The Serbian Revolution was a national uprising and constitutional change in Serbia that took place between 1804 and 1835, during which this territory evolved from an Ottoman province into a rebel territory, a constitutional monarchy and modern Serbia. The first part of the period, from 1804 to 1817, was marked by a violent struggle for independence from the Ottoman Empire with two armed uprisings taking place, ending with a ceasefire; the period witnessed a peaceful consolidation of political power of the autonomous Serbia, culminating in the recognition of the right to hereditary rule by Serbian princes in 1830 and 1833 and the territorial expansion of the young monarchy. The adoption of the first written Constitution in 1835 abolished feudalism and serfdom, made the country suzerain; the term Serbian Revolution was coined by a German academic historiographer, Leopold von Ranke, in his book Die Serbische Revolution, published in 1829. These events marked the foundation of modern Serbia; the period is further divided as follows: First Serbian Uprising, led by Karađorđe Petrović Hadži Prodan's revolt Second Serbian Uprising, led by Miloš Obrenović Official recognition of the Serbian state The Proclamation by Karađorđe in the capital Belgrade represented the apex of the first phase.
It called for national unity, drawing on Serbian history to demand the freedom of religion and formal, written rule of law, both of which the Ottoman Empire had failed to provide. It called on Serbs to stop paying taxes to the Porte, deemed unfair as based on religious affiliation. Apart from dispensing with poll tax on non-Muslims, the revolutionaries abolished all feudal obligations in 1806, only 15 years after the French revolution and serf emancipation thus representing a major social break with the past; the rule of Miloš Obrenović consolidated the achievements of the Uprisings, leading to the proclamation of the first constitution in the Balkans and the establishment of the first Serbian institution of higher learning still in existence, the Great Academy of Belgrade. In 1830 and again in 1833, Serbia was recognized as an autonomous principality, with hereditary princes paying annual tribute to the Porte. De facto independence came in 1867, with the withdrawal of Ottoman garrisons from the principality.
New circumstances, such as the Austrian occupation of Serbia, rise of the Serbian elite across the Danube, Napoleon's conquests in the Balkans, reforms in the Russian Empire, exposed Serbs to new ideas. They could now compare how their compatriots made progress in Christian Austria, the Illyrian provinces and elsewhere, while the Ottoman Serbs were still subjects to a religion-based tax that treated them as second class citizens. During the Austrian occupation of Serbia, many Serbs served as soldiers and officers in Habsburg armies, where they acquired knowledge about military tactics and weapons. Others were employed in the occupied zone, they began to travel in search of trade and education, were exposed to European ideas about secular society, politics and philosophy, including both rationalism and Romanticism. They met with the values of the French Revolution, which would affect many Serbian merchants and educated people. There was an active Serbian community in the southern Habsburg Empire, from where ideas made their way southwards.
Another role model was the Russian Empire, the only independent Slavic and Orthodox country, which had reformed itself and was now a serious menace to the Turks. The Russian experience implied hope for Serbia. Other Serbian thinkers found strengths in the Serbian nation itself. Two top Serbian scholars were influenced by Western learning to turn their attention to Serbia's own language and literature. One was a former priest who left for Western Europe. Disappointed that his people had so little secular literature, written not in the vernacular but either in Old Church Slavonic or in newly emerging Russo-Serbian hybrid language called Slavo-Serbian, he decided to bring written language closer to vernacular Serbian language common people spoke and thus assembled grammars and dictionaries, wrote some books himself and translated others. Others followed his lead and revived tales of Serbia's medieval glory, he became the first Minister of Education of modern Serbia. The second figure was Vuk Karadžić.
