jazz

Jazz is a primarily American musical art form which originated at the beginning of the 20th century in African American communities in the Southern United States from a confluence of African and European music traditions. The style's West African pedigree is evident in its use of blue notes, improvisation, polyrhythms, syncopation, and the swung note.

From its early development until the present, jazz has also incorporated music from 19th and 20th century American popular music. The word jazz began as a West Coast slang term of uncertain derivation and was first used to refer to music in Chicago in about 1915; for the origin and history, see Jazz (word).

Jazz has, from its early 20th century inception, spawned a variety of subgenres, from New Orleans Dixieland dating from the early 1910s, big band-style swing from the 1930s and 1940s, bebop from the mid-1940s, a variety of Latin jazz fusions such as Afro-Cuban and Brazilian jazz from the 1950s and 1960s, jazz-rock fusion from the 1970s and late 1980s developments such as acid jazz, which blended jazz influences into funk and hip-hop. As the music has spread around the world it has drawn on local national and regional musical cultures, its aesthetics being adapted to its varied environments and giving rise to many distinctive styles.

The IUPAC nomenclature of inorganic chemistry is a systematic method of naming inorganic chemical compounds as recommended by the International Union of Pure and Applied Chemistry (IUPAC). Ideally, every inorganic compound should have a name from which an unambiguous formula can be determined. There is also an IUPAC nomenclature of organic chemistry.
The names "caffeine" and "3,7-dihydro-1,3,7-trimethyl-1H-purine-2,6-dione" both describe the same chemical. The systematic name encodes the structure and composition of the caffeine molecule in some detail, and provides an unambiguous reference to this compound, whereas the name "caffeine" just names it. These advantages make the systematic name far superior to the common name when absolute clarity and precision are required. However, even professional chemists will use the non-systematic name almost all of the time, because caffeine is a well-known common chemical with a unique structure. Similarly, H₂O is most often simply called water in English, though other chemical names do exist.
Positively charged ions are called cations and negatively charged ions are called anions. The cation is always named first. Ions can be metals or polyatomic ions. Therefore the name of the metal or positive polyatomic ion is followed by the name of the non-metal or negative polyatomic ion. The positive ion retains its element name whereas for a single non-metal anion the ending is changed to -ide.
Example: sodium chloride, potassium oxide, or calcium carbonate.
When the metal has more than one possible ionic charge or oxidation number the name becomes ambiguous. In these cases the oxidation number of the metal ion is represented by a Roman numeral in parentheses immediately following the metal ion name. For example in uranium(VI) fluoride the oxidation number of uranium is 6. Another example is the iron oxides. FeO is iron(II) oxide and Fe₂O₃ is iron(III) oxide.
An older system used prefixes and suffixes to indicate the oxidation number, according to the following scheme:
Thus the four oxyacids of chlorine are called hypochlorous acid (HOCl), chlorous acid (HOClO), chloric acid (HOClO₂) and perchloric acid (HOClO₃), and their respective conjugate bases are the hypochlorite, chlorite, chlorate and perchlorate ions. This system has partially fallen out of use, but survives in the common names of many chemical compounds: the modern literature contains few references to "ferric chloride" (instead calling it "iron(III) chloride"), but names like "potassium permanganate" (instead of "potassium manganate(VII)") and "sulfuric acid" abound.

Single atom anions are named with an -ide suffix: for example, H,
The prefix bi- is a deprecated way of indicating the presence of a single hydrogen ion, as in "sodium bicarbonate" (NaHCO₃). The modern method specifically names the hydrogen atom. Thus, NaHCO₃ would be pronounced "sodium hydrogen carbonate". Traditional naming
An ionic compound is named by its cation followed by its anion. See polyatomic ions for a list of possible ions.
For cations that take on multiple charges, the charge is written using Roman numerals in parentheses immediately following the element name) For example, Cu(NO₃)₂ is copper(II) nitrate, because the charge of two nitrate ions (NO₃) is 2 × −1 = −2, and since the net charge of the ionic compound must be zero, the Cu ion has a 2+ charge. This compound is therefore copper(II) nitrate. In the case of cations with a 4+ oxidation state, the acceptable format for the Roman numeral 4 is IV and not IIII.
The Roman numerals in fact show the oxidation number, but in simple ionic compounds (i.e., not metal complexes) this will always equal the ionic charge on the metal. For a simple overview see [1], for more details see selected pages from IUPAC rules for naming inorganic compounds.

