The Ain Umm Sujoor is an archaeological site located in the village of Diraz, Bahrain. Believed to have been built during the 3rd millennium BC, the site consists of an oval hollow 60x30 meters, with two wells, several rooms and ovens, it has been neglected in recent times. The name of the well, Ain Umm Sujoor, translates from Arabic to'Mother of the spring of overflowing waters'; the water wells date back to 3rd millennium BCE to the Dilmun period. The well on the north is called holy well, or water temple, named after discovering that a part of the structure was used to show peoples’ gratitude to their Gods for water; the wells and the pool is believed to be a addition. The site has been excavated by the Danish and Japanese expeditions in 1990s respectively; the Japanese team originated from Rikkyo University and discovered Wells 2 and 3 in addition to Well 1, were the first to suggest the wells were holy places. Archaeological sites in Bahrain List of tourist attractions in Bahrain Culture of Bahrain
Jacki McInnes is a South African artist living and working in Johannesburg. Her art tends towards a style of binary interrogation: migrancy versus xenophobia, material aspirations versus poverty, the survival strategies of newly urbanised populations, the complexities associated with the lived realities of late-capitalism. Current work, in particular, explores the contradictions inherent in present-day human thought and behaviour regarding the disconnect between material aspiration, rampant consumerism, wasteful practices, their disastrous effect on our planet and ultimate future. McInnes received her BA cum laude in 2001 winning the UNISA Fine Art Faculty Medal in that year, she went on to complete an MFA at the Michaelis School of the Arts, University of Cape Town in 2004. Since completing her studies, McInnes has won numerous awards and has been an artist-in-residence in Switzerland and Germany. Solo Exhibitions: 2012: de Magnete, University of Johannesburg Gallery, Johannesburg 2008: Strutting, Flying & Dying, ABSA Gallery, Johannesburg 2008: Alienation Adaptation, Graskop Hotel, Graskop 2006: Patterns in Silence, Women's Jail, Constitution Hill, Johannesburg 2005: The Vocabulary of Ambiguity: For Her, Gordart Gallery, Johannesburg 2004: The Vocabulary of Ambiguity: For Her, Bell-Roberts Contemporary, Cape Town 2004: Four Exhibitions Under One Roof, Artspace Fine Art Gallery, Johannesburg 2002: Salt in the Wound, AVA Gallery, Cape TownSelected Group Exhibitions: 2012: Winter Exhibition, Everard Read Gallery, Johannesburg 2011: MAP South Africa, University of Johannesburg Gallery, Johannesburg.
2010: Ecotopian States, University of Johannesburg Gallery, Johannesburg. 2010: Spier Contemporary Finalist Exhibition, City Hall, Cape Town. 2009: Urban Animal, ABSA Gallery, Johannesburg. 2007: Rendezvous: Focus Sculpture, Morningside and Potchefstroom University. 2007: Bliss, Fried Contemporary, Pretoria. 2007: Ekurhuleni Fine Arts Award, Johannesburg. 2006: Review, 34 Long Fine Art, Cape Town. 2005: New Acquisitions, 34 Long Fine Art, Cape Town. 2004: iaab: Inside Out, St. Alban-Rheinweg 54, Switzerland. 2003: AidsArt / South Africa, Iziko: South African National Gallery. 2002: Aids and South Africa: The Social Expression of a Pandemic, Wellesley College, Massachusetts, USA. 2000:! Xoe²: Off Site, Bell-Roberts Contemporary Art, Cape Town. 2000:! Xoe²: Site-specific, Nieu Bethesda and Grahamstown. 2000: ABSA Atelier Competition, National Finalist Exhibition, Johannesburg. McInnes' work consists of exact replicas of industrial and consumer cast-offs collected by informal recyclers living in downtown Johannesburg, recreated in beaten lead.
McInnes turns the focus from these objects to the lives of the people behind them. In his essay Recycling the Apocalypse Michael Titlestad takes McInnes' House 38 series of work as a departure point for a treatise on end-time psychology. By examining the strategies of Johannesburg's informal recyclers, Titlestad suggests that the Judeo-Christian understanding of a rectinilear escatology is flawed, he posits instead endless cycles of existence. "The world is apocalyptic, just not all at the same time." Michael Titlestad carries his argument forward in an extended essay, entitled The Logic of the Apocalypse: A Clerical Rejoinder, published by Safundi: The Journal of South African and American Studies in February 2013. This show uses the starting point of the decision to abort a pregnancy and from there explores the reproductive role of women in society. McInnes uses salt and found materials to create mixed media works addressing the issues
The First Lady is the fourth studio album by American recording artist Faith Evans. Released by Capitol Records, it marked Evans' debut on the EMI subsidiary, following her departure from Bad Boy Records in 2003. Despite this, the singer reunited with much of her frequent contributors to work on the album, including The Neptunes, Chucky Thompson, Mario Winans. Duo Carvin & Ivan of Karma Productions wrote and produced the predominant part of all songs that were included in the final track listing. Well received by critics, The First Lady debuted at number two on the U. S. Billboard 200 and number one on the U. S. Top R&B/Hip-Hop albums with opening week sales of 157,000 units, it remains Evans' highest ranking album on either chart, the best first week sales of her career. By the end of 2005, the album was certified gold by the Recording Industry Association of America, denoting shipments exceeding 500,000 in the United States alone. In support of the album, Evans embarked on a concert tour, The First Lady Tour, in the United States and Europe in mid-2005.
