title: 1920s in Western fashion

text: The straight-line chemise topped by the close-fitting cloche hat became the uniform of the day. Women "bobbed", or cut, their hair short to fit under the popular hats, a radical move in the beginning, but standard by the end of the decade. Low-waisted dresses with fullness at the hemline allowed women to literally kick up their heels in new dances like the Charleston. In 1925, "shift" type dresses with no waistline emerged. At the end of the decade, dresses were being worn with straight bodices and collars. Tucks at the bottom of the bodices were popular, as well as knife-pleated skirts with a hem approximately one inch below the knee.


title: 1920s in Western fashion

text: In the world of art, fashion was being influenced heavily by art movements such as surrealism. Elsa Schiaparelli is one key Italian designer of this decade who was heavily influenced by the "beyond the real" art and incorporated it into her designs.


title: 1920s in Western fashion

text: Proper attire for women was enforced for morning, afternoon, and evening activities. In the early part of the decade, wealthy women were still expected to change from a morning to an afternoon dress. These afternoon or "tea gowns" were less form-fitting than evening gowns, featured long, flowing sleeves, and were adorned with sashes, bows, or artificial flowers at the waist. For evening wear the term "cocktail dress" was invented in France for American clientele. With the "New Woman" also came the "Drinking Woman". The cocktail dress was styled with a matching hat, gloves, and shoes. What was so unique about the cocktail dress was that it could be worn not just at cocktail hours (6 and 8pm), but by manipulating and styling the accessories correctly could be worn appropriately for any event from 3 pm to the late evening. Evening gowns were typically slightly longer than tea gowns, in satin or velvet, and embellished with beads, rhinestones, or fringe.


title: 1920s in Western fashion

text: Both blouses and separate skirts went out of fashion by mid-decade, and was popular during the early years of the decade.


title: 1920s in Western fashion

text: During 1920, the lengths of the skirt went to the ankle with a slight bow around the hips and tapering slightly to the hemline.


title: 1920s in Western fashion

text: In 1922, skirts went off from the ankle and reached to mid-shin. And created a slightly A-lined shape by flaring out, or in a barrel-like shape by tapering around the hips. Blouses were worn often tucked in the skirt's waistbands and pulled out a few inches.


title: 1920s in Western fashion

text: In the 20s, the jewelries were not determined by the cost of materials, instead the focus was more on the design.


title: 1920s in Western fashion

text: One of the key accessories in the 20s was the Cloche hat. "In 1926 Vogue stated 'The Bob Rules', just 9 years after the influential dancer, Irene Castle, cut her hair. This trending topic inspired a 1920 short story by F. Scott Fitzgerald, called Bernice Bobs Her Hair, and many editorials in Vogue throughout the decade." The bob hairstyle matched perfectly with the loose and straight silhouette of the times. During this era Vogue gave credit to this new cut for the immense success of the hat business. New haircuts meant new styled hats, therefore there was a new craze for hats. The cloche hat and the bob were basically made for each other.


title: 1920s in Western fashion

text: Jewelry was less conspicuous. Jewelry was much less elaborate, and began using 'romantic', more natural shapes. The Art Nouveau movement of 1890-1910 inspired most of the natural forms and geometric shapes of the jewelry during the 1920s. "Aesthetic clean lines were inspired by designs found in industrial machines. A key influence of this modernism was the influential Bauhaus movement, with its philosophy of form following function. Contrasting textures and colour were also in fashion. Examples of changing tastes in design were the use of diamonds being set against onyx or trans lucid vitrines and amethysts juxtaposed against opaque coral and jade." Even though geometric shapes and cleaner shaped jewelry were now a trend, one of the key pieces was the long rope pearl necklace. The long rope pearl necklace was a signature faux piece that was sold everywhere at the time. It was inexpensive and basic in a woman's wardrobe. "Although buffeted by cycles of boom, depression and war, jewelry design between the 1920s and 1950s continued to be both innovative and glamorous. Sharp, geometric patterns celebrated the machine age, while exotic creations inspired by the Near and Far East hinted that jewelry fashions were truly international."


title: 1920s in Western fashion

text: Shoes were finally visible during the 1920s. Before, long garments covered up shoes, so they weren't an important part of women's fashion. Now, shoes were seen by everyone and played an important part during the 1920s. Women had all kinds of shoes for all kinds of events. Everything from house shoes, walking shoes, dancing shoes, sporting shoes, to swimming shoes. The shoe industry became an important industry that transformed the way we buy shoes today. Shoes were made in standard sizes perfect to order from fashion catalogs to the near boutique. In the beginning of the 1920s, Mary Janes were still popular from previous era, although they paved the way for the invention of many other shoes. The T-strap heel was a variation of the Mary Jane, having the same base with the addition of a strap going around the heel and down to the top of the shoe that looked like a T. Also, "The bar shoe which fastened with a strap and a single button became popular during the 1920s. It was worn with the new short skirts and was practical for their vigorous style of dancing."


title: 1920s in Western fashion

text: "The Jazz Age", a term coined by F. Scott Fitzgerald, was a phrase used to represent the mass popularity of jazz music during the 1920s. Both jazz music and dance marked the transition from the archaic societal values of the Victorian era to the arrival of a new youthful modernistic society. Jazz gained much of its popularity due to its perceived exoticism, from its Afro-American roots to its melodic and soulful rhythm. The music itself had quite an alluring effect on the new youthful society and was considered to be the pulse of the 1920s due to its spontaneity. With new music emerged new dancing. Jazz dances, such as the Charleston, replaced the slow waltz. Paul Whitman popularized jazz dance. In fact, jazz music and dance are responsible for the origin of the iconic term "flapper", a group of new socially unconventional ladies. When dancers did the Charleston, the fast movement of the feet and swaying of the arms resembled the flapping movements of a bird. Jazz music sparked the need to dance, and dance sparked the need for new clothing, especially for women to easily dance without being constricted.


title: 1920s in Western fashion

text: Dances such as the Charleston and the Black Bottom in particular created a need for a revival in women's evening wear due to the dynamic and lively manner of these jazz dances. Dress and skirt hems became shorter in order to allow the body to move more easily. In addition, decorative embellishments on dresses such as fringe threads swung and jingled in sync with the movement of the body. Lastly, the use of glossy and ornate textiles mirrored light to the tempo of jazz music and dance. Jazz music and its perceived exotic nature had both a flamboyant influence on fashion while keeping both form and function in mind.


title: 1920s in Western fashion

text: Jazz and its influence on fashion reached even further, with both jazz and dance motifs making their way onto textiles. These new textile designs included uneven repetitions and linear geometric patterns. Many textile patterns produced in the United States also incorporated images of both jazz bands and people dancing to jazz. The print Rhapsody shows a textile produced in 1925 representing a jazz band in a polka-dot like manner. Not only did textiles take motifs of people dancing and playing jazz music, they included designs that were based on the overall rhythmic feel and sound of jazz music and dance.


title: 1920s in Western fashion

text: Undergarments began to transform after World War I to conform to the ideals of a flatter chest and more boyish figure. The female figure was liberated from the restrictive corset, and newly popular the boyish look was achieved through the use of bust bodices. Some of the new pieces included chemises, thin camisoles, and cami-knickers, later shortened to panties or knickers. These were primarily made from rayon and came in soft, light colors in order to be worn under semi-transparent fabrics. Young flappers took to these styles of underwear due to the ability to move more freely and the increased comfort when dancing to the high tempo jazz music. During the mid-1920s, all-in-one lingerie became popular.


title: 1920s in Western fashion

text: For the first time in centuries, women's legs were seen with hemlines rising to the knee and dresses becoming more fitted. A more masculine look became popular, including flattened breasts and hips, short hairstyles such as the bob cut, Eton crop, and the Marcel wave. The fashion was seen as expressing a bohemian and progressive outlook.


title: 1920s in Western fashion

text: One of the first women to wear trousers, cut her hair short, and reject the corset was Coco Chanel. Probably the most influential woman in fashion of the 20th century, Chanel did much to further the emancipation and freedom of women's fashion.


title: 1920s in Western fashion

text: Jean Patou, a new designer on the French scene, began making two-piece sweater and skirt outfits in luxurious wool jersey and had an instant hit for his morning dresses and sports suits. American women embraced the clothes of the designer as perfect for their increasingly active lifestyles.


title: 1920s in Western fashion

text: By the end of the 1920s, Elsa Schiaparelli stepped onto the stage to represent a younger generation. She combined the idea of classic design from the Greeks and Romans with the modern imperative for freedom of movement. Schiaparelli wrote that the ancient Greeks "gave to their goddesses... the serenity of perfection and the fabulous appearance of freedom." Her own interpretation produced evening gowns of elegant simplicity. Departing from the chemise, her clothes returned to an awareness of the body beneath the evening gown.


title: 1920s in Western fashion

text: In menswear, there were two distinct periods in the 1920s. Throughout the decade, men wore short suit jackets, the old long jackets being used merely for formal occasions. In the early 1920s, men's fashion was characterized by extremely high-waisted jackets, often worn with belts. Lapels on suit jackets were not very wide as they tended to be buttoned up high. This style of jacket seems to have been greatly influenced by the uniforms worn by the military during the First World War. Trousers were relatively narrow and straight and they were worn rather short so that a man's socks often showed. Trousers also began to be worn cuffed at the bottom at this time.


title: 1920s in Western fashion

text: By 1925, wider trousers commonly known as Oxford bags came into fashion, while suit jackets returned to a normal waist and lapels became wider and were often worn peaked. Loose-fitting sleeves without a taper also began to be worn during this period. During the late 1920s, double-breasted vests, often worn with a single-breasted jacket, also became quite fashionable. During the 1920s, men had a variety of sport clothes available to them, including sweaters and short trousers (commonly known in American English as knickers). For formal occasions in the daytime, a morning suit was usually worn. For evening wear men preferred the short tuxedo to the tail coat, which was now seen as rather old-fashioned and snobby.


title: 1920s in Western fashion

text: Men's fashion also became less regimented and formal. Men favored short jackets with two or three buttons rather than jackets with long tailcoats as well as pinstriped suits. Casual-wear for men often included knickers, short pants that came to the knee. The most formal men's suit consisted of a black or midnight-blue worsted swallow-tailed coat trimmed with satin, and a pair of matching trousers, trimmed down the sides with wide braid or satin ribbon. A white bow tie, black silk top hat, white gloves, patent leather Oxford shoes, a white silk handkerchief, and a white flower boutonnière completed the outfit. The tuxedo vest could be black or white, but, unlike the obligatory full-dress white tie, tuxedos ties were always black. Men usually completed their tuxedo outfit with all the same accessories as the full-dress suit, except that instead of top hats they would wear dark, dome-shaped hats called bowlers. Just like women, men had certain attire that was worn for certain events. Tuxedos were appropriate attire at the theater, small dinner parties, entertaining in the home, and dining in a restaurant. During the early 1920s, most men's dress shirts had, instead of a collar, a narrow neckband with a buttonhole in both the front and back. By the mid-1920s, however, many men preferred shirts with attached collars, which were softer and more comfortable than rigid, detachable collars.


