same time frame, the number of ads to which children were exposed increased from 20,000 per year (Adler et al., 1977) to more than 40,000 per year (Kunkel & Gantz, 1992; also see Strasburger, 2001).

title: Media economics


text:
Talk:2003 Nova Scotia general election

Riding Results

 * bgcolor=whitesmoke|Annapolis
 * Frank Chipman 2,795
 * Stephen MacNeil 4,522
 * Adrian Nette 1,395
 * Harry Wilson (NSP) 195
 * Frank Chipman
 * bgcolor=whitesmoke|Antigonish
 * Angus MacIsaac 4,256
 * David Cameron 3,650
 * Terry O'Toole 1,755
 * Gene Purdy (Mar.) 560
 * Angus MacIsaac
 * bgcolor=whitesmoke|Argyle
 * Chris d'Entremont 2,345
 * Aldric d'Entremont 1,946
 * Charles Muise 595
 * Neil LeBlanc
 * bgcolor=whitesmoke|Bedford
 * Peter Christie 4,114
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 * Bob Watson 2,055
 * Peter Christie
 * bgcolor=whitesmoke|Cape Breton Centre
 * Rita Tighe-MacLeod 373
 * Basil McGillivray 3,456
 * Frank Corbett 3,929
 * Frank Corbett
 * bgcolor=whitesmoke|Cape Breton North
 * Cecil Clarke 3,754
 * Mike White 3,169
 * Cecil Snow 1,714
 * Cecil Clarke
 * bgcolor=whitesmoke|Cape Breton Nova
 * Todd Marsman 684
 * Mel Crowe 3,094
 * Gordie Gosse 3,168
 * Paul MacEwan
 * bgcolor=whitesmoke|Cape Breton South
 * John Morrison 1,677
 * Manning MacDonald 5,275
 * Mike McSween 2,759
 * Manning MacDonald
 * bgcolor=whitesmoke|Cape Breton West
 * Ivan Doncaster 2,221
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 * Russell MacKinnon
 * bgcolor=whitesmoke|Chester-St. Margaret's
 * John Chataway 3,451
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 * Sue Gault (NSP) 141
 * John Chataway
 * bgcolor=whitesmoke|Clare
 * Marc Boudreau 1,458
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 * Wayne Gaudet
 * bgcolor=whitesmoke|Colchester-Musquodoboit Valley
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 * Brooke Taylor
 * bgcolor=whitesmoke|Colchester North
 * Bill Langille 3,324
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 * Garfield Forrest 1,860
 * Bill Langille
 * bgcolor=whitesmoke|Cole Harbour
 * Brian Thomas 2,387
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 * Darrell Dexter
 * bgcolor=whitesmoke|Cole Harbour-Eastern Passage
 * Harry McInroy 1,641
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 * Kailee MacPherson (NSP) 74
 * Kevin Deveaux
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 * Ernie Fage 4,609
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 * Kim Cail 1,109
 * Jason Blanch (Ind.) 337
 * Ernie Fage
 * bgcolor=whitesmoke|Cumberland South
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 * Murray Scott
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 * Terry Degen 3,107
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 * Jim Smith
 * bgcolor=whitesmoke|Dartmouth North
 * Jane MacKay 1,900
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 * Pat Gould (NSP) 86 Marc-Andre Roy (Mar.) 75
 * Jerry Pye
 * bgcolor=whitesmoke|Dartmouth South-Portland Valley
 * Tim Olive 2,813
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 * Tim Olive
 * bgcolor=whitesmoke|Digby-Annapolis
 * Gordon Balser 2,339
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 * Gordon Reid (NSP) 91
 * Gordon Balser
 * bgcolor=whitesmoke|Eastern Shore
 * Bill Dooks 3,073
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 * Bill Dooks
 * bgcolor=whitesmoke|Glace Bay
 * Mark Bettens 1,351
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 * Dave Wilson
 * bgcolor=whitesmoke|Guysborough-Sheet Harbour
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 * Robert Chisholm
 * bgcolor=whitesmoke|Halifax Chebucto
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 * Howard Epstein
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 * Peter Delefes 2,542
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 * Jane Purves
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 * Greg Lavern (Ind.) 152
 * Mary Ann McGrath
 * bgcolor=whitesmoke|Halifax Fairview
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 * Graham Steele
 * bgcolor=whitesmoke|Halifax Needham
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 * Bill Estabrooks
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 * Gerald Sampson 2,284
 * Nancy MacKeigan 934
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 * Kenny MacAskill
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 * Graham Steele
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 * John MacDonell
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 * Rodney MacDonald
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 * Mark Parent
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 * Michael Baker
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 * John Hamm
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 * Jim DeWolfe
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 * Michael Samson
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 * Clifford Huskilson 3,107
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 * Cecil O'Donnell
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 * Bill Estabrooks
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 * Jamie Muir
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 * Nancy MacKeigan 934
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 * bgcolor=whitesmoke|Waverley-Fall River-Beaver Bank
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 * vacant
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 * Cecil O'Donnell
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 * Bill Estabrooks
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 * Jim Harpell 2,314
 * Jamie Muir
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 * Kenny MacAskill
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 * Michael Samson
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 * Cecil O'Donnell
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 * Bruce Holland 1,829
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 * Bill Estabrooks
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 * Jim Harpell 2,314
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 * Kenny MacAskill
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 * Peter Christie
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 * Bill Estabrooks
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 * Jamie Muir
 * bgcolor=whitesmoke|Victoria-The Lakes
 * Keith Bain 2,086
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 * Kenny MacAskill
 * bgcolor=whitesmoke|Waverley-Fall River-Beaver Bank
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 * Richard Hurlburt
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 * Brian Boudreau (Ind.) 750 Stemer MacLeod (Ind.) 264
 * Kenny MacAskill
 * bgcolor=whitesmoke|Waverley-Fall River-Beaver Bank
 * Gary Hines 3,141
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 * Percy Paris 2,778
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 * Heather Sawers (NSP) 94 Alex Neron (Mar.) 86
 * Peter Christie
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 * Richard Hurlburt
 * Richard Hurlburt 4,656
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 * Richard Hurlburt
 * Gillian Rowley 1,142
 * Richard Hurlburt
 * Richard Hurlburt
 * Richard Hurlburt
 * Richard Hurlburt

