title: Rough Riders Memorial

abstract: The Rough Riders Memorial is a memorial in Arlington National Cemetery in Arlington County, Virginia, in the United States that commemorates those members of the "Rough Riders" who died in the Spanish–American War in 1898. The grey granite shaft was erected by surviving members of the Rough Riders and their friends and supporters. Although Arlington National Cemetery, a number of secondary sources, and even the bronze plaque on the memorial say the monument was dedicated in 1906 and one source says 1905, contemporary newspaper accounts show the memorial was dedicated on April 12, 1907.

text:
# Rough Riders Memorial

The **Rough Riders Memorial** is a memorial in Arlington National Cemetery in Arlington County, Virginia, in the United States that commemorates those members of the "Rough Riders" who died in the Spanish–American War in 1898. The grey granite shaft was erected by surviving members of the Rough Riders and their friends and supporters. Although Arlington National Cemetery, a number of secondary sources, and even the bronze plaque on the memorial say the monument was dedicated in 1906 and one source says 1905, contemporary newspaper accounts show the memorial was dedicated on April 12, 1907.

## The Rough Riders

The Spanish–American War was a ten-week conflict during the spring and summer of 1898. Cuba had been waging a war of independence against Spain since 1895, an effort largely supported by the United States, which had extensive economic interests on the island. To ensure the safety of American citizens and property in Cuba, the United States sent the battleship USS *Maine* (ACR-1) to Havana in late January 1898. The *Maine* exploded and was destroyed with large loss of life on February 15, and Spain and the U.S. declared war on each other on April 25.

With only 25,000 men in the United States Army but more than 100,000 needed to prosecute the war, Assistant Secretary of the Navy Theodore Roosevelt convinced Secretary of War Russell A. Alger that he could raise an all-volunteer force of 1,000 men and form a cavalry regiment. Alger offered Roosevelt a commission in the Army as a full colonel in command of a regular regiment, but Roosevelt declined. Alger agreed to Roosevelt's volunteer scheme, and Roosevelt resigned his post on May 6, 1898. Roosevelt was commissioned a lieutenant colonel of volunteers and declined command of the regiment (due to his military inexperience) in favor of his friend, Colonel Leonard Wood. Although formally named the "1st United States Volunteer Cavalry", the press nicknamed the regiment the "Rough Riders" because most of the men were cowboys, frontiersmen, railroad workers, Native Americans, and similar "rough" people from the West.

The 1,060 Rough Riders departed their training camp in San Antonio, Texas, on May 29, and arrived in Santiago de Cuba, Cuba, on June 19. They participated in the Battle of Las Guasimas on June 24, during which they successfully turned the right flank of a retreating Spanish Army force with superior weapons and more men. On July 1, the regiment participated in the Battle of San Juan Hill, during which it successfully charged Kettle Hill (the famous "charge up San Juan Hill") and dislodged another Spanish force with superior firepower.

### The first Rough Rider memorials

Two memorials to the Rough Riders were erected in Cuba shortly after the Spanish–American War ended. One, erected by Brigadier General Wood out of general funds provided for Cuba's military occupation, was erected next to the Spanish Army blockhouse atop San Juan Hill. This memorial stood on a square concrete base, on the four corners of which were placed artillery shells. A square plinth with sunk, blank panels on all four sides stood on the base. On the plinth rose a tapered square column with a flat top. Sunk into the face of this column was a bronze plaque, which read: "In memory of the officers and men of the United States army, who were killed in the assault and capture of this ridge, July 1, 1898, and in the siege of Santiago, July 1 to July 16, 1898. War between Spain and the United States."

A second memorial, specific to the Rough Riders, was erected at Las Guasimas. The provenance of this memorial is not clear. It was shaped much like the one at San Juan Hill although the building materials were much different. This monument was set on a flagstone base. Rough-hewn pieces of dark grey granite were cemented together to form a rectangular plinth (square in cross-section) atop the flagstones. A tapered square column, made of the same rough-hewn, cemented granite, rose to a flat top. An artillery shell was placed atop the column, and a bronze plaque affixed to its face. The plaque read: "In Memory / Of the men of /The First and Tenth United States Cavalry, / Young's Brigade / Wheeler's Division, / Who Were Killed in the / Battle of Las Guásimas / June 24th 1898."

## Creating the Rough Rider Memorial

It is not clear who first proposed a Rough Rider Memorial, or when the idea was first raised. A Rough Riders National Monument Society was organized on June 15, 1906. Lillian Capron, wife of Captain Allyn K. Capron Jr. (the Rough Riders' first officer to be killed in action), was elected president and treasurer. Eldridge E. Jordan, a prominent businessman, was elected vice president. The other members of the board of directors included Charles E. Hunter, an Oklahoma Republican politician and clerk of the Oklahoma Federal District Court; William Henry Harrison Llewellyn, a New Mexico Territory Republican politician and United States Attorney; Captain James R. Church, M.D., U.S. Army; and the Reverend Henry A. Brown, U.S. Army. All the men were former Rough Riders. Rev. Brown had served as the regimental chaplain.

The society also established a memorial committee. Its members included Capron, Jordan, and the rest of the society's board of directors. Additional members included Maude Wildrey Towne, wife of former Representative Charles A. Towne, and John Doyle Carmody, a prominent D.C. attorney.

It is unclear exactly when approval to erect the Rough Rider Memorial at Arlington National Cemetery was given. The U.S. Army Quartermaster Corps had control of Arlington National Cemetery at the time. The erection of a monument would have required the permission of either Brigadier General Charles F. Humphrey, Sr., the Quartermaster General, or Secretary of War William Howard Taft. But no record of such permission exists. Theodore Roosevelt was sworn in as President of the United States on September 14, 1901, after the death of President William McKinley. Taft was one of Roosevelt's closest friends. Approval was very unlikely to be denied, and was probably given some time in May or early June 1906. The first fundraiser for the memorial was announced June 10, 1906—five days before the society was formally organized.

The Rough Rider Memorial was designed by Mrs. Capron, who decided to model the monument on the Rough Riders shaft erected by General Wood in Cuba. The bronze tablet on the memorial's face was designed by Major J.T. Knight and Major S.L. Fairson, Army officers assigned to the Quartermaster General's office in Washington, D.C.

A fundraising campaign was undertaken to pay for the memorial. On June 10, 1906. Mrs. Capron had organized a party to raise money for a monument. During the event, a saber was raffled off, various donated items sold, and the United States Marine Band gave a two-hour concert. President Theodore Roosevelt donated a large number of American Beauty roses from the White House Rose Garden. Another fund-raiser was held on February 8, 1907, when members of the 13th Cavalry and the 4th Battery, U.S. Light Field Artillery, put on a display of horsemanship at Fort Myer, adjacent to Arlington National Cemetery. President Roosevelt and most of Washington society were expected to attend. The event drew a large crowd and raised a significant amount of money.

### Construction

The Rough Riders Memorial was created from grey granite quarried in Barre, Vermont. The stone arrived at Arlington National Cemetery by February 6, 1907. The tablet included the Rough Riders insignia at the top and the plaque's tentative language read: "In memory of the deceased members of the First United States Volunteer Cavalry, Spanish–American War. Erected by the members and friends of the regiment."

The foundation for the memorial was laid on March 27, 1907. Present for this event were Mrs. Capron, Mrs. Towne, and Mr. Carmody. A time capsule in the form of a bronze box was placed beneath the monument. Included in the capsule were copies of each daily newspaper in Washington, D.C.; an American flag; and one of each American silver coin in circulation, and a copy of Theodore Roosevelt's book, *The Rough Riders in Cuba*, autographed by President Roosevelt, the Reverend Doctor Denis J. Stafford, rector of St. Patrick's Catholic Church of Washington, D.C., Presidential Secretary William Loeb Jr., and members of the memorial committee.

### Dedication

The unveiling and dedication ceremony for the Rough Riders Memorial was at 4:30 P.M. on April 12, 1907. The Rough Riders Monument Society formed a committee to plan the event, and Major General George H. Harries assisted with the planning and acted as master of ceremonies. In attendance were three batteries from the U.S. Light Field Artillery, a squad of mounted soldiers from the 13th Cavalry, three companies of the District of Columbia Army National Guard, and part of a company of the D.C. Naval National Guard. Music was provided by the 13th Cavalry Band; the Engineers' Band from the Washington Navy Yard; and the Brigade Band of the District of Columbia National Guard. At the time, seven Rough Riders were buried in the far western edge of what is now Section 22 (along McPherson Avenue). These graves were strewn with yellow and white flowers, the colors of the regiment.

A 21-gun salute by the artillery welcomed President Roosevelt, who was accompanied by Lieutenant General S. B. M. Young (the recently retired Chief of Staff of the United States Army) and Major General Frank McCoy (his military aide). Each band played a musical selection, and Rev. Henry A. Brown provided the invocation. The crowd sang *Nearer, My God, to Thee* and then Mrs. Capron unveiled the memorial as the bands played "The Star-Spangled Banner". President Roosevelt spoke at length about patriotism and duty, and then the Rev. Dr. Stafford provided an oration on virtue. After several more musical pieces by the bands, Rev. Brown gave the benediction. *Taps* was played by a bugler, and another 21-gun salute closed the ceremony.

Those attending included all Cabinet officers; Lieutenant General Adna Chaffee, the incumbent Army Chief of Staff; Secretary of the Navy Victor H. Metcalf; Major General George F. Elliott, Commandant of the Marine Corps; Rear Admiral William S. Cowles; Presidential secretary Loeb; Brigadier General J. Franklin Bell; Assistant Secretary of War Robert Shaw Oliver; Assistant Secretary of the Navy Truman Newberry; the Commissioners of the District of Columbia; and the commanding general of the D.C. National Guard. Many former Rough Riders were also present, as well as representatives of the Spanish War Veterans, Army and Navy Union, Grand Army of the Republic, Society of the Army of the Tennessee, Oldest Inhabitants of the District of Columbia, United Confederate Veterans, Daughters of the American Revolution, George Washington Memorial Association, Sons of the Revolution, Union Veteran Legion, Loyal Legion, and Washington National Monument Society. Foreign dignitaries present included Jean Jules Jusserand, French ambassador to the United States; Baron Rosen, Imperial Russian ambassador to the United States; ambassadors from Brazil, Denmark, Japan, Norway, Panama, Thailand, and the United Kingdom; and the military attachés from the Embassy of Germany and Embassy of Japan.

## About the memorial

The Rough Riders Memorial is constructed of a grey granite block 14 feet (4.3 m) tall and quarried near Barre, Vermont. In design, it is very similar to the Rough Rider monument erected at Las Guasimas in Cuba. The obelisk-like memorial is rough-hewn everywhere, except for the panels on the north, south, and east faces where the names of the dead are carved.

Near the top of the front (western face) of the memorial is a smooth bar of granite, on which the words "ROUGH RIDERS'" is carved in bas-relief. Below this is a rectangular dark bronze plaque whose edges are ornamented with laurel leaves (a symbol of victory). At the top of the plaque is a bar which bears the name of the regiment ("1st. U.S. Vol. Cav."). Below that are outspread wings, over which two sabres are crossed. Appearing to hang from the sabres is the regimental insignia. An "RR" (for Rough Riders") is inscribed on the insignia, and the name of the three major battles in which the unit fought (Las Guasimas, San Juan Hill, Santiago) ring the emblem.

The text on tablet reads:

In memory of The deceased members of the 1st U.S. Volunteer Cavalry, Spanish–American War Erected by the members and friends of the regiment. 1906.

At the time of its unveiling, the names of more than 100 men had been cut into it.

The total cost of the Rough Riders Memorial was $2,500 ($81,750 in 2023 dollars).

