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[ "'s-Gravesloot on a map from 1901", "'s-Gravesloot in 2007" ]

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[ "'s-Gravesloot is a former hamlet and municipality in the Dutch province of Utrecht. It was located between Kamerik and Woerden.\n's-Gravesloot was a heerlijkheid (manor) owned by the province of Utrecht until 1751, when it was sold to a private owner. When the current municipal system was introduced in the Netherlands in 1812, it became part of Kamerik. When that municipality was split into three parts, 's-Gravesloot became a separate municipality again. In 1857, Kamerik-Mijzijde, Kamerik-Houtdijken, and 's-Gravesloot merged again, to form the new municipality of Kamerik. Kamerik and 's-Gravesloot are now part of Woerden.\nThe municipality of 's-Gravesloot consisted of a polder with the same name, covered an area of 3.23 km², and contained the hamlet of 's-Gravesloot. It had a population of about 110.", "Abraham Jacob van der Aa, \"Aardrijkskundig woordenboek der Nederlanden\", vol. 1 (A), 1839.\nAd van der Meer and Onno Boonstra, Repertorium van Nederlandse gemeenten, p. 93, KNAW, 2011." ]

[ "'s-Gravesloot", "References" ]

[ 224, 225 ]

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[ "Arendsslot", "", "", "", "", "" ]

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[ "'s-Heer Arendskerke is a village in the municipality of Goes in the south-western Netherlands.", "The settlement consists of two circles of houses around a Protestant church, on a single main road with an obsolete village hall. On the other side of the main road is a little industrial site called Eindewege (end of the road), containing tin huts and small garages. The remainder of the area is given over to fields for agriculture.\nThere is one primary school and one secondary school. There is also a GP and a nurse/physiotherapist. The village also has a fire brigade unit with two trucks Rijkswaterstaat maintains a winter depot here, with reserve stocks for dyke repairs.", "The village was first mentioned around 1280 as Ecclesia Arnoldi, and means \"(private) church of Arnold (person)\". The floods of 1014 and 1134 reduced Zuid-Beveland to islands. 's-Heer Arendskerke was founded in the late 12th century after a dike was built. It was originally a maritime settlement, but as the sea silted, it became an agricultural community. It was originally a circular settlement around the church.\nIn the 13th century, a motte-and-bailey castle was built by Arend or Arnoldus van Skinge. The castle was heavily damaged during the Eighty Years' War and demolished in the 17th century. The tower of the Dutch Reformed church dates from the 14th century. The 13th century nave was replaced in the 15th century. The choir was demolished in 1859 and replaced by consistory.\n's-Heer Arendskerke was home to 1,325 people in 1840. In 1872, a railway station was opened on the Roosendaal to Vlissingen railway line. In 1927, the lines Goes to Hoedekenskerke and Goes to the ferry at Wolphaartsdijk were added. The station closed in 1946, and the building was demolished in 1963.\nThe grist mill Nooit Gedacht was constructed in 1872. In 1912, an engine was installed in the wind mill. In 1984, it was sold to a foundation and restored in 1988, and has returned to active service.\n's-Heer Arentskerke was a separate municipality until 1970, when it was merged into Goes. In 2009, the Renaissance Revival castle Arendsslot was built and is used for weddings, meetings and parties.\nThe Vrouweputje is located to the south of the village and is a site of Catholic pilgrimage. According to legend, Greet was banned from Goes and Mary appeared near a well and told Greet to cure people. The water in the well is brackish.", "", "\"Kerncijfers wijken en buurten 2021\". Central Bureau of Statistics. Retrieved 19 April 2022.\n\"Postcodetool for 4458AA\". Actueel Hoogtebestand Nederland (in Dutch). Het Waterschapshuis. Retrieved 19 April 2022.\n\"Heer Arendskerke - (geografische naam)\". Etymologiebank (in Dutch). Retrieved 19 April 2022.\n\"'s-Heer Arendskerke\". Zalig Zeeland (in Dutch). Retrieved 19 April 2022.\nPiet van Cruyningen & Ronald Stenvert (2003). 's-Heer Arendskerke (in Dutch). Zwolle: Waanders. ISBN 90 400 8830 6. Retrieved 19 April 2022.\n\"'s-Heer Arendskerke\". Plaatsengids (in Dutch). Retrieved 19 April 2022.\n\"station 's Heer Arendskerke\". Stationweb (in Dutch). Retrieved 19 April 2022.\n\"Nooitgedacht\". Molen database (in Dutch). Retrieved 19 April 2022.\nAd van der Meer and Onno Boonstra, Repertorium van Nederlandse gemeenten, KNAW, 2011.\n\"Activiteiten in kasteel Arendsslot bij 's-Heer Arendskerke worden gelegaliseerd\". Provinciale Zeeuwse Courant (in Dutch). Retrieved 19 April 2022.", "Media related to 's-Heer Arendskerke at Wikimedia Commons" ]

[ "'s-Heer Arendskerke", "Overview", "History", "Gallery", "References", "External links" ]

[ 226, 227, 228, 229 ]

[ 2203, 2204, 2205, 2206, 2207, 2208, 2209, 2210 ]

[ "Protestant church", "", "", "", "" ]

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[ "'s-Heer Hendrikskinderen is a village in the Dutch province of Zeeland. It is located in the municipality of Goes, about 2 km to the west of the city of Goes.", "The village was first mentioned in 1267 as Ecclesiam Henrici, and means \"(private) church of Lord Henric\" and is probably a reference to Henricus de Scinge. 's-Heer Hendrikskinderen is a circular village around a church which developed in the Late Middle Ages.\nThe Dutch Reformed church dates from the 15th century. The tower is probably incomplete. The current church was built in 1805. Castle Heer Hendriksburg used to be located near the village. In the 18th century, it was rebuilt as an inn, and was demolished in 1803.\n's-Heer Hendrikskinderen was home to 137 people in 1840. 's-Heer Hendrikskinderen was a separate municipality until 1857, when it was merged into 's-Heer Arendskerke. In 1970, it became part of the municipality of Goes.", "", "\"Kerncijfers wijken en buurten 2021\". Central Bureau of Statistics. Retrieved 19 April 2022.\n\"Postcodetool for 4472AA\". Actueel Hoogtebestand Nederland (in Dutch). Het Waterschapshuis. Retrieved 19 April 2022.\n\"Heer Hendrikskinderen - (geografische naam)\". Etymologiebank (in Dutch). Retrieved 19 April 2022.\nPiet van Cruyningen & Ronald Stenvert (2003). 's-Heer Arendskerke (in Dutch). Zwolle: Waanders. ISBN 90 400 8830 6. Retrieved 19 April 2022.\n\"'s-Heer Hendrikskinderen\". Plaatsengids (in Dutch). Retrieved 19 April 2022.\nAd van der Meer and Onno Boonstra, Repertorium van Nederlandse gemeenten, KNAW, 2011." ]

[ "'s-Heer Hendrikskinderen", "History", "Gallery", "References" ]

[ 230, 231, 232 ]

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[ "'s Heerenberg castle.", "", "", "", "", "", "", "", "", "" ]

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[ "'s-Heerenberg is a city on the Dutch-German border, in the Province of Gelderland, Netherlands. It is located about 5 km north of the German Emmerich, and about 12 kilometres (7.5 mi) south of Doetinchem. It received city rights in 1379.\n's-Heerenberg is the location of one of the most important castles of the Netherlands: Huis Bergh. The Huis Bergh contains a panel of the Archangel Gabriel from the famous altar piece Maestà by Duccio. The castle is surrounded to the west by a forest, part of the larger nature reserve Bergherbos.\nMechteld ten Ham was accused of sorcery. She demanded a trial, and failed the water test, because she remained floating on the water. During torture, she confessed to being a witch, and was burnt at the stake on 25 July 1605. In 2004, a statue was revealed in her honour. In 2015, her statue was set on fire.\nUntil 1821 's-Heerenberg was a separate municipality; it then became the administrative center of Bergh. Since 2005 it is part of the municipality of Montferland. The border canal 'Grenskanaal' constitutes the border to Germany. Industrial parks 't Goor and the Immenhorst are situated near this border.\nThe annual Montferland Run road running competition is held in 's-Heerenberg every December. The race has been previously won by world-class runners like Haile Gebrselassie, Kenenisa Bekele and Lornah Kiplagat.", "", "\"Kerncijfers wijken en buurten 2021\". Central Bureau of Statistics. Retrieved 23 March 2022.\n\"Postcodetool for 7041AA\". Actueel Hoogtebestand Nederland (in Dutch). Het Waterschapshuis. Retrieved 23 March 2022.\n\"Mechteld ten Ham\". Mijn Gelderland (in Dutch). Retrieved 23 March 2022.\n\"Beeld 'Heks' in 's-Heerenberg verbrand\". Regio 8 (in Dutch). 29 July 2015. Retrieved 23 March 2022.\nAd van der Meer and Onno Boonstra, Repertorium van Nederlandse gemeenten, KNAW, 2011." ]

[ "'s-Heerenberg", "Gallery", "References" ]

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[ "Street view", "", "", "", "", "" ]

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[ "'s-Heerenhoek is a village in the Dutch province of Zeeland. It is a part of the municipality of Borsele, and lies about 12 km east of Middelburg.", "The village was first mentioned around 1750 as 'S Heerenhoek, and \"means corner of the lord\". It is located in the north-eastern corner of the Borsselepolder which was poldered in 1616. The lords refers to the lord of Schenge Castle in 's-Heer-Arendskerke. 's-Heerenhoek developed after 1616 in a grid structure. In 1669, the village was devastated by fire and a new church was built in 1672.\nThe Dutch Reformed church from 1672 was moved to Netherlands Open Air Museum in Arnhem between 1987 and 1988. The village developed into a Catholic area from the 1760s onwards. The Catholic St Willibrordus Church was built between 1873 and 1874 in Gothic Revival style and has a tall tower.\n's-Heerenhoek was home to 772 people in 1840. The municipal council used to meet in the local inn. In 1881, it was outlawed to hold meetings in a locality which served alcohol. The problem was solved by separating a part of the inn and building its own front door. In 1892, a town hall was built.\n's-Heerenhoek was a separate municipality until 1970 when it was merged into Borsele.", "", "\"Kerncijfers wijken en buurten 2021\". Central Bureau of Statistics. Retrieved 19 April 2022.\n\"Postcodetool for 4453AA\". Actueel Hoogtebestand Nederland (in Dutch). Het Waterschapshuis. Retrieved 19 April 2022.\n\"Heerenhoek - (geografische naam)\". Etymologiebank (in Dutch). Retrieved 19 April 2022.\nPiet van Cruyningen & Ronald Stenvert (2003). 's-Heerenhoek (in Dutch). Zwolle: Waanders. ISBN 90 400 8830 6. Retrieved 19 April 2022.\n\"'s-Heerenhoek\". Plaatsengids (in Dutch). Retrieved 19 April 2022.\nAd van der Meer and Onno Boonstra, Repertorium van Nederlandse gemeenten, KNAW, 2011." ]

[ "'s-Heerenhoek", "History", "Gallery", "References" ]

[ 239, 240, 241, 242 ]

[ 2217, 2218, 2219, 2220 ]

[ "", "", "", "", "", "", "", "", "", "", "", "", "", "'s-Hertogenbosch in the 16th century", "De Moriaan [nl]", "Dutch Topographic map of 's-Hertogenbosch, as of March 2014", "Typical street in 's-Hertogenbosch", "Mayor Ton Rombouts, the Mayor of Oeteldonk, and the prince at City Hall in 2007", "Saint John's Cathedral", "City Hall of 's-Hertogenbosch", "Market square", "City rampart", "Citadel of 's-Hertogenbosch", "Boze Griet, a forged cannon from 1510 in the Bastionder", "View on the St. Jan from Bossche Broek", "'s-Hertogenbosch railway station", "Macropedius, 1572", "Jan de Quay, 1962", "Mercator, engraving from 1739", "Jheronimus Bosch, posthumous portrait from ca.1550", "Gijs van Heumen, 1986", "Mijntje Donners, 2004" ]

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[ "'s-Hertogenbosch ([ˌsɛrtoːɣə(m)ˈbɔs] (listen); French: Bois-le-Duc, [bwɑ l(ə) dyk]; German: Herzogenbusch), colloquially known as Den Bosch ([dɛm ˈbɔs] (listen)), is a city and municipality in the Netherlands with a population of 157,486. It is the capital of the province of North Brabant.", "The city's official name is a contraction of the (archaic) Dutch des Hertogen bosch [dɛs ˈɦɛrtoːɣə(m) ˈbɔs] — \"the forest of the duke\". The duke in question was Henry I of Brabant, whose family had owned a large estate at nearby Orthen for at least four centuries. He founded a new town located on some forested dunes in the middle of a marsh. At age 26, he granted 's-Hertogenbosch city rights and the corresponding trade privileges in 1185. This is, however, the traditional date given by later chroniclers; the first mention in contemporaneous sources is 1196. The original charter has been lost. His reason for founding the city was to protect his own interests against encroachment from Gelre and Holland; from its first days, he conceived of the city as a fortress. It was destroyed in 1203 in a joint expedition of Gelre and Holland, but was soon rebuilt. Some remnants of the original city walls remain.\nIn the late 14th century, a much larger wall was erected to protect the greatly expanded settled area. Artificial waterways were dug to serve as a city moat, through which the rivers Dommel and Aa were diverted. 's-Hertogenbosch became the birthplace and home of one of the greatest painters of the northern Renaissance period, Hieronymus Bosch. The town suffered a catastrophic fire in 1463, which the then (approximately) 13-year-old Bosch probably witnessed; presumably, this fire provided inspiration for the fiery hell-scapes that would later make Bosch famous.\nUntil 1520, the city flourished, becoming the second largest population centre in the territory of the present Netherlands, after Utrecht. The city was also a center of music, and composers, such as Jheronimus Clibano, received their training at its churches. Others held positions there: Matthaeus Pipelare was musical director at the Confraternity of Our Lady; and renowned Habsburg copyist and composer Pierre Alamire did much of his work at 's-Hertogenbosch.", "The wars of the Reformation changed the course of the city's history. It became an independent bishopric. During the Eighty Years' War, the city took the side of the Habsburg (Catholic) authorities and thwarted a Calvinist coup. It was besieged several times by Prince Maurice of Orange, stadtholder of most of the Dutch Republic, who wanted to bring 's-Hertogenbosch under the rule of the rebel United Provinces. The city was successfully defended against Prince Maurice in 1601 and again in 1603, but the city eventually fell in the 1629 siege led by Frederick Henry.", "In the years of Truce, before the renewed fighting after 1618, the fortifications were greatly expanded. The surrounding marshes made a siege of the conventional type impossible, and the fortress, deemed impregnable, was nicknamed the Marsh Dragon. The town was nevertheless finally conquered by Frederik Hendrik of Orange in 1629 in a typically Dutch stratagem: he diverted the rivers Dommel and Aa, created a polder by constructing a forty-kilometre dyke and then pumped out the water by mills. After a siege of three months, the city had to surrender—an enormous blow to Habsburg geo-political strategy during the Thirty Years' War. This surrender cut the town off from the rest of the duchy and the area was treated by the Republic as an occupation zone without political liberties (see also Generality Lands).", "After the Peace of Westphalia, the fortifications were again expanded. In 1672, the Dutch rampjaar, the city held against the army of Louis XIV of France. In 1794 French revolutionary troops under the command of Charles Pichegru attacked the city. It was only weakly defended, and fell after a short siege. Pichegru then crossed the rivers and put an end to the Dutch Republic.\nIn the Batavian Republic, that was established in 1795, both Catholics and Brabanders at last gained equal rights. From 1806, the city became part of the Kingdom of Holland and from 1810, it was incorporated into the First French Empire. It was captured by the Prussians in 1814.", "The next year, 1815, when the United Kingdom of the Netherlands was established, it became the capital of North Brabant. Many newer and more modern fortresses were created in the vicinity of the city. A new canal was built, the 'Zuid-Willemsvaart', which gave the city an economic impulse. Trade, manufacturing and industry grew. Until 1878, it was forbidden to build outside the ramparts. That led to overcrowding and the highest infant mortality in the kingdom.\nAt the end of the 19th century, the very conservative city government prevented industrial investment to avoid an increase in the number of workers and the establishment of educational institutions: students were regarded as disorderly. As a result, the relative importance of the city diminished.", "One of the few official Nazi concentration camp complexes in Western Europe outside Germany and Austria was named after 's-Hertogenbosch. It operated from January 1943, to September 1944 and was known to the Germans as Herzogenbusch (see List of subcamps of Herzogenbusch). About 30,000 inmates were interned in the complex during this time, of whom about 12,000 were Jews. In the Netherlands, this camp is known as 'Kamp Vught', because the concentration camp was actually located at a heath near Vught, a village a few kilometres south of 's-Hertogenbosch.\nIt was conquered by the Germans in World War II in 1940 and occupied by them for over four years. The allies struck back—the railway station was bombed by planes of the Royal Air Force on 16 September 1944. The city was liberated between 24 and 27 October 1944 during Operation Pheasant by British soldiers of Major-General Robert Knox Ross's 53rd (Welsh) Infantry Division after Major Donald Bremner of the 1st Battalion, East Lancashire Regiment, of 158th Infantry Brigade, had already routed the enemy on 23–24 October.\nAfter the war, 's-Hertogenbosch was modernized, like many other cities in the Netherlands. It was probably only geography that shielded the old town from rigorous reconstruction in those early years. Just in time, the pendulum swung over to protecting the history of the city. In 1956, the council wanted to demolish the Moriaan, the oldest brick building in the Netherlands, to give traffic better access to the market square. The permit was refused by the government and instead the building was restored, starting in 1963. Later, city councils became much more aware of the value of historic buildings and from about the turn of the millennium, the historic fortifications are also given much attention by the authorities.", "", "The population centres in the municipality are: Bokhoven, Crevecoeur, Deuteren (former village), Dieskant, Empel, Engelen, Gewande, 's-Hertogenbosch, Hintham, Kruisstraat, Maliskamp, Meerwijk, Orthen (former village), Oud-Empel, and Rosmalen.", "Climate in this area has mild differences between highs and lows, and there is adequate rainfall year-round. The Köppen Climate Classification subtype for this climate is \"Cfb\". (Marine West Coast Climate/Oceanic climate).", "The city of 's-Hertogenbosch has become a center of industry, education, administration and culture. It is currently the fourth city of North Brabant. It is home to many national and international businesses such as Heineken, Epic, Tyco International, SAP and many others. The Jeroen Bosch Hospital is the biggest employer in the area, with over 4,000 employees.", "'s-Hertogenbosch is home to a variety of events such as the theatre festival Boulevard, Jazz in Duketown, and hip hop in duketown, the start of the Tour de France (1996), Tour Feminin (1997), the International Vocal Competition, November Music (a contemporary music festival) and the UNICEF Open (formerly the Ordina Open) grass court tennis tournament (in the nearby town of Rosmalen). There are also over 350 restaurants, pubs and cafés to be found in the city.\n's-Hertogenbosch is also home to the European Ceramic Work Centre. This is a juried international ceramic residency where they invite artists, designers and architects from around to the world to explore the medium of Ceramics. This program was initially started in 1991 and continues to this day.\nThe city has its own food speciality, the Bossche Bol—effectively a giant profiterole, somewhat larger than a tennis ball, which is filled with whipped cream and coated with chocolate.\nThe spoken language is Maaslands (the variant spoken in 's-Hertogenbosch is called Bosch which is placed among the Central North Brabantian dialects, although other classification systems also describe it as East Brabantian), which is very similar to colloquial Dutch.\nDe Toonzaal is a music venue for chamber music, improvised music, and experimental music. For popular music there is the venue W2 (or Willem II).", "The Noordbrabants Museum is a provincial museum with a nice overview of works that Vincent van Gogh made in Brabant. The Design Museum Den Bosch is a modern art museum. The Jheronimus Bosch Art Center, is dedicated to the work of Jheronimus Bosch. Other museums include the Swan Brothers' House and Museum Slager. Also the National (Dutch) Carnavalsmuseum Oeteldonks gemintemuzejum is a hidden gem nearby one of the courses of the center river Binnendieze. In the nearby future a new museum will be opened about the fortresses of the town and in general in Europe vestingmuseum. And the house where the famoujs painter Jheronimus made his paintings can be visited as well on the Market square; for more information hethuisvanbosch.nl/en/historie/ .", "'s-Hertogenbosch has a strong carnival tradition. In its current form the story and symbolism dates from 1881 to 1883. In these years some citizens created the legend of \"Oeteldonk\", whereby the city was renamed to Oeteldonk for the three day carnival. \"Donk\" is a reference to a dry place in the marsh. The frog is widely used as a symbol during the 's-Hertogenbosch Carnival. It's also a symbol of the Oeteldonk marsh. It was also a remark aimed at Bishop Godschalk from Den Dungen, where 'Van den Oetelaar' was a common family name. He had wanted to forbid the traditional festivities of Shrove Tuesday that often led to excesses.\nOeteldonk is a village and therefore every inhabitant is a farmer or a 'durske' (a girl or young woman), eliminating class differences. The village is headed by the Mayor \"Peer vaan den Muggenheuvel tot den Bobberd\". Each year the mayor of 's-Hertogenbosch hands over his authority to the Mayor of Oeteldonk. On Sunday at 11:11 AM the Mayor of Oeteldonk then receives Prince Carnaval \"Prince Amadeiro XXVI\" at Oeteldonk central station. From there a parade of all carnival clubs escorts the company to the town hall.\nThe citizens of 's-Hertogenbosch wear traditional outfits throughout these days. A so-called boerenkiel is worn and every year patches are designed according to that years theme which can then be stitched onto the outfit. The boerenkiel is often combined with a traditional farmers bandana and a long scarf in the colors of Oeteldonk. The tradition of the Boerenkiel and / or Bandana is very different from the carnival traditions in the rest of the Netherlands. Other aspects like the parade, the temporary name and the temporary flag (for Oeteldonk red, white and yellow) are very similar.", "'s-Hertogenbosch was founded as a fortified city and that heritage can still be seen today. After World War II, plans were made to modernise the old city, by filling in the canals, removing or modifying some ramparts and redeveloping historic neighbourhoods. Before these plans could come to effect, however, the central government declared the city a protected townscape. Most historic elements have been preserved. In contrast to cities like Rotterdam, 's-Hertogenbosch also survived the Second World War relatively unscathed. Much of its historic heritage remains intact, and today there are always renovations going on in the city to preserve the many old buildings, fortifications, churches and statues for later generations.", "The city center has a cozy atmosphere because of the almost continuous ramparts that still surround it. It has been molded by the multiple rivers that convene on 's-Hertogenbosch, giving the center its strange street plan so different from the usual grid plan, where streets meet at right angles. The center is dominated by Saint John's Cathedral (Sint Jans kathedraal in Dutch), which dates from c. 1220 and is best known for its Brabantine Gothic design and the many sculptures of craftsmen that are sitting on almost every arc and rim along the outside of the cathedral. In 2010 an extensive restoration was completed, undoing the damage of many years of wear-and-tear and acid rain.\nOn the central square is the oldest remaining brick house of the Netherlands, 'de Moriaan', which was built at the beginning of the 13th century. In the 1960s, de Moriaan was renovated to its former glory based on a famous 16th-century Dutch painting called 'De Lakenmarkt van 's-Hertogenbosch' ('The fabric market of 's-Hertogenbosch'). The town hall is an originally 14th-century Gothic building. After the town was conquered by the Dutch Republic in 1629, it got a new facade in the style of the Dutch Baroque architecture. It showcased the authority of the new masters, just like the new town hall in Maastricht would.\nHidden below the old city is a canal network called the Binnendieze, which once spanned 22 km (14 mi). It started out as a regular river, the Dommel, running through the city in medieval times. Due to lack of space in the city, people started building their houses and roads over the river. Later, the Binnendieze functioned as a sewer and fell into disrepair. In recent decades, the remaining sixth part of the old waterway system has been renovated, and it is possible to take several guided subterranean boat trips through it.", "'s-Hertogenbosch has an extensive and almost complete fifteenth-to-seventeenth-century city fortification. It was made to profit from the city's strong defensive position, lying on a sandy hill in the center of a large swamp fed by many rivers. This also caused that the main ramparts were preserved, because they were crucial in keeping out the water. In 2004 the city was awarded the title European Fortress City of the year. In the years that followed it restored many of the city defenses to much of their old glory.\nApart from small sections of medieval walls, the main structure of the fortification is a late-medieval (fifteenth-century) wall. The upper sections were removed when cannon became more powerful, and polygonal bastions were added, some after the conquest by the republic. Most of these have not been restored to their original height, but do maintain their brick walls. The citadel in the north west of the city does retain its original height. Around the city itself many other fortresses can still be seen.\nIn the north east of the old city, the hexagonal gunpowder magazine, called Kruithuis is located close to the citadel. It is one of only a handful that still exist in the Netherlands, and was built when the city was still part of the Spanish Netherlands. It is planned to become the museum of fortress 's-Hertogenbosch. One of the bastions of the fortress now houses the mini museum Bastionder. It has been dug out in a bastion of the south side. On the inside it shows a unique wrought iron cannon, and an older bastion that was walled in by the current one.", "On the south side of the city, the city center and walls still border the Bossche Broek, an old polder that could never be made dry. In 1995 the dyke of the Dommel broke and an enormous amount of water entered the polder. It also flooded and blocked the main Dutch highway A2. In order to prevent this in the future, the area was rearranged to store excess water in case of emergencies. In 2006 the area had been furnished with higher dikes and locks that allowed a controlled flooding of the polder and some adjacent areas in case of emergency.\nThe Bossche Broek is now a 22-hectare (54-acre) nature reserve, that stretches all the way to Vught. It is connected to the Moerputten and Vlijmens Ven, with which it forms a Natura 2000 area. Rare species in the area are the scarce large blue and the European weather loach. The Moerputten sports the Moerputten Bridge, a 600 m long nineteenth century railway bridge and engineering feat. However, what is really unique about the area is its close proximity to the city center.", "The city is also the location of the Bolwoningen complex, an array of fifty experimental spherical houses designed by Dries Kreijkamp.\nThe Lutheran Church, 's-Hertogenbosch is no longer used as a church.", "The city has one professional football club, FC Den Bosch It is the 1967 successor of the professional branches of BVV (Bossche Voetbal Vereniging) and Wilhelmina. Both of them still exist as amateur football clubs. As a successor of BVV FC Den Bosch can claim the national championship of 1948. This championship led to the construction of stadium De Vliert, which at one time had a capacity of 30,000. Due to the less successful years that followed, the capacity is now only 8,500 visitors. FC Den Bosch was the first club of Dutch international player Ruud van Nistelrooy.\n's-Hertogenbosch is more successful in field hockey. It is home to top club HC Den Bosch. The women's team in particular is a dominant force in the Dutch field hockey competition. The professional basketball club New Heroes Den Bosch is also very successful. The city's rugby club is called The Dukes and dates from 1974. It is located at a very scenic location at the foot of the city walls. Because of the limited space, the club plays on artificial turf and part of the accommodation is subterranean. The Dukes has the most junior members. It became the national rugby champion in 2008. \nAs regards events the city is host to the Rosmalen Grass Court Championships, a combined ATP Tour and WTA Tour grass court tennis event played two weeks before the Wimbledon Championships. The World Archery Championships and World Para Archery Championship were held here in June 2019. During these combined World Championships two separate venues were used: the Parade and the rugby fields of The Dukes. All finals took place in the arena at the Parade. The Parade is a historic square surrounded by high trees, situated at the foot of the nearly seven-hundred-year-old Saint John's Cathedral in the attractive center of 's-Hertogenbosch.", "The Zuid-Willemsvaart runs from the Meuse just north of the city towards Maastricht via Helmond and Weert. In 's-Hertogenbosch it runs through the city proper, south east from where a bastion has been cut off from the citadel. Because of this route it was impossible to widen it further than for ships of CEMT class II. Therefore, the Máxima Canal of 8 km was dug just east of the city, creating a shortcut from the canal to the Meuse suitable for ships of CEMT class IV. On the remaining part of the Zuid-Willemsvaart west of the city is the industrial harbor of 's-Hertogenbosch. A marina is located in the center.\n's-Hertogenbosch is situated on the busy A2 motorway, the most important north–south connection of the Netherlands. This connection was established with the opening of the Dieze Bridge in 1942. From 1961 the Utrecht-'s-Hertogenbosch section was 2 times 2 lanes. In 1970 the A2 was rerouted to the east of the city. In 1989 it finally became a controlled-access highway. In 1996 the section between 's-Hertogenbosch and Eindhoven became a controlled-access highway. The situation in Maastricht was only solved in 2016, when the Koning Willem-Alexandertunnel was opened. On the east–west axis 's-Hertogenbosch is on the A59 motorway. The A65 motorway between 's-Hertogenbosch and Tilburg is a regional highway, but is not completely access-controlled.\n's-Hertogenbosch railway station is on the Utrecht–Boxtel part of the railway stretch between Amsterdam and the Dutch industrial/tech center near Eindhoven. As a consequence north–south trains depart every ten minutes. On the Tilburg–Nijmegen railway trains run on a more modest schedule. 's-Hertogenbosch railway station is also a major station for Arriva buslines that serve the city and most of its suburbs. Other stations within the limits of the municipality are 's-Hertogenbosch Oost railway station and Rosmalen railway station. Vught railway station is actually closer to the city center than that in Rosmalen.\n's-Hertogenbosch has attempted to adapt to the growing popularity of the bicycle in Dutch cities. A reasonable amount of bike paths has so far been constructed in the town. In 2011, the city was chosen as Fietsstad 2011—the top bike city of the Netherlands for 2011. The details of the report were less jubilant and showed that it was really a prize meant to stimulate 's-Hertogenbosch to take further action; Hugo van der Steenhoven of the Fietsersbond: \"In the past years Den Bosch has spent much energy, ambition, creativity and money to give cycling an enormous boost. This is a big achievement for a city where bicycle use is lower than in the rest of the Netherlands\" (cyclist union).", "'s-Hertogenbosch has multiple vocational universities called 'Hogeschool' in Dutch. The HAS Hogeschool of about 3,500 students is focused on agricultural and food technology. Avans Hogeschool is located in 's-Hertogenbosch and two nearby cities. The AKV St. Joost is an art academy that is now part of Avans and dates back to 1812. Fontys Hogeschool also offers some education in the city. The Jheronimus Academy of Data Science (JADS), located at the Mariënburg Campus in the center of 's-Hertogenbosch, and provides a number of data science programs at graduate (MSc) and post-graduate level (PhD). It is a department of the Eindhoven University of Technology and Tilburg University.\nIn secondary education the City Gymnasium is a gymnasium (school) that originated from the Latin school of the city. It is comparable to a grammar school and can trace its origin back 1274. The same type of education and all other types of secondary education are offered by a number of large institutes.", "Roman Catholicism is the dominant religion in 's-Hertogenbosch, with somewhat more than 40% of the population counting themselves as belonging to it. Even so, attendance at mass is significantly lower than 40%. Therefore, the only big church in the city center still in use by the Catholic church is St. John's Cathedral. Smaller churches in use by the Roman Catholic church are: St. Anne's Church in Hintham, St. Anne's in Deuteren, St. Lambert's in Rosmalen etc.\nThe Protestant religion has seen its share of believers in the city fall from 20% to about 4%. It is based in the Great Church. The Eastern Orthodox Church is a new church in town. It is based on St. Catherine's Church.\nThe Arrahma Mosque has been built by the Moroccan community. The Turkish community has the Orhan Gazi Mosque.", "", "Erasmus (1484–1497), priest and humanist scholar\nMacropedius (1487–1558), a Dutch humanist, schoolmaster and Latin playwright\nJohn Slotanus (died 1560) a Dutch Roman Catholic polemical writer\nJohannes Chrysostomus vander Sterre (1591–1652) an ecclesiastical writer and abbot\nJohan Bax van Herenthals (1637–1678) the governor of the Dutch Cape Colony 1676/1678\nLaurens Storm van 's Gravesande (1704–1775), governor of Essequibo and Demerara\nPetrus Josephus Johannus Sophia Marie van der Does de Willebois (1843–1937) a Dutch jonkheer, politician and Mayor of 's-Hertogenbosch\nJoseph Sweens (1858–1950) an RC missionary bishop in South Nyanza in German East Africa\nChristiaan Cornelissen (1864–1942) a Dutch syndicalist writer, economist and trade unionist\nHenk Sneevliet (1883–1942) a Dutch Communist, active in both the Netherlands and the Dutch East-Indies\nFrans Teulings (1891–1966) a Dutch politician and economist\nPieter Godfried Maria van Meeuwen (1899–1982) a Dutch judge and a politician\nJan de Quay (1901–1985) a politician and psychologist; Prime Minister of the Netherlands 1959/1963\nBert Röling (1906–1985) a Dutch jurist and founding father of polemology, the study of war\nLouis van de Laar (1921–2004) a Dutch politician and historian\nBram Stemerdink (born 1936) a retired Dutch politician and army officer\nDon Burgers (1932–2006) a Dutch politician, Mayor of 's-Hertogenbosch 1989 to 1996\nMarco Kroon (1970), soldier with the Korps Commandotroepen\nMatthijs van Miltenburg (born 1972) a politician, municipal councillor 2010/2014 and MEP 2014/2019", "Gerardus Mercator (ca.1520–1530), a geographer, cosmographer and cartographer\nWilhelm de Raet (ca.1537-1583) a Dutch hydraulic engineer and master builder, worked in Lucca\nWillem 's Gravesande (1688–1742) a Dutch academic, mathematician and natural philosopher, developed the laws of classical mechanics\nGerard Troost (1776–1850) a Dutch-American medical doctor, naturalist and mineralogist\nJacob Moleschott (1822–1893) physiologist and writer on dietetics and scientific materialism\nDiederik Korteweg (1848–1941) a mathematician, co-wrote the Korteweg–de Vries equation\nJacob R. H. Neervoort van de Poll (1862–1924) an entomologist specialising in Coleoptera\nPeter Reijnders (1900–1974) a photographer and film director; co-founded the theme park Efteling\nFrans de Waal (born 1948), primatologist, ethologist and academic", "Hieronymus Bosch (ca.1450–1516), painter of the Early Netherlandish painting school.\nHubert Gerhard (ca.1540–1620), a Dutch sculptor\nAbraham van Diepenbeeck (1596–1675) a Dutch painter of the Flemish School\nTheodoor van Thulden (1606–1669) a painter and engraver of altarpieces and portraits.\nQuirinus van Amelsfoort (1760–1820) a Dutch painter of allegories, history and portraits\nKarel Sluijterman (1863–1931) a Dutch architect, furniture designer, interior designer, illustrator, ceramist, book binding designer and professor\nAnton Sistermans (1865–1926) a Dutch baritone, singer of lieder and oratorios\nSophie van der Does de Willebois (1891–1961) a Dutch ceramist\nCharles Bolsius (1907–1983), painter and woodworker\nWillem van den Hout (1915–1985) a Dutch writer of the Bob Evers series of children's books\nJos van Veldhoven (born 1952) a Dutch choral conductor\nLeon de Winter (1954), writer and columnist\nOscar van Dillen (born 1958) a Dutch composer, conductor and instrumentalist", "Henri Smulders (1863–1933) a sailor and team silver medallist at the 1900 Summer Olympics\nSjef van Run (1904–1973) a Dutch footballer, appeared 359 times for PSV Eindhoven\nWim van Heumen (1928–1992) a field hockey coach and municipal councillor 1970/1992\nGijs van Heumen (born 1952) a retired field hockey coach, son of Wim\nCees Schapendonk (born 1955) a former football striker with over 510 club caps\nSophie von Weiler (born 1958) a retired Dutch field hockey forward, team gold and bronze medallist at the 1984 and 1988 Summer Olympics\nArnold Scholten (1962), a retired football midfielder with over 440 club caps\nMarcel Brands (born 1962) a former professional footballer, former Director of Football at Everton F.C.\nFred van der Hoorn (1963), a Dutch former footballer with over 500 club caps\nManon Bollegraf (born 1964) a former professional female tennis player\nAnnemarie Verstappen (born 1965) a female former freestyle swimmer, team silver and double bronze medallist at the 1984 Summer Olympics\nMijntje Donners (1974), field hockey player, with 234 caps for the Dutch National Women's Team, and team silver and bronze medallist at three Summer Olympics\nAnthony Lurling (1977), a Dutch former footballer with 587 club caps\nbrothers Geert-Jan Derikx (born 1980) & Rob Derikx (born 1982) field hockey players, team silver medallists at the 2004 Summer Olympics\nHenri van Opstal (1989), a Dutch kickboxer\nRobin van Roosmalen (1989), a Dutch kickboxer and mixed martial artist\nMaikel Scheffers (1982), wheelchair tennis player, bronze medallist at the 2008 Summer Paralympics\nAndy Souwer (1982), a Dutch welterweight shoot boxer and mixed martial artist\nMaartje Goderie (born 1984) a Dutch field hockey player, twice team gold medallist at the 2008 and 2012 Summer Olympics\nCarlien Dirkse van den Heuvel (born 1987) is a Dutch field hockey player, team gold and silver medallist at the 2012 and 2016 Summer Olympics\nMarianne Vos (1987), a Dutch cyclo-cross, road, track and mountain bicycle racer\nKenny van Gaalen (born 1988) a Dutch sidecarcross rider\nToon Greebe (born 1988) a Dutch darts player\nPatrick van Aanholt (1990), a Dutch professional footballer with over 280 club caps\nMichiel van der Heijden (born 1992) a Dutch mountain biker and Cyclo-Cross Rider.", "‘Metropolitan region Waalboss’\nStedelijke regio streekplan Waalboss\n143,733 – 's-Hertogenbosch\n84,954 – Oss\n46,498 – Waalwijk\n43,165 – Heusden\n25,638 – Vught\n11,242 – Maasdonk\n+ 355,230\n\"Samenstelling van het college\" [Members of the board] (in Dutch). Gemeente 's-Hertogenbosch. Archived from the original on 25 December 2018. Retrieved 12 April 2014.\n\"Kerncijfers wijken en buurten 2020\" [Key figures for neighbourhoods 2020]. StatLine (in Dutch). CBS. 24 July 2020. Retrieved 19 September 2020.\n\"Postcodetool for 5211HH\". Actueel Hoogtebestand Nederland (in Dutch). Het Waterschapshuis. Archived from the original on 21 September 2013. Retrieved 15 April 2014.\n\"Bevolkingsontwikkeling; regio per maand\". StatLine. Statistics Netherlands. Retrieved 14 July 2022.\n\"Bevolkingsontwikkeling; Regionale kerncijfers Nederland\" [Regional core figures Netherlands]. CBS Statline (in Dutch). CBS. 1 January 2020. Retrieved 8 March 2021.\n\"De grenzeloze regio\". Sdu uitgevers. 2007. ISBN 9789012124577. Het BBP van BrabantStad ligt op 14.7% van het nationale BBP. In de regio liggen Philips, de Technische Universiteit Eindhoven, de Universiteit Tilburg en de HAS Den Bosch. De regio heeft 1.4 miljoen inwoners. Er is veel R&D, ICT, automotive, logistiek en agribusiness.\nCoetzee, Daniel; Eysturlid, Lee W. (2013). Philosophers of War: The Evolution of History's Greatest Military Thinkers. ABC-CLIO. p. 118. ISBN 978-0-313-07033-4.\nKnight, Charles Raleigh: Historical records of The Buffs, East Kent Regiment (3rd Foot) formerly designated the Holland Regiment and Prince George of Denmark's Regiment. Vol I. London, Gale & Polden, 1905, pp. 69-70\n\"Rory Bremner salutes his East Lancashire war hero dad\". Lancashire Telegraph. Archived from the original on 2015-04-04. Retrieved 2015-04-02.\nClimate Summary for Gemert-Bakel (closest city on record)\n\"Weatherbase.com\". Weatherbase. 2013.\nRetrieved on June 3, 2013.\n\"Over Ons\". Jeroen Bosch Ziekenhuis. 2020. Retrieved 26 September 2020.\nSwanenberg, Jos; Swanenberg, Cor (2002). Oost-Brabants. Taal in stad en land, 7. (in Dutch). Den Haag: Sdu Uitgevers. ISBN 9789012090100. OCLC 783055844.\n\"Oeteldonk – Oetelpedia\" (in Dutch). Oetelpedia.nl. 2010-11-17. Retrieved 2013-03-25.\n\"De stichting van Oeteldonk en de decennia daarna (1882-1945)\" [The foundation of Oeteldonk and the subsequent decades] (in Dutch). Oeteldonksche Club van 1882. 2020-06-28. Retrieved 2020-06-28.\nTeletijd.nl: 'De Moriaan' before and after renovation\nPainting: De Lakenmarkt van 's-Hertogenbosch\nTeletijd.nl: Kruithuis inner court\n\"The Worlds Ugliest Buildings – AOL Real Estate\". Realestate.aol.com. Retrieved 2013-03-25.\n\"Geschiedenis van The Dukes\". Retrieved 2021-12-09.\n\"Den Bosch fietsstad van 2011\" ['s-Hertogenbosch bicycle city 2011] (in Dutch). NOS. 2011-11-17.\nAKV|St.Joost Archived 2013-09-21 at the Wayback Machine. Retrieved 7 October 2016.\nJADS Archived 2017-03-13 at the Wayback Machine. Retrieved 12 March 2017.\n\"Kerkelijkheid en kerkbezoek, 2010/2013\". Centraal Bureau voor de Statistiek.\nCatholic Encyclopedia, Volume 14 (1913), John Slotanus, retrieved 10 February 2020\nDavid A. Granger. \"Laurens Storm van 's Gravesande: Guyana's greatest governor?\". Stabroek News. Retrieved 14 August 2020.\nCatholic Encyclopedia, Volume 4 (1913), Abraham van Diepenbeeck, retrieved 10 February 2020\nThe Encyclopedia Americana, Diepenbeeck, Abraham van, retrieved 10 February 2020\nIMDb Database retrieved 10 February 2020", "Lourens, Piet; Lucassen, Jan (1997). Inwonertallen van Nederlandse steden ca. 1300–1800. Amsterdam: NEHA. ISBN 9057420082.", "Official website\n 's-Hertogenbosch travel guide from Wikivoyage" ]

[ "'s-Hertogenbosch", "History", "Eighty Years' War", "Thirty Years' War", "Louis XIV to Bonaparte", "Kingdom of the Netherlands", "World War II and after", "Geography", "Population centres", "Climate", "Economy", "Culture", "Museums", "Carnival celebrations", "Attractions", "The city center", "The fortifications", "Nature", "Miscellaneous", "Sport", "Transport", "Education", "Religion", "Notable residents", "Public thinking and public service", "Science and business", "The arts", "Sport", "References and notes", "Literature", "External links" ]

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[ "Station entrance", "" ]

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[ "https://upload.wikimedia.org/wikipedia/commons/d/d5/Station_of_%27s-Hertogenbosch.jpg", "https://upload.wikimedia.org/wikipedia/commons/d/d1/Perron_Station_Den_Bosch.jpg" ]

[ "'s-Hertogenbosch ([ˌsɛrtoːɣənˈbɔs]) is a railway station located in 's-Hertogenbosch in North Brabant, Netherlands. The station and all services operating from it are run by Nederlandse Spoorwegen, the national Dutch train operating company.", "'s-Hertogenbosch station opened on 1 November 1868 as the northern terminus of the southern part of the Utrecht–Boxtel railway (Staatslijn H), with service south to Boxtel. Only in 1870 were the two parts of Line H joined together, allowing for direct service to Utrecht Centraal. As the town was a fortress at the time, the station was designed with attack in mind; its wood truss construction allowed it to be dismantled or damaged with minimal waste. 's-Hertogenbosch station was further expanded upon the opening of the Tilburg–Nijmegen railway, making it an important railway junction.\nIn 1896, the original station was replaced with a large brick structure designed by Eduard Cuypers. The station was relocated a few hundred metres south of the original, along with the realignment of the tracks to the west. The second 's-Hertogenbosch station was characterised by its neo-Renaissance style, with a second floor for railway employees. During World War II, at 16 September 1944, the station caught fire and burnt down; it was never rebuilt to its former glory.\nA more modern, post-war building designed by Sybold van Ravesteyn was erected in 1951. The remaining parts of the second building were incorporated, while the third station's canopy remains to this day. 's-Hertogenbosch was again rebuilt in 1998, with an extension of the roof to the other island platform. Much of the renovation consisted of an aerial walkway, the Stationspasserelle, connecting the roadways on either side of the tracks, and the removal of a special ramp to the platforms. Criticism of the fourth station was levied due to wind sensitivity; Nederlandse Spoorwegen retaliated by declaring: \"You are indeed at the train station to go, not to hang out.\"", "The station is an important interchange station, with trains coming from several different directions. 's-Hertogenbosch was the only Dutch station which provided in Auto-Train services. Services ran into Avignon, Bologna and Livorno. Auto-Trains were operated by Euro-Express-Traincharter.", "The following services in 2020 call at 's-Hertogenbosch:\n2x per hour intercity services (Schagen -) Alkmaar - Amsterdam - Utrecht - Eindhoven - Maastricht\n2x per hour intercity services Schiphol - Utrecht - Eindhoven - Venlo\n2x per hour intercity services Enkhuizen - Amsterdam - Utrecht - Eindhoven - Heerlen\n2x per hour intercity services Zwolle - Arnhem - Nijmegen - 's-Hertogenbosch - Breda - Roosendaal\n1x per hour night train (nachtnet) service Utrecht - 's-Hertogenbosch - Eindhoven (weekends only)\n2x per hour local services (sprinter) (Oss) - 's-Hertogenbosch - Eindhoven - Deurne\n2x per hour local services (sprinter) Utrecht - 's-Hertogenbosch\n2x per hour local services (sprinter) Arnhem - Nijmegen - 's-Hertogenbosch - Breda - Dordrecht", "The station is served by city bus services (stadsbussen) as well as several regional bus services (streekbussen)", "There are 13 city bus lines, which are all operated by Arriva. Hereby a rough schedule of the buses routes:", "", "", "(in Dutch) Aantal in-eu uitstappers Archived 9 February 2017 at the Wayback Machine Treinreiziger Retrieved 2010-08-04\nTeletijd.nl: 's-Hertogenbosch Central Station in 1921 and 2012", "NS website\nDutch Public Transport journey planner" ]

[ "'s-Hertogenbosch railway station", "History", "Train services", "Railway lines", "Bus services", "Stadsbussen", "Streekbussen", "Gallery", "References", "External links" ]

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[ "Shop is 's-Gravenmoer", "", "", "", "", "" ]

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[ "'s Gravenmoer is a village in the Dutch province of North Brabant. It is located in the municipality of Dongen, about 3 km north of the town of Dongen. The village has a population of about 2190 inhabitants, including the farmlands to the north of the village.", "The village was first mentioned in 1326 as Sgraven moer, and means \"moorland of the count\". In 1293, Floris V, Count of Holland donated the land to Steven van Waalwijk for the excavation of peat. The economy used to be dominated by peat. In the 16th century, the 's-Gravenmoersche Vaart was dug after an earlier canal had silted.\nThe tower of the Dutch Reformed church was built in the 14th century. The nave dates from the 15th century. In 1672, it was damaged by fire and rebuilt in 1680.\n's-Gravenmoer was home to 420 people in 1840. Entrop used to manufactor bikes, four cars, and one double-decker bus in factory in 's-Gravenmoer. In 1909, he constructed the first car of the Netherlands. 's Gravenmoer was a separate municipality until 1997, when it became a part of Dongen. In the 19th century, the municipality consisted of two neighbourhoods, called Dorp or Straat (\"Village\", or \"Street\") and ('s-Gravenmoersche) Vaart (\"Canal\"). The former part is now the village of 's Gravenmoer, formerly also called 's-Moer.\n's-Gravenmoersche Vaart should not be confused with the contemporary village Vaart, which lies along the same canal a short distance to the south. 's-Gravenmoersche Vaart is now seen as part of the village of 's-Gravenmoer, although it is situated 1 km to the east of the village center.", "", "\"Kerncijfers wijken en buurten 2021\". Central Bureau of Statistics. Retrieved 15 April 2022.\n\"Postcodetool for 5109AA\". Actueel Hoogtebestand Nederland (in Dutch). Het Waterschapshuis. Retrieved 15 April 2022.\nStatistics Netherlands, 2007. Figures are for the year 2006. Statistics are available in Google Earth format.\n\"Gravenmoer - (geografische naam)\". Etymologiebank (in Dutch). Retrieved 15 April 2022.\nChris Kolman & Ronald Stenvert (1997). 's-Gravenmoer (in Dutch). Zwolle: Waanders. ISBN 90 400 9945 6. Retrieved 15 April 2022.\n\"'s-Gravenmoer\". Plaatsengids (in Dutch). Retrieved 15 April 2022.\nAd van der Meer and Onno Boonstra, Repertorium van Nederlandse gemeenten, KNAW, 2011.\nAbraham Jacob van der Aa, \"Aardrijkskundig woordenboek der Nederlanden\", vol. 4 (E-G), 1843, p. 830-835.", "Media related to 's-Gravenmoer at Wikimedia Commons" ]

[ "'s Gravenmoer", "History", "Gallery", "References", "External links" ]

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[ "1947 photo", "" ]

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[ "https://upload.wikimedia.org/wikipedia/commons/0/0a/Het_%27s_Lands_Hospitaal_in_Paramaribo%2C_Bestanddeelnr_252-6052.jpg", "https://upload.wikimedia.org/wikipedia/commons/3/34/Map_of_Paramaribo_District.png" ]

[ "'s Lands Hospitaal is a hospital in Paramaribo, Suriname. The hospital started as a military hospital when it was established in 1760. In 1934, the hospital was transformed into a general hospital and renamed 's Lands Hospitaal. The hospital has specialized in neonatology and pediatrics. In 2015, an Intensive Care Unit was opened.", "Academic Hospital Paramaribo, another university hospital of Paramaribo;\nSint Vincentius Hospital, a Catholic hospital in Paramaribo;\nDiakonessenhuis, a Protestant hospital in Paramaribo.", "\"Lands Hospital\" (in Dutch). Archived from the original on 2013-10-22. Retrieved 10 September 2020.\n\"Dagblad De West\" (in Dutch). Retrieved 10 September 2020.\n\"'s Lands Hospitaal heeft nu Intensive Care\". Dagblad Suriname (in Dutch). Retrieved 10 September 2020.\n\"Plan of Hospital in Paramaribo\". Atlas of Mutual Heritage. Retrieved October 12, 2020.", "\"s' Lands Hospital\". Facebook." ]

[ "'s Lands Hospitaal", "See also", "References", "External links" ]

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[ "'s Lands Zeemagazijn as seen from the west", "", "Interior" ]

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[ "https://upload.wikimedia.org/wikipedia/commons/7/78/Het_scheepvaartmuseum1_Amsterdam.jpg", "https://upload.wikimedia.org/wikipedia/commons/9/9e/Nederlands_Scheepvaartmuseum_amsterdam_033.JPG", "https://upload.wikimedia.org/wikipedia/commons/5/58/Nederlands_Scheepvaartmuseum_interior_coutyard.JPG" ]

[ "'s Lands Zeemagazijn (\"National Sea Arsenal\") is a 17th-century building in the Oosterdok near Kattenburgerplein in Amsterdam, the Netherlands, which served as arsenal of the Admiralty of Amsterdam. Designed by Daniël Stalpaert and constructed in 1655/1656, it is an example of Dutch Baroque architecture. Since 1973, the building has housed the National Maritime Museum.", "In 1650, the government of Amsterdam decided to build three islands on the eastern edge of the city. The wharf for the navy was to be placed on the westernmost island, Kattenburg. A few years later this became the building site of the arsenal. Construction started in 1655 after the Dutch lost the First Anglo-Dutch War and there was a dire need to professionalize the navy in order to protect the merchant fleet.\nThe foundation of the building consists of 2300 wooden piles from Oslo, and the building itself is constructed entirely out of brick. Two years after its completion, in 1658, Joost van den Vondel dedicated a poem to the Zeemagazijn.\nDuring the first half of the eighteenth century, the admiralty noticed that the building was slowly sinking into the ground, a common problem with building projects in Amsterdam. Some construction errors during the laying of the foundation plus the weight of the building and the peat soil of Amsterdam combined in a hazardous situation. To stop this from happening, buttresses were added to the base of the building and an avant-corps was constructed on four sides of the building.\nIn 1791, a great fire broke out and charred the entire building. Instead of demolishing it and constructing a new arsenal in its place, the decision was made to plaster the building to imitate sandstone, creating the distinctive white look it has today. After the French invasion in 1795, the Dutch Admiralty was disbanded and a national navy was formed; the function of the arsenal changed as well. It no longer stored cannons, ropes and gunpowder but clothing and food. After the French left, the building was given to the newly formed Dutch navy and stayed in the navy’s control until 1973.", "In 1972, it was announced that the building would become the location of the Nederlands Scheepvaartmuseum (English: Dutch Maritime Museum), as the navy saw no more use for the building, and the Maritime Museum needed a larger building to display their various objects. After moving the collection of the museum from the Cornelis Schuytstraat in the southern part of Amsterdam to the Zeemagazijn, the museum was officially opened by Princess Beatrix on April 13, 1973.\nA new renovation project was planned to take place from 2007 to 2011. On October 1, the Maritime Museum was reopened by Queen Beatrix. New additions to the building are the glass and steel roof, designed by Laurent Ney and based upon the lines of a compass on sea charts. In total it weighs 200,000 kilos (160,000 kilos steel and 40,000 kilos glass). Because the building is slanted (an effect from the sinking in the 18th century), every piece of glass had to be cut individually.", "\"Het Scheepvaartmuseum - Welcome\". Hetscheepvaartmuseum.nl. Retrieved 2013-11-27." ]

[ "'s Lands Zeemagazijn", "Admiralty", "Dutch Maritime Museum", "References" ]

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[ "", "" ]

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[ "https://upload.wikimedia.org/wikipedia/commons/5/59/%27t_Asbroek_-_Poel.jpg", "https://upload.wikimedia.org/wikipedia/commons/e/e2/Belgium_relief_location_map.jpg" ]

[ "'t Asbroek is a nature domain and forest in the municipality of Schoten, Belgium, covering an area of 12 ha. The domain is owned by the municipality of Schoten and managed by nature conservation organisation Natuurpunt since 1998. It is officially recognised by the Flemish government as a nature reserve.", "Historically, 't Asbroek formed part of the adjacent Amerlo castle domain. The lower part of the domain was mostly wetland (broek in older Dutch) filled with ash (asch in older Dutch) trees, hence giving the forest its name. During the Second World War the domain was struck twice by V-bombs directed at the port of Antwerp. After 1945 a large portion of the domain was planted with dense rows of Aspen trees for future logging. After the handover to Natuurpunt, commercial logging was halted. However, because of trunk rot a large number of Aspen trees had to be cut down in 2019 in order to protect adjacent residential housing. In the long term, Natuurpunt hopes to restore the area back to its original state with only indigenous vegetation.", "Along with Vordenstein park and the Peerdsbos forest, 't Asbroek forms part of a chain of forested domains at the northeastern border of the city of Antwerp, which houses a Roe deer population. The domain can be classified as a carr with iron-rich seeps that can cause the puddles and streams to color orange or red. The craters created by the V-bombs have become puddles which are inhabited by the palmate newt salamander. The forest also houses a diverse bird population, including the eurasian nuthatch, tawny owl and various woodpecker species.", "\"Natuurreservaat 't Asbroek krijgt onderhoudsbeurt\". Municipality of Schoten (in Dutch). Retrieved 16 March 2020.\n\"'t Asbroek\". Natuurpunt Antwerpen-Noord & Kempen (in Dutch). Retrieved 16 March 2020.", "www.natuurpunt.be, information provided by Natuurpunt (in Dutch)" ]

[ "'t Asbroek", "History", "Ecology", "References", "External links" ]

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[ "Church of 't Goy", "", "", "", "", "" ]

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[ "'t Goy is a village in the Dutch province of Utrecht. It is a part of the municipality of Houten, and lies about 5 km southeast of Houten.", "It was first mentioned in the 10th century as Upgoa, and means \"upper settlement\" maybe to distinguish from Het Gooi. 't Goy was an old settlement around a church which was demolished in 1800. Castle Ten Goye was located nearby.\nThe earliest history of the Castle Ten Goye is unknown. It was first mentioned in 1259, but was a lot older. In 1317, it was besieged by Guy of Avesnes, the Prince-Bishop of Utrecht. Guy took the castle, but died shortly after, and the van Goy family recaptured the castle. Between 1353 and 1355, there was a war between Prince-bishop of Utrecht and the Count of Holland. Ten Goye sided with Holland, and the castle was severely damaged during fighting. In 1356, peace was declared and Utrecht helped finance the rebuilding of the castle. In 1493, the castle is mentioned for the last time and disappeared. In 1970s, parts of the wall were rediscovered.\nIn 1840, 't Goy was home to 274 people. The Roman Catholic church was built between 1870 and 1871.", "", "\"Kerncijfers wijken en buurten 2021\". Central Bureau of Statistics. Retrieved 28 March 2022. two entries\n\"Postcodetool for 3997MC\". Actueel Hoogtebestand Nederland (in Dutch). Het Waterschapshuis. Retrieved 28 March 2022.\n\"Goy - (geografische naam)\". Etymologiebank (in Dutch). Retrieved 28 March 2022.\nRonald Stenvert & Chris Kolman (1996). \"Benschop\" (in Dutch). Zwolle: Waanders. ISBN 90 400 9757 7. Retrieved 28 March 2022.\n\"Ten Goye\". Kastelen in Utrecht (in Dutch). Retrieved 28 March 2022.\n\"'t Goy\". Plaatsengids (in Dutch). Retrieved 28 March 2022." ]

[ "'t Goy", "History", "Gallery", "References" ]

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[ "The Malay Archipelago and Australia by Hessel Gerritsz, 1628-32", "Cape Leeuwin" ]

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[ "https://upload.wikimedia.org/wikipedia/commons/7/7b/Hessel_Gerritsz_-_Malay_Archipelago_and_Australia.jpg", "https://upload.wikimedia.org/wikipedia/commons/c/c8/Cape_Leeuwin_From_North.jpg" ]

[ "The 't Gulden Zeepaert, usually referred to as the Gulden Zeepaert (The Golden Seahorse) was a ship belonging to the Dutch East India Company (VOC). It sailed along the south coast of Australia from Cape Leeuwin in the south west of Western Australia to the Nuyts Archipelago in South Australia early in 1627.\nThe Captain was François Thijssen.", "The Gulden Zeepaert (Golden Seahorse) sailed from the Netherlands on 22 May 1626, under the command of Francois Thijssen (sometimes recorded as Thijszoon or Thyssen). Also on board was Pieter Nuyts, extraordinary member of the Dutch East India Company's Council of India, their executive body in the East Indies.\nIt appears that in January 1627 the vessel encountered the Southland in the vicinity of Cape Leeuwin. Instead of turning north to make for Batavia (now Jakarta), as required by Dutch ships of this period, following what is known as the Brouwer Route, it continued along the south coast of Australia for a distance of 1,800 kilometres (1,100 mi). They reached St. Francis and St. Pieter Islands in what is now known as the Nuyts Archipelago, off Ceduna in South Australia. Thijssen mapped the coastline around Fowlers Bay.\nWhat transpired during this part of the voyage is not known in detail as no log survives. The principal evidence consists of contemporary maps, a brief reference to the voyage in the Daily Register at Batavia for 1627, and in instructions to Gerrit Thomaszoon Pool in 1636 and Abel Tasman in 1644.\nThe Gulden Zeepaert reached Batavia on 10 April 1627. Records indicate that 30 men died during the voyage. The region they encountered became known as Nuyts Land. Nuyts had also been on board the Leeuwin which sighted and named Cape Leeuwin in 1622. According to the Landings List compiled by the Australia on the Map Division of the Australasian Hydrographic Society, the Gulden Zeepaert was the 13th recorded European contact with Australia.", "Chris Halls, The voyage of the Golden Zeepaard. (South Australia, 1971). \nProceedings of the Royal Geographic Society of Australasia, SA Branch, vol. 72 (1971), p. 19-32.\nData on trips of the VOC ships Gulden Zeepaard and Valk.\nMichael Pearson Great Southern Land. The maritime explorations of Terra Australis (2005) (published by the Australian government department of the environment and heritage)\nRees D. Barrett, Significant People in Australia's History, Issue 2 (Macmillan Education AU, 2009) \n\"Fowlers Bay, South Australia\". 23 November 2007. Retrieved 18 October 2021.\nDaily Register\nHeeres, p.51.\nLandings List Archived 2013-11-10 at the Wayback Machine\nAustralasian Hydrographic Society", "J. E. Heeres. The Part Borne by the Dutch in the Discovery of Australia, London: Luzac & Co, 1899, p. 51.", "The Part Borne by the Dutch in the Discovery of Australia" ]

[ "'t Gulden Zeepaert (ship, 1626)", "Details of the voyage", "Notes", "References", "External links" ]

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[ "Road in 't Haantje", "" ]

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[ "https://upload.wikimedia.org/wikipedia/commons/2/24/%27t_Haantje.JPG", "http://upload.wikimedia.org/wikipedia/commons/3/34/2010-NL-P03-Drenthe-positiekaart-gemnamen.jpg" ]

[ "'t Haantje (the Little Rooster) is a small village in the northeastern Netherlands. It is situated northwest of Emmen and is part of the municipality of Coevorden. It lies along the Oranjekanaal, between Noord-Sleen and Klijndijk.\n't Haantje was first mentioned in 1874. The etymology is unclear. It was founded when peat labourers decided to settle there. On 1 December 1965, the village barely escaped a disaster. A French company working for the N.A.M. was drilling for gas, and started to lose control of the enormous gas pressure. During the afternoon, this resulted in a huge gas eruption. The ground around the hole caved in - swallowing all of the drilling equipment. The gas eruption was eventually stopped by a cement injection from a new drilling hole. A small lake lake surrounded by a forest forms a permanent reminder of this event.", "\"Kerncijfers wijken en buurten 2021\". Central Bureau of Statistics. Retrieved 13 March 2022. Two entries\n\"Postcodetool for 7847TA\". Actueel Hoogtebestand Nederland (in Dutch). Het Waterschapshuis. Retrieved 13 March 2022.\n\"Haantje - (geografische naam)\". Etymologiebank (in Dutch). Retrieved 13 March 2022.\n\"'t Haantje\". Plaatsengids (in Dutch). Retrieved 13 March 2022.\n\"Wiki Maps\". Nsesoftware.nl. Retrieved 2012-09-13.", "Media related to 't Haantje (Coevorden) at Wikimedia Commons\nWebsite municipality of Coevorden" ]

[ "'t Haantje, Drenthe", "References", "External links" ]

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[ "Railway station in 1973" ]

[ 0 ]

[ "https://upload.wikimedia.org/wikipedia/commons/f/ff/Overzicht_perronzijde_-_%27t_Harde_-_20100500_-_RCE.jpg" ]

[ "'t Harde railway station is located in 't Harde, Netherlands. The station was opened on 20 August 1863 and is located on the Amersfoort–Zwolle section of the Utrecht–Kampen railway (Centraalspoorweg). The services are operated by Nederlandse Spoorwegen. Previously, the station was called Elburg-Epe (1863-1888), Elburg-Oldebroek(1888-1914) and Legerplaats Oldebroek (1914-1963).", "", "", "Station 't Harde on Stationsweb.nl (in Dutch)", "NS website (in Dutch)\nDutch Public Transport journey planner (in Dutch)" ]

[ "'t Harde railway station", "Train services", "Bus services", "References", "External links" ]

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[ "The Belgian hip hop crew 't Hof van Commerce." ]

[ 0 ]

[ "https://upload.wikimedia.org/wikipedia/commons/4/4e/%27t_Hof_Van_Commerce.jpg" ]

[ "'t Hof van Commerce is a Belgian hip hop crew from Izegem in the province West Flanders in Flanders, the Dutch-speaking part of Belgium. Their name means 'commercial court' in their local dialect. Almost all their raps/lyrics are in West Flemish, the Dutch dialect of the province of West Flanders, with the exception of some lines sung in Limburgish by DJ 4T4 or a mix between those two dialects.\nBand members are Filip Cauwelier (a.k.a. Levrancier, a.k.a. Flip Kowlier), Serge Buyse (a.k.a. Dommestik, a.k.a. BZA, pronounce: buzze) and Kristof Michiels (DJ 4T4). Ex-members include Johnny de Pony (a.k.a. Georges De Keesmaecker) and Floerke den Aap (a.k.a. Wilhelm De Tura).", "It started with the crossover band The Prophets of Finance which stopped around 1993–1994. In 1997, 't Hof van Commerce was founded, and in 1998, they release their first album En in Izzegem, referring to the little city Izegem where the band was founded. About 8000 albums were sold. That was quite a high number for a debut because the entire CD was sung in West Flemish, only understood by about one million people. The next year, they already had a second CD with the title Herman. That album was sold 5000 times.\nIn 2000 Flip Kowlier started a successful solo career as a singer-songwriter, while staying a member of 't Hof van Commerce. Two years later, in 2002, they got their third album, titled Rocky 7. That album was their biggest success this far, with 10 000 sells. So in 2003, 't Hof (how they call themselves) was asked a lot in festivals in Belgium and the Netherlands.\nIn 2005, 't Hof released another album with the title Ezoa en niet anders (This way and not differently). For the first time under their own record label Plasticine. For that record, a lot of guest rappers were invited such as TLP and Gabriel Rios.\nIn 2011, Flip Kowlier temporarily stopped his (still successful) solo career, to continue with 't Hof van Commerce after a long silence. This resulted in a new album in 2012 with the title Stuntman.\n't Hof van Commerce has been on hiatus between October 2013 and January 2018.", "", "\"En in Izzegem\" (Kinky Star, 1998)\n\"Herman\" (Kinky Star, 1999)\n\"Rocky 7\" (Kinky Star, 2002)\n\"Ezoa en niet anders\" (Petrol/EMI, 2005)\n\"Stuntman\" (Petrol, 2012)", "", "Zonder niet (translation: without nothing) 1998\nDommestik en levrancier (1998)\nSpek'n'Bwon'n (1998)\nKom mor ip (translation: bring it on) (2002)\nZonder totetrekkerie (translation: without insincerity) (2003)\nPunk of yo! (2003)\nNiemand grodder (translation: nobody bigger) (2005)\nJaloes (translation: jealous) (2005)\nWupperbol (translation: bouncing ball) (2011)", "Official site\nThe Belgian pop and rock archives\nKinky Star Records Archived 4 November 2006 at the Wayback Machine" ]

[ "'t Hof van Commerce", "History", "Discography", "Albums", "Hits", "Singles", "External links" ]

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[ "", "" ]

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[ "https://upload.wikimedia.org/wikipedia/commons/4/49/Kanunnik_van_het_klooster_Schaer_in_de_kleding_van_zijn_Orde.jpg", "https://upload.wikimedia.org/wikipedia/commons/9/97/2010-NL-P05-Gelderland-positiekaart-gemnamen.jpg" ]

[ "'t Klooster is a hamlet in the municipality of Aalten, near Bredevoort (Achterhoek region) in the eastern Netherlands.\n't Klooster is not a statistical entity, and the postal authorities have placed it under Aalten.\nKlooster is a Dutch word for \"monastery\". In the fifteenth century, what is now 't Klooster was home to a monastery named \"Nazareth\" or \"Schaer\" devoted to the Devotio Moderna. In addition, in 2005, a bronze statue was revealed, designed by artist Jan te Kulve, which shows an inhabitant of the former monastery wearing the outfit of his order. In 1975, the name 't Klooster first appeared for the hamlet. It has no place name signs, and consists of about 40 houses.", "\"Postcodetool for 7121AA\". Actueel Hoogtebestand Nederland (in Dutch). Het Waterschapshuis. Retrieved 18 March 2022.\n\"Kerncijfers wijken en buurten 2021\". Central Bureau of Statistics. Retrieved 18 March 2022. Not found\n\"Postcode 7121 in Aalten\". Postcode bij adres (in Dutch). Retrieved 18 March 2022.\n\"'t Klooster\". Plaatsengids (in Dutch). Retrieved 18 March 2022.\n\"Klooster - (geografische naam)\". Etymologiebank (in Dutch). Retrieved 18 March 2022." ]

[ "'t Klooster", "References" ]

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[ "'t Lam, July 2007" ]

[ 0 ]

[ "https://upload.wikimedia.org/wikipedia/commons/8/8e/%27t_Lam_molen_Woudsend_04.JPG" ]

