title: WWIL-FM

abstract: WWIL-FM is a radio station broadcasting a contemporary Christian music format. Licensed to Wilmington, North Carolina, United States, the station serves the Wilmington, Jacksonville and North Myrtle Beach areas. The station is owned by Carolina Christian Radio, Inc, a 501c3 organization. Carolina Christian Radio is funded by the generous donations of individual listeners.

text:
# WWIL-FM

**WWIL-FM** (Life 90.5 FM) is a radio station broadcasting a contemporary Christian music format. Licensed to Wilmington, North Carolina, United States, the station serves the Wilmington, Jacksonville and North Myrtle Beach areas. The station is owned by Carolina Christian Radio, Inc, a 501c3 organization. Carolina Christian Radio is funded by the generous donations of individual listeners.

## History

Family Radio Network purchased 1490 AM WWIL in 1993 and, while the station struggled at first, the station was soon doing so well that Jim Stephens planned an FM station.

90.5 FM WWIL signed on in 1995 with 20,000 watts and a contemporary Christian music format that included Sandi Patti, Michael W. Smith, Wayne Watson and First Call as well as talk show hosts Chuck Colson, D. James Kennedy, Joni Eareckson Tada and Chuck Swindoll.

1. *Broadcasting & Cable Yearbook 2009* (PDF). 2009. p. D-410. Retrieved January 27, 2019.
2. "Facility Technical Data for WWIL-FM". *Licensing and Management System*. Federal Communications Commission.
3. "WWIL-FM Facility Record". *United States Federal Communications Commission, audio division*.
4. "WWIL-FM Station Information Profile". Arbitron.
5. Frank Maley, "Christian Radio; He's Sending a Message," *Star-News*, February 19, 1995.
6. Ben Steelman, "Praise Radio; It's the Gospel Truth: Christian Radio Is Gaining Popularity," *Star-News*, December 14, 1999.

## InfoBox

WWIL-FM
|  | |
| --- | --- |
|  | |
| Broadcast area | Wilmington, Jacksonville, North Myrtle Beach |
| Frequency | 90.5 MHz |
| Branding | Life 90.5 FM |
| Programming | |
| Format | Contemporary Christian music |
| Ownership | |
| Owner | Carolina Christian Radio, Inc. |
| Sister stations | WDVV, WZDG |
| History | |
| First air date | December 1995 (1995-12) |
| Call sign meaning | Winning Wilmington In Love |
| Technical information | |
| Licensing authority | FCC |
| Facility ID | 12165 |
| Class | C3 |
| ERP | 31,000 watts |
| HAAT | 189 meters (620 ft) |
| Transmitter coordinates | 34°10′52″N 78°02′33″W / 34.18111°N 78.04250°W / 34.18111; -78.04250 |
| Links | |
| Public license information |  |
| Webcast | Listen live |
| Website | www.life905.com |


title: On a Sunday

abstract: "On a Sunday" is a song recorded by Romanian singer Ester Peony. It was independently released for digital download and streaming as a single on 17 January 2019. Ioana Victoria Badea wrote the lyrics, while Peony composed the music alongside Alexandru Șerbu. Musically, the track is a mid-tempo blues, R&B, soul and 2000s-influenced electropop ballad backed by percussion, guitar, synthesizers and trance beats. Its lyrics discuss a failed relationship and include Peony reflecting upon a former love interest and the futile idea that he might return. Observers likened the track to the American folk song "The Wayfaring Stranger". "On a Sunday" represented Romania in the Eurovision Song Contest 2019 in Tel Aviv, Israel, after winning the pre-selection show Selecția Națională. The country failed to qualify for the final, marking their second and consecutive year to achieve this result. During a large portion of Peony's acclaimed goth-inspired performance, Peony was singing from a red armchair while accompanying dancers enacted a battle between good and evil visually amplified by various dark graphics showed on the LED screens. The show was the first one in Romania's Eurovision participation history to be significantly invested in by the Romanian Television (TVR), with costs amounting to a reported 100,000 euros. The track was met with mixed reviews from music critics upon its release, with some praising its production, contemporary nature and Peony's vocal delivery. To promote "On a Sunday", Peony performed the song on multiple radio and television stations in Romania, as well as on Eurovision-related occasions in the Netherlands and Spain. A well-received accompanying music video was uploaded to Cat Music's YouTube channel on 10 March 2019. Directed by Petre Năstase at Casa Monteoru in Bucharest, the video shows Peony wearing multiple outfits while investigating a haunted house.

text:
# On a Sunday

"**On a Sunday**" is a song recorded by Romanian singer Ester Peony. It was independently released for digital download and streaming as a single on 17 January 2019. Ioana Victoria Badea wrote the lyrics, while Peony composed the music alongside Alexandru Șerbu. Musically, the track is a mid-tempo blues, R&B, soul and 2000s-influenced electropop ballad backed by percussion, guitar, synthesizers and trance beats. Its lyrics discuss a failed relationship and include Peony reflecting upon a former love interest and the futile idea that he might return. Observers likened the track to the American folk song "The Wayfaring Stranger".

"On a Sunday" represented Romania in the Eurovision Song Contest 2019 in Tel Aviv, Israel, after winning the pre-selection show *Selecția Națională*. The country failed to qualify for the final, marking their second and consecutive year to achieve this result. During a large portion of Peony's acclaimed goth-inspired performance, Peony was singing from a red armchair while accompanying dancers enacted a battle between good and evil visually amplified by various dark graphics showed on the LED screens. The show was the first one in Romania's Eurovision participation history to be significantly invested in by the Romanian Television (TVR), with costs amounting to a reported 100,000 euros.

The track was met with mixed reviews from music critics upon its release, with some praising its production, contemporary nature and Peony's vocal delivery. To promote "On a Sunday", Peony performed the song on multiple radio and television stations in Romania, as well as on Eurovision-related occasions in the Netherlands and Spain. A well-received accompanying music video was uploaded to Cat Music's YouTube channel on 10 March 2019. Directed by Petre Năstase at Casa Monteoru in Bucharest, the video shows Peony wearing multiple outfits while investigating a haunted house.

## Background and composition

Ester Peony gained online recognition in 2014 for covering songs on YouTube, leading to a record deal with a Romanian label. She subsequently achieved success in Romania with her 2015 single "Sub aripa ta", which was playlisted by native radio and television stations. "On a Sunday" was independently released for digital download and streaming as a single on 17 January 2019. It was written by Ioana Victoria Badea, while the music was composed by Peony alongside Alexandru Șerbu. The idea for "On a Sunday" emerged from a guitar chord that inspired Peony to create a vocal melody. The song's title is only mentioned twice in its first verse, and it lyrically references the day in September that a "rupture occurred".

"On a Sunday" is a mid-tempo blues, R&B, soul and 2000s-influenced "dark" electropop ballad backed by percussion, "Western" guitar, "stuttering" synthesizers and "driving" trance beats. Critics also noted ethnic, jazz and gothic inspirations. The song's lyrics focus on a failed relationship, with Peony stating in an interview that "love becomes dangerous when given to the wrong person". Analyzing the lyrics, Diego Pinzon of Wiwibloggs called the track a "personal anecdote on the complexities of love". He further wrote: "\[Peony\] sings deftly about being obsessed with a former lover — and the idea, ultimately futile, that he might return. That longing, which can drive people into severe depression, often feels like the end of the world. Dealing with that pushes some people to the edge — and very clearly \[...\] Peony can be counted among them". Lyrics of "On a Sunday" include: "You left me \[...\] and I still remember that day in September/Watching the smoke rise from the ashtray, filling the room with pain, it’s still in my veins".

For the purpose of Peony's Eurovision Song Contest 2019 participation, "On a Sunday" was remastered, undergoing "structural changes \[...\] in \[its\] latter portions", leading to a "harsher beat in some parts". The singer elaborated: "The new version of the song comes with a slightly different, more dynamic feel. But at the same time it's keeping that dark mood". Lasting three minutes and four seconds, the remastered version of "On a Sunday" was eventually released for purchase on 10 March 2019 through Cat Music along with new cover artwork, replacing the previous version of the song. The label also released a CD in Romania.

## Critical reception and plagiarism accusation

"On a Sunday" was received with mixed reviews from music critics. Julian Geiser of Wiwibloggs wrote that the song had "a sultry, standout quality", while Pinzon of the same publication labelled it as "thoroughly contemporary" with a "universal appeal". In a Wiwibloggs review containing several reviews from individual critics, praise was outspoken towards Peony's voice and the song's catchiness and instrumentation, while one criticized it as "flat". Overall, the reviewers of the website gave the song 7.04 out of 10 points. Jonathan Currinn, writing for CelebMix, praised Peony's emotional and "classy" vocal delivery, but found the track to be "somewhat disappointing lyrically and rhythmically".

Due to accusations of plagiarising the American folk song "The Wayfaring Stranger", the Romanian Television (TVR) decided to set up a commission to analyze "On a Sunday" in February 2019. It consisted of music professionals Dan Dediu, Andrei Kerestely, Cristian Faur, Laurențiu Oprea and Gabriel Scîrlet. The broadcaster conclusively reported: "Although there are some similarities \[...\], it is a musical phrase of minor importance, which is not the essence of 'On a Sunday'. \[...\] In conclusion, \[the song\], even if it has some influences, can not be considered a plagiarism".

## Music video and promotion

By late February 2019, filming for an accompanying music video for "On a Sunday" had been completed, conducted by director Petre Năstase at Casa Monteoru in Bucharest, Romania. The clip was uploaded to Cat Music's official YouTube channel on 10 March 2019 and shows Peony "imprisoned in a deserted house". It begins with shots of an "old abandoned" mansion at night, which the singer is seen entering. The inside of the house is then shown, where a husky lies on a couch. Throughout the music video, Peony performs to the song wearing different outfits. Among other activities, she is shown investigating the house, performing along with two clones of herself which disappear in a burst of flames, and posing in front of an aquarium. In an interview, Năstase explained his vision for the clip: "The song is a story of a toxic relationship, so we created a character that enters a mansion which \[...\] is haunted by various spirits". Peony added: "The main character \[is\] trapped in a parallel universe — haunted by her own ghost. Igor, the dog, is the house guardian. As I become part of the house, Igor becomes my guardian too".

The music video was released to generally positive reviews from critics. Nick van Lith of ESCXtra praised it, noting a "moody, haunted atmosphere". He further stated: "With clever lighting, the result is in fact a very intriguing video". Writing for Wiwibloggs, William Lee Adams echoed Van Lith's thought and went on to compare the mansion to the one in the Netflix series *The Haunting of Hill House* due to its "derelict walls and eerie destruction". Adams noted that the video was "bold and just a little brash", as well as "intoxicating with marine life floating in the sky and mirrors reflecting all manner of madness". Pinzon of the same publication added: "\[T\]he house has become a prison of Ester’s own making. Her inability to move on has turned the situation into a nightmare. The singer’s inner turmoil — put on display in such a raw and visceral way — makes the viewer feel her sorrow". CelebMix's Currinn gave a lukewarm review: "Peony looks like a witch who has been scorned and she’s practising her magic so that she’s prepared to get her own back. It’s a pure performance piece. \[...\] It’s a haunting visual but they could've done more with her magical abilities – it leaves a lot to be desired, much like the song itself".

