title: Dürer's Rhinoceros

abstract: Dürer's Rhinoceros is the name commonly given to a woodcut executed by German artist Albrecht Dürer in 1515. Dürer never saw the actual rhinoceros, which was the first living example seen in Europe since Roman times. Instead the image is based on an anonymous written description and brief sketch of an Indian rhinoceros brought to Lisbon in 1515. Later that year, the King of Portugal, Manuel I, sent the animal as a gift for Pope Leo X, but it died in a shipwreck off the coast of Italy. Another live rhinoceros was not seen again in Europe until Abada arrived from India to the court of Sebastian of Portugal in 1577. Dürer's woodcut is not an accurate representation. It depicts an animal with hard plates that cover its body like sheets of armor, with a gorget at the throat, a solid-looking breastplate, and what appear to be rivets along the seams; there is a small twisted horn on its back, scaly legs and saw-like rear quarters. None of these features are present in a real rhinoceros, although the Indian rhinoceros does have deep folds in its skin that can look like armor from a distance. Dürer's woodcut became very popular in Europe and was copied many times in the following three centuries. It was regarded as a true representation of a rhinoceros into the late 18th century, and it has been said of Dürer's woodcut that "probably no animal picture has exerted such a profound influence on the arts". Eventually, it was supplanted by more realistic drawings and paintings, particularly those of Clara the rhinoceros, who toured Europe in the 1740s and 1750s.

text:
# Dürer's Rhinoceros

***Dürer's Rhinoceros*** is the name commonly given to a woodcut executed by German artist Albrecht Dürer in 1515. Dürer never saw the actual rhinoceros, which was the first living example seen in Europe since Roman times. Instead the image is based on an anonymous written description and brief sketch of an Indian rhinoceros brought to Lisbon in 1515. Later that year, the King of Portugal, Manuel I, sent the animal as a gift for Pope Leo X, but it died in a shipwreck off the coast of Italy. Another live rhinoceros was not seen again in Europe until Abada arrived from India to the court of Sebastian of Portugal in 1577.

Dürer's woodcut is not an accurate representation. It depicts an animal with hard plates that cover its body like sheets of armor, with a gorget at the throat, a solid-looking breastplate, and what appear to be rivets along the seams; there is a small twisted horn on its back, scaly legs and saw-like rear quarters. None of these features are present in a real rhinoceros, although the Indian rhinoceros does have deep folds in its skin that can look like armor from a distance.

Dürer's woodcut became very popular in Europe and was copied many times in the following three centuries. It was regarded as a true representation of a rhinoceros into the late 18th century, and it has been said of Dürer's woodcut that "probably no animal picture has exerted such a profound influence on the arts". Eventually, it was supplanted by more realistic drawings and paintings, particularly those of Clara the rhinoceros, who toured Europe in the 1740s and 1750s.

## The rhinoceros

On 20 May 1515, an Indian rhinoceros named *Ulysses* arrived in Lisbon from the Far East. In early 1514, Afonso de Albuquerque, governor of Portuguese India, sent ambassadors to Sultan Muzaffar Shah II, ruler of Cambay (modern Gujarat), to seek permission to build a fort on the island of Diu. The mission returned without an agreement, but diplomatic gifts were exchanged, including the rhinoceros. At that time, the rulers of different countries would occasionally send each other exotic animals to be kept in a menagerie. The rhinoceros was already well accustomed to being kept in captivity. Albuquerque decided to forward the gift, known by its Gujarati name of *Genda* or *Ganda* as Durer noted it (in the lower margin of the original drawing now held at the British Museum), and its Indian keeper, named Ocem, to King Manuel I of Portugal. It sailed on the *Nossa Senhora da Ajuda*, which left Goa in January 1515. The ship and its two companion vessels were loaded with exotic spices, sailed across the Indian Ocean, around the Cape of Good Hope and north through the Atlantic, stopping briefly in Mozambique, Saint Helena and the Azores.

After a relatively fast voyage of 120 days, the rhinoceros was finally unloaded in Portugal, near the site where the Manueline Belém Tower was under construction. The tower was later decorated with gargoyles shaped as rhinoceros heads under its corbels. A rhinoceros had not been seen in Europe since Roman times, twelve centuries prior: and was examined by scholars and the curious, and letters describing the fantastic creature were sent to correspondents throughout Europe. The earliest known image of the animal illustrates a *poemetto* by Florentine Giovanni Giacomo Penni, published in Rome on 13 July 1515, fewer than eight weeks after its arrival in Lisbon.

It was housed in King Manuel's menagerie at the Ribeira Palace in Lisbon, separate from his elephants and other large beasts at the Estaus Palace. Manuel arranged a fight with a young elephant from his collection, to test the account by Pliny the Elder that the elephant and the rhinoceros are bitter enemies, but the elephant fled the field in panic before a single blow was struck.

Manuel decided to give the rhinoceros as a gift to the Medici Pope Leo X. The King was keen to curry favour with the Pope, to maintain the papal grants of exclusive possession to the new lands that his naval forces had been exploring in the Far East since Vasco da Gama discovered the sea route to India around Africa in 1498. The previous year, the Pope had been very pleased with Manuel's gift of a white elephant, also from India, which the Pope had named Hanno. Together with other precious gifts of silver plate and spices, the rhinoceros, with its new collar of green velvet decorated with flowers, embarked in December 1515 for the voyage from the Tagus to Rome. The vessel passed near Marseille in early 1516. King Francis I of France was returning from Saint-Maximin-la-Sainte-Baume in Provence, and requested a viewing of the beast. The Portuguese vessel stopped briefly at If Island off Marseilles.

After resuming its journey, the ship was wrecked in a sudden storm as it passed through the narrows of Porto Venere, north of La Spezia on the coast of Liguria. The rhinoceros, chained and shackled to the deck to keep it under control, was unable to swim to safety and drowned. The carcass of the rhinoceros was recovered near Villefranche, and its hide was returned to Lisbon, where it was stuffed. Some reports say that the mounted skin was sent to Rome, arriving in February 1516, to be exhibited *impagliato* (Italian for "stuffed with straw"), although such a feat would have challenged 16th-century methods of taxidermy, which were still primitive. If a stuffed rhinoceros did arrive in Rome, its fate remains unknown: it might have been removed to Florence by the Medici or destroyed in the 1527 sack of Rome. In any event, there was not the popular sensation in Rome that the living beast had caused in Lisbon, although a rhinoceros was depicted in contemporary paintings in Rome by Giovanni da Udine and Raphael.

## Dürer's woodcut

Valentim Fernandes, a Moravian merchant and printer, saw the rhinoceros in Lisbon shortly after it arrived and described it in a newsletter sent to the Nuremberg community of merchants in June 1515. The original document in German has not survived, but a transcript in Italian is held in the Biblioteca Nazionale Centrale in Florence. A second letter of unknown authorship was sent from Lisbon to Nuremberg at around the same time, enclosing a sketch by an unknown artist. Dürer – who was acquainted with the Portuguese community of the factory at Antwerp – saw the second letter and sketch in Nuremberg. He made a pen and ink drawing and printed a reversed reflection of it.

The German inscription on the woodcut is largely drawing from Pliny's account and reads:

> On the first of May in the year 1513 AD \[sic\], the powerful King of Portugal, Manuel of Lisbon, brought such a living animal from India, called the rhinoceros. This is an accurate representation. It is the colour of a speckled tortoise, and is almost entirely covered with thick scales. It is the size of an elephant but has shorter legs and is almost invulnerable. It has a strong pointed horn on the tip of its nose, which it sharpens on stones. It is the mortal enemy of the elephant. The elephant is afraid of the rhinoceros, for, when they meet, the rhinoceros charges with its head between its front legs and rips open the elephant's stomach, against which the elephant is unable to defend itself. The rhinoceros is so well-armed that the elephant cannot harm it. It is said that the rhinoceros is fast, impetuous and cunning.

