The Second Viennese School is the group of composers that comprised Arnold Schoenberg and his pupils and close associates in early 20th century Vienna, where he lived and taught, between 1903 and 1925. Their music was characterized by late-Romantic expanded tonality and following Schoenberg's own evolution, a chromatic expressionism without firm tonal centre referred to as atonality. Though this common development took place, it neither followed a common time-line nor a cooperative path, it was not a direct result of Schoenberg's teaching—which, as his various published textbooks demonstrate, was traditional and conservative. Schoenberg's textbooks reveal that the Second Viennese School spawned not from the development of his serial method, but rather from the influence of his creative example; the principal members of the school, besides Schoenberg, were Alban Berg and Anton Webern, who were among his first composition pupils. Both of them had produced copious and talented music in a late Romantic idiom but felt they gained new direction and discipline from Schoenberg's teaching.

Other pupils of this generation included Ernst Krenek, Heinrich Jalowetz, Erwin Stein and Egon Wellesz, somewhat Eduard Steuermann, Hanns Eisler, Roberto Gerhard, Norbert von Hannenheim, Rudolf Kolisch, Paul A. Pisk, Karl Rankl, Josef Rufer, Nikos Skalkottas, Viktor Ullmann, Winfried Zillig. Though Berg and Webern both followed Schoenberg into total chromaticism and both, each in his own way, adopted twelve-tone technique soon after he did, not all of these other pupils did so, or waited for a considerable time before following suit. Schoenberg's brother-in-law Alexander Zemlinsky is sometimes included as part of the Second Viennese School, though he was never Schoenberg's pupil and never renounced a traditional conception of tonality. Several yet pupils, such as Zillig, the Catalan Gerhard, the Transylvanian Hannenheim and the Greek Skalkottas, are sometimes covered by the term, though they never studied in Vienna but as part of Schoenberg's masterclass in Berlin. Membership in the school is not extended to Schoenberg's many pupils in the United States from 1933, such as John Cage, Leon Kirchner and Gerald Strang, nor to many other composers who, at a greater remove, wrote compositions evocative of the Second Viennese style, such as the Canadian pianist Glenn Gould.

By extension, certain pupils of Schoenberg's pupils, such as Berg's pupil Hans Erich Apostel and Webern's pupils René Leibowitz, Leopold Spinner and Ludwig Zenk, are included in the roll-call. Though the school included distinct musical personalities the impression of cohesiveness was enhanced by the literary efforts of some of its members. Wellesz wrote the first book on Schoenberg, the subject of several Festschriften put together by his friends and pupils. Several of those mentioned were influential as teachers, others as performers, in disseminating the ideals and approved repertoire of the group; the culmination of the school took place at Darmstadt immediately after World War II, at the Internationale Ferienkurse für Neue Musik, wherein Schoenberg—who was invited but too ill to travel—was usurped in musical ideology by the music of his pupil, Webern, as composers and performers from the Second Viennese School converged with the new serialists. German musical literature refers to the grouping as the "Wiener Schule" or "Neue Wiener Schule".

The existence of a "First Viennese School" is debatable. The term is assumed to connote the great Vienna-based masters of the Classical style working in the late 18th and early 19th century Joseph Haydn, Wolfgang Amadeus Mozart, Ludwig van Beethoven and Franz Schubert. Though Mozart and Schubert did not study with Haydn and Haydn were admirers of each other's work and evidence suggests that the two composers fed off the other's compositional craftsmanship. Beethoven, did for a time receive lessons from the older master, though he was not a pupil in the sense that Berg and Webern were pupils of Schoenberg; the term "Third Viennese School" is used to refer to the composers surrounding the Viennese new music ensemble Klangforum Wien, including its founder Beat Furrer and Bernhard Lang. Skandalkonzert René Leibowitz, Schoenberg et son école translated by Dika Newlin as Schoenberg and His School: The Contemporary Stage of the Language of Music Arnold Schoenberg Center in Vienna

The history of anarchism is as ambiguous as anarchism itself. Scholars find it hard to define or agree on what anarchism means, which makes outlining its history difficult. There is a range of views on its history; some feel anarchism is a distinct, well-defined 19th and 20th century movement while others identify anarchist traits long before first civilisations existed. Prehistoric society existed without formal hierarchies, which some anthropologists have described as similar to anarchism; the first traces of formal anarchist thought can be found in ancient Greece and China, where numerous philosophers questioned the necessity of the state and declared the moral right of the individual to live free from coercion. During the Middle Ages, some religious sects espoused libertarian thought, the Age of Enlightenment, the attendant rise of rationalism and science signalled the birth of the modern anarchist movement. Modern anarchism was a significant part of the worker's movement, alongside Marxism at the end of the 19th century.