The Rough Rider Monument Society planned to have the names of members of the regiment inscribed on the monument as they died, and established a self-sustaining fund to pay for this. The raising of money for the inscription fund continued long after the memorial's dedication. The monument society owed more than $1,000 ($32,700 in 2023 dollars) for construction of the memorial. Another display of military horsemanship by the 13th Cavalry and 4th Field Artillery Battery occurred in December 1907. President Roosevelt donated $100 ($3,391 in 2023 dollars) at the event to help dissipate the debt. Another memorial fund-raiser, also attended by President Roosevelt, was held in April 1908.

At the funeral of General Leonard Wood in August 1927, the approximately 400 living Rough Riders gathered for an informal reunion at Arlington National Cemetery. For many, it was the first time they had seen the Rough Riders Memorial.

The memorial's bronze tablet and inscriptions were cleaned and conserved in the early 2000s by Gordon Ponsford, a restorer who also worked on the cemetery's McClellan Gate and Confederate Memorial.

### Dedication date

Incorrect information about the date of the Rough Rider Memorial's dedication is common. This may be because the bronze plaque on the front of the memorial says 1906. Arlington National Cemetery and a number of secondary sources (largely written by historians of the cemetery) claim the monument was dedicated in 1906. One source even claims it was erected in 1905.

Contemporary newspaper accounts are clear that the memorial was dedicated on April 12, 1907. President Roosevelt's own published collection of major speeches notes that the date of dedication was April 12, 1907. Other historians note that the Rough Rider Memorial in Prescott, Arizona, was dedicated the same year (1907) as the Rough Riders Memorial at Arlington National Cemetery.

The *Washington Post* reported on March 28, 1907, that the memorial's bronze tablet said "1906".

## Bibliography

* Atkinson, Rick. *Where Valor Rests: Arlington National Cemetery.* Washington, D.C.: National Geographic Society, 2007.
* Andrews, Owen and Davidson, Cameron. *A Moment of Silence: Arlington National Cemetery.* Hoboken, N.J.: John Wiley & Sons, 1994.
* Davis, Richard Hardin. *Moments in Hell: Notes of a War Correspondent.* Reprint ed. New York: Anthem Press, 2007. (First ed. Charles Scribner's Sons, 1910.)
* Davis, Richard Harding. "The Passing of San Juan Hill." *Scribner's Magazine.* 38:2 (August 1905), 142–153.
* Dodge, George W. *Arlington National Cemetery.* Charleston, S.C.: Arcadia Publishing, 2006.
* Hendrickson, Kenneth Elton. *The Spanish–American War.* Westport, Conn.: Greenwood Press, 2003.
* Hutton, Paul Andrew. "TR Takes Charge." In *Western Heritage: A Selection of Wrangler Award-Winning Articles.* Paul Andrew Hutton, ed. Norman, Okla.: University of Oklahoma Press, 2011.
* Lansford, Tom. *Theodore Roosevelt in Perspective.* New York: Novinka Books, 2005.
* Peters, Edward James. *Arlington National Cemetery: Shrine to America's Heroes.* 2d ed. Bethesda, Md.: Woodbine House, 2000.
* Quesadas, Alejandro. *Roosevelt's Rough Riders.* Westminster, Md.: Osprey Publishing, 2013.
* Roosevelt, Theodore. *The Rough Riders and Men of Action.* Reprint ed. Whitefish, Mont.: Kessinger Publishing, 2005. (Third rev. and updated ed., originally published by G.P. Putnam's Sons, 1905.)
* Summers, J.C. "A Cruise in Southern Seas." *The Metropolitan Magazine.* 24:4 (July 1906), 436–443.
* Trask, David F. *The War With Spain in 1898.* Lincoln, Neb.: University of Nebraska Press, 1996.

## InfoBox

| Rough Riders Memorial | |
| --- | --- |
| United States | |
| Rough Riders Memorial in 2011 | |
| For members of the Rough Riders who died in the Spanish–American War | |
| Unveiled | April 12, 1907 (1907-04-12) |
| Location | 38°52′32″N 77°04′34″W / 38.875429°N 77.075989°W / 38.875429; -77.075989<br>near Arlington County, Virginia, U.S. |


title: Skin Deep

abstract: Skin Deep may refer to:

text:
# Skin Deep

**Skin Deep** may refer to:

## Film

## Television episodes

## Music

## Books

* *Skin Deep. The Truth About Beauty Aids – Safe and Harmful*, a 1934 book by M. C. Phillips
* *Skin Deep*, a 1992 graphic novel by Charles Burns
* *Skin Deep*, a 1996 novel by Lois Ruby
* *Skin Deep: Inside the World of Black Fashion Models*, a 1998 non-fiction book by Barbara Summers

## Other uses


title: Christine Kenneally

abstract: Christine Kenneally is an Australian-American journalist who writes on science, language and culture. Trained as a linguist, she has written for The New York Times, the New Yorker, Slate, New Scientist, and Australia's Monthly, among other publications. She is a great-granddaughter of JJ Kenneally, an early populariser of Australian bushranger Ned Kelly. Her first book, The First Word (2007) was a Los Angeles Times book prize finalist and has been translated into Korean and Spanish. Her book for Viking Penguin, The Invisible History of the Human Race: How DNA and History Shape Our Identities and Our Futures, was released 9 October 2015.

text:
# Christine Kenneally

**Christine Kenneally** (born in Melbourne, Australia) is an Australian-American journalist who writes on science, language and culture. Trained as a linguist, she has written for *The New York Times*, the *New Yorker*, *Slate*, *New Scientist*, and Australia's *Monthly*, among other publications. She is a great-granddaughter of JJ Kenneally, an early populariser of Australian bushranger Ned Kelly.

Her first book, *The First Word* (2007) was a *Los Angeles Times* book prize finalist and has been translated into Korean and Spanish. Her book for Viking Penguin, *The Invisible History of the Human Race: How DNA and History Shape Our Identities and Our Futures,* was released 9 October 2015.

## Early life and education

Kenneally grew up in Melbourne, Australia and received an Honors BA in English and Linguistics from Melbourne University and completed a PhD in Linguistics at Cambridge University in England. At Cambridge she learned to row with the First and Third Trinity Boat Club, eventually rowing for the Cambridge University Women's Boat Club in the lightweight squad, participating in races on the Thames and against Oxford at Henley.

In the early 1990s, while at the University of Melbourne, she attended an introductory lecture in linguistics. When she asked the lecturer where language came from, the lecturer responded that linguists do not really explore that topic, or even ask the question, because there is no definitive way to answer it. This always stayed with Kenneally, and when she became a writer, the question became the basis of her first book.

## Career

After living in Iowa City for two and a half years, she moved to New York City, where she started writing for *Feed*, the Internet's first magazine, founded by Stephanie Syman and Steven Johnson, among other publications.

### Journalism, 2003-present

Her science articles include one about the new field of epigenetics, the study of the forces that act on and effect alterations to DNA (not caused by change in sequencing) and another about the sensory abilities of animals that may have allowed them to have survived the 2004 Indian Ocean tsunami for *Salon*. Her work for the *New Yorker* include a feature on hemispherectomy, the most radical form of brain surgery, where half of the brain is removed, and coverage of 2009's Black Saturday bushfires, the deadliest series of brushfires in Australia's history. Her work for *The New York Times* includes science articles centered around language's impact on perception, news and cultural reportage from Australia, and numerous book reviews—covering everything from essay books by Stephen Jay Gould and Richard Dawkins, to a book about proto-Indo-European language to a work of fiction for 9- to 12-year-olds set in Victorian England.

Her writing for the *Monthly* includes a feature on the Forgotten Australians, the 500,000 Australians that received institutionalized or other care in the 20th century, and another about questionable real estate news coverage. Her story about digital archiving for an politics and arts publication won her Australian Society of Archivists' Mander Jones Award. Her work for the *New Scientist* includes an article about the debate about the impact of the Human Genome Project and the unspecialness of being human.

In August 2018, *BuzzFeed News* published her story about physical and sexual abuse that allegedly happened at St. Joseph's Orphanage in Burlington, Vermont. Having taken four years of investigation, it is part of an assessment of Catholic-led orphanages that has happened in the UK, Canada, Germany, Australia, and Ireland but has yet to happen in the US. Kenneally was interviewed on NPR's *All Things Considered,* and Burlington's WCAX, the CBS affiliate which covered the 1993 complaint to the US district court. and the work is receiving national attention, including responses from Bishop Christopher Coyne, and the state's attorney general.

### *The First Word,* 2007

Her first book, *The First Word: The Search for the Origins of Language,* is about the relatively new field of evolutionary linguistics starring such figures as cognitive scientist Philip Lieberman, primatologist Sue Savage-Rumbaugh, psychologists Steven Pinker and Paul Bloom, and evolutionary biologists Tecumseh Fitch and Marc Hauser. She interviewed all of these scientists for the book. Lieberman a former student of Noam Chomsky broke from his mentor's insistence that language could not be explained by evolutionary theory. Among other work, he studied the human brain to find support for the idea that language evolved from organs like the basal ganglia that human beings share with members of other species. Savage-Rumbaugh who taught a bonobo a toddler-level communication system, views language "as a communicative system that has roots in and shares features with the communicative capacity of apes." Pinker in turn upheld the idea that Chomsky's linguistic theories could work with theories of evolution such as natural selection, and he with then-graduate student Bloom published a paper which posited that language could be compared with other complex abilities like echolocation and stereopsis. This paper, which also challenged the ideas of Stephen Jay Gould, importantly allowed many more researchers to treat the study of the evolution and origin of human language seriously.

*The First Word* also details how Tecumseh Fitch found that the human larynx responsible for the enunciation of vowels and consonants, is something found in other animals such as koalas and lions, and that animals too have a complex inner life "without the benefit of syntax or words." Kenneally also details the work of University of Edinburgh linguist Simon Kirby, who with computer modeling, has suggested that language much like a computer virus, is self-evolving.

The *New Yorker* called the book an "accessible account" with the *Scientific American* describing its discourse as "elegant." William Grimes of *The New York Times* wrote that Kenneally "covers an enormous expanse of ground" and that she is "scrupulously fair-minded."

### *The Invisible History of the Human Race,* 2014

Kenneally's second book, *The Invisible History of the Human Race: How DNA and History Shape Our Identities and Our Futures*, draws on cutting-edge research to reveal how both historical artifacts and DNA tell us where we come from and where we may be headed. She interviews molecular biologists about genes' influence on physical characteristics, population geneticists attempting to reconstruct the genetic composition of centuries-old populations, genealogists looking to trace family lineages, and those in charge of the Mormon genealogical database.

The book received a starred review from *Publishers Weekly*, who stated, "Kenneally offers a rich, thoughtful blend of science, social science, and philosophy in a manner that mixes personal history with the history of the human species." It was shortlisted for the 2015 Stella Prize.

## Award and distinctions

* *Los Angeles Times* book prize finalist for *The First Word,* 2008
* Australian Society of Archivists' Mander Jones Award, 2010, for "Archive This" in the *Monthly*
* Bushfire piece in the *New Yorker* included in *The Best Australian Essays 2010* and the *Best Australian Essays: A Ten Year Collection*
* February 2011 *Monthly* article on lice included in *The Best Australian Science Writing 2011*
* Ned Kelly piece for *The New York Times* included in *The Best Australian Science Writing 2012*
* Douglas Stewart Prize for Non-fiction, New South Wales Premier's Literary Awards, winner for *Ghosts of the Orphanage*

## Personal life

Her paternal great-grandfather was **James Jerome Kenneally**, aka **JJ Kenneally,** who wrote *The Inner History of the Kelly Gang,* the first book to make the case for Australia's now-famous bushranger, Ned Kelly at a time when the Irish in Australia were still treated with prejudice. The book inspired, among other things, Australian painter Sidney Nolan to create his iconic series of paintings of Kelly that now hang in the National Gallery of Australia in Canberra. Kenneally herself wrote about the discovery of Kelly's skeleton for *The New York Times* in 2011, and the article was in included in *The Best Australian Science Writing 2012.*


title: Ricinocarpos gloria-medii

abstract: Ricinocarpos gloria-medii is a species of flowering plant in the family Euphorbiaceae and is endemic to the Northern Territory of Australia. It is a spreading, monoecious or dioecious shrub with linear leaves and male and female flowers arranged singly or in small groups.

text:
# Ricinocarpos gloria-medii

***Ricinocarpos gloria-medii*** is a species of flowering plant in the family Euphorbiaceae and is endemic to the Northern Territory of Australia. It is a spreading, monoecious or dioecious shrub with linear leaves and male and female flowers arranged singly or in small groups.

