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Chessel (French pronunciation: [ʃəsɛl] (listen)) is a municipality in the canton of Vaud in Switzerland, located in the district of Aigle.
History
Chessel is first mentioned in 1364 as Chessey.
Geography
Chessel has an area, as of 2009, of 3.57 square kilometers (1.38 sq mi). Of this area, 2.2 km2 (0.85 sq mi) or 61.6% is used for agricultural purposes, while 0.74 km2 (0.29 sq mi) or 20.7% is forested. Of the rest of the land, 0.39 km2 (0.15 sq mi) or 10.9% is settled (buildings or roads), 0.22 km2 (0.085 sq mi) or 6.2% is either rivers or lakes.Of the built up area, housing and buildings made up 3.9% and transportation infrastructure made up 2.8%. while parks, green belts and sports fields made up 3.6%. Out of the forested land, 19.6% of the total land area is heavily forested and 1.1% is covered with orchards or small clusters of trees. Of the agricultural land, 54.1% is used for growing crops and 5.9% is pastures, while 1.7% is used for orchards or vine crops. All the water in the municipality is flowing water.The municipality is located in the Aigle district, on the right bank of the Rhone river.
Coat of arms
The blazon of the municipal coat of arms was originally D'or à la fasce ondée d'azur, symbolizing the Rhône which runs through Chessel. In 1926, the communal authorities placed a crescent in the higher part of the flag: this represented the old "Café de la Turquie" (Café of Turkey) and was removed in 1958. The Council of State of the Canton of Vaud has accepted a request in 2004 to place the crescent back on the flag.
Demographics
Chessel has a population (as of December 2020) of 444. As of 2008, 7.6% of the population are resident foreign nationals. Over the last 10 years (1999–2009 ) the population has changed at a rate of 12.4%. It has changed at a rate of 5.2% due to migration and at a rate of 8.2% due to births and deaths.Most of the population (as of 2000) speaks French (285 or 90.8%), with English being second most common (7 or 2.2%) and Portuguese being third (5 or 1.6%). There are 2 people who speak German, 3 people who speak Italian.Of the population in the municipality 99 or about 31.5% were born in Chessel and lived there in 2000. There were 119 or 37.9% who were born in the same canton, while 41 or 13.1% were born somewhere else in Switzerland, and 54 or 17.2% were born outside of Switzerland. In 2008 there were 2 live births to Swiss citizens and 3 births to non-Swiss citizens, and in same time span there were 4 deaths of Swiss citizens. Ignoring immigration and emigration, the population of Swiss citizens decreased by 2 while the foreign population increased by 3. There . At the same time, there was 1 non-Swiss man who emigrated from Switzerland to another country and 1 non-Swiss woman who immigrated from another country to Switzerland. The total Swiss population change in 2008 (from all sources, including moves across municipal borders) was an increase of 2 and the non-Swiss population decreased by 7 people. This represents a population growth rate of -1.4%.The age distribution, as of 2009, in Chessel is; 45 children or 13.1% of the population are between 0 and 9 years old and 52 teenagers or 15.1% are between 10 and 19. Of the adult population, 31 people or 9.0% of the population are between 20 and 29 years old. 45 people or 13.1% are between 30 and 39, 54 people or 15.7% are between 40 and 49, and 55 people or 16.0% are between 50 and 59. The senior population distribution is 29 people or 8.4% of the population are between 60 and 69 years old, 23 people or 6.7% are between 70 and 79,there are 9 people or 2.6% who are 80 and 89, and there is 1 person who is 90 and older.As of 2000, there were 130 people who were single and never married in the municipality. There were 160 married individuals, 11 widows or widowers and 13 individuals who are divorced.As of 2000, there were 111 private households in the municipality, and an average of 2.7 persons per household. There were 25 households that consist of only one person and 11 households with five or more people. Out of a total of 116 households that answered this question, 21.6% were households made up of just one person. Of the rest of the households, there are 27 married couples without children, 54 married couples with children There were 2 single parents with a child or children. There were 3 households that were made up of unrelated people and 5 households that were made up of some sort of institution or another collective housing.In 2000 there were 72 single-family homes (or 74.2% of the total) out of a total of 97 inhabited buildings. There were 9 multi-family buildings (9.3%), along with 14 multi-purpose buildings that were mostly used for housing (14.4%) and 2 other use buildings (commercial or industrial) that also had some housing (2.1%). Of the single-family homes 6 were built before 1919, while 22 were built between 1990 and 2000. The greatest number of single-family homes (19) were built between 1981 and 1990. The most multi-family homes (4) were built before 1919 and the next most (2) were built between 1919 and 1945.In 2000 there were 119 apartments in the municipality. The most common apartment size was 4 rooms of which there were 37. There were 2 single-room apartments and 54 apartments with five or more rooms. Of these apartments, a total of 103 apartments (86.6% of the total) were permanently occupied, while 14 apartments (11.8%) were seasonally occupied and 2 apartments (1.7%) were empty. As of 2009, the construction rate of new housing units was 0 new units per 1000 residents. The vacancy rate for the municipality, in 2010, was 0%.The historical population is given in the following chart:
Politics
In the 2007 federal election the most popular party was the SVP which received 29.63% of the vote. The next three most popular parties were the FDP (20.88%), the SP (15.3%) and the Green Party (15.08%). In the federal election, a total of 132 votes were cast, and the voter turnout was 55.9%.
Economy
As of 2010, Chessel had an unemployment rate of 3.9%. As of 2008, there were 58 people employed in the primary economic sector and about 13 businesses involved in this sector. 3 people were employed in the secondary sector and there was 1 business in this sector. 25 people were employed in the tertiary sector, with 13 businesses in this sector. There were 144 residents of the municipality who were employed in some capacity, of which females made up 39.6% of the workforce.
In 2008 the total number of full-time equivalent jobs was 66. The number of jobs in the primary sector was 44, all of which were in agriculture. The number of jobs in the secondary sector was 2, all of which were in construction. The number of jobs in the tertiary sector was 20. In the tertiary sector; 2 or 10.0% were in wholesale or retail sales or the repair of motor vehicles, 7 or 35.0% were in a hotel or restaurant, 1 was in the information industry, 3 or 15.0% were technical professionals or scientists, 1 was in education.In 2000, there were 22 workers who commuted into the municipality and 97 workers who commuted away. The municipality is a net exporter of workers, with about 4.4 workers leaving the municipality for every one entering. Of the working population, 6.3% used public transportation to get to work, and 63.2% used a private car.
Religion
From the 2000 census, 73 or 23.2% were Roman Catholic, while 195 or 62.1% belonged to the Swiss Reformed Church. Of the rest of the population, there were 12 individuals (or about 3.82% of the population) who belonged to another Christian church. There were 13 (or about 4.14% of the population) who were Islamic. There were 2 individuals who were Buddhist. 19 (or about 6.05% of the population) belonged to no church, are agnostic or atheist.
Education
In Chessel about 111 or (35.4%) of the population have completed non-mandatory upper secondary education, and 29 or (9.2%) have completed additional higher education (either university or a Fachhochschule). Of the 29 who completed tertiary schooling, 79.3% were Swiss men, 17.2% were Swiss women.As of 2000, there were 7 students in Chessel who came from another municipality, while 69 residents attended schools outside the municipality.
== References ==
|
located in or next to body of water
|
{
"answer_start": [
1242
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"text": [
"Rhône"
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Chessel (French pronunciation: [ʃəsɛl] (listen)) is a municipality in the canton of Vaud in Switzerland, located in the district of Aigle.
History
Chessel is first mentioned in 1364 as Chessey.
Geography
Chessel has an area, as of 2009, of 3.57 square kilometers (1.38 sq mi). Of this area, 2.2 km2 (0.85 sq mi) or 61.6% is used for agricultural purposes, while 0.74 km2 (0.29 sq mi) or 20.7% is forested. Of the rest of the land, 0.39 km2 (0.15 sq mi) or 10.9% is settled (buildings or roads), 0.22 km2 (0.085 sq mi) or 6.2% is either rivers or lakes.Of the built up area, housing and buildings made up 3.9% and transportation infrastructure made up 2.8%. while parks, green belts and sports fields made up 3.6%. Out of the forested land, 19.6% of the total land area is heavily forested and 1.1% is covered with orchards or small clusters of trees. Of the agricultural land, 54.1% is used for growing crops and 5.9% is pastures, while 1.7% is used for orchards or vine crops. All the water in the municipality is flowing water.The municipality is located in the Aigle district, on the right bank of the Rhone river.
Coat of arms
The blazon of the municipal coat of arms was originally D'or à la fasce ondée d'azur, symbolizing the Rhône which runs through Chessel. In 1926, the communal authorities placed a crescent in the higher part of the flag: this represented the old "Café de la Turquie" (Café of Turkey) and was removed in 1958. The Council of State of the Canton of Vaud has accepted a request in 2004 to place the crescent back on the flag.
Demographics
Chessel has a population (as of December 2020) of 444. As of 2008, 7.6% of the population are resident foreign nationals. Over the last 10 years (1999–2009 ) the population has changed at a rate of 12.4%. It has changed at a rate of 5.2% due to migration and at a rate of 8.2% due to births and deaths.Most of the population (as of 2000) speaks French (285 or 90.8%), with English being second most common (7 or 2.2%) and Portuguese being third (5 or 1.6%). There are 2 people who speak German, 3 people who speak Italian.Of the population in the municipality 99 or about 31.5% were born in Chessel and lived there in 2000. There were 119 or 37.9% who were born in the same canton, while 41 or 13.1% were born somewhere else in Switzerland, and 54 or 17.2% were born outside of Switzerland. In 2008 there were 2 live births to Swiss citizens and 3 births to non-Swiss citizens, and in same time span there were 4 deaths of Swiss citizens. Ignoring immigration and emigration, the population of Swiss citizens decreased by 2 while the foreign population increased by 3. There . At the same time, there was 1 non-Swiss man who emigrated from Switzerland to another country and 1 non-Swiss woman who immigrated from another country to Switzerland. The total Swiss population change in 2008 (from all sources, including moves across municipal borders) was an increase of 2 and the non-Swiss population decreased by 7 people. This represents a population growth rate of -1.4%.The age distribution, as of 2009, in Chessel is; 45 children or 13.1% of the population are between 0 and 9 years old and 52 teenagers or 15.1% are between 10 and 19. Of the adult population, 31 people or 9.0% of the population are between 20 and 29 years old. 45 people or 13.1% are between 30 and 39, 54 people or 15.7% are between 40 and 49, and 55 people or 16.0% are between 50 and 59. The senior population distribution is 29 people or 8.4% of the population are between 60 and 69 years old, 23 people or 6.7% are between 70 and 79,there are 9 people or 2.6% who are 80 and 89, and there is 1 person who is 90 and older.As of 2000, there were 130 people who were single and never married in the municipality. There were 160 married individuals, 11 widows or widowers and 13 individuals who are divorced.As of 2000, there were 111 private households in the municipality, and an average of 2.7 persons per household. There were 25 households that consist of only one person and 11 households with five or more people. Out of a total of 116 households that answered this question, 21.6% were households made up of just one person. Of the rest of the households, there are 27 married couples without children, 54 married couples with children There were 2 single parents with a child or children. There were 3 households that were made up of unrelated people and 5 households that were made up of some sort of institution or another collective housing.In 2000 there were 72 single-family homes (or 74.2% of the total) out of a total of 97 inhabited buildings. There were 9 multi-family buildings (9.3%), along with 14 multi-purpose buildings that were mostly used for housing (14.4%) and 2 other use buildings (commercial or industrial) that also had some housing (2.1%). Of the single-family homes 6 were built before 1919, while 22 were built between 1990 and 2000. The greatest number of single-family homes (19) were built between 1981 and 1990. The most multi-family homes (4) were built before 1919 and the next most (2) were built between 1919 and 1945.In 2000 there were 119 apartments in the municipality. The most common apartment size was 4 rooms of which there were 37. There were 2 single-room apartments and 54 apartments with five or more rooms. Of these apartments, a total of 103 apartments (86.6% of the total) were permanently occupied, while 14 apartments (11.8%) were seasonally occupied and 2 apartments (1.7%) were empty. As of 2009, the construction rate of new housing units was 0 new units per 1000 residents. The vacancy rate for the municipality, in 2010, was 0%.The historical population is given in the following chart:
Politics
In the 2007 federal election the most popular party was the SVP which received 29.63% of the vote. The next three most popular parties were the FDP (20.88%), the SP (15.3%) and the Green Party (15.08%). In the federal election, a total of 132 votes were cast, and the voter turnout was 55.9%.
Economy
As of 2010, Chessel had an unemployment rate of 3.9%. As of 2008, there were 58 people employed in the primary economic sector and about 13 businesses involved in this sector. 3 people were employed in the secondary sector and there was 1 business in this sector. 25 people were employed in the tertiary sector, with 13 businesses in this sector. There were 144 residents of the municipality who were employed in some capacity, of which females made up 39.6% of the workforce.
In 2008 the total number of full-time equivalent jobs was 66. The number of jobs in the primary sector was 44, all of which were in agriculture. The number of jobs in the secondary sector was 2, all of which were in construction. The number of jobs in the tertiary sector was 20. In the tertiary sector; 2 or 10.0% were in wholesale or retail sales or the repair of motor vehicles, 7 or 35.0% were in a hotel or restaurant, 1 was in the information industry, 3 or 15.0% were technical professionals or scientists, 1 was in education.In 2000, there were 22 workers who commuted into the municipality and 97 workers who commuted away. The municipality is a net exporter of workers, with about 4.4 workers leaving the municipality for every one entering. Of the working population, 6.3% used public transportation to get to work, and 63.2% used a private car.
Religion
From the 2000 census, 73 or 23.2% were Roman Catholic, while 195 or 62.1% belonged to the Swiss Reformed Church. Of the rest of the population, there were 12 individuals (or about 3.82% of the population) who belonged to another Christian church. There were 13 (or about 4.14% of the population) who were Islamic. There were 2 individuals who were Buddhist. 19 (or about 6.05% of the population) belonged to no church, are agnostic or atheist.
Education
In Chessel about 111 or (35.4%) of the population have completed non-mandatory upper secondary education, and 29 or (9.2%) have completed additional higher education (either university or a Fachhochschule). Of the 29 who completed tertiary schooling, 79.3% were Swiss men, 17.2% were Swiss women.As of 2000, there were 7 students in Chessel who came from another municipality, while 69 residents attended schools outside the municipality.
== References ==
|
Commons category
|
{
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0
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Chessel (French pronunciation: [ʃəsɛl] (listen)) is a municipality in the canton of Vaud in Switzerland, located in the district of Aigle.
History
Chessel is first mentioned in 1364 as Chessey.
Geography
Chessel has an area, as of 2009, of 3.57 square kilometers (1.38 sq mi). Of this area, 2.2 km2 (0.85 sq mi) or 61.6% is used for agricultural purposes, while 0.74 km2 (0.29 sq mi) or 20.7% is forested. Of the rest of the land, 0.39 km2 (0.15 sq mi) or 10.9% is settled (buildings or roads), 0.22 km2 (0.085 sq mi) or 6.2% is either rivers or lakes.Of the built up area, housing and buildings made up 3.9% and transportation infrastructure made up 2.8%. while parks, green belts and sports fields made up 3.6%. Out of the forested land, 19.6% of the total land area is heavily forested and 1.1% is covered with orchards or small clusters of trees. Of the agricultural land, 54.1% is used for growing crops and 5.9% is pastures, while 1.7% is used for orchards or vine crops. All the water in the municipality is flowing water.The municipality is located in the Aigle district, on the right bank of the Rhone river.
Coat of arms
The blazon of the municipal coat of arms was originally D'or à la fasce ondée d'azur, symbolizing the Rhône which runs through Chessel. In 1926, the communal authorities placed a crescent in the higher part of the flag: this represented the old "Café de la Turquie" (Café of Turkey) and was removed in 1958. The Council of State of the Canton of Vaud has accepted a request in 2004 to place the crescent back on the flag.
Demographics
Chessel has a population (as of December 2020) of 444. As of 2008, 7.6% of the population are resident foreign nationals. Over the last 10 years (1999–2009 ) the population has changed at a rate of 12.4%. It has changed at a rate of 5.2% due to migration and at a rate of 8.2% due to births and deaths.Most of the population (as of 2000) speaks French (285 or 90.8%), with English being second most common (7 or 2.2%) and Portuguese being third (5 or 1.6%). There are 2 people who speak German, 3 people who speak Italian.Of the population in the municipality 99 or about 31.5% were born in Chessel and lived there in 2000. There were 119 or 37.9% who were born in the same canton, while 41 or 13.1% were born somewhere else in Switzerland, and 54 or 17.2% were born outside of Switzerland. In 2008 there were 2 live births to Swiss citizens and 3 births to non-Swiss citizens, and in same time span there were 4 deaths of Swiss citizens. Ignoring immigration and emigration, the population of Swiss citizens decreased by 2 while the foreign population increased by 3. There . At the same time, there was 1 non-Swiss man who emigrated from Switzerland to another country and 1 non-Swiss woman who immigrated from another country to Switzerland. The total Swiss population change in 2008 (from all sources, including moves across municipal borders) was an increase of 2 and the non-Swiss population decreased by 7 people. This represents a population growth rate of -1.4%.The age distribution, as of 2009, in Chessel is; 45 children or 13.1% of the population are between 0 and 9 years old and 52 teenagers or 15.1% are between 10 and 19. Of the adult population, 31 people or 9.0% of the population are between 20 and 29 years old. 45 people or 13.1% are between 30 and 39, 54 people or 15.7% are between 40 and 49, and 55 people or 16.0% are between 50 and 59. The senior population distribution is 29 people or 8.4% of the population are between 60 and 69 years old, 23 people or 6.7% are between 70 and 79,there are 9 people or 2.6% who are 80 and 89, and there is 1 person who is 90 and older.As of 2000, there were 130 people who were single and never married in the municipality. There were 160 married individuals, 11 widows or widowers and 13 individuals who are divorced.As of 2000, there were 111 private households in the municipality, and an average of 2.7 persons per household. There were 25 households that consist of only one person and 11 households with five or more people. Out of a total of 116 households that answered this question, 21.6% were households made up of just one person. Of the rest of the households, there are 27 married couples without children, 54 married couples with children There were 2 single parents with a child or children. There were 3 households that were made up of unrelated people and 5 households that were made up of some sort of institution or another collective housing.In 2000 there were 72 single-family homes (or 74.2% of the total) out of a total of 97 inhabited buildings. There were 9 multi-family buildings (9.3%), along with 14 multi-purpose buildings that were mostly used for housing (14.4%) and 2 other use buildings (commercial or industrial) that also had some housing (2.1%). Of the single-family homes 6 were built before 1919, while 22 were built between 1990 and 2000. The greatest number of single-family homes (19) were built between 1981 and 1990. The most multi-family homes (4) were built before 1919 and the next most (2) were built between 1919 and 1945.In 2000 there were 119 apartments in the municipality. The most common apartment size was 4 rooms of which there were 37. There were 2 single-room apartments and 54 apartments with five or more rooms. Of these apartments, a total of 103 apartments (86.6% of the total) were permanently occupied, while 14 apartments (11.8%) were seasonally occupied and 2 apartments (1.7%) were empty. As of 2009, the construction rate of new housing units was 0 new units per 1000 residents. The vacancy rate for the municipality, in 2010, was 0%.The historical population is given in the following chart:
Politics
In the 2007 federal election the most popular party was the SVP which received 29.63% of the vote. The next three most popular parties were the FDP (20.88%), the SP (15.3%) and the Green Party (15.08%). In the federal election, a total of 132 votes were cast, and the voter turnout was 55.9%.
Economy
As of 2010, Chessel had an unemployment rate of 3.9%. As of 2008, there were 58 people employed in the primary economic sector and about 13 businesses involved in this sector. 3 people were employed in the secondary sector and there was 1 business in this sector. 25 people were employed in the tertiary sector, with 13 businesses in this sector. There were 144 residents of the municipality who were employed in some capacity, of which females made up 39.6% of the workforce.
In 2008 the total number of full-time equivalent jobs was 66. The number of jobs in the primary sector was 44, all of which were in agriculture. The number of jobs in the secondary sector was 2, all of which were in construction. The number of jobs in the tertiary sector was 20. In the tertiary sector; 2 or 10.0% were in wholesale or retail sales or the repair of motor vehicles, 7 or 35.0% were in a hotel or restaurant, 1 was in the information industry, 3 or 15.0% were technical professionals or scientists, 1 was in education.In 2000, there were 22 workers who commuted into the municipality and 97 workers who commuted away. The municipality is a net exporter of workers, with about 4.4 workers leaving the municipality for every one entering. Of the working population, 6.3% used public transportation to get to work, and 63.2% used a private car.
Religion
From the 2000 census, 73 or 23.2% were Roman Catholic, while 195 or 62.1% belonged to the Swiss Reformed Church. Of the rest of the population, there were 12 individuals (or about 3.82% of the population) who belonged to another Christian church. There were 13 (or about 4.14% of the population) who were Islamic. There were 2 individuals who were Buddhist. 19 (or about 6.05% of the population) belonged to no church, are agnostic or atheist.
Education
In Chessel about 111 or (35.4%) of the population have completed non-mandatory upper secondary education, and 29 or (9.2%) have completed additional higher education (either university or a Fachhochschule). Of the 29 who completed tertiary schooling, 79.3% were Swiss men, 17.2% were Swiss women.As of 2000, there were 7 students in Chessel who came from another municipality, while 69 residents attended schools outside the municipality.
== References ==
|
official name
|
{
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0
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"text": [
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Chessel (French pronunciation: [ʃəsɛl] (listen)) is a municipality in the canton of Vaud in Switzerland, located in the district of Aigle.
History
Chessel is first mentioned in 1364 as Chessey.
Geography
Chessel has an area, as of 2009, of 3.57 square kilometers (1.38 sq mi). Of this area, 2.2 km2 (0.85 sq mi) or 61.6% is used for agricultural purposes, while 0.74 km2 (0.29 sq mi) or 20.7% is forested. Of the rest of the land, 0.39 km2 (0.15 sq mi) or 10.9% is settled (buildings or roads), 0.22 km2 (0.085 sq mi) or 6.2% is either rivers or lakes.Of the built up area, housing and buildings made up 3.9% and transportation infrastructure made up 2.8%. while parks, green belts and sports fields made up 3.6%. Out of the forested land, 19.6% of the total land area is heavily forested and 1.1% is covered with orchards or small clusters of trees. Of the agricultural land, 54.1% is used for growing crops and 5.9% is pastures, while 1.7% is used for orchards or vine crops. All the water in the municipality is flowing water.The municipality is located in the Aigle district, on the right bank of the Rhone river.
Coat of arms
The blazon of the municipal coat of arms was originally D'or à la fasce ondée d'azur, symbolizing the Rhône which runs through Chessel. In 1926, the communal authorities placed a crescent in the higher part of the flag: this represented the old "Café de la Turquie" (Café of Turkey) and was removed in 1958. The Council of State of the Canton of Vaud has accepted a request in 2004 to place the crescent back on the flag.
Demographics
Chessel has a population (as of December 2020) of 444. As of 2008, 7.6% of the population are resident foreign nationals. Over the last 10 years (1999–2009 ) the population has changed at a rate of 12.4%. It has changed at a rate of 5.2% due to migration and at a rate of 8.2% due to births and deaths.Most of the population (as of 2000) speaks French (285 or 90.8%), with English being second most common (7 or 2.2%) and Portuguese being third (5 or 1.6%). There are 2 people who speak German, 3 people who speak Italian.Of the population in the municipality 99 or about 31.5% were born in Chessel and lived there in 2000. There were 119 or 37.9% who were born in the same canton, while 41 or 13.1% were born somewhere else in Switzerland, and 54 or 17.2% were born outside of Switzerland. In 2008 there were 2 live births to Swiss citizens and 3 births to non-Swiss citizens, and in same time span there were 4 deaths of Swiss citizens. Ignoring immigration and emigration, the population of Swiss citizens decreased by 2 while the foreign population increased by 3. There . At the same time, there was 1 non-Swiss man who emigrated from Switzerland to another country and 1 non-Swiss woman who immigrated from another country to Switzerland. The total Swiss population change in 2008 (from all sources, including moves across municipal borders) was an increase of 2 and the non-Swiss population decreased by 7 people. This represents a population growth rate of -1.4%.The age distribution, as of 2009, in Chessel is; 45 children or 13.1% of the population are between 0 and 9 years old and 52 teenagers or 15.1% are between 10 and 19. Of the adult population, 31 people or 9.0% of the population are between 20 and 29 years old. 45 people or 13.1% are between 30 and 39, 54 people or 15.7% are between 40 and 49, and 55 people or 16.0% are between 50 and 59. The senior population distribution is 29 people or 8.4% of the population are between 60 and 69 years old, 23 people or 6.7% are between 70 and 79,there are 9 people or 2.6% who are 80 and 89, and there is 1 person who is 90 and older.As of 2000, there were 130 people who were single and never married in the municipality. There were 160 married individuals, 11 widows or widowers and 13 individuals who are divorced.As of 2000, there were 111 private households in the municipality, and an average of 2.7 persons per household. There were 25 households that consist of only one person and 11 households with five or more people. Out of a total of 116 households that answered this question, 21.6% were households made up of just one person. Of the rest of the households, there are 27 married couples without children, 54 married couples with children There were 2 single parents with a child or children. There were 3 households that were made up of unrelated people and 5 households that were made up of some sort of institution or another collective housing.In 2000 there were 72 single-family homes (or 74.2% of the total) out of a total of 97 inhabited buildings. There were 9 multi-family buildings (9.3%), along with 14 multi-purpose buildings that were mostly used for housing (14.4%) and 2 other use buildings (commercial or industrial) that also had some housing (2.1%). Of the single-family homes 6 were built before 1919, while 22 were built between 1990 and 2000. The greatest number of single-family homes (19) were built between 1981 and 1990. The most multi-family homes (4) were built before 1919 and the next most (2) were built between 1919 and 1945.In 2000 there were 119 apartments in the municipality. The most common apartment size was 4 rooms of which there were 37. There were 2 single-room apartments and 54 apartments with five or more rooms. Of these apartments, a total of 103 apartments (86.6% of the total) were permanently occupied, while 14 apartments (11.8%) were seasonally occupied and 2 apartments (1.7%) were empty. As of 2009, the construction rate of new housing units was 0 new units per 1000 residents. The vacancy rate for the municipality, in 2010, was 0%.The historical population is given in the following chart:
Politics
In the 2007 federal election the most popular party was the SVP which received 29.63% of the vote. The next three most popular parties were the FDP (20.88%), the SP (15.3%) and the Green Party (15.08%). In the federal election, a total of 132 votes were cast, and the voter turnout was 55.9%.
Economy
As of 2010, Chessel had an unemployment rate of 3.9%. As of 2008, there were 58 people employed in the primary economic sector and about 13 businesses involved in this sector. 3 people were employed in the secondary sector and there was 1 business in this sector. 25 people were employed in the tertiary sector, with 13 businesses in this sector. There were 144 residents of the municipality who were employed in some capacity, of which females made up 39.6% of the workforce.
