title: Gmina Czarnożyły

abstract: Gmina Czarnożyły is a rural gmina in Wieluń County, Łódź Voivodeship, in central Poland. Its seat is the village of Czarnożyły, which lies approximately 7 kilometres (4 mi) north of Wieluń and 84 km (52 mi) south-west of the regional capital Łódź. The gmina covers an area of 69.9 square kilometres (27.0 sq mi), and as of 2006 its total population is 4,591.

text:
# Gmina Czarnożyły

**Gmina Czarnożyły** is a rural gmina (administrative district) in Wieluń County, Łódź Voivodeship, in central Poland. Its seat is the village of Czarnożyły, which lies approximately 7 kilometres (4 mi) north of Wieluń and 84 km (52 mi) south-west of the regional capital Łódź.

The gmina covers an area of 69.9 square kilometres (27.0 sq mi), and as of 2006 its total population is 4,591.

## Villages

Gmina Czarnożyły contains the villages and settlements of Czarnożyły, Działy, Emanuelina, Gromadzice, Kąty, Łagiewniki, Leniszki, Opojowice, Platoń, Raczyn, Staw, Stawek and Wydrzyn.

## Neighbouring gminas

Gmina Czarnożyły is bordered by the gminas of Biała, Lututów, Ostrówek and Wieluń.

## InfoBox

| Gmina Czarnożyły Czarnożyły Commune | |
| --- | --- |
| Gmina | |
|  | |
| Coordinates (Czarnożyły): 51°16′53″N 18°33′48″E / 51.28139°N 18.56333°E / 51.28139; 18.56333 | |
| Country | Poland |
| Voivodeship | Łódź |
| County | Wieluń |
| Seat | Czarnożyły |
| Area | |
| Total | 69.9 km2 (27.0 sq mi) |
| Population (2006) | |
| Total | 4,591 |
| Density | 66/km2 (170/sq mi) |


title: Ran Blake

abstract: Ran Blake is an American pianist, composer, and educator. He is known for his unique style that combines blues, gospel, classical, and film noir influences into an innovative and dark jazz sound. His career spans over 40 recording credits on jazz albums along with more than 40 years of teaching jazz at the New England Conservatory of Music, where he started the Department of Third Stream with Gunther Schuller.

text:
# Ran Blake

**Ran Blake** (born April 20, 1935) is an American pianist, composer, and educator. He is known for his unique style that combines blues, gospel, classical, and film noir influences into an innovative and dark jazz sound. His career spans over 40 recording credits on jazz albums along with more than 40 years of teaching jazz at the New England Conservatory of Music, where he started the Department of Third Stream (now called the Department of Contemporary Improvisation) with Gunther Schuller.

## Early life

Blake was born in Springfield, Massachusetts, on April 20, 1935. He grew up in Suffield, Connecticut, and became fascinated by film noir after seeing Robert Siodmak's *Spiral Staircase* as a twelve-year-old. He began playing piano as a young child, and as a teenager studied with Ray Cassarino. In his teenage years, he developed a love for gospel music and studied the compositions of Béla Bartók and Claude Debussy. After high school, he attended Bard College in New York, graduating in 1960 with a Bachelor of Arts degree in Jazz, a major that had not previously existed at the school. At Bard he met Jeanne Lee, with whom he performed for many years. He also studied with John Lewis, Oscar Peterson, and Gunther Schuller at the School of Jazz in Lenox, Massachusetts.

## Performing and studying

Beginning in the late 1950s, Blake was part of a duo with vocalist Jeanne Lee. Together they recorded his first album *The Newest Sound Around*, which was released on RCA in 1962, and the next year they toured Europe together. The album shows Blake's signature style beginning to develop, as they paid homage to Blake's early influences with a tribute to David Raksin's "Laura" and a reworking of the gospel standard, "The Church on Russell Street". Lee and Blake continued to play together throughout their careers and released another album in 1989 entitled *You Stepped out of a Cloud*.

Blake met Gunther Schuller in a chance encounter at Atlantic Records in 1959. Recognizing Blake's talent, Schuller asked him to study at the School of Jazz in Lenox, Massachusetts. This was a summer program that existed from 1957 to 1960. It was unique in that it brought together many of the world's foremost jazz musicians of the time, including Dizzy Gillespie and William Russo, to teach students about jazz for an intensive three weeks. Blake attended the School in 1959 and 1960. During his summers in Lenox, Blake began to develop his signature style. Schuller became a great friend and mentor to Blake throughout his career. Schuller organized the recording of *The Newest Sound Around* for Blake and Lee, and it was he who brought Blake to Atlantic Records, and later to the New England Conservatory.

Blake met jazz pianist, composer, and arranger Mary Lou Williams during a performance at The Composer, a New York nightclub. She later became a mentor and a significant influence on his work. During his time as a student at Bard, Blake often travelled to see Williams perform and to take lessons from her. Later, Williams and Blake worked together while she was a visiting faculty member at the School of Jazz.

In 1966, Blake released his first record as a soloist, *Ran Blake Plays Solo Piano*, on New York-based label ESP Disk.

## Educator

In 1967, Schuller, president of the New England Conservatory, recruited Blake to fill a faculty position as the Conservatory's Community Services Director. In this position, Blake was responsible for putting on concerts in prisons, retirement homes, and community centers. Blake remained in this role until 1973, when he took on the chairmanship of the new Third Stream Department (now Contemporary Improvisation) at the New England Conservatory, an initiative he started with Schuller.

Schuller coined the phrase "Third Stream" in 1957 during a talk at Brandeis University. According to Schuller, Third Stream is "a new genre of music located about halfway between jazz and classical music". This new genre was created, in Schuller's opinion, to combat purists in both the jazz world and the classical world: to play Third Stream music one had to be proficient in both.

When Schuller met Blake, two years after creating Third Stream, Blake's blend of influences, from free jazz and gospel music to classical composition and film noir soundtracks, appealed to him. When the two of them created the department at the NEC, it was natural that Blake would be the chairman. He remained in that position until 2005. He is a faculty member at the New England Conservatory.

Musicians Don Byron, Matthew Shipp, John Medeski, Frank London, Grayson Hugh, and Yitzhak Yedid have studied with Blake at NEC. He was awarded a Guggenheim Fellowship for composition in 1982 and a MacArthur Genius Grant six years later.

## Recording career

Blake has continued recording throughout his career as an educator and has amassed over forty recording credits on jazz albums. His first album with Jeanne Lee won the RCA Album First Prize in Germany, the 1980 Prix Billie Holiday, and is part of the Académie du Jazz.

After that album, he recorded primarily as a solo pianist, though many of his collaborative albums have received critical acclaim. In 1981, Blake recorded an album of songs by, or associated with, Duke Ellington, entitled *Duke Dreams*, which was awarded 4.5 stars by AllMusic, and a five-star rating in Down Beat and the All Music Guide to Jazz.

In 1986, he recorded *Short Life of Barbara Monk* with saxophonist Ricky Ford, which was selected by the Penguin Guide to Jazz to be part of their Core Collection. He has collaborated with a number of other musicians, including Jaki Byard, Houston Person, Steve Lacy, Clifford Jordan and Christine Correa.

## Educational philosophy

Blake's philosophy in teaching differs from that of many music educators, even in the jazz world. He calls his approach "the primacy of the ear". In 1977, he wrote an article for the Music Educator's Journal on having a career as a "Pop/Rock/Jazz instrumentalist". Blake also wrote *Third Stream and the Importance of the Ear* (1981), which served as a guide to his educational style, as well as an explanation and expansion upon the concept of Third Stream.

In the article, he stressed that "the ear is and should be of primary importance." He discussed the more practical aspects of a career in music and stressed the importance of luck and showmanship over education and background. Blake's focus on improvisation and ear training, coupled with his diverse influences, have made him one of the more innovative music educators of the jazz world. He invites the reader to view Third Stream composition as any composition that bridges two distinct musical cultures, not just classical-jazz fusion. He also stresses the importance of improvisation, and cites the need for improvisational education as one of the reasons he and Schuller started the Third Stream Department at the NEC. Blake argues that music is an aural art, and it must therefore be taught not by being "preoccupied with playing Chopin preludes on the piano or the latest copy of The Real Book (a popular jazz fake book) on the horn or guitar," but by dedicated listening, imitating, and improvising. He calls for students to listen and sing along to melodies on tape until they can reproduce the melody without the tape. It is essential, according to Blake, that a student do this before touching an instrument, as imitating the mechanics of a performance alone does not develop one's ear.

In 2010, Ran Blake published a book with Jason Rogers entitled *The Primacy of the Ear*. In the 144-page work, Blake details his thinking about the artistic process and distills his approach both to teaching and playing. It explores the relationship between the ear and the mind, musical memory, ear training exercises, and an approach to developing one's personal style.

## Discography

An asterisk (\*) after the year indicates that it is the year of release.