## Description

*Ricinocarpos gloria-medii* is a spreading monoecious or diocious shrub that typically grows to height of up to 2 m (6 ft 7 in) with rusty-hairy young branchlets. The leaves are linear, 25–60 mm (0.98–2.36 in) long and 1.3–3.5 mm (0.051–0.138 in) wide on a densely hairy petiole 2–3 mm (0.079–0.118 in) long. The upper surface of the leaves is more or less glabrous and the lower surface is covered with soft, white, woolly hairs. The flowers are arranged singly, or with two to four male flowers, or one female surrounded by up to four male flowers. Male flowers are on a slender, densely hairy pedicel 7–17 mm (0.28–0.67 in) long, the sepals covered with woolly, white, star-shaped hairs on the inside surface. The sepal lobes of male flowers are egg-shaped, 4.5–7 mm (0.18–0.28 in) long and the petals egg-shaped, white or cream-coloured, 7–11 mm (0.28–0.43 in) long and 3–5 mm (0.12–0.20 in) wide. Female flowers are on a stout pedicel 10–15 mm (0.39–0.59 in) long, the sepals densely hairy on the inside surface, the petals white or cream-coloured, 6.5–8 mm (0.26–0.31 in) long and 3–4 mm (0.12–0.16 in) wide. Flowering has been observed in June and July, and the fruit is a more or less spherical capsule 10–11 mm (0.39–0.43 in) long and wide.

## Taxonomy and naming

*Ricinocarpos gloria-medii* was first formally described in 1975 by James Hamlyn Willis in the journal *Muelleria*, from specimens collected at Simpsons Gap in 1972. The specific epithet (*gloria-medii*), means "glory of the centre".

## Distribution and habitat

This species grows in sheltered places in dry watercourses and at the base of cliffs in the MacDonnell Ranges in the Northern Territory.

## InfoBox

| *Ricinocarpos gloria-medii* | |
| --- | --- |
|  | |
| In the Australian National Botanic Gardens | |
|
| Scientific classification | |
| Kingdom: | Plantae |
| *Clade*: | Tracheophytes |
| *Clade*: | Angiosperms |
| *Clade*: | Eudicots |
| *Clade*: | Rosids |
| Order: | Malpighiales |
| Family: | Euphorbiaceae |
| Genus: | *Ricinocarpos* |
| Species: | ***R. gloria-medii*** |
| Binomial name | |
| ***Ricinocarpos gloria-medii***<br>J.H.Willis | |
|


title: The Soft Pack (album)

abstract: The Soft Pack is the debut full-length studio album by American California-based indie rock band the Soft Pack. It was released on February 2, 2010, through Kemado Records in the United States and Heavenly Recordings worldwide. The recording sessions took place at Saltlands Studio in Brooklyn in August 2009, except for the song "Parasites", which was recorded at Manny Nieto Estudio in July 2008. The album was produced by Eli Janney, except for the song "Parasites", which was produced by Rob Barbato. The album debuted at number 27 on the US Heatseekers Albums chart. The album spawned four singles: "Parasites", "Answer to Yourself", "C'mon" and "More or Less". Its second single, "Answer to Yourself", which peaked at No. 51 on the UK Physical Singles Chart and No. 14 on the Mexico Ingles Airplay chart, became the final song streamed on WOXY.com before its sudden shutdown on March 23, 2010. It is also used for the commercial of the Dutch beer brand Grolsch since August 2010 and was included in the 2013 video game Grand Theft Auto V on the in-game radio station Vinewood Boulevard Radio. The album's third single, "C'mon", reached No. 26 on the UK Physical Singles Chart and No. 10 on the Mexico Ingles Airplay. The fourth and final single off of the album, "More or Less", made it to No. 44 on the UK Physical Singles Chart.

text:
# The Soft Pack (album)

***The Soft Pack*** is the debut full-length studio album by American California-based indie rock band the Soft Pack. It was released on February 2, 2010, through Kemado Records in the United States and Heavenly Recordings worldwide. The recording sessions took place at Saltlands Studio in Brooklyn in August 2009, except for the song "Parasites", which was recorded at Manny Nieto Estudio in July 2008. The album was produced by Eli Janney, except for the song "Parasites", which was produced by Rob Barbato. The album debuted at number 27 on the US Heatseekers Albums chart.

The album spawned four singles: "Parasites", "Answer to Yourself", "C'mon" and "More or Less". Its second single, "Answer to Yourself", which peaked at No. 51 on the UK Physical Singles Chart and No. 14 on the Mexico Ingles Airplay chart, became the final song streamed on WOXY.com before its sudden shutdown on March 23, 2010. It is also used for the commercial of the Dutch beer brand Grolsch since August 2010 and was included in the 2013 video game *Grand Theft Auto V* on the in-game radio station *Vinewood Boulevard Radio*. The album's third single, "C'mon", reached No. 26 on the UK Physical Singles Chart and No. 10 on the Mexico Ingles Airplay. The fourth and final single off of the album, "More or Less", made it to No. 44 on the UK Physical Singles Chart.

## Critical reception

Professional ratings
| Aggregate scores | |
| --- | --- |
| Source | Rating |
| AnyDecentMusic? | 6.6/10 |
| Metacritic | 74/100 |
| Review scores | |
| Source | Rating |
| AllMusic |  |
| *The A.V. Club* | B+ |
| *The Austin Chronicle* |  |
| *Boston Phoenix* |  |
| *Drowned in Sound* | 8/10 |
| *The Guardian* |  |
| *musicOMH* |  |
| *NME* |  |
| *Pitchfork* | 7.1/10 |
| *PopMatters* | 8/10 |

*The Soft Pack* was met with generally favourable reviews from music critics. At Metacritic, which assigns a normalized rating out of 100 to reviews from mainstream publications, the album received an average score of 74, based on twenty-one reviews. The aggregator AnyDecentMusic? has the critical consensus of the album at a 6.6 out of 10, based on eighteen reviews.

Doug Freeman of *The Austin Chronicle* wrote: "for all the influences that rip through the LP, the youthful abandon recasts them for a new generation". Jason Heller of *The A.V. Club* wrote: "granted, The Soft Pack has knife-edged pop riffs and crooned vocals galore. But a closer probe reveals a knack for punky songcraft and caffeinated oomph that could have easily been inherited from fellow San Diego group Hot Snakes". AllMusic's Heather Phares wrote: "The Soft Pack allows this band an almost completely clean break with their past while showing they're dynamic no matter what they're called". Andrzej Lukowski of *Drowned in Sound* wrote: "it's done brilliantly, with no frills, no ego, no sense of homage (just some damn fine influences), no fat, no bullshit, nothing bar hooks, energy and a certain air of ineffable sadness for good measure. Sometimes you need to believe a scene or movement will save your life. Other times, there's nothing wrong being casually blown away by a record like The Soft Pack". Saxon Baird of *PopMatters* found it "never sound cliche, but excitingly new, even if their influences can be clearly identified". Stuart Berman of *Pitchfork* wrote: "though Lamkin's monotone voice is not the most expressive instrument--it barely wavers whether the occasion calls for a Monks-style organ vamp ("Move Along") or a prom-night embrace ("Mexico")--each album side gradually ratchets up the tension and releases it through a raucous rave-up ("Pull Out" on side A, "Parasites" on side B) that successfully bridges the Soft Pack's Nuggets-schooled ethos with the modern-day discord of San Diegan patron saints Hot Snakes".

In mixed reviews, Laura Snapes of *NME* wrote: "they may be strutting right down the middle of the road, but they look pretty damn cool doing it. The Soft Pack make being A-OK into something to be proud of". Will Dean of *The Guardian* wrote: "that it's derivative isn't that much of a stick to beat them with, though--they've produced 30 minutes of glossy, singalong, preppy pop-punk". Michael Cragg of *musicOMH* resumed: "it's not a bad album, it's not a good album, it's merely an alright album and that's the real problem". Mikael Wood of *The Boston Phoenix* concluded: "nothing about The Soft Pack makes you wanna know who these guys are or what they have to say about the world outside their practice space".

## Track listing

All tracks are written by Matt Lamkin, Matty McLoughlin, David Lantzman and Brian Hill.

| No. | Title | Producer(s) | Length |
| --- | --- | --- | --- |
| 1. | "C'mon" | Eli Janney | 2:13 |
| 2. | "Down on Loving" | Eli Janney | 2:08 |
| 3. | "Answer to Yourself" | Eli Janney | 3:20 |
| 4. | "Move Along" | Eli Janney | 2:20 |
| 5. | "Pull Out" | Eli Janney | 3:59 |
| 6. | "More or Less" | Eli Janney | 3:35 |
| 7. | "Tides of Time" | Eli Janney | 2:48 |
| 8. | "Flammable" | Eli Janney | 2:32 |
| 9. | "Mexico" | Eli Janney | 4:12 |
| 10. | "Parasites" | Rob Barbato | 5:01 |
| Total length: | | | 32:08 |

## Personnel

* Matt Lamkin – songwriter, vocals, guitar, artwork
* Matty McLoughlin – songwriter, guitar
* Dave Lantzman – songwriter, backing vocals, bass
* Brian Hill – songwriter, backing vocals, drums
* Eli Janney – producer & mixing (tracks: 1–9)
* Rob Barbato – producer (track 10)
* Manny Nieto – engineering (track 10)
* Aaron Rutledge – engineering assistant (tracks: 1–9)
* Joe Lambert – mastering
* Shay Peretz – photography
* Brett Erickson – layout
* Jean Coffey – management

## Charts

| Chart (2010) | Peak
position |
| --- | --- |
| US Heatseekers Albums (*Billboard*) | 27 |

## InfoBox

| The Soft Pack | |
| --- | --- |
|  | |
| Studio album by the Soft Pack | |
| Released | February 2, 2010 (2010-02-02) |
| Recorded | * July 2008 * August 2009 |
| Studio |  |
| Genre | Indie rock |
| Length | 32:08 |
| Label |  |
| Producer |  |
| The Soft Pack chronology | |
| *The Muslims*
(2008) ***The Soft Pack***
(2010) *Strapped*
(2012) | |
|  | |
| Singles from  *The Soft Pack* | |
| 1. "Parasites"
Released: 2008 2. "Answer to Yourself"
Released: 2009 3. "C'mon"
Released: 2010 4. "More Or Less"
Released: 2010 | |
|  | |


title: Stanisław Burza

abstract: Stanisław Burza, nicknamed "Stan Storm", is a former motorcycle speedway rider from Poland.

text:
# Stanisław Burza

**Stanisław Burza** (born 26 September 1977 in Tuchów, Poland), nicknamed "Stan Storm", is a former motorcycle speedway rider from Poland.

## Career

Burza is a 2004 and 2005 Team Polish Champion. In 2006 he was signed by Oxford Cheetahs.

## Family

Stanisław Burza and his wife, Małgorzata, have one daughter, Justyna (born 2006). The Polish word *burza* means 'thunderstorm'.

