title: Paul Dixon (musician)

abstract: Paul Dixon is an English singer-songwriter and guitarist. He was known in the years 2010–2012 as David's Lyre, but is now using the musical project name Fyfe. He picked the name David's Lyre during his university studies in Manchester, in reference to the musical skills of the biblical King David with the lyre. He was featured by The Guardian as 'New band of the day' in 2010, by which time he had received attention for cover versions, remixes of other artists – notably, Marina and the Diamonds and Everything Everything – and had himself been remixed by producers The Last Skeptik and JaKwob. His debut EP release in 2011, In Arms, was described as "promising" by BBC reviewer Mike Diver, and drew comparisons with Patrick Wolf for its blend of folk and electronic instruments. A music video was released for "In Arms", using a short film animation which fitted the song. Dixon had signed a record contract with a major label in 2010, but the relationship ended in 2011, before releasing an album. Instead, his first full album Picture of Our Youth was self-released through Bandcamp in February 2012. Dixon announced in January 2012 that Picture of Our Youth would be his last album issued under the project name David's Lyre. Dixon now records and performs under the alias Fyfe. Having signed with Believe Recordings, Fyfe released his debut album Control on 9 March 2015. The album includes the singles, "For You", "Holding On" and "Solace", and followed the self-released four-song EP titled Solace EP released in April 2013. As of 2016, Dixon was releasing music through his own label Benvolio Music. The Space Between was released on 9 June 2017. It featured the single 'Belong', a collaboration with Kimbra. A collaborative project with Iskra Strings, Extended Play, was released 17 November 2018. He composed his first track for the BBC documentary Odd One Out which was released 12 September 2019. The documentary went on to win the award for Best Factual Entertainment Show at the National Television Awards. He has also been writing and producing songs for other artists such as Alice On The Roof. In 2024, Dixon co-wrote the song "The Tower", performed by Luna, which represented Poland at the Eurovision Song Contest 2024.

text:
# Paul Dixon (musician)

**Paul Dixon** (born 8 August 1989 in London, England) is an English singer-songwriter and guitarist. He was known in the years 2010–2012 as **David's Lyre**, but is now using the musical project name **Fyfe**.

He picked the name David's Lyre during his university studies in Manchester, in reference to the musical skills of the biblical King David with the lyre.

He was featured by *The Guardian* as 'New band of the day' in 2010, by which time he had received attention for cover versions (of Ellie Goulding among others), remixes of other artists – notably, Marina and the Diamonds and Everything Everything – and had himself been remixed by producers The Last Skeptik and JaKwob.

His debut EP release in 2011, *In Arms*, was described as "promising" by BBC reviewer Mike Diver, and drew comparisons with Patrick Wolf for its blend of folk and electronic instruments. A music video was released for "In Arms", using a short film animation which fitted the song.

Dixon had signed a record contract with a major label in 2010, but the relationship ended in 2011, before releasing an album. Instead, his first full album *Picture of Our Youth* was self-released through Bandcamp in February 2012.

Dixon announced in January 2012 that *Picture of Our Youth* would be his last album issued under the project name David's Lyre.

Dixon now records and performs under the alias Fyfe. Having signed with Believe Recordings, Fyfe released his debut album *Control* on 9 March 2015. The album includes the singles, "For You", "Holding On" and "Solace", and followed the self-released four-song EP titled *Solace EP* released in April 2013.

As of 2016, Dixon was releasing music through his own label Benvolio Music.

*The Space Between* was released on 9 June 2017. It featured the single 'Belong', a collaboration with Kimbra.

A collaborative project with Iskra Strings, *Extended Play*, was released 17 November 2018.

He composed his first track for the BBC documentary Odd One Out which was released 12 September 2019. The documentary went on to win the award for Best Factual Entertainment Show at the National Television Awards.

He has also been writing and producing songs for other artists such as Alice On The Roof.

In 2024, Dixon co-wrote the song "The Tower", performed by Luna, which represented Poland at the Eurovision Song Contest 2024.

## Discography

### Singles

* "Tear Them Down" (6 September 2010)
* "In Arms", remixed by Morgan Geist and The 2 Bears (Hideout, 20 June 2011)
* "Solace" (January 2013)
* "St Tropez" (February 2013)
* "Conversations" (June 2013)
* "For You" (July 2014)
* "Holding On" (October 2014)
* "Belong" (April 2017)

### EPs

* *In Arms* (Mercury, 21 February 2011)
* *Solace* (8 April 2013)
* *More Space Between* (Benvolio, 2017)
* *Extended Play (with Iskra Strings)* (Benvolio, 17 November 2018)

### Albums

* *Picture of Our Youth* (As "David's Lyre") (13 February 2012)
* *Control* (As "Fyfe") (9 March 2015)
* *The Space Between* (9 June 2017)
* *Interiority* (with "Iskra Strings") (3 June 2022)

### Soundtracks

* *Odd One Out (Music From The BBC Documentary)* (Benvolio, 12 September 2019)

## InfoBox

| Paul Dixon | |
| --- | --- |
| Dixon in 2015 | |
| Background information | |
| Born | (1989-08-08) 8 August 1989 |
| Genres | Experimental, indie rock, indie pop, electronic |
| Years active | 2010–present |
|  | |
| Website | www.thisisfyfe.com |


abstract: The Pauper Inmates Discharge and Regulation Act 1871, sometimes called the Pauper Inmates Discharge and Regulations Act 1871, was an Act of the Parliament of the United Kingdom which related to the Poor Law system. The Act stated that if a pauper had not left a workhouse in the past month then it was possible to detain him for 24 hours after he had given notice that he wished to leave, however the period of detention increased for the inmates who left more than twice in the past two months could be detained for 72 hours. There's no evidence that this stopped paupers from discharging themselves furiously although it limited the number of times they could leave in one week. Potentially the strongest discipline against these paupers was the guardian's increasing powers to take their children away from them, especially after the Children Act 1908, but guardians who cared more about economy rarely adopted this strategy unless the children were abused physically or neglected.

text:
# Pauper Inmates Discharge and Regulation Act 1871

The **Pauper Inmates Discharge and Regulation Act 1871** (34 & 35 Vict. c. 108), sometimes called the **Pauper Inmates Discharge and Regulations Act 1871**, was an Act of the Parliament of the United Kingdom which related to the Poor Law system. The Act stated that if a pauper had not left a workhouse in the past month then it was possible to detain him for 24 hours after he had given notice that he wished to leave, however the period of detention increased for the inmates who left more than twice in the past two months could be detained for 72 hours.

There's no evidence that this stopped paupers from discharging themselves furiously although it limited the number of times they could leave in one week. Potentially the strongest discipline against these paupers was the guardian's increasing powers to take their children away from them, especially after the Children Act 1908 (8 Edw. 7. c. 67), but guardians who cared more about economy rarely adopted this strategy unless the children were abused physically or neglected.

* Paterson, William (ed). "Pauper Inmates Discharge and Regulation Act". The Practical Statutes of the Session 1871. Horace Cox. London. 1871. Pages 294 to 300.

## InfoBox

Pauper Inmates Discharge and Regulation Act 1871
| Act of Parliament | |
| --- | --- |
| Parliament of the United Kingdom | |
| Long title | An Act to regulate and control the Discharge of Paupers from Workhouses and Wards provided for the Casual Poor. |
| Citation | 34 & 35 Vict. c. 108 |
| Territorial extent | England and Wales |
| Dates | |
| Royal assent | 21 August 1871 |


title: Pazo of the Counts of Maceda

abstract: The Palace of the Counts of Maceda, or Casa del Barón in Pontevedra, Spain, is an original Renaissance pazo dating from the 16th century. It is currently a four-star hotel belonging to the Paradores network.

text:
# Pazo of the Counts of Maceda

The **Palace of the Counts of Maceda**, or **Casa del Barón** in Pontevedra, Spain, is an original Renaissance pazo dating from the 16th century. It is currently a four-star hotel belonging to the Paradores network.

## Location

It is located in Barón street, in the heart of the old town of Pontevedra, close to the medieval Burgo Bridge.

## History

The building has its origin in a Roman villa. In the 16th century, the building was transformed into a Renaissance pazo. In the 18th century, the building was completely refurbished by the architect Pedro de Monteagudo and it became the property of the illustrious Counts of Maceda. Later, the property was passed on to the Marquis of Figueroa and Atalaya (also a count of Maceda) who filled it with antiques.

In the 19th century, the palace went into decline, and its uninhabited rooms were used as a sea salt warehouse and a school for poor children. It is even said that the building became a Masonic lodge. Later, it was transformed into a place where dozens of families lived. The Baron of Casa Goda, Eduardo de Vera y Navarro, put an end to this decadence, recovering its possessions and restoring much of its former splendour. This is why the Parador de Turismo de Pontevedra is called Casa del Barón.

In the 20th century, the first floor of the palace became the headquarters of the Graduada Álvarez Limeses School and the second floor was used as a house, being the family residence of the directors of this school until 1950, when the Pontevedra City Council became the owner.

The building was refurbished as a luxury hotel managed by the Spanish State, becoming on 15 January 1955 the first National Parador of Turism in Galicia. In 1974 the hotel underwent its first extension and in 2002 a major upgrade worth 2.34 million euros was carried out.

## Description

The pazo stands out for its imposing dimensions and stately ornamentation.

On the outside, there is a neoclassical portico at the entrance to the building. The façade of the building, covered with a frieze of oval shapes, is decorated with coats of arms and is topped by a colonnade of four granite columns. The palace has a crenellated tower added in the 18th century and a stone terrace. It also has a courtyard (originally designed for horses) and a garden.

Inside, there is large stone staircase, a Galician stone fireplace, and other baroque features. There are numerous drawing rooms. The building is decorated with antiques, tapestries, antique paintings, and classical and royal furniture.

## Hotel

The palace is now the Parador de Pontevedra, a 47-room luxury hotel. It is one of the four most popular paradors in Galicia. In 2019, its average annual occupancy rate was 72.75%, only behind the parador of Santiago de Compostela, the Hospital of the Catholic Monarchs.

King Felipe VI, the reigning king of Spain, used to spend the night here during his stay at the Spanish Naval Academy.

