Simon Jonathon Gallup is an English musician and bassist of the alternative rock band The Cure. Born in Duxhurst, Simon is the youngest of six children born to Bob and Peggy Gallup. After moving to Horley, Surrey in 1961 he attended Horley Infants and Junior Schools between 1961 and 1971, followed by Horley Balcombe Road Comprehensive from 1971-1976. Between 1976 and 1978 he worked in a plastics factory and became the bass player for local punk band Lockjaw, who evolved into The Magazine Spies known as The Mag/Spys. Lockjaw and The Mag/Spys played regular live shows with Easy Cure and The Cure between 1977 and 1979, after collaborating in the studio on the Cult Hero recording sessions in October 1979, both Gallup and keyboardist Matthieu Hartley left The Mag/Spys to join The Cure. Former Mag/Spys Gallup and Stuart Curran performed together under the name of The Cry and Fools Dance during Gallup’s hiatus from The Cure between 1982 and 1984. Gallup first joined The Cure in 1979, he has been credited for playing the keyboards after Matthieu Hartley's departure in 1980.
He took over keyboard lines for many of the songs. Examples of songs he played keyboard on live include "At Night", "A Forest", "A Strange Day" and "Pornography". During "Cold" he multi-tasked playing bass bass pedals. On the Swing Tour in 1996, he played twelve-string acoustic guitar on "This Is a Lie". On the Dream Tour in 2000 he played a Fender Bass VI on "There Is No If". Gallup is credited with singing lead vocals for a demo for "Violin Song". Gallup first performed on The Cure albums that make up "The Dark Trilogy": Seventeen Seconds and Pornography. During the Pornography Tour in 1982, a series of incidents prompted Gallup to leave The Cure, including an incident on 27 May 1982 after a live performance at Hall Tivoli, France when he got into a fist fight with Robert Smith at a nightclub in Strasbourg over a bar tab. Gallup has said that "I was about to leave when some guy came up and told me I hadn't paid for my drinks, he thought. I was knackered but the bloke took me up to the bar and Robert appeared to see what was going on.
I hit him, he responded and we had a fight". Smith, on the other hand, said that "I was on the first floor of this club when they came up and told me there was a problem downstairs. Simon was so wound up that no-one could talk to him - he was screaming at the barman, this young kid, nearly in tears. By himself, Simon would have never behaved like that but he was surrounded by the road crew so he was behaving the way he thought a rock and roller ought to behave, he didn't want to pay for his drinks. I told him to shut up and he punched me, it was the first time he laid into me, we had an enormous ruck and I said'That's it', walked out, got a cab back to the hotel, got my suitcase, my passport from the tour manager's room and got on the first flight to London. That was at 6.30 am and I was home by half past 10. I left a note saying. Simon returned the same afternoon. I'd left. Good idea... we had three days off!". Lol Tolhurst adds that "The pressures of having to keep up the intensity and aggressive sentiments of Pornography turned Simon into someone different though, at the time, I don't think he noticed.
Or didn't want to...". Gallup and the rest of The Cure returned to complete their Fourteen Explicit Moments Tour in support of Pornography, concluding their 11 June 1982 live performance at Ancienne Belgique, Belgium with an improvised song, "The Cure Is Dead", with Gary Biddles singing abuse about Smith and Tolhurst. Smith, on drums threw his drumsticks at Biddles, they stormed off stage. Tolhurst played Gallup played rhythm guitar during this last concert; this second incident, occurring weeks after the first notable incident, was more infamous and resulted in Gallup leaving The Cure to form Fools Dance with Biddles. At this concert, The Cure decided to play "Forever", with instrument changes; as soon as he got on stage, Biddles started singing, "Smith is a wanker, Tolhurst is a wanker, only Simon is worth anything in the band! The Cure is dead!". Smith got angry and threw his drumsticks at Biddles' head, yelled "Fuck off!". Gallup started The Cry with Gary Biddles and Matthieu Hartley, their first gig was at the Covent Garden Rock Garden on 19 April 1983, supported by SE London-based band The Wait.