Naming simple ionic compounds
Monatomic anions:
Cl permanganate

Naming hydrates
Inorganic molecular compounds are named with a prefix (see list above) before each element. The more electronegative element is written last and with an -ide suffix. For example, CO₂ is carbon dioxide. Although CCl₄ is sometimes called carbon tetrachloride under this rule, it is not an inorganic molecule and is more properly called tetrachloromethane. There are some exceptions to the rule, however. The prefix mono- is not used with the first element; for example, CO₂ is carbon dioxide, not "monocarbon dioxide". Sometimes prefixes are shortened when the ending vowel of the prefix "conflicts" with a starting vowel in the compound. This makes the compound easier to speak; for example, CO is "carbon monoxide" (as opposed to "monooxide").

Naming molecular compounds
Acids are named by the anion they form when dissolved in water. If an acid forms an anion named ___ide, it is named hydro___ic acid. For example, hydrochloric acid forms a chloride anion. Secondly, anions with an -ate suffix are formed when acids with an -ic suffix are dissolved, e.g. chloric acid (HClO₃) dissociates into chlorate anions to form salts such as sodium chlorate (NaClO₃); anions with an -ite suffix are formed when acids with an -ous suffix are dissolved in water, e.g. chlorous acid (HClO₂) disassociates into chlorite anions to form salts such as sodium chlorite (NaClO₂).

Naming acids
With the last revision of the nomenclature, many things changed. Most important is, that there is no absolute right name for one compound anymore. As long as the name describes the compound sufficiently and unambiguously, the name is correct. Old names such as water, carbonyl or cyano are still tolerated. — The "old names" may still have to be understood, but the systematic IUPAC nomenclature is easier to learn (because it is systematic) and always right to use.
There are basically two different ways to describe a compound: compositional and substitutive nomenclature.

2005 revision of IUPAC's nomenclature for inorganic compounds
This ansatz tries to describe how a molecule is constructed from some kind of core, in partial imitation of the system for naming coordination compounds. The core(s) of the molecule is taken to be the atom with the lowest electronegativity (EN) (e.g. in CO, C, with EN=2.5, is taken to be the core, whereas O has EN=3.5). The choice of core element determines the stem name of the compound. If the compound is negatively charged, the name is augmented by a suffix: -ide if no other element is present and -ate otherwise.
Then the surrounding atoms and groups are described in the manner used to describe the ligand portions of coordination compounds. The ligand names are determined similarly to the core name. The suffix -o marks a group as a ligand. Identical groups are named collectively using a counting prefix (i.e. tri-, tetra- or bis-).
After the naming of atoms, designators for charge, radical function, water of crystallization, bridging or multicoordinating ligands are added. Brackets are employed to eliminate ambiguities. Last but not least, the ligand names (if there are distinct ligands) are listed separately in alphabetical order; the alphabetical naming order disregards the counting prefixes.
Cations and anions are treated separately (in that order).
Exemplification:

Substitutive nomenclature

IUPAC nomenclature
IUPAC nomenclature of organic chemistry
List of inorganic compounds
Water of Crystallization

Sigrid Undset (May 20, 1882 – June 10, 1949) was a Norwegian novelist who won the Nobel Prize in Literature for 1928.
Undset was born in Kalundborg, Denmark, but her family moved to Norway when she was two years old. In 1924, she converted to Catholicism. She fled Norway for the United States in 1940 because of her opposition to Nazi Germany and the German occupation, but returned after World War II ended in 1945.
Her best-known work is Kristin Lavransdatter, a modernist trilogy about life in Scandinavia in the Middle Ages. The book was set in medieval Norway and was published from 1920 to 1922 in three volumes. Kristin Lavransdatter portrays the life of woman from birth until death. Undset was awarded the Nobel Prize in Literature for this trilogy as well as her two books about Olav Audunssøn, published in 1925 and 1927.
Undset experimented with modernist tropes such as stream of consciousness in her novel, although the original English translation by Charles Archer excised many of these passages. In 1997, the first volume of Tiina Nunnally's new translation of the work won the PEN/Faulkner Award for Fiction in the category of translation. The names of each volume were translated by Archer as The Bridal Wreath, The Mistress of Husaby, and The Cross, and by Nunally as The Wreath, The Wife, and The Cross.