Dürer's woodcut is not an accurate representation of a rhinoceros. He depicts an animal with hard plates that cover its body like sheets of armour, with a gorget at the throat, a solid-looking breastplate, and rivets along the seams. He places a small twisted horn on its back and gives it scaly legs and saw-like rear quarters. None of these features is present in a real rhinoceros. Glynis Ridley suggested that it is possible that a suit of armour was forged for the rhinoceros's fight against the elephant in Portugal and that the features depicted by Dürer are parts of the armour, however, there is no mention of this in Bedini. Alternatively, Dürer's "armour" may represent the heavy folds of thick skin of an Indian rhinoceros, or, as with the other inaccuracies, may simply be misunderstandings or creative additions by Dürer. Dürer also draws a scaly texture over the body of the animal, including the "armour". This may be Dürer's attempt to reflect the rough and almost hairless hide of the Indian rhinoceros, which has wart-like bumps covering its upper legs and shoulders. On the other hand, his depiction of the texture may represent dermatitis induced by the rhinoceros' close confinement during the four-month journey by ship from India to Portugal.

A second woodcut was executed by Hans Burgkmair in Augsburg around the same time as Dürer's. Burgkmair corresponded with merchants in Lisbon and Nuremberg, but it is not clear whether he had access to a letter or sketch as Dürer did, perhaps even Dürer's sources, or saw the animal himself in Portugal. His image is truer to life, omitting Dürer's more fanciful additions and including the shackles and chain used to restrain the rhinoceros. However, Dürer's woodcut is more powerful and eclipsed Burgkmair's in popularity. Only one impression (example) of Burgkmair's image has survived, whereas Dürer's print survives in many impressions. Dürer produced a first edition of his woodcut in 1515. Many further printings followed after Dürer's death in 1528, including two in the 1540s, and two more in the late 16th century.

The block passed into the hands of the Amsterdam printer and cartographer Willem Janssen (also called Willem Blaeu amongst other names). By this time the block was very damaged; the border lines were chipped, there were numerous woodworm holes and a pronounced crack had developed through the rhino's legs. Janssen decided to re-issue the block with the addition of a new tone block printed in a variety of colours, olive-green and dark green, as well as blue-grey. The resulting *chiaroscuro woodcut*, which entirely omitted the text, was published after 1620. There is an example in the British Museum. This was the seventh of the eight editions in all of the print.

Despite its errors, the image remained very popular, and was regarded as an accurate representation of a rhinoceros until the late 18th century. Dürer may have anticipated this and deliberately chosen to create a woodcut, rather than a more refined and detailed engraving, as this was cheaper to produce and more copies could be printed. A rhinoceros clearly based on Dürer's woodcut was chosen by Alessandro de' Medici as his emblem in June 1536, with the motto "Non vuelvo sin vencer" (old Spanish for "I shall not return without victory"). A sculpture of a rhinoceros based on Dürer's image was placed at the base of a 70-foot (21 m) high obelisk designed by Jean Goujon and erected in front of the Church of the Sepulchre in the rue Saint-Denis in Paris in 1549 for the royal entry welcoming the arrival of the new King of France, Henry II.

A similar rhinoceros, in relief, decorates a panel in one of the bronze west doors of Pisa Cathedral. The rhinoceros was depicted in numerous other paintings and sculptures and became a popular decoration for porcelain. The popularity of the inaccurate Dürer image remained undiminished despite an Indian rhinoceros spending eight years in Madrid from 1580 to 1588 (although a few examples of a print of the Madrid rhinoceros sketched by Philippe Galle in Antwerp in 1586, and derivative works, have survived), and the exhibition of a live rhinoceros in London a century later, from 1684 to 1686, and of a second individual after 1739.

The pre-eminent position of Dürer's image and its derivatives declined from the mid 18th century when more live rhinoceroses were brought to Europe, shown to the curious public, and depicted in more accurate representations. Jean-Baptiste Oudry painted a life-size portrait of Clara the rhinoceros in 1749, and George Stubbs painted a large portrait of a rhinoceros in London around 1790. Both of these paintings were more accurate than Dürer's woodcut, and a more realistic conception of the rhinoceros gradually started to displace Dürer's image in the public imagination. In particular, Oudry's painting was the inspiration for a plate in Buffon's encyclopedic *Histoire naturelle*, which was widely copied. In 1790, James Bruce's travelogue *Travels to discover the source of the Nile* dismissed Dürer's work as "wonderfully ill-executed in all its parts" and "the origin of all the monstrous forms under which that animal has been painted, ever since". Even so, Bruce's own illustration of the African white rhinoceros, which is noticeably different in appearance to the Indian rhinoceros, still shares conspicuous inaccuracies with Dürer's work.

The semiotician Umberto Eco argues (fetching the idea from E.H. Gombrich, Art and Illusion: A Study in the Psychology of Pictorial Representation, 1961) that Dürer's "scales and imbricated plates" became a necessary element of depicting the animal, even to those who might know better, because "they knew that only these conventionalized graphic signs could denote «rhinoceros» to the person interpreting the iconic sign." He also notes that the skin of a rhinoceros is rougher than it visually appears and that such plates and scales portray this non-visual information to a degree.

Until the late 1930s, Dürer's image appeared in school textbooks in Germany as a faithful image of the rhinoceros; and it remains a powerful artistic influence. It was one of the inspirations for Salvador Dalí; a reproduction of the woodcut hung in his childhood home and he used the image in several of his works.

## Sale history

Although very popular, few prints have survived and impressions of the first edition are rare. A fine example was sold at Christie's New York in 2013 for $866,500, setting a new auction record for the artist.

### Notes

### Citations

1. Bedini, p. 121.
2. Kuntz, Joelle (18 December 2015). "1515, l'année du rhinocéros". *Le Temps* (in French). ISSN 1423-3967. Retrieved 29 October 2022.
3. Clarke (1986), chapter 2
4. Group of History and Theory of Science – Dürer's Rhinoceros Archived 10 July 2006 at the Wayback Machine , State University of Campinas, Brazil.
5. Dürer's Rhinoceros Archived 5 May 2006 at the Wayback Machine , Kallisti Digital Publishing, 7 March 2003.
6. Clarke (1986), p. 20
7. Bedini (1997), p. 112.
8. Herrick, Francis H. (1909). "Dürer's "Contribution" to Gesner's Natural History". *Science*. **30** (764): 232–235. doi:10.1126/science.30.764.232. ISSN 0036-8075. PMID 17742471.
9. Clarke (1986), p. 16.
10. Bedini (1997), p. 113.
11. Beusterien, John (6 August 2020). *Transoceanic Animals as Spectacle in Early Modern Spain*. Amsterdam University Press. p. 51. ISBN 978-9048552252.
12. Clarke (1986), p. 19, for a photograph of a gargoyle.
13. Giovanni Giacomo Penni, *Forma e natura e costumi de lo rinocerote* (...). See Ugo Serani, *Etiopicas* 2 (2006) ISSN 1698-689X  for the original text in Italian and a translation into Spanish.
14. Bedini, Silvio A. (1981). "The Papal Pachyderms". *Proceedings of the American Philosophical Society*. **125** (2): 80. ISSN 0003-049X. JSTOR 986637  via JSTOR.
15. Vogt, Fabian. "Wie das Nashorn Clara zum Superstar des 18. Jahrhunderts wurde". *Neue Zürcher Zeitung* (in German). Retrieved 27 October 2022.
16. Bedini (1997), p. 127.
17. Bedini (1997), p. 132.
18. Gessner's Hyena and the Telephone Game, Manda Clair Jost, 2002 (PDF, 21 pages).
19. Clarke (1986), p. 181
20. Bedini (1997), p. 120
21. Article (pt) by Luís Tirapicos at Instituto Camões
22. Lach, Donald Frederick (1994). *Asia in the making of Europe: A century of wonder. The literary arts. The scholarly disciplines*. University of Chicago Press. p. 16. ISBN 0-226-46733-3.
23. "drawing: Museum number SL,5218.161". British Museum. Retrieved 20 January 2023
24. Quammen, p. 204
25. Latin original and English translation of Chapter 29, Book VIII of Pliny's *Naturalis Historia*.
26. Rough translation of the German original. See also a French translation in the doctoral thesis of Bruno Faidutti at l'université Paris XII: La licorne et le rhinocéros Archived 18 July 2006 at the Wayback Machine, chapter 3.2, illustration 10, November 1996. (in French); and a similar translation in Clarke (1986), p. 20
27. Ridley, Glynis. *Clara's Grand Tour: Travels with a Rhinoceros in Eighteenth-century Europe*. Atlantic Monthly Press, 2004. ISBN 1-84354-010-X
28. Commentary Archived 10 October 2006 at the Wayback Machine on a plate from Conrad Gessner's *Mammals*, folio 131 verso, from the Humanities Media Interaction Project, Keio University, Japan.
29. Bedini (1997), p. 121.
30. Held by the Graphische Sammlung Albertina, Vienna.
31. Wills, Matthew. "Dürer's Rhinoceros and the Birth of Print Media". 28 June 2016. Retrieved 6 February 2023
32. Clarke (1986), p. 23
33. Quammen, p. 206
34. "Rhinocerus (Rhinoceros)". British Museum.
35. Goldman (2012), p. 6
36. The Journeyman Artist Archived 2 October 2006 at the Wayback Machine , Richard Anderton, University of the West of England, at the 3rd Impact International Printmaking Conference, Cape Town, South Africa, 2003.
37. "Sale 2778 Lot 50". Christie's.
38. Bedini (1997), p. 192
39. Bedini (1997), p. 193
40. See File:Durer's Rhinoceros on Cathedral Door, Pisa C17th.jpg.
41. Clarke, chapter 2 and 3.
42. Clarke (1986), p. 64
43. Alperson (1992), p. 80
44. Eco, Umberto (1978). *Theory of Semiotics*. Indiana University Press. p. 205. ISBN 9780253202178.
45. "Salvador Dalí (Spanish, 1904–1989) *Chair de poule rhinocérontique, ou Rhinocéros cosmique*". Bonhams. 2013.
46. "Dürer: Masterpieces from a Private Collection". Christie's, 2013. Retrieved 20 January 2023

