title: Samarkand State University

text:
Samarkand State University (SamSU) (; ) is a public university in Samarkand, Uzbekistan established by a government decree of the Government of Uzbekistan on 22 January 1927 in the city of Samarkand. The university is commonly known as Samarkand University (in Uzbek Samarqand universiteti)

History
The university was originally organized in 1927 as the Uzbek Pedagogical Institute and in 1930, it was renamed the Uzbek State Pedagogical Academy and in 1933, upon merger of the Pedagogical Academy and the Uzbek State Medical Institute into the Uzbek State University. In 1941—2016, the University was named after poet and philosopher Ali-Shir Nava'i (alternative transliteration Alisher Navoi).

In 1961, the Uzbek State University was finally renamed the Samarkand State University, a name it keeps to date. The rector of the university since 2015 is Dr. Alimdjan Rakhimovich Khalmukhamedov.

Currently, the University comprises the following faculties: Philology; History and Philosophy; Teaching; Physics and Mathematics; Biology; Economy; Tajik Philology; Russian Philology; Law; Physical education.

Bachelor level programs
NATURAL SCIENCES:
1. DIGITAL TECHNOLOGIES
 Applied mathematics
 Software engineering
 Computer Science & programming technologies
2. MATHEMATICS
 Mechanics
 Mathematics
 Methods of teaching mathematics
3. PHYSICS
 Physics
 Astronomy
 Biomedical physics
 Methods of teaching physics & astronomy
4. BIOLOGY
 Biology (by types)
 Biology teaching methods
 Biotechnology (food, feed, chemistry & agriculture)
 Technology of cultivation & processing of medicinal plants
5. CHEMISTRY
 Chemistry
 Chemical technology
 Materials science & chemistry of new materials
 Chemistry teaching methods
HUMANITIES:
6. HISTORY
 Archeology
 History (by countries and regions)
7. GEOGRAPHY & ECOLOGY
 Geography
 Hydrometeorology
 Ecology & environmental protection
8. DIGITAL ECONOMICS
 Economics
 Economics, human resources management
9. TEACHING
 Pedagogy & psychology
 Primary education & sports education
10. PRE-SCHOOL EDUCATION
 Preschool education
 Technological education: labor education
 Technological education: music education
 Technological education: fine arts & engineering graphics
11. PSYCHOLOGY & PHILOSOPHY
 Sociology
 Philosophy
 Psychology (by type of activity)
 Social work (in different areas of activity)
 National ideology, fundamentals of spirituality & legal education
INTERNATIONAL:
12. INTERNATIONAL PROGRAMS
 Preschool education
 Mechatronics & robotics
 Applied mathematics & informatics
 History (History of the Great Silk Road)
 Materials science & new materials technology
LANGUAGES, ARTS & SPORTS:
13. PHILOLOGY
 Philology & language teaching (Uzbek)
 Philology & language teaching (Tajik)
 Publishing
14. RUSSIAN LANGUAGE PHILOLOGY
 Philology & language teaching: Russian
 Foreign language literature: English
 Russian language & literature (in other language groups)
15. ART
 Music education
 Handcrafts education
 Fine arts & engineering graphics
16. SPORT
 Physical culture 
 Sports activities (in the field of women's sports)
NEW PROGRAMS STARTING IN 2020:
17. LAW
18. AGROBIOTECHNOLOGY

See also
List of universities in Uzbekistan

References

External links
Official website

Samarkand State University
Universities and colleges established in 1927
1927 establishments in the Soviet Union
Buildings and structures in Samarkand


title: Killer Rezzy

text:
Killer Rezzy is a New York City-based restaurant reservation service for Manhattan, Brooklyn and the Hamptons.

Killer Rezzy sells reservations for restaurants they partner with as well as restaurants they have no business agreement with. In the case of non-partner restaurants, the reservation will be under another customer's name. Some restaurants are bothered by Killer Rezzy selling reservations to their restaurant when free reservations can be made at OpenTable, Killer Rezzy has offered to remove restaurants upon request.

See also
 List of websites about food and drink

References

External links

Online retailers of the United States
Online food ordering


title: Suez Canal Area Development Project

text:
The Suez Canal Corridor Area Project () is a megaproject in Egypt that was launched on 5 August 2014 by President Abdel Fattah el-Sisi and was completed in 2015. The project aimed to increase the role of the Suez Canal region in international trade and to develop the canal cities of Suez, Ismailia, and Port Said.

The project involved building a new city (Ismailia), an industrial zone, and fish farms, encouraging the development of a tech industry, building seven new tunnels between Sinai, Ismailia and Port Said, improving five existing ports, creating new centers for logistics and ship services, and digging a new canal parallel to the Suez Canal. The new canal was constructed to increase capacity by allowing ships to sail in both directions at the same time.

Egyptian President Abdel Fattah el-Sisi announced that the New Suez Canal project would operate within a year (instead of the original plan of three years). The project's authority projected revenues of the canal to increase from 5 billion dollars to 12.5 billion dollars annually. The new canal channel and the seven tunnels were under construction simultaneously. Construction of the rest of the projects (which include building the city, industrial zone, "technology valley", and fish farms) began in February 2015.

History
The Suez Canal Corridor Developing Project dates back to the 1970s when former Egyptian Minister of Housing, Hassaballah El Kafrawy proposed the project to President Anwar al Sadat. Due to various problems, the project failed to start. He proposed the project again to President Hosni Mubarak in the 1990s, but to no avail. Hassaballah El Kafrawy sought to turn the canal corridor into an international logistics region rather than just a passageway for ships.

In 2008, the former Minister of Transportation, Mohamed Mansour again proposed the project. However, the Egyptian government again did not initiate the project.

In 2012, the Muslim Brotherhood introduced a development project for the Suez Canal region during the presidential elections. In 2013, Prime Minister Hesham Qandil announced that the government would begin planning for the project.

Projects

New Suez Canal

The  New Suez Canal ( ) is an artificial waterway project in Egypt which created a second shipping lane along part of the Suez Canal, and deepened and widened other stretches. The project was inaugurated by the Chairman of the Suez Canal Authority Mohab Mamish in the presence of Egyptian President Abdel Fattah el-Sisi on 5 August 2014. The new canal was opened one year later in a ceremony attended by several international dignitaries including the then French President François Hollande.

The New Suez Canal is expected to expand trade along the fastest shipping route between Europe and Asia. The new canal allows ships to sail in both directions at the same time. This decreases transit time from 18 to 11 hours for most ships. The expansion is expected to double the capacity of the Suez Canal from 49 to 97 ships a day.

The New Suez Canal is  long, including  of dry digging, and  of "expansion and deep digging" to provide a second shipping lane in the existing  canal, allowing for separated passing of ships in opposite directions. It also includes the deepening and expansion of a  section of the existing canal. The construction, which was scheduled to take three years, was instead ordered by the President to be completed in a year. The chairman of the Suez Canal Authority announced that the revenues from the Suez Canal (after the completion of the New Suez Canal) will jump from 5 billion dollars to 12.5 billion dollars annually. The Egyptian government said that these revenues will be used to transform the cities along the Canal (Ismaïlia, Suez, and Port Said) into international trading centers. The government has also said that many new projects in the Suez province are being studied as a result of enlarging the Suez Canal capacity, such as building a new industrial zone, fish farms, and the completion of the Valley of Technology (wadi al thechnologia).

The project cost around 30 billion Egyptian pounds (approximately 4.2 billion dollars) and no foreign investors were allowed to invest in the project, but rather Egyptians were urged to participate in funding the project through bank certificates of deposit initially yielding 12%, later raised to 15.5%. The Egyptian Armed Forces participated in the project by helping in digging and designing the canal.

The enlarged capacity allows ships to sail in both directions at the same time over much of the canal's length. Beforehand, much of the canal was only one shipping lane wide, with limited wider basins for passing. This is expected to decrease waiting time from 11 hours to 3 hours for most ships, and to increase the capacity of the Suez Canal from 49 to 97 ships a day.

Progress
Technical difficulties initially arose, such as the flooding of the new canal through seepage from the existing canal. Nevertheless, work on the New Suez Canal was completed in July 2015. The channel was officially inaugurated with a ceremony attended by foreign leaders and featuring military flypasts on 6 August 2015, in accordance with the budgets laid out for the project.

Benefits, costs, and risks

Egyptian officials, especially the chairman of the Suez Canal Authority, Vice-Admiral Mohab Mamish, stated that the $8.2 billion project, which expands capacity to 97 ships per day, will more than double annual revenues to some $13.5 billion by 2023. That, however, would require yearly growth of 10%. A recent forecast from the IMF suggests that in the decade up to 2016 the annual rate of growth for global merchandise trade will have averaged 3.4%.

About 18 scientists writing in the academic journal Biological Invasions in 2014 expressed concern about the project impacting the biodiversity and the ecosystem services of the Mediterranean Sea. They called on Egypt to assess the environmental effects that the canal expansion could cause, a request echoed by the executive secretary of the Convention on Biological Diversity. Over 1,000 invasive species have entered the Mediterranean Sea through the Suez Canal since its original construction in the mid-19th century, with human activities becoming a leading cause of the decline of the sea's biodiversity, according to the European Commission's Joint Research Centre.

Initially, the project was to be financed through a stock market IPO, allowing partial private ownership of the project. However, the government quickly changed its financing strategy, relying on interest-bearing investment certificates that do not confer any ownership rights to investors. The certificates were issued by the Suez Canal Authority with an interest rate of 12%.

Revenues
The government blocked access to the official revenues reports for three months after the opening. It then published two reports for August and September, which showed consecutive decreases in the total Suez Canal revenues by 10% or $150 million.

Seven new tunnels
In 2014 the chairman of the Suez Canal Authority announced that seven new tunnels will be dug to connect the Sinai Peninsula to the Egyptian homeland. Three tunnels will be dug in Port Said (two for cars and one for railways) and four will be dug in Ismaïlia (two for cars, one for railways, and one for other special uses).

The tunnels will cost 4.2 billion dollars (approximately about 30 billion Egyptian pounds). The first three tunnels will cost 18 billion Egyptian pounds and Arab Contractors and Orascom are the builders for this project.

Floating bridge
The Al-Nasr floating bridge to enable easy travel between Port Said and Port Fouad was built successfully and inaugurated in late 2016. The bridge extends from opposite banks, with the help of tugboats that push both parts until they connect to form a bridge that can be traversed by cars. It is  long. This was an important step towards the efficient movement of equipment and manpower.

Technology Valley
The technology valley is an ongoing project that was paused for 17 years and now the government announced plans to continue the project. The project's location lies on the eastern part of Ismaïlia city and consists of four stages: the first stage covers , the second stage covers , the third stage covers , and the fourth stage covers . However, when the project started it completed only 108 acres and then was put on hold.

The completed technology valley will be the first step in starting Egypt's electronics industry for manufacturing technological devices.

Industrial Zone
The industrial zone project will cover 910 acres of land northwest of the Gulf of Suez. The first stage of the project covers 132 acres and it is done for 20 million Egyptian pounds. The second stage is 132 acres and it is not yet done. Currently, 23 factories are operating and 56 are still under construction. upon finishing the project it will provide 9386 work opportunities.