### As leader/co-leader

| Year recorded | Title | Label | Notes |
| --- | --- | --- | --- |
| 1961 | *The Newest Sound Around* | RCA Victor | Duo, with Jeanne Lee (vocals); some tracks with George Duvivier (bass) |
| 1965 | *Ran Blake Plays Solo Piano* | ESP-Disk | Solo piano |
| 1966/1967 | *The Newest Sound You Never Heard* | A-side Records | Duo, with Jeanne Lee (vocals). Released in 2019. |
| 1969 | *The Blue Potato and Other Outrages...* | Milestone | Solo piano |
| 1975 | *Breakthru* | Improvising Artists | Solo piano |
| 1976 | *Wende* | Owl | Solo piano |
| 1977\* | *Open City* | Horo | Solo piano |
| 1977 | *Crystal Trip* | Horo | Solo piano |
| 1977 | *Third Stream Recompositions* | Owl | Solo piano |
| 1978 | *Rapport* | Novus | Some tracks solo piano; some tracks duo, with Ricky Ford (tenor sax); one track trio, with Rufus Reid (bass) added; one track duo with Anthony Braxton (alto sax); one track duo with Eleni Odoni (vocals); one track quartet, with Jerome Thomas (guitar), Reid (bass), Chris Connor (vocals) |
| 1978\* | *Realization of a Dream* | Owl | Solo piano |
| 1978\* | *Take 1* | Golden Crest | Solo piano |
| 1978\* | *Take 2* | Golden Crest | Solo piano |
| 1979\* | *Third Stream Today* | Golden Crest | With various, including Ricky Ford (tenor sax), Marty Erlich (alto sax), Hubert Powell (organ), Cleve Pozar (timbales) |
| 1980\* | *Film Noir* | Novus | With various, including Ted Curson, Spenser MacLeish, Frank London, Chris Pasin, Ingrid Monson (trumpet) |
| 1981 | *Improvisations* | Soul Note | Duo, with Jaki Byard (piano) |
| 1981 | *Duke Dreams* | Soul Note | Solo piano |
| 1982\* | *Portfolio of Dr. Mabuse* | Owl | With NEC Orchestra |
| 1983 | *Suffield Gothic* | Soul Note | Most tracks solo piano; some tracks duo, with Houston Person (tenor sax) |
| 1985\* | *Vertigo* | Owl | Solo piano |
| 1985 | *Painted Rhythms: The Compleat Ran Blake, Volume 1* | GM | Solo piano |
| 1985 | *Painted Rhythms: The Compleat Ran Blake, Volume 2* | GM | Solo piano |
| 1986 | *Short Life of Barbara Monk* | Soul Note | Quartet, with Ricky Ford (tenor sax), Ed Felson (bass), Jon Hazilla (drums) |
| 1988 | *A Memory of Vienna* | hatOLOGY | With Anthony Braxton (alto sax); released 1997 |
| 1989 | *You Stepped Out of a Cloud* | Owl | Most tracks duo, with Jeanne Lee (vocals); some tracks trio, with George Duvivier (bass) added |
| 1989 | *Masters from Different Worlds* | Mapleshade | One track solo piano; two tracks duo, with Clifford Jordan (tenor sax, soprano sax); most other tracks with Jordan and some of Julian Priester (trombone), Windmill Saxophone Quartet, Steve Williams (drums), Alfredo Mojica (congas), Claudia Polley (vocals) |
| 1990 | *That Certain Feeling* | hatART | With Steve Lacy (soprano sax), Ricky Ford (tenor sax) |
| 1991 | *Epistrophy* | Soul Note | Solo piano |
| 1994\* | *Round About* |  | With Christine Correa (vocals) |
| 1994 | *Unmarked Van: A Tribute to Sarah Vaughan* | Soul Note | Most tracks solo piano; some tracks duo, with Tiziano Tononi (drums) |
| 1998 | *Something to Live For* | hatOLOGY | Most tracks duo, with Guillermo Gregorio (clarinet) or David Fabris (guitar) |
| 1999\* | *Duo En Noir* | Between the Lines | With Enrico Rava |
| 2000 | *Horace Is Blue* | hatOLOGY | With David Fabris, James Merenda |
| 2001 | *Sonic Temples* | GM | With Nicole Kampgen Schuller (alto sax), Ed Schuller (bass), George Schuller (drums, percussion) |
| 2005\* | *Indian Winter* | Soul Note | With David "Knife" Fabris (guitar) |
| 2005 | *All That Is Tied* | Tompkins Square | Solo piano |
| 2006 | *Cinema Chatelet* | Sans Bruit | Solo piano; promotional album |
| 2008 | *Driftwoods* | Tompkins Square | Solo piano |
| 2009 | *Kaleidoscope* | CIMP | With Jon Hazilla (percussion), Kara D. Rusch (keyboards, cymbals) |
| 2010\* | *Out of the Shadows* | Red Piano | Duo, with Christine Correa (vocals) |
| 2010\* | *Camera Obscura* | Inner Circle Music | With Sara Serpa (vocals) |
| 2010 | *Ghost Tones* | A-Side | Some tracks solo piano; some tracks ensemble; in concert; released 2015 |
| 2011\* | *Grey December: Live in Rome* | Tompkins Square | Solo piano; in concert |
| 2011\* | *Whirlpool* | Jazz Project | With Dominique Eade (vocals) |
| 2011\* | *Vilnius Noir* | NoBusiness | Some tracks solo piano; some tracks duo, with David "Knife" Fabris (guitar); one track Fabris (guitar) solo |
| 2012\* | *Aurora* | Clean Feed | With Sara Serpa (vocals) |
| 2012\* | *Tribute to Abbey Lincoln, Volume One* | Red Piano | Duo, with Christine Correa (vocals) |
| 2013\* | *Down Here Below* | Red piano | With Christine Correa (vocals) |
| 2014\* | *Cocktails at Dusk – A Noir Tribute to Chris Connor* | Impulse! | Most tracks solo piano; some tracks duo with Laïka Fatien (vocals); some tracks duo with Ricky Ford (tenor sax) |
| 2013–14 | *Kitano Noir* | Sunnyside | With Sara Serpa (vocals); in concert |
| 2015\* | *Chabrol Noir* | Impulse! | Most tracks solo piano; some tracks duo with Ricky Ford (tenor sax); one track duo with Dominique Eade (vocals) |
| 2015\* | *The Road Keeps Winding: Tribute to Abbey Lincoln, Volume Two* | Red piano | With Christine Correa (vocals) |
| 2017\* | *Town and Country* | Sunnyside | Duo, with Dominique Eade (vocals) |
| 2017\* | *The Dorothy Wallace Suite* | ILK Music Records | Duo, with Kresten Osgood (drums) |
| 2020\* | *Northern Noir* | SteepleChase Records | Duo, with Andrew Rathbun (tenor saxophone) |

## InfoBox

| Ran Blake | |
| --- | --- |
| Ran Blake at Bach Dancing & Dynamite Society, Half Moon Bay, California, June 14, 1987 | |
| Background information | |
| Born | (1935-04-20) April 20, 1935<br>Springfield, Massachusetts, United States |
| Genres | Jazz |
| Occupation(s) | Musician, composer |
| Instrument | Piano |
| Years active | 1950s–present |
|  | |
| Website | ranblake.com |


title: The Problem of Our Laws

abstract: "The Problem of Our Laws" is a short parable by Franz Kafka. It was published posthumously in Beim Bau der Chinesischen Mauer. The first English translation by Willa and Edwin Muir was published by Martin Secker in London in 1933. It appeared in The Great Wall of China. Stories and Reflections.

text:
# The Problem of Our Laws

"**The Problem of Our Laws**" (German: "Zur Frage der Gesetze") is a short parable by Franz Kafka. It was published posthumously in *Beim Bau der Chinesischen Mauer* (Berlin, 1931). The first English translation by Willa and Edwin Muir was published by Martin Secker in London in 1933. It appeared in *The Great Wall of China. Stories and Reflections* (New York City: Schocken Books, 1946).

## Plot

The story is a short narrative, where laws of the land are described as esoteric, created by the elite. Thus, being such they are out of the hands by the common people, yet binding. Nobility is seen as the authority, the creator and executor of laws, yet completely separate from those whom they apply to. Yet, these laws create a sense of security among those who follow them, an empty one, since they are in fact a type of cruel joke. Incidentally, the story echoes the labyrinthine system of law and regulations in place among the official in Kafka's earlier novel, *The Castle*. The parable has also been translated by Michael Hofmann in the London Review of Books July 6, 2015.

## InfoBox

| "The Problem of Our Laws" | |
| --- | --- |
| Short story by Franz Kafka | |
| Original title | *Zur Frage der Gesetze* |
| Language | German |
| Genre(s) | Short story |
| Publication | |
| Published in | *Beim Bau der Chinesischen Mauer* |
| Media type | book (hardcover) |
| Publication date | 1931 |
| Published in English |  |


title: Joseph Pecchia

abstract: Joseph Pecchia was a French sports shooter. He competed in two events at the 1920 Summer Olympics.

text:
# Joseph Pecchia

**Joseph Pecchia** (13 July 1889 – 26 November 1974) was a French sports shooter. He competed in two events at the 1920 Summer Olympics.

## InfoBox

Joseph Pecchia
| Personal information | |
| --- | --- |
| Born | (1889-07-13)13 July 1889
Montmagny, Val-d'Oise, France |
| Died | 26 November 1974(1974-11-26) (aged 85)
Montmorency, Val-d'Oise, France |
| Sport | |
| Sport | Sports shooting |


title: Orrin Augustine White

abstract: Orrin Augustine White was an American painter. His studio was in Pasadena, California.

text:
# Orrin Augustine White

**Orrin Augustine White** (1883 - 1969) was an American painter. His studio was in Pasadena, California.

## Life

White was born in 1883 in Hanover, Illinois. He graduated from the University of Notre Dame in 1902. He was an assistant professor of Chemistry at the University of Portland in Oregon.

White began his artistic career as a textile designer until he became an interior designer in Los Angeles in 1906, and he took up painting in 1912. Two of his paintings were exhibited at the Panama–Pacific International Exposition in San Francisco in 1915. He served in World War I, and he later opened a studio in Pasadena. He was on the advisory council of the South Pasadena chapter of the National Society of Arts and Letters.

White gave private lessons in landscape painting to California artist Ben Abril.

White died in 1969. His work was exhibited by the South Pasadena chapter of the NSAL shortly after his death, and they set up the Orrin White Scholarship Fund in his memory. One of his paintings in the permanent collection of the Los Angeles County Museum of Art.

## InfoBox

| Orrin Augustine White | |
| --- | --- |
| Born | 1883<br>Hanover, Illinois, U.S. |
| Died | 1969 |
| Alma mater | University of Notre Dame |
| Occupation | Painter |


title: Isabella Percy, Countess of Beverley

abstract:
Isabella Susan Percy, Countess of Beverley, formerly Isabella Susan Burrell, was the wife of Algernon Percy, 1st Earl of Beverley, and the mother of the 5th Duke of Northumberland. Isabella was the second daughter of Peter Burrell, a barrister, of Beckenham, Kent, and his wife, the former Elizabeth Lewis. Her brother was Peter Burrell, 1st Baron Gwydyr. Two of her sisters married into the aristocracy: Elizabeth, who married the Duke of Hamilton, and Frances, who became Duchess of Northumberland. Isabella married the future earl on 8 June 1775, by special licence, at Syon House in London. Their children were:
  - Lady Charlotte Percy (1776-1862), who married George Ashburnham, 3rd Earl of Ashburnham, and had children.
  - Lady Elizabeth Percy (1777-1779), who died in infancy and was buried within the Northumberland Vault in Westminster Abbey.
  - George Percy, later 5th Duke of Northumberland (1778–1867), who married Louisa Harcourt Stuart-Wortley and had children
  - Hon. Algernon Percy (1779–1833), diplomat, who married Anne-Marie Prestilly-FitzGerald and had children
  - [a child](stillborn)(1781)
  - Lady Susanna Percy
  - Hon. Hugh Percy (1784–1856), later Bishop of Rochester and Carlisle, who married Mary Manners-Sutton and had children
  - Hon. Josceline Percy (1784–1856), naval commander, who married Margaret Davidson and had one child
  - Hon. Henry Percy (1785–1825), army officer, who died unmarried but with two illegitimate children by Marion Durand: Major-General Sir Henry Marion Durand and Percy Durand. Sir Henry Durand's son was created a baronet in 1892.
  - Lady Emily Charlotte Percy (1786-1877), who married Andrew Mortimer Drummond.
  - Hon. William Henry Percy (1788–1855), politician and naval commander
  - Hon. Francis John Percy (1790–1812), army officer.
  - Lord Charles Greatheed Bertie Percy (1794–1870), MP, who married Ann Caroline Greatheed, the granddaughter of Bertie Greatheed, and had one child
  - Lady Louisa Margaret Percy (1796-1796), who died in infancy and is buried within the Northumberland Vault in Westminster Abbey. In 1786, Percy inherited the title of Lord Lovaine, and his wife became Lady Lovaine. In 1790, he was created 1st Earl of Beverley, and his wife became Countess of Beverley. The countess died in 1812, aged 61, and was buried in the Northumberland Vault at Westminster Abbey. The Earl of Beverley died in October 1830, aged 80, and was succeeded by his eldest son, George, who later inherited the dukedom of Northumberland from his cousin, the 4th Duke, in 1865.

text:
# Isabella Percy, Countess of Beverley

**Isabella Susan Percy, Countess of Beverley** (19 December 1750  24 January 1812), formerly Isabella Susan (or Susannah) Burrell, was the wife of Algernon Percy, 1st Earl of Beverley, and the mother of the 5th Duke of Northumberland.

Isabella was the second daughter of Peter Burrell, a barrister, of Beckenham, Kent, and his wife, the former Elizabeth Lewis. Her brother was Peter Burrell, 1st Baron Gwydyr. Two of her sisters married into the aristocracy: Elizabeth, who married the Duke of Hamilton (and later the Marquess of Exeter), and Frances, who became Duchess of Northumberland.

Isabella married the future earl on 8 June 1775, by special licence, at Syon House in London. Their children were:

In 1786, Percy inherited the title of Lord Lovaine, and his wife became Lady Lovaine. In 1790, he was created 1st Earl of Beverley, and his wife became Countess of Beverley. The countess died in 1812, aged 61, and was buried in the Northumberland Vault at Westminster Abbey.