Modernism, industrialisation, reaction to capitalism and mass migration helped anarchism to flourish and to spread around the globe. Major schools of thought of anarchism sprouted up as anarchism grew as a social movement anarcho-collectivism, anarcho-communism, anarcho-syndicalism, individualist anarchism; as the workers' movement grew, the divide between anarchists and Marxists grew as well. The two currents formally split at the fifth congress of the First International in 1872, the events that followed did not help to heal the gap. Anarchists participated enthusiastically in the Russian Revolution, but as soon as the Bolsheviks established their authority, anarchists were harshly suppressed, most notably in Kronstadt and in Ukraine. Anarchism played a prominent role during the Spanish Civil War, when anarchists established an anarchist territory in Catalonia. Revolutionary Catalonia was organised along anarcho-syndicalist lines, with powerful labor unions in the cities and collectivised agriculture in the country, but the war ended in the defeat of the anarchists and their allies and the solidification of fascism in Spain.

In the 1960s, anarchism re-emerged as a global political and cultural force in association with the New Left. Since anarchism has influenced social movements that espouse personal autonomy and direct democracy, it has played major roles in the anti-globalization movement, Chiapas conflict, Rojava conflict. Τhere has been some controversy over the definition of hence its history. One group of scholars considers anarchism associated with class struggle. Others feel. While the former group examines anarchism as a phenomenon that occurred during the 19th century, the latter group looks to ancient history to trace anarchism's roots. Anarchist philosopher Murray Bookchin describes the continuation of the "legacy of freedom" of humankind that existed throughout history, in contrast with the "legacy of domination" which consists of states and other organisational forms; the three most common forms of defining anarchism are the "etymological". Along with the definition debates, the question of whether it is a philosophy, a theory or a series of actions complicates the issue.

Philosophy professor Alejandro de Agosta proposes that anarchism is "a decentralized federation of philosophies as well as practices and ways of life, forged in different communities and affirming diverse geohistories". Many scholars of anarchism, including anthropologists Harold Barclay and David Graeber, claim that some form of anarchy dates back to prehistory; the longest period before the recorded history of human society was without a separate class of established authority or formal political institutions. Long before anarchism emerged as a distinct perspective, humans lived for thousands of years in self-governing societies without a special ruling or political class, it was only after the rise of hierarchical societies that anarchist ideas were formulated as a critical response to, a rejection of, coercive political institutions and hierarchical social relationships. Taoism, which developed in ancient China, has been linked to anarchist thought by some scholars. Taoist sages Lao Tzu and Zhuang Zhou, whose principles were grounded in an "anti-polity" stance and a rejection of any kind of involvement in political movements or organisations, developed a philosophy of "non-rule" in the Tao Te Ching and the Zhuangzi.

Taoists were trying to live in harmony with the nature. There is an ongoing debate. A new generation of Taoist thinkers with anarchic leanings appeared during the chaotic Wei-Jin period. Taoism and neo-Taoism had principles more akin to a philosophical anarchism—an attempt to delegitimise the state and question its morality—and were pacifist schools of thought, in contrast with their Western counterparts some centuries later; some convictions and ideas held by modern anarchists were first expressed in ancient Greece. The first known political usage of the word anarchy appeared in plays by Aeschylus and Sophocles in the fifth century BC. Ancient Greece saw the first Western instance of anarchy as a philosophical ideal but not only, by the Cynics and Stoics; the Cynics Diogenes of Sinope and Crates of Thebes are both supposed to have advocated for anarchistic forms of society, althou

Vincent Council is an American professional basketball player who last played for Levickí Patrioti. He is a 1.88 m tall Point guard. Council played high school basketball in Lenoir, North Carolina. Council played college basketball with the Providence Friars, from 2009 to 2013. Council began his pro career in with Hapoel Tel Aviv in 2013. In June 2014, he signed with Rethymno of the Greek Basket League. On September 22, 2015, Council joined Koroivos Amaliadas. On June 9, 2017, Council joined BC Nokia of the Korisliiga. RealGM.com Profile Twitter Profile Eurobasket.com Profile Draftexpress.com Profile Greek Basket League Profile ESPN.com Profile Providence College Friars Profile

