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Naturally 7
Mediolanum Forum - Assago - Milano
27 Gennaio 2014
Rod Eldridge
Garfield Buckley
Warren Thomas
Roger Thomas
Dwight Stewart
Armand "Hops" Hutton
Polo Cummings
ph ©Mairo Cinquetti
All rights reserved
NATURALLY 7 – BIO 2012
For Naturally 7, the turning point came in the fall of 2007. From quiet success all over Europe they have been propelled onto the world stage, performing before millions of people.
As the special guest of internationally acclaimed singer Michael Bublé, Naturally 7 have been met with standing ovations nightly in Europe, the U.K., Canada, Australia and the U.S!
It was 2009 when the group truly hit the ground running. In January they played to a packed house at London’s Pigalle, which included a number of famous faces – Coldplay’s Chris Martin, legendary musician and producer Brian Eno. The next day, by invitation the group joined Coldplay and Eno in the studio. From the UK, Naturally 7 travelled to California, where they performed at the prestigious TED (Technology, Entertainment, Design) Conference, receiving a standing ovation.
“Perhaps the most memorable presentation involved Naturally 7, a group of seven musicians who practice something they call “Vocal Play”. It’s hard to describe their act other than saying each of them used their voices in unison to recreate a different musical instrument from drums to brass instruments to guitars. They made beatboxing look like child’s play. Their Wall of Sound song, earned them a standing ovation.” (Daniel Sieberg/CBS News). While the road ahead looks brilliant – to truly understand Naturally 7’s meteoric rise, one must first look at the whirlwind, that has been, the last 3 years. 2008 was nothing short of remarkable and the highlight reel, one to take note of. In May they made their national U.S. Television debut on Ellen and joined Bublé for a guest appearance on The Today Show. More recently, they opened for Jay Leno in Las Vegas and performed at his ‘Tonight Show’, were guests on Tavis Smiley, performed at NARM, helped celebrate Quincy Jones’ 75th Birthday in Montreux and greeted a hometown crowd at Madison Square Garden. Following that show, they travelled to London to play the renowned Royal Variety Television show, capping the evening off, by meeting His Royal Highness Prince Charles.
With their rich harmonies, an unbelievable ability to replicate instruments and a stage presence that can be felt in every seat of the house, Naturally 7, the first local play group ever, are amazing, charming fans where ever they perform. Today Naturally 7 are Roger Thomas (musical director, arranger, 1st Baritone, Rap), Warren Thomas (percussion, guitar, clarinet, 3rd tenor) Rod Eldridge (1st tenor, scratching, trumpet), Napoleon (Polo) Cummings (4th Tenor, guitar), Dwight Stewart (2nd baritone, vocals, trumpet), Garfield Buckley (2nd Tenor, Harmonica) and “Hops” Hutton (Bass).
The origins of the group date back to New York City in 1999 when Roger Thomas started the group with his brother, Warren, and five other talented singers they had come to know over the years from singing around the city. Having been in and out of several traditional male groups over the years, Roger developed an affinity for a cappella sounds and a unique ability to create distinct harmony arrangements. When invited to sing at a major a cappella competition in New York, they won the competition, moved onto the nationals and took away two more wins.
Riding the wave of this newfound success and still unable to decide if Naturally 7 were going to be an a cappella group or a traditional band, Roger had a novel idea: they could be both.
He remembered as a child, his brother Warren always wanted a drum set but their mother always told him no because it was just too noisy. So Warren learned to make true drum sounds, with different ways of making the kick, toms, snare, cymbals, and other drum sounds, to compensate for not having real drums to play. Roger approached Warren with the idea from their childhood, and asked if he could become the band’s drummer, so to speak, to accompany Naturally 7 on up-tempo songs.
The idea evolved, and the other band members found unique aspects of their own voices to determine which members would BE which instrument. After all, Roger thought, if the human voice truly was an instrument, it should not matter which instrument it needed to be. And for Naturally 7, it really didn’t matter; “VOCAL PLAY” was born. What is the difference between Vocal Play and a
cappella? A cappella is defined as singing without instruments. Vocal Play is singing AS instruments, and BECOMING an instrument with the voice. What makes Naturally 7 special, is that every instrument sound that they sing is created from the human voice. There are no actual drums, guitars, horns, flutes, or any other instrument that is heard when listening to them perform; it’s the band members playing each of their vocal instruments.
The group has recorded a number of CD’s over the years – “Non Fiction” (2000) the aptly titled “What Is It” (2003), “Christmas …It’s A Love Story” (2004) and “Ready II Fly” (2006). The latter contains the YouTube-hit “Feel It (In the Air Tonight”). Naturally 7’s now famous Paris subway performance of the song, has received over four and a half million hits on YouTube alone and the number of people discovering the group, adds to that figure daily. The song turned into a Top 3-chart-success in France, Belgium and South Africa and made the single charts in other European countries, such as Germany, Switzerland, Italy and Portugal.
In January 2009, the group released a special album, ‘Wall Of Sound’ exclusively for the UK and Ireland, to commemorate their participation at the ‘Royal Variety Performance’. The album contained known material from previous albums, as well as 5 brand-new tracks and entered the British Album-Charts in the first week after release at #29.
They have appeared on The Late Late Show with Craig Ferguson, performing “Stardust” with Michael Bublé. In November 09, the group travelled to Bermuda, taking part in Quincy Jones’ 2009 Bermuda Music Festival performing before an enthusiastic crowd!
February of 2010 saw Naturally 7 spend three weeks in Vancouver as performance guests during the Olympic Winter Games and in March they returned as Special Guests on Bublé’s ‘Crazy Love’-Tour around the World! Naturally 7’s most recent CD/DVD ‘VocalPlay, contains self-penned originals such as “SOS (Anybody Out There),” power ballad “If You Love Me”, the Motown-influenced “Ready or Not”, the Latin 768 and a duet with Michael Bublé on the Dinah Washington classic, “Relax Max”. The bonus DVD includes HD Live material from their Madison Square Garden performance, extensive interviews with each group member as well as their video clips.
In the fall of 2010 Naturally 7 along with Ludacris were featured on the title track of Quincy Jones’ new CD – Soul Bossa Nostra that led to a performance on The View in November.
They continued to tour the world with Michael Buble, receiving standing ovations nightly and rave reviews: “Openers Naturally 7, a seven –piece vocal group from New York who at one point joined Buble during his set, delivered a jaw-dropping vocal symposium. To call them an a cappella group would be a gross understatement, for they performed songs with trumpets, electric guitars, bass cello, harmonica, a full drum kit, and more – using only their voices. It was like a striking optical illusion, only aural. (Boston Globe, Nov 2010)
“Rarely does an opener melt the crowd like Naturally 7 did. By the time their half hour set ended, all too soon, many jumped to their feet to give the stellar musicians a standing ovation.”
In February 2011, Naturally 7 performed at the BET Honours, receiving a standing ovation for “Rockit” their Herbie Hancock tribute song. Another stand out moment came in August when they were invited to take part in the Martin Luther King Jr. National Memorial Week Celebrations.
“Silver Bells” became their next collaboration with Michael Bublé, appearing on his multi-million selling and chart topping Christmas album. They also made a guest appearance on his first NBC special and joined him for a performance on The Today Show.
In the spring of 2012 Naturally 7 recorded a DVD in Hamburg “All Natural Live”, which will be released this winter. In June the group made a return appearance at the Playboy Jazz Festival at the Hollywood Bowl, receiving a standing ovation from the crowd of 18.000!
As 2012 continues to unfold, Naturally 7 will have toured Europe, South America, South Africa, Asia, Australia, Canada and the U.S. When not on the road they have been in the studio recording material for a new release in 2013. Their phenomenal talent, coupled with a live show that many consider to be one of the best in the world, has Naturally 7 poised for continued success!
Haitian woman looks toward her new life in the Dominican Republic, across the Atibonito river she is about to cross.
Subject: Unknown Florist
Camera & Glass Info:
Canon EOS Digital Rebel XT
Canon 70-200 F/4L USM
No Flash
Photo Info:
Focal Length : 200mm
Exposure Program: Aperture Priority
Shutter Speed: 1/4000 sec.
Lens Aperture: F/4
ISO Speed : ISO-1600
Exposure Bias: -2 Step
Metering Mode: Pattern
Tripod Used : No / Handheld
Location Info:
Near Sawai Mansingh Hostipal
Jaipur, Rajasthan, India.
When using this photo, please attribute: * Photo by NEC Corporation of America with Creative Commons license.
Cloud computing enables businesses to deliver shared, adaptable resources to users with minimal impact to their own infrastructure, while providing the ability for redundancy and high availability that their customers demand. NEC’s cloud solutions and hardware are built with the key stakeholders in mind. End-users, IT administrators, and executive management can look to NEC for a full complement of solutions in private, hybrid or public cloud deployments. Our ecosystem of solutions and products in areas such as Big Data/Analytics, UC as a Service, Software Defined Networking (SDN), and Managed Security Services technologies are uniquely poised to deliver services in demanding day-to-day environments including the cloud.
Throughout August, September and into October, Trudeau Foto had the opportunity to work with Sam of Defined Movement Dance capturing her image in the studio and out. Thanks for the opportunity Sam!
Press L to view on black.
Check out more images at www.trudeaufoto.com
On Saturday night we went to the Erotic LA convention.
The dictionary defines erotic as something that is of or concerns sexual love or desire.
This convention missed that mark by a mile. There was nothing titillating, tempting or erotic about the experience.
They wanted $30 a person to get in. We got ticket stubs from people who were leaving and said it was pretty much a shopping experience. They were right. Once we got in we found ourselves at what was basically a porn swap meet. A rennaissance fair is more erotic than what they had going on here.
It was rows and rows of glass dildos and DVDs and g-strings and corsets made of shiny, cheap synthetic fabric. The people walking around fell into pretty much two categories: Women with huge plastic boobs, fake blond hair and too much make up wearing teeny school girl skirts with platform stripper shoes and guys in groups or alone with bags of DVDs signed with x's and o's and a heart over the "i" in Brandi or Candi or Tiffani or Tami.
For anything I would consider erotic this totally blew, but for photo ops it was a target rich environment and I was kicking myself for not bringing the camera.
When we left we were talking about what would've made it actually erotic and our ideas were endless but better lighting was at the top of the list as well as music that didn't sound like the soundtrack to a bad porn movie.
That would be a start.
What does it say about our culture when badly lit porn scored with bad music being sold in bad lighting to the sounds of the same music is considered erotic?
The Creature Walks Among Us, 1956 One Sheet
youtu.be/cfLKIq8XZ0M?t=2s Full Feature
This is the third "Creature" movie. Universal left their options open at the end of second with the exact same ambiguous ending. While sequels to sequels tend to be poor fare, gill-man fans tend to regard Creature Walks Among Us (CWAU) as being as good as the first.
CWAU shares many B-movie weaknesses. It follows formula plot elements that were hallmarks of the first movie, but it also ventures into some new material. This new ground gives CWAU some muscle of its own. The first movie had a tiny bit of science blather about evolution. The second movie didn't bother. The third, however, tried to re-inject some science into the fiction.
Synopsis
A rich scientist mounts an expedition to find the gill-man who has escaped into the Florida swamps. A local fisherman reports being attacked by a man-like "diablo" so they investigate. Using an underwater radar device (not sonar), they track him down to a narrow bayou. Here he attacks their small boat, but is set on fire by spilled gasoline. Badly burned, the gill-man collapses. The scientists take him back aboard their 100' yacht and head for San Francisco. They've bandaged him up (head to toe) and are monitoring his vital signs. During the trip the complex soap opera develops. Dr. Barton (Jeff Morrow) is the rich, but jealous husband. Mrs. Barton (Liegh Snowden) is the blonde babe no longer in love and resentful of her husbands attempts to control her. Dr. Morgan (Rex Reason) is the concerned friend. Jed Grant is the buff playboy helper. Innuendo and misunderstandings keep the pot simmering.
Along the way, the doctors find that gill-man's gills are too badly burned to supply his body with oxygen. An x-ray reveals that he has lungs but that they're collapsed and closed off. They operate to open them. He can breathe air now. They also comment about how the burns have cause the fish-like layer to fall away, and a more human-like layer of skin to develop. Gillman awakens and interrupts Jed forcing himself on Marcia. He then dives into the sea, but must be rescued before he drowns.
Back in San Francisco, Gill is taken to Dr. Barton's estate and put into an electrified pen with some other animals. He looks somewhat longingly to the water's edge, but is docile. When a mountain lion gets into the pen and kills a sheep, Gill kills the big cat. When Dr. Barton pistol-whips Jed and puts the body in Gill's cage (to frame him for the murder), Gill goes nuts, tears up the house looking for Dr. Barton, finally killing him. Gill then wanders off the estate. With everyone in funeral attire, there's a mild suggestion that Dr. Morgan will come to call on the widow Barton when a respectful time has passed. The movie closes with Gill walking down the beach towards the sea. The End.
Once you've gotten into the gill-man saga, the plot of CWAU takes it to a new level which is more thoughtful than simply another monster movie. It's also fun to see the team of Jeff Morrow and Rex Reason again -- two good actors -- who starred in This Island Earth ('54).
The original movie had two gill-man suits -- a smaller one for the underwater shots, and a larger one for the above-water shots. The second movie, Revenge, made two new gill-man suits along the same lines. For the third movie, they didn't put too much into a new gill-man suit. They created a new gill-man head and hands, but dressed him the crude sailcloth shirt and pants so as to not have to make more. For the pre-changed gill-man, they used footage from the first two movies. The only scenes which needed a new gill-man suit was where he attacked the small boat and was burned. These scenes are so quick and dark, that the lower quality Gill-Man III is not apparent.
Arthur Ross, who co-wrote the original opted for a more thoughtful script. Are we what we are because of our genes, or because of our environment? Dr. Barton is excited that the gill-man is becoming more human. The fire burned away his "old self", releasing the new. "Change the metabolism and man will change." Dr. Morgan disagrees. Science can't create a new species. They may have altered gillman's skin, but inside he's the same. As though mankind would not be fit for space travel until he evolved into something better. This is a natural sort of thought for scientism which denies there being any divine element to man. How else to define man? Our human physiology is all we have. This is reminiscent of the premise underlying The Island of Dr. Moreau. Give animals human shape, human features, and they'll become people.
The Nurture part comes where the scientists theorize that the Gill-man as a "new" man will behave good or bad, depending on how he's treated. The assumption of the Tabula Rasa.
A notion floated in the dialogue is that ordinary humans are "built" for the earth and not suitable to space. The scientists pontificate about how the aquatic gill-man was "built" for life in the water. Man, therefore, was "built" for terrestrial life. That build would not work in space, they say. "We all stand at a crossroads between the jungle and the stars." If gill-man could become a new creature, maybe man could too. Since the changed gill-man could not really become human, the inference is that man can't become this Nietzchean over-man either.
Some aspects of CWAU have spiritual parallels. The before-creature is the old "animal" nature -- rash, violent, lustful. The after-creature is the new "human" self. He's no longer lustful or rash. He's violent only as defense. At the end, he's violent but driven by a sense of justice. There's also a parallel to the biblical "fall of man" described in the Book of Genesis, in that the before creature was innocent. He needed no clothes. After the change, he needed clothing. There's also a parallel to New Testament verses which talk of the old man having to die (metaphorically) before the new man could emerge. This adds some twist to the movie's title. Our own struggles with our animal side with our divine. Dr. Barton and Jed Grant are examples of those who gives in to their animal side. Dr. Morgan and even Marcia Barton are examples of people who maintained morality.
Old Home -- Dr. Barton's estate was one of Universal's stock houses. Used in many movies, such as Tarantula
Bottom line? CWAU will appeal to gill-man fans. Since it's not simply a re-remake of the first two "Creature" films, it has some appeal to others too. It's a bit lighter on the action but more cerebral. It's worth a watch.
Better than REVENGE, but nowhere near the glorious heights of the first film (which is really the only CREATURE that you absolutely must see).
Led by the University of Buckingham, this event series included workshops and events around Dickens’s last unfinished novel, ‘The Mystery of Edwin Drood’. These events contributed to an ogoing international project which explores this unfinished work through a reading group and blog developed from a digital re-release of Dickens's original monthly instalments, becoming a crowd-sourced whodunnit inquiry into which character the public believe committed the murder of Edwin Drood.
Illustration by Alys Jones | Part 3 of The Drood Enquiry
(News and useful links found at bottom of description)
Read the inspiring MayDay Rally speeches! #1 by Howard Woodhouse
I’ve come here today with several questions:
What is a University?
What are some of the defining characteristics of a public university like the U of S?
Shouldn’t a university provide universal, or rather inclusive, forms of understanding to those who come to learn?
Hence, a place where there is a balanced relationship between teaching, learning, scholarship, and research?
Certainly, these have until recently been defining characteristics of public universities.
So, in light of these, let us imagine a family from Saskatchewan who wish to send their daughter to the U of S.
There are two immediate questions they have to ask: first, can we afford to send our daughter to the U of S; second, how much choice will she have in her undergraduate programs?
To the first question, the family will soon learn that Saskatchewan universities have the second highest fees in the country, according to Stats Canada.
To the second question, the daughter will soon learn that among the programs under threat by TransformUS are those in languages, mathematics, philosophy, religion and culture, art, music, and drama.
In other words, a liberal arts education may well be expunged together with the critical thought which it develops.
As a result, the sons and daughters of the people of Saskatchewan who pay for the U of S are being robbed of a pillar of university education.
And what, one might ask do senior administrators have to say about this state of affairs?
Bearing in mind that their numbers have increased by more than 100% since the year 2000 and that their salaries amount to $4.74 million?
In December, the president offered some encouragement by stating that “the university missions are teaching and learning and discovery, and any dollar spent on administration is a dollar that isn’t going to the core missions” (SP, 10 December 2013, p.A2).
This is a frank admission that senior administrators do not carry out any of the core functions of the U of S.
However, at the GAA last month the president stated that she did not know what educational quality means and was mistrustful of its use.
This is another frank admission, one that reveals either an ignorance of pedagogical practice or a dismissal of its importance.
Considerable research shows that educational quality requires classes small enough that dialogue can take place among faculty and students, enabling critical thought in which all knowledge claims can be questioned.
But, of course, the practice of questioning knowledge claims by faculty and students has its dangers for those in power.
When questioned by a student at the same meeting, the president ruled out not only a debate about TransformUS but also any further discussion of the alleged deficit in the university budget.
Is this a trend we can expect from senior administrators, namely the abandonment of reason in the one place in society where one should expect rationality to be sovereign?
Today’s rally demonstrates that some of us – students, faculty, staff, alumni, members of the public – are aware of the need to defend the core values of the university before they are frittered away for a few pieces of gold.
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Some News Articles and videos a regarding the Rally and issues that lead to it:
Rally held opposing TransformUS plan of action (Video and Article on Global News):
globalnews.ca/news/1305395/rally-held-opposing-university...
