Recreational diving or sport diving is diving for the purpose of leisure and enjoyment, usually when using scuba equipment. The term "recreational diving" may also be used in contradistinction to "technical diving", a more demanding aspect of recreational diving which requires more training and experience to develop the competence to reliably manage more complex equipment in the more hazardous conditions associated with the disciplines. Breath-hold diving for recreation also fits into the broader scope of the term, but this article covers the commonly used meaning of scuba diving for recreational purposes, where the diver is not constrained from making a direct near-vertical ascent to the surface at any point during the dive, and risk is considered low.

The equipment used for recreational diving is mostly open circuit scuba, though semi closed and fully automated electronic closed circuit rebreathers may be included in the scope of recreational diving. Risk is managed by training the diver in a range of standardized procedures and skills appropriate to the equipment the diver chooses to use and the environment in which the diver plans to dive. Further experience and development of skills by practice will improve the diver's ability to dive safely. Specialty training is made available by the recreational diver training industry and diving clubs to increase the range of environments and venues the diver can enjoy at an acceptable level of risk.

Reasons to dive and preferred diving activities may vary during the personal development of a recreational diver, and may depend on their psychological profile and their level of dedication to the activity. Most divers average less than eight dives per year, but some total several thousand dives over a few decades and continue diving into their 60s and 70s, occasionally older. Recreational divers may frequent local dive sites or dive as tourists at more distant venues known for desirable underwater environments. An economically significant diving tourism industry services recreational divers, providing equipment, training and diving experiences, generally by specialist providers known as dive centers, dive schools, live-aboard, day charter and basic dive boats.

Legal constraints on recreational diving vary considerably across jurisdictions. Recreational diving may be industry regulated or regulated by law to some extent. The legal responsibility for recreational diving service providers is usually limited as far as possible by waivers which they require the customer to sign before engaging in any diving activity. The extent of responsibility of recreational buddy divers is unclear, but buddy diving is generally recommended by recreational diver training agencies as safer than solo diving, and some service providers insist that customers dive in buddy pairs. The evidence supporting this policy is inconclusive.

Scope

Recreational diving may be considered to be any underwater diving that is not occupational, professional, or commercial, in that the dive is fundamentally at the discretion of the diver, who dives either to their own plan, or to a plan developed in consensus with the other divers in the group, though dives led by a professional dive leader or instructor for non-occupational purposes are also legally classified as recreational dives in some legislations.

The full scope of recreational diving includes breath-hold diving and surface supplied diving – particularly with lightweight semi-autonomous airline systems such as snuba – and technical diving (including penetration diving), as all of these are frequently done for recreational purposes, but common usage is mostly for open water scuba diving with limited decompression.

Scuba diving implies the use of an autonomous breathing gas supply carried by the diver, the self-contained underwater breathing apparatus which provides the name for this mode of diving. Scuba may be the simpler and more popular open circuit configuration or one of the more complex and expensive closed or semi-closed rebreather arrangements. Rebreathers used for recreational diving are generally designed to require a minimum task loading on the diver and as far as possible to fail safe and give the diver ample warning to bail out to open circuit and abort the dive.

Open water is the definitive environment for recreational diving, and in this context implies that there is no physical or physiological barrier to the diver concluding the dive at any time by a direct ascent to the surface, either vertically, or via a clearly visible route adequately illuminated by ambient light. Some organizations extend the scope of recreational diving to allow short decompression obligations which can be done without gas switching. Depth limitations are imposed by the certification agencies, and relate to the competency associated with the specific certification. Entry level divers may be restricted to a depth of , and more advanced divers to 30, 40, 50 or 60 m depending on the certification and agency. Junior divers may be restricted to shallower depths generally confined to a depth of 12 meters (40 ft).

Recreational diving is generally limited to the use of air or a single nitrox mixture with an oxygen fraction not exceeding 40% for the planned dive, but this does not preclude constant oxygen partial pressure nitrox provided by electronically controlled closed circuit rebreathers like the Poseidon Mk6 or variable nitrox mixtures such as provided by the earlier semi-closed circuit Dräger Ray rebreather. Emergency gas supplies are either by sharing with a dive buddy or from a bailout cylinder for open circuit diving, and by bailout to open circuit for rebreather diving.

Most recreational diving officially applies the buddy system, but in reality there are a significant proportion of dives which are either effectively solo dives or where larger groups of nominally paired divers follow a dive leader and may be escorted by another dive leader.

Reasons to dive

The reasons to dive for recreational purposes are many and varied, and many divers will go through stages when their personal reasons for diving change, as the initial novelty of the alien environment becomes familiar and skills develop to the point where the diver is able to pay more attention to the surroundings.

Many people start diving for the adventure of experiencing a different environment and the ability to maneuver fairly freely in three dimensions, but the novelty wears off after a while. This may be replaced by the satisfaction of developing the skills to operate in a wider range of environments, and developing excellence in those skills, the addition of compatible interests and activities to complement the basic activity, like underwater photography and an interest in the details of the environment, including exploration and study and recording of aspects of the environment.

Experience of the underwater environment varies depending on where the diver has access to suitable sites - there is more to see on a coastal reef than in most freshwater lakes, and scuba diving tourism can make a wide variety of more entertaining and challenging sites available. Exploration can also extend beyond tourism to the search for previously unvisited sites and the satisfaction of being the first to be there and in some cases, tell the story.

Reasons to dive include:
Tourism and sight-seeing, including visiting a variety of places with different things to see.
Extreme sport aspect, where some divers wish to explore their personal limits and abilities under challenging conditions. This includes some competitive underwater sports, and environmental and physiological challenges.
Naturalist and underwater life observers. This may be combined with recording the environment and contributing to citizen science databases.
Exploration of the underwater environment that is relatively unexplored, it is not difficult to find places where no-one has gone before or if they have, no-one has recorded the fact or described or surveyed the site, even quite close to heavily populated areas. The marine ecosystems are largely undescribed, and there are many undiscovered species yet to be found and described. There are shipwrecks and flooded caves to challenge the adventurous and foolhardy.
Stress management, where recreational diving in reasonably good conditions which are comfortably managed by the diver can produce health benefits of mood improvement.

Activities

There are many recreational diving activities, and equipment and environmental specialties which require skills additional to those provided by the entry level courses, These skills were originally developed by trial and error, but training programs are offered by most diver training agencies for the convenience of the diver, and profit for the agency, or in the case of club oriented systems, for the overall benefit of the club community:

Activities:
 Snorkeling – Swimming at the surface with a diving mask and snorkel to view the shallow underwater environment.
 Free-diving (also called skin diving) – Swimming below the surface on breath-hold.
 Identifying, surveying, and monitoring sea life and freshwater life: This may be associated with citizen science projects and underwater photography (see also marine biology).
 Maritime archeology or Underwater archeology – Also may be associated with citizen science and underwater photography
 Rescue Diver – Usually considered a desirable diving skill, but may be part of the requirements and function of volunteer safety divers, and generally a requirement for any dive leadership certification.
 Underwater navigation – Enhanced competence at following and recording underwater routes, generally excluding the use of a guide-line, which is considered a separate competence, and using a compass and landmarks.
 Underwater photography - Use of photographic equipment designed or modified for underwater use for recording the environment or artistic purposes.
 Underwater search and recovery Knowledge and procedural skills for conducting underwater searches and recovering relatively small objects from underwater.
 Underwater videography – Use of video recording equipment designed or modified for underwater use for recording the environment or artistic purposes.
 Underwater hunting and gathering for sport and food. The ecological impact is variable, but can be severe.

Specialties
Some recreational diving activities require skills sufficiently beyond the basic recreational open water diving skill set that they are classed by the recreational diver training industry as specialties, and for which further training and certification is available. These can be broadly distinguished as environmental and equipment specialties.

Environmental specialties:
 Altitude diving – Knowledge and skills associated with diving in waters where the surface pressure is significantly below average sea level pressure, and affects decompression.
 Cave diving – Knowledge and procedural skills related to managing risk in underwater cave environments.
 Deep diving – Knowledge and procedural skills related to managing risk at greater depths, and the decompression associated with deep exposure.
 Drift diving – Procedures used to dive while transported by currents.
 Ice diving – Knowledge and procedural skills related to managing risk in very cold water and under an ice surface layer.
 Low impact diving – Knowledge and procedural skills intended to minimise the environmental impact of recreational diving, mainly by minimizing contact with the sensitive reef life, but it also applies to diving on fragile structure of historical wrecks and in caves with delicate rock formations.
 Night diving – Knowledge and procedural skills related to managing risk while diving in very low levels of natural illumination.
 Underwater surveys and mapping of dive sites, in caves, wrecks and open water reefs. A part of recording exploration, and of archaeological work.
 Wreck diving – Knowledge and procedural skills related to managing risk while diving inside wrecks.

Equipment specialties:
 Dry suit – Knowledge and procedural skills related to managing risk associated with the use of dry suits, and optimizing their usage.
 Rebreather – Knowledge and procedural skills related to managing risk related to diving with rebreathers. Type certification is often required for the specific model of rebreather.
 Sidemount diving – Knowledge and procedural skills related to use of side-mounted scuba equipment.
 Nitrox diving – Knowledge related to managing risk when using nitrox as a breathing gas.
 Recreational trimix diving – Knowledge related to managing risk when using trimix as a breathing gas. The depths which make trimix a preferred breathing gas also often imply obligatory decompression and gas switching for accelerated decompression.
 Safe use of a diver propulsion vehicle (scooter). This activity is not generally associated with a formal training program and certification, but some practice and knowledge is necessary for safe and effective use, particularly in combination with other complex or high risk activities or equipment.

Many diver training agencies such as ACUC, BSAC, CMAS, IANTD, NAUI, PADI, PDIC, SDI, and SSI offer training in these areas, as well as opportunities to move into professional dive leadership, instruction, technical diving, public safety diving and others.

History

Recreational scuba diving grew out of related activities such as Snorkeling and underwater hunting. For a long time, recreational underwater excursions were limited by breath-hold time. The invention of the aqualung in 1943 by Émile Gagnan and Jacques-Yves Cousteau and the wetsuit in 1952 by University of California, Berkeley physicist, Hugh Bradner and its development over subsequent years led to a revolution in recreational diving. However, for much of the 1950s and early 1960s, recreational scuba diving was a sport limited to those who were able to afford or make their own kit, and prepared to undergo intensive training to use it.

As the sport became more popular, manufacturers became aware of the potential market, and equipment began to appear that was easy to use, affordable and reliable. Continued advances in SCUBA technology, such as buoyancy compensators, improved diving regulators, wet or dry suits, and dive computers, increased the safety, comfort and convenience of the gear encouraging more people to train and use it.

Until the early 1950s, navies and other organizations performing professional diving were the only providers of diver training, but only for their own personnel and only using their own types of equipment. The first scuba diving school was opened in France to train the owners of the Cousteau and Gagnan designed twin-hose scuba. The first school to teach single hose scuba was started in 1953, in Melbourne, Australia, at the Melbourne City Baths. RAN Commander Batterham organized the school to assist the inventor of the single hose regulator, Ted Eldred. However, neither of these schools was international in nature.

There were no formal training courses available to civilians who bought the early scuba equipment. Some of the first training started in 1952 at the Scripps Institution of Oceanography where Andy Rechnitzer, Bob Dill and Connie Limbaugh taught the first scuba courses in the United States, then in 1953 Trevor Hampton created the first British diving school, the British Underwater Centre and in 1954 when Los Angeles County created an Underwater Instructor Certification Course based on the training that they received from the scientific divers of the Scripps Institution of Oceanography. Early instruction developed in the format of amateur teaching within a club environment, as exemplified by organizations such as the Scottish Sub Aqua Club and the British Sub Aqua Club from 1953, Los Angeles County from 1954 and the YMCA from 1959.

Professional instruction started in 1959 when the non-profit NAUI was formed, which later effectively was split, to form the for-profit PADI in 1966. The National Association of Scuba Diving Schools (NASDS) started with their dive center based training programs in 1962 followed by SSI in 1970. Professional Diving Instructors College was formed in 1965, changing its name in 1984 to Professional Diving Instructors Corporation (PDIC).

