James Graham, 3rd Duke of Montrose, KG, KT, PC, styled Marquess of Graham until 1790, was a Scottish nobleman and statesman. Montrose was the son of William Graham, 2nd Duke of Montrose, Lady Lucy, daughter of John Manners, 2nd Duke of Rutland. Montrose was Member of Parliament for Richmond from 1780, for Great Bedwyn from 1784 to 1790, when he succeeded his father in the dukedom. According to Robert Bain, Scotland can thank him for the repeal in 1782 of the Dress Act 1746 prohibiting the wearing of tartans, he served as a Lord of the Treasury from 1783 to 1789, as co-Paymaster of the Forces from 1789 to 1791. He was appointed a Privy Counsellor and Vice-President of the Board of Trade in 1789, he was Master of the Horse from 1790 to 1795, from 1807 to 1821, Commissioner for India from 1791 to 1803, Lord Justice General of Scotland from 1795 to 1836, President of the Board of Trade from 1804 to 1806, Lord Chamberlain from 1821 to 1827 and from 1828 to 1830. He was appointed a Knight of the Thistle in 1793, resigning from the Order when appointed a Knight of the Garter in 1812.
He was Chancellor of the University of Glasgow from 1780 to 1836, Lord Lieutenant of Huntingdonshire from 1790 to 1793, Lord Lieutenant of Stirlingshire from 1795 until his death, Lord Lieutenant of Dumbartonshire from 1813 until his death. Graham was a effective member of the House of Commons when speaking on Scottish topics. Early in his career as a Minister under William Pitt the Younger, Graham was attacked in the Rolliad: ——Superior to abuse, He nobly glories in the name of GOOSE. Montrose was twice married, he married firstly Lady Jemima Elizabeth, daughter of John Ashburnham, 2nd Earl of Ashburnham, in 1785. After her death in September 1786, aged 24, he married secondly Lady Caroline Maria, daughter of George Montagu, 4th Duke of Manchester, in 1790, they had six children. Montrose died in December 1836, aged 81, was succeeded in the dukedom by his son, James; the Duchess of Montrose died in March 1847, aged 76
Isaiah 15 is the fifteenth chapter of the Book of Isaiah in the Hebrew Bible or the Old Testament of the Christian Bible. This book contains the prophecies attributed to the prophet Isaiah, is a part of the Book of the Prophets; this chapter and the following chapter deal with the forthcoming history of Moab. The original text was written in Hebrew language; this chapter is divided into 9 verses. Some early manuscripts containing the text of this chapter in Hebrew are of the Masoretic Text tradition, which includes the Codex Cairensis, the Petersburg Codex of the Prophets, Aleppo Codex, Codex Leningradensis. Fragments containing parts of this chapter were found among the Dead Sea Scrolls: 1QIsaa: complete 1QIsab: extant: verses 2-9 4QIsao: extant: verse 1There is a translation into Koine Greek known as the Septuagint, made in the last few centuries BCE. Extant ancient manuscripts of the Septuagint version include Codex Vaticanus, Codex Sinaiticus, Codex Alexandrinus and Codex Marchalianus; the parashah sections listed here are based on the Aleppo Codex.