As rally takes place on campus, NDP raises concerns about University of Saskatchewan's overhaul plan (Video on The StarPhoenix)
www.thestarphoenix.com/news/rally+takes+place+campus+rais...
U of S should face elephant in room (The StarPhoenix): www.thestarphoenix.com/should+face+elephant+room/9794892/...
U of S upheaval unwarranted (The StarPhoenix): www.thestarphoenix.com/upheaval+unwarranted/9799333/story...
Campus May Day rally protests looming cuts (The StarPhoenix):
www.thestarphoenix.com/business/Campus+rally+protests+loo...
TransformUS plan to cut $25.3M from University of Saskatchewan spending (The StarPhoenix): www.thestarphoenix.com/news/saskatoon/TransformUS+plan+mi...
Campus rally pans U of S cuts(CKOM):
ckom.com/story/campus-rally-pans-u-s-cuts/330558
Free Academia at USask:
freeacademiausask.blogspot.ca/
U of S cost-cutting a ‘disaster,’ Killam Prize winner says (The StarPhoenix):
www.thestarphoenix.com/entertainment/cost+cutting+disaste...
U of S distanced from noble ideal (The StarPhoenix):
www.thestarphoenix.com/touch/story.html?id=9424521
University of Saskatchewan Faculty Association VOX (USFA):
Thunderbolt: the dictionary defines it as "a flash of lightning accompanied by thunder" and it aptly describes the P-47 during World War II. Thunderbolt pilots flew into battle with the thundering roar of a 2000-horsepower radial engine and the deadly flash of eight .50 caliber machine guns. This combination of a robust, reliable engine and heavy armament made the Thunderbolt successful. U. S. Army Forces (AAF) commanders considered it one of the three premier American fighter aircraft, alongside the North American P-51 Mustang and the Lockheed P-38 Lightning (see NASM collection for both aircraft). In the history of aviation, Americans built more P-47s than any other American fighter airplane.
A design history of the Thunderbolt begins in 1935, when the predecessor to Republic Aviation, the Seversky Aircraft Corporation, won an Army Air Corps fighter design competition with an airplane designated the P-35. Alexander Kartveli, Seversky chief designer, used a distinctive semi-elliptical wing plan-form on the P-35 and all the models that followed including the P-47. Kartveli improved on the P-35 with incrementally more powerful engines equipped with superchargers and these airplanes were designated the XP-41 and the P-43 Lancer. The XP-47A was to have been another modest evolutionary step, but aerial combat reports coming back from Europe in 1940 indicated the need for a breakthrough design.
Republic proposed a fighter never seen before nor hardly imagined. It was to be the largest single-engine fighter airplane built and flown by any nation during World War II and Kartveli armed it with the heaviest armament of any fighter yet built, eight .50 caliber machine guns. The designer also proposed using the Pratt & Whitney R-2800 engine, the largest air-cooled radial available. To make the airplane as fast as possible at high altitude, Kartveli designed a turbo-supercharger system that fit inside the aft fuselage of the big fighter. This was a particularly complex design challenge. Because of the importance of smooth airflow inside several hundred feet of ducting that connected the supercharger, near the tail, with the engine in the nose, the turbo air duct system was designed first, and then the rest of the aircraft was made to fit around it. Ducting filled nearly the entire belly of the XP-47B. After the aircraft became operational and several crashes occurred, post-crash analysis revealed that these ducts formed a safety cushion between the pilot and the ground.
The Army was impressed with the new design and ordered 171 P-47Bs. On May 6, 1941, the XP-47B made its first flight but Republic needed nearly two more years of testing and refining before the Thunderbolt was ready for combat. Upon arrival in England in December 1942, pilots greeted the P-47 with mixed emotions. Many fighter pilots were accustomed to more nimble and lightweight fighters such as the Supermarine Spitfire, Hawker Hurricane. Pilots of the 4th Fighter Group, Eighth Air Force, first took the Thunderbolt into combat. The fighter weighed more than twice as much as the Spitfires many men had flown previously, so someone nicknamed the aircraft 'Juggernaut,' a fitting moniker that was soon shortened simply to the Jug.
Early combat sorties, first flown in April 1943, revealed that the Thunderbolt could out-dive all opposing fighters-a definite advantage in aerial combat. The P-47 could also absorb tremendous battle damage and continue to fly, and the eight .50 caliber machine guns that Kartveli installed gave it the greatest projectile throw-weight of any U. S. fighter that served in World War II, except for the Northrop P-61 Black Widow night fighter. However, initial operational experience revealed problems with the engine, radio, landing gear, range and rate of climb. The first three difficulties were soon sorted out but rate of climb was not dramatically improved until December when new broad-chord "paddle-blade" propellers. Range limitations plagued the P-47 as long as it served in the European Theater. In the Pacific, Republic solved the range problem when the firm introduced the P-47N in April 1945 with a completely redesigned wing that held more fuel. The 'N model could fly more than 3,220 km (2,000 miles) and escort Boeing B-29 Superfortresses (see NASM collection) attacking the Japanese home islands.
During the war, the P-47 underwent many other modifications to improve its combat efficiency. The P-47D model featured water injection to boost engine power, more powerful versions of the R-2800 engine, increased fuel capacity, and a "bubble" canopy for less-restricted visibility from the cockpit. Through Lend-Lease, 247 Jugs went to the British and 103 to the Soviet Union. The Brazilians flew the type in combat in the Italian Theater and in the Pacific, the Mexican 201st Fighter Squadron flies Thunderbolts in the Philippines.
Of the 15,683 P-47s built, about two-thirds reached overseas commands. A total of 5,222 were lost-1,723 in accidents not related to combat. The Jug flew more than half a million missions and dropped more than 132 thousand tons of bombs. Thunderbolts were lost at the exceptionally low rate of 0.7 per cent per mission and Jug pilots achieved an aerial kill ratio of 4.6:1. In the European Theater, P-47 pilots destroyed more than 7,000 enemy aircraft, more than half of them in air-to-air combat. They destroyed the remainder on very dangerous ground attack missions.
In fact, the Thunderbolt was probably the best ground-attack aircraft fielded by the United States. From D-Day, the invasion of Europe launched June 8, 1944, until VE day on May 7, 1945, pilots flying the Thunderbolt destroyed the following enemy equipment:
86,000 railway cars
9,000 locomotives
6,000 armored fighting vehicles
68,000 trucks
The last Jug left the Air National Guard in 1954, but many other countries operated them for some years after that.
The National Air and Space Museum (NASM) Thunderbolt is a P-47D-30-RA, Army Air Forces (AAF) serial number 44-32691. The AAF accepted it on October 27, 1944, and delivered the aircraft to Godman Field, Kentucky. The AAF operated the airplane on the U. S. East Coast primarily as an aerial gunnery trainer. On January 27, 1946, the AAF transferred it from the active inventory to the U. S. Army Air Forces Museum in Dayton, Ohio, and then to the National Air Museum (now NASM) along with other military aircraft. The Smithsonian lent the aircraft to Republic Aviation for restoration and display, and to help the company celebrate the 20th anniversary of the first flight of the P-47. Subsequently, NASM displayed the aircraft at its own Paul Garber Facility in Suitland, Maryland, before lending it to the Museum of Flight at Robins Air Force Base, Georgia.
The P-47 has returned to the museum and is now on display in the National Air and Space Museum, Steven F. Udvar-Hazy Center.
A hot spring is a spring produced by the emergence of geothermally heated groundwater that rises from the Earth's crust. There are geothermal hot springs in many locations all over the crust of the earth. While some of these springs contain water that is a safe temperature for bathing, others are so hot that immersion can result in injury or death.
DEFINITIONS
There is no universally accepted definition of a hot spring. For example, one can find the phrase hot spring defined as any geothermal spring
- a spring with water temperatures above its surroundings
- a natural spring with water temperature above body temperature – normally between 36.5 and 37.5 °C
- a natural spring with warm water above body temperature
- a thermal spring with water warmer than 36.7 °C
- a natural spring of water greater than 21.1 °C (synonymous with thermal spring)
- a natural discharge of groundwater with elevated temperatures
- a type of thermal spring in which hot water is brought to the surface. The water temperature of a hot spring is usually 6.5 °C or more above mean air temperature. Note that by this definition, "thermal spring" is not synonymous with the term "hot spring"
- a spring whose hot water is brought to the surface (synonymous with a thermal spring). The water temperature of the spring is usually 8.3 °C or more above the mean air temperature.
- a spring with water above the core human body temperature – 36.7 °C.
- a spring with water above average ambient ground temperature
- a spring with water temperatures above 50 °C
The related term "warm spring" is defined as a spring with water temperature less than a hot spring by many sources, although Pentecost et al. (2003) suggest that the phrase "warm spring" is not useful and should be avoided. The US NOAA Geophysical Data Center defines a "warm spring" as a spring with water between 20 and 50 °C
SOURCES OF HEAT
Water issuing from a hot spring is heated geothermally, that is, with heat produced from the Earth's mantle. In general, the temperature of rocks within the earth increases with depth. The rate of temperature increase with depth is known as the geothermal gradient. If water percolates deeply enough into the crust, it will be heated as it comes into contact with hot rocks. The water from hot springs in non-volcanic areas is heated in this manner.
In active volcanic zones such as Yellowstone National Park, water may be heated by coming into contact with magma (molten rock). The high temperature gradient near magma may cause water to be heated enough that it boils or becomes superheated. If the water becomes so hot that it builds steam pressure and erupts in a jet above the surface of the Earth, it is called a geyser. If the water only reaches the surface in the form of steam, it is called a fumarole. If the water is mixed with mud and clay, it is called a mud pot.
Note that hot springs in volcanic areas are often at or near the boiling point. People have been seriously scalded and even killed by accidentally or intentionally entering these springs.
Warm springs are sometimes the result of hot and cold springs mixing. They may occur within a volcanic area or outside of one. One example of a non-volcanic warm spring is Warm Springs, Georgia (frequented for its therapeutic effects by paraplegic U.S. President Franklin D. Roosevelt, who built the Little White House there).
FLOW RATES
Hot springs range in flow rate from the tiniest "seeps" to veritable rivers of hot water. Sometimes there is enough pressure that the water shoots upward in a geyser, or fountain.
HIGH FLOW HOT SPRINGS
There are many claims in the literature about the flow rates of hot springs. It should be noted that there are many more high flow non-thermal springs than geothermal springs. For example, there are 33 recognized "magnitude one springs" (having a flow in excess of 2,800 L/s in Florida alone. Silver Springs, Florida has a flow of more than 21,000 L/s. Springs with high flow rates include:
- The Excelsior Geyser Crater in Yellowstone National Park yields about 0.25 m3/s.
- Evans Plunge in Hot Springs, South Dakota has a flow rate of 0.32 m3/s31 °C spring water. The Plunge, built in 1890, is the world's largest natural warm water indoor swimming pool.
- The combined flow of the 47 hot springs in Hot Springs, Arkansas is 35 L/s.
- The hot spring of Saturnia, Italy with around 500 liters a second
- The combined flow of the hot springs complex in Truth or Consequences, New Mexico is estimated at 99 liters/second.
- Lava Hot Springs in Idaho has a flow of 130 liters/second.
- Glenwood Springs in Colorado has a flow of 143 liters/second.
- Elizabeth Springs in western Queensland, Australia might have had a flow of 158 liters/second in the late 19th century, but now has a flow of about 5 liters/second.
- Deildartunguhver in Iceland has a flow of 180 liters/second.
- The hot springs of Brazil's Caldas Novas ("New Hot Springs" in Portuguese) are tapped by 86 wells, from which 333 liters/second are pumped for 14 hours per day. This corresponds to a peak average flow rate of 3.89 liters/second per well.
- The 2,850 hot springs of Beppu in Japan are the highest flow hot spring complex in Japan. Together the Beppu hot springs produce about 1,592 liters/second, or corresponding to an average hot spring flow of 0.56 liters/second.
- The 303 hot springs of Kokonoe in Japan produce 1,028 liters/second, which gives the average hot spring a flow of 3.39 liters/second.
- The Oita Prefecture has 4,762 hot springs, with a total flow of 4,437 liters/second, so the average hot spring flow is 0.93 liters/second.
- The highest flow rate hot spring in Japan is the Tamagawa Hot Spring in Akita Prefecture, which has a flow rate of 150 liters/second. The Tamagawa Hot Spring feeds a 3 m wide stream with a temperature of 98 °C.
- There are at least three hot springs in the Nage region 8 km south west of Bajawa in Indonesia that collectively produce more than 453.6 liters/second.
- There are another three large hot springs (Mengeruda, Wae Bana and Piga) 18 km north east of Bajawa, Indonesia that together produce more than 450 liters/second of hot water.
- The Dalhousie Springs complex in Australia had a peak total flow of more than 23,000 liters/second in 1915, giving the average spring in the complex an output of more than 325 liters/second. This has been reduced now to a peak total flow of 17,370 liters/second so the average spring has a peak output of about 250 liters/second.
- In Yukon’s Boreal Forest, 25 minutes north-west of Whitehorse in northern Canada, Takhini Hot Springs flows out of the Earth’s interior at 385 L/min and 47 °C year-round.
THERAPEUTIC USES
Because heated water can hold more dissolved solids than cold water, warm and especially hot springs often have very high mineral content, containing everything from simple calcium to lithium, and even radium. Because of both the folklore and the claimed medical value some of these springs have, they are often popular tourist destinations, and locations for rehabilitation clinics for those with disabilities.
BIOTA IN HOT SPRINGS
A thermophile is an organism — a type of extremophile — that thrives at relatively high temperatures, between 45 and 80 °C. Thermophiles are found in hot springs, as well as deep sea hydrothermal vents and decaying plant matter such as peat bogs and compost.
Some hot springs biota are infectious to humans. For example:
- Naegleria fowleri, an amoeba, live in warm waters and soils worldwide and may cause meningitis. Several deaths have been attributed to this amoeba, which enters the brain through the nasal passages.
- Acanthamoeba also can spread through hot springs, according to the US Centers for Disease Control.
- Legionella bacteria have been spread through hot springs.
- Viruses have been collected from very extreme environments, for example, a hot spring with a temperature of 87 to 93 °C and an incredibly acidic pH of 1.5 in Pozzuoli, Italy. These viruses were observed to infect cells in the laboratory.
NOTABLE HOT SPRINGS
There are hot springs in many countries and on all continents of the world. Countries that are renowned for their hot springs include China, Costa Rica, Iceland, Iran, Japan, New Zealand, Peru, Taiwan, Turkey, and United States, but there are hot springs in many other places as well:
- Many little ancient villages exist in Spain with thermal tradition like Caldes de Malavella, Caldes de Montbui, Caldes d'Estrac, and Caldes de Boí.
- The Frying Pan Lake in Waimangu Volcanic Rift Valley, New Zealand, the world's largest hot spring.
- The Boiling Lake hot spring in Dominica. It is the second largest hot spring in the world.
- The Geysir hot springs in Iceland are the source of the word "geyser".
- The town of Spa, Belgium is the origin of the word "spa" and features springs with water temperatures of 32 °C. Casanova visited Spa in 1783 looking for business opportunities but was disappointed.
- The Jordan spring in Bad Oeynhausen, Germany, was drilled in 1926. With a depth of 725 m and 3000 l/min it is the largest carbonated brine water source in the world 36 °C.
- Aachen, Germany has one of the hottest springs of continental Europe with water temperatures of 74 °C.
- The hottest spring of continental Europe is in Sapareva Banya, Bulgaria).
- The Yangbajing hot springs field about 87 km. north of Lhasa in Tibet is several square kilometers in size, and used to supply a large fraction of the electricity of Lhasa. At an altitude between 4,290 and 4,500 m, this is a strong candidate for the set of highest altitude hot springs on earth.
- Icaria, Greece features a radioactive hot water spring that has been used since the 4th century BC.
- There are numerous hot springs in Greenland, such as on Uunartoq island near Alluitsup Paa. There are over 2000 hot springs just on Disko Island, which has an area only 0.4% of that of Greenland.
- Widely renowned since a chemistry professor's report in 1918 classified them as one of the world's most electrolytic mineral waters, the Rio Hondo Hot Springs in northern Argentina have become among the most visited on earth. The Cacheuta Spa is another famous hot springs in Argentina.
- Iceland has many famous hot springs, including the one feeding the Blue Lagoon spa in Grindavík, Iceland, and Europe's highest flow rate hot spring Deildartunguhver. Deildartunguhver's water emerges at 97 °C and is piped many miles to heat neighboring towns.
- One of the highly potential geothermal energy reservoirs in India is the Tattapani thermal springs of Madhya Pradesh.
- Shiretoko National Park in Hokkaidō, Japan has a hot springs waterfall called Kamuiwakkayu-no-taki, which translates as "river of the gods" in the Ainu language.
- Northwest Spitsbergen National Park, Spitsbergen at 80 degrees north, contains two of earth's most northerly hot springs.
- There are many geothermal springs in the UK, but the thermal springs found in the city of Bath produce the highest temperature geothermal water in the UK.
- Oymyakon in eastern Siberia is a candidate for the coldest permanently inhabited location in the Northern Hemisphere and another hot springs site. The Yakut language word "oymyakon" means "river doesn't freeze" after the local tributary of the Indigirka River fed by the hot springs which continues to flow year round in this permafrost region.
- Bela-Bela (formerly Warmbaths) in Limpopo Province, South Africa.
- Sirch (Kerman), Sar'eyn (Ardabil), Geno (Bandar Abbas) and gheinarjeh (Ardabil) with 86 °C are notable hot springs in Iran.
- Hot Springs National Park has 47 hot springs at Hot Springs Mountain in the town of Hot Springs, Arkansas United States.
- Lake Hévíz is close to the city of Hévíz, Hungary. Is the second largest thermal lake in the world. The lake water temperatures range between 23-25 °C in winter and 33-36 °C in summer.
- Takhini Hot Springs is the only developed hot spring in the Yukon, Canada. Its water flows from deep within the earth with a temperature of around 47 °C.
- El Pandeño in Julimes, Chihuahua, Mexico, harbors the entire known population of Julimes pupfish (Cyprinodon julimes) which shares its habitat with other rare micro-endemic species. The Julimes pupfish is considered to be the freshwater teleost that lives at the highest temperatures on the planet, and possibly also the vertebrate with the smallest known distribution range.
ETIQUETTE
The customs and practices observed differ depending on the hot spring. It is common practice that bathers should wash before entering the water so as not to contaminate the water (with/without soap). In many countries, like Japan, it is required to enter the hot spring with no clothes on, including swimwear. Typically in these circumstances, there are different facilities or times for men and women. In some countries, if it is a public hot spring, swimwear is required.
WIKIPEDIA
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Nikon D800E Photos of a Gorgeous Blond Bikini Model Goddess in Gold 45 Revolver Swimsuit with wavy-blond hair and pretty blue eyes! Pretty, pretty smile! A tall, thin, fit, classic California beach babe! Please share the exalted goddess with your friends.
