title: Canon (music)

text: Michael Musgrave writes that as a result of the strict canon at the octave, the piece is "of an anxious, suppressed nature, ... in the central section this tension is temporarily eased through a very contained passage which employs the canon in chordal terms between the hands." According to Denis Matthews, "[what] looks on paper like another purely intellectual exercise... in practice it produces a warmly melodic effect."


title: Canon (music)

text: Stravinsky composed canons, including a "Canon on a Russian Popular Tune" and the Double Canon. Conlon Nancarrow composed a number of canons for player piano. (See Mensuration and tempo canons below.) Anton Webern employed canonic textures in his work; his Op. 16 work is a collection of five canons for soprano, clarinet, and bass clarinet.


title: Canon (music)

text: Considering the many types of canon "in the tonal repertoire", it may be ironic that "canon—the strictest type of imitation—has such a wide variety of possibilities". The most rigid and ingenious forms of canon are not strictly concerned with pattern but also with content. Canons are classified by various traits including the number of voices, the interval at which each successive voice is transposed in relation to the preceding voice, whether voices are inverse, retrograde, or retrograde-inverse; the temporal distance between each voice, whether the intervals of the second voice are exactly those of the original or if they are adjusted to fit the diatonic scale, and the tempo of successive voices. However, canons may use more than one of the above methods.


title: Canon (music)

text: Although, for clarity, this article uses leader and follower(s) to denote the leading voice in a canon and those that imitate it, musicological literature also uses the traditional Latin terms "dux" and "comes" for "leader" and "follower", respectively.


title: Canon (music)

text: A canon of two voices may be called a canon in two, similarly a canon of "x" voices would be called a canon in "x". This terminology may be used in combination with a similar terminology for the interval between each voice, different from the terminology in the following paragraph.


title: Canon (music)

text: Another standard designation is "Canon: Two in One", which means two voices in one canon. "Canon: Four in Two" means four voices with two simultaneous canons. While "Canon: Six in Three" means six voices with three simultaneous canons, and so on.


title: Canon (music)

text: A simple canon (also known as a round) imitates the leader perfectly at the octave or unison. Well-known canons of this type include the famous children's songs Row, Row, Row Your Boat and Frère Jacques.


title: Canon (music)

text: If the follower imitates the precise interval quality of the leader, then it is called a strict canon; if the follower imitates the interval number (but not the quality—e.g., a major third may become a minor third), it is called a free canon.


title: Canon (music)

text: An inversion canon (also called an "al rovescio" canon) has the follower moving in contrary motion to the leader. Where the leader would go down by a particular interval, the follower goes up by that same interval.


title: Canon (music)

text: In a retrograde canon, also known as a "canon cancrizans" (Latin for crab canon, derived from the Latin "cancer" = crab), the follower accompanies the leader backward (in retrograde). Alternative names for this type are "canon per recte et retro" or "canon per rectus et inversus".


title: Canon (music)

text: In a mensuration canon (also known as a prolation canon, or a proportional canon), the follower imitates the leader by some rhythmic proportion. The follower may double the rhythmic values of the leader (augmentation or sloth canon) or it may cut the rhythmic proportions in half (diminution canon). Phasing involves the application of modulating rhythmic proportions according to a sliding scale. The cancrizans, and often the mensuration canon, take exception to the rule that the follower must start later than the leader; that is, in a typical canon, a follower cannot come before the leader (for then the labels 'leader' and 'follower' should be reversed) or at the same time as the leader (for then two lines together would constantly be in unison, or parallel thirds, etc., and there would be no counterpoint), whereas in a crab canon or mensuration canon the two lines can start at the same time and still respect good counterpoint.


title: Canon (music)

text: Many such canons were composed during the Renaissance, particularly in the late fifteenth and early sixteenth centuries; Johannes Ockeghem wrote an entire mass (the "Missa prolationum") in which each section is a mensuration canon, and all at different speeds and entry intervals. In the 20th century, Conlon Nancarrow composed complex tempo or mensural canons, mostly for the player piano as they are extremely difficult to play. Larry Polansky has an album of mensuration canons, "Four-Voice Canons". Arvo Pärt has written several mensuration canons, including "Cantus in Memoriam Benjamin Britten", "Arbos" and "Festina Lente". Per Nørgård's infinity series has a sloth canon structure. This self-similarity of sloth canons makes it "fractal like".


title: Canon (music)

text: The most familiar of the canons is the perpetual/infinite canon (in Latin: "canon perpetuus") or round. As each voice of the canon arrives at its end it can begin again, in a "perpetuum mobile" fashion; e.g., "Three Blind Mice". Such a canon is also called a round or, in medieval Latin terminology, a rota. "Sumer is icumen in" is one example of a piece designated rota.


title: Canon (music)

text: Additional types include the spiral canon, accompanied canon, and double or triple canon. A double canon is a canon with two simultaneous themes; a triple canon has three.


title: Canon (music)

text: A double canon is a composition that unfolds two different canons simultaneously. A duet aria, "Herr, du siehst statt guter Werke" from J. S. Bach's Cantata BWV 9, "Es ist das Heil uns kommen her" features a double canon "between flute and oboe on the one hand and the soprano and alto voices on the other. But what is most interesting in this movement is that the very attractive melodic surface of the canon belies its dogmatic message by offering a moving simplicity of tone to indicate the comfort that particular doctrine provides for the believer. Canonic devices often bear the association of strictness and the law in Bach's work."


title: Canon (music)

text: In a mirror canon (or canon by contrary motion), the subsequent voice imitates the initial voice in inversion. They are not very common, though examples of mirror canons can be found in the works of Bach, Mozart (e.g., the trio from Serenade for Wind Octet in C minor, K. 388/384a), Anton Webern, and other composers.


title: Canon (music)

text: A table canon is a retrograde and inverse canon meant to be placed on a table in between two musicians, who both read the same line of music in opposite directions. As both parts are included in each single line, a second line is not needed. Bach wrote a few table canons.


title: Canon (music)

text: Olivier Messiaen employed a technique which he called "rhythmic canon", a polyphony of independent strands in which the pitch material differs. An example is found in the piano part of the first of the "Trois petites liturgies de la présence divine", where the left hand (doubled by strings and maracas), and the right hand (doubled by vibraphone) play the same rhythmic sequence in a 3:2 ratio, but the right hand adapts a sequence of 13 chords in the sixth mode (B–C–D–E–F–F–G–A–B) onto the 18 duration values, while the left hand twice states nine chords in the third mode. Peter Maxwell Davies was another post-tonal composer who favoured rhythmic canons, where the pitch materials are not obliged to correspond.


title: Canon (music)

text: The notion of rhythmic canon transfers Messiaen's idea of mode of limited transposition from the domain of pitch to the domain of time:


title: Canon (music)

text: Computational methods for finding rhythmic canons, both infinite and finite, with arbitrary generative rhythmic patterns were developed in the 2000s with further generalization to so-called "rhythmic fugues" with a few generative rhythmic patterns.


title: Canon (music)

text: A puzzle canon, riddle canon, or enigma canon is a canon in which only one voice is notated and the rules for determining the remaining parts and the time intervals of their entrances must be guessed. "The enigmatical character of a [puzzle] canon does not consist of any special way of composing it, but only of the method of writing it down, of which a solution is required." Clues hinting at the solution may be provided by the composer, in which case the term "riddle canon" can be used. J. S. Bach presented many of his canons in this form, for example in "The Musical Offering". Mozart, after solving Father Martini's puzzles, composed his own riddles, , using Latin epigrams such as "Sit trium series una" and "Ter ternis canite vocibus" ("Let there be one series of three parts" and "sing three times with three voices").


title: Canon (music)

text: Other notable contributors to the genre include Ciconia, Ockeghem, Byrd, Beethoven, Brumel, Busnois, Haydn, Josquin des Prez, Mendelssohn, Pierre de la Rue, Brahms, Schoenberg, Nono and Maxwell Davies. According to Oliver B. Ellsworth, the earliest known enigma canon appears to be an anonymous ballade, "En la maison Dedalus", found at the end of a collection of five theory treatises from the third quarter of the fourteenth century collected in the Berkeley Manuscript.


title: Canon (music)

text: Thomas Morley complained that sometimes a solution, "which being founde (it might bee) was scant worth the hearing", J. G. Albrechtsberger admits that, "when we have traced the secret, we have gained but little; as the proverb says, 'Parturiunt montes, etc.'" but adds that, "these speculative passages ... serve to sharpen acumen".


title: Canon (music)

text: In his early work, such as "Piano Phase" (1967) and "Clapping Music" (1972), Steve Reich used a process he calls phasing which is a "continually adjusting" canon with variable distance between the voices, in which melodic and harmonic elements are not important, but rely simply on the time intervals of imitation.


title: Volleyball at the 2020 Summer Olympics

text: The volleyball tournaments at the 2020 Summer Olympics in Tokyo were played between 24 July and 8 August 2021. 24 volleyball teams and 48 beach volleyball teams participated in the tournament. The indoor volleyball competition took place at Ariake Arena in Ariake, and the beach volleyball tournament at Shiokaze Park, in the temporary Shiokaze Park Stadium.


title: Volleyball at the 2020 Summer Olympics

text: It was originally scheduled to take place in 2020, but due to the COVID-19 pandemic, the IOC and the Tokyo 2020 Organising Committee announced on 24 March 2020 that the 2020 Summer Olympics would be delayed to 2021.


title: Volleyball at the 2020 Summer Olympics

text: This qualification pathways were confirmed by the Fédération Internationale de Volleyball on 23 September 2018.


title: White House Correspondents' Association

text: The White House Correspondents' Association (WHCA) is an organization of journalists who cover the White House and the president of the United States. The WHCA was founded on February 25, 1914, by journalists in response to an unfounded rumor that a United States congressional committee would select which journalists could attend press conferences of President Woodrow Wilson.


title: White House Correspondents' Association

text: The WHCA operates independently of the White House. Among the more notable issues handled by the WHCA are the credentialing process, access to the president and physical conditions in the White House press briefing rooms. Its most high-profile activity is the annual White House Correspondents' dinner, which is traditionally attended by the president and covered by the news media.


title: White House Correspondents' Association

text: The WHCA is responsible for assigned seating in the James S. Brady Press Briefing Room in the White House.


