click links in text for more info
SUMMARY / RELATED TOPICS

Malheur River

The Malheur River is a 190-mile-long tributary of the Snake River in eastern Oregon in the United States. It drains the Blue Mountains and the Snake. Despite the similarity of name, the river does not flow into nearby Malheur Lake, located in the enclosed Harney Basin southwest of the watershed of the river; when water levels were higher, Malheur Lake would drain into the Malheur River. The Malheur River rises in the southern Blue Mountains of southern Grant County, south of Strawberry Mountain in the Strawberry Mountain Wilderness, it flows south through Malheur National Forest southeast past Drewsey and through Warm Springs Reservoir. At Riverside in western Malheur County it receives the South Fork Malheur River from the south turns back northward to Juntura, where it receives the North Fork Malheur River from the north. From Juntura it flows east past Vale, joining the Snake from the west two miles north of Ontario, Oregon; the mouth of the Malheur River is at Snake river mile 370 or river kilometer 600.

The name of the river is derived from the French for "misfortune." The name was attached to the river by French Canadian voyageur trappers working for the North West Company on the Snake County Expeditions of Donald Mackenzie as early as 1818 for the unfortunate circumstance that some beaver furs they had cached there were snatched by Indians. The name first appears in the record in 1826 when Peter Skene Ogden, a fur trapper with the Hudson's Bay Company, referred to it as "River au Malheur" and thereafter as "Unfortunate River." The river lived up to its name a second time in 1845, when mountain man Stephen Meek, seeking a faster route along the Oregon Trail, led a migrant party up the river valley into the high desert along a route that has since become known as the Meek Cutoff. After leaving the river valley the party was unable to find a water supply and lost 23 people by the time they reached The Dalles on the Columbia River. In 1853, 1854 and 1859 the river was used more as the route of the Elliott Cutoff.

The emigrants followed the ruts of Stephen Meek. From here they sought more direct routes to the Deschutes River, where they turned south until reaching the Free Emigrant Road; the road was built over the Cascades through Willamette Pass and brought emigrants into Central Oregon. The lower Malheur River is used for irrigation in the agricultural potato-growing in the Snake River Plain along the Idaho-Oregon border. There are 370 miles of irrigation-related canals and ditches in the lower basin of the Malheur River and its tributary Willow Creek; the streamflow of the Malheur and its tributaries is influenced by a complex system of irrigation diversions and canals, which begin near Malheur river mile 65, near Namorf and Harper, Oregon. This irrigation system extends downstream to the mouth of the Malheur at Oregon. Irrigation is used on about 132,000 acres within the Malheur River basin; the irrigation system is part of the Bureau of Reclamation's Vale Project, which includes a number of water impoundments, the largest of which are Warm Springs Reservoir on the mainstem Malheur River, Beulah Reservoir on the North Fork Malheur, Bully Creek Reservoir on Bully Creek, Malheur Reservoir on Willow Creek.

The project is maintained by the Vale-Oregon Irrigation District. Agricultural runoff has resulted in a phosphorus pollution problem in its lower reaches; the Malheur River watershed was once a major spawning ground for anadromous fish such as salmon. In the early 20th century a number of dams on the Snake River blocked fish migration. A 13.7-mile segment of the Malheur River from Bosenberg Creek to the Malheur National Forest boundary became protected as wild and scenic in 1988 as part of the National Wild and Scenic Rivers System. The protected area includes 3,758 acres of land along the river. List of longest streams of Oregon List of National Wild and Scenic Rivers List of rivers of Oregon Malheur River Malheur Watershed Council

ESB Business School

The ESB Business School is Reutlingen University's business school founded in 1979 and based in Baden-Württemberg, Germany. Since 2008, the school is responsible for all business related degree programs of the university. In addition to the former ESB programs, it includes the former School of International Business and Production Management; the school offers 20 undergraduate and graduate programs as well as double degree programs in cooperation with numerous other business schools from around the world. The ESB Business School ranks among the top business schools in Germany and belongs to the best five percent of all business schools worldwide according to AACSB. In addition to its international educational concept, the ESB mandates a work-study phase in the form of semester-long business internships. Bachelor of Science in 3 1/2 years Bachelor of Science in 3 1/2 years Bachelor of Science in International Management and a second bachelor's degree of a partner university within the International Partnership of Business Schools in 4 years.

