title: Microeconomics

abstract: Microeconomics is a branch of economics that studies the behavior of individuals and firms in making decisions regarding the allocation of scarce resources and the interactions among these individuals and firms. Microeconomics focuses on the study of individual markets, sectors, or industries as opposed to the economy as a whole, which is studied in macroeconomics. One goal of microeconomics is to analyze the market mechanisms that establish relative prices among goods and services and allocate limited resources among alternative uses. Microeconomics shows conditions under which free markets lead to desirable allocations. It also analyzes market failure, where markets fail to produce efficient results. While microeconomics focuses on firms and individuals, macroeconomics focuses on the total of economic activity, dealing with the issues of growth, inflation, and unemployment—and with national policies relating to these issues. Microeconomics also deals with the effects of economic policies on microeconomic behavior and thus on the aforementioned aspects of the economy. Particularly in the wake of the Lucas critique, much of modern macroeconomic theories has been built upon microfoundations—i.e., based upon basic assumptions about micro-level behavior.

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# Microeconomics

**Microeconomics** is a branch of economics that studies the behavior of individuals and firms in making decisions regarding the allocation of scarce resources and the interactions among these individuals and firms. Microeconomics focuses on the study of individual markets, sectors, or industries as opposed to the economy as a whole, which is studied in macroeconomics.

One goal of microeconomics is to analyze the market mechanisms that establish relative prices among goods and services and allocate limited resources among alternative uses. Microeconomics shows conditions under which free markets lead to desirable allocations. It also analyzes market failure, where markets fail to produce efficient results.

While microeconomics focuses on firms and individuals, macroeconomics focuses on the total of economic activity, dealing with the issues of growth, inflation, and unemployment—and with national policies relating to these issues. Microeconomics also deals with the effects of economic policies (such as changing taxation levels) on microeconomic behavior and thus on the aforementioned aspects of the economy. Particularly in the wake of the Lucas critique, much of modern macroeconomic theories has been built upon microfoundations—i.e., based upon basic assumptions about micro-level behavior.

## Assumptions and definitions

Microeconomic study historically has been performed according to general equilibrium theory, developed by Léon Walras in *Elements of Pure Economics* (1874) and partial equilibrium theory, introduced by Alfred Marshall in *Principles of Economics* (1890).

Microeconomic theory typically begins with the study of a single rational and utility maximizing individual. To economists, rationality means an individual possesses stable preferences that are both complete and transitive.

The technical assumption that preference relations are continuous is needed to ensure the existence of a utility function. Although microeconomic theory can continue without this assumption, it would make comparative statics impossible since there is no guarantee that the resulting utility function would be differentiable.

Microeconomic theory progresses by defining a competitive budget set which is a subset of the consumption set. It is at this point that economists make the technical assumption that preferences are locally non-satiated. Without the assumption of LNS (local non-satiation) there is no 100% guarantee but there would be a rational rise  in individual utility. With the necessary tools and assumptions in place the utility maximization problem (UMP) is developed.

The utility maximization problem is the heart of consumer theory. The utility maximization problem attempts to explain the action axiom by imposing rationality axioms on consumer preferences and then mathematically modeling and analyzing the consequences.  The utility maximization problem serves not only as the mathematical foundation of consumer theory but as a metaphysical explanation of it as well. That is, the utility maximization problem is used by economists to not only explain *what* or *how* individuals make choices but *why* individuals make choices as well.

The utility maximization problem is a constrained optimization problem in which an individual seeks to maximize utility subject to a budget constraint. Economists use the extreme value theorem to guarantee that a solution to the utility maximization problem exists. That is, since the budget constraint is both bounded and closed, a solution to the utility maximization problem exists. Economists call the solution to the utility maximization problem a Walrasian demand function or correspondence.

The utility maximization problem has so far been developed by taking consumer tastes (i.e. consumer utility) as primitive. However, an alternative way to develop microeconomic theory is by taking consumer choice as primitive. This model of microeconomic theory is referred to as revealed preference theory.

The theory of supply and demand usually assumes that markets are perfectly competitive. This implies that there are many buyers and sellers in the market and none of them have the capacity to significantly influence prices of goods and services. In many real-life transactions, the assumption fails because some individual buyers or sellers have the ability to influence prices. Quite often, a sophisticated analysis is required to understand the demand-supply equation of a good model. However, the theory works well in situations meeting these assumptions.

Mainstream economics does not assume *a priori* that markets are preferable to other forms of social organization. In fact, much analysis is devoted to cases where market failures lead to resource allocation that is suboptimal and creates deadweight loss. A classic example of suboptimal resource allocation is that of a public good. In such cases, economists may attempt to find policies that avoid waste, either directly by government control, indirectly by regulation that induces market participants to act in a manner consistent with optimal welfare, or by creating "missing markets" to enable efficient trading where none had previously existed.

This is studied in the field of collective action and public choice theory. "Optimal welfare" usually takes on a Paretian norm, which is a mathematical application of the Kaldor–Hicks method. This can diverge from the Utilitarian goal of maximizing utility because it does not consider the distribution of goods between people. Market failure in positive economics (microeconomics) is limited in implications without mixing the belief of the economist and their theory.

The demand for various commodities by individuals is generally thought of as the outcome of a utility-maximizing process, with each individual trying to maximize their own utility under a budget constraint and a given consumption set.

### Allocation of scarce resources

Individuals and firms need to allocate limited resources to ensure all **agents** in the economy are well off. Firms decide which goods and services to produce considering low costs involving labor, materials and capital as well as potential profit margins. Consumers choose the good and services they want that will maximize their happiness taking into account their limited wealth.

The government can make these allocation decisions or they can be independently made by the consumers and firms. For example, in the former Soviet Union, the government played a part in informing car manufacturers which cars to produce and which consumers will gain access to a car.

## History

Economists commonly consider themselves microeconomists or macroeconomists. The difference between microeconomics and macroeconomics likely was introduced in 1933 by the Norwegian economist Ragnar Frisch, the co-recipient of the first Nobel Memorial Prize in Economic Sciences in 1969. However, Frisch did not actually use the word "microeconomics", instead drawing distinctions between "micro-dynamic" and "macro-dynamic" analysis in a way similar to how the words "microeconomics" and "macroeconomics" are used today. The first known use of the term "microeconomics" in a published article was from Pieter de Wolff in 1941, who broadened the term "micro-dynamics" into "microeconomics".

## Microeconomic theory

### Consumer demand theory

Consumer demand theory relates preferences for the consumption of both goods and services to the consumption expenditures; ultimately, this relationship between preferences and consumption expenditures is used to relate preferences to consumer demand curves. The link between personal preferences, consumption and the demand curve is one of the most closely studied relations in economics. It is a way of analyzing how consumers may achieve equilibrium between preferences and expenditures by maximizing utility subject to consumer budget constraints.

### Production theory

Production theory is the study of production, or the economic process of converting inputs into outputs. Production uses resources to create a good or service that is suitable for use, gift-giving in a gift economy, or exchange in a market economy. This can include manufacturing, storing, shipping, and packaging. Some economists define production broadly as all economic activity other than consumption. They see every commercial activity other than the final purchase as some form of production.

### Cost-of-production theory of value

The cost-of-production theory of value states that the price of an object or condition is determined by the sum of the cost of the resources that went into making it. The cost can comprise any of the factors of production (including labor, capital, or land) and taxation. Technology can be viewed either as a form of fixed capital (e.g. an industrial plant) or circulating capital (e.g. intermediate goods).

In the mathematical model for the cost of production, the short-run total cost is equal to fixed cost plus total variable cost. The fixed cost refers to the cost that is incurred regardless of how much the firm produces. The variable cost is a function of the quantity of an object being produced. The cost function can be used to characterize production through the duality theory in economics, developed mainly by Ronald Shephard (1953, 1970) and other scholars (Sickles & Zelenyuk, 2019, ch. 2).

### Fixed and variable costs

* Fixed cost (FC) – This cost does not change with output. It includes business expenses such as rent, salaries and utility bills.
* Variable cost (VC) – This cost changes as output changes. This includes raw materials, delivery costs and production supplies.

Over a short time period (few months), most costs are fixed costs as the firm will have to pay for salaries, contracted shipment and materials used to produce various goods. Over a longer time period (2-3 years), costs can become variable. Firms can decide to reduce output, purchase fewer materials and even sell some machinery. Over 10 years, most costs become variable as workers can be laid off or new machinery can be bought to replace the old machinery

Sunk Costs – This is a fixed cost that has already been incurred and cannot be recovered. An example of this can be in R&D development like in the pharmaceutical industry. Hundreds of millions of dollars are spent to achieve new drug breakthroughs but this is challenging as its increasingly harder to find new breakthroughs and meet tighter regulation standards. Thus many projects are written off leading to losses of millions of dollars

### Opportunity cost

Opportunity cost is closely related to the idea of time constraints. One can do only one thing at a time, which means that, inevitably, one is always giving up other things. The opportunity cost of any activity is the value of the next-best alternative thing one may have done instead. Opportunity cost depends only on the value of the next-best alternative. It does not matter whether one has five alternatives or 5,000.

Opportunity costs can tell when *not* to do something as well as when to do something. For example, one may like waffles, but like chocolate even more. If someone offers only waffles, one would take it. But if offered waffles or chocolate, one would take the chocolate. The opportunity cost of eating waffles is sacrificing the chance to eat chocolate. Because the cost of not eating the chocolate is higher than the benefits of eating the waffles, it makes no sense to choose waffles. Of course, if one chooses chocolate, they are still faced with the opportunity cost of giving up having waffles. But one is willing to do that because the waffle's opportunity cost is lower than the benefits of the chocolate. Opportunity costs are unavoidable constraints on behavior because one has to decide what's best and give up the next-best alternative.

### Price theory

Microeconomics is also known as price theory to highlight the significance of prices in relation to buyer and sellers as these agents determine prices due to their individual actions. Price theory is a field of economics that uses the supply and demand framework to explain and predict human behavior. It is associated with the Chicago School of Economics. Price theory studies competitive equilibrium in markets to yield testable hypotheses that can be rejected.

Price theory is not the same as microeconomics. Strategic behavior, such as the interactions among sellers in a market where they are few, is a significant part of microeconomics but is not emphasized in price theory. Price theorists focus on competition believing it to be a reasonable description of most markets that leaves room to study additional aspects of tastes and technology. As a result, price theory tends to use less game theory than microeconomics does.

Price theory focuses on how agents respond to prices, but its framework can be applied to a wide variety of socioeconomic issues that might not seem to involve prices at first glance. Price theorists have influenced several other fields including developing public choice theory and law and economics. Price theory has been applied to issues previously thought of as outside the purview of economics such as criminal justice, marriage, and addiction.

## Microeconomic models

### Supply and demand

Supply and demand is an economic model of price determination in a perfectly competitive market. It concludes that in a perfectly competitive market with no externalities, per unit taxes, or price controls, the unit price for a particular good is the price at which the quantity demanded by consumers equals the quantity supplied by producers. This price results in a stable economic equilibrium.

Prices and quantities have been described as the most directly observable attributes of goods produced and exchanged in a market economy. The theory of supply and demand is an organizing principle for explaining how prices coordinate the amounts produced and consumed. In microeconomics, it applies to price and output determination for a market with perfect competition, which includes the condition of no buyers or sellers large enough to have price-setting power.