Here is some epic video I shot at the same time as the stills with the Sony Alpha NEX 6 camera with the 50 mm F/1.8 prime lens for nex6 e mount cameras bracketed to my Nikon D800E (cool bokeh!):
www.youtube.com/watch?v=8uUXm05lv_o (Sony NEX-6 with F/1.8 50mm Prime Nice Bokeh!)
www.youtube.com/watch?v=aqVXRPAN0MQ (Sony NEX-6 with F/1.8 50mm Prime Nice Bokeh!)
www.youtube.com/watch?v=PrAZEcBZxUQ (Nikon D800E with 70-200mm F/2.8 Nikkor LEns)
www.youtube.com/watch?v=f9phCXhm-bg (Sony NEX-6 with F/1.8 50mm Prime Nice Bokeh!)
www.youtube.com/watch?v=gsQcSnPd2Uk (Sony NEX-6 with F/1.8 50mm Prime Nice Bokeh!)
With the black 45surf surfboard! It gets hot in the sand in the sun! Wearing a leather Buffalo Nickel Cowboy Hat! :)
Combine the shallow-depth-of-field with Sony NEX-6's latest face-tracking auto focus, and you can see how the moving video keeps the model's pretty blue eyes in focus, while blurring the background! The Sony Alpha NEX 6 has much better bokeh than the cameras I have been using! :)
She was tall, thin, fit, toned, defined, and beautiful!
Modeling the Gold 45 Revolver(TM) Gold'N'Virtue(TM) American Flag Bikini! Stars & Stripes Forever! :)
Nikon D800E Photographs of a Beautiful Sandy-Blonde/Brunette Swimsuit Bikini Model shot with the new Nikon D800 and Nikon 70-200mm f/2.8G ED VR II AF-S Nikkor Zoom Lens with the B W 77mm XS-Pro Kaesemann Circular Polarizer with Multi-Resistant Nano Coating filter. I always, always shoot with a CP filter--even on cloudy days!
Shot in both RAW & JPEG, but all these photos are RAWs finished in Lightroom 4 ! :)
May the HJM Goddesses guide, inspire, and exalt ye along yer heroic artistic journey!
Modeling the black & gold "Gold 45 Revolver" Gold'N'Virtue swimsuits with the main equation to Moving Dimensions Theory on the swimsuits: dx4/dt=ic. Yes I have a Ph.D. in physics! :) You can read more about my research and Hero's Journey Physics here:
herosjourneyphysics.wordpress.com/ MDT PROOF#2: Einstein (1912 Man. on Rel.) and Minkowski wrote x4=ict. Ergo dx4/dt=ic--the foundational equation of all time and motion which is on all the shirts and swimsuits. Every photon that hits my Nikon D800e's sensor does it by surfing the fourth expanding dimension, which is moving at c relative to the three spatial dimensions, or dx4/dt=ic!
Reading some of the Great Books of Hero's Journey Mythology! Homer's Iliad and Odyssey, Melville's Moby Dick, and Shakespeare's Hamlet!
All the Best on Your Epic Hero's Journey from Johnny Ranger McCoy!
What is oral cancer?
Cancer is defined as the uncontrollable growth of cells that invade and cause damage to surrounding tissue. Oral cancer appears as a growth or sore that does not go away. Oral cancer — which includes cancers of the lips, tongue, cheek, floor of the mouth, hard and soft palate, sinuses, and pharynx (throat) — can be life-threatening if not diagnosed and treated early.
What are the signs and symptoms of oral cancer?
The following are the common signs and symptoms:
* Swellings/thickenings, lumps or bumps, rough spots/crusts/or eroded areas on the lips, gums, or other areas inside the mouth
* The development of velvety white, red, or speckled (white and red) patches in the mouth
* Unexplained bleeding in the mouth
* Unexplained numbness, loss of feeling, or pain/tenderness in any area of the face, mouth, or neck
* Persistent sores on the face, neck, or mouth that bleed easily and do not heal within two weeks
* A soreness or feeling that something is caught in the back of the throat
* Difficulty chewing or swallowing, speaking, or moving the jaw or tongue
* Hoarseness, chronic sore throat, or changes in the voice
* Ear pain
* A change in the way your teeth or dentures fit together – a change in your "bite"
* Dramatic weight loss
If you notice any of these changes, contact your dentist immediately for a professional examination.
I recently noticed a whitish patch in my mouth. Is this oral cancer?
This whitish patch could be leukoplakia. Leukoplakia, a condition caused by excess cell growth, can form on the cheeks, gums, or tongue. Leukoplakia is commonly seen in tobacco users, in people with ill-fitting dentures, and in those who have a habit of chewing on their cheek. This condition can progress to cancer. Red patches in the mouth (called erythroplakia) are less common than leukoplakia but have an even greater potential for being cancerous. Any white or red lesion in your mouth should be evaluated by your dentist.
Who gets oral cancer and what are the risk factors for oral cancer?
According to the American Cancer Society, men face twice the risk of developing oral cancer as women, and men who are over age 50 face the greatest risk. The rate of development of cancer of the oral cavity and pharynx began to decline in the late 1970s and has continued to decline throughout the 1990s in both African Americans, and white males and females.
Risk factors for the development of oral cancer include:
* Cigarette, cigar, or pipe smoking — Smokers are six times more likely than non-smokers to develop oral cancers.
* Use of smokeless tobacco products (for example, dip, snuff, or chewing tobacco) — Use of these products increase the risk of cancers of the cheek, gums, and lining of the lips.
* Excessive consumption of alcohol — Oral cancers are about six times more common in drinkers than in non-drinkers.
* Family history of cancer
* Excessive exposure to the sun — especially at a young age
It is important to note that more than 25% of all oral cancers occur in people who do not smoke and who only drink alcohol occasionally.
Other Oral Cancer Facts
Oral cancer is the sixth most common cancer among men.
About 75% to 80% of people with oral cavity and pharynx cancer consume alcohol.
People who smoke and drink alcohol have an even higher risk of cancer than those who only drink or only use tobacco products.
The risk of developing oral cavity and pharynx cancers increases both with the amount as well as the length of time tobacco and alcohol products are used.
Survival
The overall 1-year survival rate for patients with all stages of oral cavity and pharynx cancers is 81%. The 5 & 10-year survival rates are 56% and 41%, respectively.
How is oral cancer diagnosed?
Your dentist will conduct an oral cancer screening exam, which is a routine part of a comprehensive dental examination. More specifically, your dentist will feel for any lumps or irregular tissue changes in your neck, head, face, and oral cavity. When examining your mouth, your dentist will look for any sores or discolored tissue, as well as check for or ask you about the signs and symptoms mentioned above.
Your dentist might perform an oral brush biopsy if he or she sees tissue in your mouth that looks suspicious. This test is painless and involves taking a small sample of the tissue and analyzing it for abnormal cells. Alternatively, if the tissue looks even more suspicious, your dentist might recommend a scalpel biopsy. This procedure usually requires local anesthesia and might be performed by your dentist or a specialist referred by your dentist. These tests are necessary to detect oral cancer early, before it has had a chance to progress and spread.
How is oral cancer treated?
Oral cancer is treated the same way many other cancers are treated; that is with surgery to remove the cancerous growth followed by radiation therapy and/or chemotherapy (drug treatments) to destroy any remaining cancer cells.
What can I do to prevent oral cancer?
You can take an active role in preventing oral cancer or detecting it early, should it occur.
* Conduct a self exam at least once a month. Using a bright light and a mirror, look and feel your lips and front of your gums. Tilt your head back and look at and feel the roof of your mouth. Pull your checks out to view the inside of your mouth, the lining of your cheeks, and the back gums. Pull out your tongue and look at all surfaces. Examine the floor of your mouth. Look at the back of your throat. Feel for lumps or enlarged lymph nodes in both sides of your neck and under your lower jaw. Call your dentist’s office immediately if you notice any changes in the appearance of your mouth or any of the signs and symptoms mentioned above.
* See your dentist on a regular schedule. Even though you might be conducting frequent self exams, sometimes dangerous spots or sores in the mouth can be very tiny and difficult to see on your own. The American Cancer Society recommends oral cancer screening exams every three years for people over age 20 and annually for those over age 40. During your next dental appointment, ask your dentist to perform an oral exam. Early detection can improve the chance of successful treatment.
* Don’t smoke or use any tobacco products and drink alcohol in moderation. (Refrain from binge drinking.)
* Eat a well balanced diet.
* Limit your exposure to the sun. Repeated exposure increases the risk of cancer on the lip, especially the lower lip. When in the sun, use UV-A/B-blocking sun protective lotions on your skin as well as your lips.
Painting and markings:
Since the time frame was defined by the Fifties, early Luftwaffe fighters had to carry a bare metal finish, with relatively few decorations. For the F-80E I gave the model an overall base coat with White Aluminum from a Dupli Color rattle can, a very nice and bright silver tone that comes IMHO close to NMF. Panels were post-shaded with Revell 99 (Aluminum) and 91 (Iron Metallic). An anti-glare panel in front of the windscreen was painted in the Luftwaffe tone RAL 6014, Gelboliv (Revell 42).
For some color highlights I gave the tip tanks bright red (Feuerrot, RAL 3000; Revell 330) outer halves, while the inner halves were painted black to avoid reflections that could distract the pilot (seen on a real Luftwaffe T-33 from the late Fifties). For an even more individual touch I added light blue (Tamiya X-14, Sky Blue) highlights on the nose and the fin, reflecting the squadron’s color code which is also carried within the unit emblem – the Tamiya paint came closest to the respective decal (see below).
The cockpit interior was painted with zinc chromate green primer (I used Humbrol 80, which is brighter than the tone should be, but it adds contrast to the black dials on the dashboard), the landing gear wells were painted with a mix of Humbrol 80 and 81, for a more yellowish hue. The landing gear struts became grey, dry-brushed with silver, while the inside of the ventral air brakes were painted in Feuerrot, too.
Then the model received an overall washing with black ink to emphasize the recessed panel lines, plus additional panel shading with Matt Aluminum Metallizer (Humbrol 27001), plus a light rubbing treatment with grinded graphite that emphasized the (few leftover) raised panel lines and also added a dark metallic shine to the silver base. Some of the lost panel lines were simulated with simple pencil strokes, too.
The decals/markings primarily came from an AirDoc aftermarket sheet for late Fifties Luftwaffe F-84Fs. The tactical code (“BB-xxx” was then assigned to the WaSLw 10 as unit code, but this soon changed to a similar but different format that told about the unit’s task as well as the specific unit and squadron within it; this was replaced once more by a simple xx+yy code that was only connected to a specific aircraft with no unit reference anymore, and this format is still in use today) was puzzled together from single letters/digits from the same decal set. Some additional markings like the red band on the fuselage had to be scratched, but most stencils came from an all-bare-metal Luftwaffe F-84F.
After some more detail painting the model was sealed with semi-gloss acrylic paint, just the anti-glare panel and the di-electric fairings on the nose and the fin tip became matt.
Laugenmaus und Laugencroissant mit Kürbiskernen vom Bäcker Gauker, Tübingen. 牛角面包 .
°°°
-->> Click , click
© View LARGE on BLACK
or white, or grey
__ For your Eyes only ©
°°°
define: croissant
croissant (de lune) .- zunehmende Mondsichel - French croissant
in der Schweiz auch Gipfel(i), in Süddeutschland teilweise Butterhörnchen, oder Hörnchen genannt, ist ein französisches Gebäck aus Plunderteig.
de.wikipedia.org/wiki/Plunderteig
... kommt von „pludern“ (aufgehen, lockern). Auf Englisch heißt Plundergebäck „Danish“ oder „Danish pastry“.
„Danish pastry“ has more
In Vienna, Danish pastry ("Viennese bread") is referred to as "Plundergebäck" or "Golatschen", and its origin may well be the Turkish baklava, like the Strudel. Both the croissant and Danish are laminated doughs, and as such are categorized as Viennoiserie products.
Plunder im Sinne von „mehrere Plunderteilchen“, (auch „Deutscher Plunder“, " Plundergebäck " ) enthält mindestens 30 % Butter, etc. ...contains at least 30% butter.
In Süddeutschland und der Schweiz ist eine beliebte Variante das Laugencroissant, bzw. Laugengipfeli .
Lye croissants in Southern Germany and Austria.
Variante d'Allemagne du Sud : croissants à la saumure (Laugencroissant).
Erfindung aus Österreich oder Frankreich ?
====================================
en.wikipedia.org/wiki/Croissant
Das englische und französiche Wikipedia hat die Lösung des Konfliktes:
À Paris, les premiers croissants sont vendus au no 92, rue de Richelieu, entre 1837 et 1839, quand les Autrichiens August Zang et Ernest Schwarzer y ouvrent la Boulangerie Viennoise.
À partir des années 1950, le croissant est un élément traditionnel du petit déjeuner en France, et de la Roumanie peu de temps après (autour des années 1990-2000).
Der Bäcker August Zang aus Österreich hats efrunden, jedoch seine Bäckeri in Paris eröffnet.
The "birth" of the croissant itself – that is, its adaptation from the plainer form of Kipferl, before the invention of Viennoiserie – can be dated with some precision to at latest 1839 (some say 1838), when an Austrian artillery officer, August Zang, founded a Viennese bakery ("Boulangerie Viennoise") at 92, rue de Richelieu in Paris.
This bakery, which served Viennese specialities including the Kipferl and the Vienna loaf, quickly became popular and inspired French imitators (and the concept, if not the term, viennoiserie, a 20th-century term for supposedly Vienna-style pastries). The French version of the Kipferl was named for its crescent (croissant) shape.
Zang himself returned to Austria in 1848 to become a press magnate, but the bakery remained popular for some time after, and was mentioned in several works of the time:
. de
Kipferl, Vorgänger des das Croissant ist in Österreich dokumentiert worden, zumindest im 13. Jahrhundert in verschiedenen Formen zurück.
Die Kipferl kann glatt oder mit Nut oder anderen Füllungen (Manche halten die Rugelach eine Form der Kipferl) erfolgen.
Die "Geburt" das Croissant selbst – das heißt, die Anpassung von deutlicher Form von Kipferl, vor der Erfindung des Frühstücksgebäck – kann mit einiger Präzision bis zu neuesten 1839 (manche sagen 1838), datiert werden, als Offizier der österreichischen Artillerie, August Zang, eine Wiener Bäckerei ("Boulangerie Viennoise") in der Rue de Richelieu 92, in Paris gegründet wurde.
Diese Bäckerei, die Wiener Spezialitäten wie die Kipferl und Wiener Brot serviert, wurde schnell populär und inspirierte französische Nachahmer (und das Konzept, wenn nicht der Begriff, Frühstücksgebäck, 20. Jh. Bezeichnung für angeblich Vienna-Style Gebäck).
Die französische Version von die Kipferl wurde für seine Form Halbmond (Croissant) benannt.
Zang selbst kehrte nach Österreich zurück, im Jahr 1848, um ein Presse-Magnat zu werden. Aber die Bäckerei blieb für einige Zeit danach beliebt und wurde in mehreren Werken der Zeit lobend erwähnt:
Foto: 1909
Die ursprüngliche Boulangerie Viennoise im Jahre 1909 (auch wenn es jetzt Philibert Jacquet gehörte, steht "ZANG" über der Bäckerei drauf).
Die Bäckerei ist auf der linken Seite und ein Teesalon rechts.
The original Boulangerie Viennoise in 1909 (when it was owned by Philibert Jacquet). The bakery proper is at left and its tea salon at right.
Ab 1950 ist "der Halbmond" , das Croissant, ein traditioneller Teil des Frühstücks in Frankreich .
.it
Il cornetto (detto anche croissant, brioche o kipferl) è una specialità alimentare dolce o salata a forma di mezzaluna, la cui origine è tradizionalmente considerata austriaca.
"From time to time the sea breeze lifts the corner of her flowing skirt and shows her shining, superb leg; and her foot, like the feet of the marble goddesses that Europe locks up in its museums, faithfully imprints its form on the fine sand."
6 May 2014 - Forum 2014 Session: Defining Resilience. OECD Headquarters, Paris, France.
Moderator: Yoichi Takita, Senior Staff Writer, Nikkei
Speakers
- Shinichi Abe, Managing Director, Enterprise Business, Google Japan
- Nobuaki Koga, President, Japanese Trade Union Confederation (RENGO)
- Yoko Tsurimaki & Kohei Oyama, Students, Tohoku School, Japan
- Margareta Wahlström, United Nations Special Representative of the Secretary-General for Disaster Risk Reduction
For more information, visit: www.oecd.org/Forum
Photo: OECD/Andrew Wheeler
I had some damaged optical fiber cables at home, at which I decided to take a capture of a single FC-PC cable on a Longman dictionary.
I reckon that I should have focused on the "fibre optics" phrase better than this, but I guess I was too lazy to reposition the cable.
Rainy day at the BMW M Tour event in Half Moon Bay. I was pleasantly surprised at how sharp the 17-85mm was.
“Never be bullied into silence. Never allow yourself to be made a victim. Accept no one's definition of your life, but define yourself.” ―Harvey Fierstein
this poster tries to define how love is generated through a slightly different point of view - our heartbeats.
i was given the assignment to define "what's love?" and really wanted to avoid being cheesy or touchey-feely, so i set up a grid and spilled diagram of a pacing heart into them - coming to the conclusion that LOVE IS THE REDDEST AND FULLEST OF EXCITEMENTS.
Clarksdale, est. 1848, pop. 17,962
• marker text
• aka Hopson Building, WROX Museum • partitions & rooms in front section define the old WROX radio studio • area unaltered since radio station occupied it
• article in Clarksdale Daily Register, 04 Apr, 1920, announced H.H. Hopson had "awarded a contract for the erection of a three-story building" • upper floors to be used for office space • downstairs to be occupied by (H.H. Hobson's) Standard Automobile Co. showroom [designed by architect Frank P. Gates (1895-1975)] • by late 1920s, Joseph Newburger's Memphis-based Newburger Cotton Co., with offices in every major city in region, shared building with Standard • by mid-1930s ground floor became showroom for New Dixie Chevrolet (1935) -NRHP Nomination Form
• building owner H.H. Hopson (1875-1933) the son of Confederate war vet Howell Harrison (H.H.) Hopson (1833-1879) & father of H.H. Hopson Jr. (1899-1970) • Hopsons owned Hopson Plantation (1852), one time home of bluesman Pinetop Perkins • Howell Hopson Jr. a pioneer in supporting development of mechanical cotton picker with field testing beginning at the farm in 1941 • was site of history's 1st entirely machine-produced commercial cotton with 1944 introduction of Intl. Harvester's 1st cotton picker
• at 6:00 AM, Monday, 05 June, 1944, WROX AM 1450 began broadcasting its 250W signal from 321 Delta Ave • Secty. of Clarksdale Chamber of Commerce & former newspaper publisher Robin Weaver was original owner • WROX began as part of the NBC Blue Network, later joined Mutual Broadcasting System aka Mutual, home of Lone Ranger, Superman, The Shadow and the baseball World Series
• in 1945 station purchased by Columbus MS radio station owner/ newspaper publisher (Vinton) Birney Imes Jr (1914-2003), becoming 3rd station in his Mid-South Network • Imes also acquired Hobson Building, renamed it WROX Bldg. • son Birney Imes III (b.1951) is a photographer known for images of American South, in collections of Museum of Modern Art (NYC), Art Institute of Chicago, etc.
