title: Yonaizawa Station

abstract: Yonzaizawa Station is a railway station located in the city of Kitaakita, Akita Prefecture, Japan, operated by the third sector railway operator Akita Nairiku Jūkan Railway.

text:
# Yonaizawa Station

**Yonzaizawa Station** (米内沢駅, *Yonaizawa-eki*) is a railway station located in the city of Kitaakita, Akita Prefecture, Japan, operated by the third sector railway operator Akita Nairiku Jūkan Railway.

## Lines

Yonaizawa Station is served by the Nariku Line, and is located 15.0 km from the terminus of the line at Takanosu Station.

## Station layout

The station consists of one side platform serving a single bi-directional track. The station is unattended.

## Adjacent stations

| « | | Service | » | |
| --- | --- | --- | --- | --- |
| Akita Nairiku Jūkan Railway Akita Nairiku Line | | | | |
| Rapid: Does not stop at this station | | | | |
| Kamisugi | | - | Katsurase | |

## History

Yonaizawa Station opened on 10 December 1934 as a station on the Japan National Railways (JNR) serving the village of Maeda, Akita. The line was extended on to Aniai Station by 25 September 1936. The line was privatized on 1 November 1986, becoming the Akita Nairiku Jūkan Railway.

## Surrounding area

Media related to Yonaizawa Station at Wikimedia Commons

## InfoBox

| Yonaizawa Station
米内沢駅 | |
| --- | --- |
| Yonaizawa Station, October 2016 | |
| General information | |
| Location | Uwano Yonaizawa, Kitaakita-shi, Akita-ken 018-4301
Japan |
| Coordinates | 40°07′41.61″N 140°22′24.48″E / 40.1282250°N 140.3734667°E / 40.1282250; 140.3734667 |
| Operated by | Akita Nariku Railway |
| Line(s) | Nairiku Line |
| Distance | 15.0 kilometers from Takanosu |
| Platforms | 1 side platform |
| Other information | |
| Status | Unstaffed |
| Website | Official website |
| History | |
| Opened | December 10, 1934 |
| Passengers | |
|  | |
| FY2016 | 76 |
|  | |
|  | |
|  | |
|  | |
| Location  Yonaizawa StationLocation within Akita PrefectureYonaizawa StationYonaizawa Station (Japan) | |


title: Yisroel Yaakov Fisher

abstract: Yisroel Yaakov Fisher (1928–2003), was a leading posek, Av Beit Din of the Edah HaChareidis, and rabbi of the Zichron Moshe neighbourhood in Jerusalem. He was born in Jerusalem in 1928 to Rabbi Aharon Fisher, a prominent member of the Perushim community. He was named after the political activist Jacob Israël de Haan who had been assassinated four years earlier. As a teenager, he studied in the Etz Chaim Yeshiva and became a close student of Rabbi Isser Zalman Meltzer. He was later married to the daughter of Rabbi Zelig Wallis and they settled in Batei Horodno area of Jerusalem. In 1961, he was appointed as a moreh tzedek and two years later, in 1963, he was invited to serve as rabbi of the Great Synagogue of Zikhron Moshe. In 1974, he was made a member of the Badatz of the Edah HaChareidis. In 1996, he was appointed Av Beit Din of the Edah HaChareidis. He died in 2003 and is buried on Har HaMenuchot.

text:
# Yisroel Yaakov Fisher

**Yisroel Yaakov Fisher** (19282003), was a leading posek, Av Beit Din of the Edah HaChareidis, and rabbi of the Zichron Moshe neighbourhood in Jerusalem.

He was born in Jerusalem in 1928 to Rabbi Aharon Fisher, a prominent member of the Perushim community. He was named after the political activist Jacob Israël de Haan who had been assassinated four years earlier. As a teenager, he studied in the Etz Chaim Yeshiva and became a close student of Rabbi Isser Zalman Meltzer. He was later married to the daughter of Rabbi Zelig Wallis and they settled in Batei Horodno area of Jerusalem.

In 1961, he was appointed as a *moreh tzedek* and two years later, in 1963, he was invited to serve as rabbi of the Great Synagogue of Zikhron Moshe. In 1974, he was made a member of the Badatz of the Edah HaChareidis. In 1996, he was appointed Av Beit Din of the Edah HaChareidis.

He died in 2003 and is buried on Har HaMenuchot.

## Works

* *Even Yisroel* — several volumes of responsa

## Sources

## InfoBox

| RabbiYisroel Yaakov Fisher | |
| --- | --- |
|  | |
| Born | (1928-07-09)July 9, 1928 (21 Tammuz 5688 Anno Mundi)
Jerusalem, Mandate of Palestine |
| Died | February 28, 2003(2003-02-28) (aged 74) (25 Adar I 5663 Anno Mundi)
Jerusalem |
| Resting place | Har HaMenuchot |
| Nationality | Israel |
| Occupation | Rabbi |
| Children | Aharon
Yehuda
Moshe |
| Relatives | Moshe Braverman (son in law)
Y. Rotman (son in law) |


title: Yevgeny Avrorin

abstract: Yevgeny Nikolayevich Avrorin, D.N, was a Russian physicist whose career was spent in the former Soviet program of nuclear weapons.

text:
# Yevgeny Avrorin

**Yevgeny Nikolayevich Avrorin** (Russian: Евгений Николаевич Aврорин, 11 July 1932– 9 January 2018), D.N, was a Russian physicist whose career was spent in the former Soviet program of nuclear weapons.

## Biography

Avrorin was born in Leningrad, Soviet Union (now Saint Petersburg in Russia), on 11 July 1932. In 1949, he went to study physics at the Leningrad University and later the University of Kharkiv in Ukraine. In 1952, his family return to Moscow and he went to attend the Moscow State University, and graduate with specialist degree in physics in 1954–55. In 1956, he began preparing his thesis based on RDS-37 studies and was awarded the Doktor Nauk (Russian PhD) on 7 March 1974.

Avrorin was directed to KB-11 ('Design Bureau-11), now called All-Russian Scientific Research Institute of Experimental Physics (RFNC-VNIIEF)) in the closed city of Sarov, Nizhny Novgorod region. There he worked on the Soviet hydrogen bomb programme. In 1955, he joined the new NII-1011 (Research Institute-1011, presently the All-Russian Scientific Research Institute of Technical Physics (RFNC-VNIITF)) at another closed city, Snezhinsk (or Chelyabinsk-70). In 1956 and 1957, he performed unique experiments to find out why the RDS-37 exploded fractionally before modelled expectations, a result which implied a lack of knowledge of materials and conditions. During remainder of his career there, he became Head of the Theoretical Physics Department in 1964, the Head of Theoretical Physics Division in 1974 and the Scientific Director in 1985, a role he retained until 2007. From 1996 to 1998, he was also the overall Director.

In addition to his work on many nuclear weapons, he was also known for investigating nuclear explosives for civilian usage (e.g. potentially for mining copper), device designs with very low radiation output and deuterium power engineering. He wrote about the modern challenges to the closed cities whose industries are (largely) no longer required since the dissolution of the Soviet Union. He became the chair of the Snezhinsk branch of the Russian Pugwash committee and was involved in international discussions about science diplomacy and confidence-building for international security.

He died after a long illness.

## Awards

1. "ЕВГЕНИЙ АВРОРИН" (PDF). *vniitf.ru* (in Russian). Sarov, Russia. 9 January 2019. Retrieved 12 November 2022.
2. Gubarev, Vladimir (2015). "The Mysterious World of Explosions" (PDF). *V Mire Nauki*. Archived from the original (PDF) on 7 November 2018. Retrieved 7 November 2018.
3. Goncharov, G.A. (1996). "American and Soviet H-bomb development programmes: historical background" (PDF). *Physics-Uspekhi*. **39** (10): 1033–1044. doi:10.1070/pu1996v039n10abeh000174. S2CID 250861572. Retrieved 28 October 2018.
4. "Top Russian nuclear weapons designer Avrorin dies". *Associated Press News*. 9 January 2018. Retrieved 7 November 2018.
5. "Russian theoretical physicist Yevgeny Avrorin passes away at 85". *tass.com*. Retrieved 7 November 2018.
6. "Reykjavik to New START: Science Diplomacy for Nuclear Security in the 21st Century". *nationalacademies.org*. Retrieved 7 November 2018.
7. Reppy, Judith, ed. (1998). *Conversion of Military R & D: Conversion Problems of Russian Nuclear Weapons Centers*. London: Palgrave Macmillan.

## InfoBox

| Yevgeny Avrorin | |
| --- | --- |
| Евгений Аврорин | |
| Avrorin in 2014 | |
| Born | (1932-07-11)11 July 1932
Leningrad, Soviet Union
(Present day Saint Petersburg, Russia) |
| Died | 9 January 2018(2018-01-09) (aged 85)
Chelyabinsk, Russia |
| Citizenship | Russia |
| Alma mater | Moscow State University |
| Known for | Soviet atomic bomb project
 |
| Awards | Lenin Prize (1987)
Order of the Red Banner of Labor (1956) |
| **Scientific career** | |
| Fields | Physics |
| Institutions | VNIIEF |
| Thesis | *RDS-37* (1974) |
|  | |


title: Mérida cable car frog

abstract: The Mérida cable car frog, also known as the Teleférico rubber frog, is a species of frog in the family Strabomantidae. It is endemic to the Cordillera de Mérida in Venezuela. It is known from near two stations of the Mérida cable car in the Libertador Municipality, Mérida.

text:
# Mérida cable car frog

The **Mérida cable car frog** (*Pristimantis telefericus*), also known as the **Teleférico rubber frog**, is a species of frog in the family Strabomantidae. It is endemic to the Cordillera de Mérida in Venezuela. It is known from near two stations (La Aguada and Loma Redonda) of the Mérida cable car in the Libertador Municipality, Mérida.

## Etymology

The specific name *telefericus* refers to its type locality along *Teleférico de Mérida*, the Mérida cable car.

## Description

Adult males measure 23–30 mm (0.91–1.18 in) and females 36–41 mm (1.4–1.6 in) in snout–vent length. The head is slightly wider than it is long. The canthus rostralis is straight and well defined. The tympanum is distinct and oval in shape. The fingers and toes have no webbing and only small discs. The coloration is variable. The dorsum may range from brown to almost black. There are usually two lighter dorso-lateral stripes. Some individuals have a W-mark on their shoulders. The venter is grey to creamy grey, sometimes with black marbling.

## Habitat and conservation

Natural habitats of *Pristimantis telefericus* are páramos at elevations of 3,400–3,500 m (11,200–11,500 ft) above sea level. The habitat is dominated by grasses and frailejóns (*Espeletia* spp.). Most animals were found under stones.

The species occurs in the Sierra Nevada National Park, but its known area of distribution is nevertheless very small. The construction of the Mérida cable car system in the mid-20th century brought severe vegetation changes in the vicinity of the stations, a process which was repeated when the stations were renovated in 2008. The chytrid fungus has not been detected in this species but could still pose a risk; it is possible that the species was already affected by the fungus and suffered major population declines, and recently recorded individuals are the resistant survivors of the outbreak. A notable retreat in the glaciers of the nearby Pico Bolívar has been detected, indicating that climate change is affecting the area; this may lead to warmer temperatures and more pronounced and extended dry seasons. These threats, when combined with its small area of occurrence, has led to it being classified as Critically Endangered on the IUCN Red List.

