Prijedor is a city located in Republika Srpska, an entity of Bosnia and Herzegovina. As of 2013, it has a population of 89,397 inhabitants within its administrative limits. Prijedor is situated in the Bosanska Krajina region. Prijedor is known for its Catholic, Eastern Orthodox Christian and Islamic heritage. Historic buildings from the Ottoman and Austrian-Hungarian periods are a feature of the urban landscape; the city underwent extensive renovation between 2006–2009. The town of Prijedor, within the municipality of Prijedor, is located in the north-western part of Bosnia and Herzegovina, on the banks of the Sana and Gomjenica rivers, at the south-western hills of the Kozara mountain; the area of the municipality is 833 square kilometres. The town is situated at 44 ° 58' 39" 16 ° 42' 29" E, at an altitude of 133 metres above sea level, it is traditionally a part of the historical and cultural region of Bosanska Krajina in Bosnia and Herzegovina. The terrain ascends to the north-east of Prijedor in waves and becomes the mountain range of the Kozara mountain, famous from the peoples' uprisings in the previous centuries and battles against fascism during the Second World War.
The city lies on the alluvial terrain created by the Sana river and its tributaries on the south-western hillsides of the Kozara mountain. Prijedor's history as a fortified centre of population can be traced back to the end of the 17th century, but the history of the colonization and culture of the surrounding area is much older, predating the emergence of the town. Numerous prehistoric and mediaeval archeological sites are evidence of the presence of a variety of different cultures. There are numerous settlements from the prehistoric period, dating back to 2100 B. C. associated with burial sites. In the pre-Roman and Roman times the area was settled by a large Illyrian tribe Maezaei, a sub-tribe of the Pannonians, renowned for their mining skills. In Ljubija near Prijedor, many Roman age monuments have been found that provide evidence of iron production. In Zecovi there is an Illyrian necropolis from the Iron Age. A legend says. Prijedor is mentioned for the first time as a small wooden fort in the list of those places in the Ottoman Empire that were devastate by Croatian troops between 1693 and 1696.
These regions were under Ottoman dominion until 1878. About 200 years ago in this part of Bosnia a large number of fortifications were constructed in order to protect contested borders with Austria. On, many fortifications were destroyed during the Austro-Ottoman War as the borders moved towards the east and south in favor of Austria; the first mention of the town, which refers to it as “Palanka Praedor” in a Latin written report of an Austrian field marshal about burnt fortified settlements, occurs between 1693 and 1696. The term “Palanka” indicates a wooden fortification built on an artificially created island on the river Sana, it is not clear how Prijedor got its name. One of them refers to the term “prodor” in the local tongue meaning penetration or penetration of the Sana river, which flooded the entire area; the second theory concerns a race between a horse. As the man won, it is said that the man reached the finish line before the horse, in the local language “Prije Dore”. At the same place in the middle of the 18th century, a new fortress appeared, this time built with stone walls, three towers and two clay causeways for the cannons.
An archived information from Istanbul dated 1745 tells about two town guards crossing over to the newly built Palanka Pridorska Ada. It is the first mention of the fortress on the river Sana. With the emergence of the fortification, the settlement outside of the walls began to develop at the same time; the settlers were a Christian population who lived in the vicinity and whose settlements merged with the town as it expanded to the north. Attesting to this is an account of an Austrian secret agent about the existence of the town for the purposes of the Austrian army, in which he described the town in detail and emphasized the suburb in its vicinity; the town started to develop thanks to the navigability of the Sana River, the development of commerce and craft, the construction of the first railway through Prijedor. The first railroad in Bosnia and Herzegovina was built in 1873 next to Prijedor and went from Dobrljina to Banja Luka; the fortress existed as a military spot until 1851 when the army left and the walls were demolished by the local population who used the walls to build their own houses.
A huge fire in 1882 destroyed 119 houses, 56 big commercial stores, schools, an Eastern Orthodox church, 140 families lost roofs over their heads. The next year the Austrian authorities opened a large sawmill at the foot of the mountain Kozara, the first industrial object in the history of Prijedor; the years after the fire brought on intensive development of the town, encompassing both private and state-owned structures. The wood was replaced with modern building materials, the streets were designed at right angles and the first town plan was created. New buildings were built, such as the Serbian elementary school, the Catholic Church, the Eastern Orthodox Church, a hotel; the first cultural associations appeared in the town as well as libraries, reading rooms and a printing house. The end of the First World War created a fledgling state—the Kingdom of Serbs and Slovenes—with Bosnia-Herzegovina as a part of it. Prijedor served as an important place as the craft center of the whole region; the openin
The county lists for the Norwegian parliamentary election, 2001 was a group of nine political lists, or parties, which under different names ran for the 2001 parliamentary election in Norway. Common for all the parties, was that all of them were made up of people, excluded or voluntarily left the Progress Party after the turmoil that erupted in the party around 2000/2001; the most noticeable of them were Member of Parliament Vidar Kleppe, the top candidate of the Southern Norway List in Vest-Agder, as well as being present on the lists of the Hedmark List and the Hordaland List. Kleppe was noticeably joined by Elvis impersonator Kjell Elvis, IK Start football legend Karsten Johannessen in Vest-Agder. Other Progress Party MPs on the county lists were Dag Danielsen and Fridtjof Frank Gundersen, the first and second candidates for the Oslo List, Jørn Stang, the top candidate of the Østfold List; the lists did not campaign as a common party, though they had much in common they were formally separate entities.
