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Robert Colquhoun

Robert Colquhoun was a Scottish painter and theatre set designer. Colquhoun was educated at Kilmarnock Academy, he won a scholarship to study at the Glasgow School of Art, where he met Robert MacBryde with whom he established a lifelong homosexual relationship and professional collaboration, the pair becoming known as "the two Roberts". He joined MacBryde on a travelling scholarship to France and Italy from 1937 to 1939, before serving as an ambulance driver in the Royal Army Medical Corps during the Second World War. After being injured, he returned to London in 1941; the pair shared a house with John Minton and, from 1943, Jankel Adler. Colquhoun's early works of agricultural labourers and workmen were influenced by the colours and light of rural Ayrshire, his work developed into a more austere, Expressionist style influenced by Picasso, concentrated on the theme of the isolated, agonised figure. From the mid-1940s to the early 1950s he was considered one of the leading artists of his generation.

Along with that of MacBryde, the work of Colquhoun was shown at the Lefevre Gallery in London. At the height of their acclaim they courted a large circle of friends - including Michael Ayrton, Francis Bacon, Lucian Freud and John Minton as well as the writers Fred Urquhart, George Barker, Elizabeth Smart and Dylan Thomas - and were renowned for their parties at their studio. Colquhoun was a prolific printmaker, producing a large number of lithographs and monotypes throughout his career. During and after the Second World War he worked with MacBryde on several set designs; these included sets for Gielgud's Macbeth, King Lear at Stratford and Massine's Scottish ballet Donald of the Burthens, produced by the Sadler's Wells Ballet at Covent Garden in 1951. During the 1950s their artistic reputation went into serious decline, their heavy drinking made any serious effort to paint impossible. According to their friend Anthony Cronin they were close to destitution. Robert Colquhoun died, an alcoholic, in relative obscurity in London in 1962.

MacBryde moved to Dublin, where he was killed in a traffic accident in 1966. Their friend Anthony Cronin describes them with respect and affection in his memoir Dead as Doornails. Mysterious Figures Woman with Leaping Cat 50 paintings by or after Robert Colquhoun at the Art UK site Bristow, Roger; the Last Bohemians: The Two Roberts - Colquhoun and MacBryde. Bristol, UK: Sansom & Co. ISBN 1906593191. Biography at the Tate Gallery Robert Colquhoun on the Gazetteer for Scotland The Roberts at the Scottish National Gallery

Keith Babb

Keith Wayne Babb is an auctioneer of American Quarter Horses, having sold more than 40,000 horses at auctions in 28 states in a career exceeding 40 years. Babb resides with his wife on a 400-acre ranch near Monroe in Ouachita Parish in northeastern Louisiana. Babb father, Keith Franklin Babb, was a native of Malvern in Arkansas. For fifty years, the senior Babb was a pastor of Southern Baptist churches in southern Arkansas and North Louisiana, including Marion in Union Parish and after 1952 in Bastrop in Morehouse Parish, his mother, the former Bessie Mavis Hooks, was a teacher. While he was a boy living in Bastrop, Babb listened to radio station KTRY and became fascinated with the weekly Monday broadcast of livestock auctions. Babb was married in 1970 in the Lakeshore Baptist Church in Monroe to the former Carolyn Ladner, a native of Poplarville, the daughter of Harry and Essie Ladner. Babb procured a degree in journalism from the University of Louisiana at Monroe and is a former president of the ULL Alumni Association.

In 1966, he attended the Superior School of Auctioneering in Illinois. He worked for the former KNOE and KNOE-TV, the CBS affiliate in Monroe, both founded by former Governor James A. Noe. With Jack E. McCall, he was for several years the co-host of the KNOE Good Morning Ark-La-Miss program. Babb is a director of Bank One Corporation of Louisiana. In 1971, known for his baritone voice, became a full-time auctioneer handling the sale of real estate, farm machinery, business liquidations to remain financially solvent. While reading through a trade magazine, he spotted an advertisement for an auctioneer of horses; this became his passion. In 2004, Babb was inducted into the National Auctioneers Association Hall of Fame. In 2015, he won the "Special Recognition Award" from the American Quarter Horse Association Racing Council, presented in ceremonies in Oklahoma City, Oklahoma; the award came with a hand-tooled saddle made in Brazil. According to the AQHA Q-Racing Journal, Babb is "considered the premier auctioneer in the country for American Quarter Horses."Among the horses Babb has auctioned were First Down Dash and Mr Jess Perry, as well as record-setting Queen For Cash and Tempting Dash.

With Tempting Dash, Babb broke his own record from more than three decades earlier with Queen for Cash. On August 1, 2008, Governor Bobby Jindal appointed Babb, a Republican to the 13-member Louisiana Racing Commission, which regulates horse racing in the state; the commission is based in New Orleans. Babb is the member for Louisiana's 5th congressional district. Though Babb had planned to retire in 2014 at the age of seventy, he kept receiving calls to return to the auction stand: "I've been selling horses for forty years coast to coast, I don't want to die on the road. I'm determined to retire, but right now I guess you could say I'm semi-retired...." Babb added, "The road isn't as fun. I don't want to die on the auction stand, but the big thing is, I don't want anyone to say,'I wish that old man had retired a couple of years ago.' I'd like to go out on top."

Deubiquitinating enzyme

Deubiquitinating enzymes known as deubiquitinating peptidases, deubiquitinating isopeptidases, ubiquitin proteases, ubiquitin hydrolases, ubiquitin isopeptidases, are a large group of proteases that cleave ubiquitin from proteins and other molecules. Ubiquitin is attached to proteins in order to regulate the degradation of proteins via the proteasome and lysosome. DUBs can reverse these effects by cleaving the peptide or isopeptide bond between ubiquitin and its substrate protein. In humans there are nearly 100 DUB genes, which can be classified into two main classes: cysteine proteases and metalloproteases; the cysteine proteases comprise ubiquitin-specific proteases, ubiquitin C-terminal hydrolases, Machado-Josephin domain proteases and ovarian tumour proteases. The metalloprotease group contains only the Jab1/Mov34/Mpr1 Pad1 N-terminal+ domain proteases. In humans there are 102 putative DUB genes, which can be classified into two main classes: cysteine proteases and metalloproteases, consisting of 58 ubiquitin-specific proteases, 4 ubiquitin C-terminal hydrolases, 5 Machado-Josephin domain proteases, 14 ovarian tumour proteases, 14 Jab1/Mov34/Mpr1 Pad1 N-terminal+ domain-containing genes.

11 of these proteins are predicted to be non-functional. In yeast, the USPs are known as ubiquitin-specific-processing proteases. There are four main superfamilies of cysteine protease DUBs: the ubiquitin-specific protease superfamily; the ubiquitin C-terminal hydrolase superfamily. The Jab1/Mov34/Mpr1 Pad1 N-terminal+ domain superfamily proteins bind zinc and hence are metalloproteases. DUBs play several roles in the ubiquitin pathway. One of the best characterised functions of DUBs is the removal of monoubiqutin and polyubiquitin chains from proteins; these modifications are a post translational modification where single ubiquitin proteins or chains of ubiquitin are added to lysines of a substrate protein. These ubiquitin modifications are added to proteins by the ubiquitination machinery; the end result is ubiquitin bound to lysine residues via an isopeptide bond. Proteins are affected by these modifications in a number of ways: they regulate the degradation of proteins via the proteasome and lysosome.

DUBs play the antagonistic role in this axis by removing these modifications, therefore reversing the fate of the proteins. In addition, a less understood role of DUBs is the cleavage of ubiquitin-like proteins such as SUMO and NEDD8; some DUBs may have the ability to cleave isopeptide bonds between these proteins and substrate proteins. They activate ubiquitin by the proteolysis of the inactive expressed forms of ubiquitin. Ubiquitin is encoded in mammals by 4 different genes: UBA52, RPS27A, UBB and UBC. A similar set of genes is found in other eukaryotes such as yeast; the UBA52 and RPS27A genes produce ubiquitin, fused to ribosomal proteins and the UBB and UBC genes produce polyubiquitin. DUBs cleave the ubiquitin from these proteins. DUBs cleave single ubiquitin proteins that may have had their C-terminal tails accidentally bound to small cellular nucleophiles; these ubiquitin-amides and ubiquitin-thioesters may be formed during standard ubiquitination reactions by the E1-E2-E3 cascade. Glutathione and polyamines are two nucleophiles that might attack the thiolester bond between ubiquitin and these enzymes.

