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Robert Franz

Robert Franz Julius Knauth (28 June 1815 – 24 October 1892) was a German composer, mainly of lieder.

Biography
Franz was born in Halle, Germany, the son of Christoph Franz Knauth. In 1847, Christoph Knauth adopted his middle name Franz as his new surname, and his son followed suit.

He suffered in early life from the hostility of his parents to a musical career. He was twenty years old when his father's animosity was conquered and he was allowed to live in Dessau to study organ playing under Friedrich Schneider. The two years of study under that famous teacher were advantageous chiefly in making him uncommonly intimate with the works of Bach and Händel, his knowledge of which is shown in his editions of the former's St Matthew Passion, Magnificat and ten cantatas, and the latter's Messiah and L'Allegro, although some of these editions have long been controversial among musicians.

In 1843 he published his first book of songs, which was followed by some fifty more books, containing in all about 250 songs. In his native Halle he filled various public offices, including those of city organist as well as conductor of the Singakademie and the Symphony. He also served as royal music-director and music master at the university. The first book of songs was warmly praised by Liszt and Schumann, and the latter wrote a lengthy review of it in the Neue Zeitschrift für Musik and later published it separately as well.

Deafness began to make itself apparent as early as 1841. Franz also had a nervous disorder that in 1868 compelled him to resign his offices. His future was then provided for by Franz Liszt, Joseph Joachim and others, who gave him the receipts of a concert tour amounting to some 100,000 marks.

In 1878 or 1879, he made an extensive search for Bach manuscripts in various towns, villages and country houses in Germany. Supposedly, he discovered a park surrounding Schloss Witzthun where young trees were being protected from their supporting poles by paper instead of the customary cloth or leather. On examination, the paper turned out to be Bach manuscripts. After questioning the gardener, Franz found a trunk of them, including a number of violin sonatas. Although this account was printed in The New York Times, Franz declared it was "entirely untrue".

In addition to songs, he set the 117th Psalm for double choir and wrote and a four-part Kyrie; he also edited Emanuele d'Astorga's Stabat Mater and Francesco Durante's Magnificat. On his seventieth birthday he published his only pianoforte piece. He also transcribed Schubert's String Quartet in D minor ("Death and the Maiden") for piano duet (1878) and made arrangements of Mozart's Quintets in C minor and C major.

He died in Halle.

title: Robert Franz


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Nicholas Amhurst

Nicholas Amhurst (16 October 1697 – 27 April 1742) was an English poet and political writer.

Life
Amhurst was born at Marden, Kent. He was educated at Merchant Taylors' School, and at St John's College, Oxford. In 1719 he was expelled from the university, ostensibly for his irregularities of conduct, but in reality (according to his own account) because of his whig principles. His politics were sufficiently evident in many of his works: a congratulatory epistle to Addison, in Protestant Popery; or the Convocation (1718), an attack on the opponents of Bishop Benjamin Hoadly; and in The Protestant Session by a member of the Constitution Club at Oxford (1719), addressed to James, first Earl Stanhope, and printed anonymously, but doubtless by Amhurst.

He had satirized Oxford morals in Strepkon's Revenge; a Satire on the Oxford Toasts (1718), and he attacked from time to time the administration of the university and its principal members. An old Oxford custom permitted, on public occasions, some person to deliver from the rostrum a humorous, satirical speech, full of university scandal. This orator was known as Terræ filius. In 1721 Amhurst produced a series of bi-weekly satirical papers under this name, which ran for seven months and incidentally provides much curious information. These publications were reprinted in 1726 in two volumes as Terræ Filius; or, the Secret History of the University of Oxford. He collected his poems in 1720, and wrote another university satire, Oculus Britanniæ, in 1724.

On leaving Oxford for London he became a prominent pamphleteer on the opposition (whig) side. On the 5 December 1726 he issued the first number of The Craftsman, a weekly periodical, which he conducted under the pseudonym of Caleb D'Anvers. The paper was aimed mainly towards the overthrow of Sir Robert Walpole's government; there is some debate about its effects, with most historians agreeing it did little more than preaching to the converted. Nevertheless, it reached a circulation of 10,000 copies and was one of the biggest magazines of its time with authors such as Henry Fielding, John Gay and Alexander Pope contributing to it. For this success Amhurst's editorship was not perhaps chiefly responsible. It was founded, and in the beginning financed, by Henry St John, 1st Viscount Bolingbroke and William Pulteney, the latter being a frequent and caustic contributor. In 1737 an imaginary letter from Colley Cibber was inserted, in which he was made to suggest that many plays by Shakespeare and the older dramatists contained passages which might be regarded as seditious. He therefore desired to be appointed censor of all plays brought on the stage. This was regarded as a "suspected" libel, and a warrant was issued for the arrest of the printer. Amhurst surrendered himself instead, and suffered a short imprisonment. On the overthrow of the government in 1742 the opposition leaders did nothing for the useful editor of the Craftsman, and this neglect is said to have hastened Amhurst's death, which took place, aged 44, at Twickenham.

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

title: Nicholas Amhurst


text: User:Eriathwen

title: User:Eriathwen


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KFTH-DT

KFTH-DT (channel 67) is a television station licensed to Alvin, Texas, United States, serving as the Houston-area outlet for the Spanish-language network UniMás. It is owned and operated by TelevisaUnivision alongside Rosenberg-licensed Univision station KXLN-DT (channel 45). The two stations share studios near the Southwest Freeway (adjacent to the I-610/I-69 interchange) on Houston's southwest side; KFTH's transmitter is located near Missouri City, in unincorporated northeastern Fort Bend County.

In addition to its own digital signal, KFTH is simulcast in high definition on KXLN's second digital subchannel (45.2) from a separate transmitter near Missouri City.

History
The station first signed on the air on January 27, 1986, as KTHT, under the ownership of 4 Star Broadcasting. Operating as an independent station, it programmed a general entertainment format consisting of off-network drama series, children's programming, classic movies, game shows, home shopping programming during the overnight hours, and network programs not cleared by ABC affiliate KTRK-TV (channel 13), NBC affiliate KPRC-TV (channel 2) or CBS affiliate KHOU (channel 11). It had also broadcast Vietnamese programs during the weekend.

The station was unprofitable, and was subsequently sold to Silver King Broadcasting, the broadcasting arm of the Home Shopping Network, in 1987. The station changed its call letters to KHSH on January 23 of that year, and began airing home shopping programming 24 hours a day.

There were plans to revert KHSH into a general entertainment independent station by 2001, under the local programming-infused "City Vision" format developed by USA Broadcasting (which assumed control of the Silver King stations in the mid-1990s), in which the station would have mixed locally produced programming, alongside first-run and off-network syndicated programs (including those produced by USA Broadcasting sister company Studios USA) and had already been adopted by its stations in cities such as Atlanta, Dallas–Fort Worth and Miami. Those plans changed in 2000, when USA Broadcasting announced that it would sell off its television station group. The Walt Disney Company made a bid to acquire the group (which had it purchased the USA stations, would have created a duopoly locally between KHSH and KTRK-TV), but was outbid by Spanish-language broadcaster Univision Communications. Once the purchase was finalized in 2001, most of the former USA stations, including KHSH, were used as charter owned-and-operated stations of Univision's new secondary broadcast network, Telefutura (which rebranded as UniMás on January 7, 2013) when it launched on January 14, 2002. On that date, the station changed its call letters to KFTH-TV.

Newscasts
On April 4, 2011, sister station KXLN debuted a weekday morning news program for KFTH, called Vive La Mañana. Like the newscasts on KXLN, it was broadcast in high definition, and was produced out of the station's current news set. Dallas–Fort Worth sister station KUVN-DT used the same brands for their newscasts that are simulcast on sister station KSTR-DT; Vive La Mañana featured a different graphics and music package that is shared by both stations. The program was canceled in March 2015; KFTH is expected to broadcast KXLN's newscasts should KXLN interrupt programming.

Subchannels
The station's signal is multiplexed: {{legend|#E6FFF7|Simulcast of subchannels of another station}} {{legend|#DFEBF6|Broadcast on behalf of another station}}

Analog-to-digital conversion
KFTH-TV discontinued regular programming on its analog signal, over UHF channel 67, on June 12, 2009, as part of the federally mandated transition from analog to digital television. The station's digital signal remained on its pre-transition UHF channel 36, using virtual channel 67.

title: KFTH-DT


text:
Talk:Bob Hardy (bassist)

Untitled
This article has been kept after this VFD debate. Might be possible to merge as well. Sjakkalle (Check!)  12:41, 25 July 2005 (UTC)

so I removed the vegan and sushi overdose bit since it was un-referenced. I also added a reference. {Jabencarsey 04:06, 18 December 2005 (UTC)}

He did get seriously ill after eating sushi and ended up in hospital. The Franz Ferdinand website has pictures of it (along with some nice captions!).

Born in 1900 ?

This page needs to be cleaned up.

shouldn't the article be titled Bob and not Robert, that's what everyone calls him and that's how his name appears on the albums.

External links modified
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Removed material and template
I cleaned up the tone and removed some uncited material, some of which was unrelated to the subject of the article. I believe the article to be closer in line with WP's tone, and so removed the tone template. DrOrinScrivello (talk) 16:09, 4 April 2023 (UTC)

title: Talk:Bob Hardy (bassist)


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Balqa Governorate

Balqa' (البلقاء Al Balqā’) is one of the governorates of Jordan. It is located northwest of Amman, Jordan's capital.

The governorate has the fourth largest population of the 12 governorates of Jordan, and is ranked 10th by area. It has the third highest population density in the kingdom after Irbid Governorate and Jerash Governorate.

History
The "Balqa" historically referred to the entire area of the eastern plateau of the Jordan Valley as early as the 7th century when Heraclius' brother Theodore fought an early campaign against the Arabs on the approaches to southern Syria. During biblical times, the southern part of Balqa was known as the Plains of Moab.

During World War I, the British army led by General Edmund Allenby entered Salt on 24 March 1918, in the Battles for Amman campaign, marking the end of a 500-year Ottoman rule. On March 21, 1968, the town of Karameh near Shouna al-Janubiyya was the site of Battle of Karameh, between Israel on one side, and Jordan and Palestinian forces (Fatah, PLO) on the other side. It was one of the largest military confrontations of the War of Attrition, in the period between the Six-Day War of 1967 and the Yom Kippur War of 1973.

Administrative divisions
The capital of the Balqa' Governorate is Salt. Other cities and towns in the governorate are Mahis, Fuhais and Ain Al-Basha.

Demographics
The population of districts according to census results:

Economy
Due to its fertile mountains, the governorate's economy is based on agriculture, as well as industry, such as the cement factory in Fuheis, run by Jordan Cement Factories Ltd - Lafarge, and pharmaceutical companies including the Arab Pharmaceutical Manufacturing company.

