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Henry Marshall Tory Medal

The Henry Marshall Tory Medal is an award of the Royal Society of Canada "for outstanding research in a branch of astronomy, chemistry, mathematics, physics, or an allied science". It is named in honour of Henry Marshall Tory and is awarded bi-annually. The award consists of a gold plated silver medal.

Recipients
Source: Royal Society of Canada • 2023 - Eugenia Kumacheva, FRSC, FRS

• 2021 - Ian Manners, FRSC

• 2019 - Jeff Dahn, FRSC

• 2017 - Mark Lautens, FRSC

• 2015 - Julio Navarro, FRSC

• 2013 - Douglas Stephan, FRSC

• 2011 - Arthur B. McDonald, FRSC

• 2009 - John Richard Bond, FRSC

• 2007 - George Albert Sawatzky, FRSC

• 2005 - David J. Lockwood, FRSC

• 2003 - Paul B. Corkum, FRSC

• 2001 - J. Bryan Jones, FRSC

• 1999 - James K.G. Watson, FRSC

• 1997 - James Greig Arthur, FRSC

• 1995 - Juan C. Scaiano, FRSC

• 1993 - Albert Edward Litherland, FRSC

• 1991 - Willem Siebrand, FRSC

• 1989 - Boris P. Stoicheff, FRSC

• 1987 - Keith J. Laidler, FRSC

• 1985 - Keith U. Ingold, FRSC

• 1983 - Ronald J. Gillespie

• 1981 - Alexander Edgar Douglas, FRSC

• 1979 - Nathan Mendelsohn

• 1977 - John Charles Polanyi, FRSC

• 1975 - William T. Tutte

• 1973 - Bertram N. Brockhouse

• 1971 - Harold E. Johns, FRSC

• 1969 - William G. Schneider, FRSC

• 1967 - Israel Halperin

• 1965 - Henry E. Duckworth, FRSC

• 1963 - Harry Lambert Welsh

• 1961 - R.M. Petrie, FRSC

• 1959 - Henry George Thode, FRSC

• 1957 - Carlyle Smith Beals

• 1955 - Edgar William Richard Steacie

• 1953 - Gerhard Herzberg, FRSC

• 1951 - Thorbergur Thorvaldson, FRSC

• 1949 - Harold Scott Macdonald Coxeter, FRSC

• 1947 - Eli Franklin Burton, FRSC

• 1946 - John Stuart Foster, FRSC

• 1945 - Otto Maass, FRSC

• 1944 - Frank Allen, FRSC

• 1943 - John Lighton Synge, FRSC

title: Henry Marshall Tory Medal


text:
Talk:Dick Butkus

AOTS
Did this get locked because of AotS or because of his name? — Preceding unsigned comment added by 99.23.198.131 (talk) 05:26, 29 November 2011 (UTC)

Film and Television Career
Butkus played the role of Ed Connor, an auto body shop owner in 1988 comedy/teen movie Crash Course. 2600:1014:B1E5:FB30:752A:E382:5887:D2BF (talk) 23:16, 5 October 2023 (UTC)

 * I’m honestly not sure A listing of his scant acting filmography and TV roles is all that noteworthy. I mean, sure, it exists, but he’s best known for his NFL career as a member of the Chicago Bears in the 1960s and 1970s. 2601:405:4000:1F50:99D2:C663:C4CD:1CF4 (talk) 23:43, 7 October 2023 (UTC)

Chicago
WP:OVERLINKscript delinks "Chicago" because it is a well-known major city, therefore a link is not deemed necessary. In MOS:OL, "usually" means to not link without good reason, and what good reason is there to link it here? One possible reason would be if this article was linked from Chicago, but it isn't. ‑‑Neveselbert (talk · contribs · email) 16:24, 11 October 2023 (UTC)
 * I wonder how the NFL Wikipedia world has survived so long ... I think this overlink garbage has been taken to a new level. Let it go. Stick with Hollywood and the like. An NFL player has links for the city of birth, even when the high schools and colleges are located in the same area, and as far as I know, nobody died yet. I'm not in the mood to ping anyone, whoever is out there is probably reading this anyway. P.S. Any NFL player with Chicago, Detroit, LA, NYC is getting a link. So you can plan on your edits adding up. -- See you soon. Bringingthewood (talk) 20:55, 11 October 2023 (UTC)
 * This isn't "NFL Wikipedia". This is Wikipedia, and WP:MOS should not be ignored without good reason, and other content isn't such a reason. It's not "garbage" to respect guidelines, let alone to acknowledge the fact that the overwhelming majority of readers familiar with the NFL will also be familiar with cities like Chicago, etc. As for other NFL player articles, the fact they include these unnecessary links isn't a reason to apply that same mistake here, rather it's a reason to correct those articles as well as this one. ‑‑Neveselbert (talk · contribs · email) 21:02, 11 October 2023 (UTC)
 * I knew you had your phone plugged in. You know, I always believed that you took this to a new level. You've done this before, you saw the reverts ... and yet. Take it up with someone else. And btw, NFL players will still be reverted. Opinions are like ... call ended. Bringingthewood (talk) 21:10, 11 October 2023 (UTC)
 * It's just common sense to avoid unnecessary links in accordance with MOS guidelines. Why exactly this offends your sensibilities so much that you're being passive aggressive about it is beyond me. I'm not taking it up with you personally, that's why I've taken this matter to the talkpage, so that other editors may add their opinion. ‑‑Neveselbert (talk · contribs · email) 21:12, 11 October 2023 (UTC)
 * Also, your aside that Any NFL player with Chicago, Detroit, LA, NYC is getting a link. So you can plan on your edits adding up. -- See you soon. is a violation of WP:POINT. ‑‑Neveselbert (talk · contribs · email) 21:10, 11 October 2023 (UTC)
 * For starters, what harm does linking Chicago do? Seriously though? Over-enforcement of policies shouldn't be done on Wikipedia either. Overlink is a guideline to prevent articles from having excessive links. This page does not have excessive links. I count 14 links in the infobox and opening paragraph that the majority of readers of NFL readers would be familiar with, those are ok but Chicago isn't? A policy that doesn't straight up forbid something is hardly a reason to exclude something and everything you're claiming that policy says, it doesn't. You hardly have any leg to stand on here except a policy that says it usually shouldn't be linked not flat out saying it should never be linked.-- Rockchalk 717 21:58, 11 October 2023 (UTC)
 * That's not a valid argument. We don't just link words for the sake of it. I don't see how this is "over-enforcement" exactly, given there's been no prior discussion of this issue here for local consensus to develop its own variety of MOS. I'm not saying the article as a whole has excessive links, I'm just saying this particular link is considered such by WP:OVERLINKscript. Those other links you mention are different in that they're not examples of subjects with which most readers will be at least somewhat familiar. Nothing is being inherently "excluded" by not linking the city, no more than any other word is being excluded for not being linked. As for everything you're claiming that policy says, it doesn't, I don't know where you think I've misrepresented the guideline. Per WP:JUSTAGUIDELINE, MOS should be followed, not ignored, unless we have a good reason to do so, which I don't believe we have here. ‑‑Neveselbert (talk · contribs · email) 22:16, 11 October 2023 (UTC)
 * That's an essay you just tried and failed to use to apply to this. It literally says in the description of an essay at the top that it's an opinion of an editor. You misinterpreted what "usually" means and attempted to point to an essay and one page that looks like it's some sort of coding guideline to explain what usually means. You keep referencing WP:OVERLINKscript] which isn't a policy that is something that is once again an editor's opinion, furthering cementing your entire claim isn't backed any policy that a commonly known city like Chicago shouldn't under any circumstance be linked. And I wasn't asking what harm does it do to include it linked as an argument for inclusion, I'm just legitimately trying to figure out why in god's name do you think overlink so damn important that you need to so desperately defend your argument. So I'll ask again now that you understand my intent: What harm does it do to link Chicago?-- Rockchalk 717 01:06, 12 October 2023 (UTC)
 * MOS:OVERLINK is not an essay, it's a guideline. As for WP:OVERLINKscript, it's a script that implements that guideline, while offering further comment in keeping with that guideline, so it's not just "an opinion of an editor". I haven't misinterpreted anything. "Usually" means usually, and how is this an unusual situation? MOS is a guideline that is meant to be followed in usual circumstances, and you've failed to explain how this is not one of those circumstances. What harm does it do to link Chicago? Is there any particular reason why it's fundamental to this article? ‑‑Neveselbert (talk · contribs · email) 18:24, 12 October 2023 (UTC)
 * I didn't call overlink an essay, WP:JUSTAGUIDELINE is the essay I was referring and that script page says nothing you're claiming it does and doesn't provide any additional guidance for enforcement. Yes usually means usually, but what it doesn't mean is never, like you are acting it does. By linking Chicago we aren't ignoring the manual of style. We are linking a word in a page that a MOS page suggests to not link but it doesn't flat out ban linking it. That policy is literally to give guidelines to prevent a page from having too many links, but nowhere does it say to never link any of the stuff it lists. There is literally one thing flat out banned in that policy and that's linking when the link redirects back to the same page, like what sometimes happens with links to some songs on album pages as an example. So by strictly enforcing a policy that does not outright ban something you are over-enforcing it. In fact when you look at most things in the MOS, very little is outright banned.

 * So here's your choices, since this is going nowhere:

 * 1. Drop this and move on
 * 2. Provide a better argument than providing a policy that doesn't flat out ban linking Chicago
 * 3. We get an intervention, because apparently 2 people disagreeing with you isn't enough.