Biography
Sigrid Undset was born on 20 May 1882, at Kalundborg, in Denmark, at her mother's handsome childhood home on the market place of the small town. Sigrid was the eldest of the couple's three daughters. She came to Norway at the age of two, when her parents moved on account of her father's illness, which forced him to give up further scientific travel in Europe.
She grew up in Kristiania, the capital (the name was changed back to Oslo in 1925). The first eleven years of her life were strongly influenced by her father's serious illness but also by his extensive historical knowledge. At an early age, Sigrid learnt not only the secrets of archaeology, but also the mysteries of the Norse sagas and Scandinavian folk songs.
Her father died, only 40 years old, when she was 11. Her mother was left to cope single-handedly with three young daughters, on very slim means. This family tragedy left its mark on Sigrid Undset's childhood and adolescence. Her hopes of a university education had to be abandoned. Having passed the intermediate school (Middelskole) examination, she took a 1-year secretarial course, and, at the age of 16, got a job as secretary with a major German-owned engineering company in Kristiania. It was necessary for her to earn money to help her mother and her two younger sisters. She worked with the same company for 10 years as a secretary, gradually assuming a highly trusted position. There were times when she detested office work, feeling she was wasting her time and her youth. But it gave her insight into a major industrial enterprise, taught her how to work systematically, and made her into an expert typist. She later exhibited a considerable talent for organisation, both as housewife and subsequently as chairman of the Society of Norwegian Authors. Furthermore, systematic office routine undoubtedly taught her a good deal about how to proceed with major literary works such as her serial novels.
But the ten years of office work were a torment to Sigrid Undset. Late at night, and during weekends and holidays, she stole the time to write. Sigrid was no more than 16 years old when she made her first hesitant attempt at writing a novel set in the Nordic Middle Ages. For several years, she wrestled with the subject. At the same time, she read a lot, acquiring a thorough knowledge of Nordic as well as foreign literature, English in particular.
She was deeply moved by Shakespeare, enthusiastic about Chaucer, attracted by legends of King Arthur. But she also immersed herself in the work of Scandinavian writers, such as Ibsen, Strindberg, Brandes, and English authors such as the Brontë sisters and Jane Austen. On her own initiative and in her spare time she thus acquired a sound knowledge of the art of writing, preparing herself for what she felt from an early age to be her "fate" in life.
The manuscript of Undset's first novel was ready by the time she was 22. It was the result of burning the midnight oil for many years. It was an historical novel set in the Denmark of the Middle Ages, clearly of the rather romantic type. The manuscript was turned down by the publishing house, and to her this was a devastating blow. All the same, two years later, she had completed another manuscript; much less voluminous this time, only 80 pages. She had put aside the Middle Ages, and had instead produced a realistic description of a woman with a petit-bourgeois background in contemporary Kristiania. The title was Fru Marta Aulie, with an opening sentence which scandalised the readers: I have been unfaithful to my husband. These were the words of the book's main character. This book was also refused at first, but after the intervention of a well-known writer of the time, it was subsequently accepted.
Thus, at the age of 25, Sigrid Undset made her literary debut with a short, realistic novel on adultery, set against a contemporary background. It created a stir, and she found herself ranked as a promising young author in Norway. During the years up to 1919, Undset published a number of novels set in contemporary Kristiania. The 10 years at the office had been lonely and difficult ones, but they had given her a foothold in the world of unimportant, everyday people; those who bravely, if not necessarily heroically, strove to find some happiness in life. Undset was a shy, rather introverted young woman with few personal friends. But she had unusually sharp eyes, she saw people, and she saw through them. Her way of breaking out of her loneliness was to take long strolls in and around Kristiania, both east and west, and she came to know it better than most. Her contemporary novels of the period 1907-1918 include all this -- the city and its insignificant inhabitants, the monotonous boarding-house existence of secretaries in a gloomy town, their longing for a little warmth and love, and their brave, not to say heroic, rejection of seediness. These are the stories of working people, of trivial family destinies, of the relationship between parents and children, written with warmth, but soberly, and completely unsentimentally. Her main subjects are women and their love. Or, as she herself put it -- in her typically curt and ironic manner -- "the immoral kind" (of love).
This realistic period culminated in the novels Jenny in 1911 and Vaaren (Spring) in 1914. The first is about a woman painter who, as a result of romantic crises, believes that she is wasting her life, and in the end commits suicide. The other tells of a woman who succeeds in saving both herself and her love from a serious matrimonial crisis, finally creating a secure family. These books placed Undset more or less clearly apart from the incipient women's emancipation movement in Europe -- perhaps not exactly against it, but on an entirely different level.
Undset's books sold well from the start, and after the publication of her third book, she quit the office job, and prepared to live on her income as a writer. Having been granted a writer's scholarship, she set out on a lengthy journey in Europe. After short stops in Denmark and Germany, she continued to Italy, arriving in Rome in December 1909, where she remained for 9 months.
