title: Love Life (Hitomi album)

abstract: .mw-parser-output.tracklist{border-spacing:0}.mw-parser-output.tracklist tr{background-color:var(--background-color-base,#fff)}.mw-parser-output.tracklist tr:nth-child(2n-1){background-color:var(--background-color-neutral-subtle,#f8f9fa)}.mw-parser-output.tracklist caption{text-align:left;font-weight:bold}.mw-parser-output.tracklist td,.mw-parser-output.tracklist th[scope="row"]{vertical-align:top}.mw-parser-output.tracklist th[scope="col"]{text-align:left;background-color:var(--background-color-neutral,#eaecf0)}.mw-parser-output.tracklist th.tracklist-length-header,.mw-parser-output.tracklist th.tracklist-number-header,.mw-parser-output.tracklist th[scope="row"],.mw-parser-output.tracklist-length,.mw-parser-output.tracklist-total-length td{padding-right:10px;text-align:right}.mw-parser-output.tracklist th[scope="row"]{font-weight:normal}.mw-parser-output.tracklist-number-header{width:2em;padding-left:10px}.mw-parser-output.tracklist-length-header{width:4em}.mw-parser-output.tracklist tr.tracklist-total-length{background-color:transparent}.mw-parser-output.tracklist.tracklist-total-length th{padding:0;font-weight:bold}.mw-parser-output.tracklist-total-length th>span{float:right;padding:0 10px;background-color:var(--background-color-neutral,#eaecf0)}.mw-parser-output.tracklist-total-length td{background-color:var(--background-color-neutral,#eaecf0);font-weight:bold;padding:0 10px 0 0} Love Life is the fifth studio album by Japanese singer hitomi, released on December 13, 2000, by avex trax.

text:
# Love Life (Hitomi album)

***Love Life*** is the fifth studio album by Japanese singer hitomi, released on December 13, 2000, by avex trax.

## Description

Following the 1999 amicable split with her previous producer Tetsuya Komuro, hitomi was able to take more creative control of her album production. This is evidenced on *Love Life* by the large collaborative efforts of hitomi with her recording engineers Tetsuya Morimoto, Takeshi Hara, Hiroyuki Shiotsuki, Naoki Yamada, Tohru Oka, and Motohisa Shiraishi.

*Love Life* was a strong commercially successful album selling over 766,000 copies in Japan and reaching #2 on the Oricon weekly charts. The singles "Love 2000", "Maria" and "キミにKiss (Kimi ni Kiss)" were all successes within Japan hitting in the top 20 of Oricon singles chart.

The cover of the album showing hitomi undressed with long hair covering her chest caused something of a controversy by its similarity to the Loveppears album of the singer Ayumi Hamasaki, released a year before. This is the album that later gave the name to the production sub label Love Life Record created by hitomi in 2005.

## Track listing

CD
| No. | Title | Lyrics | Music | Arranger(s) | Length |
| --- | --- | --- | --- | --- | --- |
| 1. | "It's Only Access" | Hitomi | Shintaro Hagiwara | Masato Kamata | 5:00 |
| 2. | "Love 2000" | Hitomi | Masato Kamata | Zentaro Watanabe | 4:23 |
| 3. | "Maria" (album mix) | Hitomi, Kunio Tago | Tago | Watanabe | 5:17 |
| 4. | "Paradise" | Hitomi | Watanabe | Watanabe | 4:54 |
| 5. | "Regret" | Hitomi | Watanabe | Watanabe | 4:30 |
| 6. | "Love Me Darling" | Hitomi | Watanabe | Tago | 4:05 |
| 7. | "Fat Free" | Hitomi | Watanabe | Tago | 4:07 |
| 8. | "Kitsuku Aishite yo (キツク愛してよ)" | Hitomi | Watanabe | Tago | 4:59 |
| 9. | "Over The World" | Hitomi | Watanabe | Tago | 4:32 |
| 10. | "Pray" | Hitomi | Watanabe | Tago | 4:38 |
| 11. | "Kimi ni Kiss (キミにKISS)" | Hitomi | Watanabe | Tago | 4:37 |
| 12. | "Love Life" | Hitomi | Tago | Tatsumi Moritoki | 5:38 |
| 13. | "Kodoku na Sora (孤独な空)" | Hitomi | Tago | Moritoki | 4:14 |

## InfoBox

| Love Life | |
| --- | --- |
|  | |
| Studio album by Hitomi | |
| Released | December 13, 2000 |
| Genre | J-pop |
| Length | 61:58 |
| Label | avex trax |
| Producer | Hitomi, Tetsuya Morimoto, Takeshi Hara, Hiroyuki Shiotsuki, Naoki Yamada, Tohru Oka, Motohisa Shiraishi |
| Hitomi chronology | |
| *Thermo Plastic*
(1999) ***Love Life***
(2000) *Huma-rhythm*
(2002) | |
|  | |
| Singles from  *Love Life* | |
| 1. "Love 2000"
Released: June 28, 2000 2. "Maria"
Released: September 20, 2000 3. "Kimi ni Kiss"
Released: November 8, 2000 | |
|  | |


title: Lsy-6 microRNA

abstract: lsy-6 microRNA belongs to the class of miRNAs; these function to regulate the expression levels of other genes by several mechanisms. lsy-6 is a short non-coding RNA molecule and the first miRNA identified as having a role in nervous system development. It regulates left-right neuronal asymmetry in the nematode worm Caenorhabditis elegans.

text:
# Lsy-6 microRNA

**lsy-6 microRNA** belongs to the class of miRNAs; these function to regulate the expression levels of other genes by several mechanisms. lsy-6 is a short non-coding RNA molecule and the first miRNA identified as having a role in nervous system development. It regulates left-right neuronal asymmetry in the nematode worm *Caenorhabditis elegans*.

## Left-right asymmetry through the *cog-1* gene

ASEL and ASER are a pair of bilateral taste receptor neurons thought to be responsible for the asymmetrical pattern of chemoreceptor gene expression in *C. elegans*. These two gustatory neurons are bilaterally symmetric morphologically, as well as with regards to their connectivity, position and gene expression patterns. However, they are left-right asymmetric in their expression of specific signalling molecules. The ASE neuron is extremely sensitive to the correct dosage of *cog-1*, an Nkx-type homeobox gene, and extra copies of this gene will readily produce left/right asymmetry defects.

lsy-6 is responsible for control of cog-1 expression, as transcriptional mechanisms alone are not sufficient for this regulation. lsy-6 and cog-1 are initially co-expressed by both ASEL and ASER after birth, but their expression later becomes restricted to one of the two ASE neurons (ASEL for lsy-6 and ASER for cog-1). lsy-6 codes for a 21-nt miRNA, which in turn binds to a single complementary site in the 3′ UTR of the *cog-1* gene. This interaction is only seen in the ASEL cell type (not the ASER), thus causing an asymmetric cog-1 distribution. It has been observed that a removal of lsy-6 leads to an altered transcription of cog-1 in ASEL, indicating that despite expressing lsy-6, the ASEL neuron does not transcribe cog-1.

## Further expression

lsy-6 is additionally expressed in several other neuron types, including labial sensory neurons and PVQ ventral cord interneurons.

## lsy-6/lsy-2 Feedback Loop

The expression of lsy-6 is itself regulated by lsy-2, a zinc finger transcription factor. Interaction of lsy-2 with lsy-6 has been found to be cell-type specific and there is complete loss of lsy-6 expression in lsy-2 mutant animals. A bistable feedback loop required for ASE laterality is in place, consisting of miRNAs lsy-6, mir-273, and their respective transcription factors cog-1 and die-1. Whilst lsy-6 is expressed in ASEL but not ASER and regulates the expression of the downstream transcription factor cog-1, mir-273 expression is strongly biased towards ASER and exhibits complementarity to the mRNA of the die-1 transcription factor. die-1 is regulated at a post-transcriptional level and controls chemosensory laterality by activating the expression of lsy-6 in ASEL only. Expression of die-1 in ASER is downregulated through two sites in its 3′ UTR region.

## InfoBox

| lsy-6 | |
| --- | --- |
| Identifiers | |
| Symbol | lsy-6 |
| Rfam | RF00823 |
| miRBase family | MIPF0000265 |
| Other data | |
| RNA type | microRNA |
| Domain(s) | *Eukaryota; Metazoa; Nematoda;* |
| PDB structures | PDBe |


title: Lt. Col W.G. (Billy) Barker VC Airport

abstract: Lt. Col W.G. (Billy) Barker, VC Airport or Dauphin Airport, formerly the Dauphin Regional Airport, is located 3 nautical miles south of Dauphin, Manitoba, Canada. It is named after the top Canadian fighter ace in World War I, William George Barker. The airport was established as RCAF Station Dauphin as part of the British Commonwealth Air Training Plan.

text:
# Lt. Col W.G. (Billy) Barker VC Airport

**Lt. Col W.G.** (**Billy**) **Barker, VC Airport** or **Dauphin** (**Lt. Col W.G.** (**Billy**) **Barker, VC**) **Airport** (IATA: **YDN**, ICAO: **CYDN**), formerly the Dauphin Regional Airport, is located 3 nautical miles (5.6 km; 3.5 mi) south of Dauphin, Manitoba, Canada. It is named after the top Canadian fighter ace in World War I, William George Barker.

The airport was established as RCAF Station Dauphin as part of the British Commonwealth Air Training Plan.

## InfoBox

| Lt. Col W.G. (Billy) Barker, VC Airport
Dauphin (Lt. Col W.G. (Billy) Barker, VC) Airport | |
| --- | --- |
|  | |
| Summary | |
| Airport type | Public |
| Operator | Dauphin Regional Airport Authority |
| Location | RM of Dauphin, near Dauphin, Manitoba |
| Time zone | CST (UTC−06:00) |
| Summer (DST) | CDT (UTC−05:00) |
| Elevation AMSL | 999 ft / 304 m |
| Coordinates | 51°06′05″N 100°03′12″W / 51.10139°N 100.05333°W / 51.10139; -100.05333 |
| Website | https://www.dauphin.ca/p/lt-col-w-g-billy-barker-vc-airport |
| Map | |
| CYDNLocation in ManitobaCYDNCYDN (Canada) | |
| Runways | |
| Direction Length Surface  ft m  02/20 2,110 643 Gravel  08/26 2,703 824 Asphalt  14/32 5,002 1,525 Asphalt | |
| Statistics (2010) | |
| Aircraft movements 4,025 | |
| Source: Canada Flight Supplement
Environment Canada
Movements from Statistics Canada | |


title: Lucílio de Albuquerque

abstract: Lucílio de Albuquerque was a Brazilian painter, designer and art professor.

text:
# Lucílio de Albuquerque

**Lucílio de Albuquerque** (9 May 1877 – 19 April 1939) was a Brazilian painter, designer and art professor.

## Biography

His father was a magistrate. After a brief period of studying law at the Faculdade de Direito da Universidade de São Paulo, he enrolled at the Escola Nacional de Belas Artes (ENBA), where he studied under João Zeferino da Costa, Rodolfo Amoedo and Henrique Bernardelli.

In 1906, his painting "Anchieta escrevendo o poema à Virgem" (Anchieta Writing the Poem to the Virgin) won him ENBA's "Travel Award". Soon after, he and his new bride Georgina (a classmate) left for France, where they remained for five years. While there, he attended the Académie Julian, where he studied with Marcel Baschet, Henri Royer and Jean-Paul Laurens. He also worked in the studios of Eugène Grasset and had a small exhibition at the Salon.

Upon their return to Brazil in 1911, they held joint exhibitions at ENBA, where Lucílio became a Professor of Figure Drawing and was appointed to a chair in 1916. Over the next decade, he received many awards at the "Exposições Gerais de Belas Artes". He became the Director of ENBA in 1937, but resigned a year later due to poor health.

Best known for his portraits and landscapes, he also designed the stained-glass windows for the Brazilian Pavilion at the Turin International and did decorative paintings for the Palácio Pedro Ernesto.

After his death, Georgina turned their home in Laranjeiras into the "Museu Lucílio de Albuquerque".

