Art Chapter
Ryan Merkle QMRA surrey is a "popular American doorless, four-wheeled carriage of the late 19th and early 20th centuries. Usually two-seated (for four passengers), surreys had a variety of tops, ranging from the rigid, fringed canopy-top … to parasol and extension tops."[1] The seats were traditional, spindle-backed (often upholstered), bench seats. Before the advent of automobiles, these were horse-drawn carriages.
Ryan Merkle QMRIn baseball, hitting for the cycle is the accomplishment of one batter hitting a single, a double, a triple, and a home run in the same game.
Multiple MLB cycles[edit]
The most cycles hit by a single player in Major League Baseball is three, accomplished by four players:
John Reilly was the first to hit a third when he completed the cycle on August 6, 1890, after hitting his first two in a week (September 12 and 19, 1883) for the Cincinnati Reds.
Bob Meusel became the second man to complete three cycles, playing for the New York Yankees; his first occurred on May 7, 1921, the next on July 3, 1922, and his final cycle on July 26, 1928.
The third, Babe Herman (not to be confused with the famous George Herman "Babe" Ruth), was the first three-cycle player to accomplish the feat for two different teams—the Brooklyn Robins (May 18 and July 24, 1931) and the Chicago Cubs (September 30, 1933).[3]
Adrián Beltré became the fourth player to hit for the cycle three times in his career and the second three-cycle player to hit for the cycle with two different teams (one with the Seattle Mariners and two with the Texas Rangers). Even though Beltre hit his cycles with two different teams, all the cycles occurred in the same ballpark, Globe Life Park. Beltre's third cycle on August 3, 2015 only took 5 innings, it was the fastest cycle since 1974 at the time.
Ryan Merkle QMRJohn Reilly, Bob Meusel, Babe Herman, and Adrián Beltré (left to right) are the only four players to hit for the cycle three times in their Major League Baseball careers.
Ryan Merkle QMRFour successor dynasties to Sultanate of Mataram : Pakubuwono, Hamengkubuwono, Paku Alaman, and Mangkunegaran (18th century - present)
Ryan Merkle QMR2.5-litre inline-4 Chrysler engine, a Mitsubishi-sourced 3.0-litre V6, the 6G72 engine, and a Chrysler-built 3.3-litre V6 were available, although the 3.3 L V6 was not available until 1990. The four-cylinder came equipped with a TorqueFlite three-speed automatic transmission (the A413). The 3.0 L and the 3.3 L were offered solely with Chrysler's then-new electronically controlled four-speed automatic transmission, known as the Ultradrive or A604 (List of Chrysler transmissions). The vast majority of Dynastys sold to private customers had V6 engines; four-cylinder models mostly went to the fleet market.
QMRThe Voyage of Life, painted by Thomas Cole in 1842, is a series of paintings that represent an allegory of the four stages of human life: childhood, youth, manhood, and old age. The paintings follow a voyager who travels in a boat on a river through the mid-19th-century American wilderness. In each painting, accompanied by a guardian angel, the voyager rides the boat on the River of Life. The landscape, corresponding to the seasons of the year, plays a major role in telling the story. In each picture, the boat's direction of travel is reversed from the previous picture. In childhood, the infant glides from a dark cave into a rich, green landscape. As a youth, the boy takes control of the boat and aims for a shining castle in the sky. In manhood, the adult relies on prayer and religious faith to sustain him through rough waters and a threatening landscape. Finally, the man becomes old and the angel guides him to heaven across the waters of eternity.
Background[edit]
Thomas Cole is regarded as the founder of the Hudson River School, an American art movement that flourished in the mid-19th century and was concerned with the realistic and detailed portrayal of nature but with a strong influence from Romanticism.[1] This group of American landscape painters worked between about 1825 and 1870 and shared a sense of national pride as well as an interest in celebrating the unique natural beauty found in the United States. The wild, untamed nature found in America was viewed as its special character; Europe had ancient ruins, but America had the uncharted wilderness. As Cole's friend William Cullen Bryant sermonized in verse, so Cole sermonized in paint. Both men saw nature as God's work and as a refuge from the ugly materialism of cities. Cole clearly intended The Voyage of Life to be a didactic, moralizing series of paintings using the landscape as an allegory for religious faith.
Unlike Cole's first major series, The Course of Empire, which focused on the stages of civilization as a whole, The Voyage of Life series is a more personal, Christian allegory that interprets visually the journey of man through four stages of life: infancy, youth, manhood and old age. Done on commission, the finished works generated a disagreement with the owner about a public exhibition. In 1842, when Cole was in Rome, he did a second set of the series which on his return to America was shown to acclaim.[citation needed] The first set is at the Munson-Williams-Proctor Arts Institute in Utica, New York, and the second set is at the National Gallery of Art in Washington, D.C.
Works[edit]
Childhood[edit]
The Voyage of Life: Childhood
Thomas Cole - The Voyage of Life Childhood, 1842 (National Gallery of Art).jpg
Artist Thomas Cole
Year 1842
Type Oil on canvas
Dimensions 133 cm × 198 cm (52 in × 78 in)
Location National Gallery of Art
In the first painting, Childhood, all the important story elements of the series are introduced: the voyager, the angel, the river, and the expressive landscape. An infant is safely ensconced in a boat guided by an angel. The landscape is lush; everything is calm and basking in warm sunshine, reflecting the innocence and joy of childhood. The boat glides out of a dark, craggy cave which Cole himself described as "emblematic of our earthly origin, and the mysterious Past."[2] The river is smooth and narrow, symbolizing the sheltered experience of childhood. The figurehead on the prow holds an hourglass representing time.
Youth[edit]
The Voyage of Life: Youth
Thomas Cole - The Ages of Life - Youth - WGA05140.jpg
Artist Thomas Cole
Year 1842
Type Oil on canvas
Dimensions 134 cm × 194 cm (53 in × 76 in)
Location National Gallery of Art
The second painting, Youth, shows the same rich, green landscape, but here the view widens as does the voyager's experience. Now the youth grabs the tiller firmly as the angel watches and waves from the shore, allowing him to take control. The boy's enthusiasm and energy is evident in his forward-thrusting pose and billowing clothes. In the distance, a ghostly castle hovers in the sky, a white and shimmering beacon that represents the ambitions and dreams of man.
Detail of Thomas Cole's The Voyage of Life: Youth: shows the boy departing in the boat; the angel bids him farewell from the shore.
To the youth, the calm river seems to lead straight to the castle, but at the far right of the painting one can just glimpse the river as it becomes rough, choppy, and full of rocks. Cole comments on the landscape and the youth's ambitions: "The scenery of the picture—its clear stream, its lofty trees, its towering mountains, its unbounded distance, and transparent atmosphere—figure forth the romantic beauty of youthful imaginings, when the mind elevates the Mean and Common into the Magnificent, before experience teaches what is the Real."
Manhood[edit]
The Voyage of Life: Manhood
Thomas Cole, The Voyage of Life, 1842, National Gallery of Art.jpg
Artist Thomas Cole
Year 1842
Type Oil on canvas
Dimensions 132.8 cm × 198.1 cm (52.3 in × 78.0 in)
Location National Gallery of Art
In the next painting, Manhood, the youth has grown into an adult and now faces the trials of life. The boat is damaged and the tiller is gone. The river has become a terrible rush of white water with menacing rocks, dangerous whirlpools, and surging currents. The warm sunlight of youth has been clouded over with dark and stormy skies and torrential rains. The trees have become wind-beaten, gnarled, leafless trunks. The fresh grass is gone, replaced by hard and unforgiving rock.
In the boat, the man no longer displays confidence or even control. The angel appears high in the sky, still watching over the man, who does not see the angel. Man must rely on his faith that the angel is there to help him. Cole states, "Trouble is characteristic of the period of Manhood. In childhood, there is no carking care: in youth, no despairing thought. It is only when experience has taught us the realities of the world, that we lift from our eyes the golden veil of early life; that we feel deep and abiding sorrow: and in the Picture, the gloomy, eclipse-like tone, the conflicting elements, the trees riven by tempest, are the allegory; and the Ocean, dimly seen, figures the end of life, which the Voyager is now approaching."[3]
Within the painting Manhood there is a strong emphasis on the diagonal: in the rocks which jut up, steep and forbidding, and the river which sweeps downward, threatening to carry anything in or on it over the precipitous drop to the twisting and foaming rapids in the mid-ground. The extreme narrowness of the passage between the two rock face heightens the tension as the viewer tries to determine whether or not a small craft could navigate these tumultuous waters. In addition, evil spirits stare down from the dark clouds above.
Detail of Thomas Cole's The Voyage of Life: Manhood: God is depicted in the clouds.
It is only in the distant background that the viewer captures a glimpse of the horizon. This line, where the distant ocean meets the sunset colored sky, is the only horizontal line in the painting. Amidst the chaos and confusion of the wild scene in the foreground, one catches a glimpse of possible serenity. Cole has positioned this focal point just below and to the right of center. The combination of the lone horizontal and warm color in an otherwise dark and forbidding scene, beckons the viewer's eye back again and again.
The silhouette of a gnarled tree trunk opposes the diagonals of the rocks and river, forcing the eye back into the scene. Here the twisted and rotting trunk is used, as it often is in Cole's work, as a symbol for the savage (untamed) wilderness and all its dangers. The funnel-shaped cloud that appears above the tree leads the eye up into the forbidding clouds of the sky, over the top and to the left, where the downward arc of the clouds forces it back down again into the river.
Old Age[edit]
The Voyage of Life: Old Age
Thomas Cole - The Voyage of Life Old Age, 1842 (National Gallery of Art).jpg
Artist Thomas Cole
Year 1842
Type Oil on canvas
Dimensions 133.4 cm × 196.2 cm (52.5 in × 77.2 in)
Location National Gallery of Art
The final painting, Old Age, is an image of death. The man has grown old; he has survived the trials of life. The waters have calmed; the river flows into the waters of eternity. The figurehead and hourglass are missing from the battered boat; the withered old voyager has reached the end of earthly time. In the distance, angels are descending from heaven, while the guardian angel hovers close, gesturing toward the others. The man is once again joyous with the knowledge that faith has sustained him through life. The landscape is practically gone, just a few rough rocks represent the edge of the earthly world, and dark water stretches onward. Cole describes the scene: "The chains of corporeal existence are falling away; and already the mind has glimpses of Immortal Life."
Cultural significance[edit]
The Voyage of Life was well received by critics and the public; the United States was experiencing the religious revival sometimes known as the Second Great Awakening. The four paintings were converted to engravings by James Smillie (1807–85) after Cole's death and the engravings widely distributed in time for the Third Great Awakening, giving the series the prestige and popular acclaim it retains today.[3]
Painting Chapter
QMRThe Arles Sunflowers[edit]
Now that I hope to live with Gauguin in a studio of our own, I want to make decorations for the studio. Nothing but big flowers.[5]
See Letter 527
Leaving aside the first two versions, all Arlesian Sunflowers are painted on size 30 canvases.
The initial versions, August 1888[edit]
None meets the descriptions supplied by Van Gogh himself in his announcement of the series in every detail. The first version differs in size, is painted on a size 20 canvas—not on a size 15 canvas as indicated[6]—and all the others differ in the number of flowers depicted from Van Gogh's announcement. The second was evidently enlarged and the initial composition altered by insertion of the two flowers lying in the foreground, center and right.[7] Neither the third nor the fourth shows the dozen or 14 flowers indicated by the artist, but more—fifteen or sixteen.[8] These alterations are executed wet-in-wet and therefore considered genuine rework—even the more so as they are copied to the repetitions of January 1889; there is no longer a trace of later alterations, at least in this aspect.
Sunflowers (F.453), first version: turquoise background
Oil on canvas, 73.5 × 60 cm
Private collection
Sunflowers (F.459), second version: royal-blue background
Oil on canvas, 98 × 69 cm
Formerly private collection, Japan, destroyed by fire in World War II on 6 August 1945[9]
Sunflowers (F.456), third version: blue green background
Oil on canvas, 91 × 72 cm
Neue Pinakothek, Munich, Germany
Sunflowers (F.454), fourth version: yellow background
Oil on canvas, 92.1 × 73 cm
National Gallery, London, England
The Paris Sunflowers[edit]
See also: Still life paintings by Vincent van Gogh (Paris)
Little is known of van Gogh's activities during the two years he lived with his brother, Theo, in Paris, 1886–1888. The fact that he had painted Sunflowers already is only revealed in the spring of 1889, when Gauguin claimed one of the Arles versions in exchange for studies he had left behind after leaving Arles for Paris. Van Gogh was upset and replied that Gauguin had absolutely no right to make this request: "I am definitely keeping my sunflowers in question. He has two of them already, let that hold him. And if he is not satisfied with the exchange he has made with me, he can take back his little Martinique canvas,[1] and his self-portrait sent me from Brittany,[2] at the same time giving me back both my portrait[3] and the two sunflower canvases which he has taken to Paris. So if he ever broaches this subject again, I've told you just how matters stand."[4]
Sunflowers, study (F.377), Oil on canvas, 21 x 27 cm, Van Gogh Museum, Amsterdam
Sunflowers (F.375), Oil on canvas, 43.2 x 61 cm, Metropolitan Museum of Art, New York
Sunflowers (F.376), Oil on canvas, 50 x 60.7 cm, Kunstmuseum Bern
Sunflowers (F.452), Oil on canvas, 60 × 100 cm, Kröller-Müller Museum, Otterlo
F.Numbers refer to De la Faille Catalogue raisonné
The two Sunflowers in question show two buttons each; one of them was preceded by a small study, and a fourth large canvas combines both compositions.
These were Van Gogh's first paintings with "nothing but sunflowers"—yet, he had already included sunflowers in still life and landscape earlier.Ryan Merkle QMRThe "Four Generals of Zhongxing" painted by Liu Songnian during the Southern Song Dynasty. Yue Fei is the second person from the left. It is believed to be the "truest portrait of Yue in all extant materials."[15]
QMRThe Four Trees is the debut studio album by Caspian. It was released on Dopamine Records on April 10, 2007[1] and reissued by The Mylene Sheath on March 13, 2010. The album has been released in CD and Double LP format, with an out-of-print limited edition.[4]
QMRThe Four Freedoms is a series of four 1943 oil paintings by the American artist Norman Rockwell. The paintings—Freedom of Speech, Freedom of Worship, Freedom from Want, and Freedom from Fear—are each approximately 45.75 inches (116.2 cm) × 35.5 inches (90 cm),[1] and are now in the Norman Rockwell Museum in Stockbridge, Massachusetts. The four freedoms refer to President Franklin D. Roosevelt's January 1941 Four Freedoms State of the Union address in which he identified essential human rights that should be universally protected.[2][3] The theme was incorporated into the Atlantic Charter,[4][5] and became part of the charter of the United Nations.[6] The paintings were reproduced in The Saturday Evening Post over four consecutive weeks in 1943, alongside essays by prominent thinkers of the day. They became the highlight of a touring exhibition sponsored by The Post and the U.S. Department of the Treasury. The exhibition and accompanying sales drives of war bonds raised over $132 million.[7]
Ryan Merkle QMRFreedom from Want, also known as The Thanksgiving Picture or I'll Be Home for Christmas, is the third of the Four Freedoms series of four oil paintings by American artist Norman Rockwell. The works were inspired by United States President Franklin D. Roosevelt's 1941 State of the Union Address, known as Four Freedoms.
Ryan Merkle QMRFreedom of Speech is the first of the Four Freedoms paintings by Norman Rockwell that were inspired by United States President Franklin D. Roosevelt in the State of the Union Address, known as Four Freedoms, he delivered on January 6, 1941.[1]
Freedom of Speech was published in the February 20, 1943 Issue of The Saturday Evening Post with a matching essay by Booth Tarkington as part of the Four Freedoms series.[2] Rockwell felt that this and Freedom to Worship were the most successful of the set.[3] Since Rockwell liked to depict life as he experienced it or envisioned it, it is not surprising that this image depicts an actual occurrence.
Ryan Merkle QMRFreedom from Fear is the last of the well-known Four Freedoms oil paintings produced by the American artist Norman Rockwell. The series was based on the four goals known as the Four Freedoms, which were enunciated by President Franklin D. Roosevelt in his State of the Union Address on January 6, 1941. This work was published in the March 13, 1943, issue of The Saturday Evening Post alongside an essay by a prominent thinker of the day, Stephen Vincent Benét. The painting is generally described as depicting American children being tucked into bed by their parents while the Blitz rages across the Atlantic in Great Britain.
Ryan Merkle Four Darks in Red, 1958, Whitney Museum of American Art
Ryan Merkle QMRTarget with Four Faces (1955)[
Ryan Merkle QMRWhile painting this way, Pollock moved away from figurative representation, and challenged the Western tradition of using easel and brush. He used the force of his whole body to paint, which was expressed on the large canvases. In 1956, Time magazine dubbed Pollock "Jack the Dripper", due to his painting style.[21]
My painting does not come from the easel. I prefer to tack the unstretched canvas to the hard wall or the floor. I need the resistance of a hard surface. On the floor I am more at ease. I feel nearer, more part of the painting, since this way I can walk around it, work from the four sides and literally be in the painting.
I continue to get further away from the usual painter's tools such as easel, palette, brushes, etc. I prefer sticks, trowels, knives and dripping fluid paint or a heavy impasto with sand, broken glass or other foreign matter added.
When I am in my painting, I'm not aware of what I'm doing. It is only after a sort of 'get acquainted' period that I see what I have been about. I have no fear of making changes, destroying the image, etc., because the painting has a life of its own. I try to let it come through. It is only when I lose contact with the painting that the result is a mess. Otherwise there is pure harmony, an easy give and take, and the painting comes out well.
Ryan Merkle QMRAbanindranath Tagore's best-known painting, Bharat Mata (Mother India), depicted a young woman, portrayed with four arms in the manner of Hindu deities, holding objects symbolic of India's national aspirations
Ryan Merkle QMRPissarro is the only artist to have shown his work at all eight Paris Impressionist exhibitions, from 1874 to 1886. He "acted as a father figure not only to the Impressionists" but to all four of the major Post-Impressionists, including Georges Seurat, Paul Cézanne, Vincent van Gogh and Paul Gauguin.[2]
Ryan Merkle QMRLes Quatre Saisons (the Four Seasons
Ryan Merkle QMR pendentive is a constructive device permitting the placing of a circular dome over a square room or an elliptical dome over a rectangular room.[1] The pendentives, which are triangular segments of a sphere, taper to points at the bottom and spread at the top to establish the continuous circular or elliptical base needed for the dome.[2] In masonry the pendentives thus receive the weight of the dome, concentrating it at the four corners where it can be received by the piers beneath.
Ryan Merkle QMRThe overt subject matter of the ceiling is the doctrine of humanity's need for Salvation as offered by God through Jesus. It is a visual metaphor of Humankind's need for a covenant with God. The Old Covenant of the Children of Israel through Moses and the New Covenant through Christ had already been represented around the walls of the chapel.[2] Some experts, including Benjamin Blech and Vatican art historian Enrico Bruschini, have also noted less overt subject matter, which they describe as being "concealed" and "forbidden."[21][22]
The Downfall of Adam and Eve and their expulsion from the Garden of Eden.
The main components of the design are nine scenes from the Book of Genesis, of which five smaller ones are each framed and supported by four naked youths or Ignudi. At either end, and beneath the scenes are the figures of twelve men and women who prophesied the birth of Jesus. On the crescent-shaped areas, or lunettes, above each of the chapel's windows are tablets listing the Ancestors of Christ and accompanying figures. Above them, in the triangular spandrels, a further eight groups of figures are shown, but these have not been identified with specific Biblical characters. The scheme is completed by four large corner pendentives, each illustrating a dramatic Biblical story.[17]
Ryan Merkle Pendentives[edit]
In each corner of the chapel is a triangular pendentive filling the space between the walls and the arch of the vault and forming the spandrel above the windows nearest the corners. On these curving shapes Michelangelo has painted four scenes from Biblical stories that are associated with the salvation of Israel by four great male and female heroes of the Jews: Moses, Esther, David and Judith.[44]
The Brazen Serpent
The Punishment of Haman
David and Goliath
Judith and Holofernes
Ryan Merkle QMRSeurat spent the summer of 1890 on the coast at Gravelines, where he painted four canvases including The Channel of Gravelines, Petit Fort Philippe, as well as eight oil panels, and made a few drawings
QMRFour Times of the Day is a series of four paintings by English artist William Hogarth. Completed in 1736, they were reproduced as a series of four engravings published in 1738. They are humorous depictions of life in the streets of London, the vagaries of fashion, and the interactions between the rich and poor. Unlike many of Hogarth's other series, such as A Harlot's Progress, A Rake's Progress, Industry and Idleness, and The Four Stages of Cruelty, it does not depict the story of an individual, but instead focuses on the society of the city. Hogarth intended the series to be humorous rather than instructional; the pictures do not offer a judgment on whether the rich or poor are more deserving of the viewer's sympathies: while the upper and middle classes tend to provide the focus for each scene, there are fewer of the moral comparisons seen in some of his other works.
The four pictures depict scenes of daily life in various locations in London as the day progresses. Morning shows a prudish spinster making her way to church in Covent Garden past the revellers of the previous night; Noon shows two cultures on opposite sides of the street in St Giles; Evening depicts a dyer's family returning hot and bothered from a trip to Sadler's Wells; and Night shows disreputable goings-on around a drunken freemason staggering home near Charing Cross.
Background[edit]
Four Times of the Day was the first set of prints that Hogarth published after his two great successes, A Harlot's Progress (1732) and A Rake's Progress (1735). It was among the first of his prints to be published after the Engraving Copyright Act 1734 (which Hogarth had helped push through Parliament); A Rake's Progress had taken early advantage of the protection afforded by the new law. Unlike Harlot and Rake, the four prints in Times of the Day do not form a consecutive narrative, and none of the characters appears in more than one scene. Hogarth conceived of the series as "representing in a humorous manner, morning, noon, evening and night".[1]
Hogarth took his inspiration for the series from the classical satires of Horace and Juvenal, via their Augustan counterparts, particularly John Gay's "Trivia" and Jonathan Swift's "A Description of a City Shower" and "A Description of the Morning".[2] He took his artistic models from other series of the "Times of Day", "The Seasons" and "Ages of Man", such as those by Nicolas Poussin and Nicholas Lancret, and from pastoral scenes, but executed them with a twist by transferring them to the city. He also drew on the Flemish "Times of Day" style known as points du jour, in which the gods floated above pastoral scenes of idealised shepherds and shepherdesses,[3] but in Hogarth's works the gods were recast as his central characters: the churchgoing lady, a frosty Aurora in Morning; the pie-girl, a pretty London Venus in Noon; the pregnant woman, a sweaty Diana in Evening; and the freemason, a drunken Pluto in Night.[1]
William Hogarth
Self portrait (1758)
Hogarth designed the series for an original commission by Jonathan Tyers in 1736 in which he requested a number of paintings to decorate supper boxes at Vauxhall Gardens.[4] Hogarth is believed to have suggested to Tyers that the supper boxes at Gardens be decorated with paintings as part of their refurbishment; among the works featured when the renovation was completed was Hogarth's picture of Henry VIII and Anne Boleyn. The originals of Four Times of the Day were sold to other collectors, but the scenes were reproduced at Vauxhall by Francis Hayman, and two of them, Evening and Night, hung at the pleasure gardens until at least 1782.[5]
The engravings are mirror images of the paintings (since the engraved plates are copied from the paintings the image is reversed when printed), which leads to problems ascertaining the times shown on the clocks in some of the scenes. The images are sometimes seen as parodies of middle class life in London at the time, but the moral judgements are not as harsh as in some of Hogarth's other works and the lower classes do not escape ridicule either. Often the theme is one of over-orderliness versus chaos.[6] The four plates depict four times of day, but they also move through the seasons: Morning is set in winter, Noon in spring, and Evening in summer. However, Night—sometimes misidentified as being in September—takes place on Oak Apple Day in May rather than in the autumn.[7]
Evening was engraved by Bernard Baron, a French engraver who was living in London,[8] and, although the designs are Hogarth's it is not known whether he engraved any of the four plates himself. The prints, along with a fifth picture, Strolling Actresses Dressing in a Barn from 1738, were sold by subscription for one guinea (£155.00 in 2016), half payable on ordering and half on delivery. After subscription the price rose to five shillings per print (£37.00 in 2016), making the five print set four shillings dearer overall.[9] Although Strolling Actresses Dressing in a Barn was not directly connected to the other prints, it seems that Hogarth always envisaged selling the five prints together, adding the Strolling Actresses as a complementary theme just as he had added Southwark Fair to the subscription for The Rake's Progress. Whereas the characters in Four Times play their roles without being conscious of acting, the company of Strolling Actresses are fully aware of the differences between the reality of their lives and the roles they are set to play. Representations of Aurora and Diana also appear in both.[1][4]
Hogarth advertised the prints for sale in May 1737, again in January 1738, and finally announced the plates were ready on 26 April 1738.[4] The paintings were sold individually at an auction on 25 January 1745, along with the original paintings for A Harlot's Progress, A Rake's Progress and Strolling Actresses Dressing in a Barn.[10] Sir William Heathcote purchased Morning and Night for 20 guineas and £20 6s respectively (£ 3,100 and £ 3,000 in 2016), and the Duke of Ancaster bought Noon for £38 17s (£ 5,700 in 2016) and Evening for £39 18s (£ 5,900 in 2016). A further preliminary sketch for Morning with some differences to the final painting was sold in a later auction for £21 (£ 3,100 in 2016).[11
Series[edit]
Morning[edit]
Morning (Painting I)
Morning (Plate I)
In Morning, a lady makes her way to church, shielding herself with her fan from the shocking view of two men pawing at the market girls. The scene is the west side of the piazza at Covent Garden, indicated by a part of the Palladian portico of Inigo Jones's Church of St Paul visible behind Tom King's Coffee House, a notorious venue celebrated in pamphlets of the time. Henry Fielding mentions the coffee house in both The Covent Garden Tragedy and Pasquin. At the time Hogarth produced this picture, the coffee house was being run by Tom's widow, Moll King, but its reputation had not diminished. Moll opened the doors once those of the taverns had shut, allowing the revellers to continue enjoying themselves from midnight until dawn.[12] The Mansion House with columned portico visible in the centre of the picture, No. 43 King Street, is attributed to architect Thomas Archer (later 1st Baron Archer) and occupied by him at the date of Hogarth's works.[13] It was situated on the north side of the piazza, while the coffee house was on the south side, as depicted in Hogarth's original painting. In the picture, it is early morning and some revellers are ending their evening: a fight has broken out in the coffee house and, in the melée, a wig flies out of the door. Meanwhile, stallholders set out their fruit and vegetables for the day's market. Two children who should be making their way to school have stopped, entranced by the activity of the market, in a direct reference to Swift's A Description of the Morning in which children "lag with satchels in their hands".[2] Above the clock is Father Time and below it the inscription Sic transit gloria mundi.[a] The smoke rising from the chimney of the coffee house connects these portents to the scene below.
Hogarth replicates all the features of the pastoral scene in an urban landscape. The shepherds and shepherdesses become the beggars and whores, the sun overhead is replaced by the clock on the church, the snow-capped mountains become the snowy rooftops. Even the setting of Covent Garden with piles of fruit and vegetables echoes the country scene. In the centre of the picture the icy goddess of the dawn in the form of the prim churchgoer is followed by her shivering red-nosed pageboy, mirroring Hesperus, the dawn bearer. The woman is the only one who seems unaffected by the cold, suggesting it may be her element. Although outwardly shocked, the dress of the woman, which is too fashionable for a woman of her age and in the painting is shown to be a striking acid yellow, may suggest she has other thoughts on her mind.[4] She is commonly described as a spinster, and considered to be a hypocrite, ostentatiously attending church and carrying a fashionable ermine muff while displaying no charity to her freezing footboy or the half-seen beggar before her. The figure of the spinster is said to be based on a relative of Hogarth, who, recognising herself in the picture, cut him out of her will. Fielding later used the woman as the model for his character of Bridget Allworthy in Tom Jones.[12]
The spinster is assaulted by St. Francis in Battle of the Pictures.
A trail of peculiar footprints shows the path trodden by the woman on her pattens to avoid putting her good shoes in the snow and filth of the street.[14] A small object hangs at her side, interpreted variously as a nutcracker or a pair of scissors in the form of a skeleton or a miniature portrait, hinting, perhaps, at a romantic disappointment. Although clearly a portrait in the painting, the object is indistinct in the prints from the engraving. Other parts of the scene are clearer in the print, however: in the background, a quack is selling his cureall medicine, and while in the painting the advertising board is little more than a transparent outline, in the print, Dr. Rock's name can be discerned inscribed on the board below the royal crest which suggests his medicine is produced by royal appointment. The salesman may be Rock himself.[15] Hogarth's opinion of Rock is made clear in the penultimate plate of A Harlot's Progress where he is seen arguing over treatments with Dr Misaubin while Moll Hackabout dies unattended in the corner.
Hogarth revisited Morning in his bidding ticket, Battle of the Pictures, for the auction of his works, held in 1745. In this, his own paintings are pictured being attacked by ranks of Old Masters; Morning is stabbed by a work featuring St. Francis as Hogarth contrasts the false piety of the prudish spinster with the genuine piety of the Catholic saint.[16][b]
Noon[edit]
Noon (Painting II)
Noon (Plate II)
The scene takes place in Hog Lane, part of the slum district of St Giles with the church of St Giles in the Fields in the background. Hogarth would feature St Giles again as the background of Gin Lane and First Stage of Cruelty. The picture shows Huguenots leaving the French Church in what is now Soho. The Huguenot refugees had arrived in the 1680s and established themselves as tradesmen and artisans, particularly in the silk trade; and the French Church was their first place of worship. Hogarth contrasts their fussiness and high fashion with the slovenliness of the group on the other side of the road; the rotting corpse of a cat that has been stoned to death lying in the gutter that divides the street is the only thing the two sides have in common.[c] The older members of the congregation wear traditional dress, while the younger members wear the fashions of the day. The children are dressed up as adults: the boy in the foreground struts around in his finery while the boy with his back to the viewer has his hair in a net, bagged up in the "French" style.[17]
The crying boy in Hogarth's work is based on this infant in the foreground of Poussin's first rendition of the Rape of the Sabine Women.
At the far right, a black man fondles the breasts of a woman, distracting her from her work,[18] her pie-dish "tottering like her virtue".[19] Confusion over whether the law permitted slavery in England, and pressure from abolitionists, meant that by the mid-eighteenth century there was a sizeable population of free black Londoners; but the status of this man is not clear.[20] The black man, the girl and bawling boy fill the roles of Mars, Venus and Cupid which would have appeared in the pastoral scenes that Hogarth is aping. In front of the couple, a boy has set down his pie to rest, but the plate has broken, spilling the pie onto the ground where it is being rapidly consumed by an urchin. The boy's features are modelled on those of a child in the foreground of Poussin's first version of the Rape of the Sabine Women (now held in the Metropolitan Museum of Art),[21] but the boy crying over his lost pie was apparently sketched by Hogarth after he witnessed the scene one day while he was being shaved.
