Laundry Service () is the fifth studio album and first English-language album by Colombian singer-songwriter Shakira, globally released on 13 November 2001 by Epic Records. After her fourth studio album Dónde Están los Ladrones? became a success in Latin America, Spain, the Middle East and the Latin community in the United States, Shakira was encouraged by American singer Gloria Estefan to record songs in English as she believed her friend had the potential to cross over into the English-language pop market. Shakira was hesitant at first, but then decided to learn English well enough to write songs in the language. The title of the album reflects Shakira's views on love and music. It was released as Servicio de Lavandería in Hispanic regions in January 2002. Laundry Service is primarily a pop rock record but it also experiments with Andean music, dance-pop, Middle Eastern music, rock and roll and tango music. The album's theme is love and romance. Every song on it was written and produced by Shakira under the guidance of Emilio Estefan.

Six singles were released from the album. The lead single "Whenever, Wherever" became an international success, reaching number one on record charts of Australia, Austria, Canada, France, Germany, Italy and Spain. The second English-language single "Underneath Your Clothes" repeated that success, topping the charts of Australia, Austria, and Belgium. Both singles charted in the top ten in the United Kingdom and United States. Spanish-language singles "Te Dejo Madrid" and "Que Me Quedes Tú" performed well in Hispanic regions, becoming hits in Spain and on the Latin record charts in the United States, respectively. The fourth single "Objection (Tango)" became a top ten hit in most countries around the world, while the sixth and final single "The One" was a moderate commercial success. To promote the album, Shakira embarked on her Tour of the Mongoose between 2002 and 2003. It was her first major worldwide tour and visited many countries and cities.

Laundry Service received favourable to mixed reviews from music critics. Many critics complimented Shakira's varied musical styles and originality, while some critics argued that the album sounded too generic. Shakira's vocal talent also attracted praise. Laundry Service topped the charts of Australia, Austria, Belgium, Canada and Switzerland, while reaching the top five in Argentina, France, Germany, Spain and the United Kingdom. In the United States, Laundry Service peaked at number three on the Billboard 200 chart. The album received multiple record certifications, including sextuple platinum in Australia, quintuple in Canada, Spain and Switzerland. It was also certified multi-platinum in the United Kingdom and the United States, proving to be a successful crossover for Shakira. Globally, Laundry Service was the seventh best-selling album in 2002. The album sold around 13 million copies by 2011, making it one of the best-selling albums of the 21st century.

The album is listed at number 172 of the "Definitive 200" by the Rock and Roll Hall of Fame.

Background
In 1998, Shakira released her second major label studio album Dónde Están los Ladrones? (Where Are the Thieves?), which became a success in Latin America and received record certifications in various countries like Argentina, Colombia, Chile, Mexico and Spain. The rock en español-influenced Latin pop album drew comparisons to the work of Canadian-American singer songwriter Alanis Morissette and "cracked the lucrative US market wide open", spending a total of 11 weeks atop the Billboard Top Latin Albums chart. It became Shakira's first album to receive a platinum certification from the Recording Industry Association of America (RIAA). Dónde Están los Ladrones? spawned the Arabian-styled single "Ojos Así" ("Eyes Like Yours"), which became a hit and was deemed the "signature track" of the album.

Shakira's record label at that time, Epic Records, opposed the decision to release and commission Laundry Service as they "wanted her just to throw a couple of songs in English on a Latin music record." Gloria Estefan argued with Tommy Mottola, then head of Sony Music Entertainment (the parent company of Epic), and convinced him to release the album, arguing that an "American audience" would not buy a Spanish-language record simply due to its inclusion of a few English-language tracks. In an interview with Latina, she said "I got in the trenches there with Tommy [Mottola] - I fought for that. Because they didn't believe it. Just like they told us [her and Emilio during the Miami Sound Machine days]. They were trying to think in the box and I wanted to take her out of the box. And fortunately, Tommy, whom I love and adore and is a good friend, he really listened to me."

Writing and recording

The success of Dónde Están los Ladrones? prompted American singer Gloria Estefan in 1999, whose husband Emilio Estefan was managing Shakira at that time, to persuade Shakira to attempt to crossover into the mainstream pop industry. However, Shakira was initially hesitant to record songs in English as it was not her first language, so Estefan offered to translate "Ojos Así" into English in order to show her that "it could translate well." Shakira then began translating the song herself and showed it to Estefan, who responded "Quite honestly, I can't do this better!." As Shakira wanted to have full control over her recordings, she decided to learn English better to enable her to write her own songs. Wanting to find a method to express her "day-to-day stories in English", Shakira bought rhyming dictionaries, started analysing the lyrics of songs by Bob Dylan, reading poetry and the work of authors like Leonard Cohen and Walt Whitman and took English lessons from a private tutor.

The first song she wrote was "Objection (Tango)" and in an interview with Faze, she revealed that writing songs in English proved to be challenging for her: "I prayed and asked God to send me a good song today, and I remember I started writing the song ['Objection (Tango)'] a couple of hours after. I wrote the music and lyrics at the same time, and when that happens it's really magical to me." After completing "Objection (Tango)", Shakira decided to write ten more songs and began setting up portable recording studios in the rural region of Uruguay. She wrote various songs with a "dictionary in one hand and a thesaurus in the other."   During the songwriting process, Shakira wrote "Underneath Your Clothes" as a love song for de la Rúa. She explained that, "If you check the subject of my songs, most of them talk about my own experiences and feelings and what I was actually going through in my life."
Shakira collaborated with various writers and producers on the album including Estefan, Lester Mendez, Luis Fernando Ochoa and Tim Mitchell. Being "more in control than ever", Shakira closely supervised the development of the album. The singer also served as the primary producer of the album.

Composition

Although primarily a pop rock album, Laundry Service also draws influences from a variety of musical genres. The singer credited this to her mixed ethnicity, saying "I am a fusion. That's my persona. I'm a fusion between black and white, between pop and rock, between cultures - between my Lebanese father and my mother's Spanish blood, the Colombian folklore and Arab dance I love and American music." Arabian and Middle Eastern elements, which had a high influence on Dónde Están los Ladrones?, are also present in Laundry Service, most prominently on "Eyes Like Yours" (Ojos Así). Musical styles from different South American countries surface on the album. Tango, a style of fast-paced ballroom dance that originated in Argentina, is evident on "Objection (Tango)", which also combines elements of rock and roll. The uptempo track features a guitar solo and a bridge in which Shakira delivers rap-like vocals. "Whenever, Wherever" blends pop rock with Andean music and contains instrumentation from panpipes and the charango - traditional instruments generally associated with the genre.

A few songs are also influenced by dance-based genres; the "feisty" "Rules" is laced with new wave and "Ready for the Good Times" is inspired by disco music. The power ballad "Underneath Your Clothes" has Shakira delivering "racked" vocals and features brass instrumentation influenced by English rock band The Beatles. It contains a melody similar to the one in "Eternal Flame", a 1989 song by American all-female band The Bangles. Similarly, the tune of "The One", another power ballad on the album, is similar to that of "Michelle", a 1965 song by The Beatles. "Fool" and "Poem to a Horse" are more directly influenced by rock music. The former received comparisons to the work of Alanis Morissette while the latter also displays indie elements and contains instrumentation from a soul music-styled horn section and guitar riffs similar to the one present in songs by American grunge band Nirvana. Laundry Service also contains four Spanish tracks: "Que Me Quedes Tú" ("That You Remain With Me"), "Te Dejo Madrid" ("I Leave You Madrid"), "Suerte" ("Luck") and "Te Aviso, Te Anuncio (Tango)" ("I'm Warning You, I'm Announcing to You"); the latter two are Spanish translations of "Whenever, Wherever" and "Objection (Tango)", respectively.

The lyrics of most songs in Laundry Service are based on issues and themes related to love, as they had been written after Shakira began a relationship Antonio de la Rúa, the son of former Argentine president Fernando de la Rúa. "Underneath Your Clothes" is an "ode" to the positivity one gains when pursuing a relationship with a good person. Shakira shows an "important side" in "The One", which is a song about how "you love your guy so much that you're actually going to learn to cook" and contains lines like "To buy more thongs and write more happy songs, it always takes a little help from someone." In "Rules", she aims to make her lover realise that he is "condemned" to her and lists "all the things your new boy can do." Songs like "Objection (Tango)" and "Fool" also deal with issues related to love but in a different manner. The former is dramatic and humorous in approach as Shakira commands her partner to end a love triangle and choose between her and the other lady; it was described as a "hell-hath-no-fury it's-her-or-me steam train." In the song, Shakira asserts that "Next to her cheap silicon I look minimal/That's why in front of your eyes I'm invisible", which a reviewer commented was a "brave statement in these days of suspiciously ripe teenybop flesh peddlers ." "Fool" discusses how Shakira continues to try to build up a relationship with a "shitty, self-absorbed man" even after suffering a "soul-crushing defeat."

Release
The album was globally released on 13 November 2001 in nations including Australia, France, Italy, Switzerland and the United States. In Latin American countries like Mexico, the album was released as Servicio de Lavandería in January 2002. In the United Kingdom, Laundry Service was released on 11 March 2002. On 12 November 2002, a limited edition version of the album entitled Laundry Service: Washed and Dried was released; this version of the album features three additional remixes and a bonus disc which contains multimedia content related to "Objection (Tango)".

Shakira chose to entitle the album Laundry Service as she wanted to represent her passion for love and music, which she compared to soap and water, saying "The reason I named it "Laundry Service" is because I've spent the year dedicated to my two great passions: love and music. Those two elements are like soap and water. It was a deep cleansing, almost like being reborn." The artwork of the album was also designed by Shakira and shows a close-up of the back of a blonde-haired Shakira; a star and the name of the album are seen tattooed on her arm.

Singles

"Whenever, Wherever" was released as the lead single from Laundry Service in early October 2001. The song was commercially successful, peaking at number one in countries including Australia, Austria, France, Germany Italy, and more than 14 countries worldwide. In the United States, "Whenever, Wherever" became Shakira's first single to chart on the Billboard Hot 100 chart and peaked at number six. It stood as the singer's highest peaking single on the chart until "Hips Don't Lie" reached number one in 2006. "Whenever, Wherever" narrowly missed peaking atop the chart in the United Kingdom by reaching number two. "Suerte", the Spanish-language version of the song, was also released and peaked at number one in Spain and on the US Billboard Hot Latin Songs chart. "Whenever, Wherever" attained numerous record certifications around the world, including multi-platinum certifications in Australia, Belgium, and Switzerland, platinum certifications in the United Kingdom, and a diamond certification in France. The accompanying music video of the song, which features Shakira belly dancing in various locations, was directed by Francis Lawrence and became popular on music video television channel MTV.

"Te Dejo Madrid" was released as the second single from the album in January 2002. It peaked at number seven in Spain but performed poorly on the Latin record charts in the United States, peaking at number 45 on the Billboard Hot Latin Songs chart. Spanish bullfighter Julián López Escobar, better known by his stage name El Juli, filed a lawsuit against Shakira for using scenes of one of his performances in the music video for "Te Dejo Madrid" without his permission.

"Underneath Your Clothes" was released as the third single from the album in February 2002. The song peaked atop the charts in Australia, Austria, and Belgium; it was certified platinum in the three countries. In other countries, it became a top five hit. "Underneath Your Clothes" entered the top ten of the US Billboard Hot 100 chart, peaking at number nine, while in the United Kingdom it reached number three. The accompanying music video for "Underneath Your Clothes" was directed by Herb Ritts and depicts Shakira's life on tour. Shakira's then boyfriend Antonio de la Rua makes an appearance in the video and this led to music retailer Tower Records Argentina banning sales of her albums in the country. The reason behind the ban was that Antonio de la Rua's father Fernando de la Rúa, who was the President of Argentina at that time, had resigned "in the midst of profound economic and political turmoil in the country," and the decision to ban sales of Shakira's albums was a "direct protest against Antonio De la Rua—not Shakira."

"Objection (Tango)" was released as the fourth single in May 2002. Although it was not a commercial success as big as "Whenever, Wherever" or "Underneath Your Clothes", the song performed well nonetheless. "Objection (Tango)" became a top ten hit in most countries and reached the top five in Australia and Netherlands. The song was certified platinum in Australia and gold in France. It became the last single from Laundry Service to chart on both the US Billboard Hot 100 and the UK Singles Chart, on which it peaked at numbers 55 and 17, respectively. Directed by Dave Meyers, the music video for "Objection (Tango)" features Shakira fighting her unfaithful lover and his mistress.

"Que Me Quedes Tú" was released as the fifth single in November 2002 and peaked at number 10 on the Spanish Singles Chart. It became a success on the Latin record charts in the United States, topping both the Billboard Hot Latin Songs and Latin Pop Airplay charts.

"The One" was released as the sixth and final single from the album in December 2002. It was a moderate chart success and reached the top 20 in most countries. "The One" became the only single from the album to not appear on any US Billboard chart. The music video for "The One" was directed by Esteban Sapir and Ramiro Agulla and shows Shakira singing the song while walking outside in the rain.

