The Main Event was a co-headlining concert tour from American boy band New Kids on the Block with special guests TLC, Nelly. The tour began on May 1, 2015, in Las Vegas, finished on July 2, 2015, in Buffalo, New York, it included close to fifty dates across North America. It was the thirty-eighth ranked North American tour of 2015, grossing $26.1 million. In January 2015, New Kids on the Block appeared on Good Morning America to announce the tour, it had been hinted that the band might collaborate with Nelly while on the road. For the show's production there would be "new and top notch production elements", a 360 degree stage. TLC was excited about the tour and said, "We are thrilled to be able to join pop icons NKOTB and Nelly on tour. We are excited to back on the road connecting with our fans in such huge arenas." The concert began with Nelly performing a few of his songs, followed by TLC's set, 40 minutes long. There was a ten-minute break before New Kids on the Block took the stage. Going with the theme of the tour, the band entered the stage looking "like prizefighters entering a ring," "wearing modern leather ensembles" and opening their set with a new song.

"1989" would appear in a wedding-invitation style font on the screen whenever a classic New Kids song was performed. Fans could see the band during the costume changes that were captured on the "Quick Change Cam." The show was filled with production and choreography for every song, including streamer cannons, confetti shooting high into the air, heart-shaped balloons. The band started the show with two new songs. Other songs performed were "Block Party", "10", "Crash", "Step by Step" and "My Favorite Girl". There were solo sections during the show, such as Jordan Knight on his solo hit "Give It to You", Joey McIntyre on "Twisted", Donnie Wahlberg on "I Need You". Kelli Skye of the Orange County Register said that the show "was a grand spectacle done in the round so guests could get a 360-degree view of all of the on state action... made sure that every section of the venue got a little love." Beth Spotswood from SF Gate stated that the New Kids "appeared older, more embarrassing in concert." Spotswood was ready to go home.

On opening act Nelly, she said, "it was a bit sad to see the rapper hit the stage to perform for a bunch of moms at 7:20 p.m. on a Sunday evening." McIntyre would thank "the audience for sticking by NKOTB."

Armando Colaço is an Indian football coach, who last coached East Bengal F. C. of the I-League. He is the most successful manager in the history of another I-League club, Dempo in terms of trophies in the last 20 years and is the club's longest-serving manager. Colaco is the first I-League manager to guide an Indian team into the semi-finals of the AFC Cup, which he did in 2008. Colaco is regarded as one of India's best managers after the success he has enjoyed at Churchill Brothers S. C. and Dempo. Colaco was born on 22 June 1953 in Panjim to parents – Vincent Salvador Colaço and Clarina Dias Colaço. Having lost his father at a young age, but never gave up on his ambitions of playing football, which he did right from a young age during his schooling at Don Boscos where Fr Joseph Casti and Fr Thomas, in particular, encouraged the footballer in the youthful Armando. According to Armando, it was Sir Edwin, Wilson Paes, along with Fr Simon, Fr Edward and Fr Benedict who played an important role in his life as far as his early upbringing was concerned.

In his life, his wife Juliana and daughter Genevieve have been his motivation and support. After gaining the necessary exposure with Don Bosco and Panjim Gymkhana, at the end of his teens, took a career-shaping step in the 1970–71 season when he was chosen to play for Dempo for the first time, under coach Joseph Ratnam, who taught his wards how to play football with discipline. "That was a important phase of my career as far as shaping the destiny of my football talent was concerned as I got picked for a big club – Dempo," Armando reminisced. Though he made Dempo his abode for the next 14 years to come, as a player, the hardworking Armando plied his trade with dedication and commitment before he hung his boots in 1985. A recipient of the State Kerkar award, had to look beyond his retirement as a player and it were two men – Alberto Colaço, the present AIFF secretary, Agnelo Mascarenhas, who encouraged the just-retired Dempo player to move into football coaching, and thus began a new journey for Armando the coach.

From 1985-88, the Curtorim-based trainer, essayed himself into coaching Salcete Football Club and soon guided the club to a win in Stafford Cup. Soon, Armando had a one-year offer from Sesa Goa, which he accepted with delight and during the 1988–89 season, the team won the Vitthal Trophy under his guidance; that set the tone for his coaching stints elsewhere as Armando, fast gathering moss, rolled on like a stone, coached the state U-21 Santosh team partnering Peter Vales and Goa U-23 team at the BC Roy Trophy in the early 90s. That was after a year-long stint with Dempo S. C. where he won the Pomes Scissors Cup. His success was noted as Churchill Brothers S. C. offered him the role of a coach first and the Technical Director when Danny Maclaren was roped in as a coach during the 1994-2000 period. Switching his base from Dempo to Churchill in the 90s, Armando had announced his arrival as a seasoned coach with three Goa Football League titles and an NFL runner-up trophy with Churchill Brothers and a foray into the AFC Cup.

