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Pierre d'Espagnac

Pierre d'Espagnac, sometimes Pierre d'Espagnal was a French Jesuit missionary in Siam during the 17th century. Pierre d'Espagnac was a member of a mission of 14 Jesuit scientists sent to Siam by Louis XIV, under the guidance of Father Guy Tachard; as the others, he was given the title of "royal mathematician" and was sponsored by the Académie française. D'Espagnac left Brest in March 1687 together with the Loubère–Céberet mission to Siam. D'Espagnac spoke Portuguese, served for some time as an interpreter for Constantine Phaulkon; the Jesuits were warmly received by the Siamese king Narai. They observed an eclipse with him in April 1688. Soon however, the Siamese revolted in the Siamese revolution. Pierre d'Espagnac was next seen in Mergui, one with the French troops fleeing Mergui following the advent of the 1688 Siamese revolution, he was captured in Tavoy by the Siamese, together with the Chevalier de Beauregard and four French soldiers, as they were trying to obtain supplies for their ships.

Pierre d'Espagnac seems to have been enslaved, soon died in slavery. France-Thailand relations

Ryoma Matsuda

Ryōma Matsuda is a Japanese Nippon Professional Baseball pitcher for the Fukuoka SoftBank Hawks in Japan's Pacific League. Ryoma started playing softball in second grade with the Sugitani Tortoise team went on to pitch for the Daiichi Junior High's softball club in Shimabara City; when the time came to choose high schools, instead of going to Seihō High School, a known baseball powerhouse in Nagasaki, he opted to go to Hasami High School instead, for the reason that he wanted to reach the Koshien using his own abilities. During his junior year, his team joined the 83rd Spring Koshien, where they defeated Yokohama High School in the first round, but were eliminated when they lost to Hyōgo Prefecture's Kakogawa Kita Koutō High in the next; the next summer, his team participated in the Summer Koshien but were again eliminated in the second round by Seiryo High. In October 27, 2011, he was chosen as the Hanshin Tigers 5th pick in the annual autumn baseball draft. In November 29, he signed with the Tigers for an estimated 5.2 million yen annual salary and a 30 million yen signing bonus.

He was assigned the jersey number 56.。 2012 He played his first game on April 21, in a Western League match against the Carps. On July 23, he was promoted to the first squad together with Hiroaki Saiuchi, Iwamoto Akira, Hirokazu Shiranita, but still did not appear in any official game. For the entire season, he went 3-2 in 8 Western League games, with an ERA of 3.86. When the season ended, his aptitude as a closer became more apparent, was chosen as the fall camp's MVP.2013 Before the season started, he was assigned to train in the ichi-gun camp as a potential closer. However, just before the camp ended, he experienced pain and tension in his right shoulder, prompting him to be sent to rehab until mid-May when he was able to rejoin practices in ni-gun, he debuted during the July 13 match with the BayStars in Koshien, where he pitched one shutout inning in relief. Since he pitched 18 scoreless innings in 17 appearances without surrendering an earned run, until Hisayoshi Chono hit a walk-off homer from him on the 10th inning of the August 29 game.

This was his first career loss. Prior to that however, he earned his first hold on August 8 match with Hiroshima. After his first earned run, he managed to maintain an ERA below 1.0, until he gave away 5 more, 3 of which were home runs, in the 2/3 inning that he pitched in September 8. He was registered again on the 21st. On October 4, he pitched in the 10th and 11th inning during the match against Yakult, earned his first win when Toritani scored a hit from an error in the 12th, he pitched in a total of 27 games, finished the season with a single win, 2 losses, a 4.25 ERA. During postseason, he was the sole Hanshin player selected to join the Samurai Japan roster and participate in a 3-game series against Chinese Taipei, he contributed to Japan's victory on the November 9 game by striking out 2 batters in the 7th inning, throwing his fastest at 151 km/h.2014 During spring camp in mid-February, he was taken to a hospital after practices after he started feeling discomfort in his right elbow. He underwent rehabilitation, only managed to return to practices in May.

