Aarushhh/wikipedia-simple-splitted huggingface dataset:
{{Infobox song
| name       = Touch My Body
| cover      =
| alt        =
| type       =
| artist     = Mariah Carey
| album      = E=MC²
| EP         =
| written    =
| published  =
| released   =  February 19, 2008 (U.S. Radio) March 28, 2008(Germany) March 31, 2008 (UK) April 2, 2008 (Japan),  March 25, 2008 (iTunes) March 24, 2008 (U.S digital download)
| format     =
| recorded   = 2007
| studio     =
| venue      =
| genre      = Pop, R&B
| length     = 3:27 [radio edit] 
| label      = Island Records
| writer     = Mariah Carey, Christopher "Tricky" Stewart, Terius "The-Dream" Nash, Crystal "Cri$tyle" Johnson
| composer   =
| lyricist   =
| producer   = Mariah Carey, Tricky Stewart
| prev_title = [[Lil" L.O.V.E.]]
| prev_year  = 2007
| title      =
| next_title =
| next_year  =
}}
"Touch My Body" is a song co-written by American singer Mariah Carey,  Christopher "Tricky" Stewart, Crystal "Cri$tyle" Johnson and Terius "The-Dream" Nash for Carey's 11th studio album, E=MC². It is the first single off E=MC². The single was produced by Carey and Stewart.

Background

Mariah talking about why she chose "Touch My Body" as the first single of the album:

-Mariah Carey

Release and reception
The song was chosen as the lead single of the album during a vote with producer L.A. Reid and staff in Island Records.  Carey stated that the group "decided to just go with the mid-tempo and everybody kinda liked the song 'cause it's just fun and cute and sexy and sweet".
The song was transmitted digitally to radio stations on February 12 at 6:30pm ET for immediate airplay via All Access. The single went for adds on radio station playlists on February 19."Touch My Body" premiered on Chicago's hit rhythmic radio station, B96, ahead of schedule at 4:00pm.Straight Outta NYC. Mimi Introduces "Touch My Body".  February 12, 2008.  Retrieved February 21, 2008.

Reviews
Reviews of the song by critics were mostly good.  Blender said that it was a "pop genius making genius pop".  Bill Lamb from About.com gave "Touch My Body" 4 out of 5 stars.  Newsday named it as the "Song of the Week", saying that it was her best first single on an album since "Heartbreaker".

Rolling Stone gave it 3.5 stars in its March 6, 2008 issue.
Music video 
Brett Ratner is the director of the video. Ratner also directed Carey's videos for "I Still Believe", "Heartbreaker", "Thank God I Found You", "It's like That", and "We Belong Together".  In an interview with AllHipHop.com, Ratner said, "Mariah is musically at the top of her game and has never looked better... This will be our 6th music video we have collaborated on and definitely the best one yet visually, as well as musically. The video for "Touch My Body" is the perfect combination of fantasy and comedy with Mariah looking more beautiful than she has ever looked, ever.".  The video also stars Jack McBrayer from 30 Rock, a show that Carey is a fan of.
Carey appeared on MTV's TRL<ref>MTV.  [http://www.mtv.com/ontv/spankin_new/winter_2008/ Spankin" New Ladies Week].  Retrieved February 26, 2008.</ref> and BET's 106 & Park on Wednesday, February 27, 2008, to premiere the video for "Touch My Body"; BET also played the video all day, every hour on the hour, until 106 & Park.  VH1 posted a 45-second sneak peek on their blog on February 26, and subsequently posted the video in its entirety at midnight on February 27, 2008; the video was also posted on the Island Records website.

On March 5 the "Touch My Body" music video debuted at #1 on MTV's TRL countdown.
Chart performance
Following the song's February 12 digital transmission, after only a day's worth of airplay, "Touch My Body" entered the Billboard Hot R&B/Hip-Hop Songs Chart at #78 the chart week of February 23, 2008.  It is currently at #15 in its fourth chart week.  It also debuted on airplay alone at #57 on the Billboard Hot 100 as the "Hot Shot" debut of the week, and is currently #24.  It also debuted on the Canadian Hot 100 at #97 and has since risen to #59.

Charts

References

2008 songs
Mariah Carey songs
Billboard Hot 100 number one songs
Edward Thomas Beatty (July 6, 1937 – June 13, 2021) was an American actor. He was born in Louisville, Kentucky. He was known for his film work including Nashville (1975), All the President's Men (1976), Network (1976), The Big Easy (1987) and Prelude to a Kiss (1992).

Beatty died of natural causes on June 13, 2021 in Los Angeles, California, aged 83.

References

Other websites 

1937 births
2021 deaths
Actors from Louisville, Kentucky
American movie actors
American stage actors
American television actors
American voice actors
Drama Desk Award winners
Samson and Delilah (Fr: Samson et Dalila) is a three-act French opera. It is based on the story of Samson and Delilah in the Old Testament of the Bible.  The words and story of the opera (the libretto) were written by Ferdinand Lemaire. The music was written by Camille Saint-Saëns. The opera was first performed in Weimar, Germany on 2 December 1877. It was sung in German instead of French.

Saint-Saëns thought the Samson story would make a good oratorio. He was persuaded by Lemaire to write an opera on the subject instead. When the opera was completed, Saint-Saëns met some stiff opposition about staging it in France. It was considered sacrilegious to stage a work based on a Bible story. Additionally, Saint-Saëns was considered a "symphonist" rather than an opera composer. People were not interested in Samson. Liszt staged the work in Germany. It was a hit. It was soon staged in America and in England.
Roles in the opera include Samson (tenor), Delilah (mezzo-soprano), and the High Priest of Dagon (baritone). The story tells of the enslavement of the Hebrews by the Philistines. Samson urges them to resist their masters. The High Priest of Dagon uses Delilah to destroy Samson. Musical highlights include "" and "" The opera finally played the Paris Opéra. It ranked second in popularity to Charles Gounod's Faust.