## Results

### Domestic competitions

## World Longtrack Championship

### Grand=Prix Series

* 2013 1 app (21st) 15pts

## InfoBox

Stanisław Burza
|  | |
| --- | --- |
| Born | (1977-09-26) 26 September 1977<br>Tuchów, Poland |
| Nationality | Polish |
| Career history | |
| **Poland** | |
| 1998-2006 | Tarnów |
| 2007 | Gniezno |
| 2008-2010, 2015 | Łódź |
| 2011 | Rivne |
| 2012, 2016, 2019 | Kraków |
| 2013-2014 | Opole |
| 2017 | Lublin |
| 2018 | Krosno |
| 2020 | Rzeszów |
| **Great Britain** | |
| 2006-2007, 2009 | Berwick Bandits |
| 2006 | Oxford Cheetahs |
| 2007-2008 | Coventry Bees |
| 2008 | Belle Vue Aces |
|  | |
| Individual honours | |
| 2006 | Scottish Open Champion |
|  | |
| Team honours | |
| 2004, 2005 | Polish Championship |
| 2007 | Elite League Championship |
|  | |


title: Edmond Ripoll

abstract: Edmundo Fernández Ripoll, better known as Edmond, is a Catalan comic book artist and illustrator, born in 1938 march in Barcelona. His most famous creation was Jan Europa.

text:
# Edmond Ripoll

**Edmundo Fernández Ripoll**, better known as **Edmond** (born 1938), is a Catalan comic book artist and illustrator, born in 1938 march in Barcelona. His most famous creation was *Jan Europa*.

## Career

The young Edmond works in a hardware store, selling T-shirt's by mail and as an assistant in an advertising agency till 1959 when is hired by Editorial Bruguera to adapt television characters as *Rintintín*, *Bonanza*, *Daniel Boone* or *Bronco*. In the seventies also publishes romance stories in girls magazines like *Celia*, *As de Corazones*, *Sissi*, *Sissi-gráfico* o *Sissi-juvenil* and adaptations of books like *Tom Sawyer* and *La capitana del Yucatán* for *Joyas Literarias Juveniles* collection.

Lately he works internationally for the British market (*Adarés Anglians*, *How The West Was Won*, *The Handcuff Hotspurs*, *The Quest*, *Tyler the Tamer*), French bande dessiné (*Brigade Temporelle*, *Mike Nelson*), holandés (*Elsje de Windt*, *Mimi*, *Meta de Bokesprong*, *Oberon*), Swedish market and even in Zaire. In Spain, creates with the script of Víctor Mora *Supernova* (*Súper Mortadelo*, 1973) and with Andreu Martín *Fantasía S. A.* (Tío Vivo, 1975) and *Los Titanes* (*Super Sacarino* and *Super Ases*).

In 1976 creates *Eva Star* for *Can Can* and in April 1979, *Jan Europa*, his more popular series, to *Mortadelo*.

Similar to *Jan Europa* is *Doctor Impossible* in 1984. His last creation was *Fede y sus colegas, dramón urbano por entregas*, scripted by Jaume Ribera for the TBO magazine of Ediciones B.

## Style

Armando Matías Guiu wrote about this author

> Edmond is a methodical, rhythmic, extremely correct cartoonist. Very cerebral. His style, photographic. When he draws a building, a situation, it is exactly as it exists in reality or as if there would be.

## Work

| Year | Title | Writer | Publication |
| --- | --- | --- | --- |
| 1967 | *Bonanza* | Vicente Palomares | *Tele Color* (Editorial Bruguera) |
| 1969 | *The Handcuff Hotspurs* |  | *Smash!* (IPC Magazines) |
| 1971 | *Tyler the Tamer* |  | *Smash!* (IPC) |
| 1972 | *Brigade Temporelle (Time Brigade)* | Claude J. Legrand | *Futura* |
| 1973 | *Supernova* | Víctor Mora | *Súper Mortadelo* (Editorial Bruguera) |
| 197- | *Los Titanes* | Andreu Martín | *Super Sacarino* (Editorial Bruguera) |
| 1978 | *Fantasía S.A.* | Andreu Martín | *Tío Vivo* (Editorial Bruguera) |
| 1979 | *Jan Europa* |  | *Mortadelo* y *Super Mortadelo* (Editorial Bruguera) |
| 1983 | *Mimí* |  | *Jana* (Sarpe) |
| 1983 | *Barracuda* |  | *Jana* (Sarpe) |
| 1984 | *Doctor Impossible* |  | *Mortadelo* |
| 1986 | *Erika* |  | *Chicas* (Editorial Bruguera) |
| 1986 | *Marga* | Armando Matías Guiu | *Chicas* (Editorial Bruguera) |
| 1988 | *Cinemateca TBO* | Víctor Mora y Jaume Ribera | *TBO* (Ediciones B) |
| 1988 | \["Fede and his Colleagues," an urban drama in installments\] | Jaume Ribera | TBO de Ediciones B. |
| 198- | *Supertrailers* |  | *Super Mortadelo* (Ediciones B) |
| 198- | *Sindy* | Edmond Ripoll | *TBO* (Editorial Bruguera) |
| 198- | *La Tribu* | Edmond Ripoll | *TBO* (Ediciones B) |
| 1989 | *La vida crítica y la crítica de la vida* | Jaume Ribera, Edmond Ripoll | *TBO* (Ediciones B) |

## Sources

* Cuadrado, Jesús (2000). Atlas español de la cultura popular: *De la historieta y su uso 1873-2000*, Madrid: Fundación Germán Sánchez Ruipérez. 2 v. ISBN 84-89384-23-1.
* Guiral, Antoni (November 2007). *Los tebeos de nuestra infancia: La Escuela Bruguera (1964-1986). Colección Magnum nº 7*. Barcelona: Ediciones El Jueves, S.A. ISBN 978-84-9741-589-7.


title: Vassiliy Beresa

abstract: Vassiliy Beresa (sometimes listed as Vasiliy Beresa is a Soviet sprint canoer who competed in the early 1980s. He won a complete set of medals at the ICF Canoe Sprint World Championships with a gold in 1983, a silver in 1982, and a bronze in 1982.

text:
# Vassiliy Beresa

**Vassiliy Beresa** (sometimes listed as **Vasiliy Beresa** is a Soviet sprint canoer who competed in the early 1980s. He won a complete set of medals at the ICF Canoe Sprint World Championships with a gold in 1983 (C-1 1000 m), a silver in 1982 (C-2 10000 m), and a bronze in 1982 (C-1 1000 m).

## InfoBox

Vassiliy Beresa
| Medal record | | |
| --- | --- | --- |
| Men's canoe sprint | | |
| World Championships | | |
|  | 1983 Tampere | C-1 1000 m |
|  | 1982 Belgrade | C-2 10000 m |
|  | 1982 Belgrade | C-1 1000 m |


title: Chris Wooding

abstract: Chris Wooding is a British writer born in Leicester, and now living in London. His first book, Crashing, which he wrote at the age of nineteen, was published in 1998 when he was twenty-one. Since then he has written many more, including The Haunting of Alaizabel Cray, which was silver runner-up for the Nestlé Smarties Book Prize, and Poison, which won the Lancashire Children's Book of the Year. He is also the author of three different, completed series; Broken Sky, an anime-influenced fantasy serial for children, Braided Path, a fantasy trilogy for adults, and Malice, a young adult fantasy that mixes graphic novel with the traditional novel; as well as another, four-part series, Tales of the Ketty Jay, a steampunk sci-fi fantasy for adults.

text:
# Chris Wooding

**Chris Wooding** (born 28 February 1977) is a British writer born in Leicester, and now living in London. His first book, *Crashing*, which he wrote at the age of nineteen, was published in 1998 when he was twenty-one. Since then he has written many more, including *The Haunting of Alaizabel Cray*, which was silver runner-up for the Nestlé Smarties Book Prize, and *Poison*, which won the Lancashire Children's Book of the Year. He is also the author of three different, completed series; *Broken Sky*, an anime-influenced fantasy serial for children, *Braided Path*, a fantasy trilogy for adults, and *Malice*, a young adult fantasy that mixes graphic novel with the traditional novel; as well as another, four-part series, *Tales of the Ketty Jay*, a steampunk sci-fi fantasy for adults.

## Works

### *Braided Path*

1. *The Weavers of Saramyr* (2003)
2. *The Skein of Lament* (2004)
3. *The Ascendancy Veil* (2005)

### Malice

1. *Malice* (2009)
2. *Havoc* (2010)

### *Tales of the Ketty Jay*

1. *Retribution Falls* (2009)
2. *The Black Lung Captain* (2010)
3. *The Iron Jackal* (2011)
4. *The Ace of Skulls* (2013)

### *The Darkwater Legacy*

1. *The Ember Blade* (2019)
2. *The Shadow Casket* (2023)

### Standalone novels

## Awards and nominations


title: Chantry Island (Ontario)

abstract:
Chantry Island is a small island in Lake Huron, south of the mouth of the Saugeen River and approximately a kilometre off the shores of the town of Southampton, Ontario. It is approximately 19 hectares in size and is a migratory bird sanctuary. Since the sanctuary territory extends 183 metres into the water surrounding the island, the total official area is listed as 63 hectares. British naval officer and surveyor Henry Wolsey Bayfield named the island in 1822 after the British sculptor Francis Leggatt Chantrey.
The island was designated as one of the Canadian Wildlife Service's migratory bird sanctuaries in 1957 because it is an important migratory stop for birds traveling to northern nesting sites. At certain times of year, it is home for many mating birds including, double crested cormorant, seagulls, herring gull, ring billed gull, black-crowned night herons, great blue herons and great egrets. Fisheries and Oceans Canada owns the island and leases it to the Municipality of Saugeen Shores, Ontario. The Ontario region of the Canadian Wildlife Service manages the sanctuary. The island is the location of one of the six Imperial Towers, the Chantry Island Lighthouse, which was constructed in 1859; the keeper's dwelling was built at the same time. Fully restored, both are listed on the Canadian Register of Historic Places. Because the island is a bird sanctuary, only a single company, the Marine Heritage Society, has a permit to take visitors for a tour of the lightstation, several times a week from late May to mid-September; the rest of the island is off limits to such visitors.

text:
# Chantry Island (Ontario)

**Chantry Island** is a small island in Lake Huron, south of the mouth of the Saugeen River and approximately a kilometre off the shores of the town of Southampton, Ontario. It is approximately 19 hectares (47 acres) in size and is a migratory bird sanctuary. Since the sanctuary territory extends 183 metres into the water surrounding the island, the total official area is listed as 63 hectares (160 acres).

British naval officer and surveyor Henry Wolsey Bayfield named the island in 1822 after the British sculptor Francis Leggatt Chantrey. The island was designated as one of the Canadian Wildlife Service's migratory bird sanctuaries in 1957 because it is an important migratory stop for birds traveling to northern nesting sites. At certain times of year, it is home for many mating birds including, double crested cormorant, seagulls, herring gull, ring billed gull, black-crowned night herons, great blue herons and great egrets.

Fisheries and Oceans Canada owns the island (and some of the surrounding water) and leases it to the Municipality of Saugeen Shores, Ontario. The Ontario region of the Canadian Wildlife Service manages the sanctuary.

The island is the location of one of the six Imperial Towers, the Chantry Island Lighthouse, which was constructed in 1859; the keeper's dwelling was built at the same time. Fully restored, both are listed on the Canadian Register of Historic Places.

Because the island is a bird sanctuary, only a single company, the Marine Heritage Society, has a permit to take visitors for a tour of the lightstation, several times a week from late May to mid-September; the rest of the island is off limits to such visitors.

44°29′23″N 81°24′14″W / 44.4898°N 81.4039°W / 44.4898; -81.4039


title: Rossby-gravity waves

abstract: Rossby-gravity waves are equatorially trapped waves, meaning that they rapidly decay as their distance increases away from the equator. These waves have the same trapping scale as Kelvin waves, more commonly known as the equatorial Rossby deformation radius. They always carry energy eastward, but their 'crests' and 'troughs' may propagate westward if their periods are long enough.

text:
# Rossby-gravity waves

**Rossby-gravity waves** are equatorially trapped waves (much like Kelvin waves), meaning that they rapidly decay as their distance increases away from the equator (so long as the Brunt–Vaisala frequency does not remain constant). These waves have the same trapping scale as Kelvin waves, more commonly known as the equatorial Rossby deformation radius. They always carry energy eastward, but their 'crests' and 'troughs' may propagate westward if their periods are long enough.