There are two universities in the governorate: Balqa Applied University (BAU), located near the Salt ring road, and Al-Ahliyya Amman University (AAU) located on the main highway between Amman and Salt. It is also home to the SESAME facility, the first research facility of its type in the Middle East.

title: Balqa Governorate


text:
Velakali

Velakali is a traditional martial dance of Nair community of Kerala, India that is performed during temple festivals. Brightly dressed dancers wielding swords and shields depict a fight sequence between the Pandavas and Kauravas during the course of the dance.

Myth behind Velakali
There are several legends associated with the origin and history of Velakali. One such legend talks of the sage Narada witnessing Lord Krishna and his friends staging a mock battle on the banks of the Kalindi using the stalks and leaves of the water lily as swords and shields. Narada then requested the sage Villumangalam to capture the martial vigour of the mock fight in a ritualistic performance for Krishna. Villumangalam in turn requested the ruler of Ambalapuzha to teach young men to perform the dance and so the ruler asked his army chieftains Mathoor Panicker and Velloor Kurup to ready a troupe of Velakali performers. Since the dancers were originally warriors, the dance bore a close resemblance to the martial art form of Kalarippayattu. Velakali thus originated in the princely state of Chempakassery (modern Ambalappuzha). To this day it is a regular feature of the pooram at the Ambalapuzha Sri Krishnaswamy temple. Since the annexation of Ambalappuzha into Travancore, Velakali has marked the commencement of the annual Painkuni festival at Sri Padmanabha Swamy Temple, Trivandrum.

Performance
During a Velakali performance huge effigies representing the Pandavas are put up during the festival at the eastern entrance of the Padmanabhaswamy temple. In Ambalapuzha, the dance is choreographed under the guidance of Mathur Panickar a hereditary Asan and minister of the Ambalapuzha royal family. Velakali dancers represent the Kauravas and the dance represents the battle between the cousins. The dancers stop and beat a retreat once they reach the effigy of Yudhishthira. The performance represents the victory of dharma over adharma and the victory of Bheema over the Kauravas during their exile to the forest. The younger performers line up in the front and the elders make up the rear of the troupe with a group of flag bearers forming the rearmost line. The performers are also sometimes accompanied by replicas of animals like oxen that were used in warfare in the olden days. According to Alf Hiltebeitel, Velakali performances in central Travancore are reenactments of supposedly historical battles rather than the Mahabharata war and are intertwined with rituals of patayani. It is at the Padmanabhaswamy temple that the performances are linked with the battle between the cousins of the Mahabharata.

Costumes
Velakali is an all-male performance. The performers dress up in traditional clothes and colorful red headgear of the medieval Nair soldiers and wear cloth garlands of beads that cover their bare chests. They wield colorful shields and long canes or bear swords and dance to the beat of panchavadyam performers who accompany the performance and there are skilful displays of swordplay.

Music
Velakali is performed to the accompaniment of panchavadyam which uses the maddalam, thavil, ilathalam, kombu and kuzhal. The music involves no lyrics and the artists move to the rhythm of the percussion instruments. Also, unlike most dance forms, bhava has no place in Velakali and the focus is solely on tala. Velakali involves several distinct movements such as the pidichakali, padakali and the vela ottam.

Recent trends
Velakali requires of its performers considerable physical training and the knowledge of the use of arms. Education and employment opportunities had gradually led to fewer youngsters taking up Velakali resulting in its gradual decline. It has enjoyed a resurgence in recent years due to the efforts of Mohanankunju Panicker. The dance was staged again at the Sree Padmanabhaswamy Temple in Trivandrum in 2011 after a gap of almost 40 years.

title: Velakali


text:
Wikipedia:Articles for deletion/Achluophobiamusic

 This page is an archive of the proposed deletion of the article below. Further comments should be made on the appropriate discussion page (such as the article's talk page or on a Votes for Undeletion nomination). No further edits should be made to this page.

The result of the debate was delete. – ABCD✉ 00:07, 4 August 2005 (UTC)

Achluophobiamusic
nn band, fails to meet WP:MUSIC guidelines. the wub  "?/!"  12:42, 25 July 2005 (UTC)
 * No googles beyond Wiki and mirrors. Delete. humblefool® 14:50, 25 July 2005 (UTC)
 * Delete, as above and no presence on allmusic.com -Splash 17:56, 25 July 2005 (UTC)
 * Delete, on the above grounds. IINAG 20:13, July 25, 2005 (GMT)
 * Delete nn band vanity. -- Etacar11   23:47, 25 July 2005 (UTC)
 * Delete nn band vanity. JamesBurns 08:08, 27 July 2005 (UTC)

 * The above discussion is preserved as an archive of the debate. Please do not modify it. Subsequent comments should be made on the appropriate discussion page (such as the article's talk page or in an undeletion request). No further edits should be made to this page.


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KUBE-TV

KUBE-TV (channel 57) is a television station licensed to Baytown, Texas, United States, serving the Houston area and owned by WRNN-TV Associates. KUBE-TV's studios are located on Fountain View Drive and Burgoyne Road on Houston's southwest side, and its transmitter is located near Missouri City, in unincorporated northeastern Fort Bend County.

Early history
The station first signed on the air on May 18, 1988, under the callsign KLTJ; it was founded by Eldred Thomas, who had earlier built radio station KVTT-FM (now KKXT) and television station KLTJ (now KSTR-TV) in Dallas. The station originally operated from studios located in Pasadena and a tower in Anahuac, and initially aired religious programs from a variety of sources, including the PTL Satellite Network, Christian Television Network and the Three Angels Broadcasting Network. The low-power signal and distance from Houston led to reception issues in the northern and western portions of the city; as a result, on May 18, 1989, Thomas moved the KLTJ programming and call letters to channel 22 on a tower based in Alvin. With the move of the KLTJ calls to channel 22, channel 57 changed its callsign to KRTW. It later changed its call letters to KVVV (a callsign formerly used on now-defunct channel 16 from 1968 to 1969) in 1994, when it switched to home shopping programming from Valuevision; it then became a FamilyNet affiliate as KAZH in 2000.

During its time as KAZH, the station was rebroadcast in Houston on translators KHMV-CA (channel 28) and KVVV-LP (channel 53); both of these translators were taken off the air in November 2007, due to owner Pappas Telecasting's ongoing financial problems (KHMV-CA was sold to Uniglobe Central America Network LLC on March 10, 2010, and currently broadcasts under the call sign KUGB-CD; KVVV-LP was spun off to a liquidation trust and returned to the air in digital format in January 2012).

As a Spanish-language station
In 2002, KAZH affiliated with Spanish-language network Azteca América. Early in 2007, then-owner Pappas Telecasting terminated KAZH's affiliation agreement with Azteca América, effective July 1. Azteca América programming moved to a low-powered station, KUVM-CA, on June 30, 2007; and later, to another full-powered station, KYAZ (channel 51). KAZH then joined Pappas' independent Spanish-language network, TuVisión.

On May 10, 2008, thirteen of Pappas' stations, including KAZH, filed for Chapter 11 bankruptcy protection. Pappas cited "the extremely difficult business climate for television stations across the country" in papers filed with the U.S. Bankruptcy Court in Wilmington, Delaware. Pappas was later ordered on September 10, 2008, to sell off the affected stations by February 15, 2009. In January 2009, the Pappas stations involved in the bankruptcy auction, including KAZH, were sold to New World TV Group, after the sale received bankruptcy court approval. On October 22, 2009, KAZH became the first affiliate of VasalloVision, a new network founded by Carlos Vasallo and Miguel Banojian; this followed the closure of TuVisión.

As an English-language independent station
Citing a larger advertising market, the station changed to an English-language general entertainment independent format on September 27, 2010. The station's call sign changed to KUBE-TV on the same date.

On January 18, 2013, NRJ TV announced that it would acquire KUBE-TV from New World TV Group for $19 million, as part of a two-station deal that also included San Francisco sister station KTNC-TV.

Syndicated programming in this era included The Doctors, Seinfeld, Hot Bench, Family Guy, and Bob's Burgers, among others. During the 2017 season, KUBE was the home of the MLS club Houston Dynamo. Until 2019, the station carried NCAA college football and men's basketball games from the Atlantic Coast Conference (ACC).

Sale to RNN
On December 9, 2019, it was announced that WRNN-TV Associates, owner of New York City–based WRNN-TV, secured a deal to purchase seven full-power TV stations (including KUBE-TV) and one Class A station from NRJ. The sale was approved by the FCC on January 23, and was completed on February 4, 2020.

On May 20, 2021, RNN and iMedia Brands announced an agreement to affiliate most of RNN's television stations (including KUBE) with home shopping network ShopHQ. KUBE began carrying ShopHQ programming on June 28, 2021.

Most of KUBE's syndicated programs have either moved to other Houston TV stations or are no longer cleared in the market. H-Town High School Sports is now seen Saturdays at 10:30 p.m. on KIAH since August 21, 2021. Reruns of Seinfeld from 7 to 8 p.m. were the last remaining holdover as the main channel transitioned to ShopHQ almost full-time.

Sometime in 2023, KUBE switched to airing programming from Shop LC.

Programming
KUBE-TV airs Shop LC programming for most of its broadcast schedule, with all other content also remotely added from the New York area, including WRNN's Richard French Live and a Telco Productions-provided block of educational programming.

Subchannels
The station's signal is multiplexed:

During the 2011 Houston Livestock Show and Rodeo, KUBE-TV added programming from PegasusTV on subchannel 57.4; this was replaced by MeTV in 2012. Cozi TV was added to 57.4 on May 28, 2018, and was replaced by Charge! in June 2021.

Analog-to-digital conversion
KUBE-TV (as KAZH) discontinued regular programming on its analog signal, over UHF channel 57, on June 12, 2009, as part of the federally mandated transition from analog to digital television. The station's digital signal remained on its pre-transition UHF channel 41, using virtual channel 57.

title: KUBE-TV


text:
Another Suitcase in Another Hall

"Another Suitcase in Another Hall" is a song recorded by Scottish singer Barbara Dickson, for the 1976 concept album Evita, the basis of the musical of the same name. The musical was based on the life of Argentinian leader Eva Perón. Written by Tim Rice and Andrew Lloyd Webber, the song is presented during a sequence where Eva throws her husband's mistress out on the streets. The latter sings the track, wondering about her future and concluding that she would be fine. The songwriters enlisted Dickson to record the track after hearing her previous work.

Rice and Webber asked her to record the song using a higher than usual pitch, so that she sounded younger like her character. Featuring instrumentation of guitar, marimba, harp and keyboard, "Another Suitcase in Another Hall" finds Dickson singing in a soprano voice. Critically appreciated, the song was released as a single on 7 February 1977, and reached number 18 on the UK Singles Chart. Dickson did not like her recorded version of the track and employed a different arrangement during her future live renditions.