In 2009, PADI alone issued approximately 950,000 diving certifications. Approximately 550,000 of these certifications were "entry level" certifications and the remainder were more advanced certifications.

Scuba-diving has become a popular leisure activity, and many diving destinations have some form of dive shop presence that can offer air fills, equipment sale, rental and repair, and training. In tropical and sub-tropical parts of the world, there is a large market for 'holiday divers'; people who train and dive while on holiday, but rarely dive close to home.

Technical diving and the use of rebreathers are increasing, particularly in areas of the world where deeper wreck diving is the main underwater attraction. Generally, recreational diving depths are limited by the training agencies to a maximum of between 30 and 40 meters (100 and 130 feet), beyond which a variety of safety issues such as oxygen toxicity and nitrogen narcosis significantly increase the risk of diving using recreational diving equipment and practices, and specialized skills and equipment for technical diving are needed.

Standard equipment

The standard recreational open circuit scuba equipment includes the following items:

Basic equipment, which can be used for most modes of ambient pressure diving:
 a diving mask for underwater vision;
 a snorkel to aid surface swimming;
 a pair of swimfins, for mobility;
 a diving suit, which may be a dry suit, wetsuit or dive skins, or a regular swimsuit, depending on the water temperature and other factors, for thermal and environmental protection;
 a diving weighting system such as a weight belt or BCD integrated weight system, to counteract the buoyancy of the fully equipped diver (mostly the diving suit);
A scuba set, comprising:
 a single diving cylinder (also known as scuba tank), with cylinder valve, to supply breathing air, and a harness to support it. In the past, twin cylinders were also popular.
 a buoyancy compensator, (also known as buoyancy control device or BCD), which is usually part of the harness used to carry the cylinder, to adjust buoyancy by controlled inflation and deflation.
 a diving regulator to reduce the pressure of the air from the cylinder, with:
 a primary second stage, to supply the diver with ambient pressure air on demand;
 a secondary second stage (octopus) to supply emergency air to a buddy diver who needs assistance;
 a submersible pressure gauge (SPG) (also known as contents gauge), to monitor the remaining air supply;
 a low pressure inflation hose for the buoyancy compensator, and if applicable, for the dry suit, to inflate the BCD and suit for buoyancy control and to avoid suit squeeze.
Auxiliary equipment to enhance safety.
 a dive computer (also known as personal decompression computer) or a depth gauge and timer, to monitor the dive profile, avoid decompression obligation and facilitate a controlled ascent;
 a surface marker buoy or other surface detection aid may be standard equipment in some regions to allow the surface crew and boats to monitor the diver's position.
 a diver's cutting tool should be carried in areas where there is a significant risk of entanglement in ropes, lines, or nets. (usually lost or discarded fishing gear)
For solo diving a bailout cylinder is considered standard for dives where there is an appreciable risk of entrapment, or where a direct controlled emergency swimming ascent is not an acceptable option to manage an out-of-air incident at any point in the planned dive profile.

Standard procedures

Some skills are generally accepted by recreational diver certification agencies as necessary for any scuba diver to be considered competent to dive without direct supervision, and others are more advanced, though some diver certification and accreditation organizations may consider some of these to also be essential for minimum acceptable entry level competence. Divers are instructed and assessed on these skills during basic and advanced training, and are expected to remain competent at their level of certification, either by practice or refresher courses.

The skills include selection, functional testing, preparation and transport of scuba equipment, dive planning, preparation for a dive, kitting up for the dive, water entry, descent, breathing underwater, monitoring the dive profile (depth, time and decompression status), personal breathing gas management, situational awareness, communicating with the dive team, buoyancy and trim control, mobility in the water, ascent, emergency and rescue procedures, exit from the water, un-kitting after the dive, cleaning and preparation of equipment for storage, and recording the dive, within the scope of the diver's certification.
A significant amount of harmonization of training standards and standard and emergency procedures has developed over the years, largely due to organizations like World Recreational Scuba Training Council. This allows divers trained by the various certifying organizations to dive together with a minimum of confusion, which enhances safety. Diver communications is a particular aspect where most of the basic hand signals are common to most recreational diver training agencies.

This does not mean that there is no variation. There are some procedures such as emergency donation of air which are quite strongly polarized between those who advocate donation of the secondary (octopus) regulator and those who advocate donating the primary regulator. Length of regulator hose and position of the secondary second stage depend on the donation technique.

There are also variations in procedures for self rescue in an out-of-air situation, and in procedures for bringing an unresponsive casualty to the surface.

Solo diving, once considered technical diving and discouraged by most certification agencies, is now seen by many experienced divers and some certification agencies as an acceptable practice for those divers suitably trained and experienced. Rather than relying on the traditional buddy diving safety system, solo divers rely on self-sufficiency and are willing to take responsibility for their own safety while diving.

Buddy diving is the more generally advocated procedural alternative, on the principle that in case of an emergency, a dive buddy can assist the diver in difficulty, but this is only valid if the buddy is close enough to help, notices the problem, and is competent and willing to assist.

Training

Many recreational diver training organizations exist, throughout the world, offering diver training leading to certification: the issuing of a "diver certification card", also known as a "C-card," or qualification card.

Recreational diver training courses range from minor specialties which require one classroom session and an open water dive, and which may be completed in a day, to complex specialties which may take several days to weeks, and require several classroom sessions, confined water skills training and practice, and a substantial number of open-water dives, followed by rigorous assessment of knowledge and skills. Details on the approximate duration of training can be found on the websites of most certification agencies, but accurate schedules are generally only available from the specific school or instructor who will present that course, as this will depend on the local conditions and other constraints.

Diving instructors affiliated to a diving certification agency may work independently or through a university, a dive club, a dive school or a dive shop. They will offer courses that should meet, or exceed, the standards of the certification organisation that will certify the divers attending the course.

Diving skills
Diver training can be divided into entry level training, which are those skills and knowledge considered essential for the diver to dive unsupervised at an acceptably low level of risk by the certifying agency, and further skills and knowledge which allow better performance and extend the environmental capacity and equipment choices of the diver.

Entry level
There is a significant variation in entry level training, with some training agencies requiring the bare minimum as specified by RSTC and ISO, and others requiring a greater level of competence with associated assumption of lower risk to the diver and dive buddy, and less likelihood of environmental damage. Entry level training may include skills for assisting or rescue of another diver, but this is not always the case. Divers without rescue training are routinely assigned to dive as buddy pairs to follow organizational protocols. This is not generally a contravention of the training agencies' recommendations.

The initial training for open water certification for a person who is medically fit to dive and a reasonably competent swimmer is relatively short. The minimum number of open-water dives required for certification is usually four, but instructors are generally required by training standards to ensure that the diver is sufficiently skilled to dive safely in the local environment before certification is issued, and this may require further training and experience beyond the required minimum.

Many dive shops in popular holiday locations offer courses intended to teach a novice to dive in a few days, which can be combined with diving on the vacation. Other instructors and dive schools will provide more thorough training, which generally takes longer.

Beyond entry level
Skills and knowledge beyond the minimum requirement are generally labelled Advanced skills, and these may include skills such as competent buoyancy control, which are included in the entry level skills by other agencies. Many skills which are considered advanced by recreational training agencies are considered basic entry-level skills for professional divers.

Training standards

Each diver certification agency has its own set of diver training standards for each level of certification that they issue. Although these standards are usually available on request or on the organization's website, the assessment criteria are often not available to the public, making a direct comparison of standards difficult. Most agencies comply with the minimum requirements of the World Recreational Scuba Training Council (WRSTC) or ISO for the relevant certification (ISO 24801-2 Autonomous diver, and ISO 24801-3 Dive leader), but most certification levels are not defined by the international standards.

Under most entry-level programs (SEI, SDI, PADI, BSAC, SSAC, NAUI, SSI, and PDIC), divers can complete a certification with as few as four open water dives. This complies with the minimum requirements of ISO 24801-2 Autonomous diver. Such a qualification allows divers to rent equipment, receive air fills, and dive without supervision to depths typically restricted to 18 meters (60 feet) with an equally qualified buddy in conditions similar to, or easier than those in which they were trained. Certification agencies advise their students to dive within the scope of their experience and training, and to extend their training to suit the conditions in which they plan to dive.

In the 1980s, several agencies with DEMA collaborated to author ANSI Standard Z86.3 (1989), Minimum Course Content For Safe Scuba Diving which defines their training as the Accepted Industry Practices. The International Standards Organization has since published ISO 24801 and ISO 24802 which define minimum training standards for two levels of recreational diver and for recreational diving instructors.

A few recreational certification agencies such as GUE, and the commercial diver training standards of several countries, including the United Kingdom, Australia, South Africa, and Canada, consider the competence provided by the recreational diver training industry minimum standard to be inadequate for safe diving, particularly occupational diving, where the diver has a legal duty of care towards other members of the dive team, even though the responsibility for occupational dive planning and safety is held by a professional diving supervisor.

Risk

Recreational scuba diving involves physical and psychological risks and therefore can be classified as an extreme sport. Fatality rates of 16.4 deaths per 100,000 persons per year among DAN America members and 14.4 deaths per 100,000 persons per year the British Sub-Aqua Club (BSAC) members were similar and did not change during 2000–2006. This is comparable with jogging (13 deaths per 100,000 persons per year) and motor vehicle accidents (16 deaths per 100,000 persons per year), and within the range where reduction is desirable by Health and Safety Executive (HSE) criteria.

Data for 17 million student-diver certifications during 63 million student dives over a 20-year period from 1989 to 2008 show a mean per capita death rate of 1.7 deaths per 100,000 student divers per year. This was lower than for insured DAN members during 2000–2006 at 16.4 deaths per 100,000 DAN members per year, but fatality rate per dive is a better measure of exposure risk, A mean annual fatality rate of 0.48 deaths per 100,000 student dives per year and 0.54 deaths per 100,000 BSAC dives per year and 1.03 deaths per 100,000 non-BSAC dives per year during 2007. The total size of the diving population is important for determining overall fatality rates, and the population estimates from the 1990s of several million U.S. divers need to be updated.

The most frequent root cause for diving fatalities is running out of or low on gas. Other factors cited include loss of buoyancy control, entanglement or entrapment, rough water, equipment misuse or problems, and emergency ascent, which is often a response to a breathing gas problem. The most common injuries and causes of death were drowning or asphyxia due to inhalation of water, air embolism and cardiac events. Risk of cardiac arrest is greater for older divers, and greater for men than women, although the risks are equal by age 65.

Several plausible opinions have been put forward but have not yet been empirically validated. Suggested contributing factors included inexperience, infrequent diving, inadequate supervision, insufficient predive briefings, buddy separation, and dive conditions beyond the diver's training, experience, or physical capacity.

Legal status

Legal constraints on recreational diving vary considerably across jurisdictions. In many countries recreational diving is either not mentioned at all in laws and regulations, or specifically excluded from regulations covering occupational diving. In others, only diver training and dive-leading activities where the diver is either employed or takes a leadership position where they are responsible for the safety of others is covered by legislation. At the other extreme, countries such as Israel have statutory law covering all recreational diving activities.

Recreational diver training and dive leading are industry regulated in some countries, and only directly regulated by government in a subset of them. In the UK, HSE legislation includes recreational diver training and dive leading for reward; in the US and South Africa industry regulation is accepted, though non-specific health and safety legislation still applies. In Israel recreational diving activities are regulated by the Recreational Diving Act, 1979.

The legal responsibility for recreational diving service providers is usually limited as far as possible by waivers which they require the customer to sign before engaging in any diving activity. The extent of responsibility of recreational buddy divers is unclear and has been the subject of considerable litigation. It is probable that it varies between jurisdictions.

In spite of this lack of clarity, and conflicting evidence, buddy diving is recommended by recreational diver training agencies as safer than solo diving, and some service providers insist that customers dive in buddy pairs.