title: 1920s in Western fashion

text: Men's hats were usually worn depending on their class, with upper class citizens usually wearing top hats or a homburg hat. Middle-class men wore either a fedora, bowler hat, or a trilby hat. During the summer months, a straw boater was popular for upper class and middle-class men. Working-class men wore a standard newsboy cap or a flat cap.


title: 1920s in Western fashion

text: During the 1920s, the notion of keeping up with fashion trends and expressing oneself through material goods seized middle-class Americans as never before. Purchasing new clothes, new appliances, new automobiles, new anything indicated one's level of prosperity. Being considered old-fashioned, out-of-date, or—worse yet—unable to afford stylish new products was a fate many Americans went to great lengths to avoid.


title: 1920s in Western fashion

text: For women, face, figure, coiffure, posture, and grooming had become important fashion factors in addition to clothing. In particular, cosmetics became a major industry. Women did not feel ashamed for caring about their appearance and it was a declaration of self-worth and vanity, hence why they no longer wanted to achieve a natural look. For evenings and events, the popular look was a smoky eye with long lashes, rosy cheeks and a bold lip. To emphasize the eyes, Kohl eyeliner became popular, and was the first time they knew anything of eyeliner (information about Egyptian fashion was not discovered until later on in the 1920s). Women also started wearing foundation and using pressed powder. Also, with the invention of the swivel lipstick, lipstick was on the rise with bright colors and they applied their lipstick to achieve a cupid's bow and "bee stung" look.


title: 1920s in Western fashion

text: Glamour was now an important fashion trend due to the influence of the motion picture industry and the famous female movie stars. Style, at many social levels, was heavily influenced by the newly created, larger-than-life movie stars. For the first time in history, fashion influences and trends were coming from more than one source. Not unlike today, women and men of the 1920s looked to movie stars as their fashion icons. Women and men wanted to emulate the styles of Hollywood stars such as Louise Brooks, Greta Garbo, Rudolph Valentino, and Clark Gable.


title: 1920s in Western fashion

text: For working class women in the 1920s, tailored suits with a straight, curve less cut were popular. Throughout the decade, the lengths of skirts were rise to the knee and then to the ankle various times affecting the skirt style of tailored suits. Rayon, an artificial silk fabric, was most common for working-class women clothing.


title: 1920s in Western fashion

text: For working-class men in the 1920s, suits were popular. Depending on the job title and season of the year, the suit would change. These would have featured high lapels and were often made of thick wool material before the advent of central heating.


title: 1920s in Western fashion

text: Fashion for children started to become more stylish and comfortable in the 1920s. Clothes were made out of cotton and wool rather than silk, lace, and velvet. Clothes were also made more sturdy in order to withstand play. During previous decades, many layers were worn; however, during the 1920s, minimal layers became the new standard.


title: 1920s in Western fashion

text: For girls, clothing became looser and shorter. Dresses and skirts were now knee length and loose fitting. Shoes were also made out of canvas, making them lighter and easier to wear.


title: 1920s in Western fashion

text: For boys, knee-length trousers were worn all year long and would be accompanied by ankle socks and canvas shoes. Pullovers and cardigans were also worn when the weather became cooler.


title: Felon (film)

text: Felon is a 2008 American prison film written and directed by Ric Roman Waugh. The film stars Stephen Dorff, Val Kilmer and Harold Perrineau. The film tells the story of the family man who ends up in state prison after he kills an intruder. The story is based on events that took place in the 1990s at the notorious California State Prison, Corcoran. The film was released in the United States on July 18, 2008.


title: Felon (film)

text: Wade Porter is a blue-collar worker living with his fiancée Laura and their son Michael. One night, they hear a burglar in the house while they're sleeping. Wade chases him out of the house and hits him in the head with a baseball bat, unintentionally killing him on his lawn. For attacking an unarmed intruder after he exited the house, he is arrested and charged with murder. At the urging of his public defender, he enters a plea of no contest in exchange for a reduced sentence of three years for involuntary manslaughter.


title: Felon (film)

text: During the bus ride to prison, Danny Sampson (Chris Browning), leader of the local Aryan Brotherhood, stabs a man and hides the knife with a young Aryan member named Snowman who is sitting behind Wade. In a moment's panic, Snowman hides the knife under Wade's seat and forces him to deny knowledge of it. As a result, Wade is sent to solitary confinement until the stabbing can be investigated. Lieutenant Jackson interrogates Wade about the stabbing but he doesn't cooperate with the investigation. Jackson decides to send Wade to the Security Housing Unit (SHU) where he is the commanding officer.


title: Felon (film)

text: John Smith is serving a life sentence at San Quentin State Prison and is transferred to Wade's prison, becoming his cellmate in the Security Housing Unit (SHU). Inmates in the SHU are under 23-hour lock-down and not permitted to have visitors for the first three months. Wade realizes that the daily hour of yard time consists of inmate fights, on which the officers bet. At different points throughout the film, it's shown that not all of the officers are in favor of Jackson's methods.


title: Felon (film)

text: In addition to the prison violence, Wade's regular visits with Laura start to take their toll on their relationship. Michael has nightmares after one of his visits, and the family's finances are running low. After Wade refuses to identify Sampson as the perpetrator of the murder on the bus, Jackson falsely testifies that he was an accessory to the murder, resulting in an additional three years being added to his existing sentence. Laura, at the encouragement of her mother, breaks off the relationship with Wade through a letter. Broken and enraged, Wade resorts to fighting the prisoners in exchange for protection from Sampson and the Aryan Brotherhood.


title: Felon (film)

text: After talking to John, Wade devises a plan that can reveal the truth about the violence in the prison, and possibly get him released. During the next yard time, Wade refuses to kill an inmate after defeating him in a fight. A furious Jackson enters the yard and prepares to attack Wade, but Smith kills him by severing his femoral artery and throat with a concealed shiv. Another yard officer then shoots Smith, who dies from his wounds. With the help of a retired correctional officer at Smith's former prison, the FBI, and Laura, the corruption of the prison officers is exposed and Wade's additional sentence is commuted. He is released after 15 months in prison and reunited with his family.


title: Felon (film)

text: On review aggregator website Rotten Tomatoes, the film holds an approval rating of 63% based on 24 reviews, with an average rating of 6.45/10. The website's critics consensus reads: ""Felon" offers a rather hackneyed depiction of prison life, but is held together by a pleasantly complex plot and solid performances from Kilmer and Dorff." On Metacritic, the film has a weighted average score of 58 out of 100, based on 10 critics, indicating "mixed or average reviews". The film had a limited screening in the US.


title: Felon (film)

text: DVD was released in Region 1 in the United States on August 12, 2008, and also Region 2 in the United Kingdom on October 6, 2008, it was distributed by Sony Pictures Home Entertainment.


title: Ys

text: Ys (pronounced ), also spelled Is or Kêr-Is in Breton, and Ville d'Ys in French, is a mythical city on the coast of Brittany that was swallowed up by the ocean. Most versions of the legend place the city in the Baie de Douarnenez.


title: Ys

text: In the original Breton, the city receives the name of , which translates as "low city". is the Breton word for "city", and is related to the Welsh , while / is related to Welsh , Scottish Gaelic and Irish ("low").


title: Ys

text: Different versions of the legend share several basic common elements. King Gradlon (Gralon in Breton) ruled in Ys, a city built on land reclaimed from the sea, sometimes described as rich in commerce and the arts, with Gradlon's palace being made of marble, cedar and gold. In some versions, Gradlon built the city upon the request of his daughter Dahut, who loved the sea. To protect Ys from inundation, a dike was built with a gate that was opened for ships during low tide. The one key that opened the gate was held by the king.


title: Ys

text: Most versions of the legend present Gradlon as a pious man, and his daughter, Princess Dahut, as wayward. Dahut (sometimes called Ahez) is often presented as frivolous and an unrepentant sinner, or, sometimes, as a sorceress. However, in another version, that of an ancient ballad, Gradlon himself is blamed by his people for extravagances of every kind.


title: Ys

text: In most variations, Dahut acquires the key to the dikes from Gradlon, and its misuse leads to catastrophe. Commonly, Dahut steals the keys (made either of silver or gold) from her father while he sleeps, either to allow her lover inside for a banquet or after being persuaded to do so by her flattering lover. She opens the gates of the dikes, either in a wine-induced folly or by mistake, believing she is opening the city gates.


title: Ys

text: The sea inundates the city, killing everyone but the king. A Saint (either St. Gwénnolé or St. Corentin) wakes the sleeping king and urges him to flee. The king mounts his horse and takes his daughter with him. As the water is about to overtake him, a voice calls out: ""Throw the demon thou carriest into the sea, if thou dost not desire to perish."" Dahut falls from the horse's back, and Gradlon is saved. In Le Baz's version, it is Gradlon himself who throws her off on St. Gwénnolé's orders.


title: Ys

text: In some versions, after falling into the sea, Dahut becomes a morgen or mermaid who continues haunting the sea, and can be seen combing her golden hair and singing sad songs. Some 19th-century folklorists also collected old beliefs that said, during the low tides, the ruins of Ys could be seen, or the sound of its carillon could be heard.


title: Ys

text: In Le Grand's version, St. Gwénnolé goes to see Gradlon and warns him about the sins being committed in the city, which is absorbed in luxury, debauchery and vanity. God has warned St. Gwénnolé that he is going to punish the city, and the Saint tells the king to flee since God's wrath is about to fall upon the city. The king flees the city on horseback. A storm falls upon the city and quickly inundates it. The main culprit is Princess Dahut, the king's indecent daughter, who has stolen the key, symbol of royalty, from around her father's neck. Gradlon takes refuge in Quimper.


title: Ys

text: Other versions of the legend tell that Ys was founded more than 2,000 years before Gradlon's reign in a then-dry location off the current coast of the Bay of Douarnenez, but the Breton coast had slowly given way to the sea so that Ys was under it at each high tide when Gradlon's reign began.