### Sources

* Alperson, Philip. *The Philosophy of the Visual Arts*. Oxford: Oxford University Press, 1992. ISBN 978-0-1950-5975-5
* Bedini, Silvano. *The Pope's Elephant*. Manchester: Carcanet Press, 1997. ISBN 978-0-1402-8862-9
* Clarke, T. H. *The Rhinoceros from Dürer to Stubbs: 1515–1799*. London: Sotheby's Publications, 1986. ISBN 978-0-8566-7322-1
* Cole, F. J.; Francis Joseph. "The History of Albrecht Durer's Rhinoceros in Zoological Literature". In Underwood, Ashworth (ed.). *Science, Medicine and History: Essays on the Evolution of Scientific Thought and Medical Practice, Written in Honour of Charles Singer*. Oxford: Oxford University Press, 1953. ISBN 978-0-4050-6624-5
* Feiman, Jesse. "The Matrix and the Meaning in Dürer's Rhinoceros". *Art in Print*, volume 2, no. 4, November - December 2012. JSTOR 43047078
* Goldman, Paul. *Master Prints: Close-Up*. London: British Museum, 2012. ISBN 978-0-7141-2679-1
* Quammen, David. *The Boilerplate Rhino: Nature in the Eye of the Beholder*. Scribner, 2001

## Further reading

## InfoBox

| The Rhinoceros | |
| --- | --- |
|  | |
| Artist | Albrecht Dürer |
| Year | 1515 |
| Type | Woodcut |
| Dimensions | 23.5 cm × 29.8 cm (9.3 in × 11.7 in) |
| Location | This impression, National Gallery of Art, Washington, DC |


title: 16 Biggest Hits (Clint Black album)

abstract: 16 Biggest Hits is a 2006 Clint Black compilation album. It is part of a series of similar 16 Biggest Hits albums released by Legacy Recordings.

text:
# 16 Biggest Hits (Clint Black album)

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

***16 Biggest Hits*** is a 2006 Clint Black compilation album. It is part of a series of similar *16 Biggest Hits* albums released by Legacy Recordings.

## Track listing

| No. | Title | Writer(s) | Length |
| --- | --- | --- | --- |
| 1. | "A Better Man" | Clint Black, Hayden Nicholas | 3:05 |
| 2. | "Killin' Time" | Black, Nicholas | 2:48 |
| 3. | "Nobody's Home" | Black | 3:30 |
| 4. | "Put Yourself in My Shoes" | Black, Nicholas, Shake Russell | 3:16 |
| 5. | "Loving Blind" | Black | 3:57 |
| 6. | "One More Payment" | Black, Nicholas, Russell | 2:16 |
| 7. | "Burn One Down" | Black, Frankie Miller, Nicholas | 3:50 |
| 8. | "Half the Man" | Black, Nicholas | 3:01 |
| 9. | "Untanglin' My Mind" | Black, Merle Haggard | 3:25 |
| 10. | "Summer's Comin'" | Black, Nicholas | 2:48 |
| 11. | "Like the Rain" | Black, Nicholas | 4:22 |
| 12. | "Half Way Up" | Black, Nicholas | 3:57 |
| 13. | "Still Holding On" (Duet with Martina McBride) | Black, Matraca Berg, Marty Stuart | 4:39 |
| 14. | "Nothin' but the Taillights" | Black, Steve Wariner | 3:53 |
| 15. | "The Shoes You're Wearing" | Black, Nicholas | 3:31 |
| 16. | "When I Said I Do" (Duet with Lisa Hartman Black) | Black | 4:28 |

## Chart performance

*16 Biggest Hits* peaked at #72 on the U.S. *Billboard* Top Country Albums chart the week of February 24, 2007.

| Chart (2006–2007) | Peak
position |
| --- | --- |
| U.S. *Billboard* Top Country Albums | 72 |
|

## InfoBox

| 16 Biggest Hits | |
| --- | --- |
|  | |
| Greatest hits album by Clint Black | |
| Released | April 11, 2006 |
| Genre | Country |
| Length | 56:46 |
| Label | Legacy Recordings |
| Clint Black chronology | |
| *Drinkin' Songs and Other Logic*
(2005) ***16 Biggest Hits***
(2006) *The Love Songs*
(2007) | |


title: 137th Infantry Regiment (United States)

abstract: The 137th Infantry Regiment was an infantry regiment of the United States Army. It was part of the Kansas Army National Guard and has served with distinction in the Philippine Insurrection, World War I, and World War II. The last active battalion was the 2nd Battalion, as the 2–137th Combined Arms Battalion, a component of the 635th Regional Support Group. The battalion was redesignated as the 1st Battalion, 635th Armor Regiment in 2020, although the structure of the unit remained unchanged.

text:
# 137th Infantry Regiment (United States)

The **137th Infantry Regiment** (First Kansas) was an infantry regiment of the United States Army. It was part of the Kansas Army National Guard and has served with distinction in the Philippine Insurrection, World War I, and World War II. The last active battalion was the 2nd Battalion, as the 2–137th Combined Arms Battalion, a component of the 635th Regional Support Group. The battalion was redesignated as the **1st Battalion, 635th Armor Regiment** in 2020, although the structure of the unit remained unchanged.

## History

The regiment traced its history back to the organization of the 1st Infantry Regiment of the Kansas Volunteer Militia from pre-existing companies on 17 May 1879. On 7 March 1885, the Kansas Volunteer Militia became the Kansas National Guard.

### Philippine–American War

John W. Leedy, the governor of Kansas, issued a call for volunteers to fight in the Spanish–American War on 26 April 1898, as soon as war was declared. The regiment was reorganized and officially mustered into service between 9 May and 13 May at Topeka, Kansas, as the 20th Kansas Volunteer Infantry. At the time of mustering in, the regiment consisted of 46 officers and 964 enlisted men. On 16 May, the regiment left for Camp Merritt, California, and due to disease, the regiment was forced to relocate to Camp Merriam, just north of the Presidio of San Francisco on 5 August. The regiment was still there when an armistice was signed on 12 August.