The most successful of the lists was the Southern Norway List of Vidar Kleppe, but neither he managed to secure a renewed place in the Norwegian parliament. Results for the lists in their respective counties: Together, the lists received 4.026 votes, accounting for 0,16% of the votes nationwide. In 2002, the party the Democrats were founded with Vidar Kleppe as the chairman. Many of the members of the county lists joined the new party; the top candidate for the Troms List, Karl-Olav Slorafoss, was for instance active in the Coastal Party
Emotional baggage is an everyday expression that correlates with many varied but similar concepts within social sciences, self-help movements, other fields: its general concern is with unresolved issues of an emotional nature with an implication that the emotional baggage is detrimental. As a metaphorical image, it is that of carrying all the disappointments and trauma of the past around with one in a heavy load. In adult life, emotional baggage comes to the fore in relationships in two main forms. First, there are the negative expectations created by previous relationships of an abusive nature—a kind of bondage to the past that can contaminate new and more positive interactions; this may be apparent in a second marriage where, in Virginia Satir's words, “shadows from the past are real and must be dealt with by the new marital pair”. The second type of memories contributing to adult emotional baggage are recurrent bringing-up of the history of the current relationship, with the result that minor problems in the present become overwhelmed by negative currents from earlier times which cannot be resolved or set aside for good.
Behind adult problems, there may be deeper forms of emotional baggage rooted in the experiences of childhood, but continuing to trouble personality and behaviour within the adult. Men and women may be unable to leave the pain of childhood behind, look to their partners to fix this, rather than to address more adult concerns. Cultural and parental expectations, patterns of behaviour drawn from the family of origin and still unconsciously carried around, will impact on a new marriage in ways neither partner may be aware of; as parents, both sexes may find their own childhood pasts hampering their efforts at more constructive child-rearing, whether they repeat, or seek to overcompensate for, parental patterns of the past. Psychotherapy addresses such emotional baggage of the client under the rubric of transference, exploring how early development can create an internalised'working mode' through which all subsequent relationships are viewed. Patenaude AF Emotional Baggage: Unresolved Grief, Emotional Distress, Risk Perception, Health Beliefs and Behaviors 2005 Joseph LeDoux,'Indelibility of Subcortical Emotional Memories', Journal of Cognitive Neuroscience vol 1 238-43 Losing Your Emotional Baggage
Dreams to Remember: The Otis Redding Anthology is a 1998 compilation album by American soul singer-songwriter Otis Redding. Advertised as a stopgap between the greatest hits album Very Best Of and the boxset Otis! The Definitive Otis Redding, this two-disc album offers most of Redding's greatest hits, a few album tracks and 5 live recordings taken from The Monterey International Pop Festival. In his review for Allmusic, Stephen Thomas Erlewine states that while the music on the album is superb, it tries to be both a best of and a box set and so fails at both; the album sold in excess of 40,000 copies and was voted 147th on the 500 greatest albums of all time by Rolling Stone. Otis Redding – vocals, guitar Carla Thomas – vocals Booker T. Jones – guitar, electronic organ Steve Cropper – guitar, bass Johnny Jenkins – guitar Charles "Packy" Axton – tenor saxophone Andrew Love – tenor saxophone Joe Arnold – tenor saxophone Gilbert Caples – tenor saxophone Gene Parker – tenor saxophone Tommie Lee Williams – tenor saxophone Floyd Newman – baritone saxophone Wayne Jackson – trumpet Sammie Coleman – trumpet Gene "Bowlegs" Miller – trumpet Ben Cauley – trumpet Isaac Hayes – piano, organ Lewis Steinberg – bass Donald "Duck" Dunn – bass Wayne Cochran – bass Al Jackson, Jr. – drums Rick Hall – drums Phil Walden – tambourine William Bell David Porter – background vocals The Pinetoppers
The Basel museums encompass a series of museums in the city of Basel and the neighboring region. They represent a broad spectrum of collections with a marked concentration in the fine arts and house numerous holdings of international significance. With at least three dozen institutions, not including the local history collections in the surrounding communities, the region offers an extraordinarily high density of museums compared to other metropolitan areas of similar size, they draw a half million visitors annually. Constituting an essential and defining component of Basel culture and cultural policy, the museums are the result of interwoven private and public collecting activities and promotion of arts and culture going back to the 16th century; the public museums of the canton of Basel-City arose from the 1661 purchase of the private Amerbach Cabinet by the city and the University of Basel and thus represent the oldest civic museum collection in continuous existence. Since the 1980s, a number of collections have been made public in new purpose-built structures that have achieved renown as acclaimed examples of avant-garde museum architecture.