The song has been covered and performed many times by other artists, namely Elaine Paige, Marti Webb, Kimberley Walsh from British girl group Girls Aloud, and actress Samantha Barks. Another notable version was recorded by American singer Madonna, who played the part of Eva for the 1996 film adaptation of the musical. It was released on 3 March 1997, by Warner Bros. as the third and final single from the film's soundtrack. Unlike the musical, in the film the track was sung by Madonna's character instead of the mistress. Upon its release, the song garnered positive response from music critics and reached the top ten of the charts in Italy and the United Kingdom.

Background and recording
"Another Suitcase in Another Hall" was written by Andrew Lloyd Webber and Tim Rice while they were developing the Evita concept album in 1976. Both were extremely intrigued by the stories surrounding the life of Eva Perón while researching her during the mid-1970s. They learned of her husband Juan Perón, and his affinity for young women, and Rice and Webber decided to use it as one of the backstories behind Eva and Juan's rise to power. The song is performed by the character of Juan's teenage mistress after she is "kicked out" by his future wife, Eva. According to director Michael Grandage, the story took the "edge off" a supposed fairy-tale-like interpretation of Eva and Juan, unveiling their ambitions and cutthroat personalities. From a production point of view, it also allowed Grandage to show ruthlessness of Eva, when Juan allows her to throw his "mistress" away. The girl is ultimately left on the streets with nowhere to go, and there she sings the song. It is a particularly poignant melody that should play with an audience's emotions. The mistress clearly knew what she was doing sleeping with an older man, and yet there is something expletive about it as well. Eva's bitchiness should be enjoyed by an audience, but they should also be investing in the plight of a young girl's eviction. The narrative of this section is so well structured that it is obvious the journey of the mistress is complete by her exit. This allows the audience to invest in a single moment while also learning more about Eva and Perón's character as they move forward in the story. The song was first recorded by singer Barbara Dickson in 1976 for the Evita concept album that eventually became the stage musical. Rice and Webber had already enlisted actress Julie Covington to sing the part of Eva, hence they were on the lookout for other supporting vocal personnel. They found out about Dickson, who had recently starred in the Willy Russell musical John, Paul, George, Ringo ... and Bert, and had charted on the UK Singles Chart with her cover version of the David Whitfield and Frankie Laine song "Answer Me" (1976). Dickson and her manager, Bernard Theobald, had a discussion with Rice and Webber about starring in the musical, but her voice was declared "too delicate" for singing the numbers on Evita. So they offered her one song which was not sung by Eva's character, and that was "Another Suitcase in Another Hall".

Music composition
Dickson recalled that during the recording sessions, Webber asked her to sing in a higher range than her usual, since the "mistress" character was a teenager, and should have sounded younger. Before the sequence of the eviction of the mistress occurs in Act I of the musical, Eva's character sings the song "Hello and goodbye" and then "Another Suitcase in Another Hall" begins. A soft strummed guitar in broken chord patterns heralds the introductory music. Dickson sings the opening verse, and the chorus which is repeated twice as she asks, "So, what happens now?" and wonders about her immediate future, ultimately concluding that she would survive. For the second verse, the lyrics reflect on this recurring pattern of being evicted out of men's lives, and the final verses have a more positive outlook toward's the subject's life. The song finishes with the mistress asking the question, "Where am I going to?" as a male voice pacifies by saying, "Don't ask, anymore". In 2004, author Rikky Rooksby released the book The Complete Guide to the Music of Madonna, where he wrote his thoughts about the popularity of the song: Eva is the center of attention [in the song] but the lyric does not allow a transfer of meaning outside of the context of her story. Part of the song's popularity lies in the way it finds an image—the suitcase in the hall—to express the nomadic nature of modern civilization, the feeling of urban rootlessness that many people experience. The theme of constant moving strikes a resonant note. "Another Suitcase in Another Hall" features instrumentation of guitar, marimba, harp and keyboard, with Dickson singing in a soprano voice. Author Mark Ross Clark noted in his book The Broadway Song: A Singer's Guide that her vocals portrayed different emotions. Her vocals contrast the lyrics with an "underlying coolness".

Release and reception
After the first single from the Evita album, "Don't Cry for Me Argentina", achieved commercial success, "Another Suitcase in Another Hall" was released as the second single on 7 February 1977. A reviewer from Melody Maker complimented the song, saying that without the context of Evita, the song was more acceptable and was "poignant and lovely. How lucky Lloyd Webber and Rice are to have Julie Covington and now Dickson, to add the flesh and bones to songs which might otherwise be wrecks of soppy melodrama. A smash hit." It was Dickson's second single to chart on the UK Singles Chart, following "Answer Me" in 1976, and entered the chart at number 44 in its first week and peaked at number 18 in its fifth week. It was present for a total of seven weeks on the chart.

Due to the high pitch employed in the recording, Dickson reflected in later years that she "never liked the original [track] for that reason. The song has seasoned over the years with my singing of it." Dickson believed that she did not sound like herself on the song. While performing it later in her concerts, Dickson sang it in her actual tone, saying that although the track "might have been written for a teenage girl, but the experience of being abandoned by a man is one, women of all ages can relate to. I think you have to be honest with songs and with yourself." The singer's music director Ian Lynn arranged the track differently, which she performs currently.

Track listing

 * 7" Single, Company Sleeve
 * 1) "Another Suitcase in Another Hall" (Album version) – 3:00
 * 2) "Requiem For Evita" (Choir and London Philharmonic Orchestra) – 3:05

Personnel

 * Barbara Dickson – vocals
 * Tim Rice – writer
 * Andrew Lloyd Webber – writer, producer, orchestra
 * Nigel Wright – producer, mixing
 * Denis Blackham – mixing, mastering at Master Room Studios

Credits adapted from the single's liner notes.

Background and development
In 1996, Madonna starred in the film adaptation of the musical, titled Evita, playing the role of Eva; she had desired to play the part for a long time and even wrote to director Alan Parker, explaining how she would be perfect for the part. After securing the role, she underwent vocal training with coach Joan Lader since Evita required the actors to sing their own parts. Lader noted that the singer "had to use her voice in a way she's never used it before. Evita is real musical theater — its operatic, in a sense. Madonna developed an upper register that she didn't know she had." Unlike the musical, in the film the song is performed by Eva after ending her relationship with Agustín Magaldi, deciding she wants to improve her life. The song was not promoted and only a video was created using footage and scenes from the film.

Recording and composition
Recording sessions for the film's songs and soundtrack began in September 1995, and took place at the CTS Studios in London with Madonna accompanied by co-actors Antonio Banderas and Jonathan Pryce. However, trouble arose as Madonna was not comfortable with laying down a "guide vocal" simultaneously with an 84 piece orchestra inside the studio. She was used to singing over a pre-recorded track and not having musicians listen to her. Also, unlike her previous soundtrack releases, she had little to no control over the project. An emergency meeting was held between Parker, Webber and Madonna where it was decided that the singer would record her part in a more contemporary studio while the orchestration would take place somewhere else. She also had alternate days off from the recording.

Madonna's version of the song begins with the same softly strummed guitar in broken chords. Madonna sings in a breathy voice, giving her character more vulnerability. The first vocal entrance leads into an engaging melody with the opening phrase, "so what happens now?", repeated twice. According to the sheet music published by Musicnotes.com, the song is set in common time, with a slow tempo of 50 beats per minute. It is composed in the key of C♭ major, with Madonna's vocals spanning from A3 to E♭5. The song has a sequence of C♭–F♭ when Madonna sings the opening verse "I don't expect my love affairs to last for long".

Release and reception
The song was officially released as the soundtrack's third single on 18 March 1997 in Europe. Originally, there were talks about releasing an Evita EP, containing remixed versions of "Buenos Aires", "Don't Cry for Me Argentina" and "Another Suitcase in Another Hall", but it did not materialize. In the United Kingdom, the song peaked at number 7 on the UK Singles Chart, the week of 29 March 1997, and was present on the top 100 for a total of 8 weeks. According to the Official Charts Company, the single had sold 75,233 copies in the United Kingdom as of August 2008. The song also reached a peak of number 23 on the Irish Singles Chart, where it remained for 3 weeks. Elsewhere, it had a relatively poor chart performance; in Sweden it peaked at number 60, while in the Netherlands it peaked at number 91. "Another Suitcase in Another Hall" was Madonna's first single released in Australia to miss the ARIA top 100.

AllMusic's Jose F. Promis, wrote that "the song finds Madonna giving an understated and inspired performance [...] One hopes that this overlooked gem might find its way onto future [Madonna] hits collections, because it is truly a wonderful song". Author Thomas S. Hischak called it "plaintive". Billboard's Geoff Burpee called it "A sterling, intimate moment from the Evita soundtrack. Yes kids, she can sing". Writing for the Los Angeles Times, David Gritten opined Madonna's voice sounded "pitch-perfect and clear as a bell". Greg Morago, from the Hartford Courant, felt that "By giving her 'Another Suitcase' with its heartbreaking 'Where am I going to?' refrain, Madonna adds a necessary, fragile vulnerability to her ambitious, rags-to-riches Eva Perón". Neil Strauss from The Herald Journal, said that "Madonna radiates on 'Another Suitcase in Another Hall'".

Peter Keough, from the Boston Phoenix, described the track as "a poignant, winsome exploration of pathos, defilement, and resolution sung by a young, struggling Eva forced into prostitution with a series of drab johns". The Guardian's Jude Rogers wrote that "Madonna's wavering vocal goes full collywobbles", placing the track at number 69 on her ranking of the singer's singles, in honor of her 60th birthday. Finally, Billboard picked it as the singer's 98th greatest song; "the delicate composition and high-register vocal make this exquisite breakup ballad a rare moment of true fragility in Madonna's catalog". Slant Magazine's Paul Schrodt placed it at number 77 in his ranking of the singer's singles, calling it "a sleepy travelogue set to schmaltzy acoustic guitar and saxophone and a male chorus echoing Eva Perón's —and by extension Madonna's— self-pitying complaints about moving from one place to another. Political and psychological nuance, meanwhile, are nowhere in sight".