Tour

To promote Laundry Service, Shakira embarked on the Tour of the Mongoose from 2002 to 2003. The tour was the singer's first worldwide tour and visited 50 cities and 30 countries, with its kick-off concert show held in San Diego, California. Various brands and franchises co-sponsored the tour, including international clothing brand Reebok and soft drink brand Pepsi. Seven buses and ten trailers were also employed to transport all the staff members. A stage covering 350 square meters was set up and preparations to arrange 280,000 watts of sound and light were made. A "solid nine-piece band" was hired to provide live instrumentation. Regarding the title of the tour, Shakira explained her decision to name it after the mongoose, saying:
"It's called the Tour of the Mongoose, and the mongoose is basically one of the few animals who can defeat the most venomous snakes with just one bite. And that's why I decided to name my tour that way, because I think that if we all have a little mongoose inside that can defeat the hatred and the resentment and the prejudice of everyday, we can probably win the battle."
Likewise, the theme of the tour was highly influenced by Shakira's political views, and this was prominently seen during the performance of "Octavo Día", a song from Dónde Están los Ladrones?, during which a film showing puppet caricatures of George W. Bush, then-President of the United States, and Saddam Hussein, then-President of Iraq, playing chess with their moves being controlled by the Grim Reaper. During the opening of the concert shows, a "massive" stage curtain showing a "mongoose and a cobra preparing for battle" split and a giant cobra slowly began rising from the centre of the stage to reveal Shakira, who wore "black leather pants and a black bikini top" and performed barefoot. Shakira incorporated belly dancing moves in her performances and often played various instruments throughout the shows herself, including the harmonica. Eight songs from Laundry Service were included on the setlist of the tour. A more afro-punk oriented version of "Objection (Tango)" was performed and featured instrumentation from bongos. As an intro to "Rules", Shakira played the harmonica, guitar, and drums. She also played an electric guitar during the performance of "Fool". "Whenever, Wherever" was included in the encore segment of the shows and was "made to feel even more celebratory by the massive amount of confetti shot on the crowd midway through." Shakira also performed covers of "Dude Looks Like a Lady", a song by American hard rock band Aerosmith, and "Back in Black", a song by Australian hard rock band AC/DC. Many performances made use of pyrotechnics and "six-foot flames that shot from the stage."

In 2004, a live album of the tour was released as Live & Off the Record. Aside from recording of the performances, the album included an hour-long documentary that shows Shakira "touring the world and doing such fun things as blowing bubbles, getting massages, and being serenaded by a mariachi band." A promotional CD single featuring the live performances of "Poem to a Horse" and "Whenever, Wherever" was also released to promote Live & Off the Record. The live album was certified platinum in France and gold in the United States.

Critical reception

Critical reception towards Laundry Service ranged from favourable to mixed, with critics expressing different opinions regarding the production and composition of the album. Alex Henderson from AllMusic commended Shakira's songwriting abilities in English, calling it a "challenge that she handles impressively well. Shakira, it turns out, sings quite convincingly in English," and also praised her different mixes of musical styles, saying "Like Shakira's Spanish-language albums, this self-produced CD is enjoyably eclectic; she successfully combines pop/rock with everything from tango on "Objection (Tango)" and Andean music on "Whenever, Wherever" to Middle Eastern music on "Eyes Like Yours". He concluded that "Dónde Están los Ladrones? remains Shakira's most essential album, but Laundry Service is an excellent English-language debut for the South American vocalist." A critic from Billboard also favoured the presence of various musical styles on the album and commented that "Laundry Service finds the 24-year-old artist unafraid of merging musical flavors," and complimented Shakira's vocal talent. Similarly, the Entertainment.ie review of the album deemed the lyrical content "surreal" and the production "no less bizarre [...] imposing breakneck tangos, twanging guitar solos and bizarre raps onto a familiar soft rock template." They felt that Laundry Service could not be called a "great album", reasoning that "the line between fascinatingly strange and offputtingly weird is a thin one, and Laundry Service crosses it far too often," but also stated that "Even so, Shakira's star quality can hardly be denied - and in today's increasingly conformist pop industry that deserves at least two cheers."

Alexis Petridis from The Guardian lauded Shakira's originality, opining that "In an age of personality-free pop idols, Shakira's glorious eccentricity makes her a true star," and commented that "Every song contains at least one non sequitur so eccentric that it could be the work of 1970s rock surrealist Captain Beefheart" and "The music on Laundry Service gives the lyrics a run for their money in the oddball handicap." Although he felt that the use of samples on various songs "displays an attitude to plagiarism that Noel Gallagher would consider cavalier" and that "no one could claim Laundry Service was a groundbreaking work of art," he concluded that "its ramshackle production and imponderable lyrics are striking and unique. And these days, it's hard not to find any pop record that provokes those adjectives rather cheering." Music critic Robert Christgau termed Laundry Service "the Cher album Cher never made" and attributed this to Shakira's blend of Middle Eastern styles in her music; he commented that the "stylistic appetite of this Colombian superstar is pure rock en Español" and appreciated Shakira's confident songwriting. Christgau also noted Shakira's strong vibrato and constant changing of timbre in her vocals. Lisa Oliver from Yahoo! Music said that Shakira's experimentation with different styles yield "results ranging from corking to minging," but experienced difficulty with the formatting of the CD, saying "the biggest problem with 'Laundry Service' is the anti-copying device that renders the CD useless in anything other than a conventional CD player [...] A shame then, because this Latino hottie could dilate the musical pupils of even the most ardent homebody if only they could get off the computer long enough to hear it."

At the same time Shakira's album evoked sharp criticism by a number of authors. David Browne from Entertainment Weekly, for instance, called the album a "the ultimate in crossover nightmares" and opined that Shakira's incorporation of different musical genres made it sound confusing, saying "Its wan ska-pop, faux-country ballads, and generic rock barely betray a Spanish accent or any musical heritage. (She can't decide if she wants to sound like Alanis or Shania)". Matt Cibula from PopMatters gave a more mixed view in his review of Laundry Service; he complimented some of the lyrics of the songs but expressed disappointment in Shakira's production of the album, writing it off as "generic". He felt that the album was "extremely safe" and speculated that the reason behind the album's "generic" sound was due to the Estefans' involvement, saying "when I read that she's [Gloria Estefan] helping you with lyrics and he's [Emilio Estefan] 'executive producer', and I hear the unmistakable hum of 'moneymoneymoneymoney' in the background ." Ernesto Lechner from Rolling Stone complimented the singer's voice as a "wild and beautiful instrument [...] capable of delivering scorching moments of musical passion," but commented that the involvement of a "battalion of producers and songwriters" led to Shakira sounding "downright silly" on Laundry Service and also criticised "her efforts to spice things up with obvious touches of Latin American folklore."

Some authors criticised Shakira's first English album for the clumsy rhyme of its songs. Elizabeth Mendez Berry's article in "Vibe" is particularly indicative in this sense.  In reference to Shakira's texts in English, the journalist wrote: "While her Spanish-language albums sparkled with elegant wordplay, this record is rife with cliches, both musically and lyrically. [...] For Anglophone Latin lovers, Shakira's lyrics are best left to the imagination."

Accolades
Laundry Service garnered Shakira a number of awards. At the 2002 American Latino Media Arts Awards (ALMA Awards) ceremony, the album won the award for "Album of the Year" and Shakira won the award for "Outstanding Female Performer". At the inaugural MTV Video Music Awards Latin America (VMALA) ceremony in 2002, Shakira won a total of five awards, which included "Artist of the Year", "Video of the Year" (for "Suerte"), "Female Artist of the Year", "Pop Artist of the Year" and "Best Artist - North Latin America". At the inaugural Premios Oye! in the same year, the album received a nomination in the category of "Record of the Year", while Shakira won the awards for "International Female Artist of the Year" and "Latin Pop Female Artist of the Year". At the 2002 Premio Lo Nuestro ceremony, Shakira won the "Premio del Pueblo" ("People's Choice Award") in the category of "Pop/Rock" for Laundry Service. At the 2003 NRJ Music Awards, Laundry Service was announced as the winner of "Best International Album" and Shakira was named the "Best International Female Artist". The album was also nominated for "International Album of the Year" at the 2003 Juno Awards.

Commercial performance

In Austria, Laundry Service entered the Ö3 Austria Top 40 albums chart at number five and peaked at number one, spending a total of 71 weeks on the chart. The album was certified double-platinum by the IFPI Austria for selling 80,000 units. In the Dutch-speaking Flanders region of Belgium, it reached number one on the Ultratop chart, while it peaked at number five in the French-speaking Wallonia region of the country. After debuting at number 40 on the Finnish Albums Chart, Laundry Service quickly ascended to number one and charted for a total of 49 weeks. By 2007, the album had gone triple-platinum in the country and had sold a total of 90,140 units. In France, Laundry Service debuted at number nine on the Syndicat National de l'Édition Phonographique (SNEP) albums chart and peaked at number five for three weeks; its stay on the chart lasted for 89 weeks. It was certified double-platinum by the SNEP for sales of 600,000 units. It remained as Shakira's greatest certified album in the country until her ninth studio album Sale el Sol was certified diamond in 2011. In Germany, it peaked at number two on the Media Control chart and charted for 31 weeks. Bundesverband Musikindustrie (BVMI) certified Laundry Service quintuple-gold in Germany for shipments of 750,000 units. In Hungary, it peaked at number four on the MAHASZ chart and was her highest charting album in the country until Sale el Sol reached the same position in 2010. The album was certified platinum in Hungary.

After debuting at number three on the Italian Albums Chart, Laundry Service ascended to number two the following week but was kept from attaining the top position by Alanis Morissette's 2002 album Under Rug Swept. In Spain, Servicio de Lavanderia reached number two on the PROMUSICAE albums chart. It also charted in 2005 in the country along with Shakira's fifth and sixth studio albums Fijación Oral, Vol. 1 and Oral Fixation, Vol. 2, respectively. The album has been certified quintuple-platinum by PROMUSICAE for shipments of 500,000 units. In Sweden, Laundry Service debuted atop the Sverigetopplistan chart and stayed on the top position for three weeks. It was certified double platinum by IFPI Sweden in 2003. In Switzerland, the album entered the Schweizer Hitparade chart at number 81 and peaked at number one, spending a total of 84 weeks on the chart. Laundry Service was later certified quintuple-platinum by the IFPI for selling 200,000 units in Switzerland. In the United Kingdom, Laundry Service debuted at number three on the UK Albums Chart. It later peaked at number two. The album was certified double-platinum by the British Phonographic Industry (BPI) for shipments of 600,000 copies. By 2002, Laundry Service had sold more than four million copies in Europe alone and thus was certified quadruple-platinum by IFPI Europe. "Laundry Service" has become one of the best selling album of all time in Turkey and she has received a platinum disc by Sony Music Turkey in a press conference in Istanbul in 2002.

In Australia, Laundry Service became Shakira's first album to chart on the ARIA Albums Chart after debuting at number two. It later peaked at number one for two weeks and in total it spent 54 weeks on the charts. Consequently, it became the second best-selling album of the year 2002 in the country, behind only American rapper Eminem's album The Eminem Show. The Australian Recording Industry Association (ARIA) certified Laundry Service quintuple-platinum for shipments of 350,000 units, making it Shakira's most successful album in the country and one of the best selling albums of all time in Australia, entering the all time chart at position of 29. The album also performed well in New Zealand, peaking at number four on the national albums chart and appearing on the chart for 47 weeks. By 2003, Laundry Service had been certified triple-platinum by the Recording Industry Association of New Zealand (RIANZ) for shipping 45,000 units.

In Canada, the album peaked atop the Billboard Canadian Albums Chart and is Shakira's only album to reach number one in the country. Eventually, Laundry Service was certified quintuple-platinum by Music Canada for shipments of 500,000 albums. In the United States, Laundry Service debuted and peaked at number three on the Billboard 200 chart, selling 200,000 copies in its first week. It stayed on the chart for a total of 61 weeks. The album also debuted and peaked at number six on the Billboard Top Internet Albums chart. It has sold over 1 million copies less than a month after its release. After around six months since its release, Laundry Service had been certified triple-platinum by the RIAA for shipments of 3,000,000 units in the United States. It is Shakira's best-selling album in the country, with sales of 3,526,000 units as of March 2014. According to Sony Music Canada, the album has been certified 4× Platinum in the United States. The album in its first year of release managed to sell 10 million copies worldwide making Shakira an award given by Sony Music for the highest recorded sales. According to the IFPI, Laundry Service was the seventh best-selling album in the world in 2002 with platinum certifications in 32 countries and gold certification in 10 countries. The album was named as one of the 100 biggest albums of the century by female artists in the United Kingdom by Official Charts, ranking at number 81.

Impact and legacy

The album's commercial success led to Shakira being deemed one of the most successful Latin crossover artists of all time, with Steve Huey from AllMusic calling her "Latin pop's biggest female crossover artist since Jennifer Lopez" and "an instant pop sensation, thanks to her quirky poetic sense and a sexy video image built on her hip-shaking belly dance moves." The success of the album also received considerable backlash, with many calling Shakira a "sellout". This negative response was further heightened by the fact that Shakira, a natural brunette, had bleached her hair blonde prior to the album's release, which many viewed as a tactic to "fit into the US market." Regarding this backlash, Shakira said, "I know my Latin people find this difficult. And I want [my success] to be good news to my country. But it's typical that when you see somebody who is so close to you growing, you feel that the very word 'growing' is synonymous with leaving. My hair is a coincidence. I dyed it more than two and a half years ago." On the other hand, many viewed Shakira's crossover success as a "strong cultural statement" as her musical style represented her mixed ethnicity.

