title: Murder of Darrell Lunsford

abstract: On January 23, 1991, in Garrison, Texas, police officer Constable Darrell Lunsford pulled over a suspicious vehicle. Inside the vehicle were three men transporting marijuana from Texas to Illinois. After Lunsford requested to search the trunk of the vehicle, the men exited the car, tackled Lunsford, beat, stabbed, and shot him after a struggle. They then drove off after killing him. Lunsford's dashboard camera in his police cruiser recorded the murder. Footage of the murder is used in law enforcement training. The date of the murder has been described as one of the most infamous dates in the history of Texas law enforcement.

text:
# Murder of Darrell Lunsford

On January 23, 1991, in Garrison, Texas, police officer Constable **Darrell Lunsford** pulled over a suspicious vehicle. Inside the vehicle were three men transporting marijuana from Texas to Illinois. After Lunsford requested to search the trunk of the vehicle, the men exited the car, tackled Lunsford, beat, stabbed, and shot him after a struggle. They then drove off after killing him. Lunsford's dashboard camera in his police cruiser recorded the murder. Footage of the murder is used in law enforcement training. The date of the murder has been described as one of the most infamous dates in the history of Texas law enforcement.

## Murder

On Wednesday, January 23, 1991, at approximately 1:20 a.m., Constable Darrell Lunsford spotted a suspicious vehicle, a 1981 Oldsmobile Cutlass Supreme with Maine license plates traveling on U.S. Highway 59 through the town of Garrison. Lunsford pulled the vehicle over and turned on his dashboard camera to record the traffic stop. He then got out of his cruiser and approached the vehicle. Inside the vehicle were three men: Baldemar Villarreal; his younger half brother, Reynaldo Villarreal; and their accomplice, Jesus Cortez Zambrano. Lunsford questioned the driver, Reynaldo, and asked whether he had any identification on him, to which Reynaldo replied no. He claimed that he had a driver's license but did not have it on him. He also said that he was helping his brother, Baldemar, drive the car. Unbeknownst to Lunsford, the three men had loaded the car with 31 pounds of marijuana, and were driving from Houston to Chicago, where they planned to sell it all.

At 1:27 a.m., Lunsford asked to look in the trunk of the vehicle and the men reluctantly agreed. Lunsford and Reynaldo opened the trunk and Lunsford could immediately smell the scent of marijuana. At 1:28 a.m., Baldemar, despite being told not to, got out of the vehicle and stood with Reynaldo speaking to Lunsford. Suddenly, Baldemar grabbed Lunsford by his legs while Reynaldo grabbed him from behind, carrying out a "prison takedown" on Lunsford as they forced him down onto the ground by the side of the car. Zambrano then got out to assist his two partners in crime, and the three men proceeded to beat and kick Lunsford while he was pinned down on the ground. They rolled him over onto his stomach, kicked him in the hip three times, stabbed him repeatedly with a knife and then grabbed his own handgun. Baldemar shot Lunsford in the neck with the handgun, severing his spinal cord and killing him instantly. Moments afterwards, the suspects moved Lunsford's body into a nearby ditch. The three suspects then made a getaway in their vehicle, leaving behind Lunsford's body and his police cruiser.

## Victim

| Darrell Edward Lunsford, Sr. | |
| --- | --- |
| Darrell Lunsford | |
| Born | Darrell Edward Lunsford, Sr
(1943-10-20)October 20, 1943
Houston, Texas, U.S. |
| Died | January 23, 1991(1991-01-23) (aged 47)
Garrison, Texas, U.S. |
| Cause of death | Gunshot wound to the neck |
| Body discovered | January 23, 1991 |
| Occupation | Police constable |
| Children | 2 |
| **Police career** | |
| Country | United States of America |
| Allegiance | State of Texas |
|  | |

**Darrell Edward Lunsford, Sr.** (October 20, 1943 – January 23, 1991) was the Precinct 3 Constable for Nacogdoches County, Texas.

Lunsford was born on October 20, 1943, in Houston. He had one brother, who died in 1956 when Lunsford was 12 years old. He married his wife, Shirley Jo Cotton, on September 29, 1962, and they had two children together. In addition to being the Precinct 3 Constable for Nacogdoches County, he also ran his own Auto Repair Shop and Parts Store in Garrison.

Lunsford first joined the police force in 1983 when the people of Garrison elected him as their Constable, and continued to serve in the force until his death in 1991. He was 47 years old at the time of his death.

## Aftermath

Just minutes before the murder, Sheriff's Deputy Don Welch had driven by and spotted Lunsford speaking to the men. Moments after the murder, Welch witnessed the suspects speed past him in their vehicle. Welch immediately drove back to the spot where Lunsford had been and found his dead body. Welch radioed for help, and at around 2:00 a.m., Chief Deputy Thomas Stanaland, another colleague of Lunsford, found them both. Stanaland noticed the video camera in Lunsford's cruiser. He rewound the video, watched it over and then made a copy of it. The three suspects, realizing Welch had spotted them, abandoned their vehicle less than a mile from the town of Garrison. They then fled on foot, taking the marijuana with them. Their vehicle was found later in the day.

Throughout the morning, the police analyzed the videotape and were able to identify the three killers. Reynaldo Villarreal was found later in the day when a highway patrolman spotted him walking near the edge of a wooded area. He was arrested and charged with murder. Baldemar Villarreal was captured and arrested two days later and Zambrano was captured a week later. All three suspects were then tried and convicted of Lunsford's murder.

The actual shooter was identified as Baldemar Sambrano Villarreal. He was sentenced to life in prison without parole. His younger half brother, Reynaldo Sambrano Villarreal, was sentenced to 40 years in prison for his role in the murder. The third suspect, Jesus Cortez Zambrano, pleaded guilty to his role in the murder and received a 30-year prison sentence. The video from Lunsford's dash camera is now frequently used in law enforcement training to teach officers how to handle similar situations.

According to the Federal Bureau of Prisons, Baldemar Sambrano Villarreal is incarcerated in the Federal Correctional Institution in Beaumont, Texas under registry number 03367-078. Reynaldo Sambrano Villarreal was incarcerated in the United States Penitentiary near Lewisburg, Pennsylvania under registry number 03368-078. He has since been transferred to Federal Correctional Institution, Beaumont in Beaumont, Texas, and is scheduled for release on January 21, 2026. Jesus Cortez Zambrano was released from prison on March 22, 2018, having served 27 years of his original 30-year prison sentence.

## Effects of the video

Andy Lopez Jr. was a Texas state trooper stationed in Refugio, Texas, who had watched the video of Lunsford's murder. Eight months later, around 10:08 p.m., on September 21, 1991, a Saturday night, Lopez pulled over a suspicious vehicle along U.S. Highway 77 in Refugio. Similar to the events surrounding Lunsford's murder, three Hispanic males were transporting a large amount of marijuana in the trunk of the car. While they initially allowed Lopez to inspect the trunk, one of the suspects attempted to draw a handgun.

Lopez was able to react quickly to the assailant, knocking him off balance while drawing his own weapon, then firing and taking cover. The armed suspect was wounded, while the two remaining suspects fled on foot under cover of darkness. The armed suspect continued to fire on Lopez, who used strategic cover and motion while returning fire. Another trooper, then south of Lopez, responded to his call for backup. The armed suspect died from multiple gunshot wounds before help arrived. Lopez had not been severely injured, having been grazed only once.

A manhunt for the other two suspects was conducted throughout the night and into the next day. When police located the two remaining suspects, who had been hiding in the woods, they were arrested without incident. The shootout between Lopez and the gunman had been videotaped by a camera in Lopez's cruiser. After the incident, Lopez told authorities that he believed the video of Lunsford's murder is what had saved his life that night. The video had helped him deal with the three suspects and he had learned not to make the same mistakes that Lunsford had made eight months earlier. For his actions, Trooper Lopez was awarded the Texas Department of Public Safety Medal of Valor, the highest award a commissioned trooper can receive.

## InfoBox

| Murder of Darrell Lunsford | |
| --- | --- |
| Dashcam footage from Lunsford's cruiser, moments before he was murdered | |
| Location | Garrison, Texas, U.S. |
| Date | January 23, 1991 (1991-01-23) |
| Target | Texas law enforcement officer |
| Weapons | Firearm |
| Deaths | 1 |
| Victim | Darrell Lunsford |
| Perpetrators | Baldemar Villarreal, Reynaldo Villarreal, Jesus Cortez Zambrano |


title: Museo Correr

abstract: The Museo Correr is a museum in Venice, northern Italy. Located in St. Mark's Square, Venice, it is one of the 11 civic museums run by the Fondazione Musei Civici di Venezia. The museum extends along the southside of the square on the upper floors of the Procuratorie Nuove. With its rich and varied collections, the Museo Correr covers both the art and history of Venice.

text:
# Museo Correr

The **Museo Correr** (Italian pronunciation: \[muˈzɛo korˈrɛr\]) is a museum in Venice, northern Italy. Located in St. Mark's Square, Venice, it is one of the 11 civic museums run by the Fondazione Musei Civici di Venezia. The museum extends along the southside of the square on the upper floors of the Procuratorie Nuove. With its rich and varied collections, the Museo Correr covers both the art and history of Venice.

## History

The Museo Correr originated with the collection bequeathed to the city of Venice in 1830 by Teodoro Correr. A member of a traditional Venetian family, Correr was a meticulous and passionate collector, dedicating most of his life to the collection of both works of art and documents or individual objects that reflected the history of Venice. Upon his death, all this material was donated to the city, together with the family's Grand Canal palace which then housed it. The nobleman also left the city funds to be used in conserving and extending the collections and in making them available to the public.

The period when he was gathering his collections was a very particular one, as the Republic of Venice had fallen in 1797 and for decades thereafter the city would be under foreign rulers and out of real necessity, many Venetian families were eager to sell off their valuable collections. Several collections ended up being bought by foreigners, but in the early decades of the 19th century there were still many pieces on the market. An insatiable collector, Correr, from his youth bought all sorts of objects and dedicated all his resources in putting together an incredible amount of material. Correr would reveal himself to have a sharp eye, putting together a collection that was undoubtedly very original. He was explicit about his intention that the collections should be made available to the public, and the museum was finally open in 1836.

Over the years, the contents of the museum would be catalogued and organized to provide scholars with a study facility and the general public with the opportunity to see the best from each individual collection. Subsequent bequests, donations and acquisitions would be added to the collection, ultimately leading to various pieces being housed on other venues.

### From the Correr Collection to the Musei Civici Veneziani

Among the new pieces were the collections donated by several important Venetian families, such as the Molin, the Zoppetti, the Tironi, the Sagredo, and the Cicogna, and these included significant paintings, maiolica, glass pieces, and bronzes. In 1887, the enlarged collection was moved from Palazzo Correr to the nearby Fondaco dei Turchi, where it was laid out in a new display. However, in 1922, the Museo Correr was moved again to its present location in Piazza San Marco.

In the 1990s, the entire civic museums system was redesigned, all under a single municipal administration. In 1996, thanks to an agreement with the Italian Ministry of Culture, the *St. Mark's Square Museums* ticket was launched, granting entrance not only to the Museo Correr, but also the Doge's Palace, the Museo Archeologico Nazionale and the Monumental Rooms of the Biblioteca Marciana. Finally, in March 2008, the Museo Correr became part of the Fondazione Musei Civici di Venezia system.

## The museum

The building that encloses the far end of the Piazza San Marco is known as the Napoleonic Wing. The design and early building works date from the period when Venice was part of the Kingdom of Italy (1806–1814), in which Napoleon was represented by the vice-regent Eugène de Beauharnais. The two long wings that run the length of the square are the Procuratie Vecchie and the Procuratie Nuove, which had housed the offices and residences of some of the main individuals of the Venetian Republic.

When the city came under Napoleonic rule, the French emperor and his court realized that public representation of imperial power posed certain logistical and political problems. Having rejected the Doge's Palace because of its complex past, these turned to the Procuratie Nuove, the former residence of the *Procuratore di San Marco*, along the southern edge of the square. Designed in 1582 by Vincenzo Scamozzi, this structure itself had at the time been intended to complete the vast project for the reorganization of the Piazza San Marco, which had begun with Sansovino in the mid-16th century. From 1586 to 1596, works were complete on the ten arcades that extended beyond Sansovino's Library, and then, around 1640, the rest of the Procuratie Nuove was completed by Baldassarre Longhena. And this was the building which, by January 1807, Napoleon decreed should become the Imperial Palace.

All the interiors within the Procuratie Nuove were changed, with the re-decoration reflecting the taste for Neoclassicism, together with the Napoleonic Wing – which now stands opposite St. Mark's Basilica – which was designed by Giuseppe Soli and Lorenzo Santi and incorporated into the palace.

When Venice came under Austrian dominion in 1814, the palace served as a residence of the House of Habsburg, and Emperor Francis I would stay there in 1815.

In 1866, after Venice became part of unified Italy, the palace passed to the House of Savoy. In 1919, Victor Emmanuel III, king of Italy, handed it over to the State for use by the Ministry of Education. Hence, in 1920, part of the building was used to house the Museo Archeologico Nazionale, and then in 1922 another area became home to the Museo Correr.

### Neoclassical Palace and Canova Collection

An antechamber leads into the Napoleonic Gallery which runs across the end of the Piazza San Marco. Comprising a Ballroom, Throne Room and Banqueting Hall, this is the core of the public area of the palace, exhibiting artworks by Antonio Canova.

### Venetian life and culture

The first floor of the Museo Correr illustrates the life and culture of the Venetian Republic over the centuries of its political grandeur and independence.

* Rooms 6 and 7 illustrate the period when the Doge's power was at its highest and then charts the decline of the figure during the last years of the Republic, including works by Giovanni da Asola, Andrea Michieli, Girolamo Pilotti, Gian Antonio Guardi, Lazzaro Bastiani, Joseph Heintz the Younger, Michele Giambono, Matteo Pagan, Cesare Vecellio, and Giambattista Brustolon.
* Room 8 houses the architectural library in solid walnut which once stood in Palazzo Pisani a San Stefano in San Vidal (where the Venice Conservatory is now) and contains rare manuscripts, printed works produced in the period from the early 16th to the 18th century, and the museum's large collection of *commissioni ducali*.
* Rooms 9 and 10 exhibit portraits of Venetian aristocrats and officials who served the Republic, including senators and *Procuratore di San Marco*. Nautical maps and charts in ink and watercolor are also on display, dating from the 15th to the 16th century, and showing continental Europe and the Mediterranean as far as the area of the Caspian Sea. Finally, the rooms also exhibit collections of topographical instruments dating from the 17th and 18th century.
* Room 11 displays the Museo Correr's numismatic collection, an almost complete series of coins minted by the Venetian Republic from its origins (early 9th century AD) to its fall (1797), organized chronologically. Some 18th-century machinery from the Mint and medals are also exhibited, together with a painting by Tintoretto, *Saint Justina and the Treasurers*.
* Room 12 explores Venice's natural affinity with the sea and its hegemony over the Adriatic and the eastern Mediterranean. There are also original navigational instruments and other implements used on-board and paintings celebrating the great naval battles fought by the Venetians.
* Room 13 illustrates what once was the Venetian Arsenal, an industrial-scale complex of shipyards and docks which was the mainstay of Venice's maritime power. Displays include artworks by Antonio Di Natale, Michele Marieschi, Giacomo Franco, and Alessandro Longhi, as well as 18th-century wooden models and navigational instruments which were used in the Arsenal in the designing and building of ships.
* Room 14, *Venice Forma Urbis*, exhibits cartographical renderings of Venice, such as the famous bird's-eye view by Jacopo de' Barbari, and paintings, all exploring the city's birth and expansion.
* Rooms 15 and 16 display pieces related to the city's military power. The armors date from the 16th and 17th century, while the swords, knives, war clubs and maces date from the 14th to the 16th century. There is also an example of an Ottoman tent, some parade falchions from the late-16th century, barrel cannons, barrel firearms, and pistols.
* Rooms 17 and 18 exhibit works associated with the Venetian general Francesco Morosini, who led the city's forces several times against the Turks.

### Art collections

Beginning in Room 19, the art collection in Museo Correr is divided into two parts. On the first floor, four rooms house the collection of small bronzes, including pieces by Veneto region sculptors from the late 15th to the first decades of the 17th century. On the second floor, 19 rooms display the Picture Gallery, which focuses primarily on Venetian painting up to the 16th century. There are also rooms dedicated to maiolica-work and to carved ivories.

The Picture Gallery starts at the end of Room 14 and comprises examples of Venetian paintings from the very earliest days right up to the beginning of the 16th century.

Repeatedly re-organized during the history of the museum, the gallery still substantially reflects the original collection left by Teodoro Correr, comprising artworks by Giovanni Bellini (including the early *Crucifixion*, *Transfiguration of Christ*, a *Madonna and Child* and *Dead Christ Supported by Two Angels*), Antonello da Messina, Cosmè Tura, Vittore Carpaccio (*Man with Red Hat* and *Two Venetian Ladies*), and others. Further bequests, gifts, loans, and acquisitions have added to this heritage. Other artists who are present throughout the exhibition rooms include Paolo Veneziano, Lorenzo Veneziano, Stefano Veneziano, Jacobello di Bonomo, Michele Giambono, Jacobello del Fiore, Gentile da Fabriano, Pisanello, Matteo Giovannetti, Bartolomeo Vivarini, Leonardo Boldrini, Pieter Bruegel the Younger, Jacopo Bellini, Alvise Vivarini, Cima da Conegliano, Lorenzo Lotto, Boccaccio Boccaccino, and several other important Italian and European artists.

Media related to Museo Correr at Wikimedia Commons

45°26′02″N 12°20′15″E / 45.4339°N 12.3375°E / 45.4339; 12.3375

## InfoBox

Museo Correr
| The Museo Correr at the end of the Piazza San Marco | |
| --- | --- |
|  | |
| Established | 1830 |
| Location | Piazza San Marco 52,<br>30124 Venice, Italy |
| Type | Art museum, Historic site |
| Director | Andrea Bellieni |
| Website | correr.visitmuve.it |


abstract: The Museo Conmemorativo de la Inmigración Coreana a Yucatán is a museum in Mérida, Yucatán, Mexico. It was established on either February 26, 2005 or May 15, 2007, and focuses on the history and culture of Koreans in Mexico, particularly in Mérida. As of 2022, the director of the museum was Dolores García Escalante. The museum was established as part of celebrations of the 100th anniversary of Koreans arriving in Mexico. It was established with the joint effort and funding of the Mexican and South Korean governments. The building used to house the headquarters of the Yucatán branch of the Korean National Association, from around 1930 to 1960. The museum covers the Korean Mexicans' role in the Korean independence movement during the Japanese colonial period. The names of many of the original migrants are written on plaques in the museum. It houses many historic artifacts from the local community, including photographs, documents, and objects. Elements of Korean culture, including clothing (hanbok) and a historic warship replica are displayed in the museum. Exhibits identify similarities between Mexican and Korean history and culture, as well as the harsh realities of the difficult labor the early Korean laborers were subjected to in Mexico. They also highlight the diversity that developed in the community, with children speaking more Mayan than they could Korean.

text:
# Museo Conmemorativo de la Inmigracion Coreana a Yucatan

The **Museo Conmemorativo de la Inmigración Coreana a Yucatán** (lit.'Museum Commemorating the Immigration of Koreans to Yucatán'; Korean: 한국 이민사 박물관) is a museum in Mérida, Yucatán, Mexico. It was established on either February 26, 2005 or May 15, 2007, and focuses on the history and culture of Koreans in Mexico, particularly in Mérida. As of 2022, the director of the museum was Dolores García Escalante.

The museum was established as part of celebrations of the 100th anniversary of Koreans arriving in Mexico. It was established with the joint effort and funding of the Mexican and South Korean governments. The building used to house the headquarters of the Yucatán branch of the Korean National Association, from around 1930 to 1960.

The museum covers the Korean Mexicans' role in the Korean independence movement during the Japanese colonial period. The names of many of the original migrants are written on plaques in the museum. It houses many historic artifacts from the local community, including photographs, documents, and objects. Elements of Korean culture, including clothing (*hanbok*) and a historic warship replica (turtle ship) are displayed in the museum. Exhibits identify similarities between Mexican and Korean history and culture, as well as the harsh realities of the difficult labor the early Korean laborers were subjected to in Mexico. They also highlight the diversity that developed in the community, with children speaking more Mayan than they could Korean.

## InfoBox

Museo Conmemorativo de la Inmigración Coreana a Yucatán
|  | |
| --- | --- |
| Established | February 26, 2005 (2005-02-26) |
| Location | Mérida, Yucatán, Mexico |
| Coordinates | 20°57′48″N 89°36′49″W / 20.9632°N 89.6136°W / 20.9632; -89.6136 |
| Director | Dolores García Escalante |


title: Musa Bello

abstract: Musa Bello (1919–1975) was the 11th Etsu Nupe in Nupe kingdom reigns from 1967 to his death in 1975 and was succeeded by the 12th Etsu Nupe Umaru Sanda Ndayako.

text:
# Musa Bello

**Musa Bello** (1919–1975) was the 11th Etsu Nupe in Nupe kingdom reigns from 1967 to his death in 1975 and was succeeded by the 12th Etsu Nupe Umaru Sanda Ndayako.

## Background

his father was the seventh Etsu Nupe Bello Maliki. He had his entire education in Bida Emirate and later he became the head district of Badeggi in 1965 and Katcha before then he worked at Kaduna contractor company.

## Ruling house

He belong to the second house of rulings house, house Masaba in Nupe Kingdom and Bida Emirates. He is a grandfather to the present 13th Etsu Nupe Yahaya Abubakar, and uncle to the 12th Etsu Nupe Umaru Sanda Ndayako both came in a different rulings house but the same great grandfather Mallam Dendo.

