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Buso Renkin

Buso Renkin is a manga series written and drawn by Nobuhiro Watsuki, the creator of Rurouni Kenshin. It follows Kazuki Muto, who becomes an alchemical warrior in the battle against alchemical monsters known as homunculi. Watsuki envisioned the manga as his last shōnen manga, he tried to do as much as he could with that genre, it was serialized in publisher Shueisha's Weekly Shōnen Jump magazine from June 2003 to April 2005. The individual chapters were republished by Shueisha in ten tankōbon; the series has been licensed by Viz Media for North American release. The manga has been adapted into an anime television series, produced by studio Xebec and was broadcast on Japanese television network TV Tokyo from 2006 to 2007. In December 2007, the anime was announced for North American DVD release by Viz Media. In 2009, the series made its American television debut on the Funimation Channel, with American broadcast rights acquired by Funimation from Viz Media; the series has spawned two drama CDs, two light novels, a PlayStation 2 video game, many types of Buso Renkin-themed merchandise.

In Japan, the Buso Renkin manga has sold over 3 million volumes and was nominated for the science fiction works focused Seiun Award. It received a mixed reception from anime publications. Watsuki's art received the most positive comments from reviewers, while other aspects of the manga, such as its action and characters, have divided critics' opinions; the anime, which critics described as a generic shōnen fighting series, received negative reception. The narrative of Buso Renkin follows Kazuki Muto, who saves Tokiko Tsumura and is killed by an alchemical monster known as a homunculus. Tokiko, an alchemist warrior, feels responsible and revives him by replacing his destroyed heart with a kakugane; the kakugane is an alchemical device which, when activated, takes a weapon form based on its user's personality, forming a buso renkin—the only thing that can destroy a homunculus. Kazuki creates his own buso renkin and joins Tokiko in the fight against the homunculi and their master, Koushaku Chouno.

Chouno, who has renamed himself "Papillon", is killed by Kazuki, but is resurrected by the L. X. E. A humanoid homunculi group led by Chouno's great-great-grandfather Bakushaku Chouno, now calling himself Dr. Butterfly. In various battles, Kazuki and Captain Bravo destroy most of the L. X. E.'s members. After learning that Dr. Butterfly believes him to be weak and useless, Papillon rebels against the L. X. E. and kills Dr. Butterfly. Before his death, Dr. Butterfly drains the energy of the students at Kazuki's school to heal and revive Victor, a being superior to humans and homunculi. Victor is confronted by Kazuki. During the battle, Kazuki's kakugane is revealed to be the same type as the Victor's—a black kakugane created by the Alchemist Army as a prototype to the philosopher's stone; the black kakugane absorbs human life forces. Captain Bravo tries to kill Kazuki. A team is commissioned to confirm Kazuki's death, but Kazuki and Gouta Nakamura fight their way past the members of the Re-Extermination Squad.

Kazuki's death is postponed because, as the Alchemists' leader explains, their top priority is to defeat Victor. Kazuki and Tokiko find the white kakugane, which can negate the effects of the black kakugane and is guarded by Victor's daughter Victoria, herself a humanoid homunculus. During the Alchemist Army's final battle against Victor, Kazuki applies the white kakugane to Victor, but it only weakens him. To protect humankind from both of them, Kazuki propels Victor to the moon. Papillion creates a white kakugane to heal Kazuki; the Alchemist Army creates another white kakugane and restores Victor's humanity. Reunited with his daughter, Victor asks the Alchemist Army to turn him into a homunculus and tells them that he and his daughter will lead all the homunculi to the moon; the Alchemist Army dedicates itself to research a way to revert homunculi back into humans, ending their war activities. All Warriors abdicate their kakugane. Kazuki and Tokiko return to their daily lives together while Papillon becomes an urban legend throughout Japan.

Nobuhiro Watsuki started writing Buso Renkin thinking. He unexpectedly experienced problems drawing the manga's fight scenes and said he "struggled with the comedic elements". Watsuki drew references from several sources in Buso Renkin. Despite dealing with alchemy, Watsuki avoided mentioning the philosopher's stone because he thought he could be accused of plagiarizing another series, he could not omit mentioning it, but he said that it is "general knowledge". During the series' publication, Watsuki had four severe colds; the chapters of Buso Renkin were written and illustrated by Nobuhiro Watsuki and were serialized in Shueisha's shōnen magazine Weekly Shōnen Jump from June 23, 2003, to April 25, 2005. Only the first 79 chapters were serialized in Weekly Shōnen Jump. Shueisha published the individual chapters in a series of ten tankōbon, which were released between January 5, 2004, April 4, 20

