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, ▁C ura ça o ▁Christ off el park , ▁which ▁can ▁be ▁expl ored ▁by ▁car , ▁bi ke , ▁horse , ▁or ▁on ▁foot ▁using ▁several ▁tra ils ▁that ▁have ▁been ▁laid ▁out ▁for ▁this ▁purpose . ▁ ▁See ▁also ▁▁ ▁T af el berg , ▁in ▁the ▁south - east ▁of ▁C ura ça o ▁ ▁References ▁ ▁External ▁links ▁Picture ▁of ▁the ▁Christ off el berg ▁Pictures , ▁description ▁ ▁Category : Ge ography ▁of ▁C ura ça o ▁Category : Land forms ▁of ▁C ura ça o <0x0A> </s> ▁Dim it ile ▁is ▁a ▁mountain ous ▁zone ▁on ▁the ▁island ▁of ▁Ré union , ▁located ▁towards ▁its ▁southern ▁end . ▁ ▁See ▁also ▁Is le ▁de ▁la ▁Re union ▁ ▁Category : Mount ains ▁of ▁Ré union ▁Category : R é union ▁National ▁Park <0x0A> </s> ▁Power Qu est ▁was ▁a ▁software ▁company ▁that ▁produced ▁utility ▁software . ▁ ▁It ▁was ▁acquired ▁by ▁Sym ante c ▁in ▁ 2 0 0 3 . ▁▁ ▁Power Qu est ' s ▁market ▁focus ▁was ▁on ▁management ▁of ▁computer ▁data ▁storage , ▁especially ▁file ▁systems ▁and ▁disk ▁partitions . ▁ ▁Their ▁products ▁included ▁Part ition Mag ic , ▁Drive Copy , ▁Drive ▁Image , ▁and ▁Server Mag ic . ▁ ▁Power Qu est ▁was ▁started ▁in ▁the ▁bas ement ▁of ▁Eric ▁J . ▁R uff ▁in ▁O rem , ▁Ut ah . ▁Power Qu est ▁earned ▁Mr . ▁R uff ▁the ▁ 1 2 4 th ▁spot ▁on ▁the ▁Inc . |
▁ 5 0 0 ▁list ▁one ▁year , ▁and ▁earned ▁many ▁awards ▁for ▁being ▁one ▁of ▁the ▁fast est ▁growing ▁software ▁companies ▁in ▁the ▁world . ▁ ▁References ▁ ▁External ▁links ▁▁ ▁http :// www . power quest . com / ▁- ▁Original ▁web ▁site ▁( since ▁replaced ▁by ▁Sym ante c ▁web ▁site ) ▁▁ ▁( Last ▁Internet ▁Archive ▁copy ▁from ▁before ▁Sym ante c ▁ac quisition ) ▁ ▁Category : Def unct ▁software ▁companies ▁of ▁the ▁United ▁States ▁Category : Sym ante c ▁ac quis itions ▁Category : Comp an ies ▁dis est ab lished ▁in ▁ 2 0 0 3 ▁Category : Comp an ies ▁based ▁in ▁O rem , ▁Ut ah <0x0A> </s> ▁The ▁Bo eing ▁Or b ital ▁Fl ight ▁Test ▁ 2 ▁( also ▁known ▁as ▁Bo e - O FT ▁ 2 ) ▁is ▁a ▁planned ▁repeat ▁of ▁the ▁Bo eing ' s ▁first ▁Or b ital ▁Fl ight ▁Test ▁that ▁was ▁pl ag ued ▁with ▁software ▁problems . ▁The ▁mission ▁will ▁test ▁the ▁C ST - 1 0 0 ▁Star lin er ▁space craft , ▁built ▁by ▁Bo eing ▁as ▁part ▁of ▁NASA ' s ▁Com mer cial ▁C rew ▁Program . ▁The ▁mission ▁is ▁planned ▁to ▁last ▁eight ▁days , ▁involving ▁a ▁rende z vous ▁and ▁dock ing ▁with ▁the ▁International ▁Space ▁Station ▁( I SS ), ▁followed ▁by ▁landing ▁in ▁the ▁western ▁United ▁States . ▁This ▁is ▁the ▁first ▁planned ▁dock ing ▁of ▁Star lin er ▁after ▁the ▁December ▁ 2 0 1 |
9 ▁flight ▁failed ▁to ▁rende z vous ▁with ▁the ▁station ▁due ▁to ▁an ▁anom aly ▁with ▁the ▁space craft ' s ▁mission ▁el apsed ▁time ▁( ME T ) ▁clock . ▁The ▁mission ▁is ▁planned ▁to ▁use ▁the ▁hardware , ▁Star lin er , ▁and ▁Atlas ▁V ▁that ▁was ▁planned ▁for ▁the ▁cre wed ▁flight ▁test . ▁ ▁On ▁ 6 ▁April ▁ 2 0 2 0 , ▁Bo eing ▁announced ▁that ▁they ▁would ▁re do ▁the ▁Or b ital ▁Fl ight ▁Test ▁to ▁prove ▁and ▁meet ▁all ▁of ▁the ▁test ▁object ives . ▁A ▁four - month ▁investigation ▁of ▁the ▁first ▁Or b ital ▁Fl ight ▁Test ▁resulted ▁in ▁Bo eing ▁propos ing ▁another ▁un cre wed ▁flight ▁test ▁of ▁the ▁space craft ' s ▁systems . ▁NASA ▁accepted ▁the ▁proposal ▁from ▁Bo eing ▁to ▁do ▁another ▁un cre wed ▁test ▁flight ▁at ▁no ▁cost ▁to ▁the ▁American ▁tax pay ers . ▁ ▁The ▁cost ▁for ▁the ▁second ▁flight ▁is ▁an ▁estimated ▁$ 4 1 0 ▁million ▁and ▁it ▁is ▁scheduled ▁for ▁launch ▁no ▁earlier ▁than ▁October ▁ 2 0 2 0 . ▁ ▁Pay load ▁ ▁Mission ▁ ▁The ▁second ▁Atlas ▁V ▁N 2 2 , ▁designated ▁AV - 0 8 2 , ▁will ▁launch ▁the ▁C ST - 1 0 0 ▁Star lin er ▁space craft ▁on ▁its ▁second ▁un cre wed ▁test ▁flight ▁to ▁the ▁International ▁Space ▁Station . ▁The ▁caps ule ▁is ▁intended ▁to ▁dock ▁with ▁the ▁space ▁station , ▁then ▁return ▁to ▁Earth ▁to ▁land ▁in ▁the |
▁Western ▁United ▁States ▁after ▁an ▁orb ital ▁sh aked own ▁cru ise ▁ahead ▁of ▁Bo eing ▁C rew ed ▁Fl ight ▁Test . ▁ ▁O FT ▁ 2 ▁is ▁the ▁second ▁flight ▁of ▁an ▁Atlas ▁V ▁without ▁a ▁payload ▁fair ing ▁and ▁with ▁a ▁dual - engine ▁Cent aur ▁upper ▁stage . ▁The ▁dual - engine ▁Cent aur ▁util izes ▁two ▁R L 1 0 s ▁and ▁is ▁required ▁for ▁Star lin er ▁fl ights ▁in ▁order ▁to ▁provide ▁a ▁launch ▁traject ory ▁that ▁allows ▁for ▁a ▁safe ▁abort ▁at ▁any ▁point ▁in ▁the ▁mission . ▁ ▁See ▁also ▁ ▁C rew ▁Dragon ▁C rew ▁Dragon ▁Demo - 1 , ▁Space X ' s ▁first ▁( un cre wed ) ▁orb ital ▁mission ▁for ▁a ▁caps ule ▁intended ▁to ▁carry ▁crew . ▁ ▁References ▁ ▁External ▁links ▁ ▁Official ▁Web page ▁of ▁the ▁C ST - 1 0 0 ▁Star lin er ▁ ▁NASA ▁Live : ▁Official ▁Stream ▁of ▁NASA ▁TV ▁ ▁Category : B oe ing ▁C ST - 1 0 0 ▁Star lin er ▁Category : Supp ly ▁vehicles ▁for ▁the ▁International ▁Space ▁Station ▁Category : 2 0 2 0 ▁in ▁space fl ight ▁Category : 2 0 2 0 ▁in ▁the ▁United ▁States <0x0A> </s> ▁The ▁ 1 9 5 6 ▁West ▁Texas ▁State ▁Buff alo es ▁football ▁team ▁was ▁an ▁American ▁football ▁team ▁that ▁represented ▁West ▁Texas ▁State ▁College ▁( now ▁known ▁as ▁West ▁Texas ▁A & M ▁University ) ▁in ▁the ▁Border ▁Conference ▁during ▁the ▁ 1 9 |
5 6 ▁NCAA ▁University ▁Division ▁football ▁season . ▁In ▁its ▁t enth ▁season ▁under ▁head ▁coach ▁Frank ▁Kim br ough , ▁the ▁team ▁compiled ▁an ▁ 8 – 2 ▁record ▁( 2 – 2 ▁against ▁conference ▁oppon ents ), ▁finished ▁in ▁third ▁place ▁in ▁the ▁conference , ▁defeated ▁ ▁in ▁the ▁ 1 9 5 7 ▁T anger ine ▁Bowl , ▁and ▁out sc ored ▁all ▁oppon ents ▁by ▁a ▁total ▁of ▁ 2 9 6 ▁to ▁ 9 6 . ▁The ▁team ▁played ▁its ▁home ▁games ▁at ▁Buff alo ▁Stadium ▁in ▁C any on , ▁Texas . ▁ ▁The ▁team ▁aver aged ▁ 2 9 . 6 ▁points ▁per ▁game , ▁ranking ▁third ▁among ▁ 1 1 1 ▁major ▁college ▁programs ▁for ▁the ▁ 1 9 5 6 ▁season . ▁ ▁The ▁team ' s ▁statistical ▁leaders ▁included ▁B ub ba ▁Hill man ▁with ▁ 3 5 7 ▁passing ▁yards , ▁Ron ▁M ills ▁with ▁ 5 6 9 ▁r ushing ▁yards , ▁Ken ▁Ball ard ▁with ▁ 1 2 5 ▁receiving ▁yards , ▁and ▁Charles ▁Sand ers ▁with ▁ 1 2 ▁touch down s . ▁ ▁Sch edule ▁ ▁References ▁ ▁West ▁Texas ▁State ▁Category : West ▁Texas ▁A & M ▁Buff alo es ▁football ▁seasons ▁Category : C it rus ▁Bowl ▁champion ▁seasons ▁West ▁Texas ▁State ▁Buff alo es ▁football <0x0A> </s> ▁La ▁g ente ▁de ▁la ▁Universal ▁is ▁a ▁ 1 9 9 1 ▁Colomb ian ▁drama ▁film ▁directed ▁by ▁F eli pe ▁Al jure . ▁ ▁References ▁ |
▁External ▁links ▁▁ ▁Category : 1 9 9 0 s ▁drama ▁films ▁Category : Col omb ian ▁films <0x0A> </s> ▁David ▁Con for te ▁( c . ▁ 1 6 1 8 ▁– ▁c . ▁ 1 6 8 5 ) ▁() ▁was ▁a ▁Heb rew ▁literary ▁historian ▁born ▁in ▁Sal onica , ▁author ▁of ▁the ▁literary ▁chron icle ▁known ▁by ▁the ▁title ▁ <0xE1> <0xB8> <0xB2> ore ▁ha - D or ot . ▁ ▁Biography ▁Con for te ▁came ▁of ▁a ▁family ▁of ▁sch ol ars . ▁His ▁early ▁instruct ors ▁were ▁rabb is ▁Israel ▁Ze ' e vi , ▁Jud ah ▁Gir asi ▁and ▁Bar uch ▁Angel . ▁As ▁a ▁young ▁man , ▁he ▁studied ▁the ▁K abb ala ▁under ▁R . ▁J ef eth ▁the ▁Egypt ian , ▁and ▁philosophy ▁under ▁R . ▁Le vi ▁Pas riel . ▁His ▁chief ▁teachers , ▁however , ▁were ▁Mor de ca i ▁Kal ai ▁and ▁Daniel ▁Est ro za . ▁Con for te ▁married ▁a ▁grand d augh ter ▁of ▁Men ah em ▁L on z ano . ▁He ▁journey ed ▁twice ▁to ▁the ▁Land ▁of ▁Israel ▁( then ▁part ▁of ▁Ott oman ▁Sy ria ), ▁once ▁in ▁ 1 6 4 4 , ▁alone , ▁and ▁a ▁second ▁time ▁in ▁ 1 6 5 2 , ▁when , ▁together ▁with ▁his ▁family , ▁he ▁settled ▁in ▁Jerusalem , ▁found ing ▁there ▁a ▁study ▁hall . ▁In ▁ 1 6 7 1 , ▁however , ▁he ▁was ▁in ▁Egypt , ▁where ▁he ▁occupied |
▁the ▁position ▁of ▁day an . ▁He ▁is ▁also ▁known ▁to ▁have ▁been ▁in ▁S my r na . ▁ ▁Kore ▁ha - D or ot ▁Con for te ' s ▁chief ▁work ▁is ▁a ▁literary ▁chron icle ▁now ▁known ▁by ▁the ▁title ▁ <0xE1> <0xB8> <0xB2> ore ▁ha - D or ot , ▁which ▁contains ▁the ▁names ▁of ▁all ▁the ▁teachers ▁and ▁writers ▁from ▁the ▁close ▁of ▁the ▁Tal m ud ▁up ▁to ▁his ▁own ▁day . ▁This ▁chron icle ▁is ▁divided ▁into ▁three ▁parts , ▁the ▁first ▁two ▁of ▁which , ▁referring ▁to ▁the ▁time ▁before ▁the ▁exp ulsion ▁of ▁the ▁Jews ▁from ▁Spain ▁in ▁ 1 4 9 2 , ▁are ▁very ▁short . ▁The ▁third ▁part ▁is ▁divided ▁into ▁eleven ▁gener ations , ▁and ▁is ▁not ▁system atically ▁arranged . ▁Con for te ▁used ▁all ▁the ▁earlier ▁historical ▁works , ▁such ▁as ▁Abraham ▁ibn ▁Da ud ' s ▁Se fer ▁ha - <0xE1> <0xB8> <0xB2> ab bal ah , ▁Z ac uto ' s ▁Yu ḥ as in , ▁and ▁Y ah y ah ' s ▁Sh als he let ▁ha - <0xE1> <0xB8> <0xB2> ab bal ah , ▁especially ▁the ▁first ▁mentioned , ▁from ▁which ▁he ▁c ites ▁whole ▁pass ages . ▁He ▁also ▁gathered ▁material ▁from ▁various ▁printed ▁and ▁manuscript ▁respons a , ▁and ▁was ▁the ▁first ▁to ▁collect ▁the ▁names ▁mentioned ▁in ▁these ▁works . ▁His ▁chron icle ▁is ▁valuable ▁for ▁the ▁literary ▁history ▁of ▁the ▁Jews ▁in ▁the ▁six teenth ▁and ▁sevent e enth ▁centuries |
, ▁especially ▁in ▁Turkey , ▁Italy , ▁Africa , ▁and ▁the ▁near ▁East . ▁Probably ▁it ▁was ▁composed ▁in ▁Egypt , ▁about ▁the ▁year ▁ 1 6 8 3 , ▁if ▁Cass el ' s ▁conject ure ▁be ▁correct . ▁Con for te ▁was ▁a ▁mere ▁compiler , ▁and ▁at ▁times ▁his ▁data ▁are ▁contradict ory . ▁The ▁original ▁manuscript ▁was ▁brought ▁from ▁Egypt ▁by ▁R . ▁David ▁Ash ken azi ▁of ▁Jerusalem , ▁who , ▁to ▁judge ▁from ▁a ▁note ▁in ▁his ▁pre face , ▁gave ▁it ▁the ▁title ▁ <0xE1> <0xB8> <0xB2> ore ▁ha - D or ot , ▁and ▁had ▁it ▁printed ▁in ▁Ven ice ▁in ▁ 1 7 4 6 , ▁without ▁mention ing ▁the ▁name ▁of ▁the ▁author . ▁This ▁poor ▁edition ▁has ▁been ▁crit ically ▁re ed ited , ▁and ▁supplied ▁with ▁notes ▁and ▁index , ▁by ▁David ▁Cass el ▁( Ber lin , ▁ 1 8 4 6 ), ▁who ▁follows ▁the ▁pag ination ▁of ▁the ▁first ▁edition . ▁Con for te ▁also ▁wrote ▁a ▁volume ▁of ▁respons a , ▁of ▁the ▁fate ▁of ▁which , ▁however , ▁nothing ▁is ▁known . ▁ ▁Gabriel ▁Con fort o , ▁a ▁Turkish ▁Tal m ud ist ▁who ▁is ▁mentioned ▁in ▁the ▁respons a ▁literature ▁of ▁the ▁sevent e enth ▁century , ▁was ▁probably ▁a ▁son ▁of ▁David ▁Con for te . ▁ ▁References ▁▁ ▁Its ▁bibli ography : ▁David ▁Cass el ' s ▁pre face ▁to ▁his ▁edition ▁of ▁Con for te ' s ▁Kore ▁ha - D |
or ot ; ▁Gra zi ad io ▁Nep i - M orde ca i ▁Gh ir ond i , ▁To led ot ▁Ged ole ▁Y is rael , ▁p . ▁ 9 1 ; ▁Az ul ai , ▁Sh em ▁ha - G ed ol im , ▁i , ▁No . ▁ 4 5 ; ▁Giovanni ▁Bern ardo ▁De ▁Ros si - C . ▁H . ▁Ham berger , ▁Histor isches ▁W orter buch . ▁p . ▁ 8 6 ; ▁Michael , ▁Or ▁ha - Ḥ ay y im , ▁No . ▁ 7 7 1 . ▁ ▁External ▁links ▁ ▁Kore ▁ha - D or ot ▁( 1 8 4 6 ▁Berlin ▁Edition ) ▁- ▁free ▁sc anned ▁version ▁in ▁PDF ▁format ▁ ▁Category : 1 6 1 0 s ▁birth s ▁Category : 1 6 8 0 s ▁death s ▁Category : 1 7 th - century ▁rabb is ▁Category : 1 7 th - century ▁writers ▁of ▁the ▁Ott oman ▁Empire ▁Category : E ar ly ▁A char on im ▁Category : G reek ▁Orth odox ▁rabb is ▁Category : Se ph ardi ▁Jews ▁Category : R abb is ▁in ▁Ott oman ▁Palest ine ▁Category : J ew s ▁from ▁Th ess al on iki ▁Category : R abb is ▁in ▁Jerusalem <0x0A> </s> ▁Bur ton ▁Er win ▁S weet ▁( Dec ember ▁ 1 0 , ▁ 1 8 6 7 ▁– ▁January ▁ 3 , ▁ 1 9 5 7 ) ▁was ▁a ▁four - term ▁Republican |
▁U . S . ▁Represent ative ▁from ▁Iowa ' s ▁ 3 rd ▁con gression al ▁district , ▁then ▁a ▁wide ▁but ▁short ▁chain ▁of ▁count ies ▁in ▁north - central ▁and ▁n ort he astern ▁Iowa , ▁in ▁the ▁shape ▁of ▁a ▁mon key ▁w rench . ▁ ▁Born ▁on ▁a ▁farm ▁near ▁W aver ly , ▁Iowa , ▁S weet ▁attended ▁the ▁common ▁schools ▁and ▁the ▁Iowa ▁State ▁Normal ▁School ▁at ▁C ed ar ▁F alls . ▁ ▁He ▁graduated ▁from ▁Corn ell ▁College ▁in ▁Mount ▁Vern on , ▁Iowa ▁in ▁ 1 8 9 3 , ▁and ▁from ▁the ▁University ▁of ▁Iowa ▁College ▁of ▁Law ▁at ▁Iowa ▁City ▁in ▁ 1 8 9 5 . ▁He ▁was ▁admitted ▁to ▁the ▁bar ▁in ▁ 1 8 9 5 ▁and ▁comm enced ▁practice ▁in ▁W aver ly . ▁He ▁was ▁W aver ly ' s ▁city ▁solic itor ▁from ▁ 1 8 9 6 ▁to ▁ 1 8 9 9 . ▁In ▁ 1 9 0 0 ▁he ▁was ▁elected ▁to ▁the ▁first ▁of ▁two ▁two - year ▁terms ▁in ▁the ▁Iowa ▁House ▁of ▁Representatives . ▁In ▁ 1 9 0 2 , ▁after ▁ 3 rd ▁con gression al ▁district ▁Congress man ▁and ▁Spe aker ▁of ▁the ▁United ▁States ▁House ▁of ▁Representatives ▁David ▁B . ▁Hend erson ▁announced ▁his ▁ret irement ▁from ▁Congress , ▁S weet ▁finished ▁third ▁on ▁each ▁convention ▁ball ot ▁for ▁the ▁Republican ▁nom ination , ▁losing ▁to ▁Benjamin ▁P . ▁Bird s all . ▁In ▁ 1 |
9 0 4 , ▁when ▁S weet ' s ▁final ▁term ▁in ▁the ▁legisl ature ▁ended , ▁he ▁served ▁as ▁delegate ▁to ▁the ▁Republican ▁National ▁Convention . ▁He ▁was ▁also ▁a ▁member ▁of ▁the ▁Republican ▁State ▁Central ▁Committee ▁from ▁ 1 9 0 2 ▁to ▁ 1 9 0 6 . ▁Although ▁he ▁was ▁a ▁lawyer , ▁he ▁also ▁owned ▁two ▁sections ▁of ▁far ml and . ▁ ▁In ▁ 1 9 0 8 , ▁S weet ▁was ▁an ▁un success ful ▁candidate ▁for ▁the ▁Republican ▁nom ination ▁for ▁the ▁seat ▁vac ated ▁by ▁Congress man ▁Bird s all . ▁ ▁He ▁was ▁defeated ▁by ▁Charles ▁E . ▁Pick ett , ▁who ▁won ▁the ▁general ▁election ▁and ▁was ▁re - elect ed ▁to ▁a ▁second ▁term ▁in ▁ 1 9 1 0 . ▁▁▁ ▁In ▁ 1 9 1 4 , ▁S weet ▁was ▁elected ▁as ▁a ▁Republican ▁to ▁represent ▁Iowa ' s ▁ 3 rd ▁con gression al ▁district ▁in ▁the ▁Si xty - four th ▁Congress , ▁replacing ▁inc umb ent ▁Democratic ▁Congress man ▁Maurice ▁Con n olly ▁( who ▁had ▁run ▁for ▁the ▁U . S . ▁Senate ). ▁ ▁He ▁was ▁re - elect ed ▁three ▁consecutive ▁times . ▁In ▁ 1 9 2 2 , ▁an ▁opportunity ▁to ▁run ▁for ▁the ▁U . S . ▁Senate ▁arose ▁because ▁Iowa ▁Senator ▁William ▁S . ▁Ken y on ▁res igned ▁before ▁the ▁completion ▁of ▁his ▁term ▁to ▁accept ▁an ▁appointment ▁as ▁federal ▁judge , ▁thus ▁forcing ▁a ▁special ▁election . |
▁ ▁Instead ▁of ▁running ▁for ▁a ▁fifth ▁term ▁in ▁the ▁House , ▁S weet ▁ran ▁for ▁Ken y on ' s ▁former ▁seat . ▁ ▁In ▁a ▁six - way ▁Republican ▁primary , ▁S weet ▁lost ▁to ▁ins urg ent ▁Smith ▁W . ▁Brook hart . ▁In ▁all , ▁S weet ▁served ▁in ▁the ▁House ▁from ▁March ▁ 4 , ▁ 1 9 1 5 ▁to ▁March ▁ 3 , ▁ 1 9 2 3 . ▁ ▁S weet ▁res umed ▁the ▁practice ▁of ▁law . ▁Two ▁years ▁later , ▁however , ▁S weet ▁had ▁another ▁opportunity ▁to ▁run ▁for ▁the ▁same ▁Senate ▁seat , ▁and ▁by ▁then ▁Brook hart ▁had ▁lost ▁the ▁support ▁of ▁Iowa ▁Republican ▁Party ▁leaders ▁because ▁of ▁his ▁anti - bus iness , ▁pro - union ▁st ances , ▁and ▁this ▁time ▁S weet ▁was ▁Brook hart ' s ▁only ▁serious ▁ch allen ger ▁in ▁the ▁Republican ▁Primary . ▁ ▁However , ▁Brook hart ▁won ▁the ▁Primary ▁again , ▁defe ating ▁S weet ▁again , ▁this ▁time ▁by ▁over ▁ 3 0 , 0 0 0 ▁votes . ▁▁ ▁S weet ▁died ▁in ▁W aver ly , ▁Iowa , ▁on ▁January ▁ 3 , ▁ 1 9 5 7 . ▁ ▁He ▁was ▁inter red ▁in ▁Har ling ton ▁C emetery . ▁ ▁References ▁ ▁Category : 1 8 6 7 ▁birth s ▁Category : 1 9 5 7 ▁death s ▁Category : M embers ▁of ▁the ▁United ▁States ▁House ▁of ▁Representatives ▁from ▁Iowa ▁Category : M embers ▁of |
▁the ▁Iowa ▁House ▁of ▁Representatives ▁Category : I owa ▁law y ers ▁Category : I owa ▁Republic ans ▁Category : Pe ople ▁from ▁W aver ly , ▁Iowa ▁Category : C orn ell ▁College ▁al umn i ▁Category : Univers ity ▁of ▁Iowa ▁College ▁of ▁Law ▁al umn i ▁Category : Univers ity ▁of ▁Northern ▁Iowa ▁al umn i ▁Category : Rep ublic an ▁Party ▁members ▁of ▁the ▁United ▁States ▁House ▁of ▁Representatives ▁Category : Pe ople ▁from ▁C ed ar ▁F alls , ▁Iowa <0x0A> </s> ▁Bre tt ▁Ba er ▁is ▁an ▁American ▁television ▁producer , ▁actor , ▁and ▁screen writer ▁who ▁has ▁worked ▁on ▁many ▁successful ▁television ▁shows . ▁Ba er ▁often ▁works ▁with ▁his ▁screen writing ▁partner ▁Dave ▁F inkel . ▁ ▁Writing ▁work ▁▁ ▁Di ary ▁of ▁a ▁W im py ▁Kid : ▁The ▁Long ▁Ha ul ▁( 2 0 1 7 ) ▁ ▁New ▁Girl ▁( 2 0 1 1 - ▁) ▁▁ 3 0 ▁Rock ▁( 2 0 0 6 ) ▁ ▁Jo ey ▁( 2 0 0 5 ) ▁ ▁The ▁Norm ▁Show ▁ ▁D uck man ▁ ▁Ar go ▁and ▁York ▁( P il ot ) ▁ ▁External ▁links ▁▁▁▁ ▁Category : American ▁television ▁produ cers ▁Category : American ▁television ▁writers ▁Category : M ale ▁television ▁writers ▁Category : L iving ▁people ▁Category : W rit ers ▁Gu ild ▁of ▁America ▁Award ▁w inners ▁Category : Place ▁of ▁birth ▁missing ▁( l iving ▁people ) ▁Category : Year ▁of ▁birth ▁missing ▁( l iving ▁people |