In 2000, came a Clarion call from Mr Shrinivas V Dempo, offering Armando to coach his team, which had hit a trough in the National Football League following a demotion. Having agreed to accept the challenge, Armando greeted the opportunity to redefine the destiny of a football club, which under his patronage has risen from the dust to touch the skies. Under Colaço, Dempos have managed to inscribe their name on four national league titles, Durand Cup, Federation Cup and he managed Dempo to have been the first Indian club to reach the semi-finals of the AFC Cup, in 2008, he won Dempo three I-League titles in 2007-08 and 2009-10 and 2011-12. After the 2012–13 season where Dempo finished in 5th place, they parted ways with Armando Colaco with whom they had won 5 League titles. On 17 May 2011 Colaço in an interview said that he had accepted the job to coach the Indian football team; the All India Football Federation confirmed the appointment after an Executive Committee meeting on 20 May. On 10 July 2011 Colaço managed his first India match against Maldives, the match ended 1-1.

On 17 July 2011 Colaco won his first game as manager of India against Qatar 2-1 in a friendly. On 23 July 2011 Colaço suffered his first defeat, 0-3, at the hands of the UAE during a 2014 FIFA World Cup qualification match at Sheikh Khalifa International stadium, Al Ain City. In the return leg on 28 July 2011 in Ambedkar Stadium, Delhi Colaço managed to get India a 2-2 draw but could not stop India from falling 5-2 on aggregate. On 14 November 2013, East Bengal appoint Armando Colaco as their new head coach. On 15 May 2014, it was confirmed. Despite being given the chance to coach the team for the entire 2014–15 campaign, it was announced that Colaco had been sacked by East Bengal on 18 February 2015. Colaco has been praised for his tactical prowess and match reading abilities, he is regarded as one of the first coaches in India to have brought the possession style football in the country. In his time at dempo he employed a 4-4-2 formation having Climax Lawrence as a defensive midfield. Characteristics of that team was that they played with short passes along with sudden burst of wing play.

This strategy helped Dempo to reach the semi finals of the 2008 AFC Cup, although losing to Al-Safa' SC in the semi finals

Aashiqui 2 is a 2013 Indian romantic musical drama film directed by Mohit Suri. Starring Aditya Roy Kapur and Shraddha Kapoor in the lead roles, it was produced by Mukesh Bhatt and Bhushan Kumar under the Vishesh Films and T-Series banners. Set in the early 2010s, Aashiqui 2 is a love story centering on the turbulent relationship between musicians Rahul and Arohi, a relationship, affected by Rahul's issues with alcohol abuse and temperament; the film is based on A Star is Abhimaan. The film is a spiritual successor to the 1990 musical film Aashiqui, caused concern in the Indian media that it could not live up to the high standards and success of the original. Production of Aashiqui 2 began in 2011, with the principal photography taking place in Cape Town and Mumbai on a budget of ₹180 million; the film, which premiered on 26 April 2013, became a commercial success at the box-office despite featuring newcomers, was one of the highest-grossing Bollywood films of 2013, earning ₹1.45 billion worldwide within the first four weeks.

Aashiqui 2 is the highest-grossing film produced by Vishesh Films. The soundtrack to the film became popular after its release; the film opens by showing a large crowd waiting for Rahul Jaykar – a successful singer and musician whose career is waning because of his alcohol addiction – to perform at a stage show in Goa. After nearly completing a song, he is unexpectedly interrupted by Aryan, losing his career due to Rahul's, during his performance. Rahul fights him, stops his performance, drives to a local bar, he meets a bar singer who idolises Rahul. After noticing Aarohi looking at a photograph of Lata Mangeshkar in the bar, he assumes that she wants to become a singer. Impressed by her simplicity and voice, Rahul promises to transform her into a singing sensation and asks her to never perform again in bars. Due to his assurance, Aarohi leaves her job and returns to Mumbai with Rahul, who convinces record producer Saigal to meet her; when Aarohi calls Rahul, he is attacked and injured by some thugs, is unable to receive her call.

