title: Mamamoo

text:
Mamamoo (; Japanese: ; commonly stylized in all caps as MAMAMOO) is a South Korean girl group formed and managed by Rainbow Bridge World. The group is composed of four members: Solar, Moonbyul, Wheein, and Hwasa. Known for their strong live vocals, harmonies, and writing much of their material, they are recognized as one of the premier girl groups in K-pop. They are highly regarded in the industry for their talent, and ability to cross multiple genres with their music; from retro, jazz, R&B concepts in their early years to more contemporary hip-hop, as well as emotional ballads. Since their debut in 2014, they have been noted for challenging conventional beauty standards, breaking gender stereotypes and conducting themselves in ways that most typical K-pop stars do not.

Mamamoo officially debuted on June 18, 2014, with their first extended play (EP) Hello, which featured the lead single "Mr. Ambiguous". Their debut was considered by critics as one of the best K-pop debuts of 2014. Mamamoo rose to domestic fame in 2015 with their single "Um Oh Ah Yeah" which became a sleeper hit and peaked at number three on South Korea's Gaon Digital Chart. Combined with their many appearances and victories in the popular music competition program Immortal Songs, this launched them into mainstream recognition with the public. Their following release of "You're the Best" (2016) from their debut studio album Melting, proved to be a commercial success and dominated at least eight major music sites upon release, further cementing their popularity and growing momentum. In 2017, they made a splash on the international scene with their fifth EP, Purple. Its lead single "Yes I Am," earned them their first number one on the Billboard World Albums chart.

The quartet went on to achieve consecutive hits with high-charting singles "Starry Night" (2018), "Egotistic" (2018), "Gogobebe" (2019), from their "Four Seasons, Four Colors" project whereby every member took turns to become the focus for each album. This culminated in their biggest international success to date, "HIP" from their second studio album Reality in Black becoming a number-one hit on the Billboard World Digital Song Sales chart. In November 2020, the song was certified platinum by the Korea Music & Content Association (KMCA) for surpassing 100 million streams, making it their third time to achieve this feat. They also earned a gold certification from the Recording Industry Association of Japan (RIAJ), indicating their breakthrough in the Japanese music scene.

Mamamoo has received numerous accolades, most notably the Golden Disk Award for Best Group, the Mnet Asian Music Award for Best Vocal Group, multiple honors at the Seoul Music Awards, as well as the Gaon Chart Music Award for New Artist of the Year in their rookie year.

History

2014–2015: Formation, debut and rising popularity
The group's name "Mamamoo" is intended to symbolise a baby babbling for the first time. This is because they aim to make music that would be familiar to everyone around the world like the word "mama" that babies would commonly first learn and speak of, as well as the added meaning of approaching their listeners instinctively with their music.

Prior to their official debut, Mamamoo collaborated with several artists. Their first collaboration, titled "Don't Be Happy" with Bumkey was released on January 8, 2014. A second collaboration with K.Will titled "Peppermint Chocolate" featuring Wheesung was released on February 11, 2014. "Peppermint Chocolate" debuted at number 11 on the Gaon Digital Chart in its first week. On May 30, 2014, Mamamoo released a collaboration single called "HeeHeeHaHeHo" with rap duo Geeks.

The group made their official debut on June 18, 2014, with the lead single "Mr. Ambiguous" from their first extended play (EP) Hello. The music video for "Mr. Ambiguous" contained cameo appearances from many well-known K-pop industry figures such as CNBLUE's Jonghyun, Baek Ji-young, Wheesung, Jung Joon-young, Bumkey, K.Will, and Rhymer of Brand New Music. The album contained three previously released collaborations and four new songs. The group made their first live appearance on the June 19 episode of M Countdown. In July 2014, Mamamoo released their first original soundtrack contribution titled "Love Lane" for the Korean drama Marriage, Not Dating.

On November 21, 2014, Mamamoo released their second EP Piano Man with the title track of the same name. The title song peaked at 41 on Gaon's Digital chart. By the end of 2014, Mamamoo ranked tenth highest among idol girl groups for digital sales, 19th in album sales, and 11th in overall sales according to Gaon's year-end rankings. On January 10, 2015, Mamamoo performed a rendition of Joo Hyun-mi's "Wait a Minute" at the singing show Immortal Songs 2, reaching the final round before losing to Kim Kyung-ho.

On April 2, 2015, Mamamoo released "Ahh Oop!", the first single of their third EP titled Pink Funky. "Ahh Oop!" marks the group's second collaboration with label mate Esna, after she was featured in "Gentleman" on their second EP Piano Man. On June 13, 2015, the group traveled to Ulaanbaatar, Mongolia, to perform at an event sponsored by the South Korean Embassy with Crayon Pop and K-Much. The event was a commemorative concert held in honor of the 25th anniversary of diplomatic ties between South Korea and Mongolia.

On June 19, 2015, Mamamoo released their third EP Pink Funky and lead single "Um Oh Ah Yeh". The song was a commercial success, peaking at number three on the Gaon Chart, becoming their first top-three single. On August 23, 2015, after promotions concluded, Mamamoo held their first fan meeting, entitled "1st Moo Party", for a total of 1,200 fans at the Olympic Park in Seoul. Tickets for the fan meeting sold out within one minute, so the group added an additional meeting for 1,200 more fans the same night. They also held another "Moo Party" in Los Angeles, which took place on October 4, 2015. Mamamoo also collaborated and performed with label mate Basick on the Korean rap survival show Show Me the Money.

On August 29, 2015, Mamamoo returned to Immortal Song 2 with a rendition of Jo Young-nam's "Delilah". On October 31, 2015, Mamamoo returned to the Immortal Song 2, singing a rendition of Korean trot singer Bae Ho's song "Backwood's Mountain" (두메산골). Their performance earned their first overall win on Immortal Song with 404 points.

2016–2017: Breakthrough and subsequent EPs

On January 10, 2016, RBW announced Mamamoo's first solo concert since their debut in 2014. The concert, titled 2016 Mamamoo Concert-Moosical, was held on August 13–14, 2016, at the Olympic Hall in Seoul. 7,000 tickets for the concert were sold out in one minute.

On January 26, 2016, Mamamoo pre-released an R&B ballad, "I Miss You", from their first full-length album Melting. On February 12, 2016, another track, "1cm/Taller than You" was pre-released with a music video. The full album was released on February 26, 2016, debuting at number 3 on the Gaon Chart. The title track "You're the Best (넌 is 뭔들)" also debuted at number three but peaked at number one the following week, becoming their first number-one single.

On March 6, 2016, they received their first music show win with the song "You're the Best" on Inkigayo, followed by wins on Music Bank, M Countdown, and other music shows. They received eight wins in total for the single. On March 16, 2016, Mamamoo performed in Austin, Texas at South By Southwest's K-Pop Night Out.

On August 31, 2016, Mamamoo released the singles "Angel" and "Dab Dab" as subgroups consisting of vocalists (Solar and Wheein) and rappers (Moonbyul and Hwasa) respectively. On September 21, 2016, Mamamoo released their follow-up digital single "New York" and accompanying music video.  After wrapping up promotions for "New York" Mamamoo's agency announced that the group will make their comeback on November 7 with their fourth EP, Memory. The lead single for Memory was announced to be "Décalcomanie". Shortly afterwards, Mamamoo participated in several year-end award shows, while also featuring in the OST titled "Love" for hit TV show Goblin.

On January 19, 2017, Mamamoo announced their second solo concert titled 2017 Mamamoo Concert Moosical: Curtain Call, which was held on March 3–5, 2017 in Seoul and August 19–20, 2017 in Busan at KBS Busan Hall. Following the first show of their March 2017 concert in Seoul, Mamamoo received criticism for performing in blackface when, as part of the concert, they played a video containing the members impersonating Bruno Mars while wearing darker makeup, meant to recreate a snippet of the music video for Mars' "Uptown Funk" (2014). The clip was cut from following concert dates and multiple apologies were promptly issued, including one directly from the members, stating that they were "extremely ignorant of blackface and did not understand the implications of our actions. We will be taking time to understand more about our international fans to ensure this never happens again." The group released their fifth EP Purple with the lead single "Yes I Am" on June 22, 2017. The single quickly climbed to the number one spot on the Melon real-time chart. After one day, Mamamoo set the record for the highest number of unique listeners in 24-hours with "Yes I Am" on Melon for a girl group. On June 27, 2017, the song received its first music show win on The Show, followed by wins on Show Champion, M Countdown, and Show! Music Core. Purple also peaked at number one on the Billboard World Albums chart.

2018–2020: Widespread recognition, Japanese debut and member solo debuts
On January 4, 2018, Mamamoo released a pre-release single called "Paint Me" to act as a prelude to their upcoming project series "Four Seasons, Four Colors". The goal of the series is to showcase four mini albums, each combining one color and a matching member's characteristic for each season. The group has stated that they wish to show their depth as artists and present a more mature style with this project.

Mamamoo started off the "Four Seasons, Four Colors" project with the release of their sixth EP, Yellow Flower, on March 7. Yellow Flower debuted at number one on the Gaon Album Chart, becoming their first number-one album since their 2014 debut. The Latin-inspired and dance-pop song "Starry Night" was released alongside the album, with an accompanying music video. "Starry Night" debuted and peaked at number two on the Gaon Digital Chart, earning 44.7 million Gaon Index points in its debut week. It also ranked at number six on the mid-year and 13 on the year-end editions of the Gaon Digital Chart, making it the fourth-highest-charting song by a girl group on the latter. The song earned the group their first music recording certification since the Gaon Music Chart and Korea Music & Content Association (KMCA) introduced certifications in April 2018; in November 2018, it was certified platinum for 100 million streams, and July 2019, it was certified platinum for 2.5 million paid digital downloads.

On July 1, Mamamoo released the single "Rainy Season" as the pre-release single from their upcoming album. "Rainy Season" peaked at number two on the Gaon Digital Chart, behind only Blackpink's "Ddu-Du Ddu-Du", and was nominated for Best Female Vocal Performance at the 2018 Genie Music Awards. The group released their seventh EP, Red Moon, which serves as the second installment in the "Four Seasons, Four Colors" series, on July 16. The EP debuted and peaked at number three on the Gaon Album Chart, with 38,000 copies sold in July 2018. The EP debuted at number four on the Billboard World Albums with 1,000 copies cold, marking their best U.S. sales week, and gave the group their first-ever appearance on the Billboard Heatseekers Albums Chart, entering the chart at number 25. The Latin-pop lead single "Egotistic", released alongside the EP, peaked at number four on the Gaon Digital Chart and the Billboard World Digital Songs Sales chart, earning the group their fifth top-ten entry on the latter chart.