For a given market of a commodity, demand is the relation of the quantity that all buyers would be prepared to purchase at each unit price of the good. Demand is often represented by a table or a graph showing price and quantity demanded (as in the figure). Demand theory describes individual consumers as rationally choosing the most preferred quantity of each good, given income, prices, tastes, etc. A term for this is "constrained utility maximization" (with income and wealth as the constraints on demand). Here, utility refers to the hypothesized relation of each individual consumer for ranking different commodity bundles as more or less preferred.

The law of demand states that, in general, price and quantity demanded in a given market are inversely related. That is, the higher the price of a product, the less of it people would be prepared to buy (other things unchanged). As the price of a commodity falls, consumers move toward it from relatively more expensive goods (the substitution effect). In addition, purchasing power from the price decline increases ability to buy (the income effect). Other factors can change demand; for example an increase in income will shift the demand curve for a normal good outward relative to the origin, as in the figure. All determinants are predominantly taken as constant factors of demand and supply.

*Supply* is the relation between the price of a good and the quantity available for sale at that price. It may be represented as a table or graph relating price and quantity supplied. Producers, for example business firms, are hypothesized to be *profit maximizers*, meaning that they attempt to produce and supply the amount of goods that will bring them the highest profit. Supply is typically represented as a function relating price and quantity, if other factors are unchanged.

That is, the higher the price at which the good can be sold, the more of it producers will supply, as in the figure. The higher price makes it profitable to increase production. Just as on the demand side, the position of the supply can shift, say from a change in the price of a productive input or a technical improvement. The "Law of Supply" states that, in general, a rise in price leads to an expansion in supply and a fall in price leads to a contraction in supply. Here as well, the determinants of supply, such as price of substitutes, cost of production, technology applied and various factors of inputs of production are all taken to be constant for a specific time period of evaluation of supply.

Market equilibrium occurs where quantity supplied equals quantity demanded, the intersection of the supply and demand curves in the figure above. At a price below equilibrium, there is a shortage of quantity supplied compared to quantity demanded. This is posited to bid the price up. At a price above equilibrium, there is a surplus of quantity supplied compared to quantity demanded. This pushes the price down. The model of supply and demand predicts that for given supply and demand curves, price and quantity will stabilize at the price that makes quantity supplied equal to quantity demanded. Similarly, demand-and-supply theory predicts a new price-quantity combination from a shift in demand (as to the figure), or in supply.

For a given quantity of a consumer good, the point on the demand curve indicates the value, or marginal utility, to consumers for that unit. It measures what the consumer would be prepared to pay for that unit. The corresponding point on the supply curve measures marginal cost, the increase in total cost to the supplier for the corresponding unit of the good. The price in equilibrium is determined by supply and demand. In a perfectly competitive market, supply and demand equate marginal cost and marginal utility at equilibrium.

On the supply side of the market, some factors of production are described as (relatively) *variable* in the short run, which affects the cost of changing output levels. Their usage rates can be changed easily, such as electrical power, raw-material inputs, and over-time and temp work. Other inputs are relatively *fixed*, such as plant and equipment and key personnel. In the long run, all inputs may be adjusted by management. These distinctions translate to differences in the elasticity (responsiveness) of the supply curve in the short and long runs and corresponding differences in the price-quantity change from a shift on the supply or demand side of the market.

Marginalist theory, such as above, describes the consumers as attempting to reach most-preferred positions, subject to income and wealth constraints while producers attempt to maximize profits subject to their own constraints, including demand for goods produced, technology, and the price of inputs. For the consumer, that point comes where marginal utility of a good, net of price, reaches zero, leaving no net gain from further consumption increases. Analogously, the producer compares marginal revenue (identical to price for the perfect competitor) against the marginal cost of a good, with *marginal profit* the difference. At the point where marginal profit reaches zero, further increases in production of the good stop. For movement to market equilibrium and for changes in equilibrium, price and quantity also change "at the margin": more-or-less of something, rather than necessarily all-or-nothing.

Other applications of demand and supply include the distribution of income among the factors of production, including labor and capital, through factor markets. In a competitive labor market for example the quantity of labor employed and the price of labor (the wage rate) depends on the demand for labor (from employers for production) and supply of labor (from potential workers). Labor economics examines the interaction of workers and employers through such markets to explain patterns and changes of wages and other labor income, labor mobility, and (un)employment, productivity through human capital, and related public-policy issues.

Demand-and-supply analysis is used to explain the behavior of perfectly competitive markets, but as a standard of comparison it can be extended to any type of market. It can also be generalized to explain variables across the economy, for example, total output (estimated as real GDP) and the general price level, as studied in macroeconomics. Tracing the qualitative and quantitative effects of variables that change supply and demand, whether in the short or long run, is a standard exercise in applied economics. Economic theory may also specify conditions such that supply and demand through the market is an efficient mechanism for allocating resources.

## Market structure

Market structure refers to features of a market, including the number of firms in the market, the distribution of market shares between them, product uniformity across firms, how easy it is for firms to enter and exit the market, and forms of competition in the market. A market structure can have several types of interacting market systems. Different forms of markets are a feature of capitalism and market socialism, with advocates of state socialism often criticizing markets and aiming to substitute or replace markets with varying degrees of government-directed economic planning.

Competition acts as a regulatory mechanism for market systems, with government providing regulations where the market cannot be expected to regulate itself. Regulations help to mitigate negative externalities of goods and services when the private equilibrium of the market does not match the social equilibrium. One example of this is with regards to building codes, which if absent in a purely competition regulated market system, might result in several horrific injuries or deaths to be required before companies would begin improving structural safety, as consumers may at first not be as concerned or aware of safety issues to begin putting pressure on companies to provide them, and companies would be motivated not to provide proper safety features due to how it would cut into their profits.

The concept of "market type" is different from the concept of "market structure". Nevertheless, there are a variety of types of markets.

The different market structures produce cost curves based on the type of structure present. The different curves are developed based on the costs of production, specifically the graph contains marginal cost, average total cost, average variable cost, average fixed cost, and marginal revenue, which is sometimes equal to the demand, average revenue, and price in a price-taking firm.

### Perfect competition

Perfect competition is a situation in which numerous small firms producing identical products compete against each other in a given industry. Perfect competition leads to firms producing the socially optimal output level at the minimum possible cost per unit. Firms in perfect competition are "price takers" (they do not have enough market power to profitably increase the price of their goods or services). A good example would be that of digital marketplaces, such as eBay, on which many different sellers sell similar products to many different buyers. Consumers in a perfect competitive market have perfect knowledge about the products that are being sold in this market.

### Imperfect competition

Imperfect competition is a type of market structure showing some but not all features of competitive markets. In perfect competition, market power is not achievable due to a high level of producers causing high levels of competition. Therefore, prices are brought down to a marginal cost level. In a monopoly, market power is achieved by one firm leading to prices being higher than the marginal cost level. Between these two types of markets are firms that are neither perfectly competitive or monopolistic. Firms such as Pepsi and Coke and Sony, Nintendo and Microsoft dominate the cola and video game industry respectively. These firms are in **imperfect competition**

### Monopolistic competition

Monopolistic competition is a situation in which many firms with slightly different products compete. Production costs are above what may be achieved by perfectly competitive firms, but society benefits from the product differentiation. Examples of industries with market structures similar to monopolistic competition include restaurants, cereal, clothing, shoes, and service industries in large cities.

### Monopoly

A monopoly is a market structure in which a market or industry is dominated by a single supplier of a particular good or service. Because monopolies have no competition, they tend to sell goods and services at a higher price and produce below the socially optimal output level. However, not all monopolies are a bad thing, especially in industries where multiple firms would result in more costs than benefits (i.e. natural monopolies).

* Natural monopoly: A monopoly in an industry where one producer can produce output at a lower cost than many small producers.

### Oligopoly

An oligopoly is a market structure in which a market or industry is dominated by a small number of firms (oligopolists). Oligopolies can create the incentive for firms to engage in collusion and form cartels that reduce competition leading to higher prices for consumers and less overall market output. Alternatively, oligopolies can be fiercely competitive and engage in flamboyant advertising campaigns.

* Duopoly: A special case of an oligopoly, with only two firms. Game theory can elucidate behavior in duopolies and oligopolies.

### Monopsony

A monopsony is a market where there is only one buyer and many sellers.

### Bilateral monopoly

A bilateral monopoly is a market consisting of both a monopoly (a single seller) and a monopsony (a single buyer).

### Oligopsony

An oligopsony is a market where there are a few buyers and many sellers.

## Game theory

Game theory is a major method used in mathematical economics and business for modeling competing behaviors of interacting agents. The term "game" here implies the study of any strategic interaction between people. Applications include a wide array of economic phenomena and approaches, such as auctions, bargaining, mergers & acquisitions pricing, fair division, duopolies, oligopolies, social network formation, agent-based computational economics, general equilibrium, mechanism design, and voting systems, and across such broad areas as experimental economics, behavioral economics, information economics, industrial organization, and political economy.

## Information economics

Information economics is a branch of microeconomic theory that studies how information and information systems affect an economy and economic decisions. Information has special characteristics. It is easy to create but hard to trust. It is easy to spread but hard to control. It influences many decisions. These special characteristics (as compared with other types of goods) complicate many standard economic theories. The economics of information has recently become of great interest to many - possibly due to the rise of information-based companies inside the technology industry. From a game theory approach, the usual constraints that agents have complete information can be loosened to further examine the consequences of having incomplete information. This gives rise to many results which are applicable to real life situations. For example, if one does loosen this assumption, then it is possible to scrutinize the actions of agents in situations of uncertainty. It is also possible to more fully understand the impacts – both positive and negative – of agents seeking out or acquiring information.

## Applied

Applied microeconomics includes a range of specialized areas of study, many of which draw on methods from other fields.

* Economic history examines the evolution of the economy and economic institutions, using methods and techniques from the fields of economics, history, geography, sociology, psychology, and political science.
* Education economics examines the organization of education provision and its implication for efficiency and equity, including the effects of education on productivity.
* Financial economics examines topics such as the structure of optimal portfolios, the rate of return to capital, econometric analysis of security returns, and corporate financial behavior.
* Health economics examines the organization of health care systems, including the role of the health care workforce and health insurance programs.
* Industrial organization examines topics such as the entry and exit of firms, innovation, and the role of trademarks.
* Law and economics applies microeconomic principles to the selection and enforcement of competing legal regimes and their relative efficiencies.
* Political economy examines the role of political institutions in determining policy outcomes.
* Public economics examines the design of government tax and expenditure policies and economic effects of these policies (e.g., social insurance programs).
* Urban economics, which examines the challenges faced by cities, such as sprawl, air and water pollution, traffic congestion, and poverty, draws on the fields of urban geography and sociology.
* Labor economics examines primarily labor markets, but comprises a large range of public policy issues such as immigration, minimum wages, or inequality.

## Further reading

* Bade, Robin; Michael Parkin (2001). *Foundations of Microeconomics* (1st paperback ed.). Addison Wesley.


title: Michelle Leonard

abstract: Michelle Leonard is a German / British singer and songwriter, now based in Berlin. Leonard has written and co-written multiple songs, both singles and for albums, that have achieved gold and platinum status. Leonard is known internationally for her work with AURORA and Paul van Dyk, as well as for her collaboration with Robin Schulz. As a songwriter, Leonard is currently signed to Budde Music Publishing.

