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Alecu Russo (March 17, 1819 near Chișinău – February 5, 1859 in Iași), was a Moldavian Romanian writer, literary critic and publicist. Russo is credited with having discovered one of the most elaborate forms of the Romanian national folk ballad Miorița. He was also a contributor to the Iași periodical Zimbrul, in which he published one of his best-known works, Studie Moldovană ("Moldovan Studies"), in 1851–1852. He also wrote Iașii și locuitorii lui în 1840 ("Iași and its inhabitants in 1840"), a glimpse into Moldavian society during the Organic Statute administration, and two travel accounts (better described as folklore studies), Piatra Teiului and Stânca Corbului. Russo is also notable for his Amintiri ("Recollections"), a memoir, and for the prose poem Cântarea României. Both these works appeared in 1855 in Vasile Alecsandri's literary magazine, România Literară. He died shortly before the age of 40. His cause of death is recorded as troahnă, usually denoting influenza, but sometimes a euphemism for tuberculosis. He was buried with great pomp at the Bărboi Church, in Iași. Presence in anthologies The Bessarabia of my Soul / Basarabia Sufletului meu. A collection of poetry from the Republic of Moldova, bilingual English & Romanian, Daniel Ioniță and Maria Tonu (editors), with Eva Foster, Daniel Reynaud and Rochelle Bews, MediaTon, Toronto, Canada, 2018. ISBN 978-1-7751837-9-2 Notes External links Encyclopedia of 1848 Revolutions:Alecu Russo

cause of death

Alecu Russo (March 17, 1819 near Chișinău – February 5, 1859 in Iași), was a Moldavian Romanian writer, literary critic and publicist. Russo is credited with having discovered one of the most elaborate forms of the Romanian national folk ballad Miorița. He was also a contributor to the Iași periodical Zimbrul, in which he published one of his best-known works, Studie Moldovană ("Moldovan Studies"), in 1851–1852. He also wrote Iașii și locuitorii lui în 1840 ("Iași and its inhabitants in 1840"), a glimpse into Moldavian society during the Organic Statute administration, and two travel accounts (better described as folklore studies), Piatra Teiului and Stânca Corbului. Russo is also notable for his Amintiri ("Recollections"), a memoir, and for the prose poem Cântarea României. Both these works appeared in 1855 in Vasile Alecsandri's literary magazine, România Literară. He died shortly before the age of 40. His cause of death is recorded as troahnă, usually denoting influenza, but sometimes a euphemism for tuberculosis. He was buried with great pomp at the Bărboi Church, in Iași. Presence in anthologies The Bessarabia of my Soul / Basarabia Sufletului meu. A collection of poetry from the Republic of Moldova, bilingual English & Romanian, Daniel Ioniță and Maria Tonu (editors), with Eva Foster, Daniel Reynaud and Rochelle Bews, MediaTon, Toronto, Canada, 2018. ISBN 978-1-7751837-9-2 Notes External links Encyclopedia of 1848 Revolutions:Alecu Russo

family name

Alecu Russo (March 17, 1819 near Chișinău – February 5, 1859 in Iași), was a Moldavian Romanian writer, literary critic and publicist. Russo is credited with having discovered one of the most elaborate forms of the Romanian national folk ballad Miorița. He was also a contributor to the Iași periodical Zimbrul, in which he published one of his best-known works, Studie Moldovană ("Moldovan Studies"), in 1851–1852. He also wrote Iașii și locuitorii lui în 1840 ("Iași and its inhabitants in 1840"), a glimpse into Moldavian society during the Organic Statute administration, and two travel accounts (better described as folklore studies), Piatra Teiului and Stânca Corbului. Russo is also notable for his Amintiri ("Recollections"), a memoir, and for the prose poem Cântarea României. Both these works appeared in 1855 in Vasile Alecsandri's literary magazine, România Literară. He died shortly before the age of 40. His cause of death is recorded as troahnă, usually denoting influenza, but sometimes a euphemism for tuberculosis. He was buried with great pomp at the Bărboi Church, in Iași. Presence in anthologies The Bessarabia of my Soul / Basarabia Sufletului meu. A collection of poetry from the Republic of Moldova, bilingual English & Romanian, Daniel Ioniță and Maria Tonu (editors), with Eva Foster, Daniel Reynaud and Rochelle Bews, MediaTon, Toronto, Canada, 2018. ISBN 978-1-7751837-9-2 Notes External links Encyclopedia of 1848 Revolutions:Alecu Russo

given name

Alecu Russo (March 17, 1819 near Chișinău – February 5, 1859 in Iași), was a Moldavian Romanian writer, literary critic and publicist. Russo is credited with having discovered one of the most elaborate forms of the Romanian national folk ballad Miorița. He was also a contributor to the Iași periodical Zimbrul, in which he published one of his best-known works, Studie Moldovană ("Moldovan Studies"), in 1851–1852. He also wrote Iașii și locuitorii lui în 1840 ("Iași and its inhabitants in 1840"), a glimpse into Moldavian society during the Organic Statute administration, and two travel accounts (better described as folklore studies), Piatra Teiului and Stânca Corbului. Russo is also notable for his Amintiri ("Recollections"), a memoir, and for the prose poem Cântarea României. Both these works appeared in 1855 in Vasile Alecsandri's literary magazine, România Literară. He died shortly before the age of 40. His cause of death is recorded as troahnă, usually denoting influenza, but sometimes a euphemism for tuberculosis. He was buried with great pomp at the Bărboi Church, in Iași. Presence in anthologies The Bessarabia of my Soul / Basarabia Sufletului meu. A collection of poetry from the Republic of Moldova, bilingual English & Romanian, Daniel Ioniță and Maria Tonu (editors), with Eva Foster, Daniel Reynaud and Rochelle Bews, MediaTon, Toronto, Canada, 2018. ISBN 978-1-7751837-9-2 Notes External links Encyclopedia of 1848 Revolutions:Alecu Russo

languages spoken, written or signed

Alecu Russo (March 17, 1819 near Chișinău – February 5, 1859 in Iași), was a Moldavian Romanian writer, literary critic and publicist. Russo is credited with having discovered one of the most elaborate forms of the Romanian national folk ballad Miorița. He was also a contributor to the Iași periodical Zimbrul, in which he published one of his best-known works, Studie Moldovană ("Moldovan Studies"), in 1851–1852. He also wrote Iașii și locuitorii lui în 1840 ("Iași and its inhabitants in 1840"), a glimpse into Moldavian society during the Organic Statute administration, and two travel accounts (better described as folklore studies), Piatra Teiului and Stânca Corbului. Russo is also notable for his Amintiri ("Recollections"), a memoir, and for the prose poem Cântarea României. Both these works appeared in 1855 in Vasile Alecsandri's literary magazine, România Literară. He died shortly before the age of 40. His cause of death is recorded as troahnă, usually denoting influenza, but sometimes a euphemism for tuberculosis. He was buried with great pomp at the Bărboi Church, in Iași. Presence in anthologies The Bessarabia of my Soul / Basarabia Sufletului meu. A collection of poetry from the Republic of Moldova, bilingual English & Romanian, Daniel Ioniță and Maria Tonu (editors), with Eva Foster, Daniel Reynaud and Rochelle Bews, MediaTon, Toronto, Canada, 2018. ISBN 978-1-7751837-9-2 Notes External links Encyclopedia of 1848 Revolutions:Alecu Russo

Commons Creator page

Alecu Russo (March 17, 1819 near Chișinău – February 5, 1859 in Iași), was a Moldavian Romanian writer, literary critic and publicist. Russo is credited with having discovered one of the most elaborate forms of the Romanian national folk ballad Miorița. He was also a contributor to the Iași periodical Zimbrul, in which he published one of his best-known works, Studie Moldovană ("Moldovan Studies"), in 1851–1852. He also wrote Iașii și locuitorii lui în 1840 ("Iași and its inhabitants in 1840"), a glimpse into Moldavian society during the Organic Statute administration, and two travel accounts (better described as folklore studies), Piatra Teiului and Stânca Corbului. Russo is also notable for his Amintiri ("Recollections"), a memoir, and for the prose poem Cântarea României. Both these works appeared in 1855 in Vasile Alecsandri's literary magazine, România Literară. He died shortly before the age of 40. His cause of death is recorded as troahnă, usually denoting influenza, but sometimes a euphemism for tuberculosis. He was buried with great pomp at the Bărboi Church, in Iași. Presence in anthologies The Bessarabia of my Soul / Basarabia Sufletului meu. A collection of poetry from the Republic of Moldova, bilingual English & Romanian, Daniel Ioniță and Maria Tonu (editors), with Eva Foster, Daniel Reynaud and Rochelle Bews, MediaTon, Toronto, Canada, 2018. ISBN 978-1-7751837-9-2 Notes External links Encyclopedia of 1848 Revolutions:Alecu Russo

name in native language

Alecu Russo (March 17, 1819 near Chișinău – February 5, 1859 in Iași), was a Moldavian Romanian writer, literary critic and publicist. Russo is credited with having discovered one of the most elaborate forms of the Romanian national folk ballad Miorița. He was also a contributor to the Iași periodical Zimbrul, in which he published one of his best-known works, Studie Moldovană ("Moldovan Studies"), in 1851–1852. He also wrote Iașii și locuitorii lui în 1840 ("Iași and its inhabitants in 1840"), a glimpse into Moldavian society during the Organic Statute administration, and two travel accounts (better described as folklore studies), Piatra Teiului and Stânca Corbului. Russo is also notable for his Amintiri ("Recollections"), a memoir, and for the prose poem Cântarea României. Both these works appeared in 1855 in Vasile Alecsandri's literary magazine, România Literară. He died shortly before the age of 40. His cause of death is recorded as troahnă, usually denoting influenza, but sometimes a euphemism for tuberculosis. He was buried with great pomp at the Bărboi Church, in Iași. Presence in anthologies The Bessarabia of my Soul / Basarabia Sufletului meu. A collection of poetry from the Republic of Moldova, bilingual English & Romanian, Daniel Ioniță and Maria Tonu (editors), with Eva Foster, Daniel Reynaud and Rochelle Bews, MediaTon, Toronto, Canada, 2018. ISBN 978-1-7751837-9-2 Notes External links Encyclopedia of 1848 Revolutions:Alecu Russo

writing language

Gregor Schmidinger (born 16 April 1985) is an Austrian screenwriter and director. He is best known for his 2019 feature film Nevrland (2019), as well as for his short film Homophobia (2012). Life and work Schmidinger studied Digital Television at the University of Applied Sciences Salzburg. He wrote his diploma thesis about Transmedia Storytelling, and studied screenwriting at the University of California, Los Angeles. He is member of the Austrian Directors Guild and the Austrtian Screenwriters Guild. As a filmmaker Schmidinger's films deal with mental health and LGTB issues. His first short films, The Boy Next Door (2008) and Homophobia (2012), have combined more than 15 million views on YouTube. One of his inspirations for Homophobia was the suicide of Jamey Rodemeyer in 2011, attributed to bullying due to his homosexuality, and a video Rodemeyer had submitted for the Internet-based 501(c)3 non-profit It Gets Better Project. Although the title of the film was deemed generic by the audience, Schmidinger defended it as it "provides a way of reaching a broader audience with a single word: search engine optimization meets art".His first feature film, Nevrland, premiered at the film festival Max Ophüls Preis in Saarbrücken. It won the Best Youth Jury Award, as well as in the Best Young Actor category. Nevrland deals with the story of Jakob, a teenager who works at a slaughterhouse, and is struggling with a debilitating anxiety disorder. He encounters the 26-year-old artist Kristjan on a cam-chat sex site, a confrontation that, according to the Saarbrücker Zeitung, "opens the door into the depths of his fantasies and fears." Film festival work Schmidinger is co-founder of the Porn Film Festival Vienna. The festival is aiming to bridge the gap between feminist and queer theory, art, and pornography. Filmography 2008: The Boy Next Door (short film) 2012: Homophobia (short film) 2019: Nevrland (feature) Awards 2019: Max-Ophüls Preis Youth Jury Award for Nevrland - 40th Filmfestival Max-Ophüls Preis 2019: Thomas-Pluch Spezialpreis der Jury for Nevrland - Diagonale 2019 2019: Best International Narrative for Nevrland - TLVFest 2019 2019: Best Feature Film for Nevrland - Filmfestival Kitzbühel 2019 2019: Youth Jury Award for Nevrland - Heimatfilmfestival 2019 References External links Gregor Schmidinger at IMDb Official website Interview in Kosmo with Schmidinger, Hagendorfer and Saif Rangwala

country of citizenship

Gregor Schmidinger (born 16 April 1985) is an Austrian screenwriter and director. He is best known for his 2019 feature film Nevrland (2019), as well as for his short film Homophobia (2012). Life and work Schmidinger studied Digital Television at the University of Applied Sciences Salzburg. He wrote his diploma thesis about Transmedia Storytelling, and studied screenwriting at the University of California, Los Angeles. He is member of the Austrian Directors Guild and the Austrtian Screenwriters Guild. As a filmmaker Schmidinger's films deal with mental health and LGTB issues. His first short films, The Boy Next Door (2008) and Homophobia (2012), have combined more than 15 million views on YouTube. One of his inspirations for Homophobia was the suicide of Jamey Rodemeyer in 2011, attributed to bullying due to his homosexuality, and a video Rodemeyer had submitted for the Internet-based 501(c)3 non-profit It Gets Better Project. Although the title of the film was deemed generic by the audience, Schmidinger defended it as it "provides a way of reaching a broader audience with a single word: search engine optimization meets art".His first feature film, Nevrland, premiered at the film festival Max Ophüls Preis in Saarbrücken. It won the Best Youth Jury Award, as well as in the Best Young Actor category. Nevrland deals with the story of Jakob, a teenager who works at a slaughterhouse, and is struggling with a debilitating anxiety disorder. He encounters the 26-year-old artist Kristjan on a cam-chat sex site, a confrontation that, according to the Saarbrücker Zeitung, "opens the door into the depths of his fantasies and fears." Film festival work Schmidinger is co-founder of the Porn Film Festival Vienna. The festival is aiming to bridge the gap between feminist and queer theory, art, and pornography. Filmography 2008: The Boy Next Door (short film) 2012: Homophobia (short film) 2019: Nevrland (feature) Awards 2019: Max-Ophüls Preis Youth Jury Award for Nevrland - 40th Filmfestival Max-Ophüls Preis 2019: Thomas-Pluch Spezialpreis der Jury for Nevrland - Diagonale 2019 2019: Best International Narrative for Nevrland - TLVFest 2019 2019: Best Feature Film for Nevrland - Filmfestival Kitzbühel 2019 2019: Youth Jury Award for Nevrland - Heimatfilmfestival 2019 References External links Gregor Schmidinger at IMDb Official website Interview in Kosmo with Schmidinger, Hagendorfer and Saif Rangwala

occupation

Gregor Schmidinger (born 16 April 1985) is an Austrian screenwriter and director. He is best known for his 2019 feature film Nevrland (2019), as well as for his short film Homophobia (2012). Life and work Schmidinger studied Digital Television at the University of Applied Sciences Salzburg. He wrote his diploma thesis about Transmedia Storytelling, and studied screenwriting at the University of California, Los Angeles. He is member of the Austrian Directors Guild and the Austrtian Screenwriters Guild. As a filmmaker Schmidinger's films deal with mental health and LGTB issues. His first short films, The Boy Next Door (2008) and Homophobia (2012), have combined more than 15 million views on YouTube. One of his inspirations for Homophobia was the suicide of Jamey Rodemeyer in 2011, attributed to bullying due to his homosexuality, and a video Rodemeyer had submitted for the Internet-based 501(c)3 non-profit It Gets Better Project. Although the title of the film was deemed generic by the audience, Schmidinger defended it as it "provides a way of reaching a broader audience with a single word: search engine optimization meets art".His first feature film, Nevrland, premiered at the film festival Max Ophüls Preis in Saarbrücken. It won the Best Youth Jury Award, as well as in the Best Young Actor category. Nevrland deals with the story of Jakob, a teenager who works at a slaughterhouse, and is struggling with a debilitating anxiety disorder. He encounters the 26-year-old artist Kristjan on a cam-chat sex site, a confrontation that, according to the Saarbrücker Zeitung, "opens the door into the depths of his fantasies and fears." Film festival work Schmidinger is co-founder of the Porn Film Festival Vienna. The festival is aiming to bridge the gap between feminist and queer theory, art, and pornography. Filmography 2008: The Boy Next Door (short film) 2012: Homophobia (short film) 2019: Nevrland (feature) Awards 2019: Max-Ophüls Preis Youth Jury Award for Nevrland - 40th Filmfestival Max-Ophüls Preis 2019: Thomas-Pluch Spezialpreis der Jury for Nevrland - Diagonale 2019 2019: Best International Narrative for Nevrland - TLVFest 2019 2019: Best Feature Film for Nevrland - Filmfestival Kitzbühel 2019 2019: Youth Jury Award for Nevrland - Heimatfilmfestival 2019 References External links Gregor Schmidinger at IMDb Official website Interview in Kosmo with Schmidinger, Hagendorfer and Saif Rangwala

Commons category

Gregor Schmidinger (born 16 April 1985) is an Austrian screenwriter and director. He is best known for his 2019 feature film Nevrland (2019), as well as for his short film Homophobia (2012). Life and work Schmidinger studied Digital Television at the University of Applied Sciences Salzburg. He wrote his diploma thesis about Transmedia Storytelling, and studied screenwriting at the University of California, Los Angeles. He is member of the Austrian Directors Guild and the Austrtian Screenwriters Guild. As a filmmaker Schmidinger's films deal with mental health and LGTB issues. His first short films, The Boy Next Door (2008) and Homophobia (2012), have combined more than 15 million views on YouTube. One of his inspirations for Homophobia was the suicide of Jamey Rodemeyer in 2011, attributed to bullying due to his homosexuality, and a video Rodemeyer had submitted for the Internet-based 501(c)3 non-profit It Gets Better Project. Although the title of the film was deemed generic by the audience, Schmidinger defended it as it "provides a way of reaching a broader audience with a single word: search engine optimization meets art".His first feature film, Nevrland, premiered at the film festival Max Ophüls Preis in Saarbrücken. It won the Best Youth Jury Award, as well as in the Best Young Actor category. Nevrland deals with the story of Jakob, a teenager who works at a slaughterhouse, and is struggling with a debilitating anxiety disorder. He encounters the 26-year-old artist Kristjan on a cam-chat sex site, a confrontation that, according to the Saarbrücker Zeitung, "opens the door into the depths of his fantasies and fears." Film festival work Schmidinger is co-founder of the Porn Film Festival Vienna. The festival is aiming to bridge the gap between feminist and queer theory, art, and pornography. Filmography 2008: The Boy Next Door (short film) 2012: Homophobia (short film) 2019: Nevrland (feature) Awards 2019: Max-Ophüls Preis Youth Jury Award for Nevrland - 40th Filmfestival Max-Ophüls Preis 2019: Thomas-Pluch Spezialpreis der Jury for Nevrland - Diagonale 2019 2019: Best International Narrative for Nevrland - TLVFest 2019 2019: Best Feature Film for Nevrland - Filmfestival Kitzbühel 2019 2019: Youth Jury Award for Nevrland - Heimatfilmfestival 2019 References External links Gregor Schmidinger at IMDb Official website Interview in Kosmo with Schmidinger, Hagendorfer and Saif Rangwala

family name

Gregor Schmidinger (born 16 April 1985) is an Austrian screenwriter and director. He is best known for his 2019 feature film Nevrland (2019), as well as for his short film Homophobia (2012). Life and work Schmidinger studied Digital Television at the University of Applied Sciences Salzburg. He wrote his diploma thesis about Transmedia Storytelling, and studied screenwriting at the University of California, Los Angeles. He is member of the Austrian Directors Guild and the Austrtian Screenwriters Guild. As a filmmaker Schmidinger's films deal with mental health and LGTB issues. His first short films, The Boy Next Door (2008) and Homophobia (2012), have combined more than 15 million views on YouTube. One of his inspirations for Homophobia was the suicide of Jamey Rodemeyer in 2011, attributed to bullying due to his homosexuality, and a video Rodemeyer had submitted for the Internet-based 501(c)3 non-profit It Gets Better Project. Although the title of the film was deemed generic by the audience, Schmidinger defended it as it "provides a way of reaching a broader audience with a single word: search engine optimization meets art".His first feature film, Nevrland, premiered at the film festival Max Ophüls Preis in Saarbrücken. It won the Best Youth Jury Award, as well as in the Best Young Actor category. Nevrland deals with the story of Jakob, a teenager who works at a slaughterhouse, and is struggling with a debilitating anxiety disorder. He encounters the 26-year-old artist Kristjan on a cam-chat sex site, a confrontation that, according to the Saarbrücker Zeitung, "opens the door into the depths of his fantasies and fears." Film festival work Schmidinger is co-founder of the Porn Film Festival Vienna. The festival is aiming to bridge the gap between feminist and queer theory, art, and pornography. Filmography 2008: The Boy Next Door (short film) 2012: Homophobia (short film) 2019: Nevrland (feature) Awards 2019: Max-Ophüls Preis Youth Jury Award for Nevrland - 40th Filmfestival Max-Ophüls Preis 2019: Thomas-Pluch Spezialpreis der Jury for Nevrland - Diagonale 2019 2019: Best International Narrative for Nevrland - TLVFest 2019 2019: Best Feature Film for Nevrland - Filmfestival Kitzbühel 2019 2019: Youth Jury Award for Nevrland - Heimatfilmfestival 2019 References External links Gregor Schmidinger at IMDb Official website Interview in Kosmo with Schmidinger, Hagendorfer and Saif Rangwala

given name

Gregor Schmidinger (born 16 April 1985) is an Austrian screenwriter and director. He is best known for his 2019 feature film Nevrland (2019), as well as for his short film Homophobia (2012). Life and work Schmidinger studied Digital Television at the University of Applied Sciences Salzburg. He wrote his diploma thesis about Transmedia Storytelling, and studied screenwriting at the University of California, Los Angeles. He is member of the Austrian Directors Guild and the Austrtian Screenwriters Guild. As a filmmaker Schmidinger's films deal with mental health and LGTB issues. His first short films, The Boy Next Door (2008) and Homophobia (2012), have combined more than 15 million views on YouTube. One of his inspirations for Homophobia was the suicide of Jamey Rodemeyer in 2011, attributed to bullying due to his homosexuality, and a video Rodemeyer had submitted for the Internet-based 501(c)3 non-profit It Gets Better Project. Although the title of the film was deemed generic by the audience, Schmidinger defended it as it "provides a way of reaching a broader audience with a single word: search engine optimization meets art".His first feature film, Nevrland, premiered at the film festival Max Ophüls Preis in Saarbrücken. It won the Best Youth Jury Award, as well as in the Best Young Actor category. Nevrland deals with the story of Jakob, a teenager who works at a slaughterhouse, and is struggling with a debilitating anxiety disorder. He encounters the 26-year-old artist Kristjan on a cam-chat sex site, a confrontation that, according to the Saarbrücker Zeitung, "opens the door into the depths of his fantasies and fears." Film festival work Schmidinger is co-founder of the Porn Film Festival Vienna. The festival is aiming to bridge the gap between feminist and queer theory, art, and pornography. Filmography 2008: The Boy Next Door (short film) 2012: Homophobia (short film) 2019: Nevrland (feature) Awards 2019: Max-Ophüls Preis Youth Jury Award for Nevrland - 40th Filmfestival Max-Ophüls Preis 2019: Thomas-Pluch Spezialpreis der Jury for Nevrland - Diagonale 2019 2019: Best International Narrative for Nevrland - TLVFest 2019 2019: Best Feature Film for Nevrland - Filmfestival Kitzbühel 2019 2019: Youth Jury Award for Nevrland - Heimatfilmfestival 2019 References External links Gregor Schmidinger at IMDb Official website Interview in Kosmo with Schmidinger, Hagendorfer and Saif Rangwala

Commons gallery

Get Low Records is a hip hop record label founded by Memphis Bleek in 1998. History Beginnings Under the guidance of Jay-Z, Memphis Bleek founded his label, Get Low Records, in 1998. The label's first release was Memphis Bleek's gold debut, The Coming of Age. This gained the label some notoriety. During the year 2000, the label began their long-running feud with Nas. The following year, Get Low released Bleek's second album The Understanding, another gold release. After the release of this album, the feud with Nas became public and distributing label, Roc-A-Fella Records quickly came to their defense setting up the epic Jay-Z vs. Nas feud. In the time between Memphis Bleek's second and third albums, he signed former Junior M.A.F.I.A. member, Lil' Cease to the label. He would also sign Geda K. In 2003, the label began feuding with west coast rapper The Game over the similar titling of his label at the time Get Low Recordz, they would trade disses from 2003 until 2007. This all led up to Bleek's third album M.A.D.E. The label would sign Livin Proof, and Gbaby and Latif in 2004. In 2005, the label released Memphis Bleek's fourth album 534. R&B singer Coya was signed that year as well. They also made peace with Nas around this time. Sniper and Phyro Son were signed to the label the following year. The label is currently preparing for the release of albums by Coya, Memphis Bleek, and Lil Cease. In the spring of 2014, Bleek announced that he would no longer use the 'Get Low' name and would re-vamp the company under a new name he chose called "Roc Solid". The new name being an ode to his tenure with Roc-A-Fella Records; the company released two mixtapes from Bleek called "The Movement" & "The Movement 2" Artists Memphis Bleek (CEO) Livin' Proof Latif Geda K H. Money Bags Calico Lil' Cease Discography Coming of Age (Memphis Bleek album) by Memphis Bleek Released: August 28, 1999 Promotional label: Get Low/Roc-A-Fella Distributing label: Def Jam Recordings Singles:"Memphis Bleek Is," "My Hood to Your Hood," "What You Think of That?" The Understanding by Memphis Bleek Released: December 5, 2000 Promotional label: Get Low/Roc-A-Fella Distributing label: Def Jam Recordings Singles: "Do My," "Is That Your Chick" M.A.D.E. by Memphis Bleek Released: December 16, 2003 Promotional label: Get Low/Roc-A-Fella Distributing label: Def Jam Recordings Singles: "Round Here," "Need Me In Your Life" 534 by Memphis Bleek Released: May 17, 2005 Promotional label: Get Low/Roc-A-Fella Distributing label: Def Jam Recordings Singles: "Like That" == References ==

instance of

The Standard, East Village, formerly the Cooper Square Hotel, is a 21-story high-rise luxury hotel located at 25 Cooper Square in lower Manhattan, New York City. The tower was designed by Carlos Zapata Studio and structurally engineered by Leslie E. Robertson Associates. It has interiors by the Milanese designer Antonio Citterio. The hotel, which opened in December 2008, has 145 rooms and is the location of the Narcissa restaurant owned by André Balazs and Chef John Fraser. The Cooper Square Hotel became a Standard Hotel in 2011, and as of 2013 is undergoing renovations. References Notes External links Media related to The Standard, East Village at Wikimedia Commons Official website

instance of

The Standard, East Village, formerly the Cooper Square Hotel, is a 21-story high-rise luxury hotel located at 25 Cooper Square in lower Manhattan, New York City. The tower was designed by Carlos Zapata Studio and structurally engineered by Leslie E. Robertson Associates. It has interiors by the Milanese designer Antonio Citterio. The hotel, which opened in December 2008, has 145 rooms and is the location of the Narcissa restaurant owned by André Balazs and Chef John Fraser. The Cooper Square Hotel became a Standard Hotel in 2011, and as of 2013 is undergoing renovations. References Notes External links Media related to The Standard, East Village at Wikimedia Commons Official website

located in the administrative territorial entity

The Standard, East Village, formerly the Cooper Square Hotel, is a 21-story high-rise luxury hotel located at 25 Cooper Square in lower Manhattan, New York City. The tower was designed by Carlos Zapata Studio and structurally engineered by Leslie E. Robertson Associates. It has interiors by the Milanese designer Antonio Citterio. The hotel, which opened in December 2008, has 145 rooms and is the location of the Narcissa restaurant owned by André Balazs and Chef John Fraser. The Cooper Square Hotel became a Standard Hotel in 2011, and as of 2013 is undergoing renovations. References Notes External links Media related to The Standard, East Village at Wikimedia Commons Official website