• as home of WROX radio, 1946-1954, building played significant role in history of the Blues & other African-American based music • Early Wright (1915-1999), "The Soul Man," began 51 yr. career at WROX in 1947 • believed to be 1st African-American deejay in MS, possibly entire South • hosted blues and gospel stars B.B. King, Charlie Pride, Muddy Waters, Tina Turner, Bobby Rush, Sonny Boy Williamson, Robert Nighthawk, Rufus Thomas, Eivis Presley, Little Milton, and Pinetop Perkins. • in early 50s, Wright helped foster career of Ike Turner (1931-2007) • Turner hosted weekly R&B show from WROX bldg., piayed live with his band Kings cf Rhythm • Historic Building -Clarksdale Press Register
• Wright also had great interest in gospel music • hosted Rev. Gatemouth Moore, The Sons of Wonder, Sam Cooke, Rev. Willie Morganfield, and Rev. C. L. Franklin among many others
• in 1945 WROX joined with KFFA, Helena, AK to form Delta Network • 1st client was Interstate Grocery Co. which sponsored King Biscuit Time, a live blues show featuring blues harmonica player Sonny Boy Williamson II (1895-1965), aka Aleck Ford "Rice" Miller • influential show reached tens of thousands in the Arkansas/Mississippi Delta • sponsor marketed Sonny Boy Corn Meal • www.kingbiscuittime.com • Wikipedia • Encyclopedia of Arkansas • video: King Biscuit Time 1942, 1952 (2:12)
• Early Wright obituary -NY Times • Early Wright "The Soul Man" -Vimeo (11:55) • The First Black Disc Jockey in the South -YouTube (00:59) • WROX history • National Register 02000854, 2002 • Clarksdale Historic District, National Register 09000763, 2009 • Coahoma County designated part of Mississippi Delta National Heritage Area, 2009
Spinal manipulation, which chiropractors call "spinal adjustment" or "chiropractic adjustment", is the most common treatment used in chiropractic care. Spinal manipulation is a passive manual maneuver during which a three-joint complex is taken past the normal range of movement, but not so far as to dislocate or damage the joint. Its defining factor is a dynamic thrust, which is a sudden force that causes an audible release and attempts to increase a joint's range of motion. High-velocity, low-amplitude spinal manipulation (HVLA-SM) thrusts have physiological effects that signal neural discharge from paraspinal muscle tissues, depending on duration and amplitude of the thrust are factors of the degree in paraspinal muscle spindles activation. Clinical skill in employing HVLA-SM thrusts depends on the ability of the practitioner to handle the duration and magnitude of the load. More generally, spinal manipulative therapy (SMT) describes techniques where the hands are used to manipulate, massage, mobilize, adjust, stimulate, apply traction to, or otherwise influence the spine and related tissues.
There are several schools of chiropractic adjustive techniques, although most chiropractors mix techniques from several schools. The following adjustive procedures were received by more than 10% of patients of licensed U.S. chiropractors in a 2003 survey: Diversified technique (full-spine manipulation, employing various techniques), extremity adjusting, Activator technique (which uses a spring-loaded tool to deliver precise adjustments to the spine), Thompson Technique (which relies on a drop table and detailed procedural protocols), Gonstead (which emphasizes evaluating the spine along with specific adjustment that avoids rotational vectors), Cox/flexion-distraction (a gentle, low-force adjusting procedure which mixes chiropractic with osteopathic principles and utilizes specialized adjusting tables with movable parts), adjustive instrument, Sacro-Occipital Technique (which models the spine as a torsion bar), Nimmo Receptor-Tonus Technique, applied kinesiology(which emphasises "muscle testing" as a diagnostic tool), and cranial. Chiropractic biophysics technique uses inverse functions of rotations during spinal manipulation. Koren Specific Technique (KST) may use their hands, or they may use an electric device known as an "ArthroStim" for assessment and spinal manipulations. Insurers in the US and UK that cover other chiropractic techniques exclude KST from coverage because they consider it to be "experimental and investigational." Medicine-assisted manipulation, such as manipulation under anesthesia, involves sedation or local anesthetic and is done by a team that includes an anesthesiologist; a 2008 systematic review did not find enough evidence to make recommendations about its use for chronic low back pain.
Many other procedures mentioned in Chiropractic SEO guide for treating the spine, other joints and tissues, and general health issues. The following procedures were received by more than one-third of patients of licensed U.S. chiropractors in a 2003 survey: Diversified technique (full-spine manipulation; mentioned in previous paragraph),physical fitness/exercise promotion, corrective or therapeutic exercise, ergonomic/postural advice, self-care strategies, activities of daily living, changing risky/unhealthy behaviors, nutritional/dietary recommendations, relaxation/stress reduction recommendations, ice pack/cryotherapy, extremity adjusting (also mentioned in previous paragraph), trigger point therapy, and disease prevention/early screening advice.
A 2010 study describing Belgium chiropractors and their patients found chiropractors in Belgium mostly focus on neuromusculoskeletal complaints in adult patients, with emphasis on the spine. The diversified technique is the most often applied technique at 93%, followed by the Activator mechanical-assisted technique at 41%. A 2009 study assessing chiropractic students giving or receiving spinal manipulations while attending a U.S. chiropractic college found Diversified, Gonstead, and upper cervical manipulations are frequently used methods.
My good friend Lalenya needed me to shoot some photos for a trivia night she and the host are doing. Here's a shot showing how smart she is and the topic of choice is "Defining Deviance."
Kathakali (Malayalam: കഥകളി, kathakaḷi; Sanskrit: कथाकळिः, kathākaḷiḥ) is a stylized classical Indian dance-drama noted for the attractive make-up of characters, elaborate costumes, detailed gestures and well-defined body movements presented in tune with the anchor playback music and complementary percussion. It originated in the country's present day state of Kerala during the 17th century and has developed over the years with improved looks, refined gestures and added themes besides more ornate singing and precise drumming.
HISTORY
Popular belief is that kathakali is emerged from "Krishnanattam", the dance drama on the life and activities of Lord Krishna created by Sri Manavedan Raja, the Zamorin of Calicut (1585-1658 AD). Once Kottarakkara Thampuran, the Raja of Kottarakkara who was attracted by Krishnanattam requested the Zamorin for the loan of a troupe of performers. Due to the political rivalry between the two, Zamorin did not allow this. So Kottarakkara Thampuran created another art form called Ramanattam which was later transformed into Aattakatha. Krishnanaattam was written in Sanskrit, and Ramanattam was in Malayalam. By the end of 17th century, Attakatha was presented to the world with the title 'Kathakali'.
Kathakali also shares a lot of similarities with Krishnanattam, Koodiyattam (a classical Sanskrit drama existing in Kerala) and Ashtapadiyattam (an adaptation of 12th-century musical called Gitagovindam). It also incorporates several other elements from traditional and ritualistic art forms like Mudiyettu, Thiyyattu, Theyyam and Padayani besides a minor share of folk arts like Porattunatakam. All along, the martial art of Kalarippayattu has influenced the body language of Kathakali. The use of Malayalam, the local language (albeit as a mix of Sanskrit and Malayalam, called 'Manipravaalam'), has also helped the literature of Kathakali sound more transparent for the average audience.
As a part of modernising, propagating, promoting and popularizing Kathakali, the International Centre for Kathakali at New Delhi has taken up a continuing project since 1980 of producing new plays based on not only traditional and mythological stories, but also historical stories, European classics and Shakespeare's plays. Recently they produced Kathakali plays based on Shakespeare's Othello and Greek-Roman mythology of Psyche and Cupid.
Even though the lyrics/literature would qualify as another independent element called Sahithyam, it is considered as a component of Geetha or music, as it plays only a supplementary role to Nritham, Nrithyam and Natyam.
KATHAKALI PLAYS
Traditionally there are 101 classical Kathakali stories, though the commonly staged among them these days total less than one-third that number. Almost all of them were initially composed to last a whole night. Nowadays, there is increasing popularity for concise, or oftener select, versions of stories so as the performance lasts not more than three to four hours from evening. Thus, many stories find stage presentation in parts rather than totality. And the selection is based on criteria like choreographical beauty, thematic relevance/popularity or their melodramatic elements. Kathakali is a classical art form, but it can be appreciated also by novices—all contributed by the elegant looks of its character, their abstract movement and its synchronisation with the musical notes and rhythmic beats. And, in any case, the folk elements too continue to exist. For better appreciation, perhaps, it is still good to have an idea of the story being enacted.
The most popular stories enacted are Nalacharitham (a story from the Mahabharata), Duryodhana Vadham (focusing on the Mahabharata war after profiling the build-up to it), Kalyanasougandhikam, (the story of Bhima going to get flowers for his wife Panchali), Keechakavadham (another story of Bhima and Panchali, but this time during their stint in disguise), Kiratham (Arjuna and Lord Shiva's fight, from the Mahabharata), Karnashapatham (another story from the Mahabharata), Nizhalkuthu and Bhadrakalivijayam authored by Pannisseri Nanu Pillai. Also staged frequently include stories like Kuchelavrittam, Santanagopalam, Balivijayam, Dakshayagam, Rugminiswayamvaram, Kalakeyavadham, Kirmeeravadham, Bakavadham, Poothanamoksham, Subhadraharanam, Balivadham, Rugmangadacharitam, Ravanolbhavam, Narakasuravadham, Uttaraswayamvaram, Harishchandracharitam, Kacha-Devayani and Kamsavadham.
Recently, as part of attempts to further popularise the art, stories from other cultures and mythologies, such as those of Mary Magdalene from the Bible, Homer's Iliad, and William Shakespeare's King Lear and Julius Caesar besides Goethe's Faust too have been adapted into Kathakali scripts and on to its stage. Synopsis of 37 kathakali stories are available in kathakalinews.com.
MUSIC
The language of the songs used for Kathakali is Manipravalam. Though most of the songs are set in ragas based on the microtone-heavy Carnatic music, there is a distinct style of plain-note rendition, which is known as the Sopanam style. This typically Kerala style of rendition takes its roots from the temple songs which used to be sung (continues even now at several temples) at the time when Kathakali was born.
As with the acting style, Kathakali music also has singers from the northern and southern schools. The northern style has largely been groomed by Kerala Kalamandalam in the 20th century. Kalamandalam Neelakantan Nambisan, an overarching Kathakali musician of those times, was a product of the institute. His prominent disciples include Kalamandalam Unnikrishna Kurup, Kalamandalam Gangadharan, Kalamandalam P.G. Radhakrishnan, Rama Varrier, Madambi Subramanian Namboodiri, Tirur Nambissan, Kalamandalam Sankaran Embranthiri, Kalamandalam Hyderali, Kalamandalam Haridas, Subramanian, Kalanilayam Unnikrishnan and Kalamandalam Bhavadasan. The other prominent musicians of the north feature Kottakkal Vasu Nedungadi, Kottakkal Parameswaran Namboodiri, Kottakkal P.D. Narayanan Namboodiri, Kottakkal Narayanan, Kalamandalam Anantha NarayananKalamandalam Sreekumar Palanad Divakaran, Kalanilayam Rajendran, Kolathappilli Narayanan Namboodiri, Kalamandalam Narayanan Embranthiri, Kottakkal Madhu, Kalamandalam Babu Namboodiri, Kalamandalam Harish and Kalamandalam Vinod. In the south, some of whom are equally popular in the north these days, include Pathiyur Sankarankutty. Southerner musicians of the older generation include Cherthala Thankappa Panikker, Thakazhi Kuttan Pillai, Cherthala Kuttappa Kurup, Thanneermukkam Viswambharan and Mudakkal Gopinathan.
PERFORMANCE
Traditionally, a Kathakali performance is usually conducted at night and ends in early morning. Nowadays it isn't difficult to see performances as short as three hours or fewer. Kathakali is usually performed in front of the huge Kalivilakku (kali meaning dance; vilakku meaning lamp) with its thick wick sunk till the neck in coconut oil. Traditionally, this lamp used to provide sole light when the plays used to be performed inside temples, palaces or abodes houses of nobles and aristocrats. Enactment of a play by actors takes place to the accompaniment of music (geetha) and instruments (vadya). The percussion instruments used are chenda, maddalam (both of which underwent revolutionary changes in their aesthetics with the contributions of Kalamandalam Krishnankutty Poduval and Kalamandalam Appukutty Poduval) and, at times, edakka. In addition, the singers (the lead singer is called “ponnani” and his follower is called “singidi”) use chengila (gong made of bell metal, which can be struck with a wooden stick) and ilathalam (a pair of cymbals). The lead singer in some sense uses the Chengala to conduct the Vadyam and Geetha components, just as a conductor uses his wand in western classical music. A distinguishing characteristic of this art form is that the actors never speak but use hand gestures, expressions and rhythmic dancing instead of dialogue (but for a couple of rare characters).
ACTING
A Kathakali actor uses immense concentration, skill and physical stamina, gained from regimented training based on Kalaripayattu, the ancient martial art of Kerala, to prepare for his demanding role. The training can often last for 8–10 years, and is intensive. In Kathakali, the story is enacted purely by the movements of the hands (called mudras or hand gestures) and by facial expressions (rasas) and bodily movements. The expressions are derived from Natyashastra (the tome that deals with the science of expressions) and are classified into nine as in most Indian classical art forms. Dancers also undergo special practice sessions to learn control of their eye movements.
There are 24 basic mudras—the permutation and combination of which would add up a chunk of the hand gestures in vogue today. Each can again can be classified into 'Samaana-mudras'(one mudra symbolising two entities) or misra-mudras (both the hands are used to show these mudras). The mudras are a form of sign language used to tell the story.
The main facial expressions of a Kathakali artist are the 'navarasams' (Navarasas in anglicised form) (literal translation: Nine Tastes, but more loosely translated as nine feelings or expressions) which are Sringaram (amour), Hasyam (ridicule, humour), Bhayanakam (fear), Karunam (pathos), Roudram (anger, wrath), Veeram (valour), Beebhatsam (disgust), Adbhutam (wonder, amazement), Shantam (tranquility, peace). The link at the end of the page gives more details on Navarasas.
One of the most interesting aspects of Kathakali is its elaborate make-up code. Most often, the make-up can be classified into five basic sets namely Pachcha, Kathi, Kari, Thaadi, and Minukku. The differences between these sets lie in the predominant colours that are applied on the face. Pachcha (meaning green) has green as the dominant colour and is used to portray noble male characters who are said to have a mixture of "Satvik" (pious) and "Rajasik" (dark; Rajas = darkness) nature. Rajasik characters having an evil streak ("tamasic"= evil) -- all the same they are anti-heroes in the play (such as the demon king Ravana) -- and portrayed with streaks of red in a green-painted face. Excessively evil characters such as demons (totally tamasic) have a predominantly red make-up and a red beard. They are called Red Beard (Red Beard). Tamasic characters such as uncivilised hunters and woodsmen are represented with a predominantly black make-up base and a black beard and are called black beard (meaning black beard). Women and ascetics have lustrous, yellowish faces and this semi-realistic category forms the fifth class. In addition, there are modifications of the five basic sets described above such as Vella Thadi (white beard) used to depict Hanuman (the Monkey-God) and Pazhuppu, which is majorly used for Lord Shiva and Balabhadra.
NOTABLE TRAINING CENTRES & MASTERS
Kathakali artistes need assiduous grooming for almost a decade's time, and most masters are products of accomplished institutions that give a minimum training course of half-a-dozen years. The leading Kathakali schools (some of them started during the pre-Independent era India) are Kerala Kalamandalam (located in Cheruthuruthy near Shoranur), PSV Natya Sangham (located in Kottakal near Kozhikode), Sadanam Kathakali and Classical Arts Academy (or Gandhi Seva Sadan located in Perur near Ottappalam in Palakkad), Unnayi Varier Smaraka Kalanilayam (located in Irinjalakuda south of Thrissur), Margi in Thiruvananthapuram, Muthappan Kaliyogam at Parassinikkadavu in Kannur district and RLV School at Tripunithura off Kochi and Kalabharathi at Pakalkkuri near Kottarakkara in Kollam district, Sandarshan Kathakali Kendram in Ambalapuzha and Vellinazhi Nanu Nair Smaraka Kalakendra in Kuruvattor. Outside Kerala, Kathakali is being taught at the International Centre for Kathakali in New Delhi, Santiniketan at Visva-Bharati University in West Bengal, Kalakshetra in Chennai and Darpana Academy in Ahmedabad among others. PadmaSree Guru Chengannur Raman Pillai mostly known as 'Guru Chengannur'was running a traditional Gurukula Style approach to propagate Kathakali.
‘Guru Chengannur” is ever renowned as the Sovereign Guru of Kathakali. His precision in using symbols, gestures and steps were highest in the field of Kathakali. Guru Chegannur's kaththi vesham, especially the portrayal of Duryodhana enthralled the audience every time he performed. A master of the art, he found immense happiness and satisfaction in the success and recognition of his disciples.
Senior Kathakali exponents of today include Padma Bhushan Kalamandalam Ramankutty Nair, Padma Shri Kalamandalam Gopi, Madavoor Vasudevan Nair, Chemancheri Kunhiraman Nair, Kottakkal Krishnankutty Nair, Mankompu Sivasankara Pillai, Sadanam Krishnankutty, Nelliyode Vasudevan Namboodiri, Kalamandalam Vasu Pisharody, FACT Padmanabhan, Kottakkal Chandrasekharan, Margi Vijayakumar, Kottakkal Nandakumaran Nair, Vazhenkada Vijayan, Inchakkattu Ramachandran Pillai, Kalamandalam Kuttan, Mayyanad Kesavan Namboodiri, Mathur Govindan Kutty, Narippatta Narayanan Namboodiri, Chavara Parukutty, Thonnakkal Peethambaran, Sadanam Balakrishnan, Kalanilayam Gopalakrishnan, Chirakkara Madhavankutty, Sadanam K. Harikumaran, Thalavadi Aravindan, Kalanilayam Balakrishnan, Pariyanampatta Divakaran, Kottakkal Kesavan, Kalanilayam Gopi and Kudamaloor Muralikrishnan. The late titan actor-dancers of Kathakali's modern age (say, since the 1930s) include Pattikkamthodi Ravunni Menon, Chenganoor Raman Pillai, Chandu Panicker, Thakazhi Guru Kunchu Kurup, Padma Shri Kalamandalam Krishnan Nair, Padma Shri Vazhenkada Kunchu Nair, Kavalappara Narayanan Nair, Kurichi Kunhan Panikkar, Thekkinkattil Ramunni Nair, Padma Shri Keezhpadam Kumaran Nair, Kalamandalam Padmanabhan Nair, Mankulam Vishnu Namboodiri, Oyur Kochu Govinda Pillai, Vellinezhi Nanu Nair, Padma Shri Kavungal Chathunni Panikkar, Kudamaloor Karunakaran Nair, Kottakkal Sivaraman, Kannan Pattali, Pallippuram Gopalan Nair, Haripad Ramakrishna Pillai, Champakkulam Pachu Pillai, Chennithala Chellappan Pillai, Guru Mampuzha Madhava Panicker, and Vaikkom Karunakaran.