title: Talk:2003 Nova Scotia general election


text:
Raotince

Raotince (Раотинце) is a village located about 10 miles (14 km) northeast from the city of Tetovo in Jegunovce Municipality, North Macedonia.

History
West of present-day Raotince is the Late Antiquity archaeological site Arbino, a former village from which many archaeological remains have been excavated. Its etymological formation stems from the old South Slavic ethnonym for Albanians, Arban.

Demographics
According to the 2002 census, the village had a total of 565 inhabitants. Ethnic groups in the village include:
 * Macedonians: 559
 * Albanians: 4
 * Serbs: 1
 * others: 1

In statistics gathered by Vasil Kanchov in 1900, the village of Raotince was inhabited by 360 Orthodox Bulgarians.

title: Raotince


text:
User:SebastianHelm/watchlist

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title: User:SebastianHelm/watchlist


text:
Talk:Nation state

Difference between "nation-state" and "nation state"
The terms "nation-state" and "nation state" are used in the article, seemingly interchangably, but I am not sure. Is there a difference between the two? I find "nation-state" at dictionary.com, but not the other. Is the second even correct, or should it be replaced with the first? Authr 04:25, 2005 Jun 19 (UTC)
 * Then you could make all references in Wikipedia "nation-state." Try the Search feature "nation state *" (with the asterisk), to locate all the "nation state" instances to correct to "nation-state"... --Wetman 05:36, 19 Jun 2005 (UTC)

