title: TooTimeTooTimeTooTime

abstract: "TooTimeTooTimeTooTime" is a song by English band the 1975 from their third studio album, A Brief Inquiry into Online Relationships (2018). The song was written by Matty Healy, George Daniel, and Guendoline Rome Viray Gomez, who has the stage name of No Rome, while production of the song was handled by the former two. It was released on 15 August 2018 by Dirty Hit and Polydor Records as the third single from the album. The beat originated from an accident that occurred during "Narcissist", the band's collaboration with No Rome. Having developed a skeletal song structure, the band created the song to celebrate their varied discography and fondness of pop music. "TooTimeTooTimeTooTime" is an electropop and synth-pop song that revolves around a four-on-the-floor tropical house beat. In addition to the main genres, the song draws from a diverse set of musical styles including Afrobeats, dancehall, Europop, disco and sophisti-pop. Its production consists of Afropop-influenced percussion, fuzzy synths, a kick drum pulse, electric guitars, vocal samples and piano stabs. Thematically, the song explores communication in the digital age, specifically how social media and the internet can impact relationships, leading to infidelity. In the lyrics, Healy tries to recount the number of times he has called a woman. Upon release, "TooTimeTooTimeTooTime" received positive reviews from contemporary music critics, who praised the song's playful lyricism, upbeat production and sonic experimentation. Commercially, the song peaked at number 26 on the UK Singles Chart, number 29 in Scotland, number 29 in Ireland, number 17 on the US Billboard Hot Rock & Alternative Songs chart and number 17 on the Sweden Heatseeker chart. The song was later certified silver in the United Kingdom by the British Phonographic Industry (BPI). An accompanying vertical music video premiered on 15 August 2018, while the fullscreen version was released on 29 August 2018. It depicts Healy and a group of fans dancing and lip synching the song's lyrics in front of a changing multicoloured backdrop.

text:
# TooTimeTooTimeTooTime

"**TooTimeTooTimeTooTime**" (stylised in all caps) is a song by English band the 1975 from their third studio album, *A Brief Inquiry into Online Relationships* (2018). The song was written by Matty Healy, George Daniel, and Guendoline Rome Viray Gomez, who has the stage name of No Rome, while production of the song was handled by the former two. It was released on 15 August 2018 by Dirty Hit and Polydor Records as the third single from the album. The beat originated from an accident that occurred during "Narcissist", the band's collaboration with No Rome. Having developed a skeletal song structure, the band created the song to celebrate their varied discography and fondness of pop music.

"TooTimeTooTimeTooTime" is an electropop and synth-pop song that revolves around a four-on-the-floor tropical house beat. In addition to the main genres, the song draws from a diverse set of musical styles including Afrobeats, dancehall, Europop, disco and sophisti-pop. Its production consists of Afropop-influenced percussion, fuzzy synths, a kick drum pulse, electric guitars, vocal samples and piano stabs. Thematically, the song explores communication in the digital age, specifically how social media and the internet can impact relationships, leading to infidelity. In the lyrics, Healy tries to recount the number of times he has called a woman.

Upon release, "TooTimeTooTimeTooTime" received positive reviews from contemporary music critics, who praised the song's playful lyricism, upbeat production and sonic experimentation. Commercially, the song peaked at number 26 on the UK Singles Chart, number 29 in Scotland, number 29 in Ireland, number 17 on the US *Billboard* Hot Rock & Alternative Songs chart and number 17 on the Sweden Heatseeker chart. The song was later certified silver in the United Kingdom by the British Phonographic Industry (BPI). An accompanying vertical music video premiered on 15 August 2018, while the fullscreen version was released on 29 August 2018. It depicts Healy and a group of fans dancing and lip synching the song's lyrics in front of a changing multicoloured backdrop.

## Background and recording

> "Negotiating these things that are like relationships in a world that's constructed on so many things that just aren't, in the way that Instagram or Twitter or whatever, can get into the nooks and crannies of one's real relationships. I don't think you have to be monogamous or not to know how that feels. And \[there's\] almost like a frivolity to it, which I sort of like, because I don't do frivolity very often."

—Healy, on the theme of infidelity present in "TooTimeTooTimeTooTime".

In an interview on the BBC Radio 1 show *Annie Mac's Hottest Record in the World*, Healy revealed that "TooTimeTooTimeTooTime" was created accidentally during the recording of "Narcissist" (2018), the 1975's collaboration with No Rome. The pair were working on the song's production when according to Healy: "\[...\] something went wrong. It just started looping too fast and the beat in 2 time just kind of appeared. And then we just made that." Having developed a skeletal, reggaeton-influenced song structure, Healy began writing the demo for "TooTimeTooTimeTooTime". Speaking with Sam Sodomsky of *Pitchfork*, Healy said that he wanted to celebrate the band's musically varied discography, condensing the track into a pop song, which he admitted felt counterintuitive. The singer described the song as unapologetically representing his fondness for pop music, saying it does not "negate \[his\] intellect or integrity". Furthermore, he noted that it would not work if he tried to be verbose, wanting the song to resonate with fans and be enjoyable like he considers music to be "about at some point". The final version of "TooTimeTooTimeTooTime" was written and produced by Daniel and Healy, while No Rome provides additional songwriting, programming, drums, synths and background vocals.

## Music and lyrics

Musically, "TooTimeTooTimeTooTime" is an electropop and synth-pop song that is built around a soft, insistent four-on-the-floor tropical house beat, running for a length of three minutes and 28 seconds (3:28). The song contains a unique structure that subverts the common "loud-quiet verse-chorus" format and instead gradually builds in intensity as it progresses. Pyror Stroud of *PopMatters* noted the song contains a "sheer, implacable momentum" that continuously builds before culminating in a climax that he deemed "the closest \[the 1975\] has come to pure pop perfection". According to sheet music published at Musicnotes.com by Hal Leonard Music Publishing, "TooTimeTooTimeTooTime" is set in the time signature of common time with a moderate tempo of 116 beats per minute. The track is composed in the key of Ab major, with Healy's vocals ranging between the notes of E♭3 and E♭4. It follows a chord progression of Db–Bbm7–Eb(add4)–Ab(add9)/C. "TooTimeTooTimeTooTime" has a breezy, melodic production, composed of upbeat Afropop-influenced percussion, fuzzy synth textures, and upbeat groove, watery synth chords, a steady kick drum pulse, funk-style electric guitar lines, pitch-shifted vocal samples, electronic flourishes and piano stabs. The song's production also draws from house music, Afrobeats, dancehall, sophisti-pop, ambient, bubblegum pop, indietronica, disco, piano house, electronic music and Europop.

Thematically, "TooTimeTooTimeTooTime" explores how social media can affect modern-day relationships. The song expands upon the theme of communication in the digital age, a central topic in *A Brief Inquiry into Online Relationships*. In the chorus, Healy attempts to recount the number of times he has called a certain woman ("I only called her one time / Maybe it was two times? / I don't think it was three times / It can't be more than four times"), before accusing his partner of doing the same ("I think we need to rewind / You text that boy sometimes / Must be more than three times"). *Rolling Stone* writer Ryan Reed commented that "TooTimeTooTimeTooTime" discusses "how social media fuels jealous head games and romantic angst" through suspicious text messages, missed phone calls and Instagram interactions. Tiana Timmerberg of Radio.com viewed the core thematic story behind the song as a tale of love and desperation, a sentiment shared by *Billboard* writer Chris Payne, who wrote that the track "captures \[Healy's\] side of a back-and-forth with a romantic partner \[...\] Both parties appear to be getting into the same kind of mischief."

Ross Horton of *musicOMH* wrote that "TooTimeTooTimeTooTime" is reminiscent of tropical house music run through Brian Eno's processors. Similarly, Philip Cosores of Uproxx observed a blend of retro aesthetics with contemporary sonics, exemplified by its use of both Auto-Tune on Healy's vocals and pulsing rhythms evocative of Peter Gabriel. Jordan Sargent of *Spin* said the song "bends even further back towards the unnaturally gleaming, synthetic concoctions of European balearic dance music and dancehall". He compared the track to Drake's mid-tempo dancehall songs, specifically "Controlla" (2016) and "Signs" (2017), along with the Felix Jaehn remix of "Cheerleader" (2014) by Omi. Pryour Stroud of *Slant Magazine* felt "TooTimeTooTimeTooTime" is a reflection of modern infidelity, saying it's "about how we self-medicate in a world of such stark superficiality that nothing seems to matter". This observation was echoed by *Spin* writer Ian Cohen in his review of *A Brief Inquiry into Online Relationships*, with him calling the song a deconstruction of Instagram-era infidelity. Juan Rodriguez of *No Ripcord* opined that the track "looks into how the digital era broadens the gray areas when it comes to emotional affairs with an almost matter-of-fact indifference".

## Release and reception

"TooTimeTooTimeTooTime" was released on 15 August 2018. *PopMatters* declared the song the 16th best track of 2018; Stroud called it "fun, plain and simple, like cotton candy or a cannonball into a pool". Julianna Ress of The Ringer deemed "TooTimeTooTimeTooTime" the "breeziest and most radio-friendly" single from *A Brief Inquiry into Online Relationships*, favourably comparing it to Drake's "Passionfruit" (2017). She praised the upbeat groove, lyrical exploration of anxiety and balance of sonic experimentation with a continued focus on the album's core theme of relationships in an online world. Sargent felt the track represented a "very comfortable" midpoint between the band's penchant for musical experimentation and contemporary pop music, calling it "their new album's clearest mission statement yet". *Stereogum* writer Ryan Leas commended "TooTimeTooTimeTooTime" for successfully infusing contemporary pop music trends into the 1975's signature sound, opining the song "uses texting and hints of infidelity and jealousy to create an infectious, number-based hook". Conrad Duncan of *Under the Radar* highlighted the song as an example of the album's "countless moments of inventive vision", saying it "jettisons the band's usual verbosity for a sharp pop crossover". Similarly, Larry Fitzmaurice of Uproxx deemed it their global-pop breakthrough.

Dan Stubbs of *NME* said he would play "TooTimeTooTimeTooTime" "to death" and highlighted the myriad of musical elements in "TooTimeTooTimeTooTime". He also commented that despite not being as lyrically complex as "Love It If We Made It", the song is emblematic of Healy's writing style, which he described as "knowing, insecure, romantic, flawed, and cocky at the same time". In her review of *A Brief Inquiry into Online Relationships* for The Ringer, Lindsay Zoladz acclaimed the song for being able to "capture, so pithily, the surreal links between body and machine, technology and emotion, that now dictate ordinary life". She specifically called the couplet "She said that I should have liked it / I said that I only use it sometimes"–which references "liking" an Instagram post–one of her all-time favourite Healy lyrics. Shannon Cotton of *Gigwise* highlighted the same couplet, viewing it as a reference to the Instagram "generation" where "friendships are determined by who's liked your latest pre-night out mirror selfie rather than anything substantial or tangible". *DIY* writer Will Richards praised the "catchiness" of the chorus and "deliberately vacuous" lyrics, saying that the 1975 understand "the power of letting \[everything\] go for three-and-a-half minutes via a pop song – and on the face of it, a very silly pop song – that makes you feel on top of the fucking world".