The composition of the scene juxtaposes the prim and proper Huguenot man and his immaculately dressed wife and son with these three, as they form their own "family group" across the other side of the gutter.[4] The head of John the Baptist on a platter is the advertisement for the pie shop, proclaiming "Good eating". Below this sign are the embracing couple, extending the metaphor of good eating beyond a mere plate of food, and still further down the street girl greedily scoops up the pie, carrying the theme to the foot of the picture. I. R. F. Gordon sees the vertical line of toppling plates from the top window downwards as a symbol of the disorder on this side of the street.[1] The man reduced to a head on the sign, in what is assumed to be the woman's fantasy, is mirrored by the "Good Woman" pictured on the board behind who has only a body, her nagging head removed to create the man's ideal of a "good woman".[22] In the top window of the "Good Woman", a woman throws a plate with a leg of meat into the street as she argues, providing a stark contrast to the "good" woman pictured on the sign below.[23] Ronald Paulson sees the kite hanging from the church as part of a trinity of signs; the kite indicating the purpose of the church, an ascent into heaven, just as the other signs for "Good Eating" and the "Good Woman" indicate the predilections of those on that side of the street;[22] but he also notes it as another nod to the pastoral tradition: here instead of soaring above the fields it hangs impotently on the church wall.[4]
The time is unclear. Allan Cunningham states it is half past eleven,[24] and suggests that Hogarth uses the early hour to highlight the debauchery occurring opposite the church, yet the print shows the hands at a time that could equally be half past twelve,[25] and the painting shows a thin golden hand pointing to ten past twelve.
In this scene more than any of the others Hogarth's sympathies seem to be with the lower classes and more specifically with the English. Although there is disorder on the English side of the street, there is an abundance of "good eating" and the characters are rosy-cheeked and well-nourished. Even the street girl can eat her fill. The pinch-faced Huguenots, on the other hand, have their customs and dress treated as mercilessly as any characters in the series.[17] A national enmity towards the French, even French refugees, may explain why the English are depicted somewhat more flatteringly here than they are by figures in the accompanying scenes. Hogarth mocked continental fashions again in Marriage à-la-mode (1743–1745) and made a more direct attack on the French in The Gate of Calais which he painted immediately upon returning to England in 1748 after he was arrested as a spy while sketching in Calais.[1]
Evening[edit]
Evening (Painting III)
Evening (Plate III)
Unlike the other three images, Evening takes place slightly outside the built-up area of the city, with views of rolling hills and wide evening skies. The cow being milked in the background indicates it is around 5 o'clock. While in Morning winter cold pervades the scene, Evening is oppressed by the heat of the summer. A pregnant woman and her husband attempt to escape from the claustrophobic city by journeying out to the fashionable Sadler's Wells (the stone entrance to Sadler's Wells Theatre is shown to the left). By the time Hogarth produced this series the theatre had lost any vestiges of fashionability and was satirised as having an audience consisting of tradesmen and their pretentious wives. Ned Ward described the clientele in 1699 as:[26]
Butchers and bailiffs, and such sort of fellows,
mixed with a vermin train'd up for the gallows,
As Bullocks and files, housebreakers and padders,
With prize-fighters, sweetners, and such sort of traders,
Informers, thief-takers, deer stealers, and bullies.
The husband, whose stained hands reveal he is a dyer by trade, looks harried as he carries his exhausted youngest daughter. In earlier impressions (and the painting), his hands are blue, to show his occupation, while his wife's face is coloured with red ink. The placement of the cow's horns behind his head represents him as a cuckold and suggests the children are not his. Behind the couple, their children replay the scene: the father's cane protrudes between the son's legs, doubling as a hobby horse, while the daughter is clearly in charge, demanding that he hand over his gingerbread. A limited number of proofs missing the girl and artist's signature were printed;[27] Hogarth added the mocking girl to explain the boy's tears.[9]
The heat is made tangible by the flustered appearance of the woman as she fans herself (the fan itself displays a classical scene—perhaps Venus, Adonis and Cupid);[28] the sluggish pregnant dog that looks longingly towards the water; and the vigorous vine growing on the side of the tavern. As is often the case in Hogarth's work, the dog's expression reflects that of its master.[29] The family rush home, past the New River and a tavern with a sign showing Sir Hugh Myddleton, who bankrupted himself financing the construction of the river to bring running water into London in 1613 (a wooden pipe lies by the side of the watercourse). Through the open window other refugees from the city can be seen sheltering from the oppressive heat in the bar. While they appear more jolly than the dyer and his family, Hogarth pokes fun at these people escaping to the country for fresh air only to reproduce the smoky air and crowded conditions of the city by huddling in the busy tavern with their pipes.[30]
Night[edit]
Night (Painting IV)
Night (Plate IV)
The final picture in the series, Night, shows disorderly activities under cover of night in the Charing Cross Road, identified by Hubert Le Sueur's equestrian statue of Charles I of England and the two pubs;[31] this part of the road is now known as Whitehall. In the background the passing cartload of furniture suggests tenants escaping from their landlord in a "moonlight flit". In the painting the moon is full, but in the print it appears as a crescent.
The night is 29 May, Oak Apple Day, a public holiday which celebrated the Restoration of the monarchy, demonstrated by the oak boughs above the barber's sign and on some of the subjects' hats, which recall the royal oak tree in which Charles II hid after losing the Battle of Worcester in 1651.
Charing Cross was a central staging post for coaches, but the congested narrow road was a frequent scene of accidents; here, a bonfire has caused the Salisbury Flying Coach to overturn. Festive bonfires were usual but risky: a house fire lights the sky in the distance. A link-boy blows on the flame of his torch,[4] street-urchins are playing with the fire, and one of their fireworks is falling in at the coach window.
On one side of the road is a barber surgeon whose sign advertises Shaving, bleeding, and teeth drawn with a touch. Ecce signum! Inside the shop, the barber, who may be drunk,[32] haphazardly shaves a customer, holding his nose like that of a pig, while spots of blood darken the cloth under his chin. The surgeons and barbers had been a single profession since 1540 and would not finally separate until 1745, when the surgeons broke away to form the Company of Surgeons.[33] Bowls on the windowsill contain blood from the day's patients.
Underneath the windowshelf, a homeless family have made a bed for themselves.
In the foreground, a drunken freemason, identified by his apron and set square medallion as the Worshipful Master of a lodge, is being helped home by his Tyler, as the contents of a chamber pot are emptied onto his head from a window. In some of the prints, a woman standing back from the window looks down on him, suggesting that his soaking is not accidental. The freemason is traditionally identified as Sir Thomas de Veil, who was a member of Hogarth's first Lodge, Henry Fielding's predecessor as the Bow Street magistrate, and the model for Fielding's character Justice Squeezum in The Coffee-House Politician (1730). He was unpopular for his stiff sentencing of gin-sellers, which was deemed to be hypocritical as he was known to be an enthusiastic drinker. He is supported by his Tyler, a servant equipped with sword and candle-snuffer, who may be Brother Montgomerie, the Grand Tyler.[34]
All around are pubs and brothels. The Earl of Cardigan tavern is on one side of the street, and opposite is the Rummer, whose sign shows a rummer (a short wide-brimmed glass) with a bunch of grapes on the pole. Masonic lodges met in both taverns during the 1730s, and the Lodge at the Rummer and Grapes in nearby Channel Row was the smartest of the four founders of the Grand Lodge. The publican is adulterating a hogshead of wine, a practice recalled in the poetry of Matthew Prior who lived with his uncle Samuel Prior, the Landlord successively of both the Rummer and Grapes and the Rummer".[31]
My uncle, rest his soul, when living,
Might have contriv'd me ways of thriving;
Taught me with cider to replenish
My vats, or ebbing tide of Rhenish.
On either side of the street are signs for The Bagnio and The New Bagnio. Ostensibly a Turkish bath, bagnio had come to mean a disorderly house.[35]
The 6th Earl of Salisbury scandalised society by driving and upsetting a stagecoach.[36] John Ireland suggests that the overturned "Salisbury Flying Coach" below the "Earl of Cardigan" sign was a gentle mockery of the Grand Master 4th Earl of Cardigan, George Brudenell, later Duke of Montagu, who was also renowned for his reckless carriage driving,;[37] and it also mirrors the ending of Gay's "Trivia" in which the coach is overturned and wrecked at night.[2]
Reception[edit]
Four Times of the Day was the first series of prints that Hogarth had issued since the success of the Harlot and Rake (and would be the only set he would issue until Marriage à-la-mode in 1745), so it was eagerly anticipated. On hearing of its imminent issue, George Faulkner wrote from Dublin that he would take 50 sets.[38] The series lacks the moral lessons that are found in the earlier series and revisited in Marriage à-la-mode, and its lack of teeth meant it failed to achieve the same success, though it has found an enduring niche as a snapshot of the society of Hogarth's time. At the auction of 1745, the paintings of Four Times of the Day raised more than those of the Rake; and Night, which is generally regarded as the worst of the series, fetched the highest single total. Cunningham commented sarcastically: "Such was the reward then, to which the patrons of genius thought these works entitled".[39] While Horace Walpole praised the accompanying print, Strolling Actresses Dressing in a Barn, as being the finest of Hogarth's works, he had little to say of Four Times of the Day other than that it did not find itself wanting in comparison with Hogarth's other works.[40]
Morning and Night are now in the National Trust Bearsted Collection at Upton House, Warwickshire. The collection was assembled by Walter Samuel, 2nd Viscount Bearsted and gifted to the Trust, along with the house, in 1948. Noon and Evening remain in the Ancaster Collection at Grimsthorpe Castle, Lincolnshire.[41]
Ryan Merkle QMRThe citron is a large fragrant citrus fruit with a thick rind, botanically classified as Citrus medica by both the Swingle and Tanaka botanical name systems. It is one of the four original citrus fruits (the others being pomelo, mandarin and papeda), from which most other citrus types developed through natural hybrid speciation or artificial hybridization.[1]
Ryan Merkle Despite the variation among the cultivars, authorities agree the citron is an old and original species. There is molecular evidence that all other cultivated citrus species arose by hybridization among four ancestral types, which are the citron, pomelo, mandarin and some papedas. The citron is believed to be the purest of them all, since it is usually fertilized by self-pollination, and is therefore generally considered to be a male parent of any citrus hybrid rather than a female one.[13][14][15][16][17][18]
Ryan Merkle QMRSelenite, satin spar, desert rose, and gypsum flower are four varieties of the mineral gypsum; all four varieties show obvious crystalline structure. The four "crystalline" varieties of gypsum are sometimes grouped together and called selenite.
Varieties[edit]
Though sometimes grouped together as "selenite", the four crystalline varieties have differences. General identifying descriptions of the related crystalline varieties are:
Selenite[edit]
most often transparent and colorless: it is named after Greek σεληνη= "the moon".
if selenite crystals show translucency, opacity, and/or color, it is caused by the presence of other minerals, sometimes in druse
druse is the crust of tiny, minute, or micro crystals that form or fuse either within or upon the surface of a rock vug, geode, or another crystal
Satin spar[edit]
most often silky, fibrous, and translucent (pearly, milky); can exhibit some coloration
the satin spar name can also be applied to fibrous calcite (a related calcium mineral) – calcite is a harder mineral – and feels greasier, waxier, or oilier to the touch.
Desert rose[edit]
rosette shaped gypsum with outer druse of sand or with sand throughout – most often sand colored (in all the colors that sand can exhibit)
the desert rose name can also be applied to barite desert roses (another related sulfate mineral) – barite is a harder mineral with higher density
Gypsum flower[edit]
rosette shaped gypsum with spreading fibers – can include outer druse
the difference between desert roses and gypsum flowers is that desert roses look like roses, whereas gypsum flowers form a myriad of shapes
Ryan Merkle QMRThere are four commercially grown species of cotton, all domesticated in antiquity:
Gossypium hirsutum – upland cotton, native to Central America, Mexico, the Caribbean and southern Florida, (90% of world production)
Gossypium barbadense – known as extra-long staple cotton, native to tropical South America (8% of world production)
Gossypium arboreum – tree cotton, native to India and Pakistan (less than 2%)
Gossypium herbaceum – Levant cotton, native to southern Africa and the Arabian Peninsula (less than 2%)
Music Chapter
Ryan Merkle QMRSon By Four is a salsa music group from Puerto Rico, well known for their English U.S. pop hit "Purest of Pain (A Puro Dolor)". The group is signed to Sony Music Entertainment.
Ryan Merkle QMRThe Choice Four were the most consistent of the male American soul/vocal groups produced by Van McCoy. They were from Washington, D.C., recorded for RCA Records and had three albums. Several of the group's members had previously sung in The Love Tones and The Stridels.[1] They had several minor hits on the Billboard charts in the mid-1970s. Their attempt to hit big with their version of "When You're Young And In Love" was thwarted by the simultaneous release of a disco version of the song by actor Ralph Carter (of the "Good Times" TV show). Their biggest hit, '"Come Down To Earth", unfortunately became a favorite in the discos after the group had broken up. They recorded the original version of the David Ruffin hit "Walk Away From Love" (also produced by McCoy), hitting the high note that Ruffin famously missed. Both Pete Marshall and Charles Blagmon went on to tour with groups led by former members of The Temptations after the group's demise.
Ryan Merkle QMRBernhard Hugo Goetz (born November 7, 1947) is a New York City man known for shooting four young men when they tried to mug him[2][3][4][5] on a New York City Subway train in Manhattan on December 22, 1984. He fired five shots, seriously wounding all four men
QMRMoon's Milk (In Four Phases) is a release by Coil that compiles four of their singles onto a double CD. The two disc album compiles the CD versions of Spring Equinox, Summer Solstice, Autumn Equinox and Winter Solstice (originally recorded throughout 1998, and released seasonally from March 1998 to January 1999). The album also has a live version of "Amethyst Deceivers" hidden at the end of the first disc, following several minutes of silence after "A Warning From The Sun (For Fritz)". This recording of "Amethyst Deceivers" was later released on Live Two, although the Moon's Milk version is a slightly longer edit.[1] The release was given the catalog number ESKATON 023 and features artwork by Steven Stapleton.
At the time of release, a mail order edition was offered for an additional $85, comprising the standard 2-CD set with the Moons Milk (In Four Phases) Bonus Disc, a CDr of extra material presented in sleeves that John Balance had individually hand-painted. The bonus disc was limited to 333 copies, 300 of which were offered for sale and 33 of which were supposedly withheld by Balance for his personal collection.[2]
Ryan Merkle QMRAntonio Lucio Vivaldi (Italian: [anˈtɔːnjo ˈluːtʃo viˈvaldi]; 4 March 1678 – 28 July 1741) was a Venetian Baroque composer, virtuoso violinist, teacher and cleric. Born in Venice, he is recognized as one of the greatest Baroque composers, and his influence during his lifetime was widespread across Europe. He is known mainly for composing many instrumental concertos, for the violin and a variety of other instruments, as well as sacred choral works and more than forty operas. His best-known work is a series of violin concertos known as The Four Seasons.
