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Pelias was king of Iolcus in Greek mythology. The son of Tyro and the god Poseidon, he was the one who sent Jason on the quest for the Golden Fleece. Pelias was the son of Poseidon, his wife is recorded as daughter of Bias, or Phylomache, daughter of Amphion. He was the father of Acastus, Alcestis, Hippothoe, Evadne, Asteropeia and Medusa. Tyro was married to King Cretheus of Iolcus, with whom she had three sons, Pherês, Amythaon, but she loved Enipeus, a river god, she pursued Enipeus. One day, filled with lust for Tyro, disguised himself as Enipeus and lay with her - from their union were born twin sons and Neleus. Tyro exposed her sons on a mountain to die, but they were found by a herdsman who raised them as his own, as one story goes, or they were raised by a maid; when they reached adulthood and Neleus found Tyro and killed her stepmother Sidero for having mistreated her. Pelias was power-hungry and he wished to gain dominion over all of Thessaly. To this end, he banished Neleus and Pherês, locked Aeson in the dungeons in Iolcus.

While in the dungeons, Aeson married and had several children, most famously, Jason. Aeson sent Jason away from Iolcus in fear that Pelias would have him killed as a potential heir to the throne. Jason grew in the care of Chiron the centaur, on the slopes of Mount Pelion, to be educated while Pelias, fearing that he would be overthrown, was warned by an oracle to beware a man wearing one sandal. Many years Pelias offered a sacrifice by the sea in honor of Poseidon. Jason, summoned with many others to take part in the sacrifice, lost one of his sandals in the flooded river Anaurus while rushing to Iolcus. In Virgil's Aeneid and Hyginus' Fabulae, Hera/Juno disguised herself as an old woman, whom Jason helped across the river when he lost his sandal; when Jason entered Iolcus, he was announced as a man wearing one sandal. Fearful, Pelias asked Jason. Jason responded. Pelias sent him to retrieve the Golden Fleece, it would be found in a grove sacred to Ares, the god of war. Though the Golden Fleece hung on an oak tree, this was a impossible task, as an ever-watchful dragon guarded it.

Jason made preparations by commanding the shipwright Argus to build a ship large enough for fifty men, which he would call the Argo. These heroes who would join his quest were known as the Argonauts. Upon their arrival, Jason requested the Golden Fleece from the king of Aeëtes. Aeëtes demanded that Jason must first yoke a pair of fire-breathing bulls to a plough and sow dragon's teeth into the earth. Medea, daughter of Aeëtes, fell in love with Jason, being endowed with magical powers, aided him in his completion of the difficult task, she cast a spell to put the dragon to sleep, enabling Jason to obtain the Golden Fleece from the oak tree. Jason and the Argonauts fled Colchis and began their journey home to Thessaly. During Jason's absence, Pelias thought the Argo had sunk, this was what he told Aeson and Promachus, who committed suicide by drinking poison. However, it is possible that the two were both killed directly by Pelias; when Jason and Medea returned, Pelias still refused to give up his throne.

Medea conspired to have Pelias' own daughters kill him. She told them she could turn an old ram into a young ram by boiling it. During the demonstration, a live, young ram jumped out of the pot. Excited, the girls cut their father into pieces and threw them into a pot, in the expectation that he would emerge rejuvenated. Pelias, of course, did not survive; as he was now an accessory to a terrible crime, Jason was still not made king. Pelias' son Acastus banished Jason and Medea, to Corinth, so reclaimed the kingdom. An alternate telling of the story has Medea slitting the throat of Jason's father Aeson, who she really does revive as a much younger man. Media related to Pelias at Wikimedia Commons

