title: Little Chalky Island

abstract: The Little Chalky Island, part of the Big Green Group within the Furneaux Group, is a 5-hectare (12-acre) unpopulated granite island, located in the Bass Strait, west of the Flinders Island and south of Chalky Island, in Tasmania, in south-eastern Australia. The island is part of the Chalky, Big Green and Badger Island Groups Important Bird Area.

text:
# Little Chalky Island

The **Little Chalky Island**, part of the Big Green Group within the Furneaux Group, is a 5-hectare (12-acre) unpopulated granite island, located in the Bass Strait, west of the Flinders Island and south of Chalky Island, in Tasmania, in south-eastern Australia. The island is part of the Chalky, Big Green and Badger Island Groups Important Bird Area.

## Fauna

Recorded breeding seabird and wader species are little penguin, short-tailed shearwater, white-faced storm-petrel, Pacific gull, sooty oystercatcher, black-faced cormorant and Caspian tern. Cape Barren geese also breed on the island. The metallic skink is present.

## InfoBox

Little Chalky Island
| Little Chalky IslandLocation of the Little Chalky Island in Bass Strait | |
| --- | --- |
| Geography | |
| Location | Bass Strait |
| Coordinates | 40°07′48″S 147°53′24″E / 40.13000°S 147.89000°E / -40.13000; 147.89000 |
| Archipelago | Big Green Group, part of the Furneaux Group |
| Area | 5 ha (12 acres) |
| Administration | |
| **Australia** | |
| State | Tasmania |
| Demographics | |
| Population | *unpopulated* |


title: Live and Let Live (1921 film)

abstract: Live and Let Live is a 1921 silent American melodrama film, directed by Christy Cabanne. It stars Harriet Hammond, George Nichols, and Dulcie Cooper, and was released on July 3, 1921.

text:
# Live and Let Live (1921 film)

***Live and Let Live*** is a 1921 silent American melodrama film, directed by Christy Cabanne. It stars Harriet Hammond, George Nichols, and Dulcie Cooper, and was released on July 3, 1921.

## Plot

## Cast

## InfoBox

| Live and Let Live | |
| --- | --- |
|  | |
| Directed by | Christy Cabanne |
| Written by | H. Tipton Steck
Christy Cabanne |
| Starring | Harriet Hammond
George Nichols
Dulcie Cooper |
| Cinematography | Georges Benoit |
| Production
company | Robertson-Cole Co. |
| Distributed by | R-C Pictures |
| Release date | * July 3, 1921 (1921-07-03) (*US*) |
| Running time | 6 reels |
| Country | United States |
| Language | English |


abstract: Live at the Roxy or Live at the Roxy May 3 91 is the second full-length live album by Canadian rock band The Tragically Hip. The album was recorded on May 3, 1991, at the Roxy Theatre in Hollywood, California. The album was released as a standalone album on June 24, 2022, after previously being included in the 30th anniversary box set edition of Road Apples, which was released on October 15, 2021. The album features two songs which were previously released by the band as B-sides to singles in the Road Apples era: the ad-libbed "killer whale tank" version of "New Orleans Is Sinking", and the "double suicide" version of "Highway Girl".

text:
# Live at the Roxy (The Tragically Hip album)

***Live at the Roxy*** or ***Live at the Roxy May 3 91*** is the second full-length live album by Canadian rock band The Tragically Hip.

The album was recorded on May 3, 1991, at the Roxy Theatre in Hollywood, California. The album was released as a standalone album on June 24, 2022, after previously being included in the 30th anniversary box set edition of *Road Apples*, which was released on October 15, 2021.

The album features two songs which were previously released by the band as B-sides to singles in the *Road Apples* era: the ad-libbed "killer whale tank" version of "New Orleans Is Sinking", and the "double suicide" version of "Highway Girl".

## Track listing

*Live at the Roxy* track listing
| No. | Title | Length |
| --- | --- | --- |
| 1. | "Little Bones" | 4:43 |
| 2. | "She Didn't Know" | 3:58 |
| 3. | "Twist My Arm" | 3:53 |
| 4. | "Highway Girl" | 7:37 |
| 5. | "Cordelia" | 4:30 |
| 6. | "Trickle Down" | 3:10 |
| 7. | "The Luxury" | 4:01 |
| 8. | "Three Pistols" | 3:38 |
| 9. | "Fight" | 6:22 |
| 10. | "I'll Believe in You (Or I'll Be Leaving You Tonight)" | 4:01 |
| 11. | "New Orleans Is Sinking" | 8:48 |
| 12. | "On the Verge" | 5:13 |
| 13. | "Long Time Running" | 4:42 |
| 14. | "Blow at High Dough" | 4:50 |
| 15. | "All Canadian Surf Club" | 7:56 |
| Total length: | | 77:22 |

## Personnel

## Charts

Chart performance for *Live at the Roxy*
| Chart (2022) | Peak
position |
| --- | --- |
| Belgian Albums (Ultratop Flanders) | 89 |
| Canadian Albums (*Billboard*) | 5 |

## InfoBox

| Live at the Roxy | |
| --- | --- |
|  | |
| Live album by The Tragically Hip | |
| Released | June 24, 2022 |
| Recorded | May 3, 1991 |
| Venue | Roxy Theatre, Hollywood, California |
| Genre | Rock |
| Length | 77:22 |
| Label | Universal Music Canada |
| Producer | Don Smith |
| The Tragically Hip chronology | |
| *Saskadelphia*
(2021) ***Live at the Roxy***
(2022) | |


title: Liz Cruz (tennis)

abstract: Liz Cruz is a former Salvadoran tennis player. Cruz has a WTA singles career high ranking of 805 achieved on 26 April 2004. She also has a WTA doubles career high ranking of 656 achieved on 12 April 2004. Playing for El Salvador in Fed Cup, Cruz has a W/L record of 14–11.

text:
# Liz Cruz (tennis)

**Liz Cruz** (born 21 July 1985) is a former Salvadoran tennis player.

Cruz has a WTA singles career high ranking of 805 achieved on 26 April 2004. She also has a WTA doubles career high ranking of 656 achieved on 12 April 2004.

Playing for El Salvador in Fed Cup, Cruz has a W/L record of 14–11.

## ITF finals (0–2)

### Doubles (0–2)

| Legend  $100,000 tournaments  $75,000 tournaments  $50,000 tournaments  $25,000 tournaments  $10,000 tournaments | Finals by surface  Hard (0–0)  Clay (0–2)  Grass (0–0)  Carpet (0–0) |
| --- | --- |

| Result | Date | Category | Tournament | Surface | Partner | Opponents | Score |
| --- | --- | --- | --- | --- | --- | --- | --- |
| Runner-up | 16 September 2002 | 10,000 | Santo Domingo, Dominican Republic | Clay | Ana Osorio | Emma Zuleta
Hilda Zuleta Cabrera | 4–6, 4–6 |
| Runner-up | 6 October 2003 | 10,000 | San Salvador, El Salvador | Clay | Marcela Rodezno | Soledad Esperón
Flavia Mignola | 4–6, 6–2, 2–6 |

## Fed Cup participation

### Singles

| Edition | Date | Location | Against | Surface | Opponent | W/L | Score |
| --- | --- | --- | --- | --- | --- | --- | --- |
| 2002 Fed Cup
Americas Zone Group II | 14 May 2002 | Havana, Cuba | Bermuda | Hard | Zarah De Silva | W | 6–2, 6–0 |
| | 15 May 2002 | | Chile | | Carolina Aravena | W | 6–1, 2–6, 6–2 |
| | 16 May 2002 | | Bolivia | | Mónica Poveda | L | 4–6, 6–7 |
| | 17 May 2002 | | Dominican Republic | | Glenny Cepeda | W | 6–3, 5–7, 6–2 |
| | 18 May 2002 | | Panama | | Yimara Figueroa | W | 6–1, 6–1 |
| 2003 Fed Cup
Americas Zone Group I | 23 April 2003 | Campinas, Brazil | Cuba | clay | Yanet Núñez Mojarena | L | 6–2, 4–6, 1–6 |
| | 24 April 2003 | | Brazil | | Maria Fernanda Alves | L | 1–6, 1–6 |
| | 25 April 2003 | | Paraguay | | Amanda Melgarejo | W | 6–1, 6–4 |
| | 26 April 2003 | | Canada | | Maureen Drake | L | 0–6, 0–6 |
| 2004 Fed Cup
Asia/Oceania Zone I | 20 April 2004 | Bahia, Brazil | Puerto Rico | Clay | Vilmarie Castellvi | L | 2–6, 1–6 |
| | 21 April 2004 | | Mexico | | Daniela Múñoz Gallegos | L | 5–7, 2–6 |
| | 22 April 2004 | | Colombia | | Karen Castiblanco | W | 6–3, 6–1 |
| | 23 April 2004 | | Canada | | Marie-Ève Pelletier | L | 2–6, 4–6 |

## InfoBox

Liz Cruz
| Country (sports) | El Salvador |
| --- | --- |
| Born | (1985-07-21) 21 July 1985
San Salvador, El Salvador |
| Retired | 2009 |
| Plays | Right-handed (two-handed backhand) |
| Prize money | $3,593 |
| Singles | |
| Career record | 9 - 16 |
| Highest ranking | 805 (26 April 2004) |
| Doubles | |
| Career record | 16 - 16 |
| Highest ranking | 656 (12 April 2004) |
| Team competitions | |
| Fed Cup | 14–11 |


title: Lizanne Murphy

abstract: Lizanne Murphy is a Canadian professional basketball player. She plays for Canada women's national basketball team. She competed in the 2012 Summer Olympics and 2016 Summer Olympics

text:
# Lizanne Murphy

**Lizanne Murphy** (born 15 March 1984) is a Canadian professional basketball player. She plays for Canada women's national basketball team. She competed in the 2012 Summer Olympics and 2016 Summer Olympics

## Pam Am games 2015

Murphy was a member of the Canada women's national basketball team which participated in basketball at the 2015 Pan American Games held in Toronto, Ontario, Canada 10 to 26 July 2015. Canada opened the preliminary rounds with an easy 101–38 win over Venezuela. The following day they beat Argentina 73–58. The final preliminary game was against Cuba; both teams were 2–0, so the winner would win the group. The game went down to the wire with Canada eking out a 71–68 win. Canada would face Brazil in the semifinal.

Everything seemed to go right in the semifinal game. Canada opened the game with an 11–2 run on seven consecutive points by Miranda Ayim. Miah-Marie Langlois contributed five assists. In the third quarter Canada strongly out rebounded Brazil and hit 69% of their field goals to score 33 points in the quarter. Murphy and Nirra Fields hit three-pointers to help extend the lead to 68–39 at the end of three-quarters. Canada continued to dominate in the fourth quarter with three-pointers by Kia Nurse and Kim Gaucher. Canada went on to win the game 91–63 to earn a spot in the gold-medal game against the USA.

The gold-medal game matched up the host team Canada against USA, in a sold-out arena dominated by fans in red and white and waving the Canadian flag. The Canadian team, arm in arm, sang *Oh Canada* as the respective national anthems were played.