His friend and manager Vivek decides that news of the assault on Rahul should not be leaked to the media, instead publicises a false story that Rahul has left the country to participate in stage shows. When Aarohi attempts to contact Rahul again, Vivek ignores the calls. After two months of futilely attempting to contact Rahul, a broken Aarohi is forced to sing in bars again because of her family problems. Meanwhile, Rahul again starts the search for Aarohi, he learns that Aarohi is working in a bar again and that Vivek had ignored her calls without informing him. Rahul apologises to Aarohi and fires Vivek, they meet with Saigal for the recording agreement. Rahul begins to train Aarohi, who signs a music contract to sing in films and becomes a successful playback singer, her family and Rahul are happy, but when people begin to gossip that Rahul is using her as a servant, he relapses into alcohol addiction. Aarohi, who loves Rahul more than her career, comforts they end up making love. Despite Aarohi's mother's disapproval, Aarohi moves in with Rahul and things go well until Rahul's addiction worsens, causing him to become aggressive and violent.

To help Rahul fight his alcoholism, Aarohi attempts to rehabilitate Rahul, sacrificing her singing career in doing so. After Saigal reminds them about their dream of Aarohi becoming a successful singer, Rahul orders her to focus on her work. During Aarohi's stage show, Rahul meets a journalist backstage, who accuses him of using Aarohi for pleasure and money. Furious, Rahul starts drinking, he ends up in jail, Aarohi comes to bail him out. Rahul overhears Aarohi telling Saigal that she is going to leave her career for him and is ready to give up her celebrity status because Rahul is more important to her. Rahul understands that he has become a burden in her life, that leaving her is his only option to save her; the next day, he bids her farewell by assuring her that he will change his lifestyle and commits suicide by jumping from a bridge. Distraught by Rahul's death, Aarohi decides to leave her career but Vivek persuades her to stay, he reminds her that Rahul wanted her to become a successful singer and killed himself as he did not want to be a burden on her and remain an obstacle in the path of her success.

Aarohi agrees, returns to singing. She signs her name as "Aarohi Rahul Jaykar" in a fan's handbook as a tribute to Rahul and her unfulfilled desire to marry him; as rain starts falling, she watches the couple who took her autograph sharing a romantic moment under a jacket as she and Rahul had done. Aditya Roy Kapur as Rahul Jaykar Shraddha Kapoor as Aarohi Keshav Shirke Shaad Randhawa as Vivek Mahesh Thakur as Saigal Shubhangi Latkar as Aarohi's mother Chitrak Bandhopadyay as Salim Bhai Mahesh Bhatt as Rahul's father Salil Acharya as Aryan Ashish Bhatt as a reporter Aashna Gaikwad as a lyricist In September 2011, the Indian media reported that Mahesh Bhatt and Bhushan Kumar were keen to remake the 1990 musical blockbuster Aashiqui. Kumar approached Bhatt for a possible sequel, although it was Shagufta Rafique's melodramatic romantic script which persuaded him that the film had potential as a sequel and decided to proceed with the project. Given Aashiqui's status in Hindi cinematic history as one of the finest Indian musicals of all time, many expressed concerns towards the decision to remake the film, dubious that the producers could come up with a soundtrack on par with the quality of the 1990 film.

Bhatt stated that they resisted the temptation to use the

The Dictionary of Greek and Roman Geography, first published in 1854, was the last of a series of classical dictionaries edited by the English scholar William Smith, which included as sister works A Dictionary of Greek and Roman Antiquities and the Dictionary of Greek and Roman Biography and Mythology. As declared by Smith in the Preface: "The Dictionary of Geography... is designed to illustrate the Greek and Roman writers, to enable a diligent student to read them in the most profitable manner". The book stays up to the description: in two massive volumes the dictionary provides detailed coverage of all the important countries, towns, geographical features that occur in Greek and Roman literature, without forgetting those mentioned in the Bible; the work was last reissued in 2005. Dictionary of Greek and Roman Antiquities Dictionary of Greek and Roman Biography and Mythology Smith, William; the Quarterly Review. 99: 415–451. September 1856. Via Google Book Search: Dictionary of Greek and Roman Geography, Vol.

I: Abacaenum – Hytanis Dictionary of Greek and Roman Geography, Vol. II Iabadius – Zymethus The Internet Archive has a number of editions including: Smith, William. Dictionary of Greek and Roman Geography. 1. Boston: Little, Brown. Smith, William. Dictionary of Greek and Roman Geography. 2. London: Walton and Mayberly. Smith, William. Dictionary of Greek and Roman Geography, Vol. II Iabadius – Zymethus. 2. London: Walton and Mayberly. Smith, William. Dictionary of Greek and Roman Geography. 1. Boston: Little, Brown. Smith, William. Dictionary of Greek and Roman Geography. 2. London: John Murray. Works related to Dictionary of Greek and Roman Geography at Wikisource