"Together in Electric Dreams" is a song by the British singer and composer Philip Oakey and Italian composer and producer Giorgio Moroder. It was written by Oakey and Moroder and recorded for the original soundtrack of the film Electric Dreams, it formed part of the joint album Philip Oakey & Giorgio Moroder, released in 1985. Released as a single in the United Kingdom in September 1984, it proved a major commercial success eclipsing the original film it was intended to promote, it reached No. 3 in the UK Singles Chart. The single hit the Australian Top 5, had minor chart success in New Zealand and the Netherlands, it was the only song from the brief partnership of Oakey and Moroder that achieved commercial success. The film Electric Dreams was director Steve Barron's first full feature film. Barron's prior work included conceiving and directing a number of innovative music videos during the beginning of the 1980s, his biggest success up to that point had been as director of the music video for The Human League's "Don't You Want Me" in 1981, which helped the single become number one in the United Kingdom and United States.

For the film Electric Dreams, Barron wanted to emulate the huge success of the film Flashdance a year earlier. Flashdance had used the electronic music of Giorgio Moroder, so Barron enlisted Moroder as director of music, who wrote most of the score. Barron wanted. Moroder wrote "Together in Electric Dreams" as a male solo vocal, Barron suggested his former associate Philip Oakey for the part. After the initial full recording of the song was completed, Moroder told Oakey that the first take was "good enough, as first time is always best". Oakey, who thought he was just rehearsing, insisted on doing another take. Moroder agreed, though Oakey believes that Moroder still used the first take on the final production. Released to advertise the film, "Together in Electric Dreams" overshadowed the original film, became a success in its own right. Oakey stated that it is ironic that a track that took ten minutes to record would become a worldwide hit, while some of his Human League material that took over a year to record did not.

Instruments used on the track included a Roland Jupiter-8 and a LinnDrum The promotional video was designed to promote the film Electric Dreams rather than the song, this was how most viewers in the United States would see it. In the United Kingdom, where the original film was a flop, the promotional video was perceived to be a music video first, erroneously a Human League video. Like many film soundtrack promos, the video splices key scenes from the film with footage of Oakey. In addition, other promotional scenes were created for the video: an Electric Dreams signboard is seen behind Oakey twice, the actual poster is seen behind him on the freeway and the computer from the film is seen relaxing on the beach. Oakey is seen being driven around; the video famously concludes with a sock puppet parody of the MGM Lion on a television screen, on a beach. Moroder himself makes a cameo appearance, as the boss of the radio station taken over by the computer, it was used in an advert by EDF Energy in April 2012.

This contributed to the song reentering the charts that year. Philip Oakey is the lead singer of the British synthpop band The Human League; because of this, "Together in Electric Dreams" is erroneously credited as a Human League single. It was released at the height of the band's international fame and success. Although the Human League have never recorded their own version, due to the song's popularity the band play a unique Human League version when they perform live as an encore; the Human League version differs from the Giorgio Moroder produced original in that it has a longer, more dramatic intro and female backing vocals by Susan Ann Sulley and Joanne Catherall, which are now as prominent as Oakey's lead. Together in Electric Dreams is an EP, released in the United Kingdom in November 2007, it was produced by Rob da Bank, released by Sunday Best Recordings. The album features five different interpretations of "Together in Electric Dreams"; the only track not commissioned for the album was the version by Lali Puna, released on the tribute album Reproductions: Songs of The Human League.

A1. "Together in Electric Dreams" – Kish Mauve A2. "Together in Electric Dreams" – Le Vicarious Bliss Pop Experience featuring Headbangirl A3. "Together in Electric Dreams" – Daisy Daisy AA1. "Together in Electric Dreams" – Subway AA2. "Together in Electric Dreams" – Lali Puna Together in Electric Dreams at Discogs Together in Electric Dreams music video at Clipland

The Izaak Walton League is an American environmental organization founded in 1922 that promotes natural resource protection and outdoor recreation. The organization was founded in Chicago, Illinois by a group of sportsmen who wished to protect fishing opportunities for future generations, they named the league after seminal fishing enthusiast Izaak Walton, known as the "Father of Flyfishing" and author of The Compleat Angler. Advertising executive Will Dilg became its first promoter; the first conservation organization with a mass membership, the League had over 100,000 supporters by 1924. An early result of their efforts was the establishment of the Upper Mississippi River National Wildlife and Fish Refuge in 1924; the League led unsuccessful efforts in the 1930s for clean water legislation but achieved initial success with the passage of weak federal water pollution acts in 1948 and 1956. Its major victory came with passage of the Clean Water Act of 1972; the League continues to advocate for preserving wetlands, protecting wilderness, promoting soil and water conservation.