After trading baskets early the US edged out to a double-digit lead in the second quarter. However the Canadians, spurred on by the home crowd cheering, fought back and tied up the game at halftime. In the third quarter, it was Canada's time to shine as they outscore the US 26–15. The lead would reach as high as 18 points. The USA would fight back, but not all the way and Canada won the game and the gold-medal 81–73. It was Canada's first gold-medal in basketball in the Pan Am games. Nurse was the star for Canada with 33 points, hitting 11 of her 12 free-throw attempts in 10 of her 17 field-goal attempts including two of three three-pointers. Achonwa contributed three points.

## Professional career

Murphy has played professionally in Finland, Lithuania, Slovakia, Poland and France, and is currently playing for Union Féminine Angers Basket 49 in France.

## Honours

In 2012 Murphy was awarded the Queen Elizabeth II Diamond Jubilee Medal.

## Hofstra University statistics

Source

Legend
| GP | Games played | GS | Games started | MPG | Minutes per game |
| --- | --- | --- | --- | --- | --- |
| FG% | Field goal percentage | 3P% | 3-point field goal percentage | FT% | Free throw percentage |
| RPG | Rebounds per game | APG | Assists per game | SPG | Steals per game |
| BPG | Blocks per game | PPG | Points per game | **Bold** | Career high |

| YEAR | SCHOOL | GP | GS | MPG | FG% | 3P% | FT% | RPG | APG | SPG | BPG | PPG |
| --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- |
| 2003–04 | Hofstra | 25 | 23 | 27.0 | 38.7 | 21.9 | 72.1 | 6.0 | 1.9 | 1.4 | 0.0 | 7.2 |
| 2004–05 | Hofstra | 29 | 29 | **35.8** | **45.0** | 36.0 | 73.0 | **10.4** | **2.7** | 1.0 | **0.6** | **11.8** |
| 2005–06 | Hofstra | 31 | 31 | 32.4 | 38.7 | 30.5 | 70.6 | 7.8 | 2.6 | **1.5** | 0.3 | 10.4 |
| 2006–07 | Hofstra | **34** | **34** | 33.6 | 43.1 | **38.2** | **74.7** | 8.7 | 2.2 | 1.3 | 0.3 | 11.4 |
| Total | Hofstra | 119 | 117 | 32.4 | 41.7 | 32.8 | 72.8 | 8.3 | 2.4 | 1.3 | 0.3 | 10.4 |

## InfoBox

Lizanne Murphy
|  | |
| --- | --- |
| Angers BC 49 | |
| Position | Small forward |
| League | LFB |
| Personal information | |
| Born | (1984-03-15) 15 March 1984
Montreal, Quebec, Canada |
| Listed height | 6 ft 1 in (1.85 m) |
| Listed weight | 165 lb (75 kg) |
| Career information | |
| High school | Dawson College
(Westmount, Quebec) |
| College | Hofstra (2003–2007) |
| WNBA draft | 2007: undrafted |
| Medals      Women's basketball  Representing  Canada  FIBA Americas Women's Championship  2013 Mexico   Pan American Games  2015 Toronto Team | |


title: Live scan

abstract: Live scan fingerprinting refers to both the technique and the technology used by law enforcement agencies and private facilities to capture fingerprints and palm prints electronically, without the need for the more traditional method of ink and paper. In the United States, most law enforcement agencies use live scan as their primary tool in the recognition of human individuals. Live scan is commonly used for criminal booking, sexual offender registration, civil applicant and background check. In the UK, many major police custody suites are now equipped with Live Scan machines, which allow for suspects' fingerprints to be instantly compared with a national database, IDENT1, with results usually reported in less than ten minutes. Live scan package includes a PC workstation, a fingerprint capture device, a digital camera and a signature pad. The product and technology have been around for over twenty years.

text:
# Live scan

**Live scan** fingerprinting refers to both the technique and the technology used by law enforcement agencies and private facilities to capture fingerprints and palm prints electronically, without the need for the more traditional method of ink and paper.

In the United States, most law enforcement agencies use live scan as their primary tool in the recognition of human individuals. Live scan is commonly used for criminal booking, sexual offender registration, civil applicant and background check.

In the UK, many major police custody suites are now equipped with Live Scan machines, which allow for suspects' fingerprints to be instantly compared with a national database, IDENT1, with results usually reported in less than ten minutes.

Live scan package includes a PC workstation (desktop or laptop), a fingerprint capture device, a digital camera and a signature pad. The product and technology have been around for over twenty years.

## Applications

### Level 2 background check

Level 2 background checks are a fingerprint-based criminal background check which includes in-depth investigation of an individual’s criminal history, credit report and other relevant public records, Processed by the FBI's National Crime Information Center (NCIC). In the vast majority of cases, level 2 background checks are required for contract personnel who are permitted access on school grounds when students are present, or if they will have direct contact with students or have access to or control of school funds. By law, only certified law enforcement personnel can fulfill the fingerprinting process, as they must attach their police ID number to the fingerprint card. Often times, school districts have their own set of requirements implemented into each contractor's RFP bids. They may require additional criminal background checks from local police departments where a subject has resided in their past.

Out-of-State Live Scan

As a result of many different procedures and processes for each state, Live Scan previously had to be completed in person because states do not communicate with other states. In 2013, many states started allowing applicants to submit FD-258 fingerprinting cards to registered live scan providers because the cost was found to be astronomically high, especially for travelling medical professionals who are required by law to be registered in each state they work in.


title: Live single-cell imaging

abstract: In systems biology, live single-cell imaging is a live-cell imaging technique that combines traditional live-cell imaging and time-lapse microscopy techniques with automated cell tracking and feature extraction, drawing many techniques from high-content screening. It is used to study signalling dynamics and behaviour in populations of individual living cells. Live single-cell studies can reveal key behaviours that would otherwise be masked in population averaging experiments such as western blots. In a live single-cell imaging experiment a fluorescent reporter is introduced into a cell line to measure the levels, localisation or activity of a signalling molecule. Subsequently, a population of cells is imaged over time with careful atmospheric control to maintain viability, and reduce stress upon the cells. Automated cell tracking is then performed upon these time series images, following which filtering and quality control may be performed. Analysis of features describing the fluorescent reporter over time, can then lead to modelling and generation of biological conclusions from which further experimentation can be guided.

text:
# Live single-cell imaging

In systems biology, **live single-cell imaging** is a live-cell imaging technique that combines traditional live-cell imaging and time-lapse microscopy techniques with automated cell tracking and feature extraction, drawing many techniques from high-content screening. It is used to study signalling dynamics and behaviour in populations of individual living cells. Live single-cell studies can reveal key behaviours that would otherwise be masked in population averaging experiments such as western blots.

In a live single-cell imaging experiment a fluorescent reporter is introduced into a cell line to measure the levels, localisation or activity of a signalling molecule. Subsequently, a population of cells is imaged over time with careful atmospheric control to maintain viability, and reduce stress upon the cells. Automated cell tracking is then performed upon these time series images, following which filtering and quality control may be performed. Analysis of features describing the fluorescent reporter over time, can then lead to modelling and generation of biological conclusions from which further experimentation can be guided.

## History

The field of live single-cell imaging began with work demonstrating that green fluorescent protein (GFP), found in the jellyfish *Aequorea victoria*, could be expressed in living organisms. This discovery allowed researches to study the localisation and levels of proteins in living single cells, for example the activity of kinases, and calcium levels, through the use of FRET reporters, as well as numerous other phenotypes.

Generally, these early studies focused on the localisation and behaviour of these fluorescently labelled proteins at the subcellular level over short periods of time. However, this changed with pioneering studies looking at the tumour suppressor p53 and the stress and inflammation related protein NF-κB, revealing there levels and localisation respectively to oscillate over periods of several hours. Live single-cell approaches were also applied around this time to understand signalling in single-cell organisms including bacteria, where live studies allowed the dynamics of competence to be modelled, and yeast revealing the mechanism underpinning coherent cell cycle entry.

## Experimental work flow

### Fluorescent reporters

In any live single-cell study, the first step is to introduce a reporter for our protein/molecule of interest into a suitable cell line. Much of the growth in the field has come from improved gene editing tools such as CRISPR, this leading to development of a wide variety of fluorescent reporters.

Fluorescent tagging uses a gene encoding a fluorescent protein that is inserted into the coding frame of the protein to be tagged. Texture and intensity features can be extracted from images of the tagged protein.

Molecules can also be tagged in vitro and introduced into the cell with electrophoresis. This enable the use of smaller and more photostable fluorophores but requires additional washing steps.

By engineering expression of FRET reporter such that donor and emitter fluorophores are only in close proximity when an upstream signalling molecule is either active or inactive, the donor to emitter fluorescence intensity ratio can be used as a measure of signalling activity. For example, in key early work using FRET reporters for live single studies FRET reporters of Rho GTPase activity were engineered.

Nuclear translocation reporters use engineered nuclear import and nuclear export signals, which can be inhibited by signalling molecules, to record signalling activity via the ratio of nuclear reporter to cytoplasmic reporter.

### Live imaging

Live-cell imaging of fluorescently labelled cells must then be performed. This requires simultaneous incubation of cells in stress free conditions whilst imaging is being performed. There are several factors that must be taken into account when choosing imaging conditions such as phototoxicity, photobleaching, tracking ease, rate of change of signalling activity, and Signal to noise. These all relate to imaging frequency and illumination intensity.

Phototoxicity can result from being exposed to large amounts of light over long periods of time. Cells will become stressed, which can lead to apoptosis. High frequency and intensity imaging can cause the fluorophore signal to decrease through photobleaching. Higher frequency imaging generally makes automated cell tracking easier. Imaging frequencies should be able to capture necessary changes to signalling activity. Low intensity imaging or poor reporters may prevent low levels of signalling activity within the cell from being detected.

### Live-cell tracking

Following live-cell imaging, automated tracking software is then employed to extract time series data from videos of cells. Live-cell tracking is generally split into two steps, image segmentation of cells or their nuclei and cell/nuclei tracking based on these segments. Many challenges still exist in this stage of a live single-cell imaging study. However recent progress has been highlighted in the field first objective comparison of single-cell tracking techniques.

Quantitative phase imaging (QPI) is particularly useful for live-cell tracking. As QPI is label-free, it does not induce phototoxicity, nor does it suffer from the photobleaching associated with fluorescence imaging. QPI offers a significantly higher contrast than conventional phase imaging techniques, such as phase-contrast microscopy. The higher contrast facilitates more robust cell segmentation and tracking than achievable with conventional phase imaging.

New techniques that use a combination of traditional image segmentation techniques and deep learning to segment cells are also becoming more widely used as well.

### Data analysis

In the final stage of a live single-cell imaging study, modelling and analysis of time series data extracted from tracked cells is performed. Pedigree tree profiles can be constructed to reveal heterogeneity in individual cell response and downstream signalling. Refining and compressing data from video-based single-cell tracking can provide relevant inputs for big data analysis, contributing to the identification of biomarkers for enhanced diagnosis and prognosis. A large overlap between analysis of single-cell live data, and modelling of biological systems using ordinary differential equations exists. Results from this key data analysis step will drive further experimentation, for example by perturbing aspects of the system being studied and then comparing signalling dynamics with those of the control population.