The Earl of Beverley died in October 1830, aged 80, and was succeeded by his eldest son, George, who later inherited the dukedom of Northumberland from his cousin, the 4th Duke, in 1865.

## InfoBox

| Isabella Susan PercyCountess of Beverley | |
| --- | --- |
| Born | (1750-12-19)19 December 1750
Kent, England |
| Died | 24 January 1812(1812-01-24) (aged 61) |
| Spouse | Algernon Percy (m. 17751812) |
| Children | 13; Charlotte Ashburnham, Countess of Ashburnham
Elizabeth Percy
George Percy, 5th Duke of Northumberland
Algernon Percy
Lady Susanna Percy
Hugh Percy
Josceline Percy
Henry Percy
Lady Emily Drummond
William Henry Percy
Francis John Percy
Lord Charles Percy
Lady Louisa Percy |
| Parents |  |
| Relatives | Peter Burrell, 1st Baron Gwydyr (brother)
Frances Burrell (sister)
Elizabeth Burrell (sister) |


title: WAAI

abstract: WAAI is a radio station broadcasting a classic country music format. Its tower is in Hurlock, Maryland, but broadcasts emanate from its studios in Cambridge, Maryland. It is currently owned by the Draper Holdings Business Trust, as part of a cluster with CBS/Fox affiliate WBOC-TV, NBC affiliate WRDE-LD, Telemundo affiliate WBOC-LD, and sister radio stations WCEM-FM, WBOC-FM, WCEM and WTDK.

text:
# WAAI

**WAAI** (100.9 FM) is a radio station broadcasting a classic country music format. Its tower is in Hurlock, Maryland, but broadcasts emanate from its studios in Cambridge, Maryland. It is currently owned by the Draper Holdings Business Trust, as part of a cluster with CBS/Fox affiliate WBOC-TV (channel 16), NBC affiliate WRDE-LD (channel 31), Telemundo affiliate WBOC-LD (channel 42), and sister radio stations WCEM-FM, WBOC-FM, WCEM and WTDK.

1. "Facility Technical Data for WAAI". *Licensing and Management System*. Federal Communications Commission.
2. Weimer, Chris. "Draper Media's Newest Radio Station 100.9 WAAI-FM Returns to its Classic Country Roots". Retrieved 2018-03-11.
3. "Draper Media to Acquire MTS Broadcasting Stations". Retrieved 2018-03-11.

## InfoBox

WAAI
|  | |
| --- | --- |
|  | |
| Broadcast area | Cambridge, Maryland |
| Frequency | 100.9 MHz |
| Branding | 100.9 WAAI |
| Programming | |
| Format | Classic Country |
| Ownership | |
| Owner |  |
| Sister stations |  |
| Technical information | |
| Licensing authority | FCC |
| Facility ID | 2417 |
| Class | A |
| ERP | 1,300 watts |
| HAAT | 153.0 meters |
| Links | |
| Public license information |  |
| Webcast | Listen Live |
| Website | 1009classiccountry.com |


title: Hermodsdal

abstract: Hermodsdal is a neighbourhood of Malmö, situated in the Borough of Fosie, Malmö Municipality, Skåne County, Sweden. In its 2017 report, Police in Sweden placed the district in the most severe category of urban areas with high crime rates.

text:
# Hermodsdal

**Hermodsdal** is a neighbourhood of Malmö, situated in the Borough of Fosie, Malmö Municipality, Skåne County, Sweden. In its 2017 report, Police in Sweden placed the district in the most severe category of urban areas with high crime rates.

## InfoBox

| Hermodsdal | |
| --- | --- |
| Neighbourhood | |
|  | |
| Coordinates: 55°34′02″N 13°01′03″E / 55.56722°N 13.01750°E / 55.56722; 13.01750 | |
| Country | Sweden |
| Province | Skåne |
| County | Skåne County |
| Municipality | Malmö Municipality |
| Borough of Malmö | Fosie |
| Population (1 January 2011) | |
| Total | 3,353 |
| Time zone | UTC+1 (CET) |
| Summer (DST) | UTC+2 (CEST) |


title: Money Maker

abstract: "Money Maker" is a song written and performed by American rapper Ludacris featuring Pharrell Williams. It was released to the radio on July 17, 2006 as the first single from Ludacris's fifth album Release Therapy. Produced by Williams and Chad Hugo, the song is a reimagining of the 1961 Elmore James blues song "Shake Your Moneymaker". The single became Ludacris' third number-one song on the US Billboard Hot 100, while also topping the Hot R&B/Hip-Hop Songs and Hot Rap Tracks charts. Released on August 17, 2006, the song's music video premiered on MTV's Making the Video and later managed to reach the number-one spot on BET's 106 & Park, where it remained for several days. The single had a major promotional campaign and huge airplay on radio around the U.S., Canada and other countries around the globe, while the video received strong airplay on BET, MTV, and Canada's Muchmusic. The song was performed on the 2006 MTV Video Music Awards and later won Best Rap Song at the 49th Grammy Awards. American R&B singer, Amerie, recorded an answer back (remix) to the single. The song was included on her first mixtape, Because I Love It Volume 1. The song however did not appear on the final album. Because I Love It was released to international markets only.

text:
# Money Maker

"**Money Maker**" is a song written and performed by American rapper Ludacris featuring Pharrell Williams. It was released to the radio on July 17, 2006 as the first single from Ludacris's fifth album *Release Therapy*. Produced by Williams and Chad Hugo (known collectively as The Neptunes), the song is a reimagining of the 1961 Elmore James blues song "Shake Your Moneymaker". The single became Ludacris' third number-one song on the US *Billboard* Hot 100, while also topping the Hot R&B/Hip-Hop Songs and Hot Rap Tracks charts.

Released on August 17, 2006, the song's music video premiered on MTV's *Making the Video* and later managed to reach the number-one spot on BET's 106 & Park, where it remained for several days. The single had a major promotional campaign and huge airplay on radio around the U.S., Canada and other countries around the globe, while the video received strong airplay on BET, MTV, and Canada's Muchmusic. The song was performed on the 2006 MTV Video Music Awards and later won Best Rap Song at the 49th Grammy Awards.

American R&B singer, Amerie, recorded an answer back (remix) to the single. The song was included on her first mixtape, *Because I Love It Volume 1* (the mixtape that was released to accompany her third studio album *Because I Love It)*. The song however did not appear on the final album. *Because I Love It* was released to international markets only.

## Critical reception

* **About**

> *"Money Maker" was obviously intended as a summer smash, as it more than satisfies the requirements: lame yet memorable pick-up lines ("I'm a bedroom gangsta"), disorganized, rambunctious production, and an accompanying big-budget video. Overall, it's a major setback in Ludacris' campaign to claim the Southern rap throne.*

* ***Pitchfork***

> *Atlanta really did need another strip-club anthem. So Ludacris and Pharrell deliver "Money Maker", roasting a Nellyesque sing-rap over steamy tropical percussion, a relentless knock that re-imagines "Can I Get a..." played with pots and pans. Fleshed out with deep, one-two bass punches and organs that trickle before bursting, it sounds faintly sinister. The hook boasts a lowering blend of Eros and economics: Luda's soliciting followed by Skateboard's stage-whispered counsel to "Shake your moneymaker / Like somebody 'bout to pay ya."*

## Commercial performance

"Money Maker" debuted at number 96 on the *Billboard* Hot 100 the week of August 26, 2006. It moved seventeen spots to number 79 the week of September 2, 2006 and another eighteen spots to number 61 the week after. Two weeks later, it entered the top 40 at number 15 the week of September 23, 2006. It moved thirteen spots to number two the week after with gains in airplay and digital sales, but was kept off the top spot for four weeks by Justin Timberlake's "SexyBack". It reached number one the week of October 28, 2006 and held that spot for two weeks before losing it again to Timberlake with "My Love", remaining on the chart for a total of twenty-five weeks. The song gave Ludacris his second number-one hit as lead artist and third overall, as well as Pharrell's second number-one hit.

The song appeared at number thirty-five on the *Billboard* Year-End chart of 2006, and number ninety-two in 2007.

It peaked at number one on the Hot R&B/Hip-Hop Songs chart for one week, the Rhythmic chart for five weeks, and the Hot Rap Songs chart for seven weeks. On December 6, 2006, the song was certified Platinum by the Recording Industry Association of America (RIAA) for selling over 1,000,000 copies in the United States.

## Music video

Directed by Melina Matsoukas (who directed R&B singer Shareefa's "Need a Boss") and released on August 17, 2006, premiering on various music channels including BET, MTV, and MuchMusic, the video for "Money Maker" consists of Ludacris rapping with girls dancing around him against a basically-colored background of orange, green and black. He has a counting machine that counts how many times he gets a girl to shake her rear end (called "money maker") for him. Pharrell appears during the chorus with girls and stacks of money. There is also a Chrysler ME Four-Twelve and large speakers in the background that vibrate throughout the video, which are actually salad bowls, as Ludacris explains in "Making the Video". Allen Iverson, Shareefa, Bobby Valentino, & Lil Fate make cameo appearances. The video notably features Ludacris debuting a fade haircut on camera, having shed his trademark cornrows to mark a new image.

## Credits and personnel

The credits for "Money Maker" are adapted from the liner notes of *Release Therapy*.

Recording Personnel

## Charts and certifications

## InfoBox

| "Money Maker" | |
| --- | --- |
|  | |
| Single by Ludacris featuring Pharrell | |
| from the album  *Release Therapy* | |
| Released | July 17, 2006 (U.S. radio) |
| Recorded | 2006 |
| Genre | Dirty rap |
| Label | DTP, Def Jam |
| Songwriter(s) | Christopher Bridges, Pharrell Williams |
| Producer(s) | The Neptunes |
| Ludacris singles chronology | |
| "Unpredictable"
(2005) "**Money Maker**"
(2006) "Need a Boss"
(2006) | |
|  | |
| Pharrell singles chronology | |
| "Mr. Me Too"
(2006) "**Money Maker**"
(2006) "Number One"
(2006) | |
| Music video | |
| "Money Maker" on YouTube | |
|  | |


title: Ran Blake Plays Solo Piano

abstract: Ran Blake Plays Solo Piano is a solo piano album by Ran Blake. It was recorded in 1965 and released by ESP-Disk.

text:
# Ran Blake Plays Solo Piano

***Ran Blake Plays Solo Piano*** is a solo piano album by Ran Blake. It was recorded in 1965 and released by ESP-Disk.

## Recording and music

The album of solo piano performances by Ran Blake was recorded in New York City on May 1, 1965. The material is a mix of standards, major jazz compositions, and four Blake originals.

## Releases and reception

*Ran Blake Plays Solo Piano* was released by ESP-Disk. The liner notes were written by Gunther Schuller. ESP issued the album on CD in 2014. Apart from "one very poorly distributed Italian bootleg CD in the mid-90s", this was its first appearance on CD.

The *JazzTimes* reviewer wrote that, in trying to combine "jazz, 'popular music' and classical styles \[...\] the pianist was probably still trying to figure out how to best utilize all of these resources. Still, *Plays Solo Piano* stands as an engaging session". The *DownBeat* review of the 2014 release commented that Blake "combined liberal dissonance and a pitiless editor's instinct for what to leave out, with a very light touch and an evident appreciation for the blues, albeit fairly abstract blues."

## Track listing

1. "Vanguard"
2. "Stratusphunk"
3. "Sleepy Time Gal"
4. "On Green Dolphin Street"
5. "Eric"
6. "There'll Be Some Changes Made"
7. "Good Morning Heartache"
8. "Sister Tee"
9. "Lonely Woman"
10. "Birmingham U.S.A."