Economic impact

Recreational diving provides a market for the diving equipment industry, the diver training industry and the diver services industry, all of which are interdependent, and at retail level, frequently provided by the same local specialist outlet.

The combined contribution of recreational scuba diving and snorkeling to the US gross domestic product was estimated at $11 billion in a 2019 report by the Diving Equipment and Marketing Association

Scuba diving tourism is the industry based on servicing the requirements of recreational divers at destinations other than where they live. It includes aspects of training, equipment sales, rental and service, guided experiences and environmental tourism. Customer satisfaction is largely dependent on the quality of services provided, and personal communication has a strong influence on the popularity of specific service providers in a region.

Demographics
A 2014 survey of American divers indicates with a high level of confidence for the specified population, that about 3.145 million Americans (1.1 percent of population) took part in scuba diving at least once in the survey year, which is a 0.9 percent decrease over 2013, but participation increased by 1.3 percent on average for the previous five years. There were about 2.252 million casual participants who made between one and seven dives per year and 893,000 core participants who dived eight or more times per year. 66% of casual and 74% of core participants were male. The age distribution of casual and core participants differs. Core participants tend to be older. Casual participation tends to gradually rise to a peak in early middle age, then drop markedly after about 45 years old, while core participation tends to continue at a relatively consistent rate over age groups up to about 65 years, after which it drops markedly. Some training agencies will accept trainees as young as 8 years old for participation in supervised scuba experiences, and 10 years for certification. The record age for a scuba dive as of January 2020 is 95 years.

Recreational scuba divers appear to be on average wealthier and better educated than the general population, as indicated by earlier surveys. There is a greater tendency than average for scuba divers to participate in other sporting and exercise activities than the general population, but lack of adequate physical fitness is frequently cited as a contributory factor in diving accidents.

The medical literature, anecdotal evidence and a small-scale survey suggest that a significant part of the recreational scuba diving population may have chronic medical conditions that affect their fitness to dive according to the Recreational Scuba Training Council's guidelines. This may have an influence on risk, as unfitness and preexisting medical conditions are frequently cited in incident reports where the incident was adequately investigated.

PADI worldwide certification statistics indicate a slow but steady trend of increasing proportion of certification of female divers at all levels from 34.4% in 2013 to 38.0% in 2018, and a decrease in the average age of certifications over the same period.

Personality profiles of recreational divers were analyzed in a 2010 study on entry level divers: The participants scored high on self-sufficiency, impulsiveness and boldness and low on warmth, sensitivity and conformity, and differed from the typical extreme sport participant's personality profile. Personality types identified include adventurer, dreamer, rationalist and passive-aggressive macho diver, and results suggested that the risk behaviour likely to be exhibited by the diver would depend on their personality type.

Venues for diving

Most types of bodies of water can be used as dive sites:

 Seas and oceans - these consist of salt water and a huge variety of flora and fauna.
 Lakes - small lakes are often used for diver training. Large lakes have many features of seas including wrecks and a variety of aquatic life. Some lakes are high in altitude, and they require special considerations for diving. See altitude diving
 Caves - these are more adventurous and dangerous than normal diving. See cave diving.
 Rivers - are often shallow, murky and may have strong currents.
 Man-made lakes, such as dams and flooded clay pits, gravel pits and quarries.
 Swimming pools are popular as training venues, and for some underwater sports.
Flooded excavations often have low visibility. Disused and flooded quarries are popular in inland areas for diver training as well as recreational diving. Rock quarries may have reasonable underwater visibility - there is often little mud or silt to create mid-water particles that cause low visibility, and the lack of flow allows silt to settle on the bottom, where it may later be kicked up by unskilled divers to temporarily reduce visibility locally. As they are not natural environments, and usually privately owned, quarries may contain objects intentionally placed for divers to explore, such as sunken boats, automobiles, aircraft, or structures like grain silos and gravel chutes. The popularity of a dive site will usually depend on accessibility, known hazards, desirable features, and the variety of alternative options nearby. Sites known for exceptionally desirable features may attract expeditions in spite of major accessibility problems and significant hazards.

Dive site features

Many types of underwater features make an interesting dive site, for example:

Wildlife at the site. Popular examples are coral, sponges, fish, sting rays, molluscs, cetaceans, seals, sharks and crustaceans.
 The topography of the site. Coral reefs, drop offs (underwater cliffs), rock reefs, gullies and caves can be spectacular. Deep dive sites mean divers must reduce the time they spend because more gas is breathed at depth and decompression sickness risks increase. Shallow regions can be investigated by snorkeling. Wall diving allows a range of depths in a small area.
 Historical or cultural items at the site. Shipwrecks and sunken aircraft, apart from their historical value, form artificial habitats for marine fauna making them attractive dive sites.
 Underwater visibility varies widely. Poor visibility is caused by particles suspended in the water, such as silt, plankton and sewage. Dive sites that are close to sources of these particles, such as human settlements and river estuaries, are more prone to poor visibility. Currents and turbulence can stir up particles which had settled, and may keep them in suspension. Diving close to sediments on the bottom can result in the particles being kicked up by wash from the divers fins. Good visibility is a highly desirable characteristic for a dive site, and can significantly influence risk.
 Temperature. Warm water diving is comfortable and convenient. Although cold water is uncomfortable and can cause hypothermia it can be interesting because different species of underwater life thrive in cold conditions. For cold water divers tend to prefer dry suits with inner thermal clothing which offer greater thermal protection, although they require additional knowledge and skill to use safely.
 Currents. Currents can transport nutrients to underwater wildlife increasing the variety and density of that life at the site. Currents can also be dangerous to divers as they can carry them away from their surface support or suitable exit points. Currents that meet large underwater obstructions can cause strong up or down flow that can be dangerous because it may cause the diver to rapidly change depth, with possible loss of buoyancy control and increased risk of barotrauma and decompression sickness.

Marine citizen science
Marine citizen science, the scientific research and monitoring projects for which members of the public collect, categorize, transcribe or analyze scientific data, is an increasingly popular but underutilized collaboration between society and scientific research, in which members of the recreational scuba diving community actively participate in marine data acquisition and recording, largely by way of geolocated photographic observations collected during recreational dives, but also in more structured and long term experimental work.

Some barriers exist between divers and projects that are beyond the control of either the divers or the project organizers, but other aspects such as access to projects and feedback after participation are amenable to improvement. Recreational scuba divers are generally well disposed towards marine science, and participation could be improved by better management. Stakeholders to be considered are the scuba diving industry and professional intermediaries.

Citizen science can be an effective approach to marine and coastal conservation, and methods of making better use of citizen input for projects relating to policy, education, community capacity building, site management, species management, and research. have been investigated and developed. Marine citizen science projects face different challenges to terrestrial systems. The main challenges are logistical, as people spend very little time in the water. Access often requires expensive boats, diving gear, or transportation to the coast, and safety and liability issues can be complicated. Using citizen scientists can economically increase the temporal and spatial scale of a project.

Early involvement of divers in the planning of a project can increase buy-in and avoid errors due to inaccurate assessment of capabilities and interest of volunteers. Training and some field oversight by professionals will usually be necessary to ensure reliable data collection. Retention of volunteers is affected by their perception of the recognition of the value of their work.

The availability of affordable and compact high definition video and easy to operate underwater cameras allows citizen scientists to provide reliable observations that can be archived and reviewed by experts when desirable. Accuracy of geolocation is generally lower than for terrestrial observations as the GPS features available on many digital cameras do not work underwater, and most cameras do not record depth.

See also

Footnotes

References

External links

 Scuba Earth - An interactive scuba diving map of dive sites from all around the world.
 diveglobal.com - Global dive site and services reviews

Recreational diving


Die 8. Landwehr-Division war ein Großverband der Preußischen Armee im Ersten Weltkrieg.

Gliederung

Kriegsgliederung vom 12. März 1915
 Landwehr-Infanterie-Regiment Nr. 109
 Landwehr-Infanterie-Regiment Nr. 110
 Landsturm-Infanterie-Regiment Nr. 109
 Feld-MG-Zug Nr. 27
 Feld-MG-Zug Nr. 29
 Festungs-MG-Trupp Istein
 Festungs-MG-Trupp Hüningen
 2. Landwehr-Eskadron/XIV. Armee-Korps
 3. Landwehr-Eskadron/XIV. Armee-Korps
 Ersatz-Abteilung/2. Unter-Elsässisches Feldartillerie-Regiment Nr. 67
 Landwehr-Fußartillerie-Bataillon Nr. 13
 Ersatz-Bataillon/Lauenburgisches Fußartillerie-Regiment Nr. 20
 2. Reserve-Kompanie/Pionier-Bataillon Nr. 14
 Lichtsignal-Abteilung Nr. 2
 Festungs-Luftschiffer-Trupp Nr. 13
 Fernsprechtrupp Nr. 4
 Minenwerfertrupp Nr. 4

Kriegsgliederung vom 4. Januar 1918
 56. Landwehr-Infanterie-Brigade
 Landwehr-Infanterie-Regiment Nr. 109
 Landwehr-Infanterie-Regiment Nr. 110
 Landwehr-Infanterie-Regiment Nr. 111
 1. Eskadron/Jäger-Regiment zu Pferde Nr. 5
 Artillerie-Kommandeur Nr. 147
 Landwehr-Feldartillerie-Regiment Nr. 8
 Pionier-Bataillon Nr. 408
 Divisions-Nachrichten-Kommandeur Nr. 508

Gefechtskalender
Die Division wurde am 31. Januar 1915 aus der verstärkten 56. Landwehr-Brigade, die aus der Landwehr-Brigade Bodungen hervorging, gebildet. Sie war den gesamten Ersten Weltkrieg über an der Westfront im Einsatz. Nach Kriegsende marschierte der Verband in die Heimat zurück, wo im Januar 1919 die Demobilisierung und schließliche Auflösung der Division erfolgte.

1915
 ab 29. Januar --- Stellungskampf im Oberelsaß

1916
 Stellungskampf im Oberelsaß

1917
 bis 14. Januar --- Stellungskampf im Oberelsaß
 16. Januar bis 23. Februar --- Kämpfe bei Ronvoux-Saulx (Stellungskämpfe zwischen Maas und Mosel)
 ab 24. Februar --- Stellungskämpfe vor Verdun

1918
 bis 18. Juni --- Stellungskämpfe vor Verdun
 19. Juni bis 11. September --- Stellungskämpfe zwischen Maas und Mosel
 12. bis 14. September --- Ausweichkämpfe im Mihielbogen
 15. September bis 10. Oktober --- Stellungskämpfe in der Woëvre-Ebene und westlich der Mosel
 11. Oktober bis 11. November --- Stellungskämpfe auf den Höhen westlich der Mosel
 ab 12. November --- Rückmarsch durch Lothringen, die Rheinprovinz und die Pfalz

1919
 bis 4. Januar --- Rückmarsch durch Lothringen, die Rheinprovinz und die Pfalz

Sonstiges
Von November 1915 bis September 1918 gab die Division die Feldzeitung "Meldereiter im Sundgau" heraus.

Kommandeure

Literatur
 Ruhmeshalle unserer Alten Armee, Herausgegeben auf Grund amtlichen Materials des Reichsarchivs, Militär-Verlag, Berlin 1927, S. 63, 102
 Histories of Two Hundred and Fifty-One Divisions of the German Army Which Participated in the War (1914–1918), United States War Office as War Department Document No. 905, Office of the Adjutant, 1920, S. 160–161 www.gutenberg.org

Weblinks
 Die Druckerei der 8. Landwehr-Division in Pfirt

Einzelnachweise

Landwehrdivision #:8
Gegründet 1915
Aufgelöst 1919

8. Landwehr-Division (Deutsches Kaiserreich)


Ralph English Bishop (Brooklyn, Nueva York,  - Santa Clara, California, ) fue un jugador de baloncesto estadounidense que disputó una temporada en la NBL como jugador-entrenador. Con 1,93 m de estatura, jugaba en la posición de pívot.