On August 18–19, Mamamoo held their third headlining concert, titled "2018 Mamamoo Concert 4Seasons S/S", at the SK Olympic Handball Gymnasium in Seoul. Tickets for the concert were sold out within two minutes of being available for sale.

Mamamoo released their debut Japanese single, the re-recorded Japanese version of their 2016 single "Décalcomanie", on October 3 by Victor Entertainment. The CD and digital releases of the single also include the b-side "You Don't Know Me", a pop track that serves as their first original Japanese song. "Décalcomanie" peaked at number 11 on the weekly Oricon Singles Chart, with over 9,000 copies sold. On November 29, the group returned to the Korean-language market, releasing their eighth EP Blue;S, which serves as the third installment of the "Four Seasons, Four Colors" series of albums. Blue;S, which focuses on member Solar, peaked at number seven on the Gaon Album Chart. The lead single "Wind Flower" peaked at number nine on the Gaon Digital Chart. On February 6, 2019, the group released the Japanese version of "Wind Flower", alongside its b-side "Sleep Talk", as their second Japanese-language single. "Wind Flower" peaked at number 16 on the Oricon Singles Chart, selling 7,000 copies.

On March 14, 2019, Mamamoo released their ninth EP, and the fourth and final installment of the "Four Seasons, Four Colors" project, White Wind, on March 14, 2019, with the lead single "Gogobebe". White Wind debuted at number one on the Gaon Album Chart, selling nearly 60,000 physical copies by April 2019. "Gogobebe" also saw decent commercial success, peaking at number five on the Gaon Digital Chart and placing at number 72 on the yearly chart. The song also peaked at number two on both the Billboard Korea K-Pop Hot 100 and Billboard World Digital Songs Sales charts. On March 27, the group announced their fourth headlining concert, titled "2019 Mamamoo Concert 4Seasons F/W". The concert was held at Jangchung Gymnasium in Seoul on April 19–21. The concerts served as a grand finale for Mamamoo's "Four Seasons, Four Colors" project, launched the previous year in order to re-create the group's identity.

On July 24, Mamamoo released a new promotional single titled "Gleam" in collaboration with the brand Davich Eyeglasses. The dance and pop single saw minor success, peaking at number 89 on the Gaon Digital Chart and at number 15 on the Billboard World Digital Songs Sales chart.

In August 2019, Mamamoo was announced to be joining Mnet reality-competition show Queendom as one of six teams. The show is a "comeback battle" between six trending girl group acts in order to "determine the real number one" when all six release their singles at the same time. Queendom premiered on August 26 and ran for ten total episodes, ending on October 31. During the show's finale, the group was crowned the winner of Queendom, thus earning the prize of a full-length comeback show to be broadcast on Mnet. As part of the show, Mamamoo released various songs, including a cover of AOA's 2016 hit "Good Luck" and their original finale song "Destiny".

Following their Queendom victory, Mamamoo released their second full album, Reality in Black, on November 14, 2019, with the lead single "Hip". Reality in Black debuted and peaked atop the Gaon Album Chart, while "Hip" peaked at number four on the Digital Chart. "Hip" also debuted at number five on the World Digital Songs Sales chart and peaked atop the chart in its second week, giving the group their very first number-one hit on the chart. On February 19, 2020, Mamamoo released their third Japanese song, "Shampoo", as a digital single. The song, along with the Japanese version of "Hip", is included in the Japanese edition of Reality in Black. The Japanese edition of the album was released on March 11  and peaked at number 27 on the Oricon Albums Chart with 2,500 copies sold.

2020: Focus on members' solo activities and Travel
In January 2020, an OSEN interview with Kim Do-hoon, the CEO and executive producer of Mamamoo's record label RBW, was published, in which Kim detailed the trajectory of Mamamoo's career and activities in 2020. He reflected on the successes of Mamamoo's participation on Queendom and their second Korean studio album Reality in Black and confirmed that the members would begin to focus on solo projects, with each member hoping to showcase their individualities that they had previously shown in the "Four Seasons, Four Colors" project series. Moonbyul became the first member to release a solo project in 2020, releasing her debut EP Dark Side of the Moon on February 14. On April 23, Solar released her debut single "Spit It Out" and its accompanying single album. Following the single's debut at number 12 (and subsequent peak at number six), Mamamoo became the second Korean group in which every member had a solo song chart on the Billboards World Digital Song Sales chart.

Mamamoo released a promotional single, "Wanna Be Myself," on September 10. The "nostalgic" and "minimalist" music video was released in conjunction with the song itself and gained 3.8 million views in its first 24 hours of being released. The single peaked at number 93 on the Gaon Digital Chart and at number 11 on the Billboard World Digital Songs Sales chart.

In October 2020, Mamamoo announced their tenth EP, due out in November. "Dingga" (딩가딩가), the first single off of the EP, was pre-released ahead of the album on October 20. The disco-influenced pop song, characterized by themes of isolation and longing in the COVID-19 pandemic, was described by Teen Vogue as a "fun, chill" dance track accompanied by a "striking, retro-inspired music video to match." Led by a "simply melody line and funky vibes," the single earned top ten positions in South Korea and on the Billboard World Digital Songs Sales chart, and further charted in Singapore and Japan. The full EP, titled Travel, and its second single, "Aya", were released on November 3. Travel received mixed receptions for its lack of cohesion, and it peaked at number two on the Gaon Album Chart. The EP broke the group's personal sales records, selling a reported 100,000 copies in its first day and over 128,000 copies in its first week, and additionally topped iTunes charts in 29 countries. Described as a "180-degree flip" from the retro-pop style of "Dingga," the second single from Travel, "Aya," was described by critics as being "alluring" and "captivating" and peaked within the top 40 of the Gaon Digital Chart.

2021–present: Member contract renewals, WAW, Mamamoo+ unit, Mic On
On January 22, 2021, RBW announced that Solar and Moonbyul had renewed their contracts with their agency, while Wheein and Hwasa were still currently discussing contract renewals.  On March 30, Hwasa officially renewed her contract with RBW, with Wheein's contract remaining under discussion. Later on the entertainment RBW also confirmed that Mamamoo will stay together and won't disband. On May 1, Mamamoo held a global virtual concert on live-streaming platform LIVENow, becoming the first South Korean music act to hold a concert on the platform.

Their eleventh EP, WAW, was released on June 2, along with the lead single "Where Are We Now". WAW topped iTunes albums charts in 21 countries worldwide, and it sold over 40,000 domestic copies in its first day of release, according to the Hanteo chart.

On June 11, RBW announced that Wheein would be leaving the company as she has chosen not to renew her solo contract with the agency. However, she signed a second contract extension to remain as a member of Mamamoo until at least December 2023. Thus, RBW remains responsible for her activities in the group but is no longer involved in her solo endeavors. On August 31, it was revealed that Wheein signed an exclusive solo contract with the agency THEL1VE.

A compilation album, titled I Say Mamamoo: The Best, was released alongside the lead single "Mumumumuch" on September 15. The album peaked at number eight on the Gaon Album Chart. On March 23, 2022, Mamamoo released the Japanese edition of The Best.

In August 2022, it was announced that members Solar and Moonbyul would be forming the group's first official subunit, Mamamoo+, with an expected album release at the end of the month.

The group released their 12th EP titled Mic On and the lead single "Illella" on October 11, 2022.

 Members
Adapted from their RBW website profile:

 Solar ()
 Moonbyul ()
 Wheein ()
 Hwasa ()

Discography Korean albums Melting (2016)
 Reality in Black (2019)Japanese album'''
 4colors (2019)
 Reality in Black''- "Japanese edition" (2020)

Concerts

Filmography

Reality shows

Television series

Awards and nominations

Since their 2014 debut, Mamamoo has received five Mnet Asian Music Awards and Asia Artist Awards respectively, four Golden Disc Awards, Seoul Music Awards and The Fact Music Awards respectively. A total of 44 awards out of 161 nominations.

See also
 List of best-selling girl groups

References

External links

2014 establishments in South Korea
Musical groups established in 2014
K-pop music groups
South Korean girl groups
Musical groups from Seoul
South Korean dance music groups
Vocal quartets
Melon Music Award winners
Victor Entertainment artists
South Korean pop music groups
South Korean contemporary R&B musical groups
South Korean musical quartets
MAMA Award winners


title: 2014 Polaris Music Prize

text:
The 2014 edition of the Canadian Polaris Music Prize was presented on September 22, 2014, at The Carlu event theatre in Toronto, Ontario. Actor Jay Baruchel was the host of the ceremony.

The grand jury for the 2014 award consisted of Adam Bowie of The Daily Gleaner, Lorraine Carpenter of CultMTL, Stephen Cooke of the Chronicle-Herald, Jessica Émond-Ferrat of Métro's Montreal edition, Luke Fox of Exclaim!, Melody Lau of Much, Julia LeConte of NOW, Stephanie McKay of the Saskatoon Star-Phoenix, Mark Teo of Aux, and freelance music journalists Liisa Ladouceur and Alan Ranta.

Tanya Tagaq won the award for her album Animism. During the gala before the award winner was announced, Tagaq had given what was widely considered the standout performance of the evening, performing in front of a scrolling list of names of missing and murdered Indigenous women, and garnering the event's only standing ovation.

Shortlist
The ten-album shortlist was announced on July 15.

Longlist

The prize's preliminary 40-album longlist was announced on June 19 at the Sled Island festival in Calgary, Alberta. Nominations were announced by Dan Boeckner of Wolf Parade, Mark Sasso of Elliott Brood, broadcaster Dave Hodge and Calgary mayor Naheed Nenshi.

On June 24, the prize committee amended the longlist to include Greg MacPherson's album Fireball, announcing that the album had made the Top 40 in the voting but was erroneously omitted due to a tabulation error. The committee opted not to drop another album from the longlist to compensate for MacPherson's addition, and went into the second round of voting with a 41-album longlist.

References

External links
 Polaris Music Prize

2014 in Canadian music
2014 music awards
2014


title: Hamtouin Djenet

text:
Hamtouin Djenet is a Chadian professional football player. He made one appearance for the Chad national football team.

See also
 List of Chad international footballers

References

External links

Year of birth missing (living people)
Living people
Chadian men's footballers
Chad men's international footballers
Place of birth missing (living people)
Men's association football defenders


title: Blacon High School

text:
Blacon High School, officially Blacon High School, A Specialist Sports College, is a coeducational secondary school located in Blacon in the English county of Cheshire.