[ "'t Lam (English: The Lamb) is a smock mill in Woudsend, Friesland, Netherlands which was built in the late 17th century and is in working order. The mill is listed as a Rijksmonument.", "'t Lam was built before 1698. It was bought in that year by Dirck Tjebbes and was described as a bone mill. An advertisement in the Leeuwarder Courant of 12 July 1775 asked for tenders to repair the corn mill at Woudsend. In January 1837, the mill was bought by M A Tromp. He modernised the mill, and it was offered for sale under the name 't Lam in 1839 for ƒ4,200.25. The mill was then a corn, malt, mustard, pearl barley, and rye mill. The mill was again advertised for sale in 1840 for ƒ2,600. After being offered for sale in 1848 for ƒ2,525, the mill was bought from Wietse Hettema in 1849 by Carl Johan Albert Siegert for ƒ4,500. The mill passed to his son Carl J W Siegert and was advertised for sale for ƒ2,526 following his death in 1870. It was not sold, and was run by Carl Ernest Hugo Siegert until his death in 1915, passing to his son Foeke Siegert. A pair of sails broke in that year. New sails were fitted, as was a replacement windshaft. The windshaft had previously been used in Windlust, Sneek, Friesland, which had burnt down in 1914. The work was carried out by millwright Jan Piers Oly of Sneek.\nIn 1935, ownership of 't Lam was transferred to Carl Ernest Hugo Siegert. The mill worked through World War II, but the stage was in a poor condition. It was restored in 1948. The mill remained in the Siegert family until 1959, when it was sold to Bauke Lyklema. He sold it to the Gemeente Wymbritseradiel in 1960 for ƒ4,500. Further restorations were carried out in 1970-71, 1981 and 1992-93. The latter was carried out by millwright Hiemstra of Tzummarum, Friesland at a cost of ƒ288,300. In 1999, the gemeente bought the adjoining miller's house for ƒ235,000. It was converted into an information centre and shop. Internal works were carried out in 2012, including the installation of a new pair of millstones. The mill is now owned by the Gemeente Sûdwest Fryslân. It is listed as a Rijksmonument, No. 39846.", "'t Lam is what the Dutch describe as a \"Stellingmolen\". It is a smock mill on a brick base. The stage is 5.10 metres (16 ft 9 in) above ground level. The smock and cap are thatched. The mill is winded by tailpole and winch. The sails are Common sails. They have a span of 20.00 metres (65 ft 7 in). The sails are carried on a cast-iron windshaft, which was cast by NSBM, Feyenoord, South Holland in 1852. The windshaft also carries the brake wheel which has 53 teeth. This drives the wallower (26 teeth) at the top of the upright shaft. At the bottom of the upright shaft is the great spur wheel, which has 91 cogs. The great spur wheel drives three pairs of 1.50 metres (4 ft 11 in) diameter millstones via lantern pinion stone nuts which have 26, 28 and 30 staves respectively. Two of the three pairs of millstones are Cullen stones.", "DircK Tjebbes (1698- )\nM A Tromp (1837- )\nWietse Hettema ( -1848)\nCarl Johan Albert Siegert (1848- )\nCarl J W Siegert ( -1870)\nCarl Ernest Hugo Siegert (1870-1915)\nFoeke Siegert (1915–35)\nCarl Ernest Hugo Siegert (1835–59)\nReferences for above:-", "'t Lam is open to the public on Saturday between 10:00 and 17:00, or by appointment.", "\"Woudsend, Fryslân\" (in Dutch). Molendatabase. Retrieved 4 October 2014.\nStichting De Fryske Mole (1995). Friese Molens (in Dutch). Leeuwarden: Friese Pers Boekerij bv. p. 232. ISBN 90-330-1522-6.", "'t Lam website" ]

[ "'t Lam, Woudsend", "History", "Description", "Millers", "Public access", "References", "External links" ]

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[ 2331, 2332, 2333, 2334, 2335, 2336, 2337, 2338, 2339 ]

[ "Snellestraat 28" ]

[ 0 ]

[ "https://upload.wikimedia.org/wikipedia/commons/3/3e/%27s-Hertogenbosch_Rijksmonument_21848_Snellestraat_28.JPG" ]

[ "Restaurant 't Misverstant is a restaurant in Den Bosch, Netherlands. It was a fine dining restaurant that was awarded one Michelin star in 1984 and retained that rating until 1995.\nThe star was gained under the leadership of head chef Alexander Koene He voluntarily gave up the Michelin star due to the immense pressure related to it, effectively closing down the restaurant by turning it into a bistro", "List of Michelin starred restaurants in the Netherlands", "(in Dutch) Bossche Encyclopedie\n\"Restaurateur geeft Michelin-ster terug\". Leeuwarder Courant (in Dutch). 6 October 1994. Retrieved 6 May 2012.\nBrandligt, Vivie (19 June 2007). \"Historisch overzicht Michelinsterren\" [Historical overview Dutch Michelin stars 1981-1985]. Misset Horeca (in Dutch). Retrieved 12 January 2013.\n1985 Michelin Benelux. Clermont-Ferrand: Michelin et Cie. 1985. p. 307. ISBN 2-06-006-055-9.\nBrandligt, Vivie (19 June 2007). \"Historisch overzicht Michelinsterren\" [Historical overview Dutch Michelin stars 1986-1990]. Misset Horeca (in Dutch). Retrieved 12 January 2013.\nBrandligt, Vivie (19 June 2007). \"Historisch overzicht Michelinsterren\" [Historical overview Dutch Michelin stars 1991-1996]. Misset Horeca (in Dutch). Retrieved 12 January 2013.\n1993 Michelin Benelux. Clermont-Ferrand: Michelin et Cie. 1993. p. 336. ISBN 2-06-006039-7." ]

[ "'t Misverstant", "See also", "References" ]

[ 295 ]

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[ "", "'t Nopeind in the municipality of Amsterdam." ]

[ 0, 0 ]

[ "https://upload.wikimedia.org/wikipedia/commons/f/fd/T_Nopeind.jpg", "https://upload.wikimedia.org/wikipedia/commons/b/b8/Map_NL_-_Amsterdam_-_%27t_Nopeind.png" ]

[ "'t Nopeind is a hamlet in the Dutch province of North Holland. It is a part of the municipality of Amsterdam, and lies about 7 km northeast of the city centre, just north of Zunderdorp.\n't Nopeind is a part of the deelgemeente (sub-municipality) Amsterdam-Noord. The hamlet has about 35 inhabitants.", "Statistics Netherlands (CBS), Kerncijfers postcodegebieden 2004 \"Kerncijfers postcodegebieden 2004\". Archived from the original on 2006-08-27. Retrieved 2006-03-07.: postcode 1027AE." ]

[ "'t Nopeind", "References" ]

[ 296 ]

[ 2343 ]

[ "Utrecht, gold ducat 1729, retrieved from 't Vliegend Hert shipwreck" ]

[ 0 ]

[ "https://upload.wikimedia.org/wikipedia/commons/a/a6/Nederland_gouden_dukaat_1729_VOC_scheepswrak_Vliegend_Hert.jpg" ]

[ "'t Vliegend Hert also called 't Vliegend Hart (meaning 'the Flying Deer') was an 18th-century East Indiaman or \"mirror return ship\" (Dutch: spiegelretourschip) of the Dutch East India Company. 't Vliegend Hert was built in 1729 in Middelburg for the Chamber of Zeeland. Her maiden voyage was in December 1730, departing from Fort Rammekens (Netherlands) to Batavia (now Jakarta, Indonesia), commanded by captain Abraham van der Hart.\nOn 3 February 1735 't Vliegend Hert left from Rammekens for Batavia, commanded by captain Cornelis van der Horst. She was accompanied by the smaller ship Anna Catherina, under command of Jacob de Prinse and carried a cargo of wood, building materials, iron, gunpowder and wine, as well as several chests with gold and silver coins. Shortly after departure both ships ran aground in de Scheldt estuary on the sandbanks around Duerloo Channel and were lost with all cargo and crew.\nIn the following days, barrels with jenever, beer and oil washed ashore on the beaches of Blankenberge and Nieuwpoort. In 1736, the British diver Captain William Evans salvaged some items, including 700 wine bottles and an iron cannon. Because of the difficult conditions there were no further salvage attempts and gradually the wreck was forgotten. It was not until 1981 that the wreck site would be rediscovered. Many artifacts, including wine bottles, bullets and an intact coffer with 2000 gold ducats and 5000 silver reales were retrieved.\nIn 1991 a second chest filled with gold ducats and Spanish reales was discovered, as well as several cases of silver ducatons. As these ducatons (riders) were not listed on the official cargo document it is likely they were smuggled on board by members of the crew to be sold for higher prices in the East Indies.", "http://www.vocsite.nl/schepen/detail.html?id=10436 de VOC-site (Dutch)\nhttp://www.wrecksite.eu/wreck.aspx?4562 The wreck site\nhttp://www.vliz.be/imisdocs/publications/239025.pdf Integrated assessment of the buried wreck site of the Dutch East Indiaman 't Vliegend Hart" ]

[ "'t Vliegend Hert", "External links" ]

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[ "Windmill De Dellen in 1977", "" ]

[ 0, 0 ]

[ "https://upload.wikimedia.org/wikipedia/commons/3/37/Watermolen_van_de_polder_De_Dellen%2C_overzicht_-_Waar%2C_%27t_-_20248138_-_RCE.jpg", "http://upload.wikimedia.org/wikipedia/commons/a/a0/2010-NL-P01-Groningen-positiekaart-gemnamen.jpg" ]

[ "'t Waar ([ət ʋaːr]) is a village in the province of Groningen in the Netherlands. It is located in the municipality of Oldambt, just north of the village of Nieuw-Scheemda.", "The villages was first mentioned in 1781 as 't Waar, and means sluice. It refers to a sluice constructed in 1622 in the Termunterzijldiep to regulate the water flow.\n't Waar was home to 451 people in 1840. Between 1910 and 1934, there was a joint railway station with Nieuw-Scheemda on the Zuidbroek to Delfzijl railway line. On 15 April 1945, the village celebrate its liberation when German soldiers threw handgrenades into the crowd killing five civilians and one Polish soldier. In 1995, a memorial was placed on the site.\n't Waar was part of the municipality of Scheemda until 1990 when it became part of Nieuwolda. Since 2010, it is part of Oldambt.", "\"Kerncijfers wijken en buurten 2021\". Central Bureau of Statistics. Retrieved 9 April 2022. two entries\n\"Postcodetool for 9942PA\". Actueel Hoogtebestand Nederland (in Dutch). Het Waterschapshuis. Retrieved 8 April 2022.\nANWB Topografische Atlas Nederland, Topografische Dienst and ANWB, 2005.\n\"Waar - (geografische naam)\". Etymologiebank (in Dutch). Retrieved 9 April 2022.\n\"'t Waar\". Plaatsengids (in Dutch). Retrieved 9 April 2022.\n\"stopplaats Nieuw Scheemda- t Waar\". Stationweb (in Dutch). Retrieved 9 April 2022.\n\"Oorlogsmonument 't Waar\". Traces of War (in Dutch). Retrieved 9 April 2022.", "Media related to 't Waar at Wikimedia Commons" ]

[ "'t Waar", "History", "References", "External links" ]

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[ "", "", "View from the village church" ]

[ 0, 0, 0 ]

[ "https://upload.wikimedia.org/wikipedia/commons/f/f8/TWoud_bord.jpg", "https://upload.wikimedia.org/wikipedia/commons/7/74/P08-ZH-positiekaart2-gemlabels.png", "https://upload.wikimedia.org/wikipedia/commons/4/48/TWoud_kerk.jpg" ]

[ "'t Woudt is a small village in the Dutch province of South Holland. It is located about 5 km southwest of the city of Delft, in the municipality of Midden-Delfland.\n't Woudt (then spelled \"'t Woud\") was a separate municipality between 1812 and 1817, when it was divided into Groeneveld, Hoog en Woud Harnasch, and a part that merged with Hof van Delft.", "Gemeente op maat, CBS, 2005 \nAd van der Meer and Onno Boonstra, Repertorium van Nederlandse gemeenten, KNAW, 2011.", "'t Woudt and Midden-Delfland Mooi Dichtbij portaal" ]

[ "'t Woudt", "References", "External links" ]

[ 300, 301, 302 ]

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[ "'t Zandt in 2011", "", "", "", "", "" ]

[ 0, 0, 2, 2, 2, 2 ]

[ "https://upload.wikimedia.org/wikipedia/commons/d/d7/Hoofdstraat47_tZandt.jpg", "http://upload.wikimedia.org/wikipedia/commons/a/a0/2010-NL-P01-Groningen-positiekaart-gemnamen.jpg", "https://upload.wikimedia.org/wikipedia/commons/b/b2/%27t_Zandt_-_oude_gemeentehuis.jpg", "https://upload.wikimedia.org/wikipedia/commons/7/70/%27t_Zandt_-_oude_brandweerkazerne_%281%29.jpg", "https://upload.wikimedia.org/wikipedia/commons/0/04/Zandt_-_gereformeerde_kerk.jpg", "https://upload.wikimedia.org/wikipedia/commons/1/1d/Zandstermaar_bij_Alberdaheerd_-_panoramio.jpg" ]

[ "'t Zandt ([ət ˈsɑnt]) is a village in the Dutch province of Groningen. It is located in the municipality of Eemsdelta.\n't Zandt was a separate municipality until 1990, when it was merged with Loppersum. The municipality covered the villages 't Zandt, Zeerijp, Leermens, Eenum and Oosterwijwerd, and the hamlets Zijldijk, Kolhol, Korendijk and 't Zandstervoorwerk.", "The village was first mentioned in 1257 as \"in Sonde\", and means sand. That year, the monks of Wittewierum started to a dike in order to polder the former Fivel estuary. The polder was completed in 1266, and a sluice was constructed in 1272. At the intersection of the new dike and the perpendicular older dike, a settlement appeared.\nThe Dutch Reformed church dates from the late-13th century, and was enlarged in the 15th century. The tower is detached from the church, and dates from the early 13th century.\n't Zandt was home to 779 people in 1840.\nIn 1990, it ceased to be an independent municipality and was merged into Loppersum.", "", "\"Kerncijfers wijken en buurten 2021\". Central Bureau of Statistics. Retrieved 8 April 2022. two entries\n\"Postcodetool for 9915PA\". Actueel Hoogtebestand Nederland (in Dutch). Het Waterschapshuis. Retrieved 8 April 2022.\nIn isolation, Zandt is pronounced [ˈzɑnt].\nAd van der Meer and Onno Boonstra, Repertorium van Nederlandse gemeenten, KNAW, 2011.\nAbraham Jacob van der Aa, \"Aardrijkskundig woordenboek der Nederlanden\", vol. 1 (A), 1839.\n\"Zandt - (geografische naam)\". Etymologiebank (in Dutch). Retrieved 8 April 2022.\nRonald Stenvert & Redmer Alma (1998). \"'t Zandt\" (in Dutch). Zwolle: Waanders. ISBN 90 400 9258 3. Retrieved 8 April 2022.\n\"'t Zandt\". Plaatsengids (in Dutch). Retrieved 8 April 2022.", "Media related to 't Zandt at Wikimedia Commons" ]

[ "'t Zandt", "History", "Gallery", "References", "External links" ]

[ 303, 304 ]

[ 2349, 2350, 2351, 2352 ]

[ "Swags of fruit and flowers surrounding a cartouche with a sulphur-crested cockatoo", "A still life of a swan and other birds, with rabbits, fruit and vegetables and a landscape beyond" ]

[ 0, 2 ]

[ "https://upload.wikimedia.org/wikipedia/commons/a/af/%27the_other%27_Jan_van_Kessel_-_Swags_of_fruit_and_flowers_surrounding_a_cartouche_with_a_sulphur-crested_cockatoo.jpg", "https://upload.wikimedia.org/wikipedia/commons/0/03/%27the_other%27_Jan_van_Kessel_-_A_still_life_of_a_swan_and_other_birds%2C_with_rabbits%2C_fruit_and_vegetables_and_a_landscape_beyond.jpg" ]

[ "Jan van Kessel or the other Jan van Kessel (c. 1620, Antwerp – in or after 1661, Amsterdam (?)) was a Flemish painter of still lifes of fruits, hunting pieces and flowers. After training in Antwerp he moved to the Dutch Republic where he is recorded as operating a studio in Amsterdam.", "Very little information is available about the life of Jan van Kessel. He was born in Antwerp some time between 1615 and 1625. He trained with the history painter Simon de Vos. He was admitted as a master in the Antwerp Guild of St Luke in the Guild year 1644–1645, the same year as Jan van Kessel the Elder with whom he is often confused.\nHe is recorded in 1649 in Amsterdam, where he received in September 1649 two assistants: Jan Baptist Walvis and Gerrit Cornelisz.\nHis last recorded work dates from 1661 and he is believed to have died in or after 1661.", "'the other' Jan van Kessel was a still life specialist who painted still lifes of fruits, hunting pieces and flowers. About 30 works have been attributed to Jan van Kessel. Attribution of work to 'the other' Jan van Kessel has been difficult due to confusion with other artists with a similar name all active around the same time. In addition to the still life painter Jan van Kessel the Elder, there was another Antwerp painter referred to as Jan van Kessel the Younger (the son of Jan van Kessel the Elder) who is believed to have painted still lifes, while in Amsterdam there was a Jan van Kessel known as a landscape painter. His work has often been confused with that of his better known namesake and contemporary, Jan van Kessel the Elder as well as that of Jan van Kessel the Younger. 'the other' Jan van Kessel and Jan van Kessel the Elder have a distinctive manner of signing.\nThere are clear stylistic differences between the work of 'the other' Jan van Kessel and Jan van Kessel the Elder. Art historian K. Ertz considers 'the other' Jan van Kessel as not inferior to Jan van Kessel the Elder, and even believes him to eclipse his more famous namesake in his masterpiece Swags of fruit and flowers surrounding a cartouche with a sulphur-crested cockatoo. This work is in the collection of the Fitzwilliam Museum where it is still attributed to Jan van Kessel the Elder.", "Jan van Kessel (ca. 1620-in of na 1661) at the Netherlands Institute for Art History (in Dutch)\n'the other' Jan van Kessel, Game and fruit still life with poultry and hounds.png at Bonhams\nJan van Kessel the Younger at the Netherlands Institute for Art History (in Dutch)\nJan van Kessel (of Amsterdam) at the Netherlands Institute for Art History (in Dutch)\nJan van Kessel (ca. 1620-in of na 1661), Stilleven van jachtbuit en vruchten in een landschap at the Netherlands Institute for Art History\nJan van Kessel (Antwerp c.1620-?1661 ?), Grapes, peaches, hazelnuts, quinces, redcurrants and other fruit, with a brimstone butterfly, a bumblebee and other insects on a stone capital at Christie's\nFred G. Meyer attributes the work Grapes, peaches, hazelnuts, quinces, redcurrants and other fruit, with a brimstone butterfly, a bumblebee and other insects on a stone capital to 'the other' Jan van Kessel but the work is attributed to Jan van Kessel (I) at the Fitzwilliam Museum, University of Cambridge", "Media related to 'the other' Jan van Kessel at Wikimedia Commons" ]

[ "'the other' Jan van Kessel", "Biography", "Work", "References", "External links" ]

[ 305, 306 ]

[ 2353, 2354, 2355, 2356, 2357, 2358, 2359, 2360 ]

[ "A ʻupaʻupa around 1900", "Costume in 1909" ]

[ 1, 1 ]

[ "https://upload.wikimedia.org/wikipedia/commons/5/5a/%CA%BBupa%CA%BBupa.jpg", "https://upload.wikimedia.org/wikipedia/commons/d/df/Marquesan_chiefess_in_tapa_garments_with_tapa_parasol.jpg" ]

[ "The ʻupaʻupa (often written as upa upa) is a traditional dance from Tahiti. It was mentioned by European explorers, who described it as very indecent. It is not quite clear how similar the gestures at that time were with the now immensely popular tāmūrē. In both dances the performers form groups of pairs of a boy and a girl, dancing more or less in sexually oriented movements.", "After having arrived on Tahiti in 1797, the LMS missionaries quickly intimidated the local rulers of the island and fixed themselves in a position of power. Although this enabled them to abolish such habits as infanticide, cannibalism and tribal wars, it also enabled them to introduce the idea of sin, which was unknown on Tahiti until then. The joy of dancing, so dear to the Polynesian heart, was one of the first to be axed. The famous Pōmare code of 1819 declared the ʻupaʻupa (and tattooing in the same line) to be bad and immoral habitudes, severely to be opposed. The Leewards followed suit soon after. But dancing continued in secret.\nIn the code of 1842 many restrictions were relaxed, but the ʻupaʻupa (the general term for dancing then) remained on the black list. In the same year the French proclaimed the protectorate. Being Catholic with some broader views on life than the Protestants, and considering that 'if you cannot beat them, join them', they proclaimed in the official bulletin of 1849 that the ʻupaʻupa was still forbidden, except on public feastdays, but then still without the indecent gestures. The act of 1853, repeated in 1876 was more restrictive. In the hope that the Tahitians would spend their time on more pious occupations than dancing and drinking, a system of licences was introduced. A license could only be obtained by a chef and only on Saturday evenings.\nDespite all these restrictions, dancing went on, less secret or more secret depending on the law at that moment. Nevertheless, many years of suppression had left a mark on it, and although the idea and the steps were still there, the ʻupaʻupa of the old did not really exist anymore.\nIn the beginning of the 20th century Tahitian dances were only performed on such festivities as 14 July and saw an evolution into what they have become nowadays. Around 1900 the traditional costumes came back, and although they still looked more like mother Hubbard dresses or ponchos, at least they were made of traditional materials. Around 1920 strips of raffia were added, which soon would develop into the characteristic more or grass skirt (in reality made from hibiscus fibers) of Tahiti. The bare torso (for men only) became acceptable. Prizes started to be awarded to the best dancers on a festival. But it was not until 1956 that Madeleine Mouʻa organised a dance group, called the heiva, of which Teriʻi and Takau, daughters of the last queen of Tahiti became patrons. Finally then traditional dancing had the blessing from the establishment.\nThe opening of Faʻaʻa international airport in 1961 and the real start of the tourist industry on Tahiti made all the dances which had come forth from the ʻupaʻupa a part of daily life once more.", "List of dances", "Patrick O'Reilly; La danse à Tahiti" ]

[ "'upa'upa", "History", "See also", "References" ]

[ 307, 308 ]

[ 2361, 2362, 2363, 2364, 2365, 2366, 2367 ]

[ "+/- in August 2008" ]

[ 0 ]

[ "https://upload.wikimedia.org/wikipedia/commons/5/52/Plus_Minus.jpg" ]

[ "+/-, or Plus/Minus, is an American indietronic band formed in 2001. The band makes use of both electronic and traditional instruments, and has sought to use electronics to recreate traditional indie rock song forms and instrumental structures. The group has released two albums on each of the American indie labels Teenbeat Records and Absolutely Kosher, and their track \"All I do\" was prominently featured in the soundtrack for the major film Wicker Park. The group has developed a devoted following in Japan and Taiwan, and has toured there frequently. Although many artists append bonus tracks onto the end of Japanese album releases to discourage purchasers from buying cheaper US import versions, the overseas versions of +/- albums are usually quite different from the US versions - track lists can be rearranged, artwork with noticeable changes is used, and tracks from the US version can be replaced as well as augmented by bonus tracks.", "Teenbeat Records owner Mark Robinson had been impressed by a solo track that James Baluyut contributed to a 2000 EP Drawn and Quartered issued by Versus, an influential indie rock band in which Baluyut played 2nd guitar. Robinson asked Baluyut to record an album's worth of material for release on Teenbeat, which Baluyut did under the name +/-. Although the first +/- album was essentially a Baluyut solo affair, he had formed a touring and recording band in mid-2001 before the album was released, with Versus drummer Patrick Ramos assuming guitar, keyboard and co-lead vocal duties, Chris Deaner on drums, and Margaret McCartney (formerly of Tuscadero) on bass. McCartney left in 2002 and the other members did not seek a permanent replacement. Since then the band has usually employed Tony Zanella of True Love Always as a tour bassist. Deaner was Kelly Clarkson's tour drummer from early 2007 to spring of 2008, during which time Karl Lundin (Deaner's partner in Loudest Boom Bah Yea) stood in for Deaner while he was on tour with Clarkson.\nThe group left Teenbeat in mid-2006 to sign to Absolutely Kosher, although Teenbeat did issue a long-delayed split EP with Bloodthirsty Butchers and a retrospective DVD of video clips in 2007. Subsequent to signing with Absolutely Kosher the band's recordings received distribution in central Europe through BB*Island, and the band has since toured Germany and its surrounding nations three times. After the release of Xs on Your Eyes in 2008 the group did not tour the US to any great extent, but concentrated their touring efforts on Asia and continental Europe. In late 2009 the band released the Japan-only EP Thrown into the Fire, and also announced that they had provided the soundtrack for the multiplayer online game Code of Everand, which Chris Deaner had worked on as a lead programmer.", "James Baluyut (vocals, guitar, keyboard, producer)\nPatrick Ramos (vocals, guitar, keyboard, drums)\nChris Deaner (drums, sampler, banjo, clarinet, vibraphone, video production)", "Self-Titled Long-Playing Debut Album (2002 – Teenbeat Records)\nYou Are Here (2003 – Teenbeat Records / & Records / WWR Taiwan / BB Island)\nLet's Build a Fire (2006 – Absolutely Kosher Records / & Records / WWR Taiwan / BB Island)\nXs on Your Eyes (2008 – Absolutely Kosher Records / & Records / BB Island)\nJumping the Tracks (2014 Teenbeat – Records / & Records)", "Pulled Punches (2010 – Teenbeat Records)", "Holding Patterns (2003 – Teenbeat Records / & Records)\nAs Seen on Television (2004 – & Records)\nbloodthirsty butchers vs +/- PLUS/MINUS (2005 – Nippon Columbia / Teenbeat Records)\nThrown into the Fire (2009 – & Records)\nSummer 2019: Extended Play (2019 - Ernest Jennings Record Company)", "Self Titled Debut Digital Video Disc (2007 – Teenbeat Records)", "Wicker Park Soundtrack One track, \"All I Do\"\nCode of Everand MMOG Background music.", "Transform interview with James Baluyut Archived September 29, 2011, at the Wayback Machine\nInterview with Lollipop Archived February 19, 2014, at the Wayback Machine\nSpin.com:Thanksgiving arrived early Archived February 22, 2014, at the Wayback Machine\n\"Philadelphia Citypaper Musicpicks 16 May 2002\". Archived from the original on 23 November 2002. Retrieved 11 December 2009.\nKansas City Pitch article\n\"The Love Minivan\", Cville Weekly, 2007 Archived February 11, 2012, at the Wayback Machine\nPitchfork interview with Chris Deaner archived at archive.org\nStereogum interview with Chris Deaner Archived March 12, 2009, at the Wayback Machine\nPlus/Minus signs to Absolutely Kosher Archived October 1, 2011, at the Wayback Machine\nInterview at Crazewire(in German) Archived February 27, 2012, at the Wayback Machine\nEdge online article about Code of Everand Archived January 18, 2011, at the Wayback Machine\nCredits for Code of Everand Archived August 13, 2011, at the Wayback Machine", "+/- (official website)\n+/- at Allmusic\n+/- releases reviewed within Versus article at Trouser Press\n+/- write-up The Precision Of An Approximation @ ClickTheCity.com Music at ClickTheCity.com" ]

[ "+/- (band)", "History", "Members", "Albums", "Compilations", "EPs", "Videos", "Soundtrack recordings", "References", "External links" ]

[ 309 ]

[ 2368, 2369, 2370, 2371, 2372, 2373, 2374, 2375 ]

[ "Facing north, Plus 15 sign and covered walkway linking the TC Energy Tower (formerly TransCanada Tower) (east) and Fifth Avenue Place", "Plus 15 network in downtown Calgary", "Plus 15 under construction between Centennial Place and the Canterra Tower in 2009", "Facing north, the former three level skywalk at The Core Shopping Centre", "Facing west, previous skywalk over the C-Train tracks linking the downtown Holt Renfrew department store to the 4th Street Southwest LRT station before its reconstruction" ]

[ 0, 0, 1, 3, 3 ]

[ "https://upload.wikimedia.org/wikipedia/commons/b/b0/Plus_15_sign_and_walkway_Calgary.jpg", "https://upload.wikimedia.org/wikipedia/commons/9/99/Calgary%2B15.png", "https://upload.wikimedia.org/wikipedia/commons/d/d0/Plus15underconst.JPG", "https://upload.wikimedia.org/wikipedia/commons/5/5d/Calgary_Plus_15.jpg", "https://upload.wikimedia.org/wikipedia/commons/9/9f/Plus15-Calgary-7ave.JPG" ]

[ "The Plus 15 or +15 is a Skyway network in Calgary, Alberta. It is one of the world's most extensive pedestrian skywalk systems, with a total length of 18 kilometres (11 miles) and 62 bridges. The system is so named because the skywalks are approximately 15 feet (approximately 4.5 metres) above street level. (Some Plus 15 skywalks are multi-level, with higher levels being referred to as Plus 30s and Plus 45s.)", "The system was conceived and designed by architect Harold Hanen, who worked for the Calgary Planning Department from 1966 to 1969. This development earned him the 1970 Vincent Massey Award for Merit in Urban Planning.\nOpening in 1970, the Plus 15 network has expanded to include 59 enclosed bridges connecting dozens of downtown Calgary buildings. The central core of the system is a series of enclosed shopping centres, and the city's flagship department stores.\nNew developments were required to connect to the walkway system; in exchange for this, they were offered more floorspace (the \"bonus density\"). When not physically able to connect to nearby buildings, developers contribute to the \"Plus 15 Fund\", managed by the city, used to finance other missing connections.", "The system has been identified with a decline in street life in the Downtown Commercial Core. Street life is instead concentrated on streets (such as Stephen Avenue) or in neighbourhoods where there are no bridges (such as Eau Claire and the Beltline).\nIn 1998, the city began to re-evaluate the system. Part of the goal of these studies was reinvigorating decreased daytime street life on some downtown streets. The possibility of limiting expansion to encourage more pedestrian street traffic was raised. \nThe system's bridges are integral to the buildings they serve. City planning by-laws now confer tax credits to owners who connect new buildings to the system. Businesses and the general public make extensive use of the system's enhanced flow of human traffic.", "333 5th Avenue\n444 7th Avenue\n505 3rd Street\n606 4th Street\n635 8th Avenue\n715 5th Avenue\n736 6th Avenue\n840 7th Avenue\nAmec Place\nAlberta Energy Utilities Board\nAltius Centre\nAndrew Davison Building\nAquitaine Tower\nAtrium I\nAtrium II\nBank of Canada\nBankers Court\nBankers Hall\nBanker's Hall Parkade\nBantrel Tower\nBow Parkade\nBow Valley College\nBow Valley Square\n420FOURTH (formerly BP Centre)\nBrookfield Place (Calgary)\nCalgary Board of Education\nCalgary House\nCalgary Marriott Hotel\nCalgary Place\nCalgary Tower\nCanada Place\nCanadian Fina Building\nCanterra Tower\nCarter House\nCentennial Parkade\nCentennial Place\nCentre Four\nCentury Park Place\nChamber of Commerce\nChevron Plaza\nCity Centre Parkade\nCity Hall\nCity/Omni Building\nConvention Centre North\nConvention Centre South\nCore Shopping Centre (Formerly TD Square/Calgary Eaton Centre)\nDaon Building\nDelta Bow Valley Inn\nDevonian Gardens\nDome Tower\nDominion Centre\nEau Claire Place II\nEighth Avenue Place\nElveden Centre\nEmerson Centre\nEncana Place\nEncor Place\nEpcore Centre\nErnst and Young Tower\nFairmont Palliser Hotel\nFifth and Fifth\nFifth Avenue Place\nFirst Alberta Place\nFirst Canadian Centre\nFourth and Fourth\nFracmaster Tower\nGlenbow Museum\nGulf Canada Square\nHanover Place\nHarry Hayes Government of Canada\nHawthorn Hotel and Suites\nHollinsworth Building\nHolt Renfrew Department Store\nHome Oil Tower\nHyatt Regency Hotel\nIntact Place\nInternational Hotel\nIveagh House\nJ.J. Bowen Building\nJamieson Place\nLancaster Building\nLife Plaza\nLivingston Place\nLondon House\nMobil Tower\nMonenco Place\nMunicipal Building\nNexen Building\nNorthland Building\nNorthland Place\nPalliser South\nPalliser Square\nPanarctic Centre\nPertogen Building\nPetex Building\nPetroleum Building\nPlace 800\nOld Police Headquarters Building\nProvincial Court\nRamada Hotel\nRocky Mountain Court\nRocky Mountain Plaza\nRoslyn Building\nRoyal Bank\nSandman Inn\nSanjel Building\nScotia Bank Tower\nScotia Centre\nSelkirk House\nShell Centre\nSheraton Suites\nSt. Regis Hotel\nStandard Life\nStock Exchange Tower\nSuncor Energy Centre\nSun Life Plaza\nTD Canada Trust Tower\nTELUS House Calgary\nThe Bay Department Store\nThe Bow\nTC Energy Tower (formerly TransCanada Tower)\nTrimac House\nWatermark Tower\nWestern Canadian Place\nWestern Union\nWestin Hotel\nWorkers Compensation Board Office\nYWCA", "The Plus 15 is one of the central plot elements in the 2000 film Waydowntown, directed by Gary Burns.", "List of attractions and landmarks in Calgary\nSkyway\nEdmonton Pedway\nUnderground City, Montreal\nPATH (Toronto)", "Calgary's +15 Skywalk at the Wayback Machine (archived 2013-02-09) City of Calgary - Calgary's +15 Skywalk\nCity of Calgary - Plus 15 System\n\"Plus 15 User Survey\", a City of Calgary study published in 1998\nBuilding List from plus15.ca Archived 2008-06-04 at the Wayback Machine", "City of Calgary PDF Map\nPlus 15 Map with iPhone app\nPlus 15 Ninja - Directions, Meetups & Directory" ]

[ "Plus 15", "History", "Impact", "List of connected buildings", "In popular culture", "See also", "References", "External links" ]

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[ "+44 performing in 2006. From left to right: Craig Fairbaugh, Travis Barker, Mark Hoppus, and Shane Gallagher.", "Tom DeLonge's departure from Blink-182 was rooted in limited creative freedom." ]

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[ "https://upload.wikimedia.org/wikipedia/commons/8/81/%2B44_Live.jpg", "https://upload.wikimedia.org/wikipedia/commons/7/7d/Tom_DeLonge_AVA_Fall_Tour_2008.jpg" ]

[ "+44 (read as Plus Forty-four) was an American rock supergroup formed in Los Angeles, California in 2005. The group consisted of vocalist and bassist Mark Hoppus and drummer Travis Barker of Blink-182, lead guitarist Shane Gallagher of The Nervous Return, and rhythm guitarist Craig Fairbaugh of Mercy Killers. Hoppus and Barker created +44 shortly after the initial 2005 breakup of Blink-182 and before it was later reformed. The band's name refers to the international dialing code of the United Kingdom, the country where the duo first discussed the project. Early recordings were largely electronic in nature, and featured vocals by Carol Heller, formerly of the all-girl punk quartet Get the Girl.\nThe band's sound gradually took on a heavier tone as Hoppus and Barker purchased a studio in which to record. Although anticipated by the music press, the band's debut—the album When Your Heart Stops Beating (2006)—did not match commercial expectations and received mixed reviews from the critics. The group toured worldwide throughout 2006 and 2007, including a summer slot on the Honda Civic Tour alongside Fall Out Boy. Hoppus later began preparing material for a solo album, put plans for a second +44 album on hold in 2008, and the group entered an extended hiatus with the reunion of Blink-182 in 2009.", "", "By 2004, Blink-182—consisting of bassist Mark Hoppus, guitarist Tom DeLonge, and drummer Travis Barker—had emerged as the biggest pop punk act of the era, releasing the multiplatinum album Enema of the State (1999) and Take Off Your Pants and Jacket (2001), which reached number one. The band took a brief break in 2002 when DeLonge suffered a herniated disc in his back. During this time, he collected several darker musical ideas he felt unsuitable for Blink-182, compiling them in the album Box Car Racer. This latter was recorded with the help of Hazen Street guitarist and longtime friend David Kennedy, and was intended as a one-time experimental project, but evolved into a full-fledged band, with Barker behind the kit. This side project would cause great division between DeLonge and Hoppus, who was not included and felt betrayed. The moody subject matter and music on Box Car Racer edged its way into the Blink sound as well, and the band explored experimentalist elements on their next effort, the eponymous fifth studio album Blink-182 (2003).\nThe trio embarked on a European tour the following fall, during which DeLonge felt increasingly conflicted both about his creative freedom within the group and the toll touring was taking on his family life. He eventually expressed his desire to take a half-year respite from touring, in order to spend more time with his family. Hoppus and Barker were dismayed by his decision, which they felt was an overly long break. DeLonge did not blame his band-mates for being disappointed with his requests, but was himself dismayed that they could not seemingly understand. In addition, DeLonge protested the idea of Barker's reality television series Meet the Barkers, which was being produced for a 2005 premiere. He disliked television cameras everywhere, feeling his personal privacy invaded. \nFollowing the 2004 Indian Ocean earthquake and tsunami, DeLonge agreed to perform at Music for Relief's Concert for South Asia, a benefit show to aid victims. Further arguments ensued during rehearsals, rooted in the band member's increasing paranoia and bitterness toward one another. He considered his band-mates priorities very different, coming to the conclusion that the trio had simply grew apart as they aged, had families, and reached fame. The breakdown in communication led to heated exchanges, resulting in his exit from the group. It was announced on February 22, 2005 that Blink-182 would be going on an \"indefinite hiatus\". DeLonge would not speak to Barker or Hoppus—whom he once considered his greatest friends—for several years. Despite this, Geffen Records president Jordan Schur reportedly told Barker that \"any press you do, make sure you say everything is cool\".", "Hoppus and Barker began laying down new ideas. Recording in Barker's basement and Hoppus' dining room, by necessity everything was electronic, with the two musicians experimenting with electronic drums, samples, keyboards and direct computer recordings. While away on a trip in April 2005, Hoppus participated in an interview with MTV News in which he revealed the band's existence. When the two regrouped, they decided to stop giving interviews about the new project. The band's name is a reference to the country code needed when placing a phone call to the United Kingdom, where Hoppus and Barker first discussed making music alone. The basement recordings were ambient and quiet by necessity.", "The addition of other members to +44 came gradually. In April 2005, Barker invited his friend Carol Heller to provide vocals on a track. Formerly of the all-girl punk quartet Get the Girl, Heller traded and shared vocals with Hoppus on most of the band's early demos. Meanwhile, Hoppus invited friend Shane Gallagher to play the guitar on a few tracks the band began working on, and he was soon drafted as a member. Production of the record moved along swiftly once the duo purchased their own North Hollywood studio, which they dubbed Opera Music. The space—which featured two recording rooms, a lounge, and a small outdoor courtyard—was purchased in October 2005 from former Poison guitarist Richie Kotzen. After moving all band gear into the new recording center, the entire direction of the band evolved into a more organic sound. Heller became uneasy with the new direction and, with a desire to start a family, parted ways with the band by the end of the year. Shortly afterward, friend Craig Fairbaugh came in to observe, listen, and to play songs; by the end of the day, Hoppus and Barker asked him to become the fourth member of the group. The band's debut album, When Your Heart Stops Beating, was produced by Hoppus and Barker, with longtime associate and friend Jerry Finn in the role of executive producer.\nThe release date for When Your Heart Stops Beating was anticipated and publicized by the music press. As early as August 2005, Internet rumors began to circulate that the album would be released in January 2006, although the band's management denied the claims. Thanks to Hoppus' and Barker's silence on press interviews, misinformation flooded the Internet in the months prior to the record's release, and countless impostors posted fake songs online. \"No, It Isn't\" was leaked in December 2005 and caused speculation, as it addressed the break-up of Blink-182 head-on. Hoppus did not give any formal interviews prior to the release of the album, instead working on it in relative secrecy, spending time updating his blog, and producing tracks for Motion City Soundtrack. \"During that time, their former bandmate, Tom DeLonge, did the opposite, peppering blogs and magazines with quotes hyping his new band and putting the blame for the Blink situation squarely on their shoulders\", reported James Montgomery, of MTV News. Even though it pained them to do so, Hoppus and Barker refrained from speaking to the media, instead burying themselves in the studio for the recording of the album.\nWhen Your Heart Stops Beating was officially released November 13, 2006. In the United States, the album debuted at number 10 on the Billboard 200, with approximately 66,000 copies sold in its first week. The album received generally mixed reviews from music critics. The New York Times described it as \"zippier and catchier\" than Angels & Airwaves' debut studio album We Don't Need to Whisper, but concluded that neither band was as good as Blink-182. As of September 2011, the album sold over 274,000 copies in the US. +44's first show took place at the Roxy Theatre in Hollywood, on September 7, 2006, with a second appearance following at the London Astoria. The band embarked on a promotional tour in the United Kingdom shortly thereafter. Barker was in constant pain but soldiered through the performances, altering his kit set-up to accommodate. A doctor informed Barker he had broken a bone in his arm during the band's video shoot, and was instructed to immediately rest and not take part in the band's upcoming live dates, including early 2007 jaunts to Australia and Europe. Barker nevertheless took part, but after an excruciating Amsterdam gig, the band drafted Gil Sharone, then of The Dillinger Escape Plan, to fill-in for him.\nThe tour rolled on to Australia and Japan, where the band busied itself with press junkets and appearances. Crowds were, according to journalist Joe Shooman, mainly Blink-182 fans. Hoppus relished the opportunity to return to smaller, more intimate club dates, rather than the massive arenas of latter-day Blink. The band spent April to June 2007 on the Honda Civic Tour of the US and Canada alongside Fall Out Boy, The Academy Is... and Paul Wall. The band began slipping old Blink songs—\"What's My Age Again?\" and \"The Rock Show\"—into set lists, despite the band's rather adamant stance against doing so months before, apparently due to Hoppus and Barker fond feelings with Blink-182.", "Further August 2007 dates were postponed. Hoppus stated the band had decided to re-enter the studio in preparation of a second studio album. Hoppus and Barker spent the remainder of the year in discussions with record companies before announcing that the planned next +44 album would see its release via Interscope Records. According to journalist Joe Shooman, little work commenced on the album. Barker started releasing hip-hop remixes on May 9, 2008, and he hoped to collate his growing collection of remixes with a bunch of new tracks on which he was working. Eventually, the project became a solo album, with Barker producing it all himself. By the following August, Hoppus began recording material for a possible solo studio album at Opera while Barker worked on his solo too, although the duo continued to work together.\nIn September 2008, Barker and collaborator Adam Goldstein (DJ AM) were involved in a plane crash that killed four people, leaving the two the only survivors. Barker sustained second and third degree burns and developed post-traumatic stress disorder, and the accident resulted in sixteen surgeries and 48–hour blood transfusions. DeLonge visited Barker in the hospital, and an October 2008 visit at Opera Music laid the grounds for what was to be Blink's reunion.\nAfter Blink-182 reunited in February 2009, Hoppus told Alternative Press that +44 was on hiatus, although in an interview with Blunt Magazine in March 2009, he indicated that it would continue.\nDuring an interview with Hoppus' side-project Simple Creatures, Wall of Sound asked him if he would ever consider reuniting +44 to play shows again, to which he replied:\n\"Maybe, I would never say never but I haven't talked with Craig (Fairbaugh) or Shane (Gallagher) in years and I think that they have moved on in their lives and we're in a different place, but that album holds such a special place in my life and in my memory and the lyrics and the making of that album was a huge moment of me working through the death of Blink-182 at the time and that holds a really special place in my heart so I would love to play it again at some point.\"", "+44's original electronic influence is an undercurrent throughout the band's music, although electronic has been overtaken by guitar. Many tracks display a traditional punk sound (with a much more melodic touch), but also highlight electronica as a key influence. Many critics noticed the similarity between the sound of the music of +44 and Blink-182's final album before their break-up, Blink-182 (2003). Its similarity is featured by the soft verse and loud chorus explosion as heard on their single \"Stay Together for the Kids\".\nThe band's debut studio album was largely inspired by other bands such as The Postal Service, Missing Persons, and The Cure.", "Final line-up\nMark Hoppus – lead vocals, bass (2005–2009)\nTravis Barker – drums, percussion, keyboards (2005–2009)\nShane Gallagher – lead guitar (2005–2009)\nCraig Fairbaugh – rhythm guitar, keyboards, vocals (2005–2009)\nFormer members\nCarol Heller – rhythm guitar, vocals (2005)\nTouring musicians\nGil Sharone – drums, percussion (2006–2007)\nTimeline", "", "Browne, Nichola (November 20, 2005). \"Punk Rock! Nudity! Filthy Sex! Tom DeLonge Looks Back On Blink-182's Greatest Moments\". Kerrang!. London: Bauer Media Group (1083). ISSN 0262-6624.\nMoss, Corey (2002-04-09). \"Box Car Racer about end of the world, not end of Blink-182\". MTV (MTV.com). Retrieved 2010-05-15.\nJames Montgomery (October 28, 2005). \"Tom DeLonge: No More Compromises\". MTV News. Archived from the original on August 15, 2012. Retrieved September 9, 2012.\n\"Tom DeLonge talks guitar tones, growing up and Blink\". Total Guitar. Bath, United Kingdom: Future Publishing. October 12, 2012. ISSN 1355-5049. Archived from the original on December 12, 2012. Retrieved June 7, 2013.\nSean Richardson (May 23, 2002). \"Blink 183: Box Car Racer go for a spin\". The Phoenix. Archived from the original on October 28, 2014. Retrieved September 22, 2010.\nJon Wiederhorn (August 11, 2003). \"Blink-182 Tone Down Pranks, Get Down to Real 'Action' on Next LP\". MTV News. Retrieved September 22, 2010.\nAlex Mar (February 9, 2006). \"Q&A: Blink-182 Man Launches Angels\". Rolling Stone. Retrieved February 12, 2013.\nSpence D. (April 8, 2005). \"+44 Interview\". IGN. Archived from the original on December 15, 2010. Retrieved April 10, 2011.\nTom Bryant (May 2006). \"Jesus Christ Pose\". Kerrang!. London: Bauer Media Group: 20–24. ISSN 0262-6624.\n\"AVA Article\". Kerrang!. London: Bauer Media Group. October 2005. ISSN 0262-6624.\nJames Montgomery (July 19, 2011). \"Blink-182's 'Indefinite Hiatus' Was 'Really Stupid,' Tom DeLonge Says\". MTV News. Retrieved May 28, 2013.\nJames Montgomery (February 22, 2005). \"Blink-182 Announce 'Indefinite Hiatus' As Breakup Rumors Swirl\". MTV News. Retrieved July 15, 2011.\nJames Montgomery (September 20, 2006). \"Plus-44's Travis Barker Still Has A Lot To Say About Blink Breakup\". MTV News. Retrieved April 10, 2011.\nJason Tate (August 14, 2006). \"Interview with Mark Hoppus\". AbsolutePunk. Retrieved April 10, 2011.\nJames Montgomery (April 8, 2005). \"Blink-182's Hoppus, Barker Form Electronic Side Project\". MTV News. Retrieved April 10, 2011.\n\"Mark Hoppus Interview With b182.com\". PostBlink.com. August 14, 2006. Archived from the original on December 15, 2010. Retrieved April 10, 2011.\nGriffin, JR (December 2006). \"Blink & You'll Miss It\". Alternative Press. Alternative Magazines Inc. (221): 136–140. ISSN 1065-1667. Retrieved January 12, 2013.\nAlternative Press staff (August 29, 2006). \"Plus 44 announce album title, release date\". Alternative Press. Archived from the original on 2012-10-09. Retrieved April 10, 2011.\nJames Montgomery (August 2, 2005). \"Travis Barker's Plus-44 LP On Schedule, But Not On The Clock\". MTV News. Retrieved April 10, 2011.\nJames Montgomery (July 21, 2006). \"Mark Hoppus, Travis Barker Break Plus-44 Silence, Talk 'The Real Tom'\". MTV News. Retrieved April 10, 2011.\nJames Montgomery (August 23, 2006). \"Plus-44 Address Blink Breakup On LP, Want Fans To 'Hear The Truth'\". MTV News. Retrieved April 10, 2011.\nAlternative Press staff (December 13, 2005). \"Plus 44 (two-thirds of Blink-182) release first song\". Alternative Press. Archived from the original on 2012-10-09. Retrieved April 10, 2011.\nJames Montgomery (June 7, 2006). \"When It Comes To Publicity, Plus-44's Mark Hoppus Is No Tom DeLonge\". MTV News. Retrieved April 10, 2011.\nKatie Hasty, \"The Game Wins No. 1 On The Billboard 200\", Billboard.com, November 22, 2006.\nWhen Your Heart Stops Beating - Metacritic. Metacritic. Retrieved on 2010-08-05.\nSanneh, Kelefa (2006-11-16). \"Familiar Faces of Pop-Punk Going it Alone\". The New York Times. Retrieved 2010-08-05.\nJason Lipshutz (September 16, 2011). \"Blink-182: The Billboard Cover Story\". Billboard. Retrieved December 7, 2013.\nShooman, 2010. p. 158\nShooman, 2010. p. 163\nShooman, 2010. p. 166\nShooman, 2010. p. 178\nShooman, 2010. p. 182\nJames Montgomery (January 14, 2009). \"Exclusive: Mark Hoppus Announces Solo Plans, Puts +44 To Bed\". MTV News. Retrieved December 7, 2013.\nBoucher, Geoff; Oldham, Jennifer (September 21, 2008). \"Four die in plane crash; rock star, DJ survive\". Los Angeles Times. Retrieved July 15, 2011.\nErica Futterman (August 6, 2009). \"Blink-182 on Drugs, Barker's Crash: \"Human Life Trumps Everything\"\". Rolling Stone. Retrieved July 15, 2011.\n\"It's Like The Last Five Years Never Happened ...\". Kerrang!. Bauer Media Group (1317). June 16, 2010.\nAlternative Press Magazine. \"Interview with Mark Hoppus\". Archived from the original on 2009-02-24. Retrieved 2009-05-16.\n\"Blunt\". Archived from the original on 2010-12-03. Retrieved 2009-05-13.\n\"Simple Creatures – Good Things Festival 2019 Interview\". Wall Of Sound. 2019-12-12. Retrieved 2019-12-12.\nApar, Corey. \"-allmusic (((When Your Heart Stops Beating > Review)))\". All Music Guide. Retrieved December 7, 2013.\nVergara, Joey (November 14, 2006). \"Plus-44 Rises from Blink's end\". The Maneater. Retrieved December 7, 2013.\nReimer, Jordan (30 November 2006). \"+44 minus originality\". The Daily Princetonian. Archived from the original on 9 January 2014. Retrieved 9 January 2014.\nJames Montgomery (May 2, 2005). \"Travis Barker Calls His Plus-44 Side Project 'Way Out There'\". MTV News. Retrieved December 7, 2013.\nBibliography\nShooman, Joe (June 24, 2010). Blink-182: The Bands, The Breakdown & The Return. Independent Music Press. ISBN 978-1-906191-10-8.", "Official website (Archived)\n+44 at AllMusic" ]

[ "+44 (band)", "History", "Blink-182 problems and hiatus", "+44 formation (2005)", "When Your Heart Stops Beating (2006–07)", "Cancelled second studio album and hiatus (2008–09)", "Musical style and influences", "Band members", "Discography", "References", "External links" ]

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[ "" ]

[ 0 ]

[ "https://upload.wikimedia.org/wikipedia/commons/a/a4/Beryll_logo.jpg" ]

[ "+Beryll is a luxury accessory company based in Los Angeles, California. They specialize in designer sunglasses and other lifestyle accessories such as clothes. It has a flagship store in Santa Monica, and is sold at approximately 500 other outlets.", "+Beryll was founded in 2006 by Sigmar Berg in Los Angeles, California. Berg (born 1975), an Austrian-born painter, photographer, and fashion designer, had moved to Los Angeles in 2006 with his family. Trained as an architect, he soon began designing accessories in his Santa Monica studio. He originally focused hand-made sunglasses for the brand, later expanding into jewelry, handbags, boots, belts, hats, scarves, leather vests, and other accessories.\nSigmar is \"largely influenced by his European roots,\" and in particular the architecture style of Bauhaus. His products tend to be unisex, and also incorporate styles of Southern California. The brand uses a crew of \"artisan workers\" to craft its products.\nThe company has a flagship store in Santa Monica, California. Originally by-appointment only, it later opened to the general public. The brand is also sold at over 500 stores such as Henri Bendel, Maxfield, Barney's, and Fred Segal.\nAccording to the brand, its products have been worn by celebrities like Angelina Jolie, Brad Pitt, David LaChapelle, Drew Barrymore, Lenny Kravitz, Katie Holmes, Kevin Dillon, Steven Tyler, Robert De Niro, Kim Basinger, Nicolas Cage and others. Kristin Cavallari wore the Beryll \"Air\" sunglasses on The Hills Season 6 Ep.1. Other sunglasses have been worn by Sarah Jessica Parker, Anna Pacquin, Sharon Stone, and Demi Moore.", "Wilson, Stevie (February 10, 2010). \"Celeb Style Spotting: New +Beryll Crystal Sunglasses Are a Celeb FAVE!!\". L.A. Story. Retrieved March 12, 2013.\nFarabee, Mindy (June 5, 2008). \"Sigmar Berg at Ambrogi-Castanier Gallery: Developing a different perspective:\". Los Angeles Times. Retrieved March 12, 2013.\nHarding, Jack (July 7, 2012). \"Beryll\". Oh Wow You Wore That. Archived from the original on December 3, 2013. Retrieved March 12, 2013.\nLoftus, Karen (February 27, 2012). \"Beryll: Bauhaus Influenced Sunglasses\". Societe Perrier. Archived from the original on April 11, 2013.\n\"+Beryll Opens First Flagship Store\". Luxe In A City: Curated Luxury. Archived from the original on June 25, 2012. Retrieved March 12, 2013.\n\"Kristin Cavallari Sunglasses\". Celebrity Sunglasses Finder. Archived from the original on March 28, 2013. Retrieved March 12, 2013.\n\"Veronica's Vacation Gear: Beryll's Kelly Sunglasses\". Travel Expert.com – California. Archived from the original on April 10, 2013. Retrieved March 12, 2013.", "Official website" ]

[ "+Beryll", "Overview", "References", "External links" ]

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[ "+Crataegomespilus dardarii originated from Mespilus germanica grafted onto a rootstock of Crataegus monogyna.[2]", "" ]

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[ "https://upload.wikimedia.org/wikipedia/commons/3/3d/Crataegomespilus_dardarii_var._asnieresii1.jpg", "https://upload.wikimedia.org/wikipedia/commons/3/39/Amelanchier_vulgaris_Sturm10.jpg" ]

[ "+Crataegomespilus is the generic name applied to graft-chimeras between the genera Crataegus and Mespilus. It should not be confused with × Crataemespilus, which is applied to sexual hybrids between those genera, nor with Chamaemespilus which is a segregate genus or subgenus of Sorbus.", "\"Basic Principles of Classification and Naming of Cultivated Plants#Graft-chimaeras\". www.habitas.org.uk. Archived from the original on 29 August 2014. Retrieved 5 November 2014.\nByatt, J.I.; Ferguson, I.K.; Murray, B.G. (1977). \"Intergeneric hybrids between Crataegus L. and Mespilus L.: a fresh look at an old problem\". Botanical Journal of the Linnean Society. 74 (4): 329–343. doi:10.1111/j.1095-8339.1977.tb01185.x.", "\"USDA, ARS, National Genetic Resources Program, Germplasm Resources Information Network - (GRIN) (Online Database)\". Archived from the original on 2013-12-17. Retrieved 2013-12-17." ]

[ "+Crataegomespilus", "References", "External links" ]

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[ "" ]

[ 0 ]

[ "https://upload.wikimedia.org/wikipedia/commons/1/13/Laburnocytisus_close_up.jpg" ]

[ "+ Laburnocytisus 'Adamii' (also known as Adam's laburnum or broom laburnum) is a horticultural curiosity; a small tree which is a graft-chimaera between two species, a laburnum, Laburnum anagyroides, and a broom, Chamaecytisus purpureus (syn. Cytisus purpureus), which bears some shoots typical of the one species, some of the other, and some which are a peculiar mixture of both \"parents\". The plus sign (+) indicates the generic name is made for a graft-chimaera. The plant can also be described by the formula Laburnum anagyroides + Chamaecytisus purpureus.\n+ Laburnocytisus 'Adamii' is a legume, a member of the pea family Faboideae (or Papilionaceae, formerly Leguminosae). Only one cultivar, 'Adamii' is known to have arisen from this graft. It is sometimes described as if it were one species, (+ )Laburnocytisus adamii; however, it is not one species and this notation is not conforming to International Code of Nomenclature for Cultivated Plants.", "Most of the tree's branches resemble the laburnum in their foliage, which has three leaflets (3-palmate) and 3–6 cm long, yet also with dense clusters of broom-like shoots, also with three leaflets, but only 1 cm long and a darker green. It flowers in late spring or early summer; some branches have long (20–30 cm) racemes of yellow laburnum flowers, while others produce dense clusters of purple broom flowers. Remarkably, most branches will also produce coppery-pink flowers on short (8–15 cm) racemes, which are midway between the two \"parents\"; the leaves on these shoots are also intermediate. In older specimens, the proportion of broom and mixed tissues tends to decline, and the laburnum to predominate. The tree grows to a height of 7 m (rarely 8 m) and is hardy to USDA plant hardiness zone 5 in northern Europe. It requires moderately fertile, moist but well-drained soil and should be grown in a sunny position to flower well.", "The plant originated in the nursery of M. Adam near Paris in 1825, probably as an accident; Chamaecytisus purpureus is normally a low-growing plant, and grafting it onto a straight trunk of a related species would be expected to create an attractive, semi-weeping standard.\nIn theory, other + Laburnocytisus could be developed in the same way but using different \"parents\".", "A graft-chimaera is not a true hybrid but a mixture of cells, each with the genotype of one of its \"parents\"; it is a chimaera, created by grafting, in which the tissue of one plant grows within an outer envelope of the second plant. In the case of + Laburnocytisus 'Adamii', laburnum forms the core, surrounded by the broom. Such plants are often called \"graft hybrids\", but as they are not true hybrids the use of this term is now discouraged.", "+ Crataegomespilus is a graft-chimera between hawthorn (Crataegus) and medlar (Mespilus) which arose in a similar manner. There are two distinct cultivars that have arisen from this graft: + Crataegomespilus 'Dardarii' and + Crataegomespilus 'Jules d'Asnieres'.\nThe Bizzaria of Florence (Citrus medica + C. aurantium), which is probably the first graft chimera obtained, is a graft between the Florentine citron and sour orange.", "Hillier's Manual of Trees & Shrubs 5th Edition (1984) 164.\nRHS Plant Finder 2006–2007 20th Edition (2006) 202.", "The Plant List (2010). \"Laburnocytisus adamii\". Retrieved July 3, 2014." ]

[ "+ Laburnocytisus 'Adamii'", "Appearance", "Origin", "Structure", "Other graft-chimaeras", "References", "External links" ]

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[ "Performance of ?Corporel by Malika Maminova." ]

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[ "https://upload.wikimedia.org/wikipedia/commons/b/b3/P1680663_6._H%C3%B6rfest_Neue_Musik_%28Detmold%29_-_Epilog_%2821755278079%29.jpg" ]

[ "?Corporel (1985) is a musical performance piece by composer Vinko Globokar. It calls for the performer to use their body as instrument, often by striking the body.", "Vinko Globokar is a French-Slovenian avant-garde trombonist and composer. He studied composition with Luciano Berio and Karlheinz Stockhausen and was influenced by Mauricio Kagel, a composer of instrumental theater pieces who was known for his unorthodox use of instruments to create a variety of sounds. Globokar's music focuses on creativity and free improvisation, with a heavy emphasis on the performer and their interpretation of the piece. Many researchers consider ?Corporel to be a protest against what he called \"Badabum\", the idea that one instrument can only make one sound, which led composers to add a new instrument to their pieces every time a new sound was needed rather than figuring out how to get new sounds out of the instruments already being used. Globokar asserted that every instrument can make more than one sound, even if those sounds aren't natural for the instrument, and he argues this point in ?Corporel by writing an entire piece that uses only the performer's body and voice as the instrument.", "Globokar instructs that ?Corporel is to be performed wearing canvas shorts, with a bare chest and bare feet. This allows the performer to strike their skin directly, producing a sound that can be heard in the audience much more easily than if they were striking themselves through clothing. However, this produces an issue for females percussionists who perform the piece. As percussionist Steven Schick writes, \"It is admittedly a risky proposition for many musicians to perform shirtless. For women these issues are compounded.\" Several variations on the dress have been made by women who have performed the piece, from performing it completely shirtless as Globokar indicates to performing it completely clothed.", "There are two main categories of sounds in ?Corporel: those produced by the voice and those produced by the performer striking their body. The vocal sounds can be further divided into exhalations on the consonants \"h\", \"f\", \"s\", \"sch (shh)\", and a rolled \"r\" and inhalations on the consonants \"t\", \"p\", \"k\", \"g\", and \"d\". Globokar also incorporates the extended vocal techniques of kissing sounds, high and low clucks of the tongue, inhalations on \"ts\", and open-throated inhales. Other sounds used include the chattering of teeth, hums, snores, screams of \"Ah!\" and, at one point, the recitation of a quote.\nThe percussive sounds in the piece are produced by the performer sliding their hands over their body at various speeds and striking bony and fleshy areas from the head down to the feet. Snaps and claps are also used in a small section of the piece. The exact areas used to produce bony and fleshy struck sounds are left at the discretion of the performer.", "?Corporel is divided into six sections, which are separated by a fermata, a transitional section, and then another fermata.  These sections progress from exploratory to progressively more frantic and violent. The progression is interrupted in the last section of the piece by the recitation of part of a poem by French poet René Char: \"I recently read the following remark: The history of mankind is a long succession of synonyms for the same word. It is a duty to disprove this.\" After resuming the building of tension, the piece ends with a blow to the stomach, which Globokar writes should be performed \"as if hitting somebody else.\" The performer gives one final yell of \"Ah!\" with the hit and ends the piece \"doubled up\", with \"eyes bulging\".", "The score for ?Corporel is hand-written. Globokar writes the piece on two staves, which correspond to the upper and lower halves of the body. Vocals are written on the highest part of the top staff. Globokar combines standard and graphic notation systems in ?Corporel. Rhythmic sections use standard notation with a strict meter and tempo, while gestural sections of the piece use graphic notation, with one centimeter of horizontal space corresponding to one second of sound or motion. Hard consonants are followed by rests, while soft consonants are followed by a line to indicate duration, direction, and speed. Rubbing gestures followed by a straight line are to be performed at a consistent speed, while motions followed by jagged lines are meant to speed up and slow down. Filled and open noteheads, respectively, are used to represent strikes to bony surfaces or hard consonants versus strikes on fleshy areas or extended vocal techniques. An 'x' is used as a notehead to represent finger snaps and hand claps. Chattering teeth are represented by vertical lines, and snores are drawn as vertical lines with arrows pointing in opposite directions. Globokar also includes written instructions about the position of the performer's body throughout the piece.", "In his book, \"The Percussionist's Art\", percussionist Steven Schick notes that the lack of clothing worn by the performer in ?Corporel undermines the audience's expectations about the concert experience. Percussionist Karlyn Mason states that the vulnerability of the performer allows the audience to identify with them. This relationship is added to by the humming, snoring, and yawning of the performer during the transitions. These are all actions that audience members can relate to, which makes it even more disturbing when the performer resumes beating themselves out of apparent madness.\nThese beatings are contrasted with the section in which the performer recites the text from Char's poem and \"...is still, finally freed from the tasks of music and the tics of theater...\" Globokar gives the option of reciting it in the original French or the language native to the place it is being performed and provides no instruction as to how the text is to be spoken. This leaves the performer to decide whether to interpret it as a moment of lucidity amidst madness or as the peak of insanity.\nUltimately, because the body is the instrument in ?Corporel, and no two bodies are the same, every interpretation and performance is different. Schick asserts that the issue of the body as both universal and unique is central to ?Corporel, and that the piece is rife with contradictions. He argues that the dichotomy between music and theater in the piece, and the attempt to unite them, is the cause of the performer's internal conflict and madness, because only when the two are combined can a cohesive identity be formed. This struggle builds until the last note of the piece, \"...an image of extreme physical distress as a result of the outer expression of inner turmoil.\"", "Los Angeles Philharmonic description of ?Corporel", "Mason, Karlyn Renee. \"The Synthesis of Artistic Elements in Works for Theatrical Percussion.\" Doctoral Essay, University of Miami, 2014, pp. 52–54.\nHills, Cory, \"Graphic Notation as Means of Musical Gesture: examining percussion works by John Cage, Morton Feldman, and Vinko Globokar.\" PhD diss., University of Kansas, 2011, pp. 55–58.\nMason, Karlyn Renee. \"The Synthesis of Artistic Elements in Works for Theatrical Percussion.\" Doctoral Essay, University of Miami, 2014, pp. 56–61.\nSchick, Steven. The Percussionist's Art: Same Bed, Different Dreams. University of Rochester Press, 2006, pp. 165–169.\nGlobokar, Vinko.?Corporel. 1985. Frankfurt; Leipzig: Henry Litolff's Verlag; C. F. Peters, 1985. Print.\nHills, Cory, \"Graphic Notation as Means of Musical Gesture: examining percussion works by John Cage, Morton Feldman, and Vinko Globokar.\" PhD diss., University of Kansas, 2011, pp. 69–71.\nHills, Cory, \"Graphic Notation as Means of Musical Gesture: examining percussion works by John Cage, Morton Feldman, and Vinko Globokar.\" PhD diss., University of Kansas, 2011, pp. 61.\nMason, Karlyn Renee. \"The Synthesis of Artistic Elements in Works for Theatrical Percussion.\" Doctoral Essay, University of Miami, 2014, pp. 62–64." ]

[ "?Corporel", "About the Composer", "Performance Practice", "Techniques", "Form", "Notation", "Interpretations", "External links", "References" ]

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[ "The \"?\" tavern on King Peter Street in December 2006", "Bistro as it was in 1996", "", "", "", "", "", "", "" ]

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[ "\"?\" (Serbian Cyrillic: Кафана „?”, Кафана „Знак питања”, Кафана „Упитник”; Serbian Latin: Kafana „?”, Kafana „Znak pitanja”, Kafana „Upitnik”) is the oldest, still operational traditional tavern (kafana) in Belgrade, Serbia. Located at 6 Kralja Petra Street, the building is nearly 200 years old. One of the city's best known landmarks, \"?\" offers traditional Balkan cuisine with starogradska music being played there.", "", "The building in which the kafana is located, was built in 1823. It was built by the diplomat and merchant Naum Ičko (son of Petar Ičko), on orders and with funds provided by the Prince of Serbia Miloš Obrenović I. Ičko was son of Petar Ičko, a noted diplomat. It was designed by an unnamed Greek architect and was built by the builders from Greece, which is commemorated by the inscription on the wall above the preserved, old table from this period. Later Prince Miloš awarded it to his personal doctor Toma Kostić known as Ećim Toma for his efforts during the Second Serbian Uprising. Realizing its favourable location, Ećim Toma soon converted the property into a hospitality establishment that became known around town as Tomina kafana, \"Ećim Toma's kafana\". During early 1830s, the kafana was frequented by Serbian linguist and language reformer Vuk Stefanović Karadžić.\nIt was also named \"Serbian kafana\" and in 1878, the name was changed to Kod pastira (\"Shepherd's\"). It got its present unusual name in 1892, during a dispute with the Serbian Orthodox Church authorities over the new owner Ivan Pavlović's intention to change its name to Kod Saborne crkve (By the Saborna Church), which the church authorities vehemently protested, not keen on seeing the cathedral referenced as part of a kafana's name. So, as a temporary solution, the tavern's owner put a question mark on the door, and it soon became the official name of the place. For a while, out of respect for the nearby church, smoking was prohibited inside the tavern, but this didn't last.", "In the post-World War II period, the bistro was still owned by Ivan Pavlović, but communist Yugoslav authorities nationalized the property in 1959, ultimately placing it under the administration of the state owned company UTP Varoš Kapija in 1962. Sometime during the next thirty years it was declared a heritage spot and given landmark protection by the City of Belgrade's Landmark Office (Zavod za zaštitu spomenika grada Beograda).\n\"?\" was added to the Protected Monuments of Culture list by the Republic of Serbia in 1981.", "Talk of re-privatizing the previously nationalized property first started in 2003. Then the tender auction of UTP Varoš Kapija, which administered tavern \"?\" was scheduled for 25 November 2004. The starting value of the property was set at €2,500 per square meter. Ultimately, the tender was annulled as the building, in which the restaurant is located, is protected by the state since 1946 and, as such, can't become a private property.\nStrong resistance from the tavern's employees, from various public figures (mostly journalists who frequented the bistro), and from some civil groups, paid off in February 2007 when the Government of Serbia decided to exempt the restaurant from the privatization process and signed it over to city administration as a heritage spot. A petition, signed by 2,563 people, called for the privatization to be stopped.\nIn May 2017, the Serbian Ministry of Finance confirmed the earlier Agency for Restitution's decision to award the ownership of \"?\" to the descendants of Ivan Pavlovic, the property's owner from 1892 until 1959 when the property got nationalized. One of the descendants said that they don't plan to change the purpose of the building but that he can't guarantee that one of them will decide otherwise. The Company Varoš Kapija also said that several celebrities and artists wanted to take the kafana from them, either claiming they are the descendants of the original owners or wishing to buy the venue. The company filed a complaint asking for the annulment of the decision, claiming it has legally paid for the premises, partially to the state and partially to the descendants. In July 2019 the Administrative Court rejected the complaint, thus making the decision of restitution to the previous owners final. Initially, the owners refused to disclose what would happen with the venue.", "The house was built in Balkan manner by “the Greek builders”. It was constructed in “bondruk” manner, with asymmetrically built interior and two bay windows on the main façade. It has a basement, ground floor and upper storey. It is situated toward the street and the lot depth occupies a garden and a yard. The basement was built from bricks and it has two massive vaults of 6x12m. The ground floor is arranged asymmetrically, consisting of three 4 x 9m, 2.5 x 4.5m and 7 x 7m chambers. The upper storey has six chambers: large 9 x 3m hall, two 5 x 5m symmetrically positioned rooms, forming bay windows over viewing the street, a 3.5 x 4m room and a 4 x 3m kitchen, with auxiliary room of 2.5 x 2.5m. Arrangement of rooms has remained unchanged despite of certain later partition works in the ground floor.", "", "Nikola Belić, Dimitrije Bukvić (23 December 2012), \"Zaverenici kod „Zlatne morune\", vinari u \"Čokotu\"\", Politika (in Serbian)\nMilan Janković (22 July 2017), \"Pravna bitka za \"Znak pitanja\"\", Politika (in Serbian), p. 14\nBelgrade's Famous Buildings\nAna Vuković, Dejan Aleksić (31 January 2016). \"Poslednji dan kafane \"Naše more\"\" [Last days of the kafana \"Naše more\"]. Politika (in Serbian). p. 16.\nMonuments of Culture in Serbia: Кафана ’?’ / Kafana ’?’' (SANU) (in Serbian and English) \n“Znak pitanja” i upitnici, NIN, 31 July 2003\n\"'Znak pitanja' je nacionalno pitanje\" (PDF). Blic. 11 November 2004. Archived from the original (PDF) on 14 July 2011.\n\"B92\". Archived from the original on 2016-10-09. Retrieved 2007-07-02.\n\"Ostaju karirani stolnjaci i kafa s ratlukom – Čuvena kafana \"?\" biće vraćena starim vlasnicima, Ništa od prodaje\". Blic. 18 May 2017. Retrieved 18 May 2017.\nMilan Janković (1 July 2019). \"\"Znak pitanja\" konačno vraćen vlasnicima\" [\"Question mark\" finally returned to the owners]. Politika (in Serbian). p. 14.\nTavern \"?\"", "(Inter)National restaurants — list of traditional restaurants by Tourist Organization of Belgrade\n\"?\" nije pod znakom pitanja — article on privatization of restaurant (in Serbian)\n\"?\"@TripAdvisor\n\"?\"@Foursquare" ]