Composition of the opera 

Saint-Saëns thought the Samson and Delilah story would make a good oratorio. Oratorios were popular in the late 1860s. The city of Paris was offering a prize for a new one. Saint-Saëns asked a relative, Ferdinand Lemaire, to write the libretto. Lemaire thought the story of Samson and Delilah was better suited to an opera. He persuaded Saint-Saëns to write an opera instead of an oratorio.
Saint-Saëns was drawn to the story because it gave him the opportunity to compose a grand duet against a rising storm. He knew Rameau's take on the story from Voltaire's libretto for an opera on the subject (now lost), but Rameau's storm was a metaphor for the wrath of God. Rossini's Otello was nearer to what Saint-Saëns had in mind. He wrote, "I imagined a storm that would no longer be an hors-d'œuvre (a tidbit eaten before a meal) but adhere to the action and become one with it."

Saint-Saëns set to work in 1868. He wrote an aria for Delilah, a duet for Samson and Delilah, and the Prelude. He tried them out at home. Friends were not very interested. The composer put the work aside for a time. He met Liszt in Weimar, Germany about 1870. Liszt encouraged him to take up the project again. He promised Saint-Saëns he would stage the opera.

Early performances
In 1873 Saint-Saëns finished the score. Pauline Viardot staged Act 2 in a garden at Croissy. The director of the Paris Opera was present. He found the opera too Wagnerian. He also thought it neglected French opera tradition. Biblical stories were not staged in France. It was considered sacrilegious. Act 1 was performed "concert style" in 1875. This means it was performed without costumes, scenery, or "acting". It was a failure.

Saint-Saëns kept working. He published the score. He wrote a dedication to Viardot. In 1877 Liszt staged the work at the Weimar Court Theatre in Germany. It was sung in German instead of French. The opera was well received. People liked it. Paris wasn't very interested, though. In 1890 the opera was staged in Rouen at composer Gabriel Faure's urging. It was staged the same year in Paris. Two years later it was finally staged at the Paris Opéra. The opera ranked second in popularity to Gounod's Faust.
Other early performances
Once the opera gained favor with audiences it quickly spread outside France. The first production in America was at New Orleans in 1893. In 1894 it was staged at the Metropolitan Opera House in New York City. In these early days, productions were mounted in Milan, St Petersburg, and Moscow. French singers walked out on a concert performance in London in 1893. They were expected to sing in English instead of French. Biblical stories were banned from the stage in Britain. The first full production of Samson took place in 1909. King Edward VII of England was said to have helped get the opera staged.

Assessment
Assessment

Goodwin writes that Saint-Saëns's pupil and friend Gabriel Faure always said that the reason Samson and Delilah met with disinterest in France was the fact that the composer was viewed as a symphonistnot because the opera was based on a Biblical text. "Symphonist" was a pejorative term at the time. It was tossed about by opera and ballet fans. Samson and Delilah was also a departure from 19th century opera traditions. This was another reason for some to ignore it. It was a three-act opera rather than a standard five-act opera as laid down by Meyerbeer. The opera featured only three principal charactersSamson, Delilah, and the High Priestthus creating another departure from the norm.
Saint-Saëns was almost an atheist. He did not point out a moral in this opera but let the work speak for itself. He admired the operas of Verdi. He liked the oratorios of Handel and Mendelssohntwo composers whose influence is felt in the choruses of Samson. He framed the central seduction scene with the two outer acts. In contrast with Samson (strength) and the High Priest (power), Delilah is a character of seductive strength and power. She wants Samson on her sidenot for lovebut for her own vanity and sexual gratification. She puts everything she has into successfully seducing him because, if she fails, her head will be on the chopping  block.

Roles in the opera
Samson (tenor) is a Hebrew hero and leader who urges the Hebrews to turn against their Philistine enemies and slave masters.
 Delilah (mezzo-soprano) is a beautiful woman. She is friendly with the Philistines, the enemies of the Hebrews.
 High Priest of Dagon (baritone) is a Philistine who plots with Delilah the overthrow of Samson.
 Abimelech, Governor of Gaza (bass) is a Philistine whom Samson kills in Act 1. He is a character invented by Lemaire and does not appear in the Bible story.
 First Philistine (tenor) reports Samson's deeds to Dagon.
 Second Philistine (bass) reports Samson's deeds to Dagon.
 Philistine Messenger (tenor)
 Old Hebrew (bass) advises Samson to be wary of Delilah's attractiveness.

Story of the opera

Act 1
Act 1 

In a square in Gaza, the Hebrews pray for release from slavery to the Philistines. Samson tries to lift their spirits. Abimelech taunts the Hebrews. He says his god Dagon is greater than the Hebrew god. Samson defies him. Abimelech attacks Samson with a sword. Samson disarms and kills him. The Hebrews flee. The High Priest of Dagon makes plans to use Delilah to trap Samson. 

Delilah enters with the priestesses of Dagon. She flirts with Samson. She invites him to her home in Sorek. An old Hebrew warns Samson about loving Delilah. Samson prays for God's protection. Delilah and the priestesses begin to dance. Samson fights his desire for Delilah. The old Hebrew repeats his warning. As the curtain closes, Samson meets Delilah's gaze. It is clear he will join her in Sorek.
Act 2 
In Sorek Delilah sings about her power over Samson. The High Priest arrives. He reports that Samson and the Hebrews have destroyed the harvest. He offers gold to Delilah to trap Samson. She refuses to take the money. She wants only revenge. Delilah vows to find the secret of Samson's strength. The High Priest leaves.