The chairman of the Suez Canal authority also said that shipyards and services will be built along the Suez Canal corridor which includes: catering and services center for ships, a ship manufacturing and repair center, a center for manufacturing and repairing containers, and logistic redistribution centers.

New Ismailia City
This project will create "New Ismailia City", which will cover 16,500 acres of land. This new city will be created to accommodate approximately 500,000 Egyptians to relieve the pressure from the crowded towns of Cairo and the delta cities. The location of this city is designed to accommodate the workers of the nearby Wadi Al-thechnologia (Technology Valley) which will be built in the following years.

Fish Farming
Under the National Project for Fish Farming, new fish farms were built on the eastern side of the Suez Canal. The project includes twenty-three tanks that cover 120  square km with a depth of 3-5m. It covers the area from southern Tafrea to the Gulf of Suez. This project is designed to produce high-quality fish for food.

Russian Industrial Zone
During a state visit to Russia in 2014, President Sisi said that he had agreed with his Russian counterpart President Vladimir Putin to establish a Russian industrial zone in the new project. In May 2018, Egypt and Russia signed a 50-year agreement to construct the new industrial zone.

Developing Existing Ports

West Port - Port Said West
West Port lies on the northern entrance of the Suez Canal and is considered one of the most important ports in Egypt because of its location on the entrance of the Suez Canal.

The port covers an area of 2.9  square km (the land area is 1.2  square km and the remaining 1.7  square km is water area). The port contains 37 docks which include docks for passengers, yachts, and general goods. The port is divided into stations and each station contains several docks with its working area (that includes repairing centers, equipment center, and stores). The maximum capacity of the port is 12 million tons yearly.

East Port - Port Said East
East Port lies on the northwestern entrance of the Suez Canal and is an important link between the East and Europe. The port was built in 2004 to serve international trading and act as a transit center between the continents.

The port borders the Mediterranean Sea from the north, the industrial zone from the south, the salty lakes from the east, and the Suez Canal branch from the west. The port covers an area of 35 square km.

The port authority plans to build docks that will reach 12  km long and an industrial zone south of the port covering 78 square km.
Three stages are remaining to fully complete and improve the port:
Stage one is creating 8 stations with docks 8  km long
Stage two is creating 15 stations with docks 16  km long
Stage three is creating 21 stations with docks 25  km long

Ain-Sokhna Port
Ain-Sokhna Port lies at the southern entrance of the Suez Canal.

The port's total size is 24,919,337.85 square m:
3,400,000 square m is the water area
21,519,337 square m is the land area
1,000,000 square m is the Customs center
The largest dock size is 7  km long and 5.5  km wide

In 2008, DP World, an Emirati company bought the port and announced the plan to build a new 1.3  km dock to work with more than 1 million containers yearly. It also said that a general goods center will be built.

The port serves the oil and gas fields in the region. It exports products from the petrochemicals and refining factories in the Ain-Sokhna region. It also exports the products of a ceramic factory, an ammonia factory, and a sugar factory.

Arish Port
Arish Port lies on the Mediterranean Sea on the northern coast of Arish city. In 1996 the port was transformed from a fishing port into an international trade port.

The port contains a dock that is 242m long that can serve huge ships. There is another dock which is 122m long that serves smaller ships. The port also includes covered storage areas that cover 2  square km and non-covered storage areas which cover more than . On 5 June 2014 the port was no longer controlled by the Port Said port authority, the Ministry of Defence took control of it due to its sensitive location. The port contains a lighthouse that can be seen from up to . The main importance of the port is that it exports Sinai products to the Mediterranean countries.

New projects include:
Build a 2  km dock which will include a containers station and a general goods station
Build new storage areas
Build a dock for yachts
Build new logistic centers

El-Adabiya Port
El-Adabiya Port lies on the western side of the Suez Canal, about 17  km from Suez City. The Red Sea Ports Authority in Egypt controls the port.

El-Adabiya Port consists of 9 docks which reach 1840m long and  deep. the water area is about 158  square km (which is also shared with the Suez Canal port and Petroleum Dock port) and the land area is 0.8  square km. The maximum carrying capacity of the port reaches 6.7 million tons yearly.

In 2014, the Suez Canal Corridor Project Authority announced that El-Adabiya Port will be improved after the completion of the new Suez Canal to serve more ships.

See also

Istanbul Canal
Ben Gurion Canal Project

Notes
Some of this article is from Rose al-Yūsuf magazine.

References

External links
Rose al-Yūsuf magazine
Diagram

Economy of Egypt
2014 in Egypt
2015 in Egypt
Canals opened in 2015
Canals in Egypt
Red Sea
Suez Canal
2015 establishments in Egypt
Ports and harbours of the Arab League
Transport in the Arab League


title: Jacques Maumont

text:
Jacques Maumont (29 September 1924 – 13 April 2006) was a French sound editor who won at the 35th Academy Awards in the category of Best Special Effects. He won for his work on the film The Longest Day, for which he shared his win with Robert MacDonald. He worked on 140 films during his career.

References

External links

1924 births
2006 deaths
Best Visual Effects Academy Award winners
Sound editors
César Award winners


title: Stamford bull run

text:
The Stamford bull run was a bull-running and bull-baiting event in the English town of Stamford, Lincolnshire. It was held on St Brice's Day (13 November), for perhaps more than 600 years, until 1839.  A 1996 Journal of Popular Culture paper refers to the bull run as a festival, in "the broader context of the medieval if not aboriginal festival calendar", though works written during and shortly after the activity's later years variously describe it as a "riotous custom", a "hunt", an "old-fashioned, manly, English sport", an "ancient amusement", and – towards its end – an "illegal and disgraceful ... proceeding".

Attempts to suppress the Stamford bull run began in 1788, the year the Tutbury bull run was brought to an end.  Other bull-running events had earlier been held in Axbridge, Canterbury, Wokingham and Wisbech.

Origins
Folklore in Stamford maintained that the tradition was begun by William de Warenne, 5th Earl of Surrey, during the reign of King John (1199—1216). The story, recorded by Richard Butcher in his The Survey and Antiquitie of Stamford Towne (1646), and described by Walsh as "patently fictional", relates how Warenne: The town of Stamford acquired common rights in the floodplain next to the River Welland, which until the last century was known as Bull-meadow, and today just as The Meadows.

The earliest documented instance of bull running appears in 1389, among guild records collected by Joshua Toulmin Smith. The document from Stamford's 'Gild of St Martin' states that "on the feast of St. Martin, this gild, by custom beyond reach of memory, has a bull; which bull is hunted by dogs, and then sold; whereupon the bretheren and sisteren sit down to feast." The phrase "custom beyond reach of memory" leaves uncertain whether the custom pre-dated the guild (which was established by 1329).

The event

The ringing of St Mary's Church bells at 10.45 am opened the event, announcing the closing and boarding of shops and the barricading of the street with carts and wagons. By 11 am crowds gathered and the bull was released, baited by the cheering of the crowd, and (among other things) a man who would roll towards it in a barrel. It was then chased through the main street and down to Bull-meadow or into the River Welland. It was caught, killed and butchered. Its meat was provided to the poor and as such the custom by the 1700s was supported as a charity by donations.

Seventeenth-century historians described how the bull was chased and tormented for the day before being driven to Bull-meadow and slaughtered. "Its flesh [was] sold at a low rate to the people, who finished the day's amusement with a supper of bull-beef."

Mabel Peacock noted that "a second bull was frequently subscribed for and run in some of the streets on the Monday after Christmas."

Bullards' Song

Versions of the song of the Stamford bullards are recorded from at least 1846.

Suppression

The event was a time of drunken disorder. The custom was periodically suppressed and eventually ended in the 19th century. The annual 15 August bull running in Tutbury, which was more violent and included mutilation of the bull, was ended by the Duke of Devonshire in 1788. The same year, an unsuccessful attempt (the first recorded) was made to stop the Stamford event.

The bull running in Stamford was the subject of an 1833 campaign by the Society for the Prevention of Cruelty to Animals. Some Stamford residents defended their ancient custom as a "traditional, manly, English sport; inspiring courage, agility and presence of mind under danger." Its defenders argued that it was less cruel and dangerous than fox hunting, and a local newspaper asked "Who or what is this London Society that, usurping the place of constituted authorities, presumes to interfere with our ancient amusement?"  A riot trial in July 1837 tried only five men and convicted three; William Haycock, John Pearson and Richard for participating in the Bull running in November 1836. This inspired some in the town to plan a bigger event for the next year. The mayor of Stamford – at the direction of and with the support of the Home Secretary – used 200 newly sworn-in special constables, some military troops, and police brought in from outside, to stop the bullrun of 1837, but it happened anyway. The bull and the people ran through the security line, a riot ensued, and in the end no one was killed (not even the bull, which turned out to have been supplied by or stolen from a local lord, discreetly unnamed in contemporary reports).

The last bull run of Stamford was in 1839, in the face of an even larger force of soldiers and constables – some of the latter of whom smuggled the bull in themselves. The run was short, with the bull being captured by the peace-keeping forces quickly and without reported serious incident. Because the townsfolk were forced to bear the cost of this militia presence for several years in a row, they agreed to stop the practice on their own henceforth, and kept their word. The last known witness of the bull running was James Fuller Scholes who spoke of it in a newspaper interview in 1928 before his 94th birthday:

Legacy
As late as 1895 at JS Loweths, the mayor of Stamford's, civic banquet a string band played a piece of music entitled Stamford Bull Running arranged by A Rippon.

See also

Bull running
Cruelty to Animals Act 1835

Notes and references
Notes

References

Bibliography

Bull sports
Culture in Lincolnshire
November events
Stamford, Lincolnshire
1830s disestablishments in England
Annual events in England
Defunct sporting events


title: We Are Your Friends (film)

text:
We Are Your Friends is a 2015 drama film directed by Max Joseph (in his feature directorial debut) and with a screenplay by Joseph and Meaghan Oppenheimer, from a story by Richard Silverman. The film stars Zac Efron, Emily Ratajkowski and Wes Bentley, and follows a young Los Angeles DJ trying to make it in the music industry and figure out life with his friends.

The film was released in the United States by Warner Bros. Pictures on August 28, 2015. Its financier, StudioCanal, distributed it internationally, including France, the United Kingdom, Germany, the Netherlands, Australia and New Zealand. The film received mixed reviews and grossed $11 million.

Plot
Cole Carter (Zac Efron), a former track star, college dropout, and struggling 23-year-old DJ in the electronic dance music (EDM) scene, dreams of becoming a major record producer. Cole books a gig to DJ at a local nightclub, where he meets the headliner, a once-innovative DJ, James Reed (Wes Bentley). James invites Cole to a party, where Cole hallucinates because a joint they shared contained Phencyclidine (PCP). The morning after, Cole wakes up at James' house, where he is introduced to Sophie (Emily Ratajkowski), James' girlfriend and personal assistant, who drives him home.