 * So, what's it gonna be?-- Rockchalk 717 05:24, 13 October 2023 (UTC)
 * It may be an essay, but it's one that you haven't refuted, just dismissed. Again, you're not specifying what you're referring to by that script page says nothing you're claiming it does. I'm not acting it means "never", all I've pointed out is that it ought to apply in usual circumstances, and you've consistently failed to point out how the circumstances here are unusual. I'm still waiting on your explanation as to why a link is needed. ‑‑Neveselbert (talk · contribs · email) 16:52, 13 October 2023 (UTC)
 * I've asked for input from other editors because this is going nowhere. I will not be speaking directly to you about this anymore.-- Rockchalk 717 00:50, 15 October 2023 (UTC)
 * Requested at WP:3O-- Rockchalk 717 00:58, 15 October 2023 (UTC)

 * Pictogram voting comment.png 3O Response: This discussion was listed at Third opinion and I am commenting in response to that request as a third-party, however while it appears three editors have already commented, I will give an opinion just to try to help move things along. I do want to start by acknowledging that I have used the same script and while it is helpful, MOS:OVERLINK is not always black-and-white and the script has caused disputes before, I've seen several of them myself. Therefore, just because the script removes it doesn't mean that should be the reason it is removed if that removal is contested.
 * That out of the way, Chicago is indeed a major city, one of the few American cities that per the AP and Naming conventions (geographic names) are so large and well-known that they don't even require a comma-based disambiguation as cities usually do (for example Chicago and Atlanta compared to Tallahassee, Florida or most other cities). With that in mind, Chicago would be a major example of a location and would generally not be linked. However, while the MOS is firm on some things, this is not one of them as it is explicit that it is generally not linked, not that it must not be linked; the Manual of Style does not mandate its removal even though it meets the criteria of something that would generally not be listed. It further elaborates that The purpose of linking is to clarify and to provide reasonable navigation opportunities, not to emphasize a particular word so the question is does that fulfill that purpose? Given how many Chicago-based things are already wikilinked in the prose I don't think it's super helpful as a link in the prose, but at the same time it's not hurting anything or making a WP:SEAOFBLUE by being blue rather than black (as default colors) in the infobox, where the concern of overemphasis of links is less pronounced than the prose.
 * All of that being said, I don't think it should be linked in the article prose itself for the reasons given, but I can see a reasonable exception made for a single link in the infobox itself, which is where I personally would reasonably expect to see such a navigational aid, if one were to be included at all. Hopefully this at least gives some food for thought, but if more input is needed there are additional forms of dispute resolution available. I apologize for the length of the comment, but I wanted to be thorough and give the best information. - Aoidh (talk) 01:57, 15 October 2023 (UTC)
 * That last paragraph sums up the way I've been going with it regarding NFL players. I can see Chicago, Illinois, with just Chicago linked -- Detroit, Michigan with just Detroit linked and so on. I've taken links off PA when Pitt and Philly are the cities. This all started when the city link was removed and then the demand due to overlink reasoning was typed there for us to obey. Example: the Ronald Reagan infobox. I'm still linking the city regarding the NFL players. Like the hundreds I've seen already. Thank you and  - Bringingthewood (talk) 02:22, 15 October 2023 (UTC)
 * Your response was perfect. I'm not asking Neveselbert to link other instances of Chicago or to link Illinois or even include Illinois in the display for the link, but to make a single link in the infobox and the editor's refusal to budge on forced me to need other dispute resolution.-- Rockchalk 717 03:05, 15 October 2023 (UTC)
 * OK, I am willing to respect the local consensus here. ‑‑Neveselbert (talk · contribs · email) 19:47, 21 October 2023 (UTC)

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

title: Talk:Dick Butkus


text:
User:David Whittaker

David Gordon Whittaker is a god trapped in the body of a boy... a boy with the physique of a god.

damn he's sexy.

title: User:David Whittaker


text:
Category:Mountains of Georgia (country)

The mountains of Georgia.

title: Category:Mountains of Georgia (country)


text:
Stade du 26 Mars

Stade du 26 Mars is located in the southern neighborhoods of Bamako, Mali. It serves as a home ground for domestic football club Stade Malien and is the national stadium. It has a capacity of 50,000 as an all-seater stadium. Built in 2001, it is named for the date of Martyrs' Day (Mali), a national commemoration of 26 March 1991 Bamako uprising which overthrew the dictatorship of Moussa Traoré. The stadium, which is built by China Overseas Engineering Group, served as a venue for 2002 African Cup of Nations.

title: Stade du 26 Mars


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Bob Anderson (fencer)

Robert James Gilbert Anderson (15 September 1922 – 1 January 2012) was an English Olympic fencer and a renowned film fight choreographer, with a cinema career that spanned more than 50 years and included films such as Star Wars, Highlander, The Three Musketeers, The Princess Bride, The Mask of Zorro, The Lord of the Rings, and Die Another Day. He was regarded as the premier choreographer of Hollywood sword-fighting, and during his career he coached many actors in swordsmanship, including Errol Flynn, Sean Connery, Antonio Banderas, Mark Hamill, Viggo Mortensen, Adrian Paul, and Johnny Depp. He also appeared as a stunt double for Darth Vader's lightsaber battles in The Empire Strikes Back and Return of the Jedi.

Biography
Anderson was educated at The Royal Hospital School, in Raleigh House. It was here that he began to fence. Anderson joined the Royal Marines and won several combined services titles in the sport of fencing. He served in the Mediterranean during the Second World War.

As a competitive fencer, he represented Great Britain at the Helsinki 1952 Summer Olympic Games, and the World Championships in 1950 and 1953 in the sabre event. He finished tied for fifth in the team sabre event at Helsinki in 1952.

After his retirement from fencing competition, he studied under Prof. Roger Crosnier and was appointed the first official British National Coach, in charge of the National Training System, the day he was awarded his full Professorship. He succeeded Prof. Crosnier as President of the British Academy of Fencing. During the late 1950s to the 1970s he travelled around Britain, and between fencing courses, he combined his official duties with television and film work. Eventually emigrating to Canada, he went on to become technical director of the Canadian Fencing Association in Ottawa. During the 1960s and 1970s he was also the president of the British Academy of Fencing.

Anderson's cinema career began in 1952,    when he fought Errol Flynn in the 1953 film The Master of Ballantrae. Patrick Crean staged the fights and coached Flynn, and stated that he called up every fencer he knew to fill out the final battle, which is how Anderson got the job. During rehearsal for a scene he accidentally slashed Flynn on his thigh, leading to notoriety in Hollywood as "the man who stabbed Errol Flynn". He went on to work as a stunt performer and/or fight choreographer in films such as The Guns of Navarone and the Bond films From Russia With Love and Casino Royale. His stature in Hollywood was cemented when he was selected by Stanley Kubrick in 1974 to act as the sword master for Barry Lyndon.

Anderson subsequently went on to be involved in all three of the original Star Wars films. Anderson did not receive much recognition for his work for years after their initial release. Mark Hamill in 1983 revealed, "Bob Anderson was the man who actually did Vader's fighting. It was always supposed to be a secret, but I finally told George I didn't think it was fair any more. Bob worked so bloody hard that he deserves some recognition. It's ridiculous to preserve the myth that it's all done by one man." Anderson in 1994 specified that for The Empire Strikes Back and Return of the Jedi he staged the lightsaber duels and also wore the Vader costume in fight scenes. David Prowse, who played Vader, said he did his own swordplay in the first Star Wars film but afterward, "having one of the principals do his own stunts made [the filmmakers] very weird from an insurance point of view."

Anderson continued to work in cinema for the next 30 years, and was responsible for the swordsmanship in many films, including Highlander, The Princess Bride, The Three Musketeers, The Mask of Zorro, Pirates of the Caribbean: The Curse of the Black Pearl and The Lord of the Rings film trilogy. Shortly before his death, he was working on The Hobbit. He had a reputation for being a perfectionist, with director Martin Campbell giving him the nickname "Grumpy Bob". Anderson was interviewed at length for the 2009 documentary on cinematic sword-fighting, Reclaiming the Blade, where he commented, "I never took up the sword, I think the sword took me up."

Death
Anderson died on New Year's Day, 2012, in a West Sussex hospital at the age of 89.

After his death, his widow, Pearl, and daughter, Simone, visited the Royal Hospital School and donated Anderson's swords, medals and movie footage to a museum.

Miscellaneous crew

 * Alatriste (2006): Sword Master
 * The Legend of Zorro (2005): Sword Master
 * The Lord of the Rings: The Return of the King (2003): Sword Master
 * Pirates of the Caribbean: The Curse of the Black Pearl (2003): Sword Master, Additional Sword Training
 * The Lord of the Rings: The Two Towers (2002): Sword Master
 * Die Another Day (2002): Sword Master
 * The Lord of the Rings: The Fellowship of the Ring (2001): Sword Master
 * The Parent Trap (1998): Fencing Consultant
 * The Mask of Zorro (1998): Sword Master
 * The Phantom (1996): Sword Master
 * First Knight (1995): Sword Master
 * The Three Musketeers (1993): Sword Master
 * Highlander:The Series (1992–1994): Sword Master
 * By the Sword (1991): Sword Master
 * The Princess Bride (1987): Sword Master
 * Highlander (1986): Sword Master
 * Star Wars (1977): Fight Arranger (uncredited)
 * Barry Lyndon (1975): Fencing Coach
 * Kidnapped (1971): Fight Arranger
 * Don't Lose Your Head (1966): Fight Arranger (uncredited)
 * The Moonraker (1958) Fencing Coach

Stunts

 * Return of the Jedi (1983): Stunt Double for Darth Vader
 * Superman II (1980): Stunts (uncredited)
 * The Empire Strikes Back (1980): Stunt Double for Darth Vader
 * Candleshoe (1977): Stunt Arranger
 * Star Wars (1977): Stunts/Stunt Double (uncredited)
 * One of Our Dinosaurs is Missing (1975): Stunt Arranger
 * Kidnapped (1971): Fight Arranger
 * Casino Royale (1967): Stunts (uncredited)
 * From Russia with Love (1963): Stunts (uncredited)
 * The Guns of Navarone (1961): Stunts (uncredited)
 * Il maestro di Don Giovanni (1954): Stunts
 * The Master of Ballantrae (1953): Stunts (uncredited)

Actor

 * Reclaiming the Blade (2009): himself
 * The Three Musketeers (1993) (Uncredited)
 * The Empire Strikes Back (1980): Trey Callum, Rebel Officer on Hoth (Uncredited)
 * Candleshoe (1977): Hood (Uncredited)
 * Doctor Who (1968): Fighting Guard in the serial The Enemy of the World

title: Bob Anderson (fencer)


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Birth (1984 film)

Birth (バース), also known in the West as Planet Busters or The World of the Talisman, is a 1984 anime original video animation (OVA), which was released on VHS and DVD in North America by, variously, Streamline and ADV Films. The Japanese DVD was released by video game publisher Atlus on March 25, 2005.

It is based on the manga Birth Planet Busters by Yoshinori Kanada published in 1983.

It is based on a far futuristic planet where four mercenaries band together to try and unlock the power of the ultimate weapon which can either save humanity or destroy it. Against mechas and strange races, they sweep the vast planet to reach their goal.

Summary
Aqualoid was a prosperous planet, but an attack from a mysterious life force, the Inorganics, transforms it into a post-apocalyptic shell of its former self. When Nam finds a mysterious sword, he is suddenly the object of a planet-wide chase. With the Inorganics closing in, will Nam and his friends discover the secret of the sword and save their world? Or will they destroy Aqualoid in favor of a new Birth?

Production
Yoshinori Kanada acted as one of the OVA's key animators. Another noteworthy animator on Birth was a young Hideaki Anno, who would go on to direct Neon Genesis Evangelion.

English dubs
Two English dubs of Birth exist. The first was licensed in 1987 by Harmony Gold and released by Streamline Pictures in North America and the United Kingdom under the title The World of the Talisman. According to New Straits Times, it briefly aired in Malaysia in late 1987. The OVA was later retitled yet again to Planet Busters. Harmony Gold's version changes some of the character names, tones down some of the more surreal Japanese humour to appeal to a younger audience, and contains more American-style dialogue, alternate music composed by Randy Miller and additional voice-overs. The second dub by ADV Films, released on DVD on July 13, 2004, is much more faithful to the original Japanese version.

