Reliance (1962-1979) est un cheval de course pur-sang. Appartenant à une génération exceptionnelle, il ne connut qu'une fois la défaite, battu dans le Prix de l'Arc de Triomphe 1965 du cheval du siècle, Sea Bird.

Carrière de course

Élevé par François Dupré, entraîné par François Mathet et monté par Yves Saint-Martin, Reliance ne commence sa carrière qu'à 3 ans, en 1965. Une victoire facile pour commencer, dans un maiden à Longchamp. Puis une première préparatoire au Prix du Jockey Club, le Prix Hocquart, dans lequel il surclasse un poulain très estimé, Carvin, lauréat du Critérium de Saint-Cloud en fin d'année dernière. Cette démonstration fait de lui l'un des favoris du Derby français, mais rien n'est écrit dans cette saison où le niveau des 3 ans est exceptionnel, et va s'avérer l'un des tous meilleurs de l'histoire des courses. En effet un autre poulain défraie la chronique. Il s'appelle Sea Bird et vient de survoler le Prix Greffulhe et le Prix Lupin, dans lequel il a collé 6 longueurs à un certain Diatome, qui passe lui aussi pour un prodige. Mais l'affrontement dans le Jockey Club n'aura pas lieu : Sea Bird choisit d'aller affronter les Anglais dans leur Derby. La voie est libre pour Reliance et, quatre jours après que Sea Bird s'est couvert de gloire à Epsom, il l'imite à Chantilly, battant Diatome et Carvin.

Pour savoir qui de Reliance ou Sea Bird est le meilleur poulain français (et européen, à tout le moins), il faudra patienter un peu car l'un et l'autre prennent des chemins différents. Sea Bird restera sur 2 400 mètres et s'attaquera au chevaux d'âge dans le Grand Prix de Saint-Cloud, tandis que Reliance se contente de martyriser ses contemporains sur les 3 100 mètres du Grand Prix de Paris, où il devance encore une fois, mais plus difficilement, un Diatome en progrès. Sûr de sa tenue, il fait son retour en septembre dans le Prix Royal Oak, toujours sur 3 100 mètres, et face aux chevaux d'âge. Mais le podium est accaparé par les 3 ans : Reliance l'emporte devant l'Irlandais Ragazzo et Carvin.

Voici venu le temps de l'explication finale. Le Prix de l'Arc de Triomphe 1965 est assurément l'un, sinon le plus beau de l'histoire. Sea Bird est là, qui n'a plus reparu depuis sa victoire dans le Grand Prix de Saint-Cloud et ose faire sa rentrée directement dans l'Arc. Il est le favori logique, car il suffit de regarder les lignes : on n'a pas oublié les six longueurs qui le séparaient de Diatome, lequel a tenu la dragée haute à Reliance par la suite. Reliance est là aussi, bien sûr. Et ils ne sont pas seuls. Leurs dauphins respectifs, doux rêveurs, sont venus chercher une hypothétique revanche : Diatome, Carvin, Ragazzo, Meadow Court, deuxième de Sea Bird dans le Derby puis excellent vainqueur de l'Irish Derby et des King George & Queen Elizabeth Stakes. Deux candidatures exotiques retiennent l'attention, celle de l'Américain Tom Rolfe d'abord, le numéro 1 de sa génération outre-Atlantique, où il a remporté les Preakness Stakes, terminé deuxième des Belmont Stakes et troisième du Kentucky Derby. Et surtout celle du 4 ans soviétique Anilin, l'X de la course, considéré dans son pays comme un phénomène, ayant notamment empoché le Derby russe. Blabla, la meilleure des pouliches, lauréate du Prix de Diane, est là aussi mais l'Arc, cette année-là, est une affaire de mâles.

Sea Bird et Reliance sont les favoris, on s'attend à les voir s'expliquer dans la ligne droite. Mais on attend toujours. Car la course, limpide, ne tarde pas à livrer son verdict : Sea Bird s'envole dans la ligne droite et l'emporte de six longueurs tout en s'autorisant le luxe de pencher sur sa gauche, comme s'il avait l'humilité de ne pas infliger dix longueurs à tout le monde. Derrière, seul Reliance garde un semblant de contenance et ses distances sur le reste du peloton, cinq longueurs devant Diatome : nul doute que s'il n'avait eu la malchance de naître le même printemps que Sea Bird, il eut fait un sublime vainqueur.

La performance de Sea Bird a ébloui le monde, et Timeform lui attribue un rating historique : 145, ce qui fait de lui le meilleur cheval du . Derrière, Reliance n'a pas à rougir, avec son 137 il est placé très haut sur l'échelle des valeurs : ce sera le quatrième rating de la décennie derrière Sea Bird, Vaguely Noble (140 en 1968) et Exbury (138 en 1963). François Dupré estime que l'on en a assez vu de lui, et qu'il n'a plus rien à prouver. C'est vrai. Il se retire au haras. Dans leur livre de référence A Century of Champions, John Randall et Tony Morris estime que Reliance est le  meilleur cheval français du siècle, et le  toutes nationalités confondues.

Résumé de carrière

Au haras
Reliance mène sa carrière d'étalon en Angleterre à Harwood Stud, un haras situé à Newbury, dans le Berkshire. Il se distingue par la tenue qu'il transmet à ses produits, ayant donné de bons stayers tels Proverb (Chester Vase, Goodwood Cup, Doncaster Cup), Recupere (Prix du Cadran) ou Tug of War (Goodwood Cup). Ses filles ont également brillé au stud, à l'image de la grande poulinière Doubly Sure, mère des excellents étalons Kris (Sussex Stakes, St. James's Palace Stakes, Queen Elizabeth II Stakes) et Diesis (Middle Park Stakes, Dewhurst Stakes), mais aussi des bons Keen (deuxième des St. James's Palace Stakes), Rudimentary (Forte Mile, deuxième du Premio Vittorio di Capua) et Presidium (City of York Stakes). Il est aussi le père de mère du champion sprinter Moorestyle (July Cup, Prix de la Forêt, Prix de l'Abbaye de Longchamp), du stayer Longboat (Ascot Gold Cup), de Persian Heights (St. James's Palace Stakes) ou encore de l'étalon Surumu, pilier de l'élevage allemand.

Reliance meurt en août 1979 des suites de complications respiratoires.

Origines
Reliance est né dans la pourpre. Tantième, son père, est l'un des huit chevaux à avoir inscrit deux fois son nom au palmarès du Prix de l'Arc de Triomphe, en 1950 et 1951. Appartenant comme lui à François Dupré, il remporta également le Grand Critérium, la Poule d'Essai des Poulains, le Prix Lupin, le Prix de la Forêt, le Prix Ganay et la Coronation Cup. Il fut l'un des plus grands champions de son époque puis devint un excellent étalon, deux fois sacré tête de liste des étalons en France, grâce à des champions tels que (Grand Prix de Saint-Cloud, Prix Lupin, Prix Ganay), Match II (Prix Royal Oak, Grand Prix de Saint-Cloud, King George VI and Queen Elizabeth Stakes, Washington, D.C. International) ou encore La Sega (Prix de Diane, Poule d'Essai des Pouliches, Prix Saint-Alary, Prix d'Ispahan).

La mère de Reliance n'est autre que la grande Relance, qui fut l'une des plus extraordinaires reproductrices de l'histoire après une carrière de course intéressante, qui la vit remporter le Prix Camargo et finir deuxième du Prix de Saint-Roman. Elle eut douze produits et tous ne brillèrent pas. Mais elle a donné pas moins de trois champions : Reliance, Relko (par Tanerko, fils de Tantième), vainqueur du Derby d'Epsom, de la Poule d'Essai des Poulains, du Prix Royal Oak, du Prix Ganay, de la Coronation Cup et du Grand Prix de Saint-Cloud) et Match, lui aussi par Tantième, qui remporta les King George, le Washington D.C Internationa, le Grand Prix de Saint-Cloud et le Prix Royal Oak. Excusez du peu !

Pedigree

Lien externe
Le Prix de l'Arc de Triomphe 1965 en vidéo

Références

Cheval de course
Cheval de course français
Cheval de course né en 1962
Animal né en 1962
Animal mort en 1979
Étalon pur-sang anglais
Famille 16-h

Reliance (cheval)


Hajime Eto (født 21. april 1973) er en tidligere japansk fodboldspiller og træner.

Han har tidligere trænet AC Nagano Parceiro.

Eksterne henvisninger

Fodboldspillere fra Japan
Fodboldtrænere fra Japan

Hajime Eto


En elastik er elastisk gummi (skal pege på flertydig) forbundet i en cirkulær ring. Dens funktion er generelt at holde sammen på noget.

Elastikken blev patenteret d. 17. marts 1845.

Elastiktyper
Der findes mange typer elastikker der bruges til mange forskellige ting.

Struktur
Grunden til, at de elastiske bånd er elastiske skyldes forskydning af gummiens entropi. Når entropien i de polymerer, der udgør elastikken, er højest, er gummibåndet i sin grundlæggende form. Når man trækker gummibåndet ud, sænkes entropien af polymererne for, at elastikken skal kunne strække sig i den retning, som det er fratrukket. Hvis man frigiver den kunstige træk i elastikken vil entropien, på grund af termodynamikkens 2. lov virke, indtil elastikken igen har sin grundform. Polymererne holdt sammen af krydsbinding af svovl.

Referencer

Fastgøringsemner
Gummi

Elastik


Drukčiji radio je regionalna radijska postaja čije je sjedište u Novom Travniku, BiH. Emitira na hrvatskom jeziku na 94,7 MHz stereo i na internetu.

Povijest
Osnovana je 21. studenoga 2013. godine. Emitira na FM stereo frekvenciji od 95,5 MHz i na internetu. Pravni sljednik je Radiopostaje Novi Travnik. Na proizvodnji programa angažirano je osam zaposlenih i vanjskih suradnika i postaja radi komercijalnoj osnovi. Signalom pokriva Srednjobosansku županiju te jedan dio Zeničko-dobojske i Sarajevske županije. Urednica postaje je Snježana Žilić. Postaja emitira novosti svaka dva stata. Zanimljive informacije puštaju u "Drukčijim vijestima". Drukčiji radio emitira tematske glazbene emisije četiri puta tjedno i planiraju još tematskih emisija. Sjedište je u ul. Kralja Tvrtka 40.

Izvori

Vidi
 Radiopostaja Novi Travnik

Vanjske poveznice
 Službene stranice
 Facebook
 YouTube
 Twitter

Radijske postaje na hrvatskom jeziku u Bosni i Hercegovini
Novi Travnik

Drukčiji radio


Kongresna knjižnica (engleski: The Library of Congress) de facto je nacionalna knjižnica Sjedinjenih Američkih Država. Nalazi se u Washingtonu, D. C. Osnovana je 1800. godine kao knjižnica Kongresa Sjedinjenih Američkih Država, kojemu i sada služi kao dokumentacijsko i informacijsko središte. Najveća je knjižnica u svijetu.

Sadržaj knjižnice
Knjižnica sveukupno sadrži više od 167 milijuna predmeta. Sadrži više od 38 milijuna knjiga i drugog tiskanog materijala, 3,6 milijuna zvučnih zapisa, 14 milijuna fotografija, 5,5 milijuna karata, 8,1 milijuna komada partiture, 70 milijuna rukopisa, 5711 inkunabula i 122.810.430 predmeta koji se nalaze u nerazvrstanim (posebnim) zbirkama.

Smještaj
Smještena je u trima velikim zgradama, nazvanima prema značajnim američkim predsjednicima: najstarijoj, iz 1897. godine, s monumentalnom glavnom čitaonicom, posvećenoj Thomasu Jeffersonu (engleski: Thomas Jefferson Building), onoj iz 1939. godine, posvećenoj Johnu Adamsu (engleski: John Adams Building), te u najnovijoj, iz 1980. godine, koja nosi ime Jamesa Madisona (engleski: James Madison Memorial Building).

Povijest
Američki predsjednik Thomas Jefferson odobrio je 1802. godine prvi zakon kojim su određene funkcije i uloga Knjižnice. u kolovozu 1814. godine, tijekom Anglo-američkog rata, britanska je vojska zapalila Washington, D. C. U požaru je stradala knjižnica s 3000 knjiga. Početkom 1815. godine, Kongres je kao zamjenu za knjižnicu, otkupio od Thomasa Jeffersona njegovu privatnu knjižnicu. Od 1846. godine, na osnovi Zakona o autorskom pravu iz 1831. godine, Knjižnica je imala pravo na tzv. obvezni primjerak, a promjenom zakona iz 1870. godine omogućen je kontinuirani razvoj zbirke zvane Americana. Kongresna knjižnica danas širom svijeta prikuplja znanstvenu literaturu iz svih područja na više od 450 jezika, pa se može smatrati univerzalnom knjižnicom. Njezin utjecaj velik je na razvoj američkoga i svjetskoga knjižničarstva, posebno putem široko korištene Klasifikacije Kongresne knjižnice (engleski: Library of Congress Classification), Popisa predmetnica Kongresne knjižnice (engleski: Library of Congress Subject Headings) i velikih tiskanih kataloga knjiga, od kojih je najveći bio National Union Catalog u 754 svezaka istraživačko je središte za zaštitu i očuvanje knjižnične građe te jedan od najvećih svjetskih raspačavatelja bibliografskih podataka i proizvoda. Prva je knjižnica koja je omogućila strojno čitljivo katalogiziranje (MARC).