In 2008 the total number of full-time equivalent jobs was 66. The number of jobs in the primary sector was 44, all of which were in agriculture. The number of jobs in the secondary sector was 2, all of which were in construction. The number of jobs in the tertiary sector was 20. In the tertiary sector; 2 or 10.0% were in wholesale or retail sales or the repair of motor vehicles, 7 or 35.0% were in a hotel or restaurant, 1 was in the information industry, 3 or 15.0% were technical professionals or scientists, 1 was in education.In 2000, there were 22 workers who commuted into the municipality and 97 workers who commuted away. The municipality is a net exporter of workers, with about 4.4 workers leaving the municipality for every one entering. Of the working population, 6.3% used public transportation to get to work, and 63.2% used a private car.
Religion
From the 2000 census, 73 or 23.2% were Roman Catholic, while 195 or 62.1% belonged to the Swiss Reformed Church. Of the rest of the population, there were 12 individuals (or about 3.82% of the population) who belonged to another Christian church. There were 13 (or about 4.14% of the population) who were Islamic. There were 2 individuals who were Buddhist. 19 (or about 6.05% of the population) belonged to no church, are agnostic or atheist.
Education
In Chessel about 111 or (35.4%) of the population have completed non-mandatory upper secondary education, and 29 or (9.2%) have completed additional higher education (either university or a Fachhochschule). Of the 29 who completed tertiary schooling, 79.3% were Swiss men, 17.2% were Swiss women.As of 2000, there were 7 students in Chessel who came from another municipality, while 69 residents attended schools outside the municipality.
== References ==
|
native label
|
{
"answer_start": [
0
],
"text": [
"Chessel"
]
}
|
The 2017 PCCL National Collegiate Championship is the ninth edition of the Philippine Collegiate Champions League (PCCL) in its current incarnation, the postseason tournament to determine the national collegiate champions in basketball. The tournament will be the ninth edition in its current incarnation, and the 14th edition overall.
Format
Eight teams will compete in the national championship to be held in Metro Manila in February 2018. The finalists of the recently concluded NCAA and UAAP basketball championships, as well as the champion of the CESAFI basketball championship will automatically qualify in the tournament. Qualifying tournaments for the three remaining slots were held for Mindanao, Luzon and Metro Manila.
Qualifying teams
Automatic qualifiers
Regional qualifiers
Regional qualifiers results
South Luzon
North Luzon
North Luzon/South Luzon knockout
Mindanao
NCR
The NCR Regional Qualifiers were held at the Jose Rizal University (JRU) gymnasium from January 15 to 18.
Group A
Group B
Finals
Elite Eight
Group A
Final Four
Semifinals
Finals
Awards
The awardees are:
Most Valuable Player: Jaycee Marcelino (Lyceum)
Mythical Five:
Jaycee Marcelino (Lyceum)
Javee Mocon (San Beda)
Pierre Donald Tankoua (San Beda)
CJ Perez (Lyceum)
Mike Nzeusseu (Lyceum)
References
External links
2017 PCCL NCC results
|
sport
|
{
"answer_start": [
225
],
"text": [
"basketball"
]
}
|
Willem Adriaan Odendaal (born 7 December 1944) is a retired South African politician from the Free State. He represented the National Party (NP) and New National Party (NNP) in the National Assembly from 1994 to 2004.
Legislative career
Odendaal was elected to an NP seat in the National Assembly in the 1994 general election and gained re-election in 1999, representing the Free State constituency. In 1997, he apologised for remarks he had made in a parliamentary debate: he had asked Andrew Feinstein of the African National Congress whether he was Jewish and then explained his question with the comment, "A Jew and a Communist together – that spells trouble."In 2000, Odendaal's party, by then restyled as the NNP, joined the multi-party Democratic Alliance (DA) and DA leader Tony Leon appointed Odendaal to his shadow cabinet as the alliance's spokesman on public accounts. In a reshuffle in March 2001, he was succeeded in that portfolio by Raenette Taljaard and became spokesman on transport. After the NNP's acrimonious departure from the DA, he served as the NNP's spokesman on land affairs and later on finance.Odendaal retired at the 2004 general election. In his final speech to the house before the National Assembly closed for the election, he recapitulated the NNP's opposition to social grants and concluded by describing the DA as the "racist, ugly face of capitalism".
== References ==
|
occupation
|
{
"answer_start": [
74
],
"text": [
"politician"
]
}
|
Willem Adriaan Odendaal (born 7 December 1944) is a retired South African politician from the Free State. He represented the National Party (NP) and New National Party (NNP) in the National Assembly from 1994 to 2004.
Legislative career
Odendaal was elected to an NP seat in the National Assembly in the 1994 general election and gained re-election in 1999, representing the Free State constituency. In 1997, he apologised for remarks he had made in a parliamentary debate: he had asked Andrew Feinstein of the African National Congress whether he was Jewish and then explained his question with the comment, "A Jew and a Communist together – that spells trouble."In 2000, Odendaal's party, by then restyled as the NNP, joined the multi-party Democratic Alliance (DA) and DA leader Tony Leon appointed Odendaal to his shadow cabinet as the alliance's spokesman on public accounts. In a reshuffle in March 2001, he was succeeded in that portfolio by Raenette Taljaard and became spokesman on transport. After the NNP's acrimonious departure from the DA, he served as the NNP's spokesman on land affairs and later on finance.Odendaal retired at the 2004 general election. In his final speech to the house before the National Assembly closed for the election, he recapitulated the NNP's opposition to social grants and concluded by describing the DA as the "racist, ugly face of capitalism".
== References ==
|
given name
|
{
"answer_start": [
0
],
"text": [
"Willem"
]
}
|
The Barrie Film Festival is an annual film festival in Barrie, Ontario, Canada. It is held at the Barrie Uptown Theater. Since it began in 1997, the festival has expanded to include galas, a short-film competition, a director's brunch, educational workshops and guest Q&As. It is associated with The Film Circuit, a division of the Toronto International Film Festival.The festival briefly moved to the Bayfield cinema in 2009 when the downtown cinema closed and changed hands
See also
List of festivals in Canada
== References ==
|
country
|
{
"answer_start": [
72
],
"text": [
"Canada"
]
}
|
The Barrie Film Festival is an annual film festival in Barrie, Ontario, Canada. It is held at the Barrie Uptown Theater. Since it began in 1997, the festival has expanded to include galas, a short-film competition, a director's brunch, educational workshops and guest Q&As. It is associated with The Film Circuit, a division of the Toronto International Film Festival.The festival briefly moved to the Bayfield cinema in 2009 when the downtown cinema closed and changed hands
See also
List of festivals in Canada
== References ==
|
location
|
{
"answer_start": [
4
],
"text": [
"Barrie"
]
}
|
The Barrie Film Festival is an annual film festival in Barrie, Ontario, Canada. It is held at the Barrie Uptown Theater. Since it began in 1997, the festival has expanded to include galas, a short-film competition, a director's brunch, educational workshops and guest Q&As. It is associated with The Film Circuit, a division of the Toronto International Film Festival.The festival briefly moved to the Bayfield cinema in 2009 when the downtown cinema closed and changed hands
See also
List of festivals in Canada
== References ==
|
event interval
|
{
"answer_start": [
139
],
"text": [
"1"
]
}
|
Qasrik-e Sofla (Persian: قصريك سفلي, also Romanized as Qaşrīk-e Soflá; also known as Qaşrīk) is a village in Shenetal Rural District, Kuhsar District, Salmas County, West Azerbaijan Province, Iran. At the 2006 census, its population was 228, in 54 families.
== References ==
|
country
|
{
"answer_start": [
192
],
"text": [
"Iran"
]
}
|
Qasrik-e Sofla (Persian: قصريك سفلي, also Romanized as Qaşrīk-e Soflá; also known as Qaşrīk) is a village in Shenetal Rural District, Kuhsar District, Salmas County, West Azerbaijan Province, Iran. At the 2006 census, its population was 228, in 54 families.
== References ==
|
instance of
|
{
"answer_start": [
98
],
"text": [
"village"
]
}
|
Qasrik-e Sofla (Persian: قصريك سفلي, also Romanized as Qaşrīk-e Soflá; also known as Qaşrīk) is a village in Shenetal Rural District, Kuhsar District, Salmas County, West Azerbaijan Province, Iran. At the 2006 census, its population was 228, in 54 families.
== References ==
|
located in the administrative territorial entity
|
{
"answer_start": [
109
],
"text": [
"Shenetal Rural District"
]
}
|
Anatoli Pavlovich Levitin (Russian: Анатолий Павлович Левитин; July 16, 1922 – October 11, 2018) was a Soviet Russian painter and art educator, People's Artist of the Russian Federation, a member of the Saint Petersburg Union of Artists (before 1992 — the Leningrad Union of Artists), who lived and worked in Saint Petersburg and Krasnoyarsk, regarded as one of representatives of the Leningrad school of painting, most famous for his genre and portrait paintings.In March 2014 he signed a letter in support of the position of the President of Russia Vladimir Putin on the issue of Ukraine and the adoption of Crimea into the Russian Federation based on the results of a referendum held in Crimea.
See also
Leningrad School of Painting
List of 20th-century Russian painters
List of painters of Saint Petersburg Union of Artists
Saint Petersburg Union of Artists
References
Sources
Земская М. За правду жизни и большую мысль. К итогам осенней выставки ленинградских художников // Смена, 1954, 18 декабря.
Серов В. Знать жизнь, показывать правду жизни // Ленинградский альманах. Кн. 8. Л., Лениздат, 1954. С.306-311.
Серебряный И. Молодые живописцы // Ленинградский альманах. Кн. 9. Л., Лениздат, 1954. С.338-342.
Осенняя выставка произведений ленинградских художников 1956 года. Каталог. Л., Ленинградский художник, 1958. С.15.
1917 — 1957. Выставка произведений ленинградских художников. Каталог. Л., Ленинградский художник, 1958. С.19.
Бродский В. Жизнеутверждающее искусство. // Ленинградская правда, 1957, 11 октября.
Воеводин Е. Славные страницы революционной истории // Вечерний Ленинград. 1957, 4 ноября.
Всесоюзная художественная выставка, посвящённая 40-летию Великой Октябрьской социалистической революции. Каталог. М., Советский художник, 1957. С.43.
Недошивин Г. Окрыляющие перспективы. На Всесоюзной художественной выставке // Правда, 1957, 18 декабря.
Грабарь И. Заметки о живописи на Всесоюзной выставке 1957 года // Искусство. 1958, No. 1. С.14-17.
Двести лет Академии художеств СССР. Каталог выставки. Л.-М., Искусство, 1958. C.172.
Шведова В. Над чем работают ленинградские художники // Художник. 1959, No. 9.
Шмаринов Д. Новый этап - новые задачи // Художник. 1960, No. 8. С.2.
Архангельский В. О детях и для детей // Художник. 1960, No. 8. С.19.
Выставка произведений ленинградских художников 1960 года. Каталог. Л., Художник РСФСР, 1961. C.25.
Ленинград. Зональная выставка. Л., Художник РСФСР, 1965. С.30.
Буткевич О. От находок к открытиям. Заметки с выставки «Ленинград» // Советская культура, 1964, 26 декабря.
Богданов А. О нашем современнике // Вечерний Ленинград, 1971, 5 апреля.
Дмитренко А. Мир современника // Ленинградская правда, 1975, 12 октября.
Аникушин М. Создавать произведения, созвучные эпохе // Ленинградская правда, 1976, 9 января.
Наш современник. Зональная выставка произведений ленинградских художников 1975 года. Каталог. Л., Художник РСФСР, 1980. C.18.
Богданов А. О людях труда // Вечерний Ленинград, 1975, 3 ноября.
Вишняков Б. Девиз: Наш современник. Заметки с V Республиканской выставки «Советская Россия» // Правда, 1975, 7 декабря.
Художник. 1976, No. 2. С.8.
Справочник членов Союза художников СССР. Т. 1. М., Советский художник, 1979. C.619.
Зональная выставка произведений ленинградских художников 1980 года. Каталог. — Л: Художник РСФСР, 1983. — с.16.
Справочник членов Ленинградской организации Союза художников РСФСР. — Л: Художник РСФСР, 1980. — с.73.
Леняшин В. Поиски художественной правды // Художник. 1981, No. 1. С.8-17.
Левандовский С. Живопись на Ленинградской зональной // Искусство. 1981, No. 2. С.63.
L' École de Leningrad. Auction Catalogue. Paris, Drouot Richelieu, 11 Juin 1990. P.148-149.
Выставка, посвящённая 55-летию победы в Великой Отечественной войне. СПб, 2000. С.6.
Мы помним… Художники, искусствоведы — участники Великой Отечественной войны. М., Союз художников России, 2000. C.169.
Художники — городу. Выставка к 70-летию Санкт-Петербургского Союза художников. Каталог. СПб., Петрополь, 2003. С.180.
Sergei V. Ivanov. Unknown Socialist Realism. The Leningrad School. Saint Petersburg, NP-Print Edition, 2007. P.15, 384, 388, 390–393, 399, 402, 405, 406. ISBN 5-901724-21-6, ISBN 978-5-901724-21-7.
Юбилейный Справочник выпускников Санкт-Петербургского академического института живописи, скульптуры и архитектуры имени И. Е. Репина Российской Академии художеств. 1915—2005. СПб., «Первоцвет», 2007. С.57. ISBN 978-5-903677-01-6.
Иванов С. О творчестве и судьбе Николая Позднеева // Петербургские искусствоведческие тетради. Вып. 30. СПб, 2014. С.25-32.
|
place of death
|
{
"answer_start": [
203
],
"text": [
"Saint Petersburg"
]
}
|
Anatoli Pavlovich Levitin (Russian: Анатолий Павлович Левитин; July 16, 1922 – October 11, 2018) was a Soviet Russian painter and art educator, People's Artist of the Russian Federation, a member of the Saint Petersburg Union of Artists (before 1992 — the Leningrad Union of Artists), who lived and worked in Saint Petersburg and Krasnoyarsk, regarded as one of representatives of the Leningrad school of painting, most famous for his genre and portrait paintings.In March 2014 he signed a letter in support of the position of the President of Russia Vladimir Putin on the issue of Ukraine and the adoption of Crimea into the Russian Federation based on the results of a referendum held in Crimea.
See also
Leningrad School of Painting
List of 20th-century Russian painters
List of painters of Saint Petersburg Union of Artists
Saint Petersburg Union of Artists
References
Sources
Земская М. За правду жизни и большую мысль. К итогам осенней выставки ленинградских художников // Смена, 1954, 18 декабря.
Серов В. Знать жизнь, показывать правду жизни // Ленинградский альманах. Кн. 8. Л., Лениздат, 1954. С.306-311.
Серебряный И. Молодые живописцы // Ленинградский альманах. Кн. 9. Л., Лениздат, 1954. С.338-342.
Осенняя выставка произведений ленинградских художников 1956 года. Каталог. Л., Ленинградский художник, 1958. С.15.
1917 — 1957. Выставка произведений ленинградских художников. Каталог. Л., Ленинградский художник, 1958. С.19.
Бродский В. Жизнеутверждающее искусство. // Ленинградская правда, 1957, 11 октября.
Воеводин Е. Славные страницы революционной истории // Вечерний Ленинград. 1957, 4 ноября.
Всесоюзная художественная выставка, посвящённая 40-летию Великой Октябрьской социалистической революции. Каталог. М., Советский художник, 1957. С.43.
Недошивин Г. Окрыляющие перспективы. На Всесоюзной художественной выставке // Правда, 1957, 18 декабря.
Грабарь И. Заметки о живописи на Всесоюзной выставке 1957 года // Искусство. 1958, No. 1. С.14-17.
Двести лет Академии художеств СССР. Каталог выставки. Л.-М., Искусство, 1958. C.172.
Шведова В. Над чем работают ленинградские художники // Художник. 1959, No. 9.
Шмаринов Д. Новый этап - новые задачи // Художник. 1960, No. 8. С.2.
Архангельский В. О детях и для детей // Художник. 1960, No. 8. С.19.
Выставка произведений ленинградских художников 1960 года. Каталог. Л., Художник РСФСР, 1961. C.25.
Ленинград. Зональная выставка. Л., Художник РСФСР, 1965. С.30.
Буткевич О. От находок к открытиям. Заметки с выставки «Ленинград» // Советская культура, 1964, 26 декабря.
Богданов А. О нашем современнике // Вечерний Ленинград, 1971, 5 апреля.
Дмитренко А. Мир современника // Ленинградская правда, 1975, 12 октября.
Аникушин М. Создавать произведения, созвучные эпохе // Ленинградская правда, 1976, 9 января.
Наш современник. Зональная выставка произведений ленинградских художников 1975 года. Каталог. Л., Художник РСФСР, 1980. C.18.
Богданов А. О людях труда // Вечерний Ленинград, 1975, 3 ноября.
Вишняков Б. Девиз: Наш современник. Заметки с V Республиканской выставки «Советская Россия» // Правда, 1975, 7 декабря.
Художник. 1976, No. 2. С.8.
Справочник членов Союза художников СССР. Т. 1. М., Советский художник, 1979. C.619.
Зональная выставка произведений ленинградских художников 1980 года. Каталог. — Л: Художник РСФСР, 1983. — с.16.
Справочник членов Ленинградской организации Союза художников РСФСР. — Л: Художник РСФСР, 1980. — с.73.
Леняшин В. Поиски художественной правды // Художник. 1981, No. 1. С.8-17.
Левандовский С. Живопись на Ленинградской зональной // Искусство. 1981, No. 2. С.63.
L' École de Leningrad. Auction Catalogue. Paris, Drouot Richelieu, 11 Juin 1990. P.148-149.
Выставка, посвящённая 55-летию победы в Великой Отечественной войне. СПб, 2000. С.6.
Мы помним… Художники, искусствоведы — участники Великой Отечественной войны. М., Союз художников России, 2000. C.169.
Художники — городу. Выставка к 70-летию Санкт-Петербургского Союза художников. Каталог. СПб., Петрополь, 2003. С.180.
Sergei V. Ivanov. Unknown Socialist Realism. The Leningrad School. Saint Petersburg, NP-Print Edition, 2007. P.15, 384, 388, 390–393, 399, 402, 405, 406. ISBN 5-901724-21-6, ISBN 978-5-901724-21-7.
Юбилейный Справочник выпускников Санкт-Петербургского академического института живописи, скульптуры и архитектуры имени И. Е. Репина Российской Академии художеств. 1915—2005. СПб., «Первоцвет», 2007. С.57. ISBN 978-5-903677-01-6.
Иванов С. О творчестве и судьбе Николая Позднеева // Петербургские искусствоведческие тетради. Вып. 30. СПб, 2014. С.25-32.
|
country of citizenship
|
{
"answer_start": [
27
],
"text": [
"Russia"
]
}
|
Anatoli Pavlovich Levitin (Russian: Анатолий Павлович Левитин; July 16, 1922 – October 11, 2018) was a Soviet Russian painter and art educator, People's Artist of the Russian Federation, a member of the Saint Petersburg Union of Artists (before 1992 — the Leningrad Union of Artists), who lived and worked in Saint Petersburg and Krasnoyarsk, regarded as one of representatives of the Leningrad school of painting, most famous for his genre and portrait paintings.In March 2014 he signed a letter in support of the position of the President of Russia Vladimir Putin on the issue of Ukraine and the adoption of Crimea into the Russian Federation based on the results of a referendum held in Crimea.
See also
Leningrad School of Painting
List of 20th-century Russian painters
List of painters of Saint Petersburg Union of Artists
Saint Petersburg Union of Artists
References
Sources
Земская М. За правду жизни и большую мысль. К итогам осенней выставки ленинградских художников // Смена, 1954, 18 декабря.
Серов В. Знать жизнь, показывать правду жизни // Ленинградский альманах. Кн. 8. Л., Лениздат, 1954. С.306-311.
Серебряный И. Молодые живописцы // Ленинградский альманах. Кн. 9. Л., Лениздат, 1954. С.338-342.
Осенняя выставка произведений ленинградских художников 1956 года. Каталог. Л., Ленинградский художник, 1958. С.15.
1917 — 1957. Выставка произведений ленинградских художников. Каталог. Л., Ленинградский художник, 1958. С.19.
Бродский В. Жизнеутверждающее искусство. // Ленинградская правда, 1957, 11 октября.
Воеводин Е. Славные страницы революционной истории // Вечерний Ленинград. 1957, 4 ноября.
Всесоюзная художественная выставка, посвящённая 40-летию Великой Октябрьской социалистической революции. Каталог. М., Советский художник, 1957. С.43.
Недошивин Г. Окрыляющие перспективы. На Всесоюзной художественной выставке // Правда, 1957, 18 декабря.
Грабарь И. Заметки о живописи на Всесоюзной выставке 1957 года // Искусство. 1958, No. 1. С.14-17.
Двести лет Академии художеств СССР. Каталог выставки. Л.-М., Искусство, 1958. C.172.
Шведова В. Над чем работают ленинградские художники // Художник. 1959, No. 9.
Шмаринов Д. Новый этап - новые задачи // Художник. 1960, No. 8. С.2.
Архангельский В. О детях и для детей // Художник. 1960, No. 8. С.19.
Выставка произведений ленинградских художников 1960 года. Каталог. Л., Художник РСФСР, 1961. C.25.
Ленинград. Зональная выставка. Л., Художник РСФСР, 1965. С.30.
Буткевич О. От находок к открытиям. Заметки с выставки «Ленинград» // Советская культура, 1964, 26 декабря.
Богданов А. О нашем современнике // Вечерний Ленинград, 1971, 5 апреля.
Дмитренко А. Мир современника // Ленинградская правда, 1975, 12 октября.
Аникушин М. Создавать произведения, созвучные эпохе // Ленинградская правда, 1976, 9 января.
Наш современник. Зональная выставка произведений ленинградских художников 1975 года. Каталог. Л., Художник РСФСР, 1980. C.18.
Богданов А. О людях труда // Вечерний Ленинград, 1975, 3 ноября.
Вишняков Б. Девиз: Наш современник. Заметки с V Республиканской выставки «Советская Россия» // Правда, 1975, 7 декабря.
Художник. 1976, No. 2. С.8.
Справочник членов Союза художников СССР. Т. 1. М., Советский художник, 1979. C.619.
Зональная выставка произведений ленинградских художников 1980 года. Каталог. — Л: Художник РСФСР, 1983. — с.16.
Справочник членов Ленинградской организации Союза художников РСФСР. — Л: Художник РСФСР, 1980. — с.73.
Леняшин В. Поиски художественной правды // Художник. 1981, No. 1. С.8-17.
Левандовский С. Живопись на Ленинградской зональной // Искусство. 1981, No. 2. С.63.
L' École de Leningrad. Auction Catalogue. Paris, Drouot Richelieu, 11 Juin 1990. P.148-149.
Выставка, посвящённая 55-летию победы в Великой Отечественной войне. СПб, 2000. С.6.
Мы помним… Художники, искусствоведы — участники Великой Отечественной войны. М., Союз художников России, 2000. C.169.
Художники — городу. Выставка к 70-летию Санкт-Петербургского Союза художников. Каталог. СПб., Петрополь, 2003. С.180.
Sergei V. Ivanov. Unknown Socialist Realism. The Leningrad School. Saint Petersburg, NP-Print Edition, 2007. P.15, 384, 388, 390–393, 399, 402, 405, 406. ISBN 5-901724-21-6, ISBN 978-5-901724-21-7.
Юбилейный Справочник выпускников Санкт-Петербургского академического института живописи, скульптуры и архитектуры имени И. Е. Репина Российской Академии художеств. 1915—2005. СПб., «Первоцвет», 2007. С.57. ISBN 978-5-903677-01-6.
Иванов С. О творчестве и судьбе Николая Позднеева // Петербургские искусствоведческие тетради. Вып. 30. СПб, 2014. С.25-32.
|
occupation
|
{
"answer_start": [
118
],
"text": [
"painter"
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}
|
Anatoli Pavlovich Levitin (Russian: Анатолий Павлович Левитин; July 16, 1922 – October 11, 2018) was a Soviet Russian painter and art educator, People's Artist of the Russian Federation, a member of the Saint Petersburg Union of Artists (before 1992 — the Leningrad Union of Artists), who lived and worked in Saint Petersburg and Krasnoyarsk, regarded as one of representatives of the Leningrad school of painting, most famous for his genre and portrait paintings.In March 2014 he signed a letter in support of the position of the President of Russia Vladimir Putin on the issue of Ukraine and the adoption of Crimea into the Russian Federation based on the results of a referendum held in Crimea.
See also
Leningrad School of Painting
List of 20th-century Russian painters
List of painters of Saint Petersburg Union of Artists
Saint Petersburg Union of Artists
References
Sources
Земская М. За правду жизни и большую мысль. К итогам осенней выставки ленинградских художников // Смена, 1954, 18 декабря.
Серов В. Знать жизнь, показывать правду жизни // Ленинградский альманах. Кн. 8. Л., Лениздат, 1954. С.306-311.
Серебряный И. Молодые живописцы // Ленинградский альманах. Кн. 9. Л., Лениздат, 1954. С.338-342.
Осенняя выставка произведений ленинградских художников 1956 года. Каталог. Л., Ленинградский художник, 1958. С.15.
1917 — 1957. Выставка произведений ленинградских художников. Каталог. Л., Ленинградский художник, 1958. С.19.
Бродский В. Жизнеутверждающее искусство. // Ленинградская правда, 1957, 11 октября.
Воеводин Е. Славные страницы революционной истории // Вечерний Ленинград. 1957, 4 ноября.
Всесоюзная художественная выставка, посвящённая 40-летию Великой Октябрьской социалистической революции. Каталог. М., Советский художник, 1957. С.43.
Недошивин Г. Окрыляющие перспективы. На Всесоюзной художественной выставке // Правда, 1957, 18 декабря.
Грабарь И. Заметки о живописи на Всесоюзной выставке 1957 года // Искусство. 1958, No. 1. С.14-17.
Двести лет Академии художеств СССР. Каталог выставки. Л.-М., Искусство, 1958. C.172.
Шведова В. Над чем работают ленинградские художники // Художник. 1959, No. 9.
Шмаринов Д. Новый этап - новые задачи // Художник. 1960, No. 8. С.2.
Архангельский В. О детях и для детей // Художник. 1960, No. 8. С.19.
Выставка произведений ленинградских художников 1960 года. Каталог. Л., Художник РСФСР, 1961. C.25.
Ленинград. Зональная выставка. Л., Художник РСФСР, 1965. С.30.
Буткевич О. От находок к открытиям. Заметки с выставки «Ленинград» // Советская культура, 1964, 26 декабря.
Богданов А. О нашем современнике // Вечерний Ленинград, 1971, 5 апреля.
Дмитренко А. Мир современника // Ленинградская правда, 1975, 12 октября.
Аникушин М. Создавать произведения, созвучные эпохе // Ленинградская правда, 1976, 9 января.
Наш современник. Зональная выставка произведений ленинградских художников 1975 года. Каталог. Л., Художник РСФСР, 1980. C.18.
Богданов А. О людях труда // Вечерний Ленинград, 1975, 3 ноября.