In 2002, the singer was interviewed by Nobel Literature Prize-winning Colombian novelist and journalist Gabriel García Márquez, who was "astonished by her fantastical work-rate" and said that "Shakira's music has a personal stamp that doesn't look like anyone else's and no one can sing or dance like her, at whatever age, with such an innocent sensuality, one that seems to be of her own invention." In the United States and the United Kingdom, Shakira drew comparisons to American pop singer Britney Spears as they looked similar and sported "bleached blonde curls and butter-wouldn't-melt smiles for the kids down the front." However, critics argued that Shakira's vocal style was very different from Spears', with Ted Kessler from The Observer calling the former an "operatic diva" and writing that "as soon as she opens her mouth, she slips into gear and motors powerfully past Britney's breathy bump'n'grind." In 2009, Julia Llewellyn Smith from The Daily Telegraph commented that "Shakira makes comparable Spanish-English 'crossover' acts such as Jennifer Lopez and Enrique Iglesias seem like minnows." In an interview with Latina magazine in 2011, Gloria Estefan was asked whether she felt another crossover artist like Shakira could emerge in her lifetime, to which she responded, "I'm always hopeful that somebody, any Latino, is going to succeed in what they do. And of course in music, undoubtedly." Shakira's crossover success has been such that the media point out that possibly without its crossover many Latin artists such as Karol G, Becky G, Bad Bunny, Maluma or J Balvin would possibly not have the recognition that they enjoy today, and it is seen as a great step in the Latin industry since with the voice of Shakira the music industry would stop only focusing on American artists and Latinas would enter the arena such as Paulina Rubio, Thalía and even Fey who also ventured to conquer other audiences. Noting that thanks to Shakira, Latino artists now have a greater space in an international music industry in which prejudice and even racism continue to exist.

Shakira's belly-dancing ability came into attention and gathered coverage during this period, especially due to the music video of the lead single "Whenever, Wherever". The song also became famous for one of its lines in which Shakira sings "Lucky that my breasts are small and humble, so you don't confuse them with mountains"; it is often cited as an example of the unusual lyrical content of the singer's songs. According to Steve Huey from AllMusic, many critics were "divided as to the effectiveness of Shakira's English lyrics, but nearly all agreed on her unique poetic imagery." Huey further commented that the song and its video turned Shakira into a "star in the English-speaking world almost overnight." "Whenever, Wherever", along with "Underneath Your Clothes", is considered to be one of Shakira's signature songs.

Track listing
Credits are adapted from the liner notes of Laundry Service.

Notes
 signifies a co-producer
 translated the song into English from the original Spanish-language version "Ojos Así"
 remixed by Hani Kamai

Personnel
Credits adapted from AllMusic.

 Shakira – producer, songwriter, arranger, vocals, harmonica, logo design
 Emilio Estefan Jr. – executive producer, percussion
 Rita Quintero – Background Vocals
 Terry Manning – engineer
 Javier Garza – producer, engineer, mixer, arranger
 Tim Mitchell – producer, arranger, guitar, mandolin, programmer
 Lester Mendez – producer, arranger, horn arranger, keyboards
 Pablo Flores – producer, arranger, programmer
 Ted Jensen - Mastering
 Luis Fernando Ochoa – arranger, guitar, keyboards
 Jorge Calandrelli – arranger, piano arranger
 David Campbell – conductor, string arranger
 Alfred Figueroa – engineer
 Kevin Dillon – production coordinator
 Steven Menezes – studio coordinator
Adam Zimmon – guitar
 Tim Pierce – guitar
 Brian Ray – guitar
 Paul Bushnell – bass guitar
 Julio Hernandez – bass guitar
 Pablo Aslan – acoustic bass
 Brendan Buckley – drums, percussion
 Abe Laboriel, Jr. – drums
 Edwin Bonilla – percussion
 Richard Bravo – percussion
 Archie Pena – percussion
 David Alsina - bandoneon

Charts

Weekly charts

Year-end charts

Decade-end charts

All-time charts

Certifications and sales

See also
List of best-selling albums by women
List of best-selling albums of the 21st century
List of best-selling albums of the 2000s in Australia
List of best-selling albums in France
List of 200 Definitive Albums in the Rock and Roll Hall of Fame

References

2001 albums
Shakira albums
Epic Records albums
Albums produced by Emilio Estefan

Laundry Service (album)


Jørgen Rostrup (* 5. November 1978 in Kristiansand) ist ein ehemaliger norwegischer Orientierungsläufer. Rostrup gewann bei Weltmeisterschaften insgesamt vier Goldmedaillen.

Rostrup gewann 1997 und 1998 die Junioren-Weltmeisterschaft auf der Mitteldistanz. Bei seiner ersten Weltmeisterschaft der Aktiven 1999 in Inverness konnte er auf dieser Distanz den Titel ebenfalls erringen. 2001, als zweifacher Nordischer Meister von Mikkeli, gewann er den WM-Titel auf der Langdistanz. Auf der Mitteldistanz musste er sich mit Platz drei hinter dem Finnen Pasi Ikonen und dem Norweger Tore Sandvik begnügen. 2003 wurde er erstmals auch für die norwegische WM-Staffel nominiert. Bei der Weltmeisterschaft im schweizerischen Rapperswil belegten die Norweger allerdings nur Rang sieben. 2004 und 2005 gewann Norwegen aber jeweils die Goldmedaille. 2005 absolvierte Rostrup auch seine letzte Weltmeisterschaft.

1999 mit Bækkelagets SK und 2001 mit den Turun Suunnistajat gewann Rostrup die Jukola.

Platzierungen

Weblinks
 World Orienteering Championships International Orienteering Federation
 Jørgen Rostrup World of O Runners

Orientierungsläufer (Norwegen)
Weltmeister (Orientierungslauf)
Norweger
Geboren 1978
Mann

Jørgen Rostrup


La papeterie Amsler était une société française de papeterie fondée en 1870 dans la Marne, 8 rue de Taissy  à Reims.

Histoire
L'Usine de papeterie Amsler, puis Amsler Jundt, fondée en 1870 par Camile Amsler puis par son fils Paul Amsler.
Elle cesse son activité vers 1950.

Le site est ensuite occupé par une usine de petite métallurgie les « Outilleurs champenois », fabrique d'outils et de mécaniques de précisions,  créée en 1960 et dont la société est clôturée par une liquidation judiciaire en 2004.

Comme beaucoup de sites textiles dans Reims, le site a été converti en habitations. La résidence "Rive Gauche" de 48 logements, au 8-8bis-8Ter de la rue de Taissy, est construite en 2007 par Brooks sur l'emplacement de la papeterie Amsler.

Camille Amsler
Camille Amsler, fondateur de l'usine de papeterie Amsler est né à Yverdon (Suisse) en 1843.
Il est diplômé des Arts et Métiers (Châlons, promotion 1859).
Il commence son activité aux grands ateliers de construction de Grafenstaden et poursuit à la fabrique de papier de Jundt à Strasbourg dont il devient le directeur. Ne voulant pas devenir allemand, dans  le cadre du rattachement de l'Alsace et la Lorraine à l'Allemagne, il s'installe à Reims en 1870 avec sa famille et réinstalle la papeterie du Château-d'eau que l'on nomme également « papeterie Amsler.
Elle doit son nom à la proximité du château d'eau qui alimente les fontaines de Reims.  ». Il fut deux fois conseiller municipal de Reims. Il décède, à Reims, en 1897 et repose au cimetière du sud de Reims.

Voir aussi

Articles connexes
 Fabrication du papier
 Pâte à papier

Bibliographie

Lien externe
https://www.pop.culture.gouv.fr/notice/merimee/IA51000243

Notes et références

Histoire de Reims
Papeterie
Entreprise disparue

Usine de papeterie Amsler


Las elecciones municipales de 2011 en Cantabria se celebraron el 22 de mayo, junto con las del Parlamento de Cantabria. En la mayor parte de los municipios cántabros se impuso el Partido Popular de Cantabria (PP de Cantabria), incluida la capital, donde dicha formación política consiguió el 56,24 % de los votos, que le dieron la mayoría absoluta con 18 concejales (2 más que en 2007). El Partido Socialista de Cantabria (PSC-PSOE) fue el segundo partido más votado de Cantabria, pero el tercero en número de concejales; por su parte, el Partido Regionalista de Cantabria (PRC) se quedó a menos de 200 votos de diferencia con el PSC-PSOE y fue el segundo partido con más representación en los ayuntamientos de la región.

Resultados electorales

Resultados globales

Resultados en los principales municipios
En la siguiente tabla se muestran los resultados electorales en los diez municipios más poblados de Cantabria, que suman un total de 387 291 habitantes y que suponen un 65,39 % del conjunto de habitantes de Cantabria (592 250 hab.).

Notas

Referencias

Véase también
 Elecciones municipales de España de 2011
 Elecciones al Parlamento de Cantabria de 2011
 Elecciones en Cantabria

Elecciones municipales en Cantabria
Cantabria

Elecciones municipales de 2011 en Cantabria


Lordi, 1992'de kurulan Finlandiya kökenli hard rock ve heavy metal grubu. Melodik metal müzik yapan Lordi, sahnede ve müzik videolarında daima canavar maskeleri ve kostümleri giymeleri, konserlerinde korku öğeleri ve piroteknik kullanmaları ile öne çıkmaktadır.

Lordi; grubun vokalisti, söz yazarı ve kostüm yapımcısı Mr. Lordi tarafından kurulmuştur. 2002'de "Would You Love a Monsterman?" adlı teklisiyle başarı yakaladıktan sonra 2006'da Eurovision Şarkı Yarışması'nda "Hard Rock Hallelujah" şarkılarıyla birinciliği kazandı. Lordi, bugüne dek yarışmayı kazanan tek hard rock grubu ve tek Finlandiya temsilcisidir.

Lordi, 2006 yılında Danimarka'nın başkenti Kopenhag'da düzenlenen MTV Avrupa Müzik Ödülleri'nde, Eurovision birinciliğini elde etmesini sağlayan Hard Rock Hallelujah parçasını, kapanış töreninde seslendirdi. Ayrıca Büyük Britanya'da düzenlenen Making Your Mind Up adlı yarışmaya da katıldı. Lordi, 2007 yılında ABD'de düzenlenen Ozzfest'te de Cadılar Bayramı'na kadar tura çıktı.

Grup üyeleri takma adlarıyla tanınmakta, maskesiz halleriyle seyirci önüne çıkmamaktadır. Grubun şu anki üyeleri: Mr. Lordi (vokal), Amen-Ra (elektro gitar), Hisii (bas gitar) ve Hella (klavye, geri vokal).

2011'de ayrılan baterist Kita'nın yerine Otus geldi. 14 Şubat 2012'de Otus'un ölümüyle tekrar değişen grubun kadrosunda baterist olarak Mana yer almıştır.

2006 Eurovision Şarkı Yarışması
Lordi, Atina'da düzenlenen 2006 Eurovision Şarkı Yarışması'nda Finlandiya'yı "Hard Rock Hallelujah" isimli şarkı ile temsil etti ve 292 puanla birinci seçildi. İkinci seçilen Rusya'yı temsil eden Dima Bilan ile aralarında 44 puan vardı. Lordi, Arnavutluk, Ermenistan ve Monako dışında bütün ülkelerden puan almıştır.

Tartışmalar
Lordi'nin Finlandiya'yı temsilen yarışmaya katılması bazı tepkiler doğurdu. Bazı eleştirmenler Başkan'ın bu seçimi veto etmesini isterken, Yunan Lokanta ve Bar İşletmecileri Birliği Başkanı Niki Kostantinidu grubun satanist olduğunu ifade ederek Lordi'nin gösterisine izin verilmemesi çağrısında bulundu. Lordi bu tip iddialara cevap olarak satanist bir grubun "Hard Rock Hallelujah" veya "Devil is a Loser" gibi şarkılar yazmayacağını, fakat kendilerinin bir İncilci grup da olmadıklarını belirtti. Mr. Lordi bu tartışma hakkında "Biz satanist değiliz. Biz şeytana tapanlar değiliz. Bu bir gösteri." demiştir.

Stilleri
Müzik tarzı

Lordi tarz olarak Heavy Metal elementleri ile sertleştirilmiş Hard Rock yapmaktadır, yani klasik Hard Rock müziğine göre daha sert ve melodiktir. Kostüm ve maskelerden dolayı Shock Rock, konu olarak canavarları işledikleri için Power Metal olarak da isimlendirilebilir.

Üyeler

Aktif Üyeler
 Mr. Lordi – vokal (1992–günümüz), bateri (1992–2000), gitar, bas (1992-1996)
 Amen – gitar, vokal (1996–günümüz)
 Hiisi – bas (2019–günümüz)
 Hella – org, vokal (2012–günümüz)
 Mana – bateri, vokal (2012–günümüz)

Eski Üyeler
 G-Stealer – Bas (1996–1999)
 Magnum – Bas (1999–2002)
 Enary – Org (1997–2005)
 Kalma – Bas (2002–2005)
 Kita – Bateri, vocals (2000–2010)
 Awa – Org(2005–2012)
 Otus – Bateri(2010–2012; 2012 yılında öldü)
 OX – bas, vokal (2005–2019)

Diskografi

Demo Albümleri
 Demo albüm olarak Bend Over And Pray To Lord ve Napalm Market albümlerini kaydetmişlerdir. G-Stealer'ın çaldığı tek albümler bunlardır. Ayrıca henüz Kita gruba dahil olmadığından "bateri makineleri" kullanılıyordu.