The 20th Kansas was slated to take part in the Fifth Philippine Expedition on 27 October 1898, and 2nd and 3rd Battalions arrived in Manila on 5 December, and the 1st Battalion arrived on 6 December. The Spanish–American War officially ended on 10 December, with the signing of the Treaty of Paris. The 20th Kansas had not seen combat against the Spaniards and were camped in tobacco warehouses in Manila until February 1899 when the Philippine Insurrection began. They advanced on, and were the first to enter, Caloocan on 10 February. On 25 March, the regiment swam the Tullahan River, captured a Blockhouse, and then was involved in the engagements of Malinta and Meycauayan three days later. On 28 March, some of the Kansans swam another river, capturing eighty prisoners among the men occupying the earthworks on the opposite side. On 31 March, the regiment entered Malolos, the capital of the First Philippine Republic. On 24 April, the 20th Kansas was involved in the advance against Calumpit, and in the next month, against San Thomas.

On 6 September 1899, the 20th Kansas Volunteer Infantry boarded transports and steamed for the US, arriving on 10 October. On 28 October, the regiment was mustered out of service. At the time of mustering out, the regiment had decreased in size, including 46 officers and 720 enlisted men. During its wartime service, the regiment had 3 officers and 19 enlisted men killed in action. An additional 11 enlisted men died of wounds received in battle. 35 enlisted men died from disease, and 145 more were discharged on disability. 4 enlisted men were court-martialed, and 4 men deserted.

### World War I

Simultaneously with its mustering out from Federal service, the 20th Kansas was consolidated with the 1st Regiment of Infantry (Provisional), as the 1st Infantry Regiment of the Kansas National Guard. The regiment served the state government until mustered into Federal Service at Fort Riley for duty on the Mexico–United States border, under the orders of President Woodrow Wilson, on 27 June 1916. It reached Eagle Pass, Texas on 7 July. The regiment returned to Fort Riley and was mustered out on 30 October.

When the US declared war on Germany on 5 April 1917, companies were increased in size from 60 to 150 men, then eventually, to 250 men. On 5 August, the 137th Infantry Regiment was drafted into Federal service. On 1 October it was consolidated with the 2nd Infantry Regiment of the Kansas National Guard to become the 137th Infantry, part of the 35th Division. They subsequently set sail for Europe, entering the frontline on 18 June 1918. The 137th was stationed in the Metz area and successfully repulsed a German raid on the night of 22–23 June. On 20 July, Company C put on a successful raid of its own against the enemy.

1 September saw the regiment moved by truck from the Vosges Mountains to Nancy and then into reserve for the Saint-Mihiel attack of 12–16 September. This surprise attack was so successful that the 35th Division was not used, and it was soon headed for the greatest American battle of the war. 25 September found the 137th Infantry in position facing Vauquois Hill, an impregnable natural fortress the Germans had held over four years. In the Meuse-Argonne Offensive, a 6-hour barrage was launched on this hill and was taken by the Kansas soldiers in their first attempt on 26 September, and their trial by fire began; an ordeal that was to last six days and six nights, with little or no food, only snatches of sleep, and an uninterrupted rain of shells, poison gas, and bullets from infantry, artillery and warplanes. The 137th Infantry took every objective assigned it, but in the taking suffered casualties of nearly 1,300 men out of the 2,800 combatants engaged; 46%. The regiment was relieved by the 1st Infantry Division on 1 October 1918, and after resting in the rear for 10 days, the regiment moved to Verdun and remained in the fighting until 4 November. They were in the thick of fighting until 9 November when they were relieved. The Armistice of 11 November 1918 finally stopped the fighting, after which the regiment returned to Kansas, where it demobilized at Camp Funston between 9 and 11 May 1919.

### Interwar period

The former 1st Infantry Regiment of the Kansas National Guard was consolidated with the 4th Infantry Regiment, organized in 1918, to become the 137th Infantry of the 35th Division on 4 November 1921. The regiment was headquartered at Horton. Company D, formed in 1922, was composed entirely of American Indian students at Haskell Indian College in Topeka.

Between 14 December 1921 and 26 February 1922, the 1st and 3rd Battalions were called up for riot control during a coal miners' strike at Pittsburg. During the interwar period, the regiment conducted annual summer training mostly at Fort Riley. Both the 1st and 3rd Battalions provided relief between 13 and 16 July 1924 after a tornado struck Augusta. After the escape of criminals from the Kansas State Penitentiary, the 2nd Battalion was called up to perform road patrols and block bridges between 19-20 January 1934. Between 8-27 June of that year, it also provided riot control during labor troubles at copper mines in Baxter Springs. From 17 June-6 August 1935, the regimental headquarters and 3rd Battalion were called up to provide riot control during a coal miners' strike at Columbus.

### World War II

The 137th Infantry was inducted into Federal service on 23 December 1940 in preparation for the possibility that the United States might enter World War II. The regiment was assigned to the 35th Infantry Division, just as it had been during World War I, and was sent to Camp Joseph T. Robinson, near Little Rock, Arkansas. Troops were recruited from all over Kansas. Company A drew men from Atchinson, Company B came from Emporia, Company C enlisted men from Council Grove, Company D hailed from Dodge City. Companies E, F, G, and H were recruited from Holton, Newton, Kansas City, and Lawrence respectively. Companies I and K hailed from Wichita, Company L came from Kingman, and Company M was also from Lawrence. Additional recruits came from Topeka and Cottonwood Falls.

After the Attack on Pearl Harbor, the 137th was sent to Fort Ord, California to guard against the possibility of Japanese attacks on the West Coast. The regiment then went to Camp Rucker, Alabama on 31 March 1943, and then to Camp Forrest, Tennessee on 17 November 1943, where they conducted combat training for fighting in Europe. The regiment soon arrived in England on 25 May 1944, and then into the frontline in Normandy on 8 July 1944.

Here in Normandy, the 137th took part in the Battle of Saint-Lô where savage fighting among ruined urban streets and dense hedgerows caused numerous casualties. On 9 July, the 137th relieved the 119th Infantry Regiment of the 30th Infantry Division. The 1st attack the 137th made was on the morning of 11 July 1944, and they made small gains at the cost of 12 killed, 96 wounded, and 18 missing. 12 July saw another attack toward the town of St. Gilles with the 2nd (2–137) and 3rd (3–137) Battalions in the lead. The regiment captured 47 prisoners on 13 July, most of which were Poles, Czechs, and Austrians who seemed glad to be out of the fighting. The entire regiment continued to attack almost every day against the strong German positions, suffering many casualties, but driving the enemy back slowly by surely. On 25 July, the regiment witnessed the beginning of Operation Cobra, and Allied bombers bombed German positions right near friendly lines. The 137th suffered 2 men killed and 3 wounded due to this friendly fire incident. The 137th continued to advance through the heavy fighting, alongside the 134th Infantry Regiment, and pushed the enemy back, south and east from Saint-Lô. On 6 August, the regiment had a break from the fighting. They stayed put and awaited orders to move. Since arriving in France, the 137th Infantry had suffered 1,183 casualties, consisting of 177 killed, 946 wounded, and 40 missing in action. Many of the wounded had returned to duty, and these and new replacements totaled 826.

In the afternoon of 6 August 1944, the regiment was on the move again, to the Saint-Hilaire-du-Harcouët area. They continued moving until they reached the vicinity of Mortain, where the men began patrolling in conjunction with soldiers from the 30th Infantry Division. The Germans launched Operation Lüttich, a counterattack against Mortain, to contain the Allied breakout from Normandy, and they met heavy opposition from the American forces. The 137th fought here from 7–13 August, and they suffered 23 killed, 140 wounded, and 40 missing in action. The German counterattack was beaten back. The regiment continued on through the Allied breakout and pushed east to the city of Orléans and then onto Nancy which they captured after heavy resistance. After beating back a fierce German counterattack in the Gremercey Forest, the regiment moved north to Metz. After minor patrolling in Alsace-Lorraine, they moved north to fight in the Battle of the Bulge on 26 December 1944. Heavy fighting in Luxembourg and Belgium saw the 137th suffer heavy casualties, but they beat back the enemy wherever they met them. Fighting along the Dutch border of Germany saw the regiment cross the Rhine in March 1945. They advanced east through Germany encountering heavy resistance along the Autobahn superhighway, and they captured hundreds of German prisoners in the Ruhr region by the time the war ended. They assumed occupation duties in Germany until returning to the US, and were inactivated on 5 December 1945 at Camp Breckinridge.