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# Michelle Leonard

**Michelle Leonard** (born 5 June 1973) is a German / British singer and songwriter, now based in Berlin. Leonard has written and co-written multiple songs, both singles and for albums, that have achieved gold and platinum status. Leonard is known internationally for her work with AURORA and Paul van Dyk, as well as for her collaboration with Robin Schulz (under the stage name Solamay). As a songwriter, Leonard is currently signed to Budde Music Publishing.

## Biography

Leonard grew up in Germany, where she attended British schools. EMI Music Publishing signed her when she was 17. She had just released her first single at 16, which was a cover version of "Falling," a 1990 song by Julee Cruise that later became popular as the *Twin Peaks* theme song.

Leonard's first original songs included "Feel So Perfect," which was released by Cape, became a radio hit, and was used for a three-year, pan-European C&A advertising campaign. Multiple music videos and short films were created around the song. Many of her co-written songs have been used in advertisements for companies including Axe, RMS (Radio marketing services), Ford Ka and Vodafone Germany.

Some of Leonard's biggest songwriting hits have been performed by other artists. Her greatest achievements in this field have included AURORA's *"*Running with the Wolves," "Rooftop" by Nico Santos, and "Love Is You" by Thomas Godoj. In 2005, Leonard also worked on the song "Instant Replay" with Such a Surge, which was released on their album *Alpha*.

Leonard was also the performance and music director for the German Theatre Abroad project in New York and directed the musical "Electric Society," which was staged on 12 November 2005 in Cologne, Germany. In 2009, she was a judge on the German casting television show *Popstars* and released her debut album *Fragile.*

Since 2005, Leonard has been a lecturer at the Popakademie (University of Popular Music and Music Business), the Columbia College Chicago, and at the SRH Hochschule der populären Künste (College of Popular Arts) in Germany for Songwriting. In 2011, Leonard started the co-publishing company "DOLSIRA" with Universal Music Publishing, Germany, and in 2018, started "EERA" in cooperation with BMG Rights Management. In 2015, she started her own solo-artist project, Solamay, which has achieved platinum status.

## Discography

### As songwriter

| Year | Title *Album* | Chart Position | | | | | | | Comment |
| --- | --- | --- | --- | --- | --- | --- | --- | --- | --- |
| | | DE | AUT | CH | FIN | SWE | UK | US | |
| 2002 | Hurra, Hurra, die Schule brennt *Busted – Busted (Album)* | **19** (7 weeks) | **20** (8 weeks) | **34** (5 weeks.) |  |  |  |  | Translation work |
| 2004 | Save My Life Tonight *Hanna Pakarinen – When I Become Me (Album)* |  |  |  | **2**  (17 weeks) |  |  |  |  |
| 2005 | Out Of Tears *Hanna Pakarinen – Stronger (Album)* |  |  |  | **2**  (7 weeks) |  |  |  |  |
| | Virus *Nu Pagadi – Your Dark Side (Album)* | **1** (12 weeks) | **5** (10 weeks) | **6** (9 weeks) |  |  |  |  |  |
| | Sag Mir Wann *Nikko Weidemann- Perfekte Welle Compilation (Album)* |  |  |  |  |  |  |  |  |
| 2006 | Celebrity Queen *Alexander Klaws – Attention! (Album)* | **20** (3 weeks) | **19** | **48** |  |  |  |  |  |
| | Der Turm *Joachim Witt – Bayreuth 3 \[Limited Edition\] (Album)* | **35** (3 weeks) |  |  |  |  |  |  |  |
| | Don't Let It Get You Down *Mike Leon Grosch– Don't Let It Get You Down (Single)* | **1** (11 weeks) | **6** (10 weeks) | **2** (14 weeks) |  |  |  |  |  |
| | Don't Let It Get You Down This Ride *Mike Leon Grosch– Absolute (Album)* | **2** (12 weeks) | **12** (4 weeks) | **6** (8 weeks) |  |  |  |  |  |
| | Living Without You, It's Over, Venom, Occupied, Tattooed On Me *Sandy Mölling – Frame Of Mind (Album)* | **36** |  |  |  |  |  |  |  |
| | Dangerzone *Vanilla Ninja – Dangerzone (Single)* | **21** (9 weeks) | **23** (6 weeks) | **18** (8 weeks) |  |  |  |  |  |
| | Dangerzone, Kingdom Burning Down, The Band That Never, Existed Rockstarz, Battlefield, Insane in Vain, Silence, Love Is Just A War, My Name *Vanilla Ninja – Love Is War (Album)* | **16** (5 weeks) | **29** (3 weeks) | **14** (9 weeks) |  |  |  |  | EE No. 1 |
| | You And Me, Cruel To Myself Hell Yeah
*Valentine – Blue Merry-Go-Round (Album)* |  |  |  |  |  |  |  |  |
| 2007 | Lovesongs (They Kill Me) *Cinema Bizarre – Lovesongs (They Kill Me) (Single)* | **9** (9 weeks) | **32** (8 weeks) |  |  |  |  |  | FR No. 28 (19 weeks) |
| | Lovesongs (They Kill Me), Get Off, Heaven Sent *Cinema Bizarre – Final Attraction (Album)* | **9** (1 week) | **28** (2 weeks) |  |  |  |  |  | FR No. 24 (9 weeks) IT No. 30 (9 weeks) |
| | If I Lose You *Lisa Bund – Born Again (Album)* | **27** (2 weeks) | **66** (1 week) | **88** (1 week) |  |  |  |  |  |
| | Life Is A Miracle *No Angels – "Kleiner Dodo" Soundtrack (Album)* |  |  |  |  |  |  |  | Title track of the Warner Bros. Movie "Kleiner Dodo“ |
| | Großstadtkinder, Jenny *Peilomat– Großstadtkinder* |  |  |  |  |  |  |  |  |
| | Lost Northern Star, Ciárans Well, Calling Grace *Tarja Turunen – My Winter Storm (Album)* | **3** (4 weeks) | **11** (4 weeks) | **15** (9 weeks) | **1**  (9 weeks) | **41** (1 week) |  |  | NO No. 37 (1 week) SP No. 77 (1 week)
FR No. 88 (1 week) |
| | Superstar, I Am Not Afraid *Orange Blue – Superstar (Album)* | **88** (1 week) |  |  |  |  |  |  |  |
| | Atomic Love, Another Day *Nouveau Riche – Pink Trash (Album)* |  |  |  |  |  |  |  |  |
| | Various Songs *Sistanova* |  |  |  |  |  |  |  |  |
| 2008 | Stay With Me *Jesus on Extasy – Stay With Me (Single)* | **1** (Alternative Charts) |  |  |  |  |  |  |  |
| | Love Is You *Thomas Godoj – Love Is You (Single)* | **1** (13 weeks) | **1** (12 weeks) | **1** (11 weeks) |  |  |  |  |  |
| | Love Is You, Too Young To Grow Old, Summer Breeze, Brand New Start *Thomas Godoj – Plan A! (Album)* | **1** (25 weeks) | **1**  (8 weeks) | **3** (11 weeks) |  |  |  |  |  |
| 2009 | No More Days To Waste *Aloha from Hell – No More Days To Waste (Single)* | **59** (4 weeks) |  |  |  |  |  |  | JP No. 11 |
| | Blown Away *Oliver Wimmer – Blown Away (Single)* |  | **1** (10 weeks) |  |  |  |  |  | CH Airplay Charts No. 1 |
| | Little Riding Hood Rap *Sarah Brightman – Little Riding Hood Rap (Single)* |  |  |  |  |  |  |  |  |
| | Touching And Kissing, My Obsession, Je Ne Regrette Rien, In Your Cage, Heaven Is Wrapped in Chains, I Don't Wanna Know (If You Got Laid), Out Of Love, Sad Day (For Happiness), Tears in Vegas *Cinema Bizarre – ToyZ / BANG (Album)* | **24** (1 week) | **44** (1 week) |  |  |  |  |  | FR No. 79 (3 weeks) IT No. 36 (3 weeks)
NL No. 94 (1 week) |
| | Love in a Million Shades *Hanna Pakarinen – Love in a Million Shades (Album)* |  |  |  | **7**  (5 weeks) |  |  |  |  |
| | Enough *Tarja Turunen – My Winter Storm \[Limited Fan Edition\] (Album)* |  |  |  |  |  |  |  |  |
| | Tired Again *Stanfour – Zweiohrküken(Soundtrack)* | **6** (16 weeks) | **15** (9 weeks) | **56** (7 weeks) |  |  |  |  |  |
| 2010 | I Can't Dance Alone *Giovanni feat. Ross Antony – I Can't Dance Alone (Single)* | **26** (7 weeks) | **49** (4 weeks) |  |  |  |  |  |  |
| | Anteroom Of Death, I Feel Immortal, Until My Last Breath Crying Moon
*Tarja Turunen – What Lies Beneath (Album)* | **4** (5 weeks) | **12** (6 weeks) | **11** (4 weeks) | **7** (7 weeks) | **45** (Sweden Album Charts) (1 week) | **11** (UK Rock Chart) | **24** (US Top Heatseekers) | Reached Chart positions in 18 countries (e.g. IT, CZ, HUN, RUS, PL, NL, BEL, MEX) |
| | Stay With Me *Jesus on Extasy – Beloved Enemy (Album)* |  |  |  |  |  |  |  |  |
| | An Le Chang Zan *Gary Cheng* |  |  |  |  |  |  |  | Cantonese version of "I'm A Big Girl Now“ |
| | Born To Feel Alive *Gregorian – The Dark Side of the Chant (Album)* | **7** (13 weeks) | **11** (16 weeks) | **20** (14 weeks) |  |  |  |  | First English version of the song "*Geboren um zu leben*" by the German group *Unheilig*, DK No. 9 (6 weeks) |
| | Carry Me Home *Sarah Connor – Real Love (Album)* | **8** (8 weeks) | **15** (4 weeks) | **22** (4 weeks) |  |  |  |  |  |
| 2011 | Undercover *Frida Gold – Juwel (Album)* | **14**  (38 weeks) |  | **59** (2 weeks) |  |  |  |  |  |
| | Daddy *Marla Glen – Humanology (Album)* |  |  |  |  |  |  |  |  |
| | Down The Hole And Back 3D *Bertil Mark – Insight Outside (Earbook)* |  |  |  |  |  |  |  |  |
| | Carry Me Home *Grant Smillie feat. Zoë Badwi – Carry Me Home (Single)* |  |  |  |  |  |  |  | ARIA Club Charts No. 16, Album "*Zoë"* hit No. 36 in AU Album Chart |
| | Ich Sehe Dich *Uwe Ochsenknecht – Das Große Comeback (Soundtrack)* |  |  |  |  |  |  |  | Titelsong des ZDF TV Films "*Das Große Comeback* |
| | Sam Na Sveta *Toma feat. Billy Hlapeto – Sam Na Sveta (Single)* |  |  |  |  |  |  |  | BG No. 7 |
| 2012 | Du Fölier Väl Med *Lena Philipsson – Du Fölier Väl Med (Single)* |  |  |  |  | **4** |  |  |  |
| | Du Fölier Väl Med *Lena Philipsson – Världen snurrar (Album)* |  |  |  |  | **4** |  |  |  |
| | Lost in Berlin Love Ammunition
*Paul van Dyk (feat. Michelle Leonard) – Evolution (Album)* |  |  |  |  |  |  |  |  |
| | Lost in Berlin (Giuseppe Ottaviani Remix) *Paul van Dyk (feat. Michelle Leonard) – Vonic Sessions 2012 (Album)* | **22** (4 weeks) |  | **49** (2 weeks) |  |  |  |  | NL No. 78 (1 weeks) |
| | Anteroom Of Death, Lost Northern Star, Ciarans Well *Taja Turunen – Tarja Act 1 (Live Album & DVD)* | **5** (4 weeks) | **36** (1 week) | **48** (1 week) | **12** (3 weeks) |  |  |  | FR No. 147, BE No. 99, FI No. 12 |
| | The Knife, Beat The Winter *Mikko Sipola – Making A Sound* |  |  |  | **5** |  |  |  |  |
| | Shooting Stars *Kindervater – Future Trance Vol.61 (Compilation)* | **3** (Compilation Charts) | **2** (12 weeks) | **5** (8 weeks) |  |  |  |  |  |
| | Shooting Stars *Kindervater – Dream Dance Vol.65 (Compilation)* | **6** (Compilation Charts) | **12** (2 weeks) | **7** (6 weeks) |  |  |  |  |  |
| | Army Of Hope *Michael Schulte – Wide Awake (Album)* | **54** (1 week) |  |  |  |  |  |  |  |
| | Gloria *Joachim Witt – Gloria (Single)* | **74** (2 weeks) |  |  |  |  |  |  |  |
| | Gloria, Jetzt Geh, Tränen, Blut, Königreich, Beben, Licht Im Ozean, Komm Nie Wieder Zurück, Leichtsinn, Untergehen *Joachim Witt – DOM (Album)* | **6** (6 weeks) | **43** (1 week) | **68** (1 week) |  |  |  |  | DE Alternative Charts No. 1 |
| | Brave It Out *Generations – Brave It Out (Single)* |  |  |  |  |  |  |  | Title track of the Japanese NTV Drama "Sugarless", JP # 5 Hot 100 Official Billboard, No. 9 Top 100 Airplay No. 4 Adult Contemporary Airplay, No. 6 Hot Single Sales, No. 3 Oricon Single Charts |
| 2013 | Carry Me *Michael Mind Project – State Of Mind (Album)* | **53** (3 weeks) | **43** (3 weeks) |  |  |  |  |  |  |
| | Kein Rausch *Betty Dittrich – Gute Jungs, böse Mädchen (Album)* |  |  |  |  |  |  |  |  |
| | Lock U in a Rocket, Love Love Love *Zibbz – Ready? Go! (Album)* |  |  | **14** (4 weeks) |  |  |  |  |  |
| | Gotta Remember To Forget You *Angy – Drama Queen (Album)* |  |  |  |  |  |  |  | SP No. 30 (1 week) |
| | Recognise Me *Sofi de la Torre – Rubinrot (Soundtrack)* |  |  |  |  |  |  |  |  |
| | Zu Ende *Mega Mega – Behalt Die Nerven (Album)* |  |  |  |  |  |  |  |  |
| | Grüne Welle *MC Fitti feat. Bonnie Strange – Geilon (Album)* | **2** (11 weeks) |  |  |  |  |  |  |  |
| | Snapshot *f(x) – Pink Tape (Album)* |  |  |  |  |  |  | 21 (US Heatseekers Albums – Billboard) | Billboard World Album Charts No. 1, KR No. 1, JP No. 30 |
| | Gloria *Gregorian – Masters Of Chant 9 (Album)* | **14** (13 weeks) | **16** (4 weeks) | **29** (8 weeks) |  |  |  |  |  |
| | Brave It Out *Generations – Generations (Album)* |  |  |  |  |  |  |  | JP No. 1 |
| 2014 | Spät, Hoping (feat. Lisa Gerrard) *Joachim Witt – Neumond (Album)* | **8** (4 weeks) |  |  |  |  |  |  |  |
| 2015 | Schlachtbank *Eisbrecher – Schock (Album)* | **2** (33 weeks) | **11** (3 weeks) | **16** (3 weeks) |  |  |  |  |  |
| | Hearts Are Digital, Burn/fear, Electric, Angel, Just An Illusion, Lovers When It's Cold, Glory, The Matrix, Not My God, Metropolis, You Can't Save Me, (In Your) Waiting Room *Jack Strify – Illusion (Album)* |  |  |  |  |  |  |  |  |
| | Gentle *Gregorian – Masters Of Chant X– The Final Chapter (Album)* | **8** (11 weeks) | **54** (2 weeks) | **25** (5 weeks) |  |  |  |  |  |
| | Let's Die Together, Radio Song, There Was A Time *Russkaja – Peace, Love & Russian Roll (Album)* |  | **42** (1 week) |  |  |  |  |  |  |
| | Running with the Wolves *Aurora – Running with the Wolves (EP)* |  |  |  |  | **5** (Aqua Charts) |  |  | Title track Vodafone Campaign Germany, UK Mix Charts No. 5,
NO Dance Charts No. 18 |
| 2016 | UFO *Alex Mattson feat. Solamay – UFO (Single)* |  |  |  | **10**  (6 weeks) |  |  |  |  |
| | Running with the Wolves, Warrior, Eyes of a Child, Wisdom Cries *Aurora – All My Demons Greeting Me As A Friend (Album)* | **24** (4 weeks) | **50** | **41** |  |  | **28** | **150** | NO No. 1 IE No. 66
NL No. 17
AU No. 67 |
| | Recognise Me *Sofi de la Torre – Smaragdgrün (Soundtrack)* |  |  |  |  |  |  |  | Original Motion Picture Soundtrack *"Emerald Green"* (Film/DVD Charts DE #3) |
| 2017 | Jealousy *Alice Merton – No Roots (EP)* | **5** | **3** |  |  |  |  | **14** (Billboard Top Alternative Albums) | Billboard US Top Rock Albums No. 30 |
| | My Girls, Bff, Vergiss Mein Nicht *Hanni & Nanni – Mehr Als Beste Freunde (Film Soundtrack)* |  |  |  |  |  |  |  |  |
| | Charming Horses Remix Edit *Jam feat. Solamay – Invaded (EP)* |  |  |  |  |  |  |  |  |
| | Hey Road, Send You An Angel, Still in Love, Volle Kraft Voraus *Russkja – Kosmopoliturbo (Album)* |  | **27** (1 week) |  |  |  |  |  |  |
| | Krieger, Alle in Einem Boot, Wo Geht Der Teufel Hin, Herz Auf, Der Wahnsinn *Eisbrecher – Strumfahrt (Album)* | **1** (9 weeks) | **10** | **8** |  |  |  |  |  |
| | Killin‘ It *Laz Perkins feat. Mad Ice & Bang for the Buck – Killin’ It (Single)* |  |  |  |  |  |  |  |  |
| | Rooftop *Nico Santos – Rooftop (Single)* | **5**  (32 weeks) | **2**  (24 weeks) | **5** (29 weeks) |  |  |  |  | DE Airplay Charts No. 1 |
| | Herzstreik *Alina – Die Einzige (Album)* | **26** (12 weeks) |  | **100** (1 week) |  |  |  |  |  |
| | Taboo *Moody – Taboo (Single)* |  |  |  |  |  |  |  |  |
| 2018 | Liebe Ist Safe *Glasperlenspiel – Licht & Schatten (Album)* | **5** (10 weeks) |  |  |  |  |  |  |  |
| | Dig Deep *Lxandra – Dig Deep (Single)* |  |  |  |  |  |  |  |  |
| | Trick *Nicki & Freddi & The Sixties – Ku’damm 59 (Soundtrack)* |  |  |  |  |  |  |  | Original Motion Picture Soundtrack "*Ku’damm 59*" |
| | Never Let You Down *Michael Schulte – Never Let You Down (Single)* |  |  |  |  |  |  |  |  |
| | Not Yours *Halie – Not Yours (Single)* |  |  |  |  |  |  |  |  |
| | Rooftop, Heatwave *Nico Santos – Streets Of Gold (Album)* | **25** (3 weeks) | **69** (1 week) | **29** (2 weeks) |  |  |  |  |  |
| 2019 | Honeymoon Heartbreak *Alice Merton – Mint* | **2** (7 weeks) | **19** (1 week)
 | **21** (1 week)
 |  |  |  |  | IT No. 62 (2 weeks) |
| | The Seed *Aurora -* *A Different Kind Of Human (Step 2)* | **58** (1 week) | **66** (1 week) | **54** (1 week) |  |  |  |  | NO No. 4 (5 weeks), BE No. 172 (1 week) |
|  | Solitary Soul *Michael Leonardi – Solitary Soul (Album)* |  |  |  |  |  |  |  |  |

