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Billy May

Edward William May Jr. was an American composer and trumpeter. He composed film and television music for The Green Hornet, The Mod Squad and Naked City, he collaborated on films such as Pennies from Heaven, orchestrated Cocoon, Cocoon: The Return, among others. May wrote arrangements for many top singers, including Frank Sinatra, Nat King Cole, Anita O'Day, Peggy Lee, Vic Damone, Bobby Darin, Johnny Mercer, Ella Fitzgerald, Jack Jones, Bing Crosby and Young, Nancy Wilson, Rosemary Clooney, The Andrews Sisters and Ella Mae Morse, he collaborated with satirist Stan Freberg on several classic 1950s and 1960s satirical music albums. As a trumpet player, during the 1940s big band May recorded such songs as "Measure for Measure", "Long Tall Mama", "Boom Shot", with Glenn Miller and His Orchestra, "The Wrong Idea", "Lumby", "Wings Over Manhattan" with Charlie Barnet and His Orchestra. With his own band, May had a hit single, "Charmaine", in 1952, he released several albums including Sorta-May. May was born in Pennsylvania.

He started out playing the tuba in the high school band. "I sat in the rear of the stand. I didn't realize it at the time, but I was intrigued with becoming an arranger and an orchestrator." At the age of seventeen May began playing with Gene Olsen's Polish-American Orchestra. After playing for a few local bands, May heard Charlie Barnet's band on the radio in his hometown of Pittsburgh. In the summer of 1938, he approached the bandleader and asked if he could write arrangements for the band. From 1938 -- 40, he played trumpet for Barnet's big band, his arrangement of the Ray Noble composition "Cherokee" became a major hit of the swing music era. During the Barnet days, May revealed a significant flair for satire on a composition, "The Wrong Idea", composed with Barnet, ridiculing the bland "Mickey Mouse" style of safe big-band music, with specific aim at bandleader Sammy Kaye, known for his "swing and sway" trademark. May's caustic lyrics to the song called it "swing and sweat with Charlie Barnet".

Bandleader Glenn Miller hired May away from Barnet in 1940. "May points out that he was not responsible for any of the band's signature hits, but he did write the beautiful left-field introduction to Finegan's'Serenade In Blue'". Miller and May had a wary relationship. According to Will Friedwald, by 1942, May was ready to resign from the Miller band. Miller refused to record half of May's arrangements, May objected to the regimented style of Miller's band, but since Miller was joining the military, he convinced May to stay on. May said around 1995, after a life of heavy drinking and going to rehabilitation for alcoholism, that working with Glenn Miller "helped me immensely. I learned a lot from Glenn, he was a good musician and an excellent arranger." He became a much-coveted arranger and studio orchestra leader after that band broke up, going on to work with Frank Sinatra, Rosemary Clooney, Anita O'Day, Bing Crosby. At Capitol, May wrote arrangements for many top artists; these included Frank Sinatra on the albums Come Fly with Me, Come Dance with Me! and Come Swing with Me!.

Look at Me Now. May's orchestra was featured on many Capitol Records children's projects, including cowboy star, Hopalong Cassidy, he worked with early 1950s satirist Stan Freberg, using his arranging skills to help Freberg create his spoofs of current hits by creating musical backing stunningly close to the original hit single. On Freberg's Wun'erful, Wun'erful! A lacerating spoof of bandleader Lawrence Welk, May hired some of the best jazz musicians in Hollywood for his recording sessions, they relished the idea of mocking the financially successful Welk sound, which they considered musically awful; the result was a note-perfect recreation of Welk's sound as Freberg and a group of vocalists created parodies of Welk's "musical family". Freberg has recounted. May composed and conducted the music for Freberg's short-lived comedy radio series on CBS, which ran for fifteen episodes in 1957, his send-up of trashy horror-film music is notable. May won two Grammy Awards including Best Performance by an Orchestra in 1958 and for Best Arrangement in 1959.

Much of May's work for Capitol has been reissued on the Ultra-Lounge series of CDs. The Crosby-Clooney collaboration was a sequel to

Elvira Fölzer

Elvira Louiza Helene Fölzer was a German classical archaeologist. With a thesis on Ancient Greek vases, she was the first woman to earn a doctorate at the University of Bonn; as a researcher at the Provincial Museum in Trier, she went on to investigate the origins of the city's terra sigillata Roman pottery. Born on 26 June 1868 in the Hamburg district of Wandsbeck, Elvira Louiza Helene Fölzer was the younger daughter of the Jewish merchant Ferdinand Heinrich Fölzer German consul in Porto Alegre and his wife Ricarda née Bormann-da Maja, whom he married there in 1853. In 1867, the faimily moved to Wandsbek-Marienthal. After schooling in Wandsbeck, she matriculated from the state gymnasium in Dresden-Neustadt in 1899 31 years old, she studied archaeology, classical philology and history of culture at the universities of Leipzig and Bonn. Fölzer twice applied for a grant from the German Archaeological Institute so that she could continue her work on Greek vases but was turned down because of her age.

