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Octoberon

Octoberon is the seventh album by Barclay James Harvest, released in 1976. In 2003 a remastered CD was issued with five bonus tracks. In 2017 a 3-disc CD/DVD special edition was released; this features new stereo and surround mixes in addition to the remastered originals, plus the 2003 bonus tracks, one new bonus track, two videos. In the UK music magazine Sounds, Tim Lott expressed his frustration with the album, saying, "Unfortunately, Octoberon is no major departure from disappointing formula, but despite that, there are some fine, imaginative moments which point once again to the never-fulfilled potential." A review of the album, appearing in a January 1977 issue of Billboard magazine, said that Octoberon "has delivered an accessible spacey-but-lyrical LP in the most popular style of Pink Floyd or Yes. There is nothing harsh or cultish about this music." In another mixed review, AllMusic's Paul Collins wrote that Octoberon lacks the harmonies evident in the band's earlier records, that the album is "not up to the level of their best work, but worth a listen for fans."

"The World Goes On" – 6:29 "May Day" – 8:00 "Ra" – 7:21 "Rock'n' Roll Star" – 5:18 "Polk Street Rag" – 5:39 "Believe in Me" – 4:24 "Suicide?" – 7:56 As above, plus: 8. "Rock'n' Roll Star" - 4:53 9. "Polk Street Rag" 5:30 10. "Ra" 11. "Rock'n' Roll Star" 12. "Suicide?" Tracks 1-7 as above, plus: 8. "Rock'n' Roll Star" - 4:53 9. "Polk Street Rag" 5:30 10. "Ra" 11. "Suicide?" N. B; these appear to be the same mixes as tracks 8-10 & 12 on the 2003 CD, although the descriptions "first mix" and "early mix" have been swapped. New stereo mixes of Tracks 1-7 as above, plus: 8. "Rock'n' Roll Star" 9. "May Day" Audio content: Three mixes of tracks 1-7 as above, plus track 9 on Disc Two: 5.1 surround mix, 96kHz/24-bit new and original stereo mixes. Video content: "Rock'n' Roll Star" "The World Goes On" John Lees - acoustic and electric guitars, harmonies Wolly Wolstenholme - keyboards, vocals Les Holroyd - bass, acoustic guitar, harmonies Mel Pritchard - drums, percussion

Fernando Vargas Mosua

Fernando Vargas Mosua, more referred to as Fernando Vargas, is a Bolivian indigenous leader who heads the Subcentral TIPNIS, the indigenous authority which holds title to the Isiboro Sécure National Park and Indigenous Territory. The TIPNIS indigenous community is engaged in an extended campaign against the building of the Villa Tunari–San Ignacio de Moxos Highway through the territory, a project championed by President Evo Morales. Vargas was a candidate for the Green Party in the 2014 presidential election, with the party's leader and founder Margot Soria Saravia serving as vice presidential candidate. With 24,685 out of 27,403 polling stations having reported in the Green Party had gained 126,958 votes in the presidential elections, a total of 2.79%

Denys Wilcox

Denys Wilcox was an English cricketer and schoolmaster. Wilcox scored more than 1000 runs in his last season at Dulwich College went up to Cambridge University, he played three years for the university team, scoring a century in the University Match in 1932 and captaining them in 1933. He played for Essex between 1928 and 1947, made a few appearances for Free Foresters in first-class matches after his Essex career ended, playing his final game in 1951. In 1946 he and Reginald Taylor set a record 8th-wicket partnership for Essex of 263 runs, he was joint captain of Essex from 1933 to 1939 and captained The Rest against an England team in a trial match for test selection in 1938. He played as an amateur, spending most of his time on his duties as headmaster of Alleyn Court Prep School in Westcliff-on-Sea, which his father had founded in 1904, he was a considerable influence on the early career of Trevor Bailey, a pupil at Alleyn Court who played for Dulwich School and Essex. Wilcox's son John, who played for Essex later became headmaster of Alleyn Court.

Denys Wilcox died of leukemia in 1953 at the age of 42. Denys Wilcox at ESPNcricinfo Denys Wilcox at CricketArchive

Okinawan kobudō

Okinawan Kobudō "old martial way of Okinawa", is the weapon systems of Okinawan martial arts. Okinawan Kobudō is a Japanese term that can be translated as "old martial way of Okinawa", it is a generic term coined in the twentieth century. Okinawan kobudō refers to the weapon systems of Okinawan martial arts; these systems can have from one to as many as a dozen weapons in their curriculum, among the rokushakubo, tonfa and nunchaku, but the tekko, tinbe-rochin, surujin. Less common Okinawan weapons include the hanbō and the eku. Okinawan kobudō should not be confused with the term Kobudō, described in the article Koryū, because the term Kobudō refers not to a weapon system but a concept of morals from feudal Japan, it is a popular story and common belief that Okinawan farming tools evolved into weapons due to restrictions placed upon the peasants by the Satsuma samurai clan when the island was made a part of Japan, which forbade them from carrying arms. As a result, it is said, they were defenseless and developed a fighting system around their traditional farming implements.

However, modern martial arts scholars have been unable to find historical backing for this story, the evidence uncovered by various martial historians points to the Pechin Warrior caste in Okinawa as being those who practiced and studied various martial arts, rather than the Heimin, or commoner. It is true that Okinawans, under the rule of foreign powers, were prohibited from carrying weapons or practicing with them in public, but the weapons-based fighting that they secretly practiced had strong Chinese roots, examples of similar weapons have been found in China and Indonesia pre-dating the Okinawan adaptations. Okinawan kobudō systems were shaped by indigenous Okinawan techniques that arose within the Aji, or noble class, by imported methods from China and Southeast Asia; the majority of Okinawan kobudō traditions that survived the difficult times during and following World War II were preserved and handed down by Taira Shinken, Chogi Kishaba, Kenwa Mabuni. Practical systems were developed by Toshihiro Oshiro and Motokatsu Inoue in conjunction with these masters.