Commons category

Fast Duplicate File Finder is a Windows tool developed by MindGems Inc, available as a freeware version and a full commercial version. It is intended to scan a user's computer for duplicate files, display a list of such files and let the user delete unneeded copies with the purpose of freeing up hard drive space. It is compatible with all Microsoft Windows versions including the latest Windows 8, Windows 7 and all Windows Server operating systems and their corresponding 32 and 64 bit versions. Reception The product has received positive reviews. PCWorld.com, as of March 2, 2011, was positive about the speed, Overclocker.com commented on the quality of the results, whilst CNET observed the finding similar files being slower and that the free version was limited compared to the Pro version. References External links Fast Duplicate File Finder

copyright license

Fast Duplicate File Finder is a Windows tool developed by MindGems Inc, available as a freeware version and a full commercial version. It is intended to scan a user's computer for duplicate files, display a list of such files and let the user delete unneeded copies with the purpose of freeing up hard drive space. It is compatible with all Microsoft Windows versions including the latest Windows 8, Windows 7 and all Windows Server operating systems and their corresponding 32 and 64 bit versions. Reception The product has received positive reviews. PCWorld.com, as of March 2, 2011, was positive about the speed, Overclocker.com commented on the quality of the results, whilst CNET observed the finding similar files being slower and that the free version was limited compared to the Pro version. References External links Fast Duplicate File Finder

computes solution to

Iskradata 1680 was a computer developed by Iskradata in 1979. == References ==

subclass of

Englishman Bay is a bay in Washington County, Maine. The bay is located between the towns of Roque Bluffs and Jonesport. It is separated from Chandler Bay to the southwest by Roque Island and Great Spruce Island. The bay extends roughly 8 miles (13 km) and is 3 miles (5 km) at its widest. == References ==

instance of

Matteo Gabbia (Italian pronunciation: [ˈɡabbja]) (born on 21 October, 1999). He is an Italian professional footballer who plays as a defender for Serie A club AC Milan. Club career AC Milan Gabbia joined AC Milan's youth academy in 2012 aged 12. He received his first ever call-up to the senior team by head coach Vincenzo Montella ahead of a home Serie A game against Roma, which was played on 7 May 2017. However, he remained an unused substitute during the match. He made his first appearance for the club on 24 August 2017, in a Europa League qualifier against Shkëndija, as a 73rd-minute substitute for Manuel Locatelli. Loan to Lucchese On 31 August 2018, Gabbia was loaned to Serie C club Lucchese on a season-long loan deal. On 16 September he made his Serie C debut in a 1–0 home defeat against Arezzo, where he played the entire match. Eleven days later, on 27 September, he scored his first professional goal for Lucchese in the 47th minute of a 2–2 home draw against Carrarese. Gabbia ended his season-long loan to Lucchese with 30 appearances, all as a starter, he was replaced only 2 times, and he scored 1 goal. Return to AC Milan Gabbia stayed with Milan for the 2019–20 season as a squad player behind the likes of Alessio Romagnoli, Mateo Musacchio, and Simon Kjær. On 15 January 2020, he played in the 3–0 victory against SPAL in the Coppa Italia, coming on as a substitute for Simon Kjær in the 82nd minute. He made his league debut on 17 February 2020 in a 1–0 home victory against Torino, again as a substitute for Kjær in the 44th minute. On 25 October 2022, Gabbia scored his first Champions League goal in a 4–0 away victory over Dinamo Zagreb. International career Gabbia represented Italy at the 2016 UEFA European Under-17 Championship, where the team did not advance from the group stage. He played in two group-stage games for Italy U19 at the 2018 UEFA European Under-19 Championship, where Italy was the runner-up. Then with the Italy U20, Gabbia took part in the 2019 FIFA U-20 World Cup. He made his debut with the Italy U21 on 6 September 2019, in a friendly match won 4–0 against Moldova. Style of play Gabbia has been described as a versatile player. Having started his youth career as a defensive and a central midfielder, he later switched to deeper roles, such as a centre-back, in either a three or a four-man defensive line. Besides his ball-winning abilities, Gabbia also retains playmaking attributes and tends to join the attacking play when opportunities present themselves. Career statistics Club As of match played 15 April 2023 Honours AC Milan Serie A: 2021–22Italy U19UEFA European Under-19 Championship runner-up: 2018Italy U20FIFA U-20 World Cup fourth place: 2019 References External links Profile at the AC Milan website Matteo Gabbia at Soccerway Matteo Gabbia at TBPlayers

country of citizenship

Matteo Gabbia (Italian pronunciation: [ˈɡabbja]) (born on 21 October, 1999). He is an Italian professional footballer who plays as a defender for Serie A club AC Milan. Club career AC Milan Gabbia joined AC Milan's youth academy in 2012 aged 12. He received his first ever call-up to the senior team by head coach Vincenzo Montella ahead of a home Serie A game against Roma, which was played on 7 May 2017. However, he remained an unused substitute during the match. He made his first appearance for the club on 24 August 2017, in a Europa League qualifier against Shkëndija, as a 73rd-minute substitute for Manuel Locatelli. Loan to Lucchese On 31 August 2018, Gabbia was loaned to Serie C club Lucchese on a season-long loan deal. On 16 September he made his Serie C debut in a 1–0 home defeat against Arezzo, where he played the entire match. Eleven days later, on 27 September, he scored his first professional goal for Lucchese in the 47th minute of a 2–2 home draw against Carrarese. Gabbia ended his season-long loan to Lucchese with 30 appearances, all as a starter, he was replaced only 2 times, and he scored 1 goal. Return to AC Milan Gabbia stayed with Milan for the 2019–20 season as a squad player behind the likes of Alessio Romagnoli, Mateo Musacchio, and Simon Kjær. On 15 January 2020, he played in the 3–0 victory against SPAL in the Coppa Italia, coming on as a substitute for Simon Kjær in the 82nd minute. He made his league debut on 17 February 2020 in a 1–0 home victory against Torino, again as a substitute for Kjær in the 44th minute. On 25 October 2022, Gabbia scored his first Champions League goal in a 4–0 away victory over Dinamo Zagreb. International career Gabbia represented Italy at the 2016 UEFA European Under-17 Championship, where the team did not advance from the group stage. He played in two group-stage games for Italy U19 at the 2018 UEFA European Under-19 Championship, where Italy was the runner-up. Then with the Italy U20, Gabbia took part in the 2019 FIFA U-20 World Cup. He made his debut with the Italy U21 on 6 September 2019, in a friendly match won 4–0 against Moldova. Style of play Gabbia has been described as a versatile player. Having started his youth career as a defensive and a central midfielder, he later switched to deeper roles, such as a centre-back, in either a three or a four-man defensive line. Besides his ball-winning abilities, Gabbia also retains playmaking attributes and tends to join the attacking play when opportunities present themselves. Career statistics Club As of match played 15 April 2023 Honours AC Milan Serie A: 2021–22Italy U19UEFA European Under-19 Championship runner-up: 2018Italy U20FIFA U-20 World Cup fourth place: 2019 References External links Profile at the AC Milan website Matteo Gabbia at Soccerway Matteo Gabbia at TBPlayers

position played on team / speciality

Matteo Gabbia (Italian pronunciation: [ˈɡabbja]) (born on 21 October, 1999). He is an Italian professional footballer who plays as a defender for Serie A club AC Milan. Club career AC Milan Gabbia joined AC Milan's youth academy in 2012 aged 12. He received his first ever call-up to the senior team by head coach Vincenzo Montella ahead of a home Serie A game against Roma, which was played on 7 May 2017. However, he remained an unused substitute during the match. He made his first appearance for the club on 24 August 2017, in a Europa League qualifier against Shkëndija, as a 73rd-minute substitute for Manuel Locatelli. Loan to Lucchese On 31 August 2018, Gabbia was loaned to Serie C club Lucchese on a season-long loan deal. On 16 September he made his Serie C debut in a 1–0 home defeat against Arezzo, where he played the entire match. Eleven days later, on 27 September, he scored his first professional goal for Lucchese in the 47th minute of a 2–2 home draw against Carrarese. Gabbia ended his season-long loan to Lucchese with 30 appearances, all as a starter, he was replaced only 2 times, and he scored 1 goal. Return to AC Milan Gabbia stayed with Milan for the 2019–20 season as a squad player behind the likes of Alessio Romagnoli, Mateo Musacchio, and Simon Kjær. On 15 January 2020, he played in the 3–0 victory against SPAL in the Coppa Italia, coming on as a substitute for Simon Kjær in the 82nd minute. He made his league debut on 17 February 2020 in a 1–0 home victory against Torino, again as a substitute for Kjær in the 44th minute. On 25 October 2022, Gabbia scored his first Champions League goal in a 4–0 away victory over Dinamo Zagreb. International career Gabbia represented Italy at the 2016 UEFA European Under-17 Championship, where the team did not advance from the group stage. He played in two group-stage games for Italy U19 at the 2018 UEFA European Under-19 Championship, where Italy was the runner-up. Then with the Italy U20, Gabbia took part in the 2019 FIFA U-20 World Cup. He made his debut with the Italy U21 on 6 September 2019, in a friendly match won 4–0 against Moldova. Style of play Gabbia has been described as a versatile player. Having started his youth career as a defensive and a central midfielder, he later switched to deeper roles, such as a centre-back, in either a three or a four-man defensive line. Besides his ball-winning abilities, Gabbia also retains playmaking attributes and tends to join the attacking play when opportunities present themselves. Career statistics Club As of match played 15 April 2023 Honours AC Milan Serie A: 2021–22Italy U19UEFA European Under-19 Championship runner-up: 2018Italy U20FIFA U-20 World Cup fourth place: 2019 References External links Profile at the AC Milan website Matteo Gabbia at Soccerway Matteo Gabbia at TBPlayers

family name

Matteo Gabbia (Italian pronunciation: [ˈɡabbja]) (born on 21 October, 1999). He is an Italian professional footballer who plays as a defender for Serie A club AC Milan. Club career AC Milan Gabbia joined AC Milan's youth academy in 2012 aged 12. He received his first ever call-up to the senior team by head coach Vincenzo Montella ahead of a home Serie A game against Roma, which was played on 7 May 2017. However, he remained an unused substitute during the match. He made his first appearance for the club on 24 August 2017, in a Europa League qualifier against Shkëndija, as a 73rd-minute substitute for Manuel Locatelli. Loan to Lucchese On 31 August 2018, Gabbia was loaned to Serie C club Lucchese on a season-long loan deal. On 16 September he made his Serie C debut in a 1–0 home defeat against Arezzo, where he played the entire match. Eleven days later, on 27 September, he scored his first professional goal for Lucchese in the 47th minute of a 2–2 home draw against Carrarese. Gabbia ended his season-long loan to Lucchese with 30 appearances, all as a starter, he was replaced only 2 times, and he scored 1 goal. Return to AC Milan Gabbia stayed with Milan for the 2019–20 season as a squad player behind the likes of Alessio Romagnoli, Mateo Musacchio, and Simon Kjær. On 15 January 2020, he played in the 3–0 victory against SPAL in the Coppa Italia, coming on as a substitute for Simon Kjær in the 82nd minute. He made his league debut on 17 February 2020 in a 1–0 home victory against Torino, again as a substitute for Kjær in the 44th minute. On 25 October 2022, Gabbia scored his first Champions League goal in a 4–0 away victory over Dinamo Zagreb. International career Gabbia represented Italy at the 2016 UEFA European Under-17 Championship, where the team did not advance from the group stage. He played in two group-stage games for Italy U19 at the 2018 UEFA European Under-19 Championship, where Italy was the runner-up. Then with the Italy U20, Gabbia took part in the 2019 FIFA U-20 World Cup. He made his debut with the Italy U21 on 6 September 2019, in a friendly match won 4–0 against Moldova. Style of play Gabbia has been described as a versatile player. Having started his youth career as a defensive and a central midfielder, he later switched to deeper roles, such as a centre-back, in either a three or a four-man defensive line. Besides his ball-winning abilities, Gabbia also retains playmaking attributes and tends to join the attacking play when opportunities present themselves. Career statistics Club As of match played 15 April 2023 Honours AC Milan Serie A: 2021–22Italy U19UEFA European Under-19 Championship runner-up: 2018Italy U20FIFA U-20 World Cup fourth place: 2019 References External links Profile at the AC Milan website Matteo Gabbia at Soccerway Matteo Gabbia at TBPlayers

given name

Matteo Gabbia (Italian pronunciation: [ˈɡabbja]) (born on 21 October, 1999). He is an Italian professional footballer who plays as a defender for Serie A club AC Milan. Club career AC Milan Gabbia joined AC Milan's youth academy in 2012 aged 12. He received his first ever call-up to the senior team by head coach Vincenzo Montella ahead of a home Serie A game against Roma, which was played on 7 May 2017. However, he remained an unused substitute during the match. He made his first appearance for the club on 24 August 2017, in a Europa League qualifier against Shkëndija, as a 73rd-minute substitute for Manuel Locatelli. Loan to Lucchese On 31 August 2018, Gabbia was loaned to Serie C club Lucchese on a season-long loan deal. On 16 September he made his Serie C debut in a 1–0 home defeat against Arezzo, where he played the entire match. Eleven days later, on 27 September, he scored his first professional goal for Lucchese in the 47th minute of a 2–2 home draw against Carrarese. Gabbia ended his season-long loan to Lucchese with 30 appearances, all as a starter, he was replaced only 2 times, and he scored 1 goal. Return to AC Milan Gabbia stayed with Milan for the 2019–20 season as a squad player behind the likes of Alessio Romagnoli, Mateo Musacchio, and Simon Kjær. On 15 January 2020, he played in the 3–0 victory against SPAL in the Coppa Italia, coming on as a substitute for Simon Kjær in the 82nd minute. He made his league debut on 17 February 2020 in a 1–0 home victory against Torino, again as a substitute for Kjær in the 44th minute. On 25 October 2022, Gabbia scored his first Champions League goal in a 4–0 away victory over Dinamo Zagreb. International career Gabbia represented Italy at the 2016 UEFA European Under-17 Championship, where the team did not advance from the group stage. He played in two group-stage games for Italy U19 at the 2018 UEFA European Under-19 Championship, where Italy was the runner-up. Then with the Italy U20, Gabbia took part in the 2019 FIFA U-20 World Cup. He made his debut with the Italy U21 on 6 September 2019, in a friendly match won 4–0 against Moldova. Style of play Gabbia has been described as a versatile player. Having started his youth career as a defensive and a central midfielder, he later switched to deeper roles, such as a centre-back, in either a three or a four-man defensive line. Besides his ball-winning abilities, Gabbia also retains playmaking attributes and tends to join the attacking play when opportunities present themselves. Career statistics Club As of match played 15 April 2023 Honours AC Milan Serie A: 2021–22Italy U19UEFA European Under-19 Championship runner-up: 2018Italy U20FIFA U-20 World Cup fourth place: 2019 References External links Profile at the AC Milan website Matteo Gabbia at Soccerway Matteo Gabbia at TBPlayers

participant in

Matteo Gabbia (Italian pronunciation: [ˈɡabbja]) (born on 21 October, 1999). He is an Italian professional footballer who plays as a defender for Serie A club AC Milan. Club career AC Milan Gabbia joined AC Milan's youth academy in 2012 aged 12. He received his first ever call-up to the senior team by head coach Vincenzo Montella ahead of a home Serie A game against Roma, which was played on 7 May 2017. However, he remained an unused substitute during the match. He made his first appearance for the club on 24 August 2017, in a Europa League qualifier against Shkëndija, as a 73rd-minute substitute for Manuel Locatelli. Loan to Lucchese On 31 August 2018, Gabbia was loaned to Serie C club Lucchese on a season-long loan deal. On 16 September he made his Serie C debut in a 1–0 home defeat against Arezzo, where he played the entire match. Eleven days later, on 27 September, he scored his first professional goal for Lucchese in the 47th minute of a 2–2 home draw against Carrarese. Gabbia ended his season-long loan to Lucchese with 30 appearances, all as a starter, he was replaced only 2 times, and he scored 1 goal. Return to AC Milan Gabbia stayed with Milan for the 2019–20 season as a squad player behind the likes of Alessio Romagnoli, Mateo Musacchio, and Simon Kjær. On 15 January 2020, he played in the 3–0 victory against SPAL in the Coppa Italia, coming on as a substitute for Simon Kjær in the 82nd minute. He made his league debut on 17 February 2020 in a 1–0 home victory against Torino, again as a substitute for Kjær in the 44th minute. On 25 October 2022, Gabbia scored his first Champions League goal in a 4–0 away victory over Dinamo Zagreb. International career Gabbia represented Italy at the 2016 UEFA European Under-17 Championship, where the team did not advance from the group stage. He played in two group-stage games for Italy U19 at the 2018 UEFA European Under-19 Championship, where Italy was the runner-up. Then with the Italy U20, Gabbia took part in the 2019 FIFA U-20 World Cup. He made his debut with the Italy U21 on 6 September 2019, in a friendly match won 4–0 against Moldova. Style of play Gabbia has been described as a versatile player. Having started his youth career as a defensive and a central midfielder, he later switched to deeper roles, such as a centre-back, in either a three or a four-man defensive line. Besides his ball-winning abilities, Gabbia also retains playmaking attributes and tends to join the attacking play when opportunities present themselves. Career statistics Club As of match played 15 April 2023 Honours AC Milan Serie A: 2021–22Italy U19UEFA European Under-19 Championship runner-up: 2018Italy U20FIFA U-20 World Cup fourth place: 2019 References External links Profile at the AC Milan website Matteo Gabbia at Soccerway Matteo Gabbia at TBPlayers

languages spoken, written or signed

Matteo Gabbia (Italian pronunciation: [ˈɡabbja]) (born on 21 October, 1999). He is an Italian professional footballer who plays as a defender for Serie A club AC Milan. Club career AC Milan Gabbia joined AC Milan's youth academy in 2012 aged 12. He received his first ever call-up to the senior team by head coach Vincenzo Montella ahead of a home Serie A game against Roma, which was played on 7 May 2017. However, he remained an unused substitute during the match. He made his first appearance for the club on 24 August 2017, in a Europa League qualifier against Shkëndija, as a 73rd-minute substitute for Manuel Locatelli. Loan to Lucchese On 31 August 2018, Gabbia was loaned to Serie C club Lucchese on a season-long loan deal. On 16 September he made his Serie C debut in a 1–0 home defeat against Arezzo, where he played the entire match. Eleven days later, on 27 September, he scored his first professional goal for Lucchese in the 47th minute of a 2–2 home draw against Carrarese. Gabbia ended his season-long loan to Lucchese with 30 appearances, all as a starter, he was replaced only 2 times, and he scored 1 goal. Return to AC Milan Gabbia stayed with Milan for the 2019–20 season as a squad player behind the likes of Alessio Romagnoli, Mateo Musacchio, and Simon Kjær. On 15 January 2020, he played in the 3–0 victory against SPAL in the Coppa Italia, coming on as a substitute for Simon Kjær in the 82nd minute. He made his league debut on 17 February 2020 in a 1–0 home victory against Torino, again as a substitute for Kjær in the 44th minute. On 25 October 2022, Gabbia scored his first Champions League goal in a 4–0 away victory over Dinamo Zagreb. International career Gabbia represented Italy at the 2016 UEFA European Under-17 Championship, where the team did not advance from the group stage. He played in two group-stage games for Italy U19 at the 2018 UEFA European Under-19 Championship, where Italy was the runner-up. Then with the Italy U20, Gabbia took part in the 2019 FIFA U-20 World Cup. He made his debut with the Italy U21 on 6 September 2019, in a friendly match won 4–0 against Moldova. Style of play Gabbia has been described as a versatile player. Having started his youth career as a defensive and a central midfielder, he later switched to deeper roles, such as a centre-back, in either a three or a four-man defensive line. Besides his ball-winning abilities, Gabbia also retains playmaking attributes and tends to join the attacking play when opportunities present themselves. Career statistics Club As of match played 15 April 2023 Honours AC Milan Serie A: 2021–22Italy U19UEFA European Under-19 Championship runner-up: 2018Italy U20FIFA U-20 World Cup fourth place: 2019 References External links Profile at the AC Milan website Matteo Gabbia at Soccerway Matteo Gabbia at TBPlayers

country for sport

Matteo Gabbia (Italian pronunciation: [ˈɡabbja]) (born on 21 October, 1999). He is an Italian professional footballer who plays as a defender for Serie A club AC Milan. Club career AC Milan Gabbia joined AC Milan's youth academy in 2012 aged 12. He received his first ever call-up to the senior team by head coach Vincenzo Montella ahead of a home Serie A game against Roma, which was played on 7 May 2017. However, he remained an unused substitute during the match. He made his first appearance for the club on 24 August 2017, in a Europa League qualifier against Shkëndija, as a 73rd-minute substitute for Manuel Locatelli. Loan to Lucchese On 31 August 2018, Gabbia was loaned to Serie C club Lucchese on a season-long loan deal. On 16 September he made his Serie C debut in a 1–0 home defeat against Arezzo, where he played the entire match. Eleven days later, on 27 September, he scored his first professional goal for Lucchese in the 47th minute of a 2–2 home draw against Carrarese. Gabbia ended his season-long loan to Lucchese with 30 appearances, all as a starter, he was replaced only 2 times, and he scored 1 goal. Return to AC Milan Gabbia stayed with Milan for the 2019–20 season as a squad player behind the likes of Alessio Romagnoli, Mateo Musacchio, and Simon Kjær. On 15 January 2020, he played in the 3–0 victory against SPAL in the Coppa Italia, coming on as a substitute for Simon Kjær in the 82nd minute. He made his league debut on 17 February 2020 in a 1–0 home victory against Torino, again as a substitute for Kjær in the 44th minute. On 25 October 2022, Gabbia scored his first Champions League goal in a 4–0 away victory over Dinamo Zagreb. International career Gabbia represented Italy at the 2016 UEFA European Under-17 Championship, where the team did not advance from the group stage. He played in two group-stage games for Italy U19 at the 2018 UEFA European Under-19 Championship, where Italy was the runner-up. Then with the Italy U20, Gabbia took part in the 2019 FIFA U-20 World Cup. He made his debut with the Italy U21 on 6 September 2019, in a friendly match won 4–0 against Moldova. Style of play Gabbia has been described as a versatile player. Having started his youth career as a defensive and a central midfielder, he later switched to deeper roles, such as a centre-back, in either a three or a four-man defensive line. Besides his ball-winning abilities, Gabbia also retains playmaking attributes and tends to join the attacking play when opportunities present themselves. Career statistics Club As of match played 15 April 2023 Honours AC Milan Serie A: 2021–22Italy U19UEFA European Under-19 Championship runner-up: 2018Italy U20FIFA U-20 World Cup fourth place: 2019 References External links Profile at the AC Milan website Matteo Gabbia at Soccerway Matteo Gabbia at TBPlayers

name in native language

Martin Andreas Udbye (June 18, 1820 – January 10, 1889) was a Norwegian composer and organist. Biography Martin Andreas Udbye was born in Trondheim, Norway to Ole Jonsen Tollrorskar Udbye (1785-1856) and Birgitte Øien (1781-1866). Udbye was employed as a teacher at Domsognets primary school in Trondheim, where he worked from 1838 until 1844, when he became the organist at Church Hospital (Hospitalskirken) in Trondheim. In 1851, Udbye took a trip to Leipzig, where he concentrated on organ and composition. The following year he was back in his hometown, where he was hired as a music teacher at Trondheim Cathedral School. Largely self-taught, he produced an impressive output of diverse and complex works, including the first Norwegian opera, Fredkulla. Part of Norway's first opera was promoted locally in Trondheim during 1858 and met with enthusiasm. Udbye's first attempt to present Fredkulla to a Norwegian national audience was thwarted in 1877 when the Christiania Theatre, where it was scheduled to be performed, closed due to fire. The opera was forgotten until NRK reconstructed material and produced a concert version on the radio to commemorate its centennial in 1958. The opera was performed as part of the celebration of the 1,000 year anniversary of the founding of Trondheim during 1997.His other stage works include three operettas: Hr. Perrichons reise (1861), Hjemve (1864), and Junkeren og flubergrosen (1867). He also composed several choruses, three string quartets (1851–5), an orchestral sketch entitled Lumpasivagabundus (1861), a fantasy on Scandinavian melodies for violin and orchestra (1866), 20 piano trios, and 100 organ preludes among other works. References Other sources Kari Michelsen. The New Grove Dictionary of Opera, edited by Stanley Sadie (1992). ISBN 0-333-73432-7 and ISBN 1-56159-228-5 External links Works by or about Martin Andreas Udbye at Internet Archive Free scores by Martin Andreas Udbye at the International Music Score Library Project (IMSLP)

place of birth

Martin Andreas Udbye (June 18, 1820 – January 10, 1889) was a Norwegian composer and organist. Biography Martin Andreas Udbye was born in Trondheim, Norway to Ole Jonsen Tollrorskar Udbye (1785-1856) and Birgitte Øien (1781-1866). Udbye was employed as a teacher at Domsognets primary school in Trondheim, where he worked from 1838 until 1844, when he became the organist at Church Hospital (Hospitalskirken) in Trondheim. In 1851, Udbye took a trip to Leipzig, where he concentrated on organ and composition. The following year he was back in his hometown, where he was hired as a music teacher at Trondheim Cathedral School. Largely self-taught, he produced an impressive output of diverse and complex works, including the first Norwegian opera, Fredkulla. Part of Norway's first opera was promoted locally in Trondheim during 1858 and met with enthusiasm. Udbye's first attempt to present Fredkulla to a Norwegian national audience was thwarted in 1877 when the Christiania Theatre, where it was scheduled to be performed, closed due to fire. The opera was forgotten until NRK reconstructed material and produced a concert version on the radio to commemorate its centennial in 1958. The opera was performed as part of the celebration of the 1,000 year anniversary of the founding of Trondheim during 1997.His other stage works include three operettas: Hr. Perrichons reise (1861), Hjemve (1864), and Junkeren og flubergrosen (1867). He also composed several choruses, three string quartets (1851–5), an orchestral sketch entitled Lumpasivagabundus (1861), a fantasy on Scandinavian melodies for violin and orchestra (1866), 20 piano trios, and 100 organ preludes among other works. References Other sources Kari Michelsen. The New Grove Dictionary of Opera, edited by Stanley Sadie (1992). ISBN 0-333-73432-7 and ISBN 1-56159-228-5 External links Works by or about Martin Andreas Udbye at Internet Archive Free scores by Martin Andreas Udbye at the International Music Score Library Project (IMSLP)

place of death

Martin Andreas Udbye (June 18, 1820 – January 10, 1889) was a Norwegian composer and organist. Biography Martin Andreas Udbye was born in Trondheim, Norway to Ole Jonsen Tollrorskar Udbye (1785-1856) and Birgitte Øien (1781-1866). Udbye was employed as a teacher at Domsognets primary school in Trondheim, where he worked from 1838 until 1844, when he became the organist at Church Hospital (Hospitalskirken) in Trondheim. In 1851, Udbye took a trip to Leipzig, where he concentrated on organ and composition. The following year he was back in his hometown, where he was hired as a music teacher at Trondheim Cathedral School. Largely self-taught, he produced an impressive output of diverse and complex works, including the first Norwegian opera, Fredkulla. Part of Norway's first opera was promoted locally in Trondheim during 1858 and met with enthusiasm. Udbye's first attempt to present Fredkulla to a Norwegian national audience was thwarted in 1877 when the Christiania Theatre, where it was scheduled to be performed, closed due to fire. The opera was forgotten until NRK reconstructed material and produced a concert version on the radio to commemorate its centennial in 1958. The opera was performed as part of the celebration of the 1,000 year anniversary of the founding of Trondheim during 1997.His other stage works include three operettas: Hr. Perrichons reise (1861), Hjemve (1864), and Junkeren og flubergrosen (1867). He also composed several choruses, three string quartets (1851–5), an orchestral sketch entitled Lumpasivagabundus (1861), a fantasy on Scandinavian melodies for violin and orchestra (1866), 20 piano trios, and 100 organ preludes among other works. References Other sources Kari Michelsen. The New Grove Dictionary of Opera, edited by Stanley Sadie (1992). ISBN 0-333-73432-7 and ISBN 1-56159-228-5 External links Works by or about Martin Andreas Udbye at Internet Archive Free scores by Martin Andreas Udbye at the International Music Score Library Project (IMSLP)

country of citizenship

Martin Andreas Udbye (June 18, 1820 – January 10, 1889) was a Norwegian composer and organist. Biography Martin Andreas Udbye was born in Trondheim, Norway to Ole Jonsen Tollrorskar Udbye (1785-1856) and Birgitte Øien (1781-1866). Udbye was employed as a teacher at Domsognets primary school in Trondheim, where he worked from 1838 until 1844, when he became the organist at Church Hospital (Hospitalskirken) in Trondheim. In 1851, Udbye took a trip to Leipzig, where he concentrated on organ and composition. The following year he was back in his hometown, where he was hired as a music teacher at Trondheim Cathedral School. Largely self-taught, he produced an impressive output of diverse and complex works, including the first Norwegian opera, Fredkulla. Part of Norway's first opera was promoted locally in Trondheim during 1858 and met with enthusiasm. Udbye's first attempt to present Fredkulla to a Norwegian national audience was thwarted in 1877 when the Christiania Theatre, where it was scheduled to be performed, closed due to fire. The opera was forgotten until NRK reconstructed material and produced a concert version on the radio to commemorate its centennial in 1958. The opera was performed as part of the celebration of the 1,000 year anniversary of the founding of Trondheim during 1997.His other stage works include three operettas: Hr. Perrichons reise (1861), Hjemve (1864), and Junkeren og flubergrosen (1867). He also composed several choruses, three string quartets (1851–5), an orchestral sketch entitled Lumpasivagabundus (1861), a fantasy on Scandinavian melodies for violin and orchestra (1866), 20 piano trios, and 100 organ preludes among other works. References Other sources Kari Michelsen. The New Grove Dictionary of Opera, edited by Stanley Sadie (1992). ISBN 0-333-73432-7 and ISBN 1-56159-228-5 External links Works by or about Martin Andreas Udbye at Internet Archive Free scores by Martin Andreas Udbye at the International Music Score Library Project (IMSLP)

occupation

Martin Andreas Udbye (June 18, 1820 – January 10, 1889) was a Norwegian composer and organist. Biography Martin Andreas Udbye was born in Trondheim, Norway to Ole Jonsen Tollrorskar Udbye (1785-1856) and Birgitte Øien (1781-1866). Udbye was employed as a teacher at Domsognets primary school in Trondheim, where he worked from 1838 until 1844, when he became the organist at Church Hospital (Hospitalskirken) in Trondheim. In 1851, Udbye took a trip to Leipzig, where he concentrated on organ and composition. The following year he was back in his hometown, where he was hired as a music teacher at Trondheim Cathedral School. Largely self-taught, he produced an impressive output of diverse and complex works, including the first Norwegian opera, Fredkulla. Part of Norway's first opera was promoted locally in Trondheim during 1858 and met with enthusiasm. Udbye's first attempt to present Fredkulla to a Norwegian national audience was thwarted in 1877 when the Christiania Theatre, where it was scheduled to be performed, closed due to fire. The opera was forgotten until NRK reconstructed material and produced a concert version on the radio to commemorate its centennial in 1958. The opera was performed as part of the celebration of the 1,000 year anniversary of the founding of Trondheim during 1997.His other stage works include three operettas: Hr. Perrichons reise (1861), Hjemve (1864), and Junkeren og flubergrosen (1867). He also composed several choruses, three string quartets (1851–5), an orchestral sketch entitled Lumpasivagabundus (1861), a fantasy on Scandinavian melodies for violin and orchestra (1866), 20 piano trios, and 100 organ preludes among other works. References Other sources Kari Michelsen. The New Grove Dictionary of Opera, edited by Stanley Sadie (1992). ISBN 0-333-73432-7 and ISBN 1-56159-228-5 External links Works by or about Martin Andreas Udbye at Internet Archive Free scores by Martin Andreas Udbye at the International Music Score Library Project (IMSLP)

genre

Martin Andreas Udbye (June 18, 1820 – January 10, 1889) was a Norwegian composer and organist. Biography Martin Andreas Udbye was born in Trondheim, Norway to Ole Jonsen Tollrorskar Udbye (1785-1856) and Birgitte Øien (1781-1866). Udbye was employed as a teacher at Domsognets primary school in Trondheim, where he worked from 1838 until 1844, when he became the organist at Church Hospital (Hospitalskirken) in Trondheim. In 1851, Udbye took a trip to Leipzig, where he concentrated on organ and composition. The following year he was back in his hometown, where he was hired as a music teacher at Trondheim Cathedral School. Largely self-taught, he produced an impressive output of diverse and complex works, including the first Norwegian opera, Fredkulla. Part of Norway's first opera was promoted locally in Trondheim during 1858 and met with enthusiasm. Udbye's first attempt to present Fredkulla to a Norwegian national audience was thwarted in 1877 when the Christiania Theatre, where it was scheduled to be performed, closed due to fire. The opera was forgotten until NRK reconstructed material and produced a concert version on the radio to commemorate its centennial in 1958. The opera was performed as part of the celebration of the 1,000 year anniversary of the founding of Trondheim during 1997.His other stage works include three operettas: Hr. Perrichons reise (1861), Hjemve (1864), and Junkeren og flubergrosen (1867). He also composed several choruses, three string quartets (1851–5), an orchestral sketch entitled Lumpasivagabundus (1861), a fantasy on Scandinavian melodies for violin and orchestra (1866), 20 piano trios, and 100 organ preludes among other works. References Other sources Kari Michelsen. The New Grove Dictionary of Opera, edited by Stanley Sadie (1992). ISBN 0-333-73432-7 and ISBN 1-56159-228-5 External links Works by or about Martin Andreas Udbye at Internet Archive Free scores by Martin Andreas Udbye at the International Music Score Library Project (IMSLP)

