davidanugraha/M4-RAG huggingface dataset:
Midgardsormen

Midgardsormen (norrønt Miðgarðsormr) i den norrøne mytologien er den enorme ormen som omkranser menneskenes verden (Midgard).
Midgardsormen er avlet av Loke og Angerboda, og er bror til Fenrisulven og Hel. Den het opprinnelig Jormundgand (Jǫrmungandr, «den veldige staven»), men æsene kastet ham ut i havet som omkranser verden, fordi de ville ha mer kontroll over monstrene. Der har den ligget som en sjøorm og spist seg større og større, og etterhvert blitt så stor at den biter seg selv i halen. Dermed fikk den navnet Midgardsormen, fordi den omslutter hele Midgard.
Under Ragnarok kommer Midgardsormen opp på land, og bukter seg over åker og eng. Da skal Tor kjempe mot den, og drepe den. Tor får selv sitt banesår i denne tvekampen, og dør.
Hymeskvadet (Hymiskviða) er et gudedikt i Den eldre Edda og i Codex Regius, som er oppkalt etter jotnen Hyme. Diktet er blant annet kjent for sin fortelling om guden Tor, som under en fisketur med Hyme brukte et oksehode som agn og fikk selveste Midgardsormen på kroken. Mens tordenen samlet seg i himmelen, viste Midgardsormen sin edderpustende kjeft, og Tor brølte i triumf. Idet han hevet hammeren Mjølner til slag fikk Hyme nok og kappet fiskesnøret; Tor drepte Hyme rasende, og vasset i land. Samme kveld ble Norden rammet av en forferdelig storm.
Fantonald

Fantonald er Donald Ducks superhelt-alter ego i Disney-tegneseriene.
Han ble skapt av Guido Martina og Giovan Battista Carpi i 1969 etter at italienske unger klaget til serieforlaget bak den italienske versjonen av Donald Duck & Co om at Donald alltid var taperen i fortellingene. Forkledd som Fantonald skifter Donald på mange måter personlighet; han blir modig, aktiv og med stor selvtillit i motsetning til sitt vanlige "underdog"-selv (som ytterligere hemmes av Donalds egen latskap og dumhet, karaktertrekk som later til å fordufte når han tar på seg Fantonald-drakten). I rollen som Fantonald er Donald endelig i stand få revansj over Skrue og fetter Anton for tusen ydmykelser opp gjennom årene, og slik sett er ikke Fantonalds personlighet udelt "positiv"; han kan fremstå noe høy på seg selv, hever seg over loven og nyter å endelig være mektig, respektert og sågar fryktet. Ganske raskt utviklet imidlertid Fantonald seg fra å være en "hevner" for Donalds ydmykelser til å bli en mer uproblematisk superhelt, som først og fremst slo til mot Andebys forbrytere.
Fantonald er trolig inspirert av Batman; begge figurer opptrer hovedsakelig om natta og bruker våpen i stedet for superkrefter. Det norske navnet "Fantonald" kombinerer navnene Fantomet (en annen maskert tegneseriehelt) og Donald.
Fantonald opptrer i Donald Pocket ved flere anledninger. Fra 1996 til 2006 hadde han også sitt eget blad. Historiene i dette bladet var lengre, mer kompliserte. Blant Fantonalds fiender i dette bladet var Plyndreren, en tidsreisende forbryter; Evronianerne, et utenomjordisk imperium; Krigoslagia, en stat hvis eneste mål var krig og ødeleggelse; og Konrad Kiwi, en journalist med stadig ønske om å gjøre Fantonald til syndebukk for fiendenes ødeleggelser. Blant hans venner og allierte var Glupus, en avansert kunstig intelligens; Lydia, en journalist som egentlig er en av tidspolitiets agenter fra fremtiden; Xadhoom, en utenomjordisk og mektig evronianer-jeger; og Everett Ducklair, den briljante vitenskapsmann som skapte Glupus og prøvde å håndtere konsekvensene av sine mange farlige oppfinnelser og rystende hemmeligheter. Serien fokuserte sterkt på følelser og konflikter som påvirket Fantonalds evner som superhelt og hans samspill med sine allierte og fiender. Han endte flere ganger opp med å samarbeide med fiender, f.eks. Plyndreren og Konrad Kiwi, for å oppnå felles mål - mens forholdet til allierte, f.eks. Everett Ducklair, kunne tidvis være mistroisk og komplisert. Fantonald het opprinnelig Super Donald i Norge, men skiftet raskt navn til Fantonald.
Barett

Barett er en rund eller mangekantet, myk lue eller hatt med flat pull. Baretter i forskjellige varianter var vanlige i Europa på 1500-tallet, men er fortsatt i bruk i form av alpeluer og militære bereter.
Ordet barett er lånt via tysk barett (også i formen birret) fra det franske barette eller béret og italienske baretta og berretto, et ord som er avledet av det latinske birrus', «en type kappe med hette». I Danmark bruker en betegnelsen baret, i Finland barett og i Sverige baskermössa for den militærlua en i Norge og på engelsk kaller beret.
Barett har på engelsk og norsk også blitt kalt bonnet.
Lark (Norwegian resistance)

