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John R. Bartels Jr.

John Ries Bartels Jr. (born November 27, 1934) is an American lawyer and was the first Administrator of the Drug Enforcement Administration. He was also the first Chief of the New Jersey Organized Crime Strike Force. Early life Bartels was born in 1934 in New York to parents John R. Bartels and Anne Wilson. Bartels attended the Phillips Exeter Academy and Harvard University. He spent time in Germany on exchange as a Fulbright scholar at the University of Munich. He returned to attend Harvard Law School, and joined the BAR soon after. Early career in the federal government He was Assistant United States Attorney in the Southern District of New York for Robert Morgenthau. In an interview for Time Magazine, Bartels said: “I learned the extent of organized crime, the pervasive influence of mobsters.” After the 1967 Newark riots, John N. Mitchell appointed Bartels to run the New Jersey Strike Force. While running this unit, Bartels coordinated the activities of ten federal agencies and local law enforcement. Bartels performed investigations, interviewed suspects, worked alongside federal agents, and arranged for witness protection. Bartels was directly responsible for "the most significant attack on organized crime in the state’s history." People that Bartels helped to indict include Hugh Addonizio, Thomas J. Whelan, John V. Kenny, corrupt cops, and corrupt politicians. First administrator of the DEA left|thumb|Bartels and Richard Nixon The Drug Enforcement Administration was established on July 1, 1973, by Reorganization Plan No. 2 of 1973, signed by President Richard Nixon on July 28. It proposed the creation of a single federal agency to enforce the federal drug laws as well as consolidate and coordinate the government's drug control activities. Congress accepted the proposal, as they were concerned with the growing availability of drugs. As a result, the Bureau of Narcotics and Dangerous Drugs (BNDD), the Office of Drug Abuse Law Enforcement (ODALE); approximately 600 Special Agents of the Bureau of Customs, Customs Agency Service, and other federal offices merged to create the DEA. When John Finlator, Myles Ambrose, and John Ingersoll - all three men who had been on the short list to run the new agency - all quit their jobs, Bartels was appointed Acting Administrator of the new Drug Enforcement Administration. Bartels' predecessors represented great interagency rivalry and oppositional approaches to narcotics and drugs law enforcement; Finlator at BDAC treated addiction as a medical issue, Ingersoll at BNDD stressed the need for vast and long-term investigations of global syndicates, and Ambrose at Customs ran an agency that had been known for patting-down American citizens and mass arrests of low-level street dealers.thumb|295x295px|Bartels and Gerald R. FordCongress, and the Nixon Administration desired someone to lead the agency that was not from Customs (Ambrose) or BNDD (Ingersoll), which had been in constant interagency dispute. While Bartels had been a deputy director for Ambrose, he had not been working for him long enough to have the appearance of favoritism. In October, he officially became the 1st Administrator of the DEA. He expanded the DEA into a lasting federal agency. Bartels established the El Paso Intelligence Center, the DEA special agent training program, expanded the DEA Air Wing from its BNDD origins, and established the DEA's Office of Intelligence. Scandal and resignation The American public did not approve of the new agency, and was highly suspicious of its director. In an interview with Playboy Magazine, Bartels said: "There are a great number of people who regard narcotics agents as corrupt Nazis who don't know how to open the door except with the heel of their right foot." Congress was also highly suspicious of the agency from day one, and its greatest opposition in Congress was Henry M. Jackson. Vince Promuto, the Director of Public Affairs at DEA, was rocked with a scandal. Bartels was accused by DEA chief of inspectors Andrew C. Tartaglino of improper behavior and knowledge of Promuto's alleged behavior. Bartels denied this in Congress. On May 30, 1975, in the midst of the scandal, President Ford, whose administration did not want to be associated with further scandal following the resignation of Richard Nixon, accepted Bartels' resignation. His office was assumed by Henry S. Dogin, Acting Administrator of the Drug Enforcement Administration. On July 23, 1975, Charles Rangel said to Congress: "While we in no way condone the wrongdoing of any agency official, we believe that the dismissal of John Bartels without minimal due process, coupled with the Justice Department's nationwide circulation of a document containing unproved allegations against him, warrants an explanation." Promuto was later cleared of all charges. Retirement and later life Bartels was a co-founder and senior attorney at the law firm of Bartels & Feureisen, which he still works as council. References Category:1934 births Category:Drug Enforcement Administration Administrators Category:Living people Category:Harvard College alumni Category:Harvard Law School alumni Category:Phillips Exeter Academy alumni Category:Lawyers from Brooklyn Category:Assistant United States Attorneys Category:Fulbright alumni

Mahammad Hatami Tantekin

Mahammad Hatami Tantekin was one of the leaders of the national liberation movement in Azerbaijan, the founder of the National Liberation Party and the Chanlibel organization. He participated in the battles of the First Karabakh War as part of the "National Salvation" battalion. Life Mahammad Hatami was born on July 22, 1935, in the city of Astara. On December 12, 1945, he became a member of the youth organization of the Democratic Party of Azerbaijan after the establishment of the National Government of Azerbaijan with its center in Tabriz. After the collapse of the National Government of Azerbaijan, he and his family were moved to the village of Garachala, then to Shamakhi, and then to Khudat. He graduated from school in Khudat in 1956. After graduating from school in 1957, he entered the philological faculty of Azerbaijan State University. In 1963, he graduated from the university, defending his thesis on Sheikh Mahammad Khiyabani. He was a member of the Democratic Party of Azerbaijan and was published in its newspaper "Azerbaijan". At the same time, he, together with several comrades in the party, spoke against Gulam Yahya, who was the chairman of the Democratic Party of Azerbaijan, and demanded his resignation. After that, he was excluded from the party. In 1965, he began working at the National Academy of Sciences of Azerbaijan. In 1972, he defended his thesis on "The expression of fire worship in folk art" and received the title of candidate of philological sciences. He became the founder of Chanlibel society, one of the first organizations that actively participated in the national liberation movement in Azerbaijan. On October 30, 1988, at the last meeting of the "Chanlibel" organization, it was announced that the People's Movement Front had been created and Mahammad Hatami was elected the chairman of the People's Movement Front. He was one of the organizers of national rallies that began on November 17, 1988, on Azadlig Square. On December 4, 1988, he was arrested after the Soviet troops dispersed the protesters on the square. He was released from prison on June 6, 1989. On November 8, 1989, he founded the National Liberation Party, uniting the People's Movement Front (Kizilbashlar) and Independent Azerbaijani Organizations. After the "Black January" tragedy, he was arrested on January 26, 1990, and taken to Lefortovo prison, where he spent 9 months in prison. He participated in the battles as part of the "National Salvation" battalion in the First Karabakh War. In 1993, he returned to his former place of work - at the National Academy of Sciences of Azerbaijan - and continued his scientific activity as a folklorist. He wrote the book "Bitter Truths" about the national liberation movement. On June 10, 2016, he was hospitalized due to a sharp deterioration in health. He died on 14 June. He was buried at the cemetery in the village of Bulbula. Family His father, Farzulla Khatami Khatamkhan oglu, was born in Uchbulag village of Ardabil district. When the National Government of Azerbaijan was established on December 12, 1945, he received the rank of senior lieutenant and was awarded the "21 Azar" medal. His mother, Sitara Khanum, was born in the village of Muganly in the Astara district in Iran. References Literature Category:1935 births Category:Iranian Azerbaijanis Category:Leaders of political parties in Azerbaijan Category:Deaths in Azerbaijan Category:2016 deaths

Jake Marosz

Jake Marosz (born November 10, 1952) is an American former professional stock car racing driver who currently serves as the crew chief for Melissa Fifield in the NASCAR Whelen Modified Tour. Marosz is a former competitor of the Modified Tour, having competed in the series from 1994 to 2011. Motorsports results NASCAR (key) (Bold – Pole position awarded by qualifying time. Italics – Pole position earned by points standings or practice time. * – Most laps led.) Whelen Modified Tour NASCAR Whelen Modified Tour results Year Team No. Make 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 Pts Ref 1994 Linda Rodenbaugh 9 Chevy NHA STA TMP NZH STA LEE TMP RIV TIO NHA RPS HOL TMP RIV NHA STA SPE TMP NHA STA TMP N/A 0 1995 TMP NHA STA NZH STA LEE TMP RIV BEE NHA JEN RPS HOL RIV NHA STA TMP NHA STA TMP TMP 28th 1284 1996 TMP STA NZH STA NHA JEN RIV LEE RPS HOL TMP RIV NHA GLN STA NHA NHA STA FLE TMP 25th 1394 1997 TMP MAR STA NZH STA NHA FLE JEN RIV GLN NHA RPS HOL TMP RIV NHA GLN STA NHA STA FLE TMP RCH 29th 1195 1998 RPS TMP MAR STA NZH STA GLN JEN RIV NHA NHA LEE HOL TMP NHA RIV STA NHA TMP STA TMP FLE 25th 1435 1999 TMP RPS STA RCH STA RIV JEN NHA NZH HOL TMP NHA RIV GLN STA RPS TMP NHA STA MAR TMP 29th 1122 2000 STA RCH STA RIV SEE NHA NZH TMP RIV GLN TMP STA WFD NHA STA MAR TMP 43rd 530 2001 SBO TMP STA WFD NZH STA RIV SEE RCH NHA HOL RIV CHE TMP STA WFD TMP STA MAR TMP 34th 851 2002 TMP STA WFD NZH RIV SEE RCH STA BEE NHA RIV TMP STA WFD TMP NHA STA MAR TMP 35th 850 2003 TMP STA WFD NZH STA LER BLL BEE NHA ADI RIV TMP STA WFD TMP NHA STA TMP 34th 939 2004 TMP STA WFD NZH STA RIV LER WAL BEE NHA SEE RIV STA TMP WFD TMP NHA STA TMP 41st 709 2005 TMP STA RIV WFD STA JEN NHA BEE SEE RIV STA TMP WFD MAR TMP NHA STA TMP 27th 1122 2006 TMP STA JEN TMP STA NHA HOL RIV STA TMP MAR TMP NHA WFD TMP STA 31st 880 2007 TMP STA WTO STA TMP NHA TSA RIV STA TMP MAN MAR NHA TMP STA TMP 28th 1063 2008 TMP STA STA TMP NHA SPE RIV STA TMP MAN TMP NHA MAR CHE STA TMP 24th 1303 2009 TMP STA STA NHA SPE RIV STA BRI TMP NHA MAR STA TMP 24th 1029 2010 38 TMP STA STA MAR NHA LIM MND RIV STA TMP BRI NHA STA TMP 24th 1084 2011 TMP STA STA MND TMP NHA RIV STA NHA BRI DEL TMP LRP NHA STA TMP 36th 316 Whelen Southern Modified Tour NASCAR Whelen Southern Modified Tour results Year Car owner No. Make 1 2 3 4 5 6 7 8 9 10 11 12 13 Pts Ref 2005 N/A 9 N/A CRW CRW CRW CRW BGS MAR ACE ACE CRW CRW DUB ACE N/A 0 2006 CRW GRE CRW DUB CRW BGS MAR CRW ACE CRW HCY DUB SNM N/A 0 References External links Category:Living people Category:NASCAR drivers Category:Racing drivers from Connecticut Category:1952 births

Design elements

Design elements are the basic units of any visual design which form its structure and convey visual messages.Charlotte Jirousek. Art, Design, and Visual Thinking. An online, interactive textbook. Cornell.edu, 1995. Painter and design theorist Maitland E. Graves (1902–1978), who attempted to gestate the fundamental principles of aesthetic order in visual design,Martin, Jon Henry. An evaluation of Maitland Graves' principle of aesthetic order. Masters thesis, Concordia University, 1972. in his book, The Art of Color and Design (1941), defined the elements of design as line, direction, shape, size, texture, value, and color, concluding that "these elements are the materials from which all designs are built."Graves, Maitland, E. The art of color and design. 2d ed. New York, N.Y.: McGraw-Hill, 1951.thumb|right|Elements of art and designthumb|Color star containing primary, secondary, and tertiary colors.|180x180px Color Color is the result of light reflecting back from an object to our eyes. The color that our eyes perceive is determined by the pigment of the object itself. Color theory and the color wheel are often referred to when studying color combinations in visual design. Color is often deemed to be an important element of design as it is a universal language which presents the countless possibilities of visual communication. Color serves various purposes to contribute to the overall effectiveness of the design. It is used as an element to convey meaning and emotion, create visual hierarchy, enhance brand identity, improve readability and accessibility, create visual interest and appeal, differentiate information and elements, and make cultural and contextual significance. Hue, saturation, and brightness are the three characteristics that describe color. Hue can simply be referred to as "color" as in red, yellow, or green. Saturation gives a color brightness or dullness, which impacts the vibrance of the color. Values, tints and shades of colors are created by adding black to a color for a shade and white for a tint. Creating a tint or shade of color reduces the saturation. Color theory in visual design Color theory studies color mixing and color combinations. It is one of the first things that marked a progressive design approach. In visual design, designers refer to color theory as a body of practical guidance to achieving certain visual impacts with specific color combinations. Theoretical color knowledge is implemented in designs in order to achieve a successful color design. Color harmony Color harmony, often referred to as a "measure of aesthetics", studies which color combinations are harmonious and pleasing to the eye, and which color combinations are not. Color harmony is a main concern for designers given that colors always exist in the presence of other colors in form or space. When a designer harmonizes colors, the relationships among a set of colors are enhanced to increase the way they complement one another. Colors are harmonized to achieve a balanced, unified, and aesthetically pleasing effect for the viewer. Color harmony is achieved in a variety of ways, some of which consist of combining a set of colors that share the same hue, or a set of colors that share the same values for two of the three color characteristics (hue, saturation, brightness). Color harmony can also be achieved by simply combining colors that are considered compatible to one another as represented in the color wheel. Color contrasts Color contrasts are studied with a pair of colors, as opposed to color harmony, which studies a set of colors. In color contrasting, two colors with perceivable differences in aspects such as luminance, or saturation, are placed side by side to create contrast. Johannes Itten presented seven kinds of color contrasts: contrast of light and dark, contrast of hue, contrast of temperature, contrast of saturation, simultaneous contrast, contrast of sizes, and contrast of complementary. These seven kinds of color contrasts have inspired past works involving color schemes in design. Color schemes Color schemes are defined as the set of colors chosen for a design. They are often made up of two or more colors that look appealing beside one another, and that create an aesthetic feeling when used together. Color schemes depend on color harmony as they point to which colors look pleasing beside one another. A satisfactory design product is often accompanied by a successful color scheme. Over time, color design tools with the function of generating color schemes were developed to facilitate color harmonizing for designers. Use of color in visual design Color is used to create harmony, balance, and visual comfort in a design Color is used to evoke the desired mood and emotion in the viewer Color is used to create a theme in the design Color holds meaning and can be symbolic. In certain cultures, different colors can have different meanings. Color is used to put emphasis on desired elements and create visual hierarchy in a piece of art Color can create identity for a certain brand or design product Color allows viewers to have different interpretations of visual designs. The same color can evoke different emotions, or have various meanings to different individuals and cultures Color strategies are used for organization and consistency in a design product In the architectural design of a retail environment, colors affect decision-making, making which motivates consumers to buy particular products Color strengthens narrative and storytelling in visual design. Color can represent characters, themes, and symbolism. Color is a tool that designers use to strategically add layers of meaning and subtext to their designs. Colors can create recurring visual motifs in a design, strengthening ideas and fostering coherence. Color is an effective tool for communication because it allows for complex interpretation and expression. thumb|right|Similarly, stars in a constellation connected via imaginary lines are a natural example of using lines in a composition Line The line is an element of art defined by a point moving in space. . More specifically, Line is defined as a series of points, or the connection between two points, or the path of a moving point. The importance of line comes from its versatility as its characteristics is significantly expressive. Lines can be vertical, horizontal, diagonal, or curved, they may also appear as linear shapes that take on a line-link quality, or as suggested line perceived from eyes as they follow a sequence related shapes. Line may be used either in two-dimensional forms with enclosing a space as an outline and creating shape, or in three-dimensional forms. They can be any width or texture, and can be continuous, implied, or broken. On top of that, there are different types of lines aside from the ones previously mentioned. For example, you could have a line that is horizontal and zigzagged or a line that is vertical and zigzagged. Different lines create different moods, it all depends on what mood you are using line to create and convey. Point A point is basically the beginning of “something” in “nothing”. It forces the mind to think upon its position and gives something to build upon in both imagination and space. Some abstract points in a group can provoke human imagination to link it with familiar shapes or forms. Shape A shape is defined as a two dimensional area that stands out from the space next to or around it due to a defined or implied boundary, or because of differences of value, color, or texture. Shapes are recognizable objects and forms and are usually composed of other elements of design. For example, a square that is drawn on a piece of paper is considered a shape. It is created with a series of lines which serve as a boundary that shapes the square and separates it from the space around it that is not part of the square. Types of shapes Geometric shapes or mechanical shapes are shapes that can be drawn using a ruler or compass, such as squares, circles, triangles, ellipses, parallelograms, stars, and so on. Mechanical shapes, whether simple or complex, produce a feeling of control and order. Organic shapes are irregular shapes that are often complex and resemble shapes that are found in nature. Organic shapes can be drawn by hand, which is why they are sometimes subjective and only exist in the imagination of the artist. Curvilinear shapes are composed of curved lines and smooth edges. They give off a more natural feeling to the shape. In contrast, rectilinear shapes are composed of sharp edges and right angles, and give off a sense of order in the composition. They look more human-made, structured, and artificial. Artists can choose to create a composition that revolves mainly around one of these styles of shape, or they can choose to combine both. Texture thumb|This is only a two dimensional image of a tree, but appears to have the texture of three dimensional bark. Texture refers to the physical and visual qualities of a surface. Definition of texture Texture is the variation of data at a scale smaller than the scale of the main object. Taking a person wearing a Hawaiian shirt as an example, as long as we consider the person as the main object looking at, the patterns of their shirt are considered as texture. However, if we try to identify the pattern of the shirt, each flower or bird of the pattern is a non-textured object, as no smaller detail inside of it can be recognized. Texture in our environment helps us to better understand the nature of things, as a smooth paved road signals safe passage and thick fog creates a veil on our view. Texture in design Texture in design includes the literal physical surface employed in a printed piece as well as the optical appearance of the surface. Physical texture affects how the piece feels in hand and also how it conveys the design, as a glossy surface for example reflects the light differently than a soft or pebbly one. Many of the textures manipulated by graphic designers, however, cannot be physically experienced as it is utilized in the visual representation aspect of the design. Texture adds detail to an image in a way that conveys the overall quality of a surface. Graphic designers use texture to establish a mood, reinforce a point of view, or convey a sense of physical presence whether setting a type or drawing a tree. Uses of texture in design Texture can be used to attract or repel interest to an element, depending on how pleasant the texture is perceived to be. Texture can also be used to add complex detail into the composition of a design. In theatrical design, the surface qualities of a costume sculpt the look and feel of a character, which influences the way the audience reacts to the character. Types of texture Tactile texture, also known as "actual texture", refers to the physical three-dimensional texture of an object. Tactile texture can be perceived by the sense of touch. A person can feel the tactile texture of a sculpture by running their hand over its surface and feelings its ridges and dents. Painters use impasto to build peaks and create texture in their painting. Texture can be created through collage. This is when artists assemble three dimensional objects and apply them onto a two-dimensional surface, like a piece of paper or canvas, to create one final composition. Papier collé is another collaging technique in which artists glue paper to a surface to create different textures on its surface. Assemblage is a technique that consists of assembling various three-dimensional objects into a sculpture, which can also reveal textures to the viewer. Visual texture, also referred to as "implied texture", is not detectable by our sense of touch, but by our sense of sight. Visual texture is the illusion of a real texture on a two-dimensional surface. Any texture perceived in an image or photograph is a visual texture. A photograph of rough tree bark is considered a visual texture. It creates the impression of a real texture on a two-dimensional surface which would remain smooth to the touch no matter how rough the represented texture is. In painting, different paints are used to achieve different types of textures. Paints such as oil, acrylic, and encaustic are thicker and more opaque and are used to create three-dimensional impressions on the surface. Other paints, such as watercolor, tend to be used for visual textures, because they are thinner and have transparency, and do not leave much tactile texture on the surface. Pattern Many textures appear to repeat the same motif. When a motif is repeated over and over again in a surface, it results in a pattern. Patterns are frequently used in fashion design or textile design, where motifs are repeated to create decorative patterns on fabric or other textile materials. Patterns are also used in architectural design, where decorative structural elements such as windows, columns, or pediments, are incorporated into building design. Space In design, space is concerned with the area deep within the moment of designated design, the design will take place on. For a two-dimensional design, space concerns creating the illusion of a third dimension on a flat surface: Overlap is the effect where objects appear to be on top of each other. This illusion makes the top element look closer to the observer. There is no way to determine the depth of the space, only the order of closeness. Shading adds gradation marks to make an object of a two-dimensional surface seem three-dimensional. Highlight, Transitional Light, Core of the Shadow, Reflected Light, and Cast Shadow give an object a three-dimensional look. Linear Perspective is the concept relating to how an object seems smaller the farther away it gets. Atmospheric Perspective is based on how air acts as a filter to change the appearance of distant objects. Form In visual design, form is described as the way an artist arranges elements in the entirety of a composition. It may also be described as any three-dimensional object. Form can be measured, from top to bottom (height), side to side (width), and from back to front (depth). Form is also defined by light and dark. It can be defined by the presence of shadows on surfaces or faces of an object. There are two types of form, geometric (artificial) and natural (organic form). Form may be created by the combining of two or more shapes. It may be enhanced by tone, texture or color. It can be illustrated or constructed. See also Composition (visual arts) Interior design Landscape design Pattern language Elements of art Color theory Notes References Kilmer, R., & Kilmer, W. O. (1992). Designing Interiors. Orland, FL: Holt, Rinehart and Winston, Inc. . Nielson, K. J., & Taylor, D. A. (2002). Interiors: An Introduction. New York: McGraw-Hill Companies, Inc. Pile, J.F. (1995; fourth edition, 2007). Interior Design. New York: Harry N. Abrams, Inc. Sully, Anthony (2012). Interior Design: Theory and Process. London: Bloomsbury. . External links Art, Design, and Visual Thinking. An online, interactive textbook by Charlotte Jirousek at Cornell University. The 6 Principles of Design Category:Design