They changed their name to Fools Dance, which released two EPs. Biddles sang most of the songs that were released by this band, Gallup sang on one called "The Ring"; when asked why he left The Cure, he said, "It's just that Robert and I are both arrogant bastards, it got to such an extreme. I suppose you just can't have two egocentrics in a band, Robert was sort of'the main man'." In 1984, Smith asked Gallup to return to an offer which he accepted. Since the two of them have remained on good terms. Gallup served as best man at Smith's wedding in 1988. In late 1992, Gallup again took a brief break from the band during the Wish Tour after he had to be transported to hospital, suffering from pleurisy after being ill for several months. During this time, he was replaced on bass by former Associates and Shelleyan Orphan member Roberto Soave. Gallup's favourite bass is his Gibson Thunderbird. In 2004 Gibson created a special red Thunderbird bass for Gallup, to
Kui Hua Zi is an art installation created by contemporary artist and political activist Ai Weiwei. It was first exhibited at the Tate Modern art gallery in London from October 2010 to May 2011, it is a commentary on the mass production techniques. Viewers were able to interact and walk across the sunflower seeds, but after the Tate Modern Museum recognized that the dust emitting from the installation was harmful to viewers' lungs, they fenced it off; the piece has been exhibited in twelve exhibitions from 2009-2013 in museums and galleries across the world. Ai Weiwei is a conceptual artist in China. Towards the 20th century, he led societal movements challenging the Chinese Communist Party. Ai has felt the presence and pressures of the society that the Chinese government has imposed on the peoples, and, generated into his artwork. “‘From a young age I started to sense that an individual has to set an example in society’, he has said. ‘Your own acts and behaviour tell the world who you are and at the same time what kind of society you think it should be.’” This massive art installation includes over 100 million porcelain sunflower seeds that cover a 1,000 square metre floor with a depth of 10cm in the Tate Modern's Turbine Hall.
The entire artwork weighs around 150 tons. Each seed went through hand painted and fired at 1,300 degrees; this process required more than 1,600 workers over a span of two and a half years in Jingdezhen, a town, known as the "Porcelain Capital," and has produced the imperial porcelain for over a thousand years. Ai began the process two-and-a-half years before its exhibition at the Tate Modern. Sunflower seeds were a common theme in the Chinese Communist Party's political propaganda during Ai's childhood. Leader Mao Zedong would represent himself as the sun, the people of China as seeds on sunflowers in artworks. Ai explains that when he was growing up the poorest families in China could share the seeds as a treat; the seeds represent optimism during difficult times. When looking at the seeds up close in Tate Modern's Turbine Hall, picking out each unique seed proves to be an easy task. However, when standing farther back once each of the 100 million seeds is deposited in a neat and orderly fashion, altogether a sense of expanse and immenseness is felt by the viewers.
The millions of individually created seeds spread across such a wide space are meant to symbolize the vastness of China, its uniform and precise order. An individual seed is lost among the millions, symbolizing the conformity and censorship of the Chinese Communist Party; the combination of all the seeds represent that together, the people of China can stand up and overthrow the Chinese Communist Party. Most of Ai's artworks and projects carry this theme of making the Chinese Government's faults transparent to the rest of the world, as well as encouraging freedom of expression and strength to act. Along with this, the seeds represent China's growing mass production stemming from the consumerist culture that in the Western world, upon which Chinese exporters rely; the sculpture directly challenges the “Made in China” mantra that China is known for, considering the labor-intensive and traditional method used to create the work. The work triggered inquiries from the viewers of the piece about their society and the effects of consumerism.
About Ai Weiwei's Sunflower Seeds.. Retrieved March 9, 2017, from http://www.aiweiweiseeds.com/about-ai-weiweis-sunflower-seeds Debin, M. L.. Subversive Seeds. Retrieved March 13, 2017, from https://www.khanacademy.org/humanities/ap-art-history/global-contemporary/a/sseeds-ai-weiwei http://www.tate.org.uk/whats-on/tate-modern/exhibition/unilever-series-ai-weiwei/interpretation-text Ai Weiwei – Sunflower Seeds. Tate. "The Unilever Series: Ai Weiwei: Sunflower Seeds: Interpretation text". Tate. Jervis, John. "Sunflower Seeds Ai Weiwei". ArtAsiaPacific
Simon Edward Anthony Kimmins is a former English cricketer. He played for Kent County Cricket Club between 1950 and 1959, making a total of 16 appearances in first-class cricket matches. Kimmins was born in London in 1930 and attended Charterhouse School where he played in the cricket XI, his father, Anthony Kimmins, was a playwright and film director who served in the Royal Navy during both World Wars. Kimmins played four times for the Royal Navy in non-first-class matches whilst on National Service in 1950 and made his first-class cricket debut for the Combined Services team against Glamorgan in June 1950, he made his Kent debut the same year and went on to make 11 further appearances for the county First XI during the 1951 season and two appearances for the Second XI in the Minor Counties Championship, one in 1952 and the last in 1953. Kimmins played cricket into the 1960s, making first-class appearances for Free Foresters and MCC and touring India and the far-east with EW Swanton's XI in 1964.