Track listing and formats

 * EU & UK CD single
 * 1) "Another Suitcase in Another Hall" (Album version) – 3:32
 * 2) "Don't Cry for Me Argentina" (Miami Mix Edit) – 4:28
 * 3) "You Must Love Me" (Album version) – 2:50
 * 4) "Hello and Goodbye" (Album version) – 1:47

 * UK Limited Edition Jewel Case
 * 1) "Another Suitcase in Another Hall" (Album version) – 3:32
 * 2) "You Must Love Me" (Album version) – 2:50
 * 3) "Hello and Goodbye" – 1:47
 * 4) "Waltz for Eva and Ché" – 4:11

 * UK Cassette single
 * 1) "Another Suitcase in Another Hall" (Album version) – 3:32
 * 2) "Don't Cry for Me Argentina" (Miami Mix Edit) – 4:31

Other versions
English singer Elaine Paige recorded the song for her 1983 album Stages. Sarah Brightman, who was married to Webber from 1984 to 1990, included the song on her album The Andrew Lloyd Webber Collection. Marti Webb's version of the song was included in the 1995 album Music & Songs From Evita. English musician Hank Marvin included an instrumental version of the song on his 1997 tribute album Hank Marvin and the Shadows Play the Music of Andrew Lloyd Webber and Tim Rice. Kimberley Walsh, from British girl group Girls Aloud, covered the song for her debut studio album Centre Stage (2013). Singer Hayley Westenra included the song on her 2000 album Walking in the Air. On the tribute show Andrew Lloyd Webber: 40 Musical Years, the song was performed by actress Samantha Barks. British singer Sophie Ellis-Bextor performed the track along the BBC Concert Orchestra on Rice's homage Tim Rice: An Evening In Song on July 8, 2014.

title: Another Suitcase in Another Hall


text:
HMS Euryalus (1803)

HMS Euryalus was a Royal Navy 36-gun Apollo-class frigate frigate that saw service in the Battle of Trafalgar and the War of 1812. During her career she was commanded by three prominent naval personalities of the Napoleonic and post-Napoleonic period: Henry Blackwood, George Dundas and Charles Napier. After the end of the Napoleonic Wars she continued on active service for a number of years, before spending more than two decades as a prison hulk. She ended her career in Gibraltar where, in 1860, she was sold for breaking up.

Napoleonic Wars
Euryalus was built by Henry Adams's firm at Buckler's Hard, and launched in 1803. Her first action occurred on 2 and 3 October 1804 when, captained by Henry Blackwood, she participated in an attack on French vessels off Boulogne pier. During Blackwood's absence, Captain J. Hardy temporarily commanded her.

On 22 February 1805, Euryalus captured St Jose while on the Irish station. HMS Dryad (1795) shared in the prize by agreement with Euryalus.

In March Euryalus pressed four men of the 41 men and boys on the Liverpool privateer Eliza. Elizas owners sued Blackwood for £3000, contending that Blackwood's action in ignoring the Admiralty Certificate of Protection covering Elizas crew had ended up costing them that much in prize money by reducing their share of the proceeds from a rich Spanish prize they took in April. The prize money was shared with the privateer Greyhound, which had participated in the capture, on the basis of the sizes of the two crews. Despite the judge's leading instructions to the jury, which emphasized Blackwood's service to England, the jury found for the plaintiffs.

Battle of Trafalgar
In 1805 she led a squadron of four other frigates in watching Cádiz to report the movements of the combined French and Spanish fleets anchored there. The combined fleet sailed from Cádiz on 20 October, shadowed through the night by Euryalus and the others that reported its position to the Royal Navy fleet on the horizon.

With battle imminent the following morning, Captain Blackwood suggested that Admiral Horatio Nelson transfer from HMS Victory to the faster Euryalus, the better to observe and control the engagement. Nelson declined the offer. Euryalus - too small to play a major role - stood off until the late afternoon when she took the badly damaged HMS Royal Sovereign (1786) in tow and turned her to engage the French ship FRENCH SHIP Formidable. Following the death of Admiral Nelson, Admiral Cuthbert Collingwood transferred his flag from Royal Sovereign to Euryalus. She became for the next ten days the British fleet's flagship.

After the battle Euryalus took on survivors from the French ship-of-the-line FRENCH SHIP Achille, as well as the captured French Admiral Pierre de Villeneuve. Blackwood also received the surrender of the Spanish ship SPANISH SHIP Santa Ana, after two raking broadsides to the stern by Royal Sovereign and HMS Belleisle (1795) had caused her to strike her colours.

Euryalus again took Royal Sovereign in tow but the two ships collided during a sudden squall, badly damaging the frigate's masts and rigging. Once repairs were completed, Euryalus went into Cádiz Harbour to allow Blackwood to negotiate an exchange of prisoners and the repatriation of French and Spanish wounded. On 31 October, Euryalus set sail for England with Admiral Villeneuve as a prisoner. In 1847 the Admiralty awarded the Naval General Service Medal (NGSM) with clasp "Trafalgar" to all surviving claimants from the battle.

Mediterranean, post-Trafalgar
On 5 February 1806 Blackwood was still in command of Euryalus when the privateer Mayflower, of Guernsey, captured the Spanish vessel San Jose Andrea. This gave rise to a court case in which the captain of the privateer alleged that Eurylaus had not been in sight (and so entitled to share in the prize money), but had come on the scene later and that Blackwood had coerced him to sign that she had joined the chase and was in sight. The court found for Euryalus having been in sight.

Later that year George Dundas took command of Euryalus. Euryalus, HMS Ocean (1805) and other warships escorted a large convoy to Oporto, Lisbon and the Mediterranean. When she arrived, she was assigned to patrol the coast between Cape St. Vincent and Cape St. Maria in the Algarve, and then to watch the port of Cartagena. After about four months she transferred to the Gulf of Lyons. In the Mediterranean her boats captured several small merchant vessels.

Towards the end of 1807 Euryalus returned to England with HMS Niger (1759). The two vessels escorted several thousand of the late Sir John Moore's troops from Gibraltar. On her return Euryalus went into dock at Plymouth for a refit.

Her next station was the North Sea and then the Baltic under Vice-Admiral Sir James Saumarez. First, Euryalus transported the Duke d'Angoulême from Yarmouth to Gottenburg. She then escorted Baltic convoys through the Great Belt.

On 11 June 1808, she and HMS Cruizer (1797) discovered several vessels at anchor close to shore at the entrance to the river Naskon. Dundas anchored at dark and sent a cutting out party in four boats from the two ships to destroy the vessels. The cutting out party burnt two large troop transports and retrieved a gun-vessel armed with two 18-pounders and carrying 64 men. The successful foray took place directly under the guns of a Danish battery of three 18-pounder guns and numerous enemy troops who lined the shore. The enemy lost seven men killed and twelve wounded; the British had one man slightly wounded. In 1816 the crews of the British ships received prize money for "Danish gun-boat E".

Later that year Dundas sailed to Elbing, a small port in West Prussia about 60 km east of Dantzig. There he took on board Princess Marie Josephine Louise of Savoy (the consort of Louis XVIII), the Duc du Berry and other members of the French royal family. He carried them first to Carlscrona in southern Sweden. He then re-embarked them at Gottenburg and carried them to Harwich.

On 30 July 1809, a British force of 39,000 men landed on Walcheren, initiating the Walcheren Campaign. Euryalus joined the squadron under Captain Lord William Stuart in HMS Lavinia (1806) that on 11 August forced the passage of the Scheldt between the batteries at Flushing and Cadsand. Euryalus herself had no casualties although the British lost two men killed and nine wounded in other ships. Although the Walcheren Expedition, which ended on 9 August 1809, was notably unsuccessful, Euryalus was among the myriad vessels sharing in the prize money form the campaign.

Later she was stationed off Cherbourg under the orders of Captain Sir Richard King. On 18 November Euryalus was off Cherbourg where she captured the French privateer lugger Etoile of 14 guns and 48 men. Etoile was two days out from the Hogue without having made any captures.

On 26 April 1810 Euryalus sailed for the Mediterranean, escorting a large convoy from Spithead to Portugal and the Mediterranean. She then joined Captain Blackwood's inshore squadron off Toulon. The squadron consisted of Blackwood's HMS Warspite (1807), HMS Ajax (1809), HMS Conqueror (1801), Euryalus and HMS Shearwater (1808). A strong gale on 15 July forced the squadron to seek shelter behind the Île du Levant. The same gale drove Blackwood's ship, HMS San Josef east to Villefranche.

On 20 July a French squadron consisting of six sail-of-the line and four frigates exited Toulon. Their objective was to provide cover to a frigate and her convoy that wished to escape from Bandol where it had taken shelter. The light and variable winds made it impossible for Blackwood to block the French squadron and the frigate and her convoy from joining up. Furthermore, while Blackwood was trying to regroup his squadron, Euryalus and Shearwater were forced to sail across the front of the French force. The wind failed for Blackwood, but not the French, making it highly likely that the French would be able to capture Euryalus and Shearwater.

Blackwood was able to position Warspite with Conqueror and Ajax astern where they could exchange broadsides with the French ships as they came up one at a time. Then the French tacked and the British line matched them, enabling Euryalus and Shearwater to escape, though not before Shearwater was on the receiving end of three completely ineffectual broadsides from one of the French ships of the line and a frigate. Despite its greater strength, the French force returned to Toulon rather than take on the British squadron.

Early in 1811 Dundas temporarily took command of the 74-gun third rate HMS Achille (1798) until relieved by Captain Aiskew Paffard Hollis, who had transferred from HMS Standard (1782). Dundas then returned to Euryalus.

On 16 April 1811, Euryalus sailed for the Mediterranean. By May 1811, she was under the command of Captain George Waldegrave.

On 7 June 1811 Euryalus, again under the command of Dundas, and HMS Swallow (1805) sent their boats in pursuit of a French privateer off Corsica. After a long chase the boats captured Intrepide, which had a crew of 58 and was armed with two 8-pounders.

In November 1812 Captain Thomas Ussher took command. His successor was Captain Jeremiah Coghlan. On 2 April, Euryalus, under Coghlan, drove a French vessel on shore on the coast of Sardinia.

Euryalus was still in the Mediterranean when Captain (later Admiral) Charles Napier took command early in 1813. She took part in successful commerce raiding and the blockade of Toulon. On 16 May 1813, boats from HMS Berwick (1809) and Euryalus attacked French coastal shipping at Cavalaire, east of Toulon. There they captured the French naval xebec Fortune, of ten 9-pounder guns and four swivel guns. She was under the command of Lieutenant de Vaisseaux Félix-Marie-Louise-Anne-Joseph-Julien Lecamus, and had a crew of 95 men who had abandoned her before the British boarded. In addition, the British captured 22 small coasting vessels. They took out 14, but then destroyed nine after removing their cargoes. Fifteen of the vessels were chiefly laden with oil, corn, lemons, etc., and one with empty casks; six of those destroyed were empty. In the attack Berwick lost one man killed, and Euryalus had one man missing.

On 23 December Euryalus drove the Var-class flute flüte FRENCH SHIP Baleine, sailing from Toulon to Ajaccio, ashore near Calvi where she bilged on the rocks. Baleine was armed with 22 guns and carried a crew of 120 men. That same day, Alcmene captured the Cerf-class schooner Flèche between Corsica and Cape Delle Molle. Flèche was armed with 12 guns, and carried a crew of 99 men and 24 soldiers. She was carrying the soldiers from Toulon to Corsica. French records place the capture off Vintimilles, and add that Flèche was escorting the storeships FRENCH SHIP Lybio and Baleine, which were also carrying troops for Ajaccio, Corsica.