Good question. The idea of nation-state has become virtually a compound word; so I think the two may be interchangeable. But it certainly calls for analysis & discussion. Nobs01 20:40, 19 Jun 2005 (UTC)
 * What if we begin with the idea of city-state, as modelled in anciet Hellas, then trace that through the "kingdom-state", of which Great Britain is an excellent prototype, then eventually "nation-state".Nobs01 23:00, 19 Jun 2005 (UTC)
 * That is the history of politics perhaps, but these are each different conceptions. History is cumulative, but it is not progressive: parliamentary Britain did not "evolve" out of a city-state. It is technology that is progressive and cumulative, not history.--Wetman 15:50, 21 Jun 2005 (UTC)

Well, we might have to speak of "political nation states", if this article is to hold any water, seeing the United Nations is made up of 189 member nations-states. Nobs01 23:01, 19 Jun 2005 (UTC)
 * The apparent need for a term "political nation state" shows that "nation state" itself is not fully understood. See the bulleted explanations I added below. --Wetman 15:50, 21 Jun 2005 (UTC)

The article speaks of the term "nation" as meaning "people", not a "government"; this is absolutely correct. However, "nation" in its common evolved meaning today does not necessarily mean common racial or ethnicity. A "nation-state" is "people living under a common government", regardless of ethnic & racial origins, as a civilization does not necessissarily denote some common racial of ethnicity. People of the same race belong to different nations & civilizations; as people of a common civilization belong to different races and nations. When the sons of Charlemagne divided the kingdom between those of the same nation who adopted a Latinized version of thier originally Teutonic langauge, the French nation-state was born. Their ethnic brothers & cousins who kept their Teutonic dialect gave birth to the German nation (it was a while before it got organized into a common political entity). Nevertheless, it ultimatley became a divided "nation", as this article defines it, speaking two seperate languages yet sharing a common ethnicity. So it's pretty obvious today, the meaning of the term has evolved.Nobs01 23:17, 19 Jun 2005 (UTC) Can any of this information be sourced?Nobs01 15:01, 21 Jun 2005 (UTC)

 * Nobs01, though understanding that "nation" still has some conotation of its original natio, incorrectly insists that all political states are nation-states, simply redefined as "'people living under a common government', regardless of ethnic & racial origins" But "nation-state" is not an entity that exists regardless of ethnic origins: that's in fact precisely what it means. "Sovereign state": that's the missing expression that we're all searching for. Ethnicities do evolve out of common roots, as the East Franks and the West Franks that Nobs01 has instanced.

Thus:
 * A nation is not necessarily sovereign: Kurdistan, Tibet, Brittany.
 * A nation may be sovereign, in a nation-state: Iceland
 * A sovereign state may include more than one nation: Belgium.
 * A sovereign state may be constructed on quite other bases: United States, Indonesia --Wetman 15:50, 21 Jun 2005 (UTC)

 * Very good answer. Could you comment on the various nation-states on Arab origin, now consisting in excess of some twenty states. Nobs01 16:12, 21 Jun 2005 (UTC)

 * Just by categorizig them in that fashion, as "Arab", we are limiting our vision: Let us ignore the thought that Islam is still meant to be a "community" that embraces all, as "Christendom" was meant to do, but never genuinely did, either. Yemen would certainly count as a nation-state, and the Gulf Emirates show that a small state can operate successfully based on a very narrow, even tribal definition of "nation", if there is enough money. Lebanon was never a nation-state: part of what made it so sophisticated, so multicultural and "European" at one time. But Syria by contrast is a nation-state, quite ruthless to its impotent minorities. Other comparative failures as sovereign states are sometimes the symptom of French and English map-making in the 1920s and earlier: Baluchistan would have been a nation-state, vetoed by oil-rich Persia (postage stamps were issued however). Islamic Pakistan is not Arab, but not simply a Pashtunistan either; it overlaps with Afghanistan in a network of less-than-national and more-than-national tribal loyalities, which extend to Pakistan's Northwest Territories. The Ottomans wisely knew to govern the artificial pre-Iraq as three vilayets: Mosul, Baghdad and Basra. So I can't draw an overarching conclusion. But the bulleted ideas above still hold true. --Wetman 19:04, 21 Jun 2005 (UTC)
 * Thanx; your comments regarding Japan are interesting. Samuel Huntington says in Clash of Civilizations something along the lines that Japan is the only civilization in existence today that is also a self-contained nation-state.  Also, what would be the role of a common language, like Arabic, English, or Chinese in the make of various "nation states"?  thx Nobs01 19:24, 21 Jun 2005 (UTC)