[ "? (bistro)", "History", "19th century", "20th century", "21st century", "Exterior", "Gallery", "References", "External links" ]

[ 320, 321, 322, 323, 324, 325, 326, 327 ]

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[ "Theatrical release poster", "The singer Glenn Fredly found his character interesting, given the sensitive religious situation in Indonesia." ]

[ 0, 3 ]

[ "https://upload.wikimedia.org/wikipedia/en/3/3b/Question_Mark_Film_Poster.jpg", "https://upload.wikimedia.org/wikipedia/commons/1/10/Glenn_Fredly.jpg" ]

[ "? (also written Tanda Tanya, meaning Question Mark) is a 2011 Indonesian drama film directed by Hanung Bramantyo. It stars Revalina Sayuthi Temat, Reza Rahadian, Agus Kuncoro, Endhita, Rio Dewanto, and Hengky Sulaeman. The film focuses around Indonesia's religious pluralism, which often results in conflict between different beliefs, represented in a plot that revolves around the interactions of three families, one Buddhist, one Muslim, and one Catholic. After undergoing numerous hardships and the deaths of several family members in religious violence, they are reconciled.\nBased on Bramantyo's experiences as a mixed-race child, ? was meant to counter the portrayal of Islam as a \"radical religion\". Owing to the film's theme of religious pluralism and controversial subject matter, Bramantyo had difficulty finding backing. Eventually, Mahaka Pictures put forth Rp 5 billion ($600,000) to fund the production. Filming began on 5 January 2011 in Semarang.\nReleased on 7 April 2011, ? was a critical and commercial success: it received favourable reviews and was viewed by more than 550,000 people. Also screened internationally, it was nominated for nine Citra Awards at the 2011 Indonesian Film Festival, winning one. However, several Indonesian Muslim groups, including the conservative Indonesian Ulema Council and the hard-line Islamic Defenders Front, protested against the film because of its pluralist message.", "? focuses on interfaith relations in Indonesia, a country wherein religious conflicts are common, and there is a long history of violence and discrimination against Chinese Indonesians and other minorities. The storyline follows three families living in a village in Semarang, Central Java: the Chinese-Indonesian Buddhist Tan Kat Sun (Hengky Sulaeman) and his son Hendra (Rio Dewanto), the Muslim couple Soleh and Menuk, and the Catholic-convert Rika and her Muslim son Abi.\nSun and Hendra run a Chinese restaurant that serves pork, which is forbidden for Muslims, although the restaurant has many Muslim clients and staff. To ensure good relations with his Muslim employees and customers, Sun uses special utensils for the preparation of pork, which he does not permit to be used for other dishes, and allows his staff time for prayers; he also gives them a holiday during Eid ul-Fitr, the largest Muslim holiday. One of his employees is Menuk, who supports her unemployed husband, Soleh. Rika is Menuk's friend and is involved with the unsuccessful Muslim actor Surya.\nAlready in his 70s, Sun falls ill and the restaurant is taken over by Hendra, who decides it will serve exclusively pork, alienating their Muslim customers. Hendra comes into conflict with Soleh over Menuk, as Hendra had previously dated her. Menuk becomes increasingly depressed after Soleh tells her that he plans to divorce her, and they are driven apart. Rika feels stressed as a result of how she has been treated by her neighbours and family after converting to Catholicism from Islam; Abi is also facing ostracism. Meanwhile, Surya and Doni are competing for Rika's affections. Surya is upset over his failure to find a good acting job.\nSoleh joins the Islamic charitable group Nahdlatul Ulama (NU), hoping to gain confidence. Though he is initially reluctant to protect the security of a church during Christmas Eve, he ends up sacrificing his life when he discovers a bomb has been planted inside the church. He rushes out with the bomb, which explodes outside, killing him but saving the worshippers. Later, Sun dies when the restaurant, which did not close to honour Eid ul-Fitr, is attacked by a mob of fundamentalist Muslims. After the attack, Hendra reads the 99 names of Allah and converts to Islam; he attempts to approach Menuk, although it is unclear if she will accept him. Surya receives an offer from Rika to play the role of Jesus in her church's Christmas and Easter pageants, which he accepts for a high fee after hesitating due to fears that it will be against his religion; after the pageant he reads Al-Ikhlas in a mosque. Rika is able to obtain her parents' blessing for her conversion.", "Revalina S. Temat as Menuk, a religious Muslim woman who wears a hijab and is married to Soleh. Menuk works at Tan Kat Sun's restaurant alongside her would-be suitor, Sun's son Hendra. According to Temat, Menuk married Soleh, whom she did not love, instead of Hendra because Soleh was Muslim.\nReza Rahadian as Soleh, Menuk's unemployed Muslim husband, who wishes to be a hero for his family. He eventually joins the Banser branch of the Nahdlatul Ulama (NU) and is tasked with protecting places of worship from possible terrorist attacks. He dies in the process of removing a bomb from a church full of worshippers.\nEndhita as Rika, a young divorcée, mother of one, and Catholic convert. Because of her divorce and conversion, she is often looked down upon by her neighbours. She also comes into conflict with her son Abi, who did not convert with her, over her faith. Endhita received a nomination at the 2011 Indonesian Film Festival for Best Supporting Actress for her role, but lost to Dewi Irawan of Sang Penari (The Dancer).\nAgus Kuncoro as Surya, a young Muslim actor and Rika's boyfriend. His inability to secure more than bit parts provokes financial desperation and an existential crisis. He eventually lands the lead role as Jesus at Rika's Easter and Christmas pageants. Kuncoro received a nomination at the 2011 Indonesian Film Festival for Best Supporting Actor for his role, but lost to Mathias Muchus of Pengejar Angin (The Wind Chaser).\nRio Dewanto as Hendra (Ping Hen), the son of Tan Kat Sun and Lim Giok Lie. He constantly argues with his parents, especially about running the restaurant. He falls in love with Menuk, but she rejects him since he is not Muslim. After the death of his father, he converts to Islam.\nHengky Sulaeman as Tan Kat Sun, a Chinese-Indonesian restaurant owner, husband of Lim Giok Lie and father of Hendra. Sun's health is poor health, but he keeps a positive attitude.\nEdmay as Lim Giok Lie, wife of Tan Kat Sun and mother of Hendra. She often gives advice to Menuk.\nGlenn Fredly as Doni, a Catholic youth in love with Rika.\nDavid Chalik as Wahyu, a Muslim religious leader and adviser to Surya.\nDedy Soetomo as the pastor of Rika's church.", "? was directed by Hanung Bramantyo, who is of mixed Chinese-Javanese descent. He decided to direct a pluralist-themed film based on his own experiences as a mixed-race child. He chose the title ? to avoid protests upon the film's release, saying that if it had been named Liberalism or Pluralism there would be protests by opponents of those ideologies, and that he could not think of a better title. The individual characters are based on people Bramantyo has known or read about. His goal in making the film was to \"clarify misleading arguments about Islam\" and counter the portrayal of Islam as a \"radical religion\". In a pre-release press conference, Bramantyo said that ? was not meant to be commercial, but to make a statement. The film, his fourteenth, is one of several Islam-themed movies he has directed, after the polygamous romantic drama Ayat-Ayat Cinta (The Verses of Love; 2008) and the biopic Sang Pencerah (The Enlightener; 2009).\nFearing that the theme of pluralism would be taken as a \"battle cry\", some investors abandoned their commitments; Bramantyo was also unable to find support from mainstream studios. Before screening the film for the Indonesian Film Censor Board, several scenes were cut, including one in which a pig's head was displayed in the window of Sun's restaurant; other scenes that raised commentary were kept, although trimmed. Prior to the film's release, Bramantyo consulted about twenty people, including several religious leaders, in an attempt to ensure that the film was not offensive. Titien Wattimena was brought in to work further with the script; she put more emphasis on the message of tolerance.\nMahaka Pictures, owned by the same group as the predominantly Muslim Republika, co-produced the film with Dapur Film. The director of Mahaka Pictures, Erick Thohir, stated that his company had assisted with production because he \"was disturbed by the fact that Indonesian films have declined in quality\". He was willing to work with Bramantyo, as he found that the latter had proven to be a skilled director of religious films through his earlier work. Filming began on 5 January 2011 in Semarang; Bramantyo later described the city as a good example of tolerance in action. The film reportedly cost Rp 5 billion ($600,000) to produce. Two songs by the Indonesian band Sheila on 7, \"Pasti Kubisa\" (\"Sure I Can\") and \"Kamus Hidupku\" (\"Dictionary to My Life\") were used in the soundtrack, while Satrio Budiono and Saft Daultsyah handled sound editing.\nMulyo Hadi Purnomo, based in Semarang, was tasked with casting the minor roles. Bramantyo contacted the main cast members directly. Agus Kuncoro, who had acted in Sang Pencerah and was known for playing in Islamic-themed films, agreed to play Surya in ? immediately after reading the script. Singer Glenn Fredly was interested in playing Doni because he considered the character, an ultra-conservative Catholic, an interesting role, given the sensitive religious situation in the country. Revalina S. Temat, who had appeared in Bramantyo's 2009 film Perempuan Berkalung Sorban (The Girl With the Keffiyeh Around Her Neck), found her role as Menuk interesting and more serious than her recent work in horror films. Endhita, whom Bramantyo called for the role, expressed interest as soon as she received an outline of the plot.", "Ade Irwansyah, writing for Tabloid Bintang, notes that the film is a \"microcosm\" of Indonesia, which has numerous religious groups that often come into conflict. Irwansyah writes that Bramantyo intended for viewers to think of the religious conflicts that happen daily, and how to deal with differences in culture and beliefs, while Bramantyo has called the film his own personal interpretation of the country's religious situation. The film critic Eric Sasono noted this was apparent from the film's tagline, \"Is it still important that we are different?\", and suggested that Bramantyo feared that Indonesia was becoming a monolithic state. According to Sasono, the conflict in ? is settled when the characters begin believing that all religions are good, and all praise God; thus, all religious conflict would end if people were to accept other beliefs.\nThe Jakarta Globe describes the film as a \"study of the role and state of Islam in modern Indonesian society\". Sasono noted that the Muslim majority in the film did not have their motives shown explicitly, be it for the use of the racist term \"Cino\" or for attacking Sun's restaurant. After comparing the actions of Muslim groups in ? and Asrul Sani's films Al Kautsar (1977) and Titian Serambut Dibelah Tujuh (Titian Serambut, Divided by Seven; 1982), Sasono suggested that Bramantyo may have been expressing a fear that these groups no longer needed provocateurs to attack others. He notes that a scene in which a Catholic priest is stabbed by two men on a motorcycle reflects a September 2010 case in Bekasi, which had become a national issue. He further describes the camera angles as vulgar, abandoning subtlety, but suggests that they made the work more dramatic; he indicates that this was readily apparent with a scene in which part of a mosque falls apart.", "? debuted at Gandaria City in South Jakarta on 31 March 2011, with a wide release on 7 April. Its release coincided with a contest sponsored by a local cellular service provider that called on viewers to decide the best name to describe the events shown in the film; it was said that the best name to be submitted would be used on the DVD release, but this was ultimately not done. Within five days of its premiere, ? had been seen by almost 100,000 people. ? had been watched by more than 550,000 people by mid-September. The film was also shown internationally. At the sixth Indonesian Film Festival in Australia, ? was screened to full theatres on 25 August 2011 as the festival's closing film. According to Bramantyo, the film was also screened in Vancouver and Paris, receiving positive feedback.\nA novelisation of the film, entitled Harmoni Dalam Tanda Tanya (Harmony in Tanda Tanya) and published by Mahaka Publishing, was released in December 2011. Written by Melvy Yendra dan Adriyati, it further expanded the background of the film, including the relationship between Hendra and Menuk. On 21 February 2012, ? was released on DVD by Jive! Collection, after passing the censorship board in January. The DVD featured Indonesian audio, Indonesian and English subtitles, a behind-the-scenes documentary, and a gallery of photographs from production. In a preface on the DVD's liner notes, Ronny P. Tjandra of Jive! Collection wrote that viewers should view the film with open hearts, as the conflicts within reflected actualities in society.", "Critical reaction to ? was favourable. Indah Setiawati of The Jakarta Post wrote that the film was a \"gallant attempt to promoted [sic] moderate Islam and reveal the sensitive issues in the country in a casual way\", and that viewers should \"get ready to burst into laughter and break down in tears\". Aguslia, writing for Tempo, said that it was better than the 2010 Citra Award winner 3 Hati Dua Dunia, Satu Cinta, which had similar themes. Kartoyo DS, reviewing for Suara Karya after a press screening, praised the plot, visuals, and music.\nBenny Benke, writing for the Semarang-based daily Suara Merdeka, found that Bramantyo had used ? to portray tolerance in Indonesia without making the subject seem cliché; however, he considered some scenes, such as Hendra's conversion, overdone. Frans Sartono, reviewing for the historically Catholic daily Kompas, considered the film heavily didactic but ultimately interesting, because its social commentary was much needed, considering Indonesia's religious turmoil. He also noted that the characters were driven to their actions by worldly needs and not religion.", "After the release of ?, the conservative Islamic Defenders Front (Front Pembela Islam, or FPI) demonstrated against the film, owing to its pluralist message. Banser, the youth wing of the NU, also protested the film, taking offence to a scene in which Banser members are paid to do their charitable duties; they insisted that they are not. Meanwhile, the head of the Center For Culture of the Indonesian Ulema Council (Majelis Ulama Indonesia, or MUI) Cholil Ridwan stated that \"the film clearly propagates religious pluralism\", which the MUI had previously declared haraam (forbidden) in 2005. Protests also erupted when SCTV announced plans to show ? during Eid al-Fitr in 2011; the FPI organised a demonstration in front of the station's office, in which hundreds of its members called for further cuts to the film. The network later decided against showing the film in a decision which was heavily criticised and seen as \"giving in\" to the FPI.\nIn response to the criticism of ?, Minister of Culture and Tourism Jero Wacik expressed that the film would be best titled Bhinneka Tunggal Ika (\"Unity in Diversity\", the Indonesian national motto), and that its depiction of inter-ethnic and interfaith tolerance reflected Indonesia's \"national character\". Yenny Wahid, a religious activist and daughter of former president and noted pluralist Abdurrahman Wahid, said that ? had \"succeeded in conveying the ideas of pluralism in Indonesia\", and that critics should not look at it in fragments. Although initially tweeting that the protests were free promotion, Bramantyo later entered discussions with the MUI and agreed to cut some scenes to avoid protests. In an October 2011 interview, he said he was \"bewildered\" that the film was poorly received by Muslims.", "? received 9 nominations at the 2011 Indonesian Film Festival, winning one Citra Award for Best Cinematography. Together with Ifa Isfansyah's Sang Penari and Benni Setiawan's Masih Bukan Cinta Biasa (Still Not Just an Ordinary Love), it was the most-nominated film of the year; however, ? received the least Citra Awards of the three. Sang Penari won two of the awards for which ? had been nominated, including Best Director, while Masih Bukan Cinta Biasa took Best Sound and Kamila Andini's The Mirror Never Lies bested ? for Best Original Story. In 2012 ? was nominated for three awards at the Bandung Film Festival, winning none; all three awards were taken by The Mirror Never Lies.", "Original: \"Masih pentingkah kita berbeda?\"\nFor comparison, the best selling Indonesian film of 2011, Surat Kecil Untuk Tuhan (A Small Letter to God), was viewed by more than 750,000 persons (Yazid 2011, 2011: The Year).\nThe NU, which had previously objected to the film, also criticised this decision (The Jakarta Globe 2011, SCTV Widely Criticized).", "Footnotes\nSuara Merdeka 2011, Kolaborasi Hanung-Zaskia.\nSetiawati 2011, Is film censorship.\nSidel 2006, pp. 1–4.\nOfficial Website 2011, Cast & Crew.\nBramantyo 2012, 10:50–10:54.\nOfficial Website 2011, Press.\nFilmIndonesia 2012.\nKurniasari 2011, A vibrant year.\nIrwansyah 2011, Mengapa Hanung Bramantyo.\nKartoyo DS 2011, Bikin Film Toleransi Agama.\nAguslia 2011, Sebuah Tanda Tanya.\nBramantyo 2012, 2:20–2:25.\nSetiawati 2011, Questioning intolerance.\nThe Jakarta Globe 2011, Making Movies With.\nBramantyo 2012, 7:20–7:45.\nMaullana 2011, Hanung Menyentuh Isu.\nBramantyo 2012, 2:48–2:54.\nSetiawati 2011, Hanung's new film.\nBramantyo 2012, 8:10–8:25.\nArmitrianto 2011, Ingatan Toleransi.\nSofyan 2011, Sheila On 7.\nSudibyo 2011, Kalau Bayar Casting.\nBramantyo 2012, 2:30–2:34.\nSetiawati 2011, Agus Kuncoro: His Life.\nBramantyo 2012, 11:55–12:04.\nSuara Merdeka 2011, Revalina S Temat.\nKompas 2011, Meledak-ledak.\nSasono 2012, p. 4.\nSasono 2012, pp. 9–10.\nSasono 2012, p. 5.\nSasono 2012, p. 6.\nSasono 2012, p. 7.\nThe Jakarta Post 2010, Christian pastors attacked.\nSasono 2012, p. 8.\nLiner notes for ?.\nRakhmani 2011, Questioning religious divides.\nSuara Merdeka 2011, Tendangan dari Langit.\nHerman 2011, Masyarakat Australia.\nIFF, '?' Question Mark.\nDapur Film, Film Tanda Tanya.\nKhumaesi 2012, Novel Harmoni Dalam Tanda Tanya.\nKhumaesi 2012, DVD dan Novel.\nTjandra 2012, p. 1.\nKartoyo DS 2011, Mengukur Kadar Kesadaran.\nBenke 2011, Merayakan Indonesia.\nSartono 2011, Drama di Sekitar Warung China.\nThe Jakarta Post 2011, FPI pulls scalpel.\nThe Jakarta Globe 2011, SCTV Widely Criticized.\nThe Jakarta Post 2011, Hanung's new film.\nMaullana 2011, FFI 2011.\nKapanLagi.com 2012, Nominasi Festival Film Bandung.\nFikri 2012, Daftar Lengkap.\nBibliography\nBramantyo, Hanung (director) (2012). ? (DVD liner notes). Jakarta: Jive! collection. OCLC 778369109.\nBramantyo, Hanung (director) (2012). Behind the Scene [sic] (in Indonesian). Jakarta: Jive! collection. OCLC 778369109.\nSasono, Eric (2012). \"'?' (Tanda Tanya): Pertanyaan Retoris Hanung\" ['?' (Question Mark): Hanung's Rhetorical Question]. ? (DVD liner notes) (in Indonesian). Jakarta: Jive! collection. pp. 2–14. OCLC 778369109.\nSidel, John Thayer (2006). Riots, Pogroms, and Jihad: Religious Violence in Indonesia. Ithaca: Cornell University Press. ISBN 978-0-8014-4515-6.\nTjandra, Roni P. (2012). \"Tanda Tanya dari Jive Collection\". ? [Tanda Tanya from Jive Collection] (DVD liner notes) (in Indonesian). Jakarta: Jive! collection. p. 1. OCLC 778369109.\nOnline references\n\"'?' Question Mark (Tanda Tanya)\". Indonesian Film Festival. Archived from the original on 10 June 2012. Retrieved 10 June 2012.\nAguslia (7 April 2011). \"Sebuah Tanda Tanya dari Hanung Bramantyo\" [A Question Mark from Hanung Bramantyo]. Tempo (in Indonesian). Archived from the original on 11 April 2011. Retrieved 6 November 2011.\nArmitrianto, Adhitia (9 April 2011). \"Ingatan Toleransi dalam Tanda Tanya\" [Reminder for Tolerance in Tanda Tanya]. Suara Merdeka (in Indonesian). Archived from the original on 14 April 2011. Retrieved 10 June 2012.\nBenke, Benny (1 April 2011). \"Merayakan Indonesia\" [Celebrating Indonesia]. Suara Merdeka (in Indonesian). Archived from the original on 24 September 2015. Retrieved 10 June 2012.\n\"Cast & Crew\". Official Website for ? (in Indonesian). Mahaka Pictures. Archived from the original on 7 December 2011. Retrieved 18 December 2011.\n\"Christian pastors attacked in Bekasi, one stabbed\". The Jakarta Post. 12 September 2010. Archived from the original on 28 July 2012. Retrieved 20 June 2010.\n\"Film Tanda Tanya Meraih Respon Positif di Festival Internasional\" [The Film Tanda Tanya Received Positive Response at International Festivals] (in Indonesian). Dapur Film. Archived from the original on 4 January 2012. Retrieved 10 June 2012.\nFikri, Ahmad (13 May 2012). \"Daftar Lengkap Pemenang Festival Film Bandung 2012\" [Full List of Winners, 2012 Bandung Film Festival]. Tempo (in Indonesian). Archived from the original on 22 January 2013. Retrieved 23 January 2013.\n\"FPI pulls scalpel on Hanung Bramantyo's plurist film '?'\". The Jakarta Post. 29 August 2011. Archived from the original on 23 September 2011. Retrieved 6 November 2011.\n\"Hanung's new film touches Yenni's heart\". The Jakarta Post. 9 April 2011. Archived from the original on 29 August 2011. Retrieved 6 November 2011.\nHerman, Ami (8 October 2011). \"Masyarakat Australia Menyukai Film-film Indonesia\" [Australians Like Indonesian Films]. Suara Karya (in Indonesian). Archived from the original on 10 June 2012. Retrieved 10 June 2011.\nIrwansyah, Ade (31 March 2011). \"Mengapa Hanung Bramantyo Beri Judul Filmnya '?' ?\" [Why Did Hanung Bramantyo Entitle His Film '?' ?]. Tabloid Bintang (in Indonesian). Archived from the original on 28 August 2011. Retrieved 6 November 2011.\nKartoyo DS (3 January 2011). \"Bikin Film Toleransi Agama\" [Making a Film About Religious Tolerance]. Suara Karya. Archived from the original on 10 June 2012. Retrieved 10 June 2012.\nKartoyo DS (2 April 2011). \"Mengukur Kadar Kesadaran dan Toleransi Masyarakat\" [Measuring Society's Patience and Tolerance]. Suara Karya. Archived from the original on 5 October 2019. Retrieved 10 June 2012.\nKhumaesi, Aghia (22 February 2012). \"DVD dan Novel Adaptasi Film 'Tanda Tanya' Telah Diluncurkan\" [DVD and Novelisation of 'Tanda Tanya' have been Launched]. Republika (in Indonesian). Archived from the original on 15 April 2012. Retrieved 10 June 2011.\nKhumaesi, Aghia (22 February 2012). \"Novel 'Harmoni Dalam Tanda Tanya' Jawaban atas Pertanyaan Penonton\" [The Novel 'Harmoni Dalam Tanda Tanya' is an Answer to Viewers' Questions]. Republika (in Indonesian). Archived from the original on 15 April 2012. Retrieved 10 June 2011.\n\"Kolaborasi Hanung-Zaskia\" [Hanung and Zaskia's Collaboration]. Suara Merdeka (in Indonesian). 25 February 2011. Archived from the original on 1 May 2011. Retrieved 10 June 2012.\nKurniasari, Triwik (18 December 2011). \"A vibrant year for the film industry\". The Jakarta Post. Archived from the original on 8 January 2012. Retrieved 12 January 2012.\n\"Making Movies With a Message\". Jakarta Globe. 8 April 2011. Archived from the original on 12 June 2011. Retrieved 6 November 2011.\nMaullana, Irfan (28 November 2011). \"FFI 2011: '?', 'MBCB', dan 'Sang Penari', Terbanyak Dinominasikan\" [FFI 2011: '?', 'MBCB', and 'Sang Penari' Most Nominations]. Kompas (in Indonesian). Archived from the original on 20 November 2015. Retrieved 18 August 2012.\nMaullana, Irfan (31 March 2011). \"Hanung Menyentuh Isu Sensitif di Film '?'\" [Hanung Touches on Sensitive Issues in the Film '?']. Kompas (in Indonesian). Archived from the original on 12 August 2011. Retrieved 6 November 2011.\n\"Meledak-ledak\" [Exploding]. Kompas (in Indonesian). 10 April 2011. Archived from the original on 10 June 2012. Retrieved 10 June 2012.\n\"Nominasi Festival Film Bandung 2012\" [Nominations for 2012 Bandung Film Festival]. KapanLagi.com (in Indonesian). Jakarta. 1 May 2012. Archived from the original on 13 April 2013. Retrieved 21 January 2013.\n\"Penghargaan Tanda Tanya\" [Awards for Tanda Tanya]. FilmIndonesia (in Indonesian). Jakarta: Konfidan Foundation. Archived from the original on 23 March 2015. Retrieved 10 June 2012.\n\"Press\". Official Website for ? (in Indonesian). Mahaka Pictures. Archived from the original on 20 December 2011. Retrieved 18 December 2011.\nRakhmani, Inaya (3 October 2011). \"Questioning religious divides\". Inside Indonesia. Archived from the original on 12 December 2011. Retrieved 6 November 2011.\n\"Revalina S Temat Senang Jadi Menuk\" [Revalina S Temat Happy to Be Menuk]. Suara Merdeka (in Indonesian). 2 April 2011. Archived from the original on 10 June 2012. Retrieved 10 June 2012.\nSartono, Frans (4 April 2011). \"Drama di Sekitar Warung China\" [Drama Around a Chinese Restaurant]. Kompas (in Indonesian). Archived from the original on 10 June 2012. Retrieved 10 June 2012.\n\"SCTV Widely Criticized for Giving in to FPI\". Jakarta Globe. 29 August 2011. Archived from the original on 6 November 2011. Retrieved 6 November 2011.\nSetiawati, Indah (17 April 2011). \"Agus Kuncoro: His life for Films\". The Jakarta Post. Archived from the original on 23 June 2015. Retrieved 17 May 2012.\nSetiawati, Indah (17 April 2011). \"Hanung's new film raises hard-line ire\". The Jakarta Post. Archived from the original on 6 October 2011. Retrieved 6 November 2011.\nSetiawati, Indah (23 October 2011). \"Is film censorship necessary?\". The Jakarta Post. Archived from the original on 25 October 2011. Retrieved 6 November 2011.\nSetiawati, Indah (10 April 2011). \"Questioning intolerance\". The Jakarta Post. Archived from the original on 29 November 2011. Retrieved 6 November 2011.\nSofyan, Eko Hendrawan (2 April 2011). \"Sheila On 7 Berjodoh dengan Film Terbaru Hanung\" [Sheila On 7 was Meant for Hanung's Newest Film]. Kompas (in Indonesian). Archived from the original on 21 January 2012. Retrieved 10 June 2012.\nSudibyo, Anton (14 April 2011). \"Kalau Bayar Casting, Pasti Penipuan\" [If You Must Pay To Be Cast, It's Fraud]. Suara Merdeka (in Indonesian). Archived from the original on 20 November 2015. Retrieved 10 June 2012.\n\"'Tendangan dari Langit' Terlaris\" ['Tendangan dari Langit' Most Lucrative]. Suara Merdeka (in Indonesian). 18 September 2011. Archived from the original on 28 November 2011. Retrieved 10 June 2012.\nYazid, Nauval (26 December 2011). \"2011: The Year Indonesia Forgot Movies\". Jakarta Globe. Archived from the original on 15 January 2012. Retrieved 5 June 2012.", "Official website\n? at IMDb " ]

[ "? (film)", "Plot", "Cast", "Production", "Themes and style", "Release", "Reception", "Controversy", "Awards", "Notes", "References", "External links" ]

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[ "" ]

[ 4 ]

[ "https://upload.wikimedia.org/wikipedia/commons/b/b6/Camo_urban.png" ]

[ "¡Alfaro Vive, Carajo! (AVC) (English: Alfaro Lives, Dammit!), another name for the Fuerzas Armadas Populares Eloy Alfaro (English: Eloy Alfaro Popular Armed Forces), was a clandestine left-wing group in Ecuador, founded in 1982 and named after popular government leader and general Eloy Alfaro.", "The group was initially formed some time in the 1970s but was not militarily active for the first several years of its existence. An avowedly leftist but non-Marxist organisation, they identified with the Democratic Left coalition. AVC first received national attention in 1983, when it broke into a museum and stole swords which had been used by Eloy Alfaro. Some of the group's leaders were thought to be affiliated with Cuba, Libya and Nicaragua, and the group itself was linked to militant groups from other Latin-American countries, such as the M-19 and the Túpac Amaru Revolutionary Movement, establishing a joint operations group called Batallon America with these two groups. From 1986–1987, AVC carried out several kidnappings, robbed banks and a factory, took over a number of radio stations in order to broadcast their manifesto, and killed four police officers while retrieving a group member from police custody.\nIn response to this activity, the government began carrying out raids against the group. The group's leader Arturo Jarrin was killed during a gun battle with government forces in October 1986. By 1987, a large number of AVC's leaders and members had either been killed or arrested. In 1989, the government of Ecuador reached an agreement with AVC, with the group agreeing to end its violence. In 1991, the group officially reformed as a legitimate political party. One year later, eight group members made an illegal, but non-violent entry into the British Embassy in Quito, demanding the release of a group leader who was then imprisoned by the Ecuadorian government.", "The group is the subject of a 2007 documentary film titled ¡Alfaro vive carajo! Del Sueño Al Caos.\nThe post-hardcore rock group At The Drive-In has an EP named ¡Alfaro Vive, Carajo!", "Phil Gunson; Andrew Thompson; Greg Chamberlain (1989). The Dictionary of Contemporary Politics in South America. Routledge. p. 3.\n\"Party Politics in the 1980s\". countrystudies.us.\nPhil Gunson, Andrew Thompson & Greg Chamberlain, The Dictionary of Contemporary Politics of South America, London: Routledge, 1990, p. 3\n\"Ecuador: Internal Security\". country-data.com.\n\"¡Alfaro vive carajo! \"del sueño al caos\" (Isabel Dávalos / Ecuador / 90 minutos)\". Cero Latitud.\n\"¡Alfaro vive carajo! Del Sueño Al Caos\". Escalon Films.", "\"Annual Report Of The Inter-American Commission On Human Rights 1988-1989: Resolution No 14/89 Case 9641 Ecuador April 12, 1989\". Inter-American Commission on Human Rights.\n\"Alfaro Vive Carajo rechaza uso de nombre en video\". www.hoy.com.ec. 2007-08-11." ]

[ "¡Alfaro Vive, Carajo!", "History", "In popular culture", "Notes", "References" ]

[ 329 ]

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[ "¡Allá Tú! logo in Cuatro", "¡Allá Tú! logo in TeleCinco" ]

[ 0, 0 ]

[ "http://upload.wikimedia.org/wikipedia/commons/2/21/Allatuspaincuatro.png", "http://upload.wikimedia.org/wikipedia/en/0/02/Dond-spain-logo.jpg" ]

[ "¡Allá tú! (Spanish for \"It's Your Business\") is the Spanish version of Deal or No Deal. It was initially broadcast by Telecinco between 2004 and 2008 and later changed to sister channel Cuatro for a comeback in 2011.\nThe top prize is €300,000 (US$382,000). It had been €600,000 (US$765,000) for a while due to a new text game where the money the contestant wins is split evenly between the contestant and the text winner (so if the contestant wins €600,000, he or she will win €300,000 and the text player will also receive €300,000). In 2006, there was a special called La Noche de los 2.000.000€ (The night of the 2 million euro), but the top prize was €1,000,000 (US$1,311,600) and the game was played twice on that night, the set was different as well (similar to the US version). In the 850th episode, the grand prize was increased to €850,000 (US$1,145,000).\nIt's hosted by Jesús Vázquez, but during Jesús's break to focus on another Endemol show, Operación Triunfo, Silvia Jato and later Arturo Valls filled in for him.\nThe first version of the show was broadcast on Antena 3 and called Una vez en la vida, hosted by Constantino Romero. It had a top prize of 210 000 000 ₧ (€1,262,125), and was based on the original German version, Die Chance deines Lebens.\nThis version of the show is very similar to the Italian version, Affari Tuoi. As in the UK, contestants open 22 boxes (though, unlike the UK, this is to represent one player from each region), rather than 26 briefcases (except for the million euro special, which actually had 26 briefcases).\nOn June 19, 2007, Gilbert from Tarragona became the first €600,000 winner.\nOn July 25, 2011, Maria del Carmen Bonilla from Asturias won €300,000 and becomes the second top prize winner.", "", "The show featured 1,000 contestants packed into an arena, who would play a series of quiz minigames for the chance to play the final round, where they would have the chance to win 210 000 000 ₧ by answering a series of seven questions; any mistakes would subtract from the cash prize.", "The program begins by each contestant being described by name and region (usually the newest contestant to replace the one who played last episode receives a special presentation), and then they answer a qualifying question, usually about statistics (i.e. \"What percentage of the Spanish elderly have used the Internet? 1: 6%, 2: 26%, 3: 69%\"). Out of those who answered correctly, one is drawn, who proceeds to the podium.\nBefore the game begins, the contestant picks one of the 22 boxes (26 cases for special episodes). Each box contains a different amount of money, from €0.10 to €300,000.\nIn the main game, the contestant's objective is to find out what their box contains by removing the boxes of the other 21 contestants (or 25 for specials): when each box is selected, the card with the box's value on is shown to the camera before the value of the card is out of play, and the display shows the amounts remaining.\nAt various points in the game, La Banca (the Banker) makes a phone call to the host and makes the contestant a cash offer to purchase their box and for the contestant to quit the game based on the value of the boxes left. The contestant can then decide whether to accept or decline the offer (unlike most versions the contestant does not have to open or shield a button).\nIn the first round the contestant opens five boxes, four in the second, three in the third and then two each in the fourth, fifth, sixth and seventh.\nOne player plays for the entire episode (except for the million-euro specials, which were longer and featured two players per episode). When their episode finishes, a new contestant replaces them in the wings.\nIn 2005, the money values were modified slightly, and the top prize was increased to €600,000 (though the contestant's winnings were [a] split with a phone-in contestant and [b] taxed).", "NOTE: Some small values were often replaced with joke prizes (except for the million euro specials).\nIn 2011, Box 23 (\"The Green Box\") could contain one of the following amounts:", "(in Spanish)Allá tú: La noche de los 2.000.000 de euros, September 25, 2006\n(in Spanish)¡Mari se lleva 300.000 euros!, July 25, 2011\n\"¡Allá tú! - 7 de abril, 2006 (ESPECIAL DE 100 SUSCRITORES)\". 2021-10-03." ]

[ "¡Allá tú!", "Gameplay", "2001 format (Una vez en la vida)", "2006 format (¡Allá tú!)", "Box/Case Values", "References" ]

[ 330 ]

[ 2536, 2537, 2538, 2539, 2540, 2541, 2542, 2543 ]

[ "" ]

[ 0 ]

[ "https://upload.wikimedia.org/wikipedia/commons/e/eb/Ben_Gibbard.jpg" ]

[ "All-Time Quarterback (stylized ¡All-Time Quarterback!) was a solo side-project of Ben Gibbard, best known as the singer/guitarist for Death Cab for Cutie and as one third of the Postal Service.\nGibbard started the project in the spring of 1997, and a series of songs resulted in two lo-fi EPs, ¡All-Time Quarterback! and The Envelope Sessions, released in 1999 on Elsinor Records, which was documenting the Bellingham, Washington music scene. Gibbard had also started Death Cab for Cutie in 1997, a second side-project which eventually grew into a full band. A small tour occurred in 1999 to support the releases, but afterwards Gibbard went back to Death Cab for Cutie to record their second album. The song \"Underwater!\" from The Envelope Sessions was later re-recorded by Death Cab for Cutie for a 7\" single on Sub Pop Records.\nIn 2002, with both original releases out-of-print, Barsuk Records released an album on CD titled ¡All-Time Quarterback!. The album contains songs from both releases, along with an outtake from the original EP sessions and a video for \"Plans Get Complex\", which was shot in a variety of locations across London, including Regent Street and a London Underground train.", "¡All-Time Quarterback! (CD EP, 1999)\nThe Envelope Sessions (Cassette EP, 1999)\n¡All-Time Quarterback! (CD album, 2002)", "All-Time Quarterback / Barsuk Records" ]

[ "¡All-Time Quarterback!", "Discography", "External links" ]

[ 331 ]

[ 2544 ]

[ "Nancy Cartwright, the voice of Bart Simpson." ]

[ 1 ]

[ "https://upload.wikimedia.org/wikipedia/commons/c/c4/Nancy_Cartwright.jpg" ]

[ "\"¡Ay, caramba!\" ([ˈai kaˈɾamba]), from the Spanish interjections ay (denoting surprise or pain) and caramba (a minced oath for carajo), is an exclamation used in Portuguese (Ai, caramba!) and Spanish to denote surprise (usually positive).", "The exclamation became associated with the Madrid flamenco dancer and singer La Caramba in the 1780s. Her headdress of brightly colored ribbons became known as a caramba.\nThe knife-throwing villain in Tintin's adventure The Broken Ear (1935) exclaims \"Caramba! Missed again!\" so often it became a catchphrase in French (\"Caramba, encore raté!\")\nThe fictional character Bart Simpson (voiced by Nancy Cartwright) popularized the phrase \"¡Ay, caramba!\" in the animated sitcom The Simpsons. He said it first in the 1988 short The Art Museum, one of several one-minute Simpsons cartoons that ran as interstitials on The Tracey Ullman Show from April 14, 1987 to May 14, 1989 on Fox. In the episode \"Selma's Choice\", Bart, Lisa, and their Aunt Selma approach a very popular ride at Duff Gardens. Upon seeing the exceptionally long line for the ride, Bart exclaims, \"¡Ay, caramba!\". \"¡Ay, caramba!\" were also Bart's first words when he saw his parents having sex.", "D'oh!\nFacepalm\nSacrebleu", "Spanish-English/English-Spanish Dictionary. New York: Random House. 1999. pp. 66. ISBN 0-345-40547-1.\nMikkelsen, Carol, Spanish Theater Songs -- Baroque and Classical Eras: Medium High Voice, ISBN 9781457412721\nEmmons, Shirlee; Lewis, Wilbur Watkin (22 December 2005), Researching the song, ISBN 9780198034698\nTurner, Chris (2004). Planet Simpson: How a Cartoon Masterpiece Defined a Generation. Foreword by Douglas Coupland. (1st ed.). Cambridge: Da Capo Press. p. 60. ISBN 978-0-306-81341-2. OCLC 670978714.\nMartin, Jeff (December 3, 1992). \"Lisa's First Word\". The Simpsons. Season 04. Episode 10. Fox." ]

[ "¡Ay, caramba!", "In popular culture", "See also", "References" ]

[ 332 ]

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[ "Military flag of the Spanish Republic" ]

[ 0 ]

[ "https://upload.wikimedia.org/wikipedia/commons/5/5c/Bandera_de_la_II_Rep%C3%BAblica_Espa%C3%B1ola.PNG" ]

[ "\"¡Ay Carmela!\" is one of the most famous songs of the Spanish Republican troops during the Spanish Civil War.\nIt had originally been a nineteenth century folk song, El Paso del Ebro, commemorating the routing of Napoleonic troops across the river Ebro in 1807, during the War of Independence.\nDuring the Spanish Civil War, in common with many older folk songs, the melody was reused with new lyrics by the Republican side, in various versions (El Ejército del Ebro, El paso del Ebro, ¡Ay, Carmela!, ¡Ay, Manuela!, Rumba la Rumba, and Viva la XV Brigada). A less well-known version was also coined by Nationalists (El Rîo del Nervión).", "The most popular lyrics to this Republican song have two variants known as El Paso del Ebro and Viva la XV Brigada. The first one is related to the Battle of the Ebro and the second mentions the Battle of Jarama, two of the main confrontations of the Civil War.\nThe sentence Luchamos contra los moros (We fight against the Moors) refers to the Regulares, the feared Moroccan units fighting as the shock troops of the Nationalists.\nA Croatian singer and songwriter Darko Rundek released a version of the song with anti-fascist and anti-oppressor lyrics in his 2000 album U širokom svijetu. The song enjoyed widespread support among populations in the Serbian capital of Belgrade, especially during the 2018–2020 Serbian protests.", "", "El Ejército del Ebro,\n\nrumba la rumba la rumba la.\n \nEl Ejército del Ebro,\n\nrumba la rumba la rumba la\nUna noche el río pasó,\n¡Ay Carmela! ¡Ay Carmela!\nUna noche el río pasó,\n¡Ay Carmela! ¡Ay Carmela!\nY a las tropas invasoras,\n\nrumba la rumba la rumba la.\n\nY a las tropas invasoras,\n\nrumba la rumba la rumba la\nBuena paliza les dio,\n¡Ay Carmela! ¡Ay Carmela!\nBuena paliza les dio,\n¡Ay Carmela! ¡Ay Carmela!\nEl furor de los traidores,\n\nrumba la rumba la rumba la.\n\nEl furor de los traidores,\n\nrumba la rumba la rumba la\nLo descarga su aviación,\n¡Ay Carmela! ¡Ay Carmela!\nLo descarga su aviación,\n¡Ay Carmela! ¡Ay Carmela!\nPero nada pueden bombas,\n\nrumba la rumba la rumba la.\n\nPero nada pueden bombas,\n\nrumba la rumba la rumba la\nDonde sobra corazón,\n¡Ay Carmela! ¡Ay Carmela!\nDonde sobra corazón,\n¡Ay Carmela! ¡Ay Carmela!\nContraataques muy rabiosos,\n\nrumba la rumba la rumba la.\n\nContraataques muy rabiosos,\n\nrumba la rumba la rumba la\nDeberemos resistir,\n¡Ay Carmela! ¡Ay Carmela!\nDeberemos resistir,\n¡Ay Carmela! ¡Ay Carmela!\nPero igual que combatimos,\n\nrumba la rumba la rumba la.\n\nPero igual que combatimos,\n\nrumba la rumba la rumba la\nPrometemos resistir,\n¡Ay Carmela! ¡Ay Carmela!\nPrometemos resistir,\n¡Ay Carmela! ¡Ay Carmela!", "The army of the Ebro,\n\nRumba la rumba la rumba la!\n\nThe army of the Ebro,\n\nRumba la rumba la rumba la!\nOne night it crossed [the river],\nAy Carmela, ay Carmela!\nOne night it crossed [the river],\nAy Carmela, ay Carmela!\nAnd the invading forces,\n\nRumba la rumba la rumba la!\n\nAnd the invading forces,\n\nRumba la rumba la rumba la!\nWe gave them a good beating,\nAy Carmela, ay Carmela!\nWe gave them a good beating,\nAy Carmela, ay Carmela!\nThe fury of the traitors,\n\nRumba la rumba la rumba la!\n\nThe fury of the traitors,\n\nRumba la rumba la rumba la!\nIs in what their airplanes drop!\nAy Carmela, ay Carmela!\nIs in what their airplanes drop!\nAy Carmela, ay Carmela!\nBut their bombs can do nothing,\n\nRumba la rumba la rumba la!\n\nBut their bombs can do nothing,\n\nRumba la rumba la rumba la!\nWhere there is still heart left!\nAy Carmela, ay Carmela!\nWhere there is still heart left!\nAy Carmela, ay Carmela!\n[Their] counterattacks are fierce,\n\nRumba la rumba la rumba la!\n\n[Their] counterattacks are fierce,\n\nRumba la rumba la rumba la!\nSo we must resist them!\nAy Carmela, ay Carmela!\nSo we must resist them!\nAy Carmela, ay Carmela!\nEven as we fight,\n\nRumba la rumba la rumba la!\n\nEven as we fight,\n\nRumba la rumba la rumba la!\nWe promise to resist them!\nAy Carmela, ay Carmela!\nWe promise to resist them!\nAy Carmela, ay Carmela!", "Viva la Quince Brigada,\n\nrumba la rumba la rumba la.\n\nViva la Quince Brigada,\n\nrumba la rumba la rumba la\nque nos cubrirá de gloria\n¡Ay Carmela! ¡Ay Carmela!\nque nos cubrirá de gloria,\n¡Ay Carmela! ¡Ay Carmela!\nLuchamos contra los moros,\n\nrumba la rumba la rumba la.\n\nLuchamos contra los moros,\n\nrumba la rumba la rumba la\nmercenarios y fascistas,\n¡Ay Carmela! ¡Ay Carmela!\nmercenarios y fascistas,\n¡Ay Carmela! ¡Ay Carmela!\nSolo es nuestro deseo,\n\nrumba la rumba la rumba la.\n\nSolo es nuestro deseo,\n\nrumba la rumba la rumba la\nacabar con el fascismo,\n¡Ay Carmela! ¡Ay Carmela!\nacabar con el fascismo,\n¡Ay Carmela! ¡Ay Carmela!\nEn los frentes de Jarama,\n\nrumba la rumba la rumba la.\n\nEn los frentes de Jarama,\n\nrumba la rumba la rumba la\nno tenemos ni aviones, ni tanques ni cañones,\n¡Ay Carmela! ¡Ay Carmela!\nno tenemos ni aviones, ni tanques ni cañones,\n¡Ay Carmela! ¡Ay Carmela!\nYa salimos de España,\n\nrumba la rumba la rumba la.\n\nYa salimos de España,\n\nrumba la rumba la rumba la\na luchar en otros frentes,\n¡Ay Carmela! ¡Ay Carmela!\na luchar en otros frentes,\n¡Ay Carmela! ¡Ay Carmela!", "Long live the Fifteenth Brigade,\n\nRumba la rumba la rumba la!\n\nLong live the Fifteenth Brigade,\n\nRumba la rumba la rumba la!\nIt will cover us with glory,\nAy Carmela, ay Carmela!\nIt will cover us with glory,\nAy Carmela, ay Carmela!\nWe fight against the Moors,\n\nRumba la rumba la rumba la;\n\nWe fight against the Moors,\n\nRumba la rumba la rumba la,\nMercenaries and fascists,\nAy Carmela, ay Carmela!\nMercenaries and fascists,\nAy Carmela, ay Carmela!\nOur only desire,\n\nRumba la rumba la rumba la!\n\nOur only desire,\n\nRumba la rumba la rumba la!\nIs to end fascism!\nAy Carmela, ay Carmela!\nIs to end fascism!\nAy Carmela, ay Carmela!\nOn the Jarama front,\n\nRumba la rumba la rumba la!\n\nOn the Jarama front,\n\nRumba la rumba la rumba la!\nWe don't have airplanes, nor tanks, nor cannon,\nAy Carmela, ay Carmela!\nWe don't have airplanes, nor tanks, nor cannon,\nAy Carmela, ay Carmela!\nWe're now leaving Spain,\n\nRumba la rumba la rumba la!\n\nWe're now leaving Spain,\n\nRumba la rumba la rumba la!\nWe shall fight on other fronts,\nAy Carmela, ay Carmela!\nWe shall fight on other fronts,\nAy Carmela, ay Carmela!", "Si me quieres escribir, another Republican song mentioning the crossing of the Ebro River\nSongs of the Spanish Civil War", "¡Ay Carmela! Una canción con historia\nCanciones Republicanas\nBertrand de Muñoz, Maryse (2009). Si me quieres escribir. Canciones políticas y de combate de la Guerra de España (in Spanish). Calambur. ISBN 9788483591123.\nMihajlović, Branka (9 March 2019). \"Darko Rundek: Neka se pjeva 'Aj, Karmela'\" [Darko Rundek: Let 'Aj, Karmela' be sung] (in Serbo-Croatian). Radio Free Europe. Retrieved 14 July 2022.", "Miguel Ángel Gómez Naharro - Song ¡Ay Carmela! with lyrics\nAy, Carmela! y la Batalla del Ebro" ]

[ "¡Ay Carmela! (song)", "Variants", "Lyrics", "El Ejército del Ebro", "Translation", "Viva la Quince Brigada", "Translation", "See also", "References", "External links" ]

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[ "Cover of the first issue of ¡Cu-cut! with \"The Catalan\" designed by Gaietà Cornet", "Cartoon by Joan Junceda ridiculing the Spanish Army that led to the attack on the Cu-Cut! head office", "The satirical cover of the magazine that irritated the Lliga Regionalista leadership and brought about its closure" ]

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[ "https://upload.wikimedia.org/wikipedia/commons/e/ee/Cucut.jpg", "https://upload.wikimedia.org/wikipedia/commons/2/21/Cu-Cut%281905%29.jpg", "https://upload.wikimedia.org/wikipedia/commons/1/1a/Cu-Cut_N518_1912-04-25.JPG" ]

[ "¡Cu-cut! was a Catalan illustrated satirical magazine, written in Catalan. Published in Barcelona between 1902 and 1912, it followed the political line marked by Francesc Cambó's Lliga Regionalista.", "¡Cu-cut!, named after the cuckoo bird (Catalan: Cucut), was first published on 2 January 1902 and, like El Be Negre magazine that would be published later, it steadfastly opposed Lerrouxism in Spain. Its director was Manuel Folch i Torres and most articles were written by Josep Morató i Grau, Eduard Coca i Vallmajor and Manuel Urgellès, among others such as Josep Abril i Virgili and Vicenç Caldés i Arús. The main illustrators were Joan Llaverias, Joan Junceda, Ricard Opisso, Feliu Elias, nicknamed Apa, Lluís Bagaria, and Lola Anglada. One of the most representative characters of the magazine was \"el català\" (The Catalan), a small man wearing a barretina drawn by Gaietà Cornet i Palau, the artistic director of the magazine.\nThe magazine had sixteen pages, usually printed in two colors, edited by Josep Baguñà and printed by Marià Galve. The price was ten cèntims. The literary director was Manuel Folch i Torres, the art director Gaietà Cornet i Palau and the managing director Ramon Pruna, who became a kind of scapegoat for the successive judiciary cases against the magazine and was imprisoned more than once.\nOn 23 November 1905 the magazine published a caricature by Joan Junceda ridiculing the military. Following this, about 300 officers of the Spanish Army, angry at the magazine for having published the offending cartoon, stormed the Cu-Cut! offices, which were also the offices of En Patufet and La Veu de Catalunya. They caused much destruction in the building, burning the place before leaving.\nUnder pressure of the military, the Spanish government decreed a five-month suspension of the publication of the magazine, between December 1905 and 28 April 1906. These events led to the passing of the Ley de Jurisdicciones (\"Law of Jurisdictions\"), which severely restricted freedom of expression in Spain by making speech against \"Spain and its symbols\"—the Spanish Armed Forces including themselves as one of the symbols— a criminal offence.\nOwing to its sharp humor and daring political satire Cu-Cut! became very successful, reaching a peak of 60,000 copies printed. Even then, it was forced to close down in 1912 by the leaders of the Lliga Regionalista, sore at the satirical cover by Joan Llaverias on the 25 April 1912 issue. Following the closure of Cu-Cut! the team of editors and illustrators continued their work at Catalan children's magazine En Patufet.\nOn the occasion of the first centennial of the closure of the magazine, the Barcelona City Historical Archive (Arxiu Històric de la Ciutat de Barcelona) staged an exhibition and published a catalogue based on the once famous magazine. The exhibition was commissioned by Catalan cartoonist Jaume Capdevila (Kap) and produced with the Associació Tantatinta.", "Joan Junceda\nRicard Opisso i Sala\nSpanish Republican Army\nJosep Abril i Virgili", "Lluís Solà i Dachs, «Cu-cut! Setmanari de gresca ab ninots (1902–1912)». Ed. Bruguera. Barcelona, 1967\nJaume Capdevila, «El efecto mariposa». La Vanguardia, Barcelona, July 2010\nLluís Solà i Dachs & Jaume Capdevila, Cent anys sense Cu-cut!, Sàpiens no 116 May 2012 p. 48-51, Barcelona ISSN 1695-2014\nCarlos Seco Serrano, Militarismo y Civilismo en la España contemporánea, Instituto de Estudios Económicos, Madrid 1984, pg. 22\nUna exposició homenatja la sàtira política del Cu-cut!\nTV3 - Cent anys del tancament del Cu-cut!", "Media related to Cu-Cut at Wikimedia Commons\nDigitalització disponible al portal ARCA (Arxiu de Revistes Catalanes Antigues)\nFitxa de ¡Cu-Cut! a Tebeosfera\nCu-cut! Sàtira política en temps trasbalsats (1902–1912) - Exposició a l'Arxiu Històric de la Ciutat de Barcelona\nFrancesc Mestre: Ilustradores Ilustres" ]

[ "¡Cu-Cut!", "History", "See also", "References", "External links" ]

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[ "The cartoon found in issue No.204" ]

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[ "https://upload.wikimedia.org/wikipedia/commons/2/21/Cu-Cut%281905%29.jpg" ]

[ "The ¡Cu-Cut! incident, also known as La Cuartelada, was an assault conducted by Spanish officers on the Catalan satirical magazine ¡Cu-Cut! offices in Barcelona on November 25, 1905 in response to the publication of a satirical cartoon mocking the Spanish military.", "Spanish military personnel had been a common target of ¡Cu-Cut!'s editors because the Spanish Army had become an outdated and defective institution. Moreover, a sentiment prevailed in Barcelona that viewed the Spanish Army as the arm of a centralist and repressive government. General Valeriano Weyler and the role of the Spanish Army in the painful defeat in Cuba were recurrent topics of the magazine.\nThe November 12, 1905 municipal elections in Barcelona were a success for the Lliga Regionalista, a Catalanist political party to which ¡Cu-Cut! was affiliated. Six days later, the Lliga organized a celebratory dinner at the Frontón Condal building. That was not liked by rival Lerrouxist Republicans. At the conclusion of the dinner, a fight ensued between two groups of people of the opposing political parties that resulted in a few injured.\n¡Cu-Cut! Issue No. 204, set to be published on November 23, 1905, depicted a satirical cartoon drawn by Joan Junceda captioned with a joke that referenced the confrontation between Catalanists and Lerrouxists and ridiculed the recent military defeats of the Spanish Army. The cartoon, \"At the Frontón Condal\", depicted two men conversing. One man says, \"What is being celebrated here, with so many people?\" The other replies, \"The Banquet of Victory\". The man asking the question then says, \"Of victory? Oh well, they must be peasants\".\nAccording to La Vanguardia, at 9:30 pm on November 25, around 300 officers of the Barcelona garrison gathered in Plaza Real, headed towards the ¡Cu-Cut! offices, destroyed them and set them on fire. That was at the Bagunyà press and library on Avinyó Street, where the children's magazine En Patufet and the newspaper La Veu de Catalunya were also edited.", "Following the assault, the government suspended the magazine's publication. The next issue, No. 205, was not published until April 28, 1906. During this time, the ¡Cu-Cut! editor, Josep Baguñà, attempted to continue the publication of the magazine under a different name. Baguñà used Garba, an art and literature magazine edited by Joan Maragall, Víctor Català and Josep Pijoan to further ¡Cu-Cut! material. Garba issue No. 11 had a different format and included some sections with content nearly identical to ¡Cu-Cut!. That was noticed by Barcelona's governor, who immediately suspended the magazine.\nAlthough the assault led to the creation of Solidaritat Catalana, a political coalition in Catalonia, it ignited a feeling of solidarity with the attackers in the rest of Spain. However, President Eugenio Montero Ríos's government decided to punish the attackers in the face of the crisis. King Alfonso XIII's opposition to that measure led to Ríos's resignation. He was succeeded by Segismundo Moret, who suspended the constitutional guarantees in Barcelona and, along with the minister Álvaro de Figueroa y Torres, implemented the Law of Jurisdictions, which favoured the military.", "Relations between the Spanish military and Catalanism were profoundly negative. In May 1905, the pro-Catalan independence journal La Tralla published a special issue commemorating the independence of Cuba for which the journal's director, Josep Maria Folch i Torres, along with three editors, were prosecuted.\nAuthors have claimed that the ¡Cu-Cut! incident marked the return of militarism in Spanish politics after a period of civilian rule. The assault on ¡Cu-Cut! certified the return of the military as a lobby group in the political sphere. In thar case, it acted against what it considered to be a separatist threat that was being excessively tolerated by the government, according to many officers at the time.", "Casassas i Ymbert, Jordi; Colomines, Agustí; Gonzalez Calleja, Eduard; Santolaria, Francesc. Els fets del Cu-Cut!: taula rodona organitzada pel Centre d'Història Contemporània de Catalunya el 24 de novembre de 2005. Generalitat de Catalunya, Centre d'Història Contemporània de Catalunya, 2006. ISBN 978-84-393-7306-3\nSantolaria Torres, Francesc. El Banquet de la Victòria i els fets de ¡Cu-Cut! Cent anys de l'esclat catalanista de 1905. Meteora, 2005. ISBN 978-84-95623-38-6.", "Esculies, Joan (October 2012). \"El cavaller de l'ideal\". Sàpiens (in Catalan). Barcelona (121): 22–28. ISSN 1695-2014.\nMata, Jordi (October 17, 2005). \"Quan riure fa nosa\". El Triangle (749): 36–37.\nCapdevila, Jaume (May 2012). Cu-cut! Sàtira política en temps trasbalsats: 1902-2012 (PDF) (in Catalan) (Efadós ed.). Barcelona.\nSantolaria, Francesc. El Banquet de la Victòria i els Fets de ¡Cu-Cut! (in Catalan). Meteora. ISBN 84-95623-38-2.\nMcGlade, Rhiannon (2015-10-02). \"The \"fets de Cu-Cut! \" Cartooning Controversy in Catalonia\". Romance Quarterly. 62 (4): 199–211. doi:10.1080/08831157.2015.1068633. ISSN 0883-1157.\n\"Graves sucesos de anoche\" (in Spanish). Barcelona. La Vanguardia. 26 November 1905. p. 2. Retrieved 10 July 2020.\nBalcells, Albert (2006). \"La solidaritat catalana-44\". Història de Catalunya (in Catalan) (La Esfera de los Libros ed.). Barcelona. p. 1258. ISBN 84-9930-223-8." ]

[ "¡Cu-Cut! incident", "Background", "Reactions", "Catalanism and Spanish military", "Bibliography", "References" ]

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[ "Protestors marching in Madrid on May 15, 2011", "The demonstration in Madrid on May 15, 2011", "A police line on the edge of the protest in Madrid on May 15, 2011", "Locations of similar protests around the world", "October 15 Protests in Madrid" ]

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[ "¡Democracia Real YA! (DRY, Spanish for Real Democracy NOW!), also known as Plataforma Democracia Real Ya! (Real Democracy NOW Platform!), is a Spanish grassroots organization that started in March 2011 in Madrid, Spain. It sparked the political movement of May 15, 2011 (15M) whose protests gained worldwide attention. The protests been compared to the May 1968 social movement in France.\n¡Democracia Real YA! is associated with approximately 200 smaller organizations. ¡Democracia Real YA! states in its manifesto that it is a broad social movement, dedicated to nonviolent protest, and that maintains no affiliation with any political party or labor union. It has not appointed any single leader and is unwilling to join any of the existing political bodies. It is, however, not an entirely apolitical movement. ¡Democracia Real YA! considers the current political and economic system incapable of listening to and representing its citizens and therefore demands changes to the current social and economic policies, which have led many people into unemployment, loss of their homes, and poverty. The organization denounces the way big businesses and banks dominate the political and economic sphere and aims to propose a series of solutions to these problems through grassroots participatory democracy and direct democracy, which is based on people's assemblies and consensus decision making. The movement drew inspiration from the 2009 Icelandic financial crisis protests, the Arab Spring, the 2010–11 Greek protests and the 2010–11 revolutions in Tunisia.\nThe protest movement gained momentum on May 15 with a camping occupation in Madrid's main square, the Puerta del Sol, spreading to squares in 57 other major and smaller cities in Spain, and then to Spanish embassies all around the world.\nIn April 2012 some of the initiators of the movement, following an Extraordinary General Meeting of the Platform held in Leganes, the movement split announcing the creation of an organizational structure and rules as a partnership, taking the same name, Asociación Democracia Real Ya, which caused the rejection of part of the rest of the members of the movement. Thus, there are currently active platform Real Democracy Now! on the one hand, and the association DRY on the other hand.", "Shortly after Stéphane Hessel's 2010 tract Time for Outrage! (Indignez-vous!) and Rosa María Artal's 2011 book, React (Reacciona) were published, DRY organized demonstrations in 50 Spanish cities for May 15, 2011. The demonstrations requested a new democratic model denouncing the corruption of politicians and the powerful influence of banks in the political sphere. The movement refused to support any specific political party or labor union, and thousands of citizens mobilized under the slogan \"Real democracy NOW, We are not merchandise for bankers and politicians.\"\nAfter the very first demonstration in Madrid, a few of these protesters attempted an overnight occupation of the Puerta del Sol; they were consequently arrested the following morning on May 17. On the first night of protests, 19 students were arrested and charged for public disorder and damaging public property. Eighteen of the arrested individuals were kept for two days, and one was released for health reasons. According to witnesses of the event, there was reported \"abuse of authority\" by the police when handling the protesters. Those protesters who stayed in the Puerta del Sol demanded the students be released and that all charges be dropped. On May 17, the 18 remaining students were released, but protesters stood outside the gates of the courts demanding their acquittal. After the eviction, DRY stated,\nAs the organizers of the protest distance ourselves from, and reject, all violent incidents that occurred after the protest in Madrid. According to our sources, the incidents of violence, although completely reprehensible, were minimal, occurring for the most part after the protests of peaceful civil disobedience. The State Security Forces acted in a disproportionate and excessive manner, which we equally condemn, and we wish to show our solidarity with those who were unjustly injured and detained for the mere fact of having been there without provoking anyone.\nIn response, ten thousand people returned to the plaza with the intent to remain until the elections on Sunday, May 22. Camps began to spread beyond the Puerta del Sol to main squares in many other cities throughout Spain, and eventually Europe. On May 18, the Board of Elections of Madrid prohibited the protest in the Puerta del Sol, and protests were also banned in Granada. This resulted in an influx of protesters, or as they called themselves \"indignados\" - the outraged. The gathering was organized via Twitter. Police surrounded the protestors on the 18th, but made no attempts to interfere.\nIn the days before Spanish regional elections ¡Democracia Real YA! clarified that the camps had been organized by individuals, not by DRY. They stated that they were not seeking abstention, but rather long term change to political and financial institutions in order for them to better serve the majority of the population.\nThe Central Board of Elections met to decide definitively about the fate of the protests prior to the election. Twenty-four hours immediately preceding and election day is called The Day of Reflection, during which all political campaigning is prohibited. The Board ruled that the encampments must be broken up during that period. It was decided that the protests were politically charged in such a way that they might affect the outcome of the elections. President Zapatero agreed with the Board's ruling. On May 21, many of the encampments across Spain were raided. No violence accompanied this dispersal; the police were ordered not to use force. Despite the Election Board's ruling, there were protesters that remained. Some of those remaining protesters symbolically taped their mouths shut as they were ordered to be silent.", "Despite allegations of being a left-wing movement, Democracia Real YA's manifesto, and the movement's rhetoric in general, claim to transcend the traditional one-dimensional left-right paradigm and call for a democratic regeneration:\nSome of us consider ourselves progressive, others conservative. Some of us are believers, some not. Some of us have clearly defined ideologies, others are apolitical, but we are all concerned and angry about the political, economic, and social outlook which we see around us; corruption among politicians, businessmen, bankers, leaves us helpless, without a voice.\nThis situation has become normal, a daily suffering, without hope. But if we join forces, we can change it. It's time to change things, time to build a better society together. \"Democracia Real YA Manifesto\".\nThe manifesto emphasizes the responsibility of the government to provide all of its citizens with \"the right to housing, employment, culture, health, education, political participation, free personal development, and consumer rights for a healthy and happy life.\" Democracia Real Ya calls for an ethical revolution, and a recognition of the priority of \"equality, progress, solidarity, freedom of culture, sustainability and development, welfare and people's happiness.\" The manifesto has been criticised for not recognising how Spain's largely uncritical embrace of some aspects of cultural modernity - consumerism and hedonism in particular - has in many respects created the economic crisis.", "¡Democracia Real YA! and the protesters have stated that their demands are that the Spanish government:\nEliminate privileges for the political class\nCombat unemployment\nPromote rights to housing\nImprove public services in teaching, health, and public transport\nIncrease regulation of the banking industry\nImplement new fiscal measures\nInvigorate citizen's rights and participatory democracy\nReduce military spending.\nThey believe that these demands will bring about the change in society needed to assist those who are not among the country's privileged elite and to ensure that Spain functions as a true democracy in which the people's voices are heard and considered.", "On May 22, the Popular Party won in a majority of Spanish local and regional elections. The Popular Party, the conservative party in Spain, was able to win the election because the liberal vote was fractured among multiple political parties (the greatest harm being done to the Spanish Socialist Worker's Party). The results of this election have led some to criticize of the electoral system. Some have also noted that the economic crisis currently facing Spain almost guaranteed a majority victory for the Popular Party in the November Elections.\nFor the November 20, 2011 elections, the Madrid Electoral Board banned any protest in any square or street fifteen days before the election. Despite this ban, plans were made for protests on the 11th and 13th, as the ban was expected to increase protest participation.\n\nThe main criticism of ¡Democracia real YA! is that the economy has taken over the political system. In order to promote democratic process,¡Democracia real YA! has proposed Democracia 4.0 \nThey intend to increase citizen participation in politics through technology, like voting Congress initiatives over the Internet. If the movement strives to stay away from the traditional parties, which are backed by the majority of citizens (61 percent voted for a party in the last election), it is doubtful that the Spanish Revolution can make their proposals work. Another recurring criticism is its difficulty to define specific measures. Most experts say that the Spanish Revolution will be dissolved, but before this happens, they will be able to prepare the field for fundamental changes aimed at improving citizen representation and limiting the excesses of the political and economic systems.\"", "While the concentration of economic and political power are at the heart of the protests in Spain, other sources of inspiration include the financial crisis of Iceland, the film Inside Job, and the text Time for Outrage! (English translation), a booklet written by a concentration camp survivor and member of the French Resistance, Stéphane Hessel.\nThe protests in Spain are part of a global unrest brought about by austerity measures implemented by various governments, such as pension reform for public employees in Wisconsin.\nOther protests with similarities to the Spanish protests include:\n2011 Egyptian revolution\nTunisian Revolution\n2008 Greek riots\n2010-2011 Greek protests\n2011 Israeli social justice protests\nThe Protests in Spain also inspired the Occupy Wall Street movement Democracia Real Ya calls for the immediate return of control over the polis and government back to the people. As demonstrated by protesters camping out in Zuccotti Park in Manhattan, Tahrir Square in Cairo, Puerta del Sol in Madrid, and Plaça Catalunya in Barcelona, there is a general discontent for the usurpation of public control by private interests. Those encamped hope to raise awareness and support for their cause of putting people ahead of corporate interests and making sure that democratic governments around the world are capable of serving as voices of the voting public.", "September 29, 2010 - Spain's unions led a General Strike throughout the country to protest new labor reforms. The government had passed the reforms to improve the economy, but in reality they made worsened conditions for the workers. The General Strike was one of the first events in Spain where the common people voiced their concerns against the capitalist government.\nJanuary 27, 2011 - Unions in Catalonia, Galicia, and the Basque Country held a smaller strike. They were protesting more labor reforms of the Socialist government, in particular the raising of the retirement age to 67.\nApril 7, 2011 - 5,000 people gathered in Madrid to support the group Youth without a Future (Juventud sin Futuro) and their goals to change the capitalist economic structure.\nMay 1, 2011 - May Day traditionally has been a day to celebrate workers around the world. In Barcelona, the unions led this protest that turned into a violent rebellion. Workers destroyed many businesses in the richest neighborhood until the police stopped them.\nMay 13, 2011 - DRY occupied the central office of Santander Bank in Murcia to symbolize their rebellion against the richest percentages of society and the power of the bankers.\nMay 15, 2011 – The first protest. ¡Democracia real YA! counted 50,000 participants in Madrid alone. Protesters blocked Gran Via Avenue and held a peaceful sit-in on Callao St. Police used physical force to move the protesters, causing riots to erupt.\nMay 16, 2011 – A group of protesters gathered in Puerta del Sol and vowed to stay there through the elections on May 22. #spanishrevolution became a trending topic on Twitter.\nMay 17, 2011 – In the morning, police removed the 150 overnight protesters from Puerta del Sol. Overnight protests took place in 30 cities throughout Spain. In the evening, 4000 protesters re-occupied Puerta del Sol, and 300 of them stayed until dawn of the next day.\nMay 18, 2011 – ¡Democracia real YA! set up a large tarp canopy and food stand in Puerta del Sol. Police evacuated protesters from plazas in Valencia, Tenerife, Granada and Las Palmas. The Federation of Neighbor Associations of Barcelona (FAVB) announced their support of the protests. Several key newspapers from around the world published articles about the protests. In the evening, the President of the Regional Electoral Committee of Madrid issued a statement declaring the protests illegal.\nMay 20, 2011 – United Left appealed the ban on the protests before the Spanish Supreme Court, which upheld the decision. United Left announced it would appeal the decision before the Constitutional Tribunal.\nMay 21, 2011 – 28,000 protesters occupied Puerta del Sol and surrounding areas. Thousands of people attended protests in other Spanish cities, and smaller protests were held in several cities across Europe.\nMay 22, 2011 – The protesters in Puerta del Sol who had vowed to stay until this day decided to occupy the plaza for at least another week.\nMay 24, 2011 – Representatives from ¡Democracia real YA! read a manifesto on live television. About 30 protesters entered various financial sites in the city center, vocally protesting the political and economic systems.\nMay 25, 2011 – The Spanish Ministry of Defense relocated various activities for Armed Forces Day due to the ongoing occupation of Plaza de la Constitución.\nMay 27, 2011 – 350 police officers used physical force to evacuate protesters from Plaça de Catalunya, resulting in 121 light injuries from baton blows. A few hours later, the protesters re-occupied the square. Similar incidents occurred in other Barcelona squares.\nJune 4, 2011 – Representatives of the regional assemblies of 15M gathered in Madrid for another manifestation in Puerta del Sol.\nJune 8, 2011 – Manifestations continued outside Madrid's Congreso de los Diputados. Manifestations in Valencia and Barcelona gained momentum.\nJune 9, 2011 – 18 people were injured during clashes between the police and the protesters in Valencia. These clashes triggered another protest that united over 2000 people. Protests in support shook Madrid and Barcelona.\nJune 15, 2011 – Thousands of people gathered outside Parc de Ciutadella, Barcelona, to protest against cuts in education funding and healthcare. The protesters tried to block the entrance to the Catalan Parliament.\nJune 16, 2011 – Protests against banks' repossession of property occurred in several cities, including Parla, where dozens of people gathered outside the apartment of Luiz Dominguez, 74, and blocked the entrance against police officers and bank officials who had come to repossesses Dominguez's apartment. Similar protests happened in Tetuán and Barcelona. The manifestations spread to other parts of Europe, including the UK. In conjunction with demonstrations outside the Spanish Embassy in London (May, 21), the web-page 15M Londres was launched.\nJuly 1, 2011- Xavier Trias, a Spanish Catalan politician and member of Democratic Convergence of Catalonia, is sworn in as Mayor of Barcelona. Dozens gathered outside Barcelona's town hall in protest.\nJuly 27, 2011- Indignados start a large scale march to Brussels. Nobel Prize winner, Joseph Stiglitz, addresses the Indignados at the first 15M social forum. Police violently evict protestors camped in front of congress.\nSeptember 17, 2011 – The first protests of New York City's \"Occupy Wall Street\" Movement march through the city, inspired by the Spanish protests and other demonstrations worldwide.\nOctober 15, 2011 – Peaceful protests take place in more than a thousand cities of 90 countries worldwide, inspired by the Spanish Indignados, the Arab Spring, the Greek Protests and the Occupy Wall Street movements.", "The movement is made up of individuals as well as a coalition of around 200 various grassroots organizations such as:\nNoLesVotes (Don't vote for them)\nPlataforma de Afectados por la Hipoteca (Platform of those affected by the Subprime mortgage crisis)\nAsociación Nacional de Desempleados (ADESORG) (National Association of the Unemployed)\nJuventud Sin Futuro (Youth Without A Future)\nAttac España (Global Economic Justice)\nEcologistas en Acción (Ecologists in Action)\nEstado del Malestar (The Badfare State)\nOccupy Hispania - Iberia - Lusitania Indignados # Iberian R-Evolution & Unión União Unió Ibérica", "2011 Spanish protests\nReacts\nReal Democracy Now! (Greece)\nTime for Outrage!", "Requena, Ana El día que lo cambió todo in Público, 22/05/2011\nSpain's \"indignados\" summon spirit of 1968, at The Real News, May 22, 2011\nAlcaide, Soledad; Movimiento 15-M: los ciudadanos exigen reconstruir la política, 17 de mayo de 2011 (consultado el mismo día).\n\"Democracia Real YA Manifesto\".,\n\"Assembliary Methodology\". Madrid Toma Los Barrios. Retrieved 5 August 2011.\n\"Manifesto.\" Real Democracia Ya. Real Democracia Ya, n.d. Web. 6 Nov 2011. <http://www.democraciarealya.es/manifiesto-comun/>.\nFrayer, Lauren Inspired by Arab Protests, Spain's Unemployed Rally for Change, in voanews, May 19, 2011\nSarah Rainsford Youths defiant at 'Spanish revolution' camp in Madrid, BBC News 21 May 2011\nLa mecha de Sol prende de Valencia a Tokio, in Publico, 21/05/2011\nDemocracia Real Ya, la organización que impulsó el 15-M, se parte en dos, diario El País, 23 de abril de 2012.\nDemocracia Real Ya \"expulsa\" a cinco de sus miembros, Diario Público\n\"Democracia Real Ya no cabe en unos estatutos\", Diario Público\nPlataforma ¡Democracia Real YA!\nasociación DRY\n\"Democracia Real Ya busca ahora ampliar la protesta para las elecciones del 2011\". Publico.es.\nDenuncia abuso autoridad. Magazine Rolling Stone, May 24, 2011.\nDeclaraciones. Magazine Rolling Stone, May 24\n\"Comunicado 23/05/2011\". ¡Democracia real YA!.\n\"Toma la plaza\". Toma la plaza. Retrieved 2011-10-17.\n\"La Junta Electoral prohíbe las manifestaciones del 15-M\". El Pais.\n\"Zapatero sobre los acampados: \"Interior actuará con inteligencia\"\". Larazon.es. 2011-05-20. Retrieved 2011-10-24.\nMinder, Raphael (May 21, 2011). \"Despite Ban, Protests Go On Again\". New York Times\".\n\"Madrid Take the Neighborhoods\". Madrid Toma Los Barrios. Retrieved 5 August 2011.\n\"Manifiesto 'Democracia Real Ya'\". 17 May 2011.\n\"Democracia Real YA Manifesto\".\n\"A Formula for ¡Democracia Real YA!: More Capitalism + Less Consumerism + Less Hedonism = A Viable Spain\". Mediolana. 30 January 2012.\nReal Democracia Ya Wikipedia page (Spanish)\n\"\"La izquierda está hecha a añicas\", dice el PP\". El País. 23 May 2011.\n\"Conservatives Projected to Win Election in Spain\". Voice of America.\nCorona, Sonia (November 1, 2011). \"Will the Spanish Election Bring Revolution?\". Huffington Post.\n\"Austerity Alert.\" Article in The Economist, 1 July 2010\nOffice of the Governor Scott Walker, \"Governor Walker Introduces Budget Repair.\" 11 Feb 2011\n\"¡Democracia Real Ya!\" Spanish Wikipedia Page\n\"AllmediaNY\".\nHardt, Michael, and Antonio Negri. \"The Fight for .\" Foreign Affairs. (2011): n. page. Web. 6 Nov. 2011. <http://www.foreignaffairs.com/articles/136399/michael-hardt-and-antonio-negri/the-fight-for-real-democracy-at-the-heart-of-occupy-wall-street>.\n\"NoLesVotes.com\". NoLesVotes.com. Retrieved 2011-10-17.\n\"Plataforma de Afectados por la Hipoteca-PAH\". Afectadosporlahipoteca.wordpress.com. Retrieved 2011-10-17.\n\"Juventud SIN Futuro\". Juventud SIN Futuro. Retrieved 2011-10-17.\n\"ATTAC España | Justicia Económica Global\". Attac.es. Retrieved 2011-10-17.\n\"Ecologistas en Acción\". Ecologistasenaccion.org. Retrieved 2011-10-17.\n\"Estado del Malestar | Defiende tus derechos!\". Malestar.org. 2011-05-18. Retrieved 2011-10-17.", "Official website\nBrochure protests convened on June 19\nDocumentary video Take the Streets against the Euro-Pact On the 19th of June 2011" ]