## Further reading

* Luís de Albuquerque, *Lucílio de Albuquerque: exposicao retropectiva* (Exhibition catalog), Museu Nacional de Belas Artes, Serviço Gráfico do Ministério da Educação e Saude, 1940

## InfoBox

| Lucílio de Albuquerque | |
| --- | --- |
| Lucílio and his wife Georgina | |
| Born | (1877-05-09)May 9, 1877
Barras, Empire of Brazil |
| Died | April 19, 1939(1939-04-19) (aged 61)
Rio de Janeiro |
| Spouse | Georgina de Albuquerque |


title: Triptychs by Francis Bacon

abstract: The Irish-born artist Francis Bacon (1909–1992) painted 28 known triptychs between 1944 and 1986. He began to work in the format in the mid-1940s with a number of smaller formats before graduating in 1962 to large examples. He followed the larger style for 30 years, although he painted a number of smaller triptychs of friend's heads, and after the death of his former lover George Dyer in 1971, the three Black Triptychs.

text:
# Triptychs by Francis Bacon

The Irish-born artist Francis Bacon (1909–1992) painted 28 known triptychs between 1944 and 1986. He began to work in the format in the mid-1940s with a number of smaller formats before graduating in 1962 to large examples. He followed the larger style for 30 years, although he painted a number of smaller triptychs of friend's heads, and after the death of his former lover George Dyer in 1971, the three *Black Triptychs*.

## Overview

Bacon was a highly-mannered artist, often preoccupied with forms, themes, images and modes of expression that he would rework for sustained periods, often across decades. When asked about his tendency for sequential paintings, he explained how, in his mind, images revealed themselves "in series. And I suppose I could go long beyond the triptych and do five or six together, but I find the triptych is a more balanced unit." His career began with the 1944 triptych *Three Studies for Figures at the Base of a Crucifixion*, an instant critical and popular success. The format appealed to him; he said, "I see images in series", according to Bacon images suggested other images and series became his dominant motif. He moved past the triptych format, and from the late 40s to the late 50s produced works in series of up to 10 works, many of which rank amongst his finest, including his series of Popes, heads and men in suits.

Bacon fell from critical favour in the late 1950s having been a darling for the previous 10 years. He later admitted he had lost his voice and was seeking a new way to express himself which involved a lot of transitional work, much of which he destroyed, and much of which he preferred not to be included in his canon. His 1962 *Three Studies for a Crucifixion*, painted to coincide with his first retrospective at the Tate, marked a return to form and has been highly praised by critics and historians such as David Sylvester, Michel Leiris and Michael Peppiatt as a key turning point in his career.

He told critics that his usual practice with triptychs was to begin with the left panel and work across. Typically he completed each frame before beginning the next. As the work as a whole progressed, he would sometimes return to an earlier panel to make revisions, though this practice was generally carried out late in the overall work's completion.

## Works

During the late 1940s and 1950s, Bacon worked on several series, such as his screaming heads, popes, animals in prey and men in blue suits. The use of reworked and revisited imagery transferred into regular use of a triptych format in the early 1960s. In interviews, Bacon said that when he daydreamed, images occurred in "hundreds at a time, some link up with one another." The triptych format was attractive, he believed, because it physically broke the images and prevented forced or constructed narrative interpretation; a tendency in painting to which he was particularly opposed and found banal.

Bacon began his first large triptych *Three Studies for a Crucifixion* in February 1962. Although he often completed a major canvas in a day, this work was not finished until the following March. At 194 cm x 145 cm, it is four times the size of his previous triptych and his first major work, the 1944 *Three Studies for Figures at the Base of a Crucifixion*, with which the 1962 work shares both theme and title. In 1964, he extended the standard width of each canvas by 2.5 cm, and discounting the mid-1960s heads and early-mid "Black Triptychs", retained the larger, monumental scale for all triptychs painted in the remaining thirty years of his life.

In 2000, the art critic David Sylvester categorised Bacon's large triptychs into three groupings: 18 showing a dramatic or erotic event, six showing three full-length seated portraits, and four containing single nude figures. 36 contain a single nude figure, 24 a single clothed figure. Five show a biomorph, 4 contain still lives. 28 are large, generally five times bigger than the small format works. Bacon was highly self-critical and destroyed a great many canvases. It is known that at least five were destroyed, while two or three were likely split by dealers and sold as individual canvasses.

### Crucifixions

As well as being Bacon's first large format triptych, *Three Studies for a Crucifixion* introduced the later and often repeated visual motif a human body turned inside out. This idea was drawn from a long tradition in art history, and was influenced strongly by Rembrandt's *Side of beef* and Chaïm Soutine's *Carcass of Beef*.

Although the idea of torn flesh was present in early work such as his Painting (1946), in the 1960s triptychs and the two versions of the *Lying figure with Hypodermic Syringe* (1963 & 1968), Bacon inverts the epidermis and guts of human torsos to create imagery, according to Sylvester, nearing the grotesque and horror of Rubens's *Descent from the Cross*, and the *Crucifix* panel of Cimabue. His first three major triptychs were of crucifixion scenes, and all bear debt to Rubens's *The Descent from the Cross*, a work the normally reticent Bacon praised time and again to critics.

### Heads

After 1965 Bacon's focus generally narrowed, and he became obsessed with close-up portraiture. On the opening day of his first Tate retrospective, he received word that his former lover Peter Lacey had died; news that had a devastating impact on him personally, and led him to produce his first triptych in the style to his heads of the mid-1950s, which had brought him to wider attention.

The 1962 *Study for Three Heads* opened a dramatically new arena for the artist and was followed by similarly scaled triptychs for a series of works which can loosely be seen to be painted after his "Colony Room associates, including Dyer, Lucian Freud (for a period), Muriel Belcher and Henrietta Moraes. From the 1970s, as the artist himself approached later life, associates and drinking friends began to die, lending many of the portraits an added urgency and poignancy.

### Voyeur

In *Triptych Inspired by T. S. Eliot's poem "Sweeney Agonistes"*, Bacon shows a couple erotically entwined in the right-hand panel, while a clothed male figure stands looking at them. The left-hand panel shows another couple, in full view, lying in Post-coital tristesse. Here, Bacon is looking at the notion of voyeurism as an ideal prelude to participation, a notion held by his former lover, Peter Lacy. The idea is revisited in both versions of *Triptych - Studies from the Human Body* (1970), and is informed by Henri Matisse's Red Studio of 1911.

Bacon's triptychs show ten separate couples on beds, of which eight are erotically interacting, while two other figures are shown sleeping side by side.

### The Black Triptychs

Two days before the opening of Bacon's retrospective at the Grand Palais, George Dyer, his former lover and principal model for the past seven years, took his own life in the hotel room they were sharing. Bacon's acute sense of mortality and awareness of the fragility of life were heightened by Dyer's death. During the following three years he painted many images of Dyer, including the series of three "Black triptychs" (or "Black paintings") which have come to be seen as among his best work. They are so named because they share common black backgrounds emblematic of death or mourning.

A number of characteristics bind the "Black triptychs" together. The form of a monochromatically rendered doorway features centrally in all, and each is framed by flat and shallow walls. In each, Dyer is stalked by a broad shadow; which takes the form of pools of blood or flesh in the first and third panels, and the wings of the angel of death in the second and first. In its display caption for the *Triptych–August 1972* the Tate gallery wrote, "What death has not already consumed seeps incontinently out of the figures as their shadows."

Bacon's work from the 1970s has been described by the art critic Hugh Davies as the "frenzied momentum of a struggle against death". He admitted during a 1974 interview that he thought the most difficult aspect of ageing was "losing your friends". This was a bleak period in his life, and though he was to live for another seventeen years, he felt that his life was almost over, "and all the people I've loved are dead". His concern is reflected in the darkened flesh and background tones of these three triptychs.

## Themes

### Motion

Bacon's interest in sequential images came from his interest in photography, in particular his fascination with the work of the English pioneer Eadweard Muybridge (1830–1904). He also was impressed with Michelangelo's *The Three Labours of Hercules* (c. 1528). These works captured movement in a series of frozen moments, shown in separate plates recorded or captured in quick succession, allowing the viewer to witness multiple perspectives.

## Footnotes

1. Bacon was a ruthless self-editor, likely many more were destroyed
2. Sylvester, 107
3. Sylvester, 100
4. Davies & Yard, 114
5. Sylvester, 108
6. Sylvester, 111
7. Sylvester, 121-22
8. "Triptych - August 1972". Tate. Retrieved February 13, 2010.
9. Davies; Yard, 65
10. Davies & Yard, 67–76.
11. "Triptych - August 1972". Tate. Retrieved on February 11, 2010.
12. Zielinski, Siegfried. *Audiovisions: cinema and television as entr'actes in history*. Amsterdam: Amsterdam University Press, 1999. 58. ISBN 90-5356-313-X

## Bibliography

* Baldassari, Anne. *Bacon and Picasso*. Flammarion, 2005. ISBN 2-08-030486-0
* Davies, Hugh; Yard, Sally. *Francis Bacon*. New York: Cross River Press, 1986. ISBN 0-89659-447-5
* Dawson, Barbara; Sylvester, David. *Francis Bacon in Dublin*. London: Thames & Hudson, 2002. ISBN 0-500-28254-4
* Farr, Dennis; Peppiatt, Michael; Yard, Sally. *Francis Bacon: A Retrospective*. Harry N Abrams, 1999. ISBN 0-8109-2925-2
* Russell, John. *Francis Bacon (World of Art)*. Norton, 1971. ISBN 0-500-20169-2
* Sylvester, David. *Looking back at Francis Bacon*. London: Thames and Hudson, 2000. ISBN 0-500-01994-0


title: Lovin' Life

abstract: Lovin' Life is an album from Contemporary Christian, Southern Gospel group Gaither Vocal Band. The album was released on April 15, 2008.

text:
# Lovin' Life

Professional ratings
| Review scores | |
| --- | --- |
| Source | Rating |
| AllMusic | (?) |

***Lovin' Life*** is an album from Contemporary Christian, Southern Gospel group Gaither Vocal Band. The album was released on April 15, 2008.

## Track listing

1. "I'm Forgiven" (Hibbard, Hockensmith, Omartian) \- 4:00
2. "Build an Ark" (Evans) \- 3:32
3. "Jesus and John Wayne" (Gaither, Gaither, Gaither, Johnson, Williams) \- 3:03
4. "Go Ask" (Gaither, Gaither) \- 4:23
5. "Home of Your Dreams" (Gaither, Gaither, Gaither) \- 5:04
6. "Search Me Lord" (Dorsey) \- 2:28
7. "Lonely Mile" (Slaughter) \- 2:46
8. "There's Always a Place at the Table" (Gaither, Gaither, Gatlin) \- 5:13
9. "The Diff'rence Is in Me" (Gaither, Gaither) \- 3:01
10. "I'm Loving Life" (Gaither, Silvey, Williams) \- 2:40
11. "When I Cry" (Gaither, Hall) \- 4:29
12. "Prisoner of Hope" (Gaither, Silvey, Williams) \- 3:15
13. "Then He Bowed His Head and Died" (Gaither, Gaither) \- 5:22

## Awards

At the 40th GMA Dove Awards, *Lovin' Life* won a Dove Award for Southern Gospel Album of the Year. Also, the song "Jesus & John Wayne" was nominated for Country Recorded Song of the Year. The album also won a Grammy Award for Best Southern, Country, or Bluegrass Gospel Album at the 51st Grammy Awards.

## Chart performance

The album peaked at #123 on the *Billboard* 200 and #6 on Billboard's Christian Albums.

## InfoBox

| Lovin' Life | |
| --- | --- |
|  | |
| Studio album by Gaither Vocal Band | |
| Released | April 15, 2008 |
| Genre | CCM, Southern Gospel |
| Label | Spring Hill Music Group |
| Gaither Vocal Band chronology | |
| *Together*
(2007) ***Lovin' Life***
(2008) *Christmas Gaither Vocal Band Style*
(2008) | |


title: Lovin' Feelings

abstract: Lovin' Feelings is the second studio album by American actor and singer David Hasselhoff. It was released on October 18, 1987, by CBS Records. The album was produced by Bruce Lynch and recorded in Auckland, New Zealand. The album also was a departure from the rock background of his debut studio album Night Rocker (1985). "Life is Mostly Beautiful With You" was released as the only single from the album. The album reached the top-twenty in Austria and Germany, being certified Gold in the former country.

text:
# Lovin' Feelings

***Lovin' Feelings*** is the second studio album by American actor and singer David Hasselhoff. It was released on October 18, 1987, by CBS Records. The album was produced by Bruce Lynch and recorded in Auckland, New Zealand. The album also was a departure from the rock background of his debut studio album *Night Rocker* (1985).

