In organic chemistry, hydrocarbons are divided into two classes: aromatic compounds and aliphatic compounds known as non-aromatic hydrocarbons. Aliphatics can be cyclic. Aliphatic compounds can be unsaturated, like hexene and hexyne. Open-chain compounds contain no rings of any type, are thus aliphatic. Aliphatic compounds can be saturated, joined by single bonds, or unsaturated, with double bonds or triple bonds. Besides hydrogen, other elements can be bound to the carbon chain, the most common being oxygen, nitrogen and chlorine; the least complex aliphatic compound is methane. Most aliphatic compounds are flammable, allowing the use of hydrocarbons as fuel, such as methane in Bunsen burners and as liquefied natural gas, ethyne in welding; the most important aliphatic compounds are: n-, iso- and cyclo-alkanes n-, iso- and cyclo-alkenes and -alkynes. Important examples of low-molecular aliphatic compounds can be found in the list below

The National Postdoctoral Association is a non-profit 5013 educational organization in the United States, dedicated to enhancing the quality of the postdoctoral experience for all participants. Since its founding in 2003, more than 160 institutions have adopted portions of the NPA’s Recommendations for Postdoctoral Policies and Practices. Today the NPA has 180 institutional members, whose research efforts are supported by 40,000 postdocs, 2,000 individual members Largely run by member volunteers, NPA activities are coordinated by three professional staff members located at NPA headquarters in Washington, DC; the NPA is supported by its members and charitable contributions from the Alfred P. Sloan Foundation and the American Association for the Advancement of Science; the NPA was established with the goal of facilitating improvements for postdoctoral researchers in the United States. At the time of its founding, there was no national organization with the primary aim of improving the American postdoctoral experience.

The NPA has worked collaboratively with research institutions, postdoctoral affairs offices, postdoctoral associations, professional organizations, scientific funding agencies. The NPA has sought to encourage the creation of additional PDOs and PDAs. A steering committee composed of postdoctoral representatives from across the country initiated the formation of the NPA; the committee coalesced in April 2002 during Science's NextWave Postdoc Network meeting held in Washington D. C. At this meeting, attendees expressed broad support for a national organization that would provide focus and affect positive change for postdocs. In January 2003, the NPA was formed; the founding members of the NPA include: Orfeu M. Buxton - University of Chicago, Illinois Karen Christopherson - Stanford Medical School, California Raymond Clark - University of California, La Jolla, California Carol L. Manahan - Johns Hopkins School of Medicine, Maryland Arti Patel - National Cancer Institute/NIH, Maryland Avi Spier - The Scripps Research Institute, La Jolla, California Claudina Aleman Stevenson - National Cancer Institute/NIH, Maryland The aim of the NPA is to advance the U.

S. research enterprise by maximizing the effectiveness of the research community and enhancing the quality of the postdoctoral experience for all participants. Run by member volunteers, NPA activities are coordinated by two professional staff members located at NPA headquarters in Washington, D. C; the NPA is supported by its grants from government agencies and private foundations. The NPA is led by a 12-member Board of Directors, elected by the dues-paying membership. Within this Board, the Executive Committee and Governance Committees provide direction for the operations of the association; the Board governs the Committees of the Executive Director. The Advisory Council reports to the Board and provides an additional resource for guidance and support to the Board and Executive Director; the staff report directly to the Executive Director. The members of the Board of Directors are elected for a two-year term, Board elections are held annually. Governance Committee Chairs serve one-year terms; the Board appoints Chairs and Vice Chairs for the Committees of the Membership and the Diversity and International Officers after a call for candidates.

There are three types of NPA membership: Affiliate Member, Sustaining Member, Full Individual Member. Organizations can obtain a Sustaining Membership that serves as a conduit for complimentary affiliate membership to that organization’s individuals. Any individual may join the NPA under the full membership category; these committees are run by volunteers and are open to anyone interested in improving the postdoctoral experience. Advocacy Committee: Addresses advocacy and policy issues affecting the postdoctoral community. Activities of this committee include the promotion and implementation of NPA recommended policies and practices as described in the Agenda for Change, increasing diversity among postdoctoral researchers, monitoring the interests of international postdocs training in the United States. Additionally, the Advocacy Committee monitors policy issues and helps to maintain relationships with federal agencies and national organizations. Meetings Committee: coordinates NPA-sponsored meetings and seminars.