Characters
In order of appearance - ADV (2004) / Streamline (1992, 1987) / Japanese (1984)
 * Monga - Matt Hislope / __ / Fuyumi Shiraishi
 * Mu-nyo - Cyndi Williams / __ / Chika Sakamoto
 * Rasa - Alexis Chamov / Sandra Snow / Miina Tominaga
 * Kim/Keen - Bradley Carlin / Ryan O'Flannigan / Kaneto Shiozawa
 * Bao/Mo/Pao - James Phillips / Greg Snow / Ichiro Nagai
 * Nam's Ostrich - Cyndi Williams / __ /
 * Nam/Talon - Brent Werzner / Tony Oliver / Kazuki Yao
 * Arlia - Gemma Wilcox / __ / Keiko Toda
 * Orange Mole - Robert S. Fisher / __ /
 * Inorganic Biker #1 - Robert Matney / A. Gregory / Ryunosuke Ohbayashi
 * Inorganic Biker #2 - Matt Hislope / __ / Yusaka Yara
 * Inorganic Biker #3 - Robert S. Fisher / __ / Kozo Shioya
 * Village Girl/Child - Samantha Inoue-Harte / Rebecca Forstadt / Noriko Tsukase
 * Grandma/Mother - Mary Agen Cox / Lisa Michaels / Reiko Suzuki
 * Grandpa/Father - Garry Peters / __ / Joji Yanami
 * Inorganic Biker Kid/Kooni - Jeffrey Mills / __ / Masahiro Anzai
 * Monster Octopus - Robert S. Fisher / __ / Miki Takahashi
 * Giant Inorganic - Vinnie Moxpar / __ / Yoko Kogayu
 * Monga's Tribe - Bigjyl, Jim Damm, Robert S. Fisher, Samantha Inoue-Harte, Wil Ragan, Jessica Simon, Ben Turrabiarte, Racel Vasquez, Dominic Vitucci, Kenny Weigel

title: Birth (1984 film)


text:
User talk:Resshin1716

Image Tagging Image:Recca7.jpg
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If the media also doesn't have a copyright tag then one should be added. If you created/took the picture, audio, or video then the GFDL-self tag can be used to release it under the GFDL. If you believe the media qualifies as fair use, consider reading fair use, and then use a tag such as or one of the other tags listed at Image copyright tags. See Image copyright tags for the full list of copyright tags that you can use.

If you have uploaded other media, consider checking that you have specified their source and copyright tagged them, too. You can find a list of 'image' pages you have edited by clicking on the "my contributions" link (it is located at the very top of any Wikipedia page when you are logged in), and then selecting "Image" from the dropdown box. Note that any unsourced and untagged images will be deleted one week after they have been uploaded, as described on criteria for speedy deletion. If you have any questions please ask them at the Media copyright questions page. Thank you.

title: User talk:Resshin1716


text:
M.K. 22

M.K. 22 (Hebrew: מ.ק. 22 - Mem Qoph 22) is an Israeli animated sitcom, revolving around the adventures of soldiers in a fictional IDF military base hosting the so-called "Israeli doomsday weapon". The show was created for the cable channel Bip and debuted in March 2004, becoming the first prime time animated series in Israeli television, and was later rebroadcast partly censored on Channel 2. The show won the Israeli Television Academy Award for Best Comedy Series and is considered by many a milestone in the history of Israeli animation. Despite gaining popularity and critical acclaim, the negotiations for a second season seem to have failed, making the first 10-episode season the only one thus far.

Main cast and characters

 * Danny Steg as Corporal Shlomi Hanukkah: A narrow-minded soldier and a Mizrahi "ars".
 * Haim Yafim Barbalat as Corporal Itai Shulman: Hanukkah's friend, an Ashkenazi nerd.
 * Albert Iluz as Camp Commander Warrant Officer Gabriel Shukrun: A stupid, stubborn and manipulative NCO.
 * Inbal Luri as Michal Levinstein: A handicapped volunteer, generally hated by all other involuntary soldiers for her self-righteousness.
 * Adib Jahschan as Abed Abu Jamal: An Israeli Arab living near the base. He appears to be Shukrun's humble friend, while secretly being a terrorist training bionic shahid sheep. In the show he represents the "fifth column Israeli Arabs" stereotype.

Premise and production
M.K. 22 satirically deals with Israel Defense Forces manners and culture, and with general issues of Israeli society and current events in Israel. It is situated in the fictional top-secret logistics military base M.K. 22, in the south of Israel, storing the country's so-called nuclear missiles. Two of the show's creators, Yaron Niski and Doron Tzur, actually served together as logistics soldiers in an Israeli military base and the show is influenced by their experiences there.

The show's initial goal was "to combine the style of South Park with local cult such as Giv'at Halfon". Director Assaf Harel claimed that the fact that the show was created for a cable network made it possible to use a blacker and more extreme type of humor, which he compared to that of South Park. In general, South Park is widely considered the show's biggest influence by Israeli critics and fans. Obvious similarities to South Park include the crude style of animation, the use of live-action (the episode "One of Us" showed parts of the 1989 Israeli film of the same name, which the episode parodied), and a tongue-in-cheek disclaimer similar to that of South Park.

Name
M.K. stands for "machane keva", Hebrew for "permanent [military] camp", while the words "Mem Qoph 22" might sound like "milkud 22", the Hebrew translation for the idiom catch-22.

Themes
The show's themes included, among others, the tensions between Haredi Jews and homosexuals, the media attention given to Ilan Ramon (prior to his death), the aliyah from Ethiopia, the West Bank barrier and the Split broadcast incident. The show also parodied several films, TV shows, politicians and celebrities.

Animation
According to Harel, the show's style of animation was influenced by South Park, although M.K. 22 uses more 3D computer graphics and more complicated backgrounds. The show's characters and backgrounds are made to appear deliberately crude, though not as if they're made of cut-out pieces of paper. There is only one round shape in the entire series, one of the soldiers' helmets, whereas other naturally round shapes look quadrilateral or polygonal. The Sun, for instance, is a plain yellow square in the sky.

Controversy
In 2005, when it was decided to broadcast the show on Channel 2, the show's straightforward treatment of delicate Israeli issues caused Keshet to censor parts of it. One of the episodes, "Robo Rabbi", was completely censored. It has been suggested that the background for the episode's censorship was the upcoming expiration of the Channel 2 tender. The episode parodied the threats of violence of Haredi Jews towards the pride parade, and spoofed the film Yossi & Jagger.

List of episodes

 * 1) "Heavy Water" (מים כבדים)
 * 2) "Sabbath at the Base" (שבת בבסיס)
 * 3) "The Good Fence" (הגדר הטובה)
 * 4) "Wolf, Wolf" (זאב זאב)
 * 5) "Time Travel" (בחזרה לעבר)
 * 6) "The Trial" (המשפט)
 * 7) "Robo Rabbi" (רובו רבי)
 * 8) "Yizkor" (יזכור)
 * 9) "Sex, Lies and Subarit" (סקס שקרים וסוברית)
 * 10) "One of Us" (אחת משלנו)

title: M.K. 22


text: Template:CC BY 2.5

title: Template:CC BY 2.5


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Ian Bostridge

Ian Charles Bostridge CBE (born 25 December 1964) is an English tenor, well known for his performances as an opera and lieder singer.

Early life and education
Bostridge was born in London, the son of Leslie Bostridge and Lillian (née Clark). His father was a chartered surveyor. Bostridge is the brother of writer and critic Mark Bostridge, and they are the great-grandsons of the Tottenham Hotspur goalkeeper from the early twentieth century, John "Tiny" Joyce.

He was a Queen's Scholar at Westminster School. He attended St John's College, Oxford, where he secured a First in modern history and St John's College, Cambridge, where he received an M.Phil. degree in the history and philosophy of science. He was awarded his D.Phil. degree in history from Oxford in 1990, on the significance of witchcraft in English public life from 1650 to 1750, supervised by Sir Keith Thomas. He worked in television current affairs and documentaries for two years in London before becoming a British Academy post-doctoral fellow at Corpus Christi College, Oxford, teaching political theory and eighteenth-century British history. His book Witchcraft and Its Transformations, c. 1650–1750 was published as an Oxford Historical Monograph in 1997. This book, "the most sophisticated and original of all recent histories of early modern demonology", according to Professor Stuart Clark, has been influential in the study of the pre-Enlightenment. It "achiev[es] that rarest of feats in the scholarly world: taking a well-worn subject and ensuring that it will never be looked at in quite the same way again" (Noel Malcolm, TLS). In 1991 he won the National Federation of Music Societies Award and from 1992 received support from the Young Concert Artists Trust.

Debuts
Bostridge began singing professionally only at age 27. He made his Wigmore Hall debut in 1993, followed by an acclaimed Winterreise at the Purcell Room and his Aldeburgh Festival debut in 1994. In 1995, he gave his first solo recital in the Wigmore Hall (winning the Royal Philharmonic Society's Debut Award). He gave recitals in Lyon, Cologne, London and at the Aldeburgh, Cheltenham and Edinburgh Festivals in 1996 and at the Alte Oper, Frankfurt in 1997.

On the concert platform, he has appeared with the London Symphony Orchestra under Sir Colin Davis and Mstislav Rostropovich, the Scottish Chamber Orchestra under Sir Charles Mackerras, and the City of Birmingham Symphony and Berlin Philharmonic under Sir Simon Rattle.

His first solo-featured recording was for Hyperion Records, a Britten song recital, The Red Cockatoo with Graham Johnson. His subsequent recording of Die schöne Müllerin in Hyperion's Franz Schubert Edition won the Gramophone's Solo Vocal Award for 1996. He won the prize again in 1998 for a recording of Robert Schumann Lieder with his regular collaborator, the pianist Julius Drake and again in 2003 for Schumann's Myrthen and duets with Dorothea Röschmann and Graham Johnson, as part of the Hyperion Schumann edition.

An EMI Classics exclusive artist since 1996, he is a 15-time Grammy Award nominee and 3-time winner. His CDs have won all of the major record prizes including Grammy, Edison, Japanese Recording Academy, Brit, South Bank Show Award, Diapason d'Or de l'Année, Choc de l'Année, Echo Klassik and Deutsche Schallplattenpreis. His recording of Schubert's "Die Forelle" with Julius Drake forms part of the soundtrack of the 2011 film Sherlock Holmes: A Game of Shadows. His album of Shakespeare Song for Warner Classics won the 2017 Grammy award and the Echo Klassik award for solo vocal.

Bostridge made his operatic debut in 1994, aged 29, as Lysander in A Midsummer Night's Dream with Opera Australia at the Edinburgh Festival, directed by Baz Luhrmann. In 1996, he made his debut with the English National Opera, singing his first Tamino (The Magic Flute). In 1997, he sang Quint in Deborah Warner's new production of The Turn of the Screw under Sir Colin Davis for the Royal Opera. He has recorded Flute (Britten's A Midsummer Night's Dream) with Sir Colin Davis for Philips Classics; Belmonte (Die Entführung aus dem Serail) with William Christie for Erato; Tom Rakewell (The Rake's Progress) under John Eliot Gardiner for Deutsche Grammophon (Grammy Award); and Captain Vere (Billy Budd) (Grammy Award) with Daniel Harding. In 2007 he appeared at the ENO in the role of Aschenbach in Britten's Death in Venice, in a production by Deborah Warner.