On 21 April 1814, in company with HMS Undaunted (1807), under the command of Ussher, Euryalus entered the harbour at Marseilles where they heard the news of Napoleon's defeat. Undaunted then sailed to Frejus Bay where she embarked Napoleon and transported him to Elba.

War of 1812
Napier next took Euryalus across the Atlantic to serve in the War of 1812. In June she sailed from Gibraltar to Bermuda as part of a squadron under Captain Andrew King. The squadron escorted transports carrying troops that had been recently employed against Genoa.

Next, Napier and Euryalus participated in the expedition up the Potomac (August–September 1814), in which he was second in command of the squadron under James Alexander Gordon. On 17 August Euryalus, bombs HMS Devastation (1804), HMS Aetna (1803), and Meteor, the rocket ship HMS Erebus (1807), and the dispatch boat Anna-Maria were detached under Captain Gordon of HMS Seahorse (1794) to sail up the Potomac River and bombard Fort Washington, about ten or twelve miles below the capital. On the second day of the expedition Euryalus went aground on an oyster-bank at Kettle Bottoms and took several hours to be floated off.

She subsequently took part in the bombardment and reduction of the forts defending the town of Alexandria. Later Euryalus contributed a boat armed with a howitzer to assist Meteor and HMS Fairy (1812) in their unsuccessful attempt to stop the Americans from adding guns to a battery that would impede the British withdrawal. On 25 August a vicious squall hit the whole squadron; it temporarily put Euryalus almost on her beam ends and cost her bowsprit and the heads of all her topmasts. Only 12 hours were needed for refit, however.

Then on 5 September, Seahorse and Euryalus anchored close to the American battery and silenced it with their fire. With the rest of the squadron she then descended the Potomac, running the gauntlet of fire from enemy batteries; in all Euryalus lost three killed and ten wounded. One of the wounded was Napier, who took a musket ball in the neck. She returned to her anchorage at the mouth of the river on 9 September. In 1847 the Admiralty awarded the Naval General Service Medal (NGSM) with clasp "The Potomac 17 Augt. 1814" to all surviving claimants from the campaign.

On 13 September Euryalus was present at the bombardment of Fort McHenry preparatory to an expedition against Baltimore. Napier led nine boats up the Patapsco River where they fired on the American troops and drew fire from Fort McHenry that killed one man.

Following these operations, on 28 January 1815 Napier issued a challenge to the captain of the frigate USS Constellation (1797) to meet Euryalus in single-ship combat. Constellation's captain, Charles Gordon, accepted, but Euryalus was first required for the naval operations preceding the Battle of New Orleans and then peace was signed before the engagement could take place. Napier wrote to Captain Gordon that he was glad they were at peace, but should that situation change 'I trust we shall have an opportunity of being better acquainted'.

During Napoleon's Hundred Days Euryalus landed troops at the mouth of the River Scheldt.

Post-war
Euryalus was paid off in June 1815. That same month Captain Thomas Huskisson recommissioned her. On 7 July she captured the French vessels Aimable Antoinette and Marie. At the time, HMS Harrier (1813), HMS Towey (1814), and HMS Saracen (1812) were in sight and so entitled to share in the prize money. From 25 August 1818 to end 1820, Euryalus was in the West Indies. She served as the flagship in the Leeward Islands from November 1819 to May 1820, and then at Jamaica from June to December.

In January 1821 Captain Isaac Chapman became acting captain. From about June 1821 to August she was under the command of Wilson Braddyll Bigland.

Captain Sir Augustus Clifford was appointed to Euryalus on 22 October 1821 and sailed her from St Helen's with W.J. Hamilton, the British ambassador to the Neapolitan court. She would spend from 1822 to 1825 relatively uneventfully in the Mediterranean though in 1824 she participated in the blockade of Algiers. Then in late in 1824 or early in 1825, she rendered assistance to the American brig Charles and Ellen at the island of Milos. Euryalus stayed for a week, lending some 70 to 80 men to the brig to effect repairs, a kindness acknowledged her captain, P.R. Bing and two Boston insurance companies by posting a notice in the National Intelligencer of 23 March 1825. Euryalus was paid off at Deptford in 1825.

Fate
After her return to England Euryalus was converted to a prison hulk. From 1825 to at least 1843, she was a prison for boys, the youngest being nine years old.

In 1845 Euryalus became a coal hulk at Sheerness. In 1846-7 she was refitted as a convict ship and in that capacity she was moved to Gibraltar. In 1859 she was renamed Africa but was sold to a Mr. Recanno for breaking up in 1860.

title: HMS Euryalus (1803)


text:
Furry Pirates

Furry Pirates is an anthropomorphic, historical fantasy, pen-and-paper role-playing game published by Atlas Games. It is set in a parallel universe, reminiscent of 17th-century Earth. The game was written by Lise Breakey, designed by Bruce Thomas, and illustrated by Terrie Smith and Eric Hotz.

The game, as the name implies, focuses on furry pirates and their adventures. While it includes fantastic elements, including the existence of magic, it earned some notice from reviewers for its realistic rules regarding ships and ship-based combat, as well as its detailed campaign background.

Players are given a wide range of races and classes to choose, including the usual furry types avian, lupine, ursine, and so on, and the usual classes fighter, thief, etc.

Reviews

 * Casus Belli #120

title: Furry Pirates


text:
Horticultural Hall (Boston)

Horticultural Hall, at the corner of Huntington Avenue and Massachusetts Avenue in Boston, was built in 1901. It sits across the street from Symphony Hall. Since 2020, it has been owned by Northeastern University. It is the current home to The William Morris Hunt Memorial Library of the Museum of Fine Arts as well as to offices of Boston magazine, 829 Studios, and Small Army, in addition to a performance space of the New England Conservatory of Music.

History
The building was the third "Horticultural Hall" built for the Massachusetts Horticultural Society. It was designed in the English Renaissance Revival style in 1901 by architects Wheelwright and Haven on land purchased by the Society. (This firm also designed the whimsical Harvard Lampoon Castle in Cambridge, Massachusetts.)

When the Hall was dedicated in 1901, thousands of members and visitors attended its ten-day opening, during which time the hall was filled with amaryllises, azaleas, Pelargonium geraniums, gloxinias, jasmine, trumpet lilies, palms, rhododendrons, wisteria, and a collection of 1,000 orchids, the finest collection gathered in America to that time.

The building's larger lecture hall could seat 300. It was home to many organizations including the Benevolent Fraternity Fruit and Flower Mission, the Wildflower Society, the Garden Club Federation (whose founding in 1927 was organized by the Society), the Boston Mycological Club, the New England Gourd Society, the New England Gladiolus Society, the Herb Society of America, and the Boston Aquarium Society. The building was renovated in 1984, and sold to the neighboring Christian Science Church in 1992.

This building is currently under study by the Boston Landmarks Commission for landmark status.

Former buildings (1845–1901)
The Massachusetts Horticultural Society has built and occupied a series of "Horticultural Halls" in Boston, including the first on School Street (1845), the second on Tremont Street (1865), and this third hall (1901).

Elm Bank Horticulture Center, Wellesley (2001–present)
The society's current home is the Elm Bank Horticulture Center, located on the town lines of Wellesley and Dover (2001).

title: Horticultural Hall (Boston)


text:
Vrouw Maria

Vrouw Maria (Lady Mary) was a Dutch wooden two-masted merchant ship carrying a valuable cargo of art objects, captained by Raymund Lourens, that sank on 9 October 1771 in the outer archipelago of the municipality of Nagu, Finland, 11 kilometers south-east of the island of Jurmo. In 1999, the ship was discovered by the members of Pro Vrouw Maria, led by Rauno Koivusaari. A dispute between the discoverers and the authorities was later resolved. The ship was in good condition when it was discovered, but only six objects from the deck of the ship have been salvaged. The cargo holds have not been disturbed, so the condition of any art on board remains unknown. The Finnish National Board of Antiquities is responsible for the ship and all recovery efforts.

History
Vrouw Maria was loaded with precious artifacts including works of art belonging to Catherine the Great of Russia. The ship set sail from Amsterdam on 5 September 1771 for Saint Petersburg. One month later, on 3 October, the ship was caught in a storm and ran aground near the island of Jurmo. The rocks caused only minor damage but shortly afterward the ship ran aground again and lost its rudder. The ship was released by a large wave but the crew found it leaking rapidly. Lowering anchor, the crewmen manned the pumps, but the ship continued to take on water.

At dawn on 4 October the decision was made to abandon ship. The crew manned the ship's boats and safely reached nearby rocks, from which they hailed a passing boat. Help arrived the next day, but after several days no progress had been made toward stabilizing the ship, whose pump was clogged with coffee beans from the cargo. On the morning of 5 October the Vrouw Maria sank beneath the waves. While all the crew lived, only a fraction of the cargo was saved.

Aftermath
Various people tried to locate the wreck, but none were successful until Pro Vrouw Maria discovered it in 1999. Interest in the ship rose in the 1970s when Christian Ahlström discovered documents regarding the incident in the national archives of Finland. He published his findings in a book called Sjunkna Skepp in 1979.

Cargo
The cargo, as declared in Helsingør, Denmark, on 23 September, included sugar, fabrics and dyes. The ship also carried works of art that Catherine the Great had bought at auction in Amsterdam on 31 July 1771. The pieces formerly belonged to Gerrit Braamcamp, a Dutch art collector. The King of Denmark allowed them to pass through customs without any declaration. After the sinking, the Swedish ambassador to St Petersburg, Carl Ribbing, the landlord of Turku and Pori County baron Christopher Rappe, and the foreign minister of Russia, Nikita Panin, discussed the missing cargo but nothing further was done to save it. The paintings Catherine the Great bought are known to have included Paulus Potter's Large Herd of Oxen, bought for Fl. 9050, and Gerard ter Borch's Woman at her Toilette, bought for Fl. 1870, as well as works by Cornelis Coedyk, Gabriel Metsu, The Nursery by Gerard Dou (a triptych of genre scenes bought for Fl. 14,100), Philip Wouwerman, and one of the van Ostade brothers (Adriaen or Isaac).

title: Vrouw Maria


text:
Dublin 15

Dublin 15, also rendered as D15, is a postal district in the suburbs of Dublin in Fingal, Ireland. It is 11 km west of the GPO in Dublin city.

Geography and political subdivisions
Dublin 15 covers a large area, rising from the River Liffey to 93 m at the townland of Cloghran near the Rosemount Business Park. The district is bordered by County Meath to the west and the north-west and by the Ratoath Road to the north-east. The land between the Ratoath Road / Cappagh Road and the M2 / N2 road lies in the Dublin 11 postal district. The townland of Ashtown and the boundary walls of the Phoenix Park is the district's eastern boundary. The Liffey forms the southern limit with the anomalous exception of that part of Dublin 20 that contains the village of Chapelizod.