As a foundation school, Blacon is administered by Cheshire West and Chester Council. The school moved into a new building in 2016 as part of the Priority Schools Building Programme.

Blacon High School offers GCSEs, BTECs and Cambridge Nationals as programmes of study for pupils. There are also some vocational courses available.

References

External links
Blacon High School official website

Secondary schools in Cheshire West and Chester
Foundation schools in Cheshire West and Chester
Specialist sports colleges in England


title: Acropora globiceps

text:
Acropora globiceps is a species of acroporid coral found in the oceanic central and western Pacific Ocean and central Indo-Pacific. It can also be found in the Great Barrier Reef, the Philippines, the Andaman Islands, Polynesia, Micronesia and the Pitcairn Islands. It occurs on the slopes of reefs, the flats of reefs, in tropical shallow reefs, and at depths of around . It was described by Dana in 1846.

Description
Acropora globiceps occurs in small digitate colonies consisting of compact branches. Its corallites are of no specific size; specimens on slopes of reefs have had tube-shaped corallites, and specimens on reef flats have had corallites built into the branches. The axial corallites are small, and the radial corallites may be ordered in rows. It is cream or blue in colour. It looks similar to Acropora gemmifera, Acropora monticulosa, Acropora retusa, and Acropora secale.

Distribution
It is classed as a vulnerable species on the IUCN Red List and it is believed that its population is decreasing; it is also listed under Appendix II of CITES. Figures of its population are unknown, but is likely to be threatened by the global reduction of coral reefs, the increase of temperature causing coral bleaching, climate change, human activity, the crown-of-thorns starfish (Acanthaster planci) and disease. It is found in the central and western Pacific Ocean and the central Indo-Pacific, including the Great Barrier Reef, the Andaman Islands, the Philippines, Polynesia, the Pitcairn Islands, and Micronesia. It is found at around  below the surface.

Taxonomy
It was described as Madrepora globiceps by Dana in 1846.

References

Acropora
Cnidarians of the Pacific Ocean
Fauna of the Indian Ocean
Marine fauna of Asia
Marine fauna of Oceania
Fauna of Southeast Asia
Vulnerable fauna of Asia
Vulnerable fauna of Oceania
Corals described in 1846


title: George Albert Gale

text:
George Albert Gale (1893-1951) was an American artist, shipbuilder, and sailor who painted nautical scenes and created nautical-themed etchings.

References

1893 births
1951 deaths
20th-century American painters
American male painters
20th-century American male artists


title: Toni Tipurić

text:
Toni Tipurić (born 10 September 1990) is a Bosnia and Herzegovina-born Austrian professional footballer who plays as a defender.

International career
Tipurić was part of the Bosnia and Herzegovina U19 squad at the 2014 UEFA European Under-19 Championship qualifying round but remained on the bench in all three games.

Honours
Levadia Tallinn
Meistriliiga: 2014

References

External links

1990 births
Living people
Austrian men's footballers
Men's association football defenders
Meistriliiga players
FCI Levadia Tallinn players
Slovak First Football League players
FC ViOn Zlaté Moravce players
Croatian Football League players
HNK Cibalia players
CS Concordia Chiajna players
Liga I players
KF Shkupi players
Macedonian First Football League players
Austrian expatriate men's footballers
Expatriate men's footballers in Germany
Expatriate men's footballers in Estonia
Expatriate men's footballers in Romania
Expatriate men's footballers in Slovakia
Austrian expatriate sportspeople in Germany
Austrian expatriate sportspeople in Estonia
Austrian expatriate sportspeople in Romania
Austrian expatriate sportspeople in Slovakia


title: Acropora granulosa

text:
Acropora granulosa is a species of acroporid coral found in the northern and southwest Indian Ocean, the Red Sea, Australia, the East China Sea, Japan, the oceanic central and western Pacific Ocean, and the central Indo-Pacific. It occurs in tropical shallow reefs, from depths of between . It was described by Milne Edwards in 1860 and is classified as near threatened by the IUCN.

Description
It is found in colonies composed of a single horizontal plate of branches with a diameter below . Branches are evenly spaced and branchlets are short and inclined. Each branchlet has at least one incipient axial and axial corallite, and its small radial corallites are pocket-shaped. There are no known similar-looking species, and it is mostly pale blue, cream or grey in colour.

Distribution
It is classed as a near threatened species on the IUCN Red List and it is believed that its population is decreasing; the species is listed under Appendix II of CITES. Figures of its population are unknown, but is likely to be threatened by the global reduction of coral reefs, the increase of temperature causing coral bleaching, climate change, human activity, the crown-of-thorns starfish (Acanthaster planci) and disease. It occurs in the northern and southwest Indian Ocean, the Red Sea, Australia, the East China Sea, Japan, the oceanic central and western Pacific Ocean, and the central Indo-Pacific. It is found at depths of between  in tropical shallow reefs.

Taxonomy
It was described as Madrepora granulosa by Milne Edwards in 1860.

References

Acropora
Corals described in 1860
Near threatened animals


title: There's Wisdom in Women

text:
There's Wisdom in Women is a play written by Joseph Kesselring. Producer D. A. Doran staged it on Broadway in 1935. Walter Pidgeon played Leon Nordoff, a famous pianist who has cheated on his wife, Margalo (Ruth Weston). She must decide whether to stay with him, and seeks advice from her friend, Tony Cooke (Glenn Anders).

In his review for The New York Times, Brooks Atkinson said the play was "old hat" produced by "routine playwrighting". Robert Benchley was similarly dismissive in The New Yorker, saying the play need not have been produced at all. The production closed in less than a month, after 46 performances.

References

External links

1935 plays
Broadway plays
Plays by Joseph Kesselring


title: John Sproule Mills

text:
John Sproule Mills (1887 – October 28, 1972) was an Irish-born politician in Canada. He served as mayor of Saskatoon, Saskatchewan from 1933 to 1934 and from 1949 to 1953.

He was born in Derry, County Londonderry, Ireland and was educated at the National University of Ireland, at the University of London, at Columbia University in New York City and at McMaster University. Mills taught school in Montreal for four years and then moved to Saskatoon, where he was principal of King Edward School for eight years and of the Saskatoon Normal School for eleven years. He had also been the president of the Saskatoon Boys Band. In 1940, Mills moved to Moose Jaw to teach at the Normal School there, later returning to Saskatoon.

He served as a member of Saskatoon city council from 1925 to 1928, from 1930 to 1931, from 1936 to 1938 and from 1946 to 1947. Mills ran unsuccessfully for the position of mayor several times between his two terms in office and retired from politics after running unsuccessfully for reelection against J. D. McAskill in 1953. The first traffic lights in the city were installed during his time in office. He had five children from his wife Ethel. Mills had produced several films. It is said that in his later years he along with his wife traveled 10,000 miles every year.

He died at the age of 85 on October 28, 1972 and is buried in Woodlawn Cemetery.

Mills Crescent in the Avalon neighbourhood in Saskatoon was named in his honour.

References

External links

1887 births
1972 deaths
Mayors of Saskatoon
Northern Ireland emigrants to Canada
Politicians from Derry (city)


title: Jo Spurrier

text:
Jo Spurrier (born 1980) is an Australian author of fantasy novels.

Career
Spurrier has authored a trilogy of epic fantasy novels, Children of the Black Sun, which follow a young woman with magical talent, Sierra, in what Spurrier describes as a "fantasy version of Siberia" riven by tribal warfare and foreign incursions. The film rights for the series were optioned by Volare Pictures in 2013.

Her first novel, Winter Be My Shield, was nominated for the 2012 Aurealis Award for best fantasy novel. Spurrier was also nominated for the 2014 Ditmar Award for best new talent.

Personal life
Spurrier has a Bachelor of Science degree and lives in Adelaide, South Australia.

Works
Spurrier's novels have not yet been published outside Australia.
Children of the Black Sun trilogy
Winter Be My Shield, HarperVoyager, June 2012,
Black Sun Light My Way, HarperVoyager, June 2013,
North Star Guide Me Home, HarperVoyager, April 2014,
Tales of the Blackbone Witches series
A Curse of Ash and Embers, HarperVoyager, September 2018,
Daughter of Lies and Ruin, HarperVoyager, October 2019,

External links

References

Living people
Australian fantasy writers
1980 births
Australian women writers
Women science fiction and fantasy writers
Writers from South Australia


title: Random Abstract

text:
Random Abstract is a jazz album by saxophonist Branford Marsalis recorded August 12–13, 1987 at Sound City Studios in Tokyo, Japan. It peaked at number 6 on the Top Jazz Albums chart. It was nominated for two Grammy Awards in 1988, Best Jazz Instrumental Performance, Soloist (On a Jazz Recording) and Best Jazz Instrumental Performance, Group.

The AllMusic review by Scott Yanow states, "Branford Marsalis (on tenor and soprano) and his 1987 quartet ... stretch out on a wide repertoire during this generally fascinating set. Very much a chameleon for the date, Marsalis does close impressions of Wayne Shorter, John Coltrane, Ben Webster, Ornette Coleman, and Jan Garbarek. This is one of Branford Marsalis' most interesting (and somewhat unusual) recordings."

Track listing
 "Yes and No" (Wayne Shorter)
 "Crescent City" (Branford Marsalis)
 "Broadway Fools" (Branford Marsalis)
 "LonJellis" (Kenny Kirkland)
 "I Thought About You" (Johnny Mercer, Jimmy Van Heusen)
 "Lonely Woman" (Ornette Coleman)
 "Steep's Theme" (Branford Marsalis)
 "Yesterdays" (Jerome Kern, Otto Harbach)
 "Crepuscule with Nellie" (Thelonious Monk)

Personnel
 Branford Marsalis - saxophones
 Kenny Kirkland - piano
 Lewis Nash - drums
 Delbert Felix - bass

References

External links
 BranfordMarsalis.com

1988 albums
Branford Marsalis albums
Albums produced by George Butler (record producer)


title: Natchez, Alabama

text:
Natchez is an unincorporated community in Monroe County, Alabama, United States. It was the birthplace of William C. Maxwell, a pilot in the United States Army Air Service and namesake of Maxwell Air Force Base in Montgomery, Alabama. The New Hope Baptist Church, located in Natchez, is listed on the National Register of Historic Places. A post office was operated in Natchez from 1891 to 1960.

