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Graeae

In Greek mythology the Graeae called the Grey Sisters, the Phorcides, were three sisters who shared one eye and one tooth among them. Their names were Deino and Pemphredo; the word Graeae is derived from the adjective γραῖα graia "old woman", derived from the PIE root *ǵerh2-/*ǵreh2-, "to grow old" via Proto-Greek *gera-/grau-iu. The Graeae were daughters of the sea-deities Phorcys and Ceto, sisters to the Gorgons; the Graeae took the form of grey-haired women. Their age was so great. In Theogony, Hesiod describes the Graeae as being "fair-cheeked". In Prometheus Bound, the Graeae are described as being half-swan. Hesiod names only two Graeae, the "well-clad" Pemphredo and the "saffron-robed" Enyo. Pseudo-Apollodorus lists Deino as a third. Calling them "Phorcides", Hyginus, in addition to Pemphredo and Enyo, adds Persis noting that "for this last others say Dino", they shared one tooth, which they took turns using. By stealing their eye while they were passing it among themselves, the hero Perseus forced them to tell the whereabouts of the three objects needed to kill Medusa by ransoming their shared eye for the information.

The Graeae are similar to the Greek Moirai, the northern European Norns, the Roman Parcae, the Slavic Sudice, the Celtic Morrigan, the Baltic goddess Laima and her two sisters. The Three Witches from the play Macbeth by William Shakespeare are similar to the three Graeae; the Theoi Project, "GRAIAI"

The Best Years of Our Lives (Neil Diamond album)

The Best Years of Our Lives is the eighteenth studio album by Neil Diamond. It was released by Columbia Records in 1988 and reached number 46 on the Billboard 200 chart, number 42 on the UK album chart, number 92 on the Australian chart; the album was certified gold by the RIAA on February 16, 1989. In his review of The Best Years of Our Lives music critic Bryan Buss referred to it as "a strong entry in Diamond's oeuvre" and as "an album, romantic and sentimental without being manipulative". Three singles from the album, the title track, "This Time", "Baby Can I Hold You" reached numbers 7, 9, 28 on Billboard's Adult Contemporary chart. Lead vocals – Neil Diamond Backing vocals – Bill Champlin, Tamara Champlin, Renée Geyer and Richard Page Acoustic guitarRichard Bennett and Dean Parks Electric guitar – Michael Landau, Steve Lukather and Dean Parks KeyboardsMichael Boddicker, Robbie Buchanan, David Foster, Tom Hensley, Alan Lindgren, Michael Omartian and David Paich Synthesizer programming – Rick Bowen, Rhett Lawrence and Kevin Maloney Bass guitar – Mike Brignardello and Reinie Press DrumsTris Imboden, Paul Leim and Carlos Vega Horns – Gary Grant, Jerry Hey, Dan Higgins, Bill Reichenbach Jr. and Larry Williams Horn arrangements – David Foster and Jerry Hey String arrangements – Jeremy Lubbock Produced and Arranged by David Foster Production Coordination – Sam Cole and Chris Earthy Production Assistants – Ned Brown, Barry Cardinale, Larry E. Williams and Alison Zanetos Engineer – Jeffrey Woodruff Assistant Engineers – Jesse Kanner, Ray Pyle and Dave Reitzas.

Mixing – Humberto Gatica Mix Assistants – Mauricio Guerrero and Laura Livingston Mastered by George Marino at Sterling Sound. Art Direction and Design – David Kirschner Additional Design – Beverley Lazor-Bahr Photography – Matthew Rolston

Marie de Romieu

Marie de Romieu was a 16th-century French poet from Viviers, France. Although her exact date of birth is unknown, she was most born between 1526 and 1545, died around 1589. Like her origins, most of her life remains a mystery, she is known for her poetic discourse on the superiority of women, as well as an attributed French translation of a work by Italian author Alessandro Piccolomini, which provided behavioral and societal instructions for young ladies and their mothers. Besides her place of birth, not much else is known about de Romieu; some sources place her as a noblewoman who frequented the French court naming her as a favorite lover of King Henry III. The biographical information concerning Marie de Romieu is scarce at best, she had a brother, Jacques de Romieu a poet, her publisher and mentor. French author and archivist Auguste Le Sourd claims the family was composed of bakers in Viviers, although this account is disputed due to Marie's level of education. Another theory places both Marie and Jacques in the entourage of their supposed beneficiary, Jean de Chastellier, the finance minister for kings Charles IX and Henry III.