Luigi Marchesi

Luigi Marchesi was an Italian castrato singer, one of the most prominent and charismatic to appear in Europe during the second half of the eighteenth century. Luigi Ludovico Marchesi was born in Milan, he joined the Milan Cathedral choir in 1765 and made his operatic debut in Rome in 1773 at the Teatro delle Dame, cast as a female character, in Marcello da Capua's comic opera La contessina. For several years, Marchesi appeared either in minor roles or minor operatic centers, but he found a valuable ally in the Czech composer Josef Mysliveček after he appeared in the latter's opera Ezio and oratorio Isacco figura del redentore in Munich early in the year 1777. Marchesi's singing in both productions was considered to be extraordinary. In a letter written by Wolfgang Amadeus Mozart to his father from Munich on 11 October 1777, it is mentioned that Mysliveček bragged of his influence with the management of the Teatro San Carlo in Naples, the most prestigious venue for the performance of Italian serious opera in Europe: he had the power to recommend the engagement of singers who were to be featured in productions planned for the 1778–79 operatic season there.

Marchesi was one of the singers. His first appearances in Naples were as successful as those in Munich, they permanently established him as one of the most talented vocal artists in Italy. In all, Mysliveček created five operatic roles for Marchesi before his premature death in 1781. After Marchesi's triumphs throughout Italy in the late 1770s and early 1780s, he ventured all the way to Vienna, St. Petersburg, London, where he created a tremendous sensation and was proclaimed to be the greatest singer of his time. In London he was billed as Virtuoso di Camera to his Sicilian Majesty; the Earl of Mount Edgcumbe described Marchesi's impression at London as following: Marchesi was at this time a well-looking young man, of good figure, graceful deportment. His acting was spirited and expressive: his vocal powers were great, his voice of extensive compass, but a little inclined to be thick, his execution was considerable, he was rather too fond of displaying it. In recitative, scenes of energy and passion, he was incomparable, had he been less lavish of ornaments, which were not always appropriate, possessed a more pure and simple taste, his performance would have been faultless: it was always striking and effective.

He chose for his début Sarti's beautiful opera of Giulio Sabino, in which all the songs of the principal character, they are many and various, are of the finest description.... He was received with rapturous applause. In 1796 Marchesi refused to sing for Napoleon. For this Marchesi was honored as a national hero by the public, as reported by Vernon Lee: The frivolous part of society chatted and danced, adored.... The singer Marchesi whom Alfieri called upon to buckle on his helmet, march out against the French, as the only remaining Italian who dared to resist the'Corsican Gallis' invader, although only in the matter of song. Marchesi's last major appearance was in Simon Mayr's Ginevra di Scozia for the inauguration of the Teatro Nuovo in Trieste, he continued to appear in public for a few more years, until 1806, when he retired for good and moved to his villa at Inzago, where he died on 14 December 1829. After his retirement Marchesi did not go into obscurity; as an artist Marchesi was one of the greatest singers of his time, he was a composer.

In London he published his own volume set of Ariette Italiane, a handful of solfeggi. He maintained a collaboration similar to that with Josef Mysliveček in life with Angelo Tarchi, his most important roles in the part of his career were Megacle in Domenico Cimarosa's L'Olimpiade and Lovinski in Simon Mayr's La Lodoiska. Serious opera was the natural realm for his voice type, he sang comic roles after his early appearances in Rome. In person Marchesi might have been the handsomest castrato of all time, it is said he was adored by the whole female population of Rome. At the same time, Marchesi became famous for his turbulent temperament and notorious stipulations, he insisted on making his entrance on the stage descending a hill on horseback wearing a helmet with multi-coloured plumes at least a yard high, saying "Where am I?". Otherwise, he engaged in rivalry competitions. Contessina Elmira in La contessina by Marcello di Capua Cecchina in La buona figliola by Niccolò Piccinni Marchesa Violante in La finta giardiniera by Pasquale Anfossi Gandarte in Alessandro nell'Indie by Carlo Monza Evandro in Medonte re di Epiro by Luigi Alessandri Olinto in Demetrio by Pietro Guglielmi Tarquinio in Il trionfo di Clelia Farnaspe in Adriano in Siria by Pasquale Anfossi Ezio in Ezio by Josef Mysliveček Tarsile in La Calliroe by Josef Mysliveček Aminta in Il re pastore by Ignazio Platania Megacle in L'Olimpiade by Josef Mysliveček Achille in Ifigenia in Aulide by Vicente Martín y Soler Ulisse in La Circe by Jose


Euprenolepis is a Southeast Asian genus of ants in the subfamily Formicinae with eight recognized species. Euprenolepis echinata LaPolla, 2009 Euprenolepis maschwitzi LaPolla, 2009 Euprenolepis negrosensis Euprenolepis procera Euprenolepis thrix LaPolla, 2009 Euprenolepis variegata LaPolla, 2009 Euprenolepis wittei LaPolla, 2009 Euprenolepis zeta La Polla, 2009 Euprenolepis is endemic to southeastern Asia. Most species are presently known from Borneo only, but whether or not this reflects biological reality or collecting bias remains unclear. Euprenolepis was constructed as a subgenus within Prenolepis by Emery, but he moved the subgenus to Paratrechina; when Euprenolepis was raised to full genus level by Brown, he synonymized Chapmanella with Euprenolepis. Six diagnostic characters can separate Euprenolepis workers from the workers of other formicine genera: basal tooth with a distinct obtuse angle on the inner mandibular margin apical tooth large and curved toward midline of body mandalus is large and conspicuous medially placed clypeus without a prominent keel anterior clypeal margin medially emarginate, with a medially placed seta spaced torulaeThe reduced segmentation in the palps helps in diagnosing the genus, except Pseudolasius exhibits palpal segment reduction.