Delilah considers her chances of success. Samson arrives to say farewell. He plans to lead the Hebrew revolt.  Delilah tells Samson that she loves him. He admits that he loves her. They sing rapturously. Delilah wants to know the secret of his strength. Samson will not tell her. She weeps and runs into her house. Samson follows. She learns the secret of his strength. She calls to Philistine soldiers hiding nearby. They capture Samson and blind him.

Act 3 

Samson is chained to a mill-wheel in a dungeon. He prays for his people. They will suffer for his sin. Samson offers his life as a sacrifice. The Hebrews are heard in the distance singing sorrowfully.
The Philistines are preparing a victory celebration in the temple of Dagon. The priests and priestesses sing softly. The priests dance a wild Bacchanale. Samson enters led by a boy. He is mocked by the High Priest. Delilah taunts him. The priests try to force him to kneel before a statue of Dagon. The boy leads him to the two main pillars in the temple. Samson prays for strength. He pulls down the pillars. The temple collapses. Samson is crushed with his enemies beneath the stones.

Musical highlights  
 Amour! viens aider ma faiblesse
 Mon cœur s'ouvre à ta voix
 Vois ma misère, hélas!
 Bacchanale 
from Encyclopedia Americana, 2002; volume 24, pages 185-86

Notes

References

Further reading 
 

1870s operas
Compositions by Camille Saint-Saëns
The , also known as the ,  is one of Japan's traditional regions. The Japanese conventions of geography and history divide the nation into eight regions, including the Chūgoku region.  These have been used since 1905 as basic units for description and comparison and as cultural markers.

The regions of Japan are a fusion of historical divisions and modern administrative needs".  The significance of the region in Japan is geographical, cultural and administrative.

History
In the late 7th century, the San'indō and San'yōdō were identified as two of the eight largest administrative areas of the Imperial system (ritsuryo seido).

Gokishichidō is an ancient system of names for parts of the country, including San'indō and San'yōdō.  Chūgoku covers a western part of the island of Honshū in roughly the same area as the traditional San'indō and San'yōdō.
In the Meiji period, the modern regional system was made by Imperial decree.  Japan was divided into regions (chihō ), including the Chūgoku region. A regional council  (chihō gyōsei kyōgisai) was headed by the governor of the most powerful prefecture in the regional grouping.  The council also included regional chiefs of central government ministries.

Table: Chūgoku

Over time, Chūgoku has developed its own regional dialects, customs and unique traditional culture.

Related pages

 Provinces of Japan
 Prefectures of Japan
 List of regions of Japan
 List of islands of Japan

References

Other websites 

  Murdoch's map of provinces, 1903

Chūgoku region
"We Belong Together" is a song recorded by American singer and songwriter Mariah Carey from her album The Emancipation of Mimi. The song is available in several versions. It reached #1 on the Billboard Hot 100 and stayed there for 14 weeks. With the song, Carey holds the record for having the longest-running and second-longest running songs at #1 in the US (her song "One Sweet Day" with Boyz II Men stayed on top for 16 weeks).

It was also No.1 in Australia and the Netherlands. It was the best-selling song in the US of 2005 and later became Billboard's Song of the Decade for the 2000s (2000–09). It won two Grammy Awards.

References

2005 songs
Mariah Carey songs
Billboard Hot 100 number one songs
R&B ballads
R&B songs
"Vision of Love" is a song recorded by American singer and songwriter Mariah Carey. It was Carey's first single and the first from her self-titled debut album. Written by Carey and Ben Margulies, "Vision of Love" was released on May 15, 1990, by Columbia Records. After being featured on Carey's demo tape for Columbia, the song was re-recorded and produced by Rhett Lawrence and Narada Michael Walden. It was Carey's first Billboard Hot 100 number one.

Formats and track listings

 Worldwide 7" single
 "Vision of Love"
 Special excerpts from the debut release "Prisoner/All in Your Mind/Someday"
 UK 7" single
 "Vision of Love"
 "Sent from Up Above"

 UK CD maxi-single
 "Vision of Love"
 "Sent from Up Above"
 Special excerpts from the debut release "Prisoner/All in Your Mind/Someday"
Credits and personnel
Credits adapted from the Mariah Carey linear notes.
 Songwriting – Mariah Carey, Ben Margulies
 Production – Rhett Lawrence, Narada Michael Walden
 Instruments and programming – Rhett Lawrence, Jimmy Ripp
 Recording – Rhett Lawrence
 Audio engineering – Narada Michael Walden
 Background vocals – Mariah Carey
 Programming – Ben Margulies, Marcus Miller, Ren Klyce
 Mixing – Rhett Lawrence, Narada Michael Walden

Charts and certifications

Weekly charts

Decade-end charts

Year-end charts

Certifications and sales

Related pages
 List of Billboard Hot 100 number-one singles of 1990
 List of number-one R&B singles of 1990 (U.S.)
 List of number-one adult contemporary singles of 1990 (U.S.)
 List of number-one singles of 1990 (Canada)
 List of number-one singles in 1990 (New Zealand)

References

Further reading

 
 
 

1990 songs
1990s ballads
Debut singles
Mariah Carey songs
Pop-soul songs
Pop ballads
R&B songs
R&B ballads
Gospel songs
Billboard Hot 100 number one songs
The  is one of Japan's traditional regions  The area is also known as the  or as the .  The Japanese conventions of geography and history divide the nation into eight regions, including the Kansai region.  These have been used since 1905 as basic units for description and comparison. and as cultural markers.

The regions of Japan are a fusion of historical divisions and modern administrative needs".  The significance of the region in Japan is geographical, cultural and administrative.