1997–1999
In 1997, he made a film of Schubert's Winterreise for Channel 4 directed by David Alden; he has been the subject of a South Bank Show profile documentary on ITV and presented the BBC 4 film The Diary of One Who Disappeared about Czech composer Leoš Janáček. He has written for The New York Review of Books, The New York Times,The Guardian, The Times, Financial Times,The Times Literary Supplement, Opernwelt, Gramophone, BBC Music Magazine, Opera Now and The Independent.

Later engagements included recitals in Paris, Stockholm, Lisbon, Brussels, Amsterdam and the Vienna Konzerthaus. In North America he appeared in recitals in New York City at the Frick Collection in 1998 and Alice Tully Hall in 1999 and made his Carnegie Hall debut under Sir Neville Marriner. Also in 1998, he sang Vasek in a new production of The Bartered Bride under Bernard Haitink for the Royal Opera and made his debut at the Munich Festival as Nerone (L'incoronazione di Poppea) and in recital (Winterreise at the Cuvilliés Theatre). In 1999, he made his debut with the Vienna Philharmonic under Sir Roger Norrington. He works regularly with the pianists Julius Drake, Graham Johnson, Mitsuko Uchida, composer Thomas Adès and Covent Garden music director Antonio Pappano. Other partners at the piano have included Leif Ove Andsnes, Håvard Gimse, Saskia Giorgini, Igor Levit, and Lars Vogt.

Since 2000
In the summer of 2000 Bostridge gave the fifth annual Edinburgh University Festival Lecture entitled "Music and Magic".

In 2004, Bostridge was made CBE for his services to music. He is an Hon RAM, honorary fellow of Corpus Christi College, St John's College, and Wolfson College Oxford, and was awarded an honorary doctorate by the University of St Andrews in 2003. He was Humanitas Professor of Classical Music and Education at the University of Oxford, 2014–15 (part of the Humanitas Programme). In 2020/21 he was a visiting professor at Munich's Hochschule for Music and Theatre. From 2022 on he is giving courses on Schubert Lieder at the Music and Arts University of the City of Vienna.

He gave the inaugural Nicholas Breakspear lecture, "Classical Attitudes: Latin and music through the ages" at the University of Trondheim in 2015; and the annual BIRTHA lecture, "Humanity in Song: Schubert's Winter Journey" at the University of Bristol in the same year. He delivered the Lincoln Kirstein Lecture, "Song and Dance", at NYU in 2016. He gave the Berlin Family Lectures at the University of Chicago in April 2021.

Bostridge had his own year-long Perspectives series at Carnegie Hall in 2005/6, and a twelve-month residency at the Barbican in 2008, "Homeward Bound". He has had a Carte Blanche season at the Concertgebouw and further artistic residencies in Luxembourg, Hamburg, the Schubertiade Schwarzenberg and the Wigmore Hall.

On 11 November 2009 Bostridge sang Agnus Dei from Benjamin Britten's War Requiem, at the Armistice Day service in Westminster Abbey. This uses the words of war poet Wilfred Owen's "At a Calvary near the Ancre". The service marked the loss of the WWI generation, whose last members died earlier the same year. Bostridge performed Kurt Weill's anti-war Four Walt Whitman Songs in 2014. He also has a long history with directing and performing The Threepenny Opera.

In 2013, he performed as part of the Barbican Britten centenary festival in London, and released a new recording of the composer's War Requiem.

Bostridge was for a time the music columnist for Standpoint magazine, the monthly publication launched in 2008 "to celebrate Western civilisation" and served on the magazine's advisory board. He has been Prospect magazine's classical columnist since 2023. He is a Youth Music Ambassador, a patron of the Music Libraries Trust and of the Macmillan Cancer Support Guards Chapel Carol Concert. Since 2023 he has been a trustee of the newly founded London Centre for the Humanities.

A collection of his writings on music, A Singer's Notebook, was published by Faber and Faber in September 2011. It was described by philosopher Michael Tanner, in BBC Music Magazine: "A consistently lively, learned, urbane and passionate book, once opened not likely to be closed until you have read it all."

His bestselling book Schubert's Winter Journey: Anatomy of an Obsession was published by Faber and Faber in the UK and by Knopf in the US in January 2015. It has been published in German, Finnish, Dutch, Korean, Japanese, Italian, Swedish, Polish, Mandarin, simplified Chinese, Mandarin, French, Russian, and Spanish editions. It won the Duff Cooper Prize for non-fiction for 2015, the Prix Littéraire des Musiciens in 2018 and was named the best music book of the year in the Prix de la Critique 2017/18 (Association Professionelle de la Critique de Théâtre, Musique et Danse). It went on to win the Grand Prix France Musique des Muses in 2019.

In 2023 he sang the Evangelist role in a performance of J. S. Bach's St. Matthew Passion with the French ensemble Les Talens Lyriques and the Chœur de chambre de Namur conducted by Christophe Rousset, and also gave concerts of Shakespeare's songs.

His book Song and Self: A Singer’s Reflections on Music and Performance was published in 2023 by Chicago University Press in the US, Faber and Faber in the UK and C.H Beck in Germany (das Lied und das Ich); and will be published by Acantilado in Spain, Il Saggiatore in Italy and Artes in Japan.

Personal life
In 1992, Bostridge married the writer and publisher Lucasta Miller, and they have a son and a daughter. His brother is the biographer and critic Mark Bostridge.

He lists his hobbies as reading, cooking, and looking at pictures. He is a member of the Garrick Club.

Books

 * Song and Self: a singer’s reflections on music and performance. Chicago University Press/Faber and Faber 2023
 * Song and Self: a singer’s reflections on music and performance. Chicago University Press/Faber and Faber 2023
 * Song and Self: a singer’s reflections on music and performance. Chicago University Press/Faber and Faber 2023
 * Song and Self: a singer’s reflections on music and performance. Chicago University Press/Faber and Faber 2023

Critical studies and reviews of Bostridge's work

 * Reviews Witchcraft and its transformations, c.1650–1750.

Select discography

 * Mustonen, Symphony no 3, Taivaanvalot, Turku Philharmonic, Olli Mustonen (Ondine 2024)
 * The Folly of Desire with Brad Mehldau (Pentatone 2023)
 * Schubert: Schwanengesang with Lars Vogt (Pentatone 2022)
 * Tormento d'Amore with Antonio Florio and Cappella Neapolitana (Warner 2022)
 * Respighi, Songs with Saskia Giorgini (Pentatone 2021)
 * Schubert, Die schöne Müllerin with Saskia Giorgini (Pentatone 2020)
 * Beethoven: Songs and Folksongs with Antonio Pappano (Warner Classics 2020)
 * Schubert, Winterreise with Thomas Adès (Pentatone 2019)
 * Handel, Ode for St Cecilia's Day with Dunedin Consort (Linn 2019)
 * Berlioz, "Les Nuits d'Eté"; Ravel, "Shéhérazade"; Debussy/Adams, "Le Livre de Baudelaire", conducted by Ludovic Morlot with Seattle Symphony, (Seattle Symphony Media, 2019)
 * Requiem (Butterworth, Stephan, Mahler, Weill) with Antonio Pappano (Warner Classics 2018)
 * Schubert Songs 4 with Julius Drake (Wigmore Live 2018)
 * Schubert Songs 3 with Julius Drake (Wigmore Live 2017)
 * Songs from Our Ancestors with Xuefei Yang (Globe Music, 2016)
 * Shakespeare Songs with Antonio Pappano (Warner Classics, 2016)
 * Brahms: the complete songs, volume 6 with Graham Johnson (Hyperion, 2015)
 * Schubert Songs 2 with Julius Drake (Wigmore Live, 2015)
 * Schubert Songs 1 with Julius Drake (Wigmore Live, 2014)
 * Bach: St John Passion with Stephen Layton, Polyphony and the OAE (Hyperion, 2013)
 * Britten: War Requiem" with Antonio Pappano, Anna Netrebko, Thomas Hampson, Accademia di Santa Cecilia (Warner Classics, 2013)
 * Britten: The Rape of Lucretia with Oliver Knussen (EMI Classics, 2013)
 * Britten Songs with Antonio Pappano and Xuefei Yang (EMI Classics, 2013)
 * Three Baroque Tenors Arias for Beard, Borosini and Fabri. Bernard Labadie (EMI Classics 2010)
 * Adès: The Tempest with Thomas Adès (EMI Classics, 2009)
 * Schubert: Schwanengesang with Antonio Pappano (EMI Classics, 2009)
 * Schubert: The Wanderer: Lieder and Fragments with Leif Ove Andsnes (EMI Classics, 2008)
 * Great Handel with Harry Bicket (EMI Classics, 2007)
 * Schubert: Lieder and Sonata with Leif Ove Andsnes (EMI Classics, 2007)
 * Wolf: Lieder with Antonio Pappano (EMI Classics, 2006)
 * Britten: Les Illuminations, Serenade, Nocturne with Simon Rattle (EMI Classics, 2005)
 * Schubert: 25 Lieder with Julius Drake (EMI Classics, 2005)
 * Wagner: Tristan und Isolde with Antonio Pappano (EMI Classics, 2005)
 * Schubert: die Schöne Müllerin with Mitsuko Uchida (EMI Classics, 2005)
 * Schubert: Lieder and Sonata No.21 with Leif Ove Andsnes (EMI Classics, 2005)
 * Schubert: Winterreise with Leif Ove Andsnes (EMI Classics, 2004)
 * Monteverdi: Orfeo with Emmanuelle Haïm (Virgin Classics, 2004)
 * Purcell: Dido and Aeneas with Emmanuelle Haïm (Virgin Classics, 2003)
 * Vaughan Williams: On Wenlock Edge with Bernard Haitink (EMI Classics, 2003)
 * Schubert: Lieder and Sonata D850 with Leif Ove Andsnes (EMI Classics, 2003)
 * Mozart: Idomeneo with Charles Mackerras (EMI Classics, 2002)
 * Britten: Canticles & Folksongs with Julius Drake (Virgin Classics, 2002)
 * Britten: Turn of the Screw with Daniel Harding (Virgin Classics, 2002)
 * The Songs of Robert Schumann, Vol.7 with Dorothea Röschmann and Graham Johnson (Hyperion, 2002)
 * The Noël Coward Songbook with Jeffrey Tate (EMI Classics, 2002)
 * Schubert: Lieder volume II with Julius Drake (EMI Classics, 2001)
 * Henze: Songs with Julius Drake (EMI Classics, 2001)
 * Bach: Cantatas and Arias with Fabio Biondi (Virgin Classics, 2000)
 * Handel: L'allegro, il penseroso ed il moderato with John Nelson (Virgin Classics, 2000)
 * The English Songbook with Julius Drake (EMI Classics, 1999)
 * Stravinsky: The Rake's Progress with John Eliot Gardiner (Deutsche Grammophon, 1999)
 * Bach: St Matthew Passion (Evangelist) with Philippe Herreweghe (Harmonia Mundi, 1999)
 * Schumann: Liederkreis & Dichterliebe etc. with Julius Drake (EMI Classics, 1998)
 * Schubert: Lieder volume I with Julius Drake (EMI Classics, 1998)
 * Britten: Our Hunting Fathers with Daniel Harding, Britten Sinfonia (Warner Classics, 1998)
 * Schubert: Die schöne Müllerin (Schubert Edition, Vol.25) with Graham Johnson and Dietrich Fischer-Dieskau (Hyperion, 1996)
 * Britten: The Red Cockatoo & Other Songs with Graham Johnson (Hyperion, 1995)
 * Nyman: Noises, Sounds & Sweet Airs with Dominique Debart (Argo, 1995)
 * Vaughan Williams: Over Hill, Over Dale with Holst Singers and Michael George (Hyperion, 1995)

title: Ian Bostridge


text:
Dysteleology

Dysteleology is the philosophical view that existence has no telos - no final cause from purposeful design.