"Life is Mostly Beautiful With You" was released as the only single from the album. The album reached the top-twenty in Austria and Germany, being certified Gold in the former country.

## Track listing

Vinyl/cassette
Side A
| No. | Title | Writer(s) | Length |
| --- | --- | --- | --- |
| 1. | "The Young and the Restless (Nadias Theme)" | Barry De Vorzon, Perry Botkin, Jr. | 2:57 |
| 2. | "Lovin' Arms" | Tom Jans | 2:56 |
| 3. | "Jean" | Rod McKuen | 2:52 |
| 4. | "Historia de un Amor" | Carlos Eleta Almarán | 2:54 |
| 5. | "Always on My Mind" | Wayne Carson, Johnny Christopher, Mark James | 3:06 |
| 6. | "True Love Always" | Norman Petty, Buddy Holly | 2:48 |
| 7. | "Stand By Me" | Ben E. King, Jerry Leiber and Mike Stoller | 3:58 |

Side B
| No. | Title | Writer(s) | Length |
| --- | --- | --- | --- |
| 1. | "Life Is Mostly Beautiful With You" | T. Christoper, D. James | 2:50 |
| 2. | "Go Away Little Girl" | Gerry Goffin, Carole King | 2:10 |
| 3. | "How Am I Supposed to Live Without You" | Michael Bolton, Doug James | 3:33 |
| 4. | "How Deep Is Your Love" | Barry Gibb, Robin Gibb, Maurice Gibb | 3:08 |
| 5. | "After You" | D. James, D. Frank | 2:59 |
| 6. | "Por Ti" | David Hasselhoff, R. Virhuez, M. Barone, F. Lucianiani | 2:59 |
| 7. | "You've Lost That Lovin' Feelin'" | Phil Spector, Barry Mann, Cynthia Weil | 3:20 |

## Charts

### Certifications

| Region | Certification | Certified units/sales |
| --- | --- | --- |
| Austria (IFPI Austria) | Gold | 25,000* |
| * Sales figures based on certification alone.
 | | |

## InfoBox

| Lovin' Feelings | |
| --- | --- |
|  | |
| Studio album by David Hasselhoff | |
| Released | October 18, 1987 |
| Recorded | 1986 |
| Studio | Mandrill Recording Studios (Auckland) |
| Genre |  |
| Label | CBS |
| Producer | Bruce Lynch |
| David Hasselhoff chronology | |
| *Night Rocker*
(1985) ***Lovin' Feelings***
(1987) *Looking for Freedom*
(1989) | |
|  | |
| Singles from  *Lovin' Feelings* | |
| 1. "Life Is Mostly Beautiful With You"
Released: 1987 | |
|  | |


title: Lovin' Lately

abstract: "Lovin' Lately" is a song by American country music duo Big & Rich featuring Tim McGraw. It was released in January 2016 as the third single from Big & Rich's third studio album, Gravity. The song was written by duo members Big Kenny and John Rich and McGraw.

text:
# Lovin' Lately

"**Lovin' Lately**" is a song by American country music duo Big & Rich featuring Tim McGraw. It was released in January 2016 as the third single from Big & Rich's third studio album, *Gravity*. The song was written by duo members Big Kenny and John Rich and McGraw.

## Critical reception

An uncredited *Taste of Country* review of the song was positive, saying that "Sharp storytelling and a strong bridge make this song the finest release yet from *Gravity*."

## Commercial performance

The song first entered the Hot Country Songs at No. 48 for chart dated March 12, 2016, and peaked at No. 19 on the chart for October 15, 2016. The song has sold 125,000 copies as of October 2016.

## Music video

The music video was released as part of the Gravity Quadrilogy and stars McGraw as the bartender. It was directed by Trey Fanjoy.

## Chart performance

## InfoBox

| "Lovin' Lately" | |
| --- | --- |
|  | |
| Single by Big & Rich featuring Tim McGraw | |
| from the album  *Gravity* | |
| Released | January 11, 2016 (2016-01-11) |
| Genre | Country |
| Length | 3:38 |
| Label | Big & Rich Records |
| Songwriter(s) |  |
| Producer(s) | * Big Kenny * John Rich |
| Big & Rich singles chronology | |
| "Run Away with You"
(2015) "**Lovin' Lately**"
(2016) "California"
(2017) | |
|  | |
| Tim McGraw singles chronology | |
| "Top of the World"
(2015) "**Lovin' Lately**"
(2016) "Humble and Kind"
(2016) | |
|  | |


title: Tromarama

abstract: Tromarama is an Indonesian art collective founded by Febie Babyrose, Ruddy Hatumena and Herbert Hans.

text:
# Tromarama

**Tromarama** (est. 2006, Bandung) is an Indonesian art collective founded by Febie Babyrose (b. 1985, Jakarta), Ruddy Hatumena (b. 1984, Bahrain) and Herbert Hans (b. 1984, Jakarta).

## Biography

Graduates of Institut Teknologi of Bandung, Babyrose, Hatumena and Hans met in a music video workshop where they conceived ‘Serigala Militia’ (2006) for Seringai's track of the same title and established Tromarama, referencing the “traumatic” experience of making hundreds of woodcut plywood boards.

Since then, Tromarama's work has been exhibited at Open Eye Gallery (Liverpool, 2016), the Gwangju Biennale (2016), Frankfurter Kunstverein (Frankfurt am Main, 2015), the Stedelijk Museum (Amsterdam, 2015), National Gallery of Victoria (Melbourne, 2015) and Mori Art Museum (Japan, 2010) amongst other locations.

## Work

Engaging with the notion of hyperreality in the digital age, Tromarama specialises in developing inventive responses to contemporary urban culture spanning multiple media – from stop motion animation and video art to installations and lenticular prints. Fleshing out the element of play and humour in everyday life, each work infuses the ordinary with novel means of contemplation in the context of urban Asian cultural environment and political reverberations.

In 2016, Tromarama's installation ‘’Private Riots’ (2014–2016) – a monumental structure composed of flash sequence video and protest banners – was selected for the Encounters section of Art Basel Hong Kong curated by Alexie Glass-Kantor. Other notable solo exhibitions in recent years include its debut in the UK (2016) curated by Ying Tan in collaboration with Edouard Malingue Gallery and Open Eye Gallery as part of the Liverpool Biennial fringe programme and ‘Panoramix’ (2015) at Edouard Malingue Gallery in Hong Kong.


title: Triumph Tiger Sport 660

abstract: The Triumph Tiger Sport 660 is a middle-weight Sport touring motorcycle launched in 2022 by British manufacturer Triumph Motorcycles Ltd and using many of the components of its naked sibling, the Triumph Trident 660.

text:
# Triumph Tiger Sport 660

The **Triumph Tiger Sport 660** is a middle-weight Sport touring motorcycle launched in 2022 by British manufacturer Triumph Motorcycles Ltd and using many of the components of its naked sibling, the Triumph Trident 660.

## Features

The motorcycle features:

* Riding modes (rain/road)
* Switchable traction control
* Non-switchable anti-lock brakes
* Hybrid LCD/TFT instrument pod
* Full LED lighting
* Remote preload adjustment for the rear shocks
* Optional quickshifter and autoblipper
* A2 Licence restrictor kit
* LAMS Restricted (39 kW) model for Australia / New Zealand market
* Adjustable windshield

An optional Bluetooth connectivity system is available, which allows mobile phone connection, navigation, music control, and GoPro control. This system is driven by the My Triumph app, and available for both Android and Apple iOS.

## InfoBox

Triumph Tiger Sport 660
|  | |
| --- | --- |
| Manufacturer | Triumph Motorcycles |
| Production | 2022- |
| Class | Sport touring motorcycle |
| Engine | Water-cooled, 660 cc (40 cu in), DOHC, triple |
| Bore / stroke | 74 mm × 51.1 mm (2.91 in × 2.01 in) |
| Compression ratio | 11.95:1 |
| Power | 81 PS (60 kW) @ 10,250 rpm (claimed) |
| Torque | 47 ft⋅lb (64 N⋅m) @ 6,250 rpm (claimed) |
| Transmission | wet clutch, 6-speed, chain |
| Frame type | Steel perimeter |
| Suspension | Front Showa 41 mm USD telescopic separate function fork (SFF)
Rear Showa monoshock with preload adjustment |
| Brakes | Nissin two-piston sliding calipers, twin 310mm discs
Nissin single-piston sliding caliper, single 255 mm disc |
| Tyres | 120/70 ZR 17 Michelin Road 5 (front)
180/55 ZR 17 Michelin Road 5 (rear) |
| Rake, trail | 23.1 ° / 97.1 mm (3.82 in) |
| Wheelbase | 1,418 mm (55.8 in) |
| Seat height | 835 mm (32.9 in) |
| Weight | 206 kg (454 lb) (wet) |
| Fuel capacity | 17.2 L (3.8 imp gal; 4.5 US gal) |


title: Loyalty to Loyalty

abstract: Loyalty to Loyalty is the second studio album by American indie rock band Cold War Kids. It was released on September 23, 2008, by Downtown Records. Following the success of their debut album Robbers & Cowards and spending the rest of 2007 touring across North America and Europe, the band started recording new material for their next album over the course of four months. Taking its title from the paper of the same name by American philosopher Josiah Royce, Loyalty to Loyalty carries a darker tone than its previous album by having a more experimental sound throughout and songs that deal with philosophies and politics, including suicide, crisis of faith, public security and job satisfaction. The album received a generally positive reception but critics said it was uneven in terms of songwriting and performance. Loyalty to Loyalty debuted at number 21 on the Billboard 200 and spawned two singles: "Something Is Not Right with Me" and "I've Seen Enough", the former was voted number 38 in the Triple J Hottest 100 in 2008. To promote the album, the band toured across North America, Europe and Australia with appearances at music festivals and talk shows.

text:
# Loyalty to Loyalty

***Loyalty to Loyalty*** is the second studio album by American indie rock band Cold War Kids. It was released on September 23, 2008, by Downtown Records.

Following the success of their debut album *Robbers & Cowards* and spending the rest of 2007 touring across North America and Europe, the band started recording new material for their next album over the course of four months. Taking its title from the paper of the same name by American philosopher Josiah Royce, *Loyalty to Loyalty* carries a darker tone than its previous album by having a more experimental sound throughout and songs that deal with philosophies and politics, including suicide, crisis of faith, public security and job satisfaction.

The album received a generally positive reception but critics said it was uneven in terms of songwriting and performance. *Loyalty to Loyalty* debuted at number 21 on the *Billboard* 200 and spawned two singles: "Something Is Not Right with Me" and "I've Seen Enough", the former was voted number 38 in the Triple J Hottest 100 in 2008. To promote the album, the band toured across North America, Europe and Australia with appearances at music festivals and talk shows.

## Background

Cold War Kids released their debut album *Robbers & Cowards* on October 11, 2006. The album garnered a largely positive reception from critics, but Marc Hogan of *Pitchfork* criticized the band for its songwriting, melodies and Christian symbolism, saying that "*Robbers and Cowards* insults our intelligence a few times too often." Cat Dirt Sez of the *San Diego CityBeat* said that Hogan's review was an example of lazy journalism, with lead guitarist Jonnie Russell saying that the reviewer wanted a wittier approach to the album rather than a thoughtful assessment of it. To promote the album, the band spent most of 2007 touring across North America and Europe through appearances at music festivals and talk shows. Bassist Matt Maust said that touring exhausted the band and that they were eager to return to the studio to write new material for their next album.