The main tasks revolve around the Annual and Regional meetings, including development of agendas, logistical arrangements and fundraising activities, conducting post-meeting evaluations Outreach Committee: Conducts outreach activities to promote the mission of the NPA. Its main activities include development and implementation of an annual campaign to recruit and retain NPA members, expansion of member benefits through partnerships with organizations and institutions; this committee is working on cultivating relationships with societies. And other groups interested in postdoctoral issues. Resource Development Committee: Develops and maintains tools and resources for use by the postdoctoral community. Main activities of this committee include maintaining the NPA website, publication of The POSTDOCKet, the quarterly publication of the NPA, creation and implementation of NPA-sponsored surveys The Diversity Officer provides leadership on diversity issues and brings together postdocs and their allies in order to develop new resources, track information, promote dialogue, effect change for underrepresented groups.

The International Officer serves as the public face of international postdoc issues for the NPA. The Officers work with the membership committees to ensure that the NPA addresses the needs of the communities they represent and are the p

"Bésame Mucho" is a song written in 1940 by Mexican songwriter Consuelo Velázquez. A famous 1956 version is sung by Trio Los Panchos and female vocalist Gigliola Cinquetti. An English lyric was written by Sunny Skylar, it is one of the most famous boleros, was recognized in 1999 as the most sung and recorded Mexican song in the world. The song appeared in the film Follow the Boys when it was played by Charlie Spivak and his Orchestra and in Cowboy and the Senorita with vocal by Dale Evans. According to Velázquez herself, she wrote this song though she had never been kissed yet at the time, kissing, as she heard, was considered a sin, she was inspired by the piano piece "Quejas, o la Maja y el Ruiseñor", from the 1911 suite Goyescas by Spanish composer Enrique Granados, which he also included as "Aria of the Nightingale" in his 1916 opera of the same name. In Brazil in 1990, an affair between the Minister of Economics Zélia Cardoso de Mello and the minister of Justice Bernardo Cabral was revealed when the two danced cheek to cheek to "Bésame Mucho."

A few days the presidential band was to introduce Cardoso de Mello with a military march. Instead, the director of the band had them play "Bésame Mucho." He was placed under house arrest for 3 days for insubordination. Bob Eberly and Kitty Kallen with Jimmy Dorsey & His Orchestra Xavier Cugat, who recorded the song with the Waldorf-Astoria Orchestra and a vocal chorus by Del Campo for Columbia Records Andy Russell Pedro Vargas Plácido Domingo Cesária Évora Zoé The Beatles "Bésame Mucho chord arrangement for guitar". Jazzguitar.be. Spanish Lyrics of this song at MetroLyrics, by Consuelo VelázquezEnglish Lyrics of this song at MetroLyrics, by Sunny SkylarPerformances in Spanish "Bésame Mucho, performed by Consuelo Velázquez & Daniel Riolobos". YouTube.com."Bésame Mucho, performed by Cesaria Evora". YouTube.com."Bésame Mucho, performed by the Mexican group Zoé". YouTube.com

The Tigger Movie is a 2000 American animated musical film produced by Walt Disney Television Animation and animation production by Walt Disney Animation, Inc. written and directed by Jun Falkenstein from a story by Eddie Guzelian. It is the second theatrical Winnie the Pooh film after The Many Adventures of Winnie the Pooh and features Pooh's best friend Tigger searching for his family tree and other Tiggers like himself; the film was the first feature-length theatrical Pooh film, not a collection of released shorts. It is the first in the original films in which Tigger is voiced by Jim Cummings. Winchell was cast as Tigger, but he dropped from the project when the studio discovered that his voice was too raspy. Cummings had played Tigger in the anti-drug television special Cartoon All-Stars to the Rescue and the final two seasons of The New Adventures of Winnie the Pooh; the film features original songs from the Sherman Brothers. The film was slated for a direct-to-video release, until then–Disney CEO Michael Eisner heard the Sherman Brothers' songs, decided to release the film in theaters worldwide.