Undset's parents had had a close relationship with Rome. As a matter of fact, Sigrid should have been born in Rome while her parents lived there in 1882. But just before her birth, her father became suddenly and seriously ill, her parents travelled north in a great hurry to her mother's home at Kalundborg, and that is where Sigrid was born. However, Undset herself very likely felt that her proper place of birth was Rome, and during her stay there in 1909 she followed in her parents' footsteps.
The encounter with Southern Europe meant a great deal to her. She immediately made friends within the circle of Scandinavian artists and writers in Rome, she became more open, and more outgoing and lively in her relations with other people.
In Rome, she met Anders Castus Svarstad, a Norwegian painter, whom she married 2 or 3 years later. She was then 30 and, most likely, he was her first love. Svarstad was nine years older than her, he was married, and had a wife and three children in Norway. Their meeting must have been a case of love at first sight, but it was nearly three years before Svarstad got his divorce.
They were married in 1912, and went to stay in London for 6 months. Svarstad painted, and Undset developed strong ties with English art and letters, which were to be of decisive importance to her for the rest of her life. From London, they returned to Rome, where Sigrid's first child was born in January 1913. It was a boy, and he was named after his father.
Marriage, and the other children who came later, meant a great deal to Sigrid Undset, both as a person and as a woman. But it was a serious dilemma for the creative artist. In the years of marriage up to 1919, she had three children of her own, and a large, busy household to look after; one which also included Svarstad's three children by his first marriage. They were difficult years for Sigrid Undset. Her second child, a girl, was mentally handicapped, and Svarstad's mentally handicapped son also lived with them. She kept an open and busy house for the large family and for old and new friends.
At the same time, she continued writing at night, after the others had gone to bed, finishing her last realistic novels and collections of short stories. She also entered the public debate on the most topical themes: women's emancipation, ethical and moral issues. She had considerable polemical gifts, and was categorically critical of emancipation as it was developing, and of the moral and ethical decline she felt was threatening in the wake of the First World War, which was raging beyond the shores of neutral Norway.
In 1919, she moved to Lillehammer, a small town in the Gudbrandsdalen, a valley in south-east Norway, taking her two children with her. She was expecting her third child. The idea was that she should take a rest at Lillehammer and move back to Kristiania as soon as Svarstad had their new house in order. However, it was not to be.
Instead, the marriage broke down. In August 1919, Sigrid Undset gave birth to her third child, at Lillehammer. She decided to make Lillehammer her home, and within two years, Bjerke-bæk, her large, beautiful house, was completed. It was a property consisting of three large, handsome houses of traditional Norwegian timber architecture, and a big, fenced garden with lovely views of the town and the villages around. Her ailing daughter and the two boys now had a secure and exceptionally beautiful home. At last, after years of moves and changes, Sigrid Undset, the writer, had a quiet place to which she could retreat from the world at large in order to do the one thing she now knew she was really good at -- writing.
Marriage and the First World War were to change Undset's attitudes. During those difficult years she had experienced a crisis of faith, almost imperceptible at first, then increasingly strong. The crisis led her from clear agnostic scepticism, by way of painful uneasiness about the ethical decline of the time, towards Christianity. She had grown up in a tolerant, free-thinking home, and had herself been a sceptical free-thinker, though without the blind faith of the time in science and materialism being the be-all and end-all.
It would appear that Sigrid Undset had had a personal religious experience at one time or another during those years. In all her writing one senses an observant eye for the mystery of life, for that which cannot be explained either by reason or common sense. At the back of her sober, almost brutal realism, there is always an inkling of something unanswerable. It would seem that this recognition of mystery resulted in a personal religious experience. At any rate, this crisis changed her view of Christianity. She no longer believed that man had created God, but had come to believe that God created man.
It was not the Lutheran Church, the Protestant State Church of Norway, where she herself had been christened, that became her choice. She joined the Roman Catholic Church in November 1924, having received thorough instruction from the local Catholic priest in her home district. She was 42 years old at the time.
In Norway Sigrid Undset's conversion to Catholicism was not only considered sensational; it also had an air of scandal about it. It was also noted abroad, where her name was becoming known through the international success of Kristin Lavransdatter. Today, we can only smile at that sensation. But at that time there were practically no Catholics in Norway, an almost obsessively Protestant country. "Papism" was held in contempt, even feared by large sections of the community, and not only by the Lutheran church, but actually just as much by free-thinkers, and among those more or less closely connected with Marxism, Leninism, and socialism. The attacks were quite vicious at times, with the result that Sigrid Undset's polemical gifts were aroused. For many years she participated in the public debate, in fact going out of her way to join in it, in almost total defence of her Roman Church.
