Led Zeppelin III is the eponymous third studio album by the English rock band Led Zeppelin, released in October 1970. It showed a progression from straightforward rock towards acoustic music. While hard rock influences were still present, such as on "Immigrant Song", acoustic-based songs such as "Gallows Pole" and "That's the Way" showed Led Zeppelin were capable of playing different styles successfully; the band wrote most of the material themselves, but as with prior records, included two songs that were re-interpretations of earlier works, "Gallows Pole" based on a traditional English folk song, by way of American singer Fred Gerlach, "Hats Off to Harper", a reworking of a blues song by Bukka White. The acoustic material developed from a songwriting session between band members Jimmy Page and Robert Plant at Bron-Yr-Aur cottage in Wales, which influenced the musical direction; the songs were recorded in three locations. Much of the work was done at Headley Grange, a country house, using the Rolling Stones Mobile Studio.
Additional sessions were held in more traditional recording studios such as Island Studios, Olympic Studios in London. As with the prior album, the band eschewed the use of guest musicians, with all music played by band members Page, John Paul Jones, John Bonham; the range of instruments played by the band was enhanced in this album, with Jones emerging as a talented multi-instrumentalist, playing a wide range of keyboard and stringed instruments including various synthesizers and double bass in addition to his usual bass guitar. As with prior albums, Page served as producer on the album, with mixing done by Andy Johns and Terry Manning; the album was one of the most anticipated of 1970, its shipping date was held up by the intricate inner sleeve design based around a volvelle, with numerous images visible through holes in the outer cover. It topped the UK and US charts. Although critics were confused over the change in musical style and gave the album a mixed response, Led Zeppelin III has since been acknowledged as representing an important milestone in the band's history, a turning point in their music.
By 1970, Led Zeppelin had achieved commercial success in both the UK and the US with their first two albums. They were determined to have a proper break, having recorded most of Led Zeppelin II in various locations while on tour, financing the sessions with the album sales and tour receipts. Following an exhausting concert tour of North America that spring, lead singer Robert Plant recommended to guitarist and producer Jimmy Page that they should retreat to Bron-Yr-Aur, an 18th-century cottage in Snowdonia, Wales, on a hilltop overlooking the Dyfi Valley, three miles north of the market town Machynlleth. Plant had spent holidays there with his family; this remote setting had no running water or electric power, which encouraged a slight change of musical direction for the band towards an emphasis on acoustic arrangements. Page explained the tranquillity of Bron-Yr-Aur stood in sharp contrast to the continual touring of 1969, affected the overall tone of the songwriting, the dominance of acoustic guitars.
His playing was influenced by folk guitarists Davey Graham and Bert Jansch, who used alternative guitar tunings. Plant recalled the band were "obsessed with change" and enjoyed listening to John Fahey; the band wanted a change in direction, to show they could play any style of music they wanted. The first recording sessions for Led Zeppelin III took place at Olympic Studios in November 1969. A press statement from manager Peter Grant said the group were recording a non-album track to be released as a single, but this was abandoned. Further sessions took place towards the end of the year, in between touring, before the decision to stop work and take a break at Bron-Yr-Aur. After preparing material for the album there and Plant were joined by drummer John Bonham and bassist/keyboardist John Paul Jones at Headley Grange, a mansion in East Hampshire, to rehearse the songs; the rural atmosphere gave a relaxed feel to the sessions, the band found it a more enjoyable environment to develop songs than a studio in the city.
The album was recorded between May and June 1970 at Headley Grange and at Olympic, with further recording at Island Records' Basing Street Studios in Notting Hill the following month. Mixing took place at Ardent Studios, Memphis, in August 1970 partway through the group's sixth American concert tour; the album was engineered by Andy Johns and Terry Manning. Page had first met Manning when the latter's band and Four More had supported Page's old band the Yardbirds in 1966. Manning had been to several Led Zeppelin shows, this led to Page asking him to engineer the new album. Led Zeppelin III marked a change in focus for the band from late 1960s hard rock to a psychedelic folk and acoustic sound; these styles had been present to a lesser degree in the band's first two releases, such as "Babe I'm Gonna Leave You" and "Ramble On" from the first and second albums respectively. However, on this album, the group used more acoustic arrangements, they would remain prominent to various degrees in the group's releases.