*Loyalty to Loyalty*'s title comes from a paper of the same name by American philosopher Josiah Royce, in which he challenged Friedrich Nietzsche's ideas about "will to power" and the übermensch, "saying that the ultimate pursuit of mankind should be to live in community and embrace each other, not to try to trample each other and rise to the top." Maust said that he could relate to that phrase with the band saying that it's "very similar to how \[we\] conduct ourselves, the way that \[we\] write songs and the way that \[we\] view each other in the band. No one person is writing for the other person, but we are loyal to each other. We're loyal to loyalty." For the recording process, Maust explained that they took four months to experiment with deeper and grittier sounds they were comfortable with, compared to the first record that took eight days to create that carried "a much more polished, for-radio sound." He also commented that the overall dark tone throughout the album was the cause of constant touring across Europe, but said that it did more good than harm for the band because it led to them crafting songs that weren't written from the perspective of being on the road.

## Music and lyrics

For the techniques used to craft the overall sound of the album, August Brown of the *Los Angeles Times* described the band foregoing the use of full chords and verse-chorus-verse structures in favor of "distant guitar effects, crunchy bass grooves and smatterings of percussion." Regarding the songs from the album, Maust said that lead singer Nathan Willett's lyrics were a mixture of folk tales and topical stories, stating that "a lot of people say the last record was more about yesteryear. This \[new record\] has some of that, but it's much more today. The characters are people from today." The thirteen tracks off the album deal with a variety of philosophies and politics that range from contemplating suicide, crisis of faith, alienation, anonymity, public security and job satisfaction.

Opening track "Against Privacy" was described by Willett as a "bohemian manifesto" made by a person with an affinity for the arts and wanting to live on an art commune. "Mexican Dogs" was written by the band during a trip in Mexico City where they saw a pack of unnamed three-legged dogs running wild across the field. Maust said that he saw it as a metaphor for how the band operates as a whole, in their conduction of both art and business, and how their song craft is "very community oriented and very democratic." The overall sound of the track is reminiscent of boogie rock. The track "Every Valley Is Not a Lake" was a song that was left off *Robbers & Cowards*. It tells the story about a mother lecturing her daughter about going wild in the world and the consequences she may face if not careful. The song utilizes jazz piano for its melodies. "Something Is Not Right with Me" is an upbeat track about a person losing touch with the revolving world and its constant changes from people to technology. Critics described the song as having "Stones-styled bluesy licks" and "*Lodger*-era Bowie rhythms."

"Welcome to the Occupation" is about a teacher limited with his career who strives to be an artist. Willett was inspired by his job as an English high school teacher in Torrance to write the song, saying that it didn't give him "a lot of creative space to really be very inspired to be a teacher." "Golden Gate Jumpers" is about a woman who goes to the Golden Gate Bridge and contemplates taking her life away. The tracks "Avalanche in B" and "I've Seen Enough" were originally conceived by the band as one-long track but instead cut into two songs. The former uses snow as a metaphor for how bleak and empty life is when it is coming straight towards you. The latter was created during a jam session in which the band played one continuous chord progression that stuck with them throughout the session. "Every Man I Fall For" is about a woman's perspective on relationships. Inspired by his own mother's relationship with men, Willett saw something he could craft from that emotion, saying that it stuck with him as having importance "because it was something I always saw in relationships; like my mom being a single mother and seeing how men treat these women and how they operate in relationships."

"Dreams Old Men Dream" was inspired by the Ingmar Bergman film *Wild Strawberries* and Fyodor Dostoyevsky's short story *The Dream of a Ridiculous Man*. It tells the story of an elderly man reflecting back on the life he had and what he wished he had done before. "On the Night My Love Broke Through" was the last song made for the album that was recorded live. It was inspired by the works of German-American poet Charles Bukowski. "Relief" is written from the perspective of a person that questions God's way of controlling the Earth and handling its inhabitants. God himself answers the person's question when Willett sings, "Flash flood, you got too comfortable, so I showed you, who's really in control." The overall sound of the track is described as electronica in the vein of "mid-era Radiohead." The album closer, "Cryptomnesia", was inspired by a case involving Russian-American novelist Vladimir Nabokov being accused of plagiarism involving his 1955 novel *Lolita*. Willett said that it is "an apt word for the way history seeps into his songwriting today."

## Singles and promotion

The band released a one-minute long "teaser" for the album on their YouTube page on June 25, 2008. The album's lead single, "Something Is Not Right with Me", first appeared on the Cold War Kids Myspace page in July 2008 and was given an official release on September 1, 2008, through iTunes. It debuted and peaked at number 39 on the *Billboard* Alternative Songs chart; their second top 40 hit on that chart. A music video directed by Sophie Muller was created for the single and premiered on the band's YouTube page on September 17, 2008. The song was voted number 38 in the Triple J Hottest 100, 2008. A second single, "I've Seen Enough", was released on October 22, 2008, but failed to chart. Two music videos were created to promote the single. The first video was directed by Vern Moen and shot in black-and-white, premiering on the band's YouTube page on February 23, 2009. The second video was a collaboration with director Sam Jones (who had previously directed *I Am Trying to Break Your Heart: A Film About Wilco*) and his production company Tool of North America. The video was interactive and involved each band member playing his instrument solo on a dark stage, with the viewers given free rein to choose which instruments were played and to make their own mixes of the song. The video was nominated in the 'Online Film & Video' category for Best Use of Interactive Video at the 2010 Webby Awards and won the People's Voice Award.

On July 25, the band announced a 55-city nationwide tour to promote *Loyalty to Loyalty* ahead of its release, beginning with Byron Bay's Splendour in the Grass festival and finishing at Paris' Bataclan. The tour was marked with several festival appearances at Belladrum and Outside Lands. During that tour, they made television appearances on *Jimmy Kimmel Live!*, *The Tonight Show with Jay Leno* and *The Late Late Show with Craig Ferguson*.

## Critical reception

Professional ratings
| Aggregate scores | |
| --- | --- |
| Source | Rating |
| Metacritic | 66/100 |
| Review scores | |
| Source | Rating |
| AbsolutePunk | (59%) |
| AllMusic |  |
| *The A.V. Club* | C+ |
| *The Guardian* |  |
| *NME* | 7/10 |
| *Paste* | 8.3/10 |
| *Pitchfork* | 5.1/10 |
| *Rolling Stone* |  |
| *Slant Magazine* |  |
| Sputnikmusic | 3.0/5.0 |

*Loyalty to Loyalty* received generally favorable reviews but music critics were divided by the band's musical departure and Nathan Willett's delivery in terms of performance and songwriting. At Metacritic, which assigns a normalized rating out of 100 to reviews from mainstream critics, the album received an average score of 66, based on 20 reviews.

James McMahon of *NME* praised the band for their production and songwriting, concluding with "Almost in defiance of poor sales and cult following, CWK and their charming second album embody everything you hoped music might be." Bart Blasengame of *Paste* found the album "\[to be\] more interesting than *Robbers and Cowards*," praising the band for the new direction in their sound and calling it "a better-than-solid album from a band that seemed equipped to someday make a classic one." Jody Rosen of *Rolling Stone* commended the band for continuing with their blues rock sound, saying that "Cold War Kids attack their songs with unusual intensity, infusing even the most nourish, unsettling songs – fractured narratives about hipster bohemia and suicide – with a feeling enchantment."

Rudy Klap of Sputnikmusic gave praise to the production and songwriting, singling out "Golden Gate Jumpers" with having "one of the record's best lyrics and melodies," but was critical of Willett's performance saying that "his voice can turn from interesting and fresh to grating and intolerable with just a few misplaced falsettos." Heather Phares of AllMusic was also critical about Willett throughout the album, finding his voice "unfettered to the point of grating ("Something Is Not Right with Me")" and lyrics to be "overworked instead of clever ("Against Privacy")" but found some of the songs carried sharp songwriting skills ("Golden Gate Jumpers") and flair ("I've Seen Enough") concluding that "Cold War Kids deserve credit for their ambitions, but there's a fine line between trying hard and trying too hard. More often than not, *Loyalty to Loyalty* takes a disappointing stumble on it."

Chris Mincher of *The A.V. Club* was disappointed with the album, finding it stripped of its songwriting and control in lead singer Nathan Willett's voice from their debut album. Blake Solomon of AbsolutePunk found the album lacking in terms of instrumentals and songwriting saying, "It's easy to see the great ideas from previous songs at work here, but there seems to be an intentional restraint placed on the band's likeable pop inclinations." *The Guardian* criticized the album for its lackluster blues rock production and Willett's performance, saying "his voice is too drearily clean-cut to deliver a true emotional punch." Ian Cohen of *Pitchfork* felt that the album was hampered by the band's uninspired musicianship and songwriting and the hype surrounding them, saying that "Proponents raved that Cold War Kids arrived fully formed, but as the band continues to stubbornly emphasize their weaknesses, *Loyalty To Loyalty* is proof that their detractors can say the same thing."

## Commercial performance

*Loyalty to Loyalty* was the band's first album to reach the top 50 on the *Billboard* 200, debuting at number 21 with 22,000 copies sold in its first week. It later dropped to number 74 the next week before leaving the chart. It additionally charted within the top 40 of several additional territories, surpassing what *Robbers & Cowards* achieved previously. The record debuted at number 20 in Australia before dropping to number 35 the next week and leaving the chart. It debuted at numbers 29 and 48 in Belgium and France respectively (whereas their previous album charted at numbers 43 and 79). However, it charted thirty-three spots lower than *Robbers & Cowards* in the United Kingdom, entering at number 68 in that country for one week.

## Track listing

All tracks are written by Cold War Kids

| No. | Title | Length |
| --- | --- | --- |
| 1. | "Against Privacy" | 3:45 |
| 2. | "Mexican Dogs" | 3:36 |
| 3. | "Every Valley Is Not a Lake" | 3:38 |
| 4. | "Something Is Not Right with Me" | 2:22 |
| 5. | "Welcome to the Occupation" | 3:21 |
| 6. | "Golden Gate Jumpers" | 3:12 |
| 7. | "Avalanche in B" | 3:46 |
| 8. | "I've Seen Enough" | 2:58 |
| 9. | "Every Man I Fall For" | 4:08 |
| 10. | "Dreams Old Men Dream" | 4:16 |
| 11. | "On the Night My Love Broke Through" | 4:36 |
| 12. | "Relief" | 3:02 |
| 13. | "Cryptomnesia" | 4:01 |

## Personnel

Adapted from the *Loyalty to Loyalty* inlay notes.

## Charts

| Chart (2008) | Peak
position |
| --- | --- |
| Australian Albums (ARIA) | 20 |
| Belgian Albums (Ultratop Flanders) | 29 |
| Belgian Albums (Ultratop Wallonia) | 95 |
| French Albums (SNEP) | 48 |
| UK Albums (OCC) | 68 |
| US *Billboard* 200 | 21 |
| US Top Alternative Albums (*Billboard*) | 6 |
| US Independent Albums (*Billboard*) | 3 |

## Release history

| Region | Date | Format | Label | Ref. |
| --- | --- | --- | --- | --- |
| Australia | September 19, 2008 | Digital download, CD, Vinyl | V2 |  |
| Germany | | | |  |
| United Kingdom | September 22, 2008 | | |  |
| United States | September 23, 2008 | | Downtown |  |
| France | October 6, 2008 | CD | Cooperative Music |  |

## InfoBox

| Loyalty to Loyalty | |
| --- | --- |
|  | |
| Studio album by Cold War Kids | |
| Released | September 23, 2008 (2008-09-23) |
| Recorded | March – June 2008 |
| Studio | Fairfax Recordings (North Hollywood)
Ocean Way Studios (Hollywood)
Sound City Studios (Los Angeles)
Schnee Studio (North Hollywood)
Tackyland (Long Beach) |
| Genre |  |
| Length | 48:59 |
| Label |  |
| Producer | * Kevin Augunas * Cold War Kids |
| Cold War Kids chronology | |
| *We Used to Vacation*
(2006) ***Loyalty to Loyalty***
(2008) *Live from the Paradiso*
(2008) | |
|  | |
| Singles from  *Loyalty to Loyalty* | |
| 1. "Something Is Not Right with Me"
Released: September 1, 2008 2. "I've Seen Enough"
Released: October 22, 2008 | |
|  | |


title: Loys Station Covered Bridge

abstract: The Loys Station Covered Bridge is a multiple king post wooden covered bridge near Thurmont, Maryland. The bridge was burned by an arsonist in 1991 and rebuilt using surviving framing. The original bridge spanned 90 feet in one span, but has since been modified with a pier at the middle of the span. The bridge crosses Owen's Creek and is surrounded by a park.

text:
# Loys Station Covered Bridge

The **Loys Station Covered Bridge** is a multiple king post wooden covered bridge near Thurmont, Maryland. The bridge was burned by an arsonist in 1991 and rebuilt using surviving framing. The original bridge spanned 90 feet in one span, but has since been modified with a pier at the middle of the span. The bridge crosses Owen's Creek and is surrounded by a park.