Stüdyo Albümleri
 Get Heavy (2 Şubat 2002)
 The Monsterican Dream (2004)
 The Arockalypse (2006)
  Deadache  (28 Ekim 2008)
 Babez For Breakfast (2010)
 To Beast or Not To Beast (2013)
 Scare Force One (2014)
 Monstereophonic (2016)
 Sexorcism (2018)
 Killection (2020)
 Lordiversity (2021)

Toplama Albümleri
 The Monster Show ("Get Heavy" ve "The Monsterican Dream"den oluşan karışık albüm) (2005)
 Zombilation [ (2009)Lordi'nin bugüne kadarki albümlerinden en sevilen şarkıların,video kliplerin,canlı konserlerin ve Lordi'nin 2004 yılında çektiği The Kin adlı kısa filmin bulunduğu toplama bir albüm.]
 Scarchives Vol. 1 (2012)

Müzik Videoları
 "Would You Love a Monsterman?" (Get Heavy)
 "Devil is a Loser" (Get Heavy)
 "Blood Red Sandman" (The Monsterican Dream)
 "Hard Rock Hallelujah" (The Arocaklypse) (2006 Eurovision 1. gelen şarkı için çekilen klip. Ayrıca Eurovision 2007 açılışı için çekilen video klip de aynı şarkıya çekilmiştir)
 "Who's your daddy?" (The Arocaklypse)
 "It snows in hell" (The Arocaklypse)
 "Would You Love A Monsterman? (2006)" (The Arocaklypse)
 "Bite It Like A Bulldog" (Deadache)
 "This is Heavy Metal" (Babez For Breakfast)
 "Scare Force One" (Scare Force One)
 "Hug You Hardcore" (Monstereophonic)
 "Naked in My Cellar" (Sexorcism)
 "I Dug a Hole in the Yard for You" (Killection)
 "Believe Me" (Lordiversity)

Singles/EPs

 Would You Love a Monsterman? (2002)
 Devil is a Loser (2003)
 Blood Red Sandman (2004)
 My Heaven is Your Hell (2004)
 Hard Rock Hallelujah (2006)
 Who's Your Daddy? (2006)
 Would You Love A Monsterman? (2006)
 It Snows In Hell (2006)
 They Only Come Out At Night (2007)
 Beast Loose In Paradise (2008)
 Bite It Like A Bulldog (2008)
 Deadache (2008)
 This Is Heavy Metal (2010)
 Rock Police (2010)
 The Riff (2013)
 Hug You Hardcore (2016)
 Your Tongue's Got the Cat (2018)
 Naked in My Cellar (2018)
 Shake the Baby Silent (2019)
 I Dug a Hole in the Yard for You (2019)
 Like A Bee To The Honey (2020)
 Believe Me (2021)

Filmografi

The Kin
The Kin, Lordi tarafından yapılmış ve Lordi'nin oynadığı bir kısa korku filmidir. 2004 yılında The monsterican Dream albümü ile yayınlandı.

Dark Floors

Monsterman

Notlar
  "Monster band has Finland fretting over face it shows"  (HTML) International Herald Tribune
  "No Entrance to the Finnish Music Group!!" (HTML)
  "Greek religious fanaticism rears its ugly head once more"  (HTML)
  "Finland sends in heavy metal mob for its Eurovision challenge"  (HTML) The Guardian.

Kaynakça
2. Lordi hayran kitlesi orijinal sitesi

Dış bağlantılar

 Lordi hayran kitlesi orijinal sitesi

Fin heavy metal grupları
Fin power metal grupları
Fin hard rock grupları
Eurovision Şarkı Yarışması birincileri
2006 Eurovision Şarkı Yarışması yarışmacıları
Finlandiya'nın Eurovision Şarkı Yarışması yarışmacıları

Lordi


Königliche Porzellan-Manufaktur Berlin (prescurtat KPMB) este o fabrică de porțelan, care a fost fondat la 19 septembrie 1763 de către Frederic cel Mare și are din anul înființării sediul în Berlin. Astăzi Logo-ul companiei este un sceptrul albastru de cobalt din stema brandenburgeză. Toate porțelanurile KPM sunt decorate, și de asemenea, semnate manual și marcate cu un brand de pictura. KPM este încă și astăzi, o fabrică care produce portelanuri, servicii și figuri din porțelan, aproape exclusiv manual și motivele sunt pictate manual. În anul 2016 manufactura KPMB a fondat fundația Stiftung Königliche Porzellan-Manufaktur Berlin.

Galerie

Legături externe

 Homepage der KPM
 Sammlungen des KPM-Archivs (Land Berlin)
 Aktenverzeichnis des KPM-Archivs (Land Berlin)
 KPM-Retter Jörg Woltmann im Interview
 Preußische Allgemeine Zeitung über Johann Ernst Gotzkowsky, der die spätere Königliche Porzellan-Manufaktur begründete
 Königliche Porzellan-Manufaktur Berlin - Porzellan sammeln - Geschichte und Tipps für KPM-Sammler

 http://www.deutscherwerkbund-nw.de/fileadmin/media/PUBLIKATIONEN/BUECHER/Werkbund_Geschichte_dwb_Jahrbuch-1915_1.pdf
 Nicola Moufang in http://www.denes-szy.com/de/porzellan-kpm-berlin.html

Referințe

Fondări în 1763

Königliche Porzellan-Manufaktur Berlin


Perivoj Vladimira Nazora, nekadašnji Perivoj Blažeković je najveći zadarski perivoj.

Nastao je na bivšoj gradskoj utvrdi Forte, veličine oko 5,5 ha. Utvrda je podignuta na mjestu gradskog predgrađa - Varoša u 16. stoljeću po nacrtu i pod nadzorom mletačkog generala Sforze Pallavicina. U njoj je sagrađeno više vojarni, skladišta, barutana, te cisterna.

Perivoj je podignut od 1888. – 1890. godine zaslugom austrijskog namjesnika za Dalmaciju Dragutina Blažekovića. Po otvorenju 1890. nazvan je Vojni perivoj. Iako je bio otvoren za javnost i dalje je bio pod vojnom upravom. Da bi zadržala pravo vlasništva nad utvrdom odnosno perivojem, vojska je zatvarala perivoj za javnost jedan dan u godini, obično u proljeće. U novinama bi bilo objavljeno da se zatvara zbog vojne vježbe, ali to je vjerojatno bila dobra prilika da se detaljno uredi pred kretanje vegetacije.

Kako je Dragutin Blažeković iste godine umirovljen, a nakon tri godine je i umro, njemu u čast perivoj je nazvan Perivoj Blažeković. Iako malo oštećena, o podizanju perivoja i danas svjedoči kamena ploča na kojoj piše:

"Dieser Park wurde von den k : k : k Truppen unter werktätiger Aushilfe der k : k : Forst-inspection aufgelegt 1888-1890" / Ovaj perivoj su podigle carske i kraljevske trupe, pod djelotvornim nadzorom carsko-kraljevske šumarske inspekcije, 1888. – 1890.

U perivoju su uređene staze obrubljene kamenom pješčenjakom i veprinom, postavljene su klupe i rasvjeta. Po nacrtu iz 1906. god. parter je bio bogato posađen, a u njemu je postojala i bogata kolekcija ruža. Aleje čempresa još su i danas vidljive, kao i stoljetni borovi, te neke druge vrste. Jedino su lovori vremenom iz grmova prerasli u velika stabla i počeli dominirati perivojem, te pomalo cvjetni parter prekrili gustim sklopom krošnji. U perivoj se ulazilo kroz nekadašnje ulaze u utvrdu sa zapadne i istočne strane. Kako je utvrda bila nekad okružena obrambenim kanalima s morem, te morskom obalom, perivoj su zvali i "Zeleni otok". Istočni kanal je zatrpan prije otvorenja perivoja, dok je zapadni, između bastiona Grimani tj. Gradskog perivoja i Fortea tj. Perivoja Blažeković još postojao.

Godine 1909. u perivoju su otvorena nova, sjeverna vrata koja su omogućila lakši prilaz perivoju, a otvorena su jer je tu izgrađena nova prometnica. Tada je perivoj dijelom preuređen i izmijenjen je raspored staza u tom dijelu. Blizu ulaza je napravljen ribnjak s vodoskokom u sredini.

Godine 1910. u perivoju je postavljena brončana bista Dragutina Blažekovića na kamenom secesijskom postamentu. Autor biste poznati je zadarski kipar Bruno Bersa. U perivoju je postojala i bista cara Franje Josipa, ali nažalost, obje su biste uklonjene u doba talijanske vlasti i nisu sačuvane do danas. Dolaskom Talijana na vlast perivoj je prestao biti pod vojnom upravom. Vojna cisterna je uređena, pa je od tada služila i za javnu upotrebu. U doba talijanske vlasti, pred Drugi svjetski rat, kroz utvrdu je probijen i kolni prilaz vojarni, tako da je južni dio perivoja ostao odcijepljen.

Unatoč znatnim oštećenjima od bombardiranja tijekom rata, perivoj je ostao sačuvan do danas u nepromijenjenoj veličini, zahvaljujući tome što je na utvrdi Forte. Nakon rata je obnovljen, a 1968. godine je proglašen spomenikom prirode.

Tekst preuzet s Nasadi d.o.o. Zadar

Vidi i:
 Perivoj kraljice Jelene Madijevke

Parkovi u Hrvatskoj
Građevine u Zadru

Perivoj Vladimira Nazora u Zadru


The barrel of oil equivalent (BOE) is a unit of energy based on the approximate energy released by burning one barrel (,  or ) of crude oil. The BOE is used by oil and gas companies in their financial statements as a way of combining oil and natural gas reserves and production into a single measure, although this energy equivalence does not take into account the lower financial value of energy in the form of gas.

The U.S. Internal Revenue Service defines a BOE as equal to 5.8 million BTU. (, about  [HHV], or about .) The value is necessarily approximate as various grades of oil and gas have slightly different heating values. If one considers the lower heating value instead of the higher heating value, the value for one BOE would be approximately 5.4 GJ (see tonne of oil equivalent). Typically  or 58 CCF are equivalent to one BOE. The USGS gives a figure of  of typical natural gas.

A commonly used multiple of the BOE is the kilo barrel of oil equivalent (kboe or kBOE), which is 1,000 BOE. This should be avoided because it might lead to the use of MBOE (mega barrel of oil equivalent) but MBOE actually means thousand BOE. This potential confusion arises due to the use of Roman numeral M (one thousand) for natural gas production and MM (one million, even though MM means two thousand). In the S.I. (metric system) M means million, but cubic feet and barrels are not S.I. units, so S.I. prefixes should not be used. Another commonly used multiple is million barrels eqivalent per day, MMboed (or MMBOED, MMboepd, where MM denotes a million), used to measure daily production and consumption, and the BBOe (also BBOE) or billion barrels of oil equivalent, representing 109 barrels of oil, used to measure petroleum reserves.

Metric regions commonly use the tonne of oil equivalent (toe), or more often million toe (Mtoe). Since this is a measurement of mass, any conversion to barrels of oil equivalent depends on the density of the oil in question, as well as the energy content. Typically 1 tonne of oil has a volume of . The United States EIA suggests 1 toe has an average energy value of .

See also

References

Petroleum economics
Units of energy
Equivalent units

Barrel of oil equivalent


Die Autobahn Peking–Taipeh oder Jingtai-Autobahn (), chin. Abk. G3, ist eine derzeit 1881 km lange Autobahn in China, die die Hauptstadt Peking im Norden mit der ostchinesischen Millionenstadt Fuzhou verbindet. Bis auf ein kurzes Stück in der Provinz Fujian ist diese Strecke durchgehend befahrbar. Eine Verlängerung nach Taipeh ist geplant, jedoch wegen des Taiwan-Konflikts aktuell stillgelegt. Eine weitere Herausforderung würde der Bau eines über 100 km langen Tunnels unter der Formosastraße darstellen. Würde er realisiert, betrüge die Gesamtlänge 2030 km.

Die Autobahn verbindet die Städte Peking, Tianjin, Jinan, Tai'an, Hefei und Fuzhou miteinander.

Der Name Jing-Tai  ist eine Kombination des letzten Schriftzeichens von Peking (Beijing) und dem Zeichen Tai, das für Taipeh steht.

Einzelnachweise

Autobahn in der Volksrepublik China
Straße in Asien
Straße in Peking
Straße in Tianjin
Straße in Hebei
Straße in Shandong
Straße in Jiangsu
Straße in Anhui
Straße in Zhejiang
Straße in Fujian

Autobahn Peking–Taipeh


En forførers dagbog er en dansk eksperimentalfilm, der er instrueret af Bjørn Nørgaard. Bjørn Nørgaard lavede filmen til DR's Kulturafdeling i 1971, men den blev ikke vist, da man fandt den for dårlig. Filmen indeholder nogle 'maskingeværscener', som kan have været årsagen til DR's censur. I forbindelse med en Bjørn Nørgaard-udstilling på Statens Museum for Kunst i 2010, "Bjørn Nørgaard. Re-modelling the World", fik filmen for første gang offentlig visning.

Handling

Referencer

Eksterne henvisninger

Danske film fra 2010

Eksperimentalfilm fra Danmark

En forførers dagbog


تيودور الكسندروف بوباروشوف موسس بلغاريا مواليد في 4 آذار 1881 وقتل في 31أغسطس 1924 في ولايه مقدنونيا وبلتحديد في بلغاريا
انذاك التابعة الدولة العثمانية حيث كانت ديانته الارثودكسيه الشرقية التابعة للمبراطوريه
الروسية ساعد القوات الروسية في الحروب التي قامت بينها وبين الدولة العثمانية.