For further promotion, Peony performed "On a Sunday" live during *O melodie pentru Europa 2019* on 2 March, Moldova's national final to select their entrant for the Eurovision Song Contest 2019. Throughout the same month, she appeared to sing the song on Romanian television shows *Neața cu Răzvan și Dani*, *La Măruță*, *Vorbește lumea*, *Teo Show*, and *Star matinal*, alongside performances on Pro FM, București FM, Digi FM and Magic FM. In April, she performed at Eurovision pre-parties, including Amsterdam's Eurovision in Concert and PreParty ES in Madrid.

## At Eurovision

### National selection

TVR allowed artists and composers to submit their entries for the *Selecția Națională* between 9 November and 10 December 2018 for the selection of their entry for the Eurovision Song Contest 2019. A jury panel made up of music professionals rated all songs; their 24 semi-finalists were revealed on 20 December. During the contest's second semi-final held on 10 February 2019, Peony qualified for the final in third place by the jury. On the latter occasion one week later, she was chosen to represent Romania at Eurovision with 65 total points, consisting of 62 jury points (first overall) and three televoting points (eighth overall). Peony's victory was met with mixed reactions from the public. During her show, the singer sat on a vintage armchair while wearing a red dress and painted branches onto her arms. She was accompanied by two backing vocalists, a guitarist and a drummer, while rain and a haunted house were projected on the LED screen behind her. Alexandra Chivu of *Fanatik* praised Peony's performance, calling it "apoteotic" and her vocal delivery "flawless". Wiwibloggs' Geister labelled the graphic display as "stunning". In more mixed reviews, Currinn of CelebMix wrote that "the stage production \[...\] certainly does need some work", while Thomas Ling from *Radio Times* found the performance "memorable", yet called certain aspects "awkward".

### In Tel Aviv

The Eurovision Song Contest 2019 took place at Expo Tel Aviv in Tel Aviv, Israel and consisted of two semi-finals on 14 and 16 May, and the final on 18 May 2019. According to Eurovision rules, each country, except the host country and the "Big Five" (France, Germany, Italy, Spain and the United Kingdom), were required to qualify from one of two semi-finals to compete for the final; the top ten countries from each semi-final progressed to the final. In April 2019, it was announced that "On a Sunday" would be performed sixth in the second semi-final of the contest, following Latvia and preceding Denmark. Romania failed to qualify for the final, marking their second non-qualification, consecutive to the previous one.

#### Live performance and reception

Regarding Peony's Năstase-directed performance, it was revealed that it would hold on to the vision used for the song's music video. Onstage, Peony was accompanied by two female backing vocalists—Adela and Antonia—Șerbu, and two male dancers—Vlad Mircea and Valentin Cristian Chiș; the latter was the show's choreographer. Năstase elaborated: "All the show elements we could use—special effects, lights and graphics—we have prepared. We have kept the armchair presented in the national final because it is integrated into a special story on the graphics". 2019 marked the first time that there was a specific emphasis being put on Romania's staging and special effects in its contest history, with TVR's budget for the aforementioned amounting to circa 100,000 euros. It was also the first year that Romania produced its own graphics for Eurovision. Năstase elaborated: "It is the first time that more money has been allocated for the show than for the delegation, compared to the past years \[...\] No one is going to notice you if you do not invest in the show". Peony's technical rehearsals in Tel Aviv—costing between 2,000 and 2,500 euros each—were scheduled to take place on 6 May and 10 May 2019. She prepared for her performance by taking voice lessons.

During her goth-inspired performance, Peony is seen in front of a house haunted by two spirits—portrayed as ghosts "who have been held captive in the haunted house for several generations" by her backing vocalists. The accompanying dancers enact a battle between good and evil which is visually amplified by the presentation of water, fire and various dark graphics on the LED screens, as well as through pyrotechnics. The fight is also representative of the song's lyrics, reflecting the toxic relationship that is discussed in them. During a large amount of the performance, Peony sits on a red armchair, with the dancers advancing to the center of the stage throughout the track's first verse and joining her around the refrain. As she sings, Peony tries to free herself from and not remain a "prisoner of her demon", ultimately "unleash\[ing\] fire defeating evil and darkness". The show ends with a brighter stage in comparison to the beginning and shots of peonies blooming from scorched earth in the background, symbolizing a "hopeful future". During the performance, Peony wears a longer-length black blazer embellished with black sequins and beads, along with a white shirt with a large collar and a black "peasant" and "Victorian"-inspired skirt. The dancers sport "Renaissance-style" and "fetish" neck ruffs with waistcoats with an open back that exposes black harnesses.

The performance was met with generally positive responses from critics. Writing for Wiwibloggs, Angus Quinn likened the staging to a "world that appears to collapse in on itself" similar to Atlantis. He described Peony as channeling Marlene Dietrich and Count Dracula, and commented: "Ester Peony is a truly captivating presence. Her magnetism draws her dancers in. \[...\] This channels Transylvania, makes Dracula fashionable, and explodes in a fiery climax to close". Stratos Agadellis of ESCToday wrote that the singer's outfit combined both masculine and feminine elements, but criticized it to be slightly "disjointed". EuroVisionary's Michael Outerson described the performance as having a "New Orleans feel", specifically due to the "haunted house element it portrays". He likened the female background singers' clothing to that of a school girl. He was slightly critical of the staging, writing: "They need to work on their stage entrance".

#### Points awarded to Romania

Below is a breakdown of points awarded to Romania in the contest's second semi-final, as well as the breakdown of the jury voting and televoting conducted during the show. Romania was placed 13th with a total of 71 points. The country received 24 televoting points, which consisted of 12 awarded by Moldova, ten by Italy, as well as one by Ireland and the United Kingdom. The jury points added up to 47, including 12 from Russia and Moldova, as well as eight from Azerbaijan.

## Track listing

Digital download
| No. | Title | Length |
| --- | --- | --- |
| 1. | "On a Sunday" | 3:01 |

## Release history

| Country | Date | Format(s) | Label | Ref. |
| --- | --- | --- | --- | --- |
| Romania | 17 January 2019 | * Digital download * streaming | Independent |  |
| | N/A 2019 | CD | Cat Music |  |

## InfoBox

| "On a Sunday" | |
| --- | --- |
| Cover artwork for the original release. | |
| Single by Ester Peony | |
| Released | 17 January 2019 |
| Genre | Electropop |
| Length | 3:01 |
| Label | Independent |
| Songwriter(s) | Ioana Victoria Badea |
| Ester Peony singles chronology | |
| "1000 de motive"
(2016) "**On a Sunday**"
(2019) "Dernière danse"
(2019) | |
|  | |
| Music video | |
| "On a Sunday" on YouTube | |
| Eurovision Song Contest 2019 entry | |
| Country | Romania |
| Artist(s) | Ester Peony |
| Language | English |
| Composer(s) |  |
| Lyricist(s) | * Ioana Victoria Badea |
| Finals performance | |
| Semi-final result | 13th |
| Semi-final points | 71 |
| Entry chronology | |
| **◄ "Goodbye" (2018)** | |
| **"Alcohol You" (2020) ►** | |
|  | |


title: Melodramus

abstract: Melodramus was an American progressive metal band from Salt Lake City, Utah, United States, who have released three studio albums, 30 Silver Pieces, Two: Glass Apple, and the comeback album 1+1=1. One of the songs from Two: Glass Apple was also released on the Speed Racer soundtrack released by Sumthing Else Music Works on November 16, 2010. The only song to feature Ted Newsom a.k.a. The Rose Phantom on lead vocals, "Searching," has been made into the first official Melodramus music video which was quickly followed by the ballad, "Suffer Like You." Hale and Collard are currently in a new band called "Melō" with new drummer Jordan Davis. As of 2023, all three Melodramus albums are available digitally, 30 Silver Pieces and Two: Glass Apple can also be purchased CD copies for.

text:
# Melodramus

**Melodramus** was an American progressive metal band from Salt Lake City, Utah, United States, who have released three studio albums, 30 Silver Pieces, *Two: Glass Apple*, and the comeback album *1+1=1*. One of the songs from Two: Glass Apple was also released on the *Speed Racer* soundtrack released by Sumthing Else Music Works on November 16, 2010. The only song to feature Ted Newsom a.k.a. The Rose Phantom on lead vocals, "Searching," has been made into the first official Melodramus music video which was quickly followed by the ballad, "Suffer Like You."

Hale and Collard are currently in a new band called "Melō" with new drummer Jordan Davis.

As of 2023, all three Melodramus albums are available digitally, 30 Silver Pieces and Two: Glass Apple can also be purchased CD copies for.

## History

### 2007–2012

Melodramus, a four piece band released their first album, *30 Silver Pieces*, in 2007.

The four original members, lead vocalist/guitarist Zakkary Hale, bassist Mikey Collard, drummer Andrew Hopkins, and keyboardist/backing vocalist Ted Newsom a.k.a. The Rose Phantom consistently put their musical minds and hearts together in Melodramus to create a sound that blends metal and progressive pop. In other words, a melting pot of genres makes up the lack thereof. Hale, Hopkins, and Collard set the basic foundation of Melodramus' sound with hours of carefully written guitar hooks and riffs, groovy bass lines, and precise and punchy drumming; all the while, The Rose Phantom put the icing on the cake by contributing layers of atmospheric sounds created from his collection of synthesizers and keyboards.

*30 Silver Pieces*, paved the beginning steps for the band. The album comprises more than one genre as elements of rock, metal, and pop weave in and out of songs. Three years following their first album allowed the band to grow on many different levels in terms of musicianship and songwriting through stages of time and trial. The next album, titled *Two: Glass Apple*, was released internationally on October 26, 2010, and is said to be vastly different sounding than the first. The new album was produced by Matt Winegar. (Primus, Faith No More, Coheed and Cambria.

After the release of Two: Glass Apple, The Rose Phantom Left the band.

In 2010, Mikey Collard left the band and was replaced by Trevor Alder.

## Side projects

Ted Newsom a.k.a. The Rose Phantom has released five albums outside of Melodramus, four with his new-age Darkwave, instrumental project, revideolized and one with Sleep Slid iN (formed in 2008) in which he and Whitney Willow share vocal duties.

All of his projects, especially Sleep Slid iN, were a prelude to things to come, and set the stage for another incarnation of the constantly evolving artist who in late 2011 abandoned all previous project names, and decided to use his alter ego's identity, The Rose Phantom for all future releases.

Nine years into his career, The Rose Phantom's body of work attracted the attention of a filmmaker, and he was approached to create the soundtrack for an independent documentary film, Picking Up the Pieces. Shown at many film festivals, including Sundance in 2013, Picking Up the Pieces is about child prostitution in Cambodia, and required music that would set a very dark tone. The two tracks, over thirty minutes total, are very experimental and range from ambient, darkwave, to psychedelic rock. Released as a digital download only in June 2012, this project is both tense, and haunting.

Abandon, his first full-length release under his nom de musique, is an album over two years in the making. Produced by The Rose Phantom and the up-and-coming "Danegerous" Dane Morrow, the sound is a mix of pop rock and gothic darkwave, with hints of industrial. It's very close to being a concept album about personal struggle and self-doubt, with moments of hope and love.