When she completed her studies, she was 38. In the summer of 1906, she was offered employment as a researcher at the Provincial Museum in Trier, she wrote a number of short papers on Roman sites in the city and its surroundings, for example the excavations at Roden, a statue of Mars in Trier, the Trier amphitheatre, a statue of Athena in Neumagen. In particular, from 1908 she worked on the origins and development of local terra sigillata pottery. On its publication in 1913, considerable attention was given to her work Die Bilderschüsseln der ostgallischen Sigillata-Manufakturen: Römische Keramik in Trier. Despite the success of her book, although she twice applied for a permanent management post at the Trier museum, in each case a man was selected; as there was no further provision for her salary, she had to leave the Trier museum on 30 March 1917. Until she had spent much of her time in Frankfurt, preparing the second volume of her silligata work, it was however never published. There is no further information about her career.

In 1927, she was registered as a private tutor in Berlin and died in 1938 or 1939 some ten years earlier. As a Jew, her name was removed from the list of members of the German Archaeological Institute in 1938

Alcohol proof

Alcohol proof is a measure of the content of ethanol in an alcoholic beverage. The term was used in England and was equal to about 1.821 times the alcohol by volume. The UK now uses the ABV standard instead of alcohol proof. In the United States, alcohol proof is defined as twice the percentage of ABV; the measurement of alcohol content and the statement of content on bottles of alcoholic beverages is regulated by law in many countries. The term proof dates back to 16th century England, when spirits were taxed at different rates depending on their alcohol content. Spirits were tested by soaking a pellet of gunpowder in them. If the gunpowder could still burn, the spirits were taxed at a higher rate; as gunpowder would not burn if soaked in rum that contained less than 57.15% ABV, rum that contained this percentage of alcohol was defined as having 100 degrees proof. The gunpowder test was replaced by a specific gravity test in 1816. From the 19th century until 1 January 1980, the UK measured alcohol content by proof spirit, defined as spirit with a gravity of ​12⁄13 that of water, or 923 kg/m3, equivalent to 57.15% ABV.

The value 57.15% is close to the fraction ​4⁄7 ≈ 0.5714. This led to the definition that 100° proof spirit has an ABV of ​4⁄7. From this it follows that, to convert the ABV expressed as a percentage to degrees proof, it is only necessary to multiply the ABV by ​7⁄4, thus pure 100% alcohol will have 100× = 175° proof, a spirit containing 40% ABV will have 40× = 70° proof. The proof system in the United States was established around 1848 and was based on percent alcohol rather than specific gravity. 50% alcohol by volume was defined as 100 proof. Note that this is different from 50% volume fraction. To make 50% ABV from pure alcohol, one would take 50 parts of alcohol and dilute to 100 parts of solution with water, all the while mixing the solution. To make 50% alcohol by volume fraction, one would take 50 parts alcohol and 50 parts water, measured separately, mix them together; the resulting volume will not be 100 parts, but between 96 and 97 parts, since the smaller water molecules can take up some of the space between the larger alcohol molecules.

The use of proof as a measure of alcohol content is now historical. Today liquor is sold in most locations with labels that state its alcohol content as a percentage of alcohol by volume; the European Union follows recommendations of the International Organization of Legal Metrology. OIML's International Recommendation No. 22 provides standards for measuring alcohol strength by volume and by mass. A preference for one method over the other is not stated in the document, but if alcohol strength by volume is used, it must be expressed as a percentage of total volume, the water/alcohol mixture must have a temperature of 20 °C when measurement is done; the document does not address the labeling of bottles. Since 1 January 1980, the United Kingdom has used the ABV standard to measure alcohol content, as prescribed by the European Union. In common with other EU countries, on 1 January 1980, Britain adopted the system of measurement recommended by the International Organisation of Legal Metrology, a body with most major nations among its members.

