title: Ashes Are Burning

abstract: Ashes Are Burning is the fourth studio album by the English progressive rock band Renaissance, released in 1973. It was the first of several Renaissance albums to feature an orchestra playing along with the band. It was the band's first album to make the Billboard 200 album chart, peaking at No. 171.

text:
# Ashes Are Burning

Professional ratings
| Review scores | |
| --- | --- |
| Source | Rating |
| AllMusic |  |

***Ashes Are Burning*** is the fourth studio album by the English progressive rock band Renaissance, released in 1973 (see 1973 in music). It was the first of several Renaissance albums to feature (on some songs) an orchestra playing along with the band. It was the band's first album to make the *Billboard* 200 album chart, peaking at No. 171.

## Background and recording

With *Ashes Are Burning* Renaissance made a deliberate choice to head in a more acoustic direction, in order to accommodate their folk-influenced style and differentiate themselves from the many electric guitar-dominated bands on the scene. Because Renaissance were between guitarists at the time, bassist Jon Camp played most of the guitars on the album. Michael Dunford, who had been working with Renaissance in a composer-only role, also played acoustic guitar on a few tracks. He later rejoined the band, but only after *Ashes Are Burning* had been released, so he is accordingly listed as a guest musician.

Most of the songwriting for the album was handled through the mail. Dunford would send a tape containing a melody line to Betty Thatcher, who composed the lyrics, and Dunford then mailed a tape of himself singing the completed song to Renaissance, who put together the arrangements in the studio.

After setting up to record at De Lane Lea Studios, the band brought on Dick Plant, an engineer at the studios, as co-producer. The band were impressed with his work on the album, leading them to retain him as co-producer for their next album.

## Songs

The song "Can You Understand?" uses a quote from "Tonya and Yuri Arrive at Varykino", a theme from Maurice Jarre's score for *Doctor Zhivago*. According to David Samuel Barr, a friend of the band who wrote the liner notes for the *Tales of 1001 Nights* compilation, Dunford had thought this melody to be a public domain Russian folk tune. Because of confusion over the Jarre quote, some live collections (including *Live at the Royal Albert Hall : King Biscuit Flower Hour Vol. 1* and some unauthorised releases) mistakenly credit "Can You Understand?" entirely to Jarre. "Can You Understand?" is also cited by Jon Camp as being a case where he and John Tout made major compositional contributions without being credited for them. Terry Sullivan has corroborated that the intro to "Can You Understand?" was composed by Camp and Tout, not Dunford.

The song "On the Frontier" was previously released (also in 1973) by former Renaissance member Jim McCarty's band Shoot. It was the title track of their only album.

An early demo of "Carpet of the Sun," with a vocal by Jane Relf, was released in 2008 on the compilation *Jane's Renaissance: The Complete Jane Relf Collection, 1969-1995*. This demo version includes a verse which is not heard in the final version; however this verse is printed on the *Ashes Are Burning* LP's inner sleeve. (The verse begins with "Come along and try, looking into ways of giving. Maybe we will try, find a dream that we will live in".)

## Release

### *In the Beginning* reissue

In 1978 *Ashes Are Burning* was reissued, together with the preceding album *Prologue*, as a double album called *In the Beginning*. While *Prologue* was reissued in complete form, the *Ashes Are Burning* song "At the Harbour" was edited down to 3:07. This was because a change in copyright laws in the interim had changed the status of certain early 20th century works, including Claude Debussy's *La cathédrale engloutie*, excerpts of which begin and end the full version of "At the Harbour". The 1988 CD version of *In the Beginning* (on one disc) had edited versions not only of this song, but also of "Ashes Are Burning" and of one *Prologue* song. The early-1990s CD reissue of "Ashes are Burning," on One Way Records, contains the full-length version of "At the Harbour". The album was re-issued on CD in its original form by Repertoire Records in 1995.

### Expanded 2019 edition

In 2018 Esoteric Recordings announced a re-mastered and expanded edition of the album, which was released on 22 February 2019.

## Track listing

All tracks are written by Michael Dunford and Betty Thatcher, except where noted

Side one
| No. | Title | Writer(s) | Length |
| --- | --- | --- | --- |
| 1. | "Can You Understand?" |  | 9:51 |
| 2. | "Let It Grow" |  | 4:14 |
| 3. | "On the Frontier" | Jim McCarty, Thatcher | 4:55 |

Side two
| No. | Title | Length |
| --- | --- | --- |
| 4. | "Carpet of the Sun" | 3:31 |
| 5. | "At the Harbour" | 6:48 |
| 6. | "Ashes Are Burning" | 11:20 |

Bonus Tracks for 2019 re-mastered & expanded edition
| No. | Title | Length |
| --- | --- | --- |
| 7. | "Can You Understand" (BBC Radio One "In Concert" - Recorded 3 January 1974 at the Paris Theatre in London) |  |
| 8. | "Let it Grow" (BBC Radio One "In Concert" - Recorded 3 January 1974 at the Paris Theatre in London) |  |
| 9. | "Ashes are Burning" (BBC Radio One "In Concert" - Recorded 3 January 1974 at the Paris Theatre in London) |  |

## Personnel

Renaissance * Annie Haslam – lead and backing vocals
* John Tout – keyboards, backing vocals
* Jon Camp (listed as "John Camp") – bass, electric and acoustic guitars, co-lead vocals on track 3, backing vocals
* Terence Sullivan – drums, backing vocals, percussion

Additional musicians Production * Dick Plant – producer, engineer
* Richard Goldblatt – assistant engineer
* Hipgnosis – cover design

## InfoBox

| Ashes Are Burning | |
| --- | --- |
| Cover design by Hipgnosis | |
| Studio album by Renaissance | |
| Released | October 1973 |
| Recorded | April–August 1973 |
| Studio | De Lane Lea Studios, Wembley, UK |
| Genre | Progressive rock |
| Length | 40:39 |
| Label | Sovereign (UK)
Sovereign/Capitol (North America)
Sovereign/Harvest (Germany)
Regal Zonophone (Italy)
EMI (rest of Europe and Japan) |
| Producer | Dick Plant and Renaissance |
| Renaissance chronology | |
| *Prologue*
(1972) ***Ashes Are Burning***
(1973) *Turn of the Cards*
(1974) | |
|  | |
| US release cover | |
|  | |
|  | |
|  | |
|  | |


title: Deterioration modeling

abstract: Deterioration modeling is the process of modeling and predicting the physical conditions of equipment, structures, infrastructure or any other physical assets. The condition of infrastructure is represented either using a deterministic index or the probability of failure. Examples of such performance measures are pavement condition index for roads or bridge condition index for bridges. For probabilistic measures, which are the focus of reliability theory, probability of failure or reliability index are used. Deterioration models are instrumental to infrastructure asset management and are the basis for maintenance and rehabilitation decision-making. The condition of all physical infrastructure degrade over time. A deterioration model can help decision-makers to understand how fast the condition drops or violates a certain threshold. Traditionally, most municipalities have been using deterioration curves for deterioration modeling. Recently, more complex methods based on simulation, Markov models and machine learning models have been introduced. A well-known model to show the probability of failure of an asset throughout its life is called bathtub curve. This curve is made of three main stages: infant failure, constant failure, and wear out failure. In infrastructure asset management the dominant mode of deterioration is because of aging, traffic, and climatic attribute. Therefore, the wear out failure is of most concern.

text:
# Deterioration modeling

**Deterioration modeling** is the process of modeling and predicting the physical conditions of equipment, structures, infrastructure or any other physical assets. The condition of infrastructure is represented either using a deterministic index or the probability of failure. Examples of such performance measures are pavement condition index for roads or bridge condition index for bridges. For probabilistic measures, which are the focus of reliability theory, probability of failure or reliability index are used. Deterioration models are instrumental to infrastructure asset management and are the basis for maintenance and rehabilitation decision-making. The condition of all physical infrastructure degrade over time. A deterioration model can help decision-makers to understand how fast the condition drops or violates a certain threshold.

Traditionally, most municipalities have been using deterioration curves for deterioration modeling. Recently, more complex methods based on simulation, Markov models and machine learning models have been introduced. A well-known model to show the probability of failure of an asset throughout its life is called bathtub curve. This curve is made of three main stages: infant failure, constant failure, and wear out failure. In infrastructure asset management the dominant mode of deterioration is because of aging, traffic, and climatic attribute. Therefore, the wear out failure is of most concern.

## Types of deterioration models

Deterioration models are either deterministic or probabilistic. Deterministic models cannot entertain probabilities. Probabilistic models, however, can predict both the future condition and the probability of being in that certain condition.

### Deterministic models

Deterministic models are simple and intelligible, but cannot incorporate probabilities. Deterioration curves solely developed based on age are an example of deterministic deterioration models. Traditionally, most mechanistic and mechanistic-empirical models are developed using deterministic approaches, but more recently researchers and practitioners have become interested in probabilistic models.

### Probabilistic models

Examples of probabilistic deterioration models are the models developed based on reliability theory, Markov chain and machine learning. Unlike deterministic models a probabilistic model can incorporate probability. For instance, it can tell that in five years a road is going to be in a *Poor* condition with a probability of 75%, and there is a 25% probability that it will stay in a fair condition. Such probabilities are vital to the development of risk assessment models. If a state or class of the performance measure is of interest, Markov models and classification machine learning algorithms can be utilized. However, if decision-makers are interested in numeric value of performance indicators, they need to use regression learning algorithms. A limitation of Markov models is that they cannot consider the history of maintenance, which are among important attribute for predicting the future conditions. Deterioration models developed based on machine learning do not have this limitation. Furthermore, they can include other features such as climatic attributes and traffic as input variables.

#### Markov models

A large portion of probabilistic deterioration models are developed based on Markov chain, which is a probabilistic discrete event simulation model. Deterioration models developed based on Markov chain consider the condition of asset as a series of discrete states. For instance, in the case of pavement deterioration modeling, the PCI can be categorized into five classes: good, satisfactory, fair, poor and very poor (or simply 1 to 5). A Markov model is then developed to predict the probability of transition from state 1 to each of other states in a number of years. Crude Markov models have been criticized for disregarding the impact of ageing and maintenance history of the asset. More complex models known as semi-Markov models can account for history of maintenance, but their calibration requires a great deal of longitudinal data. Recently, efforts have been made to train Markov deterioration models to consider the impact of climate, but generally it is not possible to have climatic attributes or traffic as an input in these types of models.