title: Ys

text: While legends and literature about Gradlon are much older, the story of Ys appears to have developed between the end of the fifteenth century and the seventeenth century. An early mention of Ys appears in Pierre Le Baud's "Cronicques et ystoires des Bretons" (1480) in which Gradlon is the king of the city, but Dahut is not mentioned. Bernard d'Argentre's "La histoire de Bretagne" and mystery plays on the life of St. Winwaloe, in the sixteenth century, also provide early references to the city.


title: Ys

text: Albert Le Grand's "Vie des Saincts de la Bretagne Armorique," third edition published in 1680, contains all the basic elements of the later story including the first known mention of Dahut.


title: Ys

text: In 1839, T. Hersart de la Villemarqué published a collection of popular songs collected from oral tradition, the "Barzaz Breizh". The collection achieved a wide distribution and brought Breton folk culture into European awareness. In the second edition, the poem "Livaden Geris" ("The Submersion of Ker-Is") appeared. The same basic story elements are present and, in this version, Dahut steals the key at the incitement of a lover.


title: Ys

text: Villemarqué studied several versions of the song and created his song using the best material from each. As a result, his song mentions several traditions. In the Stanza V, it mentions King Gradlon's horse that can only be heard once a year during the Black Night, a detail he may have borrowed from "Lai de Graelent", probably written in the late 12th century. Also, the last verses of the song mention a fisherman seeing a mermaid combing her hair and singing a sad song. The mermaid is Dahut transformed into a morgen, which references another tradition. It also appears that elements of the text of this version were adapted from the medieval Welsh poem about the legend of Cantre'r Gwaelod, a very similar Welsh legend about a land that disappeared beneath the ocean as a result of human error. The poem appears in the "Black Book of Carmarthen", which Villemarqué had studied at Jesus College, Oxford, in 1839. Villemarqué wrongly considered that the Welsh spoken in the sixth century was the same as the Breton spoken in his days.


title: Ys

text: In 1844, Emile Souvestre told a version of the legend in his work "Le Foyer breton". In the tale "Keris", the character of the Devil disguised as a man with a red beard appeared. His version may have come from a different oral source. His telling also played a great part in making the legend widely known, and many 19th century English tellings of the story are closely derived from this version.


title: Ys

text: In the early 1890s, Édouard Schuré's essay "Les Grandes légendes de France" introduced the character of Malgven, a sorceress who was Gradlon's wife and Dahut's mother. Malgven appeared in many subsequent retellings, including Charles Guyot's "La Légende de la ville d'Ys d'après les anciens textes" (1926). Guyot named Gradlon's horse Morvarc'h and wrote that the horse was a gift from Malgven.


title: Ys

text: In 1893, Anatole Le Braz collected a fragmentary version of the legend in his book "La Légende de la mort en Basse-Bretagne", and its posterior 1902 augmented edition "La Légende de la mort chez les Bretons armoricains" This version also mentions Dahut (here called Ahés) transformation into a mermaid but, unlike other versions, here Dahut is thrown off the horse by king Gralon himself, on orders from St. Gwénolé.


title: Ys

text: Paul Sébillot also collected oral versions among his extensive review of the history of the legend in the second volume of his 1905 book "Le folk-lore de France"


title: Ys

text: In 1917, Scottish folklorist Lewis Spence included the legend of Ys among the tales told in his book "Legends & Romances of Brittany". One year later, Jonathan Ceredig Davies published a short version of the legend in the 29th issue of the "Folklore" journal. A few years later, in 1929, Elsie Masson also included it in her book "Folk Tales of Brittany", citing Souvestre and Le Braz among her sources.


title: Ys

text: Émile Souvestre's telling differs from the tale in several points. Ys was still protected by dikes, whose gates were opened for ships at certain moments, but it was Dahut herself who kept the silver keys of the dikes around her neck. Dahut was a sorceress and had embellished the city with the help of the korrigans, which built works men could not make. With her magic, Dahut also tamed the sea dragons, and gave one to each inhabitant of the city, which they used to go find rare goods or to reach their enemies' vessels.


title: Ys

text: The citizens were so wealthy that they measured out grain with silver hanaps (goblets), but their wealth had also turned them vicious and harsh. Beggars had been chased from the city like beasts; the church had been abandoned, and the citizens spent all day and night entertaining themselves at the inns, dance halls and performances, while Dahut herself threw parties at her palace all day around. St. Corentin warned Gradlon that God's patience with the city was at end, but the King had lost his power, living alone in one wing of the palace, and Dahut ignored the Saint's warning.


title: Ys

text: One day, a bearded prince dressed in red came to Ys, and seduced Dahut and her friends with his compliments and sweet words. He proposed to them to dance a new kind of branle, and he played the tune on his bagpipe, sending everyone into a frenzy. He took advantage of the situation to steal the dike's keys from Dahut and, taking his true appearance as the demon, used them to open all the dikes, allowing the sea to flood the city.


title: Ys

text: St. Corentin appeared in Gradlon's chambers and urged him to flee. He mounted his black horse and ran. When he passed Dahut's castle, she threw herself on her father's horse, but the horse stopped suddenly. St. Corentin told the King to push Dahut off the horse, but Gradlon could not do it. So it was Corentin himself who hit her with his crozier to make her fall off into the sea. The horse ran again, taking the king to safety. When Gradlon looked back, from the ruins of the city the demon mockingly showed him the silver keys.


title: Ys

text: A few legends speak of Ys' resurrection. Le Braz mentions one which says that, on the day it happens, the first person who sees the church's spire or hears the sound of its bells, will become king of the city and all of its territory.


title: Ys

text: There is another legend told in a Breton saying, that when Paris is swallowed, the city of Ys will rise up from under the waves (in Breton, Par Is means "similar to Ys"):


title: Ys

text: Several famous artistic adaptations of the Ys legend appeared in the late 19th and early 20th century.


title: Ys

text: E. V. Luminais' painting "Flight of King Gradlon", depicting Gradlon's escape from Ys, scored a success at the Salon of 1884.


title: Ys

text: "Le roi d'Ys", an opera by the French composer Édouard Lalo which premiered in 1888, transforms the story significantly, replacing the figure of Dahut with Margared, whose motive for opening the gates (with the aid of her own betrothed Karnac) is her jealousy at her sister Rozenn's marriage to Mylio (characters who are also inventions of Lalo).


title: Ys

text: Also inspired by the story of Ys is Claude Debussy's "La cathédrale engloutie", found in his first book of "Preludes" (published 1910). This is a prelude intended to evoke the atmosphere of the legend by its sound.


title: Ys

text: Alan Stivell's album "Renaissance of the Celtic Harp" opens with a track entitled "Ys". Harpist Joanna Newsom titled her sophomore album "Ys" after the mythical city. The story of Ys also inspired a 1972 album of the same name by the Italian progressive rock band Il Balletto di Bronzo.


title: Ys

text: Cornish composer William Lewarne Harris wrote his third and largest opera, "The Sunken City", about "Ker-ys". The three-act, prologue and epilogue opera, completed in 1992, has not been publicly performed, but there are many private recordings of excerpts.


title: Taylor Swift sexual assault trial

text: The Taylor Swift sexual assault trial was a legal case held in the United States District Court for the District of Colorado. The trial involved David Mueller, a former DJ, filing for defamation against singer-songwriter Taylor Swift. He claimed she had him wrongfully terminated following an incident at a 2013 meet-and-greet. Swift then counter-sued Mueller for battery and sexual assault, seeking a symbolic $1 in damages. The trial lasted one week, beginning on August 7, 2017, with both Mueller and Swift appearing in court. It concluded on the evening of August 14, 2017, with the jury ruling in Swift's favor and ordering Mueller to pay her $1.


title: Taylor Swift sexual assault trial

text: The trial was subject to significant media attention, due to Swift's status as a high profile celebrity. News and media outlets reported on the details of the case and the public's reaction daily. In a statement released by Swift following the trial, she revealed her reasoning for counter-suing was to empower others if they have been the victims of assault. In the statement, she also pledged to donate to organisations that help fund legal costs of sexual assault victims who choose to defend themselves.


title: Taylor Swift sexual assault trial

text: On June 2, 2013, while on her third concert tour, Swift attended a pre-show meet-and-greet organised by KYGO radio before one of her concerts at the Pepsi Center in Denver, Colorado. Numerous fans and station employees were present at the event, where guests were invited to meet with Swift before taking photos with her. At the event, Swift posed for a photo with David Mueller, a radio employee at the time, and his then-girlfriend Shannon Melcher, also an employee of the station. Swift alleged that during the photograph, Mueller reached under her skirt and grabbed her butt. Immediately following the incident, once Mueller and Melcher had exited the room, Swift reported it to her mother, tour manager, the photographer and members of her security team.


title: Taylor Swift sexual assault trial

text: Following the report, Swift's security team met with Mueller backstage and accused him of touching her inappropriately, which resulted in him being escorted from the concert. The incident was also reported to KYGO radio and Mueller was terminated shortly after they conducted their own investigation into the event.


title: Taylor Swift sexual assault trial

text: In September 2015, Mueller sued Swift for defamation, claiming that he had never touched Swift under her skirt. He alleged that as a result of the false claims he had wrongfully lost his job, his public image had been tarnished and he had been unjustifiably banned from any of Swift's future concerts. His lawsuit stated:


title: Taylor Swift sexual assault trial

text: "The contention that Mr. Mueller lifted up Ms. Swift's skirt and grabbed her bottom, while standing with his girlfriend, in front of Ms. Swift's photographer and Ms. Swift's highly trained security personnel, during a company sponsored, VIP, backstage meet-and-greet, is nonsense, particularly given that Ms. Swift's skirt is in place and is not being lifted by Mr. Mueller's hand in the photograph".


title: Taylor Swift sexual assault trial

text: Mueller sought approximately $3 million in lost income, stating he was earning approximately $150,000 per year at KYGO and radio careers "can span for over 20 years". In his lawsuit, he acknowledged that Swift had been assaulted but instead blamed KYGO employee Eddie Haskell, claiming it was a case of mistaken identity on behalf of Swift and her team. His suit also named Frank Bell, the promotions director of KYGO radio, and Swift's mother Andrea.


title: Taylor Swift sexual assault trial

text: The following month Swift filed a counter suit for battery and assault. In the suit she expressed that she was completely aware of who had assaulted her, naming Mueller as the individual who deliberately groped her buttock, inappropriately, and without her permission. The suit also stated that before starting at KYGO, Mueller had not worked on the radio since May 2006 and prior to this he had been dismissed twice from radio positions. In her suit, Swift demanded a jury trial and expressed that she would donate any money she won from the trial to charity organisations that protect women from sexual assault and other violent acts.


