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Vardar Macedonia

Vardar Macedonia was the name given to the territory of the Kingdom of Serbia and Kingdom of Yugoslavia corresponding to today's North Macedonia. It covers the northwestern part of geographical Macedonia, whose modern borders came to be defined by the mid-19th century, it refers to the part of the region of Macedonia attributed to the Kingdom of Serbia by the Treaty of Bucharest. The territory is named after the major river in the area; the area was called Southern Serbia Vardar Banovina, because the name Macedonia was prohibited in Serbia the Kingdom of Yugoslavia. After World War I, the present-day Strumica and Novo Selo municipalities were broken away from Bulgaria and ceded to Yugoslavia. After World War II, most of the area became part of SFR Yugoslavia as SR Macedonia. After the breakup of Yugoslavia, besides the Republic of North Macedonia, the region encompasses Trgovište and Preševo municipalities in Serbia, as well the Elez Han municipality in Kosovo. Sometimes in the region are included the areas of Golo Brdo and Mala Prespa in Albania.

Aegean Macedonia Geography of North Macedonia Macedonia Pirin Macedonia Vardar statistical region Danforth, L. M.. The Macedonian Conflict: Ethnic Nationalism in a Transnational World. Princeton University Press. P. 44. ISBN 0-691-04356-6 Alice Ackermann. Making Peace Prevail: Preventing Violent Conflict in Macedonia. Syracuse University Press. Pp. 55–. ISBN 978-0-8156-0602-4. Ilká Thiessen. Waiting for Macedonia: Identity in a Changing World. University of Toronto Press. Pp. 29–. ISBN 978-1-55111-719-5. Hugh Poulton. Who are the Macedonians?. C. Hurst & Co. Publishers. Pp. 2–. ISBN 978-1-85065-534-3. Stefan Troebst. Das makedonische Jahrhundert: von den Anfängen der nationalrevolutionären Bewegung zum Abkommen von Ohrid 1893-2001. Oldenbourg. Pp. 344–. ISBN 978-3-486-58050-1. Dimitar Bechev. Historical Dictionary of the Republic of Macedonia. Scarecrow Press. Pp. 232–. ISBN 978-0-8108-6295-1

Ang Hiwaga ng DueƱas

Ang Hiwaga ng Dueñas is an adventure story arc of the Philippine comic strip series Pugad Baboy, created by Pol Medina Jr. and published in the Philippine Daily Inquirer. The arc lasted for 52 strips and appeared in the first quarter of 1992. In 1993, the story arc was reprinted in Pugad Baboy 4, the fourth book compilation of the comic strip series; the Pugad Baboy residents go off on vacation to Dueñas in Iloilo. There, Bab introduces them to their host, Mang Danilo, a faith healer who had once cured Bab off his dependence on drugs. One night during the holiday, supernatural beings make a determined siege upon the house occupied by the Pugad Baboy gang. Polgas comes to the rescue in the guise of a parody of Ghostbusters. Using garlic Growlsbuster repels the attack. In the confusion of the attack Pao is taken his captors mistaking him for a pregnant woman. Deciding that it is beyond Growlsbuster's skills to mount a rescue attempt, Polgas takes on his Wisedog persona; as Wisedog, he disguises himself further to resemble a werewolf, becoming Weredog and infiltrating the werewolves' lair in the mountains.

Here he discovers that Devlino, the king of the supernatural beings, intends to sacrifice Pao at the stroke of midnight and that the "fetus" in his "womb" will become the main ingredient for the batchoy the werewolves are preparing. Polgas recruits the Pugad Baboy residents, they go to silverware as ammunition. Polgas refills his "garapata gun" with holy water from the church font. Eight minutes before midnight, the rescue squad attack the supernatural beings' lair; every demon and werewolf hit by stick and silverware disappears into smoky nothingness, while to the demons' surprise, the Pugad Baboy gang seem unaffected by claw or fang. Four minutes to midnight, Devlino runs away with Pao. Using the jawbone of a horse as a boomerang, Polgas destroys the sacrificial knife wielded by Devlino, who unmasked, turns out to be no other than their host, Mang Danilo. Lady Lucy appears; as punishment for his failure as the king of evil in Iloilo, Lady Lucy turns him into a poisonous mushroom. Lady Lucy disappears.