Trayectoria deportiva

Universidad
Jugó durante su etapa universitaria con los Huskies de la Universidad de Washington.

Selección nacional
Bichop fue el último jugador elegido para competir con la selección de Estados Unidos en los Juegos Olímpicos de Berlín 1936, en las que consiguieron la medalla de oro, jugando 3 partidos y anotando 4 puntos en la semifinal en la que se impusieron a México por 25-10. Posteriormente derrotarían en la final a Canadá por 19-8.

Profesional
Tras jugar en el campo aficionado durante varias temporadas, fue elegido ya con 32 años en el Draft de la BAA de 1947 por Chicago Stags, pero acabó ejerciendo de jugador-entrenador para los Denver Nuggets, en aquel año en la NBL, promediando 1,8 puntos por partido.

Referencias

Enlaces externos
 All-Time USA Men's Olympic Alphabetical Roster
 Ficha de Bichop en Sports-Reference.com

Nacidos en Brooklyn
Deportistas de Nueva York
Baloncestistas de Estados Unidos en los Juegos Olímpicos de Berlín 1936
Baloncestistas de la selección de Estados Unidos
Baloncestistas de los Washington Huskies
Baloncestistas de los Denver Nuggets (original)
Entrenadores de baloncesto de Estados Unidos
Entrenadores de los Denver Nuggets (original)

Ralph Bishop


Gitaskog ili Tatoskok je indijanska rogata zmija kod Indijanaca Abenaki, Penobscot, uobičajena u legendama većine algonkvinskih plemena. Za Gitaskog se kaže da vreba u jezerima i jede ljude. Sva njegova imena varijante su značenja "velika zmija". Ostale varijante imena su: Gtaskog, Kitaskog, Kita-skog, Keeta-skog, Gitaskog, Giciskog, Gichi-skog, Gitaskogak (oblik množine). Ostala imena za nju su Msaskog, Msa-skog, Tatoskog, Pita-skog, Peeta-skog, Peetaskog

Izvori

Penobscot mitologija
Abenaki mitologija
Indijanska mitologija (rogate zmije)

Gitaskog


Felton Perry (Chicago, Illinois; 11 de septiembre de 1945) es un actor estadounidense, más conocido por su papel como el inspector Early Smith en la película Magnum Force (1973) y como Donald Johnson en la película RoboCop (1987). Repitió el papel de Donald Johnson en las secuelas Robocop 2 (1990) y Robocop 3 (1993).

Ha hecho apariciones especiales en la televisión y ha aparecido en series de televisión como Adam-12, Ironside, Hill Street Blues, LA Law, Cagney and Lacey, What's Happening Now!!, The Partridge Family, Barnaby Jones, The Fresh Prince of Bel-Air, NYPD Blue, Judging Amy, Civil Wars, Murphy Brown, Stingray, Marcus Welby, Sports Night y The West Wing.

Filmografía
Hollywood Vampyr (2002)
Dark Breed (1996)
Dumb & Dumber (1994)
Puppet Master 4 (1993)
Relentless 3 (1993)
RoboCop 3 (1993)
Talent for the Game (1991)
RoboCop 2 (1990)
Weeds (1987)
RoboCop (1987)
Down and Out in Beverly Hills (1986)
Sudden Death (1977)
The Towering Inferno (1974)
Magnum Force (1973)
Walking Tall (1973)
Brute Cops (1972)
Medium Cool (1969)

Enlaces externos

Actores de cine de Estados Unidos
Actores de televisión de Estados Unidos
Nacidos en Chicago

Felton Perry


Svetlana Vladímirovna Kapánina () (Shchuchinsk, Kazajistán, 28 de diciembre de 1968) es una piloto acrobático rusa, instructora de primera clase de Sukhoi, miembro del equipo nacional de acrobacia aérea rusa, Maestro de Honor de Deportes de Rusia y Entrenadora Emérita de Rusia.

Biografía
Después de completar la licenciatura de Farmacia, comenzó a volar en el año 1988.
Actualmente reside en Moscú, Rusia, junto a su marido Vladimir Stepanov y sus dos hijos

Trayectoria deportiva
Ha conseguido hasta 2011 38 medallas de oro en diferentes campeonatos internacionales. Ha ganado 6 veces la medalla de oro por equipos del Campeonato Mundial de Vuelo Acrobático como miembro del Equipo Nacional de Vuelo Acrobático Ruso.

Palmarés internacional

Premios otorgados por la FAI
 1997 Paul Tissandier Diploma.
 2005 FAI Sabiha Gökçen Medal

Bibliografía
 Trayectoria deportiva, Svetlana Kapanina

Referencias

Videos
 Svetlana Kapanina aerobatic display in Festa al Cel Barcelona Airshow 2011, YouTube

Enlaces externos
 Svetlana Kapanina, Aerotrastronados
 SvetlanaKapanina, womenaviators.org

Pilotos acrobáticos
Aviadoras
Aviadores de Rusia
Mujeres farmacéuticas

Svetlana Kapánina


Escolca (sardinski: Iscròca) je grad i općina (comune) u pokrajini Južnoj Sardiniji u regiji Sardiniji, Italija. Nalazi se na nadmorskoj visini od 416 metara i ima populaciju od 589 stanovnika. Prostire se na teritoriju od 14,76 km². Gustoća naseljenosti je 40 st/km².Susjedne općine su: Gergei, Gesico, Mandas, Serri i Villanovafranca.

Izvori

Gradovi na Sardiniji

Escolca


سرعة جوية مكافئة Equivalent AirSpeed- EAS هي سرعة جوية عند مستوى سطح البحر معطية نفس الضغط الديناميكي، عند الطيران على سرعة حقيقية وبارتفاع محدد. وهي مفيدة جدا لمعرفة المناولة للطائرة، الحمل الإيروديناميكي، وفي حالات التوقف المفاجئ وانهيار المحرك وغيرها.

طريقة الحساب
يمكن حسب السرعة المكافئة عن طريق تلك المعادلة:

حيث أن
TAS = السرعة الجوية الصحيحة
معيار كثافة الهواء القياسية هي 1.225 كج/م³

ويمكن الحصول على السرعة المكافئة (EAS) من سرعة الماك والضغط الستاتيكي من المعادلة:

حيث ان;
 هي سرعة الصوت القياسية عند درجة حرارة 15 مئوي (661.47 عقدة).
 هو ضغط الهواء الساكن.
 هو الضغط عند مستوى سطح البحر (1013.25 ملي بار)
فالجمع ما بين المعادلة السابقة وتعريف الماك كخاصية لمعطيات الضغط الديناميكي والساكن، للتيار التحت صوتي.

حيث ان;
 هو الضغط الصدمي
بمستوى سطح البحر تكون السرعة المكافئة مساوية للسرعة الحقيقية (TAS) والسرعة المعدلة (IAS). بالارتفاعات العالية يمكن الحصول عليها عن طريق السرعة المعدلة بواسطة تصحيح خطأ الانضغاطية..

بالنسبة للأمور الهندسية هو العلاقة ما بين السرعة الجوية المبينة والسرعة الحقيقية (أو مايسمى رقم الماخ) عند الارتفاعات والسرعات الطبيعية. من المهم بالهندسة الحصول على صيغة معادلة دقيقة بشكل معقول، وتستخدم المقاييس الدولية العيارية كخاصية الارتفاع. فخلال السرعات تحت الصوتية إلى (0,6 ماخ) فإن قابلية الانضغاطية لا تكاد تحسب والسرعة المبينة + السرعة المعدلة تستخلص من السرعة الحقيقية باستخدام تصحيح الكثافة. فوق تلك السرعات فإن القابلية الانضغاطية يجب أن تدرج.

هناك صيغة مبسطة للسرعة التي تحت 1 ماخ لتسهيل استخلاص السرعة المبية + السرعة المعدلة من السرعة الحقيقية وبالعكس أيضا يستخدم فيها نسبة الكثافة σ ونسبة الضغط δ.

نسبة الكثافة:

نسبة الضغط:

 رقم الماك

 و السرعة الحقيقية والسرعة المبينة وتكون بالعقدة أو بالميل بالساعة أو كم/س أو أي وحدة سرعة مطابقة.

 و كثافة الهواء بالارتفاع الحالي وبمستوى القياسي لسطح البحر بالتوالي.

 &  الضغط الجوي بالارتفاع الحالي وبمستوى سطح البحر بالتوالي.

الصيغة المذكورة أعلاه تكون الدقة بخطأ 1% عند 1.2 ماك وتكون الخطأ مقبول نوعا ما عند 1.5 ماك ولاتقبل فوق تلك السرعة. الأس الرابع للماك بالمعادلة يكون بسيطا جدا تحت 0.85 ماك لدرجة أنه لايعتد به، ولايوجد تحت 0.6 ماك أي تصحيح للماك.

انظر أيضا

 سرعة جوية
 السرعة الجوية الصحيحة
 سرعة جوية مبينة
 سرعة جوية معدلة
 نظام الملاحة GPS
 أجهزة قياس طيران

مراجع

مصطلحات الطيران
سرعة الهواء

سرعة جوية مكافئة


DIN 1474 er en DIN-standard for en kærvstift.

Kilde
http://bolte.dk/kaervstifter-m-kaerve-din-1474/
DIN-standarder

DIN 1474


WKHX-FM (101.5 MHz) is a commercial radio station licensed to Marietta, Georgia, featuring a country music format known as "New Country 101.Five". Owned by Cumulus Media, the station serves the Atlanta metropolitan area. WKHX-FM's studios are located in Sandy Springs, while the transmitter is located west of Emory University, in unincorporated DeKalb County. In addition to a standard analog transmission, WKHX-FM broadcasts in HD Radio, and is available online.

History
101.5 signed on as WBIE-FM on November 11, 1959. under the ownership of Marietta Broadcasting. Initially, WBIE simulcast the variety programming of its sister station AM 1080 WBIE, but in February 1968 it adopted a full-time country music format. The station manager at the time, James M. Wilder, has a technology laboratory building named after him at Southern Polytechnic State University in Marietta.

Initially, WBIE-FM was powered at 3,500 watts, only heard in and around Marietta. In the 1970s, WBIE-FM boosted its power to the legal maximum of 100,000 watts, and became audible in Metro Atlanta.  Its AM companion at 1080 switched its format to Adult Standards and its call sign to WCOB.  The power boost made WBIE-FM a candidate to be bought by a large broadcasting company anxious for a strong FM signal in the growing Atlanta radio market.

"Kicks 101.5" debuted in November 1981 after Capital Cities Communications purchased WBIE-FM.  Capital Cities switched WBIE-FM's call letters to WKHX and made the station a contender in the Atlanta ratings.  In 1987, WKHX programming began to be simulcast on Capital Cities-owned AM 590, formerly known as WAGA and WPLO.  The AM station became WKHX, while 101.5 added an FM suffix, becoming WKHX-FM.  Today, AM 590 is Christian radio WDWD, owned by Salem Media.

Capital Cities took over ABC, including its television and radio stations, in 1985.  In 1995, ABC bought WKHX-FM's rival country station, WYAY.  Eventually, WYAY switched to news programming, and today is Christian Contemporary-formatted WAKL after being sold to the Educational Media Foundation in 2019.  In December 2006, WKHX-FM got a new country music competitor in WUBL, owned by Clear Channel Communications (now iHeartMedia).

WKHX-FM and other ABC Radio stations were acquired by Citadel Broadcasting in 2007, which was absorbed into Cumulus Media in September 2011.  In October 2011, WKHX-FM modified its playlist from playing only "new country" music to mixing in some older hits from the 1990s to the present.

On November 13, 2019, WKHX began running liners promoting a "big announcement" to come at 3 p.m. the following day. Several liners had a wolf-howling sound effect, a nod to rumors on radio news websites (based on web domains registered by Cumulus as far back as September) that the station was to rebrand as "The Wolf". At the promised time, the station rebranded, but instead as "New Country 101.Five", and also introducing a new morning show host, JJ Kincaid, to team with existing co-host Dallas McCade, with the show being branded as "Kincaid and Dallas".