Isaiah 15 is a part of the Prophecies about the Nations.: open parashah. 15:1-9 The burden against Moab. Because in the night Ar of Moab is laid waste And destroyed, Because in the night Kir of Moab is laid waste And destroyed, My heart will cry out for MoabIsaiah records his sympathy with Moab. Related Bible parts: 2 Kings 3, 2 Kings 13, Isaiah 13, Isaiah 14, Isaiah 16, Isaiah 25, Jeremiah 48, Ezekiel 25 This article incorporates text from a publication now in the public domain: Easton, Matthew George. "Kir of Moab". Easton's Bible Dictionary. T. Nelson and Sons. Ulrich, Eugene, ed.. The Biblical Qumran Scrolls: Transcriptions and Textual Variants. Brill. Würthwein, Ernst; the Text of the Old Testament. Translated by Rhodes, Erroll F. Grand Rapids, MI: Wm. B. Eerdmans. ISBN 0-8028-0788-7. Retrieved January 26, 2019. Isaiah 15 Hebrew with Parallel English Isaiah 15 English Translation with Parallel Latin Vulgate
In Full Swing is the fourth studio album by Seth MacFarlane. It was released on September 2017, through Republic Records and Verve Records; the record was produced by Joel McNeely and MacFarlane himself, who serves as the executive producer. Featured artists included on the album are American singer-songwriter Norah Jones and American actress and singer Elizabeth Gillies; the album received two nominations at the 60th Annual Grammy Awards for Best Traditional Pop Vocal Album and Best Arrangement and Vocals. On May 23, 2016, MacFarlane announced on his Twitter account that he was recording songs for his new album. On May 28, 2016, he revealed that the songs on the album were arranged by Joel McNeely, whom he had worked with on the previous three albums. On May 30, 2016, MacFarlane revealed that it was his final day of recording at Abbey Road Studios and thanked all the musicians who collaborated with him on the album. On August 17, 2017, the album was announced and was set to be released a month later.
The album's first lead single, "That Face", was released on August 17, 2017. The album's second single, "Almost Like Being in Love", was released on August 28, 2017; the album's third and final single, "Have You Met Miss Jones?", was released on September 7, 2017. In Full Swing received positive reviews from music critics. AllMusic's Stephen Thomas Erlewine wrote: "Standing in contrast to the moody 2015 set No One Ever Tells You, 2017's In Full Swing contains some of the sunny brio its title suggests. Chalk it up to the songs Seth MacFarlane selects, of course. There's nary a song of heartbreak among the album's 16 numbers, he doesn't rely on overly familiar tunes, either; this lighthearted batch of songs is given effervescent arrangements by Joel McNeely, who gladly keeps the proceedings cool and breezy. As always, MacFarlane and McNeely are so besotted with Frank Sinatra's classic long-players for Capitol that their act can seem like a bit of swinging cosplay, with MacFarlane mimicking Old Blue Eyes' finger-snapping charm and McNeely penning love letters to Nelson Riddle, but their execution is expert and, since the touch is light, In Full Swing feels looser and better than its predecessors.
MacFarlane and McNeely have taken Frank's advice to take things Nice'n' Easy to heart, they're the better for it." Christopher Louden from JazzTimes praised the album, writing, "MacFarlane proves worthy of such bounty. Alongside top-tier standards from the Gershwins, Irving Berlin, Jerome Kern and Hart, Lerner and Loewe and Jimmy Van Heusen, he unearths several less precious though no less glittering baubles. Among them: the overjoyed "I Like Myself", from It's Always Fair Weather. Through it all, you can't help but be carried away by MacFarlane’s joie de vivre, like a kid in a candy store gleefully sharing his sugar-dusted treats." All music is composed by Joel McNeely. Credits adapted from AllMusic. In Full Swing debuted at No. 2 on the US Billboard Top Jazz Albums. In Full Swing at Discogs
The Red Cross Medal was a German medal set up on 1 October 1898 by Wilhelm II. It had three classes and could be awarded to all those who carried out great service to the sick in peace or wartime, or for special achievement in the service of the German Red Cross. Though service to the sick during times or war had been recognized with prior awards of the Order of the Crown and General Honor Decorations with the Red Geneva Cross, Empress Augusta Victoria the royal patroness of the organization wanted an award to recognize work in peacetime as well; the Red Cross Medal was awarded in three classes, the Second and Third classes being worn as circular medals suspended from a red ribbon with white and black stripes. The First Class was a red enameled Geneva Cross with gilded Prussian Royal Crowns at the ends of the arms; this award was worn as a steckreuz on the breast like the Iron Cross. Recipients could be promoted to the next class of the medal with five years time in service, with the first level anyone could be appointed to being the Second Class.