Commercially, "TooTimeTooTimeTooTime" performed modestly on music charts worldwide. In the 1975's native United Kingdom, the song reached number 26 on the UK Singles Chart and number 29 in Scotland. Internationally, it peaked at number 29 in Ireland, number 17 on the Sweden Heatseeker chart and number 17 on the US *Billboard* Hot Rock & Alternative Songs chart. The song was later certified gold in the United Kingdom by the British Phonographic Industry (BPI), denoting sales of over 400,000 units.

## Music video

In July 2018, the 1975 invited fans to apply to be featured in an upcoming music video being filmed in London. On 22 July, Healy tweeted: "I just spent the whole day shooting a video with our fans and I just want to say that I couldn't be more proud. You are all so weird and beautiful. It was one of the best days of my life, thank you". A vertically-oriented music video for "TooTimeTooTimeTooTime" debuted via Spotify on 15 August 2018. On 29 August, the fullscreen version was released on the band's YouTube page. The video opens with individual fans calmly lip synching the song's lyrics against a colour-changing backdrop. Healy, dressed in an all-black tuxedo with blonde hair, gradually joins some of the fans as the video progresses and the dancing becomes more eccentric. Towards the end of the video, Healy and the fans gather together and frantically dance as a group.

Antonio Harris of *Soundigest* opined that the music video for "TooTimeTooTimeTooTime" suited the song's technology-themed lyrics, saying: "The song is all about communications among the online age, and \[t\]he 1975's fan base represents this perfectly." Alessandra Rincón of *Billboard* praised the colourful backdrops of the visual. In her review of the video for *Nylon*, Taylor Bryant wrote: "\[...\] it's easy to forget how charming music videos can be when they just show people hanging out, having a good time, and enjoying being alive. Well, \[the band\] is here to remind you." Wandera Hussein of *The Fader* complimented the "cutesy" visual. *Stereogum* writer Tom Breihan said that a viewer's enjoyment of the video "depends entirely on whether or not \[they\] find Healy charming", adding: "You will not be shocked to discover that I like the video. It has energy and brightness, it's fun to watch, and it executes the all-important task of making \[the viewer\] like the song more."

## Credits and personnel

Credits adapted from *A Brief Inquiry into Online Relationships* album liner notes.

## Charts

Chart performance for "TooTimeTooTimeTooTime"
| Chart (2018) | Peak
position |
| --- | --- |
| Ireland (IRMA) | 29 |
| Scotland (OCC) | 29 |
| Sweden Heatseeker (Sverigetopplistan) | 17 |
| UK Singles (OCC) | 26 |
| US Hot Rock & Alternative Songs (*Billboard*) | 17 |
| Top 100 Venezuela (National-Report) | 33 |
|

## Certifications

Certifications and sales for "TooTimeTooTimeTooTime"
| Region | Certification | Certified units/sales |
| --- | --- | --- |
| United Kingdom (BPI) | Gold | 400,000 |
| Sales+streaming figures based on certification alone.
 | | |

## InfoBox

| "TooTimeTooTimeTooTime" | |
| --- | --- |
|  | |
| Single by the 1975 | |
| from the album  *A Brief Inquiry into Online Relationships* | |
| Released | 15 August 2018 (2018-08-15) |
| Genre |  |
| Length | 3:28 |
| Label |  |
| Songwriter(s) |  |
| Producer(s) |  |
| The 1975 singles chronology | |
| "Love It If We Made It"
(2018) "**TooTimeTooTimeTooTime**"
(2018) "Sincerity Is Scary"
(2018) | |
|  | |
| Music video | |
| "TooTimeTooTimeTooTime" on YouTube | |
|  | |


title: TooLAME

abstract: TooLAME is a free software MPEG-1 Layer II (MP2) audio encoder written primarily by Mike Cheng. While there are many MP2 encoders, TooLAME is well-known and widely used for its particularly high audio quality. It has been unmaintained since 2003, but is directly succeeded by the TwoLAME code fork. The name TooLAME is a play on LAME and Layer II.

text:
# TooLAME

**TooLAME** is a free software MPEG-1 Layer II (MP2) audio encoder written primarily by Mike Cheng. While there are many MP2 encoders, TooLAME is well-known and widely used for its particularly high audio quality. It has been unmaintained since 2003, but is directly succeeded by the TwoLAME code fork (the latest version, TwoLAME 0.4.0, was released October 11, 2019). The name TooLAME is a play on *LAME* and *Layer II*.

## History

After leaving leadership of the LAME project, Mike Cheng decided to redirect his efforts towards the MP2 format. This was in part due to concern with looming legal threats to those distributing software for the widespread MP3 format, due to patents held by Fraunhofer and Thomson, while use of MP2 audio was basically unrestricted. For more, see: LAME#Patents and legal issues.

The first release of TooLAME (v0.1) was November 7, 1998.

He originally based his work on *mpegaudio.tar*. In October 1999, he started over from scratch, instead basing TooLAME on the more capable ISO Dist10 reference implementation, and substantial code from LAME. He aimed for higher audio quality and improved encoding performance. Achieving high performance, "About 4 times faster than ISO code."

TooLAME was mainly a standalone audio encoder, accepting PCM files in RAW/AIFF/WAV format. However, in the final TooLAME release from Cheng (TooLAME 0.2 m beta 8), support for use as a library was included. Cheng repeatedly resisted the addition of features like libsndfile integration for support of a much wider variety of input formats.

### TwoLAME

Nicholas Humfrey made significant modifications to tooLAME, and released it publicly. At Mike Cheng's request he renamed it to TwoLAME to avoid confusion.

## Technical details

TooLAME utilizes the highly tuned psychoacoustic model developed for LAME, but applied to MP2 audio encoding, instead. It includes a rather complex and rarely used (by MP2 players) variable bitrate (VBR) mode. Frame CRCs, and Broadcast Wave Format (BWF) output was added for Digital Audio Broadcasting (DAB) use.

## Popularity

MJPEGTools documentation recommends the use of TooLAME instead of their included mp2enc. MPlayer and Mencoder includes support for TooLAME (and TwoLAME) audio encoding.

## Code forks

## InfoBox

TooLAME
| Developer(s) | Mike Cheng |
| --- | --- |
|  | |
| Stable release | 0.2L / March 1, 2003 (2003-03-01) |
| Preview release | 0.2 m beta 8 |
|  | |
| Type | Codec |
| License | GNU Lesser General Public License |
| Website | toolame.sourceforge.net |


title: Ekatarina Velika

abstract: Ekatarina Velika, sometimes referred to as EKV for short, was a Serbian and Yugoslav rock band from Belgrade, being one of the most successful and influential Yugoslav music acts. Initially called Katarina II, the band had built up a devoted following that greatly intensified and expanded after the death of its frontman Milan Mladenović in 1994, which caused the band to dissolve. The group's core consisted of singer and guitarist Milan Mladenović, keyboardist Margita Stefanović and bassist Bojan Pečar, with other members mostly remaining for comparatively shorter periods.

text:
# Ekatarina Velika

**Ekatarina Velika** (Serbian Cyrillic: Екатарина Велика, lit.'Catherine the Great'), sometimes referred to as **EKV** (Serbian Cyrillic: ЕКВ) for short, was a Serbian and Yugoslav rock band from Belgrade, being one of the most successful and influential Yugoslav music acts.

Initially called **Katarina II** (Serbian Cyrillic: Катарина II, lit.'Catherine II'), the band had built up a devoted following that greatly intensified and expanded after the death of its frontman Milan Mladenović in 1994, which caused the band to dissolve. The group's core consisted of singer and guitarist Milan Mladenović, keyboardist Margita Stefanović and bassist Bojan Pečar, with other members mostly remaining for comparatively shorter periods.

## History

### Post-punk years (1982–1986)

#### Katarina II

In February 1982, following the disbandment of Šarlo Akrobata, 24-year-old guitarist and vocalist Milan Mladenović decided to form a new band with an old friend — 22-year-old guitarist Gagi Mihajlović. Playing music together again after being bandmates a few years earlier at Limunovo Drvo, Mladenović and Mihajlović decided to name their new band Katarina II after Mihajlović's unrequited love — a girl named Katarina. Rounding out Katarina II's inaugural lineup were Dušan Dejanović (another former Limunovo Drvo member) on drums and Zoran "Švaba" Radomirović on bass guitar.

During late 1982, after their performance at the Topčiderska zvezda cinema, the band was joined by the 23-year-old classically trained pianist Margita Stefanović. Shortly after, the rhythm section left with Radomirović joining Du Du A and Dejanović going over to heated rivals Disciplina Kičme.

The vacant drummer position was filled by Branko "Mango" Kuštrin (formerly of Grupa I), but after he left within a month, Milan's former bandmate from Šarlo Akrobata Ivan "VD" Vdović became the new drummer. At the same time, in early 1983, Bojan Pečar (former VIA Talas bassist) joined on bass. In spring 1983, the band took part in Zagreb Biennale, receiving positive reviews. Their material for the debut album material was recorded soon after, featuring guest appearance by actor Svetislav Goncić on tin whistles. The recording sessions for the material were completed in Enco Lesić's Druga Maca studio, however, the material was unusable due to a variety of reasons, most of them having to do with the studio's inferior technical equipment.

The following year, the band took the offer from fellow musician and RTV Ljubljana's musical director Srđan Marjanović of re-recording their debut album material in the state-owned media company's studios. Katarina II's eponymous debut album was thus released in 1984 by RTV Ljubljana's in-house record label ZKP RTLJ. Mostly featuring Mladenović's lyrics, except for the Mihajlović-written tracks "Vrt" ("The Garden") and "Platforme" ("The Platforms"), while the music was a collaboration between the two, the material was produced by Đorđe Petrović featuring guest appearances by Mario Čelik on congas and Film member Jurij "Kuzma Videosex" Novoselić on saxophone. Only 3,000 copies of the album were released, indicative of label's low commercial expectations. Though it got good reviews, receiving praise for successfully linking Mladenović's descriptive lyrical sensibility with the energetic new wave sound on tracks like "Aut" ("Out"), "Jesen" ("Autumn"), "Radostan dan" ("A Joyful Day"), "Treba da se čisti" ("It Ought To Be Cleaned"), "Ja znam" ("I Know"), *Katarina II* album was not a commercial success. In a 1985 interview Mladenović complained about the album's poor sound quality, as well as what he felt to be lack of support from the label.

Soon after their debut album, the band went through more lineup changes amid disagreements and personality clashes between Mladenović and Mihajlović. Mihajlović also ran afoul of the law — a transgression that got him a jail stint — and after serving the punishment got informed by the rest of the band he was no longer a Katarina II member. However, since Mihajlović claimed rights to the "Katarina II" name, he forced the band into using another one. Later he collaborated with Vlada Divljan before moving to the United States where he has been residing ever since. Additionally, drummer Vdović left due to drug abuse problems, later joining Du Du A and the band Heroji, being replaced by the former Luna drummer Ivan "Firchie" Fece. The remaining members continued working as Ekatarina Velika, after Catherine II of Russia, or EKV for short. Due to constant SFR Yugoslavia-wide touring, with frequent stops in Belgrade, Zagreb and Ljubljana, and occasional TV spots, the band's popularity had gradually grown.

