The Syrian monarchs ruled Syria as kings and queens regnant. The title King of Syria appeared in the second century BC in referring to the Seleucid kings who ruled the entirety of the region of Syria, it was used to refer to Aramean kings in the Greek translations of the Old Testament. Following the defeat of the in World War I, the region came under the rule of France, United Kingdom and prince Faisal of Hejaz, proclaimed King of Syria on 8 March 1920. Faisal's reign lasted a few months before the title fell out of use; the term Syria was first applied by Herodotus in the 5th century BC to indicate a region extending between Anatolia and Egypt. With the advent of the Hellenistic period and their Seleucid dynasty used the term "Syria" to designate the region between the Mediterranean and the Euphrates; the usage of the name in referring to the region during the Iron Age is a modern practice. The Seleucid king Antiochus III. Starting from the 2nd century BC, ancient writers, such as Polybius and Posidonius, began referring to the Seleucid ruler as the king of Syria.
The evidence for this title's usage by the kings is provided by the inscription of Antigonus son of Menophilus, who described himself as the "admiral of Alexander, king of Syria". Non-dynastic Diodotus Tryphon, who opposed Demetrius II by raising Antiochus VI to the throne, killed his protege and declared himself king ruling until 138 when the Seleucids unified Syria again. Seleucid dynasty Ptolemaic dynasty Seleucid dynasty Ptolemaic dynasty Seleucid dynasty In 8 March 1920, prince Faysal of the House of Hashim, supported by the Syrian National Congress, declared himself king of the Arab Kingdom of Syria. In the first translation of the Old Testament into Greek written during the third century BC, Aram and Arameans were translated as Syria and the Syrians. Aram in the Hebrew Old Testament and Syria in the translation indicated the kingdom of Aram-Damascus most of the times. Other Aramean regions were referred to as Syria. In the view of W. Edward Glenny, the rendering of Aram by Syria might be explained by an anti-Syrian bias, since at the time of the translation, Syria belonged to the Seleucids, the Jews' main enemy.
The 7.65×53mm Mauser is a first-generation smokeless powder rimless bottlenecked rifle cartridge developed for use in the Mauser Model 1889 rifle by Paul Mauser of the Mauser company. It is known as 7.65×53mm Argentine, 7.65×53mm Argentine rimless, 7.65mm Argentine, 7.65×53mm Belgian Mauser or 7.65mm Belgian and 7.65×53mm Mauser. The 7.65×53mmR is a rimmed variant of the 7.65×53mm Mauser cartridge. Ballistically it is comparable to the also-rimmed.303 British cartridge. The 7.65×53mm Mauser was the result of considerable experimentation by Paul Mauser to optimize the bullet diameter for use with the new smokeless propellant introduced as Poudre B in the 1886 pattern 8mm Lebel that started a military rifle ammunition revolution. At the time of its development it was a high-performance smokeless-powder cartridge; this cartridge was loaded commercially by many manufacturers in the United States until about 1936. Hornady is the only major U. S. ammunition manufacturer to still produce this cartridge.
Sporting ammunition in this caliber is still loaded in Europe. Norma, Prvi Partizan, Fabricaciones Militares produce 7.65×53mm ammunition. Boxer-primed cases are formed from.30-06 brass. For reloading the cartridge, use.303" British load data. The 7.65×53mm Mauser has 3.70 ml cartridge case capacity. The exterior shape of the case was designed to promote reliable case feeding and extraction in bolt action rifles and machine guns alike, under extreme conditions. 7.65×53mm Mauser maximum C. I. P. Cartridge dimensions. All sizes in millimeters. Americans would define the shoulder angle at alpha/2 ≈ 22.2 degrees. The common rifling twist rate for this cartridge is 280 mm, 4 grooves, Ø lands = 7.65 mm, Ø grooves = 7.92 mm, land width = 4.20 mm and the primer type is large rifle. According to the official Commission Internationale Permanente pour l'Epreuve des Armes à Feu Portatives rulings the 7.65×53mm Mauser can handle up to 390.00 MPa Pmax piezo pressure. In CIP member countries every rifle cartridge combination has to be proofed at 125% of this maximum pressure to certify fit for sale to consumers.
This means that 7.65×53mm Mauser chambered arms in CIP regulated countries are proof tested at 487.50 MPa PE piezo pressure. The American.308 Winchester cartridge is a close ballistic twin of the 7.65×53mm Mauser. The.308 Winchester being a post World War II cartridge developed by Winchester to provide similar performance in a short bolt action format. Due to the cartridge case's dimensions, production of 7.65mm brass can be accomplished by reforming.30-06 Springfield cases. Resize and trim; the original 1898 pattern military ball ammunition was introduced in the Mauser Model 1889 and loaded with a 13.65 grams round-nosed bullet fired at a muzzle velocity of 650 m/s with 2,884 J muzzle energy. Following the lead of French and German army commands in developing the spitzer - a pointed-tip - bullet shape military ball ammunition was loaded with a 10.00 g spitzer bullet fired at a muzzle velocity of 830 m/s with 3,445 J muzzle energy from a 589 mm long barrel became available. It had a maximum range of 3,700 m.