References

Unincorporated communities in Monroe County, Alabama
Unincorporated communities in Alabama
Alabama placenames of Native American origin


title: Theodore Yuyun

text:
Theodore Yuyun is a professional footballer from Cameroon.

He previously played for Os Belenenses in the Portuguese Primeira Liga and Osotspa Saraburi F.C. in the Thai Premier League.

References

External links

Thai Soccer Net

Futebol Portugal
Weltfussball
Thai League Football

1989 births
Living people
People from Bamenda
Cameroonian men's footballers
Cameroonian expatriate men's footballers
Cameroonian expatriate sportspeople in Portugal
Expatriate men's footballers in Portugal
C.F. Os Belenenses players
Primeira Liga players
Cameroonian expatriate sportspeople in Thailand
Expatriate men's footballers in Thailand
Theodore Yuyun
Theodore Yuyun
Theodore Yuyun
Men's association football midfielders
Theodore Yuyun


title: William Newton (architect, 1735–1790)

text:
William Newton (1735–1790) was a British architect.

Life
Born on 27 October 1735, he was eldest son of James Newton, a cabinet-maker, of Holborn, London, and Susanna, daughter of Humphrey Ditton. Admitted to Christ's Hospital on 25 November 1743, he left, on 1 December 1750, to become apprentice to William Jones, architect, of King Street, London.

In 1766 Newton travelled in Italy and spent some time in Rome. On his return he joined the Incorporated Society of Artists, and exhibited at the Royal Academy in 1776–80. For many years he was mainly occupied in designing residences in London and vicinity. In 1775 he built a house for Sir John Borlase-Warren at Marlow, Buckinghamshire. He seems to have assisted William Jupp the elder in his design (1765–8) of the London Tavern, Bishopsgate Street Within, and to have been successful in the field interior decoration.

Towards the end of 1781 James Stuart and his clerk of the works Robert Mylne fell out while working on Greenwich Hospital; and in September Stuart, then in ill-health, asked Newton to assist him with the designs for rebuilding Greenwich Chapel. Newton was appointed Stuart's assistant by the committee in February 1782, and later clerk of the works in succession to Mylne, an appointment confirmed by the board on 24 December 1782. From that time he produced nearly all the decorative ornamentation for Greenwich Chapel, and superintended its execution.

Stuart died on 2 February 1788; but Newton brought the work to completion two years later, and carried out other works connected with the hospital. Unlike his earlier work, which was in the Palladian style, the Greenwich Chapel follows Greek models. In 1789 John Cooke and John Maule, in their Historical Account of Greenwich Hospital, gave Stuart sole credit for the chapel. Newton publicly declared that the credit of the design belonged to him, and detailed the small portion of the work designed by Stuart.

Newton, himself in bad health, left Greenwich on a three months' leave of absence, for sea-bathing, on 10 February 1790, and died soon after, on 6 July following, at Sidford, near Sidmouth, Devon.

Works
In 1771 Newton published the earliest English translation of the first five books of Vitruvius, as De Architectura libri decem, written by Marcus Vitruvius Pollio. In 1780 he issued, in French, Commentaires sur Vitruve, with many plates. The complete work of Vitruvius (including a translation of the remaining five books) was published after Newton's death in two volumes, 1791, by his brother and executor, James Newton. Of the plates, a few only were by William, the majority being by James.

Newton also helped to complete and publish James Stuart's Antiquities of Athens, which appeared in 1787.

Notes

Attribution

1735 births
1790 deaths
18th-century English architects
English translators
Architects from London
18th-century British translators


title: Gnetucleistol E

text:
Gnetucleistol E is a stilbenoid found in the Chinese herb ''Gnetum cleistostachyum.

References

Stilbenoids


title: IGR J11014−6103

text:
IGR J11014−6103, also called the Lighthouse Nebula, is a pulsar wind nebula trailing the neutron star which has the longest relativistic jet observed in the Milky Way.

Description

The object consists of a neutron star with a radius of about 12 km, which formed about 10,000–30,000 years ago in a supernova explosion. The explosion "kicked" the neutron star, which is now moving through space with a velocity of between 0.3% and 0.8% of the speed of light, faster than almost all other known runaway neutron stars. The pulsar is now about 60 light-years from the original supernova location.

The neutron star is the source of a relativistic helical jet, which is observed in X-rays but has no detected radio signature. In the composite processed image (right) the neutron star pulsar is the point-like object with a pulsar wind nebula tail trailing behind it for about 3 light-years. The jet, aligned with the pulsar rotation axis, is perpendicular to the pulsar's trajectory and extends out over 37 light-years (about nine times the distance from the Sun to the nearest visible star). The estimated velocity of the jet is about 80% of the speed of light.

The star was initially presumed to be rapidly spinning but later measurements indicate that its spin rate is only 15.9 Hz. This rather slow spin rate and the fact that there is no evidence of accretion suggests that the jet is neither rotation nor accretion powered. A counter-jet (not shown in the image) has been detected, but is much fainter, possibly due to relativistic beaming. The origin of the glitch at about a third of the jet length is not known, but it might be due to the jet switching off and on or the jet orientation changing.

References

External links
 The long helical jet of the Lighthouse nebula
 The Lighthouse nebula, NASA: Astronomy Picture of the Day, 2014 February 21
 A lighthouse pulsar (German)

Pulsar wind nebulae
Carina (constellation)


The Workforce Innovation and Opportunity Act (WIOA) is a United States public law that replaced the previous Workforce Investment Act of 1998 (WIA) as the primary federal workforce development legislation to bring about increased coordination among federal workforce development and related programs.

Although the Employment Service (ES) is one of 19 required partners in the One-Stop delivery system, its central mission—to facilitate the match between individuals seeking work and employers seeking workers—makes it critical to the functioning of the workforce development system under WIOA.

The One-Stop Delivery System

WIOA continues the requirements of WIA for each state to establish a One-Stop delivery system to

 provide "career services" and access to "training" services;
 provide access to programs and activities carried out by One-Stop partners; and
 provide access to all workforce and labor market information, job search, placement, recruitment, and labor exchange services.

Employment Service
Although the Employment Service (ES) is one of 19 required partners in the One-Stop delivery system, its central mission—to facilitate the match between individuals seeking work and employers seeking workers—makes it critical to the functioning of the workforce development system under WIOA. To this end, one of the key functions played by the ES is to deliver many of the "career services" established by WIOA. ES staff often are the first to assist individuals seeking employment assistance and refer individuals to other programs in the One-Stop system of partners.

Services provided by the ES include:

 Labor exchange services (e.g., counseling, job search and placement assistance, labor market information)
 Program evaluation
 Recruitment and technical services for employers
 Work tests for the state unemployment compensation system, and
 Referral of unemployment insurance claimants to other federal workforce development resources

Labor exchange services are provided via three tiers of service delivery:

 Self-service—typically electronic databases of job openings
 Facilitated self-help—access to self-service tools, e.g., computers, resume-writing software, fax machines, photocopiers, and Internet-based tools
 Staff-assisted service—
 One-on-one services for job seekers often include assessment, career counseling, development of an individual service plan, and intensive job search assistance
 Group services for job seekers include orientation, job clubs, and workshops on such topics as resume preparation, job search strategies, and interviewing

Provisions

WIOA includes five titles:

 Title I—Workforce Development Activities—authorizes job training and related services to unemployed or underemployed individuals and establishes the governance and performance accountability system for WIOA;
 Title II—Adult Education and Literacy—authorizes education services to assist adults in improving their basic skills, completing secondary education, and transitioning to postsecondary education;
 Title III—Amendments to the Wagner-Peyser Act—amends the Wagner-Peyser Act of 1933 to integrate the U.S. Employment Service (ES) into the One-Stop system authorized by WIOA;
 Title IV—Amendments to the Rehabilitation Act of 1973—authorizes employment-related vocational rehabilitation services to individuals with disabilities, to integrate vocational rehabilitation into the One-Stop system; and
 Title V—General Provisions—specifies transition provisions from WIA to WIOA.

Title I
Title I of WIOA authorizes programs to provide job search, education, and training activities for individuals seeking to gain or improve their employment prospects, and which establishes the One-Stop delivery system. In addition, Title I of WIOA establishes the governing structure and the performance accountability for all programs authorized under WIOA. Title I programs are administered by the US Department of Labor (DOL), primarily through its Employment and Training Administration (ETA).

Elements of WIOA that are collectively intended to comprise a "workforce development system" are:

 WIOA is designed to be a demand driven workforce development system. This system is supposed to provide employment and training services that are responsive to the demands of local area employers. The demand driven nature of WIOA is manifested in elements such as Workforce Development Boards (WDBs), a majority of whose members must be representatives of business, and in the requirement for local plans to identify existing and emerging in-demand industry sectors and occupations.
 WIOA emphasizes coordination and alignment of workforce development services, through provisions such as a required Unified State Plan for core programs and a common set of performance indicators across most programs authorized by WIOA. In addition, WIOA requires regional planning across local areas.
 WIOA provides local control to officials administering programs under it. Under the state formula grant portion of WIOA, which accounts for nearly 60% of total WIOA Title I funding, the majority of funds are allocated to local WDBs (after initial allotment from ETA to the states) that are authorized to determine the mix of service provision, eligible providers, and types of training programs, among other decisions.
 The WIOA system provides central points of service through its system of One-Stop centers. The concept of a One-Stop center is to provide a single location for individuals seeking employment and training services, thus making the process of locating and accessing employment services more efficient and seamless. WIOA requires certain programs to be "partners" in the One-Stop center, either by physical colocation or other accessible arrangements. Notably, WIOA requires the colocation of Employment Service offices with One-Stop centers.
 WIOA provides universal access to its career services to any individual regardless of age or employment status, but it also provides priority of service for career and training services to low-income and skills-deficient individuals.
 WIOA emphasizes sector partnerships and career pathways workforce development strategies by requiring local WDBs to lead efforts to develop career pathways strategies and to implement industry/sector partnerships with employers.
 WIOA provides consumer choice to participants. Eligible participants are provided with Individual Training Accounts (ITAs), with which they may choose a type of training and the particular provider from which to receive training.
 WIOA implements a performance accountability system based on primary indicators with state-adjusted levels of performance resulting from negotiations between each state and the Secretary of Labor and revised based on a statistical adjustment model. The performance accountability system applies across all titles of WIOA.

Title II
Title II of WIOA is the Adult Education and Family Literacy Act (AEFLA). AEFLA supports educational services, primarily through grants to states, to help adults become literate in English and develop other basic skills necessary for employment and postsecondary education, and to become full partners in the education of their children.