The Red Cross Medal, First Class was a Steckkreuz in the form of the red enameled Geneva cross in gilded silver. At the ends of the cross arms are gilded Prussian Royal Crowns; the red enamel bears a hatch pattern. The back is plain gilded silver except for the single vertical attachment pin on the back; the cross weighs 14 gm. The Red Cross Medal, Second Class is a round, silver medal, 33 mm in diameter. On the obverse is a Geneva cross with Prussian royal crowns at the ends the arms of the cross; the Geneva cross is enabled in red. Between the arms of the cross are the initials W and R at the top and below are the initials A and V. On the reverse is the inscription in four lines FUER / VERDIENSTE / UM DAS / ROTHE KREUZ. To the left of the inscription is a curved oak branch; the Red Cross Medal, Third Class is 33 mm in diameter. The design is identical to the silver medal except it lacks the red enameling of the cross on the obverse. In 1900, clasps for the medals were created to recognize service in war.
Three were awarded: Südafrika 1899–1900 Ostasien 1900/01 Südwestafrika 1904/06
Bendomino is a tabletop strategy game similar to dominoes, created by Thierry Denoual and published by Blue Orange Games in 2007. It is a set of double-6 dominoes with a 120-degree curve; the main difference from dominoes is the curved shape of the pieces, which introduces a new level of strategy to the game. There is a version of the game for younger players with pictures instead of numbers and symbols on the bendomino tiles. Bendomino is played in rounds. At the beginning of each round, the 28 Bendominoes are placed face down and mixed. Players draw their hand, the remaining pieces represent the stock; the player with the highest Bendomino double starts the game by placing the piece on the center of the table. If no double was drawn, the highest Bendomino number should be played. Taking turns in a clockwise direction, each player tries to match a Bendomino by number to either end of the Bendomino chain. To be accepted the new piece needs to match but has to fit; each Bendomino must be connected evenly with other pieces to ensure accuracy of the game.
If players do not have a Bendomino that can be played, they must draw one piece from the stock. If the piece they draw can be played, they can play it. Players can decide to draw a Bendomino and pass their turn if they have playable pieces. Either end of the Bendomino game can be blocked when: no matching numbers are available, no matching pieces can fit, one end of the game is trapped in a dead end, both ends connect. If both ends of the Bendomino chain are blocked, each player draws a Bendomino until the stock is empty. A round ends when: A player has no Bendominoes left to play or the stock is empty and players cannot play any pieces. A player wins a round when: They play all their pieces or no pieces can be played by any player and you have the lowest point total.. The winner of a round scores the dot points from all opponents’ remaining Bendominoes; the first player to score 100 points wins the game. Several variations exist. In Wild Draw: For a more aggressive game, when players do not have a playable piece they must continue to draw until they get a playable piece or until the stock is empty.
In No Draw: When players do not have a matching piece, they pass their turn instead of drawing. No Draw with 2 Teams of 2 players: each player draws 7 pieces at the start of the game, so there is no stock. Players take only use their individual pieces. A team wins a round; the winning team scores the dot points from the remaining Bendominoes of the losing team. Blue Orange Link: BlueOrangeGames-Bendomino BlueOrange GamesOther Bendominoes.com The Toy Man Online Review Bendomino at BoardGameGeek Gamers Alliance Toy DirectoryVideos: Game demonstration Another game demonstration
Gospel music is a genre of Christian music. The creation, performance and the definition of gospel music varies according to culture and social context. Gospel music is composed and performed for many purposes, including aesthetic pleasure, religious or ceremonial purposes, as an entertainment product for the marketplace. Gospel music has dominant vocals with Christian lyrics. Gospel music can be traced with roots in the black oral tradition. Hymns and sacred songs were repeated in a call and response fashion. Most of the churches relied on hand clapping and foot stomping as rhythmic accompaniment. Most of the singing was done a cappella; the first published use of the term "gospel song" appeared in 1874. The original gospel songs were written and composed by authors such as George F. Root, Philip Bliss, Charles H. Gabriel, William Howard Doane, Fanny Crosby. Gospel music publishing houses emerged; the advent of radio in the 1920s increased the audience for gospel music. Following World War II, gospel music moved into major auditoriums, gospel music concerts became quite elaborate.