#### Ekatarina Velika

In early 1985, the band recorded their second studio album at SIM studio in Zagreb. Produced by Vladimir Smolec featuring guest appearances by Massimo Savić as well as Karlowy Wary member and SIM studio co-owner Tomo in der Mühlen, *Ekatarina Velika* gave the band with its first bona fide hits, "Oči boje meda" ("Honey Colored Eyes"), "Modro i zeleno" ("Indigo and Green") and "Tattoo". In keeping with the theme of the "Tattoo" track, the album cover arranged by Dušan Gerzić features the band members painted in Native American ritual body art. After the album release on 22 March 1985, they played outside of Yugoslavia for the first time, making a positive impression at Culture Days in Turin, Italy. Another memorable concert took place in Zagreb as part of *Bolje vas našli* Belgrade-Zagreb band exchange.

Towards the end of 1985, Fece left the band to serve his mandatory Yugoslav People's Army service, later joining Laboratorija Zvuka, and was replaced by Ivan "Raka" Ranković from the band Tvrdo Srce i Velike Uši. The following year, the new lineup released the third studio album *S vetrom uz lice* (*Faced Against the Wind*), proving to be the breakthrough album that turned them into bona fide stars. The album was produced by Milan Mladenović, Margita Stefanović and Dragan Čačinović. With the hits "Budi sam na ulici" ("Be Alone on the Street"), "Ti si sav moj bol" ("You Are All My Anguish"), "Novac u rukama" ("Money in the Hands"), and "Kao da je bilo nekad" ("As If It Had Once Been") came some lukewarm reviews from the critics complaining about the similarities to the works of the Simple Minds.

After the album release, the band toured extensively all over former Yugoslavia, and the recording of one of the five sold-out performances at the Zagreb club Kulušić, made on 2 November 1986, was released in early 1987 on the live album *19LIVE86*. The band promoted the release of the live album in Belgrade during January 1987 and triumphed at Dom Omladine with six sold-out shows. During spring of the same year, Ivan Ranković decided to leave EKV in order to form a new group Ulica Od Meseca with his old bandmates from Tvrdo Srce i Velike Uši. Ranković was replaced by the actor Srđan Todorović, a former Disciplina Kičme member, as drummer, playing his first show on 9 April 1987 at the New Rock festival held at the La Locomotive club in Paris. On autumn of the same year, the band got the Sedam Sekretara SKOJa award for the achievements on the second and third studio album.

### Alternative rock years (1987–1991)

During the summer of 1987, the band released the album *Ljubav* (*Love*), co-produced by the band with the Australian musician Theodore Yanni. It displayed a more guitar-oriented sound, along with stylized sleeve done by Margita and artist Vuk Vidor. Prominent tracks from the album include "Zemlja" ("Earth"), "7 Dana" ("7 Days"), "Pored mene" ("Beside Me"), "Ljudi iz gradova" ("People From The Cities"), and "Ljubav" ("Love"). It had also shown the first signs of Milan's depressive lyrics, as exemplified by song "Tonemo" ("We Are Sinking"). The album had also confirmed their live attraction status with two consecutive sold out shows at Belgrade's Pionir Hall sports arena. New extensive tour commenced in early 1988, and EKV enlisted help from Tanja Jovićević of Oktobar 1864 and Zvonimir Đukić from Van Gogh to appear as backing live musicians. Fece had also promptly rejoined the band on tour, shortly replacing Srđan Todorović before moving away to New York City in May 1988.

In January 1989, the band finished the recording sessions for the album *Samo par godina za nas* (*Only a Few Years for Us*), released during the same year, featuring guest appearances by Mitar Subotić (guitar, album production) and Tanja Jovićević (backing vocals). The critics regarded this album as a mere of the concept from the previous album. Several hits from the album include "Krug" ("The Circle"), "Par godina za nas" ("A Few Years for Us"), and "Srce" ("Heart"). Despite the mixed critics, the band were at their peak performing at the EBU-UER rock festival in Novi Sad, the 1990 Midem festival in Cannes and the first European rock music Bienalle held in Toulouse. After the tour, Todorović left the band, focusing on his acting career. Bojan Pečar also decided to leave the band moving to London. The new members became the former VIA Talas, D' Boys and Piloti member Miško Petrović "Plavi" on bass and the former U Škripcu member Marko Milivojević on drums.

The sixth studio album *Dum dum* (*Bang Bang*), released in 1991, featured the Plejboj member Dušan Petrović and session musician Bata Božanić as bass players, Tanja Jovićević on backing vocals, Zvonimir Đukić on guitar and Mitar Subotić on keyboards and machines. The album, produced by Theodore Yanni, featured the prominent songs "Zabranjujem" ("I Forbid"), "Idemo" ("Let's Go"), "Dum dum" ("Bang Bang") and "Bledo" ("Pale"), inspired by the outbreak of the Yugoslav Wars and the general political and economic situation in the country. The following year, Mladenović participated in the anti-war project Rimtutituki, also featuring Električni Orgazam and Partibrejkers members, releasing the single "Slušaj 'vamo" ("Listen Up"). During the anti-war protests in Belgrade, the band organized a concert on the Republic Square and also they performed anti-war songs in an open truck while circulating the Belgrade streets.

### Mainstream rock years (1992–1994)

During the middle of 1992 the band toured with the new bassist Dragiša Uskoković "Ćima", with whom they recorded the final studio album *Neko nas posmatra* (*Somebody Is Watching Us*), released in May 1993. The album featured a more accessible and communicative sound especially present in the songs "Ponos" ("Pride"), "Jadransko more" ("The Adriatic Sea"), "Just Let Me Play Some Modern R'n'R Music" and "Zajedno" ("Together"). For the first time, the band had included a cover song on and album, "Istina Mašina" ("Truth Machine"), originally performed by the Yugoslav rock band Time. The album was produced by Mladenović and featured Srđan Todorović, Tanja Jovićević and a children's choir as guest performers.

After the album release, in September of the same year, Ekatarina Velika, Električni Orgazam, Partibrejkers and the Zagreb band Vještice performed in Prague and Berlin on the concerts entitled *Ko to tamo pjeva* (*Who's That Singing Over There*). At the time, Mladenović and Stefanović held occasional unplugged club performances, often featuring guest appearances by the Partibrejkers guitarist Nebojša Antonijević "Anton" and various jazz musicians, until Milan's departure to Brazil, where he worked on a project called Angel's Breath, together with Mitar Subotić and a line-up of Brazilian musicians. The two started recording the material partially written in 1985 when, with the guitarist Goran Vejvoda, they had several live appearances under the moniker Dah Anđela (*Angel's Breath*).

### Breakup and post-breakup

The band resumed their activities when Mladenović returned to Serbia. There were plans to make a new album, tentatively titled *Ponovo zajedno* (*Together Again*), but the idea was shelved because of Milan's health problems. EKV played what would turn out to be their last ever show on 24 August 1994 in Budva at the Pjesma Mediterana festival. The very next day Milan was held in a hospital, and it was soon discovered that he had pancreatic cancer. Barely a few months later, on 5 November 1994, Milan Mladenović died in Belgrade, at the age of 36, thus Ekatarina Velika ceased to exist.

Margita Stefanović continued working as a musician, for a short period of time performing with the cover band Kurajberi. In 1995, with Vladimir Stojanović, as an ambiental music duo EQV, she released the album *Ti si sav moj bol* (*You Are All My Anguish*), released by the Austrian record label Coop Arts Crafts Unltd. In October of the same year, EQV appeared at the Vienna Talkit festival. She had also made occasional live appearances with the bands Direktori, Glisers and Zion Banda, and appeared as guest on the albums of several Belgrade rock bands. In 1996, she appeared on the Električni Orgazam unplugged live album *Živo i akustično* (*Live and Acoustic*), and in 1998, on the fiftieth anniversary of the Universal Declaration of Human Rights signing, she appeared in Pula with Zoran Stojanović, the leader of the Zagreb band Veliki Bijeli Slon, being, along with Rambo Amadeus, the first Serbian musician to play in modern-day Croatia after the Yugoslav Wars.

During the early 1997, a posthumous live album entitled *Live '88* was released, featuring the recordings of the performances from Zagreb and Novi Sad held during the 1988 tour. The Zagreb recordings, made at the Kulušić club, were announced by the rock critic Dražen Vrdoljak and featured Theodore Yanni on guest guitar. The live recordings were owned by Fece who initiated the album release. During the same year, Margita Stefanović founded the record label EKV Records and started reissuing EKV studio album with bonus material. The *Ljubav* reissue featured live bonus material made at the Belgrade Dom Omladine on 13 November 1991 and the 1988 Novi Sad SNP performance, *Samo par godina za nas* featured the live bonus tracks from the Avala fest held in September 1990 and *Dum dum* featured alternate and demo recordings and the 1991 Dom Omladine live tracks.

PGP RTS also contributed the CD reissuing by releasing the compilation album *Kao nada, kao govor, kao more...* (*Like Hope, Like Speech, Like the Sea...*) in 1997, featuring selected material from the latter four studio albums. During 2001 and 2002, EKV Records and IPS music reissued the rest of the band's catalog, also featuring bonus live material. The label also released the live album *Kao u snu - EKV live 1991* (*As If in a Dream - EKV Live 1991*) featuring the Belgrade Dom Omladine 1991 performance. During the same year, a tribute album *Kao da je bilo nekad... (Posvećeno Milanu Mladenoviću)* (*As If It Had Once Been*) was released. The following year, a live tribute album *Jako dobar tattoo - Tribute to EKV* (*A Very Good Tatto - Tribute to EKV*) was released.

In 2017, Mascom Records released the double live album *Krug* (*The Circle*), featuring the recording of Mladenović's and Stefanović's unplugged performance held in Priština in May 1994, only half a year before Mladenović's death.

Ivan Vdović died of AIDS on 25 September 1992 at age 31. Milan Mladenović died of pancreatic cancer on 5 November 1994 at age 36. Bojan Pečar died of a heart attack on 13 October 1998 at age 38. Dušan Dejanović died of AIDS on 16 November 2000. On 18 September 2002 Margita Stefanović died at age 43, being the fifth band member to die prematurely.

