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Grindcore is an extreme fusion genre of heavy metal and hardcore punk that originated in the mid-1980s, drawing inspiration from abrasive-sounding musical styles, such as: thrashcore, crust punk, hardcore punk, extreme metal, industrial. Grindcore is characterized by a noise-filled sound that uses distorted, down-tuned guitars, grinding overdriven bass, high speed tempo, blast beats, vocals which consist of growls and high-pitched shrieks. Early groups like Napalm Death are credited with laying the groundwork for the style, it is most prevalent today in North America and Europe, with popular contributors such as Brutal Truth and Nasum. Lyrical themes range from a primary focus on social and political concerns, to gory subject matter and black humor. A trait of grindcore is the "microsong". Several bands have produced songs. British band Napalm Death holds the Guinness World Record for shortest song recorded with the one-second "You Suffer". Many bands, such as Agoraphobic Nosebleed, record simple phrases that may be rhythmically sprawled out across an instrumental lasting only a couple of bars in length.

A variety of microgenres have subsequently emerged labeling bands according to traits that deviate from regular grindcore, including goregrind, focused on themes of gore, pornogrind, fixated on pornographic lyrical themes. Another offshoot is electrogrind which incorporates electronic music elements such as sampling and programmed drums. Although influential within hardcore and extreme metal, grindcore remains an underground form of music. Grindcore evolved as a blend of thrash metal and hardcore punk; the name derives from the fact. Grindcore relies on standard hardcore punk instrumentation: electric guitar and drums. However, grindcore alters the usual practices of metal or rock music in regard to song structure and tone; the vocal style is "ranging from high-pitched shrieks to low, throat-shredding growls and barks." In some cases, no clear lyrics exist. Vocals may be used as an added sound effect, a common practice with bands such as the experimental Naked City. A characteristic of some grindcore songs is the "microsong," lasting only a few seconds.

In 2001, the Guinness Book of World Records awarded Brutal Truth the record for "Shortest Music Video" for 1994's "Collateral Damage". In 2007, the video for the Napalm Death song "You Suffer" set a new "Shortest Music Video" record: 1.3 seconds. Beyond the microsong, it is characteristic of grindcore to have short songs in general, it is not uncommon for grindcore albums to be short when compared to other genres consisting of a large track list but having a total length of only 15 to 20 minutes. Many grindcore groups experiment with down-tuned guitars and play with down picking, power chords and heavy distortion. While the vinyl A-side of Napalm Death's debut, 1987's Scum, is set to Eb tuning, on side B, the guitars are tuned down to C, their second album From Enslavement to Obliteration and the Mentally Murdered EP were tuned to C♯. Harmony Corruption, their third full-length album, was tuned up to a D. Bolt Thrower went further. Bass is tuned low as well, is distorted; the blast beat is a drum beat characteristic of grindcore in all its forms, although its usage predates the genre itself, as it is native to jazz.

In Adam MacGregor's definition, "the blast-beat comprises a repeated, sixteenth-note figure played at a fast tempo, divided uniformly among the kick drum and ride, crash, or hi-hat cymbal." Blast beats have been described as "maniacal percussive explosions, less about rhythm per second than sheer sonic violence." Napalm Death coined the term, though this style of drumming had been practiced by others. Daniel Ekeroth argues that the blast beat was first performed by the Swedish group Asocial on their 1982 demo. Dirty Rotten Imbeciles, Stormtroopers of Death, Sarcófago and Repulsion included the technique prior to Napalm Death's emergence. Grindcore lyrics are provocative. A number of grindcore musicians are committed to political and ethical causes leaning towards the far left in connection to grindcore's punk roots. For example, Napalm Death's songs address a variety of anarchist concerns, in the tradition of anarcho-punk; these themes include anti-racism, anti-militarism, anti-capitalism. Early grindcore bands including Napalm Death and Carcass made animal rights one of their primary lyrical themes.