History
In the late 7th century, the Kinki region were identified as one of the eight largest administrative areas of the Imperial system (ritsuryo seido).

Gokishichidō is an ancient system of names for parts of the country, including Kinki or Kansai.  Kansai covers the area around the capital city of Kyoto on the island of Honshū in roughly the same area as the traditional Kinki.
In the Meiji period, the modern regional system was made by Imperial decree.  Japan was divided into regions (chihō ), including the Kinki region. A regional council  (chihō gyōsei kyōgisai) was headed by the governor of the most powerful prefecture in the regional grouping.  The council also included regional chiefs of central government ministries.

Table: Kansai region 

Over time, Kansai has developed its own regional dialects, customs and unique traditional culture.

Related pages

 Provinces of Japan
 Prefectures of Japan
 List of regions of Japan
 List of islands of Japan

Places named with Kansai
 Kansai Airport Station
 Kansai International Airport
 Kansai Ki-in (Organization for Go)

References

Other websites 

  Murdoch's map of provinces, 1903

Kansai region
"Mon cœur s'ouvre à ta voix" is a mezzo-soprano aria from Camille Saint-Saëns's opera Samson and Delilah. It is known in English as "Softly awakes my heart", or "My heart opens itself to your voice". It is sung by Delilah in act 2 as she tries to get Samson to reveal the secret of his great  strength.

Music
In the opera, Delilah is responding to Samson's words "Dalila! Dalila! Je t'aime!" (Delilah! Delilah! I love you!) which he repeats between the first and second verses of her aria. These interjections are omitted in recital performances or sometimes sung to the changed words "Samson! Samson! Je t'aime!". Samson's part in the final 22 bars of the stage aria where he joins Delilah in a duet is also omitted in a recital, although some performers, notably Marilyn Horne, have sung Samson's final words – changed as above, rising to a high B-flat. A performance takes between 5 1/2 and 6 1/2 minutes.
The aria is written in D-flat major. The verse has a time signatures of 3/4 but the refrain ("Ah! réponds") has a time signature of 4/4. The tempo indication is andantino (=66) for the verse and un poco più lento (a little slower) for the refrain. The vocal range extends from B-flat4 to G-flat5, with a tessitura from E-flat4 to E-flat5.

The instrumentation calls for flute, oboe, clarinet, horns, harp and strings. All instrument lines, except the harp, make intensive use of divisi (cellos play in four divisi). The orchestral accompaniment consists mainly of reiterated notes for the first verse and of falling chromatic lines for the second verse. The refrain is accompanied by ascending broken chords.

The melismatic setting of the lyrics present a particular challenge for the performance of this aria as it requires legato singing over a wide range.

References

Other websites 
Audio file: "Mon coeur s'ouvre a ta voix" sung by Louise Homer. Recorded October 11, 1909.

Compositions by Camille Saint-Saëns
Arias
The  is one of Japan's regions.  The Japanese conventions of geography and history divide the nation into eight regions, including the Kantō region.  These have been used since 1905 as basic units for description and comparison and as cultural markers.

The regions of Japan are a fusion of historical divisions and modern administrative needs".  The significance of the region in Japan is geographical, cultural and administrative.

History
In the late 7th century, the Tōkaidō region were identified as one of the eight largest administrative areas of the Imperial system (ritsuryo seido).

Gokishichidō is an ancient system of names for parts of the country, including Tōkaidō.  Kantō covers an east-central area of the island of Honshū in roughly the same area as the traditional Tōkaidō.

The region of Kantō covers the east-central part of the island of Honshū.
In the Meiji period, the modern regional system was made by Imperial decree.  Japan was divided into regions (chihō ), including the Kantō region. A regional council  (chihō gyōsei kyōgisai) was headed by the governor of the most powerful prefecture in the regional grouping.  The council also included regional chiefs of central government ministries.

Table: Kanto Region 

Over time, Kantō developed its own regional dialects, customs and unique traditional culture.

Timeline
 1923 (Taishō 12): Great Kantō earthquake has its epicenter near Tokyo and Yokohama.

Geography
The region includes the Greater Tokyo Area.  The Kantō covers seven prefectures: Gunma, Tochigi, Ibaraki, Saitama, Tokyo, Chiba, and Kanagawa.

Subdivisions
North and South subdivisions are sometimes used: 
  covering Ibaraki, Tochigi, and Gunma. 
  covering Saitama, Chiba, Tokyo and Kanagawa. South Kantō is often used as synonymous with the Greater Tokyo Area.
East and West subdivisions are sometimes used: 
 : Ibaraki, Tochigi and Chiba.
 : Gunma, Saitama, Tokyo, Kanagawa (and Yamanashi Prefecture may be included).

Inland and Coastal subdivisions are sometimes used:
 : Tochigi, Gunma, Saitama (and Yamanashi may be included).
 : Ibaraki, Chiba, Tokyo and Kanagawa.

Greater Kantō 
The Japanese national government defines the  as the Kantō region plus Yamanashi Prefecture.

Japan's national public broadcaster NHK defines the  which includes Yamanashi, Nagano and Niigata Prefectures for regional programming.

Related pages

 Provinces of Japan
 Prefectures of Japan
 List of regions of Japan
 List of islands of Japan

References

Other websites 

  Murdoch's map of provinces, 1903

Regions of Japan
Honshū
"Der Hölle Rache kocht in meinem Herzen" () is an aria for the Queen of the Night in Mozart's opera The Magic Flute ().  Mozart's friend Emanuel Schikaneder wrote the words. The aria is written in D minor. The voice ranges over two octaves. It is known for being difficult to perform well. Mozart's sister-in-law Josepha Hofer was the first to sing the aria on stage.