## Legacy

Ekatarina Velika is considered one of the top and most influential acts of the former Yugoslav rock scene. Of the bands heavily influenced by Ekatarina Velika, by far the most notable is Van Gogh, which has risen to the status of one of the most popular rock acts in Serbia in the second half of the 1990s. Another band highly inspired by EKV is the alternative rock band Block Out. The band's work was also praised by Yugoslav rock icons like Rambo Amadeus and Dado Topić

In 2003, a tribute album to Mladenović entitled *Kao da je bilo nekad... Posvećeno Milanu Mladenoviću* (*Like It Happened Someday... Dedicated to Milan Mladenović*) was released. The album consists of 15 covers of Mladenović's songs (14 EKV and one Šarlo Akrobata song) by a range of musicians, spanning from rock veteran Dado Topić, over EKV contemporaries like Električni Orgazam, Darko Rundek, Partibrejkers, Miško Plavi, Vlada Divljan, Del Arno Band, and Tanja Jovićević, to younger acts, like Jarboli, Darkwood Dub, Novembar, Night Shift, Block Out, and VROOM. Mladenović's former Šarlo Akrobata bandmate Dušan Kojić also appeared on the album under the pseudonym Crni Zub, participating in the cover of "Zemlja".

Another tribute album, released in 2003, was a live album *Jako dobar tattoo - Tribute to EKV* (*Very Good Tattoo - Tribute to EKV*), recorded at the tribute concert held on February 22, 2003, in Zagreb's Tvornica club. The performers included Croatian bands Le Cinema, Vatra, and Urban & 4, and solo artists Massimo Savić with EKV tribute band Veliki Bijeli Slon, Darko Rundek with his Cargo Orkestar, and Električni Orgazam frontman Srđan "Gile" Gojković, also with Veliki Bijeli Slon. The album consists of 13 live covers, each artist performing several.

The book *YU 100: najbolji albumi jugoslovenske rok i pop muzike* (*YU 100: The Best albums of Yugoslav pop and rock music*), published in 1998, features two albums by the band: *S' vetrom uz lice* (ranked No. 26) and *Katarina II (album)* (ranked No. 68). The list of 100 greatest Yugoslav album, published by Croatian edition of *Rolling Stone* in 2015, features three Ekatarina Velika albums: *S' vetrom uz lice* (ranked No. 10) and *Katarina II* (ranked No. 29) and *Ekatarina Velika* (ranked No. 44). In 1987, in *YU legende uživo* (*YU Legends Live*), a special publication by *Rock* magazine, *19LIVE86* was pronounced one of 12 best Yugoslav live albums.

The Rock Express Top 100 Yugoslav Rock Songs of All Times list, published in 2000, featured five songs by Ekatarina Velika: "Krug" (polled No.3), "Par godina za nas" (polled No.11), "Ti si sav moj bol" (polled No.41), "Zemlja" (polled No.54) and "7 dana" (polled No.86). In November 2006, "Par godina za nas" was polled the Best Yugoslav Popular Music Song on the B92 Top 100 Domestic Songs list. In 2011, the songs "Krug" and "Par godina za nas" were polled, by the listeners of Radio 202, two of 60 greatest songs released by PGP-RTB/PGP-RTS during the sixty years of the label's existence.

The lyrics of 15 songs by the band were featured in Petar Janjatović's book *Pesme bratstva, detinjstva & potomstva: Antologija ex YU rok poezije 1967 - 2007* (*Songs of Brotherhood, Childhood & Offspring: Anthology of Ex YU Rock Poetry 1967 - 2007*).

In July 2011, the hardscape area in front of the Belgrade Youth Center was named the Milan Mladenović Place. In 2012, a street in Zagreb, Milan Mladenović's city of birth, was named after him.

In 2016, Serbian weekly news magazine *Nedeljnik* pronounced Milan Mladenović one of 100 people that changed Serbia forever.

## Members

* Milan Mladenović — vocals, guitar (February 1982 - summer 1994) (died 1994)
* Dragomir Mihajlović "Gagi" — guitar (February 1982 - sometime in 1984)
* Zoran Radomirović "Švaba" — bass guitar (February 1982 - late 1982)
* Dušan Dejanović — drums (February 1982 - late 1982) (died 2000)
* Margita Stefanović "Magi" \- keyboards, backing vocals (late 1982 - summer 1994) (died 2002)
* Branko Kuštrin "Mango" — drums (late 1982 - early 1983)
* Bojan Pečar — bass guitar (early 1983 - early 1990) (died 1998)
* Ivan Vdović "VD"drums (early 1983 - fall 1984) (died 1992)
* Ivan Fece "Firchie" — drums (fall 1984 - late 1985), (early 1988 - May 1988)
* Ivan Ranković "Raka" — drums (late 1985 - early 1987)
* Srđan Todorović "Žika" — drums (early 1987 - early 1988), (May 1988 - early 1990)
* Marko Milivojević — drums (early 1990 - summer 1994)
* Miško Petrović "Plavi" — bass guitar (early 1990 - spring 1991)
* Dušan Petrović — bass guitar (spring 1991 - fall 1991)
* Bata Božanić — bass guitar (spring 1991 - fall 1991)
* Dragiša Uskoković "Ćima" — bass guitar (fall 1991 - late 1993)
* Boško Stanojević "Bole" — bass guitar (summer 1994)

### Timeline

## Discography

## InfoBox

| Ekatarina VelikaЕкатарина Велика | |
| --- | --- |
| EKV in 1986: Milan Mladenović, Ivan Ranković, Bojan Pečar, and Margita Stefanović. | |
| Background information | |
| Also known as | * Katarina II * EKV |
| Origin | Belgrade, SR Serbia, SFR Yugoslavia |
| Genres |  |
| Years active | 1982–1994 |
| Labels |  |
| Spinoff of | Šarlo Akrobata |
|  | |
| Past members | *see the members section* |


title: Tongai Mnangagwa

abstract: Tongai Mafidi Mnangagwa is a Zimbabwean politician who currently serves as the Member of Parliament for the Hunyani constituency. He is the nephew of President Emmerson Mnangagwa.

text:
# Tongai Mnangagwa

**Tongai Mafidi Mnangagwa** (born 10 February 1978) is a Zimbabwean politician who currently serves as the Member of Parliament for the Hunyani constituency. He is the nephew of President Emmerson Mnangagwa.

## Early life and education

Mnangagwa was born on 10 February 1978 in Zambia. He moved to Zimbabwe as a young child, attending Haig Park Primary School in Harare. He did his O Levels at Gokomere High School, a Catholic boarding school in Masvingo Province, before completing his secondary education at Prince Edward School, a government high school in Harare. He then attended Harare Polytechnic, where he earned a certificate in marketing. He is currently pursuing a Bachelor of science honors in development studies at the Zimbabwe Open University

## Political career

Mnangagwa joined ZANU–PF at age 18, and became the youth chairperson for the party's Tangwena District at age 20. Later, he moved to Harare South and joined the party's Leopold Takawira District as a committee member, later rising to become the political commissar of the main board.

In 2018, Mnangagwa was ZANU–PF's candidate for the House of Assembly in the 2018, running against over a dozen other candidates. On election day, Mnangagwa won with a 39% plurality, defeating the two MDC Alliance candidates, incumbent Shadreck Mashayamombe, and Tichaona Saurombe, who received 24% and 12%, respectively, as well as the MDC–T candidate, Desmond Jambaya, who earned 6% of the vote. He was sworn into Parliament on 5 September 2018.

In the 2023 general election, he was elected to the newly established constituency of Hunyani.

## Personal life

Mnangagwa is married and lives in the Mabelreign suburb of Harare. He has six children with his wife, Gwendolyn Mnangagwa.

## Electoral history

2023 Zimbabwean general election
| Candidate | | Party | Votes | % |
| --- | --- | --- | --- | --- |
|  | **Tongai Mafidi Mnangagwa** | **ZANU–PF** | 13,249 | 49.98 |
|  | Lovemore Chinoputsa | CCC | 10,235 | 38.61 |
|  | Terrence Khumbula | CCC | 2,644 | 9.98 |
|  | Pattence Baudi | United Zimbabwe Alliance | 258 | 0.97 |
|  | Sarvory Pedzisai Masunga | ZNRP | 120 | 0.45 |
| Total | | | 26,506 | 100.00 |
|  | | | | |
| Majority | | | 3,014 | 11.37 |
|  | ZANU–PF **win** (new constituency) | | | |
| Source: ZEC | | | | |

2018 Zimbabwean general election
| Candidate | | Party | Votes | % |
| --- | --- | --- | --- | --- |
|  | **Tongai Mafidi Mnangagwa** | **ZANU–PF** | 24,503 | 38.70 |
|  | Shadreck Mashayamombe | MDC Alliance | 21,371 | 33.75 |
|  | Tichaona Samuel Saurombe | MDC Alliance | 7,673 | 12.12 |
|  | Desmond Jambaya | MDC-T | 4,016 | 6.34 |
|  | Robson Kazetete | Independent | 1,836 | 2.90 |
|  | Maxwell Munondo | Independent | 1,274 | 2.01 |
|  | Tatenda Chigwada | People's Rainbow Coalition | 673 | 1.06 |
|  | Spencer Chiwanika | New Patriotic Front | 617 | 0.97 |
|  | Elliot Piki | Independent | 398 | 0.63 |
|  | Nathan Muchazondida Nyambuya | Independent | 336 | 0.53 |
|  | Hearvy Ndagurwa | Zimbabwe Partnership for Prosperity | 192 | 0.30 |
|  | Gaylord Kurisa Kurisa | Build Zimbabwe Alliance | 150 | 0.24 |
|  | Runwork Mharadze | National Constitutional Assembly | 142 | 0.22 |
|  | Super Tanyiswa | Independent | 136 | 0.21 |
| Total | | | 63,317 | 100.00 |
|  | | | | |
| Valid votes | | | 63,317 | 98.23 |
| Invalid/blank votes | | | 1,142 | 1.77 |
| Total votes | | | 64,459 | 100.00 |
| Registered voters/turnout | | | 76,425 | 84.34 |
|  | | | | |
| Majority | | | 3,132 | 4.95 |
|  | ZANU–PF **hold** | | | |
| Source: ZEC | | | | |

## InfoBox

| Tongai Mnangagwa | |
| --- | --- |
|  | |
| Member of Parliament
for Hunyani | |
| **Incumbent** | |
| **Assumed office**
25 August 2023 | |
| President | Emmerson Mnangagwa |
| Preceded by | New constituency |
| Constituency | Hunyani |
| Member of Parliament
for Harare South | |
| **In office**
3 August 2018  22 August 2023 | |
| President | Emmerson Mnangagwa |
| Preceded by | Shadreck Mashayamombe |
| Succeeded by | Trymore Kanupula |
| Constituency | Harare South |
|  | |
| Personal details | |
| Born | (1978-02-10) 10 February 1978
Zambia |
| Political party | ZANU–PF |
| Spouse | Gwendolyn Mnangagwa (m. 2001) |
| Relations | Emmerson Mnangagwa (uncle)
Auxilia Mnangagwa (aunt) |
| Children | 6: Jeremy, Jamie, Jamimah, Jayden, Jamilah, Jamal |
| Residence(s) | Harare, Zimbabwe |
| Alma mater | Harare Polytechnic |
|  | |


title: Tordenskjold-class coastal defence ship

abstract: The Tordenskjold class of coastal defence ships was ordered by Norway as part as the general rearmament in the time leading up to the events in 1905 - when Norway broke out of the union with Sweden - the two ships in the class remained the backbone of the Royal Norwegian Navy until they were considered 'unfit for war' in the mid-1930s.

text:
# Tordenskjold-class coastal defence ship

The ***Tordenskjold* class** of coastal defence ships was ordered by Norway as part as the general rearmament in the time leading up to the events in 1905 \- when Norway broke out of the union with Sweden \- the two ships in the class (*Tordenskjold* and *Harald Haarfagre*) remained the backbone (alongside the slightly newer *Eidsvold* class) of the Royal Norwegian Navy until they were considered 'unfit for war' in the mid-1930s.

