title: Gondolier (song)

abstract: "Gondolier" is a song by the French singer Dalida, first released on EP in December 1957. It was her second major hit after "Bambino". Reaching No. 1 on both the La Bourse des Chansons chart and the Music Hall chart in France, it was the title song for Dalida's 1958 album Gondolier. The song also reached No. 1 on the Belgian and Canadian charts.

text:
# Gondolier (song)

"**Gondolier**" is a song by the French singer Dalida, first released on EP in December 1957. It was her second major hit after "Bambino". Reaching No. 1 on both the La Bourse des Chansons chart and the Music Hall chart in France, it was the title song for Dalida's 1958 album *Gondolier*. The song also reached No. 1 on the Belgian and Canadian charts.

## Description

The song's melody was composed by Peter De Angelis with lyrics by Jean Broussolle. It was released as promotional single on February 22, 1957, but it received no promotion because of the prolonged success of "Bambino".

As the song did not reach its audience, De Angelis and his colleague Bob Marcucci wrote the English language version which gained success in the US and UK in mid 1957. During an interview in 1958, Dalida said, "I heard on radio Petula Clark singing it in English, and I like it very much so I decided to use the song for my Christmas special show."

On the end of 1957, Dalida used "Gondolier" as the title song of a French TV Christmas special, in which she was the main attraction. The song was issued on EP the next day and it gained instant success. It entered the charts at #1 in the first week of January 1958, and eventually spent 53 weeks in the top 20, until the last week of December 1958. It spent 9 weeks as #1 in January and February and again reached #1 for 10 weeks during the summer, earning Dalida her third gold disc.

Eventually, it became the most sold record of 1958, so promotions through TV and concert performances made the song a pop standard in France and one of Dalida's signature tracks.

## Cover versions

"Gondolier" was covered by many artists.

In English, the song has been recorded by several artists under the title *With all my Heart*, including:

## Charts

| Chart | Peak<br>position |
| --- | --- |
| Belgium (Ultratop Flanders) | 1 |
| Belgium (Ultratop Wallonia) | 1 |
| Canada | 1 |
| France (Bourse des chansons) | 1 |
| France (Music Hall Charts) | 1 |

## Bibliography

## InfoBox

| "Gondolier" | |
| --- | --- |
| Cover of EP | |
| Song by Dalida | |
| Released | December 1957 (1957-12) |
| Recorded | December 9, 1957 |
| Studio | Hoche |
| Genre |  |
| Length | 2:55 |
| Label | Barclay |
| Composer(s) | Pete DeAngelis |
| Lyricist(s) | Jean Broussolle |


title: Aristolochia stevensii

abstract: Aristolochia stevensii is a plant species native to northwestern Nicaragua and southwestern Honduras. It grows in wet montane forests. Aristolochia stevensii is a liana climbing over other vegetation. Stems are woody, up to 2 cm in diameter, the bark tomentose when young, corky when older. Leaves are ovate, up to 17 cm long. Flowers are borne in racemes in the axils of the leaves, dull yellow with a purple center.

text:
# Aristolochia stevensii

***Aristolochia stevensii*** is a plant species native to northwestern Nicaragua and southwestern Honduras. It grows in wet montane forests.

*Aristolochia stevensii* is a liana climbing over other vegetation. Stems are woody, up to 2 cm in diameter, the bark tomentose when young, corky when older. Leaves are ovate, up to 17 cm long. Flowers are borne in racemes in the axils of the leaves, dull yellow with a purple center.

## InfoBox

| *Aristolochia stevensii* | |
| --- | --- |
|
| Scientific classification | |
| Kingdom: | Plantae |
| *Clade*: | Tracheophytes |
| *Clade*: | Angiosperms |
| *Clade*: | Magnoliids |
| Order: | Piperales |
| Family: | Aristolochiaceae |
| Genus: | *Aristolochia* |
| Species: | ***A. stevensii*** |
| Binomial name | |
| ***Aristolochia stevensii***<br>Barringer | |
|


title: Opal, Virginia

abstract: Opal is an unincorporated community and census-designated place (CDP) in Fauquier County, Virginia, United States. It is on U.S. Highway 15/U.S. Route 17 and U.S. Route 29, at an elevation of 449 feet (137 m). The population as of the 2010 census was 691.

text:
# Opal, Virginia

**Opal** (formerly **Fayettesville**) is an unincorporated community and census-designated place (CDP) in Fauquier County, Virginia, United States. It is on U.S. Highway 15/U.S. Route 17 and U.S. Route 29, at an elevation of 449 feet (137 m). The population as of the 2010 census was 691.

## Geography

Opal is in western Fauquier County, 7 miles (11 km) south of Warrenton, the county seat, and 18 miles (29 km) northeast of Culpeper. US Route 17 diverges from Route 15 and 29 at Opal, leading southeast 31 miles (50 km) to Fredericksburg. Bealeton is directly south of Opal.

According to the U.S. Census Bureau, the Opal CDP has a total area of 3.2 square miles (8.2 km2), of which 0.03 square miles (0.07 km2), or 0.81%, is water. The north and east sides of the community are part of the Potomac River watershed via Licking Run, Cedar Run, and the Occoquan River, while the west and south sides are part of the Rappahannock River watershed, via Tinpot Run and Bowens Run.

## History

Opal was chartered in 1798 as Fayettesville.

## InfoBox

| Opal, Virginia | |
| --- | --- |
| Census-designated place | |
| OpalLocation within Fauquier countyOpalOpal (Virginia)OpalOpal (the United States) | |
| Coordinates: 38°37′15″N 77°48′00″W / 38.62083°N 77.80000°W / 38.62083; -77.80000 | |
| Country | United States |
| State | Virginia |
| County | Fauquier |
| Area | |
| Total | 3.16 sq mi (8.19 km2) |
| Land | 3.14 sq mi (8.12 km2) |
| Water | 0.03 sq mi (0.07 km2) |
| Elevation | 449 ft (137 m) |
| Population (2010) | |
| Total | 691 |
| Density | 220/sq mi (85.1/km2) |
| Time zone | UTC−5 (Eastern (EST)) |
| Summer (DST) | UTC−4 (EDT) |
| ZIP code | 20186 |
| FIPS code | 51-59416 |
| GNIS feature ID | 1499824 |


title: Prempal Singh Dhangar

abstract: Prempal Singh Dhangar is an Indian politician and member of Uttar Pradesh Legislative Assembly representing the Tundla (SC) Assembly constituency in the Firozabad district. He is a member of the Bharatiya Janata Party.

text:
# Prempal Singh Dhangar

**Prempal Singh Dhangar** is an Indian politician and member of Uttar Pradesh Legislative Assembly representing the Tundla (SC) Assembly constituency in the Firozabad district. He is a member of the Bharatiya Janata Party.

## InfoBox

| Prempal Singh Dhangar | |
| --- | --- |
|  | |
| Member of the Uttar Pradesh Legislative Assembly | |
| Constituency | Tundla |
|  | |
| Personal details | |
| Political party | Bharatiya Janata Party |
|  | |


title: Thomas Balguy

abstract: Thomas Balguy (1716–1795) was an English churchman, archdeacon of Salisbury from 1759 and then Archdeacon of Winchester.

text:
# Thomas Balguy

**Thomas Balguy** (17161795) was an English churchman, archdeacon of Salisbury from 1759 and then Archdeacon of Winchester.

## Life

He was the son of John Balguy, and was born at Cox-Close 27 September 1716, educated at the Ripon Free School, and admitted to St John's College, Cambridge in 1734; was B.A. 1737, M.A. 1741, S.T.P. 1758. He was elected to a Platt fellowship at St. John's in March 1741, which he held till 1748.

In 1744 he became assistant tutor to his friend William Samuel Powell, tutor and later master of the college, and gave lectures on moral philosophy and the evidences 'for sixteen years.' In 1743 he was deputy public orator, and in 1758 tutor to the Duke of Northumberland. He states in his father's *Life* that he owed all his preferments to Benjamin Hoadley, who had given his father a prebend of Salisbury. His father, as prebendary, presented him (1748) to the rectory of North Stoke, near Grantham in Lincolnshire, which he vacated in 1771 on becoming vicar of Alton, Hampshire. Through Hoadley's influence he obtained a prebend of Winchester in 1758, and became archdeacon of Salisbury in 1759, and afterwards Archdeacon of Winchester.

Balguy was one of the admirers and disciples of William Warburton, and his name frequently appears in Warburton's correspondence with Richard Hurd. On Warburton's death in 1781 he declined the appointment to the vacant bishopric of Gloucester on the ground of failing health and approaching blindness, and died 19 January 1795 at his prebendal house at Winchester. A monument to him is in the south aisle of Winchester Cathedral.

## Works

Thomas, less of a latitudinarian than his father, and opposed the agitation for a relaxation of the 39 Articles. In 1769 he published a sermon on the consecration of Bishop Shipley, which was answered by Joseph Priestley in *Observations upon Church Authority*. In 1772 he published an archidiaconal charge, in which he defended subscription to articles of religion; and in 1775 a sermon at the consecration of Bishops Hurd and Moore, which was answered in remarks 'by one of the prebendary clergy'. In 1775 he edited the sermons of his friend William Samuel Powell, with a *Life* of the author; and in 1782 *Divine Benevolence asserted*, part of an unfinished treatise on natural religion. In 1785 he republished his father's essay on Redemption, and a collection of sermons and charges. His discourses, edited by Rev. James Drake (a relation to whom his manuscripts were bequeathed), were republished at Cambridge in 1820.

Attribution

This article incorporates text from a publication now in the public domain: "Balguy, Thomas". *Dictionary of National Biography*. London: Smith, Elder & Co. 1885–1900.


title: PX-2

abstract: PX-2 is an indazole-based synthetic cannabinoid that has been sold online as a designer drug. It contains a phenylalanine amino acid amide as part of its structure.

text:
# PX-2

**PX-2** (also known as **5F-APP-PINACA**, **FU-PX** and **PPA(N)-2201**) is an indazole-based synthetic cannabinoid that has been sold online as a designer drug. It contains a phenylalanine amino acid amide as part of its structure.

## Legality

Sweden's public health agency suggested classifying PX-2 as hazardous substance on November 10, 2014.

PX-2 is listed in the Fifth Schedule of the Misuse of Drugs Act (MDA) and therefore illegal in Singapore as of May 2015.

As of October 2015 PX-2 is a controlled substance in China.