## Applications

By analysing the signalling dynamics of single cells across entire populations, live single-cell studies are now letting us understand how these dynamics affect key cellular decision making processes. For example, live single-cell studies of the growth factor ERK revealed it to possess digital all-or-nothing activation. Moreover, this all-or-nothing activation was pulsatile, and the frequency of pulses in turn determined whether mammalian cells would commit to cell cycle entry or not. In another key example, live single-cell studies of CDK2 activity in mammalian cells demonstrated that bifurcation in CDK2 activity following mitosis, determined whether cells would continue to proliferate or enter a state of quiescence; now shown, using live single-cell methods, to be caused by stochastic DNA damage inducing upregulation of p21, which inhibits CDK2 activity. Moving forward, live single-cell studies will now likely incooperate multiple reporters into single-cell lines to allow complex decision making processes to be understood, however challenges still remain in scaling up live single-cell studies.


title: Live sand

abstract: Live sand, a term used in aquarism, is natural reef coral sand populated with millions of beneficial bacteria and organisms which aid in the dissolving of organic wastes like ammonia, nitrites and nitrates produced by larger organisms in saltwater aquariums. Live sand can be purchased from aquarium stores, but most hobbyists make their own by seeding dead sand with live sand from other aquarium systems.

text:
# Live sand

**Live sand**, a term used in aquarism, is natural reef coral sand populated with millions of beneficial bacteria and organisms which aid in the dissolving of organic wastes like ammonia, nitrites and nitrates produced by larger organisms in saltwater aquariums. Live sand can be purchased from aquarium stores, but most hobbyists make their own by seeding dead sand with live sand from other aquarium systems.

## Further reading

* *Advanced Marine Aquarium Techniques*, by Jay Hemdal


title: Livewell Southwest

abstract: Livewell Southwest, formerly known as Plymouth Community Healthcare is a community interest company established under the Transforming Community Services programme in 2011. It employs two mental health teams working within Derriford Hospital, on the wards and in A&E and provide out of hours support to Derriford via on call mental health staff. It took over social services in the city of Plymouth in April 2015. In May 2015 it won a four-year contract to deliver Pathways for adults with complex needs for Plymouth, South Hams and West Devon by the Northern, Eastern and Western Devon Clinical Commissioning Group. It took over the five surgeries of the Plymouth Mayflower Medical Group, with about 40,000 patients, in 2022. It also set up a short-term care centre to help people recover after having hospital treatment, working with Age UK Plymouth.

text:
# Livewell Southwest

**Livewell Southwest**, formerly known as Plymouth Community Healthcare is a community interest company established under the Transforming Community Services programme in 2011.

It employs two mental health teams working within Derriford Hospital, on the wards and in A&E and provide out of hours support to Derriford via on call mental health staff.

It took over social services in the city of Plymouth in April 2015.

In May 2015 it won a four-year contract to deliver Pathways for adults with complex needs for Plymouth, South Hams and West Devon by the Northern, Eastern and Western Devon Clinical Commissioning Group.

It took over the five surgeries of the Plymouth Mayflower Medical Group, with about 40,000 patients, in 2022. It also set up a short-term care centre to help people recover after having hospital treatment, working with Age UK Plymouth.


title: Liveware

abstract:
Liveware was used in the computer industry as early as 1966 to refer to computer users, often in humorous contexts, by analogy with hardware and software. It is a slang term used to denote people using computers, and is based on the need for a human, or liveware, to operate the system using hardware and software. Other words meaning the same or similar to liveware include wetware, meatware and jellyware. Meatware and jellyware are most often used by internal customer support personnel as slang terms when referencing human operating errors.
The term liveware is found in the Culture novels by Iain M. Banks. A Culture Ship is named "Liveware Problem".

text:
# Liveware

**Liveware** was used in the computer industry as early as 1966 to refer to computer users, often in humorous contexts, by analogy with hardware and software.

It is a slang term used to denote people using (attached to) computers, and is based on the need for a human, or liveware, to operate the system using hardware and software. Other words meaning the same or similar to liveware include wetware, meatware and jellyware. Meatware and jellyware are most often used by internal customer support personnel as slang terms when referencing human operating errors. The term liveware is found in the *Culture* novels by Iain M. Banks. A Culture Ship is named "Liveware Problem".


title: Liu Tang

abstract: Liu Tang is a fictional character in Water Margin, one of the Four Great Classical Novels in Chinese literature. Nicknamed "Red Haired Devil", he ranks 21st among the 36 Heavenly Spirits, the first third of the 108 Stars of Destiny.

text:
# Liu Tang

**Liu Tang** is a fictional character in *Water Margin*, one of the Four Great Classical Novels in Chinese literature. Nicknamed "Red Haired Devil", he ranks 21st among the 36 Heavenly Spirits, the first third of the 108 Stars of Destiny.

## Background

A native of Dongluzhou (東潞州; believed to be present-day Changzhi, Shanxi), Liu Tang is muscular and dark-complexioned. He is nicknamed "Red Haired Devil" because his hair is of a crimson hue and his broad face bears a prominent red birthmark. A skilled fighter, he specialises in the use of pudao. With no fixed abode, he mainly does illegal trading in Shandong and Hebei.

## Robbing the convoy of birthday gifts

Liu Tang gets wind of the conveyance of valuables to the Grand Tutor Cai Jing in the imperial capital Dongjing from Daming. They are birthday gifts from Cai's son-in-law Grand Secretary Liang Shijie, the prefect of Daming. Liu rushes to Dongxi village in Yuncheng County to suggest to Chao Gai, the village's headman who is well-known for chivalry, that they get together to hijack the valuables. Before he reaches Chao's home, he gets drunk and falls asleep in a rundown temple in the village.

Lei Heng, a chief constable of Yuncheng, comes to the temple that night while on patrol with his men. Lei is certain that Liu, with his odd and vagabond looks, is up to no good in the village. They pounce on him and tie him up before he could resist. They then stop by at Chao Gai's manor for some refreshment. Out of curiosity, Chao secretly goes to check on Liu, who is suspended in a side room. Liu tells Chao the purpose of his visit. Chao Gai then lies to Lei Heng that Liu Tang is his nephew, thus winning his release. However, feeling sore over the arrest, Liu catches up with Lei Heng as he returns to office and challenges him to a fight. Chao Gai comes to the scene and stops the clash.

The hijack team eventually comprises seven men, namely Chai Gai, Wu Yong, Gongsun Sheng, Liu Tang and the three Ruan brothers. Disguised as date traders and with the help of Bai Sheng, who imposes as a wine seller, they trick the escort party led by Yang Zhi to take the drugged wine of Bai. When the escorts fall over numb in their limbs, the seven men cart away the valuables.

But authorities soon track down essential clues and sends soldiers to seize Chao Gai at his house. Song Jiang, a clerk of Yuncheng's magistrate, learns of the arrest order and rushes to alert Chao to flee. After beating their pursuers, Chao leads his gang to join the outlaw stronghold at Liangshan Marsh.

## Joining Liangshan

Worried that Chao Gai would usurp his position, Wang Lun, the chief of Liangshan, tries to send the group away with gifts and excuses. Wu Yong instigates Lin Chong, who has been cold-shouldered by Wang since joining the stronghold to kill the chief. Chao Gai is then elected the new chief of Liangshan, with Liu Tang taking the fifth position.

Chao Gai sends Liu Tang to take some gold pieces and a letter to Song Jiang to convey his gratitude. Song is shocked when Liu, whose wanted notice bearing his picture is widely posted in the region, greets him openly one night on the street. Besides, Liu could easily identified by the prominent birthmark on his face. Nevertheless, Song takes Liu to a quiet inn where he accepts only one piece of gold and the letter. It is this letter which later leads to Song killing his mistress Yan Poxi, who threatens to report his link to the outlaws to the authorities. The incident starts Song on the way to become a bandit.

When the Liangshan outlaws attack Dongchang Prefecture (東昌府; in present-day Liaocheng, Shandong) for food, they come up against the garrison commander Zhang Qing, who flings stones with great accuracy. Zhang fells many Liangshan warriors from horseback with his stones. Liu Tang, seeing that mounted combat is getting nowhere, charges at Zhang on foot. But he is captured when Zhang knocks him down with a stone. He is freed after the outlaws overran Dongchang.

## Campaigns and death

Liu Tang is appointed as one of the infantry leaders of Liangshan after the 108 Stars of Destiny came together in what is called the Grand Assembly. He participates in the campaigns against the Liao invaders and rebel forces in Song territory following amnesty from Emperor Huizong for Liangshan.

In the battle of Hangzhou in the campaign against Fang La, Liu Tang meets his end when, eager to score merit, he charges into the city upon noticing the gate is open. A beam is dropped on him when he gets past the gate, crushing him to death. He is later awarded the posthumous title "Martial Gentleman of Loyalty" (忠武郎).

* Buck, Pearl S. (2006). *All Men are Brothers*. Moyer Bell. ISBN 9781559213035.
* Miyazaki, Ichisada (1993). *Suikoden: Kyoko no naka no Shijitsu* (in Japanese). Chuo Koronsha. ISBN 978-4122020559.
* Keffer, David. "Outlaws of the Marsh: A Somewhat Less Than Critical Commentary". *Poison Pie Publishing House*. Retrieved 19 December 2016.
* Li, Mengxia (1992). *108 Heroes from the Water Margin* (in Chinese). EPB Publishers. p. 43. ISBN 9971-0-0252-3.
* Miyamoto, Yoko (2011). "Water Margin: Chinese Robin Hood and His Bandits". *Demystifying Confucianism*. Retrieved 19 December 2016.
* Shibusawa, Kou (1989), *Bandit Kings of Ancient China*, Koei
* Zhang, Lin Ching (2009). *Biographies of Characters in Water Margin*. Writers Publishing House. ISBN 978-7506344784.

## InfoBox

| Liu Tang | |
| --- | --- |
| *Water Margin* character | |
| Liu Tang | |
| First appearance | Chapter 14 |
| Nickname | "Red Haired Devil"<br>赤髮鬼 |
| Rank | 21st, *Deviance* Star (天異星) of the 36 Heavenly Spirits |
| Infantry leader of Liangshan | |
| Origin | Illegal trader |
| **Ancestral home / Place of origin** | Dongluzhou (believed to be present-day Changzhi, Shanxi) |
| Weapon | Pudao |
| Names | |
| Simplified Chinese | 刘唐 |
| Traditional Chinese | 劉唐 |
| Pinyin | Liú Táng |
| Wade–Giles | Liu T'ang |


title: Liu Tianfu

abstract: Liu Tianfu was a Chinese Communist revolutionary and politician. He was a leader of the East River Column, an anti-Japanese guerrilla force in Guangdong during the Second Sino-Japanese War. From 1981 to 1983 he served as Governor of Guangdong, where he was a strong supporter of economic reform and worked to exonerate Guangdong cadres who had been unjustly punished during the "anti-localism movement" in the 1950s.

text:
# Liu Tianfu

**Liu Tianfu** (Chinese: 刘田夫; October 1908 – 21 April 2002) was a Chinese Communist revolutionary and politician. He was a leader of the East River Column, an anti-Japanese guerrilla force in Guangdong during the Second Sino-Japanese War. From 1981 to 1983 he served as Governor of Guangdong, where he was a strong supporter of economic reform and worked to exonerate Guangdong cadres who had been unjustly punished during the "anti-localism movement" in the 1950s.

## Early life and wartime career

Liu was born in Guang'an, Sichuan, in October 1908, during the late Qing dynasty. He joined the Communist Youth League of China in 1934, and participated in anti-Japanese movement in Shanghai. In December 1935, he was arrested by the Kuomintang government for his activities.