title: Taylor Swift sexual assault trial

text: On July 26, 2016, Swift gave her deposition. She was granted her request that the meet-and-greet photo of her and Mueller from 2013 be not made publicly available, with the judge sealing the documents. The image in question was later leaked in November 2016 by tabloid website TMZ. In her deposition Swift detailed her recount of the event claiming Mueller intentionally lifted his hand up her dress and groped her buttock. Swift described knowing it was no accident when she attempted to hustle away and his hand was still there, stating she had "never been so sure of anything" in her life.


title: Taylor Swift sexual assault trial

text: Nearly two months later, on July 19, 2017, Mueller was sanctioned by Judge Martinez for destroying key evidence. In his deposition he revealed he only provided edited down audio files of his two-hour meeting with "Call", which he had recorded on his phone. He claimed the full files had been damaged when he spilled coffee over his laptop keyboard and lost or thrown out other electronic devices.


title: Taylor Swift sexual assault trial

text: The trial began on August 7, 2017, with both Mueller, Swift and their respective legal teams present. On this day potential jurors were questioned regarding their objectivity towards the case. Candidates were asked about whether they were fans of either Swift or Mueller's music. Queries regarding Swift asked candidates whether they listened to her music, had attended her concerts, watched her videos and purchased an album of hers. Questions also examined whether or not jurors had ever been groped inappropriately or had ever been accused of touching someone else without their permission. Out of 60 a total of eight jurors were chosen, six women and two men.


title: Taylor Swift sexual assault trial

text: The following day, both Swift and Mueller's lawyers gave their opening statements. Douglas Baldridge, Swift's attorney, led by stating Swift was "taking a stand for all women" and described the incident as assault in the workplace. Babe McFarland, Mueller's attorney followed by claiming Mueller had not touched Swift inappropriately and that the incident had cost Mueller "[his] dream job". Following the opening statements Mueller gave his testimony, stating his hand came into contact with a part of her body that seemed to be her ribs.


title: Taylor Swift sexual assault trial

text: On August 9, 2017, Swift's mother, Andrea, took to the stand to detail her recollection of the incident. She described how she was sickened after being told of what had happened and when she saw the photo she could immediately tell her daughter was uncomfortable.


title: Taylor Swift sexual assault trial

text: The following day Swift herself took to the stand, her mother was unable to be present in court during her testimony. She testified for almost an hour describing how it was a "definite" and "very long" grab and spoke of her monotone response to Mueller and his girlfriend following the photo. During her testimony, Swift was questioned about her feelings towards discovering Mueller had lost his job, to which she said it did not impact her.


title: Taylor Swift sexual assault trial

text: In the following days, numerous witnesses testified. On August 11, Stephanie Simbeck, Swift's photographer, took to the stand to recount what she had seen when taking the photo. The next day, Greg Dent, Swift's former bodyguard, also testified. This was followed by Mueller's ex-girlfriend Shannon, who said she had not been watching the placement of Mueller's hands and described the photo as fast-paced. Ryan Kliesch, Mueller's KYGO 98.5 co-host, testified that he initially thought the allegations were a joke because he had not known of Mueller to be disrespectful towards women.


title: Taylor Swift sexual assault trial

text: On August 12, Martinez dismissed Mueller's $3 million case against Swift, citing insufficient evidence that Swift had gotten him fired.


title: Taylor Swift sexual assault trial

text: The trial concluded on August 14, 2017. Both legal teams gave their closing statements before the jury deliberated for hours. Ultimately the jury ruled that Mueller had assaulted Swift at the 2013 meet-and-greet, awarding her $1. The jury also decided that Andrea Swift and Frank Bell had no impact on Mueller's termination.


title: Taylor Swift sexual assault trial

text: In the two-year lead-up to the trial, numerous news agencies wrote articles about the incident, fueling public interest.


title: Taylor Swift sexual assault trial

text: During the trial, employees of Craftsy, a Denver-based crafting and design website located directly opposite the courtrooms, began to place post-it notes in the windows of their offices. The notes spelled out lyrics and song names from Swift's discography, including "Fearless", "I Knew You Were Trouble" (stylized in sentence case) and "Shake It Off" as signs of encouragement and support for the singer during her court appearances.


title: Taylor Swift sexual assault trial

text: During Swift's Tampa Bay show of her Reputation Stadium Tour on August 14, 2018, the one-year anniversary of the trial, fans in the audience held up $1 bills in her honor as a symbol of support for her. Swift gave a speech about the victims of sexual assault before continuing with the tour set list, playing a mash up of "New Year's Day" and "Long Live".


title: Taylor Swift sexual assault trial

text: In Swift's speech, she stated, "A year ago I was not playing in a sold-out stadium in Tampa, I was in a courtroom in Denver, Colorado. This is the day the jury sided in my favor and said that they believed me". She continued to speak about believing victims, apologizing to anyone who had not been believed or was too frightened to speak up for fear of not being believed. She closed her speech by thanking those who had supported her in what was a "really horrible part of [her] life" and contemplating where her life would have been had people not believed her.


title: Taylor Swift sexual assault trial

text: In December 2017, Swift was named as a "Silence Breaker" in "Time" magazine's Person of the Year issue. In the magazine, Swift gave her first recount of the assault and trial, detailing how it felt to testify and advice she would offer to fans. She also revealed that as of that date she had still not been paid the symbolic dollar she had won.


title: Taylor Swift sexual assault trial

text: Swift also recalled that it was the most number of times the term "ass" had been spoken in Colorado Federal Court.


title: Taylor Swift sexual assault trial

text: It has also been widely speculated that Swift made a reference to her assault trial in her "Look What You Made Me Do" music video, but this was never confirmed by Swift herself.


title: Taylor Swift sexual assault trial

text: In the April 2019 issue of "Elle", Swift once again spoke of her trial. In the piece, titled "30 things I learned before I turned 30", Swift listed her opinion that she believes victims in cases of sexual assault as her 13th lesson. She credited this lesson to her own trial experience, drawing on what she described as the stigma many women feel when speaking up about assault.


title: Taylor Swift sexual assault trial

text: Following the outcome of the trial, Mueller struggled for months to find a job in radio. In early 2018 he was eventually hired by KIX-92.7 hosting a morning show in Mississippi, presenting under the pseudonym Stonewall Jackson.


title: Dave DeBusschere

text: David Albert DeBusschere (October 16, 1940 – May 14, 2003) was an American professional National Basketball Association (NBA) player and coach and Major League Baseball (MLB) player. He played for the Chicago White Sox of MLB in 1962 and 1963 and in the NBA for the Detroit Pistons from 1962 through 1968 and for the New York Knicks from 1968 to 1974. He was also the head coach for the Pistons from 1964 through 1967.


title: Dave DeBusschere

text: DeBusschere was inducted into the Naismith Memorial Basketball Hall of Fame in 1983. In 1996, DeBusschere was named as one of the 50 greatest players in NBA history. In October 2021, DeBusschere was again honored as one of the league's greatest players of all time by being named to the NBA 75th Anniversary Team.


title: Dave DeBusschere

text: DeBusschere was born in Detroit to parents Peter Marcell and Dorothy DeBusschere. He attended Austin Catholic Preparatory School and inspired the "White Shirted Legion" (the tradition of wearing white shirts to the school's games to make fans more visible). As a junior, he was named all-state, and in his senior year of 1957–58, in just the school's third year of organized basketball, he led his team to the Michigan Class A high school basketball championship, scoring 32 points despite fouling out midway through the fourth quarter as the Friars defeated Benton Harbor High School and DeBusschere's future NBA rival forward Chet Walker.


title: Dave DeBusschere

text: DeBusschere starred in both basketball and baseball at the University of Detroit. He averaged 24 points a game in basketball, helping Detroit reach the National Invitation Tournament twice and the NCAA basketball tournament once. He also pitched the Titans to three NCAA baseball tournament berths.


title: Dave DeBusschere

text: In 1962, DeBusschere was signed by the Chicago White Sox as an amateur free agent. He was a pitcher for the White Sox from 1962 to 1963. He pitched a shutout on August 13, 1963, against the Cleveland Indians, giving up six hits, one walk and striking out three. In 22 career at-bats, he had only one hit, a single off Bennie Daniels on July 17, 1963. He pitched in the White Sox's minor league system for two more seasons before giving up pitching to focus on both playing and coaching basketball.


title: Dave DeBusschere

text: He is one of only 13 athletes to have played in both the National Basketball Association and Major League Baseball. The 13 are: Danny Ainge, Frank Baumholtz, Hank Biasatti, Gene Conley, Chuck Connors, DeBusschere, Dick Groat, Steve Hamilton, Mark Hendrickson, Cotton Nash, Ron Reed, Dick Ricketts and Howie Schultz.


title: Dave DeBusschere

text: DeBusschere was selected by the Detroit Pistons in 1962 NBA draft as a territorial draft selection. During his rookie season, he averaged 12.7 points and 8.7 rebounds per game, and was later named to the NBA All-Rookie Team. However, DeBusschere was injured during his second season and only played in 15 games, resulting in the Pistons finishing with a disappointing record of 23–59.


title: Dave DeBusschere

text: In the 1964–1965 season, at the age of 24, he was given the position of player-coach for the Pistons, and thus became the youngest-ever coach in league history. However, this stint as coach was not successful and he became a full-time player. During the 1968–1969 season, DeBusschere was traded to the New York Knicks for Walt Bellamy and Howard Komives.


title: Dave DeBusschere

text: While a member of the Pistons, DeBusschere appeared as himself on the April 29, 1963 episode of the game show "To Tell the Truth". He received two votes.


title: Dave DeBusschere

text: DeBusschere, along with future Hall of Famers Willis Reed, Bill Bradley and Walt Frazier, became an NBA champion when the Knicks defeated the Los Angeles Lakers in the 1970 NBA Finals. With Earl Monroe in the backcourt, they became champions again in 1973, beating the Lakers 4–1 in the finals.


title: Dave DeBusschere

text: DeBusschere was elected to the Naismith Memorial Basketball Hall of Fame in 1983 after a 12-year career (1962–1974) in which he averaged 16.1 points and 11 rebounds while being named to eight NBA All-Star teams. He became a member of the NBA 50th Anniversary All-Time Team in 1996. He was renowned for his physical style of play and tenacious defense, and he was named to the NBA All-Defensive first team six times.