Lark was the code word for the group that was sent from the United Kingdom to Trondheim, Norway as part of the preparations for a possible Allied invasion of Norway. Lark developed into the main organisation for the Special Operations Executive (SOE) in Trøndelag, and became the effective leadership of Milorg in the region.
The plan for a possible Allied invasion in Norway was to split Norway in half around Nord-Trøndelag and southern Nordland, and thus isolate the German troops in the north (Operation Jupiter). Lark started its operations in Trøndelag on 10 February 1942, when Odd Sørli and Arthur Pevik [no] came to Trondheim from the UK. The group's mission was to start training men in weapons and guerrilla tactics. Lark had been reinforced by Evald Hansen [no], Herluf Nygaard, Olav Krause Sættem and Arne Christiansen by April 1942, while Pevik went to London where he wrote an extensive report to Major Malcolm Munthe. Sættem, Christiansen, Hansen and Sørli went to Stockholm later the same year. During this time, Lark was mainly occupied with a plan to sink the German battleship Tirpitz, which at the time was situated in the Trondheimsfjord. Nygaard and Hansen were captured and tortured in December 1942; Nygaard later escaped, while Hansen died at Falstad.
Lark was reinforced by Erik Gjems-Onstad, Johnny Pevik [no] and Nils Uhlin Hansen in March 1943. With the Allied invasion of Sicily in July 1943, it became clear that Norway would not be the scene of at least the primary Allied invasion of Europe. Lark continued to organise Milorg-groups, and planned offensives against Nazi collaborators.
Norway's Resistance Museum

Norway's Resistance Museum also known as the Norwegian Home Front Museum (Norwegian: Norges Hjemmefrontmuseum) is a museum located at the Akershus Fortress in Oslo.
The museum collection focuses on Norwegian resistance during the occupation of Norway by Nazi Germany from 1940 to 1945. The museum displays equipment, photos and documents from the war years.
The museum was established as a foundation in 1966. The Museum was opened to the public in May 1970 by Crown Prince Harald of Norway in celebration of the 25th anniversary of Norwegian liberation. Architectural planning was entrusted to Norwegian architect Otto Torgersen (1910-2000) who working together with key personnel representing various branches of the underground forces, produced a chronological gallery through the period from the prelude in the 1930s onwards to liberation in 1945.
The museum's first manager was Knut Haugland, who managed the museum until 1983. Tore Gjelsvik was chairman of the museum's council from 1964 to 1973. Arnfinn Moland was appointed manager of the museum in 1995.
59°54′28″N 10°44′09″E﻿ / ﻿59.9079°N 10.7358°E﻿ / 59.9079; 10.7358
Cap of the North

The Cap of the North, also known as the North Calotte, (Nordkalotten in Norwegian and Swedish, or Pohjoiskalotti in Finnish) is the regions of Norway, Sweden, and Finland located north of the Arctic Circle. It usually consists of the counties Finnmark, Nordland and Troms in Norway, Norrbotten in Sweden, and Lapland in Finland. The region has a subarctic climate and is home to the majority of the Sámi people.
The region contains over 30% of the total area of the three countries, but it houses less than 5% of their population.
The Kola Peninsula was considered a part of this region until 1917, but this was changed after the Russian Revolution, with the new Soviet Union closing their borders.
Sámi historian Per Guttorm Kvenangen has criticized the term Nordkalotten for displacing the overlapping term Sápmi and hiding the "Sámi character" of northern Fennoscandia.
List of flags with blue, red, and white stripes

Flags of white, red and blue stripes (bands) are closely associated with independence and the French Revolution. It can often signal the relationships of some nations with other nations (for instance, the flag of the Netherlands and flags of its former colonies).
The Dutch tricolor, the first known example of the tricolor, stood for liberty and republicanism, and the Netherlands flag influenced the tricolour flags of France and Russia.
The flag model was put forward in the French Revolution with the tricolore, a term which to this day, can refer to the flag of France directly, rather than all tricolors. The French Tricolour has become one of the most influential flags in history, with its three-colour scheme being adopted by many other nations, both in Europe and the rest of the world, and, according to the Encyclopædia Britannica has historically stood "in symbolic opposition to the autocratic and clericalist royal standards of the past".
The British Union Jack was drawn up to represent the union of England and Scotland. The American flag or Stars and Stripes made a major contribution to the modern flag tradition and the idea of a flag representing both population and government, like the French flag after the Revolution.
The various blue, white, and red striped banners were adopted, somewhat changing the order and position of stripes (vertical and horizontal). The Russian flag was adopted by Peter the Great on the basis of the Dutch flag, during his effort to build a Western-oriented navy.
They also became the Pan-Slavic colors, particularly Austro-Slavism in countries that became independent from the Austro-Hungarian monarchy.
Selburose

In Norwegian knitting, a selburose (Norwegian: [ˈsæ̀ɽbʉˌɾuːsə]) is a knitted rose pattern in the shape of a regular octagram. It is traditionally used for winter clothing such as the Selbu mitten (selbuvott) and sweaters (lusekofte, lopapeysa and mariusgenser). Of ancient origin, the pattern is associated with Selbu Municipality in Norway, and has become an international symbol of Norway (or Scandinavia generally), Christmas and winter.
The design now known as the selburose has a long history. It appears in textiles across European history, and in knitting pattern books from Italy, France, Switzerland and Germany in the 16th to 18th century. It appears to combine designs of Islamic and Christian tradition based on Coptic and Byzantine art, or even the Sumerian Star of Ishtar. In Norway, the pattern was already in use prior to 1857 on sweaters from Western Norway based on Danish designs.
Marit Guldsetbrua Emstad (born 1841), a girl from Selbu, popularized the design in 1857 when she knitted three pairs of mittens with an eight-petalled rose design (åttebladrose) and brought them to church. She may have been inspired by stockings knitted by Marit Sessenggjerdet, a woman working for the same employer. The design became immediately popular in Selbu. The Norwegian Arts and Craft Club (Husflidslag) spread the selburose mitten fad across the country after 1910. By the 1930s, 100,000 pairs were made in Selbu every year, and by 1960, much of the town's economy depended on the trade.
The popularity of the design in Norway may have been helped by the desire to establish a Norwegian national identity as the decades-long process of Norwegian independence from Sweden had thought leaders searching for the country's "true spirit". The bold, "uniquely Norsk" design of the selburose fit these aspirations. Norwegian girls were taught to knit the pattern, as a pair of selbuvotter became the traditional gift of a girl to her fiancé and his friends. The home industry of Selbu mitten knitting helped make Norwegian farming life economically feasible and gave women a measure of economic independence. Norwegian emigration and international trade spread the symbol across the world, where it is often interpreted as a snowflake or a star instead of a flower. This helped cement the association between the selburose and winter clothing and therefore winter itself.
Selbuvott