## InfoBox

| Musa Bello | |
| --- | --- |
| *Etsu Nupe* | |
| Reign | 1967–1975 |
| Coronation | 1967 |
| Predecessor | Usman Sarki |
| Successor | Umaru Sanda Ndayako |
| Born | 1919<br>Bida |
| Died | 1975 |
| House | Usman Zaki rulings dynasty |
| Father | Etsu Bello Maliki |
| Religion | Sunni Islam |


title: Mushaf Ali Mir

abstract: Air Chief Marshal Mushaf Ali Mir NI(M), HI(M), SI(M), SBt was a Pakistani four-star air officer who served as the Chief of Air Staff of the Pakistan Air Force (PAF), appointed on 20 November 2000 until his accidental death in a plane crash on 20 February 2003. A fighter pilot and a strategist, he briefly served at command level in the ISI before controversially being promoted as a four-star air officer to command the air force in 2000. In 2001–02, he also commanded and provided the strategy to deploy troops during the military standoff with India. In addition, Air Chief Marshal Mir later went onto facilitate the United States military's war logistics for war operations in Afghanistan. His appointment was cut short when a former PAF Fokker F-27 in which he was a passenger crashed near Kohat, Pakistan. His death has been subject of numerous conspiracy theories, with many American authors charging him of having advanced knowledge on terrorist attacks in the United States in 2001.

text:
# Mushaf Ali Mir

Air Chief Marshal **Mushaf Ali Mir** NI(M), HI(M), SI(M), SBt (Punjabi, Urdu: مصحف على مير; 5 March 1947 – 20 February 2003) was a Pakistani four-star air officer who served as the Chief of Air Staff of the Pakistan Air Force (PAF), appointed on 20 November 2000 until his accidental death in a plane crash on 20 February 2003.

A fighter pilot and a strategist, he briefly served at command level in the ISI before controversially being promoted as a four-star air officer to command the air force in 2000. In 2001–02, he also commanded and provided the strategy to deploy troops during the military standoff with India. In addition, Air Chief Marshal Mir later went onto facilitate the United States military's war logistics for war operations in Afghanistan. His appointment was cut short when a former PAF Fokker F-27 in which he was a passenger crashed near Kohat, Pakistan.

His death has been subject of numerous conspiracy theories, with many American authors charging him of having advanced knowledge on terrorist attacks in the United States in 2001.

## Biography

Mushaf Ali Mir was born in Lahore, Punjab in British India on 5 March 1947. He hailed from the lower middle class family and was of Kashmiri descent, that practiced the Shia'a principles of Islam. Mushaf's oldest sister, Surayya Jabeen, was married to Yunus Hussain, who died in the 1965 war.

His father, Farzand Ali Mir, was a calligrapher who died when Mushaf was still young. He attended Govt. Wattan Islamia High School in Lahore. Upon his matriculation from a local school in Lahore, Mir initially attended the Government College University but joined the Pakistan Air Force in 1966 which directed him to attend the famed Pakistan Air Force Academy in Risalpur, after the second war with India.

In 1967, he gained commission in the Pakistan Air Force as a Pilot officer in the GD() branch through the Second Short Course.

At the PAF Academy, he qualified to fly the F-6 Farmer fighter jet, and was posted to join the No. 25 Squadron *Night Strike Eagles* in 1970. In 1971, F/Off. Mir successfully flew his F-6 Farmer against the Indian Air Force's MiG-21, and was credited with shooting an Indian Air Force jet down with his missile.

After the war in 1971, Flt. Lt. Mir attended the Air War College where he attained his master's in War studies, and later went on to attend the National Defence University where he graduated with a master's in Strategic studies. During this time, he became acquainted with then-Brig. Pervez Musharraf.

## War and command appointments in the military

In the 1970s, Mir joined the Combat Commander's School, first serving as a student before joining its faculty, eventually commanding an Aggressor squadron composing of Dassault Mirage IIIER to act as an Indian IAF's MiG-29M. Wing-Commander Mir was a commanding officer of the No. 33 Wing attached at the Northern Air Command and later took over the command of the Southern Air Command as its AOC. In the 1980s, Gp-Capt. Mir was posted as an air attaché at the Embassy of Pakistan in Washington, D.C. in United States.

He qualified to fly the F-16 Fighting Falcon, as a Group Captain of No. 33 Wing at Kamra Air Base, with personnel from No. 14 Squadron.

In 1994–95, Air-Commodore Mir, as an ACAS (Plans) at Air AHQ, visited Poland to hold discussions to acquire the Russian Su-27 Flanker but returned since the aircraft was not available.

In 1995, AVM Mir was appointed as Project-Director of Project Green Flash, aiming to acquire Mirage 2000-V from France, and begin his lobbying to acquire the aircraft after test piloting the fighter jet. In 1996, Air Vice Marshal Mir was appointed as Project-Director of Project Falcon that was started to negotiate with Turkey and Jordan to acquire F-16As/Bs.

In 1996–99, Air Vice Marshal Mir took over the command of the Northern Air Command headquartered in Peshawar, and became associated with the ISI, where he aided in providing the aerial support during the civil war in Afghanistan. During this time, Air Vice Marshal Mir was posted as a military adviser to the Saudi Arabian Army and later assumed the short-time command of the Pakistan Armed Forces-Middle East Command before returning to Pakistan for the command appointments.

In 1999, Air Marshal Mir was appointed as the chairman of Pakistan Aeronautical Complex at Kamra.

## Chief of Air Staff

In 2000, ACM PQ Mehdi's retirement was confirmed by President Rafiq Tarar, and the Pakistan MoD sent potentials list of three-star air officers for the promotion of the four-star rank.

At the time of promotion to the four-star appointment, there were six senior air marshals who were in the race which included in seniority:

Eventually, the race for the appointment for the air chief was rumored between Air Marshal Farooq Qari and Air Marshal Riazuddin.

On 13 November 2000, President Rafiq Tarar surprisingly approved the appointment of junior-most Air-Mshl. Mir to be promoted to as the four-star air officer in the air force, and appointed him as the Chief of Air Staff. The surprise promotion and command appointment was said to be at the behest of special and personal requests made by then-Chairman Joint chiefs Gen. Pervez Musharraf.

This appointment was one of the center of controversies in the Musharraf administration when superseding air officers had sparked off "rumblings of resentment" at the Joint Chiefs of Staff Committee (JCSC) in the country. All five superseded Air Marshals tendered their resignations to President Tarar despite Chairman Joint chiefs Gen. Musharraf's efforts to have all five air force generals to complete their respected terms. In news media, the appointment was also given a strong criticism when the Gen. Musharraf's clique attempted a damage control exercise by pointing out that supersessions were nothing new in the country's military establishment having happened five times in the Air Force and at least four times in the Army.

Despite the agitation and criticism, Air Chief Marshal Mir eventually assumed the command of the air force as its chief on 20 November 2000.

After the deadly terrorist attacks in New York in the United States in 2001, ACM Mir successfully negotiated with the United States Air Force of releasing the spare parts and updating the software of the F-16s.

During his tenure, the PAF's F-6 aircraft were retired from service, and were transferred to Bangladeshi Air Force. During the military standoff with the Indian Army, ACM Mir placed the air force at war level command, issuing orders for targeting the Indian military posts.

In spite of his closeness to President Musharraf, ACM Mir had strongly objected and opposed the Musharraf administration's policy on War on Terror, that he suspected of intelligence blowback and terror organizations that might be finding the foreign support for their operations to spread sectarian violence in the country.

## Death in the air crash

> This is a very sad day for me. I have lost a very good friend. This is a sad day for the whole nation. The death of Mushaf Ali Mir is a great loss for the country.
>
> President Musharraf, 2003

On 20 February 2003, Air Chief Marshal Mushaf Ali Mir boarded on a Fokker F-27 aircraft operated by the Air Force, along with his wife and 15 senior air force officers from Chaklala Air Force Base for a routine flight to Northern Air Command based in Kohat, Khyber-Pakhtunkhwa in Pakistan to review annual preparations and readiness.

The plane lost contact from its military radars at the Northern Air Command and crashed after hitting the highest peak of the mountain at the Tolanj mountain range in Kohat due to an extreme fog and winter temperature. Among the casualties were other high-ranking officials of the Pakistan Air Force, including three Principal Staff Officers Air Vice Marshal Abdul Razzaq Anjum, DCAS (Training & Evaluation) and Air Vice Marshal Saleem Nawaz, DCAS (Administration) – and Air Commodore Rizwan Ullah Khan, Personal Staff Officer and the air crew.

Upon his accidental death, the Pakistan government give him a state funeral, with many foreign dignitaries attending his funeral and was buried in Mominpura cemetery in Lahore, Punjab, Pakistan.

The Air Force Flight Safety and the Civil Aviation Authority (CAA) ruled out the "act of sabotage" and termed the incident as an accident. Additional inquiries in 2015 resulted by the air force and civilian investigations, the Government declared the aircraft as faulty, not an act of sabotage.

Further military insights revealed at the parliamentary committee noted that the aircraft was in fact faulty, as it was first identified as such by the Navy's inspection team as early as 1993. The Navy purchased the aircraft for its reconnaissance missions before it was transferred to Army Aviation in 1993, which then transferred the plane to Air Force in 1994, which never reviewed the inspection protocol to assess the performance of the aircraft.

**Reactions**

United States: American ambassador to Pakistan Nancy Jo Powell expressed her sorrow and grief over the tragic air crash on behalf of the United States.

Iran: Iranian President Syed Mohammad Khatami convened a message to President Pervez Musharraf saying: "While expressing condolence and sympathy to Your Excellency as well as the noble people of Pakistan, I pray to Almighty Allah for forgiveness and Divine blessings for the deceased, and patience and fortitude for the survivors."

Afghanistan: Afghan President Hamid Karzai sent a cable where he noted: "On behalf of the people, government of transitional Islamic state of Afghanistan and on my own behalf, I would like to express deepest sorrow and condolences to Your Excellency and to the families of the victims and to the brotherly people of the Islamic Republic of Pakistan."

India: Indian air chief Air Chief Marshal S. Krishnaswamy conveyed sympathies on behalf of the Indian IAF and his own behalf on the sudden and untimely demise of Mushaf Ali Mir.

Pakistan: Foreign Minister K.M. Kasuri termed the death of Air Chief Marshal Mushaf Ali Mir a great loss for Pakistan and its military, and he quoted: "We have lost one of our great sons and a fine soldier; he was an outstanding soldier and his services to Pakistan will always be remembered."

### Conspiracy theories

Since the plane crash in 2003, Air Chief Marshal Mir's death has attracted significant amount of attention and has been subject of conspiracy theories in media and literature. According to Gerald Posner, an American journalist, Mir's death in a plane crash was not an accident but an act of sabotage, which he claimed in his book: *Why America Slept: The Failure to Prevent 911*, written in 2003.