Jazz Has a Sense of Humor

Jazz Has a Sense of Humor is the final studio album by jazz pianist Horace Silver, released on the Verve label in 1998, featuring performances by Silver with Ryan Kisor, Jimmy Greene, John Webber, Willie Jones III. The Allmusic review by Michael G. Nastos awarded the album 4 stars and states: "In this set of nine originals, the Horace Silver touch is evident: happy, strong melodies. Silver's light, soulful style is a sound for sore ears, one that has a universal, timeless appeal, crossing generational and commercial barriers; this is well-played music, a specialty Silver has envisioned and realized through the bulk of his career. Recommended." All compositions by Horace Silver"Satisfaction Guaranteed" – 5:47 "The Mama Suite Part 1: Not Enough Mama" – 5:36 "The Mama Suite Part 2: Too Much Mama" – 4:52 "The Mama Suite Part 3: Just Right Mama" – 4:07 "Philley Millie" – 4:45 "Ah-Ma-Tell" – 6:00 "I Love Annie's Fanny" – 4:48 "Gloria" – 7:34 "Where Do I Go from Here?" – 4:01 Horace Silver – piano Ryan Kisor – trumpet Jimmy Greene – tenor saxophone, soprano saxophone John Webber – bass Willie Jones III – drums

Undressing Israel: Gay Men in the Promised Land

Undressing Israel: Gay Men in the Promised Land is a 46-minute documentary written by American adult-film entrepreneur, gay activist and gay pornographic film director Michael Lucas, co-directed by Lucas and Israeli director Yariv Mozer. In his debut as a documentary filmmaker, Michael Lucas portrays in this film released in 2012 Israel's thriving GLBT community through footage of Tel Aviv's vibrant nightlife, a same-sex wedding, candid interviews with a diverse range of local Israeli gays and lesbians, including a gay MP, an gay Army trainer, a drag queen, a transvestite, a young Arab-Israeli journalist, same-sex parents raising their children and a number of artists and activists; the film premiered at the Los Angeles Cinema Festival of Hollywood on January 13, 2013 and has shown in various LGBT and general film festivals including at Out In The Desert 2013, Atlanta Jewish Film Festival, Queergestreift Film Festival, the Polish LGBT Film Festival, Philadelphia QFest. It premiered in Israel on June 2013 during the Tel Aviv LGBT International Film Festival.

Appearances in alphabetical order: Hader Rayan Abu-Seif Yoav Arad Yossi Berg Eliad Cohen Eytan Fox Yehonathan Gatro Mickey Gitzen Nitzan Horowitz Amit Alexander Lev Alon Levi Ivri Lider Andrey Nozdrin Itai Pinkas Rafi Vazana Official website page


Watchful is an album by the American experimental pop music group Amoeba. This is the first Amoeba album to feature the classic lineup of Rick Davies; the style of this album consists of subtle and acoustic pop compositions with heavy ambient textures. Work on this album began in 1994, it was completed in 1995. Over the next two years they searched for a label to distribute the album, it was released in 1997 on the Lektronic Soundscapes label. When distribution problems arose with Lektronic Soundscapes, they moved to Release Records, who had released Rich’s solo album Trances/Drones. ”Inside” - 4:57 ”Skin” - 2:53 ”Origami” - 2:17 ”Footless” - 5:02 ”Ignoring Gravity” - 7:21 ”Water Vapor” - 2:12 ”Desolation” - 4:39 ”Big Clouds” - 2:50 ”Saragossa” - 4:06 ”Any Other Sky” - 6:38 ”Watchful Eyes” - 5:20 Robert Rich - vocals, synthesizers, lap steel guitar, wind instruments Rick Davies - electric and acoustic guitars, basswith:Hans Christian - cello Don Swanson - drums Ivy Barry - additional voice Scott Wright - soprano and alto saxophone

Queer heterosexuality

Queer heterosexuality is heterosexual practice, controversially called queer. The concept was first discussed in the mid-1990s, critically within radical feminism, as a positive identification by Clyde Smith in a paper delivered at a conference in Amsterdam in 1997. In 2003 Village Voice published an article called "The Queer Heterosexual", referred to in papers published since, as it delineates the territory covered by the term. Queer heterosexuality is said to be demonstrated when one or both hetero partners have a gender expression in nontraditional ways: heterosexual masculine women or feminine men, or by taking up gender roles that vary from the Hegemonic masculinity and femininity of the culture in question; the term is considered by many LGBT people to be offensive because, among other things, it is considered a misappropriation of the struggles faced by LGBT people, by those who have never experienced them. It implies that not conforming to every single gender stereotype makes one weird or different.