After Japan launched a full-scale attack on Shanghai in August 1937 at the beginning of the Second Sino-Japanese War, Liu was released and enlisted in the 8th Group Army of the National Revolutionary Army to fight in the war. In May 1939, Liu transferred to Guangdong province, where he helped organize Communist guerrillas to fight the Japanese. He served as Political Commissar of the Guangdong People's Anti-Japanese Guerrillas, also known as the East River Column, commanded by Zeng Sheng.

After the surrender of Japan in 1945, the East River Column moved north to Shandong, and was reorganized as the Liangguang (Guangdong-Guangxi) Column of the Chinese Communist Party's Third Field Army. Liu served as Deputy Director of the Political Department of the Liangguang Column. During the Chinese Civil War, Liu fought in major battles including the Battle of East Henan, the Battle of Jinan, and the Huaihai campaign. In September 1949, he moved with the Liangguang Column back south to participate in the battle for Guangdong.

## People's Republic of China

After the founding of the People's Republic of China in October 1949, Liu was appointed Party Chief of Gaozhou-Leizhou prefecture, and organized logistical support for the Battle of Hainan Island. He worked in economic development of Guangdong province after 1956.

Liu served as Secretary of Guangdong Provincial Party Committee from 1960 to 1965, as well as Vice Governor of Guangdong from 1963 to 1965. After the Cultural Revolution, when Governor Xi Zhongxun was transferred to Beijing in November 1980, he appointed Liu, then 72 years old, as his successor.

As governor, Liu advocated the cause of the Guangdong cadres who had suffered during the "anti-localism movement" in the 1950s. As an outsider who had worked for four decades in the province, he proclaimed that there were no anti-outsider sentiments among native Cantonese cadres. Without explicitly naming him, he blamed Tao Zhu for the unfair treatment of the Cantonese. Partly due to intervention from Liu and Hu Yaobang, the Central Committee of the Chinese Communist Party set up a special committee to reinvestigate the matter. In 1994, the committee exonerated the victimized Guangdong cadres, especially their leader Fang Fang, who had died in prison during the Cultural Revolution.

Liu was a stalwart supporter of economic reforms and Guangdong's local interests. However, he only served as governor for two years due to his advanced age. He was replaced by Liang Lingguang in 1983, and became a member of the Central Advisory Commission. Liu and his successors Liang and Ye Xuanping were all considered reform pioneers who propelled the economic development of Guangdong in the 1980s.

Liu was a member of the 12th and 13th National Congress of the Chinese Communist Party. He was also a delegate to the 5th National People's Congress.

Liu died on 21 April 2002 in Guangzhou, aged 93.

## InfoBox

| Liu Tianfu | |
| --- | --- |
| 刘田夫 | |
|  | |
|  | |
| Governor of Guangdong | |
| **In office**
March 1981  April 1983 | |
| Preceded by | Xi Zhongxun |
| Succeeded by | Liang Lingguang |
|  | |
| Personal details | |
| Born | October 1908
Guang'an, Sichuan, Qing dynasty |
| Died | 21 April 2002(2002-04-21) (aged 93)
Guangzhou, Guangdong, China |
| Political party | Chinese Communist Party |
|  | |
|  | |
| Chinese name | |
| Traditional Chinese | 劉田夫 |
| Simplified Chinese | 刘田夫 |
| Transcriptions  Standard Mandarin  Hanyu Pinyin Liú Tiánfū  Wade–Giles Liu T'ien-fu | |
|  | |
|  | |
|  | |


title: Load Wedding

abstract: Load Wedding is a 2018 Pakistani romantic comedy film, which is directed by Nabeel Qureshi and co-written and co-produced by Fizza Ali Meerza under the banner of Filmwala Pictures. The film stars Fahad Mustafa and Mehwish Hayat in lead roles. Released on Eid al-Adha; 22 August 2018, it was distributed by IMGC and Geo Films nationwide, and by Zee Studios internationally.

text:
# Load Wedding

***Load Wedding*** is a 2018 Pakistani romantic comedy film, which is directed by Nabeel Qureshi and co-written and co-produced by Fizza Ali Meerza under the banner of Filmwala Pictures. The film stars Fahad Mustafa and Mehwish Hayat in lead roles. Released on Eid al-Adha; 22 August 2018, it was distributed by IMGC and Geo Films nationwide, and by Zee Studios internationally.

## Cast

## Production

Fahad Mustafa hinted the film in February 2017. Film was announced on 8 December. This will be his fourth collaboration with director-producer-duo Nabeel Qureshi and Fizza Ali Meerza. Qureshi commented on this that he feels best at working with him, and further revealed that it will be a different film from his previous three films. "There are a lot of things that I and Fizza believe in and we are trying to say them", he said to *Gulf News*.

This was Mehwish Hayat's third collaboration with the three of them, including 2016 film *Actor in Law*. She commented on the film that it "tackles social issues prevalent in our society that need to be highlighted", for which her character is different from her previous ones, she said it as "a very traditional desi role". Meerza commented that they are "truly one of the finest actors our industry has". She said that the film explains "the load that comes" in the society "with the wedding". Mustafa shared with *The News*, "two of the biggest filmmakers in the country want to work with me and release their films at the same time", where he talked about this film and Nadeem Baig's *Jawani Phir Nahi Ani 2*.

On 13 July, HIP reported that Mohsin Abbas Haider has co-written the film, as well as wrote the lyrics for two songs and has sung one of them.

## Release

Film teaser was released on 27 June, and trailer on 17 July. The film was premiered on 18 August in Lahore, on 19 August in Dubai and on 21 August in Karachi. It released on Eid al-Adha worldwide; 22 August 2018, and on 23 August in UAE.

Despite getting mostly positive reviews, the film could not manage to do well business at the box office due to very limited number of screens it got, as compared to the competitor films *Jawani Phir Nahi Ani 2* of ARY Films and *Parwaaz Hai Junoon* of Hum Films. The director Nabeel Qureshi called it "unfair distribution", while the cinemas' management said that the "public demand" was on priority. Geo Films was also blamed for not promoting the film correctly, as others were doing.

## Reception

### Critical reception

Amna Karim writing for Bolo Jawan gave the film 4 out of 5 stars, appreciating Nabeel Qureshi for bringing a socially responsible narrative to Pakistani cinema. Shahjehan Saleem of *Something Haute* rated the film 4 out 5 stars and said, "the film does suffer from a few hiccups", however, these are not "big enough to affect the narrative", because set on "family problems", it has "the stars along with substance and soul". Omair Alavi rated 3.5 stars out of 5 and praised, "Everything from art direction to dialogues to actors' accent is perfect", adding that the social message is something to ponderthe audience. Sonia Ashraf wrote to *DAWN Images* praised the film due to the message in love story and most of the characters, but criticized the script length. Rahul Aijaz of *The Express Tribune* rated 2 out of 5 stars and said that despite the "strong message" about "social mockery" of marriage concept, the film "fails to be an up-to-the-mark film for multiple reasons."

### International screening

The film was screened at the 2019 Jaipur International Film Festival, and was nominated in the category of Best Film. It was also screened at the 2019 Rajasthan International Film Festival, and it won in the category of Best Feature Film International.

### Home media

The film had its television premiere on 16 February 2019 on Geo Entertainment, and it was premiered on YouTube on 27 February.

### Digital release

The film was made available on Amazone Prime Video to stream online.

## Accolades

| Ceremony | Won | Nominated |
| --- | --- | --- |
| 18th Lux Style Awards
 | * Fahad Mustafa – Best Actor (Critics' choice) * Mehwish Hayat – Best Actress (Viewers' choice) | * Filmwala Pictures – Best Film * Nabeel Qureshi – Best Director * Mulazim Hussain, Missal Zaidi for "Rangeya" – Best Playback Singer |

## Soundtrack

| Load Wedding | |
| --- | --- |
| Soundtrack album by Shani Arshad | |
| Released | 1 August 2018 |
| Genre | Filmi Soundtrack |
| Length | 18:18 |
| Language | Urdu
English
Punjabi |
| Label | Zee Music |
| Shani Arshad chronology | |
| *Na Maloom Afraad 2*
(2017) ***Load Wedding***
(2018) *Quaid-e-Azam Zindabad*
(2022) | |
| External audio  Audio jukebox on YouTube | |

Like previous films for the director-producer-duo, this time also the music has been composed by Shani Arshad. The soundtrack album was released on 1 August 2018 by Zee Music Company.

| No. | Title | Lyrics | Singer(s) | Length |
| --- | --- | --- | --- | --- |
| 1. | "Rangeya" | Shani Arshad | Mulazim Hussain, Missal Zaidi | 4:00 |
| 2. | "Kooch Na Karin" | Haleem Jalandari | Azhar Abbas | 4:36 |
| 3. | "Munday Lahore De" | Mohsin Abbas Haider, Shani Arshad | Mohsin Abbas Haider, Saima Jahan | 4:14 |
| 4. | "Good Luck" | Mohsin Abbas Haider | Asrar, Tehreem Muniba | 2:34 |
| 5. | "Faqeera" | Sabir Zafar | Shani Arshad | 2:54 |
| Total length: | | | | 18:18 |

## InfoBox

| Load Wedding | |
| --- | --- |
| Film poster | |
| Directed by | Nabeel Qureshi |
| Written by | Fizza Ali Meerza
Nabeel Qureshi
Mohsin Abbas Haider |
| Produced by | Fizza Ali Meerza
Mehdi Ali |
| Starring | Fahad Mustafa
Mehwish Hayat
Samina Ahmed
Faiza Hasan |
| Narrated by | Qaiser Piya |
| Cinematography | Rana Kamran |
| Edited by | Asif Mumtaz |
| Music by | Shani Arshad |
| Production
companies | Filmwala Pictures
Geo Films |
| Distributed by | IMGC
Zee Studios |
| Release date |  |
| Running time | 135 minutes |
| Country | Pakistan |
| Languages | Urdu
Punjabi |
| Budget | Rs. 6 crore (US$210,000) |
| Box office | Rs. 13.50 crore (US$470,000) |


title: Liudas Jakavicius-Grimalauskas

abstract: Liudas Jakavičius-Grimalauskas was a Lithuanian pianist, composer and theatre director. He was son of the writer and banker and Liudvikas Jakavičius and of Honorata Grimalauskaitė-Jakavičienė, daughter of a Polish-Lithuanian Duke.

text:
# Liudas Jakavicius-Grimalauskas

**Liudas Jakavičius-Grimalauskas** (10 August 1910, Riga, Latvia – 3 July 1998, Buenos Aires, Argentina) was a Lithuanian pianist, composer and theatre director. He was son of the writer and banker and Liudvikas Jakavičius and of Honorata Grimalauskaitė-Jakavičienė, daughter of a Polish-Lithuanian Duke.

## Early life

Liudas Jakavičius-Grimalauskas was the son of Lithuanians, but he was born in Riga, Latvia where his father had all his business. The Jakavičius-Grimalauskas family was one of the most prominent families in Latvia. Liudas Jakavičius-Grimalauskas began studying drama and music with private tutors at the age four and graduated as pianist from the Lithuanian Academy of Music and Theatre (Kaunas Conservatoire). He was a disciple of the noted composer, pianist and educator Dmitry Kabalevsky.