### Bibliography

* Aganzo, Carlos (2010). *Pontevedra. Ciudades con encanto* (in Spanish). Madrid: El País-Aguilar. pp. 81–82. ISBN 978-8403509344.
* Fontoira Surís, Rafael (2009). *Pontevedra monumental* (in Spanish). Pontevedra: Diputación Provincial de Pontevedra. p. 291. ISBN 978-84-8457-327-2.
* Riveiro Tobío, Elvira (2008). *Descubrir Pontevedra* (in Spanish). Pontevedra: Edicións do Cumio. p. 25. ISBN 9788482890852.

## InfoBox

| Palace of the Counts of Maceda | |
| --- | --- |
| Pazo de los Condes de Maceda | |
|  | |
|  | |
| Alternative names | Parador de Pontevedra |
| Hotel chain | Paradores |
| General information | |
| Type | Pazo |
| Location | Pontevedra, Spain |
| Coordinates | 42°26′03.1″N 8°38′45.9″W / 42.434194°N 8.646083°W / 42.434194; -8.646083 |
| Construction started | 16th century |
| Completed | 18th century |
| Opening | 1955 (as a Parador) |
| Technical details | |
| Floor count | 4 |
| Design and construction | |
| Architect(s) | Pedro de Monteagudo (18th century) |
| Website | |
| Parador de Pontevedra | |


title: Payne baronets

abstract: The Payne Baronetcy, of St Christopher's in the West Indies, was a title in the Baronetage of Great Britain. It was created on 31 October 1737 for Charles Payne. According to some sources that title became extinct on the death of the second Baronet, Sir Gillis Payne, in 1801. Sir Gillis was in a relationship with a farmer's daughter, Maria Keeling. They apparently married in 1761 although several children had been born before this date. Peter Payne was the eldest son born after the marriage and would normally have succeeded in the title. However, he allowed his eldest brother John Payne to assume the title, although John was illegitimate. John died in 1803 when his son Charles assumed the title. However, in 1828 Peter Payne raised the question in the courts over who was the rightful baronet. The Court of Chancery declared that he was the rightful heir to his father, but this was overturned by the Lord Chancellor in 1829. Nonetheless, during his lifetime Sir Peter was universally acknowledged as a baronet. Most reference books on the British nobility and baronetage include the title, although they describe it as being in dispute between rival branches of the family. Charles Robert Salusbury Payne, the supposed sixth Baronet, appears to have discontinued the claim around 1900. Sir Peter Payne, who claimed to be the third Baronet, sat as Member of Parliament for Bedfordshire between 1831 and 1832. Abraham Payne, brother of the first Baronet, was the grandfather of Sir William Payne-Gallwey, 1st Baronet and of Ralph Payne, 1st Baron Lavington.

text:
# Payne baronets

The **Payne Baronetcy**, of St Christopher's in the West Indies, was a title in the Baronetage of Great Britain. It was created on 31 October 1737 for Charles Payne. According to some sources that title became extinct on the death of the second Baronet, Sir Gillis Payne, in 1801. Sir Gillis was in a relationship with a farmer's daughter, Maria Keeling. They apparently married in 1761 although several children had been born before this date. Peter Payne was the eldest son born after the marriage and would normally have succeeded in the title. However, he allowed his eldest brother John Payne to assume the title, although John was illegitimate. John died in 1803 when his son Charles assumed the title. However, in 1828 Peter Payne raised the question in the courts over who was the rightful baronet. The Court of Chancery declared that he was the rightful heir to his father, but this was overturned by the Lord Chancellor in 1829. Nonetheless, during his lifetime Sir Peter was universally acknowledged as a baronet. Most reference books on the British nobility and baronetage include the title, although they describe it as being in dispute between rival branches of the family. Charles Robert Salusbury Payne, the supposed sixth Baronet, appears to have discontinued the claim around 1900.

Sir Peter Payne, who claimed to be the third Baronet, sat as Member of Parliament for Bedfordshire between 1831 and 1832. Abraham Payne, brother of the first Baronet, was the grandfather of Sir William Payne-Gallwey, 1st Baronet (see Frankland-Payne-Gallwey baronets) and of Ralph Payne, 1st Baron Lavington.

## Payne baronets, of St Christopher's (1737)

* Sir Charles Payne, 1st Baronet (died 1738)
* Sir Gillies Payne, 2nd Baronet (1720–1801) - possibly the title became extinct on his death
* *Sir Peter Payne, 3rd Baronet* (1762–1843)
* *Sir Charles Gillies Payne, 4th Baronet* (1793–1870)
* *Sir Salusbury Gillies Payne, 5th Baronet* (1829–1893)
* *Charles Robert Salusbury Payne, presumed 6th Baronet (1859–1942)* \- appears to have discontinued claim to title circa 1900

or

* Sir John Payne, *de facto* 3rd Baronet (died 1803) - succeeded his father, Sir Gillies, without dispute
* Sir Charles Payne, *de facto* 4th Baronet (died 1841) - succeeded his father, Sir John, without dispute
* *Sir Coventry Payne, 5th Baronet* (died 1849)
* *Sir Coventry Payne, 6th Baronet* (died 1874)
* *Sir Philip Monoux Payne, 7th Baronet* (1858–1935)


abstract: Pedro de Alcántara Téllez-Girón y Beaufort Spontin, 11th Duke of Osuna, GE, was a Spanish peer, head of the House of Osuna. He was one of the most important peers of his time, and was thirteen times a duke, twelve a marquess, thirteen a count and once a viscount.

text:
# Pedro de Alcántara Téllez-Girón, 11th Duke of Osuna

**Pedro de Alcántara Téllez-Girón y Beaufort Spontin, 11th Duke of Osuna**, GE (10 September 1810 – 29 September 1844), was a Spanish peer, head of the House of Osuna. He was one of the most important peers of his time, and was thirteen times a duke, twelve a marquess, thirteen a count and once a viscount.

## Family origins

Pedro was the son of Francisco Téllez-Girón, 10th Duke de Osuna and of María Francisca Beaufort Spontin y Álvarez de Toledo, 11th Marchioness of Almenara. The Téllez-Girón family had held title over the Dukedom of Osuna since 1562 with the rise of Pedro Téllez-Girón.

## Biography

Pedro inherited the Dukedom of Osuna after the death of his father in 1820.

He died in 1844 without leaving behind any heirs. As a result, all of his titles, including the Dukedoms of the Infantado and of Osuna would pass on to his brother, Mariano Téllez-Girón.

## Titles held

### Dukedoms

### Marquessates

### Countships

## InfoBox

| The Most ExcellentThe Duke of OsunaGE | |
| --- | --- |
| Portrait by Federico de Madrazo, 1844 | |
| Personal details | |
| Born | Pedro de Alcántara María Tomás Téllez-Girón y Beaufort Spontin
10 September 1810
Madrid, Spain |
| Died | 29 September 1844(1844-09-29) (aged 34)
Madrid, Spain |
| Parents |  |
|  | |


title: Payroll Room

abstract: The "Payroll Room" is how much money in a National Hockey League (NHL) team's salary cap is left to acquire players, whether such players are signed as free agents or join the team via a trade or waivers. The term originated in 2005 with the NHL Collective Bargaining Agreement (CBA), which was negotiated following a season-long lockout. The new CBA includes a salary cap. Payroll room is often called cap room in the media. A team can increase its cap room if it trades high-salary players to other teams and gets lower-paid players in their place. A team cannot trade its cap room to another team or defer its cap room to subsequent seasons. Other practices once common in the NHL, such as exchanging cash for players or agreeing to pay a portion of a player's remaining salary after trading him, have been explicitly forbidden in the new CBA to try to prevent wealthier teams from evading the restrictions of the cap.

text:
# Payroll Room

The "**Payroll Room**" is how much money in a National Hockey League (NHL) team's salary cap is left to acquire players, whether such players are signed as free agents or join the team via a trade or waivers. The term originated in 2005 with the NHL Collective Bargaining Agreement (CBA), which was negotiated following a season-long lockout. The new CBA includes a salary cap (formally titled the "Upper Limit" of the *Payroll Range* in the agreement). Payroll room is often called **cap room** in the media.

A team can increase its cap room if it trades high-salary players to other teams and gets lower-paid players in their place. A team cannot trade its cap room to another team or defer its cap room to subsequent seasons. Other practices once common in the NHL, such as exchanging cash for players or agreeing to pay a portion of a player's remaining salary after trading him, have been explicitly forbidden in the new CBA to try to prevent wealthier teams from evading the restrictions of the cap.


title: Paulo Saldiva

abstract: Paulo Hilário Nascimento Saldiva is a Brazilian professor, physician, pathologist and medical researcher. He researches particularly on the academic area of pathophysiology of the lungs and the hazardous consequences of air pollution for human health. He is a member of the World Health Organization and is a researcher of the Department of Environmental Health of Harvard University, and has co-authored the book "Saúde e Meio Ambiente: o desafio das metrópoles", released in 2011. Saldiva graduated and obtained a bachelor's degree by the department of Medicine of the Universidade de São Paulo in 1977 and a Doctor's Degree in Pathology in 1983, among other academic accomplishments. He participates weekly in the TV program Jornal da Cultura.

text:
# Paulo Saldiva

**Paulo Hilário Nascimento Saldiva** (12 July 1954) is a Brazilian professor, physician, pathologist and medical researcher. He researches particularly on the academic area of pathophysiology of the lungs and the hazardous consequences of air pollution for human health. He is a member of the World Health Organization and is a researcher of the Department of Environmental Health of Harvard University, and has co-authored the book "Saúde e Meio Ambiente: o desafio das metrópoles" (Health and the Environment : the challenge faced by the metropolis), released in 2011. Saldiva graduated and obtained a bachelor's degree by the department of Medicine of the Universidade de São Paulo in 1977 and a Doctor's Degree in Pathology in 1983, among other academic accomplishments. He participates weekly in the TV program Jornal da Cultura.

## InfoBox

| Paulo Saldiva | |
| --- | --- |
| Portrait of Paulo Saldiva | |
| Personal details | |
| Born | Paulo Hilário Nascimento Saldiva<br>(1954-07-12) July 12, 1954 |
| Alma mater | University of Sao Paulo |
|  | |


title: Payanoor

abstract: Payanoor or Paiyanoor is a village in Chengalpattu district in the Indian state of Tamil Nadu. It is the nearest area to Mahabalipuram. It is located on Old Mahabalipuram Road.

text:
# Payanoor

**Payanoor** or **Paiyanoor** is a village in Chengalpattu district in the Indian state of Tamil Nadu. It is the nearest area to Mahabalipuram. It is located on Old Mahabalipuram Road.

## Governance

Paiyanoor is a rural village panchayat within Thiruporur taluk.

Until 18 July 2019 Payanoor was part of Kancheepuram district, until the division of that district into two parts.

## Location

Payanoor is located on State Highway Old Mahabalipuram Road, 48 km away from Chennai and 7 km away from the famous tourist town Mahabalipuram and it is 3 km away from East Coast Road.

12°38′22″N 80°10′30″E / 12.6394°N 80.1751°E / 12.6394; 80.1751

## InfoBox

| Payanoor | |
| --- | --- |
| village | |
| Country | India |
| State | Tamil Nadu |
| District | Chengalpattu |
| Languages | |
| Official | Tamil |
| Time zone | UTC+5:30 (IST) |
| PIN | 603104 |
| Vehicle registration | TN 19 |


title: Peggy Beer

abstract: Peggy Beer is a retired German heptathlete. Her personal best was 6531 points, achieved at the 1990 European Championships in Split. This ranks her tenth among German heptathletes, behind Sabine Braun, Sabine Paetz, Ramona Neubert, Anke Behmer-Vater, Heike Drechsler, Ines Schulz, Sibylle Thiele, Heike Tischler and Mona Steigauf. She competed at the Hypo-Meeting twice in her career, coming fifth in 1995 with 6363 points then third with 6382 points in 1998.

text:
# Peggy Beer

**Peggy Beer** (born 15 September 1969 in East Berlin) is a retired German heptathlete. Her personal best was 6531 points, achieved at the 1990 European Championships in Split. This ranks her tenth among German heptathletes, behind Sabine Braun, Sabine Paetz, Ramona Neubert, Anke Behmer-Vater, Heike Drechsler, Ines Schulz, Sibylle Thiele, Heike Tischler and Mona Steigauf.

She competed at the Hypo-Meeting twice in her career, coming fifth in 1995 with 6363 points then third with 6382 points in 1998.

## International competitions

| Year | Competition | Venue | Position | Event | Notes |
| --- | --- | --- | --- | --- | --- |
| Representing  East Germany | | | | | |
| 1986 | World Junior Championships | Athens, Greece | 4th | Heptathlon | 5591 pts |
| 1987 | European Junior Championships | Birmingham, England | 1st | Heptathlon | 6068 pts |
| 1988 | World Junior Championships | Sudbury, Canada | 3rd | Heptathlon | 6067 pts |
| 1990 | European Championships | Split, Yugoslavia | 3rd | Heptathlon | 6531 pts PB |
| Representing  Germany | | | | | |
| 1991 | World Championships | Tokyo, Japan | 7th | Heptathlon | 6380 pts |
| 1992 | Olympic Games | Barcelona, Spain | 6th | Heptathlon | 6434 pts |
| 1994 | European Championships | Helsinki, Finland | 6th | Heptathlon | 6275 pts |
| 1996 | Olympic Games | Atlanta, United States | 13th | Heptathlon | 6234 pts |
| 1997 | World Championships | Athens, Greece | 9th | Heptathlon | 6259 pts |


title: Peachberry

abstract: Peachberry is the 11th studio album by Japanese singer/songwriter Chisato Moritaka, released on July 16, 1997, by One Up Music. The album marked the 10th anniversary of Moritaka's music career. A limited edition release was packaged in a cardboard box and included 13 photographs; each with lyrics to a corresponding song. Peachberry draws inspiration from Moritaka's love of the Beatles' music, with some of the tracks recorded at Abbey Road Studios. The song "Tony Slavin" is named after the Liverpool barber shop that the Beatles referenced in their 1967 song "Penny Lane". The album reached No. 4 on Oricon's albums chart and sold over 322,000 copies. It was also Moritaka's last studio album to be certified Gold by the RIAJ.

text:
# Peachberry

***Peachberry*** (ピーチベリー, *Pīchiberī*) is the 11th studio album by Japanese singer/songwriter Chisato Moritaka, released on July 16, 1997, by One Up Music. The album marked the 10th anniversary of Moritaka's music career. A limited edition release was packaged in a cardboard box and included 13 photographs; each with lyrics to a corresponding song.

*Peachberry* draws inspiration from Moritaka's love of the Beatles' music, with some of the tracks recorded at Abbey Road Studios. The song "Tony Slavin" is named after the Liverpool barber shop that the Beatles referenced in their 1967 song "Penny Lane".

The album reached No. 4 on Oricon's albums chart and sold over 322,000 copies. It was also Moritaka's last studio album to be certified Gold by the RIAJ.

## Track listing

All lyrics are written by Chisato Moritaka; all music is arranged by Yuichi Takahashi, except where indicated.

| No. | Title | Music | Arrangement | Length |
| --- | --- | --- | --- | --- |
| 1. | "Sweet Candy (Album Version)" | Yuichi Takahashi |  | 4:52 |
| 2. | "My Anniversary" (*Mai Anibāsarī* (マイ・アニバーサリー)) | Takahashi |  | 4:22 |
| 3. | "Oshare Fū" ((おしゃれ風(ふう), "Fashionable Wind")) | Moritaka | Moritaka | 4:14 |
| 4. | "Shintō Mekkyakusureba Himomata Suzushi" ((心頭滅却すれば火もまた涼し, "If You Destroy Your Heart, the Fire Will Cool Again")) | Takahashi |  | 3:33 |
| 5. | "Let's Go!" | Hiromasa Ijichi |  | 4:24 |
| 6. | "Anata wa Ninki Mono" ((あなたは人気者, "You Are a Popular Person")) | Shin Kōno | Kōno | 4:57 |
| 7. | "Futsū no Shiawase" ((普通の幸せ, "Ordinary Happiness")) | Chihiro Imai |  | 4:47 |
| 8. | "Mitatōri yo Watashi" ((見たとおりよ私, "As You See Me")) | Moritaka | Moritaka | 3:34 |
| 9. | "Hoshi ni Negai wo" ((星に願いを, "Wish Upon a Star")) | Ijichi |  | 4:53 |
| 10. | "Kataomoi" ((片思い, "Unrequited Love")) | Kōno | Kōno | 4:44 |
| 11. | "Tony Slavin" | Moritaka | Moritaka | 4:33 |
| 12. | "Clarinet Gensōkyoku (Instrumental)" (*Kurarinetto Gensōkyoku* (クラリネット幻想曲, "Clarinet Fantasy")) | Moritaka | Moritaka | 1:09 |
| 13. | "Gin'iro no Yume" ((銀色の夢, "The Silver Colored Dream")) | Ijichi |  | 4:03 |
| Total length: | | | | 54:05 |

## Personnel

* Chisato Moritaka – vocals, drums (all tracks), tambourine (2, 10), shaker (2), timbales (6), recorder (7), accordion (7), piano (8), kalimba (8), pianica (11), clarinet (12), percussion (13)
* Yuichi Takahashi – guitar (1–2, 4–5, 7, 9–11, 13), keyboards (1–3, 5, 7–9, 11, 13)
* Shin Hashimoto – piano (1–2, 5, 7, 9, 11, 13), Fender Rhodes (1, 3, 5, 8), synthesizer (2, 5, 8–9), Wurlitzer (4), guitar (7, 11), kalimba (8), taishōgoto (13)
* Shin Kōno – piano (6, 10), Fender Rhodes (6, 10), percussion (6), keyboards (10)
* Yukio Seto – bass (1–2, 4–5, 7–8, 11, 13), guitar (1–7, 9–10, 13), conga (1), shaker (1, 6), bar chimes (5, 9–10), percussion (5, 13), djembe (8–9, 11), didgeridoo (8), timbales (9)
* Masafumi Yokoyama – bass (6, 10)
* Shuhei Miyachi – bell (4)
* Toshio Araki – trumpet (6)
* Kōji Nishimura – trumpet (6)
* Masakuni Takeno – alto saxophone (6)
* Takuo Yamamoto – tenor saxophone (6, 10), flute (6)
* Masanori Hirohara – trombone (6)
* Junko Yamashiro – bass trombone (6)
* Something Else – backing vocals (2)

* Nobutaka Okubo
* Daisuke Itō
* Chihiro Imai

## Charts

| Chart (1997) | Peak
position |
| --- | --- |
| Japanese Albums (Oricon) | 4 |

## Certification

| Region | Certification | Certified units/sales |
| --- | --- | --- |
| Japan (RIAJ) | Gold | 200,000^ |
| ^ Shipments figures based on certification alone.
 | | |

## InfoBox

| Peachberry | |
| --- | --- |
|  | |
| Studio album by Chisato Moritaka | |
| Released | July 16, 1997 (1997-07-16) |
| Recorded | 1996–1997 |
| Studio | Abbey Road Studios |
| Genre |  |
| Length | 54:05 |
| Language | Japanese |
| Label | One Up Music |
| Producer | * Yukio Seto * Shin Hashimoto * Yuichi Takahashi |
| Chisato Moritaka chronology | |
| *Taiyo*
(1996) ***Peachberry***
(1997) *Kotoshi no Natsu wa More Better*
(1998) | |
|  | |
| Singles from  *Peachberry* | |
| 1. "Gin'iro no Yume"
Released: November 11, 1996 (1996-11-11) 2. "Let's Go!"
Released: February 25, 1997 (1997-02-25) 3. "Sweet Candy"
Released: June 11, 1997 (1997-06-11) | |
|  | |


title: Peacock Subglacial Trench

abstract: Peacock Subglacial Trench is a subglacial trench that forms a north–south extension of Aurora Subglacial Basin in Wilkes Land. The trench lies south of Dome C and west of Belgica Subglacial Mountains. The feature was delineated by the Scott Polar Research Institute (SPRI)-National Science Foundation (NSF)-Technical University of Denmark (TUD) airborne radio echo sounding program, 1967–79, and named after the Peacock one of the ships of the United States Exploring Expedition, 1838-42.  This article incorporates public domain material from "Peacock Subglacial Trench". Geographic Names Information System. United States Geological Survey.

text:
# Peacock Subglacial Trench

**Peacock Subglacial Trench** (76°30′S 124°0′E / 76.500°S 124.000°E / -76.500; 124.000) is a subglacial trench that forms a north–south extension of Aurora Subglacial Basin in Wilkes Land. The trench lies south of Dome C and west of Belgica Subglacial Mountains. The feature was delineated by the Scott Polar Research Institute (SPRI)-National Science Foundation (NSF)-Technical University of Denmark (TUD) airborne radio echo sounding program, 1967–79, and named after the Peacock (Lieutenant William L. Hudson, USN) one of the ships of the United States Exploring Expedition, 1838-42 (Lieutenant Charles Wilkes, USN).

This article incorporates public domain material from "Peacock Subglacial Trench". *Geographic Names Information System*. United States Geological Survey.


title: Pavlov Ballet

abstract:
Pavlov Ballet is first ballet company incorporated outside Russia. Founded by Dmitri Pavlov in 1992 and incorporated in England and Wales in 1997. Company led by Ella Gusova and Alla Chachina. Pavlov Ballet's first season in the UK began in September 1998 and concluded in June 1999. The company repertoire included Giselle, Grand Pas from Paquita, Les Sylphide and a number of variations and Pas De Dux from various ballets. The progress of the company was closely followed by the media: BBC, HTV, Womans own magazine, Independent Sunday magazine among a few. BBC Radio 4 covered the pre season launch and later BBC Europe Direct ran a feature.
After a successful season the company was sold to Grand Theatre Swansea where it continued under a different name Swansea Ballet Russe. The company featured several lead dancers in the role of Giselle: Elena Alexeeva, Julia Papejeva and Marina Filippova. Marina Filippova and Chika Temma were cast as Myrtha. On larger size stages the ballet was performed where the Peasant Pas de Dux was included and featured either Chika Temma or Elena Chikasheva partnered by Juri Demakov. The part of Count Albert was danced by Aleksandr Mishenko and Andrey Stelmakhov. The peasant pas de dux male partner was Juri Demakov. Previously to Pavlov Ballet Alla Chachina and Ella Gusova produced plays for local theatres. Pavlov Ballet was an ambitious project as it involved raising the funding, obtaining work permits for eleven dancers, booking and promoting the tour. Alla and Ella come from opera and ballet theatre background. Their father Vladislav Chachin was an opera conductor and worked as a principal in many Russian opera houses including Kirov (Marinsky) theatre.

text:
# Pavlov Ballet

**Pavlov Ballet** is first ballet company incorporated outside Russia. Founded by Dmitri Pavlov in 1992 and incorporated in England and Wales in 1997. Company led by Ella Gusova (company director) and Alla Chachina (artistic director). Pavlov Ballet's first season in the UK began in September 1998 and concluded in June 1999. The company repertoire included Giselle, Grand Pas from Paquita, Les Sylphide and a number of variations and Pas De Dux from various ballets. The progress of the company was closely followed by the media: BBC, HTV, Womans own magazine, Independent Sunday magazine among a few. BBC Radio 4 covered the pre season launch and later BBC Europe Direct ran a feature. After a successful season the company was sold to Grand Theatre Swansea where it continued under a different name Swansea Ballet Russe.

The company featured several lead dancers in the role of Giselle: Elena Alexeeva, Julia Papejeva and Marina Filippova. Marina Filippova and Chika Temma were cast as Myrtha. On larger size stages the ballet was performed where the Peasant Pas de Dux was included and featured either Chika Temma or Elena Chikasheva partnered by Juri Demakov. The part of Count Albert was danced by Aleksandr Mishenko and Andrey Stelmakhov. The peasant pas de dux male partner was Juri Demakov.

Previously to Pavlov Ballet Alla Chachina and Ella Gusova produced plays for local theatres. Pavlov Ballet was an ambitious project as it involved raising the funding, obtaining work permits for eleven dancers, booking and promoting the tour. Alla and Ella come from opera and ballet theatre background. Their father Vladislav Chachin was an opera conductor and worked as a principal in many Russian opera houses including Kirov (Marinsky) theatre.

Full Repertoire:

Giselle - ballet in two acts by Adam

Grand Pas from Paquita - a one act ballet. Music by Minkus

Les Sylphide - a one act ballet to music by Chopin

Pas De Dux - Don Quixote music by Minkus

Pas De Dux - Swan lake (black swan) music by Tchaikovsky

Pas De Dux - Le Corsaire music by Adam

Pas De Dux - Raymonda music by Glazunov

Slave Pas De Dux - Le Corsaire music by Adam

Adagio from Sleeping Beauty music by Tchaikovsky

Adagio from Spring Waters music by Kobekin

Baba Yaga - a choreographic miniature music by Mussorgsky

The Lady and the Hooligan - a choreographic miniature music by Shostakovich

Diana and Actaeon - a pas de dux from the ballet Esmeralda. Music by Pugni

Adagio Swan Lake (white Swan) music by Tchaikovsky


title: Peasant economics

abstract: Peasant economics is an area of economics in which a wide variety of economic approaches ranging from the neoclassical to the marxist are used to examine the political economy of the peasantry. The defining feature of the peasants are that they are typically seen to be only partly integrated into the market economy -— an economy which, in societies with a significant peasant population, is typically found to have many imperfect, incomplete or missing markets. Peasant economics treats peasants as something different from other farmers as they are not assumed to be simply small profit maximizing farmers; by contrast, peasant economics covers a wide range of different theories of peasant household behavior. These include various assumptions about the maximization of profits, risk aversion, drudgery aversion, and sharecropping. The assumptions, logic, and predictions of these theories are examined and the impact of subsistence is typically found to have important implications in terms of producers decisions about supply, consumption and price. Chayanov was an early proponent of the importance of understanding peasant behaviour arguing that peasants would work as hard as they needed in order to meet their subsistence needs, but had no incentive beyond those needs and therefore would slow and stop working once they were met. This principle, the consumption-labour-balance principle, implies that the peasant household will increase its work until it meets (balances) the needs (consumption) of the household. A possible implication of this view of peasant societies is that they will not develop without some external, added factor. Peasant economics has been seen as being an important area of study by some development economists, agricultural sociologists, and anthropologists.

text:
# Peasant economics

**Peasant economics** is an area of economics in which a wide variety of economic approaches ranging from the neoclassical to the marxist are used to examine the political economy of the peasantry. The defining feature of the peasants are that they are typically seen to be only partly integrated into the market economy -— an economy which, in societies with a significant peasant population, is typically found to have many imperfect, incomplete or missing markets. Peasant economics treats peasants as something different from other farmers as they are not assumed to be simply small profit maximizing farmers; by contrast, peasant economics covers a wide range of different theories of peasant household behavior. These include various assumptions about the maximization of profits, risk aversion, drudgery aversion, and sharecropping. The assumptions, logic, and predictions of these theories are examined and the impact of subsistence is typically found to have important implications in terms of producers decisions about supply, consumption and price. Chayanov was an early proponent of the importance of understanding peasant behaviour arguing that peasants would work as hard as they needed in order to meet their subsistence needs, but had no incentive beyond those needs and therefore would slow and stop working once they were met. This principle, the consumption-labour-balance principle, implies that the peasant household will increase its work until it meets (balances) the needs (consumption) of the household. A possible implication of this view of peasant societies is that they will not develop without some external, added factor. Peasant economics has been seen as being an important area of study by some development economists, agricultural sociologists, and anthropologists.

## Peasant Society

The economist George Dalton, through surveying agrarian peasant economies in areas of West Africa, suggests that in societies where peasant economics is the predominant form of production, those societies generally consist of a community of family units. Dalton defines this community as "a circle of people who live together… so that they share not this or that particular interest, but a whole set of interests wide enough and comprehensive enough to include their lives." These communities largely produce for their own subsistence, as opposed to producing for markets. The production processes that occur in these societies center around this subsistence, and the organization of this society into a communal form of production. As Dalton writes of African peasant communities, unemployment and economic depression are not the main issues. Instead, these societies primarily have to contend with issues within the environment, like the weather and plant diseases. Peasants are also less likely to be specialists in a particular area of production and will spend time across the year doing a wide range of productive activities. Dalton also argued that peasant societies based their economic production much more on cultural and religious tradition, as opposed to purely environmental conditions. He based this on a study of neighboring African peasant societies which had very different cultural practices and social structures. They would have extremely similar environmental conditions and yet would have very different economies, which he argued demonstrated that social structure and culture were the primary determining factors of the economic activity of peasant societies. Dalton also argued that this is demonstrated in the distribution of the factors of production in peasant societies. Unlike market economies where land, labour, and materials are purchased, in African peasant societies "land for homesteads and farms is acquired through tribal affiliation or kinship right." Alongside this, Dalton suggests that much of the organization of work would occur through social relationships within the community, such as "kinship and friendship reciprocity." He concludes that this largely social and cultural organization of production is due to relative absence of the pressure of market economies to reduce costs and maximize profits, which would "enforce economizing decisions on local producers." Dalton also argues that peasant societies were generally based on a socially guaranteed subsistence, with reciprocal gifts of produce, materials and livestock based on tribal and social relationships. These gifts would exchange between members of a particular tribe and would also involve tribute to the chief of the tribe, who would act as a steward of the society, and would maintain a retinue of warriors. These chiefs would also resolve conflicts between tribe members and provide emergency resources. The chief could also call upon members of the tribe to perform labour in service to them, like constructing their huts.

Soviet economist Alexander Chayanov argues that peasant economics is centered around the agricultural production of a family unit on a plot of land, known as a peasant holding. Through the direct labour of these family units on their plots, peasant holdings will produce a certain amount of goods either for their own consumption or in order to exchange them for necessary goods at local markets. Peasant holdings largely existed under feudal serfdom, which is characterized by the ownership of peasants and their land by a feudal lord, who would guarantee them their holdings and protection, while taking a proportion of the goods they produced. Soviet economist Chayanov argues that the peasant holdings did not operate in order to maximize their profits like a business would in a capitalist economy, but instead would seek to maintain an "equilibrium between family demand satisfaction and the drudgery of labour itself." This 'family demand satisfaction' is defined by Chayanov as the ability to "live and reproduce." According to Chayanov, this economic equilibrium would be determined by how large the family unit is, how much land they possess, their geographic location, their distance to local markets, the local economic factors of these markets, and the intensity of labour that is required to produce certain goods. For instance, Chayanov describes how some peasant holdings in northwest Russia in the early twentieth century had large family units but had little land in their holdings. In order to produce enough goods to meet their needs, they began to farm potatoes and hemp, "Which are often of lower profitability… but are more labour-intensive and thereby increase the farm family's gross product." Peasant holdings, while having to pay rent to their serfs, had control over the plots which they farmed, which meant that they could adjust what crops they farmed and how they generated their subsistence in order to maintain this economic equilibrium. An aspect of this subsistence-based economics was that the peasant holding did not seek to constantly expand itself (known as expanded reproduction), but just to meet the immediate requirements of its family unit (known as simple reproduction).

## European Feudalism

In the early medieval period within Europe (around 1000 CE), the majority of land was controlled by warring baronies. These baronies had self-contained economies, and peasants were serfs beneath their lord. This meant that they could not leave their lord's service, or their land. All goods were produced directly within the barony by the peasants, with their lords taking a levy of at least two-fifths from their produce.

Gradually, new production methods such as the heavy wheeled plough, using cattle to fertilise land, harnessing horses rather than oxen, and the water mill saw a doubling in peasant food production by around 1300 CE. (Harman, 142-143) Harman suggests that the development of these new production techniques was a byproduct of serfdom, where peasants who owned an agricultural holding were incentivised to increase their food production to increase their own wealth, and lords would take a greater share from their levy. This extra food could be exchanged for imported or crafted goods at marketplaces within towns. This led to a general increase in wealth, particularly for feudal lords.

However, later during the 1300s CE, famines and plagues began to spread across Europe. Widespread malnutrition of the peasantry meant that half the population was wiped out. George Dubys suggests that a cause of this crisis was the inability for the grain-centred agriculture of feudal Europe to keep up with the rising living standards of the feudal nobility and the urban townships. Harman further suggests that this was compounded by little investment in agriculture by the feudal lords, who spent the majority of their wealth funding luxury goods and wars.

By around 1400 CE, the population of Europe began to gradually recover. Towns increased in importance, as rural food production on fertile land was linked to market networks. Merchants who were able to trade between Europe and India, South-East Asia, and China gained a large amount of wealth. This led to a new "putting-out" system of peasant agriculture, where merchants in towns would provide peasants with raw materials in exchange for their products.

Karl Marx describes how serfdom began to disappear in England by the end of the 14th century. Feudal agriculture was "characterised by division of the soil amongst the greatest possible number of subfeudatories." These "subfeudatories" were typically large estates who would hire peasants to work for wages on their large estates, as well as allocating them small plots of "4 or more acres," and "common land" which could be used collectively by all the peasants of an estate. However, Marx writes that new textile industries overseas created an increase in the price of English wool. This led to land enclosures, where land which was once owned by peasants for their own agriculture was fenced-off and used for pastures. This culminated in the "Acts For Enclosures of the Commons," where large estate owners would grant themselves ownership of common land through parliamentary decree. These enclosures took from peasants the land which was previously their subsistence. This led to a massive displacement of the population, which would later become concentrated into an industrial working class. This is seen by Marx as the shift from feudalism into capitalism.

## Peasants as Moral or Rational Economic Agents

Samuel Popkin defines a 'moral economic' approach to the political economy of peasants as one which "focuses on the relation between economic and social institutions". In the context of the peasantry in Vietnam, moral economists argue that Confucian and Vietnamese cultural values underpin peasant society, and that this ultimately was the source of the resistance to French colonial rule. The general assumptions of moral economists is that peasants are "anti-market, prefer common property to private, and dislike buying and selling". On the other hand, Popkin argues that these assumptions are not fixed, and are generally dependent on individual assessments of risk and reward amongst different peasants in different contexts.

Pierre Brocheux argues that a 'moral economy' in relation to peasants is one where the state and the peasantry form a contract which involves mutual and reciprocal obligations. Such as redistributing land from large landholders, reforming tax so that it is equitable, and a stimulation of agricultural production. However, Brocheux argues that in the Vietnamese peasant uprisings of the 1930s, this conflicted with the tendency of peasants to fall back into less productive family plots and peasant culture, rather than more productive collectivised agriculture. As such, Brocheux disagrees with Popkin that peasants are necessarily individualistic and rational economic agents, but that they are both rational and moral economic agents, and can have a tendency to "remain attached to the social order with which they are familiar".

## Peasants as an Economic Class

An economic class (according to the Marxist definition) has a shared relationship to the means of production. By this definition, peasants are an economic class that shares the relationship of serfdom. Serfdom is characterised by subsistence agriculture on a holding of land, a share of which is taken by a serf, who has legal ownership of the land.

However, as Nirmul Kumar Chandra suggests, peasants are often stratified by their wealth and amount of land they possessed, as was the case in Russia up to and during the Soviet Union. The richer peasants had more power then the poorer peasants in determining how collective land was shared, and were often taxed a greater share of their output than the richer peasants. Further, the richer peasants were less interested in collectivising their land into an agricultural commune, since they would lose a greater proportion of their wealth as it became shared between all peasants.


title: Peckoltia brevis

abstract: Peckoltia brevis is a small species of Peckoltia belonging to the catfish family Loricariidae. Peckoltia brevis possesses the L-number L205.

text:
# Peckoltia brevis

***Peckoltia brevis*** is a small species of *Peckoltia* belonging to the catfish family Loricariidae. *Peckoltia brevis* possesses the L-number L205.

## Distribution

*Peckoltia brevis* is found in the middle and upper Amazon within the Purus river basin.

## Appearance

*Peckoltia brevis* grows to around 11 cm and has numerous black spots and stripes on its yellow coloured body. Males can be distinguished from females by their slimmer profile and small teeth-like projections or odontodes across the back half of their body.

## Habits

*Peckoltia brevis* inhabits tangled woody backwaters and feeds primarily on small meaty foods (such as carrion) and algae.

## In the aquarium

*Peckoltia brevis* requires a tropical softwater aquarium with temperatures of 22–26 °C (72–79 °F) and a pH of around 6. Its behaviour is typical of other *Loricariidae* species; being very peaceful and sometimes inactive. The species is not exceptionally common in the aquarium trade.

## InfoBox

| *Peckoltia brevis* | |
| --- | --- |
|  | |
|
| Scientific classification | |
| Domain: | Eukaryota |
| Kingdom: | Animalia |
| Phylum: | Chordata |
| Class: | Actinopterygii |
| Order: | Siluriformes |
| Family: | Loricariidae |
| Subfamily: | Hypostominae |
| Tribe: | Ancistrini |
| Genus: | *Peckoltia* |
| Species: | ***P. brevis*** |
| Binomial name | |
| ***Peckoltia brevis***<br>(La Monte, 1935) | |
|


title: Peace, Vol. II

abstract: Peace, Vol. II is the fourth studio album by California-based worship collective Bethel Music. It was released on November 12, 2021, through its own imprint label, Bethel Music. The featured worship leaders on the album are Jenn Johnson, Jonathan David & Melissa Helser, Brandon Lake, Brian Johnson, Bethany Wohrle, and Dante Bowe, with guest appearances by Lauren Daigle, We the Kingdom, Pat Barrett, Phil Wickham, and Edward Rivera. Ed Cash collaborated with and Steven Taylor in the production of the album. Peace, Vol. II debuted at number 32 on Billboard's Top Christian Albums Chart in the United States.

text:
# Peace, Vol. II

***Peace, Vol. II*** is the fourth studio album by California-based worship collective Bethel Music. It was released on November 12, 2021, through its own imprint label, Bethel Music. The featured worship leaders on the album are Jenn Johnson, Jonathan David & Melissa Helser, Brandon Lake, Brian Johnson, Bethany Wohrle, and Dante Bowe, with guest appearances by Lauren Daigle, We the Kingdom, Pat Barrett, Phil Wickham, and Edward Rivera. Ed Cash collaborated with and Steven Taylor in the production of the album.

*Peace, Vol. II* debuted at number 32 on *Billboard*'s Top Christian Albums Chart in the United States.

## Background

On November 3, 2021, Bethel Music announced that they will be releasing *Peace, Vol. II* will be released on November 12, 2021. *Peace, Vol. II* is a follow-up to the critically acclaimed album *Peace* (2020), a collection of re-imagined versions of ten renowned worship songs and two original songs.

## Recording, production

Similar in production style to its predecessor, *Peace, Vol. II* was recorded using bi-lateral audio, with frequencies scientifically proven to reduce stress and anxiety. Ed Cash, commented on the outcome of the album, saying:

> I'm so thankful for the ocean, the birds of the air, the mountain breeze, a gentle rain and how God brings healing to us through His wonderful creation. *Peace, Vol, II* was a joy to work on—combining God’s healing sounds with calming versions of deep songs inspired by the Word of God has been one of my favorite projects to work on. The science behind using bilateral panning to help bring healing to all kinds of trauma is fascinating. We pray God will bring the healing you need as you listen!

## Reception

### Critical response

Professional ratings
| Review scores | |
| --- | --- |
| Source | Rating |
| 365 Days of Inspiring Media | 4.5/5 |
| JubileeCast |  |

Joshua Andre in his 365 Days of Inspiring Media review gave a positive review of the album, noting that *Peace, Vol. II* "follows in the trend of *Peace*," then concluding "A brilliant album, and a project I will listen to again and again and again." JubileeCast's Timothy Yap wrote a favourable review of the album, declaring that "Overall, this is a solid album of 12 tracks (many of them are already familiar) re-imagined bringing calmness to our troubled souls. To this end, they succeed with flying colors."

### Accolades

Year-end lists
| Publication | Accolade | Rank | Ref. |
| --- | --- | --- | --- |
| *JubileeCast* | Best Christian Albums of 2021 | 4 |  |
|

## Commercial performance

In the United States, *Peace, Vol. II* launched at number 32 on the Top Christian Albums Chart dated November 27, 2021.

