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Indophenol

Indophenol is an organic compound with the formula OC6H4NC6H4OH. It is deep blue dye, the product of the Berthelot's reaction, a common test for ammonia; the indophenol group, with various substituents in place of OH and various ring substitutions, is found in many dyes used in hair coloring and textiles. Indophenol is used in hair dyes, redox materials, liquid crystal displays, fuel cells and chemical-mechanical polishing, it is toxic to fish. In the Berthelot test, a sample suspected of having containing ammonia is treated with sodium hypochlorite and phenol; the formation of indophenol is used to determine paracetamol by spectrophotometry. Other phenols can be used. Dichlorophenol-indophenol, a form of indophenol, is used to determine the presence of vitamin C. Indophenol blue is a different compound with systematic name N--1,4-naphthoquinoneimine

Eck Robertson

Alexander Campbell "Eck" Robertson was an American fiddle player known for commercially recording the first country music songs in 1922 with Henry Gilliland. Robertson was born in Arkansas and grew up on a farm in the Texas panhandle where his family moved when he was three years old, his father and uncles were fiddlers who competed in local contests. His father, a veteran of the Civil War, was a farmer, quit fiddling to become a preacher. At the age of five, Robertson began learning to play the fiddle, learned banjo and guitar. In 1904, at the age of 16, he decided to become a professional musician and left home to travel with a medicine show through Indian Territory. In 1906, he married and settled in Vernon and became a piano tuner for the Total Line Music Company. Robertson and his wife Nettie performed at silent movie theaters and fiddling contests through the region; as the son of a Confederate veteran, Robertson was able to attend the annual Old Confederate Soldiers' Reunions across the South, became a regular performer at these events.

He met 74-year-old fiddler Henry C. Gilliland at one of these reunions, the two began performing together. After the reunion in June 1922, Gilliland and Robertson traveled to New York City, auditioned for and received a recording contract with the Victor Talking Machine Company. On Friday, June 30, 1922, Robertson and Gilliland recorded four fiddle duets for Victor; these represent the first commercial recordings of country music performers. Two of them, "Arkansaw Traveler" and "Turkey in the Straw", were released on Victor. Two others, "Forked Deer" and "Apple Blossom", were never issued. At the company's request, Robertson returned the next day, July 1, without Gilliland and recorded six additional sides. Four of them - "Sallie Gooden", "Ragtime Annie", "Sally Johnson/Billy in the Low Ground" and "Done Gone" - were released on Victor over the next two years; the other two, "General Logan Reel/Dominion Hornpipe" and "Brilliancy and Cheatum", remain unissued. Robertson's rendition of "Sallie Gooden" is now a classic since he played the traditional fiddle tune followed by 12 variations.

Robertson's first record, with his solo "Sallie Gooden" on one side and duet "Arkansaw Traveler" on the other, was released on September 1, 1922, but was not circulated until the spring of 1923. Sales figures are not known, his next two records were released in 1923 and 1924, but only after the summer of 1923, when Fiddlin' John Carson's recordings on Okeh Records kicked off a boom in old-time country music record sales. In 1925, Victor started using a new electrical recording process, but Robertson's 1922 acoustically made recordings continued to be made available for several years, being listed in “The Catalog of Victor Records 1930”. Robertson approached Victor about recording again, in 1929 arranged to meet a Victor field recording engineer in Dallas, Texas; this time he included his wife Nettie on guitar, his daughter Daphne on tenor guitar and his son Dueron on tenor banjo. On August 12, 1929 the group recorded four fiddle tunes - "Texas Wagoner", "There's a Brown Skin Gal Down the Road", "Amarillo Waltz" and "Brown Kelly Waltz".

On October 10, the Robertson family band returned to Dallas and recorded two fiddle duets with Texas fiddler J. B. Cranfill, "Great Big Taters" and "Run Boy Run". Two additional tunes were recorded that evening, "Apple Blossom" and "My Frog Ain't Got No Blues", but were not issued; the next day, October 11, the band recorded "Brilliancy Medley", released in September 1930, the ballad "The Island Unknown", released in December 1929. That day the band recorded three additional sides that were not released - "My Experience on the Ranch" and remakes of "Arkansaw Traveler" and "Sallie Gooden"; the week of September 20, 1940, Robertson recorded 100 fiddle tunes at Jack Sellers Studios in Dallas, Texas. There is no song listing from these sessions, none of the tunes have surfaced. Robertson continued to perform extensively at dances, fiddlers' conventions and on radio. In 1963, John Cohen, Mike Seeger and Tracy Schwarz visited Robertson at his home in Amarillo and taped some of his music, released on County Records as Eck Robertson, Famous Cowboy Fiddler.