Design principles

Design principles are propositions that, when applied to design elements, form a design. Unity/harmony According to Alex White, author of The Elements of Graphic Design, to achieve visual unity is a main goal of graphic design. When all elements are in agreement, a design is considered unified. No individual part is viewed as more important than the whole design. A good balance between unity and variety must be established to avoid a chaotic or a lifeless design. Methods Perspective: sense of distance between elements. Similarity: ability to seem repeatable with other elements. Continuation: the sense of having a line or pattern extend. Repetition: elements being copied or mimicked numerous times. Rhythm: is achieved when recurring position, size, color, and use of a graphic element has a focal point interruption. Altering the basic theme achieves unity and helps keep interest. Balance It is a state of equalized tension and equilibrium, which may not always be calm. Types of balance in visual design thumb|The top image has symmetrical balance and the bottom image has asymmetrical balance Symmetry Asymmetrical balance produces an informal balance that is attention attracting and dynamic. Radial balance is arranged around a central element. The elements placed in a radial balance seem to 'radiate' out from a central point in a circular fashion. Overall is a mosaic form of balance which normally arises from too many elements being put on a page. Due to the lack of hierarchy and contrast, this form of balance can look noisy but sometimes quiet. Hierarchy/Dominance/Emphasis A good design contains elements that lead the reader through each element in order of its significance. The type and images should be expressed starting from most important to the least important. Dominance is created by contrasting size, positioning, color, style, or shape. The focal point should dominate the design with scale and contrast without sacrificing the unity of the whole. Scale/proportion Using the relative size of elements against each other can attract attention to a focal point. When elements are designed larger than life, the scale is being used to show drama. Scale can be considered both objectively and subjectively. In terms of objective, scale refers to the exact literal physical dimensions of an object in the real world or the coloration between the representation and the real one. Printed maps can be good examples as they have an exact scale representing the real physical world. Subjectively, however, scale refers to one's impression of an object's size. A representation “lacks scale” when there is no exact cause linking it to lived experience, giving it a physical identity. As an example, a book may have a grand or intimate scale based on how it relates to our own body or our knowledge of other books. Scale in design A printed piece can be as small as a postage stamp or as large as a billboard. A logo should be legible both in tiny dimensions as well as from a distance on a screen. Some projects have their specified scale designed for a certain medium or site, while some others need to work in various sizes designed for reproduction in multiple scales. No matter what size the design work is, it should have its own sense of scale. Increasing an element's scale in a design piece increases its value in terms of hierarchy and makes it to be seen first compared to other elements while decreasing an element's scale reduces its value. Similarity and contrast Planning a consistent and similar design is an important aspect of a designer's work to make their focal point visible. Too much similarity is boring but without similarity important elements will not exist and an image without contrast is uneventful so the key is to find the balance between similarity and contrast. Similar environment There are several ways to develop a similar environment: Build a unique internal organization structure. Manipulate shapes of images and text to correlate together. Express continuity from page to page in publications. Items to watch include headers, themes, borders, and spaces. Develop a style manual and adhere to it. Contrasts Space Filled / Empty Near / Far 2-D / 3-D Position Left / Right Isolated / Grouped Centered / Off-Center Top / Bottom Form Simple / Complex Beauty / Ugly Whole / Broken Direction Stability / Movement Structure Organized / Chaotic Mechanical / Hand-Drawn Size Large / Small Deep / Shallow Fat / Thin Color Grey scale / Color Black & White / Color Light / Dark Texture Fine / Coarse Smooth / Rough Sharp / Dull Density Transparent / Opaque Thick / Thin Liquid / Solid Gravity Light / Heavy Stable / Unstable Movement is the path the viewer's eye takes through the artwork, often to focal areas. Such movement can be directed along lines edges, shape and color within the artwork, and more. See also Composition (visual arts) Gestalt laws of grouping Interior design Landscape design Pattern language Elements of art Principles of art Color theory Notes References Kilmer, R., & Kilmer, W. O. (1992). Designing Interiors. Orland, FL: Holt, Rinehart and Winston, Inc. . Nielson, K. J., & Taylor, D. A. (2002). Interiors: An Introduction. New York: McGraw-Hill Companies, Inc. Pile, J.F. (1995; fourth edition, 2007). Interior Design. New York: Harry N. Abrams, Inc. Sully, Anthony (2012). Interior Design: Theory and Process. London: Bloomsbury. . External links Art, Design, and Visual Thinking. An online, interactive textbook by Charlotte Jirousek at Cornell University. The 6 Principles of Design Category:Design Category:Composition in visual art

Miss Bolivia (singer)

María Paz Ferreyra (born 1 April 1976), known as Miss Bolivia, is an Argentine singer, songwriter, producer and DJ, who fuses styles such as cumbia, hip hop, dance, cumbia villera, and reggae. Early life and education María Paz Ferreyra was born in Buenos Aires on 1 April 1976, and grew up on a street named Bolivia in the Villa del Parque neighborhood, which became the source of her nickname. In 2001, she was on vacation in Mexico City when the corralito crisis began in her home country. She remained in Mexico for six months, working as a waitress in a Uruguayan restaurant until the financial situation stabilized. In 2004, she assisted victims of the Cromañón nightclub fire. Before entering the world of music, she studied psychology at the University of Buenos Aires, earning a postgraduate degree in ayurvedic medicine and teaching the class Anthropological Problems of Psychology. She lost her job when the PRO came to power, and decided to commit to writing songs. Career thumb|right|200px|Performing at Villa Martenilli in March 2020 Ferreyra began her artistic career in early 2008. In 2011, after having released a "pirate" EP, she released her first studio album, entitled Alhaja, and performed throughout Argentina, Europe, and Latin America. The album produced the successful singles "Jalame la tanga" and "Alta yama". In October 2013, she released her second album, Miau, through Sony Music. This contained twelve songs, including "Tomate el palo", a duet with singer-songwriter Leo García, which quickly became a hit, receiving 11 million views on YouTube. , Pocho La Pantera, and Shazalakazoo also contributed to the album. Throughout 2014, the singer performed throughout Argentina and visited Uruguay, Brazil, and Mexico. The singles "Tan distinta", "Menea", and "Bien warrior" were also successful, and the song "Rap para las Madres" was included in the 2015 film Focus. In 2017, Miss Bolivia launched her new production titled Pantera, with 12 original songs and a cover of "" by Todos Tus Muertos. The album also featured Liliana Herrero, Ale Sergi, Hugo Lobo, Andrea Álvarez, Lito Vitale, and Matando viejas con un fierro. That year, Miss Bolivia performed throughout Argentina and toured Uruguay, Brazil, and Mexico. Her song "Paren de Matarnos" was used by women's rights groups, and "Haciendo Lio" was dedicated to footballer Lionel Messi. The album also included the hit "María María", which was the main theme of the telenovela La Leona. She performed on the most renowned stages of the Argentine music circuit, such as Estadio Luna Park, Niceto Club, Ciudad Cultural Konex, and CC Recoleta, as well as participating in festivals such as Quilmes Rock, Ciudad Emergente, Urban Music Fest, BAFICI, and Trimarchi DG. In 2015, she performed at the Argentine edition of Lollapalooza. In March 2024, she released the album Bestia, featuring collaborations with Cazzu, Eruca Sativa, , , , . Activism Ferreyra is openly bisexual and is strongly linked to human rights activism. She is also in favor of the legalization of marijuana, abortion rights, and the return of territory to Mapuche peoples. On 31 May 2018, Ferreyra attended the fifteenth day of debate on the legalization of abortion in Argentina at the 15th plenary session of the commissions of the National Congress. She expressed her pro-choice position, declaring that she had an abortion in 1996 because she "had economic resources." She acknowledged that her "express abortion in the Flores neighborhood" was "a class privilege." She mentioned that she later wrongly carried "the backpack of guilt" arising from clandestinity and from "the patriarchal religious mythology." Personal life Ferreyra married philosopher Emmanuel Taub in April 2017. They divorced in April 2020, with Ferreyra filing a complaint for domestic violence. Charges against Taub were dismissed by a Buenos Aires criminal court in July 2020. Discography 2011: Alhaja 2013: Miau 2017: Pantera 2024: Bestia References External links Category:1976 births Category:21st-century Argentine women singers Category:Argentine bisexual women Category:Argentine DJs Category:Argentine pop singers Category:Argentine record producers Category:Argentine reggae musicians Category:Argentine women human rights activists Category:Argentine women rappers Category:Argentine women record producers Category:Argentine women's rights activists Category:Bisexual singer-songwriters Category:Bisexual women musicians Category:Cannabis activists Category:Cumbia musicians Category:Living people Category:Reggae singers Category:Singers from Buenos Aires Category:University of Buenos Aires alumni Category:Women in Latin music

Volodymyr Petin

Volodymyr Mykolayovych Petin (Ukrainian: Володимир Миколайович Петін; born on 6 April 1946), is a Ukrainian politician and activist who served as a member of a member of the Verkhovna Rada from 1990 to 1994. He was the head of the head of the collective farm named after the 22nd Congress of the CPSU of Heniche district, Kherson region. He is a candidate of Agricultural Sciences. Biography Volodymyr Petin was born in Dnipropetrovsk on 6 April 1949 to a peasant family, and is of Russian ethnicity. From 1966 to 1971, he was a student of the Kherson Agricultural Institute, as an agronomist. From 1971 to 1979, he was an agronomist of the collective farm "Georgia" of Heniche district, Kherson Oblast. From 1979 to 1982, he was a graduate student at the Ukrainian Research Institute of Irrigation Agriculture in Kherson. In 1982 to 1983, he was a senior researcher at the Ukrainian Research Institute of Irrigation Agriculture in Kherson. In 1983, he defended his PhD thesis "Irrigation regime and water consumption of seed alfalfa on the sandy lands of the Lower Dnipro". In 1983 to 1987, he was the deputy head of the collective farm for fodder production, the chief agronomist of the collective farm "Georgia" of Heniche district, Kherson Oblast. He joined the Communist Party of the Soviet Union in 1986, until its collapse in 1991. In 1987, he was the 1st deputy head of Genichesky RAPO, head of the department for production and processing of plant products; head of the collective farm named after the XXII Congress of the Communist Party of the Soviet Union of Heniche District, Kherson Region. On 4 March 1990, Petin was elected a member of parliament, People's Deputy of Ukraine of the Verkhovna Rada, 1st round 55.47% of votes, 2 candidates. He took office on 15 May. He left the parliament on 10 May 1994. On 18 May 2017, he was charged in a criminal case by the European Court of Human Rights in Strasbourg. References Category:1949 births Category:Living people

Bilokrynytsia Palace

250px|thumb|right|Palace in Bilokrynytsia, Napoleon Orda Bilokrynytsia Palace () is the original castle in Bilokrynytsia of the Ternopil Oblast, built in the 16th century by the Zbaraski family, and an architectural monument of local importance.Лист Тернопільського обласного центру охорони та наукових досліджень пам'яток культурної спадщини № 326 від 20 жовтня 2021 року. History In the 16th century the village came under the rule of the Zbaraski family, who built a castle here. The construction work was led by Prince Andrzej Zbaraski (c. 1498–1540), and continued by his son Mikolaj Zbaraski (c. 1540–1574). The fortress, razed to the ground by the Tatars, was raised from the ruins in 1606. After Rev. Jerzy Zbaraski, the Grand Landlord of the Crown, Grand Chamberlain of the Crown, Castellan of Kraków, starosta of Pinsk, Sokal and Radohow in 1631, the owners of the stronghold were the Wiśniowiecki family and then the Radziwill family from 1725, who received it in a bequest. In 1806 the castle, which was owned by Dominik Radziwill (1786–1813), burned down and stood in ruins for a long time. Palace Subsequent owners Czosnowski, after the 1806 conflagration, rebuilt the fortress into a palace, leaving parts of the ruins. Around 1866 Czosnowski was arrested by the tsarist authorities for his participation in the 1863 uprising and the castle was sold at auction. Along with 4,500 acres of land, it was bought by Count Aleksander Woronin, a governor-general and secret counselor and officer for especially important affairs in Kyiv. In 1862–1876 the village was visited by the famous artist Napoleon Orda (1807–1883), who depicted the palace and castle period in his drawings, when the palace had not yet been rebuilt and the old castle had not been completely destroyed. The current palace was built in the 17th century, and its appearance is the result of a major reconstruction in neo-Gothic style in the late 19th century. The new palace was almost three times larger than the previous one. Of course, at that time the stone ruins of the old castle were destroyed, hindering construction. Before World War II, the State Secondary Agricultural School operated here. Today it houses a and what remains of the castle are the defensive walls, ditches and ramparts. Architecture In the 17th century, the castle was built on a quadrangular plan with earthen bastions at the corners. Outside the castle were dug moats and the defensive walls and fortifications were of stone. It is likely that one of the castle's curtain walls adjoined the rooms of the palace along with the rest of the walls, where residential and commercial buildings could be located. References External links Bilokrynytsia Palace Bilokrynytsia Palace on drone video, 2018. Category:Buildings and structures in Ternopil Oblast Category:Palaces in Ukraine Category:Landmarks in Ternopil Oblast