Ubiquitin C-terminal hydrolase is an example of the DUB that hydrolyses these bonds with broad specificity. Free polyubiquitin chains are cleaved by DUBs to produce monoubiquitin; the chains may be produced by the E1-E2-E3 machinery in the cell free from any substrate protein. Another source of free polyubiquitin is the product of ubiquitin-substrate cleavage. If DUBs cleave the base of the polyubiquitin chain, attached to a protein, the whole chain will become free and needs to be recycled by DUBs. DUBs contain a catalytic domain surrounded by one or more accessory domains, some of which contribute to target recognition; these additional domains include domain present in ubiquitin-specific proteases domain. The catalytic domain of DUBs is what classifies them into particular g

2000 All-Ireland Senior Hurling Championship Final

The 2000 All-Ireland Senior Hurling Championship Final was the culmination of the 2000 All-Ireland Senior Hurling Championship. It was played on 10 September 2000 between Offaly. Kilkenny were appearing in their third All-Ireland final in-a-row after losing to Offaly in 1998 and to Cork in 1999, they were looking to capture a first championship title since 1993. Offaly were lining out in their first championship decider since they won the title in 1998. Both sides last met in the championship in the Leinster final earlier in the year when Kilkenny trounced Offaly. At 3:30pm match referee Willie Barrett threw in the sliothar and the Millennium All-Ireland final, the 112th in all, got under way. Right from the throw-in the Kilkenny men tore into the game. Offaly errors, so atypical of them throughout the late 1990s, were punished mercilessly by the Kilkenny defenders and their forwards. ‘The Cats’ goal-scorer supreme, D. J. Carey, needed only six minutes to make his mark on this decider when he pounced on a mistake from Offaly corner-back Niall Claffey to ram home Kilkenny's opening goal.

Carey's sixth-minute goal was followed three minutes by a Henry Shefflin three pointer. Shefflin's effort was helped home by Carey but the umpire ruled that the ball had crossed the line. After ten minutes the score read 2-3 to 0-1 in Kilkenny's favour and Offaly looked like they were in real trouble; the last twenty-five minutes of the opening half saw Offaly get into the groove and score seven more points, five of which came from Johnny Dooley frees. Offaly's only real goal chance, a ground stroke from Michael Duignan, went narrowly wide in the eighteenth minute. Kilkenny, created several opportunities to add to their two early goals and it was little surprise when Charlie Carter bagged a third goal for ‘the Cats’ four minutes before half-time. At the interval, in spite of Offaly's eighteen scoring chances to Kilkenny's fifteen, ‘the Cats’ had to a ten-point lead of 3-10 to 0-9. At the beginning of the second-half the Offaly selectors made some tactical changes in an effort to eat into Kilkenny's ten-point lead.

Ace wing-back Brian Whelahan and star corner-forward Michael Duignan swapped positions while John Troy was sprung from the substitutes’ bench. These changes failed to alter the dominance of Kilkenny as ‘the Cats’ looked to score a goal at any time of the game. For the second time Shefflin was the man on hand to hit the fourth goal after latching onto a brilliant long clearance from substitute Canice Brennan and kicking the sliothar past Stephen Byrne from close range. In the fifty-ninth minute Johnny Pilkington clawed one back for Offaly when his shot went past James McGarry. An injury-time goal by substitute Eddie Brennan was the icing on the cake as Kilkenny defeated their Leinster rivals by 5-15 to 1-14; this game marked the end of the road for the great Offaly team of the 1990s while it was the beginning of a great decade of success for Kilkenny. MATCH RULES70 minutes. Replay if scores level. Five named substitutes

Bashu, the Little Stranger

Bashu, the Little Stranger, is a 1986 Iranian drama film directed by Bahram Beizai. The film was produced in 1986, was released in 1989; this multi-ethnic film was the first Iranian film to make use of the northern language of Iran, Gilaki, in a serious context rather than comic relief.. Bashu, the Little Stranger was voted the "Best Iranian Film of all time" in November 1999 by a Persian movie magazine "Picture world" poll of 150 Iranian critics and professionals; the 2004 Malayalam movie Kaazhcha was reported to be inspired by this movie. The film is about a young Arab boy from Khuzestan province, in the south of Iran, during the Iran–Iraq War, his parents are killed in a bombing raid on his home village and he escapes on a cargo truck to a different region in the caspian north of the country. He gets off and finds refuge on the farm of a Gilak woman, Na'i, who has two young children of her own. Na'i tries to shoo Bashu away, but takes pity on him and leaves food out for him. Although Na'i is ambivalent toward Bashu, he is suspicious of her, they come to trust one another, Bashu becomes a member of the family calling Na'i "mom".