## Personnel

## InfoBox

| Ran Blake Plays Solo Piano | |
| --- | --- |
|  | |
| Studio album by Ran Blake | |
| Recorded | May 1, 1965 |
| Studio | New York City |
| Genre | Jazz |
| Length | 36:19 |
| Label | ESP-Disk |


title: The Resistance (Malley novel)

abstract: The Resistance is a children's novel by Gemma Malley, published in 2008. It is a sequel to the book The Declaration, which is set in the year 2140. It is followed by The Legacy, published in 2010.

text:
# The Resistance (Malley novel)

***The Resistance*** is a children's novel by Gemma Malley, published in 2008. It is a sequel to the book *The Declaration*, which is set in the year 2140. It is followed by *The Legacy*, published in 2010.

## Plot

Prior to the events of this novel, the world had become overpopulated due invention of a drug that lets people live forever. A "Declaration" is created which people who take the drug, named Longevity, must sign. By signing they give up the right to have children, though some powerful people are given exceptions. Those who take the drug and still have children are called the "Surplus".

The book opens as Peter is pretending to live life as a legal by working for his grandfather, Richard Pincent, at Pincent Pharma. In reality he is attempting to help the underground, coordinating with Pip, the leader of the Underground in all but name, an organization dedicated to destroying Longevity. Peter is being watched at work by his half-brother Jude through hacked security cameras. Peter's grandfather pressures Peter to sign the Declaration in order to harm the underground and help launch a new drug Longevity+. Peter, with the encouragement and support of his girlfriend Anna, who he lives with, initially plans to decline to sign the Declaration.

While attempting to steal a document from his grandfather's office, a task which is surprisingly easy, Peter finds out about a planned Surplus Sterilisation Programme. He discovers his name and that of Anna on the list of people to be sterilized. Returning home Peter gets drunk and says to Anna that they should both sign the Declaration. In response, Anna calls Pip, but Peter does not listen to him either. Peter and Anna continue to fight about whether to sign the Declaration until Richard convinces Anna to sign. While Anna does this, she is soon arrested by the Catchers/Police with stolen documents - it's an apparent set-up.

Meanwhile, Jude breaks into Pincent Pharma in order to disrupt the launch of Longevity+. He is captured but manages to escape. Peter gets caught by his grandfather snooping though Peter has already learned that the company plans to use Surplus girls to harvest fetuses. This causes Peter to change his mind about signing the Declaration. He is saved from his grandfather by Pip, who'd been inside the company attempting to rescue Anna. The group learns Anna is pregnant. After seeming to cave to his grandfather's demands, Peter uses the opportunity of the Longevity+ press conference to reveal the company's plans to the world. He and Anna escape to hiding in Scotland, while Jude has joined the Underground in London. Following Peter's revelations society has started to become unbalanced.

## Prequel and sequel

Gemma Malley's The Declaration series is made up of The Declaration (2007), The Resistance (2009) and The Legacy (2010).

## Critical reception

## InfoBox

The Resistance
| First edition | |
| --- | --- |
| Author | Gemma Malley |
| Language | English, German, Spanish and French |
| Series | The Declaration Trilogy |
| Genre | Children's |
| Publisher | Bloomsbury Publishing PLC |
| Publication date | 1 September 2008 |
| Publication place | United Kingdom |
| Pages | 336 pp |
| ISBN | 978-0-7475-8772-9 |
| OCLC | 316008914 |
| Preceded by | *The Declaration* |
| Followed by | *The Legacy* |


title: Josh Hook

abstract: Joshua Frederick Hook is an endurance world champion motorcycle racer from Australia. Currently competing in the FIM Endurance World Championship with F.C.C. TSR Honda France. He was the winner of 2011 Australia 125GP Championship on Aprilia.

text:
# Josh Hook

**Joshua Frederick Hook** (born 9 January 1993) is an endurance world champion motorcycle racer from Australia. Currently competing in the FIM Endurance World Championship with F.C.C. TSR Honda France. He was the winner of 2011 Australia 125GP Championship on Aprilia.

## Career

### Early career

Born in Taree, New South Wales, Hook started riding at the age of 14 months. He started dirt track riding in 2005, then moved to road racing in 2008, where he ranked 3rd in the MRRDA series nationally. Hook was selected to compete in the Red Bull MotoGP Rookies Cup in Europe in 2009 and 2010, finishing the seasons 19th and 12th respectively. Hook showed his diversity by also ranking 3rd nationally on a Honda CBR600, in the FX 600 Championship. In the 2012 season, he rode for Team Honda Australia in the Australia Supersport 600 category, finishing second. Hook also competed in the Petronas Asia Dream Cup throughout Asia, finishing third. His first season on a Superbike in 2013 saw him finish 5th in ASBK and 5th again in 2014 in ASC. He moved to the MFJ All Japan Road Race JSB1000 Championship for the 2015 season and finished 11th overall on his Honda CBR1000RR; he also finished second alongside Dominique Aegerter and Kyle Smith in the 2015 Suzuka 8 Hours endurance race. He also participated in Moto2 replacing an injured Aegerter for the last four races of the season, with a best result of 20th on home soil at Phillip Island.

### Superbike World Championship

Hook joined the Grillini Racing Team for the 2016 season, partnering Dominic Schmitter in the Kawasaki Ninja ZX-10R-equipped team. However, Hook missed the start of the season due to a pre-season injury.

## Career statistics

### Red Bull MotoGP Rookies Cup

#### Races by year

(key) (Races in **bold** indicate pole position, races in *italics* indicate fastest lap)

| Year | 1 | 2 | 3 | 4 | 5 | 6 | 7 | 8 | 9 | 10 | Pos | Pts |
| --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- |
| 2009 | SPA1
5 | SPA2
Ret | ITA
Ret | NED
Ret | GER
DNS | GBR
 | CZE1
16 | CZE2
16 |  |  | 19th | 11 |
| 2010 | SPA1
Ret | SPA2
8 | ITA
Ret | NED1
16 | NED2
9 | GER1
6 | GER2
8 | CZE1
18 | CZE2
6 | RSM
Ret | 12th | 43 |

### Grand Prix motorcycle racing

#### By season

| Season | Class | Motorcycle | Team | Race | Win | Podium | Pole | FLap | Pts | Plcd |
| --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- |
| 2010 | 125cc | Aprilia | Hook Racing.com | 1 | 0 | 0 | 0 | 0 | 0 | NC |
| 2011 | 125cc | Aprilia | Hook Racing.com | 1 | 0 | 0 | 0 | 0 | 0 | NC |
| 2015 | Moto2 | Kalex | Technomag Racing Interwetten | 4 | 0 | 0 | 0 | 0 | 0 | NC |
| 2019 | MotoE | Energica | Octo Pramac MotoE | 6 | 0 | 0 | 0 | 0 | 28 | 13th |
| 2020 | MotoE | Energica | Octo Pramac MotoE | 7 | 0 | 1 | 0 | 0 | 52 | 8th |
| Total |  |  |  | **19** | **0** | **1** | **0** | **0** | **80** |  |

#### By class

| Class | Seasons | 1st GP | 1st Pod | 1st Win | Race | Win | Podiums | Pole | FLap | Pts | WChmp |
| --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- |
| 125cc | 2010–2011 | 2010 Australia |  |  | 2 | 0 | 0 | 0 | 0 | 0 | 0 |
| Moto2 | 2015 | 2015 Japan |  |  | 4 | 0 | 0 | 0 | 0 | 0 | 0 |
| MotoE | 2019–present | 2019 Germany | 2020 France Race 2 |  | 13 | 0 | 1 | 0 | 0 | 80 | 0 |
| Total | 2010, 2011, 2015, 2019–Present | | | | **19** | **0** | **1** | **0** | **0** | **80** | **0** |

#### Races by year

(key) (Races in bold indicate pole position, races in italics indicate fastest lap)

| Year | Class | Bike | 1 | 2 | 3 | 4 | 5 | 6 | 7 | 8 | 9 | 10 | 11 | 12 | 13 | 14 | 15 | 16 | 17 | 18 | Pos | Pts |
| --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- |
| 2010 | 125cc | Aprilia | QAT | SPA | FRA | ITA | GBR | NED | CAT | GER | CZE | INP | RSM | ARA | JPN | MAL | AUS
18 | POR | VAL |  | NC | 0 |
| 2011 | 125cc | Aprilia | QAT | SPA | POR | FRA | CAT | GBR | NED | ITA | GER | CZE | INP | RSM | ARA | JPN | AUS
26 | MAL | VAL |  | NC | 0 |
| 2015 | Moto2 | Kalex | QAT | AME | ARG | SPA | FRA | ITA | CAT | NED | GER | INP | CZE | GBR | RSM | ARA | JPN
Ret | AUS
20 | MAL
23 | VAL
26 | NC | 0 |
| 2019 | MotoE | Energica | GER
15 | AUT
7 | RSM1
10 | RSM2
12 | VAL1
8 | VAL2
Ret |  |  |  |  |  |  |  |  |  |  |  |  | 13th | 28 |
| 2020 | MotoE | Energica | SPA
9 | ANC
8 | RSM
18 | EMI1
8 | EMI2
Ret | FRA1
4 | FRA2
3 |  |  |  |  |  |  |  |  |  |  |  | 8th | 52 |

### Supersport World Championship

#### Races by year

(key) (Races in bold indicate pole position, races in italics indicate fastest lap)

| Year | Bike | 1 | 2 | 3 | 4 | 5 | 6 | 7 | 8 | 9 | 10 | 11 | 12 | 13 | Pos | Pts |
| --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- |
| 2013 | Honda | AUS
17 | SPA | NED | ITA | GBR | POR | ITA | RUS | GBR | GER | TUR | FRA | SPA | NC | 0 |

### Superbike World Championship

#### Races by year

(key) (Races in bold indicate pole position, races in italics indicate fastest lap)

| Year | Bike | 1 | | 2 | | 3 | | 4 | | 5 | | 6 | | 7 | | 8 | | 9 | | 10 | | 11 | | 12 | | 13 | | Pos | Pts |
| --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- |
| | | R1 | R2 | R1 | R2 | R1 | R2 | R1 | R2 | R1 | R2 | R1 | R2 | R1 | R2 | R1 | R2 | R1 | R2 | R1 | R2 | R1 | R2 | R1 | R2 | R1 | R2 | | |
| 2016 | Kawasaki | AUS | AUS | THA | THA | SPA
Ret | SPA
Ret | NED
16 | NED
DNS | ITA
17 | ITA
Ret | MAL
15 | MAL
15 | GBR | GBR | ITA | ITA | USA | USA | GER | GER | FRA | FRA | SPA | SPA | QAT | QAT | 31st | 2 |

### Suzuka 8 Hours results

| Year | Team | Co-Riders | Bike | Pos |
| --- | --- | --- | --- | --- |
| 2015 | F.C.C. TSR | Dominique Aegerter
Kyle Smith | Honda CBR1000RR | **2nd** |
|

## InfoBox

| Josh Hook | |
| --- | --- |
| Hook in 2016 | |
| Nationality | Australian |
| Born | (1993-01-09) 9 January 1993
Taree, New South Wales, Australia |
| Website | www.hookracing.com |
| Motorcycle racing career statistics  Moto2 World Championship  Active years 2015  Manufacturers Kalex  Championships 0  2015 championship position NC (0 pts)   Starts Wins Podiums Poles F. laps Points  4 0 0 0 0 0   125cc World Championship  Active years 20102011  Manufacturers Aprilia  Championships 0  2011 championship position NC (0 pts)   Starts Wins Podiums Poles F. laps Points  2 0 0 0 0 0   MotoE World Championship  Active years 20192020  Manufacturers Energica  Championships 0  2020 championship position 8th (52 pts)   Starts Wins Podiums Poles F. laps Points  13 0 1 0 0 80   Superbike World Championship  Active years 2016  Manufacturers Kawasaki  Championships 0  2016 championship position 31st (2 pts)   Starts Wins Podiums Poles F. laps Points  7 0 0 0 0 2   Supersport World Championship  Active years 2013  Manufacturers Honda  Championships 0  2013 championship position NC (0 pts)   Starts Wins Podiums Poles F. laps Points  1 0 0 0 0 0 | |


title: Isabella Pasion

abstract: Isabella Edquilane Pasion is a professional footballer who plays as a midfielder for PFF Women's League side Stallion Laguna. Born in the United States, she plays for the Philippines women's national team. Selected as a reserve, she is one of the four 16-year-old players selected for the 2023 Women's World Cup. She has also played for the Philippines women's national under-20 team.

text:
# Isabella Pasion

**Isabella Edquilane Pasion** (born November 28, 2006) is a professional footballer who plays as a midfielder for PFF Women's League side Stallion Laguna. Born in the United States, she plays for the Philippines women's national team.