[ "¡Democracia Real YA!", "Protests organized by ¡Democracia Real YA!", "Democracia Real YA's manifesto", "Demands of ¡Democracia Real YA!", "May Elections and future directions for DRY", "Influences and related social movements", "Chronology of events", "Members/participants", "See also", "References", "External links" ]

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[ "The May Revolution" ]

[ 0 ]

[ "https://upload.wikimedia.org/wikipedia/commons/5/53/25_de_mayo_por_F._Fortuny.jpg" ]

[ "¡El pueblo quiere saber de qué se trata! (\"The people want to know what is going on!\") is an anonymous Spanish-language phrase from Argentina. It was first used during the May Revolution, the event that began the Argentine War of Independence. An open cabildo deposed the viceroy Baltasar Hidalgo de Cisneros and ordered the establishment of a government junta, but the cabildo appointed the viceroy as the president of said junta. A huge demonstration forced the cabildo to undo the appointment, and establish instead a junta with members selected by the people. \nSimilarly to the event, it would be used in Argentine politics when the people requested transparency to the acts of government.", "Cynthia Calvigioni (June 7, 2002). \"El pueblo quiere saber de qué se trata\" [The people want to know what is going on] (in Spanish). Semanario Colon Doce. Retrieved October 25, 2012." ]

[ "¡El pueblo quiere saber de qué se trata!", "References" ]

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[ 2631 ]

[ "Playing live at Summer Sundae, August 2006" ]

[ 0 ]

[ "https://upload.wikimedia.org/wikipedia/commons/e/ea/ForwardRussia02.jpg" ]

[ "¡Forward, Russia! are an English rock band from Leeds, active from between 2004 and 2008, before reforming in 2013. The band's debut album, Give Me a Wall, was released in 2006. Until 2006, the band only named tracks with numbers, in the order that they were written. The band had used Faux Cyrillic, with its name occasionally typeset as ¡FФЯWДЯD, RUSSIД!. The band went on hiatus after the release of their second album, Life Processes, in 2008. They reformed in 2013 for a show at the Brudenell Social Club in Leeds in November 2013 for its 100th anniversary, and then played the Live at Leeds Festival at Leeds Town Hall in 2014.", "", "¡Forward, Russia! formed in early 2004 by Tom Woodhead and Rob Canning, formerly of Leeds band The Black Helicopters and siblings Katie Nicholls and Whiskas (Sam Nicholls), previously of Leeds band les Flames! amongst others. The band performed their first gig in April, closely followed by demos which received reviews from prominent music magazines such as Drowned in Sound and NME, who called it \"Convulsing punk-funk brilliance from Leeds\".\nIn April 2005, ¡Forward, Russia! released \"Nine\", a split 7-inch single with This Et Al, released on guitarist Whiskas' label Dance to the Radio. This single was reviewed by the NME, who put it on their 'Radar'. The single sold out within a week.\nBy summer 2005, Nicholls had finished college and others had quit their jobs to take up the band full-time.\nSingle \"Thirteen\"/\"Fourteen\" was released in August 2005 on White Heat Records, accompanied by a UK tour. Also during 2005, the band was featured in NME as one of Leeds' forerunners in the so-called 'New Yorkshire' scene (alongside The Research, The Sunshine Underground, The Ivories and Black Wire). This was followed by several support slots and culminated in the band's first headline UK tour, which took the band to 37 different venues.\nThe band's next release, \"Twelve\" appeared in January 2006, on Dance to the Radio, entering the UK Top 40 at 36.", "Their next single, a new version of \"Nine\", was released in May, and preceded the debut album Give Me a Wall, produced by Paul Tipler and released on 15 May 2006 in the UK. Around this time they toured with We Are Scientists, and played alongside The Automatic, The Long Blondes, Howling Bells and Boy Kill Boy on the 2006 NME New Music Tour.\nThe band signed to Mute Records in North America, where Give Me A Wall was released on 19 September 2006. A digital single of \"Thirteen\", as well as two EPs with lead tracks \"Nine\" and \"Eighteen\" were released to support the album. ¡Forward, Russia! have visited America four times, all in 2006, to play South by Southwest, the CMJ Music Marathon and tours with Scanners and Snowden. In Japan the band signed to Vinyl Junkie Recordings. Dance to the Radio distributed Give Me a Wall for the rest of the world, through an agreement with Cooperative Music. The album was on the most part released in late September/early October, with the band touring most of Europe around the period.\n\"Eighteen\", the fourth track to be lifted from the album in the UK, was released in July on CD and two 7-inch single formats, reaching number one in the UK Indie Chart. The video for \"Eighteen\" features cameo appearances from members of The Pigeon Detectives, This Et Al and The Playmates.\n\"Nine\" was featured on the soundtrack to the 2007 PSP game Burnout Dominator. The original version of \"Nine\" was produced by Richard Green, previously of Ultrasound & The Somatics.\n2006 included a short UK tour and numerous UK and European festival appearances, as well as performances in the United States. The band played at the Reading and Leeds and Carling Weekend festivals, appearing on the NME/BBC Radio One Stage. The band played the MTV2 Spanking New Music Tour in November 2006 alongside Wolfmother, The Maccabees and Fields. \"Nineteen\" was released as the final single from the album to support this tour.\nAt Belgium's Pukkelpop Festival, the band debuted their first post-GMAW material – \"Don't Be A Doctor\" – also the first song with a non-numerical title. Doctor was recorded by GMAW producer Paul Tipler in September 2006 and released as a white label one-sided etched ten-inch single on 12 February 2007. The track was released digitally for the first time ever as part of Dance to the Radio's compilation Out of the Woods and Trees. The compilation also features rare tracks from Howling Bells and The Pigeon Detectives.\nThe band headlined a short UK & Irish tour in February and March 2007 to wrap up domestic promotion for the debut album.", "Following a secret show to preview new material, the band recorded new material with producer Matt Bayles in Seattle, USA. On their blog of studio updates, numerous working titles for the songs were mentioned, including three songs previewed on the early 2007 tour. A single taken from the album, \"Breaking Standing\", was the first material from these sessions to be released. The album was entitled Life Processes and was released by Cooking Vinyl in the UK on 14 April 2008, Mute North America in June 2008, and Vinyl Junkie in Japan on 26 March 2008. The Japanese release includes exclusive bonus tracks \"Reflection Symmetry\" and \"Don't Be A Doctor\". The album, which according to SPIN writer Josh Modell explored \"more expansive, proggier territory\" than its predecessor, met with a positive critical reception with Drowned in Sound describing it as \"peppered by moments of brilliance\" and The Independent stating that the album \"skilfully combines punk rock ferocity with melodic ingenuity\".", "In 2008, the band announced that they had \"decided to take a break from doing ¡Forward, Russia!\", and that the band would not be playing or recording \"for the foreseeable future\". Their statement said \"The idea of doing another tour with nothing new to offer was something that enthused none of us.\" Katie Nichols had moved to Nottingham to undertake an art course, while Woodhead had worked as a producer. The last known show or performance was held at the Brainwash festival, at the Brudenell Social Club, on 17 October 2008. In February 2009, it was announced that Whiskas was joining Duels as a full-time member. On 30 March 2013, the band re-emerged on Twitter, starting rumours of a reunion or reformation, which were confirmed on Monday 9 September in the form of a one-off gig at Brudenell Social Club to take place on 30 November 2013, and then followed up by a second gig at Leeds Town Hall as part of Live at Leeds Festival on 3 May 2014.", "The band's music has been described as \"art rock\", \"contemporary agit-punk\", and \"high-octane dance-punk\". When Give Me a Wall was released, the band received comparisons with Bloc Party, while the NME described them as sounding \"like a peculiarly English take on emo\". The band's second album was described by Pitchfork as \"a curious mélange of studied dance-punk and flailing hardcore\".\nJon Pareles, reviewing a live performance from 2006 in The New York Times stated \"[their] songs aren't content with verse and chorus; they're packed with incident, and they're propelled by the indefatigable drumming of Katie Nicholls. Instruments unite for muscular, danceable funk, then splay apart like a fist suddenly opening.\"\nWoodhead's vocals were described as \"post hardcore operatic screeching\".", "Tom Woodhead – vocals, synth\nRob Canning – bass guitar\nKatie Nicholls – drums, vocals, shouts\nWhiskas – electric guitar, shouts, synth", "Katie remixed I Was a Cub Scout's \"I Hate Nightclubs\"; her remix was released as a bonus single available exclusively online. She has also been nominated for the Peta 2's (People for the Ethical Treatment of Animals) 'World's sexiest Vegetarian' in 2007, 2008, and 2009, but did not win.\nWhiskas remixed Howling Bells' \"Low Happening\" under the name '¡Constructicons Form Devastator!' and his remix was released as a bonus single available online and on a 7-inch single.\nWoodhead has an electronic side-project AnteAter, with one release to date, \"Final Lekky\" on DTTR's 3rd compilation Something I Learned Today – released March 2007. He also performed the vocals in the chorus of the Yes Boss song \"Tongues in Knots\" from their album Look Busy.", "", "Give Me a Wall (15 May 2006), Dance to the Radio – UK No. 53\nLife Processes (14 April 2008), Cooking Vinyl", "", "Wilson, MacKenzie \"¡Forward, Russia! Biography\", AllMusic, retrieved 2012-06-09\nMackay, Emily. \"¡Forward, Russia!\". The Quietus. Retrieved 14 October 2019.\nAubergine, Cath (8 May 2014). \"¡Forward, Russia!: Leeds Town Hall, Leeds – live review\".\n\"Forward Russia! Hard working Yorkshire quartet\", Clash, retrieved 2012-06-09\nAnnan, Nick (2006) \"Forward Russia! \"Weird\" and \"amazing\"\", Clash, 6 July 2006, retrieved 2012-06-09\nClarke, Betty (2006) \"¡Forward, Russia!, Give Me a Wall\", The Guardian, 12 May 2006, retrieved 2012-06-10\nMackay, Emily (2008) \"¡Forward, Russia! LIFE PROCESSES\", The Quietus, 11 April 2008, retrieved 2012-06-10\nDosanjh, Ash (2008) \"Album: ¡Forward Russia!, Life Processes (Cooking vinyl)\", The Independent, 13 April 2008, retrieved 2012-06-10\n\"Forward Russia Album, Single & Tour News\", This Is Fake DIY, 13 March 2006, retrieved 2012-06-10\nAltizer, Roger \"\"Burnout Dominator\" Soundtrack and Songlist\", about.com, retrieved 2012-06-10\n\"¡Forward Russia! Bio Archived 19 September 2012 at the Wayback Machine\", Drowned in Sound, retrieved 2012-06-09\n\"¡Forward Russia! And Wolfmother Announce Tour\", This Is Fake DIY, 3 June 2006, retrieved 2012-06-10\nDenney, Alex (2007) \"¡Forward Russia! Don't Be A Doctor Archived 13 August 2017 at the Wayback Machine\", Drowned in Sound, 7 February 2007, retrieved 2012-06-09\n\"¡Forward Russia! announce new album details\", NME, 12 February 2008, retrieved 2012-06-09\nModell, Josh (2008) \"¡Forward, Russia! Life Processes\", SPIN, August 2008, p. 100, retrieved 2012-06-10\nPatashnik, Ben (2008) \"¡Forward Russia! Life Processes Archived 13 August 2017 at the Wayback Machine\", Drowned in Sound, 28 March 2008, retrieved 2012-06-09\n\"Forward, Russia to split?\", NME, 13 August 2008, retrieved 2012-06-09\n\"¡Forward, Russia! Announce Split\", MTV, 14 August 2008, retrieved 2012-06-10\nWebb, Rob (2008) \"iForward, Russia! announce last show... for now? Archived 15 July 2012 at the Wayback Machine\", Drowned in Sound, retrieved 2012-06-09\nNow we are five Archived 2 May 2014 at the Wayback Machine. Duelsmusic.co.uk. Retrieved on 2012-05-13.\nSnodgrass, James (2006) \"¡Forward, Russia!: Give Me A Wall\", NME, 15 May 2006, retrieved 2012-06-09\nMarcus, Laura (2006) \"¡Forward Russia! March Through NYC\", SPIN, 29 November 2006, retrieved 2012-06-09\nBerman, Stuart (2006) \"¡Forward, Russia! Give Me a Wall\", Pitchfork, 1 August 2006, retrieved 2012-06-09\nOrme, Mike (2008) \"¡Forward, Russia! Life Processes\", Pitchfork, 22 July 2008, retrieved 2012-06-09\nPareles, Jon (2006) \"Music Review: '¡FORWARD, RUSSIA!' Postpunk Resurrected Anew\", The New York Times, 30 November 2006, retrieved 2012-06-10\nAckroyd, Stephen (2006) \"¡Forward, Russia – Give Me A Wall\", This Is Fake DIY, retrieved 2012-06-10\n\"PETA2 kicks off “Sexiest Vegetarian” contest with Matt Skiba, Dan Yemin, Davey Havok, MacKaye\", punknews.org, 25 May 2007, retrieved 2012-06-10\n\"Milano and Iero: World's Sexiest Vegetarians for 2008!\", peta2.com, retrieved 2012-06-10\n\"The 2009 World's Sexiest Vegetarians Are...\", peta2.com, retrieved 2012-06-10\nDiver, Mike (2007) \"Many happenings: Howling Bells tour, release single Archived 25 November 2015 at the Wayback Machine\", Drowned in Sound, 10 January 2007, retrieved 2012-06-10\nGoodyear, Oliver (2005) \"Friday 15/04/05 AnteAter, Duels, This Et Al, Kubichek!, O Fracas, The KBC, Kenosha @ Joseph's Well, Leeds\", Gigwise.com, 17 April 2005, retrieved 2012-06-10\nCordor, Cyril \"Yes Boss Biography\", AllMusic, retrieved 2012-06-10\n\"Forward Russia(Link redirected to OCC website)\", Chart Stats, retrieved 2012-06-10\nRoberts, David (2006). British Hit Singles & Albums (19th ed.). London: Guinness World Records Limited. p. 208. ISBN 1-904994-10-5.", "Official website\nOfficial Last.FM page\n¡Forward, Russia! – Leeds Music Scene\nPunkcast#1060 – Live video from Fontana's NYC – 3 November 2006" ]

[ "¡Forward, Russia!", "History", "Formation and early singles", "Give Me a Wall", "Life Processes", "Current status", "Musical style", "Band members", "Work outside the band", "Discography", "Studio albums", "Singles", "References", "External links" ]

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[ "Zeb and Haniya in 2012" ]

[ 0 ]

[ "https://upload.wikimedia.org/wikipedia/commons/7/78/Zeb_and_Haniya_and_%E1%BB%8AGlobalquerque_2012%21.jpg" ]

[ "¡Globalquerque! is an annual music festival held each September at the National Hispanic Cultural Center in Albuquerque, New Mexico. Along with evening concerts, the festival also features a free Global Fiesta community day on with workshops, films, presentations, inter-activities and performances, as well as the Global Village of Craft, Culture & Cuisine, open throughout all parts of the festival, and featuring international food, art and artisan crafts available for sale. \n The performances also reach tens of thousands of listeners in the U.S. and Canada through live broadcasts on Native Voice 1 and Southwest Stages.", "The festival, first presented in 2005, has featured musicians from six continents. After an initial one-night event, ¡Globalquerque! expanded into a two-day festival with an attendance of over 4,000.", "Acts from around the world that have performed at previous editions of ¡Globalquerque! include:\n17 Hippies\nJojo Abot\nAfro-Cuban All Stars\nKiran Ahluwalia\nAlborz Trio\nRahim AlHaj\nA Moving Sound\nAnda Union\naneXo al Norte\nAnjani's Kathak Dance of India\nAntonia Apodaca\nKhaïra Arby\nAurelio\nFareed Ayaz & Abu Muhammad\nAynur\nSusana Baca\nBaka Beyond\nBaldino\nBaka Beyond\nBaraka Moon\nJay Begaye\nDebashish Bhattacharya\nBideew Bou Bess\nThe Big Spank\nThe Bills\nBlack Eagle\nBlick Bassy\nBombino\nBurkina Electric\nCalypso Rose\nCanteca de Macao\nCanzoniere Grecanico Salentino\nCava\nCellicion Zuni Dancers\nCharanga Cakewalk\nChirgilchin\nCimmarón\nLankandia Cissoko\nRobert \"Tree\" Cody & Native Wisdom Dance Theatre\nCoreyah\nThe Cowboy Way\nCuarenta y Cinco\nCurumin\nDahkaBrahka\nRocky Dawuni\nMaria de Barros\nDelgres\nDeolinda\nDePedro\nKassé Mady Diabaté\nPrince Diabaté\nLila Downs\nDragon Art Studio\nTony Duncan\nDVA\nEarthRise Sound System\nEastRiver Ensemble\nYoussra El Hawary\nAlejandro Escovedo\nEngine\nLiu Fang\nVieux Farka Touré\nMajek Fashek and the Prisoners Of Conscience\nFederspiel\nFelix y Los Gatos\nFémina\nFiamma Fumana\nSamantha Fish\nThe Flatlanderswith Tom Russell\nForro in the Dark\nFrigg\nFula Flute Ensemble\nGaida\nGamelan Encantada\nGenticorum\nGjallarhorn\nGolem\nMarta Gómez\nLouie Gonnie\nDerek Gripper\nHassan Hakmoun\nHapa\nJoy Harjo\nMickey Hart's Global Drum Project\nJarlath Henderson\nHerencia de Timbiquí\nHong Sung Hyun’s Chobeolbi\nPascuala Ilabaca y Fauna\nIļģi\nIndian Ocean\nJah9\nBeto Jamaica\nMarkus James and Wassonrai\nJemez Seasonal Dancers\nOrlando Julius & The Afrosoundz\nJupiter + Okwess\nMor Karbasi\nMamak Khadem\nDaniel Kahn & The Painted Bird\nMaya Kamaty\nKardemimmit\nKenge Kenge\nKinky\nKobo Town\nOumar Konaté\nAssane Kouyate\nKrar Collective\nKusun Ensemble\nLADAMA\nLa Dame Blanche\nLa Familia Vigil\nLas Flores del Valle\nBettye LaVette\nDoyle Lawson & Quicksilver\nLemon Bucket Orkestra\nRicardo Lemvo & Makina Loca\nLes Yeux Noirs\nYungchen Lhamo\nLittle Cow\nKevin Locke\nLo Còr de la Plana\nLo'Jo\nLone Piñon\nGermán Lopéz\nLos Amigos Invisibles\nLos de Abajo\nLos Gaiteros de San Jacinto\nLos Galliñeros\nLos Martinez\nLos Matachines de Bernalillo\nLos Primos featuring Lenore Armijo\nLos Reyes de Albuquerque\nLos Texmaniacs\nLura\nBetsayda Machado y La Parranda El Clavo\nLuísa Maita\nThomas Mapfumo and The Blacks Unlimited\nMariachi Mystery Tour\nYolanda Martinez\nEmel Mathlouthi\nFrank McCulloch y Sus Amigos\nMelody of China\nNacha Mendez\nMexican Institute of Sound\nEmeline Michel\nBill Miller\nRobert Mirabal\nMokoomba\nMono Blanco\nAli Akbar Moradi Ensemble\nGaby Moreno\nShelley Morningsong\nOliver Mtukudzi\nR. Carlos Nakai Earth Sounds Ensemble\nNation Beat\nNative Roots\nNawal\nNiyaz\nnoJazz\nNon Stop Bhangara\nNortec Collective Presents: Bostich + Fussible\nNosotros\nMaarja Nuut\nNovalima\nErkan Oğur's Telvin Trio\nOlodum\nDona Onete\nOrchid Ensemble\nOreka Tx\nOrkestra Mendoza\nOtava Yo\nDwayne Ortega & The Young Guns\nOzomatli\nPlena Libre\nPuerto Plata\nRazia\nMartha Redbone\nRed Stick Ramblers\nReelroadъ\nSofía Rei\nRhythm of Rajasthan\nRio Mira\nLeon Russell\nBuffy Sainte-Marie\nSaints & Tzadiks: Susan McKeown & Lorin Sklamberg\nChristine Salem\nSamarabalouf\nPoncho Sánchez\nEli Secody\nKeith Secola Band\nSergent Garcia\nNoura Mint Seymali\nSimon Shaheen\nShooglenifty\nSierra Leone's Refugee All Stars\nSihasin\nSky City Buffalo Ram Dance Group\nSlonovski Bal\nJill Sobule\nSolas\nSöndörgő\nSons of the Rio Grande\nChango Spasiuk\nNano Stern\nRajab Suleiman & Kithara\nSupaman\nKoko Taylor\nClark Tenakhongva\nLíber Terán\nTe Vaka\nAndrew Thomas\nTi-Coca & Wanga-Nègès\nT.O. Combo\nJoe Tohonnie Jr. & The White Mountain Apache Crown Dancers\nTrad.Attack!\nTrio Da Kali\nVân-Ánh Võ\nVäsen with Darol Anger & Mike Marshall\n¡Viva la Pepa!\nCedric Watson & Bijou Creole\nSavina Yannatou\nYjastros\nMary Youngblood\nYuri Yunakov Ensemble\nZeb and Haniya", "The festival has been acclaimed as \"one of the country's top world music festivals.\" National Geographic called ¡Globalquerque! \"another great regional 'microfestival' that punches far above its weight... New Mexico's ¡Globalquerque! festival offers some of the most adventurous world music programming set against one of the Southwest's most beautiful cities... the festival is becoming a destination in its own right,\" while the U.K. publication Songlines hailed it as \"world-class.\"", "\"¡Globalquerque!\".\n\"D-Numbers: Performance at ¡Globalquerque!\". isea-archives.siggraph.org. 2012 ISEA Symposium. Retrieved February 23, 2022.\n\"The World Comes to Albuquerque\".\nNew Mexico Daily Lobo :: ¡Globalquerque!\n¡Globalquerque! New Mexico's 3rd Annual Celebration of World Music and Culture at National Hispanic Cultural Center (Friday September 21, 2007) - Upcoming\nLocal IQ - When worlds collide\nfeature : National Geographic World Music", "Festival web page\nLocal iQ profile\nDaily Lobo profile\nNational Geographic feature on music festivals" ]

[ "¡Globalquerque!", "History", "Performers", "Reviews", "References", "External links" ]

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[ "Vanessa Minnillo guest starred in the episode as Avery's rival Carmen Chao" ]

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[ "https://upload.wikimedia.org/wikipedia/commons/f/f3/Vanessa_Minnillo_2009.jpg" ]

[ "\"¡Qué Sorpresa!\" is the thirteenth episode of the fifth season of the American television comedy series 30 Rock, and the 93rd overall episode of the series. It was directed by John Riggi, and written by Matt Hubbard. The episode originally aired on NBC in the United States on February 3, 2011. Guest stars include Ken Howard, Vanessa Minnillo, Brian Williams, Richard Belzer, Ice-T, and Elizabeth Banks.\nIn the episode, Jack Donaghy (Alec Baldwin) meets with Kabletown's boss, Hank Hooper. Jack doesn't like Hank's tactics of being a friendly boss and, in order to impress him, steals Kenneth Parcell's (Jack McBrayer) idea. Liz Lemon keeps Avery Jessup's pregnancy from relentless reporter Carmen Chao (Vanessa Minnillo). Meanwhile, Tracy Jordan (Tracy Morgan) and Jenna Maroney (Jane Krakowski) fight over a sweatshirt.\nAccording to Nielsen Media Research, \"¡Qué Sorpresa!\" was watched by 4.784 million viewers during its original broadcast and received a 2.4 rating/6 share among adults aged 18–49.", "Jack Donaghy (Alec Baldwin) goes to the TGS set and tells them that Hank Hooper (Ken Howard) the boss of NBC's Kabletown is touring 30 Rockefeller Plaza and tells them all, especially Tracy Jordan (Tracy Morgan) and Jenna Maroney (Jane Krakowski), to act normal and tells them of his desire to make a good first impression. Meanwhile, Tracy and Jenna receive a gift basket from Hank Hooper. The gift basket contains two of the following: MacBook Air, a watch, and a cellphone. Both are very happy with each other until they see only one Kabletown sweatshirt. Tracy unwillingly lets Jenna have it.\nLater, Jack tells Liz Lemon (Tina Fey) to go shopping for baby stuff with Avery Jessup (Elizabeth Banks), who has cleverly hidden her third-trimester pregnancy from her co-workers by wearing \"fashionable\" wizard cloaks. Jack goes on to tell her that Avery's dream career as the Financial reporter for NBC Nightly News would not be possible if they find out about the pregnancy, and that Carmen Chao (Vanessa Minnillo), an MSNBC reporter with an unknown ethnic background, is relentlessly trying to reveal Avery's secret pregnancy. Avery and Liz meet Carmen at the baby store where Liz defends Avery's secret pregnancy by saying that she is pregnant. Knowing this to be false, Carmen schedules an \"interview\" with Liz about single mothers.\nJenna and Tracy continue to fight over the sweatshirt, so they talk to Liz about it, where both are wearing one side of the sweatshirt. Pete Hornberger (Scott Adsit) tells them to lay off Liz because she is \"pregnant\". As a result, Liz goes on to get the sweatshirt and throws it in the trashcan.\nJack meets Hank, who hugs him at first sight, at the executive dining room (which Hank turned into an \"Everyone Dining Room\"), much to Jack's horror. While eating, Hank convinces Jack to do an employee pitch day, where every employee can pitch their ideas to upper management. The pitch doesn't go well, so Jack pitches an idea of his own to Hank. His idea is the Voice-Activated remote (or \"Vo-Act\"). Jack's idea is also unsuccessful as the characters on the TV can also control the television. With no apparent choice, he steals Kenneth's idea: the Blah-Bar, where there is a black bar on the bottom part of the screen which prevents people from seeing anything dirty. Jack tells this to Kenneth and asks him for what he wants, despite the fact that Kenneth wants nothing.\nMeanwhile, Liz's plan backfires when the TGS staff hears that Liz is pregnant. Jack convinces Liz to keep it that way, but Carmen keeps questioning Liz intensely. To really get the truth out of Liz, Carmen makes her do sexy pregnancy photos. During the photo shoot, Carmen tells Liz that she knows she's not pregnant and tries to convince her to admit it, but Carmen and her cameraman run away quickly when they see Liz grab oil and rub it on her stomach.\nEventually, Jack tells Hank about stealing Kenneth's idea, with Kenneth in the room, apologizes, and files for his resignation. But Hank says that they're \"gonna be just fine.\" And since, Kenneth wants nothing, Hank suggests that they hug, much to Kenneth's joy.\nIn the end, Avery is moved to NBC Nightly News (to Carmen's chagrin) and her pregnancy is finally revealed. To acknowledge their gratefulness for Liz's efforts to help Avery, Jack and Avery plan to give their daughter the middle name Elizabeth. Tracy and Jenna find out that Liz is not pregnant, so she gives them her \"pregnancy\" photos as her \"punishment\".", "According to the Nielsen Media Research, this episode of 30 Rock was watched by 4.784 million households in its original American broadcast. It earned a 2.4 rating/6 share in the 18–49 demographic. This means that it was seen by 2.4 percent of all 18- to 49-year-olds, and 6 percent of all 18- to 49-year-olds watching television at the time of the broadcast. The figure was a decrease from the previous episode, Operation Righteous Cowboy Lightning, which was seen by 4.922 million households.\nAlan Sepinwall of HitFix described the episode as \"uneven but funny-enough\" and spoke positively about Ken Howard's performance, but opined that \"the Liz/Avery/Vanessa Minillo story was underdeveloped and didn't have a good enough payoff [...] and the only good thing about the Tracy/Jenna subplot was how quickly it got back-burnered.\"", "Gorman, Bill (February 4, 2011). \"Thursday Final Ratings: 'Grey's Anatomy', 'Vampire Diaries', 'Mentalist' Adjusted Up; 'Private Practice', 'Parks & Recreation' Adjusted Down\". TV by the Numbers. Archived from the original on February 7, 2011. Retrieved March 26, 2011.\nSeidman, Robert (January 28, 2011). \"Thursday Final Ratings: 'American Idol' Adjusted Up; No Adjustments for 'The Vampire Diaries' or 'Nikita'\". TV by the Numbers. Archived from the original on July 2, 2011. Retrieved January 29, 2011.\nSepinwall, Alan (February 4, 2011). \"Review: '30 Rock' - '!Que Sorpresa!': Standing in the white shadows of Kabletown\". TV by the Numbers. Retrieved March 26, 2011.", "\"¡Qué Sorpresa!\" at IMDb" ]

[ "¡Qué Sorpresa!", "Plot", "Reception", "References", "External links" ]

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[ "" ]

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[ "https://upload.wikimedia.org/wikipedia/commons/f/fe/%C2%A1Qu%C3%A9_chulada%21.png" ]

[ "¡Qué Chulada! is a Mexican talk show produced and broadcast by Imagen Televisión. It is a space for conversation on current issues of general interest, where women can raise their voices, offer their point of view and set their own style to question, reflect, entertain and share with the audience.\nIt is broadcast live from the studios of Ciudad Imagen on Av. Copilco, Coyoacán in Mexico City, Mexico. It premiered on February 24, 2020 and is hosted by Verónica Toussaint, Marta Guzmán (salio), Mariana H and Annie Barrios , with Luz María Zetina (salio), Mónica Noguera and Paulina Mercado (salio). It currently airs Monday through Friday from 12:30 p.m. to 14:00 p.m (UTC).", "", "Verónica Toussaint (2020–present)\nMariana H(2020–present)\nAnnie Barrios (2021–present)\nColaboradores\nMónica Noguera (2020–present)\nMarlene Stahl (2021–Present)\nLalo Carrillo (2020–present)", "Ya en serio: In this section the hosts will touch on various topics of depth.\nPreguntas con huevos: Several questions found inside egg-shaped containers will be answered.\nYo nunca, nunca: The hosts will tell the truth about what they have experienced, or not, to seek empathy with the audience.\nCon sentido: It is an interview section, based on the parts of the human body.\nEl clóset: Intimate confessions are made in order to bring out fears and confront them with the viewers.", "\"México: ¡Qué chulada!, un espacio en el que las mujeres alzan la voz\". Retrieved 2020-02-24.", "Official website at Imagen Televisión" ]

[ "¡Qué chulada! (TV program)", "Presenters", "Hosting", "Segments", "References", "External links" ]

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[ "Saint James, represented as a Moor-slayer." ]

[ 0 ]

[ "https://upload.wikimedia.org/wikipedia/commons/2/28/El_Ap%C3%B3stol_Santiago_a_caballo_o_Santiago_Matamoros%2C_de_Francisco_Camilo_%28Museo_del_Prado%29.jpg" ]

[ "¡Santiago! (or ¡Santiago y cierra, España!), is a Christian rallying cry of Spanish soldiers during the Reconquista and crusading era of medieval Spain. The phrase, \"¡Santiago y cierra España!\" — literally, \"St. James and Seal Spain!\" or \"Santiago and close, Spain!\" was an appeal to St. James to intercede in closing Spain's borders from foreign bodies and invasion. Contrary to this interpretation there are other authors who argue that the military order closes, in military terms means to engage in combat, attack or attack; \"Close\" the distance between you and the enemy.\nSt. James became the patron of Spain, and the hope and the mainstay of the Christian people in times of stress, war and threatening ruin.", "The first reported usage of the war cry was during the ninth century, where St. James was purported to have appeared to King Ramiro I of Asturias (842-850) prior to the battle of Clavijo where he encouraged and assured the Christian king of victory, stating:\n      \n \n\"I will come to your aid and on the morrow by the hand of God you will overcome the countless multitude of Saracens... You will see me on a white horse... bearing a great white banner.\" \n      \nAs promised, the Apostle James appeared on horseback and the Spanish troops shouted, \"May God and St. James help us!\"\n      \nThus, it was during this conflict that the battle cry of St. James originated. The association of St. James with intervening in battle evolved during the medieval era and reconquest of Spain. As such, the concepts of St. James and warfare became tightly interwoven (ie: Santiago as Matamoros or the Moor-slayer). By the twelfth and thirteenth centuries, the appeals of Spanish soldiers and crusaders requesting assistance from God, the Virgin Mary or diverse Catholic Saints prior to engaging in battle with Muslim armies were common place and well attested to, as adduced in the epic poem of Cantar de mio Cid, 731: \n      \n\"Los Moros llaman Mafomat e los Cristianos Santi Yague.\"\n\"The Moors call on Muhammad, and the Christians on Santiago.\"\n\nIn the heat of battle, war cries were customary occurrences and although there are a variety of battle cries used throughout the history of the Reconquista, (eg: \"St. Mary and Santiago!\" or \"Castilla!\" or \"Castilla and King Alfonso!\" or \"Santa Maria!\") the most enduring rallying cry of the reconquest of Spain was \"¡Santiago y cierra, España!\"", "\"Santiago As Matamoros: Race, Class, And LIMPIEZA DE SANGRE In A Sixteenth-Century Spanish Manuscript\".\nO'Callaghan, Joseph (1975). A History of Medieval Spain. Cornell University Press. p. 105. ISBN 9780801408809.\nO'Callaghan, Joseph (2004). Reconquest and Crusade in Medieval Spain. University of Pennsylvania Press. p. 195. ISBN 9780812218893.\nO'Callaghan, Joseph (2014). The Gibraltar Crusade. University of Pennsylvania Press. p. 252. ISBN 9780812223026." ]

[ "¡Santiago!", "Origins", "References" ]

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[ "Poster for the film" ]

[ 0 ]

[ "https://upload.wikimedia.org/wikipedia/commons/8/84/Tango_1933_film_poster.jpg" ]

[ "¡Tango! is a 1933 Argentine musical romance film, the first film to be made in Argentina using optical sound technology (but not the first sound film.)\nMany existing stars of the Argentine stage and radio appeared in the film, but its success was limited due to poor sound quality and weak acting. ¡Tango! established a formula that would be used by many subsequent tango films.", "¡Tango! follows a formula established by Carlos Gardel with films such as Luces de Buenos Aires (The Lights of Buenos Aires, 1931) in which a melodramatic story is interspersed with tango songs.\nHowever, the film had less dialog and more music, making it more like a musical revue.\nThis format would be copied by many subsequent films.\nThe plot is derived from tango songs.\nMany of these songs tell of the seduction of an innocent slum girl by a rich man who promises her a glamorous life, but who abandons her when her looks fade.\nThe stylized and sentimental plot of ¡Tango! revolves around a young man who is abandoned by his girlfriend for an older rich man and is heartbroken.\nThe film follows his misfortunes.\nThe final scene has the hero, dressed as a typical compadrito, singing Milonga del 900. The song, by Carlos Gardel, ends:", "Libertad Lamarque as Elena\nPepe Arias as Pepe el Bonito\nTita Merello as Tita\nAlberto Gómez as Alberto\nAlicia Vignoli as Alicia\nLuis Sandrini as Berretín\nMeneca Tailhada as Mecha\nJuan Sarcione as Malandra\nAzucena Maizani as herself\nMercedes Simone as herself\nJuan d'Arienzo\nJuan de Dios Filiberto\nEdgardo Donato\nOsvaldo Fresedo\nPedro Maffia", "The 80-minute black and white film was directed by Luis Moglia Barth, who co-wrote the script with Carlos de la Pua.\nIt was Argentina Sono Film's first production.\nThe film showed strong Hollywood influence in its cinematic techniques.\nIt was the first optical sound feature film to be produced in Argentina, at Argentina Sono Film's new optical sound studio.\nThe stars included the singer and actress Libertad Lamarque, the stage actor Pepe Arias, the singer Azucena Maizani and the comedian Tita Merello, all well-known theatre or tango performers.\nThe film featured the tango orchestras of Juan de Dios Filiberto, Osvaldo Fresedo and Pedro Maffia.¡Tango! was released in Argentina on 27 April 1933.", "The approach of hiring well known performers ensured that devotees of popular theater and of radionovelas would form a ready audience for sound films.\nLuis Sandrini, who played \"the poor kid from the barrio, immature and insecure,\" became the first Argentine film star.\nHowever, ¡Tango! had poor sound quality, which made it less successful than it should have been given its star-studded cast.", "Notes\n¡Tango! was the first Argentinian optical sound film, where the sound is recorded in optical form on the film, but not the first Argentine film with sound. José A. Ferreyra's Muñequitas porteñas (Buenos Aires Dolls), using Vitaphone sound-on-disk, was released in August 1931 and is generally considered to be the first sound feature. Another claim to be first is Edmo Cominetti's La via de oro (The Way of Gold), released on 20 October 1931 and called the \"first feature production with sound throughout made in Argentina\". \nAnother source calls the film an \"overwhelming success\". This seems to be incorrect. \nCitations\nRist 2014, p. 548.\nKuhn & Radstone 1990, p. 20.\nKarush & Chamosa 2010, p. 39.\nKarush & Chamosa 2010, p. 26.\nHernandez-Rodriguez 2009, p. 140.\nKarush 2012, p. 102.\nGardel 1933.\n¡Tango!, IMDb.\nRist 2014, p. 53.\nKarush 2012, p. 75.\nRist 2014, p. xxxvi.\nRist 2014, p. 42.\nFalicov 2007, p. 11.\nSources\nFalicov, Tamara Leah (2007). The Cinematic Tango: Contemporary Argentine Film. Wallflower Press. p. 11. ISBN 978-1-904764-92-2. Retrieved 2014-06-07.\nGardel, Carlos (1933). \"Milonga Del 900\". Retrieved 2014-06-07.\nHernandez-Rodriguez, R. (2009-11-19). Splendors of Latin Cinema. ABC-CLIO. ISBN 978-0-313-34978-2. Retrieved 2014-06-07.\nKarush, Matthew B.; Chamosa, Oscar (2010-04-30). The New Cultural History of Peronism: Power and Identity in Mid-Twentieth-Century Argentina. Duke University Press. ISBN 978-0-8223-9286-6.\nKarush, Matthew B. (2012-05-15). Culture of Class: Radio and Cinema in the Making of a Divided Argentina, 1920–1946. Duke University Press. p. 75. ISBN 978-0-8223-5264-8. Retrieved 2014-06-07.\nKuhn, Annette; Radstone, Susannah (1990). The Women's Companion to International Film. University of California Press. ISBN 978-0-520-08879-5.\nRist, Peter H. (2014-05-08). Historical Dictionary of South American Cinema. Rowman & Littlefield Publishers. ISBN 978-0-8108-8036-8. Retrieved 2014-06-07.\n\"¡Tango!\". IMDb. Retrieved 2014-06-06.", "¡Tango! at IMDb" ]

[ "¡Tango!", "Synopsis", "Cast", "Production", "Reception", "References", "External links" ]

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[ "", "Lead singer and guitarist Billie Joe Armstrong wrote all of the album's lyrics." ]

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[ "http://upload.wikimedia.org/wikipedia/en/b/b0/Green_Day_-_Uno%21_cover.jpg", "https://upload.wikimedia.org/wikipedia/commons/b/bb/Billie_Joe_Armstrong_at_Madison_Square_Garden.jpg" ]

[ "¡Uno! (stylized in all caps) is the ninth studio album by American rock band Green Day, released on September 21, 2012, by Reprise Records. It is the first of three albums in the ¡Uno!, ¡Dos!, ¡Tré! trilogy, a series of studio albums released from September 2012 to December 2012. Green Day recorded the album from February to June 2012 at Jingletown Studios in Oakland, California. This is the band's first album recorded as a quartet, as touring guitarist Jason White became an official member of the band prior to the recording sessions. White's tenure as an official member lasted until 2016.\nArtwork of the album was revealed in a video uploaded to YouTube and the track list of the album, which consist of 12 songs was announced on June 26, 2012. The first single from the album, titled \"Oh Love\", was released on July 16, 2012. The second single \"Kill the DJ\" was released on European iTunes Stores on August 14, 2012. The third single \"Let Yourself Go\" was released on the US iTunes Store on September 5, 2012, and a promotional single \"Nuclear Family\" was released on their YouTube channel on September 12, 2012. A music video for \"Stay the Night\" was released on Rolling Stone and their YouTube channel on September 24, 2012.\n¡Uno! received generally positive reviews from music critics. It debuted at number two on the US Billboard 200 with first-week sales of 139,000 copies. The album also reached the top 10 of charts in numerous other countries.", "In February 2012, Billie Joe Armstrong announced that the band was in the studio, recording material for a new album. In the statement, he said, \"We are at the most prolific and creative time in our lives... This is the best music we've ever written, and the songs just keep coming. Instead of making one album, we are making a three album trilogy. Every song has the power and energy that represents Green Day on all emotional levels. We just can't help ourselves ... We are going epic as fuck!\"\n\nThe band started work by rehearsing every other day and making songs. They recorded the album at Jingletown Studios in Oakland, California. The band recorded 37 songs and initially thought of making a double album. Armstrong suggested making a trilogy of albums like Van Halen's Van Halen I, Van Halen II and Van Halen III. He stated in an interview, \"The songs just kept coming, kept coming. I'd go, Maybe a double album? No, that's too much nowadays. Then more songs kept coming. And one day, I sprung it on the others: 'Instead of Van Halen I, II and III, what if it's Green Day I, II and III and we all have our faces on each cover?'\"", "In an interview to Rolling Stone, Armstrong stated that the theme of ¡Uno! would be different from that of 21st Century Breakdown and American Idiot, and would not be a third rock opera. He added that music on the record would be \"punchier, more power pop – somewhere between AC/DC and the early Beatles\" than the band's previous albums. He also stated that a few songs on the album would also sound like garage rock and dance music. According to Armstrong, the song \"Kill the DJ\" was \"straight-up dance music\" and \"four-on-the-floor rhythm\", which the band has never done before.\nAccording to music critic David Fricke, ¡Uno! is a power pop album less polemic and conceptual than American Idiot or 21st Century Breakdown, and Stephen Thomas Erlewine said that its music is exclusively power pop and three-chord rock songs. It was also characterized as pop punk by Scott Kara of The New Zealand Herald and Robert Cooke of The Fly, while Scott Heisel of the Alternative Press said that ¡Uno! is a punk rock album. Annie Zaleski of Las Vegas Weekly labeled it as both a pop-punk and pop record.", "In April 2012, Green Day announced through a press release it would be releasing a trilogy of albums titled ¡Uno!, ¡Dos!, and ¡Tré! and stated that they would be released on September 25, 2012, November 13, 2012, and January 15, 2013 (later moved up to December 11, 2012), respectively, through Reprise Records. ¡Uno!, the first album from the trilogy, was released on September 24, 2012, in the United Kingdom and on September 25 in the United States.", "Green Day stated in an interview that each album from the trilogy ¡Uno! ¡Dos! ¡Tré! has a face from the band members on their cover.\nThe band uploaded a trailer for the album on their official channel on YouTube showing the band in the recording studio, recording the album with the songs written on an erase board on June 14, 2012. During the trailer the cover artwork for the album was revealed. It features a black-and-white cutout of Billie Joe Armstrong's face, with his eyes crossed-out with pink X's, on a geometric, neon electric green background. The word \"Green Day\" is loudly splashed in pink across the top of the cover, while the word \"¡Uno!\" is sprawled in white in the lower left-hand corner.", "\"Oh Love\", was released as the first single from ¡Uno!. It was released as the lead single on July 16, 2012. Upon its release as the lead song, \"Oh Love\" debuted on multiple world charts. The song made its debut at number one on the US Rock Songs with 13 million audience impressions at 145 reporting stations. The song is the band's first to debut at number one on the charts and the third song ever to debut at number one on the Rock Songs chart, following Linkin Park's \"The Catalyst\" and Foo Fighters' \"Rope\" which made their debuts at number one on August 21, 2010, and March 12, 2011, respectively. It also reached No. 3 on the US Alternative Songs.\n\"Kill the DJ\" was released as the second single from the album in Europe and Oceania on August 14, 2012. The single premiered on Zane Lowe's show on BBC Radio 1 in the UK the day before its release. The next day, the single was made available on the iTunes Store.\n\"Let Yourself Go\" was released as the third single from ¡Uno! on September 5, 2012. The song was performed live at the MTV Video Music Awards on September 6, 2012. It charted at No. 2 on the UK Rock Chart.\n\"Nuclear Family\" was released as a promotional single in conjunction with Yahoo! and Spotify on September 11, 2012. The song was made available to stream for free through Spotify. A video for the song featuring the band playing it in a studio debuted on Yahoo! Music and the band's official YouTube channel the same day. A similar video of the band performing \"Stay the Night\" was released on Rolling Stone's website on September 23, 2012. The video is included with the deluxe edition of ¡Uno! on iTunes. On October 6, the band uploaded the video of them performing \"Troublemaker\".\nOn August 4, 2017, Green Day issued a re-released version of \"Fell for You\" called \"Fell for You (Otis Mix)\", which amplified specific instrumental elements of the original song.", "¡Uno! received generally positive reviews from contemporary music critics. At Metacritic, which assigns a normalized rating out of 100 to reviews from mainstream critics, the album received an average score of 67, based on 32 reviews. In his review for Rolling Stone, David Fricke complimented the album's \"12 blasts of hook-savvy mosh-pit pop\" and found it to be a \"plain relief\" after the \"weight and worry\" of the band's previous two albums, observing \"a hipper, richer grip in the details.\" Melissa Maerz of Entertainment Weekly called the album \"a welcome switch from high concept to high energy.\" Kerrang! magazine called it \"a sharp and often exhilarating change of gear from the Green Day of the past eight years.\" BBC Music's Ian Winwood called it \"a work of masterfully controlled music.\" Mojo recommended it to fans of the band's 1994 album Dookie and stated, \"your favourite slacker-punks are, briefly, back.\" Scott Heisel of Alternative Press praised its \"loud, fast, catchy-as-fuck punk rock\" and wrote that its \"stripped down instrumentation\" and \"more direct lyrics\" are \"mutually beneficial.\" Jason Heller of The A.V. Club commented that \"filler abounds, and it doesn’t land with quite as much delirious abandon as it once did, but Armstrong’s power-pop impulse can still pack a face-splitting punch.\" AllMusic editor Stephen Thomas Erlewine felt that its \"big, crisp, and clean\" sound \"undercuts some of the punkiness of Green Day's intentions\", but complimented their \"attack\" as \"precise\" and wrote that the \"huge\" hooks \"gleefully bludgeon doubters into blissful submission.\"\nIn a mixed review, Ed Power of Hot Press observed \"over-familiarity\" and \"less to say on Uno\" than on the band's previous work, stating, \"they are doing what they do best. Nothing less, but certainly nothing more.\" Dave Simpson of The Guardian called ¡Uno! \"a very decent fist of sounding like their twentysomething selves\", but wrote that \"the pace doesn't vary and the recent social commentary ... has given way to more teenage concerns\". Slant Magazine's Yorgo Douramacos called the album \"fairly strong\", but felt that the songs \"sound like only slightly altered versions of previous entries in the Green Day catalogue.\" In a negative review, Andy Gill of The Independent panned \"Green Day's devotion to the most basic of rock formats\" and called the music \"patronising corporate rock masquerading, in sweary adolescent anthems as somehow anti-establishment.\" Randall Roberts of the Los Angeles Times asserted that the album was too \"typical\" and \"commercial\" to be a punk album, writing that it \"feels like the work of a band that has painted itself into an aesthetic corner.\" Paul Mardles of The Observer criticized the album as \"largely throwaway, its frenzied, phlegm-flecked songs littered with sentiments ... that sound daft coming from a 40-year-old frontman.\" Greg Kot of the Chicago Tribune was ambivalent towards its \"back-to-basics\" approach and perceived a lack of \"memorable lyric[s]\". Barry Nicolson of NME found the album more comparable to \"the three albums that followed\" Dookie, noting \"highs that prove unsustainable, and lows that hope you're too adrenalised to notice.\" Rolling Stone ranked it number eight on their year-end top albums list for 2012. Robert Christgau later said in 2021 that the album had \"sounded like more of the self-important same\" and diminished his interest in the band's subsequent work.", "The album debuted at number two on the US Billboard 200 chart, selling 139,000 copies in its first week. After 3 months, Uno had shifted 256,000 copies in the US. The album has sold over 325,000 copies in the US. In the United Kingdom, it also debuted at number two on the UK Albums Chart on first-week sales of 42,651 copies. As of October 13, 2016, ¡Uno! has sold 125,531 copies in the UK. In Canada, the album debuted at number three on the Canadian Albums Chart selling 12,000 copies.", "All lyrics are written by Billie Joe Armstrong; all music is composed by Green Day (Armstrong, Mike Dirnt, and Tré Cool) except where noted.", "Credits for ¡Uno! adapted from liner notes.\nGreen Day\nBillie Joe Armstrong – guitar, vocals\nMike Dirnt – bass, vocals\nTré Cool – drums\nJason White – guitar\nAdditional musicians\nRob Cavallo - keyboards\nProduction\nKeith Armstrong – mixing assistant\nNik Karpen – mixing assistant\nAndrew Schubert – mixing assistant\nBrad Townsend – mixing assistant\nChris Bilheimer – artwork, graphic design\nLee Bothwick – additional engineering\nRob Cavallo - producer\nChris Dugan – engineer\nAndrew \"Hans\" Buscher – guitar technician\nEden Galindo – bass technician\nMike Fasano – drum technician\nKenny Butler – drum technician\nGreen Day – producers\nCheryl Jenets – production manager\nTed Jensen – mastering\nBrad Kobylczak – second engineer\nChris Lord-Alge – mixing\nPat Magnarella – management\nJaime Neely – production assistant\nMichelle Rogel – production assistant\nBill Schneider – band coordinator\nTheo \"Firecracker\" Stockman – back cover photo\nFelisha Tolentino – photography", "", "", "", "", "", "Montgomery, James (February 15, 2012). \"Green Day Start Recording New Album\". MTV News. MTV Networks. Archived from the original on December 3, 2013. Retrieved June 15, 2012.\n\"UNO! DOS! TRE! Finished!!\". Billie Joe Armstrong via Twitter. Retrieved October 6, 2012.\nByrne, Katie (April 11, 2012). \"Green Day Recording a Trilogy of Albums\". MTV News. MTV Networks. Archived from the original on June 13, 2013. Retrieved June 15, 2012.\nFricke, David (June 20, 2012). \"Q&A: Billie Joe Armstrong on Green Day's Album Trilogy\". Rolling Stone Magazine. Archived from the original on March 2, 2013. Retrieved June 21, 2012.\nGreen Day (2012). ¡Uno! (CD liner). Reprise Records. 531973-2.\nGallo, Phil. \"Green Day: The Billboard Cover Story\". Billboard. Archived from the original on August 1, 2013. Retrieved July 24, 2012.\n\"Green Day Blast Through Raucous 40-Song Set in New York | David Fricke\". Rolling Stone. Archived from the original on January 22, 2014. Retrieved September 22, 2012.\nErlewine, Stephen Thomas. \"¡Uno! – Green Day\". AllMusic. Rovi Corporation. Archived from the original on September 21, 2013. Retrieved September 24, 2012.\nKara 2012; Cooke 2012.\nHeisel, Scott (September 19, 2012). \"Green Day – ¡Uno!\". Alternative Press. Cleveland. Archived from the original on October 31, 2013. Retrieved September 21, 2012.\n\"Green Day's trilogy is a little exhausting, but with effective moments\". Las Vegas Weekly. December 12, 2012. Retrieved May 21, 2013.\nCorner, Lewis (June 11, 2012). \"Green Day confirm new albums '¡Uno! ¡Dos! ¡Tré!' release dates\". Digital Spy. Hachette Filipacchi Médias. Archived from the original on November 5, 2012. Retrieved June 15, 2012.\n\"GREEN DAY IN THE STUDIO RECORDING THREE ALBUMS\". greenday.com. April 11, 2012. Archived from the original on July 21, 2012. Retrieved April 11, 2012.\nEames, Tom (June 14, 2012). \"Green Day unveil new album '¡Uno!' cover, trailer\". Digital Spy. Hachette Filipacchi Médias. Archived from the original on September 2, 2012. Retrieved June 15, 2012.\n\"Green Day: ¡Uno! Official Trailer with Album Cover\". www.youtube.com. Green Day on YouTube. Retrieved June 15, 2012.\nGilman, Hannah (June 14, 2012). \"Green Day Unveils 'Uno!' Album Artwork\". Billboard. Archived from the original on September 15, 2013. Retrieved June 15, 2012.\nMontgomery, James (June 14, 2012). \"Green Day Reveal ¡Uno! Artwork in Trailer\". MTV News. MTV Networks. Archived from the original on January 11, 2014. Retrieved June 15, 2012.\nLamb, Bill (June 25, 2012). \"Green Day Announce 'Oh Love' as First Single from Three Album Project\". About.com. Archived from the original on January 21, 2014. Retrieved June 26, 2012.\nTrust, Gary. \"Green Day, No Doubt Make Rockin' Returns to Radio\". Billboard. Archived from the original on May 29, 2013. Retrieved July 24, 2012.\nZane Lowe. \"Zane Lowe's Hottest Records blog: Hottest Record – Green Day – Kill The DJ\". BBC. Retrieved May 9, 2013.\nBychawski, Adam (August 14, 2015). \"Green Day unveil new single 'Kill The DJ' – listen\". NME. Retrieved November 10, 2015.\n\"iTunes – Music – Let Yourself Go – Single by Green Day\". Itunes.apple.com. Archived from the original on September 9, 2012. Retrieved September 8, 2012.\n\"Yahoo! Video Premiere: Green Day 'Nuclear Family'\". Yahoo! Music. Retrieved September 11, 2012.\nJon Blistein (September 24, 2012). \"Premiere: Green Day Rip Through 'Stay the Night' – Video\". Rolling Stone. Archived from the original on March 29, 2014. Retrieved August 31, 2013.\n\"Green Day – Troublemaker\". YouTube. Retrieved October 6, 2012.\n\"\"Fell For You\" Remix - Green Day Official Blog\". Green Day Official Website. Retrieved August 5, 2017.\n\"Uno! Reviews, Ratings, Credits, and More\". Metacritic. CBS Interactive. Archived from the original on January 15, 2013. Retrieved September 21, 2012.\nHeller, Jason (October 2, 2012). \"Green Day: ¡Uno!\". The A.V. Club. Chicago. Archived from the original on June 6, 2013. Retrieved October 3, 2012.\nMaerz, Melissa (September 19, 2012). \"Green Day & No Doubt Return\". Entertainment Weekly. New York. p. 72. Archived from the original on December 15, 2013. Retrieved September 26, 2012.\nSimpson, Dave (September 20, 2012). \"Green Day: ¡Uno! – review\". The Guardian. London. section G2, p. 21. Archived from the original on October 12, 2012. Retrieved September 21, 2012.\n\"Review: ¡Uno!\". Mojo. London. October 2012. p. 82.\nNicolson, Barry (September 21, 2012). \"Green Day – '¡Uno!'\". NME. London. Archived from the original on December 15, 2013. Retrieved September 24, 2012.\n\"Review: ¡Uno!\". Q. London. October 2012. p. 92.\nFricke, David (September 13, 2012). \"Uno\". Rolling Stone. New York. Archived from the original on November 6, 2013. Retrieved September 16, 2012.\nDouramacos, Yorgo (September 23, 2012). \"Green Day: Uno\". Slant Magazine. Archived from the original on December 19, 2013. Retrieved September 23, 2012.\nWood, Mikael (September 25, 2012). \"Green Day, 'Uno' (Reprise)\". Spin. New York. Archived from the original on October 3, 2007. Retrieved September 27, 2012.\n\"iUno! by Green Day reviews\". AnyDecentMusic?. Archived from the original on December 15, 2013. Retrieved September 21, 2012.\n\"Review: ¡Uno!\". Kerrang!. September 22, 2012. p. 50.\nWinwood, Ian (September 21, 2012). \"Review of Green Day – ¡Uno!\". BBC Music. BBC. Archived from the original on June 6, 2013. Retrieved September 21, 2012.\nPower, Ed (September 21, 2012). \"Green Day: Uno\". Hot Press. Dublin. Retrieved September 22, 2012.\nGill, Andy (September 21, 2012). \"Album: Green Day, ¡Uno! (Reprise)\". The Independent. London. Archived from the original on January 2, 2014. Retrieved September 21, 2012.\nRoberts, Randall (September 24, 2012). \"Critic's Notebook: Green Day's '¡Uno!' is, No. 1, overly commercial\". Los Angeles Times. Archived from the original on December 5, 2012. Retrieved September 25, 2012.\nMardles, Paul (September 22, 2012). \"Green Day: Uno! – review\". The Observer. London. The New Review section, p. 30. Archived from the original on September 25, 2012. Retrieved September 22, 2012.\nKot, Greg (September 27, 2012). \"Album review: Green Day, 'Uno'\". Chicago Tribune. Retrieved September 27, 2012.\n\"50 Best Albums of 2012: Green Day, 'Uno'\". Rolling Stone. December 5, 2012. Archived from the original on November 6, 2013. Retrieved April 5, 2013.\nChristgau, Robert (April 14, 2021). \"Xgau Sez: April, 2021\". And It Don't Stop. Substack. Retrieved April 17, 2021.\nCaulfield, Keith (October 3, 2012). \"Mumford & Sons, Green Day, No Doubt Debut at Nos. 1–3 on Billboard 200 Chart\". Billboard. Los Angeles. Archived from the original on July 19, 2013. Retrieved October 3, 2012.\n\"Green Day's Album Trilogy: What Happened with 'Uno!,' 'Dos!' and 'Tre!'?\". Billboard. January 15, 2013. Archived from the original on December 7, 2013. Retrieved April 5, 2013.\n\"RED HOT CHILI PEPPERS, CREED, GREEN DAY and KID ROCK.......USA album sales\". greasylake.org.\nJones, Alan (October 1, 2012). \"Official Charts Analysis: Mumford & Sons sell 158k, Gangnam Style makes history\". Music Week. London. Retrieved October 3, 2012.(subscription required)\n\"BuzzJack Music Forum\". buzzjack.com. Archived from the original on October 18, 2016.\n\"Mumford & Sons, Deadmau5, Green Day explode onto charts | The Turn Table\". Blogs.canoe.ca. Archived from the original on December 20, 2013. Retrieved October 24, 2012.\nSESAC Repertory search.\nAlbums rankings 01/09/2012, CAPIF. Archived September 2, 2011, at the Wayback Machine\n\"Austriancharts.at – Green Day – ¡Uno!\" (in German). Hung Medien. Retrieved June 5, 2022.\n\"Australiancharts.com – Green Day – ¡Uno!\". Hung Medien. Retrieved June 5, 2022.\n\"Ultratop.be – Green Day – ¡Uno!\" (in Dutch). Hung Medien. Retrieved June 5, 2022.\n\"Ultratop.be – Green Day – ¡Uno!\" (in French). Hung Medien. Retrieved June 5, 2022.\n\"Alejandro Sanz, Miguel Bosé y \"¡Uno!\" de Green Day lideran ventas de discos | ARTES & ESPECTACULOS\". LANACION.com.py. October 11, 2012. Archived from the original on May 17, 2014. Retrieved October 24, 2012.\n\"Green Day Chart History (Canadian Albums)\". Billboard. Retrieved June 5, 2022.\n\"TOP 50 Prodejní – 2012, week 39\". www.ifpicr.cz. ČNS International Federation of the Phonographic Industry. Archived from the original on April 4, 2014.\n\"Danishcharts.dk – Green Day – ¡Uno!\". Hung Medien. Retrieved June 5, 2022.\n\"Dutchcharts.nl – Green Day – ¡Uno!\" (in Dutch). Hung Medien. Retrieved June 5, 2022.\n\"Lescharts.com – Green Day – ¡Uno!\". Hung Medien. Retrieved June 5, 2022.\n\"Green Day: ¡Uno!\" (in Finnish). Musiikkituottajat – IFPI Finland. Retrieved June 5, 2022.\n\"Offiziellecharts.de – Green Day – ¡Uno!\" (in German). GfK Entertainment Charts. Retrieved June 5, 2022.\n\"Album Top 40 slágerlista – 2012. 39. hét\" (in Hungarian). MAHASZ. Retrieved June 5, 2022.\n\"Top 75 Artist Album, Week Ending 4 October 2012\". GfK Chart-Track. Archived from the original on December 15, 2018. Retrieved August 8, 2022.\n\"Italiancharts.com – Green Day – ¡Uno!\". Hung Medien. Retrieved June 5, 2022.\n\"Classifiche\". Musica e Dischi (in Italian). Retrieved June 5, 2022. Set \"Tipo\" on \"Album\". Then, in the \"Titolo\" field, search \"Uno!\".\n\"Green Day – ¡Uno! – Oricon Style\". Oricon.co.jp. Archived from the original on November 12, 2013.\n\"Charts.nz – Green Day – ¡Uno!\". Hung Medien. Retrieved June 5, 2022.\n\"Norwegiancharts.com – Green Day – ¡Uno!\". Hung Medien. Retrieved June 5, 2022.\n\"Oficjalna lista sprzedaży\". OLiS. October 8, 2012. Archived from the original on October 24, 2013. Retrieved October 5, 2012.\n\"Portuguesecharts.com – Green Day – ¡Uno!\". Hung Medien. Retrieved June 5, 2022.\n\"Official Scottish Albums Chart Top 100\". Official Charts Company. Retrieved June 5, 2022.\n\"Gaon Album Chart\". gaonchart.co.kr. Archived from the original on July 7, 2013. Retrieved September 29, 2012.\n\"Spanishcharts.com – Green Day – ¡Uno!\". Hung Medien. Retrieved June 5, 2022.\n\"Swedishcharts.com – Green Day – ¡Uno!\". Hung Medien. Retrieved June 5, 2022.\n\"Swisscharts.com – Green Day – ¡Uno!\". Hung Medien. Retrieved June 5, 2022.\n\"Green Day | Artist | Official Charts\". UK Albums Chart. Retrieved June 5, 2022.\n\"Official Rock & Metal Albums Chart Top 40\". Official Charts Company. Retrieved June 5, 2022.\n\"Green Day Chart History (Billboard 200)\". Billboard. Retrieved June 5, 2022.\n\"Green Day Chart History (Top Rock Albums)\". Billboard. Retrieved June 5, 2022.\n\"Jahreshitparade Alben 2012\" (in German). Hung Medien Austrian Charts Portal. Retrieved September 22, 2018.\n\"Top Albums annuel (physique + téléchargement + streaming)\". SNEP Musique. 2012. Archived from the original on August 17, 2018. Retrieved September 22, 2018.\n\"Top 100 Album-Jahrescharts\" (in German). Offizielle Deutsche Charts. 2012. Retrieved September 22, 2018.\n\"Best selling albums of Hungary in 2012\". zene.slagerlistak.hu. Mahasz. Archived from the original on May 23, 2013. Retrieved February 7, 2012.\n\"Top 100 Album Combined – Classifica annuale (dal 2 Gennaio 2012 al 30 Dicembre 2012)\" (PDF). sorrisi.com (in Italian). Federation of the Italian Music Industry / TV Sorrisi e Canzoni. Archived from the original (PDF) on January 26, 2013.\n\"2012년 Album Chart\" (in Korean). Gaon Music Chart. Retrieved February 16, 2021.\nSteffen Hung (December 30, 2012). \"Schweizer Jahreshitparade 2012\". hitparade.ch. Archived from the original on November 6, 2013. Retrieved April 5, 2013.\n\"Year End Charts\". Billboard. Archived from the original on April 8, 2014. Retrieved January 24, 2013.\n\"Austrian album certifications – Green Day – Uno!\" (in German). IFPI Austria. Retrieved October 20, 2012.\n\"Canadian album certifications – Green Day – Uno\". Music Canada. Retrieved April 12, 2013.\n\"Gold-/Platin-Datenbank (Green Day; 'Uno!')\" (in German). Bundesverband Musikindustrie. Retrieved October 20, 2012.\n\"Italian album certifications – Green Day – Uno!\" (in Italian). Federazione Industria Musicale Italiana. Retrieved December 6, 2012.\n\"Japanese album certifications – Green Day – Uno!\" (in Japanese). Recording Industry Association of Japan. Retrieved October 20, 2012. Select 2012年9月 on the drop-down menu\n\"British album certifications – Green Day – Uno!\". British Phonographic Industry. Retrieved October 20, 2012.\n\"Recording Industry in Numbers\" (PDF). International Federation of the Phonographic Industry. 2013. p. 11. Archived from the original (PDF) on April 9, 2013. Retrieved September 15, 2020.", "Cooke, Robert (2012). \"Green Day\". The Fly. No. September 25. London. Archived from the original on September 24, 2012. Retrieved September 25, 2012.\nKara, Scott (2012). \"Album review: Uno! – Green Day\". The New Zealand Herald. No. September 20. Retrieved September 21, 2012.\nGlickman, Simon (July 30, 2012). \"Rob Cavallo on Green Day: Good Things Come in Threes\". HITS Daily Double. HITS Digital Ventures. Retrieved September 25, 2012.", "¡Uno! at YouTube (streamed copy where licensed)\nOfficial website\n¡Uno! at Discogs (list of releases)\n¡Uno! at MusicBrainz (list of releases)" ]