Commons category

Martin Andreas Udbye (June 18, 1820 – January 10, 1889) was a Norwegian composer and organist. Biography Martin Andreas Udbye was born in Trondheim, Norway to Ole Jonsen Tollrorskar Udbye (1785-1856) and Birgitte Øien (1781-1866). Udbye was employed as a teacher at Domsognets primary school in Trondheim, where he worked from 1838 until 1844, when he became the organist at Church Hospital (Hospitalskirken) in Trondheim. In 1851, Udbye took a trip to Leipzig, where he concentrated on organ and composition. The following year he was back in his hometown, where he was hired as a music teacher at Trondheim Cathedral School. Largely self-taught, he produced an impressive output of diverse and complex works, including the first Norwegian opera, Fredkulla. Part of Norway's first opera was promoted locally in Trondheim during 1858 and met with enthusiasm. Udbye's first attempt to present Fredkulla to a Norwegian national audience was thwarted in 1877 when the Christiania Theatre, where it was scheduled to be performed, closed due to fire. The opera was forgotten until NRK reconstructed material and produced a concert version on the radio to commemorate its centennial in 1958. The opera was performed as part of the celebration of the 1,000 year anniversary of the founding of Trondheim during 1997.His other stage works include three operettas: Hr. Perrichons reise (1861), Hjemve (1864), and Junkeren og flubergrosen (1867). He also composed several choruses, three string quartets (1851–5), an orchestral sketch entitled Lumpasivagabundus (1861), a fantasy on Scandinavian melodies for violin and orchestra (1866), 20 piano trios, and 100 organ preludes among other works. References Other sources Kari Michelsen. The New Grove Dictionary of Opera, edited by Stanley Sadie (1992). ISBN 0-333-73432-7 and ISBN 1-56159-228-5 External links Works by or about Martin Andreas Udbye at Internet Archive Free scores by Martin Andreas Udbye at the International Music Score Library Project (IMSLP)

family name

Martin Andreas Udbye (June 18, 1820 – January 10, 1889) was a Norwegian composer and organist. Biography Martin Andreas Udbye was born in Trondheim, Norway to Ole Jonsen Tollrorskar Udbye (1785-1856) and Birgitte Øien (1781-1866). Udbye was employed as a teacher at Domsognets primary school in Trondheim, where he worked from 1838 until 1844, when he became the organist at Church Hospital (Hospitalskirken) in Trondheim. In 1851, Udbye took a trip to Leipzig, where he concentrated on organ and composition. The following year he was back in his hometown, where he was hired as a music teacher at Trondheim Cathedral School. Largely self-taught, he produced an impressive output of diverse and complex works, including the first Norwegian opera, Fredkulla. Part of Norway's first opera was promoted locally in Trondheim during 1858 and met with enthusiasm. Udbye's first attempt to present Fredkulla to a Norwegian national audience was thwarted in 1877 when the Christiania Theatre, where it was scheduled to be performed, closed due to fire. The opera was forgotten until NRK reconstructed material and produced a concert version on the radio to commemorate its centennial in 1958. The opera was performed as part of the celebration of the 1,000 year anniversary of the founding of Trondheim during 1997.His other stage works include three operettas: Hr. Perrichons reise (1861), Hjemve (1864), and Junkeren og flubergrosen (1867). He also composed several choruses, three string quartets (1851–5), an orchestral sketch entitled Lumpasivagabundus (1861), a fantasy on Scandinavian melodies for violin and orchestra (1866), 20 piano trios, and 100 organ preludes among other works. References Other sources Kari Michelsen. The New Grove Dictionary of Opera, edited by Stanley Sadie (1992). ISBN 0-333-73432-7 and ISBN 1-56159-228-5 External links Works by or about Martin Andreas Udbye at Internet Archive Free scores by Martin Andreas Udbye at the International Music Score Library Project (IMSLP)

given name

Martin Andreas Udbye (June 18, 1820 – January 10, 1889) was a Norwegian composer and organist. Biography Martin Andreas Udbye was born in Trondheim, Norway to Ole Jonsen Tollrorskar Udbye (1785-1856) and Birgitte Øien (1781-1866). Udbye was employed as a teacher at Domsognets primary school in Trondheim, where he worked from 1838 until 1844, when he became the organist at Church Hospital (Hospitalskirken) in Trondheim. In 1851, Udbye took a trip to Leipzig, where he concentrated on organ and composition. The following year he was back in his hometown, where he was hired as a music teacher at Trondheim Cathedral School. Largely self-taught, he produced an impressive output of diverse and complex works, including the first Norwegian opera, Fredkulla. Part of Norway's first opera was promoted locally in Trondheim during 1858 and met with enthusiasm. Udbye's first attempt to present Fredkulla to a Norwegian national audience was thwarted in 1877 when the Christiania Theatre, where it was scheduled to be performed, closed due to fire. The opera was forgotten until NRK reconstructed material and produced a concert version on the radio to commemorate its centennial in 1958. The opera was performed as part of the celebration of the 1,000 year anniversary of the founding of Trondheim during 1997.His other stage works include three operettas: Hr. Perrichons reise (1861), Hjemve (1864), and Junkeren og flubergrosen (1867). He also composed several choruses, three string quartets (1851–5), an orchestral sketch entitled Lumpasivagabundus (1861), a fantasy on Scandinavian melodies for violin and orchestra (1866), 20 piano trios, and 100 organ preludes among other works. References Other sources Kari Michelsen. The New Grove Dictionary of Opera, edited by Stanley Sadie (1992). ISBN 0-333-73432-7 and ISBN 1-56159-228-5 External links Works by or about Martin Andreas Udbye at Internet Archive Free scores by Martin Andreas Udbye at the International Music Score Library Project (IMSLP)

instrument

Thomas Henry Kingsnorth (16 April 1917 – 2 February 1992) was an English footballer. He played professionally for Gillingham between 1946 and 1951, and in total made 28 appearances in the Football League. == References ==

languages spoken, written or signed

"Jesu, Joy of Man's Desiring" (or simply "Joy"; German: Jesus bleibet meine Freude) is the most common English title of a piece of music derived from a chorale setting from the cantata Herz und Mund und Tat und Leben, BWV 147 ("Heart and Mouth and Deed and Life"), composed by Johann Sebastian Bach in 1723. The same music on different stanzas of a chorale closes both parts of the cantata. A transcription by the English pianist Myra Hess (1890–1965) was published in 1926 for piano solo and in 1934 for piano duet. It is often performed slowly and reverently at wedding ceremonies, as well as during Christian festive seasons like Christmas and Easter. Background Bach composed a four-part setting with independent orchestral accompaniment of two stanzas of the hymn "Jesu, meiner Seelen Wonne", written by Martin Janus in 1661, which was sung to a melody by the violinist and composer Johann Schop, "Werde munter, mein Gemüthe". The movements conclude the two parts of the cantata.Bach scored the chorale movements (6 and 10) from Herz und Mund und Tat und Leben for choir, trumpet, violin, optionally oboe, viola, and basso continuo. Instrumental arrangements The music's wide popularity has led to numerous arrangements and transcriptions, such as for the classical guitar and, in Wendy Carlos' album Switched-On Bach, on the Moog synthesizer. According to The New Oxford Companion to Music, the best-known transcription for piano is by Dame Myra Hess. Text English text The following is a version with words attributed to the poet laureate Robert Bridges. It is not a translation of the stanzas used within Bach's original version, but is inspired by stanzas of the same hymn that Bach had drawn upon: "Jesu, meiner Seelen Wonne", the lyrics of which were written in 1661 by Martin Janus (or Jahn), and which was sung to Johann Schop's 1642 "Werde munter, mein Gemüte" hymn tune. Original text Jahn's verses express a close, friendly, and familiar friendship with Jesus, who gives life to the poet. It has been noted that the original German hymn was characteristically a lively hymn of praise, which is carried over somewhat into Bach's arrangement; whereas a slower, more stately tempo is traditionally used with the English version. Modern adaptations The melody and other elements have been used in several pop and classical crossover recordings: "Someone I Know", on Margo Guryan's 1968 album Take a Picture "Wicked Annabella", a 1968 track on The Kinks Are the Village Green Preservation Society, with Bach in Pete Quaife's bassline Included as the coda of "Cherry Blossom Clinic Revisited", on The Move's 1970 album Shazam "Joy", a 1972 instrumental by Apollo 100, which reached number six on the U.S. Billboard Hot 100 and number 24 in the RPM Canadian chart "Lady Lynda", a 1979 single by The Beach Boys which reached the Top 10 of the UK Singles Chart "Joy", an instrumental track on George Winston's 1982 album December, inspired by an arrangement by guitarist David Qualey "Dormi dormi", a 2019 track on the extended album Sì by Andrea Bocelli, a lullaby inspired by the chorale, sung by Bocelli and Jennifer Garner in Italian and English Notes and references Notes References External links Free sheet music of Jesu, Joy of Man's Desiring from Cantorion.org Cantata, BWV 147: Scores at the International Music Score Library Project German original version and English translation, Choir of Somerville College, Oxford, YouTube

duration

"Jesu, Joy of Man's Desiring" (or simply "Joy"; German: Jesus bleibet meine Freude) is the most common English title of a piece of music derived from a chorale setting from the cantata Herz und Mund und Tat und Leben, BWV 147 ("Heart and Mouth and Deed and Life"), composed by Johann Sebastian Bach in 1723. The same music on different stanzas of a chorale closes both parts of the cantata. A transcription by the English pianist Myra Hess (1890–1965) was published in 1926 for piano solo and in 1934 for piano duet. It is often performed slowly and reverently at wedding ceremonies, as well as during Christian festive seasons like Christmas and Easter. Background Bach composed a four-part setting with independent orchestral accompaniment of two stanzas of the hymn "Jesu, meiner Seelen Wonne", written by Martin Janus in 1661, which was sung to a melody by the violinist and composer Johann Schop, "Werde munter, mein Gemüthe". The movements conclude the two parts of the cantata.Bach scored the chorale movements (6 and 10) from Herz und Mund und Tat und Leben for choir, trumpet, violin, optionally oboe, viola, and basso continuo. Instrumental arrangements The music's wide popularity has led to numerous arrangements and transcriptions, such as for the classical guitar and, in Wendy Carlos' album Switched-On Bach, on the Moog synthesizer. According to The New Oxford Companion to Music, the best-known transcription for piano is by Dame Myra Hess. Text English text The following is a version with words attributed to the poet laureate Robert Bridges. It is not a translation of the stanzas used within Bach's original version, but is inspired by stanzas of the same hymn that Bach had drawn upon: "Jesu, meiner Seelen Wonne", the lyrics of which were written in 1661 by Martin Janus (or Jahn), and which was sung to Johann Schop's 1642 "Werde munter, mein Gemüte" hymn tune. Original text Jahn's verses express a close, friendly, and familiar friendship with Jesus, who gives life to the poet. It has been noted that the original German hymn was characteristically a lively hymn of praise, which is carried over somewhat into Bach's arrangement; whereas a slower, more stately tempo is traditionally used with the English version. Modern adaptations The melody and other elements have been used in several pop and classical crossover recordings: "Someone I Know", on Margo Guryan's 1968 album Take a Picture "Wicked Annabella", a 1968 track on The Kinks Are the Village Green Preservation Society, with Bach in Pete Quaife's bassline Included as the coda of "Cherry Blossom Clinic Revisited", on The Move's 1970 album Shazam "Joy", a 1972 instrumental by Apollo 100, which reached number six on the U.S. Billboard Hot 100 and number 24 in the RPM Canadian chart "Lady Lynda", a 1979 single by The Beach Boys which reached the Top 10 of the UK Singles Chart "Joy", an instrumental track on George Winston's 1982 album December, inspired by an arrangement by guitarist David Qualey "Dormi dormi", a 2019 track on the extended album Sì by Andrea Bocelli, a lullaby inspired by the chorale, sung by Bocelli and Jennifer Garner in Italian and English Notes and references Notes References External links Free sheet music of Jesu, Joy of Man's Desiring from Cantorion.org Cantata, BWV 147: Scores at the International Music Score Library Project German original version and English translation, Choir of Somerville College, Oxford, YouTube

recording or performance of

"Jesu, Joy of Man's Desiring" (or simply "Joy"; German: Jesus bleibet meine Freude) is the most common English title of a piece of music derived from a chorale setting from the cantata Herz und Mund und Tat und Leben, BWV 147 ("Heart and Mouth and Deed and Life"), composed by Johann Sebastian Bach in 1723. The same music on different stanzas of a chorale closes both parts of the cantata. A transcription by the English pianist Myra Hess (1890–1965) was published in 1926 for piano solo and in 1934 for piano duet. It is often performed slowly and reverently at wedding ceremonies, as well as during Christian festive seasons like Christmas and Easter. Background Bach composed a four-part setting with independent orchestral accompaniment of two stanzas of the hymn "Jesu, meiner Seelen Wonne", written by Martin Janus in 1661, which was sung to a melody by the violinist and composer Johann Schop, "Werde munter, mein Gemüthe". The movements conclude the two parts of the cantata.Bach scored the chorale movements (6 and 10) from Herz und Mund und Tat und Leben for choir, trumpet, violin, optionally oboe, viola, and basso continuo. Instrumental arrangements The music's wide popularity has led to numerous arrangements and transcriptions, such as for the classical guitar and, in Wendy Carlos' album Switched-On Bach, on the Moog synthesizer. According to The New Oxford Companion to Music, the best-known transcription for piano is by Dame Myra Hess. Text English text The following is a version with words attributed to the poet laureate Robert Bridges. It is not a translation of the stanzas used within Bach's original version, but is inspired by stanzas of the same hymn that Bach had drawn upon: "Jesu, meiner Seelen Wonne", the lyrics of which were written in 1661 by Martin Janus (or Jahn), and which was sung to Johann Schop's 1642 "Werde munter, mein Gemüte" hymn tune. Original text Jahn's verses express a close, friendly, and familiar friendship with Jesus, who gives life to the poet. It has been noted that the original German hymn was characteristically a lively hymn of praise, which is carried over somewhat into Bach's arrangement; whereas a slower, more stately tempo is traditionally used with the English version. Modern adaptations The melody and other elements have been used in several pop and classical crossover recordings: "Someone I Know", on Margo Guryan's 1968 album Take a Picture "Wicked Annabella", a 1968 track on The Kinks Are the Village Green Preservation Society, with Bach in Pete Quaife's bassline Included as the coda of "Cherry Blossom Clinic Revisited", on The Move's 1970 album Shazam "Joy", a 1972 instrumental by Apollo 100, which reached number six on the U.S. Billboard Hot 100 and number 24 in the RPM Canadian chart "Lady Lynda", a 1979 single by The Beach Boys which reached the Top 10 of the UK Singles Chart "Joy", an instrumental track on George Winston's 1982 album December, inspired by an arrangement by guitarist David Qualey "Dormi dormi", a 2019 track on the extended album Sì by Andrea Bocelli, a lullaby inspired by the chorale, sung by Bocelli and Jennifer Garner in Italian and English Notes and references Notes References External links Free sheet music of Jesu, Joy of Man's Desiring from Cantorion.org Cantata, BWV 147: Scores at the International Music Score Library Project German original version and English translation, Choir of Somerville College, Oxford, YouTube

composer

"Jesu, Joy of Man's Desiring" (or simply "Joy"; German: Jesus bleibet meine Freude) is the most common English title of a piece of music derived from a chorale setting from the cantata Herz und Mund und Tat und Leben, BWV 147 ("Heart and Mouth and Deed and Life"), composed by Johann Sebastian Bach in 1723. The same music on different stanzas of a chorale closes both parts of the cantata. A transcription by the English pianist Myra Hess (1890–1965) was published in 1926 for piano solo and in 1934 for piano duet. It is often performed slowly and reverently at wedding ceremonies, as well as during Christian festive seasons like Christmas and Easter. Background Bach composed a four-part setting with independent orchestral accompaniment of two stanzas of the hymn "Jesu, meiner Seelen Wonne", written by Martin Janus in 1661, which was sung to a melody by the violinist and composer Johann Schop, "Werde munter, mein Gemüthe". The movements conclude the two parts of the cantata.Bach scored the chorale movements (6 and 10) from Herz und Mund und Tat und Leben for choir, trumpet, violin, optionally oboe, viola, and basso continuo. Instrumental arrangements The music's wide popularity has led to numerous arrangements and transcriptions, such as for the classical guitar and, in Wendy Carlos' album Switched-On Bach, on the Moog synthesizer. According to The New Oxford Companion to Music, the best-known transcription for piano is by Dame Myra Hess. Text English text The following is a version with words attributed to the poet laureate Robert Bridges. It is not a translation of the stanzas used within Bach's original version, but is inspired by stanzas of the same hymn that Bach had drawn upon: "Jesu, meiner Seelen Wonne", the lyrics of which were written in 1661 by Martin Janus (or Jahn), and which was sung to Johann Schop's 1642 "Werde munter, mein Gemüte" hymn tune. Original text Jahn's verses express a close, friendly, and familiar friendship with Jesus, who gives life to the poet. It has been noted that the original German hymn was characteristically a lively hymn of praise, which is carried over somewhat into Bach's arrangement; whereas a slower, more stately tempo is traditionally used with the English version. Modern adaptations The melody and other elements have been used in several pop and classical crossover recordings: "Someone I Know", on Margo Guryan's 1968 album Take a Picture "Wicked Annabella", a 1968 track on The Kinks Are the Village Green Preservation Society, with Bach in Pete Quaife's bassline Included as the coda of "Cherry Blossom Clinic Revisited", on The Move's 1970 album Shazam "Joy", a 1972 instrumental by Apollo 100, which reached number six on the U.S. Billboard Hot 100 and number 24 in the RPM Canadian chart "Lady Lynda", a 1979 single by The Beach Boys which reached the Top 10 of the UK Singles Chart "Joy", an instrumental track on George Winston's 1982 album December, inspired by an arrangement by guitarist David Qualey "Dormi dormi", a 2019 track on the extended album Sì by Andrea Bocelli, a lullaby inspired by the chorale, sung by Bocelli and Jennifer Garner in Italian and English Notes and references Notes References External links Free sheet music of Jesu, Joy of Man's Desiring from Cantorion.org Cantata, BWV 147: Scores at the International Music Score Library Project German original version and English translation, Choir of Somerville College, Oxford, YouTube

part of

"Jesu, Joy of Man's Desiring" (or simply "Joy"; German: Jesus bleibet meine Freude) is the most common English title of a piece of music derived from a chorale setting from the cantata Herz und Mund und Tat und Leben, BWV 147 ("Heart and Mouth and Deed and Life"), composed by Johann Sebastian Bach in 1723. The same music on different stanzas of a chorale closes both parts of the cantata. A transcription by the English pianist Myra Hess (1890–1965) was published in 1926 for piano solo and in 1934 for piano duet. It is often performed slowly and reverently at wedding ceremonies, as well as during Christian festive seasons like Christmas and Easter. Background Bach composed a four-part setting with independent orchestral accompaniment of two stanzas of the hymn "Jesu, meiner Seelen Wonne", written by Martin Janus in 1661, which was sung to a melody by the violinist and composer Johann Schop, "Werde munter, mein Gemüthe". The movements conclude the two parts of the cantata.Bach scored the chorale movements (6 and 10) from Herz und Mund und Tat und Leben for choir, trumpet, violin, optionally oboe, viola, and basso continuo. Instrumental arrangements The music's wide popularity has led to numerous arrangements and transcriptions, such as for the classical guitar and, in Wendy Carlos' album Switched-On Bach, on the Moog synthesizer. According to The New Oxford Companion to Music, the best-known transcription for piano is by Dame Myra Hess. Text English text The following is a version with words attributed to the poet laureate Robert Bridges. It is not a translation of the stanzas used within Bach's original version, but is inspired by stanzas of the same hymn that Bach had drawn upon: "Jesu, meiner Seelen Wonne", the lyrics of which were written in 1661 by Martin Janus (or Jahn), and which was sung to Johann Schop's 1642 "Werde munter, mein Gemüte" hymn tune. Original text Jahn's verses express a close, friendly, and familiar friendship with Jesus, who gives life to the poet. It has been noted that the original German hymn was characteristically a lively hymn of praise, which is carried over somewhat into Bach's arrangement; whereas a slower, more stately tempo is traditionally used with the English version. Modern adaptations The melody and other elements have been used in several pop and classical crossover recordings: "Someone I Know", on Margo Guryan's 1968 album Take a Picture "Wicked Annabella", a 1968 track on The Kinks Are the Village Green Preservation Society, with Bach in Pete Quaife's bassline Included as the coda of "Cherry Blossom Clinic Revisited", on The Move's 1970 album Shazam "Joy", a 1972 instrumental by Apollo 100, which reached number six on the U.S. Billboard Hot 100 and number 24 in the RPM Canadian chart "Lady Lynda", a 1979 single by The Beach Boys which reached the Top 10 of the UK Singles Chart "Joy", an instrumental track on George Winston's 1982 album December, inspired by an arrangement by guitarist David Qualey "Dormi dormi", a 2019 track on the extended album Sì by Andrea Bocelli, a lullaby inspired by the chorale, sung by Bocelli and Jennifer Garner in Italian and English Notes and references Notes References External links Free sheet music of Jesu, Joy of Man's Desiring from Cantorion.org Cantata, BWV 147: Scores at the International Music Score Library Project German original version and English translation, Choir of Somerville College, Oxford, YouTube

language of work or name

"Jesu, Joy of Man's Desiring" (or simply "Joy"; German: Jesus bleibet meine Freude) is the most common English title of a piece of music derived from a chorale setting from the cantata Herz und Mund und Tat und Leben, BWV 147 ("Heart and Mouth and Deed and Life"), composed by Johann Sebastian Bach in 1723. The same music on different stanzas of a chorale closes both parts of the cantata. A transcription by the English pianist Myra Hess (1890–1965) was published in 1926 for piano solo and in 1934 for piano duet. It is often performed slowly and reverently at wedding ceremonies, as well as during Christian festive seasons like Christmas and Easter. Background Bach composed a four-part setting with independent orchestral accompaniment of two stanzas of the hymn "Jesu, meiner Seelen Wonne", written by Martin Janus in 1661, which was sung to a melody by the violinist and composer Johann Schop, "Werde munter, mein Gemüthe". The movements conclude the two parts of the cantata.Bach scored the chorale movements (6 and 10) from Herz und Mund und Tat und Leben for choir, trumpet, violin, optionally oboe, viola, and basso continuo. Instrumental arrangements The music's wide popularity has led to numerous arrangements and transcriptions, such as for the classical guitar and, in Wendy Carlos' album Switched-On Bach, on the Moog synthesizer. According to The New Oxford Companion to Music, the best-known transcription for piano is by Dame Myra Hess. Text English text The following is a version with words attributed to the poet laureate Robert Bridges. It is not a translation of the stanzas used within Bach's original version, but is inspired by stanzas of the same hymn that Bach had drawn upon: "Jesu, meiner Seelen Wonne", the lyrics of which were written in 1661 by Martin Janus (or Jahn), and which was sung to Johann Schop's 1642 "Werde munter, mein Gemüte" hymn tune. Original text Jahn's verses express a close, friendly, and familiar friendship with Jesus, who gives life to the poet. It has been noted that the original German hymn was characteristically a lively hymn of praise, which is carried over somewhat into Bach's arrangement; whereas a slower, more stately tempo is traditionally used with the English version. Modern adaptations The melody and other elements have been used in several pop and classical crossover recordings: "Someone I Know", on Margo Guryan's 1968 album Take a Picture "Wicked Annabella", a 1968 track on The Kinks Are the Village Green Preservation Society, with Bach in Pete Quaife's bassline Included as the coda of "Cherry Blossom Clinic Revisited", on The Move's 1970 album Shazam "Joy", a 1972 instrumental by Apollo 100, which reached number six on the U.S. Billboard Hot 100 and number 24 in the RPM Canadian chart "Lady Lynda", a 1979 single by The Beach Boys which reached the Top 10 of the UK Singles Chart "Joy", an instrumental track on George Winston's 1982 album December, inspired by an arrangement by guitarist David Qualey "Dormi dormi", a 2019 track on the extended album Sì by Andrea Bocelli, a lullaby inspired by the chorale, sung by Bocelli and Jennifer Garner in Italian and English Notes and references Notes References External links Free sheet music of Jesu, Joy of Man's Desiring from Cantorion.org Cantata, BWV 147: Scores at the International Music Score Library Project German original version and English translation, Choir of Somerville College, Oxford, YouTube

lyrics by

In enzymology, a 1-alkenylglycerophosphocholine O-acyltransferase (EC 2.3.1.104) is an enzyme that catalyzes the chemical reaction acyl-CoA + 1-alkenylglycerophosphocholine ⇌ {\displaystyle \rightleftharpoons } CoA + 1-alkenyl-2-acylglycerophosphocholineThus, the two substrates of this enzyme are acyl-CoA and 1-alkenylglycerophosphocholine, whereas its two products are CoA and 1-alkenyl-2-acylglycerophosphocholine. This enzyme belongs to the family of transferases, specifically those acyltransferases transferring groups other than aminoacyl groups. The systematic name of this enzyme class is acyl-CoA:1-alkenylglycerophosphocholine O-acyltransferase. This enzyme participates in ether lipid metabolism. References Arthur G, Choy PC (1986). "Acylation of 1-alkenyl-glycerophosphocholine and 1-acyl-glycerophosphocholine in guinea pig heart". Biochem. J. 236 (2): 481–7. PMC 1146865. PMID 3753462.

subclass of

Didier Le Gac is a French politician representing La République En Marche! and Territories of Progress. He was elected to the French National Assembly on 18 June 2017, representing the 3rd constituency of the department of Finistère. See also 2017 French legislative election == References ==

occupation

Didier Le Gac is a French politician representing La République En Marche! and Territories of Progress. He was elected to the French National Assembly on 18 June 2017, representing the 3rd constituency of the department of Finistère. See also 2017 French legislative election == References ==