title: White House Correspondents' Association

text: The WHCA's annual dinner, begun in 1921, has become a Washington, D.C., tradition, and is traditionally attended by the president and vice president. Sixteen presidents have attended at least one WHCA dinner, beginning with Calvin Coolidge in 1924. The dinner is traditionally held on the evening of the last Saturday in April at the Washington Hilton.


title: White House Correspondents' Association

text: Until 1962, the dinner was open only to men, even though WHCA's membership included women. At the urging of Helen Thomas, President John F. Kennedy refused to attend the dinner unless the ban on women was dropped.


title: White House Correspondents' Association

text: Prior to World War II, the annual dinner featured singing between courses, a homemade movie, and an hour-long, post-dinner show with big-name performers. Since 1983, the featured speaker has usually been a comedian, with the dinner taking on the form of a comedy roast of the president and his administration.


title: White House Correspondents' Association

text: Many annual dinners have been cancelled or downsized due to deaths or political crises. The dinner was cancelled in 1930 due to the death of former president William Howard Taft; in 1942, following the United States' entry into World War II; and in 1951, over what President Harry S. Truman called the "uncertainty of the world situation." In 1981, Ronald Reagan did not attend because he was recuperating after the attempted assassination the previous month, but he did phone in and told a joke about the shooting.


title: White House Correspondents' Association

text: During his presidency, Donald Trump did not attend the dinners in 2017, 2018, and 2019. Trump indicated that he might attend in 2019 since this dinner did not feature a comedian as the featured speaker. However, on April 5, 2019, he announced that he again would not attend, calling the dinner "so boring, and so negative," instead hosting a political rally that evening in Wisconsin. On April 22, Trump ordered a boycott of the dinner, with White House Cabinet Secretary Bill McGinley assembling the agencies' chiefs of staff to issue a directive that members of the administration not attend. However, some members of the administration attended pre- and post-dinner parties.


title: White House Correspondents' Association

text: The WHCD has been increasingly criticized as an example of the coziness between the White House press corps and the administration. The dinner has typically included a skit, either live or videotaped, by the sitting U.S. president in which he mocks himself, for the amusement of the press corps. The press corps, in turn, hobnobs with administration officials, even those who are unpopular and are not regularly cooperative with the press. Increasing scrutiny by bloggers has contributed to added public focus on this friendliness.


title: White House Correspondents' Association

text: After the 2007 dinner, "New York Times" columnist Frank Rich implied that the "Times" would no longer participate in the dinners. Rich wrote that the dinner had become "a crystallization of the press's failures in the post-9/11 era" because it "illustrates how easily a propaganda-driven White House can enlist the Washington news media in its shows".


title: White House Correspondents' Association

text: Other criticism has focused on the amount of money actually raised for scholarships, which has decreased over the past few years.


title: White House Correspondents' Association

text: The dinners have drawn increasing public attention, and the guest list grows "more Hollywood". The attention given to the guest list and entertainers often overshadows the intended purpose of the dinner, which is to "acknowledge award-winners, present scholarships, and give the press and the president an evening of friendly appreciation". This has led to an atmosphere of coming to the event only to "see and be seen". This usually takes place at pre-dinner receptions and post-dinner parties hosted by various media organizations, which are often a bigger draw and can be more exclusive than the dinners themselves.


title: White House Correspondents' Association

text: The public airings of the controversies around the dinner from the mid-2000s onward gradually focused concern about the nature of the event. While interest in the event from entertainers, journalists, and political figures was high during the Obama administration, by the period of the Trump administration, interest gradually slowed in attending, especially after President Trump announced he would not attend, nor his staff. Business related to the weekend event slowed considerably, including at hotels, high-end restaurants, salons, caterers, and limo companies. During the Trump administration, some media companies stopped hosting parties, while other of the roughly 25 events held during the three-day period gained more prominence as signs of social status.


title: White House Correspondents' Association

text: By 2019, the dinner and associated parties had returned somewhat to their previous nature as networking and media functions, with packed houses of media industry employees and Washington political figures.


title: White House Correspondents' Association

text: After the April 30, 2022 dinner, where comedian Trevor Noah joked it would be "the nation’s most distinguished superspreader event," several attendees including Secretary of State Antony Blinken tested positive for COVID-19. No cases of serious illness were reported as a result of the dinner.


title: White House Correspondents' Association

text: The award was established in 1970 as the "Merriman Smith Memorial Award" for outstanding examples of deadline reporting. It was renamed in 2022 after the WHCA determined that Smith had supported excluding Black and female journalists from membership in the National Press Club and from attending the White House Correspondents' Dinner.


title: Andronovo culture

text: The Andronovo culture () is a collection of similar local Late Bronze Age cultures that flourished  2000–1450 BC, in western Siberia and the central Eurasian Steppe. Some researchers have preferred to term it an archaeological complex or archaeological horizon. The slightly older Sintashta culture (2050–1900 BC), formerly included within the Andronovo culture, is now considered separately to Early Andronovo cultures. New research shows Andronovo culture's first stage could have begun at the end of the 3rd millennium BC, with cattle grazing, as natural fodder was by no means difficult to find in the pastures close to dwellings.


title: Andronovo culture

text: Most researchers associate the Andronovo horizon with early Indo-Iranian languages, though it may have overlapped the early Uralic-speaking area at its northern fringe. Allentoft et al. (2015) concluded from their genetic studies that the Andronovo culture and the preceding Sintashta culture should be partially derived from the Corded Ware culture, given the higher proportion of ancestry matching the earlier farmers of Europe, similar to the admixture found in the genomes of the Corded Ware population.


title: Andronovo culture

text: The name derives from the village of Andronovo in the Uzhursky District of Kranoyarsk Krai, Siberia, where the Russian archaeologist discovered its first remains in 1914. Several graves were discovered, with skeletons in crouched positions, buried with richly decorated pottery. The Andronovo culture was first identified by the Russian archaeologist Sergei Teploukhov in the 1920s.


title: Andronovo culture

text: Some authors have challenged the chronology and model of eastward spread due to increasing evidence for the earlier presence of these cultural features in parts of east Central Asia.


title: Andronovo culture

text: The geographical extent of the culture is vast and difficult to delineate exactly. On its western fringes, it overlaps with the approximately contemporaneous, but distinct, Srubna culture in the Volga-Ural interfluvial. To the east, it reaches into the Minusinsk depression, with some sites as far west as the southern Ural Mountains, overlapping with the area of the earlier Afanasevo culture. Additional sites are scattered as far south as the Koppet Dag (Turkmenistan), the Pamir (Tajikistan) and the Tian Shan (Kyrgyzstan). The northern boundary vaguely corresponds to the beginning of the Taiga. More recently, evidence for the presence of the culture in Xinjiang in far-western China has also been found, mainly concentrated in the area comprising Tashkurgan, Ili, Bortala, and Tacheng area. In the Volga basin, interaction with the Srubna culture was the most intense and prolonged, and Federovo style pottery is found as far west as Volgograd. Mallory notes that the Tazabagyab culture south of Andronovo could be an offshoot of the former (or Srubna), alternatively the result of an amalgamation of steppe cultures and the Central Asian oasis cultures (Bishkent culture and Vakhsh culture).


title: Andronovo culture

text: In the initial Sintashta-Petrovka phase, the Andronovo culture is limited to the northern and western steppes in the southern Urals-Kazakhstan. Since then, at the 2nd millennium, in the Alakul Phase (2000–1700 BC), the Fedorovo Phase (1850–1450 BC) and the final Alekseyevka Phase (1400–1000 BC), the Andronovo cultures move intensively eastwards, expanding as far east as the Upper Yenisei in the Altai Mountains, succeeding the non-Indo-European Okunev culture.


title: Andronovo culture

text: In southern Siberia and Kazakhstan, the Andronovo culture was succeeded by the Karasuk culture (1500–800 BC). On its western border, it is roughly contemporaneous with the Srubna culture, which partly derives from the Abashevo culture. The earliest historical peoples associated with the area are the Cimmerians and Saka/Scythians, appearing in Assyrian records after the decline of the Alekseyevka culture, migrating into Ukraine from ca. the 9th century BC (see also Ukrainian stone stela), and across the Caucasus into Anatolia and Assyria in the late 8th century BC, and possibly also west into Europe as the Thracians (see Thraco-Cimmerian), and the Sigynnae, located by Herodotus beyond the Danube, north of the Thracians, and by Strabo near the Caspian Sea. Both Herodotus and Strabo identify them as Iranian.


title: Andronovo culture

text: The Andronovo culture consisted of both communities that were largely mobile as well as those settled in small villages. Settlements are especially pronounced in its Central Asian parts. Fortifications include ditches, earthen banks as well as timber palisades, of which an estimated twenty have been discovered. Andronovo villages typically contain around two to twenty houses, but settlements containing as much as a hundred houses have been discovered. Andronovo houses were generally constructed from pine, cedar, or birch, and were usually aligned overlooking the banks of rivers. Larger homes range in the size from 80 to 300 m, and probably belonged to extended families, a typical feature among early Indo-Iranians. Soma may have originated in the Andronovo culture.


title: Andronovo culture

text: Andronovo livestock included cattle, horses, sheep, goats and camels. The domestic pig is notably absent, which is typical of a mobile economy. The percentage of cattle among Andronovo remains are significantly higher than among their western Srubna neighbours. The horse was represented on Andronovo sites and was used for both riding and traction. According to the Journal of Archaeological Science, in July 2020, scientists from South Ural State University studied two Late Bronze Age horses with the aid of radiocarbon dating from Kurgan 5 of the Novoilinovsky 2 cemetery in the Lisakovsk city in the Kostanay region. Researcher Igor Chechushkov, indicated that the Andronovites had an ability on horse riding several centuries earlier than many researchers had previously expected. Among the horses investigated, the stallion was nearly 20 years old and the mare was 18 years old. According to scientists, animals were buried with the person they accompanied throughout their lives, and they were used not only for food, but also for harnessing to vehicles and riding. Agriculture did not play an important role in the Andronovo economy.


title: Andronovo culture

text: One of the characteristics of Andronovo culture is its pottery, especially in campsites located in Central Asia, some of them very close to settlements of Bactria–Margiana Archaeological Complex in the south. This pottery is called Incised Coarse Ware (ICW), which is handmade and grey to brown in color, as well as incised with geometrical decoration, spread over much of Eurasian region, from Southern Urals to Kashgar, a pottery made by late Bronze Age nomads.


title: Andronovo culture

text: The Andronovo culture is notable for regional advances in metallurgy. They mined deposits of copper ore in the Altai Mountains from around the 14th century BC. Bronze objects were numerous, and workshops existed for working copper.


title: Andronovo culture

text: "It is likely that militarized elite, whose power was based on the physical control of fellow tribesmen and neighbors with the help of riding and fighting skills, was buried in the Novoilinovsky-2 burial ground. The rider has a significant advantage over the infantryman. There may be another explanation: These elite fulfilled the function of mediating conflicts within the collective, and therefore had power and high social status. Metaphorically, this kind of elite can be called Sheriffs of the Bronze Age" said Igor Chechushkov.


title: Andronovo culture

text: The Andronovo dead were buried in timber or stone chambers under both round and rectangular kurgans (tumuli). Burials were accompanied by livestock, wheeled vehicles, cheek-pieces for horses, and weapons, ceramics and ornaments. Among the most notable remains are the burials of chariots, dating from around 2000 BC and possibly earlier. The chariots are found with paired horse-teams, and the ritual burial of the horse in a "head and hooves" cult has also been found. Some Andronovo dead were buried in pairs, of adults or adult and child.


title: Andronovo culture

text: At Kytmanovo in Russia between Mongolia and Kazakhstan, dated 1746–1626 BC, a strain of "Yersinia pestis" was extracted from a dead woman's tooth in a grave common to her and to two children. This strain's genes express flagellin, which triggers the human immune response. However, by contrast with other prehistoric "Yersinia pestis" bacteria, the strain does so weakly; later, historic plague does not express flagellin at all, accounting for its virulence. The Kytmanovo strain was therefore under selection toward becoming a plague (although it was not "the" plague). The three people in that grave all died at the same time, and the researcher believes that this para-plague is what killed them.


title: Andronovo culture

text: It is almost universally agreed among scholars that the Andronovo culture was Indo-Iranian. It is credited with the invention of the spoke-wheeled chariot around 2000 BC, if we include the Sintashta culture where the oldest known chariots have been found. The association between the Andronovo culture and the Indo-Iranians is corroborated by the distribution of Iranian place-names across the Andronovo horizon and by the historical evidence of dominance by various Iranian peoples, including Saka (Scythians), Sarmatians and Alans, throughout the Andronovo horizon during the 1st millennium BC.


title: Andronovo culture

text: Sintashta on the upper Ural River, noted for its chariot burials and kurgans containing horse burials, is considered the type site of the Sintashta culture, forming one of the earliest parts of the "Andronovo horizon". It is conjectured that the language spoken was still in the Proto-Indo-Iranian stage.


title: Andronovo culture

text: Comparisons between the archaeological evidence of the Andronovo and textual evidence of Indo-Iranians (i. e. the "Vedas" and the "Avesta") are frequently made to support the Indo-Iranian identity of the Andronovo. The modern explanations for the Indo-Iranianization of Greater Iran and the Indian subcontinent rely heavily on the supposition that the Andronovo expanded southwards into Central Asia or at least achieved linguistic dominance across the Bronze Age urban centres of the region, such as the Bactria–Margiana Archaeological Complex. While the earliest phases of the Andronovo culture are regarded as co-ordinate with the late period of Indo-Iranian linguistic unity, it is likely that in the later period they constituted a branch of the Iranians. According to Narasimhan et al. (2019), the expansion of the Andronovo culture towards the BMAC took place via the Inner Asia Mountain Corridor.


title: Andronovo culture

text: According to Hiebert, an expansion of the BMAC into Iran and the margin of the Indus Valley is "the best candidate for an archaeological correlate of the introduction of Indo-Iranian speakers to Iran and South Asia," despite the absence of the characteristic timber graves of the steppe in the Near East, or south of the region between Kopet Dagh and Pamir-Karakorum. Mallory acknowledges the difficulties of making a case for expansions from Andronovo to northern India, and that attempts to link the Indo-Aryans to such sites as the Beshkent and Vakhsh cultures "only gets the Indo-Iranian to Central Asia, but not as far as the seats of the Medes, Persians or Indo-Aryans". He has developed the "Kulturkugel" model that has the Indo-Iranians taking over Bactria-Margiana cultural traits but preserving their language and religion while moving into Iran and India.


title: Andronovo culture

text: Based on its use by Indo-Aryans in Mitanni and Vedic India, its prior absence in the Near East and Harappan India, and its 16th–17th century BC attestation at the Andronovo site of Sintashta, Kuzmina (1994) argues that the chariot corroborates the identification of Andronovo as Indo-Iranian. Klejn (1974) and Brentjes (1981) found the Andronovo culture much too late for an Indo-Iranian identification since chariot-using Aryans appear in Mitanni by the 15th century BC. However, dated a chariot burial at Krivoye Lake to around 2000 BC.


title: Andronovo culture

text: Eugene Helimski has suggested that the Andronovo people spoke a separate branch of the Indo-Iranian group of languages. He claims that borrowings in the Finno-Ugric languages support this view. Vladimir Napolskikh has proposed that borrowings in Finno-Ugric indicate that the language was specifically of the Indo-Aryan type.


title: Andronovo culture

text: Since older forms of Indo-Iranian words have been taken over in Uralic and Proto-Yeniseian, occupation by some other languages (also lost ones) cannot be ruled out altogether, at least for part of the Andronovo area, i. e., Uralic and Yeniseian.


title: Andronovo culture

text: The Andronovo have been described by archaeologists as exhibiting pronounced Caucasoid features. The population of present-day Kazakhstan was Caucasoid during the Bronze and Iron Age period.


title: Andronovo culture

text: Archaeological investigations likewise suggest that in the steppe region of Central Asia and the Altai Mountains, the first food production began towards the end of the third millennium BC and that the peoples who first entered this region were Caucasoid of the Afanasevo culture who came from the Aral Sea area (Kelteminar culture).


title: Andronovo culture

text: Physical remains of the Andronovo has revealed that they were Caucasoids with dolichocephalic skulls. Andronovo skulls are very similar to those of the preceding Fatyanovo–Balanovo culture, Abashevo culture and Sintashta culture, and the contemporary Srubnaya culture. They differ slightly from the skulls of the Yamnaya culture, Poltavka culture, Catacomb culture and Potapovka culture, which although being of a similar robust Caucasoid type, are less dolichocephalic. The physical type of Abashevo, Sintashta, Andronovo and Srubnaya is later observed among the Scythians. Through Iranian and Indo-Aryan migrations, this physical type expanded southwards and mixed with aboriginal peoples, contributing to the formation of modern populations of India.


title: Andronovo culture

text: Fox et al. (2004) established that, during the Bronze and Iron Age period, the majority of the population of Kazakhstan (part of the Andronovo culture during Bronze Age) was of West Eurasian origin (with mtDNA haplogroups such as U, H, HV, T, I and W), and that prior to the thirteenth to seventh century BC, all Kazakh samples belonged to European lineages.


title: Andronovo culture

text: Keyser et al. (2009) published a study of the ancient Siberian cultures, the Andronovo culture, the Karasuk culture, the Tagar culture and the Tashtyk culture. Ten individuals of the Andronovo horizon in southern Siberia from 1400 BC to 1000 BC were surveyed. Extractions of mtDNA from nine individuals were determined to represent two samples of haplogroup U4 and single samples of Z1, T1, U2e, T4, H, K2b and U5a1. Extractions of Y-DNA from one individual was determined to belong to Y-DNA haplogroup C (but not C3), while the other two extractions were determined to belong to haplogroup R1a1a, which is thought to mark the eastward migration of the early Indo-Europeans. Of the individuals surveyed, only two (or 22%) were determined to be of Asian ancestry, while seven (or 78%) were determined to be of European ancestry, with the majority being light-skinned with predominantly light eyes and light hair.


title: Andronovo culture

text: In a June 2015 study published in Nature, one male and three female individuals of Andronovo culture were surveyed. Extraction of Y-DNA from the male was determined to belong to R1a1a1b. Extractions of mtDNA were determined to represent two samples of U4 and two samples of U2e. The people of the Andronovo culture were found to be closely genetically related to the preceding Sintashta culture, which was in turn closely genetically related to the Corded Ware culture, suggesting that the Sintashta culture represented an eastward expansion of Corded Ware peoples. The Corded Ware peoples were in turn found to be closely genetically related to the Beaker culture, the Unetice culture and particularly the peoples of the Nordic Bronze Age. Numerous cultural similarities between the Sintashta/Andronovo culture, the Nordic Bronze Age and the peoples of the Rigveda have been detected.


title: Andronovo culture

text: A genetic study published in "Nature" in May 2018 examined the remains of an Andronovo female buried ca. 1200 BC. She was found to be a carrier of the maternal haplogroup U2e1h.


title: Andronovo culture

text: In a genetic study published in Science in September 2019, a large number of remains from the Andronovo horizon was examined. The vast majority of Y-DNA extracted belonged to R1a1a1b or various subclades of it (particularly R1a1a1b2a2a). The majority of mtDNA samples extracted belonged to U, although other haplogroups also occurred. The people of the Andronovo culture were found to be closely genetically related to the people of the Corded Ware culture, the Potapovka culture, the Sintashta culture and Srubnaya culture. These were found to harbor mixed ancestry from the Yamnaya culture and peoples of the Central European Middle Neolithic. People in the northwestern areas of Andronovo were found to be "genetically largely homogeneous" and "genetically almost indistinguishable" from Sintashta people. The genetic data suggested that the Andronovo culture and its Sintastha predecessor were ultimately derived of a remigration of Central European peoples with steppe ancestry back into the steppe.


title: Transvaal Colony

text: The Transvaal Colony () was the name used to refer to the Transvaal region during the period of direct British rule and military occupation between the end of the Second Boer War in 1902 when the South African Republic was dissolved, and the establishment of the Union of South Africa in 1910. The borders of the Transvaal Colony were larger than the defeated South African Republic (which had existed from 1856 to 1902). In 1910 the entire territory became the Transvaal Province of the Union of South Africa.