Вишняков Б. Девиз: Наш современник. Заметки с V Республиканской выставки «Советская Россия» // Правда, 1975, 7 декабря.
Художник. 1976, No. 2. С.8.
Справочник членов Союза художников СССР. Т. 1. М., Советский художник, 1979. C.619.
Зональная выставка произведений ленинградских художников 1980 года. Каталог. — Л: Художник РСФСР, 1983. — с.16.
Справочник членов Ленинградской организации Союза художников РСФСР. — Л: Художник РСФСР, 1980. — с.73.
Леняшин В. Поиски художественной правды // Художник. 1981, No. 1. С.8-17.
Левандовский С. Живопись на Ленинградской зональной // Искусство. 1981, No. 2. С.63.
L' École de Leningrad. Auction Catalogue. Paris, Drouot Richelieu, 11 Juin 1990. P.148-149.
Выставка, посвящённая 55-летию победы в Великой Отечественной войне. СПб, 2000. С.6.
Мы помним… Художники, искусствоведы — участники Великой Отечественной войны. М., Союз художников России, 2000. C.169.
Художники — городу. Выставка к 70-летию Санкт-Петербургского Союза художников. Каталог. СПб., Петрополь, 2003. С.180.
Sergei V. Ivanov. Unknown Socialist Realism. The Leningrad School. Saint Petersburg, NP-Print Edition, 2007. P.15, 384, 388, 390–393, 399, 402, 405, 406. ISBN 5-901724-21-6, ISBN 978-5-901724-21-7.
Юбилейный Справочник выпускников Санкт-Петербургского академического института живописи, скульптуры и архитектуры имени И. Е. Репина Российской Академии художеств. 1915—2005. СПб., «Первоцвет», 2007. С.57. ISBN 978-5-903677-01-6.
Иванов С. О творчестве и судьбе Николая Позднеева // Петербургские искусствоведческие тетради. Вып. 30. СПб, 2014. С.25-32.
|
genre
|
{
"answer_start": [
445
],
"text": [
"portrait"
]
}
|
Anatoli Pavlovich Levitin (Russian: Анатолий Павлович Левитин; July 16, 1922 – October 11, 2018) was a Soviet Russian painter and art educator, People's Artist of the Russian Federation, a member of the Saint Petersburg Union of Artists (before 1992 — the Leningrad Union of Artists), who lived and worked in Saint Petersburg and Krasnoyarsk, regarded as one of representatives of the Leningrad school of painting, most famous for his genre and portrait paintings.In March 2014 he signed a letter in support of the position of the President of Russia Vladimir Putin on the issue of Ukraine and the adoption of Crimea into the Russian Federation based on the results of a referendum held in Crimea.
See also
Leningrad School of Painting
List of 20th-century Russian painters
List of painters of Saint Petersburg Union of Artists
Saint Petersburg Union of Artists
References
Sources
Земская М. За правду жизни и большую мысль. К итогам осенней выставки ленинградских художников // Смена, 1954, 18 декабря.
Серов В. Знать жизнь, показывать правду жизни // Ленинградский альманах. Кн. 8. Л., Лениздат, 1954. С.306-311.
Серебряный И. Молодые живописцы // Ленинградский альманах. Кн. 9. Л., Лениздат, 1954. С.338-342.
Осенняя выставка произведений ленинградских художников 1956 года. Каталог. Л., Ленинградский художник, 1958. С.15.
1917 — 1957. Выставка произведений ленинградских художников. Каталог. Л., Ленинградский художник, 1958. С.19.
Бродский В. Жизнеутверждающее искусство. // Ленинградская правда, 1957, 11 октября.
Воеводин Е. Славные страницы революционной истории // Вечерний Ленинград. 1957, 4 ноября.
Всесоюзная художественная выставка, посвящённая 40-летию Великой Октябрьской социалистической революции. Каталог. М., Советский художник, 1957. С.43.
Недошивин Г. Окрыляющие перспективы. На Всесоюзной художественной выставке // Правда, 1957, 18 декабря.
Грабарь И. Заметки о живописи на Всесоюзной выставке 1957 года // Искусство. 1958, No. 1. С.14-17.
Двести лет Академии художеств СССР. Каталог выставки. Л.-М., Искусство, 1958. C.172.
Шведова В. Над чем работают ленинградские художники // Художник. 1959, No. 9.
Шмаринов Д. Новый этап - новые задачи // Художник. 1960, No. 8. С.2.
Архангельский В. О детях и для детей // Художник. 1960, No. 8. С.19.
Выставка произведений ленинградских художников 1960 года. Каталог. Л., Художник РСФСР, 1961. C.25.
Ленинград. Зональная выставка. Л., Художник РСФСР, 1965. С.30.
Буткевич О. От находок к открытиям. Заметки с выставки «Ленинград» // Советская культура, 1964, 26 декабря.
Богданов А. О нашем современнике // Вечерний Ленинград, 1971, 5 апреля.
Дмитренко А. Мир современника // Ленинградская правда, 1975, 12 октября.
Аникушин М. Создавать произведения, созвучные эпохе // Ленинградская правда, 1976, 9 января.
Наш современник. Зональная выставка произведений ленинградских художников 1975 года. Каталог. Л., Художник РСФСР, 1980. C.18.
Богданов А. О людях труда // Вечерний Ленинград, 1975, 3 ноября.
Вишняков Б. Девиз: Наш современник. Заметки с V Республиканской выставки «Советская Россия» // Правда, 1975, 7 декабря.
Художник. 1976, No. 2. С.8.
Справочник членов Союза художников СССР. Т. 1. М., Советский художник, 1979. C.619.
Зональная выставка произведений ленинградских художников 1980 года. Каталог. — Л: Художник РСФСР, 1983. — с.16.
Справочник членов Ленинградской организации Союза художников РСФСР. — Л: Художник РСФСР, 1980. — с.73.
Леняшин В. Поиски художественной правды // Художник. 1981, No. 1. С.8-17.
Левандовский С. Живопись на Ленинградской зональной // Искусство. 1981, No. 2. С.63.
L' École de Leningrad. Auction Catalogue. Paris, Drouot Richelieu, 11 Juin 1990. P.148-149.
Выставка, посвящённая 55-летию победы в Великой Отечественной войне. СПб, 2000. С.6.
Мы помним… Художники, искусствоведы — участники Великой Отечественной войны. М., Союз художников России, 2000. C.169.
Художники — городу. Выставка к 70-летию Санкт-Петербургского Союза художников. Каталог. СПб., Петрополь, 2003. С.180.
Sergei V. Ivanov. Unknown Socialist Realism. The Leningrad School. Saint Petersburg, NP-Print Edition, 2007. P.15, 384, 388, 390–393, 399, 402, 405, 406. ISBN 5-901724-21-6, ISBN 978-5-901724-21-7.
Юбилейный Справочник выпускников Санкт-Петербургского академического института живописи, скульптуры и архитектуры имени И. Е. Репина Российской Академии художеств. 1915—2005. СПб., «Первоцвет», 2007. С.57. ISBN 978-5-903677-01-6.
Иванов С. О творчестве и судьбе Николая Позднеева // Петербургские искусствоведческие тетради. Вып. 30. СПб, 2014. С.25-32.
|
family name
|
{
"answer_start": [
18
],
"text": [
"Levitin"
]
}
|
Anatoli Pavlovich Levitin (Russian: Анатолий Павлович Левитин; July 16, 1922 – October 11, 2018) was a Soviet Russian painter and art educator, People's Artist of the Russian Federation, a member of the Saint Petersburg Union of Artists (before 1992 — the Leningrad Union of Artists), who lived and worked in Saint Petersburg and Krasnoyarsk, regarded as one of representatives of the Leningrad school of painting, most famous for his genre and portrait paintings.In March 2014 he signed a letter in support of the position of the President of Russia Vladimir Putin on the issue of Ukraine and the adoption of Crimea into the Russian Federation based on the results of a referendum held in Crimea.
See also
Leningrad School of Painting
List of 20th-century Russian painters
List of painters of Saint Petersburg Union of Artists
Saint Petersburg Union of Artists
References
Sources
Земская М. За правду жизни и большую мысль. К итогам осенней выставки ленинградских художников // Смена, 1954, 18 декабря.
Серов В. Знать жизнь, показывать правду жизни // Ленинградский альманах. Кн. 8. Л., Лениздат, 1954. С.306-311.
Серебряный И. Молодые живописцы // Ленинградский альманах. Кн. 9. Л., Лениздат, 1954. С.338-342.
Осенняя выставка произведений ленинградских художников 1956 года. Каталог. Л., Ленинградский художник, 1958. С.15.
1917 — 1957. Выставка произведений ленинградских художников. Каталог. Л., Ленинградский художник, 1958. С.19.
Бродский В. Жизнеутверждающее искусство. // Ленинградская правда, 1957, 11 октября.
Воеводин Е. Славные страницы революционной истории // Вечерний Ленинград. 1957, 4 ноября.
Всесоюзная художественная выставка, посвящённая 40-летию Великой Октябрьской социалистической революции. Каталог. М., Советский художник, 1957. С.43.
Недошивин Г. Окрыляющие перспективы. На Всесоюзной художественной выставке // Правда, 1957, 18 декабря.
Грабарь И. Заметки о живописи на Всесоюзной выставке 1957 года // Искусство. 1958, No. 1. С.14-17.
Двести лет Академии художеств СССР. Каталог выставки. Л.-М., Искусство, 1958. C.172.
Шведова В. Над чем работают ленинградские художники // Художник. 1959, No. 9.
Шмаринов Д. Новый этап - новые задачи // Художник. 1960, No. 8. С.2.
Архангельский В. О детях и для детей // Художник. 1960, No. 8. С.19.
Выставка произведений ленинградских художников 1960 года. Каталог. Л., Художник РСФСР, 1961. C.25.
Ленинград. Зональная выставка. Л., Художник РСФСР, 1965. С.30.
Буткевич О. От находок к открытиям. Заметки с выставки «Ленинград» // Советская культура, 1964, 26 декабря.
Богданов А. О нашем современнике // Вечерний Ленинград, 1971, 5 апреля.
Дмитренко А. Мир современника // Ленинградская правда, 1975, 12 октября.
Аникушин М. Создавать произведения, созвучные эпохе // Ленинградская правда, 1976, 9 января.
Наш современник. Зональная выставка произведений ленинградских художников 1975 года. Каталог. Л., Художник РСФСР, 1980. C.18.
Богданов А. О людях труда // Вечерний Ленинград, 1975, 3 ноября.
Вишняков Б. Девиз: Наш современник. Заметки с V Республиканской выставки «Советская Россия» // Правда, 1975, 7 декабря.
Художник. 1976, No. 2. С.8.
Справочник членов Союза художников СССР. Т. 1. М., Советский художник, 1979. C.619.
Зональная выставка произведений ленинградских художников 1980 года. Каталог. — Л: Художник РСФСР, 1983. — с.16.
Справочник членов Ленинградской организации Союза художников РСФСР. — Л: Художник РСФСР, 1980. — с.73.
Леняшин В. Поиски художественной правды // Художник. 1981, No. 1. С.8-17.
Левандовский С. Живопись на Ленинградской зональной // Искусство. 1981, No. 2. С.63.
L' École de Leningrad. Auction Catalogue. Paris, Drouot Richelieu, 11 Juin 1990. P.148-149.
Выставка, посвящённая 55-летию победы в Великой Отечественной войне. СПб, 2000. С.6.
Мы помним… Художники, искусствоведы — участники Великой Отечественной войны. М., Союз художников России, 2000. C.169.
Художники — городу. Выставка к 70-летию Санкт-Петербургского Союза художников. Каталог. СПб., Петрополь, 2003. С.180.
Sergei V. Ivanov. Unknown Socialist Realism. The Leningrad School. Saint Petersburg, NP-Print Edition, 2007. P.15, 384, 388, 390–393, 399, 402, 405, 406. ISBN 5-901724-21-6, ISBN 978-5-901724-21-7.
Юбилейный Справочник выпускников Санкт-Петербургского академического института живописи, скульптуры и архитектуры имени И. Е. Репина Российской Академии художеств. 1915—2005. СПб., «Первоцвет», 2007. С.57. ISBN 978-5-903677-01-6.
Иванов С. О творчестве и судьбе Николая Позднеева // Петербургские искусствоведческие тетради. Вып. 30. СПб, 2014. С.25-32.
|
languages spoken, written or signed
|
{
"answer_start": [
27
],
"text": [
"Russian"
]
}
|
Anatoli Pavlovich Levitin (Russian: Анатолий Павлович Левитин; July 16, 1922 – October 11, 2018) was a Soviet Russian painter and art educator, People's Artist of the Russian Federation, a member of the Saint Petersburg Union of Artists (before 1992 — the Leningrad Union of Artists), who lived and worked in Saint Petersburg and Krasnoyarsk, regarded as one of representatives of the Leningrad school of painting, most famous for his genre and portrait paintings.In March 2014 he signed a letter in support of the position of the President of Russia Vladimir Putin on the issue of Ukraine and the adoption of Crimea into the Russian Federation based on the results of a referendum held in Crimea.
See also
Leningrad School of Painting
List of 20th-century Russian painters
List of painters of Saint Petersburg Union of Artists
Saint Petersburg Union of Artists
References
Sources
Земская М. За правду жизни и большую мысль. К итогам осенней выставки ленинградских художников // Смена, 1954, 18 декабря.
Серов В. Знать жизнь, показывать правду жизни // Ленинградский альманах. Кн. 8. Л., Лениздат, 1954. С.306-311.
Серебряный И. Молодые живописцы // Ленинградский альманах. Кн. 9. Л., Лениздат, 1954. С.338-342.
Осенняя выставка произведений ленинградских художников 1956 года. Каталог. Л., Ленинградский художник, 1958. С.15.
1917 — 1957. Выставка произведений ленинградских художников. Каталог. Л., Ленинградский художник, 1958. С.19.
Бродский В. Жизнеутверждающее искусство. // Ленинградская правда, 1957, 11 октября.
Воеводин Е. Славные страницы революционной истории // Вечерний Ленинград. 1957, 4 ноября.
Всесоюзная художественная выставка, посвящённая 40-летию Великой Октябрьской социалистической революции. Каталог. М., Советский художник, 1957. С.43.
Недошивин Г. Окрыляющие перспективы. На Всесоюзной художественной выставке // Правда, 1957, 18 декабря.
Грабарь И. Заметки о живописи на Всесоюзной выставке 1957 года // Искусство. 1958, No. 1. С.14-17.
Двести лет Академии художеств СССР. Каталог выставки. Л.-М., Искусство, 1958. C.172.
Шведова В. Над чем работают ленинградские художники // Художник. 1959, No. 9.
Шмаринов Д. Новый этап - новые задачи // Художник. 1960, No. 8. С.2.
Архангельский В. О детях и для детей // Художник. 1960, No. 8. С.19.
Выставка произведений ленинградских художников 1960 года. Каталог. Л., Художник РСФСР, 1961. C.25.
Ленинград. Зональная выставка. Л., Художник РСФСР, 1965. С.30.
Буткевич О. От находок к открытиям. Заметки с выставки «Ленинград» // Советская культура, 1964, 26 декабря.
Богданов А. О нашем современнике // Вечерний Ленинград, 1971, 5 апреля.
Дмитренко А. Мир современника // Ленинградская правда, 1975, 12 октября.
Аникушин М. Создавать произведения, созвучные эпохе // Ленинградская правда, 1976, 9 января.
Наш современник. Зональная выставка произведений ленинградских художников 1975 года. Каталог. Л., Художник РСФСР, 1980. C.18.
Богданов А. О людях труда // Вечерний Ленинград, 1975, 3 ноября.
Вишняков Б. Девиз: Наш современник. Заметки с V Республиканской выставки «Советская Россия» // Правда, 1975, 7 декабря.
Художник. 1976, No. 2. С.8.
Справочник членов Союза художников СССР. Т. 1. М., Советский художник, 1979. C.619.
Зональная выставка произведений ленинградских художников 1980 года. Каталог. — Л: Художник РСФСР, 1983. — с.16.
Справочник членов Ленинградской организации Союза художников РСФСР. — Л: Художник РСФСР, 1980. — с.73.
Леняшин В. Поиски художественной правды // Художник. 1981, No. 1. С.8-17.
Левандовский С. Живопись на Ленинградской зональной // Искусство. 1981, No. 2. С.63.
L' École de Leningrad. Auction Catalogue. Paris, Drouot Richelieu, 11 Juin 1990. P.148-149.
Выставка, посвящённая 55-летию победы в Великой Отечественной войне. СПб, 2000. С.6.
Мы помним… Художники, искусствоведы — участники Великой Отечественной войны. М., Союз художников России, 2000. C.169.
Художники — городу. Выставка к 70-летию Санкт-Петербургского Союза художников. Каталог. СПб., Петрополь, 2003. С.180.
Sergei V. Ivanov. Unknown Socialist Realism. The Leningrad School. Saint Petersburg, NP-Print Edition, 2007. P.15, 384, 388, 390–393, 399, 402, 405, 406. ISBN 5-901724-21-6, ISBN 978-5-901724-21-7.
Юбилейный Справочник выпускников Санкт-Петербургского академического института живописи, скульптуры и архитектуры имени И. Е. Репина Российской Академии художеств. 1915—2005. СПб., «Первоцвет», 2007. С.57. ISBN 978-5-903677-01-6.
Иванов С. О творчестве и судьбе Николая Позднеева // Петербургские искусствоведческие тетради. Вып. 30. СПб, 2014. С.25-32.
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name in native language
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"text": [
"Анатолий Павлович Левитин"
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"The First the Last Eternity (Till the End)" is a song by German Eurodance project Snap!, released in February 1995 as the second single from their third studio album, Welcome to Tomorrow (1994). Like on their previous single, "Welcome to Tomorrow (Are You Ready?)", it features vocals by American singer Summer (a.k.a. Paula Brown). Supported by a partially computer generated music video, the song was a chart success in Europe, peaking at number two in both Belgium and the Netherlands, and number three in Austria.
Release
"The First the Last Eternity (Till the End)" was released in February 1995. In the 2020 book Move Your Body (2 The 90's), writer Juha Soininen noted that the new Snap! songs "were [now] harder, but at the same time [with] lighter sound. They were more clearly Eurodance than the previous efforts, but the darker aspect of Snap! sound was absent and replaced with a happier vibe."
Chart performance
"The First the Last Eternity (Till the End)" was successful on the charts in Europe, peaking at number two in Belgium (in both Flanders and Wallonia) and the Netherlands. It was a top 10 hit also in Austria (3), Germany (7) and Switzerland (5), as well as on the Eurochart Hot 100, where it made it to number seven. Additionally, the single was a top 20 hit in Finland (12), Scotland (11) and the UK, where it peaked at number 15 in its third week on the UK Singles Chart, on 9 April 1995. It also topped the European Dance Radio Chart, while on the UK Dance Chart, the song reached number 29. In both Ireland (24) and Iceland (25), it was a top 30 hit.
Critical reception
In his weekly UK chart commentary, James Masterton remarked that "Snap have undergone something of a metamorphosis since the hard-edged days of Turbo B and have reinvented themselves as mellow trance-pop specialists." He added that here, "new vocalist Summer [is] dreaming her way through a pleasant enough song to give the group their 10th Top 20 hit since 1990." British magazine Music Week wrote, "Again featuring vocalist Summer, Snap's latest dance tune is a catchy little number somewhat marred by the fact that "Eternity" seems to be the only lyric in the whole song." An editor, Alan Jones, felt the new single "is a more direct but less likable track, with pounding rhythms supporting Summer's vocals, which are not nearly as distinctive or powerful as those of some of Snap's previous singers." James Hamilton from the RM Dance Update described it as a "Summer moaned (and sometimes not un-Donna Summer-like) frantic swirling throbber".
Music video
The accompanying music video for "The First the Last Eternity (Till the End)" was directed by Angel and is made like a 1940s film noir, shown as a comic story turning from page to page. Singer Summer performs as a femme fatale on the street in New York, outside a cinema, wearing a red dress and black gloves. The lyrics are shown in talk bubbles throughout the story. The opening and ending of the video shows the singer on the cover of cinema posters outside the cinema. It was later published on Snap!'s official YouTube channel in 2011, and had generated more than three million views as of March 2023.
Track listings
CD single"The First the Last Eternity (Till the End)" (7-inch edit) – 3:54
"The First the Last Eternity (Till the End)" (Noto edit) – 4:04CD maxi"The First the Last Eternity (Till the End)" (7-inch edit) – 3:54
"The First the Last Eternity (Till the End)" (GDC mix) – 6:28
"The First the Last Eternity (Till the End)" (Notonom mix) – 6:52
Charts
Release history
== References ==
|
instance of
|
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50
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"text": [
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"The First the Last Eternity (Till the End)" is a song by German Eurodance project Snap!, released in February 1995 as the second single from their third studio album, Welcome to Tomorrow (1994). Like on their previous single, "Welcome to Tomorrow (Are You Ready?)", it features vocals by American singer Summer (a.k.a. Paula Brown). Supported by a partially computer generated music video, the song was a chart success in Europe, peaking at number two in both Belgium and the Netherlands, and number three in Austria.
Release
"The First the Last Eternity (Till the End)" was released in February 1995. In the 2020 book Move Your Body (2 The 90's), writer Juha Soininen noted that the new Snap! songs "were [now] harder, but at the same time [with] lighter sound. They were more clearly Eurodance than the previous efforts, but the darker aspect of Snap! sound was absent and replaced with a happier vibe."
Chart performance
"The First the Last Eternity (Till the End)" was successful on the charts in Europe, peaking at number two in Belgium (in both Flanders and Wallonia) and the Netherlands. It was a top 10 hit also in Austria (3), Germany (7) and Switzerland (5), as well as on the Eurochart Hot 100, where it made it to number seven. Additionally, the single was a top 20 hit in Finland (12), Scotland (11) and the UK, where it peaked at number 15 in its third week on the UK Singles Chart, on 9 April 1995. It also topped the European Dance Radio Chart, while on the UK Dance Chart, the song reached number 29. In both Ireland (24) and Iceland (25), it was a top 30 hit.
Critical reception
In his weekly UK chart commentary, James Masterton remarked that "Snap have undergone something of a metamorphosis since the hard-edged days of Turbo B and have reinvented themselves as mellow trance-pop specialists." He added that here, "new vocalist Summer [is] dreaming her way through a pleasant enough song to give the group their 10th Top 20 hit since 1990." British magazine Music Week wrote, "Again featuring vocalist Summer, Snap's latest dance tune is a catchy little number somewhat marred by the fact that "Eternity" seems to be the only lyric in the whole song." An editor, Alan Jones, felt the new single "is a more direct but less likable track, with pounding rhythms supporting Summer's vocals, which are not nearly as distinctive or powerful as those of some of Snap's previous singers." James Hamilton from the RM Dance Update described it as a "Summer moaned (and sometimes not un-Donna Summer-like) frantic swirling throbber".
Music video
The accompanying music video for "The First the Last Eternity (Till the End)" was directed by Angel and is made like a 1940s film noir, shown as a comic story turning from page to page. Singer Summer performs as a femme fatale on the street in New York, outside a cinema, wearing a red dress and black gloves. The lyrics are shown in talk bubbles throughout the story. The opening and ending of the video shows the singer on the cover of cinema posters outside the cinema. It was later published on Snap!'s official YouTube channel in 2011, and had generated more than three million views as of March 2023.
Track listings
CD single"The First the Last Eternity (Till the End)" (7-inch edit) – 3:54
"The First the Last Eternity (Till the End)" (Noto edit) – 4:04CD maxi"The First the Last Eternity (Till the End)" (7-inch edit) – 3:54
"The First the Last Eternity (Till the End)" (GDC mix) – 6:28
"The First the Last Eternity (Till the End)" (Notonom mix) – 6:52
Charts
Release history
== References ==
|
genre
|
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65
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|
"The First the Last Eternity (Till the End)" is a song by German Eurodance project Snap!, released in February 1995 as the second single from their third studio album, Welcome to Tomorrow (1994). Like on their previous single, "Welcome to Tomorrow (Are You Ready?)", it features vocals by American singer Summer (a.k.a. Paula Brown). Supported by a partially computer generated music video, the song was a chart success in Europe, peaking at number two in both Belgium and the Netherlands, and number three in Austria.
Release
"The First the Last Eternity (Till the End)" was released in February 1995. In the 2020 book Move Your Body (2 The 90's), writer Juha Soininen noted that the new Snap! songs "were [now] harder, but at the same time [with] lighter sound. They were more clearly Eurodance than the previous efforts, but the darker aspect of Snap! sound was absent and replaced with a happier vibe."
Chart performance
"The First the Last Eternity (Till the End)" was successful on the charts in Europe, peaking at number two in Belgium (in both Flanders and Wallonia) and the Netherlands. It was a top 10 hit also in Austria (3), Germany (7) and Switzerland (5), as well as on the Eurochart Hot 100, where it made it to number seven. Additionally, the single was a top 20 hit in Finland (12), Scotland (11) and the UK, where it peaked at number 15 in its third week on the UK Singles Chart, on 9 April 1995. It also topped the European Dance Radio Chart, while on the UK Dance Chart, the song reached number 29. In both Ireland (24) and Iceland (25), it was a top 30 hit.
Critical reception
In his weekly UK chart commentary, James Masterton remarked that "Snap have undergone something of a metamorphosis since the hard-edged days of Turbo B and have reinvented themselves as mellow trance-pop specialists." He added that here, "new vocalist Summer [is] dreaming her way through a pleasant enough song to give the group their 10th Top 20 hit since 1990." British magazine Music Week wrote, "Again featuring vocalist Summer, Snap's latest dance tune is a catchy little number somewhat marred by the fact that "Eternity" seems to be the only lyric in the whole song." An editor, Alan Jones, felt the new single "is a more direct but less likable track, with pounding rhythms supporting Summer's vocals, which are not nearly as distinctive or powerful as those of some of Snap's previous singers." James Hamilton from the RM Dance Update described it as a "Summer moaned (and sometimes not un-Donna Summer-like) frantic swirling throbber".
Music video
The accompanying music video for "The First the Last Eternity (Till the End)" was directed by Angel and is made like a 1940s film noir, shown as a comic story turning from page to page. Singer Summer performs as a femme fatale on the street in New York, outside a cinema, wearing a red dress and black gloves. The lyrics are shown in talk bubbles throughout the story. The opening and ending of the video shows the singer on the cover of cinema posters outside the cinema. It was later published on Snap!'s official YouTube channel in 2011, and had generated more than three million views as of March 2023.
Track listings
CD single"The First the Last Eternity (Till the End)" (7-inch edit) – 3:54
"The First the Last Eternity (Till the End)" (Noto edit) – 4:04CD maxi"The First the Last Eternity (Till the End)" (7-inch edit) – 3:54
"The First the Last Eternity (Till the End)" (GDC mix) – 6:28
"The First the Last Eternity (Till the End)" (Notonom mix) – 6:52
Charts
Release history
== References ==
|
follows
|
{
"answer_start": [
228
],
"text": [
"Welcome to Tomorrow (Are You Ready?)"