## Career to 1940

From 1926 to 1940 he worked as theatre director in the Šiauliai Drama Theatre and as a pianist in radio (Kaunas Radio and Šiauliai Radio) and with different orchestras and bands, giving concerts throughout Northern Europe (Germany, Poland, Lithuania, Latvia, Estonia, Finland, Sweden and Norway), earning recognition as a musician in his home country and abroad. During this period (1926–1940) he was pianist of the Kaunas Laisvės Philharmonic, Lithuanian National Opera and Ballet Orchestra, Hofmekleris Orchestra, Concert Capella (band), and Pomerancas Orchestra (band). In 1933 he composed the first Lithuanian tango, called "Sutemos tango".

## Wartime

With the invasion of Lithuania by Nazi Germany in 1941, he was designated president of the Šiauliai Drama Theatre until the government sent a new permanent president. After his presidency of the Šiauliai Drama Theatre, he worked for the German Army as translator because of his fluency in eight languages (Lithuanian, Latvian, German, Polish, Czech, Italian, Spanish and Russian).

## Postwar career

After the end of World War II in Lithuania, which was annexed by the Soviet Union, he moved to Italy in 1944, where he married Gražina Janavičienė-Jakavičienė, aunt of the Lithuanian businessman Zenonas Janavičius. In 1948 he moved with his wife to Argentina, where he worked as a pianist in various radio stations such as Radio Splendid, Radio El Mundo and Radio Rivadavia. Also he worked as a pianist in the famous Alvear Palace Hotel.

## Later life

Due to poor health, he formally retired from music in 1967. He died on 3 July 1998 in Buenos Aires, Argentina. He is survived by his daughters and his grandson. His daughters are the actress, singer and composer Marcia Bell and the model, fashion designer, businesswoman and writer Carla Rigg. His grandson is the lawyer and culture promoter Liudvikas Jakavicius-Grimalauskas, son of Carla Rigg who decided to conceive him as single mother.


title: Liudger of Utrecht

abstract: Liudger or Ludger was Bishop of Utrecht from around 848 to ca. 854. Ludger was probably related to several other bishops of Utrecht from the ninth and tenth centuries, including his predecessor Alberik II. That this family was not averse to nepotism is shown in a certificate from 850, which showed that an uncle of Ludger called Baldric was planning to found a chapter that would be led by Ludger, according to a structure that would give clear advantages to their family. Ludger was also supposed to be succeeded by a close relative called Kraft, but he declined the seat because he was afraid that his personal wealth would attract Viking raids. Ludger was buried in the St. Salvator Church in Utrecht.

text:
# Liudger of Utrecht

**Liudger** or **Ludger** was Bishop of Utrecht from around 848 to ca. 854.

Ludger was probably related to several other bishops of Utrecht from the ninth and tenth centuries, including his predecessor Alberik II. That this family was not averse to nepotism is shown in a certificate from 850, which showed that an uncle of Ludger called Baldric was planning to found a chapter that would be led by Ludger, according to a structure that would give clear advantages to their family. Ludger was also supposed to be succeeded by a close relative called Kraft, but he declined the seat because he was afraid that his personal wealth would attract Viking raids. Ludger was buried in the St. Salvator Church in Utrecht.

## Further reading

* C. Dekker (red.), *Geschiedenis van de provincie Utrecht* (Utrecht, 1997)

## InfoBox

| Luidger | |
| --- | --- |
| Bishop of Utrecht | |
| Church | Catholic Church |
| Diocese | Archdiocese of Utrecht |
| In office | 848–854 |
| Personal details | |
| Died | 854 |


title: Liudmyla Naumenko

abstract: Liudmyla Naumenko is a Ukrainian basketball player for ESB Villeneuve-d'Ascq and the Ukrainian national team. She participated at the EuroBasket Women 2017.

text:
# Liudmyla Naumenko

**Liudmyla Naumenko** (born June 30, 1993) is a Ukrainian basketball player for ESB Villeneuve-d'Ascq and the Ukrainian national team.

She participated at the EuroBasket Women 2017.

## InfoBox

Liudmyla Naumenko
|  | |
| --- | --- |
| No. 15  ESB Villeneuve-d'Ascq | |
| Position | Small forward |
| League | LFB |
| Personal information | |
| Born | (1993-06-30) June 30, 1993<br>Pomokli, Ukraine |
| Listed height | 6 ft 2 in (1.88 m) |
| Listed weight | 149 lb (68 kg) |


title: Llanbedrog Volcanic Group

abstract: The Llanbedrog Volcanic Group is an Ordovician lithostratigraphic group in northwest Wales. The name is derived from the village of Llanbedrog on the Llyn Peninsula where the strata are exposed.

text:
# Llanbedrog Volcanic Group

The **Llanbedrog Volcanic Group** is an Ordovician lithostratigraphic group (a sequence of rock strata) in northwest Wales. The name is derived from the village of Llanbedrog on the Llyn Peninsula where the strata are exposed.

## Outcrops

This succession of rocks is exposed around the village of Llanbedrog and in a band stretching northwestwards inland.

## Lithology and stratigraphy

The Group represents an assemblage of both volcanic rocks - lavas, tuffs, breccias - and volcaniclastic sediments - mudstones, siltstones, sandstones and conglomerates. It comprises (in descending order i.e. youngest first) the **Yoke House Formation**, the **Carneddol Rhyolitic Tuff Formation**, the **Foel Ddu Formation** and, at its base, the **Penmaen Formation**.

## InfoBox

| Llanbedrog Volcanic Group | |
| --- | --- |
| Stratigraphic range: Caradoc | |
| Lavas of the Foel Ddu Rhyodacite Formation exposed at Carreg y Defaid, just east of Llanbedrog | |
| Type | Group |
| Sub-units | Yoke House Formation, Carneddol Rhyolitic Tuff Formation, Foel Ddu Formation, Penmaen Formation |
| Underlies | Nod Glas Formation |
| Overlies | Dwyfach Formation |
| Lithology | |
| Primary | Tuff |
| Other | Lava, volcaniclastic sediments |
| Location | |
| Region | northwest Wales |
| Country | Wales |
| Type section | |
| Named for | Llanbedrog |


title: Living in the Past (song)

abstract: "Living in the Past" is a song by British progressive rock group Jethro Tull. It is one of the band's best-known songs, and it is notable for being written in the unusual ⁵4 time signature. The use of quintuple meter is quickly noted from the beginning rhythmic bass pattern, though it can also be explained as a distinct ⁶8 + ⁲4 syncopated rhythm.

text:
# Living in the Past (song)

"**Living in the Past**" is a song by British progressive rock group Jethro Tull. It is one of the band's best-known songs, and it is notable for being written in the unusual **5**
**4** time signature. The use of quintuple meter is quickly noted from the beginning rhythmic bass pattern, though it can also be explained as a distinct **6**
**8** \+ **2**
**4** syncopated rhythm.

## Composition and recording

According to the composer, Ian Anderson, he wrote the tune in approximately one hour in his room at a Holiday Inn 'on the banks of the Charles River,' Boston, Massachusetts, on 12 February 1969. He and his manager, Terry Ellis, were checking in 'a day off here before the show,' ahead of a three-day residency 13 – 15 February 1969 at the Boston Tea Party rock club. When he handed it to Ellis later, he replied, 'Wow! I'll book a studio next week, when we we’re in the New York area.'

At the end of the East Coast leg of their US tour, the backing tracks were recorded at Vantone Sound Studio, West Orange, New Jersey on 3 March 1969 (described by Anderson as a "cheap studio in New Jersey.") Apparently, much of the recording was of "a small local ensemble of session musicians – the cheapest we could find," and later overdubbed by band members. Anderson described overdubbing his vocals in San Francisco during mid-March; but conflicting reports identify 18 March at United Western Recorders, Los Angeles, California, as correct. It was also the date "Driving Song" was recorded, released as the b-side of Jethro Tull's fourth single, "Living in the Past", on 2 May 1969 to UK audiences. Meanwhile, the band returned to London in mid-April to begin work on their second album, *Stand Up*.

After reaching number 3 on the UK Singles Chart, it was released in several other countries, but only promotionally in the United States in July 1969. It was not until October 1972 that it was commercially released in the US, as the lead single and title track of *Living in the Past*, a double compilation LP of the band's UK-only releases and outtakes recorded from 1968 to 1971. It became the band's first Top 20 hit in the US, peaking at #11. The 1972 version was remixed, replacing a flute overdub with an organ part. In 1993, a remix on the song went to #31 on the US dance chart. In 2001, it was included as a "bonus track" for the CD reissue of *Stand Up*. A Steven Wilson remix "sympathetic to both the original and later mixes" was included on the 2016 "Elevated Edition" reissue, alongside flat transfers of the original 1969 mono and (promo) stereo mixes.

"Living in the Past" was ranked the fifth best Jethro Tull song by Rock – Das Gesamtwerk der größten Rock-Acts im Check.

Anderson has described the song as a critical reflection of the hippie lifestyle and a general naivete of the era:

> Lines like "we'll go walking out while others shout of war's disaster" reflect my rather cynical view of much of the world in the late sixties.
>
> \[...\] I was never drawn to the fashions, the free love, the drug experiences and the drug culture that people seemed willing to get into. \[...\]
>
> So when I sang "now there's revolution, but they don't know what they're fighting," I was just saying forget all that stuff, let's stay in a more realistic world with more straightforward values. Not necessarily my personal viewpoint all the time, but as a reaction to that rather trendy pretence at revolution and infatuation with the present, in the sense of living for today and having a good time – something I usually felt a bit awkward about. But I'm a party pooper, you know that.
>
> Ian Anderson, *Jethro Tull: Stand Up – The Elevated Edition*, p. 59

## Chart performance

## Release history

* Single: "Living in the Past" / "Driving Song" (Island WIP 6056, 2 May 1969)
* Single: "Living in the Past" / "Christmas Song" (USA) (Chrysalis 2006 10 October 1972)
* Single: "Living in the Past" / "Requiem" (Chrysalis CHS 2081, 16 January 1976)
* Single: "Living in the Past" / "Hard Liner" (Chrysalis CHS 3970, 1993)
* Single: "Living in the Past" / "Witch's Promise" / "Teacher" / "Life is a Long Song" (April 2013, limited edition vinyl)

## Personnel

Source:

### Jethro Tull

### Additional personnel

* Lou Toby – arranged and conducted strings

## Cover versions

The song was first covered as an instrumental by CCS in 1970. Other cover versions include:

* List of musical works in unusual time signatures
* Nollen, Scott Allen (15 December 2001). *Jethro Tull: A History of the Band, 1968–2001*. Jefferson, North Carolina: McFarland & Company. p. 44. ISBN 978-0786411016. Retrieved 12 March 2016.

## InfoBox

| "Living in the Past" | |
| --- | --- |
| French picture sleeve | |
| Single by Jethro Tull | |
| B-side | "Driving Song" |
| Released | 2 May 1969 UK
October 1972 US |
| Recorded | 3 & 18 March 1969 |
| Studio | Vantone Sound Studio, West Orange, NJ & United Western Recorders, Los Angeles, CA |
| Genre |  |
| Length | 3:18 |
| Label | Island WIP 6056 |
| Songwriter(s) | Ian Anderson |
| Producer(s) |  |
| Jethro Tull singles chronology | |
| "Love Story"
(1968) "**Living in the Past**"
(1969) "Bourée"
(1969) | |
|  | |
| Official audio | |
| "Living in the Past" on YouTube | |
|  | |


title: Lloyd DeVincenzi Sr.

abstract: The Hon. Lloyd Cecil Joseph DeVincenzi was a Gibraltarian businessman and politician who was Minister for Education and Recreation between 1969 and 1972 under Robert Peliza in the first Gibraltar House of Assembly. A member of the Integration with Britain Party (IWBP). DeVincenzi was elected in the 1969 Gibraltar general election, contested between the IWBP, AACR and Isola Group.

text:
# Lloyd DeVincenzi Sr.