Selbuvott (transl. selbu mittens) is a knitted woolen mitten, based on a pattern from Selbu Municipality in Norway. Like all mittens, the purpose of selbuvott is to keep hands warm during winter, with one large space for fingers and a separate smaller section for the thumb. The pattern is a Selburose, which is a traditional rose from the Selbu area, shaped like an octagram. Marit Guldsetbrua Emstad (born 1841) first knitted the pattern into a pair of mittens in 1857, and sold it through Husfliden in Trondheim in 1897. Selbuvott is possibly the most-worn knitted pattern in Norway.
Although traditionally only worked with two colors, patterns for these mittens could often be very intricate. Because of this, Selbuvott was used as a form of a dowry for young girls since selbuvott required an intense amount of time, care, and skilled practice in order to perfect the technique and get the desired look. A girl would start knitting these mittens from a very young age so that she could present them to her future husband and wedding guests.
Shetland Museum

The Shetland Museum and Archives is a museum in Lerwick, Shetland, Scotland. The new Shetland Museum at Hay's Dock was officially opened on 31 May 2007 by Queen Sonja of Norway and the Duke & Duchess of Rothesay (Charles & Camilla).
On 29 June 1966 a library and museum building was opened on Lower Hillhead and King Harald Street, Lerwick by the Lord Lieutenant R. H. W. Bruce. The building was built in 1966 by Zetland County Council and was shared with Shetland Library.
The new building, which cost in the region of £11.6 million, was part-funded by a Heritage Lottery Fund grant of £4.9 million, and replaced the much smaller buildings in Lerwick. The lead consultant for the development was the Building Design Partnership, and the main contractor D.I.T.T. Construction Ltd. started work on the building in 2004. The display designs in the building were created by GBDM of Dundee in collaboration with museum staff. The completed building is a massive step forward for the Shetland Museum with five times the space for exhibits, not including the three-storey boat hall. The building also contains a state-of-the-art archive-storage facility and search room – again with increased space and much better facilities. There is also a 120-seat lecture hall, temporary display areas, and a cafe, which serves, as much as possible, local produce.
In April 2008, the Museum and Archives was nominated for the Art Prize Fund for museums & galleries. The building won the "Commercial & Public Access" award and the overall "Gold Award" in the 2008 Wood Awards.
The display galleries are split between two floors. The ground floor, with approximately 500 m of gallery space, concentrates on the history of Shetland up until 1800, from environmental, geological, and geographical factors, early settlers in the islands, through early agriculture, fishing, early boats, and the rich folklore of Shetland. The 360 m of first-floor gallery space brings the story of Shetland up to date with exhibits from the last 200 years. These detail the changes in culture, politics, population, and industry, including the development of the knitwear industry and Shetland's association with the sea through fishing, whaling, wartime service, and merchant shipping.
The exhibits in the museum range from items of great historical importance, to items, which although not old, are of great significance to Shetland. From items which tell a story on their own, to items which help form part of a larger picture, and from items as delicate as lace shawls, to complete boats. The Shetland Archives contains records from the 15th to the 21st century, and a big library of local literature.
The building sits on the shore of the biggest exhibit, the Category B listed Hay's Dock, which was built in 1815 by the company Hay & Ogilvy. As part of the project the dock area has seen major refurbishment works including the restoration of the pier house, and dredging of the dock itself, which will be home to the museum's floating exhibits.
The Shetland Crofthouse Museum at Dunrossness is a traditional 19th-century thatched crofthouse.
60°9′31″N 1°8′52″W﻿ / ﻿60.15861°N 1.14778°W﻿ / 60.15861; -1.14778
List of footballers who achieved hat-trick records

Scoring a hat-trick in association football is considered an impressive achievement, even after many years and advances in the sport; however, it is still fairly common. This is a list of records and other feats in football hat-trick scoring, including exceptional numbers of hat-tricks; exceptional feats in scoring a hat-trick; and achievements relating to the hat-trick scorers themselves.
The great majority of the scorers of a hat-trick have played for the winning side, but there have also been a few occasions when the player's team have drawn or lost the game. The list features all association footballers, including at all levels of competition when playing in official matches.
Note: For a senior team; when referring to clubs, not including subsidiary teams in senior leagues
Fastest as the shortest span between the first and third goal.
Longest as the longest span between the first and third goal.
Note: Any player, while fielded as a defender.
Note: Only those who did so unintentionally
Dale of Norway

Dale of Norway is a Norwegian clothing brand known for their production of high quality pure wool knitwear. The textile factory for the company is located at the village of Dale in Vaksdal Municipality, about 50 kilometres (31 mi) east of the city of Bergen in Vestland county, Norway. In 2018, Dale of Norway was acquired by the Rossignol Group.
The history of the business dates to 1872 when industrialist Peter Jebsen (1824–1892) first established a textile factory in Dale. The textile facility was completed in 1879. Starting in 1912, the operation included the production of hand-knitted yarn. After World War II, the factory developed exports of its knitted sweaters.
Since 1956, Dale of Norway has designed and produced official Olympic and World Championship sweaters for the Norwegian National Alpine Ski Team, with new designs for every event. Dale of Norway was later chosen to design the official sweaters for the Winter Olympic Games through the International Olympic Committee (IOC), with the rights to use the Olympic symbols.
H7 (monogram)

