Kaleń

Kaleń may refer to the following places:

Kale (name)

Kale, sometimes spelt as Kayle or abbreviated from Kalen, is a Gaelic unisex given name, although it is more commonly given to males. It is derived from the Gaelic, Hebrew, and Germanic languages, and it is used largely in the English and Hawaiian languages.

Kale (pronounced Kah-lay) is also a very common last name in Maharashtra, a state in India. Originally, it was exclusive to families of the Maratha and Brahmin caste.

People

Kale family, The Jagirdar and Zamindars of Waghere

Fictional characters

Kale (disambiguation)

Kale is a kind of cabbage in which the central leaves do not form a head

Kale may also refer to:

Ethnography

People

Placenames

List of MÄR characters

This is a list of characters in the MÄR series developed and designed by Nobuyuki Anzai.

Team MÄR

Ginta Toramizu

(虎水ギンタ Toramizu Ginta)
Voiced by: Motoko Kumai (Japanese), Spike Spencer (English)

Babbo

(バッボ)
Voiced by: Banjou Ginga (Japanese), Michael McConnohie (English)

Babbo is a unique ÄRM that was first wielded by Phantom and is later wielded by Ginta. He resembles a metal kendama. He contained the soul of the previous Elder of Caldia.

Babbo has many forms:

Loco (Apache)

Loco (1823–1905 or 1909) was a Copper Mines Mimbreño Apache chief.

Name

It is unknown whence Loco received his name. One theory suggests that he was named for the fact that he was "'crazy' enough to trust the white men." Another theory says that he got his name from his actions at a battle against the Mexicans, where he supposedly braved gunfire in order to save an injured warrior.

Time as chief

Unlike the militant Geronimo and the proud but aware Victorio, Loco was an advocate for peace. After the death of Cuchillo Negro, chief of the Warm Springs Tchihende, (1857) and Mangas Coloradas, chief of the Copper Mines Tchihende, (1863), the Copper Mines Mimbreños and the Warm Springs Mimbreños, under Pindah's pressure, were forced to leave the Pinos Altos area, near Santa Rita del Cobre, and try to concentrate in the Ojo Caliente area both of the tribe's bands; after Delgadito's death (1864) the Copper Mines Tchihende Loco, along with the Warm Springs Tchihende Victorio (who, already chosen as his son-in-law by Mangas Coloradas, was preferred to the older Nana), became the chiefs. The Mimbreños accepted to settle in a reservation, before at Ojo Caliente and later at Cañada Alamosa, but the Mimbreño reservation was abolished, and Victorio's and Loco's people was sent to the Mescalero reservation at Tularosa. When the Government stated to deport the Mimbreños to San Carlos, in 1877 Victorio and Loco led back their people to Ojo Caliente, but, in 1878, 9th Cavalry was sent to bring them back to San Carlos. Victorio took again the warpath, but Loco was arrested. Loco didn't join Victorio in his last war in 1879-1880, remaining in the San Carlos reservation. In 1882, when a party of Apaches including Geronimo forced Loco to leave for Mexico, Loco instead waged guerilla warfare against the Chiricahuas. In 1886, Loco went to Washington, D.C. to negotiate; however, like Geronimo, he was made prisoner and sent to Florida.

Loco (composition)

Loco is an orchestral composition in one movement by the American composer Jennifer Higdon. The work was commissioned by the Ravinia Festival of Highland Park, Illinois to commemorate the Ravinia train as part of the Train Commission Project. It was first performed on July 31, 2004 at the Ravinia Festival by the Chicago Symphony Orchestra.

Composition

Loco has a duration of roughly 8 minutes and is composed in a single movement. Higdon described her inspiration for the piece in the score program notes, writing:

Instrumentation

The work is scored for an orchestra comprising two flutes, piccolo, three oboes, three clarinets, two bassoons, contrabassoon, four French horns, three trumpets, three trombones, tuba, piano, timpani, three percussionists, and strings.

Reception

Jeremy Eichler of The Boston Globe described Loco as "a gleaming and rambunctious curtain-raiser". Scott Cantrell of The Dallas Morning News similarly called it "seven minutes of high-energy scurries, clatters, chatters, jabs, chugs and fanfares." Andrew Druckenbrod of the Pittsburgh Post-Gazette wrote, "This piece imitates a "fast-moving train," and it roared into the hall. The fanfare-like work filled every nook and cranny with rhythmic pulsing and walls of sound." He added: