cyanic-selkie/wikianc huggingface dataset:
Petrushka
Russian puppets
Empress Anna Ivanovna brought marionettes to Russia in the 18th century. These puppets were an amusement for the aristocracy. Rod puppets were an Asian import. They performed religious plays, mostly at Christmas. Petrushka however was a hand puppet. He was beloved by the common people. He performed in street theatres and other open air venues in small portable booths or behind screens that could be easily assembled and just as easily disassembled. After the Russian Revolution, Soviet authorities forced Petrushka indoors. They wanted to be better able to monitor his subversiveness.
Story
Scene Two. There is no musical introduction except drumrolls announcing the beginning of the scene. The curtain rises and a door opens. Petrushka is seen being kicked through the door. He falls. He pulls himself together to the accompaniment of arpeggiated C major and F♯ major chords (the "Petrushka chord").
The Ballerina enters en pointe. When Petrushka sees her, he begins a display of frantic gestures and athletic leaps. The Ballerina is frightened and hurries away. Petrushka falls to the floor in despair. The clarinets mock him. He curses The Charlatan to the accompaniment of the "Petrushka chord" for full orchestra. For a moment, Petrushka peers out of his room at the crowd in Admiralty Square to the "crowd music" from Scene One. He collapses as clarinets mock him with the "Petrushka chord". A trumpet call signals the end of the scene.
Scene Three. Drumrolls are heard as the curtain rises. Whereas Petrusha's room was dark and chilly, The Moor's room is brilliant with color. The walls are decorated with palm trees, exotic flowers, white rabbits hopping about, and desert sands.
The Moor lies lazily on a daybed playing with a coconut. He shakes it. There's something inside! He tries to cut it open with his scimitar, but fails. He believes it a god and bows in worship before it.
The door opens. The Charlatan brings The Ballerina into the room. The Ballerina is attracted to The Moor's handsome appearance. She plays a saucy tune on a toy trumpet, represented by a cornet in the original 1911 orchestration. The Moor tries to dance with her but fails.
The Moor sits on the daybed. The Ballerina sits on his knees. They cuddle. They hear noises outside the door. Petrushka has broken free from his cell, and rushes into the room to rescue The Ballerina from seduction. Petrushka attacks the Moor, but quickly realizes he is too small and weak. The Moor beats Petrushka. The puppet flees for his life, with the Moor chasing him. The curtain falls.
Scene Four. The scene is again the Shrovetide Fair. Evening is falling. The crowd is having a lot of fun. A dancing bear and organ grinders entertain the crowd. Wet-nurse s perform a dance. Suddenly, Petrushka runs from the puppet booth. The Moor chases him, and kills him with a blow of his scimitar. The crowd is frightened. The Charlatan enters. He shows the crowd that Petrushka is nothing but a puppet filled with straw. The crowd slowly walks away, still stunned with what they have just seen. The Charlatan is left alone. The spirit of Petrushka appears on the roof of the puppet booth. He shakes his fist at The Charlatan. He is terrified and hurries away. Petrushka collapses over the roof of the puppet booth, his arms swinging to and fro in the night.
Diaghilev and the Ballets Russes
Diaghilev spent his inheritance traveling to Europe's major art museums. Between 1899 and 1905 he published The World of Art, a magazine that had great influence on the Russian art world. Its success led Diaghilev to set even greater artistic goals for himself.
He managed to secure a position at the Imperial Ballet, but was fired after overstepping his authority. He organized concerts of Russian music for the Paris Opéra, and promoted Russian operas and short ballets. The Paris public was thrilled with these ballets.
In 1910, Diaghilev focused his efforts on ballet, and the Ballets Russes was organized. Stravinsky's The Firebird was one of the highlights of the 1910 season. In spite of the company's success, Ballets Russes did not have a permanent home. The dancers went back to their jobs at the Imperial Ballet when the Paris season was over.
Other artists joined the Ballets Russes, but the company still did not have a permanent home. It led a nomadic existence. Petrushka and Le Spectre de la rose were the highlights of the 1911 season, Daphnis and Chloe and Afternoon of a Faun of the 1912 season, and The Rite of Spring of the 1913 season. Nijinsky married in 1913, and broke with Diaghilev.