Commons category

Didier Le Gac is a French politician representing La République En Marche! and Territories of Progress. He was elected to the French National Assembly on 18 June 2017, representing the 3rd constituency of the department of Finistère. See also 2017 French legislative election == References ==

family name

Didier Le Gac is a French politician representing La République En Marche! and Territories of Progress. He was elected to the French National Assembly on 18 June 2017, representing the 3rd constituency of the department of Finistère. See also 2017 French legislative election == References ==

given name

Didier Le Gac is a French politician representing La République En Marche! and Territories of Progress. He was elected to the French National Assembly on 18 June 2017, representing the 3rd constituency of the department of Finistère. See also 2017 French legislative election == References ==

languages spoken, written or signed

The International Archive of Women in Architecture (IAWA) was established in 1985 as a joint program of the College of Architecture and Urban Studies and the University Libraries at Virginia Tech. Purpose The purpose of the Archive is to document the history of women's involvement in architecture by acquiring, preserving, storing, and making available to researchers the professional papers of women architects, landscape architects, designers, architectural historians and critics, urban planners, and the records of women's architectural organizations. Collections The IAWA collects the papers of women who practiced at a time when there were few women in the field (i.e., before the 1950s) and to fill serious gaps in the availability of primary research materials for architectural, women's, and social history research. As of October 2006 there were over 1,200 cubic feet (34 m3) of materials in the 298 collections in the IAWA, which are housed in Virginia Tech's University Libraries' Special Collections.As part of its mission to act as a clearinghouse of information about all women architects, past and present, the IAWA also collects and catalogs books, monographs and other publications written by or about women architects, designers, planners, etc. These publications are accessible through the Virginia Tech library's online catalog, Addison.The IAWA began with a collecting focus on the papers of pioneering women in architecture, individuals who practiced at a time when there were few women in the field. Today, the IAWA includes materials that document multiple generations of women in architecture, providing vital primary source materials for architectural, women's, and social history research. The collections includes material of relevant women architects as Diana Balmori, Olive Chadeayne, Doina Marilena Ciocănea, Mary Colter, L. Jane Hastings, Anna Keichline, Yasmeen Lari, Sarantsatral Ochirpureviin, Eleanore Pettersen, Berta Rahm, Trudy Rosen, Sigrid Lorenzen Rupp, Han Schröder, Anna Sokolina, Brinda Somaya, Pamela Webb, Beverly Willis, Zelma Wilson, and Liane Zimbler.The IAWA also compiles biographical information. There is information about more than 650 women representing 48 countries and 42 states/territories in the United States available in the IAWA Biographical Database.Some of the IAWA's resources, approximately 1200 images from 28 collections, have been scanned and are available through the VT ImageBase. Board The IAWA is overseen by a board of advisors that includes architects, city planners, industrial and interior designers, librarians, archivists, and faculty from around the world and the U.S. The head of Special Collections or her designee serves as the Archivist for the IAWA and sits on the Board of Advisors and the Executive Board. She prepares a report for presentation to the annual meeting held in the fall of each year at Virginia Tech's Newman Library in the President's Board Room. Milka Bliznakov Research Prize The Milka Bliznakov Research Prize was established in 2001 to honor IAWA founder and advisor emerita, Dr. Milka Bliznakov (1927-2010). The IAWA Center invites architects, scholars, professionals, students, and researchers to contribute research on women in architecture and related design fields. This research, in concert with the preservation efforts of the IAWA, will help fill the current void in historical knowledge about the achievements and work of women who shaped the built environment.Past Milka Bliznakov Award and Research Prize Winners (2001-2015) 2016, Dr. Ines Moisset, "Women Architects on the Web" and Dr. Tanja Poppelreuter, "Refugee and émigré female architects before 1940" 2015, Claire Bonney Brüllman, "The Work and Life of Adrienne Gorska" and Sarah Rafson, "CARY (Chicks in Architecture Refuse to Yield)." 2014, Meredith Sattler, "Early Technological Innovation in the Systems Approach to Environmental Design: Situating Beverly Willis and Associates’ CARLA platform [Computerized Approach to Residential Land Analysis] within the developmental trajectory of Geographic Information Systems (GIS)." 2013, Robert Holton, "Natalie De Blois - The role and contribution in the design of three pivotal SOM projects completed in New York City between 1950-1960: the Lever House, the Pepsi-Cola building and the Union Carbide." 2012, Andrea J. Merrett, "Feminism in American Architecture: Organizing 1972-1975." 2011, Lindsay Nencheck, "Organizing Voices: Examining the 1974 Women in Architecture Symposium at Washington University in St. Louis." 2010, Inge Schaefer Horton, "Early Women Architects of the San Francisco Bay Area." 2009, Patrick Lee Lucas, "Sarah Hunter Kelly: Designing the House of Good Taste." 2008, Martha Alonso, Sonia Bevilacqua, and Graciela Brandariz, "Odilia Suárez: The Exemplary Trajectory of an Architect and Urbanist in Latin America." 2008, Despina Stratigakos, "A Woman’s Berlin." 2008, Milka Bliznakov Prize, Commendation, Lori Brown, feminist practices [exhibition]. 2007, No prize awarded. 2006, Milka Bliznakov Prize, Commendation, Eran Ben-Joseph, Holly D. Ben-Joseph and Anne C. Dodge "Against All Odds: MIT's Pioneering Women of Landscape Architecture." 2005, Carmen Alonso Espegel, "Heroines of the Space." 2005, Isabel Bauer, "Architekturstudentinnen der Weimarer Republik." 2005, Bobbye Tigerman, "'I Am Not a Decorator' Florence Knoll, the Knoll Planning Unit, and the Making of the Modern Office." 2005, Milka Bliznakov Honorarium, Joseph Chuo Wang. 2004, Dorrita Hannah, "un-housing performance: The Heart of PQ." 2004, Janet Stoyel, "Sonicloth." 2003, Barbara Nadel,"Security Design: Achieving Transparency in Civic Architecture." 2003, Ozlem Erkarslan, "Turkish Women Architects in the Late Ottoman and Early Republican Era 1908-1960." 2002, Elizabeth Birmingham, "Searching for Marion Mahony: Gender, Erasure, and the Discourse of Architectural Studies." 2001, Claire Bonney, "The Work and Life of Adrienne Gorska." References External links IAWA Guide to Collections Special Collections Reading Room History of the activities IAWA Center in the College of Architecture & Urban Studies at Virginia Tech

instance of

The International Archive of Women in Architecture (IAWA) was established in 1985 as a joint program of the College of Architecture and Urban Studies and the University Libraries at Virginia Tech. Purpose The purpose of the Archive is to document the history of women's involvement in architecture by acquiring, preserving, storing, and making available to researchers the professional papers of women architects, landscape architects, designers, architectural historians and critics, urban planners, and the records of women's architectural organizations. Collections The IAWA collects the papers of women who practiced at a time when there were few women in the field (i.e., before the 1950s) and to fill serious gaps in the availability of primary research materials for architectural, women's, and social history research. As of October 2006 there were over 1,200 cubic feet (34 m3) of materials in the 298 collections in the IAWA, which are housed in Virginia Tech's University Libraries' Special Collections.As part of its mission to act as a clearinghouse of information about all women architects, past and present, the IAWA also collects and catalogs books, monographs and other publications written by or about women architects, designers, planners, etc. These publications are accessible through the Virginia Tech library's online catalog, Addison.The IAWA began with a collecting focus on the papers of pioneering women in architecture, individuals who practiced at a time when there were few women in the field. Today, the IAWA includes materials that document multiple generations of women in architecture, providing vital primary source materials for architectural, women's, and social history research. The collections includes material of relevant women architects as Diana Balmori, Olive Chadeayne, Doina Marilena Ciocănea, Mary Colter, L. Jane Hastings, Anna Keichline, Yasmeen Lari, Sarantsatral Ochirpureviin, Eleanore Pettersen, Berta Rahm, Trudy Rosen, Sigrid Lorenzen Rupp, Han Schröder, Anna Sokolina, Brinda Somaya, Pamela Webb, Beverly Willis, Zelma Wilson, and Liane Zimbler.The IAWA also compiles biographical information. There is information about more than 650 women representing 48 countries and 42 states/territories in the United States available in the IAWA Biographical Database.Some of the IAWA's resources, approximately 1200 images from 28 collections, have been scanned and are available through the VT ImageBase. Board The IAWA is overseen by a board of advisors that includes architects, city planners, industrial and interior designers, librarians, archivists, and faculty from around the world and the U.S. The head of Special Collections or her designee serves as the Archivist for the IAWA and sits on the Board of Advisors and the Executive Board. She prepares a report for presentation to the annual meeting held in the fall of each year at Virginia Tech's Newman Library in the President's Board Room. Milka Bliznakov Research Prize The Milka Bliznakov Research Prize was established in 2001 to honor IAWA founder and advisor emerita, Dr. Milka Bliznakov (1927-2010). The IAWA Center invites architects, scholars, professionals, students, and researchers to contribute research on women in architecture and related design fields. This research, in concert with the preservation efforts of the IAWA, will help fill the current void in historical knowledge about the achievements and work of women who shaped the built environment.Past Milka Bliznakov Award and Research Prize Winners (2001-2015) 2016, Dr. Ines Moisset, "Women Architects on the Web" and Dr. Tanja Poppelreuter, "Refugee and émigré female architects before 1940" 2015, Claire Bonney Brüllman, "The Work and Life of Adrienne Gorska" and Sarah Rafson, "CARY (Chicks in Architecture Refuse to Yield)." 2014, Meredith Sattler, "Early Technological Innovation in the Systems Approach to Environmental Design: Situating Beverly Willis and Associates’ CARLA platform [Computerized Approach to Residential Land Analysis] within the developmental trajectory of Geographic Information Systems (GIS)." 2013, Robert Holton, "Natalie De Blois - The role and contribution in the design of three pivotal SOM projects completed in New York City between 1950-1960: the Lever House, the Pepsi-Cola building and the Union Carbide." 2012, Andrea J. Merrett, "Feminism in American Architecture: Organizing 1972-1975." 2011, Lindsay Nencheck, "Organizing Voices: Examining the 1974 Women in Architecture Symposium at Washington University in St. Louis." 2010, Inge Schaefer Horton, "Early Women Architects of the San Francisco Bay Area." 2009, Patrick Lee Lucas, "Sarah Hunter Kelly: Designing the House of Good Taste." 2008, Martha Alonso, Sonia Bevilacqua, and Graciela Brandariz, "Odilia Suárez: The Exemplary Trajectory of an Architect and Urbanist in Latin America." 2008, Despina Stratigakos, "A Woman’s Berlin." 2008, Milka Bliznakov Prize, Commendation, Lori Brown, feminist practices [exhibition]. 2007, No prize awarded. 2006, Milka Bliznakov Prize, Commendation, Eran Ben-Joseph, Holly D. Ben-Joseph and Anne C. Dodge "Against All Odds: MIT's Pioneering Women of Landscape Architecture." 2005, Carmen Alonso Espegel, "Heroines of the Space." 2005, Isabel Bauer, "Architekturstudentinnen der Weimarer Republik." 2005, Bobbye Tigerman, "'I Am Not a Decorator' Florence Knoll, the Knoll Planning Unit, and the Making of the Modern Office." 2005, Milka Bliznakov Honorarium, Joseph Chuo Wang. 2004, Dorrita Hannah, "un-housing performance: The Heart of PQ." 2004, Janet Stoyel, "Sonicloth." 2003, Barbara Nadel,"Security Design: Achieving Transparency in Civic Architecture." 2003, Ozlem Erkarslan, "Turkish Women Architects in the Late Ottoman and Early Republican Era 1908-1960." 2002, Elizabeth Birmingham, "Searching for Marion Mahony: Gender, Erasure, and the Discourse of Architectural Studies." 2001, Claire Bonney, "The Work and Life of Adrienne Gorska." References External links IAWA Guide to Collections Special Collections Reading Room History of the activities IAWA Center in the College of Architecture & Urban Studies at Virginia Tech

founded by

The International Archive of Women in Architecture (IAWA) was established in 1985 as a joint program of the College of Architecture and Urban Studies and the University Libraries at Virginia Tech. Purpose The purpose of the Archive is to document the history of women's involvement in architecture by acquiring, preserving, storing, and making available to researchers the professional papers of women architects, landscape architects, designers, architectural historians and critics, urban planners, and the records of women's architectural organizations. Collections The IAWA collects the papers of women who practiced at a time when there were few women in the field (i.e., before the 1950s) and to fill serious gaps in the availability of primary research materials for architectural, women's, and social history research. As of October 2006 there were over 1,200 cubic feet (34 m3) of materials in the 298 collections in the IAWA, which are housed in Virginia Tech's University Libraries' Special Collections.As part of its mission to act as a clearinghouse of information about all women architects, past and present, the IAWA also collects and catalogs books, monographs and other publications written by or about women architects, designers, planners, etc. These publications are accessible through the Virginia Tech library's online catalog, Addison.The IAWA began with a collecting focus on the papers of pioneering women in architecture, individuals who practiced at a time when there were few women in the field. Today, the IAWA includes materials that document multiple generations of women in architecture, providing vital primary source materials for architectural, women's, and social history research. The collections includes material of relevant women architects as Diana Balmori, Olive Chadeayne, Doina Marilena Ciocănea, Mary Colter, L. Jane Hastings, Anna Keichline, Yasmeen Lari, Sarantsatral Ochirpureviin, Eleanore Pettersen, Berta Rahm, Trudy Rosen, Sigrid Lorenzen Rupp, Han Schröder, Anna Sokolina, Brinda Somaya, Pamela Webb, Beverly Willis, Zelma Wilson, and Liane Zimbler.The IAWA also compiles biographical information. There is information about more than 650 women representing 48 countries and 42 states/territories in the United States available in the IAWA Biographical Database.Some of the IAWA's resources, approximately 1200 images from 28 collections, have been scanned and are available through the VT ImageBase. Board The IAWA is overseen by a board of advisors that includes architects, city planners, industrial and interior designers, librarians, archivists, and faculty from around the world and the U.S. The head of Special Collections or her designee serves as the Archivist for the IAWA and sits on the Board of Advisors and the Executive Board. She prepares a report for presentation to the annual meeting held in the fall of each year at Virginia Tech's Newman Library in the President's Board Room. Milka Bliznakov Research Prize The Milka Bliznakov Research Prize was established in 2001 to honor IAWA founder and advisor emerita, Dr. Milka Bliznakov (1927-2010). The IAWA Center invites architects, scholars, professionals, students, and researchers to contribute research on women in architecture and related design fields. This research, in concert with the preservation efforts of the IAWA, will help fill the current void in historical knowledge about the achievements and work of women who shaped the built environment.Past Milka Bliznakov Award and Research Prize Winners (2001-2015) 2016, Dr. Ines Moisset, "Women Architects on the Web" and Dr. Tanja Poppelreuter, "Refugee and émigré female architects before 1940" 2015, Claire Bonney Brüllman, "The Work and Life of Adrienne Gorska" and Sarah Rafson, "CARY (Chicks in Architecture Refuse to Yield)." 2014, Meredith Sattler, "Early Technological Innovation in the Systems Approach to Environmental Design: Situating Beverly Willis and Associates’ CARLA platform [Computerized Approach to Residential Land Analysis] within the developmental trajectory of Geographic Information Systems (GIS)." 2013, Robert Holton, "Natalie De Blois - The role and contribution in the design of three pivotal SOM projects completed in New York City between 1950-1960: the Lever House, the Pepsi-Cola building and the Union Carbide." 2012, Andrea J. Merrett, "Feminism in American Architecture: Organizing 1972-1975." 2011, Lindsay Nencheck, "Organizing Voices: Examining the 1974 Women in Architecture Symposium at Washington University in St. Louis." 2010, Inge Schaefer Horton, "Early Women Architects of the San Francisco Bay Area." 2009, Patrick Lee Lucas, "Sarah Hunter Kelly: Designing the House of Good Taste." 2008, Martha Alonso, Sonia Bevilacqua, and Graciela Brandariz, "Odilia Suárez: The Exemplary Trajectory of an Architect and Urbanist in Latin America." 2008, Despina Stratigakos, "A Woman’s Berlin." 2008, Milka Bliznakov Prize, Commendation, Lori Brown, feminist practices [exhibition]. 2007, No prize awarded. 2006, Milka Bliznakov Prize, Commendation, Eran Ben-Joseph, Holly D. Ben-Joseph and Anne C. Dodge "Against All Odds: MIT's Pioneering Women of Landscape Architecture." 2005, Carmen Alonso Espegel, "Heroines of the Space." 2005, Isabel Bauer, "Architekturstudentinnen der Weimarer Republik." 2005, Bobbye Tigerman, "'I Am Not a Decorator' Florence Knoll, the Knoll Planning Unit, and the Making of the Modern Office." 2005, Milka Bliznakov Honorarium, Joseph Chuo Wang. 2004, Dorrita Hannah, "un-housing performance: The Heart of PQ." 2004, Janet Stoyel, "Sonicloth." 2003, Barbara Nadel,"Security Design: Achieving Transparency in Civic Architecture." 2003, Ozlem Erkarslan, "Turkish Women Architects in the Late Ottoman and Early Republican Era 1908-1960." 2002, Elizabeth Birmingham, "Searching for Marion Mahony: Gender, Erasure, and the Discourse of Architectural Studies." 2001, Claire Bonney, "The Work and Life of Adrienne Gorska." References External links IAWA Guide to Collections Special Collections Reading Room History of the activities IAWA Center in the College of Architecture & Urban Studies at Virginia Tech

Commons category

Cedaria is a small, rather flat trilobite with an oval outline, a headshield and tailshield of approximately the same size, 7 articulating segments in the middle part of the body and spines at the back edges of the headshield that reach half the length of the body. Cedaria lived during the early part of the Upper Cambrian (Dresbachian), and is especially abundant in the Weeks Formation. Description Cedaria has an ovate outline of 1 centimetre or 0.39 inches long on average (maximum size 2.5 cm) and ¾ as wide between the tips of the genal spines. The headshield (or cephalon) is parabolic in shape with a well defined wide, and typically darker colored border of about 10% of the glabellar length or equal to a thorax segment. The well-defined central raised area (or glabella) tapers slightly forward with a rounded front, but lateral furrows are weakly defined. The backward occipital ring is well defined. The distance between the glabella and the border (or preglabellar field) is ±¼ as long as the glabella or 2× the width of the border. The eyes are kidney-shaped, ±¼ as long as the glabella and midlength of the glabella, and close to the glabella (at ⅓ of the width of the glabella). The remaining parts of the cephalon, called fixed and free cheeks (or fixigenae and librigenae) are flat. The fracture lines (or sutures) that in moulting separate the librigenae from the fixigenae are divergent just in front of the eyes, becoming parallel near the border furrow and slightly convergent at margin. From the back of the eyes the sutures bends outward and slightly backward, curving backward at the lateral border furrow and cutting the posterior margin in the inner bend of the spine (or opisthoparian sutures). The articulating middle part of the body (or thorax) has 7 segments, the outer tips bending backwards, pointed and darker. The tailshield (or pygidium) is semicircular, straight or almost indented and has a long, low, tapering axis with 5 or 6 rings, and 4 or 5 pleural furrows. The border in the pygidium is as wide as in the cephalon and is also often darker, but the border furrow is very shallow or absent. Taxonomy Bonneterrina, Carinamala, Cedaria, Cedarina, Paracedaria, Jimachongia and Vernaculina together comprise the family Cedariidae. Reassigned species C. buttsi = ?Crepicephalus C. woosteri = ? Distribution C. minor appears in the Upper Cambrian of the United States (between 200 m above the base of the Weeks Formation 15 m into the Big Horse Limestone Member, Orr Formation, House Range, Millard County, Utah), Canada (Rabbitkettle Formation, Mackenzie Mountains), and Greenland. Cedaria is also reported in the Warrior Formation in Pennsylvania. == References ==

parent taxon

Cedaria is a small, rather flat trilobite with an oval outline, a headshield and tailshield of approximately the same size, 7 articulating segments in the middle part of the body and spines at the back edges of the headshield that reach half the length of the body. Cedaria lived during the early part of the Upper Cambrian (Dresbachian), and is especially abundant in the Weeks Formation. Description Cedaria has an ovate outline of 1 centimetre or 0.39 inches long on average (maximum size 2.5 cm) and ¾ as wide between the tips of the genal spines. The headshield (or cephalon) is parabolic in shape with a well defined wide, and typically darker colored border of about 10% of the glabellar length or equal to a thorax segment. The well-defined central raised area (or glabella) tapers slightly forward with a rounded front, but lateral furrows are weakly defined. The backward occipital ring is well defined. The distance between the glabella and the border (or preglabellar field) is ±¼ as long as the glabella or 2× the width of the border. The eyes are kidney-shaped, ±¼ as long as the glabella and midlength of the glabella, and close to the glabella (at ⅓ of the width of the glabella). The remaining parts of the cephalon, called fixed and free cheeks (or fixigenae and librigenae) are flat. The fracture lines (or sutures) that in moulting separate the librigenae from the fixigenae are divergent just in front of the eyes, becoming parallel near the border furrow and slightly convergent at margin. From the back of the eyes the sutures bends outward and slightly backward, curving backward at the lateral border furrow and cutting the posterior margin in the inner bend of the spine (or opisthoparian sutures). The articulating middle part of the body (or thorax) has 7 segments, the outer tips bending backwards, pointed and darker. The tailshield (or pygidium) is semicircular, straight or almost indented and has a long, low, tapering axis with 5 or 6 rings, and 4 or 5 pleural furrows. The border in the pygidium is as wide as in the cephalon and is also often darker, but the border furrow is very shallow or absent. Taxonomy Bonneterrina, Carinamala, Cedaria, Cedarina, Paracedaria, Jimachongia and Vernaculina together comprise the family Cedariidae. Reassigned species C. buttsi = ?Crepicephalus C. woosteri = ? Distribution C. minor appears in the Upper Cambrian of the United States (between 200 m above the base of the Weeks Formation 15 m into the Big Horse Limestone Member, Orr Formation, House Range, Millard County, Utah), Canada (Rabbitkettle Formation, Mackenzie Mountains), and Greenland. Cedaria is also reported in the Warrior Formation in Pennsylvania. == References ==

taxon name

Cedaria is a small, rather flat trilobite with an oval outline, a headshield and tailshield of approximately the same size, 7 articulating segments in the middle part of the body and spines at the back edges of the headshield that reach half the length of the body. Cedaria lived during the early part of the Upper Cambrian (Dresbachian), and is especially abundant in the Weeks Formation. Description Cedaria has an ovate outline of 1 centimetre or 0.39 inches long on average (maximum size 2.5 cm) and ¾ as wide between the tips of the genal spines. The headshield (or cephalon) is parabolic in shape with a well defined wide, and typically darker colored border of about 10% of the glabellar length or equal to a thorax segment. The well-defined central raised area (or glabella) tapers slightly forward with a rounded front, but lateral furrows are weakly defined. The backward occipital ring is well defined. The distance between the glabella and the border (or preglabellar field) is ±¼ as long as the glabella or 2× the width of the border. The eyes are kidney-shaped, ±¼ as long as the glabella and midlength of the glabella, and close to the glabella (at ⅓ of the width of the glabella). The remaining parts of the cephalon, called fixed and free cheeks (or fixigenae and librigenae) are flat. The fracture lines (or sutures) that in moulting separate the librigenae from the fixigenae are divergent just in front of the eyes, becoming parallel near the border furrow and slightly convergent at margin. From the back of the eyes the sutures bends outward and slightly backward, curving backward at the lateral border furrow and cutting the posterior margin in the inner bend of the spine (or opisthoparian sutures). The articulating middle part of the body (or thorax) has 7 segments, the outer tips bending backwards, pointed and darker. The tailshield (or pygidium) is semicircular, straight or almost indented and has a long, low, tapering axis with 5 or 6 rings, and 4 or 5 pleural furrows. The border in the pygidium is as wide as in the cephalon and is also often darker, but the border furrow is very shallow or absent. Taxonomy Bonneterrina, Carinamala, Cedaria, Cedarina, Paracedaria, Jimachongia and Vernaculina together comprise the family Cedariidae. Reassigned species C. buttsi = ?Crepicephalus C. woosteri = ? Distribution C. minor appears in the Upper Cambrian of the United States (between 200 m above the base of the Weeks Formation 15 m into the Big Horse Limestone Member, Orr Formation, House Range, Millard County, Utah), Canada (Rabbitkettle Formation, Mackenzie Mountains), and Greenland. Cedaria is also reported in the Warrior Formation in Pennsylvania. == References ==

Commons category

James R. Dressler (September 18, 1932 – November 17, 2018) was an American judge and politician. He served as a Democratic member of the Florida House of Representatives, and as a member for the 37th district of the Florida Senate. Life and career Born in Millersburg, Pennsylvania, and was raised in Greenville, South Carolina and Jacksonville, Florida. He went to Robert E. Lee High School, graduating in 1950. He then attended University of Florida, where he earned a Bachelor of Arts degree in political science in 1953. In 1956 he received a law degree at the University of Florida Levin College of Law.Dressler worked as a lawyer, and was appointed to serve as a judge of the Small Claims Court in 1960. In 1963, Dressler was elected to the Florida House of Representatives, then, in 1965, he was elected to represent the 37th district in the Florida Senate.Dressler died in November 2018 at his home in Merritt Island, Florida, at the age of 86. == References ==

occupation

James R. Dressler (September 18, 1932 – November 17, 2018) was an American judge and politician. He served as a Democratic member of the Florida House of Representatives, and as a member for the 37th district of the Florida Senate. Life and career Born in Millersburg, Pennsylvania, and was raised in Greenville, South Carolina and Jacksonville, Florida. He went to Robert E. Lee High School, graduating in 1950. He then attended University of Florida, where he earned a Bachelor of Arts degree in political science in 1953. In 1956 he received a law degree at the University of Florida Levin College of Law.Dressler worked as a lawyer, and was appointed to serve as a judge of the Small Claims Court in 1960. In 1963, Dressler was elected to the Florida House of Representatives, then, in 1965, he was elected to represent the 37th district in the Florida Senate.Dressler died in November 2018 at his home in Merritt Island, Florida, at the age of 86. == References ==

family name

Vasile Adamachi (January 1, 1817–March 8, 1892) was a Moldavian-born Romanian philanthropist and man of letters. Born in Iași, he was descended from boyar families on both sides. His father's first name was originally Adam but became Adamachi under Greek influence, while his surname was Arapu. His mother Eufrosina, the daughter of Constantin Bantaș from Vaslui, came from another old noble family. According to the prevailing custom, Vasile was educated at home and in private schools. He was especially interested in arithmetic and geometry, and learned French and German. In 1835, he was named pomoșnic (sub-prefect's assistant) at the princely council in Iași. In 1836, he was given the honorific title of high clucer. In 1848, he was named comis (Master of the Horse). In 1853, he was made spătar for services to the country as administrator of Vaslui County and president of the Iași eforie (administrative council). Following the adoption of the 1866 Constitution of Romania, a country formed after the intervening Union of the Principalities, Adamachi served two terms in the Romanian Senate.In 1870, Adamachi donated part of his houses to the city hall for a primary school, holding that primary education was important for raising the condition of the common people. In his will, drafted the month before he died, Adamachi provided for the cultural uplift of the nation. He asked that the income from his fortune of 2.5 million lei be used for two purposes. The first had to do with periodic prizes for those authors distinguished in moral writing. The second was meant for sending and maintaining students of the sciences, so that they might return and improve Romania's factories and industrial output. He left his personal library, encompassing 715 books, plus objects of a scientific character, to Iași University. Most of the books were dictionaries of the classical languages and language instruction manuals. In addition, there were books on astronomy, physics and chemistry; chronicles, poems, pedagogical manuals and medical texts.Adamachi was buried in Eternitatea cemetery. His grave is listed as a historic monument by Romania's Ministry of Culture and Religious Affairs. His executor was the Romanian Academy, which respected his wishes and carefully administered the fund. Thus, many students from Iași were able to continue their work both at home and abroad. == Notes ==

place of burial

"Ekoi" or "Ejagham" may refer to: Ekoi people, a group of people found in south-eastern Nigeria, also known as Ejagham Ekoid languages, the language spoken by the Ekoi people of south-eastern Nigeria Ekoi mythology Lake Ejagham, a small lake in western Cameroon

country

"Ekoi" or "Ejagham" may refer to: Ekoi people, a group of people found in south-eastern Nigeria, also known as Ejagham Ekoid languages, the language spoken by the Ekoi people of south-eastern Nigeria Ekoi mythology Lake Ejagham, a small lake in western Cameroon

instance of

"Ekoi" or "Ejagham" may refer to: Ekoi people, a group of people found in south-eastern Nigeria, also known as Ejagham Ekoid languages, the language spoken by the Ekoi people of south-eastern Nigeria Ekoi mythology Lake Ejagham, a small lake in western Cameroon

subclass of

Werner Hug (born 10 September 1952 in Feldmeilen) is a Swiss chess player. Hug was World Junior Chess Champion in 1971 and was Switzerland's leading player of the 1970s. In 1968 Hug won the Swiss Junior Championship. He was awarded the title of International Master (IM) in 1971, when he became World Junior Champion in Athens. He won the Swiss Championship in 1975. Hug has played on the Swiss team in the Chess Olympiads eleven times, playing first board in 1972, 1974, 1976, 1980, and 1984. He also played first board in the World Student Olympiad in 1972 and 1976. References Golombek, Harry, ed. (1977), "Hug, Werner", Golombek's Encyclopedia of Chess, Crown Publishing, pp. 144–5, ISBN 0-517-53146-1 External links Werner Hug rating card at FIDE Werner Hug player profile and games at Chessgames.com Werner Hug Chess Olympiad record at OlimpBase.org Werner Hug FIDE rating history at OlimpBase.org

country of citizenship

Werner Hug (born 10 September 1952 in Feldmeilen) is a Swiss chess player. Hug was World Junior Chess Champion in 1971 and was Switzerland's leading player of the 1970s. In 1968 Hug won the Swiss Junior Championship. He was awarded the title of International Master (IM) in 1971, when he became World Junior Champion in Athens. He won the Swiss Championship in 1975. Hug has played on the Swiss team in the Chess Olympiads eleven times, playing first board in 1972, 1974, 1976, 1980, and 1984. He also played first board in the World Student Olympiad in 1972 and 1976. References Golombek, Harry, ed. (1977), "Hug, Werner", Golombek's Encyclopedia of Chess, Crown Publishing, pp. 144–5, ISBN 0-517-53146-1 External links Werner Hug rating card at FIDE Werner Hug player profile and games at Chessgames.com Werner Hug Chess Olympiad record at OlimpBase.org Werner Hug FIDE rating history at OlimpBase.org