title: Transvaal Colony

text: Both the Boer republics, the South African Republic (ZAR) and the Orange Free State were defeated in the Anglo-Boer War and surrendered to the UK. The peace treaty (Treaty of Vereeniging) contained the following terms:


title: Transvaal Colony

text: In 1902, with peace following the signing of the Treaty of Vereeniging, the new Transvaal colony was faced with intertwined economic and political issues that needed to be resolved. The economic issues faced included the restoration of the mining industry to pre-war levels, then growing it further with the need for extra labour, the restoration of the Boers to their lands and increasing the agricultural output of those farms. The political issue faced depended on what side of politics one stood on. The existing British administrators under Alfred Milner wished to anglicise the population through two main means. One by increasing the English-speaking population of the Transvaal and the other by teaching the Boer children in English with very little Dutch used, followed by self-rule. The Transvaal Boers' political objectives were the restoration of self-rule in the colony and the political environment to be dominated by the Boers.


title: Transvaal Colony

text: As the war ended the British were faced with a large proportion of Boer men as prisoners of war and their families in concentration camps. As the British followed a scorched earth policy in the Transvaal, Boer lands, stock and farms had been destroyed.


title: Transvaal Colony

text: At the conclusion of the war, it was necessary to reconstruct a "government" for the new colony and this was begun with the appointment of a Resident Magistrate in every district of the colony who became District Commissioners while an Assistant Magistrate carried out the legal and magisterial duties of the area. Roman-Dutch law was translated into English so the law courts could continue, with some old acts repealed and a considerable amount of new law promulgated by the authorities in Johannesburg.


title: Transvaal Colony

text: The Resident Magistrate then submitted the names of three members of the district to the Governor for district commission under the magistrate. They would consist of one British subject, and two Boers, one from those who had surrendered early on in the war and one who had fought until the end. The commission would have two functions, one to provide assistance and issuing of rations, equipment, transport and plough animals to those affected by the war, and the second to investigate claims for compensation for actual damages sustained during the war.


title: Transvaal Colony

text: Repatriation depots were established in the districts and they were stocked with food, seed, agricultural equipment, transport, plough animals, stone and building material. The rail transport network struggled to compete with the army transport requirement to maintain a garrison and civilian requirements to repair the colony. All feed for transport animals had to be brought to the depots as the process started in the winter of 1902. Refugees from the concentration camps and prisoners of war were returned to their districts in a system of drafts. At the depots, they would receive farm equipment, tents and rations to start again and transport to their destinations. Food rations were provided for almost a year. Families would receive a token grant irrespective of their ability to pay it back and additional material and equipment required were obtained via interest-free loans with small cash loans also attracting no interest, with larger loans attracting four percent interest by a mortgage. The loan scheme was never going to compensate a person for the actual loss experienced by the war. Damage and the reconstruction required varied from district to district.


title: Transvaal Colony

text: In the larger towns, municipal or health boards were "appointed" to manage them under the Resident Magistrate. They had limited functions and the only rates they levied were for sanitary functions. Within fifteen months of the end of the war, the municipal government was introduced with preparations made for fair elections based on property valuation and the creation of voters' rolls with the registration process explained in English and Dutch.


title: Transvaal Colony

text: The British administrators set out to place most Boer farmers back on their land by March 1903 with nineteen million pounds spent on war damages, grants and loans. The administrators reformed the state agricultural departments to modernise farming in the colony which resulted in a maize and beef surplus by 1908. They also attempted to solve the poor white problem by settling them as tenant farmers on state land, but the lack of capital and labour caused the scheme to fail. An attempt was made to place English settlers on farmland so as to anglicise the Transvaal and increase the English-speaking population but this failed, too, as the policy attracted too few settlers.


title: Transvaal Colony

text: By the end of 1901, gold mining finally resumed on the Rand around Johannesburg, having virtually stopped since 1899. Backed by the mining magnates and the British administrators, there was a need to restart the industry but labour was required. Just prior to the war, white miners wages were high and magnates weren't keen to increase the wages and since black miners wages had been reduced before the war and not increased, so black labourers weren't interested in working the mines. Unskilled white labour was ruled out as their wages would be too high for the work done, so the mining magnates and their Chamber of Mines in 1903 sought alternative labour in the form of cheap Chinese workers. The legislation to import Chinese labour was introduced to the Transvaal Legislative Council on 28 December 1903 by George Farrar and was debated for 30 hours and successfully voted on after its three readings on 30 December 1903, coming into law in February 1904. Having been rubber-stamped by the British and mining appointed Transvaal Legislative Council it outlined extremely restrictive employment contracts for the Chinese workers and the idea had been sold via a fear campaign aimed at white miners about the need for this labour or face the possibility of loss of mining and their jobs. By 1906, the gold mines of the Witwatersrand were in full production and by 1907, South African gold mines represented thirty-two percent of the worlds gold output. By 1910, Chinese labour ended on the Witwatersrand and the restrictive job reservation laws preventing Chinese miners doing certain jobs was replicated for Black miners.


title: Transvaal Colony

text: From the end of the war in 1902, the political administration of the Transvaal colony was controlled by members of a legislative and executive council, all appointed by the British Administrators under Alfred Milner and the Colonial Secretary in London. In 1903, three seats in the Transvaal Legislative council were offered to Louis Botha, Jan Smuts and Koos de la Rey, but they turned the British down. Due to a lack of a hearing given to the opinions of the Boer generals by the English administrators concerning Chinese mine labour, due to a belief that they did not represent the Boer population, and due to the lack of self-rule, Louis Botha and others met in 1904 at a "Volkskongres". The result of this people congress was the unification of the Boer political movement in the Transvaal into a new party called Het Volk in January 1905 by Louis Botha and Jan Smuts. This new party's objective was to seek reconciliation with Britain, which would be favoured by the British opposition Liberal Party, and Boer self-rule for the Transvaal.


title: Transvaal Colony

text: English political movements included the Transvaal Responsible Government Association, the Transvaal Progressive Association and labour groups under an Industrial Labour Party. The Transvaal Responsible Government Association was formed in late 1904 by E.P Solomon and made up of a loose gathering of ex-colonial and ZAR officials and diamond mining magnates, labour and businessmen. They called for the allowance of the colony to create its own policy and strive for self-government and for the party to be eventually renamed the Nationalists. The Transvaal Progressive Association, formed in November 1904 and active from February 1905, had a similar membership but was linked to the mining industry's opposed self-rule and preferred a legislature nominated by the High Commissioner with strong links to Britain. They were led by George Farrar and Percy Fitzpatrick.


title: Transvaal Colony

text: The pro-Boer Liberal Party in Britain came to power in January 1906 with a new policy for the two former Boer colonies, one of self-rule. Jan Smuts visited London and managed to persuade the new government to formulate a system that would favour the Boers and Het Volk in a new political assembly. More than a year later in February 1907 an election was held with Het Volk running on two issues; Chinese labour needing to be ended when new labour sources were found and reconciliation with Britain with which they hoped would attract the English labourer vote as well as selling themselves as an alternative to the mining capitalistic Progressive Party.


title: Transvaal Colony

text: The election was held on 20 February 1907 and Het Volk won the election gathering 37 of 69 seats. It stood 43 candidates and won 34 seats outright, all the country seats were gained except Barberton, three seats in Pretoria and four on the Witwatersrand with three independents aligning themselves with the party. The Progressive Party stood 34 candidates and won 21 seats, twenty on the Witwatersrand and one in Pretoria with five Randlords winning seats. Other parties included the Nationalists (old Transvaal Responsible Government Association) that won 6 seats, four on the Witwatersrand and two in Pretoria but their leader Richard Solomon failed to win his seat. The Transvaal Independent Labour Party won three seats in the Witwatersrand after contesting 14, but their leader Frederic Creswell failed to gain a seat.


title: Transvaal Colony

text: Louis Botha became Prime Minister of the Transvaal and Agriculture minister with Jan Smuts as its colonial secretary. Other new cabinet ministers included J de Villiers, Attorney-General and Mines, Henry Charles Hull, Treasurer, Johann Rissik, Land and Native Affairs, Harry Solomon held Public Works and Edward Rooth as whip. The Progressives in opposition would be led by George Farrar and Abe Bailey as the opposition whip. They all assembled for the first time in March 1907. After the 1907 election, the issue of Chinese mining labour was revisited with Het Volk believing there was enough labour in the form of black and white miners. Taking into account the economic interests of the Transvaal, Botha ensured a gradual policy of repatriation of Chinese labour.


title: Transvaal Colony

text: By 1908, the Boers had won control, in elections, of the Natal, Orange River and Transvaal colonies, but under British influence there was the need now to unite the country under one government.


title: Transvaal Colony

text: In May 1908, Jan Smuts, Transvaal Colonial Secretary proposed a gathering of representatives from all four colonies and decide on a customs and railways agreement and also included a proposal that the colonies appoint delegates to discuss a constitution for a united country in the form of a National Convention. The objective of the convention was to find a solution to the political, racial and economic problems encountered by these colonies and find common ground between the Boers and the English. On 12 October 1908, the thirty white delegates of the four colonies met in Durban under the Chairmanship of Sir Henry de Villiers. Twelve delegates came from the Cape Colony, eight from the Transvaal and five each from the Orange River and Natal Colonies representing a gathering of sixteen from an English background with the remaining fourteen of Boer origin.


title: Transvaal Colony

text: The main issues discussed were whether the four colonies would become a country made up of a union or a federation, who would be allowed to vote, and the number of voters who would make up a constituency in rural and urban seats. All three objectives were eventually finalised with South Africa to become a union which was the wish of both the Liberal British government and Jan Smuts. On the question of black enfranchisement, the British government was prepared to accept the final wishes of the National Convention. The colonies of the Transvaal, Orange River and Natal wanted no black enfranchisement while the Cape Colony wished to keep what limited enfranchisement it had for all other races. A compromise was reached and all the colonies' wishes concerning their racial make-up for enfranchisement were accepted, though subject to a repeal by a two-thirds majority in both houses of parliament. As to the objective of rural and urban constituencies, it was decided to allow fifteen percent fewer constituents for a rural seat while an urban seat would have fifteen percent more constituents. This system for the constituencies would ensure that the Afrikaner would dominate politics in years to come and would be one of the many reasons why Jan Smuts would lose the 1948 election, sweeping D.F. Malan to power and the beginning of Apartheid. The results of the negotiations at the Convention became the draft South Africa Act which was released for viewing on 9 February 1909. By 19 August 1909, the South Africa Act passed through the Houses of Commons and into law.


title: Transvaal Colony

text: As to the question of black enfranchisement, the views of British and Boers were similar with Alfred Milner's stating in a speech in 1903 that he believed in white superiority and thought the black man was not ready to rule and had similarly persuaded the Colonial Secretary Joseph Chamberlain to allow a future united white government to decide the question of the black franchise.