Izvori

Vanjske poveznice

 The Library of Congress website
 Library of Congress YouTube channel
 Search the Library of Congress catalog
 Library of Congress photos on Flickr

Nacionalne knjižnice
Washington, D.C.

Kongresna knjižnica


René Hofman (født 8. marts 1961 i Heerlen, Holland) er en hollandsk tidligere fodboldspiller (kant).

Hofman spillede én kamp for Hollands landshold, en EM-kvalifikationskamp mod Malta 19. december 1982. På klubplan spillede han hele sin karriere i hjemlandet, hvor han repræsenterede Roda, Fortuna Sittard og Feyenoord.

Referencer

Eksterne henvisninger

Fodboldspillere fra Holland
Fodboldspillere fra Fortuna Sittard
Fodboldspillere fra Feyenoord Rotterdam
Fodboldspillere fra Roda JC

René Hofman


Arquígenes (Αρχιγένης en griego) fue un célebre médico, natural de Apamea (Siria). Vivió a fines del  y principios del II (ca. 75-129) y se lo consideró el médico más influyente de la escuela ecléctica.

Escuela de formación
Tuvo por maestro a Agatino, fundador de la escuela de los episintéticos, a quien, según cuentan, curó de un insomnio delirante con fomentos de aceite en la cabeza. Pasó luego a Roma, en cuya capital adquirió gran fama bajo los reinados de Domiciano, Nerva y Trajano.

Arquígenes dejó de lado el humoralismo de Aristóteles y el solidismo en favor de la teoría de que el aire vital era expulsado de los pulmones para remover el calor generado por el corazón. El neumatismo se había generado con Ateneo de Atalia, quien enseñó a Claudio Agatino, de Esparta, maestro a su vez de Arquígenes.

Avances médicos que se le atribuyen
Fue uno de los primeros cirujanos de su tiempo y usó como medicina profiláctica la ligadura de los vasos en las amputaciones. Sus mayores contribuciones a la medicina militar fueron sus tratados sobre amputación, que describían tanto los torniquetes como las ligaduras de vasos para limitar las pérdidas de sangre. También trabajó en la reconstrucción plástica de heridas faciales.

Fue el primero en tratar las infecciones dentales, removiendo con un torno dental primitivo los tejidos dentarios dañados, y rellenando la cavidad con una pasta.

Notas

Referencias

Médicos de la Antigua Grecia
Médicos de la Antigua Grecia del siglo I

Arquígenes


بولشيي كايبيتسي  هي مدينة في جمهورية تتارستان في روسيا.

مراجع

مدن تتارستان

بولشيي كايبيتسي (تاتارستان)


"The One I Gave My Heart To" é uma canção da cantora americana Aaliyah, presente em segundo álbum de estúdio One in a Million (1996). A música foi escrita por Diane Warren e produzida por Guy Roche. Musicalmente, é uma balada pop e R&B com Aaliyah utilizando seu tom de soprano. Liricamente, a música é sobre a protagonista perguntando como pôde a pessoa que ela amava e entregou seu coração partir tanto seu coração. A canção foi lançada, simultaneamente com "Hot Like Fire", como quinto e último single do álbum pela Blackground e Atlantic Records em 16 de setembro de 1997. Após o seu lançamento, a canção foi recebida com críticas geralmente positivas, com muitos elogiando a entrega vocal de Aaliyah.

Comercialmente, "The One I Gave My Heart To" obteve um bom desempenho, alcançando a nona posição da Billboard Hot 100 e a oitava posição na Hot R&B/Hip-Hop Songs. Em 21 de outubro de 1997, a canção recebeu o certificado de Ouro da Recording Industry Association of America (RIAA). Ao final de 1997, a Billboard divulgou que a canção havia vendido mais de 900.000 cópias nos Estados Unidos.

Internacionalmente, a canção também teve um desempenho moderado, alcançando a 28ª posição na tabela musical da Nova Zelândia. No Reino Unido, a canção atingiu o número 30 na UK Singles Charts, assim como a terceira posição na UK R&B Charts. A faixa chegou a alcançar o top 20 nos Países Baixos em 6 de Fevereiro de 1998.

Antecedentes
A canção se tornou realidade quando a compositora Diane Warren expressou interesse em trabalhar com Aaliyah. De acordo com Warren: "Eu me lembro de realmente gostar de Aaliyah e querer trabalhar com ela". Eventualmente Warren procurou o presidente da Atlantic Records, Craig Kallman, para expressar o possibilidade de trabalhar com Aaliyah e Kallman concordou com a colaboração. Seu objetivo em trabalhar com Aaliyah era fazer com que ela fizesse uma certa música que ela normalmente não faria, para mostrar um lado diferente dela, que incluía exibir seu alcance vocal de uma maneira diferente da que ela costumava fazer. Uma vez que Diane Warren estava a bordo, o produtor Babyface foi escolhido para produzir a música. Entretanto, devido a circunstâncias imprevistas, ele foi incapaz de concluir o trabalho, então ele recrutou o produtor Daryl Simmons para substituí-lo. Simmons produziu a versão do álbum, enquanto o produtor pop Guy Roche produziu a versão single da música.

Composição
Escrita por Diane Warren, "The One I Gave My Heart To" é uma balada poderosa com influências pop mais proeminentes, que são mais aparentes na versão single, em contraste com seus trabalhos anteriores que são mais voltados para o R&B e o hip hop. A música é composta em Sol maior e segue a forma verso-refrão com Aaliyah fazendo improvisações no último verso, marcando o clímax da música.

Assim como "Hot Like Fire", a música foi regravada para seu lançamento em single. A versão single orientada para o pop tem uma mudança de tonalidade para Lá maior e uma mudança dinâmica em direção à instrumentação de balada pop poderosa após o segundo refrão, enquanto a versão do álbum, orientada para R&B, mantém sua tonalidade e estilo originais. O alcance vocal de Aaliyah vai de F#3 a F5 na versão single da música. A canção é indiscutivelmente a performance vocal mais poderosa de Aaliyah, na qual ela mostrou incrivelmente seu alcance vocal, já que normalmente usava seu falsete e registro mais baixo na maioria de suas canções. Warren elogiou o desempenho vocal de Aaliyah, afirmando que "Ela poderia ir aonde os de Whitney fossem. Ela lamentou aquele single que escrevi para ela. Eu escrevo canções que desafiam os cantores, e ela está à altura da ocasião".

Recepção da crítica
Em sua crítica sobre a música, Larry Flick da Billboard afirmou que a canção possuía um forte potencial e que iria "chegar ao topo" numa variedade de formatos nas rádios. Ele também aclamou o estilo vocal de Aaliyah e a produção da canção dizendo, "Ela traz um romance jovem e envolvente para uma doce composição de Diane Warren, que é concretizada com um equilíbrio cuidadoso das sensibilidades pop e R&B no arranjo instrumental do produtor Guy Roche". De acordo com Edwin Ortiz da Complex, Aaliyah provou que ela podia "mudar seu estilo usual de mid-tempo e entregar um desempenho vocal incrível". Ele também sentiu que ela "trouxe a música à vida através de seus suaves vocais de soprano, destacando um coração partido e uma sensação de traição, com o vídeo que o acompanha descrevendo perfeitamente seu estado emocional". Georgette Cline do The Boombox sentiu que Aaliyah permitiu que sua "vulnerabilidade fosse exposta" na música.

Desempenho nas tabelas musicais
"The One I Gave My Heart To" estreou na Billboard Hot 100 na posição de número 24, durante a semana de 4 de outubro de 1997. Em sua sexta semana na parada, a canção alcançou seu pico na nona posição, tornando-se o single do álbum com a melhor posição na Hot 100. Na mesma semana a canção entrou na 18ª posição da Hot R&B/Hip-Hop Songs, alcançando seu pico, de número 8, dez semanas depois. A canção também chegou a atingir a oitava posição da US Rhythmic e a 18ª posição na parada Dance Clubs Songs. Em 21 de outubro de 1997, "The One I Gave My Heart To" recebeu o certificado de Ouro pela Recording Industry Association of America (RIAA) por vender mais de 900,000 cópias nos Estados Unidos.

Internacionalmente a canção também experimentou sucesso moderado, alcançando a 30ª posição da UK Singles Charts em 22 de novembro de 1997. Em 19 de novembro de 1997, a canção atingiu a 25ª posição na parada dance do Reino Unido e a 3ª posição na UK R&B. Nos demais cantos da Europa, "The One I Gave My Heart To" alcançou a 16ª posição nos Países Baixos em 6 de Fevereiro de 1998. Na Oceania, a canção alcançou a 28ª posição na tabela musical da Nova Zelândia em 7 de dezembro de 1997.

Clipe

Sinopse
O videoclipe de "The One I Gave My Heart To" foi dirigido por Darren Grant, e usa a versão single da música, mantendo a segunda metade do primeiro verso, que normalmente é cortada para tocar na rádio. Ao longo do vídeo existem duas configurações principais e outra no final. Em um cenário, Aaliyah está dentro de uma casa com piso e paredes de madeira. Na casa, há uma sala com nada além de um espelho no chão. Com este espelho, Aaliyah pode ver outras cenas do vídeo. O segundo mostra Aaliyah sentada em um banco de madeira em uma floresta. Na cena final, Aaliyah se apresenta ao ar livre durante uma chuva.

Recepção
O videoclipe de "The One I Gave My Heart To" estreou em 14 de setembro de 1997 na MTV. Posteriormente, em 28 de setembro de 1997 o clipe estreou no canal BET. Em 2 de novembro de 1997, o clipe foi o 22º mais tocado na MTV. Enquanto isso, na semana de 14 de dezembro de 1997, foi o 19º clipe mais tocado no BET.

Performances ao vivo
Em outubro de 1997, Aaliyah performou "The One I Gave My Heart To" no quarto evento anual de caridade, "Big Help", da Nickelodeon, em Santa Mônica, Califórnia. Em 10 de Dezembro de 1997, Aaliyah performou a canção no evento de fala beneficente "Gift of Song" da UNICEF, que foi transmitido ao vivo pela emissora TNT. Em 1998, Aaliyah foi uma das principais atrações do festival B-96 B-Bash, organizado pela estação de rádio de Chicago B96, durante o concerto ela apresentou múltiplas canções incluindo "The One I Gave My Heart To".

Lista de faixas e formatos

Tabelas musicais

Tabelas de fim de ano

Certificações

Singles de 1996
Singles de 1997
Canções gravadas por Aaliyah
Aaliyah
Canções de R&B

The One I Gave My Heart To


Kaithal (en hindi: कैथल ) es una ciudad de la India, centro administrativo del distrito de Kaithal, en el estado de Haryana.

Geografía
Se encuentra a una altitud de 236  a 129 km de la capital estatal, Chandigarh, en la zona horaria UTC +5:30.

Demografía
Según estimación 2011 contaba con una población de 175 126 habitantes.

Referencias

Enlaces externos

Localidades de Haryana

Kaithal


Kristóf Horváth (* 12. Juni 1977) ist ein ungarischer Badmintonspieler.

Karriere
Kristóf Horváth siegte im Jahr 2000 erstmals bei den nationalen ungarischen Meisterschaften im Herreneinzel. Ein weiterer Sieg im Einzel folgte 2004. 2007, 2009 und 2010 war er im Herrendoppel erfolgreich, 2008 im Mixed.

Sportliche Erfolge

Weblinks
Statistiken des Ungarischen Badmintonverbands

Badmintonspieler (Ungarn)
Ungarischer Meister (Badminton)
Ungar
Geboren 1977
Mann

Kristóf Horváth


Andreas Rhiel (* 18. Oktober 1861 in Erfurtshausen; † nach 1933) war ein deutscher Jurist und Politiker (Zentrum).

Leben
Nach dem Abitur zu Ostern 1881 nahm Rhiel ein Studium der Rechts- und Staatswissenschaft an der Philipps-Universität Marburg auf, das er 1884 mit dem Ersten Juristischen Staatsexamen beendete. Seit 1882 war er Mitglied der katholischen Studentenverbindung VKDSt Rhenania Marburg im CV.  Er absolvierte von 1884 bis 1888 das Referendariat an Gerichten, bestand das Zweite Juristische Staatsexamen und trat im April 1889 als Gerichtsassessor in den preußischen Justizdienst ein. Im Dezember 1894 wurde er Richter am Amtsgericht Wolfhagen. Von Mai 1899 bis zu seinem Eintritt in den Ruhestand im April 1927 war er als Richter am Amtsgericht Fulda tätig, zuletzt als Amtsgerichtsrat.