occupation

Werner Hug (born 10 September 1952 in Feldmeilen) is a Swiss chess player. Hug was World Junior Chess Champion in 1971 and was Switzerland's leading player of the 1970s. In 1968 Hug won the Swiss Junior Championship. He was awarded the title of International Master (IM) in 1971, when he became World Junior Champion in Athens. He won the Swiss Championship in 1975. Hug has played on the Swiss team in the Chess Olympiads eleven times, playing first board in 1972, 1974, 1976, 1980, and 1984. He also played first board in the World Student Olympiad in 1972 and 1976. References Golombek, Harry, ed. (1977), "Hug, Werner", Golombek's Encyclopedia of Chess, Crown Publishing, pp. 144–5, ISBN 0-517-53146-1 External links Werner Hug rating card at FIDE Werner Hug player profile and games at Chessgames.com Werner Hug Chess Olympiad record at OlimpBase.org Werner Hug FIDE rating history at OlimpBase.org

sport

Werner Hug (born 10 September 1952 in Feldmeilen) is a Swiss chess player. Hug was World Junior Chess Champion in 1971 and was Switzerland's leading player of the 1970s. In 1968 Hug won the Swiss Junior Championship. He was awarded the title of International Master (IM) in 1971, when he became World Junior Champion in Athens. He won the Swiss Championship in 1975. Hug has played on the Swiss team in the Chess Olympiads eleven times, playing first board in 1972, 1974, 1976, 1980, and 1984. He also played first board in the World Student Olympiad in 1972 and 1976. References Golombek, Harry, ed. (1977), "Hug, Werner", Golombek's Encyclopedia of Chess, Crown Publishing, pp. 144–5, ISBN 0-517-53146-1 External links Werner Hug rating card at FIDE Werner Hug player profile and games at Chessgames.com Werner Hug Chess Olympiad record at OlimpBase.org Werner Hug FIDE rating history at OlimpBase.org

family name

Werner Hug (born 10 September 1952 in Feldmeilen) is a Swiss chess player. Hug was World Junior Chess Champion in 1971 and was Switzerland's leading player of the 1970s. In 1968 Hug won the Swiss Junior Championship. He was awarded the title of International Master (IM) in 1971, when he became World Junior Champion in Athens. He won the Swiss Championship in 1975. Hug has played on the Swiss team in the Chess Olympiads eleven times, playing first board in 1972, 1974, 1976, 1980, and 1984. He also played first board in the World Student Olympiad in 1972 and 1976. References Golombek, Harry, ed. (1977), "Hug, Werner", Golombek's Encyclopedia of Chess, Crown Publishing, pp. 144–5, ISBN 0-517-53146-1 External links Werner Hug rating card at FIDE Werner Hug player profile and games at Chessgames.com Werner Hug Chess Olympiad record at OlimpBase.org Werner Hug FIDE rating history at OlimpBase.org

given name

Werner Hug (born 10 September 1952 in Feldmeilen) is a Swiss chess player. Hug was World Junior Chess Champion in 1971 and was Switzerland's leading player of the 1970s. In 1968 Hug won the Swiss Junior Championship. He was awarded the title of International Master (IM) in 1971, when he became World Junior Champion in Athens. He won the Swiss Championship in 1975. Hug has played on the Swiss team in the Chess Olympiads eleven times, playing first board in 1972, 1974, 1976, 1980, and 1984. He also played first board in the World Student Olympiad in 1972 and 1976. References Golombek, Harry, ed. (1977), "Hug, Werner", Golombek's Encyclopedia of Chess, Crown Publishing, pp. 144–5, ISBN 0-517-53146-1 External links Werner Hug rating card at FIDE Werner Hug player profile and games at Chessgames.com Werner Hug Chess Olympiad record at OlimpBase.org Werner Hug FIDE rating history at OlimpBase.org

country for sport

Werner Hug (born 10 September 1952 in Feldmeilen) is a Swiss chess player. Hug was World Junior Chess Champion in 1971 and was Switzerland's leading player of the 1970s. In 1968 Hug won the Swiss Junior Championship. He was awarded the title of International Master (IM) in 1971, when he became World Junior Champion in Athens. He won the Swiss Championship in 1975. Hug has played on the Swiss team in the Chess Olympiads eleven times, playing first board in 1972, 1974, 1976, 1980, and 1984. He also played first board in the World Student Olympiad in 1972 and 1976. References Golombek, Harry, ed. (1977), "Hug, Werner", Golombek's Encyclopedia of Chess, Crown Publishing, pp. 144–5, ISBN 0-517-53146-1 External links Werner Hug rating card at FIDE Werner Hug player profile and games at Chessgames.com Werner Hug Chess Olympiad record at OlimpBase.org Werner Hug FIDE rating history at OlimpBase.org

name in native language

Werner Hug (born 10 September 1952 in Feldmeilen) is a Swiss chess player. Hug was World Junior Chess Champion in 1971 and was Switzerland's leading player of the 1970s. In 1968 Hug won the Swiss Junior Championship. He was awarded the title of International Master (IM) in 1971, when he became World Junior Champion in Athens. He won the Swiss Championship in 1975. Hug has played on the Swiss team in the Chess Olympiads eleven times, playing first board in 1972, 1974, 1976, 1980, and 1984. He also played first board in the World Student Olympiad in 1972 and 1976. References Golombek, Harry, ed. (1977), "Hug, Werner", Golombek's Encyclopedia of Chess, Crown Publishing, pp. 144–5, ISBN 0-517-53146-1 External links Werner Hug rating card at FIDE Werner Hug player profile and games at Chessgames.com Werner Hug Chess Olympiad record at OlimpBase.org Werner Hug FIDE rating history at OlimpBase.org

title of chess person

Kino Flo is a manufacturer of professional LED-based lighting equipment for cinema and television and production. Located in Burbank, California, Kino Flo is best known for developing proprietary LEDs based on a color science technology that ensures color quality for lighting both close-ups and on large studio spaces. In 1995 Kino Flo earned a technical achievement award from the Academy of Motion Pictures Arts and Sciences for developing cool, tube-based arrays with color-correct tungsten and daylight balanced light that "changed the way motion picture movies are made," according to the academy. History According to director Wim Wenders, as discussed on the Criterion Collection edition of his 1977 gangster film, The American Friend, Robby Müller first assembled and utilized a primitive Kino Flo unit in 1976, during the shooting of the film. The Kino Flo unit was legitimized in 1987, during the filming of the movie Barfly. Director of photography Robby Müller was filming in a cramped interior was unable to fit traditional lights into the location. In order to work around the problem, the film's gaffer Frieder Hochheim and best boy Gary Swink designed a high-output fluorescent light that had a remote ballast, allowing the lamp unit to become small and lightweight enough to be taped to the wall. Hochheim and Swink subsequently created a company, Kino Flo Incorporated, to manufacture and market their innovation to the film industry. The new lights were quickly embraced by cinematographers, and now are considered a staple of a standard motion picture lighting package. Technology The two major innovations of the unit were the high-frequency ballast, which gave the lights greater intensity and eliminated flicker commonly found in off-the-shelf fluorescent tubes, and the Kino Flo tubes, which contained a number of special phosphors designed to eliminate the characteristic tints in the magenta-green spectrum which are present in most domestic fluorescent lights. Since the type of tube determines the color temperature, any Kino Flo lamphead can be quickly converted between daylight and tungsten balances by simply changing out the tubes. Mid-range color temperature can also be created by mixing tubes of both color temperatures. Kino Flo have also expanded their tube line in recent years, creating visual effects tubes optimized for bluescreen and greenscreen spectra, as well as a variety of other shades for general color effects. References External links Official website

headquarters location

Zawistowo [zavisˈtɔvɔ] is a settlement in the administrative district of Gmina Kępice, within Słupsk County, Pomeranian Voivodeship, in northern Poland. It lies approximately 8 kilometres (5 mi) north of Kępice, 21 km (13 mi) south-west of Słupsk, and 115 km (71 mi) west of the regional capital Gdańsk. For the history of the region, see History of Pomerania. == References ==

country

Zawistowo [zavisˈtɔvɔ] is a settlement in the administrative district of Gmina Kępice, within Słupsk County, Pomeranian Voivodeship, in northern Poland. It lies approximately 8 kilometres (5 mi) north of Kępice, 21 km (13 mi) south-west of Słupsk, and 115 km (71 mi) west of the regional capital Gdańsk. For the history of the region, see History of Pomerania. == References ==

located in the administrative territorial entity

Phaloe is a genus of moths in the subfamily Arctiinae. The genus was erected by Félix Édouard Guérin-Méneville in 1838. Species Phaloe cruenta (Hübner, 1823) Phaloe cubana (Herrich-Schäffer, 1866) Phaloe ignita (Butler, [1870]) Phaloe lorzae (Boisduval, 1870) Phaloe pyste Druce, 1885 Phaloe vespertilio Dognin, 1911 Phaloe vogli Daniel, 1966 References External links Pitkin, Brian & Jenkins, Paul. "Search results Family: Arctiidae". Butterflies and Moths of the World. Natural History Museum, London.

taxon rank

Phaloe is a genus of moths in the subfamily Arctiinae. The genus was erected by Félix Édouard Guérin-Méneville in 1838. Species Phaloe cruenta (Hübner, 1823) Phaloe cubana (Herrich-Schäffer, 1866) Phaloe ignita (Butler, [1870]) Phaloe lorzae (Boisduval, 1870) Phaloe pyste Druce, 1885 Phaloe vespertilio Dognin, 1911 Phaloe vogli Daniel, 1966 References External links Pitkin, Brian & Jenkins, Paul. "Search results Family: Arctiidae". Butterflies and Moths of the World. Natural History Museum, London.

taxon name

Phaloe is a genus of moths in the subfamily Arctiinae. The genus was erected by Félix Édouard Guérin-Méneville in 1838. Species Phaloe cruenta (Hübner, 1823) Phaloe cubana (Herrich-Schäffer, 1866) Phaloe ignita (Butler, [1870]) Phaloe lorzae (Boisduval, 1870) Phaloe pyste Druce, 1885 Phaloe vespertilio Dognin, 1911 Phaloe vogli Daniel, 1966 References External links Pitkin, Brian & Jenkins, Paul. "Search results Family: Arctiidae". Butterflies and Moths of the World. Natural History Museum, London.

Commons category

In relation to the Japanese language and computers many adaptation issues arise, some unique to Japanese and others common to languages which have a very large number of characters. The number of characters needed in order to write in English is quite small, and thus it is possible to use only one byte (28=256 possible values) to encode each English character. However, the number of characters in Japanese is many more than 256 and thus cannot be encoded using a single byte - Japanese is thus encoded using two or more bytes, in a so-called "double byte" or "multi-byte" encoding. Problems that arise relate to transliteration and romanization, character encoding, and input of Japanese text. Character encodings There are several standard methods to encode Japanese characters for use on a computer, including JIS, Shift-JIS, EUC, and Unicode. While mapping the set of kana is a simple matter, kanji has proven more difficult. Despite efforts, none of the encoding schemes have become the de facto standard, and multiple encoding standards were in use by the 2000s. As of 2017, the share of UTF-8 traffic on the Internet has expanded to over 90 % worldwide, and only 1.2% was for using Shift-JIS and EUC. Yet, a few popular websites including 2channel and kakaku.com are still using Shift-JIS.Until 2000s, most Japanese emails were in ISO-2022-JP ("JIS encoding") and web pages in Shift-JIS and mobile phones in Japan usually used some form of Extended Unix Code. If a program fails to determine the encoding scheme employed, it can cause mojibake (文字化け, "misconverted garbled/garbage characters", literally "transformed characters") and thus unreadable text on computers. The first encoding to become widely used was JIS X 0201, which is a single-byte encoding that only covers standard 7-bit ASCII characters with half-width katakana extensions. This was widely used in systems that were neither powerful enough nor had the storage to handle kanji (including old embedded equipment such as cash registers) because Kana-Kanji conversion required a complicated process, and output in kanji required much memory and high resolution. This means that only katakana, not kanji, was supported using this technique. Some embedded displays still have this limitation. The development of kanji encodings was the beginning of the split. Shift JIS supports kanji and was developed to be completely backward compatible with JIS X 0201, and thus is in much embedded electronic equipment. However, Shift JIS has the unfortunate property that it often breaks any parser (software that reads the coded text) that is not specifically designed to handle it. For example, some Shift-JIS characters include a backslash (0x5C "\") in the second byte, which is used as an escape character in many programming languages. A parser lacking support for Shift JIS will recognize 0x5C 0x82 as an invalid escape sequence, and remove it. Therefore, the phrase cause mojibake. This can happen for example in the C programming language, when having Shift-JIS in text strings. It does not happen in HTML since ASCII 0x00–0x3F (which includes ", %, & and some other used escape characters and string separators) do not appear as second byte in Shift-JIS, and backslash is not an escape characters there. But it can happen for JavaScript which can be embedded in HTML pages. EUC, on the other hand, is handled much better by parsers that have been written for 7-bit ASCII (and thus EUC encodings are used on UNIX, where much of the file-handling code was historically only written for English encodings). But EUC is not backwards compatible with JIS X 0201, the first main Japanese encoding. Further complications arise because the original Internet e-mail standards only support 7-bit transfer protocols. Thus RFC 1468 ("ISO-2022-JP", often simply called JIS encoding) was developed for sending and receiving e-mails. In character set standards such as JIS, not all required characters are included, so gaiji (外字 "external characters") are sometimes used to supplement the character set. Gaiji may come in the form of external font packs, where normal characters have been replaced with new characters, or the new characters have been added to unused character positions. However, gaiji are not practical in Internet environments since the font set must be transferred with text to use the gaiji. As a result, such characters are written with similar or simpler characters in place, or the text may need to be encoded using a larger character set (such as Unicode) that supports the required character.Unicode was intended to solve all encoding problems over all languages. The UTF-8 encoding used to encode Unicode in web pages does not have the disadvantages that Shift-JIS has. Unicode is supported by international software, and it eliminates the need for gaiji. There are still controversies, however. For Japanese, the kanji characters have been unified with Chinese; that is, a character considered to be the same in both Japanese and Chinese is given a single number, even if the appearance is actually somewhat different, with the precise appearance left to the use of a locale-appropriate font. This process, called Han unification, has caused controversy. The previous encodings in Japan, Taiwan Area, Mainland China and Korea have only handled one language and Unicode should handle all. The handling of Kanji/Chinese have however been designed by a committee composed of representatives from all four countries/areas. Text input Written Japanese uses several different scripts: kanji (Chinese characters), 2 sets of kana (phonetic syllabaries) and roman letters. While kana and roman letters can be typed directly into a computer, entering kanji is a more complicated process as there are far more kanji than there are keys on most keyboards. To input kanji on modern computers, the reading of kanji is usually entered first, then an input method editor (IME), also sometimes known as a front-end processor, shows a list of candidate kanji that are a phonetic match, and allows the user to choose the correct kanji. More-advanced IMEs work not by word but by phrase, thus increasing the likelihood of getting the desired characters as the first option presented. Kanji readings inputs can be either via romanization (rōmaji nyūryoku, ローマ字入力) or direct kana input (kana nyūryoku, かな入力). Romaji input is more common on PCs and other full-size keyboards (although direct input is also widely supported), whereas direct kana input is typically used on mobile phones and similar devices – each of the 10 digits (1–9,0) corresponds to one of the 10 columns in the gojūon table of kana, and multiple presses select the row. There are two main systems for the romanization of Japanese, known as Kunrei-shiki and Hepburn; in practice, "keyboard romaji" (also known as wāpuro rōmaji or "word processor romaji") generally allows a loose combination of both. IME implementations may even handle keys for letters unused in any romanization scheme, such as L, converting them to the most appropriate equivalent. With kana input, each key on the keyboard directly corresponds to one kana. The JIS keyboard system is the national standard, but there are alternatives, like the thumb-shift keyboard, commonly used among professional typists. Direction of text Japanese can be written in two directions. Yokogaki style writes left-to-right, top-to-bottom, as with English. Tategaki style writes first top-to-bottom, and then moves right-to-left. To compete with Ichitaro, Microsoft provided several updates for early Japanese versions of Microsoft Word including support for downward text, such as Word 5.0 Power Up Kit and Word 98.QuarkXPress was the most popular DTP software in Japan in 1990s, even it had a long development cycle. However, due to lacking support for downward text, it was surpassed by Adobe InDesign which had strong support for downward text through several updates.At present, handling of downward text is incomplete. For example, HTML has no support for tategaki and Japanese users must use HTML tables to simulate it. However, CSS level 3 includes a property "writing-mode" which can render tategaki when given the value "vertical-rl" (i.e. top to bottom, right to left). Word processors and DTP software have more complete support for it. See also Japanese writing system Japanese language CJK characters Korean language and computers Vietnamese language and computers References External links Japanese Owned computer companies in United States A complete introduction to Japanese character encodings from 2003 Chinese, Japanese, and Korean character set standards and encoding systems from 1996 Japanese text encoding Online Japanese Dictionary of Linguistics Online Japanese Dictionary

facet of

In relation to the Japanese language and computers many adaptation issues arise, some unique to Japanese and others common to languages which have a very large number of characters. The number of characters needed in order to write in English is quite small, and thus it is possible to use only one byte (28=256 possible values) to encode each English character. However, the number of characters in Japanese is many more than 256 and thus cannot be encoded using a single byte - Japanese is thus encoded using two or more bytes, in a so-called "double byte" or "multi-byte" encoding. Problems that arise relate to transliteration and romanization, character encoding, and input of Japanese text. Character encodings There are several standard methods to encode Japanese characters for use on a computer, including JIS, Shift-JIS, EUC, and Unicode. While mapping the set of kana is a simple matter, kanji has proven more difficult. Despite efforts, none of the encoding schemes have become the de facto standard, and multiple encoding standards were in use by the 2000s. As of 2017, the share of UTF-8 traffic on the Internet has expanded to over 90 % worldwide, and only 1.2% was for using Shift-JIS and EUC. Yet, a few popular websites including 2channel and kakaku.com are still using Shift-JIS.Until 2000s, most Japanese emails were in ISO-2022-JP ("JIS encoding") and web pages in Shift-JIS and mobile phones in Japan usually used some form of Extended Unix Code. If a program fails to determine the encoding scheme employed, it can cause mojibake (文字化け, "misconverted garbled/garbage characters", literally "transformed characters") and thus unreadable text on computers. The first encoding to become widely used was JIS X 0201, which is a single-byte encoding that only covers standard 7-bit ASCII characters with half-width katakana extensions. This was widely used in systems that were neither powerful enough nor had the storage to handle kanji (including old embedded equipment such as cash registers) because Kana-Kanji conversion required a complicated process, and output in kanji required much memory and high resolution. This means that only katakana, not kanji, was supported using this technique. Some embedded displays still have this limitation. The development of kanji encodings was the beginning of the split. Shift JIS supports kanji and was developed to be completely backward compatible with JIS X 0201, and thus is in much embedded electronic equipment. However, Shift JIS has the unfortunate property that it often breaks any parser (software that reads the coded text) that is not specifically designed to handle it. For example, some Shift-JIS characters include a backslash (0x5C "\") in the second byte, which is used as an escape character in many programming languages. A parser lacking support for Shift JIS will recognize 0x5C 0x82 as an invalid escape sequence, and remove it. Therefore, the phrase cause mojibake. This can happen for example in the C programming language, when having Shift-JIS in text strings. It does not happen in HTML since ASCII 0x00–0x3F (which includes ", %, & and some other used escape characters and string separators) do not appear as second byte in Shift-JIS, and backslash is not an escape characters there. But it can happen for JavaScript which can be embedded in HTML pages. EUC, on the other hand, is handled much better by parsers that have been written for 7-bit ASCII (and thus EUC encodings are used on UNIX, where much of the file-handling code was historically only written for English encodings). But EUC is not backwards compatible with JIS X 0201, the first main Japanese encoding. Further complications arise because the original Internet e-mail standards only support 7-bit transfer protocols. Thus RFC 1468 ("ISO-2022-JP", often simply called JIS encoding) was developed for sending and receiving e-mails. In character set standards such as JIS, not all required characters are included, so gaiji (外字 "external characters") are sometimes used to supplement the character set. Gaiji may come in the form of external font packs, where normal characters have been replaced with new characters, or the new characters have been added to unused character positions. However, gaiji are not practical in Internet environments since the font set must be transferred with text to use the gaiji. As a result, such characters are written with similar or simpler characters in place, or the text may need to be encoded using a larger character set (such as Unicode) that supports the required character.Unicode was intended to solve all encoding problems over all languages. The UTF-8 encoding used to encode Unicode in web pages does not have the disadvantages that Shift-JIS has. Unicode is supported by international software, and it eliminates the need for gaiji. There are still controversies, however. For Japanese, the kanji characters have been unified with Chinese; that is, a character considered to be the same in both Japanese and Chinese is given a single number, even if the appearance is actually somewhat different, with the precise appearance left to the use of a locale-appropriate font. This process, called Han unification, has caused controversy. The previous encodings in Japan, Taiwan Area, Mainland China and Korea have only handled one language and Unicode should handle all. The handling of Kanji/Chinese have however been designed by a committee composed of representatives from all four countries/areas. Text input Written Japanese uses several different scripts: kanji (Chinese characters), 2 sets of kana (phonetic syllabaries) and roman letters. While kana and roman letters can be typed directly into a computer, entering kanji is a more complicated process as there are far more kanji than there are keys on most keyboards. To input kanji on modern computers, the reading of kanji is usually entered first, then an input method editor (IME), also sometimes known as a front-end processor, shows a list of candidate kanji that are a phonetic match, and allows the user to choose the correct kanji. More-advanced IMEs work not by word but by phrase, thus increasing the likelihood of getting the desired characters as the first option presented. Kanji readings inputs can be either via romanization (rōmaji nyūryoku, ローマ字入力) or direct kana input (kana nyūryoku, かな入力). Romaji input is more common on PCs and other full-size keyboards (although direct input is also widely supported), whereas direct kana input is typically used on mobile phones and similar devices – each of the 10 digits (1–9,0) corresponds to one of the 10 columns in the gojūon table of kana, and multiple presses select the row. There are two main systems for the romanization of Japanese, known as Kunrei-shiki and Hepburn; in practice, "keyboard romaji" (also known as wāpuro rōmaji or "word processor romaji") generally allows a loose combination of both. IME implementations may even handle keys for letters unused in any romanization scheme, such as L, converting them to the most appropriate equivalent. With kana input, each key on the keyboard directly corresponds to one kana. The JIS keyboard system is the national standard, but there are alternatives, like the thumb-shift keyboard, commonly used among professional typists. Direction of text Japanese can be written in two directions. Yokogaki style writes left-to-right, top-to-bottom, as with English. Tategaki style writes first top-to-bottom, and then moves right-to-left. To compete with Ichitaro, Microsoft provided several updates for early Japanese versions of Microsoft Word including support for downward text, such as Word 5.0 Power Up Kit and Word 98.QuarkXPress was the most popular DTP software in Japan in 1990s, even it had a long development cycle. However, due to lacking support for downward text, it was surpassed by Adobe InDesign which had strong support for downward text through several updates.At present, handling of downward text is incomplete. For example, HTML has no support for tategaki and Japanese users must use HTML tables to simulate it. However, CSS level 3 includes a property "writing-mode" which can render tategaki when given the value "vertical-rl" (i.e. top to bottom, right to left). Word processors and DTP software have more complete support for it. See also Japanese writing system Japanese language CJK characters Korean language and computers Vietnamese language and computers References External links Japanese Owned computer companies in United States A complete introduction to Japanese character encodings from 2003 Chinese, Japanese, and Korean character set standards and encoding systems from 1996 Japanese text encoding Online Japanese Dictionary of Linguistics Online Japanese Dictionary

language used

Enrico Ravetta (1864 in Milan – 1939) was an Italian painter, mainly of portraits. He was a resident of Milan. He studied at the Brera Academy under Raffaele Casnédi and Giuseppe Bertini. Among his portraits is one of Amilcare Ponchielli. His self-portrait is at the Galleria d'Arte Moderna, Milan. == References ==

place of birth

Enrico Ravetta (1864 in Milan – 1939) was an Italian painter, mainly of portraits. He was a resident of Milan. He studied at the Brera Academy under Raffaele Casnédi and Giuseppe Bertini. Among his portraits is one of Amilcare Ponchielli. His self-portrait is at the Galleria d'Arte Moderna, Milan. == References ==

educated at

Enrico Ravetta (1864 in Milan – 1939) was an Italian painter, mainly of portraits. He was a resident of Milan. He studied at the Brera Academy under Raffaele Casnédi and Giuseppe Bertini. Among his portraits is one of Amilcare Ponchielli. His self-portrait is at the Galleria d'Arte Moderna, Milan. == References ==

occupation

Enrico Ravetta (1864 in Milan – 1939) was an Italian painter, mainly of portraits. He was a resident of Milan. He studied at the Brera Academy under Raffaele Casnédi and Giuseppe Bertini. Among his portraits is one of Amilcare Ponchielli. His self-portrait is at the Galleria d'Arte Moderna, Milan. == References ==

genre

Enrico Ravetta (1864 in Milan – 1939) was an Italian painter, mainly of portraits. He was a resident of Milan. He studied at the Brera Academy under Raffaele Casnédi and Giuseppe Bertini. Among his portraits is one of Amilcare Ponchielli. His self-portrait is at the Galleria d'Arte Moderna, Milan. == References ==

family name

Enrico Ravetta (1864 in Milan – 1939) was an Italian painter, mainly of portraits. He was a resident of Milan. He studied at the Brera Academy under Raffaele Casnédi and Giuseppe Bertini. Among his portraits is one of Amilcare Ponchielli. His self-portrait is at the Galleria d'Arte Moderna, Milan. == References ==

given name

The Uetsu Main Line (羽越本線, Uetsu-hon-sen) is a railway line in the Tohoku and Chubu regions of Japan. Part of the East Japan Railway Company (JR East) system, it connects Niitsu Station in the city of Niigata and Akita Station in Akita. The name "Uetsu" refers to the ancient provinces of Dewa (出羽) and Echigo (越後), which the line connects. Route data Total length: 274.4 km (170.5 mi) (Fukushima–Aomori, Tsuchizaki–Akitakō) Operators, distances: East Japan Railway Company (Services and tracks) Niitsu — Akita: 271.7 km (168.8 mi) Japan Freight Railway Company (Services and tracks) Sakata — Sakata-Minato: 2.7 km (1.7 mi) Japan Freight Railway Company (Services) Niitsu — Akita: 271.7 km (168.8 mi) Tracks: See station list for details Electrification: Niitsu — Murakami: 1,500 V DC Murakami — Akita: 20 kV AC, 50 Hz Railway signalling: Maximum speed: Niitsu — Murakami: 120 km/h (75 mph) Murakami — Imagawa: 100 km/h (62 mph) Imagawa — Sanze: 95 km/h (59 mph) Sanze — Sakata: 120 km/h (75 mph) Sakata — Akita: 95 km/h (59 mph) Services Limited express, RapidAs of March 2020, the following services are operated. Local Niitsu – Shibata: every 60-180 minutes Shibata – Murakami: every 60-120 minutes Murakami – Sakata: every 60-180 minutes Sakata – Akita: every 60-180 minutesBetween Shibata and Murakami, most of the local trains travel through to/from Niigata via Hakushin Line. Stations A: Limited Express Inaho B: Rapid Kairi C: Rapid Rakuraku Train Murakami, Benibana and other Rapid service trains Trains stop at stations marked "O", skip at stations marked "|". Symbols: | - Single-track ◇ - Single-track; station where trains can pass ^ - Double-track section starts from this point ∥ - Double-track ∨ - Single-track section starts from this point Rolling stock Present Local E129 series 2/4-car DC EMUs (Niitsu—Murakami, since December 2014) 701 series 2/3-car AC EMUs (Sakata—Akita) KiHa 110 series (Niitsu - Nezugaseki) GV-E400 series (Niitsu-Sakata, since August 2019) Inaho/Rakuraku Train Murakami E653-1000 series 7-car DC/AC EMUs (since September 2013) Kairi HB-E300 series Former 115 series DC EMUs (Niitsu—Murakami, until March 2018) E127-0 series 2-car DC EMUs (Shibata—Murakami, until March 2015) KiHa 40/47/48 series DMUs (Until March 2020) KiHa E120 DMUs (Niitsu—Sakata, until March 2018) KiHa 58 series DMUs KiHa 52 DMUs 485 series DC/AC EMUs (until July 2014) - Inaho, Hakucho, Rakuraku Train Murakami History The line was opened in sections between 1912 and 1924, and electrified in 1972, the same year CTC signalling was commissioned.Work to double-track the line in sections commenced in 1957, and continued for 25 years until being suspended due to capital expenditure restrictions in 1983, at which time 51% of the route was double-tracked. Accidents On December 25, 2005, all six cars of a limited express train Inaho No.14 on the Uetsu Line derailed in Yamagata prefecture, about 350 kilometres (220 mi) north of Tokyo. The train was headed south towards Kita-Amarume Station. Three of the cars turned over, causing the deaths of five people and injuring 33 others. Three other persons were originally reported missing, but authorities later discovered that they had disembarked from the train before the accident. It is likely that the event was caused by a tornado although it is uncertain whether or not a tornado was involved with this accident. References JR全線全駅ステーション倶楽部編(上) [Complete JR Line/Station Compendium (Vol. 1)] (in Japanese). Tokyo, Japan: Bunshun Bunko. September 1988. p. 236-248. ISBN 4-16-748701-2. External links Inaho - JR East (in English) Kairi - JR East (in English) Discover Uetsu, tourist website (in English)

