Thursday, October 6, 2011

Facts About Lítla Dímun Island Faroes Sheep And Trivia

Lítla Dímun is a small island between the islands of Suðuroy and Stóra Dímun in the Faroe Islands.

It is the smallest of the main 18 islands, being less than 100 hectares (250 acres) in area, and is the only uninhabited one. The island can be seen from the villages Hvalba and Sandvík.

The southern third of the island is sheer cliff, with the rest rising to the mountain of Slættirnir, which reaches 414 metres (1,358 ft). The island is only inhabited by feral sheep and seabirds

The name means "Little Dímun", in contrast to Stóra Dímun, "Great Dímun.

The island has never been inhabited by humans, but sheep were kept there from ancient times, being mentioned in the 13th century work Færeyinga Saga (Saga of the Faroese).

The saga also features the island as the site of a battle between Brestur, father of Sigmundur and Gøtuskeggjar.

The battle resulted in the death of Sigmund's father and his men and the deportation of Sigmund to Norway, where he befriended Olaf Trygvasson.

n 1918 The Danish schooner Caspe, carrying a cargo of salt, was driven onto Lítla Dímun by a gale. The six crew were able to reach a narrow ledge just above the surf, but they had no stores, and the captain was severely injured.

Eventually they managed to move from the ledge, and found a cabin half-way up the island which had matches, fuel and a lamp.

They caught two sheep and a sick bird, and were able to survive for seventeen days before being discovered and rescued by a fishing boat. One of the shipwrecked sailors settled in the Faroes.

Facts About Faroes Sheep

The sheep now living on the island are Faroes sheep, but until the mid-nineteenth century it was occupied by feral sheep, probably derived from the earliest sheep brought to Northern Europe in the Neolithic Period. The last of these very small, black, short-wooled sheep were shot in the 1860s. They were similar in appearance and origin to the surviving Soay sheep, from the island of Soay in the St Kilda archipelago off the west coast of Scotland.
The modern Faroes sheep of the island are gathered each autumn. People sail to the island in a fishing boat, towing several rowing skiffs. About 40 people then form a chain across the island, driving the 200 or so sheep into a pen on the north side of the island. The sheep are then caught, restrained by tying their feet together, put in nets five at a time and lowered by ropes to the skiffs. Each skiff then takes its load of 15 sheep to the fishing boat, which returns to the island of Suðuroy. The sheep are unloaded on the wharf in the village of Hvalba, where they are placed in rows and distributed to their owners. A few sheep escape the gathering, and from time to time these are shot.

Facts About Steve Jobs Apple Co-founder And Trivia

Steve Jobs (1955-2011) is the CEO of Apple, which he co-founded in 1976.

On November 27, 2007, Jobs was named the most powerful person in business by Fortune Magazine.

Apple Inc. co-founder and Chief Executive Steve Jobs will be taking a medical leave until the end of June - just a week after the cancer survivor tried to assure investors and employees his recent weight loss was caused by an easily treatable hormone deficiency.
He is considered a leading figure in both the computer and entertainment industries.

Steve Jobs announced on January 5, 2009 that his rapid weight loss was due to a "hormone imbalance that has been 'robbing' [him] of the proteins [his] body needs to be healthy."

Steve Jobs worked for Atari, Inc., a leading corporation in the electronic arcade recreation, as a video game designer in 1974.

He was portrayed by Noah Wyle in Pirates of Silicon Valley (1999).
Steve was born to John Jandali and Joanne Carole Schieble. A week after he was born, his parents put him up for adoption.

Steve and his wife are both strict vegans, eating no animal products whatsoever.

Steve attended Reed College, but dropped out after the first semester.

Steve married Laurene Powell on March 18, 1991. They have 3 children together.

Steve graduated from Homestead High School in 1972.

Some Steve Jobs Quotes

Steve Jobs: I've always wanted to own and control the primary technology in everything we do.

Steve Jobs: It's really hard to design products by focus groups. A lot of times, people don't know what they want until you show it to them.

Steve Jobs: Unfortunately, people are not rebelling against Microsoft. They don't know any better.

Steve Jobs: Innovation distinguishes between a leader and a follower.

Steve Jobs: (talking about future developments) Well, you know us. We never talk about future products. There used to be a saying at Apple: Isn't it funny? A ship that leaks from the top. So, I don't wanna perpetuate that. So I really can't say.

Steve Jobs: If we give people an alternative to Microsoft, it will have been a greater good.

Steve Jobs: (what the CEO does) I don't know. Head janitor?

Steve Jobs: (talking about the assassination of John Kennedy) I remember John Kennedy being assassinated. I remember the exact moment that I heard he had been shot.