Rhiel trat in die Zentrumspartei ein und war von Juni 1908 bis November 1918 Mitglied des Preußischen Abgeordnetenhauses, wo er den Wahlkreis Regierungsbezirk Kassel 12 (Fulda) vertrat. Von 1919 bis 1921 war er Mitglied der Verfassunggebenden Preußischen Landesversammlung. Im Anschluss wurde er als Abgeordneter in den Preußischen Landtag gewählt, dem er bis 1933 angehörte.

Literatur
 Herrmann A. L. Degener (Hrsg.): Wer ist's? 9. Ausgabe, Leipzig 1928, S. 1262–1263.
 Barbara von Hindenburg: Biographisches Handbuch der Abgeordneten des Preußischen Landtags: verfassungsgebende Preußische Landesversammlung und Preußischer Landtag 1919–1933. Peter Lang, Frankfurt am Main 2017, ISBN 978-3-653-07049-1, S. 1909.
 Ernst Kienast (Hrsg.): Handbuch für den Preußischen Landtag, Ausgabe für die 5. Wahlperiode, Berlin 1933, S. 373.
  Bernhard Mann: Biographisches Handbuch für das Preußische Abgeordnetenhaus 1867–1918 (= Handbücher zur Geschichte des Parlamentarismus und der politischen Parteien. Band 3). Droste, Düsseldorf 1988, ISBN 3-7700-5146-7, Nr. 1868.

Weblinks

Einzelnachweise

Mitglied des Preußischen Abgeordnetenhauses
Mitglied des Preußischen Landtags (Freistaat Preußen)
Zentrum-Mitglied
Korporierter im CV
Richter (Amtsgericht)
Deutscher
Geboren 1861
Gestorben im 20. Jahrhundert
Mann

Andreas Rhiel


Hunda bezeichnet:

 ein Fluss im Distrikt Gopalganj, Bangladesch, siehe Hunda (Fluss)
 ein Dorf und Aldeia im Suco Hatugau, Osttimor, siehe Hatugau
 eine Insel der Orkney, Schottland, siehe Hunda (Insel)

Hunda


Natjecanje Dora 2023. održalo se 11. veljače 2023. u Sportskoj dvorani "Marino Cvetković" u Opatiji.

HRT je organizirao Doru 2023. kako bi odabrao svog predstavnika na Eurosongu 2023. Na natjecanju je sudjelovalo 18 pjesama, među kojima je pjesma Mama ŠČ! (grupe Let 3) pobijedila sa 279 bodova.

Na drugom programu hrvatskog radija (HRT – HR 2) u emisiji Svijet diskografije, 12. siječnja 2023. premijerno su emitirane svih 18 pjesama. Dana 14. siječnja, na HTV 2 počela je emisija Ususret Dori 2023 gdje je voditeljica Mia Negovetić kroz 4 subotnje emisije predstavila izvođače i njihove pjesme.

Voditelji koji su trebali voditi natjecanje najavljeni su 28. siječnja, a to su: Duško Ćurlić, Mario Lipovšek Battifiaca i Marko Tolja, ali zbog iznenadne bolesti Duška Ćurlića, HRT je 7. veljače najavio da će ga zamijeniti Mirko Fodor.

Tijekom show programa nastupio je rovinjski pjevač Tony Cetinski.

Prijenos natjecanja glazbeno-scenskog spektakla mogao se pratiti od 20:15 na Prvome programu HTV-a, Drugom programu HR-a, YouTube kanalu HRT Dora, na HRT portalu te platformi HRTi.

Popis natjecateljskih pjesama
Rezultati natječaja koji je bio otvoren od 20. rujna do 20. studenoga 2022., objavljeni su 9. prosinca 2022., na natječaj se prijavilo ukupno 196 pjesama, a finaliste i rezerve je izabrao žiri u sastavu: Željko Mesar, Zlatko Turkalj, Robert Urlić, Ema Gross, Igor Geržina, Željen Klašterka, Ivan Horvat, Tomislav Krizmanić, Dražen Miočić. 2. veljače HRT je objavio redosljed izvođenja pjesama na Dori 2023.
{| class="wikitable"
!R. br.
!Izvođač
!Pjesma
!Skladatelj(i)
|-
|1.
|Top of The Pops ft. Mario 5reković
|Putovanje
|Bruno Krajcar
|-
|2.
|Yogi
|Love at First Sight
|Yugomir Lonich
|-
|3.
|Boris Štok
|Grijeh
|Boris Štok, Darko Terlević
|-
|4.
|Tajana Belina
|Dom
|Tajana Belina, Marcel Sprunkel
|-
|5.
|Krešo i Kisele Kiše
|Kme Kme
|Krešimir Burić
|-
|6.
|Maja Grgić
|I Still Live
|Mateo Martinović Teo
|-
|7.
|Barbara Munjas
|Putem Snova
|Barbara Munjas, Alen Bernobić
|-
|8.
|Đana
|Free Falin|Đana Smajo
|-
|9.
|Patricia Gasparini
|I Will Wait
|Siniša Reljić - Simba, Lisa Desmond, Aidan Winkels
|-
|10.
|The Splitters
|Lost and Found
|Neven Kolarić, Branimir Mihaljević
|-
|11.
|Hana Mašić
|Nesreća
|Boris Subotić
|-
|12.
|Damir Kedžo
|Angels and Demons
|Jamie Duffin, Stefan Celar, Michael Chun-Fai Chung (aka Kyler Niko), Victoria Jane Horn
|-
|13.
|Martha May
|Distance
|Marta Ivić
|-
|14.
|Detour
|Master Blaster
|Nenad Borgudan
|-
|15.
|Meri Andraković
|Bye Bye Blonde
|Boris Đurđević
|- style="font-weight:bold; background:gold;"
|16.
|Let 3
|Mama ŠČ!
|Damir Martinović Mrle, Zoran Prodanović
|-
|17.
|Eni Jurišić
|Kreni dalje
|Matija Cvek, Vlaho Arbulić, Eni Jurišić
|-
|18.
|Harmonija Disonance
|Nevera (Lei, Lei)
|Bartol Stopić
|}

 Rezerve

 Glasovi
Dana 24. siječnja otkriven je sustav glasovanja za natječaj. Pobjednik Dora 2023. određen je glasovima deset regionalnih žirija i javnosti (televote), od kojih svaki čini 50% rezultata. U slučaju izjednačenog rezultata, javno glasovanje imalo bi prednost. Žiriji se sastoji od po tri člana jedan glazbeni urednik HR-a ili novinar koji se bave glazbom, jedan član Hrvatskog društva skladatelja i jedan član Hrvatske glazbene unije, u predstavništvu sljedećih regija: Rijeka, Pula, Osijek, Čakovec i Varaždin, Split, Vukovar, Knin i Šibenik, Zadar, Dubrovnik, Zagreb.

Žiri
{| class="wikitable" style="margin: 1em auto 1em auto; text-align:center;"
! colspan="14" |Detaljni glasovi regionalnog žirija
|-
!#
!Izvođač
!Pjesma
!Rijeka
!Čakovec i
Varaždin
!Split
!Osijek
!Šibenik i
Knin
!Vukovar
!Pula
!Zadar
!Zagreb
!Dubrovnik
!Ukupno
|-
| align="center" |1
| align="left" |Top of The Pops ft. Mario 5reković
|Putovanje
|
|
|1
|
|
|2
|
|
|
|10
|13
|-
| align="center" |2
| align="left" |Yogi
|Love at First Sight
|2
|
|
|
|
|3
|
|
|5
|
|10
|-
| align="center" |3
| align="left" |Boris Štok
|Grijeh
|
|1
|3
|
|
|
|3
|
|
|
|7
|-
| align="center" |4
| align="left" |Tajana Belina
|Dom
|
|
|
|
|1
|
|
|
|
|1
|2
|-
| align="center" |5
| align="left" |Krešo i Kisele Kiše
|Kme Kme
|1
|6
|4
|
|4
|5
|2
|5
|3
|4
|34
|-
| align="center" |6
| align="left" |Maja Grgić
|I Still Live
|
|
|
|
|
|
|
|
|
|8
|8
|-
| align="center" |7
| align="left" |Barbara Munjas
|Putem Snova
|7
|4
|
|1
|7
|
|8
|
|8
|2
|37
|-
| align="center" |8
| align="left" |Đana
|Free Falin|
|7
|
|
|
|
|
|
|
|
|7
|-
| align="center" |9
| align="left" |Patricia Gasparini
|I Will Wait
|
|3
|
|2
|
|
|
|
|
|
|5
|-
| align="center" |10
| align="left" |The Splitters
|Lost and Found
|12|
|12|
|
|1
|12|7
|
|6
|50
|-
| align="center" |11
| align="left" |Hana Mašić
|Nesreća
|
|
|7
|4
|
|
|6
|2
|2
|
|21
|-
| align="center" |12
| align="left" |Damir Kedžo
|Angels and Demons
|3
|10
|6
|7
|3
|4
|
|4
|7
|
|44
|-
| align="center" |13
| align="left" |Martha May
|Distance
|4
|
|
|3
|6
|
|7
|3
|
|
|23
|-
| align="center" |14
| align="left" |Detour
|Master Blaster
|6
|2
|8
|8
|10
|6
|5
|10
|6
|12|73
|-
| align="center" |15
| align="left" |Meri Andraković
|Bye Bye Blonde
|
|
|
|6
|2
|12|
|1
|1
|
|22
|- style="font-weight:bold; background:gold;"
| align="center" |16
| align="left" |Let 3
|Mama ŠČ!
|10
|12|10'''
|12
|12
|10
|10
|12
|12
|5
|105
|-
| align="center" |17
| align="left" |Eni Jurišić
|Kreni dalje|5
|5
|2
|5
|5
|7
|4
|6
|10
|3
|52
|-
| align="center" |18
| align="left" |Harmonija Disonance
|Nevera (Lei, Lei)|8
|8
|5
|10
|8
|8
|1
|8
|4
|7
|67
|}

 Predstavnici gradova
 Rijeka
 Robert Ferlin

 Čakovec–Varaždin
 Bojan Jambrošić

 Split
 Mirta Šurjak

 Osijek
 Sanja Azenić

 Šibenik–Knin
 Đani Stipaničev

 Vukovar
 Ines Milanković

 Pula
 Marko Percan

 Zadar
 Natali Dizdar

 Zagreb
 Maja Ciglenečki

 Dubrovnik
 Vicko Dragojević

 Televoting
Ukupan broj bodova gledatelja (televotinga) jednak je ukupnom broju bodova svih ocjenjivačkih sudova te iznosi 580 bodova. Pojedina pjesma dobiva bodove gledatelja na temelju postotka od ukupnog broja bodova za televoting proporcijonalno postotku glasova, koje pojedina pjesma dobiva od ukupnog broja zaprimljenih glasova putem telefona i SMS poruka.
{| class="sortable wikitable" style="margin: 1em auto 1em auto; text-align:center;"
! rowspan="2" |#
! rowspan="2" |Izvođač
! rowspan="2" |Pjesma
! rowspan="2" |Žiri
! colspan="4" |Televoting
! rowspan="2" |Ukupno
! rowspan="2" |Mjesto
|-
!Telefonski
pozivi
!SMS
poruke
!Ukupno
!Zbroj bodova
|-
| align="center" |1
| align="left" |Top of The Pops ft. Mario 5reković
| align="left" |Putovanje|13
|
|
|
|20
|33
|10.
|-
| align="center" |2
| align="left" |Yogi
| align="left" |Love at First Sight|10
|
|
|
|3
|13
|16.
|-
| align="center" |3
| align="left" |Boris Štok
| align="left" |Grijeh|7
|
|
|
|10
|17
|14.
|-
| align="center" |4
| align="left" |Tajana Belina
| align="left" |Dom|2
|
|
|
|8
|10
|17.
|-
| align="center" |5
| align="left" |Krešo i Kisele Kiše
| align="left" |Kme Kme|34
|
|
|
|19
|53
|7.
|-
| align="center" |6
| align="left" |Maja Grgić
| align="left" |I Still Live|8
|
|
|
|5
|13
|15.
|-
| align="center" |7
| align="left" |Barbara Munjas
| align="left" |Putem Snova|37
|
|
|
|15
|52
|8.
|-
| align="center" |8
| align="left" |Đana
| align="left" |Free Falin
|7
|
|
|
|14
|21
|13.
|-
| align="center" |9
| align="left" |Patricia Gasparini
| align="left" |I Will Wait|5
|
|
|
|3
|8
|18.
|-
| align="center" |10
| align="left" |The Splitters
| align="left" |Lost and Found|50
|
|
|
|60
|110
|4.
|-
| align="center" |11
| align="left" |Hana Mašić
| align="left" |Nesreća|21
|
|
|
|12
|33
|11.
|-
| align="center" |12
| align="left" |Damir Kedžo
| align="left" |Angels and Demons|44
|
|
|
|59
|103
|5.
|-
| align="center" |13
| align="left" |Martha May
| align="left" |Distance|23
|
|
|
|8
|31
|12.
|-
| align="center" |14
| align="left" |Detour
| align="left" |Master Blaster|73
|
|
|
|41
|114
|3.
|-
| align="center" |15
| align="left" |Meri Andraković
| align="left" |Bye Bye Blonde|22
|
|
|
|22
|44
|9.
|- style="font-weight:bold; background:gold;"
| align="center" |16
| align="left" |Let 3
| align="left" |Mama ŠČ!|105
|
|
|
|174
|279
|1.
|-
| align="center" |17
| align="left" |Eni Jurišić
| align="left" |Kreni dalje|52
|
|
|
|19
|71
|6.
|-
| align="center" |18
| align="left" |Harmonija Disonance
| align="left" |Nevera (Lei, Lei)|67
|
|
|
|88
|155
|2.
|}

 Distribucija
Hrvatska radiotelevizija objavila je sve pjesme na njihovom Youtube kanalu, a u suradnji s izdavačem Croatia Records, album "Dora 2023.''" objavljen je isključivo kao digitalno izdanje na svim popularnim digitalnim platformama: Deezer, Spotify, Apple Music i Listen.