## InfoBox

| Mérida cable car frog | |
| --- | --- |
| Conservation status | |
|
Critically Endangered  (IUCN 3.1) | |
| Scientific classification | |
| Domain: | Eukaryota |
| Kingdom: | Animalia |
| Phylum: | Chordata |
| Class: | Amphibia |
| Order: | Anura |
| Family: | Strabomantidae |
| Genus: | *Pristimantis* |
| Subgenus: | *Pristimantis* |
| Species: | ***P. telefericus*** |
| Binomial name | |
| ***Pristimantis telefericus***
(La Marca, 2005) | |
|
| Synonyms | |
| * *Eleutherodactylus telefericus* La Marca, 2005 | |


title: Yoichi Dam

abstract: (Japanese: 余市ダム) Yoichi Dam is a rockfill dam located in Hokkaido Prefecture in Japan. The dam is used for irrigation. The catchment area of the dam is 9.6 km⁲. The dam impounds about 8 ha of land when full and can store 800 thousand cubic meters of water. The construction of the dam was started on 1971 and completed in 1987.

text:
# Yoichi Dam

**Yoichi Dam** (Japanese: 余市ダム) is a rockfill dam located in Hokkaido Prefecture in Japan. The dam is used for irrigation. The catchment area of the dam is 9.6 km2. The dam impounds about 8 ha of land when full and can store 800 thousand cubic meters of water. The construction of the dam was started on 1971 and completed in 1987.

## InfoBox

| Yoichi Dam | |
| --- | --- |
| Location of Yoichi Dam in Japan | |
| Location | Hokkaido Prefecture, Japan |
| Coordinates | 43°9′17″N 140°41′01″E / 43.15472°N 140.68361°E / 43.15472; 140.68361 |
| Construction began | 1971 |
| Opening date | 1987 |
| Dam and spillways | |
| Height | 36.8m |
| Length | 220m |
| Reservoir | |
| Total capacity | 800 thousand cubic meters |
| Catchment area | 9.6 sq. km |
| Surface area | 8 hectares |


title: Mónika Lakatos

abstract: Mónika Lakatos Hungarian singer of Romani descent, the lead singer of the band Romengo. She became the first artist of Romani descent to receive the WOMEX Award in 2020.

text:
# Mónika Lakatos

**Mónika Lakatos** Hungarian singer of Romani descent, the lead singer of the band Romengo. She became the first artist of Romani descent to receive the WOMEX Award in 2020.

## Life and career

Lakatos was born in Budapest in a Romani family and learnt to sing by herself. She frequently played at Holdvilág Studio Theatre with her cousins, where she met her future husband, Mihály "Mazsi" Rostás, who accompanied them on the guitar. The director of the theatre, István Malgot entered the band to the television talent show *Ki mit tud?* in 1996, without the members' knowledge. They appeared on the show named Lakatos Mónika és a Hold Gyermekei (Mónika Lakatos and the Children of the Moon) and won the folk music category. Not long after, her daughter, Dzseni, was born and she withdrew from singing for some time. Her husband became a member of the band Romano Drom, and Lakatos occasionally took to the stage with them. In 2004, she and her husband founded Romengo, which plays Romani music from Nagyecsed. They released two albums, both of which charted in the top 10 on the World Music Charts Europe.

In 2010, she sang a track for *The Human Resources Manager*, directed by Eran Riklis. In 2017, her solo album *Romanimo* charted fourth on the 2018 February chart of World Music Charts Europe, and finished 14th in the annual top list, selected by a jury.

## Discography

As a solo artist * Romanimo (20 October 2017)
* Hangszín (Lakatos Mónika és a Cigány Hangok formation, 2020)

## Awards

* Anna Lindh Prize, 2007
* Parallel Culture Awards, 2013
* Nemzetiségekért Díj (For Ethnic Minorities Award), 2014
* WOMEX Awards, 2020
* Pro Cultura Minoritatum Hungariae Award, 2020

## InfoBox

| Mónika Lakatos | |
| --- | --- |
|  | |
| Born | Budapest |
| Nationality | Hungarian |
| Occupation | singer |
| Awards | WOMEX Award (2020) |


title: Yoga Makaranda

abstract: Yoga Makaranda, meaning "Essence of Yoga", is a 1934 book on hatha yoga by the influential pioneer of yoga as exercise, Tirumalai Krishnamacharya. Most of the text is a description of 42 asanas accompanied by 95 photographs of Krishnamacharya and his students executing the poses. There is a brief account of practices other than asanas, which form just one of the eight limbs of classical yoga, that Krishnamacharya "did not instruct his students to practice". The yoga scholar Mark Singleton notes that the book is almost legendary among Pattabhi Jois's students, though "very few have actually seen it". Singleton notes, too, that the book was "experimental". The yoga scholar Norman Sjoman criticises the book's "padded academic bibliography" full of irrelevant works, and the perfunctory and ill-informed coverage of yoga practices other than asanas, while another yoga scholar, Elliott Goldberg, comments that the photographs serve to demystify the asanas of their spiritual content, and that Krishnamacharya was falsely claiming an ancient origin for his dynamic vinyasa system of yoga.

text:
# Yoga Makaranda

***Yoga Makaranda*** (Sanskrit: योग मकरन्द), meaning "*Essence of Yoga*", is a 1934 book on hatha yoga by the influential pioneer of yoga as exercise, Tirumalai Krishnamacharya. Most of the text is a description of 42 asanas accompanied by 95 photographs of Krishnamacharya and his students executing the poses. There is a brief account of practices other than asanas, which form just one of the eight limbs of classical yoga, that Krishnamacharya "did not instruct his students to practice".

The yoga scholar Mark Singleton notes that the book is almost legendary among Pattabhi Jois's students, though "very few have actually seen it". Singleton notes, too, that the book was "experimental". The yoga scholar Norman Sjoman criticises the book's "padded academic bibliography" full of irrelevant works, and the perfunctory and ill-informed coverage of yoga practices other than asanas, while another yoga scholar, Elliott Goldberg, comments that the photographs serve to demystify the asanas of their spiritual content, and that Krishnamacharya was falsely claiming an ancient origin for his dynamic vinyasa system of yoga.

## Context

Hatha yoga, the medieval practice which used asanas (yoga postures) and other practices such as shatkarmas (purifications) to gain moksha, spiritual liberation, was despised and in decline by the start of the 20th century. Western gymnastics such as Niels Bukh's *Primary Gymnastics* became popular in India, partly as a result of Hindu nationalism which sought to show Indian men as strong. At the same time, yoga in various forms was being popularised in the West by advocates such as Vivekananda (without asanas), Yogananda, and Yogendra.

The yoga teacher T.K.V. Desikachar, one of Krishnamacharya's sons, explained that his father had intended to write a series of books on yoga, of which this was to have been the first, but the death of his sponsor the Maharaja of Mysore, Krishna Raja Wadiyar IV, in 1940 caused the series to be abandoned. He stated that his father had decided to cover practices (shatkarmas, purifications) such as neti and dhauti "which he himself did not recommend". He noted that the asanas in the book are described in "vinyasa krama", which was the way Krishnamacharya taught yoga to children in the Mysore palace. Other practices which he strongly endorsed like pranayama and meditation were to be topics of later books and were therefore not covered.

Krishnamacharya's disciple and biographer A. G. Mohan states that the book was written "in three nights" according to Krishnamacharya's wife, at the behest of the Maharaja. Mohan notes without comment that the book covers yoga practices other than asanas that Krishnamacharya "did not instruct his students to practice".

## Book

### Publication and translation

*Yoga Makaranda* was published in the Kannada language by the Madurai C.M.V. Press in 1934. A Tamil edition appeared in 1938. An English translation by Lakshmi and Nandini Ranganathan was published in India in 2006, and released by them as a free download. A different English translation by Krishnamacharya's grandson Kausthub Desikachar and son T.K.V. Desikachar was published in paperback in 2011 and online in 2013.

### Contents

The book is introduced with a discussion of why yoga should be practised, the chakras (elements of the subtle body on which yoga is said to operate), pratyahara, dharana and dhyana (elements of Patanjalis's yoga), and who "has the authority to practise Yoga", which in Krishnamacharya's view is "everyone". It discusses the elements of yoga, starting with yamas and niyamas, warning that "sleep, laziness and disease" are obstacles to becoming "an adept yogi". The book then describes where to practise yoga, recommending "a place with plenty of water, a fertile place, a place where there is a bank of a holy river, where there are no crowds, a clean solitary place — such places are superior." It gives a description of the purifications (which it calls shatkriyas) and seals (mudras). The bulk of the book is taken up with a description of 42 asanas.

### Approach

Each asana is described with some paragraphs of instructions, and illustrated with one or more photographs. The student is instructed how to stand, and which limbs should be straight. For many poses, the claimed medical benefits are then described, without adduced evidence. The term vinyasa is used with the meaning of "stage in the execution of an asana". For example, Sarvangasana is introduced with the words "This has 12 vinyasas \[stages\]. The 8th vinyasa is the asana sthiti \[the actual pose\]."

### Illustrations

There are four photographs of Krishnamacharya's *Yogasala* showing the hall and students. The chapter on asanas is illustrated with 95 monochrome photographs, each of an individual performing the named pose. Many are of Krishnamacharya himself; others are of his students, including T. R. S. Sharma as a boy, or of Keshavamurthy, stated by Elliott Goldberg to be his favourite student, who performs difficult poses such as Durvasasana (standing with one leg behind the neck). Some poses, such as Krishnamacharya demonstrating Mayurasana, are on a tiger skin.

### Nomenclature

Krishnamacharya names the asanas, in Sanskrit, by the parts of the body and the stretches involved. For example "Adhomukha Uttanasana" means "Face Down Extended Stretch Pose", while "Supta Utthita Dakshinapada Janusirsasana" is "Reclining Extended Right Foot Head to Knee Pose"; a glossary of Sanskrit is provided in the text.

## Reception

The yoga scholar Mark Singleton notes that the book "has quasi-legendary status among contemporary \[Ashtanga Vinyasa Yoga\] students of Pattabhi Jois \[though\] very few have actually seen it". He quotes the original introduction by V. Subhramananya Iyer, which called the book "a result of the many tests conducted under the special orders of the Maharaja of Mysore", in other words that the book "was intended to be, and in practice was, *experimental* (his italics)". Singleton observes that the book called for the asanas to be held for long periods (3 to 15 minutes), arguing that the rapid sequences inherited by his pupil Pattabhi Jois were a special case, even then.

The yoga scholar Norman Sjoman is critical of the book's perfunctory treatment of both academic requirements and yogic practices other than asanas. He comments that Krishnamacharya's list of sources "reveals his relation to tradition", but is "a padded academic bibliography with works referred to that have nothing to do with the tradition he is teaching in". The list includes for instance the well-known hatha yoga texts, the *Hatha Yoga Pradipika*, the *Gheranda Samhita* and the *Sritattvanidhi* as well as the Yoga Upanishads. Sjoman gives as an example the recommendations for *vajroli mudra* which call for "a glass rod to be inserted into the urethra \[of the penis\] an inch at a time. His recommendations show that he has most certainly not experimented with this himself in the manner he recommends."