Dublin 15 lies primarily within the county of Fingal. Administrative offices of Fingal County Council are located in the grounds of the Blanchardstown Shopping Centre.

For elections to Dáil Éireann, the district is entirely contained within the Dublin West constituency. Only three electoral divisions of the constituency lie outside Dublin 15: Kilsallaghan, Lucan North and Swords-Forrest.

Dublin 15 borders four postal districts; Dublin 11 and Dublin 7 to the east; Dublin 20 and Dublin 8 to the south.

The district overlaps at many points with the historic barony of Castleknock. Three civil parishes of the barony are not in Dublin 15; Ward, Chapelizod and St James'; the five remaining parishes are contained in the district.

Civil parishes
This is a list of civil parishes, as opposed to Ecclesiastical parishes, that lie in Dublin 15 along with notable townlands.
 * Castleknock (part of)
 * Blanchardstown, Castleknock, Cabra, Corduff, Dunsink
 * Clonsilla
 * Clonsilla, Coolmine,
 * Cloghran
 * Mulhuddart
 * Huntstown,Hartstown, Littlepace, Tyrrelstown

 * Finglas (part of)

Industry
The area has a range of industries, notably in the IT and service areas including eBay and PayPal. The Damastown Industrial Estate, one of Dublin's largest industrial estates, includes a large IBM campus employing over 4,000 people.

The area includes a number of business parks, locally known as Ballycoolin, which are occupied by multinationals, SMEs, logistic companies and light industry.

Transport
The Dublin Suburban Rail western or Maynooth Line runs from Dublin Connolly to Maynooth. The five stops in the district, from east to west, are Ashtown railway station, Navan Road Parkway, Castleknock, Coolmine and Clonsilla. The Dublin Docklands to M3 Parkway line branches at Clonsilla to Hansfield serving the community of Casteheany and Ongar.

Usage in Dublin addresses
Colloquially, Dubliners simply refer to the area as "Dublin 15". But in its fullest form, the postal district forms the first part of numerous seven digit Eircodes that are unique to every single address in the area. For example: Fingal County Council Grove Road Blanchardstown Dublin 15 D15 W638

title: Dublin 15


text:
Umar ibn Abi Rabi'ah

'Umar ibn Abi Rabi'ah al-Makhzumi (عمر بن أبي ربيعة) (November 644, Mecca – 712/719, Mecca, full name: Abū ’l-Khattāb Omar Ibn Abd Allah Ibn Abi Rabia Ibn al-Moghaira Ibn Abd Allah Ibn Omar Ibn Makhzūm Ibn Yakaza Ibn Murra al-Makhzūmi ) was an Arab poet. He was born into a wealthy family of the Quraysh tribe of Mecca, his father being Abd Allah and his mother Asmā bint Mukharriba. He was characterised by the biographer Ibn Khallikan as 'the best poet ever produced by the tribe of Quraysh'.

He is known for his love poetry and for being one of the originators of the literary form ghazel in Islamic literature. He was "impassioned by everything beautiful that he saw in the street or during pilgrimage.". According to Ibn Khallikan, the most prominent object of his affections was al-Thuraya bint Ali Ibn Abd Allah Ibn al-Harith Ibn Omaiya al-Ashghar Ibn Abd Shams Ibn Abd Manāf, granddaughter of the famous poet Qutayla bint al-Nadr, who married Suhail Ibn Abd al-Rahmān Ibn Auf al-Zuhri, on which occasion Umar recited the following famous verses, which pun on the fact that the married couple's names are both names of heavenly bodies (Suhail being Canopus and al-Thuraiya being the Pleiades): "O thou who joinest in marriage ath-Thuraiya and Suhail, tell me, I pray thee, how can they ever meet? The former rises in the north-east, and the latter in the south-east!"

title: Umar ibn Abi Rabi'ah


text:
Horticultural Hall

Horticultural Hall may refer to:

 * Horticultural Hall (Boston), built in 1901 as a headquarters for the Massachusetts Horticultural Society
 * Horticultural Hall, Boston (1845), predecessor of the above, built 1845
 * Horticultural Hall, Boston (1865), predecessor of the above, built 1865
 * Horticultural Hall (Lake Geneva, Wisconsin), conference center built in 1911
 * Horticultural Hall (Philadelphia), built in 1876 for the Centennial Exposition, demolished in 1954. Today the site of Fairmount Park Horticulture Center
 * Royal Horticultural Society Old Hall, London, built in 1904 as an exhibition hall for the Royal Horticultural Society, now known as Lindley Hall, London
 * Royal Horticultural Society New Hall, London, built in 1925–8 as an exhibition hall for the Royal Horticultural Society but no longer owned by them, now known as Lawrence Hall, London
 * Horticultural Hall, Melbourne, built in 1873 and now known as Horti Hall
 * Horticultural Hall (West Chester, Pennsylvania), historic opera hall designed by Thomas U. Walter, home to the Chester County History Center

title: Horticultural Hall


text:
Nikkan Sports

Nikkan Sports (日刊スポーツ) is the first-launched Japanese daily sports newspaper founded in 1946.

It has a circulation of 1,661,000, and is an affiliate newspaper of the Asahi Shimbun.

Companies and regions

 * Nikkan Sports News (Tokyo)
 * Tokyo HQ: 5-10, Tsukiji Sanchome, Chuo, Tokyo, Japan

 * Hokkaido Nikkan Sports News (Hokkaido)
 * Hokkaido HQ: KN Building, 1-30, Kita-Sanjo-Higashi Sanchome, Chuo-ku, Sapporo, Japan

 * Nikkan Sports News West Japan (Osaka, Nagoya, Kyushu)
 * Osaka HQ: Hanshin Diamond Building, 14-24, Fukushima Sanchome, Fukushima-ku, Osaka, Japan
 * Nagoya HQ: Asahi Kaikan, 3-3, Sakae Itchome, Naka-ku, Nagoya, Japan
 * Seibu HQ: Fukuoka Asahi Building, 1-1, Hakata Ekimae Nichome, Hakata-ku, Fukuoka, Japan

title: Nikkan Sports


text: User talk:222.124.19.21

title: User talk:222.124.19.21


text:
2000s in Hong Kong

The 2000s in Hong Kong began a new millennium under the People's Republic of China (PRC).

Background
After the transfer of sovereignty, Hong Kong faced a series of problems, both political and economical. The government carried out a series of reforms to adopt a more modern ideology and democracy, but faced many difficulties. Despite a transfer of power to China, the citizens participate in how their government is run, and the region maintains some degree of autonomy. Media in Hong Kong has not come under state control, though many citizens believe the media practices self-censorship. The economy would also begin the period with a rise in unemployment rate from 2.2% in 1997 to 4.4% in 2000, and 7.9% in 2003. The economy had gradually recovered since 2004 and the overall unemployment rate fell to 3.6% in 2008, however the overall figure rose again to 5.4% in 2009 due to the global economic downturn in the last quarter of 2008.

Politics
The two major political camps of the decade are the Pro-Beijing camp and the Pro-democracy camp.

Article 23
In 2003, the government proposed an anti-subversion law titled Article 23 of the Hong Kong Basic Law. Many people feared that the proposal would erode freedom of press, religion, and association. The unpopularity of Chief Executive Tung Chee-Hwa and his administration, combined with the dissatisfaction about economy recession and the pandemic control, prompted an estimated 500,000 - 1,000,000 people to march on 1 July 2003, making it the largest since the Tiananmen Square protests of 1989. The proposal fell after the several pro-government lawmakers withdrew their support to pass the bill. The resignation of Liberal Party chief James Tien from the Executive Council on 6 July 2003 caused the eventual withdrawal of the legislation and the break-up of the "ruling alliance" of the Chief Executive. The security secretary, Regina Ip, who was heavily criticised for her arrogant and condescending handling of the proposed law, was forced to resign.

Other marches
For the first time in Hong Kong's history, on 1 July 2006, the People's Liberation Army marched through the city. The display was one of power and symbolism staged by 19 pro-Beijing groups. The march was part of a celebration demonstration that began in Victoria Park.

Chief executive
Many calls were made for the resignation of Tung Chee-hwa, a leader who was blessed by the Chinese Communist Party, Jiang Zemin. Tung remained in the office until 10 March 2005, 20 months after the march against Article 23. Hong Kong's Basic Law permitted Tung to serve another 3 years, many suspected Beijing forced him to resign due to widespread public disapproval and his perceived lacklustre leadership. The 2005 election filled the seat with Donald Tsang who was the No. 2 ranking official, Chief Secretary, and career civil servant during British colonial rule.

Media control in Hong Kong
A survey conducted by the Hong Kong Journalists Association found that 58.4% of journalists think press freedom in HK has deteriorated since the handover, mainly as a result of self-censorship and government's tighter grip on information flow. Direct Internet censorship in Hong Kong has not been a major issue. In 2009 HK was still ranked 48 by the international Press Freedom Index. This is still far ahead of the People's Republic of China. Other self-censorship events include the 2009 Hong Kong Broadcasting Authority forum where major station TVB was labeled as CCTVB with censored news like the mainland's CCTV. The local Citizens' Radio was raided by the Office of the Telecommunications Authority (OFTA) after being deemed illegal.

Finance
The 1997 Asian Financial Crisis caused a deflationary period that spanned 6 years into July 2004. A few years later, the global Financial crisis of 2007–2010 rocked the financial well-being of the SAR's financial sector. The Lehman mini-bond crisis was one that affected the territory greatly. Joseph Yam, the Chief Executive of the Hong Kong Monetary Authority who was the highest paid central banker in the world resigned in 2009. Traditionally, HK dollar is pegged against the US dollar. Questions have come up on whether HK should peg to the Chinese yuan since it is integrated to China economically. But since the yuan is not fully convertible, a peg to the yuan would cause disruptions.

Building and infrastructure
At the end of the 2000s, the International Commerce Centre (ICC), at 484 m (1,588 ft) high, was the tallest building in Hong Kong. The tallest building prior to the ICC was the Two International Finance Centre (2 IFC), at 415 m (1,362 ft) high, completed in 2003. Prior to that, the tallest building in Hong Kong was the Central Plaza since 1992, with a height of 374 m (1,227 ft).