Izvori

Vanjske poveznice
  na hrt.hr

 2023

Dora 2023.


L'édition féminine 2022 du tournoi de tennis de Saint-Pétersbourg se déroule du 7 au , sur dur en intérieur. Elle appartient à la catégorie WTA 500.

Faits marquants

Forfaits
  Paula Badosa, remplacée par  Irina-Camelia Begu
  Ons Jabeur, remplacée par  Ana Konjuh
  Anhelina Kalinina, remplacée par  Zhang Shuai
  Daria Kasatkina, remplacée par  Jaqueline Cristian
  Karolína Plíšková, remplacée par  Alizé Cornet
  Yulia Putintseva, remplacée par  Anastasia Potapova
  Sara Sorribes Tormo, remplacée par  Andrea Petkovic

Lauréates
En simple, l'estonienne Anett Kontaveit remporte le 6e titre de sa carrière en battant la grecque Maria Sakkari. Il s'agit de son 3e titre en catégorie WTA 500. A l'occasion de la finale, elle remporte son 20e match consécutif sur dur en intérieur après avoir gagné en fin de saison 2021 les tournois d'Ostrava, Moscou et Cluj.

En double, la paire Anna Kalinskaya / Catherine McNally gagne le titre.

Primes et points

Source:

Résultats en simple

Parcours

Tableau

Résultats en double

Parcours

Tableau

Notes et références

Notes

Références

Voir aussi

Articles connexes
 Tournoi de tennis de Saint-Pétersbourg
 Saison 2022 de la WTA

Liens externes
  Site officiel du tournoi

WTA 2022
Saint-Pétersbourg
Tennis en Russie en 2022
Tennis en février 2022

Tournoi de tennis de Saint-Pétersbourg (WTA 2022)


The Dome at America's Center is a multi-purpose stadium used for concerts, major conventions, and sporting events in downtown St. Louis, Missouri, United States. Previously known as the Trans World Dome from 1995 to 2001 and the Edward Jones Dome from 2002 to 2016, it was constructed largely to lure a National Football League (NFL) team to St. Louis and to serve as a convention space.

The Dome received its initial main tenant with the arrival of the NFL's St. Louis Rams, who relocated to the city in 1995. The Rams spent the next 21 seasons at the Dome, departing after the 2015 NFL season to return to Los Angeles. The St. Louis BattleHawks of the revived XFL began playing at the stadium in early 2020.

The Dome provides multiple stadium configurations that can seat up to 82,624 people. Seating levels include a private luxury suite level with 120 suites, a private club seat and luxury suite level with 6,400 club seats, a concourse level (lower bowl) with 28,352 seats, and a terrace level (upper bowl) with 29,400.

The Dome is part of the America's Center convention center. The convention portion has a much bigger footprint and adjoins to the west of the Dome, Cole Street to the north, Broadway to the east, and Convention Plaza to the south. The stadium is serviced by the Convention Center MetroLink rail station.

Architecture
The stadium's exterior facade is clad in brick, limestone, and precast concrete tinted to resemble red sandstone. The intended effect was for the venue to less resemble a stadium, and more resemble the look of public libraries and city school buildings built in the era preceding World War II.

History
In 1988, the St. Louis Cardinals left St. Louis for Phoenix, Arizona, leaving St. Louis without a National Football League team. Looking to re-enter the league, St. Louis proposed building a domed stadium for a team to play in and attaching the Dome to the convention center to expand convention center capacity. The funding for the project was accomplished via public bonds beginning in 1989. In 1991, St. Louis put in for an NFL expansion franchise for 1995 called the St. Louis Stallions and began construction on The Dome in 1992. However, in 1993, the league chose Charlotte, North Carolina, and Jacksonville, Florida, over St. Louis.

After St. Louis came up short in its expansion bid, it appeared that the city might land a new team anyway. Advertising executive James Orthwein, a St. Louis native and member of the Busch family, bought the New England Patriots in 1992 from Victor Kiam to resolve a debt between the two men. The Patriots had long been in financial malaise since original owner Billy Sullivan, who was still the team president during Kiam's ownership, had squandered all of his net worth on a series of bad investments in the mid-1980s and was forced to sell the team to Kiam and Foxboro Stadium to Robert Kraft. Immediately upon purchase, Orthwein made it clear that he wanted to relocate the team from Foxborough, Massachusetts to St. Louis and was to leave New England at the end of the 1993 season. Orthwein's plans to move the team however were thwarted when Kraft refused to let Orthwein out of the long-term lease that he had secured from Kiam and Sullivan as part of his purchase of the stadium. Orthwein did not want to own the team if he could not move it, and Kraft initiated a hostile takeover that resulted in his purchase of the Patriots in 1994.

The then under-construction Dome finally received the NFL tenant it was looking for in 1995 when Georgia Frontiere announced she would relocate the Los Angeles Rams to St. Louis for the 1995 season. This move was initially voted down, with 21 opposed, three in favor (the Rams, Cincinnati Bengals and Tampa Bay Buccaneers), and six abstaining. The other owners (led by Buffalo's Ralph Wilson, the Jets' Leon Hess, the Giants' Wellington Mara, Washington's Jack Kent Cooke, Arizona's Bill Bidwill and Minnesota's John Skoglund) believed that the Rams' financial problems were caused by Frontiere's mismanagement. When Frontiere expressed a possible lawsuit against the league, commissioner Paul Tagliabue acquiesced to Frontiere's demands. As part of the relocation deal, the city of St. Louis guaranteed that the stadium's amenities would be maintained in the top 25% of all NFL stadiums. After playing their first four home games of the 1995 season at Busch Memorial Stadium because the Dome was not ready, the Rams' first game in the stadium on Sunday, November 12, 1995, was a 28–17 win over the Carolina Panthers.

Renovations

The Dome received a $30 million renovation in 2009, which replaced the scoreboards with LED video displays (one large in north end zone and one smaller in south end zone) and LED fascia boards around the bowl of the Dome. The renovations also added new premium areas (Bud Light Zone and Clarkson Jewelers Club). Some of the paint work in the Dome was lightened as well and painted in Rams colors (Blue, Gold, and White). In 2010, the Rams locker room was re-built and switched ends from the north end zone to the south end zone. For 2011, new HD monitors were installed throughout the Dome in place of the older screens at concession stands and other areas.
Before the 2010 season, the Dome also received a new permanent turf surface. The surface, manufactured by AstroTurf, is AstroTurf's Magic Carpet II Conversion System, which features its GameDay 3D Synthetic Turf System. This system is similar to the original turf system that was in the Dome from 1995 to 2004 whereas it can be rolled up and stored underground in a pit at the Dome. The Dome used a FieldTurf brand surface from 2005 to 2009.

The loss of the Rams (2012–2016)
The Dome's primary problem throughout the years centered on a lease signed by the Rams when they came to St. Louis in 1995. For the first decade, the Dome was considered an adequate facility, but eventually the Rams and city leaders became concerned with the Dome's long-term viability.

The lease and poor rankings
Under the terms of the lease that the Rams signed in 1995, the Dome was required to be ranked in the top quartile of NFL stadiums through 2015, measured at 10 year intervals. This meant the Dome had to have the proper fan amenities and other features found in modern NFL stadiums. If the building was not ranked in the top quartile, the Rams were free to break the lease and either relocate without penalty or continue to lease the Dome on a year-to-year basis.

Not helping matters was the Dome's poor reception with NFL fans and the general public as the years went by. Even after the 2010 renovations many websites ranking the 31 NFL stadiums listed the Dome near the bottom of their respective rankings. In 2008, for a Sports Illustrated poll, St. Louis fans ranked it the worst out of any NFL stadium at the time with particularly low marks for tailgating, affordability and atmosphere. Time magazine in May 2012 ranked the Dome as the 7th worst major sports stadium in the United States. The Dome's exterior was regarded as an "urban eyesore from the get-go, an ugly multi-purpose dome that's one defining feature was its inability to fit into any conceivable cityscape...[that] takes up several city blocks but never developed any reasonable interesting business around it: It has always looked like a huge mall from that sad time in recent American history when cities bragged about how big of a mall they could build". Inside, the Dome was "too vast and too cavernous to hold a lot of sound...[and] was the sort of building that felt empty even when it was full", even during the "Greatest Show on Turf" halcyon days of the Rams.

In 2005, the rankings indicated that the Dome was no longer in the top quartile as mandated by the lease, which gave the Rams the right to begin the process of breaking the lease, or reverting to a year-to-year. The Rams, wishing to afford St. Louis ample opportunity to meet the quartile requirement, instead agreed to waive this right for the 2005 checkpoint in return for $30 million of renovations and improvements. However, both the Rams and city leaders realized at this time that long-term, the Dome needed a major overhaul or St. Louis would again risk losing the Rams after 2015. Things were exacerbated further as fan interest began to decline sharply, the mediocrity the team would experience in the waning days of the Greatest Show on Turf contributed heavily to attendance records hitting a new low for the franchise. The Rams placed in the bottom 5 in attendance every season from 2008 to 2015. By 2015, rumors of the team relocating contributed to the Rams finishing dead last in attendance.

Negotiations
With the 2015 deadline looming, the Convention and Visitor Center (the stadium's operator) and the Rams negotiated throughout 2012 on the renovations and agreed to go into arbitration in 2013 if a deal was not worked out in which three arbitrators mutually agreed on from the American Arbitration Association to arbitrate the case in 2013.

In January 2012, the CVC proposed $48 million in improvements including a new 947-vehicle garage, all funded publicly, with the Rams keeping the garage game-day revenue.
After the Rams rejected the $48 million deal, the CVC next proposed $124 million in renovations including a new three-story structure on Baer Plaza on the east side facing the Mississippi River for a main entrance as well as new suites. This proposal had the Rams picking up $64 million of that project, the CVC citing an approximate percentage of what other NFL teams had chipped in for on similar renovations.
The Rams countered with a $700 million proposal that called for much of the stadium to be rebuilt including a sliding roof panel and a new four-sided center scoreboard, the Rams asserting that this would satisfy the "first tier" top quartile requirement relative to the current NFL stadium landscape. No details on how to pay for the renovations were made. The sides did not hammer out an agreement in 2012 and the matter went into arbitration hearings in January 2013. Officials noted that even if the arbitrators decided on implementing a more expensive plan and the CVC was unable to fund it the Rams would still be able to break the lease.

With no agreement between both sides in 2013 there was considerable speculation on the future of both the Rams and the stadium with some suggesting the Rams could return to Los Angeles. Further pressure for St. Louis to resolve the issue was that bonds for construction of the Dome were still being paid and would continue to be paid through 2021. Missouri was paying $12 million/year and the City and County of St. Louis were each paying $6 million/year.

On February 1, 2013, the arbitrators ruled in favor of the Rams' $700 million proposal to tear down half the Dome and replace it as the only way among the options presented to bring the Dome up to first-tier status. Various city and county officials said it was unlikely that public funding would be found for such a project. Officials noted that the Rams were contractually obligated to play in the Dome until March 15, 2015, and there was no "buy out" provision to permit the Rams to move before then. City and county officials said they were considering all options including construction of a new stadium elsewhere in the St. Louis area. Rams officials, meanwhile, indicated their preference to stay in St. Louis.