The yoga scholar Elliott Goldberg comments that the photographs of Krishnamacharya's schoolboy pupils in the poses "don't truly capture yogins using their body as a tool for spiritual development either. In fact, the photos demystify whatever spirituality may obtain to the exercises." He adds that the group photographs are "showy ... eye-catching tricks", with boys in familiar asanas but arranged in a pyramid. The vinyasa system of yoga, too, was in Goldberg's view "spectacularly different" from anything practised in India at the time; he is dismissive of Krishnamacharya's "spurious claim for the ancient origin of Vinyasa yoga", citing Singleton's analysis in *Yoga Body* of its origins in Surya Namaskar, suggesting "self-aggrandizement and self-protection" as the motives. Despite all this, Goldberg states that Krishnamacharya's main interest in yoga was to nourish spirituality (*adhyatmika krama*), quoting his words in *Yoga Makaranda*: "Once you stop the oscillating nature of mind, you can reach the level\[s\] of dhyana, nididhyasanam, and samadhi \[the highest levels of Patanjali's eight-limbed yoga\]" and through that you can see the atma\[n\]. He notes that Krishnamacharya was following the traditional interpretation of Patanjali's *Yoga Sutras*, that the eight limbs formed a sequence of steps.

* *Light on Yoga*, Krishnamacharya's pupil B. K. S. Iyengar's 1966 encyclopedia of yoga asanas
* *Yoga Body*, Mark Singleton's 2010 book on the origins of global yoga in physical culture

### Primary

These references are supplied to indicate the parts of the *Yoga Makaranda* text being discussed.

### Secondary

1. Mohan, A. G. (2010). *Krishnamacharya: His Life and Teachings*. Boston and London: Shambhala Publications. pp. 133–134. ISBN 978-0-8348-2249-8.
2. Singleton 2010, p. 9.
3. Singleton 2010, p. 186.
4. Sjoman 1999, p. 66 (note 69).
5. Goldberg 2016, p. 218.
6. Goldberg 2016, pp. 240–242.
7. Campion, Mukti Jain (17 June 2016). *The Secret History of Yoga*. BBC. Retrieved 8 January 2019.
8. "Introduction to the Yoga Makaranda by TKV Desikachar". Centre for Yoga Studies. 22 April 2017. Retrieved 15 February 2019.
9. Desikachar, T. K. V. (November 1993). "Introduction to the Yoga Makaranda" (PDF). *KYM Darśanam* (November 1993).
10. Krishnamacharya, Tirumalai (2013) \[2011\]. *Yoga Makaranda - The Nectar of Yoga*. Translated by Kausthub Desikachar and T.K.V. Desikachar. Chennai: Swathi Soft Solutions. ISBN 978-81-926674-1-6.
11. Goldberg 2016, p. 219.
12. Singleton 2010, pp. 195–196.
13. Goldberg 2016, pp. 218, 221–222.
14. Goldberg 2016, pp. 221–222.
15. Goldberg 2016, p. 238.
16. Goldberg 2016, p. 358.
17. Goldberg 2016, pp. 422.

## Sources

## InfoBox

*Yoga Makaranda*
| Modern edition, the cover showing Krishnamacharya demonstrating<br>"*Yogasana Samasthiti Kramam*" | |
| --- | --- |
| Author | Tirumalai Krishnamacharya |
| Language | Kannada |
| Subject | Modern yoga |
| Genre | Instruction manual |
| Publication date | 1934 |
| Publication place | India |
| Published in English | 2006, 2011 |


title: N. Ranganatha Sharma

abstract: Mahamahopadya Dr. Vidvan N. Ranganatha Sharma (1916–2014) was a Sanskrit and Kannada scholar, particularly known for his erudition in grammar (vyākaraṇa) of both Sanskrit and Kannada.

text:
# N. Ranganatha Sharma

Mahamahopadya Dr. Vidvan N. **Ranganatha Sharma** (1916–2014) was a Sanskrit and Kannada scholar, particularly known for his erudition in grammar (vyākaraṇa) of both Sanskrit and Kannada.

## Life

Ranganatha Sharma was born in the village of Nadahalli on 7 January 1916. He taught in Bangalore at the Chamarajendra Sanskrit College for several decades (1948 to 1976), where he was Professor of Vyākaraṇa.

He was also a close associate of DVG (D. V. Gundappa).

## Work

### Sanskrit works

His Sanskrit works include Bahubalivijayam (a Historical play, 1980) and Ekachakram (a mythological play, 1990); Guruparemitracaritam (1969) and Gommatesvarasuprabhatam (1981), and Gommatesa-panchakam.

### Kannada works

Bhasantarapatha (1949), Laukika-nyayagalu (1959), Hosagannada Vyakarana, Valmikimunigala Hasyapravrtti, Varadahalli Sridhara Swamigalu, Sri Kamacandra (in the light of Bhasa, Kalidasa and Bhavabhuti, 1982), Suktivyapti (1991, Upanisattina Kathegalu (1993). Translated works: Valmikiramayana, Amarakosa (1970), Viduraniti (1973), the Xth Skandha of Srimad-bhagavata (1978), Srivisnupurana (1986), Vyasatatparyanirnaya, Srtisarasamuddharana of Totakacarya, Brahma-kanda of Vakyapadiyam and Pancadasi of Vidyaranya. Edited works : Bhagavan¬namavali, Subhasitamanjari and Srichamarajoktivilasaramayana.

He is noted for his translation of the entire Valmiki Ramayana into Kannada, which was published with a foreword by DVG himself. He also wrote works on the Vishnu Purana, Srimad Bhagavata, Amarakosha in three *kāṇḍa*s, Bhartrhari and *Sri Shankara Sookti Muktavali*. He edited DVG's *Marulamuniyana Kagga*, a collection of poems which was published after DVG's death. Mr. Sharma has authored several books in Kannada and Sanskrit. He is a recipient of the national award for Sanskrit learning and has received the Rajyotsava Award. The Karnataka Samskrit University recently conferred an honorary doctorate on him. In his *Laukika Nyayagalu*, he explained 219 maxims in Kannada.

His works in Sanskrit include the historical play Bāhubalivijayam (1981), and the mythological play *Ekacakram* (1990), based on the Adi Parva of the Mahabharata. He was the author of more than 80 works, over 45 in Kannada and 10 in Sanskrit. He wrote *Hosagannada Vyakarana* which was published in the year 2010.

## Honors received

He is a recipient of Karnataka State Award, President’s Certificate of Honour, SHANKARA~KINKARA Prashasti of Sri Samsthana Gokarna Sri Ramachandrapur Mutt, Chunchasri Prasasti of Âdichunchanagiri Mahasamsthana and the title Mahamahopadhyaya of Rashtriya Sanskrit Vidyapeeth, Tirupati.

## Awards

## Death

Vidwan N.Ranganatha Sharma died on 25 January 2014 at his residence at Kuvempunagar, Mysore at age 98.

## Further reading

* S. Ranganath (2009), *Modern Sanskrit Writings in Karnataka* (PDF), New Delhi: Rashtriya Sanskrit Sansthan, pp. 47–51
* Official website: https://vidwannrs.in/


title: N. Ramanathan

abstract: Professor N. Ramanathan is a musicologist in India. He taught and guided research in the Department of Indian Music at the University of Madras since 1978, and retired in 2004.

text:
# N. Ramanathan

Professor **N. Ramanathan** (born 1946) is a musicologist in India. He taught and guided research in the Department of Indian Music at the University of Madras since 1978, and retired in 2004.

## Biography

He obtained a bachelor's degree in Violin (South Indian Art Music) from Sri Venkateswara University, Tirupati, and obtained his master's and Ph.D. degree in musicology at the Banaras Hindu University, Varanasi.

He has produced many publications and has presented papers at seminars on the *Sangita Ratnakara* and the *Brhaddesi*.

## Major publications

* *Musical Forms in the Sangita Ratnakara*. Sampradaya, Chennai, 1999
* *Vadi, Samvadi, Anuvadi, and Vivadi Svaras*. Journal of the Music Academy, Madras, 1983
* *Influence of Sastra on Prayoga: The Svara System in the Post-Sangitaratnakara Period* with special reference to south Indian music. The Traditional Indian theory and practice of music and dance By Jonathan Katz.


title: NKIRAS2

abstract: NF-κB inhibitor interacting Ras-like 2 is a protein that in humans is encoded by the NKIRAS2 gene.

text:
# NKIRAS2

**NF-κB inhibitor interacting Ras-like 2** is a protein that in humans is encoded by the *NKIRAS2* gene.

## Further reading

## InfoBox

| NKIRAS2 | | | |
| --- | --- | --- | --- |
|  | | | |
| Identifiers | | | |
| Aliases | NKIRAS2, KBRAS2, kappaB-Ras2, NFKB inhibitor interacting Ras like 2 | | |
| External IDs | OMIM: 604497; MGI: 1919216; HomoloGene: 9738; GeneCards: NKIRAS2; OMA:NKIRAS2 - orthologs | | |
|  | | | |
|  | | | |
|  | | | |
|  | | | |
| Orthologs  Species **Human** **Mouse**  Entrez   Ensembl   UniProt   RefSeq (mRNA)     NM\_001001349
NM\_001144927
NM\_001144928
NM\_001144929
NM\_017595   NM\_028024   RefSeq (protein)      NP\_082300   Location (UCSC) Chr 17: 42.01 – 42.03 Mb Chr 11: 100.51 – 100.52 Mb  PubMed search | | | |
| Wikidata | | | |
| View/Edit Human View/Edit Mouse | | | |


title: Yolo, Mali

abstract: Yolo is a village and seat of the commune of Diédougou in the Cercle of Ségou in the Ségou Region of southern-central Mali. The village lies 80 km east-northeast of Ségou.

text:
# Yolo, Mali

**Yolo** is a village and seat of the commune of Diédougou in the Cercle of Ségou in the Ségou Region of southern-central Mali. The village lies 80 km east-northeast of Ségou.

## InfoBox

| Yolo | |
| --- | --- |
| Village | |
| YoloLocation in Mali | |
| Coordinates: 13°38′26″N 5°37′38″W / 13.64056°N 5.62722°W / 13.64056; -5.62722 | |
| Country | Mali |
| Region | Ségou Region |
| Cercle | Ségou Cercle |
| Commune | Diédougou |
| Time zone | UTC+0 (GMT) |


title: York Clifton Carriage Sidings

abstract: York Clifton Carriage Sidings was a stabling point located in York, North Yorkshire, England. The depot was situated on the East Coast Main Line and was near York station. The depot code was YC.

text:
# York Clifton Carriage Sidings

**York Clifton Carriage Sidings** was a stabling point located in York, North Yorkshire, England. The depot was situated on the East Coast Main Line and was near York station.

The depot code was YC.

## History

Before its closure in 1987, Class 08 shunters, Class 20, Class 31 and Class 55 locomotives could be seen at the depot.

## InfoBox

York Clifton Carriage Sidings
|
|  |
| Location | |
| Location | York, North Yorkshire |
| Coordinates | 53°57′45″N 1°06′11″W / 53.9625°N 1.103°W / 53.9625; -1.103 |
| Characteristics | |
| Owner | British Rail |
| Depot code | YC (1973 - 1987) |
| Type | Diesel |
| History | |
| Closed | 1987 |


title: York Cliffs Historic District

abstract: The York Cliffs Historic District is located on Agamenticus Avenue in York, Maine. The district was added to the National Register of Historic Places on July 26, 1984. It encompasses a collection of eight late Victorian summer mansions built as part of an exclusive development by the York Cliffs Company between 1890 and 1902, representing one of the finest such collections remaining on the coast of Maine. The district was listed on the National Register of Historic Places in 1984.

text:
# York Cliffs Historic District

The **York Cliffs Historic District** is located on Agamenticus Avenue in York, Maine. The district was added to the National Register of Historic Places on July 26, 1984. It encompasses a collection of eight late Victorian summer mansions built as part of an exclusive development by the York Cliffs Company between 1890 and 1902, representing one of the finest such collections remaining on the coast of Maine. The district was listed on the National Register of Historic Places in 1984.