Kathakali is still hugely a male domain but, since the 1970s, females too have made entry into the art form on a recognisable scale. The central Kerala temple town of Tripunithura has, in fact, a ladies troupe (with members belonging to several part of the state) that performs Kathakali, by and large in Travancore.
KATHAKALI STYLES
Known as Sampradäyaṃ(Malayalam: സമ്പ്രദായം); these are leading Kathakali styles that differ from each other in subtleties like choreographic profile, position of hand gestures and stress on dance than drama and vice versa. Some of the major original kathakali styles included:
Vettathu Sampradayam
Kalladikkodan Sampradyam
Kaplingadu Sampradayam
Of late, these have narrowed down to the northern (Kalluvazhi) and southern (Thekkan) styles. It was largely developed by the legendary Pattikkamthodi Ravunni Menon (1881-1949) that is implemented in Kerala Kalamandalam (though it has also a department that teaches the southern style), Sadanam, RLV and Kottakkal. Margi has its training largely based on the Thekkan style, known for its stress on drama and part-realistic techniques. Kalanilayam, effectively, churns out students with a mix of both styles.
OTHER FORMS OD DANCE & OFFSHOOTS
Kerala Natanam is a kind of dance form, partly based on Kathakali techniques and aesthetics, developed and stylised by the late dancer Guru Gopinath in the mid-20th century. Kathakali also finds portrayal in Malayalam feature films like Vanaprastham, Parinayam, Marattam, and Rangam. Besides documentary films have also been shot on Kathakali artistes like Chenganoor Raman Pillai, Kalamandalam Krishnan Nair, Keezhpadam Kumaran Nair, Kalamandalam Ramankutty Nair, Kalamandalam Gopi and Kottakkal Sivaraman.
As for fictional literature, Kathakali finds mention in several Malayalam short stories like Karmen (by N.S. Madhavan) and novels like Keshabharam (by P.V. Sreevalsan). Even the Indo-Anglian work like Arundhati Roy's Booker prize-winning The God of Small Things has a chapter on Kathakali, while, of late, Anita Nair's novel, Mistress, is entirely wrapped in the ethos of Kathakali.
Similar musical theater is popular in Kasaragod and the coastal and Malenadu regions of Karnataka, viz. Yakshagana. Though Yakshagana resembles Kathakali in terms of its costume and makeup to an extent, Yakshagana is markedly different from Kathakali as it involves dialogues and method acting also the narration is in Kannada, wherein philosophical debates are also possible within framework of the character. As per records the art form of Yakshagana was already rooted and well established at the time of Sri Manavedan Raja. There is possibilities of its significant influence in formation of Kathakkali as the troupe of performers of "Krishnanattam" designed the basic costume of the art form already established in other parts of south India including Males playing the female roles (until more recently).
Kottayam thamburan's way of presenting kathakali was later known as Kalladikkoden sambradayam. Chathu Paniker,the introducer of Kallikkoden Sambrathayam, stayed in Kottayam for five years with Kottayam Thamburan's residence and practiced Kalladikkoden Sambrathayam. Then he returned to his home place. After a short period Chathu Paniker reached Pulapatta as instructed by Kuthiravattath nair. That was around the year ME 865. Many deciples from Kadathanadu, Kurumbra nadu, Vettathu nadu, Palakkadu and Perumpadappu studied kathakali(Kalladikkoden Sambrathayam ) By that time Chathu Paniker was an old man. Some years later he died from Pulapatta.
NOTED KATHAKALI VILLAGES & BELTS
There are certain pockets in Kerala that have given birth to many Kathakali artistes over the years. If they can be called Kathakali villages (or some of them, these days, towns), here are some of them: Vellinezhi, Kuruvattoor, Karalmanna, Cherpulassery, Kothachira, peringode, sreekrishnapuram Kongad and Ottapalam in Palakkad district, Vazhenkada in Malappuram district, Thichur or Tichoor, Guruvayur, Thiruvilwamala and Irinjalakuda in Thrissur district, Tripunithura, Edappally, Thekkan Chittoor in Ernakulam district and Kuttanad, Harippad belt in Alappuzha district besides places in and around Thiruvanathapuram in south Travancore and Payyannur in north Malabar.
AWARDS FOR KATHAKALI ARTISTS
Sangeet Natak Akademi Awardees - Kathakali (1956–2005)
Nambeesan Smaraka Awards—For artistic performances related kathakali{1992-2008}
KATHAKALI ATTAMS (ELAKI ATTAMS)
Attams or more specifically "elaki attams" are sequences of acting within a story acted out with the help of mudras without support from vocal music. The actor has the freedom to change the script to suit his own individual preferences. The actor will be supported ably by Chenda, Maddalam, and Elathalam (compulsory), Chengila (not very compulsory).
The following are only some examples. 'Kailasa Udharanam' and 'Tapas Attam' are very important attams and these are described at the end. Two of the many references are Kathakali Prakaram, pages 95 to 142 by Pannisheri Nanu Pillai and Kathakaliyile Manodharmangal by Chavara Appukuttan Pillai.
VANA VARNANA: BHIMA IN KALYANA SAUGANDHIKA
Modern man looks at the forest, indeed the birthplace of primates, with a certain wonder and a certain respect. Kathakali characters are no exception.
When Pandavas were living in the forest, one day, a flower, not seen before, wafted by the wind, comes and falls at the feet of Panchali. Exhilarated by its beauty and smell, Panchali asks Bhima to bring her more such flowers. To her pleasure Bhima is ready to go at once. But Panchali asks him what he shall do for food and drink on the way. Bhima thinks and says "Food and Drink! Oh, this side glance (look) of yours. This look of longing. This look of anticipation. The very thought fills me up. I don't need any food and drink at all. Let me go." He takes his mace and off he goes. Ulsaham (enthusiasm) is his Sdhayi Bhavam (permanent feature).
"Let me go at once in search of this flower," says Bhima. "The scented wind is blowing from the southern side. Let me go that way." After walking some distance he sees a huge mountain called Gandhamadana and three ways. He decides to take the middle one which goes over the mountain. After going further "The forest is getting thicker. Big trees, big branches in all directions. The forest looks like a huge dark vessel into which even light can not penetrate. This is my (Bhima's) way. Nothing can hinder me." So saying he pulls down many trees. Sometimes he shatters the trees with his mace. Suddenly he sees an elephant. "Oh! Elephant." He describes it. Its trunk. Sharp ears.
The itching sensation in the body. It takes some mud and throws on the body. Oh good. Then it sucks water and throws on the body. Somewhat better. Slowly it starts dosing even though alert at times. A very huge python is approaching steadily. Suddenly it catches hold of the elephant's hind leg. The elephant wakes up and tries to disengage the python. The python pulls to one side. The elephant kicks and drags to the other side. This goes on for some time. Bhima looks to the other side where a hungry lion is looking for food. It comes running and strikes the elephants head and eats part of the brain and goes off. The python completes the rest. "Oh my god, how ruthless!" says Bhima and proceeds on his way.
UDYANA VARNANA: NALA IN NALACHARITHAM SECOND DAY
Descriptions of gardens are found in most dance forms of India and abroad. These are also common in Kathakali.
Newly married Nala and Damayanthi are walking in the garden. When Nala was lovingly looking at Damayanthi a flower falls on her. Nala is overjoyed and thinks that this is a kindness nature has shown on his wife. Nala says "On seeing the arrival of their queen, the trees and climbers are showing happiness by dropping flowers on you." He tells her, "See that tree. When I used to be alone the tree used to hug the climber and seemingly laugh at my condition." Then he looks at the tree and says, "Dear Tree, look at me now. See how fortunate I am with my beautiful wife."
Both wander about. A bumblebee flies towards Damayanthi. Immediately Nala protects her face with a kerchief. He looks at the bee and then at Damayanthi. He says, "On seeing your face the bee thought it was a flower and came to drink the nectar." Nala and Damayanthi listen to the sounds coming out of the garden. Damayanti says, "It appears that the whole garden is thrilled. The flowers are blooming and smiling. Cuckoos are singing and the bees are dancing. Gentle winds are blowing and rubbing against our bodies. How beautiful the whole garden looks." Then Nala says that the sun is going down and it is time for them to go back and takes her away.
SHABDA VARNANA: HANUMAN IN KALYANA SAUGANDHIKAM
While Bhima goes in search of the flower, here Hanuman is sitting doing Tapas with mind concentrated on Sri Rama.
When he hears the terrible noises made by Bhima in the forest he feels disturbed in doing his Tapas. He thinks "What is the reason for this?" Then the sounds become bigger. "What is this?" He thinks, "The sounds are getting bigger. Such a terrible noise. Is the sea coming up thinking that the time is ripe for the great deluge (Pralaya). Birds are flying helter-skelter. Trees look shocked. Even Kali Yuga is not here. Then what is it? Are mountains quarreling with each other? No, That can't be it. Indra had cut off the wings of mountains so that they don't quarrel. Is the sea changing its position? No it can't be. The sea has promised it will not change its position again. It can't break the promise." Hanuman starts looking for clues. "I see elephants and lions running in fear of somebody. Oh a huge man is coming this way. Oh, a hero is coming. He is pulling out trees and throwing it here and there. Okay. Let him come near, We will see."
THANDEDATTAM: RAVANA IN BALI VADHAM
After his theranottam Ravana is seen sitting on a stool. He says to himself "I am enjoying a lot of happiness. What is the reason for this?" Thinks. "Yes I know it. I did Tapas to Brahma and received all necessary boons. Afterwards I won all ten directions. I also defeated my elder brother Vaishravana. Then I lifted Kailas mountain when Siva and Parvathi were having a misunderstanding. Parvathi got frightened and embraced Siva in fear. Siva was so happy he gave a divine sword called Chandrahasa. Now the whole world is afraid of me. That is why I am enjoying so much happiness." He goes and sits on the stool. He looks far away. "Who is coming from a distance. he is coming fast. Oh, it is Akamba. Okay. Let me find out what news he has for me."
ASHRAMA VARNANA: ARJUNA IN KIRATHAM
Arjuna wants to do Tapas to Lord Siva and he is looking a suitable place in the Himalayan slopes. He comes to place where there is an ashram. Arjuna looks closely at the place. "Oh. What a beautiful place this is. A small river in which a very pure water is flowing. Some hermits are taking baths in the river. Some hermits are standing in the water and doing Tapsas. Some are facing the Sun. Some are standing in between five fires." Arjuna salutes the hermits from far. He says to himself "Look at this young one of a deer. It is looking for its mother. It seems to be hungry and thirsty. Nearby a female tiger is feeding its young ones. The little deer goes towards the tigress and pushes the young tiger cubs aside and starts drinking milk from the tigress. The tigress looks lovingly at the young deer and even licks its body as if it were its own child. How beautiful. How fulfilling."
Again he looks "Here on this side a mongoose and a serpent forgetting their enmity are hugging each other. This place is really strange and made divine by saints and hermits. Let me start my Tapas somewhere nearby."
A sloka called "Shikhini Shalabha" can be selected instead of the above if time permits.
AN ATTAM BASED ON A SLOKA
Sansrit slokas are sometimes shown in mudras and it has a pleasing and exhilarating effect. Different actors use slokas as per his own taste and liking. However, the slokas are taught to students during their training period. An example is given below.
Kusumo Kusumolpatti Shrooyathena Chathushyathe
Bale thava Mukhambuje Pashya Neelolpaladwayam
Meaning a flower blooming inside another flower is not known to history. But, my dear, in your lotus like face are seen two blue Neelolpala flowers (eyes).
A CONVERSATION BASED ON A SLOKA
Sanskrit slokas can also be used to express an intent. One such example is a sloka used by Arjuna addressed to Mathali the charioteer in Kalakeya Vadham. Sloka:
Pitha: Kushalee Mama hritha Bhujaam
Naatha Sachee Vallabha:
Maatha: kim nu Pralomacha Kushalinee
Soonurjayanthasthayo
Preethim va Kushchate Thadikshnavidhow
Cheta Samutkanuthe
Sutha: tvam Radhamashu Chodaya vayam
Dharmadivam Mathala
Meaning: The husband of Indrani and the lord of gods my father - Is he in good health? His son Jayantha - Is he strictly following the commands of his father? Oh, I am impatient to see all of them.
SWARGA VARNANA: ARJUNA IN KELAKEYA VADHAM
Arjuna goes to heaven on the invitation of his father, Indra. After taking permission from Indrani he goes out to see all the places in Swarga. First he sees a building, his father's palace. It is so huge with four entrances. It is made of materials superior to gold and jewels of the world. Then he goes ahead and sees Iravatha. Here he describes it as a huge elephant with four horns. He is afraid to touch it. Then he thinks that animals in Swarga can't be cruel like in the world and so thinking he goes and touches and salutes Iravatha. He describes the churning of the white sea by gods and demons with many details and how Iravatha also came out of the white sea due to this churning.
He walks on and sees his father's (Indra's) horse. It is described as being white and its mane is sizzling like the waves of the white sea from which it came. He touches and salutes the horse also. Then he goes to see the river of the sky (or milky way). He sees many birds by this river and how the birds fly and play is shown.
Then he sees the heavenly ladies. Some are collecting flowers, and one of them comes late and asks for some flowers for making garland. The others refuse. She goes to the Kalpa Vriksha and says "please give me some flowers." Immediately a shower of flowers occurs which she collects in her clothes and goes to make garlands chiding the others. "See... I also got flowers." After this he sees the music and dance of the heavenly ladies. First it starts with the adjustments of instruments Thamburu, Mridangam, Veena. Then the actual music starts along with the striking of cymbals. Then two or three types of dances are shown. Then comes juggling of balls. It is described by a sloka thus:
Ekopi Thraya Iva Bhathi Kandukoyam
Kanthayaa: Karathala Raktharaktha:
Abhrastho Nayanamareechi Neelaneelo
Popular belief is that kathakali is emerged from "Krishnanattam", the dance drama on the life and activities of Lord Krishna created by Sri Manavedan Raja, the Zamorin of Calicut (1585-1658 AD). Once Kottarakkara Thampuran, the Raja of Kottarakkara who was attracted by Krishnanattam requested the Zamorin for the loan of a troupe of performers. Due to the political rivalry between the two, Zamorin did not allow this. So Kottarakkara Thampuran created another art form called Ramanattam which was later transformed into Aattakatha. Krishnanaattam was written in Sanskrit, and Ramanattam was in Malayalam. By the end of 17th century, Attakatha was presented to the world with the title 'Kathakali'. Kathakali also shares a lot of similarities with Krishnanattam, Koodiyattam (a classical Sanskrit drama existing in Kerala) and Ashtapadiyattam (an adaptation of 12th-century musical called Gitagovindam). It also incorporates several other elements from traditional and ritualistic art forms like Mudiyettu, Thiyyattu, Theyyam and Padayani besides a minor share of folk arts like Porattunatakam. All along, the martial art of Kalarippayattu has influenced the body language of Kathakali. The use of Malayalam, the local language (albeit as a mix of Sanskrit and Malayalam, called ), has also helped the literature of Kathakali sound more transparent for the average audience. As a part of modernising, propagating, promoting and popularizing Kathakali, the International Centre for Kathakali at New Delhi has taken up a continuing project since 1980 of producing new plays based on not only traditional and mythological stories, but also historical stories, European classics and Shakespeare's plays. Recently they produced Kathakali plays based on Shakespeare's Othello and Greek-Roman mythology of Psyche and Cupid.
Even though the lyrics/literature would qualify as another independent element called Sahithyam, it is considered as a component of Geetha or music, as it plays only a supplementary role to
Bhumau Talcharana Naghamshu Gaurgaura:
Meaning One ball looks like three balls. When it is in the hands of the juggler, it takes the redness of the hands, when it goes up it takes the blueness of the eyes, when it strikes the ground it becomes white from the whiteness of the leg nails. Once a juggled ball falls down. Then she, the juggler, somehow manages to proceed and remarks "See.. how I can do it".
At one time a garment slips from a lady's body and she adjusts the cloth showing shameful shyness (Lajja). Then the ladies go in for a Kummi dance. As Arjuna was enjoying this dance, suddenly somebody calls him. Arjuna feels scared. "Oh God, where am I?" he says and beats a hasty retreat.
TAPAS ATTAM: RAVANA IN RAVANA ULBHAVAM
[Background: Mali, Sumali and Malyavan were three brothers ruling Sri Lanka. During a war between them and Indra, Indra requested help from Lord Vishnu and as a consequence Lord Vishnu killed Mali. Sumali and Malyavan escaped to Patala. Kaikasi was the daughter of Sumali. She wandered in the forest. She belong three boys through a great sage called Vishravassu. (Vishravassu had an earlier son called Vaishravana who became the richest among all people.) The eldest boy of Kaikasi was Ravana followed by Kumbhakarna and Vibhishana.]
SCENE 1
When Ravana was a young boy (Kutti Ravana vesham), one day he was sleeping on his mothers lap in a place called madhuvanam. At that time Kaikasi sees Vaishravana flying overhead in his vimana (mythical aeroplane). She thinks “Oh, that is Vaishravana, technically a brother of my son who is sleeping on my lap. He is rich and strong. My son is so poor and weak. While thinking thus a drop of tear from her eyes drops on Ravana’s face. Ravana suddenly wakes up and sees his mother crying. When he knew the reason he could not bear it. He says he is going to do tapas to Brahma to get boons so that he will be strong and rich.
SCENE 2
(The tapas itself is shown as a part of autobiographical narration of adult ravana)
Ravana (adult Ravana, not kutti Ravana) is sitting on a stool. He thinks “Why am I so happy? How did I become so rich and strong? Oh yes. It is because of the tapas I did. What made me do the tapas? When I was a young boy, one day I was sleeping on my mother’s lap in a place called Madhuvanam. A drop of tear from her eyes falls on my face. I asked her why she was crying. She said she saw Vaishravana flying overhead in his vimana (plane). She told me Vaishravan was a brother of mine now flying in a plane. He is rich and strong. I am so poor and weak. When I heard this comparison between me and my brother, I could not bear it. I am going to do tapas to Brahma to get boons so that I will be strong and rich.