Music 
The Queen of the Night is a role for a coloratura soprano. She has two arias in the opera. The other is "Oh, tremble not, my beloved son" (). Both arias are famous. "Hell's vengeance" is highly memorable, fast paced and menacingly grandiose.

The aria is written in D minor. It is scored for pairs of flutes, oboes, bassoons, horns, trumpets, timpani, and the string section. It is a larger orchestra than that for "". It comprises all the players from the opera as a whole, except the clarinets and trombones.
The aria is sung in act 2. It is famous for being difficult to perform well. The Queen of the Night is in a fit of rage. She gives a knife to her daughter Pamina. She tells her to kill the priest Sarastro. If she refuses, the Queen will curse her. The aria's range is two octaves, from F4 to F6 and requires a very high tessitura.

First performance 

The first singer to perform the aria onstage was Mozart's sister-in-law Josepha Hofer. She was 33. Mozart wrote the two Magic Flute arias to showcase her voice. He was very impressed with Hofer's performance. In the fifth week of the opera's run, Mozart lay dying. He whispered to his wife Constanze on December 4, 1791: "Quiet, quiet! Hofer is just taking her top F; – now my sister-in-law is singing her second aria, "Der Hölle Rache"; how strongly she strikes and holds the B-flat: ''"

Lyrics 
The words were written (in German) by Mozart's friend Emanuel Schikaneder, who also played Papageno in the first performances.

References
References 

Compositions by Wolfgang Amadeus Mozart
Arias
The cavatina "Se vuol ballare" is an aria from The Marriage of Figaro by Wolfgang Amadeus Mozart. The lyrics are by Lorenzo Da Ponte. It portrays Figaro's intent to foil Count Almaviva's womanizing, but can also be read as a political attack on the power-wielding nobility of the time.
 
The song is sung in act 1.  Figaro discovers Count Almaviva intends to exercise his feudal right to sleep with Figaro's wife Susanna before they consummate their marriage.  Figaro sings of how he will unravel the Count's schemes and thwart him.

Lyrics

Variations 

Beethoven wrote a series of 12 variations on the theme of Se vuol ballare. It bears the Number WoO 40 (=Werk ohne Opuszahl, work without opus number)

Compositions by Wolfgang Amadeus Mozart
Arias
Lorenzo da Ponte (10 March 1749 – 17 August 1838) was an opera librettist and poet. He is best known for having written the libretti for three of Mozart's operas, The Marriage of Figaro, Don Giovanni,  and Così fan tutte.

Biography 
Da Ponte was born Emanuele Conegliano to Jewish parents near Venice, Italy. He became a Christian, and took the name Lorenzo da Ponte from the bishop who baptized him. He became a priest at the church of San Luca in Venice. He took Anzoletta Bellaudi as his mistress. They ran a brothel. Da Ponte was banished from Venice for 15 years. He went to Austria where he became court librettist to Emperor Joseph II.
About 1792, da Ponte married Ann Celestine Grahl. They had four children. When Joseph II died, da Ponte lost his job. He went to London. He got into debt, and went to the United States.  He ran a grocery store in Pennsylvania for a short time. He moved to New York City and opened a bookstore. He became the first professor of Italian literature at Columbia College. He produced Don Giovanni in New York in 1826. In 1828, da Ponte became a naturalized US citizen.

Da Ponte died in 1838 in New York. His funeral was held in New York's old St. Patrick's Cathedral. His final resting place is uncertain. All of da Ponte's libretti were adaptations of pre-existing plots, except L'arbore di Diana and Così fan tutte. His adaptations are of the highest order. The Don Giovanni character was given new life in da Ponte's hands. The character is now considered the archetypical libertine.
References 
 Acocella, Joan, "Nights At The Opera: The Life of the Man who put Words to Mozart", The New Yorker, 8 January 2007
 Holden, Anthony, “The phoenix”, ‘’The Guardian’’ (London), 7 January 2007
Keats, Jonathan, "Lorenzo's Toil: How the Son of an Impoverished Leatherworker Came to Write Mozart's Libretti", Washington Post, 16 July 2006 — book review
 

1749 births
1838 deaths
19th-century American poets
American businesspeople
American Roman Catholics
Brothel owners and madams
Columbia University faculty
Italian businesspeople
Italian Jews
Italian poets
Italian Roman Catholic priests
Jewish American academics
Jewish American writers
Jewish businesspeople
Jewish sex industry people
Jews who converted to Christianity
Naturalized citizens of the United States
People from Veneto
A magnetic pendulum is an experiment where a metal ball on a thread (a pendulum) can be influenced by a number of magnets on the ground. The length of the rope is such that the ball cannot touch the magnets, but is still influenced by them. If the ball is moved, its movement will be influenced by both gravitation and the fields the magnets generate. If the movement is so large that the ball can get outside the influence of the magnets, the resulting movement will look irregular. 

Pendulums
Amahl and the Night Visitors is a one-act opera. The words and music were written by Gian Carlo Menotti. Menotti took inspiration from Hieronymus Bosch's The Adoration of the Magi, a painting in the Metropolitan Museum of Art in New York City.

Career 
It was the first opera written for television. Its first performance was on Christmas Eve 1951 on NBC. It was the first show in the famous Hallmark Hall of Fame series. About five million people watched the program. It was the largest audience to ever see an opera on television. Amahl was shown every year until 1966. 

Menotti wanted Amahl to always be performed by a boy. He wrote, "It is the express wish of the composer that the role of Amahl should always be performed by a boy. Neither the musical nor the dramatic concept of the opera permits the substitution of a woman costumed as a child."

Story
Story 

Amahl is a crippled shepherd boy who uses a crutch. He sees a huge star in the night sky. His mother thinks he is lying and sends him to bed. She worries that they will become beggars. 