Reverse engineering the trajectory from the previous sentence indicates a ballistic coefficient of 0.34. After that military ball ammunition loaded with an 11.25 g spitzer bullet fired at a muzzle velocity of 725 m/s with 2,957 J muzzle energy from a 589 mm long barrel became available. Besides a pointed nose this projectile had a boat tail to further reduce drag, it had a maximum range of 5,000 m. Reverse engineering the trajectory from the previous sentence indicates a ballistic coefficient of 0.55. At one time, the 7.65×53mm Mauser cartridge saw widespread military use. It was used by: Argentina Belgium Bolivia Colombia Ecuador Paraguay Peru Spain Turkey Some of the Mauser rifles it was used in were the Model 1889, Model 1890, Model 1891, Model 1893, Model 1903, Model 1905, Model 1907, Model 1909, Model 1927, FN Model 1930, Vz. 32, Standardmodell 1933 and FN Model 1935. Other rifles included the Fittipaldi machine gun, Madsen machine gun and the FN Model 1949. In Argentinian military service, the cartridge was used from 1891 to the early 1970s in Mauser bolt-action military rifles, as well as a semi-automatic rifle, the FN-49, manufactured by Fabrique Nationale in Belgium.
Ball, Robert W. D.. Mauser Military Rifles of the World. Iola: Gun Digest Books. ISBN 9781440228926; the 7.65x53 and 7.65x53R page, by Chuck Hawks
Iloperidone known as Fanapt and known as Zomaril, is an atypical antipsychotic for the treatment of schizophrenia. Iloperidone is indicated for the treatment of schizophrenia. In a 2013 study in a comparison of 15 antipsychotic drugs in effectivity in treating schizophrenic symptoms, iloperidone demonstrated mild effectiveness; as effective as lurasidone, 13 to 15% less effective than ziprasidone and asenapine. It appears to work better than placebo. Examination of the safety and tolerability of iloperidone have shown that at a 5 mg/day dose in healthy male volunteers, the drug was well tolerated, although hypotension and somnolence were common side effects ranging from mild to moderate in severity. A second study showed; this study indicated that repeat administration of iloperidone could decrease the effects of hypotension. The approved dose is 12–24 mg not 5 mg. However, claims of better tolerance have been reported. In some cases, it can increase agitation and aggressivity like all antipsychotics drugs.
The British National Formulary recommends a gradual withdrawal when discontinuing antipsychotics to avoid acute withdrawal syndrome or rapid relapse. Symptoms of withdrawal include nausea and loss of appetite. Other symptoms may include restlessness, increased sweating, trouble sleeping. Less there may be a feeling of the world spinning, numbness, or muscle pains. Symptoms resolve after a short period of time. There is tentative evidence, it may result in reoccurrence of the condition, being treated. Tardive dyskinesia can occur when the medication is stopped. Iloperidone is a monoamine directed towards acting upon and antagonizing specific neurotransmitters multiple dopamine and serotonin receptor subtypes, it is considered an ‘atypical’ antipsychotic because it displays serotonin receptor antagonism, similar to other atypical antipsychotics. The older typical antipsychotics are dopamine antagonists. Iloperidone has been shown to act, it exhibits high affinity to serotonin 5HT2A, dopamine D2 and D3 and noradrenaline α1 receptors, moderate affinity for dopamine D4, serotonin 5HT6, 5HT7, low affinity for the serotonin 5HT1A, dopamine D1 and histamine H1 receptors.
In addition, pharmacogenomic studies identified single nucleotide polymorphisms associated with an enhanced response to iloperidone during acute treatment of schizophrenia. It was approved by the U. S. Food and Drug Administration for use in the United States on May 6, 2009. Hoechst Marion Roussel Inc. made initial inquiries into the drug. Titan handed over worldwide development and marketing rights to Novartis in August 1998. On June 9, 2004, Titan Pharmaceuticals announced that the Phase III development rights have been acquired by Vanda Pharmaceuticals; the original launch date was scheduled for 2002. On November 27, 2007, Vanda Pharmaceuticals announced that the U. S. Food and Drug Administration had accepted their New Drug Application for iloperidone, confirming the application is ready for FDA review and approval. On July 28, 2008, the FDA issued a not-approvable letter to Vanda Pharmaceuticals concerning the drug, stating that further trials are required before a decision can be made concerning marketed usage of iloperidone.