Former logo

References

External links

HD Radio stations
KHX-FM
Cumulus Media radio stations
Radio stations established in 1968
Country radio stations in the United States
Former subsidiaries of The Walt Disney Company

WKHX-FM


Plusbus er en kollektiv trafikforbindelse i Aalborg. Det er en såkaldt hurtigbuslinje (BRT), der kører i sit eget tracé og forbinder Aalborg Vestby med universitetet og det nye supersygehus i Aalborg Øst. Der er 22 stoppesteder langs den 12 km lange rute.

Baggrund

Arbejdet med en hurtigbusløsning i Aalborg blev indledt i forbindelse med udarbejdelsen af en trafikplan i 1998, som skulle komplimentere den kommende nærbane, som blev en realitet i 2003. Inspireret af lignende systemer i de svenske byer Jönköping, Helsingborg og Stockholm blev det aalborgensiske busnet omlagt og et nyt metrobussystem så dagens lys. Konceptet var "Tænk sporvogn – Kør bus", og i 2008 udgav Region Nordjylland, Aalborg Kommune og Nordjyllands Trafikselskab (NT) i fællesskab folderen "Letbane i Aalborg – en vision for udviklingen af den kollektive trafik".

Som en del af finanslovsaftalen for 2015 blev der bevilliget 830 mio.kr. til et letbaneprojektet. Efter folketingsvalget i 2015 besluttede et flertal at fjerne bevillingen, hvilket afstedkom en del kritik. Kommunen foreslog i stedet en hurtigsbusløsning som en erstatning for letbanen, hvilket dog blev afvist af regeringen. Et flertal uden om regeringen indgik i februar 2017 et forlig, der bl.a. betød, at der blev bevilliget 395 mio. kr. til hurtigbusprojektet i Aalborg.

Tekniske fakta

Hele strækningen gennemkøres på omkring 32 minutter og hastigheden bliver i gennemsnit 21-22 km/t, dog op til 50 km/t. Det forventes, at der kan være mellem 150-200 passagerer pr. bus, der bliver op til 24 meter lang.

Ruten
Bussen tilbagelægger i alt 12 km mellem Vestre Fjordpark i vest via centrum og banegård til universitet og supersygehus i det østlige Aalborg. Det meste af vejen kører bussen i sin egen tracé adskilt fra resten af trafikken.

Økonomi
Projektet forventes samlet set at koste 510 mio. kr., hvor Aalborg Kommune bidrager med 245 mio. kr., Region Nordjylland med 15 mio.kr. og staten med de restrende 250 mio. kr. Udgifterne fordeler sig på følgende hovedposter:
 Bustracé - 39,7 mio. kr.
 Stationer - 111,8 mio. kr.
 Vejændringer - 264,6 mio. kr.
 Stationsforpladser - 47,1 mio. kr.
 Arealerhvervelse - 39,7 mio. kr.
 Kommunikation - 7 mio. kr.

Referencer

Eksterne henvisninger
 BRT - Aalborg Kommune arkiveret fra originalen 18. februar 2019.
 Plusbus på plusbus.dk

Transport i Aalborg
Busser
Nordjyllands Trafikselskab

Plusbus


تاهارا مدينة تقع ضمن محافظة آيتشي في اليابان، تأسست في 8/20/2003، بلغ عدد تعداد سكانها في 1 يناير – 2008 حوالي 66698 مساحتها الإجمالية حوالي 188.81 كم2 لتصبح كثافة سكانها 353 نسمة لكل كيلو متر مربع.

توأمة
لتاهارا (آيتشي) اتفاقيات توأمة مع كل من:

 جورجتاون
 برنستون

 سوجو

مراجع

أماكن مأهولة أسست في 1955
تاهارا
مدن ساحلية في اليابان
مدن محافظة آيتشي
مستوطنات ساحلية في اليابان

تاهارا (آيتشي)


මලුක්කු මුහුද (ඉන්දුනීසියානු: ලාඋත් මලුක්කු) පිහිටා ඇත්තේ,  ඉන්දුනීසියානු රාජ්‍යය තුල සහ බටහිර ශාන්තිකර සාගරයෙහිය.  මෙම ප්‍රදේශය තුල කොරල්-පර බහුල වන අතර බොහෝ කිමිදුම් ස්ථාන එය තුල පවතියි.

පිහිටුම
දකුණු දෙසින් බණ්ඩ මුහුදෙන් සහ උතුරෙන්  සෙලබීස් මුහුදෙන්ද,  මලුක්කු මුහුද මායිම් වෙයි.

මලුක්කු මුහුදට මායිම් වී ඇති දිවයින් අතර, ඊසාන දෙසින් හල්මාහේරා, මධ්‍යයෙහි බුරු සහ සේරම් සහ, බටහිරින් සුලාවසී වෙති.  මුහුදේ සාමාන්‍ය මායිම, උතුරු දෙසින් තලූද් දිවයින් වන නමුදු, මුහුදෙහි නම අනුව යමින් නම් කර ඇති භූ-චලන තැටිය වන මලුක්කු මුහුදු  තැටිය, තවදුරටත් උතුරු දෙසට විහිදෙයි.

මලුක්කු මුහුද


Die Indische Badmintonmeisterschaft der Saison 1982/1983 fand Anfang 1983 in Gandhinagar statt. Es war die 47. Austragung der nationalen Titelkämpfe im Badminton in Indien.

Finalergebnisse

Weblinks
https://badmintonindia.org/application/index.php?url=beta/players/national-winners/

1983
Badminton 1983
Sport (Gujarat)
Gandhinagar

Indische Badmintonmeisterschaft 1982/83


Le dème de Pinía, en  / Dímos Pinías, est un ancien dème du  district régional d'Élide, en Grèce-Occidentale. Depuis 2010, il est fusionné au sein du dème d'Élis.

Selon le recensement de 2011, la population du dème compte .

La localité tire son nom du fleuve Pénée.

Notes et références

Voir aussi

Liens externes

Dème en Grèce-Occidentale
Ancien dème en Grèce
Élide

Dème de Pinía


Radio Mirchi ("Mirchi" in Hindi meaning red chilli), also known as 98.3 Mirchi, is a nationwide network of private FM radio stations in India. It is owned by the EntertainmentNetwork India Ltd (ENIL), which is one of the subsidiaries of The Times Group. The tagline of Radio Mirchi is "Mirchi Sunnewaale Always Khush!" ("Mirchi Listeners are Always Happy!"). It is the first privately owned radio station in India.

Radio Mirchi maintains weekly music charts, or record charts, for India. The most followed charts are Mirchi Top 20 (Bollywood Songs, now celebrities select their favourites) and Indie Pop 10 (Independent Music). Both of these charts are a ranking of recorded music according to popularity. These charts are published on a weekly basis in the Indian English-language daily newspaper, The Times of India, and on Radio Mirchi's official website.

Mirchi has its stations in India and also in GCC countries: UAE, Qatar, and Bahrain.

As per the latest IRS data released in 2017, Radio Mirchi has emerged as the number one FM broadcaster in Delhi and Mumbai, as well as in the top 8 metros taken together.

History
The original avatar of Radio Mirchi was Times FM. Radio Mirchi began operations in 1993 in Indore, Madhya Pradesh. Until 1993, All India Radio or AIR, a government undertaking, was the only radio broadcaster in India. The government then took the initiative to privatize the radio broadcasting sector. It sold airtime blocks on its FM channels in Indore, Hyderabad, Mumbai, Delhi, Kolkata, Varanasi, Visakhapatnam and Goa to private operators, who developed their own program content. The Times Group operated its brand, Times FM, till June 1998. After that, the government decided not to renew contracts given to private operators.

First round of licenses
In 2000, the government announced the auction of 108 FM frequencies across India. ENIL won the largest number of frequencies, and thus started its operations under the brand name Radio Mirchi.

Second round of licences
In January 2006, Radio Mirchi purchased 25 frequencies in the second wave of licences that were issued by the Government of India.  This pushes the Radio Mirchi presence in 32 centres. In the first wave of launches, Indore was the first city in India having grade of first private radio channel. Times decided to start radio channel to address the mass audience as advertisers can be attracted by showing a low cost per thousand.

Third round of licenses
Radio Mirchi invested above Rs.339 crore during phase III auctions and purchased 17 new channels in new cities such as Chandigarh, Kochi, Kozhikode, Jammu, Srinagar, Guwahati and Shillong, as well as in existing cities such as Bangalore, Hyderabad, Ahmedabad, Pune, Kanpur, Lucknow, Jaipur, Nagpur and Surat. This pushes Radio Mirchi presence in 49 centres.

GCC countries expansion
Radio Mirchi started operations across UAE, streaming across three frequencies : 97.3FM in Abu Dhabi, 88.8FM in Dubai and the Northern Emirates and 95.6FM in Al Ain & Bahrain 104.2 and Qatar 89.6 Mirchi One In partnership with ONE FM Qatar ki dhadkan All the RJs have been recruited from various Radio Mirchi stations in India including Anup Chugh, with a total seven who will take to the air.

Radio Mirchi UAE is now KADAK FM but later, Radio Mirchi made a comeback to the UAE in 2021 with 102.4 FM Mirchi.

Areas of operation

India
Currently, Radio Mirchi has a presence 76-station network operating in 63 cities, including three Ishq FM stations Along with online and international stations, the company boasts of a 112-station network.

Ahmedabad, GJ
Akola, MH (broadcast on 95.0 MHz)
Amravati, MH (broadcast on 92.1 MHz)
Amritsar, PB (broadcast on 104.8 MHz)
Asansol, WB (broadcast on 95.0 MHz)
Aurangabad, MH
Bharuch, GJ (broadcast on 92.3 MHz)
Bengaluru, KA (two channels - 98.3 and 95 MHz)
Bhavnagar, GJ (broadcast on 91.5 MHz)
Bhopal, MP
Chandigarh
Chennai, TN
Coimbatore, TN
Delhi
Durg-Bhilai Nagar, CG (broadcast on 91.9 MHz)
Guwahati, AS (broadcast on 95.0 MHz)
Hubli-Dharwad, KA
Hyderabad, TS (two channels - 98.3 and 95 MHz)
Indore, MP (First city of Broadcasting)
Jabalpur, MP
Jaipur, RJ
Jalandhar, PB
Jamnagar, GJ (broadcast on 95.0 MHz)
Jammu, JK
Jodhpur, RJ (broadcast on 104.8 MHz)
Jhansi, UP (broadcast on 104.8 MHz)
Junagadh, GJ (broadcast on 95.0 MHz)
Kanpur, UP
Kochi, KL (broadcast on 104.0 MHz)
Kolhapur, MH
Kolkata, WB
Kozhikode, KL (broadcast on 92.7 MHz)
Lucknow, UP
Madurai, TN
Mangalore, KA
Mehsana, GJ (broadcast on 91.9 MHz)
Mumbai, MH
Mysuru, KA (broadcast on 104.8 MHz)
Nagpur, MH
Nashik, MH
Palanpur, GJ (broadcast on 93.7 MHz)
Patiala, PB (broadcast on 104.8 MHz)
Patna, BR
Pondicherry, PY (broadcast on 104.0 MHz)
Pune, MH
Raigarh, CG (broadcast on 91.1 MHz)
Raipur, CG
Rajahmundry, AP (broadcast on 91.1 MHz)
Ranchi, JH
Rajkot, GJ
Shillong, ML (broadcast on 91.1 MHz)
Shimla, HP (broadcast on 104.8 MHz)
Siliguri, WB
Srinagar, JK
Surat, GJ
Thiruvananthapuram, KL
Tiruchirappalli, TN (broadcast on 95.0 MHz)
Tirunelveli, TN (broadcast on 95.0 MHz)
Ujjain, MP (broadcast on 91.9 MHz)
Vadodara, GJ
Varanasi, UP
Vijayawada, AP
Visakhapatnam, AP
Warangal, TS (broadcast on 91.9 MHz)

Unless specified otherwise, all stations broadcast on 98.3 MHz

It reaches out to almost 52% of FM radio listeners in Delhi, 44% in Mumbai, 40% in Indore, 35% in Jaipur, 30% in Bhopal, 20% Chennai, 27% in Kolkata, 15% in Nagpur 60% in Mangaluru and 12% in Bengaluru. Radio Mirchi has started providing Visual Radio to its subscribers in Delhi from 25 July 2006 onwards and in Mumbai from September 2006. It also has started its Visual Radio service from Kolkata recently.