## InfoBox

PX-2
|  | |
| --- | --- |
| Legal status | |
| Legal status |  |
| Identifiers | |
| IUPAC name * (*S*)-*N*-(1-amino-1-oxo-3-phenylpropan-2-yl)-1-(5-fluoropentyl)-1*H*-indazole-3-carboxamide | |
| CAS Number |  |
| ChemSpider |  |
| UNII |  |
| Chemical and physical data | |
| Formula | C22H25FN4O2 |
| Molar mass | 396.466 g·mol−1 |
| 3D model (JSmol) |  |
| SMILES * O=C(N\[C@@H\](C(N)=O)CC1=CC=CC=C1)C2=NN(CCCCCF)C3=C2C=CC=C3 | |
| InChI * InChI=1S/C22H25FN4O2/c23-13-7-2-8-14-27-19-12-6-5-11-17(19)20(26-27)22(29)25-18(21(24)28)15-16-9-3-1-4-10-16/h1,3-6,9-12,18H,2,7-8,13-15H2,(H2,24,28)(H,25,29)/t18-/m1/s1 * Key:OJTAHWMZBJRSIR-GOSISDBHSA-N | |


title: Markazi Sunni Rizvi Jamia Masjid

abstract: Markazi Sunni Rizvi Jamia Masjid is the central congregational masjid in Faisalabad, Punjab, Pakistan. It was built in Jhang Bazaar in the early 1950s. It was founded by Sardar Ahmed Chishti and is the largest mosque by covered area in Faisalabad.

text:
# Markazi Sunni Rizvi Jamia Masjid

**Markazi Sunni Rizvi Jamia Masjid** is the central congregational masjid in Faisalabad, Punjab, Pakistan. It was built in Jhang Bazaar (one of the eight bazaars around the city's clock tower) in the early 1950s. It was founded by Sardar Ahmed Chishti and is the largest mosque by covered area in Faisalabad.

## Architecture

The building of the masjid is in the style of Mughal architecture.

The courtyard is paved with white marble and is wide open. The massive entrance is a white marble gate under a dome.

The veranda is about 150 feet long and 25 feet wide. Its walls are engraved with flowers and calligraphy. The calligraphy is in Khat-e-Nastaliq (The most prominent and popular Arabic script).

The masjid's hall is about 150 feet long and 70 feet wide and has 20 columns to support the roof. The columns are decorated with flower carvings and calligraphy. The front wall has a Mehrab. The beauty of this building is its outer look. Two minarets have been erected which are about two hundred meters high. Red marble has been used for their construction. In between them are three domes constructed with white marble. The aerial view of the Masjid is very much glorious and elegant. This masjid is the exact copy of the Badshahi Masjid of Lahore.

### Services

More than ten thousand persons can perform their prayers at a time. During Jumma prayers and Eid prayers, the mosque is primarily overcrowded. It is also a center of other religious activities. More than two hundred students attend classes in religious studies. About one hundred students are here for Hifz (They learn and memorize the whole Quran by heart).


title: Hills House, Denham

abstract: Hills House is a 17th-century residence located on the Village Road in Denham, Buckinghamshire, England. In the late 1930s and early 1940s, it was the home of actress Merle Oberon and her husband, the film producer Sir Alexander Korda. In 1975 the house was purchased by Sir John and Lady Mills.

text:
# Hills House, Denham

**Hills House** is a 17th-century residence located on the Village Road in Denham, Buckinghamshire, England. In the late 1930s and early 1940s, it was the home of actress Merle Oberon and her husband, the film producer Sir Alexander Korda. In 1975 the house was purchased by Sir John and Lady Mills.

## Description

The house is built of red brick with a tile roof. It has four gables facing the street, alternately shaped and stepped, and features three storeys. The sections of the house frontage differ. The left section has six double-hung, flush windows with glazing bars, flat brick arches and small brick cornice mouldings. The right section windows have cambered brick relieving arches. The ground floor has an entrance door with wooden architrave and hood on carved brackets. The gables have brick copings and the ground and first floor have brick bands. The interior is reported to feature a semi-circular recess with fluted pilasters and moulded cornice and newel staircase in oak. The exterior is partially covered with wisteria vine.

The house is listed as Grade II\* on the National Heritage List for England. A plaque placed on the house by The Heritage Foundation commemorates Mills's residence.

## History

Alexander Korda (1893–1956) bought the house and estate at Denham for the sum of £15,000, planning to build film studios on the property. He managed to obtain permission for the construction and sent to California for architects to build the studios, Denham Film Studios, which opened in 1936 but suffered from financial difficulties. After Korda's marriage to film star Merle Oberon (1911–1979) in 1939, the couple lived in the house until their divorce in 1945. The area where the film studio stood, known as 'The Fisheries', is now a park.

Sir John Mills bought Hills House in 1975. However, the 4-acre (1.6 ha) garden and the house eventually became too large and the stairs too difficult for the elderly Sir John (1908–2005) and Lady Mills (1911–2005). In 2003 they moved from the house to a bungalow in the village of Denham.

51°34′21″N 0°29′50″W / 51.5725°N 0.4972°W / 51.5725; -0.4972

## InfoBox

| Hills House | |
| --- | --- |
| Hills House | |
|  | |
| General information | |
| Type | Residential |
| Architectural style | Netherlandish Classicism |
| Location | Denham, Buckinghamshire |
| Technical details | |
| Structural system | Brick |
| Floor count | 3 |


title: Gondolin Cave

abstract: Gondolin Cave is a fossiliferous dolomitic paleocave system in the Northwest Province, South Africa. The paleocave formed in the Eccles Formation dolomites. Gondolin is currently the only described hominin-bearing fossil site in the Northwest Province-portion of the designated Cradle of Humankind UNESCO World Heritage Site. The cave is located on privately owned land and is not accessible to the public. As is the case with other South African Paleo-cave systems with Pliocene and/or Pleistocene fossil deposits, the system was mined for lime during the early 20th century. As a result, the system has been heavily disturbed and consists of only a small active cave, a series of in situ remnant cave deposits, and extensive dumpsites of ex situ calcified sediments produced during mining activities.

text:
# Gondolin Cave

**Gondolin Cave** is a fossiliferous dolomitic paleocave system in the Northwest Province, South Africa. The paleocave formed in the Eccles Formation dolomites (Malmani Subgroup, Chuniespoort Group carbonate-banded iron formation marine platform). Gondolin is currently the only described hominin-bearing fossil site in the Northwest Province-portion of the designated Cradle of Humankind UNESCO World Heritage Site. The cave is located on privately owned land and is not accessible to the public. As is the case with other South African Paleo-cave systems with Pliocene and/or Pleistocene fossil deposits, the system was mined for lime during the early 20th century. As a result, the system has been heavily disturbed and consists of only a small active cave, a series of *in situ* remnant cave deposits, and extensive dumpsites of *ex situ* calcified sediments produced during mining activities.

## Site history and excavations

No records of the date of lime mining activities at Gondolin, maps or photographs of the cave prior to mining are known to exist. Long-term residents near Gondolin report that the system was mined prior to the 1950s. The cave was named after J.R.R. Tolkien's *Gondolin* by the early 1970s. Exposed fossils in the cave system were noted at least as early as the 1970s and brought to the attention of Elisabeth Vrba and David Panagos at the (then) Transvaal Museum (now the Ditsong National Museum of Natural History), who initiated excavations in early 1979. The first phase of excavation addressed the extremely fossiliferous *in situ* remnant deposits adhering to the northern wall of the cave system (the GD 2 deposits *sensu*). The three-week 1979 excavation removed approximately 2 m3 (71 cu ft) of calcified sediments from the northern cave wall. While two distinct sediment phases were recognized during the original excavation, later work with the fossil fauna and geology of the GD 2 deposits did not find any basis for multiple depositional phases within the sampled sequence. The removed sediment blocks were organised into 43 blocks/trays and processed using acetic acid at the Transvaal Museum. A significant gap in research at Gondolin occurred in the 1980s, during which time all of the excavated blocks were processed (but no further *in situ* or *ex situ* sampling is known to have occurred). The first description of the result fossil assemblage in 1993 only partially described 4,344 individual specimens that could be assigned to a specific taxonomic levels (out of the 90,663 total specimens recovered from acetic acid processing of the 43 trays/blocks).

In 1997 a survey of the sediments at Gondolin included the first sampling of the extensive *ex situ* dumpsite deposits at the locality via a test trench (Trench A). Materials removed from Trench A included fossiliferous breccia blocks from most, if not all, of the stratigraphic units present at the site (as well as loose fossil specimens sifted from decalcified sediments). From this sampled material (the GD A faunal assemblage), two isolated hominin teeth (representing two different individuals) were recovered. The first, GA 1, is a worn and fractured left molar that has not been confidently attributed to either genus or species (but resembles *Homo* in some features. In contrast, GA 2 is a complete left m2 that has been recently analysed and attributed to *Paranthropus robustus* (if from a large individual).

The most recent excavations at Gondolin were undertaken in 2003 and 2004 to explore the largely decalcified GD 1 deposits along the northwestern rim of the Gondolin locality. A four-week excavation season produced a sample of 4,863 fossil specimens from approximately 50 m3 (1,800 cu ft) of soil overburden and naturally decalcified sediments that were screened with 1mm mesh. Critically, integration of taphonomic and geologic data from the GD 1 excavations indicated that fundamentally different processes of fossil record formation were occurring at Gondolin during the formation of the GD 1 and GD 2 fossil assemblages. This result highlighted the complex, heterogenous geologic processes that can influence fossil deposition and assemblage composition in South African cave systems during the late Pliocene and early Pleistocene.

A 180 degree panorama of the Gondolin Cave system

## Fossil fauna

The original description of fossil specimens from the GD 2 deposits only addressed a small portion of the assemblage. A single hominin tooth that was originally thought to have been derived from the GD 2 sampling was later determined to be an intrusive modern *Homo* tooth. A comprehensive reanalysis of the Gondolin GD 2 assemblage undertaken from 2002 to 2004 led to the identification of 95,549 total individual specimens (in contrast to the 90,663 specimens originally noted in 1993), of which 16,477 are identifiable craniodental (3,484) or postcranial (12,993) specimens; with the remaining 79,076 specimens being unidentifiable (primarily long bone diaphysis) fragments.

The assemblage composition described from this reanalysis differs in key respects from that of the initial 1993 description, including significant shifts in the specimen counts attributed to individual taxonomic categories (both numbers of individual specimens and minimum numbers of individuals) and the removal of several species (*Hippopotamus* sp., *Antidorcas australis/marsupialis*, *Procavia transvaalensis*). The revised description of the GD 2 assemblage also reinforced several unique features of the collection compared to other South African late Pliocene and Pleistocene:

* The numerical dominance of two rarely encountered antelope species - klipspringer (*Oreotragus oreotragus*) and a species of reduncin (*Redunca* sp.) similar to the extant mountain reedbuck *(Redunca fulvorufula*).
* The first described occurrence of the extinct porcupine (*Hystrix makapanensis*) from an assemblage other than the Makapansgat Member 3 deposits (including the first postcrania attributed to the species).
* The first comprehensive taphonomic analysis of a South African early Pleistocene assemblage solely derived from *in situ* deposits.
* A robust sample of directly associated cranial and postcranial remains for many fossil species, including several groupings of articulated fossils.
* The recovery of fragile elements including hyoids and fetal/neonatal remains.
* The absence of any identificable primate remains within the assemblage.