) <0x0A> </s> ▁Est ád io ▁J us cel ino ▁Kub itsch ek ▁de ▁O live ira ▁was ▁a ▁multi - use ▁stad ium ▁in ▁Bel o ▁Hor iz onte , ▁Brazil . ▁It ▁was ▁initially ▁used ▁as ▁the ▁stad ium ▁of ▁Cru ze iro ▁Esp orte ▁Cl ube ▁matches . ▁ ▁It ▁was ▁replaced ▁by ▁Est ád io ▁Independ ência ▁in ▁ 1 9 5 0 . ▁ ▁The ▁capacity ▁of ▁the ▁stad ium ▁was ▁ 1 5 , 0 0 0 ▁spect ators . ▁ ▁References ▁ ▁Stadium ▁history ▁ ▁Category : Def unct ▁football ▁ven ues ▁in ▁Brazil <0x0A> </s> ▁The ▁N arr ative ▁Cor pse ▁is ▁a ▁chain ▁story , ▁or ▁com ic ▁jam , ▁by ▁ 6 9 ▁all - star ▁cart oon ists ▁based ▁on ▁Le ▁Cad av re ▁Ex quis ▁( see ▁Ex quis ite ▁cor pse ), ▁a ▁popular ▁game ▁played ▁by ▁André ▁Bre ton ▁and ▁his ▁Sur real ist ▁friends ▁to ▁break ▁free ▁from ▁the ▁constraints ▁of ▁rational ▁thought . ▁ ▁Ed ited ▁by ▁Art ▁Sp iegel man ▁and ▁Robert ▁S ik ory ak , ▁The ▁N arr ative ▁Cor pse ▁features ▁contributions ▁from ▁some ▁of ▁the ▁most ▁notable ▁cart oon ists ▁of ▁its ▁time ▁from ▁the ▁world s ▁of ▁under ground ▁com ix , ▁alternative ▁com ics , ▁and ▁European ▁com ics ▁( as ▁well ▁as ▁Will ▁E is ner ▁and ▁Mort ▁Walker ). ▁ ▁The ▁N arr ative ▁Cor pse ▁graph ic ▁novel , ▁co - pub lished ▁by ▁G ates ▁of |
▁He ck ▁and ▁Raw ▁Books , ▁had ▁a ▁limited ▁run ▁in ▁ 1 9 9 5 ▁of ▁ 9 , 5 0 0 ▁copies . ▁It ▁was ▁the ▁winner ▁of ▁the ▁ 1 9 9 6 ▁Fire cra cker ▁Altern ative ▁Book ▁Award ▁for ▁Best ▁Graph ic ▁Nov el . ▁ ▁Story ▁structure ▁ ▁The ▁cre ative ▁process ▁was ▁designed ▁as ▁follows : ▁a ▁cart oon ist ▁would ▁begin ▁the ▁story ▁with ▁three ▁black - and - white ▁com ic - book ▁pan els , ▁st arring ▁an ▁innoc ent ▁stick ▁figure ▁named ▁" St icky ." ▁This ▁cart oon ist ▁passes ▁his ▁or ▁her ▁three ▁pan els ▁on ▁to ▁the ▁next ▁cart oon ist , ▁who ▁continues ▁the ▁story ▁in ▁any ▁manner ▁he ▁or ▁she ▁wants ▁with ▁three ▁more ▁pan els . ▁The ▁next ▁cart oon ist ▁receives ▁only ▁the ▁previous ▁cart oon ists ' s ▁part ▁of ▁the ▁story , ▁and ▁so ▁on . ▁ ▁Although ▁the ▁" story " ▁oscill ates ▁without ▁beginning ▁or ▁end , ▁it ▁can ▁be ▁said ▁to ▁start ▁( after ▁some ▁cre ative ▁editing ▁by ▁Sp iegel man ▁and ▁S ik ory ak ) ▁with ▁the ▁pan els ▁done ▁by ▁D rew ▁Fried man , ▁and ▁end ▁with ▁the ▁ones ▁done ▁by ▁Richard ▁Mc Gu ire : ▁ ▁Some ▁contrib utors ▁featured ▁came os ▁by ▁their ▁own ▁well - est ab lished ▁characters ▁( for ▁example ▁Mort ▁Walker ' s ▁Sar ge , ▁S . ▁Clay ▁Wilson ' s ▁the ▁Check ered ▁Dem on , ▁Will |
▁E is ner ' s ▁Spirit , ▁Matt ▁Gro ening ' s ▁Ak bar ▁& ▁Jeff , ▁and ▁Bill ▁Griff ith ' s ▁Z ipp y ▁the ▁Pin head ). ▁It ▁is ▁also ▁of ▁interest ▁that ▁background ▁or ▁guest ▁characters ▁s eld om ▁last ▁more ▁than ▁three ▁contributions ▁in ▁a ▁row . ▁ ▁Public ation ▁history ▁ ▁The ▁idea ▁was ▁first ▁conce ived ▁of ▁in ▁May ▁ 1 9 9 0 , ▁as ▁a ▁project ▁for ▁Raw ▁magazine . ▁To ▁exped ite ▁the ▁project , ▁two ▁str ands ▁were ▁started ▁simultaneously , ▁one ▁in ▁New ▁York ▁City ▁by ▁project ▁co - editor ▁R . ▁S ik ory ak , ▁the ▁second ▁in ▁London ▁by ▁Sav age ▁P enc il . ▁Nevertheless , ▁the ▁project ▁kept ▁growing ▁( out l iving ▁RA W ▁itself , ▁which ▁ceased ▁publication ▁in ▁ 1 9 9 1 ) ▁until ▁it ▁was ▁for ci b ly ▁brought ▁to ▁an ▁end ▁five ▁years ▁after ▁its ▁in ception . ▁ ▁In ▁order ▁to ▁bridge ▁the ▁two ▁str ands , ▁R . ▁S ik ory ak ' s ▁original ▁opening ▁pan els ▁were ▁cut , ▁although ▁he ▁later ▁drew ▁the ▁odd ly - sh aped ▁" spl ash ▁panel " ▁that ▁now ▁begins ▁the ▁narr ative . ▁Sp iegel man ▁himself ▁drew ▁the ▁three ▁pan els ▁that ▁link ▁Str and ▁ 1 ▁to ▁Str and ▁ 2 ▁( brid ging ▁the ▁contributions ▁of ▁Joe ▁Sac co ▁and ▁Sav age ▁P enc il ), ▁while ▁Richard ▁Mc Gu ire ▁was ▁brought ▁in |
▁to ▁link ▁Str and ▁ 2 ▁back ▁to ▁Str and ▁ 1 ▁( brid ging ▁the ▁contributions ▁of ▁Carol ▁Sw ain ▁and ▁D rew ▁Fried man ). ▁ ▁Cont rib utors ▁▁ ▁The ▁following ▁is ▁a ▁list ▁of ▁contrib utors ▁in ▁the ▁order ▁their ▁work ▁appears ▁in ▁The ▁N arr ative ▁Cor pse : ▁R . ▁S ik ory ak ▁> ▁Mark ▁Bey er ▁> ▁Gilbert ▁Hern ande z ▁> ▁Mary ▁Fle ener ▁> ▁M . ▁K . ▁Brown ▁> ▁David ▁M azz uc ch elli ▁> ▁Mort ▁Walker ▁> ▁S . ▁Clay ▁Wilson ▁> ▁Ch ester ▁Brown ▁> ▁Deb bie ▁Dres ch ler ▁> ▁Mark ▁Land man ▁> ▁Jay ▁Lyn ch ▁> ▁Gary ▁Le ib ▁> ▁Wille m ▁> ▁Carol ▁L ay ▁> ▁Jason ▁L utes ▁> ▁Max ▁Anders son ▁> ▁J . ▁Pir inen ▁> ▁Peter ▁Bag ge ▁> ▁G . ▁Was co ▁> ▁Spain ▁> ▁Carol ▁Sw ain ▁> ▁Richard ▁Mc Gu ire ▁> ▁D rew ▁Fried man ▁> ▁David ▁Sand lin ▁> ▁Ever ▁Me ulen ▁> ▁Mar is cal ▁> ▁Jo ost ▁Sw arte ▁> ▁Pascal ▁D our y ▁> ▁George anne ▁De en ▁> ▁Chris ▁W are ▁> ▁Charles ▁Burn s ▁> ▁Lorenzo ▁Matt otti ▁> ▁Justin ▁Green ▁> ▁Jul ie ▁Dou c et ▁> ▁Kaz ▁> ▁Gary ▁Pan ter ▁> ▁Daniel ▁C low es ▁> ▁Jon athon ▁Rosen ▁> ▁K ry st ine ▁K ry tt re ▁> ▁Ja ime ▁Hern ande z ▁> ▁Scott ▁Gill is ▁> ▁Jim ▁Wood ring ▁> ▁Paul ▁Cor io ▁> ▁Will |
▁E is ner ▁> ▁Carol ▁Ty ler ▁> ▁Max ▁C aban es ▁> ▁Gilbert ▁Sh el ton ▁> ▁Scott ▁Mc Cloud ▁> ▁Type x ▁> ▁José ▁Mu ñ oz ▁> ▁Matt ▁Gro ening ▁> ▁Joe ▁Sac co ▁> ▁Art ▁Sp iegel man ▁> ▁Sav age ▁P enc il ▁> ▁Ja ques ▁Lou stal ▁> ▁Robert ▁Cr umb ▁> ▁Al ine ▁K omin sky - Cr umb ▁> ▁Kam ag ur ka ▁& ▁Herr ▁See le ▁> ▁Thomas ▁Ott ▁> ▁Bruno ▁Richard ▁> ▁Kim ▁De itch ▁> ▁Ben ▁K atch or ▁> ▁Ly nd a ▁Barry ▁> ▁Mark ▁Z ing arel li ▁> ▁Richard ▁S ala ▁> ▁Bill ▁Griff ith ▁> ▁Jay r ▁Pul ga ▁ ▁References ▁ ▁External ▁links ▁G ates ▁of ▁He ck ▁ ▁The ▁In finite ▁Cor pse , ▁an ▁online ▁collabor ative ▁com ic ▁inspired ▁by ▁The ▁N arr ative ▁Cor pse ▁ ▁discussion ▁of ▁The ▁N arr ative ▁Cor pse ▁and ▁The ▁In finite ▁Cor pse ▁at ▁the ▁Center ▁for ▁Cart oon ▁Studies ' ▁Schul z ▁Library ▁B log ▁ ▁Category : Art ists ' ▁books ▁Category : 1 9 9 5 ▁graph ic ▁nov els ▁Category : Com ics ▁anth ologies ▁Category : Coll abor ative ▁fiction <0x0A> </s> ▁Hell ▁houses ▁are ▁ha unted ▁attra ctions ▁typically ▁run ▁by ▁evangel ical ▁Protest ant ▁churches ▁or ▁par ach urch ▁organizations . ▁They ▁dep ict ▁real - life ▁situations ▁which ▁the ▁organization ▁in ▁question ▁de ems ▁as ▁sin ▁and ▁its ▁consequences , ▁the ▁tor ments ▁of ▁the ▁dam ned ▁in |
▁Christian ▁hell , ▁and ▁usually ▁conclude ▁with ▁a ▁dep iction ▁of ▁Christian ▁heaven . ▁Such ▁dep ict ions ▁are ▁sometimes ▁shown ▁to ▁children ▁to ▁ar ouse ▁fear ▁on ▁matters ▁interpreted ▁as ▁sin ful ▁in ▁a ▁fundamental ist ▁Christian ▁context , ▁including ▁but ▁not ▁limited ▁to : ▁same - sex ▁marriage , ▁abort ion , ▁extr amar ital ▁sex , ▁ra ving , ▁the ▁use ▁of ▁alco hol ic ▁be ver ages ▁and ▁dru gs , ▁and ▁te en ▁suic ide . ▁Other ▁hell ▁houses ▁focus ▁on ▁the ▁theme ▁of ▁the ▁seven ▁dead ly ▁s ins . ▁Hell ▁houses ▁typically ▁emphas ize ▁the ▁belief ▁that ▁those ▁who ▁do ▁not ▁rep ent ▁of ▁their ▁s ins ▁and ▁choose ▁to ▁follow ▁Christ ▁are ▁condem ned ▁to ▁hell . ▁ ▁A ▁hell ▁house , ▁like ▁a ▁conventional ▁ha unted - house ▁att raction , ▁is ▁a ▁space ▁set ▁aside ▁for ▁actors ▁to ▁fright en ▁pat rons ▁with ▁gru esome ▁exhib its ▁and ▁scenes , ▁presented ▁as ▁a ▁series ▁of ▁short ▁v ign ettes ▁with ▁a ▁narr ated ▁guide . ▁Un like ▁ha unted ▁houses , ▁hell ▁houses ▁focus ▁on ▁real - life ▁situations ▁and ▁the ▁effects ▁of ▁sin ▁or ▁the ▁fate ▁of ▁un rep ent ant ▁s inners ▁in ▁the ▁after life . ▁They ▁are ▁most ▁typically ▁operated ▁in ▁the ▁days ▁preceding ▁Hall owe en . ▁ ▁History ▁ ▁The ▁earliest ▁hell ▁house ▁is ▁thought ▁to ▁have ▁been ▁created ▁by ▁Tr inity ▁Assembly ▁of ▁God ▁in ▁C ed ar ▁Hill , ▁Texas , ▁but ▁it ▁was ▁first |
▁popular ized ▁by ▁Jerry ▁Fal well ▁in ▁the ▁late ▁ 1 9 7 0 s . ▁Similar ▁events ▁began ▁in ▁several ▁regions ▁during ▁that ▁period . ▁More ▁recently , ▁the ▁concept ▁has ▁been ▁promoted ▁and ▁adapted ▁by ▁Ke en an ▁Roberts , ▁originally ▁of ▁Ros well , ▁New ▁Mexico , ▁who ▁started ▁a ▁hell ▁house ▁in ▁Ar v ada , ▁Colorado ▁in ▁ 1 9 9 5 . ▁Since ▁that ▁time , ▁hell ▁houses ▁have ▁become ▁a ▁regular ▁fi xture ▁of ▁the ▁Hall owe en ▁season ▁in ▁parts ▁of ▁the ▁United ▁States . ▁Roberts ▁remains ▁active ▁in ▁the ▁hell ▁house ▁min istry ▁by ▁providing ▁k its ▁and ▁directions ▁to ▁enable ▁churches ▁to ▁perform ▁their ▁own ▁attra ctions . ▁He ▁is ▁now ▁the ▁senior ▁past or ▁of ▁New ▁Dest iny ▁Christian ▁Center ▁of ▁the ▁Ass emb lies ▁of ▁God . ▁As ▁of ▁ 1 6 ▁Jan ▁ 2 0 1 7 ▁the ▁" H ell ▁House ▁Kit " ▁Is ▁still ▁available . ▁▁ ▁In ▁October ▁ 2 0 0 0 , ▁document ary ▁film maker ▁George ▁Rat l iff ▁fil med ▁a ▁production ▁of ▁a ▁hell ▁house ▁in ▁C ed ar ▁Hill , ▁Texas ▁from ▁script ing ▁to ▁the ▁final ▁night ▁of ▁the ▁production . ▁The ▁resulting ▁document ary , ▁Hell ▁House , ▁has ▁inspired ▁numerous ▁live ▁plays ▁and ▁hell - house ▁performances , ▁including ▁one ▁based ▁on ▁Past or ▁Roberts ' ▁production , ▁which ▁played ▁for ▁a ▁month ▁during ▁the ▁ 2 0 0 6 ▁Hall owe en ▁season ▁in ▁an ▁off - |
B road way ▁production ▁in ▁Brook lyn , ▁New ▁York ▁by ▁Les ▁F rer es ▁Cor bus ier . ▁ ▁References ▁ ▁Further ▁reading ▁N ixon , ▁Elisabeth ▁Ann ▁( 2 0 0 6 ) ▁Play ing ▁devil ' s ▁advoc ate ▁on ▁the ▁path ▁to ▁heaven : ▁evangel ical ▁hell ▁houses ▁and ▁the ▁play ▁of ▁politics , ▁fear ▁and ▁faith ▁( Ph D ▁dis sert ation ). ▁ ▁External ▁links ▁Jud g ement ▁House ▁ ▁Category : Child ▁ab use ▁Category : Christ ian ▁fundamental ism ▁Category : H all owe en ▁Category : Art icles ▁containing ▁video ▁cli ps <0x0A> </s> ▁Zone ▁of ▁Death ▁may ▁refer ▁to ▁Death ▁zone , ▁in ▁mount aine ering , ▁a ▁dead ly ▁alt itude ▁above ▁ ▁The ▁Zone ▁of ▁Death , ▁a ▁lost ▁French ▁film ▁from ▁ 1 9 1 7 ▁Zone ▁of ▁Death ▁( legal ), ▁an ▁area ▁in ▁Y ellow stone ▁National ▁Park , ▁United ▁States , ▁where ▁cr imes ▁are ▁theoret ically ▁not ▁pun ish able <0x0A> </s> ▁Cra cker ▁is ▁an ▁American ▁rock ▁band ▁led ▁by ▁singer ▁David ▁Low ery ▁and ▁guitar ist ▁Johnny ▁H ick man . ▁The ▁band ▁is ▁best ▁known ▁for ▁its ▁gold - s elling ▁ 1 9 9 3 ▁album , ▁K eros ene ▁Hat , ▁which ▁includes ▁the ▁hit ▁songs ▁" L ow " ▁and ▁" E uro - Tr ash ▁Girl ." ▁ ▁Low ery ▁and ▁H ick man ▁formed ▁the ▁band ▁in ▁ 1 9 9 1 , ▁re le asing ▁the ▁album |
▁Cra cker ▁the ▁following ▁year ▁( which ▁included ▁singles ▁" H appy ▁B irth day ▁to ▁Me " ▁and ▁" Te en ▁Ang st ") ▁on ▁Virgin ▁Records . ▁The ▁band ▁has ▁been ▁tour ing ▁ever ▁since , ▁re le asing ▁nine ▁studio ▁albums ▁and ▁several ▁comp il ations , ▁collabor ations , ▁solo ▁projects ▁and ▁live ▁albums . ▁ ▁Cra cker ▁mix ▁influ ences ▁and ▁sounds ▁from ▁rock , ▁punk , ▁gr unge , ▁psych ed elia , ▁country , ▁bl ues ▁and ▁folk . ▁ ▁History ▁▁ 1 9 9 0 s ▁Short ly ▁after ▁Low ery ' s ▁former ▁group ▁Cam per ▁Van ▁Be eth oven ▁dis band ed ▁in ▁ 1 9 9 0 , ▁he ▁began ▁demo ing ▁material ▁along ▁with ▁boy hood ▁friend , ▁guitar ist ▁Johnny ▁H ick man . ▁After ▁moving ▁from ▁Red lands , ▁California ▁to ▁Richmond , ▁Virginia , ▁Low ery ▁and ▁H ick man ▁recorded ▁a ▁demo ▁t ape , ▁later ▁nick named ▁Big ▁D irty ▁Y ellow ▁Dem os ▁by ▁the ▁group ' s ▁fans , ▁which ▁included ▁early ▁versions ▁of ▁songs ▁that ▁appeared ▁on ▁later ▁albums . ▁They ▁eventually ▁chose ▁the ▁name ▁Cra cker ▁and ▁te amed ▁up ▁with ▁fellow ▁Red lands ▁bass ▁guitar ist ▁Dave y ▁Far ag her . ▁A ▁brief ▁tour ▁with ▁Virginia ▁drum mer ▁Greg ▁We ather ford ▁followed . ▁ ▁By ▁ 1 9 9 1 , ▁the ▁newly ▁formed ▁band ▁had ▁signed ▁a ▁recording ▁contract ▁with ▁Virgin ▁Records ▁and ▁en list ed ▁the ▁help |
▁of ▁several ▁drum mers / per cussion ists ▁( J im ▁K elt ner , ▁Michael ▁U rb ano ▁and ▁Phil ▁Jones ), ▁issu ing ▁its ▁first ▁album , ▁Cra cker , ▁in ▁ 1 9 9 2 . ▁From ▁the ▁album ▁came ▁radio ▁hit ▁" Te en ▁Ang st ▁( What ▁the ▁World ▁Ne eds ▁Now )", ▁which ▁pe aked ▁at ▁No . 1 ▁on ▁Modern ▁Rock ▁Tra cks , ▁and ▁a ▁second ▁single ▁entitled ▁" H appy ▁B irth day ▁to ▁Me ." ▁The ▁album ▁went ▁on ▁to ▁sell ▁more ▁than ▁ 2 0 0 , 0 0 0 ▁copies . ▁ ▁A ▁year ▁later , ▁Cra cker ▁issued ▁its ▁best - s elling ▁album , ▁K eros ene ▁Hat . ▁The ▁album ▁included ▁hit ▁singles ▁" L ow " ▁and ▁" Get ▁Off ▁This " ▁( both ▁hit ▁singles ▁with ▁official ▁music ▁videos ▁directed ▁by ▁Carlos ▁Gr asso ), ▁as ▁well ▁as ▁a ▁cover ▁of ▁the ▁Gr ateful ▁Dead ' s ▁" L oser ." ▁The ▁album ▁sold ▁almost ▁half ▁a ▁million ▁copies ▁that ▁year ▁and ▁eventually ▁almost ▁reached ▁plat in um ▁status . ▁U rb ano ▁performed ▁on ▁K eros ene ▁Hat ▁and ▁tou red ▁with ▁Cra cker ▁before ▁leaving ▁the ▁band , ▁along ▁with ▁Far ag her . ▁After ▁a ▁short ▁spell ▁with ▁Bruce ▁Hugh es , ▁Low ery ▁and ▁H ick man ▁added ▁Bob ▁Ru pe , ▁formerly ▁of ▁The ▁Sil os , ▁as ▁bass ▁guitar ist ▁and ▁Charlie ▁Quint ana ▁( Bob ▁D yl an |
, ▁The ▁Ju J u ▁H ounds ) ▁on ▁drums . ▁In ▁ 1 9 9 3 , ▁Cra cker ▁contributed ▁the ▁song ▁" Good ▁Times ▁Bad ▁Times " ▁to ▁the ▁En com ium ▁t ribute ▁album ▁to ▁Led ▁Ze ppel in ▁( which ▁was ▁recorded ▁after ▁a ▁rend ition ▁of ▁" When ▁the ▁Le vee ▁Bre aks " ▁had ▁been ▁de emed ▁" to o ▁weird "). ▁ ▁Three ▁years ▁later , ▁The ▁Golden ▁Age ▁was ▁released , ▁with ▁" I ▁H ate ▁My ▁Generation " ▁as ▁the ▁lead ▁single . ▁However , ▁the ▁music ▁scene ▁was ▁sh ifting ▁away ▁from ▁guitar - dri ven ▁alternative ▁rock , ▁and ▁although ▁crit ically ▁acc laimed , ▁the ▁album ▁sold ▁only ▁moder ately . ▁Following ▁the ▁long - term ▁add itions ▁of ▁drum mer ▁Frank ▁Fun aro ▁and ▁keyboard ▁player ▁Ken ny ▁Marg olis , ▁the ▁band ▁returned ▁in ▁ 1 9 9 8 ▁with ▁Gent le man ' s ▁Blues , ▁with ▁" The ▁Good ▁Life " ▁as ▁the ▁lead ▁single . ▁Although ▁the ▁album ▁received ▁only ▁a ▁lu ke w arm ▁critical ▁response , ▁it ▁solid ified ▁an ▁ever - g row ing ▁and ▁dev out ▁following ▁both ▁in ▁the ▁United ▁States ▁and ▁Europe ▁who ▁referred ▁to ▁themselves ▁as ▁" Cr umb s ". ▁ ▁In ▁ 1 9 9 5 ▁the ▁song ▁" Who le ▁L otta ▁Tr ouble ," ▁co - written ▁by ▁Johnny ▁H ick man ▁and ▁Chris ▁Le Ro y , ▁was ▁used ▁in ▁the ▁film ▁Empire ▁Records |
. ▁The ▁same ▁year , ▁Cra cker ' s ▁cover ▁of ▁the ▁Fl amin ' ▁Gro ov ies ▁song , ▁" Sh ake ▁Some ▁Action ," ▁was ▁used ▁in ▁the ▁te en ▁rom antic - com edy ▁Cl uel ess . ▁ ▁Cam per ▁Van ▁Be eth oven ▁unexpected ly ▁re - formed ▁in ▁ 1 9 9 9 , ▁and ▁in ▁ 2 0 0 4 ▁released ▁the ▁crit ically ▁acc laimed ▁New ▁Roman ▁Times . ▁During ▁this ▁time , ▁H ick man ▁released ▁a ▁first ▁solo ▁recording , ▁Pal m hen ge , ▁which ▁received ▁" V o ices ▁Cho ice " ▁acc ol ades ▁in ▁The ▁Village ▁Vo ice ▁by ▁the ▁rock ▁critic ▁Robert ▁Christ g au ▁and ▁a ▁positive ▁review ▁in ▁Bl ender ▁magazine . ▁Since ▁then , ▁Low ery ▁has ▁performed ▁in ▁both ▁bands . ▁▁ 2 0 0 0 s ▁A ▁compilation ▁album ▁called ▁Gar age ▁D ' Or ▁was ▁released ▁in ▁ 2 0 0 0 , ▁with ▁one ▁disc ▁composed ▁of ▁greatest ▁hits ▁and ▁three ▁new ▁songs , ▁and ▁another ▁of ▁out - t akes , ▁sound track ▁contributions , ▁dem os ▁and ▁other ▁obsc ur ities . ▁Ru pe ▁depart ed ▁in ▁January ▁ 2 0 0 0 ▁and ▁was ▁replaced ▁by ▁bass ▁guitar ist ▁Br andy ▁Wood . ▁In ▁ 2 0 0 2 , ▁the ▁band ▁released ▁its ▁next ▁studio ▁album , ▁Fore ver ▁which , ▁once ▁again , ▁was ▁met ▁with ▁limited ▁commercial ▁success . ▁ ▁The ▁group ▁left ▁Virgin ▁in |
