Richard George Manuel was a Canadian composer and multi-instrumentalist, best known as a pianist and lead singer of The Band. He was a member of the original band from 1967 to 1976 and the re-formed band from 1983 until his death. Manuel's singing alternated between a soul-influenced baritone that drew frequent comparisons to Ray Charles and a delicate falsetto. Though The Band had three vocalists sharing lead and harmony parts, Manuel was seen as the group's primary vocalist. Manuel was born in Stratford, Canada, his father, Ed, was a mechanic employed at a Chrysler dealership, his mother was a schoolteacher. He was raised with his three brothers, the four sang in the church choir. Manuel took piano lessons beginning when he was nine, enjoyed playing piano and rehearsing with friends at home; some of his childhood influences were Bobby Bland, Jimmy Reed and Otis Rush. In early 1959, when he was fifteen, Manuel joined The Rebels, a local Stratford band featuring guitarist John Till. With Manuel on piano and vocals and his friend Jimmy Winkler on drums, the band was rounded out by bass player Ken Kalmusky.

In short order, the group changed to its name to the Revols, in deference to Duane Eddy and the Rebels. Although Richard was the primary vocalist, the line up expanded to include original singer Doug'Bo' Rhodes. Guitarist Till would be replaced by Garth PictotManuel first became acquainted with Ronnie Hawkins and the Hawks in the summer of 1960 when the Revols opened for them at Pop Ivy's in Port Dover, Ontario. According to Levon Helm, Hawkins remarked to him about Manuel: "See that kid playing piano? He's got more talent than Van Cliburn." The following spring, Hawkins found himself opening for The Revols at Stratford Coliseum. After the show, he offered to manage the band, sent them to play at one of his clubs, The Rockwood, in Fayetteville. In mid-September of 1961, after the Revols returned from their southern journey, Hawkins recruited Manuel to his backing band The Hawks, replacing piano player Stan Szelest. Manuel was 18 when he joined the Hawks. At this time the band consisted of 21-year-old Levon Helm on drums, 17-year-old Robbie Robertson on guitar and 18-year-old Rick Danko on bass.

Antagonized by Hawkins's disdain for marijuana and contemporary music trends, the group left the singer's employ in 1964. They were known as the Levon Helm Sextet before changing their name to the Canadian Squires and to Levon and the Hawks. With Helm serving as nominal leader because of his longevity with the Hawkins group, it was Manuel who sang most of the songs in the group's repertoire, it was as Levon and the Hawks, after the departure of Penfound and Bruno, that they introduced themselves to their blues hero, Sonny Boy Williamson. They planned a collaboration with Williamson. In 1965, Helm and Robertson helped back American bluesman John Hammond on his album So Many Roads. Hammond recommended the Hawks to Bob Dylan, who tapped them to serve as his backing band when he switched to an electric sound. In 1967, while Dylan recovered from a motorcycle accident in Woodstock, New York, the group moved there renting a house clad in asbestos siding painted pink, which became known as "Big Pink", located on 100 acres at 2188 Stoll Road in nearby West Saugerties, New York.

Supported by a retainer from Dylan, they were able to experiment with a new sound garnered from the country, soul and blues, gospel and rockabilly music that they loved. As Helm had been temporarily absent from the group since late 1965, Manuel taught himself to play drums during the hiatus. In the Band era he would assume the drummer's stool when Helm played mandolin or guitar, his drum style is notably different from Helm's, as exemplified by his performances on "Rag Mama Rag" and "Evangeline". Manuel's drumming is most prominent on Cahoots; the early months in Woodstock allowed Manuel and Robertson to develop as songwriters. After recording numerous demos and signing with Albert Grossman, they secured a 10-album contract with Capitol Records in early 1968, they signed as "The Crackers". Helm rejoined the fold as sessions got under way for the recording of their debut album, Music from Big Pink; the group proceeded to take what they had learned with Dylan and used one of his songs in the process.