Ryan Merkle QMR4-track tape also led to a related development, quadraphonic sound, in which each of the four tracks was used to simulate a complete 360-degree surround sound. A number of albums including Pink Floyd's The Dark Side of the Moon and Mike Oldfield's Tubular Bells were released both in stereo and quadrophonic format in the 1970s, but 'quad' failed to gain wide commercial acceptance. Although it is now considered a gimmick, it was the direct precursor of the surround sound technology that has become standard in many modern home theater systems.
Ryan Merkle Frank Zappa experimented in the early 1960s with a multi-track recorder built by recording engineer Paul Buff in his Pal Recording Studio in Rancho Cucamonga, California. However, recorders with four or more tracks were restricted mainly to American recording studios until the mid-to-late 1960s, mainly because of import restrictions and the high cost of the technology. In England, pioneering independent producer Joe Meek produced all of his innovative early 1960s recordings using monophonic recorders. EMI house producer George Martin was considered an innovator for his use of two-track as a means to making better mono records, carefully balancing vocals and instruments; Abbey Road Studios installed Telefunken four-track machines in 1959 and 1960 (replaced in 1965 by smaller, more durable Studer machines), but The Beatles would not have access to them until late 1963, and all recordings prior to their first world hit single I Want to Hold Your Hand (1964) were made on two-track machines.[6]
Ryan Merkle QMr4Music is a music and entertainment channel in the United Kingdom and available on some digital television providers in the Republic of Ireland. The channel launched on 15 August 2008, replacing The Hits. It is the only Channel 4-branded channel within The Box Plus Network. It is available on Freeview, Virgin Media, Sky and Smallworld Cable. On 2 April 2013, all Box Television channels went free-to-air on satellite, apart from 4Music which went free-to-view.[1] As a result, the channels were removed from the Sky EPG in Ireland.
QMRMajor labels 2004–2008 (Big Four)
Universal Music Group
Sony BMG (Sony and BMG joint-venture)
Warner Music Group
EMI
Major labels 2008–2012 (Big Four)
Universal Music Group
Sony Music Entertainment (BMG absorbed into Sony)
Warner Music Group
EMI
Major labels since 2012 (Big Three)
Universal Music Group (most of EMI's recorded music division absorbed into UMG)
Sony Music Entertainment (EMI Music Publishing absorbed into Sony/ATV Music Publishing)
Warner Music Group (EMI's Parlophone and EMI/Virgin Classics labels absorbed into WMG on 1 July 2013)[11]
Record labels are often under the control of a corporate umbrella organization called a "music group". A music group is typically owned by an international conglomerate "holding company", which often has non-music divisions as well. A music group controls and consists of music publishing companies, record (sound recording) manufacturers, record distributors, and record labels. As of 2007, the "big four" music groups control about 70% of the world music market, and about 80% of the United States music market.[12][13] Record companies (manufacturers, distributors, and labels) may also comprise a "record group" which is, in turn, controlled by a music group. The constituent companies in a music group or record group are sometimes marketed as being "divisions" of the group.
Ryan Merkle QMRIn 2004, the merger of Sony and BMG created the 'Big Four' at a time the global market was estimated at $30–40 billion.[27] Total annual unit sales (CDs, music videos, MP3s) in 2004 were 3 billion. Additionally, according to an IFPI report published in August 2005,[28] the big four accounted for 71.7% of retail music sales:
Independent labels—28.3%
Universal Music Group—25.5%
Sony Music Entertainment—21.5%
EMI Group—13.4%
Warner Music Group—11.3%
Circle frame.svg
US music market shares, according to Nielsen SoundScan (2011)
EMI (9.62%)
WMG (19.13%)
SME (29.29%)
UMG (29.85%)
Independent (12.11%)
Nielson SoundScan in their 2011 report noted that the "big four" controlled about 88% of the market:[29]
Universal Music Group (USA based) — 29.85%
Sony Music Entertainment (USA based) — 29.29%
Warner Music Group (USA based) — 19.13%
Independent labels — 12.11%
EMI Group - 9.62%
Ryan Merkle QMRThe Brothers Four are an American folk singing group, founded in 1957 in Seattle, Washington, known for their 1960 hit song "Greenfields".
QMRFour Last Songs is a 2007 British comedy-drama film starring Stanley Tucci, Rhys Ifans and Hugh Bonneville, and written and directed by Francesca Joseph.
The film's title is taken from Four Last Songs, 1948 composition of Richard Strauss, surrounding acceptance of death.
Ryan Merkle QMRFour Songs is the debut EP of London-born Alexi Murdoch. It was released in November 2002. Only 40,000 copies have been made and it will soon[when?] become unavailable. It has become the top selling record on the online music store CD baby.
The song Orange Sky has featured on the television shows Prison Break (the episode English, Fitz or Percy), The O.C., the album Music From The O.C. Mix 1, the movie Garden State, and Dawson's Creek. Blue Mind also features on Dawson's Creek.
Ryan Merkle Grammy-nominated supergroup Fourplay has enjoyed consistent artistic and commercial success by grafting elements of R&B and pop to jazz, appealing to a broad mainstream audience.
Ryan Merkle QMRIn basketball, a four-point play is the rare occasion when an offensive player shoots and makes a three-point field goal while simultaneously being hit by a defensive player, resulting in a shooting foul and one free throw being awarded, or a two-point field goal and is intentionally or flagrantly fouled on the shot and is awarded two free throws. If the player makes his/her free throws, (s)he will have scored four points on a single possession.[1] The short-lived American Basketball League first introduced the four-point play to the game of basketball, and it was later adopted by the American Basketball Association during its inaugural season.[2] The National Basketball Association (NBA) introduced that rule in 1979; FIBA in 1984; the NCAA in 1986 (men only) and 1987 (women); middle and high schools in 1987; and the WNBA in 1997.
Sam Smith of the Chicago Bulls completed the first four-point play in NBA history on October 21, 1979, in a game against the Milwaukee Bucks.[3] As of January 6, 2016, Jamal Crawford is the league's career leader in regular-season four-point plays with 46.[4]
Ryan Merkle QMRIn telecommunications, quadruple play or quad play is a marketing term combining the triple play service of broadband Internet access, television and telephone with wireless service provisions.[1] This service set is also sometimes humorously referred to as "The Fantastic Four".
"Mobile service provisions" refers in part to the ability of subscribers to purchase mobile phone like services, as is often seen in co-marketing efforts between providers of landline services. It also reflects the ambition to gain wireless access on the go to voice, internet, and content/video without tethering to a network via cables.
Given advances in WiMAX and other technologies, the ability to transfer information over a wireless link at various combinations of speeds, distances, and non-line-of-sight conditions is rapidly improving. It is possible that one could never need to be wired to get any communication service, even at home.[citation needed]
In addition to being a testament to technological convergence, quadruple play also involves a diverse group of stakeholders, from large Internet backbone providers to smaller startups.
Companies[edit]
In the UK, the merging of NTL and Telewest with Virgin Mobile resulted in Virgin Media offering a "quadruple play" of cable television, broadband Internet, landline phones, and mobile, with prices for some contracts as low as £30 a month. It is marketed as "the simplest way for customers to get all their household communications from one provider".[2] BT Group launched its own Quad Play services in March 2015 ahead of its purchase of EE Limited running its mobile offering on the EE network.[3]
In Hong Kong, PCCW claims to be "the only operator in Hong Kong that offers a genuine quadruple-play experience".[4]
Ryan Merkle QMRPlays Metallica by Four Cellos is the debut album by Finnish metal band Apocalyptica, released in 1996. It features eight instrumental Metallica covers arranged and played on cellos.
The band was invited to record this album by a label employee after a 1995 show in which they performed some of the songs. The members were initially unsure and thought nobody would listen to such a record, but the employee insisted and they recorded it.[2]
QMRFourPlay String Quartet is a four-piece rock band from Sydney, Australia, formed in 1995. It should not be confused with a smooth jazz group in the United States also known as Fourplay.
FourPlay's members include brothers Tim Hollo (violin and viola) and Peter Hollo (cello), Lara Goodridge (violin and vocals) and Shenzo Gregorio (viola); former members include: Veren Grigorov (viola) & Chris Emerson (viola). Although all members of FourPlay had formal classical training, the band play an eccentric form of rock music, with subtle influences from three of the four band members' Jewish heritage (although FourPlay regard themselves as an Australian band above all else) as well as gypsy, pop, folk, hip-hop, electronica, post-rock, folktronica and many other forms.
History[edit]
FourPlay's first album, Catgut Ya' Tongue? was released in 1998, and featured mostly covers (of bands including Metallica and Depeche Mode, and the theme from Doctor Who), along with a few original compositions. In late 1999, Emerson left to get married in England and was replaced by Veren Grigorov. FourPlay released their second album, The Joy Of... in 2000, which included, among other things, a two-part dub/klezmer composition, a distortion-heavy cover of Pop Will Eat Itself's Ich Bin Ein Auslander, and a gypsy-style instrumental ending with a mass scream. This was followed, a year later (2001), by a 2-disc remix compilation, Digital Manipulation, featuring work by many Australian musicians, including Machine Translations, B(if)tek and Darrin Verhagen. FourPlay have also toured abroad extensively, and supported artists including george and The Whitlams.
In 2004, Grigorov was replaced by Shenton Gregory aka Shenzo Gregorio, renowned[citation needed] stunt violinist from Brisbane. Shenzo's personality and style meshed perfectly[citation needed] into FourPlay, and he took to the viola instantly. A highly fertile period of new composition resulted in many new originals, as well as covers of Radiohead, The Strokes, and various jazz/blues numbers. These were recorded in the latter half of 2005 and appear on Now To The Future, released in June 2006.
In July 2009, Fourthcoming, their fourth album was released. Most of the tracks were written 3 years prior.[1] Recorded live at the Street Theatre in Canberra over three small gigs. Like the previous three albums, Fourthcoming contains a number of covers. Rage Against the Machine, Leonard Cohen and Sufjan Stevens. A number of the original songs contain politically charged lyrics. The track A Grain of Truth was inspired by the AWB (Australian Wheat Board) scandal.[2] The track Where The Sun Don't Shine was written in response to the former Prime Minister of Australia John Howard's sustainable energy policy for the 2007 election.[2] The track Rudd-a-dub Dub refers to the then-current Prime Minister, Kevin Rudd.[2]
In August 2010, the band collaborated with author Neil Gaiman and comics author/artist Eddie Campbell at the inaugural Graphic festival at the Sydney Opera House,[3] composing a 70-minute accompaniment to Gaiman's novella "The Truth is a Cave in the Black Mountains".
QMREvidence: obviously, the play was written by Christmas 1597, but narrowing the date further has proved difficult, with most efforts focusing upon stylistic evidence. Traditionally, it was seen as one of Shakespeare's earliest plays. For example, Charles Gildon wrote in 1710; "since it is one of the worst of Shakespeare's Plays, nay I think I may say the very worst, I cannot but think that it is his first."[109] For much of the eighteenth century, it tended to be dated to 1590, until Edmond Malone's newly constructed chronology in 1778, which dated it 1594.[110] In his 1930 chronology, E.K. Chambers found the play to be slightly more sophisticated than Malone had allowed for, and dated it 1595.[111] Today most scholars tend to concur with a date of 1594–1595, and the play is often grouped with the 'lyrical plays'; Richard II, Romeo and Juliet and A Midsummer Night's Dream, because of its prolific use of rhyming. These four plays are argued to represent a phase of Shakespeare's career when he was experimenting with rhyming iambic pentameter as an alternative form to standard blank verse; Richard II has more rhymed verse than any other history play (19.1%), Romeo and Juliet more than any other tragedy (16.6%) and Love's Labour's and Midsummer Night more than any other comedy (43.1% and 45.5% respectively).[112] All four tend to be dated to the period 1594–1595.[113] In support of this, Ants Oras' pause test places the play after Richard III, which is usually dated 1592. Furthermore, Gary Taylor finds possible allusions to the Gray's Inn revels of December 1594 (specifically the Muscovite masque in 5.2), and also finds plausible Geoffrey Bullough's argument that the satirical presentation of the King of Navarre (loosely based on Henry of Navarre, who was associated with oath breaking after abjuring Protestantism in 1593) favours a date after December 1594, when Henry survived an assassination attempt by Jean Châtel. All of this suggests a date of late 1594 to early 1595.[103][114][115]
Ryan Merkle QMRRichard II is usually seen as one of the 'lyrical plays', along with Love's Labour's Lost, Romeo and Juliet and A Midsummer Night's Dream; four plays in which Shakespeare used rhymed iambic pentameter more than anywhere else in his career. The four plays also include elaborate punning, rhetorical patterning, a general avoidance of colloquialisms and a high volume of metrical regularity. All four of these plays tend to be dated to 1594–1595.[113] Also important in dating the play is Samuel Daniel's The First Four Books of the Civil Wars, which was entered into the Stationers' Register on 11 October 1594, and published in early 1595. Although some scholars have suggested that Daniel used Shakespeare as a source, which would mean the play was written somewhat earlier than 1594, most agree that Shakespeare used Daniel, especially in some of the later scenes, meaning the play could not have been written earlier than 1595.[120][121]
Ryan Merkle QMRThe Natural Four was an American R&B group from Oakland, California.
Ryan Merkle QMrUGK 4 Life is the sixth and final studio album by American hip hop duo UGK. The album was released on March 31, 2009, by Jive Records and Epic Records. This is also the first posthumous album for Pimp C.[1]
Ryan Merkle QMR"Moment 4 Life" is a song by Trinidadian recording artist Nicki Minaj featuring Canadian rapper Drake. It serves as the third single from Minaj's debut album Pink Friday (2010). The song was produced by T-Minus and written by both artists, and samples Sly, Slick and Wicked's "Confessin' A Feeling", released in 1972. The song is inspired by a story Minaj created, in which two kids grow up together sharing the same dream of becoming famous rappers, and create this song while living out their dreams together. It peaked at number 13 on the US Billboard Hot 100 and topped the US Hot R&B/Hip-Hop Songs and Hot Rap Songs charts. It also saw success internationally, becoming a top 40 hit in Canada, Ireland, and the United Kingdom, as well as charting in Belgium and France. "Moment 4 Life" was nominated for a 2012 Grammy Award in the category Best Rap Performance, but lost to "Otis" by Jay-Z and Kanye West.
Ryan Merkle QMR"Love U 4 Life" is a song by American R&B group Jodeci recorded for their third album The Show, the After Party, the Hotel (1995). The song was released as the second single for the album in August 1995, and peaked at number 31 on the Billboard Hot 100.
Ryan Merkle QMRHip Hop 4 Life (Formerly Hip Hip 4 Health) is a 501 c(3) not-for-profit youth empowerment organization dedicated to engaging, educating and empowering young people to adopt a healthy lifestyle. Health professionals, entertainers, celebrities and athletes are enlisted to educate young people on health issues through interactive workshops and empowerment seminars. Hip Hop 4 Life serves young people aged 10–18, with a special emphasis on at risk and low income youth.
Ryan Merkle QMRCash4Life is a lottery game that began in New York and New Jersey in June 2014. Currently, it is offered in six states; Cash4Life added Pennsylvania on April 7, 2015, Virginia on May 3, 2015, Tennessee on November 1, 2015, and Maryland on January 26, 2016).[1] Cash4Life is drawn Mondays and Thursdays.[2] (An unrelated multi-state game, also known as Cash4Life, was offered from 1998 to 2000; see below.)
Ryan Merkle QMRThe Four Seasons of Life is the debut solo album released by former Helloween guitarist Roland Grapow. The album is unique compared to its successor, Kaleidoscope, because Roland sings lead vocals on all tracks.