With Led Zeppelin III the group's songwriting dynamic changed, from Page's domination of the first two albums towards a more democratic situation in which all four group members contributed their own compositions and ideas. Plant wrote all of the lyrics, with the exception of "Tangerine". "Immigrant Song" was written about the Viking invasions of England and inspired by a short tour of Iceland in June 1970. It was re
Filipino is the national language of the Philippines. Filipino is designated, along with English, as an official language of the country, it is a standardized variety of the Tagalog language, an Austronesian regional language, spoken in the Philippines. As of 2007, Tagalog is the first language of 28 million people, or about one-third of the Philippine population, while 45 million speak Tagalog as their second language. Tagalog is among the 185 languages of the Philippines identified in the Ethnologue. Filipino is defined by the Commission on the Filipino Language as "the native dialect and written, in Metro Manila, the National Capital Region, in other urban centers of the archipelago."Filipino is taken to be a pluricentric language, as it is further enriched and developed by the other existing Philippine languages according to the mandate of the 1987 Constitution. Indeed, there have been observed "emerging varieties of Filipino which deviate from the grammatical properties of Tagalog" in Cebu, Davao City, Iloilo which together with Metro Manila form the four largest metropolitan areas in the Philippines.
The Philippines is a multilingual state with at least 175 living languages originating and spoken by various ethno-linguistic groups. There was no one single common language across every cultural group in the Philippine archipelago when the Spanish arrived in the 16th century; the four major trade languages were Visayan, Kapampangan and Ilocano. As the Philippine languages are closely related and therefore easy for Filipinos to learn, most speakers of smaller languages speak two or more of such regional languages; the eventual capital established by the Spaniards in the Philippines was Manila, situated in a Tagalog-speaking region. The first dictionary of Tagalog, published as the Vocabulario de la lengua tagala, was written by the Franciscan Pedro de San Buenaventura, published in 1613 by the "Father of Filipino Printing" Tomas Pinpin in Pila, Laguna. A latter book of the same name was written by Czech Jesuit missionary Paul Klein at the beginning of the 18th century. Klein spoke Tagalog and used it in several of his books.
He wrote a dictionary, which he passed to Francisco Jansens and José Hernández. Further compilation of his substantial work was prepared by Juan de Noceda and Pedro de Sanlúcar and published as Vocabulario de la lengua tagala in Manila in 1754 and repeatedly re-edited, with the latest edition being published in 2013 in Manila. Spanish served in an official capacity as language of the government during the Spanish colonial period. During the American colonial period, English became an additional official language of the Philippines alongside Spanish. While Spanish and English were considered "official languages" during the American colonial period, there existed no "national language" initially. Article XIII, section 3 of the 1935 constitution establishing the Commonwealth of the Philippines provided that: The National Assembly shall take steps toward the development and adoption of a common national language based on one of the existing native languages; until otherwise provided by law and Spanish shall continue as official languages.
On November 13, 1936, the first National Assembly of the Philippine Commonwealth approved Commonwealth Act No. 184. President Manuel L. Quezon appointed representatives for each major regional language to form the NLI. Led by Jaime C. De Veyra, who sat as the chair of the Institute and as the representative of Samar-Leyte-Visayans, the Institute's members were composed of Santiago A. Fonacier, Filemon Sotto, Casimiro Perfecto, Felix S. Sales Rodriguez, Hadji Butu, Cecilio Lopez; the Institute of National Language adopted a resolution on November 9, 1937 recommending Tagalog to be basis of the national language. On December 30, President Quezon issued Executive Order No. 134, s. 1937, approving the adoption of Tagalog as the language of the Philippines, declared and proclaimed the national language so based on the Tagalog dialect as the national language of the Philippines. The order stated. On December 31 of the same year, Quezon proclaimed Tagalog as the basis of the Wikang Pambansâ giving the following factors: Tagalog is spoken and is the most understood language in all the Philippine Regions.
It is not divided into smaller daughter languages, as Bikol are. Its literary tradition is the richest of all native Philippine languages, the most developed and extensive. More books are written in Tagalog than in any other autochthonous Philippine language but Spanish, but this is by virtue of law and Tagalog has always been the language of Manila, the political and economic center of the Philippines during the Spanish and American eras. Spanish was the language of the 1896 Revolution and the Katipunan, but the revolution was led by people who spoke Tagalog. On June 7, 1940, the Philippine National Assembly passed Commonwealth Act No. 570 declaring that the Filipino national language would be considered an official language effective July 4, 1946 (coinciding with the country's e
Gunnar Wennerberg was a Swedish poet and politician. Wennerberg was the son of the vicar of the town of Lidköping in Västergötland, went to gymnasium in the cathedral town of Skara, matriculated as a student at Uppsala University in 1837, where he studied natural sciences, Classical philology and Aesthetics, he received his filosofie magister degree in 1845 and became a docent of Aesthetics in 1846. Wennerberg was remarkable in several ways, handsome in face and tall in figure, with a finely trained singing voice, brilliant in wit and conversation. From the outset of his career he was accepted in the inner circle of men of light and leading for which the university was at that time famous. In 1843 he became a member of the musical club who called themselves The Juvenals, for their meetings were written the trios and duets and words, which Wennerberg began to publish in 1846. In the following year appeared the earliest numbers of Gluntarne, thirty duets for baritone and bass, which continued to be issued from 1847 to 1850.