▁ 2 0 0 3 ▁with ▁the ▁independent ▁release ▁Coun tr ys ides , ▁composed ▁of ▁eight ▁country ▁and ▁western ▁covers ▁and ▁one ▁new , ▁original ▁song . ▁A ▁collaboration ▁with ▁the ▁bl u egr ass ▁band ▁Le f to ver ▁Sal mon , ▁Oh ▁Cra cker , ▁Where ▁Art ▁Th ou ? ▁( 2 0 0 3 ), ▁contained ▁bl u egr ass ▁versions ▁of ▁many ▁Low ery ▁and ▁H ick man ▁compos itions . ▁In ▁ 2 0 0 5 , ▁Cra cker ▁and ▁Cam per ▁Van ▁Be eth oven ▁started ▁an ▁annual ▁three - night ▁" C amp out " ▁at ▁P appy ▁and ▁Har ri et ' s ▁P ione ert own ▁Palace ▁in ▁P ione ert own , ▁California , ▁close ▁to ▁where ▁Low ery ▁and ▁H ick man ▁met , ▁in ▁which ▁they ▁and ▁several ▁other ▁bands ▁perform , ▁including ▁sets ▁by ▁Cra cker ▁and ▁Cam per ▁band ▁members ▁performing ▁their ▁own ▁music . ▁Pre vious ▁years ' ▁guests ▁have ▁included ▁Roger ▁C ly ne , ▁John ▁Do e , ▁N ek o ▁Case , ▁I ke ▁Re illy , ▁Ryan ▁B ingham , ▁Verm ill ion ▁L ies , ▁Jason ▁Mol ina ▁and ▁Magn olia ▁Electric ▁Co , ▁Bu ilt ▁To ▁Sp ill , ▁Br ant ▁B j ork ▁and ▁the ▁B ros , ▁C lem ▁Sn ide , ▁Gram ▁Rab bit ▁and ▁The ▁Bell ray s . ▁ ▁With ▁Cam per ▁Van ▁Be eth oven ▁bass ▁guitar ist ▁Victor ▁K rum men acher ▁replacing ▁Wood |
, ▁the ▁band ▁released ▁the ▁studio ▁album ▁Green land ▁on ▁June ▁ 6 , ▁ 2 0 0 6 , ▁and ▁continued ▁to ▁tour ▁extens ively . ▁After ▁the ▁depart ures ▁of ▁Marg olis ▁and ▁K rum men acher , ▁the ▁band ' s ▁line up ▁stabil ized ▁in ▁ 2 0 0 7 ▁around ▁H ick man , ▁Low ery , ▁Fun aro ▁and ▁new ▁bass ▁guitar ist ▁Sal ▁Ma ida , ▁who ▁had ▁played ▁with ▁Ro xy ▁Music . ▁ ▁Cra cker ▁released ▁a ▁new ▁studio ▁album ▁entitled ▁Sun r ise ▁in ▁the ▁Land ▁of ▁Mil k ▁and ▁H oney ▁to ▁positive ▁reviews ▁on ▁May ▁ 5 , ▁ 2 0 0 9 . ▁It ▁was ▁the ▁band ' s ▁first ▁chart ▁on ▁the ▁Billboard ▁ 2 0 0 ▁in ▁more ▁than ▁a ▁de cade , ▁after ▁having ▁sold ▁more ▁than ▁ 3 , 0 0 0 ▁copies ▁in ▁a ▁week . ▁This ▁was ▁in ▁part ▁due ▁to ▁the ▁Tri ple ▁A ▁chart ▁success ▁of ▁the ▁album ' s ▁lead ▁single , ▁" Turn ▁On , ▁T une ▁In , ▁Drop ▁Out ▁With ▁Me ," ▁which ▁was ▁used ▁in ▁the ▁television ▁show ▁Californ ic ation . ▁▁ 2 0 1 0 s ▁In ▁January ▁ 2 0 1 1 , ▁Low ery ▁released ▁his ▁first ▁solo ▁album , ▁The ▁Palace ▁Gu ards , ▁on ▁ 4 2 9 ▁Records . ▁In ▁March , ▁Cra cker ▁announced ▁Camp out ▁East , ▁the ▁east ▁coast ▁counter part ▁to ▁their ▁Camp out ▁festival , |
▁to ▁be ▁held ▁in ▁Cro zet , ▁Virginia . ▁The ▁first ▁Camp out ▁East ▁was ▁held ▁at ▁M ist y ▁Mountain ▁Camp ▁Res ort ▁and ▁was ▁co - host ed ▁by ▁S ons ▁of ▁Bill . ▁The ▁second ▁Camp out ▁East ▁took ▁place ▁in ▁Bu ena ▁V ista , ▁Virginia ▁at ▁Glen ▁Ma ury ▁Park ▁on ▁June ▁ 1 – 2 , ▁ 2 0 1 2 . ▁ ▁Johnny ▁H ick man ▁released ▁his ▁second ▁solo ▁album , ▁T il ting , ▁in ▁July ▁ 2 0 1 2 , ▁while ▁Cra cker ' s ▁song ▁" L ow " ▁appeared ▁in ▁the ▁ 2 0 1 2 ▁film ▁The ▁Per ks ▁of ▁Being ▁a ▁Wall flow er ▁and ▁again ▁in ▁The ▁Wol ver ine ▁and ▁an ▁episode ▁of ▁H inds ight . ▁ ▁Dr um mer ▁Frank ▁Fun aro ▁was ▁unable ▁to ▁tour ▁due ▁to ▁an ▁injury ▁to ▁his ▁arm ▁that ▁s idel ined ▁him ▁for ▁all ▁of ▁ 2 0 1 4 . ▁ ▁In ▁July ▁ 2 0 1 4 , ▁a ▁rev ival ▁of ▁the ▁K eros ene ▁Hat ▁era ▁line up ▁tou red ▁China . ▁Low ery ▁and ▁H ick man ▁were ▁joined ▁on ▁the ▁tour ▁by ▁original ▁bass ist ▁Dave y ▁Far ag her ▁and ▁former ▁drum mer ▁Michael ▁U rb ano . ▁Far ag her ▁and ▁U rb ano ▁also ▁joined ▁the ▁band ▁in ▁recording ▁roughly ▁half ▁of ▁the ▁double ▁album ▁Ber keley ▁to ▁B akers field . ▁The ▁other ▁half ▁was ▁recorded ▁with ▁an |
▁entirely ▁new ▁line up ▁that ▁also ▁became ▁the ▁current ▁tour ing ▁line up . ▁The ▁album ▁was ▁released ▁on ▁December ▁ 9 , ▁ 2 0 1 4 ▁with ▁" Wait ed ▁My ▁Wh ole ▁Life " ▁released ▁as ▁a ▁single . ▁ ▁In ▁December ▁ 2 0 1 5 , ▁Low ery ▁( al ong ▁with ▁Cam per ▁Van ▁Be eth oven ) ▁file d ▁a ▁class ▁action ▁law suit ▁against ▁music ▁streaming ▁service ▁Sp ot ify , ▁alleg ing ▁that ▁Sp ot ify ▁know ingly ▁and ▁un law fully ▁reprodu ced ▁and ▁distributed ▁copy right ed ▁record ings ▁without ▁obtain ing ▁proper ▁music ▁lic enses . ▁ ▁Band ▁members ▁ ▁Current ▁members ▁▁ ▁David ▁Low ery ▁– ▁vocals , ▁guitar ▁( 1 9 9 0 – present ) ▁ ▁Johnny ▁H ick man ▁– ▁lead ▁guitar , ▁vocals ▁( 1 9 9 0 – present ) ▁ ▁Bry an ▁Howard ▁– ▁bass ▁guitar ▁( 2 0 1 4 – present ) ▁ ▁Carl ton ▁" C oco " ▁O w ens ▁– ▁drums ▁( 2 0 1 4 – present ) ▁ ▁Matt ▁" P istol " ▁Sto essel ▁– ▁ped al ▁steel ▁guitar ▁( 2 0 1 4 – present ) ▁ ▁Form er ▁members ▁▁ ▁Dave y ▁Far ag her ▁– ▁bass ▁guitar , ▁vocals ▁( 1 9 9 0 – 1 9 9 3 , ▁ 2 0 1 4 ) ▁ ▁Phil ▁Jones ▁– ▁drums , ▁per cussion ▁( 1 9 9 0 – 1 9 9 |
2 ▁– ▁session ▁music ian ) ▁ ▁Greg ▁We ather ford ▁- ▁drums ▁( 1 9 9 0 – 1 9 9 1 ▁- ▁tour ing ) ▁ ▁Michael ▁U rb ano ▁– ▁drums ▁( 1 9 9 2 – 1 9 9 3 , ▁ 2 0 1 4 ) ▁ ▁Bruce ▁Hugh es ▁– ▁bass ▁guitar ▁( 1 9 9 3 – 1 9 9 4 ) ▁ ▁David ▁L over ing ▁– ▁drums ▁( 1 9 9 3 – 1 9 9 4 ) ▁ ▁Jo ey ▁Peters ▁– ▁drums ▁( 1 9 9 2 - 1 9 9 3 ) ▁ ▁Johnny ▁H ott ▁– ▁drums ▁( 1 9 9 4 – 1 9 9 5 ) ▁ ▁Bob ▁Ru pe ▁– ▁bass ▁guitar , ▁vocals ▁( 1 9 9 4 – 2 0 0 0 ) ▁ ▁Charlie ▁Quint ana ▁– ▁drums ▁( 1 9 9 5 – 1 9 9 6 ) ▁( d . ▁ 2 0 1 8 ) ▁ ▁Ken ny ▁Marg olis ▁– ▁key boards , ▁accord ion ▁( 1 9 9 6 – 2 0 0 7 ) ▁ ▁Br andy ▁Wood ▁– ▁bass ▁guitar , ▁vocals ▁( 2 0 0 0 – 2 0 0 4 ) ▁ ▁Victor ▁K rum men acher ▁– ▁bass ▁guitar , ▁vocals ▁( 2 0 0 4 – 2 0 0 6 ) ▁ ▁Frank ▁Fun aro ▁– ▁drums ▁( 1 9 9 6 – 2 0 1 4 ) ▁ ▁Sal ▁Ma ida ▁– |
▁bass ▁guitar ▁( 2 0 0 6 – 2 0 1 4 ) ▁ ▁Th ayer ▁Sar rano ▁– ▁key boards , ▁vocals ▁( 2 0 1 4 – 2 0 1 5 ) ▁ ▁Tim eline ▁ ▁Disc ography ▁ ▁Studio ▁albums ▁ ▁Comp il ations , ▁live ▁albums , ▁and ▁EP s ▁ ▁Singles ▁ ▁Other ▁comp il ations ▁ ▁The ▁Virgin ▁Years ▁( 1 9 9 5 ) ▁with ▁Cam per ▁Van ▁Be eth oven ▁ ▁Get ▁On ▁with ▁It : ▁The ▁Best ▁of ▁Cra cker ▁( 2 0 0 6 ) ▁Virgin ▁Records ▁greatest ▁hits ▁collection ▁( Not ▁author ized ▁by ▁the ▁band ) ▁ ▁T ribute ▁albums ▁ ▁If ▁I ▁W ere ▁a ▁Car p enter ▁( 1 9 9 4 ) – ▁" R ain y ▁Days ▁and ▁Mond ays " ▁ ▁En com ium : ▁A ▁T ribute ▁to ▁Led ▁Ze ppel in ▁( 1 9 9 5 ) – ▁" Good ▁Times ▁Bad ▁Times " ▁ ▁E yes ore : ▁A ▁St ab ▁at ▁the ▁Res idents ▁( 1 9 9 6 ) – ▁" Blue ▁Rose bud s " ▁ ▁S weet ▁Rel ief ▁II : ▁Gra vity ▁of ▁the ▁Situ ation ▁( 1 9 9 6 ) – ▁" W ither ing " ▁ ▁Burn ing ▁London : ▁The ▁Cl ash ▁T ribute ▁( 1 9 9 9 ) – ▁" White ▁Ri ot " ▁ ▁This ▁Is ▁Where ▁I ▁Bel ong : ▁The ▁Songs ▁of ▁Ray ▁Dav |
ies ▁& ▁The ▁K inks ▁( 2 0 0 2 ) – ▁" V ict oria " ▁ ▁References ▁ ▁External ▁links ▁Official ▁Website ▁ ▁Audio ▁record ings ▁at ▁the ▁Live ▁Music ▁Archive ▁Cra cker ▁interview ▁July ▁ 2 0 0 9 ▁Live ▁Daily : ▁interview ▁Pop ▁G urls : ▁interview ▁NY ▁Rock : ▁interview ▁▁▁ ▁Category : Al tern ative ▁rock ▁groups ▁from ▁California ▁Category : Mus ical ▁groups ▁established ▁in ▁ 1 9 9 0 ▁Category : Red lands , ▁California ▁Category : 1 9 9 0 ▁establish ments ▁in ▁California <0x0A> </s> ▁The ▁ 1 9 9 2 ▁J ade ▁Sol id ▁Gold ▁Best ▁Ten ▁Music ▁Awards ▁Pres entation ▁( Ch inese : ▁ 1 9 9 2 年 度 十 大 <0xE5> <0x8B> <0x81> 歌 金 曲 <0xE9> <0xA0> <0x92> <0xE7> <0x8D> <0x8E> 典 <0xE7> <0xA6> <0xAE> ) ▁was ▁held ▁on ▁January ▁ 1 9 9 3 . ▁It ▁is ▁part ▁of ▁the ▁J ade ▁Sol id ▁Gold ▁Best ▁Ten ▁Music ▁Awards ▁Pres entation ▁series ▁held ▁in ▁Hong ▁Kong . ▁ ▁Top ▁ 1 0 ▁song ▁awards ▁The ▁top ▁ 1 0 ▁songs ▁( 十 大 <0xE5> <0x8B> <0x81> 歌 金 曲 ) ▁of ▁ 1 9 9 2 ▁are ▁as ▁follows . ▁ ▁Add itional ▁awards ▁ ▁References ▁ ▁Top ▁ten ▁songs ▁award ▁ 1 9 9 2 , ▁T vc ity . tv b . com ▁ ▁Add itional ▁awards ▁ 1 9 9 2 , ▁T vc ity . tv b . com ▁ ▁J |
ade ▁Sol id ▁Gold ▁Best ▁Ten ▁Music ▁Awards ▁Pres entation , ▁ 1 9 9 2 <0x0A> </s> ▁G - F unk ▁Entertainment ▁( former ly ▁known ▁as ▁G - F unk ▁Records ▁ ▁and ▁later ▁renamed ▁G - F unk ▁ 2 0 0 0 : ▁The ▁New ▁Mill en ni um ) ▁is ▁an ▁American ▁van ity ▁label ▁founded ▁by ▁West ▁Coast ▁hip ▁hop ▁artist ▁Warren ▁G . ▁It ▁was ▁a ▁subs idi ary ▁of ▁Def ▁Jam , ▁where ▁it ▁was ▁dropped ▁off ▁and ▁signed ▁to ▁Rest less ▁Records ▁in ▁ 1 9 9 8 ▁under ▁a ▁new ▁name ▁to ▁finally ▁arrive ▁to ▁Haw ino ▁Records ▁as ▁G - F unk ▁Entertainment ▁in ▁ 2 0 0 5 , ▁where ▁Warren ▁G ▁released ▁his ▁album ▁In ▁the ▁Mid - N ite ▁H our . ▁ ▁R oster ▁ ▁Warren ▁G ▁ ▁Re el ▁T ight ▁ ▁Jess ica ▁ ▁T win z ▁ ▁Da ▁ 5 ▁Foot az ▁ ▁The ▁D ove ▁Sh ack ▁ ▁Disc ography ▁ ▁Past ▁releases ▁ ▁See ▁also ▁ ▁List ▁of ▁record ▁labels ▁ ▁References ▁ ▁Category : American ▁record ▁labels ▁Category : Comp an ies ▁based ▁in ▁Los ▁Angeles ▁Category : H ip ▁hop ▁record ▁labels ▁Category : G ang sta ▁rap ▁record ▁labels ▁Category : Record ▁labels ▁established ▁in ▁ 1 9 9 5 ▁Category : V an ity ▁record ▁labels <0x0A> </s> ▁Musical ▁liter acy ▁is ▁the ▁reading , ▁writing , ▁and ▁playing ▁of ▁music , ▁as ▁well ▁an ▁understanding ▁of ▁cultural ▁practice |
▁and ▁historical ▁and ▁social ▁context s . ▁ ▁Music ▁liter acy ▁and ▁music ▁education ▁are ▁frequently ▁talked ▁about ▁relation ally ▁and ▁caus atively , ▁however ▁they ▁are ▁not ▁inter change able ▁terms ▁as ▁complete ▁musical ▁liter acy ▁also ▁concerns ▁an ▁understanding ▁of ▁the ▁diverse ▁practices ▁involved ▁in ▁teaching ▁music ▁ped ag ogy ▁and ▁its ▁impact ▁on ▁liter acy . ▁Even ▁then , ▁there ▁those ▁that ▁argue ▁against ▁the ▁rel ational ▁and ▁caus al ▁link ▁between ▁music ▁education ▁and ▁liter acy , ▁instead ▁advoc ating ▁for ▁the ▁sole ly ▁interaction al ▁relationship ▁between ▁social ▁characteristics ▁and ▁music ▁styles . ▁“ Mus ical ▁communic ations , ▁like ▁ver bal ▁ones , ▁must ▁be ▁put ▁in ▁the ▁right ▁context s ▁by ▁rece ivers ▁if ▁their ▁mean ings ▁are ▁to ▁come ▁through ▁un ob sc ured ” ▁which ▁is ▁why ▁the ▁ped agog ical ▁influence ▁of ▁teaching ▁an ▁individual ▁to ▁become ▁mus ically - liter ate ▁might ▁be ▁confused ▁with ▁over arch ing ▁‘ liter acy ’ ▁itself . ▁ ▁‘ Mus ical ▁liter acy ’ ▁is ▁like wise ▁not ▁to ▁be ▁confused ▁with ▁‘ music ▁theory ’ ▁or ▁‘ music ology ’ . ▁These ▁two ▁components ▁are ▁aspects ▁of ▁music ▁education ▁that ▁ultimately ▁act ▁as ▁a ▁means ▁to ▁an ▁end ▁of ▁ach ieving ▁such ▁liter acy . ▁Even ▁then , ▁many ▁sch ol ars ▁debate ▁the ▁relev ancy ▁of ▁these ▁educational ▁elements ▁to ▁musical ▁liter acy ▁at ▁all . ▁The ▁term , ▁‘ mus ical ity ’ , ▁is ▁again ▁a ▁distinct ▁term ▁that ▁is ▁separate |
▁from ▁the ▁concept ▁of ▁‘ mus ical ▁liter acy ’ , ▁as ▁the ▁way ▁in ▁which ▁a ▁music ian ▁express es ▁emot ions ▁through ▁performance ▁is ▁not ▁indic ative ▁of ▁their ▁music - reading ▁ability . ▁ ▁Given ▁that ▁musical ▁liter acy ▁involves ▁mechanical ▁and ▁descript ive ▁processes ▁( such ▁as ▁reading , ▁writing ▁and ▁playing ) ▁as ▁well ▁as ▁a ▁bro ader ▁cultural ▁understanding ▁of ▁both ▁historical ▁and ▁contemporary ▁practice ▁( i . e . ▁listening , ▁playing , ▁and ▁musical ▁interpretation ▁while ▁listening ▁and / or ▁playing ), ▁education ▁in ▁these ▁visual , ▁reading / writing , ▁aud itory , ▁and ▁kin est h etic ▁areas ▁can ▁work ▁in ▁tan dem ▁to ▁achieve ▁liter acy ▁as ▁a ▁whole . ▁ ▁‘ Mus ical ▁liter acy ’ : ▁A ▁history ▁of ▁definitions ▁ ▁Under standing ▁of ▁what ▁the ▁term , ▁‘ mus ical ▁liter acy ’ , ▁en comp ass es ▁has ▁developed ▁over ▁time ▁as ▁sch ol ars ▁invest ▁time ▁into ▁research ▁and ▁debate . ▁A ▁brief ▁tim eline ▁— ▁as ▁coll ated ▁by ▁Cs ik os ▁& ▁D oh any ▁( 2 0 1 6 ) ▁— ▁is ▁as ▁follows : ▁▁ ▁“ Acc ording ▁to ▁Vol ger ▁( 1 9 7 3 ), ▁the ▁fundamental ▁components ▁of ▁musical ▁achiev ement ▁are ▁“ ton al ▁and ▁rh yth mic ▁liter acy ▁( the ▁ability ▁to ▁mus ically ▁hear ▁and ▁feel ▁what ▁one ▁reads ▁and ▁writes ▁in ▁not ational ▁forms ) ”. ▁ ▁“ In ▁Lee ▁and ▁Down ie ’ s |
▁( 2 0 0 4 ) ▁work , ▁music ▁liter acy ▁refers ▁to ▁a ▁basic ▁musical ▁skill , ▁namely ▁reading ▁music ▁scores ”. ▁ ▁Her bst , ▁de ▁W et ▁& ▁R ij sd ijk ▁( 2 0 0 5 ) ▁debate ▁the ▁“ relative ▁weight ▁or ▁importance ▁of ▁written ▁( as ▁opposed ▁to ▁or al ▁or ▁instrument al ) ▁music ▁liter acy ▁[ am ong ▁music ▁educ ators ] ”. ▁ ▁“ Acc ording ▁to ▁Tel fer ▁( as ▁c ited ▁in ▁Bart el , ▁ 2 0 0 6 ), ▁the ▁definition ▁of ▁music ▁liter acy ▁has ▁changed ▁from ▁reading ▁the ▁pitch es ▁and ▁rh yth ms ▁to ▁reading ▁the ▁‘ mean ing ▁of ▁music ’ ”. ▁ ▁“ In ▁the ▁field ▁of ▁music ▁education , ▁the ▁[ H ung arian ▁National ▁Core ▁C urr icul um ] ▁( 2 0 1 2 ) ▁pres cribed ▁different ▁components ▁of ▁music ▁liter acy ▁such ▁as ▁history ▁of ▁music ▁and ▁music ▁theory ”. ▁ ▁“ The ▁New ▁National ▁Stand ards ▁for ▁Music ▁Edu c ators ▁( Sh uler , ▁N org a ard ▁& ▁Bla kes lee , ▁ 2 0 1 4 ) ▁used ▁the ▁term ▁liter acy ▁in ▁a ▁very ▁broad ▁sense ; ▁besides ▁including ▁the ▁traditional ▁learning ▁targets ▁such ▁as ▁reading ▁and ▁writing ▁musical ▁notation , ▁it ▁also ▁involved ▁the ▁development ▁of ▁so - called ▁art istic ▁liter acy ”. ▁ ▁For ▁Cs ik os ▁& ▁D oh any ▁( 2 0 1 6 ), ▁“ the ▁term ▁music ▁liter |
acy ▁refers ▁to ▁cult ur ally ▁determined ▁systems ▁of ▁knowledge ▁in ▁music ▁and ▁to ▁musical ▁ab ilities . ▁The ▁assess ment ▁of ▁such ▁a ▁complex ▁phenomen on ▁requires ▁diverse ▁approaches ▁in ▁regard ▁to ▁what ▁and ▁how ▁to ▁assess ▁( a ) ▁fact ual ▁knowledge ▁and ▁musical ▁ab ilities ▁as ▁defined ▁by ▁exper ts ▁in ▁the ▁field , ▁[ and ] ▁( b ) ▁knowledge ▁components ▁determined ▁by ▁soci etal ▁needs ”. ▁ ▁Sch ol ars ▁such ▁as ▁W aller ▁( 2 0 1 0 ) ▁also ▁del ve ▁further ▁into ▁distingu ishing ▁the ▁rel ational ▁benefit ▁of ▁different ▁mechanical ▁processes , ▁stating ▁that ▁“ reading ▁and ▁writing ▁are ▁necessary ▁concurrent ▁processes ”. ▁The ▁experience ▁of ▁learning ▁how ▁to ▁“ read ▁to ▁write ▁and ▁write ▁to ▁read ” ▁allows ▁students ▁to ▁become ▁both ▁a ▁consumer ▁and ▁producer ▁where ▁“ the ▁music ▁was ▁given ▁back ▁to ▁them ▁to ▁form ▁their ▁own ▁musical ▁ideas ▁as ▁full ▁participants ▁in ▁their ▁musical ▁development ”. ▁ ▁Appro aches ▁to ▁learning ▁ ▁The ▁mechanical ▁and ▁fact ual ▁elements ▁of ▁musical ▁liter acy ▁can ▁be ▁taught ▁in ▁an ▁educational ▁environment ▁with ▁‘ music ▁theory ’ ▁and ▁‘ music ology ’ ▁in ▁order ▁to ▁use ▁these ▁“ certain ▁bits ▁of ▁art ic ulate ▁information ... ▁[ to ] ▁trigger ▁or ▁activ ate ▁the ▁right ▁per cept ual ▁sets ▁and ▁interpret ive ▁frameworks ”. ▁The ▁descript ive ▁nature ▁of ▁both ▁teaching ▁how ▁to ▁read ▁and ▁write ▁standard ▁Western ▁notation ▁( i . e . ▁music ▁theory ), ▁and ▁reading ▁about ▁the ▁social , |
▁political , ▁and ▁historical ▁context s ▁in ▁which ▁the ▁music ▁was ▁written ▁as ▁well ▁as ▁the ▁ways ▁in ▁which ▁it ▁was ▁pract iced / per formed ▁( i . e . ▁music ology ), ▁const itute ▁the ▁visual ▁and ▁reading / writing ▁approaches ▁to ▁learning . ▁While ▁the ▁“ fact ual ▁knowledge ▁and ▁ability ▁components ... ▁are ▁developed ▁cult ur ally ▁within ▁a ▁given ▁social ▁context ”, ▁signs ▁and ▁symbols ▁on ▁printed ▁sheet ▁music ▁are ▁also ▁used ▁for ▁‘ symbol ic ▁interaction ’ ▁“ which ▁enable ▁[ the ▁music ian ] ▁to ▁understand ▁[ bro ader ▁musical ] ▁disc ourse ”. ▁As mus ▁Jr . ▁( 2 0 0 4 ) ▁propos es ▁that ▁“ most ▁educ ators ▁would ▁agree ▁that ... ▁the ▁ability ▁to ▁perform ▁from ▁musical ▁notation ▁is ▁param ount ” ; ▁that ▁the ▁only ▁way ▁to ▁become ▁a ▁“ bet ter ▁music ▁reader ... ▁is ▁to ▁read ▁music ”. ▁ ▁Aud itory ▁learning ▁is ▁equally ▁— ▁if ▁not ▁more ▁( as ▁claimed ▁by ▁Her bst , ▁de ▁W et ▁& ▁R ij sd ijk , ▁ 2 0 0 5 ) ▁— ▁important , ▁however , ▁as ▁“ ne ither ▁the ▁‘ ext ram us ical ’ ▁nor ▁the ▁‘ p ure ly ▁musical ’ ▁content ▁of ▁[ any ▁piece ▁of ] ▁music ▁can ▁come ▁across ▁for ▁a ▁listener ▁who ▁brings ▁nothing ▁to ▁it ▁from ▁[ the ir ] ▁previous ▁experience ▁of ▁related ▁music ▁and ▁of ▁the ▁world ”. ▁List ening ▁is ▁“ through ▁and ▁through ▁context ual : ▁for |