Many new infrastructure projects had been completed throughout the territory during the 2000s. Examples of those infrastructures includes: For Railway - the completion of MTR Tseung Kwan O line in 2002, KCR West Rail in 2003, KCR Ma On Shan Rail in 2004, MTR Disneyland Resort line in 2005, the extension of the Airport Express to AsiaWorld–Expo in 2005, KCR Lok Ma Chau Spur Line in 2007, and MTR Kowloon Southern Link between East Rail line and West Rail line from Hung Hom station to Nam Cheong station via East Tsim Sha Tsui station and Austin station in 2009. For major bridges and tunnels - the completion of Discovery Bay Tunnel in 2000, Nam Wan Tunnel in 2007, Deep Bay Bridge (Hong Kong–Shenzhen Western Corridor) in 2007, Eagle's Nest Tunnel and Sha Tin Heights Tunnel in 2008, and Stonecutters Bridge in 2009.

Other major infrastructures includes the opening of the Hong Kong Disneyland in 2005, which was the fifth Disneyland opened in the world and the second opened in Asia after the Tokyo Disneyland, and the completion of the Ngong Ping 360 in 2006, which was a gondola lift system that connects Tung Chung New Town and Ngong Ping Market.

Population
In 2000, the population of Hong Kong was 6,900,000. The population in the summer of 2006 was 6,994,500, though the majority of population increase is mostly contributed via immigration from mainland citizens. Also in 2006, the birth rate of 7.29 is ranked lowest among the list of countries surveyed by the CIA. Towards the end of the decade, Hong Kong's population had slowed further to a growth of 0.5% in 2009 with the city having a total population of 7,055,071 as of 2009. Other new immigration topics include the Right of abode issue, Quality Migrant Admission Scheme or the Capital Investment Entrant Scheme.

Entertainment
The passing of idol legends like Leslie Cheung and Anita Mui rocked the cantopop industry. Their deaths in the early 2000s further sank the people's morale. The 2008 Edison Chen photo scandal was also dubbed Asia's biggest scandal. Other cultural phenomenon include the rise of young female Liang mou models.

Charities
The HK government and entertainment industry pursued a number of major charities in the decade. The 1:99 Concert was held for the SARS outbreak. In early 2005, a major relief campaign concert was held for the victims of the neighbouring 2004 Indian Ocean Tsunami. This was followed by one of the largest assembly of celebrities in the territory in the Artistes 512 Fund Raising Campaign for the 2008 Sichuan earthquake. In 2009 the Artistes 512 Fund Raising Campaign was held for Typhoon Morakot in Taiwan.

Sports
Hong Kong was the site for the 2008 Olympics and paralympics Equestrian events. The events were held at the Hong Kong Sports Institute in Fo Tan, Sha Tin. The torch relay also passed through both the Special administrative regions of HK and Macau. Various stars and celebrities were also present at the opening ceremonies in Beijing. At the end of 2009, HK also held its first ever East Asian Games. It opened up with a performance on the water of Victoria Harbour.

Society
Beginning in 2008, the Mong Kok acid attacks began a series of acid throwing incidents from tall buildings. The government also stepped up effort against many incidents of throwing any random objects out of skyscraper windows and roofs. The housing department began installing closed-circuit television systems to monitor these throwing activities. Other incident involve the creation of a mass-suicide Facebook group called "I want to practise suicide" (我要（練習）自殺). The group was shut down before urging 190 members to kill themselves.

Flu pandemics
Health officials made the Bird Flu crisis a top priority beginning in 1997. To control the spread of the virus, millions of chickens were slaughtered in an extreme measure to prevent the global spread of the H5N1 virus. The crisis would lead to a series of panic that continue well into the 2000s. The volume consumption of poultry was significantly reduced for a period. Beginning in 1997, over 1 million birds were slaughtered, followed by 860,000 in 2002. Another batch of 300,000 and 200,000 chickens in 5 farms in Kam Tin New Territories were also included in the quarantine process.

China also had series of outbreaks, and the pandemic have left both regions strained in trade relationships. Controversies of the handling of the crisis has been criticised by radio programmes, TVs and newspapers. Both Hong Kong and China were the center of international attention during the early 2000s. Specifically, the Health, Welfare and Food Bureau were constantly bombarded with questions about the effectiveness in the decision to slaughter in large numbers. Wild dogs, rats and cats preying on bags of uncollected dead poultry also made the whole procedure a public relations disaster for the government. In 2009 a Swine flu pandemics followed, but citizens were more prepared this time.

SARS outbreak
The first suspected case of severe acute respiratory syndrome (SARS) was recorded in February, 2003. Hong Kong remained on the World Health Organization's list of affected areas until 23 June 2003. The city was gripped by fear of contagion and panic throughout the epidemic. Children stayed home, while schools were halted. Economic activities were greatly disrupted. Restaurants were empty, and tourism ground to a halt. The epidemic infected more than 1,700 people and claimed 299 lives. As director general of the World Health Organization, Margaret Chan faced some tough issues.

WTO
The World Trade Organization Conference of 2005 was held in Wan Chai. With 148 nations participating at the Hong Kong Convention and Exhibition Centre, it was one of the largest international event ever held in the area. A series of protests broke out in the designated protest zones and Hong Kong Police were resorted to using tear gas and pepper spray for crowd control. Numerous sources proclaimed the conference as the "Siege of Wan Chai" as the world class city became the hosting site of the event.

title: 2000s in Hong Kong


text:
Culture-bound syndrome

In medicine and medical anthropology, a culture-bound syndrome, culture-specific syndrome, or folk illness is a combination of psychiatric and somatic symptoms that are considered to be a recognizable disease only within a specific society or culture. There are no objective biochemical or structural alterations of body organs or functions, and the disease is not recognized in other cultures. The term culture-bound syndrome was included in the fourth version of the Diagnostic and Statistical Manual of Mental Disorders (American Psychiatric Association, 1994) which also includes a list of the most common culture-bound conditions (DSM-IV: Appendix I). Its counterpart in the framework of ICD-10 (Chapter V) is the culture-specific disorders defined in Annex 2 of the Diagnostic criteria for research.

More broadly, an endemic that can be attributed to certain behavior patterns within a specific culture by suggestion may be referred to as a potential behavioral epidemic. As in the cases of drug use, or alcohol and smoking abuses, transmission can be determined by communal reinforcement and person-to-person interactions. On etiological grounds, it can be difficult to distinguish the causal contribution of culture upon disease from other environmental factors such as toxicity.

Identification
A culture-specific syndrome is characterized by:
 * categorization as a disease in the culture (i.e., not a voluntary behaviour or false claim)
 * widespread familiarity in the culture
 * complete lack of familiarity or misunderstanding of the condition to people in other cultures
 * no objectively demonstrable biochemical or tissue abnormalities (signs)
 * recognition and treatment by the folk medicine of the culture

Some culture-specific syndromes involve somatic symptoms (pain or disturbed function of a body part), while others are purely behavioral. Some culture-bound syndromes appear with similar features in several cultures, but with locally specific traits, such as penis panics.

A culture-specific syndrome is not the same as a geographically localized disease with specific, identifiable, causal tissue abnormalities, such as kuru or sleeping sickness, or genetic conditions limited to certain populations. It is possible that a condition originally assumed to be a culture-bound behavioral syndrome is found to have a biological cause; from a medical perspective it would then be redefined into another nosological category.

Medical perspectives
The American Psychiatric Association states the following:

"The term culture-bound syndrome denotes recurrent, locality-specific patterns of aberrant behavior and troubling experience that may or may not be linked to a particular DSM-IV diagnostic category. Many of these patterns are indigenously considered to be 'illnesses,' or at least afflictions, and most have local names. Although presentations conforming to the major DSM-IV categories can be found throughout the world, the particular symptoms, course, and social response are very often influenced by local cultural factors. In contrast, culture-bound syndromes are generally limited to specific societies or culture areas and are localized, folk, diagnostic categories that frame coherent meanings for certain repetitive, patterned, and troubling sets of experiences and observations."

The term culture-bound syndrome is controversial since it reflects the different opinions of anthropologists and psychiatrists. Anthropologists have a tendency to emphasize the relativistic and culture-specific dimensions of the syndromes, while physicians tend to emphasize the universal and neuropsychological dimensions. Guarnaccia & Rogler (1999) have argued in favor of investigating culture-bound syndromes on their own terms, and believe that the syndromes have enough cultural integrity to be treated as independent objects of research.

Guarnaccia and Rogler demonstrate the issues that occur when diagnosing cultural bound disorders using the DSM-IV. One of the key problems that arise is the "subsumption of culture bound syndromes into psychiatric categories", which ultimately creates a medical hegemony and places the western perspective above that of other cultural and epistemological explanations of disease. The urgency for further investigation or reconsideration of the DSM-IV's authoritative power is emphasized, as the DSM becomes an international document for research and medical systems abroad. Guarnaccia and Rogler provide two research questions that must be considered, "firstly, how much do we know about the culture-bound syndromes for us to be able to fit them into standard classification; and secondly, whether such a standard and exhaustive classification in fact exists".

It is suggested that the problematic nature of the DSM becomes evident when viewed as definitively conclusive. Questions are raised to whether culture-bound syndromes can be treated as discrete entities, or whether their symptoms are generalized and perceived as an amalgamation of previously diagnosed illnesses. If this is the case, then the DSM may be what Bruno Latour would define as "particular universalism". In that the Western medical system views itself to have a privileged insight into the true intelligence of nature, in contrast to the model provided by other cultural perspectives.

Some studies suggest that culture-bound syndromes represent an acceptable way within a specific culture (and cultural context) among certain vulnerable individuals (i.e. an ataque de nervios at a funeral in Puerto Rico) to express distress in the wake of a traumatic experience. A similar manifestation of distress when displaced into a North American medical culture may lead to a very different, even adverse outcome for a given individual and the individual's family. The history and etymology of some syndromes such as brain-fog syndrome, have also been reattributed to 19th century Victorian Britain rather than West Africa.

In 2013, the DSM 5 dropped the term culture-bound syndrome, preferring the new name "cultural concepts of distress".

Cultural collusion between medical perspectives
Within the traditional Hmong culture, epilepsy (qaug dab peg) directly translates to "the spirit catches you and you fall down" which is said to be an evil spirit called a dab that captures one's soul and makes one ill. In this culture, individuals with seizures are seen to be blessed with a gift: an access point into the spiritual realm which no one else has been given. In westernised society, epilepsy is recognized as a serious long-term brain condition that can have a major impairment on an individual's life. The way the illness is dealt with in Hmong culture is vastly different due to the high status epilepsy has in the culture, compared to individuals who have the condition in westernised societies. Individuals with epilepsy within the Hmong culture are a source of pride for their family.

Another culture-bound illness is neurasthenia, which is a vaguely described medical ailment in Chinese culture that presents as lassitude, weariness, headaches, and irritability and is mostly linked to emotional disturbance. A report done in 1942 showed that 87% of patients diagnosed by Chinese psychiatrists as having neurasthenia could be reclassified as having major depression according to the DSM-3 criteria. Another study conducted in Hong Kong showed that most patients selectively presented their symptoms according to what they perceived as appropriate and tended to only focus on somatic suffering, rather than the emotional problems they were facing.