title: Dave DeBusschere

text: DeBusschere retired as a player in 1974, and his no. 22 jersey was retired by the Knicks, though not until many years later; it is thought the delay was due to his taking a front office job with the rival New York Nets of the American Basketball Association upon his retirement. The next year DeBusschere became the ABA's commissioner for the 1975–76 season, which would be the last for the league. He helped bring about the merger between the NBA and the ABA that year. He was later the assistant coach and director of basketball operations of the Knicks during the 1980s, when he drafted fellow Knicks legend Patrick Ewing with the first overall selection in 1985.


title: Dave DeBusschere

text: DeBusschere authored a book entitled "The Open Man", a chronicle of the New York Knicks' 1969–70 championship season.


title: Dave DeBusschere

text: In May 2003, DeBusschere collapsed on a Manhattan street from a heart attack and was pronounced dead at New York University Hospital. DeBusschere was interred at Saint Joseph's Church Cemetery in Garden City, New York. DeBusschere, who lived in Garden City, was survived by his wife, Gerri (who died of cancer in 2009), sons Peter and Dennis, and daughter Michelle.


title: Dave DeBusschere

text: In his honor, the University of Detroit Mercy inaugurated the Dave DeBusschere Scholarship in 2003. It provides support to two student-athletes that must have a minimum grade point average of 3.0 and have demonstrated exceptional leadership skills.


title: Macaroni (fashion)

text: A macaroni (formerly spelled maccaroni) was a pejorative term used to describe a fashionable fellow of mid-18th-century England. Stereotypically, men in the macaroni subculture dressed, spoke, and behaved in an unusually sentimental and androgynous manner.


title: Macaroni (fashion)

text: The term "macaroni" pejoratively referred to a man who "exceeded the ordinary bounds of fashion" in terms of high-end clothing, fastidious eating, and gambling. He mixed Continental affectations with his English nature, like a practitioner of macaronic verse (which mixed English and Latin to comic effect), laying himself open to satire.


title: Macaroni (fashion)

text: The macaronis became seen in stereotyped terms by the English aristocracy, being seen as a symbol of inappropriate bourgeois excess, effeminacy, and possible homosexuality, which was then legally viewed as sodomy. Many modern critics view the macaroni as representing a general change in 18th century English society such as political change, class consciousness, new nationalisms, commodification and consumer capitalism.


title: Macaroni (fashion)

text: In the 18th century, wealthy young British men traditionally took a trip around Europe upon their coming of age, known as his Grand Tour. Italy was a key destination of these tours. During their trip, many developed a taste for "maccaroni", a type of pasta little known in England then, and so they were said to belong to the "Macaroni Club". They would refer to anything that was fashionable or "à la mode" as "very maccaroni".


title: Macaroni (fashion)

text: Author Horace Walpole wrote to a friend in 1764 of "the Macaroni Club <nowiki>[</nowiki>Almack's<nowiki>]</nowiki>, which is composed of all the travelled young men who wear long curls and spying-glasses". The expression was particularly used to characterize "fops" who dressed in high fashion with tall, powdered wigs with a chapeau bras on top that could only be removed on the point of a sword.


title: Macaroni (fashion)

text: The shop of engravers and printsellers Mary and Matthew Darly in the fashionable West End of London sold their sets of satirical "macaroni" caricature prints, published between 1771 and 1773. The new Darly shop became known as "the Macaroni Print-Shop".


title: Macaroni (fashion)

text: Design historian Peter McNeil links macaroni fashion to the crossdressing of the earlier molly subculture, and says "some macaronis may have utilized aspects of high fashion in order to affect new class identities, but others may have asserted what we would now label a queer identity".


title: Macaroni (fashion)

text: The Italian term "maccherone", when figuratively meaning "blockhead, fool", was apparently not related to this British usage, though both were derived from the name of the pasta shape.


title: Macaroni (fashion)

text: In 1773, James Boswell was on tour in Scotland with the stout and serious-minded essayist and lexicographer Dr. Samuel Johnson, the least dandified of Londoners. Johnson was awkward in the saddle, and Boswell ribbed him: "You are a delicate Londoner; you are a maccaroni; you can't ride."


title: Macaroni (fashion)

text: In Oliver Goldsmith's "She Stoops to Conquer" (1773), a misunderstanding is discovered and young Marlow finds that he has been mistaken; he cries out, "So then, all's out, and I have been damnably imposed on. O, confound my stupid head, I shall be laughed at over the whole town. I shall be stuck up in caricatura in all the print-shops. The Dullissimo Maccaroni. To mistake this house of all others for an inn, and my father's old friend for an innkeeper!"


title: Macaroni (fashion)

text: The song "Yankee Doodle" from the time of the American Revolutionary War mentions a man who "stuck a feather in his hat and called it macaroni." Dr. Richard Shuckburgh was a British surgeon and also the author of the song's lyrics; the joke which he was making was that the Yankees were naive and unsophisticated enough to believe that a feather in the hat was a sufficient mark of a macaroni. Whether or not these were alternative lyrics sung in the British army, they were enthusiastically taken up by the Americans themselves.


title: Battle of Port Arthur

text: The of 8–9 February 1904 marked the commencement of the Russo-Japanese War. It began with a surprise night attack by a squadron of Japanese destroyers on the neutral Russian fleet anchored at Port Arthur, Manchuria, and continued with an engagement the following morning; further skirmishing off Port Arthur would continue until May 1904. The attack ended inconclusively, though the war resulted in a decisive Japanese victory.


title: Battle of Port Arthur

text: The opening stage of the Russo-Japanese War began with pre-emptive strikes by the Imperial Japanese Navy (IJN) against the Russian Pacific Fleet based at Port Arthur and at Chemulpo. Admiral Tōgō's initial plan was to swoop down upon Port Arthur with the 1st Division of the Combined Fleet, consisting of the six pre-dreadnought battleships , , , , and , led by the flagship , and the 2nd Division, consisting of the armored cruisers , , , , and . These capital ships and cruisers were accompanied by some 15 destroyers and around 20 smaller torpedo boats. In reserve were the cruisers , , , and . With this large, well-trained and well-armed force, and surprise on his side, Admiral Tōgō hoped to deliver a crushing blow to the Russian fleet soon after the severance of diplomatic relations between the Japanese and Russian governments.


title: Battle of Port Arthur

text: On the Russian side, Admiral Starck had the pre-dreadnought battleships , , , , , , and , supported by the armored cruiser and the protected cruisers , , , , and , all based within the protection of the fortified naval base of Port Arthur. However, the defenses of Port Arthur were not as strong as they could have been, as few of the shore artillery batteries were operational, funds for improving the defenses had been diverted to nearby Dalny, and most of the officer corps was celebrating at a party being hosted by Admiral Starck on the night of 9 February 1904.


title: Battle of Port Arthur

text: As Admiral Tōgō had received false information from local spies in and around Port Arthur that the garrisons of the forts guarding the port were on full alert, he was unwilling to risk his precious capital ships to the Russian shore artillery and therefore held back his main battle fleet. Instead, the destroyer force was split into two attack squadrons, one squadron with the 1st, 2nd, and 3rd flotillas to attack Port Arthur, and the other squadron, with the 4th and 5th flotillas, to attack the Russian base at Dalny.


title: Battle of Port Arthur

text: At about 22:30 on Monday 8 February 1904, the Port Arthur attack squadron of 10 destroyers encountered patrolling Russian destroyers. The Russians were under orders not to initiate combat, and turned to report the contact to headquarters. However, as a result of the encounter, two Japanese destroyers collided and fell behind and the remainder became scattered. At circa 00:28 on 9 February, the first four Japanese destroyers approached the port of Port Arthur without being observed, and launched a torpedo attack against the "Pallada" (which was hit amidship, caught fire, and keeled over) and the "Retvizan" (which was holed in her bow). The other Japanese destroyers were less successful; many of the torpedoes became caught in the extended torpedo nets which effectively prevented most of the torpedoes from striking the vitals of the Russian battleships. Other destroyers had arrived too late to benefit from surprise, and made their attacks individually rather than in a group. However, they were able to disable the most powerful ship of the Russian fleet, the battleship "Tsesarevich". The Japanese destroyer "Oboro" made the last attack, around 02:00, by which time the Russians were fully awake, and their searchlights and gunfire made accurate and close range torpedo attacks impossible.


title: Battle of Port Arthur

text: Despite ideal conditions for a surprise attack, the results were relatively poor. Of the sixteen torpedoes fired, all but three either missed or failed to explode. But luck was against the Russians insofar as two of the three torpedoes hit their best battleships: the "Retvizan" and the "Tsesarevich" were put out of action for weeks, as was the protected cruiser "Pallada".


title: Battle of Port Arthur

text: Following the night attack, Admiral Tōgō sent his subordinate, Vice Admiral Dewa Shigetō, with four cruisers on a reconnaissance mission at 08:00 to look into the Port Arthur anchorage and to assess the damage. By 09:00 Admiral Dewa was close enough to make out the Russian fleet through the morning mist. He observed 12 battleships and cruisers, three or four of which seemed to be badly listing or to be aground. The smaller vessels outside the harbor entrance were in apparent disarray. Dewa approached to about of the harbor, but as no notice was taken of the Japanese ships, he was convinced that the night attack had successfully paralyzed the Russian fleet, and sped off to report to Admiral Tōgō.


title: Battle of Port Arthur

text: Unaware that the Russian fleet was getting ready for battle, Dewa urged Admiral Tōgō that the moment was extremely advantageous for the main fleet to quickly attack. Although Tōgō would have preferred luring the Russian fleet away from the protection of the shore batteries, Dewa's mistakenly optimistic conclusions meant that the risk was justified. Admiral Tōgō ordered the First Division to attack the harbor, with the Third Division in reserve in the rear.


title: Battle of Port Arthur

text: Upon approaching Port Arthur the Japanese came upon the Russian cruiser "Boyarin", which was on patrol. "Boyarin" fired on the "Mikasa" at extreme range, then turned and retreated. At around 12:00, at a range of about 5 miles, combat commenced between the Japanese and Russian fleets. The Japanese concentrated the fire of their 12" guns on the shore batteries while using their 8" and 6" against the Russian ships. Shooting was poor on both sides, but the Japanese severely damaged the "Novik", "Petropavlovsk", "Poltava", "Diana" and "Askold". However, it soon became evident that Admiral Dewa had made a critical error; the Russians had recovered from the initial destroyer attack, and their battleships had steam up. In the first five minutes of the battle "Mikasa" was hit by a ricocheting shell, which burst over her, wounding the chief engineer, the flag lieutenant, and five other officers and men, wrecking the aft bridge.