## Derivation

The eastward speed of propagation of these waves can be derived for an inviscid slowly moving layer of fluid of uniform depth H. Because the Coriolis parameter (*f* =  sin(*θ*) where Ω is the angular velocity of the earth, 7.2921 × 10<sup>−5</sup> rad/s, and θ is latitude) vanishes at 0 degrees latitude (equator), the “equatorial beta plane” approximation must be made. This approximation states that *f* is approximately equal to β*y*, where *y* is the distance from the equator and β is the variation of the Coriolis parameter with latitude, $\frac {\partial f}{\partial y}=\beta $. With the inclusion of this approximation, the primitive equations become (neglecting friction):

* the continuity equation (accounting for the effects of horizontal convergence and divergence and written with geopotential height):

$$\frac {\partial \phi }{\partial t}+c^{2}\left({\frac {\partial v}{\partial y}+{\frac {\partial u}{\partial x}\right)=0}}$$

* the U-momentum equation (zonal wind component):

$$\frac {\partial u}{\partial t}-v\beta y=-{\frac {\partial \phi }{\partial x}}$$

* the V-momentum equation (meridional wind component):

$\frac {\partial v}{\partial t}+u\beta y=-{\frac {\partial \phi }{\partial y}}$.

These three equations can be separated and solved using solutions in the form of zonally propagating waves, which are analogous to exponential solutions with a dependence on *x* and *t* and the inclusion of structure functions that vary in the *y*-direction:

$\begin{Bmatrix}u,v,\phi \end{Bmatrix}={\begin{Bmatrix}{\hat {u}(y),{\hat {v}(y),{\hat {\phi }(y)\end{Bmatrix}e^{i(kx-\omega t)}}}}}$.

Once the frequency relation is formulated in terms of ω, the angular frequency, the problem can be solved with three distinct solutions. These three solutions correspond to the equatorially trapped gravity wave, the equatorially trapped Rossby wave and the mixed Rossby-gravity wave (which has some of the characteristics of the former two) . Equatorial gravity waves can be either westward- or eastward-propagating, and correspond to n=1 (same as for the equatorially trapped Rossby wave) on a dispersion relation diagram ("w-k" diagram). At *n* = 0 on a dispersion relation diagram, the mixed Rossby-gravity waves can be found where for large, positive zonal wave numbers (+*k*), the solution behaves like a gravity wave; but for large, negative zonal wave numbers (*k*), the solution appears to be a Rossby wave (hence the term Rossby-gravity waves). As mentioned earlier, the group velocity (or energy packet/dispersion) is always directed toward the east with a maximum for short waves (gravity waves).

## Vertically propagating Rossby-gravity waves

As previously stated, the mixed Rossby-gravity waves are equatorially trapped waves unless the buoyancy frequency remains constant, introducing an additional vertical wave number to complement the zonal wave number and angular frequency. If this Brunt–Vaisala frequency does not change, then these waves become vertically propagating solutions. On a typical "*m*,*k*" dispersion diagram, the group velocity (energy) would be directed at right angles to the *n* = 0 (mixed Rossby-gravity waves) and *n* = 1 (gravity or Rossby waves) curves and would increase in the direction of increasing angular frequency. Typical group velocities for each component are the following: 1 cm/s for gravity waves and 2 mm/s for planetary (Rossby) waves.

These vertically propagating mixed Rossby-gravity waves were first observed in the stratosphere as westward-propagating mixed waves by M. Yanai. They had the following characteristics: 4–5 days, horizontal wavenumbers of 4 (four waves circling the earth, corresponding to wavelengths of 10,000 km), vertical wavelengths of 4–8 km, and upward group velocity. Similarly, westward-propagating mixed waves were also found in the Atlantic Ocean by Weisberg et al. (1979) with periods of 31 days, horizontal wavelengths of 1200 km, vertical wavelengths of 1 km, and downward group velocity. Also, the vertically propagating gravity wave component was found in the stratosphere with periods of 35 hours, horizontal wavelengths of 2400 km, and vertical wavelengths of 5 km.


title: Slaviša Bulatović

abstract: Slaviša Bulatović is a politician in Serbia. He has served in the National Assembly of Serbia since 2016 as a member of the Serbian Progressive Party.

text:
# Slaviša Bulatović

**Slaviša Bulatović** (Serbian Cyrillic: Славиша Булатовић; born 4 July 1975) is a politician in Serbia. He has served in the National Assembly of Serbia since 2016 as a member of the Serbian Progressive Party.

## Early life and career

Bulatović was born in Vranje, in what was then the Socialist Republic of Serbia in the Socialist Federal Republic of Yugoslavia. He holds a Bachelor of Laws degree and has worked in human resources. He lives in the municipality of Vranjska Banja.

## Politician

### Municipal and regional politics

Bulatović began his political career at the local level, serving in the Vranjska Banja municipal assembly. He received the lead position on the electoral list of the United Regions of Serbia (URS) in the 2012 Serbian local elections and was appointed to the municipal council (i.e., the executive branch of the municipal government) when the URS joined a municipal coalition government after the election. The URS subsequently dissolved, and Bulatović joined the Progressive Party. He was chosen as leader of the Progressive board in Vranje in July 2015.

He was appointed as governor of the Pčinja administrative district in December 2014 and held this position until his election to the national assembly in 2016. Bulatović called for Albanians in the region to become better integrated into state institutions in March 2016, noting that the existing number of Albanian state employees was very low.

He received the second position on the Progressive Party's list for the Vranje city assembly in the 2020 Serbian local elections and elected to the local assembly when the list won a majority victory with thirty-eight out of sixty-five mandates.

### Member of the National Assembly

Bulatović received the fifty-third position on the Progressive Party's *Aleksandar Vučić – Serbia Is Winning* electoral list in the 2016 Serbian parliamentary election and was elected when the list won a majority victory with 131 out of 250 mandates. During the 2016–20 parliament, he was a member of the committee on the judiciary, public administration, and local self-government; a deputy member of the committee on constitutional and legislative issues; a deputy member of the committee on finance, state budget, and control of public spending; a deputy member of the agriculture, forestry, and water management committee; and a member of the parliamentary friendship groups with Austria, Azerbaijan, Belarus, Belgium, Bosnia and Herzegovina, Brazil, Bulgaria, Canada, China, Croatia, Cuba, Germany, Greece, Hungary, Italy, Kazakhstan, Montenegro, North Macedonia, Norway, Romania, Slovenia, Spain, Sweden, and Switzerland.

He was given the ninety-first position on the Progressive Party's *Aleksandar Vučić — For Our Children* list in the 2020 election and was elected to a second term at the national level when the list won a landslide majority with 188 mandates. He is now a member of the committee on Kosovo-Metohija and the security services control committee, and a member of the parliamentary friendship groups with the Bahamas, Botswana, Brazil, Cameroon, the Central African Republic, Comoros, the Dominican Republic, Ecuador, Equatorial Guinea, Eritrea, Grenada, Guinea-Bissau, Jamaica, Kyrgyzstan, Laos, Liberia, Madagascar, Mali, Mauritius, Montenegro, Mozambique, Nauru, Nicaragua, Nigeria, Palau, Papua New Guinea, Paraguay, the Republic of Congo, Saint Vincent and the Grenadines, Sao Tome and Principe, the Solomon Islands, South Sudan, Sri Lanka, Sudan, Suriname, Togo, Trinidad and Tobago, the United Arab Emirates, Uruguay, and Uzbekistan.

1. SLAVIŠA BULATOVIĆ, Otvoreni Parlament, accessed 7 January 2021.
2. "Ko je sve na listi SNS za republičke poslanike?", *Danas*, 6 March 2020, accessed 30 June 2020.
3. *Službeni List (Grada Vranja)*, Volume 19 Number 11 (25 April 2012).
4. I.M., "Milenković na čelu Vranjske Banje", *Južne vesti*, 4 July 2012, accessed 7 January 2021.
5. V. Pešić, Načelnik okruga Slaviša Bulatović izabran za šefa naprednjaka u Vranju, *Blic*, 26 July 2015, accessed 23 March 2017.
6. I.M., "Bulatović podneo ostavku na mesto načelnika Pčinjskog okruga", *Južne Vesti*, 8 June 2016, accessed 23 March 2017.
7. "MR. BULATOVIC: ALBANIANS SHOULD GET INTEGRATED INTO REPUBLICAN INSPECTIONS", Government of Serbia Coordination Body for the Municipalities of Presevo, Bujanovac and Medvedja, 3 March 2016, accessed 23 March 2017.
8. Izbori 2020: Izborne list Grad Vranje, Grad Vranje, accessed 7 January 2021.
9. Izbori 2020 – Konačna Odluka o dodeli mandata za odbornike Skupštine grada Vranja, Grad Vranje, accessed 7 January 2021.
10. Избори за народне посланике 2016. године » Изборне листе (АЛЕКСАНДАР ВУЧИЋ - СРБИЈА ПОБЕЂУЈЕ), Republika Srbija - Republička izborna komisija, accessed 17 February 2017.
11. Slavisa Bulatovic, National Assembly of Serbia, accessed 25 June 2016.
12. "Ko je sve na listi SNS za republičke poslanike?", *Danas*, 6 March 2020, accessed 30 June 2020.
13. SLAVISA BULATOVIC, National Assembly of the Republic of Serbia, accessed 7 January 2021.


title: Christine Kenney

abstract: Christine M. Kenney is a New Zealand sociologist, and is a Distinguished Professor of Disaster Risk Reduction at Massey University. She is the first Māori woman to lead a UN international science caucus. In 2024 Kenney was elected to the Council of the Royal Society Te Apārangi.

text:
# Christine Kenney

**Christine M. Kenney** is a New Zealand sociologist, and is a Distinguished Professor of Disaster Risk Reduction at Massey University. She is the first Māori woman to lead a UN international science caucus. In 2024 Kenney was elected to the Council of the Royal Society Te Apārangi.

## Academic career

Kenney affiliates to Te Āti Awa, Ngāti Mutunga, Ngāti Toarangatira, and Ngāi Tahu iwi. Kenney completed a PhD titled *Me aro ki te ha o hineahuone: women, miscarriage stories, and midwifery: towards a contextually relevant research methodology* at Massey University in 2009. Her research was supervised by Cheryl Benn, Suzanne Phibbs and Taiarahia Black. Kenney then joined the faculty of the School of Psychology at Massey University, rising to full professor in 2022, when she was appointed the university's inaugural Professor of Disaster Risk Reduction. She is the Director of Te Toi Whakaruruhau o Aotearoa, the EQC Mātauranga Māori Disaster Risk Reduction Research Centre, a role she was appointed to at the centre's launch in 2021. In July 2024 Kenney was one of two Massey professors newly appointed as Distinguished Professors, with the citation acknowledging her "exceptional work in indigenous disaster risk reduction created a new research field".

In 2021 Kenney was invited to lead the United Nations international Indigenous Disaster Science caucus. Her appointment was requested by the International Science Council and 'key United Nations agencies'. She is the first Māori woman to lead an international science caucus at the UN. She works with the Whorld Health Organisation, and several United Nations agencies, including UNDRR, UNESCO and UNOCHA.

Kenney’s research focuses on disaster risk reduction, climate change, community resilience and humanitarian issues. Kenney was an associate investigator on a 2016 Marsden grant led by Professor Steve Matthewman at the University of Auckland, titled *Power Politics: Electricity and Sustainability in Post-Disaster Ōtautahi (Christchurch*). She was the sole investigator on a 2017 grant *Māori, Catastrophic Events, and Collective Development of Culture-based Disaster Management Theory and Practice*. In 2022, she was one of three principal investigators on the Marsden grant *Kia whakatōmuri te haere whakamua: Translating Mātauranga Māori, usefully applied in the past, to enhance recovery trajectories in the future,* alongside Suzanne Phibbs and Professor Te Kani Kingi of Te Whare Wānanga o Awanuiārangi.