country

The Uetsu Main Line (羽越本線, Uetsu-hon-sen) is a railway line in the Tohoku and Chubu regions of Japan. Part of the East Japan Railway Company (JR East) system, it connects Niitsu Station in the city of Niigata and Akita Station in Akita. The name "Uetsu" refers to the ancient provinces of Dewa (出羽) and Echigo (越後), which the line connects. Route data Total length: 274.4 km (170.5 mi) (Fukushima–Aomori, Tsuchizaki–Akitakō) Operators, distances: East Japan Railway Company (Services and tracks) Niitsu — Akita: 271.7 km (168.8 mi) Japan Freight Railway Company (Services and tracks) Sakata — Sakata-Minato: 2.7 km (1.7 mi) Japan Freight Railway Company (Services) Niitsu — Akita: 271.7 km (168.8 mi) Tracks: See station list for details Electrification: Niitsu — Murakami: 1,500 V DC Murakami — Akita: 20 kV AC, 50 Hz Railway signalling: Maximum speed: Niitsu — Murakami: 120 km/h (75 mph) Murakami — Imagawa: 100 km/h (62 mph) Imagawa — Sanze: 95 km/h (59 mph) Sanze — Sakata: 120 km/h (75 mph) Sakata — Akita: 95 km/h (59 mph) Services Limited express, RapidAs of March 2020, the following services are operated. Local Niitsu – Shibata: every 60-180 minutes Shibata – Murakami: every 60-120 minutes Murakami – Sakata: every 60-180 minutes Sakata – Akita: every 60-180 minutesBetween Shibata and Murakami, most of the local trains travel through to/from Niigata via Hakushin Line. Stations A: Limited Express Inaho B: Rapid Kairi C: Rapid Rakuraku Train Murakami, Benibana and other Rapid service trains Trains stop at stations marked "O", skip at stations marked "|". Symbols: | - Single-track ◇ - Single-track; station where trains can pass ^ - Double-track section starts from this point ∥ - Double-track ∨ - Single-track section starts from this point Rolling stock Present Local E129 series 2/4-car DC EMUs (Niitsu—Murakami, since December 2014) 701 series 2/3-car AC EMUs (Sakata—Akita) KiHa 110 series (Niitsu - Nezugaseki) GV-E400 series (Niitsu-Sakata, since August 2019) Inaho/Rakuraku Train Murakami E653-1000 series 7-car DC/AC EMUs (since September 2013) Kairi HB-E300 series Former 115 series DC EMUs (Niitsu—Murakami, until March 2018) E127-0 series 2-car DC EMUs (Shibata—Murakami, until March 2015) KiHa 40/47/48 series DMUs (Until March 2020) KiHa E120 DMUs (Niitsu—Sakata, until March 2018) KiHa 58 series DMUs KiHa 52 DMUs 485 series DC/AC EMUs (until July 2014) - Inaho, Hakucho, Rakuraku Train Murakami History The line was opened in sections between 1912 and 1924, and electrified in 1972, the same year CTC signalling was commissioned.Work to double-track the line in sections commenced in 1957, and continued for 25 years until being suspended due to capital expenditure restrictions in 1983, at which time 51% of the route was double-tracked. Accidents On December 25, 2005, all six cars of a limited express train Inaho No.14 on the Uetsu Line derailed in Yamagata prefecture, about 350 kilometres (220 mi) north of Tokyo. The train was headed south towards Kita-Amarume Station. Three of the cars turned over, causing the deaths of five people and injuring 33 others. Three other persons were originally reported missing, but authorities later discovered that they had disembarked from the train before the accident. It is likely that the event was caused by a tornado although it is uncertain whether or not a tornado was involved with this accident. References JR全線全駅ステーション倶楽部編(上) [Complete JR Line/Station Compendium (Vol. 1)] (in Japanese). Tokyo, Japan: Bunshun Bunko. September 1988. p. 236-248. ISBN 4-16-748701-2. External links Inaho - JR East (in English) Kairi - JR East (in English) Discover Uetsu, tourist website (in English)

instance of

The Uetsu Main Line (羽越本線, Uetsu-hon-sen) is a railway line in the Tohoku and Chubu regions of Japan. Part of the East Japan Railway Company (JR East) system, it connects Niitsu Station in the city of Niigata and Akita Station in Akita. The name "Uetsu" refers to the ancient provinces of Dewa (出羽) and Echigo (越後), which the line connects. Route data Total length: 274.4 km (170.5 mi) (Fukushima–Aomori, Tsuchizaki–Akitakō) Operators, distances: East Japan Railway Company (Services and tracks) Niitsu — Akita: 271.7 km (168.8 mi) Japan Freight Railway Company (Services and tracks) Sakata — Sakata-Minato: 2.7 km (1.7 mi) Japan Freight Railway Company (Services) Niitsu — Akita: 271.7 km (168.8 mi) Tracks: See station list for details Electrification: Niitsu — Murakami: 1,500 V DC Murakami — Akita: 20 kV AC, 50 Hz Railway signalling: Maximum speed: Niitsu — Murakami: 120 km/h (75 mph) Murakami — Imagawa: 100 km/h (62 mph) Imagawa — Sanze: 95 km/h (59 mph) Sanze — Sakata: 120 km/h (75 mph) Sakata — Akita: 95 km/h (59 mph) Services Limited express, RapidAs of March 2020, the following services are operated. Local Niitsu – Shibata: every 60-180 minutes Shibata – Murakami: every 60-120 minutes Murakami – Sakata: every 60-180 minutes Sakata – Akita: every 60-180 minutesBetween Shibata and Murakami, most of the local trains travel through to/from Niigata via Hakushin Line. Stations A: Limited Express Inaho B: Rapid Kairi C: Rapid Rakuraku Train Murakami, Benibana and other Rapid service trains Trains stop at stations marked "O", skip at stations marked "|". Symbols: | - Single-track ◇ - Single-track; station where trains can pass ^ - Double-track section starts from this point ∥ - Double-track ∨ - Single-track section starts from this point Rolling stock Present Local E129 series 2/4-car DC EMUs (Niitsu—Murakami, since December 2014) 701 series 2/3-car AC EMUs (Sakata—Akita) KiHa 110 series (Niitsu - Nezugaseki) GV-E400 series (Niitsu-Sakata, since August 2019) Inaho/Rakuraku Train Murakami E653-1000 series 7-car DC/AC EMUs (since September 2013) Kairi HB-E300 series Former 115 series DC EMUs (Niitsu—Murakami, until March 2018) E127-0 series 2-car DC EMUs (Shibata—Murakami, until March 2015) KiHa 40/47/48 series DMUs (Until March 2020) KiHa E120 DMUs (Niitsu—Sakata, until March 2018) KiHa 58 series DMUs KiHa 52 DMUs 485 series DC/AC EMUs (until July 2014) - Inaho, Hakucho, Rakuraku Train Murakami History The line was opened in sections between 1912 and 1924, and electrified in 1972, the same year CTC signalling was commissioned.Work to double-track the line in sections commenced in 1957, and continued for 25 years until being suspended due to capital expenditure restrictions in 1983, at which time 51% of the route was double-tracked. Accidents On December 25, 2005, all six cars of a limited express train Inaho No.14 on the Uetsu Line derailed in Yamagata prefecture, about 350 kilometres (220 mi) north of Tokyo. The train was headed south towards Kita-Amarume Station. Three of the cars turned over, causing the deaths of five people and injuring 33 others. Three other persons were originally reported missing, but authorities later discovered that they had disembarked from the train before the accident. It is likely that the event was caused by a tornado although it is uncertain whether or not a tornado was involved with this accident. References JR全線全駅ステーション倶楽部編(上) [Complete JR Line/Station Compendium (Vol. 1)] (in Japanese). Tokyo, Japan: Bunshun Bunko. September 1988. p. 236-248. ISBN 4-16-748701-2. External links Inaho - JR East (in English) Kairi - JR East (in English) Discover Uetsu, tourist website (in English)

owned by

The Uetsu Main Line (羽越本線, Uetsu-hon-sen) is a railway line in the Tohoku and Chubu regions of Japan. Part of the East Japan Railway Company (JR East) system, it connects Niitsu Station in the city of Niigata and Akita Station in Akita. The name "Uetsu" refers to the ancient provinces of Dewa (出羽) and Echigo (越後), which the line connects. Route data Total length: 274.4 km (170.5 mi) (Fukushima–Aomori, Tsuchizaki–Akitakō) Operators, distances: East Japan Railway Company (Services and tracks) Niitsu — Akita: 271.7 km (168.8 mi) Japan Freight Railway Company (Services and tracks) Sakata — Sakata-Minato: 2.7 km (1.7 mi) Japan Freight Railway Company (Services) Niitsu — Akita: 271.7 km (168.8 mi) Tracks: See station list for details Electrification: Niitsu — Murakami: 1,500 V DC Murakami — Akita: 20 kV AC, 50 Hz Railway signalling: Maximum speed: Niitsu — Murakami: 120 km/h (75 mph) Murakami — Imagawa: 100 km/h (62 mph) Imagawa — Sanze: 95 km/h (59 mph) Sanze — Sakata: 120 km/h (75 mph) Sakata — Akita: 95 km/h (59 mph) Services Limited express, RapidAs of March 2020, the following services are operated. Local Niitsu – Shibata: every 60-180 minutes Shibata – Murakami: every 60-120 minutes Murakami – Sakata: every 60-180 minutes Sakata – Akita: every 60-180 minutesBetween Shibata and Murakami, most of the local trains travel through to/from Niigata via Hakushin Line. Stations A: Limited Express Inaho B: Rapid Kairi C: Rapid Rakuraku Train Murakami, Benibana and other Rapid service trains Trains stop at stations marked "O", skip at stations marked "|". Symbols: | - Single-track ◇ - Single-track; station where trains can pass ^ - Double-track section starts from this point ∥ - Double-track ∨ - Single-track section starts from this point Rolling stock Present Local E129 series 2/4-car DC EMUs (Niitsu—Murakami, since December 2014) 701 series 2/3-car AC EMUs (Sakata—Akita) KiHa 110 series (Niitsu - Nezugaseki) GV-E400 series (Niitsu-Sakata, since August 2019) Inaho/Rakuraku Train Murakami E653-1000 series 7-car DC/AC EMUs (since September 2013) Kairi HB-E300 series Former 115 series DC EMUs (Niitsu—Murakami, until March 2018) E127-0 series 2-car DC EMUs (Shibata—Murakami, until March 2015) KiHa 40/47/48 series DMUs (Until March 2020) KiHa E120 DMUs (Niitsu—Sakata, until March 2018) KiHa 58 series DMUs KiHa 52 DMUs 485 series DC/AC EMUs (until July 2014) - Inaho, Hakucho, Rakuraku Train Murakami History The line was opened in sections between 1912 and 1924, and electrified in 1972, the same year CTC signalling was commissioned.Work to double-track the line in sections commenced in 1957, and continued for 25 years until being suspended due to capital expenditure restrictions in 1983, at which time 51% of the route was double-tracked. Accidents On December 25, 2005, all six cars of a limited express train Inaho No.14 on the Uetsu Line derailed in Yamagata prefecture, about 350 kilometres (220 mi) north of Tokyo. The train was headed south towards Kita-Amarume Station. Three of the cars turned over, causing the deaths of five people and injuring 33 others. Three other persons were originally reported missing, but authorities later discovered that they had disembarked from the train before the accident. It is likely that the event was caused by a tornado although it is uncertain whether or not a tornado was involved with this accident. References JR全線全駅ステーション倶楽部編(上) [Complete JR Line/Station Compendium (Vol. 1)] (in Japanese). Tokyo, Japan: Bunshun Bunko. September 1988. p. 236-248. ISBN 4-16-748701-2. External links Inaho - JR East (in English) Kairi - JR East (in English) Discover Uetsu, tourist website (in English)

operator

The Uetsu Main Line (羽越本線, Uetsu-hon-sen) is a railway line in the Tohoku and Chubu regions of Japan. Part of the East Japan Railway Company (JR East) system, it connects Niitsu Station in the city of Niigata and Akita Station in Akita. The name "Uetsu" refers to the ancient provinces of Dewa (出羽) and Echigo (越後), which the line connects. Route data Total length: 274.4 km (170.5 mi) (Fukushima–Aomori, Tsuchizaki–Akitakō) Operators, distances: East Japan Railway Company (Services and tracks) Niitsu — Akita: 271.7 km (168.8 mi) Japan Freight Railway Company (Services and tracks) Sakata — Sakata-Minato: 2.7 km (1.7 mi) Japan Freight Railway Company (Services) Niitsu — Akita: 271.7 km (168.8 mi) Tracks: See station list for details Electrification: Niitsu — Murakami: 1,500 V DC Murakami — Akita: 20 kV AC, 50 Hz Railway signalling: Maximum speed: Niitsu — Murakami: 120 km/h (75 mph) Murakami — Imagawa: 100 km/h (62 mph) Imagawa — Sanze: 95 km/h (59 mph) Sanze — Sakata: 120 km/h (75 mph) Sakata — Akita: 95 km/h (59 mph) Services Limited express, RapidAs of March 2020, the following services are operated. Local Niitsu – Shibata: every 60-180 minutes Shibata – Murakami: every 60-120 minutes Murakami – Sakata: every 60-180 minutes Sakata – Akita: every 60-180 minutesBetween Shibata and Murakami, most of the local trains travel through to/from Niigata via Hakushin Line. Stations A: Limited Express Inaho B: Rapid Kairi C: Rapid Rakuraku Train Murakami, Benibana and other Rapid service trains Trains stop at stations marked "O", skip at stations marked "|". Symbols: | - Single-track ◇ - Single-track; station where trains can pass ^ - Double-track section starts from this point ∥ - Double-track ∨ - Single-track section starts from this point Rolling stock Present Local E129 series 2/4-car DC EMUs (Niitsu—Murakami, since December 2014) 701 series 2/3-car AC EMUs (Sakata—Akita) KiHa 110 series (Niitsu - Nezugaseki) GV-E400 series (Niitsu-Sakata, since August 2019) Inaho/Rakuraku Train Murakami E653-1000 series 7-car DC/AC EMUs (since September 2013) Kairi HB-E300 series Former 115 series DC EMUs (Niitsu—Murakami, until March 2018) E127-0 series 2-car DC EMUs (Shibata—Murakami, until March 2015) KiHa 40/47/48 series DMUs (Until March 2020) KiHa E120 DMUs (Niitsu—Sakata, until March 2018) KiHa 58 series DMUs KiHa 52 DMUs 485 series DC/AC EMUs (until July 2014) - Inaho, Hakucho, Rakuraku Train Murakami History The line was opened in sections between 1912 and 1924, and electrified in 1972, the same year CTC signalling was commissioned.Work to double-track the line in sections commenced in 1957, and continued for 25 years until being suspended due to capital expenditure restrictions in 1983, at which time 51% of the route was double-tracked. Accidents On December 25, 2005, all six cars of a limited express train Inaho No.14 on the Uetsu Line derailed in Yamagata prefecture, about 350 kilometres (220 mi) north of Tokyo. The train was headed south towards Kita-Amarume Station. Three of the cars turned over, causing the deaths of five people and injuring 33 others. Three other persons were originally reported missing, but authorities later discovered that they had disembarked from the train before the accident. It is likely that the event was caused by a tornado although it is uncertain whether or not a tornado was involved with this accident. References JR全線全駅ステーション倶楽部編(上) [Complete JR Line/Station Compendium (Vol. 1)] (in Japanese). Tokyo, Japan: Bunshun Bunko. September 1988. p. 236-248. ISBN 4-16-748701-2. External links Inaho - JR East (in English) Kairi - JR East (in English) Discover Uetsu, tourist website (in English)

part of

The Uetsu Main Line (羽越本線, Uetsu-hon-sen) is a railway line in the Tohoku and Chubu regions of Japan. Part of the East Japan Railway Company (JR East) system, it connects Niitsu Station in the city of Niigata and Akita Station in Akita. The name "Uetsu" refers to the ancient provinces of Dewa (出羽) and Echigo (越後), which the line connects. Route data Total length: 274.4 km (170.5 mi) (Fukushima–Aomori, Tsuchizaki–Akitakō) Operators, distances: East Japan Railway Company (Services and tracks) Niitsu — Akita: 271.7 km (168.8 mi) Japan Freight Railway Company (Services and tracks) Sakata — Sakata-Minato: 2.7 km (1.7 mi) Japan Freight Railway Company (Services) Niitsu — Akita: 271.7 km (168.8 mi) Tracks: See station list for details Electrification: Niitsu — Murakami: 1,500 V DC Murakami — Akita: 20 kV AC, 50 Hz Railway signalling: Maximum speed: Niitsu — Murakami: 120 km/h (75 mph) Murakami — Imagawa: 100 km/h (62 mph) Imagawa — Sanze: 95 km/h (59 mph) Sanze — Sakata: 120 km/h (75 mph) Sakata — Akita: 95 km/h (59 mph) Services Limited express, RapidAs of March 2020, the following services are operated. Local Niitsu – Shibata: every 60-180 minutes Shibata – Murakami: every 60-120 minutes Murakami – Sakata: every 60-180 minutes Sakata – Akita: every 60-180 minutesBetween Shibata and Murakami, most of the local trains travel through to/from Niigata via Hakushin Line. Stations A: Limited Express Inaho B: Rapid Kairi C: Rapid Rakuraku Train Murakami, Benibana and other Rapid service trains Trains stop at stations marked "O", skip at stations marked "|". Symbols: | - Single-track ◇ - Single-track; station where trains can pass ^ - Double-track section starts from this point ∥ - Double-track ∨ - Single-track section starts from this point Rolling stock Present Local E129 series 2/4-car DC EMUs (Niitsu—Murakami, since December 2014) 701 series 2/3-car AC EMUs (Sakata—Akita) KiHa 110 series (Niitsu - Nezugaseki) GV-E400 series (Niitsu-Sakata, since August 2019) Inaho/Rakuraku Train Murakami E653-1000 series 7-car DC/AC EMUs (since September 2013) Kairi HB-E300 series Former 115 series DC EMUs (Niitsu—Murakami, until March 2018) E127-0 series 2-car DC EMUs (Shibata—Murakami, until March 2015) KiHa 40/47/48 series DMUs (Until March 2020) KiHa E120 DMUs (Niitsu—Sakata, until March 2018) KiHa 58 series DMUs KiHa 52 DMUs 485 series DC/AC EMUs (until July 2014) - Inaho, Hakucho, Rakuraku Train Murakami History The line was opened in sections between 1912 and 1924, and electrified in 1972, the same year CTC signalling was commissioned.Work to double-track the line in sections commenced in 1957, and continued for 25 years until being suspended due to capital expenditure restrictions in 1983, at which time 51% of the route was double-tracked. Accidents On December 25, 2005, all six cars of a limited express train Inaho No.14 on the Uetsu Line derailed in Yamagata prefecture, about 350 kilometres (220 mi) north of Tokyo. The train was headed south towards Kita-Amarume Station. Three of the cars turned over, causing the deaths of five people and injuring 33 others. Three other persons were originally reported missing, but authorities later discovered that they had disembarked from the train before the accident. It is likely that the event was caused by a tornado although it is uncertain whether or not a tornado was involved with this accident. References JR全線全駅ステーション倶楽部編(上) [Complete JR Line/Station Compendium (Vol. 1)] (in Japanese). Tokyo, Japan: Bunshun Bunko. September 1988. p. 236-248. ISBN 4-16-748701-2. External links Inaho - JR East (in English) Kairi - JR East (in English) Discover Uetsu, tourist website (in English)

Commons category

The Uetsu Main Line (羽越本線, Uetsu-hon-sen) is a railway line in the Tohoku and Chubu regions of Japan. Part of the East Japan Railway Company (JR East) system, it connects Niitsu Station in the city of Niigata and Akita Station in Akita. The name "Uetsu" refers to the ancient provinces of Dewa (出羽) and Echigo (越後), which the line connects. Route data Total length: 274.4 km (170.5 mi) (Fukushima–Aomori, Tsuchizaki–Akitakō) Operators, distances: East Japan Railway Company (Services and tracks) Niitsu — Akita: 271.7 km (168.8 mi) Japan Freight Railway Company (Services and tracks) Sakata — Sakata-Minato: 2.7 km (1.7 mi) Japan Freight Railway Company (Services) Niitsu — Akita: 271.7 km (168.8 mi) Tracks: See station list for details Electrification: Niitsu — Murakami: 1,500 V DC Murakami — Akita: 20 kV AC, 50 Hz Railway signalling: Maximum speed: Niitsu — Murakami: 120 km/h (75 mph) Murakami — Imagawa: 100 km/h (62 mph) Imagawa — Sanze: 95 km/h (59 mph) Sanze — Sakata: 120 km/h (75 mph) Sakata — Akita: 95 km/h (59 mph) Services Limited express, RapidAs of March 2020, the following services are operated. Local Niitsu – Shibata: every 60-180 minutes Shibata – Murakami: every 60-120 minutes Murakami – Sakata: every 60-180 minutes Sakata – Akita: every 60-180 minutesBetween Shibata and Murakami, most of the local trains travel through to/from Niigata via Hakushin Line. Stations A: Limited Express Inaho B: Rapid Kairi C: Rapid Rakuraku Train Murakami, Benibana and other Rapid service trains Trains stop at stations marked "O", skip at stations marked "|". Symbols: | - Single-track ◇ - Single-track; station where trains can pass ^ - Double-track section starts from this point ∥ - Double-track ∨ - Single-track section starts from this point Rolling stock Present Local E129 series 2/4-car DC EMUs (Niitsu—Murakami, since December 2014) 701 series 2/3-car AC EMUs (Sakata—Akita) KiHa 110 series (Niitsu - Nezugaseki) GV-E400 series (Niitsu-Sakata, since August 2019) Inaho/Rakuraku Train Murakami E653-1000 series 7-car DC/AC EMUs (since September 2013) Kairi HB-E300 series Former 115 series DC EMUs (Niitsu—Murakami, until March 2018) E127-0 series 2-car DC EMUs (Shibata—Murakami, until March 2015) KiHa 40/47/48 series DMUs (Until March 2020) KiHa E120 DMUs (Niitsu—Sakata, until March 2018) KiHa 58 series DMUs KiHa 52 DMUs 485 series DC/AC EMUs (until July 2014) - Inaho, Hakucho, Rakuraku Train Murakami History The line was opened in sections between 1912 and 1924, and electrified in 1972, the same year CTC signalling was commissioned.Work to double-track the line in sections commenced in 1957, and continued for 25 years until being suspended due to capital expenditure restrictions in 1983, at which time 51% of the route was double-tracked. Accidents On December 25, 2005, all six cars of a limited express train Inaho No.14 on the Uetsu Line derailed in Yamagata prefecture, about 350 kilometres (220 mi) north of Tokyo. The train was headed south towards Kita-Amarume Station. Three of the cars turned over, causing the deaths of five people and injuring 33 others. Three other persons were originally reported missing, but authorities later discovered that they had disembarked from the train before the accident. It is likely that the event was caused by a tornado although it is uncertain whether or not a tornado was involved with this accident. References JR全線全駅ステーション倶楽部編(上) [Complete JR Line/Station Compendium (Vol. 1)] (in Japanese). Tokyo, Japan: Bunshun Bunko. September 1988. p. 236-248. ISBN 4-16-748701-2. External links Inaho - JR East (in English) Kairi - JR East (in English) Discover Uetsu, tourist website (in English)

terminus

The Uetsu Main Line (羽越本線, Uetsu-hon-sen) is a railway line in the Tohoku and Chubu regions of Japan. Part of the East Japan Railway Company (JR East) system, it connects Niitsu Station in the city of Niigata and Akita Station in Akita. The name "Uetsu" refers to the ancient provinces of Dewa (出羽) and Echigo (越後), which the line connects. Route data Total length: 274.4 km (170.5 mi) (Fukushima–Aomori, Tsuchizaki–Akitakō) Operators, distances: East Japan Railway Company (Services and tracks) Niitsu — Akita: 271.7 km (168.8 mi) Japan Freight Railway Company (Services and tracks) Sakata — Sakata-Minato: 2.7 km (1.7 mi) Japan Freight Railway Company (Services) Niitsu — Akita: 271.7 km (168.8 mi) Tracks: See station list for details Electrification: Niitsu — Murakami: 1,500 V DC Murakami — Akita: 20 kV AC, 50 Hz Railway signalling: Maximum speed: Niitsu — Murakami: 120 km/h (75 mph) Murakami — Imagawa: 100 km/h (62 mph) Imagawa — Sanze: 95 km/h (59 mph) Sanze — Sakata: 120 km/h (75 mph) Sakata — Akita: 95 km/h (59 mph) Services Limited express, RapidAs of March 2020, the following services are operated. Local Niitsu – Shibata: every 60-180 minutes Shibata – Murakami: every 60-120 minutes Murakami – Sakata: every 60-180 minutes Sakata – Akita: every 60-180 minutesBetween Shibata and Murakami, most of the local trains travel through to/from Niigata via Hakushin Line. Stations A: Limited Express Inaho B: Rapid Kairi C: Rapid Rakuraku Train Murakami, Benibana and other Rapid service trains Trains stop at stations marked "O", skip at stations marked "|". Symbols: | - Single-track ◇ - Single-track; station where trains can pass ^ - Double-track section starts from this point ∥ - Double-track ∨ - Single-track section starts from this point Rolling stock Present Local E129 series 2/4-car DC EMUs (Niitsu—Murakami, since December 2014) 701 series 2/3-car AC EMUs (Sakata—Akita) KiHa 110 series (Niitsu - Nezugaseki) GV-E400 series (Niitsu-Sakata, since August 2019) Inaho/Rakuraku Train Murakami E653-1000 series 7-car DC/AC EMUs (since September 2013) Kairi HB-E300 series Former 115 series DC EMUs (Niitsu—Murakami, until March 2018) E127-0 series 2-car DC EMUs (Shibata—Murakami, until March 2015) KiHa 40/47/48 series DMUs (Until March 2020) KiHa E120 DMUs (Niitsu—Sakata, until March 2018) KiHa 58 series DMUs KiHa 52 DMUs 485 series DC/AC EMUs (until July 2014) - Inaho, Hakucho, Rakuraku Train Murakami History The line was opened in sections between 1912 and 1924, and electrified in 1972, the same year CTC signalling was commissioned.Work to double-track the line in sections commenced in 1957, and continued for 25 years until being suspended due to capital expenditure restrictions in 1983, at which time 51% of the route was double-tracked. Accidents On December 25, 2005, all six cars of a limited express train Inaho No.14 on the Uetsu Line derailed in Yamagata prefecture, about 350 kilometres (220 mi) north of Tokyo. The train was headed south towards Kita-Amarume Station. Three of the cars turned over, causing the deaths of five people and injuring 33 others. Three other persons were originally reported missing, but authorities later discovered that they had disembarked from the train before the accident. It is likely that the event was caused by a tornado although it is uncertain whether or not a tornado was involved with this accident. References JR全線全駅ステーション倶楽部編(上) [Complete JR Line/Station Compendium (Vol. 1)] (in Japanese). Tokyo, Japan: Bunshun Bunko. September 1988. p. 236-248. ISBN 4-16-748701-2. External links Inaho - JR East (in English) Kairi - JR East (in English) Discover Uetsu, tourist website (in English)

connects with

The Uetsu Main Line (羽越本線, Uetsu-hon-sen) is a railway line in the Tohoku and Chubu regions of Japan. Part of the East Japan Railway Company (JR East) system, it connects Niitsu Station in the city of Niigata and Akita Station in Akita. The name "Uetsu" refers to the ancient provinces of Dewa (出羽) and Echigo (越後), which the line connects. Route data Total length: 274.4 km (170.5 mi) (Fukushima–Aomori, Tsuchizaki–Akitakō) Operators, distances: East Japan Railway Company (Services and tracks) Niitsu — Akita: 271.7 km (168.8 mi) Japan Freight Railway Company (Services and tracks) Sakata — Sakata-Minato: 2.7 km (1.7 mi) Japan Freight Railway Company (Services) Niitsu — Akita: 271.7 km (168.8 mi) Tracks: See station list for details Electrification: Niitsu — Murakami: 1,500 V DC Murakami — Akita: 20 kV AC, 50 Hz Railway signalling: Maximum speed: Niitsu — Murakami: 120 km/h (75 mph) Murakami — Imagawa: 100 km/h (62 mph) Imagawa — Sanze: 95 km/h (59 mph) Sanze — Sakata: 120 km/h (75 mph) Sakata — Akita: 95 km/h (59 mph) Services Limited express, RapidAs of March 2020, the following services are operated. Local Niitsu – Shibata: every 60-180 minutes Shibata – Murakami: every 60-120 minutes Murakami – Sakata: every 60-180 minutes Sakata – Akita: every 60-180 minutesBetween Shibata and Murakami, most of the local trains travel through to/from Niigata via Hakushin Line. Stations A: Limited Express Inaho B: Rapid Kairi C: Rapid Rakuraku Train Murakami, Benibana and other Rapid service trains Trains stop at stations marked "O", skip at stations marked "|". Symbols: | - Single-track ◇ - Single-track; station where trains can pass ^ - Double-track section starts from this point ∥ - Double-track ∨ - Single-track section starts from this point Rolling stock Present Local E129 series 2/4-car DC EMUs (Niitsu—Murakami, since December 2014) 701 series 2/3-car AC EMUs (Sakata—Akita) KiHa 110 series (Niitsu - Nezugaseki) GV-E400 series (Niitsu-Sakata, since August 2019) Inaho/Rakuraku Train Murakami E653-1000 series 7-car DC/AC EMUs (since September 2013) Kairi HB-E300 series Former 115 series DC EMUs (Niitsu—Murakami, until March 2018) E127-0 series 2-car DC EMUs (Shibata—Murakami, until March 2015) KiHa 40/47/48 series DMUs (Until March 2020) KiHa E120 DMUs (Niitsu—Sakata, until March 2018) KiHa 58 series DMUs KiHa 52 DMUs 485 series DC/AC EMUs (until July 2014) - Inaho, Hakucho, Rakuraku Train Murakami History The line was opened in sections between 1912 and 1924, and electrified in 1972, the same year CTC signalling was commissioned.Work to double-track the line in sections commenced in 1957, and continued for 25 years until being suspended due to capital expenditure restrictions in 1983, at which time 51% of the route was double-tracked. Accidents On December 25, 2005, all six cars of a limited express train Inaho No.14 on the Uetsu Line derailed in Yamagata prefecture, about 350 kilometres (220 mi) north of Tokyo. The train was headed south towards Kita-Amarume Station. Three of the cars turned over, causing the deaths of five people and injuring 33 others. Three other persons were originally reported missing, but authorities later discovered that they had disembarked from the train before the accident. It is likely that the event was caused by a tornado although it is uncertain whether or not a tornado was involved with this accident. References JR全線全駅ステーション倶楽部編(上) [Complete JR Line/Station Compendium (Vol. 1)] (in Japanese). Tokyo, Japan: Bunshun Bunko. September 1988. p. 236-248. ISBN 4-16-748701-2. External links Inaho - JR East (in English) Kairi - JR East (in English) Discover Uetsu, tourist website (in English)