H7 was the royal cypher of the Norwegian head of state, King Haakon VII, who reigned from 1905 to 1957. When Germany invaded Norway in 1940 as a part of World War II, the royal family fled the country and Haakon VII later spearheaded the Norwegian resistance in exile in the United Kingdom. H7 became one of several symbols used by the Norwegian populace to mark solidarity with and loyalty to the King, and adherence to the Norwegian resistance movement.
According to Minister of Foreign Affairs Bjørn Tore Godal, speaking at the 50th anniversary for Victory in Europe Day, Norway was the only country in which the initials of the head of state became a resistance symbol. The monogram, with H superimposed on 7, was drawn on fences, walls, houses, roads, in the snow and otherwise in the public sphere. It was also used in illegal art. Coins with the H7 symbol were also attached to clothes. Such coins were confiscated by the Nazi authorities. It was also used in the private sphere, among others on the inside of blinds.
A symbol used in a similar way was the "V for victory", as popularised by Winston Churchill. However, the Axis attempted to usurp this sign, supposedly with the new meaning of "V for Viktoria". While this campaign was successful in most of Nazi-occupied Europe, it failed in Norway: Despite continued official use, the opposition also adopted the V-sign as an abbreviation of verlieren (German for "to lose"), and filled in the Nazi V's with the H7 monogram. In fact, this popularized the use of H7, which was soon drawn without the V.
The act of drawing or creating a H7 symbol in German-occupied Norway was punishable by imprisonment. Another possible sanction was terror from Nazi paramilitary groups, to which the police were ordered not to respond.
The symbol was also evoked after World War II to have a commemorative effect, among others at the first post-war Holmenkollen ski jump event, when the symbol was formed in large scale by people. It was also used on post-war coins.
De los Incas-Parque Chas (subte de Buenos Aires)

La estación De los Incas - Parque Chas forma parte de la línea B del Subte de Buenos Aires. Se encuentra localizada debajo de la Avenida Triunvirato entre la Avenida de los Incas y la calle Arismendi en el límite de los barrios porteños de Villa Ortúzar y Parque Chas.​​
Su inauguración se realizó el sábado 9 de agosto de 2003, junto con la estación Tronador - Villa Ortúzar, por el entonces Jefe de Gobierno Porteño, Aníbal Ibarra. El tramo que comprende las dos estaciones inauguradas tiene 1,8 kilómetros de extensión, y las obras en el mismo se iniciaron en el año 2000. El costo del tramo inaugurado se estima en 47 millones de dólares. Esta estación fue terminal provisoria de la línea B, hasta la inauguración de la estación Juan Manuel de Rosas en 2013.
La denominación inicial de la estación fue únicamente De los Incas, pero al recuperar Parque Chas su reconocimiento oficial como barrio en 2005, nuevamente quedó dentro de este y se decidió cambiar su nombre.
Entre las comodidades que ofrece esta estación, se cuentan las escaleras mecánicas y ascensores para discapacitados, así como también indicaciones en braille. Entre los baños, se cuentan de los comunes y de aquellos adecuados especialmente para discapacitados.
De los Incas - Parque Chas cuenta con un vestíbulo ubicado en el extremo oeste, a 6,27 metros de la superficie con dos grupos de accesos. El primero, sobre la Avenida Combatientes de Malvinas, cuenta con una escalera fija y otra mecánica, además del ascensor exterior; el segundo está ubicado en la intersección de la Avenida de los Incas y la Avenida Triunvirato.
Otra característica de esta estación es su salón de exposiciones, que en su primera etapa sirvió para exponer al público los restos de un gliptodonte que se halló durante la excavación de los túneles.
La estación De los Incas - Parque Chas está decorada con diseños inspirados en motivos precolombinos que desarrollan temas de la cultura andina, destacando en sus paredes unas figuras características del arte Moche . Los mismos fueron realizados por los artistas plásticos Armando Dilon y María Eggers Lan. En el andén se puede apreciar también una gigantesca máscara dorada con motivos de la cultura Chimú —originaria del norte del Perú—. La máscara fue construida por Héctor Pinola —ex escenógrafo del Teatro Colón—. La estación carecía de contaminación visual hasta que, en octubre del 2007, la concesionaria Metrovías instaló televisores y relojes publicitarios.​
Se encuentran en las cercanías de esta:
Restaurante
Cuartito azul

Cuartito azul es un famoso tango compuesto por Mariano Mores con letra de Mario Battistella. Fue estrenado en 1939 cantado por Ignacio Corsini y narra la experiencia de un joven que se despide de la habitación en donde vivió su adolescencia siguiendo a su primer amor. Se trata de la historia del propio Mores, y fue su primer gran éxito.
El azul no se usaba como jabón sino como blanqueador para la ropa. La marca era Azul Brasso.​
El 27 de junio del 2012 Mariano Mores fue homenajeado en la casa de Terrada 2410, donde había compuesto la canción hacía 75 años. La propiedad había sido comprada años atrás por quien resultó ser, casualmente, una admiradora del tango y de Mores. Al verificar que allí estaba el famoso "cuartito azul" no dudó en restaurarlo y fomentar un homenaje. Actualmente en la fachada de la casa una placa reza: “En esta casa vivió y compuso el tango Cuartito Azul el maestro Mariano Mores” ​
Álvaro Sanjurjo Toucon