Students spend two years at the ESB in Reutlingen and two years at an international partner university, receiving the degrees of both countries. Due to the Bologna Process, the ESB offers a bachelor's degree instead of the "Diplom-Betriebswirt" from the graduating class of 2011 onwards. Below is a list of the partner universities for the dual-degree programs Bachelor of Science in International Management Double Degree: D'Amore-McKim School of Business of Northeastern University, Boston, USA Elon University, North Carolina, USA North Carolina State University, Raleigh, USA Rollins College, Florida, USA Escola de Administração de Empresas de São Paulo of Fundação Getúlio Vargas, São Paulo, Brazil Goodman School of Business of Brock University, Canada University of International Business and Economics, China Avans School of International Studies, Netherlands Lancaster University Management School, United Kingdom NEOMA Business School, France Dublin City University, Ireland Università Cattolica del Sacro Cuore, Italy Universidad de las Américas, Mexico Jagiellonian University, Kraków, Poland ICADE of Universidad Pontificia Comillas, Spain The International Business program, unique in Germany, offers students the possibility of acquiring within only four years the degrees Bachelor of Science and Master of Business Administration or another master's degree within only four years.

Students complete three and a half academic years at Reutlingen University. For a defined number of students this can be followed by an additional semester at Napier University, resulting in a second bachelor's degree or by a fourth academic year at one of ten partner universities in America, Australia or Europe, resulting in a master's degree; the IB program provides a broad spectrum of expertise and methods in business studies and enables the students to select a special area of concentration while at the ESB, as well as at the partner university – e.g. in Management, Marketing or Finance. The economic background to the study program has a strong international orientation. A high value is set on the training of soft skills, for example in communication and presentation skills, intercultural competence and business ethics; the international dimension is one of the major factors in the composition of the students: 50% of study places per year are awarded to international applicants. All courses – with the exception of the language courses – are held in English.

A second, compulsory foreign language is chosen for the first three years of the program: German students can choose between Spanish or French, for international students German is the second foreign language. The IB program is an academic program which prepares students for a management career in an international enterprise; this requires a clear practical orientation. In the 4th and 7th semesters a 6-month internship in a company has to be completed; this provide students the opportunity to apply their theoretical business management knowledge and soft skills, to extend their comprehension of economic cross-links and management tasks. The partner universities for this course of study are: The ESB offers a full-time and part-time MBA program focused on International Management; this program is the oldest MBA program in Germany, founded in 1984. It is designed to give training to those whose undergraduate studies were within not in the field of business. 50% of the students come from outside Germany.

The MBA program can be completed full-time over three years. The part-time program is in the form of distance learning with attendance phases; the ESB distance learning materials are used by a number of other program providers. A feature of the full-time MBA program is an emphasis course on the Asia-Pacific region. Students who select this specialization attend MBA seminars specific to this region; the MBA program has a number of partnerships with universities in other countries for example France, the US and Argentina. The most developed partnerships are the joint programs with ESB, Eastern Michigan University and the University of La Plata, it has a collaboration with S. P. Jain Institute of Management and Research, Mumbai; the ESB offers a one-year Master of Science in International Man

M98 battle uniform

M/98 is the standard Norwegian Battle Uniform, used by the Army, Air Force, Home Guard. It is an updated version of the older model M/75, is used together with different hats according to military branch; the uniform comes in the Norwegian camouflage. The jacket has two breast pockets and two big hand pockets, both with flap and a sewn on velcro above left breast pocket for the name tag; the trousers have regular pockets for hands - one back cargo pockets with flap. In addition to the regular Norwegian camouflage in green, brown and a darker green color, a special desert pattern has been developed for the wars in Afghanistan and Iraq; the desert pattern consists of light green and dark brown. The M/98 is used in garrison and only used in the field; the Norwegian army has a separate field uniform consisting of olive drab pants and a Norwegian camouflage field jacket

Nervous Night (album)

Nervous Night is the second studio album by American rock band the Hooters, released in May 1985 by Columbia Records and on CBS Records in Europe. The album features two of the band's biggest and best-known hits, "And We Danced" and "Day by Day", as well as the minor hit, "All You Zombies", a rerecorded version of a single that had first been released in 1982. In the summer of 1983, guitarist Eric Bazilian and keyboard player Rob Hyman were invited by their old college friend and bandmate from Baby Grand, Rick Chertoff, to work on the debut album for a newly signed singer to Columbia Records named Cyndi Lauper; this resulted in The Hooters reforming after having broken up several months earlier. Executives at Columbia Records, who were impressed by the over 100,000 copies that the band's independent album Amore had sold, as well as the local Philadelphia fan support decided on July 26, 1984 at the Four Seasons Hotel in Philadelphia, to sign The Hooters to a multi-album contract to the company.