]
}
|
"The First the Last Eternity (Till the End)" is a song by German Eurodance project Snap!, released in February 1995 as the second single from their third studio album, Welcome to Tomorrow (1994). Like on their previous single, "Welcome to Tomorrow (Are You Ready?)", it features vocals by American singer Summer (a.k.a. Paula Brown). Supported by a partially computer generated music video, the song was a chart success in Europe, peaking at number two in both Belgium and the Netherlands, and number three in Austria.
Release
"The First the Last Eternity (Till the End)" was released in February 1995. In the 2020 book Move Your Body (2 The 90's), writer Juha Soininen noted that the new Snap! songs "were [now] harder, but at the same time [with] lighter sound. They were more clearly Eurodance than the previous efforts, but the darker aspect of Snap! sound was absent and replaced with a happier vibe."
Chart performance
"The First the Last Eternity (Till the End)" was successful on the charts in Europe, peaking at number two in Belgium (in both Flanders and Wallonia) and the Netherlands. It was a top 10 hit also in Austria (3), Germany (7) and Switzerland (5), as well as on the Eurochart Hot 100, where it made it to number seven. Additionally, the single was a top 20 hit in Finland (12), Scotland (11) and the UK, where it peaked at number 15 in its third week on the UK Singles Chart, on 9 April 1995. It also topped the European Dance Radio Chart, while on the UK Dance Chart, the song reached number 29. In both Ireland (24) and Iceland (25), it was a top 30 hit.
Critical reception
In his weekly UK chart commentary, James Masterton remarked that "Snap have undergone something of a metamorphosis since the hard-edged days of Turbo B and have reinvented themselves as mellow trance-pop specialists." He added that here, "new vocalist Summer [is] dreaming her way through a pleasant enough song to give the group their 10th Top 20 hit since 1990." British magazine Music Week wrote, "Again featuring vocalist Summer, Snap's latest dance tune is a catchy little number somewhat marred by the fact that "Eternity" seems to be the only lyric in the whole song." An editor, Alan Jones, felt the new single "is a more direct but less likable track, with pounding rhythms supporting Summer's vocals, which are not nearly as distinctive or powerful as those of some of Snap's previous singers." James Hamilton from the RM Dance Update described it as a "Summer moaned (and sometimes not un-Donna Summer-like) frantic swirling throbber".
Music video
The accompanying music video for "The First the Last Eternity (Till the End)" was directed by Angel and is made like a 1940s film noir, shown as a comic story turning from page to page. Singer Summer performs as a femme fatale on the street in New York, outside a cinema, wearing a red dress and black gloves. The lyrics are shown in talk bubbles throughout the story. The opening and ending of the video shows the singer on the cover of cinema posters outside the cinema. It was later published on Snap!'s official YouTube channel in 2011, and had generated more than three million views as of March 2023.
Track listings
CD single"The First the Last Eternity (Till the End)" (7-inch edit) – 3:54
"The First the Last Eternity (Till the End)" (Noto edit) – 4:04CD maxi"The First the Last Eternity (Till the End)" (7-inch edit) – 3:54
"The First the Last Eternity (Till the End)" (GDC mix) – 6:28
"The First the Last Eternity (Till the End)" (Notonom mix) – 6:52
Charts
Release history
== References ==
|
performer
|
{
"answer_start": [
83
],
"text": [
"Snap!"
]
}
|
"The First the Last Eternity (Till the End)" is a song by German Eurodance project Snap!, released in February 1995 as the second single from their third studio album, Welcome to Tomorrow (1994). Like on their previous single, "Welcome to Tomorrow (Are You Ready?)", it features vocals by American singer Summer (a.k.a. Paula Brown). Supported by a partially computer generated music video, the song was a chart success in Europe, peaking at number two in both Belgium and the Netherlands, and number three in Austria.
Release
"The First the Last Eternity (Till the End)" was released in February 1995. In the 2020 book Move Your Body (2 The 90's), writer Juha Soininen noted that the new Snap! songs "were [now] harder, but at the same time [with] lighter sound. They were more clearly Eurodance than the previous efforts, but the darker aspect of Snap! sound was absent and replaced with a happier vibe."
Chart performance
"The First the Last Eternity (Till the End)" was successful on the charts in Europe, peaking at number two in Belgium (in both Flanders and Wallonia) and the Netherlands. It was a top 10 hit also in Austria (3), Germany (7) and Switzerland (5), as well as on the Eurochart Hot 100, where it made it to number seven. Additionally, the single was a top 20 hit in Finland (12), Scotland (11) and the UK, where it peaked at number 15 in its third week on the UK Singles Chart, on 9 April 1995. It also topped the European Dance Radio Chart, while on the UK Dance Chart, the song reached number 29. In both Ireland (24) and Iceland (25), it was a top 30 hit.
Critical reception
In his weekly UK chart commentary, James Masterton remarked that "Snap have undergone something of a metamorphosis since the hard-edged days of Turbo B and have reinvented themselves as mellow trance-pop specialists." He added that here, "new vocalist Summer [is] dreaming her way through a pleasant enough song to give the group their 10th Top 20 hit since 1990." British magazine Music Week wrote, "Again featuring vocalist Summer, Snap's latest dance tune is a catchy little number somewhat marred by the fact that "Eternity" seems to be the only lyric in the whole song." An editor, Alan Jones, felt the new single "is a more direct but less likable track, with pounding rhythms supporting Summer's vocals, which are not nearly as distinctive or powerful as those of some of Snap's previous singers." James Hamilton from the RM Dance Update described it as a "Summer moaned (and sometimes not un-Donna Summer-like) frantic swirling throbber".
Music video
The accompanying music video for "The First the Last Eternity (Till the End)" was directed by Angel and is made like a 1940s film noir, shown as a comic story turning from page to page. Singer Summer performs as a femme fatale on the street in New York, outside a cinema, wearing a red dress and black gloves. The lyrics are shown in talk bubbles throughout the story. The opening and ending of the video shows the singer on the cover of cinema posters outside the cinema. It was later published on Snap!'s official YouTube channel in 2011, and had generated more than three million views as of March 2023.
Track listings
CD single"The First the Last Eternity (Till the End)" (7-inch edit) – 3:54
"The First the Last Eternity (Till the End)" (Noto edit) – 4:04CD maxi"The First the Last Eternity (Till the End)" (7-inch edit) – 3:54
"The First the Last Eternity (Till the End)" (GDC mix) – 6:28
"The First the Last Eternity (Till the End)" (Notonom mix) – 6:52
Charts
Release history
== References ==
|
part of
|
{
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168
],
"text": [
"Welcome to Tomorrow"
]
}
|
"The Roommate Transmogrification" is the fourth season finale of the television series The Big Bang Theory that first aired on CBS on May 19, 2011. It is the twenty-fourth episode of the fourth season of the series and the eighty-seventh episode overall. Aarti Mann continues her recurring role of Priya Koothrappali while Brian George and Alice Amter reprise their roles of Dr. and Mrs. Koothrappali.
Plot
During another night out at the Cheesecake Factory, the guys and Penny make fun of Leonard because of his lactose intolerance. However, when Bernadette announces that her dissertation has been accepted, earning her a Ph.D. and a well-paid job, Leonard seizes his chance and starts to mock Howard with the other guys, degrading him for being the only non-doctor in their group. Later, Bernadette buys Howard an expensive Rolex watch as a present and tells him to "let her worry about the money", a comment that deeply disturbs Howard.
Meanwhile, Leonard's and Priya's noisy and "astronomically inaccurate" sexual roleplay - she wears Raj's Lieutenant Uhura costume - in his apartment disturbs Raj and he leaves to spend the night at Sheldon's apartment. When Leonard finds Raj in his bed the next morning, he apologizes and proposes that Raj moves in with Sheldon until Priya finds her own place. Raj likes the idea and moves in after Sheldon's usual bureaucratic procedures (including a modified "temporary roommate agreement" and a will).
Raj then prepares a fancy dinner to ingratiate himself with Sheldon, who is delighted. Penny comes over to ask for their Wi-Fi password, because she does not want to pay for her own, and then stays for dinner. When she and Raj both get drunk from the wine Raj serves, Sheldon gets annoyed and goes to bed. Penny then admits that she should not have broken up with Leonard, and tells Raj that she would be "on" him if they were not friends.
Priya receives a video call from her parents and tells Leonard to hide in the bedroom, because she still does not want them to know that she is dating him. Leonard overhears the Koothrappalis talking about Priya moving back to India the following month. When he storms back into the room to confront her, he reveals to her parents that they are in a relationship, justifying that her moving back to India would certainly mean they are breaking up, leaving it moot if her parents know.
At the end of the episode, Sheldon discovers Leonard sleeping on the couch at their apartment after his confrontation with Priya, just before Howard shows up after a fight with Bernadette over the watch. Penny wakes up in Leonard's room and is horrified to be naked with Raj and realizes she hooked up with him. She tells him not to say anything about the night before and tries to sneak out of the apartment with Raj wrapped in a sheet, only for the other men to see them. Penny just states that it is "not what it looks like", leaving Sheldon, Leonard and Howard confused.
Reception
On the night of its first broadcast on May 19, 2011, the episode was watched by 11.30 million households. The episode was the fourth least watched episode of the season, despite it being the season finale.
IGN's Jenna Busch gave the fourth-season finale a positive review stating that "For the most part, the episode was strong". Busch did, however, criticise the cliff-hanger of the episode by stating: "a Penny/Raj hookup just seemed a bit off. Even if you were fine with that, the ending still seemed kind of soft to me". Busch then complimented the show's season by saying "there have been so many great moments throughout this season. Even when I've critiqued the show, there has always been something to love. I can't wait for next season to start".Carla Day from TV Fanatic gave the episode an extremely positive review by saying "I found the installment and each of the stories to be hilarious and/or to propel the characters forward. Overall, as a season finale, it gave me the laughs I expect and left me sitting in anticipation for the show to return in September". Day did give the cliff-hanger a mixed review by writing "At first, I thought it was pretty funny, but now, I think it is just sad" and "I'm going to wait until the show returns and I can see how it all plays out before I decide if I like this new entanglement or not". Day then praised the season as a whole and complimented the three new female characters by saying "Overall, I thoroughly enjoyed this season, in particular, the growth of our nerdy friends and the addition of Bernadette, Amy and even Priya to the mix".
References
External links
"The Roommate Transmogrification" at IMDb
|
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}
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"The Roommate Transmogrification" is the fourth season finale of the television series The Big Bang Theory that first aired on CBS on May 19, 2011. It is the twenty-fourth episode of the fourth season of the series and the eighty-seventh episode overall. Aarti Mann continues her recurring role of Priya Koothrappali while Brian George and Alice Amter reprise their roles of Dr. and Mrs. Koothrappali.
Plot
During another night out at the Cheesecake Factory, the guys and Penny make fun of Leonard because of his lactose intolerance. However, when Bernadette announces that her dissertation has been accepted, earning her a Ph.D. and a well-paid job, Leonard seizes his chance and starts to mock Howard with the other guys, degrading him for being the only non-doctor in their group. Later, Bernadette buys Howard an expensive Rolex watch as a present and tells him to "let her worry about the money", a comment that deeply disturbs Howard.
Meanwhile, Leonard's and Priya's noisy and "astronomically inaccurate" sexual roleplay - she wears Raj's Lieutenant Uhura costume - in his apartment disturbs Raj and he leaves to spend the night at Sheldon's apartment. When Leonard finds Raj in his bed the next morning, he apologizes and proposes that Raj moves in with Sheldon until Priya finds her own place. Raj likes the idea and moves in after Sheldon's usual bureaucratic procedures (including a modified "temporary roommate agreement" and a will).
Raj then prepares a fancy dinner to ingratiate himself with Sheldon, who is delighted. Penny comes over to ask for their Wi-Fi password, because she does not want to pay for her own, and then stays for dinner. When she and Raj both get drunk from the wine Raj serves, Sheldon gets annoyed and goes to bed. Penny then admits that she should not have broken up with Leonard, and tells Raj that she would be "on" him if they were not friends.
Priya receives a video call from her parents and tells Leonard to hide in the bedroom, because she still does not want them to know that she is dating him. Leonard overhears the Koothrappalis talking about Priya moving back to India the following month. When he storms back into the room to confront her, he reveals to her parents that they are in a relationship, justifying that her moving back to India would certainly mean they are breaking up, leaving it moot if her parents know.
At the end of the episode, Sheldon discovers Leonard sleeping on the couch at their apartment after his confrontation with Priya, just before Howard shows up after a fight with Bernadette over the watch. Penny wakes up in Leonard's room and is horrified to be naked with Raj and realizes she hooked up with him. She tells him not to say anything about the night before and tries to sneak out of the apartment with Raj wrapped in a sheet, only for the other men to see them. Penny just states that it is "not what it looks like", leaving Sheldon, Leonard and Howard confused.
Reception
On the night of its first broadcast on May 19, 2011, the episode was watched by 11.30 million households. The episode was the fourth least watched episode of the season, despite it being the season finale.
IGN's Jenna Busch gave the fourth-season finale a positive review stating that "For the most part, the episode was strong". Busch did, however, criticise the cliff-hanger of the episode by stating: "a Penny/Raj hookup just seemed a bit off. Even if you were fine with that, the ending still seemed kind of soft to me". Busch then complimented the show's season by saying "there have been so many great moments throughout this season. Even when I've critiqued the show, there has always been something to love. I can't wait for next season to start".Carla Day from TV Fanatic gave the episode an extremely positive review by saying "I found the installment and each of the stories to be hilarious and/or to propel the characters forward. Overall, as a season finale, it gave me the laughs I expect and left me sitting in anticipation for the show to return in September". Day did give the cliff-hanger a mixed review by writing "At first, I thought it was pretty funny, but now, I think it is just sad" and "I'm going to wait until the show returns and I can see how it all plays out before I decide if I like this new entanglement or not". Day then praised the season as a whole and complimented the three new female characters by saying "Overall, I thoroughly enjoyed this season, in particular, the growth of our nerdy friends and the addition of Bernadette, Amy and even Priya to the mix".
References
External links
"The Roommate Transmogrification" at IMDb
|
title
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|
Diego Albadoro (born 26 February 1989) is a professional Italian football player. He plays for Picerno.
Club career
On 5 August 2019, he signed with Avellino.On 8 October 2020, he joined Serie D club Picerno. He helped Picerno achieve promotion to Serie C at the end of the 2020–21 season.
References
External links
Diego Albadoro at TuttoCalciatori.net (in Italian)
Diego Albadoro at Soccerway
|
family name
|
{
"answer_start": [
6
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|
Diego Albadoro (born 26 February 1989) is a professional Italian football player. He plays for Picerno.
Club career
On 5 August 2019, he signed with Avellino.On 8 October 2020, he joined Serie D club Picerno. He helped Picerno achieve promotion to Serie C at the end of the 2020–21 season.
References
External links
Diego Albadoro at TuttoCalciatori.net (in Italian)
Diego Albadoro at Soccerway
|
given name
|
{
"answer_start": [
0
],
"text": [
"Diego"
]
}
|
Diego Albadoro (born 26 February 1989) is a professional Italian football player. He plays for Picerno.
Club career
On 5 August 2019, he signed with Avellino.On 8 October 2020, he joined Serie D club Picerno. He helped Picerno achieve promotion to Serie C at the end of the 2020–21 season.
References
External links
Diego Albadoro at TuttoCalciatori.net (in Italian)
Diego Albadoro at Soccerway
|
languages spoken, written or signed
|
{
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57
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"Italian"
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|
PS-83 Dadu-I (پی ایس-83، دادو-1) is a constituency of the Provincial Assembly of Sindh.
General elections 2013
General elections 2008
See also
PS-82 Jamshoro-III
PS-84 Dadu-II
References
External links
Election commission Pakistan's official website
Awazoday.com check result
Official Website of Government of Sindh
|
country
|
{
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224
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"text": [
"Pakistan"
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|
PS-83 Dadu-I (پی ایس-83، دادو-1) is a constituency of the Provincial Assembly of Sindh.
General elections 2013
General elections 2008
See also
PS-82 Jamshoro-III
PS-84 Dadu-II
References
External links
Election commission Pakistan's official website
Awazoday.com check result
Official Website of Government of Sindh
|
located in the administrative territorial entity
|
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81
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"Sindh"
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|
Bartlett City Schools is a municipal school district serving Bartlett, Tennessee, United States.
Location
In February 2014, the school district moved its headquarters from Bartlett City Hall into the former special education offices at Bartlett High School. In December 2018 they moved into their current location at 5705 Stage Road.
History
Following the merger of Memphis City Schools and Shelby County Schools in 2013, a referendum was put forth to the residents of Bartlett to form their own school district. In July 2013, the residents of Bartlett approved the referendum and Bartlett City Schools was created. On December 20, 2013, the Bartlett City Schools board voted unanimously to appoint former Shelby County Schools Deputy Superintendent, David Stephens, as Superintendent. On August 4, 2014, Bartlett City Schools officially opened for their first day of classes.
Schools
Bartlett City Schools serves the following schools:Elementary
Altruria Elementary School
Bartlett Elementary School
Bon Lin Elementary School
Ellendale Elementary School
Oak Elementary School
Rivercrest Elementary SchoolMiddle
Appling Middle School
Bon Lin Middle School
Elmore Park Middle SchoolHigh
Bartlett Ninth Grade Academy
Bartlett High School
Other
In February 2014, the district approved an open enrollment policy for students who do not live in the City of Bartlett.
References
External links
Bartlett City Schools
"Schools in Transition." The Commercial Appeal.
|
instance of
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37
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"school district"
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Bartlett City Schools is a municipal school district serving Bartlett, Tennessee, United States.
Location
In February 2014, the school district moved its headquarters from Bartlett City Hall into the former special education offices at Bartlett High School. In December 2018 they moved into their current location at 5705 Stage Road.
History
Following the merger of Memphis City Schools and Shelby County Schools in 2013, a referendum was put forth to the residents of Bartlett to form their own school district. In July 2013, the residents of Bartlett approved the referendum and Bartlett City Schools was created. On December 20, 2013, the Bartlett City Schools board voted unanimously to appoint former Shelby County Schools Deputy Superintendent, David Stephens, as Superintendent. On August 4, 2014, Bartlett City Schools officially opened for their first day of classes.
Schools
Bartlett City Schools serves the following schools:Elementary
Altruria Elementary School
Bartlett Elementary School
Bon Lin Elementary School
Ellendale Elementary School
Oak Elementary School
Rivercrest Elementary SchoolMiddle
Appling Middle School
Bon Lin Middle School
Elmore Park Middle SchoolHigh
Bartlett Ninth Grade Academy
Bartlett High School
Other
In February 2014, the district approved an open enrollment policy for students who do not live in the City of Bartlett.
References
External links
Bartlett City Schools
"Schools in Transition." The Commercial Appeal.
|
located in the administrative territorial entity
|
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The 1973 Big Ten Conference football season was the 78th season of college football played by the member schools of the Big Ten Conference and was a part of the 1973 NCAA Division I football season.
The 1973 Ohio State Buckeyes football team, under head coach Woody Hayes, and the 1973 Michigan Wolverines football team, under head coach Bo Schembechler, compiled identical 10–0–1 records and tied for the Big Ten championship. Ohio State was ranked No. 2 in the final AP Poll, and Michigan was ranked No. 6. Ohio State led the conference in both scoring offense (37.5 points per game) and scoring defense (5.8 points allowed per game).
The regular season ended with a 10–10 tie between Michigan and Ohio State. When the game ended in a tie, the Big Ten athletic directors voted, 6–4, to send Ohio State to the Rose Bowl. Michigan athletic officials and fans were outraged, with even the Vice President of the United States, Gerald Ford, speaking out against the decision. Ohio State defeated USC, 42–21, in the 1974 Rose Bowl. Two selectors, the National Championship Foundation and the Poling System, recognize Michigan as a co-national champion for the 1973 season.
The Big Ten statistical leaders in 1973 included Ohio State running back Archie Griffin with 1,577 rushing yards. Griffin also won the Chicago Tribune Silver Football as the Big Ten's most valuable player. Four Big Ten players were recognized as consensus first-team All-Americans: Randy Gradishar and John Hicks of Ohio State and Dave Gallagher and Dave Brown of Michigan.
Season overview
Results and team statistics
Key
AP final = Team's rank in the final AP Poll of the 1973 season
AP high = Team's highest rank in the AP Poll throughout the 1973 season
PPG = Average of points scored per game; conference leader's average displayed in bold
PAG = Average of points allowed per game; conference leader's average displayed in bold
MVP = Most valuable player as voted by players on each team as part of the voting process to determine the winner of the Chicago Tribune Silver Football trophy; trophy winner in bold
Pre-season
Four Big Ten teams changed head coaches between the 1972 and 1973 seasons, as follows:
Duffy Daugherty retired as Michigan State's head football coach at the end of the 1972 season. Denny Stolz, who had been the Spartans' defensive coordinator for two years, took over as head coach.
Bob DeMoss was replaced by Alex Agase as Purdue's head coach. Agase had been Northwestern's head coach from 1964 to 1972.
Agase was replaced as Northwestern's head coach by John Pont. Pont had been Indiana's head coach from 1965 to 1972.
Pont was replaced as Indiana's head coach by Lee Corso. Corso had been the head coach at Louisville from 1969 to 1972.
Regular season
September 15
On September 15, 1973, the Big Ten football teams opened the season with five conference games.
Ohio State 56, Minnesota 7
Michigan 31, Iowa 7
Illinois 28, Indiana 14
Northwestern 14, Michigan State 10
Purdue 14, Wisconsin 13
September 22
On September 22, 1973, the Big Ten teams played nine non-conference games, resulting in four wins and five losses. Ohio State had a bye week.
Michigan 47, Stanford 10
Minnesota 41, North Dakota 14
Illinois 27, California 7
Michigan State 14, Syracuse 8
Miami (OH) 24, Purdue 19
Colorado 28, Wisconsin 25
Notre Dame 44, Northwestern 0
UCLA 55, Iowa 18
Arizona 26, Indiana 10
September 29
On September 29, 1973, the Big Ten teams played 10 non-conference games, resulting in three wins and seven losses.
Ohio State 37, TCU 3
Michigan 14, Navy 0
Kansas 34, Minnesota 19
West Virginia 17, Illinois 10
UCLA 34, Michigan State 21
Notre Dame 20, Purdue 7
Nebraska 20, Wisconsin 16
Pittsburgh 21, Northwestern 14
Penn State 27, Iowa 8
Indiana 17, Kentucky 3
October 6
On October 6, 1973, the Big Ten teams played 10 non-conference games, resulting in five wins and five losses. After concluding three weeks of non-conference play, the Big Ten teams had compiled a 12–17 non-conference record.
Ohio State 27, Washington State 3
Michigan 24, Oregon 0
Nebraska 48, Minnesota 7
Stanford 24, Illinois 0
Notre Dame 14, Michigan State 10
Purdue 27, Duke 7
Wisconsin 37, Wyoming 28
Ohio 14, Northwestern 12
Arizona 23, Iowa 20
Indiana 28, West Virginia 14
October 13
On October 13, 1973, the Big Ten teams played five conference games.
Ohio State 24, Wisconsin 0
Michigan 31, Michigan State 0
Minnesota 24, Indiana 3
Illinois 15, Purdue 13
Northwestern 31, Iowa 15
October 20
On October 20, 1973, the Big Ten teams played five conference games.
Ohio State 37, Indiana 7
Michigan 35, Wisconsin 6
Minnesota 31, Iowa 23
Illinois 6, Michigan State 3
Purdue 21, Northwestern 10
October 27
On October 27, 1973, the Big Ten teams played five conference games.
Ohio State 60, Northwestern 0
Michigan 34, Minnesota 7
Illinois 50, Iowa 0
Michigan State 10, Purdue 7
Wisconsin 31, Indiana 7
November 3
On November 3, 1973, the Big Ten teams played five conference games.
Ohio State 30, Illinois 0
Michigan 49, Indiana 13
Minnesota 52, Northwestern 43
Michigan State 21, Wisconsin 0
Purdue 48, Iowa 23
November 10
On November 10, 1973, the Big Ten teams played five conference games.
Ohio State 35, Michigan State 0
Michigan 21, Illinois 6
Minnesota 34, Purdue 7
Wisconsin 35, Iowa 7
Northwestern 21, Indiana 20
November 17
On November 17, 1973, the Big Ten teams played five conference games.
Ohio State 55, Iowa 13
Michigan 34, Purdue 9
Minnesota 19, Illinois 16
Michigan State 10, Indiana 9
Wisconsin 36, Northwestern 34
November 24
On November 24, 1973, the Big Ten teams played five conference games.
Michigan 10, Ohio State 10
Minnesota 19, Wisconsin 17
Northwestern 9, Illinois 6
Michigan State 15, Iowa 6
Purdue 28, Indiana 23
Bowl games
On January 1, 1974, Ohio State (ranked No. 4 in the AP Poll) defeated USC (ranked No. 7), 42–21. Pete Johnson scored three touchdowns, and Archie Griffin capped the scoring with a 47-yard touchdown run in the fourth quarter.
Statistical leaders
Awards and honors
All-Big Ten honors
The following players were picked by the Associated Press (AP) and/or the United Press International (UPI) as first-team players on the 1973 All-Big Ten Conference football team.Offense
Defense
All-American honors
At the end of the 1973 season, Big Ten players secured four of the consensus first-team picks for the 1973 College Football All-America Team. The Big Ten's consensus All-Americans were:
Other Big Ten players who were named first-team All-Americans by at least one selector were:
Other awards
Three Ohio State players finished among the top six in the voting for the 1973 Heisman Trophy: John Hicks (second); Archie Griffin (fifth); and Randy Gradishar (sixth).
1974 NFL Draft
The 1974 NFL Draft was held in New York on January 29–30, 1974. The following players were among the first 100 picks:
== References ==
|
Commons category
|
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|
Fukuura Station (福浦駅, Fukuura-eki) is a station on the Kanazawa Seaside Line, located in Kanazawa-ku, Yokohama, Japan. It opened on 5 July 1989.
Station Layout
This elevated station consists of a single island platform serving two tracks.
== Adjacent stations ==
|
country
|
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Fukuura Station (福浦駅, Fukuura-eki) is a station on the Kanazawa Seaside Line, located in Kanazawa-ku, Yokohama, Japan. It opened on 5 July 1989.
Station Layout
This elevated station consists of a single island platform serving two tracks.
== Adjacent stations ==
|
connecting line
|
{
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|
Fukuura Station (福浦駅, Fukuura-eki) is a station on the Kanazawa Seaside Line, located in Kanazawa-ku, Yokohama, Japan. It opened on 5 July 1989.
Station Layout
This elevated station consists of a single island platform serving two tracks.
== Adjacent stations ==
|
located in the administrative territorial entity
|
{
"answer_start": [
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"Yokohama"
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}
|
Fukuura Station (福浦駅, Fukuura-eki) is a station on the Kanazawa Seaside Line, located in Kanazawa-ku, Yokohama, Japan. It opened on 5 July 1989.
Station Layout
This elevated station consists of a single island platform serving two tracks.
== Adjacent stations ==
|
station code
|
{
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"text": [
"8"
]
}
|
Fukuura Station (福浦駅, Fukuura-eki) is a station on the Kanazawa Seaside Line, located in Kanazawa-ku, Yokohama, Japan. It opened on 5 July 1989.