Álvaro Sanjurjo Toucon (Montevideo, 19 de abril de 1942-21 de octubre de 2023) fue un crítico de cine, ensayista y humorista uruguayo. Usaba el seudónimo de «El Miope» para sus trabajos humorísticos.​
Crítico cinematográfico desde 1964. En las décadas de 1960 y 1970 integró las directivas de Cine Universitario y Cine Club del Uruguay, colaborando ocasionalmente con Cinemateca Uruguaya. Fue director de las desaparecidas revistas de cine Nuevo Film e Imagen. Artículos suyos aparecieron en publicaciones latinoamericanas y europeas. Fue docente de Cine a nivel secundario y universitario.
Ha realizado trabajos de investigación sobre el «Salón Rouge», primera sala cinematográfica del Uruguay, y la participación de Fidel Castro en el cine de Hollywood y México.
Participó en las obras colectivas Industrias Culturales del Uruguay y ¿Comment Parler de cinéma? (París). Fue jurado de los Festivales de Cine de La Habana, Valladolid, Lima, Asunción, Guadalajara (México), Viña del Mar, Sevilla, Mar del Plata, Uruguay, etc.
Fue corealizador y guionista de los cortometrajes El espejo y El último. Ambos refieren a la inseguridad y vulnerabilidad del ciudadano común durante la dictadura cívico-militar en Uruguay (1973-1985). También realizó una adaptación libre al cine de El coronel no tiene quien le escriba, pero esta película nunca fue exhibida al no contar con la autorización de Gabriel García Márquez, autor de la novela.
Los Cava Bengal

Los Cava Bengal fue un grupo musical del género melódico argentino popular en las décadas de 1960 y 1970.
Fue un destacado trío vocal integrado por Tito Cavá, seudónimo de Donato del Valle Herrera, como primera guitarra (eléctrica) y tercera voz; Nito Bengal, apodo de Osvaldo Humberto Breglia, en segunda voz y maracas; y Baby Bengal, nombre real de Alcides René Giménez, como primera voz y segunda guitarra (española). La dirección estaba a cargo de Tito, quien había sido guitarrista de Mercedes Sosa en su Tucumán natal y venía de actuar con Carlinhos y su bandita. Nito y Baby llegaron de Bahía Blanca y grabaron con sellos como Vik y RCA Víctor.
Grabaron en RCA cinco LP ("Mil Noches", "Letra y música para soñar", "La luz de un fósforo", "Tangos con Los Cava Bengal" y "Conversando con nadie"), donde interpretaban temas melódicos, que incluían también tangos abolerados, compilados luego en el LP "Tangos con Los Cava Bengal".​
Popularizaron temas como Percal, Cuartito azul, Quedémonos aquí, La casita de mis viejos, Trenzas, Sabor a nada, Gricel (con música de Mariano Mores), entre otros.
Supieron destacarse en aquella época de conjuntos de este tipo que ejecutaban otros sones: Los Cinco Latinos, Los Santos y Los TNT (Toni, Nelly y Tim Croatto), hermanos italianos radicados en Uruguay, y a quienes Virgilio y Homero Expósito les crearon el fox trot que fue su gran suceso: Eso.​
En televisión tuvieron la oportunidad de cantar el tango de Carlos Bahr y Mauricio Misé Si no me engaña el corazón, junto al uruguayo Julio Sosa.
Interpretaban temas melódicos, tangos en ritmo de bolero y algunos tema folklóricos.
En 1966 participaron de la película Ritmo, amor y juventud, con Osvaldo Pacheco, Pinky, Raúl Lavié y Estela Molly.​
A mediado de 1970 realizaron una gran gira por el exterior con gran éxito en España, volviendo a la Argentina en los 80. En 1998 apareció un CD compilado con sus más famosos temas de grandes compositores como Dino Ramos.
Fugazzetta

La fugazzeta es una pizza de cebolla con queso arriba de la masa. La fugazzeta una variedad de pizza argentina, originada en Buenos Aires, que consiste en colocar el queso entre dos discos de pizza, a modo de relleno, sobre el cual se agrega cebolla. Deriva de una combinación de características de la pizza napolitana (pan, salsa de tomate y queso), con la focaccia (pan con cebolla), llamada en Génova fugassa. Fue inventada por el pizzero argentino, hijo de genovés, Juan Banchero, en el barrio de La Boca, en algún momento entre 1893 y 1932, cuando se inauguró la pizzería Banchero.​​​​
No hay uniformidad sobre las denominaciones. La pizzería Banchero utiliza la denominación «fugazza con queso»,​ y la patente registrada por su fundador indica que «es una capa de masa de pizza, queso cuartirolo en el medio, otra capa de masa y cebolla arriba». Algunos especialistas y pizzerías consideran que «fugazza con queso» y «fugazzetta» son sinónimos, y denominan «fugazzetta rellena» a la que se confecciona con dos capas de masa. Otros consideran que «fugazzetta» y «fugazetta rellena» son sinónimos.​​​​​​ En algunos casos se distingue una tercera variedad denominada «pizza de cebolla», que agrega una base de tomate al único disco de base.
Fue inventada por el pizzero argentino, hijo de genovés, Juan Banchero, en el barrio de La Boca, en algún momento entre 1893 y 1932, cuando se inauguró la pizzería Banchero.​​​​
La fugazzeta es una pizza preparada con dos capas y entre las mismas se coloca el queso, de modo que conformar una pizza rellena. Se presenta en dos variedades según los ingredientes que se colocan sobre la capa superior, queso y cebolla, o cebolla sola. Tradicionalmente la tapa de abajo es más gruesa y grande, y la de arriba más fina y pequeña, de modo que esta última queda crocante. El queso que se utiliza para el relleno es el cuartirolo, pero en algunos casos se utiliza mozzarella. Para la cubierta se utiliza queso provolone o parmesano.​
Los 36 Billares