Selected as a reserve, she is one of the four 16-year-old players selected for the 2023 Women's World Cup. She has also played for the Philippines women's national under-20 team.

## Early life

Pasion was born on November 28, 2006, in North Texas. Pasion attends Lebanon Trail High School in Frisco, Texas.

## Career

Pasion is a member of the Philippines women's national under-20 football team. In early 2023, Pasion played in the AFC women's under-20 qualifiers, where she was featured in three matches. She scored in their match against the Hong Kong national under-20 football team.

In April 2023, Pasion was called up to the Philippines women's national football team for the Asian Football Confederation Olympic qualifiers. The coaching staff saw her performance at the under-20 matches, which led to her inclusion on the team. She played in five qualifying matches. At the age of 16, Pasion was selected for the Philippines women's national football team for the 2023 FIFA Women's World Cup as a reserve. She was named one of the team's three reserve players. She trained with the team while in New Zealand as a reserve player.

Pasion is a midfielder.

1. Isabella Pasion at Global Sports Archive
2. Hasson, Devin (July 21, 2023). "The Global Stage: Lebanon Trail's Pasion to compete for The Philippines national team at Women's World Cup". *Star Local Media*. Retrieved July 25, 2023.
3. Ibraham, David (July 18, 2023). "Youngest Female Footballers in 2023 FIFA Women's World Cup". *Femme Futbol*. Retrieved July 25, 2023.
4. "A 16-year-old girl from North Texas will represent the Philippines in the 2023 Women's World Cup". *wfaa.com*. July 11, 2023. Retrieved July 13, 2023.
5. "Frisco Girl To Represent Philippines In The 2023 Women's World Cup". *localprofile.com*. July 12, 2023. Retrieved July 13, 2023.
6. "Football: Stajcic calls up 16-year-old Pasion for Olympic qualifiers". *ABS-CBN News*. April 4, 2023. Retrieved July 13, 2023.
7. "Philippine Women's Football Team names 23-player lineup for FIFA Women's World Cup". *GMA News Online*. July 9, 2023. Retrieved July 13, 2023.
8. Morales, Luisa (August 4, 2023). "How Filipinas teen Isabella Pasion got better even as a World Cup reserve". *Sports Interactive Network Philippines*. Retrieved August 5, 2023.

## InfoBox

Isabella Pasion
| Personal information | | | |
| --- | --- | --- | --- |
| Full name | Isabella Edquilane Pasion | | |
| Date of birth | (2006-11-28) November 28, 2006 | | |
| Place of birth | Frisco, Texas, U.S. | | |
| Position(s) | Midfielder | | |
| Team information | | | |
| Current team | Stallion Laguna | | |
| Youth career | | | |
|  | Lebanon Trail Blazers | | |
| Senior career\* | | | |
| Years | **Team** | **Apps** | **(Gls)** |
| 2024– | Stallion Laguna | 0 | (0) |
| International career | | | |
|  | Philippines U-20 |  | (1) |
| 2023 | Philippines |  |  |
| \*Club domestic league appearances and goals | | | |


title: The Space Between the Shadows

abstract: The Space Between the Shadows is the third studio album from American musician Scott Stapp, released by Napalm Records on July 19, 2019. "Purpose for Pain" serves as the lead single.

text:
# The Space Between the Shadows

Professional ratings
| Review scores | |
| --- | --- |
| Source | Rating |
| AllMusic |  |
| *Classic Rock* |  |
| *Planet Mosh* |  |

***The Space Between the Shadows*** is the third studio album from American musician Scott Stapp, released by Napalm Records on July 19, 2019. "Purpose for Pain" serves as the lead single.

## Track listing

Adapted from iTunes.

| No. | Title | Writer(s) | Length |
| --- | --- | --- | --- |
| 1. | "World I Used to Know" |  | 4:05 |
| 2. | "Name" | * Stapp * Frederiksen * Stevens | 4:07 |
| 3. | "Purpose for Pain" | * Stapp * Kevin Howard Gruft | 3:18 |
| 4. | "Heaven in Me" | * Stapp * Frederiksen * Maloy * Stevens | 4:34 |
| 5. | "Survivor" | * Stapp * Frederiksen * Maloy * Stevens * Blair Daly | 3:20 |
| 6. | "Wake Up Call" | * Stapp * Frederiksen * Stevens | 3:33 |
| 7. | "Face of the Sun" | * Stapp * Frederiksen * Maloy * Stevens | 3:09 |
| 8. | "Red Clouds" | * Stapp * Frederiksen * Maloy | 5:21 |
| 9. | "Gone Too Soon" | * Stapp * Maloy * Daly | 3:18 |
| 10. | "Ready to Love" | * Stapp * Frederiksen * Maloy * Stevens | 3:26 |
| 11. | "Mary's Crying" | * Stapp * Maloy * Daly | 3:24 |
| 12. | "Last Hallelujah" | * Stapp * Frederiksen * Maloy * Stevens | 3:38 |
| Total length: | | | 45:13 |

## Personnel

**Musicians**

* Scott Stapp – lead vocals
* Sammy Hudson – bass guitar, backing vocals
* Ben Flanders – guitar, backing vocals
* Yiannis Papadopoulos – lead guitar
* Dango Cellan – drums

**Production**

## Charts

| Chart (2019) | Peak
position |
| --- | --- |
| Australian Digital Albums (ARIA) | 37 |
| Austrian Albums (Ö3 Austria) | 50 |
| German Albums (Offizielle Top 100) | 36 |
| Scottish Albums (OCC) | 40 |
| Swiss Albums (Schweizer Hitparade) | 22 |
| US *Billboard* 200 | 137 |

## InfoBox

| The Space Between the Shadows | |
| --- | --- |
|  | |
| Studio album by Scott Stapp | |
| Released | July 19, 2019 (2019-07-19) |
| Studio | Poppy Studios, Sienna Studios, The Cabin |
| Genre |  |
| Length | 45:13 |
| Label | Napalm |
| Producer | Scott Stevens, Marti Frederiksen |
| Scott Stapp chronology | |
| *Proof of Life*
(2013) ***The Space Between the Shadows***
(2019) *Higher Power*
(2024) | |
|  | |
| Singles from  *The Space Between the Shadows* | |
| 1. "Purpose for Pain"
Released: March 22, 2019 2. "Name"
Released: April 23, 2019 3. "Face of the Sun"
Released: May 31, 2019 4. "Gone Too Soon"
Released: July 11, 2019 5. "Survivor"
Released: February 11, 2020 | |
|  | |


title: WAAL

abstract: WAAL is a commercial radio station licensed to Binghamton, New York. It airs a classic rock radio format and is owned by Townsquare Media. WAAL is the oldest FM radio station continuously broadcasting in the Binghamton metropolitan area. It is an affiliate of the New York Giants Radio Network. The studios and offices are on Court Street in Binghamton. The transmitter is off Ingraham Hill Road, also in Binghamton, amid other towers for local TV and FM stations.

text:
# WAAL

**WAAL** (99.1 FM; "The Whale") is a commercial radio station licensed to Binghamton, New York. It airs a classic rock radio format and is owned by Townsquare Media. WAAL is the oldest FM radio station continuously broadcasting in the Binghamton metropolitan area. It is an affiliate of the New York Giants Radio Network.

The studios and offices are on Court Street in Binghamton. The transmitter is off Ingraham Hill Road, also in Binghamton, amid other towers for local TV and FM stations.

## History

### WKOP-FM

In March 1954, the station signed on as WKOP-FM at 95.3 MHz. It was the FM counterpart of WKOP (1360 AM; later WYOS). The two stations simulcast and were network affiliates of the Mutual Broadcasting System. They were owned by Binghamton Broadcasters, Inc. At first, WKOP-FM broadcast at only 420 watts, a fraction of the station's current power.

While WKOP-FM (now WAAL) has been continuously on the air since 1954, WNBF-FM (now 98.1 WHWK) went on the air 14 years earlier as an experimental station owned by the Howitt-Wood Radio Company. But it left the airwaves from 1952 to 1956.

In the 1960s, WKOP-FM received Federal Communications Commission (FCC) permission to move to 99.1 MHz, with an increase in power to 33,000 watts. By 1970, it ended its simulcast with WKOP 1360 and began playing a progressive rock format.

### WAAL

In 1974, the station was sold to Butternut Broadcasting, which switched the call sign to WAAL. It moved to an album-oriented rock (AOR) format, playing the top tracks from the biggest selling albums. The station was known as "WAAL Stereo FM 99". It pronounces its call letters as "Whale" and uses a cartoon whale as its mascot.

The station dropped its AOR format in October 1985 for Top 40/CHR after contemporary hit station WWWT-FM switched to adult contemporary music. In the late 1980s and early 1990s, WAAL was known as "The Hot FM" and was affiliated with the ABC FM Network.

Wicks Broadcasting bought WAAL in 1996. It ended its run as a Top 40/CHR station and changed its format to classic rock.

### Citadel ownership, then Townsquare

WAAL was acquired by Citadel Broadcasting in 1998 from Wicks Broadcast Group. It was part of a $77 million deal that included a total of 16 radio stations. Citadel merged with Cumulus Media on September 16, 2011.

In 2013, a $281 million, multi-station deal was worked out between Cumulus Media, Townsquare Media and Peak Broadcasting. Townsquare acquired all of Cumulus Media's Binghamton radio stations, including WAAL. With Townsquare's take over, the classic rock format has remained in place on WAAL.

42°03′32″N 75°57′04″W / 42.059°N 75.951°W / 42.059; -75.951

## InfoBox

WAAL
|  | |
| --- | --- |
|  | |
| Broadcast area | Binghamton metropolitan area; Southern Tier |
| Frequency | 99.1 MHz |
| Branding | *99.1 The Whale* |
| Programming | |
| Format | Classic rock |
| Affiliations |  |
| Ownership | |
| Owner |  |
| Sister stations | WHWK, WNBF, WWYL |
| History | |
| First air date | March 1954 (1954-03) (as 95.3 WKOP-FM) |
| Former call signs | WKOP-FM (1954–1975) |
| Call sign meaning | Play on the word "Whale" |
| Technical information | |
| Licensing authority | FCC |
| Facility ID | 7920 |
| Class | B |
| ERP | 8,700 watts |
| HAAT | 291 meters (955 ft) |
| Links | |
| Public license information |  |
| Webcast | Listen Live |
| Website | 991thewhale.com |


title: New Zealand two-cent coin

abstract: The New Zealand two-cent coin was the second smallest denomination coin of the New Zealand dollar from the currency's introduction in 1967 to its demonetisation, along with the one-cent coin, on 30 April 1990. Its reverse featured two kōwhai flowers, considered emblematic of New Zealand. The image was designed by Reginald George James Berry, who designed the reverses for all coins introduced that year.

text:
# New Zealand two-cent coin

The **New Zealand two-cent coin** was the second smallest denomination coin of the New Zealand dollar from the currency's introduction in 1967 to its demonetisation, along with the one-cent coin, on 30 April 1990. Its reverse featured two kōwhai flowers, considered emblematic of New Zealand. The image was designed by Reginald George James Berry, who designed the reverses for all coins introduced that year.