In her poems, she mentions a son and the press of certain domestic duties, thus implying that she was married, had at least one son. Her poems reveal that she wanted to be a full-time writer and scholar; the only clue into Marie de Romieu's education is found through her body of work, influenced by Pierre de Ronsard and classical writers such as Hesiod and Virgil. It is speculated that she either learned from her brother Jacques, or at least shared some of his lessons. In 1584, some of her works appear as introductory poems in her brother's poetic anthology, which included Latin translations. Since her poetry included translations of Renaissance Neo-Latin Poets, it can be inferred that she was proficient in Latin, which suggests a higher level of education than most women, one only attained by those in the elite, she may have been fluent in Italian due to her translations of Italian authors such as Petrarch. However, her fluency in Italian is not certain, for French translations of the works were available at the time.

A good part of de Romieu's work consists of translations of works by Classical, Neo-Latin and Italian poets, not uncommon during the time period. The translation of classical and humanist texts was widespread during the Renaissance in France, which in turn lead to more women gaining access to more advanced education. Marie de Romieu was part of this trend, as well as other 16th century French women poets, such as Marie de Gournay, Anne de Graville and Madeleine des Roches; because of the lack of accurate biographical data, there has been some controversy over the veracity of Marie de Romieu's authorship of her Discourse over the superiority of women over men, which appeared in her Les Premières Oeuvres Poétiques, as well of the translation Instruction for Young Women. The Discourse, published by her brother Jacques de Romieu, has been attributed to Jacques himself by some critics. However, according to French poet Guillaume Colletet, Marie's style in her Premières Oeuvres is more refined than that of her brother's, “rough and hard” in his own work.

In the translation of Instruction for Young Women, the only reference to an author refers to the initials M. D. R. which could belong to her, but to other French authors of the time besides Marie, such as Madeleine des Roches. One of the works most attributed to Marie de Romieu, Instruction for Young Women, was the French translation of Alessandro Piccolomini’s Dialogo dove si ragiona della bella creanza delle done, dello Stordito accademico Intronato; this particular work, signed by the initials M. D. R. appeared in editions as The Messenger of Love and Instructions to Incite Young Ladies to Love. The premise of the work was to instruct young ladies to lead pure path; the first work signed by “Marie de Romieu” surfaced in Paris in 1581, titled Les Premières Oeuvres Poétiques de ma Damoiselle Marie de Romieu Vivaroise. A sort of anthology of verse, it contained occasional brief pieces flattering some authority figures in Viviers. Premières Oeuvres features de Romieu's discourse on the superiority of women as its opening piece.

The entirety of the work was made up of a mixture of styles common to the Renaissance which included elegies, odes and hymns. The most known work associated with Marie de Romieu, her Brief discourse on the superiority of woman over man, was a response to an anti-feminist text penned by her brother, Jacques; some critics attribute Jacques as the actual author of the Discourse, but this theory has been rejected due to stylistic differences. Featured as the first piece in Premières Oeuvres, de Romieu's discourse on the superiority of women builds itself by praising the courage and virtue of women, it argues that women were visibly more beautiful than their male counterparts because they were a refined product from man, made with clay. In her discourse, de Romieu asserts that women were superior to men in their sacrifices and charity work, she condemns men who fault women for their failings and for leading them astray, claiming they are responsible for their own actions. She accuses men of trying to deliberately deceive women with ‘fine words’ and goes into great detail elaborating the different types of deception perpetrated by men: those who cite God's will and authority, those who pose as protectors of female virtue, or those who pretend to'serve' women