▁the ▁music ▁to ▁be ▁heard ▁or ▁experienced ... ▁is ▁for ▁it ▁to ▁be ▁related ▁to ▁— ▁brought ▁in ▁some ▁fashion ▁into ▁ju xt ap osition ▁with ▁— ▁patterns , ▁norm s , ▁phen omena , ▁facts , ▁lying ▁outside ▁the ▁specific ▁music ▁itself ”. ▁Aud itory - orient ed ▁education ▁teach es ▁compreh ensive ▁listening ▁and ▁a ural ▁per ception ▁against ▁the ▁“ back drop ▁of ▁a ▁host ▁of ▁norm s ▁associated ▁with ▁the ▁style , ▁genre , ▁and ▁period ▁categories , ▁and ▁the ▁individual ▁compos itional ▁cor pus ”. ▁This ▁frames ▁“ app ropri ate ▁re actions ▁and ▁register ings ▁on ▁the ▁order ▁of ▁t ension ▁and ▁release , ▁or ▁expectation ▁and ▁ful fill ment , ▁or ▁imp lication ▁and ▁real ization ▁during ▁the ▁course ▁of ▁the ▁music [ al ▁piece ] ”. ▁It ▁is ▁in ▁this ▁department ▁that ▁conventional ▁class room ▁education ▁often ▁fails ▁the ▁individual ▁in ▁their ▁ac quisition ▁of ▁complete ▁musical ▁liter acy ▁as ▁not ▁only ▁have ▁“ res earch ers ... ▁pointed ▁out ▁that ▁children ▁coming ▁to ▁school ▁do ▁not ▁have ▁the ▁found ational ▁a ural ▁experiences ▁with ▁music ▁to ▁the ▁extent ▁that ▁they ▁have ▁had ▁with ▁language ”, ▁but ▁the ▁“ ex clus ive ▁concentration ▁on ▁reading ▁[ and ▁thus ▁lack ▁of ▁listening ] ▁has ▁held ▁back ▁the ▁progress ▁of ▁count less ▁learn ers , ▁while ▁putting ▁many ▁others ▁off ▁completely ”. ▁It ▁is ▁in ▁this ▁regard ▁that ▁musical ▁liter acy ▁oper ates ▁independently ▁of ▁music ▁education ▁as ▁— ▁while ▁affect ing ▁the ▁outcome ▁of ▁an ▁individual |
' s ▁liter acy ▁— ▁it ▁is ▁not ▁defined ▁by ▁the ▁quality ▁of ▁the ▁education . ▁ ▁Furthermore , ▁the ▁kin est h etic ▁aspect ▁of ▁music ▁education ▁plays ▁a ▁role ▁in ▁the ▁achiev ement ▁of ▁musical ▁liter acy , ▁as ▁“ human ▁interaction ▁is ▁medi ated ▁by ▁the ▁use ▁of ▁symbols , ▁by ▁interpretation , ▁[ and ] ▁by ▁as certain ing ▁the ▁meaning ▁of ▁one ▁another ’ s ▁actions ”. ▁ “ The ▁different ▁ways ▁human ▁emot ions ▁em body ▁themselves ▁in ▁gesture ▁and ▁st ance ... ▁sets ▁of ▁cultural ▁associations ▁carried ▁by ▁particular ▁rh yth ms , ▁mot ifs , ▁tim bres , ▁and ▁instruments ... ▁[ and ] ▁aspects ▁of ▁a ▁composer ’ s ▁life , ▁work , ▁and ▁setting ” ▁form ▁both ▁the ▁music ian ' s ▁understanding ▁of ▁a ▁work ' s ▁historical ▁context , ▁as ▁well ▁as ▁any ▁new ▁meaning ▁attached ▁to ▁it ▁by ▁its ▁re context ual ization ▁in ▁their ▁contemporary ▁musical ▁settings ▁and ▁practices . ▁ ▁These ▁aspects ▁of ▁musical ▁liter acy ▁development ▁co ales ce ▁into ▁various ▁educational ▁practices ▁that ▁approach ▁these ▁types ▁of ▁visual , ▁aud itory , ▁reading / writing , ▁and ▁kin est h etic ▁learning ▁in ▁different ▁ways . ▁Unfortunately , ▁“ fl uent ▁music ▁liter acy ▁is ▁a ▁rarely ▁acquired ▁ability ▁in ... ▁Western ▁culture ” ▁as ▁“ many ▁children ▁are ▁failed ▁by ▁the ▁ways ▁in ▁which ▁they ▁are ▁taught ▁to ▁read ▁music ”. ▁As ▁such , ▁many ▁sch ol ars ▁debate ▁over ▁the ▁best ▁way ▁to ▁approach |
▁musical ▁ped ag ogy . ▁ ▁Ped ag ogy ▁ ▁For ▁many ▁sch ol ars , ▁the ▁ac quisition ▁of ▁a ural ▁skills ▁prior ▁to ▁learning ▁the ▁convent ions ▁of ▁print ▁music ▁— ▁a ▁‘ sound ▁before ▁symbol ’ ▁approach ▁— ▁serves ▁as ▁the ▁“ bas is ▁for ▁making ▁musical ▁meaning ”. ▁Much ▁like ▁ped agog ical ▁approaches ▁in ▁language ▁development , ▁M ills ▁& ▁Mc Ph erson ▁( 2 0 1 5 ) ▁observe ▁that ▁“ children ▁should ▁become ▁compet ent ▁with ▁spoken ▁ver bal ▁language ▁[ ie . ▁a ural ▁skills ] ▁before ▁they ▁gra pp le ▁with ▁written ▁ver bal ▁language ▁[ ie . ▁visual / written ▁notation ▁skills ] ”. ▁For ▁others , ▁they ▁find ▁a ▁‘ language - ▁and ▁speech - based ’ ▁approach ▁more ▁effective , ▁but ▁only ▁“ after ▁the ▁basic ▁structure ▁and ▁voc ab ul ary ▁of ▁the ▁language ▁has ▁first ▁been ▁established ”. ▁G und mund sd ott ir ▁recomm ends ▁that ▁the ▁“ age ▁of ▁students ▁should ▁be ▁considered ▁when ▁choosing ▁a ▁method ▁for ▁teaching ” ▁given ▁the ▁changing ▁re cept iveness ▁of ▁a ▁developing ▁brain . ▁ ▁In - field ▁research ▁coll ated ▁by ▁G ud mund sd ott ir ▁on ▁this ▁topic ▁notes ▁that : ▁▁ ▁“ Methods ▁using ▁foot ▁t apping ▁to ▁mark ▁the ▁beat ▁and ▁counting ▁or ▁cla pping ▁the ▁rh ythm ▁can ▁be ▁highly ▁effective ▁with ▁older ▁children ▁and ▁te en agers ▁( Bo yle ▁ 1 9 7 0 ; ▁Sal z berg ▁and ▁Wang ▁ 1 |
9 8 9 ) ▁while ▁the ▁same ▁method ▁proves ▁in effect ive ▁and ▁dist ract ive ▁with ▁ 3 rd ▁and ▁ 4 th ▁grad ers ▁( Pal mer ▁ 1 9 7 6 ; ▁Sal z berg ▁and ▁Wang ▁ 1 9 8 9 ) ” ; ▁and , ▁ ▁“ Methods ▁using ▁speech ▁c ues ▁to ▁identify ▁and ▁reproduce ▁rh yth mic ▁patterns ▁seem ▁to ▁be ▁effective ▁and ▁appropriate ▁for ▁ 3 rd ▁and ▁ 4 th ▁grad ers ▁( B eb eau ▁ 1 9 8 2 ; ▁Pal mer ▁ 1 9 7 6 ; ▁She han ▁ 1 9 8 7 ) ▁as ▁well ▁as ▁for ▁ 6 th ▁grad ers ▁( She han , ▁ 1 9 8 7 ). ” ▁ ▁Moreover , ▁M ills ▁& ▁Mc Ph erson ▁conclude ▁that : ▁▁ ▁“ The ▁general ▁rule ▁recommended ▁by ▁Mc Ph erson ▁and ▁Gabriel sson ▁( 2 0 0 2 ) ▁is ▁for ▁children ▁to ▁learn ▁to ▁read ▁pieces ▁they ▁already ▁know ▁by ▁ear , ▁before ▁pieces ▁they ▁do ▁not ▁know ▁which ▁require ▁more ▁s oph istic ated ▁levels ▁of ▁processing .” ▁ ▁Bur ton ▁found ▁“ play - based ▁orientation ... ▁appeal [ ed ] ▁to ▁the ▁natural ▁way ▁children ▁learn [ ed ] ”, ▁and ▁that ▁the ▁process ▁of ▁learning ▁how ▁to ▁read , ▁write , ▁and ▁play / ver bal ise ▁music ▁par alle led ▁the ▁process ▁of ▁learning ▁language . ▁Creating ▁an ▁out let ▁for ▁the ▁energy ▁of ▁children ▁while ▁using ▁the |
▁concept ual ▁framework ▁of ▁other ▁school ▁classes ▁to ▁develop ▁their ▁understanding ▁of ▁print ▁music ▁appears ▁to ▁en rich ▁all ▁areas ▁of ▁brain ▁development . ▁As ▁such , ▁Ko op man ▁( 1 9 9 6 ) ▁is ▁of ▁the ▁opinion ▁that ▁“ [ the ] ▁rich ▁musical ▁experience ▁alone ▁just ifies ▁the ▁teaching ▁of ▁music ▁at ▁schools ”. ▁ ▁Stewart , ▁Wal sh ▁& ▁Fr ith ▁( 2 0 0 4 ) ▁state ▁that ▁“ music ▁reading ▁is ▁an ▁automatic ▁process ▁in ▁trained ▁mus icians ” ▁where by ▁the ▁speed ▁of ▁information ▁and ▁psych om ot or ▁processing ▁occurs ▁at ▁a ▁high ▁level ▁( K op iez , ▁We ih s , ▁Lig ges ▁& ▁Lee , ▁ 2 0 0 6 ). ▁The ▁coding ▁of ▁visual ▁information , ▁motor ▁responses , ▁and ▁visual - mot or ▁integration ▁make ▁up ▁several ▁processes ▁that ▁occur ▁both ▁depend ently ▁and ▁independently ▁of ▁one ▁another ; ▁while ▁“ the ▁ability ▁to ▁play ▁by ▁ear ▁may ▁have ▁a ▁moder ate ▁positive ▁correlation ▁to ▁music ▁reading ▁ab ilities ”, ▁studies ▁also ▁demonstrate ▁that ▁concepts ▁of ▁pitch ▁and ▁timing ▁are ▁perce ived ▁separately . ▁ ▁The ▁development ▁of ▁pitch ▁recognition ▁also ▁var ies ▁within ▁itself ▁depending ▁on ▁the ▁context ▁of ▁the ▁music ▁and ▁what ▁mechanical ▁skills ▁an ▁instrument ▁or ▁setting ▁may ▁require . ▁G ud mund sd ott ir ▁references ▁Fine , ▁Ber ry ▁& ▁Ros ner ▁when ▁she ▁notes ▁that ▁“ success ful ▁music ▁reading ▁on ▁an ▁instrument ▁does ▁not ▁necessarily ▁require ▁internal ▁representations ▁of ▁pitch ▁as ▁sight |
- sing ing ▁does ” ▁and ▁prof ic iency ▁in ▁one ▁area ▁does ▁not ▁guarantee ▁skill ▁in ▁the ▁other . ▁The ▁ability ▁to ▁link ▁the ▁sound ▁of ▁a ▁note ▁with ▁its ▁printed ▁notation ▁counter part ▁is ▁a ▁corner stone ▁in ▁highly ▁developed ▁musical ▁readers ▁ ▁and ▁allows ▁them ▁to ▁‘ read ▁ahead ’ ▁when ▁‘ s ight - reading ’ ▁a ▁piece ▁due ▁to ▁such ▁a ural ▁re collections . ▁Less - develop ed ▁readers ▁— ▁or , ▁“ button ▁push ers ” ▁— ▁contrast ingly ▁over ly - re ly ▁on ▁the ▁visual - me chan ical ▁processes ▁of ▁musical ▁liter acy ▁[ i . e ., ▁“ going ▁directly ▁from ▁the ▁visual ▁image ▁to ▁the ▁f ing ering ▁required ▁[ on ▁the ▁instrument ] ”, ▁rather ▁than ▁an ▁inclus ive ▁aud itory / c ult ural ▁understanding ▁( i . e . ▁how ▁to ▁also ▁listen ▁to ▁and ▁interpret ▁music ▁in ▁addition ▁to ▁the ▁mechanical ▁processes ). ▁While ▁mus ically - liter ate ▁and ▁- ill iter ate ▁individuals ▁may ▁be ▁equally - able ▁to ▁identify ▁singular ▁notes , ▁“ the ▁exper ts ▁out perform ▁the ▁nov ices ▁in ▁their ▁ability ▁to ▁identify ▁a ▁group ▁of ▁pitch es ▁as ▁a ▁particular ▁ch ord ▁or ▁scale ... ▁and ▁instantly ▁translate ▁that ▁knowledge ▁into ▁a ▁motor ▁output ”. ▁ ▁Con tr ast ingly , ▁“ rh ythm ▁production ▁is ▁[ univers ally ] ▁difficult ▁without ▁aud itory ▁coding ” ▁as ▁all ▁mus icians ▁“ re ly ▁on ▁internal ▁mental ▁representations ▁of ▁musical ▁met |
re ▁[ and ▁temporal ▁events ] ▁as ▁they ▁perform ”. ▁In ▁the ▁context ▁of ▁reading ▁and ▁writing ▁music ▁in ▁the ▁school ▁class room , ▁Bur ton ▁saw ▁that ▁“ [ stud ents ] ▁were ▁making ▁their ▁own ▁sense ▁of ▁rh ythm ▁in ▁print ” ▁and ▁would ▁self - correct ▁when ▁they ▁real ised ▁that ▁their ▁a ural ▁per ception ▁of ▁a ▁rh yth mic ▁pattern ▁did ▁not ▁match ▁what ▁they ▁had ▁trans cribed ▁on ▁the ▁manuscript . ▁She han ▁( 1 9 8 7 ) ▁notes ▁that ▁successful ▁strateg ies ▁for ▁teaching ▁rh ythm ▁— ▁much ▁like ▁pitch ▁— ▁benefit ▁from ▁the ▁teach ings ▁of ▁language ▁liter acy , ▁as ▁“ written ▁patterns ... ▁associated ▁with ▁a ural ▁labels ▁in ▁the ▁form ▁of ▁speech ▁c ues ... ▁[ t end ] ▁to ▁be ▁a ▁successful ▁strategy ▁for ▁teaching ▁rh ythm ▁reading ”. ▁ ▁Sch ol ars , ▁M ills ▁& ▁Mc Ph erson , ▁identified ▁stages ▁of ▁development ▁in ▁reading ▁music ▁notation ▁and ▁recommend ▁correl ating ▁a ▁ped agog ical ▁approach ▁to ▁a ▁stage ▁that ▁is ▁best - rece ived ▁by ▁the ▁ne uro log ical ▁development / age ▁of ▁a ▁student . ▁For ▁instance , ▁encourag ing ▁young ▁beg inners ▁to ▁invent ▁their ▁own ▁visual ▁representations ▁of ▁pieces ▁they ▁know ▁aur ally ▁provides ▁them ▁with ▁the ▁“ met am us ical ▁aw aren ess ▁that ▁will ▁enh ance ▁their ▁progress ▁toward ▁understanding ▁why ▁staff ▁notation ▁looks ▁and ▁works ▁the ▁way ▁it ▁does ”. ▁Similarly , ▁for ▁children ▁younger ▁than ▁six ▁years ▁old |
, ▁transl ating ▁prior ▁a ural ▁knowledge ▁of ▁mel od ies ▁into ▁finger ings ▁on ▁an ▁instrument ▁( i . e . ▁kin est h etic ▁learning ) ▁sets ▁the ▁foundation ▁for ▁introdu cing ▁visual ▁notation ▁later ▁and ▁maintain s ▁the ▁‘ fun ’ ▁element ▁of ▁developing ▁musical ▁liter acy . ▁ ▁These ▁stages ▁of ▁development ▁in ▁reading ▁music ▁notation ▁are ▁out lined ▁by ▁M ills ▁& ▁Mc Ph erson ▁as ▁follows : ▁▁ ▁“ Fe atures : ▁the ▁mark ings ▁on ▁the ▁page ▁that ▁form ▁the ▁basis ▁of ▁notation . ▁These ▁involve ▁aw aren ess ▁of ▁the ▁features ▁of ▁the ▁lines ▁and ▁curves ▁of ▁the ▁musical ▁symbols ▁and ▁notes , ▁and ▁knowledge ▁that ▁they ▁are ▁both ▁system atic ▁and ▁meaning ful . ▁ ▁Let ters / mus ical ▁notes ▁and ▁signs : ▁Cons istent ▁interpretation ▁of ▁features ▁allows ▁the ▁child ▁to ▁attend ▁to ▁and ▁recognize ▁basic ▁symbol ▁units ▁such ▁as ▁individual ▁notes , ▁cle f ▁signs , ▁time ▁sign atures , ▁dynamic ▁mark ings , ▁sh ar ps , ▁fl ats , ▁and ▁so ▁forth . ▁ ▁Sy ll ables / interval s : ▁Struct ural ▁analysis ▁of ▁mel od ic ▁patterns ▁involves ▁recogn izing ▁the ▁system atic ▁relationships ▁between ▁ad jo ining ▁notes ▁( e . g ., ▁intervals ). ▁ ▁W ords / groups : ▁The ▁transition ▁from ▁individual ▁notes ▁to ▁groups ▁of ▁notes ▁occurs ▁via ▁struct ural ▁analysis ▁of ▁the ▁component ▁intervals , ▁or ▁by ▁visual ▁sc anning ▁of ▁the ▁whole ▁musical ▁idea ▁( e . g ., ▁ch |
ord , ▁scale ▁run ). ▁This ▁represents ▁the ▁first ▁level ▁of ▁musical ▁meaning ; ▁however , ▁at ▁this ▁level , ▁the ▁mean ings ▁attached ▁to ▁individual ▁clusters ▁are ▁de context ual ized ▁and ▁isolated . ▁ ▁Word ▁groups / mot ifs ▁or ▁note ▁gr ou ple ts : ▁Com bin ations ▁of ▁clusters ▁form ▁a ▁mot if ▁or ▁mot if ▁gr ou ple t , ▁a ▁level ▁of ▁musical ▁meaning ▁equivalent ▁to ▁understanding ▁individual ▁phr ases ▁and ▁cla uses ▁in ▁text . ▁These ▁may ▁vary ▁in ▁length ▁according ▁to ▁their ▁musical ▁function . ▁ ▁Ide a / mus ical ▁phrase ▁or ▁figure : ▁In ▁music , ▁an ▁individual ▁idea ▁is ▁expressed ▁by ▁combining ▁mot ifs ▁into ▁a ▁musical ▁phrase . ▁ ▁Main ▁idea / mus ical ▁idea : ▁The ▁combination ▁of ▁musical ▁phr ases ▁yields ▁a ▁musical ▁idea , ▁equivalent ▁in ▁text - processing ▁terms ▁to ▁the ▁construction ▁of ▁a ▁main ▁idea ▁from ▁a ▁paragraph . ▁ ▁Th emes / mus ical ▁subject : ▁Under standing ▁of ▁the ▁musical ▁subject ▁involves ▁impos ing ▁a ▁sense ▁of ▁musical ity ▁onto ▁the ▁score ▁such ▁that ▁the ▁component ▁musical ▁phrase ▁and ▁subject ▁are ▁taken ▁beyond ▁technical ▁prof ic iency ▁to ▁include ▁variations ▁of ▁sound , ▁m ood , ▁dynamics , ▁and ▁so ▁forth ▁in ▁ways ▁that ▁allow ▁for ▁individual ized ▁interpretation ▁of ▁the ▁score ▁( C ant well ▁& ▁Mill ard , ▁ 1 9 9 4 , ▁pp . ▁ 4 7 – 9 ). ” ▁ ▁There ▁are ▁various ▁schools ▁of ▁thought / ped |
ag ogy ▁that ▁translate ▁these ▁principles ▁into ▁practical ▁teaching ▁methods . ▁The ▁aim ▁of ▁many ▁ped agog ical ▁approaches ▁that ▁also ▁attempt ▁to ▁simultaneously ▁address ▁the ▁“ def ic iency ▁in ▁research ▁that ▁cons iders ▁the ▁ability ▁to ▁read ▁and ▁write ▁music ▁with ▁musical ▁compreh ension ▁[ ie . ▁cultural - histor ical ▁knowledge ▁in ▁the ▁context ▁of ▁visual ▁and ▁aud itory ▁learning ] ▁as ▁a ▁development al ▁domain ”. ▁One ▁of ▁these ▁most ▁well - known ▁teaching ▁frameworks ▁is ▁the ▁‘ K od aly ▁Method ’ . ▁ ▁The ▁K od aly ▁Method ▁ ▁Z olt án ▁K od ály ▁claims ▁that ▁there ▁are ▁four ▁fundamental ▁aspects ▁to ▁a ▁music ian ▁that ▁must ▁develop ▁both ▁simultaneously ▁and ▁at ▁the ▁same ▁rate ▁in ▁order ▁to ▁achieve ▁fl uent ▁musical ▁liter acy ; ▁“ ( 1 ) ▁a ▁well - tra ined ▁ear , ▁( 2 ) ▁a ▁well - tra ined ▁intellect , ▁( 3 ) ▁a ▁well - tra ined ▁heart ▁( a est h etic / em ot ional ▁understanding ), ▁and ▁( 4 ) ▁well - tra ined ▁hands ▁( te chni que ) ”. ▁He ▁was ▁one ▁of ▁the ▁first ▁educ ators ▁to ▁claim ▁that ▁music ▁liter acy ▁involved ▁“ the ▁ability ▁to ▁read ▁and ▁write ▁musical ▁notation ▁and ▁to ▁read ▁notation ▁at ▁sight ▁without ▁the ▁aid ▁of ▁an ▁instrument ... ▁[ as ▁well ▁as ] ▁a ▁person ’ s ▁knowledge ▁of ▁an ▁appreci ation ▁for ▁a ▁wide ▁range ▁of ▁musical ▁examples ▁and ▁styles ". ▁ ▁K od ály |
' s ▁education ▁techniques ▁util ise ▁elements ▁from ▁language ▁and ▁the ▁educational ▁structure ▁of ▁language ▁development ▁to ▁complement ▁ped agog ical ▁efforts ▁in ▁the ▁field ▁of ▁musical ▁liter acy ▁development . ▁In ▁rh ythm , ▁the ▁K od ály ▁method ▁assign s ▁‘ names ’ ▁— ▁originally ▁adapted ▁from ▁the ▁French ▁time - name ▁system ▁pione ered ▁by ▁Paris - Che vé ▁and ▁Gal in ▁— ▁to ▁beat ▁values ; ▁correl ating ▁the ▁number ▁of ▁be ats ▁in ▁a ▁note ▁to ▁the ▁number ▁of ▁sy ll ables ▁in ▁its ▁respective ▁name . ▁ ▁Anal og ous ▁to ▁rh ythm , ▁the ▁K od aly ▁method ▁uses ▁sy ll ables ▁to ▁represent ▁the ▁sounds ▁of ▁notes ▁in ▁a ▁scale ▁as ▁a ▁m nem onic ▁device ▁to ▁train ▁sing ers . ▁This ▁technique ▁was ▁adapted ▁from ▁the ▁teach ings ▁of ▁Gu ido ▁d ’ A rez zo , ▁an ▁ 1 1 th - century ▁mon k , ▁who ▁used ▁the ▁t ones , ▁‘ U t , ▁Re , ▁Mi , ▁Fa , ▁So , ▁La ’ ▁from ▁the ▁‘ H ymn ▁to ▁St . ▁John ’ ▁( Intern ational ▁K od aly ▁Society , ▁ 2 0 1 4 ) ▁as ▁sy ll ab ic ▁representations ▁of ▁pitch . ▁The ▁idea ▁in ▁contemporary ▁K od ály ▁teaching ▁is ▁that ▁each ▁consequ ent ▁pitch ▁in ▁a ▁musical ▁scale ▁is ▁assigned ▁a ▁sy ll able : 1 ▁ ▁ ▁ ▁ ▁ 2 ▁ ▁ ▁ ▁ ▁ 3 ▁ ▁ ▁ ▁ |
▁ 4 ▁ ▁ ▁ ▁ ▁ 5 ▁ ▁ ▁ ▁ ▁ 6 ▁ ▁ ▁ ▁ ▁ 7 ▁ ▁ ▁ ▁ ▁ 8 / 1 ▁ ▁D oh ▁ ▁ ▁Ray ▁ ▁ ▁Me ▁ ▁ ▁ ▁F ah ▁ ▁ ▁So h ▁ ▁ ▁L ah ▁ ▁ ▁Te ▁ ▁ ▁ ▁D oh ▁This ▁can ▁be ▁applied ▁in ▁‘ Ab solute ’ ▁( or , ▁‘ Fixed - D oh ’ ) ▁Form ▁— ▁also ▁known ▁as ▁‘ S olf ege ’ ▁— ▁or ▁in ▁a ▁‘ Relative ’ ▁( or , ▁‘ M ov able - D oh ’ ) ▁Form ▁— ▁also ▁known ▁as ▁‘ S olf a ’ ▁— ▁where ▁‘ D oh ’ ▁starts ▁on ▁the ▁first ▁pitch ▁of ▁the ▁scale ▁( i . e . ▁for ▁A ▁Major , ▁‘ D oh ’ ▁is ▁‘ A ’ ; ▁for ▁G ▁Major , ▁‘ D oh ’ ▁is ▁‘ G ’ ; ▁E ▁Major , ▁‘ D oh ’ ▁is ▁‘ E ’ ; ▁and ▁so ▁on ). ▁ ▁The ▁work ▁of ▁Sarah ▁Glo ver ▁and ▁( cont in ued ▁by ) ▁John ▁Cur wen ▁throughout ▁England ▁in ▁the ▁ 1 9 th ▁Century ▁meant ▁that ▁‘ Move able - D oh ’ ▁sol fa ▁became ▁the ▁“ f av oured ▁ped agog ical ▁tool ▁to ▁teach ▁sing ers ▁to ▁read ▁music ”. ▁In ▁addition ▁to ▁the ▁aud itory - ling u istic ▁aid |