## Description and history

The York Cliffs District extends along a portion of Agamenticus Avenue, located on a bluff overlooking the Gulf of Maine just north of the mouth of the Cape Neddick River. It includes six houses on the north side of the road, extending eastward from its western junction with Shore Road, and includes two on the south side, nearly opposite the last of the six houses. All of these houses are set on large, landscaped lots. Six of them are in the Shingle style, popular for resort buildings at the time of their construction, while one is in the more elaborate Queen Anne style. The eighth house, the first encountered at the Agamenticus and Shore, has as its oldest portion a Federal period house, built about 1800, which was enlarged with Colonial Revival additions in 1895.

The York Cliffs Development Company was founded to develop an exclusive resort community for the wealthy. In all, the company built thirteen summer houses, a golf course, and a large resort hotel, the Passaconway Inn, designed by local architect Edward Blaisdell. The hotel was torn down in the 1930s, and only eight of the company's houses have survived. At the time of their construction, these properties would have had unobstructed views of the sea, but have since been hemmed in by vegetation and infill development. These houses were furnished with the latest amenities, including water and sewer service.

## InfoBox

|  | |
| --- | --- |
| York Cliffs Historic District | |
| U.S. National Register of Historic Places | |
| U.S. Historic district | |
|  | |
| Bird's-eye view c. 1906 | |
|  | |
| Location | Agamenticus Avenue, York, Maine |
| Coordinates | 43°11′31″N 70°35′56″W / 43.19194°N 70.59889°W / 43.19194; -70.59889 |
| Area | 95 acres (38 ha) |
| Built | 1892 |
| Architect | Goodwin, Everett |
| Architectural style | Queen Anne, Shingle Style |
| NRHP reference No. | 84001560 |
| Added to NRHP | July 26, 1984 |


title: YouTube Awards

abstract: The YouTube Awards was a promotion run by the American video-sharing website YouTube to recognize the best user-generated videos of the year. The awards were presented twice, in 2007 and 2008, with winners being voted for by the site's users from shortlists compiled by YouTube staff. YouTube was launched on February 14, 2005, and quickly began to grow – by July 2006, traffic to the site had increased by 297 percent. As a result of this success, YouTube launched their own awards promotion in March 2007 to honor some of the site's best videos. Seven shortlists were compiled, with ten videos per shortlist. Users were invited to vote for the winners over a five-day period at a dedicated web page. Singer Damian Kulash, whose band OK Go won in the Most Creative category for their music video Here It Goes Again, said that receiving a YouTube Award was a surreal honor and that the site was changing culture "quickly and completely". The YouTube Awards returned the following year, to commemorate the best videos of 2007. That year, the number of categories was expanded from seven to twelve, while the number of videos per shortlist was reduced from ten to six. Critics noted that unlikely newcomers, such as Battle at Kruger and Stop the Clash of Civilizations by Avaaz, had triumphed over more established videos, such as I Got a Crush...On Obama and Leave Britney Alone! Reaction to the YouTube Awards was generally negative. In 2007, commentators questioned why a promotion to recognize the best videos of 2006 was taking place so late into the year, and contrasted the awards with the similar Vloggies. Attention was also drawn to the timing of the 2007 awards: five days after media conglomerate Viacom had filed a $1 billion lawsuit against YouTube for copyright infringement. Technology evangelist Don Dodge suggested that the awards were an attempt by YouTube to highlight content on their website that did not violate copyrights before the case went to trial.

text:
# YouTube Awards

The **YouTube Awards** (also known as the **YouTube Video Awards**) was a promotion run by the American video-sharing website YouTube to recognize the best user-generated videos of the year. The awards were presented twice, in 2007 and 2008, with winners being voted for by the site's users from shortlists compiled by YouTube staff. YouTube was launched on February 14, 2005, and quickly began to grow – by July 2006, traffic to the site had increased by 297 percent. As a result of this success, YouTube launched their own awards promotion in March 2007 to honor some of the site's best videos. Seven shortlists were compiled, with ten videos per shortlist. Users were invited to vote for the winners over a five-day period at a dedicated web page. Singer Damian Kulash, whose band OK Go won in the Most Creative category for their music video *Here It Goes Again*, said that receiving a YouTube Award was a surreal honor and that the site was changing culture "quickly and completely".

The YouTube Awards returned the following year, to commemorate the best videos of 2007. That year, the number of categories was expanded from seven to twelve, while the number of videos per shortlist was reduced from ten to six. Critics noted that unlikely newcomers, such as *Battle at Kruger* and *Stop the Clash of Civilizations* by Avaaz, had triumphed over more established videos, such as *I Got a Crush...On Obama* and *Leave Britney Alone!* Reaction to the YouTube Awards was generally negative. In 2007, commentators questioned why a promotion to recognize the best videos of 2006 was taking place so late into the year, and contrasted the awards with the similar Vloggies. Attention was also drawn to the timing of the 2007 awards: five days after media conglomerate Viacom had filed a $1 billion lawsuit against YouTube for copyright infringement. Technology evangelist Don Dodge suggested that the awards were an attempt by YouTube to highlight content on their website that did not violate copyrights before the case went to trial.

## Background

YouTube was founded by Chad Hurley, Steve Chen and Jawed Karim, three former employees of PayPal. The website was activated on February 14, 2005, and quickly began to grow – in the six months to July 2006, traffic to the site grew by 297 percent. In October that year, Google bought YouTube for US$1.65 billion; two months later, *Time* selected "You" as their 2006 Person of the Year, to recognize the growth of user-generated content on sites such as YouTube. Reflecting on the year, Jamie Byrne, YouTube's head of product marketing, remarked: "\[2006\] was really a pioneering year for online video and for user-generated content." According to comScore Media Metrix, the website attracted 133.5 million visitors worldwide during January 2007.

## 2007 Awards

As a result of the growth and success achieved during 2006, YouTube launched its own awards promotion in March 2007 to recognize the best user-generated videos of the previous year. The launch of the YouTube Awards was formally announced via a press release on March 18. Awards were to be presented in seven categories: Most Creative, Most Inspirational, Best Series, Best Comedy Video, Best Music Video, Best Commentary and Most Adorable. Ten videos were shortlisted in each category, with the shortlists having been compiled by the site's staff. Byrne explained: "We wanted to call out some of the most popular videos and let the users choose which ones deserve some additional recognition." YouTube users were invited to vote by visiting a dedicated webpage, which went live the following day, March 19. Users voted by ranking the ten videos in each category in order of preference, and could see what the up-to-date rankings were in real-time – Ben Fritz of *Variety* said that this made the process transparent.

Voting lasted for five days, closing on March 23; winners were announced two days later. Their prize was a trophy (a large, glass Play Button on a heavy, metal base) and prominence for their winning video on YouTube. American rock band OK Go won the Most Creative award for their music video *Here It Goes Again*. Accepting the award, lead singer Damian Kulash said that it was a surreal honor and that YouTube was changing culture "quickly and completely". Singer-songwriter Terra Naomi, whose song "Say It's Possible" won in the Best Music category, thanked the voters, saying: "The YouTube community has really embraced me; it means a lot to me." Naomi—who had signed a record deal with Island Records two months earlier—was 2007's only female winner. The remaining five winners were the Free Hugs Campaign (Most Inspirational), *Ask a Ninja* (Best Series), Smosh (Best Comedy), TheWineKone (Best Commentary) and *Kiwi!* (Most Adorable).

### Winners

2007 YouTube Awards winners and nominations
| Most Creative | Most Inspirational |
| --- | --- |
|  |  |
| Best Series | Best Comedy Video |
|  |  |
| Best Music Video | Best Commentary |
|  |  |
| Most Adorable | |
|  | |

### Reception

> In a sense, the nature of online voting makes \[the YouTube Awards\] anachronistic. YouTube already relies on a ratings system to track the viewing habits of its fans and constantly promotes the most popular videos on its site.

—Eric Auchard of Reuters

Reaction to the 2007 YouTube Awards was generally negative. A common criticism from writers and Mashable founder Pete Cashmore was the late date of the promotion, in that it was an event honoring 2006 videos in March 2007. Steve O'Hear of ZDNet proposed that the awards should have taken place closer to *Time*'s announcing of their 2006 Person of the Year. The five-day voting system was also panned. Journalist Virginia Heffernan described it as "rushed and almost certainly screwy", while Eric Auchard of Reuters and Liz Gannes of Gigaom remarked that asking users to vote for their favorite videos was anachronistic, since the site's five-star ratings system already tracked which videos were the most popular.

Blogger Robert Scoble compared the YouTube Awards to his own video awards show, the Vloggies, which had taken place six months earlier, and suggested that YouTube had copied his idea. Josh Lowensohn of CNET also compared the YouTube Awards to the Vloggies, arguing that the former was not a new idea. Lowensohn additionally criticized the prizes that the winners received, remarking: "I'd like to see YouTube offer some sort of cash or video camera prize."

Commentators also noted the timing of the announcement of the 2007 awards: five days after media conglomerate Viacom had filed a $1 billion lawsuit against YouTube for copyright infringement. Technology evangelist Don Dodge suggested that the awards were an attempt by YouTube to highlight content on their website that did not violate copyrights before the case went to trial. Dodge explained that he had been part of a similar program whilst at Napster, and that the awards might demonstrate to the courts that there was substantial non-infringing use of the website. Cashmore agreed with Dodge's assessment, pointing out that the awards were months too late, had no sponsor, and were concluded within a week. Writing for the Associated Press, Jake Coyle similarly described the awards as "a quick, hasty process".

## 2008 Awards

The YouTube Awards returned the following year to recognize the best videos of 2007, and were announced via a post on YouTube's official blog on March 13, 2008. As with the previous year, shortlists were compiled by YouTube's staff, based on the number of views and general buzz – in total, the nominated videos had a combined view count of nearly a quarter of a billion. For the 2008 Awards, five new categories were added (Best Sports, Best Political, Best Eyewitness, Best Short Film and Best Instructional), and the shortlists were reduced from ten videos to six. The voting process through which users selected the winners was also changed: to remove potential bias, the featured thumbnail and order of the categories changed randomly each time the voting page was refreshed. Users could vote once per day until March 19; the winners were announced on March 21. At this time, hundreds of thousands of users had cast votes.

In some categories, the winning videos had not been the favorites. In the Best Eyewitness category, *Battle at Kruger*, described by *The Guardian* as an unlikely newcomer, won against the "famous" footage of the University of Florida Taser incident. Similarly, a video by YouTube channel Barely Political, *I Got a Crush...On Obama*, had been viewed more than seven million times and had spawned worldwide media attention by the time it was nominated in the Best Political category. Despite this, the award went to *Stop the Clash of Civilizations*, a more serious-minded video by global organization Avaaz. Aaron Ferstman, a spokesman for YouTube, praised Avaaz's video for dealing with "serious issues like discrimination ... in kind of a neat way that speaks to young people." He also noted that *Stop the Clash of Civilizations* was the only Best Political nominee not related to the 2008 United States presidential election. In the Best Commentary category, Michael Buckley's video *LonelyGirl15 is Dead!* beat *Leave Britney Alone!* by Internet star Cara Cunningham. In an interview with MSNBC, Cunningham applauded Buckley's success, saying: "Congratulations to him!". Ferstman remarked that the races for both the Best Political and Best Commentary awards had been close.