Title III
Title III amends the Wagner-Peyser Act of 1933, which authorizes the Employment Service (ES), to make the ES an integral part of the One-Stop system amended by WIOA.

Title IV
Title IV of WIOA amends the Rehabilitation Act of 1973 and authorizes funding for vocational rehabilitation services for individuals with disabilities. Most programs under the Rehabilitation Act are related to the employment and independent living of individuals with disabilities.

History

Background

The first substantial federal training programs in the postwar period were enacted in the Manpower Development Training Act (MDTA; ) in 1962, although federal "employment policy," broadly defined, had its origin in New Deal era programs such as Unemployment Insurance (UI) and public works employment. Starting with MDTA, there have been four main federal workforce development programs. The MDTA provided federal funding to retrain workers displaced because of technological change. Later in MDTA's existence, the majority of funding went to classroom and on-the-job training (OJT) that was targeted to low-income individuals and welfare recipients. Funding from the MDTA was allocated by formula to local communities based on factors of population and poverty. Grants under MDTA were administered through regional DOL offices and went directly to local service providers.

The Comprehensive Employment and Training Act (CETA), enacted in 1973, made substantial changes to federal workforce development programs. CETA transferred more decision-making authority from the federal government to local governments. Specifically, CETA provided funding to about 470 "prime sponsors" (sub-state political entities such as city or county governments, consortia of governments, etc.) to administer and monitor job training activities. Services under CETA—which included on-the-job training, classroom training, and public service employment (PSE)—were targeted to low-income populations, welfare recipients, and disadvantaged youth. At its peak in 1978, the PSE component of CETA supported about 755,000 jobs and accounted for nearly 60% of the CETA budget. CETA was amended in 1978 in part to create private industry councils (PIC) to expand the role of the private sector in developing, implementing, and evaluating CETA programs. The composition of PICs included representatives of business, labor, education, and other groups.

In 1982, changes to federal workforce development policy were made by enactment of the Job Training Partnership Act (JTPA). Major changes implemented under JTPA, which provided classroom and on-the-job training to low-income and dislocated workers, included service delivery at the level of 640 "service delivery areas," federal funding allocation first to state governors and then to PICs in each of the service delivery areas (unlike CETA, which provided allocations directly to prime sponsors), prohibition of the public service employment component, and a new emphasis on targeted job training and reemployment. With a new emphasis on training (rather than public employment), JTPA required that at least 70% of funding for service delivery areas be used for training. Although this percentage was dropped to 50% in the 1992 amendments to JTPA, the emphasis on training remained.

The Workforce Investment Act of 1998 (WIA) replaced JTPA and continued the trend toward service coordination by establishing the One-Stop system through which state and local WIA training and employment activities were provided and in which certain partner programs were required to be colocated. WIA replaced PICs with Workforce Investment Boards (WIBs), which were responsible for the design of services for WIA participants. In addition to these changes, WIA enacted changes that included universal access to services (i.e., available to any individual regardless of age or employment status), a demand driven workforce system responsive to the demands of local area employers (e.g., the requirement that a majority of WIB members must be representatives of business), a work-first approach to workforce development (i.e., placement in employment was the first goal of the services provided under Title I of WIA as embodied in the "sequence of services" provisions), and the establishment of consumer choice for participants who were provided with Individual Training Accounts (ITAs) to choose a type of training and the particular provider from which to receive training.

Procedural history
The Supporting Knowledge and Investing in Lifelong Skills Act (SKILLS Act) was introduced into the United States House of Representatives on February 25, 2013 by Rep. Virginia Foxx (R-NC). It was referred to six House committees:  Agriculture, Education and the Workforce, Energy and Commerce, Judiciary, Transportation and Infrastructure, and Veterans Affairs. It was reported (amended) on March 12, 2013 alongside House Report 113-14 part 1. On March 15, 2013, the House voted in Roll Call Vote 75 to pass the bill 215-202.

The bill was received in the Senate on March 18, 2013 and referred to the Health, Education, Labor and Pensions committee. On June 25, 2014, the Senate changed the name of the bill to the Workforce Innovation and Opportunity Act, amended the bill, and then voted in Roll Call Vote 214 to pass the bill 95-3. Before the bill's passage in the Senate, the House and the Senate spent several months debating compromise positions to find a bill they could agree on. The House then voted on July 9, 2014 to agree to the amendments that the Senate had made. The amended bill passed the House 415-6 in Roll Call Vote 378.

President Barack Obama supported the bill. He signed it into law on July 22, 2014 and it became .

The Departments of Labor and Education issued draft regulations on how to carry out the law on April 16, 2015, considered thousands of comments, and issued the final regulations June 30, 2016, effective October 18, 2016.

Debate and discussion
Senator Lamar Alexander (R-TN) said that "it's too hard to find a job. It's too hard to create a job. We have some differences of opinion on what to do about it, but I think we agree that matching job skills to a job is a solution to millions of Americans."

Senator Jack Reed (D-RI) said that "the need to improve our workforce investment system has crystalized during the Great Recession... employers say they have open positions they cannot fill because they cannot find workers with the skills they need today."

The original bill that the House passed focuses mostly on getting rid of redundant workforce programs, as identified by the Government Accountability Office, while the Senate's earlier drafts kept all of the redundant programs and added additional ones.

The bill was supported by the National Skills Coalition.

The group Business Roundtable also supported the bill, arguing that the legislation "will narrow the skills gap and prepare American workers for the jobs of today and tomorrow."

Amendments
In 2015, the bill was amended by the act entitled "To amend the Workforce Innovation and Opportunity Act to improve the Act" ().

Funding, costs, and expenditures

WIOA would consolidate job training programs under the Workforce Investment Act of 1998 (WIA) into a single funding stream. It also would amend the Wagner-Peyser Act, reauthorize adult-education programs, and reauthorize programs under the Rehabilitation Act of 1973 (RA). Those programs, which received discretionary funding of $7 billion and mandatory funding of $3 billion in 2013, provide job training, adult education, and employment service assistance. Enactment would affect direct spending, but those costs are already assumed to continue in the Congressional Budget Office's (CBO) baseline; therefore, pay-as-you-go procedures do not apply. (Enacting the bill would not affect revenues.) Implementing the act would affect discretionary spending. Assuming appropriation of the authorized amounts, CBO estimates that implementing H.R. 803 would cost $26 billion over the 2014-2018 period. WIOA would not impose intergovernmental or private-sector mandates as defined in the Unfunded Mandates Reform Act (UMRA).

The vast majority of funds (97%) for Employment Service activities are allotted to states on the basis of each state's relative share of the following two factors: civilian labor force (CLF) and total unemployment. Specifically, two-thirds of the ES state funding is allotted on the basis of the relative share of CLF and one-third on the basis of the relative share of total unemployment. The remaining 3% of total funding is distributed to states with civilian labor forces below 1 million and to states that need additional resources to carry out ES activities. Of the total allotment to states, 90% may be used for labor exchange services such as job search and placement assistance, labor market information, and referral to employers. The remaining 10% (Governor's Reserve) of the state allotment may be used for activities such as performance incentives and services for groups with special needs.

See also
List of bills in the 113th United States Congress
Unemployment in the United States
Economy of the United States

References

External links

 As codified in 29 U.S.C. chapter 32 of the United States Code from the LII
 As codified in 29 U.S.C. chapter 32 of the United States Code from the US House of Representatives
 Workforce Innovation and Opportunity Act (PDF/details) as amended in the GPO Statute Compilations collection
H.R.803 - Workforce Innovation and Opportunity Act on Congress.gov
H.R. 803 (113th): Workforce Innovation and Opportunity Act on GovTrack
H.R. 803, Supporting Knowledge and Investing in Lifelong Skills Act from the Congressional Budget Office
 State Unemployment Insurance and Employment Service Operations account on USAspending.gov
 Training and Employment Service account on USAspending.gov

United States federal labor legislation
Acts of the 113th United States Congress
Acts of the 114th United States Congress
Unemployment in the United States
Training


title: 2006–07 FIBA EuroCup Challenge

text:
The 2006–07 FIBA EuroCup Challenge was the fifth edition of Europe's fourth-tier level transnational competition for men's professional basketball clubs. The season had the participation of 16 teams. The Russian club CSK VVS-Samara won the title, after beating the Cypriot club Keravnos in the Final.

Teams of the 2006-07 FIBA EuroCup Challenge

Regular season

Quarterfinals
The quarterfinals were two-legged ties determined on aggregate score. The first legs was played on January 11, 2007. All return legs were played on January 18, 2007.

|}

Semifinals
The quarterfinals were two-legged ties determined on aggregate score. The first legs was played on February 28, 2007 and on March 1, 2007. All return legs were played on March 8.

|}

Finals

|}

Individual statistics

Points

Rebounds

Assists

References

FIBA EuroCup Challenge
FIBA


title: Joseph Breck

text:
Joseph Breck may refer to:

Joseph Breck (businessman) (1794–1873), Massachusetts businessman and gardener
Joseph Breck (curator) (1885–1933), assistant director of Metropolitan Museum of Art and director of The Cloisters
Joseph Berry Breck (1828–1865), U.S. Navy officer
Joseph Peter Breck (1929–2012), American character actor


title: Richard Smith (artist)

text:
Richard Smith, CBE (27 October 1931 – 15 April 2016) was an English painter and printmaker. Smith produced work in a range of styles, and is credited with extending the field of painting through his shaped, sculptural canvases. A key figure in the British development of Pop Art, Smith was chosen to represent Britain in the 1970 Venice Biennale.

Life
Richard Smith was born in Letchworth, Hertfordshire, the first of the planned  Garden Citites. After national service with the Royal Air Force in Hong Kong, he studied at St Albans School of Art and later undertook post-graduate studies at the Royal College of Art in London from 1954 to 1957. From 1957 to 1958 he was a lecturer at Hammersmith College of Art. He was awarded a Harkness Fellowship in 1959 and travelled to America and spent several years there painting and teaching, with his first one-man show at the Green Gallery, New York, in 1961. In 1970 he was the British representative at the Venice Biennale and in 1975 a retrospective exhibition of his work was exhibited at the Tate Gallery in London. He resettled permanently in New York in 1976.