Leo Wrye Zimmerman was an abstract artist who founded The Society for the Arts in Louisville and was a prolific Louisville artist for over 50 years. His unique style combined art and invention. Zimmerman was born in Timlin, but moved to and grew up in his mother's hometown of Louisville, Kentucky, he attended Centre College in Danville, Kentucky with the intent to study medicine and follow in the footsteps of his father, Dr. Leo Zimmerman. Shortly after his first school year, with World War II in full swing, he joined the army, worked as a medic in Special Services in Biarritz and Paris and determined that art was his path. After serving honorably, studying art while awaiting a ship home, Zimmerman returned to Louisville and won first prize in the Ashland Oil Company art contest. Proceeds from the award were enough to allow Zimmerman and his new bride, Marie Kavanaugh Graves, to go to Paris. In Paris for five years, Zimmerman mixed with the top abstract artists of the 1950s including Robert Breer, Jean Dewasne, Auguste Herbin, Fernand Léger, Edgar Pillet, Jack Youngerman and Victor Vasarely.

In 1955, back in the States, continuing to paint but missing the cultural milieu of Paris, Zimmerman founded The Society for The Arts in Louisville. This private club was the first Louisville organization dedicated to promoting and integrating all the arts, with a philosophy that Zimmerman summarized below, “Art isn’t a commodity. It’s non-utilitarian, but it’s useful because it makes everybody grow … Art should be seen and known and talked about. I’m operating on that basis.” The Society was nonprofit, supported through membership dues and advertising income from its publications, beginning with the 32-pagemonthly “Arts in Louisville Magazine". The publication was renamed “The Louisvillian,” and replaced by the biweekly,“The Gazette of the Arts in Louisville"; the club held live performances that included jazz legends such as Dizzy Gillespie and Cannonball Adderley, as well as poetry readings, theatre performances, folksinging. Resisting pressure from local authorities, Arts in Louisville was the first integrated private club in the city.

The first edition of the Arts in Louisville magazine was published in 1953. The magazine was a forum for artists to write about their lives and artistic concerns. Zimmerman published the magazine, designed the covers and set the type with his own typographic equipment; the Society for The Arts disbanded in 1963 from “staff cultural exhaustion,”Zimmerman wrote in an entry for “The Encyclopedia of Louisville." The Louisville arts movement, still vibrant, became so renowned that Life magazine sent photographer Alfred Eisenstaedt to the city on assignment to photograph Zimmerman, fellow artist and teacher Joseph Fitzpatrick, who edited the magazine Zimmerman founded, other colleagues. Five years in Paris working with pioneers in abstract art combined with the Arts in Louisville experience set Zimmerman's artistic direction, his artistic efforts evolved from “hard–edge” abstract paintings, large "rural murals", to rotating optical illusions called “Slu Balls”, over 1000 computer-generated paintings.

Zimmerman's “Slu Balls” were exhibited at the University of Kentucky in 1989. Significant periods in Leo's artistic development can be summarized as follows: Frustrated with the available products that damaged his brushes when he cleaned them, in 1954, Zimmerman invented a new brush cleaning system which he named “Silicoil”. Silicoil became so popular with artists that Zimmerman patented the system and formed the Lion Company, Incorporated to manufacture and distribute the product domestically and internationally. Today – after over 50 years in the market - Silicoil remains one of the leading brush cleaning systems.'Zimmerman's early art career was as a painter. One of his friends in Paris was Victor Vasarely regarded as the father of Op-Art, whose paintings are in the permanent collections of many museums around the world. Though he achieved great fame he insisted on making his art accessible to everyone –which became one of Zimmerman's guiding principles and inspired his computer art in the late stage of his life.

Though Zimmerman became more of a behind-the-scenes artist, it's clear that he was a major force in establishing Louisville's art scene and a significant artist in his own right - being sought after for advice from an extended community of artists. Leo's artistic progression does not lend itself to categorization, but at least four major periods can be seen: After winning first prize in an art contest and buying a ticket to France, Zimmerman began his artistic pursuits as a painter while living in Paris from 1948-53. Zimmerman produced abstract oil paintings featuring crisp transitions between solid color areas; this style of hard-edge geometrical abstraction recalls the earlier work of Wassily Kandinsky and Victor Vasarely. In working with Edgar Pillet, Zimmerman may have been influenced to create a series of murals in rural Kentucky on old barns. Pillet had designed a series of murals for a factory in France. Zimmerman's vision was to take the old barns that dotted the Kentucky landscape and produce abstract murals for them.

