An estrogen conjugate is a conjugate of an endogenous estrogen. They occur in the body as metabolites of estrogens and can be reconverted back into estrogens, they serve as a circulating reservoir for estrogen in the case of orally administered pharmaceutical estradiol. Estrogen conjugates include sulfate and/or glucuronide conjugates of estradiol and estriol: Estrogen conjugates are conjugated at the C3, C16α, and/or C17β positions, where hydroxyl groups are available. Estrogen conjugates have been used as pharmaceutical estrogens, as in estrone sulfate as estropipate and in conjugated estrogens and conjugated estriol. Catechol estrogen Lipoidal estradiol Steroid sulfate

Battleboro is a former town and community in the city of Rocky Mount in Edgecombe and Nash counties of North Carolina, United States. In 1835 Joseph S. Battle established Battle's Camp along the Raleigh Railroad; the settlement was located in Edgecombe County, North Carolina, but in 1871 the county line was altered to run a long the railroad and Battle's Camp straddled both Edgecombe and Nash counties. In 1873 the community was incorporated as the town of Battleboro. By 1900 the town had 229 residents. Two years the business district was destroyed in a fire, but it was rebuilt. By 1990 the town had grown to include 447 residents. In April 1994, a black rights group, Concerned Citizens for Battleboro, initiated a boycott of local white-owned businesses in protest of alleged harassment by authorities after a black woman was maced by a police officer and arrested for intervening in a traffic stop involving her niece; the boycott forced the town's largest grocery store to close. Over the next few years many residents of the Battleboro began urging that the town be annexed by the larger city of Rocky Mount to receive cheaper government services.

The all-white Battleboro Board of Commissioners refused to consider the matter, leading racial minorities in the town to accuse the board of discrimination. On June 4, 1996 residents of the community voted in a nonbinding referendum 132-34 in favor of annexation. Battleboro was incorporated into Rocky Mount that year. Fleming, Monika S.. Rocky Mount and Nash County. Arcadia Publishing. ISBN 9780738553184

"Wet the Bed" is a song by American R&B recording artist Chris Brown featuring American rapper Ludacris, from his fourth studio album F. A. M. E.. It was written by Brown, Kevin McCall, Amber Streeter, Christopher Bridges, produced by Bigg D. Lyrically, the song sees Brown and Ludacris exploring ways to leave a woman satisfied. "Wet the Bed" received mixed reviews from most music critics, who were ambivalent towards its lyrics. It was released as a single and has appeared on the US Hot R&B/Hip-Hop Songs chart at number twenty-five; the song has been performed live at the album's listening party, as well as on Brown's F. A. M. E. Tour. "Wet the Bed" was written by Brown, Derrick "Bigg D" Baker, Steven Kubie, Kevin McCall, Sevyn Streeter, Andre Merritt, Joseph Bereal and Christopher Bridges, while the production was handled by Bigg D and Steven "Q-Beatz" Kubie aka "The Kid" at South Beach Studios, Miami with engineers Eric Manco and Ryan Coplan. It was mixed by Brian Springer at The Record Plant -- a studio in Los Angeles, California.

"Wet the Bed" is a slow-tempo R&B song. The song begins with keys laced over a beat of dripping sound effects, it makes use of acoustic guitar. According to Brad Wete from Entertainment Weekly, the song "rival the bump-'n'-grind heights of'90s Casanova crew Jodeci." Ludacris opens the song proclaiming: "Hear the sound of your body drip, drip / As I kiss both sexy lip, lips." Using "blatant sexual metaphors", Brown sings: "I ain't afraid to drown, if that means I deep up in your ocean yeah / Girl I'll drink you down, sipping on your body all night." Brown and Ludacris performed the song live for the first time at a listening party for Brown's album F. A. M. E on March 18, 2011. For the performance, Brown wore navy pants and a blue hoodie reading "F. A. M. E.", while Ludacris wore sunglasses, a black shirt and jacket, grey pants. In April 2011, Brown embarked on his F. A. M. E. Tour in Australia, where he performed "Wet the Bed" as part of the concert's setlist. Steve Jones from USA Today called the song "salacious" and wrote that Brown is "taking it to the next phase."