## History

Loys Station Covered Bridge was originally built in 1848. Between 1929 and 1930 the bridge was reinforced with a concrete pier and steel beams. The bridge gets its name from a Western Maryland Railroad station that stopped nearby the bridge in Loys. In 1978 the bridge was added to the National Register of Historic Places. In 1991 the bridge was burned down by an arsonist who was trying to fraudulently collect insurance money. The bridge took three years and $300,000 to rebuild and was rebuilt to match the bridge as it was in 1930 after having been reinforced. Most of the cost of reconstructing the bridge was covered by insurance. On 4 July 1994 the bridge officially reopened for the public. In October 2013 the bridge was damaged twice by vehicles, but quickly repaired both times.

## InfoBox

|  | |
| --- | --- |
| Loys Station Covered Bridge | |
| U.S. National Register of Historic Places | |
|  | |
| The original bridge in 1985 | |
|  | |
| Nearest city | Thurmont, Maryland |
| Coordinates | 39°36′31″N 77°21′5″W / 39.60861°N 77.35139°W / 39.60861; -77.35139 |
| Area | 0.2 acres (0.081 ha) |
| Built | 1860 (1860) |
| Architectural style | Multiple king post |
| MPS | Covered Bridges in Frederick County TR |
| NRHP reference No. | 78003175 |
| Added to NRHP | June 23, 1978 |


title: Northworld

abstract: Northworld is a 1990 militaristic science fiction novel by David Drake set in a time when the Consensus rules everything except for Northworld, the missing planet. It is the first novel in the Northworld Trilogy. The other novels of the trilogy are Vengeance (1991) and Justice (1992).

text:
# Northworld

***Northworld*** is a 1990 militaristic science fiction novel by David Drake set in a time when the Consensus rules everything except for Northworld, the missing planet. It is the first novel in the *Northworld Trilogy*. The other novels of the trilogy are *Vengeance* (1991) and *Justice* (1992).

## Plot summary

The novel begins with Commissioner Nils Hansen and his Special Police Unit team in a violent confrontation with criminal android Solbarth and his gang members, who are barricaded in a building. Because of his reputation, Hansen is able to talk Solbarth and his gang members into surrendering with the promise that their lives would be spared. As the villains are being led away, Hansen is summoned by non-human messengers, who take him to the leaders of the Consensus. The Consensus needs Hansen's skill and ruthlessness to discover what has happened to cause Northworld to disappear.

The planet Northworld, named after Captain North who was in charge of the colonization of the planet, is missing. The Consensus rules 1200 worlds, every world that is known except for Northworld. The Consensus initially wanted to colonize Northworld. Prior to the events in the novel, five expeditions, consisting of three fleets and a colonizing expedition, had been sent to Northworld to either colonize or investigate the disappearance. The first fleet and the colonizing expedition consisted of humans. Between the first fleet and the colonizing expedition, Captain North, and his team, were sent to investigate the second fleet, which was crewed by androids (similar to the replicants of Blade runner). The third fleet was composed of sentient machines. In each case the expedition disappears. At the opening of the series, Commissioner Hansen is sent alone to investigate the missing planet.

Hansen first arrives in Diamond, a peaceful world that forbids weapons of any kind. Hansen encounters a warm welcome from the curious people, but he finds that the weapons he carries begin to disintegrate; however, he does not stay in Diamond long. Ruby, another world occupying the same dimensional space as Diamond, interposes itself over Diamond, causing Diamond's destruction.

Hansen then travels to a very different part of the Matrix called the Open Lands. There, he is greeted by Walker (who later reveals himself as North), who takes on the appearance of several talking animals, gives Hansen advice, and tries to gain his oath of allegiance. Hansen refuses, and instead decides to go out on his own, entering into the land filled with warfare.

Hansen is originally ignored by the battling warriors and left for the slaves to kill and take what they want from him. Hansen is forced to kill the slaves after they attack him to get his clothing. He then sees a suit of left behind armor that was left in the snow and follows Lord Golsingh’s army back to Lord Golsingh's town called Peace Rock, where he wins a place in the army by challenging one of the soldiers to fight him. The people, though they live in primitive conditions with little technology, have very sophisticated powered armor. This Armor has one major weapon, an electric arc extending from the suit's gauntlets. Length as well as power density can be controlled by opening and closing the thumb and forefinger of the gauntlet. A secondary weapon is the bolt, a single, one-time discharge of arc energy. this is little-used, as it renders the suit powerless for a time while it recharges. The suit is completely vulnerable to attack during this period. The suits also have some shielding, the ability of which to withstand attack depending on the quality of the armor. Hansen describes his impression of the world thusly: “The whole thing was barbaric and pre-technological; whereas the warriors’ armor was extremely sophisticated, though idiosyncratic.” Nothing provides insight into how this can be. The smiths that repair the armor claim that the armor cannot be fixed solely with human skill, but the smith must instead mentally enter the Matrix to repair the armor. As Hansen discovers, the armor is not understood by the people.

Often setting aside his original objective of finding North, Hansen begins to become a part of the society. Hansen learns the customs of the society and he teaches the warriors how to fight in teams and so become more effective, but not without obstacles. Previously, the warriors had little tactics, but through the guidance of Hansen, the army is turned into a successful force that would be able to conquer the opposing merchant army in a quest for peace for the war-filled land — a dream that is a priority for Lord Golsingh.

Meanwhile, the gods of the land encounter many problems and friction. All the worlds of the Matrix are threatened by destruction. Diamond has been destroyed by Ruby, a militaristic and heavily armed world of the Matrix, and the gods decide that Ruby's destruction will eliminate the threat to the Matrix. After the battle with the merchants, Hansen finds himself in a room similar to that in which he was briefed on his mission by the Consensus. It is here that Hansen meets the gods that rule Northworld, the head of which is Captain North. Hansen is told to destroy Ruby in retaliation for the destruction of Diamond. In the process, Hansen must be made into a god so that he can enter Ruby from inside the Matrix.

## Reception

The novel was praised as supplying "fast-paced adventure with convincing depth."

## InfoBox

Northworld
| First edition (publ. Ace Books)<br>Cover art by Tony Roberts | |
| --- | --- |
| Author | David Drake |
| Genre | Militaristic science fiction |
| Publisher | Ace Books |
| Publication date | 1990 |
| ISBN | 978-0-441-84830-0 |
| Followed by | *Vengeance* (1991) |


title: Oligostigmoides mediocinctalis

abstract: Oligostigmoides mediocinctalis is a moth in the family Crambidae. It was described by George Hampson in 1897. It is found in Rio de Janeiro, Brazil.

text:
# Oligostigmoides mediocinctalis

***Oligostigmoides mediocinctalis*** is a moth in the family Crambidae. It was described by George Hampson in 1897. It is found in Rio de Janeiro, Brazil.

## InfoBox

| *Oligostigmoides mediocinctalis* | |
| --- | --- |
|
| Scientific classification | |
| Domain: | Eukaryota |
| Kingdom: | Animalia |
| Phylum: | Arthropoda |
| Class: | Insecta |
| Order: | Lepidoptera |
| Family: | Crambidae |
| Genus: | *Oligostigmoides* |
| Species: | ***O. mediocinctalis*** |
| Binomial name | |
| ***Oligostigmoides mediocinctalis***<br>(Hampson, 1897) | |
|
| Synonyms | |
| * *Parthenodes mediocinctalis* Hampson, 1897 | |


title: Oligota

abstract:
Oligota is a genus of beetles belonging to the family Staphylinidae. The genus has cosmopolitan distribution. Species:
  - Oligota adpropinquans Sharp, 1908
  - Oligota aethiops Sharp, 1908

text:
# Oligota

***Oligota*** is a genus of beetles belonging to the family Staphylinidae.

The genus has cosmopolitan distribution.

Species:

## InfoBox

| *Oligota* | |
| --- | --- |
|
| Scientific classification | |
| Domain: | Eukaryota |
| Kingdom: | Animalia |
| Phylum: | Arthropoda |
| Class: | Insecta |
| Order: | Coleoptera |
| Family: | Staphylinidae |
| Genus: | *Oligota*<br>Mannerheim, 1830 |
|


title: Olivella formicacorsii

abstract: Olivella formicacorsii is a species of small sea snail, marine gastropod mollusk in the subfamily Olivellinae, in the family Olividae, the olives. Species in the genus Olivella are commonly called dwarf olives.

text:
# Olivella formicacorsii

***Olivella formicacorsii*** is a species of small sea snail, marine gastropod mollusk in the subfamily Olivellinae, in the family Olividae, the olives. Species in the genus Olivella are commonly called dwarf olives.

## Description

## Distribution

## InfoBox

| *Olivella formicacorsii* | |
| --- | --- |
|
| Scientific classification | |
| Domain: | Eukaryota |
| Kingdom: | Animalia |
| Phylum: | Mollusca |
| Class: | Gastropoda |
| Subclass: | Caenogastropoda |
| Order: | Neogastropoda |
| Family: | Olividae |
| Genus: | *Olivella* |
| Species: | ***O. formicacorsii*** |
| Binomial name | |
| ***Olivella formicacorsii***<br>Klappenbach, 1962 | |
|


title: Oliver Herbrich

abstract: Oliver Herbrich is a German filmmaker working as an author, film director and producer. He is associated with the very end of the New German Cinema movement. From 2016 to 2018, his films were digitally remastered and re-released in the Fiction – Non-Fiction Film Edition. In 2018, the Film Museum Düsseldorf added all archival documents to its collection.

text:
# Oliver Herbrich

**Oliver Herbrich** (born 1961 in Munich) is a German filmmaker working as an author, film director and producer. He is associated with the very end of the New German Cinema movement. From 2016 to 2018, his films were digitally remastered and re-released in the *Fiction – Non-Fiction Film Edition*. In 2018, the Film Museum Düsseldorf added all archival documents to its collection.

## Work

In 1979, before his Abitur, Herbrich made his cinema debut with *The Proud and Sad Life of Mathias Kneissl* with the support of the “Kuratorium Junger Deutscher Film” (Young German Film Committee). Although Herbrich was enrolled in the feature film department of the University of Television and Film Munich starting in 1980, it was here that he made his first two documentaries, which were shot under adverse conditions in the Australian desert and the Amazon jungle. Since then he has worked on both narrative and documentary films.

After completing his studies, Herbrich turned back to feature filmmaking in 1984. *Wodzeck*, an adaptation of Georg Büchner's *Woyzeck*, was a German entry in the competition at the 14th Moscow International Film Festival and won the award for "Best Male Leading Role". The film was also presented at 20 other festivals. As an auteur filmmaker (Herbrich is involved in all films as director, screenwriter and producer) he is a representative of the New German Cinema of the 1980s and 90s. In order to have his own production equipment such as film cameras and editing tables, Herbrich founded the technology service provider LICHT & TON Ltd, which existed until 2010.

The success of *Wodzeck* was followed by further documentaries: *Bikini - mon amour* dealt with the recent consequences of above-ground atomic bomb tests. Like *Searching for El Dorado*, *Bikini - mon amour* reached an audience of millions when it was shown in prime time on German TV Channel 1 (ARD). In 1985/86 Herbrich made a documentary biopic with Bavarian jailbreak king Theo Berger. Titled *The Bavarian Al Capone,* it also caused a sensation and was not allowed to be broadcast on Bavarian television (BR). After being released in cinemas, the film was broadcast on West German television (WDR). For this broadcast, the film needed to be subtitled in Standard German.

