New Mexico music is a genre of music that originated in the US State of New Mexico, it derives from the Puebloan music in the 13th century, with the folk music of Hispanos during the 16th to 19th centuries in Santa Fe de Nuevo México. The music went through several changes during pre-statehood during the developments of Mexican folk and cowboy Western music. After statehood, New Mexico music continued to grow in popularity with native New Mexicans with the Pueblo, Apache and the descendants of the American frontier. Shortly after statehood, during the early 1900s, elements of Country music and American folk music began to become incorporated into the genre; the 1950s and 1960s brought the influences of Blues, Jazz and Rock and roll into New Mexico music. Prominently featured on the Val de la O Show were other Southwestern artists performing Regional Mexican and Tejano music; this brought a more general audience to New Mexico music. The sound of New Mexico music is distinguished by its steady rhythm provided by drums or guitar, while accompanied by instruments common in Pueblo music, Norteño, Apache music, Country and Navajo music.

Country and western music lend their drum and/or guitar style sections, while the steadiness of the rhythm owes its origins to the music of the Apache and Pueblo. And the differing rates of that tempo comes from the three common Ranchera rhythm speeds, the polka at 2/4, the waltz at 3/4, and/or the bolero at 4/4; the language of the vocals in New Mexico music is Mexican Spanish and New Mexican Spanish. Nationally and internationally, New Mexico music is classified under several different genres, including World, Latin and Regional Mexican; the musical history of New Mexico goes back to pre-colonial times, but the sounds that define New Mexico music begin with the ancient Anasazi. Some of their music is thought to have survived in the traditional songs of the Pueblo people with wind instruments such as the Anasazi flute, as well as the chants and drum beats of the Navajo and Apache; when the Spanish founded Santa Fe de Nuevo México, they brought with them liturgical music, the violin, the Spanish guitar, Mexico brought with it the traditions of Mariachi, Ranchera.

After New Mexico became a territory, the people of the American frontier brought the traditions of Country and Cajun music. This was. Western was an adaption of Country and Cajun, accompanied by traditionally Mexican and Native American instruments. Once New Mexico became a state, the music was sung at parties and in homes as traditional folk music. During the 1950s and 1960s, it became a form of popular music. In the 1970s, KANW began playing Spanish language New Mexico music. Smithsonian Folkways has released traditional New Mexico music on the following albums: Spanish and Mexican Folk Music of New Mexico, Spanish Folk Songs of New Mexico, Music of New Mexico: Native American Traditions, Music of New Mexico: Hispanic Traditions; these albums feature recordings of songs like "Himno del Pueblo de las Montañas de la Sangre de Cristo" as performed by Cleofis Vigil and "Pecos Polka" as performed by Gregorio Ruiz and Henry Ortiz, "It's Your Fault That You're Looking for Your Horses All Night" as performed by The Turtle Mountain Singers, "Entriega de Novios" as performed by Felix Ortega, "Welcome Home" by Sharon Burch, as well as other classic New Mexico folk songs.

The albums include takes on other New Mexico folk musics by multiple New Mexico musicians ranging from Al Hurricane, Al Hurricane, Jr. and Sharon Burch. There have been other artists of varying genres that have released albums containing elements of New Mexico music. Country artist Michael Martin Murphey released an album titled Land of Enchantment, tracks such as "Land of the Navajo" and "Land of Enchantment" made use of various instruments found in New Mexico music. John Donald Robb left a significant collection of 3,000 field recordings of Nuevomexicano and Native music, among others, to the UNM Center for Southwest Research. Songs are available to listen to online. New Mexico Spanish Music is a radio program on Albuquerque-based public radio station KANW which plays traditional and modern Spanish-language New Mexico music; the show was started in 1973. Other relevant shows on KANW include Friday's Top 15 at 5:00 Countdown. KLVO is a Belen-based radio station that broadcasts New Mexico music alongside Regional Mexican music.

KNMM broadcasts New Mexico music throughout the Albuquerque metropolitan area. They air New Mexico State University Aggies games in both FM and AM

A zduhać and vetrovnjak in Serbian tradition, a dragon man in Bulgarian and Serbian traditions, were men believed to have an inborn supernatural ability to protect their estate, village, or region against destructive weather conditions, such as storms, hail, or torrential rains. It was believed that the souls of these men could leave their bodies in sleep, to intercept and fight with demonic beings imagined as bringers of bad weather. Having defeated the demons and taken away the stormy clouds they brought, the protectors would return into their bodies and wake up tired. Notions associated with the zduhać, dragon man are not identical; the dragon man fought against female demons called ala, which led hail clouds over fields to destroy crops, consumed the fertility of the fields. The zduhaći of an area fought together against the attacking zduhaći of another area who were bringing a storm and hail clouds above their fields; the victorious zduhaći would loot the yield of all agricultural produce from the territory of their defeated foes, take it to their own region.