Later, James calls Cole to DJ at his house party, a paid gig. Cole's friends Dustin Mason (Jonny Weston), Ollie (Shiloh Fernandez), and Squirrel (Alex Shaffer) show up, and after a party goer insults Mason, Mason gets in a fight with him and has to be pulled out of James's pool. Despite his background and friends, James sees potential in Cole and takes him as his student. After listening to Cole's original song, James criticizes Cole for imitating other well-known producers, and he suggests using organic sounds for an original vibe. They write a song using the original vibe technique and vocals from Sophie, which is well received at a local nightclub. Next, Cole and his friends head to Las Vegas for a music festival, where he meets up with Sophie, whom James ditched. Sophie gives Cole MDMA, and they sleep together, spending the night at a hotel.

Back in San Fernando, James invites Cole over to watch an MMA fight with him and Sophie. An awkward moment ends up with Sophie telling Cole to accept what happened and leave it alone, and James gives Cole a new MacBook Pro and the opportunity to open for him at a popular music festival. One day, Cole and Paige (Jon Bernthal) meet up with Tanya Romero (Alicia Coppola), whose house is being foreclosed. During the negotiation, Paige buys her house and rents it back to her, intending to sell it quickly for a substantial price, which angers Cole. While James' alcoholism begins to affect Sophie, he and Cole go to a strip club for his birthday. Cole gets sick, and James finds out about Cole's relationship with Sophie, and severs ties with him. Returning to his three friends, it is revealed that Squirrel has been looking for better jobs, and Mason has rented a house for all of them. Following intense partying, Squirrel is found unconscious and dies from an overdose. After the funeral, the remaining friends begin to question their future, and go their separate ways after Mason blames Ollie for the drugs that killed Squirrel. Cole visits James, whose alcoholism has completely consumed him, to let him know of Squirrel's death and that it could possibly have been his fault. James consoles him and also tells him that Sophie moved to the San Fernando Valley and works at a local coffee shop, where he later visits her.

While taking a run, the battery of Cole's phone goes dead, causing his music to stop playing. Upon closer observation, he listens to his surroundings, which inspires him to record samples and integrate them into his long-awaited track. Cole then calls and tells James that he has something for Summer Fest, and James gives him another chance. The festival is set outside the American Apparel building in Los Angeles. Cole releases his track, which contains snippets of his conversations with Sophie and Squirrel, and he later uses Squirrel's quote "Are We Ever Going To Be Better Than This?" as a hook before the beat drop. When the song ends, Cole is met with enthusiastic acclaim from the audience and James. The film concludes with Sophie going back to college, Ollie reading for an audition, Mason handling the nightclub, and Cole remaining positive about his future and creating a proper relationship with Sophie.

In the mid-credits scene, Tanya opens her front door to an Adidas box that Cole has been saving all of his earnings in throughout the film.

Cast

 Zac Efron as Cole Carter
 Emily Ratajkowski as Sophie
 Shiloh Fernandez as Ollie
 Alex Shaffer as Squirrel
 Jonny Weston as Dustin Mason
 Wes Bentley as James Reed
 Joey Rudman as Joey
 Jon Bernthal as Paige Morrell
 Vanessa Lengies as Mel
 Brittany Furlan as Sara
 Jon Abrahams as a club promoter
 Alicia Coppola as Tanya Romero
 Korrina Rico as Crystal
 Nicky Romero as himself (Cameo)
 Dillon Francis as himself
 Alesso as himself
 DallasK as himself
 Them Jeans as himself
 Zach Firtel as DJ Sweet Baby Ray's
 Andy Ward as DJ Xochil
 Hayden Fein as DJ DK
 Jacob Epstein as DJ Bald Dad
 King Bach as himself (Cameo)

Production

Development
On June 6, 2014, Efron entered negotiations to star in an untitled film about a DJ, which was set to be directed by Max Joseph. The film is Joseph's debut. On July 31, 2014, Ratajkowski joined the cast of the film, which by then had been given the title We Are Your Friends, and had a start date of August 18 announced for principal photography. The name came from the 2006 Justice vs. Simian song "We Are Your Friends". Jon Abrahams joined the cast on August 5, Alicia Coppola on August 14, and Wes Bentley on August 18. By that point, Jonny Weston, Shiloh Fernandez, and Alex Shaffer had also signed on to star. In late September, the film cast background actors.

Filming
Principal photography began on August 18, 2014, in the San Fernando Valley. Joseph co-wrote the adapted screenplay with Meaghan Oppenheimer, based on a Richard Silverman story. Working Title Films partners Tim Bevan and Eric Fellner co-produced the film, which was financed by StudioCanal. Silverman was an executive producer. StudioCanal is the worldwide distributor. The promotional tour for the film included stops in London, Paris and 6 North American cities (Toronto, Miami, New York, Chicago, Los Angeles and San Francisco).

Animation
A critically noted scene in the film involves animation depicting Cole's PCP hallucinations at a swanky LA art gallery. Rotoscoping was used to achieve this effect.

Soundtrack

Release
In November 2014, Warner Bros. Pictures acquired the film's North American distribution rights. Two weeks later, StudioCanal announced that international distribution had been sold in several markets. On April 28, 2015, Warner Bros. set the film for an August 28, 2015 release. The film was only released on DVD on November 17, 2015, in North America. The Blu-ray was only released in region B (UK, Europe, Oceania, Middle East, Africa) on December 17, 2015.

Reception

Box office
We Are Your Friends grossed $3.6 million in North America and $7.5 million in other territories for a total gross of $11.1 million.

It made $1.8 million in its opening weekend, finishing 14th at the box office. Box Office Mojo reports with a 2,333 theater count, the film grossed an average $758 from each venue, making it the fourth worst debut for a film with a 2,000+ theater average. It was surpassed later in the year by Rock the Kasbah ($731 average) and Jem and the Holograms ($570), both of which opened on October 23, 2015.

Critical response
We Are Your Friends received mixed reviews from critics, although Efron's performance and the soundtrack were praised.

Review aggregator Rotten Tomatoes gave the film an approval rating of 39% based on 136 reviews, with an average rating of 4.93/10. The site's consensus reads, "We Are Your Friends boasts magnetic stars and glimmers of insight, but they're lost in a clichéd coming-of-age story as programmed as the soundtrack's beats." On Metacritic, the film has a score of 46 out of 100, based on 32 critics, indicating "mixed or average reviews". Audiences polled by CinemaScore gave the film a grade of "C+" on an A+ to F scale.

The Hollywood Reporter named Efron's performance as Cole Carter their 2nd-favorite film performance of 2015, behind only Christopher Abbott as the title character of James White. The magazine stated, "And while the picture's box-office returns didn't exactly pump up the volume, this 28-year-old Tyrone Power clone increasingly ranks among the most exciting American actors of his generation." Bilge Ebiri of Vulture.com noted that Ratajkowski's role takes a back seat to the love triangle's central Efron/Bentley relationship.

The movie is the subject of the third season of the podcast The Worst Idea of All Time, in which two New Zealand comedians watch the same movie every week for a whole year, and discuss it each week.

See also
 XOXO (2016), a film with a similar premise

References

External links

2015 films
2010s musical drama films
British drama films
American independent films
American musical drama films
Films about DJs
Films produced by Eric Fellner
Films produced by Tim Bevan
Films scored by Stewart Copeland
Films set in Los Angeles County, California
Films shot in California
Films with live action and animation
Dune Entertainment films
StudioCanal films
Warner Bros. films
Working Title Films films
2015 directorial debut films
Films set in the San Fernando Valley
2015 drama films
2010s English-language films
2010s American films
2010s British films


title: Nordkette

text:
The Nordkette, also variously called the North Chain, Northern Range, rarely the Inn Valley Range or Inn Valley Chain (Inntalkette), is a range of mountains just north of the city of Innsbruck in Austria. It is the southernmost of the four great mountain chains in the Karwendel. To the west it is linked by the Erl Saddle to the Erlspitze Group, to the east via the  Stempeljoch saddle () to the Gleirsch-Halltal Range. To the south it is bounded by the Inn valley. Its highest summit is the Kleiner Solstein () in the west of the range.

The Nordkette is served by the Nordkette Cable Car, which offers easy access to the ski area and the Innsbruck Klettersteig. The latter starts in the east, near Hafelekar station () on the Nordkette Cable Car, and runs via the Seegrubenspitze, the Kemacher and the Langen Sattel to Frau Hitt and the Frau Hitt Saddle in the west. In addition, the Goethe Way (Goetheweg) runs from Hafelekar Station along the arête eastwards to the Pfeis Hut north of the Rumer Spitze. Below the Hungerburg - Seegrube section of the Nordkette Cableway runs the Nordkette Singletrail, one of the most challenging routes in Europe for freeride mountain bikers.

The following Alpine Club huts in the area of the Nordkette offer climbers bases for multi-day tours taking in numerous summits: the Solsteinhaus, the Neue Magdeburger Hut, the Pfeis Hut and the Bettelwurf Hut (in the Gleirsch-Halltal Range).

In the southwest, there is a small massif in front of the Nordkette, the Hechenberg, which reaches a height of  at the Kirchbergköpfl and which is separated from the Nordkette to the northeast and east by the Kranebitter Klamm.

Important summits
The most important summits of the Nordkette from west to east are the:
 Großer Solstein ()
 Kleiner Solstein ()
 Hohe Warte ()
 Hintere Brandjochspitze ()
 Vordere Brandjochspitze ()
 Hippenspitze ()
 Brandjochkreuz ()
 Frau Hitt ()
 Westliche Sattelspitze ()
 Kemacher ()
 Kumpfkarspitze ()
 Seegrubenspitze ()
 Hafelekarspitze ()
 Gleirschspitze ()
 Mandlspitze ()
 Gleirschtaler Brandjoch ()
 Rumer Spitze ()
 Thaurer Jochspitze ()
 Pfeiser Spitze ()
 Lattenspitze ()
 Wildangerspitze ()
 Thaurer Zunterkopf ()
 Haller Zunterkopf ()
 Hochmahdkopf ()

External links

 www.nordkette-austria.net – Website about the North Chain

Mountain ranges of the Alps
Two-thousanders of Austria
Mountain ranges of Tyrol (state)
Karwendel
Innsbruck


title: Smaisuk Krisansuwan

text:
Smaisuk Krisansuwan (born 8 July 1943) is a former Thai cyclist. He competed in the individual pursuit and team pursuit events at the 1964 Summer Olympics.

References

1943 births
Living people
Smaisuk Krisansuwan
Smaisuk Krisansuwan
Cyclists at the 1964 Summer Olympics
Place of birth missing (living people)
Asian Games medalists in cycling
Cyclists at the 1962 Asian Games
Cyclists at the 1966 Asian Games
Medalists at the 1962 Asian Games
Medalists at the 1966 Asian Games
Smaisuk Krisansuwan
Smaisuk Krisansuwan
Smaisuk Krisansuwan
Smaisuk Krisansuwan


title: High Tor

text:
High Tor may refer to:

High Tor (play), a 1936 play by Maxwell Anderson, later adapted to a musical TV film
High Tor (album), the 1956 soundtrack album of the musical TV film.
High Tor State Park, a state park in Rockland County, New York, United States
High Tor Limestone, a geological formation in Wales, UK
High Tor, a cliff-face in Matlock Bath, Derbyshire, UK


title: Laurence Marshall

text:
Laurence Arthur Marshall (1 June 1931 – 31 May 2011) was a British Circuit judge.