Ryan Merkle QMRFirst Family 4 Life is the third full-length album released by M.O.P., the album was released on March 11, 1998, through Relativity Records. DJ Premier produces five songs on the album and also serves as an executive producer of the project (with Laze E Laze). The LP features more guest-appearances than previous M.O.P. projects; cameos include Jay-Z, Freddie Foxxx, Gang Starr, O.C. and Treach from Naughty By Nature.
Ryan Merkle QMRNiggaz4Life (also known as EFIL4ZAGGIN or Efil4zaggin) is the second and final studio album by gangsta rap group N.W.A, released in 1991. It was their final album, as the group disbanded later the same year after the departure of Dr. Dre and songwriter The D.O.C. for Death Row Records; the album features only four members of the original line-up, as Ice Cube had already left the group in 1989. Niggaz4Life debuted at number 2 on the Billboard 200, selling over 954,000 copies, but in its second week peaked at number 1.
Ryan Merkle QMrAs for the concertos for multiple harpsichords, there is less doubt that these date from Bach's first period directing the Collegium musicum in Leipzig; the parts from the Concerto for four harpsichords BWV 1065 (Bach's arrangement of the Concerto for Four Violins, RV 580, by Antonio Vivaldi ), have been dated to around 1730.[3] The first biographer of Bach, Johann Nikolaus Forkel, reported in 1802 that performance of the multiple-harpsichord concertos involved his sons C. P. E. Bach and W. F. Bach (both excellent keyboard players, and both informants to Forkel), who were living at home until 1733 and 1734, respectively, which would mean that these concertos were completed before their departure. It is possible that Johann Ludwig Krebs, who studied with Bach until 1735, also played harpsichord in the Collegium musicum.
Dance Chapter
Ryan Merkle QMRFour Dances Natural Area is 765 acres (310 ha) of undeveloped open space which were preserved in Billings, Montana, and became public land. The area was named after Chief Four Dances, an important religious and military figure in the history of the Crow Nation. The name in the Crow language is Annishi Shopash, translated as "Place of Four Dances". This area is traditionally recognized as a fasting site used by Four Dances in the 1830s, during the height of the Rocky Mountain fur trade and the intertribal plains wars. Four Dances took his name from the vision he received while fasting at this place.
Ryan Merkle QMRThe Gavotte (also known as dañs tro) is a dance in four time. It is the dance with the most variants and can be considered to include kost ar c'hoad and suite fisel. It is associated with a large geographical region, which includes Cornouaille and the north-west of the Pays de Léon. The gavotte is the most widespread of all Breton dances. Originally, the dancers formed a closed circle, and this is still largely true today. Alternatively, particularly at festoù-noz, it is also danced in long, circling lines throughout the hall.
The En Dro (or An Dro) was originally a dance of the area around the city of Vannes, in the south of Lower Brittany. It is a dance in four time. To it can be added its sister dance - the Hanter Dro. These two dances are sometimes combined to form a third, known as Dañs tricot.
The ronds or rondes[edit]
Different pays in the region have given birth to different dances:
the ronds du Penthièvre, de l'Oust, du Lié, du Mené
the ronds du type Guérandais
the rond de Saint-Vincent
the ronds "isolés"
The Ronds du Penthièvre, de l'Oust, du Lié, du Mené: one of the most well-known dances from this group is the rond de Loudéac. Strictly speaking, the rond de Loudéac is a suite, usually of four dances: rond-bal-rond-riquegnée. The fourth of these is a kind of passepied.
The Ronds du type Guérandais are to be found in the districts situated between the estuary of the river Vilaine and the Loire. They often feature two distinct parts, one more sedate and the other more vigorous, within the same dance.
The Rond de Saint-Vincent is a popular dance comprising only one part.
The Ronds isolés: a category which includes dances such as the "rond de Sautron", "rond d'Erquy", "ronds de Châteaubriant"...
Ryan Merkle QMRCursor movement keys or arrow keys are buttons on a computer keyboard that are either programmed or designated to move the cursor in a specified direction.[1] The term "cursor movement key" is distinct from "arrow key" in that the former term may refer to any of various keys on a computer keyboard designated for cursor movement, whereas "arrow keys" generally refers to one of four specific keys, typically marked with arrows.[2]
Literature Chapter
QMRHogwarts is divided into four houses, each bearing the last name of its founder: Godric Gryffindor, Salazar Slytherin, Rowena Ravenclaw and Helga Hufflepuff. The houses compete throughout the school year, by earning and losing points for various events, for the House Cup (correctly answering a question in class, for example, may earn five or ten points; lateness to class may cost ten points). Each house also has its own Quidditch team that competes for the Quidditch Cup. These two competitions breed rivalries between the houses. Houses at Hogwarts are living and learning communities for their students. Each house is under the authority of one of the Hogwarts staff members. The Heads of the houses, as they are called, are in charge of giving their students important information, dealing with matters of severe punishment, and responding to emergencies in their houses, among other things. Each year, year level groups of every separate house share the same dormitory and classes. The dormitory and common room of a House are, barring rare exceptions, inaccessible to students belonging to other Houses.
In the early days of Hogwarts, the four founders hand-picked students for their Houses. When the founders worried how students would be selected after their deaths, Godric Gryffindor took his hat off and they each added knowledge to it, allowing the Sorting Hat to choose the students by judging each student's qualities and placing them in the most appropriate house. The student's own choices may affect the decision: the clearest example is the Hat telling Harry that he would do well in Slytherin in the first book, but ultimately selecting Gryffindor after Harry asks it not to put him in Slytherin.
Gryffindor
Gryffindorcolours.svg
Gryffindor values courage, bravery, nerve, and chivalry. Its mascot is the lion, and its colours are scarlet and gold. The Head of this house is the Transfiguration teacher and Deputy Headmistress, Minerva McGonagall, and the house ghost is Sir Nicholas de Mimsy-Porpington, more commonly known as Nearly Headless Nick. According to Rowling, Gryffindor corresponds roughly to the element of fire. The founder of the house is Godric Gryffindor. Godric Gryffindor's special item is the only item in the 4 founder's possession that is not a Hocrux. The special item of Gryffindor is a ruby-encrusted sword, which can only be obtained through a true Gryffindor. The sword is also one of the very few things that can destroy a Hocrux, other than a basilisk's fang. Its house gem is a ruby.
The Gryffindor common room is in one of the castle's highest towers, and its entrance is on the seventh floor in the east wing of the castle and is guarded by a painting of The Fat Lady, who is garbed in a pink dress, and very fat, who usually visits her friend Violet. However, sometimes Violet visits her. She permits entry only after being given the correct password, as was distinguished in the third book, when Sirius Black tried forcing entry into the tower, only to be blocked by The Fat Lady after he could not give the correct password. In the first book, Neville Longbottom tends to forget the password and must wait near the painting until other Gryffindors arrive to open the way.[23]
Hufflepuff
Hufflepuff colours.svg
Hufflepuff values hard work, patience, justice, and loyalty. The house mascot is the badger, and canary yellow and black are its colours. The Head of this house is the Herbology teacher Pomona Sprout, and the house ghost is The Fat Friar. According to Rowling, Hufflepuff corresponds roughly to the element of earth. The founder of this house is Helga Hufflepuff. Helga Hufflepuff's special item, which is a Hocrux, is a cup. Its house gem is a topaz.
The Hufflepuff dormitories and common room entrance "is concealed in a stack of large barrels in a nook on the right hand side of the kitchen corridor." To enter, one must tap the barrel two from the bottom in the middle of the second row in the rhythm of 'Helga Hufflepuff'. Unlike any other house, the Hufflepuff common room has a repelling device that douses the illegal entrant in vinegar if the wrong lid is tapped or the rhythm is wrong.[24] The Hufflepuff common room is filled with yellow hangings and fat armchairs and it has little underground tunnels leading to the dormitories, all of which have perfectly round doors, like barrel tops.[25]
Ravenclaw
Ravenclawcolours.svg
Ravenclaw values intelligence, creativity, learning, and wit.[HP5][HP7] The house mascot is an eagle and the house colours are blue and bronze (blue and grey in the films). The head of this house is the Charms professor, Filius Flitwick, and the house ghost is The Grey Lady. According to Rowling, Ravenclaw corresponds roughly to the element of air. The founder of this house is Rowena Ravenclaw. Rowena Ravenclaw's special item, which is a Hocrux, is a diadem, which was originally stolen by Rowena's daughter, Helena Ravenclaw, while she was escaping her mother. Its house gem is a sapphire.
The dormitories are in Ravenclaw Tower, on the west side of Hogwarts. The common room, which went undescribed in the series until the climax of Deathly Hallows, is round and filled with blue hangings and armchairs, has a domed ceiling painted with stars and features a replica statue of Rowena wearing her diadem. Harry also notes that Ravenclaws "have a spectacular view of the surrounding mountains". A logical riddle must be solved to gain entry, whereas the Gryffindor and Slytherin common rooms only require a password (Hufflepuffs need to tap a barrel in the rhythm of "Helga Hufflepuff"), indicating that it may be easier for those students from other houses who possess a high degree of intelligence to enter this common room than others. Professor McGonagall, the head of the Gryffindor House, solves the riddle accurately.
Slytherin
Slytherin colours.svg
Slytherin house values ambition, cunning, leadership, and resourcefulness; the Sorting Hat said in Harry Potter and the Philosopher's Stone that Slytherins will do anything to get their way. The house mascot of Slytherin is the serpent, and the house colours are green and silver. Salazar Slytherin founded the house. The Head of House is Severus Snape until near the end of the sixth book. Then, Horace Slughorn, the previous Head of House, comes out of retirement re-assuming authority. The ghost of Slytherin house is The Bloody Baron.[26] According to Rowling, Slytherin corresponds roughly to the element of water. The Slytherin dormitories and common room are reached through a bare stone wall in the dungeons. The Slytherin common room is a long, low, dungeon-style room, under the Hogwarts Lake, furnished with green lamps and curved armchairs. The room is described in the second book as having a greenish glow, from the pigment colour of the Hogwarts Lake; the giant squid will occasionally swim past windows. Slytherin's Hocrux, and special item, is a beautiful topaz-encrusted amulet, having a letter "S" on it. Its house gem is an emerald.
The Sorting Hat claims that blood purity is a factor in selecting Slytherins, although this is not mentioned until the fifth book. There is no reason to believe, however, that Muggle-born students are not sorted there, merely that pure-blooded students are more desirable to that house, as there are several examples of half-bloods in the house (such as Snape and Voldemort). In Deathly Hallows, a group of Snatchers claim that "not many Mudbloods" are sorted into Slytherin.
When believing Harry to be dead and thinking that he has final victory in his grasp, Voldemort proclaims his intention to abolish the other three houses and force all Hogwarts students into Slytherin. This design is foiled by his defeat and death, after which Slytherin becomes more diluted in its blood purity, no longer remaining the pure-blood bastion it once was. Its dark reputation, however, does linger.[25
QMRA quadracycle is a four-wheeled human-powered land vehicle. It is also referred to as a quadricycle, quadcycle, pedal car, four-wheeled bicycle or quike amongst other terms.
Human-powered quadracyles have been in use since 1853 and have grown into several families of vehicles for a variety of purposes, including tourist rentals, pedal taxis, private touring, mountain and industrial use.
Ryan Merkle QMRGoro is a fictional character from the Mortal Kombat fighting game series. He first appears in the original Mortal Kombat as an unplayable boss character, challenging the player before the final fight with Shang Tsung. Goro is part of the four-armed half-human, half-dragon race, called the Shokan. In the original game he has been champion of the Mortal Kombat tournament for 500 years before being defeated by eventual tournament champion Liu Kang. Unlike most characters in the game, who were digitized representations of live actors, Goro was a clay sculpture animated through stop motion.
qMRJohn Bargh (1994), based on over a decade of research, suggested that four characteristics usually accompany automatic behavior:[1]
Awareness
A person may be unaware of the mental process that is occurring.
Intentionality
A person may not be involved with the initiation of a mental process.
Efficiency
Automatic mental processes tend to have a low cognitive load, requiring relatively low mental resources.
Controllability
A person may not have the ability to stop or alter a process after initiation.
Ryan Merkle QMRMind over Four (occasionally written as Mind over 4) was an American heavy metal music group based out of Orange County, California. They started life as a sort of psychedelic punk band but eventually began creating their own unique brand of fierce prog/metal. In interviews they often referred to their music as "experimetal". BNR Metal Pages describes them as "occupy[ing] that gray area between metal and uncommercial hard rock, but with a quirkiness in the songwriting that makes them difficult to describe or categorize".[1] During the course of the band, they recorded six albums and brought their electrifying live show to 14 countries and many national U.S. tours.
QMRFour Songs is an EP by Live, released in 1991.[1]
It is the band's first release under the name Live. They previously released an album titled The Death of a Dictionary and an EP titled Divided Mind, Divided Planet under the name Public Affection.
Two songs from this EP, "Operation Spirit" and "Good Pain" later appeared on their album Mental Jewelry. The two other songs would later appear as b-sides to the European CD single for "Operation Spirit".
In 1994, Live released their second album under the name Live, Throwing Copper. Both Europe and Australia released 2CD set editions of the album with Four Songs as the second disc. The Australian issue of the EP, as part of this set, was labeled as a promotional copy although released in that country in 1991 as a stand alone EP.
The EP was also released on 12-inch vinyl. Both green and black editions exist.
Ryan Merkle QMRIn 2009, Erdrich's novel The Plague of Doves was named a finalist for the Pulitzer Prize in Fiction. The narrative focuses on the historical lynching of four Native people wrongly accused of murdering a Caucasian family, and the effect of this injustice on the current generations.
Ryan Merkle QMRAfter the novel won the Pulitzer Prize, the idea of turning the novel into film came up again. Both John Milius and John Huston each attempted to adapt the novel into a feature film before Suzanne De Passe and Bill Whitliff decided to adapt the novel as a mini-series. It was then made into the four-part TV miniseries, which won seven Emmy Awards and was nominated for twelve others.[2] It spawned four follow-up miniseries, Return to Lonesome Dove, Streets of Laredo, Dead Man's Walk, and Comanche Moon, and two television series, Lonesome Dove: The Series and Lonesome Dove: The Outlaw Years.[3]
Ryan Merkle qMRThe Lonesome Dove series refers to a series of four western novels written by Larry McMurtry and the four-part television miniseries based upon them. The novels and miniseries follow the exploits of several members of the Texas Ranger Division from the time of the Republic of Texas up until the beginning of the 20th century. Recurring characters include Augustus "Gus" McCrae, Woodrow F. Call, Joshua Deets, Pea Eye Parker, Jake Spoon, Clara Forsythe Allen, Maggie Tilton, Lorena Wood Parker, Blue Duck, and Buffalo Hump.
Ryan Merkle QMRThe Oriental turtle dove or rufous turtle dove (Streptopelia orientalis) is a member of the bird family Columbidae, doves and pigeons.
Ryan Merkle Vocalisations[edit]
The call is quite different from the purr of the turtle dove. It is a four-syllable her-her-oo-oo.