## Age of the deposits

The Gondolin Palaeo-cave deposits have been dated using a combination of biostratigraphy and palaeomagnetism which indicate an age of around 1.8 million years.

### Notes

### Citations

1. Watson 1993.
2. Menter et al. 1999.
3. Adams 2006.
4. Herries et al. 2006.
5. *Transvaal Museum Bulletin*, Issues 10-22 (1971).
6. MacKenzie 1994.
7. Vrba 1982.
8. Adams & Conroy 2005.
9. Adams 2010.
10. Adams et al. 2007.
11. Herries & Adams 2013.
12. Grine et al. 2012.
13. Adams 2012.

### Sources

* Adams, J.W.; Conroy, G.C. (2005). "Plio-Pleistocene faunal remains from the Gondolin GD 2 in situ assemblage, North West Province, South Africa". In Lieberman, D.; Smith, R.J.; Kelley, J. (eds.). *Interpreting the Past: Essays on Human, Primate and Mammal Evolution in Honor of David Pilbeam*. Boston: Brill Academic Publishers. pp. 243–261.
* Adams, J.W. (2006). *Taphonomy and paleoecology of the Gondolin PlioPleistocene cave site, South Africa* (PhD thesis). Washington University in St. Louis..
* Adams, J.W.; Herries, A.I.R.; Conroy, G.C.; Kuykendall, K.L. (2007). "Taphonomy of a South African cave: geological and hydrological influences on the GD 1 fossil assemblage at Gondolin, a Plio-Pleistocene paleocave system in the Northwest Province, South Africa". *Quaternary Science Reviews*. **26** (19–21): 2526–2543. Bibcode:2007QSRv...26.2526A. doi:10.1016/j.quascirev.2007.05.006.
* Adams, Justin W. (2010). "Taphonomy of the Gondolin GD 2 in situ Deposits and its Bearing on Interpretations of South African Plio-Pleistocene Karstic Fossil Assemblages". *Journal of Taphonomy*. **8** (2–3): 79–114. ISSN 1696-0815.
* Adams, Justin W. (2012). "Craniodental and postcranial remains of the extinct porcupine *Hystrix makapanensis* Greenwood, 1958 (Rodentia: Hystricidae) from Gondolin, South Africa". *Annals of the Ditsong National Museum of Natural History*. **2** (1): 7–17. hdl:10520/EJC83717.
* Grine, Frederick E.; Jacobs, Rachel L.; Reed, Kaye E.; Plavcan, J. Michael (2012). "The enigmatic molar from Gondolin, South Africa: Implications for Paranthropus paleobiology". *Journal of Human Evolution*. **63** (4): 597–609. Bibcode:2012JHumE..63..597G. doi:10.1016/j.jhevol.2012.06.005. ISSN 0047-2484. PMID 22901553.
* Herries, A.I.R.; Adams, J.W.; Kuykendall, K.L.; Shaw, J. (2006). "Speleology and magnetobiostratigraphic chronology of the GD 2 locality of the Gondolin hominin-bearing paleocave deposits, North West Province, South Africa". *Journal of Human Evolution*. **51** (6): 617–631. Bibcode:2006JHumE..51..617H. doi:10.1016/j.jhevol.2006.07.007. PMID 16949648.
* Herries, A.I.R.; Hopley, P.J.; Adams, J.W.; Curnoe, D.; Maslin, M.A. (December 2010). "Letter to the editor: Geochronology and palaeoenvironments of Southern African hominin-bearing localities—A reply to Wrangham et al., 2009. "Shallow-water habitats as sources of fallback foods for hominins"". *American Journal of Physical Anthropology*. **143** (4): 640–646. doi:10.1002/ajpa.21389. PMID 20872806.
* Herries, Andy I.R.; Adams, Justin W. (2013). "Clarifying the context, dating and age range of the Gondolin hominins and Paranthropus in South Africa". *Journal of Human Evolution*. **65** (5): 676–681. Bibcode:2013JHumE..65..676H. doi:10.1016/j.jhevol.2013.06.007. ISSN 0047-2484. PMID 23911292.
* MacKenzie, K (1994). "History of events leading to palaeontological excavations of Gondolin, Alias "Mackenzie Cave"". *Pal News*.
* Menter, C.G.; Kuykendall, K. L.; Keyser, A. W.; Conroy, G. C. (1999). "First record of hominid teeth from the Plio-Pleistocene site of Gondolin, South Africa". *Journal of Human Evolution*. **37** (2): 299–307. Bibcode:1999JHumE..37..299M. doi:10.1006/jhev.1999.0329. PMID 10444355.
* Watson, V (1993). "Glimpses from Gondolin: a faunal analysis of a fossil site near Broederstroom, Transvaal, South Africa". *Palaeontologia Africana*. **30**. Bernard Price Institute for Palaeontological Research, Wits University. hdl:10539/16248.
* Vrba, E.S. (1982), *National Monuments Council report*, Cape Town: National Monuments Council

## InfoBox

Gondolin Cave
| Composite view | |
| --- | --- |
| location in South Africa | |
| Location | Northwest Province |
| Region | South Africa |
| Coordinates | 25°49′37″S 27°50′49″E / 25.82694°S 27.84694°E / -25.82694; 27.84694 |


title: I Turn My Camera On

abstract: "I Turn My Camera On" is a song by American indie rock band Spoon, the third track on their fifth studio album, Gimme Fiction (2005). It was first released as a download single on March 30, 2005, and later as a 7-inch and CD single on July 4, 2005. It was released through Merge Records in the US and Matador Records in the UK, who also distributed the download release. The song was written by band frontman Britt Daniel and produced by Daniel, Jim Eno, and Mike McCarthy. Daniel wrote the song after hearing "Take Me Out" by Franz Ferdinand, and was influenced by the works of Prince to sing with falsetto vocals on the track. Daniel's lyrics are about "emotional distance", centering around a narrator who documents their surrounding world with a camera instead of actually engaging with it. Musically, the band focused more on creating a sound influenced by dance and soul music. "I Turn My Camera On" received positive remarks from music critics, with one writer calling it one of Spoon's signature songs. Commercially, the song peaked at No. 194 on the UK Singles Chart and No. 31 on the Billboard Hot Singles Sales chart. It has been featured in an episode of The Simpsons, a commercial for car manufacturer Jaguar, and a viral video featuring the miniature research robot Keepon dancing to the song. It was also included by Spoon on their greatest hits album, Everything Hits at Once (2019).

text:
# I Turn My Camera On

"**I Turn My Camera On**" is a song by American indie rock band Spoon, the third track on their fifth studio album, *Gimme Fiction* (2005). It was first released as a download single on March 30, 2005, and later as a 7-inch and CD single on July 4, 2005. It was released through Merge Records in the US and Matador Records in the UK, who also distributed the download release. The song was written by band frontman Britt Daniel and produced by Daniel, Jim Eno, and Mike McCarthy. Daniel wrote the song after hearing "Take Me Out" by Franz Ferdinand, and was influenced by the works of Prince to sing with falsetto vocals on the track. Daniel's lyrics are about "emotional distance", centering around a narrator who documents their surrounding world with a camera instead of actually engaging with it. Musically, the band focused more on creating a sound influenced by dance and soul music.

"I Turn My Camera On" received positive remarks from music critics, with one writer calling it one of Spoon's signature songs. Commercially, the song peaked at No. 194 on the UK Singles Chart and No. 31 on the *Billboard* Hot Singles Sales chart. It has been featured in an episode of *The Simpsons*, a commercial for car manufacturer Jaguar, and a viral video featuring the miniature research robot Keepon dancing to the song. It was also included by Spoon on their greatest hits album, *Everything Hits at Once* (2019).

## Background

Spoon frontman Britt Daniel wrote "I Turn My Camera On" in the same Austin, Texas, apartment where he wrote "The Way We Get By". It was one of the last songs he had written for *Gimme Fiction* before the band started to record at drummer Jim Eno's Public Hi-Fi studio in Austin. It was, however, the first song they recorded, as Daniel felt like the song was bound to be the album's lead single. He was directly inspired by Franz Ferdinand's 2004 song "Take Me Out". He chose to explore their music after discovering that his ex-girlfriend, Eleanor Friedberger, was dating their frontman, Alex Kapranos. Enamored by the song, Daniel then attempted to write a song with a similar yet distinct groove to that of the one in "Take Me Out". The first words Daniel came up with for the song were "I turn my camera on", not knowing what it would mean.

## Composition

In an interview with NPR Music, Daniel said that the song is about "emotional distance", adding that it is centered around "the idea of, instead of engaging with the world, you're holding a camera up, which, a) puts a camera in front of your face, and b) puts some distance between you and the outside world. And you're sort of documenting the world." He also felt that the line "You made me untouchable for life, and you wasn't polite" called back to people who "might have led \[him\] down that path", adding that "I don't think I'm untouchable, but sometimes I've felt that way." Heather Phares of AllMusic noted that the song also touches upon voyeurism.

The song was produced by Daniel, Eno, and Mike McCarthy. The band had taken a different approach to the writing the song's music, focusing on creating a more dance\- and soul-oriented sound. Daniel performed electric guitar, bass guitar, and keyboards on the song, while Eno performed drums and developed the song's drum pattern, which features upbeat hi-hats. Daniel chose to sing the lyrics with falsetto vocals due to his fondness of Prince, who frequently used falsetto in his songs. When the song was finished, Daniel remarked that it "felt like a hit". "I Turn My Camera On" has been described musically as indie rock, dance-punk, funk rock, and disco. Both Phares and Eric Carr, the latter of whom writing for *Pitchfork*, compared the song to "Emotional Rescue" by the Rolling Stones. Meanwhile, Tamec of *Tiny Mix Tapes* felt that it was reminiscent of the works of Beck.

## Release

Spoon created a music video to promote the song, which was directed by Autumn de Wilde and Wyatt Troll. "I Turn My Camera On" received five different single releases. The first release came on March 30, 2005, as a download single through the website of Matador Records. Later on, in the United States, a promotional 7-inch single was released through Merge Records. It featured a demo version of "I Turn My Camera On" and the non-album track "You Was It" on its B-side. In the United Kingdom, Matador handled the releases. They released a 7-inch single featuring just the demo version on the B-side as well as a CD single that also included both "You Was It" and another non-album track, "Carryout Kids". Both singles were released on July 4, 2005. The song was also released as a promotional DVD single in both the US, through Merge, and the UK, through Matador, containing the song's music video. The song was later featured on the band's 2019 greatest hits album, *Everything Hits at Once*.