Gospel blues is a blues-based form of gospel music. Southern gospel used all tenor-lead-baritone-bass quartet make-up. Progressive Southern gospel is an American music genre that has grown out of Southern gospel over the past couple of decades. Christian country music, sometimes referred to as country gospel music, is a subgenre of gospel music with a country flair, it peaked in popularity in the mid-1990s. Bluegrass gospel music is rooted in American mountain music. Celtic gospel music infuses gospel music with a Celtic flair, is quite popular in countries such as Ireland. British black gospel refers to Gospel music of the African diaspora, produced in the UK; some proponents of "standard" hymns dislike gospel music of the late 19th and early 20th centuries. Today, with historical distance, there is a greater acceptance of such gospel songs into official denominational hymnals. Gospel music features Christian lyrics; some modern gospel music, however, is not explicitly Christian and just utilizes the sound.
Subgenres include contemporary gospel, urban contemporary gospel, Southern gospel, modern gospel music. Several forms of gospel music utilize choirs, use piano or Hammond organ, drums, bass guitar and electric guitar. In comparison with hymns, which are of a statelier measure, the gospel song is expected to have a refrain and a more syncopated rhythm. Several attempts have been made to describe the style of late 19th and early 20th century gospel songs in general. Christ-Janer said "the music was tuneful and easy to grasp... rudimentary harmonies... use of the chorus... varied metric schemes... motor rhythms were characteristic... The device of letting the lower parts echo rhythmically a motive announced by the sopranos became a mannerism". Patrick and Sydnor emphasize the notion that gospel music is "sentimental", quoting Sankey as saying, "Before I sing I must feel", they call attention to the comparison of the original version of Rowley's "I Will Sing the Wondrous Story" with Sankey's version.
Gold said, "Essentially the gospel songs are songs of testimony, religious exhortation, or warning. The chorus or refrain technique is found." According to Yale University music professor Willie Ruff, the singing of psalms in Gaelic by Presbyterians of the Scottish Hebrides evolved from "lining out" – where one person sang a solo and others followed – into the call and response of gospel music of the American South. Coming out of the African-American religious experience, American gospel music can be traced to the early 17th century, with foundations in the works of Dr. Isaac Watts and others. Gospel music has roots in the black oral tradition, utilizes a great deal of repetition, which allows those who could not read the opportunity to participate in worship. During this time and sacred songs were lined and repeated in a call-and-response fashion, Negro spirituals and work songs emerged. Repetition and "call and response" are accepted elements in African music, designed to achieve an altered state of consciousness sometimes referred to as "trance", to strengthen communal bonds.
Most of the churches relied on foot-stomping as rhythmic accompaniment. Guitars and tambourines were sometimes available, but not frequently. Church choirs became a norm only after emancipation. Most of the singing was done a cappella; the most famous gospel-based hymns were composed in the 1760s and 1770s by English writers John Newton and Augustus Toplady, members of the Anglican Church. Starting out as lyrics only, it took decades for standardized tunes to be added to them. Although not directly connected with African-American gospel music, they were adopted by African-Americans as well as white Americans, Newton's connection with the abolition movement provided cross-fertilization; the first published use of the term "Gospel Song" appeared in 1874 when Philip Bliss released a songbook entitled Gospel Songs. A Choice Collection of Hymns and Tunes, it was used to describe a new style of church music, songs that were easy to grasp and more singable than the traditional church hymns, which came out of the mass revival movement starting with Dwight L. Moody, whose musician was Ira D. Sankey, as well as the Holiness-Pentecostal movement.
Prior to the meeting of Moody