 * Well Japan does have a long history of enforcing its isolation: the only comparable examples are the universal isolation of mountain peoples, creating localized culture that may be expressed as a polity with an apparent unity from the outside. The meaningfulness of languages' roles lie mostly in the details of their unique histories. But their roles can be thought of as either active or passive, as instruments of policy or as expressions or symptoms of cohesion. The details of your three examples are all different: think of their roles as vehicles: vehicles of religion, of "patriotism", of commerce, of indigenous culture, of culture imposed from without, of elites, of suppression, of resistance. I can think of historical situations where each of those languages has been the vehicle of each of those roles. So can you I'm sure. --Wetman 21:31, 21 Jun 2005 (UTC)
 * OK, now it's looking clearer. Thx Nobs01 00:29, 22 Jun 2005 (UTC)

Diaspora and irredentism
The present version confuses the existence of a diaspora with cross-border minorities. The 'greater' nationalisms are seen as related to diaspora. The correct term is irredentism, that is, nationalist claims to neighbouring territory on the grounds that it is part of the national homeland. Usually no 'diaspora' lives there, but simply members of an ethnic group who have ended up on the wrong side of the border. The author of this section does not seem to know the term irredentism, which has its own separate article. The list of 'greater' nationalisms belongs there. Some of them are pan-nationalisms, which is again different from irredentism. I will add later a section on nationalist responses to the fact the the nation-state border usually does not match the location of the national group.Ruzmanci 8 July 2005 19:45 (UTC)
 * A good distinction, Ruzmanci. Excellent re-edit. Haven't edited at Irredentism myself for months. An effective difference between diaspora and the situation claimed by irredentists is Urrecht, the claim to territory inhabited since "time immemorial", which is always inextricably involved in irredentism, justifying it in the eyes of its proponents. In your edit "In the ideal model of the nation state, the population consists primarily of members of that nation" ideal and primarily are denying one another: wouldn't the description of an ideal nation-state improve with this clause dropped out, viz: "In its ideal model, the state not only houses the nation, but protects it and its national identity." Could you make a statement about Revanchism in this article to link the two articles? And I think "nation" needs the briefest clarifying definition at its first appearance, for the concept is clouded by the common usage as a synonym of "state". --Wetman 8 July 2005 20:33 (UTC)

Whole section is now added with mostly new text, existing links to irredentist movements were kept, except greater Poland which turns out te be the name of a province. Link revanchism added. See below.Ruzmanci

two types of nation-states
There are two types of nation-states and the current article needs to be reworked to reflect this:

1. The literal definition: a nation-state is a geographical state that is largely populated by a single ethnic nationality, for example Japan or Iceland. Often this is promoted as an ideal state, in particular in the case of Japan, cultural uniformity and assimilation is said to give an economic advantage in the world marketplace.