Zimmerman traveled the country to find candidate barns but met resistance from the farmers who owned them who were not convinced to be the visionaries to bring art to their rural communities. No existing structure exists today, though a photograph of one mural remains. Kinetic art depends on motion for its effect; the moving parts are powered by wind, a motor or the observer. The term kinetic sculpture refers to a class of art mad

Tomb TT320, otherwise known as the Royal Cache, is an Ancient Egyptian tomb located next to Deir el-Bahri, in the Theban Necropolis, opposite the modern city of Luxor. It contains the last resting place of High Priest of Amun Pinedjem II, his wife Nesikhons, other close family members, in addition to an extraordinary collection of mummified remains and funeral equipment of more than 50 kings and other New Kingdom members of the royalty, as it was used as a cache for royal mummies during the Twenty-first Dynasty; the tomb is thought to have been the last resting place of High Priest of Amun Pinedjem II, his wife Nesikhons, other close family members. Pinudjem II died around 969 BCE, in a time of decline of the Egyptian kingdom, during which mummies from former dynasties were vulnerable to grave robbery. During Ramesses IX's reign, he had teams that inspected the tombs of pharaohs. If it were discovered that repairs to the tomb or the mummy were needed, arrangements would be made to make the necessary repairs.

The tombs that were inspected were found untouched at that time. During Herihor's reign, some tombs and mummies were found to be in need of what they called "renewing the burial places"; the tombs of Ramesses I, Seti I, Ramesses II required "renewing" after pillaging, this led to the royal mummies being moved to this tomb to protect them, with each coffin given dockets stating when they were moved and where they were reburied. It was believed that this tomb belonged to an Eighteenth Dynasty queen, found buried here. However, mummies were cached here in the Twenty-first Dynasty and the Eighteenth Dynasty queen was found at or near the entrance of the tomb, suggesting that she was placed in it last, which would indicate that this was not her tomb. If this was her tomb she would have been placed at the far, or back, side of the tomb; when the last of the mummies were placed in TT320, it seemed that the opening was covered with sand and other debris such as rocks, rendering it difficult to find.

The first documented case of someone finding this tomb was in 1881. It is possible that this tomb was discovered prior to 1881 but there is no documentation indicating that it was found prior to this. In 1881, a tomb-robber named Abd el-Rassul discovered TT320. Research, conducted by Gaston Maspero, stated that Abd el-Rassul's family discovered TT320 as early as 1871, because items such as canopic vases and funeral papyri from this tomb showed up on the antiquities market in Luxor as early as 1874. For example, the Book of the Dead of Pinudjem II was purchased in 1876 for £400; the story that Abd el-Rassul Ahmed told was that one of his goats fell down a shaft and when he went down the shaft to retrieve the goat, he stumbled across this tomb. As he looked around, he discovered, he saw. This was indicated by the royal cobra head dress on some of the coffins. Abd and his brother plundered this tomb and lived off of the profits for many years until they were caught. Local authorities were expecting to find several tombs belonging to the family of Herihor.

When items started appearing on the antiquities market with their names on them began, local authorities started to investigate the items and were able to trace them back to the Abd el-Rassul family. Authorities interrogated and tortured the two brothers until one of the brothers gave up the location of the tomb where the items were plundered from. Authorities were sent out to TT320 to secure it. Authorities arrived at TT320 without the head of the Egyptian Service of Antiquities, because he was on vacation. Instead, the only other European member of the team, Emil Brugsch, was sent with one of the first Egyptian Egyptologists, Ahmed Kamal, to explore and examine TT320. Rather than just exploring, Brugsch had all of the contents, including the mummies, of this tomb removed within 48 hours of them entering this tomb. Neither Brugsch nor Kamal documented the tomb before having the contents removed, which made future study of this tomb difficult. Locations of the coffins were not documented and items were not catalogued.

Brugsch went back to document the tomb but the problem with this is that when he went back, he was not able to remember every detail of the tomb. His recollection of the tomb is questionable since he did not document the details upon entering the tomb; the removal of the items from TT320 so presented problems that the removal team at the time did not take into account. The hasty removal of the items in TT320 was not done carefully; when the items were received in Cairo, it was discovered that some coffins had damage that would have happened if they were banged around during removal or transport. Evidence suggests that the damage to the coffins happened during removal from TT320. Brugsch documented the height of the different parts of the tomb and the measurement of the opening was just big enough to drag out the coffins. In addition to this, there were fragments of royal coffins and other items found in the bottom meter of debris in TT320. However, there were ten coffins that were found with their foot ends missing.

It is believed that this happened before they were placed in TT320 because there was no mention, by Brugsch, of foot ends whether they were whole, in pieces or fragments being found. A research team entered TT320 in 1998 for research and that team did not find any evidence of foot ends either. In addition to plundering of TT 320 and the royal tombs of the mummies found here, the mummies themselves were plundered also. Once the coffins/mummies and items made i