In 1988, the “Filmmakers' Distribution Association” re-released Herbrich's films in the edition "Fiction - Non-Fiction". In the same year, he shot his third feature film *Earthbound*. The film is a fictional adaptation inspired by the life story of Gustav Mesmer. *Earthbound* received international awards and stars Hannes Thanheiser, Rüdiger Vogler and Vera Tschechowa.

Oliver Herbrich ended his career as a filmmaker with two cinema documentaries shot in Nepal and Ireland. For his complete works, he was awarded the "Film Prize of the City of Munich" in 1994.

In 2016-18 the reels of negative films archived in the Federal Film Archive Berlin were digitally remastered and reissued in the "Fiction - Non-Fiction Film Edition". A collection of analogue (16 and 35 mm) film copies is owned by the Film Museum Munich and the Film Museum Düsseldorf. In 2018, Film Museum Düsseldorf catalogued all written documents from the films.

## Cinematic approach

Dieter Kosslick, former director of Berlin International Film Festival outlined Herbrich's working style as follows:

"Fortunately Oliver Herbrich doesn't create an ideology when walking the line between fictional movie and documentary film. Herbrich’s approach is solely based on the storytelling needs of the subjects. Remarkably, this technique results in a combination of documentary and fictional elements. There's one sequence in the film *Mathias Kneissl* where a brigade of gendarmes is closing in on the folk hero. The resulting police violence is reminiscent of documentary reports. Vice versa, his documentary films include elements of fiction. The scenes of gold diggers carrying sacks of mud uphill from their claims in the documentary *Searching for El Dorado* reminds the viewer of monumental feature movies. This evokes a mythologization of real life, revealing the general in the particular. One can describe Herbrich’s films as stories about human behavior, depicting the mechanisms of reality. Reaching limits and crossing borders is something to be taken in the literal sense in Herbrich’s oeuvre.“ (Dieter Kosslick, 1994).

## Filmography

* 1979/80 *The Proud and Sad Life of Mathias Kneissl* (Das stolze und traurige Leben des Mathias Kneißl)
* 1982 *Dead Heart* (Totes Herz)
* 1983/84 *Searching for El Dorado* (Auf der Suche nach El Dorado)
* 1983/84 *Wodzeck*
* 1985/86 *The Bavarian Al Capone* (Der Al Capone vom Donaumoos)
* 1986/87 The World beyond the World (Die Welt jenseits der Welt)
* 1987 *Bikini – mon amour*
* 1988/89 *Earthbound* (Erdenschwer)
* 1991 *Priests of the Condemned* (Priester der Verdammten)
* 1992/93 *Rules of the Road* (Gesetz der Straße)

## Awards

* 1980 and 1984 rating “Highly Recommended” for *Mathias Kneissl* and *Searching for El Dorado*
* 1985 Prix d'Antenne II, Paris (Festival Cinéma du Réel) for *Searching for El Dorado*; 2nd Prize Cine-stud Film Fest, Amsterdam for *Searching for El Dorado*; Best Male Actor (International Film Festival Moscow) for Detlef Kügow in *Wodzeck*
* 1989 Honorary Mention at 4th Medikinale International Parma, Italy for *Bikini – mon amour*; Honorary Mention at Red Cross and Health Film Fest Varna, Bulgaria for *Bikini – mon amour*
* 1990 Best Screenplay (Festival Imag Fic, Madrid) for *Earthbound*; Best Artistic Contribution (Festival Europa Cinema, Viareggio) for *Earthbound*; Prix de la Fédération international del Cine Club (Festival Figuera da Foz, Portugal) for *Earthbound*
* 1994 Film Prize of the City of Munich (lifetime achievement)

## Retrospectives

* 1987 Low Budget Festival Hamburg, Germany
* 1989 Film Week Onikon Cinema Herdecke, Germany
* 1990 West Virginia Film Festival, Charleston, USA
* 1993 Film Museum Düsseldorf, Germany
* 1994 Film Museum Munich, Germany
* 2018 Breitwand Cinema Gauting, Germany

## Social Engagement

## Further reading


title: Oligohydramnios

abstract: Oligohydramnios is a medical condition in pregnancy characterized by a deficiency of amniotic fluid, the fluid that surrounds the fetus in the abdomen, in the amniotic sac. The limiting case is anhydramnios, where there is a complete absence of amniotic fluid. It is typically diagnosed by ultrasound when the amniotic fluid index (AFI) measures less than 5 cm or when the single deepest pocket (SDP) of amniotic fluid measures less than 2 cm. Amniotic fluid is necessary to allow for normal fetal movement, lung development, and cushioning from uterine compression. Low amniotic fluid can be attributed to a maternal, fetal, placental or idiopathic cause and can result in poor fetal outcomes including death. The prognosis of the fetus is dependent on the etiology, gestational age at diagnosis, and the severity of the oligohydramnios. The opposite of oligohydramnios is polyhydramnios, or an excess of amniotic fluid.

text:
# Oligohydramnios

**Oligohydramnios** is a medical condition in pregnancy characterized by a deficiency of amniotic fluid, the fluid that surrounds the fetus in the abdomen, in the amniotic sac. The limiting case is **anhydramnios**, where there is a complete absence of amniotic fluid. It is typically diagnosed by ultrasound when the amniotic fluid index (AFI) measures less than 5 cm or when the single deepest pocket (SDP) of amniotic fluid measures less than 2 cm. Amniotic fluid is necessary to allow for normal fetal movement, lung development, and cushioning from uterine compression. Low amniotic fluid can be attributed to a maternal, fetal, placental or idiopathic cause and can result in poor fetal outcomes including death. The prognosis of the fetus is dependent on the etiology, gestational age at diagnosis, and the severity of the oligohydramnios.

The opposite of oligohydramnios is polyhydramnios, or an excess of amniotic fluid.

## Background

Amniotic fluid is a clear, watery substance that surrounds the fetus. It helps to maintain a constant temperature around the fetus, cushion it from injury, and allows for proper fetal movement and organ development. The cause of anhydramnios is not always clear, but several factors can contribute to its development such as fetal renal abnormalities or placental insufficiency. Untreated anhydramnios can lead to serious complications for the baby, including pulmonary hypoplasia or skeletal deformities.

## Etiology

The amount of amniotic fluid available is based on how much fluid is produced and how much is removed from the amniotic sac. In the first trimester, the main sources of amniotic fluid are fetal lung secretions, transportation of maternal plasma across the fetal membranes, and the surface of the placenta. By the second trimester, the fetal kidneys start to produce urine which becomes the main source of the amniotic fluid for the remainder of the pregnancy.

The development of oligohydramnios may be idiopathic or have a maternal, fetal, or placental cause.

### Maternal

* Conditions such as preeclampsia, chronic hypertension, collagen vascular disease, nephropathy, and thrombophilia cause uteroplacental insufficiency. These conditions decrease the blood flow to vital organs such as the placenta which supplies blood, oxygen, and nutrients to the developing fetus. Decreased blood flow to the fetus causes impaired urine production which leads to reduced amniotic fluid and oligohydramnios.
* Medications such as angiotensin converting enzyme inhibitors (lisinopril), prostaglandin synthetase inhibitors (NSAIDs, anti-inflammatory steroids), and trastuzumab decrease blood flow to the kidneys of the fetus. When the fetal kidneys are not able to produce adequate amounts of urine, this leads to reduced amniotic fluid or oligohydramnios. Some medications, such as nimesulide and chemotherapeutic agents, have been linked to anhydramnios.
* Maternal dehydration, including severe diarrhea, vomiting, or excessive fluid loss.
* Infections such as the TORCH infections (*Toxoplasma gondii*, rubella, cytomegalovirus, herpes simplex virus) and parvovirus B19

### Fetal

### Placental

* Placental abruption
* Placental insufficiency: This is a condition in which the placenta does not function properly, leading to an insufficient supply of oxygen and nutrients to the developing baby, potentially affecting amniotic fluid production.
* Twin-twin transfusion
* Placental thrombosis or infarction

## Diagnosis

### Clinical manifestation

The volume of amniotic fluid typically increases until 36 weeks and starts decreasing after 40 weeks in post-term gestations. For this reason, discrepancies between fundal height measurements and gestational age can be a clinical indication of amniotic fluid abnormality and should be evaluated by ultrasound. The symptoms of anhydramnios may not always be apparent, but some potential signs include:

* A decrease in the size of the baby's abdomen
* Decreased fetal movement
* Uterine contractions not associated with pain

### Diagnosis

Diagnosis of oligohydramnios or anhydramnios is made by conducting a transabdominal ultrasound of the abdomen.

There are two methods that can be used to make the diagnosis: the amniotic fluid index (AFI) and the single deepest pocket (SDP) measuremen. An AFI of less than 5 cm or an SDP of less than 2 cm indicates oligohydramnios, and an AFI of 0 cm or an absent SDP indicates anhydramnios. In measuring the AFI, the sonographer measures the amniotic fluid in each of the four quadrants of the abdomen (right upper quadrant, left upper quadrant, right lower quadrant, left lower quadrant) and adds the values together. For reference, a normal AFI is 5–25 cm. An AFI \<5 cm is considered oligohydramnios and an AFI \>25 cm is considered polyhydramnios. Randomized control trials have shown that use of AFI can cause an increased number of false positive diagnosis of oligohydramnios and recommend using the measurement of a single deepest pocket (SDP) of amniotic fluid to diagnose oligohydramnios instead.

To calculate a single deepest pocket, the sonographer scans each of the four quadrants of the abdomen looking for the deepest pocket of amniotic fluid that does not include any fetal body parts or an umbilical cord. It is measured from the 12 o'clock position to the 6 o'clock position. For reference, a normal SDP is 2–8 cm. A SDP \<2 cm is considered oligohydramnios and a SDP \>8 cm is considered polyhydramnios. The use of a SDP for diagnosis of oligohydramnios is associated with less false positives and thus less unnecessary interventions without an increase in adverse perinatal outcomes.

In a multiple gestation pregnancy, measuring a single deepest pocket is the most accurate determination of adequate amniotic fluid levels.

## Management

After initial diagnosis of oligohydramnios has been made, the next step is to perform a thorough history and physical exam, followed by diagnostic testing if indicated. Timely diagnosis and proper intervention for anhydramnios can significantly enhance the outlook for infants affected by this condition. The treatment depends on the underlying cause and may include:

* Amnioinfusion: Injection of amniotic fluid into the womb, can help to improve fetal lung development and reduce the risk of complications
* Fetal monitoring: Close monitoring of the fetus is crucial to assess its well-being and detect any potential complications
* Delivery: The timing of delivery may need to be adjusted depending on the severity of anhydramnios and the health of the fetus

Other point to note are:

* Retaking a maternal and family history and performing a physical exam can point to maternal conditions or medications that might be causing the oligohydramnios.
* Premature prelabor rupture of membranes or prelabor rupture of membranes is ruled out with a nitrizine test, evidence of ferning, or evidence pooling of liquid in the cervix.
* Sonographic evaluation of the fetus is done to identify fetal anomalies, aneuploidy, fetal growth restriction, or placental abnormalities. The National Institute of Health recommends detailed documentation of certain fetal organs that are most likely to be involved such as the kidneys, bladder, and the umbilical cord. If the lack of amniotic fluid prevents accurate visualization on ultraosund, MRI imaging can be considered. Genetic testing can be useful if fetal anomalies are documented on imaging.
* An elevated maternal serum alpha fetal protein (MSAFP) can indicate leaking amniotic fluid due to damage to fetal membranes or the placenta. This is associated with a poor prognosis.
* A maternal blood test or amniotic fluid test can be performed if suspicion of a TORCH infection is high.

### Increasing amniotic fluid

There is no way to permanently increase the volume of amniotic fluid, but it can be temporarily increased to allow for a complete anatomy scan of the fetus on ultrasound.