For several more months, he trained with the second squad until he appeared in his first official match on September 19 vs. the Chunichi Dragons. He only appeared in 6 games during the season, but helped the Tigers sweep the Giants by pitching 2 shutout innings in relief in games 3 & 4 of the Climax Series. 2015 He started the year with a blast when he pitched in relief during the season opener with the Dragons. With the game tied at 4-4, he pitched a shutout 10th inning and recorded the win when Matt Murton hit the tiebreaker, the Tigers notched their first victory for the season, their first walk-off win in 74 years, he again held the 10th inning scoreless on the next day, once again, the Tigers scored on a deadball pitch to Sekimoto, became the 8th team in NPB history to win back-to-back walk-off victories in their first two games of the season. With this, Matsuda became the 6th pitcher in NPB to record 2 wins in the season opening card, the 3rd pitcher to record the victories on back-to-back days.2016 In 2016 season, he returned from July due to the pain in his right shoulder.

He finished the regular season with a 22 Games pitched a 1–0 Win–loss record, a 1.00 ERA, a one Holds, a 26 strikeouts in 27 innings. 2017 In 2017 season, he finished the regular season with a 26 Games pitched a 1–2 Win–loss record, a 5.05 ERA, a one Holds, a 33 strikeouts in 35 2/3 innings. On July 26, 2018, Matsuda moved to the Fukuoka SoftBank Hawks on an exchange trade with Yuya Iida. In 2019 season, he finished the regular season a 51 Games pitched as a relief pitcher with a 2–4 Win–loss record, a 3.81 ERA, a 5 Holds, a 57 strikeouts in 52 innings. With a three-quarter delivery, his pitches are clocked at an average 145 km/h, his fastest being a 152 km/h fastball. Breaking balls that are up his arsenal are sliders, slow curves and the occasional change-ups. Although he has the confidence to throw sharp inside pitches, he has yet to improve on his stability and control. Career statistics and player information from Baseball-Reference NPB.jp

Andrew L. Moore

Andrew Lambdin Moore is an American photographer and filmmaker known for large format color photographs of Detroit, Russia, the American High Plains, New York’s Times Square theaters. Moore’s photographs employ the formal vocabularies of architectural and landscape photography and the narrative approaches of documentary photography and journalism to detail remnants of societies in transition, his photographic essays have been published in monographs and magazines including The New York Times Magazine, The New Yorker, National Geographic, Harper’s Magazine, The New York Review of Books, Fortune and Art in America. Moore’s video work has been featured on PBS and MTV. Moore teaches in the MFA Photography and Related Media program at the School of Visual Arts in New York. Andrew Lambdin Moore, born March 26, 1957, grew up in Old Greenwich, Connecticut, his father Sydney Hart Moore, was a commercial architect, his mother Patricia Lambdin Moore, was an editor at the New York Graphic Society, a fine art publisher.

Moore’s parents supported his early interest in photography. Beard learned of Moore’s interest in photography and signed two prints to him from this series. Moore is related to the Victorian era artists George Cochran Lambdin, known for his paintings of flowers, Alfred A. Hart, an official photographer for the Central Pacific Railroad, who documented the construction of the western half of the first transcontinental railroad. In 1975, Moore enrolled at Princeton University, where he worked on an independent major in photography under the guidance and mentorship of the historian Peter Bunnell and the photographer Emmet Gowin, who at the time, was completing his first monograph. During that time, Moore had the benefit of working with visiting artists including Frederick Sommer, Jim Dow, Joel Meyerowitz. Moore graduated summa cum laude in 1979. After a brief stint working with commercial photographers in New York City, Moore moved to New Orleans, where he continued a body of work first started for his senior thesis.