Robertson appeared at the UCLA Folk Festival in 1964, at the Newport Folk Festival in 1965, accompanied by the New Lost City Ramblers. Robertson died in 1975 in Borger and was interred at the Westlawn Memorial Park Cemetery, his tombstone is engraved "World's Champion Fiddler." Stars of Country Music, Tony Russell. MP3 of "Sally Johnson/Billy in the Low Ground" Eck Robertson, UCLA, 1964, photo by Peter Feldmann

Robert Kelly (artist)

Robert Kelly is an American artist. He is based in New York City. Kelly was born in Santa Fe, New Mexico, studied at Harvard University, Massachusetts, his paintings have been acquired by public and private collections in Europe and the United States, including The Whitney Museum of American Art, New York, NY. His work incorporates unusual materials from his journeys, among them vintage posters and printed antique paper and layered in saturated pigments on a canvas faintly scored with irregular grids. Kelly’s paintings have been likened to palimpsests and his method described as one of building “meticulously on inhabited ground, layering materials and signs, covering them, wiping out their beauty, but allowing something of the labor and their languages to persist.”Kelly worked as a commercial photographer for Polaroid in Cambridge and completed residencies at The MacDowell Colony and The Károlyi Foundation, France, before devoting himself to painting in 1982. His work has been the subject of more than forty-five solo shows at venues in North America and Europe, including Spazio Bianco/AR Contemporary Art, Italy.

He has participated in more than one hundred group shows in the United States and abroad. Kelly’s influences include the De Stijl movement and Mondrian and modernists like Bauhaus, Joaquin Torres-Garcia, Philip Guston, Richard Diebenkorn, Kurt Schwitters, Blinky Palermo and Brazilian Neo-Concretists Lygia Clark and Helio Oiticica. Kelly himself cites Hans Arp, Myron Stout, Tony Smith, Calder, Bill Traylor, Louise Bourgeois, Ellsworth Kelly. “Kelly compares his work method to the practice of a stonemason building a wall, setting the components in place as they rise with an astuteness and precision found in the process of composing formal puzzles. Addressing the full expanse of a canvas covered with paper, he masterfully builds up his surface with the pared down tools of line and color. Given their remarkable elegance and tactile qualities, the paintings invite drop-dead awe.” Edward Leffingwell, Robert Kelly: Paper Trails“In these works the sophisticated play between translucency and opacity and abstraction conflates past and present—be it the history of art or of a psyche.”

Hilarie M. Sheets, Art in America“ process yields the self-sustaining and harmonious ‘rightness’ of so much of Kelly’s work, a sense that each form could never be other than it is. Kelly’s compositions are held in such perfect moments of balance...” João Ribas, Robert Kelly: Praxis and Poesis“The works are paradoxical: by disassembling and reassembling the pieces, Kelly seems to undermine visual ‘completeness’ by a fragmented presentation. Yet it nonetheless feels as though the image is a cohesive whole.” Melissa Kuntz, Art in America“Confronted as all artists are now with the exhaustion of subjectivity, Robert Kelly insists on the capacity of painting to mediate subjective apprehension through symbolic forms and sensual experience. Nothing less.” Lyle Rexer, Robert Kelly: Painting’s Place“Robert Kelly’s art is exemplary. It reveals an intelligence, as alert and modern as one could wish but is at the same time saturated in the knowledge of other times and places.” John Ash, Robert Kelly: Painting History official site

Vampire (Buffy the Vampire Slayer)

In the fictional world of the television series Buffy the Vampire Slayer and its spin-off series Angel, a vampire is a unique variety of demon that can only exist on the earthly plane by inhabiting and animating a human corpse. In Fray, a Buffy comic book spin-off set about a century in the future, vampires are called lurks; the vampires in the canonical Buffyverse differ from those that appear in the 1992 Buffy the Vampire Slayer movie. The movie's vampires are able to fly, look pale but human, do not crumble to dust when killed; the canonical vampires, introduced in the first episode of the television series, are demonic spirits that inhabit human corpses. Because of their human nature, vampires are considered impure by other demons who sometimes call them "blood rats". According to Rupert Giles, when the ancient race of demons called the Old Ones were banished from Earth, the last one fed on a human and mixed their blood, creating the first vampire. According to Illyria, vampires existed during her time as an Old One—long before the rest were banished from the realm.

Vampires possess all the skills of their human predecessors. They retain much of their host's personality, including any mental illnesses or emotional instabilities. For example, Spike retained his love for his dying mother and Harmony kept her vain, shallow valley girl personality and her love of unicorns. Darla tells the newly turned Liam/Angelus that "what we were informs what we become". Vampires possess superhuman abilities, such as increased strength, heightened senses, accelerated healing—all of which increase as they grow older or when they drink the blood of powerful supernatural creatures, they can drain animals—including humans—of their blood in a few seconds. Vampires are immortal and can live indefinitely without any signs of aging, though old vampires acquire demonic features such as cloven hooves for hands, lose their resemblance to humans. Vampires—except those who are skilled with powerful magic such as Count Dracula—cannot shape-shift. Vampires in the Buffyverse live on a diet of blood.