The success of these remarkable productions, masterpieces in two arts, was overwhelming: they presented an epitome of all, most unusual and most attractive in the curious university life of Sweden. In the second volume of his collected works Wennerberg gave, long afterwards, a interesting account of the inception and history of these celebrated duets, his great personal popularity, as the representative Swedish student, did not prevent him, from pursuing his studies, he became an authority on Spinoza. In 1850 he first travelled through Sweden and reciting in public, his tour was a long popular triumph. In 1860 he published his collected trios, as De tre. In 1865, at the particular wish of the king, Charles XV, Wennerberg entered official life in the department of elementary education. Wennerberg succeeded Christian Eric Fahlcrantz in 1866 as one of the eighteen of the Swedish Academy, in 1870 became Minister for education in the government of Axel Gustaf Adlercreutz, upon the fall of which in 1875 he retired for a time into private life.
He was, made governor of Kronoberg County, shortly afterward was elected to represent it in the Riksdag. His active parliamentary life continued. In 1881 and 1885 he issued his collected works in verse, he was yet again appointed Minister of Education, for a second and final time in 1888, served in office to 1891. After his resignation as a cabinet minister, he was elected to the upper house of the Riksdag in 1893. Wennerberg preserved his superb appearance in advanced old age, he died, after a short illness, on 24 August 1901, at Läckö Castle, where he was visiting his brother-in-law, Count Axel Rudenschöld, his wife, the Countess Hedvig Cronstedt, whom he married in 1852, died in 1900. Wennerberg was a most remarkable type of the lyrical, ardent Swedish aristocrat, full of the joy of life and the beauty of it. In the long roll of his eighty-four years there was scarcely a crumpled rose-leaf, his poems, to which their musical accompaniment is essential, have not ceased, in half a century, to be universally pleasing to Swedish ears.
Wennerberg's niece Sara Wennerberg-Reuter was a well-known musician. His younger brother, Gunnar Brynolf Wennerberg was an artist. Gunnar Wennerberg at HymnTime. Gunnar Wennerberg on Victor Records. Free scores by Gunnar Wennerberg in the Choral Public Domain Library Swedish Wikisource Gunnar Wennerborg 01 Gunnar Wennerborg 02Gunnar Wennerberg statue by Carl Johan Eldh Wennerberg 01 at Minnehaha Park in Minneapolis. Wennerberg 02 at Minnehaha Park in Minneapolis. Wennerberg 03 at Djurgården Park in Stockholm, Sweden. Historic photos Gunnar Wennerberg at Wikimedia Commons. Gunnar Wennerberg at the Hennepin County Library. Gunnar Wennerberg at the Minnesota Historical Society. Poem O God, Who guid'st the fate of nations: lyrics by Gunnar Wennerberg. VideoHär är gudagott att vara: on YouTube words and music by Gunnar Wennerberg. Streaming audio Gunnar Wennerberg on Edison Records
A retrobulbar block is a regional anesthetic nerve block in the retrobulbar space, the area located behind the globe of the eye. Injection of local anesthetic into this space constitutes the retrobulbar block; this injection provides akinesia of the extraocular muscles by blocking cranial nerves II, III, VI, thereby preventing movement of the globe. Cranial nerve IV is blocked by diffusion of the local anesthetic, it provides sensory anesthesia of the conjunctiva and uvea by blocking the ciliary nerves. This block is most employed for cataract surgery, but provides anesthesia for other intraocular surgeries. Complications associated with this block are either systemic. Local ocular complications include hematoma formation, optic nerve damage and perforation of the globe with possible blindness. Systemic complications include local anesthetic toxicity, brainstem anesthesia, stimulation of the oculocardiac reflex. Most patients will report discomfort during the performance of the block, such as the sensation of the needle during insertion and/or pressure behind the eye during injection.