In the following years, Diaghilev persuaded disgruntled artists who had left the company to return — Fokine and Benois, especially. In 1921, the company found a permanent home in Monte Carlo. It continued to produce the colorful ballets it was famous for. The company's international renown grew, but the excitement of its early Paris days was over.
Concept and libretto
Petrushka was the creation of four men: composer Igor Stravinsky, scenery and costume designer Alexandre Benois, choreographer Mikhail Fokine, and Ballets Russes impresario Serge Diaghilev. The four men worked closely with each other on the creation of Petrushka.
Stravinsky and Benois each attributed the creation of the libretto to one another in the days following the ballet's successful premiere. The idea about a ballet based on a puppet was Stravinsky's, but the libretto was almost certainly the work of Benois. The subject was close to his heart, and he was, after all, an experienced librettist.
Alexandre Benois was born 3 May 1870 in St. Petersburg. His father was an architect. Benois did not plan a career in the arts, but graduated in law from the St. Petersburg Imperial University in 1894. In 1897, his watercolors were exhibited and noticed by Diaghilev and Bakst. The three men founded an art magazine that exerted great influence in Russia. In 1901, Benois was appointed scenic director for the Mariinsky Theatre, and in 1905 moved to Paris and began working for the Ballets Russes.
Benois was unavailable for comment when Stravinsky offered his undeveloped idea about a ballet for a puppet to Diaghilev in 1910. He had separated himself from the Ballets Russes after his libretto for Schéhérazade had been attributed to Léon Bakst in the ballet's theatre programmes. Diaghilev and Stravinsky tried to persuade Benois to return, but Benois refused. Time passed and Benois's pique softened. He rejoined his colleagues after learning the new ballet's subject was Petrushka.
Diaghilev was pleased to have Benois back on board and suggested the ballet be set during the Shrovetide Fair (a Mardi Gras-like celebration before Lent) in St. Petersburg about 1830. This period was one of Benois's favorites. Benois gave Petroushka a full-length body and two companions, The Ballerina and The Moor. Benois was designing costumes and scenery during the libretto's composition to give his colleagues a visual idea of the ballet's final appearance.
Benois, Stravinsky, and Diaghilev met in Rome in 1911. Rehearsals for Petrushka were in progress in the basement of the theatre where the Ballets Russes was performing — though the music and libretto were yet to be completed. The ballet received a more definitive shape when Fokine began to rehearse the principal dancers, and, as often as possible, the dancers playing the different fairgoers in the crowd.
Music by Igor Fyodorovich Stravinsky
Igor Stravinsky was born on 17 June 1882 near St. Petersburg. His father, an opera singer with the Mariinsky Theatre, was of a noble Polish family. As a boy, Stravinsky studied piano and music theory. He later studied law, but passed most of his time with music. In 1905, he began music studies with Rimsky-Korsakov. In 1909, Stravinsky's Fantastic Scherzo and Fireworks were performed in St. Petersburg. Diaghilev heard both works and was deeply impressed.
In 1910, The Firebird was put into development for the Ballets Russes. Tcherepnin was hired to write the music, but lost interest. The job was given to Lyadov. Diaghilev grew disappointed with Lyadov. He was slow to get started. The impresario recalled his impression with Stravinsky and decided the young composer was the man to write the score for The Firebird. Stravinsky was hired.
Stravinsky worked closely with Fokine in developing The Firebird. The result was a work in which movement, music, and scenery and costume design were integrated into one artistic whole. The stop-and-go, episodic character of classical ballet was avoided in favor of a fluid continuity from start to finish. The Firebird premiered in 1910 to great success.
This success led Diaghilev to hire Stravinsky to write the score for another ballet, The Rite of Spring. The idea for this ballet was Stravinsky's, and based on a dream he had had about a virgin forced to dance to death to propitiate the god of spring. Stravinsky knew that writing this score would take a long time. He tired of it, and started to work on a concert piece for piano and orchestra to refresh himself. Stravinsky thought of this new piece as a contest between the orchestra and the piano. The orchestra finally overwhelms the piano to emerge the winner.
Stravinsky was thinking of the Russian hand puppet, Petrushka, when he wrote the concert piece: "In composing the music, I had in my mind a distinct picture of a puppet, suddenly endowed with life, exasperating the patience of the orchestra with diabolical cascades of arpeggios. The orchestra in turn retaliates with menacing trumpet blasts."