title: Battle of Port Arthur

text: At 12:20, Admiral Tōgō decided to run away and flee. It was a risky maneuver that exposed the fleet to the full brunt of the Russian shore batteries. Despite the heavy firing, the Japanese battleships completed the maneuver and rapidly fled out of range. The "Shikishima", "Mikasa", "Fuji", and "Hatsuse" all took damage, receiving 7 hits amongst them. Several hits were also made on Admiral Kamimura Hikonojō's cruisers as they reached the turning point. The Russians in return had received about 5 hits, distributed amongst the battleships "Petropavlovsk", "Pobeda", "Poltava", and the "Sevastopol". During this same time, the cruiser "Novik" had closed to within of the Japanese cruisers and launched a torpedo salvo. All missed although the "Novik" had received a severe shell hit below the waterline.


title: Battle of Port Arthur

text: Although the naval Battle of Port Arthur had resulted in no major warship losses, the IJN had been driven from the battlefield by the combined fire of the Russian battleships and shore batteries, thus attributing to them a minor victory. The Russians took 150 casualties to around 90 for the Japanese. Although no ship was sunk on either side, several took damage. However, the Japanese had ship repair and drydock facilities in Sasebo with which to make repairs, whereas the Russian fleet had only very limited repair capability at Port Arthur.


title: Battle of Port Arthur

text: It was obvious that Admiral Dewa had failed to press his reconnaissance closely enough, and that once the true situation was apparent, Admiral Tōgō's objection to engage the Russians under their shore batteries was justified.


title: Battle of Port Arthur

text: The formal declaration of war between Japan and Russia was issued on 10 February 1904, a day after the battle. The attack, conducted against a largely unassuming and unprepared neutral power in peacetime, has been widely compared to the 1941 attack on Pearl Harbor.


title: Battle of Port Arthur

text: In 1907, the Second Hague Conference adopted provisions regarding the rights and duties of neutral powers on land and sea, prohibiting nations from committing any acts of hostility against neutral countries or persons as well as requiring that a declaration of war be given before commencing the attack on a targeted party.


title: Battle of Port Arthur

text: On Thursday 11 February 1904, the Russian minelayer started to mine the entrance to Port Arthur. One of the mines washed up against the ship's rudder, exploded and caused the ship to sink, with loss of 120 of the ship's complement of 200. "Yenisei" also sank with the only map indicating the position of the mines. The , sent to investigate the accident, also struck a mine and was abandoned, although staying afloat. She sank two days later after hitting a second mine.


title: Battle of Port Arthur

text: Admiral Togo set sail from Sasebo again on Sunday 14 February 1904, with all ships except for "Fuji". On the morning of Wednesday 24 February 1904, an attempt was made to scuttle five old transport vessels to block the entry to Port Arthur, sealing the Russian fleet inside. The plan was foiled by "Retvizan", which was still grounded outside the harbor. In the poor light, the Russians mistook the old transports for battleships, and an exultant Viceroy Yevgeni Alekseyev telegraphed the Tsar of his great naval victory. After daylight revealed the truth, a second telegram needed to be sent.


title: Battle of Port Arthur

text: On Tuesday 8 March 1904, Russian Admiral Stepan Makarov arrived in Port Arthur to assume command from the unfortunate Admiral Stark, thus raising Russian morale. He raised his flag on the newly repaired "Askold". On the morning of Thursday 10 March 1904, the Russian fleet took to the offensive, and attacked the blockading Japanese squadron, but to little effect. In the evening of 10 March 1904, the Japanese attempted a ruse by sending four destroyers close to the harbor. The Russians took the bait, and sent out six destroyers in pursuit; whereupon the Japanese mined the entrance to the harbor and moved into position to block the destroyers' return. Two of the Russian destroyers were sunk, despite efforts by Admiral Makarov to come to their rescue.


title: Battle of Port Arthur

text: On Tuesday 22 March 1904, "Fuji" and "Yashima" were attacked by the Russian fleet under Admiral Makarov, and "Fuji" was forced to withdraw to Sasebo for repairs. Under Makarov, the Russian fleet was growing more confident and better trained.


title: Battle of Port Arthur

text: In response, on Sunday 27 March 1904, Tōgō again attempted to block Port Arthur, this time using four more old transports filled with stones and concrete. The attack again failed as the transports were sunk too far away from the entrance to the harbor.


title: Battle of Port Arthur

text: On 13 April 1904, Makarov (who had now transferred his flag to "Petropavlovsk") left port to go to the assistance of a destroyer squadron he had sent on reconnaissance north to Dalny. He was accompanied by the Russian cruisers , , and , along with the battleships "Poltava", "Sevastopol", "Pobeda", and "Peresvet". The Japanese fleet was waiting, and Makarov withdrew towards the protection of the shore batteries at Port Arthur. However, the area had been recently mined by the Japanese. At 09:43, "Petropavlovsk" struck three mines, exploded and sank within two minutes. The disaster killed 635 officers and men, along with Admiral Makarov. At 10:15, "Pobeda" was also crippled by a mine. The following day, Admiral Togo ordered all flags to be flown at half mast, and that a day's mourning be observed for his fallen adversary. Makarov was officially replaced by Admiral Nikolai Skrydlov on 1 April 1904; however, Skrydlov was unable to reach his command due to the Japanese blockade, and remained at Vladivostok overseeing command of the Vladivostok cruiser squadron until recalled to St Petersburg on 20 December.


title: Battle of Port Arthur

text: On 3 May 1904, Admiral Togo made his third and final attempt at blocking the entrance to Port Arthur, this time with eight old transports. This attempt also failed, but Togo proclaimed it to be a success, thus clearing the way for the Japanese Second Army to land in Manchuria. Although Port Arthur was as good as blocked, due to the lack of initiative by Makarov's successors, Japanese naval losses began to mount, largely due to Russian mines. On 15 May, two Japanese battleships, the 12,320-ton and the 15,300-ton , sank in a Russian minefield off Port Arthur after they both struck at least two mines each, eliminating one-third of Japan's battleship force, the worst day for the Japanese Navy during the war.


title: Battle of Port Arthur

text: Further naval operations from Port Arthur resulted in two break-out attempts by the Russians. The first was on 23 June 1904, and the second on 10 August, the latter of which resulted in the Battle of the Yellow Sea, which was tactically inconclusive. Afterwards, the Russian fleet did not make any more attempts to break out from their port, while the Japanese fleet dominated the waters for the duration of the war. But mines laid by Russian minelayers were a continuing problem for the IJN and resulted in more losses. On 18 September 1904, the 2,150-ton gunboat struck a Russian mine west of Port Arthur and sank. The same fate befell the 2,440-ton cruiser on 30 November in the same minefield, and on 13 December, the 4,160-ton cruiser sank in another Russian minefield a few miles south of Port Arthur while giving naval gunfire support to the Japanese armies now besieging the port.


title: Minstrel

text: A minstrel was an entertainer, initially in medieval Europe. It originally described any type of entertainer such as a musician, juggler, acrobat, singer or fool; later, from the sixteenth century, it came to mean a specialist entertainer who sang songs and played musical instruments.


title: Minstrel

text: Minstrels performed songs which told stories of distant places or of existing or imaginary historical events. Although minstrels created their own tales, often they would memorize and embellish the works of others. Frequently they were retained by royalty and high society. As the courts became more sophisticated, minstrels were eventually replaced at court by the troubadours, and many became wandering minstrels, performing in the streets; a decline in their popularity began in the late 15th century. Minstrels fed into later traditions of travelling entertainers, which continued to be moderately strong into the early 20th century, and which has some continuity in the form of today's buskers or street musicians.


title: Minstrel

text: Initially, minstrels were simply treats at court, and entertained the lord and courtiers with "chansons de geste" or their local equivalent. The term "minstrel" derives from Old French "ménestrel" (also "menesterel, menestral"), which is a derivative from Italian "ministrello" (later "menestrello"), from Middle Latin "ministralis" "retainer", an adjective form of Latin "minister", "attendant" from "minus", "lesser".


title: Minstrel

text: In Anglo-Saxon England before the Norman Conquest, the professional poet was known as a "scop" ("shaper" or "maker"), who composed his own poems, and sang them to the accompaniment of a harp. In a rank much beneath the "scop" were the "gleemen", who had no settled abode, but roamed about from place to place, earning what they could from their performances. Late in the 13th century, the term "minstrel" began to be used to designate a performer who amused his lord with music and song. Following a series of invasions, wars, conquests, etc., two categories of composers developed. Poets like Chaucer and John Gower appeared in one category, wherein music was not a part. Minstrels, on the other hand, gathered at feasts and festivals in great numbers with harps, fiddles, bagpipes, flutes, flageolets, citterns and kettledrums. Additionally, minstrels were known for their involvement in political commentary and engaged in propaganda. They often reported news with bias to sway opinion and revised works to encourage action in favor of equality.


title: Minstrel

text: The music of the troubadours and trouvères was performed by minstrels called "joglars" (Occitan) or "jongleurs" (French). As early as 1321, the minstrels of Paris were formed into a guild. A guild of royal minstrels was organized in England in 1469. Minstrels were required to either join the guild or abstain from practising their craft. Some minstrels were retained by lords as jesters who, in some cases, also practised the art of juggling. Some were women or women who followed minstrels in their travels. Minstrels throughout Europe also employed trained animals, such as bears. Minstrels in Europe died out slowly, having gone nearly extinct by about 1700, although isolated individuals working in the tradition existed even into the early 19th century.


title: Minstrel

text: Minstrelsy became a central concern in English literature in the Romantic period and has remained so intermittently.


title: Minstrel

text: In poetry, "The Lay of the Last Minstrel" (1805) by Sir Walter Scott, "Lalla Rookh" (1817) by Thomas Moore, and "The Village Minstrel" (1821) by John Clare were three of many. Novels centring on minstrelsy have included Helen Craik's "Henry of Northumberland" (1800), Sydney Owenson's "The Novice of St Dominick's" (a girl using a minstrel disguise, 1805), Christabel Rose Coleridge's "Minstrel Dick" (a choirboy turned minstrel becomes a courtier, 1891), Rhoda Power's "Redcap Runs Away" (a boy of ten joins wandering minstrels, 1952), and A. J. Cronin's "The Minstrel Boy" (priesthood to minstrelsy and back, 1975).