According to the Radio Audience Measurement Reports, Radio Mirchi has been dominating in Delhi and is the leader in Mumbai and Kolkata. However, in Kolkata they are not clear leaders in SEC ABC segments. The SEC ABC segments were earlier dominated by Big FM & now by Friends FM. However, in the SEC D & E segments Radio Mirchi has total domination.

United Arab Emirates
Abu Dhabi Media owned and operated 4 radio stations under the Radio Mirchi brand, under conditional license from ENIL. ADM rebranded to Kadak FM in July 2020. Radio Mirchi made a comeback in 2021 as MIRCHI 102.4 FM.

Abu Dhabi (broadcast on 97.3 MHz)
Al Ain (broadcast on 95.6 MHz)
Dubai (broadcast on 102.4 FM)
Sharjah (broadcast on 88.8 MHz)

United States
Stations are operated under a brand licensing agreement between ENIL and Arohi Media, with the latter managing and operating the stations. Radio Mirchi went live in the USA on January 26, 2019, as MIRCHI

New York tri-state region (broadcast on 1600 AM)
Franklin Park, NJ (broadcast on 92.7 FM) and Princeton, NJ (broadcast on 103.3 FM HD2)
Raleigh-Durham, NC (broadcast on 101.9 FM, 99.9 FM HD4, and 1490 AM)
Philadelphia, PA (broadcast on 103.9 FM HD2)
Cleveland, OH (broadcast on 93.1 FM HD2)
Baltimore, MD (broadcast on 92.3 FM HD2)
Columbus, OH (broadcast on 107.5 FM HD2)
St. Louis, MO (broadcast on 95.5 FM HD2)

The following stations to be launched soon:

Atlanta, GA (broadcast on 107.5 FM HD3)

RDS service

In Mumbai and Kolkata; Radio Mirchi supports RDS information with the station name and current and next song.

Mirchi Music Awards

The Mirchi Music Awards are annually given awards instituted by Radio Mirchi for excellence in Bollywood film music. It was first given in 2008.

References

Radio stations in Kerala
Radio stations in Indore
Companies based in Indore
Radio stations in Ujjain
Radio stations in Hyderabad
Radio stations in Bangalore
Radio stations in Bhopal
Radio stations in Patna
Radio stations in Madurai
Radio stations of The Times Group
Hindi-language radio stations
Telugu-language radio stations
Radio stations established in 1993
1993 establishments in India
Music of Bengal
Radio stations in Vijayawada
Radio stations in Kolkata

Radio Mirchi


Jørgen Vestergaard (født 10. april 1939, Thisted, Danmark) er en dansk filminstruktør, producer, filmfotograf og manuskriptforfatter, som har instrueret Snøvsen og Snøvsen ta'r springet. Vestergaard har desuden produceret og instrueret en lang række dokumentarfilm og animations-dukkefilm.

Karriere
Han kom i lære som journalist på Thisted Amts Avis og blev 1959 ansat som filmmedarbejder på Dagbladet Information.
På Krogerup Højskole var han med i filmkredsen og 1960 blev han Henning Carlsens instruktørassistent. Han blev senere tilknyttet Laterna Film og Teknisk Film Co. som freelance instruktør. "Koen og kamelen" fra 1963 blev hans debutfilm som instruktør.

Efter han 1965 i et mindre cirkustelt på Bakken instruerer "Kaptajn Voms Teater" fik han en henvendelse fra Danmarks Radios Teaterafdeling. De ville gerne producere dukkefilm for voksne, men manglede en instruktør. Det førte til at han instruerede TV-produktionerne "Lille Claus og Store Claus", "Don Christobal og Rosita" og "Skt. Annaland". For Statens Filmcentral fik han etableret et samarbejde om at være instruktør og manuskriptforfatter af dokumentar- og kortfilm. Han stifter 1969 sit eget produktionsselskab, som laver flere animations-dukkefilm for DR. Først fra et studie på Frederiksberg og sidenhen fra Jelling.

Han vender 1979 tilbage til Thy, hvor han indretter et studie i Sennels. Han skildrer med sine film "Danmark - dit og mit" (1981), "Et rigtigt bondeliv" (1994), "Fjordfiskerne" (1996) og "Brødre" (1996) hvordan vilkårene ændrer sig for landbefolkningen, der er beskæftiget i landbruget og fiskeriet. Filmene "Landsbyen lever" (1990) og "Et liv på landet" (2000) beskæftiger sig med vilkårene i landsbyerne.

En anden genre, som optager Vestergaard er portrætfilm. I "Cementkrucifikset" (1968) har han sammen med Broby-Johansen lavet en portrætfilm om den kontroversielle præst og billedhugger Anton Laier. Senere producerer han filmene "Sigurd Fafnersbane" (1981) sammen med digteren Steen Kaalø, Morten Maler (1989) sammen med forfatteren Knud Sørensen om middelalderens kirkemalere, Jens Søndergaard - Portræt af en maler (1995) og Ovartaci - kunstner på psykiatrisk hospital (1999).

Hans største gennembrud blev dog animations-dukkefilmene "Snøvsen" (1992) og "Snøvsen ta'r Springet" (1994), som begge er skrevet sammen med Benny Andersen.

Filmografi

Prisbelønninger
 1993 Pråsprisen

Eksterne henvisninger

Kilder

Filminstruktører fra Danmark
Personer fra Thisted
Danskere i 1900-tallet
Danskere i 2000-tallet
Modtagere af Pråsprisen

Jørgen Vestergaard


«Countdown» es un sencillo de la cantante de R&B Beyoncé de su cuarto álbum de estudio 4.
Está escrita por Terius Nash, Shea Taylor, Knowles, Ester Dean, Cainon Lamb, Julie Frost, Michael Bivins, Nathan Morris y Wanya Morris.
La canción fue lanzada en el mercado estadounidense el 4 de octubre de 2011 siendo el tercer sencillo del álbum.

Los críticos clasificaron a «Countdown», como una canción multi-género y elogió a la toma de muestras de cuenta atrás de "Uhh Ahh" de Boyz II Men. Que lo compararon con sencillos de esta como fueron Dangerously in Love (2003) y B'Day (2006)

Antecedentes

«Countdown» fue escrita por Terius Nash, Shea Taylor, Knowles, Ester Dean, Cainon Lamb, Julie Frost, Michael Bivins, Nathan Morris y Wanya Morris, producida por ella Lamb y Tylor, Michael Bivins, Nathan Morris y Wanya Morris tuvieron créditos en "Countdown" por su ejemplo en la canción de los Boyz II Menen 1991, llamada "Uhh Ahh".

Se ofreció Una fiesta privada para escuchar el álbum de Knowles como su cuarto trabajo de estudio se llevó a cabo el 12 de mayo de 2011 a las oficinas de Sony en la ciudad de Nueva York. Knowles ofreció a un selecto grupo de fanes un adelanto de cinco canciones de su cuarto álbum de estudio, así como el video oficial del primer sencillo "Run the World (Girls)". En esa ocasión, «Countdown».

El 7 de junio de 2011, tanto "Party" y "Countdown" se filtró en Internet, seguido por el álbum entero, tres semanas antes de su fecha de lanzamiento oficial, el 28 de junio de 2011 Esto fue seguido por avisos de cese y desista del equipo de Knowles legal, que obligó a los sitios de medios múltiples para eliminar los enlaces de descarga de las canciones. A partir del 16 de junio hasta 27 de junio de 2011, las canciones de 4 estaban disponibles para escuchar en su totalidad cada día en el sitio web oficial de Knowles, junto con la foto que acompaña este se extendió desde el empaque del álbum y una cotización detallada. El 24 de junio de 2011, "Countdown", fue la novena canción para ser elegida. La cita encontró que Knowles y la elaboración de la inspiración de la canción:. "Me gustó mucho la mezcla de los años 90 con los 70s me puse los dos juntos y fue muy divertido poner los puentes de nuevo en las canciones, todas las cosas en la música que me encanta que me siento sólo quiero volver a escuchar. "También se refirió a "Countdown", como "muy experimental". En cuanto al desarrollo de "Countdown" y la razón para el uso de la muestra, Knowles dijo:

Yo quería hacer algo refrescante y diferente, así que los géneros mixtos quienes se inspiraron en las giras, viajar, ver bandas de rock, y asistir a fiestas ... yo era como una científica loca, poniendo un montón de canciones diferentes entre sí. Boyz II Men fueron los primeros en poner a Destiny's Child en su gira. Nos mostraron cómo tratar a un acto de apertura y nunca voy a olvidar eso. Eso fue hace 15 años! Wow, ¡15 años! Soy vieja

En una entrevista con Leslie Moore en Tumblr, Cainon Lamb recordó cómo comenzó a trabajar en la muestra de los Boyz II Men y como su trabajo llegó a Knowles. Él dijo que él comenzó a trabajar en "Countdown" durante la noche anterior a los BET Awards 2010. Él estaba en el estudio, escuchando la canción de Boyz II Men, "Uhh Ahh". Él comentó: "[Esto] se inicia con una cuenta atrás de '10, 9, 8, 7, 6, 5, 4, 3, 2, 1 Wow, eso podría ser algo igual la cuenta atrás" Así que pensé". Una vez que la cuenta atrás estaba en el equipo, que aumentó ligeramente el ritmo al que se jugaba, añadió algunos toques de tambor redoblante a él, y comenzó el ritmo. Después de eso, envió la canción a su editor, EMI Music. Este último quedó impresionado con el instrumental y continuó diciendo:. "Tuve una reunión esta mañana con Beyoncé y he jugado un par de canciones que yo tenía y ella no era realmente lo sentía Cuando yo jugaba al ritmo que tú me enviaste, que Había que ver cómo se volvió loca! comenzó a bailar y rebotando hacia arriba y hacia abajo y solo haciendo todo tipo de cosas. le encantaba ese ritmo! "a petición de su editor, Lamb hizo" una versión femenina de la parte de atrás ". Terius Nash escribió los versos y dos días después, Knowles fue al estudio y la grabamos.