Station Layout
This elevated station consists of a single island platform serving two tracks.
== Adjacent stations ==
|
Commons category
|
{
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|
B. R. Dionysius (born 1969) is an Australian poet, editor and educator. His poems have appeared in numerous national and international anthologies, journals, magazines, newspapers and other periodicals.He was born in Dalby, Queensland. He was founding Director of the Queensland Poetry Festival and Director of Fringe Arts Collective Inc. a not-for-profit literary collective that organised the Brisbane Writers Fringe Festival (1993-1996) the Queensland Poetry Festival (1997-2001), The Arts Queensland Award for Unpublished Poetry (now the Val Vallis Award for Unpublished Poetry) published the poetry broadsheet, Seriously Fishy and coordinated literary events in Brisbane including Chalice Poets, With Baited Breath and The Word Made Flesh.
Dionysius completed an M.Phil. (Creative Writing) at the University of Queensland and a Bachelor of Education (Secondary) Grad Entry. He lives in Brisbane, Queensland, is married to the writer Melissa Ashley and has two daughters, Rhiannon and Sylvie, and a son, Theo.
In 1999, he was awarded a New Work Grant from the Literature Fund of the Australia Council to write the verse novel, Universal Andalusia. Universal Andalusia was shortlisted for the C. J. Dennis Prize for Poetry in 2006. He won the 2009 Max Harris Poetry Award. A chapbook, The Negativity Bin was published by PressPress in 2010. The Curious Noise of History was released by Picaro Press in 2011. He recently won the Whitmore Press Manuscript Prize, 2011.
Awards
Max Harris Poetry Award, 2009
Whitmore Press Manuscript Prize, 2011
Bibliography
Fatherlands (2000)
Bacchanalia (2002)
Universal Andalusia (soi 3/papertiger media, 2006) ISBN 0-9579411-2-9
The negativity bin (2010)
The curious noise of history: and other poems (2011)
Bowra (2013)
References
External links
5 poems at www.thedrunkenboat.com
|
place of birth
|
{
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|
B. R. Dionysius (born 1969) is an Australian poet, editor and educator. His poems have appeared in numerous national and international anthologies, journals, magazines, newspapers and other periodicals.He was born in Dalby, Queensland. He was founding Director of the Queensland Poetry Festival and Director of Fringe Arts Collective Inc. a not-for-profit literary collective that organised the Brisbane Writers Fringe Festival (1993-1996) the Queensland Poetry Festival (1997-2001), The Arts Queensland Award for Unpublished Poetry (now the Val Vallis Award for Unpublished Poetry) published the poetry broadsheet, Seriously Fishy and coordinated literary events in Brisbane including Chalice Poets, With Baited Breath and The Word Made Flesh.
Dionysius completed an M.Phil. (Creative Writing) at the University of Queensland and a Bachelor of Education (Secondary) Grad Entry. He lives in Brisbane, Queensland, is married to the writer Melissa Ashley and has two daughters, Rhiannon and Sylvie, and a son, Theo.
In 1999, he was awarded a New Work Grant from the Literature Fund of the Australia Council to write the verse novel, Universal Andalusia. Universal Andalusia was shortlisted for the C. J. Dennis Prize for Poetry in 2006. He won the 2009 Max Harris Poetry Award. A chapbook, The Negativity Bin was published by PressPress in 2010. The Curious Noise of History was released by Picaro Press in 2011. He recently won the Whitmore Press Manuscript Prize, 2011.
Awards
Max Harris Poetry Award, 2009
Whitmore Press Manuscript Prize, 2011
Bibliography
Fatherlands (2000)
Bacchanalia (2002)
Universal Andalusia (soi 3/papertiger media, 2006) ISBN 0-9579411-2-9
The negativity bin (2010)
The curious noise of history: and other poems (2011)
Bowra (2013)
References
External links
5 poems at www.thedrunkenboat.com
|
spouse
|
{
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938
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"text": [
"Melissa Ashley"
]
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|
B. R. Dionysius (born 1969) is an Australian poet, editor and educator. His poems have appeared in numerous national and international anthologies, journals, magazines, newspapers and other periodicals.He was born in Dalby, Queensland. He was founding Director of the Queensland Poetry Festival and Director of Fringe Arts Collective Inc. a not-for-profit literary collective that organised the Brisbane Writers Fringe Festival (1993-1996) the Queensland Poetry Festival (1997-2001), The Arts Queensland Award for Unpublished Poetry (now the Val Vallis Award for Unpublished Poetry) published the poetry broadsheet, Seriously Fishy and coordinated literary events in Brisbane including Chalice Poets, With Baited Breath and The Word Made Flesh.
Dionysius completed an M.Phil. (Creative Writing) at the University of Queensland and a Bachelor of Education (Secondary) Grad Entry. He lives in Brisbane, Queensland, is married to the writer Melissa Ashley and has two daughters, Rhiannon and Sylvie, and a son, Theo.
In 1999, he was awarded a New Work Grant from the Literature Fund of the Australia Council to write the verse novel, Universal Andalusia. Universal Andalusia was shortlisted for the C. J. Dennis Prize for Poetry in 2006. He won the 2009 Max Harris Poetry Award. A chapbook, The Negativity Bin was published by PressPress in 2010. The Curious Noise of History was released by Picaro Press in 2011. He recently won the Whitmore Press Manuscript Prize, 2011.
Awards
Max Harris Poetry Award, 2009
Whitmore Press Manuscript Prize, 2011
Bibliography
Fatherlands (2000)
Bacchanalia (2002)
Universal Andalusia (soi 3/papertiger media, 2006) ISBN 0-9579411-2-9
The negativity bin (2010)
The curious noise of history: and other poems (2011)
Bowra (2013)
References
External links
5 poems at www.thedrunkenboat.com
|
country of citizenship
|
{
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34
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"text": [
"Australia"
]
}
|
B. R. Dionysius (born 1969) is an Australian poet, editor and educator. His poems have appeared in numerous national and international anthologies, journals, magazines, newspapers and other periodicals.He was born in Dalby, Queensland. He was founding Director of the Queensland Poetry Festival and Director of Fringe Arts Collective Inc. a not-for-profit literary collective that organised the Brisbane Writers Fringe Festival (1993-1996) the Queensland Poetry Festival (1997-2001), The Arts Queensland Award for Unpublished Poetry (now the Val Vallis Award for Unpublished Poetry) published the poetry broadsheet, Seriously Fishy and coordinated literary events in Brisbane including Chalice Poets, With Baited Breath and The Word Made Flesh.
Dionysius completed an M.Phil. (Creative Writing) at the University of Queensland and a Bachelor of Education (Secondary) Grad Entry. He lives in Brisbane, Queensland, is married to the writer Melissa Ashley and has two daughters, Rhiannon and Sylvie, and a son, Theo.
In 1999, he was awarded a New Work Grant from the Literature Fund of the Australia Council to write the verse novel, Universal Andalusia. Universal Andalusia was shortlisted for the C. J. Dennis Prize for Poetry in 2006. He won the 2009 Max Harris Poetry Award. A chapbook, The Negativity Bin was published by PressPress in 2010. The Curious Noise of History was released by Picaro Press in 2011. He recently won the Whitmore Press Manuscript Prize, 2011.
Awards
Max Harris Poetry Award, 2009
Whitmore Press Manuscript Prize, 2011
Bibliography
Fatherlands (2000)
Bacchanalia (2002)
Universal Andalusia (soi 3/papertiger media, 2006) ISBN 0-9579411-2-9
The negativity bin (2010)
The curious noise of history: and other poems (2011)
Bowra (2013)
References
External links
5 poems at www.thedrunkenboat.com
|
occupation
|
{
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45
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"poet"
]
}
|
B. R. Dionysius (born 1969) is an Australian poet, editor and educator. His poems have appeared in numerous national and international anthologies, journals, magazines, newspapers and other periodicals.He was born in Dalby, Queensland. He was founding Director of the Queensland Poetry Festival and Director of Fringe Arts Collective Inc. a not-for-profit literary collective that organised the Brisbane Writers Fringe Festival (1993-1996) the Queensland Poetry Festival (1997-2001), The Arts Queensland Award for Unpublished Poetry (now the Val Vallis Award for Unpublished Poetry) published the poetry broadsheet, Seriously Fishy and coordinated literary events in Brisbane including Chalice Poets, With Baited Breath and The Word Made Flesh.
Dionysius completed an M.Phil. (Creative Writing) at the University of Queensland and a Bachelor of Education (Secondary) Grad Entry. He lives in Brisbane, Queensland, is married to the writer Melissa Ashley and has two daughters, Rhiannon and Sylvie, and a son, Theo.
In 1999, he was awarded a New Work Grant from the Literature Fund of the Australia Council to write the verse novel, Universal Andalusia. Universal Andalusia was shortlisted for the C. J. Dennis Prize for Poetry in 2006. He won the 2009 Max Harris Poetry Award. A chapbook, The Negativity Bin was published by PressPress in 2010. The Curious Noise of History was released by Picaro Press in 2011. He recently won the Whitmore Press Manuscript Prize, 2011.
Awards
Max Harris Poetry Award, 2009
Whitmore Press Manuscript Prize, 2011
Bibliography
Fatherlands (2000)
Bacchanalia (2002)
Universal Andalusia (soi 3/papertiger media, 2006) ISBN 0-9579411-2-9
The negativity bin (2010)
The curious noise of history: and other poems (2011)
Bowra (2013)
References
External links
5 poems at www.thedrunkenboat.com
|
given name
|
{
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0
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"text": [
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The 2015–16 Belmont Bruins men's basketball team represented Belmont University during the 2015–16 NCAA Division I men's basketball season. The Bruins, led by 30th year head coach Rick Byrd, played their home games at the Curb Event Center and were members of the Ohio Valley Conference in the East Division. They finished the season 20–12, 12–4 in OVC play to be champions of the East Division and overall OVC regular season champions. They lost in the semifinals of the OVC tournament to Austin Peay. As a regular season conference champion who failed to win their conference tournament, they received an automatic bid to the National Invitation Tournament where they lost in the first round to Georgia.
Roster
Schedule
== References ==
|
home venue
|
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|
The 2015–16 Belmont Bruins men's basketball team represented Belmont University during the 2015–16 NCAA Division I men's basketball season. The Bruins, led by 30th year head coach Rick Byrd, played their home games at the Curb Event Center and were members of the Ohio Valley Conference in the East Division. They finished the season 20–12, 12–4 in OVC play to be champions of the East Division and overall OVC regular season champions. They lost in the semifinals of the OVC tournament to Austin Peay. As a regular season conference champion who failed to win their conference tournament, they received an automatic bid to the National Invitation Tournament where they lost in the first round to Georgia.
Roster
Schedule
== References ==
|
head coach
|
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}
|
The 2015–16 Belmont Bruins men's basketball team represented Belmont University during the 2015–16 NCAA Division I men's basketball season. The Bruins, led by 30th year head coach Rick Byrd, played their home games at the Curb Event Center and were members of the Ohio Valley Conference in the East Division. They finished the season 20–12, 12–4 in OVC play to be champions of the East Division and overall OVC regular season champions. They lost in the semifinals of the OVC tournament to Austin Peay. As a regular season conference champion who failed to win their conference tournament, they received an automatic bid to the National Invitation Tournament where they lost in the first round to Georgia.
Roster
Schedule
== References ==
|
sport
|
{
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33
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"text": [
"basketball"
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}
|
The 2015–16 Belmont Bruins men's basketball team represented Belmont University during the 2015–16 NCAA Division I men's basketball season. The Bruins, led by 30th year head coach Rick Byrd, played their home games at the Curb Event Center and were members of the Ohio Valley Conference in the East Division. They finished the season 20–12, 12–4 in OVC play to be champions of the East Division and overall OVC regular season champions. They lost in the semifinals of the OVC tournament to Austin Peay. As a regular season conference champion who failed to win their conference tournament, they received an automatic bid to the National Invitation Tournament where they lost in the first round to Georgia.
Roster
Schedule
== References ==
|
competition class
|
{
"answer_start": [
27
],
"text": [
"men's basketball"
]
}
|
The 2015–16 Belmont Bruins men's basketball team represented Belmont University during the 2015–16 NCAA Division I men's basketball season. The Bruins, led by 30th year head coach Rick Byrd, played their home games at the Curb Event Center and were members of the Ohio Valley Conference in the East Division. They finished the season 20–12, 12–4 in OVC play to be champions of the East Division and overall OVC regular season champions. They lost in the semifinals of the OVC tournament to Austin Peay. As a regular season conference champion who failed to win their conference tournament, they received an automatic bid to the National Invitation Tournament where they lost in the first round to Georgia.
Roster
Schedule
== References ==
|
season of club or team
|
{
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12
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"Belmont Bruins"
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|
Torker was a brand of bicycles and unicycles owned by Seattle Bike Supply, headquartered in Kent, Washington.
History
The Torker name was created by Johnson Engineering in Fullerton, CA in 1977 for a BMX bike frame. The first Haro bikes were made by Torker. In 1982, Torker let go Bob Haro when he introduced his own line of BMX racing pants. In 1984, the Torker Bicycle Company went bankrupt, and Seattle Bike Supply purchased the name. BMX bikes with the Torker name were made from the late 1970s into the 2000s. Torker's product line expanded to include beach cruisers, tandem bikes and even unicycles. Reader's Digest nominated Torker unicycles as "America's 100 Best" for 2006, and Torker was awarded BEST OF 2006 in the December issue of Seattle Magazine. Seattle Bike Supply was acquired by Accell in 2006.
BMX team
Torker sponsored a BMX racing team that included such riders as:
Kevin McNeal
Leo Green
Mike Miranda
Richie Anderson
Tommy Brackens
Clint Miller
Eddy King
Matt Hadan
Steve Veltman
Mike King
Cheri ElliottKelly McDougal
Jason Jenson
Products
The Torker line currently includes bicycles, unicycles, strollers, and trailers.
Bicycles
The bicycles include adult (men's and women's), children, tandem, and cruisers.
Unicycles
The unicycles include ones with 16", 20", 24", 26", and 29" wheels, a 5' giraffe, and a 20" trail.
Beginner Unicycles, CX Unistar: 16' 20" and 24"
Intermediate Unicycles, LX Unistar: 20", 24", 26"
Trials Unicycles, DX Unistar: 20" and 24"
Giraffe Unicycle, TX Unistar: 20".
References
External links
Torker website
Seattle Bike Supply website
|
headquarters location
|
{
"answer_start": [
92
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"text": [
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|
Torker was a brand of bicycles and unicycles owned by Seattle Bike Supply, headquartered in Kent, Washington.
History
The Torker name was created by Johnson Engineering in Fullerton, CA in 1977 for a BMX bike frame. The first Haro bikes were made by Torker. In 1982, Torker let go Bob Haro when he introduced his own line of BMX racing pants. In 1984, the Torker Bicycle Company went bankrupt, and Seattle Bike Supply purchased the name. BMX bikes with the Torker name were made from the late 1970s into the 2000s. Torker's product line expanded to include beach cruisers, tandem bikes and even unicycles. Reader's Digest nominated Torker unicycles as "America's 100 Best" for 2006, and Torker was awarded BEST OF 2006 in the December issue of Seattle Magazine. Seattle Bike Supply was acquired by Accell in 2006.
BMX team
Torker sponsored a BMX racing team that included such riders as:
Kevin McNeal
Leo Green
Mike Miranda
Richie Anderson
Tommy Brackens
Clint Miller
Eddy King
Matt Hadan
Steve Veltman
Mike King
Cheri ElliottKelly McDougal
Jason Jenson
Products
The Torker line currently includes bicycles, unicycles, strollers, and trailers.
Bicycles
The bicycles include adult (men's and women's), children, tandem, and cruisers.
Unicycles
The unicycles include ones with 16", 20", 24", 26", and 29" wheels, a 5' giraffe, and a 20" trail.
Beginner Unicycles, CX Unistar: 16' 20" and 24"
Intermediate Unicycles, LX Unistar: 20", 24", 26"
Trials Unicycles, DX Unistar: 20" and 24"
Giraffe Unicycle, TX Unistar: 20".
References
External links
Torker website
Seattle Bike Supply website
|
industry
|
{
"answer_start": [
22
],
"text": [
"bicycle"
]
}
|
Torker was a brand of bicycles and unicycles owned by Seattle Bike Supply, headquartered in Kent, Washington.
History
The Torker name was created by Johnson Engineering in Fullerton, CA in 1977 for a BMX bike frame. The first Haro bikes were made by Torker. In 1982, Torker let go Bob Haro when he introduced his own line of BMX racing pants. In 1984, the Torker Bicycle Company went bankrupt, and Seattle Bike Supply purchased the name. BMX bikes with the Torker name were made from the late 1970s into the 2000s. Torker's product line expanded to include beach cruisers, tandem bikes and even unicycles. Reader's Digest nominated Torker unicycles as "America's 100 Best" for 2006, and Torker was awarded BEST OF 2006 in the December issue of Seattle Magazine. Seattle Bike Supply was acquired by Accell in 2006.
BMX team
Torker sponsored a BMX racing team that included such riders as:
Kevin McNeal
Leo Green
Mike Miranda
Richie Anderson
Tommy Brackens
Clint Miller
Eddy King
Matt Hadan
Steve Veltman
Mike King
Cheri ElliottKelly McDougal
Jason Jenson
Products
The Torker line currently includes bicycles, unicycles, strollers, and trailers.
Bicycles
The bicycles include adult (men's and women's), children, tandem, and cruisers.
Unicycles
The unicycles include ones with 16", 20", 24", 26", and 29" wheels, a 5' giraffe, and a 20" trail.
Beginner Unicycles, CX Unistar: 16' 20" and 24"
Intermediate Unicycles, LX Unistar: 20", 24", 26"
Trials Unicycles, DX Unistar: 20" and 24"
Giraffe Unicycle, TX Unistar: 20".
References
External links
Torker website
Seattle Bike Supply website
|
native label
|
{
"answer_start": [
0
],
"text": [
"Torker"
]
}
|
Njé Mo Yé, Which means “what's that?” in Douala language, is a permanent sculpture located in Douala (Cameroon). It was created by Koko Komégné and inaugurated in 2007.
The artwork
Realized in tubes of painted iron 12 centimeters in diameter, Njé Mo Yé, which means what’s that? in the language of Douala, is a sculpture that represents and glorifies the couple.
The artist, Koko Komégné, who lived in the neighborhood of Dernier Poteau in Nkololoun from 1966 until 1984, remembers that at that time, this place marked an extremity of the city. He wished to testify his childhood gratitude by offering the sculpture on this site.
The sculpture is 5 meters high for a wingspan of 2,5 meters. It was inaugurated during the Salon Urbain de Douala SUD 2007.
in 2013 the Municipality of Douala, after a car accident that damaged the artwork, financed the restoration and repainting.
See also
Bibliography
Pensa, Iolanda (Ed.) 2017. Public Art in Africa. Art et transformations urbaines à Douala /// Art and Urban Transformations in Douala. Genève: Metis Presses. ISBN 978-2-94-0563-16-6
Babina, L., and Douala Bell, M. (eds.). (2007): Douala in Translation. A View of the City and Its Creative Transformative Potentials, Rotterdam, Episode Publishers.
Fokoua, S. O. (2012): «Doual’art. L’art dans la cité », Inter: Art actuel, n°111, p. 61-61.
Verschuren, K., X. Nibbeling and L. Grandin. (2012): Making Douala 2007-2103, Rotterdam, ICU art project.
Pensa, I. (2012): «Public Art and Urban Change in Douala». In Domus, [7 April 2012). http://www.domusweb.it/en/art/2012/04/09/public-art-and-urban-change-in-douala.html
Marta Pucciarelli (2014) Final Report. University of Applied Sciences and Arts of Southern Switzerland, Laboratory of visual culture. [1]
Related articles
List of public art in Douala
Contemporary African art
|
country
|
{
"answer_start": [
102
],
"text": [
"Cameroon"
]
}
|
Njé Mo Yé, Which means “what's that?” in Douala language, is a permanent sculpture located in Douala (Cameroon). It was created by Koko Komégné and inaugurated in 2007.
The artwork
Realized in tubes of painted iron 12 centimeters in diameter, Njé Mo Yé, which means what’s that? in the language of Douala, is a sculpture that represents and glorifies the couple.
The artist, Koko Komégné, who lived in the neighborhood of Dernier Poteau in Nkololoun from 1966 until 1984, remembers that at that time, this place marked an extremity of the city. He wished to testify his childhood gratitude by offering the sculpture on this site.
The sculpture is 5 meters high for a wingspan of 2,5 meters. It was inaugurated during the Salon Urbain de Douala SUD 2007.
in 2013 the Municipality of Douala, after a car accident that damaged the artwork, financed the restoration and repainting.
See also
Bibliography
Pensa, Iolanda (Ed.) 2017. Public Art in Africa. Art et transformations urbaines à Douala /// Art and Urban Transformations in Douala. Genève: Metis Presses. ISBN 978-2-94-0563-16-6
Babina, L., and Douala Bell, M. (eds.). (2007): Douala in Translation. A View of the City and Its Creative Transformative Potentials, Rotterdam, Episode Publishers.
Fokoua, S. O. (2012): «Doual’art. L’art dans la cité », Inter: Art actuel, n°111, p. 61-61.
Verschuren, K., X. Nibbeling and L. Grandin. (2012): Making Douala 2007-2103, Rotterdam, ICU art project.
Pensa, I. (2012): «Public Art and Urban Change in Douala». In Domus, [7 April 2012). http://www.domusweb.it/en/art/2012/04/09/public-art-and-urban-change-in-douala.html
Marta Pucciarelli (2014) Final Report. University of Applied Sciences and Arts of Southern Switzerland, Laboratory of visual culture. [1]
Related articles
List of public art in Douala
Contemporary African art
|
instance of
|
{
"answer_start": [
73
],
"text": [
"sculpture"
]
}
|
Njé Mo Yé, Which means “what's that?” in Douala language, is a permanent sculpture located in Douala (Cameroon). It was created by Koko Komégné and inaugurated in 2007.
The artwork
Realized in tubes of painted iron 12 centimeters in diameter, Njé Mo Yé, which means what’s that? in the language of Douala, is a sculpture that represents and glorifies the couple.
The artist, Koko Komégné, who lived in the neighborhood of Dernier Poteau in Nkololoun from 1966 until 1984, remembers that at that time, this place marked an extremity of the city. He wished to testify his childhood gratitude by offering the sculpture on this site.
The sculpture is 5 meters high for a wingspan of 2,5 meters. It was inaugurated during the Salon Urbain de Douala SUD 2007.
in 2013 the Municipality of Douala, after a car accident that damaged the artwork, financed the restoration and repainting.
See also
Bibliography
Pensa, Iolanda (Ed.) 2017. Public Art in Africa. Art et transformations urbaines à Douala /// Art and Urban Transformations in Douala. Genève: Metis Presses. ISBN 978-2-94-0563-16-6
Babina, L., and Douala Bell, M. (eds.). (2007): Douala in Translation. A View of the City and Its Creative Transformative Potentials, Rotterdam, Episode Publishers.
Fokoua, S. O. (2012): «Doual’art. L’art dans la cité », Inter: Art actuel, n°111, p. 61-61.
Verschuren, K., X. Nibbeling and L. Grandin. (2012): Making Douala 2007-2103, Rotterdam, ICU art project.
Pensa, I. (2012): «Public Art and Urban Change in Douala». In Domus, [7 April 2012). http://www.domusweb.it/en/art/2012/04/09/public-art-and-urban-change-in-douala.html
Marta Pucciarelli (2014) Final Report. University of Applied Sciences and Arts of Southern Switzerland, Laboratory of visual culture. [1]
Related articles
List of public art in Douala
Contemporary African art
|
genre
|
{
"answer_start": [
1782
],
"text": [
"public art"
]
}
|
Njé Mo Yé, Which means “what's that?” in Douala language, is a permanent sculpture located in Douala (Cameroon). It was created by Koko Komégné and inaugurated in 2007.
The artwork
Realized in tubes of painted iron 12 centimeters in diameter, Njé Mo Yé, which means what’s that? in the language of Douala, is a sculpture that represents and glorifies the couple.
The artist, Koko Komégné, who lived in the neighborhood of Dernier Poteau in Nkololoun from 1966 until 1984, remembers that at that time, this place marked an extremity of the city. He wished to testify his childhood gratitude by offering the sculpture on this site.
The sculpture is 5 meters high for a wingspan of 2,5 meters. It was inaugurated during the Salon Urbain de Douala SUD 2007.
in 2013 the Municipality of Douala, after a car accident that damaged the artwork, financed the restoration and repainting.
See also
Bibliography
Pensa, Iolanda (Ed.) 2017. Public Art in Africa. Art et transformations urbaines à Douala /// Art and Urban Transformations in Douala. Genève: Metis Presses. ISBN 978-2-94-0563-16-6
Babina, L., and Douala Bell, M. (eds.). (2007): Douala in Translation. A View of the City and Its Creative Transformative Potentials, Rotterdam, Episode Publishers.
Fokoua, S. O. (2012): «Doual’art. L’art dans la cité », Inter: Art actuel, n°111, p. 61-61.
Verschuren, K., X. Nibbeling and L. Grandin. (2012): Making Douala 2007-2103, Rotterdam, ICU art project.
Pensa, I. (2012): «Public Art and Urban Change in Douala». In Domus, [7 April 2012). http://www.domusweb.it/en/art/2012/04/09/public-art-and-urban-change-in-douala.html
Marta Pucciarelli (2014) Final Report. University of Applied Sciences and Arts of Southern Switzerland, Laboratory of visual culture. [1]
Related articles
List of public art in Douala
Contemporary African art
|
creator
|
{
"answer_start": [
131
],
"text": [
"Koko Komégné"
]
}
|
Njé Mo Yé, Which means “what's that?” in Douala language, is a permanent sculpture located in Douala (Cameroon). It was created by Koko Komégné and inaugurated in 2007.
The artwork
Realized in tubes of painted iron 12 centimeters in diameter, Njé Mo Yé, which means what’s that? in the language of Douala, is a sculpture that represents and glorifies the couple.
The artist, Koko Komégné, who lived in the neighborhood of Dernier Poteau in Nkololoun from 1966 until 1984, remembers that at that time, this place marked an extremity of the city. He wished to testify his childhood gratitude by offering the sculpture on this site.
The sculpture is 5 meters high for a wingspan of 2,5 meters. It was inaugurated during the Salon Urbain de Douala SUD 2007.
in 2013 the Municipality of Douala, after a car accident that damaged the artwork, financed the restoration and repainting.
See also
Bibliography
Pensa, Iolanda (Ed.) 2017. Public Art in Africa. Art et transformations urbaines à Douala /// Art and Urban Transformations in Douala. Genève: Metis Presses. ISBN 978-2-94-0563-16-6
Babina, L., and Douala Bell, M. (eds.). (2007): Douala in Translation. A View of the City and Its Creative Transformative Potentials, Rotterdam, Episode Publishers.