Sankeng (slang)

thumb|JK uniform fashion, Hanfu and Lolita fashion shops in Guangzhou The sankeng () is a Chinese subculture fashion slang for three types of garments that JK uniforms, Hanfu and Lolita. Chinese consumers described these three types of clothes as "traps" due to their addictive nature for China's Gen Z consumers. Women within the subculture are called "Sankeng Girl" () or "Three Broken Sisters" (). Description The sankeng clothing have higher prices and faster trends moving, requiring a certain amount of energy and financial resources for research, so these types of clothing are called "traps". The primary audience of the "sankeng" is the ACGN fans aged 12 to 35. In a survey in 2021, 21.7% of respondents stated that they are attracted to relevant cultures, making their passion more adhesive. The sankeng physical stores present a dispersed and slow development situation. An article in The Paper thought the operational logic of Hanfu, JK Uniform, and Lolita clothing is not the same, which increases the difficulty of operating sankeng stores. Terminology The sankeng girls are divided into "single trap", "double traps", and "three traps" based on their preference for these types of clothes, and consumers who don't know any types of clothing from sankeng are called as "earthman". Besides, every clothing in sankeng has its own terminology, such as the term "dog short", "honor student" and "furyō" is used to describe the length of JK uniform skirts, and "jsk" (jumper skirt) and "op" (one piece) respectively refer to sleeveless and sleeveless Lolita dresses. Influence In 2020s, the sankeng fashion is one of the most popular street fashions in China. According to an analysis report by Guotai Junan Securities, the size of the sankeng clothing market has exceeded 20 billion yuan in 2020. The institution predicts that by 2025, the size of the sankeng market is expected to reach 126.6 billion yuan. LeadLeo Research Institute predicted the total market size of the "sankeng" industry is expected to reach 103.5 billion yuan by 2025. References Category:Subcultures Category:Hanfu Category:Lolita fashion Category:Japanese clothing Category:School uniform Category:21st-century fashion Category:History of Asian clothing Category:Chinese fashion Category:2010s fads and trends Category:2020s fads and trends

2024–25 Jordanian Pro League

The 2024–25 Jordanian Pro League, known as The Jordanian Pro League, is the 72nd season of Jordanian Pro League since its inception in 1944. The season started in August 2024. Al-Hussein are the defending champions of the 2023–24 season. Al Jazeera and Al-Sareeh joined as the promoted clubs from the 2023 Jordan League Division 1. They replaced Sahab and Al-Jalil who were relegated to the 2024 League Division 1. The Football Association instructions for the 2024-25 season adopted a system of relegating 4 teams from the professional league to the first division. </onlyinclude> Teams Twelve teams will compete in the league – the top ten teams from the 2023–24 season and the two teams promoted from the 2023 Division 1. The first team to be promoted was Al Jazeera, following their 4–2 victory against Kfarsoum at game week 10 on 24 November 2023. The second team to be promoted was Al-Sareeh, following their 1–0 victory against Al Jazeera at game week 11 on 3 December 2023. Stadiums and locations Note: Table lists in alphabetical order. Jordanian Pro League 2024–25 Club Location Stadium Capacity Year Formed Al-Ahli Amman, Amman Petra Stadium  6,000 1944 Al-Faisaly Amman, Amman Amman International Stadium 17,619 1932 Al-Hussein Irbid, Irbid Al-Hassan Stadium 12,000 1964 Al-Jazeera Amman, Amman Amman International Stadium 17,619 1947 Al-Ramtha Ar-Ramtha, Irbid Al-Hassan Stadium 12,000 1966 Al-Salt Al-Salt, Balqa Prince Hussein Bin Abdullah II Stadium 7,500 1965 Al-Sareeh Al-Sareeh, Irbid Al-Hassan Stadium 12,000 1973 Al-Wehdat Al-Wehdat camp, Amman King Abdullah Stadium 13,000 1956 Ma'an Ma'an, Ma'an Princess Haya Stadium 1,000 1971 Moghayer Al-Sarhan Badiah Gharbiyah, Mafraq Prince Mohammed Stadium 15,000 1993 Shabab Al-Aqaba Aqaba. Aqaba Al-Aqaba Stadium 3,800 1965 Shabab Al-Ordon Amman, Amman King Abdullah Stadium 13,000 2002 Personnel and kits TeamManagerCaptainKit manufacturerShirt sponsorFormer ManagersAl-Ahli Bibert Kaghado Yazan DahshanKelme Al-Faisaly Raafat Mohammad Bara' MareiKelmeUmniah Ahmad Hayel Al-Hussein Tiago Moutinho Ihsan HaddadKelmeAmejys Wll Management Al-Jazeera Othman Al-Hasanat Kelme Al-Ramtha Waseem Al-Bzour Hamza Al-DardourKelmeAl-Salt Diane SalehKelmeJordan Aviation Al-Sareeh Malek Al ShatanawiKelmeAl-Wehdat Ra'fat Ali Feras ShelbaiehKelmeUmniah Ma'an Ameen Phillip Ibrahim Al-RowwadKelme Moghayer Al-Sarhan Khaled Al-Daboubi Hossam Al-ZyoodKelme Shabab Al-Aqaba Raed Al-Dawoud Kelme Shabab Al-Ordon Mahmoud Shelbaieh Kelme Foreign players ClubPlayer 1Player 2Player 3Player 4Former players Al-Ahli Vivien Assie Koua Wildson Índio Abdulrhman Wishah Omar Sabbagh Hamada Maraaba Al-Faisaly Simon Diédhiou Mus'ab Al-Batat Mohamad Rihanieh Tamer Seyam Al-Hussein Abdou Aziz Ndiaye Italo Silva Jacques Thémopelé Abdul Jeleel Ajagun Al-Jazeera Wajdi Nabhan Mohammed Ayob Diego Calderón Waleed Bahar Mohammed Sandouqa Al-Ramtha Yousef Mohammad Al-Salt Ziri Hammar Qais Al-Hattab Mounir Ait L'Hadi Ahmed Shamsaldin Al-Sareeh Sameh Maraaba Ali Zakaria Al-Wehdat Marouane Afallah Ousseynou Gueye Ichaka Diarra Alain Akono Ma'an Ali Al-Masry Anoust James Innocent Abdelmalek Meftahi Mouhamed Fall Moghayer Al-Sarhan Samer Khankan Suba Al-Hamawi Shabab Al-Aqaba Amadou Sané Abdou Rafikou Atakora Shabab Al-Ordon Abdelmalek Meftahi League table Results Statistics Top goalscorers As of 31 August 2024 RankPlayerTeam Goals Mohammed Al-AkashAl-Sareeh Anas Abu TaimaAl-Ahli Mohammad AburiziqAl-Salt Hamza Al-Dardour Al-Ramtha Yousef Abu Jalboush Al-Hussein References Category:Jordanian Pro League seasons Jordan Premier League

Baghdad Messi

Baghdad Messi (Arabic: ميسي بغداد) is a 2023 drama film directed by Sahim Omar Kalifa and written by Kobe Van Steenberghe. It is about an Iraqi boy who, after losing his leg in a terrorist attack, will fight to continue enjoying his passion: soccer. It is based on the 2012 short film of the same name by the same director. It is a co-production between Belgium, the Netherlands, Germany and Iraq. It was selected as the Iraqi entry for the Best International Feature Film at the 97th Academy Awards. Synopsis Hamoudi is a little boy of 11 who loves soccer and dreams of reaching the level of his idol Lionel Messi. One day he is the victim of an attempted suicide attack in Iraq, causing him to lose a leg. While his parents strive at all costs to protect the family, Hamoudi is determined to fight to make his shattered dream come true. Cast Ahmed Mohammed Abdullah as Hamoudi Christian Renson as John Zahraa Ghandour as Salwa Atheer Adel Errol Trotman-Harewood as Duncan Atheer Adel Safa Najem Adil Abdulrahman Hussein Hassan as Bahoz Ravand Zaid as Soldier 1 Saman Mustefa as Soldier 2 Bangen Ali as Check Point Soldier Production Principal photography took place in 2021 within the Kurdistan Region, Iraq, the same place where the short film was recorded. Release Festivals It had its world premiere on January 28, 2023, at the Ostend Film Festival, then screened on March 5, 2023, at the Luxembourg City Film Festival, on June 10, 2023, at the 25th Shanghai International Film Festival, and on April 25, 2024, at the Malmo Arab Film Festival. Theatrical It was commercially released on April 12, 2023, in Belgian theaters, and on August 3, 2023, in Dutch theaters. Accolades YearAward / FestivalCategoryRecipientResultRef.2023Ostend Film FestivalLook Prize for Best FilmBaghdad MessiEnsor - Best DirectorSahim Omar KalifaEnsor - Best CinematographyAnton Mertens25th Shanghai International Film FestivalAudience Choice Award for FilmBaghdad MessiMedia Choice Award for FilmSCHLiNGEL - International Film Festival for Children and Young AudienceAward of the Junior Jury26th Arpa International Film FestivalBest Feature Narrative FilmBest DirectorSahim Omar KalifaBest ScreenplayKobe Van Steenberghe See also List of submissions to the 97th Academy Awards for Best International Feature Film List of Iraqi submissions for the Academy Award for Best International Feature Film References External links Official Page Category:2023 films Category:2023 drama films Category:Belgian drama films Category:Dutch drama films Category:German drama films Category:Iraqi drama films Category:2020s Arabic-language films Category:Kurdish-language films Category:Films set in Iraq Category:Films shot in Iraq Category:Films set in 2009 Category:Films based on short fiction Category:Films about children Category:Films about amputees Category:2020s Belgian films Category:2020s German films

Alaris, Inc.

Alaris, Inc., was an American computer hardware and software vendor active from 1991 to 2002. During the first half of its existence, the company sold high-performance x86- and PowerPC-based motherboards (manufactured by IBM) as either aftermarket upgrades for consumers or for OEMs to put in their own computer systems. Alaris also briefly sold its own computer systems. In 1996, the company pivoted to software, releasing the Videogram suite of video compression software intended for low-bandwidth websites and email. In 2002, the company was acquired in whole by a Japanese electronics conglomerate. History Hardware products (1991–1996) thumb|An original Leopard board by Alaris, built in early 1994 Alaris, Inc., was founded by Raymond Yu in Fremont, California, in 1991, as a producer of high-performance motherboards for personal computers. The company operated in stealth mode for the first two years of its existence before announcing in March 1993 that it had signed a contract with IBM for the latter to produce PC motherboards based on Alaris's specifications from IBM's Microelectronics plants in Burlington, Vermont, and Charlotte, North Carolina. Alaris's motherboards initially made exclusive use of IBM's 486SLC line of processors, a licensed clone of Intel's i486SX which IBM introduced in 1992. Alaris paid IBM US$127 million for the contract, representing a total shipment of several hundred thousands of motherboards. Yu had previously considered Solectron and SCI Systems as manufacturers of their motherboards but ultimately turned to IBM for their more rigorous testing services and three-year warranty program. By 1994, Alaris was one of IBM's largest customers, as well as one of the most popular vendors of IBM's x86-based processors. Said Yu the previous year: "I don't consider [IBM] a contractor. I consider them a partner". Alaris' first motherboard, the Leopard, was announced in July 1993 and began shipping later in the year. The motherboard was equipped with the 486SLC2 clocked at 66 MHz, featured eight ISA slots (two with VLB extensions), and was upgradable to 16 MB of RAM. In August 1993, Alaris announced the fully 32-bit Cougar motherboard, which came equipped with IBM's "Blue Lightning" 486BL processor clocked at 75 MHz (25 MHz internal bus) onto a socket supporting an optional aftermarket Pentium OverDrive, seven ISA expansion slots (two with VLB expansions, one of which is preoccupied with a VLB disk controller card), and an i387SX math coprocessor. The Cougar was incorporated onto Alaris' first computer system, the Alaris Cougar EnergySmart PC BL3X/75, released in the summer of 1994. The computer system received generally positive reviews in InfoWorld and PC Magazine, with writer Tom Albano of the latter publication considering it superior to IBM's own Ambra Lightning 100 system, despite the latter's processor being clocked faster at 100 MHz. In April 1994, Alaris introduced the successor to the original Leopard, the Leopard Plus, which shipped with the same 486SLC2 processor clocked at 66 MHz but put it on a Pentium OverDrive socket like the Cougar and added an additional VLB slot, a flash-upgradable BIOS ROM, a COAST slot for extra processor cache, and optimized support for the company's EnergySmart power conservation software. In June 1994, Alaris became one of the first computer systems manufacturers outside the Apple–IBM–Motorola alliance to announce a desktop computer system based on the PowerPC platform. The company slated their PowerPC offerings for a late 1994 release, pending the delivery of the PowerPC version of IBM's OS/2 (later released as Workplace OS in 1995), as well as Microsoft's Windows NT 3.5 for PowerPC. In November 1994, Alaris introduced the Cian line of upgradable computers, which had the ability to change the computer bus between multiple standards through a riser card on the motherboard. One such option was to upgrade the bus from x86 and ISA to PowerPC and PCI. In fall 1994, Alaris became the first company to ship a computer with NexGen's Nx586 processor, which was a competitor to Intel's Pentium processor manufactured at IBM Microelectronics in Burlington. Their partnership was announced in July 1994, with the first computers, based on the 60- and 66-MHz Nx586 processor, slated for a September 1994 release. In August 1994, Alaris upgraded the terms of their agreement with NexGen, with Alaris becoming NexGen's primary developer of motherboard specifications and other hardware products for OEMs. By late 1994, Alaris had released VLB computer systems with 90- and 100-MHz versions of the Nx586. In 1995, they delivered a 100-MHz Nx586 system. Alaris supplied NexGen-based motherboards to several other computer systems manufacturers during this time, including Aberdeen, Inc.; Blackship Computer Systems; Datastor; Duracom Computer Systems; Maximus Computer Systems; and Tangent Computer. Alaris announced their first graphics card with the Stinger in November 1994. Released in the following January, the Stinger is a 64-bit PCI card based on S3's Vision864 GPU; with the stock 1 MB of VRAM, it supports up to 24-bit color at a 800-by-600-pixel resolution or 8-bit color at 1024-by-768-pixel resolution. With 2 MB of VRAM, the Stinger supports a maximum resolution of 1600 by 1200 pixels. Alaris followed up the Stinger with the Matinee, also PCI-based and which came with 2-MB of VRAM stock. Videogram (1996–2002) In 1996, Alaris began shifting away from motherboard and graphics card design in favor of developing software for compressing digital video into file sizes and bitrates appropriate for the computer hardware of the time. That year, the company hired Ilya Asnis, an immigrant of Saint Petersburg who developed a software package capable of transcoding video into very small file sizes, appropriate for sending via email as attachments. Alaris named the software Videogram and released it in March 1996. The Videogram suite comprised three products: the Videogram Player software, for playback; the Videogram Packager software, for transcoding; and the Quick Video Transport ISA TV tuner, for grabbing video from composite video sources. The original Packager software resampled the video down to a resolution of 320 by 240 pixels at 15 frames per second, capable of compressing a 5-MB video file down to 210 KB. Both the Videogram codec and the QuickVideo ISA card were developed in-house at Alaris; unlike most other video compression solutions at the time, Alaris' codec was not based on MPEG. In August 1996, Alaris developed a professional version of the Videogram software aimed at the industrial Web video streaming market. Alaris briefly returned to the computer system market after announcing that they had signed on to produce a PowerPC motherboard based on Motorola's Yellowknife reference design in November 1996. However, their partnership with Motorola was limited to producing boards as OEM evaulation units and proved fleeting. In February 1998, Alaris released the QuickVideo DVC I, a webcam and general-purpose video camera capable of recording video at a resolution of 508 by 492 pixels at 30 frames per second at 24-bit color. Alaris pre-packaged the DVC I with the Videogram Creator software (essentially the Player and Packager software rolled into one package). In 2002, Alaris was acquired in whole by a Japanese electronics conglomerate. References External links Category:1991 establishments in California Category:2002 disestablishments in California Category:American companies established in 1991 Category:American companies disestablished in 2002 Category:Computer companies established in 1991 Category:Computer companies disestablished in 2002 Category:Defunct computer companies of the United States Category:Defunct computer hardware companies Category:Defunct computer systems companies Category:Defunct software companies of the United States Category:Motherboard companies

Juan Isidro Pérez

Juan Isidro Pérez de la Paz (November 19, 1817 – February 7, 1868) was a Dominican activist who was a key member and co-founder of the secret society La Trinitaria. He was a hero of the Dominican War of Independence. Early life He was born in Santo Domingo on November 19, 1817. He was the son of María Josefa Pérez de la Paz y Valerio (1788–1855), and the priest Valentín Morales. He was the uncle of Juan Isidro Jimenes and brother-in-law of Manuel Jimenes. He was a student of Gaspar Hernández, with whom he studied Latin and philosophy. He was also known for his skills as a swordsman. Activism He actively fought against the Haitian leader Jean Pierre Boyer in the Reform Movement carried out in Praslin in 1843. That same year, he was declared captain of one of the companies of the National Guard. Due to the persecution launched by the Haitians, Juan Isidro Pérez was one of the rebels who was forced to abandon the cause along with Juan Pablo Duarte and Pedro Alejandro Pina. They returned months later in March 1844 aboard the schooner-brig Leonor, shortly after the Dominican independence was proclaimed. Following the coup d'état led by Brigadier General Juan Pablo Duarte on June 9, 1844, he served as Secretary of the Central Governing Board of the Dominican Republic. On July 15, two days after Major General Pedro Santana had been proclaimed Supreme Chief, Perez went to the Central Board to inform it of its reorganization. During those moments, Pérez had an incident with a supporter of Santana, called Juan Ruiz; Ruiz claimed that the Board had been dissolved after the proclamation of Santana as Supreme Chief and Pérez would protest against this declaration. They went from arguing to threatening each other and then things escalated after they took out their weapons; Santana would intervene to avoid a tragedy but Pérez would shout at him in a threatening manner: "If Rome had a Brutus, Santo Domingo has one too." Some of Santana's officers, believing that it was a plot to assassinate him, rushed out to the Plaza de Armas while shouting: "To arms, to arms; assassinate Santana." The entire population went to the Plaza de Armas; Some people said "the general is dead" and others shouted: "No, nothing has happened to him, General Santana is alive." Pérez was saved from a lynching by the Seyban troops, devotees of Santana, by the intervention of Colonel Felipe Alfau and was welcomed in the house of the French consul, Eustache Juchereau de Saint-Denys. On August 22, he was exiled along with Juan Pablo Duarte and other activists and declared a "traitor to the country" by the Santana government. In exile he showed signs of dementia, returning to the nation in 1848. Pejoratively called "The Illustrious Madman," he was imprisoned several times. Death He died on February 7, 1868, of cholera, in the Military Hospital of Santo Domingo. See also Juan Pablo Duarte Pedro Alejandro Pina La Trinitaria Dominican War of Independence References Category:1817 births Category:1868 deaths Category:Dominican Republic independence activists Category:Dominican Republic revolutionaries Category:People of the Dominican War of Independence Category:Dominican Republic people of Spanish descent Category:Dominican Republic people of Portuguese descent