In 2006, The First Lady was nominated for Best Female R&B/Soul Album at the 20th Soul Train Music Awards. The title of the album was inspired by Evans' original nickname with Bad Boy Records, "The First Lady of Bad Boy." On her decision to use a truncated version of the name Diddy dubbed her with, Evans commented: " did carry over,'cause I'm the first artist in my genre at Capitol," she said. "More so, I chose the title The First Lady because a lot of my personality reminds me of people like Jacqueline Kennedy Onassis and Hillary Clinton. Of course, they go through things,'cause they're human like all of us, but when you see the first lady, you regard her being the first lady. I've made it my business to try and handle certain turbulence in my life with a certain dignity and ladylike." The First Lady received positive reviews from most music critics upon its release. At Metacritic, which assigns a normalized rating out of 100 to reviews from mainstream critics, the album received an average score of 72, based on 17 reviews, which indicates "generally favorable reviews".
In his review for Allmusic, Andy Kellman wrote that "if there was any creative block during time away, it doesn't show. In fact, The First Lady proves that she only gets better with time, as she goes through more ups and downs and continues to absorb her inspirations." He called the first four tracks the highlights of the album, which he rated four out of five stars, went on to praise The First Lady, calling it as "well-rounded as an R&B album gets, regardless of the age it's part of. In review of her 2010 album Something About Faith he called The First Lady "one of Faith Evans' strongest albums", it smartly incorporates throwback aspects into state-of-the-art pop-soul." Belinda Boakye from The Situation complimented the "unfailing spirit and soul" on the album, giving it a score of 3.5 out of 5, commented that "this long anticipated album marks a metamorphosis for Faith Evans into a state of musical autonomy. With 52 minutes of silky vocals and a variation of infectious beats and slow sultry rhythm and blues, this record has all the ingredients needed making it emulate the class and toned sound of Evans’ new physical appearance."The Washington Post gave it a positive review, stating, "No further proof is needed than The First Lady, a CD that sounds remarkably humble despite its title.
It's not her term, anyway. The industry gave it to her—with the appendage "of hip-hop soul"—after she started running in the same circles as Sean "P. Diddy" Combs and Notorious B. I. G. Back in the mid-1990s. She's still known as Biggie's widow though she married her chief musical collaborator, Todd Russaw, a while back, but all the drama and the sorrow matter at this point, because on The First Lady it's the stability that counts." Blogcritics gave it a favorable review, stating that it "is a musical mood ring and displaying the last ten years of her life. It’s not all reflective, however, as there are plenty of party worthy tracks spread between the affecting intensity and veteran of the game vocals. Evans has released a remarkable album with wide appeal and emotional depth for the more cautious listeners, it doesn’t transcend genres or attempt to reconstruct R&B, but First Lady will impress those with a taste for evocative bluesy vocals, dance numbers, solid slow jams."Sal Cinquemani from Slant gave the album three out of five stars and said "The First Lady is decidedly less "street," boasting a more adult sound that's timely enough to keep longtime fans and even earn new ones."
Though he dismissed songs such as "Ever Wonder," "Until You Came" and "Stop N Go," which he declared as either "cloying" or "sappy," he found that the album was "a mark of growth for Evans" following her slip from Bad Boy and Sean "Diddy" Combs. Orlando Lima, writing for Vibe gave the album three-and-a-half out of five stars and noted that while "Evans can still finesse notes," the album had a tendency to backtracking, "covering much of the same ground as her previous offering instead of continually pushing her sound into the future." He found that Evans yet had to "sway the R&B world with the weight of say, Sade's Lovers Rock or Mary J. Blige's My Life." Despite the somewhat average commercial performance of the album's leading single, "Again," The First Lady peaked at number two on the Billboard 200, the official albums chart in the United States, on April 23, 2005. The album sold 157,000 units in its first week of release, falling just 8,000 copies short of the top slot and 50 Cent's The Massacre.
Despite this, the album gave Evans her best sales figures of her career yet, marking both her highest-selling debut and best first-week
Hwang Jung-min is a South Korean actor. He is one of the highest-grossing actors in South Korea, has starred in several box office hits such as Ode to My Father, The Himalayas, A Violent Prosecutor and The Wailing. Hwang is the third actor in South Korea to be part of the "100 Million Viewer Club" in Chungmuro. Hwang Jung-min began his career in musical theatre, making his acting debut in Line 1 in 1995, he starred in various musicals and plays in Daehangno such as Jesus Christ Superstar and Cats. Despite a career on stage, Hwang had difficulty transitioning to film, he went through a long struggle for recognition, with people saying he "didn't have the right face for film." He considered giving up his dream, but stuck to his conviction about walking the path of acting. Hwang said, "After becoming interested about the stage and how it feels to be that person on stage, I've never thought of anything else; that I never swayed --, one thing I can say with confidence."His big break came when he was cast in Waikiki Brothers, a 2001 film, a sleeper hit in Korea.