#### Machine learning

Since the late 2000s machine learning algorithms have been adopted to tackle infrastructure deterioration modeling. Neural networks have been among the most commonly used models. Despite their high learning capability, neural networks have been criticized for their black-box nature, which does not provide enough room for interpretation of the model. Therefore, other algorithms have been used in the literature as well. Examples of other algorithms used for deterioration modeling are decision tree, k-NN, random forest, gradient boosting trees, random forest regression, and naive Bayes classifier. In this type model usually, the deterioration is predicted using a set of input variables or predictive features. The examples of predictive features used in the literature are initial condition, traffic, climatic features, pavement type and road class.


title: Aces Four

abstract: Aces Four, foaled on 30 March 1999 in Ireland, is an Irish Thoroughbred racehorse.

text:
# Aces Four

**Aces Four**, foaled on 30 March 1999 in Ireland, is an Irish Thoroughbred racehorse.

## Background

Aces Four was sired by Fourstars Allstar out of the mare Special Trix. He was owned by the DPRP Aces Partnership, trained by Ferdy Murphy, and his primary jockey was Graham Lee.

## Racing career

Aces Four started racing as a four-year-old in January 2004. In his early years, he was trained by Billy McKeown. In 2005, Ferdy Murphy took over duties and trained Aces Four to six wins in their first 10 races together. He won his first race, the Lugg Maiden Hurdle in February 2006 at Ludlow Racecourse located near Ludlow, Shropshire, England by 7 lengths. He went on to win a number of other novice races, including the Cleanevent Novices' Chase, EBF Future Champions "National Hunt" Novices' Hurdle and the Now Live At WBX Novices' Chase.

The final win in Aces Four’s career was arguably his most significant. At the 2007 Grand National meeting, Aces Four won the Mildmay Novices' Chase at Aintree Racecourse. Entering the race as a 5-2 favourite, he beat Fassel by a remarkable 8 lengths despite a mistake made by Graham Lee’s mount at the onset of the race. After the win at Aintree, Aces Four was on his way to a win in the Punchestown Champion Novice Chase in Punchestown, Ireland, but crashed at the last hurdle, ending hopes for his first Grade 1 race win. While Aces Four was slightly concussed, jockey Graham Lee suffered a broken elbow from the fall. Afterward, Aces Four was never the same, missing a number of races and disappointing in those he did compete. Although a star novice horse, he failed to reach the lofty expectations placed on him after his win in at Aintree. Murphy once said of his prized horse: *"He is a horse that I thought could go right to the top."*

## Retirement

Aces Four was officially retired in December 2009 as a result of lingering injuries. Speaking on the retirement of his horse, Murphy said: *"He was a grand horse and the day he won at Aintree he looked very good. I spoke to the owners earlier this month and we agreed it was better to send him to a quiet retirement than possibly break him down trying to bring him back."*

His career record finished with 6 wins, 4 places and 3 show. His wins were split with three each coming in hurdling and flat races. In total, he accumulated £89,190 in lifetime earnings.

## InfoBox

| Aces Four | |
| --- | --- |
| Sire | Fourstars Allstar |
| Grandsire | Compliance |
| Dam | Special Trix |
| Damsire | Peacock |
| Sex | Gelding |
| Foaled | 30 March 1999 |
| Country | Ireland |
| Colour | Chestnut |
| Breeder | J.R. Cox |
| Owner | The DPRP Aces Partnership |
| Trainer | Ferdy Murphy |
| Record | 20: 6-4-3 |
| Earnings | £89,190 |
| Major wins | |
| Mildmay Novices' Chase | |


title: Acicularia

abstract: Acicularia is a genus of green algae in the family Dasycladaceae.

text:
# Acicularia

***Acicularia*** is a genus of green algae in the family Dasycladaceae.

## InfoBox

| *Acicularia* | |
| --- | --- |
|  | |
|
| Scientific classification | |
| *Clade*: | Viridiplantae |
| Division: | Chlorophyta |
| Class: | UTC clade |
| Order: | Dasycladales |
| Family: | Dasycladaceae |
| Genus: | *Acicularia*<br>d'Archiac, 1843 |
|
| Species | |
|  | |


abstract: The Detroit–Columbia Central Office Building is a building located at 52 Selden Street in Midtown Detroit, Michigan. It is also known as the Michigan Bell Telephone Exchange. The building was listed on the National Register of Historic Places in 1997.

text:
# Detroit–Columbia Central Office Building

The **Detroit–Columbia Central Office Building** is a building located at 52 Selden Street in Midtown Detroit, Michigan. It is also known as the **Michigan Bell Telephone Exchange**. The building was listed on the National Register of Historic Places in 1997.

## History

The Detroit–Columbia Central Office Building was commissioned by the Michigan Bell Telephone Company in 1927 at a cost of $1.2 million. The building was designed by Smith, Hinchman, & Grylls, and construction was completed in November 1928. The "dial system" office building, built to relieve the function of earlier "manual" exchanges, originally served around 7000 telephone customers in the central Woodward Avenue district of the city. The building is still owned by AT&T, a successor company of Michigan Bell.

## Description

The Detroit–Columbia Central Office Building is a rectangular three-story Art Deco building constructed of steel and reinforced concrete and faced with brick and limestone. The building measures 105 feet wide by 116 feet deep by 64 feet tall. The first floor is faced with limestone; the limestone continues upward in the shape of five pilasters dividing the facade into six bays. The upper floors between the pilasters are faced with light brown brick.

The entrance is located in the eastern bay, and is topped with a carved panel. An identical panel also tops a slight recess located in the western bay to match the entryway. The other four bays contain semi-round arched openings with subdivided windows on the ground floor. Two-story rectangular openings above contain one group of windows on each floor.

On the interior, the basement contains a cable vault, a battery room and the heating plant. The first and second floors contain the switching equipment, and the third floor contains operating rooms.

## InfoBox

|  | |
| --- | --- |
| Detroit–Columbia Central Office Building | |
| U.S. National Register of Historic Places | |
| U.S. Historic district
Contributing property | |
|  | |
|  | |
| Location | 52 Selden Street
Detroit, Michigan |
| Coordinates | 42°20′57.34″N 83°3′38.28″W / 42.3492611°N 83.0606333°W / 42.3492611; -83.0606333 |
| Built | 1927 |
| Architect | Smith, Hinchman, & Grylls |
| Architectural style | Modern Movement, Art Deco |
| Part of | Willis-Selden Historic District (ID97001478) |
| MPS | Cass Farm MPS |
| NRHP reference No. | 97001098 |
| Significant dates | |
| Added to NRHP | September 22, 1997 |
| Designated CP | December 01, 1997 |


title: Deterministic Networking

abstract: Deterministic Networking (DetNet) is an effort by the IETF DetNet Working Group to study implementation of deterministic data paths for real-time applications with extremely low data loss rates, packet delay variation (jitter), and bounded latency, such as audio and video streaming, industrial automation, and vehicle control. DetNet operates at the IP Layer 3 routed segments using a software-defined networking layer to provide IntServ and DiffServ integration, and delivers service over lower Layer 2 bridged segments using technologies such as MPLS and IEEE 802.1 Time-Sensitive Networking. Deterministic Networking aims to migrate time-critical, high-reliability industrial control and audio-video applications from special-purpose Fieldbus networks to packet networks and IP in particular. DetNet will support both the new applications and existing IT applications on the same physical network. To support real-time applications, DetNet implements reservation of data plane resources in intermediate nodes along the data flow path, calculation of explicit routes that do not depend on network topology, and redistribute data packets over time and/or space to deliver data even with the loss of one path.

text:
# Deterministic Networking

**Deterministic Networking (DetNet)** is an effort by the IETF DetNet Working Group to study implementation of deterministic data paths for real-time applications with extremely low data loss rates, packet delay variation (jitter), and bounded latency, such as audio and video streaming, industrial automation, and vehicle control.

DetNet operates at the IP Layer 3 routed segments using a software-defined networking layer to provide IntServ and DiffServ integration, and delivers service over lower Layer 2 bridged segments using technologies such as MPLS and IEEE 802.1 Time-Sensitive Networking. Deterministic Networking aims to migrate time-critical, high-reliability industrial control and audio-video applications from special-purpose Fieldbus networks (HDMI, CAN bus, PROFIBUS, RS-485, RS-422/RS-232, and I²C) to packet networks and IP in particular. DetNet will support both the new applications and existing IT applications on the same physical network.

To support real-time applications, DetNet implements reservation of data plane resources in intermediate nodes along the data flow path, calculation of explicit routes that do not depend on network topology, and redistribute data packets over time and/or space to deliver data even with the loss of one path.

## Rationale

Standard IT infrastructure cannot efficiently handle latency-sensitive data. Switches and routers use fundamentally uncertain algorithms for processing packet/frames, which may result in sporadic data flow. A common solution for smoothing out these flows is to increase buffer sizes, but this has a negative effect on delivery latency because data has to fill the buffers before transmission to the next switch or router can start.

IEEE Time-Sensitive Networking (TSN) task group has defined deterministic algorithms for queuing, shaping and scheduling which allow each node to allocate bandwidth and latency according to requirements of each data flow, by computing the buffer size at the network switch. The same algorithms can be employed at higher network layers to improve delivery of IP packets and provide interoperability with TSN hardware when available.

## Requirements

Applications from different fields often have fundamentally similar requirements, which may include:

1. Time synchronization at each node (routers/bridge)across the entire network, with accuracy from nanoseconds to microseconds.
2. Deterministic data flow, which shall support:
    * unicast or multicast packets;
    * guaranteed minimum and maximum latency endpoint-to-endpoint across the entire network, with tight jitter when required;
    * Ethernet packet loss ratio from 10−9 to 10−12, wireless mesh networks around 10−5;
    * high utilization of the available network bandwidth (no need for massive over-provisioning);
    * flow processing without throttling, congestion feedback, or other network-defined transmission delay;
    * a fixed transmission schedule, or a maximum bandwidth and packet size.
3. Scheduling, shaping, limiting, and controlling transmission at each node.
4. Protection against misbehaving nodes (in both the data and the control planes): a flow cannot affect other flows even under high load.
5. Reserving resources in nodes that carry the flow.

## Operation

### Resource allocation

To reduce contention related packet loss, resources such as buffer space or link bandwidth can be assigned to the flow along the path from source to destination. Maintaining adequate buffer storage at each node also limits maximum end-to-end latency. The maximum transmission rate and maximum packet size have to be explicitly defined for each flow.