## Description

Designed and built as typical pre-dreadnought battleships, although on a scale more suited to the fjords and narrow waters of Norway, the *Tordenskjold* class carried guns in a wide range of calibers:

* Two 21 cm/45 (8.2 inch) guns in turrets fore and aft as the main armament.
* Six 12 cm/45 (4.7 inch), mounted three on each side in a central battery, as the secondary armament.
* Six 7.6 cm/40 (3 inch) guns, also mounted in the central battery, as the tertiary armament.
* Six 1-pdr Quick Fire guns. These were meant to be used against torpedo boats.

The *Tordenskjold* class was armoured to withstand battle with ships of a similar class, but her protection system could not withstand attacks from heavier ships nor underwater attacks very well:

## Fate

Both ships were phased out from active duty in the mid-1930s, and were used as training vessels. After the German invasion of Norway in 1940, they were taken by the Germans and turned into floating Flak batteries. After the war they were returned to the Royal Norwegian Navy and served as barracks for a short time before they were sold for scrapping.

## Ships

Construction data
| Ship name | Laid down | Launched | Commissioned |
| --- | --- | --- | --- |
| *Harald Haarfagre* | 18 March 1896 | 4 January 1897 | 10 June 1897 |
| *Tordenskjold* | 18 March 1896 | 10 Mar 1897 | 2 April 1898 |

## Bibliography

* Brook, Peter. *Warships for Export: Armstrong Warships 1867–1927*. Gravesend, UK: World Ship Society, 1999. ISBN 0-905617-89-4.
* Chesneau, Roger and Eugene M. Kolesnik. *Conway's All The World's Fighting Ships 1860–1905*. London: Conway's Maritime Press, 1979. ISBN 0-85177-133-5.
* Dodson, Aidan & Nottlemann, Dirk (2023). "The German Flak Ships, Part I: The German and ex-Norwegian Hulls". In Jordan, John (ed.). *Warship 2023*. Oxford: Osprey Publishing. pp. 112–127. ISBN 978-1-4728-5713-2.

## InfoBox

| <br>Plans of panserskipet *Tordenskjold* | |
| --- | --- |
| Class overview | |
| Name | *Tordenskjold* class |
| Operators | Royal Norwegian Navy |
| Preceded by | None |
| Succeeded by | *Eidsvold* class |
| Built | 1897–1898 |
| In commission | 1898–1948 |
| Completed | 2 |
| Scrapped | 2 |
| General characteristics | |
| Type | Coastal defence ship |
| Displacement | 3,858 long tons (3,920 t) |
| Length | * 92.66 m (304 ft 0 in) (oa) * 85.34 m (280 ft 0 in) pp |
| Beam | 14.78 m (48 ft 6 in) |
| Draught | 5.38 m (17 ft 8 in) |
| Installed power |  |
| Propulsion | 2 × triple-expansion steam engines |
| Speed | 16.9 knots (31.3 km/h; 19.4 mph) |
| Complement | 245 |
| Armament | * 2 × 21 cm (8.3 in) guns * 6 × 12 cm (4.7 in) guns * 6 × 12-pdr (76 mm (3 in)) guns * 6 × 1-pdr QF guns * 2 × 45 cm (17.7 in) torpedo tubes |
| Armour |  |


title: El Cóndor en Nueva York

abstract: El Cóndor en Nueva York is a 2018 Peruvian superhero film directed by Alejandro Nieto-Polo and written by Nieto-Polo, José Luis Ruiz & Jorge Cerna. It is a sequel of the 2015 Peruvian film Super Cóndor.

text:
# El Cóndor en Nueva York

***El Cóndor en Nueva York*** (lit.'El Cóndor in New York') is a 2018 Peruvian superhero film directed by Alejandro Nieto-Polo and written by Nieto-Polo, José Luis Ruiz & Jorge Cerna. It is a sequel of the 2015 Peruvian film Super Cóndor.

## Cast

The actors participating in this film are:

* Gerardo Zamora as Pedro 'El Condor'
* Jose Luis Ruiz as Jorge Martinez
* Matthew Cullipher as Damian Dimitri
* Angelo Paravalos as Frank Smith
* Ricardo J. Salazar as Agent Ramirez
* Yesi Rodriguez as Agent Rogers
* Ivan Andia as Agent Fernandez
* Lucio Fernandez as Fernando Valenzuela
* Asier Kintana as Juan Jimenez
* Ivana Loli as Claudia Smith

## Production

Filming lasted 20 days in different locations throughout New York City. 90% of the total film was shot in New York City.

## Release

*El Cóndor en Nueva York* was released on 15 September 2018, in theaters in the United States and Mexico. On 15 and 16 January 2021, it arrived at Peruvian drive-ins.

## InfoBox

| El Cóndor en Nueva York | |
| --- | --- |
| Film poster | |
| Directed by | Alejandro Nieto-Polo |
| Written by | Alejandro Nieto-Polo
José Luis Ruiz
Jorge Cerna |
| Produced by | Ivan Andia
Matthew Cullipher
Lucio Fernandez
Alejandro Nieto-Polo |
| Starring | Gerardo Zamora
José Luis Ruiz
Matthew Cullipher |
| Cinematography | Jorge Cerna |
| Music by | Matthew Cullipher |
| Production
company | Nima Producciones |
| Release dates | * 15 September 2018 (2018-09-15) (North America) * 15 January 2021 (2021-01-15) (Peru) |
| Running time | 97 minutes |
| Country | Peru |
| Languages | Spanish
English |


title: El Cóporo

abstract: El Cóporo is a prehispanic archaeological site at the northern frontiers of the Mesoamerican cultural area, located at an elevation of 150 meters on the western slopes of the Santa Bárbara range, near the San José del Torreón community, and lies some 15 kilometres (9 mi) due south of its municipal seat and largest township, on the northwestern corner of Guanajuato state, Mexico. The site is considered as one of the four most important archaeological sites in the state. Cóporo is a Purépecha word meaning 'over the big road'. The site is named after the Cóporo hill, where it is located and the site is located at its peak, 156 meters high. The ceremonial and government center has been completed about 80 percent; around the center 29 smaller settlements were established on the slopes, the main occupation period occurred between 500-900 CE. The site's main occupation dates to the Late Classic and Early Postclassic eras of Mesoamerican chronology, and shows affinities with the Tunal Grande culture. El Cóporo covers an area of approximately 84 hectares spread across the slopes and summit of Cerro del Cóporo, the hill after which the site is named. As of 2009 an estimated five percent of this area has been archaeologically excavated or investigated. The ethnic groups that lived in this region are associated with cultures that developed in the San Luís Potosí, Jalisco, Zacatecas and Guanajuato States, and that a point in time, migrated to central México, where they joined other groups and participated in the development of the multi-ethnic Toltec society.”

text:
# El Cóporo

**El Cóporo** is a prehispanic archaeological site at the northern frontiers of the Mesoamerican cultural area, located at an elevation of 150 meters on the western slopes of the Santa Bárbara range (Sierra de Santa Bárbara), near the San José del Torreón community, and lies some 15 kilometres (9 mi) due south of its municipal seat and largest township, on the northwestern corner of Guanajuato state, Mexico.

The site is considered as one of the four most important archaeological sites in the state.

*Cóporo* is a Purépecha word meaning 'over the big road'. The site is named after the Cóporo hill, where it is located and the site is located at its peak, 156 meters high. The ceremonial and government center has been completed about 80 percent; around the center 29 smaller settlements were established on the slopes, the main occupation period occurred between 500-900 CE.

The site's main occupation dates to the Late Classic and Early Postclassic eras of Mesoamerican chronology, and shows affinities with the Tunal Grande culture.

El Cóporo covers an area of approximately 84 hectares (210 acres) spread across the slopes and summit of Cerro del Cóporo, the hill after which the site is named. As of 2009 an estimated five percent of this area has been archaeologically excavated or investigated.

The ethnic groups that lived in this region are associated with cultures that developed in the San Luís Potosí, Jalisco, Zacatecas and Guanajuato States, and that a point in time, migrated to central México, where they joined other groups and participated in the development of the multi-ethnic Toltec society.”

## Background

For a long time Guanajuato is considered a region inhabited since times prehispanic times, only by native hunter-gatherers of the chichimeca with a semi nomadic culture way of life.

During the late postclassical the chichimeca lived in the region, these lands were previously occupied by sedentary peoples integrated high Mesoamerican culture. Records of this civilization are scattered throughout the territory along the rivers, valleys, slopes and top of the hills. It is common for local historians to associate these vestiges of semi nomadic peoples, reinforcing old assumptions that Guanajuato was only inhabited by chichimecas; it is evident that in Guanajuato inhabited from remote times, various ethnic groups that maintained complex forms of partnerships.

The prehispanic period extends from the origin of the first settlers on the continent. During this long time men who inhabited Ocampo forged a culture with own identity and characteristics. The municipality of Ocampo was seat of men who bequeathed cultures and ways of life that were conditioned by geographical elements as well as influence form the great Mesoamerican cultures, particularly Teotihuacan and Toltec. These cultural samples had common characteristics to the cultures established in the Highlands, but the desert conditions barely allowed the development of groups semi nomadic hunters-gatherers.

El Cóporo is recognized as a site with Chupícuaro cultural influences which flourished in the Bajío in parallel with the Teotihuacan culture.

It can be stated that the in Guanajuato State existed among other Nations; the Otomíes ("Chichimeca" ancestors) and Nahuatlacas.

### The Chichimeca

It is estimated that they reached central Mexico in the 12th century CE, causing natural displacement of several groups, including the Otomies and Tecuexe.

It is commonly thought that the chichimecas were uncultivated, simple nomadic people without organization, and occasionally made raids in the Otomi and Purépecha regions.

The Spanish invaders, after the conquest of Tenochtitlan, never imagined that it would take them more than two centuries to conquer northern Mexico, a region known as Aridoamerica. Several Chichimeca (uncivil and dirty dog) groups inhabited the regions. This name was given because of the thought that they had a lower cultural level, compared to other native cultures of Mesoamerica.

Four major Chichimeca Nations were Pames, Guamare, Zacateco and Guachichiles, these last two unlike the Tecuexe, Caxcans and the other two groups had a lower cultural level, because others had altars and knew agriculture.