## Track listing

*Peace, Vol. II*
| No. | Title | Writer(s) | Length |
| --- | --- | --- | --- |
| 1. | "You're Gonna Be OK" (with Jenn Johnson) |  | 4:22 |
| 2. | "You Came (Lazarus)" (with Jonathan David Helser & Melissa Helser) | * Ed Cash * Jonathan David Helser * Melissa Helser | 6:01 |
| 3. | "Rescue" (featuring Lauren Daigle) |  | 5:17 |
| 4. | "Graves into Gardens" (with Brandon Lake) |  | 7:34 |
| 5. | "The Light in You" (with We The Kingdom) | * Andrew Bergthold * E. Cash * Franni Cash * Martin Cash * Scott Cash | 4:23 |
| 6. | "Battle Belongs" (with Brian Johnson and Jenn Johnson) |  | 6:13 |
| 7. | "Build My Life" (with Pat Barrett) | * Brett Steven * Karl Martin * Kirby Kaple * Matt Redman * Pat Barrett | 5:18 |
| 8. | "Another in the Fire" (with Bethany Wohrle) |  | 5:47 |
| 9. | "Way Maker" (with Dante Bowe) | Osinachi Kalu Okoro Egbu | 6:01 |
| 10. | "Living Hope" (featuring Phil Wickham) | * B. Johnson * Wickham | 6:20 |
| 11. | "It Is Well" (featuring Edward Rivera) | Kristene DiMarco | 6:26 |
| 12. | "Arrows (I Will Be With You)" (with We The Kingdom) | E. Cash | 6:23 |
| Total length: | | | 70:04 |

## Charts

Weekly chart performance for *Peace, Vol. II*
| Chart (2021) | Peak
position |
| --- | --- |
| US Christian Albums (*Billboard*) | 32 |
|

## Release history

| Region | Date | Format(s) | Label(s) | Ref. |
| --- | --- | --- | --- | --- |
| Various | November 12, 2021 |  | Bethel Music |  |

## InfoBox

| Peace, Vol. II | |
| --- | --- |
|  | |
| Studio album by Bethel Music | |
| Released | November 12, 2021 (2021-11-12) |
| Recorded | 2021 |
| Genre | Contemporary worship music |
| Length | 70:04 |
| Label | Bethel Music |
| Producer |  |
| Bethel Music chronology | |
| *Homecoming (Español)*
(2021) ***Peace, Vol. II***
(2021) *Simple*
(2022) | |


title: PayU

abstract: PayU is a Netherlands-based payment service provider to online merchants. The company was founded in 2002, and is headquartered in Hoofddorp. It allows online businesses to accept and process payments through payment methods that can be integrated with web and mobile applications. As of 2018, the service is available in 17 countries. The firm is owned by the Naspers Group, which also owns a stake in one of its sister companies, Tencent.

text:
# PayU

**PayU** is a Netherlands-based payment service provider to online merchants. The company was founded in 2002, and is headquartered in Hoofddorp. It allows online businesses to accept and process payments through payment methods that can be integrated with web and mobile applications. As of 2018, the service is available in 17 countries. The firm is owned by the Naspers Group, which also owns a stake in one of its sister companies, Tencent.

## History

PayU is the result of multiple payment gateways in various regions of the world that have been acquired and brought into the PayU group. In 2014, all online payment companies that were part of Naspers started operating under the PayU brand.

In 2022, it fired about 150 employees, approximately 6% of its workforce.

In 2023, PayU sold its global payments business, other than those in its core markets of India, Southeast Asia and Turkey, to Rapyd for $610 million.

## Investment and acquisitions

* Acquired Zooz, an Israeli startup that provides an API to merchants.
* Acquired Indian payments services provider, Citrus Pay in September 2016 for $130M.
* Investment of €110M in German fintech company Kreditech, which provides machine-learning-based underwriting.
* PayU led a $115M funding round of Seattle-based Remitly, a remittance company.
* Series A investment of $3.7M in ZestMoney, a provider of consumer finance for online purchases.
* Invested $5.3M in Indian fintech startup PaySense in May 2017
* Investment of R$60M in online credit platform Creditas (ex-BankFacil)
* 2011, acquired Romanian online payments company GECAD ePayments
* 2019, acquired US-based digital financial security firm Wibmo for $70M
* 2019, acquired Turkish digital payments company Iyzico for $165M
* 2020, acquired Indian fintech startup PaySense for $185M

## Operations

### Europe

In November 2006, PayU SA was established and the Polish firm Platnosci.pl was merged into the group. The company also has a partnership with Iwoca to make financing for SME firms easier. In 2010, the company expanded to the Czech Republic. In 2011, the company expanded to Romania. In 2012, it began its operations in Russia, Ukraine, Turkey, Slovakia and Hungary.

### Latin America

In 2002, Pagosonline was founded in Colombia by Jose Velez, Martin Schrimpff and Santiago Spinel.

In 2010, PagosOnline sold a majority stake to Buscapé, which was a part of the Naspers Group. In 2011, Naspers acquired the majority stake in DineroMail. In 2013, Naspers acquired the rest of the shares of DineroMail. In 2012, Naspers acquired Pagosonline, replacing the former two with a new payment platform that eventually was rebranded PayU Latam, which begun operations in Panama and Peru. During the course of 2013 and 2014, PayU Latam and DineroMail merged. In 2016, Bcash and PayU, were merged under the PayU brand in Brazil.

### Africa

PayJar was founded in South Africa in 2010 as part of the Naspers group to help other Naspers companies process online payments. In 2011, PayJar was rebranded to PayU. In 2015, PayU expanded its operations to Nigeria.

### India

In 2011, Ibibo in conjunction with co-founders Nitin Gupta and Shailaz Nag, rolled out a payment gateway, PayU, in the Indian market to permit websites to integrate e-commerce transactions through online payments.

## Products and services

PayU is a regulated financial institution. It holds licenses from central banks and local regulators. PayU's products include a PCI-DSS certified payment gateway, an anti-fraud system and an online Visa/MasterCard acquirer.

## InfoBox

PayU
|
|  |
| Company type | Private |
| Industry | Fintech, Payments Service Provider |
| Founded | 2002 |
| Founder | Jose Velez, Martin Schrimpff, Arjan Bakker, Grzegorz Brochocki, Nitin Gupta, Shailaz Nag |
| Number of locations | 17 |
| Key people | Anirban Mukherjee (CEO) |
| Number of employees | 1500 |
| Parent | Naspers |
| Website | corporate.payu.com |


title: Pediasia paraniobe

abstract: Pediasia paraniobe is a moth in the family Crambidae. It was described by Stanisław Błeszyński in 1969. It is found in Angola.

text:
# Pediasia paraniobe

***Pediasia paraniobe*** is a moth in the family Crambidae. It was described by Stanisław Błeszyński in 1969. It is found in Angola.

## InfoBox

| *Pediasia paraniobe* | |
| --- | --- |
|
| Scientific classification | |
| Domain: | Eukaryota |
| Kingdom: | Animalia |
| Phylum: | Arthropoda |
| Class: | Insecta |
| Order: | Lepidoptera |
| Family: | Crambidae |
| Genus: | *Pediasia* |
| Species: | ***P. paraniobe*** |
| Binomial name | |
| ***Pediasia paraniobe***<br>Błeszyński, 1969 | |
|


title: Pediasia melanerges

abstract: Pediasia melanerges is a moth in the family Crambidae. It was described by George Hampson in 1919. It is found in Uganda and Sierra Leone.

text:
# Pediasia melanerges

***Pediasia melanerges*** is a moth in the family Crambidae. It was described by George Hampson in 1919. It is found in Uganda and Sierra Leone.

## InfoBox

| *Pediasia melanerges* | |
| --- | --- |
|
| Scientific classification | |
| Domain: | Eukaryota |
| Kingdom: | Animalia |
| Phylum: | Arthropoda |
| Class: | Insecta |
| Order: | Lepidoptera |
| Family: | Crambidae |
| Genus: | *Pediasia* |
| Species: | ***P. melanerges*** |
| Binomial name | |
| ***Pediasia melanerges***<br>(Hampson, 1919) | |
|
| Synonyms | |
| * *Crambus melanerges* Hampson, 1919 | |


title: Pediasia naumanni

abstract: Pediasia naumanni is a moth in the family Crambidae. It was described by Stanisław Błeszyński in 1969. It is found in Madagascar.

text:
# Pediasia naumanni

***Pediasia naumanni*** is a moth in the family Crambidae. It was described by Stanisław Błeszyński in 1969. It is found in Madagascar.

## InfoBox

| *Pediasia naumanni* | |
| --- | --- |
|
| Scientific classification | |
| Domain: | Eukaryota |
| Kingdom: | Animalia |
| Phylum: | Arthropoda |
| Class: | Insecta |
| Order: | Lepidoptera |
| Family: | Crambidae |
| Genus: | *Pediasia* |
| Species: | ***P. naumanni*** |
| Binomial name | |
| ***Pediasia naumanni***<br>Błeszyński, 1969 | |
|


title: Pediasia mexicana

abstract: Pediasia mexicana is a moth in the family Crambidae. It was described by Stanisław Błeszyński in 1967. It is found in Mexico.

text:
# Pediasia mexicana

***Pediasia mexicana*** is a moth in the family Crambidae. It was described by Stanisław Błeszyński in 1967. It is found in Mexico.

## InfoBox

| *Pediasia mexicana* | |
| --- | --- |
|
| Scientific classification | |
| Domain: | Eukaryota |
| Kingdom: | Animalia |
| Phylum: | Arthropoda |
| Class: | Insecta |
| Order: | Lepidoptera |
| Family: | Crambidae |
| Genus: | *Pediasia* |
| Species: | ***P. mexicana*** |
| Binomial name | |
| ***Pediasia mexicana***<br>Błeszyński, 1967 | |
|


title: Pedro Gonçalvo

abstract: Pedro Gonçalvo is a Mozambican sprinter. He competed in the men's 4 × 400 metres relay at the 1984 Summer Olympics.

text:
# Pedro Gonçalvo

**Pedro Gonçalvo** (born 13 March 1964) is a Mozambican sprinter. He competed in the men's 4 × 400 metres relay at the 1984 Summer Olympics.