Each network node along the path shall not exceed these data rates, as any packet sent out of scheduled time requires additional buffering on the next node, which may exceed its allocated resources. To limit data rates, traffic policing and shaping functions are applied at the ingress ports. This also protects regular IT traffic from misbehaving DetNet sources. Time-of-execution fields in the packets and sub-microsecond time synchronization across all nodes are used to ensure minimum end-to-end latency and eliminate irregular delivery (jitter). Jitter reduces the perceived quality of audiovisual applications, and control network applications built around serial communication protocols cannot handle jitter at all.

### Service protection

Packet loss can also result from media errors and equipment failures. Packet replication and elimination and packet encoding provide service protection from these failures.

Replication and elimination works by spreading the data across several explicit paths and reassembling them in-order near the destination. Sequence number or timestamp is added to DetNet flow or transport protocol packet, then duplicate packets are eliminated and out-of-order packets are reordered, based on sequencing information and transmission logs, Adhering to the flow latency constraints also imposes constraints on misordering, as out-of-order packets impact the jitter and require additional buffering.

Different path lengths also require additional buffering to equalize the delays and ensure bandwidth constraints after failure recovery. Replication and elimination may be used by multiple DetNet nodes to improve protection against multiple failures. Packet encoding uses multiple transmission units for each packet, adding redundancy and error correction information from multiple packets to each transmission unit.

### Explicit routes

In mesh networks, topology events such as failure or recovery can impact data flow even in remote network segments. A side effect of route changes is out-of-order packet delivery.

Real-time networks are often based on physical rings with a simple control protocol and two ports per device for redundant paths, though at a cost of increased hop count and latency. DetNet routes are typically explicitly defined and do not change (at least immediately) in response to network topology events, so there are no interruptions from routing or bridging protocol negotiations. Explicit routes can be established with RSVP-TE, Segment Routing, IS-IS, MPLS-TE label-switched path (LSP), or a software-defined networking layer.

### Traffic engineering

IETF Traffic Engineering Architecture and Signaling (TEAS) work group maintains MPLS-TE LSP and RSVP-TE protocols. These traffic Engineering (TE) routing protocols translate DetNet flow specification to IEEE 802.1 TSN controls for queuing, shaping, and scheduling algorithms, such as IEEE 802.1Qav credit-based shaper, IEEE802.1Qbv time-triggered shaper with a rotating time scheduler, IEEE802.1Qch synchronized double and triple buffering, 802.1Qbu/802.3br Ethernet packet pre-emption, and 802.1CB frame replication and elimination for reliability. Protocol interworking defined by IEEE 802.1CB is used to advertise TSN sub-network capabilities to DetNet flows via the Active Destination MAC and VLAN Stream identification functions. DetNet flows are matched by destination MAC address, VLAN ID and priority parameters to Stream ID and QoS requirements for talkers and listeners in the AVB/TSN sub-network.

## Use cases

IETF foresees the following use cases:


title: Deuveia banghaasi

abstract: Deuveia banghaasi is a moth in the family Epicopeiidae. It is found in central China. The wingspan is 31–34 mm. Adults have been recorded on wing in June. It is a day-flying species.

text:
# Deuveia banghaasi

***Deuveia banghaasi*** is a moth in the family Epicopeiidae. It is found in central China.

The wingspan is 31–34 mm. Adults have been recorded on wing in June. It is a day-flying species.

## Etymology

The genus is named for Dr. Thierry Deuve (MNHN).

## InfoBox

| *Deuveia banghaasi* | |
| --- | --- |
|  | |
|
| Scientific classification | |
| Domain: | Eukaryota |
| Kingdom: | Animalia |
| Phylum: | Arthropoda |
| Class: | Insecta |
| Order: | Lepidoptera |
| Family: | Epicopeiidae |
| Genus: | *Deuveia*
Minet, 2002 |
| Species: | ***D. banghaasi*** |
| Binomial name | |
| ***Deuveia banghaasi***
(Hering, 1932) | |
|
| Synonyms | |
| * *Amana banghaasi* Hering, 1932 | |


title: Acronicta interrupta

abstract: Acronicta interrupta, the interrupted dagger moth, is a moth of the family Noctuidae. The species was first described by Achille Guenée in 1852. It is found across southern Canada south of the boreal forest, from New Brunswick west to eastern Alberta, south to Georgia, Nebraska and Arizona. The wingspan is 35–42 mm. Adults are on wing from April to August or September depending on the location. There are two or more generations per year in the south and one in the north. The larvae feed on apple, apricot, birch, cherry, crabapple, elm, hawthorn, hop-hornbeam, mountain-ash, oak, plum and willow.

text:
# Acronicta interrupta

***Acronicta interrupta***, the **interrupted dagger moth**, is a moth of the family Noctuidae. The species was first described by Achille Guenée in 1852. It is found across southern Canada south of the boreal forest, from New Brunswick west to eastern Alberta, south to Georgia, Nebraska and Arizona.

The wingspan is 35–42 mm. Adults are on wing from April to August or September depending on the location. There are two or more generations per year in the south and one in the north.

The larvae feed on apple, apricot, birch, cherry, crabapple, elm, hawthorn, hop-hornbeam, mountain-ash, oak, plum and willow.

## InfoBox

| Interrupted dagger moth | |
| --- | --- |
|  | |
|
| Scientific classification | |
| Domain: | Eukaryota |
| Kingdom: | Animalia |
| Phylum: | Arthropoda |
| Class: | Insecta |
| Order: | Lepidoptera |
| Superfamily: | Noctuoidea |
| Family: | Noctuidae |
| Genus: | *Acronicta* |
| Species: | ***A. interrupta*** |
| Binomial name | |
| ***Acronicta interrupta***<br>Guenée, 1852 | |
|
| Synonyms | |
| * *Acronicta occidentalis* * *Acronicta sagittaria* * *Acronicta elisabeta* * *Acronicta elizabeta* | |


title: Acronicta insita

abstract: Acronicta insita, the large gray dagger or fingered dagger, is a moth of the family Noctuidae. The species was first described by Augustus Radcliffe Grote in 1874. It is found from Newfoundland west to the Pacific coast and Vancouver Island and Haida Gwaii, British Columbia, south to North Carolina and Colorado. Acronicta hesperida and Acronicta dactylina were formerly considered to be separate species, but are now considered a synonym. The wingspan is 45–55 mm. Adults are on wing from May to July in one generation depending on the location. The larvae feed on alder, birch, poplar, hawthorn and willow. They have fine hairs that are actually hollow, containing a toxin within. If direct contact is made through handling or even indirect contact through clothing, mild to severe rashes may appear for up to a week and may spread easily to other areas of the body through clothing rubbing on exposed area or scratching. Some people react more seriously while others have no reaction at all.

text:
# Acronicta insita

***Acronicta insita***, the **large gray dagger** or **fingered dagger**, is a moth of the family Noctuidae. The species was first described by Augustus Radcliffe Grote in 1874. It is found from Newfoundland west to the Pacific coast and Vancouver Island and Haida Gwaii, British Columbia, south to North Carolina and Colorado.

*Acronicta hesperida* and *Acronicta dactylina* were formerly considered to be separate species, but are now considered a synonym.

The wingspan is 45–55 mm. Adults are on wing from May to July in one generation depending on the location.

The larvae feed on alder, birch, poplar, hawthorn and willow.

They have fine hairs that are actually hollow, containing a toxin within. If direct contact is made through handling or even indirect contact through clothing, mild to severe rashes may appear for up to a week and may spread easily to other areas of the body through clothing rubbing on exposed area or scratching. Some people react more seriously while others have no reaction at all.

## InfoBox

| *Acronicta insita* | |
| --- | --- |
|  | |
| *Acronicta insita*, fingered dagger, Washington | |
|
| Scientific classification | |
| Domain: | Eukaryota |
| Kingdom: | Animalia |
| Phylum: | Arthropoda |
| Class: | Insecta |
| Order: | Lepidoptera |
| Superfamily: | Noctuoidea |
| Family: | Noctuidae |
| Genus: | *Acronicta* |
| Species: | ***A. insita*** |
| Binomial name | |
| ***Acronicta insita***<br>Grote, 1874 | |
|
| Synonyms | |
| Acronycta dactylina Grote, 1874 Acronycta denvera Smith, 1905 Acronycta hesperida Smith, 1897 | |


title: Dholkichya Talavar

abstract: Dholkichya Talavar is a Marathi language dance reality show, where dancers compete to win the title of "Lavani Samradyni". The first two seasons were produced by Logical Thinkers and Ramesh Dev Production. The third season was produced by Logical Thinkers in July 2015. The fourth season was aired from March 2016 and the fifth season was aired from May 2017. The sixth season is airing from 1 July 2023. It is directed and produced by Santosh Kolhe, written by Chinmay Kulkarni and directed by Sukhvinder Singh Chauhan. The project was held by Vipul Avinash Mehta. It was a special season of the show as entertainment rather than competition shown on Colors Marathi in March 2016. Foreign artists like Suzanne Bernert have also taken part in this reality show.

text:
# Dholkichya Talavar

***Dholkichya Talavar*** (transl.To the beat of the drummer) is a Marathi language dance reality show, where dancers compete to win the title of "Lavani Samradyni". The first two seasons were produced by Logical Thinkers and Ramesh Dev Production. The third season was produced by Logical Thinkers in July 2015. The fourth season was aired from March 2016 and the fifth season was aired from May 2017. The sixth season is airing from 1 July 2023.

It is directed and produced by Santosh Kolhe, written by Chinmay Kulkarni and directed by Sukhvinder Singh Chauhan. The project was held by Vipul Avinash Mehta. It was a special season of the show as entertainment rather than competition shown on Colors Marathi in March 2016. Foreign artists like Suzanne Bernert have also taken part in this reality show.

## Contestants

### Season 1

### Season 3

### Season 4

The fourth season started on 21 March 2016. The episodes featured flash mobs, fusion with western dances, a property round and a live music round. Dipali Sayyad, Vishwas Patil, Shakuntala Nagarkar and Manasi Naik are the jury for this season. The anchor of the show is actor Subodh Bhave.