He was educated at Ardingly College and King's College London (LLB), and was called to the bar at Gray's Inn in 1956. He served as a Circuit judge from 1991 to 2003.

References

1931 births
2011 deaths
People educated at Ardingly College
Alumni of King's College London
Members of Gray's Inn


title: Dengying Formation

text:
The Dengying Formation is an upper Ediacaran (551-541 Ma) fossiliferous geologic formation found in South China. It was deposited on a shallow marine carbonate platform.

Members
Listed by ascending age:
 The Hamajing Member is characterized by light grey, medium- to thick-bedded dolomite, intercalated with thin layers of chert.
 The Shibantan Member is interpreted to represent a subtidal environment and is composed of dark grey, thin-bedded bituminous limestone. It is the most fossiliferous of the Dengying Formation members and has yielded several trace fossils, such as Lamonte.
 The Baimatuo Member consists of light grey, thick-bedded dolomite.

Traditionally, the Tianzhushan Member was considered to be the uppermost unit of the Dengying Formation. However, its small shelly fossils and Micrhystridium-like acritarchs are a shared characteristic with the Cambrian Yanjiahe Formation.

Genera
 Cloudina
 Paracharnia
 Sinotubulites
 Yangtziramulus

Ichnogenera
 Helminthoidichnites
 Lamonte
 Torrowangea

See also
 List of fossiliferous stratigraphic units in China
 Ediacaran biota

References

Geologic formations of China
Phosphorite formations
Cambrian northern paleotemperate deposits
Paleontology in China


The 1927–30 Central European International Cup was the first edition of the Central European International Cup and was held between September 18, 1927, and May 11, 1930. The tournament's structure included a round-robin competition for the five teams involved. As the winner was to receive a Bohemian crystal cup offered by Prime Minister of Czechoslovakia Antonín Švehla, the tournament became known as the Antonín Švehla Cup.

Organizing committee
Sessions of the organizing committee took place on March 9, 1930, in Trieste and on March 11, 1930, in Budapest. The committee was composed by
 M. Ferretti, president
 M. Fischer, vice-president
 Hugo Meisl, secretary
 Giovanni Mauro, technical expert

Events

1927
The tournament began on September 18, 1927, with the match Czechoslovakia-Austria, which ended 2–0. The following week, Austria was defeated once more in Budapest, Hungary, with a score of 5–3.
On October 23, in Prague, Italy's match against Czechoslovakia ended with a 2–2 draw. The last game of 1927 took place in Bologna between Italy and Austria, won 1–0 by Austria. The Austrian team complained in this occasion that the referee seemed not sufficiently impartial or fair.

1928
1928 opened with Italy's victory against Switzerland on January 1 in Genoa (3–2) and then, on March 25 in Rome, Italy succeeded in beating Hungary for the first time in history (4- 3). Each player on the Italian team was awarded a prize of 24,000 [Italian lira|lire]. On April 1, in Vienna, Austria lost 0–1 against Czechoslovakia; on April 22, in Budapest, the Czech team lost 2–0 to Hungary.
After a break to allow Switzerland and Italy to participate in the 1928 Summer Olympics in Amsterdam, the tournament resumed in the fall: Italy beat Switzerland (3–2); Austria wins 5–1 over Hungary  and 2–0 over Switzerland. The year ended with the victory of Hungary on Switzerland, on November 1, 3–1.

1929
On March 3, 1929, Italy beat Czechoslovakia 4–2, losing 3–0 to the Austrians barely a month later, on April 7, in Vienna. On April 14 Hungary beats Switzerland 5–4, and the Swiss team surrenders again to the Czechs (4–1) on 5 May. The two winning teams draw in the match (1–1) held in Prague on September 8. On October 6, Czechoslovakia beats Switzerland 5–0, and the Swiss's annus horribilis continues with a loss to Austria on October 27, on Bern's home turf. At year end, with Switzerland last after losing all eight games played, Austria and Czechoslovakia are tied with 10 points at the head of the tournament, followed by Italy and Hungary with 9 points each.

1930
The only game scheduled for 1930 was between Hungary and Italy. The match was played on May 11, 1930, in Budapest, and it is reported that Italy's trainer, Vittorio Pozzo brought his players to visit World War I battlefields before playing the last and decisive game of the tournament, perhaps wishing to bring back memories of their own participation, just 13 years earlier, in the fight against Austro-Hungarian soldiers. The team's crushing victory (5–0) brought Italy the first edition of the cup.

Final standings and Results

Matches

Winner

Statistics

Goalscorers

References

Central European International Cup


title: Convercent

text:
Convercent is a Denver, Colorado-based software company that helps companies design and implement compliance programs. The company's Convercent governance, risk management and compliance (GRC) software integrates the management of corporate compliance risk, cases, disclosures, training and policies.

Software
The company's software is delivered using the software as a service model.

Funding
In January 2013, Convercent received $10.2 million in funding, led by Azure Capital Partners and Mantucket Capital and with participation from City National Bank.

In October 2013, Convercent raised $10M in Series B funding led by Sapphire Ventures] (formerly SAP Ventures), with participation from existing investors Azure Capital Partners, Rho Capital Partners, and Mantucket Capital.

Customers
Convercent has hundreds of customers in more than 130 countries, including Philip Morris International, CH2M Hill and Under Armour.

History
In March 2021, Convercent was acquired by Atlanta-based “trust intelligence” software company, OneTrust.

References

Risk management software
Companies based in Denver


title: Mary Akrami

text:
Mary Akrami (; ) is the director of the Afghan Women Skills Development Center. She represented Afghan civil society at the 2001 Bonn Conference. In 2003 the Afghan Women Skills Development Center opened the first women’s shelter in Kabul, Afghanistan. The shelter provides legal advice, literacy classes, psychological counseling, and basic skills training to women who need them. Akrami is on call 24 hours a day at the shelter, and under her leadership some of the women there have denounced their abusers publicly and filed court cases against them, something almost unheard of before. She has faced threats for her work.

She received a 2007 International Women of Courage Award and was named in the BBC 100 Women 2016 list as one of the year's most inspirational and influential women.

References

Living people
Afghan women's rights activists
1970s births
Recipients of the International Women of Courage Award


title: Irene Fargo

text:
Irene Fargo (born Flavia Irene Pozzaglio; 1 November 1962 – 1 July 2022) was an Italian singer, stage actress, and television personality.

Life and career
Fargo was born as Flavia Pozzaglio in Palazzolo sull'Oglio, Brescia. She started singing as a child, and at just 11 years old she entered the Polyphonic Choir of the city of Chiari. In 1989, she participated at the Castrocaro Music Festival, with the song "Le donne dei soldati veri".

Fargo was best known for her two second places at the Sanremo Music Festival, in 1991 with the song "La donna di Ibsen" (whose lyrics are inspired by Henrik Ibsen's The Lady from the Sea), and in 1992 with "Come una Turandot" (inspired by Giacomo Puccini's Turandot). The songs reached the 14th and 5th places in the Italian singles hit parade, respectively. In 1993 she placed third at the Cantagiro festival. In 1994 she was cast in the popular variety show Domenica in. In the late 1990s she was a regular guest in Paolo Limiti's television programs. Starting from the 2000s she had main roles in several stage musicals. She was a popular singer at weddings in Malta.

Fargo died on 1 July 2022, at the age of 59 after a long illness.

Discography

 Album
 1991: Irene Fargo (Carosello)
 1992: La voce magica della luna (Carosello)
 1993: Labirinti del cuore (Carosello)
 1995: O core e Napule (Carosello)
 1997: Fargo (Tring)
 1999: Appunti di viaggio (Azzurra music)
 1999: Va da lei (Saar)
 2005: Insieme (Alta sintonia)
 2009: Cartolina napoletana (Pressing music ltd)
 2012: Crescendo (Pressing music ltd)
 2016: Il cuore fa (Pressing music ltd)

References

External links

 Irene Fargo at Discogs

1962 births
2022 deaths
Italian pop singers
20th-century Italian women singers
Italian stage actresses
Italian television personalities
Mass media people from the Province of Brescia
Musicians from the Province of Brescia
21st-century Italian women singers


title: On the Rocks (song)

text:
"On the Rocks" is a song recorded by American singer Nicole Scherzinger for her second studio album Big Fat Lie (2014). It was written by Terius "The-Dream" Nash, C. "Tricky" Stewart and Carlos "Los da Mystro" McKinney, while the song was produced by Godz of Analog, Stewart, Nash and McKinney, with vocal production from Bart Schoudel. The song was released on October 10, 2014, by RCA Records as the third single from the record. "On the Rocks" is an R&B ballad where the singer laments and gets over about a failed relationship by pouring up a stiff drink. "On the Rocks" received negative reviews from music critics, who described it as outdated and criticized the use of Auto-Tune. The accompanying music video premiered on September 5, 2014, on Vevo.

Background
On August 19, Scherzinger announced via her Instagram account, that her second single would be "On the Rocks". Along with the announcement she posted the cover artwork which shows Scherzinger wearing "a plunging white dress" in provocative pose. On August 26, Scherzinger appeared on The Radio 1 Breakfast Show hosted by Scott Mills to premiere the track on the radio program.

Composition
"On the Rocks" is a power ballad further described as a "post-break up song". The instrumentation includes of "sad piano and sparse drums." Lyrically, addresses about a failed relationship and the way to get over it is by pouring up a stiff drink. At a part of the song she sings, "Let's take a shot, since you've been taking shots / And allow me to serve you this drink up on the rocks."

Critical reception
Brad O'Mance, writing for Popjustice, wrote that "On the Rocks" was "by some distance the worst single of Nicole Scherzinger's entire career." Melinda Newman of HitFix described the production as "slightly dated" that could "hamper its chances at radio in the U.S.". Writing Digital Spy, Lewis Corner echoed Newman's comments adding "that zest teased with 'Your Love' quickly evaporated, leaving expectations for Big Fat Lie unbearably low. Jacques Peterson from Pop Dust opined that "the lack of success for 'Your Love,' Nicole is now playing it way too safe with the generic follow-up single." A writer for MuuMuse wondered if it's one of the strongest songs of the album and criticized the use of Auto-Tune noting Scherzinger as "a verifiably very good singer." Writing for Idolator Bradley Stern also criticized the use of Auto-Tune and noted the song could serve as a B-side to Kelly Rowland's "Rose Colored Glasses" (2010).

Music video

The accompanying music video for "On the Rocks" was shot in Los Angeles, California. The visual was directed by Tim Mattia. Scherzinger said that "On The Rocks" is her favorite video she has ever done stating, "I just wanted the video to not feel like a music video, just really authentic and really raw. It's very empowering. It's a very emotional and personal song for me."

On the day the video premiered, a reviewer from Rap-Up described the video as "breathtaking". Bradley Stern, writing for Idolator described it as "appropriately dramatic" and praised Scherzinger's ability for "conveying the emotion of her music. Joanne Dorken from MTV UK classified the video as "sultry". Jacques Peterson of Pop Dust described the video as a mix between Eminem's video Love the Way You Lie and an Armani commercial.

