This article is about the demographic features of the population of Mali, including population density, education level, health of the populace, economic status, religious affiliations and other aspects of the population. In 2018, Mali's population was an estimated 19.1 million, with an annual growth rate of 2.7%. This figure can be compared to 4,638,000 in 1950; the population is predominantly rural, 5–10% of Malians are nomadic. More than 90% of the population lives in the southern part of the country in Bamako, which has over 1 million residents. In 2007, about 48% of Malians were less than 15 years old, 49% were 15–64 years old, 3% were 65 and older; the median age was 15.9 years. The birth rate in 2007 was 49.6 births per 1,000, the total fertility rate was 7.4 children per woman. The death rate in 2007 was 16.5 deaths per 1,000. Life expectancy at birth was 49.5 years total. Mali has one of the world's highest rates of infant mortality, with 106 deaths per 1,000 live births; the proportion of the population aged below 15 in 2010 was 47.2%.

50.6 % of the population were aged between 65 years of age. 2.2% of the population were aged 65 years or older. Structure of the population: Structure of the population: Ethnic groups include: Bambara 33.3%, Fulani 13.3%, Sarakole 9.8%, Senufo 9.6%, Malinke 8.8%, Dogon 8.7%, Songhai 5.9%, Bobo 2.1%, Tuareg/Bella 1.7%, other Malian 6%, ECOWAS citizens 0.4%, other 0.3%. Mali's population consists of Sub-Saharan ethnic groups, sharing similar historic and religious traditions. Exceptions are two nomadic northern groups, the Tuaregs, a Berber people, Maurs, of Arabo-Berber origins. In Mali and Niger, the Moors are known as Azawagh Arabs, named after the Azawagh region of the Sahara. Azawagh Arabs speak Hassaniya Arabic, one of the regional varieties of Arabic; the Tuaregs traditionally have opposed the central government. Starting in June 1990 in the north, Tuaregs seeking greater autonomy led to clashes with the military. In April 1992, the government and most opposing factions signed a pact to end the fighting and restore stability in the north.

Its major aims are to allow greater autonomy to the north and increase government resource allocation to what has been a traditionally impoverished region. The peace agreement was celebrated in 1996 in Timbuktu during an official and publicized ceremony called "Flamme de la Paix"--. Interethnic relations throughout the rest of the country were facilitated by easy mobility on the Niger River and across the country's vast savannahs; each ethnic group was traditionally tied to a specific occupation, all working within proximity to each other, although the distinctions were blurred. The Bambara, Malinké, Sarakole and Songhay are farmers. In recent years this linkage has shifted as ethnic groups seek nontraditional sources of income. Mixed European/African descendants of Muslims of Spanish, as well some French, Irish and Portuguese origins live in Mali, they are known as the Arma people. Registration of vital events is in Mali not complete; the Population Departement of the United Nations prepared the following estimates.

Births and deaths Total Fertility Rate and Crude Birth Rate: Fertility data as of 2012-2013: Mali had an estimated net migration rate of –6.6 migrants per 1,000 people in 2006. About 3 million Malians are believed to reside in Côte France. Conversely, according to a 2003 estimate, Mali hosts about 11,000 Mauritanians. In addition, there are several thousand refugees from Côte d'Ivoire, Sierra Leone, Liberia in Bamako and other urban areas of Mali. Demographic statistics according to the World Population Review in 2019. One birth every 39 seconds One death every 3 minutes One net migrant every 13 minutes Net gain of one person every 55 secondsThe following demographic are from the CIA World Factbook unless otherwise indicated. 18,429,893 0-14 years: 48.03% 15-24 years: 18.89% 25-54 years: 26.36% 55-64 years: 3.7% 65 years and over: 3.02% total: 15.8 years. Country comparison to the world: 227th male: 15.2 years female: 16.5 years 43.2 births/1,000 population Country comparison to the world: 3rd 9.6 deaths/1,000 population Country comparison to the world: 45th 5.9 children born/woman Country comparison to the world: 5th 2.98% Country comparison to the world: 8th 18.8 years note: median age at first birth among women 25-29 15.6% -3.9 migrant/1,000 population Country comparison to the world: 181st Muslim 94.8%, Christian 2.4%, Animist 2%, none 0.5%, unspecified 0.3% total dependency ratio: 101.9 youth dependency ratio: 96.8 elderly dependency ratio: 5.1 potential support ratio: 19.5 urban population: 42.4% of total population rate of urbanization: 4.86% annual rate of change total population: 60.8 years male: 58.6 years female: 63 years definition: age 15 and over can read and write total population: 33.1% male: 45.1% female: 22.2% total: 7 years male: 8 y