En una entrevista con Jocelyn Vena de MTV News, los miembros de Boyz II Men, dijo que se sorprendieron de que Knowles decidió usar su canción en "Countdown" a pesar de que la he conocido por mucho tiempo. Wanya Morris creía que se trataba de un "inteligente" movimiento y agregó que "[él] [guess Boyz II Men] se puede decir [que] finalmente [su] dueto con Beyoncé." Nathan Morris con más detalle, consiguiendo filosófica sobre la carrera de "Destiny 's Child" :

No era algo que esperábamos, pero sí tener un poco de una relación. Un montón de gente realmente no sabe que cuando tenía Destiny 's Child, la primera vez que se fue de gira que se abrió para nosotros por un tiempo bastante largo. Y lo mejor de nosotros para cuidar de ellos y asegurarse de que todo era bueno. Y en aquel entonces eran increíbles. Aunque hace mucho tiempo que sabía que Beyoncé se destacó del resto. Todos vimos que iba a terminar haciendo lo suyo. Hay una conexión, y al final del día, no sabía que ella usaría ese registro. Juego juego de los aspectos, creo que lo llamaría

El 22 de septiembre de 2011, Columbia Records publicó la portada de "Countdown" en la página web oficial de KZII-FM, más comúnmente conocido como "Kiss FM 102.5". Fue la misma fotografía extendido para "Countdown" en las notas del álbum el 4 y fue tomada por el fotógrafo alemán Ellen von Unwerth.Released como el tercer single de 4, "Countdown", incidió tanto CHR / Top 40 y las radios Rítmica el 4 de octubre de 2011 en los Estados Unidos

Composición

Estructura de la canción y presentación lírica
A lo largo de la canción, Knowles canta con "una actitud descarada", el establecimiento de un "tono futurista", como dice Jocelyn Vena. De acuerdo con Dombal, "Countdown" se encuentra a Knowles como la protagonista femenina la entrega de su "mensaje de diez años de lealtad" a su interés amoroso. Jody Rosen de Rolling Stone,  describe como "Countdown", es un "romance monógama", ha añadido que se trata de una canción de amor que es "no menos atractiva por ser fiel a la vida sin pestañear", y Jocelyn Vena de MTV News, escribió que la canción es "Todo sobre el rapto de amor verdadero". Comenzando con un reggae-ish golpe, cornetas y tambores, Knowles comienza a cantar las líneas introductorias, que también sirve de las líneas de pre-coro:
Oh, killing me softly and I'm still falling / Still the one I need, I will always be with you / Oh, you got me all gone, don't ever let me go / Say it real loud if you fly / If you leave me you're out of your mind",followed by the chorus lines, which is a literal count backwards where Knowles counts down the ways in which she loves her man, "My baby is a ten / We dressing to the nine / He pick me up at eight / Make me feel so lucky seven / He kiss me in his six / We be making love in five / Still the one I do this four / I'm trying to make a three / From that two / He still the one
Como ha dicho Adam Markovitz de Entertainment Weekly, el primer verso de "Countdown" también contiene "inducir a la alegría, que no son letras", como "Yo y mi Boof, y mi caballo Boof Boof". Además, Knowles le canta a su interés por el amor que debe sentirse afortunado "de tener su moler en él." En el segundo verso, Knowles continúa jactándose de todas las formas de su hombre tiene la suerte de contar con ella, felizmente declarar su devoción a él, y celebra su "relación madura", como dice Spence, D. del IGN. Hacia el final del verso, las referencias Knowles a los Houston Rockets en la letra.

Tabla de rendimiento
Vendió 14.897 descargas digitales, "Countdown" se estrenó en el número 40 en la Tabla de Corea del Sur Singles Gaon Internacional para la semana que finalizó el 2 de julio de 2011, a raíz de la liberación de 4. Antes de que se lanzó un sencillo en los Estados Unidos, que debutó en el número 75 en el R EE.UU. Hot & B / Hip-Hop tema chart canciones de 2 de julio de 2011. La canción también llegó al número 12 en el Bubbling EE.UU. bajo el tema Hot 100 Singles chart fecha 16 de julio de 2011. Para la semana que finalizó el 29 de octubre de 2011, "Countdown" fue el Hot Shot Debut en los EE.UU. Hot Dance Club Songs chart. También debutó en el número 85 en los EE.UU. Billboard Hot 100.

A la semana siguiente, se trasladó al número 77. Para la semana que finalizó el 19 de noviembre de 2011, la canción debutó en el número 38 en las canciones pop estadounidense chart "Countdown" alcanzó el número uno en el Hot Dance Club Songs gráfico para la semana que finalizó el 24 de diciembre de 2011, convirtiéndose en la canción en la 17.º canción de Beyoncé alta en ese chart.

Aunque no es oficialmente lanzado en el Reino Unido, "Countdown" debutó en el número 171 en la lista de singles del Reino Unido el 9 de octubre de 2011, y se trasladó al número 77 la semana siguiente. Se pasó de 47 a 22 el número el número en la Tabla R & B del Reino Unido el 16 de octubre de 2011. La canción se trasladó al número 49 en la lista de singles del Reino Unido y al número 13 en las listas del Reino Unido de R & B la semana siguiente. El 6 de noviembre de 2011, "Countdown" alcanzó el puesto número 35 en la lista de singles del Reino Unido y en el número nueve en el Reino Unido Chart de R & B

Recepción de la crítica

Comentarios

"Countdown", recibió la aclamación de los críticos en general, la mayoría de los cuales encontraron que una reminiscencia de las liberaciones anteriores de Knowles como Dangerously in Love (2003), B'Day (2006), entre otros, sin embargo, con un mayor nivel de madurez de Knowles. Adán Markovitz de Entertainment Weekly escribió que "como era de esperar, Beyoncé se encuentra en su mejor momento cuando ella suena como a nadie más que a sí misma." Ella también elogió Knowles para "tener [iendo] de su vestido que enloquece de confianza de las bolas de naftalina" para "Countdown". Teniendo en cuenta la colocación de pista de la canción 4 Thomas Conner, del Chicago Sun-Times elogió "Countdown" para recoger las cosas y de hacer de 4 para que comenzará a moverse hacia el final. Él describió la canción como "toda velocidad en un club étnica". John Mitchell de MTV News, llamó a "Countdownref name="spence"></ref>" la mejor pista de 4, por escrito que es imposible resistir, mientras que Jocelyn Vena de la publicación del mismo nombre "Countdown", la canción más sorprendente en el álbum. Conrad Tao de la Sputnikmusic encontró que "Countdown" era uno de los cortes irresistibles uptempo ON4 y añadió que hace "uso especial éxito de su homónimo", así como sus influencias dancehall. Corner Digital Spy Lewis dio a la canción de cuatro estrellas de cinco años y escribió que "la combinación de pop-estrellato y la vida doméstica" es sólo uno de los talentos de sus muchos Knowles en la canción. Ricky Schweitzer de la una y media de BPM también mostró favorism alta para "Countdown", escribiendo:

Así se habla mucho de ritmo y la expectativa no debe eclipsar el triunfo más grande que 4 tiene que ofrecer: la progresión. Después de 4 amenazara con convertirse en jarabe, 'Love on Top', viene a PEP el estado de ánimo antes de estallar en 'Countdown', posiblemente la canción más experimental que Beyoncé ha estado siempre una parte de ella. El cable de salida para el verso tiene una progresión tonal que no se puede seguir con pereza y las voces establecidas en la parte superior de una pieza tan audaz de la composición son hábiles y segura. El sintetizador minimalista que aparece a continuación puede sonar un poco familiar, pero aunque sólo sea por unas pocas medidas, Beyoncé está en contacto con un nuevo camino

Reconocimiento
Carlos Aarón de la revista Spin colocó "Countdown" en el número dos en su lista de las 20 mejores canciones de 2011, escribió: "'Countdown' es throwdown gangsta de Beyoncé como artista, golpes y la molienda y los saltos y el patinaje y la caricia y catcalling y teniendo testigo de todo el ritmo como nadie ya MJ [Michael Jackson] -. punto final las explosiones de bronce afro, el sintetizador boop boop minimalista, el jazz de Boyz II Men desglose, la astucia sincopado de regreso a la delantera Una obra maestra, con las piernas de. día ". Rolling Stone clasificó la canción en el número ocho en la lista de los mejores escoge a 50 de 2011, escrito que es una canción de amor triunfante ", untado en salsa de locos, banda de marcha, batería, contando hacia atrás coristas, bocinas", y alabando su gancho. Consecuencia del personal de sonido colocó "Cuenta atrás" en el número cuatro en su lista de los 50 mejores canciones de 2011 y escribió: "En este momento de su carrera excepcional, Beyoncé ha trascendido los límites tradicionales de la diva del pop de estado ... Queen B ha construido un imperio de canciones de amor y homenajes a su boo (s), pero ninguno, ya sea en este álbum o tres de la anterior, salen con la misma facilidad y profundamente como lo hacen aquí. Nos atrevemos a nadie a resistir a caer bajo el hechizo del coro , ... el sing-Along-capacidad, el carácter grandilocuente, y el ritmo ... tened por la forma que desee, este número es una joya que brilla en bangin Beyoncé [g] catálogo. "Los críticos de The Guardian, Michael Cragg, Caspar Llewellyn Smith y Rowe Sian colocado "Countdown" en los números uno, cuatro y cinco en las listas de las 10 mejores canciones de 2011. Los miembros del personal de Pitchfork Media puso la canción en el número siete en su lista de Las 100 mejores canciones de 2011, escribió:

Esta canción es una virtuosa actuación de la cantante y los productores por igual, por lo vertiginoso con la emoción de tener a alguien que tiene la espalda que no se pueden quedar quietos. Los cambios de tempo son como un amante herido tratando de calmarse sólo para empezar a parlotear sobre lo maravilloso que es todo lo que de nuevo un momento después. "Countdown" no se puede dejar de girar a cabo nuevas ideas musicales cada pocos segundos, porque tal vez este riff de sintetizador Zinging o esta loco crescendo percusión orquestal le ayudará a captar la sensación, también. Beyoncé sin aliento a través de ciclos de todos los trucos vocales a su disposición, a partir de coro de la iglesia ulular de una feroz rápido rap, y de alguna manera es a la vez abrumadora e infecciosas, que viene como el disco más emocional que afecta a los efectos de sonido que se haya registrado

Uso en los medios de comunicación

Knowles apareció en Entertainment Tonight el 16 de junio de 2011 para promover la exclusiva al objetivo edición de lujo de 4, y dio a los aficionados una vista previa de su anuncio de televisión. El comercial de 30 segundos, que cuenta con "1 +1" y "Countdown" sonando de fondo, comenzó a transmitirse en los Estados Unidos el 24 de junio de 2011. En agosto de 2011, "Countdown" fue utilizado en un anuncio publicitario para las vistas previas de caídas de CBS de la serie de televisión.

Video musical

El video comienza con un primer plano de la cara de Knowles con un peinado similar a la modelo Twiggy. A continuación el vídeo muestra imágenes de Knowles moviendo los brazos como un reloj y usando una camiseta negra que va desde el cuello, media blancas y pantalón negro. Escenas similares a la película de 1957 Funny Face. Luego Knowles aparece con un sombrero negro con rayas blancas, con vestido de baño que cambia de color a igual que el fondo cada vez que mueve los hombros, similar a Vogue sesiones de fotos En esta escena es menos visible su embarazo. El clip corta rápidamente la secuencia de traje de baño a los de Knowles en un espacio de audición similar a la película de 1980 Fama. La secuencia incluye movimientos de la coreografía de Knowles y sus bailarines, una referencia al musical de 1961 West Side Story.
Más adelante aparece en una escena que cuenta con 10 diferentes encarnaciones de sí misma en un espacio tipo loft, y Knowles con amor se frota la panza. De acuerdo a MTV Noticias, esta es la "escena clave", donde Knowles pone en perspectiva que está embarazada. Knowles aparece ahora en un salón junto a una puerta haciendo referencia Bridget Bardot, donde viste una camisa de hombre con el pelo adelante estilo bufanda y las bailarinas detrás de ella bailando. Hace referencia a su película Dreamgirls más concretamente, la inspiración de este último siendo Diana Ross, durante algunas escenas breves, Knowles lleva un corto y brillante vestido con un peinado bob. El video termina con Knowles y sus bailarinas sentadas en un salón y haciendo una breve coreografía y luego su rostro sonriendo.

Tracklisting
Descarga Digital
 "Countdown" – 3:32
 "Countdown" (RedTop Radio Edit – Clean) – 3:57

Descarga Digital – Remixes EP
"Countdown" – 3:31
"Countdown" (Reggae Rewind Remix) – 4:04
"Countdown" (Olli Collins & Fred Portelli Remix) – 6:10
"Countdown" (Jack Beats Remix) – 4:03
"Countdown" (Single Version) [Music Video] – 3:32

Personal

Beyoncé Knowles – Vocalista, productora, escritorar
Alex Asher – trombóns
Michael Bivins – escritor
Ester Dean – escritor
Julie Frost – escritor
Cole-Kamen Green – trompeta
Serban Ghenea – mixer
John Hanes – mix
Ryan Kelly – asistente
Lamb – coproductor, escritor
Nathan Morris –escritor

Wanya Morris – escritor
Terius "The-Dream" Nash – escritor
Phil Seaford – asistente
Drew Sayers – saxo
Shea Taylor – productcion
Nick Videen – tenor saxo
Pete Wolford – asistente
Josiah Woodson – trompeta
Jordan "DJ Swivel" Young – recorder

Posicionamientos en tablas

Historial de lanzamientos

Referencias

Enlaces externos
Oficial de Beyoncé

 Muestra de audio de «Countdown» en Wikimedia

Sencillos de 2011
Sencillos de Beyoncé
Canciones escritas por Beyoncé
Vídeos musicales certificados por VEVO
Canciones en inglés

Countdown (canción)


إل ليسيتزكي  هو فنان روسي، ولد في 23 نوفمبر 1890 وتوفي في 30 ديسمبر 1941. مصمم، مصور، معلّم و طبّاع.