Kashmiri Marsiya

thumb|Compilation of Kashmiri Marsiya, biyaz copied in 1730, Srinagar The Kashmiri Marsiya (Kạ̄shir Marsī کٲشِر مَرثی) is a commemorative and devotional literary genre that closely resembles an elegiac poem, which is primarily used to mourn the martyrdom of Husayn ibn Ali at the Battle of Karbala. Marsiya is a loan word in the Kashmiri language, borrowed from the Persian word (), which is itself derived from the Arabic word (). Unlike the Arabic and Persian , the Kashmiri goes beyond the constraints and conventions of an elegiac poem. In its classical form, the assumes the shape of an elaborate prose that imitates the rhythmic prose associated with the Quran. The writer of a is referred to as an author () rather than a poet (""). History Initial reception The oldest trace of a in Kashmiri language dates to the 15th century CE and comprises a short, loose elegy composed on the death of a Sufi, Nund Rishi (d. 842AH/ 1438CE), by his women disciple, Sham Bibi (d. 1446). The first elegies written in Kashmiri to commemorate Husyan's martyrdom also date from the same period in works composed between the 15th and 16th centuries. These include written by two poets from the Musavi familyThe descendants of the seventh Shia imam, Musa al-Kazim (d. 799CE) are known as Musavi Sayyids., Qasim bin Yusuf Din Shah, and his nephew Hakim Din ShahThe postscript written at the end of a attributed to Hakim Din Shah mentions: "This lament was written by Hakim Ibn Musa Ibn Yusuf Din Shah during the reign of Badshah". See, Hamdani, Hakim Ghulam Safdar (2009). (in Kashmiri) (2nd ed.). Delhi. Skyline Publications. in and around 811- 850 AH (1409-1446CE), during the Shahmiri Sultanate (1339-1561CE). Another work that survives is of Ahmad, a poet who hailed from Ahmadpora, a Shia centre of learning in medieval Kashmir. Modern researchers have characterised this period commencing with the rule of Sultan Sikandar (r. 1389-1413 CE) and ending with the demise of the short-lived Shia Chak Sultanate (1561-1586 CE), as the first stage in the development of Kashmiri . Significantly contemporary medieval texts originating from within Kashmiri Shia circles make no mention of Muharram assemblies to commemorate the martyrdom of Husayn ibn Ali, or of traditions linked with the writing of in Kashmiri.These include the tazkira originating within the Nurbakshiyya Sufi order, see, Ali, Mulla Muhammad Ali (2006). Jan, Ghulam Rasul,(transl.). Tuḥfatūl Aḥbāb (in Persian). Srinagar: Jan Publications. This includes both hagiographical works () as well as political histories () of the region authored by Shia writers. Aside from a few anonymous works, the names of the following poets who composed in this period survive: +Kashmiri Writers ( 15th-16th century)AHQAhmadHakim bin Musa ibn Yusuf Din ShahQasim ibn Yusuf Din Shah Development The development of the Kashmiri coincides with Mughal (1586-1753 CE) and Afghan rule (1753-1819 CE) in Kashmir. This period saw the consolidation of Persian, both as the court language, as well as the preferred language of the urban elite, completely eclipsing native Kashmiri. Many Persian poets who arrived at the Mughal court from Persianate lands, made Kashmir their home, settling down in the capital city, Srinagar. Some, including two poet laureatesThese include Hajji Jan Muhammad Qudsi, Abu Talib Kalim Kashani, see, Sharma, Sunil (2017). Mughal Arcadia: Persian Literature in an Indian Court. Cambridge: Harvard University Press. ISBN 978-0-674-98124-9. ( malik-u shoura) at the imperial court are buried in the cemetery of poets (Kashmiri: Mazar-i Shoura or Mazar-e-Shura) located on the foothills of Takht-i Suleiman, Srinagar. With the official promotion of Persian, the vernacular Kashmiri went through a period of steady decline. This is also witnessed in the written during this time. Ahmadpora in North Kashmir served as a major nucleus for writing during this period, with many sayyids from the RizviRizvi Sayyids trace their descent to the eighth Shia imam, Ali al-Rida (or Reza). The descendants of the tenth imam, Ali al-Naqi are also referred to as Rizvi (or Naqvi Sayyids). family following this tradition. Some of the prominent poets who composed during this time include: +Kashmiri Writers ( 17th-mid 18th century)AMQAqa Sayyid Mahmud TabriziMir Sayyid Muhammad AbbasQazi Ahmad AliBMir Sayyid Muhammad JafarQazi Ahmad DinLike Qazi Ahmad Ali, Ahmad Din was also a Sunni from the town of Varmul (Baramulla), who converted to Shiism, see, Hamdani, Hakim Ghulam Safdar (2009). Aush ti Aab (in Kashmiri) (2nd ed.). Delhi: Skyline Publications.Baba Muhammad JawadMirza Jawad Ali Khan KaaniSHMirza Jaza-al LahSayyid FakhirAccording to Shafi Shauq, Fakhir (d. 1780) also introduced the genre of ghazal into Kashmiri language, see, Shauq, Shafi and Munwar, Najji (2008). Kashir Zaban ti Adabuk Twarikh (in Kashmiri). Srinagar: Ali Muhammad & Sons. pp.125-127. ISBN 978-81-921925-7-4Hassan Khan ibn Muhammad TaqiMuhammad Yahya ibn Ahmad KhanSayyid Jafar NajafiKMuhammad AzamSayyid Mir Arab ShahKhawja Muhammad FazilMulla Abul Hakim SatehSateh also served as the companion of the Mughal emperor, Farukh Siyyar (r. 1713-1719), before returning to Kashmir after the emperor's execution.Sayyid Mir Muhammad AbbasKhawja Hassi Bhat NadanMulla Ahmad NishapuriSayyid Mir Sharf-al Din RizviKhawja Muhammad TabriziMulla Ibrahim MunjimMulla Ibrahim Munjim (or Mulla Abdul Rahim Munjim) served as the tutor of Nawwab Ibrahim Khan (d. 1709), who served as Mughal Governor of Kashmir in 1662-63, 1679-86, 1701-05 and 1709. See, Kashmiri, Mirza Muhammad Ali (2009). Barzegar, Dr. Karim Najafi (ed.). Tazkira-i Zafran Zar (in Persian). Tehran: Society for the Appreciation of Cultural Works and Dignitaries.Sayyid Amir-al Din ZakhirMMulla Muhammad MahdiSayyid Saleh RizviMir Ahmad Ali TusiMulla RehmanUMir Arab Shah RizviMusa Khan ibn Muhammad Taqi al-HaeriUstad Muhammad JaferMir Saif ibn Mulla Khalil Munjim Emergence of The beginning of the nineteenth century CE marked the revival of the Kashmiri language, though Persian continued as a court language till 1889 CE. During the late eighteenth century through the nineteenth century CE, a new form of writing in Kashmiri emerged, signifying a major evolutionary phase in this literary genre. Literary critics refer to this period as the age of classical writing or (). The that emerged during this period is structured around four fixed stations known as , which define the thematic content. Each , in turn, completes a stanza— ( )with a parallel internal structure. Two writers from North Kashmir are credited with this innovation: Qazi Ahmad Ali (d. 1800 approx.) and Khwaja Hasan Mir (d. 1826 CE). Qazi Ahmad Ali, originally a Sunni from Varmul (Baramulla), converted to Shi’ism and formalized the s within the . He was a senior contemporary of Khwaja Husayn Mir, a cultivator residing in the village of Habak. Husayn Mir, popularly known as Hussi Boii (), significantly popularized the new form of among the urban elite of Srinagar. He also made innovations to the internal structure of the . Additionally, he introduced the poets of the Mulla family in Srinagar, who were accustomed to composing in Persian, to this new form of Kashmiri . Over the next two generations, the Mulla family produced successive writers. The earliest composers of Kashmiri in the Mulla family include Mulla Hakim Muhammad Azim (1803-1852CE), Mulla Munshi Muhammad Yusuf(1798-1885 CE) and Mulla Munshi Shah Muhammad (d. 1850 approx.).Also see, Baqir, Sayyid Muhammad (late 19th century). Risala Saif al Saram (in Persian). Lahore. Hakim Azim and Munshi Yusuf played pivotal roles in enhancing the poetic beauty of , transcending the constraints of its elegiac form. In an epistle written to Khan Bahadur Sayyid Rajib Ali Khan (d. 1869), Azim highlights how he envisaged Marsiya as a symbol of Shia identity, and also his own role in reshaping the literary contours of this genre:Having sent that for such a long time at an adverse fate, I necessarily intended to bring out the shinning pearls of its sad contents, which I had spun together in new ways, and arrange it on the lines of a Kashmiri Marsiya.During the nineteenth century, alongside Srinagar, another notable centre for writing emerged in the village of Gund Khwaja Qasim, under the stewardship of Khwaja Muhammad Baqir Gundi (d.~1834CE). The tradition was greatly advanced by his son, Khawja Abdullah, and a student Mirza Aboul Qasim (d. ~ 1853CE). The works of Mirza Aboul Qasim would achieve great public acclaim, and he remains the most prolific and popular writer to date. During the first half of the 19th century, many Kashmiri Marsiya writers left for Faizabad and Lucknow, seeking patronage at the court of the Shia rulers of Awadh. These include Munshi Qasim, Munshi Shah Muhammad, Khwaja Abdullah, Munshi Safdar and Mirza Aboul Qasim. Oral traditions preserved amongst the Kashmiri Shia community maintain that Munshi Safdar was a close confidante of the last king of Awadh, Wajid Ali Shah(r. 1847-1856), and was poisoned due to court intrigue. Some of the main writers from this period are: +Kashmiri Writers ( 19th-mid 20th century)HMMHakim Ghulam RasulMulla Hakim Muhammad AzimAzim was intimately connected with the Sikh and Dogra court and used his official position to further the interests of Kashmir Shia Muslims. He was the only Muslim Chief Jagirdar who enjoyed the confidence of the first Dogra ruler, Maharaja Gulab Singh, serving as his Chief Physician as well as the custodian of the Sericulture industry (daroga-i kiram kashan), see, Zuthsi, Chitralekha (2003). Languages of Belonging: Islam, Regional Identity, and the Making of Kashmir. Delhi: Permanent Black. p.73. ISBN 81-7824-060-2 (1803–1852)Munshi Ahmad Ali Ghazi (1853–1923)KMulla Hakim Muhammad Jawad (1891–1946)Munshi Muhammad Safdar (~ d. 1850's)Khwaja Abdullah GundiMulla Munshi Haider (1872–1941)SKhwaja Husayn Mir (~d. 1820-30's)Mulla Munshi Hasan Ali (1866–1933)Sayyid Muhammad RizviKhwaja Muhammad Baqir GundiMulla Munshi Ihsan-al Lah (1838–1925)Sayyid Mustafa RizviKhwaja Muhammad DaimMulla Munshi Muhammad Abbas (1869–1944)MMulla Munshi Muhammad Ali (1829–1902)Mirza Aboul Qasim (~ d. 1853)Mulla Munshi Muhammad QasimQasim was also an acclaimed calligrapher, for details see, Hamdani, Hakim Sameer; Qureshi, Mehran (11 January 2024), "The Art of the Book in Early Modern Kashmir", The Routledge Companion to Global Renaissance Art, New York: Routledge, pp. 300–315, doi:10.4324/9781003294986-25, ISBN 978-1-003-29498-6, retrieved 24 August 2024 (~d. 1840-50's)Moulvi Abdullah AnsariMulla Munshi Muhammad Sadiq (1897–1972)Mulla Hakim Abdullah (d. 1887)Mulla Munshi Muhammad Yusuf (1798–1885)Mulla Hakim Habib-al LahHabib also left a diwan of Persian poetry. Outside the genre of marsiya he is also known for his satirical poetry which brings to the fore various aspects of Kashmiri society in the 19th century, these include, Greias Nama and Sehlab Nama. See, Kazmi, Anees, and Manzar, MY (1981). Kuliyat-i Hakim Habib-al Lah (in Kashmiri). Srinagar: J&K Academy of Art, Culture & Languages.   (1852–1904)Mulla Munshi Mustafa Ali (1814–1889)Mulla Hakim Hasan Ali (1870–1915)Mulla Munshi Shah Muhammad (~d. 1850's) In the post-Independence period, the tradition of writing was greatly reduced, with most poets engaging in composing in the easier, shorter genre of nauha. Some writers who have produced that are recited publicly include, Sayyid Aboul Hassan Zigum, Sayyid Anis Kazmi and Sayyid Muhammad Chatergami. The main writers from this time are: +Kashmiri Writers (mid 20th century- onwards)ASZAga Sayyid Abbas MusaviSayyid Akbar HashmiZulfiqar QasmiAga Sayyid Aboul Hasan ZigumSayyid Anis KazmiGSayyid Asad-ul Lah SafviGhulam Husayn KhaksarSayyid Muhammad ChatergamiMSayyid Sami-ul Lah JalaliMoulvi Muhammad Yusuf Structure According to Hakim Ghulam Safdar Hamdani, Kashmiri evolved from a native tradition used to mourn the death of a family member, known as (). Expressed in the vernacular, in its original form does not assume a poetic structure, nor does it seem to have been consigned to text. This is a view generally held by most writers who have looked into the evolution of . The arrival of Muslim preachers in Kashmir during the fourteenth and fifteenth centuries resulted in the gradual introduction of practices and traditions prevalent in the Islamic world into Kashmiri society, including that of . A surviving from this period starts with a verse in Persian followed by its translation in Kashmiri in the same meter. In its classical form, the is divided into four thematic sections: (), (), or (), and (). Sometimes, a may also include a small section of supplications (dua), but this is very rare. The elegiac content is limited to the last section, . While hamd and na’at are based on a single (stanza), madah sometimes includes multiple . The dard section of the comprises twelve to fourteen , though this can sometimes extend up to nineteen. Each is further divided into verses of varying length, based on the nature of sound: ascending or descending in which they are recited. This recital quality of the verse also defines its metrical pattern, (Kashmiri: ). Based on the , verses in each are classified as , , , , and . Each component retains a different qafiya (rhyming pattern) and radif (refrain word) which gets repeated in subsequent . Unlike in Arabic, Persian or Urdu,  the classical Kashmiri is nearer to the tradition of masnavi, with each composed under a specific title (Kashmiri: ). The title of a , dictates the writer's choice and selection of words, phrases, metaphors, and other literary devices. Similarly, much like in Persian masnavi, the initial section of a Kashmiri includes introductory and body paragraphs () in praise of Allah (), in praise of Prophet Muhammad (), his family the Ahl-i Bayt () before proceeding to the elegiac section (). In his with the title '' (The Door), Hakim Azim starts by invoking Allah in these verse:Yā Allāh Humēsha soun dāb jurm-o khatā Choun bāb jūd-o 'atā (transl.) O Lord! Our ways are of incessant crimes and transgressions Yet we arrive at your threshold, of generosity and benevolence Title () A is composed keeping in consideration the title (), which is adopted for it. The unwan serves as the framed plot for the which is then elaborated in the various thematic sections of the work. Some major titles under which have been composed include: +CategoryTitleCategoryTitleCategoryTitleCategoryTitleCategoryTitleReligious subjectsAllah-o AkbarCrafts & ProfessionAhangiriInnate objectsAayenaBody partsBazooEmotions & ActsDostiAsul-i DinHikmatAftabChashmDuzhdiFaro-I DinInshaAngushtriDastHasadHajjKakazgiriBiyazDilHayaHamd-o SipasKarChiragDimagJahalatImammatKimiyaGouharGoshKhamoshiJihadNaqashiHinaJismKhayalKaabaPadshahiJahazMouRiyaKarbalaQaziKishtiNakhunSabrMirajRangreziKuhPushtSharafatNimazSahafiLalQafasTifliPaigambiriSarafiLibasRouUlfatQuranSaudagiriMashkZubanHistorical PersonalitiesDaraRamzanWaazNamakNatureAabIssaSajdaZamindariSangBaharJamshedShan-i AllahSatoonGul-i LalaMusaWahdatTasbihHamesh-i BaharSikandiriNargisYusuf Translations The grammatical structure of Kashmiri language; the heavy dependence on idiomatic expressions and the contextual nuances with multiple layers of meaning that form the essence of a successful Kashmiri are invariably lost in attempts at translation even in languages such as Urdu. Still, there have been attempts with limited success at translation in Urdu, starting with the 1960s and 1970sThe first translations undertaken in Urdu include those by Hakim Ghulam Safdar and Munshi Muhammad Sadiq.. An English translation of the , (The Book) was composed by Mulla Hakim Azim in 1253AH/ 1837 CE. See,Sajjid, Maqbool (2000). Kuliyat-i Hakim Azim wa Munshi Muhammad Yusuf (in Kashmiri). Srinagar: Imam Hussein Research & Publishing Centre. p.22., seeks to capture the spirit of some of the main verses: (The Book) thumb|A biyaz of Kashmiri Marsiya compiled in Calcutta, 1283AH/ 1866CELord! Bestow thy grace that I may pen thy book of eulogy. Accept my offering of , so I may commence my learning. And, the light of thy essence may dawn in the gloom of my ignorance, so that I may remember anew that eternal pledge of allegiance. Men learned listening of thy attributes fall into veils of despair. Oh! That one may grasp but an atom of thy creation, thy purpose. Even the Prophet, that eloquent tongue, read there instead. What disrespect then, that tongue-tied I, may extol thy creation. The universe itself is a whirl teaching thy essence. The moon outshining the stars in perpetual motion-lighting thy creation: teaching. And yet men at the nadir of life glaze at that page of enlightenment: first and still unread. The page of thy messengers was sealed, when for his last message, the Lord from the seminary of creation choose Muhammed, The Seal of Prophets. to correct, to complete his teachings. Angels and spirits salute: “Praise the teacher who made the sun re-read its course, split the moon, a sign to learned men. The un-lettered who opened the pages of God’s testament. All learners, aspirers cried, no knowledge that knows not he”.thumb|Mention of Kashmiri Marsiya writers in a 19th century work, Risala Saif al SaramWhat can I then extol his grace whose eulogy is in the Quran itself. He for whose sake, Ibrahim, Adam nay, the universe itself was created from the uncreated self! In the name of Allah, the merciful, the compassionate. Lo! I praise Ali, the door of all knowledge, all essence. The one who cleaved, truth from untruth. The Spirit of Islam, keeper of the Prophet’s Garden, his helper. Verily, they are the two who from the Lord received knowledge in its essence. If all the leaves and flowers were penned in his praise still would remain un-written, unread, his nobility, his grace. For the Prophet and Gabriel praised him as the Lord had praised himself. He was the speaking Quran raised on the Prophet’s shoulder. Whose pulpit was out of the grasp of the sky and heaven. What then, can I say of that martyr? Come let us raise the cry of salutations, heavens are his who but pens a line in his praise. Oh! What calamity, what times? What befell the Imam? Look how the Kufi’s, bookless, repaid the Prophet for his teachings. How they honour him? How they respect his sanctity? Look how the heads of his children’s Are raised on lances; offerings of Shumr to Yazid. With the Quran around his neck Husayn had approached Ibn Saad at Karbala. “Oh, tyrant! I am the sage ever ready for the death, but know you not, that Quran was revealed to us. Surely the world knows of it or have you not read the Sura Muhammed? My Grandfather had preached in his sermons time and time again Oh! Muslims I leave but two gifts with you, the Book and my Family maintain their sanctity always for they represent me. Lo! Today you are forsaking the Prophet’s teaching, how then will you face him tomorrow in ? Lo! But which religion asks of you to kill me? From which book of the law do you issue my death warrant”. Alas! What had fate written for Zainab? To re-live, re-read, recite the woes of Muharram! Alas! her night, her days spent in anguish, in fear, in lament! When the day would dawn in the dark dungeon she would remember anew her nephews, her lost children, and cry: “Wake! The time for lessons has come it honors you nought to dwell in slumber. The teacher is in waiting, go and pay your salutations, Or, if with Grandfather you are studying, tell him then of Umar-i Saad his tyranny, his acts of terror. Alas! What fate? What destiny? I am left to lament, my family; my burden, my arms tied; my back broken. Oh! but that I could see, Ali Akbar opening his book, Asghar; stammering in his lessons. Alas! The Prophet’s progeny rendered desolate. Alas! Eighteen brothers of Zainab, slaughtered under the sword. Textual record So far around five hundred written during the nineteenth century have been collected and published. These have been mapped from manuscripts, known as , which have been copied in not only Kashmir but also in major cities of colonial India, including Amritsar, Lucknow, Faizabad, Calcutta and in far-off Kabul (Afghanistan). According to Shafi Shauq, Kashmiri literature is the oldest genre within Kashmiri literature that has been consigned to a preserved written form:[...] Within Kashmiri language, 's are the first with a written literature.Shauq, Shafi and Munwar, Najji (2018). Kashir Zuban ti Adabuk Twarikh (in Kashmiri). Srinagar: Ali Muhammad & Sons. p. 91. ISBN 978-81-921925-7-4The oldest compilation of literature in Kashmir in a manuscript form (biyaz) dates back to 1725, when Kashmir was under Mughal rule. Other compiled during the 18th century include those written in 1769 and 1794. Of the written, more than a hundred are still recited in public mourning ceremonies across Kashmir. as a performance thumb|Performance of marsiya at Marak Imambada, Zadibal, Srinagar. in Kashmir manifests as public performances, primarily recited during mourning assemblies [Kashmiri: majlis ] held within an imambada. After composing a , the hands it over to the , whose responsibility is to recite it in the public. Historically, the refrains from reciting his work, this is the role of the . The role of a is hereditary,Prominent zakir families in Kashmir who continue to practice the art include: the Fakir family (Budibog), Khwaja family (Gund Khwaja Qasim), Malik family (Tangmarg), Rather family (Hanjjiyar), Sufi family (Magam), and various branches of the Sayyid family. See, Sajjid, Maqbool (2013). Kashir Marthiauk Safar: An anthology of Kashmiri Marsiya (in Kashmiri).Srinagar: J&K Academy of Art, Culture and Languages. p. 155. with the right to recite any assigned being passed down from father to son. Within the imambada, both men and women collectively recite the . Typically, the imambada is a two-story space, with women occupying the upper floor, physically and visually separated from the men by latticework screens or curtains. This follows the Muslim practice of women's seclusion (purdah), which is rigorously followed in a . The primary reciter, known as a , receives assistance from a group of 7 or 12 men sitting in a circle called the . These men are referred to as s. The congregation forms multiple concentric circles, radiating outward from the daireh, with the moving from one end of the congregation to another. The same practice is followed in performed at homes. A jug of water and soil of Karbala (Kashmiri: khak, or khak-i shifa) is kept in the middle of the on a cloth spread. One of the earliest descriptions of the performance of a Kashmiri is recorded in the travelogue written about Kashmir in 1928.The travelogue was written by a Muslim woman from Hyderabad who also worked for India's freedom and greater women's emancipation, see, Mirza, Sughra Humayun (1930). Rahbar-i Kashmir (in Urdu).Hyderabad: Azam Press. The travelogue describes the performance in the main imambada of Srinagar, Marak,The first imambada built in Kashmir at Zadibal, Srinagar is known in the vernacular as Marak. For details, see, Hamdani, Hakim Sameer (2015). "The Maarak and the Traditions of Imamabadas in Kashmir" Marg (September–December). Mumbai. in these words:In Srinagar there is a moḥala Zadibal where many Muslims live, and there are many Shiʿi in this moḥala. The majlis happens here. Sayyid Shāh Jalālī is a big jāgirdār and zamindār and the father-in-law [i] of his son is trader of pearls [. . .]. All of us went to Jalālī Ṣahibs place [. . .]. After lunch we went to the imāmbāda which is near his house. The majlis starts at six in the morning and continues till six in the evening. The majlis is read in the Kashmiri language and the imāmbāda is very large. There are buildings on all four sides, in the middle there is a lower ceiling supported on thirty-five columns, under which the majlis takes place [. . .]. The buildings on the four sides are two storied, the upper floor is in wood and has delicate wooden jālīs (screens). It is here (behind the jālīs) that women sit and listen to the majlis. The lower and the central floor is used by men. From morning till evening whoever desires, may come and be a part of the majlis. When men enter the majlis they remove their coats and turbans. All the men in the congregations were bareheaded. The marṣiya khwanī adopted here is distinct from that in the entire world [. . .]. In the end, Moulvi Imdād ʿAli Ṣahib of Lahore did marṣiya khwanī (recitation of elegies commemorating Ḥusayn b. Ali’s martyrdom). He stood up and said that today, I will recite a marṣiya in Urdu, because Sayyid Hemayun Mīrzā Ṣahib who has arrived in Kashmir from Hyderabad is present with us in majlis. References Category:Kashmiri language Category:Kashmiri literature