Throughout the music video, Scherzinger is seen emoting towards her lover. Towards the end, Scherzinger finally leaves the toxic relationship with no feelings of regret.

Live performances
On October 22, 2014, Scherzinger performed "On the Rocks" at the MOBO Awards. On November 7, Scherzinger performed an acoustic medley together with Sam Smith's "I'm Not the Only One" for SiriusXM Hits 1.

Track listing
Digital download
"On the Rocks"  – 5:07

Digital download – Remixes
On the Rocks" (Wideboys Remix)  – 3:46
On the Rocks" (Wideboys Club Remix)  – 6:23

Credits and personnel
Credits adapted from the liner notes of Big Fat Lie.

Recording
 Engineered and mixed at Contra Recordings (Hollywood, California).

Personnel
 Josh Drucker – assistant mixing
 Jordan Lewis – additional recording
 Brandon Harding – assistant recording
 Carlos "Los da Mystro" McKinney – producer, songwriter
 Terius "The-Dream" Nash – producer, songwriter, sequencing, programming
 Brian "B-Luv" Thomas – additional recording
 Nicole Scherzinger – performer
 Christopher "Tricky" Stewart – producer, songwriter, sequencing, programming
 Bart Schoudel – engineer
 Stevy Pyne – guitar
 Andrew Wuepper – mixing

Charts

Release history

See also
Nicole Scherzinger discography
List of songs recorded by Nicole Scherzinger

References

External links

2014 singles
2014 songs
Nicole Scherzinger songs
Song recordings produced by The-Dream
Song recordings produced by Tricky Stewart
Songs written by The-Dream
Songs written by Tricky Stewart
Songs written by Carlos McKinney
RCA Records singles


title: Lakeport, Arkansas

text:
Lakeport is an unincorporated community in Chicot County, Arkansas. Lakeport is located at .

Unincorporated communities in Chicot County, Arkansas
Unincorporated communities in Arkansas


title: Stream tree frog

text:
Stream tree frog may refer to:

 Mountain stream tree frog (Litoria barringtonensis), a frog in the family Hylidae native to New South Wales, Australia
 Prince Charles stream tree frog (Hyloscirtus princecharlesi), a frog in the family Hylidae found in Ecuador
 Río Negro stream tree frog (Hyloscirtus tolkieni) a frog in the family Hylidae found in ecuador

Animal common name disambiguation pages


title: Tâmega e Sousa

text:
The Comunidade Intermunicipal do Tâmega e Sousa () is an administrative division in northern Portugal. It was created in 2009. Since January 2015, Tâmega e Sousa is also a NUTS3 subregion of Norte Region, that covers the same area as the intermunicipal community. The seat of the intermunicipal community is Penafiel. Tâmega e Sousa comprises parts of the former districts of Aveiro, Braga, Porto and Viseu. The population in 2011 was 432,915, in an area of 1,831.52 km².

Municipalities

The intermunicipal community of Tâmega e Sousa consists of 11 municipalities:

References

External links
Official website CIM Tâmega e Sousa

Intermunicipal communities of Portugal
Norte Region, Portugal


title: List of House members of the 36th Parliament of Canada

text:
This is a list of the members of the 36th Parliament of Canada, from September 22, 1997 to October 22, 2000.

Members
Members of the House of Commons in the 36th parliament arranged by province.

Newfoundland

* Bill Matthews left the Progressive Conservative to join the Liberal Party in 1999.
** Charlie Power retired from politics, and was replaced by Loyola Hearn in 2000 by-election.

Prince Edward Island

Nova Scotia

* Scott Brison left parliament in 2000 to allow new Tory leader Joe Clark to run in a by-election to win a seat in the House.

New Brunswick

* Angela Vautour left the New Democratic Party to join the Progressive Conservative Party in 1999.

Quebec

* Réjean Lefebvre left the Bloc Québécois due to drunken driving to sit as an Independent in 1999.
** André Harvey, David Price, and Diane St-Jacques left the Progressive Conservative to join the Liberal Party in 2000.
*** Marcel Massé retired from politics, and was replaced by Marcel Proulx in 1999 by-election.
**** Sheila Finestone was appointed to the Senate, and was replaced by Irwin Cotler in a 1999 by-election.
***** Jean Charest left parliament to become leader of the Quebec Liberal Party, and was replaced by Serge Cardin in a 1998 by-election.

Ontario

* Jim Jones left the Progressive Conservative Party to join the Canadian Alliance in 2000.
** Shaughnessy Cohen died in office, and was replaced by Richard Limoges after a 1999 byelection
*** Sergio Marchi left politics to be appointed ambassador to the World Trade Organization; he was replaced by Judy Sgro after a 1999 byelection.

Manitoba

* On March 26, 2000 all members of the Reform Party of Canada switched to the new Canadian Alliance.
** Jake Hoeppner expelled from Reform Party and sat as Independent in 1999.

Saskatchewan

* On March 26, 2000 all members of the Reform Party of Canada switched to the new Canadian Alliance.
** Rick Laliberte left the New Democratic Party to join the Liberal Party in 2000.
*** Chris Axworthy left parliament to join the provincial cabinet, and was replaced by Dennis Gruending in a 1999 byelection.

Alberta

* On March 26, 2000 all members of the Reform Party of Canada switched to the new Canadian Alliance.
** Jack Ramsay expelled from Canadian Alliance due to criminal charges and sat as Independent in 2000.

British Columbia

* On March 26, 2000 all members of the Reform Party of Canada switched to the new Canadian Alliance.
** Jim Hart resigned his seat so that new Canadian Alliance leader Stockwell Day could run in a by-election to win a seat in the House.
*** Sharon Hayes resigned from parliament to care for her ailing husband, and was replaced by Lou Sekora after a 1998 byelection.

Northern Territories

House Members Of The 36th Parliament Of Canada, List Of
36


title: So High (Ghost Loft song)

text:
"So High" is a 2013 song by American musician Ghost Loft. The song appeared in the compilation Kitsuné America 2 as the first track in the compilation. "So High" was released as the follow-up of Ghost Loft single "Seconds".

Wiz Khalifa version
Wiz Khalifa included a version of the song in his album Blacc Hollywood. The song included additional rap lyrics by Wiz Khalifa and features Ghost Loft. The song released on August 12, 2014 is written by Tor Erik Hermansen, Mikkel S. Eriksen, Cameron Thomaz and Danny Choi and produced by Stargate and Ghost Loft.

Charts

References

Wiz Khalifa songs
Atlantic Records singles
2013 songs
Songs written by Tor Erik Hermansen
Songs written by Mikkel Storleer Eriksen
Songs written by Wiz Khalifa
Song recordings produced by Stargate (record producers)


title: Entertainment Technology Partners

text:
Entertainment Technology Partners (ETP) is a global multi-brand entertainment technology company headquartered in Orlando. As of January 2018, the firm owns four audiovisual technology companies:
LMG, LLC, EventEQ, Systems Innovation, and Pixl Evolution. ETP has 13 locations throughout the United States and United Kingdom and more than 400 employees.

Brands
LMG
LMG Touring & Entertainment
Systems Innovation
EventEQ
The CoiL Learning Center
Pixl Evolution

References

External links
Official website

Companies based in Orlando, Florida
Entertainment companies established in 2014
Privately held companies based in Florida
American companies established in 2014
2014 establishments in Florida


title: Antonio Duque

text:
Antonio Duque (born 13 November 1939) is a retired Mexican cyclist. He competed in the team time trial and the individual pursuit events at the 1964 Summer Olympics.

References

1939 births
Living people
Mexican male cyclists
Olympic cyclists for Mexico
Cyclists at the 1964 Summer Olympics
Place of birth missing (living people)


title: Bleschames

text:
Bleschames () was a Persian military officer, who first served the Sasanian Empire and from 541 the Byzantine Empire. He is first mentioned in 541 as the head of the Sasanian garrison of the fortress Sisauranon, where he defected to the Byzantine army under Belisarius, who sent him and 800 Sasanian cavalrymen to the Byzantine capital of Constantinople. However, he did not stay there for long, and was sent to Italy in order to fight the Ostrogothic Kingdom in the Gothic War, while some of his men were sent to fight under Artabazes. Nothing else is known of his life.

Sources

References

Year of death unknown
People of the Roman–Sasanian Wars
Year of birth unknown
6th-century Iranian people
People of the Gothic War (535–554)
6th-century Byzantine military personnel
Generals of Khosrow I
Byzantine people of Iranian descent


title: Albert Eugene Gallatin

text:
Albert Eugene Gallatin (July 23, 1881 – June 15, 1952) was an American artist. He wrote about, collected, exhibited, and created works of art. Called "one of the great figures in early 20th-century American culture," he was a leading proponent of nonobjective and later abstract and particularly Cubist art whose "visionary approach" in both collecting and painting left "an enduring impact on the world of modern art."

Early life and education
Gallatin was born in 1881 into a wealthy and socially prominent family. Showing a youthful interest in art and literature, he began to collect works by Max Beerbohm, Aubrey Beardsley, and James McNeill Whistler while still in his teens. The common element in these purchases was a preference for works that he saw as possessing a harmonious, refined, and decorative nature, rather than a naturalistic or literal one. He appreciated their aesthetic over their narrative content and their intrinsic over their didactic or utilitarian value.

As he collected art, he also began to write about it. For the two decades following the turn of the century, Gallatin produced a constant stream of articles, small monographs, and books of engraved plates. Between 1900 and 1910 most of these concerned Beardsley and Whistler. In examining their drawings and paintings he sought to find out what gave these works enduring value as opposed to superficial and temporary popularity. To him, their excellence showed in elegance of line and quality of design. He also drew attention to what he called a "decorative feeling" in works by these two artists in contrast to what he considered to be the less aesthetic realism of Degas and Millet. He maintained that modern art did not become popular because it was good, but because it scandalized. For example, in 1902 he wrote that Beardsley's drawings attracted notice by their shocking distortion of perspective and proportion and their escape from artistic conventions. Because their true value was not readily apparent, he believed that only connoisseurs along with Beardsley's fellow artists could fully appreciate them. In another article, he called Whistler an artist "whose work must remain more or less incomprehensible to the general public." He also wrote that the best art was created solely for its own sake. He wrote of Whistler's "unflinching devotion to beauty" and freedom from "commercialism, vulgarity, and the spirit of gain." Gallatin said Whistler's subjects were never ugly or lacking taste. In his view, Whistler was not a realist because he never descended to the obvious or commonplace.

When his father died in 1902, Gallatin became head of a family consisting of himself, two sisters, and their mother. As a member of New York's social elite he gave and attended high-profile dinners, dances, weddings, and benefits. His name appeared frequently in the press as a result these activities and also as a result of his pioneering affection for automobiles and motor sport. His inheritance made it unnecessary for him to work for a living and he chose not to follow the lead of other members of his class by engaging in banking, stock brokerage, or other professional occupation. Instead, he continued to collect art and to enhance his reputation as an art connoisseur by his writings.