However, the chichimecas managed to build temples-fortress, ballgame courts, developed pottery, painting (petroglyphs), etc. all this in harsh conditions, in an arid area where rainfall is scarce and the climate is variable. In this region the predominant Chichimeca nation were the Guachichiles, the most warrior group. Their operations center was “Tunal el Grande”, served as refuge shelter and food source. The Guachichiles were known to paint their bodies, hair, and faces in red dye. For this reason they were called "guachichile" by the Mexica, meaning "heads painted red".

### Religion

Religion was practiced in civic-religious centers, performed by priests, witches or sorcerers who were called “madai cojoo”, which means big sorcerer; usually these ceremonial centers or worship places (cues), were on the slopes of mountains or high places. Apart from the Sun and the Moon, had no fixed gods, these could be stone one day and the next a different figure or symbol.

### The Chichimeca Name

"Chichimeca" was generically, equivalent to barbarian or savage. However, the term has different interpretations: for example, Alva Ixtlilxóchitl mentions that in their language it meant Eagles, for others it means sucking, the chichi verb mean to breastfeed, and according to Torquemada this name were given because they sucked blood from animals which they hunted. As well as these, there are other meanings; chichic (bitter), chichi (dog), etc.; others propose that chichimeca means people who live in chichiman and chichiman is understood as a place of dogs.

Also, Chichimeca was the name that the Nahua peoples of Mexico generically applied to a wide range of semi-nomadic peoples who inhabited the north of modern-day Mexico and southwestern United States, and carried the same sense as the European term "barbarian".

### The silver route

Roads have personality, because of the sites and conditions found in its path, as well as by destinations and their functions.

As it is known, there were trade routes across the Mesoamerican region, and is also known that there were mines with minerals and semi-precious stones, with a trade area which probably began in the United States South, passed through the center of Mexico and reached venues as remote as Nicaragua and Costa Rica in Central America. It is very possible that these routes passed through this site.

## Investigations

This archaeological area includes several areas that suggest, based on archaeological evidence (ceramic objects and stone tools), an affinity with the Tunal Grande region (San Luis Potosí) and strong links with prehispanic settlements in Zacatecas, Jalisco and the Guanajuato Bajio.

Beatriz Braniff made the first archaeological research in 1962. Establish the first ceramic sequence, knowledge of some architectural elements (the presence of columns that linked it with sites like La Quemada and Altavista (Zacatecas)) as well as an occupation that started in the Preclassical and ended in the early Postclassical.

In 1965, Mr. Jesús Aguirre, local researcher, conducted other research, found several pieces that from its quality, artistic and religious implications, inferred a high level of social development on the site during its occupation.

In 2002, after nearly 40 years, archeological explorations in the site are restarted. Armando Nicolau Romero, continued archaeological research of the site, made topographical surveys and excavations.

## The site

This prehispanic settlement was formed by a number of villages around the Hill. It is estimated that early settlement stages possibly took place towards 200 CE. According to evidence found, estimated that the city was abandoned between 1000 and 1100 CE, possibly due to climate change in the region that prevented further agricultural activities.

Researchers have identified three archaeological spaces, called neighborhoods: area considered ceremonial; in the bottom The Gotas and Montes neighborhoods, with platforms, and along the Valley housing units.

Within the site distinct assemblages (**conjuntos**) and structural complexes have been identified, grouped into zones indicating a functional differentiation between ceremonial, civic administration, residential and other spaces. Archaeologists have identified over 150 structures distributed across these groups.

## Conjuntos

Four pyramid structures, possibly an exclusive area for rulers and priests have been identified at the top of the Hill. These architectural groups are called Gotas, Montés, Cóporo, Caracol, were built at the end of the classical and epiclassical period, between 500 and 900 CE. A number of large squares whose functions could have been administrative and religious have also been identified on the north and west slopes of the complex.

So far six groups (conjuntos) of this prehispanic site, related to the Tunal Grande culture (200-1100 CE) have been excavated: Gotas, Llano, Aire, Cóporo, Montés and Caracol.

### Cóporo

Conjunto Cóporo is located at the top of the Hill, is a ceremonial zone, Acropolis style.

In this group and Gotas, human burials were found. Most outstanding of these findings has been the pigmentation with several black layers found in the skeletons, presupposes the existence of worship rituals of their dead.

### Gotas

This Conjunto is located on the skirts of the hill, it is a civic-administrative space.

Recent excavations have identified the building as a housing residential unit, from wood remains found, used as columns to support a roof. Carbon-14 dating analysis of these remains provided a date of 500 to 900 CE.

### Montés

This Conjunto, is a residential zone.

### Caracol

This Conjunto appear to also be a residential area, has defensive elements as dirt-stone fences.

### Llano

The Conjunto is located in the lower part, there are various public and domestic areas as well as workshops.

### Aire

It is likely that the gravel road at this conjunto was access for pilgrims to the sacred places at the site.

## Structures

### Plaza 1

This plaza will remain in its original conditions with some excavations and boreholes to demonstrate how it was found.

### Plaza 2

It is part of Conjunto Gotas, has been released and consolidated one 100 percent. Has a 5,000 square meters extension, consists of four platforms, the east and north have the most important structures.

#### Eastern Platform

It is surrounded by a slope made from stone and adobe, covered with masonry; It has a stairway that leads to a corridor that heads to a hall, with 20 wooden columns arranged in three rows, feature that makes the site unique throughout the region.

These 20 columns probably refer to Mesoamerican calendars, that have equal number of days. Accesses and facades are oriented towards the west, probably its inhabitants made astronomical observations, and linked the ceremonies with the solar cycle.

At the back of the hall is another stairway to a second level, where there is a small corridor with a small lounge and 10 columns around a central atrium.

#### Northern Platform

It has a long and wide base stone made with three structures, the center is known as the Palace, has a stairway and a room with four columns oriented towards the south, which reminds a pitched (gabled) roof.

To the sides of the Palace, are access stairs to another level with their respective lounge and columns, the room probably was a civic or administrative space.

### Southern and Western Platforms

These completely surround Plaza 2, have much smaller dimensions, and comprise rooms divided by adobe walls and some stoves that suggest that it would be the kitchen for great ceremonies.

## Site conditions

There is destruction of ceramic utensils, hunting pieces, molcajetes and remnants of houses that are not more than 20 centimeters deep. Some pieces remain on the surface, mixed with manure from livestock grazing on the area.

Negligence in preserving the site is reported on the part of INAH, Government of Guanajuato and Municipal.

## Bibliography

## InfoBox

El Cóporo
| Ruined structures in the El Cóporo archaeological zone | |
| --- | --- |
| Location | Guanajuato, Mexico |
| Region | Guanajuato |
| History | |
| Founded | 200 AD |
| Abandoned | 1000 AD |
| Periods | Late Classic and Early Postclassic |
| Cultures | Chichimeca \- Guachichil \- Toltec |


title: Toogoolawah War Memorial

abstract: Toogoolawah War Memorial is a heritage-listed memorial within McConnel Park at Cressbrook Street, Toogoolawah, Somerset Region, Queensland, Australia. The park was built c. 1906 by Frank Williams & Co. It is also known as McConnel Park. It was added to the Queensland Heritage Register on 21 October 1992.

text:
# Toogoolawah War Memorial

**Toogoolawah War Memorial** is a heritage-listed memorial within McConnel Park at Cressbrook Street, Toogoolawah, Somerset Region, Queensland, Australia. The park was built c.1906 by Frank Williams & Co. It is also known as McConnel Park. It was added to the Queensland Heritage Register on 21 October 1992.

## History

The site was established as a public park and recreational facility c.1906, on land donated by James Henry McConnel of Cressbrook.

James' father, David Cannon McConnel, was the first European to settle in the Brisbane Valley, taking up the Cressbrook run in 1841. In the late 1890s, JH McConnel established a condensed milk factory on Cressbrook Creek, and subdivided a large part of the run into dairy farms and the township of Cressbrook Creek (later Toogoolawah). Such private town subdivisions were not unusual in Queensland; other towns originating in this manner include Beaudesert, Nambour and Childers.

The McConnel family was deeply involved in the economic and social development of Toogoolawah, encouraging cultural, religious, sporting recreational and economic activity. They employed a contractor to build homes for their farmers; donated land for church purposes; and promoted a variety of district clubs, organisations and societies. Their establishment of a recreational facility in the centre of town remains testimony to the family's genuine concern for community welfare.

In 1919 a brass band was formed in Toogoolawah, and about this time a small bandstand, understood to have been provided by the McConnel family, was erected in the recreational ground. By 1924 the park also contained a tennis court and a public shower, water for which was supplied from a public well and windmill on the site. A cricket pitch was laid down c.1930, and a Guide hut and Scout den were erected in the 1970s.

The property was placed under trusteeship in 1926, and the Esk Shire Council became the trustees in 1940.

The First World War stone memorial was commissioned by the citizens of Toogoolawah in 1916. It was crafted by Ipswich monumental masons Frank Williams & Co., who later supplied most of the First World War memorials in the district. The memorial, which cost £300, was unveiled on 31 March 1917 by Rev Chaplain Merrington. It was the second such memorial erected in Queensland, and the first outside a cemetery.

Originally the memorial enclosure was separated from the rest of the park by a picket fence. Gardens were laid out by 1921, and on Anzac Day that year a First World War gun was unveiled beside the memorial.

A metal plate, honouring 15 local citizens who gave their lives in the Second World War, was attached to the memorial in 1955. In 1988 two additional plaques were attached commemorating those who had served in post-1945 conflicts.

A cairn containing a time-capsule was placed in the park for the 1988 bi-centenary.

## Description

McConnel Park is a 2.7-hectare (6.7-acre) site fronting Cressbrook Street to the east and Gunyah Street to the north, St Andrews Anglican Church precinct to the west and residential to the south.

Access is via a bitumen drive from the western end of Gunyah Street which encircles the sportsground around to the south west. A row of trees lines the drive to the east and the entrance is between square gateposts. Next to these is a single-storeyed weatherboard library with a corrugated iron skillion roof. Two park benches with cast iron supports which contain the letters McCP are located here.

The south east corner contains a First World War memorial, bandstand, pioneer memorial, barbecue, tennis courts and children's play equipment.

The First World War memorial stands in a fenced enclosure fronting Cressbrook Street. It consists of a sandstone pedestal and obelisk standing on a stepped base of concrete and rock faced sandstone. Recessed into each side of the pedestal are First World War marble honour rolls.

The entablature has egg and dart carving and the gable above features leaf carving. The east side of the base to the obelisk has a wreath with the words OUR BOYS HONOUR. Metal plaques have been added in remembrance of those who served in Korea, Malaya, Borneo and Vietnam.

The memorial is surrounded by concrete paths with garden borders which lead from the north and east entrances. Two mature pencil pines border the east entrance with one at the north. A metal flagpole and two small pencil pines are situated on the west side and the perimeter has a low metal framed wire mesh fence.

The octagonal timber bandstand sits on timber stumps and has a corrugated iron pitched roof with a central metal finial. The building features decorative timber brackets and valance with a perimeter seat against the railing. Access is via timber stairs to the north and the ceiling has plywood sheeting with timber cover strips.