title: Transvaal Colony

text: Prior to the grant of responsible self-government on 6 December 1906, the Colony was administered by an Executive Council appointed by the Governor. The first elected Cabinet of the Transvaal Colony was formed on 4 March 1907.


title: Transvaal Colony

text: The Transvaal Colony lay between Vaal River in the south and the Limpopo River in the north, roughly between 22½ and 27½ S, and 25 and 32 E. To its south it bordered with the Orange Free State and Natal Colony, to its south-west were the Cape Colony, to the west was the Bechuanaland Protectorate (later Botswana), to its north was Rhodesia, and to its east were Portuguese East Africa and Swaziland. Except in the south-west, these borders were mostly well defined by natural features. Within the Transvaal lies the Waterberg Massif, a prominent ancient geological feature of the South African landscape.


title: C11 (C standard revision)

text: C11 (formerly C1X) is an informal name for ISO/IEC 9899:2011, a past standard for the C programming language. It replaced C99 (standard ISO/IEC 9899:1999) and has been superseded by C17 (standard ISO/IEC 9899:2018). C11 mainly standardizes features already supported by common contemporary compilers, and includes a detailed memory model to better support multiple threads of execution. Due to delayed availability of conforming C99 implementations, C11 makes certain features optional, to make it easier to comply with the core language standard.


title: C11 (C standard revision)

text: The final draft, N1570, was published in April 2011. The new standard passed its final draft review on October 10, 2011 and was officially ratified by ISO and published as ISO/IEC 9899:2011 on December 8, 2011, with no comments requiring resolution by participating national bodies.


title: C11 (C standard revision)

text: A standard macro codice_1 is defined with value codice_2 to indicate that C11 support is available. Some features of C11 are supported by the GCC starting with version 4.6, Clang starting with version 3.1, IBM XL C starting with version 12.1, and Microsoft Visual C++ starting with VS 2019 (16.8) in September 2020.


title: C11 (C standard revision)

text: The new revision allows implementations to not support certain parts of the standard — including some that had been mandatory to support in the 1999 revision. Programs can use predefined macros to determine whether an implementation supports a certain feature or not.


title: C11 (C standard revision)

text: The optional bounds-checking interfaces (Annex K) remain controversial and have not been widely implemented, and their deprecation or removal from the next standard revision has been proposed. Even Microsoft, a main proponent of this interface, does not conform to the definition. In addition, Annex K does not include the more useful TR24731-2 (dynamic allocation functions), such as and . The few open-source implementations include Open Watcom C/C++'s "Safer C" library and safeclib.


title: Frenemy

text: "Frenemy" (also spelled "frienemy") is an oxymoron and a portmanteau of "friend" and "enemy" that refers to "a person with whom one is friendly, despite a fundamental dislike or rivalry" or "a person who combines the characteristics of a friend and an enemy". The term is used to describe personal, geopolitical and commercial relationships both among individuals and groups or institutions. This term also describes a competitive friendship.


title: Frenemy

text: "Frenemy" appeared in print as early as 1953 in an article titled "Howz about calling the Russians our Frienemies?" by the American gossip columnist Walter Winchell in the "Nevada State Journal".


title: Frenemy

text: The American-based author and activist Jessica Mitford claimed in 1977 that the word was coined by one of her sisters: "... an incredibly useful word…coined by one of my sisters when she was a small child to describe a rather dull little girl who lived near us. My sister and the frenemy played together constantly…all the time disliking each other heartily."


title: Frenemy

text: A "Businessweek" article stated that frenemies in the workplace are common, even in business to business partnerships. Due to increasingly informal environments and the "abundance of very close, intertwined relationships that bridge people's professional and personal lives ... [while] it certainly wasn't unheard of for people to socialize with colleagues in the past, the sheer amount of time that people spend at work now has left a lot of people with less time and inclination to develop friendships outside of the office."


title: Frenemy

text: Professional relationships are successful when two or more business partners come together and benefit from one another, but personal relationships require more common interests outside of business. Relationships in the workplace, in a sports club, or any place that involves performance comparing, form because of the commonalities between persons. Due to the intense environment, competitiveness can evolve into envy and strain a relationship. Frenemy type relationships become routine and common because of the shared interest of business dealings or competition.


title: Frenemy

text: Sigmund Freud said of himself that "an intimate friend and a hated enemy have always been indispensable to my emotional life…not infrequently…friend and enemy have coincided in the same person".


title: Incubator (culture)

text: An incubator is a device used to grow and maintain microbiological cultures or cell cultures. The incubator maintains optimal temperature, humidity and other conditions such as the CO and oxygen content of the atmosphere inside. Incubators are essential for much experimental work in cell biology, microbiology and molecular biology and are used to culture both bacterial and eukaryotic cells.


title: Incubator (culture)

text: An incubator is made up of a chamber with a regulated temperature. Some incubators also regulate humidity, gas composition, or ventilation within that chamber.


title: Incubator (culture)

text: The simplest incubators are insulated boxes with an adjustable heater, typically going up to 60 to 65 °C (140 to 150 °F), though some can go slightly higher (generally to no more than 100 °C). The most commonly used temperature both for bacteria such as the frequently used E. coli as well as for mammalian cells is approximately 37 °C (99 °F), as these organisms grow well under such conditions. For other organisms used in biological experiments, such as the budding yeast Saccharomyces cerevisiae, a growth temperature of 30 °C (86 °F) is optimal.


title: Incubator (culture)

text: More elaborate incubators can also include the ability to lower the temperature (via refrigeration), or the ability to control humidity or CO levels. This is important in the cultivation of mammalian cells, where the relative humidity is typically >80% to prevent evaporation and a slightly acidic pH is achieved by maintaining a CO level of 5%.


title: Incubator (culture)

text: From aiding in hatching chicken eggs to enabling scientists to understand and develop vaccines for deadly viruses, the laboratory incubator has seen numerous applications over the years it has been in use. The incubator has also provided a foundation for medical advances and experimental work in cellular and molecular biology.


title: Incubator (culture)

text: While many technological advances have occurred since the primitive incubators first used in ancient Egypt and China, the main purpose of the incubator has remained unchanged: to create a stable, controlled environment conducive to research, study, and cultivation.


title: Incubator (culture)

text: The earliest incubators were invented thousands of years ago in ancient Egypt and China, where they were used to keep chicken eggs warm. Use of incubators revolutionized food production, as it allowed chicks to hatch from eggs without requiring that a hen sit on them, thus freeing the hens to lay more eggs in a shorter period of time. Both early Egyptian and Chinese incubators were essentially large rooms that were heated by fires, where attendants turned the eggs at regular intervals to ensure even heat distribution.


title: Incubator (culture)

text: The incubator received an update in the 16th century when Jean Baptiste Porta drew on ancient Egyptian design to create a more modern egg incubator. While he eventually had to discontinue his work due to the Spanish Inquisition, Rene-Antoine Ferchault de Reaumur took up the challenge in the middle of the 17th century. Reaumur warmed his incubator with a wood stove and monitored its temperature using the Reaumur thermometer, another of his inventions.


title: Incubator (culture)

text: In the 19th century, researchers finally began to recognize that the use of incubators could contribute to medical advancements. They began to experiment to find the ideal environment for maintaining cell culture stocks. These early incubators were simply made up of bell jars that contained a single lit candle. Cultures were placed near the flame on the underside of the jar's lid, and the entire jar was placed in a dry, heated oven.


title: Incubator (culture)

text: In the late 19th century, doctors realized another practical use for incubators: keeping premature or weak infants alive. The first infant incubator, used at a women's hospital in Paris, was heated by kerosene lamps. Fifty years later, Julius H. Hess, an American physician often considered to be the father of neonatology, designed an electric infant incubator that closely resembles the infant incubators in use today.


title: Incubator (culture)

text: The next innovation in incubator technology came in the 1960s, when the CO incubator was introduced to the market. Demand came when doctors realized that they could use CO incubators to identify and study pathogens found in patients' bodily fluids. To do this, a sample was harvested and placed onto a sterile dish and into the incubator. The air in the incubator was kept at 37 degrees Celsius, the same temperature as the human body, and the incubator maintained the atmospheric carbon dioxide and nitrogen levels necessary to promote cell growth.


title: Incubator (culture)

text: At this time, incubators also began to be used in genetic engineering. Scientists could create biologically essential proteins, such as insulin, with the use of incubators. Genetic modification could now take place on a molecular level, helping to improve the nutritional content and resistance to pestilence and disease of fruits and vegetables.


title: Incubator (culture)

text: Incubators serve a variety of functions in a scientific lab. Incubators generally maintain a constant temperature, however additional features are often built in. Many incubators also control humidity. Shaking incubators incorporate movement to mix cultures. Gas incubators regulate the internal gas composition. Some incubators have a means of circulating the air inside of them to ensure even distribution of temperatures. Many incubators built for laboratory use have a redundant power source, to ensure that power outages do not disrupt experiments. Incubators are made in a variety of sizes, from tabletop models, to warm rooms, which serve as incubators for large numbers of samples.


title: Binaural (album)

text: Binaural is the sixth studio album by American rock band Pearl Jam, released May 16, 2000, through Epic Records. Following a full-scale tour in support of its previous album, "Yield" (1998), Pearl Jam took a short break before reconvening toward the end of 1999 to begin work on a new album. During the production of the album, the band encountered hindrances such as singer Eddie Vedder's writer's block, and guitarist Mike McCready's entrance into rehabilitation due to an addiction to prescription drugs. This is Pearl Jam's first album to feature former Soundgarden drummer Matt Cameron, who joined during 1998's Yield Tour to replace Jack Irons.


title: Binaural (album)

text: The music on the album featured an experimental sound, evident on songs that used binaural recording techniques. The atmospheric tracks, mostly featuring somber lyrics dealing with social criticism, led the band to convey these themes with images of nebulas in the album artwork. "Binaural" received positive reviews, and debuted at number two on the "Billboard" 200. Although the album was certified gold by the RIAA, it became the first Pearl Jam studio album to fail to reach Platinum status in the United States. The album's 2000 tour spawned a large collection of official bootleg releases.


title: Binaural (album)

text: Similar to the process for "Yield", the band members worked on material individually before starting the recording sessions together. Lead vocalist Eddie Vedder called the making of the album "a construction job." "Binaural" was the first album since the band's debut that was not produced by Brendan O'Brien. Gossard stated that the band "felt like it was time to try something new," and that they "were ready for a change."