During the years leading up to the First World War he became increasingly interested in American artists such as illustrator Otho Cushing, pleinair painter Frederick Frieseke, and painter of interiors Walter Gay. He also acquired and wrote about artists associated with the Ashcan School—Everett Shinn, William Glackens, Ernest Lawson, and John Sloan as well as other young American artists, including John Marin and Boardman Robinson. While the drawings, paintings, and prints of these artists appear to have little in common with the work of Beardsley and Whistler, he saw in them a similar feeling for form, elegance of line, and "entire freedom from all taint of the academic." Glackens, he wrote, was like Whistler in his originality, his great color sense, and his ability to bring subjects to life. Shinn's paintings revealed to him a "personal expression of the artist's genius" and he also saw in them a "decorative instinct" that he admired in virtually all the art he collected. He was pessimistic about the capacity of museums and government agencies to support young American artists and believed they would be best served by individual art lovers, collectors, and "enlightened" critics.

Gallatin served in World War I as a member of a naval reserve unit and directed two civilian groups: a federal government committee on exhibitions of art propaganda and a municipal committee that encouraged artists to make posters supporting the war effort. This involvement led to a book, Art and the Great War, (1919) in which Gallatin discussed war-related art in the allied nations, giving many examples of paintings, drawings, posters, caricatures, and prints that he admired. In 1918, with Duncan Phillips and Augustus Vincent Tack, he organized an exhibition, the Allied War Salon of New York. The works in this show were almost all traditionally representational. The exceptions were paintings by a British artist, C.R.W. Nevinson, whose work at this time could be described as a cubist version of futurism. Nevinson's French Troops Resting of 1916, was exhibited at the Keppel & Co. galleries in 1919 and was probably included in the 1918 show. It and similar works of his are said to have been Gallatin's first introduction to this aspect of modernism.

Art collecting: 1920s

In 1916, Gallatin had dismissed modernists in general and cubists in particular as immature. He thought their work to be half-baked, mediocre, and depressing. By the middle of the 1920s, through the influence of Nevinson, of the critic, Clive Bell, and of the authors of articles in The Arts magazine, he had thoroughly revised his opinions. Nevinson showed that cubism was not a gimmick, but a technique that emerged naturally from the art of its time. Bell articulated a formalist aesthetic that coincided with Gallatin's belief that art was not good because of its realism, but because the two-dimensional space of the painting, drawing, or print possessed a satisfying composition, line, shape, color, and texture. Pictorial representation, trueness to life, and the illusion of depth were secondary concerns. Bell also voiced an opinion that seems to have been latent in Gallatin's thought as well: good art is well-ordered rather than chaotic and it proceeds from the artist's  thought processes and intuitive sense of rightness more than his emotions. William Zorach and other authors of articles in The Arts discussed an art of "purely abstract forms and colors" that, through an elimination "of everything not vitally necessary," produced a true art. The difficulty of judging what is a "masterpiece" and what is an "abortion" is no different for abstract than it is for representational art: it takes experience, careful study, and "listening to one's inner response."

In the years between 1920 and 1926 Gallatin became a member of the modernist Société Anonyme and was introduced to the influential artist-critic Jacques Mauny who soon became his friend and advisor. Mauny introduced him to Pablo Picasso and other painters and to the dealer and author, Daniel-Henry Kahnweiler. These men helped further to shape his growing appreciation for cubism and Mauny, in particular, helped him revamp his collection by adding paintings by artists such as Cézanne and Picasso and selling ones that no longer suited his taste. In the mid-1920s Gallatin studied art with the artist and teacher, Robert Henri, and in 1926 produced some small still lifes and mythology-themed paintings which have been described as having "broad areas of open space broken up by clusters of oddly shaped forms." His interest in cubism deepened and he added works to his collection by Georges Braque and Juan Gris.

At least partly in response to articles by Forbes Watson in The Arts and Henry McBride in The Dial, Gallatin began planning for a public gallery based on his collection of modern art. Early in 1927, as a result of a family connection with New York University, he was able first to organize a small show and, in December of that year, to open his Gallery of Living Art in the south study hall of that university's main building on Washington Square. The gallery has been called the first museum devoted exclusively to modern art. (The Phillips Memorial Collection, opened in 1920, might also lay claim to that distinction but for the fact that it was not exclusively modernist.) Consisting almost entirely of works from Gallatin's collection and assembled with help from the critic, Henry McBride, there were, at its opening, paintings and works on paper by twenty-four artists, both American and French. In addition to the forty-three of his own, Gallatin included fifteen borrowed works. There was no entry fee and from the beginning it was seen as place for artists to use as well as the general public.

Art collecting: 1930s

The composition of the Gallery of Living Art was informal and fluid, changing frequently as Gallatin added to his collection or simply wished to revise the display. Somewhat conservative at first, it grew to include major paintings in the cubist, neo-plasticist, and constructivist style by artists such as Picasso, Braque, Gris, Fernand Léger, Piet Mondrian, Jean Hélion, and El Lissitzky as well as ones in the surrealist style by Joan Miró, Jean Arp, and André Masson. Gallatin hung the gallery with the few large paintings occupying wall space by themselves. By the mid-1930s, these large paintings included Picasso's Three Musicians (1921), Léger's The City (1919), and Miró's Painting (Fratellini). Most of the collection consisted of small works making it easy for moderately-sized ones, such as Miró's Dog Barking at the Moon (1926) and Mondrian's Composition with Blue and Yellow (1932), to attract the viewer's notice. During the 1930s Gallatin continued to receive advice from Jacques Mauny. He also was aided by a succession of friends and acquaintances beginning with Henry McBride (1927–32), followed by Robert Delaunay (1932–33) and then Jean Hélion and George L.K. Morris (1933 – ca. 1940). Following his own inclination and their influence, he purged figurative works in favor of abstraction and emphasized non-objective works over ones having identifiable subjects.

In 1936 Gallatin changed the name of the gallery to Museum of Living Art. By this time both the Whitney Museum and the Museum of Modern Art had opened to the public and Gallatin's museum was credited as having the collection that most interested, and influenced, young New York artists such as Arshile Gorky, Philip Guston, Robert Motherwell, and the de Koonings.

In 1938 Life Magazine profiled Gallatin and the Museum in a photo spread entitled "Albert Gallatin's Great-Grandson Sponsors a Museum of Abstract Art." The images included a caricature of Gallatin by Léger, a photo of a set of panels in the museum, major works in the collection, and copies of photographs that Gallatin had taken of prominent Parisian artists.

On August 24, 1939, Gallatin purchased Piet Mondrian's “Composition with Blue” from art dealer Curt Valentin. He donated it to the Philadelphia Museum of Arts, against which a claim for restitution was filed in 2021 because the painting had been seized by Nazis.

Art work: 1930s–1940s

In February 1936 Gallatin resumed painting. He had been deliberate and unhurried in his collecting, acquiring first small pieces on paper and, on becoming comfortable with an artist's work, gradually moving on to larger oil paintings. Similarly, he took many months to work up his own easel productions from conception to finished state. The works themselves were uniformly non-objective. At the time critics saw them as cerebral and "euclidean." In 1938, Edward Alden Jewell, the perceptive critic for the New York Times called them "pure" and, making an early use of the term, "non-objective" (the quote marks are his). They have since been seen as "sensitively realized abstractions," structural designs of an architectural nature, imbued with "subtle structural strength," and "endlessly inventive." The term "decorative" was also applied to them, both in a pejorative sense and one more in keeping with his own use of the term, which connoted harmony and a higher plane of taste.

In 1936 paintings of his were included in a show at the Galerie Pierre, Paris. Previously exhibited Paul Reinhardt Galleries in New York, it was then called "Five Contemporary American Concretionists" and lacked his work.

He was generally reticent about his work but in 1938 told an interviewer that he tried to strip his painting down to the essentials of art. The statement fits with his writings on the artists whose work he admired. He felt art was best when least connected to things in the world: pure line, color, shape, texture, and tone. In keeping with this attitude, he rarely gave his paintings distinctive names, leaving them untitled or calling them simply "Composition" or "Abstraction."

In 1937 Gallatin joined the American Abstract Artists group (to which Morris already belonged) and began to give it financial support. The group was formed by a loose assembly of artists to help educate the public about abstract art and to hold exhibitions. The following year, at the Georgette Passedoit Gallery in New York, he had his first solo exhibition and also sold a painting, Composition (1938), to the Museum of Modern Art. During the summer of that year he made his last trip abroad and thereafter enlarged his collection without traveling.

In 1939 he exhibited with two other members of American Abstract Artists—Morris and Charles G. Shaw—at the gallery of Jacques Seligmann in New York. Since all three were non-objective painters and all were wealthy New Yorkers, they came to be called the "Park Avenue Cubists."

From that time forward, non-objective art in general and Gallatin's art in particular became increasingly accepted within the New York art world. In 1941 he was said to paint with taste, fine touch, and inventive skill. In 1945 Edward Alden Jewell referred to him as an "impressive exponent of this form of abstraction" whose "work is refreshingly individual," "vigorous and expertly painted," and in 1947 he wrote that Gallatin was secure in his position as "uncompromising nonobjectivist" whose work was "all neatness and smooth reasonable decorum." In 1942 Gallatin was referred to as New York's "abstract king" in a profile that appeared in the "Talk of the Town" section of the New Yorker magazine.

Later life and work

During the 1940s Gallatin continued to exhibit his own paintings and organize exhibits of others. In 1942 he put together a show devoted to American women, including Morris's wife, Suzy Frelinghuysen, as well as Alice Trumbull Mason and Esphyr Slobodkina. That same year New York University informed him that he had to close the Museum of Living Art so that the space it occupied could be repurposed as a wartime economy measure. Greatly disappointed, Gallatin accepted an offer from the Philadelphia Museum of Art to provide a home for it. Within a few months 175 works from his collection were moved to Philadelphia and a few were donated to the Berkshire Museum in Pittsfield, Massachusetts, to which Morris and Frelinghuysen were connected. During the remainder of the 1940s, until his death in 1952, he continued to paint, promote, and collect non-objective art. In 1952 was given a one-man retrospective exhibition at the Rose Fried Gallery, New York. On his death he dispersed his remaining works of art to the New-York Historical Society, the Museum of the City of New York, the National Gallery of Art, and his two sisters. At the end of his life the style of painting that he had championed was falling out of favor as abstract-expressionist art achieved its first critical recognition. Since that time it has regained critical attention and public appeal and is seen at least by some as influencing the minimalist and hard-edge artists who came into prominence in the 1960s as well as younger artists such as Sarah Morris and Mai Braun.

Family
]
Albert was a common given name in the Gallatin family. Gallatin's great-grandfather was Albert Gallatin (1761–1849), Secretary of the Treasury under presidents Jefferson and Madison and one of founders of New York University. His second son was named Albert Rolaz (1800–1890) and Albert Rolaz's first son, Gallatin's father, was named Albert Horatio. Gallatin had two uncles named Albert, one, surnamed Gallatin, had died before his birth, and the other, surnamed Stevens, died in 1904. Two other uncles, Frederic and James Gallatin had sons named Albert. These two cousins were sometimes confused with Gallatin. Like Gallatin, both lived in New York and both were sufficiently prominent to receive frequent mentions in the local press. Frederic's son was simply Albert (born January 8, 1880, died September 1, 1965).  This Albert Gallatin formed a collection of ancient Egyptian art sold to the Metropolitan Museum of Art after his death.