I made five different types of fires (while doing tapas gods are approached through Agni the god of fire). Then I started my tapas. I asked my brothers to stand guard and also keep the fires burning. Then I fully concentrated on tapas. Time passed but Brahma did not appear. I looked. Why is Brahma not appearing? I doubled my concentration. Time passed. Brahma is not appearing. Still not appearing? I cut one of my heads and put it in the fire. Waited, Brahma did not come. One more head rolls. Still no Brahma comes. Heads roll and roll. No Brahma. Only one head is left. First I thought of stopping my tapas. But no! Never! That will be an insult to me and my family. It is better to die than stop. Also when I die Brahma will be judged as being partial. With great determination I swung the sword at my last neck, when, lo and behold, suddenly Brahma appeared and caught my hand. I looked at him with still un-subsided, but gradually subsiding anger. Brahma asked me what boons I wanted. I asked for a boon that I should win all the worlds and have all the wealth and fame and that I should not be killed except by man. I also asked him to give boons for my brothers.
In the next scene Ravana asks Kumbhakarna and Vibhishana what boons they got. Unfortunately Kumbhakarna’s tongue got twisted while asking for boon and he got ‘sleep’ instead of becoming the ‘king of gods’. Ravana laughed it off. As for Vibhishana, he being a bhaktha of Vishnu, asked for Vishnu’s blessings and got it. Ravana laughs it off and also decides to conquer all the worlds and starts preparing his grand army for the big conquest of the worlds.
[This method of presentation with a peculiar sequence has a tremendous dramatic affect. The main actor redoes a small part of what happened to kutti Ravana vesham, and this gives a view of the high contrast between the boy and the man Ravana. Similarly the presence of Kumbhakarna and Vibhishana in the subsequent scene offers a good smile on the face of the viewer at the end of the play.]
KAILASA UDDHARANAM: RAVANA IN BALI VIJAYAM
[Background and Previous scene: After receiving the boons, and widening his kingdom in all directions, Ravana lives in Sri Lanka with great pomp and splendor. One day he sees Saint Narada approaching his palace singing songs in praise of him ‘Jaya jaya Ravana, Lanka Pathe’. Happily he receives Narada and seats him next to him. After telling Narada about the victory of his son Indrajith on Indra, Ravana tells Narada “Now there is nobody on earth or other worlds who can fight with me”. To this Narada replies “ Very true indeed, but there is one huge monkey called Bali who says he can defeat you. He even said that you are just like a blade of grass to him. Well let him say what he wants. You are unbeatable.” Then Narada says ‘let us go there and see him’. Both decide to go. But Ravana takes his famous sword called “Chandrahasam”. Then Narada asks the history of this sword. Ravana’s Attam Starts.]
Ravana says “I received this sword from Lord Siva. It happened thus. Once when I was conquering new places and expanding my empire I happened to be going across the Kailasa mountain. The plane got stuck on the mountain unable to move forward. I got down from the plane and looked at the mountain. (Looks from one end to the other first horizontally and then vertically.) So huge it was. Then I decided to lift it with my bare hand and keep it aside and move forward. I started sticking my hands under it one by one. Then I tried to lift it. It doesn’t move. I put more force and more force. It moved just a bit. I pushed harder and harder, slowly it started moving then again and again and it moved easily. Then I lifted it up with my hands and started juggling it (exaggeration evident).
“At that particular time Lord Siva was quarreling with his wife Parvathi. Why did they fight? The story is as follows. Parvathi had gone for enjoying swimming and bathing in some beautiful pond. At that time Siva opened his jata (disheveled long hair) and called Ganga for some entertainment after asking Ganapathi and Subramania to go for some errands. Somehow becoming suspicious, right at that time, Parvathi came back in a hurry with wet clothes and saw Siva with Ganga. Siva was wondering what to do and it was at that time that Ravana started lifting the Kailasa. When Kailasa started shaking Parvathi got scared and ran to Siva and hugged him. So the quarrel ended and Siva was happy. “As a reward Siva called me and gave me this famous Chandrahasa sword.”
Then Narada and Ravana leave to meet Bali. Ravana wanted to take the sword along with him, but Narada suggested that the sword is not required for teaching a lesson to Bali who is after all an unarmed monkey.
WIKIPEDIA
The Spaulding Wilderness Study Area (WSA) is located 18 miles east of Adel, Oregon, in both Lake and Harney counties. Its boundaries are defined by the right-of-way of Oregon State Highway 140 for approximately 3 miles on the southwest, a high standard dirt road on the west and low standard roads on the north, east, and south. The WSA boundary extends up the dead end road to Spaulding Reservoir and around a 320-acre parcel of private land adjacent to this road. All lands adjacent to the WSA are public.
The Spaulding WSA contains 69,530 acres of Bureau of Land Management (BLM) land and 440 acres of private inholdings. The WSA is 17 miles long from north to south and from three to nine miles wide in a roughly oval shape with a panhandle on the south. The WSA is characterized by rolling sagelands broken by low rimrock and interlaced by a network of intermittent stream drainages. Antelope Butte at the south end of the WSA rises to an elevation of 6,440 feet. Sage Hen Canyon, central to the study area, funnels outward from steep high rimrock to a broad swale near Spaulding Reservoir, which is excluded from the WSA boundary. West of the reservoir the drainage is known as Spaulding Creek. At the south end of Sage Hen Canyon near the eastern WSA boundary is a one-mile series of pools known as The Potholes. These pools hold water after spring run-off well into the summer.
The western portion of the WSA is dominated by a 13 mile section of Guano Rim, also called Dougherty Rim, which reaches a height of 900 feet. The rim is incised by seven steep canyons and the major drainage known as Rocky Canyon. Eleven sink lakes are scattered throughout the area above and to the east of Guano Rim. Along the eastern boundary are a large erosion basin and a prominent landmark, Chimney Rock. Vegetation consists generally of sagebrush/bunchgrass communities, with some aspen groves beneath rims, scattered occurrence of mountain mahogany, and juniper growing at the base of some rims. Various shrub species occur in the canyons and among the
The WSA was studied under Section 603 of the Federal Land Policy and Management Act and was included in the Final Oregon Wilderness Environmental Impact Statement filed in February
1990.
The WSA has primitive recreation opportunities for hiking, backpacking, camping, natural study, photography, hunting, horseback riding, and sightseeing. Sage Hen Canyon is a rugged and scenic area for hiking and offers opportunities for wildlife observation.
www.blm.gov/programs/national-conservation-lands/oregon-w...
Südafrika - Kleine Karoo
Red Stone Hills - Window Rock
The Karoo (/kəˈruː/ kə-ROO; from a Khoikhoi word, possibly garo "desert") is a semi-desert natural region of South Africa. There is no exact definition of what constitutes the Karoo, and therefore its extent is also not precisely defined. The Karoo is partly defined by its topography, geology and climate — above all, its low rainfall, arid air, cloudless skies, and extremes of heat and cold. The Karoo also hosted a well-preserved ecosystem hundreds of million years ago which is now represented by many fossils.
The Karoo is sharply divided into the Great Karoo and the Little Karoo by the Swartberg Mountain Range, which runs east-west, parallel to the southern coastline, but is separated from the sea by another east-west range called the Outeniqua –Langeberg Mountains. The Great Karoo lies to the north of the Swartberg range; the Little Karoo is to the south of it.
The Little Karoo is separated from the Great Karoo by the Swartberg Mountain range. Geographically, it is a 290 km long valley, only 40–60 km wide, formed by two parallel Cape Fold Mountain ranges, the Swartberg to the north, and the continuous Langeberg-Outeniqua range to the south. The northern strip of the valley, within 10–20 km from the foot of the Swartberg mountains is most un-karoo-like, in that it is a well watered area both from the rain, and the many streams that cascade down the mountain, or through narrow defiles in the Swartberg from the Great Karoo. The main towns of the region are situated along this northern strip of the Little Karoo: Montagu, Barrydale, Ladismith, Calitzdorp, Oudtshoorn and De Rust, as well as such well-known mission stations such as Zoar, Amalienstein, and Dysselsdorp.
The southern 30–50 km wide strip, north of the Langeberg range is as arid as the western Lower Karoo, except in the east, where the Langeberg range (arbitrarily) starts to be called the Outeniqua Mountains.
The Little Karoo can only be accessed by road through the narrow defiles cut through the surrounding Cape Fold Mountains by ancient, but still flowing rivers. A few roads traverse the mountains over passes, the most famous and impressive of which is the Swartberg Pass between Oudtshoorn in the Little Karoo and Prince Albert on the other side of the Swartberg mountains in the Great Karoo. There is also the main road between Oudtshoorn and George, on the coastal plain, that crosses the mountains to the south via the Outeniqua Pass. The only exit from the Little Karoo that does not involve crossing a mountain range is through the 150 km long, narrow Langkloof valley between Uniondale and Humansdorp, near Plettenberg Bay.
(Wikipedia)
Die Karoo (auch Karroo, früher Karru; Khoisan für Halbwüste) ist eine Halbwüstenlandschaft in den Hochebenen des Landes Südafrika, nördlich der Großen Randstufe und im südlichen Namibia. Unterschieden werden Kleine Karoo, Große Karoo und Obere Karoo sowie Sukkulentenkaroo und Nama-Karoo. Mit einer Ausdehnung von 500.000 km² umfasst die Karoo fast ein Drittel des Territoriums Südafrikas. Die Sukkulentenkaroo gehört zu den Biodiversitäts-Hotspots der Erde und wird u. a. im Rahmen von BIOTA AFRICA systematisch kartiert.
Der Name Karoo kommt von kurú (trocken) aus der Sprache der San, die einst hier lebten und jagten. In Hinsicht auf die geographische Ausdehnung des Karoo-Begriffs sind die folgenden Teilaspekte zu beachten und voneinander zu unterscheiden.
Die Karoo als Landschaft im traditionellen Verständnis ist eine südafrikanische Trockenregion innerhalb der Provinzen Westkap, Ostkap und Nordkap sowie im Süden Namibias. Ihre spezifische kapländische Strauchvegetation weist sie als Halbwüste aus. Ursprünglich wird in zwei Regionen unterschieden: Große Karoo und Kleine Karoo.
Die Große Karoo besitzt eine West-Ost-Ausdehnung von über 750 Kilometern und eine Nord-Süd-Ausdehnung von etwa 110 Kilometern. Sie wird im Westen vom Massiv der Zederberge und im Osten durch die Winterberge begrenzt. Im Norden bilden die Bergketten vom Roggeveld-, Koms-, Nuweveldberge und Sneeuberg und im Süden die Höhenzüge der Witteberge, Groot Swartberge und die Groot Winterhoek die natürliche Begrenzung.
Südlich dieser Region schließt sich die Kleine Karoo an. Diese wird wiederum an ihrer südlichen Flanke von den küstennahen Langebergen und Outeniqua-Bergen begrenzt.
Anders als in dieser traditionellen Gliederung, wird die Karoo heute nach ökologischen Gesichtspunkten in einen östlichen Teil, die Nama-Karoo, und einen westlichen Teil, die Sukkulenten-Karoo, gegliedert, wobei auch die Gesamtausdehnung der Karoo nach diesem Konzept von jener der traditionellen Betrachtungsweise abweicht.
(Wikipedia)
Die Little Karoo (englisch, auf Afrikaans Klein Karoo) ist eine Region in der Western Cape Provinz in Südafrika.
Durch die Little Karoo zieht sich die Route 62.
Die Klein Karoo ist ein halbwüstenartiger Landstrich, der zwischen den Swartbergen im Norden und den Outeniqua-Bergen im Süden liegt. Die Gegend ist fruchtbar und nicht ganz so trocken wie die nördlich anschließende Große Karoo. Die Kleine Karoo ist bekannt für die Straußenzucht, allein in der Umgebung von Oudtshoorn gibt es angeblich über 400 Betriebe, landwirtschaftliche Nutztiere der Region sind auch Schafe und Angoraziegen.
Die Kleine Karoo ist das östlichste Weinbaugebiet Südafrikas. Muskatweine, Portweine und Desertweine gedeihen in dem recht trockenen Klima, ein Teil des Weines wird zu Brandy verarbeitet. Auch das hier angebaute Obst wird teilweise zu Schnaps verarbeitet, man bekommt aber auch überall recht preisgünstig getrocknete Früchte.
(wikivoyage.org)
The Franklin Delano Roosevelt Memorial, dedicated on May 2, 1997, is spread out over 7.5 elaborate landscaped acre along the Cherry Tree Walk on the Western edge of the Tidal Basin as part of the National Mall. Designed by Lawrence Halprin, it traces 12 years of the history of the United States through a sequence of four outdoor gallery rooms--one for each of FDR's terms of office-- defined by walls of red South Dakota granite.
The idea for a memorial originated in 1946. In 1955, the Franklin Delano Roosevelt Memorial Commission was established by Congress. The current plot of land was secured in 1959 with design competitions following in 1960 and 1966. It wasn't until 1978 that the committee finally approved a design by Halprin and authorized construction in 1982. Ground was broken in September of 1991.
Running water is an important physical and metaphoric component of the memorial. Each of the four "rooms" representing Roosevelt's respective terms in office contains a waterfall. As one moves from room to room, the waterfalls become larger and more complex, reflecting the increasing complexity of a presidency marked by the vast upheavals of economic depression and world war.
The first room introduces Roosevelt's first term as President (1932-1936). Robert Graham's relief sculpture depicts his first inauguration. Tom Hardy's a bronze sculpture depicts The Presidential Seal and a Roman-American eagle. In this room, the single large drop of water symbolizes the crash of the economy that led to the Great Depression.
The second room, Social Policy, details Roosevelt's second term from 1936-1940 and the impact of the New Deal, which created social security, worker's compensation, unemployment insurance, welfare, and fair labor standards. Three sculptural groups by George Segal--Breadline, The Rural Couple, and The Fireside Chat--represent Americans during the Great Depression. The wall opens to an open area with five tall pillars and a large mural, created by Robert Graham, representing the New Deal. The five-panelled mural is a collage of various scenes and objects, including initials, faces, and hands; the images on the mural are inverted on the five columns. In this room, the multiple stairstep drops symbolize the Tennessee Valley Authority dam-building project.
The third room, The War Years, covering the period from 1940-1944 and World War II, explodes to a destructive presence, as giant granite blocks line the path, and a chaotic waterfall rushes down. On the wall, one of 21 inscriptions carved by John Benson, is Roosevelt's famous "I have seen war" quote. To the left of the waterfall sits a Neil Estern's 10-foot tall sculpture of Roosevelt, seated in a dining room chair with roller casters and wearing a floor-length cape, with his dog Fala seated nearby.
The fourth room, Seeds of Peace, covers the period from 1945 to 1955, including Rosevelt's final term, his passing and beyond. It includes Leonard Baskin's Funeral Relief and Neil Estern's sculpture of Eleanor Roosevelt, standing next to the United Nations emblem. In this room, the still pool represents Roosevelt's death.
In the forecourt is Robert Graham's life-size bronze portrait statue of Roosevelt, seated in a wheel chair, facing the Washington Monument. This statue was added in January, 2001, after advocates objected to Estern's depiction which concealed Roosevelt's disability. Though Roosevelt suffered from paralysis as a result of polio, he went through great pains to hide his ailment from the public.
National Register #01000271 (1997)
shot for stream - strobist info: metz flash with a snoot in front of piano pointing down at keyboard triggered by an optical slave sunpak flash pointed at slave triggered by a sync cord. processec with photoshop and nik define for noise
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ORLANDO, Fla. - LimpingFrog Productions partnered with Operation Giveback to produce a highlight reel for the 5th Annual 5k/10k Run, Walk, Roll held May 16, 2015, at the University of Central Florida.
Created by veterans of Operations Enduring Freedom and Iraqi Freedom, Operation Giveback for Wounded Warriors, Inc. (OGB) is a non-profit organziation committed to raising funds and awareness for America's wounded warriors and the families of fallen heroes.
"This race is one of several charitable events that OGB hosts around the country," said Jose Garcia, founder of Operation Giveback and retired Army command sergeant major. "Together these events not only raise money for wounded warriors and families who lost a loved one while serving their country, [but] they also instill hope by reminding them that their sacrfices will always be remembered by a grateful nation."
LimpingFrog Productions' crack team of videographers and photographers captured the action both on the ground and in the air while highlighting the faith, hope and charity that drew thousands of people to compete and volunteer for this event.
"This was the first time in our company's 10-year history that we incoporated a drone in our projects," said John L. Carkeet IV, executive producer of LimpingFrog Productions. "The stunning 'eye in the sky' perspective uniquely visualizes the outpour of support for the men and women who lost limbs and sometimes their very lives while defending our nation."
Currently serving as a public affairs noncommissioned officer in the Army Reserve, Carkeet could relate closely to these sacrfices when tragedy struck the very foundation of LimpingFrog Productions just one week earlier. While volunteering for a five-month tour with U.S. Army Japan near Tokyo, Carkeet received a call from his wife who informed him that Adam T. Lee, co-founder of LimpingFrog Productions, perished in a tram accident at the Orlando International Airport on May 8.
"I was too shocked to shed tears at first," recalled Carkeet. "It took a few minutes to accept the fact that my close friend and business partner of 17 years was gone forever. I'm not ashamed to admit that, when the truth finally registered, my wales could be heard throughout the barracks."
Carkeet and Lee met in 1998 while they worked as volunteer production assistants for Time Warner Cable in Melbourne, Fla. After producing several short films and dcumentaries during their undergraduate years at the University of Central Florida, the pair started LimpingFrog Productions in 2004. Carkeet and Lee partnered with numerous clients under the LimpingFrog banner to produce various projects digital media from weddings and commercials to sport documentaries and corporate events.
"LimpingFrog Productions was a part-time operation until 2010," said Carkeet. "That was when Adam had single-handedly locked in our first long-term client while I completed basic military training for the U.S. Army Reserve. [Adam] continued to expand the business while I fulfilled various military assignments both at home and abroad."
Lee was preparing to step in as director for the Operation Giveback while Carkeet embarked on his latest military assignment in Japan. Lee died 10 days after the two met to discuss the future of the company.
"We were editing our highlight reel and preparing to unveil our new website," said Carkeet. "We tabled a few topics until Adam returned from his vacation to Columbia. Sadly, those and every other business-related matters settle onto my shaky hands and tear-stricken face."
Hours after the last runner crossed the finish line at UCF, Carkeet and his team broke down their gear and made their way to Rockledge, Fla, to attend a memorial ceremony to celebrate the life of an inspiring individual.
"It was stressful day and a emotionally draining night," admitted Carkeet. "However, the new and familiar faces that supported this endeavor offer hope that LimpingFrog Productions will continue Adam's legacy."
Photos by John L. Carkeet IV, LimpingFrog Productions
Captured 15 Jun 2021, 22:49 hrs ET, Springfield, VA, USA. Bortle 8 skies, Mallincam DS10C camera, Celestron 8 inch SCT f/10, exposure 20 sec, gain 20, bin 2, stack of 100 light frames, dark and flat frames subtracted, no filter.
Clouds: partly cloudy
Seeing: ok
Transparency: ok
Moon phase: 37%
FOV: 29 x 22 arcmin before crop
Resolution: 0.9 arcsec/pixel
Orientation: Up is South
Appearance: group of dim galaxies. NGC6166 is the nebulous object (small nebulosity with two light 'eyes') just right of center and NGC6158 is at 7:30 o'clock.