### Cold War

On 17 July 1947, the 137th was reorganized and Federally recognized, headquartered at Wichita. In 1954, the 137th Infantry Regiment was part of the 35th Infantry Division. On 1 May 1959, it was reorganized as a parent regiment under the Combat Arms Regimental System, including the 1st and 2d Battle Groups, part of the 35th Division. On 1 April 1963, the battle groups were redesignated as battalions. On 15 December 1967 a 3rd Battalion was activated.

The 1st and 2nd Battalions were again called to active service on 13 May 1968 during the Vietnam War as part of the 69th Infantry Brigade (SEP) and sent to Fort Carson, Colorado. The regiment and brigade became a part of the 5th Infantry Division (Mechanized). It remained at Fort Carson until 12 December 1969 when it was released from active duty, and returned to the Kansas Army National Guard. Many of the enlisted soldiers and most of the Regiment's Officers were sent to Vietnam as replacements to regular army units.

On 1 February 1976, the 3rd Battalion was inactivated, and the 1st and 2nd Battalions were assigned to the 69th Brigade. On 25 August 1984 the two battalions were reassigned to the 35th Division when it was reformed from the 69th Brigade headquarters. On 1 May 1989, the regiment was withdrawn from the Combat Arms Regimental System and reorganized under the United States Army Regimental System. On 1 September 1992, the 1st Battalion was inactivated, leaving the 2nd Battalion as the only active unit of the regiment.

### War on Terror

On 1 September 2008, the inactive 1st Battalion, 137th Infantry was consolidated with the active 635th Armored Regiment, and the consolidated unit was redesignated as the 1st Battalion, 635th Armored Regiment.

In the spring of 2004, the 2nd Battalion, 137th Infantry received their Bradley Fighting Vehicles and began training to assume an active role in Afghanistan or Iraq. The Battalion was called to active duty in early August 2005. The Battalion was sent to Fort Sill, Oklahoma, and then to the National Training Center, Fort Irwin, California for pre-deployment training. They served for one year during the War in Iraq (Operation Iraqi Freedom) from October 2005 to October 2006, with the XVIII Airborne Corps, the 3rd and the 4th Infantry Divisions. One of the battalion's soldiers was killed in action. The 2–137th returned to Kansas in November 2006. In March 2010, the Battalion was activated for service in the Global War on Terror and conducted predeployment training at Kansas Regional Training Center, Salina, Kansas and Joint Base Lewis-McChord, Washington. The unit arrived in Djibouti, Africa in May 2010 under United States Africa Command tasked with providing force protection to Camp Lemonnier and Combined Joint Task Force-Africa. The Battalion also supported DOD and State Department missions building capacities among partner nations across east Africa. The unit redeployed through Camp McCoy, Wisconsin in April 2011 having earned the Meritorious Unit Commendation.

### Present structure

The last active unit of the regiment was the 2nd Combined Arms Battalion, 137th Infantry. Their mission was to close with and destroy the enemy by means of fire and maneuver or repel assaults by fire, close combat and counterattack. The units operated the M2 Bradley Fighting Vehicle and the Army's main battle tank, the M1A2 SEP V2 Abrams.

2nd Combined Arms Battalion, 137th Infantry Regiment
– Headquarters and Headquarters Company: Kansas City, Kansas.
– Headquarters Company Detachment: Junction City, Kansas.
– Company A (armor): Emporia.
– Company B (armor): Lenexa.
– Company G (mechanized infantry): Wichita.
– Company G, 106th Brigade Support Battalion: Manhattan.

In a 17 October 2020 ceremony, the 2nd Battalion, 137th Infantry was redesignated as the 1st Battalion, 635th Armor Regiment, although its structure as a combined arms battalion remained the same.

### Citations

### Bibliography

## InfoBox

| 137th Infantry Regiment | |
| --- | --- |
| 137th Infantry Rgt coat of arms | |
| Active | 1879–1919, 1921–1945, 1947–2020 |
| Country | United States |
| Allegiance | Kansas |
| Branch | Kansas Army National Guard |
| Type | Infantry |
| Motto(s) | Valor for Service (Volunteers, By God) |
| Engagements | Philippine Insurrection World War I
World War II
Operation Iraqi Freedom |
| Commanders | |
| Commander | LTC Darren Koberlein |
| Command Sergeant Major | Dwayne Clifford |
| Notable
commanders | Colonel Robert Sears |


title: Dürer Kert

abstract: Dürer Kert is a music venue in Budapest, Hungary, that plays a significant role in the music life of the city. It started operating in 2008 under Ajtósi Dürer sor but had to move to Újbuda due to property development of the building.

text:
# Dürer Kert

**Dürer Kert** is a music venue in Budapest, Hungary, that plays a significant role in the music life of the city. It started operating in 2008 under Ajtósi Dürer sor but had to move to Újbuda due to property development of the building.

## History

The building on Ajtósi Dürer sor used to be a Sacré Coeur Girls' School, later functioned as a socialist party school and then was occupied by Eötvös Lorand University. When the university moved out, an Israeli businessman bought the property in 2007. The building and the practice studios that belonged to it were subsequently rented out to Dürer Kert since 2008. From 2014, the club had a five-year contract to rent the space, but had to fight to keep their tenant rights every year, as property developers envisioned the space as a living quarters and an office building. It was also suggested at one point that the property would host the Capital Circus of Budapest. In 2018, the building was acquired by István Garancsi's property development business and Dürer Kert started looking for another place to rent. During the Covid19 pandemic, the club had to close down and eventually had to leave the premises. The building was torn down to give way to a modern office building and apartment block.

The club found a new place to rent in Újbuda in the former techno and house club Rio II, which was leased to them by BudaPart Office and Residential Park. The building was remodeled to fit the vibe and profile of Dürer Kert and to harmonize with its surroundings, namely the Kelenföld power station nearby. The new venue has two music halls; one can host 950 spectators, the smaller one is fit for 270 people. The main hall has a panorama window to the Danube, while the second floor hosts an exhibition space, a bar and the backstage. The building is surrounded by a large green space, where an open-air stage is hosted, along with areas for barbecue and a street food court.

## InfoBox

Dürer Kert
|  | |
| --- | --- |
|  | |
| Address | Öböl utca 1.
Budapest
Hungary |
| Coordinates | 47°27′36″N 19°03′27″E / 47.460021°N 19.05738°E / 47.460021; 19.05738 |
| Operator | Dürer-Part Kft. |
| Type | music venue |
| Capacity | main hall: 950
small hall: 270 |
| Opened | 2008
2022 |
| Website | |
| durerkert.com | |


title: 10 Years Solo Live

abstract: 10 Years Solo Live is a recording by jazz pianist Brad Mehldau. It contains solo piano tracks from 19 concerts in Europe during the period 2004–2014.

text:
# 10 Years Solo Live

***10 Years Solo Live*** is a recording by jazz pianist Brad Mehldau. It contains solo piano tracks from 19 concerts in Europe during the period 2004–2014.

## Background

"Mehldau became a working musician at a time when jazz was engulfed by historicism, and he spent a lot of youthful energy swatting away one presumptive legacy or another. This could be one reason that his solo work deals sparingly with the jazz repertory." "In the late 1990s, Brad Mehldau began turning his refined attention to the exacting art Keith Jarrett had dominated for so long: unaccompanied acoustic-piano improvisation." Mehldau's previous solo piano albums were *Elegiac Cycle* (1999), *Live in Tokyo* (2003), and *Live in Marciac* (2006).

## Music and recording

The tracks are arranged by four themes: "Dark/Light", "The Concert", "Intermezzo/Rückblick", and "E Minor/E Major". Dark/Light "explores versions of Jeff Buckley's 'Dream Brother', which is followed by Lennon/McCartney's 'Blackbird'". In Mehldau's words, "'Rückblick' means a look backward, perhaps a reappraisal. Brahms's Intermezzo movement was a look back at what had taken place in his Sonata before moving to the final movement. Here, the listener is invited to look back to music that was recorded 10 or more years ago, in 2004 and 2005." The final theme uses minor and major variants of a key and references the first theme.