**The Hon. Lloyd Cecil Joseph DeVincenzi (Lloyd DeVincenzi Sr.)** (6 March 1933 – 29 April 2001) was a Gibraltarian businessman and politician who was Minister for Education and Recreation between 1969 and 1972 under Robert Peliza in the first Gibraltar House of Assembly. A member of the Integration with Britain Party (IWBP). DeVincenzi was elected in the 1969 Gibraltar general election, contested between the IWBP, AACR and Isola Group.

## Career

DeVincenzi worked at his father's bakery as a young man, located in the south district of Gibraltar. He was also a member of the Royal Gibraltar Regiment (at the time the Gibraltar Defence Force), for a short period of time.

DeVincenzi ran in the 1969 Gibraltar general election as a member of the Integration with Britain Party. He was elected as one of the 15 members of the House of Assembly, and made minister for Education and Recreation, notably opening the Victoria Stadium, now a part of the wider Bayside Sports Complex. He served in his ministerial role between 1969 and 1972. In the 1972 Gibraltar general election, DeVincenzi was again elected into the House of Assembly, however the IWBP were not reelected, losing out to the AACR. DeVincenzi served as a shadow Minister between 1972 and 1976.

DeVincenzi founded Lloyd's Enterprises Ltd, in Gibraltar, a food importer and supplier company, which still operates under the same name and purpose. DeVincenzi sold the company when moving to Canada with his family.

## Personal life

DeVincenzi was born in Gibraltar to a Gibraltarian father of Italian (Genoese) descent and Gibraltarian mother of English descent. DeVincenzi was evacuated to Casablanca and Gibraltar Camp in Mona, Jamaica during the Evacuation of the Gibraltarian civilian population during World War II.

DeVincenzi was an avid athlete, a founder of the Calpeans Athletics Club in 1954 and member of the Calpe Rowing Club, both of which still operate today.

DeVincenzi married Maria del Carmen DeVincenzi (née Gilbert) a fellow Gibraltarian evacuee, in 1962. They had two children. Denise, born November 1964, and Lloyd Jr. born January 1968.

After leaving office as a minister, and with the border between Gibraltar and Spain closed, DeVincenzi and his family immigrated to Calgary, Alberta, Canada in November 1978. They returned to Gibraltar in the 1990s.


title: Locharbriggs Sandstone Formation

abstract: The Locharbriggs Sandstone Formation is a formation of Cisuralian age. It consists of a 1000 m thick sequence of very well-sorted aeolian sandstones, with well developed dune cross-bedding. The sandstone was used as a building stone in Dumfries, Edinburgh, Glasgow and New York.

text:
# Locharbriggs Sandstone Formation

The **Locharbriggs Sandstone Formation** is a formation of Cisuralian age (Early Permian). It consists of a 1000 m thick sequence of very well-sorted aeolian sandstones, with well developed dune cross-bedding. The sandstone was used as a building stone in Dumfries, Edinburgh, Glasgow and New York (including the steps of the Statue of Liberty).

## InfoBox

| Locharbriggs Sandstone Formation | |
| --- | --- |
| Stratigraphic range: Cisuralian | |
| Locharbriggs Sandstone Formation | |
| Type | Geological formation |
| Unit of | Stewartry Group |
| Underlies | Doweel Breccia Formation |
| Overlies | unconformity on Lower Paleozoic |
| Area | Dumfries Basin, North Solway Basin |
| Thickness | 1000 m |
| Lithology | |
| Primary | Sandstone |
| Location | |
| Country | Scotland |
| Type section | |
| Named for | Locharbriggs |


title: Logba people

abstract: The Logba people live in the Volta Region of Ghana, east of the Volta Lake in the mountains of the Ghana-Togo borderland. Most Logba towns and villages are situated along the trunk road from Accra to Hohoe. They include the following settlements: Wuinta, Akusame, Adiveme, Andokɔfe, Adzakoe, Alakpeti, Klikpo, and Tota. Tota is located high in the Ghana Togo Mountains to the east of the Accra-Hohoe road. Alakpeti is the commercial centre of Logba, while Klikpo is traditionally the seat of the head of the Logba people. They are located in the Afadzato South Constituency in the Volta Region of Ghana. The Logba people are primarily subsistence farmers, producing cassava, maize, yams and forest fruits, supplemented by cash crops like cocoa, coffee and sawn mahogany logs. The Logba area is known for its scenery, which includes waterfalls, cliffs, and limestone formations, including one or two known small caves with minor speleothems.

text:
# Logba people

The **Logba people** live in the Volta Region of Ghana, east of the Volta Lake in the mountains of the Ghana-Togo borderland. Most Logba towns and villages are situated along the trunk road from Accra to Hohoe. They include the following settlements: Wuinta, Akusame, Adiveme, Andokɔfe, Adzakoe, Alakpeti, Klikpo, and Tota. Tota is located high in the Ghana Togo Mountains to the east of the Accra-Hohoe road. Alakpeti is the commercial centre of Logba, while Klikpo is traditionally the seat of the head of the Logba people. They are located in the Afadzato South Constituency in the Volta Region of Ghana. The Logba people are primarily subsistence farmers, producing cassava, maize, yams and forest fruits, supplemented by cash crops like cocoa, coffee and sawn mahogany logs. The Logba area is known for its scenery, which includes waterfalls, cliffs, and limestone formations, including one or two known small caves with minor speleothems.

## Language

Logba is a Kwa language. There are approximately 7 500 speakers. The Logba people call themselves Akpana and their language *Ikpana*, which means ‘defenders of truth’. Logba is different from Lukpa of Togo and Benin, which is also sometimes referred to as *Logba*.

The dominant language in the region is Ewe, closely followed by Twi. Most Logba people are bilingual in Ewe and French. South of the Logba area live the Avatime people. Logba is only distantly related to its direct neighbours Avatime and Nyagbo-Tafi; according to Bernd Heine (1968) it is more closely related to the Akpafu and Santrokofi languages spoken northwards.

## Origins

There have been two hypotheses as to the origin of the Logba people. Heine (1968, following Debrunner), proposed that the Logba are descendants from the *makɔ́* people, having fled south after a defeat in the second half of the 18th century. However, the Logba people themselves relate that they have come together with the Gbe peoples from Ketu. The latter view is advanced also by Dorvlo (2004).

1. Miracle, Eric (4 March 2019). "DCE Donates 100 bags Of Cement To Logba Tota Community For Tourist Info Centre". *Modern Ghana*. Retrieved 8 April 2024.
2. Boateng, Kojo Akoto (2017-03-10). "Rotary Club Accra Spintex donates to two communities". *Citi 97.3 FM - Relevant Radio. Always*. Retrieved 2024-04-08.
3. "Volta Region gets five new Traditional Councils". *Citinewsroom - Comprehensive News in Ghana*. 2018-12-01. Retrieved 2024-04-08.

Logba Tota on Wikimapia

## InfoBox

Logba
| Regions with significant populations | |
| --- | --- |
| Volta Region, Ghana | |
| Languages | |
| Logba, French | |
| Related ethnic groups | |
| Akans | |


title: Loetoeng Kasaroeng

abstract: Loetoeng Kasaroeng is a 1926 fantasy film from the Dutch East Indies which was directed and produced by L. Heuveldorp. An adaptation of the Sundanese folktale Lutung Kasarung, the film tells of a young girl who falls in love with a magical lutung and stars the children of noblemen. Details on its performance are unavailable, although it is known to have been of poor technical quality and thought to have performed poorly. It was the first film produced in the country and the first to feature a native-Indonesian cast. It is likely a lost film.

text:
# Loetoeng Kasaroeng

***Loetoeng Kasaroeng*** is a 1926 fantasy film from the Dutch East Indies (modern-day Indonesia) which was directed and produced by L. Heuveldorp. An adaptation of the Sundanese folktale *Lutung Kasarung* (*The Lost Lutung*), the film tells of a young girl who falls in love with a magical lutung and stars the children of noblemen. Details on its performance are unavailable, although it is known to have been of poor technical quality and thought to have performed poorly. It was the first film produced in the country and the first to feature a native-Indonesian cast. It is likely a lost film.

## Plot

Purbasari and Purbararang are sisters and in competition. Purbararang, the elder sister, teases Purbasari about the latter's lover, a lutung named Guru Minang; Purbarang's boyfriend, Indrajaya, is a handsome human. However, the girls discover that Guru Minang is a god who is more handsome than Indrajaya.

## Production

The first showing of films in the Dutch East Indies was in 1900, and over the next twenty years foreign productions – generally from the United States – were imported and shown throughout the country. Domestic production of documentaries had begun in 1911 but were unable to compete with imported works. By 1923 a local feature film production spearheaded by the Middle East Film Co. was announced, but the work was not completed.

Under pressure from imported works, in 1926 N.V. Java Film, a production house based in Batavia (modern-day Jakarta) which had previously produced a single documentary, *Inlanders op de Krokodillenjacht* (*Native Crocodile Hunters*), chose to make a feature film based on the Sundanese folktale *Lutung Kasarung*. The company's owner, L. Heuveldorp served as director and producer, while its laboratory head George Krugers handled cinematography and processing. Little biographical information is available regarding the background of both men, although it was reported that Heuveldorp had previous experience working in the United States.

The cast was drawn entirely from the *priyayi* (noble) class, under the coordination of school headmaster Raden Kartabrata. Among the cast were children of Wiranatakusumah V, the regent of Bandung; he had agreed to help fund the film to promote Sundanese culture, and had previously brought the story to the stage. Further subsidies had come from the Ministry of Defence, which donated trucks to ease filming.

Filming had begun by August 1926, when several scenes were shot in a cave that had been excavated for the production on Karang Hill. Heuveldorp, unable to force the actors to play their roles seriously, shot several scenes with them acting as they wished before showing them the results; upon realising that their acting had been disappointing, the cast began to listen to stage directions. Afterward, they began rehearsing each scene at least twice, with Kartabrata standing behind the cinematographer and giving directions.

## Release and reception

The film was screened on 31 December 1926 at the Oriental and Elita Theatres in Bandung, making it the first domestically-produced feature film and the first with a native cast. The advertisements were in both Dutch- and Malay-language publications. The film was screened for only a week, with live Sundanese *gamelan* performances providing music, after which *Loetoeng Kasaroeng* was replaced with Hollywood films. From 14 to 17 February 1927, the film was screened in the Mignon cinema in Cheribon. Although its box office performance is not recorded, it is thought to have been poor.

A review by "Bandoenger" in *Panorama* magazine considered the film of poor technical quality compared to imported films, suggesting that the production was underfunded; the review states that some actors were not paid for their work. Reporting on a private screening of the film for the governor-general, the Buitenzorg correspondent of the *Java-Bode* wrote: "The shots were out of focus and the entire film made a murky and dark impression. The directing was clumsy, and the sets and costumes paltry. Of the many participants, not one drew attention by acting well." The Indonesian film historian Misbach Yusa Biran wrote that *Loetoeng Kasaroeng* would have been poorly received outside of West Java, owing to Sundanese culture and dance not being considered interesting to other ethnic groups, particularly the Javanese. William van der Heide, a lecturer on film studies at the University of Newcastle in Australia, notes that the tendency of European filmmakers to depict natives as primitives may also have influenced the poor ticket sales.