طريقه للسيطرة

درس في تسالونيكي في صالة للألعاب الرياضية البلغارية ومدرسة البلغارية التربويه في سكوبيه، حيث التحق Internal Macedonian Revolutionary Organization تحت تأثير مدير المدرسة خريستو الحرير، مؤسس المنظمة الثورية. وشارك في الانقلاب المسلح ضد الامبراطورية، ألقي القبض عليه وإدانته، ولكن أفرج عنه بموجب عفو.

في عام 1911، انتخب جنبا إلى جنب مع بيتر Chaulevym وخريستو Chernopeevym للجنة المركزية Internal Macedonian Revolutionary Organization.

في عام 1912، نظم هجمات ارهابية في مدن شتيب كوتشاني، والتي أصبحت ذريعة للبدء في أول حرب البلقان. واستولى على Kočani المدينة.

خلال حرب البلقان الثانية والحرب العالمية الأولى، قاتلوا إلى جانب بلغاريا.

السياسة

الكسندروف يدعو إلى إنشاء هيئة مستقلة، ولكن على المدى الطويل—جمهورية مقدونيا المستقلة وعاصمتها في سالونيك.

ويولى الكسندروف اهتمام كبير لإنشاء مؤسسات البلغارية المقدونية في منطقة بيرين.

وشارك في قمع الانتفاضة المطالبة في الرجوع إلى حكم استطنبول في ايلول / سبتمبر 1923 بالاعتماد على بلغاريا.

في عام 1924، وقعت تودور الكساندروف في ما يسمى. البيان (أيار / مايو) من ينص على التحالف Internal Macedonian Revolutionary Organization مع الشيوعيين في النضال ضد حكومة يوغوسلافيا.

تحت ضغط من حلفاء رفض الاعتراف بتوقيعه، واصفا تزوير واضح.

قتله

الا الآن لا أحد يعلم كيف اغتيل حيث انه

اعتبره المقدونيون انه خائن لمقدونيا اما البلغار فاعبروه بطل قومي.

مراجع

وصلات خارجية

أشخاص قتلوا في بلغاريا
أشخاص من بلدية شتيب
أشخاص من ولاية كوسوفو
أفراد عسكريون بلغاريون في الحرب العالمية الأولى
أفراد عسكريون بلغاريون في حروب البلقان
الحاصلون على الصليب الحديدي (1914) من الدرجة الثانية
حاصلون على وسام الاستحقاق العسكري
بلغاريون مسجونون في الخارج
بلغاريون مغتالون
تاريخ بلغاريا
ثوريون بلغاريون
سجناء ومعتقلون في الدولة العثمانية
مربون بلغاريون
معلمو مدارس بلغاريون
مقدونيا تحت الحكم العثماني
مواليد 1881
وفيات 1924
وفيات بإطلاق النار في بلغاريا

تيودور الكسندروف


Când vine pisica (titlul original: în ) este un film de comedie fantastico-lirică cehoslovac, realizat în anul 1963 de regizorul Vojtěch Jasný, fiind un important reper al noului cinematograf ceh, filmul abordând satiric problemela morale ale epocii, la modul unei fabule moderne. Protagoniști sunt actorii Jan Werich, Emília Vášáryová, Vlastimil Brodský, Vladimír Menšík.

Conținut

Într-un mic orășel de provincie aflat undeva în Moravia, viața decurge liniștit, aproape monoton, fără evenimente deosebite. Oliva, unul din locuitori, ne prezintă unii dintre concetățeni, fără să-i omită pe copii care ca și niște mici Picasso, pictează zidurile orășelului cu cretă colorată, sau pe Janek, bărbat în putere, care mereu simulează că e bolnav ca să nu lucreze, pe autoritarul director al școlii și pe omul de serviciu din școală care era ca un lacheu al șefului său. Nu lipsesc din prezentare nici profesorul Robert, cu nemulțumirile sale în dragoste, secretara școlii, sau șeful de restaurant care din bacșiș putea să-și cumpere mașină.

Când profesorul Robert îl invită pe Oliva la o oră de desen ca să stea model pentru copii care vor să îl deseneze, aceștia îl roagă a nu știu câta oară, să le spună cum s-a îndrăgostit el de frumoasa Diana. Așadar Oliva le povestește despre Diana care era acrobată la circ și avea o mâță care purta tot timpul ochelari. Acești ochelari erau însă miraculoși pentru că atunci când i se scoteau, pisica privind la oamenii din jurul ei, îi delimita pe oamenii de bună credință de ceilalți care își schimbau culoarea după starea lor sufletească și mai ales în funcție de caracterul lor. Astfel ipocriții, mincinoșii și carieriștii deveneau violet, infidelii primeau culoarea galbenă, hoții și borfașii deveneau gri iar de culoare roșie erau îndrăgostiții. Fascinați de misterioasa pisică, mulți copii o desenează după închipuirea lor.

Liniștea și monotonia cotidiană se termină când vine în orășel un grup de artiști ambulanți, în mijlocul cărora se aflau frumoasa Diana cu pisica în brațe și însuși Magicianul, pentru că în timpul spectacolului prezentat de aceștia în fața locuitorilor, scoțând ochelarii pisicii, li se dezvăluie adevăratul caracter al acestora prin colorarea lor după merit. Aceștia supărați, încep o vânătoare acerbă a pisicii. În ajutorul ei sar copii și oamenii de bună credință, care reușesc să o salveze...

Distribuție
 Jan Werich – Oliva / Magicianul
 Emília Vášáryová – Diana
 Vlastimil Brodský – profesorul Robert
 Jiří Sovák – Karel, directorul școlii
 Vladimír Menšík – Julia, profesoară
 Karel Effa – Janek
 Vlasta Chramostová – Marjánka
 Alena Kreuzmannová – bârfitoarea
 Stella Zázvorková – Ruzena, soția directorului
 Jaroslav Mares – șeful restaurantului
 Jana Werichová – soția acestuia
 Ladislav Fialka – hoțul
 Karel Vrtiska – morarul
 Václav Babka – milițianul
 În rolurile de copii:
 Tonda Krcmar
 Dana Dubanská
 Míša Paspíšil
 Pavel Brodský
 și pisica Mokol

Premii
 1963 Festivalul de la Cannes
 Premiul special al juriului
 Grand prix technique – Premiul pentru tinere talente
 1963 Edinburg - Diplomă de merit
 1964 Barcelona, Festivalul filmului color - Premiul de Argint
 1964 Salonic, Festivalului Internațional de Film - Premiu

Referințe

Vezi și
 Listă de filme străine până în 1989

Legături externe

Vezi și
 Filmografia actriței Emília Vášáryová

Filme din 1963
Filme de comedie
Filme în limba cehă
Filme regizate de Vojtěch Jasný
Filme fantastice din anii 1960
Filme din Studioul Barrandov

Când vine pisica


Sam Allardyce (f. 19. október 1954 í Dudley, í Englandi) er enskur knattspyrnustjóri og fyrrverandi knattspyrnumaður.

Hann er núverandi knattspyrnustjóri hjá Leeds United.

Heimildir
 Sam Allardyce, transfermarkt.com (á ensku)
 Sam Allardyce, soccerbase.com (á ensku)

Viðhengi

Allardyce Sam
Enskir knattspyrnustjórar

Sam Allardyce


Orban, također poznat kao Urban ( - 1453.), bio je lijevač željeza i inženjer iz grada Brassó, Transilvanija, u kraljevini Ugarskoj (sada Brasov, Rumunjska), koji je izrađivao velike topove za Osmansku opsadu Carigrada 1453. godine.

Orban je bio Mađar prema većini suvremenih autora, dok neki znanstvenici također spominju njegovo potencijalno njemačko podrijetlo. Alternativne teorije pretpostavljaju da je imao vlaške korijene. Laonikos Chalkokondyles ga naziva Dačaninom.

Orban je 1452. godine prvotno svoje usluge ponudio Bizantskom Carstvu, kojem prijeti Osmansko Carstvo i koje ima malobrojno topništvo za obranu Carigrada. Car Konstantin XI. Paleolog nema niti sredstava za visoku plaću koju Orban traži niti posjeduje materijale potrebne za izgradnju tako velikog opsadnog topa kakvog predlaže Orban. Nakon toga napušta Carigrad i odlazi osmanskom sultanu Mehmedu II., koji se priprema za opsadu grada. Tvrdeći da njegova oružja mogu razoriti i zidove samog Babilona, Orban dobiva sultanovo povjerenje. Sultan mu daje plaću veću od tražene i sav potreban materijal. Orban je uspio u roku od tri mjeseca napraviti impozantni top (cijev mu je duga oko osam metara) u ljevaonicama Edirnea odakle ga je šezdeset volova odvuklo do Carigrada. U isto vrijeme, Orban je također proizveo i druge manje topove koje su koristile osmanlijske opsadne snage.

Bombarde, tehnologija koju su uglavnom njemački stručnjaci dizajnirali prvo za ugarsku vojsku, je u razdoblju između 1400. i 1450. godine postala rasprostranjena u cijeloj zapadnoj Europi, mijenjajući opsadno ratovanje. Orban je, vjerojatno poginuo tijekom opsade, kada je eksplodirao jedan od njegovih topova, što u ono vrijeme nije bila neobična pojava.

U popularnim medijima

 Majstora Orbana je igrao Burhanettin Üskan u turskom filmu iz 1951., İstanbul'un Fethi
 Erdoğan Aydemir je igrao Orbana u filmu iz 2012. Fetih 1453.

Izvori

Životopisi, Rumunjska

Orban (inženjer)


Željko Župetić (Velika Gorica, 23. rujna 1967.) bivši je hrvatski nogometni reprezentativac.

Veći dio svoje karijere proveo je u NK Zagrebu, s kratkim periodima u Izraelu i u Rijeci.

Župetić ima i jedan nastup za hrvatsku nogometnu reprezentaciju, 19. lipnja 1991. u gostujućoj pobjedi protiv Slovenije (0:1).

Izvori

Nogometaši NK Zagreba
Nogometaši HNK Rijeke
Hrvatski nogometni reprezentativci
Životopisi, Velika Gorica

Željko Župetić


Reuben Eugene "Rube" Bjorkman (* 27. Februar 1929 in Roseau, Minnesota) ist ein ehemaliger US-amerikanischer Eishockeyspieler und -trainer.

Karriere
Rube Bjorkman besuchte die University of Minnesota, für deren Eishockeymannschaft er parallel spielte. Später war er lange als Eishockeytrainer im Collegesport tätig. In der Saison 1963/64 betreute er das Rensselaer Polytechnic Institute aus der ECAC Hockey. Von 1965 bis 1969 war er Cheftrainer der University of New Hampshire, die ebenfalls am Spielbetrieb der ECAC Hockey teilnahm. Zuletzt betreute er von 1970 bis 1978 die University of North Dakota aus der Western Collegiate Hockey Association.

International
Für die USA nahm Bjorkman an den Olympischen Winterspielen 1948 in St. Moritz und 1952 in Oslo teil. Bei den Winterspielen 1948 wurden die USA aufgrund des unerlaubten Einsatzes von Profispielern nachträglich disqualifiziert, bei den Winterspielen 1952 gewann er mit seiner Mannschaft die Silbermedaille. Zudem stand er im Aufgebot seines Landes bei der Weltmeisterschaft 1955.

Erfolge und Auszeichnungen
 1952 Silbermedaille bei den Olympischen Winterspielen

Weblinks

Eishockeynationalspieler (Vereinigte Staaten)
Eishockeyspieler (Minnesota Golden Gophers)
Eishockeytrainer (Vereinigte Staaten)
Person (Rensselaer Polytechnic Institute)
Person (University of New Hampshire)
Person (University of North Dakota)
Olympiateilnehmer (Vereinigte Staaten)
Teilnehmer der Olympischen Winterspiele 1952
US-Amerikaner
Geboren 1929
Mann

Rube Bjorkman


Un ISFET este un tranzistor cu efect de câmp sensibil la ioni, care este un câmp-efect tranzistor folosit pentru măsurarea concentrației ionilor în soluție; atunci când concentrația de ioni (cum ar fi H+, a se vedea scala pH) se modifică, curentul prin tranzistor se va schimba în consecință. Aici, soluția este folosită ca și electrod poartă. Astfel, datorită învelișului de ioni apare o tensiune între substrat și suprafața de oxid.

Hidroliza de suprafață a grupei Si–OH a materialului din poartă, variază în soluțiile apoase, datorită valorii pH-ului. Materialele tipice pentru poartă sunt SiO2, Si3N4, Al2O3 și Ta2O5.

Mecanismul responsabil sarcina electrică a suprafeței de oxid, poate fi descris prin modelul de legare a locurilor, care descrie echilibrul între locurile de pe suprafața Si–OH și ionii H+ din soluție. Grupele hidroxil care acoperă suprafața de oxid, cum ar fi cea de SiO2, poate dona sau accepta un proton și astfel, să se comporte într-un mod amfoteric, așa cum este ilustrat de următoarele reacții acid-bază care au loc la interfața oxid-electrolit:
 —Si–OH + H2O     ↔   —Si–O−     + H3O+

 —Si–OH + H3O+   ↔   —Si–OH2+ + H2O
Sursa și drena unui ISFET sunt construite ca și pentru un MOSFET. Electrodul poartă este separat de canal de către o barieră care este sensibilă la ionii de hidrogen și un spațiu care să permită substanței testate să ajungă în contact cu bariera sensibilă. Tensiunea de prag a unui ISFET depinde de pH-ul substanței ce se află în contact cu bariera sensibilă la ioni.

ISFET-ul a fost inventat de către Piet Bergveld în 1970.