* Mrunmayee Gondhalekar = Winner
* Vaishnavi Patil = 1st Runner-up
* Sayali Paradkar = 2nd Runner-up
* Richa Agnihotri = Finalist
* Shuchika Joshi = Finalist
* Meera Joshi = Eliminated
* Nazneen Shaikh = Eliminated
* Aishwarya Badade = Eliminated
* Sharmila Shinde = Eliminated
* Chani = Eliminated
* Akshaya Malvankar = Eliminated
* Sanika Abhyankar = Eliminated

### Contestants in 2016 are

* Minakshi Poshe = Winner
* Palak More = Winner
* Rutuja Junnarkar = 1st Runner-up
* Ishwari Nimbore = 1st Runner-up
* Samruddhi Kelkar = 2nd Runner-up
* Dhanishthha Katkar = 2nd Runner-up
* Chinmayi Salvi = Eliminated; Re-entered as a Wild Card; Finalist
* Samruddhi Shendage = Eliminated; Re-entered as a Wild Card; Finalist
* Dhanashree Dhhomase = Finalist
* Anushka Deshpande = Finalist
* Snehal Patil = Eliminated
* Tanaya Acharekar = Eliminated
* Ankita Tare = Eliminated
* Arya Angre = Eliminated
* Dipali Naigaonkar = Eliminated
* Siddhi Tambe = Eliminated
* Apurva Undalkar = Eliminated
* Joya Khan = Eliminated
* Prachiti Kulkarni = Eliminated
* Bhumika Gauda = Eliminated
* Tejashree Gugale = Eliminated
* Chahat Shaikh = Eliminated
* Asmita Surve = Eliminated
* Shambhavi Bharekar = Eliminated

## InfoBox

| *Dholkichya Talavar* | |
| --- | --- |
|  | |
| Genre | Reality television |
| Based on | Lavani |
| Developed by | Vipul Mehta |
| Written by | Chinmay Kulkarni |
| Directed by | Santosh Kolhe |
| Presented by | Subodh Bhave
Hemant Dhome
Adarsh Shinde
Nandesh Umap
Akshay Kelkar |
| Judges | Vishwas Patil
Manasi Naik
Dipali Sayyad
Shakuntala Nagarkar
Jitendra Joshi
Phulwa Khamkar
Kranti Redkar
Ashish Patil
Abhijeet Panse |
| Country of origin | India |
| Original language | Marathi |
| No. of seasons | 6 |
| No. of episodes | 154 |
| Production | |
| Cinematography | Sukhvinder Singh Chauhan |
| Camera setup | Multi-camera |
| Running time | 45 minutes |
| Production companies | Logical Thinkers
Ramesh Dev Productions |
| Original release | |
| Network | Colors Marathi |
| Release | 21 March 2011 (2011-03-21)
1 October 2023 (2023-10-01) |


title: Dholla Kalan

abstract: Dholla Kalan is a village in Tehsil Phalia, Mandi Bahauddin District, Punjab, Pakistan. It is located about 11 kilometres from Phalia, the headquarters of Tehsil Phalia, with a road running between the two. Dholla Kalan is one of two areas within the village of Dholla, the other being Dhola Khurd. The words Khurd and Kalan are administrative terms which date back to Mughal times. They are used to differentiate between two areas with the same name. The words are taken from Persian and translate to "big" and "small" respectively. Nearby villages include Saida Sharif, Dhall Tararan, Kala Shadian, Dogul, and Seeray.

text:
# Dholla Kalan

**Dholla Kalan** is a village in Tehsil Phalia, Mandi Bahauddin District, Punjab, Pakistan. It is located about 11 kilometres from Phalia, the headquarters of Tehsil Phalia, with a road running between the two.

Dholla Kalan is one of two areas within the village of Dholla, the other being Dhola Khurd. The words Khurd and Kalan are administrative terms which date back to Mughal times. They are used to differentiate between two areas with the same name. The words are taken from Persian and translate to "big" and "small" respectively.

Nearby villages include Saida Sharif, Dhall Tararan, Kala Shadian, Dogul, and Seeray.

## Population

Dholla Kalan has a population of over 7,000 people. Most of the population work in agriculture, cultivating wheat, rice, sugar, and various types of vegetables.

A large number of young people from the village have settled abroad to earn their livings, most of them in Saudi Arabia.

## Facilities

There are government-run elementary schools for each gender, and there is an elementary school for girls. There are no hospitals in Dholla Kalan but there are some individuals who have small dispensaries at their homes. There are two private Schools in Dhola Kalan: Al Wahid Model School and Mustafai Model School.

Dolla Kalan has an official playground, where games like cricket, volleyball, and football are popular, among others.

The most famous religious personality of Dholla is Mian Haji Sahib, whose Darbar is situated in the south of Dholla Khurd Near Qabiristan.


title: Deutsche Journalistenschule

abstract: The Deutsche Journalistenschule e.V., the German School of Journalism, is a journalism school in Germany. At the time of its establishment, it was the country's first German journalism school. Today, Deutsche Journalistenschule is considered one of the best schools for journalism in Germany, along with the Henri-Nannen-Schule in Hamburg.

text:
# Deutsche Journalistenschule

The **Deutsche Journalistenschule e.V.** (German: \[ˈdɔʏtʃə ʒʊʁnaˈlɪstn̩ˌʃuːlə\]), the **German School of Journalism**, is a journalism school in Germany. At the time of its establishment, it was the country's first German journalism school. Today, Deutsche Journalistenschule is considered one of the best schools for journalism in Germany, along with the Henri-Nannen-Schule in Hamburg.

## History

It was founded in 1949 by Werner Friedmann, co-editor of *Süddeutsche Zeitung*. He modeled the school after the Columbia University Graduate School of Journalism, which he saw while visiting the United States of America. The original name of the school, Werner Friedmann Institute, was later changed into *Deutsche Journalistenschule e.V.* (DJS), which means German School of Journalism.

For the following decades, DJS was the only professional school for journalism in West-Germany. Its students are taught by professional journalists of prominent German media outlets like *Der Spiegel*, *Süddeutsche Zeitung* or ARD. Only 45 students are accepted every year. The curriculum consists of classes in writing, research, TV-producing and others. In her speech on the school's 60th anniversary, Chancellor Angela Merkel called the DJS "a good piece of the success story of the Bundesrepublik Deutschland". Many editors-in-chief of renowned German newspapers and magazines were once students of the DJS.

In May 2012, the school moved from the former location in the heart of the city centre (Altheimer Eck) to the east of Munich (Hultschiner Straße 8), sharing the address with the Süddeutsche Verlag, the publishing house of *Süddeutsche Zeitung*. The school is currently led by Henriette Loewisch.

## Notable alumni (selection)

48°08′14″N 11°34′15″E / 48.13722°N 11.57083°E / 48.13722; 11.57083


title: Deutsche Kammerphilharmonie Bremen

abstract: The Deutsche Kammerphilharmonie Bremen is a chamber orchestra based in Bremen (Germany), with place of residence in the historical building Stadtwaage.

text:
# Deutsche Kammerphilharmonie Bremen

The **Deutsche Kammerphilharmonie Bremen** (*unofficial English translation*: Bremen German Chamber Philharmonic) is a chamber orchestra based in Bremen (Germany), with place of residence in the historical building Stadtwaage.

## History

A group of music students founded the orchestra in 1980 in Frankfurt, initially as an ensemble which the musicians own solely and without a conductor. The musicians assume responsibility for financial as well as artistic management. About 40% of the organisation's costs come from German governmental authorities. They have worked with researchers at the University of Saarbrücken to develop a management tool, the "5 Seconds Model".

Notable early concerts included a 1983 appearance at the United Nations and performances with Gidon Kremer at the Lockenhaus Festival in 1984 and 1985. The orchestra acquired professional status in 1987, and moved to Bremen in 1992. An offshoot group, the Wind Soloists of the Deutsche Kammerphilharmonie Bremen has been an established ensemble since 1990. In Bremen, the orchestra presents two subscription series, special concerts, two chamber music series, and an open-air festival 'Summer in Lesmona'. The orchestra has been the orchestra-in-residence at the Bremen Music Festival since 1998 and at the International Beethovenfest in Bonn since 2005. Beginning in 2017 the Deutsche Kammerphilharmonie Bremen is the orchestra-in-redidence at the Kissinger Sommer festival.

Past conductors who have served as either principal guest conductors or artistic directors have included Mario Venzago, Heinrich Schiff, Jiří Bělohlávek, and Thomas Hengelbrock. Daniel Harding was music director of the orchestra from 1999 to 2003. Paavo Järvi has served as the orchestra's artistic leader since 2004.

The Deutsche Kammerphilharmonie Bremen has recorded a number of Compact Discs for such labels as Deutsche Grammophon, Teldec, EMI Classics, BMG, Virgin Classics, Decca, Berlin Classics, Chandos Records, and PENTATONE.

## InfoBox

| Deutsche Kammerphilharmonie Bremen | |
| --- | --- |
| Chamber orchestra | |
| Janine Jansen with the Deutsche Kammerphilharmonie Bremen in Concertgebouw (Amsterdam), 2017 | |
| Founded | 1980 (1980) |
| Website | www.kammerphilharmonie.com |


title: Devolution (Brooks novel)

abstract: Devolution: A Firsthand Account of the Rainier Sasquatch Massacre is a fiction book by American author Max Brooks set in the Pacific Northwest. It chronicles the story of a small, isolated community of technologically-dependent city dwellers who suddenly are cut off from the rest of the world after a volcanic eruption. In addition to lacking outdoor survival skills and resources, they find themselves under siege by a clan of Bigfoot. The book was optioned by Legendary Entertainment to become a film, around the same time the book began to be sold to the public in June 2020. It was also nominated for Locus Award's Best Horror Novel in 2021.

text:
# Devolution (Brooks novel)

***Devolution: A Firsthand Account of the Rainier Sasquatch Massacre*** is a fiction book by American author Max Brooks set in the Pacific Northwest. It chronicles the story of a small, isolated community of technologically-dependent city dwellers who suddenly are cut off from the rest of the world after a volcanic eruption. In addition to lacking outdoor survival skills and resources, they find themselves under siege by a clan of Bigfoot. The book was optioned by Legendary Entertainment to become a film, around the same time the book began to be sold to the public in June 2020. It was also nominated for Locus Award's Best Horror Novel in 2021.

## Plot

Thirteen months after the devastating eruption of Mt. Rainier, a reporter receives an email from a man named Frank McCray who claims that a group of Bigfoot wiped out a nearby town named Greenloop. Frank's sister Kate Holland, one of the residents of Greenloop, has been missing since the eruption, leaving behind only a journal describing the events of the massacre. The narrative follows Kate's journal entries and interviews with Frank and National Park Service ranger Josephine Schell, interspersed with research on Bigfoot and news reports prior to and after the Mt. Rainier eruption.

The journal entries begin as Kate and her husband Dan arrive in Greenloop, a small ecocentric community that is the brainchild of technology mogul Tony Durant. Powered by solar panels and biofuel generators, Greenloop is designed to be the perfect community for the Green Revolution; it is removed from crowded cities yet still connected to modern conveniences. The community is ninety minutes from Seattle, with only one access road, completely out of cellular tower range. The residents depend completely on drone deliveries for food and supplies, and the only means of receiving wi-fi or a cellular signal is a single fiber-optic cable.