Los 36 Billares es un tradicional bar notable y restaurante de Buenos Aires, conocido por su subsuelo adonde funcionaban las mesas de billar. Se encuentra en Avenida de Mayo 1271, y ofrece espectáculos musicales de tango.
Fue inaugurado en 1894, cuando recién se había terminado la apertura de la Avenida de Mayo. Ocupa​ la planta baja y el subsuelo de un edificio de departamentos que fue construido en 1914 para la Compañía de Seguros “La Franco Argentina”, por los arquitectos Tiphaine y Colmegna, con estilo academicista francés. Hoy el edificio aloja al Hotel Marbella.
Por las mesas de Los 36 Billares (su nombre alude al nombre del fabricante de las mesas de billar) pasaron escritores notables, como el español Federico García Lorca -que se hospedó en el cercano Hotel Castelar-, o argentinos como Abelardo Arias, y periodistas como Miguel Ángel Bavio Esquiú o Timo Zorraquín.
El bar ha recibido numerosas distinciones:
1987: En este año el bar recibió una distinción por el Buenos Aires Museo dirigido por el arquitecto José María Peña, reconociendo a "Los 36 Billares" como Testimonio vivo de la Memoria Ciudadana, por haberse mantenido hasta el presente conservando su carácter y decoración original
1993: La Comisión del Centenario de la Avenida de Mayo homenajeó a este café por su presencia en esa histórica avenida
1999: La Comisión para la Preservación del Patrimonio Histórico Cultural de la Ciudad de Buenos Aires invitó a Los 36 Billares a participar del encuentro "Derecho a la memoria", organizado por dicha Comisión; también fue reconocido por la Comisión para la Protección y Promoción de Cafés, Bares, Billares y Confiterías Notables que depende de la Secretaría de Cultura del Gobierno de la Ciudad de Buenos Aires y tiene por objeto rescatar, salvaguardar y dar a conocer establecimiento que por características identifican a Buenos Aires y su cultura.
2013: cerró tras ser comprado por una cadena de pizzerías.​
2014: reabrió sus puertas el 24/09/2014 luego de un enorme trabajo de remodelación y restauración. El legendario subsuelo fue reciclado a nuevo, conservando las características y el estilo propios que hicieron de los 36 Billares una de las más renombradas plazas del billar mundial, y uno de los sitios de interés de la Ciudad de Buenos Aires. La planta baja se halla en plena tarea de reformas, y se prevé que sus puertas serán abiertas nuevamente en breve. La implacable evidencia de la obra ejecutada pone de manifiesto que todos los rumores sobre la transformación del café notable en una pizzería resultaron absolutamente infundados.
Club Italiano

El Club Italiano es una institución deportiva, cultural y social ubicada en el barrio de Caballito, Buenos Aires.
La institución fue fundada el 29 de diciembre de 1898 por un grupo de italianos nativos y descendientes para difundir el uso creativo y deportivo de la bicicleta. Por este motivo, su primer nombre fue "Club Ciclístico Italiano", que 14 años después y por la incorporación de otros deportes, fue cambiado por el más genérico que tiene actualmente.
Se alquila entonces en 1900 y por diez años, las instalaciones del Recreo Belvedere ubicadas en el barrio de la Recoleta sobre la Av. Alvear (actual Av. del Libertador). Este predio fue adquirido en 1909 por la Municipalidad de la Ciudad de Bs. As., que luego fue concediendo sucesivas prórrogas ante el inevitable desalojo. Se analizaron afanosamente muchas alternativas para lograr un nuevo asentamiento y finalmente en 1910 se alquiló una quinta de frutas y verduras en el barrio de Caballito. Ese mismo año comenzaron y terminaron las construcciones y el Club se trasladó a Avenida Rivadavia 4731, frente a Plaza Lezica (posteriormente conocida como Parque Rivadavia). En 1922 la institución compró en firme la propiedad alquilada.​
La posterior adquisición de algunas propiedades linderas facilitó una primera ampliación, terminada en poco tiempo e inaugurada el último día de 1926. Después y sucesivamente se construiría la pileta climatizada de natación, la cancha e instalaciones de pelota a paleta, el gimnasio, la sala de esgrima y la de pesas y complementos, dos canchas simples de bowling y cuatro más después automatizadas.
A partir de 1980 y mediante tres sucesivas compras a la Municipalidad de la Cdad. de Bs. As. el club adquirió 17 hectáreas en el Parque Almirante Brown. En estos terrenos erigió sus campos deportivos con pileta olímpica de natación, gran cantidad de canchas para diversos deportes, vestuarios, restaurantes y confiterías, playas de estacionamiento, instalaciones operativas y zonas de parquización forestada, todo lo cual de inmediato fue y sigue siendo utilizado por los socios de la entidad.​
En la actualidad el club cuenta con una amplia gama de disciplinas deportivas muchas de las cuales son federativas, lo que permite competir contra otras instituciones y rankear a nivel metropolitano con posibilidades de clasificaciones a instancias nacionales.​ Entre otras destacan: artes marciales, básquet, fútbol, gimnasia artística, hockey, judo, natación, pesas, pelota paleta, rugby, tenis, voley, yoga, etc.
En lo social se dispone de actividades tales como: Gimnasio de Musculación y salones para actividades fitness, billares, colonia de vacaciones, juegos para niños, solárium, salón de fiestas, sauna, etc.
Cuenta con alrededor de 5.000 socios activos.​
Güerrín

Güerrín is a pizzeria in Buenos Aires, Argentina, where the speciality of the restaurant is the Argentine pizza. Guerrin was declared by the Buenos Aires City Legislature as one of the most iconic pizzerias of the city in 2011.
It was founded in 1932 by two Italian immigrants Franco Malvezzi and Guido Grondona. The location is on the number 1368 Corrientes Avenue, occupying the same place since its foundation. The particularity of the pizzeria is that the pizzas are cooked using a wood-fired pizza oven and thick pizza dough. The restaurant also offers some of Argentine varieties of pizzas like fugazza and farinata (fainá). According the site TasteAtlas is one of the most iconic places in Buenos Aires to eat.
The place has different rooms according to the type of clients, there are places to eat pizza on the go standing rooms with space for many diners, and a room with more privacy without much noise.
Fugazza