[ "¡Uno!", "Background and recording", "Writing and composition", "Release and promotion", "Artwork", "Singles", "Critical reception", "Commercial performance", "Track listing", "Personnel", "Charts", "Weekly charts", "Year-end charts", "Certifications", "Release history", "References", "Footnotes", "External links" ]

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[ "A sampler in the Guildhall Museum of Rochester illustrates the conversion between pence and shillings and shillings and pounds.", "Old till in Ireland, with \"shortcut\" keys in various £sd denominations (lower numbers) and their \"new pence\" equivalent (upper numbers).", "Toy coin, which teaches children the value of a shilling.", "Carolingian denarius", "1401 Console and, below, the Auxiliary Console.", "Notice board displaying the entry prices for the Theatre Royal, Drury Lane, London, around 1946" ]

[ 0, 0, 0, 1, 5, 6 ]

[ "https://upload.wikimedia.org/wikipedia/commons/6/67/Guildhall_Museum_Collection-_Drusilla_Dunford_Money_Table_Sampler_3304.JPG", "https://upload.wikimedia.org/wikipedia/commons/3/36/Cash_register_%288058279685%29_%282%29.jpg", "https://upload.wikimedia.org/wikipedia/commons/6/6a/TOY_%28FindID_748865%29.jpg", "https://upload.wikimedia.org/wikipedia/commons/6/69/Denier_Charlemagne1.jpg", "https://upload.wikimedia.org/wikipedia/commons/4/4d/IBM_1401_Control_Panel.jpg", "https://upload.wikimedia.org/wikipedia/commons/c/ce/Drury_Lane_Notice_Board_VA.jpg" ]

[ "£sd (occasionally written Lsd, spoken as \"pounds, shillings and pence\" or pronounced /ɛl.ɛsˈdiː/ ell-ess-DEE) is the popular name for the pre-decimal currencies once common throughout Europe, especially in the British Isles and hence in several countries of the British Empire and subsequently the Commonwealth. The abbreviation originates from the Latin currency denominations librae, solidi, and denarii. In the United Kingdom, these were referred to as pounds, shillings, and pence (pence being the plural of penny).\nAlthough the names originated from popular coins in the classical Roman Empire, their definitions and the ratios between them were introduced and imposed across Western Europe by the Emperor Charlemagne. The £sd system was the standard across much of the European continent (France, Italy, Germany, etc.) for nearly a thousand years, until the decimalisations of the 18th and 19th centuries. As the United Kingdom remained one of the few countries retaining it into the 20th century, the system became particularly associated with Britain. It was King Offa of Mercia who adopted the Frankish silver standard of librae, solidi and denarii into Britain in the late 8th century, and the system was used in much of the British Commonwealth until the 1960s and 1970s, with Nigeria being the last to abandon it in the form of the Nigerian pound on 1 January 1973.\nUnder this system, there were 12 pence in a shilling and 20 shillings, or 240 pence, in a pound. Although the standard ledger accounting system recorded only pounds, shillings and pence, actual minted coins could represent one, several or fractions of these units. The penny was subdivided into 4 farthings until 31 December 1960, when they ceased to be legal tender in the UK, and until 31 July 1969 there were also halfpennies (\"ha'pennies\") in circulation. The perceived advantage of such a system was its use in some aspects of mental arithmetic, as it afforded many factors and hence fractions of a pound such as tenths, eighths, sixths and even sevenths and ninths if the guinea (worth 21 shillings) was used. When dealing with items in dozens, multiplication and division are straightforward; for example, if a dozen eggs cost four shillings, then each egg was priced at fourpence. Basic addition, however, could be more difficult than using a decimal system.\nAs countries of the British Empire became independent, some abandoned the £sd system quickly, while others retained it almost as long as the UK itself. The United States of America adopted a decimal system in 1792, 10 years after independence from the British Empire, but retains many other aspects of the customary units for length and weight. Australia, for example, only changed to using a decimal currency on 14 February 1966, 35 years after independence. New Zealand followed suit on 10 July 1967. Still others, notably Ireland, decimalised only when the UK did. The UK abandoned the old penny on Decimal Day, 15 February 1971, when one pound sterling became divided into 100 new pence. This was a change from the system used in the earlier wave of decimalisations in Australia, New Zealand, Rhodesia and South Africa, in which the pound was replaced with a new major currency called either the \"dollar\" or the \"rand\". The British shilling was replaced by a 5 new pence coin worth one-twentieth of a pound.\nFor much of the 20th century, £sd was the monetary system of most of the Commonwealth countries, the major exceptions being Canada and India.\nHistorically, similar systems based on Roman coinage were used elsewhere; e.g., the division of the livre tournois in France and other pre-decimal currencies such as Spain, which had 20 maravedís to 1 real and 20 reals to 1 duro or 5 pesetas.", "The classical Roman Empire originally used a decimal currency system based on the \"as\" whereby 1 denarius = 10 as. The silver denarius was the common circulation coin, but accounting was in sestercii. Later Roman Emperors undertook multiple coinage reforms, redefining weights and coins' relative values and introducing new coins and new accounting systems for them. Since most reforms were not even completed before the next one began, the late Roman Empire had a veritable mess of multiple overlapping systems of weights and currencies.\nAround the 780s, the Frankish emperor Charlemagne cut through the mess by creating a new uniform system. He defined the \"libra\" as a new measure of weight equivalent to around 489.6 grams (substantially larger than the old Roman pound of 328.9g), and ordered 240 silver units known as denarii to be struck from the new Carolingian pound of pure silver, each denarius containing 22.5 grains of silver. To help accounting, Charles also decreed that the pound was divisible into 20 solidii each of 12 denarii. Thus began the Carolingian monetary system (1l. = 20s. = 240d.).\nThe new coinage and accounting system was imposed uniformly across the vast Carolingian Empire and also infiltrated countries on its periphery. In the late 8th century, King Offa of Mercia imported the system into Britain to facilitate transactions (notably \"Peter's pence\") with the Roman Catholic Church (which used the Carolingian coinage system). But it was not the sole system in Britain – the £sd system would have to compete for a while with the Viking \"mark\" accounting system, introduced into Danelaw regions. Although £sd ultimately prevailed in Britain, the \"mark of account\" system lingered on in North Sea trade and areas of Hanseatic influence through much of the Middle Ages.\nCharlemagne's new monetary system prevailed across much of Western Europe including France (where the units were known as the livre, sous and denier), Italy (lira, soldo and denaro), the Holy Roman Empire (pfund, schilling and pfennig) and in England (pound, shilling and penny). The English name pound is a Germanic adaptation of the Latin phrase libra pondo 'a pound weight'. On the Iberian peninsula, the Kingdom of Aragon adopted the Carolingian monetary system (Catalan: lliura, sou and diners), but those of Portugal and Castile (and subsequently Spain) retained the currency system inherited from al-Andalus.\nDuring the early Middle Ages, only the denarius was issued as an actual coin; the libra and solidus were merely units of account. But over time, the silver resources were gradually exhausted and the coins became repeatedly debased by Medieval monarchs, prompting the minting of larger coins from the 13th century. It also led to specification of currencies by mint of origin in contracts and accounting (e.g. a denier parisis, of the Paris mint, contained more actual silver than the very debased denier tournois of the Tours mint).\nTo facilitate larger transactions, gold coins began to be minted in western Europe around the same time. The French \"franc\", introduced in 1360, was the first coin anywhere to represent exactly £1 and the gold \"sovereign\", first minted in 1489, was the first English £1 coin.\nAlthough the £sd system remained intact in ledger accounting, the variety of new coins of various multiples and qualities led to common expression of quantities in terms of number of coins (guineas, crowns, farthings, etc.) But they would all have to be converted into formal £sd units in accounts.", "The £sd system continued in much of Western Europe for nearly a thousand years, until the \"decimalisations\" of the 18th and 19th centuries. The United States of America was among the first to drop the £sd system and adopt a decimal currency in 1792. In Europe, decimalisation of currency (as well as other weights and measures) began in Revolutionary France with the famous law of 1795 (\"Loi du 18 germinal an III\", 7 April 1795), replacing the £sd accounting system of the Ancien régime with a system of 1 franc = 10 decimes = 100 centimes. Decimalisation was carried by French armies to neighboring European countries during the Napoleonic wars. By the mid-19th century, most of continental Europe had decimalised, leaving the United Kingdom as the only major country to continue to maintain the £sd system.\nBritain considered following the continental example. A parliamentary select committee was set up in 1821 to inquire into decimalisation, but ended up recommending retaining the £sd system. However, pressure groups were formed inside Britain advocating the adoption of decimalisation of the currency, and Parliament returned to the matter in the 1850s. Various decimalisation schemes were considered – the Pound-and-Mil scheme, the Farthing scheme, the Half-penny scheme, the Alb scheme, etc. – but all were determined to have deficiencies, and transition would be too difficult and expensive. The £sd system would be maintained in Britain until 1971.", "All countries and territories that formerly used the £sd system have now decimalised their currency, with most decimalisations occurring after the Second World War. Malta decimalised its currency in 1955, while Nigeria decimalised in 1973. The British pound sterling was one of the last to be decimalised, on 15 February 1971. \nIn places where £sd was used, there were several approaches to decimalisation:\nThe pound remained the base unit (in Malta, using the Maltese name \"lira\"), but was subdivided into new fractional units of 1⁄100 of a pound. The new fractional unit (called the \"new penny\" in the UK and Ireland and the \"cent\" in Malta) was worth 2.4 old pence. Malta also created a fractional unit worth 1⁄1000 of a pound, called the \"mil\", worth 0.24 old pence.\nA new base unit (often called the \"dollar\") was created equal to ten shillings (half a pound), and subdivided into 100 fractional units, with one fractional unit (usually called the \"cent\") equal to 1⁄10 of a shilling or 1.2 old pence. This was the approach adopted in South Africa (as the Rand), Australia, New Zealand, Jamaica, Fiji and many other countries.\nA new base unit called the \"dollar\" was created at parity with the United States dollar. This was done in Canada in 1858 and in many places in the West Indies in the 19th and 20th centuries. In Bermuda in 1970, as the pound was fixed at US$2.40, this made the new Bermudian dollar equal to exactly 100 old pence, with the new cent equal to one old penny.\nSome countries have adopted alternative approaches, such as Ghana, which created a new base unit equal to 100 old pence (not equal to the U.S. dollar), with a fractional unit equal to one old penny, Bahamas, which adopted a new base unit equal to seven shillings, with a fractional unit equal to 0.84 old pence, and The Gambia, which created a new base unit equal to four shillings, with a fractional unit equal to 0.48 old pence.\nThe following table shows the conversion of common denominations of UK coins of the £sd system.\nThe following coins were not in common circulation in the UK at the time of decimalisation, though the ten shilling note (sometimes known as half-a-sov) and the pound note were.\nThe farthing, at 1⁄4 penny, was never converted, as it ceased to be legal tender a decade prior to decimalisation. In 1971, a new penny would have been worth 9.6 farthings (making a farthing slightly more than 0.104 new pence). Similarly, the old halfpenny and the half-crown were not converted in the UK either, having been withdrawn previously.", "United Kingdom pre-decimal banknotes are no longer legal tender, but are exchangeable for their face value (regardless of the possible greater worth if sold or auctioned) if they are taken directly (or posted) to the Bank of England. The last £sd coins to cease being legal tender in the UK after Decimal Day were the sixpence (withdrawn 1980), the shilling (withdrawn 1991) and the florin (withdrawn 1993). Commemorative crowns minted post decimalisation (worth either 25p or £5) are still legal tender, but are rarely, if ever, spent.\nIn Australia, as of 2018, pre-decimal coins can still be found in circulation occasionally as 5, 10 and 20-cent coins.\nThe last £sd banknote to cease to be legal tender anywhere was the Isle of Man ten shilling note, which ceased to be legal tender there in 2013.", "Computers and calculators sold pre-decimalisation – mostly in the 1960s – occasionally came with special support for the £sd system in the form of a fixed-point currency datatype. The IBM 1401 is one such machine; on Sterling models with sd support, it had a switch for selecting between IBM and BSI data layouts of £sd on its auxiliary console (see image). The ICT 1301 and the PL/I language also had £sd support.", "There were several ways to represent amounts of money in writing and speech, with no formal convention; for example:\n£2/3/6 (two pounds, three shillings and sixpence), spoken, unless there was cause to be punctilious, \"two pound(s), three and six\". Whether \"pound\" or \"pounds\" was used depended upon the speaker, varying with class, region and context.\n1/– (one shilling), colloquially \"a bob\"; the slash sign derives from the older style of a long s for \"solidus\", which is also one name for the sign itself; the '–' is used in place of '0', meaning \"zero pence\").\n11d. (elevenpence)\n1+1⁄2d (a penny halfpenny, three halfpence). As spoken, the lf in halfpenny and halfpence was always silent; they were pronounced \"hayp'ny\" /ˈheɪpni/ and \"haypence\" /ˈheɪpəns/ – hence the occasional spellings ha'penny and ha'pence).\n3d (three pence), with reference to the above, this became thruppence, commonly referred to as a \"threepenny bit\".\n6d (six pence) known as a \"tanner\" or half a shilling.\n2/– (two shillings, or one florin, colloquially \"two-bob bit\")\n2/6 (two shillings and six pence, usually said as \"two and six\" or a \"half-crown\"; the value could also be spoken as \"half a crown\", but the coin was always a half-crown)\n4/3 (\"four and threepence\", the latter word pronounced \"thruppence\" /ˈθrʌpəns/, \"threppence\" /ˈθrɛpəns/, \"throopence\" with -oo- as in \"foot\" /ˈθrʊpəns/, or \"four-and-three\")\n5/– (five shillings, one crown, \"five bob\", a dollar)\n£1/10/– (one pound, ten shillings; one pound ten, \"thirty bob\")\n£1/19/11+3⁄4 (one pound, nineteen shillings and elevenpence three farthings: a psychological price, one farthing under £2)\n£14/8/2 (fourteen pounds, eight shillings and twopence – pronounced \"tuppence\" /ˈtʌpəns/ – in columns of figures. Commonly read \"fourteen pound(s) eight and two\")\nHalfpennies and farthings (quarter of a penny) were represented by the appropriate symbol (1⁄4 for farthing, 1⁄2 for halfpenny, or 3⁄4 for three farthings) after the whole pence.\nA convention frequently used in retail pricing was to list prices over one pound all in shillings, rather than in pounds and shillings; for example, £4-18-0 would be written as 98/– (£4.90 in decimal currency). This is still seen in shilling categories of Scottish beer, such as 90/– beer.\nSometimes, prices of luxury goods and furniture were expressed by merchants in guineas, although the guinea coin had not been struck since 1799. A guinea was 21 shillings (£1.05 in decimal currency). Professionals such as lawyers and physicians, art dealers, and some others stated their fees in guineas rather than pounds, while, for example, salaries were stated in pounds per annum. Historically, at some auctions, the purchaser would bid and pay in guineas but the seller would receive the same number of pounds; the commission was the same number of shillings. Tattersalls, the main auctioneer of racehorses in the United Kingdom and Ireland, continues this tradition of conducting auctions in guineas at its UK sales (in Ireland, auctions are conducted in euros). The vendor's commission is 5%. The word \"guineas\" is still found in the names of some British horse races, even though their prize funds are now fixed in pounds – such as the 1,000 Guineas and 2,000 Guineas at Newmarket Racecourse.", "A farthing or ha'penny bit was called a \"mag\" (slang for \"chattering\") because they were originally made from copper and made a ringing noise when dropped. The game of \"penny pitching\" (bouncing pennies against a wall to see how far they would rebound onto the pavement) was called \"mag flying\".\nA threepenny bit (pronounced thrupney bit) was called a \"Joey\" (see Fourpence below); it was a silver or silver alloy coin from 1845 to 1937 and a 12-sided bronze coin from 1937 to 1971. It was known as a \"tickey\" in South Africa and Southern Rhodesia. In Australia it was known as a tray (also spelt trey), or a tray bit, from the French \"trois\" meaning three.\nA fourpenny bit was often known as a \"groat\", from the medieval four-penny silver coin of the same name. It was nicknamed a \"Joey\", from Joseph Hume, the Radical MP who championed its reintroduction. When the new threepence coin replaced the fourpence coin in circulation in 1845, it took over its nickname.\nA sixpenny bit was a \"tanner\", derived from the Romany word tano, meaning \"small\" (because it was smaller than a shilling). It was also called a \"tester\" or \"testoon\" from the teston, a French coin. In Australia it was called a \"Zack\".\nOne shilling was called a \"bob\" or \"thin 'un\" (because it was thinner than a sovereign coin). It is known in Australia as a \"deener\" possibly from 'Dinar' or 'Denarius'.\nA two-shilling piece known as a florin (an early attempt at decimalisation, being £+1⁄10), was in everyday use. It was referred to as \"two bob\", a \"two-shilling bit\", or a \"two-bob bit\".\nA two-shillings-and-sixpence piece, in use until the introduction of decimal currency, was known as \"half a crown\" or a \"half crown\". They were discontinued in 1971 as there was no need for a 12+1⁄2 New Pence coin.\nA five-shilling piece was called a crown or a dollar.\nA ten-shilling note was sometimes known as \"half a bar\". It was first printed in 1914 by the Treasury during World War One to conserve silver. These early Treasury notes (especially the 1st and 2nd Series from 1914 to 1917) were nicknamed \"Bradburys\", from the prominent stylized signature of Sir John Bradbury, Permanent Secretary to the Treasury (1913–1919).\nA pound was called a \"nicker\" or \"quid\". The term \"quid\" is said to originate from the Latin phrase quid pro quo. A pound coin, or sovereign, was called a \"sov\" or \"thick 'un\" (because it was thicker than a shilling). A pound note was called a \"bar\" or \"sheet\" (from its rectangular shape) or simply a \"note\" (e.g., \"You owe me 50 notes\").\nThe larger denomination notes (£5, £10, £20, £50, £100, £200, £500, and £1,000) printed from the 18th century to 1943 were called \"white notes\" because they were printed on lightweight white paper with the text in black ink.", "The currency of knuts, sickles and galleons in the Harry Potter books is a parody of the £sd system, with 29 knuts to a sickle and 17 sickles to a galleon. It serves as the currency of the Wizarding World, while pounds are still used by Muggles, the non-magical people.\nLysergic acid diethylamide was sometimes called \"pounds, shillings and pence\" during the 1960s, because of the abbreviation LSD. The English rock group the Pretty Things released a 1966 single titled \"£.s.d.\" that highlighted the double entendre. The Chemical Defence Experimental Establishment called the first field trial with LSD as a chemical weapon \"Moneybags\" as a pun.\nThe score of 26 at darts (one dart in each of the top three spaces) was sometimes called \"half-a-crown\" as late as the 1990s, though this did start to confuse the younger players. 26 is also referred to as \"Breakfast\", since 2/6 or half a crown was the standard cost for breakfast pre-decimalisation.", "Sterling coinage – the standard circulating coinage of the United Kingdom\nIrish pound – decimalised on Decimal Day, the Irish Pound was the currency of Ireland until 2002\nDecimal time – the representation of the time of day using units which are decimally related", "C. H. V. Sutherland, English Coinage 600-1900 (1973, ISBN 0-7134-0731-X), p. 10\nHodgkin, Thomas (1906). The history of England ... to the Norman conquest. London, New York and Bombay: Longmans, Green, and Co. p. 234.\nWalkingame, Francis (1874). \"The Tutor's Assistant\". The Tutor's Assistant: 96.\nOxford English Dictionary, s.v. 'pound'\nBank of England. \"Exchanging withdrawn Bank of England banknotes\". Retrieved 16 April 2017.\n\"Withdrawal of Manx Plastic £1 note\". Isle of Man Government. Retrieved 2 July 2018.\n\"Sterling fixed point data\" in PL/I manual, image\n\"solidus: definition of solidus in Oxford dictionary (British & World English)\". Oxford University Press. Archived from the original on 10 June 2014. Retrieved 10 June 2014.\nFowler, Francis George (1917). \"long+s\"+shilling&pg=PA829 The concise Oxford dictionary of current English. p. 829.\n\"halfpenny - definition of halfpenny in English from the Oxford dictionary\". oxforddictionaries.com.\nSchwarz, C. M. (1993), \"half\", The Chambers Dictionary, p. 755, ISBN 0550102558\nPartridge, Eric (2 September 2003). The Routledge Dictionary of Historical Slang. Routledge. ISBN 978-1-135-79542-9.\n\"DiCamillo British Money Guide including Amazing Historical Facts\". DiCamillo. Retrieved 9 December 2019.\nJohn Palmer (1823). The Attorney and Agents new Table of Costs in the Courts of Kings Bench and Common Pleas, Fifth edition enlarged: to which is added a table of all the stamp duties. p. 461.\nChristine Evans-Pughe (12 December 2011). \"Faraday - a man of contradictions\". Engineering and Technology. Retrieved 3 September 2018.\n\"Tattersalls February Sale 2019 Catalogue\" (PDF). Conditions of Sale, Paragraph 3.2. Tattersalls Limited. p. 14. Retrieved 1 May 2019.\n\"Guide to Sales (2018 Edition)\" (PDF). Tattersalls Limited. Retrieved 1 May 2019.\nHear the Tickey Bottle Tinkle, The Rotarian, June 1954\nSouthern Rhodesia, Past and Present, Chronicle Stationery and Book Store, 1945\n\"Slang Terms for Money\". The Australian Coin Collecting Blog. Retrieved 24 August 2017.\nBank of England (2019). \"Withdrawn banknotes\". Retrieved 16 May 2019.\n\"Wizard Currency\". The Harry Potter Lexicon. 24 February 2018.\nHarry Potter Collectibles. 7 March 2000. ISBN 9781585980734 – via Google Books.\nDickson, Paul (1998). Slang: The Authoritative Topic-By-Topic Dictionary of American Lingoes from All Walks of Life. Pocket Books. p. 134. ISBN 0-671-54920-0.\nhttp://www.theprettythings.com/disco.html The Pretty Things discography\nAndy Roberts (30 September 2008). Albion Dreaming: A popular history of LSD in Britain (Revised Edition with a new foreword by Dr. Sue Blackmore). Marshall Cavendish International Asia Pte Ltd. p. 52. ISBN 978-981-4328-97-5.", "\"Pounds, Shillings and Pence\". The Royal Mint Museum. Retrieved 16 February 2021." ]

[ "£sd", "Origins", "Decimalisation", "Decimalisations", "Pre-decimal coins and banknotes", "Computing", "Writing conventions and pronunciations", "Colloquial terms", "In popular culture", "See also", "References", "External links" ]

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[ "The song's composer Hernaldo Zúñiga" ]

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[ "https://upload.wikimedia.org/wikipedia/commons/1/17/Hernaldo_Z%C3%BA%C3%B1iga_2.jpg" ]

[ "¿Cómo te va mi amor? (How is it going my love?) is a song written by Hernaldo Zúñiga, and first made famous by Mexican group Pandora.", "Pandora made their professional debut on 2 June 1985, on the TV program \"Siempre en Domingo\" (Always on Sunday), where they interpreted the song \"¿Cómo te va mi amor?\", from the Nicaraguan composer Hernaldo Zúñiga. Less than a week later their first production in LP format was released, simply titled \"Pandora\", which by October of the same year had gone gold.\n\"¿Cómo te va mi amor?\" was included in that debut album and defined the group's romantic style. The song was both the first single to be promoted by the group and their first international hit. Due to its success, Pandora instantly received a warm welcome to the music industry.\nPandora's original version was nominated for the Grammy in 1987 in \"Latin Pop Performance\" category. At the end of 2007, the song was included on the VH1 Latin America channel countdown of the 100 Best Songs of the 80's in Spanish at number 16.\nSince Pandora's success with the song, many other artists have made cover versions, extending in this way the importance of this melody into the musical romantic world. Among the singers that have interpreted the song are: Hernaldo Zúñiga himself (live), Luis Miguel and Pandora (live duet), Los Horóscopos de Durango, Patricia Manterola, Nicho Hinojosa, Fher Manjarrez, Área 305, Freddy y Los Nobles, La Rondalla de Saltillo, Chicos De Barrio, Tierra Canela, Myriam, Marcos Orozco y Rebelde, Secuencia con Banda, Grupo Cuarto Para Las Tres, Los Reales, Banda Perla de Michoacán, Santa Elena, La Chío, Luis Antonio Hernández, Zania, Sheila y Lizzette (Operación Fama), Pio Treviño y Majic and others.\nThe 2006's versión by Los Horóscopos de Durango was nominated for the 2008 Billboard Latin Music Award in the category \"Regional Mexican Airplay Song of the Year, Female Group or Female Solo Artist\".\nOn 16 May 2008, the version by Los Horóscopos de Durango, which sold more than one million copies during 2007, won the Latin Award 2007 Best Regional Song delivered by The American Society of Composers, Authors & Publishers (ASCAP), the main American composers society. The song's composer, Hernaldo Zúñiga, received a tribute during the ceremony. This song released for the first time in 1985, still awarded in 2008 (23 years later), has demonstrated that was composed to surpass the barrier of the years and even those of the musical genres.", "Hunt, Dennis (January 9, 1987). \"Grammy Nominations: Highs and Lows: Winwood, Gabriel and Simon Garner Most Nominations\". Los Angeles Times. Retrieved November 26, 2012." ]

[ "¿Cómo te va mi amor?", "Background", "References" ]

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[ "Ibero-American Summit, 2007: Juan Carlos, Zapatero and Chávez are seated on the right side of the chamber. (Chávez is seated at the table in the bottom-right corner clapping.)" ]

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[ "https://upload.wikimedia.org/wikipedia/commons/4/42/Cumbre_Iberoamericana_2007.jpg" ]

[ "¿Por qué no te callas? (Spanish: [poɾˈke no te ˈkaʎas]; English: \"Why don't you shut up?\") is a phrase that was uttered by King Juan Carlos I of Spain to Venezuelan President Hugo Chávez, at the 2007 Ibero-American Summit in Santiago, Chile, when Chávez was repeatedly interrupting Spanish Prime Minister José Luis Rodríguez Zapatero's speech. Following international attention, the phrase became an overnight sensation, gaining cult and meme status as a mobile-phone ringtone, spawning a domain name, a contest, T-shirt sales, a television program and YouTube videos.", "At the meeting on 10 November 2007, Chávez repeatedly interrupted Zapatero to call Zapatero's predecessor, José María Aznar, a \"fascist\" and \"less human than snakes\", and accuse Aznar of having supported a failed coup d'état aimed at removing Chávez from power. Zapatero had earlier irritated Chávez by suggesting that Latin America needed to attract more foreign capital to combat its \"chronic, deepening poverty\", and claimed that Chávez's policies scared investors out of Latin America.\nChávez's attacks became so strong that Zapatero rose to Aznar's defence, even though he had been severely critical of Aznar in the past. Zapatero pointed out that Aznar had been democratically elected and was \"a legitimate representative of the Spanish people\".\nAlthough organizers switched off Chávez's microphone, he continued to interrupt as Zapatero defended Aznar. Juan Carlos leaned forward, turned towards Chávez, and said, \"¿Por qué no te callas?\" The King's rebuke received applause from the general audience. He addressed Chávez using the familiar form of \"you\" (in Latin American Spanish, tú and te are usually used in informal chat, among young people or when addressing close friends, family, or children, and can be perceived as insulting when used in other circumstances. However, in European Spanish the use of \"tú\" is more extended and considered the standard). Shortly thereafter, he left the hall, as Nicaraguan President Daniel Ortega accused Spain of intervention in his country's elections and complained about the presence of Spanish energy companies in Nicaragua. The incident was unprecedented, as never before had the King displayed such anger in public.\nFor the King, the incident was part of an annus horribilis for the royal image, according to the Chilean newspaper La Nación. The New York Times argued that the incident exposed \"the unendingly complicated relations between Spain and its former colonies\".", "After the events at the summit, Hugo Chávez made statements against King Juan Carlos I, questioning his democratic legitimacy, and whether he knew about and endorsed the attempted coup d'état in Venezuela in 2002. Chávez defended his accusations against Aznar, arguing that prohibiting criticism of an elected official such as Aznar would be similar to prohibiting criticism of Hitler. He stated that he would revise Venezuela's position towards Spain and increase surveillance of the activities of Spanish companies in Venezuela, where Spain had been the main investor and trade partner in the last decade.\nThe Spanish government showed appreciation for the reaction of the King and for Zapatero's defense of the dignity of Spanish elected representatives like Aznar.\nSeveral days after the event, Chávez demanded an apology from King Juan Carlos and warned Spain that he would review diplomatic ties and take action against Spanish investments such as Banco Santander and Banco Bilbao Vizcaya Argentaria in Venezuela. He accused the King of displaying the kind of\nSpanish arrogance that led to Spain's ejection from South America at the hands of Venezuela's hero, Simón Bolívar. Spanish diplomats were concerned that Chávez would replace his socialism and attacks on \"American Imperialism\" with attacks on what he called \"Spanish imperialism\". Speaking about Venezuela's indigenous peoples, Chávez said of the Spanish, \"They slit our people's throats and chopped them into little bits and left them on the outskirts of towns and villages – that was what the Spanish empire did here.\" The Spanish foreign ministry denied that the \"¿Por qué no te callas?\" incident was indicative of Spanish–Latin American relations. Some analysts say Chávez used such incidents to \"fire up his support base among the majority poor at home with blunt language that played on their misgivings of rich countries' investments in Latin America\".\nAccording to the Los Angeles Times, it is uncertain which of the two men came out of the incident looking worse: \"Chávez for his boorish lack of etiquette\", or the King for insulting another leader. The King's words raised questions as the \"200th anniversary of independence for the former Spanish colonies\" approached. Several days after the incident, Venezuela's state-run television ran footage of Juan Carlos with Francisco Franco. The King was depicted as the dictator's lackey; but the fact that the Spanish Constitution of 1978, which preserved the monarchy, had been approved by a referendum, and the key role played by the King in putting down an attempted military coup in 1981, were not mentioned.\nThe King's outburst received divided reactions from other leaders. Brazil's President Luiz Inácio Lula da Silva defended Chávez, while Peru's and El Salvador's presidents Alan García and Antonio Saca supported the King.", "Zapatero said he did not realize what an influential moment it had been until he returned home and his eldest daughter greeted him with \"¿Por qué no te callas?\", which made them both laugh.\nThe King's phrase gained cult slogan status, ringing from mobile phones; appearing on T-shirts; and being used as a greeting. The domain, porquenotecallas.com, had reached US$4,600 on eBay as of 16 November 2007. The phrase became a YouTube sensation overnight and a song was written to a traditional tune. The phrase spawned countless media articles, jokes, songs and video clips, and in Spain an estimated 500,000 people downloaded the phrase as a ringtone, generating €1.5 million (US$2 million) in sales as of November 2007. As of 14 November 2007, Google generated 665,000 webhits on the phrase and YouTube had 610 videos. Entrepreneurs in Florida and Texas put the slogan on T-shirts, and marketed them on eBay and elsewhere; the phrase became a greeting among Venezuelan expats in Miami and Spain and a slogan for Chávez opponents.\nLess than 24 hours after the event, the king's words were used by sports commentators during the radio transmission of Spanish language football games to describe controversial events. A contest for the best audiovisual depiction of the event was announced in Spain. The Cincinnati Enquirer editorial page suggested that the phrase would have the power to change the course of history, as has been credited to Ronald Reagan's, \"Mr. Gorbachev, tear down this wall!\"\nThe Los Angeles Times said \"the Spanish-speaking world can hardly stop talking about [the incident]\", which provided \"fodder for satirists from Mexico City to Madrid\". An editor for the Washington Post noted the \"Spanish-speaking world has been abuzz about [this] verbal slapdown\" and suggested that King Juan Carlos \"should have asked the assembled heads of state: 'Why don't you speak up?'\" The reaction was apparent \"in newspaper headlines, cable television and on YouTube. His phrase was reproduced on T-shirts, and cellphone ring tones. In Mexico City, the dust-up became a satirical skit, \"El Chabo del 8\". In El Salvador's capital, the phrase became a playful greeting.\" In Australia The Sydney Morning Herald reported the King could earn a multimillion-euro business if he claimed rights over the phrase, which generated a Benny Hill Show-style skit and a Nike ad, \"Juan do it. Just shut up\", with the Brazilian football star, Ronaldinho. Canada's CBC News said an actor's voice was used to mimic the king's voice in the ringtone to avoid legal problems over the use of the phrase, which also generated sales of coffee mugs.\nProtesters against the Chávez government adopted the phrase as their slogan; T-shirts in Venezuela had the slogan with the \"no\" in capital letters, representing a call to vote against amendments in the December 2007 constitutional referendum and the phrase was used as a taunt when more than 100,000 marched in protest against Chávez's proposed constitutional changes.", "", "One week after the event, The Wall Street Journal wrote that King Abdullah of Saudi Arabia delivered Chávez's second rebuke from a king in one week, when he reminded Chávez that oil should not be used as a tool for conflict. The remarks came minutes after Chávez called for OPEC to \"assert itself as an active political agent\" at the OPEC summit in Saudi Arabia's capital, Riyadh. In a followup at the OPEC summit, Reuters wrote that \"Spain's king cannot shut Chavez up but bladder can\", and that Chávez said to a throng of reporters at the OPEC summit, \"For a while now, I have needed to go to the bathroom and I am going to pee ... Do you want me to pee on you?\"\nTwo weeks after the event, Chile's President Michelle Bachelet revealed that she had politely requested that Chávez abstain from making some statements at the summit, indicating frankly that she felt \"let down\" by the subsequent discussions at the OPEC meeting, considering the effect that the price of oil has on countries like Chile. Also just weeks after the incident, Chávez was \"accused of breaking a protocol accord\" with Colombia's President Álvaro Uribe and \"exhaust[ing] his Colombian counterpart's patience by speaking out of turn once too often\", formally ending Chávez's mediation in hostage negotiations with the Colombian Revolutionary Armed Forces of Colombia (FARC) guerrilla group.\nIn Argentina, a television program called Por qué no te callas began broadcasting on 6 December 2007.", "The phrase was seen at the 2010 FIFA World Cup when a Spanish fan raised a scarf bearing the slogan. In 2013, Infobae named the incident among those most noted to have captured public attention in the history of the Ibero-American Summit. Entorno Inteligente invoked the phrase in 2014, paying homage to Spain for the \"immortal lexicon\", and referring to Venezuelan politician Nicolás Maduro as in-maduro (a play on the Spanish word immature). A 2020 Spanish newspaper characterized the incident as one of the 20 most memorable televised moments of Juan Carlos.\nA 2017 journal paper used the incident as an example of the definition of intensification as a \"pragmatic strategy that contributes to the rhetorico–argumentative aspect reinforcing what has been said or the speaker's or somebody else's point of view\". A study published in 2019 in the journal Normas about the expression of courtesy in language remarked that neither party had measured the impact their words would have during the summit.", "According to Fundéu BBVA, the Urgent Spanish Foundation, and the director of the Chilean Academy of the Spanish language, the phrase uttered by the King, given the situation under which it was said, should be written with exclamation marks instead of question marks: ¡Por qué no te callas! Alternatively, it could be written using a combination of both exclamation and question marks (the interrobang): ¡¿Por qué no te callas?! or ¿¡Por qué no te callas!?", "Shut up\nSpain–Venezuela relations", "\"Shut up, Spain king tells Chavez\". BBC. 10 November 2007. Archived from the original on 11 November 2007. Retrieved 9 November 2007.\nPadgett, Tim (12 November 2007). \"Behind the King's Rebuke to Chávez\". Time. Archived from the original on 15 November 2007. Retrieved 14 November 2007.\n\"El Rey Don Juan Carlos a Hugo Chávez: \"¿Por qué no te callas?\"\" (in Spanish). Antena 3. 11 November 2007. Archived from the original on 12 November 2007. Retrieved 11 November 2007.\nTabar, Carmen (10 November 2007). \"Nunca se había visto al Rey tan enfadado en público\". El Periódico de Catalunya. Archived from the original on 8 December 2008. Retrieved 10 November 2007.\n\"El 'annus horribilis' del Rey Juan Carlos\" (in Spanish). La Nación (Chile). 15 November 2007. Archived from the original on 6 December 2012. Retrieved 17 February 2008.\nRomero, Simon (25 November 2007). \"When a Mother Country Tells Its Kid, 'Shut Up'\". The New York Times. Archived from the original on 15 December 2007. Retrieved 26 February 2008.\nPeregil, Francisco (15 November 2007). \"Chávez carga contra el Rey y avisa de que revisará las relaciones con España\". El País (in Spanish). Archived from the original on 25 July 2008. Retrieved 15 November 2007.\n\"Moratinos afirma que \"lo último que debe hacerse\" es llamar al embajador a consultas\". El País (in Spanish). 15 November 2007. Archived from the original on 16 October 2008. Retrieved 15 November 2007.\n\"Chávez Threatens to Reconsider Venezuela's Ties With Spain\". The New York Times. Reuters. 15 November 2007. Archived from the original on 1 November 2014. Retrieved 16 November 2007.\nCrawford, Leslie Crawford (15 November 2007). \"Juan Carlos' words conquer the net\". Financial Times. MSNBC. Archived from the original on 17 November 2007. Retrieved 16 November 2007.\nKraul, Chris (17 November 2007). \"King's words to Chavez start a battle royal\". Los Angeles Times. Archived from the original on 6 February 2008. Retrieved 17 November 2007.\n(in Spanish) Hermoso, Borja. \"Aznar a Zapatero: \"Tú eres el presidente, me llamas cuando quieras\"\". El País. 13 November 2007. Archived from the original on 20 May 2011. El País, 13 November 2007. . Retrieved 15 November 2007.\n\"Regal 'Shut Up' Becomes a Cult Ringtone\". cellular-news.com. 16 November 2007. Archived from the original on 17 November 2007. Retrieved 16 November 2007.\nCorral, Oscar (13 November 2007). \"Spanish king's retort to Chávez strikes chord\". The Seattle Times. Archived from the original on 22 November 2007. Retrieved 16 November 2007.\nSanchez, Marcela (16 November 2007). \"'Why Don't You Shut Up?' Chavez's antagonistic antics have their limit\". The Washington Post. Archived from the original on 20 August 2011. Retrieved 16 November 2007.\n'Shut up' Chavez is ringtone hit. Archived 21 November 2007 at the Wayback Machine BBC News, 19 November 2007. . Retrieved 19 November 2007.\n(in Spanish) Ahora nadie se calla. Archived 16 November 2007 at the Wayback Machine BBC Mundo, 14 November 2007. . Retrieved 15 November 2007.\nViewpoints: Chavez and King row. BBC News, 16 November 2007. Retrieved 17 November 2007.\n\"Tono de la frase \"¿por qué no te callas?\" arrasa en politonías de celulares\". El Universal (in Spanish). 16 November 2007. Archived from the original on 24 September 2009. Retrieved 16 November 2007.\nCooklis, Ray (23 November 2007). \"Royal message to petty dictator: Just shut up\". The Cincinnati Enquirer. Cincinnati, Ohio: Gannett Company. p. 8B. Archived from the original on 26 October 2008. Retrieved 23 November 2007. History provides us with many examples of famous catch-phrases – the right words, uttered at just the right time – that have shown the power to change the course of events: ... Reagan's 'Mr. Gorbachev, tear down this wall.' Someday soon, we may be able to add to this list the blunt suggestion, already a hot Internet buzz-phrase and cell-phone ring tone, by an exasperated King Juan Carlos I to Venezuelan President Hugo Chávez during a recent summit in Chile: \"Why don't you shut up?\"\nDiehl, Jackson (19 November 2007). \"Chávez and the King\". The Washington Post. p. A17. Retrieved 10 November 2007. \nJackson Diehl, \"Silencing Venezuela's President a Royal Task\", 21 November 2007, syndicated in the Albuquerque Journal, p. A9.\n\"Royal outburst now a nasty little earner\". Sydney Morning Herald. 20 November 2007. Archived from the original on 20 November 2007. Retrieved 20 November 2007.\n\"'King of Spain' tells half a million callers to 'shut up': New, insulting ringtone a smash hit in Spain\". CBC News. 19 November 2007. Archived from the original on 22 November 2007. Retrieved 20 November 2007.\n\"NBC News – Breaking News & Top Stories – Latest World, US & Local News\". newsvine.com. Archived from the original on 26 October 2017. Retrieved 7 May 2018.\nStrange, Hannah (30 November 2007). \"100,000 march against Hugo Chavez reforms\". The Times. London. Archived from the original on 6 July 2008. Retrieved 30 November 2007.\n\"Chavez's OPEC Speech Spurs Rebuke From Saudi King\". The Wall Street Journal. 17 November 2007. Archived from the original on 7 May 2018. Retrieved 20 November 2007.\n\"Spain's king cannot shut Chavez up but bladder can\". Reuters. 19 November 2007. Archived from the original on 21 November 2007. Retrieved 20 November 2007.\n\"Bachelet also asked Chavez, (politely) to shut up\". MercoPress. 23 November 2007. Archived from the original on 27 November 2007. Retrieved 23 November 2007.\nHudson, Saul (22 November 2007). \"Colombian mediation failure hurts talkative Chavez\". Reuters. Retrieved 23 November 2007.\n\"El \"¿por qué no te callas?\" del rey Juan Carlos I, en la TV argentina\". La Flecha (in Spanish). 5 December 2007. Archived from the original on 7 December 2007. Retrieved 12 January 2008.\n\"Frase \"¿Por qué no te callas?\" aparece en el España – Honduras\" [The phrase \"¿Por qué no te callas?\" appears in the España – Honduras match]. El Universal. 21 June 2010. Archived from the original on 24 June 2010.\n\"Cumbre de papelones: del \"¿por qué no te callas?\" al intercambio de corbatas entre Aznar y Fidel\" [Paper summit: from \"why don't you shut up?\" to the exchange of ties between Aznar and Fidel] (in Spanish). infobae. 18 October 2013. Archived from the original on 24 October 2013. Retrieved 14 November 2013.\n\"¿Por qué no te callas, in−Maduro?\" (in Spanish). Entorno Inteligente. 2 November 2013. Archived from the original on 14 July 2014. Retrieved 14 November 2013.\n\"Del '¿Por qué no te callas?' al 'Me he equivocado': los momentazos televisivos más recordados de Juan Carlos I\" [From '¿Por qué no te callas?' to 'Me he equivocado': the most memorable televised moments of Juan Carlos I]. El periodico (in Spanish). 8 April 2020. Retrieved 11 November 2020.\nAntonio Briz (December 2017). \"Otra vez sobre las funciones de la intensificación en la conversación coloquial\" [Once again on the functions of intensification in colloquial conversation]. Boletín de filología (in Spanish). 52 (2): 37–58. doi:10.4067/S0718-93032017000200037.\nImelda Pricila Rodríguez Andrade (1 December 2019). \"Lo cortés no quita lo valiente, un estudio del uso de la cortesía en Quito and Salamanca\" [Politeness does not detract from bravery, a study of the expression of courtesy in Salamanca and Quito] (PDF). Normas (in Spanish). 9 (1): 175–94. doi:10.7203/Normas.v9i1.15153.\n\"¡Por qué no te callas!\". Fundéu (in Spanish). Archived from the original on 16 December 2009. Retrieved 20 November 2007.\n\"En chileno la frase del rey Juan Carlos sería: ¡por qué no te callái vo!\". Las Últimas Noticias (in Spanish). 19 November 2007. Archived from the original on 21 November 2007. Retrieved 20 November 2007.", "Youtube video of the incident (English subtitles)" ]

[ "¿Por qué no te callas?", "Incident", "Reaction", "Popularity of phrase", "Aftermath", "Immediate", "Enduring", "Alternative forms", "See also", "References", "External links" ]

[ 356 ]

[ 2815, 2816, 2817, 2818, 2819, 2820, 2821, 2822, 2823, 2824, 2825, 2826, 2827, 2828, 2829, 2830, 2831, 2832, 2833, 2834, 2835, 2836, 2837, 2838, 2839, 2840, 2841, 2842, 2843, 2844, 2845, 2846, 2847, 2848, 2849, 2850, 2851, 2852, 2853, 2854, 2855, 2856, 2857, 2858, 2859 ]

[ "Former Rhodia textile factory" ]

[ 0 ]

[ "https://upload.wikimedia.org/wikipedia/commons/d/dd/Citadelle_de_Besan%C3%A7on_7.jpg" ]

[ "À bientôt, j'espère (literally translates as Until soon, I hope) is a 1968 French documentary film directed by Chris Marker and Mario Marret. It tells the story of a strike action at the Rhodiaceta textile factory in Besançon in March 1967. The film was shot in black and white, with photography by Pierre Lhomme.", "" ]

[ "À bientôt, j'espère", "External links" ]

[ 357 ]

[]

[ "", "The second version of cover art for \"À cause de l'automne\" was released along the release of the official music video.", "The song was inspired by the autumn." ]

[ 0, 0, 1 ]

[ "https://upload.wikimedia.org/wikipedia/en/a/ad/Aliz%C3%A9e_-_A_cause_de_l%27automne_-_cover_art.jpg", "https://upload.wikimedia.org/wikipedia/en/9/94/Aliz%C3%A9e_-_A_cause_de_l%27automne_-_cover_art_version_2.jpg", "https://upload.wikimedia.org/wikipedia/commons/b/be/New_hampshire_in_autumn.jpg" ]

[ "\"À cause de l'automne\" (English: \"because of autumn \") is the first single from the French recording artist Alizée's album 5. The single was pre-released on 28 June 2012 at 17:00 French time (CET) directly on Alizée's official website. The single was released on French iTunes and French Amazon.fr on 4 July 2012, and also on iTunes and in e-music stores around the world. Some download platforms list 6 July 2012 as the release date. The first public performance of the song was on RFM radio on 21 December 2012 where she sang the song in a live broadcast.\nOn October 6, 2018 a cover version by Lowrence Fitz was released.", "The original song was in English and titled Never Again and was written by Pete Russell, a British songwriter based in Liverpool. The original song came from DWB Music and when accepted by Sony Music Entertainment for Alizée's new single, Sony had the lyrics re-written by Thomas Boulard in French with the new title but retaining the original music.", "The pre-release of the single was divided in four phases, announced by Alizée. First, a video was released on Jive Epic's YouTube channel, with Alizée herself on the video in the studio. The second phase was to release video on Dailymotion channel announcing \"Live Chat\" with Alizée. Questions to Alizée were possible to send via e-mail, Facebook and Twitter. Third phase was announcement during \"Live Chat\" of the release of the single on the following day (28 June 2012). Fourth phase was the actual pre-release, exclusively for those who subscribed to the newsletter on Alizée's official website. The final release in France was 4 July 2012 on iTunes.\nOn the day after the pre-release, the cover art was revealed on Instagram and soon afterwards in various social media sites, also announcing the world-wide release of the single during the course of the following week.", "The first music video was shot on 15 July 2012 in Corsica, directed by Laurent Darmon. On 18 September, the music video was leaked out through PS3 VidZone. The following day, Jive Epic announced on Twitter that the leaked video is not the \"official clip\" of the song and that the official video would be released in late October. Jive Epic and SME removed the original music video from all their streaming websites.\nIn mid-October 2012, Sony announced that the second video will be filmed during early November. The new version of the music video was finally filmed on 30 October 2012 in Paris. The video was directed by Arnaud Delord, the producer was Léo Hinstin and Alizée's make-up was done by Bilitis Poirier. Originally scheduled to be launched on 6 December, the music video was released on Alizée's VEVO YouTube channel on 5 December 2012.", "The song received positive feedback from foreign radio stations worldwide.", "", "\"Alizée Art - The writer of À cause de l'automne is Thomas Boulard\". Retrieved 2012-09-04.\n\"Single A cause de l'automne (2012-06-28)\". Alizee-forum.com. Retrieved 2012-06-29.\n\"Alizée Art - Alizée at radio RFM – singing live A cause de l'automne\". Retrieved 2012-12-21.\n\"Alizée Art - Featured: Pete Russell - The composer of À cause de l'automne\". Retrieved 2012-08-19.\n\"DVB Music News\".\nhttps://www.youtube.com/watch?v=kJbtBm2_5mg>\nhttp://www.dailymotion.com/video/xrqxol_alizee-a-un-message-pour-vous_music?search_algo=1>\nhttp://www.dailymotion.com/video/xrt218_alizee-a-un-message-pour-vous-rec_music?search_algo=1>\nhttp://www.dailymotion.com/video/xrtjpe_alizee-nouveau-single-a-decouvrir-en-exclu_music?search_algo=1>\n\"Alizée Art - Music video of À cause de l'automne was shot today\". Retrieved 2012-08-19.\n\"Alizée Art - Jive Epic denies existence of the clip\". Retrieved 2012-09-20.\n\"Jive Epic on Twitter\". Retrieved 2012-09-20.\n\"Jive Epic on Twitter\". Retrieved 2012-09-20.\n\"More information about the album and the single\". Retrieved 2012-10-17.\n\"Filming the new music video\". Retrieved 2012-10-17.\n\"Francophonie Diffusion • Radio stations comments • ALIZÉE\". Francophonie Diffusion. Retrieved 2012-11-09.\n\"Alizée dévoile son nouveau single \"A cause de l'automne\"\".\n\"RFM\".\nTop 100 Singles week of 1.20.08-26.1.08\n\"Francophonie Diffusion • French International Music Download Charts\". Francodiff.org. Retrieved 2012-11-09.\n\"Основные параметры ротации трека на радиостанциях, работающих в системе\". Tophit.ru. 2012-08-16. Retrieved 2012-11-09." ]

[ "À cause de l'automne", "Composition", "Release", "Music video", "Reception", "Charts", "References" ]

[ 358 ]

[ 2860, 2861, 2862, 2863, 2864, 2865, 2866, 2867, 2868 ]

[ "Veal cutlet à la Maréchale" ]

[ 0 ]

[ "https://upload.wikimedia.org/wikipedia/commons/f/f6/Veal_cutlet_Marechale.jpg" ]

[ "À la Maréchale (\"marshal-style\" in French) is a method of food preparation in haute cuisine. Dishes à la Maréchale are made from tender pieces of meat, such as cutlets, escalopes, supremes, sweetbreads, or fish, which are treated à l'anglaise (\"English-style\"), i.e. coated with eggs and bread crumbs, and sautéed.", "The dish is known since the 18th century at least. It is speculated that it could be associated with the Maréchale de Luxembourg (1707-1787), the wife of Charles-François-Frédéric de Montmorency-Luxembourg (1702–1764) and a major society hostess. According to food historian William Pokhlyobkin, the dish had to be so tender that \"even a marshal (a synonym of an elder, satiated and toothless man) could eat it.\"\nNumerous varieties of such dishes are described in 19th-century cookbooks. Various sorts of meat, poultry and fish prepared à la Maréchale are found e.g. in the works by André Viard, Antoine Beauvilliers, Louis Eustache Ude, Marie-Antoine Carême, Jules Gouffé, Alexis Soyer, Charles Elmé Francatelli, Urbain Dubois and Charles Ranhofer. Some books included stuffed versions, such as \"rabbit à la Maréchale\" filled with duxelles and \"fowl fillet à la Maréchale\" stuffed with truffles and herbs or with herbs and forcemeat.\nAfter the victory over Napoleon in 1814, dishes à la Maréchale were introduced to Russia. Rather elaborate varieties, usually involving hazel grouse fillets, are found in several classical Russian cookbooks. One of the first such books, The Last Work by Gerasim Stepanov, proposes to combine hazel grouse fillets and veal liver. Elena Molokhovets' A Gift to Young Housewives, the most successful Russian cookbook of the 19th century, has included since its first edition in 1861 a recipe for \"hazel grouse à la Maréchale\" stuffed with Madeira sauce with portobello mushrooms and truffles. A similar variety of \"game cutlets à la maréchale\" with a quenelle and truffle stuffing is described in the textbook The Practical Fundamentals of the Cookery Art by Pelageya Alexandrova-Ignatieva published in the beginning of the 20th century.\nIn the Soviet times, the book Apportionments for dinners, separate dishes and other products of public catering (1928), which served as a standard reference for Soviet catering establishments, demanded renaming of many traditional restaurant dishes to replace the (mostly French-style) \"bourgeoise\" names with simple \"proletarian\" forms. This program was not realised immediately (at least not completely), and its successor, The Directory of Apportionments for Catering (1940), published by the Soviet Ministry of Food Industry, still included chicken and game fillets à la Maréchale stuffed with milk sauce and portobello mushrooms. The major Soviet cookbooks published after WWII, such as Cookery (1955) or Directory of Recipes and Culinary Products for Catering, included the same recipe but named it simply \"chicken or game cutlet stuffed with milk sauce\" and added a similar \"chicken or game cutlet stuffed with liver\". As a result, the term à la Maréchale disappeared from menus of Soviet restaurants.\nAugust Escoffier notes in Le Guide Culinaire that the commonly used \"English-style\" coating in these dishes is an economical substitute for the original treatment with chopped truffles. While chicken suprême and cervelle de veau are prepared this way, other dishes à la Maréchale in his guide, such as tournedos and foie gras collops, include truffles. A garnish of truffles and green asparagus tips is nowadays common for dishes à la Maréchale.", "Dishes à la Maréchale are occasionally mentioned in Russian literature as a prime example of an \"aristocratic\" dish of high-level cuisine. In Anton Chekhov's story Peasants, Nikolay Tchikildyeev, a former hotel waiter, and a cook discussed\n...the dishes that were prepared in the old days for the gentry. They talked of rissoles, cutlets, various soups and sauces, and the cook, who remembered everything very well, mentioned dishes that are no longer served. There was one, for instance -- a dish made of bulls' eyes, which was called \"waking up in the morning.\" \"And used you to do cutlets à la maréchal?\" asked Nikolay. \"No.\" Nikolay shook his head reproachfully and said: \"Tut, tut! You were not much of a cook!\"\nIn his mémoires, Alexander Martynov, a colonel of the Russian tsarist secret police Okhranka, recalls the assassination of the Russian prime minister Pyotr Stolypin by the anarchist revolutionary Dmitry Bogrov 1911. A year before, Bogrov wrote a phrase in a letter, which later became frequently cited, that he had \"no interest in life. Nothing except an endless row of cutlets to be eaten.\" \"In reality\", Martynov commented, \"the meaning of life for Bogrov was that these cutlets should be à la Maréchale.\"", "Alexandrova-Ignatieva noted that côtelette de volaille (the precursor of chicken Kiev) is prepared like game cutlets à la Maréchale, with chicken used instead of hazel grouse. The same is stated in another Russian cookbook published at the same time which gives basically the same recipes for côtelette de volaille and côtelette à la Maréchale and notes that the only difference between them is that the former are made of chicken while the latter are made of game, such as grouse, blackcock, etc.", "Breaded cutlet\nCachopo\nCordon bleu\nKarađorđeva šnicla", "Escoffier (1907), p. 512.\nMontagné (1938), p. 666.\nSupertoinette. \"À la Maréchale se dit de petites pièces de boucherie (côtes ou noisettes d'agneau, escalopes ou côtes de veau, ris de veau, suprêmes de volaille) panées à l'anglaise et sautées.\"\nPokhlyobkin (2006), Марешаль.\nChevallier (2009), 18th CENTURY RECIPE: A meal for Marie-Antioinette - Fowl wings à la Maréchale.\nViard (1806), p. 235: Filets de lapereaux à la Maréchale; 281: Ailerons de Dindon farcis à la Maréchale; 296; Filets de Poularde à la Maréchale.\nBeauvilliers (1814), p. 323 (English: 142): Poularde à la Maréchale; 329 (English: 145): Wings of Fowls with Endive - Ailes de Poulardes à la Maréchale.\nUde (1815), p. 141: Les Filets Mignons à la Maréchale; 190: Côtelettes de Filets de Poularde à la Maréchale; 208: Fillets of chicken à la Maréchale; 282: Cutlets of pigeons à la Maréchale.\nCarême, Plumerey & Fayot (1847), p. 119: Filets de poulets à la Maréchale; 145: Filets de pigeons à la Maréchale; 167: Filets de lapereaux à la Maréchale; 202: Filets de chevreuil à la Maréchale; 244: Filets de perdreaux à la Maréchale; 382: Filets de grondins à la Maréchale; 396: Filets d’esturgeon à la Maréchale.\nGouffé (1867), p. 352: Broiled sweetbreads à la Maréchale; 405: Roebuck cutlets à la Maréchale. Pages given for 1869 English translation.\nSoyer (1849), p. 220: 532. Petits Poussins à la Maréchal.\nFrancatelli (1859), p. 145: 404. Turbot à la Maréchale; 149: 417. Salmon à la Maréchale; 164: 471. Soles à la Maréchale; 169: 488. Fillets of whitings à la Maréchale; 514: Fillets of brill à la Maréchale; 312: 911. Scollops of sweetbreads, à la Maréchale; 337: 996. Fillets of fowls, à la Maréchale; 357: 1060. Rabbit, à la Maréchale; 366: 1089. Cutlets of partridges à la maitre d'hotel mentions that the cutlets can also be dressed à la Maréchale.\nDubois (1868), p. 178: 976. Filets de poulets, à la Maréchale.\nRanhofer (1894), (1848). Chicken Fillets Or Breasts A La Marechale (Filets Ou Ailes De Poulet A La Marechale).\nFrancatelli (1859), p. 357: 1060. Rabbit, à la Maréchale.\nCarême, Plumerey & Fayot (1847), p. 119: Filets de poulets à la Maréchale.\nFrancatelli (1859), p. 337: 996. Fillets of fowls, à la Maréchale.\nStepanov (1851), p. 6 (chapter 2). 5. Соус филеи марешаль на большом хрустате\nMolokhovets (1861), 495. Марешаль из рябчиков; (1113. Марешаль из рябчиков in the 1901 edition; 863. Hazel grouse a la Maréchale in the English translation).\nAlexandrova-Ignatieva (1909), p. 415. Котлеты марешаль из дичи\nApportionments (1928), pp. 96-97.\nApportionments (1940), p. 568.\nCookery (1955), p. 443, 1146. Котлета из филе курицы, фаршированная молочным соусом, 1147. Котлета из филе курицы, фаршированная печенкой.\nDRC (1980), p. 311, 719. Котлеты из филе птицы или дичи, фаршированные печенью.\nEscoffier (1907), p. 429. 1293 Cervelle à la Maréchale\nEscoffier (1907), p. 370. 1104. Tournedos Maréchale\nEscoffier (1907), p. 552. 1738 Escalopes de foie gras Maréchale\nRenold (2012), p. 217. Suprême de volaille à la Maréchale\nChekhov (1897).\nMartynov (1938), editorial footnote 150. \"Нет никакого интереса к жизни. Ничего, кроме бесконечного ряда котлет, которые мне предстоит скушать в жизни…\". Letter from December 13, 1910.\nMushin (1914).\nMartynov (1938), p. 63.\nAlexandrova-Ignatieva (1909), p. 425. Côtelettes de volaille\nMaslov (1911), p. 220.", "Пелагея Павловна Александрова-Игнатьева (1909). Практические основы кулинарного искусства. Санкт-Петербург. [Pelageya Alexandrova-Ignatieva (1909). The Practical Fundamentals of the Cookery Art (in Russian). St. Petersburg.]\nПродуктовые нормы обедов, отдельных блюд и прочих изделий общественных столовых (раскладки). Москва: паевое товарищество \"Нарпит\". 1928. [Ration standards (apportionments) for dinners, separate dishes and other products of public catering (in Russian). Moscow: Narpit (state organisation for public catering). 1928.]\nНаучно-исследовательский институт торговли и общественного питания (1940). Сборник раскладок для предприятий общественного питания. Москва: Госторгиздат. [Research Institute of Trade and Catering of the Ministry of Trade of the USSR (1940). Directory of Apportionments for Catering (in Russian). Moscow: Gostorgizdat (publishing house of the State Ministry of Trade).]\nAntoine Beauvilliers (1814). L'art du cuisinier (in French). 1. Paris: Pilet. [English translation: Antoine Beauvilliers (1827). The Art of French Cookery. Longman.]\nMarie Antonin Carême; Armand Plumerey; Charles Frédéric Alfred Fayot (1847). L'art de la cuisine française au dix-neuviême siêcle : traité élémentaire et pratique (in French). 4. Entrées chaudes. Work completed after Carême's death by Armand Plumerey.\nАнтон Павлович Чехов (1897). Мужики (in Russian). [Anton Chekhov (1897). Peasants. Translated by Constance Garnett.]\nJim Chevallier (2009). Apres Moi, Le Dessert. 2. ISBN 978-1-44148-954-8.\nКулинария. Москва: Госторгиздат. 1955. [Cookery (in Russian). Moscow: Gostorgizdat (publishing house of the State Ministry of Trade). 1955–58.]\nНаучно-исследовательский институт торговли и общественного питания (1980). Сборник рецептур блюд и кулинарных изделий для предприятий общественного питания. Москва: Госторгиздат. [Research Institute of Trade and Catering of the Ministry of Trade of the USSR (1980). Directory of Recipes and Coolinary Products for Catering (in Russian). Moscow: Gostorgizdat (publishing house of the State Ministry of Trade).]\nUrbain Dubois (1868). La cuisine classique: études pratiques, raisonnées et démonstratives de l'Ecole française appliquée au service à la russe (in French) (3 ed.). E. Dentu.\nAuguste Escoffier (1907). A Guide to Modern Cookery. London: W. Heinemann.\nCharles Elmé Francatelli (1859). The Modern Cook. reprinted by Applewood Books, 2008. ISBN 9781429012102.\nJules Gouffé (1867). Le livre de cuisine (in French). [English translation: Jules Gouffé (1869). The royal cookery book. Low & Marston.]\nAlexander Martynov (1972) [1938]. My Service in the Special Corps of Gendarmes. Stanford: Hoover Institution Press.\nН. Н. Маслов (1911). Кулинар. Санкт-Петербург: В. И. Губинский. [N. N. Maslov (1911). The Cook (in Russian). St. Petersburg: V. I. Gubinsky.]\nЕлена Молоховец (1861). Подарок молодым хозяйкам (in Russian). Санкт-Петербург. A Gift to Young Housewives, English translation: Joyce Stetson Toomre (1998). Classic Russian Cooking: Elena Molokhovets' a Gift to Young Housewives. Indiana University Press. ISBN 9780253212108.\nProsper Montagné (1938). Larousse Gastronomique (in French). Paris: Librarie Larousse.\nА. Мушин (1914). Дмитрий Богров и убийство Столыпина. Париж. p. 123. [A. Mushin (1914). Dmitry Bogrov and the murder of Stolypin (in Russian). Paris. p. 123.]\nВильям Похлебкин (2006). Кулинарный словарь. Москва: Центрполиграф. ISBN 5-227-00460-9. [William Pokhlyobkin (2006). Dictionary of Cookery (in Russian). Moscow: Centrpoligraf.]\nCharles Ranhofer (1894). The Epicurean, a Complete Treatise of Analytical and Practical Studies on the Culinary Art.\nEdward Renold, David Foskett, John Fuller (2012). Chef's Compendium of Professional Recipes. Routledge. ISBN 9781136078620.\nSoyer, Alexis (1849). The Gastronomic Regeneration: A Simplified and Entirely New System of Cookery with Nearly Two Thousand Practical Receipts. Simpkin, Marshall & Company.\nГерасим Степанов (1851). Последний труд слепца-старца Герасима Степанова. Москва. [Gerasim Stepanov (1851). The last work (in Russian). Moscow.]\n\"Maréchale (à la)\". La glosssaire des termes de cuisine (in French). Supertoinette.com.\nLouis Eustache Ude (1815). The French Cook, Or, The Art of Cookery: Developed in All Its Branches. Published by the author.\nAndré Viard (1806). Le Cuisinier Impérial. Paris: J.-N. Barba." ]

[ "À la Maréchale", "History and varieties", "Cultural references", "Related dishes", "See also", "References and notes", "Sources" ]

[ 359 ]

[ 2869, 2870, 2871, 2872, 2873, 2874, 2875, 2876, 2877, 2878, 2879, 2880, 2881, 2882, 2883, 2884, 2885, 2886, 2887, 2888, 2889, 2890, 2891, 2892, 2893, 2894, 2895, 2896, 2897, 2898, 2899, 2900, 2901 ]

[ "", "Interior" ]

[ 0, 2 ]

[ "https://upload.wikimedia.org/wikipedia/commons/e/e2/A_la_Mort_Subite_01.JPG", "https://upload.wikimedia.org/wikipedia/commons/8/8a/Bruxelles_rue_Montagne-aux-Herbes-Potag%C3%A8res_7_901.jpg" ]

[ "À la Mort Subite is a typical Brussels café, located at Rue Montagne-aux-Herbes Potagères 7, which was originally run by Théophile Vossen, the inventor of Mort Subite beer. It is known for its authentic early-20th-century decor. The café is still run by the Vossen family but the beer is now produced by the Mort Subite brewery, a subsidiary of Alken-Maes, itself a subsidiary of Heineken. The café has been designated as a heritage site since September 17, 1998.\nTom Hooper's movie The Danish Girl, with Matthias Schoenaerts, was partly filmed there.", "The name Mort Subite comes from a dice game or a card game: the pitjesbak (ancestor of the 421 game) played in a Brussels bistro named \"La Cour Royale\" which stood at the corner of Rue de la Montagne and Rue d'Assaut. \"La Cour Royale\" was already there in the 1840s. At this time owned by a certain Mr Gérard, it was home of the Société des Droits et Devoirs de l'Ouvrier from 1848 to 1849. This club was involved in the Prado Conspiracy in Molenbeek. This society quickly left the premises to meet at \"L'Ancienne Cour de Bruxelles\" in the Fontainas neighbourhood. At the beginning of the 20th century, \"La Cour Royale\" was taken over by Théophile Vossen. The establishment was renamed \"La Mort Subite\". Expropriated due to the work at the junction, in 1927 the café moved to Rue Montagne aux Herbes Potagères, officially taking the name \"À la Mort Subite\" in 1928. Théophile Vossen then gave the name \"Mort Subite\" to the beer (gueuze, faro, kriek) he was producing. The Mort Subite brewery was located on the Rue des Capucins (near the Rue Haute) in Brussels. The brewery De Keersmaeker took over the Mort Subite production in the 1960s. The beer is exported to many countries thanks to the fact that the De Keersmaeker brewery was taken over by an important malting group, Alken-Maes. The date, 1684, displayed on the bottles refers to the founding of the De Keersmaeker brewery, with its first brewer Joris Van Der Hasselt, even though the farmhouse of that name had existed since 1604. The brewery was renamed \"Mort Subite\", but the original date was retained on the label.\nRené and Jean-Pierre Vossen later took over the café, which is currently held by the fourth generation of Vossens.\nIn 2001, the first floor was refurbished and opened to customers.", "The building, originally the premises of a manufacturer of art bronzes, was transformed into a café in 1910 by Paul Hamesse. It has kept its typical Brussels decor. The main room is in Louis XVI style. The garland pilasters and mirrors are listed.", "Café-brasserie A la Mort Subite, \"Patrimoine protégé 17 septembre 1998, Rue Montagne aux Herbes Potagères 5-7\". Brussels Capital Region, 2016.\n\"La Mort Subite : vous connaissez ? | Bierissima\". bierissima.com. Archived from the original on 2020-10-22. \nPaul F. State, Historical Dictionary of Brussels (Scarecrow Press, 2004), p. 6.\nMort Subite, café la, in Dictionnaire d'Histoire de Bruxelles, Collection Dictionnaires, Éditions Proposon Bruxelles, 2013, pp. 569.\n\"Matthias Schoenaerts vous donne rendez-vous à Bruxelles\". www.cinetelerevue.be. Archived from the original on 2016-02-13. \n\"The Danish Girl à Bruxelles\".\nJacques Dubreucq, Bruxelles 1000 une Histoire Capitale, vol. 5, Bruxelles, A compte d'auteur, 1997, p. 345\nhttps://www.biere-import.com/304_brasserie-mort-subite\nVossen, in Dictionnaire d'Histoire de Bruxelles, Collection Dictionnaires, Éditions Proposon Bruxelles, 2013, p. 858.\nGilbert Delos, 101 bière à découvrir, Paris, Dunod, juin 2013\n\"A la Mort Subite - café - brasserie a la mort subite 1000 centre Bruxelles\".\n\"Longue vie à la Mort Subite\". 17 April 2001.\n\"Art Nouveau et Jugendstil. Courants artistiques et littéraires de 1880 à 1920: Brasseries et cafés VII : A la mort subite, Bruxelles\". 21 April 2012.", "Official website" ]