The music is modern. It uses the music of the past (folk tunes and popular songs), but departs from the simplicity of these tunes. The most modern music in the score is the music for Scene Two. This is the music Stravinsky wrote as a concert piece for piano and orchestra. The scene opens with the clash of C major and F-sharp major chords. This bitonality represents Petrushka's dual nature as a living being and straw-filled puppet.
Stravinsky put some popular Russian folk tunes into the score as well as less ethnic music such as a waltz by early 19th-century Viennese composer Josef Lanner. This waltz was inserted into Scene Three for The Ballerina and The Moor. Stravinsky put a popular French tune into Scene One ("She had a wooden leg") and was forced to pay royalties into the 1950s to the tune's writer.
Stravinsky revised and arranged the Petrushka score several times. In 1914, the 42-minute work was cut to a 20-minute suite for concert performance. In 1919, Stravinsky gave his permission to the Aeolian Company of London to create transcriptions for piano rolls. Stravinsky himself wrote a virtuoso piano transcription in 1921 for Artur Rubinstein. Plans for a sound movie of Petrushka in 1929 were dropped when Benois would not agree to the project. In 1956, Stravinsky conducted a 15-minute adaptation of the score for an animated movie.
Scenery and costumes
The ballet is set during the Shrovetide Fair in St. Petersburg in 1830. Benois had many childhood memories of these fairs. He put these memories — the sideshows, the little theatres, the roundabouts and other fair attractions — into the first and fourth scenes of Petrushka.
Benois designed eleven productions of Petrushka' over the years. His designs were always based on those of the first production of 1911. He always set the ballet in Admiralty Square, although the actual place of the fair was moved to the Winter Palace Square and finally to the Field of Mars. The fair (infamous for the heavy drinking that took place during its run) was eventually shut down by Prince Oldenburg and the Temperance Society.
All productions of Petrushka designed by Benois had several things in common. They all had a proscenium executed in a Russian folk style, and a backdrop showing St. Isaac's Cathedral. The costumes were accurate recreations of the clothing worn in the 1830s. The curtain that was lowered between scenes displayed the Charlatan surrounded by clouds. This curtain was replaced with a night scene of demons and monsters flying over St. Petersburg.
The second scene of the ballet shows Petrushka's lonely little room. There is a picture of the Charlatan on one wall. The original picture was damaged when the production was moved from St. Petersburg to Paris. It was replaced with a picture of the Charlatan in profile by another designer. Benois did not like this picture. He refused to speak to Diaghilev for a long time.
The third scene in the ballet is the Moor's room. This scene gave Benois much trouble. He tried many jungle animals — elephants, lions, crocodiles — on the wall covering of the room but was not pleased. He finally settled on a design of palm trees. This exotic design remained the same through all of Benois's later productions. It created a striking contrast to the bareness of Petrushka's room.
Choreography
Fokine was born to middle class parents in 1880, and entered the Imperial Ballet school in 1889. He graduated in 1898 and immediately found a position as dancer in the Imperial Ballet. He was curious, intelligent, and ambitious. In 1902 he started to choreograph short ballets for the students of the Imperial Ballet school.
He opposed much of the traditions of the Imperial Ballet such as the circular position of a dancer's arms, the pirouette ending a male dancer's solo, and the lengthy curtain calls. His intent was to make each movement have meaning, to create a fluid work from start to finish unhindered by the traditional stop and go of classical ballet, and to avoid a gymnastic style of dance. He wanted his dancers to interpret musical phrases, accents, and nuances through meaningful movement. He codified his thoughts on dance in five principles.
He put his ideas to work over the next several years with encouraging success. He respected the choreographic accomplishments of the past and refused to re-choreograph older works. He preferred to work with new material. In 1907 he choreographed Le Pavilion d'Armide. He worked with Benois for the first time on this ballet. Pavillion earned the critical favor of the Imperial Ballet. It was eventually staged at the Mariinsky Theatre.
It was Benois who introduced Fokine to Diaghilev. He choreographed Les Sylphides and a few other ballets for Diaghilev's first Paris season, and The Firebird and Scheherazade for the 1910 season. In 1911 he choreographed not only Petrushka.
Fokine described Stravinsky's Petruska score as "sounds tormenting the ear and yet stimulating the imagination and stirring the soul." The dancers complained about the score and found it difficult to keep track of counts. Fokine admitted as much, but managed to make progress with the dancers and on the choreography itself. Fokine redefined ballet with this work.