Ernst Haeckel (1834-1919) invented and popularized the term dysteleology (Dysteleologie ).

title: Dysteleology


text:
19 May 1956 Stadium

19 May 1956 Stadium (ملعب 19 ماي 1956), or simply May 19th Stadium is a football stadium located in Annaba, Algeria.The stadium has a capacity of 56,000 and is all-seated. It is currently used on a regular basis by football club USM Annaba who play in the Algerian Ligue Professionnelle 2. It is also occasionally used by the Algeria national football team.

History
On June 10, 1987, the stadium was inaugurated with a match between the Algerian national football team and Sudan. Sudanese international Kamel Mohammed was the first person to score in the stadium, scoring in the 15th minute of the game. The first Algerian to score in the stadium was Djamel Menad, who scored in the 85th minute of the same game. Algeria won the game 3–1. The stadium hosted several matches during the 1990 African Cup of Nations.

The most recent game played there was Algeria's 1–0 win over Morocco during the 2012 African Cup of Nations Qualification, with the only goal being scored by Hassan Yebda from the penalty spot. It was the only victory during Benchika's reign as the Algerian manager, and it was done before a sell-out crowd.

On March 5, 2012, Mohamed Raouraoua, the president of the FAF in Algeria, stated that the stadium might become the official stadium for the CAF U-20 tournament which will be played in Algeria.

2022 African Nations Championship
the stadium was one of four stadiums that have been appointed to host the 2022 African Nations Championship, it hosted 5 games in Group B and one game in Group A and one game in the quarter-finals, this was the first major international competition that this stadium hosted since the 1990 African Cup of Nations.

title: 19 May 1956 Stadium


text:
IBM 702

The IBM 702 was an early generation tube-based digital computer produced by IBM in the early to mid-1950s. It was the company's response to Remington Rand's UNIVAC, which was the first mainframe computer to use magnetic tapes. As these machines were aimed at the business market, they lacked the leading-edge computational power of the IBM 701 and ERA 1103, which were favored for scientific computing, weather forecasting, the aircraft industry, and the military and intelligence communities.

Within IBM, the 702 was notable for adapting the new technology of magnetic-core memory for random-access applications.

The 702 was announced September 25, 1953, and withdrawn October 1, 1954, but the first production model was not installed until July 1955. It was superseded by the IBM 705.

History
Fourteen 702s were built. The first one was used at IBM. Due to problems with the Williams tubes, the decision was made to switch to magnetic-core memory instead. The fourteenth 702 was built using magnetic-core memory, and the others were retrofitted with magnetic-core memory.

The successor to the 702 in the 700/7000 series was the IBM 705, which marked the transition to magnetic-core memory.

Overview
The 702 was designed for business data processing. Therefore, the memory of the computer was oriented toward storing characters. The system used electrostatic storage, consisting of 14, 28, 42, 56, or 70 Williams tubes with a capacity of 1000 bits each for the main memory, giving a memory of 2,000 to 10,000 characters of seven bits each (in increments of 2,000 characters), and 14 Williams tubes with a capacity of 512 bits each for the two 512-character accumulators.

A complete system included the following units:
 * IBM 702 Central Processing Unit
 * IBM 712 Card Reader
 * IBM 756 Card Reader Control Unit
 * IBM 717 Printer
 * IBM 757 Printer Control Unit
 * IBM 722 Card Punch
 * IBM 758 Card Punch Control Unit
 * IBM 727 Magnetic Tape Unit
 * IBM 752 Tape Control Unit
 * IBM 732 Magnetic Drum Storage Unit

Total weight (depending on configuration): about 24645 lb.

title: IBM 702


text: User talk:172.162.33.71

title: User talk:172.162.33.71


text:
Francesca da Rimini (Rachmaninoff)

Francesca da Rimini (Франческа да Римини), Op. 25, is an opera in a prologue, two tableaux and an epilogue by Sergei Rachmaninoff to a Russian libretto by Modest Ilyich Tchaikovsky. It is based on the story of Francesca da Rimini in the fifth canto of Dante's epic poem The Inferno (the first part of the Divine Comedy). The fifth canto is the part about the Second Circle of Hell (Lust). Rachmaninoff had composed the love duet for Francesca and Paolo in 1900, but did not resume work on the opera until 1904. The first performance was on 24 January (O.S. 11 January) 1906 at the Bolshoi Theatre, Moscow, with the composer himself conducting, in a double-bill performance with another Rachmaninoff opera written contemporaneously, The Miserly Knight.

Synopsis
The setting is the Malatesta castle around the end of the 13th century

Prologue
The ghost of Virgil leads the poet Dante to the edge of the first circle of the Inferno. They descend into the second, where the wordless chorus of the damned souls is heard. Virgil tells Dante that this is the realms where sinners given over to lust are punished, buffeted by an eternal whirlwind. Dante asks two such souls, Francesca and Paolo, to tell their story.

Tableau 1
In the castle courtyard, Lanciotto Malatesta is about to go off to war, but he admits that he no longer takes pleasure in war. Lanciotto is deformed, and knows that his wife, Francesca, does not love him. She had been tricked into marrying Lanceotto by being led to think that she would marry Paolo Malatesta, Lanciotto's handsome younger brother. Lanciotto is suspicious of Francesca and envious of Paolo. He plans to set a trap to catch them in adultery. Francesca then enters, affirming obedience to Lanciotto, but saying that she cannot love him. She asks when he will return, and Lanciotto says that he will not return until after the end of battle. When Francesca leaves, Lanciotto laughs.

Tableau 2
Paolo and Francesca are together, alone, in a room in the castle. Paolo tells the story of Sir Lancelot and Queen Guinevere, which parallels their own feelings. While doing so, Paolo declares his love for Francesca. Francesca resists initially, trying to remain faithful to Lanciotto. However, her own resistance erodes at Paolo's continued expressions of love, and her own desire for him. They sing of their secret love, and embrace. Lanciotto has returned, and sees the lovers together. He fatally stabs Paolo and Francesca.

Epilogue
Paolo and Francesca recede into the whirlwind of the second circle. Dante is overcome with pity and terror, and he and Virgil remain with the thought: 'There is no greater sadness in the world than to remember a time of joy in a time of grief'.

Recordings

 * Melodiya: Mikhail Maslov (Virgil's Shade), Alexander Laptev (Dante), Yevgeny Nesterenko (Lanciotto Malatesta), Makvala Kasrashvili (Francesca), Vladimir Atlantov (Paolo); Orchestra and Chorus of the Bolshoi Theater; Mark Ermler, conductor
 * Deutsche Grammophon 453 455–2 (1997): Sergei Aleksashkin (Virgil's Shade), Ilya Levinsky (Dante), Sergei Leiferkus (Lanciotto Malatesta), Maria Guleghina (Francesca), Sergej Larin (Paolo); Gothenburg Opera Chorus; Gothenburg Symphony Orchestra; Neeme Järvi, conductor
 * Russian Season: Nikolai Rechetniak (Virgil's Shade), Nikolai Vassiliev (Dante), Vladimir Matorin (Lanciotto Malatesta), Marina Lapina (Francesca), Vitaly Taraschenko Paolo); Russian State Choir; Bolshoi Theatre Orchestra; Andrey Chistiakov, conductor
 * Chandos (CHAN10442): Gennady Bezzubenkov (Virgil's Shade), Evgeny Akimov (Dante), Sergey Murzaev (Lanciotto Malatesta), Svetla Vassileva (Francesca), Misha Didyk (Paolo); BBC Singers; BBC Philharmonic; Gianandrea Noseda, conductor

title: Francesca da Rimini (Rachmaninoff)


text:
Cleopatra Selene of Syria

Cleopatra Selene (Κλεοπάτρα Σελήνη; c. between 135 and 130 – 69 BC) was the Queen consort of Egypt (Cleopatra Selene or Cleopatra V Selene) from 115 to 102 BC, the Queen consort of Syria from 102 to 92 BC, and the monarch of Syria (Cleopatra II) from 82 to 69 BC. The daughter of Ptolemy VIII Physcon and Cleopatra III of Egypt, Cleopatra Selene was favoured by her mother and became a pawn in Cleopatra III's political manoeuvres. In 115 BC, Cleopatra III forced her son Ptolemy IX to divorce his sister-wife Cleopatra IV, and chose Cleopatra Selene as the new queen consort of Egypt. Tension between the king and his mother grew and ended with his expulsion from Egypt, leaving Cleopatra Selene behind; she probably then married the new king, her other brother Ptolemy X.

Following the marriage of the Syrian Seleucid princess Cleopatra I to Ptolemy V of Egypt, dynastic marriages between the two kingdoms became common. In 102 BC, Cleopatra III decided to establish an alliance with her nephew Antiochus VIII of Syria; Cleopatra Selene was sent as his bride. After his assassination in 96 BC, she married his brother and rival Antiochus IX. Cleopatra Selene lost her new husband in 95 BC and married a final time to Antiochus IX's son Antiochus X, who disappeared from the records and is presumed to have died in 92 BC, but may have remained in power until 89/88 BC (224 SE (Seleucid year)). Cleopatra Selene then hid somewhere in the kingdom with her children. Eventually, Syria split between the sons of Antiochus VIII with Philip I ruling in the Syrian capital Antioch and Antiochus XII in the southern city Damascus.

Cleopatra Selene had many children by several husbands. Probably following the death of Antiochus XII in 230 SE (83/82 BC), she declared Antiochus XIII, her son by Antiochus X, king, and seems to have declared herself co-ruler; they claimed Antioch following Philip I's death. But the people of Antioch and the governor of Damascus, exhausted by the Seleucids' civil wars, invited foreign monarchs to rule them: Tigranes II of Armenia took Antioch, while Aretas III of Nabataea took Damascus. Cleopatra Selene controlled several coastal towns until Tigranes II besieged her in 69 BC in Ptolemais; the Armenian king captured the queen and later executed her.