They combined it with their idea of the perfect album, switching solos, singing harmonies modeled after the gospel sound of their musical heroes The Staple Singers. Manuel stated and Robertson each contributed four songs. Covers of "Long Black Veil" and "I Shall Be Released" and the Danko–Dylan collaboration "This Wheel's on Fire" rounded out the album. Music from Big Pink was released with the group name given as "The Band." This would be their name for the rest of the group's existence. While only reaching No. 30 on the Billboard charts, the album would have a profound influence on the nascent country rock and roots rock movements.

François Villon, is the best known French poet of the Late Middle Ages. A ne'er-do-well, involved in criminal behavior and had multiple encounters with law enforcement authorities, Villon wrote about some of these experiences in his poems. Villon was born in Paris in 1431. One source gives the date as 19 April, 1432. Villon's real name may have been François de Montcorbier or François des Loges: both of these names appear in official documents drawn up in Villon's lifetime. In his own work, Villon is the only name the poet used, he mentions it in his work, his two collections of poems "Le Testament", have traditionally been read as if they were autobiographical. Other details of his life are known from court or other civil documents. From what the sources tell us, it appears that Villon was born in poverty and raised by a foster father, but that his mother was still living when her son was thirty years old; the surname "Villon," the poet tells us, is the name he adopted from his foster father, Guillaume de Villon, chaplain in the collegiate church of Saint-Benoît-le-Bétourné, a professor of canon law, who took Villon into his house.

François describes Guillaume de Villon as "more than a father to me". Villon became a student in arts at about twelve years of age, he received a bachelor's degree from the University of Paris in 1449 and a master's degree in 1452. Between this year and 1455, nothing is known of his activities. According to the Encyclopædia Britannica Eleventh Edition, "Attempts have been made, in the usual fashion of conjectural biography, to fill up the gap with what a young graduate of Bohemian tendencies would, could, or might have done, but they are futile." On 5 June 1455, the first major recorded incident of his life occurred. In the company of a priest named Giles and a girl named Isabeau, he met, in the Rue Saint-Jacques, a Breton, Jean le Hardi, a master of arts, with a priest, Philippe Chermoye. A scuffle broke out, daggers were drawn and Sermaise, accused of having threatened and attacked Villon and drawn the first blood, not only received a dagger-thrust in return, but a blow from a stone, which struck him down.

He died of his wounds. Villon fled, was sentenced to banishment—a sentence, remitted in January 1456 by a pardon from King Charles VII after he received the second of two petitions which made the claim that Sermoise had forgiven Villon before he died. Two different versions of the formal pardon exist, he is said to have named himself to the barber-surgeon who dressed his wounds as "Michel Mouton." The documents of this affair at least confirm the date of his birth, by presenting him as twenty-six years old or thereabouts. Around Christmas 1456, the chapel of the Collège de Navarre was broken open and five hundred gold crowns stolen. Villon was involved in the robbery and many scholars believe that he fled from Paris soon afterward and that this is when he composed what is now known as the Petit Testament or Lais; the robbery was not discovered until March of the next year, it was not until May that the police came on the track of a gang of student-robbers, owing to the indiscretion of one of them, Guy Tabarie.

A year more passed, when Tabarie, after being arrested, turned king's evidence and accused the absent Villon of being the ringleader, of having gone to Angers at least, to arrange similar burglaries there. Villon, for either this or another crime, was sentenced to banishment. For four years, he was a wanderer, he may have been, as his friends Regnier de Montigny and Colin des Cayeux were, a member of a wandering gang of thieves. The next date for which there are recorded whereabouts for Villon is the summer of 1461, his crime is not known, but in Le Testament dated that year he inveighs bitterly against Bishop Thibault d'Aussigny, who held the see of Orléans. Villon may have been released as part of a general jail-delivery at the accession of King Louis XI and became a free man again on 2 October 1461. In 1461, he wrote Le Testament. In the autumn of 1462, he was once more living in the cloisters of Saint-Benoît and in November, he was imprisoned for theft in the fortress that stood at what is now Place du Châtelet in Paris.