### As soloartist

#### Albums

| Year | Title *Album* | Chart Position | | | | | | | Comment |
| --- | --- | --- | --- | --- | --- | --- | --- | --- | --- |
| | | DE | AUT | CH | FIN | SWE | UK | US | |
| 2009 | Fragile |  |  |  |  |  |  |  | Debut album |

#### Singles

| Year | Title *Single* | Chart Position | | | | | | | Comment |
| --- | --- | --- | --- | --- | --- | --- | --- | --- | --- |
| | | DE | AUT | CH | FIN | SWE | UK | US | |
| 2009 | Where Did We Go Wrong | **6** (16 weeks) | **15** (9 weeks) | **56** (7 weeks) |  |  |  |  | (Soundtrack "Zweiohrküken") |

## InfoBox

| Michelle Leonard | |
| --- | --- |
| Born | (1973-06-05) 5 June 1973
Soost, Germany |
| Origin | Germany |
| Genres | Pop, rock, punk, electro |
| Occupation(s) | Singer, songwriter |
| Instrument(s) | singing, keyboards, programming |
| Years active | 1990–present |
| Labels | Universal Music Publishing, BMG Rights Management |


title: Mifflin, Pennsylvania

abstract: Mifflin is a borough in Juniata County, Pennsylvania, United States. The population was 534 at the 2020 census.

text:
# Mifflin, Pennsylvania

**Mifflin** is a borough in Juniata County, Pennsylvania, United States. The population was 534 at the 2020 census.

## History

Mifflin was founded as the town of Patterson. At one time, Mifflin, as well as the small community of Denholm lying directly north of the town, was an important stop along the Pennsylvania Railroad. The railroad tracks still pass through the town, but they are now owned by the Norfolk Southern Railway.

The Pennsylvania Railroad depot still stands in Mifflin, although it has long been abandoned. Mifflin is named after Thomas Mifflin, the first Governor of Pennsylvania.

## Geography

Mifflin is located at 40°34′6″N 77°24′13″W / 40.56833°N 77.40361°W / 40.56833; -77.40361 (40.568262, -77.403496).

According to the United States Census Bureau, the borough has a total area of 0.2 square miles (0.52 km2), all land.

## Demographics

Historical population
| Census | Pop. | Note |  |
| --- | --- | --- | --- |
| 1910 | 885 |  |  |
| 1920 | 965 |  | 9.0% |
| 1930 | 913 |  | −5.4% |
| 1940 | 860 |  | −5.8% |
| 1950 | 835 |  | −2.9% |
| 1960 | 745 |  | −10.8% |
| 1970 | 640 |  | −14.1% |
| 1980 | 648 |  | 1.3% |
| 1990 | 660 |  | 1.9% |
| 2000 | 627 |  | −5.0% |
| 2010 | 642 |  | 2.4% |
| 2020 | 534 |  | −16.8% |
| 2021 (est.) | 527 |  | −1.3% |
| Sources: | | | |

As of the census of 2000, there were 627 people, 234 households, and 165 families residing in the borough. The population density was 3,506.9 inhabitants per square mile (1,354.0/km2). There were 260 housing units at an average density of 1,454.2 per square mile (561.5/km2). The racial makeup of the borough was 92.82% White, 1.28% Native American, 0.32% Asian, 0.32% Pacific Islander, 3.83% from other races, and 1.44% from two or more races. Hispanic or Latino of any race were 6.38% of the population.