The 2008 promotion was the final time that the YouTube Awards were presented. The awards were retired in 2009, with YouTube choosing instead to focus on YouTube Live and the YouTube Symphony Orchestra, both of which had been launched towards the end of the previous year.

### Winners

2008 YouTube Awards winners and nominations
| Best Music | Most Creative |
| --- | --- |
|  |  |
| Best Web Series | Best Sports |
|  |  |
| Best Political | Best Eyewitness |
|  |  |
| Most Inspirational | Best Short Film |
|  |  |
| Best Commentary | Best Comedy |
|  |  |
| Best Instructional | Most Adorable |
|  |  |

## InfoBox

| YouTube Awards | |
| --- | --- |
|  | |
| Awarded for | Best YouTube videos |
| Country | United States |
| Presented by | YouTube |
| First awarded | March 25, 2007 (2007-03-25) |
| Last awarded | March 21, 2008 (2008-03-21) |
| Most nominations | William Sledd (2) |


title: You Wenhui

abstract: You Wenhui is a female Chinese beach volleyball player who competed in the 2004 Summer Olympics. In 2004 she was eliminated with her teammate Wang Lu in the first round of the women's beach volleyball competition.

text:
# You Wenhui

**You Wenhui** (Chinese: 尤文慧; pinyin: *Yóu Wénhuì*; born October 20, 1979, in Shanghai) is a female Chinese beach volleyball player who competed in the 2004 Summer Olympics.

In 2004 she was eliminated with her teammate Wang Lu in the first round of the women's beach volleyball competition.

## InfoBox

| You Wenhui | |
| --- | --- |
| Personal information | |
| Born | October 20, 1979 (1979-10-20) (age 44)<br>Shanghai |
| Honours      Women's beach volleyball  Representing  China  Asian Games  2002 Busan  Beach | |


title: You Were Always There

abstract: "You Were Always There" is a song written and recorded by American country music artist Donna Fargo. It was released in May 1973 as the second single from the album My Second Album. The song was Fargo's fourth hit on the country chart and her fourth number one. The single stayed at number one for a single week and spent a total of twelve weeks on the chart.

text:
# You Were Always There

"**You Were Always There**" is a song written and recorded by American country music artist Donna Fargo. It was released in May 1973 as the second single from the album *My Second Album*. The song was Fargo's fourth hit on the country chart and her fourth number one. The single stayed at number one for a single week and spent a total of twelve weeks on the chart.

## Charts

### Weekly charts

| Chart (1973) | Peak
position |
| --- | --- |
| US Hot Country Songs (*Billboard*) | 1 |
| US *Billboard* Hot 100 | 93 |
| US Easy Listening (*Billboard*) | 47 |
| Canadian *RPM* Country Tracks | 1 |
| Canadian *RPM* Adult Contemporary Tracks | 37 |

### Year-end charts

| Chart (1973) | Position |
| --- | --- |
| US Hot Country Songs (*Billboard*) | 41 |

## InfoBox

| "You Were Always There" | |
| --- | --- |
| Single by Donna Fargo | |
| from the album  *My Second Album* | |
| B-side | "He Can Have All He Wants" |
| Released | May 1973 |
| Recorded | November 1972 |
| Studio | Jack Clement Recording (Nashville, Tennessee) |
| Genre | Country |
| Length | 2:27 |
| Label | Dot 17460 |
| Songwriter(s) | Donna Fargo |
| Producer(s) | Stan Silver |
| Donna Fargo singles chronology | |
| "Superman"
(1972) "**You Were Always There**"
(1973) "Little Girl Gone"
(1973) | |


title: York Township, Benton County, Indiana

abstract: York Township is one of eleven townships in Benton County, Indiana. As of the 2020 census, its population was 155 and it contained 82 housing units. It was organized in June 1860 and named for the state of New York, the former home of local pioneer John Fleming.

text:
# York Township, Benton County, Indiana

**York Township** is one of eleven townships in Benton County, Indiana. As of the 2020 census, its population was 155 and it contained 82 housing units. It was organized in June 1860 and named for the state of New York, the former home of local pioneer John Fleming.

Historical population
| Census | Pop. | Note |  |
| --- | --- | --- | --- |
| 1890 | 625 |  |  |
| 1900 | 593 |  | −5.1% |
| 1910 | 550 |  | −7.3% |
| 1920 | 510 |  | −7.3% |
| 1930 | 492 |  | −3.5% |
| 1940 | 385 |  | −21.7% |
| 1950 | 342 |  | −11.2% |
| 1960 | 336 |  | −1.8% |
| 1970 | 288 |  | −14.3% |
| 1980 | 245 |  | −14.9% |
| 1990 | 224 |  | −8.6% |
| 2000 | 241 |  | 7.6% |
| 2010 | 181 |  | −24.9% |
| 2020 | 155 |  | −14.4% |
| Source: US Decennial Census | | | |

## Geography

According to the 2020 census, the township has a total area of 27.5 square miles (71 km2), all land. Since 2006 the township has the latest annual sunset of any location in Indiana (every late June about a week after the solstice) when the entire eastern time zone part of Indiana for the first time was completely on day light savings time, and latest annual sunrise of any location in Indiana (in the first week of January) since 1967 when it joined Eastern time zone along with all of Benton County and many other Indiana counties.

### Unincorporated towns

(This list is based on USGS data and may include former settlements.)

### Adjacent townships

### Major highways

### Cemeteries

The township contains two cemeteries: Blue Ridge and Fleming.

1. "US Board on Geographic Names". United States Geological Survey. October 25, 2007. Retrieved January 31, 2008.
2. "U.S. Census website". United States Census Bureau. Retrieved January 31, 2008.
3. "Explore Census Data". *US Census Bureau*. Retrieved February 18, 2022.
4. Birch, Jesse Setlington (1942) \[1928\]. *History of Benton County and Historic Oxford*. Oxford, Indiana: Craw & Craw, Inc. p. 21.
5. "Township Census Counts: STATS Indiana".

## InfoBox

| York Township | |
| --- | --- |
| Township | |
| Location of York Township in Benton County | |
| Coordinates: 40°42′03″N 87°29′03″W / 40.70083°N 87.48417°W / 40.70083; -87.48417 | |
| Country | United States |
| State | Indiana |
| County | Benton |
| Organized | June 1860 |
| Government | |
| Type | Indiana township |
| Area | |
| Total | 27.5 sq mi (71 km2) |
| Land | 27.49 sq mi (71.2 km2) |
| Water | 0 sq mi (0 km2) |
| Elevation | 784 ft (239 m) |
| Population (2020) | |
| Total | 155 |
| Density | 5.6/sq mi (2.2/km2) |
| Time zone | UTC-5 (EST) |
| Summer (DST) | UTC-4 (EDT) |
| Area code | 219 |
| FIPS code | 18-85940 |
| GNIS feature ID | 454066 |


title: York Time Institute

abstract: The York Time Institute is a school in York, Pennsylvania providing instruction in the conservation, restoration, and repair of traditional and modern time-keeping devices. It was founded in 2008 by Daniel Nied, former Director of the School of Horology of the National Association of Watch and Clock Collectors. The school is housed in a 19th-century building that also housed two different watchmakers in its 150-year history.

text:
# York Time Institute

39°57.624′N 76°44.100′W / 39.960400°N 76.735000°W / 39.960400; -76.735000

The **York Time Institute** is a school in York, Pennsylvania providing instruction in the conservation, restoration, and repair of traditional and modern time-keeping devices. It was founded in 2008 by Daniel Nied, former Director of the School of Horology of the National Association of Watch and Clock Collectors. The school is housed in a 19th-century building that also housed two different watchmakers in its 150-year history.

## Instruction

As a school of horological instruction, the York Time Institute teaches advanced skills, conservation, fundamental skills (lathe work, milling, parts-making, shaping, forming, horological science, and metallurgy), restorative arts (plating, engraving, engine turning, casting, and antique techniques), and youth programs (horological toys, history of timekeeping, and the science of time). The school offers a 54-week program, weekend short courses, and evening lectures.

## Accreditation

The York Time Institute is licensed by the Pennsylvania Department of Education. It is seeking accreditation by the Accrediting Commission of Career Schools and Colleges of Technology (ACCSCT).

## InfoBox

York Time Institute
|  | |
| --- | --- |
| Motto | Tempus Edax Rerum |
| Motto in English | Time Devours All |
| Type | Private |
| Established | 2008 |
| Director | Daniel Nied |
| Location | York, Pennsylvania, United States |
| Campus | Urban |
| Affiliations | Pennsylvania Department of Education |
| Website | www.yorktimeinstitute.com |


title: You Are Not Stealing Records

text:
# You Are Not Stealing Records

A Portuguese netlabel launched by Stealing Orchestra in 2001.

The original idea was to create a way to freely share EPs by the band or their side projects but soon it expanded to include items by other artists.

## Discography

031 - Stealing Orchestra \- Deliverance (First paid album, also released in CD)
030 - Dr. Phibes & The Ten Plagues of Egypt - Le Sacre du Printemps (Le Sacrifice)
029 - G.G. Allin's Dick - Groovy Tunes for Old Ladies
028 - G.G. Allin's Dick - Grandes Éxitos
027 - Dr. Phibes & The Ten Plagues of Egypt - Carmina Burana
026 - Luís Antero - Sinfonia Amphibia
025 - Invacuo - Mark Twain in Japan
024 - Sta. Apolónia - EP I
023 - Dr. Phibes & The Ten Plagues of Egypt - Music of the Gods - Vol. II
022 - Dr. Phibes & The Ten Plagues of Egypt - Music of the Gods - Vol. I
021 - Zoogoo - Zoogoo
020 - Duo Inmortales - Legends of Domination
019 - The Crevulators - The Crevulators
018 - Party People in a Can - Way off, where the Spirits are
017 - V/A - You Are Not Stealing Bor Land
016 - Nobody's Bizness - Ao Vivo Na Capela da Misericórdia (Sines 2005)
015 - Slipper - Attack of the Killer Lobsters
014 - The Transmitters (band) \- Count Your Blessings (1987/89)
013 - Worriedaboutsatan \- Worriedaboutsatan
012 - I.T.B.A. - In Rain... I Wonder
011 - Sparkles - Saleko
010 - Dr. Frankenstein - The Cursed Tapes
009 - Vincent Bergeron - L'Art du Désarroi
008 - Someone Else - You Can Name This EP
007 - The Prostitutes - Live At Porto-Rio
006 - G.G. Allin's Dick - King of the Road
005 - Sir Edmund et L'Autre - Ne peuvent être vendus séparément
004 - Children for Breakfast - Ham
003 - Stealing Orchestra \- The Haunted and Almost Lost Songs 97-98
002 - Stealing Orchestra \- Bu!
001 - Stealing Orchestra \- É Português? Não Gosto!

1. "ICommons.org - Global Sounds". Archived from the original on December 12, 2008. Retrieved May 27, 2009.
2. http://tv1.rtp.pt/noticias/?article=168871&visual=3&layout=10
3. http://ultimahora.publico.clix.pt/noticia.aspx?id=1249266&idCanal=
4. http://jpn.icicom.up.pt/2005/03/21/you\_are\_not\_stealing\_records\_um\_projecto\_musical\_alternativo.html


title: You Are Right to Be Afraid

abstract: You Are Right to Be Afraid is the second release by Indie rock band Beauty Pill. It was released in 2003 on Dischord Records.

text:
# You Are Right to Be Afraid

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

***You Are Right to Be Afraid***  is the second release by Indie rock band Beauty Pill. It was released in 2003 on Dischord Records.