title: Binaural (album)

text: Instead the band hired producer Tchad Blake, known for his use of binaural recording. Binaural recording techniques, which employ two microphones to create a 3-D stereophonic sound, were used on several tracks, such as the acoustic "Of the Girl." Regarding Blake, Gossard said, "He was just there for us the whole time, wanting us to create different moods." This was the first Pearl Jam studio album following the departure of drummer Jack Irons, and features drummer Matt Cameron of Soundgarden, who had previously drummed on Pearl Jam's U.S. Yield Tour.


title: Binaural (album)

text: "Binaural" was recorded in late 1999 and early 2000 in Seattle, Washington at Studio Litho, which is owned by guitarist Stone Gossard. The album was initially mixed at Sunset Sound Factory in Los Angeles, California with Blake; however, the band proved to be dissatisfied with how the mixes turned out. According to McCready, Blake's work complemented the slower tracks such as "Nothing as It Seems" well, but faced trouble with others, which the band wanted to sound heavier. For the heavier songs, the group brought in former producer O'Brien, who remixed the tracks at his mixing facility at Southern Tracks in Atlanta, Georgia. It was with O'Brien that the band determined the final sequencing of the album.


title: Binaural (album)

text: During the writing and recording of the album, the band encountered several obstacles. Vedder has admitted that while working on the album he suffered from writer's block, which made it difficult for him to come up with lyrics. This inspired the hidden track "Writer's Block" - which consists of the sounds of a typewriter - that appears at the end of the album, starting at 6 minutes and 50 seconds on the track "Parting Ways". Vedder had written music for several songs, including "Insignificance" and "Grievance", but was having trouble coming up with lyrics for the songs. He decided to not write any more music, and to focus only on lyrics, even banning himself from playing guitar. Unable to write more lyrics, Vedder said he saw a ukulele and thought "that's not a guitar," and wrote the song "Soon Forget" using the ukulele. Guitarist Mike McCready went into rehabilitation to receive treatment for an addiction to prescription drugs. Gossard recalled that "everyone wasn't on the same page" due to McCready's absence and the familiarization with Cameron.


title: Binaural (album)

text: Three instrumentals featured on the "Touring Band 2000" DVD ("Thunderclap", "Foldback", and "Harmony") come from the early "Binaural" sessions. Several songs were rejected from the album that eventually found their way on to the 2003 "Lost Dogs" collection of rarities. These include "Sad", "Hitchhiker", "In the Moonlight", "Education", "Fatal", and "Sweet Lew". "Sad", originally called "Letter to the Dead", was called "a great pop song" by Ament, but he said the song did not fit the album because the band does not "really [write] very many pop records." "Sweet Lew", about Kareem Abdul-Jabbar, was cut from "Binaural" because it did not fit the album according to Ament. "Fatal" was producer Tchad Blake's favorite song to come out of the recording sessions. "Strangest Tribe" and "Drifting" were also recorded around the time of the album's recording sessions, and both songs were released on the band's 1999 fan club Christmas single as well as "Lost Dogs".


title: Binaural (album)

text: "Binaural" opens with three up-tempo songs before growing more diverse. Vedder explained, "We'd rather challenge our fans and make them listen to our songs than give them something that's easy to digest. There is a lot of music out there that is very easy to digest but we never wanted to be part of it." As described by critic Jon Pareles on his review for "Rolling Stone", Pearl Jam distances itself from the grunge that made them famous and "delve[s] elsewhere: jumpy post-punk and somber meditations, tightly wound folk rock and turbulent, neopsychedelic rockers that sound like they boiled out of jam sessions."


title: Binaural (album)

text: A few songs on the album show classic rock influences. The intro to the opening track "Breakerfall" uses a guitar riff similar to The Who song "I Can See for Miles" (from the 1967 album, "The Who Sell Out"). Additionally, "Soon Forget", which features Vedder playing a ukulele, is heavily influenced by The Who song "Blue, Red and Grey" (from the 1975 album, "The Who by Numbers"), with Vedder describing it as "30 seconds of plagiarising" and thanking Pete Townshend on the lyric sheet. The song "Nothing as It Seems" has been compared to the style of Pink Floyd.


title: Binaural (album)

text: Bassist Jeff Ament wrote lyrics for two songs on the album ("Gods' Dice" and "Nothing as It Seems"), and Gossard for three ("Thin Air," "Of the Girl" and "Rival"). The album is lyrically darker than the band's previous album "Yield", with Gossard describing the lyrics as "pretty somber." Vedder addressed the social criticism contained in the album's lyrics by stating, "I think what everyone's looking for, y'know, is freedom...That's part of being comfortable in your own skin. I know I had a problem with being told what to do, and had a problem with being mentally and physically constricted. All of humanity is searching for freedom and I think it's important to know when you have it, too." Ament stated that "Gods' Dice" is about "judging anybody who has any sort of belief system whether they believe in God or not", and that "Nothing as It Seems" is about his childhood growing up in a rural area of Northern Montana. Vedder called "Evacuation" a "song about change", and stated in an interview that the moral of "Insignificance" is "the ineffectiveness of political struggle." Vedder took inspiration from the 1999 World Trade Organization protests in Seattle when writing "Grievance", and said the song is about the dangers of technology. Gossard has said that the song "Rival" is his reflection upon the 1999 Columbine High School massacre.


title: Binaural (album)

text: The album's cover art is a modified Hubble Space Telescope photo of the planetary nebula MyCn 18, popularly known as the Hourglass Nebula. Hubble Space Telescope photos of the Helix Nebula and Eagle Nebula are also featured in the inside cover and liner notes for this album, respectively. The photos were used with the permission of NASA. Regarding the artwork, Ament said, "The reason that we went with Tchad [Blake] is because he provides an amazing atmosphere to songs...So, I think we wanted the artwork to represent that...One of the themes that we've been exploring...is just realizing that in the big scheme of things, even the music that we make when we come together, no matter how powerful it is, it's still pretty minuscule. I think for me the whole space theme has a lot to do with scale. You know, you look at some of those pictures, and there are thirteen light years in four inches in that picture."


title: Binaural (album)

text: The album's title is a reference to the binaural recording techniques that were utilized on several tracks. Binaural literally means "having or relating to two ears." Regarding the choice of the title, Gossard said, "When we looked up the word 'binaural,' it meant to listen with both ears. So it seemed like a fitting title for the album."


title: Binaural (album)

text: "Binaural" sold 226,000<nowiki> </nowiki>copies during its first week of release and debuted at number two on the "Billboard" 200 album chart. It was held off the top spot by the Britney Spears album, "Oops!... I Did It Again". "Binaural" became the first Pearl Jam studio album to fail to reach Platinum status. "Binaural" has been certified gold by the RIAA, and, as of 2013, has sold 850,000<nowiki> </nowiki>copies in the United States according to Nielsen SoundScan. The album topped the charts in New Zealand, where it was certified gold, and Australia, where it went Platinum and ended as the 36th best-selling record of the year.


title: Binaural (album)

text: Two singles were released from "Binaural". The lead single, "Nothing as It Seems", was issued on April 25, 2000, entered the "Billboard" Hot 100 at number 49, and reached number three on the Mainstream Rock charts. The album's other single, "Light Years", was released on July 10, 2000, and did not chart on the Hot 100, but it did place on the Mainstream Rock and Modern Rock charts.


title: Binaural (album)

text: "Binaural" received generally favorable reviews from music critics according to Metacritic, where it holds a 69 after 16 reviews. "NME" gave "Binaural" a nine out of 10. In the review, "Binaural" is called "a seething, furious album; a declamatory statement against cynicism and passivity and the simple injustices of everyday life" and that "even when the band slow the pace, the songs are coloured by a heartfelt intensity." AllMusic staff writer Stephen Thomas Erlewine gave the album four out of five stars, saying, "The songs are sharper, the production is layered, and the performances are as compassionate as ever, resulting in their finest album since "Vitalogy"." "Time" reviewer Christopher John Farley noted that the album is "less impatient and rage filled than much of Pearl Jam's earlier work." Farley added that "Pearl Jam, rather quietly, is building a long-term career to rival the rock legends of the past." Jim Farber of "Entertainment Weekly" gave the album a B+, considering that the "weighty subjects [give] Pearl Jam's introspective lyrics and stone-faced rock a refreshing edge" and adding that "if PJ long ago lost the zeitgeist, at least they've kept a hold on their hearts." Critic Robert Christgau described the album as "Rock as inner struggle, eternally externalized."


title: Binaural (album)

text: "Spin" gave the album seven out of 10 stars, writing that "Everything you want is still there—goofy experimentalism, guitar frenzy, Eddie's self-abusive wail. It's just more solid, more clear." "Q" gave the album three out of five stars, commenting that "Grunge may have died, but Pearl Jam it seems will never be slayed." "Rolling Stone" staff writer Jon Pareles gave the album three and a half out of five stars, feeling that the album "comes across as part of an extended conversation among the five band members...and fans loyal enough to check in for Pearl Jam's latest musings on love, death and social responsibility." "The Guardian" also gave the album three out of five stars, stating that Pearl Jam "are dignified, musicianly, sincere... and a teensy bit dull" and observing that "Vedder's affecting vocal angst drowns in a sea of pessimistic riffola." The review called "Binaural" "a warts-and-all album; it has grabbers, songs that sink in slowly and a few absolute duds." At the 2001 Grammy Awards, "Grievance" received a nomination for Best Hard Rock Performance. Regarding "Binaural", Ament stated that "we look back and think we didn't put some of the best songs on it", adding that "I think there are some beautiful things that came out of it, but we're never going to remember that record as one of the greats."


title: Binaural (album)

text: Pearl Jam promoted the album with tours in Europe and North America. The tour started along with the album release on May 23, with a show in Lisbon, Portugal. The European tour had 26 dates. The final concert of the European tour ended in tragedy, where an accident at the Roskilde Festival in Denmark on June 30 led nine fans to be crushed underfoot and suffocated to death as the crowd rushed to the front. This led two additional concerts through July to be cancelled. A month after the European tour concluded, the band embarked on a two-leg North American tour, starting on Virginia Beach, Virginia on August 3. The first leg of the tour focused on the East Coast of the United States, and then the band moved to the Midwest and the West Coast for the tour's second leg. The band considered disbanding after the Roskilde tragedy, but Vedder stated that "playing, facing crowds, being together" in the North American tour "enabled us to start processing it."