From NED: NGC 6166
Apparent magnitude: +11.8
Apparent size: 2 arcmin
Distance: 429 million light years
Redshift: z = 0.030
Type: cD
Age: 97% of the age of the Universe
From the Wikipedia:
Abell 2199 is a galaxy cluster in the Abell catalogue featuring a brightest cluster galaxy NGC 6166, a cD galaxy. Abell 2199 is the definition of a Bautz-Morgan type I cluster due to NGC 6166.
A brightest cluster galaxy (BCG) is defined as the brightest galaxy in a cluster of galaxies. BCGs include the most massive galaxies in the universe. They are generally elliptical galaxies which lie close to the geometric and kinematical center of their host galaxy cluster, hence at the bottom of the cluster potential well. They are also generally coincident with the peak of the cluster X-ray emission.
Formation scenarios for BCGs include:
Cooling flow—Star formation from the central cooling flow in high density cooling centers of X-ray cluster halos.
The study of accretion populations in BCGs has cast doubt over this theory and astronomers have seen no evidence of cooling flows in radiative cooling clusters. The two remaining theories exhibit healthier prospects.
Galactic cannibalism—Galaxies sink to the center of the cluster due to dynamical friction and tidal stripping.
Galactic merger—Rapid galactic mergers between several galaxies take place during cluster collapse.
It is possible to differentiate the cannibalism model from the merging model by considering the formation period of the BCGs. In the cannibalism model, there are numerous small galaxies present in the evolved cluster, whereas in the merging model, a hierarchical cosmological model is expected due to the collapse of clusters. It has been shown that the orbit decay of cluster galaxies is not effective enough to account for the growth of BCGs. The merging model is now generally accepted as the most likely one, but recent observations are at odds with some of its predictions. For example, it has been found that the stellar mass of BCGs was assembled much earlier than the merging model predicts.
BCGs are divided into various classes of galaxies: giant ellipticals (gE), D galaxies and cD galaxies. cD and D galaxies both exhibit an extended diffuse envelope surrounding an elliptical-like nucleus akin to regular elliptical galaxies. The light profiles of BCGs are often described by a Sersic surface brightness law, a double Sersic profile or a de Vaucouleurs law. The different parametrizations of the light profile of BCG's, as well as the faintness of the diffuse envelope lead to discrepancies in the reported values of the sizes of these objects.
The Bautz–Morgan classification was developed in 1970 by Laura P. Bautz and William Wilson Morgan to categorize galaxy clusters based on their morphology. It defines three main types: I, II, and III. Intermediate types (I-II, II-III) are also allowed. A type IV was initially proposed, but later redacted before the final paper was published.
A type I cluster is dominated by a bright, large, supermassive cD galaxy; for example Abell 2029 and Abell 2199. A type II cluster contains elliptical galaxies whose brightness relative to the cluster is intermediate to that of type I and type III. The Coma Cluster is an example of a type II. A type III cluster has no remarkable members, such as the Virgo Cluster. Type III has two subdivisions, type IIIE and type IIIS. Type IIIE clusters do not contain many giant spirals. Type IIIS clusters contain many giant spirals. The deprecated type IV was for clusters whose brightest members were predominantly spirals.
NGC 6166 is an elliptical galaxy in the Abell 2199 cluster. It lies 490 million light years away in the constellation Hercules. The primary galaxy in the cluster, it is one of the most luminous galaxies known in terms of X-ray emissions. NGC 6166 is a radio-loud quasar.
NGC 6166 is a supermassive, type cD galaxy, with several smaller galaxies within its envelope.
Suspected to have formed through a number of galaxy collisions, NGC 6166 has a large number of globular clusters (estimated as between 6,200 and 22,000 in 1996) orbiting the galaxy. A 2016 study, however, gave an even higher number (around 39,000) suggesting also that the halo of this galaxy blends smoothly with the intra-cluster medium. Because of that, the galaxy has richest globular cluster system known. The galaxy harbors a supermassive black hole at its center with a mass of nearly 30 billion M☉ based on dynamical modelling.
NGC 6166 is known to host an active nucleus, classified as an FR I source, which powers two symmetric parsec-scale radio jets and radio lobes and it is caused by the infall of gas into its center caused by a cooling flow that deposits 200 solar masses of gas every year there.
It has been proposed that a number of O-type stars may be present in the center of NGC 6166.
The Abell catalog of rich clusters of galaxies is an all-sky catalog of 4,073 rich galaxy clusters of nominal redshift z ≤ 0.2. This catalog supplements a revision of George O. Abell's original "Northern Survey" of 1958, which had only 2,712 clusters, with a further 1,361 clusters – the "Southern Survey" of 1989, published after Abell's death by co-authors Harold G. Corwin and Ronald P. Olowin from those parts of the south celestial hemisphere that had been omitted from the earlier survey.
The Abell catalog, and especially its clusters, are of interest to amateur astronomers as challenge objects to be viewed in dark locations on large aperture amateur telescopes.
A quasar (/ˈkweɪzɑːr/; also known as a quasi-stellar object, abbreviated QSO) is an extremely luminous active galactic nucleus (AGN), in which a supermassive black hole with mass ranging from millions to billions of times the mass of the Sun is surrounded by a gaseous accretion disk. As gas in the disk falls towards the black hole, energy is released in the form of electromagnetic radiation, which can be observed across the electromagnetic spectrum. The power radiated by quasars is enormous; the most powerful quasars have luminosities thousands of times greater than a galaxy such as the Milky Way. Usually, quasars are categorized as a subclass of the more general category of AGN. The redshifts of quasars are of cosmological origin.
The term quasar originated as a contraction of quasi-stellar [star-like] radio source – because quasars were first identified during the 1950s as sources of radio-wave emission of unknown physical origin – and when identified in photographic images at visible wavelengths, they resembled faint, star-like points of light. High-resolution images of quasars, particularly from the Hubble Space Telescope, have demonstrated that quasars occur in the centers of galaxies, and that some host galaxies are strongly interacting or merging galaxies. As with other categories of AGN, the observed properties of a quasar depend on many factors, including the mass of the black hole, the rate of gas accretion, the orientation of the accretion disk relative to the observer, the presence or absence of a jet, and the degree of obscuration by gas and dust within the host galaxy.
Quasars are found over a very broad range of distances, and quasar discovery surveys have demonstrated that quasar activity was more common in the distant past. The peak epoch of quasar activity was approximately 10 billion years ago.
More than a million quasars have been found. The nearest known quasar is about 600 million light-years away (Markarian 231).
The record for the most distant known quasar keeps changing. In 2017, the quasar ULAS J1342+0928 was detected at redshift z = 7.54. Light observed from this 800 million solar mass quasar was emitted when the universe was only 690 million years old. In 2020, the quasar Pōniuāʻena was detected from a time only 700 million years after the Big Bang, and with an estimated mass of 1.5 billion times the mass of our Sun. In early 2021, the quasar J0313-1806, with a 1.6 billion solar-mass black hole, was reported at z = 7.64, 670 million years after the Big Bang. In March 2021, PSO J172.3556+18.7734 was detected and has since been called the most distant known radio-loud quasar discovered.
The term "quasar" was first used in an article by astrophysicist Hong-Yee Chiu in May 1964, in Physics Today, to describe certain astronomically-puzzling objects:
So far, the clumsily long name "quasi-stellar radio sources" is used to describe these objects. Because the nature of these objects is entirely unknown, it is hard to prepare a short, appropriate nomenclature for them so that their essential properties are obvious from their name. For convenience, the abbreviated form "quasar" will be used throughout this paper.
Between 1917 and 1922, it became clear from work by Heber Curtis, Ernst Öpik and others, that some objects ("nebulae") seen by astronomers were in fact distant galaxies like our own. But when radio astronomy commenced in the 1950s, astronomers detected, among the galaxies, a small number of anomalous objects with properties that defied explanation.
The objects emitted large amounts of radiation of many frequencies, but no source could be located optically, or in some cases only a faint and point-like object somewhat like a distant star. The spectral lines of these objects, which identify the chemical elements of which the object is composed, were also extremely strange and defied explanation. Some of them changed their luminosity very rapidly in the optical range and even more rapidly in the X-ray range, suggesting an upper limit on their size, perhaps no larger than our own Solar System. This implies an extremely high power density. Considerable discussion took place over what these objects might be. They were described as "quasi-stellar [meaning: star-like] radio sources", or "quasi-stellar objects" (QSOs), a name which reflected their unknown nature, and this became shortened to "quasar".
The first quasars (3C 48 and 3C 273) were discovered in the late 1950s, as radio sources in all-sky radio surveys. They were first noted as radio sources with no corresponding visible object. Using small telescopes and the Lovell Telescope as an interferometer, they were shown to have a very small angular size. By 1960, hundreds of these objects had been recorded and published in the Third Cambridge Catalogue while astronomers scanned the skies for their optical counterparts. In 1963, a definite identification of the radio source 3C 48 with an optical object was published by Allan Sandage and Thomas A. Matthews. Astronomers had detected what appeared to be a faint blue star at the location of the radio source and obtained its spectrum, which contained many unknown broad emission lines. The anomalous spectrum defied interpretation.
British-Australian astronomer John Bolton made many early observations of quasars, including a breakthrough in 1962. Another radio source, 3C 273, was predicted to undergo five occultations by the Moon. Measurements taken by Cyril Hazard and John Bolton during one of the occultations using the Parkes Radio Telescope allowed Maarten Schmidt to find a visible counterpart to the radio source and obtain an optical spectrum using the 200-inch (5.1 m) Hale Telescope on Mount Palomar. This spectrum revealed the same strange emission lines. Schmidt was able to demonstrate that these were likely to be the ordinary spectral lines of hydrogen redshifted by 15.8%, at the time, a high redshift (with only a handful of much fainter galaxies known with higher redshift). If this was due to the physical motion of the "star", then 3C 273 was receding at an enormous velocity, around 47000 km/s, far beyond the speed of any known star and defying any obvious explanation. Nor would an extreme velocity help to explain 3C 273's huge radio emissions. If the redshift was cosmological (now known to be correct), the large distance implied that 3C 273 was far more luminous than any galaxy, but much more compact. Also, 3C 273 was bright enough to detect on archival photographs dating back to the 1900s; it was found to be variable on yearly timescales, implying that a substantial fraction of the light was emitted from a region less than 1 light-year in size, tiny compared to a galaxy.
Although it raised many questions, Schmidt's discovery quickly revolutionized quasar observation. The strange spectrum of 3C 48 was quickly identified by Schmidt, Greenstein and Oke as hydrogen and magnesium redshifted by 37%. Shortly afterwards, two more quasar spectra in 1964 and five more in 1965 were also confirmed as ordinary light that had been redshifted to an extreme degree. While the observations and redshifts themselves were not doubted, their correct interpretation was heavily debated, and Bolton's suggestion that the radiation detected from quasars were ordinary spectral lines from distant highly redshifted sources with extreme velocity was not widely accepted at the time.
An extreme redshift could imply great distance and velocity but could also be due to extreme mass or perhaps some other unknown laws of nature. Extreme velocity and distance would also imply immense power output, which lacked explanation. The small sizes were confirmed by interferometry and by observing the speed with which the quasar as a whole varied in output, and by their inability to be seen in even the most powerful visible-light telescopes as anything more than faint starlike points of light. But if they were small and far away in space, their power output would have to be immense and difficult to explain. Equally, if they were very small and much closer to our galaxy, it would be easy to explain their apparent power output, but less easy to explain their redshifts and lack of detectable movement against the background of the universe.
Schmidt noted that redshift is also associated with the expansion of the universe, as codified in Hubble's law. If the measured redshift was due to expansion, then this would support an interpretation of very distant objects with extraordinarily high luminosity and power output, far beyond any object seen to date. This extreme luminosity would also explain the large radio signal. Schmidt concluded that 3C 273 could either be an individual star around 10 km wide within (or near to) our galaxy, or a distant active galactic nucleus. He stated that a distant and extremely powerful object seemed more likely to be correct.
Schmidt's explanation for the high redshift was not widely accepted at the time. A major concern was the enormous amount of energy these objects would have to be radiating, if they were distant. In the 1960s no commonly accepted mechanism could account for this. The currently accepted explanation, that it is due to matter in an accretion disc falling into a supermassive black hole, was only suggested in 1964 by Edwin Salpeter and Yakov Zel'dovich, and even then it was rejected by many astronomers, because in the 1960s, the existence of black holes was still widely seen as theoretical and too exotic, and because it was not yet confirmed that many galaxies (including our own) have supermassive black holes at their center. The strange spectral lines in their radiation, and the speed of change seen in some quasars, also suggested to many astronomers and cosmologists that the objects were comparatively small and therefore perhaps bright, massive and not far away; accordingly that their redshifts were not due to distance or velocity, and must be due to some other reason or an unknown process, meaning that the quasars were not really powerful objects nor at extreme distances, as their redshifted light implied. A common alternative explanation was that the redshifts were caused by extreme mass (gravitational redshifting explained by general relativity) and not by extreme velocity (explained by special relativity).
Various explanations were proposed during the 1960s and 1970s, each with their own problems. It was suggested that quasars were nearby objects, and that their redshift was not due to the expansion of space (special relativity) but rather to light escaping a deep gravitational well (general relativity). This would require a massive object, which would also explain the high luminosities. However, a star of sufficient mass to produce the measured redshift would be unstable and in excess of the Hayashi limit. Quasars also show forbidden spectral emission lines, previously only seen in hot gaseous nebulae of low density, which would be too diffuse to both generate the observed power and fit within a deep gravitational well. There were also serious concerns regarding the idea of cosmologically distant quasars. One strong argument against them was that they implied energies that were far in excess of known energy conversion processes, including nuclear fusion. There were suggestions that quasars were made of some hitherto unknown form of stable antimatter regions and that this might account for their brightness. Others speculated that quasars were a white hole end of a wormhole, or a chain reaction of numerous supernovae.
Eventually, starting from about the 1970s, many lines of evidence (including the first X-ray space observatories, knowledge of black holes and modern models of cosmology) gradually demonstrated that the quasar redshifts are genuine and due to the expansion of space, that quasars are in fact as powerful and as distant as Schmidt and some other astronomers had suggested, and that their energy source is matter from an accretion disc falling onto a supermassive black hole. This included crucial evidence from optical and X-ray viewing of quasar host galaxies, finding of "intervening" absorption lines, which explained various spectral anomalies, observations from gravitational lensing, Peterson and Gunn's 1971 finding[citation needed] that galaxies containing quasars showed the same redshift as the quasars, and Kristian's 1973 finding that the "fuzzy" surrounding of many quasars was consistent with a less luminous host galaxy.
This model also fits well with other observations suggesting that many or even most galaxies have a massive central black hole. It would also explain why quasars are more common in the early universe: as a quasar draws matter from its accretion disc, there comes a point when there is less matter nearby, and energy production falls off or ceases, as the quasar becomes a more ordinary type of galaxy.
The accretion-disc energy-production mechanism was finally modeled in the 1970s, and black holes were also directly detected (including evidence showing that supermassive black holes could be found at the centers of our own and many other galaxies), which resolved the concern that quasars were too luminous to be a result of very distant objects or that a suitable mechanism could not be confirmed to exist in nature. By 1987 it was "well accepted" that this was the correct explanation for quasars, and the cosmological distance and energy output of quasars was accepted by almost all researchers.
Later it was found that not all quasars have strong radio emission; in fact only about 10% are "radio-loud". Hence the name "QSO" (quasi-stellar object) is used (in addition to "quasar") to refer to these objects, further categorised into the "radio-loud" and the "radio-quiet" classes. The discovery of the quasar had large implications for the field of astronomy in the 1960s, including drawing physics and astronomy closer together.
In 1979 the gravitational lens effect predicted by Albert Einstein's general theory of relativity was confirmed observationally for the first time with images of the double quasar 0957+561.
A study published in February, 2021, showed that there are more quasars in one direction (towards Hydra) than in the opposite direction, seemingly indicating that we are moving in that direction. But the direction of this dipole is about 28° away from the direction of our motion relative to the cosmic microwave background radiation.
In March, 2021, a collaboration of scientists, related to the Event Horizon Telescope, presented, for the first time, a polarized-based image of a black hole, particularly the black hole at the center of Messier 87, an elliptical galaxy approximately 55 million light-years away in the constellation Virgo, revealing the forces giving rise to quasars.
It is now known that quasars are distant but extremely luminous objects, so any light that reaches the Earth is redshifted due to the metric expansion of space.
Quasars inhabit the centers of active galaxies and are among the most luminous, powerful, and energetic objects known in the universe, emitting up to a thousand times the energy output of the Milky Way, which contains 200–400 billion stars. This radiation is emitted across the electromagnetic spectrum, almost uniformly, from X-rays to the far infrared with a peak in the ultraviolet optical bands, with some quasars also being strong sources of radio emission and of gamma-rays. With high-resolution imaging from ground-based telescopes and the Hubble Space Telescope, the "host galaxies" surrounding the quasars have been detected in some cases. These galaxies are normally too dim to be seen against the glare of the quasar, except with special techniques. Most quasars, with the exception of 3C 273, whose average apparent magnitude is 12.9, cannot be seen with small telescopes.
Quasars are believed—and in many cases confirmed—to be powered by accretion of material into supermassive black holes in the nuclei of distant galaxies, as suggested in 1964 by Edwin Salpeter and Yakov Zel'dovich. Light and other radiation cannot escape from within the event horizon of a black hole. The energy produced by a quasar is generated outside the black hole, by gravitational stresses and immense friction within the material nearest to the black hole, as it orbits and falls inward. The huge luminosity of quasars results from the accretion discs of central supermassive black holes, which can convert between 6% and 32% of the mass of an object into energy, compared to just 0.7% for the p–p chain nuclear fusion process that dominates the energy production in Sun-like stars. Central masses of 105 to 109 solar masses have been measured in quasars by using reverberation mapping. Several dozen nearby large galaxies, including our own Milky Way galaxy, that do not have an active center and do not show any activity similar to a quasar, are confirmed to contain a similar supermassive black hole in their nuclei (galactic center). Thus it is now thought that all large galaxies have a black hole of this kind, but only a small fraction have sufficient matter in the right kind of orbit at their center to become active and power radiation in such a way as to be seen as quasars.[43]
This also explains why quasars were more common in the early universe, as this energy production ends when the supermassive black hole consumes all of the gas and dust near it. This means that it is possible that most galaxies, including the Milky Way, have gone through an active stage, appearing as a quasar or some other class of active galaxy that depended on the black-hole mass and the accretion rate, and are now quiescent because they lack a supply of matter to feed into their central black holes to generate radiation.[43]
Quasars in interacting galaxies[44]
The matter accreting onto the black hole is unlikely to fall directly in, but will have some angular momentum around the black hole, which will cause the matter to collect into an accretion disc. Quasars may also be ignited or re-ignited when normal galaxies merge and the black hole is infused with a fresh source of matter. In fact, it has been suggested that a quasar could form when the Andromeda Galaxy collides with our own Milky Way galaxy in approximately 3–5 billion years.