Limitări practice datorate electrodului de referință
Un electrod ISFET sensibil la concentrații de H+ poate fi folosit ca un electrod de sticlă convențional pentru măsurarea pH-ului unei soluții. Cu toate acestea, el necesită de asemenea, un electrod de referință pentru a funcționa. Dacă electrodul de referință utilizat în contact cu soluția, este de tip clasic din AgCl sau HgCl2, acesta va suferi de aceleași limitări ca și electrozii pH convenționali (potențial de joncțiune, scurgere de KCl și de glicerol în cazul electrodului cu gel). Un electrod de referință convențional, poate fi de asemenea voluminos si fragil. Un volum prea mare condiționat de un electrod de referință clasic, de asemenea exclude miniaturizarea electrodului ISFET, o caracteristică obligatorie pentru unele analize clinice biologice sau in vivo (mini sondă pH de unică folosință). Spargerea unui electrod de referință convențional, ar putea de asemenea crea probleme în măsurătorile de linie din industria farmaceutică sau alimentară, dacă produse extrem de valoroase sunt contaminate cu reziduuri din electrozi sau cu compuși chimici toxici, într-o etapă ulterioară de producție, și trebuie să fie eliminate din motive de siguranță.

Din acest motiv, de mai mult de 20 de ani, multe eforturi de cercetare au fost dedicate realizării unui tranzistor cu efect de câmp inclus într-un sigur chip (REFET). Principiul lor de funcționare sau modul de operare, poate varia în funcție de producătorii electrodului și sunt adesea protejate de brevete. Suprafețele semiconductoare modificate necesare pentru REFET, nu sunt de asemenea întotdeauna în echilibru termodinamic cu soluție de testare și pot fi sensibile la speciile dizolvate agresive sau cu care interferează, sau cu fenomenele de îmbătrânire ce nu sunt bine caracterizate. Aceasta nu este o problemă reală, dacă electrodul poate fi frecvent re-calibrat la intervale regulate de timp și este ușor de întreținut în timpul vieții sale de serviciu. Cu toate acestea, acest lucru poate fi o problemă în cazul în care electrodul trebuie să rămână cufundat pentru o perioadă prelungită de timp, sau este inaccesibil pentru anumite constrângeri legate de natura măsurătorilor în sine (măsurători geochimice sub presiune ridicată a apei în mediile dure sau sub condiții anoxice sau de reducere, ușor perturbabile pătrunderea oxigenului atmosferic sau de schimbările de presiune).

Un factor crucial pentru electrozii ISFET, ca și pentru electrozii convenționali de sticlă, rămâne electrodul de referință. Atunci când apar defecțiuni ale electrozilor, de multe ori, cele mai multe dintre probleme trebuie să fie căutate din partea electrodului de referință.

Vezi și
 Tranzistor chimic cu efect de câmp
 Electrozi Ion selectivi
 MISFET: tranzistor metal-izolator cu efect de câmp
 MOSFET: tranzistor metal-oxid cu efect de câmp
 pH
 pH-metru
 Potențiometru
 Electrodul Quinhydrone
 Electrodul de calomel saturat
 Electrod din clorura de argint
 Electrod standard pentru hidrogen

Note

Bibliografie

Electrochimie
Electrozi
Instrumente de măsură
Senzori

ISFET


جينيفر لين لوبيز  (مواليد 24 يوليو 1969) وتلقب أحيانا فقط بـ جاي.لو؛ هي ممثلة، مغنية، منتجة تلفزيونية وتسجيلية وراقصة وأيضا مصممة أزياء أمريكية مشهورة. وتعد الشخصية الأمريكية من أصول لاتينية الأكثر ثراء في هوليوود.وكما تعدّ أيضًا من أهم الشخصيات الأميريكية اللاتينية فوفقا لمجلة «بيبول إن إسبانيول» فقد صنفت بن أكثر 100 شخصية أمريكية من أصول لاتينية نفوذا في البلاد، كانت زوجة للمغني اللاتيني مارك أنتوني سنة 2004، لكن حصل الطلاق بينهما سنة 2014. باعت جينفير لوبيز في مهنتها الموسيقية أكثر من 55 مليون ألبوم حول العالم.

حياة أسرية
ولدت جنيفر لوبيز في 24 تموز، 1969 في ضاحية كاسل هيل في برونكس في نيويورك. والداها هما غوادالوبي رودريغيز، وتعمل معلمة روضة، وديفيد لوبيز، وهو اختصاصي كمبيوتر. ولد أبواها في بورتوريكو. لدى جنيفر شقيقة كبرى وهي ليزلي، وشقيقة صغرى وهي ليندا، وتعمل كصحافية. أمضت جنيفر مسيرتها الأكاديمية بأكملها في المدارس الكاثوليكية.

ألبومات

 On the 6
 J.Lo
 This Is Me... Then
 Rebirth
 Como Ama una Mujer
 Brave
 Love?
 A.K.A.

أفلام

انظر أيضًا

 شاكيرا
 ريانا
 أريانا غراندي

مراجع

وصلات خارجية

 الموقع الرسمي

مغنون وكتاب أغاني أمريكيون في القرن 20
أشخاص على قيد الحياة
أشخاص من بروكفيل (نيويورك)
أشخاص من البرونكس
أشخاص من هيدين هيلس (كاليفورنيا)
أصحاب أعمال أمريكيون في الأزياء
أصحاب أعمال أمريكيون في مجال مستحضرات التجميل
أصحاب أعمال من مدينة نيويورك
أمريكيون من أصل بورتوريكي
المرأة في موسيقى لاتينية
المرأة في هيب هوب
حائزون على جوائز الموسيقى العالمية
راقصات أمريكيات
راقصون من ولاية نيويورك
راقصون وراقصات أمريكيون
رومان كاثوليك أمريكيون
سوبرانو أمريكيون
سيدات أعمال أمريكيات
فائزون بجوائز إم تي في للموسيقى الأوروبية
فاعلات خير أمريكيات
فاعلات خير في القرن 21
فاعلو خير أمريكيون
فاعلو خير في القرن 21
فاعلو خير من ولاية نيويورك
فنانو آيلاندز ريكوردز
فنانون ترفيهيون من ذا برونكس
قضاة في مسلسلات تلفزيونية واقعية أمريكية
كاثوليك من كاليفورنيا
كاثوليك من ولاية نيويورك
كتاب من ذا برونكس
كتاب من مدينة نيويورك
مسيرو أعمال
مشاركون أمريكيون في برامج تلفزيون الواقع
مصممات أزياء أمريكيات
مصممات رقص أمريكيات
مصممو أزياء أمريكيون
مصممو رقص أمريكيون
مغتربون أمريكيون في اليابان
مغنو آر إن بي أمريكيون
مغنو بوب لاتينيون أمريكيون
مغنو هيب هوب أمريكيون
مغنو ومغنيات بوب أمريكيون
مغنون أمريكيون باللغة الإسبانية
مغنون أمريكيون في القرن 20
مغنون أمريكيون في القرن 21
مغنون من مدينة نيويورك
مغنون وكتاب أغان من كاليفورنيا
مغنون وكتاب أغان من ولاية نيويورك
مغنون ومغنيات وكتاب أغان أمريكيون
مغنيات أمريكيات في القرن 20
مغنيات أمريكيات في القرن 21
مغنيات أمريكيات هسبانيات ولاتينيات
مغنيات بوب أمريكيات
مغنيات هيب هوب أمريكيات
مغنيات وكاتبات أغان أمريكيات
ممثلات أداء صوتي أمريكيات
ممثلات أفلام أمريكيات
ممثلات أمريكيات في القرن 20
ممثلات أمريكيات في القرن 21
ممثلات أمريكيات من أصل إسباني وأمريكي لاتيني
ممثلات أمريكيات من أصل بورتوريكي
ممثلات تلفزيون أمريكيات
ممثلات من مدينة نيويورك
ممثلون وممثلات بورتوريكيون
منتتجات تسجيلات أمريكيات
منتجات أفلام أمريكيات
منتجات تلفزيون
منتجات تلفزيون أمريكيات
منتجو أفلام أمريكيون
منتجو أفلام من ولاية نيويورك
منتجو تسجيلات من كاليفورنيا
منتجو تسجيلات من ولاية نيويورك
منتجو تلفزيون من كاليفورنيا
منتجو تلفزيون من مدينة نيويورك
مواليد 1969
مواليد في نيويورك
موسيقيات هيب هوب أمريكيات
موسيقيو رقص أمريكيون
موسيقيو رقص البوب
موسيقيون أمريكيون من أصل بورتوريكي
موسيقيون من ذا برونكس
مؤسسات شركات أمريكيات
مؤسسو شركات أمريكيون
ناشطات أمريكيات
ناشطو حقوق إل جي بي تي أمريكيون
ناشطو مكافحة الإيدز
ناشطون من مدينة نيويورك
نساء أسسن شركات

جينيفر لوبيز


A parlour or parlor game is a group game played indoors, named so as they were often played in a parlour. These games were extremely popular among the upper and middle classes in the United Kingdom and in the United States during the Victorian era.

The Victorian age is sometimes considered the "Golden Age" of the parlour game. During the 19th century, the upper and middle classes had more leisure time than people of previous generations.  This led to the creation of a variety of parlour games to allow these gentlemen and ladies to amuse themselves at small parties.  Boxed parlour games were very popular from around 1920 until into the 1960s, especially around Christmas. Parlour games competed for attention with the mass media, particularly radio, movies, and television.  Though decreased in popularity, parlour games continue to be played.  Some remain nearly identical to their Victorian ancestors; others have been transformed into board games such as Balderdash.

Many parlour games involve logic or word-play.  Others are more physical games, but not to the extent of a sport or exercise. Some also involve dramatic skill, such as in charades.  Most do not require any equipment beyond what would be available in a typical parlour - i.e. the functioning mouths of the participants. Parlour games are usually competitive, but cumulative scores are not usually kept. The length and ending time of the game is typically not set; play continues until the players decide to end the game.

Parlour games are also interchangeably used with carnival games such as, but not limited to, "ping pong toss", "dart throwing", "strong man", and "dunk water". These can be played either indoors or outdoors and is usually accompanied with a token prize (i.e. stuffed animal) upon winning.

Examples

Examples of parlour games include:

Aesop's Mission
Are you there, Moriarty?
Carnelli
Charades
Consequences
Fictionary
Huckle buckle beanstalk
Hunt the thimble
I packed my bag
I spy
Kim's Game
Mafia
The Minister's Cat
Six Degrees of Kevin Bacon
Twenty questions
Wink murder

As a metaphor
By analogy, the phrase "parlour game" has been used to accuse political opponents of using deliberately nebulous or confusing language when describing their positions on issues.

See also

 Casino game
 Drawing room
 Game of dares
 Party game
 Pub game
 Salon
 Tabletop game

References

Game terminology

Parlour game


Mariela de Jesús Viteri Velasco (Bahía de Caráquez, 27 de diciembre de 1968) es una presentadora de televisión, locutora de radio, directora de medios, filantrópica y actriz ecuatoriana. Comenzó su carrera en Aplausos de Telecentro, para luego participar en programas de entrevistas como Música y Deportes, Na' que ver, Media hora con Mariela, entre otras, siendo Simplemente Mariela una de sus más grandes experiencias como presentadora de televisión.

Viteri también es empresaria, siendo la directora de medios de Radio Fuego y Revista Mariela. Adicional a esto se adentró a la música como medio filantrópico para ayudar a fundaciones. Desde el año 2013, Producciones de Fuego lanza la plataforma web MarielaTV.com, una plataforma multimedia del cual se desprende producciones como Miércoles de MarielaTV, Mariela en Cabina, Cocina con Mariela, Bienvenida la Navidad y su actual programa reality Mariela Te Transforma.

Primeros años de vida
Mariela de Jesús Viteri Velazco nació en la ciudad de Bahía de Caráquez de la provincia de Manabí, bajo el seno de una familia manabita conformada por Mariana Velasco y el Dr. Leonardo Viteri. Tiene cuatro hermanos: Vicky, Leo, Lalo y Polo.

Carrera
Inició su carrera televisiva en 1989 en el programa Aplausos de Telecentro ahora conocido como TC Televisión luego de haber salido como finalista junto a Soledad Diab  y Claudia González en un casting organizado por Gastón Carrera, Viteri fue escogída por su personalidad espontánea .

Luego de esto, continuó  junto a Gerardo España en un espacio llamado Música y Deportes en el canal CableDeportes, siguiendo un formato de entrevistas pícaras a personajes del medio nacional e internacional y terminando siendo la imagen principal del show luego de la salida de España.

Para el año 1993, Mariela cambió de casa televisiva, esta vez a CRE Televisión, conocido ahora como Canal Uno, en el cual desempeñó el puesto de entrevistadora para dos espacios: Na' que ver y Media hora con Mariela.

En inicios del año 1994, comenzó con el programa Aquí Mariela, en el canal Teleamazonas en un formato de entrevistas diarias. Viteri con más experiencia, tuvo la oportunidad de entrevistar a personalidades nacionales y grandes artistas de España.

Siguiendo con su evolución profesional, Mariela volvió a Telecentro (TC Televisión) en 1997 para entrar en el espacio La Hora de Mariela, teniendo este un rating bajo, al ser un programa de mediodía que competía con espacios como el show de Bernard, entre otros. Por otro lado, debido al bajo desempeño de La Hora de Mariela, Jorge Kronfle le propuso un nuevo programa semanal de entrevistas, naciendo así Simplemente Mariela.