The vetrovnjak, recorded in parts of western Serbia, fought against a bringer of bad weather imagined as a black bird. The zduhaći are recorded in Montenegro, eastern Herzegovina, part of Bosnia, the Sandžak region of south-western Serbia; the dragon men are recorded in eastern Serbia, western Bulgaria, Macedonia. In Montenegro, eastern Herzegovina, part of Bosnia, the Sandžak region of south-western Serbia, a man, thought to be able to protect his estate, village, or region from bad weather was called a zduhać or a stuha; these names have a number of variants, which can be with or without h, with v instead of h, with or without the ending ć, with č instead of ć. According to philologist Franz Miklosich, the Serbian word stuhać is cognate with the Old Slavonic stuhia or stihia "the elements", which stem from the Old Greek stoicheion "element"; the latter name is the origin of the Modern Greek stikhio, denoting various kinds of spirits in Greek folklore, such as those fighting for the well-being of their village or area against adverse spirits from elsewhere.

According to linguists Petar Skok and Norbert Jokl, stuhać stems from the Albanian stuhí/stihí "storm". In any case, the form zduhać may have resulted from folk etymology through association with the Serbian duh "spirit"; the notion that the human being consists of body and soul is found in traditional Slavic culture. There was a belief among the South Slavs that, in some people, the soul could leave the body and again return into it; the zduhać belonged to such people in Serbian tradition. It was thought that, after a zduhać fell asleep, his soul could fly out of his body, or "go into the winds", as it was said in Montenegro. In some accounts, it exited the body in the form of a fly; the zduhać's soul had the power to direct the motion of clouds. If the body of the sleeping zduhać was rotated so that his head and feet changed places, or if he was carried away from where he fell asleep, his soul would not be able to return into his body, the zduhać would die. Although zduhaći could be women and children, most were adult men.

Their supernatural power was thought to be inborn. In many regions it was regarded that the zduhaći were born with a caul—white or red, depending on the regional belief; the mother would dry the caul and sew into a piece of garment always worn by the child, such as a pouch attached under the child's armpit. In the clan of Kuči, eastern Montenegro, the mother would preserve the caul hiding it from all eyes, hand it to her son when he grew up; the caul was supposed to protect him when he flew as a zduhać. If the caul was destroyed, the child's supernatural power would be lost. A birthmark of a zduhać in Herzegovina could be a tuft of hair growing on upper arm. In Montenegrin Littoral, the caul played no role in the birth of zduhaći, who were rather born on certain Fridays at a set hour. There was a belief in Herzegovina that male children who were conceived on the eves of great feast days would become zduhaći. A 19th-century ethnographic account from eastern Herzegovina describes a way through which a man, not born as a zduhać could become one.

Forty days after he ceased praying to God and washing his face, the man should go to some level ground, before he drew a circle on the ground and sat in its centre. Soon the Devil would come and ask the man whether he was willing to join his army, what form he wanted to be transformed into; when the man stated the desired form, the Devil would turn him into that, making him a zduhać. In the region of Semberija, northeast Bosnia, а zduhać could pass his supernatural power on to his son; the appearance of zduhaći was not much different from that of ordinary people, but they had some traits that set them apart. They were deep sleepers hard to wake up drowsy, pensive and solemn, their faces were puffy, eyes shadowy. They were wise and shrewd, successful in whatever they were doing and resourceful in dealing with problems. In Semberija, zduhaći were said to be good scapulimantic diviners, to be able to communicate with domestic animals; the clan of Paštrovići from Montenegrin Littoral claimed that the zduhaći could hear any doings anywhere in the world.

The clan of Kuči held. Adverse weather such as a storm or hail could devastate crop fields and orchards, thus jeopardize the livelihood of farmers in the affected area. A role of zduhaći, according to folk tradition, was to lead

Aatif Chahechouhe is a professional footballer who plays for Turkish club Antalyaspor. Born in Fontenay-aux-Roses in France to Moroccan parents, Chahechouhe holds French citizenship and plays as a midfielder. Having played for a number of teams in the French lower leagues, Chahechouhe joined AS Nancy on 9 July 2009 after a short stint with Championnat de France amateur side Olympique Noisy-le-Sec. On 24 April 2010, he made his professional debut in a league match against Montpellier, he joined Bulgarian side Chernomorets Burgas in January 2012 and scored 10 goals in just 15 matches, attracting the attention of Turkish Süper Lig side Sivasspor, who paid a €500,000 transfer fee that summer. Chahechouhe finished the 2013-14 season as the Süper Lig's top-scorer with 17 goals, helping Sivasspor to a 5th-place finish and qualification to the Europa League. Towards the end of the season, he received his first international call up for Morocco's friendly match with Gabon. Chahechouhe made his debut for Morocco on 23 May 2014 against Mozambique.