Other noted masters who have Okinawan kobudō kata named after them include Chōtoku Kyan, Shigeru Nakamura, Kanga Sakukawa, Shinko Matayoshi. Okinawan kobudō arts are thought by some to be the forerunner of the bare hand martial art of karate, several styles of that art include some degree of Okinawan kobudō training as part of their curriculum, it is not uncommon to see an occasional kick or other empty-hand technique in an Okinawan kobudō kata. The techniques of the two arts are related in some styles, evidenced by the empty-hand and weapon variants of certain kata: for example, Kankū-dai and Kankū-sai, Gojūshiho and Gojūshiho-no-sai, although these are examples of Okinawan kobudō kata which have been developed from karate kata and are not traditional Okinawan kobudō forms. Other more authentic Okinawan kobudō kata demonstrate elements of empty hand techniques as is shown in older forms such as Soeishi No Dai, a bo form, one of the few authentic Okinawan kobudō kata to make use of a kick as the penultimate technique.

Some Okinawan kobudō kata have undergone less "modern development" than karate and still retain much more of the original elements, reflections of which can be seen in more modern karate kata. The connection between empty hand and weapon methods can be directly related in systems such as that formulated in order to preserve both arts such as Inoue/Taira's Ryūkyū Kobujutsu Hozon Shinko Kai and Motokatsu Inoue's Yuishinkai Karate Jutsu. M. Inoue draws direct comparisons between the use of certain weapons and various elements of empty hand technique such as sai mirroring haito/shuto waza, tonfa reflecting that of uraken and hijiate, kama of kurite and kakete, as examples; the footwork in both methods is interchangeable. Okinawans kobudō was at its peak some 100 years ago and of all the authentic Okinawan kobudō kata practiced at this time, only few, by comparison, remain extant. In the early 20th century, a decline in the study of Ryūkyū kobujutsu meant that the future of this martial tradition was in danger.

During the Taishō period some martial arts exponents such as Yabiku Moden made great inroads in securing the future of Ryūkyū kobujutsu. Many of the forms that are still known are due to the efforts of Taira Shinken who travelled around the Ryūkyū Islands in the early part of the 20th century and compiled 42 existing kata, covering eight types of Okinawan weapons. Whilst Taira Shinken may not have been able to collect all extant Okinawan kobudō kata, those he did manage to preserve are listed here, they do not include all those from the Matayoshi and Yamanni streams however. The bō is a six-foot long staff, sometimes tapered at either end, it was developed from a farming tool called a tenbin: a stick placed across the shoulders with baskets or sacks hanging from either end. The bo was possibly used as the handle to a rake or a shovel; the bo, along with shorter variations such as the jo and hanbō could have been developed from walking sticks used by travelers monks. The bo is considered the'king' of the Okinawa weapons, as all others exploit its weaknesses in fighting it, whereas when it is fighting them it is using its strengths against

The Heart of Everything World Tour

The Heart of Everything World Tour was a concert tour by Dutch symphonic metal band Within Temptation in support of their fourth album, The Heart of Everything. The Heart of Everything Tour first world tour, in which they visited South American countries, as Brazil and Chile for the first time; the band performed at several large European festivals, such as Pinkpop and Download which helped the band to reach the status of a mainstream band throughout Europe, as The Heart Of Everything appeared in several European charts. The band started their first U. S. tour a few months after the European release. The band opted to present itself on metal festivals as on mainstream festivals, due to the diversity they presents throughout their discography. of The Heart of Everything, supporting Lacuna Coil, appearing alongside In This Moment, Stolen Babies, The Gathering, Kylesa. The tour, dubbed The Hottest Chicks in Metal Tour 2007. Lead vocalist Sharon den Adel classified it more of a "introdutional" tour, as The Heart Of Everything wasn't released on the United States yet.

And, with the release of The Heart of Everything on 24 July 2007, the band decided to kick off their first headlining US tour in Fall 2007. The band played 13 shows, starting on 5 September 2007, in Boston and ended on 23 September 2007, in Tempe, Arizona. At the end of 2007, the band professionally recorded a sold-out show for 8,000 visitors at the Beursgebouw, in The Netherlands, for a possible future DVD. On 7 February 2008, the band performed a special show accompanied by The Metropole Orchestra, the Pa'dam Choir, special guests including George Oosthoek, Anneke van Giersbergen of Agua de Annique and Keith Caputo of Life of Agony filmed by 14 HD cameras at the Ahoy Arena in Rotterdam, with an attendance of 10.000 people. This recording was released as the main show of the Black Symphony DVD, some parts of the show in Eindhoven came as an extra on the second disc of some editions of the album. Both shows featured special stage effects like explosions and fireworks. Sharon den Adel – vocals Robert Westerholt – rhythm guitar Ruud Jolie – lead guitar Martijn Spierenburgkeyboards Jeroen van Veenbass guitar Stephen van Haestregtdrums Anneke van Giersbergen – featured vocals on "Somewhere" on 24 November 2007 and 7 February 2008.

George Oosthoek – featured vocals on "The Other Half" on 24 November 2007 and 7 February 2008. Keith Caputo – featured vocals on "What Have You Done" on 7 February 2008