Ryan Merkle QMRHarnsberger, R. Scott (2002), Four Artists of the Stieglitz Circle: A Sourcebook on Arthur Dove, Marsden Hartley, John Marin, and Max Weber, Greenwood Press,
QMRMicrosoft adopted the so-called "Pac-Man Logo", designed by Scott Baker, in 1987. Baker stated "The new logo, in Helvetica italic typeface, has a slash between the o and s to emphasize the "soft" part of the name and convey motion and speed."[152] Dave Norris ran an internal joke campaign to save the old logo, which was green, in all uppercase, and featured a fanciful letter O, nicknamed the blibbet, but it was discarded.[153] Microsoft's logo with the "Your potential. Our passion." tagline below the main corporate name, is based on a slogan Microsoft used in 2008. In 2002, the company started using the logo in the United States and eventually started a TV campaign with the slogan, changed from the previous tagline of "Where do you want to go today?".[154][155][156] During the private MGX (Microsoft Global Exchange) conference in 2010, Microsoft unveiled the company's next tagline, "Be What's Next.".[157] They also had a slogan/tagline "Making it all make sense.".[158]
On August 23, 2012, Microsoft unveiled a new corporate logo at the opening of its 23rd Microsoft store in Boston indicating the company's shift of focus from the classic style to the tile-centric modern interface which it uses/will use on the Windows Phone platform, Xbox 360, Windows 8 and the upcoming Office Suites.[159] The new logo also includes four squares with the colors of the then-current Windows logo which have been used to represent Microsoft's four major products: Windows (blue), Office (red), Xbox (green), and Bing (yellow).[160] The logo resembles the opening of one of the commercials for Windows 95.[161][162]
Ryan Merkle QMRDATAR was similar in concept to Benjamin's display. The trackball used four disks to pick up motion, two each for the X and Y directions. Several rollers provided mechanical support. When the ball was rolled, the pickup discs spun and contacts on their outer rim made periodic contact with wires, producing pulses of output with each movement of the ball. By counting the pulses, the physical movement of the ball could be determined. A digital computer calculated the tracks, and sent the resulting data to other ships in a task force using pulse-code modulation radio signals. This trackball used a standard Canadian five-pin bowling ball. It was not patented, as it was a secret military project as well.[8][9]
QMRFour-Phase Systems AL1
The Four-Phase Systems AL1 was an 8-bit bit slice chip containing eight registers and an ALU.[30] It was designed by Lee Boysel in 1969.[31][32][33] At the time, it formed part of a nine-chip, 24-bit CPU with three AL1s, but it was later called a microprocessor when, in response to 1990s litigation by Texas Instruments, a demonstration system was constructed where a single AL1 formed part of a courtroom demonstration computer system, together with RAM, ROM, and an input-output device.[34]
qMRThe four symbols[edit]
The four symbols representing (from left to right);
at the top; Page, Jones
at the bottom; Bonham and Plant
The idea for each member of the band to choose a personal emblem for the cover was Page's.[10] In an interview he gave in 1977, he recalled:
After all this crap that we'd had with the critics, I put it to everybody else that it'd be a good idea to put out something totally anonymous. At first I wanted just one symbol on it, but then it was decided that since it was our fourth album and there were four of us, we could each choose our own symbol. I designed mine and everyone else had their own reasons for using the symbols that they used.[10]
Page stated that he designed his own symbol[7][8] and has never publicly disclosed any reasoning behind it. It has been argued that his symbol appeared as early as 1557 to represent Saturn.[15][16] The symbol is sometimes referred to as "ZoSo", though Page has explained that it was not in fact intended to be a word at all.[7] Page was known to be a devotee of Aleister Crowley and his sign resembles a magical sigil. The first three parts of the sigil or symbol also resemble the word "Zos" as found in the magical philosophy of Crowley's associate Austin Osman Spare known as 'Zos vel Thanatos'.
Bassist John Paul Jones' symbol, which he chose from Rudolf Koch's Book of Signs,[7] is a single circle intersecting three vesica pisces (a triquetra). It is intended to symbolise a person who possesses both confidence and competence.[8]
Drummer John Bonham's symbol, the three interlocking (Borromean) rings, was picked by the drummer from the same book.[7] It represents the triad of mother, father and child,[8][17] but, inverted, it also happens to be the logo for Ballantine beer.[8]
Singer Robert Plant's symbol of a feather within a circle was his own design, being based on the sign of the supposed Mu civilisation.[7][8]
Sandy Denny's symbol, which in Christianity is an old symbol for the Godhead "beyond that nothing is known about it".
There is also a fifth, smaller symbol chosen by guest vocalist Sandy Denny representing her contribution to the track "The Battle of Evermore"; it appears in the credits list on the inner sleeve of the LP, serving as an asterisk and is shaped like three triangles touching at their points.
During Led Zeppelin's tour of the United Kingdom in winter 1971, which took place shortly following the release of the album, the band visually projected the four symbols on their stage equipment. Page's symbol was put onto one of his Marshall amplifiers, Bonham's three interlinked circles adorned the outer skin of his bass drum, Jones had his symbol stencilled onto material which was draped across his Fender Rhodes keyboard, and Plant's feather symbol was painted onto a side speaker PA cabinet. Only Page's and Bonham's symbols were retained for subsequent Led Zeppelin concert tours.[18]
Ryan Merkle QMRUser with this ability either is or can transform into one of the Four Symbols which are four mythological creatures in the Chinese constellations, each one representing a direction and a season, and connected to certain elements. They may have connections to Four benevolent animals
Four Symbols
Azure Dragon of the East
Air Manipulation
Electricity Manipulation
Ambient Energy Manipulation
Asian Dragon Physiology
Plant Manipulation
Wood Manipulation
Spring Manipulation
Vermillion Bird of the South
Ambient Energy Manipulation
Avian Physiology
Phoenix Physiology
Fire Manipulation
Heat Manipulation
Summer Manipulation
White Tiger of the West
Ambient Energy Manipulation
Autumn Manipulation
Feline Physiology (Tiger)
Metal Manipulation
Rage Manipulation
Berserker Physiology
Black Tortoise of the North
Ambient Energy Manipulation
Snake Physiology
Tortoise Physiology
Water Form Manipulation
Water Manipulation
Winter Manipulation
QMRIn astrology, fixed signs are associated with stabilization, determination, depth and persistence. On the other hand, they are also inflexible, rigid, stubborn, opinionated and single-minded. These traits are often paired with the need to be considered "right": they will ruthlessly fight on behalf of their beliefs, regardless of any contrary beliefs. Only during moments of importance or necessity would they consider changing an opinion.
The four fixed signs of the Zodiac are:
Taurus (Taurus.svg): spring in the northern hemisphere and autumn in the southern hemisphere.
Leo (Leo.svg): summer in the northern hemisphere and winter in the southern hemisphere.
Scorpio (Scorpio.svg): autumn in the northern hemisphere and spring in the southern hemisphere.
Aquarius (Aquarius.svg): winter in the northern hemisphere and summer in the southern hemisphere.
QMRIn astrology, mutable signs are associated with adaptability, extroversion, an analytical but sympathetic mindset and versatility. These signs mediate change and change their modes of expression frequently in order to meet this end, and they are often described as being diplomatic and assisting others through transitions; however, mutable signs may demonstrate duplicity, inconsistency, hypocrisy and the inability to take sides in controversies as required.
Mutable signs often signify the ends of seasons.
The four mutable signs of the Zodiac are:
Gemini (Gemini.svg): marks the end of spring in the northern hemisphere, and autumn in the southern hemisphere.
Virgo (Virgo.svg): marks the end of summer in the northern hemisphere, and winter in the southern hemisphere.
Sagittarius (Sagittarius.svg): which marks the end of autumn in the northern hemisphere, and spring in the southern hemisphere.
Pisces (Pisces.svg): which marks the end of winter in the northern hemisphere, and summer in the southern hemisphere.
Ryan Merkle qMRPolarity and the four elements[edit]
Main article: Triplicity
Further information: Classical element
A simple diagram displaying the planets' sign positions on May 16th, 2012. The signs are colored according to the associated element. Each planet is represented by a glyph next to its longitude within the sign. Additional symbols may be added to represent apparent retrograde motion(Retrograde-symbol.svg), or apparent stationary moment (shift from retrograde to direct, or vice versa: S).
Empedocles, a fifth-century BC Greek philosopher, identified Fire, Earth, Air, and Water as elements. He explained the nature of the universe as an interaction of two opposing principles called love and strife manipulating the four elements, and stated that these four elements were all equal, of the same age, that each rules its own province, and each possesses its own individual character. Different mixtures of these elements produced the different natures of things. Empedocles said that those who were born with near equal proportions of the four elements are more intelligent and have the most exact perceptions.[6]
Each sign is associated with one of the classical elements,[7] and these can also be grouped according to polarity: Fire and Air signs are considered positive or extrovert, masculine signs; while Water and Earth signs are considered negative or introvert, feminine signs. The four astrological elements are also considered as a direct equivalent to Hippocrates' personality types (sanguine = air; choleric = fire; melancholic = water; phlegmatic = earth). A modern approach looks at elements as "the energy substance of experience"[8] and the next table tries to summarize their description through keywords.[9][10]
Polarity Element Symbol[11] Keywords Signs
Positive
(self-expressive)
Fire Alchemy fire symbol.svg Enthusiasm; drive to express self; faith Aries; Leo; Sagittarius
Air Alchemy air symbol.svg Communication; socialization; conceptualization Gemini; Libra; Aquarius
Negative
(self-containing)
Earth Alchemy earth symbol.svg Practicality; caution; material world Taurus; Virgo; Capricorn
Water Alchemy water symbol.svg Emotion; empathy; sensitivity Cancer; Scorpio; Pisces
Classification according to element has gained such importance, that some astrologers start their interpretation of a natal chart, by studying the balance of elements shown by the position of planets and angles[12] (especially the Sun, the Moon and the Ascendant).
QMREach of the four elements manifests in three modalities: Cardinal, Fixed and Mutable.[13] As each modality comprehends four signs, these are also known as Quadruplicities.[7] They are occasionally referred to as crosses because each modality forms a cross when drawn across the zodiac. Christian astrology relates the three qualities to the three aspects of God in the trinity[citation needed].
Modality Symbol[14] Keywords[15][16] Signs
Cardinal Cardinal symbol.svg Action; dynamic; initiative; great force Aries; Cancer; Libra; Capricorn
Fixed Fixed symbol.svg Resistance to change; great willpower; inflexible Taurus; Leo; Scorpio; Aquarius
Mutable Mutable symbol.svg Adaptability; flexible; resourceful Gemini; Virgo; Sagittarius; Pisces
Ryan Merkle QMREach sign can be divided into three 10° sectors known as decans or decanates, though these have fallen into disuse. The first decanate is said to be most emphatically of its own nature and is ruled by the sign ruler.[25] The next decanate is sub-ruled by the planet ruling the next sign in the same triplicity. The last decanate is sub-ruled by the next in order in the same triplicity.[26]
While the element and modality of a sign are together sufficient to define it, they can be grouped to indicate their symbolism. The first four signs, Aries, Taurus, Gemini and Cancer, form the group of personal signs. The next four signs, Leo, Virgo, Libra and Scorpio form the group of interpersonal signs. The last four signs of the zodiac, Sagittarius, Capricorn, Aquarius and Pisces, form the group of transpersonal signs.[27]
Dane Rudhyar presented the tropical zodiac primary factors,[28] used in the curriculum of the RASA School of Astrology. The tropical zodiac is the zodiac of seasonal factors as opposed to the sidereal zodiac (constellation factors). The primary seasonal factors are based on the changing ratio of sunlight and darkness across the year. The first factor is whether the chosen time falls in the half of the year when daylight is increasing, or the half of the year when darkness is increasing. The second factor is whether the chosen time falls in the half of the year when there is more daylight than darkness, or the half when there is more darkness than daylight. The third factor is which of the four seasons the chosen time falls in, defined by the first two factors. Thus[29][30]
the 'winter' season is when daylight is increasing and there is more darkness than daylight.[29]
the 'spring' season is when daylight is increasing and there is more daylight than darkness.[29]
the 'summer' season is when darkness is increasing and there is more daylight than darkness.[29]
the 'autumn' season is when darkness is increasing and there is more darkness than daylight.[29]
Ryan Merkle QMR Indian astrology, there are four elements: fire, earth, air, and water. The master of fire is Mars, while Mercury is of earth, Saturn of air, and Venus of water.
Jyotish astrology recognises twelve zodiac signs (Rāśi),[31] that correspond to those in Western astrology. The relation of the signs to the elements is the same in the two systems.
Ryan Merkle QMRFour on a Garden is a set of four One-act plays that were presented on Broadway at the Broadhurst Theatre from January 30, 1971 until March 20, 1971. The set included House of Dunkelmayer, Betty, Toreador, and The Swingers. The four plays were originally written by French playwrights Pierre Barillet and Jean-Pierre Gredy but were adapted into English by Abe Burrows. Burrows directed the show whose cast included Sid Caesar, Carol Channing, Tommy Lee Jones, and George S. Irving.
Ryan Merkle QMRSherlock Holmes is a four-act play[1] written by William Gillette and Sir Arthur Conan Doyle, based on Conan Doyle's character Sherlock Holmes.
Ryan Merkle QMRFour Major Plays of Chikamatsu is a collection of four major dramas by the famous Japanese playwright Chikamatsu Monzaemon. The four plays were first translated by Donald Keene in 1961, and have appeared in various collections and books over the years; Four Major Plays contains a Preface, an Introduction, and two appendices in addition, and is published by Columbia University Press.
The Preface gives a more popular account of matters, mentioning that Keene's translations of the plays have actually been performed; the lengthy introduction gives a brief biographical sketch of Chikamatsu and a discussion of various literary features and other background useful for understanding Chikamatsu's plays.
Ryan Merkle QMRA four-ball golf match, used in match play competitions, consists of two teams of two golf players competing directly against each other. Each golfer plays their own ball throughout the round, such that four balls are in play. A team's number of strokes for a given hole is that of the lower scoring team member. It is also known as best ball or more properly better ball.
qMRCongo in Four Acts is a 2010 documentary film.
Contents [hide]
1 Synopsis
2 Production
3 Awards
4 See also
5 References
Synopsis[edit]
Initiated as an educational project to help young filmmakers develop their craft, Congo in Four Acts is a quartet of short films.[1] Ladies in Waiting chronicles the bureaucratic dysfunctions of a maternity ward from which women cannot leave unless they pay their fees. Symphony Kinshasa takes the viewer on a tour through Congo’s capital city where malaria is rife, electricity cables lie in the street and garbage is everywhere. Zero Tolerance deals with rape as a weapon of war in Eastern RDC and the attempts by authorities to re-establish the national moral code. After the Mine depicts life in Kipushi, a mining town where the soil is contaminated.
Production[edit]
The film was co-directed by Dieudo Hamadi, Kiripi Katembo and Divita Wa Lusala.[2]
Ryan Merkle QMRFour (Acts of Love) is the sixth studio album by Australian singer-songwriter Mick Harvey - and his second since leaving Nick Cave & The Bad Seeds. It was released in June 2013 under Mute Records. The 14 tracks make up a song cycle, bookended by "Praise the Earth (Wheels of Amber and Gold)" and "Praise the Earth (An Ephemeral Play)". The album includes eclectic covers including The Saints' punk "The Story of Love", P. J. Harvey's "Glorious" - she also duets with Harvey on the track - and Van Morrison's "The Way Young Lovers Do" off the classic Astral Weeks.
Ryan Merkle QMREmbossed Dream In Four Acts (1998) is an album by Odes Of Ecstasy.
