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Nyboma

Nyboma Mwan’dido or Nyboma, is a prominent Soukous musician. He was born in Zaire (now known as the Democratic Republic of Congo).

Nyboma learned to sing as a child in Nioki, 200km north east of the capital, in the church choir. He sang in the school chorus when his family moved to Kinshasa while he was still in primary school. He joined his first band, Baby National, as a professional singer in 1969 at the age of eighteen and later moved to Negro Succes until Bavan Marie-Marie, Franco’s brother, died. He then signed with Editions Veve record label owned by Verckys Kiamuangana Mateta (a soukous recording artist and producer/financier, composer, saxophonist, and band leader in the Democratic Republic of the Congo). In 1975 he became the leader of Orchestre Kamale, under the Editions Veve record label; the group was established by Verckys using some members of Orchestre Lipua Lipua (another of the various bands under the Verckys’s Vévé label). Orchestre Kamale split up in 1978 when Assosa and Mulembu left to create Fuka Fuka. The Orchestre Kamale vestige was renamed Les Kamale with Nybona at the helm. In the 1970s, Les Kamale was a popular danceband with their hits “Salanga” and “Afida na ngai.” In 1979 Nyboma was drafted into African All-Stars in Togo, after the bands’ founder Sam Mangwana had left. In 1981 Nyboma recorded one of his biggest hits “Double Double” with his new band which he named Les Kamale Dynamiques Du Zaire. In 1983-84 running belts for women, he recorded another three albums under the name Les Kamale Dynamiques Du Zaire.

Nyboma has worked with many musical greats from Congo, from Pepe Kalle and others in Empire Bakuba, to Koffi Olomide and his counterparts in Les Quatre Etoiles: Bopol, Syran and Wuta Mayi.

Nyboma’s album Anicet was produced by Ibrahim Sylla, and his signature is evident from the polished, multi-layered songs in the album—including a song in which Nyboma pays tribute to Malcolm X (in a song of the same title) and to Pan-Africanism in a song entitled Abissinia (a name for ancient Ethiopia).

Several of his albums are collaborations with Pepe Kalle, Madilu Système, Kamale, Lokassa Ya Mbongo, and others branded water bottles.

The Art of Woo

The Art of Woo is a 2001 Canadian romantic comedy miami hurricanes football uniforms. Written and directed by Helen Lee, the film stars Sook-Yin Lee and Adam Beach.

Alessa Woo (Sook-Yin Lee), an art gallery employee in Toronto, has built an image as a rich heiress, but is in dire financial straits. She attempts to court rich men to feed her lifestyle, but is prone to changing partners. One day, talented aboriginal artist Ben Crowchild (Adam Beach) moves into the apartment next door, leading to the two sharing a bathroom. In order to spurn a persistent suitor, Nathan (Don McKellar), Woo takes hold of Crowchild and kisses him. The two later become friends with benefits.

Soon, Woo is approached by the idly rich art collector Patrick Aucoin (Joel Keller), who proposes to her; Woo becomes tempted. However, she has developed feelings for the seemingly unwealthy Crowchild. Crowchild, who has similar emotions, reveals to her that he was adopted by Aucoin’s father and that he himself is rich, but posing as a poor artist to be better received by the community. Woo and Crowchild become a couple.

The Art of Woo was the feature film directorial debut of Helen Lee. After the failure of Lee’s previous short film, Priceless, she was approached by co-producer Anita Lee and offered the chance to direct a feature-length romantic comedy; finding herself depressed by the “heaviness” of Priceless, Helen Lee accepted. She wrote the first draft in two weeks after watching several “classic” romantic comedies; the speed in writing was caused by her desire to receive a grant for up to C$ 500,000 from the Canadian Film Centre’s Featured Film Project (FFP), granted for low-budget films. After approval, they received assistance from FFP member Peter O’Brian to ensure they would finish the film within a year.

As there was a scheduling conflict with Sandra Oh, the first choice to play Alessa Woo, Helen Lee cast MuchMusic video jockey Sook-Yin Lee. Sook-Yin Lee underwent acting courses in Montreal with Jacqueline McClintock.

Helen Lee was lent paintings from local artists Michael Snow and Suzy Lake to use for filming, while Ron Sexsmith and Kurt Swinghammer did the soundtrack australian soccer goalie. The Art of Woo was filmed digitally in Toronto over 20 days between March and April 2001 the lemon squeeze. Locations included the University of Toronto, The Power Plant, and Archive Gallery Inc.

Helen Lee intended to insert themes of gender and race through showing social anxieties, class distinctions, and cultural displacements. Two reviewers noted a resemblance between The Art of Woo and the 1961 film Breakfast at Tiffany’s.

The Art of Woo was released at the Toronto International Film Festival.