José Carlos Cocarelli is a Brazilian classical pianist resident in France. Born in Rio de Janeiro, he was a pupil of Merces de Silva Telles, he won the Ferruccio Busoni International Piano Competition in 1985 and the Concours Long-Thibaud in 1986. Cocarelli was born in Rio de Janeiro to Judith Cocarelli, his father was an oboist with the orchestra of the Teatro Municipal and a music professor at the Instituto Villa-Lobos. His mother was a pianist and music professor at the Federal University of Rio de Janeiro, he showed musical talent from a early age and began learning the piano at age six, taught by his mother. When he was nine he won a place in the Youth Orchestra of the Teatro Municipal; the following year he won a place as a soloist with the Brazilian Symphony Orchestra and in 1971 at age 12 was awarded first prize in the Lorenzo Fernández piano competition. As a child and young teenager he appeared as a soloist in recitals and on Brazilian television, including a solo recital at age 14 in the Sala Cecília Meireles performing pieces by Mozart, Mendelssohn and Villa-Lobos.

He went on to receive a scholarship from the Brazilian government when he was 18 which allowed him to study in New York City as a private pupil of Adele Marcus. He studied in Paris with Merces de Silva Telles, a Brazilian pupil of Claudio Arrau. In 1980 at the Panorama da Música Brasileira Atual, Cocarelli premiered Ronaldo Miranda's atonal solo piano work Prólogo, Discurso e Reflexão, written expressly for him, he played the piece at the 1981 Maria Canals International Music Competition where he won third prize. The critic Xavier Montsalvatge noted that it was a risky choice for a music competition but that Cocarelli had demonstrated a "profound understanding of contemporary music"; when asked in 1997 how a musician from Brazil can make himself known in Europe, Cocarelli replied: "The only solution is the one that I adopted: to become known by winning major international competitions. It's a business card, which bring recordings and good reviews in magazines." Between 1981 and 1989 he had embarked on a series of major piano competitions winning first prizes in the Ferruccio Busoni International Piano Competition and the Concours Long-Thibaud as well as 2nd prizes in the Paloma O'Shea Santander International Piano Competition and the Van Cliburn International Piano Competition.

The Van Cliburn competition led to several recital engagements in major US concert halls, including his Carnegie Hall debut in 1991, where he played Alban Berg's Piano Sonata and Brahms' Variations on a Theme by Robert Schumann. A review of the recital in the New York Times noted: "Along with excellent control and fastidiously passage work came thoughtful rubatos and an brooding intensity." An international career ensued, although it remained a low-key one, with Cocarelli playing with chamber ensembles and orchestras rather than as a solo recitalist. He has lived in Europe since the early 1990s settling in France. Now retired from the concert stage, he teaches piano at the community music school in Fresnay-sur-Sarthe. 8th Van Cliburn International Piano Competition, 1989: The winners Four great 20th century piano sonatas José Carlos Cocarelli spielt Beethoven und Schubert

The Sago Mine disaster was a coal mine explosion on January 2, 2006, at the Sago Mine in Sago, West Virginia, United States, near the Upshur County seat of Buckhannon. The blast and collapse trapped 13 miners for nearly two days, it was the worst mining disaster in the United States since the Jim Walter Resources Mine disaster in Alabama on September 23, 2001, the worst disaster in West Virginia since the 1968 Farmington Mine disaster. It was exceeded four years by the Upper Big Branch Mine disaster a coal mine explosion in West Virginia, which killed 29 miners in April 2010; the disaster received extensive news coverage worldwide. After mining officials released incorrect information, many media outlets reported, that 12 survivors had been found alive. Anker West Virginia Mining was listed as the permittee for the Sago Mine. Testifying before U. S. Mine Safety and Health Administration on March 23, 2006, Vice President Sam Kitts described the corporate structure as follows, "Sago is part of Wolf Run Mining Company, a subsidiary of Hunter Ridge Mining Company.