▁of ▁sy ll able - to - p itch , ▁John ▁Cur wen ▁also ▁introduced ▁a ▁kin est h etic ▁element ▁where ▁different ▁hand ▁signs ▁were ▁applied ▁to ▁each ▁tone ▁of ▁the ▁scale . ▁ ▁Cs ik os ▁& ▁D oh any ▁aff irm ▁the ▁popular ity ▁of ▁the ▁K od ály ▁method ▁over ▁history ▁and ▁c ite ▁B ark oc zi ▁& ▁Ple h ▁and ▁Hall am ▁on ▁“ the ▁powerful ness ▁of ▁the ▁K od ály ▁method ▁in ▁Hung ary ... ▁[ and ] ▁abroad ” ▁in ▁the ▁context ▁of ▁ach ieving ▁musical ▁liter acy ▁within ▁the ▁school ▁curr icul um . ▁ ▁Bra ille ▁music ▁liter acy ▁ ▁Method s ▁such ▁as ▁K od ály ' s , ▁however ▁— ▁which ▁rely ▁on ▁sound ▁to ▁inform ▁the ▁visual ▁element ▁of ▁conventional ▁staff ▁notation ▁— ▁fall ▁short ▁for ▁learn ers ▁who ▁are ▁unable ▁to ▁see . ▁“ No ▁matter ▁how ▁brilliant ▁the ▁ear ▁and ▁how ▁good ▁the ▁memory , ▁liter acy ▁is ▁essential ▁for ▁the ▁blind ▁student ▁too ”, ▁and ▁unfortunately ▁conventional ▁staff ▁notation ▁fails ▁to ▁c ater ▁to ▁vis ually - im pa ired ▁needs . ▁ ▁To ▁rect ify ▁this , ▁en larg ed ▁print ▁music ▁or ▁Bra ille ▁music ▁scores ▁can ▁be ▁supplied ▁to ▁low ▁vision , ▁leg ally ▁blind , ▁and ▁totally ▁blind ▁individuals ▁so ▁that ▁they ▁can ▁replace ▁the ▁visual ▁aspect ▁of ▁learning ▁with ▁a ▁tact ile ▁one ▁( i . e . ▁en hanced ▁kin est h etic ▁learning ). ▁According ▁to ▁Con n , |
▁in ▁order ▁for ▁blind ▁students ▁to ▁“ fully ▁develop ▁their ▁a ural ▁skills ... ▁fully ▁particip ate ▁in ▁music ... ▁become ▁an ▁independent ▁and ▁lif el ong ▁lear ner ... ▁have ▁a ▁chance ▁to ▁completely ▁analy se ▁the ▁music ... ▁make ▁full ▁use ▁of ▁[ the ir ] ▁own ▁interpret ive ▁ability ... ▁share ▁[ the ir ] ▁composition ... ▁[ and ] ▁gain ▁employ ment / care er ▁path ”, ▁they ▁must ▁learn ▁how ▁to ▁read ▁and ▁write ▁Bra ille ▁music . ▁ ▁Not ▁unlike ▁sight ed ▁education , ▁teaching ▁students ▁how ▁to ▁read ▁language ▁in ▁bra ille ▁par alle ls ▁the ▁teaching ▁of ▁bra ille ▁musical ▁liter acy . ▁T ouss aint ▁& ▁T iger ▁c ite ▁Mang old ▁and ▁C raw ford ▁& ▁Elli ott ▁ ▁on ▁the ▁“ nov el ▁relation ▁between ▁the ▁tact ile ▁stim ulus ▁( i . e ., ▁a ▁bra ille ▁symbol ) ▁and ▁an ▁aud itory ▁or ▁vocal ▁stim ulus ▁( i . e ., ▁the ▁spoken ▁letter ▁name ) ”. ▁This ▁mirror s ▁K od ály ' s ▁visual ▁( i . e ., ▁conventional ▁staff ▁notation )- to - aud itory ▁( i . e ., ▁similarly , ▁the ▁spoken ▁letter ▁name ) ▁approach ▁in ▁music ▁education . ▁ ▁Despite ▁the ▁ped agog ical ▁similar ities , ▁however , ▁Bra ille ▁music ▁liter acy ▁is ▁far ▁lower ▁than ▁musical ▁liter acy ▁in ▁sight ed ▁individuals . ▁In ▁this ▁sense , ▁too , ▁the ▁compar ative ▁percentage ▁of ▁sight ed ▁versus ▁blind ▁individuals |
▁who ▁are ▁liter ate ▁in ▁language ▁versus ▁music , ▁are ▁on ▁an ▁equal ▁traject ory ▁— ▁for ▁instance , ▁language ▁liter acy ▁for ▁sight ed ▁year ▁five ▁school ▁students ▁in ▁Australia ▁is ▁at ▁ 9 3 . 9 % ▁compared ▁to ▁a ▁ 6 . 5 5 % ▁rate ▁of ▁H SC ▁students ▁studying ▁music , ▁while ▁language ▁liter acy ▁for ▁blind ▁individuals ▁is ▁at ▁approximately ▁ 1 2 %. ▁Ian uz zi ▁comments ▁on ▁these ▁double ▁standards ▁when ▁she ▁asks , ▁“ How ▁much ▁music ▁would ▁students ▁learn ▁to ▁play ▁if ▁their ▁music ▁teachers ▁couldn ' t ▁read ▁the ▁notes ? ▁Unfortunately , ▁not ▁very ▁many ▁teachers ▁of ▁blind ▁children ▁are ▁fl uent ▁in ▁reading ▁and ▁writing ▁Bra ille ▁themselves .” ▁ ▁Although ▁the ▁core ▁of ▁musical ▁liter acy ▁is ▁arg u ably ▁in ▁relation ▁to ▁“ ext ensive ▁and ▁repeated ▁listening ”, ▁“ there ▁is ▁still ▁a ▁need ▁for ▁explicit ▁theories ▁of ▁music ▁reading ▁that ▁would ▁organ ise ▁knowledge ▁and ▁research ▁about ▁music ▁reading ▁into ▁a ▁system ▁of ▁assumptions , ▁principles , ▁and ▁procedures ” ▁that ▁would ▁benefit ▁poor - to - zero ▁vision ▁individuals . ▁It ▁is ▁via ▁the ▁fundamental ▁elements ▁of ▁reading ▁liter acy ▁and ▁“ the ▁ability ▁to ▁understand ▁the ▁majority ▁of ... ▁utter ances ▁in ▁a ▁given ▁tradition ” ▁that ▁musical ▁liter acy ▁can ▁be ▁achieved . ▁ ▁Non eth eless , ▁sight ed ▁or ▁not , ▁the ▁various ▁teaching ▁methods ▁and ▁learning ▁approaches ▁required ▁to ▁achieve ▁musical ▁liter acy ▁evidence ▁the ▁spectrum ▁of ▁psych ological , |
▁ne uro log ical , ▁multi - sens ory , ▁and ▁motor ▁skills ▁function ing ▁within ▁an ▁individual ▁when ▁they ▁come ▁into ▁contact ▁with ▁music . ▁Many ▁f M RI ▁studies ▁have ▁corresponding ly ▁demonstrated ▁the ▁impact ▁of ▁music ▁and ▁advanced ▁music ▁liter acy ▁on ▁brain ▁development . ▁ ▁Bra in ▁development ▁ ▁Both ▁the ▁processing ▁of ▁music ▁and ▁performance ▁with ▁musical ▁instruments ▁require ▁the ▁invol vement ▁of ▁both ▁hem is pher es ▁of ▁the ▁brain . ▁Struct ural ▁differences ▁( i . e . ▁increased ▁grey ▁matter ) ▁are ▁found ▁in ▁the ▁brain ▁regions ▁of ▁musical ▁individuals ▁which ▁are ▁both ▁directly ▁linked ▁to ▁musical ▁skills ▁learned ▁during ▁instrument al ▁training ▁( e . g . ▁independent ▁fine ▁motor ▁skills ▁in ▁both ▁hands , ▁aud itory ▁disc rim ination ▁of ▁pitch ), ▁and ▁also ▁indirect ly ▁linked ▁with ▁improvements ▁in ▁language ▁and ▁mathematical ▁skills . ▁ ▁Many ▁studies ▁demonstrate ▁that ▁“ music ▁can ▁have ▁construct ive ▁out comes ▁on ▁our ▁mind sets ▁that ▁may ▁make ▁learning ▁simpler ”. ▁For ▁instance , ▁young ▁children ▁exhib ited ▁a ▁ 4 6 % ▁increase ▁in ▁spatial ▁I Q ▁— ▁essential ▁for ▁higher ▁mind ▁capac ities ▁involving ▁complex ▁arithmetic ▁and ▁science ▁— ▁after ▁developing ▁aspects ▁of ▁their ▁musical ▁liter acy . ▁Such ▁mathematical ▁skills ▁are ▁en hanced ▁in ▁the ▁brain ▁due ▁to ▁the ▁spatial ▁training ▁involved ▁in ▁learning ▁music ▁notation ▁because ▁“ under standing ▁rh yth mic ▁notation ▁actually ▁requires ▁math - specific ▁skills , ▁such ▁as ▁pattern ▁recognition ▁and ▁an ▁understanding ▁of ▁proportion , ▁ratio , |
▁fra ctions , ▁and ▁sub div ision ▁[ of ▁note ▁values ] ”. ▁ ▁Super ior ▁“ dia lect ▁capacity , ▁including ▁voc ab ul ary , ▁express iveness , ▁and ▁simplicity ▁of ▁correspond ence ” ▁can ▁also ▁be ▁seen ▁in ▁mus ically - liter ate ▁individuals . ▁This ▁is ▁due ▁to ▁“ both ▁music ▁and ▁language ▁processing ▁requ ir [ ing ] ▁the ▁ability ▁to ▁segment ▁streams ▁of ▁sound ▁into ▁small ▁per cept ual ▁units ”. ▁Research ▁confir ms ▁the ▁relationship ▁between ▁musical ▁liter acy ▁and ▁reading ▁and ▁reasoning , ▁as ▁well ▁as ▁non - c ogn itive ▁skills ▁such ▁as ▁le is ure ▁and ▁emot ional ▁development , ▁coord ination ▁and ▁innov ativ eness , ▁attention ▁and ▁focus , ▁memory , ▁cre ativity , ▁self - conf idence , ▁and ▁em path etic ▁inter person al ▁relationships . ▁Due ▁to ▁these ▁various ▁factors ▁and ▁impact s , ▁Williams ▁( 1 9 8 7 ) ▁finds ▁herself ▁of ▁the ▁opinion ▁that ▁“ [ mus ical ] ▁liter acy ▁gives ▁dign ity ▁as ▁well ▁as ▁compet ence , ▁and ▁is ▁of ▁the ▁ut most ▁import ace ▁to ▁self - image ▁and ▁success ... ▁[ it ▁gives ▁the ] ▁great ▁joy ▁of ▁learning ... ▁the ▁thr ill ▁of ▁participation , ▁and ▁the ▁satisfaction ▁of ▁informed ▁listening ”. ▁ ▁In - Text ▁References ▁ ▁Bibli ography <0x0A> </s> ▁The ▁Return ▁of ▁the ▁King ▁is ▁the ▁third ▁and ▁final ▁volume ▁of ▁J . ▁R . ▁R . ▁Tol k ien ' s ▁The ▁Lord ▁of ▁the |
▁R ings , ▁following ▁The ▁Fellow ship ▁of ▁the ▁Ring ▁and ▁The ▁Two ▁Tow ers . ▁The ▁story ▁begins ▁in ▁the ▁kingdom ▁of ▁G ond or , ▁which ▁is ▁soon ▁to ▁be ▁attacked ▁by ▁the ▁Dark ▁Lord ▁Sa ur on . ▁ ▁Title ▁and ▁publication ▁ ▁Tol k ien ▁conce ived ▁of ▁The ▁Lord ▁of ▁the ▁R ings ▁as ▁a ▁single ▁volume ▁compr ising ▁six ▁" books " ▁plus ▁extensive ▁append ices . ▁The ▁original ▁publish er ▁split ▁the ▁work ▁into ▁three ▁volumes , ▁publishing ▁the ▁fifth ▁and ▁sixth ▁books ▁with ▁the ▁append ices ▁into ▁the ▁final ▁volume ▁with ▁the ▁title ▁The ▁Return ▁of ▁the ▁King . ▁Tol k ien ▁felt ▁the ▁chosen ▁title ▁revealed ▁too ▁much ▁of ▁the ▁story , ▁and ▁indicated ▁he ▁preferred ▁The ▁War ▁of ▁the ▁Ring ▁as ▁a ▁title . ▁ ▁The ▁proposed ▁title ▁for ▁Book ▁V ▁was ▁The ▁War ▁of ▁the ▁Ring . ▁Book ▁VI ▁was ▁to ▁be ▁The ▁End ▁of ▁the ▁Third ▁Age . ▁These ▁titles ▁were ▁used ▁in ▁the ▁Mill en ni um ▁edition . ▁ ▁The ▁Return ▁of ▁the ▁King ▁was ▁in ▁the ▁end ▁published ▁as ▁the ▁third ▁and ▁final ▁volume ▁of ▁The ▁Lord ▁of ▁the ▁R ings , ▁on ▁ 2 0 ▁October ▁ 1 9 5 5 ▁in ▁the ▁UK . ▁ ▁Cont ents ▁ ▁The ▁volume ▁contains ▁a ▁Syn opsis ▁for ▁readers ▁who ▁have ▁not ▁read ▁the ▁earlier ▁volumes . ▁The ▁body ▁of ▁the ▁volume ▁consists ▁of ▁Book ▁V : ▁The ▁War ▁of ▁the ▁Ring , ▁and ▁Book ▁VI : ▁The ▁End |
▁of ▁the ▁Third ▁Age . ▁The ▁volume ▁ends ▁with ▁a ▁set ▁of ▁Append ices ▁and ▁Index es , ▁varying ▁in ▁different ▁ed itions . ▁ ▁Crit ical ▁reception ▁ ▁The ▁early ▁book ▁reviews , ▁published ▁in ▁newsp apers ▁and ▁journ als ▁in ▁ 1 9 5 5 ▁and ▁ 1 9 5 6 , ▁are ▁listed ▁and ▁summar ised ▁briefly , ▁with ▁a ▁note ▁on ▁whether ▁they ▁are ▁positive ▁or ▁negative , ▁by ▁George ▁H . ▁Thompson ▁in ▁M yth l ore . ▁ ▁In ▁a ▁review ▁for ▁The ▁New ▁York ▁Times , ▁W . ▁H . ▁Aud en ▁pra ised ▁The ▁Return ▁of ▁the ▁King ▁and ▁found ▁The ▁Lord ▁of ▁the ▁R ings ▁a ▁" master pie ce ▁of ▁the ▁genre ". ▁ ▁Anthony ▁B ouch er ▁pra ised ▁the ▁volume ▁as ▁" a ▁master ly ▁narr ation ▁of ▁trem end ous ▁and ▁terrible ▁clim actic ▁events ", ▁although ▁he ▁also ▁noted ▁that ▁Tol k ien ' s ▁pro se ▁" se ems ▁sometimes ▁to ▁be ▁prot ract ed ▁for ▁its ▁own ▁sake ". ▁ ▁See ▁also ▁ ▁The ▁History ▁of ▁The ▁Lord ▁of ▁the ▁R ings ▁ ▁References ▁ ▁External ▁links ▁ ▁Category : Sequ el ▁nov els ▁Category : The ▁Lord ▁of ▁the ▁R ings ▁Category : 1 9 5 5 ▁fant asy ▁nov els ▁Category : B rit ish ▁nov els ▁adapted ▁into ▁films ▁Category : 1 9 5 5 ▁British ▁nov els ▁Category : All en ▁& ▁Un win ▁books <0x0A> </s> ▁East ▁Tim or ▁participated ▁in ▁the |
▁ 2 0 0 5 ▁S out heast ▁Asian ▁Games ▁held ▁in ▁multiple ▁ven ues ▁in ▁the ▁Philippines ▁from ▁November ▁ 2 7 , ▁ 2 0 0 5 ▁to ▁December ▁ 5 , ▁ 2 0 0 5 . ▁The ▁chief ▁of ▁mission ▁to ▁the ▁games ▁was ▁Antonio ▁X imen es . ▁ ▁Part icip ation ▁details ▁This ▁was ▁the ▁second ▁S out heast ▁Asian ▁Games ▁in ▁which ▁the ▁country ▁had ▁participated . ▁East ▁Tim or ▁won ▁three ▁bronze ▁med als , ▁all ▁in ▁Ar nis . ▁Elisabeth ▁Y anti ▁Al me ida ▁dos ▁Santos ▁had ▁never ▁played ▁the ▁sport ▁previously ▁before ▁compet ing . ▁The ▁other ▁med all ists ▁were ▁Francis ca ▁V are la ▁and ▁Fort un ato ▁So ares . ▁ ▁Medal ists ▁ ▁References ▁ ▁Category : 2 0 0 5 ▁in ▁East ▁Tim or ▁sport ▁ 2 0 0 5 ▁Category : N ations ▁at ▁the ▁ 2 0 0 5 ▁S out heast ▁Asian ▁Games <0x0A> </s> ▁Jean ne ▁E der - Sch wy zer ▁( M arch ▁ 2 , ▁ 1 8 9 4 ▁in ▁New ▁York ▁– ▁October ▁ 2 4 , ▁ 1 9 5 7 ▁in ▁Zur ich ) ▁was ▁a ▁Swiss ▁women ' s ▁rights ▁activ ist ▁and ▁President ▁of ▁the ▁International ▁Council ▁of ▁Women . ▁ ▁Jean ne ▁E der - Sch wy zer ▁was ▁the ▁daughter ▁of ▁Dr . ▁Fritz ▁Schw y zer ▁and ▁grew ▁up ▁in ▁New ▁York . ▁She ▁studied ▁chem istry ▁at ▁the ▁University ▁of |
▁Zur ich ▁and ▁was ▁awarded ▁her ▁doctor ate ▁in ▁ 1 9 1 9 . ▁The ▁following ▁year , ▁she ▁married ▁the ▁chem ist ▁and ▁Professor ▁of ▁Ph arm ac ogn os y ▁and ▁Ph arma ce ut ical ▁Chem istry ▁Robert ▁E der ▁( 1 8 8 5 - 1 9 4 4 ). ▁She ▁was ▁the ▁mother ▁of ▁two ▁daughters , ▁the ▁phys ic ist ▁Mon ika ▁E der ▁and ▁Urs ula ▁Elisabeth ▁E der , ▁better ▁known ▁as ▁Ul la ▁Dy do , ▁noted ▁Ger tr ude ▁Stein ▁scholar . ▁ ▁E der - Sch wy zer ▁was ▁co - found er ▁of ▁a ▁home ▁for ▁women ▁students ▁in ▁Zur ich ▁and ▁collabor ator ▁on ▁the ▁" Sw iss ▁Ex hib ition ▁for ▁Women ' s ▁Work " ▁( S aff a ) ▁in ▁ 1 9 2 8 . ▁She ▁was ▁involved ▁in ▁the ▁pet ition ▁for ▁Women ' s ▁suff rage ▁in ▁Switzerland ▁in ▁ 1 9 2 9 , ▁and ▁was ▁a ▁prom oter ▁of ▁the ▁Swiss ▁and ▁Zur ich ▁Association ▁of ▁Women ▁Academ ics , ▁which ▁she ▁pres ided ▁from ▁ 1 9 3 5 ▁to ▁ 1 9 3 8 . ▁▁ ▁From ▁ 1 9 3 9 ▁on , ▁she ▁participated ▁in ▁women ' s ▁politics ▁at ▁several ▁levels : ▁as ▁president ▁of ▁the ▁Free ▁Democratic ▁Party ▁of ▁Switzerland ' s ▁women ' s ▁group ▁in ▁Zur ich ▁( which ▁she ▁co - f ounded ▁in ▁ 1 9 3 5 ); ▁as ▁President |
▁of ▁the ▁Association ▁for ▁Women ' s ▁V oting ▁Rights ▁( SV F ) ▁in ▁the ▁canton ▁of ▁Zur ich ; ▁as ▁a ▁member ▁of ▁the ▁civil ian ▁women ' s ▁auxili ary ▁service , ▁from ▁which ▁she ▁retired ▁in ▁ 1 9 4 5 . ▁She ▁led ▁the ▁ 3 rd ▁Swiss ▁Women ' s ▁Congress ▁in ▁ 1 9 4 6 ▁and ▁subsequently ▁participated ▁in ▁the ▁establishment ▁of ▁the ▁Swiss ▁Institute ▁for ▁Home ▁Econom ics ▁( SI H , ▁ 1 9 4 8 - 1 9 9 2 ). ▁She ▁was ▁president ▁of ▁the ▁women ' s ▁group ▁of ▁the ▁Swiss ▁En light en ment ▁Service ▁from ▁ 1 9 4 7 ▁to ▁ 1 9 5 0 , ▁was ▁a ▁member ▁( 1 9 4 9 – 1 9 5 7 ) ▁of ▁the ▁board ▁of ▁the ▁Bund ▁Schweizer ischer ▁Frauen vere ine ▁( BS F ), ▁and ▁was ▁sent ▁by ▁the ▁B SF ▁to ▁the ▁Swiss ▁UN ES CO ▁Commission , ▁from ▁ 1 9 4 9 ▁to ▁ 1 9 5 4 . ▁E der - Sch wy zer ▁was ▁President ▁of ▁the ▁International ▁Council ▁of ▁Women ▁from ▁ 1 9 4 7 ▁until ▁her ▁death ▁in ▁ 1 9 5 7 . ▁ ▁References ▁▁ ▁Category : 1 8 9 4 ▁birth s ▁Category : 1 9 5 7 ▁death s ▁Category : Sw iss ▁femin ists ▁Category : Sw iss ▁suff rag ists ▁Category : Sw iss ▁women ' s ▁rights ▁activ ists <0x0A> </s> |
▁The ▁Mill ion ▁Franc ▁Race , ▁or ▁‘ P rix ▁du ▁Mill ion ’ , ▁was ▁an ▁effort ▁in ▁ 1 9 3 7 ▁by ▁the ▁French ▁Popular ▁Front ▁to ▁indu ce ▁French ▁autom obile ▁manufact ur ers ▁to ▁develop ▁race ▁cars ▁capable ▁of ▁compet ing ▁with ▁the ▁incred ibly ▁advanced ▁German ▁Mer cedes - B enz ▁and ▁Auto ▁Union ▁rac ers ▁of ▁the ▁time , ▁which ▁were ▁back ed ▁by ▁the ▁Naz i ▁government ▁in ▁a ▁( larg ely ▁successful ) ▁attempt ▁to ▁domin ate ▁the ▁sport , ▁to ▁' pro ve ▁the ▁superior ity ▁of ▁the ▁A ry an ▁race '. ▁The ▁prize ▁money ▁was ▁a ▁million ▁fran cs , ▁and ▁to ▁ensure ▁that ▁the ▁competition ▁tested ▁each ▁car ' s ▁ult imate ▁limits , ▁rather ▁than ▁just ▁the ▁driver ' s ▁skill ▁in ▁passing ▁other ▁drivers , ▁the ▁race ▁was ▁a ▁time ▁trial ▁against ▁the ▁clock ▁at ▁the ▁tre acher ous ▁Aut od rome ▁de ▁Mont l hé ry ▁track , ▁which ▁had ▁taken ▁the ▁life ▁of ▁the ▁great ▁Antonio ▁As c ari . ▁ ▁Each ▁car ▁had ▁to ▁drive ▁six teen ▁la ps ▁() ▁at ▁an ▁average ▁speed ▁of ▁at ▁least ▁ ▁from ▁a ▁standing ▁start . ▁René ▁D rey f us ▁was ▁h ired ▁by ▁Del ah aye ▁to ▁drive ▁its ▁model ▁ 1 4 5 ▁in ▁testing ▁and ▁in ▁the ▁competition ▁itself ▁in ▁which ▁he ▁risk ed ▁death ▁by ▁setting ▁a ▁literally - bl ister ing ▁pace , ▁we aring ▁the ▁special ▁Dun lop ▁t ires ▁down |
▁to ▁the ▁fabric ▁but ▁hand ily ▁over wh el ming ▁all ▁compet itors ▁except ▁the ▁Bug atti ▁team . ▁On ▁the ▁last ▁day ▁of ▁the ▁competition , ▁the ▁Bug atti ▁entry , ▁driven ▁by ▁Jean - Pierre ▁W im ille , ▁arrived . ▁After ▁sp ending ▁most ▁of ▁the ▁day ▁repair ing ▁various ▁mechanical ▁problems , ▁the ▁Bug atti ▁took ▁to ▁the ▁track ▁for ▁its ▁run ▁towards ▁su nd own , ▁accompanied ▁by ▁D rey f us ▁in ▁the ▁Del ah aye ▁in ▁an ▁attempt ▁to ▁protect ▁his ▁in cip ient ▁victory . ▁The ▁two ▁drivers ▁pushed ▁each ▁other ▁to ▁incred ible ▁speed ▁until ▁the ▁Bug atti ▁once ▁again ▁broke ▁under ▁the ▁stra in , ▁ens uring ▁Del ah aye ▁the ▁prize . ▁ ▁The ▁vict orious ▁Del ah aye ▁ 1 4 5 , ▁known ▁as ▁the ▁' Mill ion ▁Franc ▁Del ah aye ', ▁was ▁driven ▁by ▁D rey f us ▁in ▁ 1 9 3 8 ▁at ▁the ▁P au ▁Grand ▁Prix , ▁a ▁tight ▁circuit ▁running ▁through ▁village ▁streets , ▁where ▁he ▁beat ▁the ▁legend ary ▁Rudolf ▁Car acci ola ▁and ▁his ▁all - con qu ering ▁ ▁Silver ▁Ar row , ▁becoming ▁a ▁national ▁hero ▁in ▁France . ▁ ▁When ▁the ▁Germ ans ▁seized ▁control ▁of ▁France ▁during ▁World ▁War ▁II , ▁the ▁' Mill ion ▁Franc ▁Del ah aye ' ▁was ▁dis ass emble d ▁and ▁hidden ▁by ▁sentiment al ▁French ▁patri ots ▁to ▁prevent ▁it ▁from ▁falling ▁into ▁German ▁hands , ▁and ▁its ▁later ▁where about |