Iloperidone was approved by the FDA for the treatment of schizophrenia in the United States on May 6, 2009. List of investigational anxiolytics Fanapt Prescribing Information
Baby Felix is a Japanese children's animated television program that follows the adventures of a young Felix the Cat and infant versions of the characters from Joe Oriolo's Felix television program from the 1950s. It was launched by Oriolo's son, Don Oriolo in 2000 with NHK Educational, NEC Interchannel and AEON inc. of Japan. The show consists of 26 half-hour episodes, it follows in the long line of "Baby Cartoon Revivals" alongside such shows as Muppet Babies, Baby Looney Tunes, Tom & Jerry Kids, The Flintstone Kids. All 26 episodes were released in Bulgaria on 9 DVDs by A-Design. In 2010, DVDs have been released in Hungary as well. Baby Felix: Yumi Touma Denise NeJame Felix: Toshihiko Seki Don Oriolo Marin Kitty/Baby Kitty: Ai Maeda Jennifer Brassard Skippy: Motoko Kumai Mookie: Noko Konoha Mimi: Atsuko Enomoto Jennifer Brassard Tattoo: Hisayo Mochizuki Bull/Biff: Tesshō Genda Rock Bottom: Kōichi Nagano Zoo: Kōichi Sakaguchi Professor: Toshiyuki Morikawa Don Oriolo Master Cylinder: Kōichi Nagano Don Oriolo Poindexter: Kappei Yamaguchi Don Oriolo Marty: Ryūsei Nakao Majorina/Esmeralda: Rei Sakuma Jennifer Brassard Play-by-play Announcer: Showtaro Morikubo Each episode is 22 to 23 minutes long, it has 4 sub-episodes which makes a storyline, all 5 minutes each.
After two sub-episodes is an in-between "Music-Time" segment. Baby Felix & Friends Official Website Baby Felix at Anime News Network's encyclopedia Baby Felix on IMDb Baby Felix Official Website Pax-Koo's HomePage
James Nicholas "Nick" Counter III was a labor attorney and the long-standing president of the Alliance of Motion Picture and Television Producers and chief negotiator for the major studios who squared off against Hollywood's writers during a 100-day strike in 2008. He was a fixture in Hollywood labor circles, having overseen some 400 labor contracts with writers, film crews and scores of other professionals, he served as AMPTP's president for 27 years and was the chief negotiator for 311 major labor pacts, including six in 2008. He retired in February 2009. For most of his tenure, Counter presided over a period of relative labor calm, except for two major strikes that rocked Hollywood, in 1988 and 2008, both by the Writers Guild of America. Over the years, Counter was praised by his colleagues for giving the often-fractious alliance a unified voice, a task that became trying as studios became facets of media conglomerates with diverse businesses; the group has had difficulty reaching consensus because it represents more than 350 film and television producers, including major media giants that are fierce competitors.
At the same time, Counter's pugnacious style and tactics—which included staring down opponents and publicly rebuking union officials who angered him—also made him the nemesis of many rank-and-file workers during the most recent writers strike, when he was depicted as tone-deaf to their concerns. In the heat of negotiations with the Writers Guild in 2004 Counter gave an emotional speech paying tribute to Daniel Petrie Jr. the director and father of the former guild president. Born in Phoenix on March 21, 1940, Counter grew up in the Denver area. During summers, he worked in a Colorado steel mill where his father rose from salesman to vice president; the experience piqued his interest in labor issues. "What I learned was that unions come about because of bad management," he said in an interview with The Times in 2007. Counter was an amateur boxer and a star football player in high school playing halfback at the University of Colorado, where he earned a full Boettcher Scholarship to study electrical engineering.
He shifted to law. The studios tapped him in 1982 to unify the newly formed alliance, whose members had squabbled over how labor negotiations should be conducted. "I planned on doing it for three years and getting back to my practice," Counter said. Counter stipulated that companies act with one voice, viewing a "strike against one as a strike against all." Instead of responding to union demands, he made companies craft proposals. His biggest challenge came six years during the 1988 Writers Guild of America strike that lasted 22 weeks. Counter and his labor counterparts became convinced that future disruptions could be avoided if negotiations began well before contract's expired; the approach worked well, at least until fall 2007, when the writers—fearful that studios were shortchanging their future in the Internet era—again went on strike. The walkout followed weeks of acrimonious talks between guild officials, he served as a trustee on 14 of the guild and union health and pension funds and as a trustee for the Motion Picture & Television Fund.