Vuk was less influenced by Enlightenment rationalism like Dositej Obradović and more by Romanticism, which romanticized rural and peasant communities. Vuk collected and published Serbian epic poetry, work that helped to build Serbian awareness of a common identity based in shared customs and shared history; this kind of linguistic and cultural self-awareness was a central feature of German nationalism in this period, Serbian intellectuals now applied the same ideas to the Balkans. During the First Serbian Uprising, Serbia perceived itself as an independent state for the first time after 300 years of Ottoman and short-lasting Austrian occupations. Encouraged by the Russian Empire, the demands for self-government within the Ottoman Empire in 1804 evolved into a war for independence by 1807. Combining patriarchal peasant democracy with modern national goals the Serbian revolution was attracting thousands of volunteers among the Serbs from across the Balkans and Central Europe; the Serbian Revolution became a symbol of the nation-building process in the Balkans, provoking peasant unrest among the Christians in both Greece and Bu
Boombox Cartel is a Los Angeles-based producer duo consisting of Americo Garcia and writing partner, Jorge Medina. Garcia and Medina were acquainted by a mutual friend in high school in Mexico. After graduating the duo moved to St. Paul, MN to study audio engineering and music production at the now-defunct McNally Smith College of Music. After a brief stint in Minnesota the duo relocated to Los Angeles, CA. Having just arrived in LA, inspired by the cities vast diversity and multicultural influences the duo self-released their breakout track, “B2U” featuring Ian Everson in 2015.. The track garnered the attention of notable artists like Skrillex and Martin Garrix; the duo sign with Diplo's label Mad Decent and continued developing their on-point production and sonic progression, put on full display on their debut EP Cartel in April 2017. Profile on AllMusic Artist bio on Mad Decent
Fei Cheng Wu Rao is a Chinese dating game show hosted by Meng Fei. Loosely based on the Taken Out format, the show is produced by JSBC: Jiangsu Television and taped in Nanjing; the 2017 revision is the second version of the show and was launched on May 13, 2017 with a different format from the original version that launched in 2010. If You Are the One airs on Saturday nights at 8:30pm on Jiangsu Television; the single man divides twenty-four women into two groups of twelve, the "favourites" group and the "observation" group, prior to starting the conversation between the women and the single man. The women strut down the runway to the large screen, are not able to see the single man while he is selecting his groups on a tablet; the host and the single man begins conversation with the women behind the screen after the selection process has taken place, followed by playing his first video. After the first round of conversation has taken place between the single man and women, the host notifies the single man to select his first finalist, which his selection is revealed to the women shortly after selection.
The selected woman is asked to proceed to the gold finalist podiums. Prior to the reveal of the single man to the women, the screen shows chronological photos of the single man starting from his childhood before the screen raises up to reveal his full body where he introduces himself to the women; the single man uses a total of two video clips to reveal some personal information such as occupation and love history. During each video clip, each of the women from the favourites group decides whether or not he is still "date-worthy" in her opinion by keeping her light on or off, or for the women in the observation group, adjust their thermometers to measure their interest in the single man. Before the second video clip is shown, the host notifies the single man to select his second finalist, which his selection is revealed to the women shortly after; the second selected woman is asked to join the other finalist on the gold podiums. The contestants and host exchange banter with each other when video clips aren't being shown.
If a girl in the favourites group doesn’t like the man, she will turn her light off. The girls in the observation group may use their thermometers to measure their interest in the single man. If, after both videos have been played, if there is still at least one girl from the favourites group still with lights on, the man can elect to either swap one of the finalists for one of the girls from the favourites group with her light still on or to keep the selected girls on the gold podiums as finalists; the man puts to the finalists a question that he chooses from a set menu of queries, followed by putting forward a question of his own. If the single man had chosen to keep the initial two finalists selected during the final questions round, the host asks the single man to choose a preferred finalist to take; this is followed by the host revealing separately whether the finalists had kept their light on for the single man during the round. If his preferred girl from the final two had kept her light on, the single man leaves with the girl.
If his preferred girl had turned off her light, the man leaves the stage alone. If the single man had chosen to swap out one of the finalists out for one of the girls that had kept their light on in the favourites section during the round and decides to choose the woman, swapped into the finalists podiums after the final question round, he is able to walk to her, take her hand and leave together for a presumed future date. If all the girls in the favourites group had turned their lights off at the end of the round, the host bypasses the question round and goes directly to the finalists decision by revealing to the single man whether if both finalists had kept their light on during the round. If it is revealed that one or both finalists had kept their light on for the man, it is up to the man to choose whether to leave with one of the finalists. If it has been revealed that both finalists had their lights off, the man leaves the stage alone. A man elects to choose none of the finalists and departs alone.