Gallatin's father, Albert Horatio Gallatin, was born March 7, 1839, and died March 25, 1902. A lifelong resident of New York, he was trained in medicine at New York University, served as a surgeon in the Civil War, and became a professor of chemistry at NYU. Gallatin's mother was Louise Bedford Ewing. She was born in Maryland, August 8, 1843, died in New York, December 3, 1922. Gallatin's older sister, Louise, was born May 1880, and died February 8, 1970. She married Charles Merrick Gay, professor of architecture, University of Pennsylvania, and director of the Franklin Institute, Philadelphia, Pennsylvania. Gallatin's younger sister, Cornelia Lansdale Gallatin (February 14, 1884 – March 26, 1973), married Alfred FitzRoy Anderson (July 13, 1882 – November 15, 1965). He was a member of New York society whose charity work involved disabled veterans and repeal of Abolition.

Gallatin himself was born on July 23, 1881, in the country house of his maternal grandmother, Cornelia Lansdale Ewing, which was located in Villanova, Pennsylvania. He attended schools there and in New York, including the Cutler preparatory school and the New York Law School both in New York City. He did not take the bar exam, however, and later said "I don't know why the devil I did it. I think an abstract artist is of more value to the community than a lawyer." As he matured he mixed freely in New York society, frequenting the opera and charity balls. In 1907 he co-founded the Motor-Car Touring Society. He belonged to the Union Club, the Pilgrims Society, the Society of Colonial Wars, and was the sole American member of the French branch of the Society of the Cincinnati. After the United States entered World War I he signed up as an  ensign in the Naval Coast Defense Reserve. He also chaired two committees: the Committee on Exhibitions and Pictorial Publicity of the United States Government Committee on Public Information and the Committee on Arts and Decorations of the Mayor's Committee on National Defense. The first dealt with art propaganda and led to the publication of his book, Art and the Great War (New York, E.P. Dutton & Company, 1919). The second advised artists on contributing work to the war effort. In December, 1918, Gallatin organized an Allied War Salon under the auspices of both committees. The exhibition took place at the American Art Association, Madison Square South, New York. Duncan Phillips of the American Federation of Arts and Augustus Vincent Tack of the Liberty Loan Committee were co-organizers. It included a large number of paintings, drawings, posters, and other works by the official and unofficial artists of the allied countries. Gallatin was a trustee of New York University and a patron of and donor to numerous art organizations including New York University, the Museum of Modern Art, American Abstract Artists, Museum of the City of New York, and the Berkshire Museum.

Contemporaries said Gallatin was conservative, dandified, patrician, and sophisticated. He dressed elegantly, was tall, sober, and bespectacled. His demeanor was formal and few friends were able to see the side of his personality that was relaxed, humorous, and informal. He was hardworking and firmly dedicated to his life's work. He was said to sleep on a hard, narrow bed, that had belonged to Napoleon's brother Joseph. There was never any scandal attached to his name and he never married.

Collections

The main source for this list is the web site called Museum Angel.

Art Institute Of Chicago, Chicago, Illinois
Berkshire Museum, Pittsfield, Massachusetts
Heckscher Museum, Huntington, New York
High Museum Of Art, Atlanta, Georgia
Hyde Collection, Glens Falls, NY
Metropolitan Museum of Art, New York
Pennsylvania Academy Of The Fine Arts School and Museum, Philadelphia, Pennsylvania
Philadelphia Museum of Art, Philadelphia, Pennsylvania
Princeton University Art Museum, Princeton, New Jersey
University of Florida – Samuel P. Harn Museum Of Art, *Gainesville, Florida
Weatherspoon Art Museum, Greensboro, North Carolina
Whitney Museum of American Art, New York

Writings

Articles and monographs, in chronological order

1900 List of Drawings by Aubrey Beardsley. New York, De Vinne Press, 1900 (one hundred copies)
1902 Aubrey Beardsley as a Designer of Book-plates. Boston, C.E. Peabody, 1902 (reprinted from Reader Magazine, December 1902)
1902 "Note on the Literary Element in Beardsley's Art," The Critic, Vol. 41 (Dec. 1902), pp. 561–569
1902 "Aubrey Beardsley; Two Recent Estimates of the Work of the Artist," a book review by A.E. Gallatin in New York Times, September 6, 1902, page BR5
1903 "A Note on Otho Cushing's Drawings," Brush and Pencil, Vol. 11, No. 5 (Feb., 1903), pp. 351–355
1903 "A Whistler Bibliography: Prepared for The New York Times Saturday Review," New York Times, Jan. 3, 1903
1903 Aubrey Beardsley’s Drawings: a Catalogue and a List of Criticisms. New York, Godfrey A. S. Wieners, 1903
1904 Whistler's Art Dieta and Other Essays. Boston, Charles E. Goodspeed, 1904
1904 "Whistler. The Appreciation of His Art by Messrs. T. R. Way and G. R. Dennis by A.E. Gallatin," a book review in New York Times, January 2, 1904, p. BR12
1905 "Some Notable Art Criticism," The Critic (vol. 47, July–December, 1905, pp 259–260
1907 Whistler; Notes and Footnotes and Other Memoranda. New York, The Collector and Art Critic Co., 1907
1910 Modern Art at Venice, and Other Notes. New York, J.M. Bowles, 1910
1910 "Whistler's Pastels," Art and Progress, Vol. 2, No. 1 (Nov., 1910), pp. 8–10
1911 "A New Etching by Zorn," Art and Progress, Vol. 2, No. 9 (Jul., 1911), p. 261
1911 "The Graphic Artists of the XIXth Century," Art and Progress, Vol. 2, No. 12 (Oct., 1911), pp. 352–354
1911 "The International Society," Art and Progress, Vol. 2, No. 11 (Sep., 1911), pp. 325–326
1911 "The Pastellists," Art and Progress, Vol. 2, No. 5 (Mar., 1911), pp. 142–144
1911 "The Sculpture of Prince Paul Troubetzkoy," Art and Progress, Vol. 2, No. 7 (May, 1911), pp. 208–209
1911 "The Winslow Homer Memorial Exhibition," Art and Progress, Vol. 2, No. 6 (Apr., 1911), pp. 167–169
1912 "Max," Art and Progress, Vol. 3, No. 4 (Feb., 1912), pp. 478–480
1912 "The Paintings of Frederic C. Frieseke," Art and Progress, Vol. 3, No. 12 (Oct., 1912), pp. 747–749
1913 Portraits and Caricatures of James McNeill Whistler, an Iconography. New York, John Lane Company, 1913
1913 Whistler's Pastels and Other Modern Profiles. New York, John Lane Company, 1913
1913 "An Exhibition of Women's Portraits by Modern Artists," Art and Progress, Vol. 4, No. 8 (Jun., 1913), pp. 983–988
1913 "Mr. Walter Gay's Interiors," Art and Progress, Vol. 4, No. 9 (Jul., 1913), pp. 1023–1027
1914 "Salon des Humoristes," Art and Progress, Vol. 5, No. 5 (Mar., 1914), pp. 175–177
1916 Notes on Some Rare Portraits of Whistler. New York, John Lane company, 1916
1916 "The Sculpture of Paul Manship," The Metropolitan Museum of Art Bulletin, Vol. 11, No. 10 (Oct., 1916), pp. 218+220–222
1916 "William Glackens," The American Magazine of Art, Vol. 7, No. 7 (May, 1916), pp. 261–263
1916 Certain Contemporaries; a Set of Notes in Art Criticism. New York, John Lane Company, 1916
1917 Paul Manship. New York, John Lane Company, 1917
1917 Portraits of Albert Gallatin. Boston, privately printed, 1917
1918 Portraits of Whistler: a Critical Study and an Iconography. New York, J. Lane, 1918
1919 Art and the Great War. New York, E.P. Dutton & Company, *1919
1919 "The Paintings of Max Kuehne," The International Studio, vol. 68 (Aug. *1919), p. xxvii
1920 Paintings of French Interiors (edited with an introduction and notes on the plates, by Albert Eugene Gallatin). New York, E. P. Dutton and company, 1920
1921 Modern Fine Printing in America; an Essay. New York, privately printed, 1921
1922 American Water-colourists. New York, E. P. Dutton & Company, 1922
1924 Gaston Lachaise; Sixteen Reproductions in Collotype of the Sculptor's Work. New York, Merrymount Press, E.P. Dutton & Company, 1924
1924 Max Kuehne. Sixteen reproductions of the artist's work; edited with a foreword by A. E. Gallatin. New York, E. P. Dutton & company, 1924
1925 John Sloan, Edited with an Introduction by A. E. Gallatin. New York, E.P. Dutton & company, 1925
1933 Gallery of Living Art. New York, 1933
1934 Gallatin Iconography. Boston, privately printed, 1934
1939 Recent Paintings by Gallatin, Morris, Shaw. New York, Jacques Seligmann & Co., 1939
1940 Museum of Living Art: A. E. Gallatin Collection. New York, New York University, 1940
1943 Georges Braque: Essay and Bibliography. New York, Wittenborn and Company, 1943 (as editor)
1952 Bibliography of the Works of Max Beerbohm. Cambridge, Harvard University Press, 1952
1963 Of Art: Plato to Picasso, Aphorisms and Observations. New York, Wittenborn, 1963

Monographs, alphabetically by title

American Water-colourists. New York, E. P. Dutton & Company, 1922
Art and the Great War. New York, E.P. Dutton & Company, 1919
Aubrey Beardsley as a Designer of Book-plates. Boston, C.E. Peabody, 1902
Aubrey Beardsley’s Drawings: a Catalogue and a List of Criticisms. New York, Godfrey A. S. Wieners, 1903
Bibliography of the Works of Max Beerbohm. Cambridge, Harvard University Press, 1952
Certain Contemporaries; a Set of Notes in Art Criticism. New York, John Lane Company, 1916
Gallatin Iconography. Boston, privately printed, 1934
Gallery of Living Art. New York, 1933
Gaston Lachaise; Sixteen Reproductions in Collotype of the Sculptor's Work. New York, Merrymount Press, E.P. Dutton & Company, 1924
Georges Braque: Essay and Bibliography. New York, Wittenborn and Company, 1943 (as editor)
John Sloan, Edited with an Introduction by A. E. Gallatin. New York, E.P. Dutton & company, 1925
List of Drawings by Aubrey Beardsley. New York, De Vinne Press, 1900 (one hundred copies)
Max Kuehne. Sixteen reproductions of the artist's work; edited with a foreword by A. E. Gallatin. New York, E. P. Dutton & company, 1924
Modern Art at Venice, and Other Notes. New York, J.M. Bowles, 1910
Modern Fine Printing in America; an Essay. New York, privately printed, 1921
Museum of Living Art: A. E. Gallatin Collection. New York, New York University, 1940
Notes on Some Rare Portraits of Whistler. New York, John Lane company, 1916
Of Art: Plato to Picasso, Aphorisms and Observations. New York, Wittenborn, 1963
Paintings of French Interiors (edited with an introduction and notes on the plates, by Albert Eugene Gallatin). New York, E. P. Dutton and company, 1920
Paul Manship. New York, John Lane Company, 1917
Portraits and Caricatures of James McNeill Whistler, an Iconography. New York, John Lane Company, 1913
Portraits of Albert Gallatin. Boston, privately printed, 1917
Portraits of Whistler: a Critical Study and an Iconography. New York, J. Lane, 1918
Pursuit of Happiness; the Abstract and Brief Chronicles of the Time. New York, 1950
Recent Paintings by Gallatin, Morris, Shaw. New York, Jacques Seligmann & Co., 1939
Whistler; Notes and Footnotes and Other Memoranda. New York, The Collector and Art Critic Co., 1907
Whistler's Pastels and Other Modern Profiles. New York, John Lane Company, 1913
Whistler's Art Dieta and Other Essays. Boston, Charles E. Goodspeed, 1904