In default of evidence, the old charge of burgling the college of Navarre was revived, no royal pardon arrived to counter the demand for restitution. Bail was accepted, he was arrested and condemned to be hanged, but the sentence was commuted to banishment by the parlement on 5 January 1463. Villon's fate after January 1463 is unknown. Rabelais retells two stories about him which are dismissed as without any basis in fact. Anthony Bonner speculated the poet, as he left Paris, was "broken in health and spirit." Bonner writes further: He might have died on a mat of straw in some cheap tavern, or in a cold, dank cell. We will never know. Villon was a great innovator in terms of the themes of poetry and, through these themes, a great renovator of the forms, he under

The Performance Racing Network is a radio syndication network controlled by Speedway Motorsports founded in 1981. PRN airs NASCAR Cup Xfinity Series events held at Speedway Motorsports-owned tracks. PRN first began airing the NASCAR events at Charlotte Motor Speedway. After SMI acquired additional tracks, the network began airing the events at Atlanta, Kentucky, Las Vegas, New Hampshire and Texas as well. Since the mid-2000s, PRN airs the Brickyard 400 at the Indianapolis Motor Speedway, through a joint production with the IMS Radio Network. Other NASCAR events, are broadcast by ISC-owned Motor Racing Network. On most occasions, PRN and MRN share the same radio affiliates, in order to broadcast a complete NASCAR schedule. All PRN shows with the exception of the pre and post race shows originate from Performance Racing Network's studios at Charlotte Motor Speedway. All PRN race broadcasts, including Indianapolis, are available via Sirius XM NASCAR Radio. Fast Talk is carried on Sirius XM NASCAR Radio on Wednesdays at 10:00 p.m. Eastern time.

Fast Talk, The O'Reilly Pit Reporters and Garage Pass can all be heard online at goprn.com. PRN's schedule includes the following: Fast Talk: Doug Rice hosts the show with a rotating host a driver; the driver co-hosts include Jeff Hammond and Hermie Sadler. The rotating host format was adopted after the death of Benny Parsons, who had hosted the show during the first 14 seasons, it is a call-in show. Fast Talk is heard on fifty-two weeks a year. Fast Talk is live video streamed and can be viewed at goprn.com. Garage Pass: Mark Garrow and Steve Richards anchor this four-minute NASCAR news program. Garage Pass is heard on 450 stations across the USA; the program was created by Garrow in 1986 under the name "Winston Cup USA" and ran on a handful of stations for one year. In 1987, Garrow partnered with Capitol Sports Network in Raleigh, North Carolina to network and sell the program; the name was changed to "Winston Cup Today" and grew to 480 stations at its peak. Richards produced the program, served as substitute host and covered the majority of the scheduled NASCAR events.

Midway into the 1999 season the show was ended by Capitol Broadcasting when NASCAR demanded rights fees for the use of audio originating from the racetrack. In 2000, Garrow partnered with Performance Racing Network as the show was resurrected and renamed "Garagepass" as the rights fee issue was settled. 2011 marked the 25th year. Steve Richards, who began his radio career in 1977, has been covering the sport on a full-time basis for about 15 years, before that on a part-time basis from 1985, he covered Duke, NC State and University of North Carolina basketball and football from 1986 until the mid-nineties for WRAL-FM and the North Carolina News Network. Richards anchored the scoreboard shows on the Duke and NC State football networks. O'Reilly Auto Parts Pit Reporters: Brett McMillan hosts a panel-driven show with journalists discussing the issues of the week in NASCAR Racing in the Sprint Cup. Other forms of racing are talked about if the news is important enough. ZMax Racing Country: A weekly, two-hour country music-oriented program hosted by WKKT morning disc jockey Paul Schadt along with Cathy Martindale, with news from both country music and NASCAR.