The OIML system measures alcohol strength as a percentage of alcohol by volume at a temperature of 20 °C. It replaced the Sikes system of measuring the proof strength of spirits, used in Britain for over 160 years. Britain, which used to use the Sikes scale to display proof, now uses the European scale set down by the International Organization of Legal Metrology; this scale, for all intents and purposes the same as the Gay-Lussac scale used by much of mainland Europe, was adopted by all the countries in the European Community in 1980. Using the OIML scale or the GL scale is the same as measuring alcohol by volume except that the figures in the latter case are expressed in degrees, not percentages and measured at a temperature of 15 °C. In the United States alcohol content is specified as ABV percentage. For bottled spirits over 100 mL containing no solids, actual alcohol content is allowed to vary within 0.15% of ABV stated on the label. Proof, defined as twice the percentage of alcohol by volume, may be stated.

For example, whiskey may be labeled as containing 50% alcohol by volume, as 100-proof. The Code of Federal Regulations requires that liquor labels must state the percentage of ABV; the regulation permits, but does not require, a statement of the proof provided that it is printed close to the ABV number. Canada labels by percentage of alcohol by volume; the old UK proof standard was still in use as late as 1972. Cask strength Volume percent

Four Holy Marshals

The Four Holy Marshals are four saints venerated in the Rhineland at Cologne, Liège, Eifel. They are conceived as standing close to throne of God, thus powerful intercessors, their joint veneration is comparable to that of the Fourteen Holy Helpers, who are venerated in the Rhineland. They are considered “marshals of God” and were invoked against diseases and epidemics during the Middle Ages. Evidence of this devotion is testified by documentation dating from 1478; the devotion reached its high point in the fifteenth and sixteenth centuries and diminished by the seventeenth. There were churches dedicated to them at Hüngersdorf, in the Mariwald; the four saints are: In terms of protection over animals, Anthony as the patron of pigs, Cornelius cattle, Hubertus dogs, Quirinus horses. In addition, each saint has its own particular place of special veneration: Anthony was venerated at Cologne, Hubertus at St-Hubert in the Ardennes, Cornelius at Aachen, Quirinus at Neuss. Fourteen Holy Helpers Military saint Vier heilige Marschälle Das war Papst Cornelius Einer der vier hl.

Marschälle Der Heilige mit dem Horn/Beschützer des Hornviehs Helfer bei der Kornelkrankheit Verehrung und Bräuche Der Raub der vier heiligen Marschälle

Sarah Frances Hardy

Sarah Frances Hardy is an American artist and author/illustrator, best known for her picture books. Her first book, Puzzled by Pink, was published by Viking Children's Books/Penguin Putnam in 2012. Sarah Frances Hardy is an American author/illustrator of picture books, best known for her debut picture book Puzzled by Pink. Raised in Jackson, Sarah Frances graduated from Davidson College and majored in fine art. During college, she spent two summers at Parsons School of Design in Paris. After college, she graduated cum laude. Following law school, she worked as a fine artist exhibiting her works in solo and group exhibitions throughout the Southeast and in New York, she switched gears to writing and illustrating children's books to fulfill a lifelong dream of being a published children's author. She resides in Oxford, Mississippi. Puzzled by Pink Viking Children's BooksPaint Me! Sky Pony PressDress Me! Sky Pony Press Vivid colors are the hallmarks of Sarah Frances's paintings, her paintings have been exhibited in numerous galleries throughout the Southeast, including an exhibition at a gallery in Soho.

Her work attracts numerous big name buyers. Among her biggest admirers is Steve Wynn, who bought many of Frances's paintings for his resort in Biloxi, Mississippi. Author Website Puzzled by Pink on Goodreads Mundie Kids Review of Puzzled by Pink Seven Impossible Things Interview

Ryan Horrell

Ryan Horrell is a former English cricketer. Horrell was a left-handed batsman, he was born in Devon. Horrell made his debut for Devon in 1991 against Oxfordshire in the Minor Counties Championship. From 1991 to 2000, he represented Devon in 21 Championship matches, the last of which came against Cheshire; the season following his debut, he made his debut MCCA Knockout Trophy for the county against Cornwall. From 1992 to 2000, he represented the county in just 5 Trophy matches, the last of which came against Wiltshire. Horrell made his List A debut for Devon against Essex in the 1st round of the 1996 NatWest Trophy, his next List A appearance came four years against Staffordshire in the 2nd round of the 2000 NatWest Trophy, with his final List A match coming in the following round against Surrey. In his 3 List A matches, he scored 25 runs at a batting average of 25.00, with a high score of 25*. With the ball he took 2 wickets at a bowling average of 35.00, with best figures of 1/33. He played Second XI cricket for the Gloucestershire Second XI and the Somerset Second XI.

Ryan Horrell at ESPNcricinfo Ryan Horrell at CricketArchive