أعماله
 كان أحد أهم فناني الطليعة الروسية حيث ساعد على تطوير السوبرماتيزم أو (المثالية) مع صديقه وناصحه كازيمير ماليفيتش.
 صمّم عروضَاً عديدة، واشتغل في أعمال الدعاية للاتحاد السوفيتي السابق.

عمله أَثّر على حركة بوهوس كثيراً وحركة البنّائين وحركات دي ستيجل وجرّب تقنيات الإنتاج بأدواتِ ستيلية تلك التي تستمر بالسيطرة على تصميم نقوش القرن العشرين.

مهنته
مهنة ليسيتزكي كاملة كانت تقوم على الاعتقاد بأن الفنان يمكن أن تكون وكيلاً للتغييرِ، حيث لخّصَ هذا لاحقاً بمرسومه، "das zielbewubte Schaffe" (الخَلْق الموجه لمهمّة). في عام 1941 أنتج أحد أعماله المعروفة الأخيرة وهي ملصق دعاية سوفيتيِ حيث يحشّد الناس لبناء دبابات أكثرِ للمعركة ضدّ ألمانيا النازية.

روابط خارجية

مراجع

وفيات السل في روسيا
أشخاص من بوتشينوك
أعضاء المؤتمر الدولي للعمارة الحديثة
اشتراكيون يهود
بنائية (فنون)
خريجو جامعة دارمشتات التقنية
رسامون تجريديون
رسامون روس
رسامون روس في القرن 20
رسامون مائيون روس
رسامون يهود
فنانون سوفيت
فنانون يهود
كتاب وكاتبات روس
مستقبلية
مصممو جرافيك
مصممو جرافيك روس
مصورون فوتوغرافيون روس
معماريون روس
مواليد 1890
مواليد في بوتشينوك
وفيات 1941
وفيات بسبب السل في القرن 20
وفيات في موسكو
يهود روس
يهود سوفيت
وفيات السل في الاتحاد السوفيتي

إل ليسيتزكي


Eugenio Guzmán Astete es un sociólogo y académico chileno. Actualmente se desempeña como decano de la Facultad de Gobierno de la Universidad del Desarrollo.

Biografía
Es licenciado en Sociología de la Universidad de Chile y máster en Ciencias en Sociología de la Escuela de Economía y Ciencia Política de Londres, en el Reino Unido.

Se desempeñó como director del Programa Político Institucional de Libertad y Desarrollo, continuando su labor en el Think tank bajo el cargo de consejero de Políticas Públicas. Fue director de la Escuela de Gobierno y decano de pregrado de la Universidad Adolfo Ibáñez. También asesoró en la campaña presidencial a Joaquín Lavín, de quien es cuñado.

Referencias

Sociólogos de Chile
Alumnado de la Universidad de Chile
Alumnado de la London School of Economics
Profesores de la Universidad del Desarrollo
Profesores de la Universidad Adolfo Ibáñez

Eugenio Guzmán Astete


حمد المير مواليد عام (1970) ،شاعر كويتي اتخذ من الشعر الهادف وسيله لنشر وتثبيت الرواسخ الاجتماعية والدينية الاصيلة ،حاصل علي بكالوريوس تسويق من قسم الإدارة الأعمال بكلية التجارة والعلوم السياسية – جامعة الكويت العام 1995م ، وهو مدير إدارة الإعلام والتنمية الوقفية بالأمانة العامة للأوقاف.

بدايته مع الشعر
هو حمد بن جاسم بن عبد العزيز بن حمد بن احمد بن محمد المير (التميمي)، أحب الشعر منذ الصغر، و لديه العديد من المواهب الأخرى مثل الخط والرسم وكانت البدايات المتواضعة خلال مرحلة الدراسة الثانوية، كما أحب الأناشيد ونشأ عليها، ومن تجاربه الأولى في التأليف قيامه بتأليف بعض الأناشيد في شريط أناشيد للناشئة في أواخر الثمانينات.

وكانت المرحلة الجامعية من المراحل المؤثرة في صقل موهبته لما تتمتع به جامعة الكويت من نشاط طلابي ونقابي فاعل، حيث كان عضواً في المؤتمر الثاني عشر لاتحاد الطلبة عام (1989-1991) ورئيس اللجنة الطلابية بكلية التجارة عام (1991-1992) وعضو الهيئة الإدارية في الاتحاد – رئيس اللجنة الطلابية عام (1992-1993).

وفي أجواء الحماس الطلابي في تلك الفترة نشر الشاعر في نشرة الرأي الطلابي الجامعية مجموعة من أشعاره السياسية في زاوية شعرية بعنوان (أسلاك شائكة) خلال الفترة (1991-1993).

ثم عاد إلى التركيز على شعر النشيد في منتصف التسعينات لإيمانه بضرورة دعم الفن الهادف كبديل نظيف لما يقدم في ساحة الغناء من أعمال هابطة باسم الفن، وقد واكبت ذلك بوادر التطور والتميز في فن النشيد.

أبرز أعماله
قدم لساحة النشيد عشرات الأناشيد بعضها عبارة عن ألبومات من تأليفه بالكامل، وأخرى متفرقة في ألبومات منوعة، وفيما يلي بعض الأمثلة على أعماله:

 ألبوم أناشيد (أمعلمي).. عن المعلم.
 ألبوم أناشيد (يا وطني).. أناشيد وطنية.
 ألبوم أناشيد (واحات 2).. خاصة بالنشيد.
 فيديو كليب (محمد.. صلى الله عليه وسلم).. إنتاج وزارة الأوقاف والشئون الإسلامية.
 فيديو كليب (أشرقي).

*مقدمات بعض البرامج الإذاعية والتلفزيونية والإصدارات الخاصة مثل:

1) مقدمة برنامج (أسرار الحج) التلفزيوني (للدكتور طارق السويدان).

2) مقدمة برنامج (تباشير الصباح) الإذاعي في إذاعة القرآن الكريم بإذاعة الكويت.

3) مقدمة ألبوم (الموسوعة الأسرية) الصوتي.. (للدكتور إبراهيم الخليفي).

4) مقدمة ألبوم (الولد الصالح) الصوتي.. إنتاج لجنة التعريف بالإسلام.

والكثير من الأناشيد الناجحة مثل : (يا رفيق الدرب، أشرقي، تاجي حجابي، النور أشرق، يا قدس معذرة، وقفت أمام مرآتي.. وغيرها).

o وفي غير مجال النشيد نشر عدة مقطوعات شعرية في زاوية يومية في جريدة الوطن في ملحق انتخابات مجلس الأمة خلال فترة الانتخابات عام 2003م، كما قدم بعض الأصبوحات والأمسيات الشعرية.

مختارات من اشعاره

 أمعلمي ماذا عسى أشعاري.. تبدي من المكنون في أغواري

 في داخلي قيثارة أوتارها.. شدت فأين أنامل الأفكار

 مهما أقل في ذكر فضلك إنها.. بعض من القطرات من أنهار

 كيف السبيل إذن لصوغ مشاعري.. كهدية من شاكر محتار

 مهلا فلا تكثر بني ولا تزد.. يكفي فلست بطالب الإكثار

 لم أسعَ يوما للمديح ولم أرَمْ.. شيئا من الدنيا أو الدينار

 أبني العقول وهذه هي متعتي.. وسعادتي في ذلك الإعمار

 أنا زارع يا أيها البستان هل.. أرجو جزاء تعهدي أزهاري

مصادر
فناتق

انشاد

شعراء كويتيون في القرن 20
شعراء كويتيون في القرن 21
شعراء بالعربية في القرن 20
شعراء بالعربية في القرن 21

حمد المير


O poveste obișnuită... o poveste ca în basme (alte denumiri De dragul prințesei, Poveste obișnuită)  este un film românesc fantastic de scurtmetraj artistic și de animație din 1959 regizat de Ion Popescu-Gopo. Rolurile principale au fost interpretate de actorii Ion Manu și Eugenia Popovici.

Prezentare

Distribuție

Producție

Animațiile au fost realizate de Liviu Ghigorț.

Primire

În 1962 la Mar del Plata a primit Premiul pentru cel mai bun film recreativ pentru adolescenți. A fost selectat la Festivalul de la Cannes din 1960, în competiția de scurtmetraje, cu titlul De dragul prințesei.

Note

Legături externe

Vezi și
Listă de filme fantastice românești
 1959 în film

Filme din 1959
Filme românești
Filme în limba română
Filme regizate de Ion Popescu-Gopo
Filme fantastice românești
Filme fantastice din anii 1950

Filme pentru copii


Play Gaelic er debutalbummet fra det skotske keltiske rockband Runrig. Det blev udgivet i 1978 på LP og kassettebånd via Neptune Records. I 1990 blev det genudgivet på CD via Lismore Recordings med nyt coverdesign.

Spor
 "Dùisg Mo Rùn" (Wake up My Love) – 3:50
 "Sguaban Arbhair" (The Sheaves of Corn) – 4:12
 "Tillidh Mi" (I Will Return) – 3:40
 "Criogal Cridhe" (Beloved Gregor) – 4:44
 "Nach Neònach Neisd A Tha E" (Isn't It Strange Now) – 4:06
 "Sunndach" (Joyous) – 3:54
 "Air an Tràigh" (On the Strand) – 2:49
 "Dè Nì Mi / Puirt" (What Will I Do / Tunes) – 2:56
 "An Ròs" (The Rose) – 4:04
 "Ceòl an Dannsa" (Dancing Music) – 2:42
The Brolum
Irish Reel
Reel of Tulloch
 "Chì Mi'n Geamhradh" (I See the Winter) – 5:22
 "Cum 'ur n'Aire" (Keep in Mind) – 6:15

Personel
Calum Macdonald: trommer, percussion
Robert Macdonald: harmonika
Rory Macdonald: vokal, guitar
Donnie Munro: Forsanger, tolvstrenget guitar

Referencer

Eksterne henvisninger
 [ Play Gaelic] på AllMusic
 Play Gaelic på Discogs

Runrig-album
Debutalbum fra 1978
Debutalbum fra Storbritannien

Play Gaelic


Gara Tulcea Mărfuri este o gară care deservește municipiul Tulcea, România.

Tulcea Mărfuri
Tulcea

Gara Tulcea Mărfuri


Rocky Mount, ABD'nin Kuzey Karolina eyâletine bağlı Nash ilçesinde bulunan bir kasabadır. Şehirde ilk yerleşimler 19. yüzyıl'ın başlarında başlamıştır. Şehrin nüfusu 26 Kasım 2009 tarihinde yapılan nüfus sayımına göre 57.685 olup metropol nüfusunun da 152.392 olduğu tespit edilmiştir.

Demografi

2010 Sayımı
15 Mart 2010  tarihinde yapılan nüfus sayımına göre şehirde; 57.477 kişi, 23.097 ev ve 14.639 aile bulunmaktadır. Şehrin nüfus dağılımı ise %79,0 Beyaz, %11,3 Afroamerikalı, %5,2 Asyalı, %0,3 Yerli Amerikan, %0,1 Pasifik Adalı, %1,1'i ise diğer etnik gruplardandır.

Kaynakça

Dış bağlantılar

 Rocky Mount şehri resmi sitesi
 Rocky Mount Bölgesi ticari müsteşarlık

Kuzey Karolina'daki şehirler

Rocky Mount, Kuzey Karolina