In Four Centuries of Ballet Lincoln Kirstein writes about Petrushka and its creators. Fokine gave "pizzicato points" to the Ballerina, Kirstein notes, while the Moor's toes are turned out (en dehors), and Petrushka's toes are turned in (en dedans). The mechanical, flat movements of the puppets provide contrast to the natural movements of the crowd, and mime accentuates the Ballerina's vanity, the Moor's mindless pride, and Petruchka's helplessness. ballets
Fokine may have been influenced by other ballets about life-size animated dolls such as Coppelia (1870), Arlekinada (Les Millions d'Arlequin), and Fairy Doll (1903). Some moments and scenes in Arlekinada presage similar ones in Petrushka. Fokine's most revolutionary gestures in Petrushka are the demotion of virtuoso star roles to character roles, and the elimination of classical ballet's narrative introduction, "white" act, obligatory virtuoso dances for the stars, and divertissement. The solo moments for The Moor and Petrushka are basically mime, and, without her own scene, The Ballerina has no solo.
Fokine used Russian national dance forms in a fragmentary fashion for the various characters in the crowd. Fokine complained that the crowd was insufficiently rehearsed, Nijinsky complained that movement for the crowd was never really choreographed but was left for the dancers to improvise, and Benois complained that Diaghilev would not spend the money necessary to realize certain effects. Kirstein writes, "The metaphor of manipulated automata remains poeticallty powerful, now haloed in the nostalgia of many period memoirs. Did Benois see Diaghelev as the charlatan Showman? Was Nijinsky typecast as Petrouchka?"
Vaslav Nijinsky
Vaslav Nijinsky was born in Kiev, Russia in 1889 or 1890. His parents were Polish dancers. He went to the Imperial Ballet school in 1900. He studied under Cecchetti. He rose through the ranks. He partnered Anna Pavlov, Mathilde Kschessinska, and Tamara Karsavina. He met impresario Serge Diaghilev and the two became lovers. Nijinsky left the Imperial Ballet to join Diaghilev's Ballets Russes.
Nijinsky was famous for losing himself in a character. He transformed his Slavic features, his athletic physique, his virtuoso technique, and his classical discipline into one of the most moving portraits in the ballet repertoire — that of a sad puppet with jerking, awkward movements.
He had difficulty understanding the character in rehearsal and asked Benois for guidance. On the night of performance however, Nijinsky's superhuman understanding of character transformed him into the puppet. Benois wrote, "The metamorphosis took place when he put on his costume and covered his face with make-up — I was surprised at the courage Vaslav showed, after all his jeune premier successes, in appearing as a horrible half-doll, half-human grotesque. The great difficulty of Petrushka's part is to express his pitiful oppression and his hopeless efforts to achieve personal dignity without ceasing to be a puppet. Both music and libretto are spasmodically interrupted by outbursts of illusive joy and frenzied despair. The artist is not given a single pas or fioriture to enable him to be attractive to the public, and one must remember that Nijinsky was then quite a young man and the temptation to be "attractive to the public" must have appealed to him far more strongly than to an older artist."
American dance critic Carl Van Vechten describes Nijinsky's Petrushka: "He is a puppet and — remarkable touch — a puppet with a soul. His performance in this ballet is, perhaps, his most wonderful achievement. He suggests only the puppet in action; his facial expression never changes; yet the pathos is greater, more keenly carried over the footlights, than one would imagine possible under any conditions. I have seen Fokine in the same role, and although he gives you all the gestures the result is not the same. It is genius that Nijinsky puts into his interpretation of the part. Who can ever forget Nijinsky as Petrushka when thrown by his master into his queer black box, mad with love for the dancer, who, in turn, prefers the Moor puppet, rushing about waving his pathetically stiff arms in the air, and finally beating his way with his clenched fists through the paper window to curse the stars? It is a more poignant expression of grief than most Romeos can give us."
Performance history
Petrushka was first performed by the Ballets Russes in Paris at the Théâtre du Châtelet on 13 June 1911. Nijinsky portrayed Petrushka, Tamara Karsavina The Ballerina, Alexandre Orlov The Moor, and Enrico Cecchetti The Charlatan. Pierre Monteux conducted.