## Discography

## Professional reviews

### Interviews

## InfoBox

| Melodramus | |
| --- | --- |
| Origin | Salt Lake City, Utah, United States |
| Genres | Progressive, metal, indie rock, pop, gothic |
| Years active | 2005–2012, 2016–2019 |
| Labels | Song Haus Music, Sumthing Else Music Works |
|  | |
| Members | Zakkary Hale
Andrew Hopkins
Mikey Collard
Ted Newsom |
|  | |
| Website | http://www.Melodramus.com
https://www.facebook.com/melodramus
https://www.youtube.com/melodramus |


title: Omfori

abstract: Omfori Island is a private, uninhabited, 1,112.00-acre (450.01-hectare) island in the Ionian Sea. As of 2020 the island has one building, a church, and is unpopulated. In 2015, the island was on sale for $61.9 million, and in 2017, it was the most expensive island in Greece and the 9th most expensive in the world, for $60 million. As of 2021, the island is still on sale for $55 to $62 million.

text:
# Omfori

**Omfori Island** is a private, uninhabited, 1,112.00-acre (450.01-hectare) island in the Ionian Sea. As of 2020 the island has one building, a church, and is unpopulated. In 2015, the island was on sale for $61.9 million, and in 2017, it was the most expensive island in Greece and the 9th most expensive in the world, for $60 million. As of 2021, the island is still on sale for $55 to $62 million.

## InfoBox

Omfori Island
|  | |
| --- | --- |
| Geography | |
| Location | Ionian Sea, Greece |
| Coordinates | 38°30′00″N 20°30′00″E / 38.5000°N 20.5000°E / 38.5000; 20.5000 |
| Adjacent to | Ionian Sea |
| Area | 4.500 km2 (1.737 sq mi) |
| Highest elevation | 260.4 m (854.3 ft) |
| Administration | |
| **Greece** | |
| Region | Ionian Islands |
| Regional Unit | Ithaca |
| Demographics | |
| Population | 0 (2013) |


title: Natchitoches people

abstract: The Natchitoches are a Native American tribe from Louisiana and Texas. They organized themselves in one of the three Caddo-speaking confederacies along with the Hasinai, and Kadohadacho.

text:
# Natchitoches people

The **Natchitoches** (/ˈnækətɪʃ/ *NAK-ə-tish*; Caddo: *Náshit'ush*) are a Native American tribe from Louisiana and Texas. They organized themselves in one of the three Caddo-speaking confederacies along with the Hasinai (between the Sabine and Trinity rivers in eastern Texas), and Kadohadacho (at the borders of Texas, Oklahoma, Arkansas, and Louisiana).

## History

Natchitoches territory was along the Red River of the South in northeastern Texas and northwestern Louisiana, they were important allies of the French in the 17th and 18th centuries, played a major role in the subjugation of the Natchez in the Natchez uprising and the so-called Natchez wars.

In the early 17th century, the Natchitoches were joined by some of the remnants of the Kadohadacho, a tribe with many members who had been killed or enslaved by the Chickasaw. They settled on the Cane River around present day Natchitoches, Louisiana, which is a city named after the tribe.

## Name

Many historians have claimed that the name *Natchitoches* is derived from the native word *nashitosh* meaning "paw paw people". However, Native American linguist John R. Swanton wrote that the word may actually be derived from *nacicit* meaning "Place where the soil is red".

## Member tribes

Member tribes of the historic Natchitoches Confederation:

* **Doustioni** or **Dotchetonne** were a band who likely lived near the Gulf of Mexico. The French edition led by Sieur de la Salle in 1682 recorded them as allies of the Kadohadacho. J. R. Swanton identified them as a Caddo tribe from the area around Bayou Dauchite in northwestern Louisiana, both are not proven. At the invitation of their French allies, they settled near the related Lower Natchitoches on the Red River. Severely decimated by disease and war, they lost their independent identity and were absorbed by the other Caddo tribes. No further record of the tribe survives.
* **(Lower) Natchitoches** (Caddo: **Náshit'ush** or **Nashitosh**) (lived in the vicinity of the French trading post Natchitoches in Northeast Louisiana; the *Upper Natchitoches* were part of the Kadohadacho Confederacy to the north)
* **Ouachita** or **Washita** (Caddo: **Wishita** – "good hunting grounds", (lived along the Ouachita River named after them and along the *Black River* (the name for the lower reaches of the Quachita River after the confluence of the Taensa River) in northeastern Louisiana, about 1690 they settled near Pargoud Landing near today's Monroe, Louisiana, joined the Natchitoches Confederation around 1720 due to losses from disease and wars)
* **Yatasi** or **Lower Yatasi** (Caddo: **Yáttasih** – "Those other people", lived in the area south of modern Shreveport in Northwest Louisiana, the French were welcomed by the Yatasi as allies in the fight against the then hostile Kadohadacho. At the beginning of the 18th century, the Chickasaw killed a large number of Yatasi, so that the majority joined the Natchitoches Confederation, but a small splinter group - the *Upper Yatasi* \- joined the Kadohadacho Confederation, were important intermediaries first with the French, later with the Spanish, even after the takeover of Louisiana by the Americans they kept the fur trade.)

## Today

Descendants of the Natchitoches along with other members of the Caddo Confederacy tribes are enrolled in the federally recognized Caddo Nation of Oklahoma.

In 2017, the State of Louisiana state-recognized The Natchitoches Tribe of Louisiana, whose members identify as being descendants of the Natchitoches.

1. Edmonds 2003, p. 28.
2. William A. Read (12 October 2008). *Louisiana Place Names of Indian Origin: A Collection of Words*. University of Alabama Press. p. 45. ISBN 978-0-8173-5505-0.
3. John Reed Swanton (1952). *The Indian Tribes of North America*. Genealogical Publishing Com. p. 205. ISBN 978-0-8063-1730-4.
4. Dotchetonne Indians Handbook of Texas entry, retrieved March 30, 2007.
5. "Caddos". *Encyclopedia of the Great Plains*. University of Nebraska. Retrieved 29 May 2023.
6. "The Natchitoches Tribe of Louisiana Gains State Recognition". *Natchitoches Parish Journal*. 12 February 2018. Retrieved 22 January 2020.

## Sources

* Edmonds, Randlett (2003). *Nusht'uhtiʔtiʔ Hasinay: Caddo Phrasebook*. Richardson, TX: Various Indian Peoples Publishing. ISBN 1-884655-00-9.
* Lauber, Almon Wheeler (1969) \[1913\]. *Indian Slavery in Colonial Times Within the Present Limits of the United States*. New York: AMS Press \[Columbia University Press\]. p. 30.

## InfoBox

Natchitoches
| Náshit'ush | |
| --- | --- |
| Total population | |
| merged into Caddo Nation | |
| Regions with significant populations | |
| United States (formerly Louisiana<br>and Texas, today Oklahoma) | |
| Languages | |
| Natchitoches language, Caddo language, English | |
| Related ethnic groups | |
| other members of the Caddo Confederacy | |


title: Vasco Martins de Melo

abstract: Vasco Martins de Melo (-1388) was a Portuguese noblemen, Lord of Castanheira. He served as Alcaide-mor of Évora. He was the son of Martim Afonso de Melo, 4th Lord of Melo, and Marinha Vasques de Albergaria, and grandson of Afonso Mendes de Melo. He was married to Teresa Correia daughter of Gonçalo Gomes de Azevedo. His second wife was Maria Afonso de Brito daughter of Martim Afonso de Brito and Isabel Afonso.

text:
# Vasco Martins de Melo

**Vasco Martins de Melo** (-1388) was a Portuguese noblemen, Lord of Castanheira. He served as Alcaide-mor of Évora.

He was the son of Martim Afonso de Melo, 4th Lord of Melo, and Marinha Vasques de Albergaria, and grandson of Afonso Mendes de Melo. He was married to Teresa Correia daughter of Gonçalo Gomes de Azevedo. His second wife was Maria Afonso de Brito daughter of Martim Afonso de Brito and Isabel Afonso.

## InfoBox

| Vasco Martins de Melo | |
| --- | --- |
| Lord | |
| Born | 1310s
Portugal |
| Died | 9 May 1388
Portugal |


title: George Breeman

abstract: George Breeman was a United States Navy sailor who received the Medal of Honor for his heroism following a turret explosion in 1906 on board the battleship USS Kearsarge (BB-5).

text:
# George Breeman

**George Breeman** (September 15, 1880 – April 10, 1937) was a United States Navy sailor who received the Medal of Honor for his heroism following a turret explosion in 1906 on board the battleship USS *Kearsarge* (BB-5).

## Biography

Born in Passaic, New Jersey, Breeman enlisted in the United States Navy on June 2, 1902, and was rated as a landsman for training. He served briefly in the receiving ships USS *Columbia* (C-12) and USS *Franklin* (1864) before being assigned to the gunboat USS *Topeka* (PG-35) on September 19, 1902. On March 23, 1903, while still in *Topeka*, he was rated an ordinary seaman. In May 1903, Breeman was reassigned to USS *Kearsarge* (BB-5).

On April 13, 1906, a flash fire occurred in *Kearsarge*'s forward 13-inch turret, where Breeman was serving, killing several officers and men. Burning powder fell into the 13-inch handling room below. Breeman rushed from his battle station in the adjacent powder magazine into the handling room and stamped out the fires. He then returned to the magazine, closed the hatch to the handling room, and began replacing the covers on open powder tanks.

Breeman received the Medal of Honor on May 5, 1906, for his actions on board *Kearsarge* the previous month and received $100 as a gratuity.

Not long thereafter, his term of enlistment expired, and Breeman received an honorable discharge from the Navy. On September 16, 1912, he reenlisted at New York City. After a brief period of service in USS *Nashville* (PG-7), he transferred to the battleship USS *New Hampshire* (BB-25) on December 23, 1912, where he served for a little more than eight years.

During most of that time, his ship operated in the Caribbean and Gulf of Mexico. During America's participation in World War I, however, he and his ship helped to train gunners in northern waters. At the end of the war, Breeman made four voyages to Europe and back in USS *New Hampshire* (BB-25) bringing veterans home. During his long tour of duty in *New Hampshire*, he advanced to the rank of chief turret captain.

On May 20, 1921, Breeman transferred to the receiving ship at Hampton Roads, Virginia, before moving on to a tour of duty at the Naval Air Station Anacostia, in Washington, D.C. In March 1922, Breeman returned to sea in the new battleship USS *California* (BB-44). That final sea duty assignment lasted for almost three years. On May 31, 1927, he went ashore for the last time. After successive tours at the Naval Training Station, Hampton Roads, and the Navy Recruiting Station, Newark, New Jersey, Breeman was transferred to the Fleet Reserve on January 3, 1929.

Chief Turret Captain Breeman died of a heart attack on April 10, 1937, in Passaic. On April 14, 1947, he was buried in Section 6 of Arlington National Cemetery in Arlington, Virginia.