On "Dream Brother", Mehldau lets "a single-note pulse work as an emotional metronome before the layering really begins." "And I Love Her" is given a "fugue-like construction". "Smells Like Teen Spirit" has "pointillistic flourishes, a sound painting sourced from West Coast grunge with a Satie-like sensitivity." On the 2011 version of "Knives Out", "Arpeggios ripple, melodies flit across said ripples, and Radiohead's bluesy electronica is lent the power of Beethoven." "Junk" "has a light danceability about it stemming from just how damn tuneful it is." "Intermezzo in B-Flat Major" "is a kind of behold-these-chops moment, with Mehldau crossing over into classical territory with a virtuosity we’ve been well prepared for by this time."

The performances were recorded in concerts in Europe between June 7, 2004 and March 10, 2014.

## Releases

Mehldau explained that "the order of songs is not arbitrary, and I have tried to tell a story from beginning to end in the way I've sequenced it."

The original release, of a collection of eight LPs, was on October 16, 2015. The same material was issued as a four-CD collection, and made available by digital download, on November 13 of the same year.

## Reception

John Fordham of *The Guardian* commented on the recording's "slew of orchestrally rolling chordwork, tireless trills and corkscrewing contrapuntal playing". In a mixed review in *The Daily Telegraph*, Ivan Hewett wrote that several tracks "begin intriguingly, but then become gripped by a sense of their own importance, swelling up to an oppressively 'anthemic' weightiness." Nate Chinen, in *The New York Times*, believed that the release "contains some of the most impressive pianism Mr. Mehldau has captured on record." Nenad Georgievski of *All About Jazz* noted, "10 Years Solo Live doesn't feel like a compilation of selected performances put together, but the whole repertoire flows into a complete whole. Somehow these sound like a free-flowing single works. It's a beautiful release/box from a unique pianist who continually shows what the piano can do." Jeff Simon of *The Buffalo News* stated, "...it’s a stupendous collection of a decade of solo piano performances by Brad Mehldau all across Europe that proves that with the death of Michel Petrucciani, Mehldau is the only solo jazz pianist who deserves to be mentioned in the same breath as Keith Jarrett." Cormac Larkin of *The Irish Times* wrote, " To listen intently is to engage in the tangle of a great musician’s mind, one whose influence may now be discerned in pretty much every jazz pianist that has come after him. Nothing can replace the thrill of actually being in the room when Mehldau is in the act of creation, but 10 Years Solo Live is a close second."

Professional ratings
| Aggregate scores | |
| --- | --- |
| Source | Rating |
| Metacritic | 84/100 |
| Review scores | |
| Source | Rating |
| *All About Jazz* |  |
| AllMusic |  |
| *The Buffalo News* |  |
| *The Daily Telegraph* |  |
| *Down Beat* |  |
| *Financial Times* |  |
| *The Guardian* |  |
| *The Irish Times* |  |
| *The Times* |  |
| *PopMatters* | 8/10 |

## Track listing

| Track | Title | Composer(s) | Length | Recorded |
| --- | --- | --- | --- | --- |
| CD1–1 | "Dream Brother" | Jeff Buckley | 13:34 | 5 Nov 2013 |
| CD1–2 | "Blackbird" | John Lennon / Paul McCartney | 6:30 | 18 Sep 2011 |
| CD1–3 | "Jigsaw Falling into Place" | Thom Yorke / Jonny Greenwood / Colin Greenwood / Phil Selway / Ed O'Brien | 11:52 | 17 Sep 2011 |
| CD1–4 | "Meditation I – Lord Watch over Me" | Brad Mehldau | 8:45 | 10 Mar 2014 |
| CD1–5 | "And I Love Her" | Lennon / McCartney | 15:59 | 8 Nov 2013 |
| CD1–6 | "My Favorite Things" | Richard Rodgers / Oscar Hammerstein II | 12:14 | 16 Mar 2010 |
| CD1–7 | "This Here" | Bobby Timmons | 8:15 | 16 Mar 2010 |
| CD2–1 | "Smells Like Teen Spirit" | Kurt Cobain | 9:37 | 16 Mar 2010 |
| CD2–2 | "Waltz for J. B." | Mehldau | 6:05 | 15 Jul 2010 |
| CD2–3 | "Get Happy" | Harold Arlen / Ted Koehler | 12:31 | 30 Oct 2010 |
| CD2–4 | "I'm Old Fashioned" | Jerome Kern / Johnny Mercer | 5:20 | 17 Mar 2010 |
| CD2–5 | "Teardrop" | Grantley Marshall / Andrew Vowles / Robert Del Naja / Elizabeth Fraser | 14:13 | 9 Jun 2011 |
| CD2–6 | "Holland" | Sufjan Stevens | 11:06 | 8 Nov 2013 |
| CD2–7 | "Meditation II – Love Meditation" | Mehldau | 5:53 | 17 Sep 2011 |
| CD2–8 | "Knives Out" | Yorke / Jonny Greenwood / Colin Greenwood / Selway / O'Brien | 11:34 | 29 Mar 2011 |
| CD3–1 | "Lost Chords" | Mehldau | 9:29 | 10 Jul 2005 |
| CD3–2 | "Countdown" | John Coltrane | 10:42 | 10 Jul 2005 |
| CD3–3 | "On the Street Where You Live" | Frederick Loewe / Alan Jay Lerner | 7:08 | 10 Jul 2005 |
| CD3–4 | "Think of One" | Thelonious Monk | 7:46 | 5 Aug 2004 |
| CD3–5 | "Zingaro/Paris" | Antônio Carlos Jobim / Mehldau | 10:42 | 10 Jul 2005 |
| CD3–6 | "John Boy" | Mehldau | 3:35 | 29 Mar 2011 |
| CD3–7 | "Intermezzo in B-flat major, Op. 76: No. 4" | Johannes Brahms | 2:39 | 7 Jun 2011 |
| CD3–8 | "Junk" | McCartney | 5:07 | 17 Nov 2004 |
| CD3–9 | "Los Angeles II" | Mehldau | 5:16 | 17 Nov 2004 |
| CD3–10 | "Monk's Mood" | Monk | 4:45 | 17 Nov 2004 |
| CD3–11 | "Knives Out" | Yorke / Jonny Greenwood / Colin Greenwood / Selway / O'Brien | 7:22 | 17 Nov 2004 |
| CD4–1 | "La Mémoire et la Mer" | Léo Ferré | 10:37 | 10 Sep 2011 |
| CD4–2 | "Bitter Sweet Symphony / Waterloo Sunset" | Richard Ashcroft / Keith Richards / Mick Jagger / Ray Davies | 15:50 | 29 Mar 2011 |
| CD4–3 | "Intermezzo in E minor, Op. 119: No. 2" | Brahms | 5:06 | 25 Mar 2011 |
| CD4–4 | "Interstate Love Song" | Eric Kretz / Robert DeLeo / Scott Weiland / Dean DeLeo | 17:58 | 10 Mar 2014 |
| CD4–5 | "Hey You" | Roger Waters | 11:07 | 18 Sep 2011 |
| CD4–6 | "God Only Knows" | Brian Wilson / Tony Asher | 16:44 | 9 Jun 2011 |

Source:

## Personnel

* Brad Mehldau – piano

## Charts

| Chart (2015) | Peak
position |
| --- | --- |
| Belgian Albums (Ultratop Flanders) | 92 |
| Belgian Albums (Ultratop Wallonia) | 140 |
| French Albums (SNEP) | 176 |
| German Albums (Offizielle Top 100) | 59 |
| US Top Jazz Albums (*Billboard*) | 6 |