Kitzinger and Wilkinson argued that the rehabilitation of heterosexuality through "'queer' heterosexuality" as "a concept derived from postmodernist and queer theory" is seen as flawed from a radical feminist perspective. Acknowledging that'queer heterosexuality' is explored in detail, they explain that "the notion of the'queer heterosexual' had become established in queer theory", gaining currency not because people are convinced it is possible or desirable, but "because queer heterosexuality is a necessary component of'gender-fucking'" in Butlerian terms.'Queer heterosexuality' becomes named in the project which destabilises all such categories and moves towards a world where categories like heterosexual are rendered redundant. In a 2004 paper, Annette Schlichter describes the discourse on queer heterosexuality as aiming at "the de- and possible reconstruction of heterosexual subjectivity through the straight authors' aspiration to identify as queer." In the paper a genealogy of queer heterosexuality is outlined, pointing out that "the queer critique of sexual normativity is both bound to the history of specific identities and committed to the destabilization of sexual identities—including those that have become hegemonic", while "critics concerned about issues of lesbian visibility and difference raise the specter of the queer heterosexual... as an indication of the queer project’s perversion of social and political identities and their relations to power."Putting to one side the question of whether the idea of homosexual contagion is homophobic, Guy Davidson uses the article from the Village Voice as an example of how the idea of queer subversion of heterosexuality can have "politically positive implications" in relation to Tristan Taormino's writing on celebration of the LGBT movement's queering of heterosexual sex practices the production of the "queer heterosexual".

In Straight writ queer, the authors acknowledge that the queer heterosexual is only starting to emerge from the closet, seeking in the book to "identify and out the queer heterosexual" in historic and contemporary literature and to identify "inherently queer heterosexual practices" which critique heteronormativity and open up possibilities for the future. The examples in the book include anchorites, the Marquis de Sade and Algernon Charles Swinburne as examples of queer heterosexuals. "Male masochism disavows a masculinity predicated on phallic mastery, hence becomes a strategic site for queer heterosexual resistance to heteronormativity". In 2005, Robert Heasley explored queer heterosexuality among a group of men that he identifies as "straight-queer males." According to Heasley, these men are self-identified heterosexuals who do not find social spaces dominated by traditionally masculine personalities comfortable. Heasley believes that a lack of understanding of masculinity can be addressed by creating a terminology to describe non-hegemonic masculine behavior.

He lists behavior such as platonic cuddling, hand-holding and emotional openness among the ones displayed by straight-queer males. Men who have been surveyed about their "mostly straight" behavior gave various reasons for this self-identification: some felt constrained by traditional models of gender and sexual orientation, others found men attractive; some had a small amount of sexual interest in men but no desire for romantic same-sex relationships or intercourse, while others felt romantic but not sexual interest in other men. As queer is defined either as a synonym for LGBT, or defined as "non-heterosexual", this term is controversial; some LGBT people disapprove of the appropriation of queer by cisgender heterosexual individuals, since the term has been used as a slur towards LGBT people. When straight celebrities self-identify as queer, it has been argued that they play with the "fashionable" parts of LGBT identity, without having to suffer the oppression. Critics of the term compare the use of queer heterosexual to celebrities like Madonna, who appropriated vogue dancing for her performances, taking a dance from gay men of color and profiting from it herself.