## USS *Breeman*

The destroyer escort USS *Breeman* (DE-104) was launched on September 4, 1943, by the Dravo Corporation of Wilmington, Delaware. The launching ceremony was sponsored by his niece, Mrs. Marie Breeman Schellgell. The vessel was commissioned by the United States Navy on December 12, 1943, with Lt. Comdr. Edward N.W. Hunter commanding. The boat saw service throughout the Atlantic Ocean during World War II, before being decommissioned on April 26, 1946. The *Breeman* was later transferred to the Nationalist government of China on October 29, 1948.

## Medal of Honor citation

Rank and organization: Seaman, U.S. Navy. Born: September 15, 1880, Passaic, N.J. Accredited to: New Jersey. G.O. No.: 21, May 5, 1906.

**Citation:**

> Breeman displayed heroism in the line of his profession while serving on board the U.S.S. Kearsarge at the time of the accidental ignition of powder charges in the forward 13-inch turret.

## Legacy

A memorial to Breeman's heroism stands in Veteran's Memorial Park in Passaic, New Jersey.

*This article incorporates text from the public domain* Dictionary of American Naval Fighting Ships*.* * "Breeman, *Dictionary of Naval Fighting Ships*, Naval Historical Center, Department of the Navy". Retrieved September 29, 2010.
* "George Breeman, Seaman, United States Navy, Arlington National Cemetery". Retrieved September 29, 2010.
* "George Breeman and USS *Breeman* at breeman.org". Retrieved September 29, 2010.

## InfoBox

| George Breeman | |
| --- | --- |
|  | |
| Born | (1880-09-15)September 15, 1880
Passaic, New Jersey, US |
| Died | April 10, 1937(1937-04-10) (aged 56)
Passaic, New Jersey, US |
| Place of burial | Arlington National Cemetery |
| Allegiance | United States |
| Service/branch | United States Navy |
| Years of service | 1902 - 1906, 1912 - 1929 |
| Rank | Chief Turret Captain |
| Unit | USS *Kearsarge* (BB-5) |
| Awards | Medal of Honor |


title: NGC 6778

abstract: NGC 6778 is a planetary nebula (PN) located about 10,300 light years away from the Sun in the equatorial constellation of Aquila. It is positioned 5° to the SSW of the prominent star Delta Aquilae. This nebula was discovered by German astronomer Albert Marth during the period 1863–1865. English astronomer John Herschel may have mistakenly catalogued it as NGC 6785, as nothing can be found now at the coordinates he gave for it. In the New General Catalogue it was described as a "small, elongated, ill-defined disc". This planetary nebula displays a disrupted morphology, with a roughly S-shaped feature projecting out of an irregular shell, along with linear jet-like forms. The inner part contains a highly distorted elliptical ring oriented along an east-west direction. The nebula and ring have an angular size of 8.5″ and they are about 4,400 years old, while the jets are around 1,700 years old. At the center of the nebula is a close binary star system with an orbital period of just 3.68 hours, one of the shortest known among the binary central stars that form a planetary nebulae. Their proximity to each other provides strong evidence that they have passed through a common-envelope (CE) phase earlier in their evolution. The pair may now consist of a primary star with 0.6 M☉, a red dwarf secondary companion having 0.3 M☉, and a semimajor axis of only 0.005 AU (1.1 R☉). The surrounding nebula is inclined about 85° to the line of sight from the Earth. The torus of this nebula is notable for its high expansion velocity, measured at up to 60–70 km/s. It displays collimated outflows, possibly as a result of the CE behavior of the central stars or else a short-lived accretion disk. The pair of jets are located along a position angle of 15°, showing fast outflow with radial velocities of around 100 km/s. The nebula is notable for the rich amount of filamentary "low-ionization structures", or LIS, resembling the wispy structures of nova explosions. These too may be the result of the CE interaction. In addition to a higher than normal helium abundance, the nebula displays unusually strong optical recombination lines from heavier elements; one of the highest known among PNe. These may be the result of a very late thermal pulse, or "final flash", following the initial ejection of the stellar envelope that formed the nebula. The pulse would have ejected chemically-enriched material into the old nebula, changing its abundances.

text:
# NGC 6778

**NGC 6778** is a planetary nebula (PN) located about 10,300 light years away from the Sun in the equatorial constellation of Aquila. It is positioned 5° to the SSW of the prominent star Delta Aquilae. This nebula was discovered by German astronomer Albert Marth during the period 1863–1865. English astronomer John Herschel may have mistakenly catalogued it as NGC 6785, as nothing can be found now at the coordinates he gave for it. In the New General Catalogue it was described as a "small, elongated, ill-defined disc".

This planetary nebula displays a disrupted morphology, with a roughly S-shaped feature projecting out of an irregular shell, along with linear jet-like forms. The inner part contains a highly distorted elliptical ring oriented along an east-west direction. The nebula and ring have an angular size of 8.5 and they are about 4,400 years old, while the jets are around 1,700 years old.

At the center of the nebula is a close binary star system with an orbital period of just 3.68 hours, one of the shortest known among the binary central stars that form a planetary nebulae. Their proximity to each other provides strong evidence that they have passed through a common-envelope (CE) phase earlier in their evolution. The pair may now consist of a primary star with 0.6 *M*, a red dwarf secondary companion having 0.3 *M*, and a semimajor axis of only 0.005 AU (1.1 *R*).

The surrounding nebula is inclined about 85° to the line of sight from the Earth. The torus of this nebula is notable for its high expansion velocity, measured at up to 60–70 km/s. It displays collimated outflows, possibly as a result of the CE behavior of the central stars or else a short-lived accretion disk. The pair of jets are located along a position angle of 15°, showing fast outflow with radial velocities of around 100 km/s. The nebula is notable for the rich amount of filamentary "low-ionization structures", or LIS, resembling the wispy structures of nova explosions. These too may be the result of the CE interaction.

In addition to a higher than normal helium abundance, the nebula displays unusually strong optical recombination lines from heavier elements; one of the highest known among PNe. These may be the result of a very late thermal pulse, or "final flash", following the initial ejection of the stellar envelope that formed the nebula. The pulse would have ejected chemically-enriched material into the old nebula, changing its abundances.

* Media related to NGC 6778 at Wikimedia Commons

## InfoBox

| Emission nebula | |
| --- | --- |
| Planetary nebula | |
| NGC 6778 (center) | |
| Observation data: J2000 epoch | |
| Right ascension | 19h 18m 25.0s |
| Declination | −01° 35 47 |
| Distance | 10,300 ly   (3,150 pc) |
| Apparent magnitude (V) | 11.9 |
| Apparent diameter | 8.5 |
| Constellation | Aquila |
|  | |
| Designations | NGC 6778 or 6785, HD 180871 |
|


title: Platycheirus confusus

abstract: Platycheirus confusus, the Confusing Sedgesitter, is a species of syrphid fly in the family Syrphidae.

text:
# Platycheirus confusus

***Platycheirus confusus***, the **Confusing Sedgesitter**, is a species of syrphid fly in the family Syrphidae.

## Description

For terminology Speight key to genera and glossary
external link to photos
Size 6–8.2 mm (0.24–0.32 in)
The face slopes downward slightly, and the front of the oral margin does not extend as far forward as the tubercle. A broad, shiny stripe runs down the center of the face from the lower facial margin almost to the antennae. The greyish pollinosity on the sides of the stripe appears to have faint oblique ripples. The legs are mostly dark, with only the tips of the femora and the basal three-quarters of the fore and mid tibiae being orange. On the upper two-thirds of the fore tibia, there is a row of weak, posterior setae, with the longest setae being approximately three times the diameter of the tibia. The mid tibia also has a similar row of setae on its upper two-thirds. The thorax has very sparse grey pollinosity, almost appearing bare. The longest scutellar pile is as long as the arista, while other thoracic piles are no longer than half the length of the scutellar pile. The upper half of the pleura usually has dark pile, while the lower half of the pleura has white pile. The halter is brown. The wing is typically brownish and almost entirely microtrichose, with only small bare patches near cells c and bm. The abdomen is parallel-sided, with brown spots on its tergites, some of which are overlaid with prominent silver pollinosity that may even merge medially on tergites 3 and 4. The lateral pile on the abdomen is mostly pale. The surstylus has a stout and almost straight lateral lobe.

## InfoBox

| *Platycheirus confusus* | |
| --- | --- |
|
| Scientific classification | |
| Domain: | Eukaryota |
| Kingdom: | Animalia |
| Phylum: | Arthropoda |
| Class: | Insecta |
| Order: | Diptera |
| Family: | Syrphidae |
| Genus: | *Platycheirus* |
| Species: | ***P. confusus*** |
| Binomial name | |
| ***Platycheirus confusus***<br>(Curran, 1925) | |
|
| Synonyms | |
| * *Melanostoma confusus*  Curran, 1925 | |


title: Seegefeld station

abstract: Seegefeld station is a railway station in the Seegefeld district in the municipality of Falkensee, located in the Havelland district in Brandenburg, Germany.

text:
# Seegefeld station

**Seegefeld station** is a railway station in the Seegefeld district in the municipality of Falkensee, located in the Havelland district in Brandenburg, Germany.

## InfoBox

| Seegefeld | |
| --- | --- |
| General information | |
| Location | Seegefelder Straße 144
14612 Falkensee
Brandenburg
Germany |
| Coordinates | 52°33′09″N 13°07′01″E / 52.5525°N 13.1169°E / 52.5525; 13.1169 |
| Owned by | DB Netz |
| Operated by | DB Station&Service |
| Line(s) |  |
| Platforms | 2 side platforms |
| Tracks | 2 |
| Train operators | DB Regio Nordost |
| Other information | |
| Station code | 7743 |
| DS100 code | BSFD |
| IBNR | 8081586 |
| Category | 5 |
| Fare zone | VBB: Berlin C/5451 |
| Website | www.bahnhof.de |
| History | |
| Opened | 1995 (1995) |
|  | |
| Services | |
| Preceding station  DB Regio Nordost Following station  Falkenseetowards Nauen  RB 10  Berlin-Albrechtshoftowards Berlin Südkreuz  RB 14 | |
|  | |
|  | |
|  | |
| Location  SeegefeldLocation within BrandenburgSeegefeldLocation within GermanySeegefeldLocation within Europe | |


title: Memecylon macrophyllum

abstract: Memecylon macrophyllum is a species of plant in the family Melastomataceae. It is endemic to Sri Lanka.

text:
# Memecylon macrophyllum

***Memecylon macrophyllum*** is a species of plant in the family Melastomataceae. It is endemic to Sri Lanka.

## InfoBox

| *Memecylon macrophyllum* | |
| --- | --- |
| Conservation status | |
|
Endangered  (IUCN 2.3) | |
| Scientific classification | |
| Kingdom: | Plantae |
| *Clade*: | Tracheophytes |
| *Clade*: | Angiosperms |
| *Clade*: | Eudicots |
| *Clade*: | Rosids |
| Order: | Myrtales |
| Family: | Melastomataceae |
| Genus: | *Memecylon* |
| Species: | ***M. macrophyllum*** |
| Binomial name | |
| ***Memecylon macrophyllum***
Thwaites | |
|


title: Pied-piping

abstract: In linguistics, pied-piping is a phenomenon of syntax whereby a given focused expression brings along an encompassing phrase with it when it is moved. The term was introduced by John Robert Ross in 1967. It references the legend of the Pied Piper of Hamelin, where a piper lured rats and children away from their town. In syntactic pied-piping, a focused expression pulls its host phrase with it when it moves to its new position in the sentence. Metaphorically, the focused expression is the piper, and the host phrase is the material being pied-piped. Pied-piping is an aspect of syntactic discontinuities and has to do with constituents that can or cannot be discontinuous. Pied-piping is most visible in cases of wh-fronting of information questions and relative clauses, but it is not limited to wh-fronting. It can also occur with almost any type of discontinuity, including extraposition, scrambling, and topicalization. Most, if not all, languages that allow discontinuities employ pied-piping to some extent. However, there are significant differences across languages in this area, with some languages using pied-piping much more than others.

text:
# Pied-piping

In linguistics, **pied-piping** is a phenomenon of syntax whereby a given focused expression brings along an encompassing phrase with it when it is moved.