With the exception of E. negrosensis, all species appear to have a 3:4 palpal formula. Pseudolasius possess two or three labial palpal segments. Euprenolepis is most to be confused with Pseudolasius,but with the exception of E. negrosensis, Euprenolepis species have much larger eyes than Pseudolasius species. Additionally, the six characters listed above provide a means to separate the two genera. E. Negrosensis placement within the genus remains somewhat problematic; the species was placed in its own genus, Chapmanella, by Wheeler, but overall its general morphology suggests placement in Euprenolepis. However, it is distinctly unlike other species, in that it possesses small eyes, extreme elongation of the mesosoma, a quadriform basal tooth, a 4:4 palpal formula; this species is at present maintained in Euprenolepis, but this result should be confirmed with molecular data once specimens become available for molecular study. Morphological characters of E. negrosensis males do suggest placement within the genus for several shared characters exist among the three species where males are known.

Among those are: digiti weakly anvil-shaped, ventrally directed digiti and cuspi meeting dorsally, about halfway along length of digiti apices of parameres bending towards the midline of the bodyThese three characters may represent diagnostic features for the genus. Another distinctive feature of all known Euprenolepis males is their hirsuteness on the parameres and terminal gastral segments; the parameres can be difficult to see because of the presence of long setae. E. negrosensis is a hypogaeic species based on its small eyes and yellow, thin cuticle, this may explain the unusual appearance of the workers compared to other species within the genus. It remains unclear. Polymorphism is exhibited in E. procera, with a minor and major worker caste expressed. However, in no other known species is polymorphism observed; this may reflect collecting bias. However, at least one species, E. wittei, has been collected from long nest series and polymorphism has not been found in the workers. Despite E. procera being by far the most encountered Euprenolepis in collections, majors are still uncommon.

Media related to Euprenolepis at Wikimedia Commons This article incorporates text from a scholarly publication published under a copyright license that allows anyone to reuse, revise and redistribute the materials in any form for any purpose: LaPolla, John S. "Taxonomic Revision of the Southeast Asian Ant Genus Euprenolepis.", Zootaxa, 2046: 1–25 Please check the source for the exact licensing terms

The Salmon Dance

"The Salmon Dance" is a song by the English electronic music duo The Chemical Brothers and is the seventh track on their 2007 studio album We Are the Night. It features vocals by Fatlip and was released as the second single from the album on 10 September 2007; the video, directed by Dom and Nic, features a boy looking at his fish tank, home to Fatlip the Piranha, his friend "Sammy the Salmon", Puffa the beatboxing Pufferfish, a lionfish, various other tropical fish such as seahorses, butterflyfish and tangs. It is featured in episode three "The Black Clock of Time" of Bored to Death; the single has reached number 10 on the New Zealand RIANZ Singles Chart due to downloads and airplay. It reached number 27 in the UK Singles Chart, as of 2017, remains their last UK top 40 hit, its video was nominated for a MTV Europe Music Award in 2007. UK 7" single"The Salmon Dance" "Snooprah"UK 12" single"The Salmon Dance" "Electronic Battle Weapon 8" "The Salmon Dance" "The Salmon Dance"UK CD single"The Salmon Dance" – 3:07 "Electronic Battle Weapon 8" – 6:32iTunes remix single"The Salmon Dance

2001 Danish local elections

The Danish local elections of 2001 were held on 20 November 2001. 4647 municipal council members were elected to 271 municipal councils, as well as members of 13 counties of Denmark. There were 14 counties and 275 municipalities, but the county of Bornholm was merged with its 5 constituent municipalities 1 January 2003 to form Bornholm Regional Municipality; the voters of Bornholm elected the councillors in this election to lead the new entity from January 2003. The county and county council of Bornholm just continued its work until 2002 while the new Bornholm Regional Municipality was being built from the 6 old entities. From 1 January 2003 until 31 December 2006, Bornholm was both a municipality and a county, thereafter becoming a part of Region Hovedstaden and losing most of its county privileges. Elections at the national level for the Folketing were held at the same time therefore resulting in an unusually high voter turnout; the results of the regional elections: Ministry of interior informed that voter turnout was 86.0%.

Elections to the Folketing were held at the same time therefore resulting in this unusually high voter turnout. Ministry of interior informed that voter turnout was 85.0%. Elections to the Folketing were held resulting in an unusually high voter turnout