[ "À la Mort Subite", "History", "Interior decoration", "References", "External links" ]

[ 360 ]

[ 2902, 2903, 2904, 2905, 2906, 2907, 2908, 2909 ]

[ "Steak à la carte, with no side dish or garnish; these must be requested separately.", "" ]

[ 0, 0 ]

[ "https://upload.wikimedia.org/wikipedia/commons/6/6f/Steak_%C3%A0_la_carte.jpg", "https://upload.wikimedia.org/wikipedia/commons/a/a4/Floris_Claesz._van_Dyck_001.jpg" ]

[ "In restaurants, à la carte (/ɑːləˈkɑːrt/; lit. 'at the card') is the practice of ordering individual dishes from a menu in a restaurant, as opposed to table d'hôte, where a set menu is offered. It is an early 19th century loan from French meaning \"according to the menu\".\nThe individual dishes to be ordered may include side dishes, or the side dishes may be offered separately, in which case, they are also considered à la carte.", "The earliest examples of à la carte are from 1816 for the adjectival use (\"à la carte meal\", for example) and from 1821 for the adverbial use (\"meals were served à la carte\"). These pre-date the use of the word menu, which came into English in the 1830s.", "Omakase, Japanese expression for letting the chef decide\nTable d'hôte, the opposite of à la carte\nBuffet\nList of French words and phrases used by English speakers\nPro rata, a method of billing or other calculation based on proportional usage\n Business and economics portal\n Food portal", "\"A la carte\". Oxford English Dictionary (Online ed.). Oxford University Press. (Subscription or participating institution membership required.)\n\"Online Etymology Dictionary\". etymonline.com. Retrieved 2 May 2016.\nOxford English Dictionary\n\"à la carte – definition of à la carte in English from the Oxford dictionary\". oxforddictionaries.com. Retrieved 2 May 2016.\nRichard Bailey, Eating Words, Michigan Today, 13 May 2008. Archived 25 May 2008 at the Wayback Machine\n\"Menu\", The American Heritage Dictionary of the English Language, 4th edition, Houghton Mifflin", "Baraban, R.S.; Durocher, J.F. (2010). Successful Restaurant Design. John Wiley & Sons. pp. 17–18. ISBN 978-0-470-25075-4.\nCommittee on Nutrition Standards for Foods in Schools, Food and Nutrition Board, Institute of Medicine (2007). Nutrition Standards for Foods in Schools. National Academies Press. page 83.\nMosimann, Anton (1983). Cuisine à la carte. Macmillan Publishers Limited. 304 pages.", "" ]

[ "À la carte", "History", "See also", "References", "Bibliography", "External links" ]

[ 361, 362 ]

[ 2910, 2911, 2912, 2913 ]

[ "", "", "The provocative title of the controversial satirical journal La Lanterne published by Henri Rochefort from 1868 to 1876 might be inspired by the lamp posts used for lynching.[2]", "Joseph Foullon de Doué, the first victim of lynching \"à la lanterne\"" ]

[ 0, 0, 0, 1 ]

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[ "Lanterne is a French word designating a lantern or lamp post. The word, or the slogan \"À la lanterne!\" (in English: To the Lamp Post!) gained special meaning and status in Paris and France during the early phase of the French Revolution, from the summer of 1789. Lamp posts served as an instrument to mobs to perform extemporised lynchings and executions in the streets of Paris during the revolution when the people of Paris occasionally hanged officials and aristocrats from the lamp posts. The English equivalent would be \"String Them Up!\" (British) or \"Hang 'Em High!\"(American)\nLa Lanterne became a symbol of popular or street justice in revolutionary France. The slogan \"À la lanterne!\" is referred to in such emblematic songs as Ça Ira (\"les aristocrates à la lanterne!\" means \"aristocrats to the lamp-post!\" in this context). Journalist Camille Desmoulins, who had earlier practiced law, designated himself \"The Lantern Attorney.\" He wrote a pamphlet entitled (in translation) \"The Lamp Post Speaks to Parisians,\" in which \"la lantèrne\" tells the people, \"I've always been here. You could have been using me all along!\". As the revolutionary government became established, lamp posts were no longer needed as execution instruments, being replaced by the guillotine which became infamous in Paris during 1793–1794, though all major French cities had their own.\nHanging people from lamp posts ceased to be a part of Paris rebellions in the 19th Century. Though the tradition continued in symbolic form up to the twentieth and twenty-first centuries, via the ritual hanging in effigy of unpopular political figures during street protests.", "The first prominent victim of lynching \"à la lanterne\" was Joseph Foullon de Doué, an unpopular politician who replaced Jacques Necker as a Controller-General of Finances in 1789. On 22 July 1789, the mob attempted to hang him on a lamp post, however, after the rope broke, he was beheaded and radicals marched with his head on a pike through the streets. \"If [the people] are hungry, let them eat grass,\" he is said to have once proclaimed, although the claim is unsubstantiated. Because Foulon, an aristocrat administrator of the royal government, was in charge of the Paris markets. Foulon was known for his coldheartedness towards the needs of the common French people; he was suspected of controlling Paris' food supply and, thereby, keeping food prices unaffordable. So hated that he had even staged his own funeral to escape the people's wrath, the 74-year-old Foulon had spent years growing rich at his post while the poor starved. On 22 July 1789, he was captured by an angry Paris crowd, who stuffed Foulon's mouth with grass, then summarily hanged him from the boom of a lamp post at the Place de Grève, in front of the town hall (L'Hôtel de Ville). But the rope broke, and Foulon was hanged again and again before he was dropped to the ground and decapitated. His head, its mouth still full of grass, was placed on a pike—a long, sharpened, wooden pole—and paraded through the streets. Later that day Foulon's son-in-law, Louis Bénigne François Bertier de Sauvigny, was taken to the Place de Grève and hanged there, from the lamp post. De Sauvigny's severed head was placed on a pike of its own. Those bearing the pikes put the two severed heads together and chanted, \"Kiss Daddy!\" \nImmediately following the storming of the Bastille on 14 July 1789 two of the invalids (veteran soldiers) forming part of the garrison of the fortress were hanged in the Place de Grève, although it is not recorded whether lanternes were used for the purpose.\nParticularly the lamp post standing at the corner of the Place de Grève and the Rue de la Vannerie served as an improvised gallows. The reason for that was partly symbolic: the lantern was placed opposite the Hôtel de Ville (Paris City Hall), directly under the bust of Louis XIV, so that \"popular justice could take place right under the eyes of the king\".\nIn August 1789, journalist and politician Camille Desmoulins wrote his Discours de la lanterne aux Parisiens, a defense of lynchings in the streets of Paris. Desmoulins was nicknamed Procureur-général de la lanterne (Attorney-General of the Lamp-post).\nOn 21 October 1789, a hungry Parisian mob dragged François the Baker (Denis François) out of his shop and hanged him from a lamp post, apparently because he had no bread to sell. Street lynching, instigated by various factors, gradually became an effective tool for the ends of the Jacobins.\nOn 14 December 1790, the crowd hanged barrister Pascalis and chevalier de La Rochette from a lamp post in Aix-en-Provence. The advocates of street justice cried \"À la lanterne! À la lanterne!\" shortly before the lynching.\nOn 20 June 1792, a mob broke into the Tuileries and threatened the queen Marie Antoinette. Her lady-in-waiting Jeanne-Louise-Henriette Campan reported that in the crowd \"there was a model gallows, to which a dirty doll was suspended bearing the words \"Marie-Antoinette a la lanterne\" to represent her hanging\".", "In 1919, Max Pechstein, a German expressionist painter, created a poster for the magazine An die Lanterne (À la lanterne). The poster depicts, among other things, a man hanging from a rope on a lamp post.", "Roberts, Warren (2000). Jacques-Louis David and Jean-Louis Prieur, Revolutionary Artists: The Public, the Populace, and Images of the French Revolution. SUNY Press. p. 94. ISBN 9781438417493.\nThogmartin, Clyde (1998). The National Daily Press of France. Summa Publications, Inc. p. 66. ISBN 9781883479206.\nErwin, James L.; Fremont-Barnes, Gregory; et al. (2007). Encyclopedia of the Age of Political Revolutions and New Ideologies, 1760-1815. Greenwood Publishing Group. pp. 388–389. ISBN 9780313049514.\nRoberts, Warren (2010). Excelsior Editions: Place in History: Albany in the Age of Revolution, 1775-1825. SUNY Press. p. 183. ISBN 9781438433318.\nPressly, William Laurens (1999). The French Revolution As Blasphemy: Johan Zoffany's Paintings of the Massacre at Paris, August 10, 1792 (California studies in the history of art: Discovery Series – Volume 6). University of California Press. p. 65. ISBN 9780520211964.\nSchivelbusch, Wolfgang (1995). Disenchanted Night: The Industrialization of Light in the Nineteenth Century. University of California Press. p. 104. ISBN 9780520203549.\nCamille Desmoulins as \"Lantern Attorney\", L'Oeuvres Inédits de Camille Desmoulins and any reputable English-language source on The French Revolution.\n\"Nantes: un mannequin à l'effigie de Macron pendu, LREM dénonce un \"appel au meurtre\"\". Huffington Post.fr. 8 April 2019. Retrieved 17 September 2019.\nThompson, J. M., The French Revolution. Oxford, Basil Blackwell.1964\nRoberts, Warren. \"Images of Popular Violence in the French Revolution: Evidence for the Historian?\". A project of the Center for History & New Media, George Mason University and the Department of History, University of California, Los Angeles for the American Historical Review. Retrieved 14 July 2013.\nSimon Schama, page 404 Citizens: A Chronicle of the French Revolution, ISBN 0-670-81012-6\nGilchrist, John Thomas; Murray, William James (1971). The Press in the French Revolution: A Selection of Documents Taken from the Press of the Revolution for the Years 1789-1794. Ardent Media. p. 316.\nSchivelbusch (1995), p. 103\nKarmel, Alex (1972). Guillotine in the Wings: A New Look at the French Revolution and Its Relevance to America Today. McGraw-Hill. p. 177. ISBN 9780070333376.\nLord Brougham, Henry (1843). Historical Sketches of States Men who Flourished in the Time of George III. Charles Knight. p. 88.\nHayakawa, Riho (2003). \"L'assassinat du boulanger Denis François le 21 octobre 1789\". Annales Historiques de la Révolution Française (in French). 333: 1–19. doi:10.3406/ahrf.2003.2672.\nJones, Douglas (2012). \"Unnatural Politics\". Credenda/Agenda, Volume 13, Issue 6. Retrieved 13 July 2013.\nSutherland, D. M. G. (2009). Murder in Aubagne: Lynching, Law, and Justice During the French Revolution. Cambridge University Press. pp. 90–91. ISBN 9780521883047.\nCadbury, Deborah (2003). The Lost King of France: A True Story of Revolution, Revenge, and DNA. Macmillan. p. 63. ISBN 9781429971447.\nColvin, Sarah; Watanabe-O'Kelly, Helen (2009). Women and Death 2: Warlike Women in the German Literary and Cultural Imagination Since 1500. Camden House. p. 144. ISBN 9781571134004.", "Arasse, Daniel: La Guillotine et l’imaginaire de la Terreur, Paris, Flammarion, 1987. (in French)\nBertaud, Jean-Paul: La Presse et le pouvoir de Louis XIII à Napoléon Ier, Paris, Perrin, 2000. (in French)\nGueniffey, Patrice: La Politique de la terreur. Essai sur la violence révolutionnaire, 1789-1939, Paris, Fayard, 2000. (in French)\nKennedy, Emmet: A Cultural History of the French Revolution, New Haven, CT, Yale University Press, 1989\nRogers, Corwell B.: The Spirit of Revolution in 1789: A Study of Public Opinion as Revealed in Political Songs and Other Popular Literature at the Beginning of the French Revolution. Princeton, NJ, Princeton University Press, 1949", "Albigès, Luce-Marie. \"A la lanterne !\" (in French). L'Histoire par l'image. Retrieved 13 July 2013.\n This article incorporates text from a publication now in the public domain: Wood, James, ed. (1907). \"Lanterne, La\". The Nuttall Encyclopædia. London and New York: Frederick Warne." ]

[ "À la lanterne", "History", "Influences", "References", "Further reading", "External links" ]

[ 363, 364, 365, 366 ]

[ 2914, 2915, 2916, 2917, 2918, 2919, 2920, 2921, 2922, 2923, 2924, 2925, 2926, 2927, 2928, 2929, 2930, 2931, 2932 ]

[ "Frédéric Cazenave after Louis-Léopold Boilly, L'Optique (The Optical Viewer), c. 1793, etching and wash manner, inked à la poupée in black, brown, and green, with additional hand colouring. The son of the revolutionary Georges Danton and his 16-year old stepmother.[1]", "Detail of Amor and Psyche, after Simon Vouet, engraving inked à la poupée, with additional hand-colouring (the flesh colour, pink in the robe and Amor's yellow hair), Teyler workshop, 1688–98.[9]", "Elisha Kirkall, Heroic Stormy Landscape, mezzotint and etching printed à la poupée in two colours, after Jan van Huysum, 1724", "Mary Cassatt, The Fitting, 1890, drypoint and aquatint, inked à la poupée by the artist herself.", "", "", "", "", "", "", "" ]

[ 0, 1, 2, 2, 2, 2, 2, 2, 2, 3, 3 ]

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[ "À la poupée is a largely historic intaglio printmaking technique for making colour prints by applying different ink colours to a single printing plate using ball-shaped wads of cloth, one for each colour. The paper has just one run through the press, but the inking needs to be carefully re-done after each impression is printed. Each impression will usually vary at least slightly, and sometimes very significantly.\nThough invented much earlier, the technique became common from the late 17th century into the early 19th century. It was always an alternative to, and often combined with, hand colouring, usually with watercolour and brush. Large areas, such as the sky in landscapes, might be done à la poupée, with more detailed parts hand coloured. It was used with all the various intaglio printmaking techniques, but tended to be most effective with stipple engraving, \"giving a bright and clean look\". \nThe term à la poupée means \"with the doll\" in French, the \"doll\" being the wad of cloth, shaped like a ball. The term only came into use after about 1900, with a variety of contemporary terms being used in different languages. In fact technical descriptions make it clear that the ink was applied with a \"stump brush\" at least as much as by the \"doll\". It may be called the \"dolly method\" in English.", "As with a monochrome print in an intaglio technique (such as engraving, etching, mezzotint and aquatint), the ink was spread on the plate (normally copper) and then wiped off the surface, leaving ink only in the lines or other areas below the main level of the plate. This was much more difficult, and slower, when different colours of ink were applied to different areas, requiring what was in effect a painting process rather than just spreading a single colour over the whole plate with what we would call today a squeegee. Where \"surface tone\" was wanted, not all the ink was wiped off the face of the plate. The high-pressure press pushed the slightly damp paper into these recesses to collect the ink and print the image. To ready the plate for the next impression, it was wiped clean and the whole process was repeated. Presumably the printer normally worked off a model, probably in watercolour.\nUnusually for a significant artist, Mary Cassatt did the inking for her famous group of 1891 herself, and found printing 25 impressions of ten prints, with the help of a professional printer, \"a great work ... Sometimes we worked all day (eight hours) both as hard as we could work and only printed eight or ten proofs in the day\". \nThe technique varied somewhat; an account based on a 19th-century Parisian practice said a fairly light \"ground tint, usually brown black or grey\" was applied first, all over except for flesh areas, giving a \"slight tone\" which \"dominated the picture\". But the leading early practitioner Johannes Teyler for one did not do this, inking purely linear plates in different colours, risking that, according to Antony Griffiths, the results \"look very odd\". Later printmakers generally used à la poupée inking with techniques that gave tone rather than just line, such as stipple engraving, mezzotint and aquatint. It was commonly used with mezzotint plates that had begun to wear out (as they rather quickly did) to disguise this, although this is not always the case, as some proof impressions use it.", "The earliest known example of the technique is an impression of a religious engraving of about 1525 by Agostino Veneziano, where the Virgin and Child are printed in red, and the surrounding saints and background in blue. When this was printed is uncertain. Other early uses of the technique, many decades later, are to colour illustrated title pages of books otherwise illustrated in black and white. The earliest title page to use this was the Architectura of Wendel Dietterlin, with various Nuremberg editions from 1593 to 1598; this was a heavily-illustrated and very influential book on architectural ornament.\nThe revival in interest in the technique about a century later was due to the Dutch artist (among various other professions) Johannes Teyler, who in 1688 received a patent for the technique and financed a Dutch workshop to produce prints in the technique. This was not very long-lived; over about ten years, the workshop produced over 800 different prints using up to eight colours. These were mostly of decorative subjects of all the various types of the day, but included reproductive prints of old masters, more often French than Dutch or Italian. The technique was soon taken up by others, especially in the Netherlands, and later France. From about 1695, a number of Amsterdam publishers began putting out prints in the technique.\nThe first published description of the technique is in the 3rd edition of 1745 of the manual on etching by the French artist Abraham Bosse, De la manière de graver à l'eaux-forte et au burin..., first published a century earlier.\nIn the second half of the 18th century the technique began to be used to colour more elaborate prints that were also issued in monochrome, the coloured impressions being much more expensive, and probably intended for framing. Considerably different colour schemes across different impressions of some prints suggest that at times coloured versions were pulled individually for a specific order. In England, Elisha Kirkall was an early user, in mezzotints of the 1720s, and Robert Laurie, an engraver of maps and other subjects later in the century, extended the number of colours that were used, helping to make the technique fashionable again. \n \nTowards the end of the century, the Italian Francesco Bartolozzi and his followers made much use of it, and in France it was used for the illustrations to luxury scientific books, culminating in those of the botanical illustrator Pierre-Joseph Redouté, such as his Les Roses (1817–24). Redouté had the many artists working from his watercolours print them with inking à la poupée and then hand-colour details where necessary.\nAs other, cheaper, methods of colour printing developed in the mid-19th century, the usage of à la poupée declined. But at the end of the century, a set of ten prints by Mary Cassatt was an early example of the technique being applied individually by a significant artist, rather than a printshop worker following a painted model. She used drypoint, etching and aquatint and colour applied à la poupée. The prints were influenced by Japanese woodblock prints, especially those of Utamaru, which were made using complicated multiple blocks. Peter Ilsted also used the technique, mainly with mezzotint. and the French printmaker Manuel Robbe used it with aquatint. Various later artists have used the technique at times.", "Impression in the Rijksmuseum\nGascoigne, 26a; Griffiths, 117\nGascoigne, 26a; Griffiths, 117\nGascoigne, 26a\nGascoigne, 26a\n\"Colorful impressions: Techniques\". National Gallery of Art. Archived from the original on February 21, 2015. Retrieved March 25, 2015.\nStijnman and Savage, 46–47\nPortland Art Museum, Glossary\nThe whole print. There is also a light black or grey wash, seen on Psyche's hair.\nLambert, 88, 97; Griffiths, 31–34 on \"normal\" intaglio printmaking\nIves, 45–46\nLambert, 88 (quoted), 97\nGriffiths, 119\nGriffiths, 119; Lambert, 102\nStijnman and Savage, 43\nStijnman and Savage, 43\nLes estampes en couleurs de Johannes Teyler, INHA, Paris\nStijnman and Savage, 45–46\nStijnman and Savage, 43\nLambert, 101, her 82A and B show monochome and colour impressions of the same print\nGriffiths, 118\nLambert, 102\nGriffiths, 118\nGrove, 557\nGrove; \"Redoute, Les Roses, Antique Prints, Paris, 1817–24\", George Glazer Gallery\nIves, 45–54\nThe National Museum of Western Art, The Dining Room at Liselund, 1917\n\"Manuel Robbe\", Galerie Maximillian", "Gascoigne, Bamber. How to Identify Prints: A Complete Guide to Manual and Mechanical Processes from Woodcut to Inkjet, 1986 (2nd Edition, 2004), Thames & Hudson, ISBN 050023454X. Uses section numbers rather than page numbers.\nGriffiths, Antony, Prints and Printmaking, British Museum Press (in UK), 2nd edn, 1996 ISBN 071412608X\n\"Grove\", The Grove Encyclopedia of Materials and Techniques in Art, ed. Gerald W. R. Ward, 2008, Oxford University Press, ISBN 0195313917, 9780195313918, google books\nIves, Colta Feller, The Great Wave: The Influence of Japanese Woodcuts on French Prints, 1974, The Metropolitan Museum of Art, ISBN 0-87099-098-5\nLambert, Susan, The Image Multiplied; Five centuries of printed reproductions of paintings and drawings, 1987, Trefoil Publications, London, ISBN 0862940966\nStijnman, Ad, Savage, Elizabeth, Printing Colour 1400–1700: History, Techniques, Functions and Receptions, 2015 BRILL, ISBN 9004290117, 9789004290112, google books" ]

[ "À la poupée", "Technique", "History", "Notes", "References" ]

[ 367, 368, 369, 370, 371, 372, 373, 374, 375 ]

[ 2933, 2934, 2935, 2936, 2937, 2938, 2939, 2940, 2941, 2942, 2943, 2944, 2945, 2946, 2947, 2948, 2949, 2950 ]

[ "J.-K. Huysmans (1848–1907)", "Des Esseintes in his study, by Arthur Zaidenberg (Against the Grain, New York, Illustrated Editions, 1931)", "Title page of the 1926 first complete English translation with the caption \"the book that Dorian Gray loved and that inspired Oscar Wilde\"." ]

[ 1, 2, 3 ]

[ "https://upload.wikimedia.org/wikipedia/commons/c/c5/Photograph_of_Joris-Karl_Huysmans.jpg", "https://upload.wikimedia.org/wikipedia/en/5/55/Des_Esseintes_at_study_Zaidenberg_illustration.JPG", "https://upload.wikimedia.org/wikipedia/en/8/87/Against_the_Grain_1926_Cover.jpg" ]

[ "À rebours ([a ʁ(ə).buʁ]; translated Against Nature or Against the Grain) is an 1884 novel by the French writer Joris-Karl Huysmans. The narrative centers on a single character: Jean des Esseintes, an eccentric, reclusive, ailing aesthete. The last scion of an aristocratic family, Des Esseintes loathes nineteenth-century bourgeois society and tries to retreat into an ideal artistic world of his own creation. The narrative is almost entirely a catalogue of the neurotic Des Esseintes's aesthetic tastes, musings on literature, painting, and religion, and hyperaesthesic sensory experiences.\nÀ rebours contains many themes that became associated with the Symbolist aesthetic. In doing so, it broke from Naturalism and became the ultimate example of \"Decadent\" literature, inspiring works such as Oscar Wilde's The Picture of Dorian Gray (1890). In his preface for the 1903 publication of the novel, Huysmans wrote that he had the idea to portray a man \"soaring upwards into dream, seeking refuge in illusions of extravagant fantasy, living alone, far from his century, among memories of more congenial times, of less base surroundings ... each chapter became the sublimate of a specialism, the refinement of a different art; it became condensed into an essence of jewellery, perfumes, religious and secular literature, of profane music and plain-chant.\"", "À rebours marked a watershed in Huysmans' career. His early works had been Naturalist in style, being realistic depictions of the drudgery and squalor of working- and lower-middle-class life in Paris. However, by the early 1880s, Huysmans regarded this approach to fiction as a dead end. As he wrote in his preface to the 1903 reissue of À rebours:\nIt was the heyday of Naturalism, but this school, which should have rendered the inestimable service of giving us real characters in precisely described settings, had ended up harping on the same old themes and was treading water. It scarcely admitted—in theory at least—any exceptions to the rule; thus it limited itself to depicting common existence, and struggled, under the pretext of being true to life, to create characters who would be as close as possible to the average run of mankind.\nHuysmans decided to keep certain features of the Naturalist style, such as its use of minutely documented realistic detail, but apply them instead to a portrait of an exceptional individual: the protagonist Jean des Esseintes. In a letter of November 1882, Huysmans told Émile Zola, the leader of the Naturalist school of fiction, that he was changing his style of writing and had embarked on a \"wild and gloomy fantasy\". This \"fantasy\", originally entitled Seul (Alone), was to become À rebours.\nThe character of Des Esseintes is partly based on Huysmans himself, and the two share many of the same tastes, although Huysmans, on his modest civil-service salary, was hardly able to indulge them to the same extent as his upper-class hero. The writers and dandies Charles Baudelaire and Jules Barbey d'Aurevilly also had some influence, but the most important model was the notorious aristocratic aesthete Robert de Montesquiou, who was also the basis for Baron de Charlus in Marcel Proust's À la recherche du temps perdu. Montesquiou's furnishings bear a strong resemblance to those in Des Esseintes's house:\nIn 1883, to his eternal regret, Montesquiou admitted Stéphane Mallarmé [to his home]. It was late at night when the poet was shown over the house, and the only illumination came from a few scattered candelabra; yet in the flickering light Mallarmé observed that the door-bell was in fact a sacring-bell, that one room was furnished as a monastery cell and another as the cabin of a yacht, and that the third contained a Louis Quinze pulpit, three or four cathedral stalls and a strip of altar railing. He was shown, too, a sled picturesquely placed on a snow-white bearskin, a library of rare books in suitably-coloured bindings and the remains of an unfortunate tortoise whose shell had been coated with gold paint. According to Montesquiou writing many years later in his memoirs, the sight of these marvels left Mallarmé speechless with amazement. 'He went away', records Montesquiou, 'in a state of silent exaltation ... I do not doubt therefore that it was in the most admiring, sympathetic and sincere good faith that he retailed to Huysmans what he had seen during the few moments he spent in Ali Baba's cave.'", "The epigraph is a quotation from Jan van Ruysbroeck ('Ruysbroeck the Admirable'), the fourteenth-century Flemish mystic:\nI must rejoice beyond the bounds of time ... though the world may shudder at my joy, and in its coarseness know not what I mean.\nJean des Esseintes is the last member of a powerful and once proud noble family. He has lived an extremely decadent life in Paris, which has left him disgusted with human society. Without telling anyone, he retreats to a house in the countryside, near Fontenay, and decides to spend the rest of his life in intellectual and aesthetic contemplation. In this sense, À rebours recalls Gustave Flaubert's Bouvard et Pécuchet (posthumously published in 1881), in which two Parisian copy-clerks decide to retire to the countryside and end up failing at various scientific and scholarly endeavors.\nHuysmans' novel is essentially plotless. The protagonist fills the house with his eclectic art collection, which notably consists of reprints of the paintings of Gustave Moreau (such as Salome Dancing before Herod and L'Apparition), drawings of Odilon Redon, and engravings of Jan Luyken. Throughout his intellectual experiments, Des Esseintes recalls various debauched events and love affairs of his past in Paris. He tries his hand at inventing perfumes and he creates a garden of poisonous tropical flowers. Illustrating his preference for artifice over nature (a characteristic Decadent theme), Des Esseintes chooses real flowers that apparently imitate artificial ones. In one of the book's most surrealistic episodes, he has gemstones set in the shell of a tortoise. The extra weight on the creature's back causes its death. In another episode, he decides to visit London after reading the novels of Charles Dickens. He dines at an English restaurant in Paris while waiting for his train and is delighted by the resemblance of the people to his notions derived from literature. He then cancels his trip and returns home, convinced that only disillusion would await him if he were to follow through with his plans.\nDes Esseintes conducts a survey of French and Latin literature, rejecting the works approved by the mainstream critics of his day. He rejects the academically respectable Latin authors of the \"Golden Age\" such as Virgil and Cicero, preferring later \"Silver Age\" writers such as Petronius (Des Esseintes praises the decadent Satyricon) and Apuleius (Metamorphoses, commonly known as The Golden Ass) as well as works of early Christian literature, whose style was usually dismissed as the \"barbarous\" product of the Dark Ages. Among French authors, he shows nothing but contempt for the Romantics but adores the poetry of Baudelaire.\nDes Esseintes cares little for classic French authors like Rabelais, Molière, Voltaire, Rousseau, and Diderot, preferring the works of Bourdaloue, Bossuet, Nicole, and Pascal. The nineteenth-century German philosopher Arthur Schopenhauer, he exclaims, 'alone was in the right' with his philosophy of pessimism, and Des Esseintes connects Schopenhauer's pessimistic outlook with the resignation of The Imitation of Christ, a fifteenth-century Christian devotional work by Thomas à Kempis. Des Esseintes' library includes authors of the nascent Symbolist movement, including Paul Verlaine, Tristan Corbière and Stéphane Mallarmé, as well as the decadent fiction of the unorthodox Catholic writers Auguste Villiers de l'Isle-Adam and Barbey d'Aurevilly. Among Catholic literature, Des Esseintes expresses attraction for the work of Ernest Hello.\nEventually, his late nights and idiosyncratic diet take their toll on his health, requiring him to return to Paris or to forfeit his life. In the last lines of the book, he compares his return to human society to that of a non-believer trying to embrace religion.", "Huysmans predicted his novel would be a failure with the public and critics: \"It will be the biggest fiasco of the year—but I don't care a damn! It will be something nobody has ever done before, and I shall have said what I want to say...\" However, when it appeared in May, 1884, the book created a storm of publicity. Though many critics were scandalised, it appealed to a young generation of aesthetes and writers.\nRichard Ellmann describes the effect of the book in his biography of Oscar Wilde:\nWhistler rushed to congratulate Huysmans the next day on his 'marvellous' book. Bourget, at that time a close friend of Huysmans as of Wilde, admired it greatly; Paul Valéry called it his 'Bible and his bedside book' and this is what it became for Wilde. He said to the Morning News: 'This last book of Huysmans is one of the best I have ever seen'. It was being reviewed everywhere as the guidebook of decadence. At the very moment that Wilde was falling in with social patterns, he was confronted with a book which even in its title defied them.\n \nIt is widely believed that À rebours is the \"poisonous French novel\" that leads to the downfall of Dorian Gray in Oscar Wilde's The Picture of Dorian Gray. The book's plot is said to have dominated the action of Dorian, causing him to live an amoral life of sin and hedonism. In Chapter 10, Dorian examines a book sent to him by the hedonistic aristocrat Lord Henry Wotton: \nIt was the strangest book that he had ever read. It seemed to him that in exquisite raiment, and to the delicate sound of flutes, the sins of the world were passing in dumb show before him ... It was a novel without a plot, and with only one character, being, indeed, simply a psychological study of a certain young Parisian, who spent his life trying to realize in the nineteenth century all the passions and modes of thought that belonged to every century except his own ... The style in which it was written was that curious jewelled style, vivid and obscure at once, full of argot and of archaisms, of technical expressions and of elaborate paraphrases, that characterizes the work of some of the finest artists of the French school of Symbolistes. There were in it metaphors as monstrous as orchids, and as subtle in colour. The life of the senses was described in the terms of mystical philosophy. One hardly knew at times whether one was reading the spiritual ecstasies of some mediaeval saint or the morbid confessions of a modern sinner. It was a poisonous book. The heavy odour of incense seemed to cling about its pages and to trouble the brain. The mere cadence of the sentences, the subtle monotony of their music, so full as it was of complex refrains and movements elaborately repeated, produced in the mind of the lad, as he passed from chapter to chapter, a form of reverie, a malady of dreaming ...\n\nOn the question of Huysmans' novel as an inspiration for the book in Dorian Gray, Ellmann writes:\nWilde does not name the book but at his trial he conceded that it was, or almost, Huysmans's À rebours... To a correspondent he wrote that he had played a 'fantastic variation' upon À rebours and some day must write it down. The references in Dorian Gray to specific chapters are deliberately inaccurate.\n \nÀ rebours is now considered by some an important step in the formation of \"gay literature\". À rebours gained notoriety as an exhibit in the trials of Oscar Wilde in 1895. The prosecutor referred to it as a \"sodomitical\" book. The book appalled Zola, who felt it had dealt a \"terrible blow\" to Naturalism.\nZola, Huysmans's former mentor, gave the book a lukewarm reception. Huysmans initially tried to placate him by claiming the book was still in the Naturalist style and that Des Esseintes's opinions and tastes were not his own. However, when they met in July, Zola told Huysmans that the book had been a \"terrible blow to Naturalism\" and accused him of \"leading the school astray\" and \"burning [his] boats with such a book\", claiming that \"no type of literature was possible in this genre, exhausted by a single volume\".\n\nWhile he slowly drifted away from the Naturalists, Huysmans won new friends among the Symbolist and Catholic writers whose work he had praised in his novel. Stéphane Mallarmé responded with the tribute \"Prose pour Des Esseintes\", published in La Revue indépendante on January 1, 1885. This famous poem has been described as \"perhaps the most enigmatic of Mallarmé's works\". The opening stanza gives some of its flavour:\nHyperbole! de ma mémoire\nTriomphalement ne sais-tu\nTe lever, aujourd'hui grimoire\nDans un livre de fer vêtu...\nHyperbole! Can't you arise\nFrom memory, and triumph, grow\nToday a form of conjuration\nRobed in an iron folio?\n(Translated by Donald Davie) \nThe Catholic writer Léon Bloy praised the novel, describing Huysmans as \"formerly a Naturalist, but now an Idealist capable of the most exalted mysticism, and as far removed from the crapulous [gluttonous or drunken] Zola as if all the interplanetary spaces had suddenly accumulated between them.\" In his review, Barbey d'Aurevilly compared Huysmans to Baudelaire, recalling: \"After Les Fleurs du mal I told Baudelaire it only remains for you to choose between the muzzle of the pistol and the foot of the Cross. But will the author of À rebours make the same choice?\" His prediction eventually proved true when Huysmans converted to Catholicism in the 1890s.", "Etherington, Peter (February 28, 2012). \"Book Review: Against Nature (A Rebours)\". The Culture Vulture. Retrieved March 11, 2021.\n\"Decadent novel À rebours, or, Against Nature\". British Library. Retrieved March 11, 2021.\nHuysmans 2003, p. 207-208\nBaldick 2006, p. 115\nBaldick, pp. 122–123\nIl faut que je me réjouisse au-dessus du temps ... quoique le monde ait horreur de ma joie, et que sa grossièreté ne sache pas ce que je veux dire. Translated by Robert Baldick.\nCh. VII: \"Yes, it was undoubtedly Schopenhauer who was in the right. What, in fact, were all the evangelical pharmacopoeias compared with his treatises on spiritual hygiene? He claimed no cures, offered the sick no compensation, no hope; but when all was said and done, his theory of Pessimism was the great comforter of superior minds and lofty souls; it revealed society as it was, insisted on the innate stupidity of women, pointed out the pitfalls of life, saved you from disillusionment by teaching you to expect as little as possible, to expect nothing at all if you were sufficiently strong-willed, indeed, to consider yourself lucky if you were not constantly visited by some unforeseen calamity\" (Huysmans 2003, p. 78-79).\nTwenty-three-year-old Schopenhauer, who had a great influence on Huysmans, told Wieland: \"Life is an unpleasant business. I have resolved to spend it reflecting on it. (Das Leben ist eine mißliche Sache. Ich habe mir vorgesetzt, es damit hinzubringen, über dasselbe nachzudenken.)\" (Rüdiger Safranski, Schopenhauer and the Wild Years of Philosophy, Chapter 7).\nIn the 1903 preface, Huysmans writes that he would have included Rimbaud and Laforgue had he known their work at the time.\nConversation reported by Francis Enne in 1883, quoted by Baldick p.131\nEllmann 1988) p. 252\nWilde 1998, p. 102-103\nEllmann, p. 316\nMcClanahan, Clarence (2002). \"Huysmans, Joris-Karl (1848–1907)\". Retrieved 2007-08-11.\nThe Life of J.-K. Huysmans, Robert Baldick, Clarendon Press, 1955 (new edition revised by Brendan King, Dedalus Books, 2006)\nReported by Huysmans in the 1903 preface to À rebours\nMallarmé Poésies ed. Lloyd James (Flammarion, 1989) p.170\nGiven in full in the Oxford Book of Verse in English Translation ed. Charles Tomlinson (OUP, 1980)\nQuoted by Baldick, p. 135\nQuoted by Baldick p.136", "Baldick, Robert. (1955; rev. Brendan King, 2006). The Life of J.-K. Huysmans. Dedalus Books. ISBN 9781903517437\nEllmann, Richard. (1988). Oscar Wilde. Vintage. ISBN 9780394759845\nHuysmans, Joris-Karl. (2003). Against Nature, trans. Robert Baldick. Penguin. ISBN 9780140447637.\nHuysmans, Joris-Karl. (2008). Against Nature, trans. Brendan King. Dedalus Books. ISBN 9781903517659. Includes translated selections from original manuscript.\nHuysmans: Romans (Volume 1), ed. Pierre Brunel et al. (Bouquins, Robert Laffont, 2005).\nWilde, Oscar. (1998). The Picture of Dorian Gray, ed. Isobel Murray. Oxford World's Classics. ISBN 0192833650.", "Bernheimer, Charles (1985). \"Huysmans: Writing against (Female) Nature,\" Poetics Today, Vol. 6 (1/2), pp. 311–324.\nCevasco, George A. (1975). \"Satirical and Parodical Interpretations of J.-K. Huysmans’ À Rebours,\" Romance Notes, Vol. 16, pp. 278–282.\nCevasco, George A. (1982). \"J.–K. Huysmans's À Rebours and the Existential Vacuum,\" Folio, Vol. 14, pp. 49–58.\nGromley, Lane (1980). \"From Des Esseintes to Roquentin: Toward a New Decadence?,\" Kentucky Romance Quarterly, Vol. 27, pp. 179–187.\nHalpern, Joseph (1978). \"Decadent Narrative: À Rebours,\" Stanford French Review, Vol. 2, pp. 91–102.\nJordanova, L.J. (1996). \"A Slap in the Face for Old Mother Nature: Disease, Debility, and Decay in Huysmans’s A Rebours,\" Literature & Medicine, Vol. 15 (1), pp. 112–128.\nKnapp, Bettina (1991–92). \"Huysmans’s Against the Grain: The Willed Exile of the Introverted Decadent,\" Nineteenth-Century French Studies, Vol. 20 (1/2), pp. 203–221.\nLloyd, Christopher (1988). \"French Naturalism and the Monstrous: J.-K. Huysmans and A Rebours,\" Durham University Journal, Vol. 81 (1), pp. 111–121.\nMeyers, Jeffrey (1975). \"Gustave Moreau and Against Nature.\" In: Painting and the Novel. Manchester: Manchester University Press, pp. 84–95.\nMickel, Emmanuel J. (1987–88). \"À Rebours’ Trinity of Baudelairean Poems,\" Nineteenth-Century French Studies, Vol. 16 (1/2), pp. 154–161.\nMotte, Dean De La (1992). \"Writing against the Grain: À rebours, Revolution, and the Modernist Novel\". In: Modernity and Revolution in Late Nineteenth-Century France. Newark: University of Delaware Press, pp. 19–25.\nNelson, Robert Jay (1992). \"Decadent Coherence in Huysmans’s À rebours.\" In: Modernity and Revolution in Late Nineteenth-Century France. Newark: University of Delaware Press, pp. 26–33.\nVan Roosbroeck, G.L. (1927). \"Huysmans the Sphinx: The Riddle of À Rebours.\" In: The Legend of the Decadents. New York: Institut des Études Françaises, Columbia University, pp. 40–70.\nWhite, Nicholas (1999). \"The Conquest of Privacy in À Rebours.\" In: The Family in Crisis in Late Nineteenth-Century French Fiction. Cambridge: Cambridge University Press, pp. 127–149.", "Original French text of À rebours\nText of an anonymous 1928 English translation\nJohn Howard's translation of Against the Grain, at Internet Archive\n Against The Grain, or Against Nature public domain audiobook at LibriVox\nGegen den Strich by Joris-Karl Huysmans, a German translation\nAgainst the Grain by Joris-Karl Huysmans, Project Gutenberg ebook in English (omits a chapter in which Des Esseintes tries to start a young man on a life of crime and a passage describing implied homosexuality)\nIllustrations by Arthur Zaidenberg from the 1931 Illustrated Editions issue of À rebours" ]

[ "À rebours", "Background", "Plot summary", "Reception and influence", "Footnotes", "Sources", "Further reading", "External links" ]

[ 376 ]

[ 2951, 2952, 2953, 2954, 2955, 2956, 2957, 2958, 2959, 2960, 2961, 2962, 2963, 2964, 2965, 2966, 2967, 2968, 2969, 2970, 2971, 2972, 2973, 2974, 2975, 2976, 2977, 2978, 2979, 2980, 2981, 2982, 2983, 2984, 2985, 2986, 2987, 2988, 2989, 2990, 2991, 2992, 2993, 2994, 2995 ]

[ "Restaurant entrance" ]

[ 0 ]

[ "https://upload.wikimedia.org/wikipedia/commons/c/ca/ABaC_Restaurant_and_Hotel_-_Av_Tibidabo_1_Barcelona.jpg" ]

[ "Àbac is a Michelin starred restaurant in Barcelona, Catalonia, Spain.", "\"ViaMichelin Barcelona Restaurants: online restaurant guide\" (web query). Michelin Guide. Michelin. Retrieved 27 October 2012." ]

[ "Àbac", "References" ]

[ 377 ]

[ 2996 ]

[ "Mare de Déu de la Pertusa in Corçà", "" ]

[ 0, 0 ]

[ "https://upload.wikimedia.org/wikipedia/commons/a/a6/Mare_de_D%C3%A9u_de_la_Pertusa_%28La_Noguera%29_Catalonia.jpg", "https://upload.wikimedia.org/wikipedia/commons/b/b6/Vescomtat-Ager.png" ]

[ "Àger is a municipality in the comarca of the Noguera in Catalonia, Spain. It is situated in the north-west of the comarca, and the territory of the municipality stretches between the Noguera Ribagorçana and Noguera Pallaresa rivers. The Terradets reservoir on the Noguera Pallaresa is situated within the municipality. The village is linked to Balaguer and Tremp by the L-904 road.", "Àger town, 317 inhabitants.\nAgulló, 45 inhabitants.\nCorçà, 32 inhabitants.\nFontdepou, 16 inhabitants.\nEls Masos de Millà, 17 inhabitants.\nMillà, 5 inhabitants.\nLa Règola, 21 inhabitants.\nSant Josep de Fontdepou, 19 inhabitants.\nVilamajor, 13 inhabitants.", "Viscounty of Àger\nApostles from Àger\nMontsec", "\"Ajuntament d'Àger\". Generalitat of Catalonia. Retrieved 2015-11-13.\n\"El municipi en xifres: Àger\". Statistical Institute of Catalonia. Retrieved 2015-11-23.\nMunicipal Register of Spain 2018. National Statistics Institute.\nPanareda Clopés, Josep Maria; Rios Calvet, Jaume; Rabella Vives, Josep Maria (1989). Guia de Catalunya, Barcelona: Caixa de Catalunya. ISBN 84-87135-01-3 (Spanish). ISBN 84-87135-02-1 (Catalan).", "Official website (in Catalan)\nGovernment data pages (in Catalan)" ]

[ "Àger", "Villages", "See also", "References", "External links" ]

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[ "" ]

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[ "https://upload.wikimedia.org/wikipedia/commons/a/a0/Alex_Corretja_ATC2010.jpg" ]

[ "Àlex Corretja i Verdegay ([ˈaləks kuˈrɛdʒə j βəɾðəˈɣaj]; born 11 April 1974) is a former professional tennis player from Spain. During his career, he was twice a Grand Slam runner-up at the French Open (in 1998 and 2001), won the ATP Tour World Championships in 1998, reached a career-high singles ranking of world No. 2 in 1999 and captured Masters 1000 titles at the 1997 Italian Open and 2000 Indian Wells Masters. He also played a key role in helping Spain win its first-ever Davis Cup title in 2000. \nPost-retirement, Corretja became a temporary coach of Andy Murray in April 2008 for the duration of the clay-court season, resuming the role on a permanent basis between 2009-2011. In 2012-2013, Corretja coached the Spanish Davis Cup team.", "Corretja was born in Barcelona, and first came to the tennis world's attention as a promising junior player who won the Orange Bowl under-16 title in 1990. He turned professional in 1991 and won his first top-level singles title in 1994 at Buenos Aires. His first doubles title came in 1995 at Palermo.", "In 1996, Corretja faced Pete Sampras in an epic five-set quarterfinal match at the US Open. Pete Sampras threw up in the fifth set tiebreak, where Corretja held a match point later on, but he eventually lost to Sampras on a double fault in 4 hours and 9 minutes.", "In 1997, Corretja captured three titles, including his first Tennis Masters Series title in Rome, where he defeated Marcelo Ríos. (He won a second Masters Series title in 2000 at Indian Wells.)", "1998 saw Corretja reach his first Grand Slam final at the French Open. In the third round, he defeated Argentina's Hernán Gumy in (at the time) the longest match in the tournament's history. Corretja won the 5-hour 31-minute marathon. In the final, Corretja lost to fellow-Spaniard Carlos Moyà in straight sets.\nCorretja finished 1998 by winning the most significant title of his career, the ATP Tour World Championships. In the group stage, he beat world no. 5 Andre Agassi, and in the semifinals, Corretja saved three match points on the way to beating world no. 1 Sampras. In the final, Corretja faced world no. 4 Moyà in a five-set marathon and came back from two sets down to win in 4 hours and 1 minute. Corretja's win made him the first man to ever win the Tour Championships (in its 29-year history) without having ever won a Grand Slam tournament (David Nalbandian, Nikolay Davydenko, Grigor Dimitrov, Alexander Zverev and Stefanos Tsitsipas have since repeated the feat.)\nIn total, Corretja won a career-high five singles titles during the 1998 season, on three different surfaces (Clay, Hard and Carpet). He finished the year ranked world No. 3.", "Corretja reached three tournament finals, the quarterfinals of the French Open and reached his career high ranking of 2 in February.", "In 2000, Corretja won the Indian Wells Masters title, beating Thomas Enqvist in straight sets in the final. He also beat world no. 1 Agassi in the final of the Washington Open for the loss of just five games. \nIn the Davis Cup, Corretja helped Spain to their first ever title win. He went 3–0 in singles rubbers during the earlier rounds, and then teamed up with Joan Manuel Balcells to win the doubles match in the final as Spain beat Australia 3–1. Corretja also won a men's doubles bronze medal at the Olympic Games in Sydney, partnering Albert Costa.", "In 2001, Corretja reached the men's singles final at the French Open for the second time, losing in the final to defending champion Gustavo Kuerten in four sets. In July of that year, Corretja won a five-set marathon match in the final of the Dutch Open against Younes El Aynaoui. The 53-game match was the year's longest tour final.", "Corretja's biggest win of 2002 came in the quarterfinals of the Davis Cup, where he rallied from two sets down to beat Sampras on grass. (Spain eventually lost the tie 3–1.) At the French Open, Corretja saved four match points in the third round against Arnaud Clément, before going on to win. Corretja then progressed to the semifinals, where he lost in four sets to Albert Costa (who went on to win the title). One week later, Corretja was the best man at Costa's wedding.", "In 2003, Corretja was again part of a Spanish team which reached the Davis Cup final. He won two doubles and one singles rubber in the earlier rounds. However, in the final, Corretja and Feliciano López lost the doubles rubber, as Spain were beaten 3–1 by Australia.\nCorretja announced his retirement on 24 September 2005. He won a total of 17 top-level singles titles and three doubles titles during his career.", "Corretja coached Britain's Andy Murray from 2008 to 2011.\nAs of 2015, he works for Eurosport as a field interviewer at the Grand Slam tournaments.", "", "", "", "", "(W) winner; (F) finalist; (SF) semifinalist; (QF) quarterfinalist; (#R) rounds 4, 3, 2, 1; (RR) round-robin stage; (Q#) qualification round; (DNQ) did not qualify; (A) absent; (NH) not held; (SR) strike rate (events won / competed); (W–L) win–loss record.", "", "http://www.timesonline.co.uk/tol/sport/tennis/article5928127.ece", "Àlex Corretja at the Association of Tennis Professionals \nÀlex Corretja at the International Tennis Federation \nÀlex Corretja at the Davis Cup" ]

[ "Àlex Corretja", "Career", "1996", "1997", "1998", "1999", "2000", "2001", "2002", "2003-05", "After retirement", "Grand Slam finals", "Singles: 2 (2 runner-ups)", "Career finals", "Singles (17–13)", "Singles performance timeline", "Top 10 wins", "References", "External links" ]

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[ "Crivillé in 2016", "The JJ Cobas bike in which Crivillé won his first ever world championship in the 125cc class in 1989.", "The JJ Cobas bike that Crivillé rode in the 250cc class in 1991.", "", "", "Crivillé at the opening round in Australia, where he went on to finish sixth.", "Crivillé at round seven in Assen, where he narrowly lost out on the victory to teammate Mick Doohan.", "", "", "Crivillé on the podium at the Japanese Grand Prix, alongside Repsol Honda compatriots Mick Doohan (center) and Tadayuki Okada (right).", "Crivillé on the podium at the French Grand Prix, his second victory of the season.", "", "", "Crivillé being interviewed by the Spanish journalist Olga Viza during the celebration of 20 years of partnership between Repsol and the Factory Honda team in 2014." ]

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[ "Àlex Crivillé Tapias (born 4 March 1970) is a Spanish former Grand Prix motorcycle road racer. In 1992 he became the first Spaniard to win a 500cc Grand Prix and, in 1999 he became the first Spaniard to win the 500cc World Championship.", "Crivillé was born in Barcelona, Cataluña, Spain. He falsified his age in order to start racing at 14 in 1985, the minimum age for a license being 15 in Spain. In that year he won the Criterium Solo Moto, a national series for 75 cc Honda streetbikes.", "", "1987\nCrivillé started his international career in the now-defunct 80cc World Championship with the Derbi team. At his debut race in the class, he immediately impressed by qualifying third on Saturday and taking second place, as well as the fastest lap, on Sunday in Spain. He then participated in two more races, the Dutch and Portuguese rounds, where he qualified fifth and second respectively, but retired from both of them.\nCrivillé finished eleventh in the championship with 12 points, 117 points behind the champion Jorge Martínez and 74 points behind runner-up Manuel Herreros.\n1988\nIn 1988, Crivillé continued to impress. In the Spanish and Expo grands prix, he finished third two consecutive times, taking the fastest lap on the first race. At the Nations round, he finished just off the podium in fourth but scored a second place podium in Germany. In the Netherlands, he retired but finished on a high note by taking two more third place podium finishes in Yugoslavia and Czechoslovakia.\nCrivillé finished second in the championship with 90 points, 47 points behind the champion Jorge Martínez.", "", "1988\nBesides the 80cc, Crivillé also raced in the 125cc class, predominantly the races that were not held in the 80cc class. At the Belgian GP, he retired. At the British round, he scored his first points by finishing ninth but failed to score any more points when he retired from the Swedish race and only finished seventeenth at the Czechoslovak grand prix.\nCrivillé finished thirty first in the championship with 7 points, 190 points behind the champion Jorge Martínez and 161 points behind runner-up Ezio Gianola.", "1989\nFor the 1989 season, Crivillé moved to the JJ Cobas team of grand prix mechanic and constructor Antonio Cobas.\nWhile the team opted to skip the opening round in Japan, Crivillé scored back-to-back wins in Australia and Spain, scoring his first ever podium in the latter. He retired at the Nations GP but took the fastest lap.\nAnother win followed at round five in Germany, with a third place (and fastest lap) in Austria and a second place in the Netherlands as well.\nAnother retirement followed at the Belgian GP, but Crivillé responded with two consecutive second places in France and Great Britain and two poles in the last two races in Sweden and Czechoslovakia, which he went on to win.\nCrivillé won the championship with 166 points to Spaan's 152, with Ezio Gianola third with 138 points. He clinched his first, and only, 125cc title.", "", "1990\nIn 1990, he stepped up to the 250 cc class to race for Giacomo Agostini's team.\nCrivillé skipped the opening round in Japan for the second successive year, and started his year with a retirement in the United States. At the next round in Spain, he finished seventh, before recording another retirement in the Nations race. He finished eleventh in Germany but went on to score yet another retirement in Austria.\nHe finished in seventh position in Yugoslavia but went on to register back-to-back retirements at the Dutch and Belgian rounds. Crivillé finished the season on a high note by scoring a flurry of points on the closing rounds - eighth in France and Great Britain, ninth in Sweden, seventh in Czechoslovakia, his season best result of fifth in Hungary and sixth in Australia.\nCrivillé finished eleventh in the championship with 76 points, 147 points behind the champion John Kocinski and 132 points behind runner-up Carlos Cardús.", "1991\nAfter a lackluster season in Yamaha in 1990, Crivillé went back to the JJ Cobas team for 1991.\nHe did not start the season well, retiring twice in Japan and Australia. Only at round three in the United States did Crivillé score his first points with an eighth-place finish. Two more retirements followed in Spain and Italy, with seventh and ninth-place finishes in Germany and Austria.\nBack-to-back retirements followed once again at the European and Dutch rounds. In France, Crivillé finished seventh, two more retirements followed in Great Britain and San Marino. He scored his season best result of fifth at the Czechoslovak grand prix, retired again at the Vitesse du Mans round - his ninth retirement of the year - and finished sixth at the final round in Malaysia.\nCrivillé finished thirteenth in the championship with 51 points, 186 points behind the champion Luca Cadalora and 169 points behind runner-up Helmut Bradl. He recorded nine DNFs - the highest amount in his career - and never managed to finish a race on the podium or win in his two years in the 250cc class.", "", "1992\nCrivillé moved up to the 500cc class after two seasons in the 250cc in which he struggled, joining the newly formed Pons Racing team for the 1992 season.\nInitially he retired on the opening round in Japan, but scored his first points at the second race in Australia with a seventh-place finish. In only his third race in the class, he took his first podium at the Malaysian grand prix, behind Mick Doohan and Wayne Rainey.\nAt the next race in Spain, he registered his first retirement but scored more points by finishing eighth in Italy. Another retirement followed in Europe, but Crivillé finished off the podium in fourth after battling with Wayne Gardner for third at the German round.\nAt the Dutch GP, Crivillé made history by winning the race, becoming the first ever Spaniard to win a race in the 500cc class. After a battle with John Kocinski and Alex Barros in the final few laps, Crivillé managed to stay ahead and cross the line 0.762 seconds ahead of Kocinski.\nAfter his win in Assen, his low point came at the next round in Hungary. Crivillé was disqualified because he pitted to switch bikes on a drying track, something that was not allowed at the time. Two more retirements followed at the French and British rounds, with a sixth and seventh-place finish in Brazil and South Africa respectively.\nCrivillé finished eighth in the championship with 59 points, 81 points behind the champion Wayne Rainey and 77 points behind runner-up Mick Doohan.\n1993\nIn 1993, Crivillé stayed with the Honda Pons team.\nIn the first three races of the season - the Australian, Malaysian and Japanese rounds - he finished sixth once and fifth twice. At round four in Spain, he took his first podium of the season in the form of a third place.\nHis first retirement of the season came in Austria, followed up by a fourth place in Germany and a second third place podium finish in the Netherlands, the same venue where he won his very first race a year earlier.\nThree consecutive retirements followed after his third place at Assen, namely at the European, San Marino and British rounds. The final four rounds were more positive, with Crivillé finishing eighth in the Czech Republic, sixth in Italy, seventh in the United States and fourth at the final race of the season, the FIM round.\nCrivillé finished eighth in the championship with 117 points, 131 points behind the champion Kevin Schwantz and 97 points behind runner-up Wayne Rainey.\n1994\nFor the 1994 season, Crivillé moved to the Factory Honda team, riding alongside Mick Doohan and Shinichi Ito. He became the first Spanish rider to ride for the Factory Honda team.\nCrivillé started the season off well by taking an array of points in the opening rounds - sixth in Australia, eighth in Malaysia, seventh in Japan and fifth in Spain. However, he stood in the shadow of Doohan because he already had won two races and an additional second-place podium.\nAt the fifth round of the season in Austria, Crivillé scored his first podium of the season in the form of third place. At the German round, he finished fourth but took another third-place podium in the Netherlands.\nHis first retirement arrived at the Italy but took his third and final podium of the year at the French GP. Further points came at the next two rounds in Great Britain and the Czech Republic in the form of sixth and fourth-place finishes. He did not start the United States grand prix due to a hand injury he sustained during practice. At the final two rounds - the Argentine and European rounds - he finished seventh and fourth.\nCrivillé finished sixth in the championship with 144 points, 173 points behind the champion and teammate Mick Doohan and 30 points behind runner-up Luca Cadalora.\n1995\nCrivillé stayed with the Factory Honda team, who now found a new major sponsor: Repsol.\nHe started off the season well, taking back-to-back podiums in the form of third-place finishes, at the opening round in Australia and at the second race in Malaysia. In Japan, he retired for the first time this season whilst his teammate Mick Doohan took second place. In Spain he went on to take another third-place podium.\nIn Germany, he finished off the podium in fourth and at the Italy he finished fifth, whilst teammate Doohan won the race. At round seven in the Netherlands, Crivillé took his first-ever 500cc pole position on Saturday. On Sunday, he battled hard with teammate Doohan and Alberto Puig in the closing stages of the race. On the last lap, Crivillé overtook Puig by outbreaking him, moving him from third up to second. However, Crivillé was never able to attack Doohan and thus he crossed the line, 0.114 behind him.\nAfter his second-place podium finish in Assen, Crivillé retired once more in France. In Great Britain, he took his fourth third-place finish of the year. Further points came at the following rounds in the Czech Republic, Rio de Janeiro (sixth on both occasions) and Argentina, where he finished fourth.\nAfter his teammate Doohan already had clinched the title in Buenos Aires, Crivillé won the last race of the season out in Europe, which was held at the Circuit de Barcelona-Cataluña|Circuito de Cataluña or his 'backyard'. On Saturday, bike problems prevented Crivillé from posting a proper lap time with his main bike and he was forced to switch to his less optimal alternative one, pushing him back to seventh position whilst teammates Doohan started second and sixth on the grid. On Sunday, he moved up from seventh to fourth as the race went on. When he overtook another rider for third, he passed the grandstands where Spanish fans were cheering him on, shouting \"Crivi, Crivi, Crivi!\" in the process. After overtaking Loris Capirossi for then second place, he hunt down first place Carlos Checa who was suffering from tyre wear. While Crivillé was closing down the gap, Checa slid out of contention when his tyres gave up, gifting the lead to the Catalan. However, Crivillé himself began to suffer from the same tyre wear problems in the closing laps, allowing teammate Shinichi Ito and Capirossi to close the gap. On the final lap, Ito tried to attack but Crivillé defended by outbreaking him. A second attack followed at turn 10, the \"La Caixa\" corner, with Ito taking the lead, running wide and so giving it back to Crivillé. Crivillé eventually crossed the line 0.160 seconds ahead of Ito, becoming the first Catalan to win on home soil.\nCrivillé finished fourth in the championship with 166 points, 82 points behind the champion and teammate Mick Doohan and 49 points behind runner-up Daryl Beattie.\n1996\nWith Crivillé performing well in 1995, expectations were high in 1996.\nInitially he retired on the opening round in Malaysia and had only finished fourth in Indonesia whilst teammate Mick Doohan won the race. However, at the Japanese race, he took his first pole of the season on Saturday and finished second on Sunday. In Spain however, he recorded his second retirement of the year. Initially taking the lead of the race from polesitter and teammate Doohan, as well as Luca Cadalora (who had a better start and thus led into turn one), Crivillé pulled a gap after a short battle with Cadalora, who's tyres began to fade. Crivillé then led for much of the race but Doohan was closing in at the final laps. On the last lap, spectators who already thought the race had ended, invaded the track around turn nine (the \"Curva Àngel Nieto\"), distracting Crivillé enough to allow Doohan to get back right on his tail going into the last couple of corners. Going into the last hairpin before the start-finish straight, Doohan went to the inside, going side-by-side with Crivillé. The pair did not touch, but Crivillé lost the rear whilst trying to accelerate, highsiding out of contention on the very last corner of the race, allowing Doohan to win the race as a result.\nAfter Jerez however, Crivillé responded well by scoring three consecutive second-place finishes. In Italy, he battled with teammate Mick Doohan for much of the race but ultimately came short and finished 0.726 seconds behind the Australian. Crivillé did take the fastest lap, his first of the year. In France, he took another pole position on Saturday but once again lost out to Doohan on Sunday, but managing to score back-to-back fastest laps in the process. In the Netherlands, Crivillé took his second consecutive pole on Friday, but it was Doohan once more who prevailed in the Saturday race after a battle between the pair.\nAt the German GP, Crivillé took his third consecutive pole of the season on Saturday. On Sunday, Crivillé finished behind Doohan once more after a battle between him, Doohan and Luca Cadalora ended in the Italian winning the race. In Great Britain, Doohan beat Crivillé once more when he won the race, with the Catalan finishing second.\nFortunes turned for Crivillé in the following two rounds, however. In Austria, Doohan lead in the closing laps, with Crivillé closing in, but unable to make a move. At turn 8, Doohan made a small mistake, allowing Crivillé to pass him going into turn 9 (the \"Jochen Rindt\" corner). Doohan tried a late lunge to retake the place but failed and ran wide, allowing Crivillé to pass him going into turn 10 (the \"A1\" corner) to win the race with 0.500 seconds from his teammate. Crivillé won the next race in the Czech Republic in a similar way. Doohan leads in the closing laps, but Crivillé was catching him. On the last lap, the pair battled for the lead, with Crivillé making a lunge but failing, running wide and giving the lead back to Doohan. Crivillé then shadowed him, taking different lines in the process. As they came out of turn 14 and went into turn 15, Crivillé ran a wider line, allowing him to get more traction out of the corner, running side-by-side with Doohan until the finish. Both were confused because it was unclear who won, but once the scoreboard showed that Crivillé had won, he started to cheer. Crivillé beat Doohan by just 0.002 seconds, a record that still stands today. He also took the fastest lap on both venues.\nCrivillé and Doohan continued to battle at the City of Imola grand prix, this time with Doohan winning the race by a margin of 0.104 seconds over Crivillé. Tadayuki Okada completed the podium, making it a full Factory Honda podium. Crivillé also took the fastest lap. In 1996 Catalan motorcycle Grand Prix|Cataluña, his home GP, finished third after battling yet again with teammates Doohan and Tadayuki Okada, as well as Luca Cadalora in the closing stages of the race. His final podium came in the form of second place at the Rio de Janeiro round, losing out to Doohan again by 0.465 seconds. At the final round in Australia, Crivillé took the final pole position of the season, as well as his final fastest lap of the year, but only managed to finish sixth after colliding with Doohan on the final lap after Crivillé tried to overtake him, causing both of them to fall in the process. Doohan later blamed his teammate for the incident, citing that \"He tried to go around the outside but I shut the door on him. He left his move too late\".\nCrivillé finished second in the championship with 245 points, 64 points behind the champion and teammate Mick Doohan and 77 points ahead of Luca Cadalora.\n1997\nAfter finishing as runner-up in 1996, some speculated that there was a real chance that Crivillé could win his first 500cc title in 1997.\nCrivillé started his season off by taking back-to-back second places, albeit losing out to teammate Mick Doohan once more. At the Malaysia, he finished a distant second behind his teammate. In Japan however, it was a much closer affair. Crivillé was closely following Doohan on the last lap but was not able to make a proper move. At turn 15 (part of the \"Casio Triangle\" set of corners), Crivillé tried to lunge up the inside of Doohan but backed off at the last moment, finishing 0.431 behind the Australian.\nAt round three in Spain, Crivillé won his first race of the season. With teammates Doohan and Okada finishing second and third, the podium was an all-Factory Honda podium once again. Crivillé also took the fastest lap, his first - and only one - of the season. At the next three races in Italy, Austria and France, Crivillé finished fourth, fifth and fourth again respectively.\nAt the seventh round of the season in the Netherlands, Crivillé did not start the race. He crashed heavily during qualifying practice on Friday, losing control of his bike on a chicane, sliding over the tarmac with his arm trapped underneath the bike. He was treated at the side of the track for ten minutes before being taken away on a stretcher. As a result of the crash, an artery was torn and had to be taken to the hospital for surgery to restore his thumb, requiring skin and bone grafts for his hand as well. He suffered tendon and bone damage as well as lesions of the blood vessels in his left wrist. His left thumb was badly injured. Because of the surgery and subsequent recovery, he missed not only the round in Assen, but also the City of Imola, German, Rio de Janeiro and British rounds, all of which his teammate Doohan won. Crivillé confirmed that he would not race until September of that year, with hopes that he could return for his home race in Cataluña, but that there was also a chance that he may never race again.\nCrivillé however, returned one round earlier. At the Czech Republic race, he impressed by finishing in fourth position, battling with Nobuatsu Aoki and Norifumi Abe for third place. His good form continued when he took third in his home race in Catalunya, moving up from seventh to third place going into the first corner and battling with teammate Doohan and Carlos Checa for the lead throughout the race. Another distant third place podium followed at the penultimate round in Indonesia, with another all-Factory Honda podium due to the win of Okada and the second place of Doohan.\nIn Australia, Crivillé took his second and final victory of the season. Doohan started on pole but crashed out of the race, allowing Crivillé to win the race by 2.268 seconds from the second place Takuma Aoki.\nCrivillé finished fourth in the championship with 172 points, 168 points behind the champion and teammate Mick Doohan and 25 points behind runner-up Tadayuki Okada.\n1998\nDespite losing out on a title chance in 1997, Crivillé continued with the Repsol Honda team for 1998.\nInitially he started off with two fourth-place finishes in Japan and Malaysia. In Spain, Crivillé scored his first win of the season. He battled with Max Biaggi, Carlos Checa and Alex Barros and, in the closing stages, with teammate Mick Doohan as well. After Doohan took the lead and led for about 15 laps, with Biaggi and Crivillé behind him. Crivillé then overtook Biaggi for second and hunted down the Australian, who he eventually passed for the lead in the last remaining laps. Doohan tried to fight back but failed, allowing the Catalan to win by 0.393 seconds. He dedicated this victory to his father, who died during the winter. He also took the fastest lap.\nAfter his first victory of the season in Jerez, Crivillé's good form continued at the Italian GP where he finished third. In France, his second and final win of the year came after Crivillé overtook then-leader Carlos Checa three laps before the end and then held off Doohan and Checa to win by a margin of 0.283 seconds. He took his second fastest lap of the year at this venue as well. At the Madrid, Dutch and British rounds, he finished fifth, sixth and fourth.\nIn Germany, Crivillé returned on the podium in third, albeit a distant 11.379 seconds behind race winner Doohan. At the next two races in the Czech Republic and the City of Imola, Crivillé finished second twice. In Brno, he missed out on the victory (which went to rookie Max Biaggi) but took the fastest lap, and in Imola Crivillé finished a distant 6.564 second behind teammate Doohan. At round twelve in Catalunya, Crivillé took his first and only pole of the season on Saturday, but crashed out on Sunday on the opening lap, which meant that he retired for the first time this year. A final third place podium arrived at the Australian round but another retirement followed at the final round in Argentina.\nCrivillé finished third in the championship with 198 points, 62 points behind the champion and teammate Mick Doohan and 10 points behind runner-up Max Biaggi.\n1999\nFew predicted that Crivillé could win the title in 1999 after Doohan took yet another world championship in 1998, but Doohan's career-ending crash opened the door for Crivillé, who now had a real opportunity at the title.\nAt the opening round in Malaysia, Crivillé immediately took a podium in the form of third place at the new Sepang circuit. In Japan he finished a distant fourth while his teammate Doohan finished second.\nWhen five-time 500cc world champion and teammate Mick Doohan broke his leg in several places, but also his collarbone and wrist when he crashed during a very wet qualifying session at the Spanish Grand Prix, Crivillé immediately took the opportunity and set pole on Saturday. On Sunday, he battled with and held off Max Biaggi to take fastest lap and his first victory of the year by just 0.157 seconds in only his third race of the season.\nHis good form continued in the next three races. In France, he took a commanding win ahead of John Kocinski and Tetsuya Harada, in Italy he held off Biaggi once again to score back-to-back wins and in Catalunya, he closed in on teammate Tadayuki Okada who was leading the race on the last lap, overtook him going into turn 10 (the \"La Caixa\" corner) and held off Okada (who had a better drive coming out of turn 13 or \"New Holland\") to claim a popular win by just 0.061 seconds. It was the first time Crivillé had won four races in succession in his career.\nAt the Dutch GP, he registered his first retirement of the season, but followed it up with another win in his 100th 500cc start at Great Britain. With teammate Okada starting from pole, Crivillé moved up from the middle of the field up to third as the race progressed. He then overtook second placed Roberts Jr. and went after leader Okada. After a failed overtaking attempt at turn 10 (the \"Melbourne Hairpin\") and a comeback from Okada on the same corner to retake the lead on the last lap, Crivillé held on and won the race by 0.536 seconds. He took his second and final fastest lap of the year here as well.\nTwo-second places followed in Germany and the Czech Republic. At the Sachsenring, Crivillé lost out to Kenny Roberts Jr. by just 0.338 seconds and in Brno likewise happened when teammate Okada got the better of him and crossed the line 0.240 seconds ahead of the Catalan. At round eleven in the City of Imola race, Crivillé took his second pole of the season on Saturday, outqualifying Kenny Roberts Jr. in the process. On Sunday, Crivillé stayed ahead of Alex Barros and home hero Max Biaggi to win the race with a 0.265-second margin over Barros. This win extended his lead over Roberts Jr. by 66 points.\nAfter a string of good results, Crivillé had a second retirement of the season at the new Valencian Community round. A few laps before the end, he had an accident which brought him out of contention. In Australia, Crivillé had a crash during qualifying in which he suffered a cracked bone in his hand due to a highside, which launched him off his bike at high speed. He participated in the race on Sunday and finished fifth. In South Africa he finished third, that being his last podium of the season.\nGoing into the penultimate round in Rio de Janeiro, Crivillé had a 44-point lead over his teammate Okada and needed to finish tenth or higher to secure the title. However, he was still recovering from a broken wrist injury he sustained two races before at Phillip Island and thus started the race from eleventh place. During the race he fought with Anthony Gobert and Garry McCoy and finished in sixth, ahead of Okada, to win the title. He became the first Spaniard, as well as Catalan, to win a 500cc title. With the title already won, Crivillé finished fifth at the last race of the season in Argentina.\nCrivillé finished first in the championship with 267 points, 47 points ahead of Kenny Roberts Jr. and 56 points ahead of teammate Tadayuki Okada. He took six wins and clinched his first and only 500cc World Championship title and second overall championship at the penultimate race of the season in Rio, finishing in sixth place.\n2000\nWith Crivillé winning his first-ever 500cc title in 1999, expectations were high that Crivillé would do the same in 2000. However, the new NSR500 bike for 2000 proved to be worse than its predecessor last year, with Crivillé frequently struggling all throughout the season as a result.\nA fifth place at the opening round in South Africa made him the best of the Repsol Honda riders, with Sete Gibernau and Tadayuki Okada both out of the race. A crash on the opening lap saw Crivillé retire in Malaysia, with a sixth and fourth place following in the Japanese and Spanish GPs.\nAt the fifth round of the season in France, Crivillé scored his final win of his career. Despite starting from fifth on the grid on Saturday, Crivillé made a relatively good start and slowly moved up the field, overtaking Carlos Checa and Kenny Roberts Jr. to take the lead. He then battled with and held off the hard charging Norifumi Abe and rookie Valentino Rossi to cross the line 0.321 ahead of the Japanese.\nAfter his win in Le Mans, two consecutive retirements followed in Italy and Catalunya. Crivillé had an accident after eight and ten laps in Mugello and Cataluña, causing him to retire twice. In a wet-dry race in the Netherlands, Crivillé took second behind Alex Barros after both passed Sete Gibernau and Régis Laconi, the Catalan unable to close the gap to Barros as he crossed the line 2.077 ahead of Crivillé.\nIn Great Britain, Crivillé finished seventh but slid out of contention once more after twelve laps in Germany. More points followed when he finished in seventh and sixth place at the Czech Republic and Portuguese grand Prix. At round thirteen in the Valencian Community, Crivillé took his only fastest lap of the season but crashed after twelve laps, adding another retirement to his tally. Two more points finished followed in Rio de Janeiro, where he finished eleventh, and in the Pacific, where he finished sixth. Crivillé then retired at the last race of the year in Australia, crashing out after nine laps - his sixth retirement of the season.\nCrivillé finished ninth in the championship with 122 points, 136 points behind the champion Kenny Roberts Jr. and 87 points behind runner-up Valentino Rossi.\nAfter the season had ended, Crivillé crashed on the second of the three post-season testing days at the Jerez circuit in November 2000. He lost the front when going into turn 6 (the \"Dry Sack\" corner) at around 100  km/h. His hand was trapped under the bike and he injured his right little finger as a result. After a first diagnosis done at the circuit's medical centre, he was flown to Barcelona to double-check his injury. Test rider Tohru Ukawa had to take over his test duties after his incident, for which he also required surgery.\n2001\nAfter Crivillé lost the title to Kenny Roberts Jr., he changed his number from 1 to 28 for 2001, which was his final year with the Repsol Honda team. He signed a new contract with the team, extending it by one year in August 2000. Suzuki also approached him to partner Kenny Roberts Jr. in this year, but the Catalan refused the offer.\nCrivillé started his season off with two points finishes in the form of ninth and sixth at the Japanese and South African rounds, still struggling with an underperforming and difficult bike.\nHis first podium arrived at the Spanish race. Having qualified a lowly twelfth on Saturday due to set-up problems with his bike, he dropped to thirteenth on the opening lap, he fought his way back to eighth place by lap 10, which became seventh when he overtook Biaggi, who made a mistake when running wide on the same lap. On lap 12, he overtook Alex Barros for sixth, and did likewise to Kenny Roberts Jr. at the start/finish straight at the beginning of lap 13, promoting him to fifth place. He then charged after Shinya Nakano, closing in on him with each passing lap.\nOn lap 15, Loris Capirossi went wide and lost third place, promoting Crivillé up fourth and Nakano up to third place. At the beginning of lap 16, Crivillé overtook Nakano in the same fashion as he did with Kenny Roberts Jr. at the start/finish straight, going up the inside of turn 1 (the \"Expo '92\" corner). He then closed the gap to second place Norifumi Abe and was close in the final laps, but ultimately was unable to overtake him and had to settle for third.\nAfter the race, the Catalan cited that \"It's great to be on the podium again\" and \"I had so many problems this weekend, but for Honda and Repsol and everyone this is where we should be. It feels like 1999 again and I'm riding like I know I can. Last year was so bad that everyone said I was finished. This result means a lot.\"\nMore points finish followed after Jerez - fifth in France, fourth in Italy and eleventh in Catalunya. Crivillé had his first retirement at the Dutch GP when he crashed after only three laps. He finished seventh in Great Britain.\nCrivillé did not start the German grand Prix after two hefty accidents in the same corner at the second qualifying session on Saturday. In the first, he collided with the Honda Pons of Loris Capirossi, who was on a hot lap and had the racing line, smashing into the side of his bike and crashing out. He walked away unharmed despite the incident looking severe.\nThe second time he went off on his own and briefly lost consciousness because of it. He was taken to the trackside hospital and he felt dazed and confused. He also didn't remember the first fall, but after a few minutes rest, he regained his memory. As a result of the incident, the doctors decided to take him into the medical centre in Chemnitz to undergo a scan to check if everything was okay. He ended up with a broken left index finger, as well as numerous cuts on his face and his brow.\nAfter missing out the race at the Sachsenring, Crivillé returned in the Czech Republic in the best way possible. Having qualified only eighth on Saturday, he climbed his way up to second, defending his position from a hard-charging Capirossi on the final lap, to take second place - his best result since he won the 2000 French Grand Prix. After the race, Criville cited that \"After Germany, I never imagined I'd be on the podium here, this result is like a win for me,\" and \"I had a good rest during the break and that helped a lot. The team worked well here and I've now shown that I'm not too old to race up front!\"\nHowever, after his good result in Brno, two more retirements followed. In Portugal he crashed out on the opening lap and in the Valencian Community race, he did likewise on lap 7. At the final four races of the season - the Pacific, Australian, Malaysian and Rio de Janeiro rounds - Crivillé finished eleventh twice, sixth and seventh.\nCrivillé finished eighth in the championship with 120 points, 205 points behind the champion Valentino Rossi and 90 points behind runner-up Max Biaggi.", "At a press conference before the 2001 Portuguese Grand Prix in September, the press asked him about rumours regarding his future with the Repsol Honda team, to which he replied \"I don't know what's going on,\" and \"We are in talks right now but I have options should there not be a suitable offer from Honda.\", hinting at possible alternatives if he were to not continue riding for the team.\nOn November 12, 2001, Crivillé announced that he had parted ways with the Repsol Honda team after ten years with the team and that he was considering his options for the 2002 season. \"This week everything will be decided and it will be me and no one else that makes the decision,\" he said. Originally there were plans to ride a Factory Aprilia four-stroke bike in 2002. However the proposal deal he had hoped for did not appear and as a result, he started talking to Yamaha boss Luis d'Antin, owner of the Pramac d'Antin squad, for a chance to ride for the team and partner Norifumi Abe. Crivillé also did not rule out retiring either, starting that \"I am not going to close any door, and I could still go to Aprilia or even retire,\" and that \"I alone will decide my future.\"\nHowever, Crivillé was not able to start in 2002 due to undetermined health problems. He stated in a press conference in late 2001 that \"I have been forced to take a break from my sporting career due to physical problems. Since 1999, I have had a condition whereby I temporarily lose consciousness from time to time. It is not serious, but after consulting the best specialists in the field I was advised to stop riding for a while, to take the time to relax and undergo the necessary tests.\" He stated that he did not intend to retire and that this was simply a necessary break from the sport for medical reasons.\nOn May 5, 2002 however, the now thirty-two year old Crivillé held an emotional press conference on the second day of official qualifying for the 2002 Spanish Grand Prix where he announced his retirement from the sport, citing his illness as a reason. He stated that \"I would have liked to have carried on, but I have reached the conclusion that I should retire.\" and that \"This is a very emotional day for me and I have decided to retire after thinking for a long time.\" He also stated that \"I am now going to take a year off and after that I would like to return to the world of bike racing, but as to what role I would have I am not yet sure.\"\nAfter his retirement, he is still present in the MotoGP paddock and at the Repsol Honda squad along with Mick Doohan at special events of the team, such as Repsol's 20 and 25 years of collaboration with the team in 2014 and 2019.", "", "Points system from 1969 to 1987:\nPoints system from 1988 to 1992:\nPoints system from 1993 onwards:", "(key) (Races in bold indicate pole position; races in italics indicate fastest lap)", "\"Rider Statistics - Àlex Crivillé\". MotoGP.com. Retrieved 2008-09-04.\n\"MOTOGP Racers\". Crash.\nNoyes, D. \"Dreams Come True\", pages 37-38. Motocourse 1999-2000, Scott, M. (ed.) Richmond: Hazleton Publishing Ltd, 1999.\nSports, Dorna. \"Criville becomes a MotoGP™ Legend\". www.motogp.com.\n\"motogp.com · Alex Criville\". www.motogp.com.\n\"Pons rocked by Cobas death\". Crash. April 14, 2004.\n\"Archives: Criville's Place in MotoGP History\". Cycle News.\n\"MotoGP™ Classics -- Assen TT 1992\". Archived from the original on 2021-12-19 – via www.youtube.com.\nSports, Dorna. \"Home Heroes: Where it all began | MotoGP™\". www.motogp.com.\n\"Grand Prix uitslagen en bijzonderheden 1994\". Archived from the original on 2012-12-20.\n\"Doohan moet knokken voor de overwinning tijdens Dutch TT\". May 4, 2006.\n\"What happened in the 1995 Catalunya GP?\". June 10, 2019.\n\"Japanese triumph\". The Independent. April 22, 1996. Archived from the original on 2022-05-07.\n\"1996 Spanish GP - Jerez Panic: Doohan amongst the Spaniards\". Archived from the original on 2012-12-29 – via www.youtube.com.\n\"Jerez highlights 1987-2005\". Crash. March 22, 2006.\n\"Jerez: The Legacy Of The Last Corner\". Cycle News.\n\"Criville runs Doohan close\". The Independent. May 27, 1996. Archived from the original on 2022-05-07.\n\"Doohan triumphs in stop-start affair\". The Independent. July 1, 1996. Archived from the original on 2022-05-07.\n\"Why is the Austrian Grand Prix synonymous with speed?\". August 6, 2019.\n\"Top 5 closest finishes in MotoGP™️!\". Archived from the original on 2021-12-19 – via www.youtube.com.\n\"Doohan denied by late burst\". The Independent. August 19, 1996. Archived from the original on 2022-05-07.\n\"Brno: Did you know?\". August 3, 2018.\n\"Doohan blames Criville for crash\". The Irish Times.\n\"Motorcycling: Crash rules out Criville\". The Independent. June 27, 1997. Archived from the original on 2022-05-07.\n\"Alex wants a hand in Assen success\". Crash. June 21, 2000.\n\"Motorcycling: Criville in long lay-off\". The Independent. July 1, 1997. Archived from the original on 2022-05-07.\n\"MotoGP™ Classics - Barcelona-Catalunya 1997\". Archived from the original on 2021-12-19 – via www.youtube.com.\n\"Crivillé vuelve a reinar en Jerez\". El País. May 4, 1998 – via elpais.com.\n\"Motorcoureur Crivillé neemt leiding over van Doohan\". de Volkskrant. June 2, 1998.\n\"1998 MotoGP GP Marlboro de Catalunya | Motorsport Stats\". results.motorsportstats.com.\n\"Motorcycling: Doohan hurt in 110mph crash\". The Independent. May 8, 1999. Archived from the original on 2022-05-07.\n\"Doohan's career comes to the end\". The Independent. December 14, 1999. Archived from the original on 2022-05-07.\n\"Mick Doohan Update\". August 13, 1999.\n\"Reuters Archive Licensing\". Reuters Archive Licensing.\n\"Triunfo de Alex Crivillé en el circuito de Jerez\". www.elmundo.es.\n\"MotoGP Catalunya 2014: 1999, el día que Crivi voló sobre Montmeló\". 5 June 2014.\n\"Reuters Archive Licensing\". Reuters Archive Licensing.\n\"Criville Will Grid First at Imola 500 GP; Jacque Takes Pole for 250 GP\". September 4, 1999.\n\"Criville Wins 500 GP at Imola; Capirossi First in 250 GP\". September 5, 1999.\nsportredactie, Van onze (September 6, 1999). \"Criville wint op Imola met overmacht\". de Volkskrant.\n\"Reuters Archive Licensing\". Reuters Archive Licensing.\n\"Abe Wins Rio 500 GP, While Criville Takes Championship; Rossi Both Race Winner and Champion in 250's\". October 24, 1999.\n\"#RacingTogether: Rio 1999 – A nation awakes\". Archived from the original on 2021-12-19 – via www.youtube.com.\nhttps://resources.motogp.com/files/results/2000/500cc/FRA/QP2/classification.pdf?v1_96143780\n\"Defending 500 GP Champion Criville Victorious at French GP\". May 14, 2000.\n\"Reuters Archive Licensing\". Reuters Archive Licensing.\n\"Barros takes a wild one at Assen\". Crash. June 24, 2000.\n\"Criville injured in Jerez crash\". Crash. November 29, 2000.\n\"Criville under surgery after Jerez crash\". Crash. November 29, 2000.\n\"Criville re-signs with Honda\". Crash. August 3, 2000.\n\"Criville not tempted by Suzuki offer\". Crash. August 10, 2000.\nhttps://resources.motogp.com/files/results/2001/500cc/SPA/QP2/classification.pdf?v1_9c890819\n\"Criville bounces back\". Crash. May 7, 2001.\nSports, Dorna. \"Alex Criville is a doubt for the race after two hefty crashes in qualifying | MotoGP™\". www.motogp.com.\n\"Criville chasing podium repeat\". Crash. September 5, 2001.\n\"Criville: I never imagined I'd be on the podium\". Crash. August 27, 2001.\n\"Criville: I don't know what's going on\". Crash. September 6, 2001.\n\"All change for Criville in 2002\". Crash. November 12, 2001.\nSports, Dorna. \"Alex Criville forced to take a break from racing due to medical condition | MotoGP™\". www.motogp.com.\n\"Alex Criville announces retirement\". Crash. May 4, 2002.\n\"Sports Round-up: Ill-health forces Criville to retire\". May 4, 2002 – via www.telegraph.co.uk.\n\"Criville calls it a day\". May 4, 2002 – via news.bbc.co.uk.\nSports, Dorna. \"25 years: Repsol Honda present 2019 bike in Madrid\". www.motogp.com.\n\"Repsol Honda 2019 presentation - Márquez and Lorenzo inaugurate 25th anniversary of Repsol Honda Team\". January 23, 2019.", "Crash.net profile\nInterview following his 500cc championship victory" ]