Articles, alphabetically by title

"Aubrey Beardsley; Two Recent Estimates of the Work of the Artist," a book review by A.E. Gallatin in New York Times, September 6, 1902, page BR5
"An Exhibition of Women's Portraits by Modern Artists," Art and Progress, Vol. 4, No. 8 (Jun., 1913), pp. 983–988
"The Graphic Artists of the XIXth Century," Art and Progress, Vol. 2, No. 12 (Oct., 1911), pp. 352–354
"The International Society," Art and Progress, Vol. 2, No. 11 (Sep., 1911), pp. 325–326
"Max," Art and Progress, Vol. 3, No. 4 (Feb., 1912), pp. 478–480
"Mr. Walter Gay's Interiors," Art and Progress, Vol. 4, No. 9 (Jul., 1913), pp. 1023–1027
"Ernest Lawson," The International Studio, Vol. 59, (Jul., 1916), pp. 14
"A New Etching by Zorn," Art and Progress, Vol. 2, No. 9 (Jul., 1911), p. 261
"A Note on Otho Cushing's Drawings," Brush and Pencil, Vol. 11, No. 5 (Feb., 1903), pp. 351–355
"Note on the Literary Element in Beardsley's Art," The Critic, Vol. 41 (Dec. 1902), pp. 561–569
"The Paintings of Max Kuehne," The International Studio, vol. 68 (Aug. 1919), p. xxvii
"The Pastellists," Art and Progress, Vol. 2, No. 5 (Mar., 1911), pp. 142–144
"The Paintings of Frederic C. Frieseke," Art and Progress, Vol. 3, No. 12 (Oct., 1912), pp. 747–749
"Salon des Humoristes," Art and Progress, Vol. 5, No. 5 (Mar., 1914), pp. 175–177
"The Sculpture of Paul Manship," The Metropolitan Museum of Art Bulletin, Vol. 11, No. 10 (Oct., 1916), pp. 218, 220–222
"The Sculpture of Prince Paul Troubetzkoy," Art and Progress, Vol. 2, No. 7 (May, 1911), pp. 208–209
"Some Notable Art Criticism," The Critic (vol. 47, July–December, 1905, pp 259–260
"Whistler. The Appreciation of His Art by Messrs. T. R. Way and G. R. Dennis by A.E. Gallatin," a book review in New York Times, January 2, 1904, p. BR12
"A Whistler Bibliography: Prepared for The New York Times Saturday Review," New York Times, Jan. 3, 1903
"Whistler's Pastels," Art and Progress, Vol. 2, No. 1 (Nov., 1910), pp. 8–10
"William Glackens," The American Magazine of Art, Vol. 7, No. 7 (May, 1916), pp. 261–263
"The Winslow Homer Memorial Exhibition," Art and Progress, Vol. 2, No. 6 (Apr., 1911), pp. 167–169

References

Notes

Further reading
A.E. Gallatin Collection, "Museum of Living Art." Philadelphia: Philadelphia Museum of Art, 1954 (first edition: New York University, 1930)
Balken, Debra Bricker. Albert Eugene Gallatin and His Circle. Exhibition catalogue. Coral Gables, Fla.: Lowe Art Museum, University of Miami, 1986
Balken, Debra Bricker, and Robert S. Lubar. The Park Avenue Cubists: Gallatin, Morris, Frelinghuysen and Shaw. Aldershot, England: Ashgate, in association with the Grey Art Gallery, NYU, 2002
D'Harnoncourt, Anne. "A.E. Gallatin and the Arensbergs: Pioneer Collectors of Twentieth-Century Art." Apollo, NS 99, No. 149 (July 1974): 52–61
Galligan, Gregory. The Cube in the Kaleidoscope: The American Reception of French Cubism, 1918–1938. Ph.D. thesis—Institute of Fine Arts, NYU, 2007
Larsen, Susan C. "The 'Park Avenue Cubist' Who Went Downtown." Art News 77, No. 10 (December 1978): 80–82
Stavitsky, Gail. "The Development, Institutionalization, and Impact of the A.E. Gallatin Collection of Modern Art." Ph.D. dissertation, Institute of Fine Arts, New York University, 1990
Stavitsky, Gail. "A.E. Gallatin's Gallery and Museum of Living Art (1927–1943)." American Art 7, No. 2 (Spring 1993): 47–63
Stavitsky, Gail. "The A.E. Gallatin Collection: An Early Adventure in Modern Art." Bulletin of the Philadelphia Museum of Art 89 (1994): 3–47
Wainwright, Alexander D. "A Check List of the Writings of Albert Eugene Gallatin," Princeton University Library Chronicle 14, No. 3 (Spring 1953): 141–51

External links

1881 births
1952 deaths
Artists from New York City
American abstract artists
20th-century American artists
Artist authors
People associated with the Philadelphia Museum of Art
People from Villanova, Pennsylvania


title: Tethininae

text:
Tethininae, formally the family Tethinidae is a paraphyletic group of tiny drab-coloured or grey Acalyptratae flies. There are over 115 species in 7 genera known from all zoogeographic regions. They are inconspicuous flies which are still poorly known in some remote, huge, tropical areas (e.g. South America).

Natural history
Tethininae are found in maritime, often littoral habitats. The adults are sometimes abundant in rotting seaweed. A few species occur inland, in association with alkaline habitats in arid zones. Except for the subantarctic genera Apetaenus and Listriomastax, little is known about the immature stages of the family, although presumably most are associated with rotting seaweed.
Workers in dipterology which are unfamiliar with tethinids often associate these flies with the presence of seashores, particularly sandy beaches and coastal lagoons. This is true for most strictly thalassophilous species, which occur on dunes, sandy soil and wrack heaps stranded on the beach. However, many entomologists often ignore or simply overlook the fact that populations of certain species also inhabit biotopes situated far off from sea littorals, sometimes several hundreds of kilometres inland, and are almost always closely dependent on the proximity of continental saline environments. It is well known that most species, if not all, belonging to the subfamily Pelomyiinae are not thalassophilous flies, but are almost exclusively found inland, associated with meadows, mountain passes, forests, areas and waters polluted by rotting waste, industrial emissions or debris of slaughterhouses and poultry farms (sites of salt accumulation and enrichment), as well as desert oases. However, this is not infrequent in various species of the genus Tethina, too.

Genera
Afrotethina Munari, 1986
Dasyrhicnoessa Hendel, 1934
Plesiotethina Munari, 2000
Pseudorhicnoessa Malloch, 1914
Sigaloethina Munari, 2004
Tethina Haliday in Curtis, 1937
Thitena Munari, 2004

Subfamily Description
See

References

Identification (Literature)
Czerny, L. 1928: 55. Tethinidae. In Lindner, E. Die Fliegen der Paläarktischen Region, Bd. VI/1: 1-8, Textfig. 1-7, Stuttgart.
Collin, J.E., 1966. A revision of the Palaearctic species of Tethina and Rhicnoessa. Bolletino del Museo civico di Storia naturale di Venezia 16 (1963): 19-32.
Foster, G.A. & Mathis, W.N., 2003. A revision of the genera Pelomyia Williston and Masoniella Vockeroth (Diptera: Tethinidae). Smithsonian Contributions to Zoology 619:63 pp.
Foster, G. A. & Mathis, W. N., 1998. A revision of the family Tethinidae (Diptera) from the Caribbean, Gulf of Mexico, and Bermuda. Proceedings of the Entomological Society of Washington 100(4): 601-632.
Foster, G. A., and Mathis, W. N., 2000. Notes on Neotropical species of Tethina Haliday (Diptera: Tethinidae). Proceedings of the Entomological Society of Washington 102(3): 542-548.
Foster, G. A. & Mathis, W. N., 2008. A Review of the Genus Tethina Haliday from Western North America. Proceedings of the Entomological Society of Washington 110(2): 300-330.
Hendel, F. 1916. Beitrage zur Systematik der Acalyptraten Musciden (Dipt.). Ent. Mitt. 5: 294-299.
Mathis, W.N. and Munari, L., 1996. World Catalog of the Family Tethinidae (Diptera). Smithsonian Contributions to Zoology 584: IV + 27 pp.
Mathis, W. N. & Foster, G. A., 2007. Canacidae (Diptera) From the Delmarva States. Proceedings of the Biological Society of Washington 120(4): 387-428.
McAlpine, D.K., 2007. The Surge Flies (Diptera: Canacidae: Zaleinae) of Australasia and notes on Tethinid-Canacid morphology and relationships. "Records of the Australian Museum" 59: 27-64"
Melander, A.L., 1952. The North American species of Tethinidae (Diptera). J. N.Y. Entomol. Soc. 59: 187-212.
Munari, L. & Mathis, W.N., 2010. World Catalog of the Family Canacidae (including Tethinidae) (Diptera), with keys to the supraspecific taxa. "Zootaxa" 2471: 1-84.  (print edition),  (online edition).
Przemysław Trojan, 1962 Odiniidae, Clusiidae, Anthomyzidae, Opomyzidae, Tethinidae  in  (series) Klucze do oznaczania owadów Polski, 28,54/58; Muchowki = Diptera, 54/58 Publisher Warszawa : Państwowe Wydawnictwo Naukowe (in Polish)

Species Lists
 West Palaearctic including Russia Note: The species described for the western Palaeartic Region (in particular for Europe and the Mediterranean river basin) need  taxonomic review.
 Nearctic
Australasian/Oceanian.
Japan
UK

Brachycera subfamilies
Canacidae
Taxa named by Friedrich Georg Hendel


title: Igor Ivanović (Serbian footballer)

text:
Igor Ivanović (; born 28 July 1997) is a Serbian professional footballer who plays as an attacking midfielder for Tobol, on loan from Astana.

Career
Ivanović started out with his hometown club Jagodina, making his Serbian SuperLiga debut in August 2014, aged 17. He was transferred to Napredak Kruševac in August 2017.

On 30 March 2023, Ivanović signed for Astana.

On 25 July 2023, Tobol announced the signing of Ivanović on loan from Astana for the remainder of the 2023 season.

References

External links

1997 births
Living people
Sportspeople from Jagodina
Serbian men's footballers
Men's association football midfielders
Serbian expatriate men's footballers
Expatriate men's footballers in Belarus
Expatriate men's footballers in Kazakhstan
FK Jagodina players
FK Napredak Kruševac players
FC Shakhtyor Soligorsk players
FC Astana players
Serbian First League players
Serbian SuperLiga players
FC Tobol players