s ▁became ▁unknown . ▁Since ▁then , ▁two ▁different ▁cars ▁have ▁sur fac ed ▁with ▁cred ible ▁claims ▁to ▁be ▁the ▁' Mill ion ▁Franc ▁Del ah aye ', ▁with ▁two ▁different ▁collect ors ▁( Peter ▁M ull in ▁in ▁ 1 9 8 7 ▁for ▁the ▁M ull in ▁Autom ot ive ▁Museum ▁& ▁? ) ▁claim ing ▁the ▁privile ge ▁of ▁ow ning ▁this ▁unique ▁autom ot ive ▁piece ▁of ▁history . ▁ ▁References ▁ ▁See ▁also ▁ ▁Del ah aye ▁Popular ▁Front ▁( France ) ▁ ▁Category : Auto ▁races ▁in ▁France ▁Category : 1 9 3 7 ▁in ▁French ▁mot ors port ▁Category : Cont empor ary ▁French ▁history <0x0A> </s> ▁The ▁Ministry ▁of ▁Education ▁and ▁High er ▁Education ▁( in ▁French : ▁Min ist ère ▁de ▁l ’ É ducation ▁de ▁l ' En se ign ement ▁sup érieur , ▁abbre vi ated ▁as ▁ME ES ) ▁is ▁the ▁government ▁min istry ▁of ▁Quebec ▁that ▁gover ns ▁education , ▁recre ation , ▁and ▁sports . ▁The ▁minister ▁is ▁the ▁individual ▁who ▁has ▁the ▁political ▁responsibility ▁for ▁the ▁reg ulation ▁and ▁o vers ight ▁of ▁educational ▁services ▁offered ▁in ▁the ▁province ▁of ▁Quebec ▁as ▁well ▁as ▁for ▁the ▁Ministry ▁of ▁Education . ▁ ▁The ▁Quebec ▁government ▁abol ished ▁the ▁Ministry ▁of ▁Public ▁Inst ruction ▁in ▁ 1 8 7 5 ▁to ▁submit ▁to ▁the ▁ul tr am ont ane ▁Roman ▁Catholic ▁cler gy ▁which ▁considered ▁education ▁the ▁domain ▁of ▁the ▁family ▁and ▁the ▁Church , ▁not ▁the ▁state . |
▁Under ▁the ▁new ▁provincial ▁government ▁of ▁Premier ▁Jean ▁Les age , ▁in ▁ 1 9 6 4 ▁a ▁Ministry ▁of ▁Education ▁was ▁established ▁with ▁Paul ▁G ér in - L ajo ie ▁appointed ▁the ▁first ▁Minister ▁of ▁Education ▁since ▁ 1 8 7 5 . ▁For ▁the ▁majority ▁of ▁the ▁time ▁since ▁the ▁creation ▁of ▁the ▁position , ▁the ▁minister ▁has ▁been ▁responsible ▁for ▁both ▁the ▁period ▁including ▁up ▁to ▁and ▁including ▁secondary ▁education ▁and ▁post - second ary ▁education . ▁ ▁The ▁following ▁people ▁have ▁served ▁as ▁Quebec ' s ▁Minister ▁of ▁Education : ▁ ▁Jean - Fran çois ▁Ro ber ge ▁| ▁October ▁ 1 8 , ▁ 2 0 1 8 ▁| ▁ ▁| ▁Co al ition ▁A venir ▁Québec ▁ ▁Minister ▁for ▁High er ▁Education ▁ ▁Between ▁ 1 9 8 4 ▁and ▁ 1 9 9 4 , ▁a ▁second ▁cabinet ▁position ▁was ▁dedicated ▁to ▁higher ▁education ▁in ▁addition ▁to ▁the ▁position ▁responsible ▁for ▁primary ▁and ▁secondary ▁education . ▁Premier ▁Paul ine ▁Mar ois ▁has ▁restored ▁this ▁function ▁with ▁the ▁nom ination ▁of ▁Pierre ▁Duch es ne ▁on ▁September ▁ 1 9 , ▁ 2 0 1 2 . ▁Following ▁the ▁ 2 0 1 4 ▁election , ▁the ▁function ▁was ▁re - mer ged ▁with ▁Education . ▁ ▁It ▁was ▁re - created ▁in ▁ 2 0 1 6 ▁following ▁Pierre ▁More au ' s ▁leave ▁of ▁absence ▁for ▁health ▁reasons , ▁in ▁which ▁his ▁respons ib ilities ▁ ▁were ▁divided . ▁ ▁The ▁following ▁persons ▁served |
▁as ▁Quebec ' s ▁Minister ▁of ▁High er ▁Education , ▁Science , ▁and ▁Technology . ▁ ▁Notes ▁ ▁References ▁▁ ▁Hun te ▁K . ▁D . ▁( 1 9 6 4 ). ▁The ▁Ministry ▁of ▁Public ▁Inst ruction ▁in ▁Québec : ▁▁ 1 8 6 7 - 1 8 7 5 , ▁Ph . ▁D . ▁th esis , ▁McG ill ▁University ▁ ▁External ▁links ▁▁▁ ▁Ministry ▁of ▁Education , ▁Rec re ation ▁and ▁Sports ▁ ▁Ministry ▁of ▁Education , ▁Rec re ation ▁and ▁Sports ▁▁▁▁ ▁Minister ' s ▁Official ▁Web page ▁( in ▁French ) ▁▁▁ ▁Education ▁Quebec ▁Category : E ducation ▁in ▁Quebec <0x0A> </s> ▁Once ▁Again ▁is ▁a ▁ 2 0 1 2 ▁H indi ▁family - d rama ▁film ▁produced , ▁written , ▁directed ▁by ▁San j ay ▁A ror a ▁st arring ▁Deep na ▁k umar . ▁ ▁It ▁premier ed ▁at ▁the ▁ 2 0 1 2 ▁Del hi ▁International ▁Film ▁Festival ▁in ▁India . ▁On ▁ 3 0 ▁January ▁ 2 0 1 5 , ▁the ▁film ▁was ▁broadcast ▁on ▁Battle ▁Creek ' s ▁Access ▁V ision ▁Channel , ▁Com cast ▁Channel ▁ 1 6 ▁and ▁L ans ing ' s ▁Com cast ▁ 1 6 ▁in ▁Michigan ▁US . ▁ ▁Plot ▁Once ▁Again ▁revol ves ▁around ▁Raj ▁Mal hot ra ▁( Pro tagon ist ), ▁a ▁self - center ed ▁company ▁executive ▁who ▁uses ▁situations ▁and ▁people ▁around ▁him ▁to ▁his ▁advantage ▁but ▁life ▁takes ▁an ▁unexpected ▁turn ▁forcing ▁him ▁to ▁accept ▁reality ▁that ▁p |
aves ▁way ▁to ▁a ▁journey ▁of ▁transformation . ▁ ▁Raj ▁Mal hot ra , ▁a ▁senior ▁executive ▁at ▁O ran ze ▁Comput ers ▁is ▁a ▁self - cent red ▁man ▁who ▁bel ieves ▁in ▁living ▁life ▁for ▁himself ▁with ▁no ▁concern ▁for ▁the ▁feelings ▁of ▁people ▁around ▁him . ▁The ▁story ▁opens ▁with ▁a ▁phone ▁call ▁from ▁his ▁mother ▁who ▁requests ▁him ▁to ▁visit ▁her ▁but ▁Raj ▁def ers ▁her ▁request ▁on ▁the ▁pre text ▁of ▁work ▁pressure . ▁Ne ither ▁does ▁he ▁care ▁for ▁his ▁wife ' s ▁views ▁about ▁life ▁in ▁general ▁nor ▁does ▁he ▁show ▁any ▁sympathy ▁towards ▁his ▁servant ▁who ▁requests ▁for ▁a ▁leave ▁to ▁see ▁his ▁a iling ▁mother . ▁Raj ' s ▁ill ▁behaviour ▁extends ▁to ▁his ▁neighbour ▁Mr ▁Sh arma ▁played ▁by ▁A j ay ▁A ror a , ▁as ▁well ▁in ▁the ▁matters ▁of ▁par king ▁cars . ▁ ▁The ▁heart less ▁attitude ▁of ▁Raj ▁gets ▁apparent ▁when ▁he ▁ign ores ▁a ▁man ▁on ▁the ▁road ▁who ▁is ▁lying ▁in ▁a ▁pool ▁of ▁blood ▁because ▁of ▁an ▁accident . ▁At ▁work ▁Raj ▁rec ruits ▁Jen ny , ▁a ▁woman ▁with ▁no ▁good ▁qual ifications ▁when ▁she ▁gives ▁him ▁a ▁hint ▁that ▁she ▁is ▁ready ▁to ▁please ▁him ▁outside ▁the ▁office ▁and ▁later ▁that ▁night ▁they ▁get ▁int imate ▁with ▁each ▁other . ▁One ▁day ▁Meg ha , ▁a ▁team ▁member , ▁at ▁work , ▁approaches ▁him ▁to ▁save ▁her ▁job ▁for ▁not ▁performing ▁well . ▁Raj ▁tells ▁her ▁that ▁he ▁can ▁help ▁her ▁out ▁if |
▁she ▁agre es ▁to ▁comprom ise ▁with ▁him . ▁Left ▁with ▁no ▁choice ▁Meg ha ▁gives ▁in ▁to ▁him ▁due ▁to ▁which ▁not ▁only ▁her ▁job ▁is ▁saved ▁but ▁also ▁a ▁promotion ▁is ▁given ▁to ▁her . ▁V ish al , ▁who ▁is ▁senior ▁to ▁Meg ha ▁questions ▁Raj ▁on ▁this ▁disc rim ination ▁and ▁express es ▁his ▁disappoint ment ▁but ▁Raj ▁doesn ' t ▁care . ▁ ▁The ▁story ▁takes ▁a ▁turn ▁when ▁Raj ▁receives ▁a ▁job ▁offer ▁call ▁from ▁T J ▁computers ▁where ▁Mr ▁S oni , ▁the ▁Vice - Pres ident , ▁inter views ▁him ▁and ▁gives ▁the ▁appointment ▁letter . ▁However , ▁as ▁a ▁pr ere quis ite ▁of ▁joining ▁the ▁work , ▁Raj ▁is ▁asked ▁to ▁do ▁a ▁medical ▁test ▁done ▁for ▁H IV . ▁Hence , ▁he ▁goes ▁to ▁a ▁di agnostic ▁centre ▁to ▁get ▁the ▁test ▁done ▁and ▁while ▁waiting ▁for ▁the ▁report ▁he ▁over he ars ▁two ▁lab ▁techn icians ▁discuss ing ▁that ▁there ▁is ▁a ▁problem ▁in ▁the ▁result . ▁When ▁asked ▁by ▁Raj , ▁the ▁techn ician ▁says ▁that ▁the ▁report ▁will ▁be ▁given ▁directly ▁to ▁the ▁employ ers . ▁Sus pect ing ▁that ▁he ▁has ▁H IV , ▁now ▁Raj ▁goes ▁under ▁de pression . ▁ ▁During ▁this ▁period , ▁he ▁rec alls ▁his ▁nast y ▁and ▁mean ▁behaviour ▁with ▁people ▁and ▁reg rets ▁sin cer ely . ▁He ▁starts ▁valu ing ▁and ▁car ing ▁for ▁his ▁mother , ▁wife , ▁colle agues ▁and ▁also ▁the ▁servant . ▁However , ▁the ▁biggest |
▁less on ▁he ▁lear ns ▁is ▁from ▁his ▁neighbour ▁Mr ▁Sh arma ▁who ▁when ▁asked ▁the ▁secret ▁behind ▁his ▁composed ▁attitude , ▁explains ▁Raj ▁that ▁the ▁only ▁truth ▁of ▁life ▁is ▁death ▁and ▁when ▁everybody ▁has ▁to ▁die ▁one ▁day ▁why ▁hate ▁or ▁che at ▁anyone . ▁ ▁After ▁a ▁month , ▁Raj ▁gets ▁a ▁call ▁from ▁T J ▁computers ▁enqu iring ▁about ▁his ▁joining . ▁When ▁Raj ▁meets ▁Mr ▁S oni , ▁he ▁gets ▁to ▁know ▁that ▁actually ▁the ▁report ▁is ▁normal ▁and ▁the ▁test ▁for ▁H IV ▁gave ▁a ▁negative ▁result . ▁Sur pr ised ▁and ▁major ly ▁rel ieved , ▁Raj ▁joins ▁the ▁organisation ▁and ▁begins ▁a ▁new ▁life . ▁Life ▁offers ▁him ▁tempt ations ▁again ▁in ▁the ▁form ▁of ▁Sand y ▁who ▁comes ▁for ▁a ▁job . ▁For ▁few ▁minutes ▁Raj ▁gets ▁carried ▁away ▁but ▁when ▁he ▁asks ▁her ▁to ▁submit ▁a ▁medical ▁report ▁with ▁H IV ▁test ▁before ▁joining ▁the ▁work , ▁the ▁word ▁H IV ▁brings ▁him ▁back ▁to ▁his ▁sens es , ▁making ▁him ▁re collect ▁his ▁de pression ▁during ▁the ▁days ▁he ▁sus pected ▁himself ▁of ▁having ▁H IV . ▁Im medi ately ▁Raj ▁can c els ▁his ▁date ▁with ▁Sand y ▁prov ing ▁that ▁transformation ▁is ▁a ▁journey . ▁ ▁Cast ▁Deep na ▁K umar ▁as ▁Mal ini ▁A j ay ▁A ror a ▁as ▁Mr . ▁Sh arma ▁Vid hi ▁S eth i ▁as ▁Jen ny ▁An il ▁Mong a ▁A ash ut osh ▁M ish ra ▁Pr ate ek ▁Sh arma ▁Sh |
ree ▁Up ad hy aya ▁Ol ga ▁Samuel ▁Man ish ▁J ain ▁K kar an ▁S oni ▁J y oti ▁Sach de va ▁G aur av ▁K umar ▁K ul deep ▁L ulla ▁ ▁Production ▁Princi pal ▁phot ography ▁took ▁place ▁for ▁ 2 ▁weeks ▁in ▁March ▁ 2 0 1 2 . ▁It ▁was ▁fil med ▁in ▁New ▁Del hi , ▁India ▁and ▁completed ▁in ▁September ▁ 2 0 1 2 . ▁ ▁Music ▁The ▁background ▁score ▁and ▁a ▁song ▁were ▁composed ▁by ▁M ano j ▁Singh . ▁The ▁music ▁was ▁produced ▁in ▁M umb ai , ▁India . ▁The ▁following ▁song ▁is ▁featured ▁in ▁the ▁film . ▁ ▁" Bad al ▁Gay i ▁Mer i ▁Z ind agi ▁Ch and ▁Lam hon ▁Me in " ▁by ▁Sh ab ana ▁Sh a ikh , ▁performed ▁by ▁Mah esh ▁Jay aram an . ▁ ▁Acc ol ades ▁Official ▁selection ▁at ▁the ▁Del hi ▁International ▁Film ▁Festival ▁ 2 0 1 2 . ▁N omin ated ▁for ▁the ▁Best ▁Screen play ▁at ▁the ▁Hot ▁Media ▁International ▁Film ▁Festival ▁ 2 0 1 2 . ▁Honor able ▁M ention ▁award ▁at ▁the ▁International ▁Film ▁Festival ▁for ▁Peace , ▁In sp iration ▁& ▁Equ ality ▁( I FF PI E ) ▁ 2 0 1 3 ▁in ▁Jak arta , ▁Indones ia . ▁ 3 rd ▁prize ▁winner ▁at ▁the ▁ 6 th ▁Bo om town ▁Film ▁& ▁Music ▁Festival ▁ 2 0 1 3 , ▁Texas . ▁N omin ated ▁for ▁the ▁Best ▁South ▁East |
▁Asian ▁Film ▁and ▁Best ▁Director ▁at ▁the ▁World ▁Music ▁& ▁Independent ▁Film ▁Festival ▁ 2 0 1 3 , ▁Washington ▁D . C . ▁Official ▁Selection ▁at ▁the ▁Tr inity ▁International ▁Film ▁Festival ▁ 2 0 1 3 , ▁Detroit , ▁USA . ▁ ▁W on ▁Best ▁film ▁in ▁Relig ious / Sp irit ual ▁category ▁at ▁the ▁Great ▁L akes ▁International ▁Film ▁Festival ▁ 2 0 1 3 . ▁ ▁W on ▁Best ▁Screen play ▁Award ▁at ▁the ▁Free ▁Spirit ▁Film ▁Festival ▁ 2 0 1 3 , ▁India . ▁ ▁Honor able ▁M ention ▁Award ▁at ▁the ▁International ▁Film ▁Festival ▁of ▁Spirit ual ity , ▁Religion ▁and ▁V ision ary ▁ 2 0 1 3 . ▁ ▁W on ▁" Sil ver ▁Award ▁ ▁– ▁Short ▁film ▁competition " ▁at ▁the ▁ 2 0 1 4 ▁California ▁Film ▁Awards , ▁USA . ▁ ▁W on ▁" Ro yal ▁Re el ▁Award " ▁at ▁the ▁Canada ▁International ▁Film ▁Festival ▁ 2 0 1 4 . ▁ ▁References ▁ ▁External ▁links ▁▁ ▁Movie ▁Review ▁ ▁Category : 2 0 1 2 ▁films ▁Category : Fil ms ▁set ▁in ▁ 2 0 1 2 ▁Category : Ind ian ▁films ▁Category : 2 0 1 0 s ▁H indi - language ▁films ▁Category : Ind ian ▁independent ▁films ▁Category : H IV / A ID S ▁in ▁Indian ▁films <0x0A> </s> ▁The ▁Tr in idad ▁and ▁Tob ago ▁Def ence ▁Force ▁Ste el ▁Orchestra ▁( TT DF SO ) ▁is ▁a ▁special ized ▁military ▁band |
▁that ▁is ▁part ▁of ▁the ▁Tr in idad ▁and ▁Tob ago ▁Def ence ▁Force . ▁It ▁has ▁its ▁roots ▁in ▁British ▁trad itions ▁for ▁military ▁bands , ▁all ▁while ▁also ▁uniqu ely ▁using ▁un con vent ional ▁instruments ▁such ▁as ▁steel p ans ▁and ▁other ▁native ▁Tr in idad ian ▁instruments . ▁The ▁ 4 0 ▁member ▁band ▁is ▁currently ▁the ▁only ▁military ▁steel ▁band ▁in ▁the ▁world . ▁ ▁The ▁Tr in idad ▁and ▁Tob ago ▁Regiment ▁provides ▁the ▁majority ▁of ▁the ▁mus icians ▁who ▁are ▁assigned ▁to ▁the ▁or chestra . ▁Following ▁a ▁brief ▁attempt ▁create ▁a ▁similar ▁type ▁of ▁march ing ▁band ▁the ▁ 1 9 6 0 s , ▁the ▁T T DF SO ▁was ▁created ▁on ▁ 2 ▁June ▁ 1 9 9 5 ▁on ▁the ▁initi ative ▁of ▁Chief ▁of ▁Def ence ▁Staff ▁Carl ton ▁A . ▁Alfonso ▁and ▁Serge ant ▁Cec il ▁James . ▁The ▁regiment ▁had ▁its ▁own ▁br ass ▁band ▁at ▁one ▁point , ▁which ▁followed ▁French ▁and ▁African ▁music ▁styles . ▁Today ▁the ▁band ▁follows ▁Af ro - Car ib bean ▁music ▁Cal y ps o ▁music ▁rh yth ms ▁in ▁its ▁re per toire . ▁ ▁Compet itions ▁ 1 9 9 6 ▁– ▁The ▁or chestra ▁entered ▁the ▁Pan ▁Is ▁Beautiful ▁Music ▁Festival ▁as ▁a ▁conventional ▁band ▁and ▁won ▁the ▁prize ▁for ▁the ▁best ▁cal y ps o ▁and ▁placing ▁third ▁overall . ▁ 1 9 9 7 ▁– ▁Enter ed ▁the ▁National ▁Pan or ama ▁Compet ition ▁for ▁traditional ▁Ste |
el ▁Or ch est ras , ▁placing ▁first ▁for ▁its ▁performance ▁of ▁Mir ror ▁Mir ror . ▁ 1 9 9 6 - 1 9 9 9 ▁– ▁The ▁band ▁participated ▁in ▁the ▁St . ▁Peter ' s ▁Day ▁competition ▁in ▁the ▁traditional ▁band ▁category ▁where ▁a ▁g ospel ▁song ▁was ▁required ▁to ▁be ▁arranged . ▁ 2 0 0 4 ▁– ▁The ▁or chestra ▁placed ▁ 3 rd ▁at ▁the ▁Tr in idad ▁and ▁Tob ago ▁National ▁Pan or ama ▁Compet ition ▁ 2 0 0 5 ▁– ▁The ▁band ▁performed ▁at ▁the ▁World ▁Ste el ▁Band ▁Music ▁Festival ▁which ▁was ▁held ▁in ▁Mad ison ▁Square ▁Garden , ▁New ▁York , ▁coming ▁in ▁ 3 rd ▁place . ▁ 2 0 1 3 ▁– ▁Part icip ated ▁at ▁the ▁S ip aria ▁Fest ▁Ste el ▁Band ▁competition ▁performing ▁in ▁three ▁categories ; ▁Cal y ps o , ▁G ospel ▁and ▁Pan ▁on ▁the ▁Move . ▁The ▁T T DF SO ▁placed ▁ 2 nd ▁in ▁the ▁first ▁category ▁while ▁placing ▁ 3 rd ▁in ▁the ▁latter ▁two ▁ ▁Tim eline ▁ ▁Solo ▁performances ▁In ▁the ▁mid - 9 0 s ▁the ▁or chestra ▁was ▁invited ▁by ▁the ▁French ▁Army ' s ▁ 3 3 rd ▁Regiment ▁in ▁the ▁Ant illes ▁to ▁perform ▁during ▁the ▁anni versary ▁celebr ations ▁for ▁Martin ique . ▁It ▁was ▁the ▁first ▁in ▁what ▁became ▁an ▁annual ▁event ▁for ▁the ▁T T DF SO , ▁having ▁returned ▁to ▁Martin ique ▁in ▁ 1 9 9 8 , ▁ |
1 9 9 9 ▁and ▁ 2 0 0 0 . ▁In ▁June ▁ 2 0 0 6 , ▁the ▁or chestra ▁formed ▁part ▁of ▁a ▁national ▁cont ing ent ▁that ▁performed ▁at ▁the ▁World ▁Cup ▁ 2 0 0 6 ▁in ▁Germany . ▁The ▁members ▁of ▁the ▁band ▁played ▁in ▁N ure m berg , ▁Kais ers la ut ern ▁and ▁Dort mund . ▁In ▁October ▁of ▁that ▁same ▁year , ▁the ▁or chestra ▁performed ▁at ▁the ▁ 2 5 th ▁anni versary ▁of ▁Independ ence ▁of ▁Ant igua ▁and ▁Barb uda . ▁The ▁band ▁became ▁the ▁first ▁steel ▁or chestra ▁to ▁lead ▁an ▁armed ▁cont ing ent ▁of ▁troops ▁on ▁a ▁cer emon ial ▁para de , ▁when ▁on ▁its ▁return ▁from ▁Scotland ▁in ▁ 1 9 9 7 ▁it ▁made ▁its ▁first ▁appearance ▁at ▁the ▁annual ▁Independ ence ▁Day ▁Par ade . ▁ ▁In ▁April ▁ 2 0 0 6 , ▁the ▁or chestra ▁played ▁in ▁Washington , ▁D . C . ▁at ▁the ▁request ▁of ▁the ▁Del aware ▁National ▁Guard . ▁In ▁appreci ation ▁of ▁the ▁Band ' s ▁performances , ▁the ▁members ▁were ▁awarded ▁the ▁status ▁of ▁honor ary ▁citizens ▁of ▁the ▁City ▁of ▁Baltimore . ▁ ▁J oint - perform ances ▁In ▁November ▁ 1 9 9 9 , ▁the ▁T T DF SO ▁was ▁invited ▁to ▁perform ▁at ▁the ▁AN Z AC ▁Military ▁T atto o ▁in ▁Sydney , ▁Australia ▁It ▁also ▁took ▁part ▁in ▁the ▁Royal ▁Nova ▁Scot ia ▁International ▁T atto o ▁in |
▁Hal if ax ▁followed ▁by ▁the ▁Bas el ▁T atto o ▁in ▁Switzerland . ▁ ▁In ▁May ▁ 2 0 0 9 , ▁the ▁or chestra ▁performed ▁at ▁the ▁W inds or ▁Castle ▁Royal ▁T atto o ▁in ▁the ▁presence ▁of ▁Queen ▁Elizabeth ▁II . ▁In ▁August ▁ 2 0 0 9 , ▁it ▁performed ▁at ▁the ▁Quebec ▁City ▁International ▁Festival ▁of ▁Military ▁B ands . ▁In ▁May ▁ 2 0 1 0 , ▁the ▁band ▁took ▁part ▁im ▁the ▁Netherlands ▁Military ▁T atto o ▁and ▁the ▁Luxemb ourg ▁International ▁T atto o . ▁On ▁ 2 6 ▁August ▁ 2 0 1 2 , ▁the ▁band ▁performed ▁with ▁bands ▁such ▁as ▁the ▁Central ▁Military ▁Band ▁of ▁the ▁People ' s ▁Liber ation ▁Army ▁of ▁China , ▁the ▁Band ▁of ▁the ▁Royal ▁Mar ines ▁P ly mouth ▁and ▁the ▁Pr ison ▁Service ▁Band ▁in ▁a ▁military ▁t atto o ▁celebr ating ▁the ▁golden ▁j ub ile e ▁of ▁Tr in idad ▁and ▁Tob ago . ▁In ▁the ▁summer ▁of ▁ 2 0 1 9 , ▁the ▁band ▁took ▁part ▁in ▁the ▁Royal ▁Edinburgh ▁Military ▁T atto o . ▁This ▁followed ▁it ' s ▁last ▁performances ▁at ▁the ▁t atto o ▁in ▁ 1 9 9 7 , ▁ 2 0 0 5 , ▁ 2 0 0 7 , ▁ 2 0 1 0 , ▁and ▁ 2 0 1 4 , ▁with ▁the ▁latter ▁edition ▁seeing ▁the ▁band ▁being ▁awarded ▁with ▁Po ole y ▁Bro ads word , ▁which ▁is ▁ann ually |