The post-game interview appears with the man alone, or with him and his chosen girl if he is "successful". Matched couples are awarded a cruise to Japan; the song as the male contestant walks through the backstage tunnel is an advertising jingle for show sponsor Pinduoduo. The song when a girl makes her entrance whilst the male is selecting his groups is Martin Jensen's "Solo Dance"; the introduction song when a male contestant enters the stage is Jean-Roch's "I see your light". When the finalists are selected, the song New Thang by Redfoo plays. If the male contestant leaves without a date, Yoga Lin's "Back" plays. A matched couple leaves to the tune of "A bit sweet" by By2 featuring Wang Su Long. Australia - SBS Viceland broadcast an edited 60 minute version of the programme from 6:30 to 7:30 on Friday nights under the title If You Are the One. Official website JSTV's Official Youtube Channel
Witham Charterhouse Witham Priory, at Witham Friary, was established in 1178/79, the earliest of the ten medieval Carthusian houses in England. It was suppressed in the Dissolution of the Monasteries in 1539; the charterhouse was founded by Henry II in his Royal Forest of Selwood, as part of his penance for the murder of Archbishop Thomas Becket of Canterbury and was established at Witham Friary, Somerset, in 1178/1179 by a founding party led by a monk called Narbert from the Grande Chartreuse. Hugh of Avalon was made prior of Witham Charterhouse in 1180; the house was suppressed as part of the dissolution of the monasteries on 15 March 1539. The lay brothers' church is now used as the parish church of Witham Friary. In 1921 excavations revealed buttressed wall foundations and building rubble including glazed roof tiles and floor tiles. Work in 1965 and 1968 revealed further buildings, two of which were interpreted as the chapter house and a church; the site of the charterhouse is marked by extensive rectilinear earthworks, cut by a railway line, some worked stone can still be seen in buildings in the village of Witham Friary.
The remains of the original monastic fishponds still survive to the east of the site
Heteromys is a genus of rodents in the family Heteromyidae known as spiny pocket mice. It is the only extant genus in the subfamily Heteromyinae which includes the extinct genera Diprionomys and Metaliomys. Heteromys was enlarged by inclusion of the members of recognized heteromyine genus Liomys, found to be paraphyletic. Heteromyines are distributed from southern Texas to Ecuador and Venezuela, include all but one of the castorimorph species of South America. Like all of South America's other non-caviomorph rodents, they arrived in the continent recently as part of the Great American Interchange, they inhabit forests. The genus Heteromys comprises the following species of spiny pocket mice: Panamanian spiny pocket mouse Trinidad spiny pocket mouse Southern spiny pocket mouse Overlook spiny pocket mouse Desmarest's spiny pocket mouse Gaumer's spiny pocket mouse Goldman's spiny pocket mouse Mexican spiny pocket mouse Nelson's spiny pocket mouse Cloud-dwelling spiny pocket mouse Paraguaná spiny pocket mouse Mountain spiny pocket mouse Painted spiny pocket mouse Salvin's spiny pocket mouse Jaliscan spiny pocket mouse Ecuadoran spiny pocket mouse
The conductor Sir Georg Solti recorded throughout his career for the Decca Record Company. During the 1950s and 1960s Decca had an alliance with RCA Records in the USA and some of Solti's recordings were first issued on the RCA label. Solti's first recordings were as a piano accompanist, playing at sessions in Zürich for the violinist Georg Kulenkampff in 1947. Decca's senior producer, Victor Olof, did not much admire Solti as a conductor, but Olof's younger colleague at Decca John Culshaw held Solti in high regard. With Culshaw, James Walker, producing his recordings, Solti's career as a recording artist flourished. Solti's most celebrated recording was Wagner's Der Ring des Nibelungen made in Vienna, with Culshaw producing, between 1958 and 1965, it has twice been voted the greatest recording made, the first poll being of readers of Gramophone magazine in 1999, the second of professional music critics in 2011, carried out for the BBC. For Decca, Solti made more than 250 recordings, including 45 complete opera sets.
Among the international honours given for his recordings were 31 Grammy awards – more than any other recording artist, whether classical or popular. In entries below for operas, only the singers of the leading roles are listed. Where Solti appears as pianist rather than a conductor his name is given in the soloists column. Recording dates are shown by year followed by month, to enable sorting, using the arrows in the column headings. Abbreviations: BPO – Berlin Philharmonic CSC – Chicago Symphony Chorus CSO – Chicago Symphony Orchestra LPC – London Philharmonic Choir LPO – London Philharmonic Orchestra LSC – London Symphony Chorus LSO – London Symphony Orchestra ROHC – Royal Opera House Chorus ROHO – Royal Opera House Orchestra VPO – Vienna PhilharmonicAwards: G - Grammy Award N - Grammy Nominee Culshaw, John. Ring Resounding. London: Secker & Warburg. ISBN 0-436-11800-9. Culshaw, John. Putting the Record Straight. London: Secker & Warburg. ISBN 0-436-11802-5. Peck, Donald; the Right Place, the Right Time: Tales of Chicago Symphony Days.
Bloomington and Indianapolis: Indiana University Press. ISBN 0-253-11688-0. Schwarzkopf, Elisabeth. On and Off the Record: A Memoir of Walter Legge. London: Faber and Faber. ISBN 0-571-11928-X. Sir Georg Solti discography at MusicBrainz