Historical background, family and name
By the second century BC, the Seleucid Empire and the Ptolemaic Kingdom were weakened by dynastic feuds, constant wars against each other (known as the Syrian Wars), and Roman interference. To ease the tension, the two dynasties intermarried. Cleopatra I of Syria married Ptolemy V of Egypt in 193 BC, and her granddaughter Cleopatra Thea married three Syrian kings in succession starting in 150 BC. Those intermarriages helped Egypt destabilize Syria which was especially fragmented between different claimants to the throne; brothers fought between themselves and Egypt interfered by supporting one claimant against the other.

Cleopatra Selene was born between 135 and 130 BC to Ptolemy VIII and Cleopatra III. Cleopatra Selene had many siblings, including Ptolemy IX, Ptolemy X, and Cleopatra IV. Ancient writers, such as Cicero and Appian, mention that the queen's name is Selene, and Strabo clarified that she was surnamed "Cleopatra". On the other hand, modern scholars, such as Arthur Houghton and Catharine Lorber, believed that Selene was actually an epithet. The archaeologist Nicholas L. Wright suggested that she assumed the epithet "Selene" when she became queen of Egypt and that it is a divinising epithet, indicating that Cleopatra Selene presented herself as the manifestation of the moon goddess on earth. Coins struck in her name record her as Cleopatra Selene. Selene was the name of the Greek moon goddess and it is connected to the word selas (σέλας), meaning "light". "Cleopatra" was a Ptolemaic dynastic name; it means "famous in her father" or "renowned in her ancestry". As a queen of Syria, she was the second to rule with the name 'Cleopatra'. Hence, she is termed "Cleopatra II Selene" to differentiate her from her predecessor and aunt Cleopatra I Thea, who was the mother of Cleopatra Selene's husbands Antiochus VIII and Antiochus IX. Classicist Grace Macurdy numbered Cleopatra Selene as "Cleopatra V" within the Ptolemaic dynasty and many historians have used this convention.

Queen of Egypt
Sibling marriage was known in ancient Egypt and, although it was not a general practice, it was acceptable for the Egyptians; the Ptolemies practised it, perhaps to consolidate the dynasty. In 116 BC, Ptolemy VIII died and his will left Cleopatra III to rule alongside a co-ruler of her choice from between her two sons; she wanted to choose Ptolemy X but the people of Alexandria (the capital of Egypt) opposed this, forcing her to accept Ptolemy IX's ascension to the throne. Shortly after his elevation, Cleopatra III forced Ptolemy IX to divorce Cleopatra IV, his sister whom he had married before their father's death; the 2nd-century historian Justin implied that Cleopatra III made this a condition of accepting him as co-ruler. Cleopatra Selene, favoured by her mother Cleopatra III, was chosen as the new queen consort in 115 BC. In 107 BC, the relationship between Ptolemy IX and his mother deteriorated; Cleopatra III forced him out of Egypt, and he left his wife and children behind.

The same year, 107 BC, Cleopatra Selene was probably married off to the new king, her younger brother, Ptolemy X. In 103 BC, Ptolemy IX was fighting in Judea. The queen mother feared an alliance against her between Ptolemy IX and his friend Antiochus IX of Syria, who was fighting a civil war with his brother Antiochus VIII; this led her to send troops to Syria. Cleopatra III and Ptolemy X conquered Ptolemais, and according to Justin, the king, shocked by his mother's cruelty, abandoned her and ran away; Cleopatra III then decided to marry Cleopatra Selene to Antiochus VIII, as a step to bring Antiochus VIII to her side in order to counter an alliance between Ptolemy IX and Antiochus IX. If it is accepted that Cleopatra Selene married Ptolemy X, then Cleopatra III divorced her from him after he deserted.

Queen consort
The marriage of Cleopatra Selene and Antiochus VIII took place c. 102 BC; historian Leo Kadman suggested that Cleopatra III gave her daughter to the Syrian king in Ptolemais before she retreated to Egypt, and that Cleopatra Selene kept that city as her main base until the end of her life. Details of Cleopatra Selene's life with Antiochus VIII are not clear; no known offspring resulted from the marriage, though six of Antiochus VIII's children from his previous marriage are known. In 96 BC, Herakleon of Beroia, a general of Antiochus VIII, assassinated his monarch and tried to usurp the throne, but failed and retreated to his home-town Beroia. The capital of Syria, Antioch, was part of Antiochus VIII's realm at the time of his assassination; Cleopatra Selene probably resided there. The queen held out in the capital for a while before marrying Antiochus IX. The manner in which Antiochus IX took control of Antioch and his new wife in 95 BC is not clear; he could have taken the city by force or it could be that Cleopatra Selene herself opened the gates for him. In the view of historian Auguste Bouché-Leclercq, Cleopatra Selene had little reason to trust the five sons of her previous husband; the queen needed an ally who would help her control the capital while Antiochus IX needed a wife and Cleopatra Selene's influence over the city's garrison and her late husband's officials. It is unlikely that this marriage was received well by Antiochus VIII's sons. The first of them to act was Seleucus VI who was established in Cilicia. Within a year of his marriage to Cleopatra Selene, Antiochus IX marched against his nephew but was defeated and killed. Soon afterwards, Seleucus entered the capital. Cleopatra Selene probably fled before the new king's arrival. Alternatively, she might have been sent to Arados by Antiochus IX for protection before he marched against Seleucus. In 218 SE (95/94 BC), Antiochus X, the son of Antiochus IX, proclaimed himself king in Arados, and married Cleopatra Selene. The Seleucid dynasty had a precedent of a son marrying his stepmother: Antiochus I had married his stepmother Stratonice, and this might have made it easier for Cleopatra Selene. Yet, the marriage was scandalous. Appian wrote an anecdote concerning the epithet of Antiochus X, "Eusebes" ("the pious"): the Syrians gave it to him to mock his show of loyalty to his father by bedding his widow. The rationale for the marriage might have been pragmatic: Antiochus X sought to be king, but had little resources and needed a queen. Cleopatra Selene was in her forties and could not simply marry a foreign king. Antiochus X pushed Seleucus VI out of Antioch in 94 BC and ruled northern Syria and Cilicia, while Seleucus VI's brothers Philip I and Demetrius III ruled Beroea and Damascus respectively. The last evidence for the reign of Antiochus X is dated to 92 BC; he is generally assumed to have died at around this date. Ancient sources contain contradictory accounts and dates, and the numismatist Oliver D. Hoover suggested the date of 224 SE (89/88 BC) for Antiochus X's demise. Antioch was taken by Demetrius III then Philip I.

Queen regnant and regent
Cleopatra Selene's location during the reign of Antiochus X's successors in Antioch is unknown. She evidently took shelter with her children somewhere in the kingdom, and possibly fled to Cilicia or Coele-Syria, probably the city of Ptolemais, which she held until her death. Antiochus XII, another son of Antiochus VIII who was ruling in Damascus, died in 230 SE (83/82 BC). With the throne of Antiochus XII vacant, Cleopatra Selene declared her son Antiochus XIII king.

Based on the evidence of the coins depicting her alongside her ruling son, it appears that Cleopatra Selene acted as the regent. Many of those coins have been found, and they depict Antiochus XIII in the background and herself in the foreground, in the style of a queen regnant, where Cleopatra Selene's name is written before that of the king's. When she declared her son king, Cleopatra Selene controlled lands in Cilicia or Phoenicia or both. The archaeologist Alfred Bellinger suggested that she was in control of several coastal Syrian cities from a base in Cilicia; she certainly controlled Ptolemais and probably Seleucia Pieria. The 1st-century historian Josephus wrote of "Selene ... who ruled in Syria", indicating her continued influence despite her never controlling the capital Antioch. Her children probably remained in Cilicia or somewhere else in Asia Minor for protection, which would explain Antiochus XIII's nickname, "Asiaticus".

Reign in Damascus
According to Josephus, "those that held Damascus" invited Aretas III, King of the Nabataeans, to rule them because they feared Ptolemy (son of Mennaeus), king of the Iturea. Damascus' history between the death of Antiochus XII and 241 SE (72/71 BC), when the Armenian king Tigranes II took the city, is obscure. Based on her jugate coins which depict her alongside Antiochus XIII, Hoover suggested that Selene operated from Damascus; those coins used a broken-bar Alpha, cursive Epsilon and squared Sigma. This typography appeared in the Damascene coins of Demetrius III and Antiochus XII and is otherwise rare in the Hellenistic world. If her currency was minted in Damascus, then it dates to the period between the death of Antiochus XII and Tigranes II's occupation of the city. Two scenarios are possible:

 * Cleopatra Selene took Damascus after Antiochus XII's death and was replaced by Aretas III before 73 BC: Josephus does not name the people of Damascus as the party who invited Aretas III, rather, his words indicate that a garrison or a governor conducted the act. All known coins of Cleopatra Selene are made of bronze, and the absence of silver coinage indicates that the queen lacked the necessary resources to defend Damascus, which would explain the invitation of Aretas III. It is also possible that Cleopatra Selene moved her capital to Ptolemais, causing her troops in Damascus to lose faith in her rule, leading them to invite the Nabataean king.
 * Aretas III's rule in Damascus did not last long before Cleopatra Selene took control: Wright suggested that Cleopatra Selene's takeover of Damascus took place after 80 BC. Several factors might have compelled the Nabataeans to withdraw, such as the Ituraean threats or the attacks of the Hasmonean Judaean king Alexander Jannaeus, whose incursions into Nabataean lands must have made their position in Damascus difficult.

Claiming the north
In the north, Philip I ruled until his death, after which Cleopatra Selene claimed the rights of her children with Antiochus X to the vacant throne. The queen's claims of authority were not generally accepted by the Syrians, and the people of Antioch invited Tigranes II to rule Syria, being frustrated by the Seleucids' constant civil wars. The year in which this event took place is debated; 83 BC is, without any proof, commonly accepted as Philip I's year of death by the majority of scholars who count on the account of Appian, who assigned a reign of fourteen years for Tigranes II, which ended in 69 BC. Oliver D. Hoover suggested that Tigranes II invaded Syria only in 74 BC, with Philip I ruling until 75 BC in Northern Syria, allowing Cleopatra Selene and Antiochus XIII to claim the country unopposed for a while. An argument in favour of Cleopatra Selene and her son being the sole claimants of Syria in 75 BC is a statement by Cicero: the Roman statesman wrote that Antiochus XIII and his brother were sent to Rome by their mother in 75 BC. They returned to Syria in 240 SE (73/72 BC); the brothers claimed the throne of Egypt based on their mother's birthright. To impress the Roman Senate, the queen endowed her children with sufficient assets, which included a jewelled candelabrum that was dedicated to the temple of Jupiter Capitolinus. The Senate refused to hear their petition for the Egyptian throne, but, according to Cicero, their de jure right to the Syrian throne which they had inherited from their ancestors was already acknowledged.