In July 2024 Kenney was elected by the Māori Electoral College to serve on the Council of the Royal Society Te Apārangi.

## Selected works

* Suzanne Phibbs; Christine Kenney; Christina Severinsen; Jon Mitchell; Roger Hughes (14 December 2016). "Synergising Public Health Concepts with the Sendai Framework for Disaster Risk Reduction: A Conceptual Glossary". *International Journal of Environmental Research and Public Health*. **13** (12). doi:10.3390/IJERPH13121241. ISSN 1660-4601. PMC 5201382. PMID 27983666. Wikidata Q30379704.
* Ashleigh Rushton; Suzanne Phibbs; Christine Kenney; Cheryl Anderson (14 April 2024). "The Interplay of Climate and Disaster in Men's Stories of the 2016 Kaikōura Earthquake in Aotearoa New Zealand 1". *Sociological Inquiry*. doi:10.1111/SOIN.12605. ISSN 0038-0245. Wikidata Q125630514.
* Christine M. Kenney; Suzanne Phibbs (December 2015). "A Māori love story: Community-led disaster management in response to the Ōtautahi (Christchurch) earthquakes as a framework for action". *International Journal of Disaster Risk Reduction*. **14**: 46–55. doi:10.1016/J.IJDRR.2014.12.010. ISSN 2212-4209. Wikidata Q125630519.
* Ashleigh Rushton; Suzanne Phibbs; Christine Kenney; Cheryl Anderson (28 February 2021). "'She'll be right': the place of gendered emotions in disasters". *Gender*. **29** (6): 793–815. doi:10.1080/0966369X.2021.1892595. ISSN 0966-369X. Wikidata Q125630515.
* Suzanne Phibbs; Christine Kenney (7 September 2017). "Heartaches over housing: correlating cardiovascular disease rates and housing damage in the aftermath of the Canterbury earthquakes". *Lancet Planetary Health*. **1** (6): e214–e215. doi:10.1016/S2542-5196(17)30096-7. ISSN 2542-5196. PMID 29851603. Wikidata Q57095353.
* T. D. Gibson; M. Pelling; A. Ghosh; et al. (March 2016). "Pathways for Transformation: Disaster Risk Management to Enhance Resilience to Extreme Events". *Journal of Extreme Events*. **03** (01): 1671002. doi:10.1142/S2345737616710020. ISSN 2345-7376. Wikidata Q125630517.

## InfoBox

| Christine Kenney | |
| --- | --- |
| Kenney in 2010 | |
|  | |
| Academic background | |
| Alma mater | Massey University |
| Thesis |  |
| Doctoral advisor | Cheryl Benn, Suzanne Phibbs, Taiarahia Black |
| Academic work | |
| Institutions | Massey University |
|  | |


title: Ricinocarpos graniticus

abstract: Ricinocarpos graniticus is a species of flowering plant in the family Euphorbiaceae and is endemic to the southwest of Western Australia. It is a monoecious shrub with linear leaves and creamy white flowers, arranged either singly, or with a single female flower surrounded by one or two male flowers.

text:
# Ricinocarpos graniticus

***Ricinocarpos graniticus*** is a species of flowering plant in the family Euphorbiaceae and is endemic to the southwest of Western Australia. It is a monoecious shrub with linear leaves and creamy white flowers, arranged either singly, or with a single female flower surrounded by one or two male flowers.

## Description

*Ricinocarpos graniticus* is a monoecious shrub that typically grows to height of up to 2 m (6 ft 7 in), its young branchlets glabrous. The leaves are linear, 15–40 mm (0.59–1.57 in) long and 1.2–1.5 mm (0.047–0.059 in) wide on a glabrous petiole 1–2 mm (0.039–0.079 in) long. The upper surface of the leaves is smooth and glabrous and the lower surface is covered with woolly white hairs. The flowers are arranged either as a single male or female flower, or with a single female flower surrounded by one or two male flowers. Male flowers are on a slender pedicel 6–9 mm (0.24–0.35 in) long, the sepals joined at the base and more or less glabrous, the sepal lobes egg-shaped, 4.0–4.2 mm (0.16–0.17 in) long, the petals creamy white and lance-shaped or oblong, 6–8 mm (0.24–0.31 in) long and 1.5–2.4 mm (0.059–0.094 in) wide. Each male flower has about 35 stamens. Female flowers are on a stout pedicel 5–10 mm (0.20–0.39 in) long. Flowering has been observed from June to September, and the fruit is an elliptic capsule about 7 mm (0.28 in) in diameter.

## Taxonomy and naming

*Ricinocarpos graniticus* was first formally described in 2007 by David Halford and Rodney Henderson in the journal *Austrobaileya* from specimens collected in the Darling Range in 2004. The specific epithet (*graniticus*) means "living on "granitic soil", referring to the granite rock outcrops where this species is found.

## Distribution and habitat

This species grows in low scrub on granite outcrops on the Darling Range, with a disjunct population near Newdegate, in the Avon Wheatbelt, Jarrah Forest, Mallee and Swan Coastal Plain bioregions of south-western Western Australia.

## InfoBox

| *Ricinocarpos graniticus* | |
| --- | --- |
|
| Scientific classification | |
| Kingdom: | Plantae |
| *Clade*: | Tracheophytes |
| *Clade*: | Angiosperms |
| *Clade*: | Eudicots |
| *Clade*: | Rosids |
| Order: | Malpighiales |
| Family: | Euphorbiaceae |
| Genus: | *Ricinocarpos* |
| Species: | ***R. graniticus*** |
| Binomial name | |
| ***Ricinocarpos graniticus***<br>Halford & R.J.F.Hend. | |
|


title: The Soft Parade (song)

abstract: "The Soft Parade" is a song composed by the American rock group the Doors, though credited to lead singer Jim Morrison only. It was recorded for their fourth studio album, also titled The Soft Parade (1969), appearing as the closing track. It has been considered as one of the most musically diverse compositions by the band. The 40th Anniversary remastered edition of the album reinstates an intro before the 'Petition the Lord with Prayer' section of the song, where Jim Morrison laments he's "troubled immeasurably" by the eyes of an unknown figure or subject. This piece was subsequently included as a bonus track on the 50th Anniversary release under the title "I Am Troubled".

text:
# The Soft Parade (song)

"**The Soft Parade**" is a song composed by the American rock group the Doors, though credited to lead singer Jim Morrison only. It was recorded for their fourth studio album, also titled *The Soft Parade* (1969), appearing as the closing track. It has been considered as one of the most musically diverse compositions by the band.

The 40th Anniversary remastered edition of the album reinstates an intro before the 'Petition the Lord with Prayer' section of the song, where Jim Morrison laments he's "troubled immeasurably" by the eyes of an unknown figure or subject. This piece was subsequently included as a bonus track on the 50th Anniversary release under the title "I Am Troubled".

## Composition

The main body of "The Soft Parade" is notated in 4/4 time. The song was completed with the help of record producer Paul A. Rothchild by helping Morrison to organise pieces of his poetry books. As Rothchild himself recalled, "I'd ask Jim to get out his notebooks of poetry and we'd go through them and find a piece that fit rhythmically and conceptually. A lot of the fragments there were just bits of poetry we put together." The lyrics draws comparison to William Blake as well as T. S. Eliot's poem "Ash Wednesday", much like many other selections of Morrison's poetry, which are heavily influenced by other poets and authors, notably "Break On Through (To the Other Side)" and "Not to Touch the Earth".

"The Soft Parade" itself was an expression coined by Morrison to indicate the bizarre and varied humanity that populated Sunset Boulevard in Los Angeles daily. His lyrics express need and pursuit for sanctuary, escape, and pleasure from his point of view. At the beginning of the song, Morrison starts out defiantly with spoken words reminiscent of a Christian revivalist preacher. The track then goes into a harpsichord driven semi-introductory piece with lyrics such as, "Can you give me sanctuary? / I must find a place to hide" referencing Morrison's then-current problems, most notably his arrests during the Miami and New Haven concerts. Afterwards, the beat picks up and the song progressively gets faster, followed by an upbeat and soft section before going into a wild psychedelic part that ends the song. Morrison remarks at the beginning of that section in ecstasy, "This is the best part of the trip!"

## Live performance

A rare performance of the song in its entirety was filmed for a PBS Doors television documentary, and later included on other Doors compilation DVDs. The band performed it along with "Tell All the People" and "Wishful Sinful". Keyboardist Ray Manzarek cited the performance decades later as "all four Doors in perfect sympatico". It also features a rare filmed appearance of a bearded Morrison, who usually shaved off his beard for publicity shots and television appearances. After the show, the band were interviewed by host and *Village Voice* music critic Richard Goldstein.

## Critical reception

In a contemporary review of *The Soft Parade*, *Rolling Stone* critic Alec Dubro found the title track to be a highlight of the album; however, he also expressed that "the thing is so mangled, so jammed together and frequently so silly that it’s kind of hard to listen all through its 8:40 for the good." Author David V. Moskowitz, formulated that "The Soft Parade" marked "a return to the band's bluesy roots". The English band the Electric Soft Parade borrowed their name from the song's title.

Writing for AllMusic, Richie Unterberger described "The Soft Parade" as "a multi-part suite" and praised it as "one of the band's best attempts to mix rock with poetry". Sal Cinquemani of *Slant Magazine*, negatively derided the lyrics to the final segment as "probably the most insightful of all". *Stereogum*'s Ryan Leas found it one of the Doors' weirdest lengthy album closers, adding that its final section sounds "like the kind of thing that should've soundtracked a lot of weird druggy late-'60s parties in the woods, or something". *The New Rolling Stone Album Guide* dismissed the effort as a "long concept" that "doesn't work".

## Personnel

Details are taken from the 2019 *The Soft Parade* reissue album booklet and *The Doors  Sounds for Your Soul  Die Musik Der Doors* book:

**The Doors**

**Additional musicians**

## InfoBox

| "The Soft Parade" | |
| --- | --- |
| Song by the Doors | |
| from the album  *The Soft Parade* | |
| Released | July 18, 1969 (1969-07-18) |
| Studio | Elektra Sound Recorders, Hollywood, California |
| Genre |  |
| Length | 8:40 (original) * 9:41 (40th Anniversary edition) |
| Label | Elektra |
| Songwriter(s) | Jim Morrison |
| Producer(s) | Paul A. Rothchild |


title: Vatreni Poljubac

abstract: Vatreni Poljubac is a hard rock and heavy metal band, originally formed in 1977 in Sarajevo, SR Bosnia and Herzegovina, SFR Yugoslavia, and since 1998 based in Belgrade, Serbia. Formed and led by vocalist, guitarist and songwriter Milić Vukašinović, Vatreni Poljubac was one the most notable acts of the Yugoslav hard rock and heavy metal scene. Formed in October 1977, after the end of Vukašinović's one-year stint as the drummer for Bijelo Dugme, the original lineup of Vatreni Poljubac consisted of Vukašinović, bass guitarist Shefqet Hoxha and drummer Perica Stojanović. The band's initial releases, the single "Doktor za rock and roll" and the album Oh, što te volim, joj!, were well-received by the audience and presented the band with their hard rock and heavy metal sound with folk influences. With their following releases the band maintained a loyal fanbase, although Vukašinović was occasionally criticized for his use of folk motifs in the band's songs by a part of Yugoslav music press, which compared some of Vatreni Poljubac songs with the Yugoslav "newly composed folk music". In 1982, the band went on a three-year hiatus, Vukašinović reforming the group for the 1985 comeback album Iz inata. The group's 1986 album 100% Rock 'n' Roll was recorded with former Bijelo Dugme vocalist Mladen Vojičić "Tifa", and is the only Vatreni Poljubac album not to feature Vukašinović on vocals. After the album release, the group disbanded, Vukašinović devoting himself to working with Yugoslav folk singers and releasing several solo albums. In 1997, he moved from Sarajevo to Belgrade, where he reformed Vatreni Poljubac in 1998. During the following two decades, Vukašinović would simultaneously release new Vatreni Poljubac albums, recorded by various lineups of the band, and his solo albums. Although Vukašinović's late works saw very little critical and commercial success, Vatreni Poljubac still enjoys a loyal fanbase in former Yugoslav republics.

text:
# Vatreni Poljubac

**Vatreni Poljubac** (trans. *Fiery Kiss*) is a hard rock and heavy metal band, originally formed in 1977 in Sarajevo, SR Bosnia and Herzegovina, SFR Yugoslavia, and since 1998 based in Belgrade, Serbia. Formed and led by vocalist, guitarist and songwriter Milić Vukašinović, Vatreni Poljubac was one the most notable acts of the Yugoslav hard rock and heavy metal scene.