One way to achieve this is through an amnioinfusion, which is the insertion of 200 mL of saline into the amniotic sac. One study showed an improvement in fetal structure visibility by 26% (51% to 77% before and after the infusion respectively). There is also some low quality data that may indicate a potential benefit of amnioinfusion is to facilitate external cephalic version. Amnioinfusion can be used during labor to prevent umbilical cord compression. There is uncertainty about the procedure's safety and efficacy, and it is recommended that it should only be performed in centers specializing in invasive fetal medicine and in the context of a multidisciplinary team.

One to two liters of oral hydration can temporarily increase amniotic fluid in dehydrated patients with isolated oligohydramnios.

Other investigational therapies may also be useful such as desmopressin, tissue sealants, or sildenafil citrate. These methods are less commonly used and are experimental.

In case of congenital lower urinary tract obstruction, fetal surgery seems to improve survival, according to a randomized yet small study.

### Prenatal care

Patients who are preterm are managed in the outpatient setting with weekly or biweekly testing to monitor for accurate fetal growth and decrease chances of unexpected fetal death. This includes a weekly non-stress test (NST) and single deepest pocket (SDP) assessment which is also referred to as the modified BPP. Sonographic fetal growth exams may also be indicated.

### Timing of delivery

Idiopathic, uncomplicated, and persistent oligohydramnios can be delivered at 36 0/7 weeks – 37 6/7 weeks of gestation or at diagnosis if diagnosis is later.

### Complications

Complications may include cord compression, musculoskeletal abnormalities such as facial distortion and clubfoot, pulmonary hypoplasia and intrauterine growth restriction. Amnion nodosum is frequently also present (nodules on the fetal surface of the amnion).

The use of oligohydramnios as a predictor of gestational complications is controversial.

Potter syndrome is a condition caused by oligohydramnios. Affected fetuses develop pulmonary hypoplasia, limb deformities, and characteristic facies. Bilateral agenesis of the fetal kidneys is the most common cause due to the lack of fetal urine.

## Prognosis

The prognosis of anhydramnios depends on the underlying cause and the severity of the condition. In general, the prognosis is poor for babies with anhydramnios caused by fetal renal abnormalities, with a high mortality rate. However, the prognosis is better for babies with anhydramnios caused by other factors, such as premature rupture of membranes (PPROM).

Factors that affect the prognosis of anhydramnios include:

* **The underlying cause of the anhydramnios:** Babies with anhydramnios caused by fetal renal abnormalities have a much poorer prognosis than babies with anhydramnios caused by other factors.
* **The severity of the anhydramnios:** Babies with severe anhydramnios have a poorer prognosis than babies with mild anhydramnios.
* **The gestational age at diagnosis**: Babies with anhydramnios diagnosed in the early stages of pregnancy have a poorer prognosis than babies with anhydramnios diagnosed in the later stages of pregnancy.
* **The presence of other complications:** Babies with anhydramnios who also have other complications, such as fetal growth restriction or skeletal deformities, have a poorer prognosis than babies with anhydramnios who do not have other complications.

With early diagnosis and appropriate treatment, many babies with anhydramnios can be born healthy. However, the prognosis for babies with anhydramnios caused by fetal renal abnormalities remains poor. These babies may require long-term medical care and may have developmental disabilities.

## InfoBox

| Oligohydramnios | |
| --- | --- |
| Specialty | Obstetrics |


title: Notes from the Past (Kaipa album)

abstract: Notes from the Past is the sixth studio album by Swedish progressive rock band Kaipa. It is also the band's first release in twenty years, this time with a renewed lineup and with the return of guitarist Roine Stolt.

text:
# Notes from the Past (Kaipa album)

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

***Notes from the Past*** is the sixth studio album by Swedish progressive rock band Kaipa. It is also the band's first release in twenty years, this time with a renewed lineup and with the return of guitarist Roine Stolt.

## Track listing

All songs by Hans Lundin except where noted.

| No. | Title | Music | Length |
| --- | --- | --- | --- |
| 1. | "Notes from the Past, Part 1" |  | 3:09 |
| 2. | "Night-Bike-Ride (On Lilac Street)" |  | 3:28 |
| 3. | "Mirrors of Yesterday" |  | 6:17 |
| 4. | "Leaving the Horizon" |  | 14:10 |
| 5. | "In the Space of a Twinkle" | Amat | 3:27 |
| 6. | "Folke's Final Decision" |  | 4:03 |
| 7. | "The Name Belongs to You" |  | 13:46 |
| 8. | "Second Journey Inside the Green Glass" |  | 5:55 |
| 9. | "A Road in My Mind" |  | 7:17 |
| 10. | "Morganism" |  | 10:33 |
| 11. | "Notes from the Past, Part 2" |  | 6:58 |
| Total length: | | | 79:07 |

## Personnel

## InfoBox

| Notes From The Past | |
| --- | --- |
|  | |
| Studio album by Kaipa | |
| Released | April 25, 2002 |
| Genre | Progressive rock |
| Length | 79:07 |
| Label | InsideOut Music |
| Producer | Hans Lundin |
| Kaipa chronology | |
| *Stockholm Symphonie*
(1993) ***Notes From The Past***
(2002) *Keyholder*
(2003) | |


title: Nuku District, Papua New Guinea

abstract: Nuku District is a district of Sandaun Province of Papua New Guinea. Its capital is Nuku. Nuku District is a major center of Torricelli linguistic diversity.

text:
# Nuku District, Papua New Guinea

**Nuku District** is a district of Sandaun Province of Papua New Guinea. Its capital is Nuku. Nuku District is a major center of Torricelli linguistic diversity.

3°40′12″S 142°28′23″E / 3.67000°S 142.47306°E / -3.67000; 142.47306

## InfoBox

| Nuku District | |
| --- | --- |
| Nuku DistrictLocation within Papua New Guinea | |
| Coordinates: 3°40′S 142°28′E / 3.667°S 142.467°E / -3.667; 142.467 | |
| Country | Papua New Guinea |
| Province | Sandaun Province |
| Capital | Nuku |
| Area | |
| Total | 3,503 km2 (1,353 sq mi) |
| Population (2011 census) | |
| Total | 58,158 |
| Density | 17/km2 (43/sq mi) |
| Time zone | UTC+10 (AEST) |


title: Nusach (Jewish music)

abstract: In Judaism, musical nusach refers the musical style or tradition of a community, particularly the chant used for recitative prayers such as the Amidah. This is distinct from textual nusach, the exact text of the prayer service, which varies somewhat between Jewish communities.

text:
# Nusach (Jewish music)

In Judaism, musical **nusach** refers the musical style or tradition of a community, particularly the chant used for recitative prayers such as the Amidah.

This is distinct from textual nusach, the exact text of the prayer service, which varies somewhat between Jewish communities.

## Description

The whole musical style or tradition of a community is sometimes referred to as its *nusach*, but this term is most often used in connection with the chants used for recitative passages, in particular the Amidah.

Many of the passages in the prayer book, such as the Amidah and the Psalms, are chanted in a recitative rather than either read in normal speech or sung to a rhythmical tune. The recitatives follow a system of musical modes, somewhat like the maqamat of Arabic music. For example, Ashkenazi cantorial practice distinguishes a number of *steiger* (scales) named after the prayers in which they are most frequently used, such as the *Adonoi malach steiger* and the *Ahavoh rabboh steiger*. Mizrahi communities such as the Syrian Jews use the full maqam system.

The scales used may vary both with the particular prayer and with the season. For examples, there are often special modes for the High Holy Days, and in Syrian practice the scale used depends on the Torah reading for the week (see The Weekly Maqam). In some cases the actual melodies are fixed, while in others the reader has freedom of improvisation.

## Musical modes

Jewish liturgical music is characterized by a set of musical modes.

The prayer modes form part of what is known as the musical *nusach* (tradition) of a community, and serve both to identify different types of prayer and to link those prayers to the time of year or even time of day in which they are set. Various Jewish traditions developed their own modal systems, such as the maqamat of the Middle Eastern Jewish communities. The modes discussed in this article are specific to the traditions of Eastern European (Ashkenazi) Jewish Communities.

There are three main modes, as well as a number of combined or compound modes. The three main modes are called Ahavah Rabbah, Magein Avot and Adonai Malach. Traditionally, the cantor (*hazzan*) improvised sung prayers within the designated mode, while following a general structure of how each prayer should sound. Over time many of these chants have been written down and standardized, yet the practice of improvisation still exists to this day. Early studies in the history of Jewish Prayer Modes concluded that the musical scales used were based upon ancient Biblical cantillation, but modern scholarship has questioned the validity of these findings.

### Ahavah Rabbah mode

The **Ahavah Rabbah** mode – sometimes referred to as **Freygish** (Phrygian dominant) – is named after the blessing that immediately precedes the Sh'ma in the morning service. This blessing begins with the words Ahavah Rabbah (literally: great love), and describes how God's love for Israel is manifest through God's revelation of Torah. Musically, Ahavah Rabbah is considered to be the most Jewish-sounding of all the prayer modes, because of the interval of a flattened second, creating an augmented second interval between the second and third scale degrees. This mode is used in the beginning of the weekday evening service through the Chatzi Kaddish, a large portion of the weekday morning service, parts of the Shabbat morning service, and occasionally on the High Holidays. The Ahavah Rabbah mode is also used in many Jewish folk songs, such as "Hava Nagila", and popular liturgical melodies, such as "Yismechu". It is similar to the Arabic maqam Hijaz, but whereas the dominant of Hijaz is on the fourth degree, Ahavah Rabbah strongly favors the third.

#### Ukrainian Dorian mode

The Ukrainian Dorian mode (also known as **Mi sheberach** mode) is a combined scale built upon the seventh degree of the Ahavah Rabbah scale. It is also closely related to the Magein Avot mode, in that a pre-concluding phrase in Ukrainian Dorian can cadence on its supertonic, which is the 5th degree of the relative Magein Avot scale. This happens quite often in the nusach for the Three Festivals. It is similar to the Arabic maqam Nikriz.

### Magein Avot mode

The Magein Avot (literally: Shield of our Fathers) mode takes its name from a paragraph in the Me'ein Sheva prayer, which directly follows the Amidah in the Friday evening service. Musically, it most closely resembles a minor scale from the Western classical music tradition or the Arabic maqam Nahawand. It is used in simple davening, or prayer chant, often by means of a single recitation tone, which the cantor uses to cover a large amount of liturgical text in a quickly-flowing style. The simplicity of both the mode and the chanting associated with it is meant to reflect the peaceful atmosphere of Shabbat. When chanting in the Magein Avot mode, it is common for the cantor to pivot into the relative major at certain liturgical points, often to highlight a particular line of text. It is this use of the relative major, in concert with Magein Avot, that distinguishes the mode from a regular minor scale. In addition to Shabbat evening, the Magein Avot mode is also prominent for the opening blessings of the weekday morning and afternoon services.

#### Yishtabach mode

The Yishtabach mode is a variant of the Magein Avot scale that flattens the second scale degree. This scale resembles the Western Phrygian scale or the Arabic maqam Kurd.

### Adonai (HaShem) Malach mode

The **Adonai malach** (literally: God Reigns) mode consists of a major scale with a lowered (minor) seventh and tenth. This mode has a majestic feel to it and is used for a number of services that require a grand atmosphere. Traditionally, it is used for psalms 95–99 in Kabbalat Shabbat, Lekhah Dodi in Kabbalat Shabbat, and the Friday night Kiddush. On Shabbat morning it is used for the Avot and G'vurot, during the Torah service, and on Rosh Chodesh when blessing the new month. Adonai Malach mode is also used at various times during the High Holidays when a majestic quality is required, such as the Shofar service, and parts of the Amidah. In High Holiday contexts, the seventh and tenth degrees are often raised, causing the mode to strongly resemble the classical major scale.

"Adonai malakh" ("God is King"), a line from Psalm 93, is set using the Adonai malakh scale at the close of the introduction to the *Kabalat Shabat* (Friday evening synagogue service).

It adds flats as it goes higher, and its pitch set is similar to the Persian Dastgāh-e Māhur and Russian Obikhod scale.

## Maneuvers

Maneuvers are used within prayer chants in order to change the mood and mode during prayer. There are a few characteristic moves that cantors tend to use in order to modulate through various modes. Two of the most common maneuvers are the Yishtabach maneuver and the Sim Shalom maneuver.

### Yishtabach maneuver

The Yishtabach maneuver moves from Magein Avot to Adonai Malach on the 4th degree of the scale. It then moves through Ukrainian Dorian and back to Magein Avot. This maneuver helps to highlight the grandeur of the proclamation of God's name that occurs in the final blessing of the Shabbat morning service.

### Sim Shalom maneuver

The Sim Shalom maneuver, which is named after the Sim Shalom prayer, in which it often occurs, begins in Ahavah Rabbah, and modulates to the major key on the fourth degree of the scale. It also uses Ukrainian Dorian as a shift back to the original Ahavah Rabbah.

## Works cited

* Cohon, Baruch Joseph. "The Structure of Synagogue Prayer Chant." *Journal of the American Musicological Society* 3, no. 1, 17–32, 1950.

## Further reading

* Idelsohn, A.Z. *Jewish Music: Its Historical Development.* New York: Henry Holt and Co., 1929. Reprint New York: Dover Publication, 1992.
* Charles Davidson, *Immunim Benusaḥ Hatefillah* (3 vols): Ashbourne Publishing 1996
* Hewitt, Michael. 2013. *Musical Scales of the World*, . The Note Tree. ISBN 978-0957547001.
* Sholom Kalib, *The Musical Tradition of the Eastern European Synagogue* (2 vols out of projected 5): Syracuse University Press 2001 (vol 1) and 2004 (vol 2)


title: Notre-Dame-d'Estrées-Corbon

abstract: Notre-Dame-d'Estrées-Corbon is a commune in the department of Calvados in the Normandy region in northwestern France. It was formed in January 2015 by the merger of the communes of Corbon and Notre-Dame-d'Estrées.

text:
# Notre-Dame-d'Estrées-Corbon

**Notre-Dame-d'Estrées-Corbon** is a commune in the department of Calvados in the Normandy region in northwestern France. It was formed in January 2015 by the merger of the communes of Corbon and Notre-Dame-d'Estrées.

## InfoBox

| Notre-Dame-d'Estrées-Corbon | |
| --- | --- |
| Commune | |
| The church in Notre-Dame-d'Estrées | |
| Location of Notre-Dame-d'Estrées-Corbon | |
| Notre-Dame-d'Estrées-CorbonNotre-Dame-d'Estrées-Corbon | |
| Coordinates: 49°08′50″N 0°00′28″W / 49.1472°N 0.0078°W / 49.1472; -0.0078 | |
| Country | France |
| Region | Normandy |
| Department | Calvados |
| Arrondissement | Lisieux |
| Canton | Mézidon Vallée d'Auge |
| Intercommunality | CA Lisieux Normandie |
| Area**1** | 11.52 km2 (4.45 sq mi) |
| Population (2021) | 197 |
| Density | 17/km2 (44/sq mi) |
| Time zone | UTC+01:00 (CET) |
| Summer (DST) | UTC+02:00 (CEST) |
| INSEE/Postal code | 14474 /14340 |
| Elevation | 5–110 m (16–361 ft)
(avg. 40 m or 130 ft) |
| **1** French Land Register data, which excludes lakes, ponds, glaciers \> 1 km2 (0.386 sq mi or 247 acres) and river estuaries. | |


title: Notre-Dame-d'Aliermont

abstract: Notre-Dame-d'Aliermont is a commune in the Seine-Maritime department in the Normandy region in northern France.

text:
# Notre-Dame-d'Aliermont

**Notre-Dame-d'Aliermont** (French pronunciation: \[nɔtʁə dam daljɛʁmɔ̃\]) is a commune in the Seine-Maritime department in the Normandy region in northern France.

## Geography

A farming village situated in the Pays de Caux at the junction of the D22 and the D56 roads, some 10 miles (16 km) southeast of Dieppe.

## Population

Historical population
| Year | Pop. | ±% p.a. |
| --- | --- | --- |
| 1968 | 395 |  |
| 1975 | 441 | +1.59% |
| 1982 | 486 | +1.40% |
| 1990 | 525 | +0.97% |
| 1999 | 538 | +0.27% |
| 2007 | 621 | +1.81% |
| 2012 | 715 | +2.86% |
| 2017 | 771 | +1.52% |
| Source: INSEE | | |

## Places of interest

* The church of Notre-Dame, dating from the thirteenth century.

## InfoBox

| Notre-Dame-d'Aliermont | |
| --- | --- |
| Commune | |
| The church in Notre-Dame-d'Aliermont | |
| Location of Notre-Dame-d'Aliermont | |
| Notre-Dame-d'AliermontNotre-Dame-d'Aliermont | |
| Coordinates: 49°51′11″N 1°17′30″E / 49.8531°N 1.2917°E / 49.8531; 1.2917 | |
| Country | France |
| Region | Normandy |
| Department | Seine-Maritime |
| Arrondissement | Dieppe |
| Canton | Dieppe-2 |
| Intercommunality | CC Falaises du Talou |
| Government | |
| Mayor (20202026) | Christophe Fromentin |
| Area**1** | 13.31 km2 (5.14 sq mi) |
| Population (2021) | 733 |
| Density | 55/km2 (140/sq mi) |
| Time zone | UTC+01:00 (CET) |
| Summer (DST) | UTC+02:00 (CEST) |
| INSEE/Postal code | 76472 /76510 |
| Elevation | 94–196 m (308–643 ft)
(avg. 160 m or 520 ft) |
| **1** French Land Register data, which excludes lakes, ponds, glaciers \> 1 km2 (0.386 sq mi or 247 acres) and river estuaries. | |


title: Notre-Dame-d'Oé

abstract: Notre-Dame-d'Oé is a commune in the Indre-et-Loire department of central France.

text:
# Notre-Dame-d'Oé

**Notre-Dame-d'Oé** (French pronunciation: \[nɔtʁ dam dɔe\] ) is a commune in the Indre-et-Loire department of central France.

## Population

Historical population
| Year Pop. ±% p.a.  1793  337       1800  353 +0.66%  1806  361 +0.37%  1821  404 +0.75%  1831  450 +1.08%  1836  465 +0.66%  1841  453 −0.52%  1846  501 +2.03%  1851  487 −0.57%  1856  429 −2.50%  1861  477 +2.14%  1866  481 +0.17%  1872  504 +0.78%  1876  501 −0.15%  1881  481 −0.81%  1886  481 +0.00%  1891  491 +0.41%  1896  468 −0.95% | Year Pop. ±% p.a.  1901  430 −1.68%  1906  452 +1.00%  1911  404 −2.22%  1921  404 +0.00%  1926  382 −1.11%  1931  417 +1.77%  1936  398 −0.93%  1946  516 +2.63%  1954  546 +0.71%  1962  542 −0.09%  1968  568 +0.78%  1975  1,149 +10.59%  1982  2,155 +9.40%  1990  2,557 +2.16%  1999  3,359 +3.08%  2007  3,511 +0.55%  2012  3,948 +2.37%  2017  4,125 +0.88% |
| --- | --- |
| Source: EHESS and INSEE (1968–2017) | |

## InfoBox

| Notre-Dame-d'Oé | |
| --- | --- |
| Commune | |
|  | |
| Location of Notre-Dame-d'Oé | |
| Notre-Dame-d'OéNotre-Dame-d'Oé | |
| Coordinates: 47°27′30″N 0°42′32″E / 47.4583°N 0.7089°E / 47.4583; 0.7089 | |
| Country | France |
| Region | Centre-Val de Loire |
| Department | Indre-et-Loire |
| Arrondissement | Tours |
| Canton | Vouvray |
| Intercommunality | Tours Métropole Val de Loire |
| Government | |
| Mayor (20202026) | Patrick Lefrancois |
| Area**1** | 7.73 km2 (2.98 sq mi) |
| Population (2021) | 4,191 |
| Density | 540/km2 (1,400/sq mi) |
| Time zone | UTC+01:00 (CET) |
| Summer (DST) | UTC+02:00 (CEST) |
| INSEE/Postal code | 37172 /37390 |
| Elevation | 85–109 m (279–358 ft) |
| **1** French Land Register data, which excludes lakes, ponds, glaciers \> 1 km2 (0.386 sq mi or 247 acres) and river estuaries. | |


title: Notre-Dame-de-Bliquetuit

abstract: Notre-Dame-de-Bliquetuit is a commune in the Seine-Maritime department in the Normandy region in northern France.

text:
# Notre-Dame-de-Bliquetuit

**Notre-Dame-de-Bliquetuit** (French pronunciation: \[nɔtʁ dam  bliktɥi\]) is a commune in the Seine-Maritime department in the Normandy region in northern France.

## Geography

A farming village situated in the Pays de Caux by the banks of the river Seine, some 16 miles (26 km) west of Rouen at the junction of the D490 and the D65 roads. The nearby Brotonne bridge was, until the late 20th century, the only bridge over the Seine downstream of Rouen.

The office of the Parc naturel régional des Boucles de la Seine Normande is located in Notre-Dame-de-Bliquetuit.

## Population

Historical population
| Year | Pop. | ±% p.a. |
| --- | --- | --- |
| 1968 | 393 |  |
| 1975 | 413 | +0.71% |
| 1982 | 469 | +1.83% |
| 1990 | 504 | +0.90% |
| 1999 | 559 | +1.16% |
| 2007 | 641 | +1.73% |
| 2012 | 733 | +2.72% |
| 2017 | 754 | +0.57% |
| Source: INSEE | | |

## Places of interest

* The church of Notre-Dame, dating from the eleventh century.
* The Notre-Dame manorhouse.
* A sixteenth century dovecote.
* The Maison du Parc, an ancient farmhouse.

## InfoBox

| Notre-Dame-de-Bliquetuit | |
| --- | --- |
| Commune | |
| The church in Notre-Dame-de-Bliquetuit | |
| Location of Notre-Dame-de-Bliquetuit | |
| Notre-Dame-de-BliquetuitNotre-Dame-de-Bliquetuit | |
| Coordinates: 49°29′38″N 0°45′48″E / 49.4940°N 0.7634°E / 49.4940; 0.7634 | |
| Country | France |
| Region | Normandy |
| Department | Seine-Maritime |
| Arrondissement | Rouen |
| Canton | Port-Jérôme-sur-Seine |
| Intercommunality | Caux Seine Agglo |
| Government | |
| Mayor (20202026) | Fabienne Duparc |
| Area**1** | 9.78 km2 (3.78 sq mi) |
| Population (2021) | 817 |
| Density | 84/km2 (220/sq mi) |
| Time zone | UTC+01:00 (CET) |
| Summer (DST) | UTC+02:00 (CEST) |
| INSEE/Postal code | 76473 /76940 |
| Elevation | 1–53 m (3.3–173.9 ft)
(avg. 11 m or 36 ft) |
| **1** French Land Register data, which excludes lakes, ponds, glaciers \> 1 km2 (0.386 sq mi or 247 acres) and river estuaries. | |


title: Nyctemera regularis

abstract: Nyctemera regularis is a moth of the family Erebidae first described by Snellen in 1880. It is found on Sumatra, Java and Borneo.

text:
# Nyctemera regularis

***Nyctemera regularis*** is a moth of the family Erebidae first described by Snellen in 1880. It is found on Sumatra, Java and Borneo.

## Subspecies

* *Nyctemera regularis regularis* (Sumatra)
* *Nyctemera regularis crameri* Roepke, 1949 (Java)
* *Nyctemera regularis snelleni* Pagenstecher, 1901 (Borneo)

## InfoBox

| *Nyctemera regularis* | |
| --- | --- |
|
| Scientific classification | |
| Domain: | Eukaryota |
| Kingdom: | Animalia |
| Phylum: | Arthropoda |
| Class: | Insecta |
| Order: | Lepidoptera |
| Superfamily: | Noctuoidea |
| Family: | Erebidae |
| Subfamily: | Arctiinae |
| Genus: | *Nyctemera* |
| Species: | ***N. regularis*** |
| Binomial name | |
| ***Nyctemera regularis***<br>(Snellen, 1880) | |
|
| Synonyms | |
| * *Leptosoma regularis* Snellen, 1880 * *Senusio picatus* Butler, 1881 * *Nyctemera picata* Kirby, 1892 | |