Fokoua, S. O. (2012): «Doual’art. L’art dans la cité », Inter: Art actuel, n°111, p. 61-61.
Verschuren, K., X. Nibbeling and L. Grandin. (2012): Making Douala 2007-2103, Rotterdam, ICU art project.
Pensa, I. (2012): «Public Art and Urban Change in Douala». In Domus, [7 April 2012). http://www.domusweb.it/en/art/2012/04/09/public-art-and-urban-change-in-douala.html
Marta Pucciarelli (2014) Final Report. University of Applied Sciences and Arts of Southern Switzerland, Laboratory of visual culture. [1]
Related articles
List of public art in Douala
Contemporary African art
|
location
|
{
"answer_start": [
41
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"text": [
"Douala"
]
}
|
Meg Wolfe is a choreographer, performer, and artistic director based in Los Angeles, CA.In the 1990s, Wolfe was part of New York City's downtown dance subculture. Her work was shown at Dance Theater Workshop/Fresh Tracks, Danspace Project at St. Mark's, Dia Center for the Arts, The Kitchen, The Living Theater, Movement Research at Judson Church, and others. She worked with Vicky Shick (1999-2003), Sigal Bergman, Yoshiko Chuma, Molissa Fenley, Clarinda Mac Low, and Susan Rethorst. In 2004, she moved to Los Angeles.In Los Angeles, she has been shown at REDCAT, the 2011 Off Center Festival at the Segerstrom Center, the 2009 New Original Works Festival, the Commuter Festival at CalArts, Highways Performance Space, The Unknown Theater, Anatomy Riot, Sea and Space Explorations. Wolfe was named Faces to Watch in 2012: Dance, Theater, Architecture and Art in the LA Times.Along the west coast, her work was presented at Looking Left Festival in Santa Cruz; Sushi's East/West Coast Performance Festival in San Diego, and Performance Works NorthWest in Portland, OR.Wolfe is also co-editor of itch Dance Journal, the founder and artistic director of Show Box LA, and founder-curator of performance series Anatomy Riot.
References
External links
Meg Wolfe official website
http://itchjournal.org/
|
occupation
|
{
"answer_start": [
15
],
"text": [
"choreographer"
]
}
|
Meg Wolfe is a choreographer, performer, and artistic director based in Los Angeles, CA.In the 1990s, Wolfe was part of New York City's downtown dance subculture. Her work was shown at Dance Theater Workshop/Fresh Tracks, Danspace Project at St. Mark's, Dia Center for the Arts, The Kitchen, The Living Theater, Movement Research at Judson Church, and others. She worked with Vicky Shick (1999-2003), Sigal Bergman, Yoshiko Chuma, Molissa Fenley, Clarinda Mac Low, and Susan Rethorst. In 2004, she moved to Los Angeles.In Los Angeles, she has been shown at REDCAT, the 2011 Off Center Festival at the Segerstrom Center, the 2009 New Original Works Festival, the Commuter Festival at CalArts, Highways Performance Space, The Unknown Theater, Anatomy Riot, Sea and Space Explorations. Wolfe was named Faces to Watch in 2012: Dance, Theater, Architecture and Art in the LA Times.Along the west coast, her work was presented at Looking Left Festival in Santa Cruz; Sushi's East/West Coast Performance Festival in San Diego, and Performance Works NorthWest in Portland, OR.Wolfe is also co-editor of itch Dance Journal, the founder and artistic director of Show Box LA, and founder-curator of performance series Anatomy Riot.
References
External links
Meg Wolfe official website
http://itchjournal.org/
|
family name
|
{
"answer_start": [
4
],
"text": [
"Wolfe"
]
}
|
Meg Wolfe is a choreographer, performer, and artistic director based in Los Angeles, CA.In the 1990s, Wolfe was part of New York City's downtown dance subculture. Her work was shown at Dance Theater Workshop/Fresh Tracks, Danspace Project at St. Mark's, Dia Center for the Arts, The Kitchen, The Living Theater, Movement Research at Judson Church, and others. She worked with Vicky Shick (1999-2003), Sigal Bergman, Yoshiko Chuma, Molissa Fenley, Clarinda Mac Low, and Susan Rethorst. In 2004, she moved to Los Angeles.In Los Angeles, she has been shown at REDCAT, the 2011 Off Center Festival at the Segerstrom Center, the 2009 New Original Works Festival, the Commuter Festival at CalArts, Highways Performance Space, The Unknown Theater, Anatomy Riot, Sea and Space Explorations. Wolfe was named Faces to Watch in 2012: Dance, Theater, Architecture and Art in the LA Times.Along the west coast, her work was presented at Looking Left Festival in Santa Cruz; Sushi's East/West Coast Performance Festival in San Diego, and Performance Works NorthWest in Portland, OR.Wolfe is also co-editor of itch Dance Journal, the founder and artistic director of Show Box LA, and founder-curator of performance series Anatomy Riot.
References
External links
Meg Wolfe official website
http://itchjournal.org/
|
given name
|
{
"answer_start": [
0
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"text": [
"Meg"
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|
South Hill is a planned and approved CTrain light rail station in Calgary, Alberta, Canada part of the Green Line. Construction will begin in 2022 and complete in 2027 as part of construction stage one, segment one. The station is located in the north-western corner of Shepard Industrial, directly nearby Glenmore Trail and the suburban residential community of Riverbend.
South Hill station will feature a transit plaza, and will become the centrepiece of new mixed-use transit oriented development village. Much of the South Hill area is city-owned, which provides a unique opportunity for development on almost 20 acres of largely vacant land, though a factory and several mobile homes are currently set up in the area. Additionally, the station will be a major transit hub with connections to neighbouring residential and commercial communities. Utility relocation, land preparation and environmental redemption work have been underway since 2017.
== References ==
|
transport network
|
{
"answer_start": [
37
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"text": [
"CTrain"
]
}
|
South Hill is a planned and approved CTrain light rail station in Calgary, Alberta, Canada part of the Green Line. Construction will begin in 2022 and complete in 2027 as part of construction stage one, segment one. The station is located in the north-western corner of Shepard Industrial, directly nearby Glenmore Trail and the suburban residential community of Riverbend.
South Hill station will feature a transit plaza, and will become the centrepiece of new mixed-use transit oriented development village. Much of the South Hill area is city-owned, which provides a unique opportunity for development on almost 20 acres of largely vacant land, though a factory and several mobile homes are currently set up in the area. Additionally, the station will be a major transit hub with connections to neighbouring residential and commercial communities. Utility relocation, land preparation and environmental redemption work have been underway since 2017.
== References ==
|
country
|
{
"answer_start": [
84
],
"text": [
"Canada"
]
}
|
South Hill is a planned and approved CTrain light rail station in Calgary, Alberta, Canada part of the Green Line. Construction will begin in 2022 and complete in 2027 as part of construction stage one, segment one. The station is located in the north-western corner of Shepard Industrial, directly nearby Glenmore Trail and the suburban residential community of Riverbend.
South Hill station will feature a transit plaza, and will become the centrepiece of new mixed-use transit oriented development village. Much of the South Hill area is city-owned, which provides a unique opportunity for development on almost 20 acres of largely vacant land, though a factory and several mobile homes are currently set up in the area. Additionally, the station will be a major transit hub with connections to neighbouring residential and commercial communities. Utility relocation, land preparation and environmental redemption work have been underway since 2017.
== References ==
|
instance of
|
{
"answer_start": [
55
],
"text": [
"station"
]
}
|
The Housing Act 1988 is an Act of Parliament in the United Kingdom. It governs the law between landlords and tenants. The Act introduced the concepts of assured tenancy and assured shorthold tenancy. It also facilitated the transfer of council housing to not-for-profit housing associations, which was then carried out partly through the system of Large Scale Voluntary Transfer.
History
Under the system of protected and statutory tenancies, tenants had the right to stay in a landlord's property almost indefinitely and pass the tenancy down to relatives. The difficulties landlords could face in trying to regain possession of their property created disincentives to owners' letting properties, which along with the fact that most council houses had been sold caused a housing shortage.
In 1979, a Conservative government headed by Margaret Thatcher was elected. Thatcher sought to revamp the rented sector. At the time of the Housing Act 1988's enactment, the private rented sector accounted for less than 8 percent of homes in Britain, down from 76 percent in 1918, while social housing was about 30 percent.
The Department of the Environment's 1987 white paper Housing: the Government's Proposals set out goals of reversing the decline in rented housing and improving its quality; giving council tenants the right to transfer to other landlords if they so desired; targeting money more accurately on the most acute problems; and encouraging the growth of home ownership. According to the white paper, public housing authorities had failed to adequately accommodate the wishes of tenants, causing resentment and lack of tenant commitment to their homes; the government sought to alleviate this by giving tenants greater consumer choice, which would be accomplished by offering a variety of forms of ownership and management. Council tenants would be given the right to buy, and private landlords' rights would be strengthened.Specifically, under the new law, in contrast to the old fair rents system, landlords were allowed to charge whatever they liked, with only two exceptions. Rent could be challenged by assured shorthold tenants during the first six months of the tenancy, if a tenant believed his rent was more than the current market rent for his property, in which case he could refer the rent to the Rent Assessment Panel for review. However, few would want to do this, given landlords' right to give a section 21 notice and end the tenancy. Tenants could also challenge the rent upon service of an annual notice to increase rent at the end of the fixed term; but landlords could avoid this by increasing the rent via a renewal tenancy agreement.
The Housing Act also provided for two types of tenancy, the "assured" tenancy and the "assured shorthold tenancy". The latter is preferred by most private sector landlords, as it gives them the right to end the tenancy at any time after service of a section 21 notice. Typically, in a situation where there is a private landlord and a tenancy that began on or after 28 February 1997, and in which the house or flat is let as separate accommodation and is the tenant's main home, the property is being let on an assured shorthold tenancy.
Contents
The Housing Act 1988 dramatically changed three main areas of English property law in particular, namely: Rent regulation, Succession and Security of tenure. The Housing Act 1988 significantly reduced rent regulation, giving landlords the opportunity to charge whatever they liked for a property (something that is still the case today, despite growing calls from some for the return of rent controls of some description). The change also meant that the only party with the right to challenge the prices set by landlords are their tenants. There are only certain circumstances in which tenants may challenge the rent, which are during the first six months of an assured shorthold tenancy or upon service of a notice to increase rent, which can be used by landlords on an annual basis to raise the rent after the fixed term has come to an end.
Tenants who believe their rent is higher than the current market value can, in the first six months of an assured shorthold tenancy, refer their case to a Rent Assessment Panel (an independent decision-making body sometimes known as a Rent Assessment Committee or Rent Assessment Tribunal) for review. Most tenants, however, are unlikely to take this step in light of the powers you have, as a landlord, to end the tenancy in accordance with Section 21 of the Housing Act 1988. What’s more, landlords now have the ability to increase rents without using the notice procedure, opting instead to do so via a ‘renewal’ tenancy agreement. The changes to rent regulation mean that tenants’ rights to challenge landlords over rent – outlined above – have less sway over landlords and are, as a result, used less frequently. The amendments made as part of the Housing Act, and the rebalancing of power this caused, are one of the major reasons rental prices have grown so rapidly since the late 1980s.
As a result of the Housing Act 1988, the rules regarding succession became similar to those under the Rent Act, whereby only a spouse can inherit rental rights. The changes to the succession laws directly impact very few landlords – mostly because assured tenancies, which state that only a spouse can inherit rental rights, are uncommon in the private rental sector. Under assured shorthold tenancies, which also came into force in the late 1980s and now make up most tenancies in the private rental sector, there are no rights of succession. In other words, if the tenant dies, the spouse or other beneficiary has no right to remain in the property. With this type of tenancy, succession rights have become irrelevant precisely because the landlord now has the power to serve a Section 21 notice to evict the tenant through the courts.
See also
English land law
Housing Act 1985
Public housing in the United Kingdom § Stock transfer
Notes
External links
Housing Act 1988
|
country
|
{
"answer_start": [
52
],
"text": [
"United Kingdom"
]
}
|
The Housing Act 1988 is an Act of Parliament in the United Kingdom. It governs the law between landlords and tenants. The Act introduced the concepts of assured tenancy and assured shorthold tenancy. It also facilitated the transfer of council housing to not-for-profit housing associations, which was then carried out partly through the system of Large Scale Voluntary Transfer.
History
Under the system of protected and statutory tenancies, tenants had the right to stay in a landlord's property almost indefinitely and pass the tenancy down to relatives. The difficulties landlords could face in trying to regain possession of their property created disincentives to owners' letting properties, which along with the fact that most council houses had been sold caused a housing shortage.
In 1979, a Conservative government headed by Margaret Thatcher was elected. Thatcher sought to revamp the rented sector. At the time of the Housing Act 1988's enactment, the private rented sector accounted for less than 8 percent of homes in Britain, down from 76 percent in 1918, while social housing was about 30 percent.
The Department of the Environment's 1987 white paper Housing: the Government's Proposals set out goals of reversing the decline in rented housing and improving its quality; giving council tenants the right to transfer to other landlords if they so desired; targeting money more accurately on the most acute problems; and encouraging the growth of home ownership. According to the white paper, public housing authorities had failed to adequately accommodate the wishes of tenants, causing resentment and lack of tenant commitment to their homes; the government sought to alleviate this by giving tenants greater consumer choice, which would be accomplished by offering a variety of forms of ownership and management. Council tenants would be given the right to buy, and private landlords' rights would be strengthened.Specifically, under the new law, in contrast to the old fair rents system, landlords were allowed to charge whatever they liked, with only two exceptions. Rent could be challenged by assured shorthold tenants during the first six months of the tenancy, if a tenant believed his rent was more than the current market rent for his property, in which case he could refer the rent to the Rent Assessment Panel for review. However, few would want to do this, given landlords' right to give a section 21 notice and end the tenancy. Tenants could also challenge the rent upon service of an annual notice to increase rent at the end of the fixed term; but landlords could avoid this by increasing the rent via a renewal tenancy agreement.
The Housing Act also provided for two types of tenancy, the "assured" tenancy and the "assured shorthold tenancy". The latter is preferred by most private sector landlords, as it gives them the right to end the tenancy at any time after service of a section 21 notice. Typically, in a situation where there is a private landlord and a tenancy that began on or after 28 February 1997, and in which the house or flat is let as separate accommodation and is the tenant's main home, the property is being let on an assured shorthold tenancy.
Contents
The Housing Act 1988 dramatically changed three main areas of English property law in particular, namely: Rent regulation, Succession and Security of tenure. The Housing Act 1988 significantly reduced rent regulation, giving landlords the opportunity to charge whatever they liked for a property (something that is still the case today, despite growing calls from some for the return of rent controls of some description). The change also meant that the only party with the right to challenge the prices set by landlords are their tenants. There are only certain circumstances in which tenants may challenge the rent, which are during the first six months of an assured shorthold tenancy or upon service of a notice to increase rent, which can be used by landlords on an annual basis to raise the rent after the fixed term has come to an end.
Tenants who believe their rent is higher than the current market value can, in the first six months of an assured shorthold tenancy, refer their case to a Rent Assessment Panel (an independent decision-making body sometimes known as a Rent Assessment Committee or Rent Assessment Tribunal) for review. Most tenants, however, are unlikely to take this step in light of the powers you have, as a landlord, to end the tenancy in accordance with Section 21 of the Housing Act 1988. What’s more, landlords now have the ability to increase rents without using the notice procedure, opting instead to do so via a ‘renewal’ tenancy agreement. The changes to rent regulation mean that tenants’ rights to challenge landlords over rent – outlined above – have less sway over landlords and are, as a result, used less frequently. The amendments made as part of the Housing Act, and the rebalancing of power this caused, are one of the major reasons rental prices have grown so rapidly since the late 1980s.
As a result of the Housing Act 1988, the rules regarding succession became similar to those under the Rent Act, whereby only a spouse can inherit rental rights. The changes to the succession laws directly impact very few landlords – mostly because assured tenancies, which state that only a spouse can inherit rental rights, are uncommon in the private rental sector. Under assured shorthold tenancies, which also came into force in the late 1980s and now make up most tenancies in the private rental sector, there are no rights of succession. In other words, if the tenant dies, the spouse or other beneficiary has no right to remain in the property. With this type of tenancy, succession rights have become irrelevant precisely because the landlord now has the power to serve a Section 21 notice to evict the tenant through the courts.
See also
English land law
Housing Act 1985
Public housing in the United Kingdom § Stock transfer
Notes
External links
Housing Act 1988
|
language of work or name
|
{
"answer_start": [
3274
],
"text": [
"English"
]
}
|
The Housing Act 1988 is an Act of Parliament in the United Kingdom. It governs the law between landlords and tenants. The Act introduced the concepts of assured tenancy and assured shorthold tenancy. It also facilitated the transfer of council housing to not-for-profit housing associations, which was then carried out partly through the system of Large Scale Voluntary Transfer.
History
Under the system of protected and statutory tenancies, tenants had the right to stay in a landlord's property almost indefinitely and pass the tenancy down to relatives. The difficulties landlords could face in trying to regain possession of their property created disincentives to owners' letting properties, which along with the fact that most council houses had been sold caused a housing shortage.
In 1979, a Conservative government headed by Margaret Thatcher was elected. Thatcher sought to revamp the rented sector. At the time of the Housing Act 1988's enactment, the private rented sector accounted for less than 8 percent of homes in Britain, down from 76 percent in 1918, while social housing was about 30 percent.
The Department of the Environment's 1987 white paper Housing: the Government's Proposals set out goals of reversing the decline in rented housing and improving its quality; giving council tenants the right to transfer to other landlords if they so desired; targeting money more accurately on the most acute problems; and encouraging the growth of home ownership. According to the white paper, public housing authorities had failed to adequately accommodate the wishes of tenants, causing resentment and lack of tenant commitment to their homes; the government sought to alleviate this by giving tenants greater consumer choice, which would be accomplished by offering a variety of forms of ownership and management. Council tenants would be given the right to buy, and private landlords' rights would be strengthened.Specifically, under the new law, in contrast to the old fair rents system, landlords were allowed to charge whatever they liked, with only two exceptions. Rent could be challenged by assured shorthold tenants during the first six months of the tenancy, if a tenant believed his rent was more than the current market rent for his property, in which case he could refer the rent to the Rent Assessment Panel for review. However, few would want to do this, given landlords' right to give a section 21 notice and end the tenancy. Tenants could also challenge the rent upon service of an annual notice to increase rent at the end of the fixed term; but landlords could avoid this by increasing the rent via a renewal tenancy agreement.
The Housing Act also provided for two types of tenancy, the "assured" tenancy and the "assured shorthold tenancy". The latter is preferred by most private sector landlords, as it gives them the right to end the tenancy at any time after service of a section 21 notice. Typically, in a situation where there is a private landlord and a tenancy that began on or after 28 February 1997, and in which the house or flat is let as separate accommodation and is the tenant's main home, the property is being let on an assured shorthold tenancy.
Contents
The Housing Act 1988 dramatically changed three main areas of English property law in particular, namely: Rent regulation, Succession and Security of tenure. The Housing Act 1988 significantly reduced rent regulation, giving landlords the opportunity to charge whatever they liked for a property (something that is still the case today, despite growing calls from some for the return of rent controls of some description). The change also meant that the only party with the right to challenge the prices set by landlords are their tenants. There are only certain circumstances in which tenants may challenge the rent, which are during the first six months of an assured shorthold tenancy or upon service of a notice to increase rent, which can be used by landlords on an annual basis to raise the rent after the fixed term has come to an end.
Tenants who believe their rent is higher than the current market value can, in the first six months of an assured shorthold tenancy, refer their case to a Rent Assessment Panel (an independent decision-making body sometimes known as a Rent Assessment Committee or Rent Assessment Tribunal) for review. Most tenants, however, are unlikely to take this step in light of the powers you have, as a landlord, to end the tenancy in accordance with Section 21 of the Housing Act 1988. What’s more, landlords now have the ability to increase rents without using the notice procedure, opting instead to do so via a ‘renewal’ tenancy agreement. The changes to rent regulation mean that tenants’ rights to challenge landlords over rent – outlined above – have less sway over landlords and are, as a result, used less frequently. The amendments made as part of the Housing Act, and the rebalancing of power this caused, are one of the major reasons rental prices have grown so rapidly since the late 1980s.
As a result of the Housing Act 1988, the rules regarding succession became similar to those under the Rent Act, whereby only a spouse can inherit rental rights. The changes to the succession laws directly impact very few landlords – mostly because assured tenancies, which state that only a spouse can inherit rental rights, are uncommon in the private rental sector. Under assured shorthold tenancies, which also came into force in the late 1980s and now make up most tenancies in the private rental sector, there are no rights of succession. In other words, if the tenant dies, the spouse or other beneficiary has no right to remain in the property. With this type of tenancy, succession rights have become irrelevant precisely because the landlord now has the power to serve a Section 21 notice to evict the tenant through the courts.
See also
English land law
Housing Act 1985
Public housing in the United Kingdom § Stock transfer
Notes
External links
Housing Act 1988
|
applies to jurisdiction
|
{
"answer_start": [
52
],
"text": [
"United Kingdom"
]
}
|
The Housing Act 1988 is an Act of Parliament in the United Kingdom. It governs the law between landlords and tenants. The Act introduced the concepts of assured tenancy and assured shorthold tenancy. It also facilitated the transfer of council housing to not-for-profit housing associations, which was then carried out partly through the system of Large Scale Voluntary Transfer.
History
Under the system of protected and statutory tenancies, tenants had the right to stay in a landlord's property almost indefinitely and pass the tenancy down to relatives. The difficulties landlords could face in trying to regain possession of their property created disincentives to owners' letting properties, which along with the fact that most council houses had been sold caused a housing shortage.
In 1979, a Conservative government headed by Margaret Thatcher was elected. Thatcher sought to revamp the rented sector. At the time of the Housing Act 1988's enactment, the private rented sector accounted for less than 8 percent of homes in Britain, down from 76 percent in 1918, while social housing was about 30 percent.
The Department of the Environment's 1987 white paper Housing: the Government's Proposals set out goals of reversing the decline in rented housing and improving its quality; giving council tenants the right to transfer to other landlords if they so desired; targeting money more accurately on the most acute problems; and encouraging the growth of home ownership. According to the white paper, public housing authorities had failed to adequately accommodate the wishes of tenants, causing resentment and lack of tenant commitment to their homes; the government sought to alleviate this by giving tenants greater consumer choice, which would be accomplished by offering a variety of forms of ownership and management. Council tenants would be given the right to buy, and private landlords' rights would be strengthened.Specifically, under the new law, in contrast to the old fair rents system, landlords were allowed to charge whatever they liked, with only two exceptions. Rent could be challenged by assured shorthold tenants during the first six months of the tenancy, if a tenant believed his rent was more than the current market rent for his property, in which case he could refer the rent to the Rent Assessment Panel for review. However, few would want to do this, given landlords' right to give a section 21 notice and end the tenancy. Tenants could also challenge the rent upon service of an annual notice to increase rent at the end of the fixed term; but landlords could avoid this by increasing the rent via a renewal tenancy agreement.
The Housing Act also provided for two types of tenancy, the "assured" tenancy and the "assured shorthold tenancy". The latter is preferred by most private sector landlords, as it gives them the right to end the tenancy at any time after service of a section 21 notice. Typically, in a situation where there is a private landlord and a tenancy that began on or after 28 February 1997, and in which the house or flat is let as separate accommodation and is the tenant's main home, the property is being let on an assured shorthold tenancy.
Contents
The Housing Act 1988 dramatically changed three main areas of English property law in particular, namely: Rent regulation, Succession and Security of tenure. The Housing Act 1988 significantly reduced rent regulation, giving landlords the opportunity to charge whatever they liked for a property (something that is still the case today, despite growing calls from some for the return of rent controls of some description). The change also meant that the only party with the right to challenge the prices set by landlords are their tenants. There are only certain circumstances in which tenants may challenge the rent, which are during the first six months of an assured shorthold tenancy or upon service of a notice to increase rent, which can be used by landlords on an annual basis to raise the rent after the fixed term has come to an end.
Tenants who believe their rent is higher than the current market value can, in the first six months of an assured shorthold tenancy, refer their case to a Rent Assessment Panel (an independent decision-making body sometimes known as a Rent Assessment Committee or Rent Assessment Tribunal) for review. Most tenants, however, are unlikely to take this step in light of the powers you have, as a landlord, to end the tenancy in accordance with Section 21 of the Housing Act 1988. What’s more, landlords now have the ability to increase rents without using the notice procedure, opting instead to do so via a ‘renewal’ tenancy agreement. The changes to rent regulation mean that tenants’ rights to challenge landlords over rent – outlined above – have less sway over landlords and are, as a result, used less frequently. The amendments made as part of the Housing Act, and the rebalancing of power this caused, are one of the major reasons rental prices have grown so rapidly since the late 1980s.
As a result of the Housing Act 1988, the rules regarding succession became similar to those under the Rent Act, whereby only a spouse can inherit rental rights. The changes to the succession laws directly impact very few landlords – mostly because assured tenancies, which state that only a spouse can inherit rental rights, are uncommon in the private rental sector. Under assured shorthold tenancies, which also came into force in the late 1980s and now make up most tenancies in the private rental sector, there are no rights of succession. In other words, if the tenant dies, the spouse or other beneficiary has no right to remain in the property. With this type of tenancy, succession rights have become irrelevant precisely because the landlord now has the power to serve a Section 21 notice to evict the tenant through the courts.
See also
English land law
Housing Act 1985
Public housing in the United Kingdom § Stock transfer
Notes
External links
Housing Act 1988
|
short name
|
{
"answer_start": [
4
],
"text": [
"Housing Act 1988"
]
}
|
Aurantimonas endophytica is a short-rod-shaped, aerobic and motile bacteria from the genus of Aurantimonas which has been isolated from the roots of the plant Anabasis elatior in Urumqi in China.
References
External links
Type strain of Aurantimonas endophytica at BacDive - the Bacterial Diversity Metadatabase
|
parent taxon
|
{
"answer_start": [
0
],
"text": [
"Aurantimonas"
]
}
|
Aurantimonas endophytica is a short-rod-shaped, aerobic and motile bacteria from the genus of Aurantimonas which has been isolated from the roots of the plant Anabasis elatior in Urumqi in China.
References
External links
Type strain of Aurantimonas endophytica at BacDive - the Bacterial Diversity Metadatabase
|
taxon name
|
{
"answer_start": [
0
],
"text": [
"Aurantimonas endophytica"
]
}
|
Katharina Rutschky (25 January 1941, Berlin – 14 January 2010, Berlin) was a German educationalist and author. She coined the term Schwarze Pädagogik (literally black pedagogy) in her eponymous book from 1977, describing physical and psychical violence as part of education (a notion elaborated upon some years later by Alice Miller). Until her death, Rutschky lived with her husband Michael Rutschky in Berlin.
Publications
Schwarze Pädagogik, originally published in 1977.
Deutsche Kinder-Chronik: Wunsch- und Schreckensbilder aus vier Jahrhunderten, originally published in 1983.
Deutsche Schul-Chronik: Lernen und Erziehen in vier Jahrhunderten, originally published in 1991.
Erregte Aufklärung: Kindesmissbrauch: Fakten & Fiktionen, originally published in 1992.