On July 13, 1985, The Hooters opened the Philadelphia segment of Live Aid, a concert event to raise funds to benefit Africa. This internationally televised event introduced the band to a global audience that subsequently translated to major commercial success, their first major overseas tour came that year when they played throughout Australia. Different versions of three songs on Nervous Night — "All You Zombies", "Hanging on a Heartbeat" and "Blood from a Stone" — were released on The Hooters' independent album release Amore in 1983. "Blood From a Stone" had been covered by Red Rockers and released as a single. Eric Bazilian told Songfacts that "Day by Day" "was a song that started as an experiment with Rick Chertoff." He added that it took them "2 years whipping it into shape." An award-winning film starring The Hooters and directed by John Jopson, Nervous Night, was produced by Bell One Productions. Nervous Night was shot on 35mm film and intercuts two separate elements: a concert filmed at the Tower Theater in Philadelphia, a series of short films, each one starring a different band member.

Nervous Night achieved platinum certification status around the world, selling in excess of 2 million copies in the United States. On September 5, 1986, The Hooters appeared on the 1986 MTV Video Music Awards, where they were nominated in the category of Best New Artist in a Video for "And We Danced", they performed two songs on the show, "And We Danced" and "Nervous Night". Rolling Stone named The Hooters the Best New Band of the Year for 1986. At Billboard's 8th Annual Video Music Conference on November 22, 1986, the film Nervous Night won two awards: Best Concert Performance for the "Where Do the Children Go" video and Best Long-Form Program; the Hooters placed in five categories in Billboard's Top 100 of 1986: Top Pop Artist Top Pop Album Top Pop Album Artists/Groups Top Pop Album Artists based on one album Top Pop Singles Artists based on three singles Tracks, 1, 3, 6, 7 & 10 Copyright Dub Notes/Human Boy. Tracks 2, 4, 5 and 8 Copyright Dub Notes/Human Boy/Hobbler Music. Track 9 Grassroots Productions.

Notes The album's title track did not appear on original LP releases of the album, or on the first CDs. Eric Bazilian – lead vocals, bass, saxophone Rob Hyman – lead vocals, melodica Andy King – bass guitar, vocals John Lilley – guitar David Uosikkinen – drumsAdditional musicians Patty Smyth – vocals on "Where Do the Children Go"Production Produced by Rick Chertoff Recorded and engineered by John Agnello & William Wittman Mixed by William Wittman, except "And We Danced" Mastered by George Marino "Nervous Night" at discogs

Javi Cabezas

Francisco Javier'Javi' Cabezas Chounavelle is a Spanish professional footballer who plays for CF La Nucía as a winger. Born in Córdoba, Cabezas made his senior debut in 2009 with local amateurs UD La Voz. In the following three seasons he played in Tercera División, representing Peñarroya CF, CD Pozoblanco and Córdoba CF B. On 17 October 2012, Cabezas played his first official match with Córdoba's first team, coming on as a 62nd-minute substitute in a 1–0 away win over CE Sabadell FC for the Copa del Rey, his first match in Segunda División occurred on 17 February of the following year, when he featured the last 12 minutes in a 1–1 home draw against AD Alcorcón. In July 2013, Cabezas was loaned to Segunda División B club Écija Balompié. After subsequent loans at fellow league teams SD Huesca and Barakaldo CF, he was released. Cabezas continued to compete in the third level in the following years, representing La Hoya Lorca CF, CD Tudelano and CD Ebro. Javi Cabezas at BDFutbol Javi Cabezas at Futbolme Javi Cabezas at Soccerway