There is a knock at the door. Three kings ask for a place to rest. They are on their way to Bethlehem to find a newborn child. Amahl pesters them with many questions. Shepherds arrive to dance for the kings. The kings grow sleepy and the shepherds go home. 

The room is dark and everyone is asleep. The mother tries to steal a piece of gold from the kings. She is caught by their servant. Amahl wakes and beats the servant. He falls exhausted. The kings tell the mother to keep the gold. They tell her the wonderful baby they are seeking has no need for gold because his kingdom is Heaven. 

Amahl offers his crutch to this wonderful baby. He takes a few stumbling steps. A miracle has occurred. He can walk. He leaves with the kings to give his crutch to the baby himself. His mother waves good-bye.
1950s operas
Compositions by Gian Carlo Menotti
1951 works
The Medium is a two-act opera with words and music by Gian Carlo Menotti. It was commissioned by Columbia University. Its first performance was there on May 8, 1946. The opera's first professional production was presented on a double bill with Menotti's The Telephone. This occurred at the Heckscher Theater, New York City, on February 18-20, 1947 by the Ballet Society. The Broadway production took place on May 1, 1947, at the Ethel Barrymore Theater with the same cast. In 1951, Menotti directed, with the help of filmmaker Alexander Hammid, a movie version made to resemble film noir. It starred Anna Maria Alberghetti. A live television production starring Marie Powers took place on December 12, 1948 on the TV series Studio One.

Story of the opera

Act 1
The medium's parlor
Monica, Madame Flora's daughter, and Toby, a mute servant boy rescued from "the streets of Budapest" play dress-up. When Madame Flora, or "Baba" as they call her, arrives home drunk, she violently chastises them for not preparing for that night's seance. Soon the guests arrive, Mr. and Mrs. Gobineau, regulars, and the widow Mrs. Nolan who is attending for the first time. With Madame Flora in a trance in her chair, a fake seance is held where Mrs. Nolan speaks with what she thinks is her deceased sixteen-year-old daughter but is really Monica behind a screen. As Monica disappears, Mrs. Nolan rushes toward the figure and is restrained by the Gobineaus. When order is restored, Mr. and Mrs. Gobineau "communicate" with their deceased two-year-old son Mickey who does nothing but laugh. After they say goodbye to him, Madame Flora "suddenly, with a loud gasp... clutches at her throat with both hands." She feels a phantom hand clutching her throat and is "terror-stricken
." After demanding that the guests leave, she calls for Monica and tells her what she felt, eventually blaming Toby who was in the other room the whole time. In an effort to calm Baba's drunken rage toward Toby, Monica sings her the dark lullaby "The Black Swan" which is interrupted by a voice that Baba hears causing her to fly into a terrified rage at Toby for not telling her where the voice is coming from. The act ends with Monica again singing the lullaby while Baba recites her Hail Marys.
Act 2
A few days later
Toby is giving a puppet show for Monica, their mutual love becomes more obvious. When Baba comes home, she resumes her accusations on Toby, sure that he knows what went on that night. The guests again arrive, expecting another seance but are driven away by Madame Flora who tries to convince them that the whole thing was a sham by revealing all the tricks that she and Monica used. But the guests are not convinced and leave claiming that while she might have thought she was cheating them, she in fact was not. Once the guests are gone, she drives Toby out despite Monica's pleas on his behalf. With everyone gone, and Monica in her room, Baba pours herself another drink and questions her own sanity, becoming wild with drink and eventually passing out. Once she has fallen asleep, Toby sneaks back in and tries to get into Monica's room, but finds it locked and eventually goes to the trunk to find his tambourine. While searching, he knocks the lid of the trunk down waking Baba
. Toby quickly hides in the puppet theater. As Baba tries to see where the noise came from and fetches a revolver from a drawer in the table. "Hysterically" she shouts out "Who is it? Speak or I'll Shoot!" and the puppet theater curtain moves. "Baba screams and fires at it several times." As Toby's bloody body collapses grasping the curtain, Baba says "I've killed the ghost! I've killed the ghost!" Monica, hearing the gunshots, enters, sees Toby's lifeless body and runs for help. As the final curtain falls "very slowly" Baba asks "in a hoarse whisper," "Was it you?"
Musical highlights 
"Monica's Waltz" (Monica)
"The Black Swan" (Monica)
"Afraid, am I afraid?" (Baba)

References

Other websites 
Synopsis and performance history from USOpera.com
The Medium (1951) at IMDB
The Medium (1948) at IMDB

1940s operas‎
Compositions by Gian Carlo Menotti
1946
The word "Negro"  was used in the English-speaking world to refer to a person of black ancestry or appearance. It has been used for people of African ancestry as well as people from other places. Negro means 'black' in Spanish and Portuguese. It comes from the Latin word niger which means 'black'. 

It is usually considered an offensive term nowadays. Words such as 'black' or 'African American' are preferred.

History

"Negro" replaced the term "colored" as the more polite term. This was done when the term "black" was more offensive. This use of the word was accepted as normal during the Civil Rights Movement of the 1950s and 1960s. It was accepted even by the people it was used to describe.  One example of this is Martin Luther King, Jr. using the term "negro" when talking about his own race in his 1963 speech "I Have a Dream".
During the Civil Rights Movement, some African American leaders in the United States did not like this word. People like Malcolm X wanted the word "Black" to be used. This was because they saw a connection between the term "Negro" and slavery, segregation, and discrimination.

The word is now usually considered offensive and outdated. Since the late 1960s, many other terms have been more commonly used. These include "Black", "Black African", "Afro-American" and "African American". The words "African American" have been used in the United States to refer to Black Americans.

Modern day
The term "Negro" is still used in some ways. It is used by the United Negro College Fund and the Negro league in sports.