The St. Louis Regional Convention (the stadium's owner) and Sports Complex Authority hired Goldman Sachs in February 2013 "to keep the Rams in the Dome, or, if that's not possible, to maintain a National Football League team in St. Louis."  An attorney for St. Louis noted that Goldman had "financed or advised on the financing of every NFL stadium recently built." In April 2013, it was reported by the Wall Street Journal that the arrangement was being scrutinized by the Securities and Exchange Commission as new Dodd–Frank rules restricted firms from offering financial advice to municipalities where it also underwrites its municipal bond transactions. Eventually the hiring fell through and nothing resulted from it.

On July 2, 2013, the CVC announced that they were rejecting the Rams' renovation proposal. Missouri governor Jay Nixon had been negotiating with owner Stan Kroenke since the decision had been made. The earliest the Rams could have broken the lease on the Dome was following the 2014 season, but they chose not to do so in 2014.

Inglewood purchase
On January 31, 2014, both the Los Angeles Times and the St. Louis Post-Dispatch reported that Stan Kroenke purchased approximately 60 acres of land adjacent to the Forum in Inglewood, California. Commissioner Roger Goodell represented that Mr. Kroenke informed the league of the purchase. Kroenke subsequently announced plans to build an NFL stadium on the site, in connection with the owners of the adjacent  Hollywood Park site, Stockbridge Capital Group. This development further fueled rumors that the Rams intended to return its management and football operations to Southern California. The land was initially targeted for a Walmart Supercenter but Walmart could not get the necessary permits to build it. On January 5, 2015, The Los Angeles Times reported that Stan Kroenke and Stockbridge Capital Group were partnering up in developing a new NFL stadium on the Inglewood property owned by Kroenke. The project included a stadium with up to 80,000 seats and a performance venue of up to 6,000 seats while reconfiguring the previously approved Hollywood Park plan for up to  of retail,  of office space, 2,500 new residential units, a 300-room hotel and  of public parks, playgrounds, open space and pedestrian and bicycle access. The stadium would likely be ready by 2019.

In lieu of this St. Louis countered with a stadium plan on the north riverfront area of downtown, known as National Car Rental Field, with the hope of persuading Kroenke to keep the Rams in the city. However, on February 24, 2015, the Inglewood City Council approved the stadium and the initiative with construction planned to begin in December 2015.

This generated further debate between the NFL, St. Louis, and the Rams as to whether the Rams should be allowed to relocate when a "first tier" stadium plan was in process. The NFL and the Rams countered that the stadium plan was developed outside of the agreed-upon lease and "first tier" remediation and arbitration process, and therefore could not be considered a binding factor in preventing the Rams from relocating. In addition, the NFL and the Rams expressed concerns over the funding and maintenance of the proposed stadium, which they felt shifted too much of the costs of construction and maintenance to the Rams organization. Ultimately, as the Inglewood stadium would be built without taxpayer subsidy, that effectively sealed the fate of the Rams in St. Louis.

The Rams leave St. Louis
The last Rams game at The Dome was on Thursday, December 17, 2015, which they won, 31–23 over the Tampa Bay Buccaneers. The Rams formally filed their request to leave St. Louis for Los Angeles on January 4, 2016. On January 12, the NFL approved the Rams' request for relocation to Los Angeles for the 2016 NFL season.
Once the team left, Missouri taxpayers shouldered the remaining $144 million in debt and maintenance costs on the stadium until the debt was paid off in 2021. In the immediate time period after the Rams left the Dome was mainly used for concerts and events overflow from America's Center, including the September 18, 2018, St. Louis stop for Taylor Swift's Reputation Stadium Tour. The Dome still suffers from several design flaws that make it less and less desirable as a convention center. More recently, the Regional Sports Authority has called for additional upgrades to the Dome, to remain competitive for attracting events. Upgrades in lighting, sound, video boards, and various amenities could cost as much as $300 million. Upgrades like this would continue to bring big concerts and conventions to St. Louis, and potentially allow the city to bid for large sporting events like the NCAA Men's Basketball Final Four and college football bowl games. The renewal of the Illinois–Missouri football rivalry in 2026 could also potentially be held at the Dome. Similar upgrades were made to the Alamodome in San Antonio, which after $50 million in upgrades hosted the 2018 Final Four.

Football returns with the BattleHawks

On November 27, 2018, sources confirmed plans by the new XFL to place one of their 8 teams in St. Louis, whose five home games would be played in the Dome during the league's inaugural season in 2020. This marked the first time professional football had been played in St. Louis since the loss of the Rams. Officials at the Dome also confirmed they had previously been in talks with the former Alliance of American Football, but had to turn down hosting a team due to scheduling conflicts in spring of 2019 (the AAF ended up shutting down before its season was completed). A busy season for the Dome, including hosting a Boat Show, a Monster Jam event, a Garth Brooks concert, and an AMA Supercross Championship event, meant that the Dome did not have five open weekends to host football games. This left an opening for the XFL to fill, which began play in spring 2020.

On December 5, 2018, at a press conference at MetLife Stadium, Oliver Luck, the then-CEO and Commissioner of the XFL, announced that St. Louis had been awarded a team. The Dome is one of two XFL venues with a roof. Along with the Alamodome, Camping World Stadium, Cashman Field and Lumen Field, it is one of five XFL venues in a downtown city center.

On December 10, 2018, news outlets released the agreement between the league and the St. Louis Convention and Visitors Commission. The XFL pay a $300,000 deposit and $100,000 for every game played in the Dome. The XFL receives 100% of ticket revenue, and the CVC receives 100% of concessions and catering revenue. This contract was signed for three seasons.

The first XFL game at the Dome was held on Sunday, February 23, 2020, when the BattleHawks defeated the New York Guardians by a score of 29–9. Opening Day attendance was the highest in the XFL at 29,554.

At the time, XFL games did not use any seats at the Terrace Level of the Dome, bringing the capacity for games down to about 30,000. Given the high ticket sales, the team considered using the Terrace Level, but with the season truncated by the COVID-19 pandemic, those plans didn't come to fruition in 2020.

For the team's home opener the 2023 season, an estimated 35,000 tickets sold for the team's March 11 home opener and both the terrace level and the upper decks of the dome were opened to accommodate the high demand. The game drew an XFL record 38,310 attendance, eclipsing the previous record St. Louis set in 2020 and record of 38,253 set by the San Francisco Demons of the original XFL in 2001.

Naming rights
During its planning and construction, the Dome was known as The Dome at America's Center. Trans World Airlines, a St. Louis-based air carrier, purchased naming rights in 1995 and held them until 2001, when TWA was acquired by American Airlines (American already had its name on two NBA/NHL venues in Dallas and Miami). During this time, the Dome was known as the Trans World Dome.

The facility then briefly reverted to the Dome at America's Center until the naming rights were acquired on January 25, 2002, by Edward Jones Investments, a financial services firm based in St. Louis.

As part of a deal to sell the naming rights to Rams Park (dubbed at the time the Russell Athletic Training Center), the Rams' training facility in Earth City, Missouri, to sportswear manufacturer Russell Athletic, the Rams agreed to rename the Edward Jones Dome to Russell Athletic Field for the Rams' Monday Night Football game against the Chicago Bears on December 11, 2006. The renaming was for the one night only.

After the St. Louis Rams relocated to Los Angeles in 2016, Edward Jones exercised its right to terminate its sponsorship, and the facility was once again known as The Dome at America's Center.

Notable events

NFL playoff football
The Dome hosted five NFL playoff games, including the 1999 and 2001 NFC Championship Games, both of which the Rams won. The city's previous NFL franchise, the St. Louis Cardinals, never hosted a playoff game in their history with the city (1960–1987); all of the playoff games they played were on the road.

NAYC
NAYC is North American Youth Congress. It has been held at the Dome twice. It has been held in 2019 and 2023. It was scheduled to have it at the Dome again in 2021, but the serivce was online because of Covid-19.

Concerts

Professional soccer

The Dome hosted a soccer friendly match on October 13, 2007, when the United States women's national soccer team (USWNT) played Mexico women's national football team. The United States won 5–1. Attendance for the match was 10,861.

The Dome hosted a soccer match on August 10, 2013, when Real Madrid and Internazionale played a friendly game in front of 54,184 fans, a record attendance for a soccer match in St. Louis.

College basketball

In April 2005, the Edward Jones Dome hosted the 2005 NCAA Division I men's basketball tournament Final Four. Louisville, Illinois, Michigan State and North Carolina met, with North Carolina winning the title game against Illinois.

The Dome has hosted an NCAA Men's Basketball Regional four times. In 2004, the St. Louis Regional saw Georgia Tech defeat Kansas in a final that required overtime. Tech had previously defeated Nevada while KU became the first team (and the only one to date) to score 100 points in a college basketball game in the building in its regional semifinal win over UAB. The Dome also hosted the 2007 Midwest Regional, where Florida, en route to winning its second consecutive national championship, defeated Butler and then Oregon, who had defeated UNLV in the other regional semifinal. In 2010, Michigan State eliminated Northern Iowa, and Tennessee knocked off Ohio State, before MSU beat UT to move on to the Final Four. In 2012, North Carolina beat Ohio University and Kansas defeated NC State University. In the regional final, KU defeated UNC to advance to the Final Four.

College football
The Edward Jones Dome hosted the first Big 12 Championship Game in 1996. The third game, in 1998, was also held in the Dome. The Dome has also been a neutral site for regular-season college football match ups between the Illinois Fighting Illini and the Missouri Tigers, promoted locally as the "Arch Rivalry". Missouri has won all six games (2002, 2003, 2007, 2008, 2009 and 2010). On October 3, 2022, the University of Missouri announced a return of Mizzou football to St. Louis. Mizzou undefeated at (3-0) played the Memphis Tigers who were also undefeated at (3-0) on September 23, 2023 in front of a crowd of 45,085. Mizzou won the game with a final score of Missouri 34, Memphis 27. The Tigers had last played in St. Louis in 2010, a 23–13 win over Illinois, the final game of the Arch Rivalry Series, which ran from 2002 to 2010. Mizzou went 6–0 in that series. The game is part of a new partnership with the St. Louis Sports Commission which will host multiple Mizzou athletic events in the St. Louis area during the 2023–24 season – the Mizzou To The Lou Series.

MSHSAA Show-Me Bowl
The Dome held the annual Missouri State High School Activities Association football championship games from 1996 to 2015. The Show-Me Bowl had previously been contested at Faurot Field in Columbia, Arrowhead Stadium in Kansas City, Robert W. Plaster Stadium in Springfield and Busch Memorial Stadium. MSHSAA had chosen to move to the Dome mostly because it was an indoor facility, as the football championships occurred in December. With the Rams' departure and anticipated end of football at the facility, the MSHSAA voted to return to rotating hosts, with Springfield getting the 2016 championship and Columbia in 2017. As of 2022 all games are played at Faurot Field in Columbia, Missouri.

Legends of the Dome game
On Saturday, July 23, 2016, the Isaac Bruce Foundation hosted a charity flag football game to raise money for the Isaac Bruce Foundation and relive great memories from the Rams' time in St. Louis. Many members of the Greatest Show on Turf including Kurt Warner, Dick Vermeil, Mike Martz, Torry Holt, Ricky Proehl, Az Hakim, Marc Bulger, Orlando Pace, Aeneas Williams, and many others were among the players and coaches involved. At halftime, 2016 Pro Football Hall of Fame and longtime Rams All-Pro left tackle Orlando Pace was honored. Retired Navy Petty Officer Generald Wilson performed the National Anthem. The former "Voice of the Rams" Steve Savard called the game live on 101 ESPN radio in St. Louis. 10,600 fans were on hand for the game.

Religious conferences

Currently, the building hosts the annual Joyce Meyer Ministries Love Life Women's Conference, attended by 10,000 to 20,000 women each year. Other major conferences include:
It became the site of the biggest indoor gathering in United States history, on January 27, 1999, when Pope John Paul II held mass in the stadium. Over 104,000 people attended.
In 1999 the Rev. Billy Graham held the Greater St. Louis Billy Graham Crusade, with well over 200,000 people attending throughout the four days. Michael W. Smith and Kirk Franklin were among the musical artists who performed.
In 2005, the Dome hosted the General Conference Session of Seventh-day Adventists.
In 2007, the Nazarene Youth Conference was held at the stadium.
From 2009 to 2019, the Dome hosted the International Holy Convocation of the Church of God in Christ.
 The building also hosted the Church of God in Christ's annual Holy Convocation from 2010 to 2020.
The InterVarsity Christian Fellowship Urbana missions conference, held every three years, was hosted by the Dome from 2006 to 2018. The last one was held from December 27 to 31, 2018.
The Dome hosted the 85th annual General Conference of the United Pentecostal Church International (UPCI) on September 30 – October 4, 2009.
The Dome hosted one of the many 2019 International Convention of Jehovah's Witnesses, having 30,000 in attendance, with the theme of "Love Never Fails" from August 16 to 18, 2019.
The Dome hosted North American Youth Congress (or NAYC), a biennial gathering of young people via the Youth Ministries division of the United Pentecostal Church International from July 31 to August 2, 2019. It was attended by over 36,000 youth and young adults.
In 2023, the Dome once again hosted North American Youth Congress from July 26 to July 28. Final attendance was 33,741 attendees.
 The Dome hosted the Fellowship of Catholic University students (FOCUS) annual SEEK conference from January 2–6, 2023. The conference had 17,000 in attendance.