Globalisation
Globalisation is a process whereby information, cultures, jobs, goods, and services are spread across national borders. This has had a powerful impact on the 21st century in many ways including through enriching cultural awareness across the globe. Greater level of cultural integration is occurring due to rapid industrialisation and globalisation, with cultures absorbing more influences from each other. As cultural awareness begins to increase between countries, there is a consideration into whether cultural bound syndromes will slowly lose their geographically bound nature and become commonly known syndromes that will then become internationally recognised. Anthropologist and psychiatrist Roland Littlewood makes the observation that these diseases are likely to vanish in an increasingly homogenous global culture in the face of globalisation (and industrialisation). Depression, for example, was once only accepted in western societies; it is now recognised as a mental disorder in all parts of the world. In contrast to Eastern civilizations such as Taiwan, depression is still much more common in Western cultures like the United States. This could indicate that globalisation may have an impact on allowing disorders to be spread across borders, but these disorders may remain predominant in certain cultures.

DSM-IV-TR list
The fourth edition of Diagnostic and Statistical Manual of Mental Disorders classifies the below syndromes as culture-bound syndromes:

DSM-5 list
The fifth edition of Diagnostic and Statistical Manual of Mental Disorders classifies the below syndromes as cultural concepts of distress, a closely related concept:

ICD-10 list
The 10th revision of the International Statistical Classification of Diseases and Related Health Problems (ICD) classifies the below syndromes as culture-specific disorders:

Other examples
Though "the ethnocentric bias of Euro-American psychiatrists has led to the idea that culture-bound syndromes are confined to non-Western cultures", within the contiguous United States, the consumption of kaolin, a type of clay, has been proposed as a culture-bound syndrome observed in African Americans in the rural South, particularly in areas in which the mining of kaolin is common.

In South Africa, among the Xhosa people, the syndrome of amafufunyana is commonly used to describe those believed to be possessed by demons or other malevolent spirits. Traditional healers in the culture usually perform exorcisms in order to drive off these spirits. Upon investigating the phenomenon, researchers found that many of the people claimed to be affected by the syndrome exhibited the traits and characteristics of schizophrenia.

Some researchers have suggested that both premenstrual syndrome (PMS) and the more severe premenstrual dysphoric disorder (PMDD), which have currently unknown physical mechanisms,  are Western culture-bound syndromes. However, this is controversial.

Tarantism is an expression of mass psychogenic illness documented in Southern Italy since the 11th century.

Morgellons is a rare self-diagnosed skin condition reported primarily in white populations in the United States. It has been described by a journalist as "a socially transmitted disease over the Internet".

Vegetative-vascular dystonia can be considered an example of somatic condition formally recognised by local medical communities in former Soviet Union countries, but not in Western classification systems. Its umbrella term nature as neurological condition also results in diagnosing neurotic patients as neurological ones, in effect substituting possible psychiatric stigma with culture-bound syndrome disguised as a neurological condition.

Refugee children in Sweden have been known to fall into coma-like states on learning their families will be deported. The condition, known in Swedish as uppgivenhetssyndrom, or resignation syndrome, is believed to only exist among the refugee population in Sweden, where it has been prevalent since the early part of the 21st century. In a 130-page report on the condition commissioned by the government and published in 2006, a team of psychologists, political scientists, and sociologists hypothesized that it was a culture-bound syndrome.

A startle disorder similar to latah, called Imu (disorder) (sometimes spelled imu:), is found among Ainu people, both Sakhalin Ainu and Hokkaido Ainu.

A condition similar to piblokto, called menerik (sometimes meryachenie), is found among Yakuts, Yukaghirs, and Evenks living in Siberia.

The trance-like violent behavior of the Viking age berserkers – behavior that disappeared with the arrival of Christianity – has been described as a culture-bound syndrome.

title: Culture-bound syndrome


text:
Jost Amman

Jost Amman (June 13, 1539 – March 17, 1591) was a Swiss-German artist, celebrated chiefly for his woodcuts, done mainly for book illustrations.

Early life
Amman was born in Zürich, the son of a professor of Classics and Logic. He was himself well-educated. Little of his personal history is known beyond the fact that he moved to Nuremberg in 1560, where he took on citizenship and continued to reside until his death in March 1591. He worked initially with Virgil Solis, then a leading producer of book illustrations.

Career
His productivity was very remarkable, as may be gathered from the statement of one of his pupils, who said that the drawings he made during a period of four years would have filled a hay wagon. A large number of his original drawings are in the Berlin print room. About 1,500 prints are attributed to him. He was one of the last major producers of woodcuts for books, as during his career engravings were gradually taking over that role. Although like most woodcut artists, he normally let a specialist formschneider cut the block to his drawing, he occasionally included both a cutter's knife and a quill pen in his signature on prints, suggesting he sometimes cut his own blocks.

Amman was the artist for Wenzel Jamnitzer's book Perspectiva corporum regularium (1568). A series of engravings by Amman of the kings of France, with short biographies, appeared in Frankfurt in 1576. He also executed many of the woodcut illustrations for the Bible published at Frankfurt by Sigismund Feierabend, and for a topographical survey of Bavaria by Philipp Apian. Another serial work, the Panoplia Omnium Liberalium Mechanicarum et Seden-tariarum Artium Genera Continens, containing 115 plates, is of great value. Amman's drawing is correct and spirited, and his delineation of the details of costume is minute and accurate. Paintings in oil and on glass are attributed to him, but none have been identified.

Death
Amman died in Nuremberg, Bavaria, aged 51.

title: Jost Amman


text:
Mob 47

Mob 47 is a hardcore punk band which formed in Stockholm, Sweden, in 1982, originally under the name of "Censur". In 1983 the band members changed the name to what it's now called, "Mob 47", when singer Mentis entered the band. During their early years they played with the band Anti Cimex. They were influenced by bands such as Discharge, Crucifix, D.R.I., and B.G.K. They have been described as the fastest of the Swedish D-beat groups.

Guitarist and founding member Åke formed several other bands after and around the time of Mob 47. The bands Agoni, Röjers, Discard, Crudity, and Protes Bengt were featured with Mob 47 on the Stockholm's Mangel compilation in 1985. Some with other members of Mob 47, mostly the drummer Chrille. Per, vocalist of contemporary Swedish outfit Bruce Banner, is noted for singing in a number of these bands. Åke has continued to play and released a new Mob 47 demo playing solo with a drum machine in 1998.

In 2003 Speedstate Records in Japan released a two-CD official discography. In 2005 the band began to rehearse again. They did their first official gig in 20 years at Debaser, in Stockholm, 25 May 2006 and are working on some new material.

In September 2007, the band played their first shows outside Sweden, playing in London, Sheffield and Bradford England. In November 2007 Jugga decided to quit the band, and Mob 47 was once again a three-piece band.

Members

 * Åke Henriksson - guitar and vocals (1982–1987, 2005–present)
 * Christer "Chrille" Lindholm - drums (1982–1987, 2005–present)
 * Christoffer Larsson - bass (2017–present)
 * Johan Thorsen - bass (2005–2016)
 * Jörgen "Jögge" Östgard - vocals (1982–1987, 2005–2007); bass (1982–1987)
 * Mentis - vocals (1983–1984)
 * Robban - vocals (1985)
 * Tommy - vocals (1985–1987)
 * Niclas "Nicke" Engwall - bass (1986, studio session only)

Official releases

 * Hardcore Cassette (1983 Tape)
 * Hardcore Attack (1984 Tape)
 * Kärnvapen attack (1984 7")
 * Sjuk värld (???? Tape)
 * Garanterat Mangel (split w/ Protes Bengt) (1995 Cd/Lp)
 * Ultimate Attack (2004 2xCd) (released in Japan)
 * Back To Attack 1983-1986 (2008 2xCd/2xLp) (a compilation of all recorded material from 1983 to 1986, released in Sweden)
 * Dom ljuger igen (2008 7") (Communichaos Media)

Compilations

 * P.E.A.C.E/War (1984 LP)
 * I Thrash, Therefore I Am (BCT, 1985 tape)
 * Cleanse the Bacteria (1985 LP)
 * Really Fast (volumes 1-3) (1985-1995 LP/CD)
 * Eat My Brain Go Insane (1986 LP)
 * I've Got an Attitude Problem (1987 7")
 * Varning för Punk (1994 3xCD box set)
 * Stockholm's Mangel (2000 CD)
 * Network of Friends (1996 CD)

title: Mob 47


text:
Earnout

Earnout or earn-out refers to a pricing structure in mergers and acquisitions where the sellers must "earn" part of the purchase price based on the performance of the business following the acquisition.

Earnouts are often employed when the buyer(s) and seller(s) disagree about the expected growth and future performance of the target company. A typical earnout takes place over a three to five-year period after closing of the acquisition and may involve anywhere from ten to fifty percent of the purchase price being deferred over that period. Buyers usually value companies based on historical performance while sellers may weight more heavily projections about higher growth prospects. With an earnout the seller's shareholders are paid an additional sum if some predefined performance targets are met. (See contingent value rights, having a similar function.)

Earnouts are popular among private equity investors, who do not necessarily have the expertise to run a target business after closing, as a way of keeping the previous owners involved following the acquisition.

The terms and conditions of an earnout are largely dependent on which party will actually manage the business following the closing. If the buyer will manage the business, the seller may be concerned with mismanagement by the buyer which causes the company to miss targets. On the other hand, if the seller will manage the business, the buyer may be concerned with the seller either minimizing or understating expenses or overstating revenue so as to manipulate the earnout calculation.

Performance metrics
The financial targets used in an earnout calculation may include revenue, net income, EBITDA or EBIT targets, and the selection of metrics also influences the terms and conditions of the earnout. Sellers tend to prefer revenue as the simplest measurement, but revenue can be boosted through business activities that hurt the bottom line of the company. On the other hand, while buyers tend to prefer net income as the most accurate reflection of overall economic performance, this number can be manipulated downward through extensive capital expenditures and other front-loaded business expenses. Some earnouts may be based on entirely non-financial targets such as the development of a product or the execution of a contract. Other performance metrics may include sales (gross or net), gross profit, operating income (EBIT), operating cash flow (EBITDA), environmental costs, cost savings from synergies, reduction of debt or derivatives of any of these.

Limitations
Earnouts have several fundamental limitations. They generally work best when the business is operated as envisioned at the time of the transaction, and are not conducive to changing the business plan in response to future issues. In some transactions, the buyer may have the ability to block the earnout targets from being met. Outside factors may also impact the company's ability to achieve earnout targets. Because of these limitations, sellers often negotiate earnout terms very carefully.

title: Earnout


text: Category:Sports venues by country

title: Category:Sports venues by country