▁awarded ▁to ▁the ▁best ▁performing ▁cont ing ent ▁at ▁the ▁t atto o . ▁That ▁same ▁year , ▁the ▁T T DF SO ▁took ▁part ▁in ▁the ▁Virginia ▁International ▁T atto o . ▁ ▁See ▁also ▁J ama ica ▁Military ▁Band ▁Barb ados ▁Def ence ▁Force ▁Band ▁Royal ▁Bah am as ▁Police ▁Force ▁Band ▁F iji ▁Military ▁Forces ▁Band ▁United ▁States ▁Navy ▁Ste el ▁Band ▁ ▁References ▁ ▁Category : Tr in idad ▁and ▁Tob ago ▁musical ▁groups ▁Category : Mil it ary ▁of ▁Tr in idad ▁and ▁Tob ago ▁Category : Mil it ary ▁bands ▁Category : Mus ical ▁groups ▁established ▁in ▁ 1 9 9 5 ▁Category : Mil it ary ▁units ▁and ▁form ations ▁established ▁in ▁ 1 9 9 5 <0x0A> </s> ▁A ales und s ▁Social dem okrat ▁( The ▁Å les und ▁Social ▁Dem ocrat ) ▁was ▁a ▁newspaper ▁published ▁in ▁Å les und , ▁Norway ▁from ▁ 1 9 0 8 ▁to ▁ 1 9 1 0 . ▁The ▁newspaper ▁was ▁a ▁successor ▁of ▁another ▁paper , ▁called ▁Ny b rot . ▁The ▁editor ial ▁team ▁consisted ▁of ▁Julius ▁Ber ge ▁and ▁E lias ▁R ø sv ik . ▁ ▁References ▁ ▁Category : Def unct ▁newsp apers ▁of ▁Norway ▁Category : N or weg ian - language ▁newsp apers ▁Category : M ø re ▁og ▁R oms dal ▁media ▁Category : Å les und ▁Category : Public ations ▁established ▁in ▁ 1 9 0 8 ▁Category : Public ations ▁dis est ab lished ▁in ▁ |
1 9 1 0 <0x0A> </s> ▁Mar vin ▁D . ▁I ann one ▁was ▁the ▁first ▁assistant ▁chief ▁of ▁police ▁of ▁the ▁Los ▁Angeles ▁Police ▁Department ▁and ▁later ▁the ▁Chief ▁of ▁the ▁B ever ly ▁Hills ▁Police ▁Department ▁from ▁ 1 9 8 5 ▁to ▁ 2 0 0 3 . ▁He ▁was ▁most ▁famous ▁for ▁being ▁in ▁charge ▁of ▁the ▁security ▁at ▁the ▁ 1 9 8 4 ▁Los ▁Angeles ▁Olympics . ▁ ▁He ▁was ▁one ▁of ▁the ▁first ▁police ▁officers ▁to ▁arrive ▁at ▁the ▁death ▁scene ▁of ▁Mar il yn ▁Mon roe ▁on ▁August ▁ 5 , ▁ 1 9 6 2 ▁and ▁he ▁has ▁consist ently ▁refused ▁to ▁discuss ▁his ▁observations . ▁ ▁While ▁there ▁is ▁no ▁fact ual ▁basis , ▁he ▁has ▁been ▁accused ▁by ▁consp i racy ▁the or ists ▁of ▁helping ▁with ▁the ▁cover ▁up ▁of ▁Mar il yn ▁Mon roe ' s ▁" m ur der ". ▁ ▁References ▁ ▁External ▁links ▁The ▁B ever ly ▁Hills ▁Police ▁Department ▁website ▁I ann one , ▁Mar vin ▁D . ▁Super vision ▁of ▁Police ▁Person nel . ▁▁ ▁Category : L iving ▁people ▁Category : Year ▁of ▁birth ▁missing ▁( l iving ▁people ) ▁Category : Pe ople ▁from ▁Los ▁Angeles ▁Category : Pe ople ▁from ▁B ever ly ▁Hills , ▁California ▁Category : American ▁police ▁chief s ▁Category : Ch ief s ▁of ▁police <0x0A> </s> ▁Ant ic lin ura ▁mov illa ▁is ▁a ▁species ▁of ▁sea ▁sn ail , ▁a ▁marine ▁g ast rop od ▁m |
oll usk ▁in ▁the ▁family ▁Mang eli idae . ▁ ▁Description ▁The ▁length ▁of ▁the ▁shell ▁att ains ▁ 9 mm , ▁its ▁diameter ▁ 4 . 2 mm . ▁ ▁( Original ▁description ) ▁ ▁The ▁small , ▁white ▁shell ▁shows ▁a ▁thin ▁gray ish ▁peri ost rac um . ▁It ▁contains ▁about ▁five ▁similarly ▁sculpt ured ▁wh or ls ▁exclusive ▁of ▁the ▁( lost ) ▁proto con ch ; . ▁The ▁ax ial ▁sculpt ure ▁consists ▁of ▁( on ▁the ▁body ▁wh or l ▁th ir teen ) ▁sharp , ▁narrow , ▁vertical ▁rib s , ▁fee ble ▁and ▁conc av ely ▁exc av ated ▁between ▁the ▁s uture ▁and ▁the ▁ke e led ▁shoulder ▁of ▁the ▁wh or l , ▁there ▁prom in ently ▁angular ▁beyond ▁the ▁shoulder ▁vertical , ▁becoming ▁ob sole te ▁on ▁the ▁base . ▁ ▁Bes ide ▁this ▁the ▁increment al ▁lines ▁are ▁min utely ▁elev ated ▁and ▁r asp like ▁over ▁the ▁whole ▁surface , ▁but ▁ ▁most ▁so ▁between ▁the ▁spir als . ▁The ▁s uture ▁is ▁distinct , ▁not ▁app ress ed . ▁The ▁wh or l ▁between ▁it ▁and ▁the ▁shoulder ▁is ▁desc ending ▁and ▁fl atten ed , ▁with ▁five ▁or ▁six ▁revol ving ▁fine ▁threads ▁and ▁some ▁secondary , ▁fin er ▁inter cal ary ▁threads . ▁The ▁shoulder ▁shows ▁a ▁prominent ▁small , ▁rounded ▁ke el , ▁und ulated ▁by ▁the ▁rib s , ▁beyond ▁which ▁similar ▁spir al ▁threads ▁to ▁the ▁number ▁of ▁a ▁dozen ▁or ▁more |
, ▁with ▁wider ▁inter spaces , ▁to ▁the ▁si ph onal ▁canal . ▁The ▁first ▁inter space ▁has ▁three ▁equal ▁fine ▁inter cal ary ▁threads , ▁the ▁second ▁two , ▁and ▁the ▁remainder ▁one ▁each , ▁becoming ▁gradually ▁closer ▁anterior ly . ▁The ▁a pert ure ▁is ▁rather ▁narrow . ▁ ▁The ▁anal ▁sul cus ▁is ▁wide , ▁shall ow , ▁extending ▁from ▁the ▁shoulder ▁to ▁the ▁s uture . ▁The ▁a pert ure ▁is ▁ang ulated ▁by ▁the ▁shoulder ▁ke el . ▁The ▁ ▁outer ▁lip ▁is ▁thin ▁and ▁entire . ▁The ▁body ▁of ▁the ▁shell ▁shows ▁a ▁was h ▁of ▁call us , ▁white , ▁pol ished . ▁The ▁col um ella ▁is ▁rapidly ▁at ten u ated , ▁straight , ▁the ▁axis ▁not ▁per vious . ▁The ▁si ph onal ▁canal ▁is ▁ ▁narrow ▁and ▁straight . ▁ ▁Distribution ▁This ▁marine ▁species ▁occurs ▁in ▁the ▁Pacific ▁Ocean ▁off ▁Northern ▁Peru ▁ ▁External ▁links ▁ ▁Ram í rez , ▁R ina , ▁Carlos ▁P ared es , ▁and ▁José ▁Ar enas . ▁" M ol us cos ▁del ▁Perú ." ▁Rev ista ▁de ▁Bi ología ▁Trop ical ▁ 5 1 ▁( 2 0 0 3 ): ▁ 2 2 5 – 2 8 4 . ▁ ▁References ▁▁▁ ▁T ucker , ▁J . K . ▁ 2 0 0 4 ▁Catalog ▁of ▁recent ▁and ▁foss il ▁t urr ids ▁( M oll us ca : ▁Gast rop oda ). ▁Z oot ax a ▁ 6 8 2 : 1 - 1 |
2 9 5 . ▁ ▁per uv iana ▁Category : G ast rop ods ▁described ▁in ▁ 1 9 0 8 <0x0A> </s> ▁" F . ▁R ." ▁David ▁( born ▁Elli ▁Robert ▁F it ous si ▁ 1 ▁January ▁ 1 9 4 7 , ▁M enz el ▁Bour gu iba , ▁Tun is ia ) ▁is ▁a ▁Tun is ian - born ▁French ▁singer . ▁He ▁is ▁best ▁known ▁for ▁his ▁ 1 9 8 2 ▁hit ▁single ▁" W ords ". ▁ ▁Career ▁F . ▁R . ▁David ▁began ▁his ▁career ▁as ▁Robert ▁F it ous si , ▁a ▁Tun is ian - born ▁singer - song writer ▁and ▁guitar ist ▁with ▁French ▁gar age ▁band ▁Les ▁Tr è f les . ▁After ▁one ▁E . P ., ▁they ▁mut ated ▁into ▁Les ▁Bo ots , ▁but ▁achieved ▁very ▁little ▁commercial ▁success . ▁A do pt ing ▁his ▁new ▁stage ▁name , ▁he ▁went ▁solo ▁in ▁ 1 9 6 7 ▁and ▁recorded ▁some ▁orch est ral ▁pop ▁psych ▁with ▁Michel ▁Colomb ier , ▁including ▁a ▁version ▁of ▁The ▁Beat les ' ▁" St raw berry ▁Field s ▁Fore ver " ▁( Il ▁Est ▁Plus ▁Fa cile ). ▁He ▁enjoyed ▁minor ▁hits ▁with ▁the ▁É ric ▁Ch arden ▁p enn ed ▁" Sym ph onie " ▁and ▁a ▁cover ▁of ▁The ▁Be e ▁Ge es ' ▁" S ir ▁Geoff rey ▁Sav ed ▁the ▁World ", ▁but ▁this ▁success ▁did ▁not ▁last . ▁He ▁then ▁created ▁Az te c ▁Records |
▁with ▁Son op ress ▁& ▁Car rer ▁and ▁started ▁producing ▁with ▁Michael ▁Ha ub rich ▁and ▁they ▁wrote ▁and ▁produced ▁several ▁groups . ▁The ▁first ▁was ▁called ▁C ock pit , ▁followed ▁by ▁David ▁Cast , ▁Doc ▁& ▁Pro hib ition ▁Group , ▁R ag ga , ▁A lain ▁Maria , ▁Fred dy ▁Meyer , ▁and ▁D D ▁D augh ter dy dawn ▁with ▁V angel is ▁Pap athan ass i ou . ▁During ▁the ▁early ▁ 1 9 7 0 s , ▁he ▁formed ▁the ▁progress ive ▁rock ▁group ▁David ▁Ex pl os ion ▁but ▁their ▁one ▁album ▁was ▁not ▁a ▁success . ▁He ▁worked ▁with ▁V angel is ▁for ▁a ▁while , ▁appearing ▁as ▁vocal ist ▁on ▁some ▁of ▁his ▁early ▁ 1 9 7 0 s ▁albums , ▁and ▁then ▁joined ▁French ▁rock ▁band ▁Les ▁Vari ations , ▁appearing ▁on ▁their ▁final ▁album ▁C afé ▁De ▁Paris ▁( 1 9 7 5 ), ▁which ▁featured ▁an ▁early ▁rock - dis co ▁c ros so ver ▁" Super man , ▁Super man ". ▁When ▁the ▁band ▁broke ▁up , ▁he ▁went ▁solo ▁again . ▁His ▁personal ▁" tra dem arks " ▁are ▁his ▁s ung lass es ▁and ▁his ▁guitar ▁( a ▁white ▁F ender ▁Str at oc aster ). ▁ ▁His ▁most ▁recogn ised ▁song ▁was ▁his ▁hit ▁" W ords " ▁in ▁ 1 9 8 2 , ▁which ▁sold ▁eight ▁million ▁records ▁world wide , ▁to pped ▁various ▁charts ▁around ▁Europe ▁in ▁late ▁ 1 9 8 2 |
, ▁and ▁reached ▁No . ▁ 2 ▁in ▁the ▁UK ▁Singles ▁Chart ▁in ▁spring ▁ 1 9 8 3 , ▁covering ▁a ▁rival ▁version ▁by ▁ 1 9 6 0 s ▁hit m akers ▁The ▁T rem elo es , ▁and ▁going ▁on ▁to ▁becoming ▁the ▁ 2 2 nd ▁best - s elling ▁single ▁in ▁the ▁UK ▁during ▁ 1 9 8 3 . ▁The ▁song ▁appears ▁in ▁the ▁Oscar - n omin ated ▁film ▁for ▁Best ▁Picture , ▁Call ▁Me ▁By ▁Your ▁Name . ▁The ▁song ▁is ▁a ▁catch y , ▁slightly ▁pla int ive ▁synth - led ▁mid - tem po ▁ball ad ▁s ung ▁in ▁a ▁sl ender , ▁high - p itch ed ▁voice . ▁F . ▁R . ▁David ' s ▁voice ▁is ▁also ▁heard ▁on ▁the ▁ 1 9 7 4 ▁ 4 5 r pm ▁single ▁" Who " ▁by ▁V angel is ▁under ▁the ▁name ▁' O d ys sey '. ▁ ▁In ▁ 1 9 8 3 , ▁Thomas ▁Anders ▁covered ▁F . ▁R . ▁David ' s ▁song ▁" P ick ▁Up ▁the ▁Phone " ▁in ▁German . ▁In ▁ 2 0 0 7 , ▁Mr . ▁O izo ▁of ▁Ed ▁B anger ▁Records ▁sample d ▁the ▁song ▁" Don ' t ▁Go " ▁on ▁his ▁song ▁" First ▁Love ", ▁which ▁features ▁singer ▁U ff ie . ▁ ▁During ▁the ▁ 1 9 9 0 s , ▁he ▁took ▁time ▁out ▁from ▁his ▁own ▁music ▁career ▁and ▁focused ▁on ▁writing ▁and |
▁compos ing ▁for ▁other ▁well ▁known ▁artists . ▁F . ▁R . ▁David ▁released ▁another ▁album ▁ ▁W ords ▁– ▁' 9 9 ▁Version ▁in ▁ 2 0 0 0 ▁which ▁contained ▁mostly ▁covers . ▁In ▁ 2 0 0 9 , ▁he ▁released ▁the ▁album ▁Num bers , ▁which ▁was ▁in ▁collaboration ▁with ▁other ▁mus icians ▁and ▁featured ▁songs ▁that ▁F . ▁R . ▁David ▁himself ▁most ▁preferred . ▁ ▁Between ▁ 2 0 1 0 ▁and ▁ 2 0 1 1 , ▁he ▁went ▁on ▁a ▁national ▁French ▁tour ▁of ▁ 5 2 ▁concert s . ▁ ▁Disc ography ▁ ▁Albums ▁ ▁W ords ▁( 1 9 8 2 ) ▁ ▁Long ▁Dist ance ▁Fl ight ▁( 1 9 8 4 ) ▁ ▁Ref lections ▁( 1 9 8 7 ) ▁ ▁Vo ices ▁of ▁the ▁Blue ▁Planet ▁( 1 9 9 8 ) ▁ ▁W ords ▁– ▁' 9 9 ▁Version ▁( 1 9 9 9 ) ▁ ▁The ▁W heel ▁( 2 0 0 7 ) ▁ ▁Num bers ▁ ▁( 2 0 0 9 ) ▁ ▁Mid night ▁Drive ▁ ▁( 2 0 1 3 ) ▁ ▁Singles ▁ ▁" W ords " ▁( 1 9 8 2 ) ▁ ▁" P ick ▁Up ▁the ▁Phone " ▁( 1 9 8 2 ) ▁ ▁" Music " ▁( 1 9 8 3 ) ▁ ▁" I ▁Need ▁You " ▁( 1 9 8 3 ) ▁ ▁" G otta ▁Get ▁a ▁Move ▁On " ▁( 1 9 8 |
3 ) ▁ ▁" Play ▁a ▁Little ▁Game " ▁( 1 9 8 3 ) ▁ ▁" R ock ▁Fame " ▁( 1 9 8 3 ) ▁ ▁" S and ▁D unes " ▁( 1 9 8 3 ) ▁ ▁" D ream ▁A way " ▁( 1 9 8 4 ) ▁ ▁" S ah ara ▁Night " ▁( 1 9 8 6 ) ▁ ▁" Don ' t ▁Go " ▁( 1 9 8 7 ) ▁ ▁" W ords ▁( 1 9 8 9 ▁Rem ix ) ▁( 1 9 8 9 ) ▁ ▁" I ' ll ▁Try ▁to ▁Love ▁Again " ▁( 1 9 9 2 ) ▁ ▁" Your ▁Love ▁Sh ines " ▁( 2 0 1 8 ) ▁ ▁" Par is ▁Is ▁Her ▁Home " ▁( 2 0 1 8 ) ▁ ▁Comp il ations ▁ ▁Ro cker ▁Blues ▁( 1 9 8 6 , ▁Argentina ▁Only ) ▁ ▁Great est ▁H its ▁( 1 9 9 1 ) ▁ ▁Best ▁Of ▁F . ▁R . ▁David ▁( 2 0 0 0 ) ▁ ▁Song book ▁( 2 0 0 3 ) ▁ ▁References ▁ ▁External ▁links ▁ ▁F . ▁R . ▁D AV ID ' s ▁Official ▁Website ▁ ▁F . ▁R . ▁D AV ID ' s ▁F an club ▁In ▁Korea ▁ ▁Category : 1 9 4 7 ▁birth s ▁Category : 2 0 th - century ▁French ▁mus icians ▁Category : 2 1 st - century ▁French ▁mus icians ▁Category |
: English - language ▁sing ers ▁from ▁France ▁Category : F rench ▁male ▁singer - song writ ers ▁Category : Les ▁Vari ations ▁members ▁Category : L iving ▁people ▁Category : Pe ople ▁from ▁B izer te ▁Governor ate ▁Category : T un is ian ▁em igr ants ▁to ▁France <0x0A> </s> ▁The ▁Kar aw anks ▁T unnel ▁( , ▁) ▁is ▁the ▁fourth ▁longest ▁railway ▁tunnel ▁in ▁Austria ▁and ▁the ▁longest ▁in ▁Sloven ia ▁with ▁a ▁length ▁of ▁ ▁( 4 . 9 6 ▁miles ). ▁The ▁tunnel ▁passes ▁under ▁Ro ž ca ▁S addle ▁between ▁Rosen bach ▁in ▁southern ▁Austria ▁and ▁Jes en ice ▁in ▁northern ▁Sloven ia . ▁It ▁was ▁an ▁important ▁part ▁of ▁the ▁Kar aw ank en ▁Railway , ▁which ▁was ▁- ▁together ▁with ▁the ▁Boh in j ▁Railway ▁- ▁built ▁to ▁connect ▁the ▁port ▁of ▁Tri este ▁with ▁K lagen furt , ▁the ▁capital ▁of ▁the ▁federal ▁state ▁of ▁Car inth ia ▁in ▁Austria . ▁ ▁Between ▁ 1 8 6 7 - 1 9 1 8 , ▁Tri este ▁was ▁part ▁of ▁the ▁Aust ro - H ung arian ▁Empire . ▁It ▁was ▁Austria ' s ▁first ▁se ap ort ▁and ▁the ▁principal ▁out let ▁for ▁the ▁Aust ro - H ung arian ▁Empire ' s ▁ocean ▁trade , ▁but ▁it ▁lack ed ▁ade qu ate ▁railway ▁communication ▁with ▁Austria ' s ▁interior . ▁To ▁give ▁a ▁great ▁imp et us ▁to ▁the ▁trade ▁of ▁Tri este ▁in ▁particular ▁and ▁to ▁the ▁over - se a |
▁trade ▁of ▁Austria ▁in ▁general , ▁it ▁was ▁decided ▁in ▁ 1 9 0 1 ▁to ▁build ▁the ▁Kar aw ank en ▁Railway , ▁connecting ▁Tri este ▁and ▁K lagen furt . ▁The ▁railway ▁was ▁built ▁over ▁and ▁through ▁the ▁Kar aw anks , ▁Europe ' s ▁longest ▁( 1 2 0 ▁km / 7 0 ▁mi ) ▁mountain ▁range , ▁on ▁the ▁border ▁between ▁what ▁are ▁now ▁Sloven ia ▁and ▁Austria . ▁The ▁Kar aw anks ▁T unnel ▁was ▁opened ▁on ▁October ▁ 1 , ▁ 1 9 0 6 , ▁by ▁Arch du ke ▁Franz ▁Ferdinand . ▁ ▁The ▁tunnel ▁is ▁still ▁of ▁importance ▁to ▁international ▁train ▁traffic . ▁It ▁is ▁travers ed ▁by ▁more ▁than ▁ 8 0 ▁trains ▁a ▁day . ▁ ▁Mod ification ▁+ ▁Ren ov ation ▁ 2 0 2 0 - 2 0 2 1 ▁ ▁Starting ▁by ▁ 2 0 2 0 , ▁the ▁tw in - track ▁tunnel , ▁will ▁be ▁reduced ▁to ▁single ▁track ▁over ▁a ▁period ▁of ▁one ▁year . ▁As ▁a ▁result , ▁a ▁rescue ▁passage ▁can ▁be ▁constructed ▁from ▁the ▁un used ▁area . ▁At ▁the ▁same ▁time , ▁the ▁building , ▁which ▁is ▁over ▁ 1 0 0 ▁years ▁old , ▁is ▁to ▁be ▁brought ▁up ▁to ▁the ▁state ▁of ▁the ▁art . ▁This ▁includes ▁the ▁installation ▁of ▁a ▁ce iling ▁bus bar , ▁the ▁renew al ▁of ▁the ▁d rain age ▁and ▁the ▁tunnel ▁floor , ▁as ▁well ▁as ▁the ▁partial ▁renov ation ▁of ▁the ▁tunnel ▁v ault |
▁by ▁new ▁anch ors , ▁rein for cement ▁and ▁concrete . ▁The ▁new ▁safety ▁standards ▁will ▁enable ▁a ▁higher ▁operating ▁speed ▁inside ▁the ▁tunnel ▁and ▁make ▁the ▁tunnel ▁Ro La ▁- ▁suitable . ▁Despite ▁the ▁fact ▁that ▁the ▁tunnel ▁will ▁only ▁be ▁operated ▁with ▁only ▁one ▁track ▁in ▁the ▁future , ▁this ▁should ▁not ▁be ▁an ▁obst acle ▁in ▁relation ▁to ▁the ▁volume ▁of ▁traffic . ▁ ▁The ▁project ▁has ▁a ▁total ▁budget ▁of ▁ 1 1 5 ▁million ▁eu ros , ▁divided ▁over ▁the ▁kilom eters ▁of ▁each ▁country , ▁Sloven ia ▁cont ributes ▁ 5 0 ▁million ▁eu ros , ▁Austria ▁ 6 5 . 3 ▁million ▁eu ros . ▁The ▁project ▁is ▁finan cially ▁supported ▁by ▁the ▁European ▁Union ▁within ▁the ▁framework ▁of ▁the ▁Connect ing ▁Europe ▁Fac ility ▁Program . ▁ ▁References ▁▁ ▁Category : R ail way ▁t unn els ▁in ▁Austria ▁Category : R ail way ▁t unn els ▁in ▁Sloven ia ▁Category : Intern ational ▁t unn els ▁Category : A ust ria – S lo ven ia ▁border ▁cross ings ▁Category : T unn els ▁completed ▁in ▁ 1 9 0 6 ▁Category : M unicip ality ▁of ▁Jes en ice ▁Category : T unn els ▁in ▁the ▁Al ps ▁Category : Base ▁t unn els ▁Category : Single - t ube ▁railway ▁t unn els ▁with ▁a ▁proposed ▁second ▁t ube ▁Category : 1 9 0 6 ▁establish ments ▁in ▁Austria - H ung ary <0x0A> </s> ▁Matthew ▁Nor ris ▁( born ▁ 1 |
8 ▁December ▁ 1 9 9 2 ) ▁is ▁a ▁South ▁African ▁cr ick eter . ▁He ▁is ▁a ▁left ▁handed ▁b ats man ▁and ▁a ▁left ▁arm ▁orth odox ▁bow ler . ▁He ▁made ▁his ▁first ▁class ▁debut ▁for ▁Card iff ▁M CC U ▁against ▁G lam organ ▁ ▁on ▁ 2 ▁April ▁ 2 0 1 4 . ▁ ▁References ▁ ▁External ▁links ▁ ▁Category : 1 9 9 2 ▁birth s ▁Category : L iving ▁people ▁Category : S outh ▁African ▁cr ick eters ▁Category : Card iff ▁M CC U ▁cr ick eters <0x0A> </s> ▁Qu arter back ▁U ▁is ▁a ▁nick name ▁used ▁by ▁sport sw rit ers ▁to ▁refer ▁to ▁colleg es ▁that ▁have ▁trained ▁a ▁series ▁of ▁notable ▁football ▁quarter back s ▁( Q B s ). ▁It ▁is ▁a ▁literary ▁device ▁invoked ▁in ▁the ▁individual ▁dis cret ion ▁of ▁sport sw rit ers ▁and ▁does ▁not ▁represent ▁any ▁formal ▁decision - making ▁process ▁or ▁organized ▁sport sw rit ers ' ▁poll . ▁Gener ally ▁speaking , ▁the ▁term ▁implies ▁that ▁many ▁of ▁the ▁school ' s ▁former ▁quarter back s ▁later ▁had ▁successful ▁care ers ▁in ▁professional ▁football , ▁particularly ▁in ▁the ▁National ▁Football ▁League ▁( N FL ). ▁ ▁A ▁Wall ▁Street ▁Journal ▁article ▁on ▁November ▁ 1 8 , ▁ 2 0 1 2 , ▁pointed ▁out ▁that ▁' P urd ue ▁may ▁be ▁the ▁ult imate ▁Qu arter back ▁U . ▁Since ▁the ▁ 1 9 7 0 ▁mer ger ▁( between |