Fugazza (from Genoese: fugassa) is a common type of Argentine pizza, originating in Buenos Aires, that consists of a thick pizza crust topped with onions and sometimes olives. A similar variant known as fugazza con queso or fugazzetta includes cheese along with the aforementioned ingredients. It is derived from a combination of Neapolitan pizza with Italian focaccia bread.
Fugazza and its variations are believed to have been invented sometime between 1893 and 1932 by a Genoese-Argentine pizza maker named Juan Banchero, who served it out of a pizza shop bearing his name. Banchero's pizza shop continues to sell fugazza to this day in the Buenos Aires neighborhood of La Boca, which historically served as a home to Genoese immigrants to Argentina.
Fugazza is typically prepared with the following ingredients:
Fugazzetta is a variation on fugazza in which the cheese is baked in between two pizza crusts (usually media masa), and the onions are placed on top.
Figazza is a version of fugazza from Uruguay, where the main difference is the lack of cheese or any middle filling, also the portions are cut to the style of Uruguayan pizza, which is in rectangular pieces, and it can have additional topping of olives and bell peppers, a less common version of Uruguayan figazza is figazza con muzzarella, where mozzarella cheese is put on top of the onions, almost same ingredients of Argentinian fugazza but backwards order.
Fileteado

Fileteado (Spanish pronunciation: [fileteˈaðo]) is a type of artistic drawing and lettering, with stylised lines and flowered, climbing plants, typically used in Buenos Aires, Argentina. It is used to adorn all kinds of beloved objects: signs, taxis, trucks, and even old colectivos, Buenos Aires's buses.
Filetes (the lines in fileteado style) are usually full of colored ornaments and symmetries completed with poetic phrases, sayings and aphorisms, both humorous or roguish, emotional or philosophical. They have been part of the culture of Porteños (inhabitants of Buenos Aires) since the beginnings of the 20th century.
The filetes were born as simple ornaments, becoming an emblematic form of art for the city. Many of its initiators were European immigrants, who brought from Europe some elements of what later fileteado, which became the distinct Argentine art form known today when mixed with local traditional art styles. Fileteado was recognized as a unique art after 1970, when it was exhibited for the first time.
Fileteado began in the gray carts pulled by horses, that transported fruits, milk, groceries and bread at the end of the 19th century.
The painters who decorated the carts were called Fileteadores, because they performed the job with long-threaded paintbrushes also called "Brushes for making filetes". This is a word derived from Latin "Filum" which means "Thread", referring to the art in a fine line that serves as ornament.
Since it was something that was executed after a cart was done, but before the payment was received, it was a task that had to be performed quickly.
At that time, many specialist painters flourished such as Ernesto Magiori and Pepe Aguado or artists such as Miguel Venturo, son of Salvador Venturo. This last one had been a captain of the Merchant Navy of Italy who established in Buenos Aires, where he dedicated to Fileteado, incorporating a lot of motifs from his home country. Miguel studied painting and enhanced his father's technique, being considered by many the painter who shaped the Filete. The introduction of birds, flowers, diamonds and dragons in the motifs is attributed to him, as well as the design of letters in the doors of trucks. Since there was a tax imposed on large letters, Miguel made smaller ones surrounded by very colorful and complex designs to draw attention, a long lasting design.
In the book Filete porteño, by Alfredo Genovese, the anthropologist Norberto Cirio describes the main formal features from fileteado as:
For a modern example of its use, see the cover of the 2005 album Haughty Melodic by Mike Doughty.
Misa a Buenos Aires

The Misa a Buenos Aires, known as Misatango, is a setting of the mass in Latin by Martín Palmeri. The music uses the style of the nuevo tango and its typical instrumentation, scored for mezzo-soprano, mixed choir and an ensemble of bandoneon, piano and strings. The world premiere was on 17 August 1996 at the Avenida Theatre in Buenos Aires. It has been performed and recorded internationally, often with the composer as the pianist, and is regarded as his signature work.
Palmeri has been active as a composer, choral conductor, pianist and arranger of tango music. He wrote the mass, beginning in 1995, combining influences from his varied background. The world premiere was given on 17 August 1996 at the Avenida Theatre in Buenos Aires by the Orquesta Sinfónica Nacional de Cuba conducted by Fernando Álvarez; the work was dedicated to the performing choirs, two choirs that Palmeri conducted: the Choir of the Law Faculty of the University of Buenos Aires and the Polyphonic Choir of the City of Vicente López.
The Latin text of the mass is divided in six movements:
The work takes around 40 minutes to perform. The composition uses the melodic style, rhythms and instrumentation of the nuevo tango, following the model of Astor Piazzolla, but includes elements from the history of church music, such as extended fugues in the opening and closing movements.
The work is scored for mezzo-soprano soloist, mixed choir (SATB) and an ensemble of bandoneon, piano and strings.
Palmeri has often played the piano part in performances, in Argentina, Austria, Belgium, Brazil, Chile, Czech Republic, Ecuador, Germany, Israel, Italy, Lithuania, Latvia, Litauen, Netherlands, Russia, Slovakia, Spain, Switzerland and the U.S. In October 2013, Palmeri took part in a performance of the Kölner Domchor and members of the Gürzenich Orchestra with Bernarda Alba from Argentina, conducted by Eberhard Metternich, at a concert to honour at Sant'Ignazio di Loyola in Campo Marzio. The concert was the opening of the 12 edition of the International Festival of Sacred Music and Art; the 12th edition was dedicated to Pope Franciscus who had been cardinal in Buenos Aires before. The performance garnered the work international popularity.
The mass was performed on 18 January 2015 in an international production with several choirs in Carnegie Hall, New York City.
Flag of Buenos Aires