"I Turn My Camera On" has also seen appearances in different forms of media since its release. Britt Daniel has stated that he is usually cautious when it comes to licensing Spoon's music to brands. However, he allowed "I Turn My Camera On" to be used in an episode of *The Simpsons*, which he is a big fan of. In "Any Given Sundance", episode 18 of the show's nineteenth season, the song is played fittingly in the background while Lisa Simpson documents her family and the town of Springfield with a camera. It was also used in an episode of *Veronica Mars*, "Cheatty Cheatty Bang Bang," a commercial for car manufacturer Jaguar, and a viral video featuring the miniature research robot Keepon, in which the robot dances to the song. The Keepon video has garnered millions of views on YouTube since its release.

## Reception

"I Turn My Camera On" received positive reviews from writers. Some critics applauded its similarities to Prince. Eric Carr of *Pitchfork* called it a "Prince-tastic masterpiece", while Amir Nezar of the *Cokemachineglow* blog enjoyed the song's "Prince-funk minimalism" as well as its "hip-shaking swagger". Carr also lauded the track as "one of the most breathtaking songs Spoon has ever produced". At *PopMatters*, Zeth Lundy wrote that *Gimme Fiction* "cements it mobilization" with the song, while David Marchese called it "discofantastic" and wrote that "the album draws strength from its refusal to be pinned down". Sandy Boer of *Delusions of Adequacy* called it the most adventurous song from the album. At AllMusic, Heather Phares complimented the band's ability to make a song about "voyeurism and emotional distance" while also giving it an "irresistible groove" at the same time. In the *Rolling Stone*'s original review for *Gimme Fiction*, Lauren Gitlin complimented the song's "sexy four-chord stomp", adding that the track sounds like a song by Queen but with vocals from Michael Jackson.

Though the song itself received positive remarks from writers, the single release as a whole received some criticism. *Pitchfork* writer David Raposa thought negatively of the single and gave it a 3.4/10 score. He began his review by claiming that fans who paid import price for the CD single (US$9) were ripped off. He added that the single was redundant and that fans were better off pre-ordering the special edition of *Gimme Fiction*, which came with the single's additional tracks, "Carryout Kids" and "You Was It". Raposa thought somewhat positively of "Carryout Kids", while labeling "You Was It" an "obnoxious, amped-up version" of "Was It You?" from *Gimme Fiction*.

## Track listing

**Download single (Matador)**

| No. | Title | Length |
| --- | --- | --- |
| 1. | "I Turn My Camera On" | 3:34 |

**UK 7-inch single (Matador OLE662-7)**

Side A
| No. | Title | Length |
| --- | --- | --- |
| 1. | "I Turn My Camera On" | 3:39 |

Side B
| No. | Title | Length |
| --- | --- | --- |
| 1. | "I Turn My Camera On" (demo version) | 2:07 |

**UK CD single (Matador OLE662-2)**

| No. | Title | Length |
| --- | --- | --- |
| 1. | "I Turn My Camera On" | 3:34 |
| 2. | "Carryout Kids" | 2:45 |
| 3. | "You Was It" | 3:58 |

**US 7-inch promotional single (Merge MRG265-7)**

Side A
| No. | Title | Length |
| --- | --- | --- |
| 1. | "I Turn My Camera On" | 3:39 |

Side B
| No. | Title | Length |
| --- | --- | --- |
| 1. | "You Was It" | 3:56 |
| 2. | "I Turn My Camera On" (demo version) | 2:07 |

## Charts

Chart performance for "I Turn My Camera On"
| Chart (2005) | Peak
position |
| --- | --- |
| UK Singles (Official Charts Company) | 194 |
| US Hot Singles Sales (*Billboard*) | 31 |
|

## Personnel

Personnel adapted from *Gimme Fiction* credits.

## Release history

| Region | Date | Label | Format | Catalog no. | Ref. |
| --- | --- | --- | --- | --- | --- |
| United States | March 30, 2005 | Matador | Download |  |  |
| | July 4, 2005 | Merge | 7-inch | MRG265-7 |  |
| | United Kingdom | | Matador | OLE662-7 |  |
| | CD | OLE662-2 |  |
|

## InfoBox

| "I Turn My Camera On" | |
| --- | --- |
| UK 7-inch single cover art | |
| Single by Spoon | |
| from the album  *Gimme Fiction* | |
| B-side | * Demo version * "You Was It" * "Carryout Kids" |
| Released | March 30, 2005 (2005-03-30) |
| Recorded | July – September 2004 |
| Studio | Public Hi-Fi (Austin, Texas) |
| Genre |  |
| Length | 3:34 |
| Label |  |
| Songwriter(s) | Britt Daniel |
| Producer(s) |  |
| Spoon singles chronology | |
| "The Way We Get By"
(2003) "**I Turn My Camera On**"
(2005) "My First Time Volume 3"
(2005) | |
|  | |
| Music video | |
| "I Turn My Camera On" on YouTube | |
| Alternative cover | |
|  | |
| US promotional 7-inch cover art | |
|  | |
|  | |


title: Ooi Boon Ewe

abstract: Stephen Ooi Boon Ewe is a Singaporean perennial political candidate. He is most notable for attempting to contest various elections, general and presidential, without a record of success. He attempted to contest presidential elections in 1999, 2005, 2011 and 2017. However, in each instance his application for the Certificate of Eligibility was rejected, due to reasons such as not finding assentors to sponsor him, and incomplete nomination forms.

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# Ooi Boon Ewe

**Stephen Ooi Boon Ewe** (simplified Chinese: 黄文优; traditional Chinese: 黃文優; Pe̍h-ōe-jī: *Ûiⁿ Bûn-iu*; pinyin: *Huáng Wényōu*; born 14 November 1941) is a Singaporean perennial political candidate. He is most notable for attempting to contest various elections, general and presidential, without a record of success. He attempted to contest presidential elections in 1999, 2005, 2011 and 2017. However, in each instance his application for the Certificate of Eligibility was rejected, due to reasons such as not finding assentors to sponsor him, and incomplete nomination forms.

## Biography

Ooi was reportedly a former private tutor and property executive.

### Politics

Ooi entered the political arena in the presidential elections in 1999. He submitted eligibility forms to the Elections Department who later declined to issue a certificate of eligibility.

Ooi contested Joo Chiat SMC in the 2001 General Elections as an independent candidate, against People's Action Party incumbent Chan Soo Sen. He lost to Chan, garnering 3,038 votes (16.45%).

Ooi attempted to seek presidential candidacy for the second time in the presidential elections in 2005. His application for the Certificate of Eligibility was rejected by the Presidential Elections Committee due to his lack of experience and ability required by the Constitution.

In 2006, he formed the People's Liberal Democratic Party, four days after Nomination Day of the 2006 general election. He was thus unable to contest the election.

In 2011, Ooi sought to contest Sengkang West SMC in the 2011 General Elections, and attempted to promote himself by singing an impromptu election jingle on television. One of his assentors did not turn up on Nomination Day and was unsuccessful in attempting to seek a replacement from the crowd. He then left the nomination centre without submitting his nomination papers.

Ooi decided on a third run for the presidential election in 2011. As the constitution requires presidential candidates to be nonpartisan, Ooi had to resign from the PLDP. He submitted his forms on 11 July, and was found to be ineligible because his application was incomplete and he had asked for a waiver from certain requirements set forth by the constitution, which the Elections Department claims it has no power to do.

Ooi was the first to collect nomination paperwork for the 2013 Singaporean by-election in Punggol East. Ooi dropped out of the hustings when he failed to file nomination papers on Nomination Day. He claimed that he had lost his political donation certificate, in addition to failing to find assentors, and having his driver abscond with the deposit. He launched into a profanity-laden rant when interviewed after the defeat, accusing the mainstream media of discriminating against independent candidates.

Ooi applied to contest in the presidential election of 2017. However, his application was rejected due to the election being reserved for candidates from the Malay community.

Ooi applied again in the 2020 General Elections under the Bukit Panjang SMC, but did not qualify. Ooi was the first among the four known independent candidates to have announced their candidacy for the election, but only one candidate, Cheang Peng Wah (in Pioneer SMC) has been successfully nominated.


title: Prehistory of Alaska

abstract: Prehistoric Alaska begins with Paleolithic people moving into northwestern North America sometime between 40,000 and 15,000 years ago across the Bering Land Bridge in western Alaska; a date less than 20,000 years ago is most likely. They found their passage blocked by a huge sheet of ice until a temporary recession in the Wisconsin glaciation opened up an ice-free corridor through northwestern Canada, possibly allowing bands to fan out throughout the rest of the continent. Eventually, Alaska became populated by the Inuit and a variety of Native American groups. Trade with both Asia and southern tribes was active even before the advent of Europeans. Today, early Alaskans are divided into several main groups: the Southeastern Coastal Native Americans, the Athabascans, the Aleut, the two groups of Eskimos, and Inupiat and Yup'ik.

text:
# Prehistory of Alaska

**Prehistoric Alaska** begins with Paleolithic people moving into northwestern North America sometime between 40,000 and 15,000 years ago across the Bering Land Bridge in western Alaska; a date less than 20,000 years ago is most likely. They found their passage blocked by a huge sheet of ice until a temporary recession in the Wisconsin glaciation (the last ice age) opened up an ice-free corridor through northwestern Canada, possibly allowing bands to fan out throughout the rest of the continent. Eventually, Alaska became populated by the Inuit and a variety of Native American groups. Trade with both Asia and southern tribes was active even before the advent of Europeans.

Today, early Alaskans are divided into several main groups: the Southeastern Coastal Native Americans (the Tlingit, Haida, and Tsimshian), the Athabascans, the Aleut, the two groups of Eskimos, and Inupiat and Yup'ik.

## Coastal Native Americans

The Coastal Native Americans were probably the first wave of immigrants to cross the Bering land bridge in western Alaska, although many of them initially settled in interior Canada. While there may have been migrations across this land bridge, there is also evidence from recent research that supports the arrival by sea to Alaska's southeastern coast 17,000 years ago. The Tlingit were the most numerous of this group, populating most of the coastal Panhandle by the time of European contact. The southern portion of Prince of Wales Island was settled by the Haidas emigrating from Haida Gwaii in Canada. The Tsimshian emigrated during the territorial period from a town near Prince Rupert in British Columbia. The Tlingit were known to travel for more than 1,000 miles (1,600 km) south to trade with Native peoples in the Pacific Northwest. There was no standard currency of trade, but slaves, native copper materials, and blankets made of red cedar bark, and dog and goat-hair were highly valued.

The Coastal Native Americans believed that fish and animals gave themselves willingly to humans, and strove to honor the animals' sacrifice. They also believed that the bones of a consumed salmon should be returned to the river in which it had been caught—to allow for reincarnation—otherwise, the fish would reincarnate with deformities and refuse to return to that river. Coastal Native American society featured a complex system of property ownership with a mix of private and group property. Each household owned tools, objects, and food that they had produced themselves, while the clan owned names, land, stories, buildings, and most other property.