Fokine revived the ballet in 1925 for the Royal Danish Ballet, and again for Ballet Theatre in October 1942. The Royal Ballet revived the work on 26 March 1957 with Alexander Grant, Margot Fonteyn and Peter Clegg. Rudolph Nureyev danced Petrushka with the Royal Ballet in 1963.
The ballet was first performed in the United States by the Ballets Russes at the Century Theatre in New York City on 25 January 1916 with Leonide Massine in the title role. The Joffrey Ballet revived the work in New York City on 13 March 1970, and the American Ballet Theater revived it on 19 June 1970 at the New York State Theater.
Structure
Tableau I: The Shrovetide Fair
Tableau II: Petrushka's Room
Tableau III: The Moor's Room
Tableau IV: The Shrovetide Fair (Toward Evening)
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It used to be made by reacting carbon and sulfur at a very high temperature. Now it is made by "burning" methane in sulfur (instead of oxygen). It is much harder to burn methane in sulfur. The waste product (carbon disulfide) is also much more reactive than carbon dioxide, the normal waste product.
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Club career statistics
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International career statistics
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Club career statistics
83||7||||||||||83||7 185||18||27||3||67||3||279||24 268||25||27||3||67||3||362||31
International career statistics
!Total||10||1
Pablo Casado
Pablo Casado Blanco (born 1 February 1981) is a Spanish politician. He was the leader of the People's Party. He was one of the three deputies for Ávila in the national Congress of Deputies from 2011 until 2022.
From 2015 to 2018 he also was Vice Secretary-General of Communication of the People's Party (PP). In July 2018, he became the president of the PP. He resigned in April 2022.
Kaká
Ricardo Izecson dos Santos Leite (born 22 April, 1982), better known as Kaká, is a Brazilian former football player.
International career statistics
!Total||92||29
Tomoko Suzuki
Biography
Suzuki was born in Kanagawa Prefecture on January 26, 1982. After graduating from Shonan Women's High School, she joined Tasaki Perule FC in 2000. She played 117 matches for the club until 2007. She moved to INAC Leonessa (later INAC Kobe Leonessa) in 2008. She retired in 2009.
Flag of Turkmenistan
The flag of Turkmenistan was adopted on January 24, 2001 in the 2:3 ratio as Turkmenistan's national flag, though the flag was adopted in the 1:2 ratio on February 19, 1992. It is often described as the most detailed national flag in the world.
Tomoko Suzuki
Biography
On January 12, 2003, Suzuki debuted for the Japan national team against United States. She played 3 games and scored 2 goals for Japan until 2005.
Flag of Turkmenistan
It features a green field with a vertical red stripe near the hoist side, containing five carpet guls (designs used in producing rugs) stacked above two crossed olive branches similar to those on the flag of the United Nations; a white waxing crescent moon, typical of Turkic symbology, and five white five-pointed stars appear in the upper corner of the field just to the fly side of the red stripe.
The green and red colors appear in this flag because they have been venerated historically by the Turkmen. The waxing crescent moon symbolizes the hope of the country for a shining future and the stars represent the five provinces (Welayatlar) of Turkmenistan-Ahal, Balkan, Dashhowuz, Lebap, and Mary.
The five traditional carpet designs along the hoist represent the five major tribes or houses, and form motifs in the country's state emblem and flag. These Turkmen tribes in traditional order (as well as top to bottom) are Teke (Tekke), Yomut (Yomud), Arsary (Ersary), Chowdur (Choudur), and Saryk (Saryq). The Salyr (Salor), a tribe that declined as a result of military defeat before the modern period, are not represented, nor are several smaller tribes or subtribes.
The wreath is one of the odder parts of the flag, added against the rules of heraldry and breaking up the carpet pattern. It was added as an afterthought to represent the "status of permanent neutrality," which was accepted by the United Nations General Assembly on December 12, 1995.
Samaná Bay
Samaná Bay (Spanish, Bahía de Samaná) is a big bay in the northeast of the Dominican Republic, south of the Samaná Peninsula. Christopher Columbus gave the name of "Golfo de las Flechas" (Gulf of Arrows) to the bay.
It has about 65 km east-west and 25 km north-south. The Yuna river, one of the most important of the Hispaniola island, flows into the bay. Other rivers that flow into the bay are the Barracote and the Yabón.
There are many cays (very small and flat islands) in the bay, many of them with beautiful beaches visited by many tourists; Levantado Cay (Spanish, Cayo Levantado) is big enough to have a hotel.