They require no other food or drink, although they can ingest it they find it bland. Prolonged deprivation of blood can impair a vampire's higher brain functions and they become "living skeletons", but lack of blood will not result in a vampire's death, they do not need to breathe air—although they can breathe to speak or smoke—and they cannot pass breath on to others via CPR. They are affected by drugs and electricity and they can be sedated and tasered; some vampires enjoy both alcoholic and caffeinated beverages, tobacco. Vampires can change at will between human appearance and a monstrous form with a pronounced brow ridge, yellow eyes, sharp teeth, they make a roaring sound. In human form, they can be detected by their lack of lower body temperature, they do not cast reflections, although they can be filmed. They are immune to mind-reading, but Willow Rosenberg can telepathically communicate with vampires such as Spike. Vampires can be killed by beheading, burning with fire or sunlight, or by penetration of the heart by a wooden object.

When killed, a vampire turns to dry dust. They heal from most injuries but do not regrow lost limbs and can acquire scars, their flesh burns in direct sunlight, on contact with blessed objects such as holy water, a Bible consecrated ground or a Christian cross. They appear to feel ill at ease. Vampires are said to dislike garlic. Vampires cannot enter a human residence without having been invited once by a living resident. If all living residents die, vampires can enter freely. Areas open to the public and the homes of other vampires and non-humans are not protected. To reproduce, vampires must drain a human being of most of his or her blood force the victim to drink some of the vampire's blood; this process is known as "siring", the vampire who does so is called a "sire". Sires act as mentors to their'children' and form small covens of related vampires for various purposes; some vampires can be telepathically linked to those. The amount of time it takes for a new vampire to rise seems to vary. There is no explanation given for this in the series.

They cannot reproduce sexually, but Jasmine manipulates events that allow Angel and Darla to conceive a son, who has a human soul with vampire-like abilities, but none of their weaknesses or need to drink blood. Vampires in the Buffyverse do not have human souls, but Giles in "The Harvest" says the human corpse a vampire is born into is infected with a demon soul via vampiric blood, therefore lacks a conscience. Angel and Spike—vampires who have had their human souls restored to them—feel remorse for their previous actions. However, soulless vampires are capable of feeling human emotions such as love, though these tend to be expressed as twisted and obsessive behavior. Variations of vampires are seen on both Angel. In the Angel season two episode "Through the Looking Glass", Angel and his team travel to a p

Pelinkovac

Pelinkovac is a bitter liqueur based on wormwood, popular in Croatia, Montenegro, Bosnia-Herzegovina, as well as in Slovenia, where it is known as pelinkovec or pelinovec. The alcohol content is 28–35% by volume, it has a bitter taste, resembling that of Jägermeister. The most popular brands in Croatia are the Pelinkovac made by Dalmacijavino, Maraska Pelinkovac made by Maraska Distillery, Rovinjski Pelinkovac, made by Darna Distillery and the Badel Pelinkovac, made by the Badel Distillery since 1871. Badel's pelinkovac is closer to the taste of Jägermeister, but more bitter. Maraska's pelinkovac is popular in Croatia just as Dalmacijavino's pelinkovac, being exported throughout the region. Alcohol volume in Maraska and Badel pelinkovac is 28% while alcohol volume in Dalmacijavino Pelinkovac is 32%; the company "MB Impex" from Banja Luka and Herzegovina, has produced Zlatni Pelin since 2006. Zlatni Pelin contains 23 herbs, has a 28% alcohol content; each bottle contains a sprig of wormwood, which gives additional flavour.

In Serbia, the most popular brand of pelinkovac is Gorki List, made until 2009 by the state-owned company Subotičanka from Subotica, in the province of Vojvodina. Since 2009, when Subotičanka went into bankruptcy, the production and bottling of this brand has been moved to Slovenia; the brand is the property of the Slovenian company Grenki List. Although less renowned within the region, pelinkovac is produced by a number of small distilleries in Slovenia, Istria and in the city of Trieste and Friuli, Italy. In Bulgaria, pelin is a type of wine with up to 34 herbs and some fruits added, including wormwood, St John's wort and quince, it is sold carbonated. There is a Romanian drink called vin pelin, consisting of bittered wine. In Poland a similar liqueur is produced called Piołunówka, which they consider a type of nalewka. Absinthe Darna Gorki List