Counter died November 6, 2009 at the age of 69. "Nick's passing is a profound loss for the entire entertainment community," said AMPTP President Carol Lombardini. "We will all remember Nick for his passionate leadership, always guided by a resolute sense of fair play and an earnest desire that everyone come out a winner.""Although we sat on opposite sides during labor negotiations, Nick was a friend, man of honor and worthy adversary, doing his best to represent his constituents," Directors Guild of America Secretary-Treasurer Gilbert Cates and National Executive Director Jay Roth said in a statement. "We shared the same goal -- protecting our industry -- yet held different ideas at times about how to accomplish this. But Nick would always listen and try to understand where we were coming from and look for a way to find a deal that worked for both parties."He is survived by a son, Nicholas. J. Nicholas Counter, III biography via Alliance of Motion Picture and Television Producers Nick Counter on IMDb
Vernel Martin Bagneris is an American playwright, director and dancer. He was born in Louisiana. Bagneris is the third child of Gloria Diaz Bagneris and Lawrence Bagneris, Sr. Bagneris's mother was a housewife and a religious woman who "quietly outclassed most people," and his father was a playful, creative man, a World War II veteran, lifelong postal clerk. Bagneris grew up in the knit, predominantly Creole Seventh Ward in a family of free people of color, in New Orleans since 1750. From the age of six, he had a knack for winning popular dance contests, during christenings and jazz funerals, he learned more traditional music and dance. By the mid-1960s the once-beautiful, tree-lined neighborhood in which he was raised fell victim to the U. S. government's program of urban renewal, known colloquially in the area as "Negro removal." A freeway overpass was constructed over a thriving neighborhood, inviting crime and shuttering businesses and changing the community. Trees were uprooted, homes were razed, the promenade was destroyed, a neighborhood diaspora was in effect.
Bagneris described it this way: "Imagine the Champs Elysées minus all trees, with a brooding highway held up by concrete poles and bare, unplanted dirt as its walkways." The Bagneris family moved to Gentilly, along with many other residents of the Seventh Ward. Bagneris was in the advanced placement track at St. Augustine High School, an institution committed to instilling dignity and respect in its young men, despite the segregation in nearly every aspect of their lives in New Orleans. At fifteen, he and his compatriots were encouraged by the school leaders to protest segregation at bowling alleys and drugstore counters citywide. Bagneris graduated in 1967, when overt instances of Jim Crow had diminished but seating was still segregated on public transportation, in restaurants and restrooms, at water fountains. In the fall of 1967 he headed directly to a seminary to study for the priesthood where he stayed for three long days. "I didn't go there to meditate," said Bagneris. "I went to be of service.
That was the confusion."Bagneris was admitted to Xavier University, a predominantly-black, Catholic university in New Orleans, at which his older siblings had matriculated. Bagneris declared sociology as his major, but during his second year, his girlfriend cajoled him into auditioning for the university's theater. To his surprise, Bagneris was cast as Gremio in The Taming of the Shrew. Based on his success in that production, Bagneris decided to pursue a career on the stage. Though he'd never attended the theater before his first audition, by his junior year he was writing and producing his own plays; the Free Southern Theater, which toured in rural, underprivileged areas of the South, performed two of Bagneris's plays while he was an undergraduate. Bagneris became interested in avant-garde theater methods and, upon his graduation in 1972, traveled to Amsterdam to learn more about the Bread and Love experimental theater group, he worked day jobs. He'd brought with him experimental European scripts and staged them in his hometown.
He produced and directed Samuel Beckett's Endgame on a double bill with Eugène Ionesco's The Lesson in a photo gallery, was awarded an artist-in-residence grant by the Arts Council of New Orleans, made a foray into integrated theater company in the French Quarter called Gallery Circle. By 1972, he had won two Best Actor awards in New Orleans. In 1976, Bagneris saw a play in New York City that would change his life: Will Holt's Me and Bessie, a one-woman show about the blues legend Bessie Smith. After seeing the show, Bagneris determined to produce a show in a similar style that would feature the City of New Orleans as the main character. Bagneris spent a year creating the show. For six months and his troupe prepared for a one-night-only production of One Mo' Time, a musical he had written based on Black Vaudeville performers in New Orleans, their limited run show turned into three nights a week at the Toulouse Theatre in the French Quarter, with James Carroll Booker III playing piano in the lobby before each show.
By chance, a New York producer saw it and promised to move it to the city. In October 1979, One Mo' Time went to the Village Gate in New York, where it played for three and a half years, spinning a host of internationally touring companies, including a royal command performance in Britain for Queen Elizabeth II; the show earned a Grammy Award nomination for Best Cast Album in 1980 and was nominated for a Society of West End Theatre Award for Outstanding Achievement in a Musical, Best Musical, Best Actress in a Musical in 1982. Through One Mo' Time, Bagneris met the dance masters Charles "Cookie" Cook. After their meeting, Bethel choreographed. "My interest was not in preserving traditional musical theater. It just so happens that my culture has a lot of music and dance in it." It was Bagneris's father, after seeing One Mo' Time, encouraged Bagneris to work on Creole themes. "I'm always being asked. Allen Toussaint asked me once,'Where do you come from — Mars?' No, Allen, I'm from the 7th Ward."After the success of One Mo'Time, Bagneris continued stage explorations with Staggerlee in 1985.