Pixiv Encyclopedia ID

The Grove, known officially as the Call/Collins House at The Grove, is an antebellum plantation house located in Tallahassee, Leon County, Florida. Territorial Governor Richard Keith Call constructed The Grove circa 1840. By 1851, Call deeded the property to his daughter, Ellen Call Long, who owned it until 1903. Long's granddaughter, Reinette Long Hunt, acquired the property and owned it until her death in 1940. Hunt opened The Grove Hotel during this era and developed onsite cottages that served as rental properties. After a brief period under the ownership of John W. Ford and Josephine Agler, future Florida governor LeRoy Collins and his wife, Mary Call Darby Collins, a great-granddaughter of Richard Keith Call, bought The Grove. Mary Call Darby Collins was the last of Call's descendants to own The Grove. During LeRoy Collins' tenure as governor, The Grove served as the unofficial executive residence while the current Florida Governor's Mansion was under construction, from 1955 to 1957. The Collins family owned The Grove until 1985, when the state of Florida acquired the property for the purpose of creating a state historic house museum. The Collins family received life leases and lived there until their deaths. Following the death of Mrs. Collins in 2009, the property formally reverted to the state. The property includes a small active family cemetery that predates the current Grove residence and serves as the final resting place for several generations of the Call and Collins families. It is now a museum. Family Richard Keith Call The 10-acre parcel on which The Grove is situated was once part of a much larger 640 acres (2.6 km2) tract purchased by Richard Keith Call in 1825. Call came to Tallahassee after his single term as territorial delegate to the United States House of Representatives. He was a member of future president Andrew Jackson's inner circle and used his connections to secure a position with the federal land office in Tallahassee. The first residence on the property, described as "a plain building of several rooms on one floor, with outside chimneys and porches," was built around the time Call acquired the property in 1825. According to oral tradition, Mary Kirkman Call, Richard Keith Call's wife, was responsible for the naming of The Grove. In an early letter written by Mrs. Call to Jackson's wife, Rachel, the letter is datelined from "Hickory Grove."In 1836, President Andrew Jackson appointed Richard Keith Call as Territorial Governor of Florida. The overriding concern of the territory at this time was the Second Seminole War, in which Call played a central role. As Brigadier General of the Florida Militia prior to his governorship, Call led the state militia into the ill-fated Battle of Withlacoochee, which took place on December 31, 1835. Upon his return to Tallahassee, Call sought to regroup his forces and was prepared to set sail with them for Tampa Bay when the death of his wife forced him to remain behind and attend to family matters, including handling the arrangements for his newborn daughter, Mary Call Brevard. It was during this time that he received his appointment to the governorship, and immediately immersed himself into the administration of the territory. The Grove likely served as an important planning center during the war, as Call, who advocated for a more aggressive military strategy, often sent the Florida militia off to conduct their own campaigns. The Grove also served as the headquarters for a contingent of the US 6th Infantry during the war.The exact date of The Grove's construction is not known. The earliest known reference to the home's construction comes from Thomas Hagner, who wrote in November 1838: "I was at Governor Call's yesterday, he has not returned. Col. Green of the infantry makes his house headquarters, and Mr. Walker, a fine gentleman of the bar – a relative of the governor, also lives there. The house is about ½ mile from Tallahassee. The Governor is building a very fine brick house there just in front of his present residence, which they say will be the finest house in the Territory." The Grove was finished by the end of 1839. The "Col. Green" referenced in this letter was likely Lt. Col. John Green, an officer in the 6th US Infantry who later died in 1840, and was originally buried in the Call Family Cemetery before being reinterred at St. Augustine National Cemetery.Built during the Second Seminole War, security concerns were a major aspect of The Grove's construction. The thick exterior and interior walls and the columns are all made from brick, likely manufactured onsite, giving the building a fortress-like appearance. Having access to clean water was also important during this time, and at least one cistern, recently restored, was built for this purpose. The construction of The Grove also coincided with the completion of the Tallahassee Railroad, first to St. Marks in 1837 then to Port Leon in 1839. Elements of the building were most certainly imported at this time, including the wood flooring, marble fireplaces, and sandstone window sills. These items likely arrived to Tallahassee through the newly completed railroad from either St. Marks or Port Leon.The Grove was built by enslaved craftsmen of African descent, many of whom were likely hired from other slave owners and had perhaps also worked to build Call's railroad. The level of their craftsmanship can be seen in the building itself, which still stands after over 175 years. While Call owned a number of slaves at this time and later became a cotton planter, there is little evidence to suggest The Grove itself ever served as a major agricultural plantation. Call was primarily involved with land speculation, his legal practice, the railroad, and politics. During the financial fallout from the Port Leon disaster in the early 1840s, of which Richard Keith Call was a major investor, The Grove was among the assets listed as collateral in settlements reached with his various creditors. The Port Leon debacle, coupled with the Tallahassee fire of 1843 (which started in a building co-owned by Call and destroyed his law office), and the failure of the Union Bank led to significant financial difficulties and a series of lawsuits against Call that lasted into the 1850s. In the ensuing settlements, Call lost some of his land holdings, but was able to keep The Grove, the Tallahassee Railroad Company, and the Orchard Pond Plantation near Lake Jackson.In 1845, after a failed run for governor of Florida, Call retired from active politics. Afterwards, he devoted himself more to the life of a gentleman planter and took up residence at Orchard Pond plantation. By the late 1840s, his daughter, Ellen, married a promising lawyer and future state legislator, Medicus A. Long, and started a family of her own. Call eventually deeded her The Grove along with seven slaves in 1851. He spent the rest of his life at Orchard Pond, but was a frequent visitor of The Grove. In one of the notable events of The Grove's history, Call, who was an ardent Southern Unionist, came to Tallahassee to protest the state's secession convention taking place at the Capitol in January 1861. He decided at the last minute not to go, however, and stayed instead at The Grove. It was here that a group of secessionists decided to accost him after they voted to secede. Call stood out on the front porch, and raising his cane above his head, told them "You have opened the gates of hell, from which shall flow the curses of the damned which shall sink you to perdition." He returned to The Grove permanently as his health deteriorated, and died in 1862. Ellen Call Long After Ellen Call Long acquired the property, The Grove remained an important social gathering place for the political and economic elite of Tallahassee. In addition to a thriving legal practice, her husband, Medicus A. Long, became prominent in state politics and served in the state legislature as a senator. Like her father, Ellen was an ardent Unionist, a fact which strained relations between her and her husband, who was an outspoken secessionist. Her husband eventually left for Texas in the late 1850s, and they spent the rest of their lives separated although they never divorced. They had eight children, of whom only two lived to adulthood.During the Civil War, although she opposed secession, Ellen enlisted in the cause of the Confederacy. Her son, Richard Call Long, Sr., served in the 2nd Florida Cavalry and she opened The Grove to Confederate officers and to wounded veterans. She was one of the members of the Ladies Soldier's Friend Sewing Society, a group of prominent society women in Tallahassee who volunteered their services to provide Confederate soldiers with clothing articles during the war. Ellen opened The Grove for a number of social events during the Civil War, including the Tallahassee May Day festivities held on the grounds on May 1, 1865, less than a week after the city received the news of General Robert E. Lee's surrender. The Second Florida cavalry band provided music for the event, which was likely the last performance of the group as the Union army, under General Edward McCook, arrived in the city on May 10, 1865.After the war, Ellen Call Long took more to traveling and promoting Florida's interests at home and abroad. As a way of supporting herself and her family, she started silkworm cultivation on The Grove property, at first using the first floor of the main house before building a separate cottage for this purpose. She was a leading member of the Women's Silk Culture Association and published a well-received treatise on silk cultivation and emerged as a leading expert on the subject in the state of Florida. During the 1885 gubernatorial inauguration of Edward A. Perry, a large American flag made from silk grown at The Grove was presented. As the growth of mulberry trees were crucial for silk manufacturing, Ellen also became involved in forestry. She was one of the first people in Florida to advocate for controlled burning as a form of forest management.By the late 1800s, the cost of living and reduced income started to catch up with Ellen Call Long. She also supported her son's and her daughter's families. As a result, she started selling off parcels of land around The Grove. Much of the land north and west of the property was turned into a subdivision known as the Long Grove Addition. The continued hardships faced by Ellen resulted in foreclosure proceedings being brought against her in 1903, and in desperation she turned to her grandson-in-law, Charles E. Hunt. Under disputed circumstances, she signed over The Grove and Orchard Pond to him. Her attempts to sue for repossession of the properties failed, and the properties eventually went to her granddaughter, Reinette Long Hunt, the wife of Charles Hunt. Ellen died in 1905 and is buried in the family cemetery. LeRoy and Mary Call Darby Collins When LeRoy Collins and his wife, Mary Call Darby Collins, acquired the property in 1941, it was in a tremendous state of disrepair. Mrs. Collins was a great granddaughter of Richard Keith Call, and her family connections to The Grove played a pivotal role in the Fords deciding to sell them the property for less than market value. At this time, Collins was a promising young lawyer and politician who was a member of the Florida State Legislature. Their restoration work came to a halt in the early 1940s, as Collins stepped down from his legislative seat to enlist in the Navy during World War II, rising to the rank of Lt. J.G. Although the Collins family left during that time, The Grove was far from abandoned. Evidence from the war years suggests that servicemen drawn into Tallahassee by Dale Mabry Field congregated at The Grove. In subsequent renovations of the historic cistern, the dog tags of a Lt. Joseph Azat, a pilot who died during World War II, were recovered and later returned to his family.After World War II, Collins resumed his Tallahassee law practice and his service in the legislature. He emerged as a leading state senator at this time. The Collins family made a number of alterations to their home in the late 1940s. They added a sunroom onto the back of the house, which became known as the Florida Room. They also removed a number of Grove Hotel era features, such as bathrooms added to the first floor parlor. As the brick surface of Monroe Street was being replaced with asphalt, the Collins family acquired a large number of the thick pavers and created brick patios along the outside of the house. They also added closets upstairs and poured a cement slab in the basement.In 1954, Collins decided to run for governor. Following the death of Governor Daniel McCarty in 1953, the governorship passed to Senate President Charley Johns on an interim basis. Johns decided to run for election as governor as well, but Collins managed to defeat him in the ensuing Democratic Party primary. Shortly after he assumed office in 1955, the state decided to construct the new Governor's Mansion on the site of the previous one. It was at this time that The Grove functioned as the de facto Governor's Mansion, a role it fulfilled until the completion of the new building in 1957. Collins was the first governor to live in the new mansion. Mary Call Darby Collins was actively involved in selecting the furnishings of the new mansion. James Cogar, who worked at Colonial Williamsburg, worked with Mrs. Collins on the mansion furnishing plan and after they finished, she hired Cogar to help open The Grove as a public museum. When the Collins family took possession of The Grove in the early 1940s, most of its original furnishings were gone, sold by either Ellen Call Long or Reinette Long Hunt to help make ends meet. It was largely through the efforts of Cogar that the Collins family acquired most of the period pieces used to furnish the house.Collins established himself as one of the most popular governors in Florida's history, a fact vindicated by his reelection in 1956, making him the first sitting governor ever to win a gubernatorial election in the state. He was named chairman of both the Southern Governors' Conference and the National Governors' Conference. During his governorship, Collins became embroiled in the debate over integration sparked by the US Supreme Court's landmark decision in Brown v. Board of Education. Like many southern states, the Florida State Legislature moved to issue a resolution of interposition in opposition to the court's ruling. Collins resolutely decried this stance, which he considered tantamount to treason, and took a firm stand against the legislature. Collins' role as a southern moderate attracted the attention of national Democratic Party leaders. He was selected as Honorary Chairman of the 1960 Democratic National Convention in Los Angeles and later took positions in the Lyndon B. Johnson administration as Under Secretary of Commerce and head of the newly created Community Relations Service (CRS). As director of the CRS, Collins served as the intermediary between the Southern Christian Leadership Conference, the State of Alabama, and the United States government during the tense Civil Rights marches in Selma, Alabama, in 1965. Photographs showing his involvement with Selma circulated back in Florida shortly afterwards and effectively killed his political career after he tried unsuccessfully to run for Senate in 1968.After LeRoy Collins' political career ended, the Collins family came back to The Grove, where LeRoy resumed private law practice. There remained a question as to what should be done about the residence. Governor and Mrs. Collins were averse to selling the property outside of the family and as early as the 1970s, the state expressed interest in purchasing the house. Grove Hotel Reinette Long Hunt owned The Grove from 1903 until her death in 1940. She and her husband, Charles Hunt, were divorced in 1911. Like her grandmother before her, Reinette faced the difficulties of maintaining The Grove as a single woman in an era when men dominated the business, political, and the legal systems of society. Reinette presided over a salon-like atmosphere at The Grove. She opened her home as an artist studio, from which she sold artwork and taught art classes. She was also the last member of the family to own Orchard Pond plantation, which she rented out to Tennent Ronalds, a wealthy Scotsman who owned the adjacent Live Oak Plantation. Ronalds used the plantation for quail hunting. By 1916, Ronalds bought Orchard Pond from Reinette, ending over 70 years of direct association between members of the Call family and the property. Reinette developed friendships with many of the elite northerners who moved to Tallahassee at this time, including Frances C. Griscom, a champion amateur golfer. This friendship inspired Reinette to open The Grove to the newly formed Tallahassee Country Club. The Grove served as its first clubhouse and the adjacent grounds included a few golf holes. In the late 1910s, Reinette Long Hunt entered into a partnership with John Aldridge to form the Leon Storage and Seed Company, a short-lived company.By the 1920s, Reinette started The Grove Hotel. She marketed The Grove as "The Home of the Tallahassee Girl" after the Maurice Thompson novel of the same name, of which Eleanora Long Hollinger, the daughter of Ellen Call Long, was widely believed to be the inspiration for the protagonist of the story. The Grove Hotel's location near the Governor's Mansion made it ideal for visiting politicians and lawyers. Among the renters were Richard Ervin, a future chief justice of the Florida Supreme Court. He rented out the entire second floor during the 1920s. In 1924, the Tallahassee Centennial celebrations were held at The Grove. A grandstand was constructed and people watched as separate plays were held for white and black audiences on different days, at least one of which was written by Reinette herself. In an effort to generate additional income, Reinette also constructed three small cottages on the property and repurposed the old silkworm cottage into a residential building.On New Year's Day, 1934, The Grove caught fire. The fire was largely relegated to the attic and roof, but caused significant damage. Richard Call Long Jr., Reinette's brother, died from injuries sustained while fighting the fire. Perhaps as a way of protecting the cemetery in the wake of her financial troubles, Reinette deeded it to the local Masonic Lodge, Jackson Lodge Number One, before her death. Despite her best efforts, Reinette could not stave off creditors, and was on the verge of subdividing the rest of the property surrounding The Grove when she died in 1940. The property passed to John W. Ford and Josephine Ford Agler, her distant cousins and the grandchildren of Ohio industrialist Joseph Green Butler. After a brief period under their ownership, the property passed to LeRoy Collins and his wife Mary Call Darby Collins. Ownership by the State of Florida In 1985, the State of Florida formally acquired The Grove from the Collins family for the purpose of opening a historic house museum. LeRoy Collins and Mary Call Darby Collins were given life leases on the property. LeRoy Collins died in 1991 and Mary Call Darby Collins died in 2009. After the death of Mrs. Collins, the state started a complete rehabilitation of the property. The Florida Department of State, Division of Historical Resources began the process of preparing the building for future use as a public museum. The building underwent extensive rehabilitation, which included structural stabilization, repair of historic windows, masonry, and interior finishes, the restoration of the historic cistern, mechanical upgrades, new plumbing, and the installation of life safety features. To make the building handicapped accessible, the state built a ramp leading into the 1950s addition and constructed an elevator. The restoration of the building was guided by the Leadership in Energy and Environmental Design (LEED) Green Building Rating System. As part of this, a non-historic carport built by the Collins family on the property was repurposed into a public bathroom and a pump was installed into the cistern to allow for it to collect rainwater from the building and provide irrigation for the lawn, minimizing the site's impact on the city water supply. Efforts were also made to reuse as much of the original building materials as possible and items that could not be reused, such as sinks, toilets, and appliances, were donated to Habitat for Humanity. Architecture The Grove is an excellent example of antebellum Greek Revival architecture. Among the distinguishing architectural features of the house is a full-height pedimented portico supported by four Tuscan columns, a prominent dentilated cornice extending around the building along the roofline, elaborate doors on both the first and second story, and a symmetrical, balanced interior floorplan, all of which are hallmarks of the Greek Revival style. The original main entrance of the house features double wooden doors flanked by unfinished paired fluted pilasters and columns, and elaborate sidelights. The original main entryway is also topped by an elaborate elliptical fanlight and a plain entablature similar in appearance to that extending near the portico roofline. The second story entryway has a similar appearance to the first story entry except the fanlight is plainer in design and a small balconet has been placed in front. This doorway was supposed to open up into a second story balcony but according to legend, the ship carrying the materials for the balcony was lost at sea and no attempt was made to finish the project. The building's exterior and interior walls are entirely made of brick, including the columns. With the exception of the brick along the portico, which is covered with stucco, the rest of the exterior brick is exposed. The windows are almost all original, and are mostly 6/6 single hung sash windows. The house is topped by a low-pitched hip roof with architectural slate shingles and four symmetrically placed brick chimneys. The interior layout of The Grove's historic core has been described as Georgian in design, with a central hallway on the first and second floors flanked by two rooms identical in size. Perhaps the most notable feature of the interior is a spiral staircase from the first to the second floor hallway similar in styling to that of the interior staircase of The Hermitage in Nashville, Tennessee. Other prominent design elements in the interior of the building including decorative pedimented pilaster moldings around the windows and Egyptian marble fireplaces in the first floor parlor and dining room. The first floor window surrounds/casings are canted, with decorative wood paneling covering the brick walls underneath. The doorways going into the first floor rooms from the central hallway also have pedimented pilasters. The rest of the interior spaces are less ornate. There are fireplaces in all of the rooms in the house. Gallery References Sources Collins, Thomas LeRoy. Forerunners Courageous: Stories of Frontier Florida (1971) Divoll, Leslie. Florida Department of State, Division of Historical Resources, "The Grove Tallahassee", Florida Historic Structure Report, Part I. Tallahassee, FL, 1992 Doherty, Herbert J. and Richard Keith Call: Southern Unionist. Gainesville, FL: University of Florida Press, 1961*Menton, Jane Aurell. The Grove: A Florida Home Through Seven Generations. Tallahassee: Sentry Press, 1998. Menton, Jane Aurell. The Grove: A Florida Home Through Seven Generations. Tallahassee, FL: Sentry Press, 1998, Paisley, Clifton; From Cotton To Quail, University of Florida Press, c1968. Florida Division of Historical Resources "A Brief History of the Grove" Florida Senate statutes Tallahassee Democrat, August 1, 2006 Further reading on Richard Keith Call Edward E. Baptist, Creating an Old South: Middle Florida's Plantation Frontier before the Civil War (Chapel Hill: University of North Carolina Press, 2002); Caroline Mays Brevard, "Richard Keith Call," Florida Historical Quarterly, I, October 1908: 8-20; Kate Denison, "Richard Keith Call: Promoter of the Florida Wilderness," (Florida Living, November 1992: 37); Herbert J. Doherty, Richard Keith Call, Southern Unionist (Gainesville: University of Florida Press 1961); Sidney Walter Martin, "Richard Keith Call: Florida Territorial Leader" (Florida Historical Quarterly, XXI, January 1943: 331-351). For a general overview of political context of Call's governorship, see Arthur W. Thompson's Jacksonian Democracy on the Florida Frontier (Gainesville: University of Florida Press, 1961). Further reading on LeRoy Collins Sandy D'Alemberte and Frank Sanchez, "Tribute to a Great Man: LeRoy Collins in Florida State" University Law Review 19 (Fall 1991: 255-64); Tom R. Wagy, Governor LeRoy Collins of Florida (Tuscaloosa: University of Alabama Press, 1985) Martin Dyckman's Floridian of His Century: The Courage of LeRoy Collins (Gainesville: University of Florida Press, 2006) LeRoy Collins Papers at Florida State University (http://www.fsu.edu/~speccoll/leroy/lerocoll.htm) and Collins correspondence at the State of Florida Archives in Tallahassee (http://dlis.dos.state.fl.us/barm/rediscovery/default.asp)