Rika Nakagawa

is a Japanese actress, tarento, and voice actress who is affiliated with Sun Music Production. Starting her career as a member of a Hokkaido-based idol group, she also appeared in various television shows and events in Hokkaido before moving to Tokyo to continue her career while studying at Keio University. She portrayed Momiji Itō in the mixed-media project Shine Post, as well as Kanata Misora, the protagonist of the anime series Narenare: Cheer for You!. Career Nakagawa started her career as the member of the Hokkaido-based idol group Peaceful. While in her second year of junior high school, she decided to apply for talent auditions through the magazine Monthly De View, ultimately deciding to affiliate with Sun Music Production. Nakagawa participated in Kodansha's annual Miss iD talent audition in 2014, where she was one of the semi-finalists. She also began modeling for magazines such as Shueisha's Weekly Young Jump from 2014. She appeared in HTB's Hiragashi Garakuta-Dan variety program in 2015 and 2016, as well as hosting the TV Hokkaido program Switchin! from April 2016 to September 2017. As an active high school student, in August 2016 she participated in a national speech competition organized by the Ministry of Education, Culture, Sports, Science and Technology in Hiroshima, where she won the top prize in the debate category. She appeared in the 2017 film Shashin Kōshien 0.5-Byō no Natsu; her work in the film led her to delaying taking university entrance exams. After graduating from high school, Nakagawa moved to Tokyo to further her entertainment career and pursue higher education, enrolling at Keio University's Faculty of Policy Management in 2017. She was also appointed as ambassador for Higashikawa, Hokkaido in 2019. She was cast as Momiji Itō in the mixed-media project Shine Post. In 2024, she voiced Kanata Misora, the protagonist of the anime television series Narenare: Cheer for You!; she and her co-stars also performed the series' opening theme "Cheer for You!" and ending theme "With" under the name PoMPoMs. Filmography Anime Shine Post (2022) as Momiji Itō Narenare: Cheer for You! (2024) as Kanata Misora References Category:1998 births Category:Keio University alumni Category:21st-century Japanese actresses Category:Living people Category:Voice actresses from Sapporo

María Eugenia Ríos

María Eugenia Ríos Romero (4 August 1935 – 1 August 2024) was a Mexican actress. Among her most notable works were the telenovelas she participated in, namely Pablo y Elena (1963), El medio pelo (1966), Rubí (1968), Chucho el Roto (1968–1969), and Desencuentro (1997–1998). Biography Early life María Eugenia Ríos Romero was born on 4 August 1935 in Mexico City, the daughter of Roberto Ríos. Since her childhood, her brothers noticed her fondness for theater, and she herself declared that she was excited to see actors in the movies, being especially influenced by her father, a worker at the Churubusco studios who used to take she and her brothers to his work to see how Mexican films were made. Thanks to her father's job, she had an academic education in some of the best private schools in Mexico City, including "Queen Mary", an institution run by nuns, which Ríos left when the director found out about her desires to be an actress, deciding not to return because of the attitude that the school's management took with her. When she told her father of her intentions to study acting, he refused and opposed due to his strict way of being, to the point of stopping talking to her. However, Ríos eventually accepted, after being given the condition that she would be allowed to study the art if she also pursued a degree. As a result, she trained as a bilingual secretary at the Universidad de las Américas, A.C., from which she graduated at the age of 17, while also taking English and acting classes at City College. 1954–2003: marriage and artistic consecration In 1954, Ríos began her formal training as an actress at the Andrés Soler Academy, belonging to the National Association of Actors (ANDA), where she had as teachers Celestino Gorostiza, Salvador Novo, and Seki Sano. The same year, she made her acting debut at the Palacio de Bellas Artes, where she starred in a play by the American playwright Arthur Miller, to which she was invited by Sano. Two years later, in 1958, she was contacted by Fernando Soler to invite her to go on a theatrical tour, where she met the actor Óscar Morelli; according to her, they both fell in love at first sight, and later, they married on 2 June of the same year. Together they had four children: Gustavo, María Eugenia, and actors Óscar Bonfiglio and Andrés Bonfiglio Ríos. In 1956, Ríos made her film debut in the year that the Golden Age of Mexican cinema ended, appearing in a supporting role in the film Locura pasional. In 1962, she made her television debut with the soap operas La herencia and Penumbra. She then decided to continue working for similar productions throughout the 1960s, standing out for telenovelas such as Pablo y Elena in 1963, El medio pelo in 1966, Anita de Montemar in 1967, Rubí in 1968, and Chucho el Roto, in which she acted from 1968 to 1969. From the latter, a franchise of films was born around the Mexican bandit Chucho el Roto, personified by Manuel López Ochoa, with which she consecrated her career by playing the role of Guadalupe Arriaga in La vida de Chucho el Roto, Yo soy Chucho el Roto, and Los amores de Chucho el Roto, the three films from 1970, and the saga ended a year later with El olvides Chucho el Roto, from 1971. In that last year, she dedicated herself arduously to philanthropy, supporting various organizations in favor of the humanity, standing out for founding the Rosa Mexicano group, the Dolores del Río ANDA Children's Center together with Dolores del Río, Carmen Montejo, Alicia Montoya, Yolanda Mérida, and María Elena Marqués, the founding of the ANDA women's commission, and she joined the Substitute Mothers group at the Coyoacán Home for the Children, where she helped raise orphaned children. Eleven years later, in 1982, Ríos reached the highest stage of her artistic career, after making a brief appearance as a supporting actress in Missing, an American film in which she shared credits with Jack Lemmon and Sissy Spacek. Later, she continued making films acting in well-known titles such as Pero sigo siendo el rey (But I'm Still the King) in 1988, Morros desmadrosos (Deadly Morros) in 1989, Triste juventud (Sad Youth) in 1990, and her final film, Ataque salvaje (Wild Attack) in 1995. Ultimately, she finished her filmography on television with participations in telenovelas and TV series such as Cañaveral de Pasiones and La culpa (The Fault) in 1996, Desencuentro (Disagreement) from 1997 to 1998, Mujer, casos de la vida real (Woman, Real Life Cases) from 1997 to 2001, and Carita de ángel (Angel Face) from 2000 to 2001. 2003–2022: Later works and retirement In 2003, Ríos returned to the theater with the play Madame Curie, in which she was directed by her husband Óscar Morelli. Two years later, and after 47 years of marriage, Morelli died in 2005 due to lung failure. This event had a very shocking effect on her life, so that same year, she retired from the artistic world; it was not until 2014 that she reappeared, to again be part of the play Madame Curie, in which she was for a brief season in homage to her 60-year career, before retiring again and withdrawing from public life completely. Thanks to her career and her contributions to humanitarian causes, in 2022, Ríos received the Gobe Award in recognition of women leaders, which was collected by actress Marta Zamora on her behalf, since she could not attend the awards ceremony. Death On 1 August 2024, Ríos died in Mexico City at the age of 88. Filmography Film +YearTitleRoleNotes 1956 Locura pasional María 1963 Los signos del zodiaco Estela 1965 El juicio de Arcadio Unknown character 1970 La vida de Chucho el Roto Guadalupe Arriaga Yo soy Chucho el Roto Los amores de Chucho el Roto 1971 El inolvidable Chucho el Roto 1982 Missing Mrs. Duran Credited as M.E. RiosAmerican production El naco más naco Unknown character 1988 Pero sigo siendo el rey 1989 Morros desmadrosos 1990 Triste juventud 1995 Ataque salvaje Television +AñoTítuloPapelNotas 1962 La herencia Unknown character Penumbra 1963 La familia Miau Eugenia Pablo y Elena 1964 La intrusa Central de emergencia La doctora 1966 El medio pelo La sombra del pecado 1967 Felipa Sánchez, la soldadera Elvira Anita de Montemar Ofelia 1968 Destino la gloria Blanca Rubí Cristina Pérez Carvajal, sister of Rubí 1968–69 Chucho el Roto Guadalupe Arriaga 1970 La constitución Sara Pérez Romero El Dios de barro Unknown character 1971 El amor tiene cara de mujer Consuelo viuda de Suárez 1972 Me llaman Martina Sola Unknown character 1974 Ana del aire Inés 1976 Mañana será otro día Esperanza 1979 Bella y bestia Unknown character Julia Una mujer marcada Gloria 1980 Querer volar Dolores Miniseries 1988 Encadenados Natalia 1989 Lo blanco y lo negro Raymunda 1993 María Mercedes Director of the reformatory 1995 Bajo un mismo rostro Madre Esperanza 1996 Cañaveral de pasiones Amalia de Aldapa La culpa Lolita 1997–98 Desencuentro Queta 1997–2001 Mujer, casos de la vida real Various characters Four episodes 2000–2001 Carita de ángel Esperanza Ortiz References External links Category:1935 births Category:2024 deaths Category:Actresses from Mexico City Category:Mexican film actresses Category:Mexican stage actresses Category:Mexican telenovela actresses Category:Mexican television actresses Category:20th-century Mexican actresses Category:21st-century Mexican actresses