Scores and results table. Morocco's goal tally first: Aatif Chahechouhe career stats at foot-national.com Aatif Chahechouhe scores awesome goal for Chernomorets Burgas at youtube.com Aatif Chahechouhe at Soccerway Aatif Chahechouhe at WorldFootball.net

Chabichou is a traditional soft, natural-rind French goat cheese with a firm and creamy texture. Chabichou is aged for 10 to 20 days; the legend of Chabichou goes back to 732, at the time of the defeat of the Arabs in the area, in the 8th century, after the Battle of Poitiers. Many of them left the area but some settled there with their families and, in particular, their goat herds; the countryside was appropriate for grazing the "poor man's cow". The cheese was named cheblis, which would become "chabichou" thereafter. However, the domestication of the goat in this area is supposed to date back to Roman colonization, extends up to the present. Chabichou du Poitou, made in the north of Nouvelle-Aquitaine region, acquired its AOC status in 1990 with the assistance of the efforts of Ségolène Royal, it is known for its characteristic label. Its production rose to 555 tons in 2003. Since 1782, Chabichou du Poitou has been mentioned in the French "Guide du voyageur à Poitiers et aux environs"; when regional wine production slowed in the late 1800s due to the European phylloxera crisis, production of Chabichou increased.

The AOC production zone is limited to an area south of Haut-Poitou: the south of Vienne, the Deux-Sèvres and the north of the Charente. See the official website of Chabichou du Poitou: http://www.chabichou-du-poitou.eu Chabichou of Poitou is made of fresh and whole goat's milk. It is but pressurized: less than 100 microliters per liter of milk, they let the milk coagulate during a 24-hour period between 20 and 22 °C. This curd is moulded manually with a ladle or mixer into perforated and truncated moulds and left to drain for another 18 to 24 hours while turning it over it two or three times, maintaining it at 22 °C. Afterwards, they are salted with dry salt or sometimes in a brine bath, it is laid out in drying rooms, i.e. it is drained while being placed in moulds for 24 to 48 hours. Afterwards it is left to mature within 80 % to 90 % humidity, it remains there for at least 10 days, but for two or three weeks. Some are preserved for months for a more vigorous flavor. Chabichou is white and smooth, flexible to the palate, with a fine caprine odor.

Immature Chabichou of Poitou can be enjoyed with a white wine such as Sauvignon blanc one from the same region. But more mature Chabichou is better with a red wine from the region, an aperitif or a Pineau des Charentes. List of goat milk cheeses Description at Cheese.com

"Lost in Love" is a 1980 song recorded by the Australian soft rock group Air Supply. The song was written by group member Graham Russell; the original version of the song appeared on the Life Support album in 1979 and was released as a single in Australia, reaching number 13 on the Kent Music Report. The group re-recorded the song for the album Lost In Love in 1980 and this version was released as a single in the US, reaching number 3 on the Billboard Hot 100. Air Supply's popularity in their native country during the mid to late 1970s had not been matched elsewhere. Russell travelled to England in 1979, while there, discovered that the group's Australian record label Big Time Records had sold "Lost in Love" to Arista Records in the United States for distribution. Soon thereafter, their song became a hit on the music charts in the US; the song spent four weeks at number three on the Billboard Hot 100 chart in May 1980 and topped the Billboard adult contemporary chart for six weeks that same year.

This song was featured in an episode of Family Guy, "Emission Impossible", the 1981 American film Private Lessons, the Australian film Hotel de Love. Russell Hitchcock - vocals Graham Russell - vocals, guitar Frank Esler-Smith - keyboard There are two music videos for "Lost in Love". One, an official video, has Air Supply singing on a blue background, while their entire band of additional personnel play their music for them; the other one has Air Supply singing live at a concert. A country music version of "Lost in Love" was recorded in 1980 by singers Dickey Lee and Kathy Burdick; this version peaked at number 30 on the Billboard country music chart. That same year 1980, Demis Roussos covered the song on his 1980 studio album Man of the World; the recording featured singer Florence Warner. The cover was released as a single, which reached no. 3 in Belgium and no. 4 in the Netherlands. The recording was produced by David Mackay. 7" single Mercury 6000 419 A. "Lost In Love" B. "Had to Run'" 7" single Mercury 6000 601 A.