Simon Kimmins at ESPNcricinfo
Soviet First League 1991 was the last season of the Soviet First League. With the collapse of the Soviet Union the football structure was reformed. All of its participants have entered the Top Divisions of the republics of their origin, except of Dinamo Sukhumi that because of the 1992-93 War in Abkhazia was dissolved. FC Uralmash Yekaterinburg – Winner of the Second League, Zone East FC Bukovina Chernovtsy – Winner of the Second League, Zone West FC Neftianik Fergona – Winner of the Second League finals FC Novbakhor Namangan – Winner of the Second League finals FC Textilshchik Kamyshin – Winner of the Second League finals FC Daugava Riga – Winner of the Second League, Zone West Rotor Volgograd – Prior to the start of the season Tiras Tiraspol was renamed to Tiligul Tiraspol. Prior to the start of the season Nistru Kishenev was renamed to Zimbrul Kishinev. With fall of the Soviet Union, the promoted FC Daugava Riga was dissolved and replaced with FC Pardaugava Riga, based on the junior squad of the Latvian national football team and took part in the 1990 Baltic League placing only 15th out 17 teams.
Notes: The city of Leningrad was renamed into Saint Petersburg The city of Sverdlovsk was renamed into Yekaterinburg 1991 Soviet Top League 1991 Soviet Second League 1991 Soviet Second League B 1990 First League at the RSSSF
Sofiane Chellat is a French Algerian Rugby union player. He plays at Prop for Stade Français in the Top 14. Sofiane Chellat started as a pillar in the club AC Soissons joined the training center of Racing 92. During the 2013-2014 season, he goes to the Stade Rodez Aveyron in Fédérale 1, he is committed to 2014 at Stade Français, where he makes his professional debut in Top 14 and European Cup. After a season spent in the Ile-de-France club, he went to the US Montauban, playing in Pro D2 for the 2015–16 season, he makes his first appearance in Pro D2 in the club against Biarritz Olympique August 28, 2015. He honored his first international cape in Algeria on March 1, 2014 against the Ivory Coast team at Ernest Dufer Stadium, he participated in 2015 in the Crescent Cup organised by World Rugby and the Islamic Solidarity Sports Federation and in their first official match against Kazakhstan after this session Chellat did not return to the Algeria national team again. Until 2018 in the Rugby Africa Silver Cup where he participated in three games and contributed to the rise of the Algerian team to the Rugby Africa Gold Cup for the first time with the major continent such as Kenya and Namibia.
The Bali Aga, Baliaga or Bali Mula are the indigenous people of Bali, predominantly located in the eastern part of the island, in Karangasem. They can be found in north-western and central regions. Bali Aga people that are referred to as Bali Pergunungan are those that are located at Trunyan village. For the Trunyan Bali Aga people, the term Bali Aga is regarded as an insult with an additional meaning of "the mountain people that are fools"; the original inhabitants of Bali are said to have come from Bedulu village long before the Hindu-Javanese immigration wave. The legend is, there lived the last king of the Pejeng, Sri Aji Asura Bumibanten, who had supernatural powers, he could put it back on again. One day, his head accidentally fell into a river and was swept away. One of his servants panicked and decided to decapitate a pig and replace the king's head with the animal's head. Embarrassed, the king hid in a tall tower. A small child discovered the secret and since the king became known as Dalem Bedulu, or He-who-changed-head.
Another explanation is that the name comes from the name Badahulu or "the village upstream". After the Pejeng kingdom, the Majapahit Empire rose to power; the Bali Aga live in isolated areas in the mountains. Their relative isolation compared to the lowland Balinese had preserved some of the original Austronesian element, apparent in the Bali Aga architecture. Tourists wishing to visit certain villages must be careful due to the geography of the area. While visiting, it is important to be respectful and observe the preserved way of life the Bali Aga have. In Tenganan, where tourism is more embraced and the people are said to be more friendly, a three-day festival called Udaba Sambah is held during the months of June or July. Tenganan prohibits polygamy, unlike other villages; the Bali Aga speak their own dialect of the Balinese language. It varies from village to village. An important part of Bali Aga culture is the complex tie-dye technique used to make Bali's traditional geringsing double ikat.
Bali's Tenganan village is the only village. In geringsing, both the cotton warp and weft threads are dyed and cross-dyed before weaving. According to textile expert John Guy, "the ancestry of Balinese geringsing is far from clear, although some cloths display the unmistakable influence of patola", the silk double ikats produced in Gujarat during the height of the Spice Trade. Many of these imported cloths became inspiration for locally-made textiles, but one theory is that the Balinese-made cloths were exported to India and copied there for production to Asian markets. Many have unique Hindu motifs such as a bird's eye view of a mandala with a sacred center from which everything radiates. Others feature designs inspired by patola, for example a design known as the frangipani flower; the palette of geringsing is red and black. Geringsing are regarded as sacred cloths, "ascribed supernatural properties to assist in forms of healing, including exorcism." Gering means decease and sing means no. Ancestor worship Animism Balinese people Hinduism in Indonesia Pandanus http://www.bali-indonesia.com/culture/bali-aga.html http://www.indo.com/featured_article/bali_aga.html https://web.archive.org/web/20080622035053/http://blog.baliwww.com/guides/280/ Candidasa travel guide from Wikivoyage