The film was the highest-grossing film in the Winnie the Pooh franchise until it was surpassed by 2018's Christopher Robin. The film received 3 nominations on the Annie Awards including the Annie Award for Directing in a Feature Production, the Annie Award for Voice Acting in a Feature Production and the Annie Award for Music in a Feature Production. In the Hundred Acre Wood, Tigger searches for someone to bounce with him, but all of his friends are too busy getting ready for the upcoming winter. While he searches for a playmate, Tigger inadvertently destroys Eeyore's house with a boulder, he damages the complex pulley system that Rabbit has rigged up to remove the boulder, much to the latter's frustration. The rest of Tigger's friends say that they are not quite as bouncy as he is because they are not Tiggers like him. Tigger sadly wanders off in loneliness. Wanting to play with Tigger, Roo asks. Tigger is fascinated by the idea, the two go to visit Owl for advice on finding Tigger's family. Owl mentions the concept of family trees.

When he hangs them back up, all of Owl's ancestors appear to be perched on a single tree. Tigger inaccurately concludes that his family tree must be a real tree, he and Roo go searching for it. After searching the wood without turning up any giant, Tigger-striped trees and Roo go back to Tigger's house to search for clues to his family's whereabouts. Tigger teaches Roo the awesome Whoop-de-Dooper-Loop-de-Looper-Alley-Ooper Bounce, they find a heart-shaped locket that Tigger hopes will contain a picture of his family, but it is empty. Roo suggests. Once he finishes, he puts it in the mailbox and lets the wind carry it away, hoping it will take it to his family; when Tigger's letter gets no response, Roo gathers Tigger's friends together to write him a letter. Tigger is overjoyed to receive the letter, while "reading between the lines", he misinterprets it and announces that his whole family is coming to visit him tomorrow. Tigger's friends do not have the heart to tell Tigger that the letter is from them, so they disguise themselves as Tiggers and attend his family reunion.

Rabbit does not join in, rather, berates them for not getting ready for the approaching winter and storms off. Tigger falls for the Tigger disguises until Roo attempts Tigger's complex Whoop-de-Dooper-Loop-de-Looper-Alley-Ooper Bounce, crashes into the closet again, knocks his mask off. Tigger is struck with astonishment and soon finds out that all of his friends are in on it. Frustrated and thinking that his friends have betrayed him, Tigger goes out in a ferocious snowstorm to search for his family. Tigger's friends all feel guilty and worried, including Roo, who becomes heartbroken, he comes over to Pooh's house and tearfully claiming that it was his fault Tigger had left, for he wanted Tigger as a big brother, they form an expedition to find him and convince Rabbit to lead them. They find Tigger sitting in a large tree with patches of snow on the trunk that resemble stripes, which Tigger has mistaken for his family tree. Rabbit insists Tigger come home, but Tigger refuses to leave his "family tree" until his Tigger family returns.

Tigger is swept away by the snow himself. Roo performs a perfect Whoop-de-Dooper-Loop-de-Looper-Alley-Ooper rescues Tigger; the two perform the bounce together to escape the avalanche and land back on the tree. When the avalanche subsides, Tigger realizes. All his friends each recite their parts of the letter from memory, Tigger sees that they are his real family, he throws a new family reunion party with presents for everyone. Eeyore gets a new house, Pooh gets a lifetime supply of honey, Piglet gets a year's worth of firewood, Roo receives the heart-shaped locket. Christopher Robin takes a picture of Roo and the rest of their family to go in it; the film ends with the camera backing away from the family photo. Jim Cummings as Tigger a

In music theory, an eleventh chord is a chord that contains the tertian extension of the eleventh. Found in jazz, an eleventh chord usually includes the seventh and ninth, elements of the basic triad structure. Variants include the dominant eleventh, minor eleventh, the major eleventh chord. Symbols include: Caug11, C9aug11, C9+11, C9alt11, Cm9, C−9; the eleventh in an eleventh chord is, "almost always sharpened in jazz," at least in reference to the third, with CM11: C–E–G–B–D–F, Cm11: C–E♭–G–B♭–D–F, C11: C–E–G–B♭–D–F. However, since the major diatonic eleventh would create a dissonant minor ninth interval with the third of the chord, including the third is a rare phenomenon. Though rare, in rock and popular music, for example 52 seconds into "Sun King" on the Beatles' Abbey Road, the third of the dominant eleventh, is omitted, it may be notated in charts as C11, or more "descriptively" as Gm7/C. The fifth is sometimes omitted, thus turning the chord into a suspended chord; as the upper extensions constitute a triad, a dominant eleventh chord with the third and fifth omitted is notated as a triad with a bass note.