Several American authors of counterterrorism studies have suspected him of having advanced intelligence knowledge on the planning of the terrorist attacks in the United States by al-Qaeda, during his time when Mir was serving in the ISI as its spymaster.

Subsequently, Posner and his American colleagues have claimed that Osama bin Laden and other Afghan Arabs had struck a deal with Inter-Services Intelligence (ISI) through Mir in 1996 to get protection, arms, and supplies for Al-Qaeda. The meeting was blessed by the Saudi royal family through Prince Turki bin Faisal Al Saud — the Saudi intelligence chief.

However, after the terrorist attacks in the United States in 2001, and a reversal of Pakistani and Saudi stances favoring the Afghan Taliban and their allies al-Qaeda, the three Saudi princes associated with the deals died within days, and seven months after that, Mir's plane crashed in the Kohat region of Pakistan.

Prince Turki bin Faisal, on the other hand, was removed as intelligence chief and sent as Ambassador to United Kingdom during the same time.

In 2015, the Air Force's Flight Inquiry Board and the CAA dismissed the claims of sabotage when they submitted their year long investigation reports to the Public Accounts Committee of the Pakistan Parliament, citing the poor maintenance of the aircraft. They backed up their evidence when identifying the faulty Fokker F27 Friendship that the Air Force had transferred the plane to Navy but the aircraft was returned to the Air Force due to its faults during its flight.

According to the analysis written in 2003 by Najam Sethi, a Pakistani commentator, the claims might have been "untrue" but the allegations are very explosives directed towards the Pakistani military.

## Awards and decorations

|  | | | |
| --- | --- | --- | --- |
|  |  |  |  |
|  |  |  |  |
|  |  |  |  |
|  |  |  |  |
|  |  |  |  |
|  |  |  |  |
|

| **PAF** **GD(P)** Badge **RED** (More than **3000** Flying Hours) | | | |
| --- | --- | --- | --- |
| **Nishan-e-Imtiaz** **(Military)**
(*Order of Excellence*) | | **Hilal-e-Imtiaz** **(Military)**
(*Crescent of Excellence*) | |
| **Sitara-e-Imtiaz** **(Military)**
(*Star of Excellence*) | **Sitara-e-Basalat** (*Star of Good Conduct*) | **Sitara-e-Harb 1965 War** (*War Star 1971*) | **Sitara-e-Harb 1971 War** (*War Star 1971*) |
| **Tamgha-e-Jang 1965 War** (*War Medal 1965*) | **Tamgha-e-Jang 1971 War** (*War Medal 1971*) | **Tamgha-e-Baqa** (*Nuclear Test Medal*)
**1998** | **10 Years Service Medal** |
| **20 Years Service Medal** | **30 Years Service Medal** | **Tamgha-e-Sad Saala Jashan-e-** **Wiladat-e-Quaid-e-Azam**
(*100th Birth Anniversary of*
*Muhammad Ali Jinnah*)
**1976** | **Hijri Tamgha** (*Hijri Medal*)
**1979** |
| **Jamhuriat Tamgha** (*Democracy Medal*)
**1988** | **Qarardad-e-Pakistan Tamgha** (*Resolution Day*
*Golden Jubilee Medal*)
**1990** | **Tamgha-e-Salgirah Pakistan** (*Independence Day*
*Golden Jubilee Medal*)
**1997** | **UAE** **Defence Forces** **Unification Medal**
**(UAE)** |
| **Abu Dhabi Defence Forces** **Service Medal**
**(UAE)** | **Turkish Legion of Merit** **(Turkey)** | **Military Merit Order** **1st Class**
**(UAE)** | **The Legion of Merit** **(Degree of Commander)**
**(USA)** |

### Foreign decorations

| **Foreign Awards** | | |
| --- | --- | --- |
| **UAE** | **UAE Defence Unification Medal** |  |
| **UAE** | **Abu Dhabi Defence Forces Service Medal** |  |
| **Turkey** | **Turkish Legion of Merit** |  |
| **UAE** | **Military Merit Order - 1st Class** |  |
| **USA** | **The Legion of Merit (Degree of Commander)** |  |

## InfoBox

| Air Chief MarshalMushaf Ali MirNI(M) HI(M) SI(M) SBt | |
| --- | --- |
| ACM Mushaf Ali Mir (1947–2003) | |
|  | |
| Chief of Air Staff | |
| **In office**
20 November 2000  20 February 2003 | |
| Preceded by | ACM Pervaiz Mehdi Qureshi |
| Succeeded by | ACM Kalim Sadat |
| Chairman Pakistan Aeronautical Complex | |
| **In office**
1999–2000 | |
|  | |
| Personal details | |
| Born | Mushaf Ali Mir
(1947-03-05)5 March 1947
Lahore, Punjab, British India
(now Lahore in Punjab in Pakistan) |
| Died | 20 February 2003(2003-02-20) (aged 55)
Kohat Pass, Kohat District, Pakistan |
| Cause of death | Aviation accident |
| Resting place | Mominpura Cemetery |
| Relatives | Yunus Hussain (brother-in-law) |
| Nickname(s) | *Mashoo*
*Mir* |
| Military service | |
| Allegiance | Pakistan |
| Branch/service | Pakistan Air Force |
| Years of service | 1966–2003 |
| Rank | Air Chief Marshal |
| Unit | No. 25 Squadron *Night Strike Eagles* |
| Commands |  |
| Battles/wars |  |
| Awards |  |
|  | |


title: Musaköy, İnebolu

abstract: Musaköy is a neighbourhood of the town İnebolu, İnebolu District, Kastamonu Province, Turkey. Its population is 468 (2021).

text:
# Musaköy, İnebolu

**Musaköy** is a neighbourhood of the town İnebolu, İnebolu District, Kastamonu Province, Turkey. Its population is 468 (2021).

## InfoBox

| Musaköy | |
| --- | --- |
| Neighbourhood | |
| MusaköyLocation in Turkey | |
| Coordinates: 41°57′36″N 33°44′42″E / 41.960°N 33.745°E / 41.960; 33.745 | |
| Country | Turkey |
| Province | Kastamonu |
| District | İnebolu |
| Municipality | İnebolu |
| Population (2021) | 468 |
| Time zone | UTC+3 (TRT) |


title: Musto Skiff

abstract: The Musto Skiff is a single-handed sailing skiff with a length of 4.55 m. It features a trapeze, asymmetrical spinnaker, wings and low weight and achieves speeds of over 20 knots, which makes it one of the fastest single-handed sailing boats.

text:
# Musto Skiff

The **Musto Skiff** is a single-handed sailing skiff with a length of 4.55 m (14 ft 11 in). It features a trapeze, asymmetrical spinnaker, wings and low weight and achieves speeds of over 20 knots (23 mph; 37 km/h), which makes it one of the fastest single-handed sailing boats.

## History

It was designed in 1999 for the 2000 Olympic Class trials in Quiberon by Joachim Harpprecht, where it won every race in the single-handed dinghy competition. Since then, the class has attained World Sailing international status and is sailed in 20 countries worldwide. It is built by Ovington Boats Ltd in England.

At the time of the design, the concept of a single-handed skiff was first met with scepticism by many observers, very similar to the initial reaction after the introduction of the 49er in 1996. The boat remains challenging to sail, and really shows its strengths when raced. World Championships occur annually and regularly usually attract in excess of 70 sailors from over 10 nations.

In 2016, the class association agreed to continue its branding as the 'Musto Skiff', in a naming rights deal with the Musto clothing company.

## Events

### World Championship

|  | Gold | Silver | Bronze | Ref. |
| --- | --- | --- | --- | --- |
| 2007 Malcesine | Richard Stenhouse (GBR) | Ian Turnbull (GBR) | Ian Trotter (GBR) |
| 2008 St Moritz (SUI) | Richard Stenhouse (GBR) | Roger Oswald (SUI) | Graeme Oliver (GBR) |
| 2011 Black Rock | Daniel Henderson (GBR) | Bruce Keen (GBR) | Markus Hamilton (AUS) |
| 2012 Weymouth and Portland (GBR) | Bruce Keen (GBR) | Richard Stenhouse (GBR) | Tom Wright (GBR) |
| 2014 Perth (USA) | Jon Newman (AUS) | Marcus Hamilton (AUS) | Thor Schoenhoff (AUS) |
| 2015 Riva del Garda (ITA) | Bruce Keen (GBR) | Jon Newman (AUS) | Dan Trotter (GBR) |  |
| 2016 Carnac | Andi Lachenschmid (GER) | George Hand (GBR) | Dave Poston (GBR) |
| 2017 Palma (ESP) | Frithjof Schwerdt (GER) | Bruce Keen (GBR) | Andy Tarboton (RSA) |  |
| 2018 Blairgowrie (AUS) | Jon Newman (AUS) | Will Phillips (AUS) | Jamie Hilton (GBR) |
| 2019 Medemblik (NED) | Bruce Keen (GBR) | Jon Newman (AUS) | George Hand (GBR) |
| 2020 GER | Cancelled COVID-19 | | |  |
| 2021 Garda (ITA) | Cancelled COVID-19 | | |  |
| 2022 Kiel (GER) | Rick Peacock (GBR) | Andy Tarboton (RSA) | Peter Greenhalgh (GBR) |  |

## InfoBox

Musto Skiff
| *Class symbol* | |
| --- | --- |
| Development | |
| Designer | Joachim Harpprecht |
| Year | 1999 |
| Builder(s) | Ovington Boats |
| Name | Musto Skiff |
| Boat | |
| Crew | 1 |
| Trapeze | Yes |
| Hull | |
| Type | Monohull |
| Hull weight | 44 kg (97 lb) |
| LOA | 4.55 m (14 ft 11 in) |
| Beam | 1.35 m (4 ft 5 in)
2.35 m (7 ft 9 in) (with racks) |
| Sails | |
| Mainsail area | 11.08 m2 (119.3 sq ft) |
| Spinnaker area | 15.5 m2 (167 sq ft) (Spinnaker) |
| Racing | |
| D-PN | 80.0 |
| RYA PN | 847 |
| \[edit on Wikidata\] | |


title: Museum of Wisconsin Art

abstract: The Museum of Wisconsin Art is a museum that collects and exhibits contemporary and historical art from the state of Wisconsin. Its collections include rotating historical and contemporary exhibitions and educational programs. The museum's One Gallery features solo shows of contemporary Wisconsin artists and arts organizations several times each year.

text:
# Museum of Wisconsin Art

The **Museum of Wisconsin Art** (formerly the West Bend Art Museum) is a museum that collects and exhibits contemporary and historical art from the state of Wisconsin. Its collections include rotating historical and contemporary exhibitions and educational programs. The museum's One Gallery features solo shows of contemporary Wisconsin artists and arts organizations several times each year.

## History

Founded by the Pick family of West Bend, Wisconsin in 1961 to collect the works of Milwaukee-born artist Carl von Marr (1858-1936), the museum currently holds the most comprehensive collection of his work anywhere.