The flag of Buenos Aires is the official flag used by the different areas and dependencies of the Government of the city of Buenos Aires, Argentina. adopted on October 24, 1995.
The flag contains the city's first coat of arms on a white field. This is a completely different coat of arms than the one adopted in 2012. The eagle represents Spanish colonization, the Calatrava cross [es], used by the military Order of Calatrava, represents evangelism, the crown represents monarchy and the four eaglets represent four cities that were founded in that period: Santa Fe, La Trinidad (Buenos Aires), Corrientes and Concepción del Bermejo.
The proportions of the flag were established in Article 2, which established the proportions of 9:14, with the shield placed in the center. The flag must always be flown together with the national flag, the flag must be in all local government offices.
The earliest mention of the coat of arms dates back to 20 October 1580, when Juan de Garay, the founder of the city, decreed the recognition of Saint Martin of Tours as the city's patron saint and introduced the coat of arms. The coat of arms designed by de Garay is Argent (white) shield with a sable (black) essorant (rousant) eagle facing left. In its raised right leg, the eagle holds the gules (red) cross of Calatrava. There are four chicks next to the eagle. The eagle has four chicks at its legs and a crown.
The coat of arms devised by de Garay was used in a very limited way and was quickly forgotten. Jacinto de Lariz, Governor of Rio da Prata, approved a new coat of arms on 5 November 1649, immediately introducing it into temporary use, but which was not sent for royal approval and therefore remained technically unofficial until 1856. This coat of arms depicts a dove above the water with an anchor sticking out of it, and over time two sailing ships also appeared on it.
In 1978, Mayor Osvaldo Cacciatore took care of changing the local shield, restoring the original coat of arms with the eagle, but changing the color black to yellow. Cacciatore also created the prototype of the later city flag. Since it was a personal decision of the mayor that was never sanctioned, these flags and the modified coat of arms themselves did not become official symbols and were only used during the visit of the King of Spain in 1978.
On 28 September 1995, the City council of Buenos Aires passed ordenance 49.669, which established the city flag. The ordenance came into effect with decree 1.291 on October 24, 1995. The first article states that the official city flag features a white field with the shield designed in 1580 by Juan de Garay in its center.
Cultural institutions in the La Boca neighborhood sometimes use the so-called "Republic of La Boca" flags. This is the national flag of Argentina, with the Sun of May replaced by the Italian coat of arms and Phrygian cap. The origins of the flag date back to an urban legend according to which in the second half of the 19th century, a district inhabited by Italian immigrants declared independence. Since 1907, the "Republic of La Boca" has been re-declared several times as a micronation.
Chá mate

O chá-mate (mate cocido, em espanhol) é uma infusão típica das gastronomias do Cone Sul da América do Sul. É preparado colocando-se erva-mate tostada em infusão com água quente, ou fervendo a erva-mate tostada em água. Coa-se e serve-se em xícaras. Pode-se, também, esperar esfriar e servi-lo gelado.
É uma bebida de sabor amargo, similar ao chimarrão, porém mais suave, com as mesmas propriedades estimulantes e nutricionais deste. O chá-mate é comercializado já pronto, em latas ou garrafas; sob a forma da erva-mate tostada, em pacotes ou saquinhos, como o chá comum; ou em forma solúvel, em pó ou extrato. Pode ser adoçado com açúcar ou outro edulcorante e consumido com leite ou suco de limão.
Sendo uma iguaria típica da região do Cone Sul, no Brasil o Chá Mate é fortemente vinculado à cultura do Paraná, onde é tão popular quanto o café e muitas vezes consumido em lugar deste. No estado foram fundadas as duas maiores empresas do segmento: a Leão, hoje pertencente à The Coca-Cola Company e a Real.
No Rio de Janeiro, devido ao calor da cidade, o chá mate é muito consumido de forma gelada nas praias. Em 2012, os ambulantes que servem a bebida se tornaram patrimônio histórico e imaterial da cidade.
A elaboração do chá-mate em saquinhos é praticamente igual à da erva-mate comum, utilizada na preparação do chimarrão, com a diferença de que, em sua moagem, são eliminados o pó e os ramos (paus ou palos), beneficiando-se somente as folhas de erva-mate.
Consumido por todas as classes sociais por ter altos valores nutritivos (especialmente quando adoçado com açúcar ou servido com leite), o chá-mate é servido como desjejum nas escolas argentinas desde o início do século XIX.
Nas praias do Rio de Janeiro, o chá-mate é, tradicionalmente, vendido em galões, gelado e com suco de limão, por vendedores ambulantes vestidos com roupas de cor laranja. Em 2009, a prefeitura da cidade tentou proibir a venda de chá-mate nas praias alegando motivos sanitários, mas, diante do protesto da população, a prefeitura voltou atrás. Três anos depois, o chá-mate foi oficializado como patrimônio cultural e imaterial da cidade.
Além de ser consumido tradicionalmente em vários países da América do Sul, existem também marcas locais de chá-mate na Alemanha e no Japão.
Matte Leão

Matte Leão é uma marca de chá de erva-mate criada em 1901 e comprada pela The Coca-Cola Company em 2007.
No início de 2010, foi divulgado que a marca representava 70% do mercado brasileiro de chás prontos para beber.
Matte Leão era o carro chefe da empresa Leão Junior S.A., empresa fundada em 1901 por Leão Junior na cidade de Curitiba, sendo sua sede e principal fábrica localizada na Avenida Getúlio Vargas, Bairro Rebouças.
Os chás para infusão tornaram-se o chá tostado com a marca Matte Leão em 1938. Em 2007 a Coca-Cola Brasil, adquiriu a marca e a empresa Leão Junior S.A. transferindo a unidade fabril para a cidade de Fazenda Rio Grande, região metropolitana de Curitiba.
Em julho de 2008 foi anunciada a reestilização da marca, através de um novo logotipo e reformulação das embalagens.
Em 2010, antiga sede foi vendida para a Igreja Universal do Reino de Deus para a construção de um enorme templo da igreja.