However, it is not, after all, the Mistress of Bjerke-bæk or the Catholic lady who interest us most when it comes to Sigrid Undset, it is Sigrid Undset the writer, and this is a productive period for her.
As soon as her third child had been born, and she had a secure roof over her head, she started on Kristin Lavransdatter, a major project indeed. She was completely at home in the subject matter, having written a short novel at an earlier stage, about a period in Norwegian history closer to the pagan times. She had also published a version in Norwegian of the Arthurian legends, from the British/Celtic Middle Ages. She had studied Norse manuscripts and medieval texts, and had closely investigated medieval churches and monasteries, both at home and abroad. She was now an authority on the period she was struggling to portray, and a very different person from the 22-year old who had written her first novel on the Middle Ages.
What had happened to her in the meantime has to do with more than history and literature, it has just as much to do with her development as a person. She had experienced love, and passion, to the bitter end. She had been in despair over a sick world in the throes of the bloodbath of the First World War. When she started on Kristin Lavransdatter in 1919, she knew what life was about.
Kristin Lavransdatter is, of course, an historical novel. But it is more than that. The historical novel aspect is not even the most important part of it. The historical background is precise and realistic enough, and never romanticised. This is by no means a writer's escape from the contemporary scene into vague longings for the past. Instead, in these three volumes Undset transfers the feelings -- well known to herself -- of happiness and sorrow, of ecstasy and despair back into a distant past. Not in order to romanticise them, though obviously Undset's choice of the Middle Ages is a result of her admiration of the rock-firm faith that characterized this period.
She transfers the protagonists to a distant past in order to establish the distance the author needs, in order to create a work of art from her own strong feelings and strict thoughts. She was aware of being on the threshold of something new in her authorship. She searches for, and finds, the necessary distance by going back to the Middle Ages. «I am finding my feet, and quite unaided at that», she wrote to a friend.
It is life's mystery, as she knows it from her own experience, that she writes about in Kristin Lavransdatter. That is why these 1,400 pages, as well as the 1,200 on Olav Auduns-søn are timeless. Her characters are men and women of flesh and blood, they could well be our neighbours today. And Undset has put them in a natural setting which is ours to this day. It is the city of Oslo she knew so well, the valley - Gudbrandsdalen - that she loved, and her father's Trøndelag region.
It was after she had broken out of her marriage that Sigrid Undset became mature enough to write her masterpiece. In the years between 1920 and 1927 she first published the 3-volume Kristin, and then the 4-volume Olav (Audunssøn). Simultaneously with this creative process, she was engaged in trying to find the meaning of her own life, finding the answer in the God of Christianity. As she herself put it: "He brought me in from the outposts."
At the end of this creative eruption, Sigrid Undset entered calmer waters. After 1929, she completed a series of novels set in contemporary Oslo, with a strong Catholic element. She selected her themes from the small, though interesting Catholic community in Norway. But here also, the main theme is love. She also published a number of weighty historical works, which undoubtedly did their bit in putting the history of Norway into a more sober perspective. In addition, she translated several Icelandic sagas into Norwegian and published a few literary essays, mainly on English literature, of which a long essay on the Brontë sisters, and one on D.H. Lawrence, are especially worth mentioning. These are not great literature, but they are strong and inspiring.
In 1934, she published Eleven Years Old, an autobiographical work. With a minimum of camouflage, it tells the story of her own childhood in Kristiania, of her home, rich in intellectual values and love, and of her sick father. It is one of the most fetching Norwegian books ever written about a little girl, surpassed by very few. Sigrid Undset was passing from strength to strength.
At the end of the thirties she started on a new book, an historical novel set in 18th century Scandinavia. Only the first volume, Madame Dorthea, was published in 1939. The Second World War broke out. It was to break her, both as a person and as a writer. She never finished the set of 18th century novels. The War had sapped all her strength.
During the Winter War Undset supported the Finnish cause by donating on 25 January, 1940 her Nobel medal to Finland [1].
When Germany invaded Norway in April 1940, she was forced to flee. She had strongly opposed Hitler and Nazism since the early '30s, and from an early date her books were banned in Germany. She had no wish to be taken hostage by the Germans, and fled to Sweden. Her elder son, Anders, was killed in action at the age of 27, in April 1940, only a few kilometres from their home at Bjerke-bæk. He was an officer in the Norwegian army and was killed in an encounter with German troops. Her sick daughter had died shortly before the outbreak of the War. Bjerke-bæk was occupied by the German Army, and used as officers' quarters during the War.
In 1940, Sigrid Undset and her younger son left neutral Sweden for the United States. There, she untiringly pleaded her occupied country's cause, in writing and speeches. She returned to Norway after the liberation in 1945, worn out. She lived for another four years, but she never wrote another word.
Undset died at the age of 67 in Lillehammer, Norway, where she had lived from 1919 through 1940.