There were 234 households, out of which 38.5% had children under the age of 18 living with them, 49.1% were married couples living together, 13.2% had a female householder with no husband present, and 29.1% were non-families. 23.5% of all households were made up of individuals, and 10.3% had someone living alone who was 65 years of age or older. The average household size was 2.66 and the average family size was 3.07.

In the borough the population was spread out, with 28.9% under the age of 18, 10.4% from 18 to 24, 30.9% from 25 to 44, 20.9% from 45 to 64, and 8.9% who were 65 years of age or older. The median age was 32 years. For every 100 females there were 97.8 males. For every 100 females age 18 and over, there were 96.5 males.

The median income for a household in the borough was $26,438, and the median income for a family was $28,750. Males had a median income of $27,386 versus $19,044 for females. The per capita income for the borough was $12,843. About 14.9% of families and 17.5% of the population were below the poverty line, including 27.0% of those under age 18 and 4.8% of those age 65 or over.

## InfoBox

| Mifflin, Pennsylvania | |
| --- | --- |
| Borough | |
| Tuscarora Street | |
| Location of Mifflin in Juniata County, Pennsylvania. | |
| MifflinMifflin | |
| Coordinates: 40°34′06″N 77°24′13″W / 40.56833°N 77.40361°W / 40.56833; -77.40361 | |
| Country | United States |
| State | Pennsylvania |
| County | Juniata |
| Settled | 1849 |
| Incorporated | 1853 |
| Area | |
| Total | 0.17 sq mi (0.45 km2) |
| Land | 0.17 sq mi (0.45 km2) |
| Water | 0.00 sq mi (0.00 km2) |
| Elevation (church at center of borough) | 456 ft (139 m) |
| Highest elevation (western borough boundary) | 580 ft (180 m) |
| Lowest elevation (Juniata River) | 418 ft (127 m) |
| Population (2020) | |
| Total | 530 |
| Density | 3,045.98/sq mi (1,174.45/km2) |
| Time zone | UTC-5 (Eastern (EST)) |
| Summer (DST) | UTC-4 (EDT) |
| Zip code | 17058 |
| Area code | 717 |
| FIPS code | 42-49272 |


title: Microsoft Office Mix

abstract: Microsoft Office Mix was a service offered by Microsoft as part of their Office suite. Introduced in 2014, Mix was offered as part of an Office 365 subscription, before it was retired on May 1, 2018. The Office Mix website remains active, however upon visiting the site, it presents a message that states that the service is now unavailable. Office Mix was an Office add-in that integrated into the PowerPoint program that was intended as an educational service to assist teachers with creating interactive class presentations. It allowed the user to perform various tasks such as inserting ink, narrations, polls, and screen captures directly into the presentation, share their creation by exporting the mix into a computer video format or publishing it to online Office 365 Video platform, and view statistical data on users viewing their creations through analytics tools. The service was available for Office 2013 and Office 2016 and it was only made available to the Windows operating system.

text:
# Microsoft Office Mix

**Microsoft Office Mix** (or simply "**Office Mix**") was a service offered by Microsoft as part of their Office suite. Introduced in 2014, Mix was offered as part of an Office 365 subscription, before it was retired on May 1, 2018. The Office Mix website remains active, however upon visiting the site, it presents a message that states that the service is now unavailable.

Office Mix was an Office add-in that integrated into the PowerPoint program that was intended as an educational service to assist teachers with creating interactive class presentations. It allowed the user to perform various tasks such as inserting ink, narrations, polls, and screen captures directly into the presentation, share their creation (otherwise referred to as a (singular) "**mix**" or (plural) "mixes") by exporting the mix into a computer video format or publishing it to online Office 365 Video platform, and view statistical data on users viewing their creations through analytics tools. The service was available for Office 2013 and Office 2016 and it was only made available to the Windows operating system.

## Installation

Office Mix did not come embedded into the PowerPoint program. Instead, the user had to obtain the Office Mix add-in installer through the mix.office.com website in order to integrate the Office Mix add-in to the PowerPoint program and a global tab named "Mix" would appear across the application's interface where the user could access various options related to Office Mix.

*Note: The user would be required to attest their ownership of an active Office 365 subscription through their personal Microsoft account or one that is managed by their organization or institution, or a compatible external SSO service such as a Google account or Facebook account.*

## Features

The Office Mix service allowed the following features to the user:

* Drawing ink and annotating PowerPoint presentations, and inserting narrations, polls, and screen captures directly.
* Share the user's creations on Office Mix (otherwise referred to as a (singular) "mix" or (plural) "mixes") by exporting the mix into a computer video format or publishing it to the online Office 365 Video platform.
* Generate and view statistical data on users viewing their creations through analytics tools.

## Discontinuation

Beginning May 1, 2018, the Office Mix service was officially retired by Microsoft and became inaccessible to all customers after users were sent an e-mail notification issuing them several months to retrieve all of their content and mixes off of the platform prior to shutdown. After the discontinuation, the features of Office Mix were instead embedded into the PowerPoint program to users who obtained Office via an Office 365 subscription which remain available.

## InfoBox

Microsoft Office Mix
|
|  |
| Original author(s) | Microsoft Corporation |
| Initial release | 2014 |
| Operating system | Windows |
| Platform | Office |
| License | Proprietary |
| Website | www.microsoft.com |


title: Michigan Island

abstract: Michigan Island is one of the Apostle Islands located in western Lake Superior, off the Bayfield Peninsula, in northern Wisconsin. This island has no human inhabitants, and is managed by the National Park Service as part of the Apostle Islands National Lakeshore. It is centered at approximately 46.87° N 90.49° W and has a maximum elevation of 758 feet (231 m) above sea level. Along its shores, it rises about 48 feet (15 m) above Lake Superior's official elevation of 602 feet (183 m). The Michigan Island Light, which has two towers, is located on the island.

text:
# Michigan Island

**Michigan Island** is one of the Apostle Islands located in western Lake Superior, off the Bayfield Peninsula, in northern Wisconsin. This island has no human inhabitants, and is managed by the National Park Service as part of the Apostle Islands National Lakeshore. It is centered at approximately 46.87° N 90.49° W and has a maximum elevation of 758 feet (231 m) above sea level. Along its shores, it rises about 48 feet (15 m) above Lake Superior's official elevation of 602 feet (183 m). The Michigan Island Light, which has two towers, is located on the island.

* NPS website on the Apostle Islands
* Apostle Islands: Volunteers in the Park (VIP) Program with information on the lighthouse

46°52′N 90°29′W / 46.87°N 90.49°W / 46.87; -90.49


title: Microbrachiidae

abstract: Microbrachiidae is an extinct family of tiny, advanced antiarch placoderms closely related to the bothriolepidids. Although most species are known from Late Emsian-aged strata of Early Devonian China, the type and youngest species, Microbrachius dicki, is known from upper Givetian freshwater strata of Scotland and Estonia. When Microbrachius was regarded as an Antiarch incertae sedis, the other genera were thought to be very small bothriolepids.

text:
# Microbrachiidae

**Microbrachiidae** is an extinct family of tiny, advanced antiarch placoderms closely related to the bothriolepidids.

Although most species are known from Late Emsian-aged strata of Early Devonian China, the type and youngest species, *Microbrachius dicki*, is known from upper Givetian freshwater strata of Scotland and Estonia.

When *Microbrachius* was regarded as an Antiarch *incertae sedis*, the other genera were thought to be very small bothriolepids.

## Genera

### *Hohsienolepis*

Fossils of this genus are found in the Xindu Formation portion of the Late Emsian-aged Chuandong Assembly, in Pingle, Guangxi Province, China. Compared to other microbrachiid genera, *Hohsienolepis* has a comparatively small head, and an elongated thorax. The armor plates are covered in rows of small tubercles, in a pattern similar to that of *M. sinensis*.

### *Microbrachium*

A genus of very small antiarchs, originally described from *M. dicki*, of Upper Givetian strata of Scotland and Estonia, including the John O'Groats sandstone of Caithness, and the Eday beds of the Orkney Islands. The various species have proportionally big heads and short thoracic armors. The armor plates are decorated in small tubercles. During the 1980s, two more species were described from slightly older strata in China.

### *Wudinolepis*

As the generic name suggests, *Wudinolepis* is found in Wuding, Yunnan, China in a Late Emsian-aged stratum called the Jiucheng Formation. It is even smaller than *Microbrachius*, with the length of its (thoracic) shield around 2 centimeters. *Wudinolepis* was once placed in its own family, "Wudinolepidae", though Denison (1978) placed it within Bothriolepidae, saying that nothing in the original description excluded it from the latter family. Later, when Microbrachiidae was erected, *Wudinolepis* was placed within it.

## InfoBox

| Microbrachiidae
Temporal range: Emsian to Upper Givetian | |
| --- | --- |
|
| Scientific classification | |
| Domain: | Eukaryota |
| Kingdom: | Animalia |
| Phylum: | Chordata |
| Class: | Placodermi |
| Order: | Antiarchi |
| Suborder: | Bothriolepidoidei |
| Family: | Microbrachiidae |
|
| Type species | |
| ***Microbrachius dicki***
Traquair, 1888 | |
| Genera | |
|  | |


title: Middlestone

abstract: Middlestone is a village and former civil parish in the County Durham district, in the ceremonial county of Durham, England. It is situated to the south of Spennymoor, near Kirk Merrington. In the 2001 census Middlestone had a population of 67.

text:
# Middlestone

**Middlestone** is a village and former civil parish in the County Durham district, in the ceremonial county of Durham, England. It is situated to the south of Spennymoor, near Kirk Merrington. In the 2001 census Middlestone had a population of 67.

## Civil parish

Middlestone was formerly a township in the parish of Auckland-St. Andrew, from 1866 Middlestone was a civil parish in its own right, on 1 April 1937 the parish was abolished and merged with Bishop Auckland, part also went to form Spennymoor. In 1931 the parish had a population of 1812.

Media related to Middlestone at Wikimedia Commons

## InfoBox

| Middlestone | |
| --- | --- |
|  | |
| MiddlestoneLocation within County Durham | |
| Population | 67 (2001 census) |
| Unitary authority |  |
| Ceremonial county |  |
| Region |  |
| Country | England |
| Sovereign state | United Kingdom |
|


abstract: Middleton Road Bridge Halt was one mile northwest of the village of Middleton, Lancashire, England, open from 1904 to 1905 on the North Western Line of the Midland Railway.

text:
# Middleton Road Bridge Halt railway station

**Middleton Road Bridge Halt** was one mile northwest of the village of Middleton, Lancashire, England, open from 1904 to 1905 on the North Western Line of the Midland Railway.