The main focus of collecting among Basel museums is the fine arts – painting and sculpture. More than a dozen museums cover a spectrum that extends from antiquity up to the present and includes historic and established works of art as well as pioneering creations. In particular, the latter category has been made accessible to the public over the past two decades in a series of newly opened museums. There are collections with more of a local and regional character, yet a number of area museums the larger institutions, are noted for their international orientation and reach. In addition, Basel benefits from a long tradition of collecting that, in contrast to many other museums in Central Europe, was not disrupted by the wars of the 20th century, as well as from the city's well-established connections to the market of art dealers and art collectors – such as through Art Basel. Numerous museums address various themes of cultural history and ethnology while other institutions feature technical and scientific collections.
The museums continue to be oriented to the scholarly tasks of collecting and exhibiting as well as research and education or at least view these as part of their activities. Consistent with museological trends seen elsewhere, the traditional self-image has evolved since the 1960s. Alongside the new forms of public outreach, institutional hybrid forms have arisen that embrace a sociopolitically relevant role and in which museum operations constitute just one facet, albeit a important one, of a more comprehensive cultural institution. With the city's position at the junction of the "Dreiländereck" and the compact municipal boundaries within the Basel region, most of Basel's museums are located in the city of Basel and thus in the canton of Basel-City but quite a few of museums lie in the canton of Basel-Country; the Basel museum landscape can be said to extend to the museums of the greater metropolitan area, such as those in the neighboring towns of Lörrach, Saint-Louis and Weil am Rhein, with the latter included in the annual Basel Museum Night through the participation of Vitra Design Museum in Weil.
In view of the numerous municipal and national administrative units that come together here as well as the broader agglomeration, it is difficult to produce a conclusive figure for the number of Basel museums. Yet when taking a narrowly drawn perimeter, the total comes to at least three dozen institutions that house collections and make them accessible to the public; the Basel museums are part of the German-French-Swiss "Upper Rhine Museum Pass", introduced in 1999. This covers a much wider area than the Basel region, extending via Strasbourg up to Mannheim. With the increasing aestheticization of everyday life, the architecture of museums has taken on special significance since the 1980s. A striking number of exhibition structures have incorporated a vocabulary of postmodern and deconstructivist forms. In and around Basel, new buildings, additions or renovations have been constructed from designs by nationally and internationally renowned architects and celebrated as examples of avant-garde museum architecture.
In other area museums, by contrast, the building fabric is old to old, consisting of former residential and commercial buildings or monasteries and churches that have been converted for exhibition purposes. The museums are a central aspect of hence an important economic factor. A number of Basel's museums are public institutions but the majority are sponsored, backed in most cases by foundations. Helping to generate the high density of museums compared to other cities and metropolitan areas of similar size, these private collections have made a substantial contribution to the high level of museum quality; the private collections nearly all came into being after the Second World War. Most of the public museums, by contrast, date from before the war. In fact, the collections of the five publicly run museums of the canton of Basel-City have histories that go back several centuries; the origins of the first public collection are linked to the University of Basel and the early modern era collections of books and natural curiosities, of which there were quite a few in Basel.
Prominent among them, the Amerbach printer family had collected a substantial number of books, goldsmith works and natural objects during the 16th centu
Ray Davies was a Welsh trumpeter, session musician, bandleader, active from the 1940s to 1970s. Much of his work featured on the Boosey & Hawkes stock music library, experiencing a surge in popularity during the 1990s lounge revival, he frequently conducted the BBC Radio Orchestra, as well as playing for the BBC Big Band, he is the father of record producer Rhett Davies, served as chairman of BASCA from 2004 to 2010. During his childhood, he played in local military bands, after which he attended the Royal College of Music. After finishing his education, he began to play trumpet for a large number of orchestras, big bands, theatres across London, including that of Frank Cordell. In the 1960s, he took part in a session for Reader's Digest, wanting a British response to Herb Alpert, led to Davies forming his band; this group was known as Ray Davies and The Button-Down Brass, it released a series of popular easy-listening albums, as well as covers of television and film theme tunes. At the same time, he entered the pop scene, playing trumpet on records such as It's Not Unusual and Shirley Bassey's version of Big Spender.
Known for his short temper, he became an accomplished songwriter, he was consulted by many pop bands, including The Beatles and The Rolling Stones, on musical arrangements. He died at the age of 89, on July 20, 2017