Last to post wins

[Creeperopolis]

Judy Anne Lumagui Santos (born May 11, 1978) is a Filipino actress and film producer. Prolific in film and television in the Philippines since the early 1990s, she is known for her comedic and dramatic roles in independent films and blockbusters, as well as for her portrayals of oppressed and impoverished women. She has received various accolades, including a Cairo International Film Festival Award, a Gawad Urian, two Luna Awards, two Metro Manila Film Festival Awards, and three FAMAS Awards.

Santos began her career as a child with supporting roles in film. At the age of ten, her first leading role was the title character in the children's television series Ula, Ang Batang Gubat (1988). Santos became more recognized when she and Gladys Reyes starred in the soap opera Mara Clara (1992). Her starring roles in the drama series Esperanza (1998), Sa Puso Ko Iingatan Ka (2001), and Basta't Kasama Kita (2003) established her as a leading actress on primetime television. She received critical acclaim for her role as a woman with dissociative identity disorder in the psychological drama Sabel (2004), for which she won a Gawad Urian and Golden Screen Award for Best Actress.

Among her highest-grossing releases are the Jose Javier Reyes-directed comedy Kasal, Kasali, Kasalo (2006) and its sequel Sakal, Sakali, Saklolo (2007). Santos co-produced the independent drama Ploning (2008) and starred in Mindanao (2019), which were the Philippine submissions for Best International Feature Film at the 81st and 93rd Academy Awards, respectively. She is also a chef and a restaurateur. In 2015, she wrote a cookbook called Judy Ann's Kitchen, which won a Gourmand International's Cookbook Award for Best Authors and Chefs Outside Europe. Santos is married to Ryan Agoncillo, with whom she has three children.

[Creeperopolis]

The Battle of Raymond was fought on May 12, 1863, near Raymond, Mississippi, during the Vicksburg campaign of the American Civil War. Initial Union attempts to capture the strategically important Mississippi River city of Vicksburg failed. Beginning in late April 1863, Union Major General Ulysses S. Grant led another try. After crossing the river into Mississippi and winning the Battle of Port Gibson, Grant began moving east, intending to turn back west and attack Vicksburg. A portion of Grant's army consisting of Major General James B. McPherson's 10,000 to 12,000-man XVII Corps moved northeast towards Raymond. The Confederate commander of Vicksburg, Lieutenant General John C. Pemberton, ordered Brigadier General John Gregg and his 3,000 to 4,000-strong brigade from Jackson to Raymond.

Gregg's brigade contacted the leading elements of McPherson's corps on May 12. Neither commander was aware of the strength of his opponent, and Gregg acted aggressively, thinking McPherson's force was small enough that his men could easily defeat it. McPherson, in turn, overestimated Confederate strength and responded cautiously. The early portions of the battle pitted two brigades of Major General John A. Logan's division against the Confederate force, and the battle was matched relatively evenly. Eventually, McPherson brought up Brigadier General John D. Stevenson's brigade and Brigadier General Marcellus M. Crocker's division. The weight of superior Union numbers eventually began to crack the Confederate line, and Gregg decided to disengage. McPherson's men did not immediately pursue.

The battle at Raymond changed Grant's plans for the Vicksburg campaign, leading him to first focus on neutralizing the Confederate forces at Jackson before turning against Vicksburg. After successfully capturing Jackson, Grant's men pivoted west, drove Pemberton's force into the defenses of Vicksburg, and forced a Confederate surrender on July 4, ending the Siege of Vicksburg. The site of the Battle of Raymond was added to the National Register of Historic Places in 1972, and public interpretation of a portion of the site is provided by the Friends of Raymond. Historians Ed Bearss, Michael Ballard, and Timothy B. Smith have criticized McPherson's handling of the battle.

[Creeperopolis]

The frilled lizard (Chlamydosaurus kingii), also known as the frillneck lizard, frill-necked lizard or frilled dragon, is a species of lizard in the family Agamidae. It is native to northern Australia and southern New Guinea. This species is the only member of the genus Chlamydosaurus. Its common names come from the large frill around its neck, which usually stays folded against the lizard's body. It reaches 90 cm (35 in) from head to tail and can weigh 600 g (1.3 lb). Males are larger and more robust than females. It is generally grey, brown, orangish-brown, or black in colour. The frills have red, orange, yellow or white colours.

The frilled lizard is largely arboreal, spending most of its time in trees. Its diet consists mainly of insects and other invertebrates. It is more active during the wet season, when it spends more time near or on the ground. It is less observed during the dry season, during which it seeks shade in the branches of the upper canopy. It breeds in the late dry season and early wet season. The lizard uses its frill to scare off predators and display to other individuals. The species is considered to be of least concern by the International Union for Conservation of Nature.

[Creeperopolis]

Marriage License is an oil painting by American illustrator Norman Rockwell created for the cover of the June 11, 1955, edition of The Saturday Evening Post. It depicts a young man and woman filling out a marriage license application at a government building in front of a bored-looking clerk. The man is dressed in a tan suit and has his arm around his partner, who is wearing a yellow dress. Although the room and its furnishings are dark, the couple are illuminated by the window beside them. The contrast between the couple and the clerk highlight two recurring themes in Rockwell's works: young love and ordinary life.

Rockwell had a long history of using residents from where he lived as models. He used photographs of local shopkeeper Jason Braman; Stockbridge, Massachusetts, native Joan Lahart; and her fiancé Francis Mahoney as a reference while creating the painting. Joan was suggested for the role by her sister Peggy, a nurse at the Austen Riggs Center where Mary Rockwell was receiving treatment. During the photo shoot, Braman was captured in a more natural and uninterested pose compared to the one envisioned by the artist. Rockwell liked it and used it for his painting instead.