Ryan Merkle QMRIvanov (Иванов, 1887)—a drama in four acts
Ryan Merkle QMRThe Wood Demon (Леший, 1889)—four-act comedy
Ryan Merkle QMRThe Seagull (Чайка, 1896)—a comedy in four acts
Ryan Merkle QMrThree Sisters (Три сестры, 1901)—a drama in four acts
The Cherry Orchard (Вишнёвый сад, 1904)—a comedy in four acts
Cinema Chapter
QMRThe Taste was an American cooking-themed reality competition series on ABC.[1] It aired from January 22, 2013, through January 22, 2015.[2] On May 7, 2015, ABC cancelled The Taste after three seasons.[3]
The Taste season begins with blind auditions of both professional and amateur cooks during which four judges, who double as mentors, taste one spoonful of food from each contestant without knowing who cooked it or what all the ingredients were.[2][4][5][6] Each judge decides whether or not they would like the contestant on his or her team by pressing a button (green for yes or red for no); the buttons are hidden from the other judges (although some decisions are revealed to the home audience).[7][8] The four then meet the contestant and press a button to reveal their votes. If exactly one judge votes yes, that contestant automatically joins that judge's four-member team.[4][5] If more than one judge votes yes, the contestant chooses among them.[5]
Once the 16 contestants are chosen, each episode consists of team and individual challenges on a weekly theme.[9]
16 is the squares of the quadrant model. Four is the squares of the quadrant
QMR The Voice AustraliaBlind auditions[edit]
Four judges/coaches, all noteworthy recording artists, choose teams of contestants through a blind audition process. Each judge has the length of the auditioner's performance (about one minute) to decide if he or she wants that singer on his or her team; if two or more judges want the same singer (as happens frequently), the singer has the final choice of coach.
Battle rounds and Showdowns[edit]
Each team of singers is mentored and developed by its respective coach. In the second stage, called the battle phase, coaches have two of their team members battle against each other directly by singing the same song together, with the coach choosing which team member to advance from each of four individual "battles" into the next knockout phase, the Showdowns.
In this elimination round, the contestants compete on stage on their own, for a place in the live rounds. The surviving four acts from each team again compete against each other, with public votes determining one of four acts from each team that will advance to the final eight, while the coach chooses which of the remaining three acts comprises the other performer remaining on the team.
Live shows[edit]
In the final phase, the remaining contestants (Final 8) compete against each other in live broadcasts. The television audience and the coaches have equal say 50/50 in deciding who moves on to the final 4 phase. With one team member remaining for each coach, the (final 4) contestants compete against each other in the finale with the outcome decided entirely by public vote.
QMRThe Voice Kids is an Australian television talent show that premiered on the Nine Network on 22 June 2014. It featured Delta Goodrem, Mel B and The Madden Brothers as the coaches.
Blind auditions[edit]
Four judges/coaches, all noteworthy recording artists, choose teams of contestants through a blind audition process. Each judge has the length of the audition, a live performance lasting about one minute, to decide if he or she wants that singer on his or her team. If two or more judges want the same singer (as happens frequently), the singer has the final choice of coach.
QMRThe Voice Israel (Hebrew: The Voice ישראל) is the Israeli version of The Voice of Holland. It is part of the international syndication The Voice based on the reality singing competition launched in the Netherlands, created by Dutch television producer John de Mol. The show's first two season already ended, with the winner of the first season being the Canadian-born Kathleen Reiter,[1] and the winner of the second season being Arab-Israeli Lina Makhoul.[2] One of the important premises of the show is the quality of the singing talent. Four coaches, themselves popular performing artists, train the talents in their group and occasionally perform with them. Talents are selected in blind auditions, where the coaches cannot see, but only hear the auditioner.
QMRThe Baldwin brothers are the four brothers in the American Baldwin family, each of whom has become an actor:
Alec Baldwin (born 1958)
Daniel Baldwin (born 1960)
William "Billy" Baldwin (born 1963)
Stephen Baldwin (born 1966)
The documentary The Baldwin Brothers concerns them.
Adam Baldwin is not related to the brothers.[1]
QMRCentor criteria
From Wikipedia, the free encyclopedia
Streptococcus pyogenes
The Centor Criteria are a set of criteria which may be used to identify the likelihood of a bacterial infection in adult patients complaining of a sore throat. They were developed as a method to quickly diagnose the presence of Group A streptococcal infection or diagnosis of Streptococcal Pharyngitis in "adult patients who presented to an urban emergency room complaining of a sore throat."[1]
Criteria[edit]
The patients are judged on four criteria, with one point added for each positive criterion:[1]
History of fever
Tonsillar exudates
Tender anterior cervical adenopathy
Absence of cough
QMRThe Spiegelberg criteria are four criteria used to identify ovarian ectopic pregnancies[1] named after Otto Spiegelberg.
Description[edit]
Four criteria for differentiating ovarian from other ectopic pregnancies:
The gestational sac is located in the region of the ovary.
The ectopic pregnancy is attached to the uterus by the ovarian ligament.
Ovarian tissue in the wall of the gestational sac is proved histologically.
The tube on the involved side is intact.
QMROCA with stationary expectations[edit]
Published by Mundell in 1961, this is the most cited by economists. Here asymmetric shocks are considered to undermine the real economy, so if they are too important and cannot be controlled, a regime with floating exchange rates is considered better, because the global monetary policy (interest rates) will not be fine tuned for the particular situation of each constituent region.
The four often cited criteria for a successful currency union are:[6]
Labor mobility across the region. This includes physical ability to travel (visas, workers' rights, etc.), lack of cultural barriers to free movement (such as different languages) and institutional arrangements (such as the ability to have pensions transferred throughout the region) (Robert Mundell).
Openness with capital mobility and price and wage flexibility across the region. This is so that the market forces of supply and demand automatically distribute money and goods to where they are needed. In practice this does not work perfectly as there is no true wage flexibility. (Ronald McKinnon). The Eurozone members trade heavily with each other (intra-European trade is greater than international trade), and most recent empirical analyses of the 'euro effect' suggest that the single currency has increased trade by 5 to 15 percent in the euro-zone when compared to trade between non-euro countries.[7]
A risk sharing system such as an automatic fiscal transfer mechanism to redistribute money to areas/sectors which have been adversely affected by the first two characteristics. This usually takes the form of taxation redistribution to less developed areas of a country/region. This policy, though theoretically accepted, is politically difficult to implement as the better-off regions rarely give up their revenue easily. Theoretically, Europe has a no-bailout clause in the Stability and Growth Pact, meaning that fiscal transfers are not allowed. During the 2010 Eurozone crisis (relating to government debt), the no-bailout clause was de facto abandoned in April 2010.[8]
Participant countries have similar business cycles. When one country experiences a boom or recession, other countries in the union are likely to follow. This allows the shared central bank to promote growth in downturns and to contain inflation in booms. Should countries in a currency union have idiosyncratic business cycles, then optimal monetary policy may diverge and union participants may be made worse off under a joint central bank.
QMRThe Scream (Norwegian: Skrik) is the popular name given to each of four versions of a composition, created as both paintings and pastels, by the Expressionist artist Edvard Munch between 1893 and 1910. The German title Munch gave these works is Der Schrei der Natur (The Scream of Nature). The works show a figure with an agonized expression against a landscape with a tumultuous orange sky. Arthur Lubow has described The Scream as "an icon of modern art, a Mona Lisa for our time."[1]
Edvard Munch created the four versions in various media. The National Gallery, Oslo, holds one of two painted versions (1893, shown here). The Munch Museum holds the other painted version (1910, see gallery, below) and a pastel version from 1893. These three versions have not traveled for years.[2]
The fourth version (pastel, 1895) was sold for $119,922,600 at Sotheby's Impressionist and Modern Art auction on 2 May 2012 to financier Leon Black,[3][4] the third highest nominal price paid for a painting at auction.[5] The painting was on display in the Museum of Modern Art in New York from October 2012 to April 2013.
Also in 1895, Munch created a lithograph stone of the image. Of the lithograph prints produced by Munch, several examples survive.[6] Only approximately four dozen prints were made before the original stone was resurfaced by the printer in Munch's absence.[7]
The Scream has been the target of several high-profile art thefts. In 1994, the version in the National Gallery was stolen. It was recovered several months later. In 2004, both The Scream and Madonna were stolen from the Munch Museum, and were both recovered two years later.
1994 theft[edit]
On 12 February 1994, the same day as the opening of the 1994 Winter Olympics in Lillehammer, two men broke into the National Gallery, Oslo, and stole its version of The Scream, leaving a note reading "Thanks for the poor security".[20][21] The painting had been moved down to a second-story gallery[22] as part of the Olympic festivities.[23] After the gallery refused to pay a ransom demand of US$1 million in March 1994, Norwegian police set up a sting operation with assistance from the British police (SO10) and the Getty Museum and the painting was recovered undamaged on 7 May 1994.[22] In January 1996, four men were convicted in connection with the theft, including Pål Enger, who had been convicted of stealing Munch's Vampire in 1988.[24] They were released on appeal on legal grounds: the British agents involved in the sting operation had entered Norway under false identities.[25]
In popular culture[edit]
In the late twentieth century, The Scream was imitated, parodied, and outright copies have been made following its copyright expiration, which led to it acquiring an iconic status in popular culture. It was used on the cover of some editions of Arthur Janov's book The Primal Scream.[45] In 1983–1984, pop artist Andy Warhol made a series of silk prints copying works by Munch, including The Scream. His stated intention was to desacralize the painting by making it into a mass-reproducible object. Munch had already begun that process, however, by making a lithograph of the work for reproduction. Erró's ironic and irreverent treatment of Munch's masterpiece in his acrylic paintings The Second Scream (1967) and Ding Dong (1979) is considered a characteristic of post-modern art.[46] Cartoonist Gary Larson included a "tribute" to The Scream (entitled The Whine) in his Wiener Dog Art painting and cartoon compilation, in which the central figure is replaced by a howling dachshund. The Scream has been used in advertising, in cartoons, such as The Simpsons, films, and on television. The principal alien antagonists depicted in the 2011 BBC series of Doctor Who, named "The Silence", have an appearance partially based on The Scream.[47] The Ghostface mask worn by the primary antagonists of the Scream series of horror movies is based on the painting, and was created by Brigitte Sleiertin, a Fun World employee, as a Halloween costume, prior to being discovered by Marianne Maddalena and Wes Craven for the film.[48]
In 2013, The Scream was one of four paintings that the Norwegian postal service chose for a series of stamps marking the 150th anniversary of Edvard Munch’s birth.[49]
A patient resource group for trigeminal neuralgia (which has been described as the most painful condition in existence) have also adopted the image as a symbol of the condition.[50]
In the anime Detective Conan episode 774 (2015) "The Missing Scream of Munch", the disappearance of The Scream plays the main part of story.[51]
QMR4 Square was a children's television series. The show consists of 4 different segments. Each segment has its own coloured backdrop, with the actors wearing the contrasting colour. The show was often divided up and only one segment is aired as filler (between two longer running shows).
Format[edit]
Rhythm Segment "Blue Square"[edit]
The rhythm segment is hosted by the Beat Team (Ingrid Gaynor, Stephanie Hyppolite, Roney Lewis, and Emma Schellenberg), a group of four young people wearing bright orange sweatshirt and sweatpants. One by one, they all introduce a verbal rhythm with certain sounds or words (for example, "zip-zip-zip-zip-zip-zip-zip-zip"), and then they combine their individual rhythms to make one intricate rhythm.
Poetry Segment "Green Square"[edit]
The poetry segment features a woman (Helen Farmer, or in later episodes, Pay Chen) dressed in mainly purple, and a child, also dressed in purple. She recites a poem while giving certain words a hand sign, teaching it to the younger child, the child says the poem back with the learned hand signs, and then they both say it together with a chorus of kids, encouraging the child to say the poem with them. This is the only Four Square segment to feature live children in the scene.
Movement Segment "Orange Square"[edit]
The movement segment features four people from the Toronto dance troupe Corpus, dressed in blue spandex outfits with green shoes, knee pads and elbow pads with the females wearing a pleated skirt. A leader known as Captain Hup or Captain Huppette will direct the other three members to do three certain movements (for example, "Bianca, cross-country ski; Metito, cross-country ski; Rufus, cross-country ski"). Finally, after repeating the movement one by one and asking the viewer to try to do it, everyone does them in unison. The original cast featured David Danzon as Captain Hup, Sylvie Bouchard as Bianca; Ray Hogg as Krankovich; and Anand Rajaram as Ludsu. Subsequent casts featured Rachel Harrison as Captain Huppette, Michelle Black as Pippa, Michael Caldwell as Rufus, and Rob Rementilla as Metito.
Song Segment "Purple Square"[edit]
This is the part where a group of four people called the 4 Tones sing with four puppets called the Do-Whas. The Do-Whas represent the part of the song where the viewer can sing along. This is encouraged by the phrase "Do what the Do-Whas do" to which the Do-Whas say "Do what we do". Some members of the 4 Tones include Starr Domingue, Kellylee Evans, Alison Neale, and Chantelle Wilson.
QMRThe Four Square Writing Method is a simplified graphic organizer for teaching writing to children in school. While primarily used to teach persuasive writing, it has also been used to help teach deconstruction.[1] The method was developed by Judith S. Gould[2] and Evan Jay Gould in 1999.[3]
It was developed initially for primary school students, but it has also been used in high school classes.
Method[edit]
A colour-coded example of a Four Square Writing Method layout.
The method is primarily a visual framework for assisting students with formulating ideas in an organized manner prior to writing an essay.
The concept generally works as follows:
A large square is drawn and divided into four smaller squares of equal size. An additional rectangle is drawn in the center of the figure overlapping each of the other four squares. A total of five rectangles are thus created.
The student .
Then, the student writes three sentences that develop the thesis of the central topic, placing one in each of the following squares: upper-left, upper-right, and lower-left. The upper-left square contains the opening supportive sentence, and the next two squares contain other supporting information.
Finally, the student writes a summary sentence in the lower-right square. The summary sentence describes how the reader is intended to feel about the topic.
Variations of the above rules may require more or less development in each of the rectangles, depending on the grade-level or maturity of the student.
Results[edit]
Results show a consistent increase in the ability of students to write persuasively. A study at Springview Elementary School, in Allendale Charter Township, Michigan, noted, "significant growth was observed in the students' writings in both classes."[4]
Another study, carried out at American Senior High School in Miami-Dade County, Florida with older students, showed an increase in FCAT scores, though not as marked as the Michigan grade school students. It was noted that one teacher had remarkably more success with the program than others, and that teachers must be trained thoroughly to get best results from this method.[5]
Kingsley Elementary School in Kingsport, Tennessee also tested the Four Square Writing Method. After teaching students using the method, the students' writing scores increased by 49 percentage points in the first year. The same students used it again the next year, and their scores went up an additional nine percentage points.[6]
Four Square Series[edit]
In 1999, Judith S. Gould and Evan Jay Gould wrote the first book in a series dedicated to the Four Square Writing Method.[7] This series is published by the Teaching & Learning Company, a Lorenz Educational Press company. As of February 2014, the series includes 16 books, 2 poster papers, and a set of wall charts.