Top country artists and NASCAR drivers are featured in interviews as are a rundown of the week's popular country songs. This is a 52-week program; the program dates back to 1989 and was known as NASCAR Country before losing the rights to the NASCAR name circa 2000. Its slogan is the two fastest hours on the radio; the program comes in two versions: one for current country music radio stations and one for classic country radio stations. Jim Noble co-hosts a daily call-in show on Sirius XM NASCAR Radio channel 90 called Tradin' Paint with longtime gasman for Dale Earnhardt Chocolate Myers Monday through Friday from 11:00 a.m. to 3:00 p.m. Eastern time. Brad Gillie co-hosts a late night call-in show on Sirius XM NASCAR Radio called Late-Shift Monday and Tuesday nights from 7:00 to 10:00 p.m. Eastern time, he now does the show with Kenny Wallace. Gillie is a frequent co-host of Press-Pass every Saturday from 11:00 a.m. to 2:00 p.m. Eastern time. Pat Patterson hosts a weekend morning call-in show called The Frontstretch from 7:00 to 11:00 a.m. during the season and 9:00 to noon in the offseason.

Doug Rice Mark Garrow Wendy Venturini Rob Albright Pat Patterson Brett McMillan Steve Richards Jim Noble Brad Gillie Hermie Sadler Doug Turnbull Heather DeBeaux Performance Racing Network Online PERFORMANCE RACING NETWORK Auto racing glance NASCAR at Kentucky 2016: Start time, lineup, TV schedule and more

Dance Champions is a dance competition reality television series, telecasted on 30 September 2017, on Star Plus. This show is produced by Urban Brew; this dance show divides the contestants into few teams. Dance Champions features champion dancers who were runners-up in different shows. Moreover, new challengers will join them and can beat them by displaying their further level dance moves. Bir Radha Sherpa is the winner of the show. There are two kinds of participants, half of the participants are champions of other dance shows and half are runners up; every week, there will be a contest between champions. Remo D'Souza and Terence Lewis are the judges of the show who would select contestants for the top list; the hosts are Ridhima Pandit. Punit Pathak is the choreographer. Aryan Patra Bad Salsa Kings United Wild Ripperz Faisal & Vaishnavi MJ 5 Sushant Khatri Bir Radha Sherpa Piyush Bhagat Yogesh sharma & Dipali borkar Nandani Vaishnav Ultimate Champion = Bir Radha Sherpa 1st Runner-Up = Piyush Bhagat 2nd Runner-Up = MJ 5 3rd Runner-Up = Shushant Khatri 4th Runner-Up = Faisal & Vaishnavi 13.13 Crew came on 7 October Kings United came on 14 October Aryan Patra came on 21 October Proneeta Swargiary came on 21 October Piyush & Preeti came on 28 October Hip Circle came on 4 November Teriya Magar 13.13 Crew V Company Proneeta Swargiary Piyush & Preeti Hip Circle List of dance style categories Dance Plus Dance Plus 2 Dance Plus 3 Dance Champions Streaming on Hotstar

This is a list of compositions by Franco Donatoni. Quartet No. 1, for string quartet Concerto for Orchestra Il libro dei Sette Sigilli, biblical cantata for soli and orchestra Recitativo e allegro for violin and piano Concertino, for 2 horns, 2 trumpets, 2 trombones, 4 timpani and archi Concerto, for bassoon and orchestra Sonata, for viola solo Ouverture, for chamber orchestra Symphony, for string orchestra Cinque pezzi, for 2 pianos Divertimento, for violino e gruppo strumentale Musica, for chamber orchestra La lampara, ballet Tre improvvisazioni for piano Quartet No. 2, for string quartet Movimento, for harpsichord, 9 instruments Serenata, for female voice and 16 instruments, text from Dylan Thomas Strophes, for orchestra For Grilly, for 7 performers Sezioni Doubles, for harpsichord Puppenspiel I, for orchestra Quartet No. 3, for four-channel tape Per orchestra Quartet No. 4, for string quartet Asar, for 10 string instruments Babai, for harpsichord Black and white, for 37 string instruments Divertimento No.