The Pugad Baboy residents return to Dueñas, having rescued Pao. Count von Count is seen counting the five hairs Pao pulls from his armpit Darna's nemesis Valentina makes an appearance among the numerous ghouls who invade the hut. Dagul being served with the medicinal herbal tea "pitu-pito" is a play on words; the waiter serves him the drink instead of the cocktail drink "Seventy-seven". The fourth wall is broken. An unseen narrator mentions that Wisedog follows the scent of Pao's perfume and marks the trees along his path. Wisedog attempts to mark the nearest tree in true canine fashion by lifting a hind leg and spraying it with urine; the narrator has to clear his throat twice to grab Wisedog's attention so the agent can mark the nearest tree by chalking an x-mark on the tree. The "sacred cloth" that Mang Danilo uses to rescue Polgas from the werewolves is a piece of cloth emblazoned with the words "DANDING FOR THE COUNTRY!!!". Danding is the nickname of Eduardo Cojuangco Jr. a crony of former president Ferdinand Marcos during the Martial Law era.

Fido Dido can be seen among the zombies. Mang Pekto, Lady Lucy, Mang Danilo will return for "Ang Punyal Ni Devlino", a story arc published on Rappler

Norwegian Air DY1933 Iran diversion

On December 14, 2018, a scheduled Norwegian Air Shuttle flight using the Boeing 737 MAX 8 from Dubai to Oslo suffered low oil pressure in one of its two CFM Leap engines. The plane landed in Iran with that engine shut down. Since US goods aircraft and parts, are not allowed to be imported to Iran, the plane was stranded there; the plane left Iran on 22 February 2019. As passengers and crew didn't have Visas to enter Iran, they were sequestered in a hotel overnight returned to the airport, leaving on a 737-800; that 737-800 had to divert to Warsaw, having higher-than-expected fuel burn, either from headwinds or unplanned additional weight. Since President Trump withdrew from the nuclear agreement with Iran and placed them under sanctions a month prior, the repair parts for the CFM leap engine could not be imported. Further, the Treasury Department's Office of Foreign Assets Control, which would grant exceptions to the sanction, was shut down from December 22, 2018 until January 25, 2019; the plane, LN-BKE, was only six weeks old.

Planespotters entry Episode 892: The Lost Plane on NPR's Planet Money


Salpingoeca is a genus of Choanoflagellates in the family Salpingoecidae. Ultrastructure et mode de nutrition du Choanoflagellé Salpingoeca pelagica, sp. nov. comparaison avec les choanocytes des Spongiaires. M Laval, 1971 Cell differentiation and morphogenesis in the colony-forming choanoflagellate Salpingoeca rosetta. MJ Dayel, RA Alegado, SR Fairclough, TC Levin… - Developmental biology, 2011 Premetazoan genome evolution and the regulation of cell differentiation in the choanoflagellate Salpingoeca rosettaSR Fairclough, Z Chen, E Kramer, Q Zeng, S Young… - Genome biology, 2013 Data related to Salpingoeca at Wikispecies "Salpingoeca" at the Encyclopedia of Life