[ "Àlex Crivillé", "Biography", "80cc career", "Derbi (1987–1988)", "125cc career", "Derbi (1988)", "JJ Cobas (1989)", "250cc career", "Yamaha (1990)", "JJ Cobas (1991)", "500cc career", "Honda (1992–2001)", "Retirement", "Career statistics", "Grand Prix motorcycle racing", "Races by year", "References", "External links" ]

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[ "Alejandro \"Àlex\" Gómez Comes, (born 8 October 1972) is a Spanish football manager.\nBefore starting his senior coaching career in Hong Kong, he has held various positions the youth academy of FC Barcelona.", "Born in L'Ametlla de Mar, Tarragona, Catalonia, Gómez started coaching at La Masia, the youth academy of FC Barcelona, in 2007.\nIn the summer of 2011, Gómez was appointed as the coach of Barça's Alevín C.", "Gómez signed a 1-year contract with Hong Kong top-tier division club Kitchee on 21 May 2013, with his contract formally starts on 30 June 2013. His arrival to Kitchee was due to former coach Josep Gombau's departure to A-League club Adelaide United.\nHowever, Gómez left Kitchee in November 2013.", "", "\"傑志敲定新帥\". Wen Wei Po. 23 May 2013.\n\"傑志新帥下月底來港履新\". Ta Kung Pao. 23 May 2013." ]

[ "Àlex Gómez", "Coaching career", "Kitchee", "Managerial stats", "References" ]

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[ "Àlex Monner Zubizarreta (born 27 January 1995) is a Spanish actor. He is known for his role as Lleó in the Catalan television series Polseres vermelles.\nMonner was born in Barcelona. He debuted in Pau Freixa's film Héroes, and then had a television role in the TV3 series Polseres vermelles, scripted by Albert Espinosa and again directed by Freixa. He played Lleó, a young man who lost a leg because of cancer.\nIn 2012, he featured in REC 3: Génesis as Adrián.\nHe has collaborated with Freixas several times in recent years, in the Telecinco series Sé quién eres, the first Spanish drama to be shown on the BBC, and in Cites, the Catalan version of the British series Dates.\nHe has appeared in roles on Televisió de Catalunya, TNT, Antena 3, the Telefe channel of Argentina, and Monte Carlo TV of Uruguay.", "", "", "", "Jo mai, of Iván Morales. Dir.: Iván Morales. Festival Grec (2013). Teatre Lliure (2014)", "Goya Awards\nSpanish Movies Festival of Málaga: Biznaga of Silver to the best cast actor because of Los niños salvajes (2012).\nGaudí Awards Winner the best revelation actor Els nens salvatges (2013)\nFotogramas Awards Winner the best TV actor for his role as Lléo in Polseres Vermelles (2013)\nTuria Awards Winner the best revelation actor Els nens salvatges (2013)\nCinematographic Writers' Circle CEC Awards Nominated to the best revelation actor Els nens salvatges (2013)", "\"Àlex Monner: \"Quan vaig arribar a casa rapat, la meva mare va plorar\"\". El Periódico de Catalunya.\nMeseguer, Astrid (4 June 2021). \"Los 'artistas de guerrilla' toman el Festival de Málaga\". La Vanguardia.\nPozo, José Carlos (17 May 2022). \"Tráiler de Centauro, película española de Netflix con motos y acción desenfrenada\". HobbyConsolas.\nhttp://www.elperiodico.cat/ca/noticias/tele/20110207/alex-monner-quan-vaig-arribar-casa-rapat-meva-mare-plorar/694120.shtml\nhttps://www.imdb.com/name/nm3856284/\nhttp://www.antena3.com/series/pulseras-rojas/noticias/descubriendo-alex-monner-joven-promesa-cine-television_2012071200067.html", "Àlex Monner at IMDb" ]

[ "Àlex Monner", "Filmography", "Feature films", "Television", "Theatre", "Awards and nominations", "References", "External links" ]

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[ "Àlex Ollé ([ˈaləks uˈʎe]; born 1960) is one of the six artistic directors of La Fura dels Baus. Prominent works from its early period include Accions (1984), Suz/O/Suz (1985), Tier Mon (1988), Noun (1990) and MTM (1994), which established La Fura dels Baus as a top company among both critics and the public.", "The first operas that Àlex Ollé directed were joint projects with Carlus Padrissa and the artist Jaume Plensa: L’Atlàntida (1996) by Manuel de Falla and Le martyre de Saint Sébastien (1997) by Claude Debussy. These were followed by La damnation de Faust by Héctor Berlioz, which debuted in 1999 at the Salzburg Festival; DQ. Don Quijote en Barcelona (2000), with music by José Luis Turina and libretto by Justo Navarro, which premiered at the Gran Teatre del Liceu de Barcelona;  Die Zauberflöte  [The magic flute] (2003) by  W. A. Mozart, as part of the Ruhr Biennale, a co-production of the Opéra National in Paris and the Teatro Real in Madrid; Bluebeard’s castle by Béla Bartók and Diary of one who disappeared (2007) by Leoš Janáček, presented under a single programme, premiered in Opera Garnier, a co-production of the Opéra National in Paris and the Gran Teatre del Liceu. With the collaboration of Valentina Carrasco, he directed the mise-en-scène of Le grand macabre (2009) by György Ligeti, premiered in the Théâtre Royal de la Monnaie in Brussels. A coproduction between the Gran Teatre del Liceu, the Théâtre Royal de la Monnaie, the English National Opera and the Opera di Roma. In 2010, this stage work was selected to open the 50th Adelaide Festival of Arts in Australia.\nTogether with Carlus Padrissa he directed Aufstieg und Fall der Stadt Mahagonny [Rise and fall of the city of Mahagonny] (2010) by Kurt Weill and Bertolt Brecht, which debuted at the Teatro Real in Madrid and was rebroadcast live to 127 movie theatres in Europe and Mexico.\nIn 2011, he directed Quartet by Luca Francesconi, based on the play of the same name by Heiner Müller. The opera debuted at the Teatro alla Scala in Milan and was co-produced with the Wiener Festwochen. This production received the prestigious Abbiati Award for \"La migliore Novità assoluta\". This year he is also presenting Tristan und Isolde by Richard Wagner at the Opéra in Lyon. French critics have chosen this production as one of the top three winners of the year by the newspaper Le Temps.  In 2011, in collaboration with Valentina Carrasco, he also directed Oedipe by George Enescu, co-produced by the Théâtre Royal de la Monnaie in Brussels and the Théâtre National de l’Opéra in Paris.\nHis first Verdi Un ballo in maschera, opened in Sydney Opera House in January 2013, won the Helpmann Award for the opera stage direction in the season 2012–2013. This is a production between Opera Sidney, Teatro Colón de Buenos Aires, Théâtre Royal de la Monnaie in Brussels and the Norwegian National Opera & Ballet of Oslo.\nDuring the 2013 he also directed  Il Priggioniero Dallapiccola / Erwartung Schoenberg, opened  in Justice & Injustice festival in the Opéra de Lyon and  Aida, together with Carlus Padrissa, to open the Centenario de l’Arena di Verona. In 2014 he premiered Giacomo Puccini's Madama Butterfly at the Handa Opera; Faust by Charles Gounod, a coproduction of the Teatro Real and the Nederlandse Opera, and Der Fliegende Holländer by Richard Wagner, produced by the Opéra de Lyon, the Opéra de Lille, Opera Australia (Melbourne Opera) and the Bergen Nasjonale Opera.\nHe directed Pelleas et Melisande, by Claude Debussy, at the Semperoper Dresden in 2015, and later Il Trovatore, by Giuseppe Verdi, a staging inspired by World War I, co-produced by De Nederlandse Opera in Amsterdam and the Opéra National de Paris. In February 2016, this production was rebroadcast live to 180 European cinemas during its representations in Opéra de la Bastille in Paris. In September he opened the season at The Royal Opera House in London with Vincenzo Bellini‘s Norma, a show that was broadcast live in more than100 European cinemas. In October he has premiered La Bohème by Giacomo Puccini in the Teatro Regio Torino, to celebrate the 120th anniversary of its release, a co-production with the Teatro dell'Opera di Roma.\nDuring 2017 he premiered the Christoph Willibald Gluck's Alceste at Opéra Lyon, and the Jeanne d'Arc au Bûcher Arthur Honegger and La damoiselle élue Claude Debussy diptych, co-produced between Oper Frankfurt and Teatro Real de Madrid.\nIn 2018, he adds to his constant review of the Faust's myth, the Mefistofele by Arrigo Boito, co-produced by the Opéra de Lyon and the Staatsoper Stuttgart.\nIn 2019, he premiered the newly created contemporary opera Frankenstein at the theater of La Monnaie de Munt, Brussels, with music by Marc Gray and libretto by Júlia Canosa, based on an original idea of Àlex Ollé inspired by the Mary Shelley's novel. In July, he premieres Turandot one of Giacomo Puccini's great operas, at the Tokyo Bunka Kaikan theater within the programming of the Cultural Olympiad Tokyo 2020, that tours in Japan to three other opera theaters. In October 2019, he premieres the opera Manon Lescaut of Giacomo Puccini at the Frankfurt Opera.\nIn 2020, due to the COVID-19 pandemic, all planned productions were postponed to the following seasons.\nIn March 2021, he directed the opera Arianne et Barbe-Bleue by Paul Dukas at the Opera de Lyon, in co-production with the Teatro Real in Madrid. Presented without public due to COVID-19 restrictions, it was streamed both in Medici TV and the theater's own website. Shortly after, it was broadcast in Mezzo and Arte channels. Later In July and within the framework of the Olympic Games that were delayed a year by the pandemic, he premiered the opera Carmen, by Georges Bizet, at the New National Theater in Tokyo.\nThroughout fall and winter 2021, there will be the premiere of Idomenée by André Campra at the Opéra de Lille, in co-production with the Staatsoper Unter den Linden, and Rusalka by Antonin Dvorák, at the Bergen National Opera. Idoménée by Campra will Premiere at the Opéra de Lille in September and then will be revived in Berlin at the Staatsoper Unter den Linden.", "In collaboration with Carlus Padrissa, Ollé created and directed Mediterrani, mar olímpic, the epicentre of the opening ceremony of the 1992 Barcelona Olympic Games, an event that fascinated and left a mark on millions of viewers around the world.\nHe has also participated in many large-scale shows, either alone or in collaboration with Carlus Padrissa, such as La navaja en el ojo, for the opening of the 2001 Valencia Biennial; Naumaquia, created for the Universal Forum of Cultures in Barcelona in 2004; the opening of the Track Cycling World Championships in Palma de Mallorca in 2007; Window of the city, the thematic show for Expo 2010 in Shanghai, China and Istambul, Istambul in 2012, in celebration of the 40th anniversary of the Istanbul Foundation for Culture and Arts (IKSV). In 2014 he created, with the architect Benedetta Tagliabue BCN.RESET, a route of ephemeral architecture through the streets of Barcelona.", "The plays that Àlex Ollé has directed include F@ust 3.0 (1998), based on the novel Faust by Johann Wolfgang von Goethe; XXX (2001), based on La philosophie dans le boudoir [Philosophy in the bedroom] by the Marquis de Sade, both in collaboration with Carlus Padrissa; Metamorphosis (2005), together with Javier Daulte, based on Franz Kafka’s text and Boris Godunov (2008), with David Plana, a play based on the attack on the Dubrovka Theatre in Moscow and on the work of Alexander Pushkin. In 2010 he co-directed Samuel Beckett’s First love with Miquel Gorriz, a co-production of the Chekov International Theatre Festival in Moscow and the Grec Theatre Festival in Barcelona. In 2018, he premieres L'Histoire du Soldat, by Igor Stravinski, at the Radiant-Bellevue Theater, co-produced by Lyon's National Opera, Lausanne's Opera and Montpellier's National Opera, to celebrate the 100th anniversary of the premiere.", "His sole foray into the world of film is Fausto 5.0, a movie he co-directed with Carlus Padrissa and Isidro Ortiz, a screenplay by Fernando León de Aranoa. Debuting in 2001 at the Sitges International Fantastic Film Festival, it received the Méliès d’Or Award in 2003 (among others) for the best European fantasy film.", "La Fura dels Baus\nÀlex Ollé", "", "Centro Dramático Nacional, Boris Godunov, La Fura dels Baus, 2008 p. 6\nCrusells Valeta, Magí, \"Ollé, Àlex\", Directores de cine en Cataluña: de la A a la Z, Edicions Universitat Barcelona, 2009, p. 185. ISBN 84-475-3316-6,\nDessau, Bruce, \"La Fura Dels Baus bring their eye-popping take on Ligeti to London\", The Times, September 5, 2009" ]

[ "Àlex Ollé", "Opera", "Large-scale shows", "Theater", "Cinema", "External links", "Notes and references", "Sources" ]

[ 396 ]

[ 3111, 3112, 3113, 3114, 3115, 3116, 3117, 3118, 3119, 3120, 3121, 3122, 3123, 3124, 3125, 3126, 3127, 3128, 3129, 3130, 3131 ]

[ "" ]

[ 0 ]

[ "https://upload.wikimedia.org/wikipedia/commons/6/68/%C3%80lex_Simon_i_Casanovas.jpg" ]

[ "Àlex Simon i Casanovas (born 1960 in Gràcia neighbourhood of Barcelona) is a Catalonian mountain guide, climbing teacher, outdoor instructor and logistic. He has climbed in the Pyrenees, Alps and the Dolomites, as well as in U.S., Brazil, Guatemala, Indonesia, Australia and Antarctica, and crossed by bicycle sections of the Simpson Desert (Australia) and Atacama Desert (Chile).\nÀlex Simon was the mountain guides team leader at the Spanish Antarctic base of Juan Carlos I in 2001–06, carrying out extensive field work on Hurd Peninsula, Huron Glacier area, Byers Peninsula, and Ioannes Paulus II Peninsula on Livingston Island in the South Shetland Islands.\nSince 2007 he lives in Finland. Currently he organizes sports events and a different kind of polar traverses: ski, husky dogs, fatbike and snowmobile. Agreeing to these activities, he participated as a logistician and guide on the Professor Multanovskiy ship during the 2009–2010 Antarctic summer and, as well in Antarctica, on the Ocean Nova ship during the 2010–2011.", "Since 2012 Àlex is organizing the Rovaniemi 150 Arctic Winter Race www.rovaniemi150.com. Rovaniemi150 (150 km) is the first, and still the only one (2017) polar winter ultramarathon in Europe which combines three categories: fatbike, ski and run.\nSince 2014 he also organize the Lapland Extreme Challenge www.laplandextremechallenge.com, 1000 kilometers in Finnish Lapland in winter.\nSince 2015 Rovaniemi150 have two more different challenges: Rovaniemi66 (66 km) and Rovaniemi300 (300 km).", "First ascent of Mount Bowles (839 m), Livingston Island on 5 January 2003.\nFirst ascent of Burdick East Peak (735 m), Livingston Island on 20 November 2003.", "Casanovas Peak on Livingston Island in the South Shetland Islands, Antarctica is named for Àlex Simon i Casanovas.", "Article \"Bajo el sol del desierto\". Solo Bici nº7. Dec. 1991.\nArticle \"La motoneige et moi-une expérience en Antarctique\". Motoneige Quebec. Dec 2009.\nArticle \"Sueños gélidos, sacos para frio extremo\". Desnivel. Dec 2002.\nÀlex S. Casanovas. [The Snowmobile Bible: Progressive safety over dangerous terrain]. Lulu Inc., 2008. 112 pp. ISBN 978-1-4092-2363-4", "In March 2011 he finished the 350 milles Iditarod Trail Invitational by bike. He was the first Catalan who participated in this race and finished it.", "American Alpine Journal, 2003. p. 333. ISBN 0-930410-93-9, ISBN 978-0-930410-93-3\nCasanovas Peak. SCAR Composite Gazetteer of Antarctica\nFatback Website" ]

[ "Àlex Simón i Casanovas", "Sport events organisation", "Climbs in Antarctica", "Honour", "Publications", "Sport activities", "References" ]

[ 397 ]

[ 3132, 3133, 3134, 3135 ]

[ "Part of Àmbit metropolità" ]

[ 0 ]

[ "https://upload.wikimedia.org/wikipedia/commons/7/74/Barcelona_ISS009-E-9987.jpg" ]

[ "Àmbit metropolità de Barcelona ([ˈambid mətɾupuliˈta ðə βəɾsəˈlonə]) is one of the seven territories defined by the Regional Plan of Catalonia (Catalan: Pla territorial general de Catalunya). It is located in the central coast of Catalonia, in Barcelona (capital city of Catalonia) and its influence area.\nIt is formed of five comarques: Baix Llobregat, Barcelonès, Maresme, Vallès Occidental and Vallès Oriental. It has been suggested by local authorities that Alt Penedès and Garraf should form a separate administrative entity called Vegueria del Penedès, as Penedès was a historical territory, or vegueria, with two comarques: Baix Penedès (Camp de Tarragona) and Anoia (Comarques Centrals). To a large extent coincides with the Barcelona metropolitan area.\nÀmbit metropolità is the most populous vegueria with 5,012,961 inhabitants (2010), and a density of 1,549 inhabitants/km².", "The vegueria was a feudal land division in the Principality of Catalonia, Kingdom of Sardinia, and Duchy of Athens during the Middle Ages and into the Modern Era until the Nueva Planta decrees of 1716. It was the primary division of a county in Catalonia and the basic territorial entity of government in Sardinia and Athens after those countries became part of the Crown of Aragon. The office of a veguer was called a \"vigeriate\" (Latin: vigeriatus).\nIn 1936, Catalonia was reconstituted into comarques. Although these were quickly abolished in 1939 they were reconstituted again in 1987.\nEach comarca was grouped with two to four others into a vegueria, of which there were nine, with their capitals at Barcelona, Girona, Tremp, Vic, Manresa, Lleida, Reus, Tarragona, and Tortosa.\nSince the 1987 reconstitution it has been decided that Vegueries be formally re-established in 2011. Under the 2006 Statute of Autonomy of Catalonia, the four provinces which make up Catalonia are due to be replaced by seven vegueries, which will also take over many of the functions of the comarques. As of October 2010, whereas the final boundaries of the new vegueries have yet to be formally approved, they are expected to incorporate largely historical boundaries: Àmbit metropolità de Barcelona, Alt Pirineu i Aran, Camp de Tarragona, Comarques Centrals, Comarques Gironines, Ponent (or Lleida) and Terres de l'Ebre.", "Catalonia\nComarques of Catalonia\nBarcelona metropolitan area\nUrban planning of Barcelona", "Vegueries (in Catalan, Spanish, English, and French)", "Statistical Institute of Catalonia\nNational Statistics Institute of Spain" ]

[ "Àmbit metropolità de Barcelona", "Vegueria", "See also", "References", "External links" ]

[ 398 ]

[ 3136, 3137, 3138, 3139 ]

[ "Caligrama Awards Ceremony at the headquarters of the Grupo Editorial Penguin Random House" ]

[ 0 ]

[ "https://upload.wikimedia.org/wikipedia/commons/f/f0/Premios_Caligrama.jpg" ]

[ "Àngel Fabregat Morera (born 1965, in Belianes) is a Catalan writer.\nHe studied at the Technical University of Madrid and at the Open University of Catalonia.", "Premi Gabriel Ferrater 1988 de Poesia. Premis Literaris Baix Camp per a joves d'Òmnium Cultural.\nPremi de Poesia \"Club d'Amics de la Unesco de Barcelona 1988\".\nPremi Literari \"Sant Jordi\" (1989) Generalitat de Catalunya.\nPremi Ateneu Igualadí 1990.\nPremi e-poemes de La Vanguardia 2009.\nPremi de Poesia Miquel Bosch i Jover 2010.\nPremi de Poesia Josefina Oliveras 2010.\nPremi de Poesia Francesc Candel 2010.\nPremi de les Lletres Vila de Corbera 2010.", "Antologia d'un Onatge (Ed. Columna, 1990)\nEls vençuts.", "Sol de Violoncel (Ed. Reus : Òmnium Cultural Baix Camp, 1988)\nPaisatges amb Solitud (Ed. Reus : Òmnium Cultural Baix Camp, 1989)\nEls Mars Tancats (Ed. Reus : Òmnium Cultural Baix Camp, 1991)", "http://anfabmo.bubok.com/\nInformació del guanyador del premi\nDetalls tècnics de l'obra\nhttp://www.antiqbook.com/books/bookinfo.phtml?o=inetli&bnr=46045\nAntologia d'un onatge. Columna. 1990. ISBN 9788478092185. OL 1287828M.\n\"Archived copy\". Archived from the original on 2010-05-28. Retrieved 2012-04-20.", "(in Catalan) \"Goigs a la Mare de Déu de l'Incendi\" de Rossend Perelló" ]

[ "Àngel Fabregat", "Prizes", "Works", "Coauthor", "References", "External links" ]

[ 399 ]

[ 3140, 3141, 3142 ]

[ "Guimerà, ca. 1894, by Pau Audouard", "Statue of Àngel Guimerà in front of the Teatro Guimerá in Santa Cruz de Tenerife" ]

[ 0, 1 ]

[ "https://upload.wikimedia.org/wikipedia/commons/c/cb/%C3%81ngel_Guimer%C3%A1%2C_de_Audouard.jpg", "https://upload.wikimedia.org/wikipedia/commons/9/92/Santa_Cruz_Statue_des_Angel_Guimera_vor_dem_Theater_fcm.jpg" ]

[ "Àngel Guimerà (6 May 1845 or 6 May 1847 or 1849 – 18 July 1924), known also as Ángel Guimerá, was a Catalan Nobel-nominated writer in the Catalan language. His work is known for bringing together under romantic aspects the main elements of realism. He is considered one of the principal representatives of the so-called Renaixença, at the end of the nineteenth century.", "He was born in Santa Cruz de Tenerife, Canary Islands, to a Catalan father and a Canary islander mother. At an early age, Guimerà's family moved to Catalonia, where they settled at his father's birthplace, El Vendrell.\nGuimerà wrote a number of popular plays, which were translated into other languages and performed abroad, proving instrumental in the revival of Catalan language as a literary language (Renaixença) in the late 19th and early 20th centuries. By far, the most famous was his realistic drama Terra baixa (Lowlands, also translated as Martha of the Lowlands). Written in 1896, it quickly became an international sensation. The play was translated into 15 different languages and the Spanish translation was presented regularly for a period of thirty years by Enric Borràs's theatre throughout Spain and Latin America. In English, the play received three Broadway productions between 1903 and 1936.\nIn addition to being a popular stage play, Terra baixa was made into six films, including a silent film in the United States, entitled \"Martha of the Lowlands\" (1914) and Leni Riefenstahl's Tiefland (1954). Furthermore, it served as the source material for two operas: Eugen d'Albert's German opera Tiefland (1903) and Fernand Le Borne's La Catalane (French).\nPlaywright Àngel Guimerà was nominated twenty-three times for the Nobel Prize in Literature, though he never won, due to controversy about the political significance of the gesture. He was a candidate for the Nobel Prize in 1904, to be shared with the Provençal writer Frédéric Mistral, in recognition of their contributions to literature in non-official languages. Political pressure from Spain's central government having made this prize impossible, it was eventually awarded to Mistral and to the Spanish language playwright José de Echegaray.\nWhen Guimerà died in 1924, he was offered a state funeral in Barcelona of a proportion which had never been seen before and was laid to rest on the Cemetery of Montjuïc.\nIn his hometown of Santa Cruz de Tenerife is a theater built in his name (Teatro Guimerá).", "Terra baixa is the story of Marta, a poor girl from Barcelona, who finds herself the young lover to Sebastià, the most important landowner in the Catalan lowlands. Sebastià must marry a woman of prominence to keep his land and inheritance. To squelch gossip of his relationship with Marta but still keep her as his lover, Sebastià marries her off to the unsuspecting Manelic, a young shepherd from the Pyrenees, and sets the newly weds up in the house attached to the town's mill. Marta finds herself torn between her old domineering lover and her new caring husband.", "Another well-known work by Guimerà is the play La filla del mar (The daughter of the sea, 1900), that recounts the story of Agata (Agate).\nHer name is that of a precious stone, in sharp contrast to the contempt in which she is held.\nHer uncertain origins, and the fact that she had been born \"among Moors\" renders her an object of hate, branded as a heretic.\nOne of the few people who does not exclude her is Baltasanet, who states that \"When we are born, we are all Moors\". Àgata is perfectly conscious of the fact that she is considered a \"nobody\" and a \"nuisance\". \"What evil have I done, that everyone despises me?\", she asks. The discrimination she faces leads ultimately to her death.\nÀgata feels attracted by the sea, which seems to be calling out to her, in the voices of her parents.\nFor her there is a symbolic opposition between sea and earth, the latter being all about misery and tears, whereas the sea harbours peacefulness and truth. Drowning, for her, would be a return to the 'amniotic fluid' of the sea from which she was born.\nLike a sailor, she is strong, brave, and vital. At the same time she is sensitive, and when she finds in Pere Màrtir the affection she had desperately lacked, they are able to connect. She excuses his past as a ladies' man, but, overcome by jealousy, threatens him with death if he relapses.\nThe story of Àgata involves numerous literary allusions and archetypes, from mythological aquatic characters, to the legend of Sappho committing suicide by throwing herself from a cliff into the sea.", "The main theater of Santa Cruz de Tenerife, the oldest on the Canary Islands, is called Teatro Guimerá after this playwright. On the facade of the Museo Municipal de Bellas Artes de Santa Cruz de Tenerife are a number of marble busts representing famous tinerfeños, among them Àngel Guimerà.\nAvenida Ángel Guimerá, where the theater is located, is also named after the playwright and poet, as this was the street on which he was born.\nA seated bronze statue of Àngel Guimerà was made in Catalonia in 1920 by Josep Cardona i Furró (1878-1923). This original model was then expanded by Josep Maria Codina for Barcelona's Plaça del Pi in 1983. Two replicas were made of this statue, one of which was gifted to the town of El Vendrell (in the province of Tarragona) in 1986. The other is located opposite the stated Teatro Guimerá in Santa Cruz de Tenerife.\nHe was also named adopted son of Barcelona in 1909.", "Born as Ángel Guimerá y Jorge, before the Catalan spelling normalization of Pompeu Fabra. However, during his life he signed his works using different forms of his name, as «Ángel Guimerá», «Angel Guimerá», «Ángel Guimera» or «Angel Guimerà». In modern Catalan works is known as Àngel Guimerà i Jorge or just «Àngel Guimerà».", "\"Ángel Guimerá\". Britannica.com. Britannica. 1998. Retrieved 7 February 2017.\nThe Riverside Dictionary of Biography. Houghton Mifflin Harcourt. 2005. p. 343. ISBN 9780618493371. angel guimera 1849.\nÁngel Sabín, Francisco Morales, Miguel Díez (1977). Las lenguas de España, Madrid: Ministerio de Educación, pág. 260\nFranc Chamberlain (1998). Spanish Theatre 1920–1995: Strategies in Protest and Imagination. Vol. III. OPA: Amsterdam, pág. 49\n\"The Nomination Database for the Nobel Prize in Literature, 1901–1950\". www.nobelprize.org. Retrieved 2 June 2012.\nTEATRO GUIMERÁ - Teatro, danza y música en Santa Cruz de Tenerife\nEntry #712 in the Commemorative Statues of Catalonia database, by the Institute of Catalan Studies\nEntry #1071 in the Commemorative Statues of Catalonia database, by the Institute of Catalan Studies\nEscultura d’Àngel Guimerà, de Josep Cardona i Furró\nÀngel Guimerà i Jorge. Santa Cruz de Tenerife (Islas Canarias), 1845 - Barcelona, 1924", "Àngel Guimerà website in Catalan with English translation.\n\"Àngel Guimerà\". lletrA-UOC - Open University of Catalonia.\nLiebesketten an opera by Eugen d'Albert based on Guimera's La filla del mar, translated by Rudolf Lothar; Score from Sibley Music Library Digital Scores Collection" ]

[ "Àngel Guimerà", "Life", "Terra baixa", "La filla del mar", "Tributes", "Notes", "References", "External links" ]

[ 400, 401 ]

[ 3143, 3144, 3145, 3146, 3147, 3148, 3149, 3150, 3151, 3152, 3153, 3154, 3155, 3156, 3157, 3158 ]

[ "Lines 3 & 5 station platforms" ]

[ 0 ]

[ "https://upload.wikimedia.org/wikipedia/commons/2/2d/Metro_%C3%A0ngel_guimer%C3%A0_L3L5.jpg" ]

[ "Àngel Guimerà is a metro station of the Metrovalencia network in Valencia, Spain. It is situated on Carrer d'Àngel Guimerà, named after the writer Àngel Guimerà, in the southwestern part of the city centre. The station is an underground structure." ]

[ "Àngel Guimerà (Metrovalencia)" ]

[ 402 ]

[]

[ "" ]

[ 0 ]

[ "https://upload.wikimedia.org/wikipedia/commons/5/5a/%C3%80ngel_Ll%C3%A0cer_Pin%C3%B3s.JPG" ]

[ "Àngel Llàcer Pinós (born 16 January 1974 in Barcelona, Spain) is a Spanish actor, television presenter and drama teacher, known for being member of the jury of the Spanish reality show Tu cara me suena.\nHe attended the Institut del Teatre, en Barcelona (1996–1997), and completed his education in San Miniato (Italy) and Berlin. He has worked as a drama teacher at ESADE and on the TV show Operación Triunfo and made his directorial debut with A Midsummer Night's Dream.", "\"Mala Sang\" (1997)\n\"El Somni de Mozart\" (1998)\n\"Mesura per Mesura\" (1999)\n\"Corre la Veu\" (1999)\n\"Mein Kampf\" (1999)\n\"La botiga dels horrors\" (2000)\n\"A Little Night Music\" (2000–2001)\n\"The Full Monty\" (2001).\n\"Salinger\" (2002)\n\"El somni d'una nit d'estiu\" (2002)\n\"Ja en tinc 30\" (2004)\n\"Teatre sense animals\" (2004)\n\"La màgia dels Kikids\"; director and author (2005):\n\"Tenim un problema\" (2005)\n\"Ya van 30\" (2007)\n\"Què, el nou musical\" (2008)\n\"Boeing, Boeing\" (2009)\n\"La doble vida d'en John\" (2010)\n\"Geronimo Stilton\"; director (2010)\n\"Madame Melville\"; director (2011)\n\"Splenda amb el Mag Lari\" (2012)\n\"El Petit Príncep\"; director and actor (2014)\n\"Molt soroll per no res\" (Much Ado About Nothing), by William Shakespeare; director (2015)\n\"Priscilla, la reina del desierto\"; artistic director (2015)\n\"Un cop a l'any\"; director (2018)\n\"Frankenstein\"; actor (2018)\n\"La jaula de las locas\" (La Cage aux folles); director and actor (2018)", "\"Angel Llacer\". Portalmix (in Spanish). 2000. Archived from the original on 23 September 2003. Retrieved 10 October 2019.", "Àngel Llàcer in IMDb" ]

[ "Àngel Llàcer", "Theatre", "Awards and nominations", "External links" ]

[ 403 ]

[ 3159, 3160, 3161 ]

[ "Rangel playing for Swansea in 2011", "Rangel defending against Kieran Gibbs of Arsenal in September 2011" ]

[ 0, 2 ]

[ "https://upload.wikimedia.org/wikipedia/commons/1/19/Angel_Rangel_vs_Arsenal.jpg", "https://upload.wikimedia.org/wikipedia/commons/0/09/Kieran_Gibbs_%26_Angel_Rangel.jpg" ]

[ "Àngel Rangel Zaragoza ([ˈaɲʒəl rəɲˈʒɛl]; born 28 November 1982) is a Spanish former footballer who played as a right-back, currently manager of Pontardawe Town's under-12 team.\nAfter playing lower league football in his native country for six years, he went on to spend most of his professional career with Swansea City, winning promotion to the Premier League in 2011 and appearing in 374 competitive matches.\nRangel signed for Queens Park Rangers in 2018, and retired from playing two years later.", "", "Born in Sant Carles de la Ràpita, Tarragona, Catalonia, Rangel represented CD Tortosa, CF Reus Deportiu, Girona FC, UE Sant Andreu and Terrassa FC in his homeland, never in higher than the Segunda División B. In summer 2007, he signed for Swansea City in the English League One on a one-year performance-related deal, for an undisclosed fee; countryman Roberto Martínez was the team's manager.\nRangel played a massive role in his first season as the Swans returned to the Championship after a 24-year absence, as league champions. He scored his first goal for them on 27 November 2007, netting eight minutes from time in a 1–0 home win against Hartlepool United. Two weeks later, again at the Liberty Stadium, he netted in a 3–0 victory over Southend United. In April 2008, he was one of five team players to make the PFA League One Team of the Year alongside Ferrie Bodde, Garry Monk, Andy Robinson and the league's top scorer Jason Scotland.\nOn 5 September 2008, Rangel signed a new contract until June 2010. He continued to feature prominently in the following years and, in mid-February 2010, agreed to an extension until June 2011.\nThe 2010–11 campaign was a successful one for both Swansea and Rangel, as the former were promoted to the Premier League for the first time in their history following a 4–2 defeat of Reading in the play-off final at Wembley Stadium. In spite of missing several weeks early on with a thigh muscle tear, he contributed to the feat with two goals from 41 appearances, scoring at Doncaster Rovers in a 1–1 draw and at home to Millwall which also ended in a 1–1 draw. In late June 2011, he put pen to paper to a new three-year deal.\nIn November 2011, Rangel was voted best defender in the Premier League. He played 34 matches during the season, helping the team retain their league status.\nRangel scored his first goal in the English top flight on 25 August 2012, in a 3–0 home win over West Ham United. On 8 March 2013, he signed a new contract with Swansea, keeping him at the club until 2016.\nOn 19 April 2015, one month after again extending his link, now until 2017, Rangel was selected in The Football Manager Team of the Decade at the Football League Awards. On 14 November 2017, he was named new captain after Leon Britton stepped down to become a player-assistant manager.\nRangel was released at the end of the 2017–18 campaign.", "Rangel spent time in the 2018 off-season training with Indian Super League club Bengaluru FC during their tour of Valencia. On 15 August, he joined Championship side Queens Park Rangers on a one-year contract. \nOn 14 August 2020, Rangel left Loftus Road, remaining there to be assisted through his rehabilitation from an Achilles tendon injury. The following 20 April, however, the 38-year-old announced his retirement. \nIn May 2022, Rangel was appointed manager of Pontardawe Town's under-12 team.", "Rangel was believed to qualify to represent Wales on residency grounds, but was ruled ineligible in July 2012 as he had not had five years of continuous education in the country.", "On 18 January 2013, Rangel drove around Swansea with his wife Nikki to distribute food to the homeless. He told CNN: \"We went for something to eat in a local sandwich chain and overheard the manager saying they had to throw out food as they were about to close for the night. My wife, Nikki, who is a very caring and charitable person, asked if we could have them for the homeless rather than see them thrown in the bin. They agreed and we drove around Swansea for over an hour, but couldn't find any homeless people as it was so cold out on the streets with all the snow. We decided to tweet a plea and we were guided to a local charity shelter who looked after the homeless.\" He was so pleased with the reaction to his gesture he confirmed that he would be helping out again.\nOn 5 April 2013, Rangel announced plans to hold charity auctions with his wife and teammates Chico Flores, Ben Davies, Jonathan de Guzmán, Pablo Hernández, Michu and Itay Shechter, to raise money for the Severn Hospice in Telford, Maggie's Cancer Centre in Swansea and The Christian Lewis Trust Kids Cancer Charity; among the top prizes on offer at one of the auctions were Rangel's personal box for the game against Manchester City, and a visit to a Formula One garage during qualifying of the German Grand Prix. He was inspired to do this by Nikki, who has had three family members diagnosed with cancer.", "Appearances in the Football League Trophy\nAppearances in the Football League play-offs\nAppearances in the UEFA Europa League", "Swansea City\nFootball League Cup: 2012–13\nFootball League Championship play-offs: 2011\nFootball League One: 2007–08\nIndividual\nPFA Team of the Year: 2007–08 League One\nThe Football League Team of the Decade", "\"Squads for 2017/18 Premier League confirmed\". Premier League. 1 September 2017. Retrieved 9 September 2017.\n\"Angel Rangel\". ESPN FC. Retrieved 27 February 2018.\n\"Angel Rangel\". Swansea City A.F.C. Archived from the original on 27 February 2018. Retrieved 27 February 2018.\n\"Former Swansea footballer Angel Rangel visits Harri Tudur School\". Western Telegraph. 8 July 2021. Retrieved 2 August 2022.\nPadilla, Toni (16 August 2011). \"El rapitenc Àngel Rangel fa realitat el somni de debutar a la Premier League\" [Ràpita-born Àngel Rangel fulfills dream of making Premier League debut]. Ara (in Catalan). Retrieved 2 August 2022.\n\"Swans make second Spanish swoop\". BBC Sport. 29 June 2007. Retrieved 7 December 2010.\n\"Swansea 1–0 Hartlepool\". BBC Sport. 27 November 2007. Retrieved 7 December 2010.\n\"Swansea 3–0 Southend\". BBC Sport. 15 December 2007. Retrieved 7 December 2010.\n\"Swans players dominate PFA team\". BBC Sport. 28 April 2008. Retrieved 7 December 2010.\n\"Rangel signs fresh Swansea deal\". BBC Sport. 5 September 2008. Retrieved 5 September 2008.\n\"Angel Rangel extends Swansea contract until 2011\". BBC Sport. 19 February 2010. Retrieved 7 December 2010.\nFletcher, Paul (30 May 2011). \"Reading 2–4 Swansea\". BBC Sport. Retrieved 30 May 2011.\n\"Angel Rangel facing up to six weeks out injured\". BBC Sport. 21 August 2010. Retrieved 7 December 2010.\n\"Doncaster 1–1 Swansea\". BBC Sport. 20 November 2010. Retrieved 1 May 2016.\n\"Swansea 1–1 Millwall\". BBC Sport. 10 December 2010. Retrieved 1 May 2016.\n\"Angel Rangel signs three-year extension deal at Swansea\". BBC Sport. 28 June 2011. Retrieved 28 June 2011.\n\"Àngel Rangel, mejor defensa de la Premier\" [Àngel Rangel, best Premier defender]. Diari de Tarragona (in Spanish). 14 November 2011. Archived from the original on 5 October 2012. Retrieved 29 April 2012.\n\"Swans FLY high with win over under-par Hammers\". Wales Online. 26 August 2012. Retrieved 26 August 2012.\n\"Defender Angel Rangel extends Swansea City contract until 2016\". BBC Sport. 8 March 2013. Retrieved 8 March 2013.\n\"Angel Rangel signs contract extension\". BBC Sport. 10 March 2015. Retrieved 1 June 2015.\n\"Winners announced for The Football League Awards 2015\". English Football League. 20 April 2015. Retrieved 22 April 2015.\n\"Rangel made new Swansea captain\". Sky Sports. 14 November 2017. Retrieved 24 November 2017.\nShread, Joe (10 May 2018). \"Angel Rangel to leave Swansea when deal expires at end of season\". Sky Sports. Retrieved 15 August 2018.\n\"Former Swansea captain Angel Rangel trains with Bengaluru FC in Spain\". The New Indian Express. 2 August 2018. Retrieved 15 August 2018.\nScriven, David (15 August 2018). \"Rangel is a Ranger as defender joins QPR\". Queens Park Rangers F.C. Retrieved 15 August 2018.\nWebb, Matt (14 August 2020). \"Angel Rangel leaves QPR\". Queens Park Rangers F.C. Retrieved 20 April 2021.\n\"Angel Rangel: Former Swansea City and Queens Park Rangers defender retires, aged 38\". BBC Sport. 20 April 2021. Retrieved 20 April 2021.\n@pontyacademyfc (20 May 2022). \"HEAD COACH APPOINTNENT | We are delighted to announce that former @SwansOfficial @premierleague star Àngel Rangel has agreed to be our U12 Head Coach next season. Trial information to follow in next few days. ⚽️⚽️\" (Tweet). Retrieved 20 May 2022 – via Twitter.\n\"Swansea's Angel Rangel would consider representing Wales\". BBC Sport. 14 May 2012. Retrieved 26 August 2012.\n\"Wales sensitive to Aaron Ramsey 'issues' over Ryan Shawcross call\". BBC Sport. 11 July 2012. Retrieved 11 July 2012.\n\"Swansea City defender Angel Rangel ineligible for Wales\". BBC Sport. 13 July 2012. Retrieved 13 July 2012.\n\"Swansea's Angel Rangel helps homeless in the city\". BBC Sport. 19 January 2013. Retrieved 19 January 2013.\nGaskell, Simon (5 April 2013). \"After giving food to the homeless, Angel the angel raises money for cancer charities\". Wales Online. Retrieved 13 July 2013.\n\"Rangel: Ángel Rangel Zaragoza\". BDFutbol. Retrieved 8 April 2014.\n\"Àngel Rangel\". Soccerway. Retrieved 12 April 2014.\nRollin, Glenda; Rollin, Jack, eds. (2008). Sky Sports Football Yearbook 2008–2009. London: Headline Publishing Group. pp. 45, 376–377. ISBN 978-0-7553-1820-9.\n\"Ronaldo named player of the year\". BBC Sport. 27 April 2008. Retrieved 4 November 2018.\n\"The Football League announces its Team of the Decade\". English Football League. 19 April 2015. Retrieved 28 February 2016.", "Swansea City official profile\nÀngel Rangel at BDFutbol\nÀngel Rangel at Soccerbase" ]

[ "Àngel Rangel", "Club career", "Swansea City", "Queens Park Rangers", "International career", "Personal life", "Club statistics", "Honours", "References", "External links" ]

[ 404, 405 ]

[ 3162, 3163, 3164, 3165, 3166, 3167, 3168, 3169, 3170, 3171, 3172, 3173, 3174, 3175, 3176, 3177, 3178, 3179, 3180, 3181, 3182, 3183, 3184 ]

[ "" ]

[ 0 ]

[ "https://upload.wikimedia.org/wikipedia/commons/9/9b/%C3%80ngel_Ros_2011_%28cropped%29.jpg" ]

[ "Àngel Ros i Domingo (born 1952, Lleida) is a Spanish politician and statesman. He was Mayor of Lleida from 2004 to 2018. He is the president of Socialists' Party of Catalonia since 25 July 2014 until 2019, and Ambassador of Spain to Andorra since 3 August 2018.", "\"Ajuntament de Lleida\". Generalitat of Catalonia. Retrieved 2015-11-13.\n\"Àngel Ros renuncia oficialmente a la alcaldía de Lleida\". El Periódico. 2018-08-04.", "Municipal website" ]

[ "Àngel Ros", "References", "External links" ]

[ 406 ]

[ 3185 ]

[ "Àngels Ribé at MACBA in Barcelona" ]

[ 0 ]

[ "https://upload.wikimedia.org/wikipedia/commons/b/bc/%C3%80ngels_Rib%C3%A9_at_MACBA_Barcelona.jpg" ]

[ "Àngels Ribé (born 1943 in Barcelona) is considered one of the most important Catalan conceptual artists of the 70s. With a strong international presence, she worked alongside such artists as Vito Acconci, Laurie Anderson, Gordon Matta-Clark, Lawrence Weiner, Hannah Wilke, Martha Wilson, Francesc Torres, and Krzysztof Wodiczko, among others.", "Ribé moved from Barcelona to Paris in 1966, and in 1969 began creating sculpture and installations, later actions and performances, working primarily with space and the body.\nIn 1972 Ribé moved to the United States, where she lived and worked for several months in Chicago before settling in New York City. She returned to Barcelona in 1980.", "Ribe's work, contextualized in the conceptual art of the late 60s and 70s, utilized nontraditional material, which she gradually discarded to concentrate on the ephemeral—light and shadow—and the location of the body in space. In Catalonia, her work is in the collections of the Vila Casas Foundation and the Barcelona Museum of Contemporary Art MACBA. Her work from 1969 to 1984 was the subject of a retrospective at MACBA in 2011.", "Laberint (1969)\nAcció al parc (1969)\nEscuma (1969)\n 3 punts (1970–1973)\nTransport d'un raig de llum (1972)\nInvisible Geometry 3 (1973)\nLight Interaction and Wind Interaction (1973)\nN.A.M.E. (1974) Performance\nVéhicule (1974) Performance at la Galérie de Mont-real.\nTwo Main Subjective Points on an Objective Trajectory (1975)\nCan't Go Home (1977)\nAmagueu les nines, que passen els lladres\nTriangle (1978)\nOrnamentació (1979)\nPaisatge (1983)", "", "2012 - Premi Nacional de Cultura", "\"El Punt Avui\".\n\"Àngels Ribé i el canvi de paradigma en l'art dels anys setanta\".\nhttp://www.fundaciovilacasas.com/ca/projecte_art/artistes/2444/ficha_artista\n\"Archived copy\" (PDF). Archived from the original (PDF) on 2011-08-15. Retrieved 2011-07-15.\nCentre d'Art Santa Mònica. Barcelona (1998). Àngels Ribé: 1997; Centre d'Art Santa Mònica, Barcelona, gener 1998. Centre d'Art Santa Mònica. Retrieved 18 July 2011.\nÀngels Ribé; Juan Bufill (2003). Àngels Ribé: del 4 de setembre al 4 d'octubre de 2003, Fundació Vila Casas, Espai VolART, Barcelona. Espai VolART. Retrieved 18 July 2011.\n15/07/2011- 23/10/2011. 70 artworks or photos of the artist's first years\nPremis Nacionals de Cultura 2012", "Àngels Ribé (1998). Àngels Ribé 1997. Generalitat de Catalunya. Retrieved 28 September 2011.", "Official Àngels Ribé Website\nInterview to Àngels Ribé in Spanish" ]

[ "Àngels Ribé", "Biography", "Work", "Main works", "Main exhibits", "Awards", "References", "Further reading", "External links" ]

[ 407 ]

[ 3186, 3187, 3188, 3189, 3190, 3191 ]

[ "Location in Scotland" ]

[ 0 ]

[ "https://upload.wikimedia.org/wikipedia/commons/2/2e/Isle_of_Arran.png" ]

[ "Àrd Bheinn (meaning \"high mountain\") is a small mountain of 1678 feet on central Isle of Arran in western Scotland." ]

[ "Àrd Bheinn" ]

[ 408 ]

[]

[ "", "Union of Municipalities", "Transport Body", "Environmental Body" ]

[ 0, 0, 0, 0 ]

[ "https://upload.wikimedia.org/wikipedia/commons/0/0b/AMB_logo_1.png", "http://upload.wikimedia.org/wikipedia/commons/e/ea/AmdBcn.PNG", "http://upload.wikimedia.org/wikipedia/commons/9/9d/AmdBcn1.PNG", "http://upload.wikimedia.org/wikipedia/commons/8/8a/AmdBcn2.PNG" ]

[ "The Àrea Metropolitana de Barcelona (AMB; \"Metropolitan Area of Barcelona\") is a public body operating on the principle of metropolitan authority. It is composed of representatives of Barcelona and 36 adjacent municipalities accounting for a population of 3,239,337 (Idescat, 2014) within an area of 636 km². Its jurisdiction constitutes the main core of the unofficial Barcelona metropolitan area, with a population over 5 million.", "The three executive bodies are:\nMancomunitat de Municipis (Union of Municipalities): Covering 31 municipalities, it manages common services affecting public spaces, infrastructure, facilities, urbanism and housing for 3,029,389 inhabitants in an area of 495 km². Given the range of services it offers, it is often construed as the core of the AMB.\nEntitat del Transport (Transport Authority): Covering 18 municipalities, it serves a population of 2,790,803 in an area of 332 km². These make up the strict Barcelona conurbation. Created to jointly manage public transport within its area.\nEntitat del Medi Ambient (Environment Authority): Covering 33 municipalities it serves a population of 3,121,795 in an area of 583 km². Entrusted with water supply and waste management for the area.", "", "The AMB is responsible for three areas: territorial planning, urban planning and infrastructures of metropolitan interest.", "Participation in the preparation and proceeding of the general territorial Plan of Catalonia.\nParticipation in the preparation and monitoring of the partial territorial plans that affect its area and the sectoral territorial plans that affect its powers.\nPreparation of plans, charters and programmes for the protection, management and planning of landscape.", "Integrated urban planning of the metropolitan territory by means of the Metropolitan Urban Master Plan (PDUM) and the Metropolitan Urban Planning Plan (POUM). The AMB is responsible for the initiative for the formulation and initial and provisional approvals of both plans and their subsequent amendments.\nParticipation in the Urban Planning Commission of the Metropolitan Area of Barcelona.\nFormulation and approval of the initial and provisional pluri-municipal urban development programmes.\nFormulation and approval of derived planning elements having metropolitan interest or affecting several municipalities.\nUrban management of the PDUM and the POUM as a competent and acting Administration.\nProtection of urban legality by delegation of municipalities or replacement of municipal authority. Exercise of sanctioning powers, where appropriate.\nCooperation and legal and financial support to municipalities concerning with planning, action programmes, projects and works, and urban discipline.", "Execution and management of infrastructure related to mobility, parks, beaches, natural areas, equipment, resources, facilities, technical environmental services and supplies services.", "The AMB plans and manages bus networks and other public transport, except for trams.\nIts powers, apart from planning and management, are:\nUrban surface public transport, except for trams.\nMmetro and underground public transportation.\nRegulation of the taxi service.\nApproval of the Urban Mobility Metropolitan Plan. Definition of the basic metropolitan road network. Participation in traffic management in this network, together with the Catalan Government.\nPlanning and management of passenger transportation with tourist and cultural purposes, delegated by town councils.\nPromotion of sustainable transport.\nManagement of the Barcelona ring roads.", "Environmental and sustainability powers include the water supply and treatment, waste management and management of the environment.", "Home supply of drinking water or domestic water supply downstream.\nPurification of water collected for its use.\nWastewater purification.\nRegeneration of purified wastewater for other uses such as irrigation or aquifers recharging.\nCoordination of water treatment municipal systems, including the planning and integrated management of rainwater and wastewater evacuation, and of the sewage.\nRegulation of the corresponding fees.\nWaste\nTreatment of municipal waste products and products resulting from works, as well as its recovery (reuse and recycling of paper, metal, plastic and other materials, energy and compost production, etc.) and disposal (controlled discharge of non-recyclable waste products).\nCoordination of municipal collection systems.\nPicking and selection of containers.\nWaste recycling facility, in collaboration with municipalities.\nOther powers\nCoordination and formulation of a Metropolitan Action Plan for environment, health and biodiversity protection, and measures to fight against climate change, and formulation of a metropolitan 21 Agenda.•\nParticipation in the production of acoustic capacity and strategic noise maps.\nIssue of environmental reports.\nCollaboration with municipalities in environmental planning policies.\nDevelopment and management of renewable energy facilities.", "The AMB exercises its powers in land and housing policies established by the urban legislation. It does so by delegation of metropolitan municipalities and to ensure intermunicipal solidarity in these actions.\nThe AMB defines land and housing policies, within the Metropolitan Urban Master Plan, with the aim of ensuring intermunicipal solidarity in these actions and exercising the constitutional right to housing.\nThe AMB exercises its powers in land and housing policies as laid down by the urban legislation, delegated by metropolitan municipalities.\nThe AMB carries out territorial planning actions to assign land to industrial and tertiary uses; promotes affordable housing, and is responsible for the construction of public equipments commissioned by metropolitan municipalities.\nSimilarly, the metropolitan administration exercises its powers in housing as recognised by law and those delegated by agreement or via consortium.", "The AMB aims to promote economic activity, employment and entrepreneurship in the areas of industry, trade, services and tourism resources.\nPromotion of economic activity, employment and entrepreneurship in the areas of industry, trade, services and tourism resources.\nPromotion of a Strategic Metropolitan Plan for modernisation, research and innovation.", "Social cohesion is one of the objectives of the creation of the AMB and is the principle by which all policies concerning urban planning, transport, environment, infrastructures and assistance to metropolitan municipalities are defined.\nThe aim is to achieve a cohesive and united metropolitan development, in which the benefits and costs of living in the metropolitan area are equally distributed among its inhabitants, regardless of the municipality in which they live.\nTo fulfil this aim, the powers of the AMB also include the following:\nPromotion of pluri-municipal policies enhancing social cohesion and territorial balance.\nParticipation in the Safety Commission of the metropolitan territorial area in order to promote civic coexistence policies.", "The Àrea Metropolitana de Barcelona is set on the central Catalan Coast and around the capital. The metropolitan area can be divided into two zones:\nThe boundary zone forming the conurbation with the city of Barcelona itself. Bordered by the Mediterranean Sea and the Serra de Collserola, the towns in this zone are Badalona, Hospitalet de Llobregat, Santa Coloma de Gramenet and Cornellà de Llobregat. Here the boundaries between municipalities are set by streets, avenues or the Llobregat and Besòs rivers.\nThe adjacent metropolitan zone, made up of several towns surrounded by predominantly residential suburban areas with detached, semi-detached and terraced housing, industrial estates, parkland and woods, such as Sant Vicenç dels Horts, Sant Cugat del Vallès and Cerdanyola del Vallès.", "", "* ICV-E included in the 2015 coalitions in Comú Badia - Entesa i Barcelona Comú - Entesa.\n** Guanyem not included in the 2015 coalitions in Comú Badia - Entesa and Barcelona Comú - Entesa.", "", "The Metropolitan Council is the highest governing body of the AMB. Its responsibilities include the appointment and dismissal of the AMB presidency; the approval of the Metropolitan Action Plan, which includes projects and services developed by the AMB during the term; the approval of laws and regulations, as well as the establishment of the metropolitan services fees.\nThe Metropolitan Council currently comprises 90 metropolitan councillors. Each of the 36 municipalities has a number of members in proportion to their demographic weight. The mayors of the municipalities are ex officio members of the Council, in addition to the councillors appointed by the Town Councils whose number increases until covering the one stipulated for each municipality.", "The Governing Board is the body that assists the president in the everyday work of the metropolitan administration.\nTasks are delegated by the Metropolitan Council and the president, with the aim of facilitating the decision making and the work of the metropolitan administration.\nThe Governing Board comprises the AMB president and the metropolitan councillors appointed by the president at the proposal of the Metropolitan Council, and it meets at least twice a month.", "", "Barcelona metropolitan area\nCatalonia\nComarques of Catalonia\nLocal government in Spain", "", "Àrea Metropolitana de Barcelona (in English, Catalan, and Spanish)" ]

[ "Àrea Metropolitana de Barcelona", "Executive Bodies", "Powers", "Territorial", "Territorial planning", "Urban planning", "Metropolitan infrastructure", "Transport and mobility", "Environment and sustainability", "Water cycle", "Housing", "Economic development", "Social cohesion", "Geography", "AMB Municipalities", "Municipal elections 2015", "Metropolitan government", "Metropolitan Council", "Governing Board", "Members of the Governing Board 2015 - 2019", "See also", "References", "External links" ]

[ 409, 410, 411, 412 ]