Seventh federal electoral district of Michoacán

thumb|Michoacán's seventh district since 2022 thumb|Michoacán's federal electoral districts since 2022 thumb|Michoacán under the 2017–2022 districting scheme The seventh federal electoral district of Michoacán (Distrito electoral federal 07 de Michoacán) is one of the 300 electoral districts into which Mexico is divided for elections to the federal Chamber of Deputies and one of eleven such districts in the state of Michoacán. It elects one deputy to the lower house of Congress for each three-year legislative session by means of the first-past-the-post system. Votes cast in the district also count towards the calculation of proportional representation ("plurinominal") deputies elected from the fifth region. District territory Michoacán lost its 12th district in the 2022 redistricting process. Under the new districting plan, which is to be used for the 2024, 2027 and 2030 federal elections, the seventh district covers 17 municipalities in the north of the state: Angamacutiro, Coeneo, Charapan, Cherán, Chilchota, Chucándiro, Huaniqueo, Jiménez, José Sixto Verduzco, Morelos, Nahuatzen, Panindícuaro, Paracho, Puruándiro, Quiroga, Tangancícuaro and Zacapu. The district's head town (cabecera distrital), where results from individual polling stations are gathered together and collated, is the city of Zacapu. With Indigenous and Afrodescendent inhabitants accounting for over 42% of the population, Michoacán's seventh is classified by the National Electoral Institute (INE) as an indigenous district: the only one in the state. Previous districting schemes 2017–2022 Between 2017 and 2022, the district's head town was at Zacapu and it comprised 13 municipalities: Coeneo, Charapan, Cherán, Chilchota, Erongarícuaro, Jacona, Nahuatzen, Paracho, Purépero, Quiroga, Tangancícuaro, Tlazazalca and Zacapu. 2005–2017 Under the 2005 districting plan, Michoacán lost its 13th district. The seventh district's head town was at Zacapu and it covered 12 municipalities in that region of the state: Coeneo, Charapan, Cherán, Chilchota, Erongarícuaro, Los Reyes, Nahuatzen, Paracho, Purépero, Quiroga, Tangancícuaro and Zacapu. The link contains comparative maps of the 2005 and 1996 schemes. 1996–2005 Under the 1996 districting plan, the district's head town was at Zacapu and it covered 12 municipalities: Cherán, Coeneo, Erongarícuaro, Huaniqueo, Huiramba, Jiménez, Lagunillas, Nahuatzen, Pátzcuaro, Quiroga, Tzintzuntzan and Zacapu. 1978–1996 The districting scheme in force from 1978 to 1996 was the result of the 1977 electoral reforms, which increased the number of single-member seats in the Chamber of Deputies from 196 to 300. Under the reforms, Michoacán's allocation rose from 9 to 13. The seventh district's head town was at Tacámbaro in the central region of the state and it was composed of 11 municipalities: Ario, Carácuaro, Churumuco, Huetamo, Madero, Nocupétaro, San Lucas, Tacámbaro, Tiquicheo, Tumbiscatío and Turicato. Deputies returned to Congress + Seventh federal electoral district of Michoacán Election Deputy Party Term LegislatureSalvador Alcaraz Romero1916–1917Constituent Congressof Querétaro ...1979Raúl Pineda Pineda22px|link=Institutional Revolutionary Party1979–198251st Congress1982Cristóbal Arias Solís22px|link=Institutional Revolutionary Party1982–198552nd Congress1985José Ascensión Bustos Velasco22px|link=Institutional Revolutionary Party1985–198853rd Congress1988Huber González Jarillo22px|link=Authentic Party of the Mexican Revolution1988–199154th Congress1991Hernán Virgilio Pineda Arellano22px|link=Institutional Revolutionary Party1991–199455th Congress1994Emilio Solórzano Solís22px|link=Institutional Revolutionary Party1994–199756th Congress1997Gonzalo Augusto de la Cruz22px|link=Party of the Democratic Revolution1997–200057th Congress2000Rafael Servín Maldonado22px|link=Party of the Democratic Revolution2000–200358th Congress2003Abdallán Guzmán Cruz22px|link=Party of the Democratic Revolution2003–200659th Congress2006Humberto Alonso Razo22px|link=Party of the Democratic Revolution2006–200960th Congress2009Martín García Avilés22px|link=Party of the Democratic Revolution2009–201261st Congress2012José Luis Esquivel Zalpa22px|link=Party of the Democratic Revolution2012–201562nd Congress2015José Guadalupe Hernández Alcalá22px|link=Labour Party (Mexico)2015–201863rd Congress2018Gonzalo Herrera Pérez22px|link=National Regeneration Movement 2018–202164th Congress202122px|link=Institutional Revolutionary Party2021–202465th Congress2024Marcela Velázquez Vázquez22px|link=National Regeneration Movement2024–202766th Congress References Category:Federal electoral districts of Mexico Category:Geography of Michoacán Category:Government of Michoacán

Cutouts

Cutouts is the third studio album by the English rock band the Smile, set for release on 4 October 2024 through XL Recordings. It was recorded in Oxford and Abbey Road Studios, London, with the producer Sam Petts-Davies, in the same sessions as the Smile's previous album, Wall of Eyes. It was promoted with the singles "Don't Get Me Started", "The Slip", "Foreign Spies" and "Zero Sum", music videos by the digital artist Weirdcore, and a series of cryptic messages on social media. Background The Smile comprise the Radiohead members Thom Yorke and Jonny Greenwood with the drummer Tom Skinner. They performed several songs from Cutouts in their early live performances in 2021 and 2022. The Smile recorded Cutouts in Oxford and Abbey Road Studios, London, with the producer Sam Petts-Davies, in the same sessions as their previous album, Wall of Eyes. The song "Tiptoe" was played as a hidden track at global promotional listening parties for Wall of Eyes. In January 2024, the Smile began a European tour, including a performance at 6 Music Festival in Manchester with the London Contemporary Orchestra. The shows included performances of Cutouts songs. The Smile's August tour was canceled after the guitarist Jonny Greenwood was temporarily hospitalised with a serious infection. Release On 2 August 2024, the Smile released a vinyl double single, "Don't Get Me Started" and "The Slip". The vinyl was released without promotion and was only available in stores. "Don't Get Me Started" was added to digital services on 8 August. Uproxx described it as "synth-heavy" and "propulsive". It was accompanied by a video directed by the audiovisual artist Weirdcore, with "glitchy" computer graphics. Later in August, the Smile released the track list in a series of ciphered messages on social media. On 28 August, the Smile announced Cutouts, due for release on 4 October, in digital, CD, cassette and vinyl formats. On the same day, they released "Foreign Spies" and "Zero Sum" on streaming services, accompanied by more videos by Weirdcore. Track list Personnel The Smile Jonny Greenwood Tom Skinner Thom Yorke Production Sam Petts-Davies References Category:2024 albums Category:The Smile albums Category:XL Recordings albums