Kate's journal is initially a record kept to help manage her anxiety and OCD, addressed to her therapist. As Kate settles into the community, she describes her troubled relationship with Dan and the other residents of Greenloop; the retired Vincent and Bobbi Boothe, author and professor Alex Reinhardt, psychologists Carmen and Effie Perkins-Foster, their daughter Palomino, and artist Mostar. Tony Durant and his wife, former model Yvette, also live in the town. The community lives in an uneasy peace, which is seemingly made worse by the blunt attitude of Mostar.

Upon the eruption of Mt. Rainier, Tony decides that the residents should shelter in place and wait for rescuers to arrive, relying on the capabilities of their homes to see them through the crisis. Mostar argues for the community to begin rationing supplies and other steps to increase their chances of survival, but the other residents dismiss her concerns. Mostar pressures Kate and Dan into helping her prepare, displaying an unusually high degree of survival skills. Kate and Dan's relationship slowly improves as Mostar encourages them to learn new skills.

Still unable to contact anyone outside the town, the residents grow increasingly worried as the crisis worsens. The population centers closest to Mt. Rainier are hit hard by the eruption, and civil unrest begins to overwhelm Seattle. As the Washington National Guard and local officials try to regain control of the crisis, tensions in Greenloop grow worse as the town's food supplies dwindle. As the other residents begin to panic and turn on each other, Kate begins to find signs of an unknown animal in the area.

While out for a hike, Kate is chased into town by an unknown creature. Over the next few days, more signs of the mysterious creatures appear, culminating in Kate seeing an ape-like creature she described as the cryptid Bigfoot. Initially, the other residents refuse to believe her, claiming the creature is a bear. However, one night all the residents are awoken by several massive, ape-like creatures tearing open the town's compost bins and agree that they are dealing with a group of Bigfoots. Believing the creatures to merely be curious animals, Vincent attempts to communicate with them, but this only prompts them to attack the town by throwing rocks.

The following day, Vincent decides to try and hike out to obtain help despite Mostar's warnings. That night, the residents hear Vincent screaming in pain in the forest, which Mostar recognizes as a trap set by the Bigfoot clan to draw them out. Overcome by survivor's guilt, Kate and Dan go to investigate and discover the Bigfoot camp, where they find that Vincent has been eaten. They are ambushed by the Bigfoot clan, but Mostar saves them by threatening the creatures with fire. Mostar rallies the town to prepare defenses and weapons, but before they are finished, the Bigfoot clan attacks the town. Reinhardt, Tony, and Yvette are killed in the initial assault, and Kate is pursued by the leader of the clan, whom she calls Alpha. Alpha corners Kate in her house, but Kate manages to burn Alpha badly. Mostar kills one of the clan, but dies in the process. Kate learns that Mostar's survival skills are a result of her involvement in the Bosnian War. With Kate now leading, the remaining residents prepare for a last stand. The Bigfoot clan attacks, and though the residents kill most of the creatures, including Alpha, all the residents except Kate and Palomino are killed.

One week later, a team of rangers led by Schell arrive at the town. Kate and Palomino are gone, but the searchers discover the Bigfoot corpses. Thirteen months later, Frank is still searching the area around Greenloop, but Kate and Palomino's fate is unknown. Frank believes that the massacre triggered a primal desire in Kate to hunt the remaining Bigfoot.

## Reactions

> \[I\]n light of current events, *Devolution* becomes a more disquieting read, and the horror is not necessarily found in the obvious places. Yes, the Bigfoot attacks are well orchestrated and surprisingly violent. The true terror for a post-pandemic reader, however, is in the grounded reality of how victims of disaster can be overlooked and how thin the veneer of civility and technology is revealed to be in the face of grand social disruption.

Neil McRobert, *The Guardian*

*Kirkus Reviews* was positive, calling the book "a tasty, if not always tasteful, tale of supernatural mayhem". *Publishers Weekly* and *Library Journal* also had positive reviews, saying Brooks "packs his plot with action, information, and atmosphere, and captures both the foibles and the heroism of his characters", and that it was a "creative and well-executed conceit" that would also appeal to "those who appreciate nonfiction survival stories". *The Washington Post* was negative, with the review titled "A great Bigfoot novel may be lurking out there. Max Brooks's 'Devolution' isn't it." *USA Today* gave it a mixed review, saying it was "ambitious mishmash of individually interesting pieces. Not quite sharp enough for compelling satire, a little too sneering for effective horror, it will find plenty of readers among devotees of Brooks, but will be a miss for most general readers." American gun enthusiast and self-defense instructor Massad Ayoob reviewed the book, concluding that it presented a good case for firearms ownership.

## Further reading

## InfoBox

Devolution: A Firsthand Account of the Rainier Sasquatch Massacre
| First edition (US) | |
| --- | --- |
| Author | Max Brooks |
| Cover artist | Will Staehle |
| Genre | Speculative fiction, horror |
| Published | June 16, 2020 |
| Publisher | Del Rey Books (US)<br>Century (UK) |
| Pages | 304 |
| ISBN | 978-1-9848-2678-7 |


title: Devolution (band)

abstract: Devolution is an American-based industrial metal band, created by Mykill Mayhem. The first release from Devolution, entitled "Cerebrequiem", was in the genre of death metal and was released in 1996, featuring session musicians assembled from Mykill's previous band, Astaroth. Singer Larry Sapp performed vocals, and Tony Laureano recorded the drums for the CD. Another death metal album was written, but technical difficulties and Laureano's touring schedule with Nile prevented this album from being released. The next release was written and recorded in 1999, entitled, Self-Made Monster. This release was in the vein of the industrial metal genre, and was more well-received than the previous release. "Death's Shadow" was the first single to be promoted, and charted at number 1 on mp3.com for two months for the industrial genre from January 2000 to March 2000, with the second single, "Crack Rocks in the Engine Block" charting at number 2 in industrial charts, and the third single, "Flesh", charting in the top 10 in industrial charts on mp3.com, simultaneously. "Death's Shadow" hit number 1 as well on the CMJ loud music chart in 2000, and on mpulse.com in early 2001, both times with "Death's Shadow". Mpulse.com did a dual promotion with Hot Topic at that time, and "Death's Shadow" was also chosen as one of the first tracks to be streaming on Hot Topic radio online. The next release, Grave Matters, in 2001, saw the track "Suck It" hit number 1 on Mpulse.com in the Gothic/Industrial category as well in March 2001. Mykill joined the band Sister Kill Cycle shortly thereafter, and did not release as Devolution again until 2007 with United Slaves of Amerika, demonstrating Mykill's research into, and growing concern for, the loss of civil liberties in the US following the tragedy of 9/11. The single "DCOG" from the United Slaves of Amerika release hit number 1 on Myspace.com in the Florida Industrial charts in early 2008. In 2012, Mykill left Sister Kill Cycle, and decided to rename Devolution to United Slaves of Amerika, releasing four new singles since that time. "Killing Is Sexy" and "How To Speak Amerikan" were released simultaneously in July 2012, pushing the 'new' musical project into the top slot for the rock category in Tampa on reverbnation.com. After the songs, and daily articles and graphics were posted on the project's Facebook page, and the release of the singles "Kill The President" and "Just Defy," the fast-growing presence on Facebook catapulted United Slaves of Amerika to the number 12 spot on the overall rock charts on reverbnation.com in September 2013.

text:
# Devolution (band)

**Devolution** is an American-based (and Brazil) industrial metal band, created by Mykill Mayhem. The first release from Devolution, entitled "Cerebrequiem", was in the genre of death metal and was released in 1996, featuring session musicians assembled from Mykill's previous band, Astaroth. Singer Larry Sapp (also a member of Brutality) performed vocals, and Tony Laureano (also a member of Malevolent Creation, Dimmu Borgir, and Angelcorpse, and several other death metal bands) recorded the drums for the CD. Another death metal album was written, but technical difficulties and Laureano's touring schedule with Nile prevented this album from being released.

The next release was written and recorded in 1999, entitled, *Self-Made Monster*. This release was in the vein of the industrial metal genre, and was more well-received than the previous release. "Death's Shadow" was the first single to be promoted, and charted at number 1 on mp3.com for two months for the industrial genre from January 2000 to March 2000, with the second single, "Crack Rocks in the Engine Block" charting at number 2 in industrial charts, and the third single, "Flesh", charting in the top 10 in industrial charts on mp3.com, simultaneously.

"Death's Shadow" hit number 1 as well on the CMJ loud music chart in 2000, and on mpulse.com in early 2001 (in their gothic/industrial category), both times with "Death's Shadow". Mpulse.com did a dual promotion with Hot Topic at that time, and "Death's Shadow" was also chosen as one of the first tracks to be streaming on Hot Topic radio online. The next release, *Grave Matters*, in 2001, saw the track "Suck It" hit number 1 on Mpulse.com in the Gothic/Industrial category as well in March 2001.

Mykill joined the band Sister Kill Cycle shortly thereafter, and did not release as Devolution again until 2007 with *United Slaves of Amerika*, demonstrating Mykill's research into, and growing concern for, the loss of civil liberties in the US following the tragedy of 9/11. The single "DCOG (District of Columbia Original Gangsters)" from the United Slaves of Amerika release hit number 1 on Myspace.com in the Florida Industrial charts in early 2008.

In 2012, Mykill left Sister Kill Cycle, and decided to rename Devolution to United Slaves of Amerika, releasing four new singles since that time. "Killing Is Sexy" and "How To Speak Amerikan" were released simultaneously in July 2012, pushing the 'new' musical project into the top slot for the rock category in Tampa on reverbnation.com. After the songs, and daily articles and graphics were posted on the project's Facebook page, and the release of the singles "Kill The President" and "Just Defy," the fast-growing presence on Facebook catapulted United Slaves of Amerika to the number 12 spot on the overall rock charts on reverbnation.com in September 2013.

## InfoBox

| Devolution | |
| --- | --- |
| Origin | Tampa, Florida, United States |
| Genres | Industrial metal, breakbeat, electronica |
| Years active | 1996–present |
| Labels | Independent |


title: Acoma conjuncta

abstract: Acoma conjuncta is a species of scarab beetle in the family Scarabaeidae. It is found in North America.

text:
# Acoma conjuncta

***Acoma conjuncta*** is a species of scarab beetle in the family Scarabaeidae. It is found in North America.

## Further reading

* Lobl, I.; Smetana, A., eds. (2006). *Catalogue of Palaearctic Coleoptera, Volume 3: Scarabaeoidea - Scirtoidea - Dascilloidea - Buprestoidea - Byrrhoidea*. Apollo Books. ISBN 978-90-04-30914-2.