[ 3192, 3193, 3194, 3195, 3196, 3197, 3198, 3199, 3200, 3201, 3202, 3203, 3204, 3205, 3206, 3207, 3208, 3209 ]

[ "", "View to FC Suðuroy's Football stadium on Eiðinum in Vágur, the east coast, west coast and the lake Vatnið in between the coasts are visible.", "View to Vágseiði and FC Suðuroy's Football stadium, seen from Eggjarnar" ]

[ 0, 1, 3 ]

[ "https://upload.wikimedia.org/wikipedia/commons/e/ea/Vagur%2C_faroe_islands%2C_football_field.jpg", "https://upload.wikimedia.org/wikipedia/commons/d/de/Vagur_Suduroy_Faroeislands_East_and_West_Coast.JPG", "https://upload.wikimedia.org/wikipedia/commons/6/62/View_From_Eggjarnar_Faroeislands_To_FC_Suduroy_Stadium.JPG" ]

[ "á Eiðinum is a multi-use stadium in Vágur, which is one of the larger villages in the southernmost island Suduroy in the Faroe Islands. It is currently used mostly for football matches and is the home ground of FC Suðuroy, formerly called VB/Sumba (until 31 Dec. 2009). The stadium holds 3,000 people, but has only 330 seats.", "Next to the Football Stadium on Eiðinum in Vágur is a sports hall, which is called Vágshøll. It was built in 1980. Another building next to the football stadium is a community hall which was built in 1978 and is called VB-húsið (The house of VB). VB was the first football association in Vágur, founded in 1905. VB was not the first football association in the Faroe Islands or in Suduroy. TB from Tvøroyri is even older, founded in 1892. VB got together with Sumba in 2005 and now these two teams are called FC Suðuroy. They hope that this team will be for the whole island, but TB and Royn from Hvalba have not yet accepted the invitation (March 2010).", "FC Suðuroy is a result of the prior merging of VB Vágur and Sumba in 2005. FC Suðuroy was founded on January 1, 2010. Chairman of the board is Bjarni Johansen, who until the end of 2008 used to be goal keeper for VB Vágur and VB/Sumba. Chief Financial Officer for FC Suðuroy is Pól Thorsteinsson, who started his football career in Vágur for VB Vágur and ended his football career in the second best division of VB/Sumba in 2009, the same year as they won the 1. division and they decided to change the name from VB/Sumba to FC Suðuroy. In the meantime Thorsteinsson was playing for other Faroese clubs and also an Icelandic football club. Manager for FC Suðuroy is Jón Pauli Olsen.", "Kringvarp.fo\nSudurras1.com", "FC Suðuroy The Football Association of Suðuroy, currently the southern part of the island Suduroy.\nVB Handball\nThe Municipality of Vágur\nMunicipality of Sumba\nFC Suðuroy on Facebook\nVesturi á Eiðinum stadium - Nordic Stadiums\nSudurras1.com Article in Faroese about the lake Vatnið in Vágur and the history of the football stadium, the sports hall and VB Húsið." ]

[ "Á Eiðinum", "Vágshøll - The Sports Hall of Vágur", "FC Suðuroy", "References", "External links" ]

[ 413, 414 ]

[ 3210, 3211, 3212, 3213 ]

[ "Location of the Municipality of Akrahreppur" ]

[ 0 ]

[ "https://upload.wikimedia.org/wikipedia/commons/1/15/Akrahreppur_map.png" ]

[ "Ábær ([ˈauːˌpaiːr̥]) is a deserted farm in Iceland, located in the municipality of Akrahreppur. A small church was opened in 1922. The farm became deserted in 1950." ]

[ "Ábær" ]

[ 415 ]

[]

[ "Ábalos", "Hermitage of San Felices.", "Hermitage of San Roque.", "Hermitage of San Bartolomé.", "House of the Viceroy of Naples.", "The Marquis of Legarda Palace." ]

[ 0, 6, 6, 6, 6, 6 ]

[ "https://upload.wikimedia.org/wikipedia/commons/f/f0/Abalos_13.JPG", "https://upload.wikimedia.org/wikipedia/commons/5/5b/Ermita_de_San_Felices-Abalos-14019.jpg", "https://upload.wikimedia.org/wikipedia/commons/a/a6/Ermita_de_San_Roque-Abalos-14074.jpg", "https://upload.wikimedia.org/wikipedia/commons/5/54/Ermita_de_San_Bartolome-Abalos-14043.jpg", "https://upload.wikimedia.org/wikipedia/commons/c/c7/Abalos_-_Casa_del_Virrey_de_Napoles.jpg", "https://upload.wikimedia.org/wikipedia/commons/5/58/Abalos_-_Palacio_de_los_Marqueses_de_Legarda_5.jpg" ]

[ "Ábalos ([ˈaβalos]) is a municipality in the autonomous region of La Rioja, Spain. Located in Rioja Alta, on the left bank of the river Ebro, near Haro. It is bounded on the north by the Toloño mountains, on the south by San Asensio and Baños de Ebro, on the east by Samaniego and Villabuena de Álava, and to the west by San Vicente de la Sonsierra.", "In the Albeldense Chronicle the famous expedition conducted by Alfonso I, king of Asturias along the banks of the Ebro in 740 is mentioned. At that time, Ábalos was a part, as most of the mainland, of the Muslim kingdom of Córdoba. This account refers to the destroyed towns: Mirandam (now Miranda de Ebro), Revendecam, Carbonariam, Abeicam (Ábalos, from where he crossed the Ebro), Brunes (could be Briones but this is uncertain), Cinissariam (now Cenicero) and Alesanco. Control of the area then returned to Muslim hands until its final conquest in the late ninth and early tenth century.\nIn the eleventh and twelfth centuries the village is mentioned several times in the documents of the San Millán Monastery. Among them, as recorded by the Bishop Sandoval, the donation of the church of San Felix to the Monastery of San Millán, made by Gonzalo Núñez de Lara and his wife Goto Núñez in 1084.\nIn the fifteenth century it is known that Ábalos was village of San Vicente de la Sonsierra, whose lordship boasted different personages: Pedro Velasco, Pedro Girón, Juliana Aragón, Bernardino Velasco, etc. always due to numerous setbacks such as donations of gratitude, direct sales or inheritance.\nIn 1397 Charles III of Navarre granted Rui Lopez de Dábalos the town with all its land and royal rights except the sovereignty and appeal to the court of the King.\nÁbalos was a village of San Vicente de la Sonsierra, whose lordship was donated by John II of Navarre in 1430 to General Pedro Fernandez de Velasco II, the property then going on to be supervised by different lineages, either through donations, wills, acknowledgments or sale, including Pedro Girón, Juliana Aragón, Bernardino Fernandez de Velasco until it fell on Juan Hurtado de Velasco, Count of Castilnovo, who authorized on July 5, 1653 the separation of the town of San Vicente, on payment of 449,800 maravedis.\nÁbalos, however, continued to belong to the Lordship of San Vicente until 1727, when, as a result of debts incurred by the Counts of Castilnovo, gentlemen of the time, the estate was put on auction by the Tribunal of the Inquisition of Logrono, being awarded to the neighbors who bid up to 53,500 maravedis. Since then Ábalos is an independent town.\nAbolos > Avolos (alpha, beta, omicron, lambda, omicron, sigma) means \"awkward\" in Greek, may have some connection as Greeks did found the ancient Greek city of Emborio is Spain. Also Bolikos >Volikos (beta, omicron, lambda, iota, kappa, omicron, sigma) is the antonym.", "As of 1 January 2010 the population was 369 inhabitants, 231 men and 138 women.", "In an 1199 bull, through which privileges were granted to the San Millán de la Cogolla monastery, the name Dáualos appeared. This name, according to Ortiz Trifol, was related to Abalasqueta, the Basque, or rather it was the accusative plural of the anthroponym of the second declension of Abaris, perhaps taking into account the identification between the Varduli city of Thabuca and Avalos, indicates . Most likely it is related to the anthroponym, which would suggest an \"Avalos or Davalos\" village.", "In 2007, the Popular Party (PP) claimed victory in the municipal elections of the Abalos City council winning four seats to the Spanish Socialist Workers Party (PSOE)'s three.\nUp to that time, the city government had fallen into the hands of the Socialists, who have always had three or four councillors since 1979. The Union of the Democratic Centre (Spain) (UCD) or independent candidates got some councillors in different elections, while the PP, meanwhile, did not contest the elections between 1979 and 1991.", "", "", "The Iglesia Parroquial de San Esteban Protomártir (: St. Stephen Protomartyr Parish Church) was declared an asset of Cultural Interest in the category of Monument on September 28, 1983. Its flamboyant gothic style was built in the sixteenth century. It has a single nave divided into three sections and a crown. The tower is baroque, built between 1735 and 1740. The altarpiece, located in the presbytery, dates back to the mid sixteenth century and is attributed to the workshop of the Beaugrant family.\nOther items of note are:\nThe tomb of Francisco Antonio Ramirez de la Piscina, Baroque from the first half of the eighteenth century.\nImage of the Virgin of the Rose, sixteenth-century Gothic.\nSeating in the choir loft, the beginning of the same century.", "The San Felices Hermitage\nThe San Felices Hermitage is located in an open field to the northeast of Ábalos. It is Romanesque and it seems that the chapel is the only remnant of a monastery which, in the twelfth century, already belonged to San Millán. Built in ashlar stone, it has a triumphal arch and two portals. There are anthropomorphic graves nearby.\nSan Roque Hermitage\nSan Bartolomé Hermitage\nLa Virgen de la Rosa Hermitage", "Popularly known by this name ((in Spanish): la casa del Virrey de Nápoles), alluding to the Viceroyalty of Naples.", "Made of ashlar stone. It bears the shields of Ramirez de la Piscina and López de Ornillos.", "José Fermín Gurbindo\nFrancisco Antonio Ramírez de la Piscina\nMartín Fernández de Navarrete y Jiménez de Tejada", "Municipal Register of Spain 2018. National Statistics Institute.\n\"Soria: Población por municipios y sexo (:Soria - Population by Municipality and Sex)\". Instituto Nacional de Estadística. Retrieved 22 August 2012.\nOrtiz Trifol, 1982, 27.\nTovar, 1989, 414.\nRanz Yubero, José Antonio; José Ramón López de los Mozos (2002), Topónimos riojanos del patrimonio emilianense en una bula de 1199. (San Millán Archive M. 41-52) (in Spanish), Berceo, pp. 65–76, ISSN 0210-8550" ]

[ "Ábalos, La Rioja", "History", "Demography", "Etymology", "Politics", "Tourism", "Buildings and monuments", "St. Stephen Protomartyr Parish Church", "Hermitages", "The Virrey de Nápoles house", "The house of the Canton or of Ramírez de la Piscina", "Notable people", "References" ]

[ 416, 417, 418, 419, 420, 421 ]

[ 3214, 3215, 3216, 3217, 3218, 3219, 3220, 3221, 3222, 3223, 3224, 3225, 3226 ]

[ "", "" ]

[ 0, 2 ]

[ "https://upload.wikimedia.org/wikipedia/commons/b/bd/SZOCSKA-Abel.jpg", "http://upload.wikimedia.org/wikipedia/commons/5/5a/046CupolaSPietro.jpg" ]

[ "Bishop Ábel Antal Szocska, O.S.B.M. (Ukrainian: Авель Сочка; born 21 September 1972) is a Hungarian Greek Catholic hierarch. He is serving as the first Eparchial Bishop of the Hungarian Catholic Eparchy of Nyíregyháza from 31 October 2015 (until 7 April 2018 he was an Apostolic Administrator of the same Eparchy).", "Born in Vynohradiv, Ukrainian SSR in 1972, he was ordained a priest on 30 September 2001 by Bishop Szilárd Keresztes. He was appointed the Apostolic Administrator by the Holy See on 31 October 2015.", "", "\"Ábel Antal Szocska, O.S.B.M.\" catholic-hierarchy.org. 2016-04-23." ]

[ "Ábel Szocska", "Biography", "See also", "References" ]

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[ "Lutheran church in Ábelová", "" ]

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[ "https://upload.wikimedia.org/wikipedia/commons/4/45/%C3%81belov%C3%A1_-_Evanjelick%C3%BD_kostol.jpg", "http://upload.wikimedia.org/wikipedia/commons/2/2e/Bansk%C3%A1_Bystrica_Region_-_physical_map.png" ]

[ "Ábelová (earlier also Abelová, Jabelová; Hungarian: Ábelfalva, before 1907 Abellehota, before 1873 Abelova) is a village and municipality in the Lučenec District in the Banská Bystrica Region of Slovakia.", "The village arose in the early 13th century. In historical records, it was first mentioned in 1275 (Abelfeuld). It belonged to Halič and until the 16th century partly also to Divín.", "The records for genealogical research are available at the state archive \"Statny Archiv in Banska Bystrica, Slovakia\"\nRoman Catholic church records(births/marriages/deaths): 1755-1898\nLutheran church records(births/marriages/deaths): 1736-1895 (parish A)\nCensus records 1869 of Abelova are not available at the state archive.", "List of municipalities and towns in Slovakia", "\"Počet obyvateľov podľa pohlavia - obce (ročne)\". www.statistics.sk (in Slovak). Statistical Office of the Slovak Republic. 2022-03-31. Retrieved 2022-03-31.\n\"Hustota obyvateľstva - obce [om7014rr_ukaz: Rozloha (Štvorcový meter)]\". www.statistics.sk (in Slovak). Statistical Office of the Slovak Republic. 2022-03-31. Retrieved 2022-03-31.\n\"Základná charakteristika\". www.statistics.sk (in Slovak). Statistical Office of the Slovak Republic. 2015-04-17. Retrieved 2022-03-31.\n\"Hustota obyvateľstva - obce\". www.statistics.sk (in Slovak). Statistical Office of the Slovak Republic. 2022-03-31. Retrieved 2022-03-31.", "Media related to Ábelová at Wikimedia Commons\nOfficial website \nhttp://www.statistics.sk/mosmis/eng/run.html\nhttp://www.e-obce.sk/obec/abelova/abelova.html\nSurnames of living people in Abelova" ]

[ "Ábelová", "History", "Genealogical resources", "See also", "Rerefences", "External links" ]

[ 424, 425 ]

[ 3228, 3229, 3230 ]

[ "Ábrahám Ganz", "Unter-Embrach, Switzerland, the birthplace of Ábrahám Ganz", "Ábrahám Ganz", "The building of the foundry (today 20 Bem József Street, Budapest)", "Hard cast wheel according to Ábrahám Ganz's own patent", "Interior of the Foundry Museum (Öntödei Múzeum)(today 20 Bem József Street, Budapest)", "Statue of Ábrahám Ganz", "Tomb of Ábrahám Ganz" ]

[ 0, 2, 4, 5, 5, 5, 6, 7 ]

[ "https://upload.wikimedia.org/wikipedia/commons/e/ee/Ganz_abraham.jpg", "https://upload.wikimedia.org/wikipedia/commons/c/c9/Embrach_mit_alter_Kirche.jpg", "https://upload.wikimedia.org/wikipedia/commons/5/56/%C3%81brah%C3%A1m_Ganz.jpg", "https://upload.wikimedia.org/wikipedia/commons/2/28/A_M%C3%81VAG_kezdete.jpg", "https://upload.wikimedia.org/wikipedia/commons/5/54/Hard_cast_wheel_patent_ganz.jpg", "https://upload.wikimedia.org/wikipedia/commons/b/b9/Interior_of_the_Foundry_Museum-6.jpg", "https://upload.wikimedia.org/wikipedia/commons/5/57/Abraham_Ganz_1814-1867.jpg", "https://upload.wikimedia.org/wikipedia/commons/7/72/Ganz.jpg" ]

[ "Ábrahám Ganz (born as Abraham Ganz, 6 November 1814, Unter-Embrach, Switzerland - 15 December 1867, Pest, Austria-Hungary) was a Swiss-born iron manufacturer, machine and technical engineer, entrepreneur, father of Ganz Works. He was the founder and the manager of the company that he made the flagship of the Hungarian economy in the 19th century. Despite his early death in 1867 the company remained one of the strongest manufacturing enterprise in Austria-Hungary. Many famous engineers worked at Ganz Works inter alia Károly Zipernowsky, Ottó Bláthy, Miksa Déri, András Mechwart, Kálmán Kandó, Donát Bánki, János Csonka and Theodore von Kármán and several world-famous inventions were done there, like the first railway electric traction, or the invention of the roller mill, the carburetor, the transformer and the Bánki-Csonka engine.", "", "He was born into a Swiss Calvinist family in Unter-Embrach. His father, Johann Ulrich Ganz, was a cantor teacher. His mother, Katharina Remi, died when he was just 10 years old. He was the oldest son out of nine children.", "Because of financial difficulties he had to work as a carpenter's apprentice, but before his liberation he went to Zurich to work at the foundry of Escher Wyss AG as a casting apprentice. At the age of twenty he travelled a lot in Germany, France, Austria and Italy, and worked in different factories where he gathered experience. In 1841 he arrived in Buda where he was involved in the construction of the Szechenyi Mill.", "István Széchenyi initiated the building of a steam mill in Buda, and he established the Josef Rollmill Company (József Hengermalom Társulat). Ábrahám Ganz started to work there as a mechanic. He saw that there was a lack of good iron industry experts in the quickly developing Hungarian manufacturing industry. Soon, he became the first casting master of the foundry of the steam mill. The foundry could achieve, with the new technology of indirect casting, very pure casts which made it easier to combine different metals. The finished casts were introduced to the public at the first Hungarian Industrywork Exhibition (Magyar Iparmű Kiállítás) in 1842. Their special combination and purity was praised even by Lajos Kossuth. After that Ganz was nominated to be the head of the foundry and the machine repairing yard. In the same year he gave a job to his brother, Konrád Ganz, who was also a casting master.\nIn 1843, while he was working in the foundry, the cast splashed out. He became blind in one of his eyes. According to some sources he said then:\n\"One eye is lost, but the casting was successful.\"\n— Ábrahám Ganz", "The management of the steam mill paid a share of the profit to Ganz. This enabled him to buy, in 1844, land and a house for 4500 Forints in Víziváros. He built his own foundry on this site and started to work there with seven assistants. They made mostly casting products for the needs of the people of the city. In 1845, he bought the neighbouring site and expanded his foundry with a cupola furnace. He gave his brother, Henrik a job as a clerk, because of the growing administration work. He made a profit in the first year, and his factory grew, even though he had not yet engaged in mass production. In 1846, at the third Hungarian Industrywork Exhibition (Magyar Iparmű Kiállítás), he introduced his stoves to the public. He won the silver medaille of the exhibition committee and the bronze medaille from Archduke Joseph, Palatine of Hungary.\nDuring the Hungarian Revolution of 1848 to 1849 the foundry made ten cannons and many cannonballs for the Hungarian army. Because of this, the Military Court of Austria impeached him. He got seven weeks in prison as penalty, but because of his Swiss citizenship he was acquitted of the charge.\nGanz recognized that, to develop his factory, he had to make products that were mass-produced. In 1846 the Pest-Vác railway line was built. At that time, European foundries made wrought iron rims for spoked wagon wheels by pouring the casts in shapes in sand, and leaving them to cool down. Meanwhile, in the United States and England a better method was being used. This was chill casting, which was invented by the Englishman John Burn in 1812. The essence of this process is to cool the cast faster. The metal will then be harder, and have better wear-resistance. This is possible if the casting frame is made of a good heat conductor. Ganz made one for the first time in 1853 and he was able to improve the method further by using antimony. He got a patent for this invention in 1856.\nGanz describes thus the essence of his process:\n\"To get a hard cast, the so-called casting crust, as main equipment we use antimony. We grind it tiny and we make paint or dollop of it. We cover the walls of the casting shape with it, then we dry it and pull it together. Finally, we heat it to 100 degrees, and the liquid iron is poured into the mold. At the place where the mould walls are coated with said material, a glass hard crust is formed, which - depending on whether the wall of the cover is thinner or thicker - is two, three or four millimeters in thickness. That is why I have found antimony the best material for the production ...\"\n— Ábrahám Ganz\nHe used antimony for covering the inner surface of the mold casting to separate the fluid iron from the cooling iron. This was the source of his success. Between 1852 and 1862 he built and ran Europe's first, and for a long time only, crust wheel foundry. His customers were Austro-Hungarian, German, French and Russian railway companies. Because of the large number of orders his foundry proved to be too small, so he built a new factory in 1858.\nBetween 1853 and 1866 his company delivered 86,074 wheels to 59 railway companies. Ganz also bought an English patent, the invention of Ransomes and Biddel, which concerned parts for rail switches. He improved this also, and got two patents in 1861 and in 1865. Between 1860 and 1866, his company delivered 6,293 crust cast rail switch parts to railway companies. The company did not only produce parts for railways. They also made parts for bridges (e.g. most of the Lánchíd's cast iron cross beams and the molding pieces of the Szeged Bridge in Szeged), as well as crust cast notched cylinders for the mill industry. Later the company achieved world-famous success with this product, under the leadership of András Mechwart.\nThe number of employees at Ganz Works was 60 in 1854, 106 in 1857 and 371 in 1867. The daily production was 2-3 tonnes of casts (with 50-60 wheels). The products of the company obtained international recognition: at the World's Fairs in Paris (three bronze medals Exposition Universelle (1855)), in London (bronze medaile 1862 International Exhibition) and, at the Swiss Industrywork Exhibition, a silver medal in 1867.", "On the 24 October 1849 he married Jozefa Heiss, the daughter of the city judge of Buda, Laurentius Heiss. They could not have their own children, so they adopted two related orphan girls, Anna Pospech and Jozefina Ganz.\nHe was nominated honorary citizen of Buda by the city council on 4 September 1863. In 1865 the emperor, Francis Joseph I, personally expressed his highest appreciation to Ábrahám Ganz. On the 23 November 1867 they celebrated the production of the hundredth wheel, made by chill casting, and Ganz gave a dinner for all his employees and their families. During his life he spent a lot of money for social purposes. In his company he uniquely opened a retirement fund and a patient fund.\nHe kept his Swiss citizenship. There is no evidence that he learned or could speak any Hungarian. He spoke with his family in German, and the employees of his factory spoke with him in German also.", "In his last years he worked a lot, but was not happy with his life. He saw all his brothers going crazy and he was convinced that he would have the same future. After the death of his brother, Konrád, he committed suicide on 15 December 1867. His ashes were buried in the Kerepesi Cemetery. In 1872, Miklós Ybl built him a mausoleum. After the death of his widow in 1913, they both lie there forever.", "He is considered to be one of the pioneers of Hungarian heavy industry. With his works he contributed a lot to the development of the Hungarian casting and machine manufacturing industry.\nAfter the death of Ábrahám Ganz, András Mechwart continued his plans and managed the company. With his leadership, under the name of Ganz & Co. Foundry and Machine Manufacturing Inc. (Ganz és Társa Vasöntöde és Gépgyártó Rt.), it became the most significant group of companies in Hungary. It was active in the machine, vehicle and electrical manufacturing industries with world-famous inventions and technical solutions.\nIn the original foundry production stopped in 1964 and the building, with all the objects left, became the Foundry Museum (Öntödei Múzeum). The building is, since 1997, under monument protection.", "Ganz Works, Ábrahám Ganz's company\nAnton Eichleiter\nAndrás Mechwart", "\"GANZ ÁBRAHÁM\". 20 November 2014. Retrieved 2017-04-17.\nMagyar nagylexikon, Vol. 8 (Ff–Gyep). Budapest: Magyar Nagylexikon Kiadó. 1999. p. 468. ISBN 963-85773-9-8. (Vol.).\n\"Ganz Ábrahám élete, munkássága\". Archived from the original on 2008-02-26. Retrieved 2009-08-28.\n\"Az Országos Műszaki Múzeum Öntödei Múzeuma története\". Archived from the original on 2009-11-27. Retrieved 2009-08-28.\nNotes\n\"Ganz történet (1. Rész): A magyar gépgyártás innovációja\". 2 August 2015.\n\"Abraham Ganz\". Retrieved 2020-03-06.\nHendrickson, Kenneth E. (2015): The Encyclopedia of the Industrial Revolution in World History (Band 3), p. 352.\n\"Budapest and its surroundings\" (PDF). Retrieved 2020-03-17.\n\"Archived copy\" (PDF). Archived from the original (PDF) on 2017-04-17. Retrieved 2017-04-17.\nBerend, Ivan T. (2013): Case Studies on Modern European Exonomy: Entrepreneurship, Invention, Institutions, p. 151.", "Terplán, Zénó (translated from the original German biography of Antal Eichleiter): Ki vezette a gyárat Ganz Ábrahám (1814-1867) halála után? (Who lead the factory after the death of Ábrahám Ganz?)" ]

[ "Ábrahám Ganz", "Life", "Early years", "Escher Wyss AG", "Josef Rollmill Company (József Hengermalom Társulat)", "Ganz Works", "Personal life", "Death", "Legacy", "See also", "References", "Literature" ]

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[ "" ]

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[ "http://upload.wikimedia.org/wikipedia/commons/c/c8/HUN_%C3%81brah%C3%A1mhegy_COA.jpg" ]

[ "Ábrahámhegy is a village in Veszprém county, Hungary. It is located on the shore of Lake Balaton.", "Ábrahámhegy, KSH", "Street map (Hungarian)" ]

[ "Ábrahámhegy", "References", "External links" ]

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[ "Aerial Photography of Ács", "" ]

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[ "https://upload.wikimedia.org/wikipedia/commons/3/3c/%C3%81cs_l%C3%A9gifot%C3%B3.jpg", "https://upload.wikimedia.org/wikipedia/commons/e/ef/HUN_Kom%C3%A1rom-Esztergom_megye_COA.png" ]

[ "Ács (German: Atsch) is a town in Komárom-Esztergom county, northern Hungary.", "Ács is located in Komárom District on the eastern side of the Little Hungarian Plain near where the Concó River enters the Danube.\nIt is below the Bársonyosi Hills, at the point where the Székes joins the Concó, three kilometer south of the Danube and eight kilometers southwest of the city of Komárno.", "Ács was a settlement in Roman times, in the province of Pannonia. There were two Roman castra, Ad Mures and Ad Statuas, in the area.\nAn early mention in the 13th century called the place Iwan de As; and a document in 1346 called it Alchy.\nIn 1970 it was declared a large commune (Nagyközség); and on 1 July 2007 it received town status.", "Ács is twinned with:\n Zlatná na Ostrove, Slovakia\n Brăduț, Romania\n Steinau, Germany", "\"Rómaiak éltek Ács határában\" [Romans lived in the border of Ács] (in Hungarian). Múlt-kor. 7 May 2010. Archived from the original on 19 June 2018.\n\"Kalandozások Pannóniában: római tábor az őskori kút mellett\" (in Hungarian). Múlt-kor. 30 October 2007. Archived from the original on 2 March 2017.\nBorovszky, Samu, ed. (1907). \"Ács\". Magyarország vármegyéi és városai [The counties and cities of Hungary] (in Hungarian). Vol. 11. Komarom varmegye es Komarom. Budapest: Orszagos Monografia Tarsasag.\nA town is less than 100,000 inhabitants.\nNagy, Tamás (16 September 2017). \"Várossá válásának jubileumából díszpolgárokat avattak Ácson\" [The citizens of Ács celebrated the tenth anniversary of becoming a town] (in Hungarian). Kemma. Archived from the original on 18 June 2018.", "Official website in Hungarian\nStreet map (Hungarian)\nAerial photographs of Ács" ]

[ "Ács", "Geography", "History", "Twin towns – sister cities", "Notes and references", "External links" ]

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[ "The Roman Catholic church" ]

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[ "https://upload.wikimedia.org/wikipedia/commons/1/1a/%C3%81cstesz%C3%A9r_-_Szent_M%C3%A1rton_r%C3%B3mai_katolikus_templom.jpg" ]

[ "Ácsteszér (Ács-Teszér, German: Tesier, Zierndorf) is a village in Komárom-Esztergom county, Hungary.", "The name of the village referred to the profession of the villagers. Hungarian ács and Slavic tesar with the same meaning - a carpenter.", "Mihály Táncsics, born here", "Kiss, Lajos (1978). Földrajzi nevek etimológiai szótára (in Hungarian). Budapest: Akadémiai. p. 38.", "Street map (Hungarian)" ]

[ "Ácsteszér", "Etymology", "People", "References", "External links" ]

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[ "" ]

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[ "https://upload.wikimedia.org/wikipedia/commons/3/32/Anderle_%C3%81d%C3%A1m.jpg" ]

[ "Ádám Anderle (Hungarian: [ˈaːdaːm ˈɒndɛrlɛ]; February 25, 1943 – November 19, 2016) was a Hungarian historian, hispanist, full (university) professor, professor emeritus of Faculty of Arts, University of Szeged (SZTE). He was active in research of the relationship between Latin America and Hungary for decades. He was fluent in Hungarian and Spanish.", "He took M. A. degrees at the Attila József University (JATE), Faculty of Arts in Hungarian and History in 1966.\nDuring his academic years he also learned Spanish language because he was interested in the history of Cuba, Latin America and Spain. Tibor Wittman raised Anderle's interest in the Hispanic world.\nAnderle received his dr. univ. (doctor universitatis) degree in 1967.\nIn 1969 he became an educator and a research fellow in the Department of Medieval Universal History and History of Latin America, at the Faculty of Arts, JATE.\nHe took candidate (C.Sc.) of History degree in 1977 and was awarded Doctor of Science (D.Sc.) degree in history in 1988.\nIn 1977, he became an associate professor (docent, reader).\nHe was appointed to the head of the department, and he acted as a head from 1983 until 1992.\nIn 1989, he received the title of university (full) professor.\nIn 1993, he founded the Department of Hispanic Studies, and he headed it until 2008.\nFrom 1997 until 2013, he acted as a subprogram leader of Modern history in the Doctoral School of History at the University of Szeged, and he was a member of the Council of the Doctoral School of History and a VIP member of the doctoral school.\nIn 2013, the honorific title of professor emeritus was conferred upon him.\nHe was a notable and respected scientist both in Hungary and around the world and developed significant research and professional relationships.\nAnderle lectured as a visiting professor at several universities of Latin America: Santa María University in Caracas, National University of San Marcos in Lima, University of Havana in Cuba, and at the universities of Europe: University of Alcalá in Alcalá de Henares, Spain and University of Göttingen in Germany.\nHis working papers were issued in both national and international prestigious professional research scientific journals, and 20 books and 200 scientific articles were published.", "Attila József University (JATE), Faculty of Arts, Deputy dean (1985–1986)\nJATE, head of the department, Department of Medieval Universal History and History of Latin America (1985−1993)\nResearch Group Leader (1982−1992)\nFounding head of the Department of Hispanic Studies (1993−2008)\nUniversity of Szeged (SZTE), Doctoral Council of the university, member (2000-2005)\nSZTE, Habilitation Council of the university, member (2000-2014)\nSZTE, Dean's Council of the Faculty of Arts, member (1998-2015)\nSZTE, Doctoral Council of the Faculty of Arts, member (1996-2001)\nSZTE, Faculty of Arts, Council of the Doctoral School of History, member, Modern history Programme, head (1997-2013)\nAHILA – Association of European Latin Americanist Historians, Hungarian coordinator (1975–83), member of the executive committee (1983–93), president (1987–90), honorary member (2015-2016)\nCEISAL – European Council for Social Research on Latin America, president of the Immigration Section (1990-1995)\nAssociation of Hungarian Latin Americanist Historians, president (1989-1996)\nHungarian Historical Society, Board of Directors, member (1990-1995)\nCouncil of the Regional Centre of the Hungarian Academy of Sciences (SZAB), member, and President of the Philosophy and History Commission (Szeged) (1990–1993, 1996–2000, 2002–2005, 2008–2010)\nHungarian Scientific Students' Associations (OTDT), president of the Human Section (1996-2003)\nJoint Committee of the Spanish-Hungarian Historians, president (2003-2010)\nOTDT, Board of Directors, member (2003-2015)\nHungarian Academy of Sciences (HAS), member of the Public Body\nHistoria Latinoamericana en Europa. Bulletin of AHILA (Liverpool), editorial board member (1985-1993)\nAnuario Mariáteguiano (Lima), international advisory board member\nActa Histórica. Estudios Latinoamericanos, yearbook editor (1982-1993)\nActa Hispánica, yearbook editor (1996-2008)\nJacobus. Revista de Estudios Jacobeos y Medievales, Valladolid, editorial board member (2003-2008)\nMediterranean World. Journal of Social Sciences (Veszprém, Hungary), editorial committee member (2008-2016)\nFundación José Carlos Mariátegui, Board of Trustees, founding member (Lima) (2009-2016)\nVilágtörténet (Hungarian journal World History, Institute of History of the Research Centre for the Humanities of the HAS), advisory board member (2008-2016)", "Premio Extraordinario José Carlos Mariátegui (Casa de las Américas, 1981)\n1997: Orden del Mérito Civil, Commander\n1999: Order of Merit for Distinguished Service (Orden al Mérito por Servicios Distinguidos), Peru\n2008: Orden de Isabel la Católica, Encomienda de Número.\nSzéchenyi Professor Scholarship (Ministry of Education of Hungary) (1997-2000)\nMaster Teacher Gold Medal (OTDT-HAS, 1999)\nGyula Juhász Prize (2003)\nPro Universitate (2008)\nDoctor Honoris Causa Pro Scientia (OTDT, 2011)\nOrder of Merit of the Republic of Hungary, Officer's Cross (2013)\nGold Diploma (SZTE, 2016)", "Berta, Tibor et al. (eds.): Az identitás régi és új koordinátái: tanulmányok Anderle Ádám 65. születésnapjára (Papers on Ádám Anderle's 65th Birthday), Szeged: Faculty of Arts, University of Szeged, Hispanisztika Tanszék Budapest: Palatinus, 2008", "source:", "A Rajk-per spanyolországi előzményei. Századok, 149:(6) pp. 1327–1361. (2015)\nCuba en la historiografía húngara In: Opatrný Josef (ed.) Ibero-Americana Pragensia Supplementum 35: El Caribe hispanoparlante en las obras de sus historiadores. Konferencia helye, ideje: Csehország, 2013.09.06-2013.09.07. Prága: Karolinum, 2014. pp. 49–59. ISBN 978-80-246-2437-2\nEl latinoamericanismo en Hungría. Társszerzőkkel: Fischer Ferenc, Lilón Domingo. ANUARIO AMERICANISTA EUROPEO 8: pp. 157–173. (2010)\nTörténelmi minták és utak. Esszék Spanyolországról és Latin-Amerikáról. Szeged: Szerzői kiadás, 2009. 213 p. ISBN 978 963 482 931 7\nMagyar kivándorlás Latin-Amerikába az első világháború előtt. Szerző: Torbágyi Péter; szerk. Anderle Ádám. Szeged; SZTE Történettudományi Doktori Iskola, 2009.\nA magyar emigráció Latin-Amerikában. Történelmi vázlat. Külügyi szemle 3: pp. 174–192. (2008)\nA magyar forradalom és a hispán világ. In: Anderle Ádám (ed.) A magyar forradalom és a hispán világ, 1956. Szeged: Szegedi Tudományegyetem, Bölcsészettudományi Kar, 2007. pp. 13–19. ISBN 978 963 482 806 8\nA magyar kérdés. Spanyol követi jelentések Bécsből 1848–1868. Szerk. Anderle Ádám. Szeged: Hispánia Kiadó, 2002. 258 p.\nKutatási Közlemények III. A magyar-katalán kapcsolatok ezer éve. Szeged; Hispánia Kiadó, 2001. 121 p.\nStációk. Erdély – Európa – Latin-Amerika. Tudományos konferencia Wittman Tibor professzor születésének 75. évfordulóján; összeáll. Anderle Ádám, szerk. Anderle Ádám, Nagy Marcel; Hispánia, Szeged, 1999\nTanulmányok a Latin-amerikai magyar emigráció történetéből. Szeged; Hispánia Kiadó, 1999. 93 p. ISBN 963-85831-9-3\nInvestigaciones sobre América Latina. Informe para la Asamblea General de CEISAL. México, 1999.\nKozári Mónika társszerzővel: Un Húngaro en el México Revolucionario: Kálmán Kánya Ministro del Imperio Austro-Húngaro en México durante la Revolución Mexicana y la Primera Guerra Mundial. Mexico City: EDAMEX, 1999. 220 p. ISBN 970-661-082-0", "Latin-Amerika. A függetlenség útjai- Bicentenario, 1810-2010; Anderle, Ádám; (ed.) 2. bőv. kiad.; SZTE, Szeged, 2012\nA magyar tudományos diákköri konferenciák története, 1951-2011; összeáll., szerk. Anderle Ádám; Országos Tudományos Diákköri Tanács, Bp., 2011\nLatin-Amerika története. Szeged: JATEPress Kiadó, 2010. 179 p. ISBN 978-963-315-001-6\nLa mirada húngara. Ensayos sobre la historia de España y de América Latina Szeged: Szegedi Tudományegyetem, 2010. 217 p. ISBN 978 963 306 008 7\nA magyar-spanyol kapcsolatok ezer éve. Szeged: Szegedi Egyetemi Kiadó, 2006. 208 p. ISBN 963-7356-28-2\nLatin-Amerikai utakon. Szeged: Hispánia Kiadó, 2002. 162 p. ISBN 9638626402\nSpanyolország messzire van? Szeged: Hispánia Kiadó, 2000. 134 pp.\nHorváth Gyula társszerzővel: Perón – Che Guevara. Budapest; Pannonica Kiadó, 2000. 342 p. ISBN 9639252077", "\"Ádám Anderle (1943÷2016)\". Hungarian Doctoral Council. Personal Data Sheet. Retrieved 2017-08-24.\n\"Fallecimiento del Socio Honorario Ádám Anderle\" (in Spanish). AHILA. Retrieved 2018-02-14.\n\"Homenaje a Ádám Anderle\" (in Spanish). Boletín Casa Mariátegui. Retrieved 2018-02-14.\n\"Ádám Anderle\". WorldCat. Retrieved 2017-08-24.\n\"Ádám Anderle's publications\". MTMT. Retrieved 2018-02-14.", "Media related to Ádám Anderle at Wikimedia Commons\n\"Hispanista centroeuropeo de referencia\" (in Spanish). ABC Córdoba. Retrieved 2018-02-14." ]

[ "Ádám Anderle", "Biography and career", "Committee memberships", "Awards and honors", "Bibliography", "Selected works", "Papers", "Books", "References", "External links" ]

[ 437 ]

[ 3259, 3260, 3261, 3262, 3263, 3264, 3265, 3266, 3267, 3268, 3269, 3270, 3271, 3272, 3273, 3274, 3275, 3276 ]

[ "Ádám Balogh" ]

[ 0 ]

[ "https://upload.wikimedia.org/wikipedia/commons/4/4b/Bust_of_%C3%81d%C3%A1m_B%C3%A9ri_Balogh.jpg" ]

[ "Ádám Balogh de Bér (c. 1665 in Bérbaltavár, Kingdom of Hungary – 1711 in Buda) was one of the most famous kuruc colonels of the Hungarian army during Rákóczi's War for Independence against the rule of the Austrian Habsburg dynasty.", "Balogh was born to a Catholic noble family. His father was István Balogh, who died in 1678, and his mother was Rebeka Káldy, a catholic noble lady. Balogh married Julianna Festetics, and they had seven children.\nHe began service at a young age as the infantry's voivode in Csobánc castle and took part in campaigns of the Turkish wars. In 1705 he saw action with the kuruc troops who almost captured the Austrian king near Vienna. Francis II Rákóczi promoted him to colonel in 1708. He was executed in 1711 by Habsburgs in Buda Castle. Rákóczi tried to save him but was unsuccessful.", "He is still famous in Hungarian literature and film. His character appears in the movie Captain of Tenkes." ]

[ "Ádám Balogh", "Life", "Recollection" ]

[ 438 ]

[ 3277, 3278 ]

[ "Portrait of Ádám Batthyány, c. 1650" ]

[ 0 ]

[ "https://upload.wikimedia.org/wikipedia/commons/1/1b/%C3%81d%C3%A1m_Batthy%C3%A1ny.jpg" ]

[ "Ádám Batthyány (1610–1659) was a Hungarian count of the Batthyány family. He presided over a period of religious tensions between Protestants and Catholics, which extended to his court. His father had been Calvinist, as had he, but he later became Lutheran and then in 1629 he converted to Catholicism. At court tensions over religion led Protestant servants to reportedly throw meat into wine on fast days to provoke Catholics. He also had to manage an occasionally tense border with Ottoman Empire.", "Zrinyi, Miklos (2011-07-27). The Siege of Sziget by Miklos Zrinyi, pg 218. ISBN 9780813218618. Retrieved 2013-11-26.\nPeter, Professor K. (2001). Beloved Children edited by Katalin Péter, pgs 164-184. ISBN 9789639116771. Retrieved 2013-11-26.\nKaplan, Benjamin J. (2009-06-30). Divided by Faith by Benjamin J Kaplan, pg 83. ISBN 9780674039308. Retrieved 2013-11-26.\nDávid, Géza; Fodor, Pál (2007). Ransom Slavery Along the Ottoman Borders edited by Géza Dávid and Pál Fodor. ISBN 978-9004157040. Retrieved 2013-11-26." ]

[ "Ádám Batthyány", "References" ]

[ 439 ]

[ 3279, 3280 ]

[ "Bogdán playing for Bolton Wanderers in 2013", "Bogdán playing for Hungary in 2011" ]

[ 0, 7 ]

[ "https://upload.wikimedia.org/wikipedia/commons/2/2c/Adam_Bogdan.jpg", "https://upload.wikimedia.org/wikipedia/commons/b/b9/Bogdan2011.png" ]

[ "Ádám Bogdán ([ˈaːdaːm ˈboɡdaːn]; born 27 September 1987) is a Hungarian professional footballer, who plays as a goalkeeper for Hungarian club Ferencváros. \nBogdán began his career in Hungary at Vasas before spending time on loan at Vecsés. In 2007, he moved to English club Bolton Wanderers, for whom he made 120 appearances across all competitions, before moving to Liverpool in 2015. Rarely used at Liverpool, he had a loan at Wigan Athletic in 2016, cut short by a knee injury. After a long period recovering from the injury, Bogdán was loaned to Scottish club Hibernian in July 2018. He was released by Liverpool in the summer of 2019, and then signed with Hibernian.\nHe made his senior international debut for Hungary in 2011. Bogdán has since earned 20 caps and represented Hungary in 2014 FIFA World Cup qualification matches.", "", "Born in Budapest, Bogdán started his career with Hungarian Nemzeti Bajnokság I (Division One) team Vasas SC. He also had a loan spell at Vecsés where in his 9 games he impressed Bolton scouts.", "He signed for Bolton Wanderers on a two-year contract on 1 August 2007. His contract was extended in 2009 until June 2011.\nIn September 2009, Bogdán joined League Two team Crewe Alexandra on a one-month loan. He made his debut on 29 September 2009 in a 3–2 home defeat to Bury, during which he made an error that cost Alexandra a point.\nHe made his Bolton debut in a 1–0 League Cup victory over Southampton on 24 August 2010. On 29 August 2010, Bogdán made his Premier League debut when he replaced Jussi Jääskeläinen, who had been sent off for violent conduct, 37 minutes into the home game against Birmingham City. He made his first Premier League start in the away game at Arsenal on 11 September. Following Jääskeläinen's return, Bogdán returned to the bench but manager Owen Coyle gave Bogdán starts in both the League Cup and FA Cup. On 31 March 2011, he signed an extension to his existing contract, which would keep him at the club until 2014.\nThe 2011–12 season gave Bogdán more playing time after Jääskeläinen suffered an injury during an international break, but in his first league game, on 2 October, he conceded five goals against Chelsea and Jääskeläinen returned for the next league game. Three months later on 4 January, after Jääskeläinen suffered another injury, Bogdán returned for a game at Everton where he was beaten by a 102-yard wind assisted clearance by Everton goalkeeper Tim Howard from his own penalty area in a 2–1 victory at Goodison Park. On 14 January 2012, Bogdán saved a penalty kick from Wayne Rooney, although Bolton lost 3–0 to Manchester United.\nHe performed well during Jääskeläinen's absence and when the Finn returned from injury, Bogdán kept his place for the home game against Arsenal on 1 February, in which he kept a clean sheet in a goalless draw. Despite Jääskeläinen's return to full fitness, Bogdán remained first choice goalkeeper. On 11 March 2012, after Bolton's victory over QPR, and on 1 April 2012, after Bolton's 3–2 victory over Wolverhampton Wanderers, Bogdán was selected for in the \"team of the week\" by Garth Crooks. On 14 May 2012, Bolton Wanderers held their annual end of season dinner, with Bogdán the recipient of the main accolade as he was named the club's Player of the Year, which is voted by the supporters. Bogdán admitted he felt mixed emotions after getting the award due to the draw against Stoke City which resulted in Bolton's relegation from the Premier League.\nBogdán signed a contract extension on 29 November 2012, which extended his contract to summer 2015. During the 2014–15 season, Bogdán only made 10 appearances for Bolton, after being displaced as the team's first-choice goalkeeper by Andy Lonergan.", "On 12 June 2015, it was confirmed that Bogdán would join Liverpool on a free transfer on 1 July, when his contract expired. He made his debut on 23 September, in a League Cup third round tie against Carlisle United at Anfield, and saved three penalties in the shootout, enabling his side to win the shootout 3–2.\nOn 20 December, he made his Premier League debut for the Reds in a 3–0 loss to Watford at Vicarage Road, dropping a corner kick after three minutes to allow Nathan Aké to open the scoring. Bogdán also played in a much-changed Liverpool side away to Exeter City on 8 January 2016 in the third round of the FA Cup, conceding direct from Lee Holmes' corner kick in a 2–2 draw.\nOn the last match of the 2015–16 Premier League season, Bogdán was named in the starting line up against West Brom after a long absence from the first team squad. West Brom opened the scoring through Salomón Rondón in the 13th minute, before Jordon Ibe leveled in the 23rd minute – the match ended in a 1–1 draw.\nOn 20 July 2016, Bogdán joined Wigan Athletic on loan for the 2016–17 season. Bogdán made 17 appearances for Wigan, keeping five clean sheets. In his final game, a 0–0 draw against Barnsley on 19 November, Bogdán suffered a tear in his anterior cruciate ligament and was substituted in the 59th minute. Bogdán then returned to his parent club Liverpool for rehabilitation.\nOn 2 July 2018, Bogdán moved on a season-long loan to Scottish Premiership club Hibernian. Bogdán played regularly for Hibernian during the early part of the 2018–19 season, but then missed several games due to concussion symptoms.\nHe was released by Liverpool at the end of the 2018–19 season.", "Bogdán signed a short-term contract with Hibernian, where he had been on loan in the previous season, in November 2019. His contract was extended in January 2020 to the end of the 2019–20 season, as the loan of Chris Maxwell was expected to be curtailed. Bogdán was one of three first team players released by Hibs at the end of the 2019–20 season.", "On 1 July 2020, Bogdán returned to Hungary and signing for reigning champions Ferencváros.", "Bogdán received his first call up for Hungary in October 2008, and was an unused substitute in their 1–0 win over Malta. In June 2011 he made his first full international appearance, in a 1–0 win against Luxembourg. He was named as Hungarian Player of the Year for 2012. On 11 October 2013, he kept goal in the nation's record defeat, 1–8 to the Netherlands at the Amsterdam Arena in 2014 World Cup qualification.\nOn 1 June 2021, Bogdán was included in the final 26-man squad to represent Hungary at the rescheduled UEFA Euro 2020 tournament.", "", "As of 15 May 2022", "As of match played on 8 June 2021.", "", "Liverpool\nFootball League Cup runner-up: 2015–16\nFerencvárosi TC\nNemzeti Bajnokság I: 2020–21, 2021–22", "Bolton Wanderers Player of the Year: 2012\nHungarian Player of the Year: 2012", "Soccerbase did not record appearances made by Bogdán against NSI Runavik on 19 July, Asteras Tripolis on 26 July and 2 August, and Molde on 16 August 2018.\nSoccerway did not record appearances made by Bogdán against Ráckeve VAFC on 19 September and Dorogi FC on 10 February\nSoccerway did not record appearances made by Bogdán against FC Hatvan on 19 September and VSK Tököl on 27 October", "\"Updated squads for 2017/18 Premier League confirmed\". Premier League. 2 February 2018. Retrieved 11 February 2018.\n\"Adam Bogdan: Overview\". Premier League. Retrieved 4 March 2018.\n\"ÁDÁM BOGDÁN profile\". hungarianfootball.com. Retrieved 24 September 2015.\nBuckingham, Mark (1 August 2007). \"Bolton bag Hungary keeper\". Sky Sports. Retrieved 29 August 2010.\n\"Bogdan Thrilled To Extend His Deal\". Bolton Wanderers F.C. 7 January 2009. Archived from the original on 16 July 2011. Retrieved 25 April 2014.\n\"Crewe sign Bolton keeper Bogdan\". BBC Sport. 29 September 2009. Retrieved 29 August 2010.\n\"Crewe 2–3 Bury\". BBC Sport. 29 September 2009. Retrieved 29 August 2010.\n\"Southampton 0–1 Bolton\". BBC Sport. 24 August 2010. Retrieved 25 August 2010.\nWhyatt, Chris (29 August 2010). \"Bolton 2–2 Birmingham\". BBC Sport. Retrieved 29 August 2010.\n\"Bolton goalkeeper Adam Bogdan signs contract until 2014\". BBC Sport. 31 March 2011. Retrieved 31 March 2011.\n\"Adam Bogdan's slow rise to top at Bolton worth the wait\". The National. 18 January 2012. Retrieved 18 January 2012.\n\"Everton 1 – 2 Bolton\". BBC Sport. 4 January 2012. Retrieved 5 January 2012.\n\"Adam Bogdan out to be Bolton's No.1\". Manchester Evening News. 16 January 2012. Retrieved 16 January 2012.\n\"Garth Crooks's team of the week\". BBC Sport. 11 March 2012. Retrieved 11 March 2012.\n\"Garth Crooks's team of the week\". BBC Sport. 1 April 2012. Retrieved 1 April 2012.\n\"Bogdan Named Player of the Year\". Bolton Wanderers F.C. 14 May 2012. Archived from the original on 16 May 2012. Retrieved 25 April 2014.\n\"Mixed Emotions For Bogdan\". Bolton Wanderers F.C. 14 May 2012. Archived from the original on 16 May 2012. Retrieved 25 April 2014.\n\"Bolton's 11-year stay in the Premier League has come to an end after being held to a draw at Stoke\". BBC Sport. 14 May 2012. Retrieved 14 May 2012.\n\"Contract Extension For Bogdan\". Bolton Wanderers F.C. 29 November 2012. Retrieved 29 November 2012.\n\"Adam Bogdan: Liverpool sign Bolton Wanderers goalkeeper\". BBC Sport. 12 June 2015. Retrieved 12 June 2015.\n\"Liverpool 1–1 Carlisle\". BBC Sport.\nHytner, David (20 December 2015). \"Watford accept gift of Adam Bogdan blunder in thumping win over Liverpool\". The Guardian. Retrieved 22 September 2020.\n\"Exeter City 2 – 2 Liverpool\". BBC Sport. 8 January 2016. Retrieved 8 January 2016.\n\"West Bromwich 1 – 1 Liverpool\". Soccerway. 15 May 2016. Retrieved 17 May 2016.\n\"West Bromwich Albion 1–1 Liverpool\". BBC Sport. 15 May 2016.\n\"Adam Bogdan joins Wigan on season-long loan\". Liverpool FC. 20 July 2016. Retrieved 20 July 2016.\nPearce, James (22 November 2016). \"Bogdan returns to Liverpool after loan deal cut short\". liverpoolecho. Retrieved 17 April 2017.\n\"Adam Bogdan: Liverpool goalkeeper joins Hibs on loan\". BBC Sport. 2 July 2018. Retrieved 2 July 2018.\nHardie, David (23 March 2019). \"Hibs boss explains goalkeeper Adam Bogdan's prolonged absence from first-team squad\". Edinburgh Evening News. Retrieved 23 March 2019.\nShaw, Chris (7 June 2019). \"Liverpool confirm Premier League retained list\". Liverpool FC. Retrieved 8 June 2019.\n\"ADAM BOGDAN RETURNS TO HIBERNIAN!\". Hibernian FC. 21 November 2019. Retrieved 21 November 2019.\nBrown, Anthony (16 January 2020). \"Adam Bogdan signs for Hibs until end of the season\". Edinburgh Evening News. Retrieved 16 January 2020.\n\"Hibernian: Steven Whittaker among those exiting Easter Road\". BBC Sport. BBC. 25 May 2020. Retrieved 25 May 2020.\n\"WE SIGNED ÁDÁM BOGDÁN!\". Fradi.Hu. Retrieved 3 December 2020.\n\"Bogdán Ádám az év magyar játékosa | csakfoci.hu\". Pepsifoci.hu. Archived from the original on 16 December 2012. Retrieved 6 April 2014.\n\"Crunch time for Bolton Wanderers' keeper Adam Bogdan as Hungary seek first World Cup spot since 1986\". Mancunian Matters. 11 October 2013. Retrieved 30 January 2016.\nScholten, Berend (11 October 2013). \"Van Persie sets scoring record in Dutch romp\". Retrieved 12 June 2015.\n\"Válogatott: a Puskás Akadémia két játékosa és Szoboszlai Dominik maradt ki az Eb-keretből\" (in Hungarian). 1 June 2021.\n\"A. BOGDÁN\". Soccerway. Retrieved 4 September 2015.\n\"Adam Bogdan\". Soccerbase. Retrieved 11 September 2018.\n\"Bogdán, Ádám\". National Football Teams. Retrieved 22 June 2021.\nMcNulty, Phil (28 February 2016). \"Liverpool 1–1 Manchester City\". BBC Sport. Retrieved 27 April 2019.", "Liverpool F.C. profile\nÁdám Bogdán profile at hungarianfootball.com\nÁdám Bogdán at Soccerbase" ]

[ "Ádám Bogdán", "Club career", "Early career", "Bolton Wanderers", "Liverpool", "Hibernian", "Ferencváros", "International career", "Career statistics", "Club", "International appearances", "Honours", "Club", "Individual", "Notes", "References", "External links" ]

[ 440, 441 ]

[ 3281, 3282, 3283, 3284, 3285, 3286, 3287, 3288, 3289, 3290, 3291, 3292, 3293, 3294, 3295, 3296, 3297, 3298, 3299, 3300, 3301, 3302, 3303, 3304, 3305, 3306 ]

[ "" ]

[ 0 ]

[ "https://upload.wikimedia.org/wikipedia/commons/9/95/Adam_Borbely_01.JPG" ]

[ "Ádám Borbély (born 22 June 1995) is a Hungarian handball player who plays for Veszprém KKFT Felsőörs and the Hungarian national team", "", "Ádám Borbély moved to MKB-MVM Veszprém at a young age, but before that he also turned to the PLER KC youth team. In the first team of MKB-MVM Veszprém, he first played a more important role in the championship final in May 2014, when he was re-ordered from the loan game in Balatonfüred due to the injury of Nándor Fazekas. He entered the first meeting of the two-match final in the Bakony team, which finally celebrated the championship title. He spent the 2015–2016 season as a goalkeeper in Grundfos Tatabánya KC. In 2017, he was contracted to Wisła Płock in Poland for two years due to the continuous playing opportunity. He was also able to appear in the EHF Champions League with the Polish team, being one of the best on his team several times. From the summer of 2019 he became a player of Grundfos Tatabánya KC again. After a season, he continued his career in the leading rookie team of Veszprém KKFT Felsőörs.", "He was 10th with the Hungarian team at the 2013 World Youth Championship and 9th at the 2014 Junior European Championship. In the autumn of 2017, Ljubomir Vranjes invited him for the first time to the Hungarian national team. As a member of the Hungarian national team, he participated in the 2018 European Championships (14th place, 3 matches / 0 goals), the 2021 World Championship.", "", "MKB-MVM Veszprém\nNemzeti Bajnokság I\n Gold: 2013, 2014, 2017\nMagyar Kupa\n Gold: 2013, 2014, 2017\nGrundfos Tatabánya KC\nNemzeti Bajnokság I\n Bronze: 2016\nWisła Płock\nSuperliga\n Silver: 2018, 2019\nPolish Cup\n Silver: 2018, 2019\nVeszprém KKFT Felsőörs\nMagyar Kupa\n Silver: 2022", "\"Férfi kézi: A fiatal beugró inkább Fazekas felépüléséért szurkol -\". 15 May 2014.\n\"Férfi kézi: Borbély Ádám a Wisla Plockban folytatja - NSO\". 31 January 2017.\n\"A magyar kapus BL-bravúrjain ámul Európa\". 2 October 2017.\n\"Borbély Ádám a nyártól egy évig Tatabányán kézilabdázik\".\n\"Férfi kézi: Borbély Ádám az újonc veszprémieknél folytatja - NSO\". 23 June 2020.", "Sprwislaplock.pl" ]

[ "Ádám Borbély", "Career", "Club", "National team", "Honours", "Club", "References", "External links" ]

[ 442 ]

[ 3307, 3308, 3309, 3310, 3311 ]

[ "Ádám Decker at the 2016 Olympics" ]

[ 0 ]

[ "https://upload.wikimedia.org/wikipedia/commons/d/d7/%C3%81d%C3%A1m_Decker_Rio2016.jpg" ]

[ "Ádám Decker (born 29 February 1984) is a Hungarian male water polo player. He is part of the Hungary men's national water polo team. He won a gold medal at the 2013 World Championships. He is the older brother of Attila Decker water polo player.", "List of world champions in men's water polo\nList of World Aquatics Championships medalists in water polo", "\"BCN 2013 Hungarian Men's Water Polo Team\" (PDF). Omega Timing. Retrieved 30 July 2017.", "Ádám Decker at International Olympic Committee\nÁdám Decker at Olympic Channel\nÁdám Decker at Hungarian Olympic Committee (in Hungarian)\nÁdám Decker at Olympedia\nÁdám Decker at FINA\nÁdám Decker at Hungarian Water Polo Federation (in Hungarian)" ]

[ "Ádám Decker", "See also", "References", "External links" ]

[ 443 ]

[ 3312 ]

[ "" ]

[ 0 ]

[ "https://upload.wikimedia.org/wikipedia/commons/2/29/Fekete_%C3%81d%C3%A1m.jpg" ]

[ "Ádám Fekete (born 22 January 1988 in Nyíregyháza, Hungary) is a footballer who plays in Hungary for Kazincbarcikai SC. He has previously played for English club Stoke City in their youth Academy before returning to play professional football with his home town club.", "", "\"Hungary – A. Fekete – Profile with news, career statistics and history – Soccerway\".\n\"Profile of Adam Fekete from Nyiregyhaza Spartacus with his Data Stats, Photo, Videos and Articles - iFotbol\". www.ifotbol.com. Archived from the original on 13 July 2011." ]

[ "Ádám Fekete", "Club statistics", "References" ]

[ 444 ]

[ 3313 ]

[ "Ádám Fischer, 2008" ]

[ 0 ]

[ "https://upload.wikimedia.org/wikipedia/commons/8/8f/Adam_Fischer.jpg" ]

[ "Ádám Fischer (born 9 September 1949 in Budapest) is a Hungarian conductor. He is the general music director of the Austro-Hungarian Haydn Orchestra, chief conductor of the Danish National Chamber Orchestra, and chief conductor of the Düsseldorfer Symphoniker.", "Ádám Fischer is an elder brother of the conductor Iván Fischer. The two belonged to the children's choir of Budapest National Opera house, and sang as two of the three boys in Mozart's Die Zauberflöte.\nFischer studied piano and composition at the Bartók Conservatory (hu) in Budapest, and conducting with Hans Swarowsky in Vienna. He also studied with Franco Ferrara at Accademia Chigiana in Siena. He won first prize in the Milan Guido Cantelli Competition. His career began with opera conducting in Munich, Freiburg, and other German cities. In 1982 he made his Paris Opéra debut, leading Der Rosenkavalier, and in 1986 he made his debut at La Scala, Milan, leading Die Zauberflöte. Between 1987 and 1992, he was the general music director in Kassel.\nFischer began a long collaboration with the Vienna State Opera in 1973. In January 2017, he was named an honorary member of the company.\nIn 1987, Fischer established the Austro-Hungarian Haydn Orchestra and started the Haydn Festival in the Austrian city of Eisenstadt. He has recorded the complete Haydn symphonies for the Nimbus label, the first digital recording of the cycle, with the orchestra. In July 1989, Fischer started the first Gustav Mahler Festivals in Kassel. In 1998, Fischer was appointed chief conductor of the Danish National Chamber Orchestra. Fischer has recorded the complete Opere serie by Wolfgang Amadeus Mozart with this orchestra, and is currently recording Mozart's complete symphonies.\nAt the end of 2010 Fischer resigned as Music Director of the Hungarian State Opera in protest against the controversial media law introduced in Hungary in 2011. Speaking in Brussels on 11 January 2011 he told reporters:\n'A lot of the attention has focused on the new law but the problems run far deeper. Even more worrying are changes to the national constitution that are being drafted and the rise of anti-Semitism, homophobia and xenophobia in Hungarian society.'\nFischer joined with András Schiff, Miklós Jancsó and others in an open letter condemning the Hungarian government's record on these issues.\nFischer has recorded commercially for Nimbus, CBS, EMI, Hungaroton and Delta. In 1982, he won the Grand Prix du Disque. In 2018, he was the laureate of the Wolf Prize in Arts.", "\"Maestro Adam Fischer zum Ehrenmitglied der Wiener Staatsoper ernannt\" (Press release). Vienna State Opera. 27 January 2017. Retrieved 8 July 2017.\n\"Koncerthuset\". Retrieved 23 April 2016.\nSzemere Katalin (24 September 2010). \"Kultúra: Miért mondott le Fischer Ádám? – NOL.hu\". NOL.hu. Retrieved 23 April 2016.\nMock, Vanessa (12 January 2011). \"Hungary's artists\". The Independent. London. Archived from the original on 7 May 2022. Retrieved 10 May 2012.\n\"Friends of Adam Fischer – Home\". haydnphil.org.\nSpiro, Amy (12 February 2018). \"Paul McCartney Among 9 Wolf Prize Recipients\". Jerusalem Post.", "(in German) Dr. Raab and Dr. Böhm Artist Management (Austria), official artist biography of Adam Fischer\nFriends of Ádám Fischer page", "Media related to Ádám Fischer at Wikimedia Commons\nOfficial website\nInterview with Ádám Fischer, 11 November 1981" ]

[ "Ádám Fischer", "Career", "References", "Sources", "External links" ]

[ 445 ]

[ 3314, 3315, 3316, 3317, 3318, 3319, 3320 ]

[ "" ]

[ 0 ]

[ "https://upload.wikimedia.org/wikipedia/commons/4/46/Forg%C3%A1ch_%C3%81d%C3%A1m.jpg" ]

[ "Count Ádám Forgách de Ghymes et Gács (Slovak: Adam Forgáč; 1601 – 10 June 1681) was a Hungarian soldier and magnate in the Kingdom of Hungary, who served as Judge Royal from 13 October 1670 until his death. He was the eldest son of Baron Zsigmond Forgách, Palatine of Hungary.", "", "Markó, László: A magyar állam főméltóságai Szent Istvántól napjainkig - Életrajzi Lexikon p. 280. (The High Officers of the Hungarian State from Saint Stephen to the Present Days - A Biographical Encyclopedia) (2nd edition); Helikon Kiadó Kft., 2006, Budapest; ISBN 963-547-085-1.\nSzabó de Bártfa, László: A Hunt-Pázmán nemzetségbeli Forgách család története History of the Forgách family from the kindred of Hont-Pázmány; 1910, Esztergom." ]

[ "Ádám Forgách", "References", "Sources" ]

[ 446 ]

[ 3321 ]

[ "Ádám György, 2011" ]

[ 0 ]

[ "http://upload.wikimedia.org/wikipedia/commons/7/7a/2010Adam_Gyorgy-wiki.jpg" ]

[ "Ádám György (born 28 January 1982) is a Hungarian pianist. György started his music studies at the age of four. While studying under Katalin Halmagyi, he was accepted to the Béla Bartók Conservatory of Budapest in 1994. György won the National Youth Piano Competition in 1998 and the Hungary's Pianist 2000 award two years later. From 2000 to 2006, Ádám attended the Franz Liszt Academy of Music in Budapest, where he studied under György Nador and Balázs Reti. Currently, he is pursuing graduate studies at the Franz Liszt Academy, and he is director of the Adam György Castle Academy. On 8 June 2012 he performed at the opening ceremony of the UEFA Euro 2012 in Warsaw, Poland.", "2004 – First International Chopin Piano Competition in Budapest: First Prize, Grand Prize and Special Prize\n2003 – San Remo International Piano Competition: \"Special Prize\"\n2002 – The Prix Classic Vienna (Wiener-Klassik-Preis)\n2000 – Pianist Award 2000, for the Pianist of Year in 2000 in Hungary /Bela Bartok Conservatory/\n1998 – 1st prize at National Youth Piano Competition, Hungary", "Ádám György, Concert in Budapest (2005)\nÁdám György, Plays the Piano (2006)\nÁdám György, Plays Bach and Mozart (2008)\nÁdám György, Live in Budapest (DVD HD) (2008)\nÁdám György, Live in Budapest, BLU-RAY (2009) \nAdam Gyorgy, The Carnegie Hall Concert CD (2016)", "\"Adam György, Biography\". Retrieved 2011-02-20. \n\"Flower power defines EURO ceremony\". UEFA. June 8, 2012. Retrieved June 16, 2012. \n\"Adam Gyorgy Shop\". Retrieved 2011-02-20.", "Official website\nÁdám György’s Official Fan Club" ]

[ "Ádám György", "Awards", "Recordings", "References", "External links" ]

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[ "Ádám Gyurcsó (born 6 March 1991) is a Hungarian professional footballer who currently plays as a winger for AEK Larnaca.", "", "In the 2010–2011 season, he played for the second team of Videoton FC. With 10 goals and 14 assists, he was a key player in a great season. He made his first team debut on 15 March 2011 in a Magyar Kupa match against Budapest Honvéd FC and scored off the bench in a 4–0 win. He made his first team league debut for Videoton on 22 May 2011, coming off the bench in a 1–0 loss to Újpest FC.\nIn the following season, he was loaned to Kecskeméti TE. After six months on loan, scoring four goals and making four assist, Videoton FC brought him back to the club. He finished the season with six goals and ten assists in Hungarian top flight.\nIn the 2014–15 season, Gyurcsó scored 6 goals and made 18 assists as Videoton won the Hungarian league.", "On 5 January 2016, Gyurcsó was signed by Ekstraklasa club Pogoń Szczecin. He debuted in a 3–2 win against Korona Kielce at the Stadion Florian Krygier on 15 February 2016 in the 2015-16 Ekstraklasa season by scoring the winning goal in the 78th minute.", "In January 2018, Gyurcsó joined Prva HNL side Hajduk Split on a six-month loan deal with an option to buy. He scored his first Hajduk goal in a 1–0 win over NK Rudeš on 3 March 2018. In May 2018, Hajduk activated a buy-out clause to sign the player on a permanent basis for the next 3 years.", "On 10 August 2020, Gyurcsó moved to Hungarian side Puskás Akadémia, on a loan deal.", "On 15 February 2021, Gyurcsó terminated his contract with Hajduk Split, and signed as a free-agent with Prva HNL side NK Osijek.", "", "On 1 June 2012, he made his international debut for Hungary as he came on as a substitute against Czech Republic in the 65th minute, where he scored the winning goal. Three days later he started in a match against Ireland.\nOn 10 October 2016 Gyurcsó scored his first goal in the 2018 FIFA World Cup qualification – UEFA Group B match against Latvia at the Skonto Stadium, Riga, Latvia.", "", "", "\"Videoton: megvan Gyurcsó új klubja, három és fél évre ír alá\". Nemzeti Sport. 5 January 2016. Retrieved 5 January 2016.\n\"POGOŃ SZCZECIN VS. KORONA KIELCE 3 - 2\". Soccerway. 15 February 2016. Retrieved 19 February 2016.\n\"Ádám Gyurcsó joins Hajduk!\". hajduk.hr (in Croatian). Retrieved 26 January 2018.\n\"HAJDUK - RUDEŠ (1:0) Adam Gyurcso prvim golom donio pobjedu\" (in Croatian). Retrieved 4 March 2018.\n\"Hajduk otkupio ugovor Ádáma Gyurcsa\". hajduk.hr (in Croatian). Retrieved 25 May 2018.\n\"Puskás Akadémia: kölcsönvették az NK Osijek horvát támadóját - NSO\" [PAFC: Croatian striker NK Osijek has been borrowed]. Nemzeti Sport (in Hungarian). 10 August 2020. Retrieved 16 February 2021.\n\"Légiósok: Gyurcsó Ádám az Eszékhez igazolt – hivatalos - NSO\" [Legionnaires: Adam Gyurcsó certified for NK Osijek - official]. Nemzeti Sport (in Hungarian). 15 February 2021. Retrieved 16 February 2021.\n\"Ádám Gyurcsó\". Soccerway. Retrieved 26 December 2017.\n\"Czech Republic 1-2 Hungary\". BBC. 2 June 2012. Retrieved 2 June 2012.\n\"Czech Republic beaten by late Gyurcsó strike\". UEFA.com. 2 June 2012. Retrieved 2 June 2012.\n\"Latvia 0-2 Hungary\". Fifa.com. 10 October 2016. Archived from the original on 24 September 2015. Retrieved 10 October 2016.\n\"Latvia 0-2 Hungary\". UEFA.com. 10 October 2016. Retrieved 10 October 2016.", "Player profile at HLSZ (in Hungarian)\nÁdám Gyurcsó at 90minut.pl (in Polish)" ]

[ "Ádám Gyurcsó", "Club career", "Videoton", "Pogoń Szczecin", "Hajduk Split", "Puskás Akadémia (loan)", "NK Osijek", "Club statistics", "International career", "Career statistics", "International goals", "References", "External links" ]

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