▁the ▁A FL ▁and ▁NFL ), ▁quarter back s ▁from ▁Pur due ▁have ▁started ▁ 7 2 4 ▁NFL ▁games , ▁easily ▁the ▁most ▁of ▁any ▁major - con ference ▁program .' ▁After ▁Pur due ▁Q B s ' ▁ 7 2 4 ▁NFL ▁games , ▁the ▁next ▁best ▁schools ▁were ▁the ▁University ▁of ▁Washington ▁( 6 2 3 ▁starts ), ▁Miami ▁( 5 7 3 ), ▁University ▁of ▁Southern ▁California ▁( 5 4 7 ) ▁and ▁Notre ▁D ame ▁( 5 4 3 ). ▁ ▁In ▁August ▁ 2 0 1 8 , ▁an ▁Al to ona ▁Mir ror ▁writer ▁sought ▁to ▁name ▁" Qu arter back ▁U " ▁by ▁player ▁achiev ements , ▁such ▁as ▁NFL ▁starts , ▁Pro ▁Bowl ▁appearances , ▁and ▁He is man ▁Tro ph ies ▁won . ▁He ▁noted ▁that , ▁in ▁the ▁Super ▁Bowl ▁era , ▁Washington ▁H usk ies ▁football ▁| ▁U W ▁( 1 4 ), ▁US C ▁( 1 3 ), ▁Notre ▁D ame ▁( 1 3 ), ▁Miami ▁( 1 0 ), ▁Stan ford ▁( 1 0 ), ▁and ▁U CLA ▁( 1 0 ) ▁produced ▁at ▁least ▁ten ▁starting ▁NFL ▁quarter back s , ▁while ▁Pur due ▁recorded ▁the ▁most ▁combined ▁NFL ▁career ▁starts ▁( 7 0 4 ). ▁The ▁article ▁concluded ▁that ▁no ▁single ▁program ▁des erved ▁the ▁title ▁significantly ▁more ▁than ▁others . ▁ ▁Ex amples ▁ ▁Br igh am ▁Young ▁University ▁Sports ▁writers ▁dub bed ▁the ▁BY U ▁as ▁a ▁Qu arter back ▁U ▁from ▁the ▁ 1 |
9 8 0 s ▁through ▁the ▁ 1 9 9 0 s ▁under ▁coach ▁La V ell ▁Edwards , ▁a kin ▁to ▁US C ' s ▁reputation ▁as ▁T ail back ▁U . ▁It ▁produced ▁G iff ord ▁N iel sen , ▁Marc ▁Wilson , ▁Jim ▁Mc M ah on , ▁Steve ▁Young , ▁Rob bie ▁Bos co , ▁Ty ▁Det mer , ▁and ▁Steve ▁S ark is ian . ▁In ▁ 2 0 0 5 , ▁the ▁Des er et ▁News ▁wrote ▁that ▁the ▁last ▁great ▁BY U ▁signal ▁caller ▁was ▁ 2 0 0 1 ▁He is man ▁Tro phy ▁runner - up ▁Br andon ▁D oman , ▁who ▁also ▁later ▁served ▁as ▁the ▁C oug ars ' ▁off ensive ▁coordin ator . ▁It ▁also ▁assert ed ▁that , ▁upon ▁D oman ' s ▁gradu ation , ▁head ▁coach ▁Gary ▁Crow ton ▁rot ated ▁quarter back s ▁so ▁frequently ▁that ▁it ▁advers ely ▁affected ▁their ▁performance . ▁Under ▁coach ▁Bron co ▁M enden hall , ▁BY U ▁had ▁a ▁r ena issance ▁of ▁quality ▁play ▁at ▁quarter back ▁position , ▁led ▁by ▁John ▁Beck , ▁Max ▁Hall , ▁and ▁T ays om ▁Hill . ▁ ▁Pur due ▁University ▁In ▁the ▁ 1 9 6 0 s , ▁Pur due ▁became ▁known ▁as ▁' Qu arter back ▁U ' ▁and ▁' C rad le ▁of ▁Qu arter back s ' ▁by ▁media ▁and ▁riv als ▁such ▁as ▁Ohio ▁State ▁and ▁Notre ▁D ame ▁due ▁to ▁its ▁prominent ▁Q B s . ▁Between |
▁ 1 9 6 7 ▁and ▁ 1 9 7 4 , ▁Pur due ▁Q B s ▁Len ▁Daw son ▁and ▁Bob ▁G ri ese ▁started ▁five ▁Super ▁Bow ls , ▁winning ▁three ; ▁Cec il ▁Is bell ▁led ▁the ▁Green ▁Bay ▁Pack ers ▁to ▁an ▁NFL ▁title ▁in ▁ 1 9 3 9 , ▁El mer ▁O li ph ant ▁led ▁the ▁Buff alo ▁All - Amer icans ▁to ▁a ▁disput ed ▁NFL ▁title ▁in ▁ 1 9 2 1 ; ▁Pur due ▁has ▁produced ▁NFL ▁starting ▁Q B s ▁in ▁Mike ▁Ph ipp s , ▁Gary ▁Daniel son , ▁Jim ▁Ever ett , ▁Mark ▁Hermann , ▁and ▁K yle ▁Or ton ; ▁Scott ▁Campbell ▁and ▁Curt is ▁P ain ter ▁were ▁well - known ▁backup ▁quarter back s , ▁Jo ey ▁Elli ott ▁is ▁a ▁starting ▁Q B ▁in ▁the ▁Canadian ▁Football ▁League . ▁ ▁The ▁tradition ▁has ▁continued ▁through ▁to ▁this ▁day ▁with ▁D rew ▁Bre es ▁winning ▁the ▁Super ▁Bowl ▁X LI V , ▁in ▁which ▁he ▁was ▁also ▁named ▁M VP . ▁ 1 5 ▁Pur due ▁Q B s ▁went ▁on ▁to ▁the ▁NFL ; ▁Pur due ▁is ▁tied ▁for ▁first ▁with ▁Alabama ▁in ▁producing ▁Super ▁Bowl ▁winning ▁quarter back s . ▁ ▁According ▁to ▁ESP N . com , ▁Pur due ▁Q B s ▁have ▁won ▁( and ▁started ) ▁more ▁NFL ▁games ▁than ▁any ▁other ▁school ; ▁thrown ▁for ▁the ▁most ▁touch down s ▁and ▁yards ▁in ▁the ▁NFL . ▁ ▁Pur due ▁Q B |
s ▁have ▁won ▁more ▁League ▁T D ▁titles ▁( 1 4 ▁through ▁the ▁ 2 0 1 2 ▁NFL ▁season ) ▁than ▁any ▁other ▁school . ▁ ▁Stan ford ▁University ▁As ▁early ▁as ▁ 1 9 7 5 , ▁the ▁term ▁Qu arter back ▁U ▁had ▁been ▁applied ▁to ▁Stan ford ▁University , ▁which ▁had ▁produced ▁such ▁players ▁as ▁Frank ie ▁Albert , ▁John ▁Bro die , ▁Jim ▁Pl unk ett , ▁Don ▁Bun ce , ▁and ▁Mike ▁B ory la . ▁This ▁reputation ▁was ▁en hanced ▁when ▁Bill ▁Wal sh ▁joined ▁the ▁Card inal ▁as ▁head ▁coach , ▁and ▁quarter back s ▁Guy ▁Benjamin , ▁Steve ▁D ils , ▁and ▁Turk ▁Sch on ert ▁prompt ly ▁led ▁the ▁NCAA ▁in ▁passing ▁in ▁ 1 9 7 7 , ▁ 1 9 7 8 , ▁and ▁ 1 9 7 9 . ▁They ▁were ▁followed ▁by ▁perhaps ▁Stan ford ' s ▁best - known ▁quarter back , ▁John ▁El way , ▁who ▁played ▁at ▁the ▁university ▁from ▁ 1 9 7 9 ▁to ▁ 1 9 8 2 , ▁finishing ▁second ▁in ▁the ▁He is man ▁voting ▁his ▁senior ▁season . ▁El way ▁would ▁go ▁on ▁to ▁have ▁a ▁Hall ▁of ▁Fame ▁career ▁with ▁the ▁Bron cos ▁and ▁win ▁the ▁Super ▁Bowl ▁in ▁ 1 9 9 7 ▁and ▁ 1 9 9 8 . ▁ ▁By ▁ 1 9 8 9 , ▁the ▁San ▁Jose ▁Mercur y ▁News ▁sur m ised ▁that ▁Stan ford ' s ▁" once ▁bright ▁legacy " ▁as |
▁Qu arter back ▁U ▁appeared ▁" to ▁be ▁f lick ering ▁out ". ▁However , ▁recently ▁Stan ford ' s ▁quarter back ▁tradition ▁has ▁experienced ▁something ▁of ▁a ▁rev ival ▁under ▁Andrew ▁L uck . ▁L uck ▁finished ▁second ▁in ▁the ▁voting ▁for ▁the ▁He is man ▁tro phy , ▁the ▁award ▁given ▁to ▁college ▁football ' s ▁most ▁out standing ▁player , ▁in ▁both ▁ 2 0 1 0 ▁and ▁ 2 0 1 1 . ▁When ▁draft ed ▁by ▁the ▁Indian apolis ▁Col ts ▁in ▁the ▁ 2 0 1 2 ▁NFL ▁D raft , ▁he ▁became ▁the ▁fourth ▁Stan ford ▁quarter back ▁taken ▁with ▁the ▁first ▁overall ▁pick , ▁following ▁El way , ▁Pl unk ett ▁and ▁Bobby ▁Gar rett , ▁but ▁the ▁first ▁since ▁El way ▁was ▁taken ▁by ▁the ▁Col ts ▁in ▁ 1 9 8 3 . ▁ ▁Stan ford ▁quarter back s ▁have ▁started ▁ 7 ▁Super ▁Bow ls , ▁winning ▁ 4 , ▁and ▁gar ner ing ▁two ▁Super ▁Bowl ▁Most ▁Val u able ▁Player ▁Awards . ▁ ▁Texas ▁Te ch ▁University ▁In ▁ 2 0 0 5 , ▁a ▁Sport ing ▁News ▁writer ▁described ▁Texas ▁Te ch ▁as ▁Qu arter back ▁U ▁in ▁an ▁article ▁that ▁best owed ▁several ▁position al ▁" U " ▁mon ik ers ▁with ▁the ▁criteria ▁being ▁college ▁performance ▁since ▁ 2 0 0 0 . ▁Its ▁author ▁c ited ▁head ▁coach ▁Mike ▁Le ach ' s ▁numerous ▁ 4 , 0 0 0 - yard - plus ▁pass ers |
. ▁ ▁University ▁of ▁Maryland ▁During ▁the ▁ 1 9 8 0 s , ▁the ▁term ▁was ▁also ▁applied ▁to ▁Maryland , ▁which ▁produced ▁several ▁NFL - cal iber ▁quarter back s ▁during ▁the ▁ten ures ▁of ▁head ▁coach ▁Bobby ▁Ross ▁and ▁off ensive ▁coordin ator ▁and ▁quarter back s / rece ivers ▁coach ▁Joe ▁K riv ak . ▁These ▁Maryland ▁quarter back s ▁included ▁Bo omer ▁E si ason , ▁Frank ▁Reich , ▁Neil ▁O ' D onn ell , ▁Scott ▁Z ol ak , ▁and ▁Stan ▁Gel b augh . ▁In ▁ 2 0 0 5 , ▁The ▁Washington ▁Post ▁re app lied ▁the ▁label ▁to ▁the ▁Ter rap ins ▁under ▁head ▁coach ▁Ralph ▁Fried gen ▁and ▁off ensive ▁coordin ator ▁Charlie ▁Ta aff e , ▁after ▁Sam ▁Hol len bach ▁became ▁the ▁Atlantic ▁Coast ▁Conference ' s ▁leading ▁passer . ▁That ▁co aching ▁staff ▁also ▁gro omed ▁Sh a un ▁Hill ▁and ▁Scott ▁Mc B rien . ▁ ▁University ▁of ▁Miami ▁In ▁the ▁ 1 9 8 0 s , ▁the ▁term ▁was ▁often ▁applied ▁to ▁the ▁University ▁of ▁Miami . ▁In ▁ 2 0 0 3 , ▁T racy ▁G ale , ▁a ▁sport ▁public ist ▁working ▁for ▁the ▁University ▁of ▁Miami , ▁named ▁Fran ▁Cur ci , ▁who ▁was ▁Miami ' s ▁quarter back ▁in ▁ 1 9 5 9 , ▁as ▁the ▁start ▁of ▁what ▁he ▁called ▁" M iami ' s ▁Qu arter back ▁U ▁tradition ." ▁George ▁Mira , ▁Jim ▁Kelly , ▁Bern ie ▁Kos |
ar , ▁Vin ny ▁Test aver de , ▁Steve ▁Wal sh , ▁Ken ▁Dor sey , ▁Craig ▁Er ick son , ▁and ▁G ino ▁Tor rett a ▁are ▁some ▁H urr ican es ▁quarter back s ▁that ▁influenced ▁his ▁use ▁of ▁the ▁term . ▁The ▁term ▁is ▁still ▁often ▁applied , ▁although ▁Miami ▁currently ▁has ▁fewer ▁quarter back s ▁starting ▁in ▁the ▁NFL ▁than ▁it ▁has ▁in ▁the ▁past . ▁In ▁ 2 0 0 8 , ▁all ▁three ▁Miami ▁quarter back s ▁entered ▁the ▁season ▁with ▁no ▁game ▁experience , ▁and ▁p und its ▁charged ▁head ▁coach ▁R andy ▁Sh annon ▁with ▁re building ▁the ▁program ' s ▁reputation ▁of ▁producing ▁high - quality ▁signal call ers . ▁ ▁University ▁of ▁Michigan ▁In ▁recent ▁years , ▁sport sw rit ers ▁have ▁mentioned ▁several ▁schools ▁as ▁being ▁appropriate ▁for ▁the ▁design ation . ▁A ▁ 2 0 0 5 ▁ESP N ▁article ▁c ited ▁that , ▁since ▁ 1 9 8 8 , ▁Michigan ▁sent ▁as ▁many ▁starting ▁quarter back s ▁to ▁the ▁NFL ▁as ▁the ▁University ▁of ▁Miami . ▁It ▁argued ▁that ▁" three ▁yards ▁and ▁a ▁cloud ▁of ▁dust " ▁is ▁no ▁longer ▁the ▁off ensive ▁philosophy ▁at ▁Michigan . ▁A ▁year ▁later , ▁Riv als . com ▁proc laimed ▁that ▁Michigan ▁was ▁" the ▁new ▁Qu arter back ▁U ." ▁El vis ▁Gr b ac , ▁Tod d ▁Collins , ▁Tom ▁Br ady , ▁Jim ▁Har b augh , ▁Brian ▁G ri ese ▁and ▁Ch ad ▁Hen ne ▁are ▁some |
▁of ▁the ▁Wol ver ine ▁quarter back s ▁who ▁have ▁gone ▁on ▁to ▁start ▁in ▁the ▁NFL . ▁ ▁University ▁of ▁Southern ▁California ▁US C ▁is ▁tradition ally ▁known ▁as ▁T ail back ▁U , ▁but ▁after ▁the ▁ 2 0 0 8 ▁season ▁The ▁Los ▁Angeles ▁Times ▁claimed ▁that ▁it ▁was ▁the ▁school ▁most ▁deser ving ▁of ▁the ▁design ation ▁Qu arter back ▁U . ▁ ▁Since ▁ 2 0 0 9 , ▁six ▁former ▁US C ▁quarter back s ▁started ▁in ▁an ▁NFL ▁game : ▁Matt ▁Le in art , ▁Matt ▁Cass el , ▁Car son ▁Pal mer , ▁Mark ▁San chez , ▁C ody ▁K ess ler , ▁and ▁Sam ▁D arn old . ▁ ▁University ▁of ▁Washington ▁Washington ▁quarter back s ▁have ▁consist ently ▁advanced ▁to ▁the ▁NFL , ▁with ▁ 1 6 ▁of ▁the ▁previous ▁ 1 8 ▁starting ▁quarter back s ▁as ▁of ▁ 2 0 1 2 ▁having ▁started ▁in ▁the ▁NFL . ▁ ▁Washington ' s ▁Pro ▁Football ▁Hall ▁of ▁Fame ▁member ▁Warren ▁Moon ▁is ▁fourth ▁in ▁all - time ▁passing ▁yard age , ▁reflect ing ▁his ▁C FL ▁and ▁NFL ▁care ers . ▁ ▁Other ▁notable ▁al umn i ▁include ▁Chris ▁Ch and ler , ▁Mark ▁Brun ell , ▁Dam on ▁Hu ard ▁and ▁J ake ▁L ocker . ▁ ▁ESP N ▁points ▁to ▁the ▁program ' s ▁history ▁by ▁the ▁early ▁ 1 9 8 0 s . ▁ ▁North ▁Carolina ▁State ▁University ▁An ▁October ▁ 2 0 1 9 ▁Sports ▁Illustr ated |
▁article ▁described ▁NC ▁State ▁as ▁" Qu arter back ▁U " ▁after ▁five ▁former ▁quarter back s ▁( Ph il ip ▁R ivers , ▁Russell ▁Wilson , ▁Mike ▁Gl enn on , ▁Jacob y ▁Br iss ett , ▁and ▁Ryan ▁Fin ley ) ▁from ▁the ▁school ▁advanced ▁to ▁play ▁in ▁the ▁NFL ▁between ▁the ▁years ▁of ▁ 2 0 0 3 ▁and ▁ 2 0 1 9 . ▁The ▁article ▁noted ▁that ▁four ▁of ▁the ▁five ▁( R ivers , ▁Wilson , ▁Br iss ett , ▁and ▁Fin ley ) ▁are ▁NFL ▁starting ▁quarter back s . ▁NC ▁State ▁had ▁been ▁in ▁the ▁conversation ▁as ▁early ▁as ▁ 2 0 1 6 ▁when ▁a ▁CBS ▁Sports ▁article ▁ranked ▁the ▁school ▁at ▁number ▁two ▁behind ▁the ▁University ▁of ▁Southern ▁California ▁on ▁a ▁list ▁that ▁also ▁included ▁Pur due , ▁Boston ▁College , ▁and ▁Michigan . ▁At ▁that ▁point , ▁only ▁R ivers ▁and ▁Wilson ▁held ▁starting ▁positions ▁in ▁the ▁NFL , ▁but ▁the ▁article ▁noted ▁that ▁Gl enn on ▁had ▁also ▁been ▁a ▁st arter ▁for ▁T ampa ▁Bay . ▁ ▁References ▁ ▁Category : Col lege ▁football ▁in ▁the ▁United ▁States <0x0A> </s> ▁The ▁G F 6 C ▁was ▁an ▁electric ▁locomot ive ▁for ▁fre ight ▁duties ▁built ▁by ▁General ▁Mot ors ▁Dies el ▁in ▁collaboration ▁with ▁A SE A ▁of ▁Sweden . ▁▁ ▁Seven ▁of ▁these ▁locomot ives ▁were ▁built ▁in ▁ 1 9 8 3 ▁and ▁ 1 9 8 4 , ▁for ▁use ▁on ▁the ▁BC ▁Rail ' s ▁elect |
r ified ▁T umb ler ▁R idge ▁sub div ision . ▁ ▁Similar ▁to ▁E MD ' s ▁G M 6 C ▁test bed ▁locomot ive , ▁the ▁G F 6 C ▁used ▁a ▁frame ▁and ▁running ▁g ear ▁that ▁was ▁identical ▁to ▁that ▁of ▁E MD ' s ▁popular ▁SD 4 0 - 2 ▁dies el - elect ric ▁locomot ive , ▁but ▁had ▁a ▁wide ▁cab ▁and ▁car body ▁similar ▁to ▁that ▁of ▁G MD ' s ▁SD 4 0 - 2 F . ▁ ▁BC ▁Rail ▁chose ▁elect r ification ▁for ▁the ▁T umb ler ▁Sub div ision ▁because ▁of ▁the ▁long , ▁non - vent il ated ▁t unn els , ▁as ▁well ▁as ▁ste ep ▁gr ades ▁and ▁sharp ▁curves . ▁The ▁line ▁served ▁the ▁Quint ette ▁and ▁Bull - Mo ose ▁coal ▁mines , ▁and ▁ha u led ▁coal ▁from ▁said ▁mines ▁to ▁an ▁inter change ▁with ▁C N , ▁where ▁dies el ▁power ▁took ▁over ▁to ▁ha ul ▁the ▁coal ▁to ▁Prince ▁Ru pert ▁where ▁it ▁was ▁loaded ▁onto ▁deep - se a ▁coal ▁car rier ▁ships . ▁ ▁A ▁combination ▁of ▁the ▁decl ining ▁coal ▁market , ▁and ▁lack ▁of ▁coal ▁being ▁produced ▁from ▁the ▁Quint ette ▁mine ▁led ▁to ▁the ▁electric ▁system ▁being ▁shut ▁down ▁due ▁to ▁low ▁traffic , ▁and ▁high ▁maintenance ▁costs . ▁The ▁system ▁transferred ▁over ▁to ▁dies el ▁ha u led ▁trains ▁after ▁the ▁last ▁elect r ically ▁ha u led ▁train ▁left ▁the ▁Te ck ▁load out ▁( B |
ull - mo ose ▁mine ) ▁on ▁October ▁ 1 , ▁ 2 0 0 0 . ▁Tow ards ▁the ▁later ▁years ▁of ▁operation , ▁the ▁G F 6 C ▁units ▁were ▁de - r ated ▁due ▁to ▁the ▁high ▁amount ▁of ▁tra ction ▁motor ▁fail ures ▁during ▁operation . ▁It ▁is ▁not ▁known ▁what ▁their ▁horse power ▁rating ▁was ▁after ▁this ▁modification , ▁however ▁loaded ▁trains ▁leaving ▁the ▁east ▁side ▁of ▁the ▁sub div ision ▁typically ▁saw ▁the ▁use ▁of ▁ 3 ▁leading ▁units , ▁and ▁ 3 ▁helper ▁units ▁per ▁train . ▁Pre viously , ▁each ▁loaded ▁train ▁would ▁typically ▁have ▁ 2 ▁leading ▁units , ▁and ▁ 2 ▁helper ▁units . ▁The ▁helper ▁units ▁would ▁be ▁cut ▁from ▁the ▁train ▁upon ▁reaching ▁the ▁sum mit . ▁ ▁In ▁ 2 0 0 4 , ▁the ▁Paul ▁D . ▁Roy ▁family ▁purchased ▁locomot ive ▁ 6 0 0 1 ▁and ▁don ated ▁it ▁to ▁the ▁Prince ▁George ▁Railway ▁and ▁Forest ry ▁Museum ▁in ▁Prince ▁George ; ▁the ▁remaining ▁six ▁locomot ives ▁were ▁scra pped . ▁ 6 0 0 1 ▁is ▁currently ▁preserved ▁and ▁in ▁remarkable ▁condition , ▁and , ▁according ▁to ▁the ▁museum ' s ▁cur ator ▁and ▁park ▁manager , ▁is ▁still ▁oper able ▁if ▁provided ▁with ▁ 5 0 ▁k V ▁of ▁electric ity . ▁ ▁References ▁ ▁See ▁also ▁ ▁List ▁of ▁G MD ▁Lo comot ives ▁ ▁G F 6 C ▁Category : C - C ▁locomot ives ▁Category : 5 0 ▁k V ▁AC ▁locomot |
ives ▁Category : E lect ric ▁locomot ives ▁of ▁Canada ▁Category : R ail way ▁locomot ives ▁introduced ▁in ▁ 1 9 8 3 ▁Category : ASE A ▁locomot ives ▁Category : Pres erved ▁electric ▁locomot ives ▁Category : Standard ▁gauge ▁locomot ives ▁of ▁Canada <0x0A> </s> ▁D antes ▁Di w iak ▁( born ▁in ▁Sloven ia ) ▁is ▁a ▁classical ▁ten or , ▁who ▁grew ▁up ▁and ▁has ▁worked ▁mostly ▁in ▁Germany . ▁ ▁Career ▁▁ ▁D antes ▁Di w iak ▁studied ▁singing ▁with ▁Klaus ▁Kirch ner ▁and ▁opera ▁at ▁the ▁Musik ho ch schule ▁Hannover ▁with ▁The o ▁Alt me yer . ▁He ▁took ▁master ▁classes ▁with ▁Hermann ▁Re utter , ▁Bir git ▁Nil sson , ▁Hel m uth ▁R illing ▁and ▁Scot ▁We ir . ▁He ▁was ▁a ▁member ▁of ▁the ▁Staats oper ▁Hannover ▁and ▁the ▁opera ▁houses ▁of ▁Bre men ▁and ▁Old enburg . ▁ ▁Di w iak ▁sang ▁the ▁part ▁of ▁the ▁Evangel ist ▁in ▁Bach ' s ▁Pass ions ▁also ▁in ▁Moscow , ▁France , ▁Sy ria ▁and ▁Israel , ▁among ▁others . ▁He ▁has ▁collabor ated ▁with ▁the ▁cho ir ▁Mark us Ch or ▁Hannover ▁and ▁the ▁Staats or chester ▁in ▁concert s ▁and ▁services . ▁In ▁ 1 9 8 2 , ▁he ▁performed ▁with ▁them ▁the ▁Or atorio ▁de ▁No ël ▁of ▁Camil le ▁Saint - Sa ë ns , ▁in ▁ 1 9 8 3 ▁he ▁participated ▁in ▁Ross in is ▁Pet ite ▁mes se ▁sol enn elle ▁as ▁part ▁of ▁the ▁Kirch |
ent ag , ▁also ▁in ▁We ber ' s ▁Miss a ▁san ct a ▁No . ▁ 1 ▁in ▁E ▁flat ▁major . ▁In ▁ 1 9 8 9 , ▁he ▁sang ▁in ▁Hay dn ' s ▁Die ▁Sch ö pf ung ▁with ▁the ▁Har burger ▁Kant ore i ▁in ▁the ▁St . ▁Johann isk irche ▁in ▁Har burg , ▁Hamburg . ▁In ▁the ▁Ne ust äd ter ▁Kirche , ▁Hannover , ▁he ▁sang ▁in ▁ch oral ▁concert s , ▁in ▁ 1 9 8 6 ▁Stra vin sky ' s ▁C antic um ▁sac rum , ▁in ▁ 1 9 8 8 ▁Stra vin sky ' s ▁Cant ata ▁and ▁Moz art ' s ▁Great ▁Mass ▁in ▁C ▁minor , ▁in ▁ 1 9 9 0 ▁Bach ' s ▁Mass ▁in ▁B ▁minor , ▁in ▁ 1 9 9 1 ▁he ▁was ▁the ▁Evangel ist ▁in ▁the ▁St ▁Matthew ▁Pass ion ▁in ▁the ▁last ▁concert ▁conducted ▁by ▁Er hard ▁Eg idi , ▁together ▁with ▁An sel m ▁Rich ter , ▁Mon ika ▁Fr immer , ▁R alf ▁Pop ken ▁and ▁Jo achim ▁Geb hardt . ▁In ▁ 1 9 9 4 , ▁a ▁concert ▁of ▁the ▁Mass ▁in ▁B ▁minor ▁in ▁the ▁Peters kirche ▁in ▁Heidel berg ▁was ▁recorded . ▁Ger ald ▁K eg el mann ▁conducted ▁the ▁Heidel berger ▁Mad rig al chor , ▁the ▁Acc adem ia ▁F ilar mon ica ▁Köln ▁and ▁the ▁Trump et ▁Cons ort ▁, ▁Ver on ika ▁Winter , ▁K ai ▁W essel ▁and ▁Ra |
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