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The Grove, known officially as the Call/Collins House at The Grove, is an antebellum plantation house located in Tallahassee, Leon County, Florida. Territorial Governor Richard Keith Call constructed The Grove circa 1840. By 1851, Call deeded the property to his daughter, Ellen Call Long, who owned it until 1903. Long's granddaughter, Reinette Long Hunt, acquired the property and owned it until her death in 1940. Hunt opened The Grove Hotel during this era and developed onsite cottages that served as rental properties. After a brief period under the ownership of John W. Ford and Josephine Agler, future Florida governor LeRoy Collins and his wife, Mary Call Darby Collins, a great-granddaughter of Richard Keith Call, bought The Grove. Mary Call Darby Collins was the last of Call's descendants to own The Grove. During LeRoy Collins' tenure as governor, The Grove served as the unofficial executive residence while the current Florida Governor's Mansion was under construction, from 1955 to 1957. The Collins family owned The Grove until 1985, when the state of Florida acquired the property for the purpose of creating a state historic house museum. The Collins family received life leases and lived there until their deaths. Following the death of Mrs. Collins in 2009, the property formally reverted to the state. The property includes a small active family cemetery that predates the current Grove residence and serves as the final resting place for several generations of the Call and Collins families. It is now a museum. Family Richard Keith Call The 10-acre parcel on which The Grove is situated was once part of a much larger 640 acres (2.6 km2) tract purchased by Richard Keith Call in 1825. Call came to Tallahassee after his single term as territorial delegate to the United States House of Representatives. He was a member of future president Andrew Jackson's inner circle and used his connections to secure a position with the federal land office in Tallahassee. The first residence on the property, described as "a plain building of several rooms on one floor, with outside chimneys and porches," was built around the time Call acquired the property in 1825. According to oral tradition, Mary Kirkman Call, Richard Keith Call's wife, was responsible for the naming of The Grove. In an early letter written by Mrs. Call to Jackson's wife, Rachel, the letter is datelined from "Hickory Grove."In 1836, President Andrew Jackson appointed Richard Keith Call as Territorial Governor of Florida. The overriding concern of the territory at this time was the Second Seminole War, in which Call played a central role. As Brigadier General of the Florida Militia prior to his governorship, Call led the state militia into the ill-fated Battle of Withlacoochee, which took place on December 31, 1835. Upon his return to Tallahassee, Call sought to regroup his forces and was prepared to set sail with them for Tampa Bay when the death of his wife forced him to remain behind and attend to family matters, including handling the arrangements for his newborn daughter, Mary Call Brevard. It was during this time that he received his appointment to the governorship, and immediately immersed himself into the administration of the territory. The Grove likely served as an important planning center during the war, as Call, who advocated for a more aggressive military strategy, often sent the Florida militia off to conduct their own campaigns. The Grove also served as the headquarters for a contingent of the US 6th Infantry during the war.The exact date of The Grove's construction is not known. The earliest known reference to the home's construction comes from Thomas Hagner, who wrote in November 1838: "I was at Governor Call's yesterday, he has not returned. Col. Green of the infantry makes his house headquarters, and Mr. Walker, a fine gentleman of the bar – a relative of the governor, also lives there. The house is about ½ mile from Tallahassee. The Governor is building a very fine brick house there just in front of his present residence, which they say will be the finest house in the Territory." The Grove was finished by the end of 1839. The "Col. Green" referenced in this letter was likely Lt. Col. John Green, an officer in the 6th US Infantry who later died in 1840, and was originally buried in the Call Family Cemetery before being reinterred at St. Augustine National Cemetery.Built during the Second Seminole War, security concerns were a major aspect of The Grove's construction. The thick exterior and interior walls and the columns are all made from brick, likely manufactured onsite, giving the building a fortress-like appearance. Having access to clean water was also important during this time, and at least one cistern, recently restored, was built for this purpose. The construction of The Grove also coincided with the completion of the Tallahassee Railroad, first to St. Marks in 1837 then to Port Leon in 1839. Elements of the building were most certainly imported at this time, including the wood flooring, marble fireplaces, and sandstone window sills. These items likely arrived to Tallahassee through the newly completed railroad from either St. Marks or Port Leon.The Grove was built by enslaved craftsmen of African descent, many of whom were likely hired from other slave owners and had perhaps also worked to build Call's railroad. The level of their craftsmanship can be seen in the building itself, which still stands after over 175 years. While Call owned a number of slaves at this time and later became a cotton planter, there is little evidence to suggest The Grove itself ever served as a major agricultural plantation. Call was primarily involved with land speculation, his legal practice, the railroad, and politics. During the financial fallout from the Port Leon disaster in the early 1840s, of which Richard Keith Call was a major investor, The Grove was among the assets listed as collateral in settlements reached with his various creditors. The Port Leon debacle, coupled with the Tallahassee fire of 1843 (which started in a building co-owned by Call and destroyed his law office), and the failure of the Union Bank led to significant financial difficulties and a series of lawsuits against Call that lasted into the 1850s. In the ensuing settlements, Call lost some of his land holdings, but was able to keep The Grove, the Tallahassee Railroad Company, and the Orchard Pond Plantation near Lake Jackson.In 1845, after a failed run for governor of Florida, Call retired from active politics. Afterwards, he devoted himself more to the life of a gentleman planter and took up residence at Orchard Pond plantation. By the late 1840s, his daughter, Ellen, married a promising lawyer and future state legislator, Medicus A. Long, and started a family of her own. Call eventually deeded her The Grove along with seven slaves in 1851. He spent the rest of his life at Orchard Pond, but was a frequent visitor of The Grove. In one of the notable events of The Grove's history, Call, who was an ardent Southern Unionist, came to Tallahassee to protest the state's secession convention taking place at the Capitol in January 1861. He decided at the last minute not to go, however, and stayed instead at The Grove. It was here that a group of secessionists decided to accost him after they voted to secede. Call stood out on the front porch, and raising his cane above his head, told them "You have opened the gates of hell, from which shall flow the curses of the damned which shall sink you to perdition." He returned to The Grove permanently as his health deteriorated, and died in 1862. Ellen Call Long After Ellen Call Long acquired the property, The Grove remained an important social gathering place for the political and economic elite of Tallahassee. In addition to a thriving legal practice, her husband, Medicus A. Long, became prominent in state politics and served in the state legislature as a senator. Like her father, Ellen was an ardent Unionist, a fact which strained relations between her and her husband, who was an outspoken secessionist. Her husband eventually left for Texas in the late 1850s, and they spent the rest of their lives separated although they never divorced. They had eight children, of whom only two lived to adulthood.During the Civil War, although she opposed secession, Ellen enlisted in the cause of the Confederacy. Her son, Richard Call Long, Sr., served in the 2nd Florida Cavalry and she opened The Grove to Confederate officers and to wounded veterans. She was one of the members of the Ladies Soldier's Friend Sewing Society, a group of prominent society women in Tallahassee who volunteered their services to provide Confederate soldiers with clothing articles during the war. Ellen opened The Grove for a number of social events during the Civil War, including the Tallahassee May Day festivities held on the grounds on May 1, 1865, less than a week after the city received the news of General Robert E. Lee's surrender. The Second Florida cavalry band provided music for the event, which was likely the last performance of the group as the Union army, under General Edward McCook, arrived in the city on May 10, 1865.After the war, Ellen Call Long took more to traveling and promoting Florida's interests at home and abroad. As a way of supporting herself and her family, she started silkworm cultivation on The Grove property, at first using the first floor of the main house before building a separate cottage for this purpose. She was a leading member of the Women's Silk Culture Association and published a well-received treatise on silk cultivation and emerged as a leading expert on the subject in the state of Florida. During the 1885 gubernatorial inauguration of Edward A. Perry, a large American flag made from silk grown at The Grove was presented. As the growth of mulberry trees were crucial for silk manufacturing, Ellen also became involved in forestry. She was one of the first people in Florida to advocate for controlled burning as a form of forest management.By the late 1800s, the cost of living and reduced income started to catch up with Ellen Call Long. She also supported her son's and her daughter's families. As a result, she started selling off parcels of land around The Grove. Much of the land north and west of the property was turned into a subdivision known as the Long Grove Addition. The continued hardships faced by Ellen resulted in foreclosure proceedings being brought against her in 1903, and in desperation she turned to her grandson-in-law, Charles E. Hunt. Under disputed circumstances, she signed over The Grove and Orchard Pond to him. Her attempts to sue for repossession of the properties failed, and the properties eventually went to her granddaughter, Reinette Long Hunt, the wife of Charles Hunt. Ellen died in 1905 and is buried in the family cemetery. LeRoy and Mary Call Darby Collins When LeRoy Collins and his wife, Mary Call Darby Collins, acquired the property in 1941, it was in a tremendous state of disrepair. Mrs. Collins was a great granddaughter of Richard Keith Call, and her family connections to The Grove played a pivotal role in the Fords deciding to sell them the property for less than market value. At this time, Collins was a promising young lawyer and politician who was a member of the Florida State Legislature. Their restoration work came to a halt in the early 1940s, as Collins stepped down from his legislative seat to enlist in the Navy during World War II, rising to the rank of Lt. J.G. Although the Collins family left during that time, The Grove was far from abandoned. Evidence from the war years suggests that servicemen drawn into Tallahassee by Dale Mabry Field congregated at The Grove. In subsequent renovations of the historic cistern, the dog tags of a Lt. Joseph Azat, a pilot who died during World War II, were recovered and later returned to his family.After World War II, Collins resumed his Tallahassee law practice and his service in the legislature. He emerged as a leading state senator at this time. The Collins family made a number of alterations to their home in the late 1940s. They added a sunroom onto the back of the house, which became known as the Florida Room. They also removed a number of Grove Hotel era features, such as bathrooms added to the first floor parlor. As the brick surface of Monroe Street was being replaced with asphalt, the Collins family acquired a large number of the thick pavers and created brick patios along the outside of the house. They also added closets upstairs and poured a cement slab in the basement.In 1954, Collins decided to run for governor. Following the death of Governor Daniel McCarty in 1953, the governorship passed to Senate President Charley Johns on an interim basis. Johns decided to run for election as governor as well, but Collins managed to defeat him in the ensuing Democratic Party primary. Shortly after he assumed office in 1955, the state decided to construct the new Governor's Mansion on the site of the previous one. It was at this time that The Grove functioned as the de facto Governor's Mansion, a role it fulfilled until the completion of the new building in 1957. Collins was the first governor to live in the new mansion. Mary Call Darby Collins was actively involved in selecting the furnishings of the new mansion. James Cogar, who worked at Colonial Williamsburg, worked with Mrs. Collins on the mansion furnishing plan and after they finished, she hired Cogar to help open The Grove as a public museum. When the Collins family took possession of The Grove in the early 1940s, most of its original furnishings were gone, sold by either Ellen Call Long or Reinette Long Hunt to help make ends meet. It was largely through the efforts of Cogar that the Collins family acquired most of the period pieces used to furnish the house.Collins established himself as one of the most popular governors in Florida's history, a fact vindicated by his reelection in 1956, making him the first sitting governor ever to win a gubernatorial election in the state. He was named chairman of both the Southern Governors' Conference and the National Governors' Conference. During his governorship, Collins became embroiled in the debate over integration sparked by the US Supreme Court's landmark decision in Brown v. Board of Education. Like many southern states, the Florida State Legislature moved to issue a resolution of interposition in opposition to the court's ruling. Collins resolutely decried this stance, which he considered tantamount to treason, and took a firm stand against the legislature. Collins' role as a southern moderate attracted the attention of national Democratic Party leaders. He was selected as Honorary Chairman of the 1960 Democratic National Convention in Los Angeles and later took positions in the Lyndon B. Johnson administration as Under Secretary of Commerce and head of the newly created Community Relations Service (CRS). As director of the CRS, Collins served as the intermediary between the Southern Christian Leadership Conference, the State of Alabama, and the United States government during the tense Civil Rights marches in Selma, Alabama, in 1965. Photographs showing his involvement with Selma circulated back in Florida shortly afterwards and effectively killed his political career after he tried unsuccessfully to run for Senate in 1968.After LeRoy Collins' political career ended, the Collins family came back to The Grove, where LeRoy resumed private law practice. There remained a question as to what should be done about the residence. Governor and Mrs. Collins were averse to selling the property outside of the family and as early as the 1970s, the state expressed interest in purchasing the house. Grove Hotel Reinette Long Hunt owned The Grove from 1903 until her death in 1940. She and her husband, Charles Hunt, were divorced in 1911. Like her grandmother before her, Reinette faced the difficulties of maintaining The Grove as a single woman in an era when men dominated the business, political, and the legal systems of society. Reinette presided over a salon-like atmosphere at The Grove. She opened her home as an artist studio, from which she sold artwork and taught art classes. She was also the last member of the family to own Orchard Pond plantation, which she rented out to Tennent Ronalds, a wealthy Scotsman who owned the adjacent Live Oak Plantation. Ronalds used the plantation for quail hunting. By 1916, Ronalds bought Orchard Pond from Reinette, ending over 70 years of direct association between members of the Call family and the property. Reinette developed friendships with many of the elite northerners who moved to Tallahassee at this time, including Frances C. Griscom, a champion amateur golfer. This friendship inspired Reinette to open The Grove to the newly formed Tallahassee Country Club. The Grove served as its first clubhouse and the adjacent grounds included a few golf holes. In the late 1910s, Reinette Long Hunt entered into a partnership with John Aldridge to form the Leon Storage and Seed Company, a short-lived company.By the 1920s, Reinette started The Grove Hotel. She marketed The Grove as "The Home of the Tallahassee Girl" after the Maurice Thompson novel of the same name, of which Eleanora Long Hollinger, the daughter of Ellen Call Long, was widely believed to be the inspiration for the protagonist of the story. The Grove Hotel's location near the Governor's Mansion made it ideal for visiting politicians and lawyers. Among the renters were Richard Ervin, a future chief justice of the Florida Supreme Court. He rented out the entire second floor during the 1920s. In 1924, the Tallahassee Centennial celebrations were held at The Grove. A grandstand was constructed and people watched as separate plays were held for white and black audiences on different days, at least one of which was written by Reinette herself. In an effort to generate additional income, Reinette also constructed three small cottages on the property and repurposed the old silkworm cottage into a residential building.On New Year's Day, 1934, The Grove caught fire. The fire was largely relegated to the attic and roof, but caused significant damage. Richard Call Long Jr., Reinette's brother, died from injuries sustained while fighting the fire. Perhaps as a way of protecting the cemetery in the wake of her financial troubles, Reinette deeded it to the local Masonic Lodge, Jackson Lodge Number One, before her death. Despite her best efforts, Reinette could not stave off creditors, and was on the verge of subdividing the rest of the property surrounding The Grove when she died in 1940. The property passed to John W. Ford and Josephine Ford Agler, her distant cousins and the grandchildren of Ohio industrialist Joseph Green Butler. After a brief period under their ownership, the property passed to LeRoy Collins and his wife Mary Call Darby Collins. Ownership by the State of Florida In 1985, the State of Florida formally acquired The Grove from the Collins family for the purpose of opening a historic house museum. LeRoy Collins and Mary Call Darby Collins were given life leases on the property. LeRoy Collins died in 1991 and Mary Call Darby Collins died in 2009. After the death of Mrs. Collins, the state started a complete rehabilitation of the property. The Florida Department of State, Division of Historical Resources began the process of preparing the building for future use as a public museum. The building underwent extensive rehabilitation, which included structural stabilization, repair of historic windows, masonry, and interior finishes, the restoration of the historic cistern, mechanical upgrades, new plumbing, and the installation of life safety features. To make the building handicapped accessible, the state built a ramp leading into the 1950s addition and constructed an elevator. The restoration of the building was guided by the Leadership in Energy and Environmental Design (LEED) Green Building Rating System. As part of this, a non-historic carport built by the Collins family on the property was repurposed into a public bathroom and a pump was installed into the cistern to allow for it to collect rainwater from the building and provide irrigation for the lawn, minimizing the site's impact on the city water supply. Efforts were also made to reuse as much of the original building materials as possible and items that could not be reused, such as sinks, toilets, and appliances, were donated to Habitat for Humanity. Architecture The Grove is an excellent example of antebellum Greek Revival architecture. Among the distinguishing architectural features of the house is a full-height pedimented portico supported by four Tuscan columns, a prominent dentilated cornice extending around the building along the roofline, elaborate doors on both the first and second story, and a symmetrical, balanced interior floorplan, all of which are hallmarks of the Greek Revival style. The original main entrance of the house features double wooden doors flanked by unfinished paired fluted pilasters and columns, and elaborate sidelights. The original main entryway is also topped by an elaborate elliptical fanlight and a plain entablature similar in appearance to that extending near the portico roofline. The second story entryway has a similar appearance to the first story entry except the fanlight is plainer in design and a small balconet has been placed in front. This doorway was supposed to open up into a second story balcony but according to legend, the ship carrying the materials for the balcony was lost at sea and no attempt was made to finish the project. The building's exterior and interior walls are entirely made of brick, including the columns. With the exception of the brick along the portico, which is covered with stucco, the rest of the exterior brick is exposed. The windows are almost all original, and are mostly 6/6 single hung sash windows. The house is topped by a low-pitched hip roof with architectural slate shingles and four symmetrically placed brick chimneys. The interior layout of The Grove's historic core has been described as Georgian in design, with a central hallway on the first and second floors flanked by two rooms identical in size. Perhaps the most notable feature of the interior is a spiral staircase from the first to the second floor hallway similar in styling to that of the interior staircase of The Hermitage in Nashville, Tennessee. Other prominent design elements in the interior of the building including decorative pedimented pilaster moldings around the windows and Egyptian marble fireplaces in the first floor parlor and dining room. The first floor window surrounds/casings are canted, with decorative wood paneling covering the brick walls underneath. The doorways going into the first floor rooms from the central hallway also have pedimented pilasters. The rest of the interior spaces are less ornate. There are fireplaces in all of the rooms in the house. Gallery References Sources Collins, Thomas LeRoy. Forerunners Courageous: Stories of Frontier Florida (1971) Divoll, Leslie. Florida Department of State, Division of Historical Resources, "The Grove Tallahassee", Florida Historic Structure Report, Part I. Tallahassee, FL, 1992 Doherty, Herbert J. and Richard Keith Call: Southern Unionist. Gainesville, FL: University of Florida Press, 1961*Menton, Jane Aurell. The Grove: A Florida Home Through Seven Generations. Tallahassee: Sentry Press, 1998. Menton, Jane Aurell. The Grove: A Florida Home Through Seven Generations. Tallahassee, FL: Sentry Press, 1998, Paisley, Clifton; From Cotton To Quail, University of Florida Press, c1968. Florida Division of Historical Resources "A Brief History of the Grove" Florida Senate statutes Tallahassee Democrat, August 1, 2006 Further reading on Richard Keith Call Edward E. Baptist, Creating an Old South: Middle Florida's Plantation Frontier before the Civil War (Chapel Hill: University of North Carolina Press, 2002); Caroline Mays Brevard, "Richard Keith Call," Florida Historical Quarterly, I, October 1908: 8-20; Kate Denison, "Richard Keith Call: Promoter of the Florida Wilderness," (Florida Living, November 1992: 37); Herbert J. Doherty, Richard Keith Call, Southern Unionist (Gainesville: University of Florida Press 1961); Sidney Walter Martin, "Richard Keith Call: Florida Territorial Leader" (Florida Historical Quarterly, XXI, January 1943: 331-351). For a general overview of political context of Call's governorship, see Arthur W. Thompson's Jacksonian Democracy on the Florida Frontier (Gainesville: University of Florida Press, 1961). Further reading on LeRoy Collins Sandy D'Alemberte and Frank Sanchez, "Tribute to a Great Man: LeRoy Collins in Florida State" University Law Review 19 (Fall 1991: 255-64); Tom R. Wagy, Governor LeRoy Collins of Florida (Tuscaloosa: University of Alabama Press, 1985) Martin Dyckman's Floridian of His Century: The Courage of LeRoy Collins (Gainesville: University of Florida Press, 2006) LeRoy Collins Papers at Florida State University (http://www.fsu.edu/~speccoll/leroy/lerocoll.htm) and Collins correspondence at the State of Florida Archives in Tallahassee (http://dlis.dos.state.fl.us/barm/rediscovery/default.asp)

located in the administrative territorial entity

Take Care, Your Highness! is a 1985 Hong Kong historical drama television series produced by TVB and starring Andy Lau in the title role of Kin-lung Emperor, the sixth emperor of the Qing Dynasty. The series focuses on the power struggle in the Imperial Qing Palace, telling the story of righteous folks while also presenting a hesitant love story. Plot Prince Po (Andy Lau) possesses extraordinary talent but has an uninhibited nature, which worries his father Yung-ching Emperor (Lau Siu-ming) as he cannot decide whether Po can inherit his throne and promote the Manchu Foundation. In order to pave the way for Po as his successor, Yung-ching breaks up Po's romance with Suen Fuk-yu (Carina Lau), an ethnic Han Chinese, and declares her a Princess, which makes her become Po's younger adoptive-sister. Yung-ching also declares the daughter of Lee Wing-po, the most powerful man of the Eight Banners, as Crown Princess. Although Yung-ching have broke them up, Po and Fuk-yu still date secretly. Not long after, Yung-ching was assassinated and Prince Po inherits his throne, becoming the Kin-lung Emperor. Because Kin-lung did not understand statecraft, plus the chaotic rebellion of the Miao people, he releases his uncle, the 14th Prince Wan-tai (Paul Chun), who once failed the fight for the throne against Yung-ching. Wan-tai regains his position and helps Kin-lung with government affairs and made it very well organized. However, Wan-tai's ambition comes up again, and desires to seize the throne. Wan-tai then spread rumors everywhere citing Kin-lung has left Beijing to trace his origin. Wan-tai awaits his opportunity to seize the throne. Kin-lung travels to the south in disguise as a civilian and there, he becomes acquainted with Chow Yat-ching (Ha Yu), Tan-ka Mui and Chiu Nam-sing (Sean Lau), whom are members of the Anti-Qing society "Chung Yee Tong". After a thorough investigation, Kin-lung was able to prove that he is indeed a Manchu and knows that Wan-tai is up to no good. After Kin-lung's identity was exposed, the members of "Chung Yee Tong" turned against him and Kin-lung can must reverse the situation to resolve the crisis both inside and outside of the palace. Cast Note: Some of the characters' names are in Cantonese romanisation.Andy Lau as Kin-lung Emperor / Prince Po (乾隆帝/寶親王) Danny Poon as 6th Prince (六皇子) Chan Chung-lin Joseph Lee as Fu-hang (傅恒) Lau Siu-ming as Yung-ching Emperor (雍正帝) Yeung Chak-lam as Fu Hung-po (傅紅保) Felix Lok as Ngok-yee-tai (鄂爾泰) Law Kwok-wai Teresa Ha as Empress Hao-sing-hin / Consort Hei (孝聖憲皇后/熹妃) Leung Kit-fong Suen Kwai-hing Cho Chai Law Lan as Granny (嬷嬷) Pui Man Cheung Man-kwong Ho Lai-nam Ng Pok-kwan Lam Man-wai Lam Choi-lin Carina Lau as Suen Fuk-yu (孫福如) Chan On-ying as Kam Lin (金蓮) Shally Tsang as Empress Xiaoxianchun Yu Tin-wai Fok Kit-ching Mak Ho-wai Luk Ying-hong Ha Yu as Chow Yat-ching (周日清) Paul Chun as Prince Wan-tai (允禵) Lai Pik-kwong Lau Kwok-sing Sean Lau as Chiu Nam-sing (趙南星) Fok Ka-lai Chan Siu-wah Kwok Fung Ho Kwong-lun Leung Siu-chau Lee Wan-kwong Chan Wai-yu Sit Choi-ha Soh Hang-suen Amy Hu Tang Yu-chiu Lee Kwok-ping Wilson Tsui Pau Wai-leung Tony Leung Wong Sze-yan Cheng Siu-ping Ng Yuen-fan Law Chun-piu Ng Wai-san Tam Yat-ching Ma Wai-ling Wong Yat-fei Leung Chi-fong Koo Po-lai Maggie Shiu as Princess Fragrance (香香公主) Mak Chi-wan Ma Hing-sang Lau Miu-ching Ho Kwai-lam Cheung Chi-keung Chan Po-wan Yuen Pui-yee Liu Ching-han Lau Man-chun Yip Tin-hang So Hon-sang Ng Chau-kuen Ho Pik-kin Cheng Hung-wai Lee Hoi-sang Chan Yiu-keung See also Andy Lau filmography External links Take Care, Your Highness! at Douban

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Take Care, Your Highness! is a 1985 Hong Kong historical drama television series produced by TVB and starring Andy Lau in the title role of Kin-lung Emperor, the sixth emperor of the Qing Dynasty. The series focuses on the power struggle in the Imperial Qing Palace, telling the story of righteous folks while also presenting a hesitant love story. Plot Prince Po (Andy Lau) possesses extraordinary talent but has an uninhibited nature, which worries his father Yung-ching Emperor (Lau Siu-ming) as he cannot decide whether Po can inherit his throne and promote the Manchu Foundation. In order to pave the way for Po as his successor, Yung-ching breaks up Po's romance with Suen Fuk-yu (Carina Lau), an ethnic Han Chinese, and declares her a Princess, which makes her become Po's younger adoptive-sister. Yung-ching also declares the daughter of Lee Wing-po, the most powerful man of the Eight Banners, as Crown Princess. Although Yung-ching have broke them up, Po and Fuk-yu still date secretly. Not long after, Yung-ching was assassinated and Prince Po inherits his throne, becoming the Kin-lung Emperor. Because Kin-lung did not understand statecraft, plus the chaotic rebellion of the Miao people, he releases his uncle, the 14th Prince Wan-tai (Paul Chun), who once failed the fight for the throne against Yung-ching. Wan-tai regains his position and helps Kin-lung with government affairs and made it very well organized. However, Wan-tai's ambition comes up again, and desires to seize the throne. Wan-tai then spread rumors everywhere citing Kin-lung has left Beijing to trace his origin. Wan-tai awaits his opportunity to seize the throne. Kin-lung travels to the south in disguise as a civilian and there, he becomes acquainted with Chow Yat-ching (Ha Yu), Tan-ka Mui and Chiu Nam-sing (Sean Lau), whom are members of the Anti-Qing society "Chung Yee Tong". After a thorough investigation, Kin-lung was able to prove that he is indeed a Manchu and knows that Wan-tai is up to no good. After Kin-lung's identity was exposed, the members of "Chung Yee Tong" turned against him and Kin-lung can must reverse the situation to resolve the crisis both inside and outside of the palace. Cast Note: Some of the characters' names are in Cantonese romanisation.Andy Lau as Kin-lung Emperor / Prince Po (乾隆帝/寶親王) Danny Poon as 6th Prince (六皇子) Chan Chung-lin Joseph Lee as Fu-hang (傅恒) Lau Siu-ming as Yung-ching Emperor (雍正帝) Yeung Chak-lam as Fu Hung-po (傅紅保) Felix Lok as Ngok-yee-tai (鄂爾泰) Law Kwok-wai Teresa Ha as Empress Hao-sing-hin / Consort Hei (孝聖憲皇后/熹妃) Leung Kit-fong Suen Kwai-hing Cho Chai Law Lan as Granny (嬷嬷) Pui Man Cheung Man-kwong Ho Lai-nam Ng Pok-kwan Lam Man-wai Lam Choi-lin Carina Lau as Suen Fuk-yu (孫福如) Chan On-ying as Kam Lin (金蓮) Shally Tsang as Empress Xiaoxianchun Yu Tin-wai Fok Kit-ching Mak Ho-wai Luk Ying-hong Ha Yu as Chow Yat-ching (周日清) Paul Chun as Prince Wan-tai (允禵) Lai Pik-kwong Lau Kwok-sing Sean Lau as Chiu Nam-sing (趙南星) Fok Ka-lai Chan Siu-wah Kwok Fung Ho Kwong-lun Leung Siu-chau Lee Wan-kwong Chan Wai-yu Sit Choi-ha Soh Hang-suen Amy Hu Tang Yu-chiu Lee Kwok-ping Wilson Tsui Pau Wai-leung Tony Leung Wong Sze-yan Cheng Siu-ping Ng Yuen-fan Law Chun-piu Ng Wai-san Tam Yat-ching Ma Wai-ling Wong Yat-fei Leung Chi-fong Koo Po-lai Maggie Shiu as Princess Fragrance (香香公主) Mak Chi-wan Ma Hing-sang Lau Miu-ching Ho Kwai-lam Cheung Chi-keung Chan Po-wan Yuen Pui-yee Liu Ching-han Lau Man-chun Yip Tin-hang So Hon-sang Ng Chau-kuen Ho Pik-kin Cheng Hung-wai Lee Hoi-sang Chan Yiu-keung See also Andy Lau filmography External links Take Care, Your Highness! at Douban

genre

Take Care, Your Highness! is a 1985 Hong Kong historical drama television series produced by TVB and starring Andy Lau in the title role of Kin-lung Emperor, the sixth emperor of the Qing Dynasty. The series focuses on the power struggle in the Imperial Qing Palace, telling the story of righteous folks while also presenting a hesitant love story. Plot Prince Po (Andy Lau) possesses extraordinary talent but has an uninhibited nature, which worries his father Yung-ching Emperor (Lau Siu-ming) as he cannot decide whether Po can inherit his throne and promote the Manchu Foundation. In order to pave the way for Po as his successor, Yung-ching breaks up Po's romance with Suen Fuk-yu (Carina Lau), an ethnic Han Chinese, and declares her a Princess, which makes her become Po's younger adoptive-sister. Yung-ching also declares the daughter of Lee Wing-po, the most powerful man of the Eight Banners, as Crown Princess. Although Yung-ching have broke them up, Po and Fuk-yu still date secretly. Not long after, Yung-ching was assassinated and Prince Po inherits his throne, becoming the Kin-lung Emperor. Because Kin-lung did not understand statecraft, plus the chaotic rebellion of the Miao people, he releases his uncle, the 14th Prince Wan-tai (Paul Chun), who once failed the fight for the throne against Yung-ching. Wan-tai regains his position and helps Kin-lung with government affairs and made it very well organized. However, Wan-tai's ambition comes up again, and desires to seize the throne. Wan-tai then spread rumors everywhere citing Kin-lung has left Beijing to trace his origin. Wan-tai awaits his opportunity to seize the throne. Kin-lung travels to the south in disguise as a civilian and there, he becomes acquainted with Chow Yat-ching (Ha Yu), Tan-ka Mui and Chiu Nam-sing (Sean Lau), whom are members of the Anti-Qing society "Chung Yee Tong". After a thorough investigation, Kin-lung was able to prove that he is indeed a Manchu and knows that Wan-tai is up to no good. After Kin-lung's identity was exposed, the members of "Chung Yee Tong" turned against him and Kin-lung can must reverse the situation to resolve the crisis both inside and outside of the palace. Cast Note: Some of the characters' names are in Cantonese romanisation.Andy Lau as Kin-lung Emperor / Prince Po (乾隆帝/寶親王) Danny Poon as 6th Prince (六皇子) Chan Chung-lin Joseph Lee as Fu-hang (傅恒) Lau Siu-ming as Yung-ching Emperor (雍正帝) Yeung Chak-lam as Fu Hung-po (傅紅保) Felix Lok as Ngok-yee-tai (鄂爾泰) Law Kwok-wai Teresa Ha as Empress Hao-sing-hin / Consort Hei (孝聖憲皇后/熹妃) Leung Kit-fong Suen Kwai-hing Cho Chai Law Lan as Granny (嬷嬷) Pui Man Cheung Man-kwong Ho Lai-nam Ng Pok-kwan Lam Man-wai Lam Choi-lin Carina Lau as Suen Fuk-yu (孫福如) Chan On-ying as Kam Lin (金蓮) Shally Tsang as Empress Xiaoxianchun Yu Tin-wai Fok Kit-ching Mak Ho-wai Luk Ying-hong Ha Yu as Chow Yat-ching (周日清) Paul Chun as Prince Wan-tai (允禵) Lai Pik-kwong Lau Kwok-sing Sean Lau as Chiu Nam-sing (趙南星) Fok Ka-lai Chan Siu-wah Kwok Fung Ho Kwong-lun Leung Siu-chau Lee Wan-kwong Chan Wai-yu Sit Choi-ha Soh Hang-suen Amy Hu Tang Yu-chiu Lee Kwok-ping Wilson Tsui Pau Wai-leung Tony Leung Wong Sze-yan Cheng Siu-ping Ng Yuen-fan Law Chun-piu Ng Wai-san Tam Yat-ching Ma Wai-ling Wong Yat-fei Leung Chi-fong Koo Po-lai Maggie Shiu as Princess Fragrance (香香公主) Mak Chi-wan Ma Hing-sang Lau Miu-ching Ho Kwai-lam Cheung Chi-keung Chan Po-wan Yuen Pui-yee Liu Ching-han Lau Man-chun Yip Tin-hang So Hon-sang Ng Chau-kuen Ho Pik-kin Cheng Hung-wai Lee Hoi-sang Chan Yiu-keung See also Andy Lau filmography External links Take Care, Your Highness! at Douban

cast member

Take Care, Your Highness! is a 1985 Hong Kong historical drama television series produced by TVB and starring Andy Lau in the title role of Kin-lung Emperor, the sixth emperor of the Qing Dynasty. The series focuses on the power struggle in the Imperial Qing Palace, telling the story of righteous folks while also presenting a hesitant love story. Plot Prince Po (Andy Lau) possesses extraordinary talent but has an uninhibited nature, which worries his father Yung-ching Emperor (Lau Siu-ming) as he cannot decide whether Po can inherit his throne and promote the Manchu Foundation. In order to pave the way for Po as his successor, Yung-ching breaks up Po's romance with Suen Fuk-yu (Carina Lau), an ethnic Han Chinese, and declares her a Princess, which makes her become Po's younger adoptive-sister. Yung-ching also declares the daughter of Lee Wing-po, the most powerful man of the Eight Banners, as Crown Princess. Although Yung-ching have broke them up, Po and Fuk-yu still date secretly. Not long after, Yung-ching was assassinated and Prince Po inherits his throne, becoming the Kin-lung Emperor. Because Kin-lung did not understand statecraft, plus the chaotic rebellion of the Miao people, he releases his uncle, the 14th Prince Wan-tai (Paul Chun), who once failed the fight for the throne against Yung-ching. Wan-tai regains his position and helps Kin-lung with government affairs and made it very well organized. However, Wan-tai's ambition comes up again, and desires to seize the throne. Wan-tai then spread rumors everywhere citing Kin-lung has left Beijing to trace his origin. Wan-tai awaits his opportunity to seize the throne. Kin-lung travels to the south in disguise as a civilian and there, he becomes acquainted with Chow Yat-ching (Ha Yu), Tan-ka Mui and Chiu Nam-sing (Sean Lau), whom are members of the Anti-Qing society "Chung Yee Tong". After a thorough investigation, Kin-lung was able to prove that he is indeed a Manchu and knows that Wan-tai is up to no good. After Kin-lung's identity was exposed, the members of "Chung Yee Tong" turned against him and Kin-lung can must reverse the situation to resolve the crisis both inside and outside of the palace. Cast Note: Some of the characters' names are in Cantonese romanisation.Andy Lau as Kin-lung Emperor / Prince Po (乾隆帝/寶親王) Danny Poon as 6th Prince (六皇子) Chan Chung-lin Joseph Lee as Fu-hang (傅恒) Lau Siu-ming as Yung-ching Emperor (雍正帝) Yeung Chak-lam as Fu Hung-po (傅紅保) Felix Lok as Ngok-yee-tai (鄂爾泰) Law Kwok-wai Teresa Ha as Empress Hao-sing-hin / Consort Hei (孝聖憲皇后/熹妃) Leung Kit-fong Suen Kwai-hing Cho Chai Law Lan as Granny (嬷嬷) Pui Man Cheung Man-kwong Ho Lai-nam Ng Pok-kwan Lam Man-wai Lam Choi-lin Carina Lau as Suen Fuk-yu (孫福如) Chan On-ying as Kam Lin (金蓮) Shally Tsang as Empress Xiaoxianchun Yu Tin-wai Fok Kit-ching Mak Ho-wai Luk Ying-hong Ha Yu as Chow Yat-ching (周日清) Paul Chun as Prince Wan-tai (允禵) Lai Pik-kwong Lau Kwok-sing Sean Lau as Chiu Nam-sing (趙南星) Fok Ka-lai Chan Siu-wah Kwok Fung Ho Kwong-lun Leung Siu-chau Lee Wan-kwong Chan Wai-yu Sit Choi-ha Soh Hang-suen Amy Hu Tang Yu-chiu Lee Kwok-ping Wilson Tsui Pau Wai-leung Tony Leung Wong Sze-yan Cheng Siu-ping Ng Yuen-fan Law Chun-piu Ng Wai-san Tam Yat-ching Ma Wai-ling Wong Yat-fei Leung Chi-fong Koo Po-lai Maggie Shiu as Princess Fragrance (香香公主) Mak Chi-wan Ma Hing-sang Lau Miu-ching Ho Kwai-lam Cheung Chi-keung Chan Po-wan Yuen Pui-yee Liu Ching-han Lau Man-chun Yip Tin-hang So Hon-sang Ng Chau-kuen Ho Pik-kin Cheng Hung-wai Lee Hoi-sang Chan Yiu-keung See also Andy Lau filmography External links Take Care, Your Highness! at Douban

production company