Title Author(s) ISBN Release Date
Four Square: Writing Method for Grades 1-3 Judith S. Gould and Evan Jay Gould 9781573101882 1999
Four Square: Writing Method for Grades 4-6 Judith S. Gould and Evan Jay Gould 9781573101899 1999
Four Square: Writing Method for Grades 7-9 Judith S. Gould and Evan Jay Gould 9781573101905 1999
Four Square: The Total Writing Classroom for Grades 1-4 Judith S. Gould and Evan Jay Gould 9781573103336 2002
Four Square: The Total Writing Classroom for Grades 5-9 Judith S. Gould and Evan Jay Gould 9781573103343 2002
My Four Square Writing Poster Paper: Grades 1-3 Judith S. Gould and Evan Jay Gould 9781573104159 2003
My Four Square Writing Poster Paper: Grades 4-6 Sydney Mainor
and Evan Jay Gould || 9781573104166 || 2003
Four Square: Writing in the Content Areas for Grades 1-4 Judith S. Gould and Evan Jay Gould 9781573104210 2004
Four Square: Writing in the Content Areas for Grades 5-9 Judith S. Gould and Evan Jay Gould 9781573104227 2004
Four Square: Writing Method Wall Charts Judith S. Gould and Evan Jay Gould 9781573104326 2004
Four Square: The Personal Writing Coach for Grades 1-3 Judith S. Gould and Mary F. Burke 9781573104463 2005
Four Square: The Personal Writing Coach for Grades 4-6 Judith S. Gould and Mary F. Burke 9781573104470 2005
Four Square: The Personal Writing Coach for Grades 7-9 Judith S. Gould and Mary F. Burke 9781573104487 2005
Four Square for Writing Assessment: Elementary Level Judith S. Gould and Mary F. Burke 9781429118194 2010
Four Square for Writing Assessment: Secondary Level Judith S. Gould and Mary F. Burke 9781429118200 2010
Four Square: Writing Method for Early Learners Judith S. Gould and Mary F. Burke 9781429117401 2010
Four Square: Writing Method for Grades 1-3 with Enhanced CD Judith S. Gould, Evan Jay Gould, and Mary F. Burke 9781429117418 2010
Four Square: Writing Method for Grades 4-6 with Enhanced CD Judith S. Gould, Evan Jay Gould, and Mary F. Burke 9781429117425 2010
Four Square: Writing Method for Grades 7-9 with Enhanced CD Judith S. Gould, Evan Jay Gould, and Mary F. Burke 9781429117432 2010
QMR4 Square was a BBC Television daytime quiz programme that aired on BBC One from 3 May 1988 until 31 October 1991. The programme was first hosted by Michael Groth for series 1 and then hosted by John Sachs from series 2 to 4.
Pair the Squares[edit]
Pair the Squares was a Concentration/Memory-typed game.
This round had a 6x6 game board with 36 numbered squares; behind those numbered squares were symbols. The players took turns picking four squares. If any two of them consist of matching symbols, the player who found the match scored two points, had those squares turned to that player's color, and continued his/her turn by choosing two more (one if there was a leftover square). If no match was made or if one player took the necessary two turns, his/her opponent took a turn. If four of the squares of one player's color were arranged in one large square, that contestant received a 5-point bonus.
Pick a Picture[edit]
This round also had a 6x6 game board with 36 numbered squares; behind the majority of those squares were pictures. To start the round, both contestants picked four free squares each. Now each contestant in turn picked one square by number and revealed a picture behind it. On each picture, the host read a question associated with that picture. A correct answer to that question scored 1 point and captured that square; but if the answer incorrect, the square & point went to the opponent. As before, upon a capture, the captured square turned that player's color, and whenever four squares of one player's color were arranged in one large square, that contestant received a 5-point bonus. But to make things difficult for the players involved, four or seven squares contained "Gremlins" (indicated by sad faces); if any one of those were exposed, that square automatically went to the opponent. The round continued until there were no more 4 Square possibilities.
The Maze[edit]
In this round, each contestant had 60 seconds (one minute) to go through a maze. There were 10 junction points all around the maze. On each junction point, the host read a "true or false" statement, and the contestant in control locked in his/her true or false answer by pressing one of the two buttons in front of him/her. A correct answer scored 1 point and continued down the maze, but an incorrect answer forced the player to hit a dead end. If the player in control can answer 10 questions correctly, he/she was out of the maze and was asked a bonus question. If both players made it through, only faster of the two players got the bonus question.
The game ended with another "Pair the Squares" round, or in later shows, the rest of the "Pair the Squares" round. The player with the most points continued on in the tournament.
QMRIn mathematics, Euler's four-square identity says that the product of two numbers, each of which is a sum of four squares, is itself a sum of four squares. Specifically:
(a_1^2+a_2^2+a_3^2+a_4^2)(b_1^2+b_2^2+b_3^2+b_4^2)=\,
(a_1 b_1 + a_2 b_2 + a_3 b_3 + a_4 b_4)^2 +\,
(a_1 b_2 - a_2 b_1 + a_3 b_4 - a_4 b_3)^2 +\,
(a_1 b_3 - a_2 b_4 - a_3 b_1 + a_4 b_2)^2 +\,
(a_1 b_4 + a_2 b_3 - a_3 b_2 - a_4 b_1)^2.\,
Euler wrote about this identity in a letter dated May 4, 1748 to Goldbach[1][2] (but he used a different sign convention from the above). It can be proven with elementary algebra and holds in every commutative ring. If the a_k and b_k are real numbers, a more elegant proof is available: the identity expresses the fact that the absolute value of the product of two quaternions is equal to the product of their absolute values, in the same way that the Brahmagupta–Fibonacci two-square identity does for complex numbers.
The identity was used by Lagrange to prove his four square theorem. More specifically, it implies that it is sufficient to prove the theorem for prime numbers, after which the more general theorem follows. The sign convention used above corresponds to the signs obtained by multiplying two quaternions. Other sign conventions can be obtained by changing any a_k to -a_k, b_k to -b_k, or by changing the signs inside any of the squared terms on the right hand side.
Hurwitz's theorem states that an identity of form,
(a_1^2+a_2^2+a_3^2+...+a_n^2)(b_1^2+b_2^2+b_3^2+...+b_n^2) = c_1^2+c_2^2+c_3^2+...+c_n^2\,
where the c_i are bilinear functions of the a_i and b_i is possible only for n = {1, 2, 4, 8}. However, the more general Pfister's theorem allows that if the c_i are just rational functions of one set of variables, hence has a denominator, then it is possible for all n = 2^m.[3] Thus, a different kind of four-square identity can be given as,
(a_1^2+a_2^2+a_3^2+a_4^2)(b_1^2+b_2^2+b_3^2+b_4^2)=\,
(a_1 b_4 + a_2 b_3 + a_3 b_2 + a_4 b_1)^2 +\,
(a_1 b_3 - a_2 b_4 + a_3 b_1 - a_4 b_2)^2 +\,
\left(a_1 b_2 + a_2 b_1 + \frac{a_3 u_1}{b_1^2+b_2^2} - \frac{a_4 u_2}{b_1^2+b_2^2}\right)^2+\,
\left(a_1 b_1 - a_2 b_2 - \frac{a_4 u_1}{b_1^2+b_2^2} - \frac{a_3 u_2}{b_1^2+b_2^2}\right)^2\,
where,
u_1 = b_1^2b_4-2b_1b_2b_3-b_2^2b_4
u_2 = b_1^2b_3+2b_1b_2b_4-b_2^2b_3
Note also the incidental fact that,
u_1^2+u_2^2 = (b_1^2+b_2^2)^2(b_3^2+b_4^2)
Ryan Merkle QMRAfter Pulp Fiction was completed, Tarantino directed the fourth segment of the anthology film Four Rooms, "The Man from Hollywood", a tribute to the Alfred Hitchcock Presents episode "Man From the South", which starred Steve McQueen in an adaptation of a Roald Dahl story. Four Rooms was a collaborative effort with filmmakers Allison Anders, Alexandre Rockwell and Robert Rodriguez. The film was very poorly received by critics. Additionally, he starred in the action comedy Destiny Turns on the Radio as the titular character and played the "Pick-up Guy" in Robert Rodriguez's action film Desperado in 1995.
QMRGermany interfered little in internal French affairs for the first two years after the armistice, as long as public order was maintained.[26]:139 As soon as it was established, Pétain's government voluntarily took measures against "undesirables": Jews, métèques (immigrants from Mediterranean countries), Freemasons, Communists, Romani, homosexuals,[citation needed] and left-wing activists. Inspired by Charles Maurras's conception of the "Anti-France" (which he defined as the "four confederate states of Protestants, Jews, Freemasons, and foreigners"), Vichy persecuted these supposed enemies.
QMRBoxed (Mike Oldfield album)
From Wikipedia, the free encyclopedia
Boxed
Mike Oldfield - Boxed.jpg
Box set by Mike Oldfield
Released 29 October 1976
Recorded November 1974 – August 1976
(Collaborations)
Genre Progressive rock
Length 162:21
Label Virgin
Producer Mike Oldfield
Peter Jenner
David Bedford
Tom Newman
Mike Oldfield chronology
Ommadawn
(1975) Boxed
(1976) Incantations
(1978)
Boxed is a compilation album written and mostly performed by Mike Oldfield, released in 1976. It features SQ system 4 channel quadraphonic remixed versions of his first three albums (Tubular Bells, Hergest Ridge and Ommadawn) and some collaborations.
Ryan Merkle Background[edit]
Boxed features quadraphonic remixed versions of his first three albums. Oldfield later explained that instead of being true 4 channel sound, the initial quad remix of Tubular Bells, released few months after the stereo version, was a "strange fake out-of-phase system", because it was so complex a mix without automation.[1]
The quad remix of Tubular Bells on Boxed was entirely different and true 4 channel sound (later released on SACD). The Boxed-CD version still contains the SQ-encoded quad mixes and plays as normal stereo without a quad decoder. The SQ quad remix Hergest Ridge was the only version of the album available on CD (until the 2010 Mercury Records reissue, Deluxe Edition), as Oldfield disliked the original vinyl mix.
The traditional hornpipe melody "The Sailor's Hornpipe", which was the finale from Tubular Bells, has an extended speech from Viv Stanshall, which is from the recording sessions at The Manor Studio (see Tubular Bells original ending).
Tubular Bells was re-mixed in quad by Phil Newell, assisted by Alan Perkins. Hergest Ridge was re-mixed in quad by Mike Oldfield. Ommadawn was re-mixed in quad by Mike Oldfield and Phil Newell.
Cover[edit]
The album cover adapts the theme of two M. C. Escher's engravings: "Gallery" and "Other World".[2][3]
Charts[edit]
Boxed charted at number 22 on the UK Album Chart in 1976. In 2009 it also charted on the Billboard European Album Chart at number 76.
Chart (1976) Position
UK Album Chart 22
Chart (2009) Position
US Billboard European Album Chart 76
Track listing
Vinyl[edit]
LP one – Tubular Bells[edit]
Side one[edit]
"Tubular Bells" Part One (Mike Oldfield) – 25:30
Side two[edit]
"Tubular Bells" Part Two (Oldfield except "Sailor's Hornpipe" (Traditional)) – 25:47
LP two – Hergest Ridge[edit]
Side three[edit]
"Hergest Ridge" Part One (Oldfield) – 21:24
Side four[edit]
"Hergest Ridge" Part Two (Oldfield) – 18:46
LP three – Ommadawn[edit]
Side five[edit]
"Ommadawn" Part One (Oldfield) – 20:06
Side six[edit]
"Ommadawn" Part Two (Oldfield) – 17:22
LP four – Collaborations[edit]
Side seven[edit]
"Phaeacian Games" (David Bedford) – 3:59
"Extract from Star's End" (Featuring David Bedford, Chris Cutler and The Royal Philharmonic Orchestra) (Bedford) – 7:33
"The Rio Grande" (Traditional, arrangement by Bedford) – 6:34
Side eight[edit]
"First Excursion" (Oldfield, Bedford) – 5:57
"Argiers" (Traditional, arrangement by Oldfield) – 3:59
"Portsmouth" (Featuring Leslie Penning) (Traditional, arrangement by Oldfield) – 2:04
"In Dulci Jubilo" (Featuring Leslie Penning and William Murray) (Traditional, arrangement by Oldfield) – 2:51
"Speak Tho' You Only Say Farewell" (Featuring Bedford) (Ray Morello, Horatio Nicholls) – 2:56
QMRTake Four" is a four-themed single by musician Mike Oldfield, released in 1978. It was Oldfield's first 12-inch single, and was available in white vinyl.[1]
The single featured two of Oldfield's previous singles, "Portsmouth" and "In Dulci Jubilo", along with the finale from Tubular Bells, "The Sailor's Hornpipe", and a new track, "Wrekorder Wrondo" that may be based on the song "Cum decore" by Tielman Susato.
Ryan Merkle The cover is a quadrant
QMRThe Buried Life is a reality documentary series on MTV.[1] The series features Duncan Penn, Jonnie Penn, Ben Nemtin, and Dave Lingwood attempting to complete a list of "100 things to do before you die." The pilot episode aired on January 18, 2010, and the show was renewed for a second season in 2010. On Oct 25, 2011, The Buried Life announced they wouldn't be doing any more episodes of the show.[2] Shortly after their show's cancellation, the its creators said they were working on a "new and improved" show for the network based on the premise of the original series.[3] No new details on a new series have since been released.
Penn, Lingwood, Penn and Nemtin released their first book as The Buried Life, "What Do You Want to Do Before You Die?" on March 27, 2012. On the week of its release the book climbed to #1 on The New York Times Best Seller List.[4]
The series focuses on four friends (Ben, Duncan, Jonnie and Dave) as they travel across North America in a purple transit bus named "Penelope" to complete a list of "100 things to do before you die." For every item they try to complete on their list, they help a stranger achieve one of their dreams and encourage others to go after their own lists. Everywhere they go they ask the question: "What do you want to do before you die?"[5][6] They have crossed off most of the numbers on their list.[7] Ranging from asking a girl out to surviving on a desert island, the boys are always doing something different. It has been confirmed that The Buried Life will not be returning for a third season, but the boys are working with MTV on a new project.
Background[edit]
The Buried Life is a company formed by four university students from Canada. The four grew up in Victoria, British Columbia located on Vancouver Island.[8] The idea for the name originated from an 1852 Matthew Arnold poem entitled "The Buried Life".[9]
The project filmed its first full feature documentary in the summer months of 2006 (August) and 2007 (August to October). The documentary is titled The Buried Life: What Do You Want To Do Before You Die? It tells the story of four friends who make a list of 100 things to do before they die and their journey across North America to accomplish it. The film was shot in locales throughout Canada and the United States including: British Columbia, California, Idaho, Nevada, Oregon, Texas and Washington, D.C.[10]
In 2007 The Buried Life was offered a television show in Canada but ultimately turned it down citing they were not willing to give up creative control of the project.
On April 18, 2009 an article in The New York Times announced that a serial television version of their documentary titled The Buried Life was chosen by MTV for development. The show was selected as a flagship reality program that would usher in MTV's shift away from the superficial content currently dominating the network's programming, toward the production of more socially conscious media, something the Times dubbed "MTV for the era of Obama."[6]
In an interview with Shave Magazine, Dave Lingwood revealed that MTV first found the boys on YouTube and later reached an agreement with them whereby they would film, edit and cut all the material themselves and send MTV "the finished product and they just air it."[11]
QMRThere are a variety of instruments frequently used in the theater. Although they vary in many ways they all have the following four basic components in one form or other:
Box/Housing - a metal or plastic container to house the whole instrument and prevent light from spilling in unwanted directions.
Light source (lamp).
Lens or opening - the gap in the housing where the light is intended to come out.
Reflector - behind or around the light source in such a way as to direct more light towards the lens or opening.
Additional features will vary depend on the exact type of fixture.
Ryan Merkle QMrThe Electronic Theatre Controls (ETC) Source Four (also known unofficially as Source 4 or S4) is an ellipsoidal reflector spotlight (ERS) used in stage lighting. First released in 1992, the Source Four was invented by David Cunningham and features an improved lamp and reflector compared to previous ERS designs, tool-free lamp adjustment, and a rotating, interchangeable shutter barrel.[1][2][3][4][5][6] The Source Four is widely used by professional theaters across the globe.[7][8]
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