Handbuch sexueller Missbrauch, originally published in 1994.
Emma and her Sisters, originally published in 1999.
Der Stadthund: von Menschen an der Leine, originally published in 2001.
See also
Critical pedagogy
References
External links
Jaja, sie hat ihre Verdienste - aber welche?. Katharina Rutschky reviewing a book by Alice Schwarzer in Berliner Zeitung. June 16, 2007. (in German)
Résumé, in Berliner Morgenpost. (in German)
single-generation.de: Commented list of works (in German)
Ulla Hanselmann and Ariane Heimbach: Interview with Katharina Rutschky about her book Emma and her sisters. Deutsches Allgemeines Sonntagsblatt. August 4, 2000. (in German)
Katharina Rutschky in the German National Library catalogue
|
languages spoken, written or signed
|
{
"answer_start": [
77
],
"text": [
"German"
]
}
|
Katharina Rutschky (25 January 1941, Berlin – 14 January 2010, Berlin) was a German educationalist and author. She coined the term Schwarze Pädagogik (literally black pedagogy) in her eponymous book from 1977, describing physical and psychical violence as part of education (a notion elaborated upon some years later by Alice Miller). Until her death, Rutschky lived with her husband Michael Rutschky in Berlin.
Publications
Schwarze Pädagogik, originally published in 1977.
Deutsche Kinder-Chronik: Wunsch- und Schreckensbilder aus vier Jahrhunderten, originally published in 1983.
Deutsche Schul-Chronik: Lernen und Erziehen in vier Jahrhunderten, originally published in 1991.
Erregte Aufklärung: Kindesmissbrauch: Fakten & Fiktionen, originally published in 1992.
Handbuch sexueller Missbrauch, originally published in 1994.
Emma and her Sisters, originally published in 1999.
Der Stadthund: von Menschen an der Leine, originally published in 2001.
See also
Critical pedagogy
References
External links
Jaja, sie hat ihre Verdienste - aber welche?. Katharina Rutschky reviewing a book by Alice Schwarzer in Berliner Zeitung. June 16, 2007. (in German)
Résumé, in Berliner Morgenpost. (in German)
single-generation.de: Commented list of works (in German)
Ulla Hanselmann and Ariane Heimbach: Interview with Katharina Rutschky about her book Emma and her sisters. Deutsches Allgemeines Sonntagsblatt. August 4, 2000. (in German)
Katharina Rutschky in the German National Library catalogue
|
number of children
|
{
"answer_start": [
58
],
"text": [
"0"
]
}
|
Katharina Rutschky (25 January 1941, Berlin – 14 January 2010, Berlin) was a German educationalist and author. She coined the term Schwarze Pädagogik (literally black pedagogy) in her eponymous book from 1977, describing physical and psychical violence as part of education (a notion elaborated upon some years later by Alice Miller). Until her death, Rutschky lived with her husband Michael Rutschky in Berlin.
Publications
Schwarze Pädagogik, originally published in 1977.
Deutsche Kinder-Chronik: Wunsch- und Schreckensbilder aus vier Jahrhunderten, originally published in 1983.
Deutsche Schul-Chronik: Lernen und Erziehen in vier Jahrhunderten, originally published in 1991.
Erregte Aufklärung: Kindesmissbrauch: Fakten & Fiktionen, originally published in 1992.
Handbuch sexueller Missbrauch, originally published in 1994.
Emma and her Sisters, originally published in 1999.
Der Stadthund: von Menschen an der Leine, originally published in 2001.
See also
Critical pedagogy
References
External links
Jaja, sie hat ihre Verdienste - aber welche?. Katharina Rutschky reviewing a book by Alice Schwarzer in Berliner Zeitung. June 16, 2007. (in German)
Résumé, in Berliner Morgenpost. (in German)
single-generation.de: Commented list of works (in German)
Ulla Hanselmann and Ariane Heimbach: Interview with Katharina Rutschky about her book Emma and her sisters. Deutsches Allgemeines Sonntagsblatt. August 4, 2000. (in German)
Katharina Rutschky in the German National Library catalogue
|
place of birth
|
{
"answer_start": [
37
],
"text": [
"Berlin"
]
}
|
Katharina Rutschky (25 January 1941, Berlin – 14 January 2010, Berlin) was a German educationalist and author. She coined the term Schwarze Pädagogik (literally black pedagogy) in her eponymous book from 1977, describing physical and psychical violence as part of education (a notion elaborated upon some years later by Alice Miller). Until her death, Rutschky lived with her husband Michael Rutschky in Berlin.
Publications
Schwarze Pädagogik, originally published in 1977.
Deutsche Kinder-Chronik: Wunsch- und Schreckensbilder aus vier Jahrhunderten, originally published in 1983.
Deutsche Schul-Chronik: Lernen und Erziehen in vier Jahrhunderten, originally published in 1991.
Erregte Aufklärung: Kindesmissbrauch: Fakten & Fiktionen, originally published in 1992.
Handbuch sexueller Missbrauch, originally published in 1994.
Emma and her Sisters, originally published in 1999.
Der Stadthund: von Menschen an der Leine, originally published in 2001.
See also
Critical pedagogy
References
External links
Jaja, sie hat ihre Verdienste - aber welche?. Katharina Rutschky reviewing a book by Alice Schwarzer in Berliner Zeitung. June 16, 2007. (in German)
Résumé, in Berliner Morgenpost. (in German)
single-generation.de: Commented list of works (in German)
Ulla Hanselmann and Ariane Heimbach: Interview with Katharina Rutschky about her book Emma and her sisters. Deutsches Allgemeines Sonntagsblatt. August 4, 2000. (in German)
Katharina Rutschky in the German National Library catalogue
|
place of death
|
{
"answer_start": [
37
],
"text": [
"Berlin"
]
}
|
Katharina Rutschky (25 January 1941, Berlin – 14 January 2010, Berlin) was a German educationalist and author. She coined the term Schwarze Pädagogik (literally black pedagogy) in her eponymous book from 1977, describing physical and psychical violence as part of education (a notion elaborated upon some years later by Alice Miller). Until her death, Rutschky lived with her husband Michael Rutschky in Berlin.
Publications
Schwarze Pädagogik, originally published in 1977.
Deutsche Kinder-Chronik: Wunsch- und Schreckensbilder aus vier Jahrhunderten, originally published in 1983.
Deutsche Schul-Chronik: Lernen und Erziehen in vier Jahrhunderten, originally published in 1991.
Erregte Aufklärung: Kindesmissbrauch: Fakten & Fiktionen, originally published in 1992.
Handbuch sexueller Missbrauch, originally published in 1994.
Emma and her Sisters, originally published in 1999.
Der Stadthund: von Menschen an der Leine, originally published in 2001.
See also
Critical pedagogy
References
External links
Jaja, sie hat ihre Verdienste - aber welche?. Katharina Rutschky reviewing a book by Alice Schwarzer in Berliner Zeitung. June 16, 2007. (in German)
Résumé, in Berliner Morgenpost. (in German)
single-generation.de: Commented list of works (in German)
Ulla Hanselmann and Ariane Heimbach: Interview with Katharina Rutschky about her book Emma and her sisters. Deutsches Allgemeines Sonntagsblatt. August 4, 2000. (in German)
Katharina Rutschky in the German National Library catalogue
|
spouse
|
{
"answer_start": [
384
],
"text": [
"Michael Rutschky"
]
}
|
Katharina Rutschky (25 January 1941, Berlin – 14 January 2010, Berlin) was a German educationalist and author. She coined the term Schwarze Pädagogik (literally black pedagogy) in her eponymous book from 1977, describing physical and psychical violence as part of education (a notion elaborated upon some years later by Alice Miller). Until her death, Rutschky lived with her husband Michael Rutschky in Berlin.
Publications
Schwarze Pädagogik, originally published in 1977.
Deutsche Kinder-Chronik: Wunsch- und Schreckensbilder aus vier Jahrhunderten, originally published in 1983.
Deutsche Schul-Chronik: Lernen und Erziehen in vier Jahrhunderten, originally published in 1991.
Erregte Aufklärung: Kindesmissbrauch: Fakten & Fiktionen, originally published in 1992.
Handbuch sexueller Missbrauch, originally published in 1994.
Emma and her Sisters, originally published in 1999.
Der Stadthund: von Menschen an der Leine, originally published in 2001.
See also
Critical pedagogy
References
External links
Jaja, sie hat ihre Verdienste - aber welche?. Katharina Rutschky reviewing a book by Alice Schwarzer in Berliner Zeitung. June 16, 2007. (in German)
Résumé, in Berliner Morgenpost. (in German)
single-generation.de: Commented list of works (in German)
Ulla Hanselmann and Ariane Heimbach: Interview with Katharina Rutschky about her book Emma and her sisters. Deutsches Allgemeines Sonntagsblatt. August 4, 2000. (in German)
Katharina Rutschky in the German National Library catalogue
|
given name
|
{
"answer_start": [
0
],
"text": [
"Katharina"
]
}
|
Carlo Facchin (27 August 1938 – 27 November 2022) was an Italian football player and manager.
Career
Facchin was the head coach of the Italy women's national team at the 1999 FIFA Women's World Cup.
References
External links
Carlo Facchin – FIFA competition record (archived)
Carlo Facchin at FootballDatabase.eu
Carlo Facchin at Soccerway
Carlo Facchin at Soccerdonna.de (in German)
|
country of citizenship
|
{
"answer_start": [
136
],
"text": [
"Italy"
]
}
|
Carlo Facchin (27 August 1938 – 27 November 2022) was an Italian football player and manager.
Career
Facchin was the head coach of the Italy women's national team at the 1999 FIFA Women's World Cup.
References
External links
Carlo Facchin – FIFA competition record (archived)
Carlo Facchin at FootballDatabase.eu
Carlo Facchin at Soccerway
Carlo Facchin at Soccerdonna.de (in German)
|
family name
|
{
"answer_start": [
6
],
"text": [
"Facchin"
]
}
|
Carlo Facchin (27 August 1938 – 27 November 2022) was an Italian football player and manager.
Career
Facchin was the head coach of the Italy women's national team at the 1999 FIFA Women's World Cup.
References
External links
Carlo Facchin – FIFA competition record (archived)
Carlo Facchin at FootballDatabase.eu
Carlo Facchin at Soccerway
Carlo Facchin at Soccerdonna.de (in German)
|
given name
|
{
"answer_start": [
0
],
"text": [
"Carlo"
]
}
|
Carlo Facchin (27 August 1938 – 27 November 2022) was an Italian football player and manager.
Career
Facchin was the head coach of the Italy women's national team at the 1999 FIFA Women's World Cup.
References
External links
Carlo Facchin – FIFA competition record (archived)
Carlo Facchin at FootballDatabase.eu
Carlo Facchin at Soccerway
Carlo Facchin at Soccerdonna.de (in German)
|
languages spoken, written or signed
|
{
"answer_start": [
57
],
"text": [
"Italian"
]
}
|
Infra-Blue is the second studio album by guitarist Joey Tafolla, released in 1991 through Shrapnel Records.
Track listing
Personnel
Joey Tafolla – guitar
Kee Marcello – additional guitar solos (track 2)
Jesse Bradman – keyboard
Mike Mani – keyboard
Mark Robertson – keyboard
Deen Castronovo – drums
John Onder – bass
Steve Fontano – engineering, mixing, production
Mark "Mooka" Rennick – mixing
Joe Marquez – mixing assistance
Shawn Morris – engineering, mixing assistance
Paul Stubblebine – mastering
Mike Varney – production
References
External links
In Review: Joey Tafolla "Infra-Blue" at Guitar Nine Records
|
instance of
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Infra-Blue is the second studio album by guitarist Joey Tafolla, released in 1991 through Shrapnel Records.
Track listing
Personnel
Joey Tafolla – guitar
Kee Marcello – additional guitar solos (track 2)
Jesse Bradman – keyboard
Mike Mani – keyboard
Mark Robertson – keyboard
Deen Castronovo – drums
John Onder – bass
Steve Fontano – engineering, mixing, production
Mark "Mooka" Rennick – mixing
Joe Marquez – mixing assistance
Shawn Morris – engineering, mixing assistance
Paul Stubblebine – mastering
Mike Varney – production
References
External links
In Review: Joey Tafolla "Infra-Blue" at Guitar Nine Records
|
producer
|
{
"answer_start": [
503
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"text": [
"Mike Varney"
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}
|
Infra-Blue is the second studio album by guitarist Joey Tafolla, released in 1991 through Shrapnel Records.
Track listing
Personnel
Joey Tafolla – guitar
Kee Marcello – additional guitar solos (track 2)
Jesse Bradman – keyboard
Mike Mani – keyboard
Mark Robertson – keyboard
Deen Castronovo – drums
John Onder – bass
Steve Fontano – engineering, mixing, production
Mark "Mooka" Rennick – mixing
Joe Marquez – mixing assistance
Shawn Morris – engineering, mixing assistance
Paul Stubblebine – mastering
Mike Varney – production
References
External links
In Review: Joey Tafolla "Infra-Blue" at Guitar Nine Records
|
performer
|
{
"answer_start": [
51
],
"text": [
"Joey Tafolla"
]
}
|
Infra-Blue is the second studio album by guitarist Joey Tafolla, released in 1991 through Shrapnel Records.
Track listing
Personnel
Joey Tafolla – guitar
Kee Marcello – additional guitar solos (track 2)
Jesse Bradman – keyboard
Mike Mani – keyboard
Mark Robertson – keyboard
Deen Castronovo – drums
John Onder – bass
Steve Fontano – engineering, mixing, production
Mark "Mooka" Rennick – mixing
Joe Marquez – mixing assistance
Shawn Morris – engineering, mixing assistance
Paul Stubblebine – mastering
Mike Varney – production
References
External links
In Review: Joey Tafolla "Infra-Blue" at Guitar Nine Records
|
record label
|
{
"answer_start": [
90
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"text": [
"Shrapnel Records"
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}
|
The Museum der Moderne Salzburg has two buildings at two different locations in Salzburg, Austria. The Rupertinum in the old town for new artistic concepts opened in 1983 and the Museum on the Mönchsberg for modern art in a contemporary setting opened in 2004.
History
The idea for the foundation of a collection and museum of modern art goes back to an initiative of Salzburg art dealer Friedrich Welz, who donated a large part of his private collection to the state of Salzburg. Owing to his personal friendship with Oskar Kokoschka the museum also received a great number of works from the Austrian expressionist.
Museum der Moderne Rupertinum
In 1983 the Rupertinum was opened as Salzburg Museum of Modern Art and Graphic Collection. The museum's founding director Otto Breicha also integrated the Austrian Photographic Gallery into the museum, which has become the most important collection of contemporary Austrian photography. The Rupertinum, situated in the centre of the old town, was mentioned for the first time in 1350. Under archbishop Paris Lodron, the town palace "Collegium Rupertinum" was used as seminary. Finished in 1633, the town palace was built in early baroque style. The house has a prominent location between Franziskaner Church and Kollegien Church and has been used as seminary by the Archdioceses of Salzburg for many centuries.
Until 1974 the Rupertinum was used as student dormitory. In 1983 the Rupertinum was opened as Salzburg Museum of Modern Art and Graphic Collection.
Over the years the facilities of the Rupertinum have been adapted to comply with international standards; the most extensive refurbishment took place in 1999. Today the building offers ideal conditions for exhibitions of graphics and photographs. On Max-Reinhardt-Square the building opens into a courtyard typical for houses of Salzburg’s old town.
Museum der Moderne Mönchsberg
Perched on top of the steep cliff of Mönchsberg mountain, sixty metres above Anton-Neumayr-Square, the Café Winkler has dominated the city for decades. When the casino moved into the baroque palace Klessheim on the outskirts of Salzburg, the Café Winkler stood empty for many years and this landmark building that served as a counterpoint to the medieval fortress lost its splendour.
In 1998, on the initiative of Landeshauptmann Franz Schausberger the state of Salzburg launched an international architectural competition for the construction of a new building for a museum on Mönchsberg. An 11-member jury chaired by Luigi Snozzi, selected the design of the Munich-based team of architects Friedrich Hoff Zwink from among 145 submissions. The museum was built in three and a half years and offers maximum possibilities for a variety of exhibition formats on four levels. The entire outer facade is clad with local Untersberg marble, separated by vertical joints.
When the Museum der Moderne Salzburg on Mönchsberg was opened in October 2004, the former Rupertinum Collection of the province of Salzburg was integrated into the new concept of the Museum der Moderne Salzburg. Since September 2013 Dr. Sabine Breitwieser is the new director of the Museum der Moderne Salzburg. She followed Toni Stooss who was more than 7 years director of the Museum.
The two buildings of the Museum der Moderne Salzburg offer 3,000 m2 of exhibition space for thematic and monographic exhibitions of 20th- and 21st-century art, as well as presentations of graphics and photography.
Collections
The exhibitions and activities in both museum buildings show modern and contemporary visual arts. Apart from the presentation of international works of art, the Museum der Moderne Salzburg also serves as platform for contemporary representatives of the Austrian art scene.
Besides paintings and sculptures the museum owns an extensive collection of graphics. A further focus of the collection is Austrian photography after 1945.
Further, the museum manages the photographic collection of the Republic of Austria Österreichische Fotogalerie as well as the photographic collection Fotografis of the Bank Austria as a permanent loan.
Directors
Friedrich Welz
Otto Breicha
Peter Weiermair
Agnes Husslein
Toni Stooss
Sabine Breitwieser
Thorsten Sadowsky, incumbent
Trivia
In addition to their contribution to the air-conditioning system of the building, the joints of the facade can also be interpreted as a reference to the city of Salzburg: the chords of certain arias from Mozart’s opera “Don Giovanni” were inscribed on the facade in rhythmically positioned slots using a special computer programme.
External links
Official website
„Museumscheck“ on 3sat.de, Videos und TV-series about the Museum der Moderne (German)
|
country
|
{
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90
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"text": [
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|
The Museum der Moderne Salzburg has two buildings at two different locations in Salzburg, Austria. The Rupertinum in the old town for new artistic concepts opened in 1983 and the Museum on the Mönchsberg for modern art in a contemporary setting opened in 2004.
History
The idea for the foundation of a collection and museum of modern art goes back to an initiative of Salzburg art dealer Friedrich Welz, who donated a large part of his private collection to the state of Salzburg. Owing to his personal friendship with Oskar Kokoschka the museum also received a great number of works from the Austrian expressionist.
Museum der Moderne Rupertinum
In 1983 the Rupertinum was opened as Salzburg Museum of Modern Art and Graphic Collection. The museum's founding director Otto Breicha also integrated the Austrian Photographic Gallery into the museum, which has become the most important collection of contemporary Austrian photography. The Rupertinum, situated in the centre of the old town, was mentioned for the first time in 1350. Under archbishop Paris Lodron, the town palace "Collegium Rupertinum" was used as seminary. Finished in 1633, the town palace was built in early baroque style. The house has a prominent location between Franziskaner Church and Kollegien Church and has been used as seminary by the Archdioceses of Salzburg for many centuries.
Until 1974 the Rupertinum was used as student dormitory. In 1983 the Rupertinum was opened as Salzburg Museum of Modern Art and Graphic Collection.
Over the years the facilities of the Rupertinum have been adapted to comply with international standards; the most extensive refurbishment took place in 1999. Today the building offers ideal conditions for exhibitions of graphics and photographs. On Max-Reinhardt-Square the building opens into a courtyard typical for houses of Salzburg’s old town.
Museum der Moderne Mönchsberg
Perched on top of the steep cliff of Mönchsberg mountain, sixty metres above Anton-Neumayr-Square, the Café Winkler has dominated the city for decades. When the casino moved into the baroque palace Klessheim on the outskirts of Salzburg, the Café Winkler stood empty for many years and this landmark building that served as a counterpoint to the medieval fortress lost its splendour.
In 1998, on the initiative of Landeshauptmann Franz Schausberger the state of Salzburg launched an international architectural competition for the construction of a new building for a museum on Mönchsberg. An 11-member jury chaired by Luigi Snozzi, selected the design of the Munich-based team of architects Friedrich Hoff Zwink from among 145 submissions. The museum was built in three and a half years and offers maximum possibilities for a variety of exhibition formats on four levels. The entire outer facade is clad with local Untersberg marble, separated by vertical joints.
When the Museum der Moderne Salzburg on Mönchsberg was opened in October 2004, the former Rupertinum Collection of the province of Salzburg was integrated into the new concept of the Museum der Moderne Salzburg. Since September 2013 Dr. Sabine Breitwieser is the new director of the Museum der Moderne Salzburg. She followed Toni Stooss who was more than 7 years director of the Museum.
The two buildings of the Museum der Moderne Salzburg offer 3,000 m2 of exhibition space for thematic and monographic exhibitions of 20th- and 21st-century art, as well as presentations of graphics and photography.
Collections
The exhibitions and activities in both museum buildings show modern and contemporary visual arts. Apart from the presentation of international works of art, the Museum der Moderne Salzburg also serves as platform for contemporary representatives of the Austrian art scene.
Besides paintings and sculptures the museum owns an extensive collection of graphics. A further focus of the collection is Austrian photography after 1945.
Further, the museum manages the photographic collection of the Republic of Austria Österreichische Fotogalerie as well as the photographic collection Fotografis of the Bank Austria as a permanent loan.
Directors
Friedrich Welz
Otto Breicha
Peter Weiermair
Agnes Husslein
Toni Stooss
Sabine Breitwieser
Thorsten Sadowsky, incumbent
Trivia
In addition to their contribution to the air-conditioning system of the building, the joints of the facade can also be interpreted as a reference to the city of Salzburg: the chords of certain arias from Mozart’s opera “Don Giovanni” were inscribed on the facade in rhythmically positioned slots using a special computer programme.
External links
Official website
„Museumscheck“ on 3sat.de, Videos und TV-series about the Museum der Moderne (German)
|
located in the administrative territorial entity
|
{
"answer_start": [
23
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"text": [
"Salzburg"
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}
|
The Museum der Moderne Salzburg has two buildings at two different locations in Salzburg, Austria. The Rupertinum in the old town for new artistic concepts opened in 1983 and the Museum on the Mönchsberg for modern art in a contemporary setting opened in 2004.
History
The idea for the foundation of a collection and museum of modern art goes back to an initiative of Salzburg art dealer Friedrich Welz, who donated a large part of his private collection to the state of Salzburg. Owing to his personal friendship with Oskar Kokoschka the museum also received a great number of works from the Austrian expressionist.
Museum der Moderne Rupertinum
In 1983 the Rupertinum was opened as Salzburg Museum of Modern Art and Graphic Collection. The museum's founding director Otto Breicha also integrated the Austrian Photographic Gallery into the museum, which has become the most important collection of contemporary Austrian photography. The Rupertinum, situated in the centre of the old town, was mentioned for the first time in 1350. Under archbishop Paris Lodron, the town palace "Collegium Rupertinum" was used as seminary. Finished in 1633, the town palace was built in early baroque style. The house has a prominent location between Franziskaner Church and Kollegien Church and has been used as seminary by the Archdioceses of Salzburg for many centuries.
Until 1974 the Rupertinum was used as student dormitory. In 1983 the Rupertinum was opened as Salzburg Museum of Modern Art and Graphic Collection.
Over the years the facilities of the Rupertinum have been adapted to comply with international standards; the most extensive refurbishment took place in 1999. Today the building offers ideal conditions for exhibitions of graphics and photographs. On Max-Reinhardt-Square the building opens into a courtyard typical for houses of Salzburg’s old town.
Museum der Moderne Mönchsberg
Perched on top of the steep cliff of Mönchsberg mountain, sixty metres above Anton-Neumayr-Square, the Café Winkler has dominated the city for decades. When the casino moved into the baroque palace Klessheim on the outskirts of Salzburg, the Café Winkler stood empty for many years and this landmark building that served as a counterpoint to the medieval fortress lost its splendour.
In 1998, on the initiative of Landeshauptmann Franz Schausberger the state of Salzburg launched an international architectural competition for the construction of a new building for a museum on Mönchsberg. An 11-member jury chaired by Luigi Snozzi, selected the design of the Munich-based team of architects Friedrich Hoff Zwink from among 145 submissions. The museum was built in three and a half years and offers maximum possibilities for a variety of exhibition formats on four levels. The entire outer facade is clad with local Untersberg marble, separated by vertical joints.
When the Museum der Moderne Salzburg on Mönchsberg was opened in October 2004, the former Rupertinum Collection of the province of Salzburg was integrated into the new concept of the Museum der Moderne Salzburg. Since September 2013 Dr. Sabine Breitwieser is the new director of the Museum der Moderne Salzburg. She followed Toni Stooss who was more than 7 years director of the Museum.
The two buildings of the Museum der Moderne Salzburg offer 3,000 m2 of exhibition space for thematic and monographic exhibitions of 20th- and 21st-century art, as well as presentations of graphics and photography.
Collections
The exhibitions and activities in both museum buildings show modern and contemporary visual arts. Apart from the presentation of international works of art, the Museum der Moderne Salzburg also serves as platform for contemporary representatives of the Austrian art scene.
Besides paintings and sculptures the museum owns an extensive collection of graphics. A further focus of the collection is Austrian photography after 1945.
Further, the museum manages the photographic collection of the Republic of Austria Österreichische Fotogalerie as well as the photographic collection Fotografis of the Bank Austria as a permanent loan.
Directors
Friedrich Welz
Otto Breicha
Peter Weiermair
Agnes Husslein
Toni Stooss
Sabine Breitwieser
Thorsten Sadowsky, incumbent
Trivia
In addition to their contribution to the air-conditioning system of the building, the joints of the facade can also be interpreted as a reference to the city of Salzburg: the chords of certain arias from Mozart’s opera “Don Giovanni” were inscribed on the facade in rhythmically positioned slots using a special computer programme.
External links
Official website
„Museumscheck“ on 3sat.de, Videos und TV-series about the Museum der Moderne (German)
|
operator
|
{
"answer_start": [
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The Museum der Moderne Salzburg has two buildings at two different locations in Salzburg, Austria. The Rupertinum in the old town for new artistic concepts opened in 1983 and the Museum on the Mönchsberg for modern art in a contemporary setting opened in 2004.
History
The idea for the foundation of a collection and museum of modern art goes back to an initiative of Salzburg art dealer Friedrich Welz, who donated a large part of his private collection to the state of Salzburg. Owing to his personal friendship with Oskar Kokoschka the museum also received a great number of works from the Austrian expressionist.
Museum der Moderne Rupertinum
In 1983 the Rupertinum was opened as Salzburg Museum of Modern Art and Graphic Collection. The museum's founding director Otto Breicha also integrated the Austrian Photographic Gallery into the museum, which has become the most important collection of contemporary Austrian photography. The Rupertinum, situated in the centre of the old town, was mentioned for the first time in 1350. Under archbishop Paris Lodron, the town palace "Collegium Rupertinum" was used as seminary. Finished in 1633, the town palace was built in early baroque style. The house has a prominent location between Franziskaner Church and Kollegien Church and has been used as seminary by the Archdioceses of Salzburg for many centuries.
Until 1974 the Rupertinum was used as student dormitory. In 1983 the Rupertinum was opened as Salzburg Museum of Modern Art and Graphic Collection.