title: Herero people

text: The Herero () are a Bantu ethnic group inhabiting parts of Southern Africa. There were an estimated 250,000 Herero people in Namibia in 2013. They speak Otjiherero, a Bantu language. Though the Herero primarily reside in Namibia, there are also significant populations in Botswana and Angola. In Botswana, the Hereros or Ovaherero are mostly found in Maun and some villages surrounding Maun. These villages among others are Sepopa, Toromuja, Karee and Etsha. Some of them are at Mahalapye. In the South eastern part of Botswana they are at Pilane. There are also a few of them in the Kgalagadi South, that is Tsabong, Omawaneni, Draaihoek and Makopong Villages.


title: Herero people

text: Unlike most Bantu, who are primarily subsistence farmers, the Herero are traditionally pastoralists. They make a living tending livestock. Cattle terminology in use among many Bantu pastoralist groups testifies that Bantu herders originally acquired cattle from Cushitic pastoralists inhabiting Eastern Africa. After the Bantu settled in Eastern Africa, some Bantu nations spread south. Linguistic evidence also suggests that the Bantu borrowed the custom of milking cattle from Cushitic peoples; either through direct contact with them or indirectly via Khoisan intermediaries who had acquired both domesticated animals and pastoral techniques from Cushitic migrants.


title: Herero people

text: The Herero claim to comprise several sub-divisions, including the Himba, Tjimba (Cimba), Mbanderu, and Kwandu. Groups in Angola include the Mucubal Kuvale, Zemba, Hakawona, Tjavikwa, Tjimba and Himba, who regularly cross the Namibia/Angola border when migrating with their herds. However, the Tjimba, though they speak Herero, are physically distinct indigenous hunter-gatherers. It may be in the Hereros' interest to portray indigenous peoples as impoverished Herero who do not own livestock.


title: Herero people

text: Since conflicts with the Nama people in the 1860s necessitated Ovaherero unity, they also have a paramount chief ruling over all eight royal houses, although there is currently an interpretation that such paramount chieftaincy violates the Traditional Authorities Act, Act 25 of 2000.


title: Herero people

text: In the 15th century, the Herero migrated to what is now Namibia from the east and established themselves as herdsmen. In the beginning of the 19th century, the Nama from South Africa, who already possessed some firearms, entered the land and were followed, in turn, by white merchants and German missionaries. At first, the Nama began displacing the Herero, leading to bitter warfare between the two groups, which lasted the greater part of the 19th century. Later the two peoples entered into a period of cultural exchange.


title: Herero people

text: During the late 18th century, the first Europeans began entering to permanently settle the land. Primarily in Damaraland, German settlers acquired land from the Herero in order to establish farms. In 1883, the merchant Franz Adolf Eduard Lüderitz entered into a contract with the native elders. The exchange later became the basis of German colonial rule. The territory became a German colony under the name of German South West Africa.


title: Herero people

text: Soon after, conflicts between the German colonists and the Herero herdsmen began. Controversies frequently arose because of disputes about access to land and water, but also the legal discrimination against the native population by the white immigrants.


title: Herero people

text: In the late 19th and early 20th century, imperialism and colonialism in Africa peaked, affecting especially the Hereros and the Namas. European powers were seeking trade routes and railways, as well as more colonies. Germany officially claimed their stake in a South African colony in 1884, calling it German South West Africa until it was taken over in 1915. The first German colonists arrived in 1892, and conflict with the indigenous Herero and Nama people began. As in many cases of colonization, the indigenous people were not treated fairly.


title: Herero people

text: Between 1893 and 1903, the Herero and Nama people's land and cattle were progressively being taken by German colonists. The Herero and Nama resisted expropriation over the years, but they were unorganized and the Germans defeated them with ease. In 1903, the Herero people learned that they were to be placed in reservations, leaving more room for colonists to own land and prosper. In 1904, the Herero and Nama began a great rebellion that lasted until 1907, ending with the near destruction of the Herero people. "The war against the Herero and Nama was the first in which German imperialism resorted to methods of genocide..." Roughly 80,000 Herero lived in German South West Africa at the beginning of Germany's colonial rule over the area, while after their revolt was defeated, they numbered approximately 15,000. In a period of four years, approximately 65,000 Herero people were killed.


title: Herero people

text: Samuel Maharero, the Supreme Chief of the Herero, led his people in a large-scale uprising on January 12, 1904, against the Germans. The Herero, surprising the Germans with their uprising, had initial success.


title: Herero people

text: German General Lothar von Trotha took over as leader in May 1904. In August 1904, he devised a plan to annihilate the Herero nation. The plan was to surround the area where the Herero were, leaving but one route for them to escape, into the desert. The Herero battled the Germans, and the losses were minor. It was when the majority had escaped through the only passage made available by the Germans, and had been systematically prevented from approaching watering holes, that starvation began to take its toll. It was then that the Herero uprising changed from war, to genocide. Lothar von Trotha called the conflict a “race war.” He declared in the German press that “no war may be conducted humanely against non-humans” and issued an “annihilation order”:


title: Herero people

text: "... The Herero are no longer German subjects. They have murdered and stolen, they have cut off the ears, noses, and other body parts of wounded soldiers, now out of cowardice they no longer want to fight. I tell the people: Anyone who delivers one captain will receive 1,000 marks, whoever delivers Samuel Maharero will receive 5,000 marks. The Herero people must, however, leave the land. If the populace does not do this, I will force them with the "Groot Rohr" [cannon]. Within the German borders every Herero, with or without a gun, with or without cattle, will be shot. I will no longer accept women and children, I will drive them back to their people or I will have them shot at."


title: Herero people

text: On the 100th anniversary of the massacre, German Minister for Economic Development and Cooperation Heidemarie Wieczorek-Zeul commemorated the dead on site and apologized for the crimes on behalf of all Germans. Hereros and Namas demanded financial reparations, however in 2004 there was only minor media attention in Germany on this matter.


title: Herero people

text: The Herero are traditionally cattle-herding pastoralists who rate status on the number of cattle owned. Cattle raids occurred between Herero groups, but Herero land (Ehi Rovaherero) belongs to the community and has no fixed boundaries.


title: Herero people

text: The Herero have a bilateral descent system. A person traces their heritage through both their father's lineage, or (plural: ), and their mother's lineage, or (plural: ). In the 1920s, Kurt Falk recorded in the "Archiv für Menschenkunde" that the Ovahimba retained a "medicine-man" or "wizard" status for homosexual men. He wrote, "When I asked him if he was married, he winked at me slyly and the other natives laughed heartily and declared to me subsequently that he does not love women, but only men. He nonetheless enjoyed no low status in his tribe."


title: Herero people

text: The Holy Fire okuruuo ("OtjikaTjamuaha") of the Herero is located at Okahandja. During immigration, the fire was doused and quickly relit. From 1923 to 2011, it was situated at the "Red Flag Commando". On Herero Day 2011, a group around Paramount Chief Kuaima Riruako claimed that this fire was facing eastwards for the past 88 years, while it should be facing towards the sunset. They removed it and placed it at an undisclosed location, a move that has stirred controversy among the Ovaherero community.


title: Herero people

text: Despite sharing a language and pastoral traditions, the Herero are not a homogeneous people. Traditional leather garments are worn by northwestern groups, such as the Himba, Kuvale, and Tjimba, who also conserve pre-colonial traditions in other aspects: for example, they do not buy bedding, but rather sleep in bedding made of cow skin. The Kaokoland Herero and those in Angola have remained isolated and are still pastoral nomads, practicing limited horticulture.


title: Herero people

text: However, the main Herero group in central Namibia (sometimes called Herero proper) was heavily influenced by Western culture during the colonial period, creating a whole new identity. The missionaries considered the shape of the traditional headdress "Ekori", which symbolized the horns of cows (the main source of wealth of the people), as a symbol of the devil and rejected it. The dress of the Herero proper, and their southern counterparts the Mbanderu, incorporates and appropriates the styles of clothing worn by their German colonizers. Though the attire was initially forced upon the Herero, it now operates as a new tradition and a point of pride.


title: Herero people

text: During the 1904-07 war, Herero warriors would steal and wear the uniforms of German soldiers they had killed, believing that this transferred the dead soldiers' power to them. Today, on ceremonial occasions, Herero men wear military-style garb, including peaked caps, berets, epaulettes, aiguillettes and gaiters, "to honour the fallen ancestors and to keep the memories alive."


title: Herero people

text: Herero women adopted the floor-length gowns worn by German missionaries in the late 19th century, but now make them in vivid colors and prints. Married and older Herero women wear the dresses, locally known as "ohorokova", every day, while younger and unmarried women wear them mainly for special occasions. Ohorokova dresses are high-necked and have voluminous skirts lavishly gathered from a high waist or below the bust, incorporating multiple petticoats and up to ten metres of fabric. The long sleeves display sculptural volume: puffed from the shoulders or frilled at the wrists. Coordinating neckerchiefs are knotted around the neck. For everyday wear, dresses are ingeniously patchworked together from smaller pieces of fabric, which may be salvaged from older garments. Dresses made from a single material are reserved for special occasions.


title: Herero people

text: The most distinctive feature of Herero women's dress is their horizontal horned headdress, the "otjikaiva", which is a symbol of respect, worn to pay homage to the cows that have historically sustained the Herero. The headdresses can be formed from rolled-up newspaper covered in fabric. They are made to match or coordinate with dresses, and decorative brooches and pins attached to the centre front.


title: Herero people

text: This dress style continues to evolve. In urban Windhoek, fashion designers and models are updating Herero dress for modern, younger wearers, including glamorous sheer and embellished fabrics. "Change is difficult, I understand, but people need to get used to the change," says designer McBright Kavari. "I'm happy to be a part of the change, to be winning souls of people and making people happy when they are wearing the Herero dress." Kavari has won the Best Herero Dress competition three times in a row, but has been criticised for raising the hem of the garment to the knee.


title: Herero people

text: The Herero language (Otjiherero) is the main unifying link among the Herero peoples. It is a Bantu language, part of the Niger–Congo family. Within the Otjiherero umbrella, there are many dialects, including Oluthimba or Otjizemba—which is the most common dialect in Angola—Otjihimba, and Otjikuvale. These differ mainly in phonology, and are largely mutually intelligible, though Kuvale, Zemba, and Hakaona have been classified as separate languages. Standard Herero is used in the Namibian media and is taught in schools throughout the country.


title: Herero people

text: Herero people believe in Okuruo (holy fire), which is a link to their ancestors to speak to God on their behalf. Modern-day Herero are mostly Christians, primarily Catholic, Lutheran, and Born-again Christian.