In the social organization of the Tlingit and Haida, status and prestige were negotiated through wealth. To maintain position, a man of high rank demonstrated wealth by holding a potlatch ceremony in which he would give away, destroy, or invite guests to consume all of his food and possessions. This was referred to as "paying off" the guests who had performed ritual services or provided support in the past. Those who received goods at one potlatch would typically reciprocate by inviting their former hosts to their own potlatch at a later date; such invitations would confirm their relative levels of prestige and status. Other important features of the potlatch were the recitation of family histories and bloodlines, transfer of ceremonial titles and possessions, and offerings to ancestors.

The mild climate and plentiful resources of the Panhandle allowed the Coastal Native Americans leisure time to devote to social pastimes, travel and trade. They enjoyed complex art, music, and storytelling, and their traditions kept an accurate account of genealogy and clan history. The painted designs developed by the Coastal tribes featured fish, animals, and legendary creatures in formalized patterns of black, red, and other bold colors. They decorated their craft goods, domestic utensils, clothing, masks, canoes, and ritual objects to signify ownership. The world-renowned totem poles were carved at great expense to illustrate myths, to honor the deceased, and to imply the enormous wealth of the owners.

## Athabascan Native Americans

The Athabascan Native Americans of Alaska's interior were hunters and inland fishermen. Most lived in small nomadic bands along the numerous rivers of the region. Endurance and physical strength were prized, and game was often run down on foot. Athabascans harvested salmon and hunted rabbits, caribou, and bear with the help of snares, clubs, spears, and bows and arrows. Periods of famine were common. Because they were seminomadic and hunted on foot, footwear was very important, and the Athabascans designed light and flexible snowshoes made of birch and rawhide. The Athabascans used birch bark from the interior forests to make canoes, containers, sleds, and cradles. Clothing was made of animal hides, decorated with porcupine quills colored with natural dyes.

Some Athabascan groups inhabited permanent winter villages and summer fishing camps. Most bands consisted of a few nuclear families and had limited internal organization. Leadership was acquired by warriors or hunters. Athabascans also gave potlatches to mark a death and celebrate a child's first successful hunt, as a prelude to marriage. Those who aspired to leadership were expected to host memorable potlatches, at which the would-be leader would give away all his possessions then prove his prowess by providing for himself and his family for an entire year without outside help.

## Aleuts

The Aleuts settled the islands of the Aleutian chain approximately 10,000 years ago. Although their location allowed them easy access to fishing, they also had to contend with unpredictable violent weather, severe earthquakes, and volcanos. Aleut fishing technology included fish spears, weirs, nets, hooks, and lines. Various darts, nets, and harpoons were used to obtain sea lions and sea otters. Whales were usually killed with a poisoned, stone-bladed lance. The job of women and children was to gather shellfish along the beaches at low tide, and berries and other plants in the hills. Aleut women are still today famed for their basketry and sewing techniques, capable of weaving grasses into watertight baskets and sewing seal gut into watertight raincoats suitable for the open ocean.

Aleut society was divided into three categories: honorables, comprising the respected whalers and elders; common people; and slaves. At death, the body of an honorable was mummified, and slaves were occasionally killed in honor of the deceased.

The one- and two-person skin kayaks used by the Aleuts were called "baidarkas" or "bidarkas" by the Russians. These were the model for modern fiberglass kayaks in use today, and are the smallest ocean-going craft made by humans, capable of long journeys in some of the most dangerous seas. Three-person baidarkas were developed at the behest of the Russians, who wanted to ride as passengers in the center; these "three-hole" baidarkas were then adapted for Aleut use in long-distance travel and trade.

## Eskimos

Eskimos, the Native group most familiar to non-Alaskans, were originally divided into two subgroups: the Inupiat Eskimos settled in Alaska's Arctic region, and the Yup'ik settled in the west. To combat the cold, seasonal food was stored against future shortage, in particular against the privations of each winter. A hunter always divided a fresh kill evenly amongst the community, and status within a village was determined by hunting ability. Eskimo village sites were chosen partly on the basis of the availability of food sources. The Arctic coast people depended on seals, walruses and whales, while the inland Eskimos lived on a diet of caribou, birds, and other small game animals. These people gathered eggs, berries, roots; they ate wild greens fresh, or preserved them in skin containers.

Eskimos used open boats called *umiaks*, and the smaller kayaks, to hunt large sea mammals. Both vessels were made of a driftwood frame, covered with tightly sewn seal skins. Sleds and dog teams were used for winter travel, and during the summer, dogs were used as pack animals. Women were skilled in basketry and sewing. They stitched and fitted waterproof garments made of animal intestine and fish skins. The Eskimos' everyday clothing of trousers, boots, and coats was sewn from skins and fur, sometimes in complex geometric designs. The coats, which were called *parkas*, featured an attached hood and a ruff of wolf or bear fur.

Eskimos were known for their carvings, especially their small ivory pieces. In early times, household utensils and weapons were ornamented. Using wood, bone, baleen, walrus ivory, and fossil mammoth tusks, Eskimos crafted dishes, knives, oil lamps, small sculptures, game pieces. Snowgoggles having only small slits to look through to protect their eyes from the glare of snow and ice were carved out of wood or ivory. Replicas of the *ulu* (women's knives) can be found in most Alaskan tourist shops today.


abstract: The National Council on Bible Curriculum in Public Schools (NCBCPS) is a conservative nonprofit organization that promotes the use of its 300-page Bible curriculum, The Bible in History and Literature, in public schools throughout the United States. The NCBCPS was founded in 1993, and promoted its curriculum in many school districts throughout the country. The NCBCPS' proposed curriculum has been critiqued by scholars as "neither academically nor constitutionally sound" and an attempt to promote a single religious view of the Bible. The use of the curriculum has been challenged in lawsuits in two school districts, which have withdrawn the course as contravening the Establishment Clause of the First Amendment.

text:
# National Council on Bible Curriculum in Public Schools

The **National Council on Bible Curriculum in Public Schools** (**NCBCPS**) is a conservative nonprofit organization that promotes the use of its 300-page Bible curriculum, *The Bible in History and Literature*, in public schools throughout the United States.

The NCBCPS was founded in 1993, and promoted its curriculum in many school districts throughout the country.

The NCBCPS' proposed curriculum has been critiqued by scholars as "neither academically nor constitutionally sound" and an attempt to promote a single religious view of the Bible. The use of the curriculum has been challenged in lawsuits in two school districts, which have withdrawn the course as contravening the Establishment Clause of the First Amendment.

## Establishment of organization and overview of curriculum

NCBCPS was founded on April 8, 1993, by Elizabeth Ridenhour, a Greensboro, North Carolina paralegal. The organization's annual 990 tax forms, available on Guidestar.org, list Ridenhour as an ordained minister. NCBCPS contends that "the Bible was the foundation and blueprint for our Constitution, Declaration of Independence, our educational system, and our entire history until the last 20 or 30 years." Dr. Mark A. Chancey of Southern Methodist University, a Bible scholar, writes that the organization is a "promotion of a fundamentalist Protestant understanding of the Bible and a revisionist history of the United States as a distinctively (Protestant) Christian nation, the curriculum appears not to pass legal muster." Purportedly, it is based on a course previously taught in Charlotte-Mecklenburg Schools.

A 2006 report, *Reading, Writing and Religion: Teaching the Bible in Texas Public Schools*, Chancey found that "the number of Texas school districts using the NCBCPS curriculum, 11, is less than a fourth of the 52 claimed by the NCBCPS itself. Adding the very few school districts known to have used the course in the past ... does not significantly change the total number. The NCBCPS markets its course by strongly emphasizing the large number of school districts that supposedly teach it; as of late July 2006, its Web site claimed that its curriculum is currently offered in 362 districts nationwide. Such oft-repeated claims now appear to be quite inaccurate. If the situation in Texas is representative, the curriculum is probably actually taught in only a few dozen districts."

Chancey writes that the NCBCPS's sectarian curriculum promotes an "obvious bias toward a view of the Bible held by fundamentalist Protestants" and teaches interpretation and perspectives of biblical scripture that are "simply not shared by many mainline Protestants, Roman Catholics, Eastern Orthodox Christians and Jews or within the scholarly community." The curriculum promotes a literal interpretation of the Genesis creation narrative; a Christian interpretation of the Hebrew Bible (Old Testament) that contends that certain passages are messianic prophecies of Jesus; the idea that Christianity supersedes Judaism; and a belief in the imminency of the Second Coming.

Two school boards have been sued for adopting the NCBCPS materials in their district:

### *Moreno v. Ector County School Board*

A federal lawsuit on behalf of eight parents in Odessa, Texas, was filed in 2007 against the Ector County school board. The suit was brought by the ACLU of Texas, the People For the American Way Foundation and the law firm of Jenner & Block. The suit alleged that the course promotes certain religious beliefs to the exclusion of others. The Ector County School Board was represented by Liberty Legal Foundation.

In March 2008, the lawsuit was settled after Ector County School Board agreed to cease teaching NCBCPS materials in its schools after that current school year. The course offered, introduced to the county in 2005, had been taught as an elective in two high schools in Odessa. Bible scholars, as well as the ACLU, had critiqued the course as inaccurate and lacking a scholarly basis, promoting a specific Protestant religious interpretation of the Bible at odds with the views held by Jews, Catholics, Orthodox Christians, and most Protestants. The ACLU also criticized the court for promoting an "unbalanced view of American history that promoted specific religious beliefs that is in conflict with objective scholarly standards."

According to the settlement, any Bible course Ector County schools offer in the future cannot be based on the NCBCPS curriculum, and that any course about the Bible taught in the county's public schools had to have an objective and balanced, rather than sectarian, curriculum. One of the plaintiffs, an ordained elder and deacon at a local Presbyterian Church, said that it was inappropriate for one set of religious beliefs to be promoted over others, and that "It seems as though a church had invaded the public school system – and it wasn't my church." Announcing the settlement, the ACLU's Director of Litigation said in a press release that "We trust that any future curriculum will be appropriate for students of all faiths – including nonbelievers – and that it will respect the religious liberty of all Odessans."

### *Gibson v. Lee County School Board*

The Lee County School Board (Florida) was sued for its use of NCBCPS curriculum. The school district adopted the "Bible History I" curriculum dispute a warning from its attorney that the course had a biased title; appeared "to teach the Bible 'as an inerrant document'"; had an apparently non-secular purpose; and taught a "single Protestant perspective." In a January 1998 decision, a federal court issued a preliminary injunction that prohibited the teaching of the "New Testament" curriculum, which it found likely unconstitutional, and allowed the teaching of the "Old Testament" curriculum under certain conditions. (The Old Testament class curriculum had been modified at the suggestion of the plaintiffs to remove potentially unconstitutional content.) In February 1998, the school district settled the lawsuit by agreeing to end the teaching of the classes (which had been offered in seven high schools) and to pay the plaintiffs' attorney fees.