## History

The station opened on 11 July 1904 by the Midland Railway. It closed in June 1905.

| Preceding station | Historical railways | | | Following station |
| --- | --- | --- | --- | --- |
| Morecambe Promenade
Line open, station closed |  | Midland Railway
North Western Line |  | Heysham Harbour
Line and station open |

## InfoBox

| Middleton Road Bridge Halt | |
| --- | --- |
| General information | |
| Location | Middleton, Lancashire
England |
| Coordinates | 54°02′00″N 2°53′43″W / 54.0333°N 2.8953°W / 54.0333; -2.8953 |
| Platforms | 2 |
| Other information | |
| Status | Disused |
| History | |
| Original company | Midland Railway |
| Pre-grouping | Midland Railway |
| Key dates | |
| 11 July 1904 (1904-07-11) | Opened |
| June 1905 (1905-06) | Closed |
|  | |
|  | |
|  | |
| Location  Middleton Road Bridge HaltLocation in the present-day City of Lancaster districtMiddleton Road Bridge HaltLocation in present-day Lancashire | |


title: Microcotyle pentapodi

abstract: Microcotyle pentapodi is a species of monogenean, parasitic on the gills of a marine fish. It belongs to the family Microcotylidae.

text:
# Microcotyle pentapodi

***Microcotyle pentapodi*** is a species of monogenean, parasitic on the gills of a marine fish. It belongs to the family Microcotylidae.

## Systematics

*Microcotyle pentapodi* was first described and illustrated from the gills of *Pentapodus milii* off Rockingham, Australia. Caballero y Caballero and Bravo-Hollis erected the genus *Paramicrocotyle* to describe *Paramicrocotyle tampicensis* and *Paramicrocotyle atriobursata* off Mexico, and placed within this genus 16 species previously assigned to the genus *Microcotyle* including *M. pentapodi*. This species was returned to the genus *Microcotyle* and *Paramicrocotyle* is considered a junior subjective synonym of *Microcotyle*.

## Description

*Microcotyle pentapodi* has the general morphology of all species of *Microcotyle*, with a small elongated slender body, comprising an anterior part which contains most organs and a posterior part called the haptor. The haptor is symmetrical, and bears clamps, arranged as two rows, one on each side. The clamps of the haptor attach the animal to the gill of the fish. There are also two septate buccal suckers at the anterior extremity. The digestive organs include an anterior, terminal mouth, a pharynx, an oesophagus and a posterior intestine with two lateral branches provided with numerous secondary branches. Each adult contains male and female reproductive organs. The reproductive organs include an anterior genital atrium bifurcating immediately behind the genital atrium, armed with numerous spines, a medio-dorsal vagina, a single ovary and a number of circular testes which are posterior to the ovary. The eggs are oval.

## Etymology

The species name *pentapodi* is derived from the generic name of the type-host, *Pentapodus milii*.

## Hosts and localities

The type-host of *Microcotyle pentapodi* is *Pentapodus milii*. The type locality is off Australia.

## InfoBox

| *Microcotyle pentapodi* | |
| --- | --- |
|
| Scientific classification | |
| Domain: | Eukaryota |
| Kingdom: | Animalia |
| Phylum: | Platyhelminthes |
| Class: | Monogenea |
| Order: | Mazocraeidea |
| Family: | Microcotylidae |
| Genus: | *Microcotyle* |
| Species: | ***M. pentapodi*** |
| Binomial name | |
| ***Microcotyle pentapodi***<br>Sandars, 1944 | |
|
| Synonyms | |
| * *Paramicrocotyle pentapodi* (Sandars, 1944) Caballero & Bravo-Hollis, 1972 | |


title: Midnighter and Apollo

abstract: Midnighter and Apollo is a six-issue American comic book limited series published by DC Comics. It is written by Steve Orlando and illustrated by Fernando Blanco, with covers by ACO. The series debuted in October 2016 and finished in March 2017. The story takes some time after the end of Midnighter, with Midnighter and Apollo having reunited. Following a battle with demons, Apollo's soul is dragged to Hell, and Midnighter attempts to bring him back. The series was announced shortly after the cancellation of Midnighter, which came with the end of The New 52 continuity and the DC Rebirth relaunch. With this series, Orlando wanted to explore the romantic relationship between Midnighter and Apollo, as they had only recently gotten back together when Midnighter was cancelled. Orlando believed a comic focusing on the same-sex relationship of two superheroes was necessary. Due to the violent content and profanity within the comic, the series was rated T+ (+16). Reception towards the series has been overwhelmingly positive, being referred to as one of the best comics of 2016. Praise has been especially directed towards Midnighter's characterization, his relationship with Apollo, the storyline, and the artwork. However, Apollo's secondary role in comparison to Midnighter has been somewhat criticized.

text:
# Midnighter and Apollo

***Midnighter and Apollo*** is a six-issue American comic book limited series published by DC Comics. It is written by Steve Orlando and illustrated by Fernando Blanco, with covers by ACO. The series debuted in October 2016 and finished in March 2017. The story takes some time after the end of *Midnighter*, with Midnighter and Apollo having reunited. Following a battle with demons, Apollo's soul is dragged to Hell, and Midnighter attempts to bring him back.

The series was announced shortly after the cancellation of *Midnighter*, which came with the end of *The New 52* continuity and the *DC Rebirth* relaunch. With this series, Orlando wanted to explore the romantic relationship between Midnighter and Apollo, as they had only recently gotten back together when *Midnighter* was cancelled. Orlando believed a comic focusing on the same-sex relationship of two superheroes was necessary. Due to the violent content and profanity within the comic, the series was rated T+ (+16). Reception towards the series has been overwhelmingly positive, being referred to as one of the best comics of 2016. Praise has been especially directed towards Midnighter's characterization, his relationship with Apollo, the storyline, and the artwork. However, Apollo's secondary role in comparison to Midnighter has been somewhat criticized.

## Development

The title was first announced as a six-issue series in June 2016, with the first issue released on October 5. On writing the series, Orlando stated that "*Midnighter and Apollo* is the book we need right now. Queer couple face down a new enemy and show us that we can never give in to fear, hatred, and evil—and they do it with their own brand of action-movie wit and punching". One of the things Orlando wanted to explore when writing the series is examining the beginnings of Midnighter and Apollo's relationship, due to they fact they had broken up and gotten back together.

## Plot

*Midnighter and Apollo* occurs after the previous *Midnighter* solo series. The story begins with the two men stopping a train that has children on board that have been abducted by a man named Captain Half-Beard and his crew. Following their victory, the two of them have dinner with their friends Tony and Marina. Once their friends leave, the two of them have sex, and Apollo questions Midnighter's method of killing his enemies. On the same night, Henry Bendix — the man who created Midnighter — sells the Ace of Winchesters, a magical rifle, to the Lords of the Gun, on the condition that they make Midnighter and Apollo suffer.

After searching for him for days, Midnighter manages to track Bendix to his hideout. Bendix, however, informs Midnighter that he has been expecting him and has sent a demon named Mawzir to fight Apollo, which manages to kill him and send his soul to Hell. Bendix gives Midnighter the option of either letting him go and saving Apollo by teleporting or killing him and being forced to fight his way out which will cost him time away from Apollo. Midnighter quickly kills him and fights his way out before he manages to use his teleportation door where he reaches Apollo and manages to fight off Mawzir.

Three days later, Midnighter goes to the magician Extraño for help. Extraño informs him that Apollo is being held in Hell by demons. Back in Hell, Apollo is being tormented with illusions by the demon-lord Neron.

## Collected editions

| Title | Material collected | Release date | ISBN |
| --- | --- | --- | --- |
| *Midnighter and Apollo* | *Midnighter and Apollo* 1–6 | July 25, 2017 | 978-1-401-27201-2 |
|

## Reception

### Reviews

On review aggregator site Comic Book Round-Up, the first issue got an average score of 8.7/10, based on twelve critic reviews. Jesse Schedeen of IGN rated the first issue a score of 7.9 out of 10: "Steve Orlando's already enjoyable Midnighter comic is made even better now that Apollo is a central player. In many ways this book serves as a direct sequel to *Midnighter*, building on loose threads and escalating the conflict in a logical, organic way. Orlando shows a real flair for showcasing the weird, wacky side of the DCU while simultaneously keeping the focus on Midnighter's personal struggles and relationship with Apollo. The latter character doesn't see quite as deep a focus here, but hopefully that will change before the end of the series". C.K. Stewart of Newsarama gave the comic a score of 9 out of 10: "*Midnighter and Apollo* #1 is a strong debut issue for the miniseries, building on the world Orlando created in his groundbreaking *Mindighter* solo run but teasing a perhaps more supernaturally-imbued tale than we saw in Midnighter’s first battle against the military industrial complex run amok". John Babos of Comic Nexu gave it a 7 out of 10: "This was a compelling debut issue with magic likely being able to harm to Apollo ala Superman. So that cliffhanger works. Solid, but at times a bit inaccessible, story and great art".

For the second issue, Schedeen gave it an 8.3 out of 10: "The book \[celebrates\] their bond even if it devotes most of its attention to Midnighter. He's at his most tough and bad-ass in this issue, even as his connection to Apollo puts him in an unusually vulnerable state (physically and emotionally). Steve Orlando packs this issue with just the right blend of humor, heart, weirdness and ultra-violence".

For issue three, Stewart gave it a high 10 out of 10 score: "*Midnighter and Apollo* #3 is the strongest issue yet, packing a powerful narrative into gorgeously illustrated pages. It’s a gory but heartfelt romance, and a smart superhero update on a classic myth that captures the spirit of the tale without being so literal it broadcasts the ending upfront. It’s riveting without being overwrought, and Orlando and Blanco leave enough light touches throughout to keep the book firmly planted in the camp of darkly humorous rather than just dark - the western turn the issue takes towards the end is a particularly nice touch".

For issue five, Schedeen gave an 8.0 out of 10 score: "At this point readers just have to accept that this series, despite its name, doesn't offer much in the way of Midnighter and Apollo actually interacting. It's a little too direct a continuation of the previous *Midnighter* book in that regard. But writer Steve Orlando does highlight the strong love that unites the two heroes, even if Apollo himself shares but a fraction of his lover's page time. This issue also showcases Midnighter at his most bad-ass". David Pepose of Newsarama gave it a score of 9 out of 10: "If there's one critique I might level against this series, it's that Midnighter's headstart against his boyfriend in the characterization department has only continued to increase since the first issue - for a title called *Midnighter and Apollo*, the latter character still doesn't feel as wonderfully defined as his dark, brooding and witty counterpart. But if having too much Midnighter is the worst complaint I can give, I think this book is still in the running for one of the best superhero titles of the week".

### Sales

### Accolades

The series was nominated for Outstanding Comic Book in 28th GLAAD Media Awards.