The Pioneer Memorial is a low square structure with sloping sides which is clad with slate tiles. It sits on a square slate tiled base and also contains a time capsule.

To the south of the sportsground there is a concrete block public toilet with a skillion roof and a single-storeyed weatherboard Guide hut with timber stumps and a gabled roof.

The Scout hut is located in the south west and consists of a single- storeyed slab-on-ground building with fibrous cement sheeting and a corrugated iron gabled roof.

The sportsground contains a cricket pitch and mature trees to the perimeter.

## Heritage listing

Toogoolawah War Memorial was listed on the Queensland Heritage Register on 21 October 1992 having satisfied the following criteria.

**The place is important in demonstrating the evolution or pattern of Queensland's history.**

Toogoolawah War Memorial is important in demonstrating the pattern of Queensland's history, in particular the evolution of the town of Toogoolawah.

The Toogoolawah War Memorial is important in demonstrating the pattern of Queensland's history as evidence of a widespread social movement expressing Australian patriotism and nationalism of the First World War period.

**The place is important in demonstrating the principal characteristics of a particular class of cultural places.**

The Toogoolawah War Memorial is important in demonstrating the principal characteristics of a class of commemorative structures erected as an enduring record of a major historical event.

**The place is important because of its aesthetic significance.**

Toogoolawah War Memorial is important in exhibiting a range of aesthetic characteristics valued by the local community and those interested in commemorative structure design, in particular:

* the aesthetic quality and craftsmanship of the First World War memorial, bandstand and cast iron seating
* the landmark quality of the memorial and the townscape contribution of the site

**The place has a strong or special association with a particular community or cultural group for social, cultural or spiritual reasons.**

The Toogoolawah War Memorial has a strong association with the local community as evidence of the local impact of a major historical event.

**The place has a special association with the life or work of a particular person, group or organisation of importance in Queensland's history.**

The Toogoolawah War Memorial has a strong association with the McConnel family.

### Attribution

This Wikipedia article was originally based on *"The Queensland heritage register"* published by the State of Queensland under CC-BY 3.0 AU licence (accessed on 7 July 2014, archived on 8 October 2014). The geo-coordinates were originally computed from the *"Queensland heritage register boundaries"* published by the State of Queensland under CC-BY 3.0 AU licence (accessed on 5 September 2014, archived on 15 October 2014).

Media related to Toogoolawah War Memorial at Wikimedia Commons

## InfoBox

| Toogoolawah War Memorial | |
| --- | --- |
| Toogoolawah War Memorial, 2010 | |
| Location | Cressbrook Street, Toogoolawah, Somerset Region, Queensland, Australia |
| Coordinates | 27°05′26″S 152°22′38″E / 27.0906°S 152.3771°E / -27.0906; 152.3771 |
| Design period | 1900 (1900)
1914 (1914)
(early 20th century) |
| Built | c.1906 (1906)
1988 (1988) |
|  | |
| Queensland Heritage Register | |
| Official name | McConnell Park & Toogoolawah War Memorial |
| Type | state heritage (built, landscape) |
| Designated | 21 October 1992 |
| Reference no. | 600499 |
| Significant period | 1906–(social)
1906–1988 (historical)
1906–1930 (fabric) |
| Significant components | trees/plantings, pathway/walkway, library – building, memorial – obelisk, cricket pitch, bandstand/rotunda, memorial – cairn, time capsule, park / green space, bench/seat, tennis court, flagpole/flagstaff |
| Builders | Frank Williams & Co |
|  | |
|  | |
| Location of Toogoolawah War Memorial in QueenslandToogoolawah War Memorial (Australia) | |


title: Top Spin (video game)

abstract: Top Spin is a 2003 tennis video game developed by Salt Lake Games Studio and PAM Development and published by Microsoft Game Studios for the Xbox in October 2003. The game was later published by Atari Europe for Windows in 2004 and by 2K for the PlayStation 2 in 2005. It is a simulation tennis game in which players compete in singles and doubles tennis matches and exhibition tournaments. Gameplay modes include a career mode in which players develop skills and rise through the ranks of an international league. Top Spin featured an expanded control scheme compared to its contemporaries, and introduced several innovations including 'risk shots', in which players can execute more difficult serves and shots. Top Spin was developed as a partnership between French company PAM Development and Microsoft Game Studio's Salt Lake subsidiary, with the aim of creating a more realistic and accessible simulation tennis game. The developers modelled the game on the design of previous console tennis titles including Virtua Tennis. Top Spin was developed to take advantage of the online capabilities of Xbox Live, with the game released as part of the XSN Sports brand and supported expanded online features. Upon release, the Xbox version of Top Spin received universal acclaim by critics, with praise directed to the game's intuitive and accessible control scheme and graphical fidelity, with some critiques of the limitations of the game's career mode. The PlayStation 2 port of the game received mixed reviews, with attention directed to the reduced quality of the game's graphics. Following release, Top Spin received several sequels, with Top Spin 2 released in 2006.

text:
# Top Spin (video game)

***Top Spin*** is a 2003 tennis video game developed by Salt Lake Games Studio and PAM Development and published by Microsoft Game Studios for the Xbox in October 2003. The game was later published by Atari Europe for Windows in 2004 and by 2K for the PlayStation 2 in 2005. It is a simulation tennis game in which players compete in singles and doubles tennis matches and exhibition tournaments. Gameplay modes include a career mode in which players develop skills and rise through the ranks of an international league. *Top Spin* featured an expanded control scheme compared to its contemporaries, and introduced several innovations including 'risk shots', in which players can execute more difficult serves and shots.

*Top Spin* was developed as a partnership between French company PAM Development and Microsoft Game Studio's Salt Lake subsidiary, with the aim of creating a more realistic and accessible simulation tennis game. The developers modelled the game on the design of previous console tennis titles including *Virtua Tennis*. *Top Spin* was developed to take advantage of the online capabilities of Xbox Live, with the game released as part of the XSN Sports brand and supported expanded online features.

Upon release, the Xbox version of *Top Spin* received universal acclaim by critics, with praise directed to the game's intuitive and accessible control scheme and graphical fidelity, with some critiques of the limitations of the game's career mode. The PlayStation 2 port of the game received mixed reviews, with attention directed to the reduced quality of the game's graphics. Following release, *Top Spin* received several sequels, with *Top Spin 2* released in 2006.

## Gameplay

*Top Spin* is a simulation tennis game that recreates single and double tennis matches and exhibition tournaments, in which players compete against a computer or other players in either local or online matches. Players can perform several tennis shots using different controls for flat, top spin, slice, and lob swings. Serves are executed using a 'power meter' that affects the speed of the shot. Players can also use the trigger buttons to perform a 'risk shot', which is more difficult to execute. If the player is able to land the shot in the center of the meter, their shot will be harder to return. The chances of success of a risk shot are increased by an 'In the Zone' meter, which increases as the player wins games throughout the course of a match.

*Top Spin* features several game modes. In 'Exhibition' mode, players can create customized matches by selecting one of sixteen playable professional players or a custom character, and set the match as a men's and women's singles or doubles match, the number of games per set, sets per match, and a range of venues categorized from small courts to Grand Slam facilities. In 'Career' mode, the player is able to create a custom character with a create-a-player interface to rise through the ranks of an international tennis league. In the career mode, the player is able to compete in tournaments, seek sponsorship from companies, and complete minigames in training sessions that improve the performance of the player in skills, including player precision and the ability to return serves, swings and risk shots. Players progress by winning 'coin' from tournaments and sponsorship challenges, allowing them to pay for training sessions and purchase new cosmetic upgrades. The game's tournaments, taking place across the globe, feature an increasing level of difficulty, from 'Minor Pro' to 'Grand Slam' tournaments, with the player increasing in a global ranking based on their performance in tournaments.

*Top Spin* features local system link play and online multiplayer play for up to four players. The Xbox version of the game featured enhanced online features under Xbox Live as part of the XSN Sports series. Online matches included 'Exhibition' matches that were identical to local matches that did not affect the player's online ranking, and allowed the player to specify the desired type of match, venue and difficulty of competitors. 'Official' matches, supported by XSN Sports, allowed players to participate in matches with their custom character against a global ranking for official tournaments. Players were able to use the XSN Sports website to monitor leaderboards and game schedules, and record and share detailed performance statistics, including the player's ranking, rating, skills and career data.

## Development

*Top Spin* was developed by a partnership between French developer PAM Development and Indie Games, the Salt Lake City division of Microsoft Game Studios. Indie Games had previous experience with developing sports Xbox titles, including *Amped: Freestyle Snowboarding* and the *Links* series of golf titles. Program manager Matthew Seymour stated that *Top Spin* was conceived as an Xbox competitor to the *Virtua Tennis* and *Mario Tennis* series, with the desire to create an "immersive tennis game" that "would also have in-depth and realistic tactical elements" absent in contemporary tennis titles. The developers experimented with several control schemes in creating the game's control scheme, settling on a "balance between ease of play and depth" by creating a series of 'safe' and 'risk' shots to introduce a tactical element "to make it true to (the) sport".

*Top Spin* was released by Microsoft Game Studios under the branding of XSN Sports, a series launched in 2003 following the launch of Xbox Live in the previous year with enhanced online capabilities for sports games, including for players to set up leagues, build tournaments and review data on the website. The game was supported by a roster of sixteen professional players, including Tommy Robredo, Jan-Michael Gambill and Michael Chang, with the cover of the Xbox version featuring Lleyton Hewitt, and the PlayStation 2 version featuring Roger Federer and Maria Sharapova. Motion capture technology was used to create a realistic likeness of the players and animate their movements.

## Reception

According to review aggregator Metacritic, the Xbox version of '*Top Spin* received "generally favorable reviews" and the PlayStation 2 version received "mixed or average reviews". Several critics praised the Xbox version of the game as the best tennis simulation of its generation and a superior successor to *Virtua Tennis*, with *GameSpot* describing the game as "the most well-rounded, feature-rich game of tennis to be found anywhere, on any system," and *GameSpy* assessing the game as the "best arcade tennis game to date".

Reviewers generally praised the game's accessible control scheme and learning curve. *Electronic Gaming Monthly* praised the game's "easy access", writing that "the game's intuitive controls mean anyone can pick up the controller and play competitively." *GameZone* found the controls of the game to be accessible and player-friendly, whilst "evolving" in difficulty and presenting a challenge for players of all skill levels. *GamePro* similarly described the gameplay as "responding intuitively and naturally right from the start", whilst noting the game "has its own quirks", such as power-up shorts and serves being "more challenging than they should be." *GameSpy* praised the "smooth and accessible" gameplay and "wide variety of shots", but critiqued the game's risk shots as "not implemented well and too difficult to pull off in comparison to normal strokes".