Work
Smith's early work drew on packaging and advertising, which led to his being associated by some critics to the Pop Art movement.
Smith stated that his work was "often physically related to hoardings or cinema screens which never present objects actual size; you could drown in a glass of beer, live in a semi-detached cigarette packet". However, his concerns were largely formal.  His works from this period, such as Panatella (1961) can be seen as abstract works whose scale, handling of paint and use of colour show the influence of American colour field painters such as Mark Rothko and Sam Francis, and he tried to integrate their expressive painterly concerns with an exploration of the experience of mass culture. As an attempt to make a connection between 'high' art and popular culture, Smith's work differs from the work of his British Pop contemporaries, who were more concerned with iconography. Smith stated that "My interest is not so much in the message as in the method"

In 1963 Smith progressed to an examination of the two-dimensional nature of painting. In Vista he added a shaped extension to the rectangular canvas, and in works such as Piano and Giftwrap progressed to extending the surface of the painting out into three-dimensional space.  Despite the three-dimensional element of these works, Smith insisted on their identity as paintings: saying "Since I have always retained a wall, there is no question of a multifaceted sculptural object"  Smith never produced any free standing sculptures, preferring to challenge the conventions of painting by working in an area between painting and sculpture.

In 1972 he exhibited the first of what are called the "kite paintings", in which rather than using a conventional stretcher the canvas is tensioned by cords and structures of aluminium tubing, which become an element in the composition of the works.  This both reduced the strength of the edge of the canvas while at the same time drawing attention to its contour. Smith's new found interest in the edge of a picture is shown by the concentration of incident there in works such as 3 square 2.

The concerns of these works also appear in his small scale work of the time, where the paper was cut and folded, and often include elements fastened to the work by paper-clips or pieces of knotted string.

Works by Smith are in the collections of the Tate Britain, London, Museum of Modern Art, New York, and the Minneapolis Institute of Art, Minnesota.

References

1931 births
2016 deaths
English printmakers
English contemporary artists
21st-century English painters
20th-century English painters
English male painters
Alumni of the Royal College of Art
Commanders of the Order of the British Empire
People from Letchworth
Artists from New York (state)
British emigrants to the United States
20th-century British printmakers
20th-century English male artists
21st-century English male artists
Harkness Fellows


title: Microregion of Assis

text:
The Microregion of Assis () is located on the west of São Paulo state, Brazil, and is made up of 17 municipalities and it belongs to the Mesoregion of Assis.

The population of the Microregion is 278.220 inhabitants, in an area of 7.141,738 km²

Municipalities
The microregion consists of the following municipalities, listed below with their 2014 Census populations (IBGE/2014):

 Assis 100.911
 Paraguaçu Paulista 44.555
 Cândido Mota 31.063
 Palmital 22.041
 Tarumã 14.027
 Maracaí 13.878
 Quatá 13.603
 Iepê 8.002
 Ibirarema 7.290
 Campos Novos Paulista 4.808
 Platina 3.406
 Pedrinhas Paulista 3.062
 Nantes 2.943
 Florínea 2.821
 Lutécia 2.741
 Cruzália 2.234
 Borá 835

References

Assis


title: Dorcus nepalensis

text:
Dorcus nepalensis is a stag beetle species first described by Frederick William Hope in 1831.

References

Lucaninae
Beetles of Asia
Beetles described in 1831
Taxa named by Frederick William Hope


title: Joseph Breck (curator)

text:
Joseph Henry Breck (1885–1933) was an American curator and museum director. During his career he served as a Director of the Minneapolis Society of Fine Arts, Curator of the Decorative Arts Department of The Metropolitan Museum of Art, Assistant Director of The Metropolitan Museum of Art, and first Director of The Cloisters.

Early life
Joseph Henry Breck was born in Massachusetts in 1885. He attended Harvard University, where he majored in Art History. While at Harvard, he met and formed a lifelong friendship with Herbert Winlock, who would later become a Director of The Metropolitan Museum of Art. Breck wrote for the Harvard Lampoon, where his contributions revealed an interest in art. After graduation he traveled to Europe continuing his studies in art with specific interest in the Renaissance and sculpture. Upon returning to Harvard for graduate studies, Breck was encouraged by Winlock to join the Metropolitan Museum.

Career
In 1909 he was hired as Assistant Curator under Wilhelm Valentiner in the Department of Decorative Arts. In 1914, he left the Metropolitan Museum and was appointed Director of the recently
established Minneapolis Society of Fine Arts, where he was instrumental in the creation of the Minneapolis Institute of Arts. He returned to the Metropolitan in 1917 as the Curator of the Decorative Arts department and Assistant Director of the Museum. The collections and scope of the Decorative Arts department so greatly expanded that after Breck’s death in 1933 it was divided into three departments: Renaissance and Modern Art, Medieval Art, and the American Wing.

In 1932, Joseph Breck was named the first director of the new branch of the Metropolitan Museum, The Cloisters. Though he did not live to see the building completed, Breck worked intensely on the arrangement of its collections and the planning of the structure itself. In his obituary in The New York Times it was pointed out that he took it upon himself to make “a study of further manuscripts and tapestries to find out what flowers were illustrated in Medieval times so that the new Cloisters’ garden might reflect the Medieval spirit."

Joseph Breck had a firm understanding and appreciation for not only design but how objects should be displayed. In 1912 at a meeting of the American Association of Museums held at the Metropolitan Museum, Breck, Museum Secretary Henry W. Kent and curator Durr Friedley set up cases and created displays demonstrating two methods: “good” and “bad”. These installation guidelines which featured less crowding, good
light, clear lines and glass display cases with muted backgrounds, became the standard for art museum installation. Breck wrote extensively on display and installation with the “purpose of benefitting both historical and visitor point of view.”  Breck was associated with many exhibitions at the Museum, including the popular Industrial Arts Exhibitions. His philosophy was that by showing the public well-designed, everyday objects – chairs, tables, curtains – "good taste" could be taught. He stated that these “touch a person more nearly and while a person may not be able to afford a good picture, that it is possible to purchase a good lamp by seeing these examples.”  Though somewhat conservative in his taste, Breck displayed for the first time at the Metropolitan examples of Art Deco and Art Nouveau objects. His acquisitions as a curator were considered “remarkably fine.”  Breck wrote more than two hundred articles covering the fields of Renaissance art and sculpture, design of objects, and display and installation techniques. He was the author of catalogues for those subjects as well as on individual artists (such as Rodin), exhibitions (the Swedish exhibition) and collections (handbooks on J.P. Morgan & Ballard). He was also a frequent contributor to The Metropolitan Museum of Art Bulletin.

Death and legacy
In the summer of 1933, while on a buying trip for the Museum, Joseph Breck died suddenly of a heart attack at the age of 48. Shortly before his death, he had been awarded the Legion d’Honneur for his work in the arts. Considered by some to be a disciplinarian and rather tactless in his manner, Joseph Breck was by-passed by the Museum's Board of Trustees for the position of Director of the Metropolitan when it became vacant in 1931. The job went, instead, to his old friend Herbert Winlock. Museum President William Sloane Coffin wrote that Joseph Breck’s influence and taste was felt in all parts of the Museum: “The Morgan Wing, the galleries on the second floor of Wings K and J, the galleries of medieval and Renaissance decorative arts, The Cloisters, and more recently the new hall of medieval tapestries are a standing testimony to his taste and knowledge in installation and arrangement.”

Notes

References
Howe, W. E. A History of The Metropolitan Museum of Art, 1905–1941. New York: Published for the Metropolitan Museum by Columbia University Press, 1946. Vol. II.
"Joseph Breck Dies on Mission for Art." New York Times. 3 August 1933.
Miller, Craig. Modern Design in The Metropolitan Museum of Art, 1890-1990. New York: Harry N. Abrams Publishers, 1990.
Tomkins, Calvin. Merchants and Masterpieces: The Story of The Metropolitan Museum of Art. New York: Henry Holt and Company, 1989. Revised and updated edition.
The Metropolitan Museum of Art Bulletin.

External links
Finding aid for the Joseph Breck Records, 1916-1951 in The Metropolitan Museum of Art Archives.
Minneapolis Institute of Arts.
The Metropolitan Museum of Art.

1933 deaths
1885 births
American art curators
Recipients of the Legion of Honour
People associated with the Metropolitan Museum of Art
Harvard College alumni
The Harvard Lampoon alumni


title: Liam Dolan

text:
Liam Dolan  is a Senior Group Leader at the Gregor Mendel Institute of Molecular Plant Biology (GMI) of the Austrian Academy of Sciences, the Sherardian Professor of Botany in the Department of Biology at the University of Oxford and a Fellow of Magdalen College, Oxford.

Education
Dolan was educated at University College Dublin and the University of Pennsylvania where he was awarded a PhD in 1991 for genetic analysis of leaf development in the cotton plant Gossypium barbadense supervised by Scott Poethig.

Career and research
Following his PhD, Dolan spent three years doing postdoctoral research at the John Innes Centre in Norwich. After 13 years as an independent project leader in Norwich, Dolan moved to Oxford as the Sherardian Professor of Botany in 2009.

Dolan's research aims to define genetic mechanisms that control the development of plants and determine how these mechanisms have changed since plants colonised the land 500 million years ago. Dolan's research has been funded by the Biotechnology and Biological Sciences Research Council (BBSRC) and the Natural Environment Research Council (NERC).

Dolan has made outstanding contributions to our understanding of the development and evolution of land plant rooting systems. He was the first to define the precise cellular body plan of the Arabidopsis root and discovered the molecular genetic mechanism governing root hair cell differentiation. He demonstrated that this mechanism is ancient and was the first to discover the mechanism that controlled the development of the earliest land plant rooting systems that caused dramatic climate change over 400 million years ago. These pivotal discoveries illuminate our understanding of the interrelationships between the development of plants, their evolution and the Earth System.

With Alison Mary Smith, George Coupland, Nicholas Harberd, Jonathan D. G. Jones, Cathie Martin, Robert Sablowski and Abigail Amey he is a co-author of the textbook Plant Biology.

Awards and honours
Dolan was elected a Fellow of the Royal Society (FRS) in 2014. Dolan was elected a member of the European Molecular Biology Organization (EMBO) in 2009, and was awarded the President's Medal of the Society for Experimental Biology (SEB) in 2001.

References

Fellows of the Royal Society
Living people
Members of the European Molecular Biology Organization
Sherardian Professors of Botany
Fellows of Magdalen College, Oxford
Alumni of University College Dublin
University of Pennsylvania alumni
Year of birth missing (living people)


title: Bottrop – Recklinghausen III

text:
Bottrop – Recklinghausen III is an electoral constituency (German: Wahlkreis) represented in the Bundestag. It elects one member via first-past-the-post voting. Under the current constituency numbering system, it is designated as constituency 125. It is located in the Ruhr region of North Rhine-Westphalia, comprising the city of Bottrop and western parts of the Recklinghausen district.