In 1988, it broadened its focus to become a regional museum, rolling out a collection of Wisconsin artists spanning the years from 1820 to 1950. In 1998, its Early Wisconsin Art Collection was unveiled on the state’s sesquicentennial, reflecting its new mission to collect, conserve, document, and exhibit Wisconsin art through the ages. In January 2007, along with the name change, it began including both contemporary Wisconsin art, and work prior to 1820.

The museum opened a new building on the banks of the Milwaukee River in West Bend in April, 2012.

43°25′30.0″N 88°10′53.1″W / 43.425000°N 88.181417°W / 43.425000; -88.181417

## InfoBox

Museum of Wisconsin Art (MOWA)
|  | |
| --- | --- |
|  | |
| Former name | West Bend Art Museum |
| Established | 1961 (1961) |
| Location | 205 Veterans Avenue<br>West Bend, Wisconsin 53090, United States |
| Type | Art museum |
| Website | wisconsinart.org |


title: Museum of Wigan Life

abstract: The Museum of Wigan Life is a public museum and local history resource centre in Wigan, Greater Manchester, England. The nineteenth-century listed building is by the noted architect Alfred Waterhouse. It originally housed Wigan Library, where George Orwell researched his book The Road to Wigan Pier in 1936. The museum works with other museums in Greater Manchester as part of the Greater Manchester Museums Group (GMMG).

text:
# Museum of Wigan Life

The **Museum of Wigan Life** is a public museum and local history resource centre in Wigan, Greater Manchester, England. The nineteenth-century listed building is by the noted architect Alfred Waterhouse. It originally housed Wigan Library, where George Orwell researched his book *The Road to Wigan Pier* in 1936.

The museum works with other museums in Greater Manchester as part of the Greater Manchester Museums Group (GMMG).

## History

### Wigan Public Library (1878–1990)

The building which now houses the Museum of Wigan Life was designed by Alfred Waterhouse and opened in 1878 as the town's first public library. Its construction was funded by mill owner Thomas Taylor and Dr Joseph Winnard, who each bequeathed £12,000. Dr Winnard's donation paid for the library's books, and portraits of the benefactors remain on display at the museum. Built on the site of Wigan Grammar School, the library was opened on 7 May 1878. A Grade II listed building, the architecture is largely in Elizabethan Revival style, embellished by some Gothic features such as its red brick arches.

On opening, the library comprised two main floors. The ground floor contained an ornate entrance hall, lending library and newsroom, whilst the first floor incorporated a reference library and the corporation's Public Library Committee meeting room. A third floor, later used for storage and later still as a staff rest-room, accommodated the custodian or caretaker-cum-security officer's flat. The librarian of the reference department was Henry Tennyson Folkard 1850-1916) who compiled a *Catalogue of Books* in the department (13 pts. 1890-1918) and various catalogues for particular subjects.

After eight months of discerning book acquisition nationally renowned specialists were consulted on the selection of new books the reference library totalled 15,300 volumes and the lending library 6,808. In response to the popularity of the newsroom where current newspapers and periodicals were held, an annexe was built in 1892.

### The History Shop (1990–2010)

In 1990, due to an increasing need for space, the library was relocated to the New Town Hall, on site of Wigan Mining and Technical College. In 1992, the newly formed Wigan Heritage Services opened the History Shop in the old library with intentions of hosting travelling (temporary) and in-house (permanent) exhibitions and the Wigan local history collection, parish registers and census returns in a study/research area on the first floor.

Initially, the History Shop shared the building with the Wigan Careers Service which moved out in 1995 and Wigan Heritage Services took over the entire building. Funding a total of £260,000 came from the National Lottery and Monica Whickham, last surviving daughter of Wigan vicar William Whickham. In honour of the donation, the art gallery by the Library Street entrance was renamed the Whickham Gallery.

### The Museum of Wigan Life (2010–)

The History Shop was closed in 2009 for a £1.6million refurbishment, to be reopened as the Museum of Wigan Life. £500,000 of Heritage Lottery Fund money was matched by Wigan Council and Wigan Leisure and Culture Trust for the building's redevelopment, which involved extensive internal and external restoration. The roof was re-tiled, whilst the ground floor exhibition space was renovated to focus on aspects of Wigan life and culture. New features included an extra staircase, family study area and a refurbished reception area, meeting room and shop. The museum was formally opened by Mayor of Wigan Michael Winstanley on 1 July 2010. In its first six months of operation, the renovated building saw 16,000 visits.

## InfoBox

Museum of Wigan Life
| The Museum of Wigan Life | |
| --- | --- |
|  | |
| Established | 1878 (Wigan Public Library)
1990 (The History Shop)
2010 (Museum of Wigan Life) |
| Location | Library Street, Wigan, Greater Manchester, England |
| Coordinates | 53°32′39″N 2°37′47″W / 53.5442°N 2.6297°W / 53.5442; -2.6297 |
| Type | Heritage centre |
| Visitors | 16,000 (April–October 2010) |
| Public transit access | Wigan North Western and Wigan Wallgate train stations, Wigan bus station |
| Website | Museum of Wigan Life – official site at Wigan Leisure & Culture Trust |
|  | |
| Listed Building – Grade II | |
| Designated | 1988 |
| Reference no. | 1384510 |
|  | |
|  | |


title: Music to Be Born By

abstract: Music to Be Born By is an album by percussionist Mickey Hart that is based on the fetal heartbeat of his son Taro Hart, who was born on January 13, 1983. The album was released in 1989 by Rykodisc, and was later reissued by Smithsonian Folkways as part of their Mickey Hart Collection. During a visit to the family's obstetrician, Hart recorded his unborn son's heartbeat on a Nagra portable recorder that was attached to a fetal pulse monitor placed on the stomach of Taro's mother, Mary Holloway Hart. Later, in his studio, Hart transferred the sounds to 16-track tape, after which he, along with flutist Steve Douglas and bassist Bobby Vega, overdubbed additional tracks. The music was then played at the baby's birth. According to Hart, the recording is intended "to facilitate and coordinate rhythmic breathing cycles, assisting the mother's concentration and focus before, during and after delivery." Hart initially had no intention of issuing the music to the general public, and sent copies on cassette tape to friends who inquired about it. However, he later decided to release it due to ongoing positive feedback and an increasing number of requests. He reflected: "I have maybe a thousand letters and pictures of babies born to this music... Most cultures have birthing music: music to be born by. We don't. We lost that ritual." At the time of the album's release, Taro Hart was credited as being "the world's youngest recording artist."

text:
# Music to Be Born By

***Music to Be Born By*** is an album by percussionist Mickey Hart that is based on the fetal heartbeat of his son Taro Hart, who was born on January 13, 1983. The album was released in 1989 by Rykodisc, and was later reissued by Smithsonian Folkways as part of their Mickey Hart Collection.

During a visit to the family's obstetrician, Hart recorded his unborn son's heartbeat on a Nagra portable recorder that was attached to a fetal pulse monitor placed on the stomach of Taro's mother, Mary Holloway Hart. (On the album, she is credited for providing "heartbeat environment.") Later, in his studio, Hart transferred the sounds to 16-track tape, after which he, along with flutist Steve Douglas and bassist Bobby Vega, overdubbed additional tracks. The music was then played at the baby's birth. According to Hart, the recording is intended "to facilitate and coordinate rhythmic breathing cycles, assisting the mother's concentration and focus before, during and after delivery."

Hart initially had no intention of issuing the music to the general public, and sent copies on cassette tape to friends who inquired about it. However, he later decided to release it due to ongoing positive feedback and an increasing number of requests. He reflected: "I have maybe a thousand letters and pictures of babies born to this music... Most cultures have birthing music: music to be born by. We don't. We lost that ritual."

At the time of the album's release, Taro Hart was credited as being "the world's youngest recording artist."

## Reception

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

AllMusic's William Ruhlmann called the album "soothing," while author Julia Cameron described it as "propulsive, energizing, and grounding." Mark Saleski of *Something Else!* listed the album as one of his "favorite minimalist/ambient recordings," and wrote: "this record presents a warm percussive wash using wood flute, drums and bass harmonics. The pattern is altered very slightly throughout. Hypnotic is the word."

## Track listing

1. "Music to Be Born By" – 1:10:10

## Performers

* Mickey Hartsurdo
* Taro Hart – heartbeat
* Mary Holloway Hart – heartbeat environment
* Steve Douglas – wooden flute
* Bobby Vega – electric bass

## Technical personnel

* John Cutler – engineer
* Jeff Sterling – assistant engineer
* Tom Flye – assistant engineer, remixing
* Joe Gastwirt – mastering
* Steven Jurgensmeyer – cover art
* Fredric Lieberman – consultant

## InfoBox

| Music to Be Born By | |
| --- | --- |
|  | |
| Studio album by Mickey Hart and Taro Hart | |
| Released | 1989 |
| Recorded | 1983 |
| Studio | The office of Gerald P. Wilmer M.D., Greenbrae, California; The Barn, Novato, California |
| Genre | Ambient |
| Length | 1:10:10 |
| Label | Rykodisc
RCD 20112 |
| Producer | Mickey Hart |
| Mickey Hart chronology | |
| *Yamantaka*
(1983) ***Music to Be Born By***
(1989) *At the Edge*
(1990) | |


title: Music to Ease Your Disease

abstract: Music to Ease Your Disease is an album by jazz pianist Horace Silver, his fifth and final release on the Silverto label, featuring performances by Silver with Clark Terry, Junior Cook, Ray Drummond, and Billy Hart, with vocals by Andy Bey.

text:
# Music to Ease Your Disease

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

***Music to Ease Your Disease*** is an album by jazz pianist Horace Silver, his fifth and final release on the Silverto label, featuring performances by Silver with Clark Terry, Junior Cook, Ray Drummond, and Billy Hart, with vocals by Andy Bey.

## Reception

The Allmusic review by Scott Yanow awarded the album 3 stars and states: "Horace Silver has long been a believer in the self-help holistic movement and this has been reflected in the lyrics he has written during the past decade... However there are plenty of strong instrumental moments from an all-star quintet that includes pianist Silver, fluegelhornist Clark Terry, tenor-saxophonist Junior Cook, bassist Ray Drummond and drummer Billy Hart, and for that reason this is the strongest release on Silverto to date."

## Track listing

*All compositions and lyrics by Horace Silver* 1. "Prologue"
2. "Hangin' Loose"
3. "The Respiratory Story"
4. "Tie Your Dreams to a Star"
5. "Music to Ease Your Disease"
6. "The Philanthropic View"
7. "What is the Sinus Minus"
8. "Epilogue"

* Recorded in New York City on March 31, 1988.