## Track listing

1. "The Ballad of Leron And Lele" - 0:34
2. "Copyists" - 2:34
3. "You Are Right To Be Afraid" - 3:47
4. "Quote Devout Unquote" - 5:11
5. "You, Yes You" - 3:05

## Personnel

* Chad Clark - Vocals & Guitar
* Ryan Nelson - Drums & Guitar
* Basla Andolsun - Bass
* Drew Doucette - Guitar
* Rachel Burke - Vocals, Wurlitzer

## InfoBox

| You AreRight to Be Afraid | |
| --- | --- |
|  | |
| Studio album by Beauty Pill | |
| Released | 2003 |
| Genre | Indie rock |
| Length | 15:08 |
| Label | Dischord Records |
| Producer | Beauty Pill |
| Beauty Pill chronology | |
| *The Cigarette Girl From the Future*
(2001) ***You AreRight to Be Afraid***
(2003) *The Unsustainable Lifestyle*
(2004) | |


title: You Come and Go Like a Pop Song

abstract: You Come and Go Like a Pop Song is an album by The Bicycle Thief, released in 1999 and re-released with a different track listing in 2001. Songs on the album were predominantly written by frontman Bob Forrest, though Josh Klinghoffer played a major role, contributing drums, guitars, keyboards, and songwriting. Forrest is briefly mentioned in Anthony Kiedis's autobiography "Scar Tissue". Red Hot Chili Peppers guitarist John Frusciante appears on "Cereal Song", playing a lead guitar solo. Additional musicians, songwriters, and producers for the album include Josh Blum, Kevin Fitzgerald, and Marc Hunter. The album's title may have come from a lyric in Ani DiFranco's song "Gratitude": "But I don't come and go like a pop song/that you can play incessantly and then forget when it's gone." On July 21, 2020, it was announced via the Instagram page of The Bicycle Thief that the album is going to be reissued for a third time and for first time on vinyl with the inclusion of "Song for a Kevin Spacey Movie" and "Trust Fund Girl" as bonus tracks in a 7" yellow-vinyl. The album includes a digital-download card to get "Birthday Cake Rarities", a 24-tracks album of demos, live tracks, and two previously unreleased studio tracks. Its release date is set for September 21, 2020 – Which is the 21st anniversary of the album.

text:
# You Come and Go Like a Pop Song

Professional ratings
| Review scores | |
| --- | --- |
| Source | Rating |
| Allmusic |  |
| PopMatters | (not rated) |
| CMJ New Music Monthly | (not rated) |

***You Come and Go Like a Pop Song*** is an album by The Bicycle Thief, released in 1999 and re-released with a different track listing in 2001.

Songs on the album were predominantly written by frontman Bob Forrest (singer for LA band Thelonious Monster), though Josh Klinghoffer (later to play in Red Hot Chili Peppers and Dot Hacker) played a major role, contributing drums, guitars, keyboards, and songwriting. Forrest is briefly mentioned in Anthony Kiedis's autobiography "Scar Tissue".

Red Hot Chili Peppers guitarist John Frusciante appears on "Cereal Song", playing a lead guitar solo. Additional musicians, songwriters, and producers for the album include Josh Blum, Kevin Fitzgerald, and Marc Hunter.

The album's title may have come from a lyric in Ani DiFranco's song "Gratitude": "But I don't come and go like a pop song/that you can play incessantly and then forget when it's gone."

On July 21, 2020, it was announced via the Instagram page of The Bicycle Thief that the album is going to be reissued for a third time and for first time on vinyl with the inclusion of "Song for a Kevin Spacey Movie" and "Trust Fund Girl" as bonus tracks in a 7" yellow-vinyl. The album includes a digital-download card to get "Birthday Cake Rarities", a 24-tracks album of demos, live tracks, and two previously unreleased studio tracks. Its release date is set for September 21, 2020 – Which is the 21st anniversary of the album.

## Track listing

### 1999 version

1. "Hurt" – 2:48
2. "Tennis Shoes" – 3:15
3. "Rainin' (4AM)" – 3:40
4. "Aspirations" – 4:25
5. "Max, Jill Called" – 3:07
6. "Off Street Parking" – 4:17
7. "L.A. Country Hometown Blues" – 4:30
8. "MacArthur Park Revisited" – 3:26
9. "Everyone Asks" – 4:41
10. "It's Alright" – 4:01
11. "Rhonda Meets the Birdman" – 0:17
12. "Cereal Song" – 4:29
13. "Boy at a Bus Stop" – 2:35

### 2001 version

For the 2001 re-release of the album, the track listing was completely changed, the tracks "It's Alright" and "Rhonda Meets the Birdman" were replaced with "Song for a Kevin Spacey Movie" and "Trust Fund Girl", and "Aspirations" was renamed to "Stoned".

1. "Song for a Kevin Spacey Movie" – 3:04
2. "Stoned" – 4:25 (called "Aspirations" on the album's first release)
3. "Max, Jill Called" – 3:07
4. "Tennis Shoes" – 3:15
5. "Off Street Parking" – 4:17
6. "L.A. Country Hometown Blues" – 4:30
7. "Hurt" – 2:48
8. "Rainin' (4AM)" – 3:40
9. "Everyone Asks" – 4:41
10. "Trust Fund Girl" – 4:13
11. "MacArthur Park Revisited" – 3:26
12. "Cereal Song" – 4:29
13. "Boy at a Bus Stop" – 2:35

## Personnel

### 1999 version

* Bob Forrest – vocals
* Josh Klinghoffer – guitar, drums (tracks 2–4, 6–9), vocals (tracks 1, 4, 7–10), Rhodes piano (tracks 4, 6, 13), Wurlitzer electric piano (track 1), Dobro resonator guitar (track 7), organ (tracks 6, 9), lap steel guitar (track 11), cello (track 13), cello bass (track 7)
* Josh Blum – bass (tracks 1–6, 8–10, 12), percussion (tracks 1–2, 4, 8–9), Wurlitzer electric piano (track 2), keyboard (track 13)
* Kevin Fitzgerald – drums (tracks 1, 5, 10, 12)
* Anna Waronker – vocals (tracks 3, 7)
* Marc Hutner – guitar (track 4)
* Nina – cello (track 9)
* John Frusciante – guitar solo (track 12)

## Singles

"**Stoned**" (called "Aspirations" on the album's first release) was released as a single in 2001 around the same time as the re-release of the album.

### *Stoned +2* track listing

1. "Stoned" (Radio Edit) – 3:13 (Bob Forrest, Josh Blum, Josh Klinghoffer, Marc Hutner)
2. "You Won't Be Missed" – 4:23 (Bob Forrest)
3. "It's Alright (Variations on an Oasis Theme)" – 3:59 (Bob Forrest, Josh Klinghoffer)

## InfoBox

| You Come and Go Like a Pop Song | |
| --- | --- |
|  | |
| Studio album by The Bicycle Thief | |
| Released | September 21, 1999 |
| Genre | Alternative rock |
| Length | 45:25 |
| Label | Artemis, Musicrama, Goldenvoice |
| Producer | Marc Hutner, Josh Blum |
| The Bicycle Thief chronology | |
| ***You Come and Go Like a Pop Song***
(1999) *Stoned +2*
(2001) | |


title: Young Yang Chung

abstract: Young Yang Chung is a textile historian and embroiderer. She earned a Ph.D. at New York University in 1976, with a doctoral dissertation on the origins of embroidery and its historical development of China, Japan, and Korea, and has lectured worldwide on the topic of East Asian embroidery. Through lectures, demonstrations, writings, teaching, workshops, and exhibitions of her work, she has endeavored to foster appreciation of an art form often stigmatized as "women's work" and to challenge the notion of textiles as "minor arts". Chung received an honorary doctorate degree from Sookmyung University, Seoul, South Korea in 2001 and she was awarded a Distinguished Alumna Achievement Award by New York University's Steinhardt School of Culture, Education, and Human Development at the 2013 Doctoral Convocation. Chung has dedicated her life to the textile arts, not only as an embroiderer and teacher of this art form but also as a historian of traditional East Asian textiles and a collector of outstanding examples. Her embroideries are included in the collections of numerous museums in the world including the Smithsonian Institution and the presidential palaces. Her legacy includes a body of groundbreaking publications such as The Art of Oriental Embroidery (1979) and Silken Threads: A History of Embroidery in China, Korea, Japan, and Vietnam (2005), as well as the Chung Young Yang Embroidery Museum (C.E.M.), an exhibition, educational, and research facility she inaugurated in May 2004 at Sookmyung Women's University in Seoul. Chung was the curator of The Chung Young Yang Embroidery Museum's inaugural exhibition, which traces the origins of silk embroidery in China and its dissemination throughout East Asia, and she will remain at the Museum as a director and curator, in addition to being a professor of graduate school of arts and designs.

text:
# Young Yang Chung

**Young Yang Chung** is a textile historian and embroiderer. She earned a Ph.D. at New York University in 1976, with a doctoral dissertation on the origins of embroidery and its historical development of China, Japan, and Korea, and has lectured worldwide on the topic of East Asian embroidery. Through lectures, demonstrations, writings, teaching, workshops, and exhibitions of her work, she has endeavored to foster appreciation of an art form often stigmatized as "women's work" and to challenge the notion of textiles as "minor arts".

Chung received an honorary doctorate degree from Sookmyung University, Seoul, South Korea in 2001 and she was awarded a Distinguished Alumna Achievement Award by New York University's Steinhardt School of Culture, Education, and Human Development at the 2013 Doctoral Convocation.

Chung has dedicated her life to the textile arts, not only as an embroiderer and teacher of this art form but also as a historian of traditional East Asian textiles and a collector of outstanding examples. Her embroideries are included in the collections of numerous museums in the world including the Smithsonian Institution and the presidential palaces.

Her legacy includes a body of groundbreaking publications such as *The Art of Oriental Embroidery* (1979) and *Silken Threads: A History of Embroidery in China, Korea, Japan, and Vietnam* (2005), as well as the Chung Young Yang Embroidery Museum (C.E.M.), an exhibition, educational, and research facility she inaugurated in May 2004 at Sookmyung Women's University in Seoul.

Chung was the curator of The Chung Young Yang Embroidery Museum's inaugural exhibition, which traces the origins of silk embroidery in China and its dissemination throughout East Asia, and she will remain at the Museum as a director and curator, in addition to being a professor of graduate school of arts and designs.

## The Dawn of Embroidery Art

In her book Painting with a Needle (2003), she wrote: "Small needles and homespun threads proved to be powerful, life-changing tools that provided me and other Korean women with a viable vocation as well as an expressive and rewarding creative outlet... needlework carried me from a small Korean village of 30 families along a fascinating pathway across time and geographic region."

Chung is a teacher of embroidery, and during the economically difficult period of South Korea's post-war reconstruction, She was able to harness this art form to positively impact many South Korean women's lives. In 1965 she founded her own institute, the International Embroidery School, and produced a new generation of Korean embroidery artists.

In 1967, under the auspices of the Ministry of Social Work, she established South Korea's first vocational embroidery center, The Women's Center. This school provided opportunities for numerous young women who needed gainful work.