Bottrop – Recklinghausen III was created for the inaugural 1949 federal election. Since 2009, it has been represented by Michael Gerdes of the Social Democratic Party (SPD).

Geography
Bottrop – Recklinghausen III is located in the Ruhr region of North Rhine-Westphalia. As of the 2021 federal election, it comprises the independent city of Bottrop as well as the municipalities of Dorsten and Gladbeck from the Recklinghausen district.

History
Bottrop – Recklinghausen III was created in 1949, then known as Gladbeck – Bottrop. From 1965 through 1976, it was named Bottrop – Gladbeck. From 1980 through 1998, it was named Bottrop – Recklinghausen IV. It acquired its current name in the 2002 election. In the 1949 election, it was North Rhine-Westphalia constituency 43 in the numbering system. From 1953 through 1961, it was number 102. From 1965 through 1976, it was number 101. From 1980 through 1998, it was number 95. From 2002 through 2009, it was number 126. Since 2013, it has been number 125.

Originally, the constituency comprised the independent cities of Bottrop and Gladbeck. Gladbeck was incorporated into the Recklinghausen district in 1976, but the constituency's borders did not change. In the 2002 election, it acquired the municipality of Dorsten from Recklinghausen district.

Members
The constituency has been held by the Social Democratic Party (SPD) during all but three Bundestag terms since 1949. It was first represented by Wilhelm Tenhagen of the SPD from 1949 to 1953. Johann Harnischfeger of the Christian Democratic Union (CDU) won it in 1953 and served three terms. Johann Wuwer regained it for the SPD in 1965 and served until 1980. Franz-Josef Mertens was then representative from 1980 to 1994, when he was succeeded by Dieter Grasedieck. In 2009, Michael Gerdes was elected representative. He was re-elected in 2013, 2017, and 2021.

Election results

2021 election

2017 election

2013 election

2009 election

References

Federal electoral districts in North Rhine-Westphalia
1949 establishments in West Germany
Constituencies established in 1949
Bottrop
Recklinghausen (district)


title: Cuno von Uechtritz-Steinkirch

text:
Cuno von Uechtritz-Steinkirch (3 July 1856, Breslau - 29 July 1908, Berlin) was a German sculptor.

Life
Since his youth he had pursued art as a hobby, but did not decide to become a sculptor until he was twenty-one. The occasion was a figure he made of the writer Karl von Holtei, which impressed Kaiser Wilhelm I so much that he bought it on the spot. In 1878 and 1879, Uechtritz travelled throughout Italy to see the old masters first hand. Upon his return, he began taking lessons in the studios of Carl Friedrich Echtermeier, a former Master Student of Ernst Julius Hähnel. Later, he met Hähnel and became his student.

He completed his studies at the Academy of Fine Arts, Vienna, under Viktor Oskar Tilgner, who taught him how to make polychrome figures. His first work in that style (Piper with Monkey) was acquired by the National Gallery in 1889. He remained with Tilgner as an employee until 1887, when he opened his own studios in Berlin.

His financial breakthrough came in 1897 with an allegorical figure group called Die Krone als Hort des Friedens (The Crown as a Haven of Peace), which fit in so well with the contemporary political propaganda that Kaiser Wilhelm II ordered it to be made in marble for the Herrenhaus. This work led to him receiving one of the coveted commissions for the Siegesallee (Victory Avenue) project. The Kaiser was pleased with his contribution and appointed him a Professor in 1899. Although this monumental work made his reputation, lighter, more imaginative pieces, especially fountains, were his true forte.

In 1907, he was one of the signatories on a letter addressed to Chancellor Bernhard von Bülow, stating that the market for art in Germany was oversaturated and suggesting that a greater effort be made to sell art in the United States, despite that country's preference for works in the French style. It is, perhaps, no coincidence that the American sculptor Harriet Whitney Frishmuth was one of his students at the time.

Selected major works
 Berlin
 1898: Charlottenburg, "The Temple of Neptune", a waterfall and fountain with figures of Leda and the Swan, at the Berlin Zoo
 1899: Siegesallee Group 24, consisting of Georg Wilhelm, Elector of Brandenburg as the central figure; flanked by Konrad von Burgsdorff, Commandant of Spandau and Küstrin during the Thirty Years' War, and Adam, Count of Schwarzenberg. These figures were damaged during World War II and are currently on display at the Spandau Citadel.
 1904: Tiergarten, Großer Stern, "Hubertusbrunnen" (Saint Hubertus Fountain) in the style of Dürer, central figure, with four hunting-related figures by other sculptors. The fountain was dismantled in 1938 during Hitler's efforts to redesign Berlin. The statue of Hubertus was lost or destroyed. The other figures were put back after the war, near the Großer Stern.
 1910: Nikolsburger Platz, "Gänselieselbrunnen" (Mother Goose Fountain), from a design completed just before his death. By the end of World War II, all the parts had been melted. In 1987, the Berliner Industriebank (now the Weberbank) presented the city with a faithful copy made by the sculptor , who apparently specialized in producing replicas of lost works.
 Other cities
 1897: Landsberg an der Warthe, "Pauckschbrunnen", a gift to the city by industrialist Hermann Paucksch, a manufacturer of steam boilers. The original was destroyed during World War II. In 1997, it was replaced with a copy made by Polish sculptor .
 1904: St. Louis, statue of Friedrich Wilhelm von Steuben, commissioned for display at the Louisiana Purchase Exposition (World's Fair). Since 1968, a smaller version by an unknown sculptor has been in Tower Grove Park. The fate of the original appears to be undocumented.
 1907: Wandsbek (Hamburg), "Puvogelbrunnen", named after Friedrich Puvogel (?-1907), a long-serving Vice-Mayor of Wandsbek, and donated by the Wandsbeker Beautification Association. It fell from its base at the Christ Church in 1998 and underwent extensive renovation, with an eye towards maintaining its original character. In 2006, it was dedicated as part of a newly remodeled "Puvogel Gardens".

References

Further reading
Ethos & Pathos – Die Berliner Bildhauerschule 1786–1914. Exhibition catalog, Berlin 1990.
 Peter Paret: Die Berliner Secession. Moderne Kunst und ihre Feinde im Kaiserlichen Deutschland. Ullstein, Frankfurt am Main 1983,

External links

 Cuno von Uechtritz by Adele Gerhard, from Westermanns Monatshefte, Vol.1, #105 @ Google Books (in Fraktur)
 Cuno von Uechtritz by Adolf Rosenberg, from Velhagen & Klasings Monatshefte, Vol.2, #2, Pt.2 @ Google Books (in Fraktur)

1856 births
1908 deaths
19th-century German sculptors
German male sculptors
20th-century German sculptors
20th-century German male artists
Artists from Wrocław
19th-century German male artists


title: Hunger of the Pine

text:
"Hunger of the Pine" is a song by English indie rock band alt-J. It was released as the lead single from the band's second studio album This Is All Yours on 19 June 2014.

Background and composition

"Hunger of the Pine" was one of several songs written by Alt-J following bassist Gwil Sainsbury's departure from the band in January 2014. It samples the words "I'm a female rebel" from American recording artist Miley Cyrus's 2013 song "4x4". Thom Green, the band's drummer, had produced a remix of "4x4" for Cyrus, and incorporated the vocal sample into the song; according to lead singer Joe Newman, Cyrus was "cool" with the band using the sample and "has been really supportive of us, and she's a fan, I think, which is really nice." Keyboardist Gus Unger-Hamilton stated that the sample "sounded cool with what Joe was playing on the guitar."

Unger-Hamilton further explained to NPR the meaning of the song: "The lyrics mainly suggest the idea that missing someone – pining – can be a physical pain much like hunger.

Release
On June 13, 2014, alt-J posted a video on their Instagram account featuring a clip of "Hunger of the Pine". On June 18, the single premiered on Zane Lowe's BBC Radio 1 show and was made available for streaming. It was released to the iTunes Store the following day.

Music video
The music video for "Hunger of the Pine" was released on YouTube on 16 July 2014, three days prior to the single's release. The video, directed by Nabil Elderkin, graphically depicts a man (played by professional freerunner Ashley "Spider" Holland) getting shot by arrows as he runs through a forest. At the end of the video, the man drenches himself with what appears to be gasoline from a jerrycan while approaching flaming arrows fill the sky.

Charts

Certifications

Release history

In popular culture
The song is featured in the pilot episode of the American drama series UnREAL. It is also featured in the first episode of Season 6 of The Vampire Diaries.

References

2014 singles
Alt-J songs
2014 songs
Experimental rock songs
Music videos directed by Nabil Elderkin
Songs written by Thom Sonny Green


title: Philip Tagg

text:
Philip Tagg (born 1944 in Oundle, Northamptonshire, UK) is a British musicologist, writer and educator. He is co-founder of the International Association for the Study of Popular Music (IASPM) and author of several influential books on popular music and music semiotics.

Biography
Tagg attended The Leys School in Cambridge in 1957–1962. He has mentioned his organ teacher, Ken Naylor, as particularly influential on his development as a musician and thinker. He then studied Music at the University of Cambridge (1962–65), and thereafter Education at the University of Manchester (1965–66). Tagg had some success as a choral composer during these early years. For example, on Trinity Sunday 1963, Tagg’s anthem Duo Seraphim was performed at Matins by the Choir of King's College, Cambridge under David Willcocks. His Preces and Responses were also broadcast by the BBC from the Edington Festival in 1964. Tagg also worked as volunteer at the Aldeburgh Festival in 1963. During this period he also played piano in a Scottish country dance ensemble, as well as in two pop-rock/soul/R&B bands.

Dismayed at the prospect of becoming a music teacher in 1966, Tagg moved to Sweden where he taught English in Filipstad while running a youth club and playing keyboards in two local bands (1966–68). Deciding to retrain as a language teacher, Tagg then attended the University of Göteborg (1968–71), while also both singing in and arranging for Göteborgs Kammarkör. In 1969 he met Swedish musicologist Jan Ling who, realising that Tagg had experience in both the classical and popular spheres, asked him to help with the new music teacher training programme (SÄMUS) that the Swedish government had asked Ling to set up in Göteborg.