Hunter Ridge is a subsidiary of ICG, Inc." International Coal Group, Inc. was formed in May 2004 by investor Wilbur Ross, who led a group that bought many of Horizon Natural Resources' assets in a bankruptcy auction. The company produces coal from 12 mining complexes in Northern and Central Appalachia and from one complex in the Illinois basin. Ross operating as Newcoal LLC with four other investors, expressed interest in buying Horizon's nonunion properties, but not its six union operations. According to the Associated Press, Horizon was allowed to sever its union contracts, including pension benefits, by bankruptcy court. In March 2005, ICG agreed to buy Inc.. In 2005, the mine was cited by MSHA 208 times for violating regulations, up from 68 in 2004. Of those, 96 were considered S&S; the Charleston Gazette said "Sago mine has a history of roof falls". MSHA found 52 violations from April to June, of which 31 were "serious and substantial". From early July to late September, MSHA found 70 violations, 42 of which were S&S. MSHA inspections from early October to late December resulted in 46 citations and three orders, 18 of which were S&S. Violations include failure to follow the approved roof control and mine ventilation plans and problems concerning emergency escapeways and required pre-shift safety examinations.

The Gazette article explained that "S&S" violations are those that MSHA believes are to cause an accident that would injure a miner. MSHA reported on its website that none of the violations were considered "immediate risk of injury" and that all but three violations, related to shoring up the roof, were corrected by the time of the accident, but the current posting says, "Of the 208 citations and safeguards issued in 2005, several involved significant violations that were the result of high negligence and MSHA ordered that mining cease in the affected area until the unsafe condition was addressed. However, fewer than half of the overall citations against Sago Mine in 2005 were for "significant and substantial" violations—and all but eight of the overall citations have been corrected by the operator; the eight remaining issues were being abated by the operator in compliance with the abatement provisions of the Mine Act. "Mining operations at the Sago Mine more than doubled between 2004 and 2005, the injury rate was above the national average.

This prompted MSHA to increase—by 84%—its on-site inspection and enforcement presence. As a result, MSHA took more enforcement actions—208 in total—against Sago Mine in 2005, requiring the operator to correct health and safety violations in accordance with federal Mine Act standards." Davitt McAteer, Assistant Secretary for Mine Safety during the Clinton administration, told The Gazette, "The numbers don’t sound good.... Sufficiently high that it should tip off management that there is something amiss here. For a small operation, a significant number of violations." McAteer said the roof fall frequency "suggests that the roof is bad and that the support system is not meeting the needs of the roof."On January 3, 2006, Bruce Watzman of the National Mining Association, interviewed by Tom Foreman for Anderson Cooper 360, was asked whether any of the violations "leaps out at you as endangering miners' lives?" Watzman explained. A lot of violations, but many of which were not significant to impact miner safety."

By contrast, a report in Christian Science Monitor on January 6, 2006, quotes McAteer as saying "Sago raises red flags for mine oversight... If you have a widespread practice of S&S violations over an extended period of time like we have here, it suggests that you've got much more serious problems than just paperwork violations". Relying on MSHA records, Ellen Smith, the editor of Mine Safety and Health News, comments on her publication's website in an article, Sago Mine Facts that "Sago's accident rate was 17.04 for 2005, with 16 miners and contractors injured on the job. Sago’s accident rate was 15.90 in 2004 when the national average was 5.66. "Compare this accident rate to another small mine in West Virginia, Kingston Mining No. 1 Mine, which had an accident rate of 1.21 in 2005." The explosion occurred at 6:30 a.m. ET at the beginning of the first shift after the mine reopened after the New Year's holiday weekend. An examination conducted at 5:50 am by a mine fire boss had cleared the mine for use.

Two carts of miners were making their way into the mine to begin work. Early reports noted that there was a

Roxy Theatre is a heritage-listed former cinema and nightclub at 65-69 George Street, City of Parramatta, New South Wales, Australia. It was designed by Moore & Dyer in association with Wilson, it is known as Roxy Spanish Theatre, Hoyts Roxy Centre, Village Roxy 3 and The Roxy. It was added to the New South Wales State Heritage Register on 2 April 1999; the Roxy Theatre was the first in a proposed chain of suburban theatres managed by Roxy Theatres Ltd and was "named after the master cinema-showman himself". It had 1923 seats and though it was opened with the "Talkies", it had a Christie theatre organ, reputedly one of the largest and finest in the state. In June 1929 The Cumberland Argus and Fruitgrowers' Advocate reported that "negotiations have been completed for the purchase of a suitable site in George Street...owned by Mr. L. Jack...at present occupied by two two-storey houses and a cottage" for the construction of a theatre designed for the "Talkies". Two adjoining properties were sold for the construction of a number of shops.

The sale thus comprised in 59, 61, 63, 65, 67 and 69 George Street. The opening on 6 February 1930 was "an event of considerable social importance" with "a packed audience and an interested crowd of several thousands in the street opposite the brilliantly-illuminated entrance"; the "formal ceremony of dedication was performed by the Mayor" supported by local dignitaries and a state MP. The theatre was "praised as a symbol of local progress" and the evening features'greetings to the people of Parramatta "voiced" from the screen by several Paramount film stars.'The architecture of the buildings was a sincere attempt at the Spanish style in a time when Australia was "infected" by "a kind of Spanish/Moorish/Venetian style". It exhibited a "provincial simplicity" in its arcaded forecourt and auditorium but included "a few Mesopotamian bull sphinxes over the proscenium". Contemporary descriptions of the large palm court in front noted it "adorned with palms and ferns, flanked with arcades." The main entrance under the ornate quasi-Spanish Mission tower opened into an elaborate two-storey high foyer with Spanish motifs.

The auditorium was noted for its striking proscenium and splay walls, ceiling dome with its sunburst lighting effects, mock windows on the side walls and blind arcading supporting the deep ceiling cornice. The building was air-conditioned. In 1937 Western Suburbs Ltd leased the cinema. Hoyts purchased the site in 1946. During the war the elaborate ceiling luminaries were removed and in the 1950s the organ was sold but little else was altered until the 1970s. In 1974 sale of the theatre by Hoyts was proposed and with an unsure future, the site was classified by the National Trust of Australia as an important example of a suburban picture palace; the Trust made the Roxy the second cinema in NSW< after the State Theatre in Sydney, to be placed on its Register. Though demolition was prevented, in 1976 Hoyts tripled the cinema removing the original proscenium and splay walls and cutting off the dress circle from downstairs to form one cinema; the ceiling and walls of the upper part of the auditorium was retained while the remainder of the stalls was converted to two smaller cinemas.

Minor alterations were made to the vestibule. The front courtyard was retained. New shops were installed in the side wings. Photographs in the National Library collection show the Prime Minister Gough Whitlam at the re-opening of the Roxy in 1976 with a capacity crowd, night lighting and the planting of a special tree in a tub. In 1979 Hoyts sold the Roxy to Village Cinemas. In 1982 the exterior was repainted and in 1988 the forecourt was refurbished with new shops installed in the arcaded wings flanking the front courtyard; the building was painted opening again on 13 November. Village Theatres took control in July 1996. A c. 1930 photograph of the Roxy's front courtyard showed young Lord Howe Island palms. A c.1976 and another 1996 photograph of the courtyard showed no planting. Since Lord Howe Island palms were planted in the courtyard in two rows, complementing the theatre's architecture and era and Hollywood/California/South Sea Island imagery. In March 2002 the Roxy Cinema closed for the last time.

In 2004 it was bought by the Palace Group who commenced renovations - gutting the two lower, more recent cinemas and turning it into a nightclub. In March 2004 the Roxy was reopened after being redeveloped into an entertainment complex. Renamed "The Roxy", the hotel provided a bar with access to the courtyard, a venue to view live entertainment and to hold functions in a contemporary atmosphere within an elegant and historical setting. After issues arising with behaviour of some patrons and the Police, the owner decided to close the Roxy Hotel venue on 31 July 2014. In December 2017, Urbis Pty Ltd proposed a redevelopment of the site which would see the Roxy Theatre restored as a "multi-purpose space for cinema, lectures and functions" as part of a five-level entertainment and function centre podium, with a 27-storey office tower on top; the new building was planned to sit on top of the existing theatre without touching it. The National Trust of Australia expressed concerns about the design and around avoiding damage during construction, while community group Save The Roxy Theatre expressed support that the theatre would be protected.

In July 2018, the Heritage Council of New South Wales recommended rejection of the proposed redevelopment due to the "disparity in scale" between the theatre and proposed tower, as well as the visual impact of the tower on the theatre. The Heritage Council sought to limit the size of the tower to twelv

Kamures Kadın, meaning "Bringer of pleasure", was the first wife and chief consort of Sultan Mehmed V of the Ottoman Empire. Of Circassian origin, Kamures Kadın was born on 5 March 1855 in Circassia, she belonged to the Ubykh sub-ethnic group of Circassians. Kamures married Mehmed on 30 September 1872 in the Ortaköy Palace. A year after the marriage, on 26 August 1873, she gave birth to her only son, Şehzade Mehmed Ziyaeddin. On 27 April 1909, after Mehmed's accession to the throne, she was given the title of "Baş Kadın". In 1912, the "Hilal-i Ahmer Centre for Women" was organized within the "Ottoman Hilal-i Ahmer Association", a foundation established in 1877 to provide medical care in Istanbul and surrounding communities. Kamures served as the president of this organization. Safiye Ünüvar, a teacher at the Palace School, commented in her memoirs about her beauty, said that she still some of her looks, when the two met in 1915. Kamures had occupied herself with reading history, whenever Safiye visited her she would always bring up with the subject of Ottoman history.