The term was introduced by John Robert Ross in 1967. It references the legend of the Pied Piper of Hamelin, where a piper lured rats and children away from their town. In syntactic pied-piping, a focused expression (such as an interrogative word) pulls its host phrase with it when it moves to its new position in the sentence. Metaphorically, the focused expression is the piper, and the host phrase is the material being pied-piped.

Pied-piping is an aspect of syntactic discontinuities and has to do with constituents that can or cannot be discontinuous. Pied-piping is most visible in cases of wh-fronting of information questions and relative clauses, but it is not limited to *wh*-fronting. It can also occur with almost any type of discontinuity, including extraposition, scrambling, and topicalization. Most, if not all, languages that allow discontinuities employ pied-piping to some extent. However, there are significant differences across languages in this area, with some languages using pied-piping much more than others.

## Pied-piping in English

### *Wh*-clauses vs. relative clauses

#### *Wh*-clauses

In English, pied-piping occurs when a *wh*-expression drags its containing phrase with it to the front of the clause. The pied-piped material can be a noun phrase (NP), an adjective phrase (AP), an adverb phrase (AdvP), or a prepositional phrase (PP).

In the following examples, the focused expression is indicated in bold, and the fronted word/phrase in the (b) and (c) sentences is underlined, with the gap marking its canonical position. The material that has been pied-piped is any underlined material that is not bolded. The (b) sentences show the focused expression pied-piping the target phrase, and the (c) sentences show absence of pied-piping. which is often ungrammatical.

(1b) The interrogative word *which* has pied-piped the noun *house*.(1c) *which* has not pied-piped *house* resulting in an ungrammatical sentence.
```
(1) a.  She bought **that** house.
    b.  **Which** house did she buy ___?
    c. ***Which** did she buy ___ house?
```

```
(2) a.  She is **ten years** old.
    b.  **How** old is she ___?
    c. ***How** is she ___ old?
```

```
(3) a.  John left the scene **very** slowly.
    b.  **How** slowly did John leave the scene ___?
    c. ***How** did John leave the scene ___ slowly?
```

Pied-piping also occurs in embedded *wh*-clauses:

(4b) *whose* has pied-piped the noun *paper*.(4c) *whose* moves without pied-piping *paper*.
```
(4) a.  Sarah likes **someone's** paper.
    b.  Sam asked **whose** paper Sarah likes ___.
    c. *Sam asked **whose** Sarah likes ___ paper.
```

In (4), the possessive interrogative ***whose*** is contained within a determiner phrase (DP) that also includes *paper*. Attempting to move *who* and the possessive '*s* is syntactically impossible without also moving the possessive's complement, *paper*. As a result, (4b) is grammatical while (4c) is not because the focused expression has moved without the target phrase.

#### Relative clauses

Pied-piping is very frequent in relative clauses, where a greater flexibility about what can or must be pied-piped is discernible:

```
(5) a. He likes stories about **hobbits**.
    b. ...hobbits stories about **whom** he likes ___.
    c. ...hobbits about **whom** he likes stories ___.
    d. ...hobbits **whom** he likes stories about ___.
```

In English, the pied-piping mechanism is more flexible in relative clauses than in interrogative clauses, because material can be pied-piped that would be less acceptable in the corresponding interrogative clause.

```
(6) a.  She laughed because of **the face you made**.
    b. ?Because of **what** did she laugh ___? - Pied-piping seems marginally acceptable in this matrix *wh*-clause.
    c. *We asked because of **what** she laughed ___? - Pied-piping is simply bad in this embedded *wh*-clause.
    d. ...the face you made because of **which** she laughed ___ - Pied-piping is possible in this relative clause.
```

```
 (7) a.  Tom likes your picture of **Susan**.
     b.??Your picture of **whom** does Tom like ___? - Pied-piping seems strongly marginal in this matrix *wh*-clause.
     c. *They know your picture of **whom** Tom likes ___? - Pied-piping is simply bad in this embedded *wh*-clause.
     d. ...Susan, your picture of **whom** Tom likes ___ - Pied-piping is possible in this relative clause.
```

The (d) examples, where pied-piping has occurred in a relative clause, are acceptable. The corresponding *wh*-clauses in the (b) and (c) sentences are much less acceptable. This aspect of pied-piping (i.e. that it is more restricted in *wh*-clauses than in relative clauses in English) is poorly understood, especially in light of the fact that the same contrast in acceptability does not occur in closely related languages such as German.

### Preposition placement variation

#### Pied-piping vs. preposition stranding

Pied-piping is sometimes optional with English prepositions (*in*, *of*, *on*, *to*, *with*, etc.). In these flexible cases, preposition phrases can be constructed with a continuous structure (pied-piping) or an alternative discontinuous structure (preposition stranding). When pied-piping occurs, the preposition phrase is continuous, because the preposition follows the focused expression to a new position. In preposition stranding, the preposition phrase is discontinuous because the preposition stays in its original position while the focused expression moves away.

The following examples show cases where either pied-piping or preposition stranding can occur.

(8b) *whom* has pied-piped the preposition *with*.(8c) Preposition stranding occurs as *whom* moves without *with*.
```
(8) a. Fred spoke with **Susan**.
    b. With **whom** did Fred speak ___.
    c. **Who** did Fred speak with ___?
```

```
(9) a. Fred is waiting for **Susan**.
    b. For **whom** is Fred waiting ___?
    c. **Who** is Fred waiting for ___?
```

#### Influences on variation

In cases where pied-piping and preposition stranding are interchangeable, both types of constructions are generally considered acceptable by native English speakers. However, prescriptive grammar rules specify that the object of a preposition must immediately follow its governing preposition. Preposition pied-piping is favoured in formal registers of English, such as academic writing and printed text. In comparison, pied-piping is disfavoured in colloquial registers. Speakers tend to prefer preposition stranding instead of pied-piping in informal contexts, such as private dialogue and private correspondence.

In (8) and (9) above, the (b) sentences present a formal register, while a colloquial register is observed in the (c) sentences.

#### Obligatory pied-piping

Although flexibility between pied-piping and preposition stranding exists, they are not always interchangeable. Pied-piping is mandatory in some cases. This occurs with some antecedent nouns (e.g., *way, extent, point, sense, degree, time, moment*) and some prepositions (e.g., *beyond, during, underneath*).

The following examples show cases where pied-piping is mandatory.

(10b) *which* has pied-piped the preposition *in*.(10c) *which* moves without pied-piping the preposition *in*.
```
(10) a.  You wrote this book in **that way**.
     b.  I like the way in **which** you wrote this book ___.
     c. *I like the way **which** you wrote this book in ___.
```

```
(11) a. There is a field beyond **the fence**.
     b. The road ends at the fence, beyond **which** there is a field ___.
     c. *The road ends at the fence, **which** there is a field beyond ___.
```

Pied-piping is obligatory to form a grammatically sound sentence in the above (b) sentences, while absence of pied-piping results in an ungrammatical sentence in the (c) sentences.

Contrastively, pied-piping is not acceptable in some cases. This typically occurs with prepositions that are part of a verb's meaning. For example, pied-piping is not acceptable for phrasal verbs such as *look after* and some idioms such as *get rid of*. In these cases, preposition stranding is obligatory.

The following examples show cases where pied-piping is not acceptable.

```
(12) a.  I'm looking after **the cat** this weekend.
     b.  This is the cat **which** I'm looking after ___ this weekend. - Preposition stranding is obligatory
     c. *This is the cat after **which** I'm looking ___ this weekend.
```

```
(13) a.  We have to get rid of **the rotten apple**.
     b.  Where is the rotten apple **which** we have to get rid of ___? - Preposition stranding is obligatory
     c. *Where is the rotten apple of **which** we have to get rid ___?
     d. *Where is the rotten apple rid of **which** we have to get ___?
```

### Pied-piping broadly construed

Broadly construed, pied-piping occurs in other types of discontinuities beyond *wh*-fronting. If one views just part of a topicalized or extraposed phrase as focused, then pied-piping can be construed as occurring with these other types of discontinuities. Assuming that just the bolded words in these examples bear contrastive focus, the rest of the topicalized or extraposed phrase is pied-piped in each (b) sentence of (14) and (15). Similar examples could be produced for scrambling.

```
(14) a. She called **his** parents, not **her** parents.
     b. **His** parents she called, not **her** parents. - Topicalization can be construed as involving pied-piping.
```

```
(15) a. The student whom **I** know helped, not the student whom **you** know.
     b. The student helped whom **I** know, not the student whom **you** know. - Extraposition can be construed as involving pied-piping.
```

## Theoretical approaches to pied-piping

In 1967, Ross defined a number of constraints including the *Left Branch Condition*. This condition constrains movement of a leftmost NP constituent out of a larger NP. When the leftmost NP moves, pied-piping is necessary in order to ensure that the *Left Branch Condition* is not violated. At the time, PPs were considered to immediately dominate P and NP, and APs and AdvPs were seen as dominating or being dominated by NPs. Ross' constraints apply to English, but they are not universally applicable to all languages. The fact that pied-piping varies so much across languages is a major challenge facing theories of syntax.

### Subjacency Principle

Together with other constraints, the *Left Branch Condition* was combined into the subjacency condition which governs movement.

```
**The Left Branch Constraint (adjusted):**
If a DP is the subject of a larger DP, it cannot be moved out of the larger DP.
```

In English, this constraint applies to possessive determiners, as seen in the sentences in (4). In these sentences, moving only the DP *who*, or both *who* and the possessive D '*s* (to form *whose*) violates the *Left Branch Constraint*. To ensure grammaticality, the larger DP must move whereby the interrogative *whose* pied-pipes the NP complement *paper*, seen in (4b).

### Other approaches

As theories of syntax evolved, linguists have investigated the phenomenon of pied-piping in English and other languages using different syntactic models. Theoretical approaches to pied-piping have included Head-driven Phrase Structure Grammar, Optimality Theory and assumptions from the Minimalist Program, and Word Grammar.

## Pied-piping across languages

Pied-piping varies across languages. Languages with relatively strict word order, such as English, tend to employ pied-piping more often than languages that have relatively free word order, such as Slavic languages. The following examples from Russian, Latin, and German illustrate variation in pied-piping across languages.

Unlike in English, a pre-noun modifier in Russian (16) and Latin (17) does not need to pied-pipe the noun that it modifies.

(16)

**Č′jui**

whose

ty

you

čitaješ

read

knigu?

book

**Č′jui** ty čitaješ knigu?

whose you read book

Whose book are you reading? (lit. Whose you reading book?)