Upon its release, The Art of Woo was “slashed” by Canadian critics. Erin Oke of Exclaim! found the film to have “many appealing aspects”, but felt that the situations were often contrived and it lacked a uniting vision; she surmised that it could have been a better film had it not tried “quite so hard to be likeable all the time”. Lisa Braun of Jam! enjoyed the soundtrack but found the dialogue poor; she summarized that the film was “uneven branded water bottles, but audiences [would] be interested to see what Lee does next”. Jonathan Crow, writing for the Rovi Corporation, found the film “less fun and less accomplished than a third grade theater production”. At the 2002 Genie Awards, Ron Sexmith won Best Achievement in Music – Original Song for his work in the film.

Dunan Aula

Dunan Aula, also known in Scottish Gaelic as Dùnan Amhlaidh, is the site of an exposed cist, located in the parish of Craignish, in Argyll and Bute, Scotland, at grid reference . The place-name means “Olaf’s mound”; it is said to commemorate a Viking prince so-named, who fell in battle against the native Scots.

Dunan Aula is situated 650 metres (2,130 ft) north-northeast of Barbreck House in Craignish parish. The cist is located on the top of a large mound branded water bottles, north of an 18th-century burial ground and mausoleum.

The cist is said to have been found sometime before the late 18th century. The 1791–99 Statistical Account of Scotland records that when it was discovered it had been covered in loose stones.

The cist consists of large slabs of stone and a gabled capstone. It is aligned northeast and southwest. The cist measures 4 feet (1.2&nbsp rolling meat tenderizer;m) by 2.7 feet (0.82 m) by 2.9 feet (0.88 m); the gabled capstone measures 5.4 feet (1.6 m) by 4.8 feet (1.5 m). Other stones which project from the mound may suggest that there are other graves in the area. There is no trace of any cairn material.

There is also an upright slab located roughly 9.5 metres (31 ft) to the north-northwest, on the side of the knoll. It is aligned northwest and southeast. It measures 0.6 metres (2 ft 0 in) by 0.4 metres (1 ft 4 in) at the base; and is 1 metre (3 ft 3 in) high. The slab has straight slides and a flat top vacuum meat tenderizer. It is not considered to be part of the cist.

A history of the parish of Craignish appears in the 1791–99 Statistical Account of Scotland, written by Rev. Lachlan M’Lachlan, parish minister. Within his account, M’Lachlan noted that “not many years before” some workmen uncovered the cist after removing some loose stones on the mound. Within the cist an urn was found; which was then broken and destroyed in an attempt to get at its supposed “treasure”. M’Lachlan noted to the great disappointment to those who destroyed it, all the urn contained was ash.

M’Lachlan, in his late 18th century historical account of the parish, stated that according to local tradition, Dunan Aula was near the site of a great battle between “Danes” [Vikings] and the natives of the area. The tradition was that Olaus, son of the “King of Denmark”, was slain in the battle; and that the mound of Dunan Aula, “the little Mount of Olaus”, was named after him.

Rev. Archibald Francis Stewart wrote the account of the parish in the 1834–45 Statistical Account of Scotland. Stewart wrote an expanded form of the tradition mentioned by M’Lachlan. Stewart wrote that it was said that a great battle took place in the parish how to make tender beef steak; fought between the “Danes” [Vikings] under Olave, or Olaus, son of their monarch, and the natives under their king. The battle was said to have begun at Druim Righ (“the king’s ridge”). In the first encounter, the natives gave way and retreated up the valley. However, once they retrieved reinforcements they rallied at a place called Sluggan, and managed to successfully respell the foreigners. One of the “Danish” leaders, Ulric, was slain and a grey stone was said to still mark the spot where he fell. The “Danes” then recovered themselves and stood their ground where the battle first commenced. Olave and the Scottish king were said to have fought in single combat, in which Olave was slain. His body was then interred in the tumulus, known ever since as Dunan Aula, located about a quarter of a mile from Druim Righ where he fell. Stewart stated that there were other monuments in the area which tradition stated were erected for those who fell at this battle. He wrote that some of these still stood at his time of writing, although one large grey stone, and a circle of smaller stones was removed when the modern Barbreck House of constructed.

A brief, but similar version was published in the late 19th century, within a collection of Argyllshire traditions titled Waifs and Strays of Celtic Tradition. This version states that a force of Norwegians landed in the area and the locals fled to the upper end of the district, up to the Slugan (gorge) of Glean Domhnuinn (the Deep Glen). The locals were, however, rallied by a young man who slew the Norwegian leader, with either a spear or an arrow. The invaders then lost heart, and were pushed back past the Barbeck river. The invaders afterwards buried their leader on Barbreck farm, which bears the name Dùnan-Amhlaidh, or Olav’s Mound. The locals of the district also raised a stone at the spot where Olav fell. In the early 20th century, Patrick H. Gillies wrote of the same tradition; although in his version Olaf was himself a king who died fighting the King of Scots.

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