## History

Coins of the New Zealand dollar were introduced on 10 July 1967 to replace the pre-decimal New Zealand pound, which was pegged to the British pound. The dollar was pegged at two to a pound, thus 200 cents to the pound. The new two-cent coin replaced the old threepence coin. The original obverse was Arnold Machin's portrait of Queen Elizabeth II, and was used until 1985.

In 1986 the portrait was changed to the version by Raphael Maklouf, introduced to the coins of the pound sterling in 1985. In 1988, the bronze one and two-cent coins had become too expensive to produce as inflation lowered the value of the dollar and their minting ceased. They remained legal tender until 30 April 1990.

Counting proofs and coins in mint sets, a total of 441,152,065 (441 million) coins of the denomination were minted during its existence, a total value of $8,823,041.30

## InfoBox

Two cents
| New Zealand | |
| --- | --- |
| Value | 0.02 New Zealand dollars |
| Mass | 4.14 g |
| Diameter | 21.08 mm |
| Composition | bronze |
| Years of minting | 1967-1987 |
| Catalog number | - |
| Obverse | |
| Design | Elizabeth II, Queen of New Zealand |
| Designer | Raphael Maklouf |
| Design date | 1986 |
| Reverse | |
| Design | Two kōwhai flowers and leaves surrounding the figure “2” |
| Designer | Reginald George James Berry |
| Design date | 1967 |


title: Ran (surname)

abstract: Rǎn is the Mandarin pinyin romanization of the Chinese surname written 冉 in Chinese character. It is romanized Jan in Wade–Giles. Ran is listed 301st in the Song dynasty classic text Hundred Family Surnames. As of 2008, it is the 178th most common surname in China, shared by 670,000 people.

text:
# Ran (surname)

**Rǎn** is the Mandarin pinyin romanization of the Chinese surname written  in Chinese character. It is romanized **Jan** in Wade–Giles. Ran is listed 301st in the Song dynasty classic text *Hundred Family Surnames*. As of 2008, it is the 178th most common surname in China, shared by 670,000 people.

## Notable people

## InfoBox

| Pronunciation | Rǎn (Mandarin) |
| --- | --- |
| Language(s) | Chinese |
| Origin | |
| Language(s) | Old Chinese |
| Other names | |
| Variant form(s) | Jan3 |
| Derivative(s) | Jan |


title: Internalized ableism

abstract: Internalized ableism is a phenomenon where disabled individuals absorb and enact negative beliefs and prejudiced values about disability that are prevalent in society. Internalized ableism is a form of discrimination against oneself and others with disabilities, rooted in the view that disability is a source of shame, should be concealed, or warrants refusal of support or accessibility. This internal conflict can stem from continuous exposure to negative social attitudes and a lack of adequate support for disabled people's needs, which contributes to a cycle of rejecting their identity to align with ableist "norms." Ableism encompasses more than just ignorance around disability leading to negative attitudes towards disabled people; it also includes unrealistic ideals of perfection and ingrained beliefs about bodies, promoting the idea that disability is inherently negative or unwanted.

text:
# Internalized ableism

**Internalized ableism** is a phenomenon where disabled individuals absorb and enact negative beliefs and prejudiced values about disability that are prevalent in society. Internalized ableism is a form of discrimination against oneself and others with disabilities, rooted in the view that disability is a source of shame, should be concealed, or warrants refusal of support or accessibility. This internal conflict can stem from continuous exposure to negative social attitudes and a lack of adequate support for disabled people's needs, which contributes to a cycle of rejecting their identity to align with ableist "norms." Ableism encompasses more than just ignorance around disability leading to negative attitudes towards disabled people; it also includes unrealistic ideals of perfection and ingrained beliefs about bodies, promoting the idea that disability is inherently negative or unwanted.

## History

This concept of internalized ableism has historical roots that can be traced back to societal structures that prioritize able-bodied norms and often marginalize or stigmatize those who do not conform. As societal awareness of disability rights has grown, particularly since the rise of the disability rights movement in the 1970s, there has been increasing recognition of internalized ableism as a significant barrier to the well-being and self-esteem of individuals with disabilities. Research into internalized ableism has been informed by broader theories in psychology and social justice, which emphasize the internalization of societal values by marginalized groups.

## Origins

Internalized ableism begins early, with societal perceptions often framing having a disabled child as a tragedy. In a study, participants reported encounters where doctors emphasized impairments over potential, contributing to feelings of vulnerability and exclusion. Despite parental efforts to counter stereotypes, inadequate expectations persisted, hindering the development of disabled children. Intersectional biases compounded these experiences, with factors such as gender and social status exacerbating feelings of otherness. The pervasive tragedy discourse continued to shape participants' sense of self throughout adolescence and adulthood, with some explicitly identifying internalized ableism as a significant barrier to their well-being.

## Campbell's framework

Fiona K. Campbell outlines two components of internalized ableism: distancing oneself from the disabled community and the emulation of ableist norms. These "tactics of dispersal" can hinder the formation of a shared identity among disabled individuals, weakening what otherwise could provide a sense of unity, and intensifying feelings of isolation. Emulating ableist norms, or "passing," often serves as a survival mechanism for people with disabilities, but can lead to a denial of one's true identity and reinforce the internalization of ableist attitudes. Campbell's work emphasizes the harm that can emerge when a minority group is forced to adopt an identity that does not resonate with them or their internal values. Another author, Sara Ahmed, echoes Campbell's sentiments, writing that anyone who does not fit within a societal norm, whether due to race, disability, or gender, they are forced to settle within the current culture or defend themselves against criticism by adopting characteristics that are deemed more "normal."

## As a form of oppression

Internalized ableism is a form of internalized oppression. Internalized ableism arises in response to external oppression, where individuals may develop negative feelings towards themselves and others in their group, often attributing blame to themselves. Traditionally, internalized oppression is framed as a static, psychological issue rather than a dynamic issue that is derived from systemic consequences of generations of marginalization. Internalized oppression occurs when individuals in marginalized groups undervalue themselves, perpetuating this mindset through generations and socialization. Internalized oppression in turn leads to normalized exclusion, which is the acceptance or normalization of practices, policies, or behaviors that systematically exclude or marginalize certain individuals or groups within a society. Although internalized oppression is not always conscious, it can deeply affect how people see themselves and others within their group. This can lead to internal conflicts within the group and the perpetuation of microaggressions, which are subtle forms of discrimination.

## Examples

Internalized ableism manifests in various ways among disabled individuals, significantly impacting their mental and social well-being. Disabled individuals may subconsciously adopt ableist norms that devalue their disabilities and themselves, leading to self-devaluation where they view themselves and others with disabilities negatively. Social withdrawal is another manifestation, where individuals may isolate themselves from society due to feelings of inadequacy or fear of discrimination, thereby reducing their interactions and support networks crucial for their well-being. Additionally, some individuals may overcompensate by pushing themselves to overcome or hide their disabilities, which can lead to exhaustion, burnout, and physical harm. There is also often a rejection of disability identity, where individuals avoid associating with other disabled people and distance themselves from their disability identity to not be identified with disability.

## Impact

### Health

Internalized ableism can have effects on individuals' mental and physical health. It can lead to self-blame, low self-esteem, anxiety, depression, and social isolation. Internalized oppression may contribute to negative mental health outcomes such as anxiety, depression, and feelings of inferiority. In a minority stress model constructed by Ilan Meyer, individuals with intersectional identities facing oppression experienced heightened stress from managing both external stigma and internal feelings of inferiority and rejection, which negatively affected their mental health. Research has shown that internalized stigma in mental illness is linked to lower levels of hope, self-esteem, and social support, and higher symptom severity. Similarly, research has found that disabled individuals face oppression in counseling, experiencing biases, stereotyping, and a lack of understanding from counselors, all of which hinder their self-perception. Disabled people may feel pressure to be independent or to conform to societal standards of "normalcy," exacerbating the stigma and challenges they face. The medical establishment's pathologization of disability further entrenches these issues, with the pathology paradigm reinforcing the notion that disabled individuals must aspire to able-bodied standards. Social determinants of health and power dynamics further shape the experiences and identities of disabled young people, as external shame is reinforced and internalized.

Additionally, shame is a significant aspect of internalized ableism, and affects the health and well-being of individuals with disabilities. This feeling of shame arises from feelings of alienation and defeat, influencing behavior and interactions with the world. Shame is closely associated with anxiety and depressive symptoms, triggered by perceptions of inferior treatment or threats to identity integrity. "Core shame identity," characterized by a pervasive fear of exposure as deficient and flawed, perpetuates feelings of unworthiness and disconnection. This internalization of shame within the personality can exacerbate depression and social withdrawal. Overcoming internalized shame requires acceptance and support from others. Peer acceptance, open sharing of feelings, and nurturing relationships can alleviate shame, fostering emotional well-being and empowerment within the disabled community. Strategies to overcome internalized shame associated with disabilities include participation in peer support groups, seeking therapy, engaging in education and advocacy, practicing self-care, learning assertiveness skills, fostering supportive relationships, and seeking peer mentorship.

### Social

The emphasis placed by the dominant culture on ability and "normalcy" contributes to the perpetuation of internalized ableism, as it establishes unrealistic standards that affect both disabled and able-bodied individuals. Disabled individuals who require care or accommodations are often marginalized, reflecting a societal devaluation of their needs and humanity. Resistance to internalized ableism involves recognizing and affirming the inherent worth of disabled individuals, fostering solidarity, and advocating for systemic changes that affirm disability as an aspect of human diversity. Examples of resisting internalized ableism include embracing one's disability identity, challenging stereotypes through activism and education, advocating for accessibility and accommodations, participating in supportive communities, and promoting dialogue about ableist language and behavior. This resistance involves both individual actions, such as self-care and self-advocacy, and collective efforts to promote equality and inclusion for disabled individuals. Additionally, institutions systematically address internalized ableism by taking action such as promoting accessibility in public spaces, implementing inclusive hiring practices, and supporting legislation that protects the rights of disabled individuals.

## Affective solidarity

The concept of "affective solidarity" underscores the transformative potential arising from the dissonance between one's self-perception and societal judgments. This dissonance, encompassing emotions such as anger and shame, can spark a desire for justice and transformation. Despite challenges, including limited opportunities for collective identity among disabled individuals, solidarity within marginalized communities, as described, is a potent force in challenging internalized oppression. The term "disability justice," originating from the Disability Justice Collective, emphasizes this intersectional framework prioritizing the needs of marginalized groups within the disability rights movement. This approach recognizes the significance of care webs and solidarity among disabled and sick individuals, serving as a refuge for healing internalized oppression and ableism. Both individual empowerment and systemic change is important to combat internalized ableism.

## Overcoming

Resistance to internalized ableism hinges on access to safer spaces, characterized by solidarity and support. These spaces, often fluid in nature, are deemed "safer" rather than "safe," as they can swiftly become unsafe due to various factors such as access issues, ableism, micro-aggressions, or violence. In a study, participants expressed the relief of letting go of their defensive walls on rare occasions, highlighting the constant vigilance required to navigate ableist encounters.

Family support plays a pivotal role in resisting internalized ableism, with some experiencing empowerment and advocacy from relatives. However, not all families provide such support, as seen in instances of belittlement and ableist aggression. The importance of supportive environments extends beyond the family, as exemplified by positive experiences in summer camps for disabled individuals.

Access to spaces where disabled individuals feel welcomed, understood, and supported is crucial for fostering solidarity and resisting internalized ableism. Peer support and shared experiences contribute to a sense of belonging and empowerment, ultimately countering internalized ableism and facilitating healing.

## Criticism and controversies

Some critics question the concept's oversimplification of the relationship between individual experiences and societal structures. The idea that internalized ableism solely attributes to negative feelings and beliefs may overlook external factors like discrimination and systemic barriers. Additionally, there's debate on whether internalized ableism adequately represents the diversity of disabled experiences and cultural perspectives. Critics also raise concerns about the effectiveness of addressing internalized ableism through individual-focused approaches. They suggest that efforts should also target systemic inequalities and promote social inclusion rather than solely focusing on changing individual attitudes. Moreover, there's worry that interventions may inadvertently reinforce stereotypes or stigmatize certain disability experiences. Furthermore, there's discussion about unintended consequences, such as potential victim-blaming and overlooking intersections between disability and other forms of oppression like racism or sexism.


title: In a Different Light (Avalon album)

abstract: In a Different Light is Avalon's third studio album, released on March 23, 1999. It is the first album with group member Cherie Adams, who replaced Nikki Hassman-Anders. This is Avalon's second album to be certified Gold by the RIAA. The project was an instant hit at Christian radio, containing four No. 1 singles: "Can't Live A Day", "Take You At Your Word", "In Not Of", and "Always Have, Always Will". It debuted and peaked on the Billboard 200 chart at #81 for the week of April 10, 1999, spending a total of 13 weeks on that specific chart.

text:
# In a Different Light (Avalon album)

Professional ratings
| Review scores | |
| --- | --- |
| Source | Rating |
| AllMusic |  |

***In a Different Light*** is Avalon's third studio album, released on March 23, 1999. It is the first album with group member Cherie Adams, who replaced Nikki Hassman-Anders. This is Avalon's second album to be certified Gold by the RIAA. The project was an instant hit at Christian radio, containing four No. 1 singles: "Can't Live A Day", "Take You At Your Word", "In Not Of", and "Always Have, Always Will". It debuted and peaked on the *Billboard* 200 chart at #81 for the week of April 10, 1999, spending a total of 13 weeks on that specific chart.

## Track listing

| No. | Title | Writer(s) | Length |
| --- | --- | --- | --- |
| 1. | "Take You at Your Word" | * Grant Cunningham * Paul Field | 4:46 |
| 2. | "In Not Of" |  | 4:04 |
| 3. | "In a Different Light" | * Avalon * Matt Huesmann | 3:25 |
| 4. | "Can't Live a Day" | * Joe Beck * Connie Harrington * Ty Lacy | 4:47 |
| 5. | "Always Have, Always Will" |  | 4:18 |
| 6. | "I'm Speechless" | * Lacy * Joanna Carlson | 5:06 |
| 7. | "If My People Pray" | * Huesmann * Kent Hooper * Douglas McKelvey | 5:04 |
| 8. | "Only for the Weak" |  | 4:47 |
| 9. | "Let Your Love" |  | 4:03 |
| 10. | "Hide My Soul" |  | 5:33 |
| 11. | "First Love" | * Henk Pool * Sam Scott * Lee Ann Vermeulen | 4:33 |

## Personnel

Credits adapted from *In a Different Light* liner notes.

Choir ("Only for the Weak"):

* Stacie Vining
* Curt Sanders
* Matthew Barnes
* Shelly Justice
* Delores Cox
* Stephanie Harrison
* Chad Dickerson
* Jennifer Thune
* Steven Skeen
* Grant Cunningham
* Stacey Jennette
* Greg Long

1. Hill, Melinda. "Review: *In A Different Light*". AllMusic. Retrieved 13 July 2009.
2. "In Not Of" at Discogs
3. "Take You At Your Word" at Discogs
4. "Can't Live A Day" at Discogs
5. "Always Have, Always Will" at Discogs
6. RIAA – Gold & Platinum Searchable Database
7. Avalon – EMICMG Fact Sheet Archived 2007-10-10 at the Wayback Machine
8. Avalon Album & Song Chart History | Billboard.com
9. *In a Different Light* (Media notes). Avalon. Sparrow Records. SPD 1687. Retrieved April 14, 2022.`{{cite AV media notes}}`: CS1 maint: others in cite AV media (notes) (link)

## InfoBox

| In a Different Light | |
| --- | --- |
|  | |
| Studio album by Avalon | |
| Released | March 23, 1999 |
| Recorded | 1998 |
| Genre | Inspirational |
| Length | 50:26 |
| Label | Sparrow |
| Producer | Brown Bannister |
| Avalon chronology | |
| *A Maze of Grace*
(1997) ***In a Different Light***
(1999) *Joy: A Christmas Collection*
(2000) | |
|  | |
| Singles from  *In a Different Light* | |
| 1. "In Not Of"
Released: March 1, 1999 2. "Take You at Your Word"
Released: June 21, 1999 3. "Can't Live a Day"
Released: September 27, 1999 4. "Always Have, Always Will"
Released: February 14, 2000 | |
|  | |


title: Poussin proof

abstract:
In number theory, a branch of mathematics, the Poussin proof is the proof of an identity related to the fractional part of a ratio. In 1838, Peter Gustav Lejeune Dirichlet proved an approximate formula for the average number of divisors of all the numbers from 1 to n:
  - ∑ k = 1 n d n ≈ ln  n + 2 γ − 1, where d represents the divisor function, and γ represents the Euler-Mascheroni constant. In 1898, Charles Jean de la Vallée-Poussin proved that if a large number n is divided by all the primes up to n, then the average fraction by which the quotient falls short of the next whole number is γ:
  - ∑ p ≤ n { n p } π ≈ 1 − γ, where {x} represents the fractional part of x, and π represents the prime-counting function.
For example, if we divide 29 by 2, we get 14.5, which falls short of 15 by 0.5.

text:
# Poussin proof

In number theory, a branch of mathematics, the **Poussin proof** is the proof of an identity related to the fractional part of a ratio.

In 1838, Peter Gustav Lejeune Dirichlet proved an approximate formula for the average number of divisors of all the numbers from 1 to n:

$$\frac {\sum \_{k=1}^{n}d(k)}{n}\approx \ln n+2\gamma -1,$$

where *d* represents the divisor function, and γ represents the Euler-Mascheroni constant.

In 1898, Charles Jean de la Vallée-Poussin proved that if a large number n is divided by all the primes up to n, then the average fraction by which the quotient falls short of the next whole number is γ:

$$\frac {\sum \_{p\leq n}\left\\{{\frac {n}{p}\right\\}{\pi (n)}\approx 1-\gamma ,}}$$

where {*x*} represents the fractional part of *x*, and π represents the prime-counting function. For example, if we divide 29 by 2, we get 14.5, which falls short of 15 by 0.5.

* Dirichlet, G. L. "Sur l'usage des séries infinies dans la théorie des nombres", *Journal für die reine und angewandte Mathematik* **18** (1838), pp. 259–274. Cited in MathWorld article "Divisor Function" below.
* de la Vallée Poussin, C.-J. Untitled communication. *Annales de la Societe Scientifique de Bruxelles* **22** (1898), pp. 84–90. Cited in MathWorld article "Euler-Mascheroni Constant" below.

* Weisstein, Eric W. "Divisor Function". *MathWorld*.
* Weisstein, Eric W. "Euler-Mascheroni Constant". *MathWorld*.


title: We Come in Peace

abstract: We Come in Peace is a sculptural installation created in 2018 by Huma Bhabha, a New York–based Pakistani-American sculptor, originally commissioned for the Iris and B. Gerald Cantor Roof Garden of the Metropolitan Museum of Art. The original installation consisted of two sculptures, named We Come in Peace and Benaam, which means "nameless" in Urdu, and was first displayed from April to October 2018. We Come in Peace is a 12 ft (3.7 m) tall standing figure, while Benaam is a 18 ft (5.5 m) long figure lying prostrate. The standing figure was acquired by the Hirshhorn Museum and Sculpture Garden in Washington, DC.

text:
# We Come in Peace

***We Come in Peace*** is a sculptural installation created in 2018 by Huma Bhabha, a New York–based Pakistani-American sculptor, originally commissioned for the Iris and B. Gerald Cantor Roof Garden of the Metropolitan Museum of Art. The original installation consisted of two sculptures, named *We Come in Peace* and ***Benaam***, which means "nameless" in Urdu, and was first displayed from April to October 2018. *We Come in Peace* is a 12 ft (3.7 m) tall standing figure, while *Benaam* is a 18 ft (5.5 m) long figure lying prostrate. The standing figure was acquired by the Hirshhorn Museum and Sculpture Garden in Washington, DC.

## Description

The sculptures are made of clay, styrofoam, and cork, then cast in bronze to allow them to withstand the elements and look more demonic. The title of the installation makes reference to a 1951 film, *The Day the Earth Stood Still*. According to *AM New York*, Bhabha viewed the characters as cooperative, with *We Come in Peace* coming to aid *Benaam*, but arriving too late because *Benaam* has already died – though to her mind the latter might still "rise up ... \[t\]hings that you would not imagine might happen. That's the hope."

While Bhabha considers the work to be "very much an anti-war statement", she also wanted it to be multi-layered and open to a wide variety of interpretations. According to *AM New York*, the *We Come in Peace* sculpture is gender fluid.

## Critical reception

Scott Lynch of Gothamist, remarking on the pieces' diversity of inspiration, observed, "Both pieces allude to a wide swath of art history, from ancient African and Indian sculpture to contemporary works by the likes of Basquiat and David Hammons". He said that the sculptures created an "ominous but open-ended narrative, inviting visitors to explore their own thematic interpretations: subjugation and supplication, respect, fear, and/or adoration; social upheaval and displacement; gender, power, and 'memories of place.'"

Martha Schwendener of *The New York Times* described the installation as "a spare and unsettling sculptural installation", that "ripples" with associations of "colonization, invasion, imperialism". She suggests that the work invites the observer to consider the sheer strangeness of extraterrestrial or "post-humanity" lifeforms as they would likely be experienced by humankind, but that such encounters may ultimately offer the possibility of a "melding of cultures and aesthetics that might be harmonious rather than imperialist."

Describing the work as "eerie, other, unnerving, ambiguous, even alarming", Jerry Saltz for Vulture saw the work as a critique of the West: its "vivisected, gouged idol covered in blotchy graffiti could be from any photograph seen daily of the mayhem in the Middle East, just part of the carnage, interventions, and wars \[Bhabha\] has called a 'systematic demonization and humiliation of the people and their ancient and present Islamic cultures' ... \[h\]er Met installation is a vivid rebuke of what the West says to all the cultures it invades: We come in peace." He assessed the work as "among the best Met roof sculpture installations since the program began in 1987."