On the southwest coast there is a national park: National Park Los Haitises, with many interesting plants and animals.
Dolphins are common in the bay most of the year. Humpback whales come from northern, cold waters to Samaná Bay to breed during winter and spring; then, they return to cold waters where food is more abundant. Whale watching is an important business in the Samaná Province in late winter and early spring.
Avera, Georgia
Avera is a city in the U.S. state of Georgia. It is in Jefferson County.
Samaná Bay
The most important cities around the bay are Santa Bárbara de Samaná and Sánchez on the north, in the Samaná Province province; and Sabana de la Mar, on the south, in the Hato Mayor Province province. Sánchez was the most important international port of the Dominican Republic during the 19th century and early 20th century.
Renee Olstead
Olstead was born in the Kingwood region of Houston, Texas.
Citizens band radio
Citizens band radio (also known as CB radio) is, in many countries, a system of short-distance radio communications between individuals on a selection of 40 channels within the 27 MHz (11 m) band. Citizens band not the same as the Amateur Radio Service ("ham" radio) which has a much longer range. In many countries, CB operation does not require a license to operate. It may be used for business or personal communications.
Everywhere (Fleetwood Mac song)
"Everywhere" is a 1987 song by British American band Fleetwood Mac and was taken from 14th studio album Tango in the Night. It went to number 1 in Belgium, number 2 in Ireland, number 3 in the Netherlands, number 4 in the United Kingdom, number 13 in South Africa, number 14 in the United States, number 29 in Canada, number 43 in New Zealand and number 45 in Australia. It was covered by Niall Horan and Anne-Marie in 2021.
Track listings
7-inch and cassette single
Chef (movie)
Chef is a 2014 American comedy-drama movie. It was directed, written and produced by Jon Favreau. It stars Favreau, Robert Downey, Jr., Scarlett Johansson, Sofía Vergara, Dustin Hoffman, Oliver Platt, and John Leguizamo. It was released on May 9, 2014 to positive reviews.
Everywhere (Fleetwood Mac song)
Track listings
12-inch single
Mini-CD single
Citizens band radio
Like many other two-way radio services, citizens band channels are shared by many users. Only one station may transmit at a time. All other stations must listen and wait for the shared channel to be available. It is customary for stations waiting to use a shared channel to broadcast the single word "break" (or "breaker") during a lull in the conversation. This lets other people using the channel know that others are waiting. In the US, channel 19 is most often used by truckers. Channel 9 is reserved for emergencies.
History
The citizens band radio service originated in the United States as one of several personal radio services regulated by the Federal Communications Commission (FCC). These services began in 1945 to permit citizens a radio band for personal communication. In 1948, the original CB radios were designed for operation on the 460–470 MHz UHF band. There were two classes of CB radio: "A" and "B". Class B radios had simpler technical requirements, and were limited to a smaller frequency range.
Al Gross established the Citizens Radio Corporation during the late 1940s to manufacture Class B handhelds for the general public. In the 1960s it became popular with taxicab companies to communicate with their drivers. In the 1970s it became popular with truckers, who
began using it to warn other truck driver s of police speedtraps. Other drivers soon used CB radios, and the CB jargon of truckers was used in several movies.
Ten codes
When CB radios first started a series of "10 codes" were used. This was due to the early CB radios need to warm up before use. The 10 codes were used as a shortcut to longer standard messages. A few of the more often used codes are:
Other countries
CB radio is used as a system of short-distance communications between people in many countries. Nearly all use a system of 40 channels in the 27 megahertz or 11 meter band.
Pythagoreanism
Pythagoreanism is a term used for the esoteric and metaphysical beliefs held by Pythagoras and his followers, the Pythagoreans, who were much influenced by mathematics. They thought the world was made of numbers, and that various integer s had distinct sacred meanings in their numerology.
Later resurgence of ideas similar to those held by the early Pythagoreans are collected under the term Neopythagoreanism.
Nordland I
Nordland I is the eleventh studio album by the Swedish extreme metal band Bathory. It was released on 18 November 2002 through Black Mark Productions The album is mainly viking metal, so the songs have lyrics about Norse mythology. The album was the first in a two-album set, and no plans for Nordland III ever existed.