Formed in October 1977, after the end of Vukašinović's one-year stint as the drummer for Bijelo Dugme, the original lineup of Vatreni Poljubac consisted of Vukašinović, bass guitarist Shefqet Hoxha and drummer Perica Stojanović. The band's initial releases, the single "Doktor za rock and roll" and the album *Oh, što te volim, joj!*, were well-received by the audience and presented the band with their hard rock and heavy metal sound with folk influences. With their following releases the band maintained a loyal fanbase, although Vukašinović was occasionally criticized for his use of folk motifs in the band's songs by a part of Yugoslav music press, which compared some of Vatreni Poljubac songs with the Yugoslav "newly composed folk music". In 1982, the band went on a three-year hiatus, Vukašinović reforming the group for the 1985 comeback album *Iz inata*. The group's 1986 album *100% Rock 'n' Roll* was recorded with former Bijelo Dugme vocalist Mladen Vojičić "Tifa", and is the only Vatreni Poljubac album not to feature Vukašinović on vocals. After the album release, the group disbanded, Vukašinović devoting himself to working with Yugoslav folk singers and releasing several solo albums. In 1997, he moved from Sarajevo to Belgrade, where he reformed Vatreni Poljubac in 1998. During the following two decades, Vukašinović would simultaneously release new Vatreni Poljubac albums, recorded by various lineups of the band, and his solo albums. Although Vukašinović's late works saw very little critical and commercial success, Vatreni Poljubac still enjoys a loyal fanbase in former Yugoslav republics.

## History

### Milić Vukašinović's beginnings, work with Indexi and Bijelo Dugme (1962–1976)

Milić "Mića "Vukašinović was born in Belgrade, but moved with his family to Sarajevo at an early age, due to his father's employment in the Yugoslav People's Army. He started to play drums at the age of twelve, persuaded by his older brother, who played guitar. He debuted as a member of his borther's band, playing at dances, and at the age of thirteen joined the band Plavi Dijamanti (*The Blue Diamonds*). After being expelled from gymnasium for hitting the school principal, he enrolled in a technical school, studying to be a TV repairman. However, he eventually dropped out of high school and started living off music.

In 1965, he started playing with the band Čičak (*Burdock*), and in 1970 performed in Italian clubs with Goran Bregović, Željko Bebek and Zoran Redžić. Upon their return to Sarajevo, Vukašinović, Bregović and Redžić formed the progressive rock trio Mića, Goran i Zoran. At the end of summer of 1971, dissatisfied with the little success the group had, he left Sarajevo and moved to London, where he spent three years, working as a manual laborer and learning to play the guitar. At the end of 1974, he returned to Sarajevo, becoming the drummer of the well-established band Indexi. In October 1976, he was invited by his former bandmates Bregović and Redžić to join their new band, the highly popular Bijelo Dugme, as a temporary replacement for their drummer Ipe Ivandić, who was serving his mandatory stint in the Yugoslav army. Vukašinović left Bijelo Dugme in October 1977, after Ivandić returned from the army and rejoined the band.

### Band formation, rise to prominence and hiatus (1977–1982)

Upon leaving Bijelo Dugme in October 1977, Vukašinović formed Vatreni Poljubac. The first lineup of the band consisted of Vukašinović (vocals, guitar), former Rezonansa and Divlje Jagode member Shefqet Hoxha (bass guitar), and former Ambasadori and Indexi member Perica Stojanović (drums). Vatreni Poljubac debuted on the 1977 BOOM Festival held in Novi Sad. Soon after, the band released their debut single "Doktor za rock and roll" ("PhD in Rock and Roll"), with "Tvoje su usne bile moj najdraži dar" ("Your Lips Were the Dearest Gift to Me") as the B-side. The single, produced by Nikola Borota, featured Vukašinović's autobiographical lyrics. Prior to the song recording, on the insistence of the band's record label, Jugoton, Vukašinović had to alter the song verse "Sve ostalo je sranje" ("Everything else is shit") to "Sve ostalo je manje" ("Everything else is less"). The single became and immediate hit, and was proclaimed, at the beginning of 1978, Hit of the Year 1977 in the Yugoslav teen magazine *Zdravo*.

In 1978, the band released their debut album, *Oh, što te volim, joj!* (*Oh, How I Love You, Ouch!*). The album was recorded in London and produced by Richard Whally. Vukašinović's guitar playing and high-pitched singing were influenced by contemporary heavy metal acts, with songs featuring his machist and erotic lyrics, with a corresponding album cover featuring erotic imagery. Beside hard rock and heavy metal tracks, the album featured the ballad "Baj, baj, malena" ("Bye, Bye, Little Girl"). Despite the band's and their manager's ambitions for large commercial success, the Yugoslav music press criticized Vukašinović's use of folk motifs in the group's songs, accusing him of trying to imitate Bijelo Dugme's trademark Balkan folk-influenced hard rock sound, describing the album as monotonous and expressing belief that it lacked authenticity of the band's debut single. In 1979, Vatreni Poljubac performed at the Opatija Festival, their songs "Ja bih se ljubio, ali nemam s kim" ("I Would Kiss Someone, But Have No One to Kiss") and "Ostani još samo jednu noć" ("Stay for Just One More Night") appearing on the festival's official compilation album *Opatija '79 – Rock grupe* (*Opatija '79 – Rock Bands*).

In 1979, the band's second studio album was released, the double album *Recept za rock 'n' roll* (*Recipe for Rock 'n' Roll*), with part of the songs written by Vukašinović in early and mid-1970s. The album was produced by band members themselves. Sixteen songs on the album featured similar folk-influenced hard rock and heavy metal sound as heard on the band's debut, most prominently in the instrumental track "Rock kolo", which led Yugoslav music magazine *Džuboks* to describe Vukašinović as a "heavy metal folk singer".

In 1980, Vatreni Poljubac released their third album, *To je ono pravo* (*That's the Right Stuff*). Stylistically similar to their previous two releases, with Vukašinović's self-confident lyrics—like in the track "Nek ne sluša kome smeta moj rock 'n'roll" ("Don't Listen if You Have a Problem with My Rock 'n' Roll")—the album also brought the track "Oda heroju" ("Ode to Hero"), inspired by the Yugoslav National Liberation War and described by rock critic Dragan Kremer in a review of the album as "national-liberation-revolutionary-heavy metal". Following the album release, the band once again appeared on the Opatija Festival, their song "Ona je tako dobra žena" ("She's Such a Good Woman") appearing on the festival's official compilation album. By the end of the year, the band had released another studio album, *Bez dlake na jeziku* (*Without Mincing Words*). The album brought the erotic-lyrics hit "Boogie je htjela" ("She Wanted Boogie"), but also the song "Moj dug je otišo van" ("My Friend Went Over the Border"), dealing with the emigration of educated young Yugoslavs who had no opportunity of obtaining an employment in their home country. Following the album release, Hoxha left the band, forming his own group, Carski Rez (*Caesarean Section*), with which he released the 1984 album *Igrao sam na jednu kartu* (*I Placed All My Hopes on One Card*). Later, he formed the band Detektor Laži (*Lie Detector*), and with the dissolution of Yugoslavia moved to Bulgaria. Hoxha was replaced by Sanin Karić, who was previously a member of Teška Industrija and played with Bijelo Dugme as a touring musician.

Following the release of *Bez dlake na jeziku*, Vukašinović recorded sixteen of his songs with English language lyrics, in his attempt to achieve breakthrough into the foreign market. As his efforts had little success, he focused back on his career in Yugoslavia, recording the album *Živio rock 'n' roll* (*Long Live Rock 'n' Roll*) with Vatreni Poljubac. The album brought the songs "Krv i znoj" ("Blood and Sweat"), "Svi za rock 'n' roll" ("All for Rock 'n' Roll") and "Stoput na dan" ("One Hundred Times a Day") in Vukašinović's well-known manner. In the song "Poštovani ska ska" ("Honorable Ska Ska") Vukašinović ridiculed Goran Bregović and other musicians of his generation who joined on the exuberant Yugoslav new wave scene. However, Vukašinović did express positive attitude towards young punk rockers in the punk-influenced track "Brat mi fura pank" ("My Brother's Into Punk"), and several other tracks were also influenced by punk rock. In addition, in the album's ballads "Kako da znam" ("How Can I Know") and "Hej, zaboravi" ("Hey, Forget") Vukašinović moved away from the band's trademark power trio sound by introducing piano, played by his former Bijelo Dugme bandmate Laza Ristovski.

After the release of *Bez dlake na jeziku*, Vukašinović decided to send the band on hiatus. During the break in the group's work, he wrote all the songs for three albums by folk singer Hanka Paldum, and recorded his first solo album, the pop rock-oriented *Potraži me* (*Search for Me*). On the album recording he sang and played guitar, bass guitar and drums, while the keyboards were played by Laza Ristovski. Sanin Karić worked as a studio musician and practiced to become a goldsmith, and Perica Stojanović, together with Bijelo Dugme manager Raka Marić, started the cafe Estrada (*The Scene*), which would become the gathering place for Sarajevo musicians.

### Comeback and disbandment (1985–1986)

In 1985, Vatreni Poljubac made a comeback with the album *Iz inata* (*Out of Spite*). The album was recorded in a new lineup, featuring Vukašinović, Nedžib Jelač (bass guitar) and Velibor Rajčić (drums). The album brought the humorous-lyrics hit "Žikino kolo" ("Žika's Kolo"). On June 15 of the same year, Vatreni Poljubac, alongside 23 other acts, performed on the Red Star Stadium in Belgrade, on the concert which was a part of YU Rock Misija, a Yugoslav contribution to Live Aid. Dissatisfied with constant echo, Vukašinović stopped playing in the middle of the song "Živio Rock 'n' Roll", saying angrily into the microphone: "It's not good... Fuck it, it's not good!". The concert was directly broadcast on Yugoslav television, and Vukašinović's profane outburst was criticized by a sizeable section of the public.

In 1986, Karić and Rajčić returned to the group, and the band was joined by former Bijelo Dugme vocalist Mladen Vojičić "Tifa". The new lineup of the band recorded the album *100% Rock 'n' Roll*, the only Vatreni Poljubac album not to feature Vukašinović on vocals. The keyboards on the album recording were played by Đorđe Ilijin, a former member of the progressive rock band Tako. *100% Rock 'n' Roll* featured more Deep Purple\- and Whitesnake-inspired sound that the band's early releases, although sex, alcohol and rock music were once again prevailing themes in Vukašinović's lyrics. Alongside the song "Kad sve prođe ostaću sam" ("When Everything Ends I'll Stay Alone"), originally written for Željko Bebek but rejected by him, the album featured the folk-oriented hit "Stipu gatibo" (šatrovački for "Pusti bogati", trans. "Let It Be for God's Sake") and the ballads "Kako da te ostavim" ("How Can I Leave You") and "Ne pitaj me" ("Don't Ask Me").