2, for strings Puppenspiel II, for flute and orchestra Etwas ruhiger im Ausdruck, for flute, violin and piano Souvenir, for 15 musical instruments Black and white II "Esercizi per le dieci dita" for keyboard instruments Estratto for piano Orts, for 14 instruments and narrator ad libitum Solo, for string orchestra Doubles II, for orchestra To Earle, for chamber orchestra Secondo estratto, for harp and piano To Earle Two, for orchestra and instruments Lied, for 13 instruments Jeux pour deux, for harpsichord and positive organ Voci–Orchesterübung, for orchestra Espressivo, for oboe and orchestra Quarto estratto, for 8 instruments Duetto, for harpsichord Duo pour Bruno, for orchestra Lumen, for 6 strumenti Terzo estratto, for piano and 8 instruments Ash, for 8 instruments Musette per Lothar, for musette Algo, for guitar Ali, 2 Pieces for viola solo Diario 76, for 4 trumpets and 4 trombones Portrait, for harpsichord and orchestra Spiri, for 10 instruments Toy, for 2 violins and harpsichord Arie, for female voice and orchestra, texts by Omar Khayyam, Renato Maestri, Fray Luis de León, Tiziana Fumagalli, Hafiz De Près, for female voice, 2 piccolos and 3 violins Ed insieme bussarono, for female voice and piano About... for violin and guitar Argot, for violin Marches, for harp Nidi, for piccolo Clair, for clarinet L'ultima sera, for female voice and 5 instruments, text by Fernando Pessoa Le ruisseau sur l'escalier, for violoncello and 19 performers The Heart's Eye, for string quartet Fili, for flute and piano Small, for piccolo and harp Tema, for 12 instruments Feria, for 5 flutes, 5 trumpets an organ Lame, for violoncello In cauda, for choir and orchestra, for low female voice, bass flauto in C, 10 instruments, text by Susan Park, for violoncello and contrabass, Alamari for violoncello and piano, Diario'83 for 4 trumpets, 4 trombones, orchestra Lem, for contrabass Rima, for piano She for 3 soprani and 6 instruments, text by Susan Park Symphony, op.

63, for chamber orchestra Françoise Variationen, for piano, opera in two movements and an intermezzo, text by Brandolino Brandolini d'Adda, Tiziana Fumagalli, Renato Maestri, Susan Park Cadeau, for 11 performers Darkness for 6 percussionisti Ombra for contrabass clarinet Ronda for violino, viola and piano Omar for vibrafono Sextet, for 2 violins, 2 violas, 2 violoncellos Still for soprano leggero e 6 strumenti Eco for orchestra da camera Arpège, for 6 instruments Refrain, for 8 instruments Ave, for piccolo and celesta Flag, for 13 instruments O si ride for 12 solo voices, tesxt by Brandolino Brandolini D'Adda A Françoise, for piano Cinis, for female voice and bass clarinet, testo di Gaio Licinio Calvo La souris sans sourire, for string quarteti Short, for trumpet in C, for 2 pianos, 8 wind instruments, 2 percussionists Blow, for wind quintet Ciglio for violin Frain, for 8 instruments Hot for sopranino or tenor saxophone and 6 performers Midi, for flute Soft, for bass clarinet Ase, for female voice and guitar Bok, for bass clarinet and marimba Chantal, for solo harp, flute and string quartet Cloches II, for 2 pianos Het, for flute, bass clarinet, piano Holly, for cor anglais, oboe d'amour, 13 instruments Marches II for solo harp, 3 female voices ad libitum, 12 instruments, 3 percussionists Rasch, for 4 saxophones Spice for violino/viola, clarinet in B-flat/E-flat clarinet and piano Cloches III, for 2 pianos e 2 percussionisti, for 4 choirs of white voices and 4 percussionists, text by Elsa Morante

The Russian cruiser Svetlana was a protected cruiser of the Imperial Russian Navy. She was the flagship of the Commander-in-Chief of the Imperial Russian Navy and was used as a royal yacht in peacetime, she was sunk in combat during Battle of Tsushima in the Russo-Japanese War. Svetlana was constructed to provide Grand Duke Alexei Alexandrovich Romanov with a royal yacht; as the younger brother of Tsar Alexander III and uncle of Tsar Nicholas II, Grand Duke Alexei was commander-in-chief of the Imperial Russian Navy. The order was placed with Forges et Chantiers de la Méditerranée at Le Harve, France based on the design of the French Friant-class cruiser; the cruiser was equipped with ten 47-mm Hotchkiss guns and two torpedoes. In place of the armor, Svetlana had luxurious facilities for the Grand Duke, including wooden decks, an apartment with living room and bedroom and a large bathroom, together with a rooms for his servants; the shakedown cruiser of Svetlana was with a 388-man crew in the Mediterranean from Toulon.