## Personnel

## InfoBox

| Music to Ease Your Disease | |
| --- | --- |
|  | |
| Studio album by Horace Silver | |
| Released | 1988 |
| Recorded | March 31, 1988 |
| Genre | Jazz |
| Label | Silverto |
| Producer | Horace Silver |
| Horace Silver chronology | |
| *The Continuity of Spirit*
(1985) ***Music to Ease Your Disease***
(1988) *It's Got to Be Funky*
(1993) | |


title: Music therapy for non-fluent aphasia

abstract: Music therapy for non-fluent aphasia is a method for treating patients who have lost the ability to speak after a stroke or accident. Non-fluent aphasia, also called expressive aphasia, is a neurological disorder that deprives patients of the ability to express language. It is usually caused by stroke or lesions in Broca's area, which is a language-dominant area that is responsible for speech production located in the left hemisphere of the brain. However, when lesions form in Broca's area this only affects patients’ speech ability, while their ability to sing remains unaffected. Since several studies have shown that right hemispheric regions are more active during singing, music therapy involving melodic elements is deemed to be a potential treatment for non-fluent aphasia, as singing might activate patients’ right hemisphere to compensate with their lesioned left hemisphere. Aside from singing, many other music therapy techniques have also been attempted such as rhythms and poetic emphasis, which is shown to add to the effectiveness. Although there are many possible explanations for the mechanism of music therapy, the underlying mechanism remains unclear, as some studies indicate contradictory results.

text:
# Music therapy for non-fluent aphasia

**Music therapy for non-fluent aphasia** is a method for treating patients who have lost the ability to speak after a stroke or accident. Non-fluent aphasia, also called expressive aphasia, is a neurological disorder that deprives patients of the ability to express language. It is usually caused by stroke or lesions in Broca's area, which is a language-dominant area that is responsible for speech production located in the left hemisphere of the brain. However, when lesions form in Broca's area this only affects patients’ speech ability, while their ability to sing remains unaffected. Since several studies have shown that right hemispheric regions are more active during singing, music therapy involving melodic elements is deemed to be a potential treatment for non-fluent aphasia, as singing might activate patients’ right hemisphere to compensate with their lesioned left hemisphere. Aside from singing, many other music therapy techniques have also been attempted such as rhythms and poetic emphasis, which is shown to add to the effectiveness. Although there are many possible explanations for the mechanism of music therapy, the underlying mechanism remains unclear, as some studies indicate contradictory results.

## Techniques

### Therapeutic singing

A common method of therapeutic singing is guiding patients to sing familiar songs. Patients are led to sing these familiar songs along with their therapists. Each therapist needs to be cognoscente of what would be familiar to the patients. Having someone in their 70's be asked to sing a Taylor Swift song, would not be deemed appropriate. The therapist also might need to adjust the tempo, volume, and pitch of the songs according to each individual patient. By doing this, it helps someone who might be a struggling to formulate thoughts and words quickly have time to catch up. This can optimize the therapy process. The lyrics that patients can most easily produce are repeated several times. The utilization of singing during the treatment of aphasia is not a novel therapy technique, as in the past therapists already noticed that patients who had difficulty speaking were still able to sing.

### Vocal intonation

To begin is it needed to define what vocal Intonation. In its simplest terms, it is the rise and fall of voicing at the end of questions, and or statements to convey a meaning, or a mood and anything else that will help the listeners understand what your intentions are. Vocal intonation is introduced to make aphasic patients intentionally exaggerate the intonation of daily phrases. The most well-known application of vocal intonation in music therapy is Melodic Intonation Therapy (MIT). MIT was developed when researchers noticed a pattern which spanned 100 years of observation, it showed patients with aphasia were far better able to sing then to speak in sentences.

When receiving MIT, patients intone phrases with 2–3 syllables on only two pitches, which are determined by the natural prosody of phrases. Stressed syllables are intoned on a higher pitch, while unstressed syllables are intoned on a lower pitch. However, various intonation in daily conversational phrases may be used, so patients can practice communicating different meanings through different intonation. In addition, body cues, such as head or hand movement, may be used to help patients perceive different pitch in vocal intonation.

### Dynamically cued singing

Dynamically cued singing was also used by therapists a long time ago. Therapists will guide patients to finish an incomplete sentence by singing the name of a designated object, such as “hand” if a therapist points to a patient’s hand. Additionally, dynamically cued singing can be employed together with singing familiar songs. Therapists may pause at the end of each phrase of a song to let patients finish the phrase by singing. This technique creates a strong interpersonal interaction that not only enhances patients’ motivation to participate, but also offers a circumstance similar to real conversation that benefits patients’ skills outside of music.

### Breathing into syllable sound

At beginning, therapists will ask patients to focus on breathing single-syllable sounds only. The effect of this technique is enhanced if therapists can guide patients to produce the sounds with their natural breathing patterns that help them relax, such as yawning, signing, or cleaning voices. Later on, patients will be encouraged to develop the breathing sounds into pitched sounds. Hand movement may be used to help patients synchronize syllable sounds with exhaling. Usually, the single-syllable sounds begin from vowels to consonants. But it is also suggested that the procedure should be from bilabial sounds (i.e. /m/, /b/), tongue-tip sounds (i.e. /n/, /d/), to tongue-base sounds (i.e. /g/, /k/).

### Musically assisted speech

Patients will produce conversational phrases with melodies that the patients are familiar with to practice the real conversation that the patients may need in their daily life. This technique leads to more successful outcomes if original lyrics of the melodies are presented before the melodies are associated with conversational phrases. The method was also conducted by therapists more than 40 years ago and indicated to be effective. Keith and Aronson had recorded that their stroke patient rehabilitated from aphasia by singing simple conversational phrases to communicate with people.

### Rhythmic speech cueing

Rhythmic speech cueing is one of the essential components in MIT, which requires patients to use their left hand to tap each syllable of the intoned phrases. In general, therapists will guide patients to clap or tap the speech rhythm to phrases obtained from song lyrics, conversations, or any resources related to the immediate context. Instead of left-hand tapping, clapping or beating a drum are also possible alternatives. Rhythmic cueing speed, which has been shown to be more crucial then the melody, will correspond to the patients’ speech speed, prosodic rhythms of the phrases, or musical rhythms of the lyrics, depending on the circumstances of each individual and the types of phrases.

### Oral motor exercises

This technique aims to improve the oral motor formation of patients. Therapists will demonstrate their mouth and tongue movements in an exaggerated way when singing a song, and ask patients to imitate the exaggerated oral movements. Patients tend to have better performance if therapists coordinate their exaggerated expressions to match the rhythm of the lyrics that are being practiced. Feedback will be given by therapists to allow patients to imitate the movements as identically as possible by repeated practices and correction.

### Inner rehearsal

When employing this technique, therapists first hum a melody, and then sing words with the melody while tapping patients’ hand. Therapists will ask patients to hear the words with melody "inside". If patients have difficulty understanding how to do it, they will be asked to imagine hearing the melody of "Happy Birthday" or their parents’ voice saying "Do your homework". After patients understand the concept, they will be asked to hear themselves singing the words inside their brain along with therapists when therapists are singing to them. Through this technique, patients can establish an auditory target to compare the overtly produced phrases to their covertly produced phrases. Mastering this skill, patients will be able to create their own auditory target phrases, and transfer these phrases into expressive speech without much assistance from therapists.

### Auditory-motor feedback training

The purpose of this technique is the same as that of inner rehearsal: to allow patients to gain independence from the assistance of therapists. The technique aims to train patients to hear the difference between the target phrases sung by therapists and the phrases produced by themselves. The target phrases can be those they create by using inner rehearsal. After mastering this technique, patients will be able to correct their production of phrases on their own whenever they practice singing words.

## Benefits

The effectiveness of traditional speech therapy tends to be limited by patients’ poor attention and poor motivation, while music therapy can have better therapeutical effects by boosting patients’ willingness to participate in therapy process. Music therapy can also improve non-fluent aphasic patients’ breathing and vocal ability, articulation and prosody of speech, and verbal and non-verbal communicative behaviours.

In addition, music therapy gives confidence to non-fluent aphasic patients and reduces their frustrated feelings. At first, non-fluent aphasic patients may find it difficult to accept the fact that they cannot speak as they previously did anymore and suffer from depression. Nevertheless, once the patients discover that they are still able to sing some sentences after receiving music therapy, they will be more confident and less frustrated. Moreover, as words in singing are pronounced more slowly than in speaking, patients can be more fluent when singing words because they have more time to distinguish the phonemes composed of those words.

## Mechanisms

Although people who suffer from non-fluent aphasia lose their speech ability, their ability to sing is often preserved. Their preserved ability to sing might result from their preserved brain circuit for singing lyrics, which suggests that singing and speaking involve different neural pathway in human brain. As non-fluent aphasia is usually caused by lesions in patients’ left hemisphere, the undamaged right hemisphere is regarded by researchers as the reason why patients preserve their ability to sing (Jeffries et al., 2003). Patients who undergo brain imaging scan also show an increased right hemispheric activity when they are singing than speaking. Therefore, the substitution of the right hemisphere for the damaged left hemisphere is one of the possible mechanisms of music therapy for non-fluent aphasia.

In terms of the training of the right hemisphere, music therapy techniques involving melodic components, such as singing and vocal intonation, are often a topic of discussion by researchers. Since pitch difference in language is perceived by the right hemisphere, singing or intoning phrases may allow patients to use the neural pathway in their right hemisphere. As many patients have been noted to have an improvement in speech production after receiving therapeutic singing or vocal intonation practice, some researchers have suggested these techniques are able to activate their right hemispheric regions which have been potentially shown as being responsible for language processing.

Although many studies suggest that singing in music therapy can improve non-fluent aphasic patients’ speech production, the study by Stahl et al. shows that rhythm, instead of singing, is the key element in music therapy that benefits aphasic patients. Therefore, rhythmic components in music therapy might explain why music therapy can benefit non-fluent aphasic patients. One example is the left-hand tapping used in Melodic Intonation Therapy (MIT). Since this technique also serves as a way to stimulate the right hemisphere, Schlaug et al. speculate that left-hand tapping may favor verbal production indirectly. They further propose that hand movements and articulation might share a mutual neurological network in the right hemisphere because hand movements are often in a tight relationship with one's articulation in daily life. Therefore, left-hand tapping is likely to benefit aphasic patients' articulation by engaging the neurological network that coordinates both hand movement and articulatory movement in patients’ right hemisphere.

## Challenges for future studies

Even though many studies have proposed the possible neural mechanism of music therapy for non-fluent aphasia, many crucial questions are still unanswered. For example, in contrast to the idea that non-fluent aphasic patients’ ability to sing is due to their undamaged right hemisphere, other studies suggest that speaking and singing words are based on the same neural mechanisms. Therefore, patients’ better performance on singing words might result from their long-term memories for familiar lyrics.

In addition, in spite of some research results indicating that MIT can activate regions potentially responsible for language processing in aphasic patients’ right hemisphere, some studies obtain completely opposite results. Belin et al.’s study showed that Broca's area and the adjacent regions in aphasic patients’ left hemisphere were activated after patients received MIT, while no activation was observed in the right hemisphere. Contrarily, they observed activation in patients’ right hemisphere when patients underwent word repetition tasks without MIT; they interpreted the right hemispheric activation as the persistence of aphasia, instead of cortical reorganization. Unfortunately, these currently conflicting research results demonstrate that the underlying mechanism of music therapy remains unclear. If the neural mechanism of music therapy cannot be elucidated, the effective application of these techniques will remain hard to achieve.