2. Unfortunately, the term nation-state is also used incorrectly for geographic states that attempt to promote a single state national identity to promote their validity. The obvious example is Nazi Germany which attempted to define a single German identity. However, this is an extreme case. More typical would be France or Italy or China which standardized its languages into a single national language and to some degree promoted national identities. However, upon closer examination, it is clear there is no one French or Italian or Chinese ethnic nationality. As an example, one can look at the French-German state border, it is clear this is not the French-German ethnic border, in fact there really is no French-German ethnic border. The most glaring example of the error of this misuse of the term nation-state is when Switzerland is said to be a nation-state. Clearly there is no Swiss national identity and in fact the confederation primary exists to prevent a state (internal or external) from attempting to promote a single national identity, the most obvious example being the existance of four official languages which all students must learn to speak fluently. Rather than a state that promotes a single nationality, this is a state that attempts to promote existing nationalities equally without an emphasis on assimilation to a single state defined nationality. Another example would be Canada.

Is there a fixed definition for nation-state?

Science fiction
Not going to add it to the article because it would be original research - the article's already tagged for OR, but no reason to contribute to that =P - but it might be interesting to discuss the use of the term in science fiction. For instance, in Star Trek, Star Wars, etc nation-state is used as an archaic or at least less common term compared to a world government or group of worlds, in much the same way we use city-state today. Food for and by all this you can find examples to reach the point that this is all a bunch of bullshit.

title: Talk:Nation state


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Wikipedia:WikiProject Latter Day Saint movement/Articles to Cleanup

These Latter Day Saint movement articles are in need of some cleanup. Please read through them and make sure to remove any errors.

Articles

 * Kirtland Temple. CO GDEN  21:43, Nov 29, 2004 (UTC) I started to fill this one out a week or so ago and added a picture I took of it. --John Hamer 05:03, 26 Jan 2005 (UTC)
 * The Word of the Lord Brought to Mankind by an Angel - Hard to understand and POV problems.
 * Otto Fetting - POV, long blockquote. Cool Hand Luke (Communicate!)  00:42, 17 Oct 2004 (UTC)
 * Jack Mormon - Short, icky, irrelevent, and doesn't explain interesting origin of the term.
 * Jerald and Sandra Tanner - It needs some fixins, dude.
 * Many articles - Make name of church consistent The Church of Jesus Christ of Latter-day Saints - see talk
 * Bulk of these done, but I'm bound to have missed a few. Alai 05:58, 11 Feb 2005 (UTC)

 * Jeff Lindsay. I don't know much about online apologists, but this page strangely seems to cover only Lindsay's day job. Also, it has a NPOV flag for some reason. Cool Hand Luke  12:50, 7 Mar 2005 (UTC)
 * This one makes me uneasy. It looks like a place for self promotion. Since there are no specifics about his apologetic work, particularly from peers, and just hyping of his blog/website, I think we have to ask why it should remain. --Blainster 09:15, 13 Mar 2005 (UTC)
 * But I am sure the article wasn't written by him. He is a web legend and has history.  The article probably has merit since he (with David Bowie) is one of the firsts.  Tom Haws 19:10, Mar 14, 2005 (UTC)
 * Thanks, I now don't suggest a listing of him is inappropriate, just its current expression. I tried make it a little more neutral, and will leave it for someone more knowledgeable to expand on his work. --Blainster 19:23, 14 Mar 2005 (UTC)

 * Kolob - an anon. just added a block of material to this article. I did a quick edit and softened the POV a little, but please look it over for balance and confirmation of his/her information.  WBardwin 05:54, 24 Apr 2005 (UTC)


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Primary labor market

The primary labor market is a market that generally consists of high-wage paying jobs, social security, and longer-lasting careers, but others define it as jobs that "require formal education", but in addition to white collar jobs like teaching, accounting, and the law, it also includes the skilled trades like being a plumber or a photocopy repair technician. It is contrasted by the secondary labor market, which usually consists of low-wage paying jobs, limited mobility within jobs, and temporary careers. The primary and secondary labor markets are intended for division of the standard of jobs within labor (heavy work) services.

The workforce as a whole in a primary market is motivated to serve their employer because of health benefits, insurance policies, pension wages and job security. The job market here consists mainly of white- and blue-collar jobs. In the primary labor market, the employees are always trying to prove themselves to their employers by portraying their skills and educational credentials.

title: Primary labor market


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