In a 2007 article published in *Baylor Law Review*, Amanda Colleen Brown reviewed the NCBCPS' *The Bible in History and Literature* and the Bible Literacy Project's *The Bible and Its Influence*. The author found that, under the three legal tests used by the Supreme Court to determine the legality of Bible courses, the NCBCPS curriculum was "unfit for use in public school classrooms," while the Bible Literacy Project's curriculum "comports with constitutional standards, thus making it a viable alternative to the NCBCPS curriculum." Brown argues that a key problem with the NCBCPS curriculum is that it consists of only a teacher's guide, with no student textbook. Brown writes:

> Using only the Bible makes compliance with the Constitution and regulating the classroom instruction much more difficult. If there is a text to follow, then the majority of what will be discussed in class can be scrutinized and approved or disapproved. It also provides a guide by implication for teachers as to the tone and content of course lessons. Using only the Bible makes inadvertent or intentional Constitutional violations much more likely, since the class content is predominantly lectures by the teacher. Given that the curriculum has a sectarian nature and promotes religious viewpoints, the fact that the Bible serves as the only text makes the effect of the advancement of religion even more likely. It is possible, as well, that the NCBCPS intentionally chose not to develop a text, in order to give the teachers more freedom to control the content of the course toward the views expressed by the NCBCPS in the curriculum.

In 1999, Attorney General of Georgia Thurbert Baker issued an opinion on the state's proposed adoption of the NCBCPS courses. Baker wrote that the teaching of the classes might not survive legal challenge under the First Amendment's Establishment Clause. Baker noted that, under the Supreme Court's decisions in *Lemon v. Kurtzman* (1971), Bible courses in public schools "may survive First Amendment scrutiny only if their content is determined to be secular and they are taught in a secular, objective manner." Baker added that "with respect to the State constitution, the use of public funds to teach the Bible courses in question may be held to constitute 'aid' to a particular religion, i.e., Christianity, if appropriate instruction regarding other religions is not included or if the instruction is not offered in a neutral and objective manner."

## Reception of curriculum

### Support

The syllabus of the National Council on Bible Curriculum in Public Schools has endorsed by D. James Kennedy, Bill Bright, Joyce Meyer, Jerry Falwell, John Hagee, T.D. Jakes, Dale Evans Rogers, Jane Russell, Pat Boone, Carman Licciardello, and Scott O'Grady.

### Criticism

The NCBCPS' proposed curriculum has been critiqued by scholars as "neither academically nor constitutionally sound" and an attempt to promote a single religious view of the Bible. On August 1, 2005, Dr. Mark Chancey, professor of Biblical studies at Southern Methodist University, released a report through the Texas Freedom Network detailing his concerns about the scholarly quality of the curriculum. Chancey stated that the curriculum was improperly sectarian, and contained "shoddy research, factual errors and plagiarism." In particular, Chancey wrote that the curriculum "uses a discredited urban legend that NASA has evidence that two days are missing in time, thus 'confirming' a biblical passage about the sun standing still \[pp. 116–17\];" and that more than one-third of the curriculum's 300 pages are reproduced word-for-word from uncredited sources such as Microsoft's *Encarta* encyclopedia. Hundreds of Biblical scholars at universities around the United States have signed on as endorsers of Chancey's findings. The NCBCPS responded with a press release describing the Texas Freedom Network as "a small group of far left, anti-religion extremists ... desperate to ban" the Bible from public schools.

In a subsequent article, Dr. Chancey wrote:

> As early as August 12, however, the NCBCPS was mailing school districts a revised edition of its curriculum, along with a letter urging them in bold, italicized, underlined letters to 'please discard any previous editions of the curriculum that you may have.' ... Why a purportedly problem-free book that had been published only five months earlier needed to be completely replaced was not explained.

Robert Marus of the Associated Baptist Press Washington Bureau wrote that the revision of the curriculum "incorporat\[ed\] many of the changes recommended by an organization \[the NCBCPS\] characterized as 'anti-religion extremists.'"

Writing in 2007, Chancey wrote that the NCBCPS's revised (2005) curriculum's was "an improvement" but was "still maintains a historicizing perspective that strongly reflects conservative Protestant views". Chancey found that all versions of the curriculum failed the legal test of *Lemon v. Kurtzman*, 403 U.S. 602 (1971), in which the Supreme Court ruled that public education in religious matters" (1) must have a "secular purpose;" (2) must have a "principal or primary effect that neither advances nor inhibits religion;" (3) "must not foster 'an excessive government entanglement with religion.'" Chancey found that the curriculum, even as revised, had the likely effect of advancing the interest of particular religious groups.

In a 2007 article in *Time* magazine, David Van Biema wrote that the NCBCPS curriculum is not "legally palatable ... Its spokespeople claim it is refining itself as it goes and its most recent edition, which came out last month, eliminates much literalist bias—but still devotes 18 lines to the blatantly unscientific notion that the earth is only 6,000 years old." Van Biema praised the nonprofit Bible Literacy Project's *The Bible and Its Influence* curriculum as a good model for public school Bible electives. Similarly, in a 2007 editorial, the *Chicago Tribune* criticized the NCBCPSciting the organization's "fundamentalist Protestant interpretation of the Bible that often ignores the differing beliefs and practices of Catholics, Jews, Eastern Orthodox Christians and mainline Protestants" and its "sloppy editing, factual errors and outright copying, word for word, from sources"and praised the Bible Literacy Project's curriculum as an alternative that was "vetted, accepted and praised by a wide range of scholars, critics and education officials."


title: Thomas Baldwin (philosopher)

abstract: Thomas R. Baldwin is a British philosopher and has been a professor of philosophy at the University of York since 1995. He has written generally on 20th century analytic and Continental philosophy, as well as bioethics, the philosophy of language and of mind, particularly with regard to G. E. Moore, Maurice Merleau-Ponty, and Bertrand Russell.

text:
# Thomas Baldwin (philosopher)

**Thomas R. Baldwin** (born 1947) is a British philosopher and has been a professor of philosophy at the University of York since 1995. He has written generally on 20th century analytic and Continental philosophy, as well as bioethics, the philosophy of language and of mind, particularly with regard to G. E. Moore, Maurice Merleau-Ponty, and Bertrand Russell.

## Biography

Baldwin studied at Cambridge University, gaining an MA and a PhD before lecturing at Makerere University and Cambridge. He was editor of *Mind* from 2005 to 2015 and has served as the president of the Aristotelian Society (2006–07) and as Deputy Chair of the Human Fertilisation and Embryology Authority. He was Chair of the Nuffield Council on Bioethics Working Party on *Novel Neurotechnologies* (2013).

## Selected publications

* *Contemporary Philosophy: Philosophy in English since 1945.* Oxford University Press, 2001.
* *Maurice Merleau-Ponty: Basic Writings* (edited by Thomas Baldwin). Routledge, 2004.
* "Philosophy of Language in the Twentieth Century" in *The Oxford Handbook of Philosophy of Language* (edited by Ernest Lepore and Barry C. Smith). Oxford University Press: 2008.
* "Wittgenstein and Moore" in *The Oxford Handbook of Wittgenstein* (edited by Oskari Kuusela and Marie McGinn). Oxford University Press: 2011.
* *G.E. Moore: Selected Writings* (edited by Thomas Baldwin). Routledge, 2013.
* "G.E. Moore and the Cambridge School of Analysis" in *The Oxford Handbook of the History of Analytic Philosophy* (edited by Michael Beaney)*.* Oxford University Press, 2013.
* "Merleau-Ponty's Phenomenological Critique of Natural Science" in *Royal Institute of Philosophy Supplement 72* (edited by Havi Carel and Darian Meacham). Cambridge University Press: 2013.
* *G. E. Moore: Early Philosophical Writings* (edited by Thomas Baldwin and Consuelo Preti). Cambridge University Press, 2015.


title: Pablo Amaringo

abstract: Pablo Cesar Amaringo Shuña was a Peruvian artist, renowned for his intricate, colourful depictions of his visions from drinking the entheogenic plant brew ayahuasca. He was first brought to the West's attention by Dennis McKenna and Luis Eduardo Luna, who met Pablo in Pucallpa while traveling during work on an ethnobotanical project. Pablo worked as a vegetalista, a shaman in the mestizo tradition of healing, for many years; up to his death, he painted, helped run the Usko-Ayar school of painting, and supervised ayahuasca retreats. Before dying, he was working on the paintings of angels, as well as paintings documenting the flora and fauna of Peru.

text:
# Pablo Amaringo

**Pablo Cesar Amaringo Shuña** (January 21, 1938  November 16, 2009) was a Peruvian artist, renowned for his intricate, colourful depictions of his visions from drinking the entheogenic plant brew ayahuasca. He was first brought to the West's attention by Dennis McKenna and Luis Eduardo Luna, who met Pablo in Pucallpa while traveling during work on an ethnobotanical project. Pablo worked as a vegetalista, a shaman in the mestizo tradition of healing, for many years; up to his death, he painted, helped run the Usko-Ayar school of painting, and supervised ayahuasca retreats.

Before dying, he was working on the paintings of angels, as well as paintings documenting the flora and fauna of Peru.

## Film

Pablo's work can be seen in the documentary film *Ayahuasca Nature's Greatest Gift*.

## Book

When Luna and McKenna met Amaringo in 1985, he was living in poverty, barely surviving by teaching English to young people from his home and selling the odd painting to passing tourists. Luna suggested he paint some of his visions, a project which became the basis of a coauthored book, *Ayahuasca Visions: The Religious Iconography of a Peruvian Shaman* (North Atlantic Books 1999).

Amaringo occasionally gave interviews in the years following the book's publication, and later penned the preface for *Plant Spirit Shamanism: Traditional Techniques for Healing the Soul* (Destiny Books 2006). His artwork was featured in Graham Hancock's book *"Supernatural"*. Amaringo also appeared in *The Shaman & Ayahuasca: Journeys to Sacred Realms* (2010), Michael Wiese's documentary film about ayahuasca.

## Death

After a protracted illness, Amaringo died on November 16, 2009.

## InfoBox

| Pablo Amaringo | |
| --- | --- |
| Pablo Amaringo during a 2002 Ayahuasca Healing Retreat, held in the Brazilian Amazo | |
| Born | (1938-01-21)January 21, 1938<br>Puerto Libertad, Ucayali, Perú |
| Died | (2009-11-16)November 16, 2009 |
| Nationality | Peruvian |
| Occupation | Painter |
| Known for | *Ayahuasca Visions: The Religious Iconography of a Peruvian Shaman* |
| Website | https://pablo-amaringo.pixels.com/ |


title: Walter Tjaden

abstract: Walter Tjaden (1906–1985) was a German film producer and sound engineer.

text:
# Walter Tjaden

**Walter Tjaden** (1906–1985) was a German film producer and sound engineer.

## Selected filmography

### Sound engineer

### Producer

## Bibliography

* Giesen, Rolf.  *Nazi Propaganda Films: A History and Filmography*. McFarland, 2003.