## Further reading

## InfoBox

| We Come in Peace | |
| --- | --- |
| *We Come in Peace* in 2022 | |
| Artist | Huma Bhabha |
| Year | 2018 |
| Medium | Bronze and paint |
| Location | Hirshhorn Museum and Sculpture Garden, Washington, DC |


title: Is Chand Pe Dagh Nahin

abstract: Is Chand Pe Dagh Nahin is a Pakistani drama television series directed by Aamir Yousuf, written by Nooran Makhdoom and story by Zanjabeel Asim Shah. It first aired on A-Plus TV on 11 July 2017 as a part of night programming. The series features Zarnish Khan and Kamran Jillani in leading roles along with Saba Faisal, Firdous Jamal, Kashif Mehmood and Aamna Malick in supporting roles. The series is set in rural areas Karachi and Punjab.

text:
# Is Chand Pe Dagh Nahin

***Is Chand Pe Dagh Nahin*** (transl.There is no stain on this moon) is a Pakistani drama television series directed by Aamir Yousuf, written by Nooran Makhdoom and story by Zanjabeel Asim Shah. It first aired on A-Plus TV on 11 July 2017 as a part of night programming. The series features Zarnish Khan and Kamran Jillani in leading roles along with Saba Faisal, Firdous Jamal, Kashif Mehmood and Aamna Malick in supporting roles. The series is set in rural areas Karachi and Punjab.

## Cast

## Soundtrack

The official soundtrack of the series was performed by Asrar along with Hina Nasrullah on the lyrics of Asim Raza while music composition was done by Sahir Ali Bagga.

## InfoBox

| *Is Chand Pe Dagh Nahin* | |
| --- | --- |
|  | |
| Genre |  |
| Written by | Nooran Makhdoom |
| Story by | Zanjabeel Asim Shah |
| Directed by | Aamir Yousuf |
| Starring | Zarnish Khan
Kamran Jillani
Saba Faisal
Firdous Jamal
Kashif Mehmood
Aamna Malick |
| Opening theme | "Is Chand Pe Dagh Nahi" by Asrar |
| Country of origin | Pakistan |
| Original language | Urdu |
| No. of episodes | 30 |
| Production | |
| Producer | Rashid Khawaja |
| Running time | approx. 38-40 minutes |
| Original release | |
| Network | A-Plus TV |
| Release | 11 July 2017 (2017-07-11)
30 January 2018 (2018-01-30) |


title: The Space Book

abstract: The Space Book is an album by American jazz saxophonist Booker Ervin featuring performances recorded in 1964 for the Prestige label, with his quartet including Jaki Byard on piano, Richard Davis on bass, and Alan Dawson on drums.

text:
# The Space Book

***The Space Book*** is an album by American jazz saxophonist Booker Ervin featuring performances recorded in 1964 for the Prestige label, with his quartet including Jaki Byard on piano, Richard Davis on bass, and Alan Dawson on drums.

## Reception

The Allmusic review by Scott Yanow awarded the album 4½ stars and stated: "This CD is a fine example of Booker Ervin's unique style".

Professional ratings
| Review scores | |
| --- | --- |
| Source | Rating |
| *Allmusic* |  |
| *The Rolling Stone Jazz Record Guide* |  |
| *The Penguin Guide to Jazz Recordings* |  |

## Track listing

All compositions by Booker Ervin except as noted

1. "Number Two" - 8:18
2. "I Can't Get Started" (Vernon Duke, Ira Gershwin) - 9:40
3. "Mojo" - 10:29
4. "There Is No Greater Love" (Isham Jones, Marty Symes) - 7:09

## Personnel

## InfoBox

| The Space Book | |
| --- | --- |
|  | |
| Studio album by Booker Ervin | |
| Released | October 1965 |
| Recorded | October 2, 1964 |
| Studio | Van Gelder Studio, Englewood Cliffs, NJ |
| Genre | Post-bop, free jazz |
| Length | 35:36 |
| Label | Prestige
PRLP 7386 |
| Producer | Don Schlitten |
| Booker Ervin chronology | |
| *The Blues Book*
(1964) ***The Space Book***
(1965) *Groovin' High*
(1963-64) | |


title: W. Howard Chase

abstract: W. Howard Chase was the founding member of the Public Relations Society of America, was recognized as No. 9 in the top 10 most influential PR professionals of all time according to a University of Michigan Study in 1970. Born 1910, Chase was noted for being "extremely effective in directing attention to chancing trends". Chase wrote Issue Management: Origins of the Future in 1983. Chase was the director of public relations at General Foods, and then moved to Minneapolis and worked at General Mills from 1941 to 1945. He helped to start the Public Relations Society of America in 1947.

text:
# W. Howard Chase

**W. Howard Chase** (1910 – September 8, 2003) was the founding member of the Public Relations Society of America, was recognized as No. 9 in the top 10 most influential PR professionals of all time according to a University of Michigan Study in 1970. Born 1910, Chase was noted for being "extremely effective in directing attention to chancing trends". Chase wrote *Issue Management: Origins of the Future* in 1983. Chase was the director of public relations at General Foods, and then moved to Minneapolis and worked at General Mills from 1941 to 1945. He helped to start the Public Relations Society of America in 1947.


title: Goethe (train)

abstract:
The Goethe was an express train that, for most of its existence, linked Paris-Est in Paris, France, with Frankfurt Hbf in Frankfurt, Germany. Introduced in 1970, it was operated by the SNCF and the Deutsche Bundesbahn / Deutsche Bahn (DB). The train was named after the German author and philosopher Johann Wolfgang von Goethe, who lived in Frankfurt. Initially, the Goethe was a first-class-only Trans Europ Express (TEE). It originally was scheduled to operate westbound in the morning and eastbound in the late afternoon and evening. However, at the start of the summer 1972 timetable period, on 28 May, the schedule was reversed, with the TEE Goethe now scheduled to leave Paris at 8:00 and Frankfurt at 16:15. On 31 May 1975, it was discontinued, replaced by an unnamed two-class express train running on a similar schedule over the same route. On 27 May 1979, the name Goethe was revived for a different route, between Dortmund Hbf, Germany, and Frankfurt Hbf, again as a TEE. This second TEE Goethe was discontinued on 29 May 1983, reclassified as IC Goethe, a two-class InterCity train. The Goethe name continued in use for this route through 1 June 1985. During the same period, from 1975, the Paris–Frankfurt express/Schnellzug running on approximately the former Goethe schedule had continued to operate, without name, and was reclassified as an InterCity in June 1984. Subsequently, on 2 June 1985, the name Goethe was restored to that train and itinerary. On 31 May 1987, it was included in the then-new EuroCity (EC) network and from 1997 to 1999 it was extended to Prague It was replaced in June 2007 by an ICE3 service, unnamed and initially requiring a change of train in Saarbrücken.
  - When this train was created as TEE, this train was composed only by SNCF material, the Mistral 56 coaches, a SNCF dining car with own electricity with integrated generating set, and Mistral 56 coaches where electricity powered with a red generating van, with powerful generating set( 600 V 3 phase ) source: les Trans Europ Express, Maurice Mertens.

text:
# Goethe (train)

The ***Goethe*** was an express train that, for most of its existence, linked Paris-Est in Paris, France, with Frankfurt Hbf in Frankfurt, Germany. Introduced in 1970, it was operated by the SNCF and the Deutsche Bundesbahn / Deutsche Bahn (DB).

The train was named after the German author and philosopher Johann Wolfgang von Goethe, who lived in Frankfurt.

Initially, the *Goethe* was a first-class-only Trans Europ Express (TEE). It originally was scheduled to operate westbound in the morning and eastbound in the late afternoon and evening. However, at the start of the summer 1972 timetable period, on 28 May, the schedule was reversed, with the *TEE Goethe* now scheduled to leave Paris at 8:00 and Frankfurt at 16:15. On 31 May 1975, it was discontinued, replaced by an unnamed two-class express train running on a similar schedule over the same route.

On 27 May 1979, the name *Goethe* was revived for a different route, between Dortmund Hbf, Germany, and Frankfurt Hbf, again as a TEE. This second *TEE Goethe* was discontinued on 29 May 1983, reclassified as *IC Goethe*, a two-class InterCity train. The *Goethe* name continued in use for this route through 1 June 1985.

During the same period, from 1975, the Paris–Frankfurt express/*Schnellzug* running on approximately the former *Goethe* schedule had continued to operate, without name, and was reclassified as an InterCity (IC 156/157) in June 1984. Subsequently, on 2 June 1985, the name *Goethe* was restored to that train and itinerary. On 31 May 1987, it was included in the then-new EuroCity (EC) network (with train nos. EC 56/57) and from 1997 to 1999 it was extended to Prague It was replaced in June 2007 by an ICE3 service, unnamed and initially requiring a change of train in Saarbrücken.

* When this train was created as TEE, this train was composed only by SNCF material, the Mistral 56 coaches, a SNCF dining car with own electricity with integrated generating set, and Mistral 56 coaches where electricity powered with a red generating van, with powerful generating set( 600 V 3 phase ) source: les Trans Europ Express, Maurice Mertens.

### Notes

### Bibliography

* Malaspina, Jean-Pierre; Mertens, Maurice (2007). *TEE: la légende des Trans-Europ-Express* \[*TEE: The Legend of the Trans Europ Express*\]. Auray: LR Presse. ISBN 978-29-03651-45-9. (in French)
* Malaspina, Jean-Pierre; Mertens, Maurice (2008). *TEE: la leggenda dei Trans-Europ-Express* \[*TEE: The Legend of the Trans Europ Express*\]. Salò: ETR – Editrice Trasporti su Rotaie. ISBN 978-88-85068-31-5. (in Italian)
* Mertens, Maurice; Malaspina, Jean-Pierre; von Mitzlaff, Berndt (2009). *TEE - Die Geschichte des Trans-Europ-Express* \[*TEE - The History of the Trans Europ Express*\]. Düsseldorf: Alba Publikation. ISBN 978-3-87094-199-4. (in German)

## InfoBox

*Goethe*
| Class 181, multivoltage locomotive | |
| --- | --- |
| Overview | |
| Service type | Trans Europ Express (TEE)
(1970–1975 and 1979–1983)
InterCity (IC)
(1983–1987)
EuroCity (EC)
(1987–2007) |
| Status | Replaced by an ICE3 |
| Locale | France
Germany |
| First service | 31 May 1970 (1970-05-31) |
| Last service | 10 June 2007 (2007-06-10) |
| Former operator(s) | SNCF
Deutsche Bundesbahn /
Deutsche Bahn (DB) |
| Route | |
| Termini | Paris-Est/
Dortmund Hbf
Frankfurt Hbf |
| Service frequency | Daily |
| Technical | |
| Track gauge | 1,435 mm (4 ft 8+12 in) |
| Electrification | 15 kV AC, 16.7 Hz
(Germany) |
| Route map | |


title: Ramganj Belgachhi

abstract: Ramganj Belgachhi is a village development committee in Sunsari District in the Kosi Zone of south-eastern Nepal. At the time of the 1991 Nepal census it had a population of 5502 people living in 1005 individual households.

text:
# Ramganj Belgachhi

**Ramganj Belgachhi**  is a village development committee in Sunsari District in the Kosi Zone of south-eastern Nepal. At the time of the 1991 Nepal census it had a population of 5502 people living in 1005 individual households.

1. "Nepal Census 2001". *Nepal's Village Development Committees*. Digital Himalaya. Retrieved 2 December 2008.

Ramganj Belgachhiya Village Development Committee (VDC) is going to be declared as an ODF (Open Defecation Free) VDC on Monday 10:30 a.m. 14 July 2014. The V-WASH-CC (Village Water, Sanitation and Hygiene Committee) is going to organize this program at the field of Shree Nawadurga High School.

## InfoBox

| Ramganj Belgachhi or Ramganj Belgachhiya रामगञ्ज बलगछिया | |
| --- | --- |
| Village development committee | |
| Ramganj Belgachhi or Ramganj BelgachhiyaLocation in Nepal | |
| Coordinates: 26°28′N 87°14′E / 26.47°N 87.23°E / 26.47; 87.23 | |
| Country | Nepal |
| Zone | Kosi Zone |
| District | Sunsari District |
| Population (1991) | |
| Total | 5,502 |
| Time zone | UTC+5:45 (Nepal Time) |