"Lost In Love" B. "Nascerà'" In 1998, "Lost in Love" was covered by the New Zealand pop group Deep Obsession, becoming a number 1 hit in their homeland. List of number-one adult contemporary singles of 1980 List of number-one singles in 1998 Lyrics of this song at MetroLyrics Demis Roussos — "Lost in Love" at Discogs Demis Roussos — "Lost In Love / Nascerà" at Discogs

James Riddle Hoffa was an American labor union leader who served as the President of the International Brotherhood of Teamsters from 1957 until 1971. From an early age, Hoffa was a union activist and became an important regional figure with the IBT by his mid-20s. By 1952, he was national vice-president of the IBT and was its general president between 1957 and 1971, he secured the first national agreement for teamsters' rates in 1964 with the National Master Freight Agreement. He played a major role in the growth and development of the union, which became the largest in the United States with over 2.3 million members at its peak, during his terms as its leader. Hoffa became involved with organized crime from the early years of his Teamsters work, he was convicted of jury tampering, attempted bribery and mail and wire fraud in 1964, in two separate trials. He was sentenced to 13 years. In mid-1971, he resigned as president of the union as part of a commutation agreement with President Richard Nixon, he was released that year, although he was barred from union activities until 1980.

Hoffa, hoping to regain support and to return to IBT leadership, unsuccessfully attempted to overturn the order. Hoffa disappeared on July 30, 1975, his body was never found and he was declared dead in 1982. Hoffa was born in Indiana, on February 14, 1913, to John and Viola Hoffa, his father, of German descent, died in 1920 from lung disease when Hoffa was seven years old. His mother was of Irish ancestry; the family moved to Detroit in 1924, where Hoffa was lived the rest of his life. Hoffa left school at age 14 and began working full-time manual labor jobs to help support his family. Hoffa married Josephine Poszywak, an 18-year-old Detroit laundry worker of Polish heritage, in Bowling Green, Ohio, on September 24, 1936; the couple had two children: a daughter, Barbara Ann Crancer, a son, James P. Hoffa; the Hoffas paid $6,800 in 1939 for a modest home in northwest Detroit. The family owned a simple summer lakefront cottage in Orion Township, north of Detroit. Hoffa began union organizational work at the grassroots level through his employment as a teenager with a grocery chain, a job which paid substandard wages and offered poor working conditions with minimal job security.

The workers tried to organize a union to better their lot. Although Hoffa was young, his courage and approachability in this role impressed fellow workers, he rose to a leadership position. By 1932, after refusing to work for an abusive shift foreman, Hoffa left the grocery chain, in part because of his union activities, he was invited to become an organizer with Local 299 of the Teamsters in Detroit. The Teamsters union, founded in 1903, had 75,000 members in 1933; as a result of Hoffa's work with other union leaders to consolidate local union trucker groups into regional sections, into a national body—work that Hoffa completed over a period of two decades—membership grew to 170,000 members by 1936. Three years there were 420,000; the number grew during World War II and through the post-war boom to top a million members by 1951. The Teamsters organized truck drivers and warehousemen, first throughout the Midwest nationwide. Hoffa played a major role in the union's skillful use of "quickie strikes", secondary boycotts, other means of leveraging union strength at one company, to move to organize workers, to win contract demands at other companies.

This process, which took several years starting in the early 1930s brought the Teamsters to a position of being one of the most powerful unions in the United States. Trucking unions in that era were influenced by, in many cases controlled by elements of, organized crime. For Hoffa to unify and expand trucking unions, he had to make accommodations and arrangements with many gangsters, beginning in the Detroit area. Organized crime influence on the IBT would expand as the union. Hoffa worked to defend the Teamsters unions from raids by other unions, including the CIO, extended the Teamsters' influence in the Midwestern states from the late 1930s to the late 1940s. Although he never worked as a truck driver, he became president of Local 299 in December 1946, he rose to lead the combined group of Detroit-area locals shortly afterwards, advanced to become head of the Michigan Teamsters groups sometime later. During this time, Hoffa obtained a deferment from military service in World War II by making a case for his union leadership skills being of more value to the nation, by keeping freight running smoothly to assist the war effort.

At the 1952 IBT convention in Los Angeles, Hoffa was selected as national vice-president by incoming president Dave Beck, successor to Daniel J. Tobin, president since 1907. Hoffa had quelled an internal revolt against Tobin by securing Central States regional support for Beck at the convention. In exchange, Beck made Hoffa a vice-president; the IBT moved its headquarters from Indianapolis to Washington, D. C. taking over a large office building in the capital in 1955. IBT staff was enlarged during this period, with many lawyers hired to assist with contract negotiations. Following his 1952 election as vice-president, Hoffa began spending more of his time away from Detroit, either in Washington or traveling around the country for his expanded responsibilities