Castrol Gateway Dirt Nationals
The Dome hosted the first ever Gateway Dirt Nationals on December 15–17, 2016, featuring late model and modified events on a  dirt track, the largest indoor oval track in the United States. Nearly 100 Open Late Models and 130 Open Modifieds entered in the three day event. The race surface, built in four days, was a 1/5th mile banked oval. Late model driver Scott Bloomquist won the main event and $20,000 in front of nearly 15,000 spectators, but not to be outdone by the pass from Shannon Babb on Bloomquist during the Friday night main event with Jason Feger and Darrell Langian running close behind with only two laps remaining. Open Modified driver Tommie Seets Jr. won the main event and $10,000.
The 2nd Gateway Dirt Nationals took place on December 14–16, 2017, and again featured late model and modifieds. Thursday night, Shannon Babb took the win in the first annual late models "Race of Champions". Friday night, Tanner Mullens won the modified main event, locking himself into Saturday night's main event. In the late models, 17 year-old Hudson O'Neal won the first of two main events. The second late model feature on Friday night saw Gordy Gundaker win. On Saturday night Bobby Pierce picked up the $30,000 check in the late model main event. In the modifieds Ray Bollinger picked up the $10,000 to win A-Main. It was announced that the 3rd Annual Gateway Dirt Nationals would take place November 29, and 30, and December 1, 2018.

Other events

From 2011 through 2017, the Dome hosted the World Championship of the FIRST Robotics Competition. 600 teams from around the world qualify annually to compete in the championship held in mid-April. The FIRST LEGO League World Festival and FIRST Tech Challenge Championship occur at the same time, in nearby venues.
The Dome hosted the Nerium International's Spring Conference in April 2014; and the 35th and 37th Annual Herbalife Extravaganza in July 2015 and 2017 respectively.
The Music for All Bands of America St. Louis Super-Regional championships has been held annually at the Dome since 1997.
The Dome hosted an AMA Supercross Championship round since 1996.
In 1998, the Dome was home to the largest pro wrestling crowd in Missouri state history  when WCW broadcast a live Monday Nitro event on TNT. Nearly 30,000 attended live, braving an ice storm to attend. This record would stand until 2022. WCW would return on May 9, 1999, with a pay-per-view event titled "Slamboree", which drew 20,516 fans.
The Dome hosts Monster Jam events every year.
In 2013, the Dome hosted a round of the Stadium Super Truck series.
The Dome hosted Drum Corps International's inaugural 'DCI Midwestern Championship' on July 15, 2018.
Season 12 of the NBC series American Ninja Warrior was filmed at The Dome, eschewing a traveling format due to the COVID-19 pandemic in the United States.
The Dome hosted the WWE pay-per-view (PPV) event Royal Rumble on January 29, 2022. This was the first WWE event to be held in the building, and WWE announced a record attendance of 44,390 fans.

St. Louis Football Ring of Fame

Former Cardinals and Rams football players were included in the St. Louis Ring of Fame in the Dome. During the Rams' time in St. Louis the names were displayed on an overhang surrounding the field.  Bold indicates those elected to the Pro Football Hall of Fame.

References

External links

Official site

Defunct National Football League venues
St. Louis Rams stadiums
St. Louis BattleHawks
Covered stadiums in the United States
American football venues in Missouri
Sports venues in St. Louis
Multi-purpose stadiums in the United States
Big 12 Championship Game venues
Event venues established in 1995
Sports venues completed in 1995
Tourist attractions in St. Louis
1995 establishments in Missouri
NCAA Division I men's basketball tournament Final Four venues
Sports venues in Missouri

The Dome at America's Center


Halil Gökhan (d. 1967, Tarsus) müellif, romancı, mütercim.

İlk yapıtı 1989'da Varlık Dergisi'nde yayımlandı. Yazı ve çevirileriyle sanat basınında uzun dönem yer aldı. Roman, öykü ve şiir kitapları çevirdi. İlk kitap çevirisi Enstantaneler (Alain-Robbe Grillet) 1990'da yayımlandı. İlk romanı Yedinci 1999'da çıktı. 2004'te Konuşan Kadın, 2006'da ise Yeni Sevgili ERKEKLER CENNETİNDE SON TANGO romanları çıktı.

Abdi İpekçi, Orhon Murat Arıburnu, Altın Koza, Yaşar Nabi Nayır yarışmalarında; öykü, film hikâyesi ve şiir dallarında ödüller kazandı.

2000 yılında Türkolog Timour Muhidine ile birlikte hazırladıkları Türk Edebiyatında Paris adlı kitap, aynı yıl Fransızca da çıktı.

Modern ve çağdaş Fransız şiiri antolojileri hazırladı.

Çeşitli otomobil dergilerinde bir bütün olarak yazdığı denemelerini Otomobil adlı kitabında bir araya getirdi.

2000'den bu yana serbest ve bağımsız bir yazar olarak çalışmakta, 2002'den bu yana da Le Monde diplomatique'in Türkiye temsilcisi ve editörlüğünü yapmaktadır. Editörlük, yayın-basın danışmanlığı, yayın hakları, iletişim gibi alanlarda çalışmalarını sürdürmektedir.

Son zamanlarda 22 kadın yazarı içeren ilginç bir proje üzerinde çalıştığı bilinmektedir! Bu sayı 11'e düşmüştür ama hala 22 olabilir...

Barbuni.com kültür sanat haber içerik sitesinin kurucusudur.

Kaynakça

Dış bağlantılar

 Tempo dergisi - Konuşan Kadın hakkında
 Babylon
 Halil Gökhan'ın fotoğrafı

1967 doğumlular
Türk yazarlar
Resim aranan yazarlar
20. yüzyıl Türk roman yazarları
21. yüzyıl Türk roman yazarları

Halil Gökhan


Helsingin Suunnistajat (deutsch Orientierungsläufer Helsinkis) ist ein Orientierungslaufverein aus der finnischen Hauptstadt Helsinki.

Geschichte
Der Verein wurde 1943 gegründet und hat heute rund 800 Mitglieder. Davon sind etwa ein Fünftel unter 21 Jahren alt.

Die erfolgreichste Zeit des Vereins stellen die 1950er Jahre dar. Bis heute ist die Jukola-Staffel des Vereins mit acht Siegen im Zeitraum zwischen 1949 und 1970 Rekordsieger des Wettbewerbs. Zu den bekanntesten Läufern des Vereins gehören Juhani Salmenkylä und Erkki Aro, die bei sieben der acht Jukola-Erfolge in der Mannschaft standen. 1954 gewannen die Herren auch die Tiomila in Schweden.

Erfolge

Jukola
 1. Platz Herren: 1949, 1950, 1952, 1953, 1956, 1957, 1960, und 1970
 1. Platz Jugend: 1987 und 2010

Tiomila
 1. Platz: 1954 (Herren), 2013 (Jugend)

25-manna
 1. Platz: 1996

Finnische Staffelmeisterschaften
 1. Platz Herren: 1945, 1952, 1954, 1955, 1956, 1959, 1967, 1971, 1973 und 1995
 1. Platz Damen: 1952, 1962, 1963, 1964, 1971 und 1973

Bekannte Athleten
  Erkki Aro (1916–1993)
  Gernot Kerschbaumer (* 1983), zwischen 2007 und 2010
  Juhani Salmenkylä (1932–2022)
  Markku Salminen (1946–2004)

Weblinks
 Homepage des Vereins

Sportverein (Helsinki)
Orientierungslaufverein
Gegründet 1943

Helsingin Suunnistajat


An Rhynchospora recognita in uska species han Liliopsida nga syahan ginhulagway ni Shirley Gale, ngan ginhatag han pagkayana nga asya nga ngaran ni Robert Kral. An Rhynchospora recognita in nahilalakip ha genus nga Rhynchospora, ngan familia nga Cyperaceae. Waray hini subspecies nga nakalista.

Mga kasarigan

Rhynchospora

Rhynchospora recognita


Blue-eyed soul (also called white soul) is rhythm and blues (R&B) and soul music performed by white artists. The term was coined in the mid-1960s, to describe white artists whose sound was similar to that of the predominantly black Motown and Stax record labels. Though many R&B radio stations in the United States in that period would only play music by black musicians, some began to play music by white acts considered to have "soul feeling"; their music was then described as "blue-eyed soul".

1960s

Georgie Woods, a Philadelphia radio DJ, is thought to have coined the term "blue-eyed soul" in 1964, initially to describe The Righteous Brothers, then white artists in general who received airplay on rhythm and blues radio stations. The Righteous Brothers in turn named their 1964 LP Some Blue-Eyed Soul.  According to Bill Medley of the Righteous Brothers, R&B radio stations who played their songs were surprised to find them to be white when they turned up for interviews, and one DJ in Philadelphia (unnamed by Medley but probably Georgie Woods) started saying "Here's my blue-eyed soul brothers", and it became a code to signal to the audience that they were white singers. The popularity of The Righteous Brothers who had a hit with "You've Lost That Lovin' Feelin'" is thought to have started the trend of R&B radio stations to play songs by white artists in the mid-1960s, a more integrative approach that was then popular with their audience. The term blue-eyed soul was then applied to such artists as Sonny & Cher, Tom Jones, Barry McGuire, and Roy Head.

White musicians playing R&B music, however, began before the term blue-eyed soul was coined. For instance, in the early 1960s, one of the rare female blue-eyed soul singers was Timi Yuro, whose vocal delivery and repertoire were influenced by African American singers such as Dinah Washington.

Lonnie Mack's 1963 gospel-infused vocals earned him widespread critical acclaim as a blue-eyed soul singer. Len Barry former lead singer on The Dovells he recorded blue eyed soul hits in 1965 and 1966 for Decca Records in the US and released by Brunswick Records: "1-2-3", "Like a Baby", and "I Struck It Rich", a song he wrote with Leon Huff of the Philadelphia International Records producers, Gamble and Huff. Groups such as The Rascals had soul-tinged pop songs,  but it was the soulful vocals of Felix Cavaliere that gave them the blue-eyed soul sound. By the mid-1960s, British singers Dusty Springfield, Eric Burdon, and Tom Jones had become leading vocal stars of the emerging style. Other notable UK exponents of blue-eyed soul included The Spencer Davis Group (featuring Steve Winwood), Van Morrison, and archetypal mod band The Small Faces, whose sound was heavily influenced by the Stax label's house band Booker T. & the M.G.'s. Blonde, blue-eyed soul singer Chris Clark became the first white singer to have an R&B hit with "Love's Gone Bad" with Motown Records in 1966. In 1969, Kiki Dee became the first British artist to sign and record with Motown. Some British rock groups of the 1960s—such as the Spencer Davis Group, the Animals, the Rolling Stones ("My Girl"), and the Who ("Heat Wave")—covered Motown and rhythm and blues tracks. In 1967, Jerry Lee Lewis, whose latter days at Sun Records (1961–63) had been characterized by R&B covers, recorded an album for Smash entitled Soul My Way. Elvis Presley releases From Elvis in Memphis in 1969 an album of blue eyed soul, southern soul and country soul. Delaney and Bonnie (Bramlett) produced the blue-eyed soul album Home on Stax in 1969. Michael Sembello, who left home at age 17 to tour with Stevie Wonder, wrote and performed on numerous blue-eyed soul hits for Wonder, Brian McKnight, David Sanborn, Bill Champlin, and Bobby Caldwell. Todd Rundgren began his career in Woody's Truck Stop, a group based on the model of the Paul Butterfield Blues Band.

After splitting from Big Brother and the Holding Company, Janis Joplin formed a new backup group, the Kozmic Blues Band, composed of session musicians like keyboardist Stephen Ryder and saxophonist Cornelius "Snooky" Flowers, as well as former Big Brother and the Holding Company guitarist Sam Andrew and future Full Tilt Boogie Band bassist Brad Campbell. The band was influenced by the Stax-Volt rhythm and blues (R&B) and soul bands of the 1960s, as exemplified by Otis Redding and the Bar-Kays.