## InfoBox

| Walter Tjaden | |
| --- | --- |
| Born | 9 July 1906
Oldenburg, German Empire |
| Died | 4 November 1985 (aged 79)
Starnberg, Bavaria, West Germany |
| Occupation(s) | Producer, Sound engineer |
| Years active | 1930-1977 (film) |


title: Nidderdale High School

abstract: Nidderdale High School is a coeducational secondary school located in Pateley Bridge, North Yorkshire, England. The school is named after Nidderdale, one of the Yorkshire Dales in which the school is located. The school is part of the Red Kite Alliance – a partnership of schools and universities in Yorkshire focused on providing school-to-school support and training new teachers. Nidderdale High School offers GCSEs and BTECs as programmes of study for pupils.

text:
# Nidderdale High School

**Nidderdale High School** is a coeducational secondary school located in Pateley Bridge, North Yorkshire, England. The school is named after Nidderdale, one of the Yorkshire Dales in which the school is located.

The school is part of the Red Kite Alliance – a partnership of schools and universities in Yorkshire focused on providing school-to-school support and training new teachers. Nidderdale High School offers GCSEs and BTECs as programmes of study for pupils.

## History

In July 2017, a group of children from the school were runners-up in the Project Reinvent Challenge, sponsored by Drax Power and won a share of the £10 000 prize for their design for a new climbing wall.

In December 2017, the school received media attention after part-time art teacher Bridget Adams won The Royal Glasgow Institute of the Fine Arts Award for her artwork Organised Kindness.

In September 2020, the school won the National Association of Pastoral Care in Education Pastoral Development of the Year Award for its Harmony Project.

Previously a community school administered by North Yorkshire Council, in September 2023 Nidderdale High School converted to academy status. The school is now sponsored by the Moorlands Learning Trust.

54°05′22.0″N 1°46′18.6″W / 54.089444°N 1.771833°W / 54.089444; -1.771833

## InfoBox

| Nidderdale High School | |
| --- | --- |
| Address | |
|  | |
| Low Wath Road
Pateley Bridge
North Yorkshire, HG3 5HL
England | |
| Information | |
| Type | Academy |
| Local authority | North Yorkshire Council |
| Trust | Moorlands Learning Trust |
| Department for Education URN | 149987 Tables |
| Ofsted | Reports |
| Headteacher | Kath Jordan |
| Gender | Coeducational |
| Age | 11 to 16 |
| Enrolment | 393 as of August 2023 |
| Website | http://nidderdale.n-yorks.sch.uk/ |


title: Montpellier Codex

abstract: The Montpellier Codex is an important source of 13th-century French polyphony. The Codex contains 336 polyphonic works probably composed c. 1250–1300, and was likely compiled c. 1300. It is believed to originate from Paris. It was discovered by musicologist Edmond de Coussemaker in c. 1852.

text:
# Montpellier Codex

The ***Montpellier Codex*** (*Montpellier, Bibliothèque Inter-Universitaire, Section Médecine, H196*) is an important source of 13th-century French polyphony. The *Codex* contains 336 polyphonic works probably composed c. 1250–1300, and was likely compiled c. 1300. It is believed to originate from Paris. It was discovered by musicologist Edmond de Coussemaker in c. 1852.

## Format and contents

The *Montpellier Codex* can be roughly divided into 8 fascicles, each of which contain discrete genres of music. The format of the *Codex* is as follows:

* 1. Liturgical polyphony (ff. 1r-22r)
* 2. French triple motets, consisting of a *cantus firmus* with three contrapuntal lines above it (ff. 23v-61r)
* 3. Macaronic double motets, consisting of a *cantus firmus* with two contrapuntal lines above it (ff. 63v-86v)
* 4. Latin double motets (ff. 87v-111r)
* 5. French double motets (ff. 111v-227r)
* 6. French two-voice motets (ff. 231r-269v)
* 7 & 8. Three-voice motets, possibly compiled later than fascicles 2-6 (ff. 270r-397v)

There are also supplements added to fascicles 3, 5, and 7. Because of the different systems of notation used in fascicles 2-6 and fascicles 7-8, the *Montpellier Codex* has become a crucial source for the chronology of styles of French medieval polyphony.

## Music

The *Montpellier Codex* is a critical source for what are known as "Pre-Franconian" and "Franconian" motets, after Franco of Cologne. While the music in the *Codex* is anonymous, a number of attributions can be made, either because of concordances in other manuscripts or on the basis of stylistic similarity, to Pérotin (from fascicle 1), Petrus de Cruce, Adam de la Halle, Guillaume d'Auvergne, and Philippe le Chancelier. Many of the *cantus firmi* are taken from the chants of Notre Dame. While fascicle 1 consists of sacred polyphony, mostly from the Notre Dame school, the largest body of music in the *Codex* is the collection of French courtly love motets.

Previously, the motets in the collection were not considered to be isorhythmic, as it was felt that the first isorhythmic motets—those of Philippe de Vitry—were not to be composed until the first decades of the 14th century. Recently, however, Michael Lanford has noted that "of the 148 double and triple motets in fascicles two through five of the *Montpellier Code*x, 114 have repeating colores." After analyzing several motets, he also demonstrates that "each of Richard Hoppin's 'three isorhythmic procedures' which inform 'future developments of the form' can be found in select tenors from the Old Corpus \[of the *Montpellier Codex*\], often in ways that demonstrate resourceful approaches to managing the rhythmic modes." For these reasons, Lanford contends that "by glossing over the presence of isorhythmic techniques in thirteenth-century motets, such as those found in fascicles two through five of the *Montpellier Codex*, scholars have thus limited the appellation of 'isorhythm' using criteria that is well-reasoned, yet perhaps unnecessarily restrictive."

One motet in the *Codex* was copied from a polyphonic composition by Willelmus de Winchecumbe (fl. 1270s).

* Bradley, Catherine and Karen Desmond. The Montpellier Codex: The Final Fascicle. Contents, Contexts, and Chronologies. Woodbridge, Suffolk: Boydell, 2018.
* Lanford, Michael. (2011). "A Reevaluation of Isorhythm in the "Old Corpus" of the Montpellier Codex." *College Music Symposium 51*. Retrieved from http://symposium.music.org/index.php?option=com\_k2&view=item&id=13:a-reevaluation-of-isorhythm-in-the-old-corpus-of-the-montpellier-codex&Itemid=116
* Parsoneault, Catherine. *The Montpellier Codex: Royal Influence and Musical Taste in Late Thirteenth-century Paris (France)*. Ph.D Diss., U of Texas, 2001
* "Sources, MS, V, 2: Early motet", in *Grove Music Online* (Accessed October 9, 2006), (subscription access)
* Tischler, Hans. *The Montpellier Codex.* Madison, Wis. : A-R Editions, 1978. *(Critical edition of the codex)*
* Wolinski, Mary Elizabeth. *The Montpellier Codex*. Ph.D Diss., Brandeis University, 1988.


title: I Tubi Lungimiranti

abstract: I Tubi Lungimiranti was a musical group formed in Fano, Italy in 1964. The group was part of the 1960s Italian Beat music movement. They later became a cult group for Dirty Acoustics and Garage Beat.

text:
# I Tubi Lungimiranti

**I Tubi Lungimiranti** was a musical group formed in Fano, Italy in 1964. The group was part of the 1960s Italian Beat music movement. They later became a cult group for Dirty Acoustics and Garage Beat.

## History

### 1964–1965: Origins

The group was started by Umberto Bultrighini in Fano, Italy in 1964. His sister chose the group's name, which otherwise would have been Ossi Buchi. The following year the group became a quartet when Bultrighini was joined by two brothers, Paolo and Francesco Del Bianco, and drummer Gualfardo Aiudi. They began by playing in local spots in the Marche region of Italy.

### 1966–1968: CDI and *Abbiamo Paura Dei Topi*

In 1966, the group signed a contract with CDI (Company Discografica Italiana), the label of Pier Quinto Cariaggi, Lara Saint Paul's husband. In January 1967, they recorded and published three songs on a single 7" titled *Abbiamo Paura Dei Topi* (CDI, 1968). This vinyl record has a unique history: the record company printed the test-pieces rather than the final versions of the songs by mistake. This made the sound much dirtier than the standard of the time, to the point that it resembled the psychedelic rock which was popular overseas. Even though the leading song, *Abbiamo Paura Dei Topi*, didn't sell well, it became a cultural reference for Underground Garage beat bands and neo-psychedelics.

That same year, the band participated in the second Italia-Beat Gran Premio Davoli Tournament and expanded with the addition of organist Pierluigi Mattiello.

### 1969–1970: *A Poche Ore* followed by the band's decline

The band replaced drummer Aiudi with Giuliano Antonioni and then recorded their second 45 RPM in Milan, September 1969. In January 1970, the record was published with *Spegni Questa Luce*, a cover by Rokes, on one side, and *A Poche Ore*, a cover from *24 Hours from Tulsa* by Gene Pitney, on the other side. The cover photo revealed the group's attention to their look, as each member exhibited a particular style: one wore glasses emphasizing an intellectual look, one wore a funky hat, and so on.

The band recorded 12 more songs but were unable to publish them, beat music was no longer what record companies were interested in. They now preferred to work with established artists or bands of newer, more complex rock styles. After the second record was published, Antonioni abandoned the band. His substitute, Adriano Pedini, played in concert with them for only a few months before Tubi Lungimiranti decided to disband. Their two records were then sought out by vintage vinyl collectors.

### 1994: New "old" CDs and the band's reunion

In 1993, Red Ronnie included their song, *Abbiamo Paura dei Topi*, in the CD *Quei Favolosi Anni '60* *● 1968 – 12* (Fabbri Editori). The same year, Destination X published the collection *Spegni Questa luce*, which included the 7" songs and the 12 unpublished songs. In 1994, the group reunited with a slightly different line-up and held a concert at *Il Covo* in Bologna. For the occasion, Destination X released *Live 1967–1970*, an album containing old and unpublished records taken from a 1969 live concert on the national TV RAI. Afterwards Destination X included them into the compilation *60's Italian Beat Resurrection! Volume 5* (1994). In 1995, Reverendo Moon Records included them in *Per Chi NonConosce la Liberta' (Raro Beat Italiano Vol. 1)* a compilation curated by Reverendo Moon.

The last drummer, Adriano Pedini, became a session man, playing the drums for many of the CDs published by Cramps. In 1976, he played in the celebrated album the *Ho Visto Anche Degli Zingari Felici* by Claudio Lolli. In 1995, he took on jazz and became artistic director and coordinator for the Fano Jazz by The Sea music festival.

Paolo Del Bianco devoted himself to photography and to this day takes part in the music business by playing in *Micio Sband*.