Joanne Dorken from MTV UK felt "rather apprehensive" of the song, noted it "sees Breezy exploring ways to er, leave a woman satisfied." Nick Levine from BBC Music wrote that "Brown's identity crisis is betrayed most blatantly by the sequencing of "Wet the Bed."" Hannah Ash from The Harber Herald criticized the song's lyrics for being "kind of a gross-out and don't need to be paid attention to", but praised Brown's "beautiful vocals, so that makes up for it." Eric Henderson from Slant Magazine criticized the song's opening verse, as well as Ludarcris' verse, "Women call me the Super Soaker and Ima soak your bed to death", as "some new form of jizz torture." Calling the song an "over-the-top hyper-sexual", Chad Grischow from IGN wrote that it is the "kind of excessively crude sludge that would have made 12 Play era R. Kelly blush." Cristin Maher from PopCrush wrote that "it is shocking to hear the unbelievably lustful lyrics projecting from Brown as he sings the song". In the issue dated July 30, 2011, "Wet the Bed" debuted at number 89 on the US Hot R&B/Hip-Hop Songs chart, peaked at number nine in the issue dated October 8, 2011.

On the US Billboard Hot 100 chart, the song debuted at number 96 in the issue dated September 24, 2011 and peaked at number 77. Credits adapted from the liner notes for F. A. M. E.. Lyrics of this song at MetroLyrics

Sulfur: A Literary Tri-Annual of the Whole Art was an influential, small literary magazine founded by American poet and award-winning translator Clayton Eshleman in 1981 while he was Dreyfuss Poet in Residence at the California Institute of Technology. The name Sulfur references sulphur, a butterfly with orange and yellow wings, bordered in black, as well as the element sulfur in particular in its role in alchemical processes of combustion and transformation. By referencing a butterfly in the title, Eshleman linked the magazine with Caterpillar a previous magazine he founded and edited from 1967 to 1973. By linking the magazine with alchemy, Eshleman was associating it with Jungian interpretations of alchemical symbols. In a note on the term published in Sulfur 24, Eshleman evoked "imagination as an instrument of change."Sulfur appeared three times a year from 1981 to 1987 and two times a year from 1988 until its final double issue number 45 / 46 in Spring 2000. Its 11,000 pages included writing and visual art from some 800 contributors, 200 of which were not from the United States.

In addition to poetry and prose by American poets, Eshleman pursued five other principle areas of focus for the magazine: 1. Translations of contemporary foreign-language poets and new translations of untranslated older works. 2. Archival materials by earlier Anglophone writers. 3. Including writings by unknown younger writers in every issue. 4. Commentary including poetics and book reviews polemical in nature. 5. Resource materials including writing from outside of poetry per se; the magazine was founded following a discussion between Eshleman, Robert Kelly and Jerome Rothenberg. "Sulfur unswervingly presented itself as an alternative to what some of us call'official verse culture'," Eshleman said in an interview when the magazine closed. The magazine was funded by sales and subscriptions as well as grants from academic and public institutions; the Humanities Division of the California Institute of Technology funded the magazine from 1981 to 1983. The UCLA Extension Writers Program funded issues 10 through 15, from 1984 to 1986.

From 1986 to 2000, the English Department at Eastern Michigan University provided limited office support, a part-time graduate assistant, course release time for Eshleman. Grants from the National Endowment for the Arts from the mid-1980s until 1996, alongside sales and subscriptions, covered expenses during that period. During its run of issues, Sulfur maintained a reputation as the premiere publication of alternative and experimental writing; this was due in no small measure to its impressive masthead of contributing editors and correspondents. These included Rachel Blau DuPlessis, Michael Palmer, Eliot Weinberger as "Contributing Editors"; the roster of "Correspondents" included: Charles Bernstein, James Clifford, Clark Coolidge, Jayne Cortez, Marjorie Perloff, Jed Rasula, Jerome Rothenberg, Roberto Tejada, Keith Tuma, Allen S. Weiss, Marjorie Welish; the managing editor was Caryl Eshleman. Issue 33 was a special issue edited by Eliot Weinberger. Issue 44 was a special issue entitled Anglophone Poetry & Poetics Outside the US and the UK, guest edited by Jenny Penberthy and Marjorie Perloff.

The final issue of Sulfur appeared in spring 2000. In his introduction, Eshleman explained the end of the magazine by citing the ongoing financial challenge of producing a poetry magazine without solid institutional or public support as well as, more the fact that he wanted to devote more of his time to his own writing. In 2008, Jacket magazine published a conversation between Clayton Eshleman, Paul Hoover, Maxine Chernoff on editing Sulfur and New American Writing. Jacket 36 Wesleyan University Press published A Sulfur Anthology edited by Clayton Eshleman in December 2015. Testimonials Gary Snyder: In an era of literary conservation and sectarianism, the broad commitment of Sulfur to both literary excellence and broad, interdisciplinary, unbought humanistic engagement with the art of poetry in America has been invaluable. To my notion its critical articles and notes have been the sharpest going over the last several years. James Laughlin: Sulfur must be the most important literary magazine which has explored and extended the boundaries of poetry.