Some of them, such as Cattle Decapitation and Carcass, have expressed disgust with human behavior, animal abuse, are, in some cases, vegetarians or vegans. Carcass' work in particular is identified as the origin of the goregrind style, devoted to "bodily" themes. Groups that shift their bodily focus to sexual matters, such as Gut and the Meat Shits, are sometimes referred to as pornogrind. Seth Putnam's lyrics are notorious for their black comedy, while The Locust tend toward satirical collage, indebted to William S. Burroughs' cut-up method; the early grindcore scene relied on an international network of DIY production. The most acknowledged precursors of the grindcore sound are Siege, a hardcore punk group, Repulsion, an early death metal outfit. Siege, from Weymouth, were influenced by classic American hardcore and by British groups

Graeme Brown

Graeme Allen Brown OAM was a professional cyclist and is a dual Olympic gold medallist from Australia. He last rode for UCI Pro Continental team Drapac Professional Cycling. Brown is a member of Drapac Cannondale Holistic Development Team, an Australian UCI Professional Continental cycling team, of the Randwick Botany Cycling Club. Brown's greatest success as a road cyclist has been in the Tour de Langkawi in Malaysia, including a record breaking 5 stage wins in 2005 and winning the Points Classification in 2003 and 2005; as a track cyclist he won a gold medal at the 2004 Summer Olympics in Athens as a member of the team pursuit in world record breaking time of 3:58.233. He won a gold medal with Stuart O'Grady for the Madison event at the 2004 Summer Olympics. At the 2002 Commonwealth Games in Manchester he won two gold medals: for the Team pursuit, the Scratch Race. Brown was an Australian Institute of Sport scholarship holder. At a hearing before the Court of Arbitration for Sport cyclist Mark French gave sworn evidence that named Shane Kelly, Sean Eadie, Jobie Dajka and Graeme Brown were riders who injected vitamins and supplements in his room.

13 ampoules labelled EquiGen and vitamins had been discovered by cleaners outside French's boarding room at the Australian Institute of Sport. On testing some of the syringes were found to contain the EquiGen hormone. French's lifetime ban was exonerated on appeal and Brown himself was never charged with any offense. Brown hails from an outer suburb of Sydney, he has a daughter. Married Brooke Colton. Brown was awarded the Order of Australia Medal in the 2005 Australia Day Honours List. Other awards include NSW cyclist of the year

Proclamation of the German Empire (paintings)

The Proclamation of the German Empire is the title of several historical paintings by the German painter Anton von Werner. On 18 January 1871, Anton von Werner was present at the proclamation of the German Empire in Versailles in his capacity as a painter. In the following years, he produced several versions of the imperial proclamation at greater intervals, two of which were shown in prominent places in Berlin. Only a third version was preserved to Otto von Bismarck's last residence, is now open to the public, it is the most reproduced picture of the Imperial Proclamation. Since the three paintings show strong differences, the images are of great documentary and historical dichotomy. Von Werner adapted them to the wishes of his respective clients; the clothes worn by Bismarck in the first painting do not match with the other two paintings. Bismarck is wearing his white parade uniform in the second and third painting, which places him in the focus of the viewer. In fact, in Versailles, he was wearing a blue gun coat.

In addition, he was holding the Order of Pour le Mérite on his white uniform, which he received in 1884. Minister of War Albrecht von Roon, who did not participate in the proclamation of Versailles, was included in the third version. In the first and third paintings, the Grand Duke of Baden summons the new emperor; the perspective makes it appear that the imperial proclamation was above all a work of the princes and of the military. Von Werner began working on the picture as one of the most influential German artists. In 1870, von Werner spent the final phase of the Franco-Prussian War at the headquarters of the Third Army led by Prussian crown prince Frederick William. In January 1871, the latter asked him to travel from Karlsruhe to the "Grand Headquarter" in the Palace of Versailles to "experience something worthy of your brush." Von Werner was only informed of the Proclamation of the German Empire on 18 January. The crown prince had impressed the design of the Palace of Versailles, which presented itself to visitors as a national site of fame in France, furnished with historical paintings.

