SUMMARY / RELATED TOPICS

Flying saucer

A flying saucer is a descriptive term for a supposed type of flying craft having a disc or saucer-shaped body used generically to refer to an anomalous flying object. The term was coined in 1930 but has been supplanted since 1952 by the United States Air Force term unidentified flying objects. Early reported sightings of unknown "flying saucers" described them as silver or metallic, sometimes reported as covered with navigation lights or surrounded with a glowing light, hovering or moving either alone or in tight formations with other similar craft, exhibiting high maneuverability. While disc-shaped flying objects have been interpreted as being sporadically recorded since the Middle Ages, the first recorded use of the term "flying saucer" for an unidentified flying object was to describe a probable meteor that fell over Texas and Oklahoma on June 17, 1930. "Some who saw the weird light described it as a huge comet, a flaming flying saucer, a great red glow, a ball of fire." The term "flying saucer" had been in use since 1890 to describe a clay pigeon shooting target, which resembles a classic UFO shape.

The publicized sighting by Kenneth Arnold on June 24, 1947, resulted in the popularity of the term "flying saucer" by U. S. newspapers. Although Arnold never used the term "flying saucer", he was quoted at the time saying the shape of the objects he saw was like a "saucer", "disc", or "pie-plate", several years added he had said "the objects moved like saucers skipping across the water." Both the terms flying saucer and flying disc were used and interchangeably in the media until the early 1950s. Arnold's sighting was followed by thousands of similar sightings across the world; such sightings were once common, to such an extent that "flying saucer" was a synonym for UFO through the 1960s before it began to fall out of favor. A lot of sightings of the cigar-shaped UFO were reported following it. More the flying saucer has been supplanted by other alleged UFO-related vehicles, such as the black triangle. In fact, the term UFO was invented in 1952, to try to reflect the wider diversity of shapes being seen.

However, unknown saucer-like objects are still reported, such as in the publicized 2006 sighting over Chicago-O'Hare airport. Many of the alleged flying saucer photographs of the era are now believed to be hoaxes; the flying saucer is now considered an icon of the 1950s and of B movies in particular, is a popular subject in comic science fiction. Beyond the common usage of the phrase, there have been man-made saucer-like craft; the first flying disc craft was called the Discopter and was patented by Alexander Weygers in 1944. Other designs have followed, such as the American Vought V-173 / XF5U "Flying Flapjack", the British GFS Projects flying saucer, or the British "S. A. U. C. E. R." Flying saucer, by inventor Alf Beharie. A manuscript illustration of the 10th-century Japanese narrative, The Tale of the Bamboo Cutter, depicts a round flying machine similar to a flying saucer. A record of a saucer-shaped object is from 1290 of a silver disc flying over a village in Yorkshire. Disc-like flying objects were reported throughout the millennium.

For example, in a mass sighting over Nuremberg in 1561, discs and spheres were reported emerging from large cylinders. They are claimed by ufologists to show up in religious artwork. Another well-documented specific comparison of the objects to saucers was the Kenneth Arnold sighting on June 24, 1947, while Arnold was flying near Mount Rainier, he reported seeing 9 brightly reflecting vehicles, one shaped like a crescent but the others more disc- or saucer-shaped, flying in an echelon formation, weaving like the tail of a kite and flashing in the sun, traveling with a speed of at least 1,200 miles per hour. In addition to the saucer or disc shape, he later said he described the motion of the craft as "like a saucer if you skip it across water", leading to the term "flying saucer" and "flying disc". Following the report, hundreds of sightings of saucer-like objects were reported across the United States and in some other countries; the most publicized of these was the sighting by a United Airlines crew on July 4 of nine more disc-like objects pacing their plane over Idaho, not far from Arnold's initial sighting.

On July 8, the Army Air Force base at Roswell, New Mexico issued a press release saying that they had recovered a "flying disc" from a nearby ranch, the so-called Roswell UFO incident, front-page news until the military issued a retraction saying that it was a weather balloon. On July 9, the Army Air Force Directorate of Intelligence, assisted by the FBI, began a secret study of the best of the flying saucer reports, including Arnold's and the United Airlines' crew. Three weeks they issued an intelligence estimate describing the typical characteristics reported and concluded that something was flying around. A follow-up investigation by the Air Materiel Command at Wright Field, Ohio arrived at the same conclusion. A widespread official government study of the saucers was urged by General Nathan Twining; this led to the formation of Project Sign at the end of the first public Air Force UFO study. This evolved into Project Grudge and Project Blue Book; the term "flying saucer" became ingrained in the English vernacular.

A

Avishai Cohen (trumpeter)

Avishai Cohen Is a New York City–based jazz musician and composer from Tel Aviv, Israel. Cohen was born in Israel, he grew up in a musical family with his saxophonist siblings: sister Anat Cohen and brother Yuval Cohen. At the age of eight Avishai asked his mother. At age ten, Avishai began playing with the Rimon Big Band, He recalls, "I had a box I stood on." As a teenager Avishai toured with the Israeli Philharmonic Orchestra. Avishai Cohen attended the Berklee College of Music in Boston. After graduating from Berklee, Cohen went on to win 3rd place in the Thelonious Monk jazz trumpet competition in 1997. Cohen moved to New York City, where he began developing his music alongside Jason Lindner and bassist Omer Avital at Smalls Jazz Club; because he was frequently confused with the bassist Avishai Cohen, he named his debut 2003 album The Trumpet Player. He has played with several jazz groups. Cohen has stated that he was heavily influenced by Miles Davis, he has two children. The Trumpet Player After the Big Rain Flood Seven Introducing Triveni Triveni II Avishai Cohen's Triveni, Dark Nights Into the Silence Cross My Palm with Silver Songs and Portraits Sketch of Tel Aviv Avanim New Blues Third World Love Songs Family Braid One "Tightrope" New Song Suite of the East Live at Smalls Free Forever Arrival The Ancient Art of Giving Marlon Browden Project SFJAZZ Collective Live 2010:7th Annual Concert Tour Anat Cohen Noir Anat Cohen Place & Time Yuval Cohen Freedom The Jason Lindner Big Band Live at the Jazz Gallery Waverly 7 Yo!