Another challenge for the research on music therapy is how to design the studies. Although many studies have illustrated positive effects of music therapy on non-fluent aphasia, these studies tend to be case studies with small sample size. Moreover, these studies usually lack control conditions and randomized design. Therefore, Van der Meulen et al. strongly urge in their article that Randomized Controlled Trials (RCTs) are needed to examine the effectiveness of music therapy.

Sustaining the treatment effectiveness of music therapy over the long term is also a challenge for its application on non-fluent aphasia. To overcome this barrier, two techniques, inner rehearsal and auditory-motor feedback training, are introduced to help patients gain independence from the assistance of music therapists. However, related studies of the two techniques are still limited. Future studies that are able to take in larger sample populations, to compare the many different results are required to fully understand the efficacy and potential applications of the two techniques.


title: Music of Cornwall

text:
# Music of Cornwall

Cornwall is a Celtic nation with a long musical history. Strengthened by a series of 20th century revivals, traditional folk music has a popular following. It is accompanied by traditions of pipers, brass and silver bands, male voice choirs, classical, electronic and popular music.

## History

In medieval Cornwall there are records of performances of ‘Miracle Plays’ in the Cornish language, with considerable musical involvement. Also (as frequently mentioned in the Launceston borough accounts) minstrels were hired to play for saints day celebrations. The richest families (including Arundell, Bodrugan, Bottreaux, Grenville, and Edgcumbe) retained their own minstrels, and many others employed minstrels on a casual basis. There were vigorous traditions of Morris dancing, mumming, guise dancing, and social dance.

During the Twelve Days of Christmas between 1466-67, the household accounts of the Arundells of Lanherne, Mawgan-in-Pydar, record expenditures to buy white bonnets for minstrels, cloth and bells for Morris dancers, as well as materials for costumes for the "disgysing" (mummers or guise dancers), an activity which involved music and dancing.

Then followed a long period of contention which included the Cornish Rebellion of 1497, the 1549 Prayer Book Rebellion, the Persecution of Recusants, the Poor Laws, and the English Civil War and Commonwealth (1642–1660). The consequences of these events disadvantaged many gentry who had previously employed their own minstrels or patronised itinerant performers. Over the same period in art music the use of modes was largely supplanted by use of major and minor keys. Altogether it was an extended cultural revolution, and it is unlikely that there were not musical casualties.

### 18th and 19th centuries

A number of manuscripts of dance music from the period 1750 to 1850 have been found which tell of renewed patronage, employment of dancing masters, and a repertoire that spanned class barriers. Seasonal and community festivals, mumming and guise dancing all flourished.

In the 19th century, the nonconformist and temperance movements were strong: these frowned on dancing and music, encouraged the demise of many customs, but fostered the choral and brass band traditions. Some traditional tunes were used for hymns and carols. Church Feast Days and Sunday School treats were widespread—a whole village processing behind a band of musicians leading them to a picnic site, where "Tea Treat Buns" (made with smuggled saffron) were distributed. This left a legacy of marches and polkas. Records exist of dancing in farmhouse kitchens, and in fish cellars Cornish ceilidhs called troyls were common, they are analogous to the fest-noz of the Bretons. Some community events survived, such as at Padstow and at Helston, where to this day, on 8 May, the townspeople dance the Furry Dance through the streets, in and out of shops, even through private houses. Thousands converge on Helston to witness the spectacle. The "Sans Day Carol" or "St Day Carol" is one of the many Cornish Christmas carols written in the 19th century. This carol and its melody were first transcribed from the singing of a villager in St Day in the parish of Gwennap: the lyrics are similar to those of "The Holly and the Ivy".

In Anglican churches the church bands (a few local musicians providing accompaniment in services) were replaced by keyboard instruments (harmonium, piano or organ) and singing in unison became more usual.

### Vocal music

Folk songs include "Sweet Nightingale", "Little Eyes", and "Lamorna". Few traditional Cornish lyrics survived the decline of the language. In some cases lyrics of common English songs became attached to older Cornish tunes. Some folk tunes have Cornish lyrics written since the language revival of the 1920s. Sport has also been an outlet for many Cornish folk songs, and *Trelawny*, the unofficial Cornish national anthem, is often sung by Cornish rugby fans, along with other favourites such as "Camborne Hill" and "The White Rose". The Cornish anthem that has been used by Gorseth Kernow for the last 75 plus years is "Bro Goth Agan Tasow" ("The Land of My Fathers", or, literally, "Old Country of our Fathers") with a similar tune to the Welsh national anthem ("Hen Wlad Fy Nhadau") and the Breton national anthem ("Bro Gozh ma Zadoù"). "Bro Goth Agan Tasow" is not heard so often, as it is sung in Cornish. Other popular Cornish anthems are "Hail to the Homeland" and Cornwall My Home by Harry Glasson written in 1997.

Sabine Baring-Gould compiled *Songs of the West*, which contains folk songs from Devon and Cornwall, in collaboration with Henry Fleetwood Sheppard and F. W. Bussell. *Songs of the West* was published by Methuen in conjunction with Watey and Willis; the first edition appeared both as a four-part set, undated, and as one volume dated 1895. In a new edition songs omitted from the first edition were listed, and the music was edited by Cecil Sharp. The second edition mentions the third collaborator, the Rev. Dr. F. W. Bussell, a scholarly eccentric who later became Vice-President of Brasenose College, Oxford. Sheppard was Rector of Thurnscoe, Yorkshire, and his parochial duties limited the amount of time he could spend on the work. In Plymouth City Library are two manuscript volumes containing the material as collected, in all 202 songs with music. In the published work it was necessary to bowdlerise some songs so that the book would be acceptable to respectable Victorians.

In Cornwall, the carol "While shepherds watched their flocks" is popularly sung to "Lyngham", a tune usually associated with "O for a Thousand Tongues to Sing". Another tune traditionally used for it in Cornwall is "Northrop".

### Dances

Cornish dances include community dances such a 'furry dances', social (set) dances, linear and circle dances originating in carols and farandoles, and step dances – often competitive. Among the social dances is 'Joan Sanderson', the cushion dance from the 19th century, but with 17th-century origins.

The English composer Sir Malcolm Arnold composed "Four Cornish Dances" in 1966 which is influenced by characteristically Cornish types of music.

### Breton connection

Cornish music is often noted for its similarity to that of Brittany; some older songs and carols share the same root as Breton tunes. From Cornwall, Brittany was more easily accessible than London. Breton and Cornish were (and are) mutually intelligible. There was much cultural and marital exchange between the two countries and this influenced both music and dance.

## Instrumentation

Cornish musicians have used a variety of traditional instruments. Documentary sources and Cornish iconography (as at Altarnun church on Bodmin Moor and St. Mary's, Launceston) suggest a late-medieval line-up might include a crwth (or *crowd*, similar to a violin), bombarde (*horn-pipe*), bagpipes and harp. The *crowdy crawn* (a drum) with a crwth or fiddle were popular by the 19th century. In the 1920s there was a serious school of banjo playing in Cornwall. After 1945 accordions became progressively more popular, before being joined by the instruments of the 1980s folk revival. In recent years Cornish bagpipes have enjoyed a progressive revival.

## Modern

Modern Cornish musicians include the late Brenda Wootton (folksinger in Cornish and English), Dalla who specialised in Cornish Celtic dance music and also traditional songs in Cornish and in English, the Cornish-Breton family band Anao Atao, the late 1960s band The Onyx and the 1980s band Bucca. Recently  bands Sacred Turf, Skwardya and Krena, have begun performing British folk rock in the Cornish language.

Kyt Le Nen Davey, a multi-instrumental Cornish musician, established a not-for-profit collaborative organisation, Kesson, to distribute Cornish music to a world audience. Today, the site has moved with the times, and now provides individual track downloads, alongside traditional CD format.

Pioneering Techno artist Richard D. James (aka Aphex Twin) from Lanner is a contemporary Cornish musician, frequently naming tracks in the Cornish language. Along with friend and collaborator Luke Vibert and business partner Grant Wilson-Claridge, James has crafted a niche of 'Cornish Acid' affectionately identified with his home region.

Bands such as Dalla and Sowena are associated with the *nos lowen* style of Cornish dance and music, which follows the Breton style of uncalled line dances. Troyls, usually called in a ceilidh style, occur across Cornwall with bands including the North Cornwall Ceilidh Band, The Brim, the Bolingey Troyl band, Hevva, Ros Keltek and Tros an Treys.Skwardya and Krena play rock, punk and garage music in the Cornish language. The *Cornwall Songwriters* organisation has since 2001 produced two folk operas 'The Cry of Tin' and 'Unsung Heroes'. Also Cornwall has a selection of up and coming young bands such as "Heart in One Hand" and "The small print".

3 Daft Monkeys (Tim Ashton, Athene Roberts, and Jamie Waters) combine vocals, fiddle, 12-string guitar, bass guitar and foot drum to play a fusion of Celtic, Balkan, Gypsy, Latino, dance, dub, punk, reggae and traditional folk music. The band have played at venues and festivals all over the UK and Europe, including Eden Project, the 2008 BBC Proms, Guilfest, Glastonbury Festival and the Beautiful Days festival, as well as supporting The Levellers..

Black Friday, a six piece Celtic-folk-punk band have been a constant part of the live music scene in Cornwall for two decades and a popular highlight of a number of Cornwall festivals including Port Eliot Festival, Little Orchard and Boardmasters as well a number of major UK and European festivals such as Donous Insel Fest, Electric picnic, Boomtown and Glastonbury. The band have led mass sing a longs to songs popular in the Cornish singing traditions such as Little Eyes and South Australia and they have supported Madness, Ralph McTell and The Mahones. The band performs across numerous smaller venues every weekend of the year, sometimes up to five or six times and there industrious live schedule and constant touring is perhaps why they have only ever released live recordings and never produced a studio album yet have managed to achieve a Guinness world record playing 30 gigs in twelve hours.

Crowns are a 'fish-punk' band originating from Launceston, playing a mix of traditional Cornish songs and their own compositions. They have played Reading and Leeds festivals, the Eden Sessions and gained support slots with The Pogues, Blink 182 and Brandon Flowers. Their music has featured on Radio 1 and XFm.

The underground scene includes rappers Hedluv + Passman, multi-instrumentalist Julian Gaskell and alternative folk/skiffle duo Zapoppin’.

Sic, the singer of the Dutch pagan folk band Omnia hails from Cornwall and wrote a song named *Cornwall* about his homeland. During gigs by Omnia the Cornish flag is displayed on stage when this song is performed.

In 2012 the folksinger and writer Anna Clifford-Tait released 'Sorrow', a song written in Cornish and English.