In recent years, peribulbar block has become used because of its lower incidence of complications. Resuscitative equipment and personnel must be available prior to performance of this block; the retrobulbar block is performed with the patient either seated or supine and looking straight ahead. The head should be maintained in a neutral position. A needle is inserted at the inferolateral border of the bony orbit and directed straight back until it has passed the equator of the globe, it is directed medially and cephalad toward the apex of the orbit. A'pop' is felt as the needle tip passes through the muscle cone delineating the retrobulbar space. Following a negative aspiration for blood, 2-4mls of local anesthetic solution is injected and the needle is withdrawn. 2% Lidocaine and 0.5% to 0.75% bupivicaine are two used agents. Epinephrine mixed in with local anesthetics for vasconstriction, is not used in seeing eyes as this can cause a central retinal artery occlusion. An enzyme, hyaluronidase, is a component of the anaesthetic solution, as it accelerates and improves dispersal of the agent.
Akinesia and anesthesia ensue within minutes with a successful retrobulbar injection. Retrobulbar block can be used for corneal transplantation but may require a supplemental facial nerve block. Retrobulbar block can block levator palpebrae muscle but not orbicularis oculi. Several techniques for facial nerve block can be used in conjunction with retrobulbar block. Eye surgery Cousins, MJ. Neural Blockade in Clinical Anesthesia and Management of Pain. ISBN 0-397-51159-0 Anesthesiology Info
Mazhar Zaidi is a British Pakistani Communications Specialist, CVE activist, digital content and film producer, journalist and documentary director. He has produced several issue based campaigns, he has developed and delivered large international projects on CVE and produced digital campaigns on rights based issues for leading international non-governmental organisations including UKAid, IRC, CWS, creative Associates and Asia Foundation. He has written extensively on extremist groups in the sub-continent, he is best known for producing the 2013 Pakistani film Zinda Bhaag, which earned him international recognition and accolades and became the country's first entry to Academy Awards after a gap of over 50 years. The film won many international awards. One of his films Gardaab, set in extremist violence prone neighbourhoods of Karachi, screened at London Indian Film Festival in June 2017 and Jeewan Hathi was screened at Locarno Film Festival in Switzerland in August 2017, he along with his partners Meenu Gaur and Farjad Nabi recently curated an art exhibition titled Art SabKa focussing on contemporary art inspired by Pakistani Cinema.
Before starting to make feature films, Zaidi was a well known journalist and producer at BBC Urdu UK. Zaidi has been working as a filmmaker/journalist for over 25 years, he served as a senior producer at BBC World in London for over 11 years and produced and directed many documentaries and programs for leading international TV networks including BBC, German TV channel, ARD, ZDF, Sky News and other independent media houses. In 2006, he launched a project with BBC Urdu online and a group of community based filmmakers working with the NGO Interactive Resource Center in Pakistan; the successful project produced more than 16 short documentaries and directed by young filmmakers from small towns across Pakistan. As a filmmaker and independent documentary maker Zaidi has been involved in a number of documentary projects that screened at international film festivals awhile his projects were broadcast by international channels including, BBC Four, ARD and ZDF, his documentary Nar Narman about an Urdu language Pakistani gay-poet, gave him critical acclaim when it was screened at London's BFI L&G Film Festival in 2007.
Zaidi started his career with producing number of documentaries and videos, at different channels and platforms. But established himself as a recognised producer after producing 2013 Pakistani film Zinda Bhaag, Under his own film production Matteela Films which earned him an critical acclaimed and recognition in film world. Zinda Bhaag became one of the highest-grossing of Pakistan and has won many accolades and recognition including an official selection for Best Foreign Language Film at 86th Academy Awards however was out of the competition for the final race. Zinda Bhaag was only the third Pakistani film in 50 years to get recognition at the Oscars, after 1959's The Day Shall Dawn and 1963's The Veil. Zaidi worked independently contributing a chapter to West and the Muslim World a publication by Transnational Institute, Germany he exhibited as a Communication Consultant in non-governmental sector and served as a director, short video documentary for the British Council where his work was developing and producing a short video for the International Inspiration, London 2012's international sports legacy program.
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Remzi Aydın Jöntürk was a Turkish filmmaker, actor and producer. He directed more than 72 feature films in his long career. Jöntürk is credited for creating and directing some of the most famous examples of the Turkish psychedelic cinema including Yarinsiz Adam and Yıkılmayan Adam, both starring Cüneyt Arkın as part of his psychedelic social-action The Adam Trilogy, he is considered one of the most prominent psychedelic-action film makers of 1970's Turkish cinema during its boom period. Jöntürk was born September 1936 in Erzincan, Turkey, he studied at the Kuleli Military High School, Institute of Journalism and Academy of Fine Arts. Jöntürk entered cinema in the 1960s starting out as a set designer. In 1964, he directed his first film Zımba Gibi Delikanlı starring Yılmaz Güney, he died September 2, 1987 at age 50 in a traffic accident in Çanakkale, just 13 days shy of his 51st birthday. Zindan a 1974 action film directed by Jöntürk, was banned in Germany in 1988. Although ban is not in effect, Zindan remains to be the only Turkish movie title been banned in Germany due to gore and cruelty it contains.