Echinicola

Echinicola is an aerobic and motile bacterial genus from the family of Cytophagaceae. Nedashkovskaya, OI. A novel flexibacterium isolated from the sea urchin Strongylocentrotus intermedius". International Journal of Systematic and Evolutionary Microbiology. 56: 953–8. Doi:10.1099/ijs.0.64156-0. PMID 16627637. Nedashkovskaya, O. I.. V.. "Echinicola vietnamensis sp. nov. A member of the phylum Bacteroidetes isolated from seawater". International Journal of Systematic and Evolutionary Microbiology. 57: 761–763. Doi:10.1099/ijs.0.64546-0. PMID 17392202. Srinivas, T. N. R.. "Echinicola shivajiensis sp. nov. A novel bacterium of the family "Cyclobacteriaceae" isolated from brackish water pond". Antonie van Leeuwenhoek. 101: 641–647. Doi:10.1007/s10482-011-9679-6. PMID 22105533

Femme Maison

The Femme Maison series of paintings by French American artist Louise Bourgeois address the question of female identity. In these paintings, the heads and bodies of nude female figures have been replaced by architectural forms such as buildings and houses. Femme Maison translates from the French as ‘housewife’: ‘woman house’. In 1984 Bourgeois produced a small series of Femme Maison prints based on the works of 1947. Bourgeois said the Femme Maison "does not know that she is half naked, she does not know that she is trying to hide; that is to say, she is self-defeating because she shows herself at the moment that she thinks she is hiding."Throughout Femme Maison, Bourgeois shows the home as an female place, in which she can explore ideas about female identity. These paintings are read by feminists as a representation of the abolition of identify for women in home and family, alluding to the "problem with no name" that Betty Friedan identified in the 60s as the dissatisfaction and the lack of fulfilment of women who embarked on careers as housewives and mothers in suburban America.

Another interpretation notes that for Bourgeois, architecture symbolizes the social world that attempts to define the individual, in contrast to the inner world of emotion. The tension between figure and architecture mirrors the dichotomy between body; the most familiar work from this series was used for the cover of critic Lucy Lippard's influential collection of feminist essays on art, From The Center. The ideas involved in the Femme Maison paintings were translated into sculptural forms, in a range of abstraction and figuration using steel and fabric as well as marble, up through 2001; the sculpture titled Femme Maison is encased in a metal framed glass box called a "cell." In one sense, the cell protects the artwork.

Andy Stevens (water polo)

Andrew Michael Stevens is an American water polo goalkeeper. While playing at Loyola Marymount University, Los Angeles, he was a 4-Time All-American, he plays for the United States national team and most competed for Team USA at the 2011 FINA World Championships. Stevens played water polo at Villa Park High School in Orange County from 2002 to 2005. In 2004 and 2005, he was named to the California-Hawaii All-America first team and in 2005 was OC Registers All-Orange County Team Goalkeeper. Stevens went to Loyola Marymount University, where he redshirted the 2006 season. In 2007, he started 28 games as goalkeeper and had a 7.8 goals against average he finished the season as Honorable Mention All-American, the Western Water Polo Association Newcomer of the Year including All-WWPA Honorable Mention, WWPA All-Tournament second-team and LMU Athletics' Male Newcomer of the Year. The following year, he started 31 games, had a 7.15 goals against average, was named to was named third-team All-American, first-team All-NCAA Tournament, the WWPA Player of the Year, first-team All-WWPA, MVP of the WWPA Tournament, first-team WWPA All-Tournament as well as LMU Male Athlete of the Year.

Stevens started 28 games in 2009. He had a 6.15 goals against average. Following the season, he was named Western Water Polo Association Player of the Year, Third-Team All-American, First-Team WWPA All-Conference, WWPA Tournament MVP, First-Team WWPA All-Tournament, First-Team NCAA All-Tournament, LMU Male Co-Athlete of the Year. In 2010, in his last and final collegiate season he started 29 games, made 305 saves, had a 6.41 goals against average. His performance helped. In his last year he finished the season as second-team All-American, first-team All-WWPA, WWPA Tournament MVP, first-team WWPA All-Tournament, for the third year in a row he was the only goalkeeper to be named first-team NCAA All-Tournament.. He finished his college career with 1,232 total saves. Stevens has been a goalkeeper for the U. S. National Team since 2005 and most competed in the 2011 FINA World Championships, in Shanghai, China. Stevens plays for Vaterpolo Klub Radnički Kragujevac located in Kragujevac, Serbia. Stevens was born in Arcadia, California, on December 4, 1987.

He is 3 inches tall. He resides in Orange, California