## Legacy

Although Heuveldorp is not recorded as being involved in any more fiction film productions, Krugers went on to direct several films, including the area's first talkie, *Karnadi Anemer Bangkong* (1931), before leaving the country in 1936. At least one of the cast members, Oemar, is recorded as continuing to act. *Lutung Kasarung* was adapted to film twice further, in 1952 and 1983.

After *Loetoeng Kasaroeng* was released, numerous domestic films were made. The second domestic production, *Eulis Atjih* (1927), was directed by Krugers and received a wider release. With the release of *Lily van Java* (*Lily of Java*) in 1928, ethnic Chinese became involved in the industry; by 1940 native directors had become common. However, the first truly Indonesian film is considered to be Usmar Ismail's *Darah dan Doa* (*The Long March*) in 1950, released after the Dutch recognised Indonesia's independence in 1949.

*Loetoeng Kasaroeng* is likely a lost film. The American visual anthropologist Karl G. Heider wrote that all Indonesian films from before 1950 are lost. However, JB Kristanto's *Katalog Film Indonesia* (*Indonesian Film Catalogue*) records several as having survived at Sinematek Indonesia's archives, and Biran writes that several Japanese propaganda films have survived at the Netherlands Government Information Service.

### Footnotes

### Bibliography

## InfoBox

| Loetoeng Kasaroeng | |
| --- | --- |
|  | |
| Directed by | L. Heuveldorp |
| Cinematography | George Krugers |
| Production<br>company | Java Film |
| Release date | * 31 December 1926 (1926-12-31) |
| Running time | 60 minutes |
| Country | Indonesia |
| Language | Silent film |


title: Loka pri Framu

abstract: Loka pri Framu is a settlement in the Municipality of Rače–Fram in northeastern Slovenia. It lies in the Pohorje Hills to the west of Fram. The area is part of the traditional region of Styria. The municipality is now included in the Drava Statistical Region.

text:
# Loka pri Framu

**Loka pri Framu** (pronounced \[ˈloːka pɾi ˈfɾaːmu\]) is a settlement in the Municipality of Rače–Fram in northeastern Slovenia. It lies in the Pohorje Hills to the west of Fram. The area is part of the traditional region of Styria. The municipality is now included in the Drava Statistical Region.

## Name

The name of the settlement was changed from *Loka* to *Loka pri Framu* in 1955.

## InfoBox

| Loka pri Framu | |
| --- | --- |
| Loka pri FramuLocation in Slovenia | |
| Coordinates: 46°26′53.49″N 15°35′59.75″E / 46.4481917°N 15.5999306°E / 46.4481917; 15.5999306 | |
| Country | Slovenia |
| Traditional region | Styria |
| Statistical region | Drava |
| Municipality | Rače–Fram |
| Area | |
| Total | 2.97 km2 (1.15 sq mi) |
| Elevation | 436.8 m (1,433.1 ft) |
| Population (2002) | |
| Total | 143 |
|  | |


title: Lomanotus vermiformis

abstract: Lomanotus vermiformis is a species of sea slug, a marine gastropod mollusk in the family Lomanotidae.

text:
# Lomanotus vermiformis

***Lomanotus vermiformis*** is a species of sea slug, a marine gastropod mollusk in the family Lomanotidae.

## Taxonomy

This species was synonymised with the Caribbean species *Lomanotus stauberi* in 1988.

The specific name *vermiformis* is from Latin language and it means "in the shape of a worm" referring to elongate body of this species.

## Distribution

The distribution of *Lomanotus vermiformis* is circumtropical. This species was described from the Red Sea. It has also been reported widely from tropical seas in the Indo-Pacific region. Records from the Western Atlantic includes Florida, Bahamas and Panama.

## Description

The body shape is very elongate and narrow. Rhinophoral sheaths are with papillae and they are elevated to cover three quarters of the rhinophores. Cerata are very short and pointed. Background color is brown with dark brown spots and opaque yellow lines. Opaque white reticulations is also present across the body. The maximum recorded body length is 40 mm, but it is usually smaller than 25 mm.

## Ecology

Minimum recorded depth is 1 m. Maximum recorded depth is 4.5 m.

*Lomanotus vermiformis* feeds on the common stinging hydroid *Lytocarpus philippinus* and on hydroids of the genus *Macrorhynchia*. It was also found feeding on an unidentified species of hydroid in Panama, on which it is extremely cryptic.

*Lomanotus vermiformis* can swim with lateral flexions of the body when disturbed.

This article incorporates Creative Commons (CC-BY-4.0) text from the reference

## InfoBox

| *Lomanotus vermiformis* | |
| --- | --- |
|  | |
| *Lomanotus vermiformis* on substrate with egg mass. | |
|
| Scientific classification | |
| Domain: | Eukaryota |
| Kingdom: | Animalia |
| Phylum: | Mollusca |
| Class: | Gastropoda |
| Order: | Nudibranchia |
| Suborder: | Cladobranchia |
| Family: | Tritoniidae |
| Genus: | *Lomanotus* |
| Species: | ***L. vermiformis*** |
| Binomial name | |
| ***Lomanotus vermiformis***<br>Eliot, 1908 | |
|
| Synonyms | |
| * *Lomanotus stauberi* Clark & Goetzfried, 1976 | |


title: Ljutaje

abstract: Ljutaje is a village in the municipality of Sjenica, Serbia. According to the 2002 census, the village has a population of 88 people.

text:
# Ljutaje

**Ljutaje** is a village in the municipality of Sjenica, Serbia. According to the 2002 census, the village has a population of 88 people.

43°15′N 20°14′E / 43.250°N 20.233°E / 43.250; 20.233

## InfoBox

| Ljutaje | |
| --- | --- |
| Village | |
| Ljutaje | |
| Coordinates: 43°15′N 20°14′E / 43.250°N 20.233°E / 43.250; 20.233 | |
| Country | Serbia |
| District | Zlatibor District |
| Municipality | Sjenica |
| Population (2002) | |
| Total | 88 |
| Time zone | UTC+1 (CET) |
| Summer (DST) | UTC+2 (CEST) |


title: Lojze Ude

abstract: Lojze Ude was a Slovene lawyer, journalist and historian.

text:
# Lojze Ude

**Lojze Ude** (June 18, 1896 in Križe, Tržič, Austria-Hungary – February 28, 1982 in Lošinj, Socialist Federal Republic of Yugoslavia) was a Slovene lawyer, journalist and historian.

## Honours

* Golden Obilić Medal (1920)
* Order of Merit with silvery rays (1951)
* Order of Brotherhood and Unity with silvery rays (1951)
* Order of the Red Flag (1956)
* Order of Merit with Silver Star (1968)
* Order of Valour (1972)
* Order of the Republic with golden wreath (1979)
* Drabosnjak's Prize (1966)
* Kidrič's Prize (1978).

## Selected works

* Koroški zbornik, Državna založba Slovenije, 1946
* Slovenci in jugoslovanska skupnost, Obzorja, 1972
* Koroško vprašanje, Drẑavna zaloẑba Slovenije, 1976
* Boj za severno slovensko mejo: 1918-1919, Založba obzorja, 1977


title: Llantwit Major (electoral ward)

abstract: Llantwit Major is the name of an electoral ward in the Vale of Glamorgan, Wales. It covers its namesake town of Llantwit Major and neighbouring village of Llanmaes. The ward elects four county councillors to the Vale of Glamorgan Council. According to the 2011 census the population of the ward was 10,621.

text:
# Llantwit Major (electoral ward)

**Llantwit Major** is the name of an electoral ward in the Vale of Glamorgan, Wales. It covers its namesake town of Llantwit Major and neighbouring village of Llanmaes. The ward elects four county councillors to the Vale of Glamorgan Council.

According to the 2011 census the population of the ward was 10,621.

## Boundary changes

In 2022 St Donats community was transferred to the St Brides Major ward, as a result of recommendations from the Local Democracy and Boundary Commission for Wales. However, Llantwit Major retained four county councillors.

## Election results

### 2022 Vale of Glamorgan

All four sitting Llantwit First councillors retained their seats.

### 2017 Vale of Glamorgan

At the May 2017 County Council elections all four seats were won by candidates standing as Llantwit First Independents, increasing their numbers by one.

2017 Vale of Glamorgan Council election
| Party | | Candidate | Votes | % | ±% |
| --- | --- | --- | --- | --- | --- |
|  | Llantwit First Independent | **Gwyn John *** | 2209 |  |  |
|  | Llantwit First Independent | **Sally Margaret Hanks** | 1984 |  |  |
|  | Llantwit First Independent | **Eddie Williams *** | 1588 |  |  |
|  | Llantwit First Independent | **Jayne Margaret Norman** | 1527 |  |  |
|  | Conservative | Tony Bennett * | 1360 |  |  |
|  | Conservative | John Colin Deakin | 1154 |  |  |
|  | Conservative | Bob Gant | 999 |  |  |
|  | Conservative | Gordon Wilkie | 908 |  |  |
|  | Labour | James Cullinane | 670 |  |  |
|  | Independent | Ceri Malessa-Thompson | 254 |  |  |
|  | UKIP | Melanie J. Hunter-Clarke | 112 |  |  |
|  | UKIP | Robin Hunter-Clarke | 112 |  |  |
|  | UKIP | Anthony Frederick Raybould | 78 |  |  |

### 2012 Vale of Glamorgan/2015 by-election

Following the 2012 election Llantwit First Independent councillor Eric Hacker was elected as mayor of the county council for the ensuing 12 months. Llantwit First Independents supported the minority Labour Group to give Labour a majority control of the county council. Councillor Keith Geary died on 4 January 2015, leaving a seat vacant.

At the by-election on 26 March 2015 the vacant seat was won by Tony Bennett for the Conservatives, by 12 votes.

2012 Vale of Glamorgan Council election
| Party | | Candidate | Votes | % | ±% |
| --- | --- | --- | --- | --- | --- |
|  | Llantwit First Independent | **Gwyn John *** | 2068 |  |  |
|  | Llantwit First Independent | **Eric Hacker *** | 1603 |  |  |
|  | Llantwit First Independent | **Edward Williams** | 1490 |  |  |
|  | Llantwit First Independent | **Keith Geary** | 1327 |  |  |
|  | Conservative | John Clifford * | 813 |  |  |
|  | Conservative | Ralph Austin | 759 |  |  |
|  | Conservative | Russell Downe | 544 |  |  |
|  | Labour | Graham Price | 541 |  |  |
|  | Conservative | Bob Gant | 536 |  |  |
|  | Labour | Matthew Batchelor | 471 |  |  |
|  | Labour | Katie Denman | 411 |  |  |
|  | Plaid Cymru | Dafydd Stephens | 269 |  |  |

### 2008 Vale of Glamorgan

2008 Vale of Glamorgan Council election
| Party | | Candidate | Votes | % | ±% |
| --- | --- | --- | --- | --- | --- |
|  | Llantwit First Independent | **Gwyn John *** | 1894 |  |  |
|  | Llantwit First Independent | **Sally Bagstaff** | 1748 |  |  |
|  | Llantwit First Independent | **Eric Hacker *** | 1470 |  |  |
|  | Conservative | **John Clifford *** | 1291 |  |  |
|  | Llantwit First Independent | Ann Matthews | 1164 |  |  |
|  | Conservative | Ralph Austin | 1127 |  |  |
|  | Conservative | Robert Gant | 901 |  |  |
|  | Conservative | Mary Williams | 874 |  |  |
|  | Labour | Brian Godsell | 438 |  |  |
|  | Labour | Graham Price | 400 |  |  |
|  | Labour | Sandra Waldron-Kelly | 348 |  |  |
|  | Plaid Cymru | Dafydd Stephens | 270 |  |  |
|  | Independent | Paul Stephens | 262 |  |  |

* = sitting councillor prior to the election

### 19731996

Between 1973 and 1996 Llantwit Major was a ward to the Vale of Glamorgan Borough Council, electing 3 councillors initially, then 4 councillors from 1983. The ward was represented by a mixture of Labour and Conservative councillors.