After the album release, Vukašinović decided to end the group's activity.

### Vukašinović' activities after the group's disbadment (1987–1997)

In the years following Vatreni Poljubac disbandment, Vukašinović devoted himself to composing for Yugoslav folk singers. His condition for cooperation was that he would to be the sole songwriter, author of musical arrangements, performer of all instruments and the producer on the album. In 1988, he released his own album of folk songs, entitled *Hej jaro, jarane* (*Hey, Buddy, Friend*). In 1992, he recorded the album *Kao nekad* (*Like Before*), cooperating on the recording with former Zabranjeno Pušenje member Mustafa Čengić. The vinyls and the album cover were printed, but never saw official promotion due to the outbreak of the Bosnian War. The only song from the album which found its way to the media was "Sad ga lomi" ("Now Ride On It").

Vukašinović spent the entire Bosnian War in the besieged Sarajevo. He played as a percussionist with the Bosnian Latin music band Sonidos Barbados, releasing the albums *Zaštićena zona* (*Protected Zone*, 1995) and *Senora* (1996) with the group. In 1997, Nimfa Sound record label released two hastily prepared compilation albums, *Dr. za rock 'n roll* and *100% rock 'n roll*, featuring Vatreni Poljubac songs, as well as songs from Vukašinović's solo albums. During the same year, Vukašinović authored the song "Goodbye" performed by Alma Čardžić as Bosnian entry on the 1997 Eurovision Song Contest.

### Reformation (1998–present)

In November 1997, Vukašinović moved to Belgrade There, he reformed Vatreni Poljubac with young Belgrade musicians Marko Nikolić (bass guitar) and Dušan Obradović (drums). The reformed band debuted on the 1998 Concert of the Year festival in Novi Sad. In September 1999, the band released the album *Sve će jednom proć' samo neće nikad Rock 'n' Roll* (*Everything Will Pass, Except Rock 'n' Roll*), featuring seventeen mostly erotic-themed songs. In the spring of 2000, Vukašinović released his solo album *Sad ga lomi*, featuring the material originally recorded for his never-officially-released 1992 album *Kao nekad*. The release was followed by a series of Vatreni Poljubac performances, for which the band was joined by guitarist Miloš Nikolić.

In 2001, Vukašinović released the solo album *Seksualno nemoralan tip* (*Sexually Immoral Guy*), recorded with Laza Ristovski, and in 2003 he released another folk rock solo album, *Ima boga* (*There Is God*). With singer Selma Muhedinović, he recorded the song "Tebi suđena" ("Destined to You"), as their entry on the national selection for Bosnia's representative at the Eurovision Song Contest, but failed to qualify for the competition.

In 2005, Vukašinović and old Vatreni Poljubac members Sanin Karić and Perica Stojanović recorded new songs and re-recorded some of the band's old songs for Vatreni Poljubac's ninth studio album, *Gleda a ne da* (*She's Looking at Me but Won't Give Me Some*). During the same year, he took part in Bijelo Dugme reunion, playing drums on all three reunion concerts, in Sarajevo, Zagreb and Belgrade. Following the reunion, he recorded covers of 50 Bijelo Dugme songs, releasing them on the double solo album *Disko Mix 50 hitova Gorana Bregovića* (*Disko Mix of 50 Hits by Goran Bregović*). Once again he announced the breakthrough into the foreign market, releasing the single "Stop Globalization" under the name Mitch Valiant. In 2007, Vatreni Poljubac was scheduled to appear as the opening band on the Rolling Stones concert in Belgrade's Ušće park. However, dissatisfied with the fact that his band was scheduled to appear as the first opening act, before Električni Orgazam, Vukašinović cancelled the performance. In 2008, Vukašinović recorded his songs with folk singer Era Ojdanić for the album *Da je život pametniji* (*If the Life Was Smarter*).

With bass guitarist Srđan Đukić and drummer Vladimir Ćopić, Vukašinović recorded the tenth Vatreni Poljubac studio album, entitled *Kad svira rock 'n' roll* (*When Rock 'n' Roll is Playing*), released in 2011. It was followed by Vukašinović's 2014 solo album *Nemoj pjevat'... Ma nemoj* (*Don't Sing... You Don't Say*), on which he sang, played guitar, bass guitar and drums, with Laza Ristovski and bass guitarist Branko Isaković also partaking in the recording. In 2020, Bosnian director Miroslav Čigoja shot the film *70 godina doktora za rokenrol* (*70 Years of PhD in Rock 'n' Roll*) about Vukašinović.

Vatreni Poljubac's latest studio album, *Život je k'o fol ako nije R'n'R* (*Life Is Fake If It Ain't R'n'R*) was released in 2022. Alongside the songs with Vukašinović's trademark erotic lyrics, the album also featured political-related songs.

## Legacy

"Doktor za rock and roll" was covered by Serbian punk rock band Direktori on their 1995 album *Lesli se vraća kući* (*Leslie Come Home*); five years later, Vukašinović appeared on Direktori album *Evo vam ga* (*Here You Go*) as a guest in the song "Smor grad" ("Boring City"). "Doktor za rock and roll" was polled in 2001 as No. 95 on the Rock Express Top 100 Yugoslav Rock Songs of All Times.

## Members

* Milić Vukašinović – vocals, guitar (1977–1986, 1998–present)
* Perica Stojanović – drums (1977–1982, 1986, 2005)
* Shefqet Hoxha – bass guitar (1977–1980)
* Sanin Karić – bass guitar (1980–1982, 1986, 2005)
* Nedžib Jeleč – bass guitar (1985)
* Velibor Rajčić – drums (1985)
* Mladen Vojičić – vocals (1986)
* Marko Nikolić – bass guitar (1998–2001)
* Dušan Obradović – drums (1998–2001)
* Miloš Nikolić – guitar (2000–2001)
* Srđan Đukić – bass guitar (2011–present)
* Vladimir Ćopić – drums (2011–present)

## Discography

### Studio albums

* *Oh, što te volim, joj!* (1978)
* *Recept za rock 'n' roll* (1979)
* *To je ono pravo* (1980)
* *Bez dlake na jeziku* (1980)
* *Živio rock 'n' roll* (1982)
* *Iz inata* (1985)
* *100% Rock 'n' Roll* (1986)
* *Sve će jednom proć' samo neće nikad Rock 'n' Roll* (1999)
* *Gleda a ne da* (2005)
* *Kad svira rock 'n' roll* (2011)
* *Život je k'o fol ako nije R'n'R* (2022)

### Compilation albums

* *Veliki hitovi* (1983)
* *Dr. za rock 'n roll* (1997)
* *100% rock 'n roll* (1997)
* *Najveći hitovi* (2000)

### Singles

* "Doktor za rock and roll" / "Tvoje usne su bile moj najdraži dar *(1978)*
* "Na vrat na nos i na svoju ruku" / "Od želje da te ljubim hoću prosto da poludim" (1979)

## InfoBox

| Vatreni Poljubac | |
| --- | --- |
| Vatreni Poljubac performing in Belgrade in 2022 | |
| Background information | |
| Origin | Sarajevo, SR Bosnia and Herzegovina, SFR Yugoslavia (1977–1986)
Belgrade, Serbia (1998–present) |
| Genres |  |
| Years active | * 1977–1986 * 1998–present |
| Labels | Jugoton, Diskoton, Sarajevo Disk, PGP-RTB, ZKP RTLJ, Nimfa Sound, Goraton, Music Star, Gold |
|  | |
| Members | Milić Vukašinović
Srđan Đukić
Vladimir Ćopić |
|  | |
| Past members | Shefqet Hoxha
Perica Stojanović
Sanin Karić
Nedžib Jelač
Velibor Rajčić
Mladen Vojičić
Marko Nikolić
Dušan Obradović
Miloš Nikolić |


title: Chokher Aloy

abstract: Chokher Aloy is a 1989 Bengali film directed by Sachin Adhikari. The music of the film was composed by Bappi Lahiri. The film stars Debashree Roy, Prosenjit Chatterjee and Tapas Paul in the leading roles.

text:
# Chokher Aloy

***Chokher Aloy*** is a 1989 Bengali film directed by Sachin Adhikari. The music of the film was composed by Bappi Lahiri. The film stars Debashree Roy, Prosenjit Chatterjee and Tapas Paul in the leading roles.

## Cast

## InfoBox

| Chokher Aloy | |
| --- | --- |
| Directed by | Sachin Adhikari |
| Starring | Debashree Roy
Prosenjit Chatterjee
Tapas Paul
Anil Chatterjee |
| Music by | Bappi Lahiri |
| Release date | * 1989 (1989) |
| Country | India |
| Language | Bengali |


title: Bord Bia

abstract: Bord Bia is an Irish semi state agency with responsibility for the promotion of Irish food, drink and horticulture both in Ireland and in overseas markets. Bord Bia works for small producers by promoting and certifying farmers' markets, and for bigger producers by offering international marketing services.

text:
# Bord Bia

**Bord Bia** (English: Food Board) is an Irish semi state agency with responsibility for the promotion of Irish food, drink and horticulture both in Ireland and in overseas markets.

Bord Bia works for small producers by promoting and certifying farmers' markets, and for bigger producers by offering international marketing services.

## History

Bord Bia was founded in 1994 as an amalgamation of the *Coras Beostoic agus Feola* (the Meat and Livestock Board) and the food promotion activities of the Irish Trade Board. In 2004, it amalgamated with *Bord Glas*, which used to be responsible for the development of the horticulture industry. In 2009, Bord Bia took over the promotion of seafood from BIM (Bord Iascaigh Mharaigh).

Part of the organisation's work is "promoting better ways of producing, by innovation and setting 'best practice' standards". According to the 2010 report *Pathways for Growth*, published by Bord Bia, Ireland should:

> "adopt a strategy of developing a world-class agricultural industry by 2016 and set itself the goal of becoming the most efficient, most highly innovative food and drink country in the world."

## Organisation

Bord Bia acts as a link between Irish producers and their customers worldwide. For that purpose, it has several overseas offices in, amongst other cities, Amsterdam, Shanghai and New York City.

In 2008, Bord Bia received 30 million euros for an advertising campaign in the period 2008–2013. In 2009, the "Oireachtas Grant-in-Aid" was 28 million a year. With other incomes (earmarked grants, levies and so on) the organisation had a budget in 2009 of about 43.5 million euros.

## Developments

Bord Bia is mostly known for its certification of Irish food products under the label Origin Green, through which it launched the world's first national sustainability food program. The logo connected to this scheme is used at home and abroad.

In May 2011, Bord Bia published their goal of increasing food exports by 40% in 2020 compared with the 2010 level.

## InfoBox

Bord Bia
| State Agency of the Department of Agriculture, Food and the Marine overview | |
| --- | --- |
| Formed | 1 December 1994 (1994-12-01) |
| Preceding agencies | * Córas Beostoic agus Feola - Irish Meat and Livestock Board * An Bord Tráchtála |
| Jurisdiction | Ireland |
| Headquarters | 140 Pembroke Road, Ballsbridge, Dublin 4 |
| State Agency of the Department of Agriculture, Food and the Marine executive | * Larry Murrin, Chairman |
| Key document | * Irish Food Board Act, 1994 |
| Website | Bord Bia website |


title: Liang Qin

abstract: Liang Qin is a Chinese fencer. She won a bronze medal in the women's team épée event at the 2000 Summer Olympics.

text:
# Liang Qin

**Liang Qin** (Chinese: 梁琴; pinyin: *Liáng Qín*; born 28 July 1972) is a Chinese fencer. She won a bronze medal in the women's team épée event at the 2000 Summer Olympics.

## InfoBox

Liang Qin
| Personal information | |
| --- | --- |
| Born | (1972-07-28) 28 July 1972 |
| Sport | |
| Sport | Fencing |
| Medal record      Women's fencing  Representing  China  Olympic Games  2000 Sydney Épée, team | |