So C–B♭–D–F is written as B♭/C, emphasizing the ambiguous dominant/subdominant character of this voicing. In the dominant eleventh, because this minor ninth interval between the third and the eleventh is more problematic to the ear and to voice leading than a major ninth would be, alterations to the third or eleventh scale degrees are a common solution; when the third is lowered, a minor eleventh chord is formed with a major ninth interval between the two notes in question play. The eleventh may be raised chromatically over a major triad to imply the lydian dominant mode. A less common solution to the issue is to omit the third in the presence of the eleventh, resulting in a chord enharmonic to the suspended chord; this type of chord should be notated as such. In the common practice period, "the root, 7th, 9th, 11th are the most common factors present in the V11 chord", with the 3rd and 5th "typically omitted"; the eleventh is retained as a common tone when the "V11 resolves to I or i". The suspended chord derived from the dominant eleventh chord, is useful in diatonic music when a composer or accompanist wishes to allow the tonic note of a key to be heard while sounding the dominant of that key in the bass.

The fourth factor of a chord pitch four scale degrees above the root or tonal center. When the fourth is the bass note, or lowest note, of the expressed chord, the chord is in first inversion Play. However, this is equivalent to a gapped ninth chord. Conventionally, the fourth is third in importance to the root and third, being an added tone, it may be avoided as the root since that inversion may resembles a ninth chord on the fourth rather than a suspended chord on the original note. In jazz chords and theory, the fourth is required due to its being an added tone; the quality of the fourth may be indicated. For example, in both a major and minor scale, a diatonic fourth added to the tonic chord is major —while one added to the subdominant chord is major or minor, respectively; the fourth is octave equivalent to the eleventh. If one could cut out the notes in between the fifth and the eleventh and drop the eleventh down an octave to a fourth, one would have an added fourth chord; the difference between sus4 and add11 is conventionally the absence or presence of the third.

Elektra chord Jazz chord Bridge chord

Kent DuChaine, is an American blues singer and guitarist. DuChaine's surname derives from France and his ancestors settled in Canada around the beginning of the 17th century, before becoming part of the Native American Chickasaw tribe. DuChaine started in music. At 13 years old, he got his first electric guitar and formed a band with his friends in his hometown of Wayzata, playing popular music at private parties and school functions. After reading some liner notes of an Eric Clapton album, Kent started researching blues. DuChaine discovered a Robert Johnson album and was astounded and fascinated at the banging sound as the bottle neck knocked against the frets as Johnson slid it up and down the neck of his guitar. Determined to recapture the sound, Kent used a butter knife at first. DuChaine immersed himself in the blues of Robert Johnson, Muddy Waters, Lightnin' Hopkins, T-Bone Walker and Bukka White and learned to play the slide guitar, soon developing his own ferocious style. In 1970, DuChaine opened a show for Bukka White.

From 1972 until 1975, DuChaine performed in a band with Kim Wilson. The band backed blues musicians including Fenton Robinson, Boogie Woogie Red, Luther Tucker, Hubert Sumlin and Eddie "Guitar" Burns; the reputation of the band grew and Willie Dixon arranged a recording contract and a concert sharing the bill with Albert Collins, John Lee Hooker and Howlin' Wolf. In 1979, DuChaine acquired Leadbessie, a beat-up 1934 National Steel Guitar in an beat-up case and with extra heavy strings. Kent discovered and looked up Johnny Shines in 1989, they performed over 200 shows. In that time they recorded Back To the Country with Snooky Pryor, were honoured with the coveted Blues Music Awards for best country blues album, but they did not add DuChaine's name to the recording. In 1991, the Smithsonian Institution honoured the King of Robert Johnson. DuChaine and Shines were invited to perform and Roots Of Rhythm & Blues: A Tribute to the Robert Johnson Era was the result; this was recorded by Sony BMG and Grammy nominated.

DuChaine and Shines' partnership and friendship was cut short when Johnny Shines died on 20 April 1992. Since going solo in 1982 and hitting the road in the United States, Kent has clocked-up over three million miles, including over a hundred tours in Europe, promoting the Delta blues. DuChaine speaks of the history of the blues, the men who developed it, his involvement with some of them, to audiences, with songs such as "Shake Your Moneymaker", "Jitterbug Swing”, "Trouble in Mind" and "St James Infirmary Blues"; the Times newspaper has named him as one of the five best concerts in the United Kingdom. Official website