The statement of Cicero indicates that in 75 BC, Tigranes II was still not in control of Syria, for if he were, Antiochus XIII would have asked the Roman Senate for support to regain Syria, since Tigranes II was the son-in-law of Rome's enemy, Mithridates VI of Pontus. Likewise, Philip I could not have been alive since Antiochus XIII went to Rome without having to assert his right to Syria. In a paper presented at the 131st annual meeting of the American Historical Association, Nikolaus Overtoom, based on Hoover's chronology, suggested that Cleopatra Selene was in control of the south while Philip I ruled the north until 75 BC; his death meant that Cleopatra Selene's son was the strongest candidate to the throne, but Philip I's faction, being opposed to Cleopatra Selene, offered the crown to Tigranes II who invaded and conquered the country in 74 BC.

Downfall, assessment and legacy
The regency of Cleopatra Selene probably ended in 75 BC as the journey of Antiochus XIII to Rome indicates that he had already reached his majority or was close to it. Tigranes II, whose invasion probably took place during Antiochus XIII's absence, never controlled the entire country and took Damascus only in 72 BC. Cleopatra Selene resisted the Armenians in Ptolemais while Antiochus XIII probably took shelter in Cilicia. In 69 BC, Tigranes II besieged Ptolemais; the city fell according to Josephus, but Tigranes II had to move north fast as the Romans started attacking Armenia. According to Strabo, Tigranes II imprisoned the queen in Seleucia and later had her killed. Those accounts seem to contradict each other, but in the view of the seventeenth century historian William Whiston, they do not, since Josephus does not mention that Tigranes II captured the queen in Ptolemais. Historian John D. Grainger explained Tigranes II's action as a consequence of Cleopatra Selene's political importance; she was a winning card in the hands of her husbands, and Tigranes II sought to deny other ambitious men from acquiring influence through her. Others see Cleopatra Selene as a pawn in political schemes who later evolved into a schemer in her own right, one who decided her actions effectively based on her own benefit.

Cleopatra Selene's long career, as the wife of three successive Syrian monarchs, and the mother of one and a ruler in her own right, in addition to her divine status, turned her into a symbol of Seleucid continuity. The ancient Near East was ruled by successive dynasties whose monarchs claimed the title of Great King, i.e. imperial overlord. When the Romans ended the Seleucid dynasty in 64 BC, they attempted to simply replace the Syrian monarchs as an imperial authority, but the political reality of Rome as a republic meant that its legitimacy in the East was questioned. The Seleucid diadem was considered a symbol of legitimacy even after the fall of the Seleucid dynasty, and many eastern kings, such as the Parthian monarch Mithridates II, used Seleucid royal iconography to gain the local nobility's support in their domains. The Ptolemaic rulers of Egypt were the closest relatives of the Seleucids and their legitimate successors; Cleopatra VII of Egypt used the name of Cleopatra Selene for her daughter Cleopatra Selene of Mauretania, born 40 BC; this can be viewed in the context of Cleopatra VII's attempts to claim the Seleucid succession rights in the East.

By Ptolemy IX
The historian Christopher J. Bennett considered Ptolemy XII and his brother identical with the two children mentioned by Justin, but proposed that they were the children of Cleopatra IV, considered illegitimate because of their parents' "morganatic" marriage. Hence, Cleopatra Selene was not the biological mother, rather, she was the official mother, thus explaining her attempt to raise one of her sons by Antiochus X to the throne of Egypt in 75 BC by repudiating Ptolemy XII's legitimacy. Whitehorne, citing Cleopatra Selene's denial of Ptolemy XII's illegitimacy, refused to identify Ptolemy XII and his brother as the two children mentioned in Justin's work.
 * According to Justin, Cleopatra Selene and Ptolemy IX had two children; the historian John Whitehorne noted that the existence of those two children is doubted and they might have died at a young age. In 103 BC, Cleopatra III sent all her grandsons and treasures to the island of Kos for protection in preparation for her war with Ptolemy IX. In 88 BC, Mithridates VI captured all the Egyptian royals in Kos; the two children of Cleopatra Selene mentioned by Justin, if they actually existed and were sent to Kos by Cleopatra III, would have been among the captured.
 * Ptolemy XII, the father of Cleopatra VII, and his brother Ptolemy of Cyprus. Ptolemy XII's legitimacy was historically questioned; his father was certainly Ptolemy IX but his mother's identity is vague. Cicero wrote that Ptolemy XII was royal "neither in birth nor in spirit", but the classicist John Pentland Mahaffy noted that Cicero's words indicate that Ptolemy XII's mother was not a reigning queen at his birth, and so could be Cleopatra IV, whose marriage to Ptolemy IX can be considered morganatic (a marriage between people of unequal social rank), since it was not acceptable that a Ptolemaic prince marry his sister prior to his ascension to the throne.
 * Cleopatra Berenice (Berenice III), whose mother's identity is not certain, might have been a daughter of Cleopatra Selene, but Cleopatra IV is also a candidate and is favoured by modern scholarship. Bennett noted that Berenice III's legitimacy was never questioned by ancient historians, and the illegitimacy of Ptolemy IX and Cleopatra IV's marriage makes it more probable that Berenice III was the result of a legitimate marriage, that is between her father and Cleopatra Selene.

By Ptolemy X
Ptolemy X's son, Ptolemy XI, might have been the child of Cleopatra IV. Following Cleopatra IV's expulsion from Egypt in 115 BC, she went to Cyprus where Ptolemy X resided, but she departed quickly to Syria and married Antiochus IX; if Ptolemy XI was her son, then her abandonment of Cyprus is hard to explain, and her son would not have been considered legitimate, while the legitimacy of Ptolemy XI was unquestioned. Berenice III was mentioned as a mother of Ptolemy XI in a Demotic text, but the Egyptian word used to denote a "son" can also mean a step son, which is the meaning preferred by most scholars for the word in the text mentioning Berenice III as a mother of Ptolemy XI. Cleopatra Selene is the most suitable candidate; among several arguments in favor of Cleopatra Selene, Bennett noted that Berenice III was called by Cicero a sister of Ptolemy XI. If Ptolemy XI and Berenice III were both children of Cleopatra Selene, then the statement of Cicero can be taken literally. Cleopatra Selene's maternity of Ptolemy XI can not be confirmed, and which of Ptolemy X's wives bore Ptolemy XI remains unknown.

By Antiochus X
Identifying Antiochus X and Cleopatra Selene's children is problematic; Cicero wrote that the queen had two sons, one of them named Antiochus. More children, perhaps a daughter, might have resulted from the marriage, but it can not be confirmed; according to Plutarch, Tigranes II "put to death the successors of Seleucus, and [carried] off their wives and daughters into captivity". Thus, it is possible that Cleopatra Selene had a daughter captured by Tigranes II.
 * Antiochus XIII: this son is the Antiochus of Cicero, who, as a sole monarch following his mother's death, appears on his coins as Antiochus Philadelphos ("brother-loving"), but on coins where Cleopatra Selene is depicted along with her ruling son, the king is named Antiochus Philometor ("mother-loving"). This has led scholars to propose various theories: Kay Ehling, reasserting the view of Bouché-Leclercq, suggested that Cleopatra Selene had two sons, both named Antiochus. But Cicero, who left one of the brothers unnamed, is clear that only one of them was named Antiochus; for Ehling's proposal to be valid, Antiochus Philometor should be the Antiochus mentioned by Cicero, then he died and his brother, who had a different name, assumed the dynastic name Antiochus with the epithet Philadelphos, but this scenario is complicated and remains a mere hypothesis. Thus, Antiochus XIII bore two epithets: Philadelphos and Philometor.
 * Seleucus Kybiosaktes: the second son of Cleopatra Selene, who was unnamed by Cicero and does not appear in other ancient sources, is generally identified by modern scholarship with a character named Seleucus Kybiosaktes, who appeared c. 58 BC in Egypt as a husband of Berenice IV of Egypt. Kybiosaktes was never associated with Cleopatra Selene in the ancient sources; solid evidence is lacking and the identification remains a theory.
 * Seleucus VII: in 2002, the numismatist Brian Kritt announced the discovery and decipherment of a coin bearing the portrait of Cleopatra Selene and a co-ruler; Kritt read the name of the ruler as Seleucus Philometor and, based on the epithet, identified him with Cleopatra Selene's son, unnamed by Cicero. Kritt gave the newly discovered ruler the regnal name Seleucus VII, and considered it very likely that he is identical with Kybiosaktes. The reading of "Seleucus VII" was accepted by some scholars such as Lloyd Llewellyn Jones and Michael Roy Burgess, but Hoover rejected Kritt's reading, noting that the coin was badly damaged and some letters were unreadable; Hoover read the king's name as Antiochus and identified him with Antiochus XIII. According to Wright, if the reading of Kritt is accepted, then it is possible that Cleopatra Selene became estranged from Antiochus XIII at some point before 75 BC and declared Seleucus VII as her co-ruler.

title: Cleopatra Selene of Syria


text:
Dan Ingram

Daniel Trombley Ingram (September 7, 1934 – June 24, 2018) was an American Top 40 radio disc jockey with a 50-year career on radio stations such as WABC and WCBS-FM in New York City.

Career
"Big Dan" started broadcasting at WHCH Hofstra College, Hempstead; WNRC, New Rochelle; and WALK-FM, Patchogue, all in New York State.

Ingram was one of the most highly regarded DJs from his era. He was noted for his quick wit and ability to convey a humorous or satiric idea with fast pacing and an economy of words, a skill that rendered him uniquely suited to, and successful within, modern personality-driven music radio. He was among the most frequently emulated radio personalities, cited as an influence or inspiration by numerous current broadcasters. One of Ingram's unique skills was his ability to "talk up" to the lyrics of a record, meaning speaking over the musical introduction and finishing exactly at the point when the lyrics started.

Ingram was well known for playing doctored versions of popular songs. The Paul McCartney and Wings lyrics "My Love Does it Good" from "My Love" became "My Glove Does it Good". The stuttering title refrain of Elton John's "Bennie and the Jets" went from three or four repetitions to countless. In the same vein, the distinctive refrain added to "Hooked on a Feeling" by Blue Swede, "Ooga-chucka-ooga-ooga" would start repeating and listeners would never know when it would end. Paul Simon's "50 Ways to Leave Your Lover" became "50 Ways to Love Your Leaver" and "49 Ways to Relieve Your Liver", and Ingram "rearranged" the spelling of "S-A-T-U-R-D-A-Y" on the Bay City Rollers' "Saturday Night". He had a daily "Honor Group of the Day" (for example, cops on the beat), and a "Word of the Day" (such as humdinger).

His longtime closing theme song was "Tri-Fi Drums" by Billy May. An edited version of the song was used for broadcast.

TV commercials Ingram narrated include a 1970 promo for free cut-out records of Archies songs on the backs of Post Honeycomb and Alpha-Bits cereals. Ingram also worked for cable channel HBO in the mid-1980s, mostly as the off-camera host of HBO Coming Attractions (a monthly show featuring previews of HBO's upcoming programming; occasionally he would co-host with another HBO voice, Joyce Gordon) and various voiceover roles, though he did occasionally appear on camera in early 1986 as part of the HBO Weekend interstitials of the time.

Ingram was also featured prominently in his son Chris's book, ''Hey Kemosabe! The Days (and Nights) of a Radio Idyll'', a fictionalized account of the Musicradio WABC era.