## InfoBox

| 10 Years Solo Live | |
| --- | --- |
|  | |
| Live album by Brad Mehldau | |
| Released | October 16, 2015 |
| Recorded | June 7, 2004 – March 10, 2014 |
| Genre | Jazz |
| Length | 5:05:39 |
| Label | Nonesuch |
| Producer | Brad Mehldau |
| Brad Mehldau chronology | |
| *Mehliana: Taming the Dragon*
(2014) ***10 Years Solo Live***
(2004–14) *Blues and Ballads*
(2012–14) | |


title: 10 Years Younger (British TV series)

abstract: 10 Years Younger in 10 Days, previously called 10 Years Younger, is a make over show aired on Channel 5 in Britain and repeated on its 5Star network. As 10 Years Younger, the series debuted as a Channel 4 programme in 2004, before being relaunched and rebranded by Channel 5 in 2020. Presented for its first five series by Nicky Hambleton-Jones, who was replaced by Myleene Klass for series six, with Cherry Healey hosting the show for Channel 5, with the programme's full name also being used in Australia.

text:
# 10 Years Younger (British TV series)

***10 Years Younger in 10 Days***, previously called *10 Years Younger* (and sometimes called *10 Years Younger: The Challenge*), is a make over show aired on Channel 5 in Britain and repeated on its 5Star network. As *10 Years Younger*, the series debuted as a Channel 4 programme in 2004, before being relaunched and rebranded by Channel 5 in 2020.

Presented for its first five series by Nicky Hambleton-Jones, who was replaced by Myleene Klass for series six, with Cherry Healey hosting the show for Channel 5, with the programme's full name also being used in Australia.

## About the show

With the help of experts the participant of the show is given a complete make over in an attempt to make them look *10 Years Younger*, partially through plastic surgery. At the start of the programme the person's age is guessed by 100 people on the street and an average is taken. From this average the target image is set. At the end of the show this happens again to see the results.

The programme regularly makes use of cosmetic surgery, which has attracted criticism from some quarters. However, in his book 10 Years Younger: Cosmetic Surgery Bible, the show's resident consultant surgeon Jan Stanek says: "I decided to take part in the series because I felt that it offered an opportunity to shine an honest light on what was involved in cosmetic surgery and to address some of the common misconceptions about it."

## Experts

## Books

There are currently three books which accompany the series. The first two are both written by former presenter Nicky Hambleton-Jones. The third book is written by Jan Stanek with Hayley Treacy.

* *10 Years Younger in 10 Days (Paperback - 17 January 2005)*
* *10 Years Younger Nutrition Bible (Paperback - 2 February 2006)*
* *10 Years Younger Cosmetic Surgery Bible (Paperback - 1 February 2007)*

## International versions

| Country | Name | Host | Network | Premiere |
| --- | --- | --- | --- | --- |
| Australia | *10 Years Younger In 10 Days* | Sonia Kruger | Channel Seven | 21 April 2009 |
| Brazil | *10 Anos Mais Jovem* | Ligia Mendes | SBT | 6 March 2009 – 2 October 2009 |
| Czech Republic | *Mladší o pár let* | Sabina Laurinová | Prima televize | 14 January 2010 |
| | *O 10 let mladší* | Monika Absolonová | TV Nova | 24 October 2018 |
| | Martina Randová | | 23 October 2019 |
| Finland | *Vuosia nuoremmaksi* | Anne Kukkohovi | AVA | 7 October 2015 |
| New Zealand | *10 Years Younger* | Fiona McDonald | TV One | Unknown |
| Russia | На 10 лет моложе | Svetlana Abramova | Channel One | 4 April 2015 |
| Slovakia | *O 10 rokov mladší* | Mirka Kalisová and Martin Šmahel | Markíza | 10 January 2017 |
| | | Mária Čírová | | |
| Ukraine | на 10 років молодше | Alexey Vertinsky | Ukraine | 4 October 2008 |
| United States | *10 Years Younger* | Kyan Douglas | TLC network | 1 December 2004 |
|

## InfoBox

| *10 Years Younger* | |
| --- | --- |
| Created by | Maverick Television |
| Starring |  |
| Narrated by | Denise Welch |
| Country of origin | United Kingdom |
| Original language | English |
| Production | |
| Producer | Melissa Feather (series 6) |
| Running time | 60 mins |
| Production company | Maverick Television |
| Original release | |
| Network |  |
| Release | 28 April 2004 (2004-04-28) <br>present |


title: Dôme des Nants

abstract: Dôme des Nants is a mountain of Savoie, France. It lies in the Massif de la Vanoise range. It has an elevation of 3,570 metres above sea level.

text:
# Dôme des Nants

**Dôme des Nants** is a mountain of Savoie, France. It lies in the Massif de la Vanoise range. It has an elevation of 3,570 metres above sea level.

## InfoBox

| Dôme des Nants | |
| --- | --- |
| Dôme des NantsLocation in France | |
| Highest point | |
| Elevation | 3,570 m (11,710 ft) |
| Coordinates | 45°19′35″N 06°44′29″E / 45.32639°N 6.74139°E / 45.32639; 6.74139 |
| Geography | |
| Location | Savoie, France |
| Parent range | Massif de la Vanoise |


title: Dôme du Goûter

abstract: The Dôme du Goûter is a mountain in the Mont Blanc massif. It is a shoulder of Mont Blanc, whose summit lies two kilometres to the south-east. The Dôme is traversed on ascents of Mont Blanc via the Bosses route. The summit of the Dôme is marked as lying entirely within France on the French Institut Géographique National (IGN) map, although on Italian Istituto Geografico Militare (IGM) map the summit appears to lie on the frontier between France and Italy. In June 2015, Italian Prime Minister Matteo Renzi expressed repeated claims on the territory. The Swiss National Map, which covers the massif at 1:50'000 scale, shows both disputed areas around Mont Blanc and Dôme du Goûter in a neutral way, after previously following the French interpretation of the border until 2018.

text:
# Dôme du Goûter

The **Dôme du Goûter** (4,304 m) is a mountain in the Mont Blanc massif. It is a shoulder of Mont Blanc, whose summit lies two kilometres to the south-east. The Dôme is traversed on ascents of Mont Blanc via the *Bosses* route.

The summit of the Dôme is marked as lying entirely within France on the French Institut Géographique National (IGN) map , although on Italian Istituto Geografico Militare (IGM) map  the summit appears to lie on the frontier between France and Italy. In June 2015, Italian Prime Minister Matteo Renzi expressed repeated claims on the territory. The Swiss National Map, which covers the massif at 1:50'000 scale, shows both disputed areas around Mont Blanc and Dôme du Goûter in a neutral way, after previously following the French interpretation of the border until 2018.

## Goûter Refuge

In 2013, the Goûter Refuge opened, a mountain hut noted for its modern style. From the hut the summit of the Dome du Gouter is about two hours away by foot. The hut is located above the Aiguille du Gouter cliff and is constructed of wood and steel in a roughly egg shape. The older shelter was a more basic metal shed that sat on the ice, whereas the new building has supports drilled into the rock.

## InfoBox

| Dôme du Goûter | |
| --- | --- |
| Mont Blanc (centre left) and the Dôme du Goûter (right) | |
| Highest point | |
| Elevation | 4,304 m (14,121 ft) |
| Prominence | 68 mCol du Dôme |
| Isolation | 1.98 kmMont Blanc |
| Coordinates | 45°50′34″N 6°50′36″E / 45.84278°N 6.84333°E / 45.84278; 6.84333 |
| Geography | |
| Dôme du GoûterAlps | |
| Location | Haute-Savoie, France / Aosta Valley, Italy |
| Parent range | Graian Alps |
| Geology | |
| Mountain type | Granite/Porphyry |
| Climbing | |
| First ascent | 17 September 1784 by Jean-Marie Couttet and François Cuidet |
| Easiest route | From Refuge du Goûter, 3,817 m, (F) |


title: 139 (number)

abstract: 139 is the natural number following 138 and preceding 140.

text:
# 139 (number)

**139** (**one hundred \[and\] thirty-nine**) is the natural number following 138 and preceding 140.

## In mathematics

139 is the 34th prime number. It is a twin prime with 137. Because 141 is a semiprime, 139 is a Chen prime. 139 is the smallest prime before a prime gap of length 10.