Its Save Our Streams program involves activists in all fifty states in monitoring water quality. In the 1930s, the League worked with the noted conservationist Frederick Russell Burnham and the Arizona Boy Scouts to save the bighorn sheep; these efforts led to the establishment in 1939 of two bighorn game ranges in Arizona: Kofa National Wildlife Refuge and Cabeza Prieta National Wildlife Refuge. Although the League's membership declined by the 1960s to a stable level around 50,000, the organization retains a firm base of anglers in the Midwest and Tidewater, with more than 200 chapters across the country; the League publishes a quarterly magazine, Outdoor America, which covers the League's activities as well as the environment. They are headquartered in Maryland. In May 1973, the League sued the U. S. Department of Agriculture over the clearcut logging of Monongahela National Forest in West Virginia as being contrary to the law, which stated in part, "only dead, physically mature, large growth trees individually marked for cutting" could be sold.

The US District Court ruled in favor of the League. The ruling was appealed; the ramifications of this local decision for forestry and the timber industry nationally led to efforts to repeal the Organic Act. This resulted in a new law passed by Congress: the National Forest Management Act of 1976, which repealed major portions of the Organic Act; the Columbus Izaak Walton League Lodge, in Columbus, Nebraska, is listed on the National Register of Historic Places. EVERGLADES RESTORATION Therefore, be it resolved, the Izaak Walton League of America, assembled in convention in Des Moines, July 19, 2019, calls upon Congress to fulfill its obligations under the agreement with Florida established in the Water Resources Development Act of 2000, promptly provide the $1 billion in funding that it has fallen behind for its half of the costs for the Comprehensive Everglades Restoration Plan. Further, the League calls on Congress to provide sufficient annual funding for the Comprehensive Everglades Restoration Plan for the remainder of the project.

Additionally, Congress should provide annual funding to acquire land or conservation easements on land, of acute conservation importance to the Everglades Headwaters National Wildlife Refuge. Fox, Stephen John Muir and His Legacy: The American Conservation Movement, ISBN 0-316-29110-2 Godfrey, Anthony The Ever-Changing View-A History of the National Forests in California ISBN 1-59351-428-X Hillegas-Elting, James V. "Izaak Walton League ". The Oregon Encyclopedia. Izaak Walton League of America official site

Come Together is the fifth studio album by Christian rock band Third Day. The title track is used as a tribute to 9/11; the album won the Grammy Award for Best Rock Gospel Album in 2003 beating Petra's Hyde. All songs written by Mac Powell except. "Come Together" – 4:01 "40 Days" – 3:11 "Show Me Your Glory" – 3:19 "Get On" – 2:57 "My Heart" – 3:40 "It's Alright" – 5:08 "Still Listening" – 4:08 "I Got You" – 4:19 "I Don't Know" – 4:53 "When The Rain Comes" – 2:55 "Sing Praises" – 3:19 "Nothing Compares" – 3:49 Third Day Mac Powell – acoustic guitar and backing vocals Brad Avery – guitar Mark Lee – guitar Tai Anderson – bass David Carr – drums, percussionAdditional musicians Monroe Jones – keyboards, programming Jeff Roach – keyboards Scotty Wilbanks – keyboards Blaine Barcus – percussion Ken Lewis – percussion Sam Levine – saxophone Barry Green – trombone Mike Haynes – trumpet David Angell – strings Monisa Angell – strings John Catchings – strings David Davidson – strings Geof Barkley – backing vocals Tabitha Fair – backing vocalsProduction Monroe Jones – producer Robert Beeson – executive producer Dan Raines – executive producer Bob Wohler – executive producer Jim Dineen – engineer Karl Egsieker – assistant engineer Ryan Williams – assistant engineer Benjamin Price – assistant engineer Steve Short – assistant engineer Tracks 1, 2, 4, 5, 8 & 12 mixed by Nick Didia Nick Didia – mixing at Southern Tracks, Georgia Shane Wilson – mixing at Southern Living at Its Finest, Georgia Jim Dineen – mixing at The Castle, Tennessee Fred Paragano – editing at Paragon Audio Productions.

Franklin, Tennessee George Cocchini – studio technician Bob Dennis – studio technician Jeremy Ramsey – studio technician Stephen Marcussen – mastering at Marcussen Mastering, California Michelle Pearson – production coordination Jamie Kiner – production manager Terria Butler – art direction Jordyn Thomas – art direction Third Day – art direction Tim Parker – design David Dobson – photography Kristin Barlowe – stylist John Murphy – stylist Traci Fleming Smith – hair and make–up