(17)

**Cuius**

whose

legis

you.read

librum?

book

**Cuius** legis librum?

whose you.read book

Whose book are you reading? (lit. Whose you.reading book?)

When the word order of Russian in (16) and Latin in (17) is maintained in English, the sentences are unacceptable. This is because pre-noun modifiers must pied-pipe their noun in English. This is explained through the *Left Branch Condition*, as described in the section above. The Left Branch Condition appears to be absent in Russian and Latin.

Another example illustrating variation in pied-piping across languages is from German. In some cases, relative pronouns in German have the option to pied-pipe a governing ***zu***-infinitive when they are fronted. In (18a), the relative pronoun ***das*** pied-pipes the ***zu***-infinitive ***zu lesen*** 'to read' to the front of the relative clause. Pied-piping does not occur in (18b). Since both variants are acceptable, pied-piping in such cases is optional. Pied-piping in such constellations is impossible in English, as seen by the contrast between the ill-formed (19a) and the well-formed (19b) ).

(18) a.

...das

the

Buch

book

\[**das**

**which**

zu

to

lesen\]

read

ich

I

versuchte.

tried

...das Buch \[**das** zu lesen\] ich versuchte.

the book **which** to read I tried

the book that I tried to read

(18) b.

...das

the

Buch

book

\[**das**\]

**which**

ich

I

\__

zu

to

lesen

read

versuchte.

tried

...das Buch \[**das**\] ich \__ zu lesen versuchte.

the book **which** I {} to read tried

the book that I tried to read

```
(19) a. *...the book [to read **which**] I tried __

     b. *the book* [**which**] I tried to read __
```
* Brattico, P. (2012). Pied-piping domains and adjunction coincide in Finnish. *Nordic Journal of Linguistics, 35*(1), 71–89. https://doi.org/10.1017/S0332586512000121
* Crystal, D. (1997). *A dictionary of linguistics and phonetics, 4th edition*. Oxford, UK: Blackwell Publishers.
* Culicover, P. (1997). *Principles and parameters: An introduction to syntactic theory*. New York: Oxford University Press.
* Günther, C. (2021). Preposition stranding vs. pied-Piping—The role of cognitive complexity in grammatical variation. *Languages (Basel), 6*(2), 89. https://doi.org/10.3390/languages6020089
* Haegeman, L. (1994). *Introduction to government and binding theory*. Second edition. Oxford, UK: Blackwell.
* Hawkins, J. A. (1999). Processing complexity and filler-gap dependencies across grammars. *Language (Baltimore), 75*(2), 244–285. https://doi.org/10.2307/417261
* Heck, F. (2008). *On Pied-Piping: Wh-Movement and Beyond*. Berlin: deGruyter.
* Hoffmann, T. (2005). Variable vs. categorical effects: Preposition pied piping and stranding in British English relative clauses.” *Journal of English Linguistics 33, no. 3*: 257–97.
* Hoffmann, T. (2011). *Preposition placement in english: A usage-based approach*. Cambridge University Press. https://doi.org/10.1017/CBO9780511933868
* Horvath, J. (2006). Pied-piping. In *The Blackwell companion to syntax*, Volume III, edited by M. Everaert and H. van Riemsdijk, 569–630. Malden, MA: Blackwell Publishing.
* Osborne, T. (2005). Coherence: A dependency grammar analysis. *SKY Journal of Linguistics 18*: 223–286.
* Ouhalla, J. (1994). *Introducing transformational grammar: From Principles and Parameters to Minimalism*. Second edition. London: Arnold.
* Radford, A. (2004). *English syntax: An introduction*. Cambridge, UK: Cambridge University Press.
* Radford, A., Felser, C., & Boxell, O. (2012). Preposition copying and pruning in present-day English. *English Language and Linguistics, 16*(3), 403–426. https://doi.org/10.1017/S1360674312000172
* Riemsdijk, Henk van and E. Williams. (1986). *Introduction to the theory of grammar*. Cambridge, MA: The MIT Press.
* Roberts, I. (1997). *Comparative syntax*. London: Arnold.
* Ross, J. (1967). *Constraints on variables in syntax*. Ph.D. Dissertation, MIT.
* Ross, J. (1986). *Infinite syntax!* Norwood, NJ: ABLEX \[Reprinted dissertation from 1967\].
* Sportiche, D., Koopman, H. J., & Stabler, E. P. (2014). *An introduction to syntactic analysis and theory* (1st ed.). John Wiley & Sons Inc.
* Xu, X., & Xiao, R. Z. (2015). Recent changes in relative clauses in spoken British English. *English Studies, 96*:7, 818–838. https://doi.org/10.1080/0013838X.2015.1051874


title: George Brediman

abstract: George Brediman or Bredyman or Brideman was an English courtier serving Mary I of England and Elizabeth I. Brediman was a groom of the privy chamber and keeper of the privy purse. His wife, Edith Brediman, was a chamberer at court.

text:
# George Brediman

**George Brediman** or **Bredyman** or **Brideman** (died 1580) was an English courtier serving Mary I of England and Elizabeth I. Brediman was a groom of the privy chamber and keeper of the privy purse. His wife, Edith Brediman, was a chamberer at court.

## Mary I of England

Mary made Brediman Keeper of the Royal Park of Freemantle near Hannington and Kingsclere with an allowance to feed the wild animals in winter. She gave him various rewards, including, in 1557, the manor of Podington, a part of the Honour of Ampthill, and a lease of Brook Hall at Tolleshunt Knights. Brediman was granted the custody and ward of Edmund Brockelsby (died 1565), heir of the manor of Glentworth in July 1557, and was granted the custom duties from the markets and fairs of three Welsh border townships, Builth, Presteigne, and Elvell.

## Brediman and the royal tapestry

Mary also allowed Brediman to use some verdure tapestry of the "broad bloom" with birds and apples and another suite of verdure featuring roses and pomegranates in the corners. The pomegranate was an emblem of Catherine of Aragon. Some rose and pomegranate borders may have been produced by Cornelius van der Strete or made by makers in centres including Enghien. Tapestry, with corner pomegranates, roses, apples, and "pots", was listed in 1547 in the inventory of Henry VIII at Oatlands Palace.

Several pieces of a suite of tapestry of the "broad bloom" featuring apples and pomegranates were held by the wardrobe of Lady Elizabeth in 1547, and at least one related piece of tapestry with corner pomegranates is thought to survive.

## Edith Brediman and a Book of Hours

In 1556, he married Edith Brocas or Brokwesse (died 1590), one of Mary's chamberers. Mary gave "Edeth Brydeman" a New Year's Day gift of a gilt salt in 1557, a more valuable gift than that received by George Brediman. The gift rolls record that "Edeth Brydeman" took delivery of a gift of sweetmeats, figs, sugar loaves, and orange water for Mary, and she may have been in charge of such foodstuffs and medicinal materials in the queen's chamber.

Edith was rewarded for attending Mary during her final illness on 28 October 1558. She signed her name in a Book of Hours which had once belonged to Henry VII, writing under an illustration for the Office of the Dead:

> In all tyme of neccessitye: with your prayer remember me
> Edeth Bredyman.

## Elizabeth I

Mary I made him Keeper of Westminster Palace, and York Place, with the houses occupied by the armourer Hans Hunter and the goldsmith Everard Everdyes, the gardens and orchards, and a tennis court. This included responsibility for the Wardrobe of Robes (as a successor to Arthur Stourton). He continued as Keeper for Elizabeth I. Several royal warrants directed to Brediman survive, referring both to the wardrobe at Whitehall or at Westminster. At this time, the same store was meant.

In October 1559, Brediman sent £3000 to Ralph Sadler at Berwick-upon-Tweed. Sadler was to use the money to reward any Scottish people who might further peace with England. Brediman issued textiles for the queen's use, and to the queen's tailor Walter Fyshe. Brediman issued copes and vestments from the wardrobe to Kat Ashley, chief gentlewoman of the bedchamber to Elizabeth I in December 1560. By the same warrant, fabrics were requested for "masking garments" to be sent to Thomas Benger, Master of the Revels.

In February 1569, Brediman supplied cloth by warrant to Elizabeth's tailor Walter Fyshe and sable furs to her furrier Adam Bland. Brediman supplied cloth for the costumes used in *The Masque of Amazons* performed at Richmond Palace on 11 January 1579.

George Brediman died in 1580. Thomas Knyvet became Keeper of Westminster Palace and the Wardrobe of Robes.

He was survived by his wife Edith, who lived at Tingrith, and a son Edmund. George Brediman was buried at St Martin-in-the-Fields, where his son Edmund had been baptised in 1561, and the previous keeper of Westminster Palace, Arthur Stourton, was buried in 1557. Edith Brediman was buried at St Edmund's Chapel in Westminster Abbey.


title: Valmaine Toki

abstract: Valmaine Toki is a New Zealand barrister, solicitor, author, Māori rights advocate and academic. Toki is Professor of Law at the University of Waikato, New Zealand. In 2009, Toki drew attention to the historical and ongoing challenges of Māori representation in Auckland's governance, criticizing the government's rejection of the Royal Commission's recommendation for dedicated Māori seats on the Auckland Council. In 2011, Toki became the first New Zealander and first Māori appointed by the President of the UN Economic and Social Council as an independent expert to the United Nations Permanent Forum on Indigenous Issues where she served two terms of three years (2011–2017). In 2019, Toki was elected to the Aotea/Great Barrier Island Local Board. In 2022 she was appointed by the President of the Human Rights Council to the United Nations Expert Mechanism on the Rights of Indigenous Peoples (EMRIP), as an independent expert, and the first New Zealander and Māori appointee. In July 2024, she was appointed chair of EMRIP.

text:
# Valmaine Toki

**Valmaine Toki** is a New Zealand barrister, solicitor, author, Māori rights advocate and academic. Toki is Professor of Law at the University of Waikato, New Zealand.

In 2009, Toki drew attention to the historical and ongoing challenges of Māori representation in Auckland's governance, criticizing the government's rejection of the Royal Commission's recommendation for dedicated Māori seats on the Auckland Council.

In 2011, Toki became the first New Zealander and first Māori appointed by the President of the UN Economic and Social Council as an independent expert to the United Nations Permanent Forum on Indigenous Issues where she served two terms of three years (2011–2017).

In 2019, Toki was elected to the Aotea/Great Barrier Island Local Board. In 2022 she was appointed by the President of the Human Rights Council to the United Nations Expert Mechanism on the Rights of Indigenous Peoples (EMRIP), as an independent expert, and the first New Zealander and Māori appointee. In July 2024, she was appointed chair of EMRIP.

## Early life and education

Toki is a Māori woman, of Ngati Rehua, Ngati Wai, Ngāpuhi and Ngati Whatua descent.

Toki studied law at the University of Auckland, followed by a master's degree as a *He Ture Pumau Scholar* in business administration at the University of Tasmania, Australia, supported by the Treaty of Waitangi Fisheries Commission. Her master's focused on marine resources management. She also finished her LLM at the University of Auckland.

As part of Toki's doctoral research into the disproportionate offending rates of Māori people in the New Zealand's criminal justice system, she travelled to different jurisdictions to study community court systems. Toki completed her PhD in 2016 at the University of Waikato. Her thesis was titled *"A Case for an Indigenous Court: a realisation of self-determination?"*.