Over the years the facilities of the Rupertinum have been adapted to comply with international standards; the most extensive refurbishment took place in 1999. Today the building offers ideal conditions for exhibitions of graphics and photographs. On Max-Reinhardt-Square the building opens into a courtyard typical for houses of Salzburg’s old town.
Museum der Moderne Mönchsberg
Perched on top of the steep cliff of Mönchsberg mountain, sixty metres above Anton-Neumayr-Square, the Café Winkler has dominated the city for decades. When the casino moved into the baroque palace Klessheim on the outskirts of Salzburg, the Café Winkler stood empty for many years and this landmark building that served as a counterpoint to the medieval fortress lost its splendour.
In 1998, on the initiative of Landeshauptmann Franz Schausberger the state of Salzburg launched an international architectural competition for the construction of a new building for a museum on Mönchsberg. An 11-member jury chaired by Luigi Snozzi, selected the design of the Munich-based team of architects Friedrich Hoff Zwink from among 145 submissions. The museum was built in three and a half years and offers maximum possibilities for a variety of exhibition formats on four levels. The entire outer facade is clad with local Untersberg marble, separated by vertical joints.
When the Museum der Moderne Salzburg on Mönchsberg was opened in October 2004, the former Rupertinum Collection of the province of Salzburg was integrated into the new concept of the Museum der Moderne Salzburg. Since September 2013 Dr. Sabine Breitwieser is the new director of the Museum der Moderne Salzburg. She followed Toni Stooss who was more than 7 years director of the Museum.
The two buildings of the Museum der Moderne Salzburg offer 3,000 m2 of exhibition space for thematic and monographic exhibitions of 20th- and 21st-century art, as well as presentations of graphics and photography.
Collections
The exhibitions and activities in both museum buildings show modern and contemporary visual arts. Apart from the presentation of international works of art, the Museum der Moderne Salzburg also serves as platform for contemporary representatives of the Austrian art scene.
Besides paintings and sculptures the museum owns an extensive collection of graphics. A further focus of the collection is Austrian photography after 1945.
Further, the museum manages the photographic collection of the Republic of Austria Österreichische Fotogalerie as well as the photographic collection Fotografis of the Bank Austria as a permanent loan.
Directors
Friedrich Welz
Otto Breicha
Peter Weiermair
Agnes Husslein
Toni Stooss
Sabine Breitwieser
Thorsten Sadowsky, incumbent
Trivia
In addition to their contribution to the air-conditioning system of the building, the joints of the facade can also be interpreted as a reference to the city of Salzburg: the chords of certain arias from Mozart’s opera “Don Giovanni” were inscribed on the facade in rhythmically positioned slots using a special computer programme.
External links
Official website
„Museumscheck“ on 3sat.de, Videos und TV-series about the Museum der Moderne (German)
|
Commons category
|
{
"answer_start": [
1859
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"text": [
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|
The Museum der Moderne Salzburg has two buildings at two different locations in Salzburg, Austria. The Rupertinum in the old town for new artistic concepts opened in 1983 and the Museum on the Mönchsberg for modern art in a contemporary setting opened in 2004.
History
The idea for the foundation of a collection and museum of modern art goes back to an initiative of Salzburg art dealer Friedrich Welz, who donated a large part of his private collection to the state of Salzburg. Owing to his personal friendship with Oskar Kokoschka the museum also received a great number of works from the Austrian expressionist.
Museum der Moderne Rupertinum
In 1983 the Rupertinum was opened as Salzburg Museum of Modern Art and Graphic Collection. The museum's founding director Otto Breicha also integrated the Austrian Photographic Gallery into the museum, which has become the most important collection of contemporary Austrian photography. The Rupertinum, situated in the centre of the old town, was mentioned for the first time in 1350. Under archbishop Paris Lodron, the town palace "Collegium Rupertinum" was used as seminary. Finished in 1633, the town palace was built in early baroque style. The house has a prominent location between Franziskaner Church and Kollegien Church and has been used as seminary by the Archdioceses of Salzburg for many centuries.
Until 1974 the Rupertinum was used as student dormitory. In 1983 the Rupertinum was opened as Salzburg Museum of Modern Art and Graphic Collection.
Over the years the facilities of the Rupertinum have been adapted to comply with international standards; the most extensive refurbishment took place in 1999. Today the building offers ideal conditions for exhibitions of graphics and photographs. On Max-Reinhardt-Square the building opens into a courtyard typical for houses of Salzburg’s old town.
Museum der Moderne Mönchsberg
Perched on top of the steep cliff of Mönchsberg mountain, sixty metres above Anton-Neumayr-Square, the Café Winkler has dominated the city for decades. When the casino moved into the baroque palace Klessheim on the outskirts of Salzburg, the Café Winkler stood empty for many years and this landmark building that served as a counterpoint to the medieval fortress lost its splendour.
In 1998, on the initiative of Landeshauptmann Franz Schausberger the state of Salzburg launched an international architectural competition for the construction of a new building for a museum on Mönchsberg. An 11-member jury chaired by Luigi Snozzi, selected the design of the Munich-based team of architects Friedrich Hoff Zwink from among 145 submissions. The museum was built in three and a half years and offers maximum possibilities for a variety of exhibition formats on four levels. The entire outer facade is clad with local Untersberg marble, separated by vertical joints.
When the Museum der Moderne Salzburg on Mönchsberg was opened in October 2004, the former Rupertinum Collection of the province of Salzburg was integrated into the new concept of the Museum der Moderne Salzburg. Since September 2013 Dr. Sabine Breitwieser is the new director of the Museum der Moderne Salzburg. She followed Toni Stooss who was more than 7 years director of the Museum.
The two buildings of the Museum der Moderne Salzburg offer 3,000 m2 of exhibition space for thematic and monographic exhibitions of 20th- and 21st-century art, as well as presentations of graphics and photography.
Collections
The exhibitions and activities in both museum buildings show modern and contemporary visual arts. Apart from the presentation of international works of art, the Museum der Moderne Salzburg also serves as platform for contemporary representatives of the Austrian art scene.
Besides paintings and sculptures the museum owns an extensive collection of graphics. A further focus of the collection is Austrian photography after 1945.
Further, the museum manages the photographic collection of the Republic of Austria Österreichische Fotogalerie as well as the photographic collection Fotografis of the Bank Austria as a permanent loan.
Directors
Friedrich Welz
Otto Breicha
Peter Weiermair
Agnes Husslein
Toni Stooss
Sabine Breitwieser
Thorsten Sadowsky, incumbent
Trivia
In addition to their contribution to the air-conditioning system of the building, the joints of the facade can also be interpreted as a reference to the city of Salzburg: the chords of certain arias from Mozart’s opera “Don Giovanni” were inscribed on the facade in rhythmically positioned slots using a special computer programme.
External links
Official website
„Museumscheck“ on 3sat.de, Videos und TV-series about the Museum der Moderne (German)
|
located on street
|
{
"answer_start": [
193
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"text": [
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The Museum der Moderne Salzburg has two buildings at two different locations in Salzburg, Austria. The Rupertinum in the old town for new artistic concepts opened in 1983 and the Museum on the Mönchsberg for modern art in a contemporary setting opened in 2004.
History
The idea for the foundation of a collection and museum of modern art goes back to an initiative of Salzburg art dealer Friedrich Welz, who donated a large part of his private collection to the state of Salzburg. Owing to his personal friendship with Oskar Kokoschka the museum also received a great number of works from the Austrian expressionist.
Museum der Moderne Rupertinum
In 1983 the Rupertinum was opened as Salzburg Museum of Modern Art and Graphic Collection. The museum's founding director Otto Breicha also integrated the Austrian Photographic Gallery into the museum, which has become the most important collection of contemporary Austrian photography. The Rupertinum, situated in the centre of the old town, was mentioned for the first time in 1350. Under archbishop Paris Lodron, the town palace "Collegium Rupertinum" was used as seminary. Finished in 1633, the town palace was built in early baroque style. The house has a prominent location between Franziskaner Church and Kollegien Church and has been used as seminary by the Archdioceses of Salzburg for many centuries.
Until 1974 the Rupertinum was used as student dormitory. In 1983 the Rupertinum was opened as Salzburg Museum of Modern Art and Graphic Collection.
Over the years the facilities of the Rupertinum have been adapted to comply with international standards; the most extensive refurbishment took place in 1999. Today the building offers ideal conditions for exhibitions of graphics and photographs. On Max-Reinhardt-Square the building opens into a courtyard typical for houses of Salzburg’s old town.
Museum der Moderne Mönchsberg
Perched on top of the steep cliff of Mönchsberg mountain, sixty metres above Anton-Neumayr-Square, the Café Winkler has dominated the city for decades. When the casino moved into the baroque palace Klessheim on the outskirts of Salzburg, the Café Winkler stood empty for many years and this landmark building that served as a counterpoint to the medieval fortress lost its splendour.
In 1998, on the initiative of Landeshauptmann Franz Schausberger the state of Salzburg launched an international architectural competition for the construction of a new building for a museum on Mönchsberg. An 11-member jury chaired by Luigi Snozzi, selected the design of the Munich-based team of architects Friedrich Hoff Zwink from among 145 submissions. The museum was built in three and a half years and offers maximum possibilities for a variety of exhibition formats on four levels. The entire outer facade is clad with local Untersberg marble, separated by vertical joints.
When the Museum der Moderne Salzburg on Mönchsberg was opened in October 2004, the former Rupertinum Collection of the province of Salzburg was integrated into the new concept of the Museum der Moderne Salzburg. Since September 2013 Dr. Sabine Breitwieser is the new director of the Museum der Moderne Salzburg. She followed Toni Stooss who was more than 7 years director of the Museum.
The two buildings of the Museum der Moderne Salzburg offer 3,000 m2 of exhibition space for thematic and monographic exhibitions of 20th- and 21st-century art, as well as presentations of graphics and photography.
Collections
The exhibitions and activities in both museum buildings show modern and contemporary visual arts. Apart from the presentation of international works of art, the Museum der Moderne Salzburg also serves as platform for contemporary representatives of the Austrian art scene.
Besides paintings and sculptures the museum owns an extensive collection of graphics. A further focus of the collection is Austrian photography after 1945.
Further, the museum manages the photographic collection of the Republic of Austria Österreichische Fotogalerie as well as the photographic collection Fotografis of the Bank Austria as a permanent loan.
Directors
Friedrich Welz
Otto Breicha
Peter Weiermair
Agnes Husslein
Toni Stooss
Sabine Breitwieser
Thorsten Sadowsky, incumbent
Trivia
In addition to their contribution to the air-conditioning system of the building, the joints of the facade can also be interpreted as a reference to the city of Salzburg: the chords of certain arias from Mozart’s opera “Don Giovanni” were inscribed on the facade in rhythmically positioned slots using a special computer programme.
External links
Official website
„Museumscheck“ on 3sat.de, Videos und TV-series about the Museum der Moderne (German)
|
parent organization
|
{
"answer_start": [
23
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"text": [
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}
|
The Museum der Moderne Salzburg has two buildings at two different locations in Salzburg, Austria. The Rupertinum in the old town for new artistic concepts opened in 1983 and the Museum on the Mönchsberg for modern art in a contemporary setting opened in 2004.
History
The idea for the foundation of a collection and museum of modern art goes back to an initiative of Salzburg art dealer Friedrich Welz, who donated a large part of his private collection to the state of Salzburg. Owing to his personal friendship with Oskar Kokoschka the museum also received a great number of works from the Austrian expressionist.
Museum der Moderne Rupertinum
In 1983 the Rupertinum was opened as Salzburg Museum of Modern Art and Graphic Collection. The museum's founding director Otto Breicha also integrated the Austrian Photographic Gallery into the museum, which has become the most important collection of contemporary Austrian photography. The Rupertinum, situated in the centre of the old town, was mentioned for the first time in 1350. Under archbishop Paris Lodron, the town palace "Collegium Rupertinum" was used as seminary. Finished in 1633, the town palace was built in early baroque style. The house has a prominent location between Franziskaner Church and Kollegien Church and has been used as seminary by the Archdioceses of Salzburg for many centuries.
Until 1974 the Rupertinum was used as student dormitory. In 1983 the Rupertinum was opened as Salzburg Museum of Modern Art and Graphic Collection.
Over the years the facilities of the Rupertinum have been adapted to comply with international standards; the most extensive refurbishment took place in 1999. Today the building offers ideal conditions for exhibitions of graphics and photographs. On Max-Reinhardt-Square the building opens into a courtyard typical for houses of Salzburg’s old town.
Museum der Moderne Mönchsberg
Perched on top of the steep cliff of Mönchsberg mountain, sixty metres above Anton-Neumayr-Square, the Café Winkler has dominated the city for decades. When the casino moved into the baroque palace Klessheim on the outskirts of Salzburg, the Café Winkler stood empty for many years and this landmark building that served as a counterpoint to the medieval fortress lost its splendour.
In 1998, on the initiative of Landeshauptmann Franz Schausberger the state of Salzburg launched an international architectural competition for the construction of a new building for a museum on Mönchsberg. An 11-member jury chaired by Luigi Snozzi, selected the design of the Munich-based team of architects Friedrich Hoff Zwink from among 145 submissions. The museum was built in three and a half years and offers maximum possibilities for a variety of exhibition formats on four levels. The entire outer facade is clad with local Untersberg marble, separated by vertical joints.
When the Museum der Moderne Salzburg on Mönchsberg was opened in October 2004, the former Rupertinum Collection of the province of Salzburg was integrated into the new concept of the Museum der Moderne Salzburg. Since September 2013 Dr. Sabine Breitwieser is the new director of the Museum der Moderne Salzburg. She followed Toni Stooss who was more than 7 years director of the Museum.
The two buildings of the Museum der Moderne Salzburg offer 3,000 m2 of exhibition space for thematic and monographic exhibitions of 20th- and 21st-century art, as well as presentations of graphics and photography.
Collections
The exhibitions and activities in both museum buildings show modern and contemporary visual arts. Apart from the presentation of international works of art, the Museum der Moderne Salzburg also serves as platform for contemporary representatives of the Austrian art scene.
Besides paintings and sculptures the museum owns an extensive collection of graphics. A further focus of the collection is Austrian photography after 1945.
Further, the museum manages the photographic collection of the Republic of Austria Österreichische Fotogalerie as well as the photographic collection Fotografis of the Bank Austria as a permanent loan.
Directors
Friedrich Welz
Otto Breicha
Peter Weiermair
Agnes Husslein
Toni Stooss
Sabine Breitwieser
Thorsten Sadowsky, incumbent
Trivia
In addition to their contribution to the air-conditioning system of the building, the joints of the facade can also be interpreted as a reference to the city of Salzburg: the chords of certain arias from Mozart’s opera “Don Giovanni” were inscribed on the facade in rhythmically positioned slots using a special computer programme.
External links
Official website
„Museumscheck“ on 3sat.de, Videos und TV-series about the Museum der Moderne (German)
|
director / manager
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The Museum der Moderne Salzburg has two buildings at two different locations in Salzburg, Austria. The Rupertinum in the old town for new artistic concepts opened in 1983 and the Museum on the Mönchsberg for modern art in a contemporary setting opened in 2004.
History
The idea for the foundation of a collection and museum of modern art goes back to an initiative of Salzburg art dealer Friedrich Welz, who donated a large part of his private collection to the state of Salzburg. Owing to his personal friendship with Oskar Kokoschka the museum also received a great number of works from the Austrian expressionist.
Museum der Moderne Rupertinum
In 1983 the Rupertinum was opened as Salzburg Museum of Modern Art and Graphic Collection. The museum's founding director Otto Breicha also integrated the Austrian Photographic Gallery into the museum, which has become the most important collection of contemporary Austrian photography. The Rupertinum, situated in the centre of the old town, was mentioned for the first time in 1350. Under archbishop Paris Lodron, the town palace "Collegium Rupertinum" was used as seminary. Finished in 1633, the town palace was built in early baroque style. The house has a prominent location between Franziskaner Church and Kollegien Church and has been used as seminary by the Archdioceses of Salzburg for many centuries.
Until 1974 the Rupertinum was used as student dormitory. In 1983 the Rupertinum was opened as Salzburg Museum of Modern Art and Graphic Collection.
Over the years the facilities of the Rupertinum have been adapted to comply with international standards; the most extensive refurbishment took place in 1999. Today the building offers ideal conditions for exhibitions of graphics and photographs. On Max-Reinhardt-Square the building opens into a courtyard typical for houses of Salzburg’s old town.
Museum der Moderne Mönchsberg
Perched on top of the steep cliff of Mönchsberg mountain, sixty metres above Anton-Neumayr-Square, the Café Winkler has dominated the city for decades. When the casino moved into the baroque palace Klessheim on the outskirts of Salzburg, the Café Winkler stood empty for many years and this landmark building that served as a counterpoint to the medieval fortress lost its splendour.
In 1998, on the initiative of Landeshauptmann Franz Schausberger the state of Salzburg launched an international architectural competition for the construction of a new building for a museum on Mönchsberg. An 11-member jury chaired by Luigi Snozzi, selected the design of the Munich-based team of architects Friedrich Hoff Zwink from among 145 submissions. The museum was built in three and a half years and offers maximum possibilities for a variety of exhibition formats on four levels. The entire outer facade is clad with local Untersberg marble, separated by vertical joints.
When the Museum der Moderne Salzburg on Mönchsberg was opened in October 2004, the former Rupertinum Collection of the province of Salzburg was integrated into the new concept of the Museum der Moderne Salzburg. Since September 2013 Dr. Sabine Breitwieser is the new director of the Museum der Moderne Salzburg. She followed Toni Stooss who was more than 7 years director of the Museum.
The two buildings of the Museum der Moderne Salzburg offer 3,000 m2 of exhibition space for thematic and monographic exhibitions of 20th- and 21st-century art, as well as presentations of graphics and photography.
Collections
The exhibitions and activities in both museum buildings show modern and contemporary visual arts. Apart from the presentation of international works of art, the Museum der Moderne Salzburg also serves as platform for contemporary representatives of the Austrian art scene.
Besides paintings and sculptures the museum owns an extensive collection of graphics. A further focus of the collection is Austrian photography after 1945.
Further, the museum manages the photographic collection of the Republic of Austria Österreichische Fotogalerie as well as the photographic collection Fotografis of the Bank Austria as a permanent loan.
Directors
Friedrich Welz
Otto Breicha
Peter Weiermair
Agnes Husslein
Toni Stooss
Sabine Breitwieser
Thorsten Sadowsky, incumbent
Trivia
In addition to their contribution to the air-conditioning system of the building, the joints of the facade can also be interpreted as a reference to the city of Salzburg: the chords of certain arias from Mozart’s opera “Don Giovanni” were inscribed on the facade in rhythmically positioned slots using a special computer programme.
External links
Official website
„Museumscheck“ on 3sat.de, Videos und TV-series about the Museum der Moderne (German)
|
significant person
|
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389
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"Friedrich Welz"
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|
Xia Suisheng (Chinese: 夏穗生; 19 April 1924 – 16 April 2019) was a Chinese surgeon and pioneer in organ transplantation.
Biography
Xia was born in April 1924 in Yuyao, Zhejiang, China. He attended high school in Shanghai, and studied at Tongji Medical College, which moved from Shanghai to Wuhan in the early 1950s. After graduation, he became a surgeon at Tongji Hospital in Wuhan.In 1963, American surgeon Thomas Starzl performed the world's first human liver transplantation, but the core techniques were not disclosed. In 1972, Xia began experimenting with liver transplantation on dogs. He and his colleagues spent five years performing 130 dog liver transplants.On 30 December 1977, Xia performed a successful human liver transplant on a woman with late-stage liver cancer. Soon after, he performed a liver transplant on a male patient, who survived for a then-record 264 days.He later researched transplantation of other organs. He successfully performed China's first pancreas transplantation in 1984, China's first spleen transplantation in 1989, and Asia's first successful multiple abdominal organ transplantation in 1995.Xia established China's first organ transplant research institute at Tongji Hospital. He educated 44 doctoral students, 24 master's students, and 1 postdoctoral researcher.Xia died on 16 April 2019, three days before his 95th birthday. He donated his corneas as well as 1 million yuan to Tongji Hospital for medical research.
== References ==
|
sex or gender
|
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"text": [
"male"
]
}
|
Xia Suisheng (Chinese: 夏穗生; 19 April 1924 – 16 April 2019) was a Chinese surgeon and pioneer in organ transplantation.
Biography
Xia was born in April 1924 in Yuyao, Zhejiang, China. He attended high school in Shanghai, and studied at Tongji Medical College, which moved from Shanghai to Wuhan in the early 1950s. After graduation, he became a surgeon at Tongji Hospital in Wuhan.In 1963, American surgeon Thomas Starzl performed the world's first human liver transplantation, but the core techniques were not disclosed. In 1972, Xia began experimenting with liver transplantation on dogs. He and his colleagues spent five years performing 130 dog liver transplants.On 30 December 1977, Xia performed a successful human liver transplant on a woman with late-stage liver cancer. Soon after, he performed a liver transplant on a male patient, who survived for a then-record 264 days.He later researched transplantation of other organs. He successfully performed China's first pancreas transplantation in 1984, China's first spleen transplantation in 1989, and Asia's first successful multiple abdominal organ transplantation in 1995.Xia established China's first organ transplant research institute at Tongji Hospital. He educated 44 doctoral students, 24 master's students, and 1 postdoctoral researcher.Xia died on 16 April 2019, three days before his 95th birthday. He donated his corneas as well as 1 million yuan to Tongji Hospital for medical research.
== References ==
|
instance of
|
{
"answer_start": [
449
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"text": [
"human"
]
}
|
Xia Suisheng (Chinese: 夏穗生; 19 April 1924 – 16 April 2019) was a Chinese surgeon and pioneer in organ transplantation.
Biography
Xia was born in April 1924 in Yuyao, Zhejiang, China. He attended high school in Shanghai, and studied at Tongji Medical College, which moved from Shanghai to Wuhan in the early 1950s. After graduation, he became a surgeon at Tongji Hospital in Wuhan.In 1963, American surgeon Thomas Starzl performed the world's first human liver transplantation, but the core techniques were not disclosed. In 1972, Xia began experimenting with liver transplantation on dogs. He and his colleagues spent five years performing 130 dog liver transplants.On 30 December 1977, Xia performed a successful human liver transplant on a woman with late-stage liver cancer. Soon after, he performed a liver transplant on a male patient, who survived for a then-record 264 days.He later researched transplantation of other organs. He successfully performed China's first pancreas transplantation in 1984, China's first spleen transplantation in 1989, and Asia's first successful multiple abdominal organ transplantation in 1995.Xia established China's first organ transplant research institute at Tongji Hospital. He educated 44 doctoral students, 24 master's students, and 1 postdoctoral researcher.Xia died on 16 April 2019, three days before his 95th birthday. He donated his corneas as well as 1 million yuan to Tongji Hospital for medical research.
== References ==
|
occupation
|
{
"answer_start": [
73
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"text": [
"surgeon"
]
}
|
State Route 798 (SR 798) in the U.S. state of Virginia is a secondary route designation applied to multiple discontinuous road segments among the many counties. The list below describes the sections in each county that are designated SR 798.
List
References
== External links ==
|
instance of
|
{
"answer_start": [
122
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"text": [
"road"
]
}
|
Mallybreen (from Irish: Malaidhe Bhraoin, meaning 'Breen's hill brows') is a townland of 688 acres in County Fermanagh, Northern Ireland. It is situated in the civil parish of Belleek and the historic barony of Lurg.
See also
List of townlands in County Fermanagh
== References ==
|
instance of
|
{
"answer_start": [
77
],
"text": [
"townland"
]
}
|
Mallybreen (from Irish: Malaidhe Bhraoin, meaning 'Breen's hill brows') is a townland of 688 acres in County Fermanagh, Northern Ireland. It is situated in the civil parish of Belleek and the historic barony of Lurg.
See also
List of townlands in County Fermanagh
== References ==
|
Commons category
|
{
"answer_start": [
0
],
"text": [
"Mallybreen"
]
}
|
Mallybreen (from Irish: Malaidhe Bhraoin, meaning 'Breen's hill brows') is a townland of 688 acres in County Fermanagh, Northern Ireland. It is situated in the civil parish of Belleek and the historic barony of Lurg.
See also
List of townlands in County Fermanagh
== References ==
|
historic county
|
{
"answer_start": [
103
],
"text": [
"County Fermanagh"
]
}
|
Baarin (Mongolian ᠪᠠᠭᠠᠷᠢᠨ Baγarin, Chinese 巴林 Bālín) is a dialect of Mongolian spoken mainly in Inner Mongolia.
Location and classification
Baarin is spoken in the Baarin Right Banner, Baarin Left Banner, Ar Khorchin Banner and Ongniud Banner of Ulanhad and in the Jirin Banner of Tongliao in Inner Mongolia. It has been grouped together with Khorchin and Kharchin or as an intermediate variant between these two on the one hand and Chakhar, Khalkha and Ordos on the other hand. On the other hand, it is part of Southern Mongolian as far as its Standard language is concerned and has therefore been grouped into such a variety as well.
Phonology
Baarin has the short vowel phonemes /ɑ, ə, i, ɔ, ʊ, o, u, ɛ, œ, ʏ, y/ and the corresponding long vowels. The consonant phonemes are /m, n, ŋ, p, pʰ, t, tʰ, tʃ, tʃʰ, x, k, s, ʃ, l, j, r, w/. That is, as in Khalkha and Khorchin, the basic phonation contrast in plosives and affricates is based on aspiration, not on voicedness. This even includes /k/. In contrast to Khalkha and akin to Khorchin, palatalized consonants have already lost their phoneme status and conveyed it to the new vowel phonemes /ɛ, œ, ʏ, y/.
Morphology
The accusative takes the form /i/, e.g. /xəli/ 'language-Acc'. The genitive, on the other hand, tends to contain one /n/, but it is still based on /i/. Due to this, homophony with the accusative can occur in a few cases, e.g. ternə (accusative and genitive of the distal demonstrative), but not əni (proximal accusative) vs. ənni (proximal genitive). There is no allative and no cognate of the old sociative case, but an additional case in -tar < dotura 'inside' with fairly narrow meaning has been assumed.
References
Bibliography
Bayarmendü, Borǰigin (1997): Baγarin aman ayalγun-u sudulul. Kökeqota: Öbür mongγul-un arad-un keblel-ün qoriy-a.
Janhunen, Juha (2003): Mongol dialects. In: Juha Janhunen (ed.): The Mongolic languages. London: Routledge: 177–191.
Luvsanvandan, Š. (1959): Mongol hel ajalguuny učir. In: Mongolyn sudlal 1.
Sečenbaγatur et al. (2005): Mongγul kelen-ü nutuγ-un ayalγun-u sinǰilel-ün uduridqal. Kökeqota: Öbür mongγul-un arad-un keblel-ün qoriy-a.
Svantesson, Jan-Olof, Anna Tsendina, Anastasia Karlsson, Vivan Franzén (2005): The Phonology of Mongolian. New York: Oxford University Press.
|
instance of
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{
"answer_start": [
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"text": [
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