In the same year, she was invited by the Japan Handicraft Association to present an exhibition of her and her students' embroidery at the prestigious Ikenobo Women's Finishing School in Japan. When Chung announced that entrance fee proceeds would be donated to provide embroidery supplies for schools teaching handicapped children in Tokyo, this was seen as remarkable gesture for a Korean woman, and the exhibition was extended with the financial support of a local hotel. Recognition such as this opened a valuable route to marketing the works created by her students, which in turn enabled the school to support itself financially.

Her mission to promote Korean embroidery led to her to Iran in 1968, where she exhibited her work in conjunction with the Tehran World's Fair. The exhibition of her embroidery in Cairo, Egypt, supported by the Korea Trade Association, also served to elevate South Korea's national prestige in this area of the world.

In the late 1960s, Chung was featured in a documentary produced by the South Korean television station KBS on young women of achievement. This publicity eventually led to more invitations to exhibit her embroidery abroad, from the U.S. to Japan and Europe, which garnered her international fame.

## Scholastic Achievement in the Art of Embroidery

In the U.S., she devoted considerable time and effort to the study of Western and Eastern embroideries in the Textile Study Room at the Metropolitan Museum of Art. The affirmation of East Asian identity and history remained one of the main objectives in Young Yang Chung's embroidery as well as her scholarly activities. She completed her Masters and Ph.D. in Art Education at New York University. Her Ph.D. dissertation, entitled The Origins and Historical Development of Embroidery in China, Japan, and Korea was the first in-depth academic study of this topic, providing the foundation for embroidery as an academic field. As a rare reference on this little-studied subject, her doctoral dissertation was published in 1978 in book form by UMI Dissertation Services.

Through her work activities and academic research, Chung has established the distinctiveness and history of East Asian embroidery. For example, through her screen depicting ancient musical instruments, she not only produced an accurate visual representation of the subject, but also evoked deeply felt cultural ideals, as these traditional musical instruments fully capture the spirit of the Korean people, who value tradition highly.

In the 1970s, Chung was called in as a consultant for an exhibition of Chinese dragon robes at the Metropolitan Museum, and had the opportunity to study the response of the visitors. This inspired Chung to set forth on a campaign - through lectures, demonstrations, writings, teaching, workshops, and exhibitions of her work - to elevate the public conception and knowledge of embroidery.

Her first book, The Art of Oriental Embroidery (published in 1979), became a standard reference in the field, and in it she emphasized embroidery's antiquity, and challenged the notion that textiles are "minor arts." She explained that embroidery vividly records the technological and socio-economic milieu in which it was produced, and provides evidence of cultural exchange, regional aesthetics, and the maker's individual creativity. These pioneering efforts introduced East Asian embroidery to Western audiences, and fostered an ever-increasing appreciation of and interest in the art of silk embroidery.

Western enthusiasm for Asian embroidery eventually led, for example, to the establishment of the Japanese Embroidery Center in Atlanta, which teaches traditional Asian techniques to American students. Chung's works have been acquired by museums such as the Smithsonian Institution. Silken Threads, published in 2005 in the United States, summarizes the history of the embroiderers' art; it is the result of her lifetime of study, and can be viewed as the only comprehensive academic textbook on embroidery.

## The Future of Embroidery Art

C.E.M. opened in May 2004 through the combined efforts of Chung, an active figure in the international arena, and Sookmyung Women's University, which maintains a forward-thinking cultural vision.

The museum's collection includes hundreds of historical examples, ranging from a 4th to 3rd century BCE bronze mirror with an embroidered silk cover, right up to the present day. Also included are forms such as embroidered Chinese votive textiles, ecclesiastical robes, military uniforms, folding screens, wedding garments, chair and table coverings, Chinese court costumes, and rank insignia, as well as Japanese embroidery. The wide scope of the collection illuminates the cross-cultural dialogues in technique and style that have enriched textile arts worldwide.

Housed in a newly constructed building that includes exhibition galleries, a library, conservations studios (including the C.E.M. Textile Study Center), classrooms, and a 300-seat auditorium equipped with earphones for simultaneous translation, the museum aims to become a leading center for scholarship in embroidery and other textile arts. The Chung Young Yang Embroidery Museum aims to become both a cultural and academic center where the legacy of Chung and her global collection can be appreciated by a wide audience.

## Works

Her numerous publications remain standard references in this field, and include:

* *The Origins and Historical Development of Embroidery in China, Japan, and Korea*, 1976
* *The Art Of Oriental Embroidery*, 1979
* *Painting with a Needle: Learning The Art Of Silk Embroidery With Young Yang Chung*, 2003
* *Silken Threads-Embroidered Court Costume, And Rank Insignia Of China, Japan Korea, And Vietnam*, 2004

## InfoBox

| Young Yang Chung | |
| --- | --- |
| Chung, textile historian | |
| Korean name | |
| Hangul | 정영양 |
| Hanja | 鄭英陽 |
| Revised Romanization | *Jeong Yeong-yang* |
| McCune–Reischauer | *Chŏng Yŏng-yang* |


title: NBC Symphony Orchestra

abstract: The NBC Symphony Orchestra was a radio orchestra conceived by David Sarnoff, the president of the Radio Corporation of America, the parent corporation of the National Broadcasting Company especially for the conductor Arturo Toscanini. The NBC Symphony Orchestra performed weekly radio broadcast concerts with Toscanini and other conductors and several of its players served in the house orchestra for the NBC Radio Network. NBC encouraged the public’s perception of the Orchestra as a full-time organization exclusively at Toscanini’s beck and call, but Fortune disclosed in 1938 that these instrumentalists played other radio—and, later, television—broadcasts: “the Toscanini concerts have been allocated only fifteen of the thirty hours a week each man works, including rehearsals.” The orchestra's first broadcast was on November 13, 1937, and it continued until disbanded in April 1954. A new ensemble, independent of the network, called the Symphony of the Air, followed. It was made up of former members of the NBC Symphony Orchestra and performed from 1954 to 1963, particularly under Leopold Stokowski.

text:
# NBC Symphony Orchestra

The **NBC Symphony Orchestra** was a radio orchestra conceived by David Sarnoff, the president of the Radio Corporation of America, the parent corporation of the National Broadcasting Company especially for the conductor Arturo Toscanini. The NBC Symphony Orchestra performed weekly radio broadcast concerts with Toscanini and other conductors and several of its players served in the house orchestra for the NBC Radio Network. NBC encouraged the public’s perception of the Orchestra as a full-time organization exclusively at Toscanini’s beck and call, but Fortune disclosed in 1938 that these instrumentalists played other radio—and, later, television—broadcasts: “the Toscanini concerts have been allocated only fifteen of the thirty hours a week each man works, including rehearsals.”

The orchestra's first broadcast was on November 13, 1937, and it continued until disbanded in April 1954. A new ensemble, independent of the network, called the **Symphony of the Air**, followed. It was made up of former members of the NBC Symphony Orchestra and performed from 1954 to 1963, particularly under Leopold Stokowski.

## History

Tom Lewis, in the *Organization of American Historians Magazine of History*, described NBC's plan for cultural programming and the origin of the NBC Symphony:

David Sarnoff, who had first proposed the "radio music box" in 1916 so that listeners might enjoy "concerts, lectures, music, recitals", felt that the medium was failing to do this. By 1937, RCA had recovered enough from the effects of the Depression for it to make a dramatic commitment to cultural programming. Sarnoff proposed to create a radio orchestra and hire Arturo Toscanini to conduct it. Toscanini had recently resigned from the New York Philharmonic at age 69 and was considering retirement; Sarnoff sent Samuel Chotzinoff as an emissary to Italy and he managed to convince the wary Toscanini to accept Sarnoff's offer. On Christmas night, 1937, the NBC Symphony Orchestra gave its first performance with Toscanini in an entirely refurbished studio at NBC located in the RCA Building. "The National Broadcasting Company is an American business organization. It has employees and stockholders. It serves their interests best when it serves the public best." That Christmas night, and whenever the NBC orchestra played over the next 17 years, he was right.

Sarnoff devoted considerable effort and resources to create an orchestra of the first rank for Toscanini and NBC. Artur Rodziński, an orchestra builder and musical task master in his own right, was engaged to mold and train the new orchestra in anticipation of the arrival of Toscanini. It offered the highest salaries of any orchestra at the time and a 52-week contract. Prominent musicians from major orchestras around the country were recruited and the conductor Pierre Monteux was hired as well to work with the orchestra in its formative months. A new large broadcast studio was built for the orchestra at NBC's Radio City Studios in Rockefeller Center, New York, Studio 8-H. In addition to creating prestige for the network, there has been speculation that one of the reasons NBC created the orchestra was to deflect a congressional inquiry into broadcasting standards.

The orchestra's first broadcast concert aired on November 13, 1937, under the direction of Monteux. Toscanini conducted ten concerts that first season, making his NBC debut on December 25, 1937. In addition to weekly broadcasts on the NBC Red and Blue networks, the NBC Symphony Orchestra made many recordings for RCA Victor. Televised concerts began in March 1948 and continued until March 1952. During the summer of 1950, NBC converted Studio 8-H into a television studio (the broadcast home of NBC's late-night comedy program *Saturday Night Live* since 1975) and moved the broadcast concerts to Carnegie Hall, where many of the orchestra's recording sessions and special concerts had already taken place.

For the new ensemble, many NBC staff musicians were auditioned by Rodzinski and Chotzinoff, along with about 700 members of other orchestras or chamber-music groups; 31 NBC players were retained in the new orchestra. The American Federation of Musicians union minimum for such staff work at NBC was $105 weekly, but many instrumentalists were paid considerably more. Fortune magazine disclosed that the NBC's extra cost for all the above-scale musicians, plus Toscanini’s salary—as compared with a typical staff conductor’s—amounted to about $250K more than an orchestra of union-scale players under typical staff conductors.

Leopold Stokowski served as principal conductor from 1941 to 1944 on a three-year contract following a dispute between Toscanini and NBC. During this time Toscanini continued to lead the orchestra in a series of public benefit concerts for war relief. He returned as Stokowski's co-conductor for the 1942–43 and 1943–44 seasons, resuming full control thereafter. Upon Toscanini's retirement in the spring of 1954, NBC officially disbanded the orchestra, much to Toscanini's distress, though it continued for several years independent of NBC, as the **Symphony of the Air**. Toscanini's final broadcast concert with the orchestra took place at Carnegie Hall on April 4, 1954, and he conducted the orchestra for the last time during RCA Victor recording sessions held June 3 and 5, 1954.

### Musicians

Some notable musicians who were members of the orchestra include violinists Samuel Antek, Leonid Bolotine, Henry Clifton, Felix Galimir, Josef Gingold, Daniel Guilet (concertmaster 1952–54), Harry Lookofsky, Mischa Mischakoff (concertmaster 1937–1952), Albert Pratz, David Sarser, Oscar Shumsky, Benjamin Steinberg, Herman Spielberg, Boris Koutzen and Andor Toth; violists Carlton Cooley, Milton Katims, William Primrose, and Tibor Serly; cellists Frank Miller, Leonard Rose, Harvey Shapiro, Alan Shulman, George Koutzen and David Soyer; double bassists Homer Mensch and Oscar G. Zimmerman; flutists Carmine Coppola, D. Antoinette Handy, Arthur Lora and Paul Renzi; clarinetists Augustin Duques, Al Gallodoro, David Weber and Alexander Williams; trombonist Norberto (Robert) Paolucci; saxophonist Frankie Trumbauer; oboists Robert Bloom, Paolo Renzi and Chauncey Vernon Kelley, Jr.; bassoonists Elias Carmen, Benjamin Kohon, William Polisi, Leonard Sharrow and Arthur Weisberg; French horn players Arthur Berv, Harry Berv, Jack Berv and Albert Stagliano; Harry Glantz, Bernard Baker, and Raymond Crisara trumpets and tuba player William Bell, among others.