This is a list of U.S. state colors:

Geography

Union County (north)
Johnson County (northeast)
Massac County (east)
Ballard County, Kentucky (southeast)
Alexander County (west) Adjacent Counties
Pulaski County was formed in 1843 out of Alexander and Johnson Counties. It was named in honor of Kazimierz Pułaski who was killed at the Siege of Savannah in the Revolutionary War.

Demographics

Karnak
Mound City
Mounds
New Grand Chain
Olmsted
Pulaski
Ullin

Pop art is a visual artistic movement that emerged in the mid 1950s in Britain and in parallel in the late 1950s in the United States. The term was used by British art critic/curator, Lawrence Alloway.

Pop art in the USA
In Spain, the study of pop art is associated with the "new figurative." which arose from the roots of the crisis of informalism. Eduardo Arroyo could be said to fit within the pop art trend, on account of his interest in the environment, his critique of our media culture which incorporates icons of both mass media communication and the history of painting, and his scorn for nearly all established artistic styles. However, the Spaniard who could be considered the most authentically "pop" artist is Alfredo Alcaín, because of the use he makes of popular images and empty spaces in his compositions.
Also in the category of Spanish pop art is the "Chronicle Team" (El Equipo Crónica), which existed in Valencia between 1964 and 1981, formed by the artists Manolo Valdés and Rafael Solbes. Their movement can be characterized as pop because of its use of comics and publicity images and its simplification of images and photographic compositions.
Filmmaker Pedro Almodovar emerged from Madrid's "La Movida" subculture (1970s) making low budget super 8 pop art movies and was subsequently called the Andy Warhol of Spain by the media at the time. In the book "Almodovar on Almodovar" he is quoted saying that the 1950s film "Funny Face" is a central inspiration for his work. One pop trademark in Almodovar's films is that he always produces a fake commercial to be inserted into a scene.

Notable pop artists

Op art
Plop art
Lowbrow (art movement)
Figuration Libre (art movement)

Goshen is a town in Orange County, New York, United States. The population was 12,913 at the 2000 census.
The Town of Goshen contains a village also called Goshen. The town is centrally located in the county.

Demographics

Arcadia Hills --
Axworthy Lane --
Durlandville --
Finnegans Corner --
Florida -- A small part of the Village of Florida is on the south town line.
Goshen -- The Village of Goshen is the county seat.
Goshen Hills --
Howell --
Hambletonian Park --
Otter Kill --
Pellets Island --