Over the next two years, he focused on the city’s disappearing commercial district, where he found subjects such as a coffin workshop, a broom factory, a raw furrier–places employing artisans and out-dated machinery. The New Orleans Downtown Development District awarded Moore a grant which enabled him to produce a portfolio of one-hundred 8x10 color contact prints, which were placed in the city’s archives. In 1981, Moore returned to New York City, where he began a three-year project documenting the rapid changes to the urban landscape at the South Street Seaport and Fulton Fish Market in lower Manhattan. At the start of his project, demolition for the present marketplace and shopping pier was just getting under way. Moore returned many times over the following months photographing at night to portray the architecture and ambiance of the surrounding neighborhood amidst massive, rapid transformation. For this work and two other photographers, Barbara Mensch and Jeff Perkell, were awarded grants from the JM Kaplan Foundation, the New York State Council on the Arts, which enabled the completed project, “South Street Survey” to be shown at the Municipal Art Society in 1985.

During this time, Moore was working on a series of photographs of grain elevators in Buffalo, New York with the assistance of a NYSCA individual grant. In Buffalo, Moore met a group of artists working with appropriated imagery, which inspired him to begin using mechanical and chemical processes to incorporate multiple negatives, paintings and xeroxes into complex montage images outside of strict documentary practice; this method of recombination, in the era before Photoshop, created images of “convulsive beauty” and were the subject of Moore’s first solo exhibition in New York at Lieberman and Saul Gallery in 1986, following his first solo show at Real Art Ways in Hartford, CT in 1985. Moore continued this method of montaging imagery for the next 7 years, expanding his practice into experimental short films. During this time, Moore collaborated on short films with others including the artists Lee Breuer and David Byrne, his film “Nosferatu” 1989 was nationally broadcast on MTV and PBS’s New Television series.

In 1995, Moore returned to his roots in documentary practice as the texture of New York’s 42nd Street was changing. With all of the theaters between 7th and 8th avenues scheduled to be razed or refurbished, Moore sought permission to photograph the torn seats and faded fire curtains which told the stories of those spaces. In 1997, Moore showed these photographs at Yancey Richardson Gallery in New York. Despite his change of style, the work was well received. Nothing is lost however— his earlier poetic constructs now give way to broader arenas for the imagination to roam.” Moore first traveled to Cuba in 1998 to photograph Havana’s decaying theaters. The project soon expanded in scope to document the larger effects of Cuba’s permanent Revolution, which were apparent during the economic depression known as the “Período especial.” Moore’s large-scale color photographs of Havana reveal an elegant but crumbling metropolis of muted pastel interiors and scenes of daily life. Moore returned to photograp

Delano Stewart

Winston "Delano" Stewart is a Jamaican singer who had success in the 1960s with The Gaylads before establishing himself as a solo artist. Born in Kingston, Stewart was half of the duo Winston and Bibby, along with B. B. Seaton; the two formed the Gaylads along with Maurice Roberts in the late 1950s. Stewart left the group in the late 1960s, having recorded a handful of solo singles, recorded as a solo artist for producer Sonia Pottinger. In 1969 he relocated to the United States. An album of his recordings for Pottinger was released in 1970. A compilation of his solo work up to 1973 was released in 2001. Stewart reunited with Seaton in 1991 for a concert celebrating Studio One; the two reunited with Maurice Roberts for a Gaylads reunion show. One of Stewart's biggest hits, "Stay a Little Bit Longer", was recorded by UB40 on their album Labour of Love III. "How Many Times", Mu-zik City "Day After Day", Punch "I Don't Know Why I Love You", Doctor Bird "That's Life", Doctor Bird "Got to Come Back", High Note "Stay a Little Bit Longer", High Note "Heart of Stone", Timbrell "Spinning Wheel", Timbrell "Leave Me Alone", Coxsone "Eternal Love", Joe Frasier Stay a Little Bit Longer, High Note/Trojan Stay a Little Bit Longer...and a Bit Longer Still, Westside