The United States Census Bureau said that "Negro" would be used on the 2010 United States Census, with "Black" and "African-American". This was because some older black Americans still feel this is the word that describes them.
In English
Around 1442 the Portuguese first went to sub-Saharan Africa. They were trying to find a way to get to India by boat. The term "negro" was used by the Spanish and Portuguese as a simple description of people. It means "black". From the 18th century to the late 1960s, "negro" was the proper English-language term for most people of sub-Saharan African origin.
Most people stopped using the word "Negro" by the early 1970s in the United States. Many older African Americans grew up when "Negro" was widely said to be the correct term. They thought the term "Black" was more offensive than "Negro." This can be seen by the use the word by historical African-American organizations and institutions. Currently, "Negro" is generally thought to be not offensive when used in a historical way. For example, baseball's Negro Leagues of the early and mid-20th century. It is also used in the name of older organizations. These include Negro spirituals, the United Negro College Fund or the Journal of Negro Education. The U.S. Census now uses "Black, African-American or Negro." The term "Negro" is used to try to include older African Americans who think it is a better term.

Related pages
African American
Black people
Mulatto
Nigger

References

Ethnic groups
Serenade for Strings in C major, Op. 48 is a work for string orchestra by Pyotr Ilyich Tchaikovsky. It premiered in 1880. The serenade consists of four movements:
 Pezzo in forma di sonatina: Andante non troppo — Allegro moderato
 Valse: Moderato — Tempo di valse
 Élégie: Larghetto elegiaco
 Finale (Tema russo): Andante — Allegro con spirito
Tchaikovsky intended the first movement to be an imitation of Mozart's style. It was based on the form of the classical sonatina, with a slow introduction. The 36-bar Andante introduction is marked "sempre marcatissimo". It is littered with double-stopping in the violins and violas. This introduction returns at the end of the movement. It reappears, transformed, in the coda of the fourth movement. Tchaikovsky intended the work for a large string orchestra. On the second page of the score, he  wrote, "The larger the string orchestra, the better will the composer's desires be fulfilled." George Balanchine used the work for his ballet Serenade in 1934Excerpts from the score were used in the 2005 ballet Anna Karenina, choreographed by Boris Eifman. The waltz was arranged for soprano and full orchestra for the 1945 MGM movie Anchors Aweigh. It was performed by Kathryn Grayson with José Iturbi conducting the MGM studio orchestra.

References

Compositions by Pyotr Ilyich Tchaikovsky
Greece and Rome 
Ancient philosophy in Europe refers mainly to that of Ancient Greece and Ancient Rome. Diogenes Laërtius, a 3rd-century scholar wrote Lives and Opinions of Eminent Philosophers, which summarized the position of many Ancient Greek philosophers. This work was translated into Latin and meant that Ancient Greek philosophy remained known even after Library of Alexandria lost its influence. Most of Ancient philosophy was forgotten after the 6th century. After this, it was mainly through Islamic thinkers such as Avicenna (11th century), Averroës (12th century), or the Jewish philosopher Maimonides (12th century) that Ancient philosophy became known again. Medieval philosophy, such as that of Albertus Magnus (13th century) or Thomas Aquinas meant that the works of thinkers such as Aristotle were well known.

Other websites 

 Western philosophy -Citizendium

Citations 

Branches of philosophy
The River is an American television series. The series uses many different genres. These include paranormal, action/adventure, mystery and horror. The series was first broadcast during the 2011–12 winter season on ABC. Eight episodes will be made for the first season. The series was first shown on Tuesday February 7, 2012 at 9pm EST.

Plot
Explorer Dr. Emmet Cole (Bruce Greenwood) went looking for magic in the Amazon. He never came back. To the millions of kids who grew up watching his nature show, Dr. Cole was a hero. To his son, Lincoln (Joe Anderson), he was more of mystery. Six months after Cole was lost, Lincoln was ready to accept that his father was dead. This changes when Dr. Cole's emergency beacon goes off. Lincoln and his mother, Tess (Leslie Hope), begin a search for his father. To pay for the rescue, they let Dr. Cole's  ex-producer, Clark (Paul Blackthorne), film the mission as a documentary. They and a group of others go to the Amazon to try and find Dr. Cole.
Production
Oren Peli and Michael R. Perry created this series about a documentary crew searching the Amazon for a scientist-explorer-television host.

In September, 2010, ABC bought the rights to make the series. NBC also wanted to make it, but ABC offered more money. The show will broadcast on CTV in Canada.

Critical reception
The show has been well liked by the critics. It has a score of 65/100 from Metacritic.

Broadcast
The River was first broadcast in the United States and Canada on February 7, 2012. It is not being broadcast the United Kingdom but was on iTunes on February 8, 2012.

References

Other websites

2012 American television series debuts
American drama television series
Action television series
English-language television programs
Sin Don (신돈, 辛旽; 21 January 1322 – 21 August 1371) was a Korean Goryeo Dynasty scholar, politician, and Buddhist monk. His  first name was Pyeonjo (편조, 遍照). a penname was Chunghangeosa (청한거사, 淸閑居士). His Chinese style name was Yogong (요공, 耀空). He was a teacher and advisor of king Gongmin of Goryeo.

References

Other websites 
 http://100.naver.com/100.nhn?docid=101518
 http://navercast.naver.com/contents.nhn?contents_id=2692
 http://terms.naver.com/entry.nhn?docId=560043

1322 births
1371 deaths
Korean educators
Korean politicians
Buddhists
Korean autobiographers
Subtitles are text-like versions of the dialog in movies. Subtitles are also used in television programmes and video games.  The text is usually displayed at the bottom of the screen. Subtitles can also be a form of written translation of a dialog in an unfamiliar language, or a written text version of the spoken words in the same language, with or without added information to help watchers who are not able to hear or people who cannot understand the spoken dialogue.