At SÄMUS (1971–77), and later at the Department of Musicology of the University of Göteborg (1977–91), Tagg taught (aural) Keyboard Accompaniment, Music Theory, and Music & Society. Problems encountered in this work provoked him to develop analysis methods addressing the specificities of structure and meaning in various types popular music, e.g. the “Kojak thesis” (1979) and the reception tests at the basis of his book Ten Little Title Tunes (2003). Tagg was at this time also songwriter and keyboard player in the left-wing “rock cabaret” band Röda Kapellet (1972–76). In June 1981 he co-organised, together with Gerard Kempers and David Horn, the first international conference on popular music studies in Amsterdam, as a result of which IASPM (International Association for the Study of Popular Music) was formed.

In April 1991, Tagg returned to the UK where he established the basis of what became EPMOW (Encyclopedia of Popular Music of the World). In 1993 he was appointed Senior Lecturer at the Institute of Popular Music (IPM) of the University of Liverpool, where, until 2002, he taught such subjects as Popular Music Analysis, Music and the Moving Image and History of Popular Music.

In 2000 Bob Clarida and Philip Tagg set up the Mass Media Music Scholars' Press (MMMSP) as a not-for-profit corporation registered in the state of New York. Its purpose is, using Fair Use legislation, to disseminate scholarly musicological writings on music in the mass media.

Dismayed by the increasing rigidity of the UK's managerialist university system, Tagg moved once again in 2002, this time to take up a professorship at the Université de Montréal where his main brief was to establish popular music studies in the university's Faculté de musique (2002–2009). In January 2010 he returned as a pensioner to the UK, since when he has been writing books and producing his “edutainment videos”.

Tagg is currently Visiting Professor of Music at Leeds Beckett University and the University of Salford. He is also one of the main figures behind the foundation of the Network for the Inclusion of Music in Music Studies (NIMiMs) in January 2015.

Semiotic music analysis
Tagg is probably best known for his work in the field of music analysis. Using mainly pieces of popular music as analysis objects, he stresses the importance of non-notatable parameters of expression and of vernacular perception in understanding "how music communicates what to whom with what effect" in today's world. He has adapted Charles Seeger's notion of the museme to demonstrate how combinations of such units are used to create both syncritic (intensional) structures inside the extended present, and diatactical (extensional) ones over time. These combinatory structures can be understood, he argues, with the help of an overall sign typology consisting of anaphones (sonic, tactile, kinetic, social), style flags (style determinants, genre synecdoches, etc.) and episodic markers. The semiotic theory is basically Peircean but it draws also on Umberto Eco's theories of connotation. The actual analysis method is based on both metamusical information about the analysis object (reception tests, opinions, ethnographic observation, etc.) to arrive at paramusical fields of connotation (PMFCs), and on intertextuality. The latter involves identifying sounds observed in the analysis object with sounds in other music – interobjective comparison material (IOCM) – and in connecting that IOCM with its own PMFCs. Tagg argues that this sort of music semiotics is musogenic, not logogenic, i.e. suited to expression in music rather than in words, and that the combination of intersubjective and interobjective procedures can, inside a given cultural context, provide reliable insights into the mediation of meaning through music.

Music theory reform
In 2011 Tagg started working for the reform of music theory terminology on two fronts. His views are:

[1] that conventional music theory terminology, based mainly on the euroclassical and jazz repertoires, is often both inaccurate and ethnocentric – he cites the widespread use of “tonality” to denote just one type of tonality and its simultaneous conceptual opposition to both “atonality” and “modality” as one example of the problem;

[2] that the denotation of non-notated musical structures, rarely covered in conventional music theory, needs urgent attention.

Awards
In June 2014, Tagg received a Lifetime Recognition Award from the International Semiotics Institute at its conference in Kaunas, Lithuania.

Selected bibliography
 1966. Popular music as a possible medium in secondary school education Cert. Ed. diss., University of Manchester.
 1979. Kojak – 50 Seconds of TV Music: see 2000a.
 1987. "Musicology and the Semiotics of Popular Music". In Semiotica, 66 (1/3): 279–298.
 1993. "‘Universal’ music and the case of death". In Critical Quarterly, 1993
 1998. "The Göteborg connection: Lessons in the history and politics of popular music education and research". In Popular Music, 17/2: 219–242.
 2000a. Kojak – 50 Seconds of TV Music – Towards the analysis of affect in popular music (2nd edition of PhD thesis from 1979). New York & Montréal: MMMSP, 424 pp. .
 2000b. Fernando the Flute: analysis of the music in an Abba mega-hit. New York & Montréal: MMMSP, 144 PP. .
 2003 (with Bob Clarida) Ten Little Title Tunes: Towards a musicology of the mass media. New York & Montréal: MMMSP, xvi+898 pp. .
 2009. Everyday Tonality. New York & Montréal: MMMSP. iv + 334 pp. . Italian translation: La tonalità di tutti i giorni: armonia, modalità, tonalità nella popular music: un manuale, edited by Franco Fabbri, translated by Jacopo Conti. Milano: Il Saggiatore, 2011. 432 pp. .
 2013. Music's Meanings: a modern musicology for non-musos. New York & Huddersfield: MMMSP, 710 pp.  (e-book);  (hard copy).
 2013b. Troubles with Tonal Terminology. 32 pp. (under ongoing revision)
 2014. Everyday Tonality II: towards a tonal theory of what most people hear (2nd edition). New York & Huddersfield: MMMSP, 600 pp.  (e-book).

References

External links
Philip Tagg's home page (includes complete CV and list of publications)
 Review in academic journal of his major work 'Music's Meanings'

1944 births
Living people
British musicologists
British semioticians
People from Oundle
Academic staff of the University of Gothenburg
Academics of the University of Liverpool
Academic staff of the Université de Montréal
Academics of the University of Huddersfield
Academics of the University of Salford


title: J. D. McAskill

text:
John Donald MacAskill (25 November 1907 – July 25, 1994) was an educator, politician and municipal official in Saskatchewan, Canada. He served as mayor of Saskatoon, Saskatchewan from 1954 to 1958.

Early life and education
He was born in Marble Mountain, Municipality of the County of Inverness, Nova Scotia as one of nine children to John Norman MacAskill and Mary Catherine MacLeod. He came to Saskatchewan as a farm worker at the age of 17. He studied at the Saskatoon Normal School and taught school in Borden and Hanley.

Career and later life
In 1929, he moved to Saskatoon to become vice-principal at Princess Alexandra School. While he was teaching, he earned a B.A. in Economics from the University of Saskatchewan. He later worked as an insurance salesman and then opened a men's wear store in the late 1940s. He was elected to the Public School Board in 1946 and served on Saskatoon city council in 1953 before being elected mayor. He resigned as mayor in March 1958 to become city commissioner. He resigned from that position in June 1966 for health reasons. He later served as principal of Dundurn School from 1969 to 1973.

He died at the age of 86 and is buried in Woodlawn Cemetery.

Legacy
McAskill Crescent in the Avalon neighbourhood in Saskatoon was named in his honour.

References

External links

1907 births
1994 deaths
20th-century Canadian educators
20th-century Canadian politicians
Mayors of Saskatoon
People from Inverness County, Nova Scotia


title: The Returned (American TV series)

text:
The Returned is an American supernatural drama television series developed by Carlton Cuse as an adaptation of the 2012 French series Les Revenants, which was broadcast internationally as The Returned.
The American adapted series follows residents in a small town whose lives are disrupted when people who have been dead for many years begin reappearing. Cuse wrote the pilot episode and executive produced the series alongside Raelle Tucker. The series premiered on March 9, 2015 and was cancelled by A&E after one season, on June 15, 2015.

Cast

Main
Kevin Alejandro as Sheriff Tommy Solano
Agnes Bruckner as Deputy Nikki Banks
India Ennenga as Camille Winship
Sandrine Holt as Dr. Julie Han
Sophie Lowe as Lena Winship
Mark Pellegrino as Jack Winship
Jeremy Sisto as Peter Lattimore
Mat Vairo as Simon Moran
Mary Elizabeth Winstead as Rowan Blackshaw
Tandi Wright as Claire Winship

Recurring

Aaron Douglas as Tony Darrow
Terry Chen as Deputy Mark Bao
Dylan Kingwell as Victor
Dakota Guppy as Chloe Blackshaw
Keenan Tracey as Ben Lowry
Carl Lumbly as Pastor Leon Wright
Leah Gibson as Lucy McCabe
Chelah Horsdal as Kris
Michelle Forbes as Helen Goddard
Rhys Ward as Adam Darrow
Alexander Calvert as Hunter
Giacomo Baessato as Deputy Shane Slater
 Renn Hawkey as Paul Koretsky
 Roger Cross as Matt

Episodes

Development
In May 2013, it was revealed that an English-language adaptation of the 2012 series was being developed by Paul Abbott and FremantleMedia, with the working title They Came Back. In September 2013, it was revealed that Abbott was no longer involved with the project, which A&E would develop. In April 2014, A&E ordered 10 episodes for the first season. On March 5, 2015, it was announced Netflix had acquired global rights to the show and would air it internationally each week, via its streaming service, following A&E's airing.

Production
The show, set in the fictional Cascades Mountains town of Caldwell, in Caldwell County, Washington, is actually filmed in and around Squamish, British Columbia.

Critical reception
The Returned has received mostly positive responses from critics. Rotten Tomatoes gives it a 67% approval rating, with a rating average of 7.4/10, based on reviews from 33 critics. The site's consensus states: "Though overshadowed by its superior source material, the US version of The Returned retains enough of the creep factor and character drama to appease fans of the genre." Metacritic scored it 67 out of 100, based on 24 "generally favorable" reviews.

See also
 Resurrection, a 2014–15 American series with a similar premise.
 Glitch, an Australian TV series with a similar premise.

References

External links

 The Returned on Netflix

2015 American television series debuts
2015 American television series endings
A&E (TV network) original programming
2010s American drama television series
2010s American horror television series
2010s American mystery television series
2010s American supernatural television series
American television series based on French television series
English-language television shows
Serial drama television series
Television series by Fremantle (company)
Television series created by Carlton Cuse
Television shows filmed in British Columbia
American fantasy drama television series


title: Barcelona power station

text:
Barcelona power station (also Power station of Barcelona) is a combined cycle thermoelectric plant located at Pier Energy of Port of Barcelona, in Barcelona, Spain. It has 2 thermal units of 425 MW, which use natural gas as fuel, and with a total electric power of 850 MW. It is owned by the multinational company Gas Natural.

See also
 List of power stations in Spain
 Besós power station
 Besós V power station

References

Buildings and structures in Barcelona
Power stations in Catalonia
Natural gas-fired power stations in Spain
Energy infrastructure completed in 2008