Since its appearance in The Saturday Evening Post, the painting has been praised by critics and is considered one of Rockwell's best works. Commentators have compared it to the works of Johannes Vermeer due to Rockwell's use of light and dark. The 45.5 by 42.5 inches (116 cm × 108 cm) painting is in the collection of the Norman Rockwell Museum and has been a part of major exhibitions in 1955, 1972, and 1999. In 2004 Mad magazine published a parody of Marriage License by Richard William that used the original work to explore how same-sex marriage challenges the meaning of marriage and government role.

[Creeperopolis]

Enoch Fenwick SJ (May 15, 1780 – November 25, 1827) was an American Catholic priest and Jesuit who ministered throughout Maryland and became the 12th president of Georgetown College. Descending from one of the original Catholic settlers of the British Maryland Province, he studied at Georgetown College in Washington, D.C. Like his brother and future bishop, Benedict Joseph Fenwick, he entered the priesthood, studying at St. Mary's Seminary before entering the Society of Jesus, which was suppressed at the time. He was made rector of St. Peter's Pro-Cathedral in Baltimore by Archbishop John Carroll, and remained in the position for ten years. Near the end of his pastorate, he was also made vicar general of the Archdiocese of Baltimore, which involved traveling to say Mass in remote parishes throughout rural Maryland.

In 1820, Fenwick reluctantly accepted his appointment as president of Georgetown College. While he made some improvements to the curriculum, his presidency was considered unsuccessful by contemporaries due to declining enrollment and mounting debt. In August 1825, he abandoned the presidency following a disagreement with the provincial superior. Two years later, he died at Georgetown.

[Creeperopolis]

"Paint It Black"[a] is a song recorded in 1966 by the English rock band the Rolling Stones. A product of the songwriting partnership of Mick Jagger and Keith Richards, it is a raga rock song with Indian, Middle Eastern and Eastern European influences and lyrics about grief and loss. London Records released the song as a single on 7 May 1966 in the United States, and Decca Records released it on 13 May in the United Kingdom. Two months later, London Records included it as the opening track on the American version of the band's 1966 studio album Aftermath, though it is not on the original UK release.

Originating from a series of improvisational melodies played by Brian Jones on the sitar, all five members of the band contributed to the final arrangement, although only Jagger and Richards were credited as songwriters. In contrast to previous Rolling Stones singles with straightforward rock arrangements, "Paint It Black" has unconventional instrumentation including a prominent sitar, the Hammond organ and castanets. This instrumental experimentation matches other songs on Aftermath. The song was influential to the burgeoning psychedelic genre as the first chart-topping single to feature the sitar, and widened the instrument's audience. Reviews of the song at the time were mixed and some music critics believed its use of the sitar was an attempt to copy the Beatles, and others criticised its experimental style and doubted its commercial potential.

"Paint It Black" was a major chart success for the Rolling Stones, at eleven weeks (including two at number one) on the US Billboard Hot 100, and 10 weeks (including one atop the chart) on the Record Retailer chart in the UK. Upon a re-issue in 2007, it reentered the UK Singles Chart for 11 weeks. It was the band's third number-one single in the US and sixth in the UK. The song also topped charts in Canada and the Netherlands. It received a platinum certification in the UK from the British Phonographic Industry (BPI) and from Italy's Federazione Industria Musicale Italiana (FIMI).

"Paint It Black" was inducted into the Grammy Hall of Fame in 2018, and Rolling Stone magazine ranked the song number 213 on their list of the 500 Greatest Songs of All Time. In 2011, the song was added to the Rock and Roll Hall of Fame's list of "The Songs that Shaped Rock and Roll". Many artists have covered "Paint It Black" since its initial release. It has been included on many of the band's compilation albums and several film soundtracks. It was played on several Rolling Stones tours.

[OnTheHorizon143]

I want cheese

[gagium]

shut up

[piffer]

Whoever is the last to post in this thread wins. When is that? Who knows.

pinions are so good

[Creeperopolis]

Hajj: Journey to the Heart of Islam was an exhibition held at the British Museum in London from 26 January to 15 April 2012. It was the world's first major exhibition telling the story, visually and textually, of the hajj: the pilgrimage to Mecca which is one of the five pillars of Islam. Textiles, manuscripts, historical documents, photographs, and art works from many different countries and eras were displayed to illustrate the themes of travel to Mecca, hajj rituals, and the Kaaba. More than 200 objects were included, drawn from 40 public and private collections in a total of 14 countries. The largest contributor was David Khalili's family trust, which lent many objects that would later be part of the Khalili Collection of Hajj and the Arts of Pilgrimage.

The exhibition was formally opened by Prince Charles in a ceremony attended by Prince Abdulaziz bin Abdullah, son of King Abdullah, the custodian of the Two Holy Mosques. It was popular both with Muslims and non-Muslims, attracting nearly 120,000 adult visitors and favourable press reviews. This success inspired the Museum of Islamic Art in Doha, the Arab World Institute in Paris, the National Museum of Ethnology in Leiden, and the Tropenmuseum in Amsterdam to stage their own hajj-themed exhibitions with contributions from the Khalili Collection.

An exhibition catalogue with essays about the hajj, edited by Venetia Porter, was published by the British Museum in 2012, along with a shorter illustrated guide to the hajj. An academic conference, linked to the exhibition, resulted in another book about the topic.