References 

Movie industry
Communication
W is a monthly American fashion magazine published by Condé Nast Publications. It was started in 1972 by the publisher of sister magazine Woman's Wear Daily, James Brady. The magazine is an oversize set – ten inches wide and thirteen inches tall. W magazine has nearly half a million, 469,000 subscribers. 80 percent of the magazine's readers are girls and women.

references 

1972 establishments in the United States
Fashion magazines
American monthly magazines
Iraj Eskandari (; 1907 – 1985) was an Persian Qajar politician. He was active in the Persian Revolution. He was killed in prison during the reign of Mohammad Ali Shah Qajar.

References 

Iranian politicians
1908 births
1985 deaths
Béatrice Vialle (born 4 August 1961 at Bourges) is a French pilot. She is one of the two female Concorde pilots. She was the first French female pilot on a supersonic airliner.

She graduated from École nationale de l'aviation civile (promotion 1981).

References 

1961 births
Living people
Alumni of the École nationale de l'aviation civile
French aviators
People from Bourges
Sandal Bar (), is a large and ancient region of Punjab. It is between the river Ravi and river Chenab. It spreads over almost 80 km from east to west and 40 km north to south. "Bar", in the local language, means a forested area where there are no resources for cultivation, like water.

Language
Punjabi is the main language of the region. Many people also speak Urdu. Some who came from Rajasthan, Haryana, Delhi, Uttar Pradesh States of India during the Partition of India of 1947 speak Haryanvi or Mewati.

Major Cities and towns in Sandal Bar 

Gujranwala
Sialkot
Faisalabad
Shiekhupura
Narang Mandi
Muridkay
Nankana Sahib
Warburton
Rasul Nagar

Qila Didar Singh
Jaranwala
Nowshera Virkan
Sambrial
Zafarwal
Shakargarh
Siranwali
Eminabad

Hafizabad
Shahkot
Ghakhar Mandi
Kamoke
Daska
Pasrur
Toba Tek Singh
Wazirabad
Manawala

Regions of Pakistan
Punjab (Pakistan)
Nankana Sahib, (Shahmukhi: ; Gurmukhi: ) is a city in the Nankana Sahib District. This new district formed in 2005. The city used to be called Rai-Bhoi-Di-Talwandi and was part of the old Sheikhupura District. Nankana Sahib is in the region of Punjab. It is about 75 kilometres west of Lahore and about 55 kilometres east of Faisalabad.

History
The village of Nankana Sahib was founded by Rai Boi. He was a Muslim Rajput of Bhatti Clan, and a retainer of the Delhi Sultanate rulers of the early 15th Century. His descendants were Chaudhary Rai Bular (died 1515), who was a devotee of Guru Nanak Dev (1469-1539), the founder of the Sikh religion. Guru Nanak's parents were from Amritsar District area, as his father Mehta Kalu got a new job as a patwari of the village of Rai Bhoi Di Talwandi (now Nankana Sahib), in the Sandal Bar region of Punjab.

Cities in Punjab (Pakistan)
Nankana Sahib District
Detour (1945) is a crime movie. It was directed by Edgar G. Ulmer. Critics liked the movie. It has received a lot of praise over the years. The movie is regarded as a good example of film noir.

Detour was chosen for preservation in the United States National Film Registry. The movie was remade in 1992 with Tom Neal's son Tom Neal Jr. in his father's role.

Cast 
 Tom Neal as Al Roberts
 Ann Savage as Vera
 Claudia Drake as Sue Harvey
 Edmund MacDonald as Charles Haskell Jr
 Tim Ryan as Nevada Diner Proprietor
 Esther Howard as Holly, Diner Waitress
 Pat Gleason as Joe, Trucker at Diner
 Don Brodie as the Used Car Salesman

Story 
Al is hitchhiking to Hollywood. A man named Haskell picks him up. Haskell accidentally dies on the road that night. Al believes the police will think he killed Haskell. He dumps Haskell's body on the side of the road. He runs away with Haskell's money and car.
The next day Al picks up Vera at a gas station. She is a drifter. She knows Al is not Haskell. She threatens to turn him over to the police if he does not obey her orders. She reads in a newspaper that Haskell's rich father wants to find his son.

Vera orders Al to pretend to be Haskell. She wants to get the man's money. Al refuses. Vera gets drunk. They argue. Al accidentally kills her. He hits the road again, but the police nab him.

1945 crime movies
United States National Film Registry movies
English-language movies
1940s American crime movies
B-movies
Movies directed by Edgar G. Ulmer
Daniel Gabriel Fahrenheit (1686-1736) was a German physicist who worked in the Netherlands. He became known for the precise instruments he made. The degree Fahrenheit is named after him. He was the first to be able to determine the temperature with precision. His thermometers used Ethyl alcohol at first. When he read an article by Guillaume Amontons about using mercury in barometers, he got the idea of using that substance for his thermometers. He calibrated his mercury thermometers to a cold temperature he could produce easily, the freezing point of salt water. 

In 1724 he discovered that water can be supercooled below its freezing point without turning into ice. 

Fahrenheit also developed a hydrometer, a pycnometer and a hypsobarometer

References 

German physicists
1686 births
1736 deaths
Santa Claus Conquers the Martians (1964) is a science fiction children's movie. The movie is about Martians kidnapping Santa Claus so their children (who watch too much television) will have some fun. It was directed by Nicholas Webster and stars John Call as Santa Claus. Pia Zadora plays a Martian child. The movie is considered one of the worst ever made.

1964 movies
American science fiction movies
Christmas movies
American family movies
English-language movies
American independent movies