Joe Cocker, who sang soul-oriented covers of songs such as "With a Little Help from My Friends", was said by the Chicago Sun Times to have "opened the door for all blue-eyed soul singers after him".

1970s
Hamilton, Joe Frank & Reynolds and the Grass Roots both had successful blue-eyed soul singles; the former with "Don't Pull Your Love" (1971) and the latter with "Two Divided by Love" (1971) and "The Runway" (1972). In 1973, the American band Stories and the Canadian group Skylark had successes with their respective blue-eyed soul singles "Brother Louie" and "Wildflower". In February 1975, Tower of Power became the first white/mixed act to appear on Soul Train. Also in 1975, David Bowie, another early white artist to appear on Soul Train, released Young Americans, a popular blue-eyed soul album which Bowie himself called "plastic soul". It featured the funk-inspired "Fame", which became Bowie's first number-one hit in the US. Hall & Oates' 1975 Daryl Hall & John Oates includes the ballad "Sara Smile", long considered a blue-eyed soul standard. "She's Gone", another soulful hit, was originally released in 1973 but did better as a re-release after "Sara Smile".  Bobby Caldwell, one of the most notable purveyors of blue-eyed soul, released his enduring hit "What You Won't Do for Love" in 1978.

1980s
Blue-eyed soul music's chart success was at its highest when Hall and Oates' singles got heavy airplay on urban contemporary radio, as was the case with "I Can't Go for That (No Can Do)", "Kiss on My List", "One on One", "Say It Isn't So", "Adult Education", "Out of Touch", "Method of Modern Love", and "Everytime You Go Away". Most of those singles charted on the R&B and dance charts, including some number-one hits. In 1985, Simply Red released "Holding Back the Years", one of the most successful blue-eyed soul ballads; "Money's Too Tight (to Mention)" and other singles by the group also performed well.

Other successful blue-eyed soul songs of the 1980s include Phil Collins' cover of "You Can't Hurry Love" (1982); Culture Club's "Do You Really Want to Hurt Me" (1982), "Time (Clock of the Heart)" (1982) and "Church of the Poison Mind" (1983); Dexys Midnight Runners' "Come On Eileen" (1983); the Style Council's "Shout to the Top" (1984); Teena Marie's "Lovergirl" (1985); Paul Young's "Every Time You Go Away" (1985); Eurythmics' "Missionary Man" (1986), and Steve Winwood's "Roll with It" (1988). As the decade drew to a close, British artist Lisa Stansfield had considerable success on R&B radio, scoring three number-one R&B hits, the most popular being "All Around the World".

In the mid-1980s, George Michael found some success in the US Hot R&B/Hip-Hop Songs with hit singles such as "Careless Whisper" and "Everything She Wants" but it was not until he reinvented himself as a white soul singer with the release of his multi-platinum album Faith (1987). The album was notable for slowly climbing to the top of the Top R&B/Hip-Hop Albums chart, making it the first album by a white artist to hit the top spot on that chart, mainly due to the gospel-influenced singles that were released from the album, most notably "Father Figure" and "One More Try". In 1989, he racked up three  wins in the American Music Awards including Favorite Soul/R&B Male Artist and Favorite Soul/R&B Album for Faith.

1990s
Dance-pop singer Rick Astley shifted to blue-eyed soul and adult contemporary in the early 1990s with Free, featuring the hit "Cry for Help".

2000s and 2010s
Joss Stone received much acclaim soon after releasing her first album The Soul Sessions in 2003. Scottish musician Paolo Nutini whose first two albums influenced by soul music are certified quintuple platinum by the British Phonographic Industry. Adele's debut album 19 was a global success.

Criticism
A backlash ensued in the late 1980s as some black people felt that white people were cashing in on the popularity of their music. The extent of the backlash, however, was not universally agreed upon. In 1989, Ebony Magazine published an article exploring whether white people were "taking over" R&B. The article featured various members of the music industry, both black and white, who believed collaboration was a unifying force, and there was agreement that the future of R&B was not compromised by the contemporary urban sound. A similar article in Ebony, written in 1999 highlighted conflicting opinions about the "blue-eyed" influence; however, the source of contention was not about the artistic merit of blue-eyed soul, but rather the economic inequality that persisted in American life and within the music industry.

According to scholar Joanna Teresa Demers, the "successors [of Presley] in blue-eyed soul and white funk" embittered poet Gil Scott-Heron, as it proved that "blacks were still being victimized by cultural appropriation, making their contributions to American history virtually invisible and inaudible." The "long tradition of white co-optation of black cultural identity" since Elvis amounting to "artistic theft" was, in Scott-Heron's words, "no new thing."

Daryl Hall has described the term "blue-eyed soul" as racist, saying "it assumes I'm coming from the outside. There's always been that thing in America, where if you're a white guy and you're singing or playing in a black idiom, it's like: 'Why is he doing that? Is he from the outside, looking in? Is he copying? What's the point of it?' C'mon, it's music! It's music."

See also
 1960s in music
 Brown-eyed soul
 Sophisti-pop – a term applied to a number of 1980s pop acts, many of whom would have fallen under the 'blue-eyed soul' tag at the time
 Yacht rock – another music genre term applied retrospectively to a certain group of acts by journalists and fans

References

External links
 Blue-eyed soul Definition and examples on Allmusic.com
 Blue eyed soul... Section on Soulwalking.co.uk
 The Birth of Blue-eyed Soul Section on The Righteous Brothers site (have to click on menu)

Soul music

1960s neologisms
Race-related controversies in music

Blue-eyed soul


An Afrotrichloris hyaloptera in uska species han Liliopsida nga ginhulagway ni Clayton. An Afrotrichloris hyaloptera in nahilalakip ha genus nga Afrotrichloris, ngan familia nga Poaceae.

Mabibilngan ini ha Somalia. Waray hini subspecies nga nakalista.

Mga kasarigan

Afrotrichloris

Afrotrichloris hyaloptera


Ağız kopuzu rezonansla çalınan bir müzik aletidir, çıkış yeri Asya olan, Orta Çağdan günümüze kadar gelmiş bir çalgı aletidir. Ağız kopuzu Orta Asya Türk  cumhuriyetleri ve Kuzey Moğolistan taraflarında çeşitli alaşım metallerden, Hindistan ve okyanus adalarında ise bambu sıyırmasından yapılan, esas işlevi hem enstrümanın titreşimi hem de ağız boşluğu hacminin ve de nefes yönünün değiştirilerek ses meydana getirilmesi olan, yaklaşık 6000 yıllık bir geçmişe sahip vurmalı-nefesli çalgıdır.

Çeşitli boylarda ve şekillerde bulunan bu çalgıya Avrupa ve Amerika'da ise "ağız arpi" denmektedir.

Özellikle etnik müziklerin ve şaman ayinlerinin vazgeçilmezi olan ağız kopuzu, Türk kültüründe izlerini tarak çalınması olarak gösterir.

Farklı isimleri
Türk dillerinde "kopuz" sözü farklı farklı söylenir. Örneğin Tıva Türklerinde kullanılan "Homus" (Хомус) ya da "demir kopuz" (Демир хомус) sözü ağız kopuzunu ifade eder. Ayrıca şu söyleniş şekilleri de vardır: Komuz, kobuz, homıs, kobız yanı sıra şankobız, kılkobız, hılhomus, çartıhomus vb. Bazıları ağız kopuzunu ifade ederken bazıları farklı müzik enstrumanları için kullanılmaktadır.

Ayrıca bakınız
 Temir komuz

Dış bağlantılar
Ağız Kopuzuna Hızlı Başlangıç , Caner Başaran blogu. Erişim tarihi: 1 Nisan 2015.

Vurmalı çalgılar
Nefesli çalgılar
Appalachia'da kültür
Erken müzik aletleri
Çin müzik aletleri
Türk kültürü
Türk şamanizmi

Ağız kopuzu


Poul Jensen peut désigner :

 Poul Jensen (19?-), astronome danois ;
  (1944-), navigateur danois ;
 Poul Jensen (1934-2000), footballeur danois ;
  (1899-1991), footballeur danois ;
  (1912-2000), footballeur danois ;
 Poul Ove Jensen (1937-), architecte danois.

Poul Jensen


Hypseus () ist der Name mehrerer Gestalten der griechischen Mythologie:

Hypseus (Sohn des Peneios), König der Lapithen Thessaliens
Hypseus (Gefährte des Phineus), Gegner des Perseus
Hypseus (Sohn des Asopos), kämpfte im Krieg der Sieben gegen Theben

Hypseus


167208 Lelekovice este un asteroid din centura principală de asteroizi.

Descriere
167208 Lelekovice este un asteroid din centura principală de asteroizi. A fost descoperit pe  la Observatorul din Ondřejov de P. Kusnirak și K. Hornoch. Asteroidul prezintă o orbită caracterizată de o semiaxă mare de 2,65 ua, o excentricitate de 0,19 și o înclinație de 4,8° în raport cu ecliptica.

Vezi și
 Lista planetelor minore: 167001-168000
 Centura de asteroizi

Referințe

Obiecte astronomice descoperite în 2003
Centura de asteroizi

167208 Lelekovice


Ural-batyr sau Ural-batır (Bașchiră: Урал батыр, pronunțat [uˈrɑɫ.bɑˌtɯ̞r], de la Ural + turcicul batır - "erou, om curajos") este cel mai faimoasă epopee a bașchirilor. Povestește fapte eroice și creaturi legendare, formarea fenomenelor naturale și așa mai departe. Este similară cu alte epopei (anglo-saxonul Beowulf, germanicul Nibelungenlied, mesopotamianul Gilgamesh sau finlandezul Kalevala). Opera propovăduiește ideea vieții eterne a națiunii și capacitatea omului de a învinge răul.

Poveste
Bazat pe cântece populare Turcice, Iraniene și, într-o anumită măsură, Semitice, poemul povestește faptele de vitejie ale lui Ural-batyr. Ural este născut într-un cuplu în vârstă, Yanbike și Yanbirðe. Yan vine din persanul جان jan, "suflet", iar Yanbirðe înseamnă "Suflet Oferit", în timp ce Yanbike înseamnă "Femeie de suflet". Ural dovedește încă de mic toate caracteristicile unui erou legendar, precum curajul, onestitatea, bunătatea, empatia și puterea fizică. Spre deosebire de fratele său trădător Shulgan (vezi Sulgan-tash ), Ural este un dușman al răului și morții. După ce crește, Ural pleacă în căutarea Morții, pe care dorește să o distrugă. Pe drum se întâlnește cu diverși oameni și creaturi legendare și este întârziat de lungi aventuri; în toate cazurile, acțiunile sale servesc să salveze vieți și să lupte împotriva răului. Călărind pe calul înaripat Akbuthat (sau Akbuz At; Cal Alb-gri), el salvează de la moarte tinerii și tinerele pregătiți de sacrificiu de tiranul Shah Katil, îmblânzește un taur sălbatic, distruge un mare număr de daevas, se căsătorește cu legendara Humai (din persanul همای Humay), o sirenă-lebădă și în final învinge daevaul șef Azraka, al cărui cadavru se spune că a format Muntele Yamantau din Uralii Meridionali. Ural-batyr moare în bătălia finală, fiind obligat să bea un lac întreg în care se ascunseseră demonii, dar își lasă fiii să-i continue planurile.

Istoric
Poemul exista inițial doar sub formă orală, de cântec. El a fost scris pentru prima dată de poetul popular Mukhamedsha Burangulov în 1910. Povestea este foarte veche și amintește de anumite istorii din Babilonia și Sumeria; ea amintește și de povestea lui Cain și Abel.

Traduceri
Prima traducere a Ural-batyr în engleză a fost realizată în 1999 de Sagit Shafikov, profesor în Departamentul de Limbi Străine a Universității de Stat din Bașchiria, Ufa, Rusia. A apărut într-un ziar local numit Vestnik Akademii Nauk (Jurnalul Academiei de Știință) și a fost urmată de o versiune îmbunătățită apărută în 2001 în Watandash ("Compatriot"). Versiunea finală a fost publicată alături de textul original și de o traducere în rusă sub formă de carte în 2003. În 2013 a apărut o nouă traducere în engleză realizată de David și Anastasia Andresen și publicată în Statele Unite sub titlul "Ural cel curajos" (Ural the Brave)

Note

Legături externe
 «Ural-batir» (original) în alfabetul latin(Bashkir)
 «Ural-batir» în chirilică (Bashkir)
 «Ural-batir» versiunea academică
 «Ural-batir» versiunea poetică

Bașkortostan

Ural-batyr


Jens Massel (* 1969 in Köln) ist ein deutscher Musiker, der vor allem durch seine Veröffentlichungen unter den Pseudonymen Senking und Kandis bekannt wurde. Seine Musik ist dem Genre der elektronischen Musik zuzurechnen und umfasst Ambient, Clicks & Cuts sowie Dub-Techno.