title: Herero people

text: Omuroi is a Herero noun for someone suspected witchcraft, flies at night, or rides people at night. More like phantom or ghost person, some claim to struggle with sleeping when a certain person is around due to their belief of that person possessing omuroi. Others claim to also believe that such beings talk at night and when such voices are heard, a shout may scare them away.


title: Herero people

text: Others resort to sleeping with candles on, believing that the omuroi are averse to light. Some may even bring in spiritual doctors to perform ceremonies to chase this omuroi away. This superstition has been passed on for generations and is still current in modern Herero culture.


title: Herero people

text: Cattle are the most valued domestic animals in the Herero culture, therefore cattle herding is the most significant and substantial activity for the Herero people. In the Herero culture the cattle herding and cattle trading activities are only conducted by males while females are responsible for milking cows, household chores, harvesting small field crops and taking care of the young children. As women are responsible for milking cows, there are also responsible for preparing the delicious sour milk called "Omaere". Although males are responsible for the cattle trading activities the females do most of the trading such as bartering for other goods.


title: Herero people

text: The Herero people take pride in their cattle, hence the culture of Herero requires women to wear their iconic fabric hats shaped like cow horns. They believe that the more cattle one has, the richer one is, making cattle a symbol of wealth. In celebrations such as marriages, cattle is normally eaten, whereas religious or ancestral veneration ceremonies involve the sacrifice of cows or other animals.


title: Herero people

text: Goats and sheep are kept for their meat and milk. Goatskin is manufactured into child carriers and to create household ornaments. Goat dung, meanwhile, is considered medicinal; it is normally used to treat chickenpox.


title: Herero people

text: Horse and donkeys are common means of transport for the Herero. In cases of herding or searching for lost domestic animals, the Herero engage horses to carry out these activities.


title: Herero people

text: In the Herero culture, dogs are used by men for both hunting and herding. The Herero people tend to hunt to acquire meat, hide, and horns that are bartered for goods such as sugar, tea, and tobacco.


title: Coho salmon

text: The coho salmon ("Oncorhynchus kisutch;" Karuk: achvuun) is a species of anadromous fish in the salmon family and one of the five Pacific salmon species. Coho salmon are also known as silver salmon or "silvers". The scientific species name is based on the Russian common name "kizhuch" (кижуч).


title: Coho salmon

text: During their ocean phase, coho salmon have silver sides and dark-blue backs. During their spawning phase, their jaws and teeth become hooked. After entering fresh water, they develop bright-red sides, bluish-green heads and backs, dark bellies and dark spots on their backs. Sexually maturing fish develop a light-pink or rose shading along the belly, and the males may show a slight arching of the back. Mature adults have a pronounced red skin color with darker backs and average and , occasionally reaching up to . They also develop a large kype (hooked beak) during spawning. Mature females may be darker than males, with both showing a pronounced hook on the nose.


title: Coho salmon

text: The eggs hatch in the late winter or early spring after six to seven weeks in the redd. Once hatched, they remain mostly immobile in the redd during the alevin life stage, which lasts for 6–7 weeks. Alevin no longer have the protective egg shell, or chorion, and rely on their yolk sacs for nourishment during growth. The alevin life stage is very sensitive to aquatic and sedimental contaminants. When the yolk sac is completely resorbed, the alevin leaves the redd. Young coho spend one to two years in their freshwater natal streams, often spending the first winter in off-channel sloughs, before transforming to the smolt stage. Smolts are generally and as their parr marks fade and the adult's characteristic silver scales start to dominate. Smolts migrate to the ocean from late March through July. Some fish leave fresh water in the spring, spend summer in brackish estuarine ponds, and then return to fresh water in the fall. Coho salmon live in salt water for one to three years before returning to spawn. Some precocious males, known as "jacks", return as two-year-old spawners. Spawning males develop kypes, which are strongly hooked snouts and large teeth.


title: Coho salmon

text: The traditional range of the coho salmon runs along both sides of the North Pacific Ocean, from Hokkaidō, Japan and eastern Russia, around the Bering Sea to mainland Alaska, and south to Monterey Bay, California. Coho salmon have also been introduced in all the Great Lakes, as well as many landlocked reservoirs throughout the United States. A number of specimens, (more than 20), were caught in waters surrounding Denmark and Norway in 2017. Their source is currently unknown, but the salmon species is farmed at several locations in Europe, making it probable that the animal has slipped the net at such a farm.


title: Coho salmon

text: The total North Pacific harvest of coho salmon in 2010 exceeded 6.3 million fish, of which 4.5 million were taken in the United States and 1.7 million in Russia. This corresponds to some 21,000 tonnes in all. Coho salmon are the backbone of the Alaskan troll fishery; however, the majority are caught by the net fishery (gillnet and seine). Coho salmon average 3.5% by fish and 5.9% by weight of the annual Alaska salmon harvest. The total North Pacific yields of the pink salmon, chum salmon and sockeye salmon are some 10–20 fold larger by weight.


title: Coho salmon

text: In North America, coho salmon is a game fish in fresh and salt water from July to December, especially with light fishing tackle. It is one of the most popular sport fish in the Pacific Northwest of the United States and Canada. Its popularity is due in part to the reckless abandon which it frequently displays chasing bait and lure while in salt water, and the large number of coastal streams it ascends during its spawning runs. Its habit of schooling in relatively shallow water, and often near beaches, makes it accessible to anglers on the banks, as well as in boats.


title: Coho salmon

text: Ocean-caught coho is regarded as excellent table fare. It has a moderate to high amount of fat, which is considered to be essential when judging taste. Only spring chinook and sockeye salmon have higher levels of fat in their meat. When smoking coho it is best to use a cold-smoking rather than hot-smoking process, due to their lower fat content compared to sockeye and chinook.


title: Coho salmon

text: Historically coho, along with other species, has been a staple in the diet of several indigenous peoples, who would also use it to trade with other tribes farther inland. The coho salmon is also a symbol of several tribes, representing life and sustenance.


title: Coho salmon

text: In their freshwater stages, coho feed on plankton and aquatic invertebrates in the benthos and water column, such as Chironomids, midge larvae, and terrestrial insects that fall into the water. Upon entering the marine environment, they switch to a diet of plankton and fish, with fish making up most of their diets after a certain size. Adult coho feed on a vast variety of prey items that depend on the region they reside in during their second year at sea. Spawning habitats are small streams with stable gravel substrates.


title: Coho salmon

text: Salmonid species on the west coast of the United States have experienced dramatic declines in abundance during the past several decades as a result of human-induced and natural factors.


title: Coho salmon

text: The U.S. National Marine Fisheries Service (NMFS) has identified seven populations, called Evolutionary Significant Units (ESUs), of coho salmon in Washington, Oregon and California. Four of these ESUs are listed under the U.S. Endangered Species Act (ESA). These are the Lower Columbia River (threatened), Oregon Coast (threatened), Southern Oregon and Northern California Coasts (threatened), and Central California Coast (endangered). The long-term trend for the listed populations is still downward, though there was one recent good year with an increasing trend in 2001.


title: Coho salmon

text: The Puget Sound/Strait of Georgia ESU in Washington is an NMFS "Species of Concern". Species of Concern are those species for which insufficient information prevents resolving the U.S. National Oceanic and Atmospheric Administration's concerns regarding status and threats and whether to list the species under the ESA.


title: Coho salmon

text: On May 6, 1997, NMFS, on behalf of the Secretary of Commerce, listed as threatened the Southern Oregon/Northern California Coast coho salmon ESU. The coho salmon population in the Southern Oregon/Northern California region has declined from an estimated 150,000–400,000 naturally spawning fish in the 1940s to fewer than 10,000 naturally producing adults today. These reductions are due to natural and man-made changes, including short-term atmospheric trends (such as El Niño, which causes extremes in annual rainfall on the northern California coast), predation by the California sea lion and Pacific harbor seal, and commercial timber harvesting.


title: Coho salmon

text: More than 680,000 coho salmon returned to Oregon in 2009, double that of 2007. The Oregon Department of Fish and Wildlife required volunteers to herd fish into hatchery pens. Some creeks were reported to have so many fish, "you could literally walk across on the backs of coho," claimed a Portland television station. Lower temperatures in 2008 North Pacific waters brought in fatter plankton, which, along with greater outflows of Columbia River water, fed the resurgent populations. The 2009 run was so large, food banks were able to freeze for later use.


title: Devaki

text: Devaki (Sanskrit: देवकी, IAST: "Devakī") is a character in Hindu literature, most noted for being the mother of the god Krishna. She is one of the seven daughters of Devapa or Devaka, a king of the Yadu dynasty, and has four brothers. She is one of the wives of Vasudeva. Her cousin is Kamsa, the king of Mathura, a cruel tyrant who had been told by Narada that he had been an asura killed by Vishnu in his previous life (Kalanemi), exacerbating his wickedness. According to popular tradition, Devaki is considered to be an incarnation of Aditi, a mother goddess who was the daughter of Daksha and the wife of Kashyapa.


title: Devaki

text: During the nuptials of Vasudeva and Devaki following the former's wedding with his bride's six older sisters, Vishnu picked a lock of hair from his mount Shesha as well as his own, proclaiming that they would take be born as Devaki's seventh and eighth children, respectively. After the marriage ceremony, Kamsa volunteered to escort the newly-weds to Mathura and drove their chariot. A celestial voice, an aśarīrī, prophesied that the eighth child of Devaki would become Kamsa's death, and deliver the land from his wickedness. Angered, Kamsa rose to kill Devaki, but was stopped by Vasudeva, who promised to give each child to Kamsa, whom he would subsequently kill.


title: Devaki

text: Devaki and Vasudeva were imprisoned by Kamsa due to the paranoia that had taken root in the tyrant's mind. Her six children were killed, while the seventh Balarama survived after being transferred by divine will into the uterus of Rohini, one of the other wives of Vasudeva.


title: Devaki

text: Devaki's six dead sons were named Kírttimat, Sushena, Udayin, Bhadrasena, Rijudasa, and Bhadradeha. According to the Harivamsa, these were the reincarnations of the sons of the asura Kalanemi. They had performed intense austerities to worship the creator deity Brahma, unbeknownst to their own grandfather, Hiranyakashipu. The latter, furious at their actions, cursed them to be born on earth and be slain by Kamsa, who himself was a form of their father.


title: Devaki

text: When Devaki delivered Krishna, he revealed his divine form to his parents, and ordered Vasudeva to take him to Gokulam, placing all the prison guards under a spell of slumber, so that Kamsa would not realise that his prophesied killer had been born. Vasudeva swapped Krishna with Yogamaya, the daughter who had been born to Nanda and Yashoda on the very same day, and returned to the cell.