Being that Bashu speaks Arabic, while Na'i and her children speak Gilaki, they have trouble communicating with each other, although Bashu is able to speak and read Persian. In a gesture of reciprocation and love, Bashu cares for Na'i when she falls ill, as she had done for him, crying for her and beating a drum in prayer. Throughout the film, Na'i maintains correspondence with her husband, a war veteran looking for employment, gone for quite some time, she tells him about Bashu, implores him to return home in time to help with the harvest. Bashu becomes Na'i's helper on the farm, accompanies her to the bazaar to sell her goods. Throughout the film, Bashu experiences Post-traumatic stress disorder and sees visions of his dead family members, which cause him to wander off. However, he and Na'i are always reunited; the other adults in the village harangue Na'i about taking Bashu in deriding his dark skin and different language, making comments about washing the dark off of his skin. In addition to the village adults, the school age children taunt and beat Bashu, although the children prove to be more willing to accept Bashu than the adults.

In one scene in which he is being taunted, Bashu picks up a school book and to everubody's surprise, reads aloud a passage stating "We are all the children of Iran" in the Persian language, taught in all schools throughout the country. Before this point, the children had assumed Bashu to be either stupid. In the end, Na'i's husband returns home with no money and missing an arm, having been forced to take on dangerous work, never identified, he and Na'i argue over her having kept Bashu against his wishes. Bashu comes to her defense. Na'i's husband tells Bashu. Bashu offers to shake hands, before noticing his missed arm; the two bond over their losses and embrace as though they were always a part of the same family. The film ends with the entire family, including children, running into the farm field, making loud noises together to scare away a troublesome boar. Through Bashu’s attempts to gain acceptance in a village where his dark skin and Khuzestani Arabic conveys his displacement, Beyzai’s film criticizes ethnocentric Persian nationalism and challenges anti-black sentiments in Iran, while underlining the tense relationship between nationalism and gender.

Bashu according to some functions as a statement against war and the efforts of the post-revolutionary government to reestablish patriarchal values. The last film in Beyzai’s village trilogy, it brings his two main archetypes—the powerful, independent woman and the idealistic, wandering orphan—together to redefine the meaning of nationhood and womanhood within Iran. Although the original cast and makers of the film don't see it this way. Throughout the film, linguistic differences make Bashu’s journey more difficult. Persian was standardized as the official language of Iran in 1935, it became the predominant method through which educated Iranians of diverse ethnicities, predominantly men, would communicate with one another. The standardization of Persian coincided with a dramatic increase in ethnocentric Persian nationalism, characterized by an increase in the ostracization of Arab culture and language, as well as all others which deviated from the newly defined Persian norms; as seen in the film, this ethnocentric nationalistic standardization had a consequence for gender relations within the nation.

Conveying the anti-black sentiments that plague Iran, the villagers in the film compare Bashu to charcoal, call him a thief and an ill-bearing omen, attempt to scrub away his blackness to turn him clean – white. Bashu’s intelligence and humanity is only acknowledged during the scene in which he is harassed by the local village boys. One of the children beats Bashu to the ground, where he faces two choices: a book, he grabs the book and reads an iconic, nationalist Persian line: “we are the children of Iran, Iran is our country.” Only through performing formal Persian for the boys is Bashu able to open a space for his existence in the village. Despite this event, Bashu’s blackness continues to demarcate him as Other, as villag

Mister Heavenly

Mister Heavenly is an indie rock supergroup consisting of Honus Honus of Man Man, Nicholas Thorburn of Islands and The Unicorns, Joe Plummer of Modest Mouse and The Shins. They recorded their first album in late 2010, finishing the year with a string of tour dates supporting Passion Pit, joined by Michael Cera as their touring bassist. In January 2011, they released two songs, the eponymous "Mister Heavenly" and "Pineapple Girl", their first album, Out of Love, was released August 16, 2011. On July 19, 2017, a brief "coming soon" video was posted on the official Mister Heavenly Facebook account teasing a new release. On July 26, 2017, their first single "Beat Down" from the new album titled Boxing the Moonlight was released on YouTube; the album was released October 2017. Brett Morris, an audio engineer for Earwolf, has been playing bass guitar with them as of the fall of 2017. Out of Love Boxing the Moonlight Footnotes Citations