## InfoBox

| *Midnighter and Apollo* | |
| --- | --- |
| Cover of *Midnighter and Apollo* #1. Art by ACO. The cover is an allusion to *Midnighter* #12. | |
| Publication information | |
| Publisher | DC Comics |
| Schedule | Monthly |
| Format | Limited series |
| Genre |  |
| Publication date | October 2016 – March 2017 |
| No. of issues | 6 |
| Main character(s) | Midnighter<br>Apollo |
| Creative team | |
| Written by | Steve Orlando |
| Artist(s) | Fernando Blanco |
| Letterer(s) | Josh Reed |
| Colorist(s) | Romulo Fajardo, Jr. |
| Collected editions | |
| *Midnighter and Apollo* | ISBN 978-1-401-27201-2 |


title: Midnight to Midnight

abstract: Midnight to Midnight is the fifth studio album by English rock band the Psychedelic Furs, released on 2 February 1987 by Columbia Records. Midnight to Midnight was produced by Chris Kimsey, who was known for his work with the Rolling Stones and had recently produced Marillion's best-selling studio album Misplaced Childhood (1985). A more overtly commercial effort than the Psychedelic Furs had previously recorded, Midnight to Midnight was their highest-charting album in the UK, peaking at number 12, yet lead vocalist Richard Butler later characterized it as "hollow, vapid and weak", and the album has been described as "over-produced and underwhelming". The album also featured the single "Heartbreak Beat", which proved to be the Furs' biggest Top 40 entry in the US at that time.

text:
# Midnight to Midnight

Professional ratings
| Review scores | |
| --- | --- |
| Source | Rating |
| AllMusic |  |
| Robert Christgau | B |
| *Rolling Stone* | Unrated |

***Midnight to Midnight*** is the fifth studio album by English rock band the Psychedelic Furs, released on 2 February 1987 by Columbia Records.

*Midnight to Midnight* was produced by Chris Kimsey, who was known for his work with the Rolling Stones and had recently produced Marillion's best-selling studio album *Misplaced Childhood* (1985). A more overtly commercial effort than the Psychedelic Furs had previously recorded, *Midnight to Midnight* was their highest-charting album in the UK, peaking at number 12, yet lead vocalist Richard Butler later characterized it as "hollow, vapid and weak", and the album has been described as "over-produced and underwhelming". The album also featured the single "Heartbreak Beat", which proved to be the Furs' biggest Top 40 entry in the US at that time.

## Track listing

All tracks composed and arranged by Richard Butler, John Ashton and Tim Butler, except where stated.

1. "Heartbreak Beat" – 5:10
2. "Shock" – 5:05
3. "Shadow in My Heart" – 4:07
4. "Angels Don't Cry" – 5:07
5. "Midnight to Midnight" – 4:30
6. "One More Word" – 5:17
7. "All of the Law" – 4:46
8. "Torture" – 3:50
9. "No Release" – 4:52
10. "Pretty in Pink" (1986 version) – 4:12 (Butler, Ashton, Butler, Morris, Kilburn, Ely)

*The 1986 remake of "Pretty in Pink" only appears on the original UK/Euro cassette and CD issues.*

### Original US LP release

**Side one**

1. "Heartbreak Beat" – 5:10
2. "Shock" – 5:05
3. "Shadow in My Heart" – 4:07
4. "Angels Don't Cry" – 5:07

**Side two**

1. "Midnight to Midnight" – 4:30
2. "One More Word" – 5:17
3. "All of the Law" – 4:46
4. "Torture" – 3:50
5. "No Release" – 4:52

## Personnel

**The Psychedelic Furs**

**Additional musicians**

* Marty Williamson – second guitar
* Jon Carin keyboards
* Ed Buller – additional keyboards
* Steve Scales percussion
* Frank Simms – backing vocals
* Pete Hewlett – backing vocals

**Production and artwork**

## Videos

Official music videos were produced for the singles "Heartbreak Beat," "Shock," and "Angels Don't Cry", with the latter directed by British filmmaker Tim Pope.

## Chart performance

**Album**

| Year | Country | Chart | Peak position |
| --- | --- | --- | --- |
| 1987 | Australia | Kent Music Report | 38 |
| 1987 | United Kingdom | UK Albums Chart | 12 |
| 1987 | United States | *Billboard* 200 | 29 |
| 1987 | Spain | Promusicae | 13 |
| 1987 | New Zealand | NZ Album Chart | 20 |

## InfoBox

| Midnight to Midnight | |
| --- | --- |
|  | |
| Studio album by the Psychedelic Furs | |
| Released | 2 February 1987 (1987-02-02) |
| Studio |  |
| Genre | Pop rock |
| Length | 42:40 |
| Label | Columbia |
| Producer | Chris Kimsey |
| The Psychedelic Furs chronology | |
| *Mirror Moves*
(1984) ***Midnight to Midnight***
(1987) *All of This and Nothing*
(1988) | |


title: Microangelo Toolset

abstract: Microangelo Toolset is a collection of software utilities for editing Microsoft Windows computer icons and pointers. Microangelo Toolset is one of the best known icon editing and creation software tools. Notable for winning the Shareware Industry Awards 6 times in 7 years.

text:
# Microangelo Toolset

**Microangelo Toolset** is a collection of software utilities (Studio, Explorer, Librarian, Animator, On Display) for editing Microsoft Windows computer icons and pointers.

Microangelo Toolset is one of the best known icon editing and creation software tools.

Notable for winning the Shareware Industry Awards 6 times in 7 years.

## InfoBox

Microangelo Toolset
| Developer(s) | Eclipsit, Inc. |
| --- | --- |
|  | |
| Stable release | 6.10.0071 / 13 February 2013 (2013-02-13) |
|  | |
| Operating system | Windows 7 and later |
| Platform | IA-32 |
| Size | 11 MB |
| Type | Icon editor |
| Website | microangelo.us |


title: Microangiography

abstract: Microangiography is a type of angiography that consists of the radiography of small blood or lymphatic vessels of an organ. While most other types of angiography cannot produce images of vessels smaller than 200 μm in diameter, microangiography does just that. A microangiographic image is the result of injection of a contrast medium into either the blood or the lymphatic system and, then, enlargement of the resulting radiograph. Thus, an image is obtained in which there is contrast between vessel and surrounding tissue. It is often used in order to detect microvascular lesions in organs. But, it has been suggested that microangiography can also be used to detect tumors through visualization of tumor-induced small blood vessels. This is because tumor growths require vascularization before they can develop more rapidly. A few of the commonly used types are fluorescent, silicone rubber, and synchrotron radiation microangiography.

text:
# Microangiography

**Microangiography** (/ˌmkrˌæniˈɒɡrəfi/ *MY-kroh-AN-jee-OG-rə-fee*) is a type of angiography that consists of the radiography of small blood or lymphatic vessels of an organ. While most other types of angiography cannot produce images of vessels smaller than 200 μm in diameter, microangiography does just that. A microangiographic image is the result of injection of a contrast medium into either the blood or the lymphatic system and, then, enlargement of the resulting radiograph. Thus, an image is obtained in which there is contrast between vessel and surrounding tissue. It is often used in order to detect microvascular lesions in organs. But, it has been suggested that microangiography can also be used to detect tumors through visualization of tumor-induced small blood vessels. This is because tumor growths require vascularization before they can develop more rapidly. A few of the commonly used types are fluorescent, silicone rubber, and synchrotron radiation microangiography.

## Common types

### Fluorescent microangiography

Also known as FMA, fluorescent microangiography is used to visualize and quantify changes in microvasculature. It is different from other types of microangiography in that a fluorescent marker or contrast medium is used instead of something else. Fluorescein and indocyanine green are often used for this purpose.

### Laser Doppler holography

Computational imaging with lasers, ultrahigh-speed cameras, commodity graphics cards, and state-of-the-art statistical filtering algorithms, emerges as a competitive alternative to dye angiographies. This class of non-invasive microangiography techniques can be advantageously applied to the eye fundus to reveal endoluminal blood flow profiles in the retina and choroid. Laser Doppler imaging by holography provides high-contrast visualization of local blood flow in choroidal vessels in humans, with a spatial resolution comparable to state-of-the-art indocyanine green angiography.

### Silicone rubber microangiography

This type of microangiography produces a three-dimensional image that depicts the distribution of vasculature in a tissue. It is commonly used to determine changes in microvasculature.

### Synchrotron radiation microangiography

This type of microangiography uses monochromatic synchrotron radiation and a high-definition video system to provide an image of small collateral arteries with a diameter less than 100 μm.

## InfoBox

| Microangiography | |
| --- | --- |
| Purpose | radiography of small blood or lymphatic vessel |


title: Microtheoris

abstract: Microtheoris is a genus of moths of the family Crambidae.

text:
# Microtheoris

***Microtheoris*** is a genus of moths of the family Crambidae.

## Species

## Former species

## InfoBox

| *Microtheoris* | |
| --- | --- |
|
| Scientific classification | |
| Domain: | Eukaryota |
| Kingdom: | Animalia |
| Phylum: | Arthropoda |
| Class: | Insecta |
| Order: | Lepidoptera |
| Family: | Crambidae |
| Tribe: | Odontiini |
| Genus: | *Microtheoris*<br>Meyrick, 1932 |
|


title: Mie Pearls

abstract: Mie Women's Rugby Football Club Pearls is a Japanese women's rugby union team based in Yokkaichi, Mie. They compete in Japan's National Women’s Rugby Championship.

text:
# Mie Pearls

**Mie Women's Rugby Football Club Pearls** (commonly known as **Mie Pearls**) is a Japanese women's rugby union team based in Yokkaichi, Mie. They compete in Japan's National Women’s Rugby Championship.

## History

The Mie Women's Rugby Football Club Pearls was established in May 2016 with the slogan "*From Mie to the World!*". Their aim is to become number one in Japan's domestic tournaments and to develop players who can perform on the world stage.

Mie Pearls won the 2020–21 National Women’s Rugby Championship competition.

### MoU deal with Chiefs Manawa

In 2024, Mie Pearls signed a memorandum of understanding (MoU) with the Chiefs Manawa of New Zealand's Super Rugby Aupiki competition. The agreement operates alongside the existing MoU that New Zealand Rugby and the Japan Rugby Football Union has already established. Furthermore, the deal allows both clubs to "*explore opportunities that enhance the game for players, coaches and management through the sharing of knowledge and resources*".

Mie Pearls met Tokyo Sankyu Phoenix for the 2023–2024 National Women’s Rugby Championship final which was played for the first time at the Chichibunomiya Rugby Stadium. They were defeated by Tokyo Sankyu Phoenix 24–40.

## Current squad

Note: Flags indicate national union under World Rugby eligibility rules. Players may hold more than one non-World Rugby nationality.

| Player Position Union  Michika Doi Forward  Japan  Kei Fukuzawa Forward  Japan  Kyoko Hosokawa Forward  Japan  Reina Iizuka Forward  Japan  Soyoka Kinoshita Forward  Japan  Wako Kitano Forward  Japan  Nijiho Nagata Forward  Japan  Saya Nakamura Forward  Japan  Sato Reina Forward  Japan  Kai Sachiko Forward  Japan  Seina Saito Forward  Japan  Yuuki Sue (cc) Forward  Japan  Mei Takahashi Forward  Japan  Moeri Wada Forward  Japan | Player Position Union  Ayuka Akiyama Back  Japan  Ria Anoku Back  Japan  Murata Ayano Back  Japan  Monique Coffey Back  Canada  Mizuki Furuya Back  Japan  Akari Katsushima Back  Japan  Le'Oxeayn Maiu'u Back  New Zealand  Satsuki Mitani (cc) Back  Japan  Rika Miwa Back  Japan  Sora Nishimura Back  Japan  Janet Okelo Back  Kenya  Grace Okulu Back  Kenya  Nia Sutherland Back  New Zealand  Nozomi Watanabe Back  Japan  Sakurako Watanabe Back  Japan  Mio Yamanaka Back  Japan  Sayo Yasui Back  Japan |
| --- | --- |

## Coaching staff

| Position | Name |
| --- | --- |
| **General Manager** | Hisashi Saito |
| **Head Coach** | Janna Vaughan |
| **Asst. Coach / Asst. Manager** | Takashi Tomikawa |
| **S&C Coach** | Luke Vasu |
| **Trainer** | Yuko Shinzaki |
| **Team Manager** | Emi Ito |

## InfoBox

Mie Women's Rugby Football Club Pearls
| Full name | Mie Women's Rugby Football Club Pearls |
| --- | --- |
| Union | Japan Rugby Football Union |
| Nickname(s) | Mie Pearls |
| Founded | 2016 (2016) |
| Location | Yokkaichi, Mie, Japan |
| League(s) | National Women’s Rugby Championship |
| 2024 | Runner-up |
| Official website | |
| mie-pearls.com | |


title: Miguel de Ambiela

abstract: Miguel de Ambiela was a Spanish composer. He was born at La Puebla de Albortón, and became maestro de capilla at the Basilica of Our Lady of the Pillar, Saragossa. He was a composer employing conservative traditional polyphony. Some of his works are preserved in Latin American manuscripts. He died in Toledo, Spain, in his fifties.

text:
# Miguel de Ambiela

**Miguel de Ambiela** (1666 – 29 March 1733) was a Spanish composer.

He was born at La Puebla de Albortón, and became maestro de capilla at the Basilica of Our Lady of the Pillar, Saragossa. He was a composer employing conservative traditional polyphony. Some of his works are preserved in Latin American manuscripts. He died in Toledo, Spain, in his fifties.