He wanted something similar for Berlin, unlike Napoleon Bonaparte, he had not come to the idea that the imminent ceremony would be designed by the painter for posterity. Napoleon had allowed Jacques-Louis David to stage the furnishing and the appearance of the actors in his imperial crown for a historical painting; the Prussian ceremony in the Hall of Mirrors was simple. In the elongated gallery stood, on the window side and Bavarian soldiers and on the mirror side, their officers, mixed with some other southern German armies; the King, accompanied by German princes and his entourage, crossed the trellis to the middle, where a field altar was erected. There, a Potsdam army chaplain celebrated a worship service, during which the chorus sang "Nun danken alle Gott"; the group went to a flat platform at the end of the gallery, where the princes and William stood in the middle. Bismarck, who stood below surrounded by commanders, read the imperial proclamation. Thereupon, the Grand Duke of Baden issued a "Hoch" to "His Majesty Emperor William", which those who were in attendance repeated three times.

The ceremony was over, while the calls continued among the troops station in the palace and the park. During the worship, Werner sketched the main characters in the immediate vicinity of the Emperor, he portrayed the princes, the representatives of the Hanseatic cities and numerous officers. During the work, an friendly relationship with the Crown Prince came about, as well as the personal relations to Federal Chancellor Bismarck and Emperor William. Werner had the problem of representing the trellis that formed the soldies with the officers to the gallery and the princes grouped around them; the adjoining oil painting by Victor Bachereau-Reverchon shows the comparatively narrow space, from whose end the flat gallery for the Emperor had been removed. It was important to take the picture of the ceiling paintings that glorify Louis XIV as a conqueror of German lands and cities; as early as January 1871, a conceptual design followed, a model, approved by the Crown Prince. The picture was commissioned for the Berlin city palace.

Werner determined the image format according to a place he had chosen in the "White Hall", the largest of the château, used for public events such as the opening of the Reichstag and the grand court. His visit was the end and highlight of the guided tours through the representative rooms of the castle, where several hundred paying visitors took part every day; the picture was against the window wall. When William II had the hall redesigned in 1892, the picture only fitted into a 9.5 x 9.7m gap at the western end of the picture gallery, thus losing its effect. After the transformation of the picture gallery into a gobeling gallery by William II in 1914 and the following years of the Weimar Republic and the period of National Socialism, the painting remained like most "parental pictures" of the castle, the eyes of the visitors. Werner's headquarters at the castle were burned during the Second World War on 2 February 1945, during an air raid on Berlin; the great popularity of the painting prompted William I to entrust Werner with the production of the imperial proclamation in the newly erected Hall of Famy of the Prussian Army in Berlin's Zeughaus.

There, opposite to the entrance of the Ruler's Hall, two wall paintings of Werner's flanked the figure of the victorious goddess Viktoria von Fritz Schaper. To the left was the coronation of Frederick III as Prussian King in 1701, on the right was the proclamation of William I as Ge

Dixie Heights High School

Dixie Heights High School is a 5-A high school located at 3010 Dixie Highway in Edgewood, but has a mailing address of Fort Mitchell. The school was built by the Works Progress Administration, it opened for classes in 1936 and was dedicated by Eleanor Roosevelt. It was to be named for Franklin D. Roosevelt; the school is on U. S. Route 25/U. S. Route 42; the main building is nearly identical in construction and materials to Simon Kenton High School, located in Independence, Kentucky. Before the renovations to both Dixie Heights High School and Simon Kenton High School, they were known as sister schools. Dixie Heights High School is in the Kenton County School District; the superintendent is Dr. Henry Webb. Former superintendent Tim Hanner started a program called Hanner's Heroes; this trains students as tutors in the One to One Reading Program, who help elementary students learn to read. In 2007 Dixie Heights ranked in the top 10% of Kentucky schools in state testing; the school earned a 7 out of 10 rating by GreatSchools, the school has an overall community rating of 4 out of 5 stars.