Bobby Keren Ann Keren Ann Keren Ann Nolita Yosvany Terry Metamorphosis Gregory Tardy Monuments Mark Turner Lathe of Heaven Shalom Hanoch - Erev Erev Asaf Amdurski - Menoim Shketim Assaf Amdurski - Harei At Daniel Freedman - Bamako By Bus Jason Lindner - Now Vs. Now Jason Lindner - Live at the Jazz Gallery Dafnis Prieto - Taking The Soul For a Wlak Official website

Asta Nielsen

Asta Sofie Amalie Nielsen was a Danish silent film actress, one of the most popular leading ladies of the 1910s and one of the first international movie stars. Seventy of Nielsen's 74 films were made in Germany where she was known as Die Asta. Noted for her large dark eyes, mask-like face and boyish figure, Nielsen most portrayed strong-willed passionate women trapped by tragic circumstances. Due to the erotic nature of her performances, Nielsen's films were censored in the United States, her work remained obscure to American audiences, she is credited with transforming movie acting from overt theatricality to a more subtle naturalistic style. Nielsen founded her own film studio in Berlin during the 1920s, but returned to Denmark in 1937 after the rise of Nazism in Germany. A private figure in her years, Nielsen became a collage artist and an author. Asta Sofie Amalie Nielsen was born in the Vesterbro section of Copenhagen, the daughter of an unemployed blacksmith and a washerwoman. Nielsen's family moved several times during her childhood.

They lived for several years in Malmö, Sweden where her father worked in a corn millery and a factory. After he lost those jobs, they returned to live in the Nørrebro section of Copenhagen. Nielsen's father died. At the age of 18, Nielsen was accepted into the acting school of the Royal Danish Theatre. During her time there, she studied with the Royal Danish Actor, Peter Jerndorff. In 1901, 21-old Nielsen gave birth to her daughter, Jesta. Nielsen never revealed the identity of the father, chose to raise her child alone with the help of her mother and older sister. Nielsen graduated from the Theater school in 1902. For the next three years she worked at the Dagmar Theatre toured in Norway and Sweden from 1905 to 1907 with De Otte and the Peter Fjelstrup companies. Returning to Denmark, she was employed at Det Ny Theater from 1907 to 1910. Although she worked as a stage actress, her performances remained unremarkable. Danish historian Robert Neiiendam wrote that Nielsen's unique physical attraction, of great value on the screen, was limited on stage by her deep and uneven speaking voice.

Nielsen began her film career in 1909. Nielsen's minimalist acting style was evidenced in her successful portrayal of a naive young woman lured into a tragic life, her overt sexuality in the film's "gaucho dance" scene established the erotic quality for which Nielsen became known. Because of the film's success, Nielsen continued to act in cinema rather than on stage. Nielsen and Gad married made four more films together; the explosion of Nielsen's popularity propelled Gad and Nielsen to move from Denmark to Germany where she was provided her own film studio and the opportunity for greater profits. In Germany, Nielsen formed a contract with German producer Paul Davidson, who founded the Internationale Film-Vertriebs-Gesellschaft in conjunction with Nielsen and Gad; the company held the European rights on all Nielsen films and Nielsen became a "scintillating international film star", known as Die Asta, with an annual fee of 85,000 marks in 1914 alone. Davidson described Nielsen as the decisive factor for his move to film productions: "I had not been thinking about film production.

But I saw the first Asta Nielsen film. I realised, and above all I realised. Asta Nielsen, I felt could be a global success, it was international film sales. I built her a studio in Tempelhof, set up a big production staff around her; this woman can carry it... Let the films cost whatever they cost. I used every available means – and devised many new ones – in order to bring the Asta Nielsen films to the world." Nielsen contracted for $80,000 a year the highest salary for a film star. Nielsen is called the first international movie star, challenged only by French comic Max Linder famous throughout Europe and in America by that time. In a Russian popularity poll of 1911, Nielsen was voted the world's top female movie star, behind Linder and ahead of her Danish compatriot Valdemar Psilander, she remained popular on both sides through World War I and in 1915 she visited New York City to study American film techniques. In 1921, through her own film distribution company of Asta Films, appeared in the Svend Gade and Heinz Schall directed Hamlet.

The film was a radical interpretation of William Shakespeare's play, with Nielsen playing the role of Hamlet as a woman who disguises herself as a man. Several sources, including IMDb, state that Nielsen played Mata Hari in an early-1920s film variously titled Mata Hari, Die Spionin. However, scholarly works such as the authoritative filmography published by Filmarchiv Austria in 2010 make no mention of such a film. Film scholar Ivo Blom has concluded that the idea of Nielsen playing Mata Hari on film arose from a confusion with her now-lost film Die Tänzerin Navarro, which features a plot similar to the story of Mata Hari's life. In 1925, she starred in the German film Die freudlose Gasse, directed by G. W. Pabst and co-starring Greta Garbo, months before Garbo left for Hollywood and MGM, she worked in German films until the start of sound movies. Nielsen made only one feature movie with sound, Unmögliche Liebe in 1932. However, the new technical developments in cinema were not suitable to Nielsen's style, nor could her maturity compete