## Works, editions, recordings

*


title: Miguel Zugastegui

abstract: Miguel Zugastegui y Verduzco, O.F.M. was a Criollo Franciscan friar and revolutionary, who took part in early stages of the independence movement of Mexico. He is honored in Mexico as a martyr of the struggle for independence from Spain.

text:
# Miguel Zugastegui

**Miguel Zugastegui y Verduzco, O.F.M.** (or **Zugasti**, 14 February 1773 – 3 May 1809) was a Criollo Franciscan friar and revolutionary, who took part in early stages of the independence movement of Mexico. He is honored in Mexico as a martyr of the struggle for independence from Spain.

## Life

Zugastegui was born in the region of Otumba, the son of Juan Zugasti and Ana Verduzco, both born in Spain. Feeling called to become a priest, he went to Mexico City to study theology, where he decided to enter the Order of Friars Minor.

After his ordination as a Catholic priest, Zugastegui was committed to serve the people in the confessional. On afternoons that he was free, he would go to a cafe which was popular with the unemployed men of the city who wished to discuss the current events of the day. On 11 August 1808 he was vocal and vehement in his support of Mexican independence from the Spanish Empire and in support of the call for a national convention to discuss the establishment of a local government due to the seizure of the Spanish Crown by Napoleon. This step was opposed by the Audiencia Real, the legislative authority of the colony. The Viceroy, José de Iturrigaray, on the other hand, was in favor of the congress and had the support of the Criollos (locally born children of Spanish colonists) segment of the population.

When Zugastegui's words were reported to the *Alcalde* (Chief Justice) of the *Real Audiencia*, he asked the Guardian of the Convent of San Francisco to have him confined while he prepared a report of the incident. The finalized report simply mentioned the imprudence on Zugastegui's part. With the growing crisis of the government in Spain, the friar was forgotten by the government, and he was soon allowed to the leave the friary again, with the goal of assisting the dying. After the military coup which deposed Iturrigaray, new comments made by Zugastegui criticizing the new viceroy, Pedro de Garibay, however, soon brought him back to the attention of the *Audiencia*. His accuser claimed that the friar was involved in plans by French forces to overthrow the Spanish government in New Spain.

Based on this, the *Alcalde* had Zugastegui arrested in the middle of the night, so as to avoid attention. Without any judicial process, due to the panic by government authorities out of the political crisis in Spain, on 27 March 1809 he was judged guilty of agitating for independence and ordered deported to Spain. The judgement was approved by Vicetory Garibay on 15 April. He was then transported to Veracruz, together with the Mercedarian friar, Melchor de Talamantes, the author of the tract for independence which had led to the military coup. When they arrived, they were imprisoned in Fort San Juan de Ulúa to await transport to Spain. He fell ill from yellow fever while there and died in the early hours of 3 May.

Upon being advised of Zugastegui's death, the Guardian of the Franciscan friary in Veracruz requested the body. It was buried in the sepulcher of the house.

1. "Biografías de los Heroes y Caudillos de la Independencia". *Bibliografía Histórica del Estado de México* (in Spanish). Archived from the original on 2013-04-13.
2. Bass, Steve (10 September 2009). "Basques in the Americas 1792-1893". *EuskalKazetta.com*. Retrieved 25 February 2013.
3. "Fray Miguel Zugastegui" (PDF). *Senado de la República* (in Spanish). Archived from the original (PDF) on 16 September 2012. Retrieved 25 February 2013.

## InfoBox

| Friar Miguel Zugastegui, O.F.M. | |
| --- | --- |
| Personal details | |
| Born | (1773-02-14)14 February 1773
Ometusco Hacienda, Otumba, Mexico, New Spain |
| Died | 3 May 1809(1809-05-03) (aged 36)
San Juan de Ulúa, Veracruz, Veracruz, Mexico, New Spain |
| Nationality | Empire of Spain |
| Occupation | Franciscan priest and revolutionary |


title: Midwoofer-tweeter-midwoofer

abstract: The midwoofer-tweeter-midwoofer loudspeaker configuration was a design arrangement from the late 1960s that suffered from serious lobing issues that prevented its popularity until it was perfected by Joseph D'Appolito as a way of correcting the inherent lobe tilting of a typical mid-tweeter (MT) configuration, at the crossover frequency, unless time-aligned. In the MTM arrangement the loudspeaker uses three drivers: Two mid-range for the low frequencies and a tweeter for the higher frequencies, with the tweeter being placed between the mid-range drivers. D'Appolito initially configured his design using a 3rd order crossover, D'Appolito has since amended this original recommendation in favor of 4th order topology. However, this does not impart any significant effect on the MTM design's unique characteristics. There are speakers where the tweeter appears below the larger driver and though electrically it is identical to the MT configuration, it is customarily denoted as "TM". The only other difference is the lobe tilt which is exactly the opposite of the MT configuration. The direction in which the lobe tilts is a function of the difference or offset between the acoustic centers of the two drivers.

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# Midwoofer-tweeter-midwoofer

The **midwoofer-tweeter-midwoofer** loudspeaker configuration (called MTM, for short) was a design arrangement from the late 1960s that suffered from serious lobing issues that prevented its popularity until it was perfected by Joseph D'Appolito as a way of correcting the inherent lobe tilting of a typical mid-tweeter (MT) configuration, at the crossover frequency, unless time-aligned. In the MTM arrangement the loudspeaker uses three drivers: Two mid-range (or mid-woofer/woofer) for the low frequencies and a tweeter for the higher frequencies, with the tweeter being placed between the mid-range drivers (as shown in the second image below). D'Appolito initially configured his design using a 3rd order (18 dB/oct or 60 dB/dec) crossover, D'Appolito has since amended this original recommendation in favor of 4th order topology. However, this does not impart any significant effect on the MTM design's unique characteristics.

There are speakers where the tweeter appears below the larger driver and though electrically it is identical to the MT configuration, it is customarily denoted as "TM". The only other difference is the lobe tilt which is exactly the opposite of the MT configuration.

The direction in which the lobe tilts (i.e., the vertical orientation or angle of the lobe) is a function of the difference or offset between the acoustic centers of the two drivers.

## Lobe tilting of MT or TM configurations

Since it is rare for a tweeter and mid-range (or woofer) to have their diaphragms or acoustic centers in the same physical plane, it follows that sound waves emitted by them (of the same frequency) will not reach a particular listening position in the on-axis plane at the same time. Conversely, the MT or TM combination's on-axis plane is not coincident with the physical on-axis plane - it is tilted w.r.t. the physical plane. The overall effect is that at the crossover frequency (when both drivers are reproducing the same frequency) the sound from both drivers does not acoustically sum ideally at the on-axis listening position. There will, however, be some off-axis listening position where the acoustic sum is ideal - but the listening position itself may be such that it is not practical. Thus, with a typical TM or MT loudspeaker where the drivers are not time-aligned, the main lobe is tilted away from the horizontal.

The above image shows the lobing pattern of a typical TM loudspeaker. As can be seen, the lobe tilts downwards towards P' which is not the same as the on-axis listening position P.

This is one of the reasons for physically offsetting the mid-range and tweeter such that the tweeter is physically behind the mid-range, or tilting the speaker upwards, to achieve an on-axis response that is coincident with the physical on-axis plane. This process is known as time-alignment. Other ways to time-align are to introduce a phase shift in the tweeter signal (lag or lead, depending upon the offset between the drivers) so that it mimics the physical offset. All these methods, however require some amount of measurement and effort to get right.

## The MTM alternative

When another mid-range or midwoofer is added vertically and symmetrically opposite to the existing one, the result is that the tilted on-axis plane gets corrected such that the differences between the midwoofer and tweeter planes become immaterial - the on-axis plane is always w.r.t. the tweeter's center. This of course requires that the two midwoofers are in exactly the same plane, and exactly the same distance from the tweeter - which is much easier to do physically. There is however a price to pay for this - although the MTM's on-axis response is near perfect, its radiation pattern or main lobe is much narrower than that of the MT or TM configuration's. As a result, the off-axis response (i.e., response at locations vertically away from exactly opposite the tweeter) is much weaker and there can be obvious and discernible change in tonality at the crossover as one's listening height relative to the tweeter changes, and the effect is perceived more as the listener moves closer to the loudspeaker. This is corrected by (1) mounting the midwoofers as close to the tweeters as possible (so that the listening distance is much larger than the distance between the drivers) and (2) operating the midwoofers and tweeter in quadrature, i.e., achieved by ensuring that the tweeter lags the midwoofer by 90° in phase at the crossover frequency, and this in turn can be achieved if the crossover has a 3rd order Butterworth characteristic. To achieve the smallest distance between the mids and tweeters requires the drivers to have the smallest possible size - but there are design limitations to this (lowest mid-range frequency, for example, will place a lower limit to the mid's diameter).

Another problem with the MTM configuration is the interaction between the two midwoofers. For any frequency (over the operating range of the midwoofers), the off-axis response exhibits different lobing patterns because of the vertical distance between the midwoofers, and as a function of the frequency and horizontal distance from the speaker. At any off-axis listening position, although both midwoofers operate in phase (are time-aligned), the waves from each reach the listening position at different times (and therefore have a relative phase difference) - at frequencies where the time displacement between the two midwoofers corresponds to one-half of one wavelength, the outputs of the two midwoofers will null. However, the time displacement itself is a function of the distance from the speaker and frequency, which means that the lobing for a given listening distance and off-axis position will be different at different frequencies. Since the basic reason for this is the distance between the midwoofers, again the solution is to use as small drivers as possible, placed as close as possible. With this, for listening distances much greater than the distance between the drivers the lobing effects are much less obvious.

1. AES 74th Convention, September 1983
2. Archived 2014-02-27 at the Wayback Machine "Article by Rane discussing the Linkwitz-Riley crossover, time-alignment, lobing and correction of lobe tilt in TM or MT speaker configurations."
3. "Biro Technology article showing lobe correction with MTM loudspeaker configuration, and other analyses"
4. "Biro Technology article, section 3"