title: Binaural (album)

text: On October 22, 2000, the band played the MGM Grand Garden Arena in Las Vegas, Nevada, celebrating the 10th anniversary of its first live performance as a band. Vedder took the opportunity to thank the many people who had helped the band come together and make it to 10 years. He noted that "I would never do this accepting a Grammy or something." The tour's final night took place on November 6, 2000, in Seattle, Washington at KeyArena where the band performed for more than three hours. The European and North American tours were documented by a long series of official bootlegs, all of which were available in record stores as well as through the band's fan club. The band released 72 live albums in 2000 and 2001, and set a record for most albums to debut in the "Billboard" 200 at the same time. Following the conclusion of the 2000 tour, the band released "Touring Band 2000", a DVD which featured select performances from the North American legs of the tour.


title: Binaural (album)

text: "Binaural" was played in its entirety at the May 10, 2016 show in Toronto at the Air Canada Centre, as a block and in sequence, during the first set of a longer performance.


title: Binaural (album)

text: When the track listing for "Binaural" was first released in late March 2000, it was quite different from the final version. Some tracks that were originally on the album were dropped and not released until the 2003 rarities compilation, "Lost Dogs", and "Gods' Dice" was added to the final version. The original version is as follows:


title: Josey Scott

text: Joseph Scott Sappington (born May 3, 1972) is an American musician, best known as the former lead vocalist of the rock band Saliva. In addition to Saliva, Scott co-wrote and performed "Hero" (which was used as one of the theme songs to the 2002 film "Spider-Man") with Chad Kroeger of Nickelback.


title: Josey Scott

text: Prior to Saliva, Scott fronted a Memphis-area heavy metal band called BlackBone in the early 1990s. He also plays drums and guitar. He made a cameo appearance on Jay-Z's "Takeover" from his 2001 album "The Blueprint". He has also recorded with Lil Wyte ("Homicidal, Suicidal" and "Crazy"), Three 6 Mafia ("Getting Fucked Up" and "Mosh Pit"), and The X-Ecutioners ("(Even) More Human Than Human").


title: Josey Scott

text: Scott has had minor roles in television and film. He played Rodney Gronbeck, an LAPD computer expert, in the TNT crime drama "Wanted". He also has a cameo appearance in the film "Hustle & Flow" as Elroy, the corner-store employee who sells marijuana to D-Jay, the main character played by Terrance Howard.


title: Josey Scott

text: Josey Scott sang the song "If You Wanna Get to Heaven" in the straight-to-DVD feature film "The Dukes of Hazzard: The Beginning"; the song features when the General Lee is pulled from the water.


title: Josey Scott

text: In 2002, Scott collaborated with Chad Kroeger from the rock band Nickelback on the Spider-Man theme song "Hero". This recording also featured Tyler Connolly, Mike Kroeger, Matt Cameron, and Jeremy Taggart. Winning the Best Video from a Film on the MTV Music Video Awards a year later on 2003.


title: Josey Scott

text: Scott appeared as a hidden character in the video game "Tiger Woods PGA Tour 2003", which features three Saliva songs on the soundtrack: "Raise Up", "Superstar", and "Superstar II (EA Mix)", which is exclusive to the game.


title: Josey Scott

text: Saliva guitarist Wayne Swinny said in 2013 that Scott had decided to leave the band to pursue a solo Christian career. In October 2019, Scott announced that he would be reuniting with Saliva for a new album and tour.


title: Josey Scott

text: Scott is married and has three sons and two daughters. His eldest son, Cody, died from complications due to COVID-19 in May 2021 at the age of 29.


title: Super Dark Times

text: Super Dark Times is a 2017 American independent psychological thriller film directed by Kevin Phillips and starring Owen Campbell, Charlie Tahan, and Elizabeth Cappuccino. It is Phillips' directorial debut. After a traumatic accident, an inseparable pair of teenage boys and best friends lose their innocence from jealousy, violence and paranoia.


title: Super Dark Times

text: In the 1990s, in Upstate New York, two teenage best friends, Zach and Josh, rate the girls in their yearbook. They find a common interest in Allison.


title: Super Dark Times

text: After school, the duo crosses the path of the universally-disliked Daryl and his eighth-grade friend Charlie. Later that week, the four boys meet up at Josh's house where they look through the possessions of Josh's brother, who is away in the military, and find a bag of marijuana and a katana.


title: Super Dark Times

text: Afterwards, the boys play with the sword in a secluded park area bordering the local cemetery and notice that Daryl has stolen the marijuana. After a tense argument, Josh and Daryl fight, resulting in Daryl being accidentally stabbed in the neck with the katana. Daryl runs from the scene but only makes it into the adjacent forest where he dies. The boys panic and hide both Daryl's body and the weapon.


title: Super Dark Times

text: At school, rumors circulate about Daryl's disappearance. Zach has nightmares and Josh doesn't attend classes. Zach wants to return to Daryl's burial site and attend Allison's upcoming party with Josh, who declines but goes to Allison's party separately where he shares his brother's weed. Zach, disturbed, leaves.


title: Super Dark Times

text: Another student, John, is found dead. Rumors speculate that he fell off a bridge. Zach suspects that John's death was not accidental. He returns to Daryl's burial site and finds the katana missing and Daryl's corpse mutilated.


title: Super Dark Times

text: Zach goes to Josh's home and realizes Josh is with Allison. He tracks her to Meghan's house, where Josh has killed her with the katana and tied Allison up. After Zach unties her, the former friends fight until a neighbor intervenes and subdues Josh, who is arrested, while Zach's fate is left unknown.


title: Super Dark Times

text: Months later, Allison has recovered and returns to school. A camera shot shows three parallel lines on the back of her neck.


title: Super Dark Times

text: The film premiered at the Rotterdam Film Festival. It made its North American premiere on April 20, 2017, at the Tribeca Film Festival. "Deadline Hollywood" reported that The Orchard had acquired worldwide distribution rights to the film in March 2017. The film was released in theaters on September 29, 2017, and digitally on October 3, 2017. It plays on Hulu streaming.


title: Super Dark Times

text: The film has a 90% approval rating on Rotten Tomatoes based on 48 reviews, with an average rating of 7.30/10. The site's critics consensus reads: "Rich in atmosphere and period detail, "Super Dark Times" is an effective teen thriller whose true power lies in its approach to deeper themes." Metacritic reports a score of 75/100 based on 18 critics, indicating "generally favorable reviews".


title: Super Dark Times

text: "Super Dark Times" won the best feature film award at the 17th Neuchâtel International Fantastic Film Festival. It was also the winner of Best Sound Design in a Feature Film at the 2017 Music+Sound Awards, and received a nomination for the Saturn Award for Best Independent Film at the 44th Saturn Awards. At the 33rd Independent Spirit Awards, Kevin Phillips was nominated for the Someone to Watch Award.


title: John Hartford

text: John Cowan Hartford (December 30, 1937 – June 4, 2001) was an American folk, country, and bluegrass composer and musician known for his mastery of the fiddle and banjo, as well as for his witty lyrics, unique vocal style, and extensive knowledge of Mississippi River lore. His most successful song is "Gentle on My Mind", which won three Grammy Awards and was listed in "BMI's Top 100 Songs of the Century". Hartford performed with a variety of ensembles throughout his career, and is perhaps best known for his solo performances where he would interchange the guitar, banjo, and fiddle from song to song. He also invented his own shuffle tap dance move, and clogged on an amplified piece of plywood while he played and sang.


title: John Hartford

text: Harford (he changed his name to Hartford later in life at the behest of Chet Atkins) was born on December 30, 1937, in New York City to parents Carl and Mary Harford. He spent his childhood in St. Louis, Missouri, where he was exposed to the influence that shaped much of his career and music: the Mississippi River. From the time he got his first job on the river, at age 16, Hartford was on, around, or singing about the river.


title: John Hartford

text: His early musical influences came from the broadcasts of the Grand Ole Opry and included Earl Scruggs, nominal inventor of the three-finger bluegrass style of banjo playing. Hartford said often that the first time he heard Earl Scruggs pick the banjo, it changed his life. By age 13, Hartford was an accomplished old-time fiddler and banjo player, and he soon learned to play guitar and mandolin as well. Hartford formed with his first bluegrass band while attending John Burroughs School, a local private high school.


title: John Hartford

text: After high school, he enrolled at Washington University in St. Louis, completed four years of a commercial arts program and dropped out to focus on music; however, he did receive a degree in 1960. He immersed himself in the local music scene, working as a DJ, playing in bands, and occasionally recording singles for local labels. In 1965, he moved to Nashville, Tennessee, the center of the country music industry. In 1966, he signed with RCA Victor and produced his first album, "Looks at Life", in the same year.


title: John Hartford

text: In 1967, Hartford's second album "Earthwords & Music" spawned his first major songwriting hit, "Gentle on My Mind". His recording of the song was only a modest success, but it caught the notice of Glen Campbell, who recorded his own version, which gave the song much wider publication. At the 1968 Grammys, the song netted four awards, two of which went to Hartford. It became one of the most widely recorded country songs of all time, and the royalties it brought in allowed Hartford great financial independence; Hartford later said that the song bought his freedom.


title: John Hartford

text: As his popularity grew, he moved to the West Coast, where he became a regular on the "Smothers Brothers Comedy Hour"; other television appearances followed, as did recording appearances with several major country artists. Hartford played banjo and sang the vocal harmonies on the Guthrie Thomas song "I'll be Lucky". He also played with The Byrds on their album "Sweetheart of the Rodeo".


title: John Hartford

text: His success on the Smothers Brothers series was enough that Hartford was offered the lead role in a TV detective series, but he turned it down to move back to Nashville and concentrate on music. He also was a regular on "The Glen Campbell Goodtime Hour" (as the banjo picker who would stand up from his seat in the audience to begin the theme music) and "The Johnny Cash Show".


title: John Hartford

text: In live performances, John Hartford was a true one-man band; he used several stringed instruments and a variety of props such as plywood squares and boards with sand and gravel for flatfoot dancing.