Films as actor Malkoçoğlu Kara Korsan 1968 Aslan Bey 1968 Malkoçoğlu Krallara Karşı 1967 Başlık 1965 Kamalı Zeybek 1964Films as director Afrodit 1987 Yaralı Can 1987 Biraz Neşe Biraz Keder 1986 Domdom Kurşunu 1985 Eroin Hattı 1985 Altar 1985 Geçim Otobüsü 1984 Halk Düşmanı 1984 Beş Kafadar 1984 İkimiz De Sevdik 1983 Can Kurban 1983 Nikah 1983 Aşk Adası 1983 Türkiyem 1983 Bir Pazar Günü 1982 Ağlayan Gülmedi mi? 1982 Milcan 1981 Öğretmen Kemal 1981 Acı Gerçekler 1981 Takip 1981 Unutulmayanlar 1981 Çile 1980 Çile Tarlası 1980 Destan 1980 Kara Yazma 1979 Hayat Harcadın Beni 1979 Uyanış 1978 Kaplanlar Ağlamaz 1978 Lekeli Melek 1978 Avare 1978 Kan 1977 Yıkılmayan Adam 1977 Satılmış Adam 1977 Şeref Yumruğu 1977 Hırçın Kız 1977 Yarınsız Adam 1976 Ölüme Yalnız Gidilir 1976 Silahlara Veda 1976 Tepedeki Ev 1976 Hora Geliyor Hora 1976 Bir Defa Yetmez 1975 İsyan 1975 Macera 1975 Yarınlar Bizim 1975 Kahramanlar 1974 Zindan 1974 Sayılı Kabadayılar 1974 Göç 1974 Duvak 1973 Pir Sultan Abdal 1973 Arap Abdo 1973 Elif İle Seydo 1972 İntikam Kartalları 1971 Hasret 1971 Kader Bağlayınca 1970 Sevgili Muhafızım 1970 Avare 1970 Yaralı Kalp 1969 Malkoçoğlu Cem Sultan 1969 Malkoçoğlu- Kara Korsan 1968 Cango Ölüm Süvarisi 1967 Malkoçoğlu- Krallara Karşı 1967 Bir Şoförün Gizli Defteri 1967 Eşkiya Celladı 1967 At Hırsızı Banuş 1967 Ve Silahlara Veda 1966 Yaşamak Haram Oldu 1966 Göklerdeki Sevgili 1966 Zorlu Düşman 1966 Beyaz Atlı Adam 1965 Mağrur Ve Sefil 1965 Zımba Gibi Delikanlı 1964Films as producer Altar 1985 Domdom Kurşunu 1985 Halk Düşmanı 1984 Elif İle Seydo 1972 İntikam Kartalları 1971Films as scriptwriter Domdom Kurşunu 1985 Eroin Hattı 1985 Beş Kafadar 1984 Geçim Otobüsü 1984 İkimiz De Sevdik 1983 Aşk Adası 1983 Bir Pazar Günü 1982 Acı Gerçekler 1981 Azap Çiçeği 1981 Milcan 1981 Unutulmayanlar 1981 Sevgi Dünyası 1980 Avare 1978 Kaplanlar Ağlamaz 1978 Hayata Dönüş 1977 Hırçın Kız 1977 Hora Geliyor Hora 1976 Ölüme Yalnız Gidilir 1976 Silahlara Veda 1976 Bir Defa Yetmez 1975 İsyan 1975 Macera 1975 Kahramanlar 1974 Sayılı Kabadayılar 1974 Zindan 1974 Göç 1974 Duvak 1973 Elif İle Seydo 1972 Malkoçoğlu Ölüm Fedaileri 1971 Hasret 1971 İntikam Kartalları 1971 Melikşah 1969 Malkoçoğlu Akıncılar Geliyor 1969 Yaralı Kalp 1969 Malkoçoğlu Cem Sultan 1969 Yakılacak Kitap 1968 Bir Şoförün Gizli Defteri 1967 Bir Şoförün Gizli Defteri 1967 Eşkiya Celladı 1967 Yaşamak Haram Oldu 1966 Göklerdeki Sevgili 1966 Ve Silahlara Veda 1966 Beyaz Atlı Adam 1965 Zımba Gibi Delikanlı 1964Films as book author Kader 1968Films as assistant director Şoför Nebahat Ve Kızı Malkoçoğlu Cem Sultan Yarınsız Adam Yıkılmayan Adam Remzi Jöntürk on IMDb Official Remzi Jöntürk Website