Bailando en una pata

Bailando En Una Pata is the third album by the Argentine hard rock band La Renga. It contains songs from Esquivando Charcos recorded at the Arena Obras Sanitarias, it was edited in "El Pie" Studios in July, 1995. The album has a live cover of Steppenwolf's "Born to Be Wild" but the title appears in Spanish and a new song at the time: El Viento Que Todo Empuja; the studio version of this song appears in 1996's album Despedazado por Mil Partes. The album achieved 2× platinum status in Argentina for selling over 120,000 copies. All songs by Gustavo Nápoli, except "Nacido Para Ser Salvaje", "Quiero Un Sombrero" and "La Mamadera": "Buseca y Vino Tinto" "Moscas Verdes, Para El Charlatán" "Embrollos, Fatos y Paquetes" "El Viento Que Todo Empuja" "El Juicio del Ganso" "Nacido Para Ser Salvaje" "Intervalo" "Negra Mi Alma, Negro Mi Corazón" "Luciendo Mi Saquito Blusero" "Blues de Bolivia" / Medley: "Quiero Un Sombrero" / "La Mamadera" "Somos Los Mismos de Siempre" "Voy a Bailar a La Nave del Olvido" "Bailando En Una Pata" "Cantito Popular" Chizzo - lead vocals, lead guitar Tete - bass guitar Tanque - drums Manu - saxophone Chiflo - saxophone Martín Lorenzo - percussion Gastón Bernardou - percussion Eduardo Trípodi - percussion Mario Breuer - mastering Jorge Recagno - Video Edit Martin Valusso - recording assistant Adrián Muscari - A&R Pablo Freytes - artwork Daniel Del Federico - illustrations


Epiktetos was an Attic vase painter in the early red-figure style. Besides Oltos, he was the most important painter of the Pioneer Group, he was active between 520 BC and 490 BC. His name translates as "newly acquired", most a reference to his slave status. At the beginning of his career, Epiktetos painted a chalice krater made by the potter Andokides, but he turned to smaller vessels, such as cups and plates. Throughout his long career, he worked for a variety of potters, including Andokides and the Nikosthenes-Pamphaios workshop. Since he signed one plate as painter and potter, he may have carried out both functions at least for some of the time; that plate was a votive offering, dedicated on the Athenian Acropolis. On one kylix, he collaborated with the Euergides Painter, he appears to have been aware of his talent, as he signed more than half of the works ascribed to him. His first vases were bilingual eye-cups. At this stage, he was technically superior to the early works of Oltos, omitted out-of-date features such as palmette-hearts.

He used the relief-line technique. Epiktetos was considered a master of the tondo, his vases were only painted on the inside. His miniature drawings were precise, his use of colour and ornament was controlled. His lines and details were balanced, with heads and limbs well-proportioned, his use of perspective on figures was convincing. John Beazley praised Epiktetos: "it is not possible to draw better, only to draw differently". John Boardman lauded him as the "greatest draughtsman in early red-figure vase painting", he preferred scenes of daily revelry to mythological scenes. He depicted mythological scenes, which lacked originality. In contrast, his everyday scenes demonstrated his innovative ideas, he showed Athenian citizens at play, at the symposion and in erotic scenes, where he develops new aspects and motifs. He played an important role in the development of the satyr as a figure expressing beast like masculinity, his tondi ceased to depict the kneeling runner characteristic of black-figure vase painting.

In some cases, the postures of figures depicted on his vases were nearly identical if their actions varied greatly. For example, a bent and twisted figure was in one case the Minotaur; the end of his career remains unclear. One of his last works was on a cup by the potter Python – here he appeared stylistically influenced by Python's main painter, Douris – another on a vase by Pistoxenos. Epiktetos's work must have been appreciated at the time, as indicated by a pelike by the Kleophrades Painter, twice falsely signed Epiktetos egraphsen; the signature was a forgery, suggesting that the vessel was considered more marketable if considered to be by Epiktetos. John Beazley: Attic red-figure vase-painters, 2nd ed. Oxford 1963, p. 70-79 John Boardman: Rotfigurige Vasen aus Athen. Die archaische Zeit, von Zabern, 4. Ed. Mainz 1994, esp. S. 64-66, ISBN 3-8053-0234-7 The Getty Museum - Biography of Epiktetos Dimitris Paleothodoros, Peeters, coll. D'Études classiques, Vol. 18, Louvain, 2004