El TalkShow tuvo un desbordante éxito en rating  12 años, llegando a tener cerca de 17 temporadas con grandes personalidades como invitados y siendo líder en su franja horaria.

En el 2014 regresa a la pantalla de televisión, siendo parte del jurado en la segunda temporada del programa Soy el Mejor VIP en TC Televisión, y también se involucra con éxito en eventos BTL como son: Cocinemos con Mariela, Expo Fashion Mariela y Bienvenida la Navidad. Debido a la gran acogida que tienen sus entrevistas en MarielaTV,  en el 2015 se lanzan a la televisión a través de la pantalla de Telerama donde se transmiten sus entrevistas  diariamente en horario estelar.

Fue jurado de varios programas concursos, principalmente en la cadena Ecuavisa. En 2011 fue jurado de Escuela de famosos y en 2019 repite en Prueba de amor.

Incursión en la actuación
En 2018 participa en la telenovela Sharon la Hechicera producida por Ecuavisa, en la que narra la vida de la cantante Edith Bermeo, conocida artísticamente como Sharon la Hechicera desde sus inicios hasta su trágica muerte. En la historia, Viteri interpreta el personaje de "Luz María", presentadora del programa de televisión Destellos, basado en la recordada presentadora del programa Chispazos, Luzmila Nicolalde. El mismo año, realiza una participación especial en la cuarta temporada de la comedia 3 familias, también de Ecuavisa.

Radio Fuego y Revista Mariela
Viteri es empresaria, siendo la presidenta ejecutiva de Radio Fuego: 106.5 FM creada en 1995 junto a su entonces esposo Ricardo Mórtola, y de Revista Mariela lanzada desde el 2006 como una guía para las mujeres con temas de nutrición, psicología, entrevistas, entretenimiento, moda y más. Durante los años 2004 y 2008 Mariela se adentra en el ámbito musical, junto a cantantes nacionales, internacionales, e incluso su padre e hijos. Desde el año 2013, Producciones de Fuego lanza la plataforma web MarielaTV.com, una plataforma multimedia del cual se desprende producciones como Miércoles de MarielaTV, Mariela en Cabina, Cocina con Mariela, Bienvenida la Navidad y su actual programa reality Mariela Te Transforma.

Incursión en medios digitales
Desde el año 2013 incursiona en proyectos digitales a través de su plataforma web: MarielaTV.com donde comparte ambas, revista y radio en un solo lugar. Dándole así mismo vida a su canal Youtube: MarielaTV en el que  contenido digital de entrevistas con personalidades del medio del entretenimiento bajo el nombre de Miércoles de MarielaTV al igual entrevistas de nutrición, salud, belleza y psicología en Mariela en Cabina.

Para el año 2017 Producciones de Fuego anuncia el lanzamiento del reality de belleza integral Mariela Te Transforma estrenado en junio. El programa alcanza el éxito necesario para asegurarle una segunda temporada lanzada en septiembre del mismo año.

Trayectoria

Programas de televisión

 (2020) EnfiesTC - Presentadora invitada (TC Televisión)
 (2019) Prueba de amor - Jurado (Ecuavisa)
 (2015) MarielaTV - Presentadora (Telerama)
 (2015) Soy el mejor VIP - Jurado (TC Televisión)
 (2011) Escuela de famosos - Jurado (Ecuavisa)
 (1998-2011) Simplemente Mariela - Presentadora (TC Televisión)
 (1997) La Hora de Mariela - Presentadora (TC Televisión)
 (1994) Aquí Mariela - Presentadora (Teleamazonas)
 (1993) Media hora con Mariela - Presentadora (CRE Televisión, conocido ahora como Canal Uno)
 (1993) Na que ver - Presentadora (CRE Televisión ahora conocido como Canal Uno)
 (1990) Música y Deportes - Presentadora (CableDeportes)
 (1989) Aplausos - Presentadora (Telecentro ahora conocido como TC Televisión)

Programas digitales

 (2013-Actualidad) MarielaTV - Presentadora (YouTube)

Programas de Radio

 (2013-Actualidad) MarielaTV - Presentadora (Radio Fuego)

Telenovelas

 (2018) Sharon la Hechicera - Luz María
 (2018) 3 familias - Ella misma

Referencias

Presentadores de televisión de Ecuador
Actrices de Ecuador
Empresarios de Ecuador
Youtubers de Ecuador
Mujeres Youtubers

Mariela Viteri


Concórdia es un municipio brasileño del estado de Santa Catarina. Tiene una población estimada al 2022 de 81646 habitantes. Pertenece a la Región metropolitana de Contestado y es el municipio cede de la Región Geográfica Inmediata de Concórdia.

Fue fundada principalmente por colonos de Río Grande del Sur de origen italiano y alemán.

Toponimia
El nombre original de la antigua colonia era "Queimados" (Quemados), fue en 1925 cuando por iniciativa empresarial de la época adoptó el nombre de Concórdia.

Historia
La colonización de Concórdia, como la del Medio Oeste y Oeste de Santa Catarina, pasó a ser intensificada después a Guerra del Contestado, especialmente en los años de 1920 y 1930. En esta época los gobiernos estatal y federal estimularon a venta de pequeñas propiedades rurales a los colonos gauchos. Hasta entonces, la región era habitada solamente por caboclos.

La colonia fue elevada a distrito en 1927, y se emancipó el 29 de julio de 1934.

Geografía
El municipio de Concórdia es bordeado por varios ríos de la cuenca hidrográfica del río Uruguay. Además del propio Uruguay, se destacan el Jacutinga y Rancho Grande, Queimados e innumerables arroyos.

Referencias

Enlaces externos
 Sitio del municipio
 Sitio de la cámara del municipio

Localidades de Santa Catarina
Localidades establecidas en 1934
Brasil en 1934
Localidades brasileñas sobre el Río Uruguay

Concórdia


Mustapha Bundu (født 28. februar 1997 i Freetown) er en sierraleonsk fodboldspiller, der spiller for engelske Plymouth. Han har tidligere spillet i RSC Anderlecht og AGF (både fast og på en lejeaftale) samt i F.C. København og FC Andorra (på lejeaftaler).

Klubkarriere
Bundu spillede i sin tidlige ungdom på Craig Bellamy Academy i hjemlandet Sierra Leone, inden han fik et stipendium og studentervisum til at komme på Hartpury College i England. Det sidste år af sin skoletid spillede han for Hereford F.C. i Southern League, og han var med i truppen, da holdet deltog i og tabte LA Vase-finalen (finalen i pokalturneringen for hold på 9.-11. niveau i engelsk fodbold).

AGF
Han kom til prøvetræning i AGF i sommeren 2016 og gjorde tilstrækkeligt indtryk til, at klubben indgik en etårig kontrakt med ham fra august samme år. Han debuterede for klubben i kampen mod Brøndby IF 23. oktober samme år, hvor han blev skiftet ind mod slutningen af kampen.

Kontrakten blev forlænget, så den løb til sommeren 2021, og Bundu blev snart en vigtig spiller hos aarhusianerne. Han nåede at spille i alt 109 kampe og score 21 mål for AGF.

Anderlecht
Med successen i de sidste par sæsoner hos AGF var det naturligt, at han blev interessant for større klubber. I august 2020 blev han solgt til belgiske RSC Anderlecht, hvor han fik en firårig kontrakt og rygnummer 19 (samme som han havde i AGF). Han fik debut i Jupiler League 13. september samme år, da han blev skiftet ind 10 minutter før slutfløjtet i Anderlechts sejr på 2-0 over Cercle Brugge.

FCK
I januar 2021 blev det offentliggjort, at Anderlecht havde indgået en lejeaftale med FCK om Bundu til sommeren 2021. Lejeaftalen indeholdt en købsoption. Ved udløbet af lejeaftalen vendte Bundu tilbage til Anderlecht. Bundu opnåede i alt 14 kampe for FCK og scorede et enkelt mål.

AGF igen
På transfervinduets sidste dag, 31. august 2021, blev han udlejet for et år til klubben, hvor han fik sit gennembrud, AGF. Med lejeaftalen fik AGF en købsoption for Bundu. Denne gang blev opholdet i den aarhusianske klub dog ikke nogen stor succes, og efter afslutningen af lejeopholdet vendte Bundu tilbage til Anderlecht.

FC Andorra
I september udlejede Anderlecht endnu engang Bundu, denne gang til FC Andorra i den spanske Segunda División. Lejemålet gjaldt for hele sæsonen 2022-2023.

Plymouth
Da Bundu aldrig for alvor slog igennem i Anderlecht, blev han i slutningen af sommertransfervinduet 2023 solgt til den engelske Championship-klub, Plymouth.

Landshold
Bundu har spiller for det sierraleonske landshold, hvor han fik debut i en VM-kvalifikationskamp mod  4. september 2019, da han blev skiftet ind i kampens sidste minut. Senere samme år spillede han hele kampen i en kvalifikationskamp til Africa Cup of Nations 2021.

Han har senere spillet flere landskampe og scorede sit første mål i en Africa Cup of Nations-kvalifikationskamp 13. november 2020 på udebane mod , en kamp der endte 4-4. Han var med i alle tre kampe, Sierra Leone spillede ved slutrunden til Africa Cup of Nations 2021, hvor holdet med to uafgjorte og et nederlag ikke gik videre fra indledende runde.

Referencer

Eksterne henvisninger

Fodboldspillere fra Sierra Leone
Fodboldspillere fra AGF
Fodboldspillere fra RSC Anderlecht
Fodboldspillere fra FC København
Fodboldspillere fra FC Andorra
Fodboldspillere fra Plymouth Argyle F.C.
Personer fra Freetown

Mustapha Bundu


Die Synagoge in Schupbach, einem Ortsteil der Gemeinde Beselich im Landkreis Limburg-Weilburg in Hessen, wurde 1877 errichtet. Die ehemalige Synagoge an der Mittelstraße 36 ist ein geschütztes Baudenkmal.

Geschichte
Im Jahr 1816 entstand eine erste Synagoge im Ort, die 1877 erweitert und renoviert wurde. Die jüdische Gemeinde mit ihren Filialorten Obertiefenbach, Heckholzhausen, Gaudernbach und Wirbelau besaß zu diesem Zeitpunkt rund 180 Mitglieder. Bis zu den Hohen Feiertagen im Herbst 1938 wurden in der Synagoge Gottesdienste abgehalten.

Die Synagoge wurde an nichtjüdische Eigentümer in der Nachbarschaft verkauft, weshalb sie beim Novemberpogrom 1938 nicht zerstört wurde. Sie wurde von den neuen Besitzern verändert und als Lagerraum genutzt.

Architektur
Das Gebäude ist ein zweigeschossiger, zweiteiliger Massivbau aus Ziegelmauerwerk. Im größeren Teil befand sich im ersten Obergeschoss der Synagogensaal und im Erdgeschoss bis 1904 der Schulraum. Im seitlichen kleineren Teil waren der Eingang, das Treppenhaus, die Empore und das rituelle Bad (Mikwe).

Im Innenraum ist die Veränderung der ursprünglichen Fenster noch als unverputztes Mauerwerk erkennbar. Die Decke des Gebetsraumes ist noch im ursprünglichen Zustand erhalten. Auf blauem Untergrund sind goldene Sterne gemalt. Die Frauenempore sowie die Mikwe sind ebenfalls noch vorhanden.

Förderverein Ehemalige Synagoge Schupbach e. V.
Im Februar 2010 wurde der Förderverein Ehemalige Synagoge Schupbach e. V. gegründet, der sich für den Erhalt der Synagoge einsetzt und den Erwerb des Gebäudes anstrebte. Am 9. Dezember 2011 beschloss die Gemeindevertretung der Gemeinde Beselich einstimmig, die ehemalige Synagoge zu erwerben. Damit wurde die Voraussetzung für die weitere Sanierung des Gebäudes geschaffen. Die ehemalige Synagoge soll in Zukunft als Stätte der Besinnung und der kulturellen Begegnung dienen.

Literatur
 Klaus-Dieter Alicke: Lexikon der jüdischen Gemeinden im deutschen Sprachraum. Band 3: Ochtrup – Zwittau. Gütersloher Verlagshaus, Gütersloh 2008, ISBN 978-3-579-08079-6 (Online-Version).
 Thea Altaras: Synagogen und jüdische Rituelle Tauchbäder in Hessen – Was geschah seit 1945? 2. Auflage, Königstein im Taunus 2007, ISBN 978-3-7845-7794-4, S. 230–231.

Weblinks

 Synagoge Schupbach bei Alemannia Judaica (mit vielen Fotos)

 Förderverein Ehemalige Synagoge Schupbach
 Denkmal mit weltweiten Verbindungen - Monumente Magazin, Februar 2019

Bauwerk in Beselich
Kulturdenkmal in Beselich
Schupbach
Schupbach
Schupbach
Erbaut in den 1870er Jahren
Umgenutztes Bauwerk im Landkreis Limburg-Weilburg
Schupbach
Prämiertes Bauwerk (Hessischer Denkmalschutzpreis)

Synagoge Schupbach


බන්දුල ද සිල්වා විතානගේ (උපත 1940 සැප්තැම්බර් 11 - විපත 2014 සැප්තැම්බර් 1), ශ්‍රී ලාංකේය සිනමාව, වේදිකා නාට්‍ය සහ රූපවාහිනියෙහි නළුවෙක් සහ චිත්‍රපට අධ්‍යක්ෂකවරයෙක් මෙන්ම පරිවර්තකයෙක්, අධ්‍යක්ෂකවරයෙක්, නාට්‍ය රචකයෙක් සහ පිටපත් රචකයෙක් විය. ශ්‍රී ලාංකේය කලාවේ සහ නාට්‍යයේ ආදිතම කුළුණු අතරින් එකක් වන විතානගේ දශක පහක සිය නාට්‍ය ජීවිතය තුළ විචාරක පැසසුමට ලක් වූ රූපවාහිනී කතාමාලා සහ වේදිකා නාට්‍ය බොහොමයක් නිෂ්පාදනය කර ඇත. වෙනිසියේ වෙළෙන්දා, රෝමියෝ සහ ජුලියට්, මැක්බත්, දොළොස්වන රාත්‍රිය, හැම්ලට් වැනි නාට්‍ය කිහිපයක් සමඟින් ෂේක්ස්පියර් රඟහල ශ්‍රී ලාංකේය රංග ශාලාවට හඳුන්වා දීමේ පුරෝගාමියාද ඔහුය.