Fisherman's Friends is a male vocal group from Port Isaac specialising in the sea shanty repertoire.

The Cornwall Folk Festival has been held annually for more than three decades and in 2008 was staged at Wadebridge. Other festivals are the pan-Celtic Lowender Peran and midsummer festival Golowan. Cornwall won the PanCeltic Song Contest three years in a row between 2003 and 2005.

* 2003: Naked Feet
* 2004: Keltyon Byw
* 2005: Krena

The Welsh musician Gwenno Saunders has written and recorded songs in Cornish, notably Amser on her album Y Dydd Olaf, while her album Le Kov was recorded entirely in Cornish. Gwenno's sister, Ani Glass, also records in Cornish, and the title song of her album Mirores is in Cornish. Both are bards of the Cornish Gorsedh.

Classical musicians from Cornwall include baritone Benjamin Luxon, born in Redruth, and composer Graham Fitkin, born in Crows-an-Wra.

### Cornish traditional music

Cornish traditional music can be heard at various festivals including Golowan in Penzance and Lowender Peran in Newquay, at Cornish cultural events, and at Cornish music pub sessions.

### Brass and silver bands

Lanner and District Silver Band is a Cornish Brass band based in Lanner, Cornwall, United Kingdom, and well known for its concerts. There are many other brass and silver bands in Cornwall, particularly in the former mining areas: St Dennis and Camborne are notable examples. There is a log of over 100 Brass Bands in Cornwall that are now extinct.

### Classical music

Triggshire Wind Orchestra, an amateur orchestra for wind players primarily from Sir James Smith's School, Wadebridge School, Budehaven Community School, was set up in 1984. After the success of the wind orchestra, Triggshire String Orchestra was set up, to cater for the string players from these schools.

### Boardmasters Festival

Boardmasters Festival is a modern music festival held in Newquay, Cornwall celebrating surfing and music held every summer.

## Broadcasting

The Cornish language radio station *Radyo an Gernewegva* broadcasts Cornish music on several community radio stations and online.

## Further reading

* Kennedy, Peter, ed. (1975) *Folksongs of Britain and Ireland*; edited by Peter Kennedy, et al. V: Songs in Cornish: (introduction; songs 85-96; bibliography). London: Oak Publications (pp. 203–44: the bibliography is very detailed and the songs have their airs)


title: Mustafa Halim Özyazıcı

abstract: Mustafa Halim Özyazıcı was an Ottoman calligrapher and one of the last of the classic Ottoman calligraphers, using the Arabic script. He was a versatile calligrapher with a high level of expertise in many styles of script, but was widely regarded as a master Jeli Thuluth. He is most noted for his work on various restoration projects, of both manuscripts and public buildings.

text:
# Mustafa Halim Özyazıcı

**Mustafa Halim Özyazıcı** (14 January 1898 - 30 September 1964) was an Ottoman calligrapher and one of the last of the classic Ottoman calligraphers, using the Arabic script. He was a versatile calligrapher with a high level of expertise in many styles of script, but was widely regarded as a master *Jeli Thuluth*. He is most noted for his work on various restoration projects, of both manuscripts and public buildings.

## Life and career

Mustafa Halim Ozyazici was born Mustafa Abdülhalim on 14 January 1898 in the Hazeki district of Istanbul. He was the son of Nalıncı Hacı Cemâl Efendi, a Crimean born-man (of Tatar descent) and his mother was Sudanese.

He was educated at Gülsen Junior High School, where he was given lessons in calligraphy by Hamid Aytaç, who recognised his talent and encouraged him to pursue calligraphy as a career. He later studied drawing and sculpture at the Academy of Fine Arts in Istanbul. His formal calligraphy studies were with Hasan Riza Effendi (1849-1920) and Kamil Akdik (1862-1941) where he mastered the *sülüs, nesih and rikā* scripts.

In 1916, he was drafted into the Army. After completing basic training he worked in the Military Printing Department and also worked in Evkāf-ı İslâmiyye Printing Press. Following his discharge from the Army in 1924, he opened an office in Bâbıâli Street where he prepared all types of calligraphy; business cards, seals and book covers. He also taught in various schools around the Cağaloğlu district of Istanbul.

From 1927, he was employed in the Imperial Chancery. When the Latin alphabet replaced Arabic lettering in 1928, he applied to go to Egypt, where classical calligraphy, using Arabic script, was still valued, but his application was rejected in 1929. He subsequently abandoned calligraphy altogether.

However, during the 1940s, his skills in classical calligraphy found an outlet when he became part of a major restoration project which worked on repairs to numerous manuscripts in a variety of styles and the restoration of calligraphic reliefs and monumental art in historic, public buildings, including many mosques. In 1948, he was appointed to the position of 'old writing teacher' at the Academy of Fine Arts in Istanbul; a position he retained until his retirement in 1963. One of his responsibilities was to write the diplomas for those who were about to graduate from the academy.

He died on 30 September 1964, ten days after being involved in a traffic accident. He was buried in the Kozlu Cemetery.

## Work

Although he developed expertise in many different types of script, he was regarded as a master of *celi-sulus* script. He wrote a number of exercise books for students to practice scripts in nesih, sulus-nesih, rik'a, dı̂vânı̂ and celı̂ dı̂vâni, and which were part of a program designed to promote the art of calligraphy. These books are still being printed and distributed to students of calligraphy.

## Legacy

He is the subject of a book by M. Uğur Derman entitled, *Hattat Mustafa Halim Özyazıcı (1898-1964)* published in 1964.

## InfoBox

| Mustafa Halim Özyazıcı | |
| --- | --- |
| Mustafa Halim Özyazıci (1898-1964), aged about 20 years | |
| Born | (1898-01-14)14 January 1898<br>Istanbul |
| Died | 30 September 1964(1964-09-30) (aged 66) |
| Occupation | calligrapher |


title: Mushroom Observer

abstract: Mushroom Observer is a collaborative mycology website started by Nathan Wilson in 2006. Its purpose is to "record observations about mushrooms, help people identify mushrooms they aren't familiar with, and expand the community around the scientific exploration of mushrooms". The community of about 12,000 contributing users collaborates on identifying the submitted mushroom images, assigning their scientific names by means of a weighted voting process. All photographs are subject to a Creative Commons license that allows their reuse by others without the need for remuneration or special permission, subject to the terms of the license. The software is open source and hosted on GitHub.

text:
# Mushroom Observer

**Mushroom Observer** is a collaborative mycology website started by Nathan Wilson in 2006. Its purpose is to "record observations about mushrooms, help people identify mushrooms they aren't familiar with, and expand the community around the scientific exploration of mushrooms".

The community of about 12,000 contributing users collaborates on identifying the submitted mushroom images, assigning their scientific names by means of a weighted voting process.

All photographs are subject to a Creative Commons license that allows their reuse by others without the need for remuneration or special permission, subject to the terms of the license. The software is open source and hosted on GitHub.

## Growth

As of 2024, the website contains about half a million user-submitted mushroom observations illustrated by more 1.6 million photographs of nearly 20,000 species of fungi. In 2010, the website contained about 53,000 user-submitted mushroom observations illustrated by 101,000 photographs; up from 7,250 observations and 12,800 photographs in 2008.

## InfoBox

Mushroom Observer
| Photograph of a *Boletus edulis* observation recorded on Mushroom Observer | |
| --- | --- |
| Available in | English, French, German, Greek, Italian, Polish, Portuguese, Russian and Spanish |
| Owner | Mushroom Observer, Inc. |
| URL | https://mushroomobserver.org |
| Registration | Optional (for viewing), Required (for voting and commenting and creating observations) |
| Launched | 2006 |
| Content license | Creative Commons Attribution/Share-Alike with or without "Noncommercial" restriction |


title: Muʽskar al Murtafiʽah

abstract: Muʽskar al Murtafiʽah is the Ministry of Defence where Royal Army of Oman, Royal Navy of Oman and Royal Air Force of Oman Headquarters is located in Muscat, in northeastern Oman.

text:
# Muʽskar al Murtafiʽah

**Muʽskar al Murtafiʽah** is the Ministry of Defence where Royal Army of Oman, Royal Navy of Oman and Royal Air Force of Oman Headquarters is located in Muscat, in northeastern Oman.

## InfoBox

| Muʽskar al Murtafiʽah | |
| --- | --- |
| Ministry of Defence(MOD) | |
| Muʽskar al MurtafiʽahLocation in Oman | |
| Coordinates: 23°34′N 58°15′E / 23.567°N 58.250°E / 23.567; 58.250 | |
| Country | Oman |
| Governorate | Muscat Governorate |
| Time zone | UTC+4 (Oman Standard Time) |


title: MedX Corporation

abstract: MedX Corporation is a privately owned company based in Ocala, Florida. MedX is the manufacture of spinal rehabilitation equipment and premium exercise equipment. MedX equipment was invented by Arthur Jones, who was also the inventor of Nautilus exercise equipment. MedX Equipment includes the MedX Medical Lumbar Machine, Medical Cervical Machine and 25 exercise pieces. MedX Medical Lumbar machine is researched as an effective treatment for back pain.

text:
# MedX Corporation

**MedX Corporation** is a privately owned company based in Ocala, Florida. MedX is the manufacture of spinal rehabilitation equipment and premium exercise equipment. MedX equipment was invented by Arthur Jones, who was also the inventor of Nautilus exercise equipment. MedX Equipment includes the *MedX Medical Lumbar Machine*, *Medical Cervical Machine* and 25 exercise pieces. MedX Medical Lumbar machine is researched as an effective treatment for back pain.


title: Nectria (sea star)

abstract: Nectria is a genus of echinoderms belonging to the family Goniasteridae. The species of this genus are found in Australia.

text:
# Nectria (sea star)

***Nectria*** is a genus of echinoderms belonging to the family Goniasteridae.

The species of this genus are found in Australia.

## Species

Species:

| Image | Scientific name | Distribution |
| --- | --- | --- |
|  | *Nectria humilis* Zeidler & Rowe, 1986 | Southern Australia |
|  | *Nectria macrobrachia* H.L.Clark, 1923 | Southern Australia |
|  | *Nectria multispina* H.L.Clark, 1928 | Southern Australia |
|  | *Nectria ocellata* Perrier, 1875 | Southeastern Australia |
|  | *Nectria ocellifera* (Lamarck, 1816) | Western Australia |
|  | *Nectria pedicelligera* Mortensen, 1925 | Southeastern Australia |
|  | *Nectria saoria* Shepherd, 1967 | Southern Australia |
|  | *Nectria wilsoni* Shepherd & Hodgkin, 1966 | Southern Australia |
|

## InfoBox

| *Nectria* | |
| --- | --- |
|  | |
| *Nectria ocellata* | |
|
| Scientific classification | |
| Domain: | Eukaryota |
| Kingdom: | Animalia |
| Phylum: | Echinodermata |
| Class: | Asteroidea |
| Order: | Valvatida |
| Family: | Goniasteridae |
| Genus: | *Nectria*<br>Gray, 1840 |
|