After successful completion of testing, she was sent directly to Lisbon to represent Russia at the 400th anniversary celebrations of the opening of a sea route to India by Vasco de Gama, where she hosted the Portuguese royal family. After returning via Le Harve for final repairs, she went to Kiel, where she was visited by officers from the Imperial German Navy before continuing on to her home port of Kronstadt on 23 June 1898. Grand Duke Alexei used his new yacht for the first time in early July for visits to ports around the Baltic Sea and for naval maneuvers. Svetlana accompanied the yacht of Grand Duke Mikhail Alexandrovich Romanov to a visit to Copenhagen in 1899. On 22 May 1899, Svetlana was used by Grand Duke Vladimir Alexandrovich Romanov on an expedition to Trondheim and Arkhangelsk. Svetlana continued to Bear Island near Spitsbergen, evicting two German expeditions who were exploring for mineral resources and locations for a fishing station, she returned on 8 August 1899 to Kronstadt.

In 1900, Svetlana took Grand Duke Alex to Reval, at the end of June took members of the Russian Imperial Family to Kiel and Copenhagen. She continued to serve as a yacht for the Imperial household from 1901 to 1903 to ports around the Baltic Sea. After the start of the Russo-Japanese War in 1904, Grand Duke Alexei offered the use of Svetlana as part of the reinforcements to be sent to the Russian Pacific Fleet on 15 March 1904. Svetlana was refitted with a new rangefinder and wireless system, four of her Hotchkiss guns were replaced with 75-mm cannon. Assigned to the Second Pacific Squadron under the overall command of Admiral Dmitry von Fölkersam, she was overloaded with stores and extra coal for the long voyage via the Suez Canal and Indian Ocean to the Pacific. At the Battle of Tsushima, Svetlana led a squadron with the yacht Almaz and the auxiliary cruiser Ural. At the start of the battle, the squadron fell back to protect the support vessels; that evening, Svetlana joined the Oleg and Aurora under the overall command of Vice Admiral Oskar Enkvist in an attempt to evade the Japanese fleet and to flee to Manila.

However, unable to match the speed of the more modern Russian cruisers, Svetlana attempted to sail north for Vladivostok in the company of the destroyer Bystry. The pursuing Japanese caught up at daybreak close to the Korean coast, Bystry was run aground, where her 82 crewmen were captured. At 0930 hours, the Japanese cruisers Niitaka and Otowa, along with the destroyer Murakumo had closed to within gunnery range of Svetlana. By 1035, Svetlana was on fire, began to sink at 1050, her final position was 37°6′N 129°50′E southwest of the island of Ulleungdo. As the Japanese cruisers continued north to pursue more reported Russian warships, the Japanese support vessel America Maru rescued the 290 survivors from Svetlana, of whom 23 were wounded. An estimated 169 crewmen of Svetlana were lost in the battle. Robert Gardiner, ed.. Conway's All the World's Fighting Ships 1860–1905. Greenwich: Conway Maritime Press. ISBN 0-8317-0302-4. Watts, Anthony J.. The Imperial Russian Navy. London: Arms and Armour. ISBN 0-85368-912-1.

Pleshakov, Constantine. The Tsar's Last Armada, Basic Books, New York, ISBN 0-465-05791-8 Corbett, Julian S. Maritime operations in the Russo-Japanese War, 1904-1905. Naval Institute Press, ISBN 1557501297 Kowner, Rotem. Historical Dictionary of the Russo-Japanese War; the Scarecrow Press. ISBN 0-8108-4927-5