Lorelei

The Lorelei is a 132 m (433 ft) high, steep slate rock on the right bank of the River Rhine in the Rhine Gorge (or Middle Rhine) at Sankt Goarshausen in Germany.

Etymology

The name comes from the old German words lureln, Rhine dialect for "murmuring", and the Celtic term ley "rock". The translation of the name would therefore be: "murmur rock" or "murmuring rock". The heavy currents, and a small waterfall in the area (still visible in the early 19th century) created a murmuring sound, and this combined with the special echo the rock produces to act as a sort of amplifier, giving the rock its name. The murmuring is hard to hear today owing to the urbanization of the area. Other theories attribute the name to the many accidents, by combining the German verb "lauern" (to lurk, lie in wait) with the same "ley" ending, with the translation "lurking rock".

By the German language orthographic reform of 1903, in almost all German terms letter "y" was changed for letter "i", but in some German names the letter "y" was kept, such as Speyer, Spay, (Rheinberg-)Orsoy, and including Loreley, which is thus the correct spelling in German.

Lorelei (song)

"Lorelei" is a song composed by George Gershwin, with lyrics by Ira Gershwin; it was written for their musical Pardon My English (1933).

It is about the Loreley legend.

Notable Recordings

References

External links

Lorelei, Edmonton

Lorelei is a residential neighbourhood located in the Castledowns area of north Edmonton, Alberta, Canada.

It is bounded on the north and west by Castledowns Road, on the east by 97 Street, and on the south by Beaumaris Road and 160 Avenue. Travel north along 97 Street takes residents past CFB Edmonton located just north of the city, while travel south along 97 Street takes residents past the Northern Alberta Institute of Technology and into the downtown core.

Most of the residences in the neighbourhood were built in the 1970s and 1980s, with residences being a mixture of single-family dwellings (57%), row houses (25%), walk-up apartments in buildings with five or fewer stories (10%) and duplexes (8%). Roughly three out of four residences are owner-occupied.

Demographics

In the City of Edmonton's 2012 municipal census, Lorelei had a population of 7003402700000000000♠4,027 living in 7003147500000000000♠1,475 dwellings, a -3.4% change from its 2009 population of 7003417000000000000♠4,170. With a land area of 1.22 km² (0.47 sq mi), it had a population density of 7003330080000000000♠3,300.8 people/km² in 2012.

The W's

The W's were a Christian ska and swing revival band, formed in Corvallis, Oregon in 1996. Success came quickly to the band and their first album, Fourth from the Last, was a sleeper hit, unexpectedly having had the strongest debut of any Christian album to date for its distributor. They toured the United States several times with a variety of artists. Touring highlights include Pope John Paul II's 1999 visit to St. Louis and dc Talk's Supernatural support tour.

Their mix of "swing pop" and ska was uncommon in the Christian music industry. They were more popular within Christian music than their neo-swing counterparts such as the Squirrel Nut Zippers or The Brian Setzer Orchestra were in the general market. Their songwriting was known for its irreverence and frivolity, and for its reflections of the band's faith. Before breaking up in 2000, the group had released two albums, topped Christian rock radio and sales charts, and won two Gospel Music Association awards.

History

The W's formed as a ska band at Oregon State University in Corvallis, Oregon in 1996. The original lineup consisted of Andrew Schar (lead vocals, guitar), Valentine Hellman (tenor saxophone, clarinet), Todd "The Rodd" Gruener (bass), and a fourth member, Zak Shultz (drums). All were attending Oregon State and mutual residents of Avery Lodge. The band was originally spearheaded and envisioned by Shultz, but he eventually moved to Seattle, Washington to work for Brandon Ebel with Tooth & Nail Records. By September 1997 Shultz had left, and the group had been joined by Bret Barker (trumpet), who Schar met through Campus Crusade for Christ, and James Carter (alto saxophone, background vocals). Peter Kelly drummed for a short stint during the summer and fall of 1997, but broke his arm in a freak skate-boarding accident only a few days before first recording with Five Minute Walk. The band then recruited Brian Morris to replace Kelly from a local punk band.

Kōji Seo

Kōji Seo (瀬尾 公治, Seo Kōji, born July 26, 1974) is a Japanese manga creator from Shobara, Hiroshima, Japan.

He has stated in an interview that he was a member of his high school's track and field team and that he loves to watch baseball both emphasized in his hit manga Suzuka.

He debuted in 1996 with the one-shot HALF & HALF in Magazine Fresh. His two hits, Suzuka and Cross Over, both mixed the genres of sports with high school romance. Suzuka focused on track and field while Cross Over used basketball.

He was an assistant to Tsukasa Ōshima, and respects Fujiko F. Fujio and Masahito Soda.

In 2009 he designed the High School Girl Kimchi for Hokubi Construction food company.

Works

Five Ws

The Five Ws, Five Ws and one H, or the Six Ws are questions whose answers are considered basic in information-gathering. They are often mentioned in journalism (cf. news style), research, and police investigations. They constitute a formula for getting the complete story on a subject. According to the principle of the Five Ws, a report can only be considered complete if it answers these questions starting with an interrogative word:

Some authors add a sixth question, “how”, to the list, though "how" can also be covered by "what", "when", or "where":

Each question should have a factual answer — facts necessary to include for a report to be considered complete. Importantly, none of these questions can be answered with a simple "yes" or "no".

In the United Kingdom (excluding Scotland), the Five Ws are used in Key Stage 2 and Key Stage 3 lessons.

History

Rhetoric

This section focuses on the history of the series of questions as a way of formulating or analyzing rhetorical questions, and not the theory of circumstances in general.