## InfoBox

| *Acoma conjuncta* | |
| --- | --- |
|
| Scientific classification | |
| Domain: | Eukaryota |
| Kingdom: | Animalia |
| Phylum: | Arthropoda |
| Class: | Insecta |
| Order: | Coleoptera |
| Family: | Scarabaeidae |
| Genus: | *Acoma* |
| Species: | ***A. conjuncta*** |
| Binomial name | |
| ***Acoma conjuncta***<br>Howden, 1962 | |
|


title: Acoma glabrata

abstract: Acoma glabrata is a species of scarab beetle in the family Scarabaeidae. It is found in Central America and North America.

text:
# Acoma glabrata

***Acoma glabrata*** is a species of scarab beetle in the family Scarabaeidae. It is found in Central America and North America.

## Further reading

* Lobl, I.; Smetana, A., eds. (2006). *Catalogue of Palaearctic Coleoptera, Volume 3: Scarabaeoidea - Scirtoidea - Dascilloidea - Buprestoidea - Byrrhoidea*. Apollo Books. ISBN 978-90-04-30914-2.

## InfoBox

| *Acoma glabrata* | |
| --- | --- |
|
| Scientific classification | |
| Domain: | Eukaryota |
| Kingdom: | Animalia |
| Phylum: | Arthropoda |
| Class: | Insecta |
| Order: | Coleoptera |
| Family: | Scarabaeidae |
| Genus: | *Acoma* |
| Species: | ***A. glabrata*** |
| Binomial name | |
| ***Acoma glabrata***<br>Cazier, 1953 | |
|
| Synonyms | |
| * *Acoma nigrita*  Cazier, 1953 | |


title: Acoma mixta

abstract: Acoma mixta is a species of scarab beetle in the family Scarabaeidae. It is found in North America.

text:
# Acoma mixta

***Acoma mixta*** is a species of scarab beetle in the family Scarabaeidae. It is found in North America.

* Evans, Arthur V. (2003). "A checklist of the New World chafers (Coleoptera: Scarabaeidae: Melolonthinae)".

## Further reading

* Arnett, R.H. Jr., M. C. Thomas, P. E. Skelley and J. H. Frank. (eds.). (2002). *American Beetles, Volume II: Polyphaga: Scarabaeoidea through Curculionoidea*. CRC Press LLC, Boca Raton, FL.
* Arnett, Ross H. (2000). *American Insects: A Handbook of the Insects of America North of Mexico*. CRC Press.
* Richard E. White. (1983). *Peterson Field Guides: Beetles*. Houghton Mifflin Company.

## InfoBox

| *Acoma mixta* | |
| --- | --- |
|
| Scientific classification | |
| Domain: | Eukaryota |
| Kingdom: | Animalia |
| Phylum: | Arthropoda |
| Class: | Insecta |
| Order: | Coleoptera |
| Family: | Scarabaeidae |
| Genus: | *Acoma* |
| Species: | ***A. mixta*** |
| Binomial name | |
| ***Acoma mixta***<br>Howden, 1958 | |
|


title: Development (band)

abstract: Development was a progressive rock and pop band fronted by Colin Young, former lead singer of The Foundations. They were signed to Barry Class' Trend record label. The original Foundations had broken up in late 1970 and this new group would alternate between calling themselves Development and The Foundations.

text:
# Development (band)

**Development** was a progressive rock and pop band fronted by Colin Young, former lead singer of The Foundations. They were signed to Barry Class' Trend record label. The original Foundations had broken up in late 1970 and this new group would alternate between calling themselves Development and The Foundations.

## Background

The Foundations broke up in late 1970. None of the Foundations, Eric Allandale, Pat Burke, Tony Gomez, Tim Harris or Alan Warner came to be part of Development. The only other member from The Foundations besides Colin Young was Steve Bingham.

Since late 1970, Barry Class attempted to have the Foundations name revived. The band was fronted by Colin Young. Graham Preskett who played electric violin and guitar was the musical director. Other members Jean Roussel on keys and Roger Cawkwell on sax and flute. They had an agreement with management that they would appear as The Foundations but between gigs Colin Young would explain that they were becoming a new outfit called Development. They toured throughout Latin America and even played at the Expo-Show in Buenos Aires. They continued there though to early 1971.  According to a later article in *Disc and Music Echo*, Development aka The Foundations did remarkably well in Latin America. Using the Foundations name to bring in the money, the group had exposure in Latin America.

## Career

On the week ending 10 October 1970, it was reported by *New Musical Express* that lead singer Colin Young had left The Foundations. He had already signed a contract with Barry Class and was putting together his new group which was called Development.

Under Rodney Harrod's and Philip Peverley's management, Development went to Argentina in early 1971. Having arrived in Argentina and portraying themselves as The Foundations, Development were pictured on the front page of the 3 January, 1971 issue of Argentine newspaper *Crónica*, as well as on page 2 with the accompanying article. Having arrived in Ezeiza from London, the paper made it known that the group was to perform at the Expo show. Describing the band members, including the portly appearance of organist Jean Alain Norman Hendrik Rousel, the article said that the group would be incorporating Latin rhythms into their music.

The 17 January issue *Crónica* ran the group's picture on page 13. It also gave the line up as Graham Donald Preskett on violin, Christopher Smith on drums Roger Cawkwell on sax and flute, Colin Young on lead vocals, Jean Alain Roussel on organ and piano and Estephen Bingham (bass). Also with them was Rodney Harrod the manager, and Philip Peverley. Juan D'Arjenzo appeared to be their technician. It was also made known that the group was changing their name to Development. A section "¿ERAN O SE HACIAN?" in the 10 February issue of *Crónica* mentioned the that a rumor had spread that The Foundations who were at the Expo fair were not the real Foundations.

On the 20th of February, the group were to appear at En el Provincialse and En Rosario Central and on the 24th with Tito Alberti.

In his Leorama column, Leo Vanes reviewed their performance in the 25 February issue of *Crónica*. It seemed that he viewed their performance as not being out of this world.

### Single releases

A single "Any Time at All" bw "You're No Good" was released on Trend 6099 005. It was produced by Tony Rockliff and Barry Class. The B side was credited to Colin Young introducing Development. It was also released on Uni 55286. A Hot 100 prediction, it was in *Billboard'*s Top 60 Pop Spotlight section for the week ending 5 June 1971.

A song "Stoney Ground" was recorded. It was composed by Conan Byrne and Warren Davis and backed with I'll Give You Love", a Colin Young composition. It's more than likely that the composer Conan Byrne is Con Byrne and Warren Davis is the Warren Davis, both of The Warren Davis Monday Band. Davis had tried out to take the place of Clem Curtis who had decided to leave The Foundations in 1968. Colin Young was the successful applicant. "Stoney Ground" would be a hit, and on the week ending February 26 1972, it debuted on the *Billboard* Bubbling Under the Hot 100 chart. Spending a week in the chart it peaked at no. 113. As the Colin Young & Development single "Anytime At All" was released in 1971, and the "Stoney Ground Single" single (credited to The Foundations) was released the following year, it's more than likely that Development was the group that played on the latter.

#### Further activities

According to the 4 March 1972 issue of *Disc and Music Echo*, Development was looking forward to the release of their album that month. Recounting their success in Argentina, Colin Young also said that they were hoping to get work in London so that it would be known by the public how different from The Foundations they were.

### Album release

An album had been released in Italy. The album *In the Beginning* was released on Stateside 3C O62- 92933 in 1971. It was credited to Colin Young's Development. The musicians on the album were, Steve Bingham, Roger Cawkwell, Laurie Jerryman, Gaspar Lawal, Peter Lynch, Graham Preskett, Tim Mason, Paul Nieman, Jean Roussel, Tony Priestland, Eddie "Tan Tan" Thornton and Colin Young. According to Steve Bingham, he wasn't aware until decades later that the album had been released. A former Scotland Yard detective alerted him to it in 2022.

## InfoBox

| Development | |
| --- | --- |
| Also known as | Colin Young's Development, The Founndations |
| Origin | London England |
| Genres | Progressive rock |
| Years active | 1970 - 1972 |
| Labels | Trend, Stateside |
| Spinoff of | The Foundations |
|  | |
| Past members | Steve Bingham
Roger Cawkwell
Graham Preskett
Jean Roussel
Christopher Smith
Eddie Thornton
Colin Young |


title: Development (music)

abstract: In music, development is a process by which a musical idea is transformed and restated in the course of a composition. Certain central ideas are repeated in different contexts or in altered form so that the listener can consciously or unconsciously compare the various statements of the idea, often in surprising or ironic manners. This practice has its roots in counterpoint, where a theme or subject might create an impression of a pleasing or affective sort, but delight the mind further as its contrapuntal capabilities are gradually unveiled. Development is often contrasted with musical variation, which is a slightly different means to the same end. Development is carried out upon portions of material treated in many different presentations and combinations at a time, while variation depends upon one type of presentation at a time. The development is the middle section of the sonata form, between the exposition and the recapitulation; in some older texts, this section may be referred to as free fantasia.

text:
# Development (music)

In music, **development** is a process by which a musical idea is transformed and restated in the course of a composition. Certain central ideas are repeated in different contexts or in altered form so that the listener can consciously or unconsciously compare the various statements of the idea, often in surprising or ironic manners. This practice has its roots in counterpoint, where a theme or subject might create an impression of a pleasing or affective sort, but delight the mind further as its contrapuntal capabilities are gradually unveiled.

Development is often contrasted with musical variation, which is a slightly different means to the same end. Development is carried out upon portions of material treated in *many* different presentations and combinations at a time, while variation depends upon *one* type of presentation at a time.

The development is the middle section of the sonata form, between the exposition and the recapitulation; in some older texts, this section may be referred to as *free fantasia*.

## Methods of development

According to the *Oxford Companion to Music* there are several ways of developing a theme. These include:

* The division of a theme into parts, each of which can be developed in any of the above ways or recombined in a new way. Similarly, two or more themes can be developed in combination; in some cases, themes are composed with this possibility in mind.
* Alteration of pitch intervals while retaining the original rhythm.
* Rhythmic displacement, so that the metrical stress occurs at a different point in the otherwise unchanged theme.
* Sequence, either diatonically within a key or through a succession of keys.

The Scherzo movement from Beethoven's Piano Sonata No. 15 in D major, Op 28 (the "Pastoral" Sonata) shows a number of these processes at work on a small scale. Charles Rosen (2002) marvels at the simplicity of the musical material: "The opening theme consists of nothing but four F sharps in descending octaves, followed by a light and simple I/ii/V7/I cadence with a quirky motif repeated four times." These opening eight bars provide all the material Beethoven needs to furnish his development, which takes place in bars 33-48:

### The division of a theme into parts

The falling octave in the first two bars and the repeated staccato chord in the left hand in bars 5-8 are the two fragments that Beethoven later develops:

### Alteration of pitch intervals

The somewhat bald falling octave idea in the first four bars is transformed in bars 33-36 into an elegant shape ending with an upward-curving semitone:

### Rhythmic displacement

In this movement, the repeated left hand chords in bar 5 are displaced so that in bar 33 onwards, they fall on the 2nd and 3rd beats:

### Sequence and the development of two or more themes in combination

In bars 33-48, the two fragments combine and the development goes through a modulating sequence that touches on a succession of keys;

The following outline demonstrates Beethoven’s strategic planning, which he applied on a larger scale in the development sections of some of his major works. The bass line traces a decisive progression through a rising chromatic scale:

To quote Rosen again, writing à propos of this movement: "As Beethoven's contemporary, the painter John Constable, said, making something out of nothing is the true work of the artist."

## Development on a larger scale

Not all development takes place in what is commonly known as the "development section" of a work. It can take place at any point in the musical argument. For instance, the “immensely energetic sonata movement” that forms the main body of the overture to Mozart’s Opera *Don Giovanni* announces the following theme during the initial exposition. It consists of two contrasting phrases: “first determined, then soft and conspiratorial.”

William Mann says “the first, insistent phrase \[of the above\] is very important. At once it is taken up imitatively by various departments of the orchestra, and \[starting in\] A major, jumps through several related keys.” Each repetition of the descending phrase is subtly altered one note at a time, causing the music to pass from the key of A major, through A minor and thence via a chord of G7 to the remote key of C major, and thence back to A major.

The central section of the Overture (the part commonly known as the "development section") utilizes both phrases of the theme “in new juxtapositions and new tonalities,” developing it through repetition in a modulating sequence. The steady plod of the bass line against the sequential repetitions of the “soft and conspiratorial” phrase outlines a circle of fifths chord progression:

Simultaneously, Mozart adds to the mix and continues to develop the imitative counterpoint that grew out of the first phrase. In the words of Willam Mann, this development “unites both halves” of the theme. This is how this tightly woven texture pans out:

1. Benward & Saker (2009), *Music in Theory and Practice: Volume II*, p.138-39. Eighth Edition. ISBN 978-0-07-310188-0.
2. Wennerstrom, Mary (1975). "Form in Twentieth-Century Music" (chap. 1), *Aspects of Twentieth-Century Music*. Wittlich, Gary (ed.). Englewood Cliffs, New Jersey: Prentice-Hall. ISBN 0-13-049346-5.
3. Temperley, N. (2002, p. 355) “Development” in Oxford Companion to Music. Oxford University Press.
4. Rosen, C. (2002, p.161), *Beethoven's Piano Sonatas, a Short Companion*. Yale University Press.
5. Rosen, C. (2002, p.162), *Beethoven's Piano Sonatas, a Short Companion*. Yale University Press.
6. Mann, W. (1977, p. 462) the Operas of Mozart. London, Cassell.
7. Mann, W. (1977, p. 462) the Operas of Mozart. London, Cassell.
8. Mann, W. (1977, p. 462) the Operas of Mozart. London, Cassell.
9. Taruskin, R. (2005, p.488) The Oxford History of Western Music, Volume 2 Music in the seventeenth and Eighteenth Centuries. Oxford University Press.
10. Mann, W. (1977, p. 462) the Operas of Mozart. London, Cassell.
11. Mann, W. (1977, p. 462) the Operas of Mozart. London, Cassell.


title: Adalberto Méndez

abstract: Adalberto Méndez is a former professional baseball pitcher. He made his Major League Baseball debut for the Florida Marlins in 2010.

text:
# Adalberto Méndez

**Adalberto Méndez** (born February 22, 1982) is a former professional baseball pitcher. He made his Major League Baseball debut for the Florida Marlins in 2010.

## Career

### Florida Marlins

Mendez was chosen by the Marlins from the Chicago Cubs in the Double-A phase of the 2007 Rule 5 draft. He was called up to the major leagues for the first time on September 4, 2010. Mendez became a free agent after the 2011 season.

### Guerreros de Oaxaca

On June 9, 2012, Mendez signed with the Guerreros de Oaxaca of the Mexican Baseball League. He was released on July 26, 2012.

### Piratas de Campeche

On May 18, 2013, Mendez signed with the Piratas de Campeche of the Mexican Baseball League. He was released on May 23, 2013.

### Vaqueros Laguna

On May 31, 2013, Mendez signed with the Vaqueros Laguna of the Mexican Baseball League. He became a free agent after the 2013 season.

## InfoBox

| Adalberto Méndez | |
| --- | --- |
| **Pitcher** | |
| **Born:**  (1982-02-22) February 22, 1982<br>Santo Domingo, Dominican Republic | |
| **Batted:** Right**Threw:** Right | |
| MLB debut | |
| September 6, 2010, for the Florida Marlins | |
| Last MLB appearance | |
| October 1, 2010, for the Florida Marlins | |
| MLB statistics | |
| Win–loss record | 1–3 |
| Earned run average | 5.11 |
| Strikeouts | 7 |
|  | |
| Teams | |
|  | |


title: Dexter Drumlin

abstract: Dexter Drumlin, formerly known as Kilbourn Hill, is a 311-foot (95 m) drumlin and a 38-acre open space reservation in Lancaster, Massachusetts. The reservation includes a small tributary of the Nashua River and is managed by The Trustees of Reservations. It is characterized by managed, open fields and offers scenic views of surrounding rural Lancaster.

text:
# Dexter Drumlin

| Dexter Drumlin | |
| --- | --- |
|  | |
| Highest point | |
| Elevation | 311 ft (95 m) |
| Coordinates | 42°26′56″N 71°41′14″W / 42.44889°N 71.68722°W / 42.44889; -71.68722 |
| Geology | |
| Age of rock | glacial till landform;
10,000-15,000 years |
| Mountain type | drumlin |

**Dexter Drumlin**, formerly known as **Kilbourn Hill**, is a 311-foot (95 m) drumlin and a 38-acre (15 ha) open space reservation in Lancaster, Massachusetts. The reservation includes a small tributary of the Nashua River and is managed by The Trustees of Reservations. It is characterized by managed, open fields and offers scenic views of surrounding rural Lancaster.

## History

As glaciers retreated from what is now the New England landscape, distinctive hills were formed. When the last glacier moved across the New England landscape over 10,000 years ago, it formed distinctively-shaped hills called "drumlins" running parallel to the path of the ancient ice flow. Dexter Drumlin is "a classic example"

35 acres (140,000 m2) surrounding the drumlin was donated to the Trustees of Reservations by Lancaster "town father" Nathaniel Dexter by bequest in 2002. The change of the toponym from "Kilbourn Hill" to "Dexter Drumlin" was part of a Trustees of Reservations rebranding effort in 2000 following their acquisition of the property.

## Ecology

The reservation consists of hayfield, transitional meadow, and wetlands. The stream that runs along the western side of the hill forms wet meadows in lower terrain. Grassland bird species nest and raise their young on the hill and in the adjacent floodplains.

Researchers at Fitchburg State College have used the reservation as a place to study the mating displays of male fireflies. Using specially-designed devices to mimic the fireflies bioluminescence, the researchers found that the courtship flashes of *Photinus ignitus* males attracts both competitors and predators.

## Recreation

Dexter Drumlin is open to hiking, picnicking, crosscountry skiing, mountain biking, sledding, and kite flying. A one-mile (1.6 km) long mowed, path passes over the crest of the drumlin and along the Nashua River tributary. The property has been used for kite flying events. Rock collectors may discover "sacred crosses" of chiastolite of a type considered to be of spiritual value by the Algonquian peoples who once dominated the region.

The reservation trailhead is located on George Hill Road across from Browning Elementary School in Lancaster.

## InfoBox

| Dexter Drumlin | |
| --- | --- |
| Summit view from Dexter Drumlin | |
| Established | 2000 |
| Operator | The Trustees of Reservations |
| Website | Dexter Drumlin |


title: Dhammapada (Radhakrishnan translation)

abstract: The Dhammapada: With introductory essays, Pali text, English translation and notes is a 1950 book written by philosopher and (later) President of India, Dr. Sarvepalli Radhakrishnan (1888–1975), about the Dhammapada, an important Buddhist scripture. Originally published in 1950 by Oxford University Press, the book has been republished numerous times by the same publisher, most recently in 1997. A 2007 Indian edition was published by Pilgrims Publishing. The book has been reviewed in several professional journals. All editions have had 194 pages and have used the same title.

text:
# Dhammapada (Radhakrishnan translation)

***The Dhammapada: With introductory essays, Pali text, English translation and notes*** is a 1950 book written by philosopher and (later) President of India, Dr. Sarvepalli Radhakrishnan (1888–1975), about the Dhammapada, an important Buddhist scripture. Originally published in 1950 by Oxford University Press, the book has been republished numerous times by the same publisher, most recently in 1997. A 2007 Indian edition was published by Pilgrims Publishing. The book has been reviewed in several professional journals. All editions have had 194 pages and have used the same title.

## Outline of book

Radhakrishnan's *Dhammapada* contains original Pali text as well as English translations of the Dhammapada's 26 chapters. It begins with a preface composed in 1950 in which Radhakrishnan states that

> To-day... We have come to recognize that it is either one world or none. The effort to build one world requires a closer understanding among the peoples of the world and their cultures. This translation of the *Dhammapada*... is offered as a small contribution to world understanding. The central thesis of the book, that human conduct, righteous behaviour, reflection, and meditation are more important than vain speculations about the transcendent - has an appeal to the modern mind.... Books so rich in significance... require to be understood by each generation in relation to its own problems.

The preface also states that

> \[The *Dhammapada'*s\] teaching - to repress the instincts entirely is to generate neuroses; to give them full rein is also to end up in neuroses - is supported by modern psychology.