Music of New Orleans

The music of New Orleans assumes various styles of music which have borrowed from earlier traditions. New Orleans, Louisiana, is known for its strong association with jazz music, universally considered to be the birthplace of the genre; the earliest form was dixieland, which has sometimes been called traditional jazz,'New Orleans', and'New Orleans jazz'. However, the tradition of jazz in New Orleans has taken on various forms that have either branched out from original dixieland or taken different paths altogether. New Orleans has been a prominent center of funk, home to some of the earliest funk bands such as The Meters; the African influence on New Orleans music can trace its roots at least back to Congo Square in New Orleans in 1835, when slaves would congregate there to play music and dance on Sundays. African music was played as well as local music, including that of local white composers, such as Louis Moreau Gottschalk. Along with European musical forms that were popular in the city, including the brass band traditions, the cultural mix laid the groundwork for the New Orleans musical art forms to come.

By 1838, the local paper—the daily Picayune—ran a scathing article complaining about the emergence of brass bands in the city, which it stated could be found on every corner. The term "jazz" did not become popular until the mid and late 1910s, when New Orleans musicians first rose to prominence in other parts of the USA and the New Orleans style needed a new name to differentiate it from the nationally popular ragtime. Before the New Orleans style was simply called "ragtime", along with such local terms as "hot music" and "ratty music"; the local New Orleans dance music style was distinctive in the 19th century. When this style became what was known as "jazz" remains a matter of debate and definition, although most New Orleans music historians believe what became known as New Orleans style jazz was the product of a series of developments reaching its famous form no earlier than the 1890s and no than the mid 1910s. By the 1890s a man by the name of Poree hired a band led by cornetist Buddy Bolden, many of whose contemporaries as well as many jazz historians consider to be the first prominent jazz musician.

The music was not called jazz at this time, consisting of marching band music with brass instruments and dancing. If anything, Bolden could be said to have been a blues player; the actual term "jazz" was first "jass", the etymology of, still not clear. The connotation is sexual in nature, as many of the early performers played in rough working class venues. Despite colorful stories of mid-20th century writers, the prostitution district known as Storyville was no more important in the development of the music than the city's other neighborhoods, but did play a role in exposing some out of town visitors to the style. Many instruments used were acquired second-hand at pawn shops, including used military band instruments; the Creole people of New Orleans contributed to the evolution of the artform, though their own music became influenced by the pioneering work of Bolden. New Orleans-born musicians such as Louis Armstrong, Sidney Bechet and Jelly Roll Morton all recalled the influence Bolden had on the direction of the music of New Orleans and jazz itself.

New Orleans had experienced a large wave of migration from the Italian region of Sicily between the late 1800s and early 1900s. The Sicilian capital of Palermo had long held cotton and citrus fruit trade with New Orleans; this resulted in the establishment of a direct shipping line between the two port cities which enabled a vast number of Sicilians to migrant to New Orleans, as well as other American cities. As a result of this migration, much of New Orleans jazz was modeled from the music of Sicily; this was shown in the New Orleans group the Original Dixieland Jass Band. Bandleader Nick LaRocca and drummer Tony Sbarbaro were both born to parents who were Sicilian migrants; the band's "Livery Stable Blues" became the first jazz record issued. African American music began incorporating Afro-Cuban musical motifs in the nineteenth century, when the habanera gained international popularity; the habanera was the first written music to be rhythmically based on an African motif. From the perspective of African American music, the habanera rhythm can be thought of as a combination of tresillo and the backbeat.

Musicians from Havana and New Orleans would take the twice-daily ferry between both cities to perform and not the habanera took root in the musically fertile Crescent City. John Storm Roberts states that the musical genre habanera, "reached the U. S. 20 years before the first rag was published". The symphonic work La nuit des tropiques by New Orleans native Louis Moreau Gottschalk, was influenced by the composer's studies in Cuba. Gottschalk used the tresillo variant cinquillo extensively. With Gottschalk, we see the beginning of serious treatment of Afro-Caribbean rhythmic elements in New World art music. For the more than quarter-century in which the cakewalk and proto-jazz were forming and developing, the habanera was a consistent part of African American popular music. Whether tresillo was directly transplanted from Cuba, or if the habanera reinforced tresillo-like "rhythmic tendencies" present in New Orleans music is impossible to determine, it is reasonable to assume that tresillo-based rhythms were performed in Congo Square by Caribbean slave