Critics praised the game's visual presentation and animations. Describing the visuals as "eye-catching" and "one of the game's best features", *GamePro* praised the game's "slick" camera. *Game Revolution* highlighted the game's graphics, writing that the players "look great and move smoothly and accurately" and commending the realism of the courts and crowd animations. *GameSpot* wrote that "the look of the game is unmatched", particularly its "realistically rendered" courts, "clean and realistic" lighting and "fluid" player animations. *GameSpy* similarly praised the game's "sharp-looking courts" and "gorgeous character models". *Game Informer* expressed that the game's graphics easily surpassed its predecessors in the genre.

Reviewers also praised the inclusion and implementation of online play. *GameSpot* wrote that the inclusion of Xbox Live support put the game "head and shoulders above the competition", praising the "good number of play options" and XSN Sports features. *IGN* similarly highlighted the online features for their "leaderboards" and "number of opponents available for play", although wished "some original modes like point challenges" to "make the online component even more fun". *Hyper* praised the game as an "integral part" of the XSN Sports lineup, stating "it's pretty obvious that multiplayer is what this game as built for."

Critics expressed mixed views on the design of the career mode. Assessing that the "career mode could use a bit of beefing up", *IGN* described the mode as "competent and enjoyable", but lacked the "great mini-games" of *Virtua Tennis*. *Eurogamer* noted the career mode "could have been a lot better", citing the limited tournament pool of sixteen players and "lack of real competitions". *GamePro* commented that the pacing of the career mode was "a bit off as it's easy to train up your player too quickly." Despite finding the career mode to offer a "good amount of entertainment", *Game Revolution* critiqued the game's skills system and training sessions as not "very thrilling", and the cash system to be "sort of useless" in its use to purchase cosmetic upgrades. *Game Informer* considered the career mode to have a "distinct lack of star power" due to its the absence of major tennis stars and real-world venues.

The PlayStation 2 port of *Top Spin* received less favorable reviews due to the reduced graphics. *IGN* noted that whilst the PlayStation title was "wholly the same" as the Xbox release, "its presence on the PlayStation 2 is marred a bit by the PS2's lesser hardware". *GameSpy* similarly wrote that the "excellent animation, lively arenas, (and) lighting" on the original release were "not to be found" on the PlayStation 2 version, with the character models being "just not good", the audience animations being "especially horrid", and the "graphics (hurting) the actual play". Describing the game as a "half-hearted translation", *GameSpot* dismissed the "bland visuals" of the port and "dumbed down" character models, also faulting the game's "slow" transitions between menus and loading times.

### Accolades

The Academy of Interactive Arts & Sciences at the 7th Annual Interactive Achievement Awards nominated *Top Spin* for "Console Sports Simulation Game of the Year", which was ultimately awarded to *Madden NFL 2004*.

1. "Atari announces Top Spin for the PC". Archived from the original on February 8, 2022. Retrieved February 8, 2022.
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## InfoBox

| Top Spin | |
| --- | --- |
|  | |
| Developer(s) |  |
| Publisher(s) | Microsoft Game Studios |
| Platform(s) | Xbox |
| Release | October 28, 2003 * **Xbox**     + NA: October 28, 2003     + EU: November 7, 2003**Microsoft Windows**     + EU: November 10, 2004**PlayStation 2**     + NA: September 26, 2005     + EU: October 21, 2005 |
| Genre(s) | Sports |
| Mode(s) | Single-player, multiplayer |


title: Topola, Środa Wielkopolska County

abstract: Topola is a village in the administrative district of Gmina Środa Wielkopolska, within Środa Wielkopolska County, Greater Poland Voivodeship, in west-central Poland. It lies approximately 3 kilometres (2 mi) north-west of Środa Wielkopolska and 29 km (18 mi) south-east of the regional capital Poznań.

text:
# Topola, Środa Wielkopolska County

**Topola** \[tɔˈpɔla\] is a village in the administrative district of Gmina Środa Wielkopolska, within Środa Wielkopolska County, Greater Poland Voivodeship, in west-central Poland. It lies approximately 3 kilometres (2 mi) north-west of Środa Wielkopolska and 29 km (18 mi) south-east of the regional capital Poznań.

## InfoBox

| Topola | |
| --- | --- |
| Village | |
| Topola | |
| Coordinates: 52°15′N 17°15′E / 52.250°N 17.250°E / 52.250; 17.250 | |
| Country | Poland |
| Voivodeship | Greater Poland |
| County | Środa Wielkopolska |
| Gmina | Środa Wielkopolska |
| Population | 110 |


title: Tornyosnémeti

abstract: Tornyosnémeti is a village in Borsod-Abaúj-Zemplén County in northeastern Hungary adjacent to the border with Slovakia. Like any other small Hungarian village, it has one small general store and a pub. Tornyosnémeti recently had the M30 motorway completed, allowing faster and easier access into Slovakia. Tornyosnémeti is also a rest stop for truck drivers.

text:
# Tornyosnémeti

**Tornyosnémeti** is a village in Borsod-Abaúj-Zemplén County in northeastern Hungary adjacent to the border with Slovakia. Like any other small Hungarian village, it has one small general store and a pub. Tornyosnémeti recently had the M30 motorway completed, allowing faster and easier access into Slovakia. Tornyosnémeti is also a rest stop for truck drivers.

## InfoBox

| Tornyosnémeti Tornyos | |
| --- | --- |
| Village | |
| Protestant church | |
|  | |
| Tornyosnémeti | |
| Coordinates: 48°31′N 21°16′E / 48.517°N 21.267°E / 48.517; 21.267 | |
| Country | Hungary |
| Regions | Northern Hungary |
| County | Borsod-Abaúj-Zemplén County |
| Population (2008) | |
| Total | ~500 |
| Time zone | UTC+1 (CET) |
| Summer (DST) | UTC+2 (CEST) |


title: El Presidente (musician)

abstract: Esa aka El Presidente, born Francesco Cellamaro, is an Italian rapper and beatmaker of Calabrian origins. El Presidente has been active since the early stages of the Italian hip hop movement in the early 1990s, and predominantly discusses Politics and Society in his music.

text:
# El Presidente (musician)

**Esa aka El Presidente**, born **Francesco Cellamaro** (Reggio Calabria, 1 October 1972), is an Italian rapper and beatmaker of Calabrian origins. El Presidente has been active since the early stages of the Italian hip hop movement in the early 1990s, and predominantly discusses Politics and Society in his music.

## Biography

He is the brother of Tormento (in group Sottotono) and Marya, both became rappers. Francesco grew up musically listening to groups such as Eric B & Rakim, Run-DMC, Public Enemy and the Beastie Boys. In his teens he starts to attend hip hop circles, first as a breaker, and later approaching MCing.

In 1991 the collective Otierre (Originale Trasmissione del Ritmo) is founded, union of breakers, beatmakers, DJs and MCs, or representatives of each of the four core disciplines of hip hop. The roster consists of Azza, DJ Fede, DJ Irmu, DJ Nitro, DJ Vez, DJ Vigor, Esa, Intruso, Limite, Polare, Torrido, and later by The Female Mc La Pina.

In 1998 Esa and Polare change their names respectively to El Presidente and Polaroide founding the group Gente Guasta.

In 2002 he starts his first solo project *Tutti Gli Uomini Del Presidente*, self-produced and distributed by Vibrarecords.

In 2006 he released his second solo album *Tu sei bravo* on the label La Serra.

In 2008 he founded 'Siamesi Brothers' hence the name with his brother Tormento and released a self-titled LP.

## Discography

### With Otierre (OTR)

### With Gente Guasta

### With Siamesi Brothers

### Solo

### Other collaborations

### Other productions

## InfoBox

| Esa aka El Presidente | |
| --- | --- |
| in 2007 | |
| Background information | |
| Birth name | Francesco Cellamaro |
| Origin | Reggio Calabria, Italy |
| Genres | Hip-hop |
| Occupation(s) | Musician, singer, record producer |
| Years active | 1991–present |
| Labels | Sony BMG |
|  | |
| Website | frankie.tv |


title: El Primero (album)

abstract: El primero is a studio album recorded by Puerto Rican singer Juan Manuel Lebrón released in 1990. The album became his first number-one album on the Billboard Tropical Albums chart. It was nominated for Tropical/Salsa Album of the Year at the Lo Nuestro Awards.

text:
# El Primero (album)

***El primero*** (*The First One*) is a studio album recorded by Puerto Rican singer Juan Manuel Lebrón released in 1990. The album became his first number-one album on the *Billboard* Tropical Albums chart. It was nominated for Tropical/Salsa Album of the Year at the Lo Nuestro Awards.

## Track listing

This information adapted from Allmusic.

| No. | Title | Writer(s) | Length |
| --- | --- | --- | --- |
| 1. | "El primero" | Juan Calderon, Luis Gomez Escolar |  |
| 2. | "A ti no te ha dicho" |  |  |
| 3. | "Ese embuste" |  |  |
| 4. | "No es verdad" |  |  |
| 5. | "Sentirte cerca" |  |  |
| 6. | "Solos esta noche" |  |  |
| 7. | "Ella y tu" | Jose T. Martinez |  |
| 8. | "Lo mejor que hiciste" |  |  |
| 9. | "Cara de niña" |  |  |

## Chart performance

| Chart (1990) | Peak
position |
| --- | --- |
| U.S. *Billboard* Tropical Albums | 1 |
|

## InfoBox

| El primero | |
| --- | --- |
|  | |
| Studio album by Juan Manuel Lebrón | |
| Released | May 14, 1990 |
| Genre | Salsa |
| Label | EMI |
| Producer | E. Nevarez |
|  | |
| Singles from  *El primero* | |
| 1. "Ella y tu"
Released: July 1990 | |
|  | |


abstract: Admiral Richard Edwards was a Royal Navy officer and colonial administrator who twice served as the governor of Newfoundland from 1757 to 1759 and 1779 to 1781. He also served as Commander-in-Chief, The Nore from 1788 to 1792.

text:
# Richard Edwards (Royal Navy officer, died 1795)

Admiral **Richard Edwards** (c.1715  3 February 1795) was a Royal Navy officer and colonial administrator who twice served as the governor of Newfoundland from 1757 to 1759 and 1779 to 1781. He also served as Commander-in-Chief, The Nore from 1788 to 1792.

Edwards was promoted to lieutenant in 1740 and to captain in 1753. He was appointed governor of Newfoundland for his first term in 1757. His main concern was defence of the colony as Great Britain and France were at war. Edwards was re-appointed governor for a second term in 1779 and was again concerned with the colony's defences – only this time against American privateers. In 1780 he formed the Newfoundland Volunteers under the command of Robert Pringle. Edwards ordered the construction of Fort Townshend (see Lord Townshend) and the Quidi Vidi batteries including those at Petty Harbour. Promoted vice-admiral in 1787, he became in Commander-in-Chief, The Nore in 1788. He was promoted to Admiral of the Blue in 1794.

## InfoBox

| Richard Edwards | |
| --- | --- |
| Edwards in 1780 | |
| Born | c.1715 (1715) |
| Died | February 3, 1795(1795-02-03) (aged 79–80)<br>Fordwich, Kent |
| Allegiance | Great Britain |
| Service/branch | Royal Navy |
| Rank | Admiral |
| Commands | Nore Command |