## InfoBox

Pedro Gonçalvo
| Personal information | |
| --- | --- |
| Nationality | Mozambican |
| Born | (1964-03-13) 13 March 1964 |
| Sport | |
| Sport | Sprinting |
| Event | 4 × 400 metres relay |


title: Pedro Miguel Schiaffino

abstract:
Pedro Miguel Schiaffino is a Peruvian chef who has worked to highlight the foods of the Amazon jungle and Amazonian cuisine.
Schiaffino's restaurant in Lima, Peru is called Malabar. He is also executive chef aboard the M/V Aqua. Schiaffino is known as the "jungle chef" and has been compared to René Redzepi. Schiaffino graduated from the Culinary Institute of America in Hyde Park, New York, in 1997 and did Masters work at the Italian Culinary Institute. While in Italy he at Dal Pescatore under chef Nadia Santini and with Piero Bertinotti at Ristorante Pinocchio. Ingredients he uses include kushuru, algae, aguaje, giant snails, sacha culantro, turmeric, achiote, guinea pig and Andean corn beer. He also uses quinoa and seasonings including cedrón, toronjil, muña, sachatomate, and aguaymanto. His menu offerings have included dishes such as:
  - Tuna brulé with cocona-lime juice and tobiko wild caigua with scallops, Andean seaweed, and maca root
  - Fish ceviche with tumbo
  - Paiche with masato and black tapioca
  - Arroz con pato
  - Copoazu and green melon
  - Lucuma and deep fried "truffles"

text:
# Pedro Miguel Schiaffino

**Pedro Miguel Schiaffino** is a Peruvian chef who has worked to highlight the foods of the Amazon jungle and Amazonian cuisine. Schiaffino's restaurant in Lima, Peru is called Malabar. He is also executive chef aboard the M/V Aqua. Schiaffino is known as the "jungle chef" and has been compared to René Redzepi.

Schiaffino graduated from the Culinary Institute of America in Hyde Park, New York, in 1997 and did Masters work at the Italian Culinary Institute. While in Italy he at Dal Pescatore under chef Nadia Santini and with Piero Bertinotti at Ristorante Pinocchio.

Ingredients he uses include *kushuru* (Andean caviar), algae, aguaje (a slightly fermented palm fruit), giant snails, sacha culantro (a type of wild coriander), turmeric, achiote, guinea pig and Andean corn beer. He also uses quinoa and seasonings including cedrón, toronjil, muña, sachatomate, and aguaymanto.

His menu offerings have included dishes such as:


title: Peggy Fogelman

abstract: Peggy Fogelman is the Norma Jean Calderwood Director of the Isabella Stewart Gardner Museum in Boston, Massachusetts. Fogelman has served in this role since January 2016, after Anne Hawley stepped down after 26 years as director of the museum. Fogelman is the Isabella Stewart Gardner Museum's fifth director.

text:
# Peggy Fogelman

**Peggy Fogelman** is the Norma Jean Calderwood Director of the Isabella Stewart Gardner Museum in Boston, Massachusetts. Fogelman has served in this role since January 2016, after Anne Hawley stepped down after 26 years as director of the museum. Fogelman is the Isabella Stewart Gardner Museum's fifth director.

## Early life education

Fogelman is a Connecticut native. She received a Bachelor's degree from Johns Hopkins University in Art History, Criticism and Conservation and earned a Master's degree from Brown University in Art History.

## Career

She began her career at the J. Paul Getty Museum in Los Angeles, California as a sculpture curator and stayed at the museum for 20 years, later transitioning to the museum's Assistant Director for Education and Interpretation.

In 2007, she moved to Massachusetts to serve as the Director of Education and Interpretation at the Peabody Essex Museum.

Two years later, she moved to New York City after being hired as the Chairman of Education at the Metropolitan Museum of Art where she spent four years.

Next, she served for a year as the Acting Director of the Morgan Library & Museum, also in New York City, and then the museum's Director of Collections. As Director of Collections, she oversaw the museum's curatorial department, conservation department, and exhibition program.

In late 2015, the Isabella Stewart Gardner Museum named Fogelman as their new director after an eight-month search. Like the Morgan, the Isabella Stewart Gardner Museum also began as a private art collection.

## Personal life

Fogelman's longtime partner is John D. Childs. Childs is the Chief of Collection Services and the Director of the Phillips Library at the Peabody Essex Museum in Salem, Massachusetts and was previously the Head of Conservation at the National September 11 Memorial & Museum in New York City.

## InfoBox

| Peggy Fogelman | |
| --- | --- |
|  | |
| Norma Jean Calderwood Director of the Isabella Stewart Gardner Museum | |
| **Incumbent** | |
| **Assumed office**
January 2016 | |
| Preceded by | Anne Hawley |
|  | |
| Personal details | |
| Alma mater | Johns Hopkins University (BA)
Brown University (MA) |
| Occupation | Museum director |
|  | |


title: Pedrera, Seville

abstract: Pedrera is a city located in the province of Seville, Spain. According to the 2005 census (INE), the city has a population of 5143 inhabitants.

text:
# Pedrera, Seville

**Pedrera** is a city located in the province of Seville, Spain. According to the 2005 census (INE), the city has a population of 5143 inhabitants.

Matagallar quarry in Pedrera, Seville, Spain   * Pedrera \- Sistema de Información Multiterritorial de Andalucía

37°13′N 4°53′W / 37.217°N 4.883°W / 37.217; -4.883

## InfoBox

| Pedrera, Spain | |
| --- | --- |
| city | |
|  | |
| Country | Spain |
| Province | Seville |
| Municipality | Pedrera |
| Area | |
| Total | 60 km2 (20 sq mi) |
| Elevation | 460 m (1,510 ft) |
| Population (2018) | |
| Total | 5,205 |
| Density | 87/km2 (220/sq mi) |
| Time zone | UTC+1 (CET) |
| Summer (DST) | UTC+2 (CEST) |


title: Pedreiras (Porto de Mós)

abstract: Pedreiras is a civil parish in the municipality of Porto de Mós, Portugal. The population in 2021 was 2,548, in an area of 11.28 km⁲. It was created on 19 December, 1924 by law No.1:702.

text:
# Pedreiras (Porto de Mós)

**Pedreiras** is a civil parish in the municipality of Porto de Mós, Portugal. The population in 2021 was 2,548, in an area of 11.28 km2. It was created on 19 December, 1924 by law No.1:702.

| Population of the
civil parish of
Pedreiras
(1930–2021) Year Pop. ±%  1930  1,388       1940  1,670 +20.3%  1950  1,829 +9.5%  1960  1,943 +6.2%  1970  1,675 −13.8%  1981  2,445 +46.0%  1991  2,652 +8.5%  2001  2,655 +0.1%  2011  2,705 +1.9%  2021 2,548 −5.8% |
| --- |

1. "Resultados Preliminares Censos 2021 INE". Retrieved 10 January 2022.
2. "Diário do Govêrno" (PDF). 19 December 1924.
3. "Statistics Portugal - Web Portal". *www.ine.pt*. Retrieved 2021-06-15.

## InfoBox

| Pedreiras | |
| --- | --- |
| Civil parish | |
| PedreirasLocation in Portugal | |
| Coordinates: 39°35′15″N 8°51′56″W / 39.58750°N 8.86556°W / 39.58750; -8.86556 | |
| Country | Portugal |
| Region | Centro |
| Intermunic. comm. | Região de Leiria |
| District | Leiria |
| Municipality | Porto de Mós |
| Area | |
| Total | 11.28 km2 (4.36 sq mi) |
| Population (2021) | |
| Total | 2,548 |
| Density | 230/km2 (590/sq mi) |
| Time zone | UTC±00:00 (WET) |
| Summer (DST) | UTC+01:00 (WEST) |


title: National Museum of the Royal Palace

abstract: The National Museum of the Royal Palace is a museum housed in a former royal palazzo at 46 Lungarno Antonio Pacinotti in Pisa, Italy. The building was designed in 1583 by Bernardo Buontalenti for Francesco I de' Medici and - like the Signoria in Pisa - replaced the Medici palace near the church and monastery of San Matteo. Housing paintings, sculpture, tapestries and decorative arts, since December 2014 the Ministero per i beni e le attività culturali has placed the museum under the control of the Polo museale della Toscana, renamed the Direzione regionale Musei in December 2019.

text:
# National Museum of the Royal Palace

The **National Museum of the Royal Palace** (Italian: *Museo nazionale di Palazzo Reale*) is a museum housed in a former royal palazzo at 46 Lungarno Antonio Pacinotti in Pisa, Italy. The building was designed in 1583 by Bernardo Buontalenti for Francesco I de' Medici and - like the Signoria in Pisa - replaced the Medici palace near the church and monastery of San Matteo. Housing paintings, sculpture, tapestries and decorative arts, since December 2014 the Ministero per i beni e le attività culturali has placed the museum under the control of the Polo museale della Toscana, renamed the Direzione regionale Musei in December 2019.

43°42′59″N 10°23′49″E / 43.7164°N 10.3970°E / 43.7164; 10.3970


title: Hakka Hakki

abstract: Hakka Hakki is a Nepali sitcom television series which began in 2016. The series is uploaded to Highlights Nepal Pvt. Ltd every week.

text:
# Hakka Hakki

***Hakka Hakki*** (Nepali: हकका हक्की पक्का पक्कि) is a Nepali sitcom television series which began in 2016. The series is uploaded to Highlights Nepal Pvt. Ltd every week.

## Cast

* Daman Rupakheti as Punte
* Kabita Sharma as Punti
* Raju Bhuju
* Ram Thapa
* Umesh Kumar KC
* Prakash Neupane
* Shiva Sharma
* Janak Prasad Bartaula
* Simran Paudel
* Sujit Thapa
* Parwan Rai
* Dharanidhar Neupane
* Maniraj Kafley
* Rajan Chaulagai
* R. K. Manandhar
* Raj Kumar Kunwar
* Santosh Sapkota
* Sushant Giri

## Story

People in the village fool each other to gain something.

1. "New Nepali Comedy Show Hakka Hakki - Episode 89 | 9th April 2017 Ft. Daman Rupakheti". *www.ecanadanepal.com*. Retrieved 13 April 2017.
2. "HAKKA HAKKI | Nepali Comedy Tele-Serial Ft. Daman Rupakheti, Kabita Sharma - YouTube". *YouTube*. Retrieved 13 April 2017.
3. "Hakka Hakki – Nepal ra Nepali". *www.nepalranepali.com*. Retrieved 13 April 2017.
4. "Daman Rupakheti – Serial Sansar, Nepali Serials". *serialsansar.net*. Retrieved 13 April 2017.
5. "Kabita Sharma :: Profile, film list, biography, Awards, News, Photos, Videos". *reelnepal*. Retrieved 13 April 2017.
6. "Raju Bhuju". *www.facebook.com*. Retrieved 13 April 2017.