In the 1980s, unified models were developed in which quasars were classified as a particular kind of active galaxy, and a consensus emerged that in many cases it is simply the viewing angle that distinguishes them from other active galaxies, such as blazars and radio galaxies.
The highest-redshift quasar known (as of December 2017) was ULAS J1342+0928, with a redshift of 7.54, which corresponds to a comoving distance of approximately 29.36 billion light-years from Earth (these distances are much larger than the distance light could travel in the universe's 13.8 billion year history because space itself has also been expanding).
More than 750000 quasars have been found (as of August 2020), most from the Sloan Digital Sky Survey. All observed quasar spectra have redshifts between 0.056 and 7.64 (as of 2021). Applying Hubble's law to these redshifts, it can be shown that they are between 600 million and 29.36 billion light-years away (in terms of comoving distance). Because of the great distances to the farthest quasars and the finite velocity of light, they and their surrounding space appear as they existed in the very early universe.
The power of quasars originates from supermassive black holes that are believed to exist at the core of most galaxies. The Doppler shifts of stars near the cores of galaxies indicate that they are revolving around tremendous masses with very steep gravity gradients, suggesting black holes.
Although quasars appear faint when viewed from Earth, they are visible from extreme distances, being the most luminous objects in the known universe. The brightest quasar in the sky is 3C 273 in the constellation of Virgo. It has an average apparent magnitude of 12.8 (bright enough to be seen through a medium-size amateur telescope), but it has an absolute magnitude of −26.7. From a distance of about 33 light-years, this object would shine in the sky about as brightly as our Sun. This quasar's luminosity is, therefore, about 4 trillion (4×1012) times that of the Sun, or about 100 times that of the total light of giant galaxies like the Milky Way. This assumes that the quasar is radiating energy in all directions, but the active galactic nucleus is believed to be radiating preferentially in the direction of its jet. In a universe containing hundreds of billions of galaxies, most of which had active nuclei billions of years ago but only seen today, it is statistically certain that thousands of energy jets should be pointed toward the Earth, some more directly than others. In many cases it is likely that the brighter the quasar, the more directly its jet is aimed at the Earth. Such quasars are called blazars.
The hyperluminous quasar APM 08279+5255 was, when discovered in 1998, given an absolute magnitude of −32.2. High-resolution imaging with the Hubble Space Telescope and the 10 m Keck Telescope revealed that this system is gravitationally lensed. A study of the gravitational lensing of this system suggests that the light emitted has been magnified by a factor of ~10. It is still substantially more luminous than nearby quasars such as 3C 273.
Quasars were much more common in the early universe than they are today. This discovery by Maarten Schmidt in 1967 was early strong evidence against steady-state cosmology and in favor of the Big Bang cosmology. Quasars show the locations where massive black holes are growing rapidly (by accretion). These black holes grow in step with the mass of stars in their host galaxy in a way not understood at present. One idea is that jets, radiation and winds created by the quasars shut down the formation of new stars in the host galaxy, a process called "feedback". The jets that produce strong radio emission in some quasars at the centers of clusters of galaxies are known to have enough power to prevent the hot gas in those clusters from cooling and falling on to the central galaxy.
Quasars' luminosities are variable, with time scales that range from months to hours. This means that quasars generate and emit their energy from a very small region, since each part of the quasar would have to be in contact with other parts on such a time scale as to allow the coordination of the luminosity variations. This would mean that a quasar varying on a time scale of a few weeks cannot be larger than a few light-weeks across. The emission of large amounts of power from a small region requires a power source far more efficient than the nuclear fusion that powers stars. The conversion of gravitational potential energy to radiation by infalling to a black hole converts between 6% and 32% of the mass to energy, compared to 0.7% for the conversion of mass to energy in a star like our Sun. It is the only process known that can produce such high power over a very long term. (Stellar explosions such as supernovas and gamma-ray bursts, and direct matter–antimatter annihilation, can also produce very high power output, but supernovae only last for days, and the universe does not appear to have had large amounts of antimatter at the relevant times.)
Since quasars exhibit all the properties common to other active galaxies such as Seyfert galaxies, the emission from quasars can be readily compared to those of smaller active galaxies powered by smaller supermassive black holes. To create a luminosity of 1040 watts (the typical brightness of a quasar), a super-massive black hole would have to consume the material equivalent of 10 stars per year. The brightest known quasars devour 1000 solar masses of material every year. The largest known is estimated to consume matter equivalent to 10 Earths per second. Quasar luminosities can vary considerably over time, depending on their surroundings. Since it is difficult to fuel quasars for many billions of years, after a quasar finishes accreting the surrounding gas and dust, it becomes an ordinary galaxy.
Radiation from quasars is partially "nonthermal" (i.e., not due to black-body radiation), and approximately 10% are observed to also have jets and lobes like those of radio galaxies that also carry significant (but poorly understood) amounts of energy in the form of particles moving at relativistic speeds. Extremely high energies might be explained by several mechanisms (see Fermi acceleration and Centrifugal mechanism of acceleration). Quasars can be detected over the entire observable electromagnetic spectrum, including radio, infrared, visible light, ultraviolet, X-ray and even gamma rays. Most quasars are brightest in their rest-frame ultraviolet wavelength of 121.6 nm Lyman-alpha emission line of hydrogen, but due to the tremendous redshifts of these sources, that peak luminosity has been observed as far to the red as 900.0 nm, in the near infrared. A minority of quasars show strong radio emission, which is generated by jets of matter moving close to the speed of light. When viewed downward, these appear as blazars and often have regions that seem to move away from the center faster than the speed of light (superluminal expansion). This is an optical illusion due to the properties of special relativity.
Quasar redshifts are measured from the strong spectral lines that dominate their visible and ultraviolet emission spectra. These lines are brighter than the continuous spectrum. They exhibit Doppler broadening corresponding to mean speed of several percent of the speed of light. Fast motions strongly indicate a large mass. Emission lines of hydrogen (mainly of the Lyman series and Balmer series), helium, carbon, magnesium, iron and oxygen are the brightest lines. The atoms emitting these lines range from neutral to highly ionized, leaving it highly charged. This wide range of ionization shows that the gas is highly irradiated by the quasar, not merely hot, and not by stars, which cannot produce such a wide range of ionization.
Like all (unobscured) active galaxies, quasars can be strong X-ray sources. Radio-loud quasars can also produce X-rays and gamma rays by inverse Compton scattering of lower-energy photons by the radio-emitting electrons in the jet.
Iron quasars show strong emission lines resulting from low-ionization iron (Fe II), such as IRAS 18508-7815.
Quasars also provide some clues as to the end of the Big Bang's reionization. The oldest known quasars (z = 6) display a Gunn–Peterson trough and have absorption regions in front of them indicating that the intergalactic medium at that time was neutral gas. More recent quasars show no absorption region, but rather their spectra contain a spiky area known as the Lyman-alpha forest; this indicates that the intergalactic medium has undergone reionization into plasma, and that neutral gas exists only in small clouds.
The intense production of ionizing ultraviolet radiation is also significant, as it would provide a mechanism for reionization to occur as galaxies form. Despite this, current theories suggest that quasars were not the primary source of reionization; the primary causes of reionization were probably the earliest generations of stars, known as Population III stars (possibly 70%), and dwarf galaxies (very early small high-energy galaxies) (possibly 30%).
Quasars show evidence of elements heavier than helium, indicating that galaxies underwent a massive phase of star formation, creating population III stars between the time of the Big Bang and the first observed quasars. Light from these stars may have been observed in 2005 using NASA's Spitzer Space Telescope, although this observation remains to be confirmed.
The taxonomy of quasars includes various subtypes representing subsets of the quasar population having distinct properties.
Radio-loud quasars are quasars with powerful jets that are strong sources of radio-wavelength emission. These make up about 10% of the overall quasar population. Radio-quiet quasars are those quasars lacking powerful jets, with relatively weaker radio emission than the radio-loud population. The majority of quasars (about 90%) are radio-quiet.
Broad absorption-line (BAL) quasars are quasars whose spectra exhibit broad absorption lines that are blueshifted relative to the quasar's rest frame, resulting from gas flowing outward from the active nucleus in the direction toward the observer. Broad absorption lines are found in about 10% of quasars, and BAL quasars are usually radio-quiet. In the rest-frame ultraviolet spectra of BAL quasars, broad absorption lines can be detected from ionized carbon, magnesium, silicon, nitrogen, and other elements.
Type 2 (or Type II) quasars are quasars in which the accretion disk and broad emission lines are highly obscured by dense gas and dust. They are higher-luminosity counterparts of Type 2 Seyfert galaxies.
Red quasars are quasars with optical colors that are redder than normal quasars, thought to be the result of moderate levels of dust extinction within the quasar host galaxy. Infrared surveys have demonstrated that red quasars make up a substantial fraction of the total quasar population.
Optically violent variable (OVV) quasars are radio-loud quasars in which the jet is directed toward the observer. Relativistic beaming of the jet emission results in strong and rapid variability of the quasar brightness. OVV quasars are also considered to be a type of blazar.
Weak emission line quasars are quasars having unusually faint emission lines in the ultraviolet/visible spectrum.
The energetic radiation of the quasar makes dark galaxies glow, helping astronomers to understand the obscure early stages of galaxy formation.
Because quasars are extremely distant, bright, and small in apparent size, they are useful reference points in establishing a measurement grid on the sky. The International Celestial Reference System (ICRS) is based on hundreds of extra-galactic radio sources, mostly quasars, distributed around the entire sky. Because they are so distant, they are apparently stationary to our current technology, yet their positions can be measured with the utmost accuracy by very-long-baseline interferometry (VLBI). The positions of most are known to 0.001 arcsecond or better, which is orders of magnitude more precise than the best optical measurements.
A grouping of two or more quasars on the sky can result from a chance alignment, where the quasars are not physically associated, from actual physical proximity, or from the effects of gravity bending the light of a single quasar into two or more images by gravitational lensing.
When two quasars appear to be very close to each other as seen from Earth (separated by a few arcseconds or less), they are commonly referred to as a "double quasar". When the two are also close together in space (i.e. observed to have similar redshifts), they are termed a "quasar pair", or as a "binary quasar" if they are close enough that their host galaxies are likely to be physically interacting.
As quasars are overall rare objects in the universe, the probability of three or more separate quasars being found near the same physical location is very low, and determining whether the system is closely separated physically requires significant observational effort. The first true triple quasar was found in 2007 by observations at the W. M. Keck Observatory Mauna Kea, Hawaii. LBQS 1429-008 (or QQQ J1432-0106) was first observed in 1989 and at the time was found to be a double quasar. When astronomers discovered the third member, they confirmed that the sources were separate and not the result of gravitational lensing. This triple quasar has a redshift of z = 2.076. The components are separated by an estimated 30–50 kiloparsecs (roughly 97,000-160,000 light years), which is typical for interacting galaxies. In 2013, the second true triplet of quasars, QQQ J1519+0627, was found with a redshift z = 1.51, the whole system fitting within a physical separation of 25 kpc (about 80,000 light years).
The first true quadruple quasar system was discovered in 2015 at a redshift z = 2.0412 and has an overall physical scale of about 200 kpc (roughly 650,000 light years).
A multiple-image quasar is a quasar whose light undergoes gravitational lensing, resulting in double, triple or quadruple images of the same quasar. The first such gravitational lens to be discovered was the double-imaged quasar Q0957+561 (or Twin Quasar) in 1979. An example of a triply lensed quasar is PG1115+08. Several quadruple-image quasars are known, including the Einstein Cross and the Cloverleaf Quasar, with the first such discoveries happening in the mid-1980s.
Hanson
Magazzini Generali - Milano
17 Dicembre 2013
Isaac (Guitar, Bass, Piano, Vocals)
Taylor (Piano, Guitar, Drums, Vocals)
Zac (Drums, Piano, Guitar, Vocals)
ph ©Mairo Cinquetti
All rights reserved
With arching melodies, epic guitar riffs and rhythms inciting you to put your hands in the air, anthems give us a soundtrack to life’s defining moments. And for HANSON, their sixth studio album ANTHEM marks the beginning of their third decade of making music together.
Over their first 20 years, brothers Isaac, Taylor and Zac Hanson have made their mark. Five years building a fanbase as an independent band led to a meteoric rise with the 1997 international smash single MMMBop from their debut album Middle Of Nowhere. A long line of hits, four more studio albums, multiple Grammy nominations and over 16 million album sales followed. Over their second decade, the band charted their own course running an independent label while maintaining a coveted connection with their global fanbase, and in 2007 they launched a grassroots campaign to support poverty and HIV/AIDS relief in Africa (TakeTheWalk.net).
Set for release in the US in June followed by worldwide release and a coordinated world tour, the bands sixth studio album ANTHEM is an album that celebrates the power of music to ignite passion and bring people together.
“We have always been in awe of the ability music has to engage people, whether it’s a song that makes you want to dance, or a song that inspires you to take action for a cause. We want this record to be the anthem for all of those moments”, says Taylor.
Following two years of non-stop touring behind the band’s critically acclaimed fifth studio album Shout It Out, they decided to re-group at their home base in Oklahoma to shape the sound and vision for the album that would mark a new era for the band. Over the summer of 2012 the music that began to unfold was infused with new energy, producing a melodic tour de force. To begin recording ANTHEM, which is produced and written solely by the band, they returned to Sonic Ranch Studios where the buffer of thousands of acres of pecan groves and desert provided an essential escape from distraction. There they captured the foundation of the album the old-fashioned way, live, in one room.
From the blistering blues guitar riff of ‘Fired Up’, to the intimidating power of ‘You Can’t Stop Us’ and the unstoppable grooves of ‘I’ve Got Soul’ and ‘Tragic Symphony’, the listener is buoyed by the high-energy and force of the music. The album also continues the band’s signature vocal harmonies and eclectic influences, with guitar driven pop like ‘Cut Right Through Me’ and the soaring sing-along ‘Scream And Be Free’, as well as the romantic innocence of ‘Lost Without You’. There is a tip of the hat to power ballads, with Isaac taking center stage on lead vocal with ‘For Your Love’, and Zac carrying the entrancing heartache of ‘Save Me From Myself’, which features Gogol Bordello’s Yuri Lemeshev on accordion.
“The sound of this record touches on most of our musical influences, a bit of soul, a bit of song craftsmanship and some good old fashioned rock ‘n’ roll … this time it just has a little more fight in it”, says Isaac.
The album’s debut single ‘Get The Girl Back’ shines a bright light on their largest influence, 60’soul and rock ‘n’ roll, and it comes bursting out of the speakers from the first beat.
The video, a narrative tale which features the band performing in a packed club while characters’ relationships evolve around them, showcases an ensemble cast of their friends led by actress/writer Nikki Reed (Thirteen), and Kat Dennings (2 Broke Girls, Thor), Drake Bell (Drake & Josh), Paul McDonald(American Idol), Drew Seeley (Another Cinderella Story), and newcomer Alex Beh. “It also has that vibe of a big, sweaty rock show that you’d want to be at,” Taylor says. “The video invites people into the first chapter of a story that we hope inspires everyone to want to stick around for more,” says Zac.
HANSON friends Michael ‘Fitz’ Fitzpatrick and Joe Karnes, from Los Angeles-based indie soul band Fitz and the Tantrums joined them on ‘Get The Girl Back’. “It’s hard to find bands whose sound and aesthetic is similar to ours,” Taylor says, “But we connected on a love of ‘60s soul and pop”.
In addition the record features guest appearances from music aficionado Tom “Bones” Malone (Blues Brothers Band, David Letterman band and band leader on Saturday Night Live), who contributed horns to ‘I’ve Got Soul’ and ‘Get So Low’, and Imani Coppola who added strings to ‘Tragic Symphony’, highlighting the song’s classic Michael Jackson influence. The band also reunited with renowned mix engineer Tom Lord-Alge, who mixed their first two major studio albums.
Every album has a story, a pattern of events and influences that come together to create a piece of work. In the case of ANTHEM, the greatest part of the story is the element of HANSON which has always been core to their success - their dedication and passion to reach for the best, for their music and their fans. For this band their ANTHEM is melody, passion, and conviction to stay the course with their music and with their faithful supporters; and that is an ANTHEM for the ages.
Just waiting to be popped onto the rigatoni...
Speck is defined as follows:
Speck is a distinctively juniper-flavored ham originally from Tyrol, a historical region that since 1918 partially lies in Austria and partially in Italy. Speck's origins at the intersection of two culinary worlds is reflected in its synthesis of salt-curing and smoking.
The first historical mention of Speck was in the early 13th century when some of the current production techniques were already in use. Südtiroler Speck (Italian: Speck Alto Adige) is now a protected geographic designation with PGI status.[1]
CuringLike prosciutto and other hams, speck is made from the hind leg of the pig, but, unlike other prosciutti, speck is boned before curing.
A leg of pork is deboned and divided into large sections called "baffe", and then cured in salt and various spice combination which may include garlic, bay leaves, juniper berries, nutmeg, and other spices, and then rested for a period of several weeks. After this the smoking process begins.
Speck is cold-smoked slowly and intermittently for two or three hours a day for a period of roughly a week using woods such as beech at temperatures that never exceed 20°C (68°F).
The speck is then matured for five months.
[edit] UsesSpeck is ubiquitous in the local cuisine of the province of Bolzano-Bozen, and is also found in the Austrian, Czech, Dutch, Croatian, German, Italian and Slovak cuisines.
Tissue-thin slices of speck can also be served with horseradish, pickles and dark rye bread studded with raisins and nuts, a more Austrian-influenced presentation.
Typically appearing in pastas, in risotto, on pizzas, and alongside hearty whole-grain breads, speck can also be seen in the company of shellfish, sometimes wrapped around scallops or rolled about breadsticks and served with lobster salad. Speck can be cut into thick strips and added to pasta sauces or any dish beginning with a soffritto of olive oil and chopped vegetables. In dishes like risotto, the extremely strong flavour of speck can usually be cut with light flavours such as parsley, lemon, mint, etc. In salads, speck pairs well with apples, sprouts, mushrooms, and hearts of celery.
Speck can easily replace bacon or as a smoky alternative to Pancetta. The differences between speck and bacon include different time lengths of smoking, the technique of curing it, and the fact that speck cures for a longer period of time than bacon does.
[edit] Jewish Deli SpeckIn some Jewish delis in the United States, speck is a beef product. It is made from the top layer of fat cut from a pickled brisket (corned beef), dusted in paprika, double smoked and then grilled.[4] It is then sliced and either served on its own, traditionally on rye bread with mustard or combined with another sliced meat in a sandwich.
In parts of the English-speaking culinary world, the term "speck" refers to Italian speck, a type of prosciutto, rather than German speck, which is identical to the Italian "lardo". The term "speck" became part of popular parlance only in the eighteenth century and replaced the older term "bachen", a cognate of "bacon".
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