On air history

 * 1958: WICC, Bridgeport, Connecticut (under the name Rae Tayler)
 * 1958: WNHC, New Haven, Connecticut
 * 1959: KBOX, Dallas, Texas
 * 1959-1960: WIL, St. Louis, Missouri
 * July 3, 1961-May 10, 1982: WABC, New York City. He and Ron Lundy were on-air as the station switched to TalkRadio.
 * April 1984-December 1986: Hosted CBS Radio's Top 40 Satellite Survey (aired on 118 stations across the United States as of March 1985).
 * 1984-June 1985: WKTU (92.3 FM), New York City
 * 1986-1987: announcer for Nightlife, a late-night TV talk show hosted by David Brenner
 * 1987-1988: The Weekend Music Review, a weekly Adult Contemporary radio program that counted down the top 20 AC records today, and highlighted what was going on 20, 15, 10, and 1 yr ago that weekend. JAM Creative Productions, Dallas produced and syndicated from 1987 to 1988. Julie Sizemore handled affiliate relations. Dan Ingram was host of "The Weekend Music Review" 3 hour AC show.
 * October 1991-June 2003, September 16, 2007: New York Radio Greats on WCBS-FM, New York City
 * June 1998: KRTH, Los Angeles. One week as "guest DJ," ostensibly a tryout for the morning drive spot previously held by Robert W. Morgan, who had died a month earlier. The job went to Charlie Van Dyke.
 * February 8, 2004: Fab-40th Weekend on WAXQ, New York

Personal life
Ingram had been diagnosed with Parkinsonian syndrome in 2014, and died after choking while eating. Upon his death, Ingram was survived by his wife, Maureen Donnelly. He also had five sons (Christopher, Daniel, David, Robert, and Phillip), four daughters (Patricia, Michelle, Christina, and Jacqueline), two stepdaughters (Laura and Linda), 26 grandchildren, and 12 great-grandchildren.

His brother was John W. Ingram, who was the final president of the Chicago, Rock Island and Pacific Railroad when the company went bankrupt on March 31, 1980.

title: Dan Ingram


text:
Jennifer Hornsby

Jennifer Hornsby, FBA (born 1951) is a British philosopher with interests in the philosophies of mind, action, language, as well as feminist philosophy. She is currently a professor at the School of Philosophy, Birkbeck, University of London. She is well known for her opposition to orthodoxy in current analytic philosophy of mind, and for her use of J. L. Austin's Speech Act Theory to look at the effects of pornography.

Education and career
Hornsby earned her PhD from the University of Cambridge under the direction of Bernard Williams. She also earned a BA and MPhil from Oxford and London, respectively. She taught at the University of Oxford for 17 years before moving to Birkbeck College, London. She was president of the Aristotelian Society from 1996 to 1997.

Philosophical work
Hornsby's work focuses primarily on the philosophies of mind, action, language, and feminist philosophy.

Actions
Hornsby's action theory is significantly influenced by the philosophy of Donald Davidson. In her book Actions (1980), she argues that actions are events occurring beneath the surface of the skin. The argument for this turns on an ambiguity in the slogan "all actions are bodily movements". The ambiguity stems from the fact that 'move' is one of a class of verbs that can occur either transitively or intransitively. Nominal expressions containing such verbs are therefore ambiguous: for example, 'the movement of the flag' can refer either to the action of someone's moving the flag or to the resultant movement of the flag. As we only ever answer a question about what someone did by using transitive verbs --- e.g. 'Jack moved his arm', not 'Jack's arm moved' (unless the latter is taken to imply that the former is true) --- the slogan "all actions are bodily movements" is only true if 'movement' is read transitively. This ambiguity noted, Hornsby then points out that if A VT-s B, then A caused B to VI ('T' and 'I' serving to distinguish between transitive and intransitive uses of the relevant verbs). If Jack raisedT the flag, Jack caused the flag to riseI. As causes and effects must be distinct, we must therefore also distinguish between Jack's raisingT his arm from Jack's arm's risingI, the former causing the latter. So actions are bodily movementsT, which cause bodily movementsI. The final move is to claim that we know from physiology that the causes of bodily movementsI are events that occur beneath the surface of the skin. Therefore, actions occur beneath the surface of the skin.

This claim is combined with another: that the most basic description, in the causal sense of 'basic', of an action is as a trying. This arises from accepting a coarse-grained account of the individuation of events, according to which events are particulars that can be described in many different ways. The descriptions are distinguished by the effects of the described event in terms of which they are picked out. For example, the event of my slamming the door may be identical to the event of my waking the cat. The first description picks out the event by reference to the event of the door's being slammed. The second description picks out the event by reference to the event of the cat's waking. The question then is, Is there a description of the events which are actions that picks them out without reference to any effects? Hornsby's answer is that we can describe actions as tryings. I can try to raise my arm and, if successful, my arm will rise. (Note, though, that not all tryings are actions, only the successful ones.)

Honours
Hornsby is a member of the Norwegian Academy of Science and Letters. In July 2017, she was elected a Fellow of the British Academy (FBA), the United Kingdom's national academy for the humanities and social sciences. She was elected international honorary member of the American Academy of Arts & Sciences in April 2018.

Books

 * Actions (1980), Routledge & Kegan Paul, London.
 * Simple Mindedness: A Defence of Naïve Naturalism in the Philosophy of Mind (1997), Harvard University Press, Cambridge, MA.

Edited collections

 * Ethics: A Feminist Reader (with Elizabeth Frazer and Sabina Lovibond) (1992)
 * The Cambridge Companion to Feminism in Philosophy (with Miranda Fricker) (2000)
 * Reading Philosophy: Selected Texts with a Method for Beginners (with Samuel Guttenplan and Christopher Janaway), (2002)
 * Reading Philosophy of Language: Selected Texts with Interactive Commentary (with Guy Longworth) (2005)

Mind and action

 * "Anomalousness in Action," in The Philosophy of Donald Davidson, ed. Lewis E. Hahn (Library of Living Philosophers, Open Court, Chicago IL, 1999), 623–36.
 * "Personal and Sub-Personal: A Defence of Dennett's Original Distinction," in New Essays on Psychological Explanation, eds. M. Elton & J. Bermudez, (Special Issue of Philosophical Explorations) 2000, 6–24.
 * "Agency and Actions," in Agency and Action, eds. H. Steward and J. Hyman (Cambridge University Press, 2004), 1–23.
 * "Alienated Agents," in Naturalism in Question, eds. M. De Caro and D. Macarthur (Harvard University Press, 2004), 173–87.

Language and feminism

 * "Speech Acts and Pornography," Women's Philosophy Review, 1993. Reprinted in The Problem of Pornography, ed. Susan Dwyer (Wadsworth, 1995) 220–32.
 * "Illocution and its Significance," in Foundations of Speech Act Theory: Philosophical and Linguistic Perspectives, ed. S.L.Tsohatzidis (Routledge) 1994, 187–207.
 * "Disempowered Speech," in Feminist Perspectives on Language, Knowledge and Reality (Philosophical Topics 23.2) ed. S. Haslanger (University of Arkansas Press, 1995) 127–47.
 * "Free Speech and Illocution," (with Rae Langton) Legal Theory 4 (1998): 21–37.
 * "Feminism in Philosophy of Language: Communicative Speech Acts," in The Cambridge Companion to Feminism in Philosophy, eds. M. Fricker and J. Hornsby (Cambridge University Press, 2000) 87–106.
 * "How to Think About Derogatory Words," in Figurative Language (Midwest Studies in Philosophy, XXV), eds. P. French & H. Wettstein (Blackwell Publishers, 2001) 128–41.
 * "Free Speech and Hate Speech: Language and Rights," in Normativity, Facts, and Values, eds. R. Egidi, M. Dell'Utri, and M. De Caro (Quodlibet, Macerata, 2003) 297–310.

Truth and metaphysics

 * "Truth: The Identity Theory," Proceedings of the Aristotelian Society 97 (1997) 1–24. Reprinted in Truth, ed. Michael Lynch (MIT Press, 2001) 663–81.
 * "Dealing with Facts," in a Symposium on Stephen Neale's Facing Facts, Philosophy and Phenomenological Research (forthcoming 2005).
 * "Physicalism, Conceptual Analysis, and Acts of Faith," in Minds, Worlds & Conditionals: Essays in Honour of Frank Jackson, ed. I. Ravenscroft (Oxford University Press, forthcoming [2005]).
 * "Truth without Truthmaking Entities," in Truthmakers, eds. H. Beebee and J. Dodd (Oxford University Press,

title: Jennifer Hornsby


text: Category:Operas by Sergei Rachmaninoff

title: Category:Operas by Sergei Rachmaninoff


text: Category:Mountains of Taiwan

title: Category:Mountains of Taiwan


text:
Consumer Agency (Sweden)

Swedish Consumer Agency (Konsumentverket) is a Swedish government agency that answers to the Ministry of Finance. Its director general is also designated Consumer ombudsman (Konsumentombudsmannen, KO).

The agency, with a staff of around 120 located in Karlstad, provides the Swedish general public with consumer affairs assistance, acting in the collective interest of consumers. It is active in the fields of advertising and contract terms, consumer information and product safety. The task of resolving individual consumer disputes is handled by the National Board for Consumer Complaints, but the Consumer Ombudsman sometimes files suits against companies whose business practices are believed to violate Swedish consumer laws.

title: Consumer Agency (Sweden)


text:
Talk:My Brilliant Career

Music
Can someone tell me what the theme music on this film was? I believe it to be Schumann's Opus 15, but played at a much faster tempo.

out of copyright
The 1901 book seems to be out of copyright, and available free from Project Gutenberg. Are images of the book online free, maybe at Google books? Are there any free audio readings/performances?-69.87.204.176 12:50, 14 April 2007 (UTC)

For those confused about the ending, reading the end of the actual book on Project Gutenberg is very helpful, beginning at page 181. —Preceding unsigned comment added by 71.107.80.138 (talk) 00:13, 12 July 2008 (UTC)

title: Talk:My Brilliant Career


text:
User:Brian Sweeney

Brian Sweeney is one of the most active bowlers in our time. Currently the age of 15, he hopes to reach the PBA at the age of 16. Most colleges support his active life style and are looking toward inviting him into his school. Just kidding, nobody likes him or wants him. He is a proud supporter of the Gay straight alliance. In his year of the 8th grade he dated the gothic Egyptian Sandra Saad. Saad being a architect familiar to the building of pyramids was able of creating much faster than her Sweeney. Sweeney then resulter to Steroids. After abusing the relationship with hate, lies, drugs, and farm animals, the couple's relationship ended. Sweeney was in the gutter with nothing to get his square head out. After 1 summer of wrist slashing and bowling 125s, sweeney found a savior. This creature that would forever change his life is Kirby. Kirby guided Sweeney to the path of solitude and enlightenment. After a month of hard training, Sweeney learned the proper way to shave his legs. The couple are currently in a commited relationship and love searching for the crystal shards. NIB HIGH FOOTBALL RULES

title: User:Brian Sweeney