This number is the sum of five consecutive prime numbers (19 \+ 23 \+ 29 \+ 31 \+ 37).

It is the smallest factor of 64079 which is the smallest Lucas number with prime index which is not prime. It is also the smallest factor of the first nine terms of the Euclid–Mullin sequence, making it the tenth term.

139 is a happy number and a strictly non-palindromic number.

## In the military

## In transportation

## In other fields

139 is also:

1. Wells, D. *The Penguin Dictionary of Curious and Interesting Numbers* London: Penguin Group. (1987): 139
2. "Sloane's A007770 : Happy numbers". *The On-Line Encyclopedia of Integer Sequences*. OEIS Foundation. Retrieved 2016-05-27.
3. "Sloane's A016038 : Strictly non-palindromic numbers". *The On-Line Encyclopedia of Integer Sequences*. OEIS Foundation. Retrieved 2016-05-27.

## InfoBox

| 138 139 140 | |
| --- | --- |
| 130 131 132 133 134 135 136 137 138 139    100 200 300 400 500 600 700 800 900 | |
| Cardinal | one hundred thirty-nine |
| Ordinal | 139th
(one hundred thirty-ninth) |
| Factorization | prime |
| Prime | 34th |
| Divisors | 1, 139 |
| Greek numeral | ΡΛΘ´ |
| Roman numeral | CXXXIX |
| Binary | 100010112 |
| Ternary | 120113 |
| Senary | 3516 |
| Octal | 2138 |
| Duodecimal | B712 |
| Hexadecimal | 8B16 |


title: 100% (Mariah Carey song)

abstract: "100%" is a song by American singer Mariah Carey originally recorded as a soundtrack promotional single from the motion picture Precious but then reassigned to the AT&T Team USA Soundtrack for the 2010 Winter Olympics. The song was also due to feature on Carey's now cancelled thirteenth studio/second remix album, Angels Advocate though it was never tipped as a single from the latter. The piano-driven contemporary R&B ballad is themed around reaching your potential with lyrics like "don't stop till you make the finish". Written by Carey, Crystal Johnson, Bryan-Michael Cox, Jermaine Dupri and produced by the latter two. Carey does not share production credits following "Say Somethin'". The song was released as a special promotional single to raise money for Team USA at the 2010 Winter Olympics. It was released exclusively to the American and Canadian iTunes Stores and AT&T wireless devices on February 9, 2010.

text:
# 100% (Mariah Carey song)

"**100%**" is a song by American singer Mariah Carey originally recorded as a soundtrack promotional single from the motion picture *Precious* but then reassigned to the *AT&T Team USA Soundtrack* for the 2010 Winter Olympics. The song was also due to feature on Carey's now cancelled thirteenth studio/second remix album, *Angels Advocate* though it was never tipped as a single from the latter.

The piano-driven contemporary R&B ballad is themed around reaching your potential with lyrics like "don't stop till you make the finish". Written by Carey, Crystal Johnson, Bryan-Michael Cox, Jermaine Dupri and produced by the latter two. Carey does not share production credits following "Say Somethin'". The song was released as a special promotional single to raise money for Team USA at the 2010 Winter Olympics. It was released exclusively to the American and Canadian iTunes Stores and AT&T wireless devices on February 9, 2010.

## Background and composition

In 2009, Carey appeared as a social worker in *Precious*, the movie adaptation of the 1996 novel *Push* by Sapphire. The film garnered mostly positive reviews from critics, as has Carey's performance. *Variety* described her acting as "pitch-perfect". *Precious* won awards at both the Sundance Film Festival and the Toronto Film Festival, receiving top honors there. In January 2010, Carey won the Breakthrough Actress Performance Award for her role in *Precious* at the Palm Springs International Film Festival. For the film's soundtrack, Carey recorded a track titled "100%", which was later released as a promotional single from the *AT&T U.S. Winter Olympics* soundtrack on February 9, 2010, to raise money for the U.S. Olympics Team. The R&B ballad contains elements of gospel music, and was written by Carey, while Crystal Johnson, Jermaine Dupri, and Bryan-Michael Cox produced and wrote additional lyrics to the track. The singer's vocal range spans from the note of E3 to F#6. The track is composed in the key of A major in common time and a tempo of 60 beats per minute, with the long chord progression of the song being A, A/F♯, A/D, E/G♯, A/F♯, A/E, A/D, C♯, A/F♯ and A/E.

## Release and use

"100%" was replaced by the song "I Can See in Color" by Mary J. Blige for the "Precious (soundtrack)." When Carey was performing at a date on the Canadian leg of her Angels Advocate Tour at the Air Canada Centre she announced the song would be used for the Winter Olympic games. Carey spoke of the opportunity for the song to be part of the Olympics.

> "I am honored to be a part of this effort to support Team USA through this soundtrack. The Olympic Winter Games create once-in-a-lifetime moments for the entire world to see. It is truly amazing to watch these first-rate athletes compete and give everything they have to reach new levels of achievement. Their actions provide hope and inspiration for everyone. As artists, we strive to encourage others through our music."

All proceeds from the purchase of songs from the soundtrack, participating ringtones and answer tones from February 12, 2010, through March 1, 2010 were donated to Team USA. It charted on the Hot Digital Songs chart at number 197.

## Accolades

List of accolades and award nominations for "100%"
| Publication | List | Rank | Ref. |
| --- | --- | --- | --- |
| *Billboard* | 10 Best Olympic Winter Games Anthems | 9 |  |

## Music video

On February 9, 2010, Carey filmed the music video for "100%" during the Toronto show of her Angels Advocate Tour. The video was directed by Shawn Robbins and uses 2 takes of the song, one take filmed during a sound check and one take from the live show. She asked the audience if they could stay and help her film the video. The music video is reportedly inspired by the video of her song "Hero". The music video premiered Saturday February 20, 2010 on NBC's Olympics. The video features Carey singing the song on tour with a backdrop of the Olympic rings whilst cutting back to clips of team U.S.A.

## Release history

Release history for "100%"
| Country | Date | Format | Label | Ref. |
| --- | --- | --- | --- | --- |
| United States | February 9, 2010 | Digital download | Island Records |  |
| | | Canada | Universal Music |  |

## InfoBox

| "100%" | |
| --- | --- |
|  | |
| Promotional single by Mariah Carey | |
| from the album  *AT&T Team USA Soundtrack* | |
| Released | February 9, 2010 |
| Recorded | 2009 |
| Genre | R&B |
| Length | 4:12 |
| Label | Island |
| Songwriter(s) |  |
| Producer(s) | * Jermaine Dupri * Bryan-Michael Cox |


title: Alsie Express

abstract: Alsie Express is a Danish virtual airline based at Sønderborg. All flights are operated by its sister carrier, Air Alsie, as it is not an AOC holder.

text:
# Alsie Express

**Alsie Express** is a Danish virtual airline based at Sønderborg. All flights are operated by its sister carrier, Air Alsie, as it is not an AOC holder.

## History

Alsie Express was founded in 2013, and it started operation on the route between Sønderborg and Copenhagen on June 17, 2013. The previous operator, Danish Air Transport, cancelled all fights between Sønderborg – Copenhagen a week after Alsie Express started flying the route.

In January 2021, Alsie Express announced the suspension of its scheduled services until late March 2021 in the wake of the COVID-19 pandemic.

## Destinations

As of January 2021, Alsie Express serves the following destinations:

## Fleet

As of January 2021, the Alsie Express fleet consists of the following aircraft:

| Aircraft | In Service | Passengers | Notes |
| --- | --- | --- | --- |
| ATR 72-500 | 2 | 48<br>64 |  |

Media related to Alsie Express at Wikimedia Commons

## InfoBox

Alsie Express
|  | |
| --- | --- |
| IATA ICAO Call sign  6I MMD MERMAID | |
| Founded | 2013 (2013) |
| Operating bases | Sønderborg Airport |
| Fleet size | 2 |
| Destinations | 5 |
| Parent company | Air Alsie |
| Headquarters | Sønderborg, Denmark |
| Website | www.alsieexpress.com |