Pedro Alejandro Pina

Pedro Alejandrino Pina García (November 20, 1820 – August 24, 1870) was a Dominican politician and military man considered one of the heroes of Dominican independence. He was the co-founder of the Secret Society La Trinitaria and first cousin of the father of Dominican history, Jose Gabriel García and the Dominican activist Concepción Bona. Early years Pedro Alejandrino Pina was born in Santo Domingo on November 20, 1820, a year before the declaration of independence led by José Núñez de Cáceres, so his youth passed during the Haitian occupation, which began in February 1822. As was common, his parents, located in an incipient urban middle class, decided not to leave the country, aware of the disappointments experienced by those who had left in the waves of emigration. His father, Juan Pina, was a small merchant, a grocery store, who had his business in the vicinity of Puerta del Conde, at that time a rather marginal area within the walled city. Juan Pina's offspring, in two marriages, were numerous and some of the hero's brothers were outstanding people. This was the case of Calixto María Pina, who took up a priestly career and became provisional governor of the Archdiocese. Within the Pina family the national ideal and the rejection of Haitian domination were bubbling. (Juan Pina was one of the signatories of the Manifesto of January 16, 1844, which called for the separation of Haiti. And it was in the home of the Pina family where Concepción Bona made the first Dominican flag in January 1844, for which she had the help of María Jesús Pina, Pedro's sister). In that environment, Pina harbored opposition to Haitian rule since he was a child, in which it is possible that he mixed ethnic motives with national consciousness. This feeling of rejection was evident when he provoked a confrontation against his Haitian classmates, which earned him sanctions and resulted in an insurmountable resentment between both groups. The family environment explains why Pina became a precocious patriot, with concepts defined from his early youth. He was noted for his proficiency in philosophy studies. His entry into the core of young intellectuals who fostered the national ideal was the product of an exceptional cultural development for the time. He distinguished himself at school for his high performance and for consecutive years obtained the medal of merit awarded to the best student on campus. His training was perfected by the private lessons he received from Auguste Brouat, a cultured Haitian resident in Santo Domingo, who developed a beneficial educational action. In those same years, Pina decided to join the priestly state, a destination that was common due to the difficult circumstances in which the country developed. As there was no seminary, he received training from the Peruvian priest Gaspar Hernández, who in those years led a circle of philosophical scholars, among whose members were several of the young people who would soon undertake conspiratorial actions against foreign oppression. Gaspar Hernández had a conservative stance and preached the return to Spanish sovereignty. But, for the most part, the disciples do not seem to have been influenced by such a position, perhaps because they received the counterweight of other positions that was in favor of an independent State. Historian José Gabriel García, who knew Pina, highlights, in the biography he dedicated to him, "the impetuous character that distinguished him then, and the revolutionary ideas that from the morning of his life were bubbling in his ardent imagination, soon divorced him from the Church." García adds that his renunciation of the priesthood led him to study law, which was also done personally, with an already established lawyer. He also describes his decision to marry Micaela Rosón in 1840, when he was 20 years old. Independence activist Joining the Trinitarios and La Reforma thumb|Assembly of the Trinitarios By the 1830s the deterioration of the Haitian regime was realized, and some disaffected sectors began to pursje a cause for complete independence of Santo Domingo. One such case was the emergence of a revolutionary secret society called La Trinitaria, on July 16, 1838. Non-consistent versions have been offered about this event, but they can be assumed. stated some facts. That day several conspirators signed an oath to be faithful to the independence cause and the leadership of its leader, Juan Pablo Duarte. They were all young people from the middle and upper urban sectors, a position that gave them access to the liberal doctrines that justified the national cause. Within that conglomerate, Pina was the youngest, at eighteen years old. And far from being an impediment to taking a leading part in the events, youth operated as an incentive to action. The historian García, well aware of the details of the events of those days, relates for example that the recruitment of Francisco del Rosario Sánchez to La Trinitaria was a product of Pina's efforts. Such provision was highlighted on the occasion of the beginning of the processes that led to the proclamation of national independence. Following the fall of the Haitian dictator Jean Pierre Boyer, an uprising occurred in the city of Santo Domingo on March 24, 1843. Duarte's followers gathered that day in the small square of the Carmen church, in front of where almost five years earlier they had founded La Trinitaria. From there they began a march towards the headquarters of the governor's office, demanding the deposition of the incumbent, Alexis Carrié. They were joined by the Haitian liberals residing in the city of Santo Domingo, led by Alcius Ponthieux, who apparently had links with the Haitian liberal opposition sector originating in the city of Les Cayes. The "reformists", both Dominicans and Haitians, sought the appointment as governor of Commander Etienne Desgrottes, from the liberal sector, in order to extend the Reform process. The protest was attacked by government troops, resulting in several deaths. The protesters had to leave the city in the direction of San Cristóbal, where they prepared an offensive that forced Governor Carrié to abdicate. A provisional committee was installed composed of three Dominicans and two Haitians. One of its members was Pina who, at the age of 22, jumped to the center of political life. But the most interesting thing was that he became the main tribune of the Dominican sector and acquired fame for his oratory eloquence. Along with the young Pina, his leader and friend, Juan Pablo Duarte, and another Trinitario, Manuel Jiménes, who would also have important performances in the subsequent months and years, were part of the Popular Board, elected by a Popular Assembly on March 30. From the beginning of the sessions of the Popular Board, in which Pina served as secretary and Ponthieux as president, the national status of the Dominicans was raised. This caused confrontation between the Dominican liberals and the Haitians. Thanks to his oratory skills, Pina took the lead in the organization's sessions, in defense of the national rights of Dominicans. He directed his arguments against those of Jean Baptiste Morin, the other Haitian who belonged to the organization. After one of the exchanges of disagreements, Auguste Brouat concluded that everything was lost for Haiti, since the breakup of the Dominicans was looming closer. Persecution and exile thumb|Hérard, upon learning of the actions of the Trinitarios, issued a mass persecution against the independence activists. The Trinitarios, who now controlled the Popular Junta, promoted the issuance of a document that stated national demands aimed at the autonomy of the Dominican conglomerate and respect for its cultural customs. Faced with these signs, Haitian President Charles Rivière-Hérard, who had led the Reform movement, decided to quell the dissent of the "Spanish boys". At the head of 10,000 soldiers, he entered Dominican territory through the northern part, proceeding to arrest all those suspected of harboring independence purposes. The Trinitarios tried to resist Hérard's entry into Santo Domingo, but, on July 11, 1843, the eve of his arrival, they had no choice but to hide. Pina was one of the most persecuted but, unlike the majority, he managed to evade the search of the Haitian soldiers. However, he had to leave the country, together with Duarte and another of the Trinitarios, Juan Isidro Pérez, because he considered that it was unfeasible to remain hidden for any longer. The stay of Duarte, Pina and Pérez abroad for more than six months consolidated an endearing sense of brotherhood between the three. Duarte and his sister Rosa would take care of Pina's second daughter, Amelia, in exile. Three months after leaving the country, Pina's third child and first son was born, whom she gave the name Juan Pablo. In September 1843, less than three weeks after arriving in Venezuela and waiting for the start of events, Duarte decided to send Pina and Pérez to Curaçao, from where he hoped they would be able to maintain fluid communications with Santo Domingo, being that small island. one of the two links of the country's foreign trade. They were accompanied by Prudencio Diez, Duarte's uncle, and José Patín, another Dominican resident in Venezuela. Unfortunately, Pina and Pérez could not do anything, since Duarte did not obtain the support of the Venezuelan president, causing him to head to Curaçao. Duarte and his two comrades, accompanied by a few other Dominicans, planned to secretly enter the country through Guayacanes to start the insurrection, as highlighted in a letter sent to them by Francisco del Rosario Sánchez and Vicente Celestino Duarte. These plans could not come to fruition, so Sánchez decided to follow another course to overthrow the Haitian regime: he established an agreement with a conservative sector led by Tomás Bobadilla. On February 27, 1844, the founding of the Dominican Republic was proclaimed and a Central Government Board was installed, whose presidency was delegated a few hours later to Bobadilla. First Republic Return to the Dominican Republic At the beginning there was no controversy between the Trinitarios and the conservatives, although they had strongly divergent criteria about the components of the State that was going to be founded. One of the first measures adopted by the Central Government Board was to commission Juan Nepomuceno Ravelo to go look for Duarte and his companions in Curaçao, on the schooner Leonora. When he arrived at the port on March 15, Duarte was hailed as the Father of the Nation by Archbishop Tomás de Portes e Infante. However, the differences did not take long to surface after his arrival, as Duarte showed hostility towards any media coverage of independence, as was contemplated in the secret negotiations that Dominican conservatives had held with the consul general of France, Levasseur, while they participated as deputies in the Constituent Assembly of 1843. Duarte led a process of questioning the conservatives' plans, for which he had the support of most of his old friends from La Trinitaria. On March 22, a week after his return, Pina was assigned to serve as an aide to General Pedro Santana, stationed in Baní as commander of the Southern Expeditionary Front after the Battle of Azua. He stayed at Santana's side longer than Duarte and, unlike Duarte, it does not seem that he had any disagreements with his superior. Rather, Santana appreciated Commander Pina's military skills and came to consider him essential in the campaign. Political dissidence and second exile At the end of May 1844, Pina returned with his battalion to Santo Domingo, where he took part in the protest led by Duarte, aimed at preventing the transfer of the Samaná Peninsula to France, in accordance with what was previously stipulated in the Levasseur Plan. The French Consul in the city, who exerted his influence in favor of the conservatives, identified Pina as one of the most hostile to the anti-national plan. On July 9, 1844, Duarte led to the deposition of the conservatives of the Central Government Board, considering that freedom was in danger. Pina and Juan Isidro Pérez were integrated into the new board chaired by Francisco del Rosario Sánchez, replacing the expelled conservatives. When Santana, one of the most conspicuous conservatives, was sure that there was no immediate military risk coming from the Haitians, he decided to march on Santo Domingo and depose the Central Government Board. The city's military chief, José Joaquín Puello, who a month earlier had led the overthrow of Bobadilla and his conservative friends, opted for surrender, fearing the consequences of civil war. Due to such an outcome, Duarte's proclamation of the presidency, which took place in those days in Santiago and Puerto Plata, did not have much effect in the capital city. The Trinitarios were defeated and the Government Board reorganized in mid-July, this time chaired by Santana, deciding to deport Duarte and those who had supported him for life, on the charge of treason. Pina, Sánchez and Pérez were arrested shortly after the southern troops entered the city. Santana made the gesture of offering Pina a special deal, perhaps out of calculation or because of the eventual appreciation he may have taken of her while they were together in Baní. Through an emissary he sent the proposal to the prison that he disapproved of the proclamation that Matías Ramón Mella had made for Duarte to claim the presidency of the Dominican Republic, in exchange for his release. In an edition of the newspaper El Telefono, dated February 27, 1891, a version of what Pina responded was recorded: "You tell General Santana that I prefer not only exile, but death itself, rather than denying the man that I recognize as leader of the Separation." Pina was expatriated with Sánchez, heading to England. The ship was wrecked off the coast of Ireland. From there he immediately went to Venezuela, where he spent his second exile, this time until 1848. In the city of Coro, where he established his residence, he worked as a teacher and ventured into commercial activities. Return to the Dominican Republic and third exile When President Manuel Jiménes, who succeeded Santana, issued an amnesty law on September 26, 1848, Pina took the road back the next day after receiving the news, a sign that he kept the fighting spirit alive. Upon arriving in the country, Jiménes, his old companion from the Popular Junta of 1843, granted him the rank of colonel, with a seat in the Secretary of War and Navy. Unfortunately, Jiménes fell as a result of the plot hatched by Santana's supporters after defeating the attempted invasion of Haitian President Faustin Soulouque, Pina decided to leave the country because he assumed that the old dispute with Santana, once again master of the situation, could lead to reprisals. Venezuela continued to be the constant point of reference when Pina realized that he could not be in his land. Hence, he made the nearby South American country his second homeland and adopted its citizenship during his third exile. Pina's absence from political life in those years was a product of her decision not to compromise with the enemies of democratic ideals. The liberals who entered politics under Santana had to make concessions, as is known from the careers of Francisco del Rosario Sánchez and Matías Ramón Mella. In that third exile, according to what biographers indicate, Pina made the decision to completely withdraw from Dominican affairs, considering that the conditions did not exist for a political practice attached to democratic principles. He did not take advantage of an amnesty from Santana in 1853. Pina's isolation is quite reminiscent of the position of his two companions from the first emigration, Duarte and Pérez, although unlike the first, he was apparently always ready to return to the Dominican Republic. For him, exile represented an existence full of bitterness, always with attention focused on the homeland. Fond of composing poetry, the main theme was nostalgia. This is how "My Homeland" concludes: Activism against Spain Despite the isolation, during his third exile, the longest, Pina followed the development of events in the Dominican Republic. When the news arrived of the annexation to Spain carried out by General Santana on March 18, 1861, Pina instantly abandoned his reluctance to participate politically. He understood that the fate of the Dominican people as a national collective was at stake. He contacted his old companion Francisco del Rosario Sánchez, who from Saint Thomas led a revolutionary committee that intended to open hostilities as soon as possible against the new foreign dominators. For Pina, it didn't concern him that most of the members of that opposition group were made up of supporters of Buenaventura Báez. He reasoned that these Baecistas were also opposed to the implementation of Spanish rule, which is why it was necessary to collaborate with them, since it was a problem of life or death for the country. It is likely that Pina considered that Sánchez continued to be a reliable patriot, despite the concessions of the previous years to Santana and his subsequent location within the Baecista current. Furthermore, it can be stated that in that group there were not only followers of Báez. The manifesto issued by Sánchez in the company of José María Cabral left no doubt that the objective pursued was to restore independence without any restrictions. In the company of other exiles in Venezuela, Pina headed towards Haiti, where Sánchez had managed to obtain the cooperation of Haitian President Fabre Geffrard, who feared that the consolidation of the Spanish presence in Dominican Republic would have negative repercussions on Haiti. Pina was one of the hundreds of Dominicans who made up the expeditionary force that entered through the southern border divided into three columns, commanded by Sánchez through Neiba, in the center, José María Cabral on the left flank, through the San Juan, and Fernando Tavera on the right, for the Neiba Valley. He was part, with the rank of brigadier general granted to him by Sánchez, of the column commanded by Cabral, which came to occupy the town of Las Matas de Farfán. Dozens of Haitian volunteers accompanied the Dominican patriots. In that position came the news that President Geffrard had been forced to withdraw support for the Dominican insurgents, due to the threat of a Spanish squadron to subject Port-au-Prince to bombing. Cabral, as a seasoned soldier, chose to withdraw, certain that the expeditionary enterprise was doomed to failure, but he made the inconsistency of not giving prior notice to Sánchez. In such dramatic circumstances, Pina decided to go to Sánchez's position to warn him of what was happening. A small group of companions supported him in the risky mission. Sánchez, after Pina's warning, was also forced to withdraw, but was the victim of the betrayal of one of his collaborators, a native of the place. Pina managed to escape the ambush, thanks to the fact that Timoteo Ogando, then captain, knowledgeable about the area and already seasoned in the arts of war, quickly mounted him on the haunch of his horse. With patriotic plans frustrated and apparently postponed with no foreseeable restart date, it was natural for Pina to return to Coro, Venezuela, where he had been living without interruption for the previous 13 years. The Federal War was being fought in Venezuela and, now a citizen of that country, Pina became involved in the fight on the federalist side, in which the supporters of democratic positions were grouped. When the Dominican Restoration War began in mid-1863, Pina was initially willing to join the fight, but was prevented by both his commitment to the Venezuelan cause and his deteriorating health. He corresponded with Duarte, who had returned to public life after several decades of reclusiveness, and decided to organize an expedition in the company of other patriots, but he could not accompany him. Final years Joining the Blue Party As soon as news was received in Venezuela that the Spanish troops had abandoned Dominican territory, in July 1865, without thinking twice, Pina returned to Santo Domingo. The Federal War had ended and he was presented with the possibility of returning to his hometown, and not in a war scenario that was unmanageable for his health. As soon as he arrived in the Dominican capital, he placed himself at the disposal of President José María Cabral, his expeditionary companion in 1861. In Haiti and during the days of the June 1861 expedition, Pina and Cabral had established a friendly relationship. As a sign of trust, high positions were entrusted to the Trinidadian. On October 1, he was appointed governor of the province of Santo Domingo, and three weeks later Secretary of State for the Interior and Police. In this position he lasted a few days, since he did not accept Cabral's position of bowing to the Baecista mutiny. However, Pina was integrated into the Constituent Assembly, which continued to function despite the political change, until a new constitutional text was promulgated on November 14, 1865. Pina's participation in this conclave will be seen below. Initially, the relations between Buenaventura Báez and José María Cabral remained good, and the former tried to gain the support of those who had fought the annexation to Spain, Pina had no difficulty in accepting the position of judge of the Supreme Court of Justice. Months during which he stayed away from political affairs, he showed signs of distrust towards Báez. As soon as the red leader was overthrown in April 1866 by the concerted action of the leaders of the Restoration, Pina joined the new order of things. In his second government, Cabral gave even more importance to Pina than in that of months before. The restorative president appreciated Pina's intellectual capacity and her personal consistency. It is likely that the closeness of Pina with Cabral contributed to defining the features of that administration. Cabral appointed Pina as special advisor to the president, a position from which he began to have an impact on the country's affairs. Then he entrusted him with important missions, such as being part of a commission before the Haitian Government for the signing of a treaty of friendship, in the company of Ulises Francisco Espaillat, Juan Ramón Fiallo and the now 80 year old politician, Tomás Bobadilla. The delegation could not achieve its mission, as President Geffrard was overthrown days after his arrival in Port-au-Prince. After the mission in Haiti, he was appointed special commissioner in the province of Azua, an important position because the government was aware that the Haitian Government, chaired by Sylvain Salnave, was preparing to support the aspirations of Buenaventura Báez. In the southern border regions, Pina sought to recover portions of Dominican territory occupied by Haitian authorities and regularize border trade. Constitution Assembly of 1865 As has been noted, at the end of Cabral's first government, which began in August 1865, a Constituent Assembly was convened, which at the same time served as the Legislative Branch, with the objective of giving the Republic a legal order in accordance with liberal theory. The restorative military leaders and intellectuals in favor of a democratic system understood that they had to leave behind the constitutional tradition that guaranteed a despotic order. That Constituent Assembly was one of the milestones in the visualization of the difficulties that hindered the establishment of democracy. (The only precedent for such an intention had been the Constituent Assembly of Moca, which promulgated the charter of 1858, but which had no lasting effects). One of the problems that the restorative constituents addressed was to elucidate why the liberal statements of the previous constitutional texts had not had effective application, since they were convinced that the reality of an authoritarian system that granted exaggerated powers to the president of the Republic. Pina was one of the deputies who distinguished themselves in the debates. He put his intellectual capacity into play to identify problems and derive viable solutions. His weight in the debates led him to be among the drafters of the constitutional text. He systematized the proposals he formulated in the Assembly in a series of four articles titled "Constitution", published in the September 1865 editions of the newspaper El Patriota. His first concern was that the constitutional text adopt provisions to guarantee that the president was a person recognized for his patriotism and honorable background. This emphasis was motivated by the awareness that, even if authoritarianism was eliminated, its figure had a decisive influence on the progress of public affairs. Additionally, he proposed that the necessary criteria had to be established to avoid any abuse of power by the Executive, in such a way that it would be compelled to apply a liberal policy. The starting point of his constitutionalist reflection was that it was imperative to combine a strong executive, in accordance with the conditions of a backward country, with a legal system that guarantees freedoms: This search for a weak executive, while capable in its exercise, had the essential purpose of combining governability with freedom. Hence, Pina proposed legislation to make it impossible for authority to exceed the terms of its mandate, that is, to stipulate the abuse of power as a crime and to elevate freedom to the status of a constitutional mandate. Surely because he understood the difficulties that this entailed, he looked for the gaps through which, in Dominican conditions, such a balance between freedom and authority could be feasible. Pina applied his experiences in Venezuelan political affairs, where the nerve of the debate had centered around the powers of the central government and state governments. Possibly because of his Venezuelan experience, he found in the principle of decentralization the key to the ideal political system, since instances would be created for the exercise of citizens' rights and the reduction of the powers of the central government: With this postulate, he transcended the level of reflection in which the Dominican liberals had moved until then, consisting only of cutting the powers of the Executive. He sought an order that would ensure the functioning of the political system supported by a weak executive. The main antecedent of such a concern had been expressed by Pedro Francisco Bono in the Moca Constituent Assembly, where he unsuccessfully proposed the adoption of the federal system. It is still strange that Pina did not advocate federalism, given his Venezuelan experience, perhaps because he considered that the country was very small and its inhabitants were characterized by common cultural traits. In his opinion, for the local order to be a link in the democratic order, the supremacy of the military element had to be overcome, which put citizens at the mercy of the departmental leaders. The remedy to such tradition was found in a variation in the type of territorial organization. He proposed the adoption of departments, instead of provinces, subdividing them into districts, parishes and sections. All these levels would be subject to the authority of civil officials: respectively, civil governor, prefect, sub-prefect and mayor. He reasoned that it would be achieved: In the same order, he advocated for a Legislative Branch composed of two chambers with a large number of members, in such a way that the representation of the people was guaranteed to the extent possible. He opposed the previous constitutional system, which rested on a small number of legislators. With two chambers and a large number of members, Congress became a factor in the balance of powers. "Composed of more individuals and represented by two jointly responsible bodies, it is easier for it to impose on the Executive, when unfortunately it deviates from the true path outlined by the laws, to fall into abuse or dictatorship." A direct representation of all populations and a "double discussion on questions of transcendental importance that are submitted to them" would be possible. Interested in covering all departments of the State, he also reflected on the characteristics of the Judicial Branch. The basic proposal that he stated, based on the experience of the previous 20 years, was based on a simpler institutional structure than the one established in 1844 and that, consequently, would allow a more fluid application of justice. Able to appreciate the contours of the Dominican reality, he argued the need to create a peculiar judicial system, different from the French one, which had been taken as a model, although maintaining a basic analogy. He confirmed that, in fact, the country had been unable in its republican years to institute the judicial organization contained in the French codes of the Restoration, and established two causes for the relevance of a reform: "the shortage of men on the one hand and the poverty of our treasure for another." He summarized his reform proposal in that appellate and superior jurisdiction would be exercised by a supreme court composed of a president, four magistrates and a prosecutor, who would be appointed by the Senate from shortlists proposed by the Chamber of Deputies. The Supreme Court should have the power to apply civil and criminal laws, and its members would appoint first instance judges, so that the judicial system would become independent of the other two powers. Finally, for an effective exercise of sovereignty by the people, which was the nerve of his concern, he returned to Duarte's idea of adding a fourth power to the already conventional tripartite division: the municipal power. With a greater number of powers, a balance would be achieved between instances of the State that would avoid authoritarianism. In his interventions in the sessions of the Constituent Assembly he expanded on some aspects of the social content that should be guaranteed by the Fundamental Charter. In keeping with the liberal tradition, the nodal point had to lie in the interrelation between freedom and legal equality: "In order for it to make its beneficial influence felt in all classes of society, it is essential that it rest on the most complete equality, on the most broad individual freedom." Such a conjugation would give rise to the set of rights essential for the development of the ideal political system, starting because it would guarantee freedoms and rights, such as the inviolability of life for political reasons: Despite being a disciple of Duarte, Pina does not seem to have been concerned with the issue of social democracy. In his texts on constitutional matters he accepted liberal theory without problematizing it. His consideration of democracy was reduced to the political sphere, excluding the social sphere. It can be assumed that he shared the dominant conclusion of Dominican liberalism, which was nothing more than advocating the establishment of a bourgeois society, seen as an irreplaceable model for access to civilized modernity. Although he did not express it exhaustively, in the glossed texts there are indications to consider that Pina shared the corollary that an adequate political order would open the doors to the solution of social problems. This can be confirmed, to some extent at least, because his disquisitions on the principle of equality focused on the treatment of the rights of foreigners. Pina accepted the common sense of everyone, liberals and conservatives, who gave crucial weight to immigration so that the country could integrate into the current of progress. Therefore, he declared himself in favor of continuing to grant guarantees to foreigners, without requiring them to fulfill the obligations that Dominicans had to offer in the service of the State. This approach was made despite his consideration that any protection or system of monopoly for the benefit of a sector, in contrast to the doctrine of free trade, "always harms the very interests that they wish to promote and ends up annihilating the vitality of any country." Annexation to the United States The position of the Cabral government was extremely precarious. The country was in ruins and little could be done in a plan of constructive action. Even more important was that the bulk of the Restoration generals, like men from rural areas, did not understand the liberal postulates and began to align themselves behind Buenaventura Báez, the old idol of quite a few of them. In the final months of 1867, the leaders of the northwest took up arms against the Cabral administration and gained ground with the support of the peasant majority, who did not understand or accept liberal principles. In the interest of obtaining resources to confront the sedition of the Baecista leaders, Cabral was willing to accept a proposal from the United States government, formulated on the occasion of the visit of the son of the Secretary of State, William H Seward Jr, consisting of leasing the Samaná peninsula for several decades. At that time Pina held the position of deputy, and continued to be a person of the president's greatest confidence. Taking advantage of his position, he advised that no negotiations be carried out that would threaten the integrity of the national territory. Although Cabral did not accept the objection, Pina decided to remain by his side out of a sense of loyalty. A prominent official of the regime who fell in January 1868, Pina embarked into exile with the president and his collaborators. The blue leaders had to spend a quarantine on an islet near the coast of Venezuela, because when they left the city of Santo Domingo there was a cholera epidemic. During that fifth exile he remained in Venezuela for a year. (It seemed that Pina's destiny was going to have as an inevitable counterpoint that of eternal exile in his second homeland). However, on this occasion he was more involved than before with the progress of the Dominican political processes because, as can be inferred, he considered that a group capable of waging the fight for national independence and democracy had appeared. There are no signs that in 1868 he intended to settle stably in Venezuela, and it can be assumed that he remained attentive to the reorganization of the blues in exile, in order to join the fight in Dominican territory as soon as possible. At the beginning of 1869, some blue leaders from the south, among whom the brothers Andrés, Timoteo and Benito Ogando stood out, prepared the conditions so that former president Cabral could enter Dominican territory from Haiti. In the neighboring country, the exiles of the Blue Party collaborated with the Haitian liberals, led by Nissage Saget, who were trying to overthrow President Salnave. Since she learned of the preparations of her co-religionists, Pina headed towards Haiti and, in December 1868, he arrived at Jacmel, one of the enclaves of Saget's supporters where the Dominicans congregated. Perhaps involved in conspiratorial activity, he did not last long in Haitian territory, but spent months moving between Saint Thomas and Curaçao. When Cabral's position was consolidated in the border regions – in the second half of 1869 – Pina decided to join the armed struggle against the enemies of Báez's Red Party. He crossed the border in December 1869 and settled first in San Juan de la Maguana. Their determination to take up arms again must have been reinforced by the fact that in those days a treaty was concluded between the governments of the United States and the Dominican Republic through which the latter would become a territory of the "great democracy of the north". From the blue bastion in the southwest, Pina took part in the third national contest after independence. The terrible struggle between reds and blues was colored by the contrast between those who believed in a national destiny and those who rejected such a postulate in favor of access to the prosperity that colonialism provided. Illness and death Although Pina was 49 years old when he joined the fight against annexation to the United States, he was a man who suffered from serious health problems, which enhances his character as a patriot inclined to action in all areas. The living conditions of the blue combatants were extremely difficult, to the point that even food was scarce and health services were non-existent. The revolutionary politicians established in San Juan de la Maguana and Las Matas de Farfán depended on eventual shipments of small sums of money sent to them by family or friends. The peasant population in the area, apart from being small, was characterized by its extreme state of misery. Cabral's rectitude minimized the exactions of the insurgents on the peaceful ones. Due to his precarious health conditions, Pina could not go to the scene of the fighting, but had to limit his contribution to political tasks. Even in the rear, life was permanently in danger, due to the raids carried out by the murderous gangs of the Baecista regime. He remained in Las Matas, headquarters of the revolutionary movement, where the simile of a national government was created. The correspondence he had with his son Juan Pablo Pina, also incorporated into the armed struggle, shows that, although he felt like a supporter of Cabral, in reality he had no major interest in the disputes that the former president staged with other prominent men for hegemony. within the liberal conglomerate. He simply wanted to fight again, armed with the conviction that the fate of the country was in danger. Given the fragile conditions in which Cabral's forces operated, Pina could not prevent his health from worsening. A sudden aggravation of the disease had devastating effects and he died on September 20, 1870. He had been in that uncertain battle for freedom for 10 months. Even his death was precocious, as he was not yet 50 years old. He lacked material goods and only had the gift of unreserved dedication left. Oblivious to the calculations of personal convenience of professional politicians, his mystique could not give way. Perhaps he did not even consider that he had received the glory of belonging to the select circle of the architects of the national status of the Dominicans. See also Juan Pablo Duarte José María Cabral Tomás Bobadilla References Cited works Further reading Pedro Alejandrino Pina: Vida y escritos. [Series: Academia Dominicana de la Historia]. Editora del Caribe: Santo Domingo. 1970. García, José Gabriel (1971). [First published 1875]. Vetilio Alfau Durán, ed. Rasgos biográficos de dominicanos célebres. Santo Domingo. García, José Gabriel (1968). [First published 1879]. Compendio de la historia de Santo Domingo. 4 vols. Santo Domingo. Martínez, Rufino (1997). Diccionario biográfico-histórico dominicano. Santo Domingo: UASD. Category:1820 births Category:1870 deaths Category:People of the Dominican War of Independence Category:People of the Federal War Category:People of the Dominican Restoration War Category:People of the Six Years' War Category:Blue Party (Dominican Republic) politicians Category:Dominican Republic revolutionaries Category:Dominican Republic independence activists Category:Dominican Republic people of Spanish descent Category:Dominican Republic military leaders Category:Dominican Republic military personnel Category:Dominican Republic emigrants to Venezuela Category:Dominican Republic emigrants to the United States Category:Dominican Republic expatriates in Haiti