Not all of the NBC Symphony performers were under full-time contracts to NBC. In the early 1950s, for example, only about 55 of these musicians were salaried; the rest were hired under per-service contracts (in line with Local 802 American Federation of Musicians wage scales) to bring the orchestra's performing and recording strength up to the 85 to 100 seen in period photographs and video footage. Even for the salaried members, NBC Symphony duties constituted barely half of their work obligations for NBC; these musicians played in orchestras for other NBC radio and television programs, with many of the wind players also serving with the Cities Service "Band of America" conducted by Paul Lavalle.

## Sponsorship

In the first several seasons the NBC Symphony broadcasts were "sustaining" programs, meaning that they were paid for and presented by NBC itself. In later years the broadcasts were commercially sponsored, primarily by General Motors. Under GM's sponsorship the NBC Symphony broadcasts went out under the title of General Motors Symphony of the Air, not to be confused with the later orchestra of the same name. Other sponsors included the House of Squibb, the Reynolds Metals Company, and the Socony Vacuum Oil Company (Mobil).

## Recordings

RCA Victor began making studio recordings of Toscanini conducting the NBC Symphony Orchestra for commercial release early in 1938; Mozart's Symphony No. 40, Haydn's Symphony No. 88, Rossini's *William Tell* Overture and the second and third movements from Beethoven's String Quartet, Op. 135, were among the first works to be recorded. The orchestra recorded initially in Studio 8-H, but RCA Victor producer Charles O'Connell soon decided to hold most of the studio recording sessions in Carnegie Hall. However, many live broadcast performances originating in Studio 8H were also released on records, and subsequently on CD. The dry acoustics of Studio 8-H, designed for broadcasting, were found to be less than ideal for recording. Acoustical modifications began in 1939 were thought to have greatly improved the sound of Studio 8H; although most NBC Symphony recording sessions were shifted to Carnegie Hall in 1940, the orchestra recorded in 8-H sporadically as late as June 1950, after which the studio was converted for television broadcasting. From the autumn of 1950 until June 1954, all NBC Symphony radio broadcasts and RCA Victor recording sessions took place in Carnegie Hall.

RCA Victor released the orchestra's recordings on its flagship Red Seal label on the then-standard 78-rpm record format. In 1950, a 1945 recording of Ferde Grofé's *Grand Canyon Suite* became the NBC Symphony's first LP release (LM-1004). A mainstay of RCA Victor's Red Seal catalog through the 1950s, most of the Toscanini/NBC Symphony recordings were reissued on the lower-priced RCA Victrola label to celebrate Toscanini's centenary in 1967. In the 1980s, RCA began digitally remastering recordings of the orchestra for release on compact disc. A complete reissue of all Toscanini's RCA Victor recordings was released on CD and cassette between 1990 and 1992 and again in 2012. Later advances in digital technology has led RCA (now owned by Sony Music) to claim further enhancement of the sound of the magnetic tapes for later reissues, changing original equalization balances and adding acoustical enhancement, but critics are divided in their judgment. RCA Victor has only reissued recordings that were personally approved by Toscanini, including some broadcast performances such as the seven complete operas he conducted at NBC between 1944 and 1954; however, several other labels have released discs taken from off-the-air recordings of NBC broadcast concerts. Toscanini's final two broadcast programs, in the spring of 1954, were experimentally recorded in stereo, but he did not approve their release; many years passed before they were finally issued unofficially by labels other than RCA Victor. Recorded in rather primitive and "minimalist" two-channel sound, the stereo antiphonal effect is striking (if crude); but the complete performance from March 21, 1954, of the Tchaikovsky Symphony No. 6 ("Pathetique") is not entirely stereo as the master 2-track tape of the entire 'Allegro molto vivace' third movement had apparently been lost; an artificial stereo synthesis is substituted.  The missing portion of the stereo recording of the third movement was later found.

The complete series of ten NBC Symphony telecasts has been issued on VHS and LaserDisc by RCA in 1990 and on DVD by Testament in 2006. While the videos derive from kinescopes, the sound tracks were carefully synchronized from the highest fidelity transcriptions and tapes that exist.

One of the NBC Symphony Orchestra's most ambitious projects was the recording of the 13-hour musical score for NBC Television's 1952–53 series *Victory at Sea*. Robert Russell Bennett conducted the orchestra in his arrangements of Richard Rodgers' musical themes for the 26 documentary programs (recorded in Rockefeller Center's Center Theatre). The series is currently available on DVD. The first RCA Victor LP of excerpts was recorded by Bennett and the NBC SO musicians in July 1953. Bennett would later lead stereo recordings of volume 2 in 1957, a re-make of volume 1 in 1959, and a concluding volume 3 in 1961, conducting the RCA Victor Symphony Orchestra (members of the Symphony of the Air). RCA has reissued all of these recordings on CD.

In 1954, shortly after the orchestra's final concerts with Toscanini, Stokowski made stereo recordings for RCA Victor of excerpts from Prokofiev's ballet *Romeo and Juliet* and Gian Carlo Menotti's ballet *Sebastian*. The recordings were originally issued (monophonically) as "Leopold Stokowski and his orchestra", but reissued as "members of the NBC Symphony Orchestra". On April 6, 1954, just two days after Toscanini's final concert with the orchestra, Guido Cantelli made a recording in Carnegie Hall of César Franck's Symphony in D minor. Though the performance was recorded in stereo, RCA Victor initially issued the recording in mono. The label finally issued the stereo version in 1978.

## Symphony of the Air

After the NBC Symphony Orchestra disbanded, some members went on to play with other orchestras, such as Frank Miller (principal cello) and Leonard Sharrow (principal bassoon) with the Chicago Symphony Orchestra. However, many former NBC Symphony members, in an attempt to stay together and preserve the orchestra, regrouped as a new ensemble called the "Symphony of the Air". They made their first recording on September 21, 1954, and gave their first public concert at the United Nations 9th Anniversary Celebration on October 24. On November 14, they appeared on the acclaimed *Omnibus* TV program in which Leonard Bernstein, making his first television appearance, discussed Beethoven's Fifth Symphony, and Bernstein led the Symphony of the Air during its first season. With an Asian tour under the auspices of the State Department and an attendance of 60,000 at concerts in the Catskills that summer, the first season was a huge success.

In 1957, Symphony of the Air concerts or recordings used 80% or more veteran NBC Symphony musicians. Some 70 of the 75 players having steady "binder contracts" were former NBC players; when more were needed for an engagement, it was reported "the SOA tries whenever possible to obtain ex-NBC musicians on a free-lance basis."

In 1960, the CBS Television network also featured the Symphony of the Air in its televised prime-time special *Spring Festival of Music* under the direction of the conductor Alfredo Antonini. In collaboration with the concert pianist John Browning, producer Robert Herridge and director Roger Englander, the orchestra presented a virtuoso live presentation of Sergei Rachmaninoff's Second Piano Concerto.

For nearly a decade, the Symphony of the Air performed many concerts led by Stokowski, the orchestra's music director from 1955. The orchestra recorded widely (on RCA Victor, Columbia, Vanguard and United Artists) under leading conductors, including Stokowski, Bernstein, Monteux, Fritz Reiner, Bruno Walter, Kirill Kondrashin, Sir Thomas Beecham, Alfred Wallenstein and Josef Krips. Only once more did they use their old name, the NBC Symphony Orchestra, in the 1963 telecast of Gian Carlo Menotti's written-for-television opera, *Amahl and the Night Visitors*, with an all-new cast. The orchestra disbanded in 1963.

## InfoBox

| NBC Symphony Orchestra | |
| --- | --- |
|  | |
| Founded | 1937 (1937) |
| Disbanded | 1954 (1954) (original)<br>1963 (1963) (renamed) |
| Later name | Symphony of the Air |
| Location | NBC Studio 8H and Carnegie Hall, New York City |
| Principal conductor | Arturo Toscanini |


title: YouthSat

abstract: YouthSat is a Russian-Indian scientific-educational artificial satellite developed on the basis of an agreement between the Russian Federal Space Agency and the Indian Space Research Organisation (ISRO). It is built using ISRO's Indian Mini Satellite-1 bus. YouthSat and Resourcesat-2 were launched by Polar Satellite Launch Vehicle on 20 April 2011 from Sriharikota, India.

text:
# YouthSat

**YouthSat** is a Russian-Indian scientific-educational artificial satellite developed on the basis of an agreement between the Russian Federal Space Agency and the Indian Space Research Organisation (ISRO). It is built using ISRO's Indian Mini Satellite-1 bus. YouthSat and Resourcesat-2 were launched by Polar Satellite Launch Vehicle on 20 April 2011 from Sriharikota, India.

## Launch

The satellite was launched on April 20, 2011, by PSLV-C16. It was injected in its target orbit along with X-Sat (Singapore), 40 seconds after injecting Resourcesat-2.

## Mission

* Investigation of the composition of the upper surface of the Earth.
* Experimentation regarding the energy of the Earth's crust.
* To understand the dynamics of the Earth surface.

According to ISRO, "the Youthsat mission intends to investigate the relationship between solar variability and Thermosphere-Ionosphere changes". The mission provided scientific data for two years. Even though the satellite was still operational, YouthSat completed its planned mission on April 25, 2013.


title: Yscir

abstract: Yscir is a community in the county of Powys, Wales and is 35.3 miles (56.7 km) from Cardiff. Cradoc and Aberyscir are villages within the boundary of this community. Also there are the settlements of Battle and Fenni-fach. In 2011 the population of Yscir was 424 with 17.9% of them able to speak Welsh. Aberyscir Round Cairn and two standing stones are all Scheduled prehistoric Monuments dating back to the Celtic (pre-Roman) period.

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# Yscir

**Yscir** (or **Ysgir**) is a community in the county of Powys, Wales (the historic county of Brecknockshire) and is 35.3 miles (56.7 km) from Cardiff.

Cradoc and Aberyscir are villages within the boundary of this community. Also there are the settlements of Battle and Fenni-fach. In 2011 the population of Yscir was 424 with 17.9% of them able to speak Welsh.

Aberyscir Round Cairn and two standing stones (Battle and Fennifach Standing Stones) are all Scheduled prehistoric Monuments dating back to the Celtic (pre-Roman) period.

## Governance

Yscir is part of the Yscir electoral ward for elections to Powys County Council. The ward includes the communities of Yscir, Merthyr Cynog and Trallong. At the 2011 Census this ward had a population of 1,038.

In the 2017 local elections it was the only ward in Wales where no candidates put themselves forward, after the sitting councillor, Gillian Thomas, retired before the election. Six candidates subsequently put themselves forward and a by-election, on the 21 June 2017, was won by the Conservative Party.

## InfoBox

| Ysgir | |
| --- | --- |
|  | |
| YsgirLocation within Powys | |
| Population | 424 |
| OS grid reference | SO 004 303 |
| Cardiff | 35.3 mi (56.8 km) |
| London | 145.6 mi (234.3 km) |
| Community | * Yscir |
| Principal area |  |
| Country | Wales |
| Sovereign state | United Kingdom |
| Post town | Aberhonddu |
| Postcode district | LD3 |
|  | |
| Police | Dyfed-Powys |
| Fire | Mid and West Wales |
| Ambulance | Welsh |
|  | |
| Website | http://www.yscir.net/ |
|