In 1918, she met with the Tsar Boris III of Bulgaria. On 30 May 1918, Kamures met with the Empress Zita of Bourbon-Parma in the harem of Yıldız Palace, when the latter visited Istanbul with her husband Emperor Charles I of Austria. After Mehmed's death on 3 July 1918, she settled in the palace of Şehzade Mahmud Necmeddin in Kuruçeşme, where she died on 30 April 1921, she was buried in the mausoleum of her husband located in the Eyüp Istanbul. Kamures Kadın and Mehmed had one son: Şehzade Mehmed Ziyaeddin, married five times and had two sons and six daughters. Ottoman Imperial Harem List of consorts of the Ottoman sultans M. Çağatay. Padişahların kadınları ve kızları. Ötüken. ISBN 978-9-754-37840-5. Açba, Harun. Kadın efendiler: 1839-1924. Profil. ISBN 978-9-759-96109-1. Sakaoğlu, Necdet. Bu Mülkün Kadın Sultanları: Vâlide Sultanlar, Hâtunlar, Kandınefendiler, Sultanefendiler. Oğlak Yayıncılık. ISBN 978-6-051-71079-2; the Concubine, the Princess, the Teacher: Voices from the Ottoman Harem. University of Texas Press.

2010. ISBN 978-0-292-78335-5

Raylin Joy is an American actress, singer-songwriter and former pornographic actress who worked under the name Skin Diamond. She has since retired from adult film to pursue other interests such as song acting. Diamond was born in California, she was raised in Dunfermline. Her father is American actor Rodd Christensen, known in the UK for playing Spencer in the children's series Balamory, she appeared in the series alongside her only sister, Heather. Diamond started her career as an alternative model posing for GodsGirls, before branching out into art modeling and fetish modeling for photographers in Europe and the United States, her unique look attracted the attention of a wide variety of photographers. In 2009, she posed on the cover of Bizarre winning their first "Cover Girl Search" competition, after which she was signed to London-based modeling agency Girl Management, she entered the adult film industry in 2009, performing her first scenes with Joanna Angel and James Deen for Burning Angel.

In 2011, she posed in an editorial campaign for i-D magazine's "The Exhibitionist Issue No. 312" wearing Louis Vuitton and American Apparel. In 2012, Diamond posed for comic book artist David Mack, who portrayed her as Echo in the Marvel Comics miniseries Daredevil: End of Days. Diamond first dabbled in the music industry with her 2013 song/music video, "Sex in a Slaughter House". Which she wrote as part of a scene for Brazzers. In 2014, Diamond was on CNBC's list of "The Dirty Dozen: Porn's Most Popular Stars". Diamond starred in the music video for American hip hop recording artist B.o. B, for his song "John Doe", which features Priscilla Renea. Diamond was the Penthouse Pet of the Month for July 2014; that same year, she made her directorial debut with the film Skin Diamond's Dollhouse for Deviant Entertainment. In 2015, Diamond was named Penthouse Penthouse Pet of the Year Runner-up. In 2016, Diamond performed her last adult film scenes to pursue mainstream acting and singing full-time, after she was cast in the role of Dylan Quinn in Submission, a series on Showtime exploring BDSM themes.

It was during this time period that she launched her music project with the release of her first official single and music video under her real name, "Raylin Joy". She posed for Dechristo Studios in 2019 in a shoot for Penthouse magazine Diamond has two piercings in her navel, one in her right nostril, she is well known for her distinctive shaved-on-one-side haircut. When she first entered the adult film industry, her hair was pink, she is bisexual. 2016: Fire 2016: All Night 2016: Feel Me 2016: Karma 2016: Sunny Grey 2017: Wet Dreams 2017: Freak Official website Skin Diamond on IMDb Skin Diamond at the Internet Adult Film Database Skin Diamond at the Adult Film Database