Daniel Harris, author of The Rise and Fall of Gay Culture, said that people who call themselves a "queer heterosexual" "are under the impression th

Daniel Moult

Daniel Moult is a concert organist and animateur, ensemble player and presenter of films about music. Daniel Moult was born in Manchester, he attended Manchester Grammar School and St John's College, where he was organ scholar. While at Oxford he became a Fellow of the Royal College of Organists winning three of the top prizes, was jointly awarded the University of Oxford's John Betts Organ Scholarship, he studied as a post-graduate at the Conservatorium van Amsterdam, where his teacher was Jacques van Oortmerssen. Daniel Moult is Head of Organ at the Birmingham Conservatoire, where he leads one of the most vibrant organ departments in the UK, with regular trips to Europe and visits from the best international organists, new facilities including a purpose built organ studio and £3 million worth of new instruments, he is a trustee of the Royal College of Organists, for which he examines, he teaches in London through the RCO Academy. He was organist and assistant director of music at Coventry Cathedral from 1995 to 2002.

He has performed concerts throughout the UK, as well as in Europe and Asia, has been a soloist with orchestras such as Kammerorchester Basel, the Czech National Symphony Orchestra, Capella Cracoviensis and the English String Orchestra. He works as an accompanist for choirs such as the choir of St Peter's Church, Eaton Square. In 2010 he toured Switzerland and France with the Kammerorchester Basel as the soloist in Handel's F Major Organ Concerto, Opus 4, he recorded the B-flat Major Organ Concerto, Opus 4, with the London Early Opera Orchestra for the CD "Handel at Vauxhall", released on Signum Classics, he has performs in Australia most years. Past positions include teaching at the Royal College of Music Junior Department, he has published several editions, including the Easy Bach Album and Easy Handel Album with Bärenreiter and the Complete Church Organist, volumes 1 and 2, with RSCM Publications. His articles on performance practice and performance-related topics have appeared in various music journals.

Daniel Moult has performed for many broadcasts on BBC Radio 2, Radio 3, Radio 4 and BBC Television, including numerous broadcasts of Songs of Praise and Choral Evensong. Daniel Moult co-wrote and presented the documentary The Elusive English Organ, a film that traced the development of the English organ from 1550 to 1830, discovering why so few pre-1830 English organs survive and to what extent it is possible to perform repertoire written during this period on instruments from the composers’ times. Locations included Lanvellec, Adlington Hall, St Botolph's Aldgate and St James, Bermondsey; this film was produced by Fugue State Films and released in 2010 on DVD with an accompanying CD with recordings by Daniel Moult of music by William Byrd, Thomas Tomkins, John Blow, Henry Purcell, George Frideric Handel, John Stanley and Samuel Wesley. At the time of its release it was reviewed in The Organists' Review as follows: “This is eloquently articulated, well-paced playing, which reaches far. Moult’s performance of Purcell’s Double Organ Voluntary in D minor is lovely in its maturity and flexibility.”

His second film was Virtuoso! Music for Organ, he performed a programme of virtuosic works by Marcel Dupre, Franz Schmidt, Jehan Alain, Jean Langlais, Maurice Durufle as well as works by contemporary composers Ad Wammes, Graeme Koehne and Andries van Rossem. This was recorded on the organ of Bridlington Priory and released in 2010. Choir and Organ Magazine reviewed it, writing: “To the lay observer, he risks making it all look deceptively easy. Gramophone magazine reviewed it as "a thrilling production...allowing one to marvel more at Moult's exhilarating musicianship". He is developing "The Imperial English Organ", a follow-up to The Elusive English Organ, which follows the story of the English organ and its repertoire from Handel to the present day, tells the history of England from the point of view of the pipe organ from the Eighteenth to Twenty-First centuries. Partial discography: The Elusive English Organ Virtuoso! Music for Organ Handel: Athalia organ concerto soloist with Basel Kammer Orchester and Paul Goodwin.

Out of the Stillness Millennium Youth Choir conducted by David Ogden with organ. Arundel Restored Daniel Moult, plays the newly restored Hill organ of Arundel Cathedral. Handel at Vauxhall organ concerto soloist with London Early Opera Orchestra and Bridget Cunningham