The United Nations Children's Emergency Fund (UNICEF; /ˈjuːnᵻsɛf/ EW-ni-sef) is a United Nations program headquartered in New York City that provides long-term humanitarian and developmental assistance to children and mothers in developing countries. It is one of the members of the United Nations Development Group and its Executive Committee.
UNICEF was created by the United Nations General Assembly on December 11, 1946, to provide emergency food and healthcare to children in countries that had been devastated by World War II. Maurice Pate, American humanitarian and businessman, co-founded the United Nations Children's Emergency Fund (UNICEF) with Herbert Hoover in 1947. Pate served as its first executive director from 1947 until his death in 1965. In 1953, UNICEF became a permanent part of the United Nations System and its name was shortened from the original United Nations International Children's Emergency Fund but it has continued to be known by the popular acronym based on this previous title.
North Carolina is known particularly for its tradition of old-time music, and many recordings were made in the early 20th century by folk song collector Bascom Lamar Lunsford. Most influentially, North Carolina country musicians like the North Carolina Ramblers and Al Hopkins helped solidify the sound of country music in the late 1920s, while influential bluegrass musicians such as Earl Scruggs, Doc Watson and Del McCoury came from North Carolina. Arthur Smith is the most notable North Carolina musician/entertainer who had the first nationally syndicated television program which featured country music. Smith composed "Guitar Boogie", the all time best selling guitar instrumental, and "Dueling Banjos", the all time best selling banjo composition. Country rock star Eric Church from the Hickory area has had 2 #1 albums on the Billboard 200, including Chief in 2011. Both North and South Carolina are a hotbed for traditional country blues, especially the style known as the Piedmont blues. Elizabeth Cotten, from Chapel Hill, was active in the American folk music revival.
Kalinka may refer to:
Marc Vincent Kalinka is an Italo-Russian artist who began his career as visual artist in 2003 with a deep research on personality alterations producing the works “Ham let it be” and “Who is supposed to be who”, where physical and language techniques were used to build a new form of communication through modified states of the personality.
"inCollectionthree", inCollectionthree - Humanity, Pinacoteca Comunale “Carlo Contini”, ORISTANO (Italy), “Yona Friedman: Genesis of a vision”, Archizoom Gallery, EPFL, Lausanne, Switzerland, "I miss my enemies", 1 June - 1 July 2011, 54th International Art Exhibition, Venice Biennale 2011, "I miss my enemies", 1 June - 1 July 2011, 54th International Art Exhibition, Venice Biennale 2011, "The Imperial Gardens of Russia. Fourth International Festival", 26 May - 6 June 2011, "Consequences: being born in a bubbling babel." - Solo Show, Zürich 15 May - 21 June 2011, "Club21 - Remaking the scene" - London 13-23 Oct. 2010, during Frieze Art Fair, Loop Barcelona 2010- "The Displaced Gaze", Just Madrid 2010 - "Just 20", curated by Oxana Maleeva of Art Apart for the Tatiana Kourochkina Art Gallery (Barcelone), Sardegna Arte Fiera in Cagliari "Sound surroundings", Milan Triennal Museum, Incontemporanea, ArtVerona International Art Fair "Wall have ears" by Steve Piccolo, Coldon Nowhere Gallery N.Y. "Private visions", Theatre and art festival of Milan “Madrigale”, “Bang Bang” by Steve Piccolo, project promoted by the Province of Milan. He also participated in two Moscow Biennals of Contemporary Art in 2005 and 2007 and in the parallel programme of the 52nd Venice Biennale of Contemporary Art in 2007.
"Kalinka" is a song by the Danish dance-pop duo Infernal. It was released as the third single from their debut album, Infernal Affairs, in 1998. The song is based on the Russian Drobushki folk melody, and samples "Kalinka" by the Soviet Army Chorus & Band, directed by Boris Alexandrov and recorded in 1956 and 1963.
It has become Infernal's signature song from their early eurodance period (1997–2003), and when the song is performed at one of their concerts, they encourage the audience to perform the "kosak" dance.