In his role as a hopeless drummer, Hwang left a strong impression and earned favorable reviews, with director Yim Soon-rye calling him "an uncut gemstone". Hwang went on to have prominent roles in Road Movie, A Good Lawyer's Wife, Heaven's Soldiers and A Bittersweet Life, but it was in 2005 that Hwang became a household name, portraying a naive farmer in love with an AIDS-stricken prostitute in the hit melodrama You Are My Sunshine. Hwang explains. I agreed with the director's idea of showing it as pure love, like an uncut gem, without sloppily adding to it or embellishing it."When he accepted the best actor award at the Blue Dragon Film Awards for his performance in You Are My Sunshine, many were moved by his now-famous speech: "All I did was add a spoon to a dinner table, prepared by others."He received further acclaim for his roles as an insurance investigator in Black House, a troubled club CEO who falls in love with a woman with a terminal illness in Happiness, a superhero in A Man Who Was Superman and a private detective in Private Eye.
Hwang has said that when choosing scripts, he looks at the overall storyline rather than the character itself. He exerts effort to continuously bring out the character's inner workings. Hwang said, "It is important that you don't get too absorbed in yourself. You must always remember. Maintaining objectivity is important." Hwang emphasizes empathy in his acting. "The camera doesn't lie. You can never fool the viewer. You have to act with your heart, not your head." It is because of this commitment to emotional truth that Hwang can confidently tell interviewers that he is 100 percent satisfied with his work. During a crisis on set, or when he is either feeling too satisfied or caught up in mannerisms, he takes out notes he made when he first read the screenplay, he said, "I look at the screenplay again. That's where all the answers are." He made a triumphant return to the stage in the 2008 production of Nine. The theater producer said that it took three years to cast the leading role because in Hwang he had found the right actor to rival Antonio Banderas' Broadway performance.
He has since starred in University of The Wedding Singer and Man of La Mancha. Hwang says, "A movie is the art of a director but the play is the art of an actor."2009's The Accidental Couple was special to Hwang, as it was his first time starring in a television drama in his 14-year acting career. For his role as a blind swordsman in the 2010 period film Blades of Blood, Hwang went to schools for the blind to observe their movements, he starred in The Unjust, a acclaimed noir about corruption in the South Korean justice system. Hwang reunited with actress Uhm Jung-hwa in the 2012 box office hit Dancing Queen, he returned to TV in the 2012 cable drama Korean Peninsula. In late 2012, Hwang made his debut as a theatre director in Stephen Sondheim's musical Assassins, which he starred in. Hwang returned his focus to films, starring in noir film New World, where his performance was singled out by The New York Times, he once again worked with Uhm Jung-hwa in the queer film In My End Is My Beginning.
Hwang played a middle-aged fighter in the sports film Fists of Legend, performing all the stunts himself. In 2014, Hwang starred in romance drama Man in Love, he said that he chose to star in the film to support diversity in the Korean film industry, because he wanted to show the human side of his character, a terminally ill gangster who falls in love for the first time. In the year, Hwang headlined Ode to My Father, embodying the Korean everyman against the backdrop of modern history from the 1950s to the present day. Ode to My Father became the second highest-grossing film in the history of Korean cinema, with 14.2 million tickets sold. He reunited with The Unjust director Ryoo Seung-wan in 2015 for Veteran, playing a hot-tempered police detective tracking an arrogant and heartless chaebol heir; the film was another smash hit, is the 3rd all-time highest-grossing film in Korean cinema history. Hwang starred in the budget mountaineering film The Himalayas, where he plays renowned Korean mountaineer Um Hong-gil, who became the fir
The Aztec fruit-eating bat is a species of bat in the family Phyllostomidae. It is found in Costa Rica, El Salvador, Honduras and Panama, it was described as a new species in 1906 by Danish mammalogist Knud Andersen. The holotype was collected by Edward William Nelson in Tetela del Mexico, its species name "aztecus" refers to the indigenous Aztecs of Mexico, where this species was first documented. It is one of the largest members of its genus. Individuals lack tails, it has a forearm length of 35–41 mm and body weight of 18–24 g. Its dental formula is 22.214.171.124.1.2.2 for a total of 28 teeth. It is nocturnal, foraging at night and roosting in sheltered places such as abandoned mines, old wells, tree branches during the day, it eats fruits from plant species such as Crataegus mexicana and Prunus serotina and cones from species such as Cupressus and Juniperus. Additionally, it will consume insects, it is found in several countries in Central America including Costa Rica, El Salvador, Honduras and Panama.
It has been documented at elevations from 600–3,000 m above sea level.