## InfoBox

| *Hakka Hakki* | |
| --- | --- |
| Inter title | |
| हकका हक्की पक्का पक्कि | |
| Genre | Sitcom
Drama |
| Created by | Daman Rupakheti |
| Written by | Shiva Sharma |
| Screenplay by | Daman Rupakheti
Kabita Sharma |
| Story by | Shiva Sharma |
| Directed by | Daman Rupakheti |
| Starring | Daman Rupakheti
Kabita Sharma |
| Voices of | Daman, Rita K.C
Maniraj Kafle |
| Theme music composer | Shailendra Shimkhada
Shankar Adhikari |
| Opening theme | Gari khaye risauson |
| Ending theme | Aba Haka Haki |
| Country of origin | Nepal |
| Original language | Nepali |
| No. of seasons | 1 |
| No. of episodes | 95 |
| Production | |
| Producers | Bhimsen Adhikari
Santosh Khadka |
| Production locations | Kathmandu, Nepal |
| Cinematography | Devanand Silpakar |
| Editor | Indra Manandhar |
| Camera setup | Sagar khadka |
| Running time | 30 Minutes |
| Production company | Highlights Nepal Pvt. Ltd |
| Original release | |
| Network | Nepal Television |
| Release | 2015 (2015)
present |


title: Lyle baronets

abstract: There have been three baronetcies created for members of the Lyle family, all in the Baronetage of the United Kingdom. One creation is extant as of 2010. The Lyle Baronetcy, of Greenock in the County of Renfrew, was created in the Baronetage of the United Kingdom on 26 June 1915 for the shipowner Robert Lyle. He was the younger brother of the first Baronet of the 1929 creation and the uncle of the first Baronet of the 1932 creation. The title became extinct on his death in 1923. The Lyle Baronetcy, of Glendelvine in the County of Perth, was created in the Baronetage of the United Kingdom on 26 March 1929 for the shipowner Alexander Lyle. He was the elder brother of the first Baronet of the 1915 creation and the uncle of the first Baronet of the 1932 creation. The Lyle Baronetcy, of Canford Cliffs in the Borough of Poole in the County of Dorset, was created in the Baronetage of the United Kingdom on 22 June 1932. For more information on this creation, see Baron Lyle of Westbourne. The first Baronet of this creation was the nephew of the first Baronet of the 1915 creation and of the first Baronet of the 1929 creation.

text:
# Lyle baronets

There have been three **baronetcies** created for members of the **Lyle family**, all in the Baronetage of the United Kingdom. One creation is extant as of 2010.

The **Lyle Baronetcy**, of Greenock in the County of Renfrew, was created in the Baronetage of the United Kingdom on 26 June 1915 for the shipowner Robert Lyle. He was the younger brother of the first Baronet of the 1929 creation and the uncle of the first Baronet of the 1932 creation (see below). The title became extinct on his death in 1923.

The **Lyle Baronetcy**, of Glendelvine in the County of Perth, was created in the Baronetage of the United Kingdom on 26 March 1929 for the shipowner Alexander Lyle. He was the elder brother of the first Baronet of the 1915 creation (see above) and the uncle of the first Baronet of the 1932 creation (see below).

The **Lyle Baronetcy**, of Canford Cliffs in the Borough of Poole in the County of Dorset, was created in the Baronetage of the United Kingdom on 22 June 1932. For more information on this creation, see Baron Lyle of Westbourne. The first Baronet of this creation was the nephew of the first Baronet of the 1915 creation and of the first Baronet of the 1929 creation (see above).

## Lyle baronets, of Greenock (1915)

* Sir Robert Park Lyle, 1st Baronet (1859–1923)

## Lyle baronets, of Glendelvine (1929)

The heir apparent is the present holder's son Ian Abram Lyle (born 1968).

## Lyle baronets, of Canford Cliffs (1932)


title: Onthophagus parvulus

abstract: Onthophagus parvulus, is a species of dung beetle found in India, and Sri Lanka.

text:
# Onthophagus parvulus

***Onthophagus parvulus***, is a species of dung beetle found in India, and Sri Lanka.

## InfoBox

| *Onthophagus parvulus* | |
| --- | --- |
|  | |
| male | |
|
| Scientific classification | |
| Domain: | Eukaryota |
| Kingdom: | Animalia |
| Phylum: | Arthropoda |
| Class: | Insecta |
| Order: | Coleoptera |
| Family: | Scarabaeidae |
| Genus: | *Onthophagus* |
| Species: | ***O. parvulus*** |
| Binomial name | |
| ***Onthophagus parvulus***<br>(Fabricius, 1798) | |
|
| Synonyms | |
| * *Ateuchus parvulus* Fabricius, 1798 * *Onthophagus rugosiceps* Motschulsky, 1863 | |


title: Zanna Roberts Rassi

abstract: Zanna Roberts Rassi is a British born, New York-based fashion, beauty and entertainment journalist and businesswoman. She is a co-founder of Milk Makeup and currently the Fashion-Editor-at-Large for Marie Claire, E! News fashion correspondent, Today Show fashion contributor, and consults for the American retail chain Target as a fashion stylist, along with brands such as Adidas and Victoria's Secret.

text:
# Zanna Roberts Rassi

**Zanna Roberts Rassi** is a British born, New York-based fashion, beauty and entertainment journalist and businesswoman. She is a co-founder of *Milk Makeup* and currently the Fashion-Editor-at-Large for *Marie Claire, E! News* fashion correspondent, *Today Show* fashion contributor, and consults for the American retail chain *Target* as a fashion stylist, along with brands such as *Adidas* and *Victoria's Secret*.

## Career

Rassi interviews A-list celebs and is part of the *E! Live from the Red Carpet* team covering the *Met Gala*, *Oscars*, *Golden Globes*, *E! People's Choice Awards* and *Emmy Awards*. She also hosts *E! News* coverage twice a year throughout *NYFW*. In her role as a contributor on the *Today Show*, Roberts Rassi hosts style segments, red carpet recaps, and also travelled to cover the 2018 Royal Wedding.

Her on-camera presence has made her a sought-after mentor, judge, stylist, and host on such properties as *Project Runway All Stars*,  *Glam Masters*, E!’s *Just 1 Thing*, and her mini-series, *Commuter Beauty*.

Rassi co-founded the cosmetics company *Milk Makeup* in 2016 with her husband Mazdack Rassi, Dianna Ruth and Georgie Greville. The brand is cruelty-free, paraben-free and 100% vegan. Styled as clean, cool beauty the brand has won multiple awards including *Allures Best of Beauty* and *Teen Vogue* *Beauty Game Changers*.

## Personal life

Rassi lives in New York City with her husband Mazdack Rassi, and together they have twin girls Rumi and Juno.


title: William Mills (1750–1820)

abstract: William Mills was a British Member of Parliament and Director, East India Company.

text:
# William Mills (1750–1820)

**William Mills** (10 November 1750 – 20 March 1820) was a British Member of Parliament and Director, East India Company.

## Early life

John Mills was born on 10 November 1750. He was the eldest son of the Rev. John Mills, rector of Barford and Oxhill, Warwickshire, and his younger brother was Charles Mills, MP for Warwick.

He was educated at Felsted School. He inherited Warden's Hall, High Ongar, Essex from his uncle William in 1782 and succeeded his father in 1791.

## Career

He served as a director of the East India Company from 1778 to 1785. He was elected MP for St Ives in 1790, sitting until 1796 and for Coventry for 1805 to 1812. He was appointed High Sheriff of Hampshire for 1803–04.

## Personal life

On 7 April 1786, Mills married Elizabeth Digby (1758–1828), the daughter of Hon. Wriothesley Digby (son of the 5th Baron Digby) of Coleshill and Meriden Hall, Warwickshire. Together, they had six sons and three daughters, including:

* Elizabeth Mills (d. 1880), who married William Wingfield-Baker, widower of Lady Charlotte-Maria Digby (eldest daughter of the 1st Earl Digby) son of George Wingfield, in 1813.
* John Mills (1789–1871), who was also an MP for Rochester; he married Sarah Charlotte Micklethwait, daughter of Nathaniel Micklethwait and Lady Charlotte Rous (daughter of the 1st Earl of Stradbroke), in 1835.
* Charlotte Mills (1790–1855), who married Henry Combe Compton, son of John Compton, in 1810.
* Maj. William Mills (1791–1838), who married Charlotte Hare, daughter of James Hare, in 1814.
* Sir Charles Mills, 1st Baronet (1792–1872), who married Emily Cox, daughter of banker Richard Henry Cox, of Hillingdon House, in 1825.
* Francis Mills (1793–1854), who died unmarried.
* Henry Digby Mills (1799–1808), who died unmarried.
* Edward Wheler Mills (1801–1865), who married Frances Ann Wingfield, daughter of his brother-in-law William Wingfield-Baker his first wife, Lady Charlotte-Maria Digby, in 1831.

Mills died on 20 March 1820, leaving his sons John and Charles, £10,000 each, as well as William's brother, Charles's estate.

## InfoBox

| William Mills | |
| --- | --- |
|  | |
| Member of Parliament for Coventry | |
| **In office**
1805–1812Serving with Peter Moore | |
| Preceded by | Francis William Barlow
Peter Moore |
| Succeeded by | Joseph Butterworth
Peter Moore |
| Member of Parliament for St Ives | |
| **In office**
1790–1796Serving with William Praed | |
| Preceded by | William Praed
Richard Barwell |
| Succeeded by | William Praed
Sir Richard Glyn |
|  | |
| Personal details | |
| Born | (1750-11-10)10 November 1750 |
| Died | 20 March 1820(1820-03-20) (aged 69) |
| Spouse | Elizabeth Digby  (m. 1786; died 1820) |
| Relations | Charles Mills (brother)
Charles Mills, 1st Baron Hillingdon (grandson) |
| Children | 9, including John and Charles |
|  | |