Umberto Bultrighini devoted himself to teaching. He kept up his interest in music, which eventually led him to publish the volume *Dopo I Beatles: music and society in the seventies* in 2003. He co-authored the book with Gianni Oliva, a colleague from the university, and published it on Editrice Carrabba. Since 2010, Bultrighini has been touring around Italy, with Gene Guglielmi and Claudio Scarpa, and holding a debate titled “Al di Qua, Al di Là del Beat.” At these events, they discuss the true nature of the Italian beat as well as play music and sing songs. In July 2011, the three authors wrote about their experiences in the book “Al di Qua, Al di Là del Beat," which is published by Edizioni Carabba. The book included a CD with Gene Guglielmi and Tubi Lungimiranti songs.

In 2012, a new collection of old songs came out titled *Qui e Adesso* (Halidon), on which Gene Guglielmi and the girl-band Le Rimmel were guest artists.

## Lineup

* Paolo Del Bianco: voice and guitar
* Francesco Del Bianco: bass
* Gualfardo Aiuti: drummer (1965–1969)
* Umberto Bultrighini: voice and guitar soloist
* Giuliano Antonioni: drummer (1969–1970)
* Pierluigi Mattiello: organist (1968–1970)
* Adriano Pedini: drummer (1970)

## Discography

### 45 RPM

* 1968 – *Abbiamo Paura dei Topi/Hai Distrutto una Famiglia/L'Anima* (CDI, 2028)
* 1970 – *Spegni Questa Luce/A Poche Ore* (CDI, 2038)

### 33 RPM

### Compilation albums

* 1993 – *Quei Favolosi Anni '60 ● 1968 – 12* – with the song *Abbiamo Paura Dei Topi* (CD, Fabbri Editori curata by Red Ronnie)
* 1994 – *Various – 60's Italian Beat Resurrection! Volume 5* – with the songs *Il Vento Dell'Est* (LP, Destination X Records)
* 1995 – *Per Chi Non Conosce La Liberta* – with the song *Abbiamo Paura Dei Topi* (Raro Beat Italiano Vol. 1) *(LP, Reverendo Moon Records)*

* Noi Tre

## Bibliography

* Ursus (Salvo D'Urso) – *Manifesto beat* – Juke Box all'Idrogeno, Torino, 1990, pag. 139
* *Raro!* numero 152, febbraio 2004
* Claudio Pescetelli*Una generazione piena di complessi* – Editrice Zona, Arezzo, 2006, pag. 156–157
* Tiziano Tarli – *Beat Italiano. Dai capelloni a Bandiera Gialla* – Edizioni Castelvecchi, 2005
* Alessio Marino, "BEATi voi! n.2 – Interviste e riflessioni con i complessi degli anni 60 e 70",edizioni I LIBRI DELLA BEAT BOUTIQUE 67, (vol.2) 2008; (foto e informazioni sui Tubi Lungimiranti e altri gruppi beat della provincia di Pesaro)
* Alessio Marino, "BEATi voi! n.6 – Interviste e riflessioni con i complessi degli anni 60 e 70",edizioni I LIBRI DELLA BEAT BOUTIQUE 67, (vol.9) 2011; (foto e informazioni sui Tubi Lungimiranti contenuto in un articolo sui complessi psichedelici e acid-beat)
* Rizzi, Cesare; Beretta, Fulvio (1993). Rizzi, Cesare (ed.). *Enciclopedia del rock italiano* (in Italian). Milano: Arcana. ISBN 88-7966-022-5.

## InfoBox

| I Tubi Lungimiranti | |
| --- | --- |
| Genres | Beat, psychedelic rock, garage rock |
| Years active | 1964–1970 |
| Labels | CDI |


title: Ooia

abstract:
Ooia is a genus of flowering plants in the family Araceae, formally described in 2010. It has two known species, both endemic to the island of Borneo.
  - Ooia grabowskii (Engl.) S.Y.Wong & P.C.Boyce - Borneo
  - Ooia kinabaluensis (Bogner) S.Y.Wong & P.C.Boyce - Sabah, Brunei

text:
# Ooia

***Ooia*** is a genus of flowering plants in the family Araceae, formally described in 2010. It has two known species, both endemic to the island of Borneo.

1. *Ooia grabowskii* (Engl.) S.Y.Wong & P.C.Boyce \- Borneo (syn= *Rhynchopyle grabowskii* Engl., *Piptospatha grabowskii* (Engl.) Engl.)
2. *Ooia kinabaluensis* (Bogner) S.Y.Wong & P.C.Boyce \- Sabah, Brunei (syn= *Hottarum kinabaluense* Bogner, *Piptospatha kinabaluensis* (Bogner) Bogner & A.Hay)

## InfoBox

| *Ooia* | |
| --- | --- |
|
| Scientific classification | |
| Kingdom: | Plantae |
| *Clade*: | Tracheophytes |
| *Clade*: | Angiosperms |
| *Clade*: | Monocots |
| Order: | Alismatales |
| Family: | Araceae |
| Subfamily: | Aroideae |
| Tribe: | Schismatoglottideae |
| Genus: | *Ooia*<br>S.Y.Wong & P.C.Boyce |
|


title: Power and Resolution

abstract: Power and Resolution, subtitled "A Study of the English Civil War, 1642–1651", is a board wargame published by Simulations Canada in 1984 that simulates the English Civil War.

text:
# Power and Resolution

***Power and Resolution***, subtitled "A Study of the English Civil War, 1642–1651", is a board wargame published by Simulations Canada in 1984 that simulates the English Civil War.

## Description

*Power and Resolution* is a board wargame for 2–4 players in which players control Royalist forces under King Charles I; Parliamentarian forces under Oliver Cromwell; Ireland; and Scotland.

The game includes a hex grid map of England, Scotland and part of Ireland, scaled at 19 miles (31 km) per hex, as well as 200 counters and an 8-page rulebook.

The short 8-page rulebook covers recruitment, supply, negotiations, attrition, sieges, naval operations, and leaders.

### Scenarios

The game comes with four scenarios:

1. First Civil War (Fall 1642–Spring 1646): The player accumulating the most Victory Points wins
2. Second Civil War (Spring 1948–Winter 1649): The most Victory Points wins except if Parliament has the most Victory Points but does not control all towns in England; in this case, the game is a draw.
3. Reduction of Ireland (Summer 1649–Spring 1650): Parliament wins if it controls all Irish towns by end of scenario; otherwise, Ireland wins.
4. Reduction of Scotland (Summer 1650–Summer 1651): Parliament wins if it controls all Scottish towns by end of scenario; otherwise, Scotland wins.

There is also a Campaign game that combines all four scenarios, covering Fall 1642–Fall 1651; the winner is the player accumulating the most Victory Points. However, if at anytime during the game Parliament loses control of London, then the game is immediately won by the faction that successfully took over London.

## Publication history

Stephen Newberg designed *Power and Resolution*, which was then published by Simulations Canada in 1984 with a print run of 1000 copies.

Newberg later commented, "Though *Power and Resolution* works well as a military representation of the war, I do not feel it captured the color and sense of moment of the events."

## Reception

In Issue 102 of *Strategy & Tactics*, Charles Vasey thought the game's "political rules are quite good, with the beginnings of a nice idea in the concession counters." Vasey, a British writer, didn't feel the game was at all historically accurate, concluding, "Any hope of success in this area, however, is dealt a blow by the lack of historicity around movement and combat."

In a retrospective review in Issue 10 of *Simulacrum*, John Nebauer agreed with Vasey's assessment of the political rules, saying, "The negotiations segment is a good attempt to capture the political flavour of the campaign, and recognises that military operations were often driven by political needs." Nebauer concluded, "*Power and Resolution* is a playable and interesting working of the topic that can generally be played in a single sitting. If you're interested in the topic this is certainly worth getting."

## Other reviews and commentary


title: Oława Castle

abstract: Sobieski's Castle in Oława is a Renaissance-Baroque style castle located in the site of a former Gothic castle. The original castle had been built by Duke Ludwik I built in the second half of the fourteenth century. It was the third castle structure in Oława, the first being the seat of the castellans, located in the south-east of the town. It remained an integral part of the town's defenses until the wars with the Hussites.

text:
# Oława Castle

**Sobieski's Castle in Oława** is a Renaissance-Baroque style castle located in the site of a former Gothic castle. The original castle had been built by Duke Ludwik I built in the second half of the fourteenth century. It was the third castle structure in Oława, the first being the seat of the castellans, located in the south-east of the town. It remained an integral part of the town's defenses until the wars with the Hussites.

## Construction

The Renaissance castle was built by master Jakub of Milan (most likely with the surname Pahr, builder of the Bolków Castle), continued by his brother-in-law Bernard Niuron in 1588. After various reconstructions, this part of the castle now houses the local parish church's rectory of St. Apostle Peter and Paul. The reconstruction covered the whole of the Gothic castle, this included the now former west and northern wings of the castle-church. The castle-church's tower, the last fragment of the northern wing, collapsed in the later years of 1970s.

The current castle-church also has a two-level pavilion constructed in the early-Baroque architectural style, built onto the western side of the Renaissance castle. The pavilion was constructed by Italian masters during the reign of Christian, Duke of Brieg (16181672); the castle's building is called *Christianbau*. It was probably designed and built by Carlo Rossi, an Italian architect who spent most of his career in Russia and Poland. The site included a terraced garden which was incompatible with the Polish climate, causing in its rapid devastation.

## Owners and inhabitants

The castle was part of the defenses used by the House of Piast to protect their lands from incursion by their various enemies; their royal rule in Poland ended in 1370, but the family continued to dominate the areas bordering on Bohemia and Moravia. In the 17th century, the last duke, Christian, left the castle to his widow, Louise of Anhalt-Dessau, as her dower house; she was also the regent for her son, Georg William until his death of smallpox in 1675; the boy was the last male Piast. She remained at the castle until her own death in 1680, after which the Holy Roman Emperor Joseph I confiscated the Piast lands and castles.

During the reign of James Louis Sobieski, Oława Castle received new interior furnishings and the library was enlarged. After the prince left Oława in 1734, the structure began to decline. The Prussians subsequently located a hospital and a bakery in the castle.

## InfoBox

| Sobieski's Castle in Oława | |
| --- | --- |
| Sobieski's Castle in Oława | |
| Location | Oława, Lower Silesian Voivodeship, in Poland |
| Coordinates | 50°56′39″N 17°17′40″E / 50.94417°N 17.29444°E / 50.94417; 17.29444 |
| Built | 1541 |
| Architect | Carlo Rossi
Bernard Niuron,
Jakub of Milan and/or his son Franciscus Pahr |
| Architectural style(s) | Renaissance, Baroque |
|  | |
| Location of the Sobieski's Castle in Oława in PolandOława Castle (Lower Silesian Voivodeship) | |