Nalakuvara

Nalakūvara known as Nalakūbara, appears in Hindu and Buddhist mythology as the brother of Maṇigrīva, the son of the yaksha king Kubera and husband of Rambha. Nalakūvara appears as a sexual trickster figure in Hindu and Buddhist literature. Various Sanskrit and Prakrit texts give the name "Nalakūvara", "Nalakūvala", "Narakuvera", "Naṭakuvera" to describe the son of Kubera; the god appears in Chinese texts as "Nazha", "Nezha", a shortened transliteration of the word "Nalakūvara". In the Rāmāyaṇa, Nalakūvara's would be wife Rambha was sexually assaulted by Rāvaṇa. In some versions of the Ramayana, Nalakūvara curses Rāvaṇa, so that if Rāvaṇa touches any woman without permission, his heads would explode; this curse protected the chastity of the wife of Rāma, after she was kidnapped by Rāvaṇa. In the Bhagavata Purana, Nalakūvara and his brother Manigriva are cursed by the sage Narada into becoming trees, they are liberated by the child-god Krishna. They were playing, in nudity, in the Ganges with celestial maidens when Narada walked by after a visit with Vishnu.

Upon seeing Narada, the maidens covered themselves, while Nalakūvara and Maṇigrīva were too intoxicated to notice Narada, remained unclothed. According to some accounts, Narada pitied the brothers for wasting away their lives through their excessive indulgence in women and wine. In order to help the brothers realise their mistake, Narada cursed them into two Marutu Trees. Narada wished for the brothers to meet Lord Krishna after many years, who would be able to liberate them from the curse. In other accounts, it is said that Narada is so offended by the brothers’ lack of dignity and respect that he cursed them into trees. After the two brothers pleaded with Narada, he consented that they could be liberated if Krishna touched them. Many years when Krishna was in his infancy, his mother Yashoda had tied him to a mortar in order to prevent him from eating dirt. Krishna dragged the mortar along the ground; these trees happened to be Nalakūvara and Maṇigrīva, upon contact, they returned to their original form.

The brothers paid homage to Lord Krishna, apologized for their previous mistakes, departed. In the Kākātī Jātaka story, Nalakūvara, appears as the court musician of the king of Benares. After the King’s wife, Queen Kākātī, is kidnapped by the Garuḍa King, the King of Benares sends Naṭakuvera to look for her. Naṭakuvera hides within the plumage of the Garuḍa King. Once he has arrived, Naṭakuvera has sex with Queen Kākātī. Afterwards Naṭakuvera returned to Benares in the Garuḍa's wing, composed a song telling of his experiences with Kākātī; when the Garuḍa hears the song, he realises that he has been tricked, he brings Kākātī back home to her husband. Tantric masters invoked Nalakūvara as the commander of Kubera's army of yakṣas, he appears in the tantric text “Great Peacock-Queen Spell,” which portrays him as a heroic yakṣa general and invokes Nalakūvara's name as a way to cure snakebites. Some versions of the “Great Peacock-Queen Spell” (Mahāmāyūrīvidyārājñī and the “Amogha-pāśa” give Nalakūvara the title “Great Yakṣa General.”

Nalakūvara appears in two other tantric texts: “The Yakṣa Nartakapara’s Tantra,” and “The Great Yakṣa General Natakapara’s Tantric Rituals.” Nalakūvara was transmitted through Buddhist texts into China. In Chinese mythology, Nezha is the third son of the Tower King, so many people called Nezha as the third prince. Nezha is called "Marshal of the Central Altar". Nezha is a child-god in folk legend, his arms are made of lotus roots, he fights with bad guys, Nezha is a character with fresh blood and bones. Meir Shahar has traced the etymology of the word Nezha, showing that the name Nazha is a shortened transcription of the Sanskrit name “Nalakūbara.” It has been suggested by Shahar that the legends surrounding Nezha are a combination of the mythology of Nalakūvara and the child-god Krishna. Nezha is a well-known Taoist deity in Japan; the Japanese refer to Nezha as Nataku or Nata, which came from the readings of Xiyouji or Seiyuki in Japanese. Apsara