Steve Jobs: (talking about the documentary, Triumph of Nerds) What can I say? I hired the wrong guy. He destroyed everything I spent 10 years working for; starting with me, but that wasn't the saddest part. I would have gladly left Apple if Apple would have turned out like I wanted it to.

Wednesday, May 11, 2011

Martha Graham's 117 Birthday And Facts - strangefacts

  • Martha Graham (May 11, 1894 - April 1, 1991), an American dancer and choreographer, known as one of the foremost pioneers of modern dance
  • Martha Graham is to modern dance as Pablo Picasso (1881-1973) is to the modern art school of cubism Indeed, for many dance connoisseurs, Martha Graham is synonymous with modern dance
  • She developed innovations in structure, style, technique, costuming, and in the training of choreographers and dancers that defined the movement
  • She rejected the traditional view of women dancers as beautiful, lithe, and graceful, and instead she viewed female dancers as powerful and intense
  • Her colleagues have described her long career as an American archetype, because with only a few exceptions, only Graham herself—or her company—ever performed her compositions, making Graham one of the most individualistic dance artists of the 20th century
  • Born on May 11, 1894, in Allegheny, Pennsylvania, and raised in Santa Barbara, California, Graham began her formal training at Denishawn School of Dance, a Los Angeles academy started by the dancer Ruth St. Denis (1879-1968) and her partner Ted Shawn (1891-1972)
  • In 1923, Graham left Los Angeles to join the Greenwich Village Follies in New York, specializing in exotic Spanish and Indian dances
  • She taught dance for two years at the Eastman School of Music in Rochester, New York, all the while preparing herself for her debut as a soloist in 1926
  • Martha Graham gave birth to modern dance, in the sense that she changed people’s minds about what dancers—especially female dancers—could do
  • Whereas traditionally, female dancers had been used by choreographers to symbolize beauty and decoration, Graham de-sentimentalized the female body by emphasizing its power, intensity, and, in her fall sequences, its recovery from defeat 
Graham’s varied and evolving career can be divided into four overlapping phases :-
  • In the first stage, which began after her debut, Graham choreographed short solos and group works for all-women companies. Most of these compositions were based on historical figures and styles of art. Her debut, for example, included two pieces called From a XII Century Tapestry and Maid with the Flaxen Hair. She also experimented with dances that explored a single emotion, such as Lamentation (1930). In this piece, Graham developed one of her signature modern characteristics: manipulating costume to enhance the theme of her dance. Lamentation featured a tube-shaped piece of cloth that encased Graham from her neck to her feet. She remained seated throughout the dance, in which she struggled to rid herself of the tube. The dance, which has been satirized as often as it has been praised, viewed the process of grieving as being similar to feeling trapped in extreme sorrow, from which one searches for an escape. Critics have compared the dance to Kathe KOLLWITZ’s drawings of grieving women
  • The second phase of Grahams career coincided with her growing interest in the theater, with the drama of American history, and with the formation of her own dance company. She also began choreographing for men; two male dancers, Erick Hawkins and Merce Cunningham, joined her troupe in the 1930s. During the Great Depression in the United States (1930-41), some of President Franklin Roosevelt’s New Deal programs focused on the arts in American culture. While Graham did not participate directly, her dances from this period reflected the focus on American history as worthy of artistic recording and celebrating. Her Appalachian Spring (1944), for example, depicted the pioneer experience in American history
  • In the third period of her career, which lasted from 1944 onward, Graham interwove two related themes in her work: Greek mythology and Freudian interpretations of myths (for more on the psychoanalyst Sigmund Freud, see Anna FREUD). Most of the characters she focused on were women, and often, her dances had a feminist twist. For example, in Night Journey (1947), Graham portrays the female character Jocaste, in Sophocles’ play Oedipus, as the victim, rather than Oedipus. Graham also produced two dances about JOAN OF ARC, The Triumph of St. Joan (1951) and Seraphic Dialogue (1955)
  • In the fourth and final phase of Graham’s career, she returned to the abstract themes of her earlier period. These dances are not attached to any particular historical figure or to a plot. Acrobats of God (1960) and Adorations (1975) both reflect Graham’s signature dance techniques: spiral movements and linear stage patterns. The spiral movements were movements in which Graham tended to view the human body as “collapsible,” and the stage on which she performed as part of the dance, not a surface merely there to be danced upon. Unlike traditional choreography, her spiral movements involved fall sequences in which she emphasized the recovery from the fall, not the descent to the ground. The stage, then, often seemed as though it was a taut drum off of which Graham and her dancers would bounce. Furthermore, Graham choreographed dances in which she used her corps onstage as though they were architecture. For example, she would use a row of dancers, rather than a stage setting, to build a wall that moved when the scene changed
  • She died in New York City on April 1, 1991
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