## Career

Toki worked for Te Ohu Kai Moana Trustee Ltd on Māori fisheries, aquaculture, and asset allocation. In 2007 she was appointed to a law lecturer position at the University of Auckland and taught in the areas of contemporary Treaty of Waitangi and Māori issues, jurisprudence and legal method.

In 2009, Toki highlighted the ongoing issue of Māori representation in Auckland's governance, referencing historical context and developments. Despite recommendations from the Royal Commission on Auckland Governance for Māori seats on the then-new Auckland council, the government chose not to support these recommendations. Toki emphasized the unique status of Māori as *tangata whenua* and criticized the equating of Māori rights with those of other minority groups.

In 2011, Toki was the first New Zealander and first Måori appointed by the President of the UN Economic and Social Council as an independent expert on the United Nations Permanent Forum on Indigenous Issues where she served two terms of three years. In 2022, She was appointed by the president of the UN Human Rights Council to the UN Expert Mechanism on the Rights of Indigenous Issues. Toki also became the first Måori and first New Zealander to hold the title.

In 2012 Toki commenced her role at Te Piringa, Faculty of Law, University of Waikato where she remains as of 2024.

In 2018, her book *Indigenous courts, self-determination and criminal justice* was published and advocates for the establishment of a marae-based Indigenous court in New Zealand.

In 2023, she delivered the annual Dame Silvia Cartwright lecture on the recognition of Indigenous Rights for the Auckland Women’s Lawyers Association.

In 2024, her book *Indigenous rights, climate change and governance: Measuring success and data* published by Edward Elgar Publishing she explores the how Indigenous rights are recognised to ameliorate the adverse effects of climate change, within Artificial Intelligence and an Indigenous right to space.

On July 8 2024, Toki was appointed Chair of the United Nations Expert Mechanism on the Rights of Indigenous Peoples (EMRIP).

## On *Tikanga Māori*

Toki understands Tikanga Māori as the correct way of doing things and derived from cosmology, customs and practices. She highlights that Tikanga is a fluid system influenced by context, encompassing mechanisms such as *mana, tapu, and mauri*, which regulate relationships to achieve balance. Toki emphasizes that for Tikanga to adapt to societal changes it must retain its foundational principles. In an interview to *Aoetea*, she reflected on her time at the UN Permanent Forum on Indigenous Issues, where she implemented Tikanga principles in international policy work.

## Selected publications

### Books

* Toki, Valmaine (2024). *Indigenous rights, climate change and governance: Measuring success and data*. Edward Elgar Publishing. ISBN 978- 1-80392-497-7
* Toki, Valmaine (2018). *Indigenous courts, self-determination and criminal justice* (1st ed.). ISBN 978-0-367-40442-0. OCLC 1105721953.

### Selected peer reviewed articles

* Toki, Valmaine ‘Recognition and relevance of Indigenous Rights – Dame Silvia Cartwright Lecture ‘*NZWLJ* 2024 v 8, pp 240 – 256.
* Toki, Valmaine. ‘The place of tikanga’ *NZULR* 2023, v 30 (3), pp 457 – 472.
* Toki, Valmaine, and Durgeshree Raman. "Indigenous and Minority Activism under the United Nations." *International Journal on Minority and Group Rights* 1 (2024): 19. doi:10.1163/15718115-bja10172
* Toki, Valmaine. "Is There an Indigenous Right to Space?" *The Transnational Journal of Aviation and Space Laws (TJASL)*, Centre for Aviation and Space Laws, 2021.
* Toki, Valmaine. "Respecting and recognising Indigenous rights when challenged by commercial activities." *International Journal of Critical Indigenous Studies* 10, no. 1 (2017): 1-17. doi:10.3316/informit.303985572323716
* Toki, Valmaine. "Seeking Access to Justice for Indigenous Peoples." *Yearbook of New Zealand Jurisprudence* 15 (2017): 25-45.
* Toki, Valmaine. "Understanding a Critical Indigenous Law Perspective to Intellectual Property." *Intellectual Property Quarterly*, no. 4 (2017): 369-381.
* Toki, Valmaine. "Legal responses to mental health: Is therapeutic jurisprudence the answer–the experience in New Zealand." (2017): 1-18.
* Toki, K. R. (2017). "The Maori economy and access to justice." *Yearbook of New Zealand Jurisprudence*, *15*, 102-117.
* Beaton, Angela, Maui Hudson, Moe Milne, Ramari Viola Port, Khyla Russell, Barry Smith, Valmaine Toki et al. "Engaging Māori in biobanking and genomic research: a model for biobanks to guide culturally informed governance, operational, and community engagement activities." *Genetics in Medicine* 19, no. 3 (2017): 345-351. doi:10.1038/gim.2016.111
* Toki, Valmaine. "Maori seeking self-determination or Tino Rangatiratanga? A note." (2017): 134-144.
* Toki, Valmaine. "Decolonization and the Right of Self-Determination for the Pacific." In *Studies in Law, Politics, and Society*, edited by Austin Sarat, Vol. 70, 181-207. Leeds: Emerald Group Publishing Limited, 2016. doi:10.1108/S1059-433720160000070013
* Hudson, Maui, Khyla Russell, Lynley Uerata, Moe Milne, Phillip Wilcox, Ramari Viola Port, Barry Smith, Valmaine Toki, and Angela Beaton. "Te Mata Ira—Faces of the Gene: Developing a cultural foundation for biobanking and genomic research involving Māori." *AlterNative: An International Journal of Indigenous Peoples* 12, no. 4 (2016): 341-355. doi:10.20507/AlterNative.2016.12.4.1
* Beaton, Angela, Barry Smith, Valmaine Toki, Kim Southey, and Maui Hudson. "Engaging Maori in Biobanking and Genetic Research." *International Indigenous Policy Journal* 6, no. 3 (2015): 1-19. doi:10.18584/iipj.2015.6.3.1
* Valmaine, Toki. "Unpacking Indigenous Rights." *Acta Humana–Emberi Jogi Közlemények* 3, no. Special Edition (2015): 85-98.
* Toki, Valmaine. "‘Tikanga Maori–a constitutional right’? A case study." *Commonwealth law bulletin* 40, no. 1 (2014): 32-48. doi:10.1080/03050718.2013.866049
* Toki, Valmaine. "Therapeutic jurisprudence and mental health courts for Maori." *International Journal of Law and Psychiatry* 33, no. 5-6 (2010): 440-447. doi:10.1016/j.ijlp.2010.09.014
* Toki, Valmaine. "Adopting a Maori property rights approach to fisheries." *NZJ Envtl. L.* 14 (2010): 197.
* Toki, Valmaine. "Are Domestic Violence Courts working for indigenous peoples?." *Commonwealth law bulletin* 35, no. 2 (2009): 259-290. doi:10.1080/03050710902924338

### Selected peer-reviewed UN reports

* Toki, Valmaine. "Study on Decolonialization of the Pacific Region." United Nations Permanent Forum on Indigenous Issues, Twelfth Session, New York, May 20-31, 2013. E/C.19/2013/12.
* Toki, Valmaine, Megan Davis, Simon William M’Viboudoulou, Paul Kanyinke Sena, Edward John, Álvaro Esteban Pop Ac, and Raja Devasish Roy. "A Study on National Constitutions and the United Nations Declaration on the Rights of Indigenous Peoples." United Nations Permanent Forum on Indigenous Issues, Twelfth Session, New York, May 20-31, 2013. E/C.19/2013/18.

## InfoBox

| Valmaine Toki | |
| --- | --- |
| Toki in 2019 | |
| Nationality | New Zealand |
| Occupation(s) | Barrister, solicitor, academic |
| Known for | Work on indigenous issues and Māori legal matters |
| Title | Professor |
|  | |
| Academic background | |
| Education | BA, LLB, LLM, MBA, Ph.D. |
| Alma mater | University of Auckland (BA, LLB, LLM), University of Tasmania (MBA), University of Waikato (Ph.D.) |
| Thesis | *A Case for an Indigenous Court - a realisation of self-determination?* (2016) |
| Academic work | |
| Discipline | Law |
| Sub-discipline | Indigenous rights, Māori legal issues |
| Institutions | University of Waikato |
|  | |


title: On the Spot (play)

abstract: On the Spot is a 1930 Chicago-set play by the British writer Edgar Wallace. Wallace was inspired by a visit to the United States and, in particular, the Saint Valentine's Day Massacre. Known as a prolific author, he reportedly dictated the manuscript for the play in just four days. It was his greatest theatrical success. It lasted for 342 performances on its original West End run. Beginning at Wyndham's Theatre, it later transferred to the Cambridge Theatre. The lead role of a Capone-like gangster Tony Perelli was played by Charles Laughton with Emlyn Williams as his henchman and Gillian Lind playing Perelli's Chinese mistress. Other cast members included Roy Emerton, Carol Reed, Dennis Wyndham and Gladys Frazin. It transferred to America in October 1930 and ran for 167 performances at the Forrest Theatre in New York. In 1931, Wallace novelised the play using the same title.

text:
# On the Spot (play)

***On the Spot*** is a 1930 Chicago-set play by the British writer Edgar Wallace. Wallace was inspired by a visit to the United States and, in particular, the Saint Valentine's Day Massacre. Known as a prolific author, he reportedly dictated the manuscript for the play in just four days. It was his greatest theatrical success.

It lasted for 342 performances on its original West End run. Beginning at Wyndham's Theatre, it later transferred to the Cambridge Theatre. The lead role of a Capone-like gangster Tony Perelli was played by Charles Laughton with Emlyn Williams as his henchman and Gillian Lind playing Perelli's Chinese mistress. Other cast members included Roy Emerton, Carol Reed, Dennis Wyndham and Gladys Frazin.

It transferred to America in October 1930 and ran for 167 performances at the Forrest Theatre in New York. In 1931, Wallace novelised the play using the same title.

## Adaptation

It was adapted as an American film *Dangerous to Know* (1938). Directed by Robert Florey for Paramount Pictures it starred Anna May Wong and Akim Tamiroff. The play was adapted for radio by Raymond Raikes, and broadcast on BBC Radio 4, on 27 March 1976, with Peter Woodthorpe as Tony Perelli and Denise Bryer as Minn Lee.

## Bibliography

* Goble, Alan. *The Complete Index to Literary Sources in Film*. Walter de Gruyter, 1999.
* Kabatchnik, Amnon. *Blood on the Stage, 1975-2000: Milestone Plays of Crime, Mystery, and Detection : an Annotated Repertoire*. Rowman & Littlefield, 2012.
* Wearing, J. P. *The London Stage 1930–1939: A Calendar of Productions, Performers, and Personnel*. Rowman & Littlefield, 2014.

## InfoBox

| On the Spot | |
| --- | --- |
|  | |
| Written by | Edgar Wallace |
| Date premiered | 2 April 1930 |
| Place premiered | Wyndham's Theatre |
| Original language | English |
| Genre | Crime |
| Setting | Chicago |


title: Pigeonite

abstract: Pigeonite is a mineral in the clinopyroxene subgroup of the pyroxene group. It has a general formula of (Ca,Mg,Fe)(Mg,Fe)Si2O6. The calcium cation fraction can vary from 5% to 25%, with iron and magnesium making up the rest of the cations. Pigeonite crystallizes in the monoclinic system, as does augite, and a miscibility gap exists between the two minerals. At lower temperatures, pigeonite is unstable relative to augite plus orthopyroxene. The low-temperature limit of pigeonite stability depends upon the Fe/Mg ratio in the mineral and is hotter for more Mg-rich compositions; for a Fe/Mg ratio of about 1, the temperature is about 900 °C. The presence of pigeonite in an igneous rock thus provides evidence for the crystallization temperature of the magma, and hence indirectly for the water content of that magma. Pigeonite is found as phenocrysts in volcanic rocks on Earth and as crystals in meteorites from Mars and the Moon. In slowly cooled intrusive igneous rocks, pigeonite is rarely preserved. Slow cooling gives the calcium the necessary time to separate itself from the structure to form exsolution lamellae of calcic clinopyroxene, leaving no pigeonite present. Textural evidence of its breakdown to orthopyroxene plus augite may be present, as shown in the accompanying microscopic image. Pigeonite is named for its type locality on Lake Superior's shores at Pigeon Point, Minnesota, United States. It was first described in 1900.

text:
# Pigeonite

**Pigeonite** is a mineral in the clinopyroxene subgroup of the pyroxene group. It has a general formula of (Ca,Mg,Fe)(Mg,Fe)Si26. The calcium cation fraction can vary from 5% to 25%, with iron and magnesium making up the rest of the cations.

Pigeonite crystallizes in the monoclinic system, as does augite, and a miscibility gap exists between the two minerals. At lower temperatures, pigeonite is unstable relative to augite plus orthopyroxene. The low-temperature limit of pigeonite stability depends upon the Fe/Mg ratio in the mineral and is hotter for more Mg-rich compositions; for a Fe/Mg ratio of about 1, the temperature is about 900 °C. The presence of pigeonite in an igneous rock thus provides evidence for the crystallization temperature of the magma, and hence indirectly for the water content of that magma.

Pigeonite is found as phenocrysts in volcanic rocks on Earth and as crystals in meteorites from Mars and the Moon. In slowly cooled intrusive igneous rocks, pigeonite is rarely preserved. Slow cooling gives the calcium the necessary time to separate itself from the structure to form exsolution lamellae of calcic clinopyroxene, leaving no pigeonite present. Textural evidence of its breakdown to orthopyroxene plus augite may be present, as shown in the accompanying microscopic image.

Pigeonite is named for its type locality on Lake Superior's shores at Pigeon Point, Minnesota, United States. It was first described in 1900.

## InfoBox

| Pigeonite | |
| --- | --- |
| Polarized light microscope image of part of a grain of orthopyroxene containing exsolution lamellae of augite The texture documents a multistage history: (1) crystallization of twinned pigeonite, followed by exsolution of augite; (2) breakdown of pigeonite to orthopyroxene plus augite; (3) exsolution of augite parallel to the former twin plane of pigeonite. (long dimension 0.5 mm, Bushveld igneous complex) | |
| General | |
| Category | Silicate mineral (pyroxene) |
| Formula
(repeating unit) | (Ca,Mg,Fe)(Mg,Fe)Si26 |
| IMA symbol | Pgt |
| Strunz classification | 9.DA.10 |
| Dana classification | 65.01.01.04 |
| Crystal system | Monoclinic |
| Crystal class | Prismatic (2/m)
(same H-M symbol) |
| Space group | *P*21/c |
| Unit cell | a = 9.7, b = 8.95,
c = 5.24 \[Å\]; β = 108.59°; Z = 4 |
| Identification | |
| Color | Brown, greenish brown-black |
| Crystal habit | Prismatic crystals, to 1 cm; granular, massive. |
| Twinning | Commonly twinned simply or multiply on {100} or {001} |
| Cleavage | Good on {110}, (110) ^ (110) ~87° |
| Fracture | Conchoidal |
| Tenacity | Brittle |
| Mohs scale hardness | 6 |
| Luster | Vitreous to dull |
| Streak | Grey white |
| Diaphaneity | Semitransparent |
| Specific gravity | 3.17 – 3.46 measured |
| Optical properties | Biaxial (+) |
| Refractive index | nα = 1.683 – 1.722 nβ = 1.684 - 1.722 nγ = 1.704 – 1.752 |
| Birefringence | δ = 0.021 – 0.030 |
| Pleochroism | Weak to moderate; X = colorless, pale green, brown; Y = pale brown, pale brownish green, brownish pink; Z = colorless, pale green, pale yellow |
| 2V angle | 0 – 30° measured |
| Dispersion | weak to distinct |
| References |  |


title: Narthecium asiaticum

abstract: Narthecium asiaticum is a species of plants traditionally placed in the Liliaceae, but now considered a member of the Nartheciaceae. It is endemic to Japan.

text:
# Narthecium asiaticum

***Narthecium asiaticum*** is a species of plants traditionally placed in the Liliaceae, but now considered a member of the Nartheciaceae. It is endemic to Japan.

## InfoBox

| *Narthecium asiaticum* | |
| --- | --- |
|  | |
|
| Scientific classification | |
| Kingdom: | Plantae |
| *Clade*: | Tracheophytes |
| *Clade*: | Angiosperms |
| *Clade*: | Monocots |
| Order: | Dioscoreales |
| Family: | Nartheciaceae |
| Genus: | *Narthecium* |
| Species: | ***N. asiaticum*** |
| Binomial name | |
| ***Narthecium asiaticum***<br>Maxim. | |
|


title: NGC 6781

abstract: NGC 6781, also known as the Snowglobe Nebula, is a planetary nebula located in the equatorial constellation of Aquila, about 2.5° east-northeast of the 5th magnitude star 19 Aquilae. It was discovered July 30, 1788 by the Anglo-German astronomer William Herschel. The nebula lies at a distance of 1,500 ly from the Sun. It has a visual magnitude of 11.4 and spans an angular size of 1.9 × 1.8 arcminutes. The bipolar dust shell of this nebula is believed to be barrel-shaped and is being viewed from nearly pole-on. It has an outer angular radius of 61″; equivalent to a physical radius of 0.44 ly (0.135 pc). The total mass of gas ejected as the central star passed through its last asymptotic giant branch (AGB) thermal pulse event is 0.41 M☉, while the estimated dust mass is 1.53 M☉. The magnitude 16.88 central star of the planetary nebula is a white dwarf with a spectral type of DAO. It has an M-type co-moving companion at a projected separation of under 5,000 AU. The white dwarf progenitor star had an estimated initial mass of ~2.5 M☉. It left the AGB and entered the cooling stage around 9,400 years ago.

text:
# NGC 6781

**NGC 6781**, also known as the **Snowglobe Nebula**, is a planetary nebula located in the equatorial constellation of Aquila, about 2.5° east-northeast of the 5th magnitude star 19 Aquilae. It was discovered July 30, 1788 by the Anglo-German astronomer William Herschel. The nebula lies at a distance of 1,500 ly from the Sun. It has a visual magnitude of 11.4 and spans an angular size of 1.9 × 1.8 arcminutes.

The bipolar dust shell of this nebula is believed to be barrel-shaped and is being viewed from nearly pole-on. It has an outer angular radius of 61; equivalent to a physical radius of 0.44 ly (0.135 pc). The total mass of gas ejected as the central star passed through its last asymptotic giant branch (AGB) thermal pulse event is 0.41 *M*, while the estimated dust mass is 1.53 *M*.

The magnitude 16.88 central star of the planetary nebula is a white dwarf with a spectral type of DAO. It has an M-type co-moving companion at a projected separation of under 5,000 AU. The white dwarf progenitor star had an estimated initial mass of ~2.5 *M*. It left the AGB and entered the cooling stage around 9,400 years ago.

## InfoBox

NGC 6781
| Emission nebula | |
| --- | --- |
| Planetary nebula | |
| NGC 6781 from the La Silla Observatory | |
| Observation data: J2000 epoch | |
| Right ascension | 19h 18m 28.085s |
| Declination | +06° 32 19.29 |
| Distance | 1,500 ly   (460 pc) |
| Apparent magnitude (V) | 11.4 |
| Apparent dimensions (V) | 1′.9 × 1′.8 |
| Constellation | Aquila |
| Physical characteristics | |
| Radius | 0.44 ly |
|  | |
| Designations | IRAS 19160+0626, NGC 6781 |
|


title: Ian A. Nicholls

abstract: Ian Alan Nicholls is an educator and researcher in the fields of chemistry and chemical engineering and an academic leader. Since 2013 he has held the position of Dean of the Faculty of Health and Life Sciences at Linnaeus University, Sweden, and is a Deputy Vice Chancellor of the university.

text:
# Ian A. Nicholls

**Ian Alan Nicholls** (born 24 October 1962 in Melbourne, Australia) is an educator and researcher in the fields of chemistry and chemical engineering and an academic leader. Since 2013 he has held the position of Dean of the Faculty of Health and Life Sciences at Linnaeus University, Sweden, and is a Deputy Vice Chancellor of the university.

## Education

After graduating from Penleigh and Essendon Grammar School (1980) he studied at the University of Melbourne (BSc(hons) and PhD in medicinal chemistry, 1981-1989). In 1998 he was awarded the title *docent* (habilitation/associate professor) by the Faculty of Engineering, Lund University, Sweden.

## Career

A year (1989) as lecturer at Victoria University of Technology (then Western Institute) was followed by a move in 1989 to Cambridge University (UK) for a position as post-doctoral research fellow with Prof. Dudley H. Williams FRS, then in 1992 to Lund University (Sweden) with Prof. Klaus Mosbach. Over the years 1994 to 1999 he held a series of positions at Lund University and the University of Kalmar (from 2010 Linnaeus University) before being appointed as full professor of bioorganic chemistry in 2000. From 2007 until 2012 he was Head (*prefekt*) of the School of Natural Sciences, and as of 2013 Dean and Deputy Vice Chancellor. Since 2010 Nicholls has held a visiting professorship at Uppsala University (Sweden) and in 2014 he was appointed adjunct professor in Materials Science and Engineering at Jiangsu University (PRC).

## Research

Nicholls' research is primarily focused on the development of biomimetic materials and their application in sensing, catalysis and as biomaterials/therapeutics, and on fundamental studies of molecular recognition phenomena. This is reflected in his work with molecular imprinting and concerning the anticoagulant warfarin. He has a number of editorial responsibilities, including editor-in-chief for International Journal of Molecular Sciences.


title: Meldi Mata

abstract: Meldi Mata is a Hindu goddess and household deity who protects farmland. A legend says that she can grant any wish. She is mainly famous in the western state of Gujarat. She is a revered goddess for gujrati farming Hindus and people of Chunvalia Koli. Her vahana is a goat. She has eight hands which hold a variety of weapons.

text:
# Meldi Mata

**Meldi Mata** is a Hindu goddess and household deity who protects farmland. A legend says that she can grant any wish. She is mainly famous in the western state of Gujarat. She is a revered goddess for gujrati farming Hindus and people of Chunvalia Koli. Her vahana is a goat. She has eight hands which hold a variety of weapons.

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