Stambol Gate

The Stambol Gate () was one of the four former city gates of Belgrade, the capital of Serbia, which allowed access to the city. History The Stambol Gate was the main gate of Belgrade on the Tsarigrad Road to Constantinople (present-day Istanbul), hence the derivation of the Serbian name (Stambol is the Serbian name for Istanbul). In the 18th and 19th centuries, Belgrade stretched between the rivers Sava and Danube and was protected by a deep ditch and palisades. Located in front of Kalemegdan, the actual city of Belgrade, it included the present-day urban neighbourhoods of Savski Venac, Stari grad and Dorćol. thumb|left|250px|Plaque at the location of the Stambol Gate (on the wall of the National Theatre) The Stambol Gate stood on the square in front of the present-day National Theatre, near the present monument to Prince Mihailo Obrenović on the present Republic Square in the city centre. Of all the gates of the city wall, the Stambol Gate was the best fortified. The gate was built by the Austrians during the occupation from 1718 to 1739 and was originally called the Württemberg Gate after the governor Charles Alexander of Württemberg. It stood in front of a simple green area where two paths forked to the Terazije and Tašmajdan. Since rebellious Serbs were publicly impaled on the stakes at the Stambol Gate during the Ottoman rule, this gate was so hated that it was demolished in April–May 1866 by decree of Prince Mihailo. novosti.rs: Beogradske priče: Stambol kapija iz teških vremena nportal.novosti.rs: DANAŠNJI TRG REPUBLIKE: Nekada najjezivije mesto za Srbe dnevno.rs: Srušena Stambol kapija u Beogradu – 1866. godina The gate had three entrances, of which the middle one was the largest and was passable for carts. When Ernst Gideon von Laudon captured Belgrade for the Austrians in 1789, he removed the plaque of Sultan Mehmed I that was there and brought it to Vienna, where it still adorns his grave in the Vienna Woods today, along with other military plaques. kaldrma.rs: Deo zloglasne Stambol kapije i danas postoji – u šumi Beča In 1806, during the capture of Belgrade by the Serbian revolutionaries in the First Serbian Uprising, Vasa Čarapić, one of the leaders of the uprising, died at the Stambol Gate. In memory of this, there is a monument on the spot where he died and one of the surrounding streets bears his name. See also Gates of Belgrade References External links Stambol kapija und Trg Republike. Website der Stadt Belgrad Category:Military history of Belgrade Category:City gates Category:Demolished buildings and structures in Serbia Category:Buildings and structures in Belgrade Category:18th-century fortifications Category:Buildings and structures demolished in 1866

Richard Savary

Richard Savary (born October 21, 1964) is an American professional stock car racing driver who competed in the NASCAR Whelen Modified Tour from 1990 to 2010. Savary has also previously competed in series such as the now defunct NASCAR Whelen Southern Modified Tour, the Modified Racing Series, the Tri-Track Open Modified Series, and the World Series of Asphalt Stock Car Racing. Motorsports results NASCAR (key) (Bold – Pole position awarded by qualifying time. Italics – Pole position earned by points standings or practice time. * – Most laps led.) Whelen Modified Tour NASCAR Whelen Modified Tour results Year Team No. Make 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 Pts Ref 1990 Richard Savary 91 Chevy MAR TMP RCH STA MAR STA TMP MND HOL STA RIV JEN EPP RPS RIV TMP RPS NHA TMP POC STA TMP MAR 37th 371 1991 MAR RCH TMP NHA MAR NZH STA TMP FLE OXF RIV JEN STA RPS RIV RCH TMP NHA TMP POC STA TMP MAR 28th 868 1992 N/A 9 Chevy MAR TMP RCH STA MAR NHA NZH STA TMP FLE RIV NHA STA RPS RIV TMP TMP NHA STA MAR N/A 0 9m Eagle TMP 2006 John Lombardi Jr. 20 Chevy TMP STA JEN TMP STA NHA HOL RIV STA TMP MAR TMP NHA WFD TMP STA 35th 604 2007 21 TMP STA WTO TMP NHA TSA RIV STA TMP MAN MAR NHA TMP 13th 1757 20 STA STA TMP 2008 Art Barry 21 TMP STA STA TMP NHA SPE RIV STA TMP MAN TMP NHA MAR CHE STA TMP 23rd 1317 2009 TMP STA STA NHA SPE RIV STA BRI TMP 26th 910 Rob Walendy 01 Chevy NHA MAR STA TMP 2010 91 TMP STA STA MAR NHA LIM MND RIV STA TMP BRI NHA STA TMP 39th 301 Whelen Southern Modified Tour NASCAR Whelen Southern Modified Tour results Year Car owner No. Make 1 2 3 4 5 6 7 8 9 10 11 12 13 14 Pts Ref 2011 Rob Wolenty 99 Chevy CRW HCY SBO CRW CRW BGS BRI CRW LGY THO TRI CRW CLT CRW 44th 100 References External links Category:Living people Category:NASCAR drivers Category:Racing drivers from Massachusetts Category:1964 births

Filipe Mukenga

Francisco Felipe da Conceição Gumbe, known by his artistic name Filipe Mukenga (born 7 September 1949), is an Angolan singer and composer. He is famous for songs such as Humbi humbi, Nvula, and Hailwa Yange Oike Mbela. Biography Mukenga was born on 7 September 1949 in Luanda. He was partly raised in Massabi, in Cabinda province. He began performing in the 1960s, inspired by jazz musicians, as well as foreign musicians such as The Beatles and Charles Aznavour. He would also collaborate with various local groups. His stage name came while performing as part of Duo Misoso with José Agostinho Nvunje, during which time he became interested in languages native to Angola such as Umbundu and Kwanyama. During this time period as well, he became involved with the Youth of MPLA as part of their musical section, and later served on the National Cultural Council, the precursor to the current Ministry of Culture, Tourism and the Environment. His contemporaries during the 1970s and beyond included André Mingas, , Rui Veloso, and Waldemar Bastos. With Zau, his longtime musical partner, they won the Common Ground Music Award in 2008. He met Brazilian singer Djavan while he was visiting Angola as part of the Kalunga Project, with Mukenga joining Canto Livre de Angola and touring in Brazil. He would later return at multiple points to Brazil and collaborate with artists such as Ney Matogrosso, Zélia Duncan, and Cássia Eller. Mukenga has also collaborated with artists such as Coréon Dú, with them writing the song Serpente. He has also collaborated extensively with Underground Sound of Lisbon, such as performing together on the 1998 benefit album Onda Sonora: Red Hot + Lisbon with the song Hailwa Yange Oike Mbela. The album was created by the AIDS-awareness organization Red Hot Organization to bring awareness to the disease in the Portuguese-speaking world. They later collaborated on the song "African Dreams" in 2000. In 2020, Mukenga participated in a collaboration of 20 Angolan artists to sing the Angolan national anthem Angola Avante, on the 45th anniversary of its official crowning as the anthem. Other artists on the collaboration included Eduardo Paím, Yola Araújo, and Matias Damásio. Mukenga had lived in Lisbon, Portugal from 1992 to 2004, when he returned to Angola. Discography CDs Novo Som (CD, Emi-VC, 1991) Kianda Kianda (CD, Lusáfrica, 1994) Mimbu Iami (CD, 2003) Nós Somos Nós (CD, Ginga, 2009) O Meu Lado Gumbe (2013) Singles & other productions 1998 - Onda Sonora: Red Hot + Lisbon (with Underground Sound of Lisbon) 1999 - African Dreams - Underground Sound of Lisbon 2005 - Collaboration with Maurício Mattar 2007 - Sons da Fala References Category:1949 births Category:Living people Category:Musicians from Luanda Category:People from Cabinda Province Category:Angolan expatriates in Portugal Category:20th-century Angolan male singers Category:21st-century Angolan male singers

Mitchell Butte

Mitchell Butte is a summit in Navajo County, Arizona, United States. Description Mitchell Butte is situated west-southwest of the Monument Valley visitor center on Navajo Nation land and can be seen from Highway 163. Precipitation runoff from this butte's slopes drains to Mitchell Butte Wash and Oljeto Wash which are part of the San Juan River drainage basin. Topographic relief is significant as the summit rises above the surrounding terrain in 0.2 mile (0.32 km). The nearest higher neighbor is Mitchell Mesa, to the east. The landform's toponym has been officially adopted by the U.S. Board on Geographic Names. The Mitchell name refers to Hearndon Mitchell, who along with Robert Merrick were silver prospectors. They were warned in 1879 to stay away from Monument Valley but were shot and killed there the following year by Utes.Road Log of Monument Valley Navajo Tribal Park, Utah and Arizona, William L. Chenoweth, 2000, Utah Geological Association Publication, p. 4. Geology Mitchell Butte is composed of three principal strata. The bottom layer is slope-forming Organ Rock Shale, the next stratum is cliff-forming De Chelly Sandstone, and the upper layer is Moenkopi Formation.Geology and Uranium-vanadium Deposits of the Monument Valley Area, Apache and Navajo Counties, Arizona, Irving Jerome Witkind, U.S. Government Printing Office, 1963, p. 139. The rock ranges in age from Permian at the bottom to Triassic at the top. The buttes and mesas of Monument Valley are the result of the Organ Rock Shale being more easily eroded than the overlaying sandstone.Monument Valley, Arizona, Arizona Geological Survey, Retrieved 2024-08-27. Climate Spring and fall are the most favorable seasons to visit Mitchell Butte. According to the Köppen climate classification system, it is located in a semi-arid climate zone with cold winters and hot summers. Summers average 54 days above annually, and highs rarely exceed . Summer nights are comfortably cool, and temperatures drop quickly after sunset. Winters are cold, but daytime highs are usually above freezing. Winter temperatures below are uncommon, though possible. This desert climate receives less than of annual rainfall, and snowfall is generally light during the winter.Climate Summary for Kayenta, Arizona Gallery See also List of appearances of Monument Valley in the media References External links Weather forecast: Mitchell Butte Category:Colorado Plateau Category:Landforms of Navajo County, Arizona Category:North American 1000 m summits Category:Geography of the Navajo Nation Category:Sandstone formations of the United States

1974 Ethiopian Muslim protests

The 1974 Ethiopian Muslim protests, was a protest against the Haile Selassie regime that occurred on Saturday, April 20, 1974. Protestors denounced the government for marginalizing the Muslim community and called for reforms. It was the largest protest ever held at the time since the countries formation, an estimated 100,000 people participated including some Christians who showed solidarity. Background The Muslim populace in Ethiopia endured inequality; politically, socially and economically. Historical Muslim leaders who governed Ethiopia for more than a decade such as Ahmad ibn Ibrahim al-Ghazi were disparaged, and Muslim status in the country was portrayed as foreign rather than indigenous by the high society. Historian Ahmed Jemal, relates a common Amharic saying directed towards Muslims included: The abode of the bird is on the tree (Warka); The homeland of a Muslim is Mecca. (Saudi Arabia) Political analyst Stephen R. Goodwin states that since the foundation of Ethiopia by Menelik II, Muslim Ethiopians had been considered inferior to their Christian counterparts in the country, and their status was akin to that of the Calipahte's treatment of non Muslims under the Dhimmi system. They had only received brief respite during the reign of Iyasu V and later through the Italians who occupied Ethiopia from 1936 to 1941. The Haile Selassie regime however upon returning to power revoked these rights granted by Italy leading to discontent. Protests thumb|right|300px|Women protestors seen at the Ethiopian Muslim rally of 1974 In April 1974, the rally was spearheaded by the Muslim committee leaders which included Dr. Ahmed Kellow, and Ababiya Abajobir among others. Protestors had several demands from the Haile Selassie regime which involved insistence on equal rights with Christians, and promotion of the three Muslim religious celebrations; Eid al-Adha, Eid al-Fitr and Mawlid as statutory holidays. A list of grievances that should be addressed were lodged at the state. According to historian Temesgen Baye, one of the placards at the rally read: Equality is the basis of unity! We cannot afford to remain second class citizens! We demand for equal participation in administration! Out of 14 Enderasies, none of them is a Muslim! Out of 20 ministers only two are Muslims! No Muslim is a General! Our demand is equality, not superiority! The constitution discriminates against the majority of the population! Ethiopia is not only a Christian island! We are too Ethiopians! Declare Secular state! Liberty, equality and fraternity! Men are born free and equal rights! Prime minister of Ethiopia at the time Endelkachew Makonnen would respond positively to the protestors and arranged a meeting with Muslim leaders however it didn't bear much success aside from a symbolic gesture from the state. Aftermath The rally held in 1974 by Ethiopian Muslims was one of the key events that led to the eventual overthrow of emperor Haile Selassie, and the incoming transitional government led by the Derg would go onto grant some of the rights requested by the Muslim community. References Category:1970s protests Category:1974 in Ethiopia Category:Ethiopian Revolution Category:Labor disputes in Ethiopia Category:Political repression in Ethiopia Category:Protests in Ethiopia Category:Rebellions in Ethiopia

St Botolph's Church, Slapton

The Church of St Botolph's, Slapton, also referred to as Slapton, St Botolph, is the ancient parish church of the village of Slapton near Towcester in West Northamptonshire, United Kingdom. Constructed sometime around the late 12th and early 13th centuries the church is notable for its almost complete surviving set of late medieval wall paintings, widely considered the finest in Northamptonshire. The interior was described by Nikolaus Pevsner as "memorably intimate". The church is designated as a Grade I listed building. History Constructed on an area of high ground at the north end of the modern village, the churches history is intertwined with that of the villagers and Slapton Manor, located immediately to the west of the church. Its construction would have been overseen by the Manor House, at that time owned by a branch of the De Lucy family who are commemorated by the inclusion of their family crest in the east window over the high altar. The Knight family, later keepers of the manor, are also commemorated widely in the churches monuments. It was initially built sometime in the late 12th to early 13th century and was added to in the 14th century. The wall paintings were an evolving work between the 14th and early 16th centuries and being situated in the naves, the area of the church associated with the laity, represent the religious preoccupations of the common people. The wall paintings were probably whitewashed at the time of all the others in the country during the Edwardian reformation. The church continued to act as the villages parish church under the new Protestant church structure and contains a variety of post reformation fixtures and fittings. The vicarage located to the north is 19th century. The tower was reconstructed in 1878–9. The wall paintings were uncovered in the 1950s-1970's and have made the building one of Northamptonshire's most significant medieval antiquarian sites. thumb|left|View of the church from the south showing chancel and lady chapel. Structure The building consists of a chancel, a nave, a southern lean to lady chapel, a west tower, and a south porch. Like the vast majority of medieval churches, it is oriented axially towards the sanctuary and the high altar in the chancel at the east end of the church. It is constructed from local limestone and ironstone, a characteristically Northamptonshire material. thumb|right|North elevation of the church showing nave and chancel. On the south wall of the main body are two traceried gothic windows and a porch, inside which there are a couple of carved Mass dials. On the north elevation, the nave and chancel, there are also two windows and a walled up door. The chancel is lit by three large gothic windows and has a small priests door to the south. Interior The two naves, the principal nave in the north aisle and the lady chapel in the south aisle, are divided by an arcade of 3 bays. The chancel is divided from the north aisle by a solid stone rood screen wall punctured by a central door and two traceries windows. The south aisle has a small piscina at the east end of the south wall where the lady altar would have been prior to the reformation. The chancel has a number of niches in the wall one of which was probably the Easter Sepulchre. The Slapton Wall Paintings thumb|left|The nave looking east showing the Rood Screen wall and the entrances to the chancel. To the right is the screened off Lady Chapel in the south aisle. The Church of St Botolph, Slapton is home to The Slapton Wall Paintings, a notably complete collection of 14th-15th century wall paintings which dominate the interior and greet the visitor immediately on entry. In the north aisle on the north wall a large depiction of St Christopher carrying the Child Jesus and over the capitals of the arcade to the south (from left to right) St George and the dragon (partly lost), the Virgin Mary and St Michael overseeing the Weighing of souls, Satan inspiring two gossips, The Ecstasy of St Francis, and the Mass of Saint Gregory showing the Man of Sorrows. In the south aisle along the south wall are images of Saint Eligius the blacksmith with the Virgin Mary and St Anne, and the Three Living and the Three Dead (a Danse Macabre) to the right of the south door; above the capitals in the south aisle are scenes of the Suicide of Judas Iscariot and the Annunciation of the Virgin References See also Grade I listed buildings in Northamptonshire The Pickering Wall Paintings The Raunds Wall Paintings External links Category:Church of England church buildings in Northamptonshire Category:Grade I listed churches in Northamptonshire Category:West Northamptonshire District Category:12th-century church buildings in England Category:Medieval churches Category:Fresco painting

Glenn Tyler

Glenn Tyler (born December 24, 1968) is an American former professional stock car racing driver who competed in the NASCAR Whelen Modified Tour from 1999 to 2011. Tyler has also previously competed in series such as the PASS North Super Late Model Series, the Tri-Track Open Modified Series, the Granite State Pro Stock Series, the Modified Racing Series, and the World Series of Asphalt Stock Car Racing. Motorsports results NASCAR (key) (Bold – Pole position awarded by qualifying time. Italics – Pole position earned by points standings or practice time. * – Most laps led.) Whelen Modified Tour NASCAR Whelen Modified Tour results Year Team No. Make 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 Pts Ref 1999 Glenn Tyler 28 Chevy TMP RPS STA RCH STA RIV JEN NHA NZH HOL TMP NHA RIV GLN STA RPS TMP NHA STA MAR TMP N/A 0 2001 N/A N/A N/A SBO TMP STA WFD NZH STA RIV SEE RCH NHA HOL RIV CHE TMP STA WFD TMP STA MAR TMP N/A 0 2006 Mark Sypher 8 Chevy TMP STA JEN TMP STA NHA HOL RIV STA TMP MAR TMP NHA WFD TMP STA 32nd 838 2007 TMP STA WTO STA TMP NHA TSA RIV STA TMP MAN MAR NHA TMP STA TMP 26th 1272 2008 TMP STA STA TMP NHA SPE RIV STA TMP MAN TMP NHA MAR CHE STA TMP 13th 1812 2009 TMP STA STA NHA SPE RIV STA BRI TMP NHA MAR STA TMP 15th 1442 2010 TMP STA STA MAR NHA LIM MND RIV STA TMP BRI NHA STA TMP 22nd 1139 2011 TMP STA STA MND TMP NHA RIV STA NHA BRI DEL TMP LRP NHA STA TMP 28th 929 References External links Category:Living people Category:NASCAR drivers Category:Racing drivers from New York (state) Category:1968 births