In addition to tuition, students are given guidance related to post-secondary opportunities in the current job market, military and technical school. The current Principal is Nate Niemi, the Assistant Principals are Tom Spritzky, Lafon Benton, Roger Stainforth; the school enrolls about 1,300 students. Dixie Heights High School is a 5A school; the mascot is the Colonel, the school colors are red and gray. Its rivals are Covington Catholic High School, along with Simon Kenton High School, Ryle High School, Highlands High School. Skeeter Davis, singer Trey Grayson, Kentucky Secretary of State David S. Mann, former mayor of Cincinnati, Ohio Mark Pike, NFL player with the Buffalo Bills Brian Pillman, deceased professional-wrestler Brian Pillman Jr. professional-wrestler Graham Taylor, MLB player with the Miami Marlins Ron Ziegler, press secretary to Richard Nixon Kenny Soward, Published Author and Professional Drummer Simple Aggression Reed Bradfield, D3 Basketball at Capital University Dixie Heights High School

Sara Carter

Sara Elizabeth Carter was an American country music musician and songwriter. Remembered for her deep, mature singing voice, she was the lead singer on most of the recordings of the historic Carter Family act in the 1920s and 1930s. In her earliest recordings her voice was pitched high. Born in Copper Creek, the daughter of William Sevier Dougherty and Nancy Elizabeth Kilgore, she married A. P. Carter on June 18, 1915, but they divorced in 1936, they had three children: Gladys and Joe. In 1927, she and A. P. began performing as the Carter Family the first commercial rural country music group. They were joined by her cousin, married to A. P.'s brother, Ezra Carter. Sara married Coy Bayes, A. P.'s first cousin, moved to California in 1943, the original group disbanded. In the late 1940s, Maybelle began performing with her daughters Helen and Anita as The Carter Sisters. On Carter Family recordings, Sara is credited as author of the songs "Fifty Miles of Elbow Room" and "Keep on the Firing Line". RCA gave her songwriter credit, as it did A.

P. Carter on his public domain discoveries; the Carter family recordings of these tunes brought the songs worldwide fame. She wrote or co-wrote several other songs, including "My Foothills Home", "The Dying Soldier", "Lonesome Pine Special, Farther On", "Railroading on the Great Divide". Sara reunited with Maybelle in the 1966 for a Columbia Records album titled “An Historic Reunion,”, re-issued on Bear Records, with additional songs, as “Sara and Maybelle Carter.” They performed together during the folk music craze of the 1960s at the Newport Folk Festival. The duo were featured as guests in a late 1960s episode of the Wilburn Brothers television show, singing "Little Moses" and "As the Band Played Dixie". Following this period, Sara retired to California,though she and Maybelle remained close for the rest of their lives and Sara and Coy journeyed yearly from California to Virginia by car, pulling a travel trailer. In the early 1970s, Sara and Maybelle reunited to appear on Johnny Cash’s network television show and to perform together at the first annual A.

P. Carter Memorial Festival in Hiltons, Virginia. Carter was inducted as part of the Original Carter Family in the Country Music Hall of Fame in 1970, along with Bill Monroe. In 1993, her image appeared on a U. S. postage stamp honoring the Carter Family. In 2001 she was inducted into the International Bluegrass Music Hall of Honor. On her 2008 album All I Intended to Be, Emmylou Harris includes the song "How She Could Sing the Wildwood Flower", co-written with Kate and Anna McGarrigle about the relationship between Sara and A. P. inspired by a documentary that the three of them saw on television. Sara Carter died in Lodi, aged 80, is interred in the Mt. Vernon United Methodist Church graveyard in Hiltons, Virginia; the A. P. and Sara Carter House, A. P. Carter Homeplace, A. P. Carter Store and Ezra Carter House, Mt. Vernon Methodist Church are listed on the National Register of Historic Places as components of the Carter Family Thematic Resource. Carter Family Wolfe, Charles. "The Carter Family".

In The Encyclopedia of Country Music. Paul Kingsbury, Editor. New York: Oxford University Press. Pp. 84–5, 617

Brigadier Estanislao López Highway

The Brigadier Estanislao López Highway is a highway in the Argentine province of Santa Fe, linking the provincial capital Santa Fe and the city of Rosario. It runs north–south for 157 km parallel to National Route 11. Named in honor of the 19th century caudillo and governor, Estanislao López, the highway was initiated by the Provincial Highway Bureau office during the tenure of Governor Aldo Tessio, was built between 1964 and 1972. Provincial Law Nº 10.798, signed by Governor Carlos Reutemann in 1993, privatized the highway's operations and maintenance, redesignated it as a toll road under the management of AUFE