Next is a 57-page introduction that is divided into two main sections. The first introductory section, less than 3 pages in length, is entitled simply "The *Dhammapada*," and briefly summarizes the *Dhammapada'*s historical context, noting that its verses connect with incidents in the Buddha's life "and illustrate the method of teaching adopted by him." The second section, entitled "Gautama the Buddha," has several subsections:

* I. Life (pp. 4-15). Contains a biographical outline of the Buddha's early life, marriage, renunciation, search for and encounter with truth, founding of his order, some major manners and themes of his teaching, and passing away. Notes that "the Buddha was more definitely opposed to Vedic orthodoxy and ceremonialism than was Socrates to the State religion of Athens, or Jesus to Judaism, and yet he lived till eighty.... Perhaps the Indian temper of religion is responsible for the difference in the treatment of unorthodoxies."
* II. The Four Truths (pp. 15-26). Describes the Four Noble Truths taught in Buddhism, that 1) sorrow (*duhkha*) is pervasive in life as we know it, 2) Sorrow has a cause (*samudaya*), 3) sorrow can be removed (*nirodha*), and there is a path (*marga*) beyond sorrow, the Eightfold Path.
* III. The Buddha and the Upaniṣads (pp. 26-35). "Gautama the Buddha," Radhakrishnan argues, "has suffered as much as anyone from critics without a sense of history. He has been cried up, and cried down, with an equal lack of historical imagination." He explains that "To know what the Buddha actually taught or what his earliest followers thought he did, we must place ourselves in imagination in the India of the sixth century B.C.... Great minds make individual contributions of permanent value to the thought of their age; but they do not, and cannot, altogether transcend the age in which they live.... Even when they are propounding answers which are startlingly new, they use the inadequate ideas and concepts of tradition to express the deeper truths towards which they are feeling their way." He quotes the Buddha as stating that "'there are... four truths of the Brāhmins which have been realized by me... and made known" stating that the Buddha's teaching "is derived" from the Upaniṣads.
* IV. Metaphysical Views (pp. 35-52). Notes that "the Buddha discouraged doctrinal controversies as prejudicial to inward peace and ethical striving." Discusses attempts to view the Buddha as adhering to various metaphysical positions, especially 1) agnosticism, 2) atheism, or 3) belief in a "transempirical reality in the universe" and a "time-transcending element in the self." Argues that the third interpretation (belief in a transempirical reality) is most consistent with what is known of the Buddha.
* V. Spiritual Absolutism (pp. 52-57). Here, Radhakrishnan states that "The tradition of teaching by silence has been an ancient one in India," and argues that "If the Buddha declined to define the nature of this absolute or if he contented himself with negative definitions, it is only to indicate that absolute being is above all determinations. It is difficult to differentiate this supreme being from the Absolute *Brahman* of Advaita Vedanta or the super-God of Christian mysticism as formulated in the writings of the pseudo-Dionysius." "The Buddha's reasons for his silence are quite intelligible," states Radhakrishnan, and he enumerates five motives for the Buddha's silence.

| **Selected Verses, with Translation:**
**Chapter I: *Yamakavaggo* (Twin Verses)
Chapter XXI: *Pakiņņakavaggo* (Miscellaneous Verses)** | |
| --- | --- |
| **Pali (transliterated)** | |
| I.1. | *manopubbaṅgamā dhammā manoseṭṭhā manomayā manasā ce paduṭṭhena bhāsati vā karoti vā tato naṁ dukkham anveti cakkaṁ va vahato padam* \[1\] |
| XXI.1. | *mattā-sukhapariccāgā passe ce vipula sukham caje mattā-sukhaṁ dhīro sampassaṁ vipulaṁ sukham* \[290\] |
| **English translation (by Radhakrishnan)** | |
| I.1. | (The mental) natures are the result of what we have thought, are chieftained by our thoughts, are made up of our thoughts. If a man speaks or acts with an evil thought, sorrow follows him (as a consequence) even as the wheel follows the foot of the drawer (i.e. the ox which draws the cart). \[1\] |
| XXI.1. | If, by surrendering a pleasure of little worth one sees a larger pleasure, the wise man will give up the pleasure of little worth, and look to the larger pleasure. \[290\] |

Also in the fifth section, Radhakrishnan offers his interpretation of three "inadequacies" or "exaggerations" in the Buddha's thought, which "revealed themselves in \[Buddhism's\] later history and relation to Hinduism." These are that i) "Philosophy is a natural necessity of the human mind," and the Buddha's hearers were unable to adopt suspended judgement on the ultimate questions; ii) "The Buddha's conception of *dharma* as the absolute reality was not sufficiently concrete for practical purposes"; and iii) The Buddha taught that one could renounce householder duties at any age. Radhakrishnan states that these "exaggerations" are understandable if we realize that in the Buddha's time, attempts to lead the spiritual life had to contend with "three great enemies... the theologians, the ritualists, and the worldlings."

The largest part of the book (pp. 58–187) consists of a romanized transliteration of the original Pali text, plus a verse-by-verse English translation. Two examples are shown in the table at right. Many verses are augmented with footnotes or are followed by commentary, presented in a smaller font size than the verses themselves. The book concludes with a short selected bibliography, a 4-page Pali index (indicating which verses contain a specified word), and a 2-page general index.

## Reception

The book has been reviewed in professional journals that include *The Journal of Religion*, *Philosophy*, *Bulletin of the School of Oriental and African Studies*, and *Journal of the Royal Asiatic Society of Great Britain and Ireland*.

Ashby stated that "the distinct contribution of this volume is the Introduction," where "Radhakrishnan sets out in clear and penetrating fashion to give the reader a basic understanding of the thought-world in which Buddhist ethical teaching moves. His discussion of the relation of the teachings of the Buddha to the Upanishads and his examination of the metaphysical views of Sakyamuni will prove valuable ... \[and his\] insistence upon the positive nature of the Buddhist conception of Nirvana is recommended reading for... victims of the 'annihilation-extinction' theory of Nirvana."

Horner noted that the same Pali word is translated differently by Radhakrishnan in different places. "Pali technical terms are, of course, recognized to contain a subtle variety of meanings. Some of these will be appreciated by anyone making... the reasonably intensive study of this volume which it deserves as well as makes possible." For example, "Professor Radhakrishnan translates *dhamma* in the text by 'virtue' and by 'law.... Thus, *asava* is rendered by 'passions', 'taints', 'impurities', and... *Samadhi* is usually 'tranquillity', once (ver. 271) 'meditative calm'."

Brough described the book as "a convenient presentation of the Pali text, and... a useful introduction to the work for beginners in Pali," although "a comprehensive textual study in the light of the Tibetan and Central Asian parallel verses is still awaited."

In the journal *Philosophy*, Stede stated that "On the whole, the translation is clear and accurate." She added that the translated verses are "frequently... supplemented by explanations taken from the early commentator Buddhaghosa and by comparative passages selected from philosophical and theological texts of East and West. Although perhaps too numerous, these extraneous references give evidence of the translator's wide learning."

## Editions

Editions have been published in 1950, 1954, 1958, 1966, 1968, 1980, 1982, 1984, 1988, 1991, 1992, 1996, 1997, and 2007, and include:

## InfoBox

The Dhammapada: With introductory essays, Pali text, English translation and notes
| First edition (1968 imprint) | |
| --- | --- |
| Author | Sarvepalli Radhakrishnan |
| Language | English |
| Subject | Dhammapada |
| Genre | Philosophy; Spirituality |
| Publisher | Oxford University Press |
| Publication date | 1950; 1954; 1958; 1966; 1968; 1980; 1982; 1984; 1988; 1991; 1992; 1997; 2007 |
| Pages | 194 |
| ISBN | 0-19-564080-2 |
| OCLC | 36531930 |


title: Adam Brenkus

abstract: Adam Brenkus is a Slovak professional footballer who plays for Dukla Banská Bystrica as a midfielder.

text:
# Adam Brenkus

**Adam Brenkus** (born 8 January 1999) is a Slovak professional footballer who plays for Dukla Banská Bystrica as a midfielder.

## Club career

### MFK Ružomberok

Brenkus made his Fortuna Liga debut for Ružomberok against iClinic Sereď on 21 July 2018, in the premier round of the 2018–19 season. Brenkus replaced Dalibor Takáč in the 77th minute of the match, that concluded as a goal-less tie. By the end of the season Brenkus would make three more league appearances, but always as a substitute. He was in the starting line up of cup fixture against FK Gerlachov.

## InfoBox

Adam Brenkus
| Personal information | | | |
| --- | --- | --- | --- |
| Date of birth | (1999-01-08) 8 January 1999 | | |
| Place of birth | Dolný Kubín, Slovakia | | |
| Height | 1.79 m (5 ft 10 in) | | |
| Position(s) | Midfielder | | |
| Team information | | | |
| Current team | Dukla Banská Bystrica | | |
| Number | 23 | | |
| Youth career | | | |
| 2005–2009 | OŠK Istebné | | |
| 2009–2015 | Ružomberok | | |
| 2015–2017 | AS Trenčín | | |
| 2017–2018 | Ružomberok | | |
| Senior career\* | | | |
| Years | **Team** | **Apps** | **(Gls)** |
| 2018–2022 | Ružomberok | 49 | (4) |
| 2022 | Partizán Bardejov (loan) | 10 | (4) |
| 2022–2024 | ViOn Zlaté Moravce | 53 | (9) |
| 2024– | Dukla Banská Bystrica | 6 | (0) |
| International career | | | |
| 2015–2016 | Slovakia U17 | 6 | (1) |
| 2017–2018 | Slovakia U19 | 3 | (1) |
| 2020 | Slovakia U21 | 1 | (0) |
| \*Club domestic league appearances and goals, correct as of 31 August 2024<br>‡ National team caps and goals, correct as of 17 November 2020 | | | |


title: Dhulura, New South Wales

abstract: Dhulura is a rural area in the New South Wales Riverina close to Wagga Wagga. The locality was gazetted in 2015, and is named after the former Dhulura School which was located in the area

text:
# Dhulura, New South Wales

**Dhulura** is a rural area in the New South Wales Riverina close to Wagga Wagga. The locality was gazetted in 2015, and is named after the former Dhulura School which was located in the area

## InfoBox

| Dhulura<br>New South Wales | |
| --- | --- |
| Aerial view of the rural landscape of Dhulura in December 2021 | |
| Dhulura | |
| Coordinates | 35°00′54″S 147°18′04″E / 35.01500°S 147.30111°E / -35.01500; 147.30111 |
| Population | 47 (2016 census) |
| Postcode(s) | 2650 |
| LGA(s) | City of Wagga Wagga |
| County | Clarendon |
| State electorate(s) | Wagga Wagga |