Ketsumeishi
Ketsumeishi is Japanese hip hop group. It is a four-man group. They are "Ryo" and "Ryoji" and "Daizo" and "DJKohno". The group started performing in 1993. They have four albums, three DVDs and 20 singles.
Bhalwal Tehsil
Bhalwal Tehsil is a subdivision (tehsil) of Sargodha District in the Punjab province of Pakistan. It is administratively subdivided into 53 union councils, four of which form the tehsil capital Bhalwal.
The boundaries of the tehsil are marked by the Jhelum River and the Chenab River. According to the 1998 census the total population of the tehsil was 132,600.
Pre-Socratic philosophy
The Pre-Socratic Greek philosophers were active before Socrates. The popular usage of the term comes from Hermann Diels' work Die Fragmente der Vorsokratiker (The Fragments of the Pre-Socratics, 1903).
Most of what we know about the pre-Socractic philosophers come from quotations by later philosophers and historians. While most of them produced significant texts, none of the texts have survived in complete form.
The standard reference works in English are:
Sargodha Tehsil
Sargodha Tehsil is a tehsil (administrative subdivision) of Sargodha District in the Punjab province of Pakistan. The tehsil is subdivided into 62 Union Councils - 22 of which form the city of Sargodha.
Frances Gifford
Mary Frances Gifford (December 7, 1920 – January 22, 1994) was an American actress who played the lead character in 1930s and 1940s movies. Some of her movies were Stage Door and The Remarkable Andrew.
Pre-Socratic philosophy
The fundamental idea which motivated most of the presocratics (as they are called) is naturalism. This is the idea that questions about life and the world can be answered without using myths, and that "the natural world is the whole of reality".
Frances Gifford
Gifford was born in Long Beach, California. The actress died of emphysema in Pasadena, California at 73.
Pre-Socratic philosophy
With the Greeks we see rational thought and scientific reasoning appear.
Nu metal
Nu metal is a style of metal music that uses elements of hip hop and heavy metal music, as well as the usual heavy metal instruments such as guitars, drums and bass. Nu metal bands often include electronic instruments such as DJ decks and keyboards. Nu metal was very successful in the late 1990s and early 2000s. The most successful bands of this genre include Linkin Park (with more than 100 million records sold around the world), Korn (with 35 million), Deftones, Limp Bizkit (with 35 million) and Slipknot (around 15 million records).
Edílson José da Silva
Edílson José da Silva (born 8 December 1978) is a Brazilian football player. He plays for Al-Ansar Beirut.
Club career statistics
15||2||2||1||17||3 15||2||2||1||17||3
Mount Fuji
Active volcano
Mount Fuji is officially classified as an active volcano, but some describe Fuji as dormant or inactive.
The last major event was the Hōei eruption of Mount Fuji which started on December 16, 1707 (Hōei 4, 23rd day of the 11th month) and ended about January 1, 1708 (Hōei 4, 9th day of the 12th month) during the Edo period. Cinders and ash from Fuji fell like rain in Izu Province, Kai Province, Sagami Province, and Musashi Province.
Shinto
The mountain is thought to be named after Fuchi, the Buddhist fire goddess. The mountain is sacred in the Shinto religion and at the bottom of the mountain are shrines to the goddess Konohananosakuya-hime (コノハナノサクヤヒメ）).
Climbing
Many people climb Mt. Fuji every year. The official climbing season is in the summer: July 25 to August 25. There are three mountain-climbing routes on the Shizuoka side of Mt. Fuji. There is a post office on the top of Mt. Fuji which is open only in summer. The post office was built in 1909 and is the highest post office in Japan.
Coat of arms of Turkmenistan
The coat of arms of Turkmenistan was created after Turkmenistan gained independence from the Soviet Union in 1991. The eight-point green starburst (known as the star of Rub El Hizb (۞), a symbol of Islam, to which a majority of Turkmen profess) with golden edges features in its center a red circular disc which carries sheaves of wheat, five carpet guls, and centered upon that a smaller blue circle with a lifelike (rather than heraldized) depiction of an Akhal-Teke horse, a source of pride for the Turkmen people. A variant of the emblem, which included different colors and rounded, was used from 1992 until 2003.
2007 UEFA European Under-19 Championship squads
Players born on or after 1 January 1988 were available to participate in the tournament. Players' age as of 16 July 2007 – the tournament's starting day. Players in bold have later been capped at full international level.