Clayton Eshleman has a nose for smelling out what was going to happen next in the ceaseless evolution of the living art. George Butterick: Sulfur is Antaeus with a risk, it has efficacy. It has primacy, it is one of the few magazines, more than a receptacle of talent contributing to the shape of present-day literary engagement. Marjorie Perloff: Sulfur has been, throughout the 80s and 90s, the best journal for cutting-edge writing, whether poetry or fiction or criticism, it surpasses the others by not being the organ or mouthpiece of a little clique but bringing together disparate items in an inspired collage. Charles Bernstein: Much attention has been paid to Sulfur’s selection of poetry, which included work from many unknown and new poets as well as old hands, but important was the back section of the magazine, which offered some of the most incisive commentary of the state of the art available, dwarfing the coverage in any other venue. Eliot Weinberger: It’s undeniable that everywhere – and in the United States, where literary writers do not appear in newspapers or mass-circulation periodicals – the ‘little’ magazine kept literature alive in the 20th century.

And it is safe to say that Sulfur was the last significant American l

Meze or mezze is a selection of small dishes served as appetizers in parts of the Middle East, the Balkans and North Africa. In some Middle Eastern and African regions where it is present predominantly Muslim regions where alcohol is less common, meze is served as a part of multi-course meals, while in Greece and the Balkans, they function more as snacks while drinking or talking; the word is found in all the cuisines of the former Ottoman Empire and comes from Persian مزه "taste, snack" < مزیدن "to taste". In Turkey, meze consist of beyaz peynir, kavun, acılı ezme, patlıcan salatası, beyin salatası, kalamar tava, midye dolma and midye tava, cacık, dolma or sarma, arnavut ciğeri, octopus salad, çiğ köfte. In Greece and the Balkans, mezé, mezés, or mezédhes are small dishes, hot or cold, spicy or savory. Seafood dishes such as grilled octopus may be included, along with salads, sliced hard-boiled eggs, garlic bread, kalamata olives, fava beans, fried vegetables, taramosalata, fried or grilled cheeses called saganaki, sheep, goat, or cow cheeses.

Popular meze dishes include the following. Other meze dishes include cheeses or meat dishes, ofter served with Flatbread. In Syria and Cyprus, meze is a meal in its own right. There are meat or fish mezes. Groups of dishes arrive at the table about 5 at a time. There is a set pattern to the dishes: olives, tahini and yogurt will be followed by dishes with vegetables and eggs small meat or fish dishes alongside special accompaniments, more substantial dishes such as whole fish or meat stews and grills. Establishments will offer their own specialities; the dishes served will reflect the seasons. For example, in late autumn, snails will be prominent; as so much food is offered, it is not expected that every dish be finished, but rather shared at will and served at ease. Eating a Cypriot meze is a social event. In the Balkans, meze is similar to Mediterranean antipasti in the sense that cured cold-cuts and salads are dominant ingredients and that it doesn't include cooked meals. In Serbia, Croatia and Montenegro it includes hard or creamy cheeses, kajmak or smetana cream, salami and other forms of "suho/suvo meso", cured bacon and various pastry.

In southern Croatia and Montenegro more Mediterranean forms of cured meat such as pršut and panceta and regional products like olives are common. Albanian-style meze platters include prosciutto ham and brined cheese, accompanied with roasted bell peppers or green olives marinated in olive oil with garlic. In Bulgaria, popular mezes are lukanka, sirene. In Macedonia most popular mezes are Shopska salad made with tomatoes, onion and feta cheese, Also Ajvar and Pindjur are the most popular mezes made in Macedonia for over 100 years ago. In Romania, mezelic means quick appetizer and includes Zacuscă, cheeses and salamis accompanied by Țuică. Meze is accompanied by the distilled drinks rakı, ouzo, Aragh Sagi, mastika, or tsipouro, it may be consumed with beer and other alcoholic drinks. Cyprus Brandy is a favourite drink to accompany meze in Cyprus, although lager or wine are popular with some; the same dishes, served without alcoholic drinks, are termed "muqabbilat" in Arabic. In Bulgaria, meze is served at the consumption of wine and mastika, but accompanying other alcoholic drinks that are not local to the region.

In addition to traditional local foods, meze can include sweets or pre-packaged snacks. The term meze is applied to any foods and snacks consumed alongside an alcoholic beverage. In Greece, meze is served in restaurants called mezedopoleíon and tsipourádiko or ouzerí, a type of café that serves ouzo or tsipouro. A tavérna or estiatório offer a mezé as an orektikó. Many restaurants offer their house poikilía —a platter with a smorgasbord of mezédhes that can be served to customers looking for a quick or light meal. Hosts serve mezédhes to their guests at informal or impromptu get-togethers, as they are easy to prepare on short notice. Krasomezédhes is a meze.