ඔහු 2014 සැප්තැම්බර් 1 වන දින කොළඹ ජාතික රෝහලේදී මිය යන විට 73 හැවිරිදි වියේ පසුවිය.

පෞද්ගලික ජීවිතය
ඔහු උපන්නේ 1940 සැප්තැම්බර් 11 වැනිදා ගෝනගලදීය. ඔහු ප්‍රාථමික අධ්‍යාපනය සඳහා අතුරුවැල්ල ප්‍රාථමික පාසලට ඇතුළත් වූ අතර පසුව සාමාන්‍ය පෙළ දක්වා සම්පූර්ණ කිරීමට කොළඹ කේරි විද්‍යාලය වෙත ගියේය. පසුව ඔහු අම්බලන්ගොඩ ධර්මාශෝක විද්‍යාලය වෙතින් උසස් පෙළ අධ්‍යාපනය සම්පූර්ණ කළේය. ඔහු උසස් අධ්‍යාපනය සඳහා කොළඹ විශ්ව විද්‍යාලයට ඇතුළු වූ අතර කීර්තිමත් නාට්‍යවේදී එදිරිවීර සරච්චන්ද්‍රගේ විශ්වවිද්‍යාල නාට්‍ය කවයේ සාමාජිකයෙකු විය. අවසානයේ ඔහු කොළඹ විශ්ව විද්‍යාලයෙන් නාට්‍යකරණය සහ රංගනය පිළිබඳ ශාස්ත්‍රපති උපාධියක් ලබා ගන්නා ලදි.

ඔහුගේ පුත් නාලක විතානගේ ජනප්‍රිය චිත්‍රපට අධ්‍යක්ෂකවරයෙකි. ඔහු වේදිකා නාට්‍ය තුනක් නිෂ්පාදනය කර ඇත - රාත්‍රී බෝජනය (2004), කාසි මල්ල (2006) සහ උපන් මරණය (2009). නාලක කොළඹ නාලන්දා විද්‍යාලයයේ ආදි ශිෂ්‍යයෙකි. සිංහල රූපවාහිනියේ සහ සිනමාවේ ජනප්‍රිය නිළි යශෝධා විමලධර්ම බන්දුල විතානගේ ගේ නෑදෑ දියණියකි.

වෘත්තීය ජීවිතය
1963 දී පී.වැලිකලගේ නිෂ්පාදනයක් වූ ''රත්නාවලී'' නාට්‍යයේ 'විදූෂක' චරිතයෙන් ඔහු වේදිකා නාට්‍ය රංගනය ආරම්භ කළේය. 1965 දී ඔහු සිය ප්‍රථම නාට්‍ය නාට්‍ය වන මේඝ ගර්ජන නිෂ්පාදනය කළේය, එය Harold Pinter ගේ The Collection හි පරිවර්තනයකි. ඔහු සයිමන් නවගත්තේගමගේ "ගංගාවක්" වේදිකා නාට්‍යයේ රඟපෑ අතර ඉන් පසුව "සපත්තු කබලක් සහ මරණයක්" වේදිකා නාට්‍ය අධ්‍යක්ෂණය කළේය. ඉන්පසු සහෝදර නාට්‍යකරු ටෝනි රණසිංහ සමඟ එක්ව 1980 දී ජනප්‍රිය වේදිකා නාට්‍යයක් වන වෙනිසියේ වෙළෙන්දා නිෂ්පාදනය කළේය.

Jean Anouilh ගේ Becket හා Ray Cooney ගේ Run for your wife අනුසාරයෙන් රෝමය ගිනි ගනී වැනි විචාරාත්මක පැසසුමට ලක් වූ විදේශීය නාට්‍ය අනුවර්තන කිහිපයක් ඔහු දිගටම නිෂ්පාදනය කළේය. මෙවැනි ප්‍රසිද්ධ නාට්‍ය ලෙස සිකුරු සැනකෙලි, තෝන්ටන් වයිල්ඩර්ගේ ද මැච්මේකර් මත පදනම්ව සෙනෙහෙබර ඩොලී, වයිල්ඩර්ගේ Our Town මත පදනම්ව හිරු දහස, මැක්බත් (2006), දොළොස්වන රාත්‍රිය (1988), හැම්ලට් , රෝමියෝ සහ ජුලියට්, සහ අ කොමඩි ඔෆ් එරර්ස් හැදින්විය හැක.

නාට්‍ය හා රූපවාහිනියේ විශිෂ්ට රංගනයන් හා සසඳන විට ඔහු කුඩා චිත්‍රපට ගණනක රඟපෑවේය. ඔහු "වෙස් ගත්තෝ" චිත්‍රපටයේ වසන්ත ඔබේසේකර සමඟ වැඩ කර සහය වූ අතර පසුව ධර්මසේන පතිරාජගේ "අහස් ගව්ව" චිත්‍රපටයේ රඟපෑවේය. ඔහුගේ මංගල සිනමා රංගනය 1974 දී මෙරිල් ඇල්බට් විසින් අධ්‍යක්ෂණය කරන ලද "දහකින් එකක්" චිත්‍රපටය හරහා පැමිණියේය. ඔහුගේ වඩාත්ම කැපී පෙනෙන රූපවාහිනී නිෂ්පාදනය වූයේ රූපවාහිනී හි විකාශය වූ බුමුතුරුණු, අත්ත බිඳෙයි සහ අසල් වැසියෝ හරහාය. 2011 දී ඔහු සෙසු නළු රොජර් සෙනෙවිරත්න සමඟ ඒකාබද්ධ උත්සාහයක් ලෙස ''රෝමය ගිනි ගනී-2'' වේදිකා නාට්‍යය නිෂ්පාදනය කළේය. රෝමය ගිනි ගනී-2 පාදක වූයේ Cooney ගේ Caught in the net නාට්‍යයයි. 2007 දී ඔහු I Love Jennie හා 2008 දී පත්තර ගෙදර රූපවාහිනී විකට කතා මාලා අධ්‍යක්ෂණය කළේය. 2009 දී ඔහු තම පුත් නාලක විසින් නිෂ්පාදනය කරන ලද ''උපන්දා මරණය'' වේදිකා නාට්‍යයේ රඟපෑවේය.

ඔහු රූපවාහිනී සංස්ථාවට (SLRC) එහි මුල් අවදියේදී සම්බන්ධ වූ අතර කෙටි කලක් සේවය කරන ලදි. SLRC වෙතින් නෙරපා හැරීමෙන් පසු ලුෂන් බුලත්සිංහල සමඟ ඔහු වසර තුනහමාරක් එංගලන්තයේ ජීවත් විය.

කර්තෘ කාර්යය
ඔහු ශේක්ස්පියර් නාට්‍ය කිහිපයක් සිංහල භාෂාවට පරිවර්තනය කළේය.

මරණය
ඔහු 2014 සැප්තැම්බර් 1 වැනිදා කොළඹ ජාතික රෝහලේ ප්‍රතිකාර ලබමින් සිටියදී මිය ගියේය. ඔහුගේ දේහය සැප්තැම්බර් 2 වන දින බොරැල්ලේ ජයරත්න මල් ශාලාවේ තබා සැප්තැම්බර් 4 වන දින ජාතික කලාගාරය වෙත ගෙන එන ලදී. දේහය පිලිබද අවසන් කටයුතු පස්වරු 4.00 ට සිදු කර බොරැල්ල කනත්තේදී සිදු කරන ලදී.

සම්මාන
ඔහුගේ ''සපත්තු කබලක් සහ මරණයක්'' නාට්‍යය 1971 වසරේ රාජ්‍ය නාට්‍ය උළෙලේදී හොඳම නිළිය සහ හොඳම වේදිකා නිර්මාණය ඇතුළු සම්මාන රැසක් දිනා ගත්තේය. 1996 වසරේ රාජ්‍ය නාට්‍ය උළෙලේ හොඳම නිෂ්පාදනය, හොඳම පිටපත, හොඳම නළුවා, හොඳම නිළිය සහ හොඳම සහය නළුවා ඇතුළු ප්‍රධාන සම්මාන "රෝමය ගිනි ගනී" නාට්‍යයට හිමි විය. 2011 ජනවාරි 30 දින ජෝන් ද සිල්වා රඟහලේදී ඔහුගේ ජීවිතයේ 70 වසර සැමරීම සඳහා උපහාර වැඩසටහනක් පැවැත්විණි.

References

External links

ශ්‍රී ලාංකික නළුවෝ
ශ්‍රී ලාංකික අධ්‍යක්ෂවරු
සිංහල ජනයා

බන්දුල විතානගේ


Anathallis montipelladensis é uma espécie de  planta do gênero Anathallis e da família Orchidaceae.

Taxonomia
A espécie foi descrita em 2002 por Fábio de Barros.

Os seguintes sinônimos já foram catalogados:
 Pleurothallis montipelladensis  Hoehne
 Specklinia montipelladensis  (Hoehne) Luer

Forma de vida
É uma espécie epífita e herbácea.

Conservação
A espécie faz parte da Lista Vermelha das espécies ameaçadas do estado do Espírito Santo, no sudeste do Brasil. A lista foi publicada em 13 de junho de 2005 por intermédio do decreto estadual nº 1.499-R.

Distribuição
A espécie é endêmica do Brasil e encontrada nos estados brasileiros de Bahia, Espírito Santo, Minas Gerais, Mato Grosso e São Paulo.
A espécie é encontrada nos  domínios fitogeográficos de Caatinga, Cerrado e Mata Atlântica, em regiões com vegetação de campos rupestres, mata ciliar, floresta estacional semidecidual e floresta ombrófila pluvial.

Ligações externas
 Anathallis montipelladensis no projeto Flora e Funga do Brasil

Anathallis
Plantas descritas em 2002
Flora do Espírito Santo (estado)
Espécies citadas na Lista Vermelha de Ameaça da Flora Brasileira
Espécies citadas na Lista de Espécies da Flora Ameaçadas do Espírito Santo

Anathallis montipelladensis


Lotos (lat., Nelumbo), maleni biljni rod vodenog bilja nalik lopočima i lokvanjima, kojima inače nije srodna, nego pripada redu Proteales. Lotosi čine samostalnu porodicu orašinčevke (Nelumbonaceae). Hrvatski naziv "orašinčevke" nalazimo u "Šumarskom listu"  kod autora Ivana Šugara na popisu sistematskih jedinica S hrvatskim i latinskim nazivima, a dolazi vjerojatno po velikim sjemenkama veličine graška. I sjemenke i podanak lotosa su jestivi.

Postoje dvije priznate vrste lotosa, N.lutea ili američki lotos sa žutim cvijetom koja u Sjevernoj i Srednjoj Americi raste samoniklo, i N. nucifera ili indijski lotos.

Korijen lotosa je člankovit, više-manje zadebljan i bijele boje. Listovi dok su mladi plutaju po vodi a kasnije mogu izrasti i dva metra u visinu i biti u promjeru preko 50cm, okrugli su, i krajnje vodoodbojni (hidrofobni), po rubovima lagano valoviti. Peteljke listova su obrasle bodljikama. Cvjetovi lotosa mogu biti prom jera 15 - 20CM, u američkoj vrsti žute su boje, a kod indijske ružičasti.

Cvijet lotosa može se zagrijati do 30° nakon što se zatvore kako bi sačuvali toplinu kukcima oprašivačima.

Izvori

Proteales

Lotos


Juan Crisóstomo Albarracín (San Juan, 21 de noviembre de 1841-ib., 9 de julio de 1899) fue un jurista y político argentino, que ejerció el cargo de Ministro de Justicia e Instrucción Pública durante la presidencia de Domingo Faustino Sarmiento.

Recibido de abogado en la Universidad Nacional de Córdoba en 1866, al regresar a su provincia fue nombrado ministro de la Cámara de Justicia de la misma. En 1869 fue nombrado presidente del Superior Tribunal de Justicia de San Juan. Tres años más tarde fue juez federal en la ciudad de Mendoza.

En 1873, el presidente Sarmiento lo nombró Ministro de Justicia e Instrucción Pública, cargo que ejerció hasta el año siguiente, y desde el cual modernizó el sistema de juzgados federales del país.

En 1877 fue presidente del Consejo Provincial de Educación en su provincia. Posteriormente sería ministro de educación de San Juan y rector del Colegio Nacional de su ciudad natal.

Falleció en San Juan el 9 de julio de 1899.

Referencias

Sanjuaninos (capital)
Abogados de la provincia de San Juan (Argentina)
Ministros de Justicia e Instrucción Pública de Argentina
Alumnado de la Facultad de Derecho de la Universidad Nacional de Córdoba

Juan Crisóstomo Albarracín