## InfoBox

| Llantwit Major | |
| --- | --- |
| Electoral ward | |
| Location of the (pre-2022) Llantwit Major ward within the Vale of Glamorgan | |
| Population | 10,621 (2011 census) |
| Community |  |
| Principal area |  |
| Country | Wales |
| Sovereign state | United Kingdom |
| UK Parliament |  |
| Senedd Cymru – Welsh Parliament |  |
| Councillors | 4 (County) |
|


title: Lombard nationalism

abstract: Lombard nationalism is a nationalist, but primarily regionalist, movement active primarily in Lombardy, Italy. It seeks more autonomy or even independence from Italy for Lombardy and, possibly, all the lands that are linguistically or historically Lombard. During the 1990s, it was strictly connected with Padanian nationalism. Today the main Lombard nationalist parties are the Lombard League and Pro Lombardy Independence.

text:
# Lombard nationalism

**Lombard nationalism** is a nationalist, but primarily regionalist, movement active primarily in Lombardy, Italy. It seeks more autonomy or even independence from Italy for Lombardy and, possibly, all the lands that are linguistically or historically Lombard. During the 1990s, it was strictly connected with Padanian nationalism.

Today the main Lombard nationalist parties are the Lombard League and Pro Lombardy Independence.

## History

Like in the rest of Europe, during the Romantic Era there was an awakening of the national sentiment in Lombardy. The Napoleonic creation of the Cispadane Republic, which was later replaced by the Cisalpine one, opened the doors to the political debate. Carlo Botta, a Piedmontese politician, wrote a book entitled *Proposition to the Lombards about a way of free government*, where he claimed the need of a constitution for the *Lombard Nation*, independent from the French one inspired by the Revolution. At the same time, Giuseppe Faroni proposed a draft constitution entitled *Constitutional pole for the Lombard Republic*.

The first independence movements appeared in the first half of the 19th century. Carlo Porta, one of the most important Lombard intellectuals, presented his adhesion to this idea in some writings. They were often associated with Italian federalist movements, but they considered Lombardy as a nation instead a mere administrative division of the future state:

> *Pater Noster (dei Milanesi)*, a patriotic song of 1848

During the Five Days of Milan in 1848, at first, insurgents only wanted greater autonomy for Lombardy in the Austrian Empire, with the possibility to administrate itself. A large part of the leaders of the insurrection, such as Carlo Cattaneo, was opposed to the Piedmont intervention.

After the annexation to the Kingdom of Sardinia (and the creation of the Italian state), it seemed that some republican and federalist movements wanted the creation of a *State of Milan*, because of the cultural, economical and social differences between Lombardy and the rest of Italy.

During the riots of Milan in 1898 and the other strikes in the following years (especially in 1913, when the Kingdom had to move 30 000 soldiers), some rumours of separatism came to the Italian government.

In the 1950s, some small movements for autonomy appeared such as the *Movimento Autonomista Bergamasco*, founded in 1947 by Guido Calderoli, which participated in the local elections in 1956, and later involved other Lombard provinces, turning first into *Movimento Autonomista Regionale Lombardo* (asking for creation of the Lombard Region, as required by the Italian constitution) and then into *Movimento Autonomie Regionali Padane* (participating at political elections in 1958 and 1967), before dissolution in 1970. Another movement is the *Unione autonomisti padani*, created by Ugo Gavazzeni with the union of various autonomist movements in northern Italy, that participated at political elections in 1967.

From the legacy of this experiences in the 1980s, the Lombard League was founded (since 1989 part of the Northern League). During the years, its political goal shifted between the separatism and the ask for a greater autonomy in the Italian state. In 2018, the independentist tendency was officially abandoned by the federal secretary Matteo Salvini, after five years of ambiguity.

In the first decades of the 21st century, some cultural initiative and political parties appeared (among which *Pro Lombardia Indipendenza* is the best structured one).

In 2017, an advisory referendum (done simultaneously with the Venetian one) about the concession of a greater autonomy to the Lombard Region took place. 38.3% of Lombards turned out for the referendum and 95.3% of them voted for greater autonomy. So the president of Lombardy, Roberto Maroni, opened the negotiations with Rome.

After the latest elections for the central and regional government in 2018, the new Lombard president Attilio Fontana designated Stefano Bruno Galli as the autonomy assessor, waiting for the formation of the new Italian government.

## Definition of *Lombardy*

During the ages, the concept of *Lombardy* changed quite frequently. In Early Middle Ages, the word *Longobardia* indicated all the Lombard Kingdom. Since the 12th century, the archaic term was gradually replaced by *Lombardia* (as a linguistic evolution, first appeared in the *Pauli Continuatio*) and in the geographic view it indicated first the area of the Langobardia Maior and then only the Po Valley, where the centre of the Lombard power was located. Meanwhile, *Lombardia* took on a political meaning, with the creation of the Lombard League and the fight against the emperors for the municipal liberties. The definition remained such until the 19th century, when the new Italian state created the current administrative region in the territory of the so-called Austrian Lombardy, with the addition of Lomellina and Oltrepò Pavese.

Linguistically, the Lombard-speaking area is bigger than the administrative region, and also includes the provinces of Novara, Verbano-Cusio-Ossola plus a part of the Alessandria one in Piedmont, Canton Ticino and the southern valleys of Grigioni in Switzerland, and the western valleys of Trentino. It partially corresponds to the territory of the first Visconti domain in the 13th century.

Some independence parties use alternative expressions, such as *Historical Lombardy*, in opposition to the today's administrative region. According to Pro Lombardy Independence and Eurominority, it corresponds with the joined Lombard-speaking and Emilian-speaking areas.

## Symbolism

The Lombard movements today don't have a unique symbol recognized by all.

The statue of Legnano Warrior, erroneously identified as Alberto da Giussano, was first used in the end of 1950s by the journal *La Regione Lombarda*, official organ of the *Movimento Autonomista Regionale Lombardo*. Later it was adopted by the Lombard League and finally became the symbol of the Northern League; today is recognized only as a symbol of that political party.

The Saint Ambrose's Cross (often referred to as the most famous St. George Cross) is used by most independence and autonomy parties, some of them also use the flag of the Duchy of Milan (called *Ducale*), the Camunian rose (official flag of the Lombard region) or a flag inspired by federalist movements of 1848, with St. Ambrose's Cross superimposed by green. There is also the idea of using a flag with both the red cross and the Biscione of the House of Visconti.

1. "La Lombardia storica" (in Italian).
2. "Carlo Botta – Biografia". *Treccani* (in Italian).
3. "Polo Costituzionale per la Repubblica Lombarda" (PDF) (in Italian).
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title: Lombard rhythm

abstract:
The Lombard rhythm or Scotch snap is a syncopated musical rhythm in which a short, accented note is followed by a longer one. This reverses the pattern normally associated with dotted notes or notes inégales, in which the longer value precedes the shorter. In Baroque music, a Lombard rhythm consists of a stressed sixteenth note, or semiquaver, followed by a dotted eighth note, or dotted quaver.
Baroque composers often implemented these rhythms. For instance, Johann Georg Pisendel utilized Lombard rhythms within the largo and allegro sections of his sonata for Violin Solo in A Minor. Carl Philipp Emanuel Bach included dotted rhythms within certain excerpts of his concerto for flute, cello, and keyboard.
Not only did Baroque performers and composers such as Johann Joachim Quantz, introduce these uneven rhythms in their studies and pedagogy, but Jazz also possesses these rhythms which are in the very essence of its style. In Scottish country dances, the Scotch snap is a prominent feature of the strathspey. Due to the immigration of Scots to Appalachia, elements of Scottish music such as the Lombard rhythm have been appropriated into popular music forms of the 20th and 21st century. In modern North American pop and rap music, the Lombard rhythm is very common; recent releases by Post Malone, Cardi B, and Ariana Grande feature the Scotch snap. Grande's song ‘7 Rings’ was the subject of controversy surrounding this rhythm, wherein several hip-hop artists who had used the rhythm in an iconic fashion raised accusations of plagiarism.

text:
# Lombard rhythm

The **Lombard rhythm** or **Scotch snap** is a syncopated musical rhythm in which a short, accented note is followed by a longer one. This reverses the pattern normally associated with dotted notes or *notes inégales*, in which the longer value precedes the shorter.

In Baroque music, a Lombard rhythm consists of a stressed sixteenth note, or semiquaver, followed by a dotted eighth note, or dotted quaver. Baroque composers often implemented these rhythms. For instance, Johann Georg Pisendel utilized Lombard rhythms within the largo and allegro sections of his sonata for Violin Solo in A Minor. Carl Philipp Emanuel Bach included dotted rhythms within certain excerpts of his concerto for flute, cello, and keyboard. Not only did Baroque performers and composers such as Johann Joachim Quantz, introduce these uneven rhythms in their studies and pedagogy, but Jazz also possesses these rhythms which are in the very essence of its style.

In Scottish country dances, the Scotch snap (or Scots snap) is a prominent feature of the strathspey.

Due to the immigration of Scots to Appalachia, elements of Scottish music such as the Lombard rhythm have been appropriated into popular music forms of the 20th and 21st century. In modern North American pop and rap music, the Lombard rhythm is very common; recent releases by Post Malone, Cardi B, and Ariana Grande feature the Scotch snap. Grande's song ‘7 Rings’ was the subject of controversy surrounding this rhythm, wherein several hip-hop artists (Princess Nokia and Soulja Boy) who had used the rhythm in an iconic fashion raised accusations of plagiarism.

Babitz, Sol. “A Problem of Rhythm in Baroque Music.” The Musical Quarterly 38, no. 4 (October 1952): 533–565. https://www.jstor.org/stable/740138

Fuller, David. “Notes inégales (Fr.: ‘unequal notes’),” Grove Music Online (January 2001) https://doi.org/10.1093/gmo/9781561592630.article.20126

Gábor, Elod and Ignác-Csaba FILIP. “Johann Georg Pisendel: Sonata for Violin Solo in A Minor.” Series VIII: Performing Arts 12, no. 61 (2019): pp. 72–76. https://doi.org/10.31926/but.pa.2019.12.61.30

Miller, Leta. “C.P.E. Bach’s Instrumental ‘Recompositions’: Revisions or Alternatives?” Current Musicology 59, (1995) p. 29.

## Further reading