Leben und Wirken
Massel sammelte ab 1990 erste musikalische Erfahrungen als Bassist in verschiedenen Punk- und Indiebands. Ab 1995 wendet er sich verstärkt der elektronischen Musik zu. Im Jahr 1996 erschien unter dem Pseudonym Kandis seine erste Veröffentlichung beim Kölner Label Karaoke Kalk. Später wurde der Titel der ersten EP Senking für ein eigenständiges Projekt genutzt und Massel veröffentlicht seither überwiegend unter dem Alias Senking.

Ab 1996 war Massel neben Oliver Brand und Olaf Karnik Mitglied der Gruppe Genf, deren Instrumentalmusik Einflüsse aus Ambient, Funk, Indie und Techno aufgriff und unter anderem auf Compost Records veröffentlichte. Auf Tomlab erschien 1997 das Projekt-Album Visor mit Stücken von Massel, Jörg Follert und Tom Steinle.

Nach weiteren Veröffentlichungen als Senking auf Karaoke Kalk hatte Massel 1999 einen ersten Kontakt zum Chemnitzer Label Raster-Noton. Mit Untitled / 20' To 2000.June, Massels Beitrag zur Serie 20' to 2000 – twelve releases about the cutting edge of the millenium, gab er sein Debüt auf dem Label.

Darüber hinaus veröffentlichte Massel auch unter dem Projektnamen Fumble sowie gemeinsam mit Michael Cramm als Poto & Cabengo.

Diskografie

Alben
 1998: Senking – Senking (Karaoke Kalk)
 1998: Fumble – Fumble (Karaoke Kalk)
 2000: Kandis – 1996-99 (Compilation-Album, Karaoke Kalk)
 2000: Senking – Trial (Raster-Noton)
 2002: Kandis – Airflow (Karaoke Kalk)
 2001: Senking – Silencer (Karaoke Kalk)
 2001: Senking – Ping Thaw (Karaoke Kalk)
 2003: Senking – Tap (Raster-Noton)
 2007: Senking – List (Raster-Noton)
 2010: Senking – Pong (Raster-Noton)
 2013: Senking – Capsize Recovery (Raster-Noton)
 2015: Senking – Closing Ice (Raster-Noton)
 2018: Reptilicus | Senking – Unison (Artoffact Records)
 2019: Kandis – Už Poliarinio Rato (M.P.3)

Singles & EPs
 1997: Kandis – Senking (Karaoke Kalk)
 1997: Kandis – Set Tecker (Karaoke Kalk)
 1998: Kandis – Dilldop (Karaoke Kalk)
 1998: Senking – EP (Karaoke Kalk)
 1999: Senking – Ping (Karaoke Kalk)
 1999: Senking – Untitled / 20' To 2000.June (Raster-Noton)
 1999: Kandis – Claps (Karaoke Kalk)
 2000: Senking – Thaw (Karaoke Kalk)
 2000: Fumble – Untitled (Karaoke Kalk)
 2001: Fumble – Melo (Karaoke Kalk)
 2005: Kandis – Jumpstart (Karaoke Kalk)
 2011: Senking – Tweek (Raster-Noton)
 2012: Senking – Dazed (Raster-Noton)
 2014: Senking – Sea Level (Raster-Noton)
 2016: Senking – Waiting Alpine (-ous)
 2020: DYL, Senking, DB1 – Uniformity of Nature EP (Detach Recordings)

Weblinks

 Senking bei de-bug.de

Einzelnachweise

Musiker (Deutschland)
Deutscher
Geboren 1969
Mann

Jens Massel


Carl Günther Ludovici (o Ludewig) (Leipzig, 7 de agosto de 1707 - Ib., 5 de julio de 1778) fue un filósofo, lexicógrafo y economista alemán.

Editó una gran parte de la enciclopedia alemana más importante del , obra llamada Grosses vollständiges Universal-Lexicon.

Vida

Ludovici nació el 7 de agosto de 1707 en Leipzig, y era hijo de Christian Ludovici (1697–1724), profesor de filosofía en la Universidad de Leipzig, teólogo y orientalista.
Su padre dejó la educación de Carl a cargo de tutores, cuando este tenía la edad de dos años. Más tarde Carl asistió a la Escuela Thomas, donde estudió con Paul Daniel Longolius.
En 1724 comenzó sus estudios de filosofía y teología en la Universidad de Leipzig, donde obtuvo un título en 1728. En 1733, fue nombrado profesor de filosofía práctica en la universidad.

En 1739, Johann Heinrich Zedler nombró a Ludovici redactor de su Grosses Universal-Lexicon (en alemán: Gran Léxico Universal), y Ludovici trabajó hasta 1754 como jefe de redacción de los volúmenes 19-64 y de los suplementos de los volúmenes del 1 al 4 de esa obra, la enciclopedia alemana más importante del .
En 1761 Ludovici empezó a desempeñarse como profesor de lógica aristotélica. Desde 1765-1766 Ludovici fue rector de la Universidad de Leipzig y al mismo tiempo decano de la Facultad de Letras.
Ludovici fue miembro de la Academia Prusiana de las Ciencias y de la Sociedad de Ciencias Económicas de Leipzig, de artes liberales y de la lengua alemana. Fue también miembro del Colegio del principado College, director del calendario y archivista de la Universidad de Leipzig.

Obras

El principal trabajo de Ludovici como profesor fue la presentación e interpretación de las enseñanzas filosóficas de Christian Wolff y Gottfried Wilhelm Leibniz. Publicó dos extensos artículos que provocaron un acalorado debate en el mundo erudito. Recibió quejas de profesores en la Universidad de Halle, pero entabló una animada correspondencia con otros eruditos de su tiempo.

Como redactor, Ludovici introdujo varias innovaciones en el Gran Léxico Universal y mejoró su calidad de modo significativo. Hizo más completas las biografías al final de cada artículo, creó artículos más largos e introdujo biografías de personajes contemporáneos.
Sus prefacios para los volúmenes 19, 21, 23 y para el primer volumen de los suplementos son importantes fuentes lexicográficas.
El extenso artículo acerca de Christian Wolff y de la filosofía wolffiana son casi seguro obra suya.

Mientras redactaba el Léxico Universal de Zedler, Ludovici realizó una traducción al idioma alemán del francés Dictionaire de commerce de Jacques Savary des Brûlons, que fue publicado con el nombre de General Treasure Chamber entre 1741-1743.
De esta obra se desarrolló la Academia Abierta de Comerciantes, un léxico de comercio más completo cuyos cinco volúmenes fueron publicados por un socio de Zedler, Johann Samuel Heinsius, comenzando a aparecer en 1752 y siendo completado en 1756.
Este es el primer léxico completo de comercio en idioma alemán, con el último volumen que proporciona un plan sistemático de esta disciplina.
El léxico fue usado en la práctica, como se ve por las ventas a firmas comerciales.

Bibliografía parcial

Referencias

Otras lecturas

Enciclopedistas de Alemania
Lexicógrafos de Alemania
Filósofos de Alemania del siglo XVIII
Lingüistas de Alemania del siglo XVIII
Nacidos en Leipzig
Fallecidos en Leipzig

Carl Günther Ludovici


Castelo (llamada oficialmente San Xiao de Castelo) es una parroquia y un lugar español del municipio de Cervo, en la provincia de Lugo, Galicia.

Etimología

El origen del nombre probablemente proceda del latín villa Astrulfi, indicando la pertenencia a un possessor llamado Astrulfus, nombre de origen germánico.

Organización territorial

La parroquia está formada por veinticuatro entidades de población, constando una de ellas en el nomenclátor del Instituto Nacional de Estadística español:

Entidades de población

Entidades de población que forman parte de la parroquia:

Demografía

Parroquia

Lugar

Notas

Referencias

Bibliografía

Enlaces externos

Parroquias de Cervo
Localidades de Cervo
Localidades de la provincia de Lugo

Castelo (Cervo)


A Medalha "Pela Defesa de Moscou" () foi uma medalha de campanha da União Soviética da Grande Guerra Patriótica concedida a militares e membros da população civil que participaram da Batalha de Moscou.

História
A Medalha "Pela Defesa de Moscou" foi instituída em 1º de maio de 1944 por decreto do Presidium do Soviete Supremo da URSS. Seu estatuto foi posteriormente alterado pela Resolução do Presidium do Soviete Supremo em 8 de março de 1945. O estatuto da medalha foi finalmente alterado uma última vez em 18 de julho de 1980 por decreto do Presidium do Soviete Supremo da URSS № 2523-X.

Estatuto
A Medalha "Pela Defesa de Moscou" foi concedida a todos os participantes da defesa de Moscou - soldados do Exército Vermelho, tropas do NKVD, bem como membros da população civil que participaram da defesa de Moscou durante a batalha de Moscou.

A Resolução do Presidium do Soviete Supremo de 8 de março de 1945 concedeu a petição das organizações regionais de Iaroslavl para conceder a medalha "Pela Defesa de Moscou" aos participantes mais ilustres na construção de estruturas defensivas na área de Moscou pelos civis população da região de Iaroslavl.A concessão da medalha foi feita em nome do Presidium do Soviete Supremo da URSS com base em documentos que atestam a participação real na defesa de Moscou emitidos pelo comandante da unidade, pelo chefe do estabelecimento médico militar ou por um representante provincial relevante ou autoridade municipal. Militares em serviço receberam a medalha de seu comandante de unidade, aposentados do serviço militar receberam a medalha de um comissário militar regional, municipal ou distrital na comunidade do destinatário, membros da população civil, participantes da defesa de Moscou receberam sua medalha de autoridades regionais ou Câmaras Municipais de Deputados Populares. Para os defensores que morreram em batalha ou antes do estabelecimento da medalha, ela foi concedida postumamente à família.

A Medalha "Pela Defesa de Moscou" foi usada no lado esquerdo do peito e, na presença de outros prêmios da URSS, foi localizada imediatamente após a Medalha "Pela Defesa de Leningrado". Se usado na presença ou Ordens ou medalhas da Federação Russa, estas últimas têm precedência.

Destinatários (lista parcial)
Os indivíduos abaixo foram todos os destinatários da Medalha "Pela Defesa de Moscou".

 Almirante da Frota Ivan Stepanovich Isakov
 Marechal de Aviação Sergei Alexandrovich Khudyakov
 Coronel General Leonid Mikhaylovich Sandalov
 Cirurgião-Geral do Exército Vermelho Nikolay Nilovich Burdenko
 Artista do Povo da URSS Nikolay Aleksandrovich Annenkov
 Veterano da Segunda Guerra Mundial ator e diretor Yuri Petrovich Lyubimov
 Marechal da União Soviética Sergey Fyodorovich Akhromeyev
 Marechal da União Soviética Vasily Danilovich Sokolovsky
 Marechal da União Soviética Konstantin Rokossovsky
 Marechal da União Soviética Leonid Aleksandrovich Govorov
 Marechal da União Soviética Ivan Stepanovich Konev
 Marechal da União Soviética Ivan Ignatyevich Yakubovsky
 Major General Vladimir Sergeyevich Ilyushin
 Marechal da União Soviética Aleksandr Mikhaylovich Vasilevsky
 Marechal da União Soviética Boris Mikhailovitch Shaposhnikov
 Compositor e pianista Tikhon Nikolayevich Khrennikov
 Marechal da União Soviética Dmitriy Feodorovich Ustinov
 Marechal da União Soviética Semyon Konstantinovich Timoshenko
 Marechal da União Soviética Georgy Konstantinovich Zhukov
 Almirante da Frota Nikolay Gerasimovich Kuznetsov
 Marechal da União Soviética Kliment Yefremovich Voroshilov
 General do Exército Yakov Grigorevich Kreizer
 General do Exército Stanislav Gilyarovich Poplavsky
 Herói do Trabalho Socialista Nikolay Vasilyevich Belov
 O designer de foguetes Boris Evseyevich Chertok
 Escultor Lev Efimovich Kerbel
 Artista do Povo da URSS Olga Vasiliyevna Lepeshinskaya
 General do Exército Sergei Matveevich Shtemenko
 Marechal de Artilharia Vasily Ivanovich Kazakov
 General do Exército Mikhail Sergeevich Malinin
 Político Vladimir Ivanovich Dolgikh
 Escritor Aleksey Silych Novikov-Priboi
 Coronel Baurzhan Momyshuly
 Correspondente de guerra Pyotr Andreyevich Pavlenko
 Cientista da aviação Max Arkadyevich Taitz

Ver também
 Moscou
 Cidade-Herói
 Batalha de Moscou
 Iaroslavl

Ligações externas
 Biblioteca Jurídica da URSS

Prêmios estabelecidos em 1944
Condecorações militares soviéticas

Medalha "Pela Defesa de Moscou"