title: John Hartford

text: Hartford recorded four more albums for RCA from 1968 to 1970: "The Love Album", "Housing Project", "John Hartford", and "Iron Mountain Depot". In 1971, he moved to Warner Bros. Records, where he was given more freedom to record in his nontraditional style, fronting a band that included Vassar Clements, Tut Taylor, and Norman Blake. He recorded several albums that set the tone of his later career, including "Aereo-Plain" and "Morning Bugle". Sam Bush said, "Without "Aereo-Plain" (and the Aereo-Plain band), there would be no newgrass music."


title: John Hartford

text: He switched to the Flying Fish label several years later and continued to experiment with nontraditional country and bluegrass styles. Among his recordings were two albums in 1977 and 1980 with Doug and Rodney Dillard from The Dillards, with Sam Bush as a backing musician and featuring a diversity of songs that included "Boogie On Reggae Woman" and "Yakety Yak". Hartford's Grammy-winning "Mark Twang" features Hartford playing solo, reminiscent of his live solo performances playing the fiddle, guitar, banjo, and amplified plywood for tapping his feet. At the same time, he developed a stage show, which toured in various forms from the mid 1970s until shortly before his death.


title: John Hartford

text: Hartford changed recording labels several more times during his career; in 1991, he inaugurated his own Small Dog a'Barkin' label. Later in the 1990s, he switched again to Rounder Records. He recorded a number of idiosyncratic records on Rounder, many of which recalled earlier forms of folk and country music. Among them was the 1999 album "Retrograss" recorded with Mike Seeger and David Grisman, with bluegrass versions of "(Sittin' on) the Dock of the Bay", "Maybellene", "When I'm Sixty-Four", and "Maggie's Farm".


title: John Hartford

text: He recorded several songs for the soundtrack to the movie "O Brother, Where Art Thou", winning another Grammy for his performance. He made his final tour in 2000 with the Down from the Mountain tour that grew out of that movie and its accompanying album. While performing in Texas in April, he found that he could no longer control his hands due to non-Hodgkin lymphoma, which ended his life two months later.


title: John Hartford

text: Hartford is considered a co-founder of the newgrass movement, although he remained deeply attached to traditional music as well. His last band and last few albums reflect his love for pre-bluegrass old-time music.


title: John Hartford

text: The culture of the Mississippi River and its steamboats captivated Hartford from an early age. He said that it would have been his life's work "but music got in the way", so he intertwined them whenever possible. In the '70s, Hartford earned his steamboat pilot's license, which he used to keep close to the river he loved; for many years, he worked as a pilot on the steamboat "Julia Belle Swain" during the summers. He also worked as a towboat pilot on the Mississippi, Illinois, and Tennessee Rivers.


title: John Hartford

text: During his later years, he came back to the river every summer. "Working as a pilot is a labor of love", he said. "After a while, it becomes a metaphor for a whole lot of things, and I find for some mysterious reason that if I stay in touch with it, things seem to work out all right". His home in Madison, Tennessee, was situated on a bend of the Cumberland River and built to simulate the view from a steamboat deck. He used to talk to the boat captains by radio as their barges crawled along the river. That bend of the Cumberland River, known as "Hartford's Bend" or "John Hartford Point," is denoted on official navigational charts with the "John Hartford Light".


title: John Hartford

text: An accomplished fiddler and banjo player, Hartford was simultaneously an innovative voice on the country scene and a reminder of a vanished era. Along with his own compositions, such as "Long Hot Summer Days" and "Kentucky Pool", Hartford was a repository of old river songs, calls, and stories. His song "Let Him Go on Mama" from Mark Twang was inspired by retired Streckfus Steamers musician (and later chief engineer of the Delta Queen) Mike O’Leary. Hartford was also the author of "Steamboat in a Cornfield", a children's book that recounts the true story of the Ohio River steamboat "The Virginia" and its beaching in a cornfield.


title: John Hartford

text: Between 1995 and 2001, Brandon Ray Kirk and he co-authored a biography of blind fiddler Ed Haley. Hartford's album "The Speed of the Old Longbow" is a collection of Haley's tunes. Writer and arts administrator Art Menius profiled Hartford in the "Academia" journal article, "John Hartford as I Knew Him," saying "John connected not just words to music, but the old days of Nashville to its present, tradition to


title: John Hartford

text: innovation, new grass to bluegrass to old-time, television to radio, river to shore, aging musicians to hippies. Goethe may have been the last person to know everything worth knowing, but John Hartford tried." Hartford also provided voice acting for the Ken Burns' documentary series "Baseball" and "The Civil War".


title: John Hartford

text: From the 1980s onwards, Hartford had non-Hodgkin lymphoma. He died of the disease at Centennial Medical Center in Nashville, on June 4, 2001, at age 63. Hartford was given a star on the St. Louis Walk of Fame in honor of his work. He also was given a posthumous president's award by the Americana Music Association in September 2005. The annual John Hartford Memorial Festival is held at the Bill Monroe Music Park & Campground near Beanblossom, Indiana.


title: John Hartford

text: Hartford recorded more than 30 albums, ranging across a broad spectrum of styles, from the traditional country of his early RCA recordings, to the new and experimental sound of his early newgrass recordings, to the traditional folk style to which he often returned later in his life. Hartford's albums also vary widely in formality, from the stately and orderly "Annual Waltz" to the rougher and less cut recordings that typified many of his later albums.


title: John Hartford

text: "Aereo-Plain" and "Morning Bugle" are often considered to be Hartford's most influential works, coming as they did at the beginning of a period in which artists such as Hartford and the New Grass Revival, led by Sam Bush, would create a new form of country music, blending their country backgrounds with influences from a number of other sources. His later years had a number of live albums, as well as recordings that explored the repertoire of old-time folk music. He sketched the cover art for some of his midcareer albums, drawing with both hands simultaneously.


title: John Hartford

text: His song "This Eve of Parting", from the 1968 album "The Love Album", was featured in the 2017 movie "Lady Bird", portions being heard at two different points in the film.


title: John Hartford

text: Cartoonist Jim Scancarelli was a fan, and mentioned Hartford several times in his strip "Gasoline Alley". In 1991, a flood washes up a steamboat carrying Hartford; in 1998, he played at Rufus and Melba's wedding reception; and in 2002, when Skeezix and Slim are lost in a cemetery, Hartford's gravestone is seen.


title: Ilene Woods

text: Jacqueline Ruth Woods (May 5, 1929 – July 1, 2010) better known as Ilene Woods, was an American actress and singer. Woods was the original voice of the title character of the Walt Disney animated feature "Cinderella", for which she was named a Disney Legend in 2003.


title: Ilene Woods

text: Her mother worked behind the scenes of films, taking Woods with her. As a little girl, Woods dreamed about becoming a schoolteacher, but her mother wanted her to become a singer. By 1944, she gained her own radio program. During World War II, she toured with Paul Whiteman and the Army Air Forces Orchestra.


title: Ilene Woods

text: In 1948, two of her songwriter friends, Mack David and Jerry Livingston, called Woods to record "Bibbidi-Bobbidi-Boo", "A Dream Is a Wish Your Heart Makes", and "So This is Love". Soon, the songs were presented to Walt Disney so that they could be used in the English version of "Cinderella". Walt Disney heard the demo recordings, and two days later asked Ilene to voice the star role of Cinderella. She gladly accepted the role, surprised that she had won against more than 300 others who had auditioned. She said in an interview for Classic Film, "Seeing it [the film] in its new form was breathtaking for me. It's so beautiful. The color is magnificent, it just took my breath away, it was so wonderful. I sort of forget when I'm watching the movie that I had anything to do with it. Yet, it brings back so many beautiful memories of working with the wonderful artists and working with Walt mostly. It brings back wonderful, wonderful memories." To promote "Cinderella", Woods voiced Snow White in the 1949 Disney audiobook release of "Snow White and the Seven Dwarfs". Woods sang for President Franklin D. Roosevelt at his home in Hyde Park. She also sang at the White House for President Truman, after singing for soldiers and sailors. Woods retired from show business in 1972, but she continued to appear at occasional autograph shows.


title: Ilene Woods

text: She married the first time at the age of 17 to Stephen Steck, Jr. and had a daughter, Stephanie. After a divorce, she married "The Tonight Show" drummer Ed Shaughnessy in 1963. Woods and Shaughnessy had two sons, James and Daniel.


title: Ilene Woods

text: When Disney began releasing videocassette versions of its animated films, Woods was one of at least three actresses to file lawsuits over royalties for their performances; at the time of Woods' December 1990 filing, Peggy Lee of "Lady and the Tramp" (1955) had won her lawsuit the previous April and a 1989 suit by Mary Costa of "Sleeping Beauty" (1959) was still pending. Voice actress Jennifer Hale replaced Woods as the voice of Cinderella in the 2002 film "". In 2003, Woods was awarded a Disney Legend award for her voicework on the film "Cinderella". In an interview with "Starlog" in 2006 Woods said, "I love the idea that after I’m gone, children will still be hearing my voice [as Cinderella]."


title: Ilene Woods

text: Woods died from complications of Alzheimer's disease at a care facility in Canoga Park, Los Angeles on July 1, 2010, at the age of 81. No service was held; Woods was cremated.


title: Ya Kid K

text: Ya Kid K (born Manuela Barbara Kamosi Moaso Djogi, 26 January 1972) is a Congolese–Belgian hip hop recording artist. She was the rapper for the dance/house act Technotronic. Her sister is Karoline 'Leki' Kamosi.


title: Ya Kid K

text: At the age of 11, Djogi moved to Belgium, later moving to Chicago (where she explored hip-hop, and the emerging sounds of house music), and later moved to Dallas, Texas.


title: Ya Kid K

text: After moving back to Belgium from the US, Ya Kid K helped form a hip hop label called Fresh Beat Productions. She was part of the dance project Technotronic, which debuted with a major worldwide hit in 1989, "Pump Up the Jam". Although she did not appear in the video, she was finally credited as vocalist on the track on the US reissue of the group's debut album.


title: Ya Kid K

text: Technotronic had the fashion model Felly Kilingi perform in the video, without Ya Kid K's consent. The second single "Get Up! (Before the Night Is Over)" was Ya Kid K's debut music video with Technotronic. In 1992, Technotronic and Ya Kid K had a hit with "Move This," another single from 1989's "Pump Up the Jam: The Album".


title: Ya Kid K

text: She also lent her voice to Hi Tek 3, a dance project whose only single, "Spin that Wheel", appeared on the "Teenage Mutant Ninja Turtles" motion picture soundtrack.